On Performing with a Masculine Sound:

Alright, the title is not really what today’s post is about. I just found it very interesting that Quantz describes the best flute players as being able to produce “…a clear, penetrating, thick, round, masculine, and withal pleasing sound from the instrument.” I understand that the tone should be clear, round, and withal pleasing, but the other words left me puzzled—ESPECIALLY masculine. What does masculinity or femininity even sound like? Word choice aside, it is important that each flutist develop a controlled tone.

Remember that before thinking about tone, we must establish a proper flute embouchure. Quantz reminds us that the embouchure hole should be centered on the lips and half covered by the lower lip. When blowing, the air is divided in half by the edge of the embouchure hole, resulting in sound production. If too much of the hole is left uncovered, the tone will be airy or hollow. With the opposite, the tone will be too weak. People with very thick lips may have problems finding their embouchure. Sometimes, adjusting the embouchure slightly to the left of the hole helps with this problem. Also, be sure to take care of your lips! Avoid eating and drinking things that your lips are sensitive to, stay healthy, and protect your lips from the elements.

Even after the flutist has developed their tone, there is still a good portion of the sound quality that is dependent on the flute being played. I remember playing my student flute for eight years before getting my first professional model. It was not before playing my new flute that I realized how much all of my tone studies had paid off! These differences in tone are made by the types of metal used in flute models. Even a different head joint or crown can change the tone you can produce. Once you own a professional flute and are happy with how you have developed your tone, I would suggest going to a flute shop and experimenting with these options (as far as your funds will allow you).

Quantz describes the need to move the chin and lips forwards and backwards in order to properly play ascending and descending notes. The distance required is determined by ear. Flutists are taught today that accelerated air is used in the upper register and slow air is used in the lower, but Quantz says that the wind should never be increased or doubled, but the notes are changed by the compression of air in the mouth hole which is adjusted by the chin and lips.

Although Tromlitz repeatedly mentions in his work that tone is a matter of taste and that not all people like the same aesthetic in their tone, he still has some specific opinions on what is and is not good tone. His rule of thumb for a pleasant tone is: “If the tone is clear, resonant, and pleasing, it will indeed please the majority”. He also states that the model any instrumentalist should form his tone off of is a beautiful human voice. He defines this voice as being, bright, full and resonant, of masculine (there is that adjective use again…) strength, but not shrieking; soft, but not hollow. It should be rounded, singing-like, soft, and flexible.

Tromlitz suggests that you develop tone by practice playing single notes for as long as possible while turning the flute outwards and then inwards until the right spot is reached for a firm and rich tone. Even today, this is not a bad idea for tone development. As you adjust your head joint position, listen carefully to the sound you produce for your sweet spot. Once you have that sound you like in your ear, try to remember how your flute feels on your face and then take your flute away and see if you can find the spot again. This will lead towards a consistent good tone!

In terms of performance practice for articulation, there are definitely some variables between that which Hotteterre, Quantz, and Tromlitz describe and what is commonplace now. Before I go into detail about his views were it is important that I remind you of the purpose of articulation during the Baroque. Articulation was mainly used to define the meter of a movement. Many articulations were assumed, which is why there are not many (if any) articulation markings on the urtexts of these works. Also, slurs are rarely used, but when they are they only last for about the duration of a beat.

Hotteterre specifies that notes be articulated using the syllables “Tu” and “Ru”. These syllables seem weird to us today, but that is because we do not play instruments made out of wood. Quantz had a similar system where he used “Ti” and “Di” for stressed notes and “Ri” for those that are unstressed. He also used “Tiri” and “Did’ll” for double tonguing, but emphasizes that this technique should only be used on the fastest passagework. Tromlitz similarly used “Ti” or “Di” for single tonging and “Tid’ll” or “Did’ll” for double. Today we use “Tu” or “Du”, but that is because the instrument has made extreme developments over the years. When double or triple tonging we may incorporate the syllable “Ku”. To use the Baroque syllables on our contemporary flutes would hardly have an effect.

In studying Baroque performance practice, we learn just how far flute technique has come. I have been really interested by the fact that not too much has changed! The only major change was in the articulation syllables used, but that was because the flute is now made out of a different material than it was then. Your understanding of these differences can contribute to your ability to interpret Baroque music!

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Further Reading:

Hotteterre, Jacques. Principles of the Flute, Recorder & Oboe. Barrie & Rockliff, 1968.

Quantz, Johann Joachim, and Edward R. Reilly. On Playing the Flute. Fir paperback ed. New York: Schirmer Books, 1966.

Tromlitz, Johann George, and Ardal Powell. The Virtuoso Flute-Player. Cambridge England; New York: Cambridge University Press, 1991. Cambridge Musical Texts and Monographs Web.