Contents

Forward What Is a Flute? Setting Up for Success Posture Holding the Flute Making a Sound Articulation Vibrato Flute Fingerings Flute Intonation Taking Care of the Flute Recruiting Flute Students Buying a Flute Bibliography Image Sources Page 2 Page 4 Page 6 Page 7 Page 8 Page 10 Page 16 Page 17 Page 18 Page 22 Page 24 Page 28 Page 30 Page 34 Page 35

Forward
The idea for this book came up when I had been teaching in Yangon, Myanmar for several years. When I arrived in 2005 to start a band program at the Yangon International Educare Centre, an international school in Yangon, I had not realized that it would be the first program of its kind in the country. Recruiting for an American style band program among a student population mostly unfamiliar with wind instruments in a culture unfamiliar with any western music other than pop and rock was a challenge to say the least. My efforts were rewarded, however, with exploding enrollment in my band classes. It would be several years before interest caught on with any outside the international schools. Finally, in 2010, some of the students at the local community music school, Gitameit Music Center, began asking for help in starting a small wind group. Around the same time, the archbishop of the Roman Catholic Church in Myitkyina, a city in the remote north of the country, asked for help in starting a band for youths in his diocese. I was happy to help, but I knew they would face many more challenges than even I had in starting my program in Yangon. Budgets are often extremely limited in Myanmar, a country where most families live on $100 USD per month or less. Even if they could afford the instruments, there was only one experienced instrument repairman in the nation. The biggest challenge, however, would be the lack of knowledge. Of the musicians who have had an education in western music, most played violin, piano, or guitar or sang. Very few individuals owned western wind instruments and those who did were mostly self-taught. Whoever would lead these community bands would need to know something about the instruments they were teaching and they would need enough expertise to guide students through the critical beginning stages of development. Before I left the country for my current job in South Korea, I gave what advice I could, but the teachers in Myanmar need a resource. They need a handbook that they can turn to whether they are in a city with internet access or a dusty village with no electricity. When the opportunity came up at the American Band College to create a book as a practical application of my graduate studies there, I was excited to realize that I could fulfill my requirements there by giving something back to the people of Myanmar. This guide to the flute is the second installment in what I hope will be a series of books on every instrument that a Burmese band director is likely to have in his or her concert band. The first book, written two years ago, was centered on the trumpet. There is naturally some overlap between this volume and the

Forward
previous one in regards to buying instruments and some basic technique that applies to all wind instruments. This book has been updated and focuses more specifically on the flute. The target audience for this guide is music teachers in Myanmar who are interested in starting a band program. Most likely, these are teachers with a basic level of western music education, but who may or may not already play a wind instrument. This is not intended as an all-encompassing encyclopedia on the flute, but rather a more concise way to answer basic questions and help the music teacher get students started the right way. Advanced techniques such as double tonguing and vibrato are only touched on lightly as this book is meant to cover only the fundamentals of playing the flute. Further education should be sought from specialized flute teachers of whom there are now a few in Myanmar. July 29, 2013

What Is a Flute?
What Is a Flute?
Flutes are instruments of the woodwind family that are made of a hollow tube. Unlike other woodwind instruments which use a reed, flutes produce sound when a stream of air hits the edge of an opening in the tube. When the air stream hits the edge, it oscillates above and below the edge, vibrating all the air inside the flute. The pitch is changed by making the flute longer or shorter, by opening and closing holes, or by adjusting the air stream so that a different partial of the harmonic series is produced.

Development of the Modern Western Flute

In Europe until the late 1700s, "flute" referred only to what we now call a recorder. A flute blown from the side had to be called a "transverse flute" or a "German flute". Originally, the flute was made of wood and had no keys. The fingers were used to cover holes in the length of the instrument. Keys were gradually added to extend the range of the flute or for a few chromatic notes. The biggest changes happened during the 1800s, when many more keys were added and the size of the holes increased. The German flute maker Theobald Boehm of Germany was impressed by the sound of an English flute player named Charles Nicholson, who played a flute with larger finger holes. These large holes made Nicholson's flute much louder than the typical flutes of that time and Boehm invented a system that allowed flutes to have large holes that were spaced for best tone and intonation rather than to fit the fingers of the player. To do this, he used keys and rings instead of only finger holes and connected keys together so that one finger could close or open two or three holes. Later flute makers eventually refined these ideas to create the modern western flute we use today, which is still called a Boehm system flute. Metal gradually replaced wood as the material of choice for flute makers. Boehm's design for the flute was so successful that a similar design

Flutes of some type have been found for thousands of years in almost every culture around the world. There are many types of flutes. The two most common are end-blown flutes, such as the Burmese ba-lway, and transverse (side-blown) flutes, like the Kachin sum-pyi. On some flutes, air is blown into a channel and the structure of the flute directs the air properly at the edge, known as a fipple. The ocarina and recorder are examples of flutes with a fipple. The ba-lway is also a fipple flute. On other flutes, the air is directed by the player's lips as on the sum-pyi and the modern western flute discussed in this book.

What Is a Flute?
is now used on the modern clarinet and saxophone, as well.

Other Members of the Flute Family

In addition to the concert flute and piccolo, there are at least eleven other sizes of modern western flute from the piccolo at one octave above the concert flute down to the hyperbass flute, which is over eight meters long and plays four octaves below the concert flute. The two most common low flutes, are the alto flute and bass flute. Although you are unlikely to see parts for these instruments in your concert band literature, they are becoming popular solo instruments and are sometimes used for special sounds in concert music. The alto flute is both wider and longer than the standard concert flute. Although it plays in the key of G, half an octave lower than the concert flute, the notes are transposed so that the fingerings will be the same as the concert flute. Thanks to the larger tube size, the tone is considered warmer and more resonant than the standard concert flute. A larger aperture in the embouchure and a larger volume of air are needed to support this full tone. Even larger than the alto flute, the bass flute plays an octave below the concert flute. It is very rich in tone and requires even more air.

What Is a Piccolo?
As your students advance through more challenging levels of music, they may begin to encounter pieces that call for piccolo. A piccolo is a small flute that is usually keyed in C and plays one octave higher than the normal concert flute. The range is usually from D5 to C8, although the notes are written one octave lower to avoid the use of too many ledger lines. The high pitch and loud tone mean that a band usually has only one piccolo player. That person is normally a flute player who switches to piccolo only when the music requires it. As the highest instrument in the band, the sound of the piccolo is easily noticed, so you should select a player who is skilled and confident enough to feel like a soloist at all times. Before inviting them to play the piccolo with the ensemble, have them practice in large open spaces like a church or even outside. This will help him or her get used to projecting confidently.

Setting Up for Success

Head Joint Body Foot Joint

Crown

Lip Plate

Barrel Thumb Keys (Back)

Keys

Embouchure Hole

Assembly & Disassembly

Remove the body and head joint from the case. Grasp the head joint below the lip plate without touching the crown or lip plate. Hold the body by the barrel. Never grab the flute by the keys or the rods that connect the keys to the flute. Gently slide the tenon of the head joint into the barrel with a slight twisting motion. Align the embouchure hole with the first few keys on the body. Hold the foot joint by either the smooth section below the keys or by using the thumb to hold the keys down so that the keys are not damaged. Twist it onto the lower tenon of the body, again holding onto the body by the barrel. Align the rods on the foot joint with the last few keys of the body. Do not align the rods of the foot joint with the rods of the body. Disassemble the flute in the reverse order of the above. Follow the steps in Caring for the Flute before putting it back in its case.

Posture
Correct Posture
Teach your students the proper playing posture and remind them every day. When seated, the chair should be turned slightly to the left so that the players thighs straddle the corner. The head and left foot should face forward at about 12 oclock on a clock face while the right foot is pointed at about 2:30 or 3:00. The same is true when standing. The back should be straight and not arched. The shoulders should be back and relaxed with the elbows away from the body.

Common Posture Problems

Remind your students to sit with good posture every day and observe that they are still using it even when you do not mention it. Be especially aware of the problems below which can restrict the natural rise and fall of the chest when breathing.

Leaning back or slouching in the chair.

Hunching the back or leaning forward.

Leaning to one side, letting the head and flute drop.

Holding the Flute

Hand Position
Holding the flute should feel natural. Have the students relax their hands at their sides. The fingers should be curved naturally with the thumbs straight. This same relaxed position should be kept when playing the flute. Another way to demonstrate this is to have the students imagine a book is lying flat on a shelf in front of them. They can then pretend to reach out to take the book off the shelf. The right hand will be in this position when playing the flute with the thumb straight and the fingers gently curved. The wrist will be mostly straight. The left hand will maintain this relaxed position, too, but the wrist must be curved slightly to allow the fingers to reach the keys and the base of the left index finger will support the flute as shown in the pictures. The flute is balanced at four points. The first is the cradle of the chin as described in the section on Embouchure. The second is the base of the index finger of the left hand. It will contact the body of the flute between the C and C-sharp keys and will do some of the work of supporting the weight of the flute. The next point is the right thumb, which will do the rest of the work of supporting the flutes weight. It will not protrude much past the edge of the flute. The last point is the right little finger on the E-flat key, which will prevent the flute from rolling back into the hand. It is only lifted from this position on a few notes (see the Fingering Chart in this book).

Correct Left Hand Position

The flute is supported by the base of the left index finger. The thumb is straight and there is only a slight bend of the wrist to support the weight of the flute.

Correct Right Hand Position

The thumb is straight and does not protrude beyond the side of the flute. The fingers are curved naturally so that the fingertips touch the keys without bending harshly.

Holding the Flute

Correct Holding Position

The flute is balanced at four points: The cradle of the chin, the base of the left index finger, the right thumb, and the right little finger on the E-flat key.

Common Hand Position Problems

Because the flute must be balanced rather than grabbed, holding it correctly can be awkward for beginning flute students. Watch out for the common mistakes below.

Incorrect Left Hand Position

Although the C shape of the hand looks natural, the flute is not supported by the base of the left index finger. This will force the right hand to do all of the work of holding the flute.

Incorrect Right Hand Position

The flute is cradled in the hand. The thumb sticks out way beyond the flute so the fingers must bend harshly to reach the keys. This creates tension in the hand, slowing technique.

Making a Sound
Breathing
Breathing when playing an instrument is very different from the kind of breathing one does when doing any other activity. When playing a wind instrument, one must inhale a large volume of air quickly and then control the stream of air going out over a long period of time. Flute is especially challenging in this way since there is no mouthpiece on the lips to resist the air going out. More air and more control is needed on flute than on any other instrument. Because of this, beginning flute students may get dizzy easily as they learn to control their air. It is a good idea to have them sit down in the early stages in case they get so dizzy they fall down and hurt their flute or themselves! The first step in breathing properly is to relax the throat. Although some teachers recommend a particular vowel sound such as oh when inhaling, the most relaxed throat shape is to make no sound at all except the movement of air. This will create the smoothest flow of air with the least friction. To achieve this, ask the students to breathe as slowly and silently as possible - so silent that even their neighbor cannot hear them. They will automatically relax their throat. Have them speed up their breathing by bringing in larger amounts of air in a shorter time. This is the same feeling as panting. To control the flow of air out of the body, the muscles of the chest and abdomen must be used. The diaphragm, which tightened to bring air in, relaxes to let the air out. The muscles between the ribs and the muscles of the stomach (the ones you use when you do sit-ups) pressurize the air on the way out. Maintaining the tension of these muscles and keeping the throat relaxed allows the player to control the speed of the air stream into the embouchure hole of the flute. This is how a steady, supported tone and dynamic flexibility are created.

Embouchure
The vibrations that make sound on a flute are created when the airstream from the players lips strikes the opposite edge of the embouchure hole on the flute and oscillates in and out of the hole. This causes the air inside the flute to vibrate. For the sound to be clear, the airstream needs to be focused. This is achieved by placing the lips together in a pout formation as if saying pure, drawing the corners of the lips together and slightly down. The air will travel through a tunnel created by the wet inner part of the lips. The top and bottom teeth should be aligned with the top lip pushed forward slightly so that the air will be blown into the hole more than across it. The lip plate of the head joint will rest gently in the cradle of the chin.

10

Making a Sound
The bottom lip should cover roughly 1/3 of the embouchure hole. The picture to the right is taken from a master class video in which legendary flutist, Sir James Galway, shows the worn area on his flutes lip plate from where he places his lip over the embouchure hole. The line running from top to bottom shows that edge of his lip cuts the hole nearly in half. To change the octave, the lips are pushed forward slightly, bringing them closer to the opposite edge of the embouchure hole. Although blowing harder will cause the octave to jump, this is not necessary and in fact it can make dynamic control difficult and cause high notes to sound sharp. Students should be encouraged to practice with the head joint only in the beginning to learn this technique.

The First Sounds

When helping a new student start on the flute, it is best to begin with the head joint only. If the proper embouchure cannot be established on the head joint alone, there will always be problems in playing the flute. Have the student hold the head joint in both hands and place it in the cradle of the chin as described on the previous page. It is important that he or she feels about 1/3 of the embouchure hole before continuing. When the head joint is properly positioned on the bottom lip, have the student draw the corners of the mouth together as if saying, whee. As soon as you see them make this shape, have them blow too down into the hole. This should produce the proper tone if the lips are positioned correctly. If no tone is produced, check the position of the lips on the lip plate again (you may need to position the head joint for them at first), and the whee-too embouchure, and be sure the student is blowing down into the hole rather than across it.

The Correct Embouchure

The images below show the author demonstrating the correct head joint position and embouchure.

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Making a Sound
Common Embouchure Problems
If a flute student has poor tone quality, you may be able to identify the cause of the problem visually. The following pictures demonstrate some of the problems you might see. Everyones face is different, so use your best judgment. If your flute student is not producing any sound at all, it could be caused by one of the issues depicted below or it could be that he or she is not using a fast enough stream of air. A high pitch whistle sound indicates a stream of air that is too fast. Remember, it takes time to develop a proper embouchure.

Head Joint Too Low

The head joint is placed too low on the bottom lip and too much hole may be covered. The sound may be airy with no tone. Remind the student to cover only 1/3 of the hole.

Head Joint Too High

The head joint is placed too high on the bottom lip. The pitch may be sharp. Remind the student to place the lip plate in the cradle of the chin and cover 1/3 of the hole.

Head Joint Not Centered

If the lip plate is not centered on the lips, the tone will be weak and airy. Ask the student to roll the flute back to feel the center of the hole, then roll it forward again to play.

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Making a Sound
Rolled In Too Far
The head joint is rolled toward the player too much. The pitch will be flat. Check the head joint alignment and make the finger keys parallel to the ceiling, covering 1/3 of the hole.

Rolled Out Too Far

If the head joint is rolled out too far, the air will go across the hole instead of into it, creating mostly air with little or no tone. Check the head joint alignment and have the student roll in.

Limp Lips
The lips are too loose and the corners of the mouth are not pulled together, resulting in mostly air with little or no tone. Have the student re-form the whee-too embouchure.

Extreme Overbite
The jaw is pulled back too far and the top lip hangs over the hole, creating a sound that is fuzzy with uncontrollable dynamics. Remind the student to align the top and bottom teeth.

13

Making a Sound
Extreme Underbite
If the jaw is pushed too far forward, the student will have difficulty achieving a tone on low notes. Ask the student to blow more directly into the hole.

Smiling
Pulling the corners of the lips up and back stretches the aperture in the lips, causing the air stream to be unfocused and the tone to be thin and fuzzy. Reform the whee-too embouchure.

Stretched Lips
Pulling the lips back and tight will stretch the aperture hole, creating a thin, fuzzy tone. Have the student reform the whee-too embouchure, emphasizing too.

Protruding (Kissing) Lips

Pinching the lips and pushing them out will cause an inflexible embouchure. Ask the student to place the lips together naturally and simply blow a small hole in the center of the lips.

14

Making a Sound
Pursed Lips
Like protruding lips, pursed lips will be extremely inflexible and the tone will be very fuzzy. Ask the student to relax the whee-too embouchure and blow only a small hole in the lips.

OH Shape
An aperture in the lips that is too large will create an airy tone. The student will run out of air quickly. Emphasize whee to draw the corners of the lips together.

Blowing Out the Side

Unless the students top lip has a tear drop shape in the middle, he or she should blow through the center. Check the lip shape and ask the student to reform the embouchure.

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Articulation
Tonguing
Tonguing is another word for articulation. On the flute, this means starting the air by whispering doo or too at the beginning of the note. The tongue first presses gently against the roof of the mouth just behind the front teeth, then drops to release the pressurized air into the flute. In this way, the tongue is like a valve, stopping and releasing the air. It does not need to be a harsh motion in most cases as the tongue simply interrupts the flow of air. Only the tip of the tongue should be used when tonguing. Using any more than that will not allow the articulation to be as quick and light as it needs to be.

One common mistake many students make with tonguing is to allow the tongue to shoot out between the teeth or even the lips, creating a thoo sound at the start of the note. Another mistake is starting with a loo sound rather than a clear too. Some students also feel they need to end the note with the tongue, creating a doot sound, especially on staccato notes. Discourage your students from doing this as it adds a small puff of air at the end of the note. Also discourage them from stopping the air with the throat. Instead, they should focus on releasing the air soundlessly and quickly. One image that may help with staccato notes is stones skipping across water, rather than bouncing off pavement. In any case, keep working with the student to find the proper tongue placement and technique. It is very important to establish proper articulation technique from the beginning before any bad habits become ingrained. As students become more advanced, they may encounter music in which composers demand faster tonguing. This is when the technique of double tonguing is needed. This is performed by adding a koo or goo between the normal too or doo. They will be paired as doo -goo doogoo or too-koo too-koo. This advanced technique requires considerable time to master. Students should work on making the secondary articulation equal to the primary. At this stage, it is ideal for the student to begin working with a specialized private flute teacher.

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Vibrato
Developing Vibrato
One of the most charming characteristics of a beautiful flute tone is the use of vibrato. This is the pulsing or waving of the tone you hear in many recording of flute performances. Vibrato is an advanced technique and should only be introduced once the student has developed a proper embouchure and a steady, full tone. Dr. Hal Ott at Central Washington University teaches vibrato in four steps. The first step is to play short notes at a slow steady beat without any articulation. In other words, use hah to play a repeated note followed by a rest as in the example below. Begin at about 40 beats per minute and gradually speed up the exercise until it is clear and steady at 80 beats per minute. Then, change the rhythm to 16ths and finally 32nds, starting over each time at 40 beats per minute.

The second step is to repeat the exercise above, but connect the notes together in smooth waves. The waves should be deep and wide without being choppy.

The third step is to apply this wavy vibrato to simple songs that are very easy for the player. Lullabies and other songs for young children are perfect for this. The student should try to play four pulses per beat at the same tempos mentioned above, again gradually increasing the speed. The vibrato may become less exaggerated at this point, but it should not disappear. As the student becomes more advanced, the same simple songs can be played in different octaves to develop a beautiful vibrato in every range of the flute. The fourth step is to apply vibrato to some of the music on which the student is currently working. Many professional performers recommend using a vibrato of four pulses per beat at about 72 to 80 beats per minute. Eventually, the student can vary the speed and depth of the pulses in a way that feels more natural in the phrasing of the music. The most important advice is to listen to as many professional recordings as possible and to work with a flute teacher to develop a vibrato that feels natural to the player.

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Flute Fingerings

18

Flute Fingerings

19

Flute Fingerings

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Flute Fingerings

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Flute Intonation
Right Notes Might Not Be In Tune Notes!
Teachers of wind instruments will always be a little envious of string and choir teachers, because hitting the right notes on a violin or with the voice requires paying attention to the pitch. From the first time a violin student puts his fingers on a string, he must have a sense of the correct pitch or else he will not know where to put them at all. On a wind instrument such as the flute, pressing the correct buttons will produce a note that is close to the right pitch. The student does not need to think. It sounds like a blessing, but the disadvantage is that a student can play for years before realizing that all those right notes might not be in tune notes. After years of paying no attention to intonation, a student who wants to advance must now unlearn the bad habits and think of performing in an entirely new way. To save our students from this fate, band directors must teach them to listen for intonation from the first day. Singing and matching pitch as part of a warm-up is one great way to help the students be aware of pitch. Using electronic tuners is helpful, but not if they are used all the time. Students must be taught to hear variations in pitch and then to trust their ears.

Tuning the Flute

As explained above, simply pressing the correct keys is not enough for a flute to play in tune. The flute itself must be adjusted or tuned and even then, individual notes may need further adjustment. The first step, tuning the flute, is done by sliding the head joint further into the body joint to raise the pitch or by pulling it out slightly to lower the pitch. After any adjustments to the head joint, the student should check that the embouchure hole is still aligned with the first few finger keys on the body.

Adjusting Pitch While Playing

After the flute has been tuned, individual notes will still need to be adjusted. There are three variables the player can use to raise or lower the pitch while playing: 1) Air speed (slow air lowers the pitch, fast air raises it) 2) Air direction (pointing the air down lowers the pitch, pointing the air up raises it) 3) Left hand pressure (pressing the head joint harder against the bottom lip lowers the pitch, while relaxing the pressure raises it) As you can guess from the first point, when varying dynamics are introduced, requiring changes in air speed, the pitch will be affected. This is why flutes tend to play sharp at loud dynamics and flat at softer levels. The player will need to compensate with the second and third variables. The first two points and the size of the aperture in the lips are also used to change the octave of the notes. Again, the other variables must be adjusted to keep the flute playing in tune, regardless of the dynamics or octave desired.

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Flute Intonation
Pitch Tendencies
In addition to intonation tendencies related to dynamics and octave, individual notes on the flute have their own tendencies. Flute players and band directors alike should be aware of these so that adjustments can be made more quickly. The chart below shows the pitch tendencies of the typical flute. A flat sign indicates a note that may sound slightly, moderately, or very flat and will need to be adjusted up in pitch by the player. A sharp sign indicates a note that may sound sharp and need to be adjusted down. Notes with no marking tend to play mostly in tune. Every flute is slightly different, so each player should get to know his own instrument. At all times, students should learn to trust their ears so that they can play in tune not only with themselves, but with those around them, too.

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Taking Care of the Flute

Trust the Repairmen!
Instrument repair should usually be done by a professionally trained repairman. Trying to do repairs yourself may cause even more damage. As you know, there are very few trained repairmen in Myanmar, so any time you send an instrument to the shop, it could be several months before you get it back and the cost may be more than you can afford. Because of this, it is important to treat all instruments with great care and maintain them well. To avoid frequent trips to the repair shop, follow all the advice below. Be sure you have a cleaning rodyou will need it!

Drying Out the Flute

The most important part of caring for a flute is keeping it dry. When played, moisture from the breath naturally collects inside the flute. Teach your students to use a soft cloth to dry the inside of their flutes out properly after every use. This will help keep residue and corrosion from building up inside the flute and keep the pads of the flute dry. If you cannot buy a commercially made swab, a good swab cloth can be made from cotton or silk as long as it is absorbent, soft, and clean. Pull a small amount of the cloth through the hole in the cleaning rod and wrap it around the rod. Wrapping it around the rod will keep the inside of the flute safe from being scratched by the rod. Swab the foot joint first, then the body, and finally the head joint. If possible, store the wet swab in a clean place outside of the flute case so that the moisture will not be transferred back to the flute.

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Taking Care of the Flute

Cleaning the Outside of the Flute
After swabbing the inside of the flute, use a similar soft, clean cloth to wipe fingerprints and dirt from the outside of the flute before putting it back in its case. A cloth designed for polishing silver is best. Never use silver polish or soap since they might damage the pads or the keys. A little tarnish on the outside of the flute is normal and will not affect the playability of the flute. If the flute is very dirty, send it to a trained repairman for cleaning and adjustment.

Setting Springs
Sometimes springs - the short, thin metal wires that control the action of the keys - can become unseated. This will cause a key not to bounce back into position after it is pressed. Often when a wrong note sounds even though the correct fingering is used, it is because a key that should be held open by a spring is resting in a closed position or a key that should be closed by a spring is opening slightly when air is blown through the flute. It takes some careful observation to understand how the springs should interact with the keys to discover where the problem is and whether it is caused by a key that is improperly open or closed. Usually, the problem can be solved simply by returning the spring wire to the correct side of its carriage. To do this, it is best to use a spring hook tool. These can be purchased from music shops, but if they are not available, they can be made by etching notches into a small crochet hook or similar thin metal rod using a small metal file.

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Taking Care of the Flute

Adjusting Screws
Over time, the pivot screws that connect the keys to the rods can work themselves loose and will need to be tightened. A small precision screwdriver such as a jeweler might use is very valuable. The type of screwdriver people use to adjust their eyeglasses will also work and these can often be carried conveniently on your key ring. Keep in mind, that not all screws are designed to be tightened all the way and over tightening can damage the instrument. Only tighten the screw until the key works smoothly and without extra noise or wiggle. If the key action is slow, carefully remove the screw (these screws are very small, so be careful not to lose them) and wipe it off with a clean cloth. You can also try wiping off the edge of the rod and the post that holds the rod onto the instrument. Replace the screw and check the action again. If cleaning the screw does not solve the problem, you will need to send the instrument to a repairman. A jewelers screwdriver can also be used on the tiny screws that adjust how some keys work together. Before adjusting any of these, closely examine how all of these keys are connected. Do not make any adjustments until you understand how the screws affect all the keys. Turning a screw too far may help one pad close properly, but another one to open too much. Pay very close attention to which screws you have adjusted and how many turns you gave each in case you need to undo some of your work. Adjusting screws can be very tricky. You may end up causing more problems than you solve. If you do not feel comfortable adjusting screws, it is a good idea to leave it to the professionals. Always check your work - and the work of the professionals - by playing a chromatic scale after you finish making adjustments. Start on an open C-sharp 5 and descend the scale until you reach a problem note. That will give you an idea of where to look for a key that is not closing or opening properly.

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Taking Care of the Flute

Adjusting the Cork Stopper
For the flute to play in-tune with itself, the cork stopper in the head joint will need to be properly adjusted. To check the position of the cork, you will need a cleaning rod with a notch cut into it exactly 17.3 millimeters from the end. Gently insert the end of the rod into the head joint. The notch will be visible through the embouchure hole. If the cork is properly adjusted, the notch will be exactly in the middle of the embouchure hole. If the notch is not in the correct place, you can make small adjustments. Turn the crown clockwise to pull the cork closer to the crown. Turn the crown counterclockwise and then push the crown in to move the cork closer to the embouchure hole. If the crown does not budge, do not force it. Instead, send it to a trained professional for repair. The cork may also shrink over time and will need to be replaced by a professional.

To Oil or Not To Oil?

There are different opinions on whether flute keys should be oiled. Some professionals believe flutes are designed to work smoothly without oil. Others have suggested that oil can help keep the keys from wearing down. It should be remembered that oil can attract dust which can damage the workings of the keys. In a dusty environment like Myanmar, this can be a big problem. It is probably best to avoid the use of oil except during periodic maintenance by a trained repairman. If oil is used, however, it must be oil that is made for woodwind keys. No other type of oil should be used. Some music shops in Yangon sell woodwind key oil for a reasonable price. The bottle will have the words key oil printed on it.

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Recruiting Flute Students

Flutes Rock!
Often the lead melodic voice of the woodwind choir, flutes are essential when recruiting for your concert band. Fortunately, the flute is a very popular instrument in Asia, perhaps even more so than in the West. In fact, you may even have trouble persuading students to play something other than flute. Nevertheless, to ensure continued dedication, you must inspire them to love whichever instrument they choose and the flute should not be neglected. Role models are an integral part of inspiring young musicians. There are many successful Asian flute players to whom you can point for examples. The beautiful and talented Jasmine Choi of Korea is an up-and-coming star with a modern approach to performing. Her videos and photos are easy to find online.

With such a long history, there is no shortage of classical flute music to inspire your students. Many recordings can be found in CD stores in Yangon or online of performances of Baroque music on period instruments up through contemporary compositions performed on instruments of every shape. Classical traditions aside, the flute is a versatile instrument. If traditional classical flute does not motivate your students, try introducing them to some of the rock, blues, jazz, and pop players out there. Ian Anderson of the rock band Jethro Tull could make the flute snarl!

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Recruiting Flute Students

Nothing, of course, compares to having access to a great flute teacher locally and attending live flute performances. Myanmar has frequently welcomed great musicians such as Japanese flutist, Hiroshi Matsushima, professor of flute at Mahidol University in Bangkok, Thailand. Such performances are often sponsored by various embassies and hosted by Gitameit Music Center in Yangon. Mr. Matsushima and many other of these musicians often donate their free time during these visits to teaching lessons free of charge. It would be a shame not to utilize the awe these amazing artists inspire!

When in doubt, turn to the great masters of our day. Video and audio recordings are plentiful of legendary flutists like Sir James Galway, Emmanuel Pahud, and the late Jean-Pierre Rampal. Sir James also offers several master class videos on his website, as do many other flute teachers. These are an incredibly valuable resource, covering topics useful for beginners up to the most advanced professionals.

Some of the best role models are older students. Kids are more willing to try something new if they see their peers doing it. If you do not have any older flute students, you can try finding videos of young flute players on YouTube. Annie Wus beatbox flute video is always popular!

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Buying a Flute
Brands
There are many great flute makers. Below are just a few brands to consider. Not all are available in Myanmar, but you may be able to find them abroad. The best advice when choosing a brand is to ask the opinion of as many professional flute players as possible. You will definitely need the help of a professional if you are choosing a flute for a more advanced flute student and you will probably be directed toward a few brands not listed here.

Gemeinhardt
Gemeinhardt has a long history of making quality flutes. Gemeinhardt flutes are very popular among student and intermediate players. They also make professional flutes. Gemeinhardt flutes are not sold new in Myanmar, but can be purchased abroad in Thailand, Singapore, the United States, and elsewhere.

Yamaha
In recent years, Yamaha has become another very respected maker of flutes of all levels. Yamaha instruments are becoming more common in Myanmar, so be sure to look locally first. They can certainly be found in most other Asian countries as well as throughout the rest of the world.

Jupiter
Jupiter makes a more affordable alternative to some of the more popular student brands. The quality has improved over the past few years and even some professionals have begun playing Jupiter instruments. With some searching they can be found in Asian countries outside Myanmar.

Power Beat
Power Beat instruments are easy to buy in Myanmar and are sold by the Moonlight Musical Company in Yangon. These are very inexpensive instruments, but be aware that cheaper instruments tend to be of poor quality, leading to intonation problems and inferior tone and need repair much more frequently.

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Buying a Flute
Nickel-silver, Silver, or Gold?
Flutes can be made from a variety of materials. Student flutes are most commonly made from nickel-silver, which actually contains no silver. More expensive flutes may be made from silver or gold. Silver is thought to have a richer, more resonant tone than nickel-silver. Gold gives a warmer tone still. Whatever material is used in the construction of the flute, it may be plated with nickel, silver, or gold. Silver plating lasts longer than nickel and is less slippery to hold, but needs more maintenance. One cost-effective way to achieve a better tone on a student flute is to get a head joint made from silver since the head joint affects the tone more than the body of the flute.

In-line G or Offset G?
The G key can be positioned in one of two places. An offset G key is positioned closer to the players hand, so it is easy to reach for players with shorter fingers. An in-line G key is positioned evenly with the other finger keys on the flute. Flute players with long fingers may prefer the in-line G. The position of the G key, in-line or offset, makes no difference in the tone. It is a matter of personal preference for each flute player. It should be considered, however, that the in-line position of the G key creates more tension in the left wrist than the offset G and that tension can lead to wrist injuries after many years of use.

B Foot or C Foot?
A foot joint with a B key expands the flutes range down one half step from C4 (middle C) to B3. For an advancing flute player, the extra note may be useful, but most flute music - including everything written for young and intermediate flute players - does not utilize that note. The extra length of the B foot can have a very slight effect on the resonance of the flute, but this is not easily noticed and probably is not worth the added cost for a beginning flute student.

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Buying a Flute
Open or Closed Hole?
A typical student model flute and most of the flutes found in Myanmar are plateau models which have closed holes. This means that there is no hole in the keys operated by the first, second, and third fingers of each hand. On an open hole flute, the centers of these keys have been drilled out. Open holes allow sound to project slightly better since there is less of the raised key blocking the vibrations. They can help slightly with intonation on some notes. They also make it possible to perform special effects like halfholing (covering only half the hole to change the intonation) and bending the pitch by sliding the fingers off the holes gradually. Playing on an open hole flute can be more challenging for a student, though, since the fingers must cover the holes completely. A closed hole flute or an open hole flute with plugs in some of the holes is best for a beginner, especially if he or she has small fingers.

Student, Intermediate, or Professional?

Most flute manufacturers make a range of models. Some are designed for beginning students, others for more advanced intermediate students, and others are made with the professional musician in mind. Student models are generally the least expensive. These are almost all closed hole, nickelsilver or silver plated flutes with a C foot. Intermediate flutes are more expensive than student models. These flutes may add more silver parts, be open or closed hole, and may have a C foot or B foot. Both student and intermediate models are made primarily by machine with little hand crafting. Professional model flutes range widely in price from as little as less than $2,000 USD to more than $30,000 USD. These can have any combination of options and may be made of silver, gold, or even platinum.

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Buying a Flute
New or Secondhand?
An inexpensive way for your students to get quality instruments is to buy them secondhand. It may be possible to purchase an intermediate model flute or more respectable brand flute secondhand for the same price as a new, cheap student model. When buying secondhand, be sure to check the instrument carefully for damage that may need to be repaired. Be sure to consider the cost of repair when negotiating a price on a secondhand instrument. If possible, ask the seller to have the damage repaired before you buy the flute. If you are not already welltrained on the flute, you should bring a flute expert with you anytime you go to buy a secondhand flute.

Where to Buy in Myanmar

Owned by the famous singer Khin Maung Htoo, Feroza Musical at No.112 Kyaikkasan Road, Tarmwe Township in Yangon offers imported instruments at an increased price. Though only a few brands are normally stocked at Feroza, Khin Maung Htoo has said he would be willing to purchase other brands in Singapore upon request.

The Moonlight Musical Company at #440 Theinphyu Road, Mingalar Taungnyunt Township in Yangon is the largest seller of band instruments in Myanmar. They currently only sell Power Beat brand instruments. As of the writing of this guide, Moonlight is the only Burmese company offering band instrument repair services.

Outside Myanmar
There are many band instrument dealers throughout the world. Mail-order companies in the United States such as the Woodwind & Brasswind (www.wwbw.com) and Cascio Interstate Music (www.interstatemusic.com) list their prices on their websites. These can help you make an educated purchase wherever you shop for instruments.

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Bibliography
The following resources were consulted for use in this project:

Carr, Suzanne. Personal interview. 9 July 2011. Chandler, Beth. JMU School of Music: Flute Intonation. 2008. Web. 30 July 2013. <http:// www.bethchandler.com/downloads/Flute%20Intonation.pdf> Dietz, William, et al. Teaching Woodwinds: A Method and Resource Handbook for Music Educators. Belmont, CA: Schirmer Books, 1998. Drouth, The. Web. 22 July 2013. <http://web.archive.org/web/20070928174948/http:// www.thedrouth.com/article.php?id=68> Finding Your Flute. Web. 25 July 2013. <http://www.markshep.com/flute/Finding.html> Flute. The New Grove Dictionary of Music and Musicians. 2nd ed. 2001. Flutes. Web. 25 July 2013. <http://usa.yamaha.com/products/musical-instruments/winds/flutes> Flute Care. Web. 23 July 2013. <http://www.jennifercluff.com/flutecare.pdf> Flute Talk. Web. 25 July 2013. <http://www.flutetalk.com/forums/> Gemeinhardt. Web. 25 July 2013. <http://www.gemeinhardt.com> Getting Started Playing Alto, Bass and Contrabass Flutes. Web. 22 July 2013. <http:// palouke.home.comcast.net/~palouke/ArtBigFlutes.htm> George, Patricia. Personal interview. 29 June 2013. Jupiter. Web. 25 July 2013. <http://jupiterinstrument.com> Krantz, Larry. "Sir James Galway Masterclass - Embouchure, Good Tone." Online video clip. YouTube, 3 Mar. 2007. Web. 27 July 2013. <http://youtu.be/VQg0vScnQ8E> Low Flutes. Web. 22 July 2013. <http://www.lowflutes.com/> McKee, M. Max, et al. Embou-Sure: A Step-by-Step Method. Ashland, OR: W.I.B.C. Publishing, 1987. Toff, Nancy. The Flute Book: A Complete Guide for Students and Performers. 3rd ed. New York: Oxford University Press. 2012.

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Image Sources
In addition to the authors own photographs and graphics, images from the following websites were used in this project:

What Is a Flute
Burmese flute - i0.wp.com Ocarina - en.academic.ru Baroque flute - www.civilization.ca Flute - www.musik-produktiv.fr Piccolo, Alto flute - www.musiciansfriend.com Bass flute - www.churairatmusic.com

Embouchure
James Galway lip plate - youtu.be/VQg0vScnQ8E

Articulation
Articulation diagram - Dietz, William, et al. Teaching Woodwinds: A Method and Resource Handbook for Music Educators. Belmont, CA: Schirmer Books, 1998.

Vibrato
Wavy line - etc.usf.edu

Taking Care of the Flute

Spring hook, Key oil - www.musiciansfriend.com Precision screwdriver - m4.sourcingmap.com Keychain Screwdriver - thumbs1.picclick.com

Recruiting Flute Students

Jasmine Choi - www.jasminechoi.com Ian Anderson - prod.whinc.net Hiroshi Matsushima - about.me/matsushimann James Galway CD - www.allmusic.com Emmanuel Pahud CD - www.amazon.com Jean-Pierre Rampal CD - www.musicstack.com Annie Wu - www.youtube.com TV - s4msungtelevision32.files.wordpress.com

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Image Sources
Buying a Flute
Gemeinhardt logo - www.realfluteproject.com Yamaha logo - scjbh.com Jupiter logo - a1.images6.thomann.de Gold flute - thumbnail.image.rakuten.co.jp Silver flute - az58332.vo.msecnd.net Nickel flute - altomusic.com Inline-or-offset-G - flutenewengland.com Open vs closed hole - www.forthecontemporaryflutist.com C vs B foot - www.flute4u.com Pro flute - muramatsu-america.com Used flute - www.wwbw.com International flag globe - www.lander.edu Feroza logo - www.ferozamusical.com