Mary L. McNally

(all rights reserved)

Crossing Over: How applying vocal practices can help us to “sing” with our flutes

Throughout the history of the music we see correlations given between the sound quality of the flute and that of the human voice.  It would make sense that some of the physical requirements of vocal technique would also carry over into flute technique as well.   Of all the instruments, the flute requires some of the most flexible lip movements devoid of pressure, a characteristic that that it shares with vocalists.  Opening the resonating chambers of the mouth and throat are also important so that the sound is free and smooth with the appropriate amount of edge in order to give distinct shape to the sound.  Quantz, one of the first published authorities on playing the flute not only referenced the  vocal sound as a goal for flautists several times in his comprehensive work On Playing the Flute, but also included an entire chapter  titled Of Good Execution in General in Singing and Playing.  Four specific areas in which vocal technique and practice can have a positive influence on flute technique will be addressed in the subsequent paragraphs. 

Embouchure 

Quantz indicates the tone on the flute is formed by moving the lips various degrees of contraction while exhaling into the embouchure hole of the flute.   Along with the use of the lips, the mouth and various articulators found within it, each have important functions in both vocal tone production and the production of tone on the flute.   In his book On Playing the Flute, Quantz devotes an entire chapter on the embouchure of a flautist (Quantz, 1966).  In the first section of this chapter he discusses the important correlation between the sound production of the voice and the sound production of the flute.  He goes into great depth on the importance of various processes and articulators that the flautist needs to pay attention to when attempting to produce a clear and vibrant tone. Taking a look at the vocal side of this, there is not much different in the emphasis on the importance of these same articulators, though there is a wider range of use for each of them in vocal technique.  The following articulators are used in the pronunciation of language (Phillips, 1996):

1. Jaw

2. Tongue (lingual)

3. Teeth(dental)

4. Lips (labial)

5. Soft palate(velar)

6. Hard palate (palatal)

7. Upper gum line (alveolar ridge)  

8. Glottis (space between the open vocal folds)

All of these articulators can be used in sound production on the flute, but not all of them produce the clear edgy sound desired when used.  Certain articulators, such as the glottis, should never be engaged as a part of producing a clear tone on the flute.  Engaging the glottis produces a tight, constricted sound that sometimes produces vocalizations in the midst of tone production, distracting from the tonal center.   

Energized air

Vocalists often use exercises involving mini-abdominal thrusts while vocalizing “ho,” “yo-ho,” or “ha” (Phillips, 1996).  These exercises ensure that an energized air stream is used in practice to incorporate into every vocalization. When playing the flute, an energized air stream is also necessary.  Leading flautist, Thomas Robertello, incorporates a long tone exercise comparable in function and use in the pedagogical practices that he uses with his students.    Robertello long tones involve playing an exercise, such as a simple C major scale, without articulating with the tongue.  Instead of using the tongue to articulate, the flautist uses a mini-abdominal thrust “ha” to ensure that the flautist is using adequate air support for each note.  The Robertello exercise also requires the flautist to practice embouchure flexibility to eliminate cracking.  Vocalists often use as little air as possible to produce a pitch which results in very little, if any, resonance in the sound.  Flautists are also guilty of this and thus will often use varying amounts of air and degrees of air stream to produce a pitch.  This often results in poor intonation along with poor tone quality.  Vocalists use a wonderful exercise involving the use of a “lip trill,” which is the buzzing of the upper and lower lip together (Phillips, 1996).  When incorporated into a vocal siren, this exercise helps to establish the kind of breath support and energy necessary for quality sound production.   Flautists can also use this exercise through flutter-tonguing up and down a scale.  Since flutter-tonguing requires extensive use of fast and energized air, it makes it very apparent to the flautist if and when they begin to use less air.  Also, by flutter-tonguing a scale, the flautist then must also make use of the flexibility of the lips and embouchure in order to ensure excellent tonal response from the instrument for each pitch. 

Resonance 

A common issue for beginning flautists to overcome is the need for greater resonance and projection of sound without changing the intonation of the pitch.  This can be achieved through the use of the oral cavity as an important resonating chamber for the flute.  Specifically, creating vowel shapes inside the oral cavity to change dynamics has been proposed by Fiona Wilkinson in the book The Physical Flute.  This technique has been used with success by Jennifer Cluff, who now uses it in her pedagogical approach (Cluff, 2005).  Vocalists have known for years the importance of vowel shape in maintaining intonation throughout an ensemble.  It is important to call attention to this “new” tool for flautists to make use of in their technique.  The Flute Book also draws attention to the importance of the flautist making use of all of the available resonating space in the oral cavity for greater resonances in tone production (Toff, 1996).  It continues to describe the value of the musician being able to change the shape of that space in relation to affecting resonance.  

Relax!

Quantz not only describes the structure of the windpipe as similar to the flute, but also makes note of the similarity of tone.  In his book Teaching Kids to Sing, Phillips gives four characteristics of an open throat (Phillips, 1996):

1. Relaxed jaw

2. Relaxed larynx

3. Feeling of openness in pharynx

4. Tongue that is relaxed and forward in the mouth (not grooved)

He also states, “Muscle tension in the oral and pharyngeal areas is quite common and is often the result of the body trying to compensate for poor breath management.”  

A tense tongue is very detrimental to excellent tone production for both the voice and for flute.  First, a tense tongue usually also involves the tensing of other articulators including the throat.  This kind of tension will produce a tight/pinched sound, both vocally and also in tone production, on the flute.  Tension can arise from some of the most unlikely places.  For example, the clenching of the hands can cause tension in the larynx, which would negatively affect resonance.

Also, pressure in the throat can be caused by lack of proper breath support and in some cases can limit the availability of vibrato within the tone (Phillips, 1996).  

These are just a few ideas to consider pertaining to releasing tension and allowing for greater openness in sound flautists can glean from vocal pedagogy. 

This overview of the value of basic vocal instruction applied to playing the flute is by no means definitive and flautists are highly encouraged to explore the subject matter further. Certain similarities between flute and vocal pedagogical practices are highly apparent.  Vocal technique and pedagogy provides a great resource for the flautist who is actively pursuing additional tools for addition into standard pedagogical practices.  Flautists are strongly urged to make use of quality vocal instruction available and implement substantiated vocal practices on the flute.  Previous experience in the vocal arts should definitely be evaluated and made use of by instrumentalists, particularly flute players.  Finally, vocalists who by circumstance find themselves teaching flute students in the public school system can give their students an edge by applying some of these solid vocal concepts to playing the flute.  

References

Cluff, J. (2005). Retrieved February 28, 2011, from www.jenifercluff.com: http://www.jennifercluff.com/articu1.htm#jazztong

Phillips, K. H. (1996). Teaching Kids to Sing. United States: Thompson Schirmer.

Quantz, J. (1966). On Playing the Flute. New York: The Free Press.

Toff, N. (1996). The Flute Book. New York: Oxford University Press.