Aula 6 do Método para Flauta de Taffanel e Gaubert Sobre - Lições 16 - 23

0:00 Welcome to the student channel of Flautmask School of Fletch Center. Continuing our classes about the merit of Fanel and Galbert, today we will see lesson 16 to 23. In lessons 16 to 30, Hotel Fanel presents a series of exercises with scales and intervals, both going down the scale and going up. In this class we will do from 16 to 23. Scale is essential to develop a good technique and play the flute well. In fact, if you don't study the scale regularly all your life when

0:49 playing flute, it is not possible to play well. The study of scale, and I include scale, I mean, both scale and its chords, intervals, anyway, is the fundamental basis for those who want to play well. there is no possibility of playing well without developing the scale. The Tafanel presents right at the beginning a series of scales and intervals, because from the beginning it is important. I even advise you, as soon as you start to understand the notes, you can do the Tafanel, but you can, as a warm-up, do the exercise of the scale, always. Whether with the method

1:35 or with memory. The scale is the basis. Normally, In a five note interval, the mouthpiece doesn't change much, but when the intervals start to get bigger, five, six, seven, eight intervals of distance, the mouthpiece makes a significant change. And that's what you focus on in exercises like this, you first play all the notes well, it has to sound beautiful, tuned, and there has to be a certain homogeneity between the notes. You can't make a very low C, that C disappears in no burst high, and that's the trend of the

2:21 flute. The flute tends to take on the low notes and scream in the high notes. And then you, with an embouchure, is the one who gives this balance. You make a very high, a light high, not shouted, and makes a bass too, not weak, you put more body, more property, more color. This does not depend on the instrument, it depends on you. Of course it depends on the instrument working well, including a tip, it is almost impossible to study well with a flute a problem. So if you feel any problem with your flute, take it to the luthier and I'll point out one at the end of the video. And you need to have your instrument playing well. to be able to develop, especially at the beginning, and if possible

3:11 also a good flute, a good vocal. Well, so I'm going to do it on the 16th, the tapanel helps, it doesn't start on the low, it starts on the middle note, which is easier, it goes up to the third C and then goes down to the first C. You will notice that when it goes down on the scale, the trend of the sound disappears, because we When you are in the higher region, you use this part. When we go down, down, down, down, the air has to go through a greater space, greater distance, it will come, come, come. So why is it difficult to play the low note? Because for the note to come out, your air, the tube has to be full of air to the foot. So you need more

3:56 volume. So how do you do that? In the low notes you need to open more space between the lips, we already talked about that, and let the air flow a lot over the flute's teeth. Of course, there has to be a speed limit, if you blow with too much speed, you go up to the high, so it's opening, going down more, and more volume, and at the high we do the opposite, close more, so that there is more speed and it vibrates more in the high note, as we have seen in the last class. So, of all this, what I

4:43 just said will apply to all the lessons from lessons 16 to 23, the same principles that I just spoke. Lesson 16. Now in lesson 17, a lot of first-person similarity, but the time is faster. Remembering that I always do it much faster so that

5:29 the class doesn't extend. But you can do it very slowly Pay attention to everything that has to be developed Lesson 17 Note that when I go down to the first octave

6:14 the sound does not disappear In fact, the intensity is incorporated And that's what you have to look for Lesson 18 Now in lesson 19 It gets a little harder depending on

7:03 the speed It's a C-minimum, the note is faster. So you have a bigger work of humanization because it's between the notes. We haven't learned the articulation yet, so you're doing air pulses, right? But right in lesson 31 we learn the articulation, but here you just have to pulse the air over the flute and start like this, or over the embouchure, and soon we

7:50 will learn the articulation. Lesson 19. ♪ Now in lesson 20, he will work, and until lesson 23, he will work more on the intervals. The intervals are when you don't have a note in the sequence. You play the E, then the E, then you go to the G. You skipped the F note. When this happens in the flute, it gets

8:37 a little more difficult. And then you develop the invocation that you go out to one note and enter the other in a very perfect way, with a very balanced and homogeneous

9:24 sound. Lesson 20. Now in lesson 21, follow the same principles it gets a little more difficult because the intervals increase. Lesson 21. Now in lesson 22, Tapanel

10:12 presents Same principles, intervals but it's a 3/4 lesson. 22. And finally this lesson lesson 23. This was the lesson of our Dr. Fanel. I hope you enjoyed it.

10:59 Remembering that I always play with a mascova vocal, which I do by hand and is always on sale. The Tafanel is always a wonderful method, but it is always difficult. Remembering, if you have a lot of difficulty with this method, don't forget to know, if you don't know, at the end of this video there is a link, you can also, parallel or if you find it very difficult, first do our method of starting in

11:48 transverse flute. This method is much easier and more progressive than the Fanel method. So this was our video lesson, I hope you enjoyed it, don't forget to share our videos and see you in the next class.