wow can definitely tell the difference... Cool... I have to practice this now... Just to see if I have been doing it at all. It adds a ton of energy... Cool
No, I think what she's trying to say is that when you "pop", you back up an articulation with a rush/energy. You still tongue it, only you're giving it strength and drive!
Ill try this today in band, as its 6:00 in the morning! =P it makes the sound louder, more energetic and such. But not more clear. I say for clarity, regular tonguing is the way to go.
Great technique, I use this as well, especially with the Bach C Major. Any time my articulation is sounding lazy in a piece of music, I practice with these "tongueless attacks". It's really great because you can't get a nice "pop" as Nina puts it without supporting the air correctly, so it really teaches something about support. It's fun to be amazed at what comes out when you've mastered a passage with the tongueless attacks and add the tongue back!
It’s not just the “pop”. When you play with intention I can hear the difference- sort of an “attitude “ in the phrasing . One way dances , the other doesn’t.
That's cool that you posted a video about this. I remember when my flute teacher taught this kind of technique to me. She described it as making the note as sort of a "teardrop" rather than just a dot or a line. One of the pieces I'm working on sounds a lot like the 2nd example you played. I will keep this video in mind next time I practice.
The video is out of sync!! Very distracting but still informative. For those of you who want to watch the video in sync than go to Gemeinhardt's(could be spelt wrong) website and go to their video tab and there you will the find the video.
I’m a Flute teacher- 3 things that happen when students don’t play with “pop”- 1- they are flat. 2- the tone is boaty and unfocused. 3- the low register is practically non -existent.
look here. "pop" or what is called by rampal (my dad was a pro flute player who won amazing merit in his early days but chose the teaching life instead) the "abdominal accent". though you have a very nice and smooth abdominal accent, you use it too often. mainly it should be used to accent, or to give music a beat. this is especially true in sustained slurred jumps like in the beginning of the second excerpt from the concerto you play. i would suggest you refrain from over using it.
Absolutely amazing 🎉🎊
wow... every note is soo clear! great video!
sounds more subtle & subdued, more gentle & relaxing without pop.
But with pop, it is more exciting & alive.
wow can definitely tell the difference... Cool... I have to practice this now... Just to see if I have been doing it at all. It adds a ton of energy... Cool
No, I think what she's trying to say is that when you "pop", you back up an articulation with a rush/energy. You still tongue it, only you're giving it strength and drive!
Ill try this today in band, as its 6:00 in the morning! =P it makes the sound louder, more energetic and such. But not more clear. I say for clarity, regular tonguing is the way to go.
Amazing demonstration
i love the excitement and the bounciness to the songs with pop!!! it adds so much more depth and style to the selection! thanks!
love the POP!!!!
i am wondering this too
Very clear sound with the pop. I like it :-)
Great technique, I use this as well, especially with the Bach C Major. Any time my articulation is sounding lazy in a piece of music, I practice with these "tongueless attacks". It's really great because you can't get a nice "pop" as Nina puts it without supporting the air correctly, so it really teaches something about support. It's fun to be amazed at what comes out when you've mastered a passage with the tongueless attacks and add the tongue back!
I've been using this technique without even noticing...
Now i know why my teachers said that my sound was very energetic.
It’s not just the “pop”. When you play with intention I can hear the difference- sort of an “attitude “ in the phrasing . One way dances , the other doesn’t.
Um, where did that awesome end piece come from????!!! Pop On Music Lovers!
There's a really big difference! Thanks for explaining :)
That's cool that you posted a video about this. I remember when my flute teacher taught this kind of technique to me. She described it as making the note as sort of a "teardrop" rather than just a dot or a line. One of the pieces I'm working on sounds a lot like the 2nd example you played. I will keep this video in mind next time I practice.
I'm really sweet on that "pop" technique! When I see you play the flute, it makes me smile ~:-)
The video is out of sync!! Very distracting but still informative. For those of you who want to watch the video in sync than go to Gemeinhardt's(could be spelt wrong) website and go to their video tab and there you will the find the video.
@Dragonfly3176 This is the detache video I was telling you about!
Pop and without it still sounds great.
Let's hear you play it.
I’m a Flute teacher- 3 things that happen when students don’t play with “pop”- 1- they are flat. 2- the tone is boaty and unfocused. 3- the low register is practically non -existent.
ok i like it better without the pop. i think it is a lot smoother and easier to listen to.
look here. "pop" or what is called by rampal (my dad was a pro flute player who won amazing merit in his early days but chose the teaching life instead) the "abdominal accent". though you have a very nice and smooth abdominal accent, you use it too often. mainly it should be used to accent, or to give music a beat. this is especially true in sustained slurred jumps like in the beginning of the second excerpt from the concerto you play. i would suggest you refrain from over using it.
i think i do that naturally
What's the name of the second passage you play? I love the way it sounds .. I'd love to get the sheet music for it.
I heard the difference!!!