forthecontemporaryflutist.com Report : Visit Site


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    The description :introduction - extended and modern flute techniques and for the contemporary flutist the etude book by wil offermans...

    This report updates in 14-Jul-2018

Created Date:2012-04-09
Changed Date:2017-03-22
Expires Date:2018-04-09

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menu quick etude selector etude 1: wind tones etude 2: harmonics etude 3: difference tones etude 4: bamboo tones etude 5: multiphonics etude 6: whisper tones etude 7: singing parallel etude 8: polyphonic singing etude 9: diverse etude 10: circular breathing etude 11: flute & movement etude 12: graphic notation for the contemporary flutist online for the contemporary flutist introducing the 12 flute etudes on extended flute techniques from the etude book 'for the contemporary flutist' by wil offermans www.forthecontemporaryflutist.com introduction 1. wind tones 2. harmonics 3. difference tones 4. bamboo tones 5. multiphonics 6. whisper tones 7. singing parallel 8. polyphonic singing 9. diverse 10. circular breathing 11. flute & movement 12. graphic notation video gallery skype flute lesson flute summer course wil offermans × introduction the etude book 'for the contemporary flutist' by wil offermans with this website for the contemporary flutist online i would like to share extensive thoughts, information, exercises and background stories related to the etude book for the contemporary flutist and to the extended flute techniques in general. the etude book consists of twelve etudes and each etude has its focus on a different extended flute techniques, sometimes also called 'new', 'modern' or 'contemporary' techniques. the book has been awarded by the newly published music committee of the national flute association , usa. since 1992 the etude book has also been the main material for the flute summer course , an annual course in southern spain, with participants from all over the world. the cd daily sensibilities , re-released in 2011, has the etudes performed by the composer himself. the etude book 'for the contemporary flutist' by wil offermans with this website for the contemporary flutist online i would like to share extensive thoughts, information, exercises and background stories related to the etude book for the contemporary flutist and to the extended flute techniques in general. the etude book consists of twelve etudes and each etude has its focus on a different extended flute techniques, sometimes also called 'new', 'modern' or 'contemporary' techniques. the book has been awarded by the newly published music committee of the national flute association , usa. since 1992 the etude book has also been the main material for the flute summer course , an annual course in southern spain, with participants from all over the world. the cd daily sensibilities , re-released in 2011, has the etudes performed by the composer himself. the etude book 'for the contemporary flutist' by wil offermans the idea to create this website has been inspired by a request of the japanese music magazine pipers in the early spring of 2011, inviting me to write a monthly article related to my etude book for the contemporary flutist (for japanese readers: back numbers pipers-magazines #356~367 with the original articles in japanese can be ordered here ). after finishing these twelve articles, i thought to make them available as a free accessible online source for all flutists with some additional audio/video materials. i hope you will enjoy this website and maybe you will find some useful ideas for your flute playing and enjoyment with your instrument. use the menu navigation at the top to browse to the different topics. with most topics you will find a video introducing a technique and an etude from for the contemporary flutist or check out the general video page . also, don't forget to listen to the many unique sound samples available throughout this site. i try to dedicate as much time and efforts as possible to keep this website updated, running well and free accessible for all. if you ever want to reward and support forthecontemporaryflutist.com , please consider making a donation of any amount. all donations are highly appreciated! finally, thanks for visiting, please come back often and i hope you will find some interesting and useful materials for your flute playing. now, let's enjoy music!" - wil offermans - announcement join and register now! a unique experience at a paradise location : come and join the 27th international flute summer course for the contemporary flutist with dutch flutist-composer wil offermans , july 21st until 28th, 2018 in sayalonga (malaga), spain. click to see website. why extended techniques it seems a common misunderstanding that extended techniques are supposed to be only useful for playing modern music or for adding some special 'effects' to your playing. however on this website we will talk about the extended techniques as a collection of some most exciting and successful modern tools to develop especially the 'body-part' of our flute playing. in a simplified image we can split our 'instrument' - the flute-playing - into two parts. the first part is the flute-part, the exterior, the finger-movements. the second part is the body-part, the interior, which includes the breathing, the sound quality, the flexibility, the overall body control and our music enjoyment. certainly the second part is more difficult to develop, since it involves countless invisible processes. however extended techniques use the sound as an interactive messenger, so that we will learn to understand about the body-part. think about extended techniques like a modern tool, similar like we enjoy a mobile phone, the subway or the internet. you don't need to be specifically interested in such items, but to use them can be most constructive and effective. in a similar way, we can all benefit from studying extended techniques. in the end it is all about the sound, control and enjoyment. "…think about extended techniques like a modern tool, similar like we enjoy a mobile phone, the subway or the internet." the traditional circle in the circle-image below you see a imaginary overview of all kinds of flute techniques, each indicated by a simple dot. we locate the more common playing techniques in the centre. for example, playing a mf -note in the middle range of the flute might be located in the very centre of this image. more remote from the centre we may locate less common techniques, e.g. a pp -sound in the top register, or a ff -double staccato serie in the low register of the flute. in this way we can locate all playing techniques in this circle. where exactly which technique will be located will be a personal choice since each flutist is different (a balinese suling -player will probably place the circular breathing in the very centre!). when studying, we often seem to work mainly with the techniques in the very centre. this means that we primarily study the subjects which we already master. for example, we use the centre-techniques in the morning for our warming-up, but also later in the day in the repertoire studies (the majority of the flute literature is about mf -sounds in the middle range of the flute). so when do we leave the centre and start to study the problems? it seems that we at first want to study the more 'secure' middle range, and only later in the day we allow ourselves to try to tackle the more 'problematic' techniques. or even worse! often a day passes quickly since we are all busy people, and at the end of the day we think: "ok, tomorrow i am going to work on the problem…". to speak a little in black and white: we mainly study what we already master while we postpone the difficulties and the problems until 'tomorrow'. we repeat and repeat that what we already can, reconfirming our 'good' qualities (and our 'bad' ones). we teach ourselves what is 'easy' and what is 'difficult' (or what is 'normal' and what is not). with our study we think to strengthen the centre, but in reality we develop a hard and stiff centre area, while losing flexibility. we are building a wall around ourselves. inside we feel warm and safe, but outside this wall we are afraid and unsure. we tend to search for the secure centre area while telling ourselves :"tomorrow i wi

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