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Flute: Interview and demonstration with principal Jeffrey Khaner

Created by All Star Orchestra.

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  • leafers tree style avatar for user Megan Horst-Burger
    At , what does he mean when he says he changes the way he blows.the shape of his mouth or what? I am a flutist myself, but i don't understand
    (17 votes)
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  • female robot grace style avatar for user Mary Ellen Rubinacci
    it would be good if there were questions at the end of the music videos...it would challenge me to remember.
    (10 votes)
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  • piceratops ultimate style avatar for user Ari Mendelson
    In a gold flute, which is more expensive, the materials or the workmanship? How much does a gold custom made flute cost?

    What difference does it make if it's gold or silver in terms of the sound?
    (11 votes)
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    • duskpin ultimate style avatar for user 다연
      Gold has a warm, lush sound. Gold-Silver alloy has the both benefits of gold's lush sound and silver's light and shining sound! I am a professional flautist, and I am in Korea National Youth Orchestra. I use a muramatsu Silver flute plated platinum with 24k gold mechanism.
      (3 votes)
  • aqualine ultimate style avatar for user Sofia S.
    I learnt to keep my shoulders up and only put my bottom lip on the flute. While this guy is bouncing up and down and his whole mouth is on the flute. Am I doing it wrong?
    (0 votes)
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    • leaf blue style avatar for user Peterson
      No, you are not doing it wrong. As musical performers become more advanced and mature, they begin to try out new ways of playing their instrument and expressing emotions on it. Using one's whole mouth on the flute is an example of trying new, or more personal, ways of playing, while his body movements are how he and the music become one emotion, perfectly fitted together. As you continue to mature with the flute, you will develop ways of playing that are more unique to you as a person, just like Mr. Khaner has done throughout his life.
      (19 votes)
  • leaf red style avatar for user loracbeam
    -- What do you mean by the "different scale" of your flute? Is it a matter of finger and hand positions or a difference in the notes on the flute?
    (1 vote)
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    • piceratops ultimate style avatar for user Leilani
      It's a matter of where the holes are placed in the flute. On the flute, some notes are sharp and others are flat, depending on the player's airstream, and changing the placement of the holes can correct that to an extent. Depending on the amount of the changes, it could also make the hand placement more comfortable.
      (4 votes)
  • female robot grace style avatar for user yliang
    Wouldn't a gold or silver flute be too heavy?
    (2 votes)
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    • blobby green style avatar for user Maddy Deanne
      The flute is a small and therefore light instrument, so there is no need to worry about any material the flute is made out of being too heavy. As the flute is an asymmetrical instrument, it can be taxing on the player's back and shoulders to play it for a long time, but that fatigue comes from improper posture or even just having to combat gravity to keep the instrument up. I personally have back problems stemming from the repetitive motion of playing the flute, but it doesn't have anything to do with the instrument being too heavy, it's from my practice habits(I usually practice for a long time with no breaks) and from holding too much tension in my neck. I have a solid silver flute and it is very light, and I have held a gold/silver alloy flute, it is about the same weight as mine. For reference, my flute weighs about as much as a five subject spiral.
      (3 votes)
  • duskpin ultimate style avatar for user China Girl
    dont girls play flutes? I`ve never herd of a boy playing a flute, even in our school band!
    (1 vote)
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    • duskpin ultimate style avatar for user Elizabeth
      There is a general trend of more girls choosing to play the flute than boys. It's because flute is a high pitched instrument, often compared to birdsong or women's voices. This overall gives it a cultural stereotype of being feminine, which makes fewer men want to play it for fear of feeling emasculated. There's nothing inherently feminine about the flute (or any instrument), so some guys still choose to play it despite the stereotype. Also, the brass section is usually pretty male dominated, so many of the girls who would play brass but are prevented from it based on sexism might choose flutes and other woodwinds as their second choice- contributing further to the gender imbalance of flute players. If we abolish the cultural institutions of masculinity and femininity, then over time the sections of the orchestra should equalize because there are no physical or psychological reasons why any instrument should be exclusively played by one sex/gender or the other. The reasons for the gender differences in the orchestra are purely cultural.
      (1 vote)
  • leaf orange style avatar for user ecporange689
    Do you have to hold the flute parallel to the ground or slightly facing down?
    (2 votes)
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  • duskpin ultimate style avatar for user foster4hannah
    How do you play the flute
    (2 votes)
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  • leafers ultimate style avatar for user Kateri
    Wouldn't having an instrument made of gold induce people to try to steal it more?
    (2 votes)
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Video transcript

(orchestra music) - The flute is made of gold, this particular one is made of gold. Most often made in silver but people use wood flutes now again as they used to, many years ago. Of course it's a woodwind instrument. But this one is 14-carat gold. This particular instrument was made for me specifically by the Yamaha Company. It's my own scale and it's a specifically designed head joint. The scale is the placement of the holes in the tube and I found some of the commercially available scales were not exactly the way I would like them myself as a player in the orchestra. So I modified it somewhat to make it really more suitable for me. (flute playing) One controls the sound tremendously the way you blow and I think the way you blow is how you create the tone really in the same way that it's not just the action of blowing that creates the tone in the same way that on a string player, a string instrument, just drawing a bow across the string doesn't what creates the tone. It's the way the violinist fingers it, bows it it's a combination how one plays. It's the same thing with the wind instrument. It's how you blow, it's the instrument. It's everything and everyone has their own tone, everyone develops their own every tone is a personality and a tone is a reflection of the player. I changed the way I blow to make different types of sounds and to make different characters for different composers or even for different characters within one composition. But that being said, I never think actually about what I do. I practice to make different sorts of sounds and then when it's appropriate, I just make those sounds. I don't actually analyze too much how I do it. I practice to have a whole repertoire of sounds and then I just do them automatically. (flute playing) I will approach very differently the different composers. Ravel for example, the Daphnis and Chloe Suite which has a huge flute solo. I'm gonna think of that completely differently from the way I'm gonna play in a Beethoven Symphony or a Dvorak Symphony or even the Shostakovich Symphony. Each one of those composers has a different language and a different character and I'm certainly gonna think differently when I do it. It's probably mostly for me but the hope is that it translates to the audience and that they understand the difference in playing. I mean one should hear a Beethoven Symphony very differently from the way one should hear a Brahms Symphony. And the players have to reflect that, that's part of our job as interpreters is to show those differences. (orchestra playing) I started the flute in high school band in grade seven and I'm often asked why I chose the flute and I'll be perfectly honest, I don't remember. But I remember that I specifically wanted the flute and that I, I rather deviously made sure that I got the flute. My older brother was a cellist so there was music in the family but it's not a family of musicians. But I was never, I never was told to practice, I was never forced to practice. It's just something that I enjoyed doing. Once I started playing, I don't, I just never had any interest in anything else. It was the one thing that I did. I got fairly good fairly early and of course success makes one want to continue. It's so encouraging. And I just loved doing it. (orchestra playing) I found that the summer for me was the time to always look for the things that I wasn't getting during the year. So even when I was in college, I always went to summer festivals that could offer me something that I wasn't getting in school. And mostly I craved orchestral experience so I always tried to go to those festivals where I could play as much as possible in orchestras. String players and pianists have the luxury of having great repertoire for themselves. Pianists can play the wonderful, wonderful music and can make a life out of playing great music all by themselves and they also play the whole part, And string players have wonderful repertoire and they can play chamber music by Brahms, by Beethoven, Mozart. But wind players, brass players don't have that luxury. The music that we have, first of all is only one line and there's not that much repertoire written for purely solo instruments. So, to play the whole piece, we have to collaborate to be a great artist on an instrument, you have to play great music and to play great music, you have to play in the orchestra. Even the same repertoire over and over again with different conductors, different interpretations. This is the most joyful thing I could imagine to be able to do that for a living is really something very special. (orchestra playing)