The book begins with
flexibility exercises. Playing in tune begins with having the ability to easily
bend pitches. Planning to Play in Tune
offers a variety of exercises that will not only develop this flexibility, but
also greatly improve core tone quality. The “Full Spectrum Tone” exercises use
the concepts of polyphonic singing and apply them to flute.
The Just tuning system
is explained in the second section of the book. Learning to hear
difference tones is a key element of playing with excellent intonation in an
ensemble. It begins with exercises that help to zero in on these quiet tones
and progress to using the difference tone as a reference for being in
A variety of methods of
training ensembles is given in the third section. I use these faithfully
for warming up flute ensembles and find them to be highly effective.
Of course, one the most
difficult aspects of playing in tune involves the use of dynamics. An
entire section of the book is dedicated to progressively mastering the art
of playing in tune when tackling extreme dynamics changes.
The final section applies all the concepts to the famous
flute solo in Ravel’s Daphnis et Chloé. The harmony is discussed so that flutists
are well-informed of how to listen and adjust pitch while playing with the