In part one we looked at fingerings for tuning and how flute balance affects technique. Here in part two, we turn to fast technical passages — and when an alternate fingering is genuinely the right answer.
Fingering for fast technical passages
While in high school, I was told not to use alternate fingerings, and honestly, it held me back for years.
Later on, I had a student who started flute in the seventh grade and, less than three years later, won a concerto competition playing the Ibert Concerto. Watching how easily she handled the technique was eye-opening. Some people are simply wired with incredible natural ability and hardly ever need alternate fingerings, even in tough pieces.
But for the rest of us mortals, alternate fingerings can be a lifesaver.
Low and middle octaves
Before using alternate fingerings for myself or my students, I first analyze the passage causing difficulty. Is the issue a lack of practice, or does it genuinely warrant an alternate fingering? I often ask students to work out why the finger change is difficult. Can they identify which finger or fingers are causing the problem?
In the middle octave, technical issues most often just need intensive practice. Most of the trouble spots involve C–D, D–E and E–F-sharp. Students will not develop smooth technique on these finger changes without special attention. I challenge my beginners to do 1,000 C–D finger changes in a week, and then progress to playing each of these difficult finger changes matching the rhythm of a piece like the Star Wars Cantina Band.
Once the tempo reaches trill speed, then we consider using trill fingerings for all or part of the passage.
Third octave challenges
Fingerings in the third octave often require more difficult finger changes — but there are usually many options that make these passages much easier. The trick is to make sure the pitch and tone stay the same when using the alternate fingering.
This is addressed in more detail in the Planning to Play in Tune book. I often demonstrate playing the alternate and the regular finger changes and have the student listen to see if they can identify which is which. Most often they cannot tell the difference, because I am adjusting for pitch and tone. Planning to Play in Tune helps flutists do the same: use alternate fingerings without anyone being able to hear the difference.
Years ago, I was playing a new composition, and the composer was thrilled that I was able to play the fast technical passage in the high register. He had been told it was too difficult to play. It was not because of great technical skill on my part, but rather a willingness to think of alternative ways of playing the passage.
Planning to Play in Tune
Our book of exercises for mastering alternate fingerings without sacrificing pitch or tone. $16.00
The Blocki Flute Teacher's Package
The award-winning Blocki Flute books and tools, all in one package, including digital links to the Great Beginnings for the New Flutist videos:
- Pneumo Pro
- One new Flute Flex Pro
- Blocki Flute Method Teacher's Manual Book 1
- Blocki Flute Method Teacher's Manual Book 2
- Blocki Flute Method Student Books 1 and 2
- Blocki Flute Method Duet Books 1 and 2
- Blocki Flute Method Book 3
- Keyboard Fun, a student companion to Book 1
- Planning to Play in Tune
- A package of training straws
Free resources on Blocki Flute
- Pneumo Pro practice sheet
- Pictures of embouchures
- Teaching videos
