I've practiced every which way I can think of, but still the high note is yelping

It's from 1812 overture. all quavers at a fast fast pace (allegro vivace). E2, E2, G2, C3, G2, E2, G2, C3, E2, E2 this passage is played twice, then a few bars different, then twice more.

Every time I try it up to speed the C3 yelps something awful. Played slow it sounds good, but I have to play it in the concert on Friday so gradually increasing speed is no longer an option. What am I doing wrong? How do I get it right?

More support from the diaphragm for C3?

Dont squeeze your lips as you get higher? People often feel the need to do this (I know I did) but honestly just keep your lips pretty much as relaxed as they are for lower register. Its all abot the diaphragm Im afraid!

Oh bother! I always tighten my lips for the higher notes. So that's wrong?
If I don't tighten I get split notes or just the lower octave. So I'm not supporting it enough? How do I increase support fast? I've not got much time to sort this so any advice would be great. Thanks

Faster air.

I read somewhere on here (can't remember who or what topic it was - so I apologise to whoever invented the following idea for not stating the source ).

Try:
Fingering a second ocatave note (I find the F (F2) on the top line of the stave best to use at first), then WITHOUT changing your embouchure, change fingering to F3 (or whatever note you have chosen as long as it is an octave jump) but make the air speed faster. If you get harmonics doing this, the air isn't fast enough.

For support, Neil.clarinet's suggestion of thinking of squeezing the air out like squeezing toothpaste from the bottom of the tube works well. Also thinking of your air stream as being supported by the ground through your feet - sounds daft, but works brilliantly!

For non-yelping high notes, make sure you move both lips forward as you go up to the top C. Yelping (lovely term, btw ) is usually caused by trying to make the leap by blowing harder rather than by adjusting the embouchure. Keep the air stream constant (as if you're blowing a long E2) and move your lips forward as you change your fingers to C3. Accenting the notes on the beat can help stop an off-beat 'yelper' as well.

Now I'm gonna show my ignorance :

How to blow faster but not harder? Seems my harder is faster or faster is harder or something? I can't tell a difference.

My lower lip does move forward. I don't think my top lip moves at all, but it does get firmer? I think my embouchure hole is made smaller by my lower lip moving forward?
I do know my breath support is from my abdomen, cos when I run out of breath my tummy muscles are squeezing in like mad trying to get me to the next pause.

So frustrating as it sounds fine at slower speed, where there's the time to notice what I'm doing, but yelping at fast speed.

I really appreciate the help, thanks

Have you tried playing harmonics from bottom C? It's a great way of finding the correct embouchure for C3.

Finger bottom C, then, without changing fingering, play the C above. when this is secure, try for the G above that (G2) and then for C3, each time with the low C fingering. when you can get the C3 this way, switch immediately to the usual fingering.

Robert He-of-the-censored-name (short form of Richard) says:

"One should avoid the temptation to 'dig in'for natural harmonics (or for regular third octave notes for that matter). Instead, think of 'reaching out' for them, moving the jaw forward and both pushing forward and turning outwards with the lips. When the embouchure position is good, the air will do the work if it is well supported and focused. The freest sounding natural harmonics are produced without excess effort."

Tone development through extended techniques p. 14

I've been pushing to get harmonic jumps on low C. It's hard! I'm now getting 4 different notes, but non of them sounds quite like C3? (When I first tried yesterday all I got was painful squeals, poor G wanted to know where the cat was )
It's certainly helping my lip control though, my slurred scales are sounding better
Is this the only note I should do harmonics on? And is C3 the 4th note or am I not going high enough? (I'm hopeless at ear recognition)

Thanks

(p.s. never heard of Richard D)

Hi Snuglivixen,

Robert D (not Richard D) is an American flutist and composer who is the premier authority on extended techniques.

The harmonic series from C is C1 (the fundamental) followed by C2, G2, C3, E3, G3 and Bb3. You can get the same series from any note (ie octave, 12th, double octave, then major 3rd, perfect fifth and minor 7th above the double octave) from any fundamental, but the longer the tube, the easier it is to get. So most notes are available above low C, but if you start from B1 you are only likely to get B2 and F#3.

It takes time to produce the harmonics, as you need a lot of control of your embouchure. Just work at them steadily, and gradually try to increase the number you produce.

One other thing, remember to change your embouchure from 'oo' to 'ahh' (although it's more like 'aw' with your mouth in a flute embouchure ) as you go from the bottom octave to the middle octave. this will keep your throat from tensing and help produce the sound from the diaphragm.

Have you seen Robert D's headjoint that he invented? It's like a trombone slide!!! The body and footjoint of the flute are normal. The headjoint has a kinda brace that holds it on your face, so that you can use your arms to pull and push the body of the flute. there is an extendable bit in the headjoint and you can do proper glissandos!!!!!! It's so cool!!! Just like him and his pieces really!

Anyone know if he's going to be at the BFS convention this coming summer? Anyone going to the BFS convention?