Hi!
For my audition pieces I am having a bit of trouble with the endings.
For CPE Bach, the last note is a very long E1, and I have to diminuendo. How can I do this without becoming flat and with the sound getting quiter smoothly.

For the Idylle the last 3 notes are B2 (minim), D3 (minim) and the G3 (semibreve) all at pp! Sometimes when I go onto the D, I can feel the air flow isn't right, and I know the G won't sound nice. I try to be relaxed, and at mf I can play a lovely G, it is just because it is so quiet.

Suggestions needed and appreciated!

Thanks.

All I can think of is to use the diaphram as much as possible to support and NOT the throat or chest, and regulate the airstream as much as possible. I had a similar problem at the end of the Gaubert, which finished B2 at pp.

Andante will explain much better.

It isn't as much the quietness, it is one of the few notes I am prone to splitting anyway because it is a high note, it doesn't happen much when playing normally. I do use my diaphragm. I guess, I'll be doing a lot practice!

Yes I'm sure Andante will have wonderful advice as usual!

I can get G3 no probs...it's just that darn F#3!!!!

Keep flute turned out, I find when diminuendo-ing its easy to turn your flute inwards, therefore becoming flat.

Thanks Helen

Ah yes, F# is a pain!

Gosh, I'm really going to have to come up with the goods this time after that build-up!

The trick is in closing off your embouchure gradually until the sound disappears into nothing. Just gently close your lips together. I find it works particularly well on top G, so the end of the Idylle should be fine. It might take abit of experimenting to get the hang of it - give it a try and see how you do.

The alternative fingering for F#3 is useful - it's not as sharp & is more stable at pp or p.
Diminuendo- you're supposed to move your jaw so the flute moves up & away ( sorry can't explain any better) while doing the diminuendo so the note doesn't go flat, aren't you?

Thankyou! I seem to be able to do a lovely G3 diminuendo just on its on but when it comes to the buildup of the piece I always fluff it up.

Yes, it's that lovely viscious spiral of high note - tension - worse high note- more tension next time. (Makes more sense if you imagine the dashes are arrows.)

Yes, I hope I perform a perfect G on Wednesday!

Vicious circle is exactly right.

That's how you spell vicious. I kept looking at it thinking, 'That doesn't look right'.

Guess what I'll be doing today? Going over the last line of Idylle again and again...and hoping the end starts sounding a bit nicer. It is what lets the piece down.

Something I forgot to say yesterday: when tonguing soft high notes start with a 'pu' rather than a 'tu'. The 'p' position gets your lips into exactly the right shape for those high notes, and your can just let a tiny amount of air out as you articulate the note. It's worth trying even if you have to slur on to those notes ultimately, as your lip muscles will learn the correct position to be in.

Just a supplement to Andante in C's instruction: my wife was told by Geoffrey Gilbert (flute professor at GSMD and Trinity c. 1960) that the essence of control of diminuendo without going flat is to keep the same speed of air going through a smaller and smaller hole.