Flute Infinity: Circular Breathing
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Flute Infinity: Circular Breathing, By Natalia Jarząbek & Barbara Świątek-Żelazna, Published By Jarmula Music. Two books included: Course book and Etude book.
Circular breathing is a technique used while playing wind instruments that allows players to sustain the sound for a long time. It requires drawing air quickly in through the nose whilst simultaneously pushing the air collected in your mouth into the instrument.
The newly published book Infinity. Circular breathing presents the history of the technique, methods of circulating while playing the flute, and a collection of examples from music literature. It also describes various contexts of permanent breath, and advantages that result from working on the development of that skill. The course book with instructions comes in a set with an exclusive collection of exercises, études, and a choice of various pieces composed especially for the Infinity project by an international bevy of composers. The exercises marked with a camera icon have been recorded and made available to help you see the proper way of completing them.
A characteristic feature of the method described is the fact that it does not require the flutist to change embouchure while circular breathing. The presented positioning of the tongue, throat, lips, and cheeks is adapted to the player’s individual embouchure. The starting point for working on the material that this book comprises is the correct drawing of breath, and correct functioning of all the elements necessary for the proper production of sound.
The newly published book Infinity. Circular breathing presents the history of the technique, methods of circulating while playing the flute, and a collection of examples from music literature. It also describes various contexts of permanent breath, and advantages that result from working on the development of that skill. The course book with instructions comes in a set with an exclusive collection of exercises, études, and a choice of various pieces composed especially for the Infinity project by an international bevy of composers. The exercises marked with a camera icon have been recorded and made available to help you see the proper way of completing them.
A characteristic feature of the method described is the fact that it does not require the flutist to change embouchure while circular breathing. The presented positioning of the tongue, throat, lips, and cheeks is adapted to the player’s individual embouchure. The starting point for working on the material that this book comprises is the correct drawing of breath, and correct functioning of all the elements necessary for the proper production of sound.
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