The second thing is to demonstrate the proper way of assembling the instrument and then have him show you to see if he understands. Too many younger students will want to grab the instrument around the middle part of the flute body, putting too much pressure on the keys. This can result in bent keys, which are a pain to correct! Also, in putting on the headjoint, tell the student not to grab the instrument by the lip plate. The lip plate is not on there as solidly as you think and can get knocked out of place.

To put the flute together correctly:

1. Hold the body at the top at the manufacturer's engraved name in one hand and the headjoint near the bottom at the other.
   
2. Use a twist and push motion, not push only. If a student pushes the headjoint only and the alignment is not quite right, you'll have a jamming problem.
   
3. To put on the footjoint, grab it at the very bottom, below the keys and put on, again using the twist and push motion.
   
4. As for alignment: many teachers have their students eye the key column straight down while holding the flute almost perpendicular to their eyes to see if the aperature hole is in alignment with the keys. This is a fairly good beginning guide, although minor adjustments can be made for individuals, intonation purposes, etc., later.
   
5. For the foot joint, the normal rule of thumb is having the rod section of the foot joint in alignment with the center of the keys of the body. Again, this can be adjusted for individuals, especially for the variations in little finger sizes!

The third step in this introductory process is to play, right? Not so fast! This is the best time to teach proper breathing technique. So the kid says, "I know how to breath". OK, teach them how to finger a B and have him play with his style of breathing, then play a B using diapragmatic breathing. They will hear quite a difference!

Here are some analogies and exercises to use to work up those abdominal muscles:

• Hold a piece of paper against the wall and have him blow on it. Have him continue blowing while you remove your hand.
  
• Although we don't actually play this way, have the student inhale through the nose, then slowly hiss the air out between the teeth, counting how long it takes before the lungs are fully emptied. He has to use the abdominal muscles.
  
• Ask him how he would have his muscles if he was expecting to get a sock in the stomach. (Please don't do it, however!)
  
• When he is inhaling, ask him to feel that "Cool Peppermint Patty" sensation; in other words, coolness down the throat. That's a good sign that the throat is open and not constricting.
  
• Another fun way to practice proper breathing is to blow soap bubbles!

The fourth step: Let's get started.
Demonstrate correct posture and hand position (back straight, shoulders relaxed, fingers relaxed and close to the keys at all times, straight right wrist, right thumb positioned so the fingers can move without tension). Emphasize the fact that the tension should be all in the abdominal muscles. Any other tension can cause problems later.

The fifth step: The Notes
As a general rule of thumb in starting out a beginning student, I make sure I have 2-3 different method books handy. I don't think anyone really agrees on whether to start with the middle or lower range. Most books seem to start with the G, A, and B above middle C, then possibly add F, then jump an octave.

The advantage to starting low:

The student learns to play with a more relaxed embouchure right away.

The disadvantage:

Sometimes that's tough to do when you're still learning proper breath support. Since each individual is different, if you feel a particular student will better benefit from a series that starts higher, go for it.

The sixth step: Speaking of Series
You also need to judge what you use, based on a student's prior music background. If you have a fifth grade starter, that's still not quite up to snuff on reading notes, you'd obviously select a slower progressing method that you would for a 13 year old beginner with five years of piano lessons. I've learned not to be a stickler when it comes to methods, although I do have some standards I use. I also mix and match books with individual students.

The seventh step: Tonguing
Don't worry about teaching tonguing until you feel the student has a good start at proper breath control. Remember, all tonguing is used for is to interrupt the air flow and separate notes. If the student is still grasping the breathing part, he will end up with a tense throat. The tongue should just hit the top part of the teeth where the gum line begins, then get out of the way! The air flow should still keep going. Another thing that's not really a hard and fast rule are the the syllables used for tonguing. You will get a softer sound when using "da", but if "ta" or "tu" or "du" work better, that's what you go for. Have the student experiment with these syllables.

The eighth step: The final thing to emphasize to the student is that learning any instrument is an on-going process. Improving one's playing takes commitment and perserverance. If everything there was to learn about playing an instrument could be accomplished, then why would world renowned professionals still need to practice?! These players became great because they were dedicated and worked hard.

Karen Stafford

You may visit Karen's web site at: Stafford's Music Madness Site

Next week's article will be about teaching private drum lessons by Bill Powelson.

Here are some complimentary links that you might find helpful.

Muramatsu Flutes Karen's and James Galway's Personal Favorite.

The Orchestralist Here is a place for any orchestra enthusiast or instrumentalist with an orchestra. You'll find a hefty sized archives waiting for your perusal as well.

Sideblown Technologies Also offers music by David Chu.