Felipe Egaña Labrin, born in Chile, pursued studies in early music with Wilbert Hazelzet and Marten Root in the Netherlands and Germany. Felipe Egaña has collaborated with esteemed ensembles like the Bremer Barock Orchestra and the Netherlands Bach Society, and performed as a soloist under renowned conductors. Engaged in various chamber music groups, he has toured extensively across Europe and Latin America.

Felipe's website
The first thing you do when you pick up your traverso to start the practice day, and why?
The first thing I do is play a nice melody, something I know and like. It's a gentle way to start warming up and keeps me inspired. For example, the second movement of Bach’s Sonata in B minor by or the beginning of the Fantasia in E minor for solo flute by Telemann.
Any recurring piece to play every day, and why?​
Not really, but I have a little notebook where I note every difficult passage I encounter. Every day, I pick some and start working on it. Here is a short example of one of them:
Do you have a daily routine?​
Yes, after my nice melody, I play scales - major and relative minor. They are necessary, but I play them slowly because I want to work on my sound. I've developed a random system to pick the scales. I use a die where the dots represent the key signatures. One dot represents one sharp or flat, and so on.
What kind of goals do you set for your practice?​
It always depends on the time and the pieces I am currently playing. For example, if I have to play a solo concerto, first I have to analyze how long it will take to get the difficult passages to the right tempo. Then, I set the number of days that I possibly need and start practicing with a metronome very slowly, gradually increasing the speed over the days.
Do you do any systematic warm-up?
So, as I said, I play a nice melody first, then I do my daily scales, and then I pick one or two difficult/technical passages from my notebook. I do this for no longer than 30 minutes (I set a timer on my phone). Then, I stretch a little bit and take a short break.
Do you have a specific structure for warm-up and practice sessions?​
Yes, I mean I do my warm-up in about 30 minutes, then I take a short break, and then I have a longer practice session for 40 to 45 minutes. After that, I take a longer break before I do another practice session. I also set a timer here because it's very easy for me to lose track of time when I'm practicing, and I end up playing until I feel some pain, which is not good at all. I've learned to take care of my body.
Any distinctive characteristics of baroque flute daily practice vs. modern flute or other instruments?​
Well, yes! The sound approach on the traverso is very different from the modern flute. For example, if I play on a one-keyed flute, the tonalities of the pieces play a fundamental role in how I decide what to do with my sound. When I play classical or romantic flutes (flutes with more than one key), these decisions become more difficult because the more keys you have, the more sound colors you have to choose from.
What are the key elements and unmissable points of daily practice?​
First of all, to feel inspired with the practice and, of course, with the music itself. Sometimes, I practice because I have to, but I don't feel comfortable or inspired, and my practice session is a disaster (this is very normal for every musician).​
How long and distributed should warm-up and practice be?
So, 30 minutes warming up, 8 minutes short break, 40 to 45 minutes practice session, 25 minutes long break, and then another 40 minutes practice session.
Any  specific tip to address difficult technical passages during daily practice?
I think I am not the only one who says this; I've heard it a lot during my musician life: SLOW, VERY SLOW. I think that's the secret because the brain needs to understand and process every movement you do with the fingers and lips. In addition, I've learned from a friend of mine who is a very good modern flute player a good trick. Without blowing the flute, start singing and at the same time fingering the passage very slowly. This helps a lot in understanding the movements of your fingers, but also by singing, it helps a lot in intonation and phrasing. It is a very good exercise, thanks Anne Bischof! Anne is a modern flute player whom I met in Bremen, a really good pedagogue for flute and also specializes in modern music. (I think we can learn a lot from modern flute players.)​
Are there any tools that are particularly useful for practicing?
The metronome is my best/worst friend! I've developed a good relationship with it. It is a very good tool. 
When I had a Harpsichord at home, I recorded the “Regle de l'octave” in every key. I use these recording of the "Rule of the Octave" to play the scales in two octaves on the flute. It is mostly to learn how to correct my intonation quickly. There is also a very good application called Passaggi to practice intonation, but it is mostly for practicing improvisation (Passaggi is a music-minus-one improvisation and ornamentation practice app for early music, delivering high quality digital audio tracks of 16th- & 17th-century repertoire via an innovative user interface). I highly recommend it! 
The mirror is an essential part of the practice room; you need to see for yourself how your practicing is going.
Any other general advice, suggestion, tip?
Yes, I recommend not only practising with your flute but also without it. Just take your scores and sit at your desk and try to imagine how it would sound, how you would finger it, what dynamics you would use, etc. Everything you could think of, first has to start in your head. There is a good book "Mental Training for Musicians" written by Renate Klöppel.
I also would like to suggest that it is also very important to read about early music; there are a lot of good readings and sources out there. For example: Our beloved “Versuch einer Anweisung die Flöte traversiere zu spielen” by J. J. Quantz, “Principes de la flute traversiere” by J. Hotteterre, "The End of Early Music" by Bruce Haynes, “The Notation Is Not the Music” by Barthold Kuijken, and “Melody as Musical Speech in the 17th and 18th century” by Ulrike Engelke.
How do you advise your students as far as structuring their daily practice?
I think every person is different; some need more practice than others. It is very important to structure a daily practice within the needs of everyone. I just advise taking care of your body, so take pauses in between. Everyone has just one body, no more!​ And I absolutelt advise them to warm-up.
Are there any specific pieces particularly beneficial to be played regularly in daily practice?​
The pieces for solo flute by Jean Daniel Braun and the Methodische Sonaten by Telemann. I like the pieces by Braun because they are really good for developing a good embouchure. They are composed with a lot of jumps and arpeggios, which is very helpful for gaining flexibility. The Telemann Methodic Sonatas are great for learning how to ornament. Ornamentation is a very important aspect to learn in the interpretation of Baroque music and sometimes is a neglected topic.