I am Sophia, a flautist specializing in historical flutes, living in Cologne and working as a freelancer. Turning my hobby and passion into a profession, I love seeing the audience moved by the music, making all the effort worthwhile. When not making music, I enjoy yoga, bouldering, going to the gym, swimming or jogging in Cologne's parks.
Sophia's website |
The first thing you do when you pick up your traverso to start the practice day, and why?
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Typically, I begin with low notes followed by high notes to assess the sound. If there’s enough time, I proceed with some tone exercises, such as transitioning from very high to very low notes, flutter tonguing to loosen the embouchure, and singing different notes into the flute during holding one note to position the larynx. After these exercises, I move on to the pieces that need preparation and practice.
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Any recurring piece to play every day, and why?
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I've never had a routine like that and it doesn't seem right for me either. Practicing new repertoire always makes me happy, allowing me to set other things aside for an indefinite period of time.
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Do you have a daily routine?
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Not really. I usually practice what feels most useful at the moment. If I feel that my sound needs improvement, I focus on sound exercises. If I notice that my fingers or another technique need work, then I concentrate on that. It all depends on what seems most important at the time.
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What kind of goals do you set for your practice?
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I usually set a goal that, no matter what I do, should be beneficial - quality over quantity. There are days when I don't play at all or only for 30 minutes, and during those times, it's important to make the most of it.
I think every musician experiences those days when everything seems to go bad. It's on those days that setting small, achievable goals becomes crucial to avoid demotivation. However, there are also days when things go so poorly that it's perfectly acceptable to put away your instrument with a clear conscience and call it a day (if the timing of that day allows it). |
Do you do any systematic warm-up?
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No, not really systematically. I assess where I am beforehand and then warm up with what feels useful. For example, if I have projects involving more difficult keys, I warm up with the corresponding scales. If I feel that my sound isn't quite good that day, I warm up with sound exercises.
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Do you have a specific structure for warm-up and practice sessions?
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I always try to prioritize well. For example, if I know I don't have much time to practice during the day, I might skip the warm-up and start directly with the music I want to practice. If I have more time, I include sound exercises, intonation exercises and scales in my practice session.
When I notice that my sound quality isn't great, it's often due to tension in my jaw or neck, or inflamed sinuses. If the issue is tension, I put down my flute and stretch or work on releasing the tension, even though there's usually no quick fix. Identifying the cause of a problem is crucial for me and usually the first step toward a solution. |
Any distinctive characteristics of baroque flute daily practice vs. modern flute or other instruments?
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Given the complexity of intonation with historical flutes, I believe intonation exercises are crucial. It's essential for me to address what might be the biggest weakness of historical flutes. For instance, if I want to practise a piece in C minor, I typically do a few intonation exercises in C minor beforehand, using a tuner to ensure accuracy.
I also practice intonation on individual notes with different dynamics, which at best should not affect the intonation. In my opinion, since the embouchure hole is very small compared to modern flutes, the resonance of the body is all the more important for historical flutes. Working with the position of the larynx helps me to make the sound bigger. Using support from my belly rather than from anywhere else, is assisting me in controlling the power for higher or louder notes. For me, the power that comes from below reduces the power that the mouth could exert as a (worse) alternative. |
What are the key elements and unmissable points of daily practice?
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I believe it varies from person to person. Each musician has their own set of strengths and weaknesses. Personally, I identify my weaknesses and make it a point to challenge myself and work on them during my daily practice routine.
If weaknesses are identified and do not show improvement over time, alternative methods might be worth considering. I think there are likely ways to improve nearly any weakness. |
How long and distributed should warm-up and practice be?
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I can't offer a one-size-fits-all response to that question. I believe it's crucial to tailor your warm-up to fit the specific circumstances of your day, the amount of time you have available and your individual needs or requirements.
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Any specific tip to address difficult technical passages during daily practice?
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I once received advice that practicing a passage slowly enough would make it work at a faster pace. While that method may be effective for some, it doesn't always yield the best results for me. I find it more beneficial to break down difficult passages into smaller groups, perhaps even starting with just two notes (but in the target speed) and gradually increasing. If a passage isn't working, I identify which fingering combinations are causing issues and practice these combinations individually, perhaps incorporating a trill (with two notes, no matter how large the gap is) that starts slowly and gradually accelerates.
If the issue lies not with the fingers but with the embouchure, I find playing the entire passage legato or with flutter tongue beneficial. While I can't pinpoint the exact reason, it seems this technique aids not only me but possibly others as well. |
Are there any tools that are particularly useful for practicing?
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I guess the tuner is my most valuable tool. Occasionally, I let the tuner play a specific pitch aloud and practice intervals or entire passages with it to ensure the intonation is maintained.
Not to mention the metronome would be fatal, but I think everyone knows what advantages and disadvantages a metronome can bring. If it is used sensibly (I like it when it is set in whole or half notes), it can be very helpful. A more unconventional tool I use is adding challenges. For example, playing a difficult passage while standing on one leg or spinning around increases the difficulty, making it easier to play without these additional obstacles. |
Any other general advice, suggestion, tip?
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Firstly, with each piece I practice, I aim to delve into the musical intention, whether it's for the entire movement or individual passages, ensuring that every note has a purpose. I strongly believe that this approach, which infuses meaning into every note, significantly enhances the enjoyment of making music. And when it's more enjoyable, one tends to engage in it more frequently. This, for me, fosters genuine motivation.
Secondly, I keep realizing how much mental practice helps. For instance, when I practice mentally on the train, I look at my notes and work through individual passages in my head. I imagine my fingers doing the fingerings or actually move them (without the flute in my hand, of course). When I have the flute in my hand, so many other factors come into play, and mental practice helps me immensely to focus on one level separately. Last but not least, in recent years, I've come to realize the profound connection between my physical and mental well-being and my results in flute playing. A lifestyle that includes regular exercise, a balanced diet, a supportive social circle and prioritizing mental health has a profound impact on my flute performance, more so than I previously imagined. This realization underscores the importance of adopting a holistic approach to both thinking and living. |
How do you advise your students as far as structuring their daily practice?
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I would advise everyone to set specific challenges for themselves. For instance, if you aim for a louder sound, better intonation, or improved finger technique, focus on that particular aspect. Maybe it can be more beneficial to have one “big goal” from time to time and avoid trying to improve everything simultaneously.
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Do you suggest or teach a warm-up routine?
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No, as I don't follow a strict routine myself and might get bored with a repetitive schedule, I wouldn't recommend it to others. However, if someone feels that a routine is exactly what they need, then it's definitely the right approach for them. Everyone should decide for themselves what makes the most sense.
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Are there any specific pieces particularly beneficial to be played regularly in daily practice?
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Not for me. I much prefer the idea of setting aside something I have practiced intensively for a long time and then revisiting it with a completely new perspective. Over time, one's playing and musical interpretation develop, making it a delightful experience to approach previously played works with fresh insights.
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