The notes of high D (D6) to high E (E6) is often a really bad spot for creating glitches. We have to put down fingers and lift up others at the same time. It’s a tricky spot. Try it yourself and listen to the problems that are created by going back and forth between these two notes. Now if you tongue these notes you will hide the problems. When you are trying to fix a glitch, you must do it by slurring because that is when the problems will be revealed. Slurring will help you to hear exactly where the glitch is occurring.
D to E 4th Finger
In order to fix this glitch, you need to create an exercise for yourself. Play (high) D E F D nice and slowly. Do you hear any glitches or pops (when your fingers make a popping noise when they come down on the keys)? If so, we’ve got something to work on. If not, then increase speed slightly and listen again. I guarantee that you will hear a glitch at some point. Remember the faster you go the more you hide these problematic areas.
This D to E is really on the tricky side. Fourth fingers are notoriously weak, and because they’re weak, when we have to move one or both of them up or down, they can be a little slower than the other fingers.
Brain Power
The key to working on these fingers and these glitches is really brain power. You have to think your way through them. My ear has to be intently listening to what I hear and analyzing what is happening. I have to analyze what fingers are late, what fingers don’t go up or down at the exact time. When I know what is happening then I concentrate on moving those particular fingers very precisely. It takes time and effort and can be very tedious, but it works.
It is amazing that the more you think the better these get. You can make those muscles work better. You can make that finger go down or lift up at the same time that another finger does the opposite. Thinking your way through makes it happen.
You Can Fix This
If you hear a pop sound when the fingers go down or lift up, then that can be cured by thinking about how gently or quickly you put down/lift up your fingers. Or it’s possible that you slam your fingers on the keys. If you are one of those people that play with a heavy hand then you need to learn how to place quickly but gently. It’s amazing how much that can help.
I have to say that this is why a professional model flute is so phenomenal. Professional model flutes are not always all about the tone. They do offer a great tone but also, it’s about the finger action. When you have a handmade flute the finger action is just phenomenal. If you have a step-up instrument you can still work on glitches, but a professional model flute will make it just that much easier.
Makeup any kind of movement between notes that will create a difficult finger problem. Add some bigger jumps and work on those as well.
Carry Over
This is very, very tedious kind of work. I remember I had a teacher that gave me a whole bunch of patterns to work on with these glitches. I thought I was going to die when I worked on them. But the dividends they paid were amazing. Sometimes when you work on a run or some difficult part of your solo, it helps your fingers and your muscles altogether. But a lot of times it really helps only that passage. When you work on glitches, you’re working on that muscle control, and it carries over to everything that you do. It’s a really good exercise. So, the dividends are big, they pay off.
Work on these glitches. It will be great for your technique and your muscle control. It’s hard work but it will pay off.
Have fun!
DoctorFlute
Watch me demonstrate this idea:
Fixing the D to E Glitch – FluteTips 160
Practicing with Reichert’s Seven Daily Exercises Opus 5 – FluteTips 85
