Is this really that important?! To some apparently it is!

Hello, flute enthusiasts! This week on Talking Flutes, we dive into a topic that has sparked much debate within the flute-playing community: should we call ourselves flautists or flutists? Jean-Paul takes us on an engaging journey through the history, cultural context, and personal preferences that shape this ongoing discussion.

The origins of the terms flautist and flutist are as varied as the music we play. The word "flute" itself comes from the Latin "flatus," meaning blowing or breath, which is central to the instrument's identity. The term "flautist" first appeared in English literature in the early 19th century, derived from the Italian "flautista." This Italian influence was significant during a period when many English-speaking musicians looked to Italy for musical inspiration.

But why did we borrow an Italian term when "flutist" already existed? Some suggest that "flautist" added a sense of sophistication and prestige, reflective of the European classical tradition. Others believe it was simply a matter of style and preference.

Today's use of these terms varies by region. In the United States and Canada, "flutist" is overwhelmingly preferred, likely due to the American emphasis on linguistic efficiency. Major musical institutions like the National Flute Association have standardised this term. Across the pond in the United Kingdom, "flautist" is the term of choice, aligning with the British love for tradition and European musical terms.

In Australia and New Zealand, the British influence means "flautist" is more common, though American influences bring some variation. In South Africa, British English has historically dominated, making "flautist" more prevalent.

Interestingly, in non-English speaking countries, the term used is often a straightforward derivation of the word "flute," with less controversy. For instance, French speakers use "flûtiste," and Germans use "Flötist," both aligning more closely with "flautist."

So, why does this matter so much to people? For many musicians, the term they use is closely tied to their identity. In the classical music world, where tradition is paramount, calling oneself a "flautist" connects to the rich history of European classical music. Conversely, "flutist" feels more modern and accessible, appealing to those who find "flautist" elitist or pretentious.

The debate also has professional implications. In the US, using "flautist" might be seen as unusual, while in the UK, "flutist" might come across as overly Americanised. This choice can reflect broader questions of professionalism and authority within the flute community.

Ultimately, whether you call yourself a flautist, flutist, or simply a flute player, what truly matters is the music you create and the connection you make with your audience. Language evolves, and so do we as musicians. So, let's celebrate the diversity in our community and focus on what unites us: our love for the flute.

'Talking Flutes', Talking Flutes Extra', 'Bitesize' & Revisited' are podcast productions by the TJ flute company. For more information visit https://tjflutes.com

How to Build Confidence and Learn from Failure: Insights from Clare Southworth

In the latest episode of Talking Flutes, Clare delves into the intricate process of learning, improving, and maintaining confidence even when things go wrong. Whether you're a musician, an athlete, or anyone striving for excellence, the principles discussed in this episode are universally applicable.

Clare opens the episode by highlighting the importance of a positive mindset in the face of challenges. She emphasises that failure should not be seen as a setback but as a learning opportunity. "You're not failing, you're learning," she says, a mantra that resonates throughout the episode.

Drawing parallels between musicians and Olympians, Clare discusses how both groups undergo rigorous training, practice, and performance to achieve their goals. She notes that, like athletes, musicians must prepare meticulously, perform with focus, and debrief honestly to improve continually. The key stages of preparation, performance, and debrief are crucial for success in any field.

One of the most compelling parts of the episode is Clare's recounting of her experience at the America's National Flute Association's Young Artists competition. Despite facing discouraging remarks from a fellow competitor, she used the negativity as fuel to strengthen her resolve and ultimately win the competition. This story serves as a powerful reminder that mental strength and resilience are just as important as physical ability.

Clare also touches on the significance of mentorship and offers her services to any flute player needing guidance. She believes that sharing knowledge and experience is vital for personal and professional growth. Whether it's preparing for an audition, planning a career, or seeking specific practice techniques, having a mentor can make a significant difference.

As the episode concludes, Clare reiterates the importance of staying positive and using every experience as a stepping stone toward success. She encourages listeners to reach out for mentorship and support, emphasising that no one has to navigate their journey alone.

If you're looking to build confidence, learn from your mistakes, and achieve your best, this episode of Talking Flutes is a must-listen. Clare Southworth's insights and experiences offer invaluable lessons for anyone committed to personal and professional growth.

'Talking Flutes', 'Talking Flutes Extra', 'Bitesize' & 'Revisited' are podcast productions by the TJ flute company. For more information visit https://tjflutes.com

In the latest episode of our 'Revisited' podcast series, we had the pleasure of diving deep into the world of flute study books with the esteemed Elizabeth Walker. Alongside our host Clare Southworth, Elizabeth shared invaluable insights into how these books can transform your flute playing by honing your tone, finger technique, and articulation.

Why Study Books?

Study books are more than just pages of notes and exercises. They are essential tools that provide structured guidance and targeted practice to develop specific aspects of your flute playing. As Elizabeth aptly puts it, "Studies are so important because they help you develop your tone, your finger technique and articulation amongst many other things." By incorporating these books into your routine, you can systematically address and improve various technical challenges.

The Categories of Study Books

Elizabeth and Clare highlighted the importance of differentiating between various types of study books. Some are daily exercises focusing on technique and scale patterns, while others are more instructional, offering insights and wisdom from experienced players. There are also study books that double as pieces, providing musical extensions to your repertoire.

Among the daily exercise books, Moyes' "De la Sonorite" stands out as a timeless classic. Elizabeth shared her personal experience of attending a masterclass with Sir James Galway, who spent two hours on this book, leaving a lasting impact on her approach to tone development. Clare also praised the book for its simplicity and effectiveness, noting that it can be memorised and integrated into daily practice.

For those looking to explore new material, Philippe Bernard's "Le Sonorité, the Wind, the Sound" offers a fresh perspective. This book focuses on connecting notes through breathing and breath control, drawing parallels to legato singing. Elizabeth finds it resonates deeply with her, helping her students achieve flexibility and control in their playing.

The Role of Lockdown in Study Book Creation

Interestingly, the lockdown period has spurred a surge in the creation of new study books. With more time on their hands, teachers and musicians have been able to document their techniques and insights, resulting in a wealth of new resources. Claire and Elizabeth discussed how this period of reflection and creativity has led to the publication of valuable new study materials.

Choosing the Right Study Books

Selecting the right study books depends on your level and specific needs. Clare emphasised the importance of choosing books that are challenging yet not demoralising. It's crucial to find studies that stimulate progression without overwhelming you. For example, Moyes' "24 Little Melodious Studies" are excellent for beginners and advanced players alike, offering musical grammar, phrasing, and articulation practice.

Advanced players can benefit from more challenging books like Robert Dick's "Tone Development through Extended Techniques" or the "Paganini Caprices." These books push the boundaries of traditional flute playing, incorporating modern techniques and complex articulations.

The Importance of Integrating Studies

Ultimately, integrating study books into your practice routine can significantly enhance your overall playing. By addressing specific techniques and challenges before diving into repertoire pieces, you can improve your performance and musicality. Clare and Elizabeth's discussion underscores the value of disciplined, focused practice and the transformative power of study books.

Whether you're a beginner or an advanced player, there's a study book out there that can help you reach your full potential. Tune in to this week's episode to discover which books Clare and Elizabeth recommend and how you can incorporate them into your practice routine. Happy playing!

'Talking Flutes', 'Talking Flutes Extra', 'Bitesize' and 'Revisited' are podcast productions by the TJ flute company. For more information visit www.tjflutes.com