Why is finding the speaking point of the flute is so important!?

If one searches the speaking point of the flute, there are numerous theories on it .

Googles Bard has one:

“The “speaking point” of a flute refers to the precise moment and place where the airstream from the player’s mouth interacts with the edge of the embouchure hole, causing the air column inside the flute to vibrate and produce a sound.

Here’s a breakdown of what that means:

• Airstream: The player directs a focused stream of air towards the embouchure hole.
• Embouchure Hole: This is the opening in the flute’s head joint where the player blows across.
• Edge: The sharp edge of the embouchure hole is crucial. When the airstream splits on this edge, it creates turbulence that sets the air inside the flute vibrating.
• Vibration: This vibration resonates within the flute’s body, producing the musical tone.

Finding the speaking point is essential for producing a clear, focused, and resonant sound on the flute. It involves precise control of the airstream, embouchure (mouth position), and flute angle.”

From my point of view the speaking point is a little more complicated and occurs at the point where sound has life, a beautiful quality, rings and resonates around the space. Air becomes sound – the flute comes to life. This is the point where the tone has emotion, and the player can either blow the flute or use it as a musical voice. This is an intellectual choice.

If the player has practised their harmonics and whistle tones so the lips are relaxed and the mouth in the right shape, then the flute will ring and fill a room with a full tone at first point of contact which a pitch bend will find. This is where the speed of the air stream, flexibility of the lips and the cutting edge of the embouchure hole meet. Voila success!!

The result is a beautiful tone with no effort. The player has a skill set that enables them to work continually on their tone from the base of both knowledge and technique.

The sound will project to the back of any hall.

This is so important for all dynamics but especially soft ones. So often a soft section or solo is played without a singing tone that pops with life, but a dull lifeless tone because these elements are absent.

Here is a random example from You Tube of a tone that does not ring and is not on the speaking point.

Here is the same melody emphasising the speaking point

Three examples of tone sitting on the speaking point with ease.

In each one of these examples the harmonics are in the sound, I am sitting on the speaking point, and the tone is resonant and projecting without effort. They all have emotions in the tone deliberately chosen by me.

Maurice Ravel – “Bolero” 

Getting the speaking point and tone under control over the full range is the first and most important stage in any player’s journey. Without a beautiful tone, the skill sets and knowledge to develop that tone, the likelyhood that listeners will engage is diminished. 

Once this has been achieved then a player can branch out and take their playing to another level with 24 Little Melodic Studies by Marcel Moyse and Tone Development Through Interpretation by Marcel Moyse .These both develop musical and interpretative skill sets .To get the most out of these books , the player has to have mastered the speaking point and a resonant sound. Moyse wanted these studies and extracts to come to life and say something musically. This cannot be achieved with a dull lifeless tone. He was not a fan of “the ugly nasal sound.” 

Step one: 

The Foundation Tools section deals with all of this. It is all about the speaking point, flexibility, harmonics, vowels, and relaxation. Learning to use the flute as a voice and resonate. 

Step Two:

24 Little Melodic Studies by Marcel Moyse.

No 1: The Complete Guide and Assisted Playing:

This includes repeated notes, shaped phrasing, and the resolution of a musical ideas. Bell tones (quick flex with the air stream) in the variation 1 give one of the most wonderful techniques Moyse has given us musically.

In these studies, we learn how to think about interpretation, key colour, different uses of articulation and most importantly where are we going musically and what are we trying to say. 

Step Three: 

Tone Development Through Intepretation by Marcel Moyse.

Number 6

This book will give the player finesse and nuance in their playing and interpretation. Here we learn to step outside being a flute player. Moyse gives us the opportunity to think and feel like a voice, string player or any other instrument. He opens a new world to the player should they choose to walk through that door. This is the book that keeps on giving. 

Step Four: 

Vocalisations: 

This is where all of the above is cemented into the playing skill set. At this point, the player can develop their own unique voice and style with all the techniques mastered. I found my unique voice and my passion for the flute as a musical voice from exploring these. 

Largo J.S. Bach Harpsichord concerto in F minor BWV 1056  

At this point hopefully the player will not be blowing the flute but using it as an extension of their voice and their natural musicality thus projecting a story and a unique style with their playing.  

Step Five: 

Repertoire: 

Ohno Tadasuke: Evening Primrose arr. by Eileen Gilligan

This is my philosophy on tone, expression, and interpretation. It can be taught. Players can elevate their playing by following a routine and regular work. I have found my tone has changed over the last few years quite a bit and it is because I pursue this vision. 

Looking for a flute to give a big loud sound is not always the best solution. It often comes with a loud harsh tone lacking warmth and expression. Good solid thought process and a systematic work method can be a better solution. 

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