with Paul Edmund-Davies
In sequence 1, you should try to ‘feel’ your way around the flute (once you have the exercise from memory, it could be beneficial to take a look at how your fingers are operating by looking in a mirror). The more fluid your fingers, the greater the likelihood of a true legato. After all, the flute is firstly a musical instrument and secondly a piece of machinery!
Whilst we should focus on generating a beautiful tone in Sequence 1, we also need to realise that playing in a truly ‘legato’ manner is another major side to this sequence (and is an essential part of communication in so much of the repertoire that we are interpreting). Exactly how we operate our fingers is also to be considered. If you use your fingers in an abrupt on/off manner, the legato that you are searching for will fade away and turn to lumps and bumps!