with Paul Edmund-Davies
Sequence 7, I am afraid, is a little bit of a workout of the marathon nature! This sequence is intentionally longer than the previous ones and is aimed as much at getting our stamina up, as it is at working on intervals. This time we have to make good diminuendi on the way up through the three octaves of the flute and equally, more intensity of sound on the way back down again. I suggest that you take one example at a time (slowly at first…of course!) and try to work on it until it feels familiar.
There is no point in ‘coasting’ over this sequence. We should be looking for good legato throughout (in the fingers as much as in the sound), accurate intonation and a good dynamic range. If pressed for time, I have found this one to be an excellent warm up. With focus, it sorts numerous gremlins out! As always, if you can at least spend some time using the long fingering for B flat, your digit co-ordination will only get better. It really is worth persevering with this finger conundrum.