The Poetry of Sound

I have an admission to make. I love words. Probably as much as I love the flute. And the wonderful thing about Wibb is that he is always combining both. (He is always singing too – I am less keen on that!) Whether it’s his famous “elephant”, “taxi”, “wonderful” or just “ah!”, there is a language of phrasing. There are so many imaginative possibilities in the shape, direction and meaning of words, something that we can all aspire to capture on our instruments. It is not a set of rules, it is the open tap to a natural, varied and personal means of expression.
In this fascination with language, there are even more possibilities. Lorna has her own poetic way of describing her approach to the flute. So much of phrasing is about conversation. Reacting to what has gone before. Playing into what comes next. There is possibility in the vowel sounds we choose to use (and where it resonates – I will get on to that in another post). How we articulate forms another means of being linguistical in our approach – even in loud passages we can articulate softly. How we orientate ourselves mentally towards the flute has a direct impact on the sound that comes out. That has been so exciting to not just know, but to experience this week. 
And it has also tied to neatly into an emphasis on compassionate language. So many of us can relate to moments (or even long periods) of self flagellation in our head. We say things to ourselves that we would never say aloud, and certainly never say to anyone else. And it does not achieve anything – it’s extraordinarily counter productive. I wrote a lot last year about learning to develop a compassionate and empathetic outlook, but to truely be a musician reflecting my worth, it is essential that I extend that grace to myself. Always! And especially in the practice room.