1. Intro

2. Depletion

3. Infinitismal

4. Engulfed

5. Contrivance

6. Dissolution

How to micro-tune your bridge

Setting the compensation

Flattening the B-string

Sanding the leading edge of the bridge

Third string

Sanding the saddle

Summary

Conclusion

Intro

Checking fit

Detuning the guitar

Action and buzzing

Checking the saddle

Benefits of saddle shaping

Why I like crisp lines

Filing the saddle

Carving a crown point

Conclusion

Bronwyn asks: Do you pull the flute head joint out every time you practise, or only in the warmer months?

Cath asks: How do you play dynamics on the flute?

Cath also asks: How do you play notes that have staccatos as well as a slur over the top?

Lesley asks: How do you play a tune off by heart?

Inga asks: Do you have a suggestion how to quickly warm up? Many times I can't warm up properly when I play with the guitar group and my playing doesn't sound as clearly as it should.

Elaine asks: When playing the flute is it best to use a T sound with your tongue or a P sound in your embouchure?

Andrew asks: I experience difficulty with tone production in rapid finger passages. Can you recommend a way to work on releasing this tension which will help free up my playing and get everything flowing better?

Margo asks: Is it more effective to play with your flute lower on your chin or is it okay to play with your flute higher on your lip?

Kaandis asks: In what cases would you use thumb Bb instead of long Bb or even lever Bb?

Sean asks: Do you have any suggestions for flute maintenance?

Moss asks: Is it common for flute players to get “tennis elbow” or tendinitis?

Helle asks: I was just wondering today, if having a more expensive flute would make it easier to hit the 3rd octave G, and above? I cannot get 3rd octave A at all.

Marisa asks: My question is about nagging problems with directing my airstream. I’m trying to learn to play the upper octaves more successfully, and I’m having trouble with getting the airflow going in the right direction, especially when coming from notes in the lower range.

Frank asks: What is the best way to maintain intonation when going across all 3 registers - low, middle, and high? Especially jumping from low to high.

Sue asks: How do you consistently achieve a low C on the flute?

Phil asks: Here’s one thing I find tricky, if not nearly impossible to do quickly and precisely - that is descending an octave from the second ‘D’ to the first (D6 to D5).

Marie asks: How do I learn how to roll my r's for flutter tonguing?

Jasmine asks: How do I get a less airy sound on the flute?

Kate asks: I've figured out that if I use the vowel sounds to change where my tongue and soft palate are in the back of my mouth, it really is almost all I need to do to make a diminuendo or crescendo with almost no change in tone colour or pitch.

Jane asks: Does wearing lipstick affect playing the flute?

Jennavie asks: Can playing the flute regularly expand my breathing capacity or do I need to do certain exercises to expand it?

Yosi asks: I had a serious accident and two of the ligaments in my right arm were severed. Do you have any ideas how I could better support my arm?

Rob asks: How do you stop your flute from rolling off when playing C and C#?

Gwyn asks: What is the point of tonguing? How do you do it?

Emer asks: How do I play the most amazing high notes with no extra air sound?

Intro

Setting your action

What does the action depend on?

Definition of action height

Action height examples

Influence of technique

The geometry of the guitar

The right triangle explained

How to change the height of your action

Conclusion

Intro

The Three Types of Bow Strokes

Detach practice

Finger relaxation and flexibility

Listen to your tone

Portato

Legato

Crossing back & forth between strings

Benefits of sustained bow practice

Conclusion

Introduction

Cleaning the fingerboard

Adjusting the saddle

Anchoring the first string

Conclusion

Introduction

Removing the parts

Bending the cutaway wood

Attaching thekerfing

Marking the cutaway

Cutting out the binding

Cutting binding slots

Installing ABS binding

Finishing the cutaway

Cutting the back of the pickguard

TONGUED VS SLURRED

SFORZANDO/SFORZATO

SFORZANDO - FORCED

STACCATO

STACCATISSIMO

TENUTO - HELD, SUSTAINED

MARCATO - MARKED

Intro

Why I'm making this video about voice

Why do we change our voices?

What is rapport?

What is optimum pitch?

The chest is a vocal resonator

Optimal pitch level

Going above your optimum pitch

Different languages have different vocal placements

Closing thoughts

Introduction.

The question that inspired this tutorial.

Do we really need to create a perfect legato in the RH? Understanding the artistic concept of the Impromptu, and the resulting expressive tasks.

Which articulation is needed for bringing out the light and 'sparkling' effect?

Step-by-step practice tips. The importance of serious LH practice.

RH practice. Understanding the layout of the text, and applying the most efficient arm/wrist movements. Non-legato practice.

Legato practice. Lightening the key attack. Using a 'throw and gather' motion. The needed 'detached' legato.

Adding the pedal. What is the most appropriate pedaling principle for the outer sections?

Practicing both hands together. How to improve your coordination. Sound balance.

The spots where we can make an exception from the 'detached' legato principle. The 'lyrical element' from bars 8-12.

How to voice the melody formed by the LH quarter notes (bars 8-12). The needed practice steps. The importance of phrasing.

Combining both hands together. The 3 layers of sound intensity.

The importance of intonation in playing Chopin. Intoning the wider intervals.

Pulsation and its role in reaching the final tempo.

Conclusion. Where to find the full tutorial.