This photo has been doing the rounds on the flutey internet recently (I don't know where it originates from, so apologies for the lack of credit). These are some of the best flautists of the last couple of hundred years, and in particular these are their embouchures - the shape they make/ made with their mouths when playing. If you'd like to look at lots of other embouchures, there's a web page full of them over here: http://www.larrykrantz.com/embpic.htm. The point is that there are all sorts of differences between them - how much lip is above/ below the flute, what angle the lips/ flute are at, all sorts... and of course their lips are naturally very different in the first place.
I saw one of the above flute players at the weekend - at the British Flute Society 'Flutastique' Festival, which was celebrating the links between British and French flute playing, and William Bennett's 80th birthday. Looking around the event was a perfect demonstration of the idea that one size doesn't fit all! Watching the performers' recitals - all wonderful players with fantastic, but different, tones - you could see different embouchures, different ways of holding the flute and using the fingers, different ways and degrees of movement when they played. And then there were the hundreds of attendees - on the Friday morning we had a great warm-up session with Katherine Bryan, and although we were all aiming at the same thing, 'good' relaxed posture and playing a nice clear 'B', a glance across the room showed numerous permutations and combinations of posture, hand positioning and embouchure. The same variations were in evidence at the manufacturers' stalls where people were trying out different flutes and finding that some worked for them and some didn't.
When you watch someone playing the instrument you play, it's natural to analyse what they're doing (especially if you admire their sound or technique). If they sound that good, they must be doing it right! But seeing so many players in close proximity made it really obvious that there is no one 'right'. Trying out things that other people do is a great idea, but we have to work out if they work for us or not. We probably have to borrow bits and pieces from different people, rather than copying any one person's complete technique (unless they're your identical twin, in which case, it might work). It was fascinating to watch players on stage with some of their own students, and see the things that were similar but also those that were different.
Through all this, it's worth considering that even if someone is really, really good, they might still be doing things that aren't ideal, even for themselves! They might have habits that they'd like to break out of but haven't quite managed to yet. They might have to work round issues such as fingers that don't quite do what they'd ideally do. I find hands fascinating - they vary so much, and trying to get a good playing position on the flute is a case of careful work between the student and teacher to find something that works for them (and then may need to be adjusted as they grow - a few of mine seem to have had finger growth spurts recently!).
And what about attending a flute festival? That's not something that's going to suit everyone - it's pretty intense listening to, talking about, trying out, playing, thinking about flutes for a few days. If you're the sort of person who likes throwing themselves whole-heartedly into a subject for a weekend, then definitely worth it (it's not cheap, so whilst it's not a bad idea to miss the odd session to clear your head, you want to make the most of it). Not something I'd want to do every weekend, but every couple of years - definitely!
The little badges below were my souvenir of the weekend - what a lovely varied bunch they are too!
Flute player and teacher blogging about playing, learning, teaching and researching music.