Once a characteristic tone has been established, students must learn to move that sound from note to note without interruption. Flexibility studies help musicians develop the ability to adjust pitch, range, and instrument length while maintaining a consistent tone quality. Whether moving through stepwise motion, larger intervals, or changing registers, the goal remains the same: preserve the sound while allowing the instrument to change. Flexibility exercises bridge the gap between isolated long tones and the more complex demands of musical performance.

Let's Talk About Airflow

To me, airflow studies often come before other "flexibility" exercises. Here we begin to connect notes in controlled exercises, sometimes just two notes at a time. This way, we can appropriately scaffold our approach as the interval and complexity increase.

Slurring one note to another requires an adjustment. Sometimes that adjustment is small, while larger intervals may require more significant changes. Regardless of the instrument, the goal is to keep the air connected while the instrument adjusts.  For brass partial crossing, airspeed adjustments are paramount so as not to affect embouchure and tone quality. 

As we move through the slurred pitch, does the tone stay full and resonant? Depending on the instrument, are proper adjustments being made? (i.e. Brass Airspeed, woodwinds air volume, etc). 

As we broaden the range, do we use proper technique so that all notes speak clearly through the note changes? Does the air pressure stay consistent? 

I like to use airflow studies first to ensure that air is connected, slurred, and specifically NOT articulated. For brass, this can be a bridge to larger intervals in lip slurs. For woodwinds, we’re just focusing on a sustained full sound as we lengthen/shorten the instrument.