This article is based on a current project of mine: A diary of practice following Méthode compète de flute: Volume 1 by P. Taffanel and Ph. Gaubert and De la sonorité by M.Moyse. In this project I analyze the score, record my playing and make notes of every exercise I play.
My main focus in those exercises was to work on the flute’s sound. I believe that sound was one of the fundamental aspects that distinguished the French flute school in the nineteenth century. And, unfortunately, this is one component which is often overlooked in many countries, with priority given instead to finger technique.