“The piccolo is a conspicuous voice that soars above the main body of the band or orchestra. You are a soloist whose sound, without forcing, is not lost or absorbed in the general anonymity of the ensemble. Because of the miniature finger work involved, the technique is easier and you will find the florid passages easier to play. The small opening in the embouchure requires less breath, so you will be able to play longer lines and compromise less with the breathing problem of the flute.”
“As to the playing, the basic approach is identical to that of the flute – except that the piccolo is a rather primitive instrument compared to the more domesticated and adjustable flute. Because of its greatly reduced size, all of the adjustments you make are magnified and all of your movements are critical.” John Krell. Kincaidiana Pp. 92-93
Embouchure
Piccolo playing requires a great deal of support, but actually uses less air than the flute. The airstream is narrower and the speed required to access the high register comes from channeling that air through the controlled small aperture of the lips.
Students sometimes learn to form a flute embouchure by imagining they are spitting a piece of rice off of the center of their lips (say “puh”). A good piccolo embouchure also relies on allowing the airstream to exit from a tiny, focused hole between the lips and then sustaining that level of tone in the muscles surrounding the aperture.
Firmness in the embouchure differs from tension. A flutist with an extremely tight embouchure may have trouble with buzzing on piccolo. Buzzing occurs when a narrow, fast airstream is forced through a too tight embouchure and the lips cannot contain the airstream so they vibrate together. This usually occurs in the highest ranges of the instrument and can be eliminated by relaxing and blowing less. Practice this by playing slow, even five-note scales (tonic to dominant) from the top of the staff, moving up by half-step, making sure to keep the airstream free but supported and by not shying away from the high notes.
“What really strikes terror in the heart of a piccolo player are the high, sustained pianissimos. The secret is to relax the lips and let the air do the work. That is, keep the peripheral muscles of the embouchure firm but the cushion of the center soft, relaxed and slightly pursed forward, using a firm diaphragm in the meantime to support the flow of the air.” John Krell. Kincaidiana P. 98
Transposition
Since the piccolo sounds an octave higher than written, it is useful to practice piccolo parts on the flute in the octave in which they will sound, whenever possible. For example if there is a piccolo solo in the top range of the staff that can be played an octave higher on the flute, playing the excerpt on flute first can help relate the aural result as well as the necessary support and embouchure control to the same passage on the piccolo.
This is particularly helpful in the middle register which can be unstable in comparison to the same written notes on the flute. Imagining that you are playing a high E on the flute while playing the middle E on the piccolo can help center the tone and provide a reference for the necessary support in that register. Flute Talk, September 2014
Questions about playing the Piccolo:
Does playing the piccolo ruin your flute embouchure?
By Jennifer Bouton Schaub, Piccolo, Milwaukee Symphony Orchestra
No.
In fact, I found that practicing piccolo parts on the flute first helped with technique and tone when then played on the piccolo. This means the embouchure and air pressure still need to adjust for the change in instruments, along with the difference in size of the instruments in your hands. In fact when you put the instrument to your lips it is as if your body adjusts on its own to the familiarity of each instrument.
If you are going to perform on both instruments, do practice on both instruments. Be sure you practice going back and forth as noted in your music if you are playing say third flute/ piccolo in a concert. Be sure that your entrance on piccolo after playing the flute has been practiced for accuracy. Make a conscious note of any changes you need to make for tone or entrances within specific dynamics or pitch challenges. Do the same for changes from piccolo to flute. Be flexible and look for excellence in performing on both instruments and you will not have any trouble.
Should I wear earplugs when practicing/playing the piccolo?
Cynthia Ellis, Solo Piccolo, Pacific Symphony; Flute Talk , March 2013
If you are practicing high register passages it is a good idea to use an earplug, especially in the right ear. I use custom-made musician’s ear plugs that are available through an audiologist or hearing specialist’s office. These earplugs cut off the strongest decibel levels only so that the level of hearing is not affected throughout the whole spectrum. Disposable foam ear plugs work well also. Since the sound changes when wearing earplugs, use them in practice before trying them in rehearsal.