Piccolo 101

A BRIEF HISTORY OF THE PICCOLO:

• The piccolo is also known as the petite flute, kleine flöte, flauto piccolo, and ottavino.
• Like the flute, its early predecessor was a single-piece, keyless military fife of the Middle Ages.
• The instrument acquired more keys throughout the Baroque and Classical Eras.
• German flutist Theobald Boehm gave the instrument a complete makeover of the mechanism, the headjoint, and the material (wood to metal construction).
• Modern piccolos are made from a variety of materials: wood, silver, plastic, and composite materials. Wood is the most preferred.
• Although it is the smallest instrument of the orchestra, it cannot hide in most ensemble groups.
• The piccolo’s range is just under three octaves.
• The piccolo found its way into the orchestral world in the early 19th century.
• Beethoven first used the piccolo in his Fifth Symphony in 1809. 
• Beethoven also included the piccolo in his Ninth Symphony in 1824 for the Turkish March. 
• The piccolo became a popular instrument in the late 19th century and 20th century concert band setting, particularly with the marches written by John Philipp Sousa. 

​MAINTAINING YOUR PICCOLO
About the Piccolo

• Your piccolo is very fragile so make sure you handle it with care.
• Avoid holding the instrument by the rods and touching the small screws and springs.
• It doesn’t take much to accidentally knock your piccolo out of alignment. If you experience any difficulties while playing the instrument, have your teacher look at it.

Basic Care/Daily Maintenance

• Keep your piccolo stored in its case, in a safe place, and avoid exposing the instrument to extreme temperatures and humidity changes.
• Make sure your hands are clean before playing your piccolo.
• Never warm up a wooden piccolo by blowing into it. The instrument could crack. Instead, place it under your arm for a couple seconds so the instrument can easily acclimate to your body temperature and the temperature of the space you are in.
• Condensation build-up is a common occurrence on the piccolo. The instrument should be swabbed frequently during use and after every use in order to avoid watery keys, damaged pads, or even mildew, all of which could lead to expensive repairs.
• Even with constant swabbing, piccolos tend to collect water in the keys and pads. Frequently check for water in the following tone holes: both trill keys, thumb key, C key, G# key, and the D# key. Moisture can be removed by placing a sheet of cleaning paper between the instrument and the key. Once the paper is in place, gently close and open the key. Pulling the paper while pressing a key can lead to torn pads, so please ask your teacher for assistance.
• Swab your instrument after every use and gently wipe any fingerprints off of the keys with a soft cleaning cloth.

Annual Maintenance

• Schedule an annual clean, oil, and adjust (COA) with a professional repairperson.
• Request that they check the placement of the headjoint cork and replace it as needed.
• Depending on the condition of the instrument, your repairperson might suggest an overhaul. This service is performed about every ten years, depending on the instrument and the care it receives on a daily basis.

 
PICCOLO VS. FLUTE: WHAT’S THE DIFFERENCE?

• Although the mechanism and fingerings are the same, the piccolo is quite different than the flute and should be approached as a separate instrument.
• As the highest voice in the ensemble, the piccolo is often exposed, adding color to the texture and should be played with confidence.
• Once the flutist has a solid third register on the flute, they can consider pursuing the piccolo.
• The piccolo sounds an octave higher than the flute and acts as a fourth octave extension of the flute.
• The piccolo is much more sensitive than the flute and requires finer muscles control and more support.
• Even the smallest changes can lead to a great difference in sound quality and intonation.
• Practice with a tuner often to establish a strong pitch center and play duets with a friend to work on your intonation in a fun, chamber music setting.
• The piccolo is placed a little higher on the bottom lip compared to the flute and the embouchure should be slightly firmer, but not tight or inflexible.
• The aperture should be smaller for piccolo playing, but be sure to keep the oral cavity open, relaxed and avoid pinching the lips.
• The piccolo should be played with finesse, not power and force.
• It requires less air than the flute, but the air stream should remain fast and focused.
• Articulation will be lighter on piccolo than flute and the low register should sound relaxed and full, allowing the sound to resonate in the mouth and chest. The piccoloist can accomplish this by playing long tones regularly with the goal of making each register sound rich and even.
• The fingers are closer together when playing piccolo, so technique might be a little easier than on flute.
• Scales and other technical exercises should be practiced on both flute and piccolo to develop great flexibility and intonation.
• Both flute and piccolo should be practiced equally and it is important to vary your practice sessions to get used to switching back and forth between instruments often and easily.

PURCHASING A PICCOLO

• When purchasing an instrument, ask yourself what you plan to use it for and how much money you want to spend.
• Metal piccolos have a headjoint with a lip plate like the flute, so that makes for an easier transition if you are new to the piccolo. These instruments are great for marching band, because they are durable and have a very bright tone.
• Plastic piccolos are durable enough for use outdoors and can be used in a concert band setting. The tone quality of a plastic piccolo is warmer than the tone of a metal piccolo and they are reasonably priced.
• Many instrument makers are now making piccolos out of plastic or composite materials. These piccolos are perfect for younger players who might need to use their instrument in both indoor and outdoor settings.
• The best quality piccolos are made out of wood, usually grenadilla, which gives the instrument a really warm sound. They are more expensive than metal and plastic piccolos, are best suited for indoor use, and blend more easily with other woodwind instruments.

 
PSYCHOLOGY OF THE PICCOLO:

• Be fearless and enjoy the fact that everyone in the ensemble can hear you play. Ride the wave of sound that the ensemble provides underneath you.
• Trying to hide within the ensemble can lead to poor intonation and embouchure habits. On the opposite side of the spectrum, do not forgot to listen for proper blending within the ensemble.
• Like the French, think of the piccolo as a “petite flute.” This makes the piccolo seem sweeter and more loveable to the ears.
• An excellent tone on the piccolo guarantees a beautiful tone on the flute. The piccolo should help, not hinder your flute-playing.

 
PICCOLO PRACTICE ROUTINE

• Do all of the same exercises on the piccolo that you would do on the flute. (long-tones, scales, arpeggios, technique exercises, double-tonguing, etudes, etc.)
• Begin and end each piccolo practice session with a warm-up and cool down on flute.
• Learn piccolo music on the flute first and then on piccolo. Your ears will thank you.