How beginning students feel during and after a first recital experience will have a direct effect on how they perform in future concerts. Unfortunately many teachers do not prepare novice flutists for a recital as well as they would prepare university students. Considering how important performing is in a life in music, the results of careful preparation and guidance at this earlier time will pay off exponentially in the future.

Start Early and Be Consistent
    Some teachers follow the philosophy of learn the notes first and then we will put the in musicality later. This method is not nearly as successful as teaching musicianship from the very first lessons. Good habits should be taught and practiced over and over again at every lesson so when a student walks on stage, playing well musically is an established routine.

Look like a Flutist
    In Suzuki training students are taught where to place their feet in the first lesson. Then in subsequent lessons they are reminded over and over again what to do until it becomes a habit. Just mentioning what the stance should be is not enough. The old adage “You haven’t taught until they have learned” is a good one to heed. Teaching stance like many other things should be drilled and drilled.
    One of my favorite flute items is a ceramic tile of a young boy playing the flute. Even though he is playing left-handed, he has the correct stance. It seems to me that if a visual artist knows how a flutist should stand, every flutist should know this too.
    Every time young flutists play, they should be checked for correct stance and posture. Take a photo with a smart phone at the lesson to give students a quick visual image of what they should look like when playing.
    Once young flutists learn to play well on the headjoint, they should play on the headjoint and body with the right hand on the barrel for several months. Align the headjoint and the body for them and mark several lines around the flute with a permanent marker or fingernail polish, so they can align the flute correctly at each practice session. Each week be diligent in checking that the marks are still there and that the student has used the marks as a guide in assembling the flute. I have seen many young students come on stage and play with a poor tone because no one has aligned their flutes properly. I continue to check this alignment for many years until the flutist is secure in positioning the headjoint. One of the secrets of a beautiful sound is playing on a flute that is correctly aligned.

Stage Presence
    Have students practice walking on the stage, bowing, adjusting the music stand (height and in relationship to the piano), placing music on the stand, performing (this could be a pretend performance), being still at the end of the presentation, bowing with the accompanist, removing the music and walking off stage. In judging we have all seen students play too far away from the piano, too close to the music stand, or with the stand positioned too high. Flutists should stand approximately 30 inches away from the music stand, and the top of the stand should be no higher than a flutist’s chin. 

Sound like a Flutist
    Sound is the first thing an audience perceives. All flutists have some fluctuation in sound production from one day to the next. A professional knows what to do immediately to turn a not-so-good sound day into one that is terrific.
Professionals check stance, how the flute is balanced in the hands, how separated the vocal folds are, if the jaw is dropped enough, the size of the oral cavity, and the placement of the tongue. These items prepare the way for the air stream. There are three things to consider about the air stream:  size, speed and angle. If there are sound problems, one of these things is out of sync.
    Generally younger players should be reminded to blow at each lesson. When young flutists are nervous, the first thing to falter is the air stream. Remind students to immediately consider the size and the speed of the air stream. Remembering to blow (play on the exhale) will calm the butterflies quickly. The next step is to assess the angle of the air as it hits the embouchure hole wall. If the tone is airy and lacks core, then the flutist should angle the air towards the left big toe. Of course for this to work, the flutist must be in a proper stance.

The Right Number of Beats in the Bar
    When quizzed, most young performers can tell you how to count each bar of music in their solo. What they have problems with is playing these rhythms with a regular pulse. One practice suggestion is to have students play through the solo chunked by bars. This means to play one bar and then rest one pulse on the bar line. Repeat this chunking exercise throughout the composition. Resting on the barline helps students define what music is actually in each measure. During the silence of the rest, student have time to reorganize their thinking and playing. Saying aloud the name of the next note, blow, or set in the rest or silence will help organize students’ playing.
    The next time through the solo, the teacher and student alternate playing by one bar each or one phrase each, back and forth in a ping-pong style. On the first pass of this exercise the teacher plays the first bar or phrase and then on the next pass, the student begins. This exercise helps develop flow.
    Sometimes students lack an awareness of how they deviate from tempo or playing the correct number of beats in a measure. A smartphone or tablet’s recording device can be used effectively. First click off the tempo with the metronome for a point of reference. Then record the student playing through the solo without the metronome. On the playback turn the metronome on with the recorded performance so that the student can hear where the clicks on the metronome do or do not align with the performance. (This exercise is equally effective using a tuner as the student can see from the tuner’s gauges where and what the pitch tendencies are.)
    Since flutists are unable to count aloud, using the voice setting on a metronome gives students an aural reminder of what count they are on. Most professionals I know use this voice setting during a major portion of their daily practice, especially on scales, arpeggios, scales in thirds and sixths, and seventh chords. The thought is that more stimuli going on at once increases the level of awareness.

Floaters
    A floater is a note that floats in between two written notes and is produced by poor fingering skills. When listening to the recording that was made in the previous exercise, mark in the music all the places where the intervals were not played clearly. On a separate piece of manuscript paper, write down these problem places and then practice moving the fingers until the intervals are cleanly executed. For example when going from D to G in the second octave, the right three fingers must lift at the same time. Flutists have a tendency to let these notes peal or ripple off rather than having the right three fingers move as a unit. Practicing these intervals as if they were two trilled notes improves coordination.

Musical Elements
    On the most basic level, music of the Baroque, Classic, and Romantic periods is composed of scales, arpeggios, scales in thirds and sixths, and seventh chords. The flute and piano compositions young flutists study as well as the etudes that advanced students and professionals practice follow this scheme. Having excellent control of these theoretical techniques makes playing the flute and flute music easier.
    Besides these theoretical techniques, there are several melodic patterns that have been used by most composers for over 200 years. These patterns are found over and over again in compositions and in some cases have been given specific names all of which are listed under the heading of musical gestures. Teaching young students how to interpret these gestures early in their musical studies, will help build a foundation for future musical growth as they will understand the musical logic and meaning of these gestures. 

The Sigh


    The sigh figure is two slurred notes, generally descending, in which the performer puts more weight or stress on the first of the two notes. This gesture was first used in the Renaissance when composers employed text painting as a compositional device. In madrigal writing these two notes were set with the words kiss-ing, dy-ing, lov-ing etc. The length of the first note is usually the same as the second; however, the first note can be of longer written length value. Practicing descending scales slurring by twos is an efficient way to practice this gesture. Students will continually have to be reminded to exaggerate the dynamics by playing the second note softer than the first.

Rockets


    Broken chords (triads or seventh chords) that ascend up the range were named Mannheim Raketen (rockets, imitating Roman candles as in fireworks.) These are performed with the natural crescendo that occurs when ascending up the flute. Practicing ascending triads in inversion (root, 1st and 2nd inversion) plus broken triads and seventh chords on a regular basis makes these easy to perform when they appear in the literature.

Papageno


    Many composers were keyboard composers. The 5-note scale is a natural, idiomatic gesture derived from using the thumb and four fingers to ascend one note after another. Or, the 5-notes may descend from the little finger. As pianists’ say, “It is in the hand.” On the flute of course each note requires a different fingering so it may not be so much in the hand. The most famous use of this is in Mozart’s opera The Magic Flute in Papageno’s aria where he calls his true love Papagena on his magic flute.
    Of course there are many gestures that are used over and over again in the literature, but having a good grasp of these three will serve students well. Naming them (sigh, rocket, Papageno) offers a quick shorthand that you can say when students are playing to get them to play with more expression.
    Through the years I have heard student teachers say that they don’t enjoy teaching beginning students. This brings two thoughts to my mind: one, they don’t know how to teach beginners, and two, it is always easier to teach what you yourself have studied in your last lesson than to teach someone what they need to know. Teaching musicianship from the beginning is always the best option.    

The post Preparing Young Students for Performance Success appeared first on The Instrumentalist.

Tongue Placement and Motion 
    Depending on a player’s native language, the tongue placement for the T or D syllable that is used to start a note might be slightly different. Some people feel comfortable with a more forward position of the tongue, closer to the teeth or even the lips, while others find it natural more back. For native English speakers, the natural position for T or D is usually with the flat part directly above the tip of the tongue touching somewhere on the fleshy ridge above the top teeth. A placement of the tongue that hinders sound quality by blocking the throat, or a position that rests the tongue consistently on the lower lip, causes problems with tone quality and embou-chure flexibility. No matter the style of articulation, the tongue should be relaxed and the motion should be swift, minimal, and efficient. Any large motion can lead to a heavy sound or lack of coordination with the fingers.

Not an Attack but a Release
    The terminology used to identify the start of a note made with the tongue is somewhat misleading. Though it is often called an attack, it is in essence, a release. An attack suggests something violent, or a large motion, similar to an arm throwing a punch, or a rocket being launched at a target far away. It implies forward motion. While the preparation of the tongue is indeed a forward motion, the initial sound from the articulation comes from the tongue being released from its striking position. The amount of pressure from the release of the tongue will determine the style and clarity of the beginning of the note. The D syllable with minimal pressure generally produces a softer attack, while the T gives a bit more point to the front of the note. Releasing either syllable with a greater amount of pressure will produce a much more pungent or defined attack.

One Sided Viewpoint
    Much focus is put on the onset of the note, the left side, but every note also has a center, and a right side. Think of it as an articulation sandwich: the filling is the center of the sound and core of the tone, while the left and right sides make up the tonguing and release. Regardless of the type of articulation, emphasize focus on the center of the sound. The quality of a note can be thought of as 25% left side, 50% center, and 25% release, or right side. If the start and end of the notes are not clear and elegantly executed, up to 50% of the quality and projection of the tone may be lost.

Double-Tonguing
    When double-tonguing is learned, students often make the mistake of using a large tongue motion in an attempt to retrieve the K or G syllable. K and G are created when the back of the tongue touches the back of the roof of the mouth, also known as the soft palette. An overly large motion can lead to closing the throat by pulling the tongue back too far, as well as a heavy articulation and uncoordinated technique. For a fast and secure articulation, keep the front of the tongue close to a T or D striking position, while alternating with a K or G syllable.
    A T or D single tongue is typically used by a player for a number of years before double-tonguing is introduced. In many languages, more words are generally used with the T or D sounds than K or G. Due to these two factors, it is natural that the T or D syllable comes more easily and is stronger in a double-tonguing pattern. Flutists should practice clarity of articulation for the K or G syllable independently.

Vowels
    Much focus is put on the action of the tongue, especially for double-tonguing, but articulation unevenness often occurs when the vowel is stopped or abruptly cut. Vowels and consonants should be the same length. The type of vowel used might vary slightly due to the musical circumstance, however an ah vowel (ah as in top) generally works well for a standard fast double-tonguing. An ee vowel, (ee as in sleep) is generally good to avoid because the back of the tongue is raised in this position and subtly closes the throat and blocks the air stream. An oo vowel, (oo as in soup) brings the jaw slightly forward and longtime usage of this syllable can add unwanted tension to the jaw. In the ah position, the jaw is naturally open at its hinge point and the tongue is lower allowing for more resonance in the throat and oral cavity.

Uh-Oh! Uneven Double Tonguing
    Flutists often practice with various dotted rhythms to clear up uneven double-tonguing. This can in fact lead to improvement, but the reason for the problem should be examined. Say the expression Uh-Oh! Notice the glottal stop at the end of Uh (similar to an ut as in but) before saying Oh. When a flutist has uneven double-tonguing they are often adding this extra and unwanted stop. For example: T-AH-(UH)-K-AH. The addition of an extra glottal stop cuts off the vowel after the initial consonant in an over attempt to prepare for the K syllable. This is not necessary; each vowel should run directly into each consonant without interruption.

Slow to Fast Practice
    As flutists speed up a double-tongued passage, quality is often lost. A common mistake when playing faster is to play shorter. This essentially closes the vowel, and the projection of the tone is lost. Try to speak with all consonants and incredibly short vowels; enunciation is clear, however the words are not, and the message is not expressed. The space ratio between consonant and vowel should stay the same as the tempo increases in order to keep quality of sound and coordination with the fingers.

Staccato, Legato and Duration
    Articulation and note duration are not the same thing. If a note is marked with a staccato, the indication is to play the note with separation; however the staccato itself does not define the duration of the note. For example, if there are three staccato notes in succession, an eighth note followed by two sixteenth notes, then the eighth note staccato should have a slightly greater value proportional to its rhythm. Legato on the other hand suggests connectivity, but does not have to mean lack of definition with the tongue. Often when a composer uses tenuto markings, it indicates that the performer should sustain the notes,  but also use the tongue in a clear and defined manner. Staccato does not necessarily mean to use a heavier or sharper tongue, and longer does not mean to play with less articulation. Consider the musical style and gesture to decide how to balance the expressivity of the articulation with the proper duration.

Practice Solutions
    Practice all consecutive short notes long without altering the style or pressure of the release of the tongue that is desired for the passage at optimal tempo. Play each note with a very subtle crescendo at the end of the note leading into the next articulation. Be sure that the length of the vowel extends directly into the next consonant, without closing the vowel off beforehand. After you have attained the sound quality you desire on a note, shorten it up until you get to optimal length. Be sure at all times that the quality of the sound does not change.
    In addition to using the common practice method of alternating between various combinations of TK or DG, KT or GD, or all T or all K, etc., practice beginning a note with the breath or diaphragm tongueless attack. Simply begin a note without articulation, starting the air stream with the vowel sound ah, making sure that the aperture does not change and the note stays centered in pitch. Abdominal support should be consistent with a slight bit of extra pressure or raising of the support to practice the release of the vowel. Minimal movements are always best for efficiency.
    Lastly, pay careful attention to the motion and usage of the tongue when not playing the flute. Flutists practice articulation in their daily lives without even realizing it. The way people enunciate words coupled with the resonate sonority and vocal quality can create speech that is compelling and defined. If problems or patterns occur, think about how it could be affecting your flute playing. Work for optimal and resonate projection of your voice when speaking. Enunciate and shape words with warmth, affection and inflection, and then incorporate this care and attention to detail into your flute practice.               

The post Clarity and Articulation: Clearing Up Common Misconceptions appeared first on The Instrumentalist.

    Being a member of a flute ensemble, either as a professional or an adult amateur, can be a rewarding and enjoyable experience. Whether performing at a school, wedding, senior citizen center, or recital hall, members of a good flute ensemble will find many opportunities to play for appreciative audiences. If a community does not have an established flute ensemble, consider starting one.

First Considerations
    Construct a plan to organize your goals, so you can effectively and efficiently sell your plan to your community. Decide what kind of flute ensemble you want to start. Some groups are as small as four players and concentrate on the repertoire featuring four C flutes or four flutists playing piccolo, C flute, alto and bass. Standard flute choir repertoire has parts for piccolo, flutes 1, 2, 3 (and possibly 4), alto, bass, and optional contra, so this music requires a minimum of seven to eight flutists. Many larger flute choirs play this repertoire using multiples of flutists on the C flute, alto, and bass parts and generally have between twelve and forty members.
    To determine the instrumentation of your group consider the availability of local musicians at the appropriate performance level, especially players for piccolo, alto, bass and contrabass flute. It is ideal if at least one person can also play piano.
    If you live in a small community, avoid starting a group with the same instrumentation as an existing ensemble. The competition for similar performance opportunities could cause uneasy feelings. For example, if a community already has an active flute quartet, there is nothing wrong with starting a flute trio or flute choir. At the very least, communicate directly with members of another group if you plan to use identical instrumentation. This would not be a concern in a larger city where there are enough opportunities for all.
    With small ensembles, it is easier to schedule rehearsal and performance times, and rehearsals can take place in one of the flutist’s homes. However, while some things may be more difficult for a large flute choir, there are many benefits such as access to instruments (especially the low flutes), music, rehearsal and performance venues, and of course the added joy of getting together with a larger group of musicians.
    Another point to consider in choosing the size of the ensemble will be whether you wish to start a group that primarily plays paid jobs or is a concert ensemble. If you wish to chiefly play jobs, then scheduling will be easier with a fewer number of flutists involved. 
    If you wish to start a concert ensemble, decide how many concerts you wish to perform each year. Many of the larger flute choirs play at least four concerts a year, each with different repertoire. Fall concerts will often have Halloween or Christmas themes while the two spring concert programs might have varied repertoire. Due to vacation schedules, larger flute choirs are often less active during summer months. Of course, certain programs may be presented several times around the community or in neighboring towns and cities. Some larger groups also break down into smaller groups for paid performances.
    Choose a rehearsal time with care. Unless the mission of the group is only to play for fun, consistent rehearsals are a necessity for a successful performance group. Attendance of all ensemble members at rehearsals is crucial and should be expected. Members who are employed may have work schedule changes that necessitate a new rehearsal time. Be patient with these changes but make it a priority to find a regular rehearsal time. One tip is to schedule concerts at the same time as rehearsals as members have already reserved this time and will be available to perform. Rehearsals are generally scheduled for 90 to 120 minutes. Many flute choirs find Monday and Thursday evenings or Sunday afternoons to be excellent days to rehearse and perform.
    Select a rehearsal and concert venue. Many churches offer free rehearsal space if the group will perform occasionally at services or events. Other locations that work are school band and choir rooms (public school, university, or community college), art center facilities, meeting rooms at a public library, and meeting rooms at a local business facility.
    The ensemble’s name should be distinctive and catchy, but not trite. Be sure to avoid names used by other groups. Search the internet to be sure there is no other group using a name because if you should ever apply for non-profit status, the request will be denied if the name is already in use.

Assembling a Group
    If you decide to start a small group, then you probably already know who you will invite. However, if you want to form a community-wide ensemble, make up a flier announcing your plans. Of course these plans may be changed or augmented once the group has assembled, but having something stated in black and white will help attract potential members because they know all the facts.

    Place the flier in appropriate venues around town (library, schools, stores, church bulletins). Send it to music teachers at the area high schools, colleges, music stores, and church musicians. Where possible arrange to be interviewed by local newspapers and television stations. 
    If you want to hold auditions for the group, then add to the flier that there will be a 30-minute organizational meeting followed by 5-minute auditions. Include the audition material on the flier, such as a 3-minute excerpt from a piece of the flutist’s choice and a short sightreading selection. Of course, you may choose to waive the audition for a flutist you already know. In any event, choose members of an ensemble very carefully. Generally, people of similar ability, playing level and age are preferable. Strive to find players who have a similar mission, whether it is to play advanced literature, satisfy a need for a working chamber group in the community, educate young people or just have fun rehearsing together. If players differ too much in philosophy, it can be frustrating. However, that is not to say that a mixed group of mature players, who each mentor a younger player, could not be a wonderful experience for all.
    Do not hesitate to invite players who were not music majors in college. There are many fine flute players who did not choose music as a career. As a matter of fact, you will find that those from different circles will bring contacts for performances to your group that you may not have had otherwise. They can bring a fresh, new perspective as well.
    Although the need for a substitute player may never come up, think about that possibility in advance and consider a solution before the problem occurs. A substitute should be a fine flutist, who that can step in with limited group rehearsal time. In an emergency, you cannot predict which part will need to be filled so excellent sightreading skills are essential.

The Meeting
    Be organized and use the time effectively. Have everyone sign an information sheet that includes name, address, phone number, email, and flutes the person owns and is comfortable playing. Share your ideas such as group name and rehearsal and performance plans. A simple ballot with these items listed can be used to solidify the plans. If you choose not to hold auditions, a rehearsal could follow the meeting. Prepare a warm-up sheet for the group similar to what a concert band would use. Then have several reading selections to assess the strengths and weaknesses of the group. Finish with punch and cookies and get acquainted.
    Another topic to be decided is whether there will be a yearly fee for participation. This fee (perhaps $25-50) helps pay for the purchase of music, printing and publicity for the concerts.
    A music library is often the most costly part of setting up a musical ensemble. If a player is a member of the National Flute Association, it is possible to borrow music from that organization. Libraries may allow inter-library loans of music from universities and colleges, and there are some internet sites that provide free public domain music that you can print out. Be careful about borrowing music from other groups because sometimes only the purchasing group has permission to use it. Good flute ensemble libraries include music of all genres and ability levels.
    Other options are to solicit contributions from ensemble members or hold fundraisers such as the sale of music-related, handmade products at concerts or other venues. Of course, the surest way to earn money for music and other expenses is to charge admission to the group’s performances.

Building an Audience
    Look for opportunities to combine your group with another flute ensemble for occasional performances. This opens up more performance venues and may attract larger audiences. The group will also benefit by experiencing new and refreshing music and ideas. Small adult flute ensembles may decide to include student flutists in some of the performances. This creates a wonderful experience for young people and increases the size of your audience, as they tend to bring large numbers of family members and friends.
    Advertising is crucial to building an audience and becoming recognized as a musical ensemble in the community. Members usually do the majority of the advertising. Personal contacts or letters to school teachers, school parent organizations, public libraries, church music ministers, senior citizens centers, assisted living facilities, nursing homes, community arts councils, art studios and wedding consultants are some of the contacts to pursue. Local newspapers will often print an article about a new group in the community, or a group that is preparing for a local performance. Weekly church bulletins announce upcoming performances (and church members are often avid concert-goers). Explore with social networking to advertise the group’s functions to a large audience. Attractive posters and brochures can be placed on the bulletin boards of school music rooms, stores, restaurants and other public places. Advertisements can be purchased in the ad section of newspapers, community theatre playbills, concert programs, television community calendars, restaurant placemats, on-line community networks and many more places. An up-to-date internet website is a necessity in order to contend in today’s market. Once several performances are lined up, the ensemble will start to get a reputation, and other invitations will develop through word of mouth.
    Whenever possible, schedule performances at churches, libraries, schools, organizations and service groups that can provide you with advertising and can apply for grants and other services on your behalf, based on their non-profit status.

Honorariums
    The question of whether to expect payment for services is one that is important for the ensemble members to discuss at the beginning and before you start advertising or accepting invitations to play for events. Performers who have received music or performance degrees usually expect to be compensated. Often, players who have a non-music degree are not accustomed to being paid for performing. Various events are often handled differently; for instance, it is expected that musicians playing for weddings will receive payment for their services, but those playing for community fundraisers often donate their service to the cause. Churches sometimes expect visiting groups to play for free; many times an in-kind benefit is worked out between a performing group and a church or a member of that church. (For instance, an ensemble that uses church facilities for weekly rehearsals, may gladly to play at services of that church several times during the year). A rule of thumb is that if your ensemble practices regularly and performs at an advanced level, most performances should be for compensation.
    If you do charge for the ensemble’s services, use a printed contract to be completed by the hiring organization and signed by a representative of that organization and a representative of your ensemble. A contract could be a simple document, including the date, location, occasion, start and end time, type of music or list of specific music to be played, instrumentation agreed upon, price agreed upon, needs of the chamber ensemble, and due date of the signed contract. If performing in a church or for a religious ceremony, ask that special music requirements be stated in the contract.
    Remember to specify any special considerations for outdoor functions and include two copies so that the organization or individual hiring your group can keep one copy and return the other to you.
    Outside performances are quite common, but they take special arrangements, depending on the season and climate. Some groups routinely refuse outdoor performances, but they may be a good option with the proper stipulations stated in the contract. (Indeed, an ensemble may not get many contracts for weddings if outdoor events are refused.) Be very clear that you will not play unprotected in the rain, sun, or if the temperature is below a certain degree. Some ensembles in northern states will not consider an outdoor function after a certain date in the fall. Keep in mind that use of a piano may not be possible outside and special care will have to be taken to keep the music on the stand in windy weather. If you wish to sit, specify that you want armless chairs in the contract, as well any other items such as stands, piano, lights and other equipment. (Many flute ensembles prefer to supply their own music stands). Outdoor performances can be a challenge but are feasible with careful advance planning.

What to Wear
    Another issue that the group should discuss is whether to dress identically during performances. Uniforms eliminate the quandary of what to wear and usually assure a nice appearance on stage. However, they can cause discomfort if all members are not the same body shape or do not share the same taste in style. Sometimes, especially during a theme performance, it is fun to dress to complement the program.
    Another option is for all ensemble members to wear the same color but choose their own styles. Whether the group all dresses the same or not, decide on standards of appearance so that all members appear professional and appropriate for the activity.

Dividing Up the Duties
    Each person in an ensemble should take on a  business role in the group. It can be as simple as treasurer, librarian, manager and secretary. Find out what non-musical skills members have. For example, one person might be great at web design  while another may have a background in accounting. Clear delineation of responsibilities helps ensure that everything is accomplished and avoid conflicts in the future. The following are a few options for division of job responsibilities:

Treasurer:
•    Collects money at all functions and records the total, making sure that there is a paper trail between the function and the bank.
•    Deposits money into a bank account and provides each member with a copy of the monthly or quarterly statement.
•    Keeps up-to-date accounting of all activities in the account.
•    Promptly writes checks to members and vendors for equipment or services provided.
 
Librarian:
•    Stamps all new or incoming music with the name of the ensemble and takes responsibility for filing and keeping library records.
•    Becomes familiar with music loaning institutions or organizations (such as NFA or University Inter-Library Loan) so that music not owned by the group is available.
•    Becomes familiar with copyright laws so the ensemble does not find itself in violation.
•    Distributes and assigns music to members. Unless the group has made a conscious decision to the contrary, many ensembles rotate parts among members so that players do not always play the same part. Of course, some players own auxiliary flutes (piccolo, alto and bass) so those parts will be routinely assigned to them.
•    Brings scores and extra parts to all rehearsals in case a player forgets a part.
•    Collates, accounts for, files away original music and destroys any copies when music is turned in.
 
Manager:
•    Serves as the contact person for all groups or people who wish to hire the group or set up a performance.
•    Handles information and contracts for all ensemble business matters.
•    Writes and submits newspaper publicity releases regarding upcoming performances.
•    Creates advertising documents such as posters or flyers. (All members should participate in the distribution of the advertisement documents to spread the information as widely as possible.)
•    Arranges equipment and set-up requirements with hiring organizations.
 
Secretary:
•    Takes charge of all correspondence to individuals or community organizations.
•    Takes notes at all business meetings of the ensemble and makes them available to members.
•    Keeps historical records for the organization, including, but not limited to, printed programs, yearly rosters, names and contact information for all the current members and possible substitutes.
•    Arranges a rehearsal space with proper equipment.

    At an early stage, it is also important to determine how the group will make decisions. A strict democracy among a small group of peers may work well, but in a larger organization, or one with a number of younger members, the group organizer or an elected leader may need to make some choices. Other things to consider are how to handle personal conflicts and members who fail to come to rehearsals or who do not complete their job responsibilities. Preparing a written code of behavior and procedures for resolving conflicts in advance, avoids the problem of making difficult choices when tempers are high.

    Starting a flute ensemble for enjoyment or profit takes some work but is well worth the time and effort. It can lead to new friendships, rewarding experiences, and increased knowledge of performance practices and music written for your ensemble.        

The post How to Start and Maintain An Adult Flute Ensemble appeared first on The Instrumentalist.

    Bálint graduated from the Franz Liszt Academy of Music of Budapest in 1984. From 1981-1991 he was solo flutist of the Hungarian Radio Symphony. With the help of the Georges Cziffra Foundation his international career was launched in 1986. From 2000-2007 he was the solo flutist of the Hungarian National Philharmonic Orchestra. János Bálint is the flute professor at the Musik Hochshule in Detmold, Germany and a supervisor professor at the Music Academy of Kragujevac in Serbia. He is active as a soloist and masterclass professor throughout the world.

What teachers and flutists influenced your playing and teaching?
    My first four flute professors were clarinet players. At the beginning we played table tennis more often than the flute at lessons. My next more serious flute professor was a lawyer who refused to collaborate with the communist leaders during the communist regime. He resigned from his position and played solo piccolo in the theatre and started teaching the flute. I admired him and am the most grateful for him.
    My playing was strongly influenced by Jean-Pierre Rampal, and my teaching by Aurele Nicolet. During the cold war Hungary was behind the iron curtain which made it very difficult for me to travel and attend masterclasses. I was well over 30 years old when I met them personally. 
    Before I met Nicolet, many flutists asked if I were a student of Nicolet. When I met him for the first time, I told him this and asked if he would give me a lesson so I could say I had indeed studied with Nicolet. He laughed and said, “Ok, you can come. We can play duos a little bit and drink some wine, but forget the lesson as you do not need it.” I think it was the biggest compliment I have ever received.
 
Which etude composers did you study? 
    In the first years of study I learned over 800 etudes including Gariboldi, Moyse (10 Books), Platonov, Jeney, Wehner, Eördögh, Köhler, Andersen, Selected studies of Tomaszewski (5 books containing 200 selected studies), and Taffanel-Gaubert. I am planning to write a methodological book on flute playing and musicianship one day. 

What were your first experiences as a professional musician?
    I began my career as an orchestral musician when I was 20 when I won the solo flutist position with the Hungarian Radio Orchestra. At the time I was a third level student at the Franz Liszt Music Academy of Budapest, Hungary. Since I was so young, it was a big challenge for me and difficult at times, but I was able to perform with great conductors such as Matacic, Simonov, Rozdietvenskiy, Patane, and Solti. The concerts of the Hungarian Radio Symphony have a live broadcast and are also public concerts.
    My teaching career began in 1984 when Michel Debost asked me to be his teaching assistant for his masterclass in Assisi, Italy. Earlier in the year I had entered the Ancona, Italy International Woodwind Competition. My woodwind quintet won the first prize, then I won as the top flute player, and finally in the final competition composed of all first place winners, I became the Vincitore assoluto or absolute winner. As a result, I was offered to play a concert in Assissi at their summer festival Amor. Debost heard this concert, and my teaching career began.

Who do you teach at the Hochshule fuer Musik (Detmold)?
    Currently my students are all from Europe; however, in the past I have had many international students, including flutists from South America, the United States and Asia. Luckily, study at the Hochschule for Musik in Detmold is tuition free.
    Flutists either study at the orchestra center with studies for those who want to be orchestral musicians or enter the soloist class for those who would like a solo career. At the orchestra center, flutists focus on audition training, mental concentration, sectional rehearsals, and orchestral performance besides flute lessons.
    Flutists studying to become a soloist only have flute lessons. As part of the curriculum they take part in international flute competitions. They do not have to write a diploma thesis, but do play a diploma concert.
    At the moment I have 12 students; most of whom would like to play in an orchestra. In Germany there are about 130-140 orchestras so there will be employment possibilities for them in the future.
    Flutists receive a 90-minute per week private lesson and a 30-minute per week private lesson on playing the piccolo and orchestral excerpts. Once a month in the evening, we have a seminar in a masterclass format where we analyze one of the great masterpieces for flute and discuss performance and pedagogical issues. At my school I am the only professor who teaches such a class, but I think it is important to do so. 
    My curriculum for first-year students is to help them develop a strong foundation in basic musicianship and in playing the flute. I try to correct any weaknesses they may have. With my masters students I work on the stabilization of everything technically and musically, and for doctoral students the concentration is on fine tuning interpretation, stage presence, and helping them find their individual voice.

What is your concept of sound?
    For me, there are seven basic characteristics to consider when making a sound. Sound should be natural and balanced (homogeneous) in all three octaves. It should work throughout a wide dynamic range and have the correct intonation. Sound should work for every type of articulation with no changes in sound quality, and finally, it should have a lot of colors and be expressive.

How do you teach students to develop an excellent articulation?
    It may seem strange to say, but articulation is determined by the position of the tongue in the legato. The tongue has to be kept behind the teeth without tension, and it must not disturb the way of the air.

What are the biggest problems you hear in students’ phrasing?
    I think the biggest problem occurs when a flutist has not learned the difference between Classic and Romanic styles. They often play a mixture of the two. Another problem I hear is playing without attention to dynamics. In their early stages of development not playing dynamics may be a technical issue, but later it is a question of temperament. 

How do you guide students through the competition process?
    Not every student should enter competitions. I only send students to a competition if they possess strong musical and technical groundings. The student should also be the competitor type. At first I have students start at smaller competitions where the competition repertoire is simpler.
    If the competition rules allows for the flutist to choose the repertoire, we always choose material that is best suited to the strengths of the flutist. We select pieces that will not become boring during the preparation process. We never choose an extreme style or way to play any piece in the repertoire.
    Preparation for any big competitions begins five or six months in advance. During the preparations we follow a schedule alternating five weeks of intensive work followed by one week of relaxed work. Relaxed work means playing what the student likes. Before any big competition flutists should perform the competition repertoire in at least three or four public concerts.

Since you play 50 to 60 concerts annually, which concertos do you prefer to perform? 
    I enjoy the concertos by Mozart, Bach, and my transcription of Mendelssohn’s early violin concerto in D minor. I performed this concerto on the National Flute Association’s Gala Concert: Orchestra Night on August 10, 2013 in New Orleans with Ransom Wilson conducting. Playing chamber music with other good musicians is always a pleasure too.

Have you made other transcriptions for flute?
    I have made about 20 transcriptions. At the early stages in developing my career, I did not want to copy others’ repertoire, so I began making transcriptions. I think this experience helped me improve musically. I was also in demand because I played a different repertoire from everyone else.  

What are your future plans?
    I would like to continue playing as many concerts as possible. About 25 years ago, I transcribed the Paganini Violin Concerto for flute and orchestra and recorded it in 1991. Now I would like to publish the work. Other plans include making a CD and writing a book about playing the flute.    

* * *
Personal Life

    My father was a doctor and my mother taught mathematics and chemistry. Neither were musicians. I am married, and we have three children. My wife, Rozalia, is a high school teacher. Our son, age 26, is a university student studying choir conducting. Our older daughter, age 16, is a guitar student at the best conservatory in Budapest, and our younger daughter, age 9, plays the cello and studies ballet. 
    We live in downtown Budapest, but we have a holiday home at Lake Balaton where we renovated an old, big peasant home. The former stable was converted into a concert hall. In the summer we invite our musician friends and most talented students for a holiday. While they are visiting, we give three or four free concerts for the local residents. Needless to say, they love the concerts and don’t want to leave afterwards.
    I love playing football, watching sports and sailing. As a 14-year old boy, I wanted to be a professional football player, but my parents were opposed to this. I was also a very good swimmer, swam 10 kilometers every day, and was a prize-winner at a national swimming championship. I also like to read especially anything to do with history and geography.

Teaching

    János Bálint has taught masterclasses in Finland, Austria, England, Italy, Luxembourg, Germany, Japan, Taiwan, Korea, Switzerland, France, Poland, and most other European countries. He also has served as a juror at most of the important international music competitions in the USA, Japan, Italy, Poland, Serbia, Slovenia, Austria, Hungary, Germany, and France. Students from his private and university studio who have won competitions are listed below.

Prizewinning students:
1992 Altamura Mercadante Competition: 1st prize Sutyinszky Beáta, 2nd prize Embey-Isztin Zsófia
1993 Riva del Garda Syrinx Competition: 1st prize not awarded, 2nd prize Sutyinszky Beáta
1994 Roma Valentino Bucchi Competition: 1st prize not awarded, 3rd prize Embey-Isztin Zsófia, Special prize Kunszeri Márta
1996 Prague International Music Competition: 3rd prize Kramarics Katalin
1997 Viggiano Lorenzo Competition: 1st prize Kramarics Katalin
1997 Roma Syrinx Competition: 1st prize Varga Fruzsina
1997 Paris Chamber Music Competition: 1st prize Quintett
1998 Paris Rampal Competition: 1st prize not awarded, 2nd prize Szabó Rozália, Special prize Kramarics Katalin
1998 Trapani Chamber Music Competition: 1st prize not awarded, 3rd prize Quintett 
1998 Tokyo Flute Competition: 3rd prize Tohko Iwase
2002 Krakow –International Flute Competition: 1st prize Katalin Kramarics
2003 Napoli – International Young Flutist Competition: 3rd prize Michela Caser
2004 Krakow – International Flute Competition: 4th Prize Izabella Czajkowska, 5th Prize Vera Lang, 6th Prize Maiko Ichiguro
2005 Beograd – Konjovic Young Flutist Competition: 1st Prize Jagoda Sudujko
2007 Kuhlau International Flute Competition: 2nd Prize Duo Category: Katrien Lissens-Tobias Flügel
2008 Krakow – International Flute Competition: 2nd Prize Anita Farkas
2009 Bonn – Deutsche Musikrath Wettbewerb: Finalist Anna Klie
2009 Dabrowa Gornicza – International Flute Competition: 2nd Prize Gabriele Bertolini, 3rd Prize Yi-Hsien Liao
2009 Novi Sad – Eberst International Flute Competition: 1st Prize Lívia Duleba, 2nd Prize Gabriele Bertolini, 3rd Prize Márfi Eszter
2010 Wuppertal– Chamber Music Competition: 2nd Prize Gabriele Bertolini
2010 Wroclaw –Polish National Flute Competition: 1st Prize Wioletta Straczek
2010 ARD International Flute Competition: Semifinalist Lívia Duleba +Tímea Acsai
2011 Krakow – International Flute Competition: 4th Prize Lívia Duleba, 6th Prize Wioletta Straczek
2011 “Förderpreis Musik” der Gesellschaft zur Förderung der Westfälischen Kulturarbe Münster: Anita Farkas

Bálint’s Recordings
Capriccio Label (Germany)

10498 Historie du Tango flute and guitar
10735 Carulli: Double concerto
10530 Salieri: Double concerto
10584 Holst: Fugal Concerto
10505 Barber: Capricorn Concerto
10757 Original transcriptions for flute and guitar
10509 J. Chr. Bach: Sinfonie concertanti Vol. 1-4
10748 Miniaturs for flute and harp
10831 Carnevale di Venezia (flutes and chamber orchestra)
Hungaroton Label (Hungary)
31481 Mendelssohn violin concertos (flute version)
31661 Vivaldi: Four seasons
Paganini : B-minor concerto (flute version)
31671 Madarász Iván: Concerto in F
32051 Flute Pearls
32280 Dvorák: Sonatina in G major
Schubert: Introduction and Variations on “Trocken Blumen”
Cesar Frank: Sonata in A major for flute and piano

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Embouchure Basics: Placement and Shape
    The biggest difference between the flute and piccolo embouchures is the size difference. Since the piccolo is so much smaller, the embouchure has to be adjusted accordingly. It always helps to place the piccolo slightly higher on the lower lip than basic flute placement due to the smaller size of the instrument.
    I play with a slightly right sided aperture, meaning the opening between my lips is not perfectly centered, but is slightly to the right of center. This is due to my teardrop-shaped lip. A teardrop shape refers to the fullness of  the skin in the center of the lips. My top lip is pitched more like a roof and is not straight across. The ideal anatomical shape for the top lip of a flutist is one that is straighter across, but there are many players with beautiful tones who were born with a teardrop shape to their top lip.
    I find it helpful to make sure that the piccolo is centered on the off-center aperture, which for me means placing the piccolo ever so slightly to the right side so the instrument is in the perfect place to coincide with my anatomy. Many players play off center, so experiment with this idea. Also, remember to consider the angle of the instrument horizontally. In other words, the piccolo has to be parallel to the aperture as well. Even though the piccolo is tiny, it is not held parallel to the floor. (A parallel position is often seen in marching band show competitions.) Experiment with this angle to find the spot where the tone really rings.
    I find that my lips are placed slightly more forward than my flute embouchure, which gives the airstream just the right boost to reach the back wall of the embouchure hole. The piccolo’s smaller target space demands a higher angle for the airstream.

Flexibility
    When musicians speak about flexibility, they usually refer to two separate concepts: being able to sound great in any octave, and being able to make smooth transitions between octaves. I usually warm up on the piccolo by starting in the lowest octave (see Flute Talk, January 2014, Let’s Talk Picc). This approach makes sure that my embouchure knows the perfect placement for every note from the bottom of the register. To work on smooth transitions between octaves, there is no better exercise than arpeggios of any kind. Start small, with only a one octave range if you are new to the piccolo. As your experience increases, make those arpeggios larger, eventually encompassing the full range of the instrument. One of my favorite exercises is found in the Towarnicki Studium Techniki book, page 119. For flexibility work, I practice these slurred by the measure. You can always change it up a little bit and practice it single and double tongued.

    Flexibility may also include being able to stay in great shape for flute playing, since piccolo players switch back and forth quite a bit between the two instruments.
    A great exercise to maintain flexibility is to play on the alto flute after practicing piccolo but before you go back to the C flute. This ensures that you must open the aperture fully and completely. When I need to spend a lot of time in the 3rd octave of the piccolo, I make sure to practice a lot of low long tones on the C flute to keep my embouchure in good shape.

Endurance
    When musicians speak about endurance or strength, they usually are referring to the ability to be able to play without fatigue and still sound focused. I believe another component is consistency of sound as well. This means that the player is always able to have notes speak cleanly with a glorious tone.
    When first working with the piccolo, I always tell students to limit their range and only play up to E6 for the first two weeks of practice. Then they expand the range by thirds, working to high G, then high Bb, and last of all, conquering high B natural and C. Remember that for many piccolo players, high B and C will work best with no right hand pinky (D# key closed). Also, it may help to use the first trill key for high B instead of the second trill key. This may help the note speak better and also lower the pitch. Once a player can work through the entire range of the instrument with a good sound, it is time to develop consistency.
    I never play to the point of fatigue in my practice sessions, but try to practice to about 80% of the fatigue point. Limiting the amount of time practicing is a good way to prevent total fatigue. I never go beyond 45 minutes without taking a short break, and if you are new to the piccolo, even 15-minute chunks of time can be productive as it will give you enough time to work on a concept correctly and give you time to catch yourself doing something right without any physical or mental fatigue to sabotage the best efforts.    

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Basic Skills
    The basic cueing motion is the downbeat. A downbeat cannot exist in a vacuum and requires an upbeat to be operative. To give this upbeat, flutists should start with the end of the flute rather lower than usual, then raise the end and bring it down decisively, with an ictus at the bottom, just as a conductor would with a baton. The upbeat must be in time, or indicate a clear subdivision of the pulse. To complicate matters, some rhythmic cues occur on odd beats, which means that the flutist must indicate a beat pattern with the end of the flute. For example, a typical cue given on the fourth beat of a 4/4 measure requires a horizontal upbeat. A cue given on the second beat of the bar requires an upbeat that looks like a small downbeat. No matter their position, upbeats should be smaller than their downbeats.
    A beat pattern is often necessary when playing with a small group. Just as a conductor uses a “floor – left wall – right wall – ceiling” pattern for common time, a flutist leading a group should use a “floor – front wall – back wall – ceiling” approach with the end of the flute. For triple meter eliminate the front wall move. If all of the motions are simple up and down patterns, or a cue is given on an odd beat, you will look like a flute-playing bobble-head doll, and colleagues will be confused which beat the group is on. Sometimes it is possible to copy the violinists and give a little sniff through the nose, perfectly in time, for the upbeat.

Other Moves
    In a chamber ensemble, flutists often cue the cut-off at the end of a movement. One way to indicate a cut-off is to draw a letter O with the end of the flute or move the end of the flute forward and back as if ringing a doorbell. A diminuendo can be indicated by slightly lifting the end of flute so all musicians know how to pace the change. A doorbell movement can also be used to indicate note length and accents. 
    Visual cues can be important as well. Know the music well enough so that you can frequently look up. Place the music stand far enough away from you and just high enough so that your line of sight to colleagues is clear. Skilled chamber players constantly lift their eyes up off the music and share the musical moment with their colleagues. This is what I call fun, and the audience likes it too.
    Cueing to a pianist requires some modification. If you stand next to the piano, sight lines are a big problem. It is better to stand in front of the crook of the piano. The pianist can see you clearly, but you should turn a bit towards them for major cues. Use the downbeat motion described previously for most cues, and tempo indications. Beat pattern is not so crucial here, but the ictus of your beat is very important in a flute and piano collaboration, because of the precision of the piano’s attack.
    Principal flutists in orchestras sometimes find it helpful to move for the benefit of the section, or for winds sitting behind them. Keep these motions to a minimum, unless the style of the group (such as the Berlin Philharmonic) indicates more liberal motion. Some orchestras move a lot and some very little, but in any orchestra you do not want the conductor thinking there are too many cooks in the kitchen and that you are one of them. If giving motion to indicate an entrance in a slow tempo, start your upbeat move after the conductor gives his, and be rhythmic about it. Sometimes for section cues, I slide a bit forward on my chair so my fellow flutists can see me peripherally. Many times, I wait for colleagues to ask me to cue, or I courteously offer to do so.

Practice
    When learning the moves described above, start by practicing them in a mirror, without the flute. You should know the music very well, so study the score. Make indications and cues in your part. The better a musician you are, the easier it becomes to cue with confidence. If you are learning to cue, remember that just being able to give some important cues and upbeats in the right spots can make a huge difference to the ensemble, and especially to an accompanying pianist.
     Head, hands and arms move together as a unit. Think of a triangle drawn from the footjoint end of the flute to your forehead, then down through the embouchure hole of the flute to your sternum, and then a straight line back over to the flute end. Hands and arms are included in this tangent. This triangle should stay properly shaped and relaxed for all movements. Moving any part independently interferes with good position and therefore, will negatively affect tone quality.
     When giving precise cues, do not accent. This can be difficult. After mastering the basics, get comfortable with the hard stuff: giving large, accurate cues and tempos when playing legato, gentle dolce cues, and precise cues while entering pp.

Be Appropriate
    Do not conduct or give cues when accompanying a more important part or solo, and do not move to the point that it becomes a distraction to others. Keep motions within the character of the music. Often, less is more. Start the group off, but then let it play. Smaller, precise motions are always better. Mastering the art of movement in chamber music takes years but is an integral part of your musicianship and deserves the same attention as other musical aspects.   

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