•    Participate in competitions in the United States, China, and Europe
•    Advance non-classic flute music through flute programs in India, Peru, and Argentina

•    Advance Baroque flute study at the Bach Soloists Academy in San Francisco and the Boston Early Music Festival

•    Publish a book analyzing flute orchestra repertoire

•    Attend masterclasses at Orford Center, Domaine Forget, Brevard, Sarasota Music Festival, Innsbrook Institute, and Aria International, Aspen and other summer programs.

•    Complete degree recital requirements

•    Provide performances by solo flutists and ensembles.

•    Commission new flute music

•    Provide instrument maintenance

    FFF is a New York not-for-profit corporation and is exempt from U.S. federal income taxation under Section 501(c)(3) of the Internal Revenue Code. Contributions to 501(c)(3) organizations are tax deductible for U.S. federal income tax purposes to the extent permitted by law. If you wish to contribute, checks may be sent to: Friends of Flutes Foundation, Attention: Judith Thoyer,   Paul Weiss LLP, 1285 Avenue of the Americas, New York NY 10019. Paypal (including credit cards) is available through the website. If you wish to apply for a grant, application materials and information are available at:

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How do you align the headjoint with the body?
    The far edge of the embouchure hole is lined up with the middle of the key mechanism just like the Rockstro position for flute.

How do you care for your wooden piccolo?
    I do nothing special other than carefully swabbing the bore during practice or performance breaks.

Do you wear one or two ear plugs?
    None.

What alternate fingerings do you use on a regular basis?
    In slow or moderate tempos I always finger the upper C#: 0230/1004. In rapid scale-type passages I almost always use R2 instead of R3 for F#. Of course I have a large number of special fingerings for p and pp passages in slow or moderate tempos. 

How do you warm up?
    I play two pages daily from the Extended Intervals chapter of my Flutist’s Vade Mecum book, 2nd edition.

Do you have any tuning tricks when playing in an orchestra?
    Blending with the rest of the orchestra is the prime requirement for the piccolo, and that requires constant attention to intonation and tone quality. This sometimes requires special fingerings. I always give special attention to any prominent piccolo passages that are in octaves or unison with the xylophone, glockenspiel, or celeste, especially in works like Manuel de Falla’s Three-Cornered Hat and Sergei Rachmaninov’s Symphonic Dances. I do pre-rehearsal run-throughs with those players. I also do some private sessions with the Eb clarinet for works like Hector Berlioz’s Symphonie fantastique.

What are your thoughts on vibrato when playing the piccolo vs. the flute? 
    I am much more discreet on the piccolo, almost as if I were playing the clarinet. In fact, when I play the following phrase from Strauss’ Don Juan in unison octaves with the first clarinet, non-vibrato is essential for ensuring perfect intonation and blending.

    Similarly, at rehearsal number 8 in Ravel’s Bolero, (see below) the two pianissimo piccolos (second piccolo in G major, first piccolo in E major) enhance the third and fifth harmonics respectively of each note of the first horn’s C major mezzoforte solo line. In addition, the celeste (marked piano) doubles the horn’s C major theme. The beautiful composite of colors that the piccolos and celeste add to the horn sonority would of course be ruined if the piccolos used vibrato.

    When Bolero is included in piccolo audition lists, it is the E major version that is intended, but it is actually printed in the 2nd flute part, whereas the less demanding G major version is inexplicably printed in the regular piccolo part. Thus the two players must switch their parts for that section.
    Berlioz’s La damnation de Faust is another notorious example of mixed-up placement of parts. For example, in Scene 12 there is a long virtuosic section (Will o’ the Wisp) for three piccolos (Rehearsal number 94) that eventually segues into the famous Menuet des follets (Rehearsal number 104). However, the 1st piccolo is printed in the 1st flute part, 2nd piccolo is in the 2nd flute part, and the 3rd piccolo is in the actual piccolo part. In most orchestras the principal flute, after consulting with the principal piccolo, will ask the library staff to edit the parts and restore the proper hierarchy as follows: piccolo plays 1st piccolo, 2nd flute plays 2nd piccolo, and 1st flute plays 3rd piccolo. (Mahler’s Symphony No. 3 has similar issues.)

Do you single tongue most things or do you double tongue? 
    I always double-tongue whenever the tempo is too fast for clear single-tonguing.

What are the top ten excerpts a piccolo player should know well?
    Beethoven Symphony No. 9 in D minor, Op. 125 (“Choral”); Berlioz La damnation de Faust, H 111, Menuet des follets; Bartok Concerto for Orchestra, Sz. 116, BB 123 (3rd movement); Ravel Daphnis et Chloé; Rossini Semiramide Overture, Shostakovich Symphonies Nos. 6, 9, 15; Stravinsky Firebird, Tchaikovsky Symphony No. 4, Op. 36. 

Which piccoloists influenced your playing?
    Ernest Wagner, former principal piccolo of the New York Philharmonic was an important influence. When I was in junior high school, I always listened to the weekly Sunday afternoon radio broadcast concerts of the NY Phil under John Barbirolli. I admired the artistry not only of Ernest Wagner, but also that of John Amans, the esteemed principal flute. By coincidence, my very first method book was Foundation to Flute Playing by Ernest Wagner, so I had a special incentive to pay close attention to and emulate, his playing. Just recently I was pleasantly surprised to learn that Wagner had actually been a member of the Chicago Symphony back in 1894-98, and his father, Ernest Wagner, Sr. was in the percussion section.
Ben Gaskins was another influence. He was principal piccolo in the NY Phil (having succeeded Ernest Wagner) and was later in the NBC Symphony under Toscanini. Gaskins and I both joined the Chicago Symphony in 1954 under Fritz Reiner. Ben was principal piccolo and I was assistant principal flute. I was privileged to learn many “tricks of the trade” from him. Ben died suddenly in 1957, and I succeeded him.

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Bach: Partita in A Minor, BWV 1013
    Let’s start with J.S. Bach and the case of the missing four measures. In measure 35 of the Partita in A Minor for solo flute, Sarabande, there is a problem in many editions. When it is time to restate the opening four-measure theme, like starting a second verse, various editions instead jump to the development, which is similar to the original development starting with the fifth measure from the beginning. It seems unlikely that Bach would state his theme at the beginning and never again. The only surviving manuscript is that of the copyist Bernhard Christian Kayser (1705-1758), who might have been momentarily distracted and turned a page too soon. At any rate, inserting the opening four bars restores the musical balance to the beautiful Sarabande.

Sarabande, Bars 35-40.

Chaminade: Concertino for Flute and Piano, Op. 107
    When performing this piece, check to study the first edition of the work which was published by Enoch & Cie in 1902. Many of the questions about possible note and dynamic mistakes found in modern reprints can be answered in this edition. For example, in modern reprints the F# grace in measure 145 should be an F double sharp to match measure 143. It was printed correctly in the first edition.
    In the cadenza in the first edition the only dynamics printed are the two crescendo/diminuendo hairpins which occur on the final trill and the phrase just before. Around 1943, I studied with the marvelous teacher Mildred Hunt Wummer in New York City. She thought this grand cadenza should be performed in the manner of one of the big Romantic piano concertos. The F# major section should be forte and dramatic with a sharp cutoff on the F#6, and the next section in F# minor should be played like a distant echo with the final A7 fading away. Then it is time for brilliance again with the three arpeggios, perhaps playing the second one with a darker tone and returning to brilliance for the last one. If you see the logic of these dynamics, you will find a new excitement in this popular solo.

Chaminade Cadenza

Griffes: Poem
    The Poem was written by Charles Tomlinson Griffes (1884-1920) in 1918 and first performed on November 16, 1919 by flutist Georges Barrère with the New York Symphony Orchestra, Walter Damrosch conducting. The work was published by G. Schirmer in 1922, edited by Barrère. The work is scored for solo flute, two horns, percussion, harp and strings.
    In 1982 musicologist Donna K. Anderson learned that I was performing the Poem with the Syracuse Symphony Orchestra with guest conductor Jean-Pierre Rampal. She had been working on The Works of Charles T. Griffes: A Descriptive Catalogue (Ann Arbor, 1984) and arrived at my studio with a photocopy of the recently surfaced solo flute manuscript which she had obtained from a secretive owner in Spain. Her scholarship reports many discrepancies between the original manuscript and the Georges Barrère edited version. (See Flute Talk, March, 2004). For example at letter L, the slur starts on the B7, not at the beginning of the next bar. This enables the flutist to sing on those high notes and connect better with the main theme from the opening. After working with Anderson, it was marvelous to play the Griffes as the composer intended. Before performing the work, check the current scholarship on the composition for performance suggestions.

Griffes Poem

The Boehm Flute
    There are other performance improvements which might make composers like Bach and Beethoven say thank you to modern flutists. We can certainly make use of the increased usable range of the Boehm flute. For instance there are numerous examples in the finale of the Bach Brandenburg Concerto No. 5 where the use of the low B foot makes musical lines flow more logically. For Beethoven, it is the upper register that needs extension. One example in the Symphony No. 9 is the slurred scale that ascends to an A and then descends for the B and C. Beethoven, knowing that pre-Boehm flutes did not have the high note capability, had to drop the octave for the final B and C. Before changing your part, be sure to check with the conductor.

Beethoven Symphony #9

Sense of Humor
    Speaking of changes, it is interesting to see how some composers show their irritation or fascination with other music by spoofing it. For example Béla Bartók satirized Dmitri Shostakovich’s Symphony No. 7 in C major, Op. 60, “Leningrad” (1939-1940) in his Concerto for Orchestra (1943). In the passionato flute solo in Johannes Brahms Symphony No. 1, fourth movement, the opening notes of the flute solo echo the Westminster Chimes theme. It is commonly thought, but not proven, that the first four notes are taken from the fifth measure of the aria “I know that my Redeemer liveth” from Handel’s Messiah. This theme is also played by the bells in the Red Tower in Halle, the city of Handel’s birth.

Brahms Symphony No. 1, Adagio

    I encourage you to be open-minded and continue to research how composers wanted their music played. A willingness to make adjustments can also lead to more interesting performances.

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Prep Work
    A metronome is essential for practicing this excerpt. While most audition lists suggest a tempo of 88, the more likely tempo in performance will be 80 or 84. Unfortunately in most performances the tempo slows down as the movement progresses. Since the flute solo appears at the end of the movement, the flutist has to play where the tempo has grooved. While a slower tempo may be better for tonguing skills, it can wreak havoc with breathing plans.
    Begin students’ work with the G minor scale. To have success in the tonguing aspect of this excerpt, the flute should be balanced firmly in the chin. So many flutists try to play this excerpt with the flute loose in the chin and wonder why the notes do not sound clearly. As they are tonguing, the flute is bouncing around. It is very difficult to direct the air to one minute point on the blow edge if the flute is not still. Having a still flute contributes to the clarity of the tone when tonguing quickly.
    Michel Debost suggested placing the right hand on the barrel of the flute and pulling the instrument into the chin. While playing, the left index finger maintains this stability. Help students develop the habit of placing the right hand on the barrel and playing low G before starting each step of the prep work.
    The angle of which the flute is in the chin is another contributing aspect to being successful in low, fast tonguing. Since there are slight differences in how the embouchure hole is cut from one flute to the next, slowly move the end of the headjoint or flute forward to find the sweet spot or ring in the tone on a specific flute. Usually the sweet spot is farther forward (away from the player) than most players expect. This means the lip plate may be anchored more firmly on the player’s left side of the chin than on the right. Let your ears be the judge of the best placement.
    On an ascending and descending two-octave G minor scale (melodic and harmonic forms), have the student play in a fast 3/8 (in 1) each pitch with six staccato notes using the breath or HAH attack. The notes should be played staccato or detached. The breath or HAH attack is done in the vocal folds. There should be no movement in the chest or abdomen. If there is movement, then have the student play softer. Each measure is followed by a measure of rest. This method of practicing is called chunking. The first note is the strongest.

    Repeat this concept on scales in thirds and sixths, on arpeggios, on seventh chords and on etudes in compound time. The Joachim Andersen, 24 Studies, Op. 33 offers some excellent examples. (Nos. 3, 5, 8 and with some adjustments Nos. 9, 10, 11, 13, 16, 20, 23. Notice some of the examples are triple tongued. A good triple tongue will help in practicing some of the following exercises.)
    The goal is to figure out how to do the breath or HAH attack cleanly before adding the tongue. The student should also review etudes in G minor from the works of Popp, Soussmann, Gariboldi, Bergibuier, Hugues, and Andersen.

Tonguing
    Once the embouchure plate is firmly anchored in the chin, the embouchure hole should be level. Students should have a clear picture where they are directing the air column on the blow edge of the embouchure hole. The aperture or opening in the lip should be aligned with the embouchure hole of the flute. Use a mirror to check this alignment.
    Repeat the G minor scale as in the previous example, adding the THI for the attack. While tonguing, maintain the breath usage of the HAH staccatos. This will make the tongued notes come alive with energy, clarity, and life. Repeat playing the six-note chunk with the KEY, TK and TKT. When using the TKT, think of this passage being in 2/4 with two triplets.
   The double- and triple-tonguing should be as far forward in the mouth as possible (THI-KEY). Encourage students to think of the THI as being on the top lip or in the aperture and the KEY as being as close to the front top teeth as possible. Once students are proficient with the technique on scales, scales in thirds and sixths, arpeggios, and seventh chords, play the excerpt in the same manner i.e. six notes (or one measure) followed by an equally long rest. First use THI, then KEY, then TK and TKT. Repeat this chunking exercise with various articulation patterns such as slur 2, tongue 4; slur 3, tongue 3; slur 4, tongue 2; slur 5, tongue 1; tongue 1, slur 5; tongue 2, slur 4; tongue 3, slur 3; tongue 4, slur 2 and all slurred.

The Baroque Idea
    When playing pieces in 38 in the Baroque era, musicians often grouped or phrased bars together by twos creating what we would now know as 68  with the first beat stronger and the second beat weaker (Bach Brandenburg No. 4). Repeat the exercise above chunking by two bar segments. The first bar should be slightly stronger than the second but still at a p level. Students should discover some patterning (scale figures, sequential material) when chunking by two bars.
    Playing by two bars first use THI, then KEY, then TK and TKT. Repeat with various articulation patterns such as slur 2, tongue 4; slur 3, tongue 3; slur 4, tongue 2; slur 5, tongue 1; tongue 1, slur 5; tongue 2, slur 4; tongue 3, slur 3; tongue 4, slur 2 and all slurred. Each two bar segment will be followed by a bar rest. Use the metronome.

Chunking
    Make each chunk as perfect and effortless as possible. If any movement in the head, chest, or abdomen occurs, direct students to play softer. The first note of each chunk is the loudest and the following notes decrescendo. As players go into the rest, they should feel a release of the tension in the hands. This will help them develop relaxation when playing the entire excerpt. Once students can chunk each measure well, chunk by two measures, three measures, four measures etc. with THI, KEY, HAH, TK and TKT. 

Putting It Together: Part A
    The first problem encountered when putting it together is the use of the air, or making the air last until the next breathing point. Notice that besides the initial breath at the beginning, there are three breath marks in the main body of the excerpt. For this exercise, omit the first pick-up note. There are 10 counts to the first breath, 12 counts to the second breath, and 19 counts to the third breath.
    With the metronome set on 88 and the right hand on the barrel, have students play a low G while tonguing 10 counts of six sixteenth-notes on one breath until they can easily achieve this goal. The secret is not in taking in more air, but in letting the air out slowly. The angle of the air as well as the size of the opening of the aperture will contribute to the clarity of the sixteenth-notes. Remember the dynamic of this excerpt is piano except for the small crescendo the third bar after letter Q. Since Mendelssohn scored the accompaniment lightly with the strings playing on the first and third beats pp, the flute need not play too loudly. 
    Once success with this exercise is achieved, repeat the concept on a G for 12 counts and then 19 counts. Have students stretch their legs out in front of them while doing this exercise. This will keep them from using unnecessary tension in the abdomen. There should be no movement of the head, chest, or abdomen. As soon as these breathing patterns can be executed well, then repeat using the printed notes of the excerpt.

Putting It Together: Part B
    Having even fingers is a continual challenge for flutists. The repeated sequential patterns of C, D, Eb always spotlight the problem of moving from the C (with only two fingers on the flute) to the D (with six different fingers down). Have students practice this exchange in the mirror alternating slurring and then tonguing the two notes.
    Practice this excerpt with the two dotted rhythms (dotted sixteenth and thirty second and thirty second and dotted sixteenth.) Use the THI, KEY, HAH, and THI-KEY options.
    Practice this excerpt as if it were written in 2/4 with two triplets. The variance in inflection will feel different when using the THI, KEY, HAH, and TKT. Explore articulation patterns too (slur 2, tongue 1; tongue 1, slur 2; slur by three; slur 3, tongue 3 and tongue 3, slur 3.)
   Practice tonguing once on the first note and twice on the second note and then the opposite to develop the elfin-like tonguing effect this excerpt requires.

The Last Three Notes
   Many an audition has been ruined because a flutist played the last three notes too loud and too long. Record this phrase listening to keep the pp dynamic at the fifth and fourth bars from the end. Subdivide through the rests in order to place the first-beat eighth notes exactly on the beat. Play these notes lightly.

Final Polish
   Chunk by playing the first note of the measure followed by a rest, then two notes, three, four, five and six. Be sure that no matter the number of notes played, the notes are played on one blow of air. Repeat chunking one full measure, then two, three etc. Repeat this exercise working backwards from the breath mark.
   Alternate playing the excerpt all slurred and then double-tongued. The air stream used when slurring is the one to use when tonguing. Practice at a variety of tempos some of which are slower and others faster than 88.
    In the 26 Selected Studies by Henri Altès, the Scherzo is included in a duet form (No. 22). Many of the measures are taken from the first and second flute parts of the orchestral score. Practicing this duet mimics the experience of playing in an orchestra.   

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    Bülent Evcil wants to increase the popularity of the flute in Turkey and to represent Turkish flutists in the world arena. He is the solo flute of the Istanbul State Symphony Orchestra and the Istanbul Borusan Philharmonic Orchestra, and performs and teaches throughout the world. He began his studies with Mükerrem Berk at the State Conservatoire of Mimar Sinan University graduating in 1988 with the highest distinction. He continued his studies at the Royal Brussels Conservatoire with Marc Grauwels and Heidelberg-Mannheim Music Academy with Jean-Michel Tanguy. In 1992, Evcil won the second prize of the Best Overall Performer Award at the 4th James Galway International Flute Seminar in Dublin which led to his studies with Sir James Galway. Evcil has performed at flute festivals and conventions in Italy, England, United States, Slovenia, France, Kosovo, and Germany. He has released three albums Tango Zamani, Middle Eastern Miniatures, and The Virtuoso Flutist.

Kemal Atatürk was a great innovator and leader in Turkey. What was his influence on the arts in your country?
    If Atatürk had not lived, I would not be here and replying to these questions as a musician. (Kemal Atatürk was a Turkish army officer and the first President of Turkey. He is considered the founder of the Republic of Turkey.) He instituted a series of initiatives in the first years of the Republic. On April 27, 1924 the first orchestra was founded in Ankara. On September 1, 1924, the first conservatoire opened its doors with six students and a mission to develop Turkish contemporary music. In ten years there were music schools in Ankara and Istanbul, an orchestra and a band in Ankara, and school and community center choirs. This was an achievement because Turkey was a poor country that had just come out of war.
German professional musicians were imported to help with the musical development of the country. Paul Hindemith visited between 1935 and 1937 and paved the way for more German experts to come to teach and perform. Today, besides the top professional orchestra, there are six symphony orchestras and six opera orchestras plus many conservatories and music departments at universities.

What involvement have your parents had in Turkey’s musical life?
    My father is an extremely idealistic and successful music teacher. He worked with my mother who is also a music teacher in the village institutes. Unfortunately in the 1950s these institutes were closed down. In 1985 my father tried to revive Atatürk’s original concept of music education by preparing reports and regularly visiting Avni Akyol, a childhood friend and the Minister of Education of that term. Finally he managed to convince him. On October 16, 1989, the first fine arts high school opened. Today, there are almost 70 of these high schools. These schools are having a major influence in bringing music and the arts to the public. 

How do you think your parents’ involvement with music affected your artistic development?
    My parents founded polyphonic choirs in the music academies where they used to work. They competed in competitions and received prizes. They used to play and sing the polyphonic choir and orchestral works at home, and classical music was always on the radio. Since I grew up singing in choirs, singing was not difficult for me. Playing the flute to me is really singing through the flute.

How did you select the repertoire for your new recording The Virtuoso Flutist?
    The recording includes repertoire by Borne, Chaminade, Morlacchi, Godard, Briccialdi, and transcriptions of violin works by Sarasate, Monti, and Rimsky-Korsakov. No Turkish artist had made a recording of these virtuoso pieces before. I wanted to record this literature to provide inspiration for the new generation. I selected repertoire that I hope would get them fired up about the flute and flute playing. The Morlacchi, Borne, and Chaminade are always in my repertoire. I also wanted to put in some pieces from the violin virtuoso repertoire that I admire. Since one of my goals is for virtuoso flute playing to compete with virtuoso violin playing, I included the Sarasate and Monti which transcribe well for the flute.  
I have known Philip Moll who accompanied me on piano for the recording since I was a boy. He watched my progression as I was learning and maturing as a flute player. I admire him as an accompanist, not only because he is a living legend, but also because he is a warm-hearted musician of the world. Working with him and giving concerts with the pieces on this CD was a great pleasure. He was also a mentor by sharing his experiences and education.

What was your best lesson ever?
    I cannot say there is only one lesson. With every lesson I took from Sir James Galway, I received some information from his knowledge and experiences that were turning points in my life. From Raffaele Trevisani I learned about breathing. Lessons with J.M. Tanguy in Germany and Marc Grauwels in Brussels were important milestones in my life. Last year I played a concert with Davide Formisano. I learned so much playing Baroque music with him. That proves you are never too old to learn.

What were lessons like with Galway?
    I had my first opportunity to play for him in 1989 when I was 21 years old. The second time that I gained his attention, I played the Khachaturian Flute Concerto by heart for him including his cadenza. When he asked where I had found the cadenza, I told him I took it off his recording by ear. He was really surprised. Then he started our master-apprentice relationship by giving me the Khachaturian cadenza music as a gift. This happened at an international masterclass, and the Swiss media was there. He spoke highly of me before the press which made me so happy. Being his student was my biggest dream.
    He is a generous person and mentor. One time he came to Turkey to play a concert. At that time, I had an old Fiat 124. The concert venue was about 45 minutes away. The concert organizer had arranged for Sir James to travel in a luxury vehicle with a driver, but he said since I had come a long way to see him, he would ride with me in my modest car.
    While I was studying in Brussels, he sent me information about concerts he was giving in the area so I could attend. He made time after these concerts to teach me, and if there was an after concert gathering, he took me along with him. He is well-read and has ideas not only about the flute, but also about history, politics and human relationships. He also often took care of my travel expenses including my food. I learned a lot from him, not only about playing the flute.
    In addition to Galway, Mark Grauwels in Brussels, Jean-Michel Tanguy at the Mannheim Music Academy, and Professor Mükerrem Berk, who inspired me to begin music study, are the most important people in my musical life.

How does Galway teach the general set up for playing the flute?
    Generally his left foot is in front, and the right foot is in back. He balances the flute in three anchors: the right hand thumb, the left hand’s balance point, and the embouchure which merges in the lips. This positive posture mimics that of a self-confident famous opera artist. The air flow and projection process positively with this posture.
    His teaching is based on what he has learned by giving many concerts. I was getting ready to play a concerto with an orchestra, so I went to him for help. I was totally prepared and had memorized my part. I had actually memorized my part so that I could begin playing from any point. I could even notate the music and the orchestration was in my ears.
    I started playing and made a mistake at some point. He stopped me. I thought that I would start again from there, but instead he asked me which orchestral notes were played there and on which instruments. I was extremely surprised. Then he told me the notes and the instruments to be played at that point and said, “Bülent, know the whole orchestra score, not only the flute parts.” Since that day, I have tried to learn the whole score of whatever I play.

What led to your recent Turkish premier of the Lowell Lieberman Concerto for Flute and Orchestra?
    The Lowell Liebermann Concerto was premiered by Sir James Galway with the St. Louis Symphony Orchestra on November 6, 1992. I heard this work for the first time when he was preparing for that concert, and I was impressed. It has been my dream to premiere the work in Turkey since that day.
    Mr. Liebermann is a friend from social media, so I informed him about this premiere. I will also send him the recording of the concert. I think I did a good job. The rhythmic changes in the first movement are not difficult for a Turkish player because Turkish music involves many unsystematic rhythms. The second movement is so expressive, and the third movement is exciting in its brilliance. It is impossible for an audience not to get influenced with it. If you play with a clear and fluent power, the impression is doubled. The Turkish audience loved it. My new goal is the Turkey premier of Liebermann’s Concerto for Flute and Harp.

What are your thoughts about using breath?
   When we are talking or singing, breath taking is very natural and silent. However while playing flute, many flutists breathe loudly. In my student years when I observed my tutors, I saw that the virtuoso players were breathing silently and naturally. I tried to implement this type of breathing in my playing. I work with students to breathe naturally and silently. It prevents the throat from closing, so air flows naturally from the lungs. This type of breathing makes a sound which is more homogeneous and ensures that the sound is under control in a flexible way.

Do you have any special warm up exercises or techniques?
    Marcel Moyse De La Sonorite is my favorite. I also use the tone exercises by Sir James from his Weggis classes. Technically I do the major and minor scales in different articulations plus work in all three octaves. The exercises I make up help me overcome any difficulties I find in my solo, chamber, and orchestral repertoire. You have to think big while practicing. You have to practice as if you are playing a huge concerto in Carnegie Hall with the New York Philharmonic. You must consider every aspect such as musicality, articulations, and your perfect sound. Brain power is extremely efficient while doing this. In addition to flute exercises, I am also interested in fitness. If I can spare time, I go to the gym and if I can’t, I do sit-ups and push-ups at home.

Do you play in a woodwind quintet?
    I play in a woodwind quintet made up of the principal players of the Borusan Istanbul Philharmonic Orchestra. The name of the ensemble is Bosphorus Quintet and it is named after the unique Bosphorus of Istanbul. On our last program we played Rossini’s Barber of Seville Overture, Ibert’s Trois Pieces Breves, Taffanel’s Quintet for Winds, Debussy’s Children Corner’s Suite, Rota’s Petite Offrande Musicale, Agay’s Five Easy Pieces, and Bizet’s Carmen Suite.

What are your best memories from your first few years as an orchestral musician?
    My best memories are from the period that I played as the principal flute in Arturo Toscanini Philharmonic under the baton of legendary conductor maestro Lorin Maazel. He was an unbelievable conductor. The intensity of emotions he made me feel while conducting was amazing. His desire to reveal the talent in me always made my hair stand on end and made my eyes water. I became an utterly different orchestra musician after working with him.
    Another memory that I cannot forget is the Japan tour we made with the Istanbul State Symphony Orchestra. The whole audience in the famous Suntory Hall embraced us by applauding the orchestra without interruption for 20 minutes. Most of the musicians’ eyes were filled with tears. It was unbelievable.
    My young flutist friends who aim for an orchestra career should listen to orchestra repertoire frequently. When I wake up every morning and go to the rehearsal of my orchestra, I think how many people in the world can be as happy as I am to do this job and how lucky I am. If young musicians can reflect this happiness in their playing, this energy will definitely be felt in the auditions.
    Students should learn the entire flute part in all orchestral repertoire. They should study the complete orchestral scores too. I would also recommend memorizing some main solo parts. For example the solos in Brahms’ Symphonies Nos. 1 and 4, Mendelssohn’s A Midsummer Night’s Dream, Ravel’s Daphnis et Chloe, Stravinsky’s Petrushka and Firebird, Prokofiev’s Classical Symphony, Debussy’s Afternoon of a Faun, Hindemith’s Symphonic Metamorphosis, and Beethoven’s Symphony No. 3 “Eroica” are the first ones that come to my mind. Of course, they should study the excerpts with experienced orchestra flutists and conductors if they can. Orchestra conductors can offer many ideas to young flutists based on their experiences. I recommend flutists learn to play the solos by heart. Sir James used to demand entire solos from memory.

Do you think about playing the flute differently in orchestra than as a soloist?
    I play orchestral solos like a soloist, but with tutti parts I blend with my section and the orchestra. At the beginning of my orchestra career, I played too much like a soloist. You must study the complete score to understand your role in the composition. Sometimes you have to blow chords without using vibrato when playing in the orchestra.
    When playing as a soloist or orchestral flutist, I keep my overall sound the same but use different tone colors. Sound differences can happen in recording sessions, but of course this is also related to the sound technician’s competence. Generally I have my own sound in my ear, and I can hear that in most of my recordings. Turkish Radio Institution records our concerts every week, and I regularly listen to these recordings and do my own criticism about things to be fixed, developed, or that I should be more careful of etc. Recording and listening to your own sound is very important. I am trying to do this as much as I can so that I can evaluate myself and become better.

What are your goals for your summer masterclass?
    This summer I am organizing a summer school for flute at the Gümüşlük International Classical Music Festival held in Gümüşlük, a town on the Bodrum peninsula which is one of the most beautiful places of Turkey. Last year Philip Moll came, as he will again this year, to share his talent. I plan on holding this masterclass every summer for as long as possible. The class will be August 4-12 this year. 

Why are amateur musicians so important?
    Amateur musicians connect society and professional musicians. Often professional musicians are focused on practicing and performing for their jobs, so it is the amateurs who bring our cause to the public. This has happened to me many times as my amateur musician friends have connections that help me perform concerts and give masterclasses. Having a connection with people without the consideration of language, religion, race, professionalism or amateurship is
crucial.

    I want to increase the number of flutists in Turkey at all levels, including professionals, amateurs, and audience members. For this reason, I travel all around Turkey, even when I do not receive money to play, and give lessons. I am trying to reach the masses and introduce classical music to them with the huge energy and love that is inside me.  

* * *

Scale Practice with Articulation Patterns
On the scale play with each of the following articulation patterns.

Photo credits: cover image on home page: SEZAI KOCABIYIK,  other photos by BULENT OZGEREN.

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Thriller Triller
    Played with the side of the right index finger or the pad of the fingertip, the C# trill key has many useful functions such as:

•    Trilling from B to C# in the first and second octaves. Finger B, trill C# key
•    Trilling from C to C# in the first and second octaves. Finger C, trill C# key
•    Trilling from F# to G# in the top octave. Finger F#, trill C# key
•    Trilling from G to Ab in the top octave. Finger G, trill C# key
•    Trilling from G to A in the top octave. Finger G, trill C# key and 1st trill
•    Trilling from G# to A# in the top octave. Finger G#, trill C# key and 1st and 2nd trill keys
    If one is suitably fleet-fingered, trilling the C# trill and the first trill key can work very well in the Mendelssohn Midsummer Night’s Dream Scherzo, for the G to A trill the second bar after B.

Midsummer Night’s Dream, Letter B

    This same right-hand fingering combination (finger C and trill C# trill key and 1st trill key) works well for the second octave C to D trill found in the Dvorák Cello Concerto. Here the trill from C to D in measure 22 is integral to the melodic content of the passage and has a less auxiliary nature than trills usually have. This fingering produces a very suitable D natural with a good tone and excellent intonation. One can find many passages throughout the repertoire in which this trill is useful.

Dvorák Cello Concerto, Bar 18-25 after 6

Mojo Tremolo
    Beyond the C# trill key’s uses for trills, enough tremolos are made easier with the key to justify its purchase. Generally, any note fingered with the left hand can tremolo to a higher note no more than a perfect fifth above and in the same octave, by using the key either alone or in combination with the trill keys. Excluding trills of a whole or half step, there are at least 27 different commonly occurring tremolos made simpler by using the key.
 
•    Use the C# trill to tremolo from first octave G, Ab, A, and first and second octave Bb to C#5 (and 6).
•    Use the C# trill plus the first trill key to tremolo from first and second octave Gb, G, Ab(first octave only), A, Bb, and B to D5 and D6.
•    Use the C# trill key plus the first and second trill keys to tremolo from first and second octave G, Ab, A, Bb, B, and C to D#5 and 6.

    Here are three examples which demonstrate the utility of the C# trill key for tremolos.

Ibert Concerto for Flute and Orchestra – 4 before 44

Ibert Concerto for Flute and Orchestra – 4 before 64

Richard Strauss Ein Heldenleben, Op. 40

Über C#
    One of the best uses of the key is for playing middle C#. If you look around a bit on the internet, you can find references to this use, but I do not think it gets enough attention. The pesky C# in the staff plagues many a flutist daily as left on its own it will be sharp and have a hollow timbre. The C# trill key offers a couple alternatives. Finger a C5 adding the C# trill key for a lovely C# which is in tune at all dynamic levels. This is a particularly useful fingering for making a crescendo and playing at the top dynamic range such as in Edgar Varese Density 21.5.

Edgar Varese Density 21.5, measures 8-11


    This fingering can also be judiciously used in Claude Debussy’s Prélude à l’après-midi d’un faune. I would caution that this fingering tends to be a bit brilliant in timbre, so I would discourage its use in the opening solo. Throughout the rest of the piece, however, it works well, especially for projection. It is also very useful for passing tones, which may frequently be neglected in terms of tone and intonation, and articulated middle C#’s which can suffer from lack of focus. For passing tones, any time the C# is going to and coming from a note fingered with the left hand, it can be used. The Tchaikovsky Piano Concerto No. 1 is a good example of this.

Pyotr Illyich Tchaikovsky Piano Concerto No. 1, Letter F for 5 bars

Special Uses
    The key can also be used in combination with some standard and harmonic fingerings to negotiate awkward passages, as in this example from Rimsky-Korsakov’s Russian Easter Overture.
    Overblow the high A with the standard first octave fingering plus the C# trill key, and alternate with harmonic high F# (standard B fingering in the first octave).

Rimsky-Korsakov Russian Easter Overture, Op. 36, 4 before letter V

    As you have realized by now, I am a fan of the C# trill key. I encourage flutists to include it when buying an instrument and make full use of its many benefits. With a little experimentation, every owner of this smart key can be a more versatile player.      

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