On Pedagogy
1 “What do you focus on with students? I believe that you have to look at where the student is and start with the basics, including what the arms, shoulders, neck, and head feel and look like, and whether there is tension in the throat. Other areas include breathing, articulation, fluidity in the fingers, vibrato, and rhythm. I look at phrasing, and whether a student is conscious of style, history, character, and harmonic movement. Most importantly, I determine whether the student is self-motivated and curious about the world.”
– Stephanie Jutt, October 2011

2 “Rhythm is fundamental to good musicianship. With regular disciplined use, the metronome will teach musicians to be masters of time and play with solid metronomic rhythm. Without a solid feeling of the beat no one can play a phrase artfully. We have to play in tune with ourselves before we can play in tune with others. Although the tuner is a good tool, a good ear is better.”
– Mark Sparks, April 2001

3 “Many flutists have a teardrop on their top lip. To form an appropriate aperture, they should move the aperture slightly to their left. This works well since the flute is played with the flute off to the right side, with the end moved forward away from the right shoulder. A few flutists with teardrops have moved the aperture to their right. This is less successful because the end of the flute has to be held too close to the right shoulder, and the player’s right shoulder will eventually hurt.”
– Patricia George, November 2016

4 “Teachers often see students whose lives were changed as a result of their participation in music programs. The lessons in perseverance, commitment, self-discipline, creative problem solving, critical-thinking, cooperation, and overall appreciation for the creative process and humanity that students learn will serve them well in all aspects of their lives whether they continue in music or not.”
– Cristina Ballatori, July/August 2016

5 “In my opinion the purpose of education, even in music, is to teach students how to learn, not to fill them with a lot of information.”
– Michel Debost, October 2005

6 “Musicians cannot own a work if they first do not have confidence in their basic skills. Develop a technique that allows you to do whatever the composer is asking, from the understanding of the meter, mastery of technical passages through clear and solid rhythm, and the tonal and dynamic range required.”
– Nicole Esposito, December 2015

7 “I generally do not know how a lesson will unfold until I hear a student perform the prepared material. People learn differently and need different things. For the perfectionists, who are tied in knots and may lack expression, my goal is to draw them out. Another student who is musical might lack attention to detail, so I become a taskmaster. As a teacher I can at times feel like an acting coach, a motivational speaker, or a mechanic looking under the hood trying to fix a problem. If one approach does not work, I try something else. By the end of four years, my role should change to be more supportive than formative.”
– Mary Kay Fink, December 2014

8 “As a teacher in a conservatoire, my job is not only one hour a week of saying the pitch is not good, play louder or softer. Rather, it is to open their minds and encourage them to be curious and organize themselves…The most difficult thing for a teacher is to get the student to become his own teacher.”
– Sophie Cherrier, October 2014
9 “Takahashi always starts beginners without the mouthpiece. Instead, he starts them out by spitting imaginary rice seeds. Because of this technique, few words are necessary to describe the embouchure. Students simply place the tongue between the teeth and pretend to spit out a seed. For the low register, they spit the seed just a few feet away; for the middle register, a little farther; for the high register, across the room. As the student spits the seed farther, the air pressure automatically increases, the aperture between the lips becomes smaller, and the jaw drops.”
– Donna Rose, October 1982
The Instrumentalist

On Practicing and Playing

10 “The repertoire you are learning now includes pieces that will stay with you for life. Your practice is not just for the upcoming auditions; it is for you and your aspirations in your art. Learn each piece with the best habits and concentrated attention. Unlearning something is much harder than learning it properly the first time.”
– Tara Helen O’Connor, October 2016

11“Myth No. 3: If you stop playing for years, you can’t start again. I find that these are often the musicians who are the most enjoyable to play music with. After not playing the flute for many years, they pick it up with a new zeal for music that is contagious and enjoyable to be around. Whether you are a current student who does not plan to pursue a professional music career or an adult returning to the instrument after years away, I encourage you to find a local concert band, orchestra or flute choir to join. There are so many ways to enjoy and share a love of music.”
– Jennifer Oliver, October 2016

12 “When I was a student, fellow flutists talked about players with huge sounds and dreamed of the day when they could play louder than an entire orchestra. However, excluding instances such as playing a concerto with a full orchestra, this is a skill rarely utilized in the professional setting. As an orchestral principal flutist, I find myself playing in the piano to mezzopiano range about 75% of the time. The most stressful part of my job is never when I get to blast a tutti section, but instead when I have to come in on a pianissimo top-octave A or play a two-octave leap at a very soft dynamic, while staying in tune with the other woodwinds.”
– Jake Fridkis, December 2016

13 “Sometimes I really do not have enough practice time. (I have never met a musician who tells me that he or she has enough time to practice!) Don’t despair. There are other ways to practice. Jeffrey Khaner once told me that musicians should think about their pieces at all times, even when they are not physically playing. He is absolutely right. At various times during the day, I find it useful to sing the piece in my head. When I cannot remember how to sing any farther, I consult the score to find out what is happening in the music at that point.”
– Jasmine Choi, February 2016

14 “Subito piano – like a bird flying 60 miles per hour, landing on a wire, and not jarring it.”
– William Kincaid, November 1995

15 “To warm up I sing, and I also do exercises with my body to get my back, legs, and arms limbered up. If I want to be warmed up before a concert or a rehearsal, I usually practice pretty hard the preceding day. I don’t believe that any particular exercise is the answer though. I learned a great deal from going to exercise classes for several years. I don’t go any more, not because I’ve learned everything but because I worked out exercises of my own that I feel work for me. I’ve learned that the better general condition you’re in, then the fewer tight knots you have in your leg or somewhere else, and the better you’ll play.”
– Doriot Anthony Dwyer, June, 1977
The Instrumentalist

16 “The following basic routine takes about 90 minutes, but each arpeggio, interval, and so on, is only a few seconds long. This timing is deliberate–15 seconds of concentration is more profitable that 15 minutes of senseless re­pe­ti­tion . . . Taffanel & Gaubert No. 4 with 60 different articulations and rhythms . . . Reichert Seven Daily Exercises Opus 5, Nos. 2 and 4…Each day I take an interval, say a major third, and work on all major thirds throughout the entire range of the flute, first playing up the scale and then down. Next I practice its inversion (in this case a minor sixth)…I play arpeggios mezzo forte without swells, with an average vibrato, perfect slurs, and free rests in between.
– Michel Debost, January 1986

17 “William Kincaid told me, ‘Now look, I want you to play one note, and I want you to play a cadenza for me on that note,’ meaning that he wanted to hear how many different shades of tone (I) could get on one note . . . It made a tremendous impression on me. I never knew that the flute was capable of all the different colors of the rainbow, so to speak. To get a variety of tone colors on the flute, one must vary one’s embouchure or one’s wind velocity. But I think it all falls under the heading of imagination, concept of style, and understanding.”
– Julius Baker, April 1977

18 “We worry that our fingers don’t move fast enough. The truth is that every time we botch a passage, our fingers have moved too fast. You can easily prove this by using a two-speed tape recorder. Set the tape machine at the fast speed and record your playing with the metronome ticking along. Play back the tape at the slower speed. Everything will be one octave lower and twice a slow. You’ll be amazed as you hear yourself start ahead of the beat and play too fast at every difficult finger combination.”
– William Watson, November 1987

19 “Professional music is a tremendously competitive field. A player just starting out has to figure that he might be a little more talented than a lot of people, but not that much more. If there’s the least little inkling in the back of his mind to become a professional musician–classical or jazz or whatever–he’s going to have to work harder than all his buddies. Ninety-nine percent of the time the difference between who makes it and who doesn’t is who works the hardest.”
– Jimmy Walker, August 1983

Career Advice
20 “As a student, I always worried that if I did not attend the best music festivals, I was shooting myself in the foot. The flute players at those festivals were sure to get better than me, and there was little I could do about it. Your situation is really what you make of it. Summer music festivals are great, but it still takes individual practice and discipline to get the most out of that opportunity. Creating your own summer music festival is not only a way to stay motivated and improve your skills, but it is an exercise in discipline and personal drive with are qualities that the best musicians all seem to share.”
– Michael Hoover, March 2016

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Standard High B-Flat Fingering

    The following are some alternate fingerings for a better pianissimo high B-flat. These fingerings are just a basic guide. All of them can be further modified as needed. For example, the first one can also be played with the C and B keys depressed on the foot joint, which lowers the pitch slightly. The index finger of the left hand can be subtracted as well.

Pianissimo

Slightly lower pitch

Technical ease

Higher pitch

    You may find that some of these notes are actually a bit sharp, so practice lowering the pitch slightly. I recommend rolling the instrument slightly towards you to cover the blow hole more. Do not overcompensate. After practicing some long tones to learn the new patterns and develop the tone, work on the following examples to develop proficiency. Try the notes both with vibrato and without.

Verdi’s Requiem, Agnus Dei

    When the high B-flat occurs in an arpeggio preceded by F natural, the second pattern (slightly lower pitch) is usually best. Use thumb B-flat in the arpeggio if possible. On the F natural, add the right-hand ring finger. It takes some careful practice to move the right-hand index finger rapidly to the upper trill key, but it is well worth the effort.
    In the following passage use the same technique for the B-flat, which without using this fingering, is easily loud, unfocused, or flat. Because the notes are articulated, this is a bit easier than the previous example.

Prokofiev, Sonata for Flute and Piano, Op. 94, Movement 1

    In this final passage from Mignon, by Ambroise Thomas, the high B-flat ends a cadenza. Note that there are more fingering options because the B-flat is preceded by G natural.

Thomas, Overture, “Mignon”

    These fingerings are effective but complex and counterintuitive. It takes years to master them. As with any difficult or awkward modification of the standard fingering patterns, determine if you know them well enough. If there is any uncertainty as to whether the fingerings will be natural and secure enough for public performance, play it safe and go with what you know best.    

The post Whispering High B-Flat appeared first on The Instrumentalist.

What led you to focus on piccolo professionally rather than flute?
    I had taken some auditions and been runner up or in the finals for several principal and second flute positions when the piccolo position at the Colorado Symphony opened up. I had worked with the Colorado Symphony’s conductor Marin Alsop at The National Orchestral Institute and was excited about working with a woman conductor and living in beautiful Colorado.
    There were over 90 players auditioning for the position. I was well prepared and decided that if they liked me, great, and if not, I would keep practicing and wait for the next opportunity. Elaine Lenicheck, who was the orchestra’s previous piccolo player for 43 years, was the proctor. I remember thinking, “This is the nicest lady ever.” She really put me at ease.

What were some of the most helpful aspects of your piccolo studies?
    Walfrid Kujala is my flute and piccolo hero. I always wanted to do my best for him and learn as much as I could from his amazing teaching style and vast knowledge. He is such an inspiring teacher. At Northwestern, there were auditions every quarter for ensemble placement. The audition material included four flute excerpts and one piccolo excerpt. For the first year and a half of my studies, I practiced the piccolo excerpts on the flute and borrowed someone’s piccolo as I went into each audition. During my sophomore year, Mr. Kujala helped me pick out my first instrument.
    Now that I am teaching at The University of Denver’s Lamont School of Music, I realize the opportunity to play piccolo in the Wind Ensemble at Northwestern was an excellent training ground. The piccolo parts were high, unrelenting, and difficult. Intonation was always a challenge, but playing with the group gave me valuable experience.
    I also attended the Solti Project at Carnegie Hall where I played piccolo on Shostakovich’s Symphony No. 9 and Bartók’s Concerto for Orchestra. At the Aspen Music Festival, I received the piccolo fellowship for three summers, so that added to my piccolo repertoire and expertise.

What was your first professional orchestral experience?
    It came when I was subbing in the Houston Symphony during my graduate studies at Rice University. I remember some concerts when the conductor Christoph Eschenbach would say, “Oh, we did this on tour last summer, so we do not need to rehearse this. We’ll just play it at the concert.” I was thinking, “But, I’ve never played this before.” It was important to be well prepared. I listened to the pieces and practiced with recordings. For many Pops shows we received the music the day of the concert, and there was no way of knowing what it would be. I remember one time in a concert when everyone stopped, but I continued playing – hoping it was actually a solo. Thank goodness it was. It is essential to come in prepared and remain calm.
 
What are you favorite orchestral works to perform as a piccolo player?
    I love anything by Shostakovich. I also still enjoy Stars and Stripes – especially playing it at Red Rocks Amphitheater in Colorado. It is a rock star moment. In high school when I was in the Seattle Youth Symphony, we performed Mahler’s Symphony No. 1. At the end of the performance I had tears streaming down my face. I turned to the flutist next to me, and she also was crying. The power of music is truly amazing.

How do you approach piccolo playing?
    I think of my piccolo playing as flute playing. I think this started when I was a college freshman and did not have a piccolo. I practiced on flute and then picked up a piccolo right before I played for auditions. I have always thought of the piccolo as a miniature flute where everything is just a little more condensed. People often tell me that they knew it was me playing because my piccolo playing sounds like my flute playing.
    Ideally I spend two thirds of my practice time on flute and one third on piccolo. With my job now, that does not always happen. If I am playing Bartók Concerto for Orchestra at a 9:30 A.M. rehearsal, I will spend most of my warmup time on the piccolo.

What are your thoughts on teaching?
    I am really enjoying working with college students again. When I had my first daughter, I wanted to spend as much time with her as I could while still performing in the Colorado Symphony, so I left my position at Colorado State University. When the opportunity came up in 2014 to work at the University of Denver, my two girls were in elementary school, and it was the perfect time for me to start teaching again.
    It is exciting to share everything that I have learned in my career so far and guide my students as they work toward their goals. Flute playing has always come somewhat naturally to me in that I did not always know what I was doing or why I was doing it. Teaching requires me to organize my thoughts about playing and put them into words. I continue to learn along with my students. One of the beautiful things about music is that we are constantly evolving.
    It has also been interesting going back to teaching now that I am a mom because I see my students through a parent’s eyes. They have their whole future ahead of them, and I have a big job to guide them. If students have other interests, I encourage them to get a Bachelor of Arts degree or to double major with another area of interest so they can be as well-rounded as possible. I also think that strong business knowledge is very important for today’s musicians. I tell my students that there are no guarantees in this line of work. There are so many different things you can do in music; you have to find your niche and what speaks to you.

What do you like to do in studio class?
    My favorite thing is to play long tones together. Then, we go around the room, and I give each student feedback. It really is so helpful because the group reinforces what I am saying, and then students know that it is not just what their teacher is telling them. I play in studio class often. We do scales together and perform for each other. I emphasize that we are all working together to improve and that it is important that we support and learn from each other.

When do you introduce piccolo to students?
    I prefer to focus on flute fundamentals freshman year. The fundamentals of flute playing and musicianship carry over to piccolo playing. Once I feel that a student is ready, I add in piccolo. I start them with a slow movement from a Bach Sonata. I explain that playing piccolo is just like playing a smaller version of the flute. It should be just as relaxed and effortless as playing the flute. Once that concept is mastered, we move on to Vivaldi and then the many wonderful contemporary pieces in the repertoire.
 
What are your favorite piccolo concertos?
    I love the Vivaldi concertos and the Liebermann Concerto for Piccolo and Orchestra. Right now, I really want to learn the Avner Dorman Concerto for Solo Piccolo, strings, and piano (2001). I am also very excited to work on Eric Ewazen’s Piccolo Concerto which he has promised to send me soon.
 
What is your favorite part of being a musician and a flutist?
    I love the power of music and sharing that with others. It is such an important art form that needs to be preserved for future generations. I also love that my children have had some amazing experiences through the my musical endeavors and those of my husband, Michael Thornton, who is principal horn of the Colorado Symphony. There was an 18-month period where we were in South America three times as a family. Our children have made friends from all over the world. This past December we went to Cape Town, South Africa with Mike while he performed a concerto with their symphony. Every summer we perform at the Washington Island Music Festival in Wisconsin. This is our favorite musical event, and our kids have been there almost every summer of their lives. Once they ran a lemonade stand by the ferry dock and donated their earnings to the festival.
I also thoroughly enjoy the orchestral repertoire. It is so exciting to be working with 90 other musicians. When I was a student, I was terrified at the idea of playing Tchaikovsky’s Symphony No. 4 and other big piccolo solos in orchestra. I asked Mr. Kujala how he did it without getting nervous. He said that every week there is often a different conductor, and it is just so interesting to see their different interpretations of the music. As I get older, I better understand what he meant. It has become more fun, and I do not feel the stress. 
 
Do you have any upcoming recording projects?
I just recorded a CD of works for flute and horn  with my husband and pianist Susan Grace over the summer. It should be released in 2017. We recorded three contemporary works by Adrienne Albert, Paul Basler, and Chris Roze. We were fortunate that each composer was there for the recording. We also recorded the three Doppler pieces with flute and horn. The recording was a wonderful experience especially with the amazing British producer Andrew Keener at the helm. I am confident that the joy that we had in making the CD will come out in the final product.    

Julie Thornton, a native of Mercer Island, Washington, studied with Richard Breitstein in high school and is a graduate of Northwestern University (BM, Walfrid Kujala) and the Eastman School of Music (MM, Bonita Boyd). While pursuing a DMA at Rice University’s Shepherd School of Music, she was appointed to her position with the Colorado Symphony. Thornton has performed extensively with the New York Philharmonic, the Saint Louis Symphony, the Oregon Symphony, the Minnesota Orchestra, and the Houston Symphony. She has also performed with the Grand Teton Festival Orchestra, Strings in the Mountains, the Aspen Music Festival, the Solti Orchestral Project at Carnegie Hall, the National Repertory Orchestra, the National Orchestral Institute, and the Music Academy of the West. Recently she was a featured performer and teacher for Festicamara in Medellín, Colombia and Festival Internacional de Inverno de Campos do Jordão in Brazil.

* * *

Thoughts on Piccolo and Flute

How do you align the headjoint and body?
    I like to line up the top of my keys with the embouchure opening.
 
Do you wear one or two ear plugs?
    I really do not like to wear earplugs. When I am practicing something really high and loud, I will wear one in each ear. In orchestra concerts, I usually only put them in for really loud passages when I am not playing. In that case, I may only put an earplug in the ear closest to the loudness.

How do you warm up?
    I like to do octave slurs to warm up my embouchure, fast scales to warm up my fingers, and long tones to find my best sound.

Do you have any tuning tricks when playing in an orchestra?
    Listen, listen, listen, and play with confidence at every dynamic so that the sound can blend well with others.

Do you single tongue most things or do you double tongue?
    I go back and forth with both depending on the tempo.

What alternate fingerings do you use on a regular basis?
    For a quiet C# above the staff on piccolo I love LH 23, RH 234

The post A Conversation with Julie Duncan Thornton appeared first on The Instrumentalist.

    Preparing to leave school and enter the professional world is a significant moment that often causes masters and doctoral students a great deal of stress. When advising students who are about to graduate, I suggest that the most effective way to reduce anxiety about a future in the music profession is to stay flexible about career goals while honing entrepreneurial skills.
    Very few graduate students are fortunate enough to win a full-time orchestral or college teaching position immediately upon graduation. Many highly successful musicians have developed freelance careers that combine playing and teaching with jobs in such related fields as orchestra administration, recording technology, instrument repair, church music, and music therapy. For that reason, having a strategy for building your visibility and professional résumé after receiving an advanced degree is essential. The following practical suggestions have proved to form a highly effective course of action for many students after their graduation.
    If you are interested in orchestral playing, send your résumé to contractors in the city where you are living. Be sure that you list references that include contact information after first obtaining permission to do so. If you have studied with someone who currently holds an orchestral position, ask that person to look over your materials to assure that they present your achievements in the most professional light possible. In a cover letter, provide links to where your playing may be heard online and also offer to audition in person. Explain that you are building a freelance career and would greatly appreciate being considered for any jobs that might arise.
    Stay alert and connect with the professional music community in your area to find out if orchestras nearby may be holding auditions for their sub list. Record standard excerpts and keep those on your computer, updating your catalog regularly. Samples of your best playing should be easily accessible if you are asked to submit a preliminary recording for a professional audition.
    Form a chamber ensemble and begin seeking opportunities to perform in hotels and restaurants, or at weddings, bar mitzvahs, and other social occasions. Flute and guitar or flute and harp are popular combinations, but other instrumental pairings can be equally attractive and marketable. The key to a successful career in chamber music is to choose partners whom you enjoy as both musicians and people, and whose working style and vision for the group closely align with yours. At first you might have to give a few free performances to become known in your community, but those appearances can be viewed as an investment in a future career. Have business cards available wherever you play and develop an appealing, professional website.
    Identify and capitalize on your strengths. Hilary Abigana is an excellent example of a flutist who has done exactly that. After earning her M.M. degree, she played with the Evansville Philharmonic and the “music-telling” group Tales and Scales before co-founding The Fourth Wall with a trombonist and a percussionist. A highly trained dancer, Hilary incorporates her dance background onstage in remarkable ways throughout her hybrid arts ensemble’s interdisciplinary shows.
    Another stellar example of thinking outside the box is WindSync, an adventurous woodwind quintet of which flutist Garrett Hudson is a founding member. Like The Fourth Wall, the group plays exclusively from memory, presents original arrangements of classical and popular music, and uses staging and dance elements in all presentations. The members of both ensembles possess high-energy, outgoing personalities and engage easily with audiences.
    If college teaching is a career goal, earning a doctorate is now essential. Acquiring teaching experience throughout masters and doctoral studies and beyond is extremely wise, so work to build a studio by word of mouth and by contacting local band directors. Polish your writing skills. Working in an academic environment requires the ability to express thoughts clearly in writing and also to mentor students who lack that all-important skill. Writing well is vital when composing cover letters for job or grant applications or when contacting contractors or others who might be able to help you.
    If you are nearing the completion of your doctorate and beginning to apply for positions, ask professors at your school to stage a mock interview so that you will be more aware of possible questions that might be asked and can practice responding to them. In addition, perform in your community at hospitals, senior citizen centers, homeless shelters, and other venues. This will add a welcome new dimension to your dossier.
    No matter what your career goals, stay connected with people from your school. Continue to build your network and above all be a good colleague. Supporting others shows that you have confidence in yourself and are not afraid to recognize others’ talents. When you work as a freelancer and cannot accept a job, recommend qualified colleagues. This is a real favor to them and will make them more inclined to recommend you in a similar circumstance.
    Stay in touch with your former mentors and keep them updated on your career. They may be able to help you if they know what you are currently doing or if you are seeking a change.
    When concerns about earning a living arise, remember why you are a musician and what drew you to music as a career path. Continue to grow as a musician by listening to inspiring artists and music that you do not know. Seek to grow as a person by pursuing other areas of interest on a regular basis. Fashion a daily life that includes time for friends, exercise, proper nutrition, and adequate rest. You are an athlete and should treat yourself as such.
    Lastly, read and try to live by The Four Agreements by Don Miguel Ruiz: Be impeccable with your word. Don’t take anything personally. Don’t make assumptions. Always do your best. These axioms are powerful guidelines that will serve you well in all situations. As a result, others will always consider you a trusted, deeply valued professional colleague.

    Leone Buyse is the Mullen Professor of Flute at Rice University. Formerly a principal flutist of the Boston Symphony and Boston Pops, and a member of the San Francisco Symphony and Rochester Philharmonic, she has performed with the Juilliard, Tokyo, Brentano, and Muir Quartets, Boston Musica Viva, Da Camera of Houston, and at such festivals as Sarasota, Aspen, Music Academy of the West, and Norfolk. She has presented recitals and master classes throughout the U.S. and in Canada, Europe, Japan, Australia, New Zealand, Mexico, and in Central and South America. In 2010 Buyse received the National Flute Association’s Lifetime Achievement Award in recognition of outstanding contributions to the flute community worldwide.

Leonard Garrison

    The last lessons are a unique time to engage in discussion. Suddenly, all the pressure is off: senior recitals, graduate auditions, and competitions are done, and in the Lionel Hampton School of Music, we do not require a jury after the senior recital. This presents an opportunity to discuss the future.
    I tell students that whatever they do, they should always keep music and the flute in their lives. They have invested much energy, time, and passion in music to this point, but many will not pursue a musical career. Practicing, playing as a soloist or in an ensemble, and attending concerts are rewarding lifelong pursuits, even for doctors, lawyers, and engineers.
    We have not covered everything, so keep learning. It is impossible to learn all the flute repertoire in a lifetime, let alone four years in college. I keep discovering previously hidden gems and maintain a bucket list of new pieces I would like to perform. Don’t shy away from challenges. We are all happier when we stretch ourselves. Learn a new aspect of flute playing: piccolo, low flutes, extended techniques, Baroque flute, jazz flute, or world flutes. I also remind them to keep an open mind. When moving from one teacher to another, students should be flexible and consider new ideas. I regret being headstrong in my foolish early years. My undergraduate teacher, Robert Willoughby, was a god to me, and I considered everything he taught me as doctrine. Initially, when my next teacher  Samuel Baron offered a suggestion in contradiction to what I had previously learned, I rejected it. Soon I realized my folly and resolved to take to heart every idea that any teacher presented. I would sort out the contradictions later.
    Be your own teacher. At some point, each of us becomes self-taught. In fact, this is a process I encourage in students by giving them the tools to become independent and make their own educated decisions. Keep in shape with warmups and technical studies. Develop the ability to analyze your own playing – recording yourself is the best tool. Attend flute performances and listen to recordings with a critical ear. Rather than imitating a performance, develop your own interpretation based on the interpretive principles established in lessons.
    Be resilient. For most of us, life presents more failures than successes, but we bounce back. For every competition, orchestral audition, grant application, or college teaching opening, there are more losers than winners, but the most successful people learn from failures, thus contributing to future success. As David Burge wrote in Flute Talk (“College Music Programs: Progress Without Purpose,” March 1993), educational environments are nurturing, but the real world can be cruel. Each of us must have faith in our own abilities and rely on our love of music.
    Find your unique voice and make original contributions to the musical world, even though not everybody can release the definitive recording of the Poulenc Sonata. It takes some time and research to develop a specialty: consider Greg Pattillo (beatboxing), Adrianne Greenbaum (Klezmer flute), or Chris Potter (low flutes).
    Create your own opportunities. Sam Baron told me he regretted there were not more paid performing opportunities for my generation. He told stories about a plethora of freelance gigs in the 1940s, when orchestras were everywhere – in Broadway theaters, in studios recording jingles for radio, in big cities, suburbs, and small towns. Things have gotten even worse since my formative years, and full-time jobs playing in symphony orchestras or teaching at the college level are increasingly rare. However, today’s flutists are amazingly entrepreneurial. They are forging careers that combine diverse experiences (working a day job, playing in a salsa band and symphony orchestra, and teaching) and forming innovative new performing groups, reaching new audiences, and finding new sources of funding.
    Keep in touch. I encourage my students to communicate regularly and am heartened when former students ask questions, tell me about what they are doing, or express gratitude – several students have said that only years later did they understand the value of my teaching. It is important to realize that teachers are a gateway to the professional world,  who can write letters of recommendation, introduce students to famous colleagues, and serve as a model for professional life.

    Leonard Garrison is Professor of Flute and Associate Director of the Lionel Hampton School of Music at The University of Idaho, flutist in the Scott/Garrison Duo, principal flutist in the Walla Walla Symphony, and former President of the National Flute Association. He teaches and performs at Blue Lake Fine Arts Camp in Michigan and the Red Lodge Music Festival in Montana. Winner of the 2003 Byron Hester Competition, he has performed in the Chicago Symphony, the Tulsa Philharmonic, and on National Public Radio’s Performance Today. He has taught at The University of Tulsa, Bowling Green State University, the University of Arkansas, and the University of Wisconsin at Eau Claire. Flute Talk and The Flutist Quarterly have published his articles. He has released nine CDs on major labels.

Sandy Olson

    The advice I give begins not when students leave my studio but when they enter it. Most of it is wisdom that was passed on to me by my teachers and mentors.
    Work hard. Don’t get by on good enough. Work your hardest at whatever you do.
    Don’t accept less than your best. Only you know what is your best. Don’t accept less.
    Don’t give up when things get hard. Work through your problems. Persevere.
    Take chances. The worst thing that can happen is that you fail. Some of the greatest successes have come from previous failures.
    Try not to say always or never. There will undoubtedly be exceptions.
    Learn all you can about everything you can. Never stop learning. Stay curious. Ask questions. Listen carefully. Watch closely.
    Sometimes you will win. Celebrate your accomplishments.
    Sometimes you will lose. Pick yourself up after you lose, figure out how to do it better, and put yourself back out there again.
    Hang on to people who lift you up. These are the people who want to see you succeed. They believe in you.
    Let go of the people who tear you down. These are the people who look for the negatives in life. They only see problems instead of possibilities.
    Don’t give up on things that are important. You will have to decide what is important.
    Let go of things that are not important. Again, you will have to decide what is not important. It does not mean you cannot have hobbies, fun, and relaxation. Those things definitely serve a purpose.
    If something needs to be done, just do it. Don’t wait – and don’t believe people when they say their best work was done at the last minute. It is most likely not true.
    It is okay to change direction. You will be making decisions for the rest of your life. Hopefully, you will make more good decisions than bad ones. Don’t be afraid to change directions midstream if things are not what you expected.
    Character matters. Stand up for what is right. Apologize when you are wrong. Be trustworthy. Be reliable. Be kind to others. Help those in need. Who you are is much more important than what you do.
    I have changed directions many times in my life. I am confident that I have made more good decisions than bad ones. When I was starting out and newly married, I was unsure about which auditions to take and which jobs to apply for. My husband gave me great advice: “You can’t turn down a job you don’t apply for.” The other life advice I follow, I actually learned from watching Maria Shriver being interviewed by Barbara Walters. She said that you can be the best at everything; just not all at the same time. Whatever your path in life, remember to give yourself permission to prioritize and put some things on the back burner until you are ready to give them your all. There are times when we all need to turn to our trusted teachers, mentors, friends, and spouses for advice. By the time students leave my studio, I hope they are confident, independent adults ready to pursue their dreams.

    A native of Naperville, Illinois, Sandy Olson has been a flute teacher and director of the summer flute camp at Westminster Conservatory in Princeton, New Jersey as well as a middle school music teacher in South Brunswick, New Jersey for the past 20 years. In addition, she runs the flute ensemble for YOCJ, the Youth Orch. of Central New Jersey. For the National Flute Association, Sandy is a past chairman of both the High School Soloist Competition and the High School Flute Choir Competition.

Anne Reynolds

    I tell students that I am so proud of what they have accomplished in their time with me. They have improved in technique, control, sound, style, and embouchure. They have given a recital or two and have participated in chamber music. They have taught some younger students and as a result have experience with this as a way of making a living. Now all they have to do is go out and figure out how to be a flute player or teacher.
But wait, maybe that is not all. The biggest challenge I think that they will face is how to integrate flute and teaching into a bigger life outside. Here in school, flute is their whole life, so it is all imaginable. When they get out in the real world, whatever that means, there are new considerations that they have not had to include in their calculations. Where are they going to live? How are they going make money? Do they need to buy a car? Do they want to work for a while and then go back for some more school? What about that person they care about who is moving to China, Belize, or South Dakota? Is it going to be easy to practice if there is not a lesson or concert to practice for?
    This is really only a partial list and does not even include things such as student debt. All of these elements are daunting, so a carefully considered approach is important. The biggest one is this: what is your overall long-term goal? If it is to play in an orchestra, you have a hard row to hoe, but it can be done. The people who achieve it are spectacularly well organized (for the most part) in their approach to this career.
    For students who are pursuing a job in another field but want to keep playing, it will take some work. Once you land in a community, you will have to rustle around and find out what kind of amateur playing is available. They are not going to come and find you. The amateur world can actually be quite competitive with folks guarding their positions. You will have to convince them that they need you to make a better ensemble.
    Having a plan does not mean that things will go the way you have in mind, so your outlook should be open and flexible. If someone asks you to play somewhere and it is not convenient, do it anyway. The opportunities that come from happenstance are not to be missed, and you have to be ready.
    I think the most important thought I can leave students with is this: If you love to play, then play. Keep at it. Enjoy what you can. Be grateful that you have this ability and can pursue it. Try to be friendly to all of your competition. You never know when a good deed to a colleague or peer will come back as a gift. Try to find folks in your circle who will join you in an evening of chamber music for fun, and go to concerts. You have the ear to appreciate good playing, and there will be people playing good concerts. It all keeps moving along, and you can move along with it.

    Anne Reynolds studied flute with William Kincaid and performed as a soloist with the Philadelphia Orch-estra while still in high school. A graduate of the Indiana University School of Music as a student of James Pellerite, she was a member of the Indianapolis Sym-phony Orchestra from 1968 to 1978. She is a charter member and principal flute of the Indianapolis Chamber Orchestra. She is a faculty member of DePauw University where she is a member of the DePauw Woodwind Ensemble, as well as the University of Indianapolis where she regularly performs on the faculty artist series. She is also a solo recitalist and freelance musician in Indianapolis, playing recordings and occasional jobs. She writes music reviews for Flute Talk and is the ensemble chair of the Indyflute group, a gathering of flutists in the Indianapolis and Indiana area. She also tests flutes and headjoints for the noted flute maker David Straubinger.

Sandra Saathoff

    The final lesson is poignant and bittersweet. Yet I believe graduation to be a true commencement, or a beginning. Even though I miss my students once they leave my studio, I am even more excited to see them launch into the next phase of their lives. They also know that they are always welcome to visit, to ask questions, to take a lesson here or there, or even to participate in alumni events. I have Facebook groups for students and SPU alumni, which they can be a member of and keep updated with flute-related news. The door is always open, and I do hope they stay in touch.
    However, the advice I give to students over their last few lessons is entirely dependent on the student. If they are moving on to a new school and will study music, I make sure they are prepared with the necessary audition advice and materials. If they are moving on to a new school but will not pursue music as a degree, I want them to know who to contact in the area, or at the school, to find out ways they can still remain active in making music. I also remind them about the larger flute world – local and national flute organizations they can join and keep themselves involved. In any case, we focus on the future, ensuring that all the great skills they have gained will get a chance to continue to be shared in music-making with others.
    Of course, some time is also spent reflecting over all they have accomplished. As we reminisce over their first lessons, struggles that were conquered, or particular memorable events, I am always amazed by the depth of their progress and maturity, and I hope they are as well.
Students graduating with a music degree compile a notebook of materials that I and others have given them over their years of study. In their final semester, we review these handouts, which include guidelines for setting up a private studio, repertoire suggestions based on student needs, and other pedagogical materials. Now that the reality of entering the workplace is upon them, many questions arise, and we discuss various strategies for beginning their careers and achieving their goals. Usually it is at this time one of my favorite pieces of advice reemerges – always act like the professional you wish to be viewed as – including being prompt, positive, and organized.
    Throughout a student’s time in our studio, I focus on teaching them to be their own best teacher. As they approach graduation, I begin to see a natural shift in their perspective: instead of thinking “How does this piece of information help me personally?” they begin to ask “How will it help my future students?” Typically, this has led to some thoughtful discussions about the reasoning behind pedagogical choices, and hopefully they gain some advice for working with their own students.
    Last lessons are also a great time to go over something we may have missed or that has been on their wish list – a particular piece, orchestral excerpts for piccolo, extended techniques, beatboxing, Baroque traverso, or Irish flute. There is always something new to explore, but, for the most part, the final lesson is student-directed and always includes duets.
    My general words of wisdom are fairly basic. Play, play, play! Practice. Stay prepared for any opportunity that might come your way. Create performance opportunities for yourself (and others). Find others to make chamber music with, or join a large ensemble.
    Continue to learn. Take lessons, go to workshops and camps, and attend a variety of concerts. Support your colleagues and keep abreast of the local music scene; join the National Flute Association and subscribe to Flute Talk. Use YouTube and other online resources to stay engaged. Develop entrepreneurial and business skills.

    Sandra Saathoff teaches at Seattle Pacific University and conducts Bellevue Youth Symphony’s flute ensemble. A freelance flutist, clinician, and principal flute of Seattle Philhar-monic, she helped launch a nonprofit organization, Silver Flight Ensembles and Foundation, dedicated to helping student flutists in 2016. A published author and music arranger, she has also performed and taught throughout the United States and Europe. Sandra has served as Assistant Program Chair, Secretary, Convention Manager, and on the Long-Range Strategic Planning Committee for the National Flute Association, and has been President, VP, and Newsletter Editor for the Seattle Flute Society. Her teachers include Zart Dombourian-Eby, Rae Terpenning, Baroque flute with Kim Pineda, and Irish Flute with Leo Mac Namara and Conal O’Grada (Ireland). She is currently pursuing doctoral studies at the University of Nebraska-Lincoln with Dr. John Bailey.

Katherine Borst Jones

    The last lesson while bittersweet, is always a celebration, a time to reflect on the accomplishments of the student as well as help him or her dream for the future. No matter the level, sharing insights into accomplishments is important for students to recognize what they have learned and think towards the future. The combination of confidence, discipline, and initiative is discussed in relation to what comes next.
    Teachers strive to teach students to teach themselves, and the last lesson is a time to review those ideas. It is also a place to stress that the student’s next experience will be different, and that this is a good thing. I remind students that an open mind is essential to growth. I also let them know that it is okay for them to go on, with my blessing, to the next teacher where they will continue to flourish and learn. I believe that providing encouraging information about the next step is essential to their future success.
    Remind students of the many challenges they have faced and how they succeeded. That Jolivet piece was difficult, but with perseverance, excellent practice techniques, and desire, they overcame the difficulties. Discuss the importance of professional behavior with a new teacher and how essential it is to not take offense at criticism. I share that while they may have reached a pinnacle at their current school level, in their next environment they will be challenged to rise to that level again.
    In early lessons, students answer a list of questions about their aspirations and goals. At the last lesson, it is worthwhile to revisit this list to review results. Answering the same questions is a worthy exercise. “How passionate are you about music?” “How hard are you willing to work?” “What is your goal for next year, the next level?”
    Asking them to share highlights of past lessons can be enlightening for teacher and students. As a teacher, I am always looking to be better. By asking students these questions, you let them know that  their opinions matter while helping them to understand what it means to teach.
    The last lesson is also a time to reaffirm such ideas, such as for a graduating music education student, the importance of finding performance outlets even as they teach. Find that community band, orchestra, or flute choir to enlarge their musical experience. Form a chamber group to play at an art gallery. Find a duet partner. If they are going on to college but not as a flute major, reaffirm performance and lesson possibilities at their chosen institution.
    It is important to let students know that you will continue to respect and honor them as people, as musicians. I remind them that I hope they will stay in touch and that I am there for them in good and bad times. Not only do I want to hear about their future successes, but if they are having a difficult time, I am willing to provide an ear for listening.
    A great last moment is to play a duet together. Making music has always been the goal.    

    Katherine Borst Jones is professor of flute at The Ohio State University, winner of both Distinguished Teacher and Distinguished Scholar Awards, the founder of the OSU High School Flute Workshop and the OSU Flute Troupe. She is a founding member and co-principal flutist (The Miriam and Bernard Yenkin Chair) of the ProMusica Chamber Orchestra, the trio, COSMOS, a member of the Columbus Symphony Orchestra and principal flute of the New Sousa Band which has toured Japan, China and the United States. She has served the National Flute Association as President twice and was the 1992 Convention Program Chair.

Additional advice will be included in the May/June issue. What advice do you send students off with? Share your thoughts by emailing editor@flutetalkmagazine.com

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Answer: Review the recording instructions well in advance of the due date. They should contain repertoire requirements, including editions of the music, as well as instructions about the order of the tracks and editing requirements. Check what platform should be used for submitting the recordings, such as CD, YouTube, SoundCloud, Dropbox, or DecisionDesk.
   Learn the music as early as possible. Record yourself frequently before the official recording session to gain objectivity about your playing and to become comfortable with the act of recording.
   Select and reserve a space to record. If you are working with a pianist, be sure the space has an excellent instrument that will be tuned especially for your session. Check that the piano is tuned the proper pitch (A=440, 441, 442, etc.). The space should be soundproof with no street noise or bleed-through from other rooms. Check the space for audible sounds such as a wall clock and heating/air conditioning systems. Your performance will be better in a room that has good acoustics. Paying a small fee to book a recital hall, church, or auditorium is well worth the expense. Plan ahead and book off-season if possible. When looking for a recording space, always bring your flute and play a bit to test the sound. Bring a friend along for feedback, and try the piano if you will be using it.

Equipment
    Good recording gear such as a digital video/audio recorder can be purchased for as little as $100-$200. When selecting equipment talk to colleagues and your teacher. Read reviews online and in magazines to compare one model to another. If you are a college student, many university libraries own digital recorders that may be checked out for free.
    To edit the recording, you will need a computer and editing software. This software may be borrowed, purchased or in some cases downloaded for free (iMovie and Audacity). There are several tutorials on YouTube offering instructions about using these editing programs. Be sure to practice the editing process several times before embarking on the final project.
    Be sure your flute is in good working order. Sticky keys and an overly noisy mechanism distract from the recording.

Making the Recording
    Before the recording session begins, place Do Not Disturb, Recording in Progress signs on all doors of the recording space.
    When recording place the microphone a good distance from the instruments. The goal is to hear the flute clearly and also pick up the sound of the room. If you are making a video recording, consider the background of the space. Remove objects that may be distracting to the viewer. Select clothing that looks professional.
   Check the sound levels by playing a few loud and soft excerpts and make adjustments as necessary. Immediately listen to the recording of these tests to be sure everything is optimized. Having a knowledgeable friend act as a recording engineer is helpful.
   Be sure the pianist has a page turner who knows how to turn pages quietly. Place the music on several stands if necessary to avoid any loud page turns. Remember the recorder is always running, so avoid making any audible sighs or reactions in rests or pauses.
   Once the recording is made, listen to each track critically and note any errors. Perfection is nearly impossible, but rank your tracks on merit in the categories of tone, intonation, rhythm, phrasing, vibrato, dynamics, and musicality. Sometimes it is hard to choose the best track, but listen back until you are satisfied with your selection. You may also want to ask a friend or teacher to listen with you to help make decisions.
    When you have made your selections, input them into your editing software. If there is any extraneous noise on the front or end of the track, edit it out. Clipping a whole track at the front and back ends is not considered editing. If applications state tracks are to be unedited, they are referring to splicing multiple takes together in one track. As long as you do not edit within the track, you are adhering to the rules. After you have cleaned up the tracks, save them at the correct resolution and size for submission, using the highest, largest quality allowed. For videos, this process can take some time. When you have your final tracks ready, listen to them on different devices to make sure they sound good on a computer, stereo system, headphones (not just ear buds), and in the car. The judges may be listening in any of these ways.
    Do not delete anything until you are sure the edits are correct and the files have been saved. Back them up on a thumb or external hard drive as well.
Producing the best recording you can will allow the judges to assess your performance without technical distractions. With some careful planning and hard work, a professional quality recording is within your reach.    

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    This Fantaisie is a set of variations on the Choeur des Baigneuses (Chorus of the Bathers) from the opera Les Huguenots by Giacomo Meyerbeer which premiered in Paris in 1836. The opera was very successful and was performed at the Paris Opera over 1,000 times. As the opera’s fame spread throughout Europe and even to the United States, many composers wrote variations on popular tunes from it.
    This variation set was composed by Charles de Cottignies (b. 1805 – d.?). He was a well-known flutist and composer who was thought of more highly for his composing than his playing. He was born in Lille and moved to Paris in 1823 where he studied with Berbiguier. Although hundreds of his works were available in the 19th century, very few are known today. Modern editions include one set of variations from Norma and his Concerto, Op. 38.
    The Fantaisie is from an original manuscript of some 115 French works for solo flute that is in my collection and has not been published in modern times. No other version of this piece is known. Included are the Théme, Variation 1, and Rondo (final variation). I have not included the second variation in this edition. The piece has a short Ritournelle section at the end of each variation – this does not appear to be part of the movement from the opera.
    The French flutist/composers from this time were extremely meticulous about articulation marks in their music. There are many slurs, often in non-standard groupings, going across beats. They also used staccato marks, with or without slurs, accents, some dynamics, and a few crescendo/decrescendo marks. It is important to observe these carefully. In performance, do not play through from one slur to the next. Instead think of the end of a slur as a relaxed ending and the beginning of the next slur as coming out of a tiny silence. The marking in the opera for the Théme is Poco Andante, and one source has a metronome marking of quarter = 76. I think that is too slow for this solo version although the Théme should not be too fast. I would play at around quarter = 92. The first variation should be quarter = 104 and the final Rondo at dotted quarter = 98. The little Ritournelle section at the end of the Théme and first variation can be quick, around half note = 130.

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