Budget
    Establish your budget. Altos range in price from $1,500 to $15,000. If you are going to play a lot, then a more expensive alto flute may be a worthwhile investment. Decide whether you want a curved or straight headjoint, or both. Most flute sellers will include both curved and straight headjoints to try if the manufacturers have that option. Experiment with both since the curved headjoint may affect sound and intonation. More importantly, pay particular attention to how your right hand feels. The reach for the right hand is longer for an alto with a straight headjoint than one with a curved headjoint. Even though I am around six feet tall, I find altos with straight headjoints too long for my right hand to be comfortable. Crutches for the left hand are available for alto and bass flutes but I find them to be too unstable. I have also sometimes forgotten I was using one, and the crutch went crashing to the floor when I took flute from lip.

Test Sound and Intonation
    Test the flutes for tone quality, intonation, response, and evenness of sound throughout the range. This last characteristic is particularly important for less expensive instruments. I have tried several lately as a possible replacement for my current alto. The newer instruments were much easier to play in tune than mine, but they often lacked a consistency of sound throughout the range. Most sounded good in the first octave, but were much weaker and had significant sub-tones in the upper octaves.

Ask a Colleague to Listen 
    When comparing instruments, it is helpful to have someone listen to you play. If possible, have them listen at a distance from you. To compare intonation and tone quality in the various ranges, play low and high range scales, like the first line of the first Taffanel et Gaubert Daily Exercise No. 1, both as written and up an octave. Use different articulations to check the response of the instrument. It is important to also play something lyrical in order to evaluate the tone quality of each instrument. I like to use the first movement of Johann Sebastian Bach’s Flute Sonata in C, BWV 1033 as it can serve to compare both tone quality in the Andante and the articulation response in the Presto. 
    When playing for colleagues, do not tell them which manufacturer made the instrument as that might prejudice their opinions. Provide the listener a pen and paper to write thoughts about the various parameters, whether that be tone quality, intonation, articulation response, etc. Some people like to hear each of the areas separately on the different instruments while others prefer to hear everything on one instrument before moving to the next. It is important to find someone who either plays the flute or is familiar with it. Non-musicians are unlikely to discern the subtle differences between instruments.

Assembling the Alto
    When putting an alto flute together, I have found it is slightly different from the way I assemble my C flute. I do keep the same relationship of embouchure hole to the rest of the instrument. If you select a curved headjoint, pretend the curve is not there and align the embouchure hole to the rest of the instrument just as you do on the C flute so it will balance in the same way. With the footjoint, I turn the keys much more toward me than I do with the C flute so my right hand fifth finger can comfortably reach the bottom keys.

Learning to Play
    After purchasing your new alto, go slowly in learning to play it. Since the instrument is larger and heavier, pay particular attention to the right hand. If you experience any pain, stop and take a break. The larger size and lower range also mean that the aperture  should be larger. I separate my teeth more and keep my throat open, especially in the lower range. Playing alto flute requires a slow but steady air stream, and the volume of air should be greater than on C flute, both to get a good sound and to maintain good intonation. 
To warm up, I use the same exercise material as I do with the C flute. Besides the Taffanel et Gaubert 17 Big Daily Exercises, there are several excellent method books available. Many of the beginning flute methods also work well with the alto.
 
Benefits
    Playing any of the low flutes adds a new dimension to your flute playing. When playing in a flute choir, the alto parts are often the tenor or bass lines of the composition. Learning to play harmony develops the ear for both intonation and balance. There are many excellent, affordable instruments available today, and I encourage you to take the plunge and enjoy the entire flute family.

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Set a Practice Time
    Failure to practice is often due to a lack of a designated practice time each day rather than a lack of motivation. Most students like to play and practice the flute, however, the events of the day are also exciting and time consuming, and it is easy to get to the end of the day without finding time to practice. Doing something with others is also more inviting than doing something alone. For adults, practice sessions may be on the agenda, but other projects or family responsibilities occur leaving little time for flute work. Setting a specific time each day will help you remember to practice. Rather than setting one longer time, explore the idea of setting several shorter twenty to twenty-five minute sessions throughout the day. This may work better with your schedule, and research shows that this produces better results based on peoples’ ability to concentrate. Practice five or six days a week. It is beneficial for your mind and body to have some time off. (This should be guilt-free time off.)

Ground Rules
    Find a location to practice where it is quiet, and you will not be disturbed. This means no phone or television. It does not have to be a glamourous practice studio. For years, I practiced in the basement while I did laundry in the morning before I went to the university. It worked well because all of my music was in filing cabinets in the basement, and anything I needed was at hand. In addition to getting my practicing done, I always had clean laundry. The chart below is a practice routine that my students dubbed The Laundry Routine. It uses the Taffanel et Gaubert 17 Big Daily Exercises. The goal is to complete this in 25 to 30 minutes. Vary your approach to these exercises. Think about what your playing needs and practice those things.
    If this is too much material for your current level, slow down and stay on the Monday exercises for a longer period of time before going on to the other days. Everything does not have to happen right away. The goal is to have it happen one day.
    The exercises covered in this plan is the theoretical material that all professional flutists should have in their brain and fingers. Many professional flutists have commented that when they arrived at the conservatory, they felt their technique was lacking in some way. Most spent five or six months where they studied nothing except these exercises. This material makes up about 95% of all music. In a sense by mastering it, you are learning much of the repertoire.



Be Creative
    Lack of motivation is a cousin to boredom. When practicing this material, vary your approach. The goal is to lay a foundation of great flute playing which encompasses good posture, excellent breathing and blowing habits, independence of air stream from the fingers, an even technique, and of course a beautiful sound. In the Taffanel et Gaubert there are articulation projects at the top of each page. Start with these and create your own. The more creative you are, the more engaged your brain will be. The more engaged your brain, the better the outcome.
    When I was studying with Julius Baker, he remarked, “To make it professionally today, you need to be able to play the T&G at mm = 144.” Now I would say the tempo has moved up to 200. You will not achieve this in a day or a week, so be patient. Start each week chunking by beamed notes (four or six notes) to improve reading skills and motor coordination. Alternate slurring everything one day and single, double, or triple tongue the next. Practicing everything with the HAH (breath attack) will improve vibrato control.
    Any exercise played slowly enough can become a tone/vibrato exercise. Practice putting 2, 3, 4, 5, or 6 vibrato cycles on each note. Practicing with the metronome and a tuner will help you determine things to concentrate on and improve. You are your own best teacher, so use your brain and ears to develop your skills. Record your practice at least one day per week and play it back in the car when you are running errands. Listening is part of practicing too.

Be Realistic
    Often when trying to become motivated, we set goals that are too ambitious. This reminds me of going to a buffet where all the foods look amazing. Rather than selecting one or two items, we take a little of this and a little of that and suddenly we have a plate that is overflowing with food. Don’t let your practice plate become unmanageable, or you will never practice because it will seem there is simply too much to do. Start small and then as you progress, add more.
 
Reassessment
    Many great players have shared that once a year they go back to square one in their playing. This means starting over like a beginner and rethinking everything. I have done this for years using some of the great treatises of our time such as Heinrich Soussmann’s (1796-1848) Complete Method, Joseph Henri Altes’ (1826-1899) Mèthod Complète de Flûte, and Paul Taffanel’s (1844-1908) Method Complete. I begin on page one and read and play the exercises as if it were my first time learning this material. The only difference is that I have been playing the flute now for many years, so I can easily read and finger the notes and play the correct rhythms with a pleasing sound. My goal this time through is to reread any instructions and insights these flutists have shared and to play this material as perfectly and beautifully as I can. I focus especially on the attack, connections from one note to the next, intonation, and musical line. The music in the early parts of the volumes is easy which means all my flaws are easily detected. It can be depressing, but I know from past experiences that this is a way to get to the next level of performance and to rejuvenate my motivation for practicing and performing.

Inspiration
    I also like to read books by flutists that share teaching philosophies and practice habits. If I can get one new idea, then the reading for the day is worth the effort. One of my favorites is Carmine Coppola’s A Manual of Flute Instruction: Especially designed for the school music teacher as well as for private teachers and for self-instruction. The book, published in 1975 by Carmit Music Company and distributed by Charles Hansen Distributor, is a 64-page volume sharing Coppola’s life story as first flutist in the Detroit Symphony and NBC-Toscanini Symphony and also as a conductor and composer on Broadway. He also contributed the music to the Godfather, Part II movie directed by his son Francis Ford Coppola. Besides some charming photos of famous conductors Coppola performed with, there are excellent exercises to improve vibrato, embouchure flexibility, dynamic design, breathing, articulation, special fingerings, and a listing of graded literature. From Coppola’s writing you can tell he was an excellent flutist and musician. He writes, “I cannot emphasize the importance and value of the scales, thirds, and sixths in all keys; they will provide the necessary foundation for a good tone, intonation, and control of breath and technique.”
    Another book I recently discovered is James Pappoutsakis: His Artistry and Inspired Teaching by Nina Barwell. One of my classmates at Eastman had been a high school student of Pappoutsakis, so I knew something about his life and teaching. Pappoutsakis was assistant principal flute of the Boston Symphony, principal flute of the Boston Pops (1937-1977), and flute professor at the New England Conservatory. According to Barwell, his approach to flute playing can be traced back to the French Flute School of the late 19th and early 20th centuries, and especially to the teachings of Paul Taffanel.
    The book begins with a half-step tone exercise which Pappoutsakis calls Matching Tones. The goal is to develop homogeneity throughout the range. He instructs “Use the correct fingerings and always play with excellent tone quality. Play evenly with absolutely strict rhythm.” There is a section on how to practice trills and another on practicing scales for legato playing. In practicing scales, he suggests, “Let the intonation be your guide. It will give you the exact angle for the best focus for low notes. You could say good low notes through intonation. If you let your ear be your guide for playing in tune, it is easy to hear if you are in tune or out of tune. You will arrive at the proper position or blowing angle. Use the lips and jaw to help direct the column of air into the flute.” On articulation, he instructs, “Say tu in the French manner, which has the tongue forward in the mouth and the lips puckering forward. Remember that it is the combination of the air stream and the withdrawal of the tongue from the palate that produces the articulated note…Blow strongly and tongue lightly!” Other good books for inspiration include Michel Debost’s The Simple Flute: From A to Z, Roger S. Stevens’ Artistic Flute: Technique and Study, and Thomas Nyfenger’s Music and the Flute.
Motivation to practice is an ongoing struggle for flutists of every level. However, an upcoming concert or job keeps most of us committed to daily practice sessions. In your practice diary, make a special section especially for motivation tricks that work for you. Next time you are in a slump, you will have some good ideas ready to go.    

* * *

Motivation Tricks

1. Always have something on your stand that you love to play. This will be the last thing you play before you put your flute away for the day. Looking forward to this treat will help you through the less enjoyable tasks. And yes, some tasks are definitely less interesting but are still equally important.

2. Keep a practice diary. Assess what you want to accomplish. Make a plan – one for six months out, one for a month out and one for a week out. Write goals at the beginning of the practice session and comments at the conclusion of the session. The entries need not be long; in fact a simple comment or observation will help you begin your next session. Write any major discoveries you make during your practice session so you will remember them forever.

3. Find a practice friend and once a week play scales together before moving on to duets. Another pair of ears is always a good idea. If you hear your friend doing something you like, ask how he or she does it. Sharing ideas about flute playing is great for both parties. When I was in conservatory, the applied flute majors practiced four to six hours a day. In the evenings, several of us would gather in a practice room and play what we had worked on during the day. Since these students had come from various teachers, the comments offered were a smorgasbord of ideas. Many were things I had never thought about. They stayed with me in my practice, and I was richer because of them.

4. Practicing also includes score study, listening projects, and attending masterclasses and concerts.

5. Play with CDs. Play your repertoire with as many flute recordings as you can find. Playing with another flutist on a CD is like walking in another flutist’s shoes. Orchestral parts are an excellent option. Flute parts can be downloaded at . Many of the pieces also have recordings on this site.

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Answer: Who hasn’t had the practicing experience of an extended daydream with flute scales in the background? We all know that this is exactly what should not happen, and yet it does. Getting mad at yourself and trying to maintain concentration through sheer self-discipline is basically futile.  You end up thinking more about why you are not concentrating than actually concentrating. The good news is that this is a skill like any other and can be learned and practiced.

What distracts us?
    It is important to differentiate between serious problems and everyday stuff. Most of what we think about when practicing is not all that urgent and can wait until we are finished. School assignments will be there waiting when you are done practicing. Laundry will be content to wait in the hamper. Most things don’t need doing now.
    However, sometimes there may be something so important that it is just not possible to stop thinking about it. When this occurs, it makes much more sense to put the flute away and deal with the problem first.

Suggestions
    Whether in practice or performance, distraction is characterized by lots of inner chit chat. We know this is not helpful but can’t tell ourselves to stop saying words without using more words. We can’t tell ourselves to not think about something without thinking about it. My favorite example is to ask students to not think about a zebra and please do not visualize any stripes. Of course, a herd of zebras marches right through their minds. The upshot is that any strategy you take, based on the negative, will fail. Thinking Don’t! Stop! or Not now! are guaranteed not to work and in fact will make the distraction worse. 
    A more positive alternative is to put the voice in your head singing the music as you play. Whether it is the most ordinary scale or a great piece of art, if you are singing in your mind, you will be playing more musically and will stay focused. 
    Concentration, like any other skill, takes practice. When you first start  this mental singing, you are likely to tire quickly and slip into the old habit of mind wandering. As soon as you realize this has happened, take a short break for several minutes and then start again. At first you may find that after two or three restarts you just cannot keep singing inside. Don’t worry; mental endurance grows quickly when you practice concentrating through singing daily.

The Power of Singing
    This practice not only improves concentration but will also help develop your flute tone. Singing teaches the sound of your musical voice better than anything else. Both singing out loud and in your mind as you play are direct pathways to beautiful, individual tone colors. Teachers often advise students to sing, and the best way to begin is with mentally singing simple scales and then to vocalize gently.
    Flutists who do this daily will find that boredom and mental wandering during practice will simply go away, and that concentration when under pressure in concerts, competitions, and in auditions will dramatically improve.

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First Rehearsal
    Before the first rehearsal agree on which edition will be used. While there is only one edition for some compositions (Francis Poulenc’s Sextour for Winds and Piano), others (Mozart’s Flute Quartets) will have many. Playing from the same edition saves time as it is easier to make changes together. Players should number measures (one number per line is sufficient) even when there are printed rehearsal letters.
    Each person should have studied the full score enough to understand the form and where the various sections begin and end. Compositional details, such as repeats, changes in rhythm, harmony, and voicing should be carefully noted and marked in the score. Players should have the full score available at all rehearsals.
    Allow enough time before the first rehearsal so that players have time to learn their parts. The first rehearsals will not necessarily have mistake-free playing, but everyone should play well enough to get a sense of the piece as a whole. As you play, begin to experiment with what you feel intuitively. Notice where your part is more soloistic, and where it should blend more.
    Plan rehearsal time wisely. This means setting an allotted time for each section or movement. In a Mozart quartet, for example, start by playing some scales and thirds together for ten minutes and then rehearse the different movements. This might be 40 minutes for the first movement, 20 minutes for a slow second movement, and another 40 minutes for the last movement. Players who have already performed the piece with other musicians will need less rehearsal time than those who have never played it before.

Learning by Listening
    Listen to as many recordings as you can find to explore different ideas about phrasing, dynamics, and tempos. Jot down ideas about what you like and what you don’t and share them with your chamber group. Discovering what you don’t like can be an important step in figuring out what you do actually like and how you want the piece to sound. The goal is to find your own way.

Process
    The primary objective of rehearsals is to make each player more and more aware of what is in the score, to hear details clearly, and to understand how different elements work together to communicate the composer’s ideas. While it is important to be methodical in rehearsals, don’t try to decide every detail as you want to leave some room for elements to merge together in future rehearsals and in performance. Too much uncertainty can be dangerous, but over-deciding can keep you from reacting to a spontaneous idea in concert. Learning this balance is an art that comes with experience.
    You will hear things differently through the rehearsal process, and based on what you hear, members of the ensemble will make changes in the overall interpretation of the work. Always begin and end rehearsals by playing through a large section of the work to develop flow. This can be an entire movement or a part of it.
    Record and compare rehearsals and concerts to look at what happened that you did or did not expect. Notice what worked well, and what needs further work. It is also important to evaluate whether the performance sounded the way you meant it to.

Interpretation
    Interpretation is a combination of hearing the score and being yourself. The interpretation will develop from finding this balance. Too much you in performance results in caricature. Too much score makes the playing too square. Balance is the key.

Group Dynamic
    When I first moved to New York, I was confronted with a situation where former coaches and teachers were now sitting next to me in ensembles. It was very difficult to think of myself as an equal. I did not dare impose my will on people who had so recently been my superiors. I wanted to be able to say what I thought the music should sound like and to describe the kind of playing I felt was needed to make it sound that way. I said very little despite my strong feelings about the music.
    It was an uncomfortable situation to be in and it only got worse. I so wanted to discuss what I was feeling about different phrases and sections of the piece, to describe those feelings as visual images, to use poetic terms. No one seemed that keen on this kind of approach, and those who tried, generally failed to get their point across.
    Over the years, two things became clear. First, you should minimize talking about an idea, and instead show what you mean by playing the phrase. Even if colleagues do not initially like your idea, they will have heard it and may reconsider later.
    Secondly, differences are often less pronounced than you would think. Long discussions over disagreements are rarely constructive. Better rather to note differences and move on without making formal decisions. Focus your attention on relatively simple, concrete elements; they are more useful than emotionally charged arguments. For example, you might say, “Do we both have the same rhythm as we cadence together?” rather than “One of us must be rushing there.” Another example might be to ask, “Do our parallel open fifths sound in tune?” rather than “I can’t find your pitch.” 
    You will advance more quickly together as a group by focusing more on elements of the piece itself rather than on your inner emotional world or in seeking to discredit your colleagues. Members of the ensemble may well adopt a position that initially some were hostile to without even realizing that their positions have changed.

Attitude
    There are times to be assertive and times to be receptive. A young professional violist who wanted to participate in the festival in Denmark where I am artistic director wrote to persuade us that all performers in a group must have exactly the same ideas about a piece. To prove his point, he sent a recording of an entire Brahms sextet where he was playing only the viola part alone. Apparently, he could not find partners who were his clones.
    I mention this odd anecdote to emphasize that you are playing with other people. One person should not insist on only his ideas, no matter how brilliant they may be. Display an attitude that encourages others to work with you. To play chamber music well, you have to want to go beyond yourself.
    When faced with contrasting viewpoints and musical ideas, try them all in rehearsal, but wait until the next meeting to choose. The interval between rehearsals allows players to get used to new ideas and consider them more objectively.

Intuition and Analysis
    Many instrumentalists are reluctant to use theory and analysis skills when practicing and rehearsing. They do not want to think about anything that takes them away from playing their instruments. Nonetheless, analytical skills are meant to serve instrumentalists; understanding harmony can be used to clarify many issues such as phrase direction or intonation. A group can best work on balance and voicing issues by exploring how a composer hides and changes primary and secondary themes, etc. The more you understand, the more you can put that knowledge to use. The result will be greater musical depth and more conviction in performances.

Pulse
    Pulse is the primary element that makes it possible for a group to play together. It should be felt by each player individually and also as a group. When pulse is felt by the group, it is as if there is a pulsing heartbeat in the middle of the ensemble. The following exercise, often taught in conducting classes, is useful in developing group pulse for ensembles without conductors. Toss up a key chain (with keys) gently above your head in view of everyone in the group and ask them to clap at the precise moment the keys hit the ground. The speed of the keys as they arch and then fall to the floor is not constant. Nonetheless, the moment of impact is predictable; musicians will nearly always be able to clap right when the keys hit the ground even without looking at the floor. However, if you repeat the exercise, but this time throw the keys straight down at the floor, they will not have the same success. 
    In the first example, tossing the keys up acts like a conductor’s preparatory movement, which is always in tempo. The preparation sets the pulse by showing the players when to breathe and where to place the downbeat together. In the second example, there is no preparation, so without knowing the pulse, no one can accurately judge when to clap. Whoever cues the beginning of a piece must feel the pulse very clearly first before communicating it to the others. In rehearsals, practice starting the piece several times to get used to making the right physical movement and breath so that the pulse is felt by all.
    The pacing or flow of a piece is regulated by pulse. When playing chamber music, learn to anticipate what another player is doing with the pulse and learn to react spontaneously to what you hear. If your focus on being together is excessive, you will always be behind. Being together is anticipating, doing, reacting, and at times, adjusting. You are neither leading nor following.
If an ensemble partner’s pacing is radically different from yours, you both will be uncomfortable. Playing alone for each other, with and without a metronome, can help improve accuracy and work towards a compromise.

Conducting
    Who is the conductor? Is there one in chamber music? When I ask these questions to less experienced groups, they generally respond that the conductor should be whoever plays the highest-pitched instrument such as the flute in a woodwind quintet or the first violinist in a larger mixed group. Sometimes this is true, but not always.
    The role of conductor exists in chamber music performance, but it is a shared responsibility, and it changes all the time based on how the composition is written. Someone has to start the piece. The conductor at this point is the player who has the first entrance and is able to comfortably give the cue. Later in the piece when another cue is needed, the conductor may be a different player in the ensemble. Decide who is going to give cues at different spots in the music and write that information into the parts so each player knows who to watch. Sometimes the best person to offer a cue is the one who has a least active part. Always remain open and alert, whether leading or accompanying.
    Suppose that a friend asked you to accompany him home. You would not walk shyly behind him or be overly focused on regulating your steps to the exact rate of his paces either. You would walk next to him without focusing on whether your steps were exactly in sync. You would be sensitive to his movement without being obsessed with it. You would simply be aware of his presence – listening and reacting to him as he is reacting to you. This is exactly how you should play with others in an ensemble.
    Write in with whom you play at different moments, and whether your role is more melodic or secondary. Generally, melody should soar above and be played with more presence than accompaniment figures. However, finding the right intensity for the non-melodic passages is as demanding if not more so.

Silence
    Rests are silence, and silence is a part of the piece, not separate from it. Everyone in a group has to play silences accurately. One note held over after the harmony has changed can muddy the harmony. Practice hearing the silences together. They are as important as everything else.
    Often a silence is linked to a breath. You breathe in the rest. The sound of breathing can be expressive – great opera singers can intensify the emotional impact of what they sing through dramatic breaths. Don’t feel hurried to get through a silence and don’t feel guilty that you have to breathe. Practice making silences longer and shorter, with louder or softer breaths. Think about how they affect the way you feel as you play the piece, the way the audience experiences the piece, and how it sounds.

Dynamics
    Music is much more than silence, of course. Dynamics provide clues to pace gradations from silence to maximal sound. Dynamics do not correspond to exact decibel levels, but instead refer to relative changes in loudness and softness. A mf dynamic must sound different from a forte and a mp from a p. Sculpt these differences into your music to express your interpretation.
    Beethoven’s dynamic markings are extremely precise as are all of Beethoven’s indications. When he writes ff after a f passage, he wants more excitement. Other composers like Mozart have relatively few dynamic markings, but you still should play the music with color and contrast. Some composers write dynamics to balance an ensemble. They might indicate a louder dynamic for the flute than for the trumpet with the idea that they should sound equal in a passage. Take the time to analyze what each composer’s dynamic markings mean.

Balance and Voicing
    Balance and voicing refer to bringing out one voice or group of voices more than another. If an important melodic figure is covered by a secondary motif, an audience will not understand and enjoy what you are playing. Experiment with bringing out different instruments in the same passage. Start with a section where all the instruments move together in the same rhythm. Try repeating the passage a few times, each time with a different instrument playing louder and the others less. Notice what the effect is, and how the group color changes. Vibrato also influences dynamics and group balance. Try playing forte without vibrato and fortissimo at the same level but using vibrato. Notice how this affects contrast in the group. Because instruments project differently in different spaces, check balance in each venue where you perform.

Blend
    Ideally you should be able to adapt your sound to the other instruments. Playing the flute in a woodwind quintet is different from playing the flute in a duo with guitar. In a woodwind quintet, the flute should have enough core in the sound to mesh or contrast with instruments whose sounds are fatter. In a guitar duo, a flutist can use more transparent sounds and still be heard. The decibel level and sound quality for the same dynamic in the two groups will not be the same. In both cases, however, there should be marked differences between the dynamic levels. A piano dynamic must sound different from a forte.

Rhythm, Accents and Resonance
    Attacks in music function like consonants in words. Without them, there is little clarity. On the other hand, attacks or consonants alone, are rather incomprehensible. The mechanism of attack for each instrumental family is different. Within your group, discuss the attack technique used by each instrumentalist. A flutist can see exactly when a violinist attacks a note by observing when the bow makes contact with the string. For a flutist, attack and support are produced inside the body and are nearly invisible.
    Rhythmic clarity is influenced by how attacks are produced. Percussion and brass instrument attacks tend to be more pronounced than string attacks. You will need to adapt the quality of your attacks to the type of ensemble and music you are playing. If a piece has a strong rhythmic element to it, it might require more energetic, crisp attacks. Another work might sound best with more gentle attacks to help bring out a more sustained, melodic character. At times, it can be both, and one instrument or group of instruments might best emphasize the sustained quality of a note or notes while another instrument or group emphasizes the attacks of those same notes. Solutions vary depending on musical context and instrumentation. Experiment in rehearsals by varying who sustains and who attacks, and by varying how much they do it. Notice what the effects are. Only then can you choose which solutions you wish to use.
    The effect of the attack on sound varies from instrument to instrument. Consider a string instrument. If the player attacks a note on one of the lower strings and then plays on an upper string, the lower string continues to vibrate even after bow contact has ceased. For flutists, the attack is made with releasing the air. You can get a similar effect to the violinists’ attack by playing an extremely rapid diminuendo on a note before moving on. The ear is fooled and believes it hears continued resonance as on a violin.
    There are stylistic differences to consider for accents. Stravinsky’s accents, often in loud dynamics, are meant to be sharper and more pronounced than Schubert’s. Beethoven’s accents are a subject for an essay in itself.

Tempo
    I was quite surprised the first time I heard the Vienna Philharmonic perform a Mozart minuet. Much too slow, I thought. It was much slower than I had ever heard, but the players seemed comfortable with the tempo and after a minute or two, it started to sound right. I stopped disliking the playing for being in the wrong tempo for me and was soon enjoying the performance. I went from rejecting a tempo and character for being different from what I was accustomed to, to hearing it as working beautifully. I was hearing it as the performers did.
    The word minuet does not imply an exact speed. It rather refers to form and meter. In order for a minuet to work in performance, you have to bring both form and meter together so that your performance has character. In a Classical minuet, you might choose to separate the minuet from the trio by changing the tempo for the latter or by changing the sound, or both. Another decision is whether to give equal weight to all three beats or emphasize first beats. Try many options before you decide.
    Musical terms used to indicate tempo refer as much to character as to speed. Take the word allegro. In Italian it means lively and cheerful. While it cannot be denied that those two words are usually associated with a certain briskness, the speed of an allegro movement, like a minuet movement, will vary. An allegro movement played with great speed can be exciting. You and your audiences may enjoy that, and you have every right to. However, before deciding definitively on your performance speed, try to get the feeling of liveliness and brightness at different speeds from very slow to moderate to very fast. You may discover elements in the movement that come out more convincingly at one tempo than another. The goal is to expand what you know and feel so that when you do choose the tempo, you are sure of what you are doing.

Performing
    Once you have a clear sense of how the piece works, and you have rehearsed enough together to feel that you are indeed playing with character and understanding, it is time to perform. Ideally, you should perform the same pieces more than once, and with time between concerts to discuss and rehearse. Interpretations become more convincing over time.
    In a short rehearsal before the concert, play just the opening and ending of each movement in the tempo and character you have decided on. If they are not absolutely clear, do not hesitate to play those few measures three or four times until they are. Each movement must be distinctly different from the others.
    After the concert, discuss what worked well, what worked less well, and what you hope to accomplish now. This type of discussion is best to have a day or so after the concert, not immediately after. Relax and celebrate first!
    I hope that musicians will take an approach to chamber music where performance and learning are as inseparable as instinct, intellect, hearing, feeling and understanding.     

The post How to Rehearse Chamber Music appeared first on The Instrumentalist.

    Charlene Romano is a freelance flutist in Virginia. She and her clarinetist husband John Romano perform as DuoRomano. In 2012 she performed the world premiere of Gregory Wanamaker’s des ondes et les temps for solo flute. She has recorded on the Cantilena label, has served on the faculties of Shenandoah Conservatory and Solano College, maintains an active private studio, and is a pedagogical author. She also writes about the challenges of balancing a music career, studio teaching, and family on her blog, The Domestic Flautist. She holds a Masters of Music from San Francisco State University, where she studied with Linda Lukas, and a Bachelor of Music in Performance, Magna Cum Laude, from Shenandoah Conservatory, where she studied with Frances Averitt..

    As a freelance musician, I am often contracted by a music director, organist or contractor to provide music for church services. This may include performing as a soloist or with a larger ensemble. I might play the prelude, offertory, special music, and perhaps a composition with the choir. Usually, I only play for one church each Sunday but on occasion have played at multiple churches on the same day.
    The churches that I play at do not broadcast on television or radio; however, it is becoming more common for churches to stream their services. It is important for musicians to treat every performing moment as though it could be on the internet because it often is. I try to be professional in every aspect of my communications, preparation, and performance during rehearsals and services.
    While I play for my own church gratis, I am paid for all other performances. If you are new to the church job scene, ask fellow musicians how they set their fee. I use a simple ledger book for accounting and keep track of mileage on my mobile phone. Any expenses I incur are paid from a business account or with a credit card dedicated to this purpose. This eliminates a great deal of hassle at tax time.
    The number of musicians employed for a typical service varies. Usually it is just the organist or pianist and me. For special services at Christmas or Easter, a larger ensemble may be used. Rehearsals are often short and at the last minute if there is one at all. Because of the lack of rehearsal time, be prepared and know the score ahead of time. Even if your parts seem simple, look them over. If you have any questions, email the music director or organist ahead of time to save time in rehearsal. It is also important to be flexible about last-minute changes and to be a good sightreader.
    Usually, the music director or organist selects the repertoire, but sometimes I am asked to provide suggestions for the prelude, offertory, or other special musical moment in the service. I take into consideration how traditional the service is and if there are any restrictions. For traditional churches, I suggest sonatas by Telemann, Handel and Marcello. Unless there is a large amount of rehearsal time, I avoid the J.S. Bach Sonatas because the keyboard parts are more complicated. At one church, the repertoire guidelines say that all of the music has to reference Biblical verses. The Franz Biber (1644-1794) Rosary Sonatas (also known as the Mystery Sonatas) are an excellent choice for these services.  This collection has 15 short sonatas for violin and continuo that are easily adapted for flute. They can also be played by flute and another solo instrument with continuo as they contain many doublestops.
    Much of the repertoire marketed to church music directors is written with very simple flute parts. Many churches cannot pay for a professional to perform these parts, and the music will sell better if the flute part is simple enough for an amateur or student in the congregation to perform it. Unfortunately, many of the flute parts are written by composers with little understanding of the instrument. I often have to make changes to the octaves, articulation, and dynamics. I do as much of this ahead of time as possible but remain flexible in rehearsal. The articulation I have chosen may not work well with the upper strings, which may be in unison or parallel thirds with me, or the dynamics may not work. For instance, I recently played a line that was written in unison with a child singer and was marked mf. My mezzo-forte would have drowned out the singer, so I changed it to pianissimo. Sometimes I see passages that include notes that are not in the flute’s range. I rewrite these passages but tell the choir director ahead of time. When doubling the soprano line in hymns, I often play the melody an octave higher.
    I also perform at weddings, although most of these jobs come through contractors, and they usually provide the music. Often, I do not see this music ahead of time, so I arrive early to look through the folder and resolve any problems in advance. Sometimes, a contractor will put a violin or other C instrument part in the flute folder, and it is a good idea to check for problems with range and matching articulations with other instruments prior to the event. (The middle of someone’s processional is not the moment to be counting ledger lines below the staff.)
    Unless something else is specifically requested, I wear concert black for church performances. Sometimes a dress code will ask for casual black; in my area, this means men wear black shirts and black pants instead of tuxedos, and women have some freedom in terms of style and material in their wardrobe. Another common dress code here is black with colorful top. I would recommend dressing conservatively, especially for the first service you play in a new venue. I once arrived for a concert-type service at a very conservative church. I had dressed, as the contractor had specified, in what I thought was a very modest concert black outfit – a long-sleeve jacket over a modestly cut top, with an ankle-length A-line skirt, and minimal jewelry. My skirt had a very small slit on one side. During the sound check, I realized that I would be seated so that this slit would face the congregation. While this would have been fine in most situations, as the congregation trickled in, I realized that all of the women were wearing extremely modest full-length skirts and dresses with little color and no jewelry. I had just enough time between to run to the restroom, turn my skirt around backwards so the slit was on the other side, and remove my jewelry.
    I began playing in church as a student and have found it to be one of the best ways to train as a musician. It has taught me flexibility above all else. At the last moment, the minister might change a hymn, or music may be unexpectedly needed in a portion of the service. The start of the service might be delayed requiring a longer prelude from the musicians. A singer might make an intonation or rhythmic error that you have to match quickly. Church musicians also have to master the arts of sightreading and stage presence – you have to keep your composure and keep going no matter what happens in the service.
    Playing church jobs has also put me in touch with other musicians and led to additional work. At this point I know almost all of the church musicians in my region. I am quite busy, so I do very little marketing, but I do try to mention special church jobs on social media. This reminds people that I am available for this type of work. I also try to attend concerts and special services given by other church musicians I know. It is important to support other musicians and to maintain these relationships. Many have become close friends and are truly wonderful people to work with.

Stephanie Lupo

    Stephanie Lupo is Voting Program Co-Chair, Publicity Chair, and Webmaster of the Chicago Flute Club, and she performs with the River Valley Wind Ensemble, the Whisper Tones Flute Duo, and as a substitute flutist/piccoloist for the Kankakee Valley and the La Crosse Symphony Orchestras. She has taught masterclasses throughout the Midwest and was on the faculty for the Dorian Music Camps at Luther College for the past two summers. She is currently writing her dissertation to complete a Doctor of Musical Arts degree in Flute Performance and Pedagogy with a Secondary Area in Music Theory at The University of Iowa, where she was a Teaching Assistant in Flute and studied privately with Nicole Esposito. She received a Masters of Music in Flute Performance at The University of Akron in Ohio, where she was a Graduate Teaching Assistant studying with George Pope and a Bachelors of Music in Flute Performance from Bradley University in Peoria, Illinois studying with Kyle Dzapo.

    I aid in worship at mass each week at a Catholic Church as well as performing for holidays, Holy Days, sacraments, weddings, and occasionally for funerals. I have also been a choir director for Catholic and Baptist churches, and an assistant to the director of music. I began singing in the church choir at an early age and in the seventh grade was asked to start playing my flute at the masses. Currently, I play in my church plus about six other area Catholic churches.
    Since I am a member of the congregation, I am not paid for weekly masses; however, the church provides an honorarium for holidays and sacraments. I am always paid for weddings. When I was a choir director, I volunteered for the first position that I took. After that, word spread that I was a director, and I was recommended for paid positions. When I was in high school, I created the position of assistant to the director of music because I loved the choir director and church and  wanted to start saving for college. I proposed a job description to the director, she talked to the priest, and I was hired. Being a musician requires openness and creativity to find work. This is also why it is essential to be kind and professional at all times, as you never know whom your future employer might be.
    At my current church, there are usually two to five instrumentalists at each mass. For holidays and sacraments, we generally have a group about the size of a pit orchestra. I have also played at churches with around ten musicians at each mass and services where I was the only one.
    While the choir rehearses on Wednesday nights, instrumentalists rehearse 30 minutes before weekend masses in the choir room. For weddings, we arrive an hour and a half before the event. The first hour is our rehearsal, and the prelude begins half an hour before the wedding.
    In every church that I have played or directed, the music director selects the music. Unless it is a wedding, then the couple selects the music. We do play on everything, which includes a Prelude, Gathering Song, Gloria (seasonal), Responsorial Psalm, Gospel Acclamation, Preparation of Gifts, mass parts (Holy, Memorial Acclamation, Amen, Lamb of God), Lord’s Prayer, Communion, Communion Reflection, Closing, and Postlude. The repertoire reflects the readings of the mass and liturgical season. Different music is needed for Advent, Lent, Christmas, Easter, Ordinary Time, or special feast days. Additionally, the readings are on a three-year cycle, so it is not until the fourth year that song lists can even be reused, if desired. The need for so much music is why we use at least four resources: Breaking Bread (OCP), Gather Comprehensive (GIA), Choral Praise (OCP), and Spirit & Song, Vol. 1 and 2 (OCP).
    A solo or ensemble work from the classical repertoire is certainly appropriate for any time instrumental music is needed. The prelude is often a likely candidate, especially if no choir is present. I always bring music so I am prepared for anything. Very rarely am I given a part that is ready to play. Generally, no articulation markings, dynamics, or tempo markings appear in the parts. To determine the octave in which I chose to play, I have to consider factors that include the size of the choir, piano or organ, other instrumentation, part of the mass where it occurs, and so forth.
    Instrumentalists are always in an accompanimental role to the singers and should be ready to adapt to their requirements. Transposing is a valuable skill because many church songs lie outside the vocal range of cantors or the congregation, or the director may want to modulate a whole step higher for the final verse. The keyboard or organ may even remain unintentionally transposed from the last song. Regardless of the circumstance, instrumentalists have to be ready to transpose instantly. I have even played cello parts, requiring me to read bass clef while playing.
    When playing with a choir, it may be necessary to support their parts, which means reading the choir score, playing in treble or bass clef, and many page turns. A useful skill is choosing left-handed fingered notes to play while turning the page with the right hand. Many times, more instrumentalists are present than there are parts. This requires improvisation. If you are lucky, you may have chord symbols or a piano part from which to play. However, sometimes you just have the melody. Being comfortable with scales, chords, and basic chord progressions makes improvisation much easier.
    Church music often requires spontaneity. For instance, the exact number of refrains and verses is rarely pre-planned. Players should keep a keen eye on the director or pianist to know what to play next. In one case, a second communion song was unexpectedly needed. The director mouthed the title to me, ended the song we were playing, and transitioned immediately to the introduction of the new song. There was no time to find sheet music; I just had to rely on my memory of playing it before and an understanding of the harmony. This is a skill set that should be applied to memorizing classical pieces as well. The creativity required in constructing a part really helps flutists, who play single-line instruments, to think about harmony, chord progressions, and the specific notes within each triad.
    Playing in church is also a valuable chamber music experience. Learning when to lead and when to follow, how to blend and tune with other timbres, and understanding how to balance with a variety of instruments are important skills. In church, one must play with an open heart to connect to the members of the congregation. My background as a pastoral musician has helped me to more deeply connect with audiences and, therefore, convey the ideas and emotions within performances.
    Playing at church has led to many jobs: teaching, directing choirs, and playing for weddings. While I was in high school, a couple of junior high flutists started playing at church, and the director suggested that I teach them in a group lesson. They enjoyed it and eventually switched to private lessons and told their friends. With some additional advertising at local schools, I found myself with a flute studio. If you want to teach, include that on your business card, and make sure that the church director, fellow musicians, family, and friends have your cards. If everyone knows that you are looking for gigs and students, you are more likely to get them. I continued to play at church weekly during my undergraduate studies. At the start of my sophomore year, the choir director left and I was asked to take the job. It was a position I held for the next three years. That position led to a paid job directing a choir at another church.
    Weddings were yet another paying gig that stemmed from playing in church. I obtained wedding jobs through church music programs, volunteering to play for a few events to get exposure, handing out business cards, making a website, forming a chamber ensemble, and playing at semiannual wedding music fairs, where couples pick out music and hire musicians. Our ensemble also offered to play for the cocktail hour at receptions for a slightly reduced rate, which gave us larger gigs and more exposure. I quickly realized that having an ensemble increased the number of weddings jobs I acquired. I played many more weddings with my flute, violin, viola, cello quartet than as a soloist. Be sure to leave business cards with local wedding vendors, like reception halls. People often ask for recommendations.
    For any event in which I am getting paid, I wear all black. At a wedding, for instance, you certainly do not want to match or clash with a carefully planned color scheme. Black is always professional and safe. My favorite wedding resources include Sacred Solos for Flute with Piano and Organ Accompaniments, Vols. I and II (Mel Bay) and the Music for Two, Music for Three, and Music for Four series (Last Resort Music). We use these mainly for the Prelude, Preparation of Gifts, Unity Candle, and Postlude. The rest of the music comes from the Gather Comprehensive books (GIA). During the wedding music fair, we present many choices to couples for each part of the ceremony. They can also choose anything they hear at a weekend mass. That way, each time they hear it, they will be reminded of their special day.
    Be open to requests for music that you do not own. If it is something that should already be in your repertoire, buy it. If the music is specific to the couple, have them purchase it. As for the ensemble music, if you have a group that plays regularly at a church, you might ask the music program to purchase and house the music.
    At my home parish, the music director sets the fee for all instrumentalists. This is the fee I use whenever I play in the area. However, I have found that fees vary drastically depending on the location. Ask church music directors, band directors, and orchestral players how much local musicians charge. In one of the first places I moved, I was surprised to find that the concertmaster of the local orchestra was charging less than half of what I was previously making. If the wedding is not booked through a church music program, be sure to draw up a contract, which protects both you and the couple. It should state the date and time of the wedding, music requested, length of prelude (and postlude, if applicable), and payment information (amount and when you will be paid). Make sure both parties sign it.
    If you have never attended a service of a certain denomination for which you were hired, research it. I have experienced many musicians playing their first Catholic mass, and they are always surprised by the length and amount of music within a mass. It can be tiring, so be sure to practice endurance, and warm up before the rehearsal. Additionally, some of the cues come from the words said in the mass, not from the music director. Finding a seasoned instrumentalist to guide you during the service can help tremendously. Owning your own music can be useful, especially for times when you play at a new church. If the church has a small music program, they may not have music beyond the books for the congregation. As always, it is crucial to use your ears, as they are the most important tool you have. You will not receive a tuning note unless you ask for one. Ensembles are generally a mix of more experienced musicians and amateurs, which means the pitch can be a bit uncentered. Listen to the instrument with which you are most prominently playing and adjust accordingly. If you want to know more about playing or developing a music program in the Catholic Church, the National Pastoral Musicians conference occurs every summer, and it is a wonderful way to meet current church composers and music directors. There are also several retreats, such as One Bread One Cup in St. Meinrad, Indiana, that have a musician track, where you can work with a composer and receive training on being a pastoral musician.

Sara Nichols

    Sara Nichols was Principal Flutist of the Baltimore Opera Orchestra (1987-2009) and has appeared as Guest Principal Flute with the Baltimore and St. Louis Symphony Orchestras and the Opera Theatre of St. Louis. She has performed with the National Gallery and Wolf Trap Orchestras, New York Opera Society, and Mainly Mozart Music Festival. International appearances include the Amalfi Coast Music and Arts Festival (Italy) and Miedzynarodowy Festival (Poland) with the National Gallery Wind Quintet and the St. Petersburg Conservatory (Russia) with the Towson Fine Arts Wind Quintet. She also plays traverso as a member of Pro Musica Rara. Nichols coordinates the Flute Society of Washington’s Mid-Atlantic High School Flute Choir Competition and is conductor of the Baltimore Flute Choir. She teaches on the faculties of Towson University and the Baltimore School for the Arts. A graduate of Auburn University, she received an M.M. degree from the Cincinnati College-Conservatory of Music. Principal teachers include Robert Cavally, Timothy Day, Britton Johnson, and Bootsie Mayfield.

    Church musicians create an added dimension to the worship service. Each member of the congregation enters carrying burdens from their lives and has chosen to enter this quiet space to reflect and worship. Music can be a powerful force that resonates with one’s spiritual and emotional center.
    Sometimes I am contracted to perform as a member of an orchestra or chamber group, but more often I am hired as a soloist by the music director or organist. I play several times a year at my own church as well as at other churches in the Baltimore area. It is not unusual for me to play at three different churches on Christmas Eve. My church hires five full-time singers to augment the choir, and instrumentalists, especially chamber brass and strings, are hired for special occasions. Orchestras are hired less frequently due to budgetary concerns. Dress for this type of service is usually all black.
    If I am performing with an orchestra, then there is a single two-hour rehearsal scheduled a couple of days in advance. If I am the soloist, I schedule a short rehearsal. When I play at a service as a soloist, I generally play both prelude and postlude, a descant part to an anthem, and improvise on all hymns. For a special occasion (like a Christmas Lessons and Carols or a Mass), it is not unusual to play on five or more anthems.
    There are numerous variables to consider while selecting appropriate repertoire. Selections are determined by the religion – Protestant, Catholic, or Jewish – and the overall tone and formality of the service. I work closely with the organist, music director, or cantor who understands the intent of the church’s leader. All music must be accurately timed so the service will stay on schedule. This is especially important while planning a prelude, which may begin anywhere from 5 to 30 minutes prior to the service. While movements from standard Baroque sonatas (J.S. Bach, Handel, Telemann, Blavet, Quantz, etc.) usually fare well, there are many other compelling works that are less well known. I divide repertoire into two general categories: solemn/contemplative and joyful/energetic. Too many flashy fast notes can distract from the spiritual intent; the focus should be on the mood of the service, not the performer. Some selections work better with the piano as there is less of a delay of sound than with most organ pipes. It all depends on the condition of the instrument (especially intonation), the acoustics of the space, and the organist. It is also wise to bring unaccompanied music such as the J.S. Bach Partita, Telemann Fantasies, or Robert Stallman’s Bach transcriptions in case you need to fill unexpected time.
    Generally, the music I am asked to perform has been well edited. However I often make slight adjustments (including articulations, dynamics, or octave) based on the size and projection of the choir and the acoustics of the space. Occasionally an organist will ask if I can double one of the keyboard lines to enhance a particular section. Do offer suggestions and mark your parts clearly as rehearsals are generally extremely limited.
    If you aspire to perform as a church musician, determine churches in your area that have active music programs. The most effective way to introduce yourself is to schedule a reading session with the organist. Select repertoire which you perform with confidence. You will both know immediately if this is a musical relationship worth pursuing. Be up front about your fees, but keep in mind that the music director has a finite budget; be willing to compromise. The American Guild of Organists () is an organization similar to the National Flute Association. AGO sponsored concerts and events are excellent opportunities to meet church organists.
    I have found a deep sense of fulfillment as a church musician. It requires trusting my musical instincts, which challenges my spontaneity and creativity. I have developed treasured friendships with many of these superb musical colleagues and have experienced the immense power of music by performing in a setting outside of a concert hall. 

Jeannine Goeckeritz

    Jeannine Goeckeritz is principal flute with the Orchestra at Temple Square where she performs, records, and tours with the Mormon Tabernacle Choir. She is a sought after freelance musician, and as a recording artist, she can be heard on movie soundtracks, national television broadcasts, commercials, video games, and numerous CDs. As part of the Oswald-Goeckeritz Flute and Harp Duo, she has performed throughout the United States and Europe and can be heard on her CD, Chanson, and her YouTube channel (). She studied with Debbie Brown Ragsdale, Myrna Brown (NFA executive coordinator), and Jane Wadsworth. She received a BA in music performance and was adjunct flute professor at Weber State University for 20 years.

    I play principal flute for the Orchestra at Temple Square and Mormon Tabernacle Choir. They are a significant presence in the world of music, giving service through song. This unique volunteer music organization brings together people from around the world through stirring music. All performers  are members of the Church of Jesus Christ of Latter-Day Saints. Performing with the choir and orchestra is a busy, demanding, but fulfilling musical and spiritual experience. The orchestra plays almost weekly on the Mormon Tabernacle Choir’s  Music and the Spoken Word, a live broadcast of inspiration music that is filmed and recorded for television, radio and the internet. This weekly program has been broadcast for over eight decades.
    We rehearse on Thursday evenings in preparation for the Sunday morning broadcast. We do not receive the music ahead of time to practice, but sightread it at rehearsals. There are also at least five major concerts each year that have multiple performances. I have recorded with the choir on their CDs since 1999 and go on tour with them every other year, performing at wonderful concert halls and outdoor venues. Each December the choir and orchestra perform with internationally recognized guest artists in performing three Christmas concerts in the LDS Conference Center, which holds 21,000 audience members. These concerts are filmed, recorded and then edited so that they can air on PBS stations nationwide the following year. I play on about 60 services a year.
    Other than a few paid positions in the Mormon Tabernacle Choir organization, everyone else is a volunteer. The orchestra and choir are made up of musicians from different backgrounds and careers, but many in the orchestra are professional musicians who donate their time. All orchestral applicants must meet a strict standard of musical education, performance experience, and sightreading abilities.
    The choir is made up of 360 people, and the orchestra has 120 members. Approximately 70-80 orchestral musicians play each week. As principal flute I am responsible for managing the flute section and assigning players for each broadcast and performance. Rehearsals for the Sunday morning broadcast are held on Thursday evenings for 2½ hours. We usually perform and rehearse in the historic Tabernacle on Temple Square in Salt Lake City.
    Years of regular rehearsals and performances have greatly increased my confidence. There is often a cameraman moving close by to get shots of different orchestra members as we play. I have strengthened my ability to concentrate without being distracted, as well as looking calm and playing under the pressure of a live performance being viewed by millions around the world. Performing with over 400 musicians in large venues is an experience most church musicians never have. You cannot be self-focused, but must listen and follow to maintain cohesiveness. I need to judge when to play out on a solo line or when to blend with voices and instruments so that I become an added color or nuance.
    For the concerts and television broadcasts, we wear black dresses with at least three-quarter-length sleeves for women, and tuxes, suits, and ties for the men. Since most of the performances are televised, how you look is important. There are multiple cameras, so one may be within a foot of you. Hair, nails, jewelry, facial expressions and overall appearance should all be considered in addition to clothing, so as not to distract from the performances.     

* * *

Good to Know

Charlene Romano: Not all organs are tuned to equal temperament; they may be tuned to Baroque tuning systems. The organ may sound in tune in the key of C or closely related keys, but seem much less in tune or even horrid in keys that are farther out. It is a good idea to ask about this and any other special characteristics of the organ when playing at a church for the first time. Most organists are passionate about their instrument, and are appreciative of questions.
Additionally, remember that organ tone does not decay like piano tone does, and that as with a harpsichord, the amount of pressure on the key has no effect on the articulation or dynamic level. Organists produce dynamics by varying the stops, using the swell doors, and by varying voicing. A skilled organist can even produce the micro-dynamics other musicians use to shape a musical phrase.
When performing with the organ, pay attention to where you are standing in relation to the organ and its pipes. The pipes are not always directly above the organ. Ideally, the flutist and organist should be able to see and hear one another well. It is a good idea to have someone check the balance from the congregation’s perspective as well.
I strongly recommend learning the order of the Catholic mass. It is also used or closely imitated in many Protestant churches.

Sara Nichols: The cost of maintaining church keyboard instruments, especially in colder climates is exorbitant. While the heat is usually turned up for services, it is often dramatically reduced during the rest of the week. This severely affects intonation on keyboard instruments. I have a thermometer on my tuner and have experienced temperatures of 50 degrees at some rehearsals. Try to be flexible, wear layers, and do whatever it takes to play your best.
Always carry erasable colored pencils and post-it notes. They are essential, especially when performing in a Catholic mass. Clearly marked parts will help to improve accuracy and consistency.

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Sara Nichol’s Favorite Solos
with Keyboard Accompaniment

Solemn/Contemplative
Canzone by Samuel Barber (Schott)
Sonatina (for recorder), Mvt.II by Lennox Berkeley (Schott)
Suite Modale, Mvt. I, II by Ernst Bloch (Broude Brothers)
Nocturne (for violin) by Lili Boulanger (Schirmer)
Aria by Eugène Bozza (Leduc)
Morceau de Concours by Gabriel Fauré (Bourne )
Fantasie by Faure, first section only (Schirmer)
Sonatina, Mvt.II Arioso by Keith Gates ()
Aria by Jacques Ibert (Leduc)
Air (for flute and organ) by Lowell Liebermann (Presser)
Sonata in C Minor (for oboe) Mvt. 2 by Benedetto Marcello (International)
Share for alto flute by Belinda Reynolds ()
Suite Antique, I. Prelude; III. Aria; V. Chanson by John Rutter (Oxford)
Erev Shalom and Vocalise by Gary Schocker (Presser)
Summerland (for violin and piano) by William Grant Still (www.
)
Sonata, Mvt. II, Aria from Sonata by Otar Taktakishvili (Associated Music Publishers/
Hal Leonard)
Ballade and On a Summer Day by Joe Utterback (Jazzmuse, Inc.)
 
Joyful/Energetic
(More appropriate as a postlude)
Suite Modale, Mvt. III, IV by Ernst Bloch (Broude Brothers)
Sunstreams by Ian Clarke (IC Music)
Suite Antique, II. Ostinato; IV. Waltz; VI. Rondeau by John Rutter (Oxford)
Pastorale by Germaine Tailleferre (Elkan-Vogel/Presser)
Trio Sonatas by J.S Bach/transcribed by Jean Ferrandis, BMV 525-530 (Barenreiter)
Eight Pieces for flute and Ten Pieces for flute by Hans-Andre Stamm (Notenverlag HansAndre Stamm)
Any fast mvt from a Baroque sonata

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