Dorff refers to the section that begins at measure 94 as the misterioso scary section. “I went through a lot of sketches before getting something I really liked. Then one afternoon the whole section from 94-128 spilled out as fast as I could write it down. I do mean for the pianist to keep the pedal down as indicated to keep the polychords sounding scary. Those dynamics with the whooshing crescendos in the piano are important”.
    Dorff characterizes much of this section as transposed repetition: “Tonal music stays fresh by being interesting: bars 129-171 are a development of bars 60-96”. There are many motives that return slightly reworked throughout the piece, for instance, the small motive at measure 60 returns in a sequential treatment in bars 129-131:

mr. 60

          mrs. 129-131



   
    Interrelationships are prevalent in this work and give Flash! a tightly engineered feeling. The music fits together almost like the inner workings of a fine watch.
    Dorff added, “The idea of having a very slow passage right before the recapitulation can be both profound and humorous in performance, perhaps the slower the better. It’s sort of like a ‘prayer scene’ before the big finale in many grand operas, and it’s also like saying on your mark, get set before the racing recapitulation which stays in G major until the end.”
    The passage he refers to is below. Notice that the intervallic relationships are the same as those in measure 60 and bars 129-131.

   
    Prestia-Schaub adds that arpeggio practice is essential for learning this work. Look carefully at the scalar patterns because there are often unexpected pitches in a scale, or an expected pitch is omitted from a familiar pattern. Marking those particular places in the scales and arpeggios would probably be advisable.
    This is a wonderful showy work that would make an impression on any recital. Dorff enjoys writing for the piccolo and treats it in a rather serious, flute-like way rather than just as a novelty instrument.

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Set a Happy Mood 
    Avoid talking about things unrelated to the lesson. This seems fairly obvious, but it is so easy to let a comment slip out. Work or personal concerns should not be said in front of students. That is not what they are paying for. They also do not need to hear about the aspects of teaching that you find less than enjoyable. Try to avoid answering their innocent question of “How are you?” with “Busy!” They might get the idea that you wished they had not come. 
    No job is perfect, but there is a time and place for healthy venting. Venting to students or parents, however, is not acceptable. A careful exception to this rule might involve a professional discussion with students about a career as a private teacher.

Getting Started 
    While students are setting up, resist the urge to jump on the computer and check your email or perform other small tasks. That creates an awkward silence that can make students feel uncomfortable, as if they had arrived too soon. They might be unsure about when their  lesson begins or what to do until you are ready. Instead, use those few minutes to make small talk about school or the weather. If you teach all day and need a break between students to perform other tasks, schedule one.

Turn the Phone Off
    Unless absolutely necessary, refrain from taking phone calls during lessons.  Students can feel extremely uncomfortable when their teacher is speaking on the phone and it disrupts the flow of the lesson. In the rare case when you are expecting an important phone call, explain that to the student ahead of time and indicate what they should do when the call comes through. “William Bennett will be calling me sometime during your lesson. It is the only time he could call, and I must talk to him briefly about his travel plans for our upcoming festival.  When he calls, please have a seat on the couch and enjoy the Flute Talk magazines I left out for you.”  In an emergency, you may have to ask the caller to hold for a moment while you direct the student. Do not leave a student in the awkward position of trying not to hear a conversation that is taking place three feet away.

Listen Carefully
     Some students love private lessons because it is the one chance they have to get someone’s undivided attention. With that in mind, pay attention to your students when they speak. They remember when they have told you something four times, yet you ask about it again. They also know when you are not really interested in what they are saying. If a student is talkative to a fault, preventing the lesson from progressing, address the matter directly and get back to the flute. For example: “You know, I love dogs, too, but what we also both love is flute, so let’s get back to the lesson and you can tell me more about your dog while you are packing up.”
     Some students may like to spend time talking about non-musical matters before their lesson. Give them a few minutes to tell you what is on their minds while they unpack and then direct the focus to the lesson.

Get to Know Your Students 
     Learn more about your students than just how well they play. While you do not need to know their life history, you should know what part of the country they come from if they are college students, and what grade or high school they attend if they are younger.  Building even a tiny connection can make students feel special because you showed an interest in them. Ask simple and fairly non-intrusive questions about their family and life.

Punctuality
     Be ready for your students when it is time for their lessons and end lessons on time. Students should not have to knock to tell you they are ready for a lesson. You should be ready for them.  Having a policy for the rare occasion when you lose track of time in the previous lesson is fine, but try to avoid putting students in that position. 
     Ending lessons on time is another way to show respect for your students’ time. They may have other commitments but are afraid to speak up. If you have extra time and want to offer to extend the lesson, simply ask. Refrain from assuming that the student can stay later.

Set-Up Place
     Have a place for students to comfortably assemble a flute and put down their coat, case, etc. A coffee table will do. Most of us have had the experience of trying to stand like a flamingo and use one thigh to try to balance the flute case while assembling the flute. Having adequate space for students makes them more comfortable as they prepare for their lessons.

Give Praise
     Find reasons to point out the good things your students do. Sometimes, we focus so much on fixing things that we forget to give praise. When students only hear criticism, they can leave lessons feeling that they are no good and that you probably do not like them. Younger students have an especially strong need for acceptance and approval. Do be realistic in your comments, but find good things to point out as well.
     One good method is to sandwich a criticism between compliments. For example, find something positive to say when the student finishes playing. Then move into an area that needs some improvement. After he has worked on that for a few minutes, you might remark on the progress.

     Creating a welcoming atmosphere will make your teaching feel more rewarding. When students feel welcome, they are happier, and happier students are usually more fun to teach and more driven to learn.  Lessons might be the only place all week where the student really feels welcome.  Private teachers are in the position to make a real difference in the lives of their students.  Accept that challenge with zeal!

The post Welcoming Students to Lessons appeared first on The Instrumentalist.

    Some time ago, I received a letter from Norman Brentley, a flutist and teacher in Washington D.C.:

    "I wonder if you could please help me answer a question about trills in the Mozart Concerto in G Major. When I studied that piece at Oberlin and several times since in performing it, I remember playing all the first-movement trills from above and on the beat…period!
     Someone here agrees with that premise, except when the note before the trill is the same pitch as the first note of the trill. In that case, the trill is played with no special preparation, i.e., the third bar of the flute solo part, where the beginning of beat four is a C instead of a D. I do realize that the interpretation of ornaments changes over time. I am, however, looking for a standard on which I can hang my argument. What would have been appropriate for that period, and which approach would you use when playing that same piece today?”

     I went back to historical sources: A Treatise on the Fundamental Principles of Violin Playing written by Leopold Mozart in 1756 (Chapter IX is about Appoggi­aturas, grace notes, and Chapter X is about the Trill) and Johann Joachim Quantz’s Essay On Playing the Flute (1752). W.A. Mozart was born the year that Leopold’s book was published and four years after Quantz’ book was published.

On Trills
     I am afraid that a standard cannot be given for all instances.

     In the case he mentions, the D in the third bar of the flute part is probably a written-out appoggiatura or vorschlag (preparation) so there is no need to repeat it at the start of the trill. However, if a player wants to do so, he won’t be taken to the Bastille.
    All cadential trills should start on the upper note, whether  written or implied, and they should end with a nachschlag (termination) as close as possible to the tonal note. This was appropriate for this measure in Mozart’s day, and it is still appropriate today.

    If a trill is not part of a cadence but simply an ornament or a passing embellishment, it makes sense to use a mordant or a turn. An appoggiatura plus a trill followed by a termination would occupy too much space and slow down the musical discourse for no good stylistic reason.
     All rules have exceptions, as lawyers well know: in measures 71 and 189, it seems appropriate to enhance the tension of the chromaticism by not preparing the trill from the top note.

  mr. 189, Urtext
    
 
                         mr. 189 performed (no trill preparation)
   
    There are also inconsistencies, even in the Urtext (original printing) edition, which shows the flute part plus the tutti violin parts. The melodic material in measure 22 in the violins and measure 78 in all the string parts is the same, yet the ornamentation is different. Measure 40 of the flute part has no trill, but measure 158, which is the same figure, has a trill. The same is true of measure 71, which has a trill and measure 189, which has none.
     It is difficult to know if these inconsistencies are typos, copier’s errors, or a deliberate difference intended by Mozart. Even in Mozart’s time, differences were acceptable. Certain note configurations were easier than others on the one-keyed flute used by Quantz and Mozart. The prime requirement was to play elegantly and comfortably.

Grace Notes
     A grace note is a note written before the beat. When properly notated, it is a little note with or without a slash through the stem and is printed before the note it precedes. The French called these petites notes. It is not a very descriptive term, because the same symbol (a small note next to a regular size note) can be many things.
     The general rule for appoggiaturas (petites notes, grace notes) was that they are always played long – except when they are played short:

•    It is short if the grace note is followed by an octave or a wide interval (up or down):

Adagio ma non troppo m. 49
•    It is short if the grace note is on repeated notes of the same name.

•    It is short if the grace note is placed on the shortest value of the piece (on a 16th in an Allegro or on a 32nd in an Adagio)

•    It is short if the grace note is on a syncope, because a long grace note would weaken it.
•    It is short if the grace note is on an appogiatura, because a long grace note would also weaken the harmonic tension.

     In English we use the term grace note to define these little notes in Mozart, but as usual in musical matters, the Italian terms are the most evocative and useful. They describe the ornaments most used by Mozart, and tell us something about how to treat them.
     Appoggiatura comes from appoggiare, to lean and implies harmonic tension and release, a vital phrasing element.
     A quick appoggiatura is a passing note bearing little tension and occurring immediately near the main note.
     Acciaccatura means two notes so close that both seem struck at once as in keyboard music.
    Passing note (agréments, ornements  in French or embellishments in English) means of purely decorative nature, without structural or expressive necessity.
     The grace note, therefore, is a generic English term that designates any ornament.
     Verzierung, the German word for ornament, also lacks specificity. Remember that there were rules, but they were more like loose guidelines, variable according to the player, his preferences, and his geographic origin. Also, each composer provided a trill chart that included symbols and how to play them. Performers consulted the charts and used them as guidelines. The tempo of the music also affected the amount of ornamentation to use.
     There are also other little notes. These should be interpreted as one of the following in music of Mozart, Haydn, and Beethoven.

   
      Sometimes the ornaments that look like grace notes (as in the example above) are printed with a slash across the stem. This is incorrect. In 1752 Quantz said that “it is of little importance whether they (the grace notes) have one or two crooks”.
     How do you know which ornament is intended? That’s a good question.

     This measure can be played at least two ways. It appears twice in the flute part and twice in different forms in the tutti part,

or as many editions show

     May I share a mystery? The urtext edition shows in many instances, but not always, this figure:

It is usually played comfortably as:

I have never understood why the urtext writing is so awkward and therefore so seldom used. (This is how the urtext version would be played if interpreted literally.)   

    I remember in my young days that it was considered elegant to lean on the first note of a 16-note group so the passage was played like this:

   I did not know for sure, so I tried all three ways, and if one felt better, I used that for a while. Interpretation has a tendency to go with fashion, too. Why not choose the one you think sounds best? (This may not be the one that’s easiest to play.)
     If notated properly, the final trill in the example above (cadential) is a little note followed by an 8th note and two 16ths. There will be no slash through the stem of the little note.
You might ask why Mozart used an alternate notation sometimes instead of being consistent. Perhaps he didn’t care which way he wrote it. Consistency is the conviction of the mediocre. Or perhaps the inconsistencies were typos.
     Also, Mozart might have neglected to proof his work for lack of time, especially for subsistence commissions, for which he was always late, such as the flute concertos. We might never know, because Mozart’s autograph has not been found to this day. Consequently there are many different versions in print, with their peremptory solutions. The only reliable version is the original printed edition as reproduced in the Urtext, with its original inconsistencies. I use the Bærenreiter Urtext to teach, even though I find that it shows all of the parts, flute and tutti alike, cumbersome.

     Two remarks come to mind: I recently visited with Barthold Kuijken, who is one of the best traverso players of our day. I was interested in his views about ornamentation and the interpretation of grace notes. He plays an extremely ornamented “Sarabande” in the Bach Partita, and he said that nobody is required to imitate him, because that’s his take on it and to each his own. His “Allemande,” in contrast, is very sober and straightforward.
     My other remark is more contemporary: I had the good fortune to play with Jolivet, Boulez, and many others. I remember Poulenc vividly and what he said about his Sonate. When I see modern editions of it and hear the stuff people do with it, I have doubts about myself and about his legacy, a mere half-century after his death. With Mozart we are dealing with more than two centuries since 1791 when Mozart died.

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Tension
    Berio unifies Sequenza by using four types of musical tension: temporal, dynamic, pitch, and morphological. (Morphology refers to form or structure, in this case sounds or forms that do not present the flute in its normal way.) Temporal tension is created with articulation speed and note durations. Dynamic tension is increased by moments of intense sound energy and sudden or unexpected shifts of extreme dynamic contrast. Pitch tension occurs when Berio uses dissonances, such as minor seconds and tritones, and large leaps between the high and low register. When the flute sounds least like the flute we know, Berio is using morphological tension, which includes key clicks, flutter tonguing, harmonics, and multiphonic double stops. In Sequenza I, at least two of these tension creating modes are in use most of the time, which subsequently creates forward motion, even through the silences. This makes the melodic writing very dense.

Tempo as Phrase Indicator
     In the score, Berio indicates that a certain amount of space takes up a certain amount of time. In the 1958 version the distance between hash marks is 70 on a metronome. The length of the note is determined by the length of the stem, and notes that are not connected by a beam have some degree of silence and separation between them.
    The first line of the score has three unconnected notes followed by a space, another cluster of notes and another space, and so forth, ending with sustained notes. Many flutists play this first line as four or five short non-related phrases, because they are only taking the MM=70 marking into consideration. Berio creates a kind of sequence out of these seemingly dissimilar groups of notes.

 
  
In the proportionally-notated version, space gives some indication of rhythm, and you begin to identify certain recurring gestures or rhythmic motives. This is one way that Berio creates a unifying whole out of seemingly random elements. The opening motive of the piece (shown on previous page) is almost exactly transposed in lines 4 and 5, as well as later in the piece.

Pitch as Phrase Indicator
    Sequenza I has no tonal center, but there are several places where Berio draws attention to a certain pitch by repeating it, returning to it frequently, or sustaining it. He seems to favor the pitch C at times, by giving it the largest interval and dynamic changes. Phrases often begin or end on C, and on page four in lines 32 and 33, he repeats the B and C to draw attention to that tonality. The B-flat that follows is shocking because of the tension that is created.

  There is also a sense of tonal center around the E in lines 3-6, where there are extreme dynamic and interval shifts, as well as a longer note value. The emphasis on the E is exaggerated by the G sharp and B (a major third and perfect fifth above E) at mid-phrase high points. The E is also highlighted in line 11 in the pp melody E-F sharp-G-C-E.

   
    In lines 8 and 9 Berio emphasizes C with an accent, forte dynamic level, and dramatic dynamic range in line 10. Leading into line 27, he crescendos from ppp to suddenly fortissimo on a C, followed by as pianissimo as possible on a harmonic, which creates a sudden color change as well. He also ends the piece with a charming return to a short, seemingly thrown-away C.
    These spots are all moments of great tension and indicate forward movement because of their dynamic register changes and pitch repetitions, as though moving through a musical phrase to a release of the tension. Notice the closely related intervals and wide leaps. The two opening gestures of the piece are a good example. The first group of 3 notes is a unifying set in this piece. The half-step related gesture is prevalent throughout, recurring as a kind of main theme.
    Another common feature is the frequent use of the tritone (augmented fourth or diminished fifth, half of an octave). Today a tritone is considered a neutral interval, and it is often used in modulations to distantly related keys, but historically it was considered dissonant or even evil. Most gestures in Sequenza either include a tritone or are built upon this interval completely. Berio regularly brings attention to this gesture.
    The phrase in the third line begins with a huge dynamic shift on a low E and ends fortissimo with a B flat. The relationship is not only a dynamic one, but the interval between the first and last pitch is a tritone. Even within this short phrase there are two more tritones: the F sharp-C-F sharp   mf   to pp gesture creates tension in tempo, dynamic, and pitch as well, and the G sharp -D separated by space uses a more subtle dynamic change.

    Berio was clearly influenced by total serialism, but he barely uses the twelve-tone system in Sequenza. There is one example of a full series of twelve pitches – A sharp, C sharp, D sharp, F sharp G, F, D, E, C sharp, B, C, A, A flat – that appears three times. The first example occurs in line 4, the second in line 17, and the third in line 42.
    There are a few indications that Berio used this tone row to develop other lines. Line 13 begins with F, F sharp, A, G, A flat, B flat, C sharp, B – a segment of the retrograde of the initial tone row. Most other allusions to this tone row appear in very short sets of only three or four notes.
    Short groups of chromatic notes appear in other places. For example, in line 45 the set G, A, C, B flat, A flat, B, F sharp, F, C sharp represents nine of the twelve chromatic pitches. Line 44 contains a series with F sharp, C sharp, G, D, E flat, C, E, F that includes seven non-repeating, separate chromatic pitches. When reordered, they are both chromatic.
    Berio also uses intervals in clever ways, such as in palindromes, inversions, transpositions, and retrograde. Example 4 (see above) also contains a palindrome-like gesture. When he does this, he is using the basic interval building blocks of his work but creating variation.

Dynamics as Phrase Indicator
    You can use dynamic markings as a kind of road map to indicate phrases of the piece. This is complicated by the fact that each and every note has a specific dynamic level. Berio’s aggressive use of dynamics shows the influence of post-World War II serialism. To analyze the dynamics, I gave each one a number and then looked for a connection.
    He uses a 6 (or ff) most often on the first page. The most extreme dynamic changes almost always occur between a 6 and 1 as shown below.

    A figure that acts like a cadence can be seen at the end of the first line, where the interval between the ff  B and piano F is followed by silence and space. This shows Berio’s favored interval of tension, the tritone, accompanied by a huge dynamic contrast.
     There are a few cases where the dynamic tension is larger, with a leap from 6 to 0. This dynamic leap occurs almost always within tight rhythms or areas of other temporal tension. In these cases, the line moves forward dramatically through a phrase, not beginning or ending one, because of the increased excitement. Most 7 to 8 degree sudden dynamic changes indicate more of a change in tone color than direction of sound.

Applying these Observations
     As mentioned earlier, many flutists play this piece as if the mini, 3-note groups were phrases. I humbly suggest these small groups should be played as sub-phrases strung together to create a larger overall shape. In Luciano Berio: Two Interviews, edited by David Osmond-Smith (New York: Marion Boyars, 1985), Berio talks about the four dimensions of tension and how to use them. I think he intended for performers to lead to the biggest overall change in tempo, pitch, and dynamic.
    The first line then becomes one or two phrases, as opposed to the four or five often heard in performance. The first phrase could be considered the first three seconds of music, beginning on the A and ending on the D sharp. This overall interval represents a tritone, and is followed by a short silence. However, because only one element of tension (pitch) is used in those first 11 notes, I think the phrase continues to the end of the line, when the dynamic drops drastically from forte to piano, and the gesture is half-step, whole-step, tritone, whole-step. These intervals are interesting in themselves, because they function the same in inversion, retrograde, and retrograde inversion. A tritone pitch change accompanies the dynamic shift and is followed by silence, which is itself a dramatic element. The final accented fortissimo B to the piano F in the first line is another example of Berio’s use of more than one type of tension – in this case a large dynamic change and a tritone.
    The second line of music is much the same. The pinnacle of the this phrase is a fast-tempo grace note E flat to F, which is often seen as the ending of the second phrase, but I belive that, due to the tritone between the first G grace note and the low D sharp at the end of the line,  the phrase includes the entire line. This is additionally supported as the G to G sharp creates a seventh accompanied by a dynamic shift – two factors that create tension (forward motion).
    You have to decide whether the final F at the end of line 2 is a pick-up to the third line or the last note of the second phrase. If we end the second phrase with the F, the tritone relationship discussed earlier is weakened. But the octave and space also create two levels of tension, making a strong ending. The F could arguably be part of either phrase, reminding us that this work is an opera aperta. Finding these multiple tension layers helps us create longer musical phrases.

Giving Shape to the Piece
    With a way to find longer phrases, Sequenza I sounds more connected and the entire piece now has shape as a whole. Although there is not a clear beginning, middle, and end as is often seen in tonal music, Sequenza is sectionalized in subtle ways.
In Berio’s Sequenzas: Essays on Performance, Composition and Analysis, Janet K. Halfyard describes Sequenza as, “a rereading of a pitch sequence.” A good example of this is the opening gesture which is almost identically transposed into the fifth line. I consider these two sections, as they are similar but not the same, to be A and A1.
    The second page begins with several pianissimo, slow, sustained gestures, that act as an interlude of contrast to the B section. In the B section, there is variation, with faster moving notes and larger intervals after only two lines. However, a pattern quickly develops of two-pitch groups. By line 14, these two-pitch groups are related to the interlude by tempo. One of the two notes is sustained, although not to the extent of the beginning of the section.
    Some of Berio’s greatest tension levels occur in this section. In line 9, he uses all three tension dimensions: tempo, pitch, and dynamic. The pianissimo to fortissimo attack immediately creates tension. After the long, sustained C with dynamic decay, sudden fast-moving grace notes crescendo immediately to the fortissimo F sharp. The interval created is a tritone, the dynamics range from 1 to 6, and the tempo varies from extreme sustain to extremely quick.

    The interlude returns in line 16, but here Berio takes the exact melodic material from the opening of the piece but changes the tempo and dynamic. The first series of notes (A, G sharp, G, A, G sharp, F sharp) are identical, but the duration and rhythmic change give it a new characteristic. The listener might hear this as familiar, and if the opening motive is recognized, it is likely that the listener is made uncomfortable by the changes in the tempo and dynamic dimensions.
    The A-section rhythmic motive is repeated at this time, but again transposed. The next variation speeds up and includes rapidly articulated repeated pitches. With the exciting repetition, Berio still uses the pitch dimension for added tension. The first group of repeated notes is in the flute’s third octave and starts on C and ends on F sharp. The second group of rapidly articulated pitches starts on D in the low register and ends on G sharp. Both intervals are tritones!
    The C section uses harmonics, flutter tonguing, and a multiphonic. The phrase in line 20 not only contains Berio’s first use of morphological tension, but also one of the greatest dynamic shifts in the work.

    There are several references to the opening pitch sets in the C section. In addition to the opening {0,1,2} of the section, the {0,2,3} strongly appears in line 25. The two pitch sets are then paired, one after the other, in line 27. This clearly represents Berio’s favoritism for the two sets of pitches and feels almost like a recapitulation.
    Another sustained note that is reminiscent of the interlude in line 16 follows the C section and leads into the final section, which is a culmination of all of the previous sections. Immediately, the {0,1,2} and {0,1,3} relationships are visible in this final section, but there are very few of them and they have subtle pitch relationships. However, the temporal and dynamic dimensions are exaggerated. The rhythms are regularly faster, and the dynamics are steadily quieter than the rest of the piece. The two F#s in the first half of the section are the only fortissimo pitches. Berio ends the piece with a long, sustained low C# with a sforzando-pianissimo attack that resolves with a nearly silent leap to a second-octave C.          

    Luciano Berio wrote Sequenza I with sequences in mind. There are relationships between tempo, pitch, dynamics, and morphological dimensions throughout. By analyzing these relationships, and discovering which combinations create the maximum tension and release, players can create a more meaningful, complete, connected performance.
    In considering tempo, excitement is created by accelerating and decelerating the rate of pitch changes. In terms of pitch, intervals such as the tritone as well as tone rows and pitch sets create a connected feel. Just recognizing them helps players perform them in a way that audiences will grasp. The majority of large dynamic shifts accompany important musical phrase beginnings and endings.
    The morphological dimensions of flutter tonguing and multiphonics generally drive forward to the end of a phrase. You will create the most convincing performance when you considers all of these elements, not independently, but working together to create tension, release, and direction in the musical phrase. Look beyond the obvious melodic material to see the polyphony that results from the use of independent textures.

Bibliography
Benedict Weisser, Notational Practice in Contemporary Music: A Critique of Three Compositional Models (Luciano Berio, John Cage, and Brian Ferneyhough) (dissertation, The City College of New York, 1998), p. 29.
Luciano Berio, Luciano Berio: Two Inerviews, ed. David Osmond-Smith (New York: Marion Boyars, 1985), p. 98.
Janet K. Halfyard, editor, Berio’s Sequenzas: Essays on Performance, Composition, and Analysis (London: Ashgate Publishing Company, 2007), p. 8.

The post Connecting the Dots: Musical Line in Berio’s Sequenza I appeared first on The Instrumentalist.

Jam Sessions
    During the summers Hofmann studied with Frank Wess, who had played saxophone and flute with Count Basie, Zoot Sims, and many other jazz greats. I admitted that, while familiar with the makeup of a classical flute lesson, I didn’t know what a jazz lesson includes. She replied, “There is a lot of jamming with the teacher in a jazz lesson. However, one of the big benefits of studying with Frank was that he took me to jam sessions. There were no women at jam sessions in those days, and he made me go and stand up in front of the band and improvise for all those guys. It was the most intimidating scenario I can even imagine, but I did it.
    “I was right at the end of the era when jam sessions were the way that jazz players learned their trade – by meeting in informal groups to play together. Famous musicians held these jam sessions. There was one on Bleecker Street that went on weekly for years. The great jazz pianist Barry Harris was the one who held it. Wess thought it was important for me to go to these sessions, to get out there and do it. I had some teary moments from time to time. Some of the guys were very nice, and some of them were brutal.
    “I was studying the compositional side of jazz with Slide Hampton at the same time, and he gave me a list of tunes often played in jam sessions. They were mostly up-tempo tunes associated with Charlie Parker, such as Confirmation and Groovin High done at break-neck tempo. Playing them in a session was the moment of truth. I worked on those tunes like crazy so I wouldn’t embarrass myself.
    “Jam sessions were held in warehouse backrooms or in clubs after-hours. At one or two in the morning, when players were done with their gigs, they would go to these after-hour jam sessions.  All of my mentors encouraged me to attend, but they said if you don’t know all the tunes, and you can’t deliver the goods on the spot, a career in jazz is going to be hard for you to establish.
    “Knowing the tunes is not part of the repertoire for young jazz players today, although I think it ought to be. The experience of having to play on the spot by ear, even when I didn’t know the melody, was invaluable. The essence of a jam session is having the ability to listen to other musicians play a melody and then be able to improvise on it by ear. This ability is also what young musicians are missing today. If they don’t have the chart in front of them, they can’t play the tune. Jazz is an improvised music that requires a lot of ear training. What those jam sessions did was require me to pick up tunes by ear.”

Classical vs. Jazz Flute

   
              (Holly rehearsing with Lew Tabackin at the 2009 NFA convention in New York)

    Hofmann draws a distinction between instruments traditionally used in jazz, such as saxophones and trumpets, and flutes. She says that the difference is based in how a player approaches the instrument. “I play the flute more like a jazz horn and not as a flute. Some of the major jazz saxophone players just burn on their saxophones, but when they pick up their flute what comes out is all very light and fluffy. They don’t dig in on the flute the way they do on their saxophones.
    “After my classical flute days I made many changes in my playing to bring the instrument into the jazz flute vernacular. One of those changes was vibrato. I hardly use vibrato anymore. There are a number of jazz flutists who use Classical flute vibrato, which bothers me to no end.
    “The attacks and ends of notes are another major change; I don’t taper the end of every note anymore the way Classical players are taught to do. In jazz, articulation is used more for emphasis and to make the music swing. Jazz articulation becomes a part of rhythm. Perhaps these differences are a result of not having flute records to listen to when I was young. I only heard my father’s big band records, and those were mostly trumpet and saxophone solos. I had piano trios and saxophone players on recordings, so that was what I thought jazz was supposed to sound like.”

The Jazz Flute Battle
    The uphill climb that female jazz flutists face is not merely traditional sexism but also a strong prejudice against the flute in the field of jazz at all. That Hofmann and other female jazz flutists, such as Ali Ryerson and Anne Drummond, have established careers in the field is a strong testament to their tenacity and talent. “I get tired of the battle. I keep having this feeling that I will see this change in my lifetime, but now I think that’s doubtful. I’m the wrong sex, play the wrong instrument, and live on the wrong coast to be a jazz musician. Believe me – I have turned a lot of people around, but there are still promoters who don’t want jazz flute on a festival. That kind of thinking remains rampant.
    “One of the reasons for this pervasive belief is that the instrument doesn’t have a long jazz history; you can name all of the jazz flute players who are household names on one hand but there are hundreds of saxophone and trumpet players. There haven’t been enough jazz flute predecessors, so nobody knows what jazz flute should sound like. For a while everybody thought that jazz flute should sound like it did when doublers played it. The preconception about women playing jazz flute is that it’s going to be feminine and light.”
    For classical flutists who also play jazz, she comments, “You have to get the chops, the technique and discipline, which is great from an early exposure to classical training. However, what happens along the way with classical musicians who don’t play jazz until later in life is that they get married to the printed note, and they are never able to free themselves from that. They are also afraid of playing wrong notes. I can listen to a so-called jazz flutist and in 16 bars tell whether they are rooted in classical music. I make that judgement based upon their improvisation and how safe they are playing.”
    Hofmann and jazz pianist Mike Wofford were married in 2000. His was the pianist and music director for Sarah Vaughan and Ella Fitzgerald. It was during this time that he appeared on his first jazz recordings with Mel Torme, Gary Burton, and Joe Pass. Also a composer and arranger, Wofford has written charts for Hofmann’s latest projects, tributes to Antonio Carlos Jobim (scored for piano, bass, drums, flute, and Brazilian percussionist with 14-piece string orchestra) and Duke Ellington (scored for piano, bass, drums, and flute with 14-piece string orchestra). “We are taking both of these books on tour, and they are  actually beginning to catch on. Orchestras are looking for programs that will draw new audiences in, and these programs do that. They are performed acoustically without amplification.”
    Plans are in the works to record these two projects, but recording with symphony orchestras can be expensive. The Brazilian rhythms required in the Jobim book are not in the traditional American musician’s background, and rehearsal time would be extensive to do them correctly. “There’s no 1 and 3 in Brazilian music, and we are pretty indoctrinated in a standard  44  kind of thinking.” She is seeking sponsorship to record both books in the future.

The Recordings   
    Hofmann has been recording since 1989, so a vast audio archive exists. “I have 11 CDs as a leader, including a new January 2010 release with pianist Bill Cunlisse.” Her recordings include Take Note, Further Adventures, Minor Miracle, Live at the Athenaeum, and Three’s Company, all on the Capri label. Duo Personality was recorded for Concord Jazz Alliance, and she did Tales of Hofmann, Just Duet, Flutopia, Live at Birdland, and Just Duet, Vol. 2 on the Azica label.

The post The Essence of Jazz, An Interview with Holly Hofmann appeared first on The Instrumentalist.

Student: Why can’t I fiddle with the crown on my headjoint?
   Socrates: What happens to the flute when you move the crown?
Student: I dunno.
   Socrates: Take your cleaning rod and insert it into the headjoint. Is the adjustment line on your cleaning rod in the center of the embouchure hole?
Student: No
   Socrates: What happens to the adjustment line when you screw the crown to the right? Or, to the left and push?
Student: Hmmm
   Socrates: How would this adjustment affect the tuning of your instrument?
Student: It would make the tuning change.
   Socrates: So, if you want your flute to be in tune, once the crown is adjusted, don’t move the crown.

    Socrates had several things going in his favor. First, his method worked. He questioned; the students learned. Secondly, his classes were small and he had an abundance of time. What a luxury!
    In today’s overly scheduled world, music teachers achieve the impossible. Beginning classes are comprised of a mixed consort of instruments: flutes, clarinets, saxophones, trumpets, trombones, and percussion. During the 30 minute, twice-a-week class, the teacher performs magician-like tricks in teaching each instrumental group and providing one-on-one attention to each child. There is little time for the Socratic philosophical approach. Given these circumstances, the teacher follows his lesson plan, dishing out information in small chunks and hopes for the best. The miracle in contemporary music education is how well students learn and advance.
    So, what is the answer? Some questions are best served with an immediate concise answer; while others need the Socratic approach. These questions may be categorized by the age of the questioning student.
     Middle and high school students want information. Information is best conveyed in simple answers. However, the Socratic Method works well when used on occasion. Just be careful that your questions and answers do not supply more information than the student wants to know. College students are dealing with career issues and deserve all that you can give them. You never know when one little remark that you make might change their lives forever.

    Here are some frequently asked questions by school-aged students followed by a concise answer (supplied with a smile).

Can I adjust the screws in my flute? No
Do I really need to swab the flute out every time I finish playing? Yes
Why can’t I keep the cleaning rag in my case? It will mildew. It is better to tie the cloth on the handle of the case, so it can dry.
Why can’t I swing my flute around like a baton? Because there is a good chance the headjoint will go flying across the room and hit someone.
Do I really need to brush my teeth and wash my hands before playing? Yes
Are you sure that I should pull out the headjoint? I like it pushed all the way in so I don’t see the dull part. Pull it out.
Why shouldn’t I let my friend play my flute? Hygiene
I left my flute in the trunk when I went into the mall. Why did some of the pads fall out? Heat
Do I really need to use a music stand? I like to prop my music up on the pillow on my bed. Yes, buy a stand and use it. Good alignment will improve your sound.
I lost my music. Do you have any more? Maybe
You mean you have to practice to get good? Yes
On-time means to be early? Yes
Why do I have to learn the third octave fingers when I can overblow the second octave ones? Tone quality and intonation
What do you mean I can’t go on the drama trip this weekend and miss the marching band contest? I did marching band last week! Commitment
I have been playing for seven years. You can’t teach me anything. Never mind that I can’t count, read all the notes, finger notes correctly, play with a nice sound and phrases…. I am a SENIOR and I am good. No comment.

    College students offer a different set of questions and answers. Here is one scenario that every professor dreads.

Professor: Why have you chosen music as a career?
    Student: I loved being in band, especially in high school. We went to Disneyland on a trip once.
Professor: What solos have you studied?
    Student: I learned the Chaminade, the Faure, and the first movement of the Hindemith for solo festival. But, I like marching band better than the solo festivals.
Professor: Do you own any other music?
    Student: No
Professor: Which etudes have you studied?
    Student: None
Professor: Have you done any scale study?
    Student: Oh, yes. In band we played the Bb, Eb, and Ab scales everyday, one octave.
Professor: Here is a list of materials you will need for this class. Have these materials by next week.
    Student: Next week? I really just want to play my band music.
Professor: Do you own a metronome and a tuner?
    Student: A what?
Professor: What brand of flute are you playing?
    Student: This is a *. It was my mother’s and before that her mother’s. It has never been in the shop for repairs. Good flute.
Student: Are you sure that I really need to take the Music Theory and Music History courses? And, piano class too? I went to the first classes this week and I can’t see what these classes are going to do for me. I just want to be in the band.

    This student needs the Socratic method of teaching; however, due to the lack of background and advancement level, for the near future, concise answers are the best choice. If the student shows little improvement in the first weeks of school, he should be encouraged to set up an appointment at the university career counseling center. Career counseling centers not only offer online career assessments but also provide one-on-one counseling services to review the test results. The counselor will also point out that the student can major in any subject and still play in the band. 

    Here is a scenario that every professor wishes for and seldom gets.

Professor: Why have you chosen music as a career?
    Student: I have given a lot of thought to this subject. I have always enjoyed studying and playing the flute. I think the perfect career would be performing and teaching. To prepare myself for this choice, I have studied flute, piano and music theory from the time I was a young child. For the past five years I have attended a summer orchestral program and throughout the school year, several flute masterclasses. In the 9th grade, I was accepted into the Metropolitan Youth Symphony. On the last concert I played the alto flute on Stravinsky’s Rite of Spring.

Professor: What solos have you studied?
    Student: Here is my repertoire sheet. I have listed etudes on this page and solos on the next sheet. The solos with asterisks indicate that I have performed the composition in public. The ones with double asterisks indicate a performance with orchestra.

Professor: Which etudes have you studied?
    Student: I completed the Andersen Op. 33, 30, 63 and 15 in high school, but I would like to revisit them again. However, I am happy to learn whatever you think will help me the most. I need to work on playing exercises expressively and not so technically.

    This student is certainly ready for the Socratic method of teaching. No doubt the parents and high school teachers have laid the groundwork for this student to be successful in university studies and in life. More than likely, the major teachers in his life have already employed the Socratic method as evidenced in the well-thought out answers above.
    Through the years I have had several students who exhibited these outstanding characteristics. One of the first traits that I noticed in one such student was his maturity level. He had been given responsibility at an early age and knew what this responsibility meant. He was intelligent and talented. He possessed a passion for his flute studies. The parents were involved with his education in a healthy, non-hovering way. The student was fortunate to study with a private teacher who had the educational background to enrich the curriculum and was willing to share his time with the student. The student took his studies seriously and exhibited an excellent work ethic in every aspect of his life.
    Now comes the bigger question. Many middle and high schools are filled with students who have the potential of becoming students like the example above. What can we do to make this a common occurrence rather than a rarity?
    Generally bright, talented students are products of strong music education programs. Developing a high quality program starts with the classroom teachers. Non-functional programs develop from the poor choices that teachers make. In an effort to attract students and make band fun, they often water down the curriculum. Fundamentals are not taught and discipline is rarely enforced. The better students look at this class as a waste of time and register for other subjects. Students who do enroll in the class are not those with whom a successful program can be built. The class becomes a dumping ground for students who can do little.  Disaster looms.
    For those of you who are also band directors, here are some remedies to that situation. Those who do not work with bands but teach privately can apply much of this information to the private studio.
    Develop a high quality program. This generally means that you must teach. Develop a plan.  Love your subject. Educate yourself. Teach your heart out. Fill each class period with a curriculum that includes a good warm-up and theoretical instruction. Require that students learn standard musical terms and something about music history. Each day drill students on rhythmic and technical exercises. Be sure they learn all the fingerings for their instruments and know how to produce a beautiful tone. Regularly test students on these curriculum materials and encourage private study and listening assignments. Lastly, never be embarrassed about teaching fundamentals. Reward excellence. 
    Recently one of my students brought her band music to her lesson. She remarked, “all you need to know to play this piece is this one syncopated rhythm and five notes.” She continued, “at the beginning and at the end we play the five notes fast and in the middle of the piece, we play them slowly.” She was correct; this composition was a poor choice.
    Students know when you have low expectations, so have the highest expectations. Choose literature that requires you to teach. Include compositions from several grade levels in your folders. Grade levels 1 and 2 may look easy to play on the page, but because these pieces are simple, all your ensemble and intonation flaws are out in the open.  
    Enforce discipline. Bright kids do not want to sit in a class of chaos.  They respect organization. Keep your class moving at a fast pace. This will require that you are prepared. Do not learn music on your band’s time; learn it at home. Repetition is practicing.  Review concepts and technical passages at least eight times if you expect the material to be learned.
    Developing a program like this requires excellent teaching. It is hard work. However, the benefits outweigh the effort involved. If you produce only a handful of “super stars” in your teaching career, then you have done well. I suspect what led many of you into this field of teaching was an educated, informed, enthusiastic, musical, and well-balanced band director in your life. 

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