At nearly 95 years old Bernard Goldberg was still influencing flutists all over the United States. His generous nature and passion for teaching fueled his lifelong commitment to helping others become mature musicians. From his personal study with Georges Barrere (student of Henri Altes) at Juilliard and Marcel Moyse at the Marlboro Festival, Mr. Goldberg’s roots ran deep. He spent 47 years as principal flute with the Pittsburgh Symphony and 70 years teaching, conducting, and coaching. 
    At the age of 92, he was still managing and teaching a weeklong summer masterclass in West Virginia, offering Alexander Technique, virtuosity classes, Moyse study, and lots of listening to old vinyl recordings of flutists and opera divas. He hired a professional accompanist and coached everyone each day (some classes went well into the night). His tireless efforts and devotion were evident in his teaching methods and heartfelt reminiscences. His Moyse stories, the recounting of incidences with famous conductors, and his favorite symphonic moments, held everyone in thrall. Many of the young flutists had no idea who these long-gone artists were, but all were captivated by Goldberg’s zeal and emotions about the music they created. 
    Goldberg began his study of the flute in St. Louis with John Kiburz, a pupil of Georges Barrere, (who studied with Paul Taffanel) and Laurent Torno. He made his debut with the St. Louis Symphony at age 16. He then became a scholarship student at Juilliard (with Barrere) learning the French style that would become a huge influence in American flute playing. 
    While studying at Juilliard,  Goldberg was chosen by Eric Leinsdorf to join the Cleveland Orchestra, and he became their principal flutist two years later. In 1947 he won the Pittsburgh Symphony principal position under Fritz Reiner. With Pittsburgh, he played under many illustrious conductors including Stokowski, Ormandy, Steinberg, Previn, Maazel and many more. 
    Each summer Goldberg would further his studies in France with Lucien Lavaillote (a student of Gaubert and Moyse) and then in St. Amour and Vermont with Marcel Moyse himself. He continued his work with Moyse from 1955 until Moyse’s passing in 1984. In 1982 Moyse announced that Bernard Goldberg was, “without a doubt, my successor.” 
    In addition to his position with the Pittsburgh Symphony Orchestra,  Goldberg served as principal flutist with the Pablo Casals Festival in Puerto Rico, the Mostly Mozart Festival at Lincoln Center, and played all three Mozart Concerti at Avery Fisher Hall. He played recitals all over the world, most notably at Carnegie Hall and The Metropolitan Museum of Art in NYC. 
    Goldberg fondly recalled a conversation with Jean-Pierre Rampal. “If you want to have an audience, you have to love the audience and you have to give with your full heart.” He would add to this, “It is not possible to have a successful career or life if you hold back. When I teach a class, I do not know any of the students, but I will do my best to give them everything I have. I am always interested in the students who are willing to try and who want to learn how to make music.” 
    In addition to his flute faculty positions at Carnegie Mellon University, Duquesne University, The University of Pittsburgh, and Brooklyn College (where he commuted every week from Pittsburgh, well into his 80s!), Bernard Goldberg had a passion for conducting. He was the assistant director of the Pittsburgh Youth Symphony, founder and conductor of the Three Rivers Young People’s Orchestra, director of the Duquesne University Opera Workshop and Orchestra, and after his PSO retirement, music director and conductor of the McKeesport Symphony. He served as the flute coach for the Asian Youth Orchestra 
    During his lifetime, Goldberg world premiered many famous works including music by Frank Martin, Virgil Thompson, Lennox Berkley, John Williams, Leonard Bernstein, Joseph Schwantner, Lucas Foss, and many more. He loved playing chamber music and recorded with his Musica Viva trio and the Audubon Quartet. His PSO recordings are on the Columbia, Command, and Marlborough labels. 
    When Goldberg came to Pittsburgh, he had a vision and a desire to unite the local flutists of all ages and levels. He worked with several professionals, teachers, and amateurs to resurrect the Pittsburgh Flute Club which had its humble beginnings in 1922. He remained a stalwart leader of the club for the rest of his life, even scheduling a masterclass in the spring of 2017. For many decades the club met monthly at Duquesne University. Each meeting began with informal flute chamber music (a music trunk was open for all), then a brief meeting followed by a monthly recital. What a commitment. His tireless dedication to gathering flutists led him to assist in the formation of the National Flute Association, becoming the NFA president in its second year, 1974. 

    His students play and teach all over the world. We are a lively bunch and owe much if not all of our musical standards and ideals to Mr. Goldberg. He was a stickler for the phrase, the color, the line, the pitch, and respecting the composer’s wishes (often sacrificing our own egos on that altar). A formal memorial event is being planned for Saturday, January 27, 2018 on what would have been his 95th birthday. This will be held at Heinz Hall in Pittsburgh, where he lived and worked for 47 years. Lorna McGhee will play and honored invited guests will speak. This event is open to all. For more information, write to Wendy Kumer, wwkflute@aol.com. 

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Answer: Having a comprehensive flute program is a great idea. Individual lessons are only one component of a studio. Ensemble playing offers students the benefits of developing better rhythm, intonation, and listening skills, as well as more performance opportunities and friendships with other flute players. 
    If ensemble playing is a new concept to your students, start by programming a special performance centered around a seasonal or community event such as a Valentine’s Day or St Patrick’s Day program and encourage all of your students to participate. 
    Be clear about your expectations regarding attendance and practice. I would also encourage a small fee as parents often equate a tuition fee with the value of the activity. There are many wonderful works for all ability levels and for all combinations of flutes. Trios and quartets can easily be adapted for larger ensembles of all C flutes. If you have piccolo, alto, or bass flutes, that will add more dimension to your ensembles. 
    Another option might be a flute choir for amateur adult flutists in your area. You might consider an amateur adult ensemble that meets weekly. Many would probably like the opportunity to play more and would feel more confident in a group than as a soloist.  

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Identify Sources of Stress 
    Career stress and MPA go hand in hand according to experts in the field. The following are common career stressors in the music profession: 
    Loss of Control: In the circus-style event that is music performance, there are many things that are simply outside the performer’s control including illegible music, conductor stress, ambient temperature fluctuation, disorganized rehearsal time, final exam schedules, seasonal programming, etc. Other things that can feel out of players’ control might include being crammed in a pit, playing second flute to someone they struggle to match, or playing principal flute on a performance with lots of huge flute solos are some examples. (I once subbed on a concert where the principal flutist played Prelude to the Afternoon of a Faun, Appalachian Spring, and Daphnis and Chloé all on the same program.) 
    Relationships: The music world can be cliquey, and players who do not feel a part of the group may feel a lack of social support. Conversely, others may struggle to maintain amicable, professional relationships with some colleagues. Music making is a communal, yet highly personal activity. Relation-ships at school and work have a huge impact on how people experience career stress. This can also include one’s role in an organization. For example, it can be stressful to play in a chamber group where decisions are made by only some members.
    Balance with Personal Life: Many rehearsals and performances take place on evenings, weekends, and holidays. That can make socializing and relationships challenging, which can definitely take a toll on job satisfaction. There are also many couples who are both musicians, and career advancement for one can mean unemployment for the other.  
    Judgment: Music performance is full of judgment and competition both internal and external. This includes juries, auditions, competitions, and performances. 

Other Factors
    Normal Adolescent Development: Adolescence (about age 11-early 20s) is a stage when people often create an imaginary audience, complete with hyper attention to and scrutiny toward their actions. They create a personal fable of greatness which engages with that imaginary audience. None of this is bad, it is just part of how people create a sense of ego, aesthetics, and independence. People run into trouble, however, when they think others are as obsessed with their actions as they are. Unfortunately, this normal developmental stage occurs at the same time musicians begin performing and competing at higher levels.
    There is also a stage around this time, called Formal Operations by Jean Piaget, where people begin to apply logic to abstract concepts. They think about how things could turn out differently in a variety of situations. They also can create “what if” scenarios that are not always rooted in reality. These scenarios can affect people positively or negatively. 
    Perfectionism: This can be a mixed bag. The negative aspects of perfectionism include excessive concern over making mistakes, extremely high personal standards, perception of high parental expectations, perception of criticism, doubting the quality of one’s actions, and a rigid preference for order and organization. However, it also includes motivation, effort, achievement, focus on goals and organization. Overly high expectations for oneself and concern over public perception can increase somatic issues, emotional distress, and lead to MPA. 
    Environment and Culture: The context of one’s culture and environment has a huge impact on a person’s experience of performance. A recent study stated that classical musicians reported fewer positive and more negative performance-related emotions than non-classical musicians. On the other hand, I have colleagues who grew up playing in the church; for them, making music is a way to commune with God, and music is played with open love and humanity. Environment can play a large role in emphasizing or mediating the effects of MPA. 

Solutions
    There are many therapies that people utilize to combat this problem. The following are a few of the more standard, evidence-based practices that have been shown to help, along with some things you can do yourself.  
    Cognitive Behavioral Therapy: CBT is the standard in evidence-based practice for treating anxiety disorders. Working with a therapist (psychologist, social worker, or counselor), you explore the thoughts, emotions, and actions that are causing the anxiety. CBT usually uses cognitive strategies, exposure and experience building, arousal management, and learning adaptive strategies to help you to deal with the type of anxiety experienced.
    Reframe the Experience: This takes the physical sensations felt with anxiety and reframes them in a positive way. For example, a player might feel springs in the legs or heat on the back of the neck. Instead of thinking of it as being nervous with all of that word’s negative connotations, the sensations can be rephrased as feeling energized. Arousal symptoms are neutral. It is the person who decides what the symptoms mean. You can also decide how much to react to the physical arousal. 
    Self-talk: Think about what you say to yourself when things go right and wrong. Begin with positive cheerleading. You need someone in your corner and that someone is you. It is important to keep in mind, however, that any play-by-play while you are performing is a recipe for distraction. Positive or negative, you are listening to something that is not your playing. Instead, talk to yourself between pieces, movements, or long rests – when you have a minute to regroup. Definitely talk to yourself before and after a performance. If thinking encouragingly feels challenging, try starting with a neutral statement like “Today’s show is going to happen.” Then move on to “This is going to go okay,” and gradually get on your own good side. 
    Get Out of Your Head: When anxiety begins to increase, it can be a very noisy experience – in thoughts, bodies, and emotions – and sometimes things just need to quiet down a bit. Do this by getting in the act of what you are doing. Amy Poehler says, “The doing is the thing. The talking and worrying and thinking is not the thing.” (Poehler, 2014.) By shifting your attention to what you are currently doing, you give yourself a breather. So pay attention to the strings during the Brahms 4 solo and listen to the chords unravel themselves in Scheherazade. In other words, take part in the music around you. One way to get better at this is through mindfulness meditation, a way of directing your attention purposefully upon whatever is happening in that particular moment in an accepting, nonjudgmental way. Mindfulness meditation has been shown to quiet brain regions that become overactive when people think about themselves. This helps quiet down the anxiety noise and all of the attention it is getting. By practicing mindfulness meditation for a bit each day, you will get better at coming back from distractions to the current moment. Strengthen this process outside of the practice room, so it becomes easier when you are playing. 
    Drugs and Alcohol: Self-medication is a bad choice. Substance abuse often accompanies anxiety disorders because many people use harmful substances in an attempt to regulate symptoms and enhance social skills. Do not do this. Prescription drugs are sometimes an option. SSRIs can be quite helpful for anxiety disorders, and research suggests that up to 31% of classical musicians use beta-blockers prior to performances (Finch and Moscovitch, 2016). Have an honest conversation with your doctor or therapist about medication. 
    Imagery: Musicians and athletes who experience heightened levels of anxiety in performance-based areas find that imagery is helpful to use as a mental rehearsal technique and as a form of exposure to anxiety-provoking situations. Some musicians use imagery to envision performing well in the presence of anxiety, called “confident coping” (Finch and Moscovitch, 2016). The key here, though, is to not only practice acceptance imagery, but success imagery as well. 
    ACT: Acceptance and Commit-ment Therapy considers behavior as being functional or nonfunctional, depending on the context. ACT uses mindfulness strategies as well as cognitive and behavioral concepts to encourage psychological flexibility. This is relatively new, but some studies have shown it may be as effective as CBT in treating anxiety disorders.  
    Social support: You are not the only one that has felt ever this way. Musicians tend to approach MPA as a taboo concept, almost contagious even. “Anxiety is a really real experience,” though, and can feel very isolating (Haithcock & Diamond, 2017). There are so many ways to reach out, but you must take the first step. Some ways to connect include talking with a teacher, trusted colleagues, friends, classmates, a therapist, calling a hotline, reading books, or going online. Make a connection to others who can listen to or empathize with your experience. 
It can take persistence and effort to overcome the challenges of Music Performance Anxiety. However, relief of symptoms is possible, and musicians can experience more confidence both onstage and off.      

* * *

Medical Descriptions
    Many people who experience Music Performance Anxiety also experience Social Anxiety Disorder. The Diagnostic and Statistical Manual of Mental Disorders (DSM) lets clinicians diagnose SAD as applying to “performance only” if the anxiety is restricted to performing or speaking in public. Social Anxiety Disorder can be described as the following: 
 
    Marked fear or anxiety specific to social situations, in which a person feels noticed, observed, or scrutinized. In an adult, this could include a first date, meeting someone for the first time, or giving a speech. 
 
    SAD and MPA share many similar aspects. Australian research scientist, psychologist and MPA expert Dr. Dianna Kenny explains,  

    Music Performance Anxiety is the experience of marked and persistent anxious apprehension related to musical performance that has arisen through underlying biological and/or psychological vulnerabilities and/or specific anxiety-conditioning experiences. It is manifested through combinations of affective, cognitive, somatic, and behavioral symptoms. It may occur in a range of performance settings, but is usually more severe in settings involving high ego investment, evaluative threat (audience), and fear of failure. It may be focal (i.e., focused only on music performance), or occur comorbidly [at the same time] with other anxiety disorders, in particular social phobia [Social Anxiety Disorder]. It affects musicians across the lifespan and is at least partially independent of years of training, practice, and level of musical accomplishment. It may or may not impair the quality of the musical performance.” (Kenny, 2011) 

    In other words, MPA is generally a combination of feelings (apprehension, dread, panic), behaviors (avoid performing, meltdown), thoughts (loss of focus, memory problems), and physical sensations (trembling, sweating, dry mouth) that happen when performing. It can happen no matter what the musician’s achievements or experience level. 

* * *

Personal Experiences

    If you would like to share your experiences and thoughts, please email editor@flutetalkmagazine.com. You may indicate if you would prefer to remain anonymous.

    We asked musicians to share how performance anxiety has affected their musical lives. They answered the following questions: 

     1.    When did you first experience it and when does it affect you?
    2.    What does it feel like?
    3.    What has helped you deal with it?

1. I think my performance anxiety has always been there. Emotions range from excitement to overwhelming fear. My level of negative emotions is directly related to my level of preparedness. Only when I know every note, rhythm, breath, phrase and dynamic marking am I able to live in the moment and play without fear or holding back. My best performances always grow out of this concept. Know your music and know what you want to say to your audience. 

2. Symptoms of my performance anxiety can range from non-existent to feeling sick, shaky and agitated. Loved ones have commented that I can be quite scatterbrained before a big concert. 

3. Over the years my performance anxiety has improved. Teaching helped with this tremendously. Suddenly I had a flute studio and students with the same problems – some of them have it worse! I learned to coach them through their roadblocks and decided I needed to listen to my own advice. It is important to realize that you must practice performing. Playing a tough section fifty times in a row and finally perfecting it is not the same as playing it once in front of an audience. You must prepare for the performance, not just learn the music. 

Elizabeth Farney
Flute Instructor

1. I first started noticing the physical symptoms of performance anxiety when I was about 13 years old. The mental afflictions of performance anxiety came around junior year in college, and it has gotten progressively worse the more involved I become in the musical world. (I attribute it to caring more.) It used to affect me when I played any sort of solo in orchestra, but after having experience as a principal player, I find that it is not nearly as bad anymore. I view orchestral playing as more of a team effort rather than me playing a solo. I get nervous when I have to play alone (i.e. audition, orchestral excerpt, solo repertoire) and when I have an audience. 

2. It varies on the type of performance I am giving, but generally I have sweaty palms, shaky fingers, sometimes shaky legs, shortness of breath, inability to take a deep breath, and mental chaos. In fast or tricky passages I feel as though I can’t control my fingers, and they feel like they are flying all over the place. Performance anxiety affects me throughout all aspects of my life – it is not just when I’m on stage. Although I’ve been getting better at this, performance anxiety has stopped me from volunteering in masterclasses, auditioning for summer music festivals, and competing in competitions. It is a constant albatross around my neck. 

3. I have recently started changing my mentality about playing and it has been helping. When I perform poorly and those negative thoughts come rushing in, I force myself to say, “Stop thinking those things. You did the best you could in that situation.” This semester has been easily the most difficult for me, and my performance anxiety and the negative effects of anxiety have been at an all-time high. A few weeks ago, I was sitting in bed, bummed out about how I played, and I thought, “You know, I’m really tired of feeling like this all the time.” That was the start of my change in mentality. I also notice that when I am feeling anxiety, having really solid technique helps me execute fast passages well even if I am shaking and don’t feel in control. In the practice room, I set my metronome at a slow tempo and then play the passage I want 5-10 times perfectly in a row; if I mess up, I go back to 1. Once I have played it perfectly, I bump my metronome up one or two notches. It is a very grueling process, but effective. Also, I drink peppermint tea when practicing and during breaks of performing. The smell calms me. 

Mandy Wilk
2nd-year masters student
Indiana University

1. The first time was in my graduation concert, I was not really ready. I had a lazy teacher at the time and I made silly mistakes. After that I always played a solo part in orchestra or in concerts. 

2. It affects my finger technique. 

3. When I play a recital, talking with the public helps me a lot. When I play in orchestra really nothing, only knowing I have a problem and thinking about it. 

Florencia Ruiz Rosas, flute teacher
National Conservatory, Lima, Peru

1. I had a memory slip at age 11 playing a Boccherini Concerto. It was very traumatizing. I also had a “stage mother” who never praised me to my face, telling me I’d never be anything “but a two-bit cellist,” and a tough military captain who was a fine hornist but was fond of saying, “you’d better never consider going into the arts professionally, Sissy.” It was a perfect setup for failure, but it motivates me now.

2. I feel confused, angry, worthless, and absolutely insecure about myself in every way, not just musically.

3. At first, alcohol and drugs did the trick, but we all know where that leads. I tried biofeedback. acupuncture, witch doctors, cranks, psychiatrists, and psychologists who never truly understood that the joy and act of being an artist and a cellist was being ripped from me, but I was holding on for dear life. Real help has come in forms I would never have expected: family (my wife and kids), trusted friends, time away from the instrument, having hobbies, writing music and a book on cello pedagogy, and also addressing this issue very candidly, and lots of healthy practicing. Most importantly, though, is teaching. 

Robert deMaine
Principal Cellist
Los Angeles Philharmonic

1. I remember it from 5th grade. Always when I am performing. 

2. Dry mouth, shaky fingers. 

3. Nothing really.

Anonymous

1. I have found that my performance anxiety shows up mostly when I am the focus of the attention: solos, solos in orchestral literature, auditions, etc. I first experienced it during my undergrad years, and the symptoms, though I could fight to overcome them, affected my playing. During my master’s years, I had an excellent teacher who helped me redirect my focus to help with my anxiety. Even today there are still some symptoms I have yet to overcome. I know it stems from both fear of failure and fear of success. I came into music school as an underdog because I did not come from a musical family. In addition, because of the family business, it wasn’t an option for me to attend summer intensives, and music was not seen as a serious career in my family. This left me feeling like I did not measure up to everyone else. I knew that I loved to play the flute, and I was certain the rest would come with time, practice, and patience, but I was incredibly sensitive to what people might think of me or my playing, and it was debilitating. I found that the support and kindness of my teachers worked wonders for me and my performance anxiety, the feeling of being “taken under the wing.” As long as they believed in me, I could believe in myself. 

2. My symptoms usually progress like this (it is a journey):
    •    10 minutes before performance: lots of little pee runs to the bathroom. Sweating and mild shakes.
    •    5 minutes before: sinuses start draining phlegm down the back of my throat, even if I don’t have a cold. (I kid you not! I screwed up an orchestral audition once because I had phlegm drop to the back of my throat just as I was breathing during a bar rest and it totally threw off my timing because I choked!) This will usually continue off and on throughout performance.
    •    5 minutes before performance through first half of performance: crazy amounts of saliva. Sometimes I will have to swallow three times before I can even make an entrance. Which then leads to inability to swallow and a full feeling after that, which affects my ability to take deep breaths.
    •    5 mins through first half: sweaty palms. Tingling if it is a big stressor performance like Firebird. Also, my brain will race, it can be difficult to focus.
    •    About halfway through: severe cotton mouth sets in. Which makes tonguing difficult and then of course affects the quality of my sound.
    •    Last 1/4 of performance: everything subsides. I gain control of my fears, command my performance and have fun!

3. My teacher during my Master’s was extremely helpful in teaching me how to address my performance anxiety. She would tell me to create a roadmap out of my piece and Follow the Plan! (which I would write as a reminder at the top of my piece). If I had a plan of attack, I could focus on specific techniques that aided my performance and thus keep my mind focused on the music and task at hand, and not on my own fears. (This might be things such as “lift ribcage,” “relax,” “tiny specs of sunshine between notes,” “check embouchure,” “freely,” “blow through line,” etc.) I had specific points during a one- or two-bar rest that were a reset. It was a brief moment that I could take if I was struggling; I could reset the structure of my embouchure, let go of tension and check my posture, and then take off again. These nuggets of information kept me focused and freed me, and would stay with me as I memorized the piece and then played from memory. I still struggle with performance anxiety, but at least I have a plan of attack that helps me overcome it. If I can knock out several symptoms in a performance, and only have one or two, I consider it a huge success! 

Nicole Frazee
flute teacher/free-lance performer
Michigan and Florida

1. I don’t remember when I first experienced it, but the first memory I have of it is was when I was asked to perform a concerto with the Calgary Philharmonic Orchestra. 

2. Shaking and scared 

3. It helps to perform as much as possible in front of anyone (the mailman, next-door neighbor) and having them sit or stand very close and staring at me or trying to distract me with coughing etc. so that I could practice concentration. I got this idea when working one summer at a lodge in the Rocky Mountains where I had to perform every Saturday in a staff concert. I got really tired of being nervous all week for the upcoming performance. I also find that visualization helps but I didn’t discover that until after I took a break from performing while writing the first edition of my flute dictionary. It’s much harder and is taking longer to deal with the nervousness the second time around.

Susan Maclagan
flutist, teacher, editor, author

1. I would have to say during auditions for area band and orchestra festivals.  To this day (it has been well over 30 years since high school) I still struggle most with auditions. My anxiety level correlates with that of my hope for the spot. For some reason, which I have yet to pin down so I can apply it to auditions, actually performing, though still an anxious affair, is manageable. The anxiety I experience during performance is more of an exciting, enjoyable experience than that experienced during auditions.

2. I get the usual symptoms of anxiety: heart racing, constricted throat, shallow breathing, dry mouth, wobbly embouchure, leaden tongue. It is frustrating, and at those times when my audition performance suffers so badly, it is embarrassing – almost shameful.

3. Occasionally, (for the stubborn audition nerves) I have found that an attitude of “whatever” has helped. As in, I’ve done the work and regardless of how well or poorly I do, I may or may not be the best person of the group. It also helps to plan my practice like I would a training program for a marathon: setting small, manageable milestones to meet over the course of months rather than trying to cram the practice in over a couple of weeks. And, of course, I take several deep breaths before starting. 

Donna Brown Moore
amateur performer

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Determine the Affect
    If music is about moving people’s emotions, it makes sense to determine the overarching feeling or emotion of each movement. Begin by looking at the most obvious clues – the tempo, articulation, and style markings. Often these words are standard Italian musical terms, but often they are German, French, or another language. For example, even if you think that you know what adagio means, look it up. The musical translation means “in a slow tempo.” If you look one step further, you’ll find that the word adagio comes from the Italian ad agio, which means, “at ease.” The image of “at ease” paints a richer picture than just “slow.” I’ll always remember while studying Schubert’s Variations on Trockne Blumen in Berlin, my teacher, Karlheinz Zoeller, asked me (in German) if I knew what steigern meant. I did not, but he wisely did not translate it for me. Instead he crouched down low next to the piano and then got progressively taller and taller while making climbing motions with his arms and legs. It is sometimes difficult to remember translations, but the image of this formidable flutist demonstrating steigern seared the affect of building in intensity into my memory. 

Learn Historical and Cultural Context
    Musicians are ambassadors of the cultures and time periods of the compositions they perform. Composers are the products of the external and internal influences in their lives. In less than an hour, you could read a synopsis of a composer’s biography and start to figure out what made that composer tick. For example, when preparing the Prokofiev Sonata (composed in 1943), you should learn about how Prokofiev was evacuated to the Caucasus due to the threat of German invasion in the Soviet Union. During this time he was away from the Soviet government’s stifling control of artists, and his relationship with a 25-year-old writer, Mira Mendelson, was in full swing. The idyllic freedom of this period of his life that followed years of living abroad in the U.S., Paris, and Bavaria before returning to the pressures of Soviet Moscow can be heard in the expansion of the opening bars of the sonata. Use all of this valuable information as a spy would and craft a contextually clever plan to influence your audience. 

Play or Read the Full Score
    It always amazes me when I see students’ reactions to being asked to prepare the full score. For many, it is similar to being told to eat vegetables as kids: part annoyance, part shame, part dislike, and part avoidance. As melody instrumentalists, it is easy to get caught up in the demands and expression of our own parts. That is fine, but please do not stop there. Composers do not think up the melody part, and then, as an afterthought, come up with a nice sounding accompaniment. Whatever the genre or time period, respect the music and the composer by learning how each part fits in the whole piece. Write notes in your part to keep your mind and ear trained on the interplay between the parts. For example, in Jolivet’s Chant de Linos, write the rhythm of the haunting viola melody at rehearsal letter R into your part, even if you are playing from the flute and piano score. When you are aware of the countermelody, then you don’t just happen to be rhythmically together, but you embody the strength that comes from the pushing and pulling between the parts.

Phrasing and Structure
    I like to use all of the available theoretical knowledge that I have at my fingertips to get a good roadmap of the piece or movement. Musicians should use different tools to do an informal analysis based on what suits the composition. For example, in Baroque music, structural tone melodic analysis is often illuminating. This does not have to be a full blown Schenckerian analysis, but just enough to notice if there is an overarching pattern of structural tone movement embedded in the more complex phrase. Use informal harmonic analysis to notice modulations, deceptive cadences, episodes and forms such as a returning melody in rondeau from ABACA. If there are deceptive cadences, note them in your part with a VI under the melody note so that you can express the clever sudden twist in harmonic expectations. Gather all of the structural pillars that hold up the work of art so your performance will have an unambiguous clarity within which to play.

    Musicians spend an enormous amount of practice time mastering tools so they can execute the requirements of the music. For me, the most important part of practicing is what happens next: how to get from mastering skills to conveying emotions and connecting with listeners. We create art for a reason. I keep this foremost in my mind and relish incorporating research, theory, history, and cultural context to hone my individual artistry.

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Auditions   
    Taking auditions can be an emotionally and daunting task, as well as an expensive one, so it is important to always put your best foot forward.  
    1.    Many auditions require you to wait in a big warm up room with lots of other candidates before receiving a private room immediately preceding your audition. Don’t be the person bragging to everyone in the room a list of your latest accomplishments. Conversely don’t express any negative thoughts about your playing that you may be experiencing. Besides affecting how others perceive you, it will increase your anxiety and can hurt your performance. Instead concentrate your energies on the task that is at hand. 
    2.    Have good hygiene and do not wear perfume. The first two rounds of an audition are screened but that does not mean they cannot smell you. Orchestras have strict rules concerning no extraneous scents on stage because different smells can cause a distraction or discomfort to the other performers. Show them you will fit in by following this rule now. 
    3.    Don’t complain about the temperature of the warm up rooms or the hall. Sometimes auditions are held in rented spaces, and the orchestra has no control over the temperature. Show that you are a team player and not a constant complainer. 
    4.    Don’t try to psyche out other auditioners by playing other excerpts that are not included on the audition list in the warm up room.  
    5.    Dress nicely for the finals. With the screen now down, this is the committee’s first impression of you. This is a special occasion. You might win a job today. Dress for success. 
    6.    Always congratulate the winner. This shows true professionalism. Do not stomp away mad or slam doors because you were not selected. Instead ask the committee if you can receive comments about your audition. Stay positive and learn from your experience. Also, remember that the music world is a small one. Your fellow auditioners and committe members may be colleagues some day. Leave them with a positive impression of you.
 
Orchestra Etiquette   
    Once you have won an orchestral audition, make sure you keep the job and work well with other members of the ensemble. 
    1. Be ultra-prepared for the first rehearsal (and every rehearsal and concert thereafter). Arrive 30 minutes early to set up. Time is money, and orchestras play lots of concerts with few rehearsals. This is no longer college where you have a month of rehearsals until you perform one concert. Practice the music, study scores, and listen to recordings. You should always be as prepared as if you were about to play a concert with no rehearsals. Most orchestras will also deduct a set amount of money from your paycheck if you arrive late. 
    2. Always have a pencil. You will use it at every rehearsal. 
    3. Do not turn around to watch someone who is performing a solo. Even if you mean it as a compliment, this is seen as a negative. 
    4. Do not tap your feet. This can be distracting to others and seen as unprofessional. The same goes for moving around or conducting from your seat. You are not the conductor; the person standing on the podium is. 
    5. Do not cross your legs. 
    6. Never warm up practicing someone else’s solos. Be considerate. Put yourself in their shoes. 
    7. If you are going to wear earplugs, kindly tell the rest of your section. Otherwise colleagues could possibly view this as a negative opinion you have toward their playing. 
    8. Always let the principal of the section tune first. Do not talk or play other music when the orchestra is tuning. 
    9. For difficult page turns, have extra pages copied and ready at the first rehearsal. 
    10. Warm up loud piccolo passages offstage. Be considerate and inform colleagues sitting close to you where the loud, high piccolo passages will occur during a piece of music. This will help them know when to wear their earplugs. Also, do not complain if someone requests a sound shield. It is important for musicians to safeguard their hearing. 
    11. Do not bring food or coffee onstage. Normally the only liquid allowed is water. 
    12. Always turn the sound of your phone off for rehearsals and concerts. Try to refrain from texting during a rehearsal. Some orchestras have had such a problem with this that phones are never allowed onstage. Never answer your phone during a rehearsal. 
    13. Ask others how your conductor feels about reading books, magazines or your phone during rehearsals when you are tacet from movements. Some conductors are really opposed to this  during rehearsals while others do not mind. 
    14. Do not ask the conductor a lot of questions during rehearsals. Make a note of your questions and ask during break. Otherwise you are wasting valuable rehearsal time. Your colleagues might also make fun of you for this behavior. 
    15. If a colleague makes a mistake, do not shuffle your feet as a joke. I can guarantee that your colleagues will find it annoying. 
    16. Look through the instrumentation list of the upcoming season and make sure all auxiliary instruments (piccolo, alto flute) are in perfect working condition before the season starts 
    17. Do not block a colleague’s line of vision. 
    18. Do not loudly turn pages during someone else’s solo or during soft orchestral passages. 
    19. Avoid going to the bathroom during a rehearsal. Wait until a break. 
    20. Never talk back to a conductor. If a conductor asks you to play something differently, simply say, yes and nod your head. It is your job to make the proper adjustments. Also, always watch the conductor. 
    21. Always adhere to the concert dress code rules of the orchestra and dress nicely. Black jeans are not considered appropriate concert attire. Some orchestras, after giving you a warning, will impose a monetary fine for not following dress code rules. 
 
Substitute Musicians in Orchestras   
    As a substitute musician, the first important rule of thumb is gratitude. Don’t complain if you are not being given the parts you want or are not always being hired. Most orchestras have long lists of substitute musicians and have thought through their pecking order of substitutes carefully. If you do not want to play the piccolo or are not a strong piccolo player, expect to be hired less. Normally a sub in a flute section will be called upon to play some piccolo. 
    If you are new in town, send your resume to the principal flutist of the orchestra. Next, set up a private lesson with them as well. Ask if there is a possibility of being added to the substitute list. Do not expect to be automatically placed on the top of their list no matter how good a player you may be. Many orchestras have loyalty toward musicians who are already high on the list.  
    As a substitute player, do not play orchestral excerpts on stage as a warm up in order to show off your skills. Warm up respectfully and only on the music you will be playing with that orchestra. 
    Every musician has a different style of playing. Your job as a substitute is to fit in as perfectly as possible. Don’t use a lot of vibrato if the rest of the section is not doing so. The same goes for volume. Don’t play louder than the rest. Also, do not move around a lot while playing in order to look expressive. You are not the leader, you are the substitute. 
 
Teaching Etiquette   
    Proper teaching etiquette is an important aspect of music, both for the success of the teacher and for setting a good example for students. 
    1. Talking negatively about other flute teachers in town to students or band directors in order to grow your studio is a bad idea Word travels fast, and the other flute teachers will find out. Plus, this sets a bad example to your students.  
    2. Do not eat or answer phone calls or texts during lessons. A student is paying for your undivided attention. Also, do not show up late or miss lessons without advance notice.
    3. If a student is studying with another private flute teacher and has expressed interested in studying with you instead, contact their teacher and speak with them about it. Normally the teacher will give their blessing and thank you for the call. This eliminates any chance of you being called a student stealer and builds good relationships in the flute community.

    Following these guidelines should help you on your path to a successful and joyful music career for many years to come.     

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    Repeat this for several weeks until the student can easily play all twelve tetrachords by memory. 
    Now to play a scale, chunk tetrachord #1 followed by #2 several times. At first begin on the lower written note then on the upper note.  

CDEF/GABC
    Next omit the rest to get the eight-note major scale. 

    Repeat combining #2 and #3, then #3 and #4, etc. At the end combine #12 with #1 and the cycle begins again. 

Teaching Melodic Minor Scales
    Once a flutist is fluent in the major scales, begin instruction with the minor scales. The traditional method teaches that the relative minor scales begins on the sixth step of the major scale. If there are no alterations in the scale, the scale is deemed natural or pure minor. If the seventh step is sharped or raised a half-step ascending and descending it is harmonic minor. If the sixth and seventh steps are raised on the ascent and lowered on the descent, it is melodic minor. However, if a student knows the major scales well, there is another way to teach melodic minor scales. I rarely teach pure or harmonic, because it is melodic that will be mostly used in literature. Most violin pedagogues spend more time on melodic minor scales than the others. 
    This method is a three-step program. Having a circle of fifths available is helpful. The following is how to teach A melodic minor.
    Step 1: Have students play an A major scale ascending only.

    Step 2: Next they should play an A major scale ascending only, but lower the third note by a half step. This is the A melodic minor scale ascending.

    Step 3: Have them descend in the relative major key signature or in this case, the key of C major.

    While both of these scale methods are less traditional pedagogical ideas, often explaining the untraditional makes the traditional understandable. Students often think scales are just about the notes. This introduces the idea that scales are the building blocks to playing and comprehending music. The notes are just the beginning.      

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Tetrachords
    A tetrachord is a unit of four pitches. In ancient Greek music the tetrachord spanned a descending perfect fourth (whole step, whole step, half-step or EDCB). According to The Harvard Concise Dictionary of Music and Musicians edited by Don Michael Randel, “The major scale is sometimes described as consisting of two disjunct tetrachords separated by a whole tone e.g. c to f and g to c1.”

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How did you prepare for your first week with the Philadelphia Orchestra as piccolo soloist when you performed the extremely challenging solo in Tchaikovsky’s Symphony No. 4? 
    Luckily, it was not my first time performing this piece with an orchestra, so I had some experience from which to draw. The challenge for me, as it is with most difficult passages, was to remain confident and consistent. I have found that preparing this excerpt for auditions – where you need to find methods of consistency under pressure and only have one shot to get it right – has been incredibly beneficial. I can’t say that this true of other excerpts, where more flexibility and reactionary musicianship are needed when playing in orchestra. The Tchaikovsky 4 excerpt feels about the same in either context. So in practice, I pick up my piccolo completely cold – after doing laundry or the dishes or catching up on emails – and by way of trial and error, I determine what brings the most consistency. This time (as it changes each time I approach it.), more chin pressure and a faster air speed was what worked. No matter how often I perform it, however, that “5 seconds of terror” feeling remains! In the moment, it is about moving beyond that fear. I believe it was Will Smith who said (via a story about skydiving), “The best things in life are on the other side of maximum fear.” It is why I love being a piccolo player – the blissful sensation that comes after you face and conquer fear is unmatched – and we get to live that over and over again!

What was the audition process to win your present position? 
    It was fairly typical for an orchestral position. There was a preliminary round, where all applicants played for about five minutes behind a screen. This round lasted for two or three days, during which the large pool of candidates was narrowed down to about 10-15 for a semi-final round. This round was still screened, and each candidate played for around 20 minutes. The committee then narrowed it down to only three applicants. We each played a final round, which was unscreened and had a concerto (with pianist) and solo (chosen by the candidate) component. After the final round, two of us were chosen to do two trial weeks  where we rehearsed and performed with the orchestra on their subscription programs. This is also pretty common, especially for a solo instrument like the piccolo. They want to hear how you fit in with the sound of the orchestra, feel what the chemistry is like in the section, and see how you respond to the music director. These are all crucial for long term happiness. At the end of my second trial week, I was offered the job.
    As far as my personal experience with this audition, I recall feeling more relaxed than usual. I had a job that I adored in San Diego and had low expectations for this particular audition. I mean, it was the Philadelphia Orchestra. I did not think I was worthy, but it was an opportunity that comes around once a lifetime, so you take it no matter what. The farther I advanced, the more shocked I was. I did not feel like I nailed it in any of the rounds, but I tried to focus on relishing each moment I was given in that beautiful hall.
    During the trial weeks, I felt much more pressure as I was hyper aware that people were judging me – not maliciously, of course – but it was what they were supposed to do. That being said, the musicians were very warm and welcoming, which was a relief. Those “pinch me” moments were plentiful, and again, I just tried to soak in the experience, fully expecting that this would be the only chance I ever had to play with the Philadelphia Orchestra. The musicians were magnificent. I had never felt a unity in musicianship like that before. Everyone breathed and moved together and gave 150% every time. I teared up during rehearsals and performances, just overwhelmed with what I was hearing and feeling and grateful to be a part of it, even if just for a couple of weeks. 
    When they told me that I got the job, I cried. It was a combination of relief, disbelief, and the mere thought that these incredible musicians believed in me. Yannick Nézet-Séguin, the music director and conductor of the Philadelphia Orchestra, shook my hand and said, “Erica, you are a treasure.” I am pretty sure I looked at him through the tears like he was insane. I thought of my 16-year-old self, who never imagined that I would be in this room, in this situation. I was also cognizant that the room was full of men – not one woman – and it dawned on me that I would be the first woman in the flute section in the history of the Philadelphia Orchestra. I think the only word that repeated through my head and out of my mouth, was “WOW.” 
    The best advice I can give to people going through the audition process is to detach your self-worth from the outcome. There is a fine line between being constructively critical of ourselves (which is crucial for success) and beating ourselves down for an audition gone wrong (or many gone wrong). If that line gets blurred, we begin to lose faith in our individual musicianship, and our artistic light fades. The reality is that auditions are brutal yet necessary to do what we love. If we can reframe it as a tool for growth, a new challenge from which we learn each time, I think we get closer to success. I am not one of those people who won a job on my first, second or even 20th time. I have lost about five times as many auditions as I have won. For me, the intentional growth after each loss was far more important than after any win. 
    I also think that diversifying as a person and a musician – not putting all of your eggs into one basket – is paramount to finding fulfillment. I accepted early in my career that I might never win the elusive big job. I fostered other areas of life and explored other avenues of music-making. Even though I may have still wanted that big job, I knew that it was not a requirement for a meaningful existence.

What do you suggest for audition prepration? 
    I have a “to-each-their-own” perspective on auditions. Learning what works for you will allow you to develop a personal approach that suits you. However, I do strongly feel that auditions are a skill set completely separate from actual orchestral playing. It is a skill set that takes its own attention and practice, and establishing consistency is what I believe is the key to successful auditioning. 
    After having my daughter, I was forced to re-vamp the way I prepared for auditions. I had far less time (like, barely any at all), and needed to figure out how to accomplish goals within those time limits. As a solution-oriented person, I created an audition methodology through trial and error. This program of smart work felt like the miracle that never failed me. There are many smaller details, but this is the outline.

    • As soon as I decide to take an audition, and get the repertoire list, I construct a very detailed schedule of practice, starting from the week of the audition and working backwards. I schedule one run-through of the list every day the week before the audition (just a run-through, no extra practice), with a couple of those being mock auditions for colleagues or friends.

    • The week before that, I schedule groups of excerpt work – maybe three or four excerpts a day where I do “touch-up” practice, which should be minimal, focusing on starts and stops of excerpts and mantras (which I will explain later).

    • During the weeks before that, every excerpt gets its own day. Making the time for this is imperative, as it gives me assurance that I am being thorough, and panicking a couple of weeks before the audition because I have neglected one or two excerpts becomes a non-issue. I break down each excerpt, no matter how well I think I know it or how well I think I can play it, and force myself to learn it again. This means making sure my intonation is spot on, rhythm is accurate, technique is solid, and musical choices are secured. I record everything and work very hard to avoid playing and listening at the same time. When I record, I put all of my focus into the performance of that excerpt. When I listen, I put all of my focus into critiquing the player I am hearing and problem solving.

    • After I dissect the excerpts in this way, I start to write mantras above each excerpt. These can change over the course of preparation, but should be designed to get the best result consistently. My mantras range from being quite technical and physical, like “move air,” “slow fingers,” “support from the ground,” to more abstract, like “fluid, long lines” or “aggressive!” I usually pick two or three mantras on which to focus all of my attention before beginning the excerpt, almost like a meditation. If my mind wanders during the excerpt, as everyone’s does, I can come back to these and refocus. This discipline, in particular, has changed my mindset and ability to concentrate during auditions. Keep in mind, I have to actually practice focusing on the mantras. If you are aiming for consistency, then you have to practice consistency.

Was piccolo always your first love? 
    The piccolo and I have had an interesting relationship. It was definitely not my first love, or any kind of love at all, until later in my career. I considered myself a flutist first and thought the piccolo was an evil instrument that caused me, and the people who listened to me, pain. I distinctly remember one of my early flute teachers, MaryAnn Archer (formerly of the MET Opera Orchestra), advising me that proficiency on the piccolo is often what clinches the job. That did not sink in until much later in life, but I never forgot it! 
    My first job with the Honolulu Symphony was an assistant principal flute and piccolo position. I ended up playing little piccolo, and when I did, I was terrified. That was a moment of reckoning. Did I really want to play this instrument? Was it really for me, someone who would much rather blend in than stand out? I began carefully listening to great orchestral piccolo players, something I should have done long before, and realized that playing the instrument with fear is just about the worst way to undertake the task. I began to confront my fear and address the piccolo as its own instrument, not just as a more painful extension of the flute.
    In the years following, despite being unsure on which orchestral position I should focus, I consistently found more success in piccolo auditions. Time and time again, I was clearly standing out as a piccolo player, but not so much as a flute player. A turning point was my time with the Omaha Symphony. After winning the audition, I found myself among an incredibly supportive group of friends and musicians who (perhaps unknowingly) encouraged me to grow in a safe environment. During my four years with this orchestra, I started to believe that I could be a piccolo player, instead of a flute player who also played the piccolo.

How did you begin playing the flute? 
    When I was about 9, I was at dinner with some close family friends. Boredom with the adult conversation set in, and I started to blow over the top of a coke bottle. One of the family friends was a flute teacher, and that was where it all began. 

You have a six-year-old daughter, does she play an instrument yet? 
    As a daughter of two musicians, it is clear that Avery is musically inclined and has a knack for performing. It was her choice to start the violin when she was three, but I found that practicing with her was tough. My inner tiger mom came out in ways I did not like. I expected quite a lot from her and ultimately saw that I was sucking the joy out of it, so we decided to stop the violin. Now, she focuses on dance and theatre but has asked to play the cello and drums. I might be the only parent on the planet who would welcome her child playing the drums.

Did you come from a musical family?  
    My dad is a musician, and although my mom is not, she is an avid music appreciator. My dad played French horn on the original production of Les Misérables and for artists like Frank Sinatra, Barbra Streisand, KC & the Sunshine Band, Chuck Mangione, and Carly Simon. My brother plays French horn for the Broadway show Aladdin, and has done recording and performances with Josh Groban, James Taylor, Sting, and P Diddy.  As it turned out, the love of my life is also a musician. He plays oboe and English horn. We met playing in the Honolulu Symphony and ended up in Omaha by way of his winning the second oboe position with the Omaha Symphony. He is also a very soulful singer and a generally brilliant and beautiful musician.

What made you decide to be a musician? 
    Growing up, I had my sights set on being a dancer on Broadway, but I experienced a knee injury in middle school from running track. After that, the flute became my main creative outlet. I remember my dad warning me that the path of a musician, and especially that of a flutist, would be harrowing beyond my imagination. “Great flute players are a dime a dozen,” he said. I think he just wanted me to join the family tradition and play the French horn. I took that as a challenge and wanted to prove that I could do it. I believed that orchestral positions were the most stable classical career choice, so that was what I endeavored to do.

What do you think about when you change from playing flute to playing piccolo? 
    For me, switching from flute to piccolo is like being at your parent’s house and then coming back to the home you have created. They are both comfortable but have distinct sensations. I no longer think about what physical changes I am making although I would say that I use a more pressurized support and faster air speed when switching to piccolo. What usually goes through my mind when I switch to flute is, “Oh, thank goodness – now I can relax!” Even though I feel more secure on the piccolo, blending in still provides a sense of comfort.

How has the programming changed during your years of playing in an orchestra? 
    This is an interesting question, and I think the answer varies from organization to organization. In general, the programming of movie music (playing the score while the film is shown) has become very popular, and I love it. It is not only entertaining; but it exhibits, in an honest way, how music is undeniably a part of our everyday lives. In turn, it provides an opportunity to engage new audiences and draw them into the world of live classical music. 
    I also see top orchestras pouring more energy into education and community outreach. It is these organizations, that see the value in being an integral part of the community, that I believe will fare better in the long run. Our music education system is severely lacking. If classical music were a part of the daily school curriculum, we would see measurable improvement in students’ academic and social development. If orchestras can roll up their sleeves, be part of the solution, and help to bridge the gap, not only will their organizations benefit, but so will our world.

What kind of music do you listen to? 
    I listen to rock, electronic, pop, soul, alternative, and classical. That mostly sums up my playlists. My current favorites are Muse, Aviici, Duffy, Bruno Mars & Nicola Benedetti. This casual listening of music definitely influences me in some way, but I listen differently for motivation and growth on my instrument. When I listen to flutists, I prefer hearing those who have a very different tonal landscape. I am looking for new ideas, ways to approach phrases, and colors and shades of sound that I can add to my palatte. Also, as a new member of the Philadelphia Orchestra, I am overwhelmed with inspiration from the musicians surrounding me. There is no shortage of brilliance, so I am soaking it all in.

Do you have any favorite performance moments?
    My first trial week with the Philadelphia Orchestra, playing Shostakovich’s Fourth Symphony, was an experience I will never forget. I was absolutely blown away by every aspect of that moment – the mind-boggling display of musicianship from every section, the meticulous and dynamic leadership of Yannick, the fact that I was lucky enough to be a part of it all – it was an emotional juncture. 
Another defining moment in my career was performing the Vivaldi Piccolo Concerto with the Omaha Symphony. For this, I had to find a degree of self-confidence that I had not had before. Thankfully, the steadfast support of my colleagues and music director, Thomas Wilkins, allowed me to find the self-assurance I needed. As someone who has grappled with confidence issues, this was a pivotal event. It is quite astonishing what some conviction of self can do.

How do you find balance in your life? 
    This is absolutely essential for me to function, but finding it is an ever-changing quest. Balance as a 20-year-old looked a lot different than balance does now. I see it as weighing my priorities, in terms of desires and responsibilities. I could not live a life of joy without my family and friends, and I could not live a fulfilling life without active connections to other people. For now, those connections come in the form of making music. I have responsibilities to my family, to my orchestra and ultimately, to my community. If I am not realizing those, then something will feel amiss. So, I keep a close check on the state of my mind and heart and continually work to preserve perspective.     

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    Peel also has played with the Los Angeles Philharmonic, Chicago Symphony and Houston Symphony. Her primary studies were with Jill Felber, as a participant in her interim program; Christine Nield-Capote, at the University of Miami (BM); and MaryAnn Archer, formerly of the Metropolitan Opera Orchestra. She lives in New Jersey with her husband, oboist Jason Sudduth, and their 6-year-old daughter, Avery. 

Playing Tips
What are your favorite warmups for piccolo?
    I like Marcel Moyse’s De La Sonorite 4 and Intervals 2 from The 28 Day Warm Up Book by Paul Edmund-Davies. This book is my new flute bible, and I think it works just as well, if not even better (with minor adjustments, e.g. low C & C#), for the piccolo.

Where do you place the cork?
    I like the cork to be about 1mm in from the center of the embouchure hole (as seen with a cleaning rod marking). I find that this creates the best intonation throughout the instrument and the best high register response.

Where do you place the piccolo?
    I play around with this a bit. When I am playing pianissimo, I like the edge of the piccolo to sit in a similar place on my lip as it does on the flute. I find I have more control over the intonation, response, and clarity of sound that way. However, when I really need to project, I like to place it just a tiny bit higher on my lip. This gives me a more open and direct sound.

Do you mostly double or single tongue?
    I really use both equally. I would say my switching point, where I can no longer single tongue effectively, is at quarter note=120 (sixteenth notes). I also change my tonguing based on style. There are times when a single tongue has the right bounce and clarity, while other times, a double tongue works better for lightness. Of course, changing the consonant and/or placement of the tongue offers even more variety. I am all about experimenting and having as many options from which to choose.

How do you see vibrato usage differ from flute to piccolo?
    I have become a bit of a stickler (much to the chagrin of my students) about vibrato. My main thought on the subject is consistent with both flute and piccolo. That is, vibrato should be used thoughtfully to color the sound. I believe that flutists and piccoloists should learn to control vibrato so that they can make a conscious decision, based on the music, whether to use very wide, dramatic vibrato, skinny, shimmery vibrato, something in between, or none at all. Vibrato should be used to help to shape phrases and create magical moments. That said, I do find more effort is required to vibrate in the upper register on the piccolo. It is something that I need fairly constant work on to keep in shape.

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The top 10 excerpts every piccolo player should know

Bartók, Concerto for Orchestra, Elegia
Beethoven, Symphony No. 9, 4th mvt
Berlioz, Symphony Fantastique, 5th mvt
Ravel, Piano Concerto in G, 1st mvt opening
Ravel, Ma mère l’oye, Laideronnette
Rimsky-Korsakov, Scheherazade, 4th mvt
Rossini, Overture to Semiramide
Stravinsky, Firebird Suite, Variation de l’oiseau de feu
Shostakovich, Symphony No. 6, 1st mvt solo
Tchaikovsky, Symphony No. 4, Scherzo

The post Finding Success on Piccolo, A Conversation with Erica Peel appeared first on The Instrumentalist.