Alternate Fingerings
    Choosing an appropriate fingering boils down to a few key issues, including whether the player wishes to change the pitch of a note, alter the timbre of a note (to create a better instrumental blend or balance), or find a better option for technical passages. For example, there are three viable fingerings for Bb in the first two octaves on the flute and piccolo. (Thumb Bb, 1000/0004, Thumb, 1000/1004, Thumb, 1000/Bb lever 004) If there is more than one way to finger a note, choose whichever way feels the best for the combination of notes in a passage.
    As an orchestral piccolo player, being sensitive to intonation goes hand in hand with the job. I often choose alternate fingerings because they solve problems with the built-in pitch tendencies of certain notes. For example, to improve the intonation of the long sustained C5 played ppp at the end of the last movement of Prokofiev’s Romeo and Juliet Suite #2 (Romeo at the tomb of Juliet), I always choose the alternate of no thumb,1230/1030 to raise the pitch.  This gives me the room to blow down just a little to put this note exactly where it should be, octaves above the gentle string bass pizzicato foundation of the chord on the same note. This fingering also creates a lovely veiled timbre that surrounds this pitch in a velvety glow – just the effect needed as the work comes to an emotionally moving close.
    Jan Gippo was the first piccolo instructor who introduced me to the concept of alternate fingerings. These tried and true fingerings became incorporated into his playing over the years and are tremendously valuable resources. Try to incorporate a new fingering each week in your practice and performance schedule. (For a list of alternate fingerings, click to see Jan Gippo’s piccolo article from Sept. 1990).

Trill Fingerings
    This is another area where knowing a few options can really improve technique. My piccolo has a split-E mechanism which makes the traditional trill fingering for E-F# in the third octave a little resistant. (A repairman can make a slight adjustment in key heights to fix that.) One option is to try fingering E6 and trilling both LH 2 and RH 1 together for a super clean high E-F# trill. This is useful in the long trill in Tchaikovsky’s Nutcracker.
    Trills activate the fingers in such a direct way. When you are trilling, usually you are focused on the motion of one finger at a time. I use Taffanel et Gaubert #17 with a metronome nearly every day as part of my warm up on the flute. Pay attention to the upstroke of the finger. Then pay attention to the down stroke and make sure it is not too heavy (it is easier to put a finger down than it is to raise it).  Listen to make sure both notes are equal in tone color and volume. I often take the particular trill sequences I have in my piccolo repertory for the week and practice those combinations with a metronome.

Hands
    Because the piccolo is smaller and the fingers are closer together than they are on the flute, it is important to keep the fingers very close to the keys and to move the fingers from the knuckle down. Do not move the entire hand as this will slow you down and create unnecessary tension in the hand. Remember to keep the arms relaxed and try not to reflect tension in the shoulders. Due to the small size of the instrument, it is easy to raise the shoulders (especially on the right side) or worse, to hunch over the instrument. Be aware of body alignment by aligning the shoulders over hips, having the head balanced on a long, flexible spine, and maintaining that slight curve in the lower back. I think of keeping width in my shoulders to avoid that piccolo player crouch that can happen if you collapse the chest and bring the shoulders too far forward.
    The palm of the left hand should face the wall to the right. It should not face you. Keep the left hand perpendicular to the piccolo. The right hand thumb supports the weight of the instrument so all the fingers are free to be as mobile as possible. The right hand pinky is not responsible for balance or holding the instrument. If you have a sore pinky or find it difficult to pick it up for a D-Eb trill, you are probably pushing down too hard on this little key. Lighten up. Experiment with the angle of the piccolo. It should not be held with perfectly straight alignment as in marching-band style. Adjusting the angle from front to back can clarify the tone quality.
    Great musicians always say, “It’s the little things that make a difference.” And with the piccolo, they are all little things. Keep your musical curiosity active and experiment with a few fingerings. It will make a difference.    

The post Fingerings and Hand Position appeared first on The Instrumentalist.

Alignment of the Flute
    Teach students to align the flute the same way each time they play. This means that muscles are used the same way while playing. However, if one day the flute is rolled out and the next day rolled in, there is no consistency in how the muscles are used. I prefer the classic line-up in which an imaginary line is drawn from the center of the right hand keys (D, E, F) through the center of the embouchure hole. If the headjoint is positioned like this then the embouchure hole is level with the floor and facing the ceiling. This is the optimum position for the headjoint to achieve supreme projection of sound into the audience. It also will allow the flutist to play more naturally in tune.
    To align a student’s flute, pulling the headjoint out from the body about ¼ of an inch. Use a ruler to check this measurement. Using a felt-tipped marker, mark four to eight lines around both the headjoint and body of the flute. In the past I only marked the headjoint in one place, but have learned if I place more marks, they all do not rub off on the same day. I check the marks at each lesson replacing them when necessary. Eventually students will be able to align the instrument correctly without marks; however, I sometimes mark my own flutes, especially low flutes with curved headjoints.
    When a flute is aligned correctly, I can check from across the room how much lip a student is using to cover the embouchure hole by the placement of where the keys of the flute align with the floor. Keys should be level and parallel to the floor and of course always facing the ceiling. If a flute is rolled back toward the flutist, this means the student does not have the flute balanced well on the ridge just above the left knuckle but is balancing the flute with the left hand thumb.

Alignment of the Body
    Each day as I read my Facebook feed I see many pictures of flutists. Just from these pictures, I can tell if a flutist is getting an optimum sound out of the instrument. If the embouchure hole is rolled back toward the player, the sound will be small, lacking in ring, and the intonation will be poor. While it is easier to jump octaves with the embouchure hole rolled in, it is better to keep the embouchure hole level and develop the embouchure muscles. Slurring the harmonic series up and down, using the fundaments notes of C4, C#4, D4, several times in each practice session will prove beneficial. Practicing a diminuendo or taper on high notes regularly will add increased control to the embouchure.
    The most common mistake I observe in pictures is the angle of the flute in relationship to the flutist. The flute should not be played parallel to the shoulders as in a marching band but should be played with the end of the flute positioned away from the body. The best place is with the end of the flute in front of the player’s nose. Most pictures show the placement of the end of the flute behind the flutist’s ear. To correct this, move the right shoulder forward while pushing the end of the flute to the proper place. To the player this will feel like the embouchure plate is not equally positioned in the chin, but will be more securely placed on the left side of the chin than the right. However, if the player has an aperture that is off-sided to the right, rather than to his left, this position will not work properly.

The Sound and Your Feet
    The floor is the bottom of the sound, and the ceiling is the top of the sound. Great flutists know how to use the practice room or concert hall to their benefit. Most teachers have said, “Fill the space with your sound.” However, before players can do that, the body must be grounded.
    In a good seated position a player can stand up without moving or adjusting the feet. However, when standing, many flutists do not think about where their feet are positioned. The sound and the musical line are better when flutists are in control of their foot placement.   
    Look at YouTube videos of favorite flutists. Notice the placement of their feet. Most really good flutists play with the left foot forward and the right foot back. Even those who say in masterclasses that the feet should be side by side, often move to the left foot forward and right foot back position when they perform because this provides the most strength. This stance is found in many sports such as fencing or serving a volley ball. Try this position and notice how the feet and legs become a partner in producing your sound. Many flutists slowly shift their weight from their back right foot to their left front foot when playing. This slight shifting of body weight keeps the knees unlocked and free.

Hang the Arms
    When playing, elbows should point to the floor. Let the arms hang naturally to reduce the tension in the upper torso. The position with elbows up and out that is used in marching band drills has little to do with healthy, artistic playing. 

Hang the Jaw
    Flutists who have a large, full sound let the jaw hang so there is more room in the mouth. Think of not opening the mouth in the front but opening equally between the front and back teeth. Once the jaw is hanging, use the tongue in a variety of placements to change the angle of the air as it hits the wall of the embouchure hole to develop more tone colors. To explore these placements, play notes with the tongue in the long and short vowel placements (a, e, i, o, u).

Get a Mirror
    Check to be sure that the aperture and embouchure hole are aligned. Students with shorts arms will naturally want to bring their arms closer to their bodies which places the flute too far to the left of the aperture. Check to be sure that the embou-chure plate is parallel with the lips. It used to be more in vogue to have the flute dropped to the right which meant that the embouchure plate became angled at the lip. Be sure when purchasing a headjoint that the headjoint’s embouchure hole is not larger than the natural aperture of the player.
    The head should balance on the spine. Have the flutist nod up and down several times to find the balancing place. If the head is held too high then the air stream will not be efficiently directed to the edge of the back wall of the flute.
    While looking in the mirror play scales, arpeggios, and seventh chord patterns while watching the fingers in the mirror. Fingers should be relaxed yet move with an articulated motion. Clinched, tight fingers, lead to a tight sound. Practicing trills with each finger is still an excellent way to learn to move the individual finger quickly and evenly. All fingers move from the third knuckle back from the nail except for the left index finger which moves from the second knuckle back. (See: , Flute Talk, October 2011)
    While playing scales watch to be sure that there is no vertical movement of the flute as you change fingerings from the right hand to the left hand. Strive for a balance so you can go up and down the range with the flute staying in the same place throughout the exercise. Sometimes I play trills alternating from F to G in the second octave to the G to A trill in the second octave watching that the end of the flute does not become higher when I play G to A and lower for the F to G trill.

The Setup
    Once teachers learn to spot problems in a student’s setup, they will probably find that they apply these concepts to their own playing. An awareness of where each part of the body is and what it is doing, will help flutists make better choices. Each of which will add something positive to the sound. When you gain a little here and then a little there eventually added together, there is major improvement.         

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Keeping Organized
    As a flute professor at a state university, most of my days are quite full. From woodwind quintet rehearsals to lessons, advising, and meetings, many work days run from 8 am until 11 pm. Making a list of what I need to accomplish each day and each week helps me make the most of my time and keeps me motivated.
    A typical notebook entry might include: Practice all major and minor three-octave scales (q = 120), all thirds and fourths (q = 80), and Andersen, Op. 60, No. 5. Practice all marked places in the Francaix Woodwind Quintet slowly and in rhythms. Record Mozart Concerto in G, K. 313 cadenzas listening to be sure all ideas are clear. Play Mozart Concerto, movement 3, by memory. Listen to Debussy Trio, 2nd movement and the 3rd movement of the Bernard Divertissement.
    Notice that this entry includes several essential practice elements including scales and thirds and fourths, the warm-up portion of my practice. Then comes an etude followed by chamber music and concerto work. I also include listening projects into the daily routine because I consider it part of practicing. I make a point to be specific about what I have practiced in terms of rhythms, slow work, or any other exercise I apply. This helps me to track and progress toward goals. For instance, to reach the printed tempo in the first movement of the Francaix I practice the straight sixteenths in dotted rhythms. (long/short and short/long). On each repetition I slowly bring up the tempo while keeping the rhythms sharp. Eventually, I will be able to play the long passage as written with confidence. 
    From the timetables in my notebooks, I have found that it works best to learn a new piece well in advance of a performance and then put it away for a while. A couple of weeks before the performance, I take out the piece and rebuild the tempo. There is something about shelf life that makes technical passages feel more solid.

Using Practice Sheets with Students
    Because these practice sheets have helped me so much, I suggest that my students use them as well. My students come from a variety of musical backgrounds. Some have taken private lessons from age ten, while others have never taken private lessons but come from a strong band program. Before getting started, I first look at how each student approaches a practice session.  During an early lesson I ask them to practice for thirty minutes while I observe. This practicing is recorded so we can then listen together and discuss how to improve the student’s practice techniques.  
    First, we discuss what practice techniques were done well and which were missing, the most common omission being repetition. A seasoned performer knows that playing a passage well once can be helpful, but it will not make it consistent. Challenging passages should be repeated many times. Another common problem is that many of rhythmic or note mistakes go by without concern. When students encounter a tricky spot, they should slow down the tempo to get it right. Never feel ashamed of playing too slowly.
    Another common mistake students make is to play through everything at a tempo that is too fast for comfort. The tension that comes with this will appear in a lesson or performance. I suggest starting slowly and bring the passage up a couple of clicks at a time. The next day start slightly slower than the fastest tempo of the previous day and repeat the drill. There may be some days when the tempo only progresses slightly, even one click. When this happens I make sure to practice the passage in various rhythms and then bring the tempo back up from an even slower tempo.
    In this learning-to-practice lesson we talk about how the practice session comments might translate into words in the journal. For example, they should write down the metronome speeds as they practice a passage and keep track of how the tempo may have changed (four or five clicks being the average) from one practice session to the next. I ask them to write down how they organized the practice time and of course write down any bad habits to improve. Entries might include relaxation techniques or a change in stance to prevent an arm or shoulder pain. Other entries could include performance practice (run-throughs of solos, etudes, or excerpts), rhythmic exercises for technique work, and thoughts on interpretation and general patience. 
    When a student and I review a journal, I take note of what may be lacking in an entry. When students do not feel as prepared as they would like, a little detective work in the notebook will often uncover the practice problem. 

A Student’s Opera Audition
    Recently one of my graduate students prepared for his first opera orchestra audition. I made a point to ask him about the context of the excerpt he was to play for me, indirectly suggesting he learn the synopses of the operas on the list and be able to remember where in the storyline the excerpt occurs.
    As an undergraduate at Juilliard, while preparing for my first opera orchestra audition, I recorded my preparation in one of my most memorable journals, a thick red book with blank graph paper. I associate this red journal with hours in the listening library, writing down abridged synopses, and finding exactly where in the score the excerpt could be found. In this particular notebook, I came up with a systematic way of getting to know the excerpt list:
1. Write down the synopsis in a simple way (most of the ones I found in the library were dated and confusing).
2. Listen to the entire act where the excerpt is located.
3. Write down what is occurring in the storyline when the excerpt is played.
4. Write down where (in minutes and seconds) the excerpt can be found and what the CD call number for the recording was in the listening library.
My teacher in graduate school, Robert Langevin, later advised me to prepare an audition list as if it were a list of monologues: each one a different character in a different context from the next. He said the people behind the screen are waiting for those characters, not only the technical aspects.

My synopsis of Der Rosenkavalier, in the red notebook from around 2000.

Recorded Notebooks
    Recording each practice session and keeping the tracks organized on a computer or smartphone is another useful for both my students and myself. In the past students have asked about what I think of their progress on etudes. Now, they can easily refer back to earlier recordings themselves. I advise students to record run-throughs and take note of what has changed and what remains the same from one recording to the next. I also encourage them to send recordings to me in between lessons so I can reply with suggestions. As a conductor once said to me, “Listen to recordings of yourself and notice the problems in your playing. Keep focusing on the problems, and eventually you will become so aware and sick of those problems, you will never repeat them.”
    Soon, this idea will be taken a step further as students will have the option of uploading tracks to Blackboard. This way everyone in the studio will be able to listen to the tracks and make observations.
    What musicians do is not as tangible as a painting or sculpture. Sometimes we think we are playing in an expressive way but actually could exaggerate more. We may think there is attention to detail in practice sessions but the tendency is to leave out several important steps. Practice notebooks, both hard copy and recordings, are important to develop artistry and technique. I do not know where I would be without them.              

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41st NFA Convention: New Orleans, Louisiana, August 8–11, 2013

    The convention theme, Confluence of Cultures and Perseverance of Spirit, acknowledges the diverse community that makes up the NFA, as well as the formative history and recent events of New Orleans. This most Latin of US cities offers a complex culture that includes as its role the birthplace of jazz. The city, since its inception, has expressed a jubilant love of life. From the tragedy of Katrina, the spirit and tradition of this amalgamation of cultures has come together in a rebirth. Like the lyrics from When the Saints Go Marching In, “you want to be in that number.” Come and be a part of this great celebration.
    I have dreamt about this convention and its unfolding. After deep reflection, I asked friends and colleagues for their ideas of a dream convention. This route has yielded rewarding results. Flutists from different backgrounds have converged, and together we will accomplish what I conceived: a members’ convention, one that addresses the most fascinating aspects of the flute world and the joy of making music together.

Flute Choirs
    I wanted to create something special for flute choirs. For years at conventions, I felt sad to notice flute choirs scrambling in the hotel corridors and halls, trying to catch the attention of passersby. This convention will celebrate flute choirs. A grand room will be assigned for flute choirs, with a true stage. Nearly forty flute choirs have been invited to perform in New Orleans from all over the U.S. and abroad, including those from Argentina, Brazil, China, France, Ireland, Japan, and Mexico.

Amateur Flutists
    Another focus is the amateur community. It comprises the majority of NFA members and deserves something special. As a convention first, any flutist who is interested in performing at the convention will be given the opportunity to do so through the Swamp Jazz Flute Orchestra (directed by Ali Ryerson), the Gumbo Flute Orchestra (directed by Aaron Goldman), or the Saints BeLow Low Flutes Ensemble (directed by Chris Potter). These ensembles will rehearse once daily in order to prepare for two performances each on Sunday and for the Carnaval Final Closing Ceremonies.

Gala Evening Concerts
    The Thursday evening Opening Gala Jazz concert will feature Orlando “Maraca” Valle, Hubert Laws, Ali Ryerson, the Jazz Flute Big Band, and others. The Friday night Gala will present 2013 Lifetime Achievement Award recipient Barthold Kuijken in a concert for Baroque flute and harpsichord. The featured work is the J. S. Bach Sonata in B Minor, BWV 1033. The Saturday Orchestral Gala features flutists Karl-Heinz Schütz, Weiner Philharmoniker; Nobutaka Shimisu, Kyoto Philharmonic, and piccoloist  Sarah Jackson, Los Angeles Philharmonic, performing their favorite orchestral excerpts with orchestra.

Repertoire and Performers
    Conductor Ransom Wilson will conduct several NFA premieres including the Penderecki Flute Concerto (Marianne Gedigian), Jolivet Flute Concerto (Sophie Cherrier), and Lawrence Dillon’s Flute Concerto, 3rd movement (Carol Wincenc) plus a new transcription for flute of Mendelssohn’s Violin Concerto in D Minor (János Bálint) and an arrangement of Gary Schocker’s Three Dances for two flutes and string orchestra (Marco Granados and Gary Schocker).  
    Other convention performers include Jamie Baum, Robert Dick, Patricia Spencer, Pierre-Yves Artaud, Sibel Pensel, John Barcelona, Lorna McGhee, Raffaele Trevisani, Angela Jones-Reus, Nicola Mazzanti, Virginia Broffitt, Jim Walker, Patti Adams, Fernando Brandão, Bill McBernie, Shelley Binder, Immanuel Davis, Elizabeth Brightbill, Jean-Michel Tanguy, Eva Amsler, Mikael Heslavuo, and Leone Buyse.

Pedagogy
    The Maestro Series will celebrate pedagogical trends by master teachers from around the world. The featured pedagogues are Julius Baker, Aurèle Nicolet, Keith Underwood, Lars Nilsson, and João Dias Carrasqueira. There will also be classes on health and wellness.

Masterclasses and Competitions
    Special masterclasses will be given by Barthold Kuijken, Baroque flute; Nicola Mazzanti, piccolo; Jan Gippo, piccolo; and Chris Potter and Robert Dick, low flutes. Competitions include the Young Artist, Piccolo Artist, and High School Soloist competitions plus Convention Performers, Masterclass Performers, Jazz Flute Big Band, and Flute Choir (High School, Collegiate, and Professional).

Potpourri
    There will be a panel discussion on Technology and Music and as well as discussions on organizing a flute club. Trudy Kane will share thoughts on the topic of commissioning and performing new music. George Pope has organized the yearly Remembrance and Healing concert to honor those who are no longer with us. Other events include improving improvisation skill, beginning Baroque flute, enhancing memorization skills, practicing know-how, and improving intonation, plus many flute choir reading sessions. There also will be a screening of the film History of the Flute in Jazz by Peter Westbrook.
    The Carnaval Final Closing Ceremonies will celebrate our community with flute choirs reaffirming that playing music with each other is fun and builds lasting friendships, thus making this world a better place. Oh, you will want to be in that number. Don’t miss out. See you in New Orleans.

    Laissez les bons temps rouler!

The post NFA Convention Preview appeared first on The Instrumentalist.

When you auditioned, you were already a member of the orchestra. Did that make the audition process easier?
    No. In fact this was by far the most difficult audition I have taken. The audition process is grueling even for the most seasoned audition takers. Auditioning for your own orchestra is even more harrowing. Usually when an audition does not go well, you can put the experience behind you. You pack up, get on a plane, go home, and do not see committee members on a daily basis thereafter. When the audition committee is made up of your colleagues, regardless of how it goes, you have to show up for work the next day and, quite literally, harmonize with them. To add more stress to my particular situation, the National Symphony was leaving for a three-week European tour the day after the audition. Win or lose, I was going to be in close proximity to my evaluators. After all, there are only so many places one can hide on a plane, train, or bus, or in a concert hall.
    Two weeks before the audition, I found out that the NSO Music Director, Christoph Eschenbach, had invited two flutists from other orchestras to the finals. I took this bit of information to mean that I had already been eliminated from his consideration. Eschenbach knew my playing as acting principal, a position I had held since the beginning of the season, and for two years as assistant principal. I felt I had already lost the audition and considered backing out. After a few days of reasoning with myself, I decided to take the audition with the goal of performing well for my colleagues, not necessarily winning the job. In the end, I think this mindset helped me in the audition. It freed me from any expectations.

How many people auditioned for the position?
    The NSO announced its principal flute opening in the AFM’s monthly publication, The International Musician, a few months before the audition, and they received around 120 resumes. Members of the audition committee then met to decide who would be invited to the live audition at the Kennedy Center. Those who were invited were sent a repertoire list and were asked to send a deposit to confirm their intent to audition. About 90 flutists played preliminary auditions during the last weekend in January with the semi-finals and finals held on Monday, January 28th. Of the preliminary auditionees, nine went on to the semifinals, and from there, two advanced to the finals. As is common practice in many orchestras, the NSO’s contract with its musicians states that tenured orchestra members are placed directly into the final round of auditions. So, in addition to myself, the two flutists who advanced from the semi-finals, and the two Eschenbach invited directly, there were five finalists.

How did you prepare in the warm-up room for the final round?
    The five finalists drew numbers to determine the performance order and were then given the repertoire list and shown to the warm-up rooms. I had drawn number two and did some quick calculations to estimate when I would actually go onstage for my audition. I do not like to play too much before auditions and waited until I assumed I had about 45 minutes before starting to warm-up. My goal when warming-up for an audition is to stay calm and in control of the instrument. I avoid running through entire excerpts as I want to save my best, most natural playing for the audition. The warm-up room is not the place for last minute practicing. If you cannot play something by then, it is too late. It is also not the time to second guess yourself or your musical ideas based on what you hear coming from other peoples’ rooms. I mostly play scales and arpeggios to maintain flexibility and check attacks and releases in all octaves and various dynamics. I want to leave the warm-up room knowing I can walk onstage and risk playing extra pp or ff without any trouble.
    The audition started with the first two movements of the Mozart Concerto in G Major, K. 313 with piano accompaniment. This was followed by 13 excerpts and concluded with sightreading/ensemble playing of some flute and oboe orchestral tuttis with the NSO’s principal oboist. Each finalist’s audition lasted about 50 minutes. I always appreciate when auditions utilize piano accompaniment for concertos as it rounds out an otherwise artificially incomplete performing experience. Having a musician stand on stage and play wonderfully rich orchestral works alone feels like asking someone to decorate a grand palace without giving them any walls. You have to choose an appropriate color scheme and use perfectly proportioned furniture with only an imaginary framework on which to build.
    After playing the Mozart, I had a minute to collect myself as the pianist left the stage and then I started in on the excerpts. The first excerpt was the beginning of “Aus Liebe will mein Heiland sterben” from Bach’s St. Matthew Passion which is perhaps one of the most intimately expressive flute solos in the repertoire. I played the excerpt but was not totally happy with my performance, nor apparently was Eschenbach, who asked me to play it again with some different expressions. We tend to be hypersensitive of our own playing in an audition and at this point, I heard that scaldingly critical voice in my head – the one that could very easily have taken the audition into a forty-five minute agonizing death spiral. I took a moment before moving on to Daphnis to convince the critical part of my mind to accept 80% of its ideal performance. This was the only way I could completely shut off this voice and focus on making music. I played the rest of the audition and left the stage exhausted, but feeling like I had given it my all.
    The audition went late into the evening and by the time the audition ended; two of the finalists had already left for the airport to catch flights. There were three of us waiting backstage when Jim Hewitt, the NSO’s personnel manager, came to make the announcement. When Hewitt announced that I had won the audition, it took me a minute to process what he said. I had not prepared myself for this outcome and it was not until I saw him looking at me expectantly that his words connected in my mind. He led me back onstage to meet with the committee and accept their congratulations. It was an indescribable moment for me. Winning a principal position in an orchestra like the NSO was an achievement about which I had dreamed for a long time. I would have liked to revel in the moment, perhaps have a celebratory meal or bottle of champagne. Unfortunately, I had completely put off any preparation for the tour and had to go home and pack for an early morning departure.

How did you prepare a large list of excerpts when you were working full time and have a family?
    Efficiently. This was the first audition I have taken since having a baby daughter and I did not want to miss Evie’s first steps because I was practicing Mendelssohn’s Scherzo. When I was not in orchestra or teaching, I divided my time between family and practice. Everything else was put on hold. My practice time had to be very focused, so I moved my practice room. It is normally located just off our living room in full view of Evie and her play area. The temptation to play with her instead of practicing was too strong, so I relocated to the basement.
    In terms of my actual preparation, I reinterpreted the excerpts from the ground up. I had worked on these excerpts for many years and had a pretty firm idea of how they should be played. For this audition, however, I wanted to start afresh. The first step was to study the scores for important details that would influence the interpretation. I advise flutists to compile a book of flute excerpts from orchestral scores. This can save a lot of time in the practice room because harmonies, orchestral texture, and instrumentation directly affect phrasing. It is also important to notice the expressive markings, such as crescendos, diminuendos, and accents of the accompanying instruments. I kept a notebook and recording device next to me so I could try ideas and make notes of what was effective.
    The second part of my preparation involved making sure I could reliably recreate my musical ideas. You may have the most amazing Daphnis interpretation but if you cannot make it happen in the audition, it does not do you much good. Musical consistency comes from knowing exactly what you want to do with each aspect of your playing. For instance, the kind of vibrato used greatly changes the expression of an excerpt. Unless you make a conscious decision about vibrato, there is a strong chance it will not enhance the musical idea in an audition.

What are the priorities of audition committees?
    Committees say they are looking to hire the best musician, but what does that mean? Wind audition committees are usually made up of seven to twelve musicians who each have strongly held musical opinions and ideas of what they are looking for in a candidate. I have sat on a number of committees, and seen just how diverse musical opinions can be. Candidates who I thought were very musical have not advanced, and vice versa. In an audition do not try to please a committee. It is much better to try to convince the committee to appreciate your way of playing. How persuasively, effortlessly, and completely you can capture the character of an excerpt demonstrates musical sensitivity and flexibility to a committee. Give them a reason to hire you. Show them musical personality and versatility. Perfect intonation, rhythm, and dynamics are critical, but if they are the main focus of your preparation, you will never win. I have heard many people complain that they cannot believe they did not advance in an audition saying, “I don’t understand. I didn’t make any mistakes.” This sentiment is very reassuring to me. It shows that our system, however flawed, is not completely broken.

What previous positions have you held?
    After graduating from the Eastman School of Music where I studied with Bonita Boyd, I enrolled in New England Conservatory for my master’s degree to study with Paula Robison. I attended orientation week and had one lesson before winning a one-year position as principal flute with the Greater Lansing Symphony Orchestra in Lansing, Michigan. The job in Lansing was part-time and did not pay enough to live on, but it enabled me to experience life as working musician. It was a challenging year, and I hustled to find enough students to support myself. I spent many weekdays waking up well before dawn to drive to a middle school an hour outside town. I took students out of band class for their private lessons then continued in the afternoons at the high school. Even with the financial struggle it was a valuable experience to play principal flute in a small orchestra. The other principal winds were faculty members at Michigan State University and I learned so much from them. I felt very young and inexperienced, but the year as principal deepened my desire to win my own job. Right before my one-year position ended in Michigan there was an audition for the Orlando Philharmonic. I was 23 years old and fully prepared to return to NEC, but I won the audition and moved to Florida.
    Life in Orlando was a hodgepodge of musical experiences. The orchestra only played five classical masterworks concerts a season, but the schedule also included ballets, operas, pops, community concerts, educational programs, and chamber music. I also built up a private teaching studio, played lots of wedding gigs, and joined a jazz quartet. I served as a musician board representative for a number of years and learned about the inner workings of an orchestra. I loved the people, and winters in Florida are fantastic, but I dreamed of a full-time orchestra job and kept taking auditions. In many ways, I could not feel settled in Orlando while still taking so many auditions. When you are constantly trying to leave, it is hard to plant roots. I did not want to feel unsettled forever. I gave myself a deadline to win another job by the time I turned 30. Shortly after my 29th birthday, I won assistant principal in the National Symphony.

What is your connection to DCFlutes?
    When I first moved to DC, I joined the Flute Society of Washington. A few years later, I was asked to serve on the board of directors, but my schedule often prohibited me from attending board meetings or FSW events. I was looking for something I could offer to the FSW and the flute community at large. Around this same time, I began teaching a few adult amateur flutists and realized that these students often have limited performance opportunities. So often, they only play alone in their homes or for me in lessons, and music becomes very solitary.
    I thought that if I had this group of adult students who could use a place to perform and a broader audience for whom to play, then surely there were others in the same position. I asked the board of the FSW if they were interested in sponsoring a new flute choir. They agreed and DCFlutes was born. I conduct the group but leave the organizing to our wonderful manger, Laura Benning. We have been around for three seasons and have grown every year. At present, we are about to burst out of our rehearsal space.

What was Bonita Boyd’s teaching style?
    I look back fondly at my time at Eastman studying with Bonita Boyd. Those four years really opened my eyes to the richness and depth of what it means to be a musician. We did not really have a four-year curriculum. Her students took their own paths at their own pace. Boyd did not focus on many of the specifics about how to actually play the instrument. We talked a lot about tone development and keeping the “essence” in the sound, but I think she expected us to work out most of our own technical issues. She was much more concerned with developing artistry. She would often sing in lessons to help us understand the shape of a phrase without having the flute get in the way. In many ways, she was teaching the person, not the instrument. Boyd talked much about Joseph Mariano and the splendor of his sound. I would go to the library to listen to the old recordings of him, especially his recording of Francois Couperin’s Quatrieme Concert Royaux. She assured me that the old recordings did not fully capture his sound or do it justice, but I still found them inspirational.

How do you teach?
    Teaching started as a necessity to pay the bills. It has now become a cornerstone of my musical identity. Every student who has come into my studio has given me an opportunity to share my musical ideas, but has also taught me something about myself. I have had a private teaching studio for 15 years and also taught at Catholic University and through the NSO’s Youth Fellowship Program. This past fall, I joined the faculty at the University of Maryland School of Music.
    I would like to think that my teaching philosophy and style are an amalgamation of what I learned from my past teachers. For example, Bonnie Boyd instilled in me an insatiable yearning to become an artist. On my personal journey to better artistry, I spent a great deal of time in my mid-twenties trying to figure out how to really play the flute. Conquering flute fundamentals is essential to becoming an artist. Very often instrumentalists become a slave to their inadequacies and their musical choices no longer serve the music but their own limitations. We must realize that sometimes the most musical possibilities are not necessarily the easiest to execute.
    Paul Gauguin said “How do you see this tree? Is it really green? Don’t be afraid to paint it as green as possible.” I think many flutists are afraid to push their limits, both technically and musically. Music is not always delicate and pretty. There are as many different types of musical characters as there are people in this world. We can and must learn to portray even the nasty ones. The key is proper execution.

What is your daily practice routine?
    I usually start my day singing and playing slow scales, doing a modified version of Robert Dick’s throat tuning exercise. This gets my air flowing correctly and helps me find my most resonant sound. I am also a big fan of Reichert’s Seven Daily Exercises and Taffanel and Gaubert #1 and #4. Whatever exercises you choose, it is important to avoid mindless practicing. Play them as if you were performing them on a Carnegie Hall debut recital, with musicality, character, dynamics, and your most committed phrasing. I always make sure to practice attacks and releases, working them into whatever exercise I am doing. Depending on what is stacked up on my stand to practice, I will tackle orchestra music for the next week, or look ahead to some challenging parts a few weeks away. If I have any solo or chamber music concerts coming up, I usually conclude with these pieces.

What are your goals for the future?
    Aside from the great standards, there is so much amazing repertoire, both solo and chamber, written for the flute. Often I hear a piece on the radio or randomly discover it on the internet and wonder how is it that I have lived this long and not known of this piece. Of course not all obscure pieces are great; I suppose that is the reason why they are so obscure. Every now and then, however, there is a gem, and I hope to learn about and perform these works. There are also great works written today that deserve to be performed. There is a growing list of new pieces and standards that have been dormant in my repertoire that I want to perform and perhaps even record.     

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