Practicing with Variations
    When working with Gammes et arpèges, Guiot insisted on practice with variations based on repetition of patterns to gain confidence on difficult finger combinations as shown below.

He focused on variations that stress pattern changes – the place where our fingers usually fail:

He also encouraged us to isolate difficult note combinations and practice them over and over:

Applying Theory Knowledge
    Don’t cheat. When practicing technique use real fingerings if you want to develop finger independance. Analyze! Know which scale or chord you are playing. Memorizing the harmonic language as applied to the flute develops our technical ability and sight reading at the same time.
    The more familiar flutists are with scales and arpeggios, the less time they have to spend practicing passage work in solo repertoire. Technical difficulties that are encountered daily and practiced intelligently become much easier. Doing technical homework gives flutists the ability to play a Stravinsky ballet one week, a Shostakovich symphony the next, and a flute and piano recital in between. Professional musicians simply do not have six months to prepare for a concert. If you haven’t practiced scales and arpeggios on a daily basis, start now to get these technical tools in your bag. 

Not Just the Fingers
    Guiot always reminded us that finger practice should be done with perfect rhythm, good breathing, posture, and tone. Always caress the mechanism, aiming to phrase the exercises musically, with perfect legato, or lively articulation
    As Guiot was quick to point out, fingers are not a separate entity.  Technique practice should encompass all aspects of flute playing, such as fingers, embouchure, breathing, sound, posture, and articulation, as well as all aspects of music-making including rhythm, phrasing, accentuation, legato, nuances, and colors.
    It is of no use to play a rapid sequence of notes with a lousy sound, or to play with a gorgeous sound and sloppy fingers. I will always remember one rainy afternoon in Paris when I took Boehm’s Grand Polonaise to a lesson with Guiot. When he played the rapid notes in the introduction for me, I understood. Needless to say, his fingers were amazingly precise, but there was something else to it: his sound was beautiful, and he shaped the scales the way a soprano would sing them – not mechanically, not coldly, but magically expressive.

Daily Practice Suggestions
Below is a list of what you should practice every day:

•Major and minor scales
•Major and minor scales in thirds
•Major and minor scales in fourths
•Major, minor and diminished arpeggios
•Broken major, minor and diminished arpeggios
•Diminished, half-diminished, minor, dominant, major arpeggios of sevenths
•Broken diminished, half-diminished, minor, dominant, major arpeggios of sevenths

    You should also practice chromatic scales and trill exercises as found in Taffanel-Gaubert’s Daily Exercises, Reichert’s 7 Daily Etudes, and Boehm’s 12 Etudes Op. 15.
When practicing the daily “technical menu” described above, listening very carefully as you play will reveal things that you cannot do at your best. Don’t ignore them: create variations to help you address and solve every problem you encounter. The idea is to improve little by little every day.
     Some more ideas for variations on Moyse’s 480 Gammes et Arpèges are in the following box. There are an unlimited number of possible variations.

Create new ones and challenge yourself. You should also apply this method of practicing to etudes, orchestral parts and repertoire!
    The flute is only an instrument with which to make music. We must never get caught up with the idea that playing this instrument technically perfect is enough. Therefore perfection of the exercises is not an end. Play the exercises to master the language that enables us to communicate clearly the special message of a musical work through the instrument. Audiences want to be overwhelmed by the music, not by technical prowess. Certainly in the practice room you should search for progress and avoid mistakes, but in performance, the ultimate goal is to share and communicate with an audience, taking all risks necessary to create a magic, special moment. 

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Bag of Toys
   Over the years I have assembled a collection of crowns, Robert Bigio stoppers and crowns, weighted cork assemblies, cork assemblies made of various materials, and two Foster extensions, which I carry in a colorful bag that I refer to as my  bag of toys. Each of these items when placed on a student’s flute influences the tone color and response of the instrument. Sometimes the results are great, and other times they are not so good. However, experimenting lets students know if their flute can be improved or if they should purchase a new headjoint or instrument. These experiments also really open students’ ears.

Crowns
    In 1996 Jeff Weismann sent me two boxes of headjoints for my students to try. As I looked at the headjoints, I noticed that the crowns were all slightly different, so I tried each crown on my own flute to see if there would be a difference in sound or response. The results were startling.
    I did not know why some sounded so much better than others. When a student came in for a lesson, I had her try all the crowns on her flute with the same result.
Her husband owned a computerized lathe and offered to work with me in making some crowns. So one Saturday we started making crowns in brass. First we copied the crowns that had produced the best sound, and then we made crowns of every style and weight. When playing these crowns, we found that the results continued to be mixed. 
    I consulted a physicist to see if he could make some logic of our primitive experiments. He concluded that the weight of the crown at the end of the headjoint controlled the vibration of the stem assembly. If the stem vibrated too slowly, the tone was spread and diffused, and if the stem vibrated too fast or not at all, the tone was tight. The answer was to find the correct vibration for each flute and flute player. This seemed simple enough. However, the physicist suggested because of the complexity of the problem, it would be best to continue with trial and error.
    I own crowns made of silver plate, sterling silver, 14K gold, titanium and brass. Some of the crowns are open (on the inside) while others are plated over.

                         (Bigio crowns of various materials)

                          (Stoppers made of metal and Delrin)

    In this Sound Lesson, the student tries each crown on his flute and evaluates the results. I begin with the titanium crown because it is the lightest. This shows students that if the crown is too light, the results are not good. Then we continue through all the crowns in order of heaviness. Someplace in the lineup of crowns, the student finds a crown that works well for him. Then we weigh it on a gram scale and try to reproduce the weight by adding weight to an open crown.
    If you have an open crown, you can do some experiments by filling in the open area of the crown. My students start with rolled-up paper and then add a base of clay in which to stick a few grains of rice, lentils, or popcorn to increase the weight.
    When weighing crowns, we found that a change of .001 grams could be heard in the sound. Rice and lentils are very light, so you can easily control the weight of the crown. If the crown on your flute is a plated or closed crown, you can purchase an open crown for less than $10 at most music stores or repair shops.

           (A roll of paper fills the vacant space in the underside of a crown.)

    Many student flutes come with open crowns, so if the student still has a beginning flute, he can recycle the crown to the newer flute. After experimenting with crowns, check the cork/stem placement with the line on the cleaning rod. Some of the crowns are heavy enough to dislodge the cork placement.

Stem Assembly
    Over the years many craftsman have experimented with replacing the cork on the stem assembly with some other material that is not affected by humidity. Some craftsmen have also experimented with making the whole stem assembly heavier by using a different material, such as brass rather than silver plate. I own several variations of these creations; however, the difference in tone and response is not as apparent as changing the crown.

Bigio’s Crown and Stoppers
    The London-based flute maker Robert Bigio and I were communicating about my experiments and decided to exchange examples of our work. He sent me one of his first crown and stopper units. When I placed it in my 1964 Powell, the sound was vibrant and free. The response was excellent too. I encouraged him to market his invention, which he did with success.
     The Bigio crowns are either made of Blackwood (grenadilla) or zirconium. The stoppers are made of Delrin or zirconium. Both parts are held in place with an O-ring, an invention that removes the need for a stem/cork assembly.
    For many flutes this is an inexpensive solution to improving the sound quality and response. Bigio is not sure why his stopper/crown assembly works, but it does produce outstanding results on many flutes. When playing with Bigio’s invention, players experience a change in the balance of the flute because the headjoint feels much lighter than usual.

         (These crowns show the outside and inside. Notice that two are hollow inside.)

Adding a Megaphone
    For years I have had students add a small piece of plastic to the end of their flutes to increase projection. To make one, cut a piece of plastic about 2" by 3/4". Place the piece in the end of the footjoint and allow the plastic to extend about an 1/8". Projection and tone color will improve on most flutes. This is an inexpensive solution for a common problem.

Foster Extension
    The Foster Extension, which is available in silver or gold, is a small tube-like device that is inserted into the end of the footjoint. It has two tonehole-shaped openings that can be angled up and down or side to side. The extension’s purpose is to improve the harmonic capabilities of the flute by lengthening the flute’s resonanting chamber.

    Students hear a difference in the sound of their flutes immediately when the extension is inserted, and many players comment that their tones are bigger and project better. It is possible to use two extensions simultaneously, one piggy-backed onto another, for interesting results. According to Gail Williams, who makes the extensions, they work better on Cooper-scaled flutes; however, I have received excellent results on older instruments as well.    

Coda
    At the conclusion of A Sound Lesson, most students are surprised at how subtle changes can affect the tone color and the response of their flutes.  Often the addition of a bit of weight to the crown improves the focus of the sound and the response.
    I have long thought that instrument makers should include several crowns with each flute so that players can choose the best one. This would be an inexpensive endeavor, and if flutists could customize their instruments, makers would sell more flutes.
    I applaud inventors like Robert Bigio and Gail and David Williams for asking the big question – how can we make a better flute? It is through their work that we can make expressive music. 
    Many teachers have asked me how to start a bag of toys. Start by buying a few student-model flute replacement crowns. Each will be a slightly different weight. You will be able to hear the difference from one to the next. If you own several flutes, exchange crowns from one flute to the other. You may find a combination that you like. As long as you are exchanging things, try swapping footjoints from one flute to another. Most footjoints are not the same length so you may find that a longer or shorter one makes your flute more responsive.

     For more information about Bigio’s work consult: . Patent for Foster Extension: .

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“A case in point is Zachary Kellogg, now 11. The very first time he heard jazz flute was in Albuquerque at the premier performance of the N.F.A. Jazz Flute Big Band. He was so entranced by the performance that he began studying jazz flute in earnest. When he asked if he was too young to enter the competition, the age restriction was quickly lifted. Zachary performs with the band this summer as our youngest role model.”
    The performance will also feature this summer’s jazz masterclass teacher Lew Tabackin and a rhythm section of  Mike Wofford, piano, Mary Ann McSweeney on bass, and drummer Alvester Garnett. Ryerson adds, “I especially want to thank the N.F.A. for their incredible support of this competition. The budget they alloted to the competition makes this event possible and includes a biennially commissioned arrangement. This year’s is written by noted jazz arranger Mike Wofford.”
    Aside from the Jazz Flute Big Band, convention goers will hear Anne Drummond make her premiere appearance with the N.F.A. in a Late-Night Cabaret on Friday evening. Bill McBernie teaches a Techniques of Jazz workshop, and Jamie Baum performs on Sunday afternoon from 1:00 to 2:00 p.m.             

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Lifetime Achievement Award
    Sir James Galway is the sole recipient of this prestigious award for his contributions and global influence on the flute community. Celebrating his 70th year, Galway has a prominent presence in several important events. On Friday evening he plays a recital in the Broadway Ballroom, highlighting the music of Philippe Gaubert. Later in the program, James and Jeanne Galway perform the premiere of a work for two flutes and string quartet by New York composer Mark Adamo.
    Join the Galways in an attempt to break the world record for the largest gathering of flutists. The record, 1,701, is currently held by the German Flute Society. All are welcome in this workshop, culminating in a new work written in four-part harmony for mass flute choir. Commissioned by James Galway, the piece includes excerpts from his favorite pieces. Download the music and follow the instructions on Lady Jeanne Galway’s website: .
    There is also a Saturday class for college-aged flutists, “An Introduction to the Art of Flute Playing as Seen by James Galway,” and a Sunday masterclass for high school students led by Jeanne Galway.

Opening Night
    This concert includes a multi-disciplinary work for musician/dancer New York’s Zara Lawler; Paul Edmund-Davies performs a jazz-inflected work by Mike Mower; and Denis Bouriakov, the newly-appointed principal of the Metropolitan Opera Orchestra, introduces his virtuosic transcription of the Sibelius Violin concerto.  
    On the same program, Flute Force performs an ethereal, antiphonal work by Joseph Schwantner, and La Scala principal flutist David Formisano performs for an NFA audience for the first time. Jeffrey Khaner, principal of the Philadelphia Orchestra, premieres a work by Jonathan Leshnoff, and New York contemporary specialist Patricia Spencer premieres a work by Shirish Korde with tabla virtuoso, Samir Chatterjee. There is something for everyone on this eclectic program.
 
Concerto Gala
    Saturday’s concert is anything but typical. William Bennett performs his transcription of the C.P.E. Bach Concerto in D major, a work that C.P.E. transcribed for keyboard; Bennett has returned it to its original format. Robert Dick performs the N.F.A.-commissioned premiere of Pan Penseroso by Yale and Julliard composer Martin Bresnick, and the     “Paganini of the Piccolo”, Jean-Louis Beau-madier plays Andersen’s Moto Perpetuo. Blink and you might miss it.
    Eric Ewazen’s Concerto for Flute performed by Boston Symphony principal Elizabeth Rowe is also on the program. Written for Julius Baker, it has never been heard by N.F.A. audiences. Lastly, Matthias Ziegler performs with flute, contrabass flute, and membrane flutes on the concerto NOLA by Tajik composer Benjamin Yusupov.
 
Workshops and Classes
    Workshops and classes are offered by Ian Clarke, Matthias Ziegler (extended techniques and electrification), Linda Chesis (for amateurs 30+), Michael Parloff (orchestral excerpts), and Geralyn Coticone (piccolo). Two “Composers on Composers” masterclasses illuminate the work of six flutist/composers, each coaching their own composition – a definitive crash course in the styles of Ian Clarke, Robert Dick, John Heiss, Katherine Hoover, Gary Schocker, and Elizabeth Brown.
    These days, who has time to waste? Trevor Wye, Patricia George, and Paul Edmund-Davies teach us how to be more efficient with our time for warm-ups, practicing, and getting the job done. Lisa Fahlstrom provides targeted strategies for amateurs. 
    Lew Tabackin offers a masterclass, and Jamie Baum gives a seminar on improvisation. Matthias Ziegler leads a class on contemporary techniques through improvisation, and Baroque specialists Linda Pereksta, Jan Boland, Wendy Rolfe, Michael Lynn, and Christopher Krueger invite you for an initial lesson on these fascinating instruments.
 
Premieres, Electronics, and Chamber Music
    A partial list of 2009 premieres includes new material from Jonathan Berger, Paul Schoenfield, Glen Cortese, Joseph Schwantner, Gary Schocker, Katherine Hoover, and Jonathan Leshnoff, variously performed by Carol Wincenc, Carl Hall, Brad Garner, Alexa Still, Gary Schocker, Mimi Stillman, and Jeffrey Khaner.
    Two concerts of music for Flute and Electronics/Multi Media will charge your batteries, and chamber music abounds: Sandra Church and Mindy Kaufman from the New York Philharmonic, the DaCapo Chamber Players, Areon Flutes, Azure, and Janus are just a few of the dynamic ensembles presenting in New York.
    A concert of up-and-coming flutists includes last year’s Young Artist Competition winner, Daniel Velasco, Alena Lugovkina, and the N.F.A. debut of 9-year-old Emma Resmini. Although the work of Georg Phillip Telemann is certainly familiar, you have probably never heard a performance of the collected duets for 11 pairs of flutes in a marathon session or Teleman-athon lasting nearly six hours.
 
Headliner Concerts
    Headliner concerts include performances by international flutists Gergely Ittzes, Carlo Jans, Shigenori Kudo, Matej Zupan, Jean Ferrandis, Bulent Evcil, Alexa Still, Raffaele Trevisani, French master flutist Maxence Larrieu, and German flute quintet, Quintessenz. They will be joined by colleagues from this side of the pond: Fenwick Smith, Mark Sparks, Marya Martin, Susan Hoeppner, Carl Hall, Mimi Stillman, and the N.F.A. Professional Flute Choir, which premieres a work by Robert Aitken.
 
Sit, Be Still, and Breathe
    As usual, there are several events on physical and mental health. As well as the traditional yoga and Alexander Technique classes, the convention includes seminars on bio-feedback, the maturing flutist, exercise programs, injury prevention, and Body Mapping. There is even a demonstration of benefits from the Nintendo Wii for improving posture and balance.
    There are also seminars on motivation, persistence and resilience, self-talk strategies, and confidence building. A complete listing of all events and presenters is available at www.nfaonline.org.

Jazz & Late Night
    You won’t have to leave the hotel for great jazz. Daily afternoon concerts  begin on Thursday with Billy Kerr, followed by Holly Hoffmann on Friday,  Lew Tabackin on Saturday, and Jamie Baum on Sunday. 
    Great jazz continues into the night with the legendary Paquito D’Rivera Thursday night and New York sensation Anne Drummond on Friday – both performing at the N.F.A. for the first time.
    The Jazz Flute Big Band led by Ali Ryerson plays on Saturday night. Jazz is not the only late-night offering however. Led by Trevor Wye, 58 professional flutists perform a polyphonic feast of Thomas Tallis on Thursday evening after the Opening Night concert. Late on Friday you can join Celtic flutists in an informal Irish Jam Session.
 
Spotlight On Composers
    Beyond the “Composers on Composers” panels, Lowell Lieber­mann, Martin Amlin, and John Heiss present concerts of their flute repertoire. Individual recitals feature Denis Bouriakov, Carol Wincenc, Jean-Louis Beaumadier, Ian Clarke, Paul Edmund-Davies, and Gergely Ittzes.

Early Music
    As well as the biennial Baroque Artist Competition, Rachel Brown offers a class and workshop on the era of Johann Quantz and Frederick the Great. N.F.A. newcomer Kate Clark explores the Renaissance flute with British lutenist Nigel North, and Stephen Preston presents the traverso flute as never heard before, with an exceptionally varied unaccompanied program that spans four centuries. 

Get Smart
    Flute teachers across the country recharge their pedagogical batteries at flute conventions each year. This year they can attend several round table discussions on such topics as teaching tips, level-appropriate repertoire, the correlations between singing and playing, music theory, and running a studio as a business. When it’s time for a breather, “Song and Wind” focuses on the breathing techniques of Arnold Jacobs, long-time tubist of the Chicago Symphony.
    History buffs can hear Nancy Toff’s presentation and historic recordings in “Flutists of the New York Philhar-monic and New York Symphony.” Robert Bigio, editor of the British Publication Pan, speaks on former flute makers Rudall, Rose and Carte, Andra Bohnet discusses Irish Clinton Flutes, and Barbara Hopkins looks at 19th-Century Hopkins flutes.
    Sandy Schwoebel talks about the N.F.A. library, an invaluable resource for members, William Bennett, Bouriakov, and friends take an in-depth look at Paul Taffanel based on the new scholarship from Edward Blakeman, and a panel of writers talk about preparing articles for consideration by publishers.  Christine Cleary and Karen Lonsdale share strategies for the free-lance flutist and offer a workshop on grant writing.
    The panel on college admissions moderated by John Wion will be of interest to those pondering their future education, and a trio of flutists from the West Point Band perform and speak about musical careers in the military. Maria Schimpf and Jennifer Townsend discuss careers in Music Therapy, and Hae Won Shin presents “From Julius Baker’s Rack” a class that shares the fascinating contents of Baker’s notes from his lessons with William Kincaid.
    Have you always wanted to know who was playing the pan pipes in the Lion King? Get a sneak peak into the theater world as several flutists speak about their lives as doublers in Broadway orchestra pits.
 
Remembrance
    We will celebrate the careers, pedagogy, and contributions of Louis Moyse, Francis Blaisdell, and Thomas Nyfenger with individual sessions dedicated to these memorable figures. The Remembrance and Healing concert includes several works written to commemorate the events of 9/11 in New York City.

Ethnic Music
    New York’s ethnic diversity is reflected in concerts and workshops on Irish music and the Shakuhachi flute. Twenty flute choirs representing Iceland, France, Venezuela, Australia, and others will perform, and Adrianne Greenbaum and her ensemble FleytMuzik plays Klezmer music from Eatern Europe in the closing ceremonies.
    This overview of the convention is only a partial listing of what you will find at the Marriott Marquis Hotel in Times Square this August 13th – 16th. Visit for more details on all of these events and many others. You should also take this opportunity to explore one of the world’s great cities with infinite possibilities that are merely footsteps away. Just don’t get in so late that oversleep and miss the 8:00 a.m. events.

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I – Allegretto grazioso
     Marked quarter = 96, the first movement moves forward better at a little faster tempo of quarter = 112. Although the beginning is not technically difficult, the phrasing can be problematic. I suggest aiming for the As. Although they are lower, they are the point of arrival within each sub phrase. Moving toward them avoids sounding stagnant.

    Vibrato should be prominent throughout this first section, especially when the theme jumps an octave higher at rehearsal 1. After being stated in the middle register in the beginning and the high register at 1, the melody repeats a third time at 3, but this time the pitches change.
    Burton creates a mysterious feeling by shifting  from major to minor. Acknowledge that difference and take a more enigmatic approach by changing to a darker tone color. It is also important to notice that the accompaniment has a crescendo at the end of every phrase up to rehearsal 4. This means that flutists should support the last note of each phrase without getting louder or softer.
      The Più mosso section three measures after 4 has numerous dotted-eighth and triplet rhythmic figures. Wherever this triple versus duple subdivision occurs, it is essential to distinguish clearly between the two in order to retain the rhythmic integrity.

    Play true dotted-eighth and sixteenths and true triplets. Practice shifting between triple and duple subdivisions on scales and arpeggios.
Five bars after 4, use thumb-Bb key to facilitate the sextuplet arpeggios. However, be ready to slide the thumb back over to the B natural key for the FIs.  Measures 31 to 70 include many scalar passages and flutists should be able to identify what scale is being used as in this example:

    I like to think of the three measures before 20 as a mini-cadenza. Take your time and let the triplet sound like a trumpet fanfare. The following five measures serve as an interlude to the return of the opening theme at rehearsal 11. The Tempo Primo printed at rehearsal 10 should actually be at rehearsal 11. During the ritard one measure before rehearsal 13, add length to the marcato triplets to create a more dramatic ritard into the Più mosso (Animato).
Use a fast vibrato in this section, especially in this register, but don’t give away the climax two measures before 15. The syncopated rhythms starting at 15 should sound relaxed, not agitated. Think of them as light and jazzy. I suggest the following breaths to help with phrasing.

It is easy to tense up and rush here because the register is high, but the ending should be relaxed and amiable. Otherwise, the final three measures that lead into the slow movement will be less effective. 
 
II – Andantino Sognando
     Sognando means to dream, and Burton, along with other composers such as Debussy, used the flute to portray a dream-like ambiance. This movement is wonderful because Burton uses all of the beautiful aspects of the flute – color, range, and technique. The movement is ternary, with A (mm. 1-18)and B (mm. 19-30) sections and a repeat of the A (m. 31), although the restatement of A is not complete.
    The beginning is marked mezzo forte, and it remains that way until the crescendo poco a poco six bars before rehearsal 17. There is ample opportunity to add musicality and phrasing. I suggest starting the beginning a little softer, say mezzo piano, followed by a crescendo to a mezzo forte on the B half note in the first full measure. Lifting the quarter-note B and placing the half-note B that follows can be quite effective.

    The pickups to rehearsal 16 and two bars after 20 can also be treated the same way.
    Four bars after rehearsal 16 the mood changes dramatically into a few lighthearted measures that lead to the first high-register moment – a high G. However, the mood quickly gives way to a feeling of melancholy as the A section ends.
    The B section begins in the piano with dramatic block chords at rehearsal 17. The flute enters three after 17 with melodic material that creates an anxious quality with forte and fortissimo 32nd-note scale passages. Be sure to group the notes in these scales for technical ease. Three bars after 18 I group the 32nds on the first beat as 4 + 5 and those on the third beat as 5 + 6. As in the first movement scales passages, note the key of each scale and mark any pitches that fall outside of the scale pattern. Note that E-major scales are prevalent in the two measures before 19.
    The beginning theme, or the A section, returns at rehearsal 19 at a mezzo forte level that lasts until rehearsal 20, which is marked Quieto. This indicates calm, still, or peaceful, and that mood should be reflected until the end of the movement. There is an interesting story about the harmonic on the last note. Donald Peck states that he suggested the harmonic to Burton who added it to the score. However, now Peck views it as a musical indulgence, and because it was not originally Burton’s idea, Peck does not use a harmonic there anymore. Should you choose to do so, try fingering a middle E and lip up to the harmonic. I suggest taking a breath before the last note to ensure a confident ending. Little to no vibrato on the B will allow the tone to evaporate.

III – Allegro giocoso quasi fandango
    A fandango is an animated Spanish dance in triple time, and Burton uses triplets on the strong beats in 6/8 throughout the whole movement. Begin your practice at a slow tempo to accurately place the triplets within the correct beat. The opening should have integrity and assurance with well-articulated accents placed directly on the beat. Use trill fingerings (see box) for smooth and comfortable triplet 16ths. Remember, however, that the triplets must remain accurate 16ths within an eighth-note subdivision; they should not become just a finger wiggle.

    Four bars after rehearsal 23 it is customary to overblow B natural and C# to produce the high F#-G# triplets that repeat for two bars. Using the C#-trill key can also be used for ease, along with a strong and continuous air stream; this will keep the pitch from going flat. Adding a crescendo through these two measures creates a driving effect that heightens the forte at rehearsal 24.
    I use the right-hand B-flat lever for the A#s three bars after rehearsal 24. Furthermore, it can remain in use for the G#-A# triplet as well and generates less finger movement than the traditional fingerings. 
    The brilliante double-tongued 16th notes at rehearsal 26 should be evenly spaced and played with a crisp articulation, as illustrated by the staccato marking on every note. Finger the F#s five bars after rehearsal 26 with your right-hand middle finger in order to keep the right-hand ring finger free for the high Bn. On the other hand, at rehearsal 27 use the regular F# fingering to keep the right-hand index finger free for the high A# that follows.  Two before rehearsal 28 is the last of the16th-note passages, which are technically very challenging. Grouping the notes as follows will make them easier.

    The primary theme returns four bars before rehearsal 29 and continues in a developmentary way until the Tempo 1. Again, trill fingerings work well for the triplets. A two-bar grand pause precedes the Tempo 1, although most performers perform a simple one-bar grand pause at this spot. In a performance, remain absolutely still until the piano enters. At the end of the movement at rehearsal 34 the piano should be prominent, so I suggest backing off on the F# trill. Start piano with a crescendo through the pickups to rehearsal 35. Then go for the sforzando high D.
    Burton’s Sonatina is a great gift to flutists from a man who failed to realize his dream of becoming a composer. Its style and beauty encompass all facets of the flute, and it is a favorite of audiences as well.          

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College in New York
    “My New York college options for jazz were the Manhattan School of Music and The New School. There was no jazz program at Juilliard at that time. I chose Manhattan because it provided a well-rounded education, with humanities professors from Columbia, had an exceptional classical music department, and they took a very disciplined approach to music education.”
    Drummond played her entrance audition on both jazz flute and jazz piano. They offered her a larger scholarship as a pianist, so she became a piano major. Her piano instructor turned out to be pianist Kenny Barron, who soon hired her to play flute in his band. “My lessons with him usually consisted of playing flute and piano duos together. Many of the Manhattan students didn’t even know that I was a piano major because they always saw me with a flute.
    “However, from the beginning of freshman year, I also sought out Linda Chesis, who saw my tight smiley embouchure and worked with me to relax it for a more open sound. I played long tones in front of a mirror for a year, in a way starting over, but it was well worth the time and effort. I periodically took time off from school to go on the road and had to make up all the missed work and then some. In hindsight I realize that Manhattan was absolutely the best choice for me because they didn’t allow me to lose focus from getting my degree. You see it all the time.  Students start working on the road and then often drop out. Manhattan kept me dedicated towards the degree, even when I when I was away on long leaves of absence for tours.
    “The teachers were incredibly giving of their time and attention as mentors and often joined students for meals and supported our shows. I keep in touch with them to this day and return for concerts, master classes, and fundraisers.”

A Return to Idaho
    That the Lionel Hampton Jazz Festival was the influential root to Drummond’s growth and development as an artist is well known, but I was curious how she felt about returning to the festival professionally. “This has been a nostalgic experience as well as a reunion with the band, Canta Brazil (Kenny Barron with Trio de Paz). This was the band that helped launch me, and I haven’t played with them in such a long time. Back then, we played and toured together so much that we were like a family.
                     (Kenny Barron, Drummond, and bassist Nilson Matta)
  “When I came all those years as a student, the festival was always in the back of my mind. On the bus coming home, I would start thinking about what I might play the following year. Getting on stage and playing with Lionel Hampton was huge. Now, some 10 years later, I am so happy to see how the festival has grown and how it is being presented. More students are interested in playing jazz, and more schools are competing. You also see more girls which is fantastic. These developments are so important as youth involvement is essential in preserving a future for jazz.”
    I asked her what her thoughts were about the growing trend towards more female jazz flutists. “There are more female jazz instrumentalists across the board these days. Female jazz flutists have had more exposure and have seized the moment. I have been fortunate to have not experienced any sexism, although I have encountered a dislike for the flute itself. Some people think of jazz flute as an acquired taste and have a blanket dislike for it.
    “Any negative feedback I receive from fellow jazz players is usually a reaction to the fact that I play an instrument with sonic limitations, which other musicians sometimes find creatively restrictive. Playing with a flutist requires a certain level of sensitivity from rhythm section performers. This has turned out be a critical issue when choosing musicians to play with. At the same time, however, I don’t want a drummer to automatically reach for the brushes when I walk in with a flute.”
    Drummond lists her major musical influences as singers like Dinah Washington, Ester Phillips, Shirley Horn, Billy Holiday, Nancy Wilson, and Cassandra Wilson. “There is no doubt that music goes through you, so perhaps you can hear traces of them in my playing. Other musical influences include Chet Baker, Herbie Hancock, Glenn Gould, D’Angelo, James Galway, John Coltrane, Pavarotti, Oscar Peterson, Kenny Garrett, Ray Brown Trio, Ella Fitzgerald, Rampal, J.J. Johnson, Gene Harris, Ray Charles, Stan Getz, Curtis Mayfield, Aretha Franklin, Al Green, and Marvin Gaye, The composers I love passionately are Mahler, Brahms, Ravel, Debussy, Wagner, and Puccini among many others.” 

Technique
    “Jazz players need the facility to execute the ideas they have. I stress scales with my students: chromatic, whole tone, diminished, augmented, and every mode from Lydian to Phrygian. It’s good to learn melodies in all 12 keys, from Bach to Bebop. Transcribing solos directly to manuscript paper is also important, although it is sometimes even better to skip the notation, exercise your memory, and simply figure it out. A good way to keep from falling into the trap of playing flute ‘licks’ is to transcribe solos played on other instruments, such as guitar or trumpet solos.”

On Style
    “I like to hear individuality in someone’s playing.  It is important to find what is unique about your style. You have to be yourself with conviction, because anyone can copy someone else. I listen for meaning and personality and try to help students develop tools that will help them unleash their own expression. The flute is so delicate that it lends itself easily to manipulating the keys and the air for subtle nuances as well as dramatic embellishments. Slowly opening and closing the keys and actively rolling in and out are various ways to slither between notes, something I do for a seamless effect. I also use a variety of vibratos: wide and slow to shallow and fast, and so on. My vibrato shifts from diaphragm to throat to mouth – a technique not to employ in Mozart!”

Microphone Placement
    “To avoid the air stream hitting the microphone I place the mic above the headjoint and pointing downward, both in the recording studio and in live performances. In the studio I like to use old RCA ribbon mics, but not all studios have them. As for live situations, I just use what the venue offers and try not to get upset if it’s less than perfect. I used to use an attachable mic, but I didn’t like having a chord attached from a belt preamp to a PA system. I felt entangled. I may try a different setup in the future because being attached to a stationary microphone on a boom (floor mic stand) is confining as well.”

On Tone
    “I like to think of my sound as an extension of my singing voice. If Ella Fitzgerald were singing through a flute, what would that sound like? An excellent example is Chet Baker, who demonstrates stylistic continuity between his trumpet and voice. An even better example is Ian Anderson, who unabashedly demonstrates his individualistic and virtuosic side.
    “Sometimes I just start a paractice session by putting on James Galway or Pavoratti recordings, or someone with moving air whose vibrato I fancy, and just practice along with them. If my sound is slow to develop that day, I move to singing-while-playing exercises.”
    I asked if she was interested in wooden and various ethnic flutes. “No, not really, but I have a wooden headjoint that has a wailing quality – in a good way. I love my alto flute, even though it’s not putty in my fingers like my C flute. No one would disagree that the sonorous sound is absolutely gorgeous on alto. The last recording I did with Kenny Barron I played it almost exclusively.” She remarks that piccolo is something she never had much interest in. “I played piccolo recently for the first time on a recording, but I only practiced it the day before the session.” Laughing she adds, “it wasn’t very good.”

Advice for Students
     “There is no one formula for those pursuing jazz. The best thing you can do is focus on your musicianship and develop skills that will help the development of your music. Those skills might include learning a notation program or studying orchestration. The more perspective and abilities the better. It’s important to learn standards like “I Got Rhythm” and “There is No Greater Love” because that is the common language in jazz. Last year I did a show in Madagascar with local musicians who spoke absolutely no English, but it was a wonderful performance. What made it great was that we didn’t need to read charts as we played tunes we all knew like “Days of Wine and Roses” and “Summertime.”
    “When I go to really learn a standard, I practice the melody in every key, and I also study the lyrics. To me it’s like eating my vegetables.”

Plans for the Future
    Drummond admits that developing as a composer is at the forefront these days. “I have a strong desire to do much more writing. I have many sides as a composer and ideally I’d like to incorporate them all into one show, to be executed by one stylistically versatile band. That’s just one vision I have for myself, others are still forming in the works.”
    Drummond’s debut solo recording, Like Water, features flute and alto flute in an instrumental setting that includes a string quartet and a Brazilian rhythm section. She is excited about the release of the recording for the obvious reasons but also views it as a point of departure for new projects. “Like Water was recorded two years ago, but it feels like two lifetimes ago and I’m itching to do more. I am however pleased that this record captured a great musical chapter of my life. On it, my music is played by superbly talented friends. As always we had a ball recording and you can hear that fun through the music.”              

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