The book is organized into ten chapters:

    1.  Introduction to the Tissues of the Body
    2. Posture and the Back in Musical Performance
    3. The Shoulder, Arm, and Hand: Structure and Problems
    4.  Breathing in Singing and Wind Playing
    5.  The Voice: Management and Problems
    6.  The Embouchure and Wind Playing
    7. The Structure and Organization of the Brain
    8. How the Performance of Music Affects the Brain
    9. Hearing and the Processing of Musical Sound by the Brain
    10. Performance-Related Stress and Its Management

    Accompanying the book is a CD of teaching materials that include anatomical drawings in color of all the drawings in the text, video files, Power Point animations, sound presentations, and an extract from Smetana’s quartet Ma Vlast with a musical representation of tinnitus.
    Watson addresses questions that musicians need answers to. In the interest of this review, I looked up flute in the index and found no less than 17 citings, some with multiple pages. For example, there are several paragraphs on flute vibrato in which he discusses the diaphragm vs. throat debate. He writes about focal dystonia, the benefits of using the larynx, vocal folds, and glottis in tone production, and what the assymetrical flute position does to the spine, neck, and shoulders.
    Each chapter concludes with a lengthy list of references from which further information can be sought. This is a scholarly read, and it is long – 350 pages. As I read through it, I felt that I should take notes, highlight various passages, and digest them over a period of time. Because the language of medicine is unfamiliar to me and probably is to you, the terrain is a bit steep at times, but Watson tries to explain everything so that a musician can understand. He uses the appropriate terms for muscles and nerves, etc., but he defines them first so the layperson can grasp the meaning of his words. He does not write down to the reader or oversimplify the content.
     I highly recommend this book to every flutist – teacher or performer.  Every college library should also own a copy. It debunks many of the myths that our profession has subscribed to over the centuries, and it lays out the foundation for why those myths were erroneous in the first place. It is not that the teachers who went before us taught misinformation. They did the best they could with what they knew, felt, and sensed. They simply didn’t have the correct information. Even if it had been available in medical books and treatises of their day, most of those were written in such a way that they would have needed a medical degree to decipher them.
    The reading and assimilation of this information will require an openness to new ideas and an attitude for change. If your natural tendency is to tell students to “support from the diaphragm,” you may find that this book makes you uncomfortable. So be it. Dive in anyway, because we have to stop the circle of misinformation. Now that Watson has put the medical knowledge in our hands, we have the tools with which to do it.
    The Biology of Musical Performance and Perfor­mance-Related Injury is published by The Scarecrow Presss, Inc. and was first released in January 2009. It is available in hardcover, paperback, and as a Kindle download for anywhere from $37 to $90.

The post A Book Review appeared first on The Instrumentalist.

    When teaching students working on piccolo, there always seem to be a few standard questions about the instrument that come up. I have included a few of the most interesting and frequently asked questions this month, and hopefully the answers will help your students understand the piccolo much better.

Why is it so hard to play softly on the piccolo?
    The piccolo is smaller than the flute. Therefore, it takes a more controlled embouchure and a faster air speed to make the soft notes really shimmer. The aperture must be even smaller than the smallest flute aperture you might use on a piano dynamic. The lip  should also round and come forward more. It is tempting to blow harder, but this only results in a rather harsh sound and considerable extra noise around the embouchure hole. Instead, use great support, a fast moving air stream, and think of spinning the air rather than pushing it against the outside wall of the embouchure hole. You don’t need a lot of air, but what you use should move very fast. This should provide better control. Remember to practice playing softly every day. You need to train your body to make these slight adjustments so that they are there when you need them. Muscle memory is a powerful component.

Why are alternate fingerings helpful?
    The piccolo has traditionally been fingered just like a flute, which has a cylindrical bore. However, the piccolo has a conical bore with a cylindrical head and does not respond in exactly the same way a flute does. Some alternate fingerings can be used to improve response, and others are useful to alter pitch and/or color. I regularly use four different alternates for the C above the staff, depending on the dynamic level at hand and the intonation requirements. (Fingerings that raise the pitch are helpful when doubling with strings in their highest registers, for example).
    The alternates for C above the staff are 124 134, 123 13, 123 14, 13 134. You should know the intonation tendencies of each alternate and choose the one that suits the situation best.

How do different woods change the color and sound quality of the instrument?
    Grenadilla wood, a hardwood from Africa, has become the standard in piccolo making as it has the least shrinkage and is therefore a practical choice. I consulted with Lillian Burkart of Burkart Flutes and their main repair technician, Tim Bower, for some additional information: “To objectively answer this question we must compare cookie cutter piccolos with the exact dimensions, same scale, embouchure hole, and no handwork involved. Woods of lighter density, such as Rose woods, Cocobola, and Cocus wood, offer a brighter and sweeter sound in the piccolo. Grenadilla wood, with its greater density, has a tight grain structure, and its reflective surface renders a darker, richer, fuller sound. The piccolo to die for might be made of ebony because it is even more dense, but it is impractical because it is too brittle to be a woodwind instrument”.
    Bickford Brannen, recently retired from the Brannen Bros. flute company, states that, when the company was making piccolos, players often preferred one type of wood over another, although the differences could not be proven. “What was proven was that you will never get a total concensus on any change that you make,” he stated. Respons-iveness and tone preferences are just simply too individual.
    Jim Keefe, the founder of Keefe Piccolos, comments that Gren-adilla and Cocus wood are both members of the Rosewood family (genus Delbergia). He agrees that Cocus wood is less dense than Grenadilla, and states that when he was working at Brannen Bros., they made piccolos out of both woods and some players bought one of each ­– Grenadilla for orchestral playing and Cocus wood for chamber music.

Is the crown on the piccolo as important to sound as it is on the flute?
    Crowns of different densities, (various metals usually provide this) can create a marked difference in the response and color of flute tone, which is surprising for such a small part of our equipment. It comes down to personal choice as to which crown makes the best match on a flute headjoint, and the same is true for piccolo. A panel of seven players tested this using one piccolo and one headjoint, switching out the crowns only. Crowns tested were made of grenadilla, rosewood, cocobola, and solid gold. While all players felt there were subtle differences, no two players agreed on which was more or less favorable.

How often should the wood  be oiled?
    Never oil the inside or outside of your grenadilla piccolo body! Your piccolo simply does not need it, and surface oil treatment does not penetrate the wood. You also do not want oil anywhere near the key pads.
    Lillian Burkart offers this tip: “Oil can be used for cosmetic purposes on the exterior of the head joint to remove the whitish deposit that can occur around the embouchure hole. Apply almond oil over the deposit and rub the surface with the edge of a popsicle stick. Then thoroughly remove the oil with a clean paper towel. With some players this deposit builds up inside the upper tone holes, and this leads to constriction or a narrowing of the diameter of the tonehole. This residue should be removed only by a professional repair person.” In other words, do not try this at home.

Is it OK to use earplugs when practicing the piccolo?
    First of all, make sure that you are not forcing the sound by using too much air and getting a harsh sound quality; this kind of tone is painful for players and listeners alike. If you are practicing high register passages, it is sometimes helpful to use an earplug especially in the right ear. I use custom-made musicians’ ear plugs that you can get through any registered audiologist or hearing specialist’s office.
    These ear plugs cut off only the strongest decibel levels so that your level of hearing is not affected throughout the whole spectrum. Disposable foam ear plugs work very well also. I find that using an ear plug in one ear helps with audio overload, without too much distortion when practicing high or loud passages.

    If you have any questions pertaining to the piccolo, send an email to editor@flutetalkmagazine.com.

The post Questions and Answers appeared first on The Instrumentalist.

Nickel Silver (“German Silver”) – a combination metal of copper, zinc, and brass. It is commonly used in student models because it is less expensive; the sound quality is  less vibrant than that of silver.
Silver – available in different purities and combinations of other metals; it is responsive and has a bright sound.
Coin Silver (Sterling silver) – 90% silver and alloyed with copper; sound quality is responsive, bright, and lively.
Gold – available in various carats and alloyed combinations. Sound quality is dark or warm.
Platinum – the heaviest and most dense material used. Sound quality is strong, penetrating, bright, harsh.
   
Side Two – No Difference
    Those in this camp see a greater difference between players than between instruments. They do not think that purchasing a flute made out of gold is necessarily going to give the player a warmer, darker sound.
     We asked Patricia George and Donald Peck what they thought. Their views follow below:

Historical Opinions
    This question has been debated for centuries and seems likely to continue to be a topic of discussion. Back in 1752 Johann Joachim Quantz said, “Whoever wishes to have the flute shrill, rough, and generally unpleasant, may have it lined with brass, as some have done.”¹ During Quantz’s time, flutes were typically made of wood, however, ivory, porcelain, and glass were tried as well. In his 1928 treatise, Rockstro reports that they experimented with lining ivory and wooden headjoints with metal. Apparently, Quantz did not find the use of metal agreeable to the ear.
    Top flutists of the past 100 years all have personal preferences and opinions on the matter. Georges Barrère, principle flutist of the New York Symphony in the early 20th century, premiered his platinum flute with Edgard Varèse’s Density 21.5. Barrère preferred his platinum flute the rest of his career.² Marcel Moyse, French flutist and teacher of the mid-20th century, opted for a nickel silver flute for all his performances.³
    Jean-Pierre Rampal, internationally renowned as “The Man with the Golden Flute,” fell in love with his golden Louis Lot flute. Rampal preferred the gold flute justifying his choice by saying, “[it was] a little darker; the color is a little warmer, I like it.”⁴
    William Kincaid, American flutist and teacher, played on a platinum flute from 1939 until his death in 1967. He felt it was superior to silver due to its strong, penetrating sound qualities. It was auctioned off in 1986 for $187,000 – the world’s most expensive flute.⁵ Julius Baker, acclaimed New York flutist and teacher, preferred a sterling silver flute.⁶ Most recently, world-renowned flutist, Sir James Galway has no preference of flute. Galway states his opinion on his website:

     I have never really recommended one metal over another when discussing flutes. The fact is that I cannot tell the difference when I am listening to someone play. This was brought to my attention when I listened to the active participants in my class in Italy playing. They were all really good players, and I suddenly looked up to see Noralee Garcia playing a platinum flute with red gold keys. The first thing that struck me was how good looking the instrument was. I then began to think that if she was playing some other instrument would she sound different?

It seems that even among world-famous flutists there is no consensus on metal.
   
Acoustics
    Sound is “a vibratory disturbance in a material medium which is capable of producing an auditory sensation in the normal ear.”⁷  The flutist blows across the lip plate creating an air jet that splits as it hits the edge of the furthest side of the lip plate.⁸ Only about 20% of the air goes into the flute where it vibrates in the tube and creates sound.
    As the air inside the flute tube vibrates, opening and closing keyholes changes the pressure inside the flute allowing pitches to change.⁹ It is the inside of the flute and how it is shaped that really affects the resonance, which in turn affects the sound production. How well a flute can resonate is what creates a nice tone quality. Flute makers and players are continually looking for better methods, including experimentation with metals, to create a flute that has maximum resonance for the best possible sound.
    Resonance is an important aspect of sound quality. Often it is coupled with harmonics. The more harmonics present in the sound, the more resonant a sound is considered. According to acoustician, Charles Culver, “It would appear that the density of the material and its elasticity are both factors in the case [of producing harmonics]”. If resonance is equated with the production of harmonics, then it is important to look at the density and elasticity of the precious metals used in flutes.
     The table below shows the differences in density and elasticity between sterling silver, gold, and platinum.

     There have been only a handful of scientific studies that have researched and analyzed the different effects metal has on flute sound. Three important experiments were conducted by John Coltman (1970), Joan Lynn White (1980), and Gregor Widholm (2001). 
     John W. Coltman, physicist and amateur flutist, became highly interested in flute acoustics in the 1950s. In 1970 he conducted his famous “Effect of Material on Flute Tone Quality” study. Prior to this time, Coltman found there to be a lack of scientific research concerning the effect material has on flute sound.¹⁰
     He constructed three keyless flutes made of Grenadilla wood, silver, and copper. Each flute had a diameter of 1.9 cm.
       •The silver flute was made out of a piece of stock silver – the same silver professional flute makers use – with a wall thickness of 0.036 cm.
       •The copper flute had a wall thickness of 0.153 cm.
       •The Grenadilla wood was made with a wall thickness of 0.41 cm, the typical dimension of wooden flutes, but weighed 1.7 times as much as the silver.
All three flutes were 32.7 cm long. The headjoints were made from the same mold of Delrin plastic, extending the flutes another 5.1 cm. The mouth hole for each flute had a diameter of 1.75 cm, molded after a professional flute mouth plate.
     After each flute was constructed, “the acoustically important dimensions of all three instruments were thus identical within  .01 cm.”¹¹ To test the quality of these flutes, a sound was made at 398 Hz, approximately G4, with “the ease of sounding, quality, power…judged excellent by those who tried them.”¹²
     The first experiment focused on audience observations. The audience consisted of 27 listeners, 20 of whom were musicians; 13 were flutists (professional and amateur), and 7 had little musical experience and training. Behind a curtain, a flutist played three identical phrases, each phrase with a different keyless flute. The listeners were to note which flute they thought was playing that particular phrase.
     The second experiment focused on the flute player. Coltman wanted to test a player’s discrimination towards flutes. The three flutes, were mounted symmetrically on a plastic shield. The plastic shield separated the player from viewing the body of the flute. The headjoint was the only part of the flute the player saw and touched. A rod parallel to the flutes was placed so the player could hold the rod while they played and not touch the flute bodies, to keep the player unaware of which material he was playing.
     The players were then asked to identify which tone they preferred or material they thought they could identify. The player was then asked to spin the rod and randomly select a flute to play again and try to find the initial preferred tone. Twenty-one players preferred silver, 19 preferred wood, and 14 preferred the copper.
     In his study, Coltman found that neither the trained nor untrained musicians, could correctly “distinguish between flutes of like mouthpiece material whose only difference is the nature and thickness of the wall of material of the body, even when the variations in the material and thickness were very marked.”
     Coltman’s results suggested that the performer makes a greater difference in sound production than the kind of material used in the flute. Coltman interestingly comments, “One player did, correctly, point out that one of the three instruments appeared at first to be slightly flat. This effect is due to high thermal mass of the heavy copper tube, which causes it to warm up more slowly than the others. This is an example of a reason to prefer certain materials for flute construction, and there are many others. Tone quality or ease of response are not, however, one of them.”
     It took nearly 10 years for another study of similar nature to be conducted. Professional flutist and teacher, Joan Lynn White completed her doctoral dissertation, “A Spectral Analysis of the Tones of Five Flutes Constructed by Different Materials” in 1980. In her dissertation, White addresses the pedagogically controversial topic of timbre and flute material. White “systematically analyze[d] the tonal spectra of five modern Boehm-system flutes constructed of different metals…with the same specifications by a single manufacturer”.¹³
     Japanese flute maker, Muramatsu, donated five flutes to White’s research, all from the same flute model series; each flute had the same internal and external measurements. The flutes were in the French style, had a B footjoint, and were as exact in dimensions as they could be. The only varying degree was the metal each flute was made from. White used flutes of white gold, 14kt gold, palladium, and two of sterling silver. Her study focused on the harmonic structure of tones produced on each flute looking at the influence of the wall material, intensity level, frequency level, and the performer.
     The actual experiment consisted of two professional flutists, White and a colleague. They played specified tones at both forte and piano dynamic levels on each flute. The were 392 Hz (G3), 784 Hz (G5), 1568 Hz (G6). Three trials were completed for each frequency and intensity level and were conducted in an anechoic chamber (a specially built soundproof room) with a number of technologies that assisted in collecting sound data.
     White’s findings showed “the tonal spectra of the five flutes differed more in the number and strength of the upper partials than in that of the lower partials present in a tone.” More differences were present when the tone was played at a forte level compared to piano. White commented that “performer variability is evidenced in the visual examination of the data derived from this study.” White also concluded that there is greater difference between performers than materials of flutes. However, she noted, “The objective data derived from this study must be viewed in relation to the intrinsic subjectivity within the realm of aesthetics.”
     In 2001 Austrian professor Gregor Widholm conducted another study.  Widholm obtained seven identical flutes that were identical inside and out in both dimensions and wall thickness. The only difference being the material the walls were made out of. The seven flutes used were silver plated, fully silver, 9kt gold, 14kt gold,  24kt gold, platinum coated, and fully platinum.¹⁴
     Seven professional flutists from the Vienna Orchestra and Vienna Philharmonic created the initial sound data that would be used in a two-part study. Every flutist played on each flute a chromatic three-octave scale, multiple dynamics on A4, F5, D6, and B-flat 6 (crescendo from ppp-fff), a solo from Bizet’s Carmen, and a solo from Brahms’ First Symphony. The recordings were completed in an anechoic chamber allowing the purest sounds to be recorded.
     The recordings were listened to by 15 other professional flutists. Listening Test A included an excerpt from Carmen played first by player 1 on all flutes and then by player 2 on all flutes. The listeners were asked to guess which flute was being played. Widholm’s results showed that no instrument was identified correctly.
     Listening Test B consisted of the same instrument being played by all seven players. The listeners were asked to describe the color of the sound and again guess what flute was being played. Widholm notes that only one flute was identified correctly, the all silver flute. The 9kt gold flute was usually identified as silver, and the 14kt gold as platinum.
     Widholm analyzed the sound differences heard between players and instruments and found only very slight differences in sound levels between materials. The difference of the instrument with the smallest dynamic range, 14kt gold, and largest dynamic range, platinum, is only 1.5 dB, hardly a gap in the grand scheme. This is interesting because platinum is described as having a strong, powerful, and cutting sound. Widholm found that the dynamic range is greater between players than between instruments.
     He also found that the envelope, the shape the initial tone creates, hardly changes between instruments. He  indicates it is only a measurable difference, not a noticeable one – “the largest difference in sound caused by material over the entire frequenc [sic] range of 0-16 kHz is less than 0.5 dB.”
     Along with Coltman and White, Widholm also concludes that the greater difference in sound production is between performers. Any difference between flutes of different materials is so slight that the human ear cannot hear the differences. 
     While there are two distinct positions to this heavily debated question, some flutists take a position somewhere in the middle. They believe that the sound is better with the more precious and expensive metals because of the greater care and skill the craftsman takes when shaping the flute. Others think that both the metal and the player are integral parts of the overall flute sound.
     Musicians have discussed and argued over this matter for centuries. Even in today’s modern society with high technologies, science does not necessarily outweigh personal opinion and preference. The experience of playing and listening to music is a subjective one, different for each person. There may never be a conclusive answer accepted by all to this age-old debate.

Footnotes
1 Rockstro, R.S. (1928). A treatise on the construction the history and the practice of the flute including a sketch of the elements of acoustics and critical notices of sixty celebrated flute-players (2nd ed.). London: Musica Rara.
2 Toff, Nancy. (1996). The flute book. New York: Oxford University Press.
3 White, J.L. (1980). A spectral analysis of the tones of five flutes constructed of different materials. Unpublished doctoral dissertation, University of North Carolina, Greensboro.
4 Griffiths, P. (1982). BBC radio interview with Marcel Moyse. Recorded in London.
5 Davis, H. (2007). Most expensive flute. Retrieved from on November 30, 2008.
6 White, ibid.
7 Culver, C. (1956). Musical acoustics (4th ed.). New York: McGraw-Hill.
8 Fletcher, R.H., & Rossing, T.D. (1991). The physics of musical instruments. New York:     Springer-Verlag.
9  Culver, ibid.
10 Coltman, J.W. (1970). Effect of material on flute tone quality. The Journal of the Acoustical Society of America, 49 (2), 520-523.
11 Coltman, ibid.
12 Coltman, ibid.
13 White, J.L. (1980).
14 Widholm, G. (2001). Silver, gold, platinum – and the sound of the flute [Electronic version].     Retrieved from on     October 15, 2008.

References
Galway, James (2003). Flute Material. Retrieved from on November 30, 2008.
J.L. Smith & Company. (2008). Materials used in flute production. Retrieved from http://.asp on November 28, 2008.
   

The post The Differences Between Metals appeared first on The Instrumentalist.

     Popular composer Victor Herbert, best known for his songs and operettas, also wrote numerous orchestral works including, L’Encore, a duet for flute and clarinet with orchestra. A 1910 Library of Congress bibliographic card entry for an autographed score of L’Encore notes Paul Henneberg, Pittsburgh Symphony principal flutist from 1898-1904 as a dedicatee. A question mark is listed for the clarinet dedicatee, possibly due to illegible handwriting on the score, according to the Library of Congress Music Division. The score’s current location is unknown.
    The composition’s date is usually designated as the publication date of 1910 or as c.1910. One biographical source notes that the duet was composed during Herbert’s tenure as conductor of the Pittsburgh Symphony from 1898-1904;³ however, a search of historical newspapers and the symphony’s archives failed to turn up a documented performance of L’Encore during that time frame. Herbert also formed his own ensemble, Victor Herbert and His Orchestra around 1902, and it toured the U.S. and performed regular concerts in New York City. Many of the Pittsburgh Symphony’s members toured with Herbert and his orchestra during the spring and summer months, performing programs of lighter classical music, including Herbert’s compositions, and numerous encores.
The duet’s title implies use as an encore, but an October 10, 1909 notice in the N.Y. Times includes L’Encore on a concert program as follows:

“Victor Herbert and His Orchestra, at their second concert at the New York Theatre tonight, will present a programme in which a variety of soloists will participate. Their employment will be due to the list of selections for the first half of the concert, which comprises four numbers of considerable length, the principal being a ballet fantaisie, divided into six movements, one of these an andante for solo violin, another a “variation” for piccolo. The composition is by Flegier and is new to this country. The first part of the programme will also include Ries’s Moto Perpetuo to be played by all the first violins, Godard’s Brasilienne, and Filigran by Lackenbacher. An overture Un Jour de Fete by Ronald, and L’Encore, a composition by Mr. Herbert for flute and clarinet, will complete the first half of the concert.”

    Victor Herbert and His Orchestra’s recording of L’Encore was released as Edison Standard Record 10413. The July 1910 edition of The Edison Phonograph Monthly announcing the September release reads, “A fascinating and brilliant instrumental duet written by Victor Herbert for flute and clarinet. The air is sprightly and engaging and the difficult instrumental plays are marvelously well executed. A Record of this kind is so seldom listed that it cannot fail to attract a lot of attention and consequently heavy demand.” 
    The Edison recording is an invaluable primary resource for tempo and stylistic information. An mp3 file of the recording is available online courtesy of the Cylinder Preservation and Digitization Project, Donald C. Davidson Library, University of Southern California. More information about the project is located at . A search by keywords “Victor Herbert” returns a list with hyperlinks of the available Herbert recordings. Commercial recordings of the composition are also available. M. Whitmark & Sons published L’Encore in 1910 including a piano reduction. The work is now part of the Edwin F. Kalmus & Co., Inc. catalog.

    This light hearted and spirited piece is well-suited for a pops or summer concert, and the intermediate level solo parts and simple orchestral accompaniment make it suitable for student ensembles and community orchestras. L’Encore would fit nicely on a program featuring American composers or as a quick encore following a clarinet and flute duet. The availability of the piano reduction also allows the piece to be considered for an entertaining encore on a joint flute and clarinet recital.
    There are numerous technical and musical details to observe to ensure an effective performance of this two-minute duet. It is a mere 74 measures long, but several pitfalls arise along the way, not the least of which is intonation. After a four measure orchestral introduction, the flute and clarinet parts enter in unison from measures 5-34. The first three measures of the flute and clarinet parts are repeated four times throughout the composition.

   
    Play the dynamics consistently starting at piano, followed by a crescendo to the sforzando and an immediate return to piano on beat one of the next measure. The 64ths and subsequent eighth notes in measure 5 should not rush. The section is marked molto elegante and should sound light and effortless. The staccato 16th notes in measures 6 and 7 should be light but not too short; you want to avoid a choppy, clipped feeling.
    Subtle tempo changes add interest to this simple work, especially the poco accelerando at measures 6, 10, 27, and 31, which should keep the musical line moving forward, but not be a drastic tempo change. The sudden dynamic change to pianissimo in measures 15-16 provides an echo effect. Coordinate breathing with the clarinetist between measures 13-25 to maintain the flow of the music and keep the solo lines in sync.

    The grace notes in both solo parts in measures 19-22 (see above) occur off the beat, and in the lower register in measures 20-21, increasing the difficulty in coordinating these embellishments. Use trill fingerings to execute the grace notes with more ease and precision.  
    The A-major section marked brillante between measures 35-42 is an opportunity to display technical skill in a playful interchange between flute and clarinet. Each part plays separately for one measure as if to say, “I can do it better than you can.” The parts come back together at measure 43 as they conclude the virtuosic section with a chromatic scale in thirds.

     Including chromatic scale practice will help you prepare for the two-octave descending scale in measure 41, and the ascending two-octave scale in measure 45. Watch the pitch on the high A at measure 41, and B3 at the double forte in measure 43. Make a dramatic change to the piano marked in measure 45 and observe the cresendo without making a ritard into the sforzando at measure 46. There is a fermata marked over the eighth rest at the end of measure 46 in the piano conductor’s score, but it is not in the solo parts. Add the fermata and pause briefly before moving onto the next section.
    The next 8 bars return to D major and the molto elegante we first heard in the opening section. Beginning in measure 65 there is a written-out trill for both soloists that is the final unison challenge. Practice the trill slowly, both separately and together, to ensure even, controlled fingers and a tight ensemble. Listen for intonation and maintain the molto elegante mood to the end of the piece. The accompaniment has the melody in measures 67-70 so back off of the dynamics and allow it to be more prominent as the duet comes to a close.
    As L’Encore approaches the 100th anniversary of its publication, enjoy this nostalgic trifle by one of America’s most beloved composers as you add a touch of turn-of-the-century charm to your next recital.         

Special thanks to the following for their assistance:
    Kevin LaVine, Senior Music Specialist, Library of Congress, Music Division.
    Nicole Philipp, Director of Media Relations, Pittsburgh Symphony Orchestra.


Bibliography
    The Bulletin, Weekly Journal for the Home, Feb. 10, 1900, Vol XL, No. 16.
    The Bulletin, Weekly Journal for the Home, August 31, 1901, Vol XLIII, No. 19.
    Edison Phonograph Monthly (v. 8, 1910). Exact Reproduction by Wendell Moore, First Edition, 1983.
    Gould, Neil. Victor Herbert: A Theatrical Life. Fordham University Press, 2008.
    Kaye, Joseph. Victor Herbert: The Biography of America’s Greatest Composers of Romantic Music. New York; G. Howard Watt.1931.
    Waters, Edward N. Victor Herbert: A Life in Music. New York: Macmillan. 1955. Reprinted by Da Capo Press. 1978.

Footnotes
¹ “Victor Herbert’s Early Efforts.” Sun, May 23, 1902.
² Gould, Neil. Victor Herbert: A Theatrical Life. Fordham University Press, 2008. pg.9.
³ Waters, Edward N. Victor Herbert: A Life in Music. New York: Macmillan. 1955. Reprinted by Da Capo Press. 1978. pg. 582.

The post Victor Herbert’s L’Encore for Flute, Clarinet, and Orchestra appeared first on The Instrumentalist.

Music Storage
    Music is expensive. Many of the pieces you study in college will be ones that you perform many times in the future. Take care of your music so it stays in good shape. Use a bag to carry the music to practice and lessons and find a good place to store your music when it is not in use. If you have the space, a legal-sized file cabinet is best, but many dorm rooms are small. Consider purchasing a file box from a local moving company. These inexpensive (less than $5) boxes are made for storing files and are stronger than normal packing boxes. The lid is detachable and the whole box easily fits under a bed or into the trunk of an automobile for carrying home at the end of the term.
    Designate one bag for your flute studies and another for your academic studies. Most schools offer locker space to store bags and coats. Flute bags, which have a place for your instruments and music, are available online or at flute stores. Most have special pockets to hold a metronome, tuner, recording device, music dictionary, and writing equipment. If the practice rooms don’t have mirrors or music stands, you will need a place to accommodate them as well. Because you will be carrying this bag around for at least the next four years, choose one that has wheels or that you can carry on your back to evenly distribute its weight. Carrying a bag on one shoulder is not good for body alignment.

Respect Your Teacher
    Teachers are busy people, and you should respect their time. Most have a full studio of students, conduct a flute choir, and teach a weekly masterclass. They may also teach another subject, such as music theory or music history, besides having an active performing career. Arrive early for lessons. In the music world, early is on time. A changing work schedule on your part should not affect your flute lessons in any way. Do not expect a make-up lesson if you forget a lesson. If the teacher must miss a lesson, then a make-up lesson is in order. Plan ahead. If you have a valid problem, change lesson times with another student in the studio. Inform your teacher of this change, either by email or a note in his mailbox.
    Dress professionally. During the first week of my freshman year at the Eastman School of Music, Howard Hanson, the American composer and Director of the Eastman School of Music, hosted a banquet for all incoming freshmen. Along with many of his eloquent thoughts, he said: You have chosen music as your life’s passion. Have respect for the art. Bring your best to the subject. This means dress up for your classes and for concerts. Good advice!

Lesson Manners
     At the beginning of each lesson place all the music on the stand so the teacher can see what you are studying and how to structure the lesson.  I have had students place one book on the stand. After working on it, I asked: what else do you have? Then another book was placed on the stand, and we work on it. It never felt that we accomplished as much as we did when students placed everything on the stand to begin with. To progress, make the most of your 70 to 112 hours of applied lessons.
    At the beginning of most lessons and classes, teachers ask if you have any questions about the material being presented. There are no stupid questions. Every teacher wants to know how you learned the material and whether you had any problems. If you have questions, don’t wait until the last five minutes of the lesson to ask them. Most questions take time to answer well. Waiting to catch a teacher between lessons or classes is not being respectful of the teacher’s or a waiting student’s time.
    Most teachers have posted office hours when they welcome drop-in visits. If you are having difficulty in a course, go see the teacher. Sooner is always better than later. Teachers have many resources available to help you become a successful student. These include tutoring services or study skill labs. 
    You are paying tuition to learn. Listen to your teacher. Do not argue with him. Keep an open mind, and try new ideas. Recently I reread a 1962 diary entry based on a lesson with William Kincaid. At the time I wrote the entry, I did not understand his idea, but I wrote it down anyway. However, 40 years later, the concept was clear as a bell to me. This frequently happens in education.
    After your lesson/classes, write your assignments in a journal, which you should keep for lessons and practice. Note any questions or successes. Teachers love to hear about successes as well as problem areas!

Social Graces
    Do not call your teacher at home. Teachers have lives also, and after a long day at work, they deserve uninterrupted time with their families. If you call, do so during office hours. Many teachers put office phones on voice mail while teaching, so leave a concise message with a call back number. Some teachers prefer email or text messaging. This is something to discuss at an early lesson.
    Do not expect a teacher to become part of your social network. Studio parties (where everyone is included) are a great way to bond a studio together. However, private dinners or coffee breaks with a teacher are not part of the norm. If you feel uncomfortable in a situation, then there probably is a reason for alarm. Both the teacher and student should plan on socializing with their own peer groups. If you find yourself in a difficult situation with a teacher, discuss the problem with your parents or a university advisor.

What Courses To Take?
    High school students should meet with their guidance counselor to ensure that they meet the course requirements to graduate on time. If possible, check the entrance requirements for the university that you plan to attend. Be sure that you have fulfilled these obligations also. If possible, try to complete as many Advanced Placement courses as possible in high school, so that you can fulfill the general goals of the university. Having these courses out of the way will provide more time for your music studies and practice time. Many of my most successful college students have entered with most of the general course requirements fulfilled by way of Advanced Placement courses in high school.
Go see your advisor. Sooner is better than later. Listen carefully when the advisor explains your curriculum. Most advisors have a printed handout that lists the courses you should take semester by semester. Follow the schedule to ensure that you graduate on time. Students often put off taking dreaded difficult courses until their final semesters only to find that the information in these classes would have helped in many other courses.
    Many students are disappointed to learn that they will be unable to student teach because they never passed the piano proficiency exam. In most schools the catalog or bulletin that you use when registering for the first term is the one that you will follow to fulfill graduation requirements. Changes  that are put into place after you have begun study usually will not affect you. Register on time. Pre-register as soon as allowed so that you get the first choice of classes to fulfill your degree requirements. Pay your bills. Clear up any library or parking fines. Be professional in the way that you handle your financial affairs with the university and in your personal life.
    Once school begins, keep an appointment calendar and check it often. Each day will be on a different time schedule. Attend classes. You or someone is paying for you to be there. Spend your money wisely. Plan your study and practice time. Remember that a regularly set practice time each day, will help you remember to practice.
    Do not wait until the last moment to practice for juries or study for exams. Cramming generally assures that you will forget at least half of the material during the next six months. Develop a comprehensive studying program so that you receive an education for a lifetime.

Auditions
    Check the music school’s website for a list of performing organizations. Most ensembles post audition dates and requirements before the term begins. Often audition music is available to download for practice. Follow the directions carefully. Sign up early for an audition time and be punctual for the appointment. Be prepared to play what is expected. Play at a level to make it easy for them to select you. If you are flying in, carry instruments and audition materials with you to ensure that lost luggage will not affect your audition success. Dress professionally.  Remember good manners are always an asset.
    Audition Results
    If you succeed in the audition, take the assignment seriously. As a freshman, do not expect the best parts. In most situations, you still have to earn the respect of the teacher and conductor. Do not gripe about your part assignment. It will only label you a trouble-maker. Busy people do not have time to deal with difficult students.

First Rehearsal
    Arrive early, warmed up, and with the music learned. Music preparation includes the right notes, at the right time, in the marked tempo, and with the correct style. Preparation on your part should include score study as well as listening preparation. CDs and online (youtube) performances are valuable assets. In an advanced group, the director will not take the time to teach you notes or rhythms. That is your job. Mark (in pencil) any instructions offered by the conductor. Help make rehearsals run smoothly and quickly. Do not talk to section members when the conductor is issuing instructions to others.
    Be someone others can count on. Respect the music librarian’s rules. Keep the music in the folder in a safe place. If you miss a rehearsal, make arrangements to have someone bring your music, so someone else can play your part. Never mark music with a pen. Erase markings from your part after the final concert. Check the librarian’s rules about where to leave the music after the concert.     Whatever you do, do not take the music home after the final concert, which will require someone to call to ask you to bring it back. Much of today’s instrumental music is on rental. Delaying the return of the music to the publisher is expensive for the organization. Do your part to keep expenses in check.

Check The Call Board/Email
    Many schools have a bulletin board that lists announcements for ensemble rehearsals and class schedules. Check the board frequently for any notices and updates. Return phone calls and email messages promptly. When a well-known orchestral personnel manager was asked which substitute he hires, he said: the one that answers and returns my phone calls. 

Other Tips
    • Check on scholarship updates.
    • Take enrichment courses such as Pilates, yoga, etc.
    • Network with peers and other other professionals.
    • Be on the alert for internships and summer music programs.
    • Get enough sleep, good food, and exercise.
    • Consult your career counselor.
    • Check in with your parents from time to time.
    • Stick to a budget.

Develop Yourself
    Most musicians today will teach sometime during their careers. In order to become a fantastic teacher, get some experience. Good options for teaching opportunities include youth conservatories, public school programs, and music stores. Your first teaching encounter may be volunteering in a school program. This is an excellent way to develop your talents and also make valuable contacts for future employment.
    Organize a small chamber ensemble to perform for weddings and receptions. Make cards advertising your ensemble and post the cards around the campus, at music stores, with wedding-planners etc. to promote your group. Many universities have job placement centers that may aid in your development. Besides making extra cash, you will be honing your performance skills and building your resume.

Check The Resources
    Most universities have excellent libraries and listening laboratories. Become a regular patron. Check out scores to accompany the CDs and videos. Remember listening is also a part of practicing.
Check out the professional performance concert series. Tickets are usually less expensive for students than for the general public. This is your opportunity to observe some of the great performers of our time. If the performer offers a masterclass, attend. It does not matter if you play the instrument or not. Music is music. I have learned the most about musical pacing from piano and string masterclasses.
Do attend your fellow students’ concerts and recitals. Not only are you being supportive of their work, but you will learn a broad range of musical repertoire. The more you know, the better you will become. Attend all studio functions. Your teacher has put a lot of time and thought into providing the best array of experiences for you and your development. Pay attention.

Social Networking
    Be careful what you write and place on internet home pages. Do not trash teachers or colleagues. Prospective employers check these sites to glean any information about job candidates. The best advice is to write nothing that you would not be happy shouting from a microphone on the front steps of your home.
    Your college days will be some of the most memorable days of your life. A good plan of action ensures that you make the most of the opportunity and reap the greatest benefits from it.  Remember that only 30% of the population in the United States as a college education. Try your best and aim to become part of the top of the 30%! 

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    This year’s theme, Illuminating Tradition, pays homage to our heritage as an organization that serves to inspire, enrich, and educate flute players. We look forward to honoring the traditions of our rich musical legacy, as well as igniting newfound enthusiasm and passion for the flute. 
    Artists from Asia, Mexico, Europe, and America will  perform in what will be an exhilarating, informative, exciting, and, yes, exhausting four days. California summer daytime temperatures can range into the 80s and 90s, so pack in layers for chilly hotel ballrooms and beautiful, balmy California evenings.

New NFA Committees
    Two new committees present this August for the first time. The Low Flutes Committee, chaired by Chris Potter, presents a full recital “Voices From the Deep” on Thursday morning, showcasing the versatility and virtuosity of all low flutes. Chamber, solo, and large-ensemble works are featured, including a premiere by Alexandra Baldwin. Also, there is Saturday afternoon workshop about alto/bass flute basics lead by Potter and Robert Dick.
    The Career and Artistic Development Committee led by Laura Barron announces its first “Think Like an Entrepreneur” mini-conference. Comprised of four career-related workshops, this event is designed to help flutists bring their wildest project ideas to fruition.  The committee, which includes Stephanie Jutt, Alberto Almarza, Eva Amsler, and Jill Felber, will select 24 flutists to participate in the workshops, during which they will be able to flesh out their concepts and begin project planning.
    Interested flutists should send their project proposals (500-word maximum) to committee chair, Laura Barron: laura@laurabarron.net by July 1. Additional auditors are welcome to attend any of the workshops. There are no application or participation fees, though all participants and auditors must be registered convention attendees. The CAD workshops are scheduled for Friday and Saturday, 8:00-10:00 am.

Kids Kamp
    Kids Kamp is a half-day event designed for young flutists ages 8 to 13, an age group that has not received much special programming in the past. Carol Wincenc presents a unique program for the Kids Kampers, to be followed by a hands-on reading session of simple, entertaining music under the baton of Barbara Ogar.
    Kids Kampers may also attend any open convention sessions, including the exhibits. There is no preregistration for this event. Fees for Kids Kamp are $20 per person, and you can register at the door on Saturday, August 14, beginning at noon.

For the Teachers
    The Pedagogy Committee presents its inaugural Pedagogy Breakfast on Saturday morning, with guest speaker Tadeu Coelho. Watch for details on what is hoped to become an annual tradition. If eating and discussing flute are two of your favorite things, be sure to attend the Flute Lover’s Lunch with James Walker as the featured speaker.
    On Saturday morning The Historic Flutes Committee presents an open Baroque Flute Masterclass led by Greer Ellison, the early flutes professor at the University of California-Santa Cruz, who will also present a recital assisted by flutist Wendy Rolfe and harpsichordist Jung Hae Kim. A lecture on Baroque style takes place on Sunday.

Jazz Highlights

    Jazz gets its groove on this year with Nicole Mitchell performing on Friday for the first of two cabaret nights. Mitchell placed first as Downbeat magazine’s Rising Star Flutist 2005–2009, was awarded Jazz Flutist of the Year 2008 by the Jazz Journalist Association, and was named Chicagoan of the Year 2006 by Chicago magazine. Nancy Stagnitta performs on the Saturday night cabaret, and Ali Ryerson presents a Friday session on jazz flute practice techniques. She also hosts an open jazz flute reading session on Saturday. Bring your flute and join the fun!

Special Celebrations
    We celebrate the 70th birthday of notable flutist and composer Robert Aitken on Friday with a recital dedicated to his compositions, including a work for flute ensemble. Robert Dick will perform some of his most well-known compositions in his own unique style on his glissando headjoint, and Steve Kujala teaches  his fretless flute techniques. If you want to learn to beatbox, you can attend Greg Pattillo’s Saturday masterclass on and hear his Project Trio ensemble on Thursday evening. There is also a concert featuring electro-acoustic flute music and electronic music entitled New Directions that takes place Saturday 12:00-1:30 pm.

Piccolo Events
    A concert of flashy miniatures for piccolo and band takes place Thursday morning. The California State University Wind Symphony directed by of Mitch Fennell accompanies Sarah Jackson from the Los Angeles Philharmonic, Walfrid Kujala, retired from the Chicago Symphony, Nan Raphael, Linda Toote, Lois Herbine, and Peter Verhoyen in piccolo pieces designed to thrill.
     On Friday Lois Herbine, Nicole Esposito, and Verhoyen play a recital of piccolo and piano works, and Jan Gippo, Madera Winds, Maria Ramey, and Debora Harris perform Music
for Flutes, Piccolo and Unlikely Partners. Sunday is the day for Sarah Jackson’s piccolo masterclass, which is open to all.

Masterclasses & Competitions
    Masterclass teachers include Sarah Jackson, piccolo, and Cathy Ransom-Karoly, orchestral excerpts, as well as Amy Porter and Michael Faust. The competitions this year include the Young Artist, Piccolo Artist, High School Flute Soloist, Convention Performers, Orchestral Audition, and Solo Performers competitions – all popular events and NFA traditions.

Major Concert Events
    The Gala Concerto night features Cathy Ransom-Karoly of the Los Angeles Philharmonic performing the Reinecke concerto, piccoloist Jan Gippo performing an Eric Ewazen premiere commission, Michael Faust performing a concerto by Vasks, and Carol Wincenc enchanting us with a special premiere. You can also hear Marianne Gedigian perform works by Moquet, Gaubert, and Poulenc on Friday in the Grand Ballroom.
    Headliner Recitals feature Amy Porter, Nobutaka Shimizu, Miguel Angel Villanueva, James Walker, and Demarre McGill, and the Thursday night Gala Concert features Suzanne Teng and her world music group Mystic Journey, the Matt Eakle Band (a groovy blues flute lead band that will rock the house), and Project Trio.

Lifetime Achievement Awards
    Winners Fenwick Smith and Leone Buyse perform the 8 p.m. Friday Gala Concert, the second half of which is a tribute to their teaching by several of their former students, including Marianne Gedegian, Ebonee Thomas, Hilary Abigana, Li-Ming Chen, and Kristin Eade. The Lifetime Achievement Awards Banquet itself takes place Saturday evening, so don’t forget to sign up for the opportunity to honor them and enjoy a fine meal as well.

Flute Choir Events
    This will be another banner year for flute choirs at the national convention! The Illumina­tions Flute Orchestra starts the convention off under the direction of Wendy Kumer. This large flute orchestra is open to all convention participants and provides a wonderful opportunity to play great music alongside old and new friends. You can sign up when you register for the convention.
    You are also invited to bring flutes and music stands to Flute Choir Reading Sessions. These sessions feature repertoire ranging from old favorites to the latest publications hot off the press.
    The High School Flute Choir is conducted by John Bailey, John Barcellona directs the Collegiate Flute Choir (the NFA’s newest competition choir), and Steven Byess conduct the Professional Flute Choir. Flute choirs from across the U.S. and abroad are featured daily in lobby concerts at lunch time and before evening gala concerts, and there are Flute Choir Showcases as well. The competition choirs perform on Sunday.

College Credit Available
    For the first time ever, professional development credit is available through the Extended Education Department at California State. Separate paperwork is available should you want to earn one unit of credit (15 hours participation required); the cost is $100 for the unit. An outcomes paper is required for course verification. Specific details about this, including the registration form, are on the web site (), will be in the Flutist Quarterly summer journal, and will also be available at the convention.

All the Rest
    Flute music from Asia takes a spotlight this year with the Kiramiki Flute Ensemble from Japan, as well as two artists featured in a shared recital of Japanese and Taiwanese influences in western music: Tzu-Ying (Jennie Lin) and Ai Goldsmith. Lectures include an informative session on conducting techniques for flute choir leaders led by Carlo Jans, who conducted the professional flute choir in New York City last year. Informative panel sessions from the Performance Health Care Committee and the Pedagogy Committee abound. Yoga will be highlighted in a Floga session for flutists. Feldenkrais and body movement seminars are also included.
    In addition to all of these marvelous activities, the exhibit hall will be open daily with a stunning display of instruments from all major manufacturers, music, accessories, and all sorts of flute related items. We have scheduled one hour a day free from concerts and presentations to be devoted to shopping for your flute.

Southern California

    The convention takes place literally blocks from Disneyland and Disney’s California Adventure theme parks; they have offered special discounted rates to the park to NFA members, so bring the family with you for an extended vacation.
     If you plan to spend extra time in Anaheim, there are beautiful beaches nearby, as well as high-end shopping within easy driving distance. South Coast Plaza, The Block in Orange, Newport Fashion Island, and Santa Ana’s Main Place are among the dozens of shopping malls within 20 minutes of the convention site.
    Museums and concert halls abound including the Renee and Henry Segerstrom Concert Hall, the Hollywood Bowl, and Disney Hall to name just a few. If you are a fan of Hollywood, it is just a short 35-mile drive north of Anaheim.
    Southern California is blessed by natural beauty. The beaches are fabulous, and if you favor mountains, you can drive from Big Bear in the morning to local beaches by nightfall.
I hope that you will join me in sunny Southern California for four thrilling days of memorable music making and learning. Bring along your sunscreen, an open mind, a sense of humor, and have a wonderful adventure with us here in Orange County.

For more about activities and the hotel, go to .

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