After opening a private flute stu­dio, I found myself repeating to each of 20 students the same basic suggestions about posture, finger placement, breathing and other essentials of good flute playing. Many flute students were bored with the school music program because the director devoted so much time to the other instruments that the opportuni­ties to play were limited. Some flutists complained they couldn’t hear their flute because everyone else was so loud.
   As summer approached I feared some students would become dis­tracted and lose interest in practicing without band performances and rehearsals. As an alternative to group lessons, I formed a flute ensemble. It would give them the opportunity to work on the problems that had appeared in so many lessons. The group was big enough to give students a sense of collegiality but small enough that each person made an identifiable contribution.
   The ensemble first met on the last day of school and continued through­out the summer, meeting every other Saturday for two hours. After six rehearsals they performed a recital and clearly enjoyed having accomplished so much in a short time period. We decided not to continue rehearsals during the school year to keep the experience fresh for summer.
   The goal was to have fun and to learn while playing both familiar and new music. Students were encouraged to ask others for help and, in tum to help anyone who had questions. Most members were middle school students of about the same ability level. Two advanced high school students pro­vided leadership, and two advanced ele­mentary students also joined the group. While a little competition can be good, too much of it can undercut self-esteem or cause hard feelings. To promote a friendly and inviting atmos­phere, the last 15 minutes of each rehearsal were reserved for refresh­ments and conversation, so members could make new friends and talk about hobbies.
   We spent considerable time tuning at the beginning and throughout each rehearsal. Warm-ups were scales, rhythms, whole-note, and half-note exercises on thirds, fifths, and octaves. We played one more scale in whole notes, both with and without a tuner. Students helped each other correct pitch problems, including suggestions to keep the head up, use more air, and pull the headjoint out. Midway through a rehearsal or for a particularly difficult passage we checked the intonation by holding each note of the passage and listening for the intervals.
   During warm-ups we discussed the basics of posture and breathing as they affect intonation. We also used a set of rhythm exercises that started simply but moved on to difficult rhythms in the repertoire.
   I tried to include diverse styles of music that would appeal to students. One program consisted of "Dance of the Flutes" by Tchaikovsky; "Musette" by J.S. Bach; "Menuette Classique" from The Art and Practice of Modern Flute Technique, Book Two, by William Kincaid; "Rondo" by Jean Joseph Mouret, arranged by Sondra Tucker; and "Shenandoah" arranged by Sondra Tucker. Each of these short selections has musical challenges. Students instantly liked the easy "Musette" and "Menuette," for which we focused on fundamentals and dis­cussed the importance of moving lines and melody. The Rondo was more challenging, but again well loved. "Shenandoah" proved to be the most difficult piece, but as we struggled to learn and balance the parts it became our favorite. All of the students were familiar with "Dance of the Flutes" and excited about playing it. The 32nd notes motivated diligent work on scales and arpeggios and the piece was a perfect conclusion to the recital program.
   Most arrangements were for three or four flutes, which meant two or three players to every part. The music called for students to be strong, but no one was ever alone on a part. We switched parts on every composition so everyone played first flute on at least one piece.
   Intonation steadily improved, which was gratifying to them because it is sometimes neglected in private lessons as students struggle with notes. So often in school bands they could not hear well enough to check intonation let alone make adjustments. In a flute ensemble they could readily hear if someone was out of tune.
   Everyone had a good time and made new friends in an atmosphere that was not burdened by competition.

The post Teaching with Flute Ensembles appeared first on The Instrumentalist.

Flute Solo and Chamber Music
Deux Nocturnes, Op. 326, for flute, horn, and piano (or harp) (1904-1912).
Trois pièces, Op. 346, for flute, bassoon, and piano (1899-1907).
Sonata pour flute et piano, Op. 52 (1904-1915).
Suite en quartour, Op. 55, for flute, vio­lin, viola, and piano (1911-1915).
Sonata pour deux flûtes, Op. 75 for flutes alone (1918-1920).
Pastorale, Op. 75b, for flute, clarinet and piano (1917-1921 ).
Divertissement, Op. 91, for three flutes (1923-1924).
Trio, Op. 92, for flute, clarinet and bas­soon (1924).
L’Album de Lilian (volume 1), Op. 139, four of nine pieces include flute (1934).
L’Album de Lilian (volume 2), Op. 149, four of eight pieces include flute (1935).
Sonatine modale, Op. 155, for flute, and clarinet in A (1935-1936).
"Primavera" quintette, Op. 156, for flute, violin, viola, cello, and harp (1936).
Quatorze chants, Op. 157b for flute and piano (1936).
Epitaphe de Jean Harlow, Op. 164, for flute, saxophone, and piano (1937).
Septour, Op. 165, for flute, oboe, English horn, clarinet, alto saxo­phone, horn, and bassoon (1937).
Trois sonatines, Op. 184, for flute alone (1942)
Les Chants de Nectaire, Volumes 1, 2, and 3, Op. 198, 199, and 200, for flute alone (1944).
Pièce, Op. 218, for flute and piano (1948).
Sonata à sept, Op. 221, for flute, oboe, harpsichord (or harp), two violins, viola, and cello (1949).
Second quintette, Op. 223, for flute, violin, viola, cello, and harp (1949).
Stèle funéraire, Op. 224, for three flutes: piccolo, C flute, alto flute (1950).

The post Charles Koechlin’s Flute Works appeared first on The Instrumentalist.

   When accompanying instruments have a steady pattern of eighths or six­teenths, the pulse should gradually slow down and the rest of the ensem­ble follows. I envision a wind-up toy or the battery-operated Energizer bunny that wears down until the motion stops with a final click.
   The most misunderstood words are crescendo (abbreviated to cresc.) , the process of getting louder; and diminundo (abbreviation dim.), becoming softer.
   The art of interpretation stems from the development of musical ideas. In the big picture of a composition these include counterpoint, but for servants of the single line, it is the art of phras­ing to show harmonic progression, ten­sion, and release.
   The most important aspect of these is the way we crescendo and diminu­endo, which are not dynamics but the evolution in progress thereof. The
indication diminuendo differs from piano (softer) or piano subito (suddenly soft). A diminuendo occurs at the high­est dynamic for a passage. Our first concern should be to imagine where this leads so we can delay the softest sound until the final moment. In fact, if the passage descends, a natural ten­dency (called agogic )¹ will cause the flute line to lose intensity until the diminuendo ends.
   If the passage is four bars or more, the actual diminundo could take place on the last two bars. When the dimin­uendo appears within one bar, it could take place on the last note, especially if it is a harmonic resolution of an appoggiatura.² Because long notes seem to diminish by themselves, they should be sustained instead of dimin­ished, even in a diminuendo.
   A crescendo is most evident, judging by the way most flutists dig in to it, yet it is a warning of the task at hand. Where am I going ? How far away is the culmination? It helps to hold back and keep some musical energy for the last outcome. Breathe early and manage your air when the crescendo begins so you don ‘t come up short. The flute ‘s natural agogic wants to jump ahead as a crescendo invites an accelerando, whereas a diminuendo tends to drag.
   Our greatest pleasures are not so much in the actual accomplishment of the outcome as in the intensity of our desire and in the patience of our long­ing. Likewise for the construction of a crescendo: savor the buildup and don’t get there too soon. Because all dynamics tend to return to mf/mp, you can savor the moment by stretching a crescendo or a diminuendo longer than seems right at first. Know yourself, know your flute.
   By all means, play intuitively but not before you have sorted out the tenden­cies of your playing and the urges of your emotions. In a passage that should go faster, slower, louder, or softer, help it along if the music so dictates or pull it back whenever it gets out of hand. The next time you see an Italian musical term, take time to ponder the origins and meanings of it and how it should influence the music.

Endnotes
¹Agogic: It is the combination of the slight changes that occur during a human instrumental execution. For instance, the higher range of the flute tends to be brighter, the lower darker, etc.
²An appoggiatura is an indication of har­monic tension. This tension often re­solves in the next note to which it is slurred. With exceptions, when two are slurred, the second one is a release of the first and should be played softer, which is not quite the same as saying that the first is louder than the second.

The post Understanding Italian Annotations appeared first on The Instrumentalist.

Dealing with the Case
   A college violin professor colleague remarked that he could tell what level of advancement a prospective student was before hearing them play by simply watching how they took the violin out of the case. An advanced student, who possesses a more expensive instrument, carefully and slowly removes the violin from the case while a less experienced student exhibits little care or respect for the instrument by quickly removing the violin from the case and perhaps accidentally banging the instrument on the case or table.
   This scenario is often repeated in the flute studio. The student quickly removes the flute from the case and begins to put the flute together without aligning the tenon on the footjoint with the tenon box (or receiver) on the body of the instrument. Then the headjoint is inserted at an angle which with repeated attempts, the end of the headjoint is no longer round. Inexperienced students do not realize how critical the fitting of the tenon and tenon box are to the flute having the capability to produce a ringing sound. Inexperienced flutists may also grab the keys when assembling the flute rather than placing the hands on the tubing where there are no keys. Grabbing the flute by the keys can bend the keys while the natural oils on our hands have an adverse effect on the pads.
   How many of us take the time to teach how to take the flute out of the case other than in beginner lessons? And, how many of us also take the time to how to take the flute apart after practice sessions or lesson and replace in the case? While discussing assembling the flute with students, remind them that there should be nothing in the case except the flute. Cleaning rods, pencils, pens, glasses, phone, and change are best kept in a zippered compartment of the case cover or flute bag. A couple times a year, have your handi-vac available for students to vacuum the case. The lint that appears over time can affect the performance of the pads and rods.

Aligning the Flute
   I asked a clarinet professor friend if his students aligned their instruments well. He said he had never thought about it, but the next day checked the students’ alignment and found that not one had the clarinet adjusted correctly. This is true for flutists too. The better you become as a player, the more you strive for consistency. The only way to have consistency is to have the flute aligned the same way each time you play.
   There are three common threads in aligning the headjoint of the flute with the body. The classic alignment which was taught by Joseph Mariano, William Kincaid, Julius Baker, and Frances Blaisdell aligned the center of the embouchure hole with a line in the center of the right-hand keys. There is another group of flutists that prefer a modified Rockstro which aligns the outside of the embouchure hole with a line in the center of the right-hand keys. In some areas flutists play with a full blown Rockstro where the embouchure hole is rolled in even more. The Rockstro position results is having the right shoulder in an uncomfortable position, so in the US, it is not in favor as eventually the flutist will experience pain.
   In beginning lessons, many teachers align the headjoint and mark straight lines on the headjoint and body several times around the tube to aid in aligning the headjoint. These marks last only a few weeks and then must be redone. As students advance, they will be able to place these marks themselves.

Stance
   How students place their feet when playing tells you a lot. Students who play in a marching band have been taught to play with the feet side by side. However, the flute is an asymmetrical instrument and should be played with the left foot in front and right foot in back. Other asymmetrical instruments are the bassoon, French horn, trombone, tuba, and strings. Marching band rules also require the flutist to hold the flute parallel to the marching field with the elbows up. Most professional flutists turn the head to the left and then let the flute angle down somewhat and let the arms hang which positions the elbows in a more down position.

Warmup
   When listening to a flutist warmup, band trained flutists often play long tones on a Bb major scale and continue with the type of warmup a band might use. They may only know a few scales (F, B flat, E flat, G). A good warmup includes harmonics for embouchure agility, articulation strokes (T, K, Hah, TK and TKT), trills (for warming individual fingers), finger patterns (half and whole step, gruppettos, mordents, top octave), vibrato work, and the theoretical material such as scales of all kinds, thirds, sixths, arpeggios, and seventh chords. From a student’s warmup, you can calculate what is missing and develop a plan to fill in the gaps over the next months. Working with a printed circle of fifths and a photo of a one or two octave keyboard helps in explaining what half and whole steps are and how scales are constructed.

Etudes
   Many students arrive with no etude books; others arrive with etude books in which only regional and all-state etudes have been studied. Many times, I have asked, “What etudes have you studied?” and received the reply, “Some in the blue book and a few in the red book.” This response offers little help in learning what the student has worked on in the past. There are many blue and red books.
   Students often view etudes as the weekly torture; however, as their theoretical technical skills improve, so will the ease in which etudes are learned. This is one of the best reasons to teach scales and arpeggios. Some students are not used to preparing one to four etudes a week. They have very poor practice skills to use in learning new material. Here is a simple practice outline that the students can use and then check off once done. In the early lessons, the teacher should mark the breathing places that are appropriate for the student’s size and advancement. I also mark the section so the flutist learns that once he has mastered the first 16 measures, it is repeated at the end with few alterations.

            Tongue each note 4 times, 3 times, 2 times using varied tempos.

            Tongue each note 1 time, using T, K, or Hah, at a slower tempo.

            Chunk by beamed notes. In 4/4, this would be also by beat.

            Chunk by one measure, then two, then four.

            Metronome work: start slowly and work up a few ticks each day.

   Piano methods often have four books for the student to use at the same time. These may address technique, simple pieces or etudes, performance repertoire, and theory (note-speller). While flute method books are usually inclusive of many of these things, this curriculum may be duplicated by assigning etudes in several books that are in the same key. Key saturation is more beneficial to the inexperienced student than changing key every week. Once the student is advanced, changing keys in each lesson offers benefits that are more useful at that stage of development. A good entry point for students who have only studied in a band program are etudes by Kohler, Kummer, and Gariboldi. These may be found as a free download on . If you enjoy adding duets to the curriculum, then search flute duets on imslp.

Solo Repertoire
   For over 20 years I taught at a summer music festival. Sometime each spring I listened to audition recordings to select 10 flutists to attend the festival. I heard some amazing Hue Fantasies and Nielsen Flute Concertos only to find when the student arrived at the festival, they had extremely poor sightreading and theoretical technical skills. When the audition level and the in-person performance level was on two such varied levels, I added to the audition form, “How long have you been working on this music?” The answers surprised me – two years, three years etc. Recently I was talking with a university professor who also had noticed the discrepancy between recorded auditions and in person auditions. The professor said he too had added, “How long have you been working on this music?” to his list of questions. Teaching a flutist music by rote is a slow process and really doesn’t make the flutist more advanced in the future. He may be able to play a challenging piece because it has been parrot-taught to him, but as a functioning musician, there simply isn’t anything there.
   When I re-auditioned students for the festival or for university ensemble placements, I added a simple sightreading piece. One of my favorites was by Kuhlau, 8-bars long, in 3/4 meter, G minor, and with some dotted quarters. Almost every flutist stumbled someplace in the melody and later apologized for their poor sightreading skills. Most students have played very little in 3/4 meter and in minor keys. It is a telling experience for them when confronted with sightreading simple melodies.
   This leads me to encourage teachers to select level appropriate solo repertoire. While is it fun for us to teach the concertos by Ibert, Nielsen, etc., many students never learn the intermediate level repertoire which includes Handel, Telemann, and Vivaldi Sonatas, and works by Donizetti, Bizet, Gluck, Godard, Andersen, and Kohler. Teaching this repertoire first means when the student is ready for the Ibert et al, he will be able to learn it by reading the notes and understanding the rhythm rather than by rote instruction.

Last Caution
   When teaching pedagogy seminars, I encourage teachers to go slowly and thoroughly building a foundation from the bottom up. This takes patience. I also encourage teachers to teach what the student needs rather than what interests the teacher. Each of us in our enthusiasm for the flute and music would really like to talk about what we are thinking and practicing, but for the students these topics may be years off.

The post What to Teach appeared first on The Instrumentalist.