2012 Winners of the Florida Flute Association’s Competitions
College Young Artists
1st place: none
2nd place: Tie: Allison Watkins and Meekyoung Lee
3rd place: Kate Nichols

High School Young Artists
1st place: Alexander Ishov
2nd place: Hannah Fell
3rd place: Emma Silberstein

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What if I get a bubble in a key?
   Most often the temperature of  breath is warmer than the temperature of the air in performance venues. This means condensation can form on the inside of the piccolo and sometimes a water bubble will form between the tone-hole and the key. The water has a suction-like action and clings to the tone hole forming a seal. When this happens, it is possible to raise the key and still have a problem. You can carefully pop the bubble with a fingernail during a rest, or if you have a bit more time, use a cigarette paper or pad cleaning paper to pop the bubble. The paper will also absorb the excess moisture that might be released. If any water is still present, dry it carefully. The piccolo should be good to go for the rest of the concert once the bubble has been broken. No further long-term problems should occur.

What happens if a pad falls out?
   This problem needs professional attention for the best and most permanent repair. Because the keys of the piccolo are small and close together, the quick fix that is often used on flutes (heating the glue on the key cup with a match or cigarette lighter and resticking the pad back in the key cup) becomes much trickier. A soldering gun might be able to offer a pinpoint heat source if one is available. Sometimes a scotch tape sling that tapes the pad to the key might get you through a concert, but afterwards, see a repairman.

What if a kicker falls off?
   The cork or felt kickers can become dislodged as they are quite small and vulnerable. Try to use tape to build up the space between the metal of the mechanism and the body of the piccolo. Post-it notes also work quite well, and they can easily be cut to fit the tiniest area. Visit a repairman to fix it permanently.

What if a pivot screw falls off?
   Again, a repair technician is the real solution to this problem. In an emergency, cut a conically shaped toothpick shorter and insert one end in lieu of the missing pivot screw.

What if the orchestra gets lost?
   This is an important consideration for the piccolo player because the piccolo is usually audible in the orchestral texture and as the highest pitch, can help the orchestra get back together. Sometimes orchestras get lost while you are counting measures of rest. When a crisis occurs, you have a quick decision to make. Which group of the orchestra should you follow?    Sometimes there is no correct answer, but generally it makes sense to enter with the majority of players as the majority will hopefully unite the lost stragglers.
    Another alternative is to join the brass section as their volume alone will also serve as a beacon to the lost sections of the orchestra. The loud sound of the brass section also makes it difficult for them to hear the rest of the group, and they may be unaware of the problem. It helps to know the music thoroughly so that you find your place. 
   There is a story about the Cleveland Orchestra from many years ago. The orchestra was on tour in Russia playing the Daphnis and Chloe Suite No. 2. The orchestra had arrived at the final dance section when the power went out on the stage. One by one, players dropped out except for the lone Eb clarinet player who had memorized his entire part. He kept playing, and when the power came back on after a few moments, the other players recognized where he was and joined in again. The whole orchestra finished the piece together to a rousing ovation. Conductors occasionally get lost for a moment or two as well, so it helps to know the music and realize there are certain times when not following the conductor is the wisest choice.

What if my piccolo gets a crack?
   Repairing a crack is not something players should attempt at home. Take the piccolo to a repair shop to have it fixed properly. Calm down and remember a repair technician can bring the instrument back to perfect playing condition.
   Each piccolo is distinctive in that it is made out of a biological medium, wood. The wood is aged and cut to minimize the potential for cracks, but it is possible to have problems no matter the precautions taken. The basic repair for cracks in piccolos involves super glue or epoxy glue of some kind and wood dust. Super glue has a capillary action, meaning if you put a small amount at the end of the crack, it wicks up the length of the crack to fill it. Adding wood dust to match the wood of the instrument (grenadilla dust, or rosewood, or whichever wood the piccolo is made of) helps mask the shiny look of the glue when it dries. A bit of judicious light sanding of the surface helps mask the slightly tell-tale shine of the glue as well. You may have heard of pinning a crack in wood, but this method is not practical for the thin walls of piccolos. Generally pinning the crack works better on the thicker wood of oboes and clarinets. The glue fix is quite permanent and the instrument is usually back to its normal condition after the glue dries.
   Performances provide excitement for the audience and players as the musical creation unfolds. Occasionally there is more excitement than expected. When a musical emergency arises, stay calm and figure out the best solution.    

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    Ever since high school I wanted to run a summer music program because I had such great experiences at music camp growing up, both as a student and as a counselor. I loved being immersed in a musical environment and able to focus on my instrument without distractions. Music camp let me to work with teachers who bolstered the work I was doing with my private teacher and also provided large ensemble and chamber music experiences, masterclasses, and solo performances. Music camp also fosters friendships that form as a result of the intense experience of making music together in an oasis environment. (I met my life-long best friend at Interlochen in 1978.)
   My vision for the camp I wanted to direct included offering classes on subjects that many private teachers don’t make time for in weekly lessons, including pedagogy, analysis of tonal coloration, and sightreading.
   Northern California Flute Camp originated as a small summer flute workshop at Hidden Valley Music Seminars in Carmel Valley. In 1994 I was invited, along with several other teachers, to join the faculty of that program to teach and help with organization and recruiting. The minute I walked onto the campus of HVMS I knew it was ideal for the program I imagined. With some restructure, a massive recruiting effort, and a request from the General Director of HVMS for me to run the program, Northern California Flute Camp was born.
 
Getting Started
   A mission statement was the first step. We stated our teaching philosophy, goals for development, curriculum plan, and age group. Writing a mission statement forces the administration of any program to carefully and succinctly define what it is they hope to accomplish.
   Next we determined enrollment goals and decided that 50 students would be the maximum number of students that the schedule, staff, facility, and overall structure of the program could handle. A more traditional masterclass with both performers and auditors has different considerations and requirements, as not every participant needs performance or rehearsal time.
    Amassing a committee of teachers or volunteers who share the same vision is invaluable, as long as each person brings something to the table. It is best to have at least one person who has experience running a non-profit of some sort, as well as people who can help with recruiting, negotiating with a venue and appealing to individuals and businesses for donations.
 
Financial Structure
   Our program is produced by and run under the fiscal umbrella of Hidden Valley Music Seminars. All payroll, donations receipts, and federal and state employee tax filings are handled accordingly. 
   For the overall financial structure an arts program can either be an official 501©3 non-profit organization, or operate under the fiscal umbrella of an already established 501©3 non-profit. There are pros and cons to each. For example, a non-profit organization allows for more freedom, but will need to hire a C.P.A. to do non-profit tax returns, which is completely out of the budget for most small summer programs. If the event can be run by an already existing 501©3 (such as a church or a school) their non-profit status can be used for fundraising and bulk mailings without the burden of having to sustain the infrastructure of a non-profit all on your own. This will mean that you will have a partner in the endeavor, so be sure that your philosophy and goals are on the same trajectory.
 
Liability Insurance
   Liability insurance is essential and will vary broadly depending on the location, requirements of the venue, age of participants, and nature of the program (day or overnight), activities planned, and size of enrollment. The policies of some venues will cover small programs that take place there; others will require you to purchase a separate policy.
 
Location, Location, Location
   College campuses, retreat centers, community centers or local schools (for day programs) are all options. Try to determine what surroundings would be conducive to the program. If you are planning a summer music institute, look at universities that can provide concert venues, practice rooms, and pianos. An outdoor, back-to-nature setting might be a good match with retreat centers such as a church or scout camp.
 
Developing a Budget
   After we created the curriculum and a daily schedule, the next step was to figure out how many teachers and pianists were needed to teach private lessons, classes, and direct rehearsals. The number of people that are hired is a big part of the budget. Remember that if minors attend the camp, additional staff is necessary including teaching faculty, counselors, and at least one pianist. Youth programs should strive for a teacher to student ratio of no less than 1:6. Staffing needs for retreats vary widely depending on the budget, curriculum and format.
   Currently, we have five professional flutists, two collaborative pianists, two faculty assistants, two counselors and one student intern (who is not paid) for 45-50 participants ages 12-18. Our salaries are miniscule considering the number of hours we work, but we all feel that the rich rewards we reap from the program more than make up for this. The budget includes personnel salaries and travel, rental fees, and administrative costs (postage, printed materials, website).
 
Funding
   Tuition payments cover approximately 90% of the total budget. Donations from alumni, music stores, arts education foundations and instrument manufacturers make up the rest. Such fundraising events as recitals or silent auctions also raise funds. Once an alumni list is established, they become an important source of contributions. Personal subsidies may be necessary in the first few years.
 
Faculty and Counselors
   For faculty positions, select excellent musicians who are experienced teachers and are passionate about the program. It is also important to find people who work well with any age group and have a sense of humor. Look for teachers who can bring something special to the event. Pianists hired as accompanists should already know the bulk of the flute repertoire. You may have to appeal to the altruistic side of several teachers for the first year.
   Counselors should be responsible, college-age students who have a vested interest in music and are willing to roll up their sleeves and enthusiastically dive into even the most repugnant of tasks (such as toilet plunging). Very often it is the support staff that makes or breaks the camp experience for everyone.
   A guest artist adds to the overall stature of the program. Aside from teaching a master class, the guest artist can play a benefit recital that is open to the general public. Although convincing a well-known musician to appear may seem a daunting task, many established players who hold orchestra or college teaching positions are happy to give a class or recital for a summer program. A surprising number of established artists will be generous in cutting their regular fee if they know your budget is limited.
   Search symphony or university websites or the NFA roster to find contact information. Many well-known flutists represent a specific flute manufacturer who may co-sponsor the flutist’s appearance. Once a program is established, do not be surprised if well-known artists contact you to request an appearance.
 
Curriculum
   Our curriculum includes solo performance, flute choirs, masterclasses, chamber music, and seminar and electives classes. The program is basically divided into four different flute choir groups. All classes and rehearsals are divided by level of advancement, so that students are not intimidated or bored, and teachers can target subject matter effectively.
   A typical daily schedule consists of optional exercise (swing dance or jogging/walking); breakfast; master classes; seminar classes/individual practice time; lunch; electives; chamber music; recreation time (including the ever popular water balloon volleyball); flute choir rehearsals; dinner; evening recitals; social time (includes more swing dancing, star gazing, etc.); lights out. The schedule varies depending on guest artist events, field trips, skit night, etc.

Establishing Camp Traditions
   One of the high points of every session is skit night, in which the students and the faculty perform zany skits, usually with flute-related themes. During summer Olympics years, the faculty traditionally does the “Flute Olympics” for our skit, which includes events such as the “Widest Vibrato”, “Lose the Accompanist” and “Worst Chaminade Concertino.” We also take the students to the Santa Cruz Boardwalk at the end of the week and the entire camp rides on the Big Dipper, a famous roller coaster, together. Swing dance is a popular activity, and every day starts and ends with both organized and ad hoc dance sessions. The rural lighting and wide open sky has made star gazing a favorite tradition as well. And we end our final concert every year with the entire camp performing Nora Kile’s arrangement “In Remembrance” by Burl Red, which leaves not a dry eye in the house.
   One of my favorite memories occurred in 2006 when two of our counselors, Tom and Julie, got engaged in front of the whole camp. Julie had just finished a performance in an evening recital when Tom walked on stage and got down on one knee. The students went crazy. Tom proposed to Julie at camp because it had been such a big part of her life for so many years.
    I attribute the success of this program to a combination of elements. Perhaps the most important is that we seem to draw great students, who are there to learn, be inspired and to inspire others. Many come back year after year, which has formed a strong backbone of tradition and comraderie throughout our nearly two decades. Likewise, our faculty and staff are not only very fine musicians, each one of them, but they are the most generous, passionate, and dedicated group of teachers and employees that I have ever encountered. Our successful partnership with Hidden Valley Music Seminars provides an ideal venue and location. We try to create a balance of serious flute study in a fun, non-competitive environment in one of the most beautiful places in the world.   

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1. Fill in a Note with a Basic Skill.
   Often a passage is difficult because the notes do not appear in the expected order. Step-wise motion is always easier to read than passages with wide skips. Passages with many accidentals and changes in time signature also can present problems. In order to read and learn the notes correctly, the flutist should slow the reading process. The basic technique of simply playing slower is not enough, however. As flutists slow the reading process, they should try to improve tone production, articulation, and vibrato consistency at the same time. This is what happens when a flutist fills in the subdivisions of each note using one of the seven basic skills.
   The basic skills a flutist can employ when playing the flute are slurring, T, K, Hah, TK or TKT, counted vibrato, and flutter-tonguing. In 44 time the flutist fills in the mathematical equivalent in sixteenths for each note. For a whole note, the flutist plays 16 sixteenth notes; for a half-note 8 sixteenth notes; for a quarter 4 sixteenths notes; for an eighth note 2 sixteenth notes; and for a dotted quarter note 6 sixteenth notes. When filling in, the flutist plays the passage with each of the following skills: T, K, TK, Hah, and counted vibrato. After finishing this cycle (T, K, TK, Hah, vibrato), repeat the cycle of skills increasing the metronome speed. The goal for the T, K and TK is 144; while the goal for the Hahs and vibrato cycles is 80.
   The K attack should be as far forward in the mouth as possible as if saying the word key. There should be no movement in the abdomen when using the Hah or breath attack. The Hah attack is produced in the vocal folds at the top of the larynx or voice box. The K and Hah attacks help the flutist learn to make the aperture (opening in the lips of the embouchure) smaller as these attacks will not be clean if the aperture is too large.
   Repeat playing the passage at performance tempo, slurring and then flutter-tonguing. Flutter-tonguing is often overlooked as a practice technique for non-flutter-tongued passages, but, it should not be. It is one of the best ways to learn to control and move the air when playing. If the air stream is not moving, the flutter will not occur. Solving this air concept makes many a difficult passage sound easier.

2. By Omission.
   Since the passage is written in triplets, first use the by omission practice technique based on a unit of three notes. Choose which notes you will play and which you will omit. This helps develop a scanning technique that is useful in fast passages. For example, begin by playing only the first note of each triplet, followed by two 1/16th rests. Then play the second note of the triplet with rests on 1 and 3, and finish with the third note. Practice this until you can do each of the three ways at an allegro tempo.
   Repeat playing only notes 1 and 2 of each triplet followed by a rest, then a rest and notes 2 and 3 and finally 3 and 1 with a rest on 2. Repeat this technique based on six notes since this passage will eventually be played six notes to a beat in 44 time.

3. Learn the Intervals
   Play the passage and place 6 vibrato cycles per note. Repeat using 5, 4, 3, and 2 vibrato cycles per note. Breathe when necessary. Practice this technique on each tick of the metronome from 80 down to 60. This technique allows the flutist to slow down the notes and accurately play what is written. Practice with counted vibrato also helps flutists play with a beautiful sound. Focus on the sound and make each note the highest quality with a good core. When the passage is played at performance tempo, a residue of this beautiful sound will remain.

4. Linger and Go.
   In this exercise, the flutist chooses one note to linger on. Play each note of the passage with 2 to 6 vibrato cycles. On the linger note double the number of vibrato cycles. For example, first double the cycles on note number 1, then note number 2, and finally on the third note. Repeat this idea using the concept of six notes rather than three. When lingering on a note, again make it sound as beautiful as possible.

5. Articulations and Rhythms.
   It is always useful to practice with alternate articulation and rhythm patterns. In this sample passage, there are five articulation choices for the triplets: all tongued; all slurred; slur 2, tongue 1; tongue 1, slur 2; and slur 3 to 1, tonguing 2. There are many rhythmic patterns possible, but two good options are to play the notes in groups of two as a dotted eighth followed by a sixteenth and conversely a sixteenth followed by a dotted eighth. Remember to also explore the various rhythms for groups of six notes.

6. Chunking.
   This is a technique in which the flutist plays approximately one inch of musical notation followed by a rest of equal length. Begin by chunking three notes followed by a rest. Each chunk should be in performance tempo (if quarter = 120-124, then the triplet eighth is 240-248.

7. Add-A-Note or Add-A-Chunk Forwards and Backwards.
   Begin by playing the first two notes of the passage slurred as fast as you can five times. If all five are perfect, add the next note and play the passage slurred as fast as you can five times. Continue adding a note until you can play the entire passage. Repeat this technique starting at the end of the passage working your way back to the beginning. Once I could play the John Adams passage backwards, I could always play it forward.
   Repeat by playing the passages by chunks. Play the first triplet (chunk) five times slurred. Then add the next triplet chunk and play the two chunks five times in performance tempo. Repeat this exercise until you reach the end of the passage. Start at the end of the passage and add-a-chunk until you reach the beginning of the passage.

8. In Context.
   Since I did not know the John Adams Chamber Symphony before I began working on it, I listened to the recording many times. Once I could play each individual passage well, I began playing with the recorded CD. This helped develop flow in my playing.
   Most musicians who have performed this work have said it was one of the most challenging pieces to learn but not to play. Some passages could have been written in eighth notes with staccato markings above each note, but Adams choose to write some notes as eighths and others as sixteenth notes followed by a sixteenth rest to ensure the player has separation between each note. To play these passages with accuracy most players indicate the beats in each measure with a small slash or telephone pole. I also found that several of the passages were more easily understood if I changed the enharmonic notation. Unfortunately this was not a question I asked in the early stages of my practice. If I had thought of this sooner, I would have rewritten my part. This is an excellent work, but challenging to learn and remember.   

Final Thought
   Analysis is always a good technique to employ when difficulties arise. Get a full score to the composition and explore how your part fits into the whole work. Remember there is always one practice technique that works best for each difficult passage. Collect practice techniques by jotting ideas in a notebook. When you encounter the next hard to learn passage, use your assortment of practice tools. With time, you will discover which technique works best for you and with each passage.     

* * *

   One of the most challenging pieces to learn (but not play) is the John Adams Chamber Symphony. The 22-minute Chamber Symphony for 15 instruments was written in 1992 for the San Francisco Chamber Players and merges the essence of the Schoenberg Chamber Symphony with cartoon music of the 1950s. The flutist is required to alternate between piccolo and C flute throughout the three-movement work.
   The following passage is written for the piccolo, but should be practiced on the flute first. The time signature is 4/4. Performance tempo is quarter = 120-124. Try the practice techniques in this article on the excerpt below, and then try them with trouble spots you encounter in other works.

Chamber Symphony: © 1993 by Hendon Music, Inc., a Boosey & Hawkes Company

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Starting and playing rituals
   We all have our rituals. This flutist blows hard through the tube as if to flush the cobwebs accumulated since the last time she practiced; that one aligns the flute as if aiming a shotgun. Another wipes the lip plate three times with a cloth; one powerful fellow takes the stance of a karateka; and then there is the flutist who cannot start a piece without a sweep of the flute, even if she is alone. The list goes on.
   Once under way the gyrations start. Passion pervades the most innocuous line. Even a held note deserves wiggling and tossing. We genuflect or rise on our toes. One foot affirms character with a stomp, the other beats time.
    If it helps, let’s do it, without forgetting that the most important element is still the playing, and that our neurotic movements can actually hinder our performance.

The Sacrosanct Long Tones
   One of the first questions I used to ask new students was a description of their practice, sometimes called their routine, an awful and revealing word. Often the answer was: “I always start with my looong tones” (Moyse: De La Sonorite No. 1, half-step slurs descending and ascending). Playing this exercise mindlessly is often an excuse to think we are practicing or warming up, but in effect are actually accomplishing little. We also incorrectly think that anything where we do not have to move the fingers fast is easy. Why don’t we play something that involves tone, fingers, intonation, breathing, tone (again), tonality, articulation, and tone (always)? Yes, you got it: scales (Taffanel-Gaubert Exercise #4, or many others). Instrumental playing is not a dresser with one drawer for technique, one for tone, one for tonguing, one for pitch control, etc. Hopefully, they all work together to serve music.

Flutes and Headjoints
   Who has ever heard of a flute or head-joint maker who did not claim that out of his shop came the final flute marvel in the century? That is normal; business is business. The strange thing is that we believe it. We are constantly searching for the magical instrument that will miraculously make us better. We are not alone. Adolph Herseth, the legendary principal trumpet of the Chicago Symphony told me he had hundreds of mouthpieces. He alone knew which one he was playing, but it was Herseth we heard.
   We must have spanking new flutes, with the latest scale, perfectly in tune, of course. Julius Baker played on many flutes (and sold even more), but it was the player and not the instrument who set the standard so high in America.
   Conversely, we might be holding on for dear life to our old headjoint as to our alter ego. I played for 25 years on a Louis Lot flute made in 1862. I thought I could not live without it. It was out-of-tune, like all flutes, or shall we say, all flutists, but not more so. I sold it to Wibb Bennett. In England the fashion is Louis Lots; they would not think of blowing one of these shiny new yellow American or Japanese flutes.
   Our flute is our fetish, an extension of our being. And so be it, if we feel happier for it. Still, the flute is a just piece of sophisticated plumbing, and until machines take over, the flute player and his art are the ultimate answer.

Tuners, Metronomes, CD Players
   Tuners, metronomes, CD players are our servants, not our masters. The tuner only gives a starting measurement of pitch. After tuning listen to others and ourselves. Find a common ground. Feel the pulse of the heart, the throb of life, before the inhuman beat of the metronome. If the machine helps to verify the tempo and control our slowing or rushing, however, it is very useful.
   Do not play with the metronome, but against it. Phrasing and pacing are a way to bend and stretch the predictability of the hourglass. In music as in life, there are seconds, which are larger than hours, and stay with us forever.
   Flutists should look at the score to decipher the total magic of a composition before rushing to the recording. CDs and tapes are designed primarily to bring music to the non-musician, not to fabricate intelligence and feeling for the performer. Of course, these inventions are an asset. However, we work not for them, but with them.

Cleaning Rituals
   It was a surprise to me when I settled at Oberlin that one is advised to never leave a rag inside the flute. The old French flutes had a rod with an upholsterer’s tassel on it, which was left inside the center joint (preferably not while playing!). After wiping most of the water out, the rod stayed inside the center joint. It was an easy way to maintain a certain degree of humidity, and a few germs. Jean-Pierre Rampal, among others, had always done it, and so did I. Perhaps out of luck, we seldom had sticky pads or needed an overhaul. If you believe that squeaky clean plays better, then wash the headjoint in the sink and pour Chanel N°5 into it.

Big Tone = Lots of Air
   I am blowing my brains out, so I must be playing ff. A well-placed focused sound carries better and requires less air. How do you achieve focus? Try an uncramped smile and the embouchure plate in a stable position on the chin.

Tune with Vibrato
   If you play with vibrato, then tune with vibrato. Is it better to be slightly off with the machine and true in actual playing, or the other way around?

Real Fingerings, Not Always
   If an alternate fingering produces with more ease the same or better quality of music, do it. The road to hell is paved with good intentions. I don’t believe in no pain, no gain; more comfort is more pleasure.

My teacher and my elders were always right
   I wish. But even if they were wrong, it was the effort that I made to execute what they asked, that in turn, gave me the tools and imagination to do my own thing. The best conductors were those who were capable of making me do things I did not agree with, or that I was reluctant to do.    

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