American Protégé International is hosting solo and concerto competitions for flutists of various ages. First place winners of the solo competition will perform in a recital at Weill Recital hall at Carnegie Hall in the spring of 2019.  

The Associazione Flautisti Italiani’s V International Flute Competition “Severino Gazzelloni” will be held November 1-5, 2018 in the Auditorium San Tommaso Roccasecca (FR). The competition is open to flutists and piccolists from any country and any chamber music ensemble with the flute. The deadline to apply is July 31, 2018. The competition has five categories divided by age.

Atlanta Flute Club will host the 19th Annual Young Artist Competition for full-time high school and college students who have not reached their 30th birthday. The preliminary round is by recorded (CD) audition. Entries must be postmarked by December 22, 2018. Those selected as finalists will compete at the Flute Fair in Atlanta in March 2019. Prizes: $1000 plus a recital at the 2020 Flute Fair, $700, $300. aallen201@aol.com, 
Atlanta Flute Club Carl D. Hall Piccolo Artist Scholarship Competition is open to full-time high school and college students who have not reached their 30th birthday. Applicants must be current members of the Atlanta Flute Club. The competition will be by CD audition which will be judged by a committee. The scholarship consists of a $500 cash prize and the winner will present a short piccolo recital (30 minutes) at the Flute Fair. The deadline is December 22, 2018. aallen201@aol.com,

Central Ohio Flute Association will sponsor its 36th annual Flute Competition on April 6, 2019 at The Ohio State University in Columbus, Ohio. Cash prizes will be awarded to the first-place winner in each division: Young Artist: $500, Collegiate: $400, Senior: $300, and Junior: $200. Winners may be invited to play in the guest artist masterclass at the Flute Festival. Deadline: February 1, 2019. etorres@onu.edu,  

Chicago Flute Club will sponsor the 2018 Annual Student Competition on Sunday, November 4, at Harper College in Palatine from 8:00 to 5:00. The competition will be open to flutists through grade 12. Prizes: Elementary Division: $100, $75, $50, Honorable Mention; Junior Division: $150, $100, $75, Honorable Mention; Senior Division: $350, $250, $150, Honorable Mention. Details will be in the summer issue of the Pipeline, which comes out in June, and are currently on the CFC website, 

Firebird Chamber Ensemble will host the 9th Annual Fred Moore Sr. Scholarship Competition in Lexington, Kentucky on March 10, 2019. First round entries are due December 1, 2018. Repertoire for the competition will be posted on the website by August 1. Cash Awards TBA with first place winners performing with the flute choir. klkirsh@windstream.net,

Florida Flute Association Competitions will be held at the annual convention January 25-27, 2019 at the Orlando Airport Marriott Lakeside Hotel. The College Young Artist (Prizes: $400, $350, $300) and High School Young Artist (Prizes $250, $225, $200) have an application deadline of October 1, 2018.

The Flute Society of Washington (DC), Inc. will sponsor their Young Artist Competition (for flutists under age 30 as of February 1, 2019) at the Mid-Atlantic Flute Convention in Reston, Virginia on February 16-17, 2019. Prizes $1000, $750, $500. Application and recording due November 1, 2018. See web for repertoire requirements. 

The James Pappoutsakis Memorial Flute Competition for flute students attending Berklee, Boston Conservatory, Longy, and the New England Conservatory will be held in January 2019 in Boston, MA, with a preliminary round in November 2018. 

The Mid-South Flute Society will hold three competitions at its 2019 festival, to be held March 22-23, 2019 at The University of Memphis. Flutists aged 18-30 may compete in the Young Artist Competition, and there will also be a High School Competition and a College Masterclass Competition. Both Young Artist and High School carry cash prizes; the College Masterclass winners will perform for the 2019 Guest Artist. For rules, deadlines and fees, please visit

Musicfest Northwest, 74th Young Artist Competition for flute will be held in Spokane, WA May 13-15, 2019. The deadline to apply is March 10, 2019. This competition is open to flutists ages 16-29. Repertoire requirements include a solo of the flutist’s choice, sight-reading, and one movement from the list of standard concertos. 

National Flute Association Compe-titions: Young Artist, High School Soloist, Piccolo Artist, Baroque Flute Artist, Convention Performers, Flute Choir, Jazz Soloist, Masterclasses, Orchestral Audition, plus non-performance competitions. The 2019 NFA Convention will be held August 1-4 in Salt Lake City, UT. For detailed requirements go to 

The New Jersey Flute Society will sponsor a concerto competition for high school students in October 2018. The repertoire for the competition is Mozart Concerto in D, K. 314 (all movements) and a contrasting work of the applicant’s choice. The winner will have the opportunity to perform the Mozart with a local orchestra. Deadline to apply is September 10th. Entrants must provide their own accompanist. 

The New York Flute Club will sponsor its 2019 NYFC Competition at the New York Flute Fair in February/March 2019. Flutists aged 18-27 are eligible to compete, and each prize winner will receive a cash award and will perform in the Competition Winners Recital in April 2019. Prizes: $1,000, $600, $400. Application for entry is due by February 2019. More information at: 

The South Carolina Flute Society’s annual competitions feature five categories for 2019: Young Artist (master’s, doctoral, & graduated), Collegiate Artist (undergrad), Senior Artist (10-12th grade), Junior Artist (9th grade & under), and a Masterclass Performers Competition (undergraduate through doctoral). The first-place winners of the Solo Artist competitions will be presented with cash prizes and have the opportunity to perform at the following year’s festival. Masterclass competition winners will perform for our guest artist April 6, 2019 at the Spring Festival at South Carolina State University in Orangeburg, S.C. 

Texas Flute Society Competitions: 7th Donna Marie Haire Competition for school aged flutists who will graduate during or after the 2018-2019 school year. The competition will be held in May 19, 2019 at Texas Women’s University, Denton, TX. Prizes: $1000, $500. Deadline: March 15, 2019. 
The 33rd Myrna Brown Competition will be held May 2019 at Texas Women’s University, Denton, TX. No age limit. Prizes: $1200, $500, $250. Deadline: March 15, 2019.
The Texas Flute Society Festival Masterclass Competitions for college and adult masterclasses, high school solo and junior high solo will be held in May 2019 at Texas Woman’s Univer-sity, Denton, TX. Recorded round: flute solo of choice. Prize: Opportunity to perform in a masterclass at Texas Flute Society. Deadline: March 15, 2019. 

The Upper Midwest Flute Association announces its Young Artist Competition for 2019. Alternating yearly between national and local applicants, the 2019 competition is open to flutists ages 18-30. Preliminary round recordings must be uploaded to  by February 1, 2019; required repertoire is a Baroque piece and a work from Flute Music by French Composers, ed. Louis Moyse. Finalists will perform at UMFA’s Flute Fest in Minneapolis/St. Paul in early April 2019. Prize amounts are $600, $400, and $200. Please visit  for more specific details or contact Barb Leibundguth, YA coordinator, at barb@toeprint.com. 

Woodbridge Flute Choir is sponsoring its 11th Annual Concerto and Scholarship Competition for flutists ages 14-18 as of January 15, 2019. The winner will receive a $500 scholarship award and perform the concerto with the Woodbridge Flute Choir in March 2019. See website for repertoire suggestions. Deadline: January 4, 2019. Contact lisa.sheldone@verizon.net, 

International Flute Competitions
The World Federation of International Music Competitions (WFIMC), based in Geneva, Switzerland, was founded in 1957 and provides a database for more than 120 of the world’s leading music competitions at . Check listing frequently for updates.

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Question: I get nervous when I perform? Do you have any suggestions?  

Answer: I can definitely relate with that struggle. I remember trembling through my first competition. I walked off stage, and my teacher said to me in her concise yet encouraging manner, “That was the worst case of nerves I have ever seen.” It is still amusing to me that I didn’t then declare, “No more performing for me!” 
    Over the years, my quest to cope with nerves has also become an interesting journey of self-discovery. Even more interesting is hearing how others cope with nerves, including everything from drinking an entire pot of coffee to running 10 miles before every performance. The following are a snapshot of ideas for dealing with basic performance anxiety.

Perspective 
    One of the most significant ways that nerves first affect performances is in our perception of how we play. The heart begins to pound at the slightest error, and disheartening words of failure begin to trickle into the mind. As glaring as stumbles may seem to the performer, it is important to remember that they are often imperceptible to the audience. It is also interesting to note that the critical voice players dread onstage is actually the same voice that is quite useful in the practice room. I have found it helpful to contextualize this voice and quiet it on stage. Use mental focus and encouraging words to bring your attention away from negative dialogue. 

Prioritize the Art 
    I always find it encouraging that the best antidote to coping with nerves is still good old-fashioned practicing. Mastering technique is an important step in the artistic journey, but not an end goal itself. Striving for a sense of fluency with the music allows players to look beyond the notes to interpret the music skillfully. Imagine a great actor reading a script to prepare a role, studying every last motivation and mannerism to bring a multi-dimensional character to life. In contrast, if this actor chose to obsess over the letters on the page rather than the intricacies of the character, it would likely be debilitating for him on stage. Joy in performing is intrinsically tied to maintaining a profound connection to the music and the composer’s intentions, regardless of the difficulty of the repertoire. 

Practice Being Nervous
    The simple meditative exercise of visualization can be beneficial for elite athletes, musicians, and other high-level performers. Practice imagining two contrasting performances. First, imagine performing with compelling artistry, confidence, and mastery. Then imagine encountering a problem, a flash of anxiety or a mistake, and calmly recovering from the problem with resilience and confidence. Numerous authors can provide additional help with this technique including Don Greene, Timothy Gallwey and others. Visualizing a performance while silent reading scores can also be useful. I take note of where I tend to lose focus and where my eyes carelessly gloss over passages. It is easy to assume that every mistake is a technical issue, but there are times when the real problem might be concentration and comprehension. 
    On a different note, I remember being in a masterclass in Italy with Michel Debost when one of my classmates mentioned feeling nervous about performing. Debost instructed him to run around the block outside. Upon his return, Debost explained that nerves were often nothing more than an elevated heart rate. He mentioned that a short run before practicing can imitate this physiological response to anxiety and give players an opportunity to train their emotional and mental responses to it. 

Finding Your Comfort Zone 
    At the end of a tiring day, what makes you happy: crawling into bed with a great book or calling your best friends to hang out? These simple questions can reveal how you relate to practicing and performing. You might generally be perfectly content to spend hours alone in the practice room wrapped up in the music, or you might need a quick break to interact with friends to get the energy to continue practicing. Players also have similar tendencies towards performing on stage. Some connect to the music with such intensity that the world disappears while others thrive with the exhilarating presence of the audience. Understanding and embracing the positive aspects of your natural tendencies will help you craft a more ideal experience in concert situations. 
    At a recent performance of Joel Puckett’s Shadow of Sirius at Elmhurst College, I walked on stage to see our large hall filled. In the middle of the performance, the people sitting in the uppermost corners of the balcony caught my eye. Intuitively, I played to them, lifting my face and my flute to include them in the moment. The concerto performance suddenly felt as intimate as a great conversation over coffee, which is probably one of the activities in life that I enjoy most. What a wonderful contrast to my trembling high school experience! 
    As an added challenge, it can be fun and helpful to force yourself outside of your comfort zone on stage. The added benefit to this is that you might find a new way to market yourself as a musician. Some ways to do this include:

• Explore new repertoire or a new style of music. Try improvising by seeking out musicians who specialize in jazz, exploring the music of other cultures, or joining a local church’s worship team. Flutes are remarkably versatile and ubiquitous instruments. 

• Develop your online presence by posting your performances on sites like YouTube or SoundCloud and participate in groups such as #100daysofpractice or the Facebook Group “Etude of the Week.” 

• Develop your skills on alternate instruments like piccolo and alto or try your hand at flute-related instruments like the traverso, recorder, fife, or other ethnic flutes. 

Frequent and varied performances can help expand your comfort zone to better embrace the challenges and unexpected turns that are a natural part of live performances. 

A Final Thought 
    Walking on stage in concert can be a lot like jumping into a pool on a warm day. We always expect that first moment to be a shock of cool water, but as we acclimate to the new environment, that same cool can become invigorating and enjoyable. Move forward with courage and enjoy the thrill of sharing your art with the world.      

    Share your ideas about performance anxiety by emailing editor@flutetalk. You can also send new questions to Ask the Pro to the same email address.

The post Performance Nerves appeared first on The Instrumentalist.

    The Robert Willoughby Flute Scholarship at Oberlin was created in his honor. For more information, go to .

* * * *

Thank You Mr. Willoughby

Katherine Borst Jones 
    If you are lucky, you will meet the right teacher at the right time, a time that will change your life forever. I am lucky. In 1966, I became aware of Oberlin College and the teaching and playing of Robert Willoughby. It became my dream to study with him. I worked diligently, preparing Anderson etudes, Griffes Poem and other pieces. The fateful audition day arrived. I flew from my home in New Jersey to the small town in Ohio. My audition with Mr. Willoughby was an hour long, and I learned so much. He listened to all of my material and then worked with me. “Can you change the speed of your vibrato? Where is the high point of that phrase? Can you play the skeleton for me?” And then, the fateful sightreading. I still can visualize the difficulty. I must say it stumped me. I did not do well with all of the rhythmic complexities. Mr. Willoughby was kind, helpful, friendly and to the point. I left wanting to go to Oberlin more than ever. 
    Months later the envelope arrived. I was not accepted. Tears and disappointment! So off to another college I went. In the winter of my sophomore year, I saw a poster on the bulletin board for the Congregation of the Arts Program at Dartmouth College, Robert Willoughby, flute. Without telling anyone, I boarded a bus for Boston to play an audition for Mario di Bonaventura, director of the program. I was accepted! 
    For eight weeks, two summers in a row, I was one of six flutists accepted to study with Mr. Willoughby and to play in the orchestra with him as well as experience the rest of the program, which featured the music of an important composer for two weeks at a time, (i.e. Luigi Dallapiccola, Alberto Ginastera, Easley Blackwood). We heard them lecture, heard the faculty play chamber music by them, and performed some of their orchestral music. 
    My first summer studying with Mr. Willoughby focused on music-making of the highest order. Style, phrasing, balance, pitch, rhythmic control, sound, practice techniques, and much more. I practiced a lot and was inspired by his playing, his attention to detail and his sense of humor – both in lessons and in orchestra rehearsals. He had an innate sense of when to inject humor to lighten a moment of frustration. Lessons were fast paced and full of high expectations. A question asked was not quickly answered by him. Instead his patience and hints finally brought the student to an eventual answer. He also had a way of inspiring confidence with thoughtful comments. I always left lessons with a sense of excitement and a keen knowledge about what I needed to work on. It was always about the music. He would say, “Make me love it or make me hate it, but don’t bore me.” 
    Eight lessons that first summer provided me with enough concepts and ideas to work on for the entire year. When I arrived the second summer, he was most positive about my improvement on the ideas from the previous summer. However, he was concerned about the lack of flexibility in my embouchure. Pitch control and tonal flexibility were not up to par. He suggested that I should overhaul my embouchure. I had previously tried to find a more flexible embouchure but could not seem to find the right muscles. After trying various ideas, he said, “Use a bulldog face.” Finally, I was able to move my jaw and lower lip to form a cushion that was adjustable. While it took a few weeks to adapt, the change turned out to be essential. I was then able to produce what my ear already heard. Everything was easier. I will be forever grateful! 
    Later I was asked to teach with him at Oberlin, an opportunity that allowed me to observe his studio classes and spend more time with him learning about pedagogy. After I had left to take a full-time job, I wanted to learn more and give more flute students the chance to work with this master teacher. We started a week-long summer masterclass at the University of New Hampshire, since Willoughby and his wife Mac had moved to New Castle, New Hampshire. For seven years numerous students were treated to his lessons of flute, music and life. 
    Robert Willoughby had his own sense of adventure. He was well read, an Anglophile, a wine and food enthusiast, a man with discipline and the highest ideal of integrity. His learning and exploring ways of teaching and playing were a constant in his life whether it be flying or flute playing. He treated his life like heaven on earth, making the most of every day, every opportunity. For him, teaching and playing were his passions. He loved what he did and could not believe he got paid to do it. He was open-minded to all styles of music and ideas. He took enormous pride in his students and treated them with respect. I have been so fortunate to have him for a teacher, mentor and friend for most of my life. Thank you, Mr. Willoughby! Godspeed!

Wendy Rolfe
    Ask an orchestral flutist, ask a Baroque flutist, ask a specialist in contemporary music – they all may say, “Yes, I studied with Robert Willoughby.” Ask a retired flutist or piccolo player or ask someone just starting out on a career as a flutist – they, too, may all say, “Yes, Mr. Willoughby (or Bob to his alumni) was my teacher.” How many flutists can look back at a career spanning almost 70 years of teaching at some of the United States’ top music schools, including Oberlin, Peabody, and Longy School of Music of Bard College – from which he planned to retire at the age of almost 97 this spring. 
    We all thought Bob was eternal, and we all now realize he actually is, with his teaching, his indefatigable interest in every student, and his wisdom being carried forward in the future by so many grateful flutists – and I should also add, by those who were coached by Bob in chamber music ensembles.
    Bob’s experiences as a decorated bomber pilot in World War II, his time as Principal Flute of the Cincinnati Symphony under Max Rudolf and as Assistant Principal Flute of the Cleveland orchestra under George Szell, his work with the Oberlin Baroque Ensemble and the faculty woodwind quintet, all underlay his unique perspectives. He was ever curious, and students who studied with him after he took up the Baroque flute were fortunate that he was exploring Historical Performance along with us. We also were fortunate that he encouraged us to work on experimental contemporary flute repertoire. (I know I am forever grateful that Bob gave me a Charles Wuorinen’s Flute Variations II solo to work on.) 
    Bob was also unrelenting in his insistence that we learn a huge pile of orchestral excerpts in our junior year at Oberlin. He was one of the most discerning and demanding coaches in this repertoire throughout his long teaching career. He knew that even for those (like me) not planning to go the orchestral audition route, these were essential for our ability to find work, to teach, and to achieve mastery of the instrument. 
    Bob and his wife Mac also took delight in sending out their annual Christmas cards to his former students. They hosted us at their home, wherever they were living. He left a formidable legacy for us to live up to, but we are inspired to go forward by this great human being, flutist, and teacher. Thank you forever, Bob!

Mark Sparks
    Robert Willoughby will be remembered by his many interesting, highly varied and artistic students for many things. For me, I think of his preternatural teaching ability, his apparently effortless wisdom and natural understanding of human nature, naturally clear judgment, his natural musicality from a loving heart and curious mind, and the powerful yet somehow naturally unassuming warmth of his personality. Maybe when we encounter such pervasive, authentic greatness in a person, we don’t recognize it immediately. It is easy to take for granted. It seems so simple; so, well – natural.     

* * *

Lessons Learned

    I still find myself quoting Robert Willoughby in almost every lesson I teach. 

What I Learned from Him:
    Patience and high expectations 
    Integrity, honesty and respect for everyone 
    Decision making
    Imagination 
    Keep learning, always 
    How to practice 
    Appropriate body movement 
    Warm-ups, tongue-less attacks, whistle tones, 
    overtones 
    Kincaid vocalise 
    Study the complete score 
    Find the structure, skeleton, the focal point 
    Use a sense of proportion 
    Tension, resolution 
    Use time, rubato 
    Flexibility of embouchure, pitch bends 
    Tonal flexibility, light and shade
    Shape notes, 
    Uncompromising intonation 
    Vary the speed and width of vibrato and use it 
    intelligently. 
    Seamless intervals, play between the notes. 
    Understand the harmonic series. 
    High vs. low, long vs. short, slurred vs. short 
    Baroque style 

What he taught me to ask myself:
    “What is important?” 
    “How long is the phrase?” 
    “What is the relationship of this to that?” 
    “Where would you breathe if you must take 
    another breath?” 
    “How many ways can this phrase be played?” 

Helpful quotes: 
    “Large intervals invite time.” 
    “Keep air pressure up even as you get softer.” 
    “Any fingering that works is okay.” 
    “99% of the time, the peak of a phrase is on 
    beat one or three.” 

– Katherine Borst Jones 

The post Remembering Robert Willoughby (1921-2018) appeared first on The Instrumentalist.

photo by Valerie Simosko

Reliving Day 1
    In February of 2017 my former teacher Mary Stolper and I were chatting about teaching beginners and how  hard it can be to relate to their struggles because it has been so long since we started playing. Mary was telling me about a left-hand flute she has that is a mirror instrument of a normal flute. She said I had to try it as it would remind me about the experience of being a beginner again.
    When she brought it to me, I opened the case and was shocked at how foreign it looked because it was backwards in the case. I froze and I did not know what to do with it. Being the wonderful teacher she is, Mary guided me as I fumbled to put it together. I felt a little silly and indeed like a beginner again. At the same time, I was filled with curiosity about this new instrument. How do I put it together? How do I hold it? What is it like to play? After figuring out how to hold it, awkwardly I might add, I packed it up to take home. Before leaving, Mary had one other bit of advice. “Make sure you practice over a soft space because you might drop it.” 
    My first practice session that night was for 10 minutes. Holding the instrument was beyond awkward, and I almost dropped it twice. So much for being a professional. I finally was able to hold an F, while my left-hand fingers were flying high (just like a beginner’s right-hand fingers). I could not focus on my fingers being close to the keys; it was hard enough balancing the flute just above my right-hand index finger knuckle. With many laughs and furrowed eyebrows, I slowly moved my fingers and managed an F major scale with a mistake on almost every note. Talk about being thrown into a student’s experience; I had forgotten how difficult it is to hold the flute properly. 
    I do my best to be a compassionate and understanding teacher, but it can be a challenge sometimes. I used to wonder, why don’t students balance it better with their right thumb? Why are their fingers so high? After that first session, I put the left-hand flute away for two months.
    In March, I realized I needed to give it back to Mary in about a month. I am always looking for new and creative projects, so I pulled it out again and immediately started thinking about the possibilities.

A Month of Thinking Backwards
    Thus began my Left-Hand Flute Project. For 30 days, I practiced 20 minutes a day, the average amount that a beginner would. My goal was to explore what it was like to be a beginner again and make a YouTube video about each day of practice. The videos are available on YouTube under my channel, Innovative Flutist.
    It was an eye-opening experience. On day one, I could barely hold the flute. When I managed to honk out Hot Cross Buns, I got that same excited look students make when they play their first sound or play a song well for the first time. Over the first couple of weeks, I experienced the struggles that students go through holding the instrument and trying to remember the correct fingerings. 
    Middle C-D-E were the most frustrating notes on the left-hand flute for me. I already knew they were challenging on a normal flute, but I was deeply frustrated as I struggled to balance the flute properly and put the correct fingers down. Many days, I wanted to avoid them at all costs.
    Balancing between the two hands and chin was also quite uncomfortable. I did not begin to feel comfortable with it until week three. Happily, I can say I didn’t drop the flute again!
    Trying to remember to keep my first finger up for middle D and Eb was a joke. I wish I had a dime for every time I made that mistake in those 30 days. My empathy for beginning students was rapidly expanding each day I worked with this instrument.
    By week three, I was playing scales and pieces from Louis Moyse’s 40 Little Pieces in Progressive Order. Nearing week four, I managed to learn how to play Telemann’s Sonata in F Major. While reflecting on the first three weeks, I realized that even with all of the struggles that I had with posture and fingerings, I still had a huge advantage over beginner students. I could already read music, produce a sound, breathe well, and count. I also understood the concepts of posture and fingerings and had 15 years of experience with the discipline and knowledge needed to effectively practice music. In reality, I was only learning two things: fingerings and how to hold the left-hand flute. Those proved challenging enough.

A New Perspective
    I began to comprehend the flute experience from a beginner’s perspective. I realized what aspects they might be able to focus on and how easy it is to overwhelm them with too many things to think about. Being a beginner at flute or anything else for that matter is hard and takes courage. There are so many elements to think about simultaneously and improve on at the beginning. To avoid overwhelming new students, teachers should be thoughtful and selective about what they ask beginners to focus on. I have definitely overloaded my students with things to think about while playing. Over the 30 days, I became a more compassionate and thoughtful teacher. This has helped me to develop patience and an even more positive relationship with my students.

A Mirrored Performance
    At the end of the 30 days, I presented this project at the Chicago Flute Club Membership Showcase. I shared the knowledge and experience I gained from learning the left-hand flute and performed two duets by Ernesto Kohler with Chicago flutist, Steve Yepez. It was an amusing experience having two flutes face the opposite direction. During the performance, I was mainly focused on playing the correct notes, which made me realize how much more nerve wracking it can be for a beginner to perform. Just thinking about notes is challenging enough, and I felt fortunate that I could trust my other skills regarding sound, rhythm, and general musicianship to be there during a performance. 

Lessons for Teachers
    From this journey, I learned that while teachers should plant the foundational seeds of good flute playing, they should also be compassionate and patient as those foundations settle. It might take a while, and students might not grow as you expect or hope. Be aware that when students are making lots of mistakes or not practicing, it may not be because they are lazy. I  now consider that they may be overwhelmed or feel that it is too hard.  Perhaps they have tried my practice method and it did not work for them at home. It is a teacher’s job to be a mentor and guide them through their journey exploring the flute – at the pace that they can handle.
    My perspectives as a teacher and lifelong learner have been broadened through learning to play the left-hand flute, and I am incredibly grateful to Mary Stolper for lending it to me. Teachers have reached a level of proficiency on the flute that they can share with the next generation, but that doesn’t mean their journey is done either. Teachers should be forever students as well. I encourage you to demonstrate that to your studio. Keep working on your pedagogical development; ask questions about your methods and connections with students. Have more compassion and share in your students’ experiences.     

Editor’s Note: See Flute Talk July/August 2012, The Teacher’s Studio, The Left-Hand Flute by Patricia George for an alternate way of practicing to the left and a discussion of using the left-handed process to learn difficult passages. (Available at ) 

The post The Left-Hand Flute Project appeared first on The Instrumentalist.

Trilling from the Beginning
    As soon as beginners learn two notes, I teach them to trill between them. The first reason for doing this has to do with how flutists are often taught in a band class. Generally flutists are part of a class with clarinets, trumpets, trombones, and percussion, and the class tends to move at a certain speed in order to keep all students involved. What this means for flutists is they play slowly for too long of a time. This leads to poor hand positions and to not developing independence between the air stream and fingers.
    Trilling helps develop proper hand position. To trill efficiently between two notes, the finger moves from the third knuckle back from the nail (except for the left index finger). As a flutist increases the speed, the fingertip stays closer to the key which is what should happen as students advance to scales and arpeggios. They will learn that when they balance the flute well, gravity will help put the finger down, and that lifting the finger takes a little bit more effort. 
    Starting beginning flutists this way,  the first trill taught will be A to B in either the first or second octave. Then I move on to the G to A, F to G, and E to F. Practicing these trills in chunks aids muscle memory. I use the words, “I am go-ing home” followed by a rest for the trilled notes. Each trill is repeated eight or more times. With subsequent repetitions, the tempo is increased. For successful trills at any level of advancement, students should stabilize the flute in the chin. The embouchure plate cannot be moving in any way. 
    The other reason to teach trills early in a flutist’s development has to do with learning how to separate the movement of the fingers from the air stream. Once again in a band class situation, the flutes play very slowly. When playing each note so slowly, without guidance, young flutists may begin to count longer notes with the air stream. The sound of this is one all teachers have heard and identify as a beginning band sound – but, it does not need to be. 
    When playing that slowly it is easy for students to stray from the ideal shape of the note to one shaped more like a football. This means the air speed is slowed while getting ready to move the finger, and then once the new note is fingered, the air speed is increased. It is better to teach even air speed while changing notes. Start by teaching trills and then slowing the process so students learn that air speed is a separate function from the fingers. 

Trill Charts
    If you Google trill charts, you get over 435,000 results. There is no excuse for students not printing one to keep with their flute music and in their band folder. As you compare trill charts, notice that as the notes go higher there are more options listed. This has to do with the differences between flute brands. With experimentation, flutists should be able to find a trill fingering that works well on their particular instrument. The goal is to have the best possible pitch on the two notes and play them with a clear sound. 
    The most common trilling errors involve trilling from C to D, C# to D and C# to D# in both the first and second octaves. The chart below may help students remember which trill keys to use. 
    Another thing to consider is the use of the thumb Bb. Many trill charts list options for using the thumb Bb and also for the long fingering. The choice comes down to personal preference and ease of execution in the passage. Students often have problems reading trill charts because they do not know the enharmonic spellings of the notes. 

Which Fingers
    Students often ask me which fingers should be used on the right-hand trill keys. I think this should be consistent with how they finger the lever Bb, the top octave Bb, and top octave B. If you decide to do something different, then you have one more thing to add to your practice routine. (See exercise below.)
    When string players trill, they often squeeze the finger next to the trilling finger down a little firmer to free the trilling finger. This works well on the flute too as it stabilizes the instrument. So, if trilling from E to F, squeeze the F finger, trill the E and then release the tension on the F when the trill concludes. 
    We have all had the feeling that trilling a long note can cycle in speed. This is especially problematic at the end of the first movement of the Antonio Vivaldi Concerto No. 2 “La Notte” where the solo flute trills a G to an Ab for what seems like an eternity. 
    I finger the G but trill the G# or Ab paddle with my right middle finger. This produces a beautiful trill. If you decided to make a trill crescendo (starting slower and increasing the speed) or diminuendo, trilling with the right-hand middle finger aids this process. 

    This concept of using a different finger than usual may be used on trilling A# to B in the first and second octaves and trilling from F# to G in the first and second octaves. 
    Use the right middle finger to depress and trill the upper A. 

    Use the right middle finger to depress and trill the upper F#. 

    With some experimentation, you can become a pro at doing this. In making a decision to use these unconventional fingerings, be sure that you can comfortably get to and depart from the trilled note.      

***

    Frances Blaisdell, the legendary flutist and pedagogue, had me practice the following right-hand exercise. First, I placed my right-hand fingers on the key (picture on left). Then I placed them on the Bb lever, the first trill, and the second trill and rotate back and forth. There is a slight pivoting on the top of the right thumb (picture on right). She said I should follow this movement when deciding which fingers to use when trilling. I like the consistency that this exercise practices.

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Harsh Mistress
    High F# seems universally unappreciated. Never, in my fifty years of acquaintance with the hole-riddled tube, have I heard a flutist exclaim: “I just love that high F# in the second movement of the Mozart G major!” Depending on our mood of the day, sometimes just the presence of the note can elicit faint exasperation, or, as I will reluctantly admit has occasionally issued from my own practice room, an exclamation one would not repeat in the company of one’s mother. But the real problem is not with the F#, it is with ourselves.
    The flute, for all her Sirenic lure and charm is, in the depth of her soul a harsh mistress indeed. She has no patience with the meek, the hurried, or the dishonest. She only responds if approached directly. So, it is best to just admit that we do not love high F#, but its existence is a fact of our Boehm-inherited tradition. It is just human nature to prefer what is easy – and high F# is not easy for anyone.

The Case of Doing Less
    When presented with a seemingly insurmountable challenge, look to serendipity and circumstance. For the discerning player, they point the way to hidden signposts for success. For example, perhaps on some fine day your high F# sounds with ease. The final passage of the Martinu Sonata slow movement is suddenly not a battle to the bitter end, and the final note of the sweet Faure Pavane is like liquid honey. Be grateful, you have been given a gift – a hint. Respond posthaste.
    Those of Homeric disposition may be inclined to reflect thusly on the intricacy of playing: the air sped across the blowing edge with the swiftness of Apollo, while the aim of the column was as true as Cupid’s Arrow, but the action was Zen. You were calm. You did not overthink or overachieve, tensely preparing for the worst. The throat and tongue were at peace, and you released the jaw, notably not over -expanding either the throat or forcing wide the front teeth as you might pry open a pistachio. No rude mashing of the lip plate against the lower lip was evident. The aperture was small, the lips supple yet stable. Fearless as a Kung Fu warrior, you blew with authority. Try it again; this time consciously.

Just Part of the Dish
    A fly in the soup spoils the whole pot, but F# need not ruin the entire lovely third octave. Enjoy the brilliance of the G natural, the powerful high A, and the firm yet pliable texture of the D6. Let these delights inspire you to adopt a kinder view towards the prickly F#.
    F6 stands guardian before the vault of the F#. Feed the gatekeeper, and the vault opens magically. Approach confidently. The key lies in the volume and velocity of air. A fabulous F results in a very fine F#. Give F plenty of fast-moving oxygen, perhaps a degree more than you heretofore imagined, then prior to changing to F#, make a slight crescendo. With this added support, the F# seems to take flight of its own volition. Vibrato takes wing also in the newfound fullness of this note. Inhaling quickly, re-attack the F# joyfully and with vigor.
    There are other approaches to these rarified heights. Practice harmonics, blowing forcefully on the B4 to achieve the F#6, then develop and purify the tone, adding vibrato as well. Bring the note up in pitch as it tends to lie a bit flat as the third partial. Also produce the high F# by overblowing the low F#. You must puff like Boreas, but in time you will find more ease with the tone production. Avoid dizziness by taking occasional rests.

The Right Keys
    Poetic niceties aside, I would be remiss not to discuss fingerings. With high F# there are several options, depending on needs. The standard fingering:
    1–3–/––3/d#
    T
This has a certain purity but can sound sharp and easily shrill. Often, a better option is:
    1–3–/–2–/d#
    T
This has a fuller tone quality and lowers the pitch slightly. It is good for blending. One may also vent the E key, 2nd finger right hand, by using only the ring of the key, or venting the open hole. 
    Use the low C# key with this fingering to keep the fullness of the sound in the softer dynamics. 

    For the pianissimo:
    1–3–/–23/–c#
    T
    Vent the right-hand keys to achieve different subtleties. The softer dynamics are easily produced, and it helpfully raises the pitch of the note a bit. I recently found this fingering useful in the 4th movement of Ravel’s Mother Goose Suite:

    For the fortissimo, one can occasionally overblow the B5. The tone may need some work, but the pitch will never be sharp. This is especially useful when playing in D major, where F#is the third of the root chord and needs to be a bit low in pitch.

Your True F Sharp
    Different flutes display various tendencies regarding the high F#. Today, it is common for flutes and headjoints to favor the low register to a degree, usually with a deleterious effect on the high register, especially the F#. Traditional-style instruments may feature the opposite tendencies, calming the tempestuous F#, but turning your life into a battle for the first octave.
    The high F# will always be a very personal note. Each player will have their own sound and psychology. Approached artistically, with honesty, patience, and poetry, high F# will in time reveal its secrets to you.

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Photo courtesy of Flutes du Soleil

Wendy Rolfe: Summers while still a student ranged from the lows of working on an assembly line on a factory floor to the highs of performing at the Tanglewood Music Festival. My experiences all taught me a lot about music and life. No matter what I did, I kept my eyes and ears on the necessity of practicing and learning. 
    One of the most memorable summers I had was when I studied with Marcel Moyse. After my first year as a flute performance major at Oberlin Conservatory, I worked as a receptionist at the Marlboro Music Festival in Vermont and took private lessons with Moyse. I practiced at every opportunity, in breaks, and in the evenings. With Moyse, I worked on seeing what he called the skeleton, or the melodic structure, of the music, on its architecture, and on expression. I still refer to what he said about the Gabriel Fauré Fantaisie (shapes under the larger slurs, images of falling leaves), the Bach B minor Sonata (strong/weak – “je t’aime”), and more, in lessons with my students. At the end of the summer, he invited me to come to live there in Vermont and to study intensively with him. I decided to return to Oberlin to work with Robert Willoughby, who was returning from a sabbatical year. It was the right decision, but I sometimes wonder about the road not taken. 
    Another unforgettable summer during my Oberlin years was spent in England, where my dear friend and Oberlin classmate, flutist Greer Ellison Wolfson, and I lived with my aunt and uncle on the south coast. We commuted up to London weekly to study. My lessons were with the late Douglas Whittaker, former principal flutist with the BBC Symphony Orchestra, and Greer’s were with Peter Lloyd. We also trudged up to work at a local bakery factory every morning to earn a few pounds sterling to support our flute habits. I was on the assembly line, folding and loading pastries from a conveyor belt onto heavy iron trays, ready for baking. Greer labored at the end of the process, packing the baked sausage rolls into boxes ready for shipping. Apart from coming away from the summer with a strong commitment to the importance of labor unions, and equal pay for women (men were automatically paid more than women were), I did learn a lot in my flute lessons. After work, we swam in the chilly British seas and practiced at night. Mr. Whittaker spent a lot of time on Moyse’s L’Art de la Sonorité, and we also focused on contemporary repertoire, which was already one of my great interests. 
    With these summers and others when I had to find jobs to pay college and living costs, I came away with the knowledge that no matter how exhausted I was, I could still find the energy to practice after a day’s work. It was not easy to summon the reserves necessary for the intense concentration needed, but I tried to keep my long-term goals in mind. I knew that in order to come back to school in the fall as a better player, I had to do the daily practice all through the summer. 
    I spent another summer as a Fellow at the Tanglewood Music Center, the summer institute run by the Boston Symphony Orchestra in Lenox, Massachusetts. This was an amazing experience, and I learned a lot about conducting, while playing under then BSO Music Director Seiji Ozawa (principal flute in Stravinsky’s Le Sacre du Printemps) and watching him coach aspiring young conductors. What a thrill to perform with Leonard Bernstein, Klaus Tennstedt, Gunther Schuller, and more. Observing all of their work with the Conducting Fellows helped me to absorb skills which I use when leading ensembles today. I was fortunate to work on Arnold Schönberg’s Wind Quintet with Schuller and remember him focusing on exact dynamics, voicings, and balance. With the BSO’s former principal flutist Doriot Anthony Dwyer, we rehearsed intensively for a performance of Debussy’s Sonata for Flute, Viola and Harp, exploring colors and phrasing. In our flute section coachings with Dwyer, I remember her stressing that when playing second flute, one should use less vibrato than the principal flutist, and that has stood me in good stead. 
    The following summer was spent at the Waterloo Music Festival in New Jersey (now defunct, sadly). We got to perform great repertoire, including The Rite of Spring again (this time on alto flute) with Gerard Schwarz. I enjoyed working with Karl Kraber and also met a wonderful harpsichordist with whom I played concerts on Baroque flute for many years. 
    In sum, I learned that it is important to try and try again. The first time I auditioned for Tanglewood, I was not accepted. At that festival, I also learned the importance of consistent warm-ups – we were so busy that I did not always do them, and by the end of the summer, I could feel their lack. In the non-festival summers, I learned valuable life lessons, and had opportunities to study with outstanding teachers. Those also included studying with Lois Schaefer, former piccolo in the Boston Symphony Orchestra. In high school, I was also fortunate to participate in Jean-Pierre Rampal’s summer classes in Nice, France, and to play orchestral and chamber music at Red Fox Music Camp. So, flutists of all levels should look for summer programs that will stretch their skills and where they can work with fellow flutists and outstanding teachers. If this does not work out, remember to focus on long-term goals and keep on practicing and learning, no matter how challenging your schedule may be. 

    Wendy Rolfe is a Professor at Berklee College of Music. This summer, she will be an Artist/Clinician at the Flute Project 2018 in the Dominican Republic, the International Flute Festival in Quito, Ecuador, and the Santa Fe Flute Immersion, and will also teach at Berklee.

Sergio Pallottelli: When I was a student, I always looked forward to summers as this was a time for me to meet flute teachers from places other than my home town. I spent most of the year planning which festival or summer course to attend. The most memorable times were three summers spent at Nice Academy in France, studying with the great flute legend Maxence Larrieu. He taught about precision, style and was so picky that it brought my whole way of thinking to another level and helped me understand what kind of work I really needed to do to move forward. 
    He would make us repeat passages of three or four notes, all day, until they were correct. He would play a cadenza and expect us to replicate it by ear on the spot. Larrieu taught pieces that he knew and was always a bit reluctant to hear music he was not familiar with. He had very high expectations all the time but was such a gentle soul and approached everything with a great sense of humor. After class dinners were always planned. The value of being able to sit with the master and hear his stories about Rampal, Marion and other legends was unequaled.
    I will never forget those summers as they shaped me as a musician and as a person. I will never be able to play certain pieces, Mozart concertos, Prokofiev sonata, Bach sonatas, without hearing Larrieu’s voice yelling something about the rhythm, the music, or the intonation. He taught us how to think deeply about every single note and relate it to life, so that a real story is always told as we play. He brought individuality to our interpretations and showed us that being opinionated is just a high level of caring about something. 
    Attending summer festivals is something I encourage my students to do now more than ever. It is a way to learn different styles of playing, experience different ways of teaching, and mostly, meet peers from different places in the world. This cultural and human exchange can only make them smarter and more sensitive and well-rounded musicians and teachers.

    Sergio Pallottelli performs world-wide as a soloist and chamber musician and teaches as Professor of Flute at Longy School of Music of Bard College in Boston. In the summers he directs Flauti al Castello, a ten-day flute seminar in Tuscany and is faculty at the summer Zodiac Chamber Music Festival in South of France.

Teresa Muir: I participated in the National High School Music Institute, affectionally known as the Cherubs Program, at North-western University the summer of 1977. As an incoming high school junior, I knew my career choice of music education was certain but had no idea where I wanted to study. The three-week program included daily band with John Paynter, group flute study with Walfrid Kujala, jazz improv class with Cliff Colnot, and three trips to Ravinia. We actually saw Beverly Sills perform La Traviata live from a Ravinia pavilion seat. It was an amazing music experience and helped me decide where I wanted to attend school.

    Teresa Muir currently teaches flute in Geneva, Illinois and serves as Program Director for Fox Valley El Sistema. Originally from the Pittsburgh area, she graduated from Northwestern University and taught in the Yorkville and Batavia schools.

Mariana Gariazzo: As a flute student at the Universidad Nacional de Cuyo in Mendoza, Argentina, I was part of a very rigorous and competitive flute studio led by Mtro. Lars Nilsson. He was a foreigner in Argentina who had fallen in love with his new land, its music and people. So much in love, indeed, that Lars learned to play the quena – a traditional Andean flute – and achieved national acclaim as a member of Markama, a famous Andean music ensemble. Lars loves nature as much as he loves music, so he bought land in the central mountains of Argentina and built a house and musical retreat with his own hands. He called this magical place Nueva Vermland, referencing his native Vermland in Sweden. To date, there is no road leading to the house nor does it have electricity. The final stretch to the property can only be accomplished by foot, but what awaits on the mountain is pure bliss with nature. 
    Every summer, he would host a flute music camp called “Encuentros con la flauta y la naturaleza” (roughly translated to “Flute Meets Nature Summer Music Camp”). This week-long event brought flutists from all around the country as well as some daring flutists who came from Chile, Peru, and other nearby countries. The summer course consisted of a series of masterclasses, workshops, and chamber music sessions interwoven with just as important activities such as extensive and compelling hiking adventures, long walks along stunning creeks, and meals prepared by us and shared as a community. There were also chamber music concerts offered under the candle lights for the people who lived around the mountain who arrived at the house by horse or foot. The experience invigorated us for the entire year and connected us with a community of like-minded, flute-spirited, music-loving people as well as with nature and gave meaning to all we do.

    Mariana Gariazzo is an Instructional Assistant Professor and long-distance educator at Texas A&M University, holds a MM from Yale University and a DMA from the University of Texas at Austin. She is a clinician, educator, and adjudicator. Her research focuses on new music and Latin America. As an advocate for low flutes, Gariazzo actively collaborates with composers in commissioning, recording and performing new music for C flute, alto and bass flutes. 

Hideko Amano: When I was a student of Paula Robison at the New England Conservatory in the 1990s, I attended a four-week seminar in the summer break in Nice, France where I studied with Alain Marion, Raymond Guiot, Marzio Conti, and Christian Larde. This was an adventure for me to travel and live in France by myself. I met many great flutists from all over the world, and it was an eye-opening experience. The teaching was phenomenal. At that time Marion and Guiot were the two teachers at the Paris Conservatory. Their teaching complemented one another. One emphasized artistic musicality and the other learning techniques. Marion always spoke about musicality referencing imagination and singing quality. 
    He was energetic and passionate about each student’s playing. He taught us to bring out our emotions through the music. There was never a dull moment in his music creation. He spoke some English. The first time I played for him, he tilted his head and asked, “Are you Japanese?” I said, “Yes.” This puzzled him until he figured out that I had grown up in America and of course was using an American vibrato. From that moment on, he nicknamed me “japonais americanne.” 
    Guiot emphasized finger technique and articulation. He used Marcel Moyse’s Gammes et Arpèges. The class was serious business and allowed me to compare myself with the top-notch international students. Marzio Conti, an Italian flutist and a conductor, was a pupil of Marion and also emphasized musicianship. He spoke English well and helped me develop artistry with his energy and passion for music. Christian Larde, a master flute teacher, was more like a Zen master. He was not as energetic as Marion or Conti, but his teaching was straight to the point and the things he wanted fixed were completely resolved with just a few words. 
    I feel very fortunate to have had these experiences. In America, we tend to emphasize orchestral performance, but studying in France focused on making me an artistic and musical flutist. I truly believe studying abroad is beneficial to students not only musically, but for their personal development.      

    Hideko Amano is a recitalist and teaches at Carthage College (WI), Harper College (IL), and Midwest Young Artists besides her private studio. Previously she taught at DePaul University. She is a graduate of the New England Conservatory (Paula Robison) and studied in Paris with Berlin Philharmonic flutist Mathieu Dufour. 

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