Playing the piccolo in an ensemble offers a set of challenges somewhat different from playing the flute. The piccolo transposes at the octave, which means the notes sound one octave higher than written. Learning to finger in one octave while a higher note is sounding takes some practice. Since the ear tends to perceive high sounds as being louder, novice players sometimes play too loudly, and, for some, playing these top notes is a scary proposition. Understanding the role of the piccolo in the orchestration will help new players meet these issues with confidence and artistry. Because the piccolo player is usually the only one playing that instrument in the group, it automatically takes more of a solo role in the ensemble, mirroring that of the tuba player at the low end of the tessitura. 

Doubling Tuned Percussion
    It is a common orchestration practice to have the piccolo double with the glockenspiel, vibraphone, xylophone or marimba. This voicing adds definition to the percussion sounds. When performing this doubling, remember the percussion instruments are fixed in their pitch. It is helpful to know where the percussion instruments pitch is set (A=440, 441 or 442). Brief moments doubling xylophone in “The Infernal Dance” of Stravinsky’s Firebird come to mind, as well as some tricky passages with glockenspiel in Puccini’s opera Turandot. 

Doubling Brass
There are many places in orchestral literature where the piccolo doubles a French horn line at the octave, or punctuates a muted trumpet line. When brass instruments use a mute, the tendency is for pitch to go slightly higher, so be careful to adjust if this is the case. Bernstein’s Candide Overture after rehearsal 120 is a good example of this doubling with the horn. Be aware that the doubling is actually two octaves apart once with the octave transposition of the piccolo. 

Doubling Strings
    The piccolo also is often added on top of the tutti string family. If a part is marked 8va, be sure to follow that direction because the piccolo is adding an octave to the orchestration. 8va markings are usually not optional. It takes courage to play higher than everybody else, but it feels wonderful to soar above the texture. A classic piccolo passage from the “Overture” to Semiramide (just past letter G) is commonly thought of as a solo for this reason even though the piccolo actually is doubling the tutti violin section.

Doubling Woodwinds
    Blend and balance are critical when doubling other woodwind instruments since each instrument may have the leading solo line. Pay attention to whether the piccolo has the harmony or lead melodic line to choose an appropriate dynamic level. Of course, supporting harmony lines would be slightly less predominant than the melodic line. Take care with vibrato, especially when doubling with the clarinet which does not vibrate. As always be sensitive to pitch because even if a tuner says a note is perfect, there are usually adjustments needed to match colleagues. There are countless passages in the literature where piccolo doubles the Eb clarinet, flute,  solo oboe, or principal bassoon. Each situation calls for a different recipe for good blend and balance.

Solving Problems
    Since the piccolo transposes up an octave, learning to read one note and having it sound an octave higher takes some time. Practice switching from piccolo to flute and back again to get your sonic bearings. Play a few long tones on the piccolo beginning on the B in the staff and then switch to flute playing the same long tones in the flute’s second octave. Try to match the dynamic from piccolo to flute. Then repeat starting on the B in the middle octave on the piccolo which will sound the same as the top octave of the flute. Carefully comparison of the piccolo to the flute, helps players become more comfortable with the automatic octave transposition. 
    When learning the highest register on the piccolo, start slowly. Begin on the middle octave B, playing to the C and then back. Repeat adding one more chromatic note.  

Embouchure
    There are a few subtle differences between flute and piccolo embou-chures. The aperture must be smaller when playing piccolo in order to produce a controlled beautiful tone. Be sure to set the instrument slightly higher on the lower lip than the flute setting so that the air column can reach the back wall of the embouchure hole. (The smaller size of the instrument requires this little adjustment). It helps to remind yourself to bring the top lip slightly more forward than you are used to for the flute, almost like blowing a kiss to somebody across the room, to help angle the air properly. Make sure to keep the instrument parallel to the bottom lip. A slight angle to the instrument is preferred instead of holding it marching band straight.
    Take special care to note any excess tension in the lips. If the corners of the lips feel as though they are squeezing back and together like a smile, relax them. Think of saying the word pure to help bring those lip corners toward the canine teeth and into a position that is less gripped. If the top lip pushes down toward the bottom lip, make an immediate adjustment. This usually produces buzzing like the Bronx cheer. For this problem, add height to the aperture.
    All of these adjustments provide more tonal control and take away that initial tendency to have a wild and untamed tone on the piccolo. Remember, it is a smaller instrument, so embouchure adjustments will also be tiny, and a little often goes a long way. 

Air 
    Many novice piccolo players over-blow on the piccolo. Try to resist the temptation to drive the tone with a lot of air because that produces sounds that are harsh and gritty. Lift the tone and allow it to float through the texture. Since the instrument is smaller, think of using a firm, concentrated air stream featuring speed and support, rather than using a large quantity or volume of air. Lifting the rib cage and sternum at the ends of the phrases to control the air helps keep the pitch from dropping. Small embouchure movements forward at the ends of notes will also shape tapers and give elegant releases. 
    It is critical to understand the piccolo’s role in different orchestral situations. Through careful practice, new piccolo players will enjoy their new role in the ensemble texture.     

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Rudiments of Stage Presence and Comportment 
Expectations
    The senior recital bears an inordinate amount of academic weight. Teachers should help students set reasonable goals and adjust performance expectations. It seems that every recording is flawless; false, that is just good sound engineering. Yet, students expect to sound like a recording right out of the gate, using this as a yardstick of success. Experience classical music outside of the insular university setting. Students can practice performing in religious institutions, nursing homes, senior centers, libraries, homeless shelters, and studio classes. Practice room hermitage lends itself to only practicing how to “get it right,” and neglects practicing performing. Practice performances help to give perspective to expectations. They also give a sense of familiar comfort that comes from performing a work more than once – bolstering confidence, solidifying intent, and creating greater ease on stage. 

Intention
    Intention is the purpose or message to be conveyed in a recital. It is the architecture of program design, the need for ebbs and flows in audience and performer attention, and fluctuations of intensity and emotional response. Coding each piece with a purpose and psychological intent gives one the confidence to commit to an interpretation, and thus ultimately bolster confidence. You can only control your intention and delivery of it; the audience will hopefully be open to receiving it, which is out of your control. Consider intention to be what you are doing to the audience with the piece. The music itself is a way to connect directly to each person sharing the performance with you. Play with and for them, not at them.² 

Confidence 
    In large part, confidence comes from a clear intent, knowing the music (and that of collaborators), and being resolute in the interpretation. This allows the performer to be present in the moment and be able to connect to the audience in a more relaxed manner. This is when you discover a confidence, not arrogance, in your playing that permeates your entire being. Every action involved with performing is a communication to the audience. Make choices and commit to them. Without conviction in your choices, the audience becomes unsettled and the value and quality of the performance becomes suspect. Building confidence takes time. Professional comportment should always reflect confidence. 

Audience Communication 
    With venue sizes shrinking, the old trick of stare over their heads at the back wall no longer applies. Today’s audiences expect greater communication between the performers and the audience. Speaking to an audience makes a performance interactive; it makes them feel like conspirators in what is about to transpire on stage. Addressing them during a recital is essential. The performer should be instructing them about what to expect, how to feel, and what to think; they are looking for those cues. Tell them your intent. Opportunities to communicate with the audience occur when entering and exiting, speaking about the program, in between compositions, bows, and after the concert. Smile and make eye contact with audience members as you enter and exit. As you gain confidence, sharing a quick glance or wink during the performance includes them and mitigates some of classical music’s perceived stuffiness and inaccessibility.
 
Speaking
    Speaking is a musical form governed by vocal inflection. Prepare and practice what you will say (video recording is immensely instructive in this process). Make sure that the intent and message are clear, that you are easily understood, and listen for and eliminate space fillers (ums, ers, uhs). A second of silence is far more illustrative of confidence than a string of monosyllables. You should assess your speaking volume to determine if you should use a mic and adjust accordingly. 

Attire
    Select something in which you are comfortable. Remember that something that looks amazing in the fitting room may not be performance comfortable. Test out attire prior to a recital and rectify problems before they affect the performance. Break in new shoes. Leave open-toed shoes in the closet and avoid high heels. Check skirt length whether sitting or standing, remembering that you are elevated on stage. Men often find that a tailored suit coat is uncomfortable when playing.
 
Entering/Exiting the Stage
    Enter the stage projecting intent; this provides integrity to each piece from before any sound through the final reverberations. Michel Debost teaches every student to enter and exit the stage (regardless of performance quality) as if they are the only one who knows how to play the flute. Hold your head high; keep your chest broad; open, and welcoming; and wear a smile that absorbs the entire face. Remember to walk with authority – not attitude. Make eye contact with a few people in the front row and throw a wide smile to those lurking in the back. It creates a frame for each piece when the performer enters and exits the stage. Exploring Feldenkrais and Alexander Techniques will help not only with this, but also with posture, physical carriage, and performance stance.

Stage Positioning
    While ensemble composition prescribes much of stage positioning (e.g. quintet arrangements), there are still some freedoms, such as standing in the crook of the piano, in front of it, or in line with it. The position and the space between performers illustrates for the audience who is in power.³ Be sure to position yourself so that you can not only see collaborators, but also visually and physically communicate with them. That position should lend itself to communication with the audience. This direct interaction, as well as those occurring onstage, will give them a sense of active inclusion in the performance. 

Indicators of Collaboration
    Soloists should acknowledge every collaborative artist on stage when they initially enter, and during bows. They were asked to work with you, not for you. Never scowl at a collaborative artist in an attempt to displace blame for your own error or flinch at anyone’s mistake. Visual communication and interaction between performers should signal to the audience that you are a team. A small smile shared on stage during a fun section goes a long way in connecting with an audience; it allows them to feel as though they are witnessing something intimate, personal, and special.

When You Are Not the Focus
    Having entered the stage with intent, carry it through the moments when you are not playing. Unless you have a debilitating instrument malfunction, direct your focus to fellow performers. A piano interlude is not the time to swab out, look bored, or adjust one’s outfit, and doing so signals the audience that what is occurring is not important. This devalues the music, the artists, and ultimately your own performance. Instead, you could temporarily, gently shift your stage position, stepping more into the piano crook, and face the person musically leading.  

Bowing
    A bow is about showing gratitude for the audience. Every bow should express this. The old standby of “bend at the waist, stare at your toes, count 1-2-3, and pop back up like a whack-a-mole game” will not do. No matter the performance flaws, control your facial expressions and physical carriage to show the audience that the performance was wonderful. It should be friendly and welcoming, perhaps catching the eye of an audience member. Notice the scale of the space, and adjust the bow to fit it. A big stage should have a big bow; a small stage should get a small bow. Genuinely include all collaborators, who should stand side-by-side as your equals. Beforehand, be sure to coordinate who will lead the bow.

Manners Matter
    Be gracious in every interaction with stagehands, orchestra managers, and venue staff. The lighting designers, costumers, hair and makeup staff, and stage management team can affect whether you are asked to return for future performances. The arts world is small.  
    From arrival at the venue to the time that you are home, you should engage and project a professional self. This means leaving personal issues at home. If you require undisturbed time, stage managers are your greatest resource, especially for extraction from pre-concert receptions. In the post-concert receiving line, the response to a compliment is always a variant of “Thank you. You are too kind;” this is not the time for self-deprecation. The audience is still looking to you for cues relating to performance quality. Attentiveness and smiles make for endearing photos and impressions.
    You will be remembered by every adjudicator, teacher, and audience member encountered in every competition, audition, performance, festival, or application. Everyone with whom you interact is potentially your next employer. A colleague of mine applied for a professorial position just after receiving his PhD in Musicology. When he arrived for his on-campus interview, the first person to shake his hand said, “I’m so happy to see you again. I knew I would. I remember you from your grad school application seven years ago.”

You Are Your Brand
    Lindsay Leach-Sparks wrote, “The market is not just tough – it is brutal…. Full-time music jobs are unlikely, and expecting one after graduation is unrealistic…. It is still possible to survive as a professional musician, but the methods and paths are often quite different than they were in the past.”⁴ Those methods and paths are paved with entrepreneurial endeavors. In this age of media chronicling, you must always put your very best professional self forward, for that media stream will unsparingly reveal deficits. A seemingly inconsequential picture can, and will, speak volumes to potential donors when they Google you (and believe me they will) before writing that check.  
    Your best professional self is what you want to project and what they want to see. Some of the rudiments of comportment and stage presence are an easy fix, while others require a lifetime of cultivation. We all lack confidence at times, it is just that the more seasoned we become the easier it becomes to not broadcast it. With a little practice, you can always put forward your best professional self, even if you still have a little doubt inside.    

* * *

Comportment
This is one’s bearing, demeanor, and behavior. Essentially, how we carry ourselves. 

Stage Presence
This is the ability to command the attention of an audience through one’s skill, artistry, manner, and appearance.¹

* * *

End Notes
¹ For further understanding of stage presence, see Deavere, A.S. (2006). Letters to a Young Artist: Straight-Up Advice on Making a Life in the Arts-For Actors, Performers, Writers, and Artists of Every Kind. New York: Anchor Books, Random House, Ch. 1 & 3. 

² For further understanding of intent, see Bruder, M. et al. (1986). A Practical Handbook For the Actor. New York: Vintage, Random House.

³ See Bogart, A. and Landau, T. (2004). The Viewpoints Book: A Practical Guide to Viewpoints and Composition. New York: Theatre Communications Group for discussion of the use of space in performance and the Fine Arts.

⁴ Leach-Sparks, L. (2015) “How to make a Living with a Music Degree” by Lindsay Leach-Sparks. Flute Talk vol. 34 (9), May/June, pp. 26-29.

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Wilhelm Popp
    Wilhelm Popp (1828-1903) was a German flutist and a prolific composer of virtuoso salon pieces. One of his cleverest compositions is Bagatelle for flute and piano. What is unusual about this piece is that was created to be performed by one player. The flute part is played by the flutist’s left hand and the piano part with his right hand. For pedagogues, the Flute School, Op. 205 is an excellent example of how technique was developed in 1873. It is also a good work with which to practice movement gestures
    As you look over this example, notice the similarity of Popp’s first seven measures to Exercise No. 4 from the 17 Big Daily Exercises by Taffanel et Gaubert (1923). What we can deduce from this similarity is that this exercise was a standard scale pattern for flutists from at least 1873. Many flutists have questioned the mode usage in the minor portion of Taffanel et Gaubert’s exercise. Popp’s minor scale patterns employ the melodic minor scale only. Since the Taffanel et Gaubert minor patterns are not consistent through each key, it may be that this change of mode was an engraving error rather than a philosophical statement. The other thing of interest is that at the end of each scale pattern Popp employs either a 15-note rendition of the scale or arpeggiated passages in the tonic or dominant keys. To examine Popp’s complete 24 scale study, see .

Flute School, Op. 205, Exercise #3

Down/Up
    The down/up phrasing gesture is the one flutists naturally do when cueing another instrumentalist to begin playing. When cueing, notice how the flute remains firmly in the chin while the chest and arms lift as a unit as the air enters the lungs. The intake of the air is done on the upbeat or preparation beat with the flute lifting slightly and then on the exhale the flute returns to the starting position. The down/up gesture is indicated by the down bow icon used in string performance. In music the down/up gesture is used when the musical idea begins on the beat. Each chunk of notes is played slurred and on one blow of air. Be sure students move simply following the down bow icons and do not pulse with the air or the end of the flute.
    Have students practice each of the following examples in a mirror. The movement should be simple and clear while moving in a straight line from down to up. At first the movement should cover four to six inches, but eventually the movement will be quite small. Notice the down bow icon at the beginning of each example. In the future they will mark this icon in the music to remind them of how to move. The first note is the strongest or loudest (mf) and each note in succession becomes softer. Release the tension in the hands at the end of each chunk and take a breath in the rest. This type of breathing is called panting. Continued panting separates the vocal folds (opens the throat) which improves tone quality. Students should practice gesturing by four notes for several weeks or until becomes automatic.

    Once students can easily perform this gesture by four notes, repeat playing by eight notes. Once again, check for clarity of movement. The end of the flute moves from down to up, in a straight line and on one blow of air. To rid extraneous movement, have flutists visualize a piece of chalk taped to the end of the flute. Then when doing the gesture, they should envision drawing an upward straight line as if on a black board. The first note is the loudest (mf) and each note in succession becomes softer. Students should practice gesturing by eight notes for several weeks or until it becomes automatic.

    Gesturing by measure or sixteen notes offers a specific problem that most flutists encounter when practicing these movements. Notice the scale passage arches with the top A before descending. It is at the top A that flutists want to return the flute to the down position rather than keeping the gesture going on up. Many flutists have developed the tendency of moving the end of the flute in conjunction with the direction of the notes. This movement destroys the musical arch of the measure. Learning to play these sixteen notes on one up gesture improves technique almost immediately. The secret to developing a great technique is to place more notes on one gesture. If the end of the flute moves randomly or by too small a number of notes, the music sounds plodding, and the fingers are heavy. Practice gesturing by sixteenth notes until it becomes automatic.

    Practice Popp’s scale pattern to explore gesturing by groups of varying lengths. Some patterns to try: 
•    Chunk by eight notes rest, eight notes rest, and then sixteen notes rest.
•    Chunk by one measure rest, one measure rest, and then two measures rest.
•    Create as many patterns as you can. The final goal is to play the entire key of G on one gesture and breath.
•    Practice in the mirror paying careful attention to keeping the movement of the end of the flute concise and clear. Eventually the movement will be quite small and the musical effect will be one glorious phrase.

Other Options
    Once these exercises can be performed naturally, apply these concepts to etudes, repertoire, and excerpts. In Joachim Andersen’s 24 Progressive Studies for the Flute, Op. 33 these practice strategies work well in nos. 1, 4, 7, 12, 15, 19, and 21. For exercises employing six notes to a beat (nos. 3, 5, 8, 9, 11, 13, and 16), gesture by beat and then by measure. In the Mozart flute concertos, practice all sixteenth-note passages following these steps. Not only will the notes flow well, but the virtuosic elements of the passages become simple. 

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    Almost every professional flutist has played in a woodwind quintet at one time or another. Many orchestras have formed quintets, such as the Philadelphia and New York Philharmonic; universities have resident quintets comprised of the teacher/artist faculty; and several independent groups ranging from amateur to professional exist.
    For a flutist, playing in a wind quintet such as the Dorian is both rewarding and challenging. Playing in any ensemble without a conductor helps you to become a better musician: you must participate more and be more responsible for the results.
The large repertoire for woodwind quintet includes many excellent 20th-century works. Many transcriptions, like the Bach organ works transcribed by Mordechai Rechtman, or those by Ross Taylor, are readily available.
    Let us focus on one of France’s most sparkling composers, Jacques Ibert (1890-1962). He dedicated his flute compositions, the Concerto for flute and orchestra, and Pièce for solo flute to Marcel Moyse. Ibert wrote other enjoyable works: Deux Interludes for flute, violin, and harpsichord (or harp); and Deux Mouvements for two flutes, clarinet, and bassoon.
    Ibert despaired that he would be known for only one piece, his popular orchestral tone poem Escales (Ports of Call). Now, 25 years after his death, his most performed work is Trois Pièces Brèves. Its tunefulness, charm, brilliance, and its clear neo-classical form make this short masterpiece enjoyable for all audiences from young to old, sophisticated to inexperienced. Every quintet needs to play this work, and every flutist should know it. The Dorian Quintet recorded this demanding piece and it is always a pleasure to perform. In an old Philadelphia Quintet recording, Kincaid’s beautiful and passionate playing, especially in the slow movement, provides a great example for flutists to emulate.

Movement I
Opening: Give a good preparation for a strong, accented downbeat. You are beating “two, play.” Remember, the “two” needs a little up  down preparation itself. I pretend the flute is my baton, and between my hands (or my right thumb) is where the beat “clicks.”

    The whole introduction should move forward and grow to rehearsal number 1. At rehearsal number 2, play very softly, yet with tiny accents. Practice the difficult low register attacks, approaching as in Marcel Moyse’s De la Sonorité. Remember to play softly, with clear attacks, making a diminuendo on each note. The figure:

should make a big contrast by being very legato with a huge but gradual diminuendo.
    The happy main theme at rehearsal number 3 should be practiced carefully, but in many ways. First practice it evenly:

Then, in dotted rhythm:

Then, with reversed articulation, which helps check finger coordination:

Lastly, practice with triple tonguing for accurate rhythm:

    The passage at rehearsal number 6 must be alive and move forward. Decrescendo, or come away on the eighths, and make a little crescendo on the sixteenths:

Be sure to tongue each beat, leaving no spaces between release and attack.

Movement II
    The second piece is a lovely miniature, with the flute predominating almost all of the time. Make the most of an ample, broad, flowing, beautiful tone and good phrasing. Marked forte, it should never be forced. For a good legato, practice the whole movement with no spaces between the slurs:

Then practice the reverse:

Next practice the whole movement a half step lower:

This will help gain more control, to be more supple and relaxed in the lips. Then play it in Gb major, F major, etc. Also practice it fluttertongued, to relax the throat and lips.
    At rehearsal number 1, I incorporate the breath’s from Kincaid’s recording, using his excellent phrasing for this passage. It is often more musical to break a slur than to breathe on the barline. In measures 13, 14, and the beginning of 15, play very softly with no vibrato so the clarinet can come through. After rehearsal number 2, play very smoothly with little vibrato; do not vibrate on the long Eb.

Movement III
    Take a huge breath as if you are about to swim the entire length of the pool underwater, expanding from your belly. Give a very strong preparation and “pop” or “snap” attack to make sure the oboe and clarinet attack precisely and strongly with you. Continue to beat the third beat of m. 1 and the downbeat of m. 2. Be very still and listen to the horn’s rhythm:

Then give a small beat on the 2nd quarter note of m. 3 so you move off that note together with the oboe and clarinet. Give a gentle cut-off in m. 6. Looking to the right, I make a small counter-clockwise circle with the end of the flute, starting at the bottom at the 6 o’clock position, moving up through 3:00, over at 12:00, forward and then down at 3:00, and when I get back to 6:00, it is the exact moment of release.
    At rehearsal number 1, give a good upbeat and downbeat for the bassoon, and play the staccato notes in the same manner as the first movement. A dramatic effect is to start mezzoforte and make a diminuendo over two bars. Again, keep these accompanying notes bouncy, using a light tongue coordinated with breath and make a diminuendo on each note.
    At rehearsal number 3 practice this way:

and then:

At the fourth bar of rehearsal number 3 practice slowly at first without the grace notes, trying to get a strong clear attack, a big diminuendo, and a very good legato:

At three bars before rehearsal number 5, practice the skeleton:

Notice the second and third bars spell out an F# dominant seventh chord, bringing us to the key of B major for the clarinet solo at rehearsal number 5. Practice this several times in each of the following ways:

At rehearsal number 6, practice the skeleton like this:

Then practice it like this:

    Two measures before rehearsal number 12, the F# dominant 7th harmony is not quite as obvious as the parallel measures before rehearsal number 5. Practice by adding the imaginary words, “I love you.”

Then practice it this way:

And finally:

    Following these practice suggestions, create your own practice techniques which will help you play this piece or any other quintet literature more smoothly, musically, and expressively.

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    Competitions are often exciting but unnerving experiences for students. A well-run event provides a positive performance experience that encourages musical growth and gives students the confidence to pursue future opportunities.
    As a board member of the Chicago Flute Club (CFC), I have coordinated its annual student competition for three years. There are a number of elements that help to create a successful student competition.

The CFC Competition
    The CFC student competition, held since 1992, is scheduled in the fall because of the many solo contests that occur in the Chicago area during the spring. It includes a senior division for grades twelve and under, a junior division for grades nine and under, and an elementary division for grades six and under. These groupings facilitate the selection of appropriate repertoire for students at a similar level of playing. Currently, the competition is a one-day event, and the first-place winners perform in a member’s showcase concert later in the season. 

Choosing Repertoire
    One of the first tasks in planning the competition each year is selecting the repertoire. In each division performers play two pieces. The goal is to pick contrasting pieces that expose students  to a variety of music in the standard repertoire and also improve their skills. The repertoire also should challenge the older students in the division while not intimidating the younger ones. 
    The elementary division pieces usually run about five minutes long, with seven minutes of music for the junior division, and ten minutes for the senior division. For the senior division there is a special effort to ensure that one of the pieces is standard repertoire and something students could use for a college audition as well. In this division there is one unaccompanied piece and one with piano. Listed below is the music for the 2015 competition.

Elementary Division Repertoire
(6th Grade and under)
Menuett by Friedrich Kuhlau, from Pearls of the Old Masters Volume II
Romanza Espressiva by Franz Schubert, from Pearls of the Old Masters Volume II

Junior Division Repertoire
(9th Grade and under)
Offertoire, Op. 12 by Johannes Donjon, from 24 Short Concert Pieces for Flute, revised by Robert Cavally
Sonata in G Major, HWV 363b movement 2 by George Frideric Handel, any edition

Senior Division Repertoire
(12th Grade and under)
Andante Pastoral et Scherzettino by Paul Taffanel, from Flute Music by French Composers, edited by Louis Moyse
Three Preludes, Op. 18 movements 1 and 2 by Robert Muczynski (unaccompanied), G. Schirmer edition

    The rules specify editions but allow students to use others if they choose. If students decide to use a different edition or make changes to the part (such as to articulations or dynamics), they must provide copies of the score for the judges when they perform. For example, teachers may want to remove certain slurs printed in a part because of how they view the performance practice.
    Another consideration is memorization. For many years the CFC competition required one piece to be memorized for the junior and senior divisions. The memorization requirement has since been eliminated in hopes of attracting more applicants. Many students choose to memorize anyway, but by removing the requirement from the rules, the competition has become more approachable for some applicants, and the number of participants has grown.

Picking a Venue
    Another important consideration is choosing the right location for the event. The club’s membership comes from not only the city of Chicago but also the surrounding suburbs, so centrally located venues that are easily accessible from the interstate tend to be more successful.
    Potential locations should have ample parking, nearby coffee shops and restaurants, an open space for registration and gathering, plenty of warm-up rooms (preferably with pianos or keyboards), and large performance spaces that have well-maintained pianos and appropriate acoustics. We usually use large high schools and music buildings on the campuses of colleges and universities.
    Ideally, choose a venue that has plenty of music stands available to avoid additional costs. Make sure the pianos are tuned for the day of the competition. In the past the CFC has hired a piano tuner to come the day before or has negotiated piano tuning into our fees for using a venue.
    Negotiating a price can be a challenge. See if there are ways to barter to bring costs down. Venues have lowered their price in exchange for advertisement in our newsletter or having an information booth at the event.

Selecting Judges
    The CFC has a large list of wonderful flutists who are willing to assist as judges. They listen to each contestant, give comments in different categories of musical skill, and pick four winners in each division. Good options for judges include nearby university flute professors and local professionals and teachers. Compile a list of all past judges and keep up to date on the names of notable flute pros in the area.  Judges are provided with an honorarium for their time as well as meals throughout the day of the competition.
    It is imperative to clearly communicate to the judges the way you want the event to run and the atmosphere you want to create. For example, we ask judges to provide lots of written comments but to stay constructive and not write anything that may be deemed degrading to the student or instructor. We hold a judges’ meeting the day of the event to reiterate key points such as how the comment sheets work and the necessity of staying on schedule. ()

Advertising the Event
    Once the details are decided, advertise the event prominently. If a club is sponsoring the competition, send out flyers with registration details to all members. Advertise in flute newsletters and magazines. Post information on web sites and send out email blasts. Notifying local school band and orchestra directors is also a great way to get the word out. Make sure to emphasize to potential participants the benefits of competing and what they will gain from the experience.

Scheduling
    Scheduling students is one of the trickier aspects of planning a competition. First, the competition organizer checks to make sure each student and teacher has paid all of the necessary membership dues and application fees. An Excel spreadsheet that can be easily shared and edited through sites such as Google Drive and Dropbox helps to keep track of the details. Once all of the students and their teachers are confirmed as members, the schedule is created. Each student receives a warm-up and performance time slot.
    Be sure to consider the accompanists as well. They should have sufficient time to avoid conflicts if they are accompanying multiple students, but their schedule should not be too spread out over the course of the day. The schedule must work so that accompanists do not have any time conflicts, and if possible can be present for warm-ups with students. It is easy for multiple rooms to fall behind in the schedule if students and judges have to wait for a delayed accompanist. Students may submit time requests with their application. We do not guarantee they will receive a certain time during the day, but we try to accommodate them if possible. 

A Well-Run Event
    Many people are needed to make the day of the competition run properly. The CFC requires students to submit the name of a parent, teacher, or guardian on their application who can volunteer on the day of the competition for a 30-60 minute time slot. This helps cover important jobs such as door guards, proctors, and registration. On the day of the competition, each volunteer receives a piece of paper with a description of the job.
    There are many volunteer duties. One important job is assisting at the registration desk with signing in students and volunteers and providing them with information. Other volunteer positions include door guards and room proctors. Door guards stand outside the performance rooms and check off students as they arrive to compete. They make sure no one enters or leaves the room during a performance. The proctors are inside the room and announce to the judges each contestant’s number as the student enters the room. They also move any equipment and can serve as a messenger for the judges if they need anything.
    If the competition runs all day, consider meals for judges, attending sponsors, and people helping for the entire event. The CFC budgets for this cost each year and coordinates with a hospitality volunteer ahead of time to plan the food and drink. We typically provide coffee and light snacks in the morning for the judges’ meeting and a lunch mid-way through the day.
    Plan ahead. Arrive at the event well in advance to set up everything beforehand. Use this time to complete preparatory tasks such as hanging up signs, making sure the judges’ packets are ready to go, and setting up the registration table and performance rooms. The more that is done ahead of time, the smoother things will run. It also allows more time to tackle unexpected obstacles that come up during the event.

Prepare for Problems
    Be ready for difficulties to arise throughout the day. One year there was a large accident that caused traffic delays on one of the main interstates. This delayed many of the students. With careful rearranging we were able to move around some students so the late arrivals could still play. It is always a good idea to have a couple extra people around in case volunteers do not show up or are late in arriving so jobs are covered.
    Have extra copies of all informational papers and supplies. For example, judges will go through a lot of pencils throughout the day, and there will always be additional places you did not think of that should have signs. Keep a positive attitude throughout the day and try to think through as many potential problems ahead of time to have a plan for how to handle them.

Creating a Rewarding Experience
    Ideally, the goal of entering a competition for any performer is to have a positive experience. This starts with providing a nice venue where students will have a good sound while performing, and parents will enjoy listening to their children. For many students, performing in a large hall with a nice piano is a huge step up from the tiny practice rooms they use at school. 
    The CFC provides all participants their adjudication sheets promptly after the competition. We send the sheets to each student’s teacher; envelopes and mailing labels are prepared in advance of the event. Care is taken to hire judges who will give many helpful comments as well as words of encouragement. The adjudication sheets ensure that everyone receives feedback from the competition that highlights their strengths and helps them become better players.
    The winners receive certificates suitable for framing, prize money, and acknowledgement in our newsletter. We recognize the winners’ teachers in the newsletter as well. First-place winners are also invited to perform on a member’s showcase concert held later in the season.
    Prize money is an asset to any competition. Try to find sponsors to provide the prize money. Local flute repair professionals and music companies are often very willing to sponsor competition prize money or provide gift certificates. Be sure to thank and recognize all sponsors. For instance, offer complimentary advertisements in printed materials, or provide a table at the competition where they can promote their business and interact with the performers.

After the Competition
    In the days after the competition it is very important to send thank you notes to the judges and sponsors of the event. These notes are an important part of appreciating the judges’ expertise and the sponsors’ generosity so they will hopefully assist with the event in the future.

Plan a Competition Today
    The CFC’s annual student competition is one of its most rewarding events each season. There are many different ways to run a competition successfully but hopefully some of the examples from our event will inspire you to start a competition or enhance an existing one. Hosting a competition is a great way to get students motivated and excited about music.   

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Photo courtesy of Decca/Andrew Eccles

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What methods do you use to prepare for professional auditions?
    To be successful and to sustain myself through the rollercoaster ups and downs of auditioning, I had to become okay with failure, knowing that there was something to learn from each attempt. I will never forget my first audition for the West Virginia Symphony Orchestra when I was a junior in college. The list was short, and there were only about ten people there. I thought, “How hard could this be?” It ended up being an incredibly humbling experience because I got extremely nervous, partly because I had not truly prepared well. I felt embarrassed and disappointed in myself, but I knew I could do better.  
    The second audition I took I did extremely well, making it to the finals of a top ten orchestra. I prepared much more thoroughly and recorded myself several times before the big day. There were still holes in my preparation, however, including not checking the excerpt list carefully and realizing the week of the audition that I needed to learn parts of Ravel’s Daphnis et Chloe that were not the usual solo. Doing so well on only my second audition was a boost to my ego, but also made the next few auditions bigger mental hurdles. It was incredibly naive, but I thought that if I made the finals once, I should be able to win the next one. 
     The next few auditions were pretty hit or miss. I had a big head and did not prepare properly. I made a lot of assumptions about how well I was playing and was not really listening to myself critically and honestly. It was not until my seventh audition, for the Louisville Orchestra, that some things finally started to click. I only had very minimal preparation time for that audition. I went to Kinkos and made a book with all of the excerpts so that I could be as organized as possible with my limited time. That audition also taught me that a lot of things are out of your control with auditions, and you have to do the best you can and try not to let anything ruffle your feathers. Because of a previous commitment, I had to fly the morning of the audition. Most people will tell you never to do that, but it was my only choice, and I ended up winning.  
    I was in Louisville for a year and a half, during which time I took five auditions before winning my next job. At this point, I had really gotten my routine down. Before anything else, I made my audition excerpt book. I was lucky to be a part of a very talented and supportive group of young people at the Louisville Orchestra who got together frequently to play excerpts for each other and get comments. I was consistently advancing at this point at all of the auditions I was taking, but nothing panned out until I was invited to take a small audition for the temporary position of second flute with the Cincinnati Symphony Orchestra. At this time, the Louisville Orchestra was in bad financial shape, and the following season was very much in jeopardy. The possibility of being without a job was very real to me and I prepared very carefully.
    I ended up winning the temporary position and though I had always thought of myself as a principal flutist, I felt lucky to have a job, and one in such a great orchestra. I was also fortunate to play beside principal flutist, Randy Bowman. I learned so much during this stage in my career from him and from all of the other wind players in the orchestra. While in Cincinnati, the position of associate principal flute came open suddenly, and I was invited to take another small audition for the temporary position. After one year playing second, I won the position of acting associate principal flute. 
    My first audition for Cincinnati was number 13 in my career of auditioning. My audition with the National Symphony was number 22. I took a lot of auditions during my three years in Cincinnati and came close to being selected many times. 

Was there a turning point that led to your eventual audition success?
    I played for friends, made up pretend preliminary and final rounds, recorded myself a lot, and focused my practice sessions. I also did not neglect the auxiliary instruments as I may have done previously. I prioritized practicing the piccolo and alto flute since I knew under pressure those would be my weakest points.  
    I also focused on the most challenging excerpts, which I finally realized meant more than just the fast ones. Specifically I worked on the opening of Beethoven’s Leonore Overture No. 3, Debussy’s Afternoon of a Faun, and Shostakovich’s Symphony No. 6. Anyone can sound impressive playing fast notes, but my goal was to show the committee that I was very much in control of my lyricism and expression. 
     I also tried to break up the monotony of practice sessions by focusing on one aspect at a time, applied to all of the excerpts. I spent an hour playing with a tuner on different drones to strengthen intonation and the next hour working on dynamic contrast. The next hour might be on character and melodic shape. It was a revelation for me when I realized how many issues are solved simply by playing in the correct character. It is the one thing that truly got me out of my head and into making music. For instance, Prokofiev’s Peter and the Wolf is all about sounding like a charming little bird and not about showing off your technical mastery. Stravinsky’s Firebird is a quick and very light waltz, not an etude.  
    I found playing for others to be extremely helpful. I began to get the most out of it when I realized it was more about going through the motions of getting nervous and figuring out my pacing and less about impressing my friends and colleagues. One approach I picked up from a friend was to play the excerpts with the listeners sitting behind you. This simulates the feeling of having a proctor onstage with you at the audition. I encourage flutists to record mock auditions with friends and to record your private practice often. Be honest with yourself when you listen back. 

What led to your decision to be a flutist? 
    My parents, who are not musicians, signed my brother and me up for piano lessons at a young age. I will be forever grateful to them for getting me involved in music simply because they had heard of the benefits of learning to play an instrument. I started playing the flute at age nine when the band program at my school began. Because of my piano background, I was a fast learner and by the time I was 14, I had let go of piano to focus my energy on flute. I also got a new teacher at the time, Krysia Tripp, who helped guide me and all of my enthusiasm for the instrument. My first piece with her was the Chaminade Concertino, which prompted the purchase of my first Galway CD. I remember listening to his album Music for My Friends and being amazed by what the flute could sound like. That was when I knew I wanted to become a professional flutist.   
    Krysia Tripp suggested that I might do well at an arts intensive high school program, specifically the North Carolina School of the Arts (NCSA). To get a taste for the school, I attended its summer session, which was five weeks of daily lessons and masterclasses with Philip Dunigan. I loved NCSA and grew a lot that summer. I decided to audition with the hopes of enrolling for my last two years of high school. I was lucky to have two very different teachers while I was there, Philip Dunigan and Tadeu Coelho, who came in after Dunigan’s retirement.  
    During my senior year, Dr. Coelho worked with me on college audition preparation and together we decided on five schools, four which were traditional conservatories and one, University of Cincinnati College-Conservatory of Music (CCM), which was part of a larger University. I was accepted to three schools, but in the end decided on CCM because of Brad Garner’s reputation for training successful professional flutists. Financial concerns were also a large factor in the decision and I am glad now that I chose CCM because it left me with a lighter financial burden. My advice to high school flutists trying to decide on a college is to think about where you can get the most work done during your time there and about the success rate of students from that teacher. College is your time to practice as much as possible, and if becoming an orchestral musician is indeed what you want to become, you will be glad you focused on becoming a better flutist during your college years instead of the distractions of a big city.  

While studying at CCM, did you enter any competitions? 
    As a freshman at CCM, I really looked up to the older students. Many of them were entering competitions and winning, and I wanted to get involved right away. For me, participating in competitions was hugely motivating and a great way to focus my practice sessions. In hindsight, I see that all of the opportunities I had to play in the spotlight enhanced my ability to work with my nerves and concentrate under pressure. Preparing for competitions gave me concrete goals, and I pushed myself to prepare at the highest level. I won the Frank Bowen, Myrna Brown, and NFA Young Artist Competitions during my years as an undergraduate. 

Did you participate in summer festivals? 
    Summer festivals were the best opportunities I had to practice my orchestral playing before winning a job and the closest simulation to a career as a professional orchestral musician without actually having one. I attended the National Repertory Orchestra (NRO), Spoleto Festival USA, and the Tanglewood Music Center (TMC). Each has a different focus. NRO is about performing as much repertoire as possible in eight weeks. Spoleto is a four-week whirlwind of standard orchestral repertoire, opera, and contemporary works, where attendees are treated as professionals and paid a small stipend. TMC is the ultimate setting for collaboration with and nurture from world renowned conductors and members of the Boston Symphony.  
    Aside from learning the skills of orchestral playing, summer festivals were very helpful in developing what has now become my professional network. I clearly remember sitting at the welcome meeting at NRO where the director, Carl Topilow, told us that all of the people around us could one day become our colleagues. It seemed incredibly abstract and grandiose at the time, but he was right. I now play in the same orchestra as five others whom I originally met at a festival. I have also gotten work outside of my orchestral jobs from my connections with musicians I met at these summer programs. When given the choice, musicians will choose to work with people they know and like. Remember to always be gracious and courteous to the people you play with as you never know when they might be a future colleague.  

What are the duties of the assistant or associate principal flutist?  
    Now that I am in my second orchestra as assistant principal flute (or associate as it was named in Cincinnati), I feel like I have a real sense for the idiosyncrasies of the position and have enjoyed the opportunities and challenges that come with the job. As assistant principal, one is expected to be the chameleon of the section, performing mostly the role of principal flute and alto flute, but always with the chance of filling in on second flute or piccolo depending on the needs of the section. 
    A typical concert for me includes playing principal flute on the overture and the concerto. One of the perks of the job is getting to go home at intermission most weeks, although I do like to stick around from time to time to listen to my colleagues. There are some challenges that are specific to performing the first half of a concert. First is playing the delicate role of accompanying the concerto soloist. It is a challenge that I am happy to rise to since it means playing with incredible musicians such as Emanuel Ax, Garrick Ohlsson, Gil Shaham, Evelyn Glennie, and Midori. Another challenge is playing new works, often premieres, which do not have recordings yet. I am always in the library looking at the score and writing in cues and trying to get a sense of how the piece goes before the first rehearsal. 
    I see my responsibilities on piccolo with the orchestra as both a challenge and an opportunity. Piccolo is harder for me than flute, but I recognize that this is simply because I do not practice it as much. I can expect to play piccolo a fair amount during the season, such as when there is a second piccolo part on a Mahler symphony or when our piccolo player takes time off. I always know in advance and take care not to cram my preparation. For me, piccolo just takes more time to be at a comfortable level. As long as I plan ahead, it can be fun to have a different role every once in a while.  
    The same goes for alto flute, although I definitely prefer playing alto to piccolo. For me, this is a real treat of my position. I still have to prepare far in advance to get used to the quirks of the instrument, but it is such a joy for me, it does not really feel like work.  
    Assistant principals also play the pops concerts. A lot of orchestral musicians might disagree, but I find pops concerts to have their own set of challenges, things that are not really discussed in music school. Playing with a swing feel was not something that came naturally to me at first, but we are expected to play in a jazz style a lot of the time. It is not unusual to have only one rehearsal for a pops concert. Many times certain pieces will not even be rehearsed since the orchestra plays them frequently. If you are new to the orchestra, it can be very disconcerting to have to play a piece for the first time at the concert! I learned very quickly to always prepare a little more than I think is necessary just in case this happens. 

What advice do you have for a rookie orchestral musician?  
    Now in my sixth year of professional orchestral playing, I can truly see the learning curve I experienced. I think it took me three full years to finally begin to trust myself and develop a dependable preparation routine. In the beginning, it was very nerve wracking to be holding my own with colleagues who had thirty or more years of experience. I learned that you cannot really fake experience, but you can certainly prepare in a way that brings you close. 
    I listened to and played along with recordings and studied scores in order to simulate years of experience. I also learned over time that nobody is perfect, even the seasoned veterans. In fact, it was observing their attitudes that helped me to release some of the pressure I was putting on myself. The most influential colleagues were the ones who no longer cared what others thought of their playing and really took risks. Being able to take the pressure off of myself has been the most helpful thing. Fear-based playing is not fun for the performer or the audience. As I look over the season ahead, it is very gratifying to see that only about 50% of the repertoire will be new to me. In the past, months would go by before I played something familiar.  

What pedagogical ideas do you bring to your teaching?
    I was just appointed adjunct professor of flute at the University of Maryland (UMD) School of Music this year. The opportunity to teach came at a perfect time, as I was feeling settled in my new job with the NSO and also struggling a little with professional fatigue and looking for other musical outlets. My curriculum for my students is quite similar to the one that Brad Garner prescribed while I was at CCM. I have put together a book of daily exercises that cover all aspects of flute playing in a concise warm up, including vibrato, tonguing, scales, arpeggios, and tone control exercises. I know how important daily practice of the fundamentals was to my development as a flutist and hope to instill that in my own students with a daily routine.  
    I also assign etudes weekly, initially focusing on the Karg-Elert 30 Caprices and eventually introducing more advanced etudes like the Jeanjean Etudes Modernes and Bozza Etudes Arabesque. I like these studies because they are like real recital pieces, posing expressive challenges as well as technical ones. Etude preparation is an excellent way to develop efficient practicing skills, especially since my expectation is that the etudes should be at performance-ready level when brought to a lesson.
    I have really enjoyed teaching at the college level so far. I have learned a tremendous amount from my students and strive to cater my teaching to each student’s needs. It has been very gratifying to be a part of such an important time of growth for these developing musicians and human beings.  

How do you maintain balance in your life? 
    Playing in an atmosphere of constant high expectation can take a toll. I have gone through several periods of burnout as a musician including once in graduate school where I nearly convinced myself I was going to stop playing for good. It has taken time to learn, but I now know how important it is to put the flute away and do things outside of work that bring me joy. I love to cook, read, and garden. I also like to be active outdoors. If possible, I leave my flute at home when I go on vacation. It is so wonderful to come back from a trip and pick up the flute with a lightness and eagerness to get back to work. Some people cannot go a day without playing the flute. I am not one of those people.  
    One of my other joys is listening to live jazz. My boyfriend is a jazz vibraphonist and percussionist. One of my favorite things to do after finishing my own concert at the Kennedy Center is to head across town to see a jazz performance. There is so much classical musicians can learn from great jazz musicians about rhythm, creativity and nuance.     

    Leah Arsenault is assistant principal flute of the National Symphony Orchestra and flute professor at the University of Maryland. Previously she was acting associate principal flute of the Cincinnati Symphony and second flute of the Louisville Orchestra. Arsenault earned the BM and MM degrees from the University of Cincinnati College-Conservatory of Music and the Professional Studies Certificate from The Colburn School Conservatory of Music in Los Angeles, California. She was the first prize winner of the 2006 National Flute Association Solo Young Artist Competition. Her principal teachers were Bradley Garner, Jim Walker, Tadeu Coelho, Philip Dunigan, and Krysia Tripp. Arsenault is a Yamaha Performing Artist.

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Tone Control and Dynamics
    Play this exercise (inspired by James Galway) with lots of vibrato and a beautiful, rich sound. Focus on smooth transitions between notes and a well-coordinated taper and release to nothing. Use a tuner today and every day of your life.

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