When I played with the St. Louis Symphony last November, I was blown away by the level of commitment each player put in to every phrase. The last concert I played with them was Mahler’s Das Lied Von Der Erde with director David Robertson and soprano Susan Graham. Being on stage with such remarkable musicians illustrated exactly how much commitment it takes to bring a masterpiece of such epic proportions to life. In every performance, the last movement seemed to swell to new heights as players stepped out of the orchestral texture and became as critical as the soloists. I could tell that the performers were not distracted by the exclusive pursuit of perfect technique. They were playing each phrase to make a statement. They were playing like soloists within the fabric of the larger ensemble. Each thread is essential, and each one is beautiful. By the final performance, most of the orchestra was holding back tears at the end of the last movement. It was one of the most powerful things I have experienced. I was not surprised to learn afterward that the audience felt similarly. 
    Being an orchestra member is a privilege and also an enormous responsibility. Each performer is responsible to the composer, audience, colleagues in the orchestra, and the history of the music that they are playing. Every time I play in orchestra, I try to remind myself of my musical heroes who have played this same music, remembering that they set the standard, and I must rise to meet it. Beyond that, it is up to me to share this music that I love so much with people who may be less familiar with it.
    Every time I perform, no matter what the piece, I want it to reflect the absolute best I can play. Many times I have heard colleagues write off pieces because they are considered basic or not serious enough. I think this is a huge mistake. I remember seeing the New Jersey Symphony play Star Wars when I was twelve. This performance made me want to play in an orchestra. 
    We are also responsible to our audience in ways that go beyond the performance. In this new age of social media, the public is used to easy access to their favorite celebrities and performers. Many musicians seem to think it beneath them to connect with fans and supporters on social media and in person. I think it is extremely important to take time for the people who come to concerts. When a concert is over, I always try to leave through the main exit and talk to anyone who wants to converse with me. I enjoy hearing people’s reactions to the concert, and it inspires me to think that they were affected by what I just created. In a concert hall, it is easy to feel disconnected from those on stage because the audience is far away. Musicians should bridge this gap. 
    Every single time I perform in orchestra, I am given the chance to improve the world, just a little bit. I have the opportunity to connect with other people. I can only do this by playing music with other musicians, and I can only do it by sharing that music with an audience.
    This experience is vital for the larger community because it is vital for me. It can’t be any other way. This is the dynamic that I believe makes orchestral music inherently relevant. When played whole-heartedly by skilled musicians, orchestral music has the ability to profoundly connect performers with each other and with the audience.    

My Audition Experience
A Conversation with Jake Fridkis

    On April 29, 2015 over 100 flutists auditioned for the principal flute position with the South Dakota Symphony Orchestra. Fridkis was chosen as the winner. 

How did you hear of the audition?
    I heard about the audition through Gary Schocker, my teacher in high school. He played his concerto, Green Places, with the orchestra previously, and he gave me the heads up that I should apply. He told me it was a great orchestra with nice people. The position also includes a full-time job as a member of the Dakota Wind Quintet which interested me.

How did you prepare for the audition?
    I spent two weeks preparing. The list was not too long, and I had played most of the excerpts in orchestra already so I had a good idea of what I wanted to do with them. I spent the two weeks locking everything in.
    I spent hours on each excerpt recording myself, bar by bar, to make sure every refinement and idea was audible. I recorded each one in different ways to make sure I liked my final musical decisions. Then I worked on everything I had picked and practiced performing the excerpts. I am a big practicer. I have heard many ideas about not practicing more than three hours a day, but when I am in prep mode, I practice at least six to eight hours every day.
    While I was preparing for the audition, I also was working on the Mozart Flute and Harp Concerto for a concert two nights before the audition. The many rehearsals and time spent practicing Mozart helped avoid boredom from just playing excerpts over and over.
    I also can’t stress enough the importance of listening. I spent every free second I had listening to recordings of the excerpts. As a young musician who hasn’t had as much experience as others auditioning, I looked for ways to make it sound like I knew the music as well as the seasoned pros. Listening is definitely the quickest way for me to internalize not only the flute part but also what the piece is all about.
    Creating my own audition preparation process has been a huge challenge, and I have been guided every step of the way by Mark Sparks. His knowledge of auditions and the mental aspect that goes into preparing for them has been invaluable, so I won’t write his ideas and claim them as my own. However, I also believe that auditioning is personal and what works for me won’t work for everyone. My main advice for preparation would be to find a mentor who has done it before and learn everything you can from him or her. Make sure you understand everything about their advice and don’t be afraid to ask questions about auditions and even life experiences. The more you know going into an audition the more you can let things go and not get stressed by unexpected events of the day. Mark has shared so many of his experiences with me that although I am relatively new to taking auditions, I felt like I had been doing this my whole life.

What was the audition like?
    The audition was held in a church and each round was in a different room with drastically different acoustics so it was important to adjust to that quickly. I spent most of my warm up just playing through the excerpts and going over what I had practiced. I don’t really do a warmup ever. I find that if I am practicing enough, I am always warmed up. The audition was in three rounds, and I played in all of them. The semi-final round had 21 flutists, and I picked number 21 so I waited from 10:30 am until 3 pm to play. That could have been stressful, but I took the time to listen to music, go get some coffee, and just relax. I only got my flute out an hour before I was supposed to play.
    The audition committee was made up of the principal strings, principal winds, the second flutist, and conductor. I found out that I had won five minutes after they finished talking to us.

Have you taken other auditions?  
    I had taken a few as an undergrad with mixed results. I took the entire summer after I graduated from the Cleveland Institute of Music studying with Joshua Smith and worked on the excerpts for the Los Angeles Philharmonic’s second flute audition. I made the semi-finals and was really excited. I stopped taking auditions when I started my master’s degree at Yale three years ago. At Yale, I continued working on fundamentals and musicianship with Ransom Wilson, and my teacher from Aspen, Mark Sparks, and developing who I wanted to be as a flutist and more importantly as a musician. Long story short, I returned to my first audition in many years last fall and made the finals for associate principal of the Cincinnati Symphony in September, won the American audition for Symphony SONG (Korea) in February, and then in April I won this one.   

The post Reflections on Orchestral Playing appeared first on The Instrumentalist.

Sound and Core
    Robert Cavally wrote in the 1949 article:

    Perhaps the most important single thing about tone is that it should have a core or center. Without this center there can be no certain control of crescendos or of intervals, but with it, no matter how much the core is reduced in size for soft tonal effects, the player will always have this control.
    Let’s create a definite picture in our mind. Take a simple lead pencil for example. Its center is hard graphite covered by soft wood. Reduce the graphite to needle size, enlarge and soften the outer coating and you have the first tonal picture you need.
    Start with a middle octave G which is about the center (of the range) of the flute and slur down to an F#. Hold both of the notes for four full slow counts. Keep that picture of the pencil in mind and think about whether in order to beautify your tone, you have been eliminating the core entirely. This would make the pencil resemble a tube with a hole in the center.
    This type of tone is definitely impractical because it has no intensity and, as I said before cannot be controlled. Eliminate the emptiness, and you have a basis on which to begin. Work for a full tone but do not force it. Always have this feeling that the flute is pulling the tone from you. Match each note in color and intensity.

    Many of teachers use Marcel Moyse’s first exercise from De La Sonorite. Besides the rhythmic difference, this exercise is quite similar to Cavally’s in purpose. Moyse starts his exercise on the middle octave B because he thought that was his best note, but goes on to suggest the player should begin on his or her own best note. One day when I was teaching with Michel Debost, he pointed out that no matter where he goes, he hears flutists playing the Moyse exercise without a clue about what they should be listening for. It is an exercise to develop a homogeneous sound throughout the flute’s range. Debost also commented that Moyse intended this exercise to be played with vibrato and most often he hears flutists playing it with a straight tone.
    After our conversation, I began asking flutists about the purpose of this exercise. Most said it is a tone-building exercise instead of understanding that it is to develop a homogeneous sound throughout the range. According to the dictionary, homogeneous means of the same kind or consisting of parts, all of the same kind. Synonyms include uniform, identical, unvaried and consistent. 
    Many high school and early college level flutists produce a tone that is quite lovely in the middle range, but is too edgy (or metallic or strident) in the lower notes. Referencing Cavally’s pencil analogy, for the lower edgy notes, the pencil lead has become too large in proportion to the wooden pencil casing. The objective in creating a homogenous sound throughout the range is to change the core ever so slightly so that the change is not perceived.  
    A good exercise to experiment with is to finger a low D and overblow to the third partial which will be an A in the middle octave. Alternate playing the overblown low D (which is sounding an A) with the real A fingering. This will show where the lip placement should be in make a ringing second octave sound. This is the reference point for developing a full, rich lower octave sound. Memorize this position of the embouchure, and then play either Cavally’s or Moyse’s tone exercise descending. The small changes in the embouchure should be almost imperceptible. While playing, think about the size of the pencil lead. This lip position directs the air stream higher on the wall on the descent and will keep the tone from having too much edge.
    New students may comment that this edgy sound is what they hear on a CD and that they are merely imitating it. This is correct. Experienced flutists know the sound used in making a recording is much cleaner and clearer than the sound a flutist uses in an ensemble on stage. The sound a flutist uses on stage (without a mic) is fuzzier and has a smaller core than the one used with a microphone. This phenomenon is called “playing with a cushion of air.” I first learned about the cushion of air from William Kincaid, Julius Baker, and Joseph Mariano. All three were excellent orchestral flutists who were known for their glorious sounds and incredible projection.
    The first step in helping students broaden their outlook on tone production is to help them hear an edgy sound in person. If possible, experiment in a large hall so students can stand next to you, behind you, and in front of you close up and then at a distance. Play two types of sound: one edgy and one full and rich. Students like what they know, and an edgy tone may have been the only sound they have ever heard. For the teacher it takes time and patience to help them learn to hear other possibilities. 
    Advanced students often come to me wondering why they have not been accepted into one of the top conservatories. After I listen to them play, the answer is usually the same. The lower notes are too edgy and have no variety of colors. I explain that it takes a good teacher many weeks or months to help a student who plays with continuous edge to find a full rich sound. Frankly,  changing someone’s edgy sound is a long process and is often met with hostility. Top teachers are busy people and accept students who already have a range of first octave colors.
    Playing with an edgy sound does not project or blend. Usually it is the second flute parts in orchestra that are assigned the low range notes. The second clarinet is often assigned notes in the same range. Think about what the clarinet sounds like in the notes just above middle C. The clarinet tone lacks core and is often fuzzy. A strident flute tone will compete with the clarinet rather than blending with it. Unless the musical passage is a solo part, blending is the name of the game when playing in orchestra or band – within the flute section, with the woodwind section, and with the strings. Reducing the amount of core and adding more harmonic partials to the sound ensures the tone projects and also blends with other members of the woodwind section. 
    As students work to play with a homogeneous sound they may ask if there is ever a place for playing with edge. The answer is yes. When performing solo works, playing with edge can be another trick from your bag of tricks to provide variety.
    On the opposite spectrum, there are students whose tone is too airy and needs more core. The answer is simple.  Keeping the embouchure hole level and the center of the right-hand keys aligned with the center of the embouchure hole, they should play lower octave notes with the tongue in the ERR position. This will bring the back part of the tongue up and direct the air stream directly into the embouchure hole. You can also instruct them to aim the air towards the left big toe. (For this to work, the flutist must be standing with the left foot in front and the right foot in back.)
    Students should learn to easily move from a tone surrounded by a cushion of air into an edgy sound and then back again. The goal is to have flexibility in changing the color.   

Checklist for Practicing Core Exercises
by Robert Cavally

Position
Hold flute up (or down)
Head up
Right hand thumb, etc.
Attack
Deliberately, using syllable “tu”
Do not allow loose air in the mouth.
Rhythm
Full 4 slow counts
Don’t shorten the value of 2nd notes.
Don’t anticipate.
Balance
Make each note match exactly in amount of tone.
Change direction of air stream over the break.
Fingering
Put as much snap in lifting the fingers as putting them down.
Don’t anticipate.
Vibrato
Not too slow (or too fast)

    Cavally instructs, “The above table is not complete, but even this much will make the player more aware of defects. As a general rule tones in the lower octave should be built and in the upper octave cut down to match the center.”

The post Teaching a Homogeneous Sound appeared first on The Instrumentalist.

Posture
    Whether standing or sitting, have students align the body with shoulders above the hips so the body does not twist. The left foot should be at 12:00 and the right foot at 3:00. During private lessons students should stand, as there are fewer issues with body alignment. Make sure, however, that they understand the correct sitting position for playing in band and orchestra.

Music Stand
    Whether standing or sitting, a student’s body should be turned 45 degrees to the right of the music stand. With the music stand parallel to a wall, the body will face the corner of the room to their right. In playing position, the flutist’s head turns slightly to the left and he or she should be able to see the music on the stand. As in the photo, the eyes, left elbow and music stand are aligned. The music stand should be high enough that the chin is level, and low enough so the conductor can be seen over the top of the stand.

Breathing
    Because the flute is one of the highest air flow wind instruments, students may experience light-headedness in their first lessons. The cure is to stop playing and breathe normally for about a minute. Some students who do not understand good breathing habits will hunch their shoulders up as they inhale or breathe shallowly. Show them how to keep the shoulders down and inhale fully. A brief explanation of the mechanics of breathing may be helpful.
    The diaphragm is a thin sheet of muscle that separates the heart and lungs located above it, and the organs (stomach, liver, pancreas, etc.) below. When inhaling, as the lungs inflate, the diaphragm pushes down on the lower organs to make room for the lungs’ expansion.
    The expansion during inhalation can be demonstrated by having students lie on the floor face-up with one hand on the abdomen (just above the belly button) while breathing normally. Tell students to notice how the abdomen rises with inhalation and falls with exhalation. Placing a book on the abdomen provides a visual demonstration as it rises and falls. While lying on the floor, have students practice inhaling for four counts, and exhaling, started with spit-rice tonguing, for eight counts. While on the floor, other skills to practice include tonguing, both with and without the headjoint, and playing the headjoint.

Introduce the Flute
    Before opening the case, students should place the case on a solid surface like a table. When this is not possible, as in group classes or ensembles, they should place the case on the lap. Show them how to safely open the case with the correct side up. It is helpful to put a piece of masking tape with the student’s name and phone number on the side that faces up, to keep flute parts from spilling out of the case when it is opened.
    Students may want to invest in a case cover that fastens with zippers, buckles, or velcro. Case covers keep the case closed securely – latches on some cases tend to pop open when barely touched. Having a distinctive case cover is also a good way to distinguish one flute from another in the band room. Store a cloth swab and a cleaning rod between the case cover and the case, instead of inside the case, to keep moisture away from the flute after swabbing. Students should also keep a pencil for marking music in this location. Covers also provide some protection for the case and the flute if the case is accidentally dropped.

Putting the Flute Together
    In addition to showing students the different parts of the flute, discuss the pads and how they work. Caution against touching the pads and wiping the flute vigorously where the cloth might tear the edges of the pads. Also, explain the importance of brushing teeth and washing hands before playing the flute. 
    Demonstrate how to safely take each part out of the case and assemble the flute. Encourage students to lift each piece from an open end and avoid grasping keys, rods, or the lip plate. Then have them practice taking the flute apart and putting it back in the case. Show students the areas without keys with room for fingers to grasp safely. These include the end of the footjoint and the barrel at the top of the center joint where the brand name is engraved.
    Show students how to assemble and align the flute properly, stressing that the headjoint is aligned with the embouchure hole and the majority of the keys facing the ceiling. Double-check the alignment and use a fine-point permanent marker to put matching marks on the headjoint and the center joint of the flute. These marks will help students align the instrument consistently. The marks will need to be redrawn periodically as they wear off after a week or two.

    Take a few minutes to let students explore the flute and discover how the keys open or close when pressed. Ask them to figure out how many closed keys are on the flute, and where they should press to make them open. Other explorations might be to notice that some keys are linked together. Ask them to see how many linked keys they can find.
    In preparation for learning the correct hand position for playing the flute, put temporary markings on the keys that the fingers will touch. This will help students put their fingers on the correct keys. This is especially helpful if you are working with a group. Use very small round stickers (colored dots) or a small circle drawn with a permanent marker.

Headjoint
    Check students’ headjoints, particularly the fitting and adjustment of the cork. Adjust the cork so the line inscribed on the closed end of the cleaning rod is centered in the embouchure hole. This encourages good intonation from the beginning. If the cork is loose, use tape to secure it in place until it can be replaced at a repair shop.
    Take the headjoint apart so students can see how it works. The crown assembly can be removed with a special tool available for purchase at a music store or flute specialty shop. First, unscrew the crown from the end of the headjoint. Then use the tool to push on the threaded stem to push the crown assembly out the open end of the headjoint. Wash the headjoint with gentle dishwashing liquid, if necessary. This is a good idea especially for rental flutes or Aunt Ida’s old flute that has been sitting in a closet for years.

Swabbing Out the Flute
    While playing, condensation from breath forms inside the flute. It is important to swab out the moisture before putting it away. Before swabbing, it is safest to first take the flute apart and put it safely in the case. Pieces can be removed one at a time to swab safely and avoid parts falling on the floor.
    Students should have a cleaning rod and a lightweight absorbent piece of fabric approximately 10"x10" like a man’s handkerchief, or a piece of cotton fabric (woven or knit). Thread one corner of the cloth (about 2") through the needle-like opening of the rod so the cloth will not slip out of the opening. It will resemble a small bunny’s ear. Fold the fabric over the rod to avoid scratching the inside of the flute. Insert the cloth-covered rod into each section of the flute and twist to remove the moisture, and return it to the case. When finished, tie the cloth to the handle of the case or fold neatly and place inside the case cover. Avoid putting the cloth inside the case after swabbing to keep moisture and possible mildew away from the flute.

Headjoint Only: First Sounds
    Before the flute is removed from the case, demonstrate pretending to spit a grain of rice off the tip of the tongue. This method of tonguing is called French tonguing, Suzuki tonguing, or spit-rice tonguing and is an effective way to start a note on the flute. The tip of the tongue peeks out between the lips when the flutist pretends to spit the rice. There will be a little pop when the tongue is pulled into the mouth, and the air is released. The air should sound very fast, like blowing out birthday candles, and the aperture  should be very small. A small airstream and fast air will help students successfully produce a sound on the headjoint. Encourage them to continue to blow for at least two seconds after the initial attack.

    Students may practice spitting rice with a small amount of uncooked rice taken outdoors, either during the lesson or as homework. They will find it fun to spit the rice for distance or for target practice, aiming at a bush, tree, or fence.
Students should remove the headjoint from the case, carefully grasping it by the open end, and refasten the case. Help them place the headjoint in the chin. The embouchure hole should be level and face the ceiling. The headjoint and flute always should be brought to the student (rather than bringing the face to the instrument) because the flutist is the boss, not the flute.
    In early private lessons, the teacher should bring the headjoint to the students. The process of bringing the headjoint to them should be repeated several times to make sure they are not reaching the head toward the flute like a turtle. Next show students how to place the headjoint in the correct location themselves. When working with a student, the teacher should come down to the student’s height by sitting in a chair or squatting lower, so the student does not have to look up to receive instruction. The student’s chin should be level, so the head is balanced on the spine. (See box below.)
    Students should be able to feel the edge of the embouchure hole under the flair of the lower lip where the lip skin and chin skin meet. The embouchure hole faces up toward the ceiling. Demonstrate the spit-rice technique to start a half note, and have students repeat it. Play for two counts and rest for two counts with the students. Repeat several times. Remind students to stop blowing for a minute if feeling dizzy.
    Check students’ apertures to make sure the opening is centered over the embouchure hole. Some apertures will naturally be off to the side instead of centered, because the upper lip has a tear drop. This can interfere with the airstream. Many famous flutists do not have a centered embouchure. Apertures to the left of center yield the best results, as blowing to the right can cause shoulder strain.
    If a student has difficulty coordinating the tongue to spit rice at the beginning of a note, try starting the sound with pooh (as in Winnie-the-Pooh) or tu. Once a student produces a consistent sound, try spitting rice again. Some students have success with sticking the tongue out farther and pulling it back into the mouth to release the air.

Practicing Tonguing and Tone
    Follow-the-Leader is a fun echoing activity to practice tonguing and playing the headjoint. The teacher plays a four-beat pattern, and students repeat the pattern. The teacher audibly taps a foot to the beat, and students are shown how to tap along. Start with a very simple pattern, such as four quarter notes. Vary the rhythm patterns using quarter, half, and whole notes, and even some eighth notes to develop students’ aural skills. This activity aurally introduces the concept of beat and meter, and headjoint practice refines tonguing and tone production skills.
    Show students how to make different sounds with the headjoint, and incorporate these sounds into the echoing activity. A low sound is produced when the open end of the headjoint is covered with the right palm. Inserting the right index finger into the end of the headjoint while playing produces a glissando. Stress the importance of spit-rice tonguing, clean attacks, and fast air to produce beautiful tone. Playing fun and varied sounds and rhythms will make headjoint practice enjoyable.

First Songs on the Headjoint
    Have students insert the index finger in the open end of the headjoint to play three distinct scalewise pitches. These pitches can be used to play “Hot Cross Buns” and “Mary Had a Little Lamb.” Students hold the closed end of the headjoint near the crown with the left-hand index finger and thumb. The right-hand middle finger and thumb will hold the open end so the index finger is free to move in and out of the headjoint. The highest pitch is open position (0). The middle pitch is produced when the index finger is inserted into the headjoint approximately to the first line (joint) from the fingertip (1). For the lowest pitch, insert the index finger approximately to the second line (joint) from the fingertip (2). The songs (see below) should be taught aurally while tapping the foot to the beat.

    Practice fingering and saying the above finger positions in rhythm, repeating several times. Then place the headjoint in playing position and play the song, tonguing each note.

The finger positions for “Hot Cross Buns” are as follows:

The finger positions for “Mary Had a Little Lamb” are as follows:

Note Values and Notation
    Introduce note values, rhythms, and basic reading skills using the headjoint only. Additional time spent with the headjoint develops students’ tonguing and tone, and makes the transition to the whole flute more successful.
    After teaching and practicing the above songs, introduce the concepts of beat, note values, meter, and counting. Demonstrate tapping the foot to a steady beat, then echo four-beat rhythms, beginning with saying, “down-up, down-up, read-y, go.” This will illustrate the beat’s subdivision with the foot. Continue tapping throughout the activity. Even though eighth notes will be introduced later, this method serves as subliminal preparation for the concept of subdivision.
    Introduce the notation for quarter notes and quarter rests. Write out simple four-beat patterns with different combinations of notes and rests. While tapping the foot, have students practice saying play for the length of each note and rest for the length of each rest. Then they should play the written patterns with the headjoint.
    Follow the above procedure with half notes and half rests, then whole notes and whole rests. Write out a series of four-beat rhythms with different combinations of notes and rests in 44 meter. Verbally practice the rhythms with play and rest, then students should play them with the headjoint. Explain that each group of notes is a measure and has four beats that are separated by a barline, etc. Students may also write out their own rhythms to practice.
    When written notation is introduced, many students confuse the half rest and whole rest. A helpful memory device is to tell them that the half rest is placed above the line on the staff and looks like a hat, which sounds like half. The whole rest is placed below the line and looks like a hole, which sounds like whole. Also, teach the students to add up the number of beats in the measure to make sure there are four.
    Once there is consistency in tonguing, air speed, and tone, students are ready to move on to playing with the flute put together.      

* * *

Head Balanced on the Spine
    If you look at a model of a human skeleton, it is surprising to see how small the spine is without the muscles and tissue of the neck and windpipe. The skull has a large (and heavy) bony area at the top of the back of the head and there is a  large jaw area at the bottom of the facial area.
    When the head is balanced on the spine, it feels weightless and the neck muscles are relaxed. Conversely, if the head is not balanced, the neck and back muscles may be sore after playing the flute.
    To find the point of balance, touch the chin to the chest, slowly raising the chin. Just past the balanced point, students will feel the head pull backward from the weight of the bony area at the back of the head. Front and side neck muscles will engage to keep the head from feeling like it is falling off the spine. Lower the chin to again find the point of balance.
    Next, tip the head back to look up. Slowly lower the chin to find the point of balance. Just past the point of balance, students will feel the chin pull down toward the chest from the weight of the jaw bone. The back and side neck muscles will engage to keep the head from falling off the spine. Raise the chin to again find the point of balance.
    With students, practice finding the point of balance by slowly nodding the head. Then practice turning the head slightly to the left, and bring the headjoint into playing position.

Assessing Progress in Group Lessons
    As each new skill is added, it is important to assess students’ progress to identify and help those who are having difficulty. At the same time, it is important to keep the entire group engaged and interested in the lesson.
    Seat students so you can easily reach each one to adjust posture, headjoint position, hand position, etc., as needed, while the entire group is playing. A circle or semi-circle is ideal for smaller groups, while larger groups need widely-spaced rows with a center aisle.
    In groups smaller than 15, there are many activities where each student can play in turn while the other students remain engaged. If some students are shy about playing alone, assign them to play in groups of two or three. For larger groups, several students can play at the same time.
•    Telephone: Similar to the children’s game involving repetition of a sentence, the teacher or a student plays a simple 4-beat rhythm, and each student in turn repeats the rhythm. This is a great way to hear a lot of students individually (or in small groups) in a short amount of time, while keeping the other students engaged in an activity.
•    Songs or Scales: Each student in turn plays one note or one measure of a song such as “Hot Cross Buns” or “Mary Had a Little Lamb.” The other students finger along so they are ready to play the correct note(s) when it is their turn.
•    Follow-the-Leader: Notes and rhythm patterns can be echoed by small groups randomly chosen. For example, you might call on students with brown hair, students wearing purple, students wearing sandals, students wearing jeans, students whose name starts with the letter P, etc.

Thank you to Dr. Susan Fain for the use of her illustration showing the recommended stance for playing flute.

The post First Lessons for the Beginning Flutist appeared first on The Instrumentalist.

    Being a professional musician is a wonderful but demanding profession. There is much to be gained whether one decides to become a professional or just learns to play for one’s own enjoyment. In Thomas Sudhof’s acceptance speech for the Nobel Prize in Medicine in 2013, he remarked, “I credit my musical education with my dual appreciation for discipline and hard work on the one hand, and for creativity on the other. I think trying to be marginally successful in learning how to be a musician taught me how to be a scientist: there is no creativity if one does not master the subject and pay exquisite attention to the details, but there is also no creativity if one cannot transcend the details and the common interpretation of such details, and use one’s mastery of the subject like an instrument to develop new ideas.”

Concentration
    Concentration is one of the most difficult skills to master, yet when accomplished is one of the most rewarding. People are not wired to concentrate for long periods of time and studies have found that the mind tends to wander after seven or eight seconds. How do we do our best when our minds turn to something else? There is a wonderful story about a great jazz tenor saxophone player of the 1950s. That generation of musicians drank a lot. One evening someone went up to the saxophone player and asked how he played so well when he was drunk. His answer was, “Simple, I practice drunk.” While I am not advocating practicing or performing drunk, the lesson is this – always practice with the same concentration as you would give in a performance. This is true when warming up, practicing scales, arpeggios, long tones, chunking, etc. Every time you pick up the instrument there is an opportunity to practice doing your best. Giving full concentration to what you are doing time after time becomes a habit and will eventually become the way you live your life and approach other disciplines.

Slow Practice
    I am a strong advocate of slow practice. It is difficult as a young person to imagine that taking the time to play things slowly (which can seem boring) is actually the fastest way to playing things well up to tempo. The legendary flutist and teacher Thomas Nyfenger used to say, “If you always play the passage correctly, you will always play the passage correctly.” The best way to insure playing correctly is regular slow practice. Itzhak Perlman  said whenever he is asked for an autograph, he signs his name and then writes practice slowly.

Strive for Your Best
    Learning to try your best at all times is one of the greatest gifts of learning music. The reward is not only fulfillment in the performance, but it also becomes a habit in life. Please note that striving to do one’s best is not the same as striving for perfection. Perfection is wonderful as a goal and as an achievement; however, it is important to know that perfection is rarely attained. However, always trying one’s best is an admirable attribute in any profession.
    Robert Merrill, the great operatic baritone, commented that his colleague and friend tenor Richard Tucker went for a home run at every performance. Tucker’s feeling was that people came to the opera to hear the performers at their best and nothing less. I never had the pleasure of meeting or working with Richard Tucker, but from what I have observed from his family, friends and colleagues, it appears that he tried his best in every aspect of life. He was very much loved and respected.
    On one of the very first orchestral auditions I took, I was asked to play the Mendelssohn Scherzo from the Midsummer Night’s Dream. Midway through the excerpt, I got a little tangled up but kept going until the end. Despite that, I was invited to the final round. Although I did not win the audition, the personnel manager came up to me and said he thought I would eventually win a major first flute position. I had done my best and had clearly made a good impression.
    The personnel manager had also done his best by seeking me out to give me that very affirmative comment. As a young person just beginning in the profession, that action, as well as the comment, was enormously important in how I saw myself. It was also a wonderful example and one I have followed. I have always made a point to be positive with students and colleagues. When I was on audition committees at the Metropolitan Opera, I went out of my way to find the people who had impressed me and let them know. Often they told me years later that it had changed their lives.
    During my first lesson with Harold Bennett (which was shortly after he had retired as principal flutist with the Metropolitan Opera), he said, “You want to be the best flutist; I want to be the best teacher.” What a wonderful example to give a young person. 
    It is important to go for those home runs in everything we do: how we present ourselves, from how we look to how we act, to of course, how we play. All of these things affect each other. How one’s life is lived will make a difference in how we are perceived. Making the effort to do your best is always recognizable and always appreciated.    

The post The Importance of Always Doing One’s Best appeared first on The Instrumentalist.

    This fall Katherine Borst Jones celebrates 30 years as professor of flute at The Ohio State University. She is a founding member and co-principal flutist of the ProMusica Chamber Orchestra, a founding member of the COSMOS trio (flute, viola and harp) and the Jones/Norton Duo with harpist Jeanne Norton. She is also a member of the Columbus Symphony Orchestra and principal flute of the New Sousa Band, which performed at the 2009 WASBE and Midwest Clinic and has toured Japan, China and the United States extensively. Jones, a native of New Jersey, is a graduate of the University of New Hampshire and The Ohio State University. Her principal teachers included Keith Brion, Robert Willoughby, Kyril Magg, Donald E. McGinnis, and Julius Baker.

What teaching philosophies have you developed after 30 years at The Ohio State University?
    I try to teach students to be their own teacher, to take responsibility for practicing and performance, and to have respect for themselves. Each person has a voice that should be heard. Students must find their passions, whether it be a particular style of music, a certain composer, or a combination. All the members of the flute family should be explored, including Baroque flute, and perhaps now ethnic flutes. The greatest reward for any teacher is to see the success and happiness of former students.

What is your basic curriculum for a performance or music education major for the BM program?
    Basic goals include mastery of the fundamentals and pedagogy of flute playing. This includes rhythm, body mapping, breathing, tone, vibrato, articulation, finger technique, legato, phrasing and sightreading. Every graduating flutist also should have a working knowledge of the standard flute repertoire including chamber, orchestral and band works. Students should have a strong background historically and be familiar with the primary sources related to the flute’s history and performance style practices. They should learn and perform works from all style periods including learning contemporary techniques and should have performing experiences in chamber music and in flute choir. I also encourage students to explore entrepreneurial issues so they will find employment in the future. Flute alums come back to campus to share their real life experiences with current students.
     For example, with first year students, I assign studies and etudes by Taffanel & Gaubert, Maquarre, Moyse, Filas, Colin, Andersen, Berbiguier, Hugues and Kohler. Repertoire may include: Bach Sonata in Eb, Bloch Suite Modale, Busser Prelude et Scherzo, Chaminade Concertino, Debussy Syrinx, Delibes/Massenet Three Original Pieces, Doppler Fantaisie Pastorale Hongrouise, Gaubert Madrigal, Griffes Poem, Hindemith Sonate, Honegger Danse de la Chevre, Hoover Kokopeli/Winter Spirits, Ibert Aria, Koechlin Fourteen Pieces, Molique Andante, Mozart Andante in C, Pergolesi Concerto in G, Stamitz Concerto in G, Telemann Suite in A Minor, Telemann Sonatas in F and G Major, and Whear Five Haiku plus standard orchestral excerpts.

Do you teach any special tone exercises?
    Yes, I have an exercise that incorporates the ideas of Julius Baker, Marcel Moyse and Keith Brion It features the traditional half-steps, five-tone scales ascending slowly with a big, beautiful sound, and then adds harmonics into the mix using all the partials. When students work to match the color of the harmonic to the regular fingering, both the color and the pitch is improved. I have had great success with students who practice this exercise every day. The next step is to use harmonics as a way of improving sound and pitch in repertoire, etudes, and excerpts.

What role does flute choir have in your studio?
    The Ohio State University Flute Troupe (flute choir) is a big part of my curriculum. Frequent studio classes and playing in a flute choir together inspires cooperation among the students. They learn to work together for the same goal and discover that each has a different strength to share. Through it they also learn that they can be colleagues and friends. Sometimes personality conflicts arise, but working and learning together lessens the chance of problems. Flute choir teaches skills of many types such as intonation, blend, the role of the melody vs. harmony, the function of a bass line, and often how to sightread and learn music well but quickly. Older students become role models and mentors for younger students. Consequently younger students hear where they want to be, and most work harder to get there.

What are your thoughts on the DMA document?
    The DMA document should serve as a jumping off point for a student’s career. The topic should be of interest to others. Perhaps it is a one that flute clubs might find interesting for a future lecture or recital. It might just be something new that has not been explored. As I work with students, I try to help them find and explore their interests, passions, and talents beyond just flute playing. They may be interested in the music of a certain composer, or from their country of origin. An interest in pedagogy may lead to a study of Alexander Technique or body mapping. We work together to find a particular interest that will serve them in the future. Recent topics by my students include:

An Introduction to Twentieth-Century Flute Music by Norwegian Composers

Flute Articulation Pedagogy: The Effect of Language-Specific Consonant Pronunciation on a Flutist’s Articulation within the French and English Languages

A Supplementary Book of Chinese for the Suzuki Flute Student

The Evolving Mission and Purpose of the Pittsburgh Flute Club in the Twentieth Century

An Illustrated Basic Flute Repair Manual for Professionals

The Commissioned Works of the National Flute Association for the Young Artist and High School Soloist Competitions

The professional life and pedagogy of Donald E. McGinnis, PhD

Lûos Janácek’s wind sextet, Mládí: a history of an interpretive source and suggestions for performance

The application of different teaching strategies reflective of individual students’ learning modality

The professional life and pedagogy of Clement Barone

Flutists’ family tree: in search of the American Flute School

The piccolo in the chamber music of the twentieth century: an annotated bibliography of selected works

What every flute teacher needs to know about the body: a handbook applying the principles of body mapping to flute pedagogy

The New York Woodwind Quintet: a continuing legacy

Antoine Reicha’s quartets for flute and strings, op. 98: an historical perspective and stylistic overview.

How did you start your summer flute workshop?
    In 1976 I began teaching as an adjunct teacher at Capital University in Columbus, Ohio. The first year I only had one student, so clearly I needed to recruit. The next summer I hosted the first Flute Workshop. I thought maybe fifteen students would come but fifty showed up, and the enrollment has continued to be strong through the years. The workshop is based on learning and performing chamber music. Each flutist is placed in a small flute ensemble that is coached twice a day by my current OSU flute majors and alumni. Other activities include theory, conducting, private lessons, solo night, jazz class etc. All students participate in the final concert that showcases the small ensembles and includes a flute choir comprised of all the flutists. The camp runs Sunday afternoon through Thursday afternoon, and everyone who applies is accepted. Any flutist with the interest and passion has the opportunity to learn. Of all my accomplishments, I am proudest of this one. 

Why are courses in entrepreneurship important in the university curriculum?
    With the current tight job market, flutists need to explore career opportunities beyond teaching at the college level or performing with a symphony. The time has come for many musicians to run their own businesses. I think it is an exciting time to develop your own company with initiatives you care about. First you must identify a problem and then figure out how to solve it with a project. You should learn to write a business and marketing plan, construct a website, build a team of like-minded people to help you, learn to write grants, make cold phone calls, and construct a development plan. Students who are interested in this  should take business classes and apply for summer internship programs.

What are some of the activities that have kept you studying and learning throughout your career?
    My mentors, Keith Brion, Robert Willoughby and Donald E. McGinnis, were constantly learning and reinventing themselves. Besides attending conventions, flute festivals, and masterclasses, I think it is important to try things that are outside one’s comfort zone. I attended the Oberlin Baroque Performance Institute as a beginning Baroque flutist and an Andover Educators Seminar. This past summer, I was the oldest participant in David Cutler’s Savvy Musician in Action Seminar at the University of South Carolina. My suggestion is to take risks and take advantage of every opportunity. I try to stay up to date by reading the latest research and books such as Daniel Coyle’s The Talent Code.

Why should teachers be active performers?
    Teaching feeds performing. Performing feeds teaching. I feel most fortunate to have a healthy balance between the two. My full-time position is at the university, therefore, my teaching comes first. Byproducts of performing include learning new music, getting ideas from colleagues, and allowing students to hear me outside the studio. With my COSMOS trio, we have been able to commission American composers such as Libby Larsen, Stephen Paulus, Andrew Boysen and others. Working with composers directly is enriching for all. A special benefit is that my students have the opportunity to meet these composers when we premiere the pieces.

How do you find practice time for yourself so you can play these concerts?
    When I was a student, I maintained a disciplined practice schedule. Now my practice time is limited, so I practice as efficiently as I can whenever I find a moment. I do short bursts of practice throughout the day, and weekends and summers provide extended practice time.

What advice do you have for a high school flutist who wants a career in flute performance?
    Practice, listen to your teacher and conductors, play in youth groups, attend flute festivals, masterclasses, summer workshops, and conventions. Read about music and composers. Listen, listen, listen to great musicians of all kinds, especially to singers. Perform frequently. Look for opportunities to explore other aspects of the music business such as serving as a volunteer or intern for a local arts organization. Being an active member of NFA is also part of becoming a professional flutist. I attended the 4th NFA convention in Atlanta and have not missed one since. NFA offers flutists the chance to network, to learn new repertoire, to hear different playing styles, and to learn about different pedagogical styles. Maintain excellent grades as many universities are academically competitive. If music is your passion, go for it!

How did you meet Keith Brion?
    Keith Brion, conductor and founder of the New Sousa Band, was my high school band director and flute teacher in Caldwell, New Jersey. He established a private lesson program in which I participated. When a lesson is provided, you must be ready or the lessons could stop, so I worked hard. In tenth grade I became a member of the concert band that met all school year. We performed great literature, including music by Grainger, Sousa, Holst, Handel and others. We worked with Alan Hovhaness to premiere his Suite for Band. We took a field trip to see the New York City Ballet perform The Firebird by Igor Stravinsky. By junior year I was hooked. I proudly stated to Mr. Brion, “I want to major in music.” He said, “How will you make a living?” I persisted and worked hard to prove I was serious. By senior year I was in the New Jersey Junior Symphony, All State Band and had been given the Lincoln Center Student Award which allowed me to attend six free events at Lincoln Center with a colleague. On a marching band trip, I was called to the front of the bus and told by him, “I think you should audition for Oberlin College where the flute teacher is Robert Willoughby,” and a new dream emerged.

Did you indeed apply to Oberlin?
    Yes, but I was not accepted. Instead, I attended the University of New Hampshire where I became a big fish in a small pond. It worked out well though, as I was afforded many unusual performing opportunities, often with faculty members. For example, I performed the complete Bach and Handel Sonatas with a faculty harpsichordist in a four-concert series in the local art gallery and took an independent study course with the renowned musicologist Mary Rasmussen where we read through hundreds of flute/piano pieces over the course of two years. I attended a series of concerts of the complete piano works of Claude Debussy given by Beverage Webster and had the privilege of meeting, speaking with and hearing French flutist Jean-Pierre Rampal in our own recital hall.
    One day I spotted a poster advertising the Dartmouth College Congregation of the Arts summer program. Listed under faculty was Robert Willoughby! This was my chance. Without telling a soul, I took the bus to Boston and auditioned. Eventually the acceptance letter came along with a small scholarship. Fortunately my parents supported me, and I was finally off to study with the great teacher. I ended up studying with Mr. Willoughby for an eight-week session each of two separate summers. Those lessons changed my life. What I learned from him made my career possible. Ironically, years later I taught at the Oberlin Conservatory for three years as Willoughby’s colleague. I am fortunate that he has been a steady influence and mentor ever since. Years later I organized a summer class for him to teach so more students would have the opportunity to work with this master musician and teacher.

Who else has been a mentor for you?
    Other strong influences have been Kyril Magg and Donald E. McGinnis, who I worked with during my graduate years at Ohio State. Dr. McGinnis, the legendary director of The Ohio State University Concert Band, offered me a graduate teaching assistant position which provided me with many other amazing opportunities. I am so privileged that all my mentors are still living. I am grateful to each of them for all they have given me over the years. Without them, I am sure life would have been different for me. They ignited my passion for the flute and music and challenged me to fulfill my potential. They have provided inspiration, counsel, and encouragement when needed.   

* * * * *

Honors and Appointments
    In 1999 Jones was appointed chair of the woodwinds, brass and percussion at The Ohio State University, and in 2010 she also became chair of orchestral instruments. She was awarded the School of Music Distinguished Teacher award in 1995 and 2012, and the Distinguished Scholar Award in 2008.
    She has served the NFA as president twice, vice-president, program chair (Los Angeles 1992), and is the current chair of development. In 2011 she received the NFA Distinguished Service Award.

The post A Conversation with Katherine Borst Jones appeared first on The Instrumentalist.