tag:blogger.com,1999:blog-46824883896338036702024-03-14T05:53:03.993-04:00Teach FlutePowell Fluteshttp://www.blogger.com/profile/00869106739603134170noreply@blogger.comBlogger158125tag:blogger.com,1999:blog-4682488389633803670.post-13948165224300256572016-06-30T14:35:00.000-04:002016-07-01T11:12:59.897-04:00Action Moves People United<div class="separator" style="clear: both; text-align: center;">
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By Lois Herbine<o:p></o:p></div>
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Last month, I recorded a single solo flute track as a
contribution to the <i>Action Moves People
United</i> project, sponsored by the United Nations, UNESCO.<o:p></o:p></div>
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I played an improvisation realized by pianist Catherine
Marie Charlton. Both the flute and piano accompany a poem entitled <i>I Cried</i> by
Karelle Wade, which is about war and unity, spoken in the perspective of new
parents.<o:p></o:p></div>
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<b><i>Action Moves People United</i> CD<o:p></o:p></b></div>
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This project is a CD compiled of poetry and prose tracks,
read by spoken word artists and accompanied by musical instrumentation. The
central message is world peace through a call to action to promote positive
change. Catherine’s improvisation was influenced by the text. The music starts
remotely and builds in strength and resolve as the poem first laments the
problems in the world and then finds hope in the future. It is read in Cuban/
Spanish by Kenya Autie and in English by Alex Metnick.<o:p></o:p></div>
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<b>My Preparation<o:p></o:p></b></div>
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Catherine recorded her piano contribution separately and
then uploaded her audio file onto a sharing service so I could download both
her part and the spoken word file and play through my computer and speaker while
I practiced.<o:p></o:p></div>
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As a classical flutist I prefer to read a part instead of
improvising it, so Catherine composed the flute solo by recording a separate
track, and then I transcribed it using music writing software.<o:p></o:p></div>
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Following the flow of the text, I began the flute softly
playing triplets against the piano’s duplets to provide an unsettled feeling.
Then as the voice become more confident, so did my flute by getting fuller in
sonority then popping the octave while the piano part filled out by adding
chords in the left hand. I practiced in the style of an improvisation,
sometimes using rubato to pull away from and then rush to sync up with the
piano.<o:p></o:p></div>
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<b>Recording Day<o:p></o:p></b></div>
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I spent an hour at Eastroom recording studio where recording
engineer Drew Taurisano placed the piano track through the one sided headphone
and recorded my flute playing against it. Using the headphones in this way
allows me to hear my part clearly, while fitting it in with piano. This gives
me the ability to assess subtle color changes in the sound. After Drew
submitted the raw flute file that afternoon, one of our producers, Rupam Sarmah
of India, compiled the music tracks and sent the recordings back to the spoken
word artists to rerecord, as the music will naturally propel the expression of
the voice.<o:p></o:p></div>
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You might be wondering why the producers selected a
classical flutist to play an improvisation? One of the plans for the album –
and eventual film – is to pair up artists from different genres and around the
globe for collaborations that go beyond politics, religion, and borders. Other
flutists that will be joining me on this musical journey for peace are new age
flutist Wouter Kellerman from South Africa and Powell artist and rocker Ian
Anderson of Jethro Tull fame.<o:p></o:p></div>
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<b>Live Concert and CD
Release<o:p></o:p></b></div>
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The
album is available for pre-sale during the Nelson Mandela International Day
festivities in Washington, D.C., July 15 through 18, 2016. As part of this
celebration, I will be performing with an African band, Sharon Katz and the
Peace Train, and an American Roots artist, Grant Maloy Smith, at the Washington
Monument on July 17, 2016. For
concert information, visit Lois Herbine’s blog <span style="color: #cfe2f3;"><a href="http://www.piccolois.com/blog/2016/6/28/sharon-katz-and-the-peace-train" target="_blank"><span style="color: #cfe2f3;">http://www.piccolois.com/blog/2016/6/28/sharon-katz-and-the-peace-train</span></a>
</span>or events page <a href="http://www.piccolois.com/events/"><span style="color: #cfe2f3;">http://www.piccolois.com/events/</span></a>.<br />
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<o:p></o:p></div>
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Some of the other collaborating artists on this project are
Julian Lennon, Kathy Sledge, Annie Haslam, John Wetton, Patrick Moraz, Dan
Aykroyd, Tony Levin, Steve Walsh, Ricky Kej, Amy Otley, and Janice Ian. <i>Action Moves People United</i> is produced
by Kevin Mackie, Krista Wallhagen, and Rupam Sarmah.<o:p></o:p></div>
Powell Fluteshttp://www.blogger.com/profile/00869106739603134170noreply@blogger.com0tag:blogger.com,1999:blog-4682488389633803670.post-40976236943755234692016-05-23T10:52:00.000-04:002016-05-23T10:58:41.493-04:00Building Confidence<div class="MsoNormal">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdxMsGZyrot5q4dVIn8V1sxuulrCuLYFhfg3nUEXqCS4Eycebtq_e5iqMVw1nyGOwUbrU-irdkvoq8mooETJl-JbNnIR-mkJftTU9PJ2CtrPGLmKErvC3l45Vjntm77cCyGqpEPnOhfa0/s1600/cindy+ellis.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="255" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdxMsGZyrot5q4dVIn8V1sxuulrCuLYFhfg3nUEXqCS4Eycebtq_e5iqMVw1nyGOwUbrU-irdkvoq8mooETJl-JbNnIR-mkJftTU9PJ2CtrPGLmKErvC3l45Vjntm77cCyGqpEPnOhfa0/s320/cindy+ellis.jpg" width="320" /></a></div>
By Cynthia Ellis</div>
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It would be naive to pretend there is no such thing as
'performance nerves'. I experience that pre-performance feeling as pure
excitement: nervousness is always viewed as something negative, whereas
excitement is quite positive. Our performances are enhanced by adrenaline: that
is the 'secret sauce' of many a performance which can transport us to the next
level. But what about the students who
are hit with debilitating nerves? First of all, thorough preparation is a MUST.
It goes without saying that the musical aspects of the piece must be in control
for confident performances. The preparation must be consistent and thorough.
Learning to perform is another part of this process: have students perform at
nursing homes, for family and friends, for other students, in short, ANY warm
body is a potential audience member!
These impromptu performances must happen more than once a week so that
the performance itself becomes a little more routine. The art of keeping
centered and composed when being in front of others takes time to develop. Help
students develop a pre-performance routine, which helps build self-comforting
skills. Make sure students are reading about the psychological aspects of
performance (Don Greene has an excellent website and there are many books on
the topic). Remind your students that this too is a process.....and to
paraphrase Jeanne Baxtreser, former principal flute of the NYPO, as long as the
butterflies fly in formation, it is all good.<o:p></o:p><br />
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*Note - This article first appeared on the "Teaching Tips" section of <a href="http://cindyellisflute.com/" target="_blank">Cindy Ellis's website</a>.<br />
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For more on Cindy, visit her <a href="https://powellflutes.com/academy/masters/cynthia-ellis" target="_blank"><span style="color: #cfe2f3;">Powell artist profile page</span></a>, and follow her on <a href="https://www.facebook.com/cindyellisflute" target="_blank">Facebook</a> and <a href="https://twitter.com/ellispiccindy" target="_blank">Twitter</a>.</div>
Powell Fluteshttp://www.blogger.com/profile/00869106739603134170noreply@blogger.com0tag:blogger.com,1999:blog-4682488389633803670.post-81815363407522056852016-03-14T18:06:00.001-04:002016-03-14T18:06:48.443-04:00A Winning Choice<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPQW0YF64yAiatgNjL4Uqo0qOXWLMYcZjoKTbPmzdIgdAA66wTYJl6nJbTgxQ27QnBw1KgZ-r7B0U9aY3yJczIGFnqDVqIGdHTuk8jf0aE1oEY-gZR4RTgjVkEg0jeCUnZN_mU3KdpASA/s1600/Anushka.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPQW0YF64yAiatgNjL4Uqo0qOXWLMYcZjoKTbPmzdIgdAA66wTYJl6nJbTgxQ27QnBw1KgZ-r7B0U9aY3yJczIGFnqDVqIGdHTuk8jf0aE1oEY-gZR4RTgjVkEg0jeCUnZN_mU3KdpASA/s320/Anushka.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Anushka Malhotra</td></tr>
</tbody></table>
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For flutist Anushka Malhotra, a junior at Germantown Academy
in Fort Washington, Pennsylvania, the choice of a new flute was most definitely
a winning one. Anushka has been studying with Powell artist <a href="https://powellflutes.com/academy/masters/loisherbine" target="_blank">Lois Herbine</a>
for just over a year, and within the first three months of 2016, her
accomplishments are certainly something to celebrate!<o:p></o:p></div>
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Anushka's family purchased her new Powell Sonaré PS-705 with KT headjoint from <a href="http://www.windworksstudio.com/" target="_blank">Windworks Studio of Philadelphia</a> in October 2015. In December, Anushka placed at the
Pennsylvania Music Educators District 11 audition. Jeremy Correnti,
Anushka's band director at Germantown Academy, was present for the
sight-reading portion of her audition and commented, "I
was particularly impressed with her sound, which gave her an incredible
presence in the audition room. A tone like that will definitely get the
judge's attention."<o:p></o:p></div>
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Anushka performed in the Pennsylvania District Band Festival
on January 28, 2016. In March, success came once again as Anushka placed
first in the senior division of the Flute Society of Greater Philadelphia's
Young Artist Competition. Lois Herbine shared, "Anushka has
developed a beautiful tone over the last few months since getting her new Sonaré flute. She is a quick learner with a lot of
potential, and she absolutely loves her flute.”<o:p></o:p></div>
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Powell introduced the KT headjoint in August 2015 as
one of two new professional options for the Powell Sonaré PS-705 model (a C# trill key was the other new option).
The KT headjoint is a Powell Signature headjoint made of 9k
tubing with a sterling silver wall and Aurumite 9k lip plate. Powell's
patented Aurumite material consists of one layer of gold and one of silver.
Aurumite 9k, specifically, has an outer layer of 9k rose gold and an
inner layer of sterling silver. <a href="http://www.flutebuilder.com/2015/08/kt-aurumite-9k-signature-headjoint.html" target="_blank">Clickhere to read more about the KT Aurumite 9k Signature headjoint</a> on our Flute Builder blog.</div>
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<div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjt2hckr3fjD1psS4m-Mlsa9gUwzDeBqQO9GNozPja6g-cv4X31awRT6ssf4zr_q-kC_tlXmBi6RtHSGNfSr-i1_a-CN4_0UK78DqJ37Te2PC-FzsH4PlZiRCeUaHARAHf8DKkVIkEbE_8/s1600/IMG_8724.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjt2hckr3fjD1psS4m-Mlsa9gUwzDeBqQO9GNozPja6g-cv4X31awRT6ssf4zr_q-kC_tlXmBi6RtHSGNfSr-i1_a-CN4_0UK78DqJ37Te2PC-FzsH4PlZiRCeUaHARAHf8DKkVIkEbE_8/s320/IMG_8724.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">KT Aurumite 9k Signature headjoint</td></tr>
</tbody></table>
<span style="background-color: white; color: #792258; font-family: "times" , serif; font-size: 17px; line-height: 25.5px;"><br /></span></div>
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Powell Fluteshttp://www.blogger.com/profile/00869106739603134170noreply@blogger.com0tag:blogger.com,1999:blog-4682488389633803670.post-8716519140042617362015-09-27T13:09:00.001-04:002015-09-28T14:47:05.576-04:00Masterclass with Jean Ferrandis<!--[if gte mso 9]><xml>
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By Daniel Sharp</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Sales Associate, Verne Q. Powell Flutes, Inc.</div>
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<br /></div>
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<span style="font-family: inherit;">Master
classes have the power to touch our musical lives in a very intense and memorable
way. We’ve all been to inspirational classes which we remember to today. Powell
Artist Jean Ferrandis recently gave a master class sponsored by Ithaca College
and Powell Flutes on September 12th. The level of the performers not only
impressed us, but also Jean Ferrandis. All four performers are students of Dr.
Wendy Mehne at <span style="font-family: inherit;">the </span>Ithaca College School of Music, one of the nation’s top
music schools. We asked the performers to take a moment to send us a few words
about their experience playing for Jean. </span><o:p></o:p></div>
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<br /></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglnfyEzIxl0xCzVCICpzBxfqZX5D07JAaCT8Frlq5-2fSSZP8PEycuOsYJQ5hyBOuvvNCkY34_MLKLopLJb8YgGMrLOal6w5Mu3akpVTDA7OBDAE341W8W2oIOv8qwA5_r9iVPdLY03OE/s1600/IMG_0001_2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="color: #cfe2f3;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglnfyEzIxl0xCzVCICpzBxfqZX5D07JAaCT8Frlq5-2fSSZP8PEycuOsYJQ5hyBOuvvNCkY34_MLKLopLJb8YgGMrLOal6w5Mu3akpVTDA7OBDAE341W8W2oIOv8qwA5_r9iVPdLY03OE/s320/IMG_0001_2.jpg" width="320" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #cfe2f3;">Sandra O'Hare, Jean Ferrandis, and Wendy Mehne</span></td></tr>
</tbody></table>
<blockquote class="tr_bq">
<span style="font-family: inherit;">"It was an incredible
opportunity to not only hear Jean Ferrandis play, but to
actually be able to work with him. I really appreciated how he kept everyone in
the class involved, not just the performers, so that we could all experience
new things and grow together as a studio. Jean was engaging and used a variety
of different teaching techniques that I felt each of us were able to connect to
in one way or another, and ultimately further our own musicality beyond the
notes on the page. I would like to extend my thanks to Powell Flutes for
helping to provide us with such a once in a lifetime opportunity!"
--Sandra O'Hare, master class performer</span></blockquote>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuCyRPFTGXmGPDBlz967X3ZT8Uohm0GE0OQD8kHsh23MfSdm08MqSeVzwpa4d1tRZZGJ8XC5kWXbI0uuhk80WcOJOW5bjRCPyuvMOle9UV4ngep_rz66ZzWC8Mj4wOMFcdkCoDIzvdhYg/s1600/IMG_0005_2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuCyRPFTGXmGPDBlz967X3ZT8Uohm0GE0OQD8kHsh23MfSdm08MqSeVzwpa4d1tRZZGJ8XC5kWXbI0uuhk80WcOJOW5bjRCPyuvMOle9UV4ngep_rz66ZzWC8Mj4wOMFcdkCoDIzvdhYg/s320/IMG_0005_2.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #cfe2f3;">Chelsea Kaye Lanphear and Jean Ferrandis</span></td></tr>
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<div class="separator" style="clear: both; text-align: center;">
</div>
<blockquote class="tr_bq">
<span style="font-family: inherit;">"I had the pleasure of
performing "Sounds of the Forest” this past weekend for Jean Ferrandis.
His energetic, honest, and constructive teaching techniques helped me explore
new ideas within my own musical style. He created an environment where
exploration was comfortable and productive. While it has only been a few days
since the master class, I have already made vast improvements in my technique
and performance practices because of the suggestions he gave. His musical
character and performance styles are ones I wish and aim to emulate in my own
upcoming recital. Thank you Powell Flutes for making this possible"
--Chelsea Kaye Lanphear, master class performer</span></blockquote>
<div class="separator" style="clear: both; text-align: center;">
</div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjn3YWGjhGXUN6vyEqJ5gMomFjLjXiUj9CbDncWihDkomqI1v_27F9Z7PoOZZ4pMOh1SI1T7AhwIu_Dedzrdx2PYPcCRWUMAt5WqQlj4FV0AIMfEGMARweqQpTiubliV7XQOS_c1Y3_qsI/s1600/IMG_0008_2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="229" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjn3YWGjhGXUN6vyEqJ5gMomFjLjXiUj9CbDncWihDkomqI1v_27F9Z7PoOZZ4pMOh1SI1T7AhwIu_Dedzrdx2PYPcCRWUMAt5WqQlj4FV0AIMfEGMARweqQpTiubliV7XQOS_c1Y3_qsI/s320/IMG_0008_2.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #cfe2f3;">Sarah Peskanov and Jean Ferrandis</span></td></tr>
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<blockquote class="tr_bq">
<span style="font-family: inherit;">"My experience with Jean Ferrandis was quite wonderful and
inspiring. As a flute player, I tend to focus so much on the music that I
forget about the physical aspect of my performance. Jean Ferrandis introduced
me to balance and different breathing techniques that I had never heard before.
I learned to relax my posture and channel more air from the lower half of my
body. Jean allowed me to release the tension I felt in my body while playing,
which allowed my sound to open up and fill the hall. I definitely hope to work
with him again!"--Sarah Peskanov, master class performer</span></blockquote>
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<span style="font-family: inherit;">"Before the
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that resulted in a greater struggle playing and expressing, but I never had
possible solutions. Probably the most important tip he had given was when
he said that you should not try to relax because being completely unnatural and
that, instead, you should feel free—free to move and free to play. I had
never thought about it that way and it has since helped me remove a large
amount of tension from my shoulders." --Ashley Watson, master class
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglnSmjFINL1Z53EYSQw5vJcSKAc0oWjBqaSzi-xwtMGON_3sS-9xOyYTcETpCieHBCt3ckvYFfy8C5zmqV_BS5jmZBHIEiW1uFNJ3LyfzP-HNstpTxrRHDHLyexHgAMsffE7wYs4_5ZlE/s1600/IMG_0030_2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglnSmjFINL1Z53EYSQw5vJcSKAc0oWjBqaSzi-xwtMGON_3sS-9xOyYTcETpCieHBCt3ckvYFfy8C5zmqV_BS5jmZBHIEiW1uFNJ3LyfzP-HNstpTxrRHDHLyexHgAMsffE7wYs4_5ZlE/s320/IMG_0030_2.jpg" width="240" /></a></div>
<blockquote class="tr_bq">
<span style="font-family: inherit;">"Having
a lesson with Jean Ferrandis was an amazing opportunity. In addition to being a
wonderful musician and flutist, he is also an innovative teacher. He discovers
the core problems that many flutists face and is able to teach solutions in
different and exciting ways. I learned so much from Jean. In working with him,
I grew not only as a flutist but as a teacher as well." --Marissa Mediati,
graduate assistant, had a lesson with Jean Ferrandis </span></blockquote>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVB7ZkE4GGuCPnXXjI3ezmRqaHRtR1diICqI4hyphenhyphenW2Gj5z5vLURtmcKGWVNxPO5SlCHGcMfUH1uoO0zTaJfW-bKnMlG0xDHGJYKUHMdC68VliJSPK3lSU7KEwh6xFYqxiWqScWCfms8ZdI/s1600/IMG_0031_2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVB7ZkE4GGuCPnXXjI3ezmRqaHRtR1diICqI4hyphenhyphenW2Gj5z5vLURtmcKGWVNxPO5SlCHGcMfUH1uoO0zTaJfW-bKnMlG0xDHGJYKUHMdC68VliJSPK3lSU7KEwh6xFYqxiWqScWCfms8ZdI/s320/IMG_0031_2.jpg" width="320" /></a></div>
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<span style="font-family: inherit;">Jean was
truly inspiring to my students (and me) with his creative, innovative teaching
style and beautiful artistry in his concert. My students are still
talking about his visit and how much it impacted them. - Dr. Wendy Mehne<o:p></o:p></span></div>
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College School of Music, visit their website at <a href="http://www.ithaca.edu/music/" target="_blank">http://www.ithaca.edu/music/</a>.</span></div>
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<!--EndFragment-->Powell Fluteshttp://www.blogger.com/profile/00869106739603134170noreply@blogger.com0tag:blogger.com,1999:blog-4682488389633803670.post-24063440111350313122015-07-23T17:09:00.001-04:002015-07-23T17:17:56.180-04:00Paul Edmund-Davies on Double-Tonguing <div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidemHrTGbr5WCiEZFYt_SfjckvLC-AJrkg2tvVczbb4v9tJkpsl7QQClOKJWyD0uu5Xuwdnd55_NNdYNb2wTYSuDNTQiYTKP2f-PaZ0CsOJkeEEajYFX8BzKISFmaJB2jIPCwfvEMfH7U/s1600/PED+Articulation+3.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="261" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidemHrTGbr5WCiEZFYt_SfjckvLC-AJrkg2tvVczbb4v9tJkpsl7QQClOKJWyD0uu5Xuwdnd55_NNdYNb2wTYSuDNTQiYTKP2f-PaZ0CsOJkeEEajYFX8BzKISFmaJB2jIPCwfvEMfH7U/s400/PED+Articulation+3.png" width="400" /></a></div>
<br />
Ever struggle with double tonguing on the flute? In his video lesson titled "Articulation 3," Powell artist Paul Edmund-Davies discusses a different approach, beginning with a discussion of syllables. He suggests replacing the "tuh-kuh" syllables one might use as an articulation for double tonguing with the lighter syllables "doo-goo" or "duh-guh" which allow for more fluid motion of the tongue.<br />
<br />
The lesson is in three parts which gradually extend in length of note groupings, beginning with groupings of 4 notes, then 12, and finally, 16. As with any exercise, Paul reminds us that the exercises must be played musically rather than statically. In the first section, he suggests thinking of each note moving to the next note and adds dynamics to help with this motion. As he demonstrates the concept, you can hear the wonderful, fluid direction and liveliness of the groupings. Finally, Paul comments that the number of articulations increase along with the number of notes in the groupings, and this should help in achieving fluidity when double-tonguing. The full lesson, compete with downloadable sheet music, <a href="http://www.simplyflute.com/articulation-blog/articulation-3" target="_blank"><span style="color: #cfe2f3;">is available by clicking this link to the lesson page</span></a> on Paul's <i>Simply Flute</i> website.<br />
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<tr><td class="tr-caption" style="text-align: center;"><a href="http://www.simplyflute.com/articulation-blog/articulation-3" target="_blank"><span style="color: #cfe2f3;">Click here to view the full lesson</span></a> on <i>Simply Flute</i>.</td></tr>
</tbody></table>
<br />Powell Fluteshttp://www.blogger.com/profile/00869106739603134170noreply@blogger.com0tag:blogger.com,1999:blog-4682488389633803670.post-88654670669591447982015-07-16T17:00:00.001-04:002015-09-14T10:48:35.667-04:00I Had To Go Down In The Mines To Climb Up To The Sky<div class="separator" style="clear: both; text-align: center;">
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By Lois Herbine</div>
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<i>I Had To Go Down In The Mines To Climb Up To The Sky</i> is an
aural memoir for solo piccolo with a ghost choir of 16 recorded piccolos,
performed as an accompaniment to an exhibition of photography. Howard Hersh
composed the work for me based on the life of my great, great grandfather who
perished in the pit in the great coal mining explosion of 1867 in Wales. His
widow remarried and traveled to Pennsylvania with their two small children and
another on the way. The music is in service of the bravery and anguish of
America’s great immigrant experience. This living history connects two worlds
for me- my love for the piccolo as a solo instrument, which involves reaching
new audiences outside the orchestra, and my love of ancestral research.</div>
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While uncovering more information about my ancestry, I have
also been busy this winter in the studios of East Room Recording, located in
Kensington, Philadelphia, recording Howard Hersh’s score one piccolo at a time.
Side by side, the eleven-minute solo and accompanying parts are the equivalent
of three CDs worth of music. This is the largest work I have ever recorded.
During these sessions, I read from a score that is two sheets tall, attached to
a sheet of poster board; this allows me to stand in one spot and not have to
turn pages. I find it best to read from the score so I can view how the part I
am recording fits with the other parts, both dynamically and musically.</div>
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The sections sometimes blur from tonality to atonality, as I
picture the miner facing peril trying to get out of the mine or trying to
escape the anguished echoes of the lost miners’ voices. Hersh’s composition
sometimes pits the soloist against the other voices that group in cordial
clusters or beat a driving rhythm. At other times, all is at peace as I imagine
a quite acceptance ensues and envelops the soloist as the accompanying voices
are in chordal harmony. The act of blending multiple piccolos reminds me of
voicing and tuning an orchestral string section. Listening back to the recorded
tracks is a unique experience- the timbre and ensemble is reminiscent of the
flute stops of an organ.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWv2nkY_akl7ufnF9hhno_41wZmmcMwn7B6w-3a4LjCIrcJbCi5AeVuUyRfOBfY4j7K4ySKkUzMGBbqGDHPHT6SCOTdjcQDFSnC9m77DaRnQvIXH1IAyV1mCzDrC10UMa7tnXL-kYqk3k/s1600/Herbine+Piccolo+Post+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWv2nkY_akl7ufnF9hhno_41wZmmcMwn7B6w-3a4LjCIrcJbCi5AeVuUyRfOBfY4j7K4ySKkUzMGBbqGDHPHT6SCOTdjcQDFSnC9m77DaRnQvIXH1IAyV1mCzDrC10UMa7tnXL-kYqk3k/s320/Herbine+Piccolo+Post+2.jpg" width="320" /></a></div>
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Sound engineer Drew Taurisano records, mixes and balances
the 17 voices. A soundscape installed at the Anthracite Heritage Museum in
Scranton, Pennsylvania, is currently in the design phase, placing all 17
tracks through speakers that surround the room. This will be accompanied by a visual
presentation of images from the museum’s collections. I am very excited
about this and for a future live performance at the Lackawanna County
Anthracite Heritage Festival!<o:p></o:p></div>
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*For more on Lois Herbine, <a href="http://www.herbine.info/lois/welcome.html" target="_blank">click here to visit her website</a> and <a href="https://powellflutes.com/academy/masters/loisherbine" target="_blank">here for her Powell Artist Profile page</a>. </div>
</blockquote>
Powell Fluteshttp://www.blogger.com/profile/00869106739603134170noreply@blogger.com0tag:blogger.com,1999:blog-4682488389633803670.post-25846653579185733332015-07-10T10:02:00.001-04:002015-09-28T16:35:14.237-04:00Artist Spotlight -- Andrea Fisher<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXKqkyATV-C_r0HM1thOubxT-GN6mZKJ2CmAB-cR84PI5ARFrO19dDxwKUkASlb4lgQGcMnCpfY3hjmrDAUol3Y51xeeiDzUikmliLcGPoHWQEmUhKKB-qGCDoz3NBt8_ckpHrDdgWk7k/s1600/fluterfire_web_0.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXKqkyATV-C_r0HM1thOubxT-GN6mZKJ2CmAB-cR84PI5ARFrO19dDxwKUkASlb4lgQGcMnCpfY3hjmrDAUol3Y51xeeiDzUikmliLcGPoHWQEmUhKKB-qGCDoz3NBt8_ckpHrDdgWk7k/s400/fluterfire_web_0.jpg" width="323" /></a></div>
<br />
Powell artist Andrea Fisher is known to many as "Fluterscooter." A Juilliard grad, she started her line of Fluterscooter bags in 2011 with "one silver bag and a dream." Now Andrea has been sharing her experiences as an entrepreneur with flutists around the globe -- including students at her alma mater and participants in this week's "Flutes by the Sea" masterclass and workshop in Half Moon Bay, California.<br />
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Next month, Andrea will have her own booth at the annual NFA (National Flute Association) Convention, where she will be have plenty of Fluterscooter bags and a few special guests... She tells us that she will be also conducting interviews at her booth for <i><a href="http://thefluteview.com/" target="_blank">The Flute View</a></i>, an online magazine for flutists that she created alongside colleagues Barbara Siesel and Viviana Guzman. On the performance side, she'll have the opportunity to construct the installation for a performance of her own original music on Saturday, August 15th at 5 PM.<br />
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For those who have not had the opportunity to meet Andrea and hear her speak about her experiences as an entrepreneur, <a href="http://www.teachflute.com/2013/01/flutrepreneurship.html" target="_blank">follow this link</a> to read the her previous Teach Flute blog post on entrepreneurship titled <a href="http://www.teachflute.com/2013/01/flutrepreneurship.html" target="_blank">FLUTREPRENEURSHIP</a>. Andrea also wrote about her experiences producing the live hologram show, "Flute N Float," in <a href="http://www.teachflute.com/2014/10/the-making-of-flute-n-float.html" target="_blank">The Making of Flute N Float</a>, which you can also read here by <a href="http://www.teachflute.com/2014/10/the-making-of-flute-n-float.html" target="_blank">following this link</a>. She is currently working on a live hologram performance in London, but her DVDs from the Tokyo performance are available on her website: <a href="https://fluterscooter.com/" target="_blank">fluterscooter.com</a>.<br />
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<a href="https://powellflutes.com/recording-studio/artists/andrea-fluterscooter-fisher" target="_blank">Click here</a> to view Andrea's full artist profile on the Powell website. The 10th Anniversary Powell Sonaré Fluterscooter bag (pictured in the photo at the top of the page) is also available by <a href="https://powellflutes.com/vqpshop/fluterscooter-flute-bags/powell-sonar%C3%A9-10th-anniversary-limited-edition-fluterscooter-bag" target="_blank">clicking this link to the VQP Shop</a> on the Powell website.<br />
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<o:p></o:p></div>
Powell Fluteshttp://www.blogger.com/profile/00869106739603134170noreply@blogger.com0tag:blogger.com,1999:blog-4682488389633803670.post-91655138839586563222015-06-26T11:10:00.003-04:002015-06-26T11:10:38.995-04:00Improving Articualtion with Leone Buyse<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgL44Jn66nAaaZskgxFupHjFBYMks8DaFR-Q-IQuj-YFyhUCHywuMUdfIu55OWo16KXcLnau0wa_JQXcSDELdjXO-sD1Tt9h9HyN3RKqZU8RB8wqUfLG5TEHljwlVV2GRyFjZqlCWCDExc/s1600/Leone+Buyse_Articulation.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgL44Jn66nAaaZskgxFupHjFBYMks8DaFR-Q-IQuj-YFyhUCHywuMUdfIu55OWo16KXcLnau0wa_JQXcSDELdjXO-sD1Tt9h9HyN3RKqZU8RB8wqUfLG5TEHljwlVV2GRyFjZqlCWCDExc/s320/Leone+Buyse_Articulation.png" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #cfe2f3;"><b><a href="http://musaic.nws.edu/videos/improving-articulation-on-the-flute" target="_blank">Click this caption to watch the full video lesson</a>.</b></span></td></tr>
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If you've struggled with articulation exercises, Powell artist Leone Buyse has a terrific video lesson on the MUSAIC website. In this three-minute lesson, Ms. Buyse briefly touches on the Taffanel-Gaubert scales, which she practiced in the past using different articulation patterns to improve her articulation. However, after acting on the recommendation of her colleague Linda Chessis, Ms. Buyse now uses the Altes Method for articulation exercises. She specifically recommends practicing pages 213-215 and demonstrates a bit of these in the lesson. She recommends practicing these very slowly to "find a good core sound and also to try to get a ringing quality" to her articulated sound. After practicing these exercises slowly with single tonguing, she found that it has greatly helped her double tonguing. The suggested tempo is the quarter note equal to 100-120, although she says they can be played "as fast as a quarter note at 184, which is really fun to work up to." <a href="http://musaic.nws.edu/videos/improving-articulation-on-the-flute" target="_blank"> <span style="color: #cfe2f3;">Follow this link to watch the full video lesson</span></a> on the MUSAIC website.<br />
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To learn more about Leone Buyse, <a href="https://powellflutes.com/academy/masters/LeoneBuyse" target="_blank"><span style="color: #cfe2f3;">click here</span></a> to view her artist profile page on the Powell website.<br />
<br />Powell Fluteshttp://www.blogger.com/profile/00869106739603134170noreply@blogger.com0tag:blogger.com,1999:blog-4682488389633803670.post-26514079401519351152015-06-20T17:41:00.000-04:002015-06-24T09:38:18.814-04:00Lindsey's Flutes<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4E1aLPSTbtR7g3Bp55CwlY3Uw2t8iSZ_Lzy_bDPHJMKDmuwTpCZ5BLVZ-ZUu2kDTXyQ4XEGB05I_g6g5-9eTGIwosDBGE67naVTuaDyObDsUbaJWmqa-vcjbu-iLEpWrWC3UugFAFUAA/s1600/silver+custom.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4E1aLPSTbtR7g3Bp55CwlY3Uw2t8iSZ_Lzy_bDPHJMKDmuwTpCZ5BLVZ-ZUu2kDTXyQ4XEGB05I_g6g5-9eTGIwosDBGE67naVTuaDyObDsUbaJWmqa-vcjbu-iLEpWrWC3UugFAFUAA/s400/silver+custom.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #cfe2f3;">Powell Silver Handmade Custom</span></td></tr>
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If you follow our <a href="http://www.flutebuilder.com/" target="_blank">Flute Builder</a> blog, you're probably familiar with the name Lindsey McChord. Lindsey is a flute finisher and headjoint cutter for Powell who has shared so much with us on the flute and headjoint making processes. In addition to her flute-making skills, Lindsey is also a professionally-trained flutist. She majored in flute performance for her undergraduate and graduate studies, receiving her Bachelor of Music degree from the University of New Hampshire and her Master of Music from the Longy School of Music. Lindsey is a devoted Powell player, but we were curious about the history of her flutes -- from her days as a beginner until now. How many did she have? What were they like? We sat down with Lindsey to find out...<br />
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Lindsey began playing the flute in the 5th grade, and at that time, her school provided her with a traditional student flute with closed hole keys. She told us that, unfortunately, it didn't make playing the flute very easy, sharing, "I'm surprised I even chose to stick with the flute!" But, luckily, she did, and she found a private teacher who encouraged her to get a step-up flute. She went to the local music store and picked up an intermediate model of a popular student brand. This flute, however, had a sterling silver headjoint and body. She recalled more of the specs -- "silver-plated open-hole keys, split-E, offset G, and a B foot." Another feature of the flute that caught her eye was the gold-plated, engraved lip plate. Although this was an intermediate flute, it got her into college and made it possible for her to play very advanced repertoire. </div>
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After her freshman year of college, Lindsey knew it was time for a professional, handmade flute. She traveled to the Powell shop in Maynard, Massachusetts, and once she picked up a handmade Powell Custom, she noticed a huge difference. She said the Powell made it "apparent just how hard I had been working with my other flute to get it to work for me," and it was definitely time for a professional flute.</div>
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Lindsey told us that when she initially visited the Powell shop, she was able to take a .018' heavy wall silver Powell Custom out on trial. She knew it was the right flute for her, commenting that it "had the right amount of mass and felt like a real instrument in my hands." She had tried .014' silver flutes from other flute makers and felt that they were simply too thin. Lindsey felt that the silver was perfect for her -- it had a big sound that was also a bit darker. It was never shrill or bright but also not too dark. She told us that she fell in love with a silver Boston cut Powell headjoint with a 14k riser, noting that this riser gave the flute an added darkness that made it perfect. Although she selected that headjoint right away on her first visit to the shop, she told us that she "came back many times to see if there was anything else, but that was always the one." </div>
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After much time with the demo and several trips to the shop, Lindsey ordered a brand new .018' silver Powell Custom. She was able to pair it with the Boston headjoint that she loved, and she was also able to get one additional special customization. Lindsey told us that she had trouble reaching the D# key, so she asked if Powell could make that one key just a bit bigger so that she would be able to reach it comfortably. She said that Powell agreed and that it was no problem at all. So, Lindsey was set with a truly customized flute suited perfectly to her!</div>
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During the process of selecting a flute at Powell, Lindsey worked with Christina Cobas, who is now Powell's Marketing Director. You may recall seeing Christina's name in a previous post we did about her own "history of flutes," which you can read by <span style="color: #cfe2f3;"><a href="http://www.teachflute.com/2013/06/christinas-flutes.html" target="_blank"><span style="color: #cfe2f3;">following this link to the post, titled "Christina's Flutes."</span></a> </span> Lindsey said, "I really enjoyed working with Christina, and I thought the customer service at Powell was terrific. It really made a difference." We're so glad that Lindsey found her perfect flute at Powell and even happier that she came to work for Powell -- making flutes that will be "the one" for many more flutists!</div>
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Powell Fluteshttp://www.blogger.com/profile/00869106739603134170noreply@blogger.com0tag:blogger.com,1999:blog-4682488389633803670.post-60490474692330247972015-06-14T07:16:00.001-04:002015-06-14T07:16:20.818-04:00Triplets with Paul Edmund-Davies<div class="separator" style="clear: both; text-align: center;">
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Powell artist Paul Edmund-Davies focuses on triplets in his third lesson in his series on sonority. Whereas the three notes of the triplet are equal in duration, he mentions that he prefers to play the first note of the triplet just slightly longer to help play the figure musically. He does emphasize that there is a "fine line" between expression and playing something so unevenly and out of tempo that "we make ourselves ill." His illustration of this concept is really quite funny! Once again, with his wonderful light-hearted sense of humor, Paul makes us laugh while demonstrating his ideas very clearly.<br />
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He also reminds us that there should be a great degree of flexibility and flow when playing triplets, especially if we are to play them expressively. The lesson is based on a four-bar phrase that is 15 seconds in duration. Paul suggests taking a breath after the second measure when you first begin practicing the four-bar phrase. When one is able to bring the phrase up to tempo (quarter note = 60), it should be possible to play it all in one breath. <span style="color: #cfe2f3;"><a href="http://www.simplyflute.com/sonority/sonority-3" target="_blank">Click here to view the full lesson</a> </span>on Paul's <a href="http://www.simplyflute.com/" target="_blank">Simply Flute </a>page.<br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="color: #cfe2f3;">Sample of music for the Sonority 3 lesson. <a href="http://www.simplyflute.com/sonority/sonority-3" target="_blank">Click here to view the full lesson. </a></span></td></tr>
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<br />Powell Fluteshttp://www.blogger.com/profile/00869106739603134170noreply@blogger.com0tag:blogger.com,1999:blog-4682488389633803670.post-9386752055703143862015-06-05T10:48:00.000-04:002015-06-08T10:02:16.443-04:00Video Masterclass: Scherzo from A Midsummer Night's Dream with Joshua Smith<br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="color: #9fc5e8;"><a href="http://musaic.nws.edu/videos/flute-excerpt-mendelssohn-s-a-midsummer-night-s-dre" target="_blank">Click here to watch the full video masterclass</a>.</span></td></tr>
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In another excellent video from <a href="http://musaic.nws.edu/" target="_blank">MUSAIC</a>, Powell artist and Principal Flute of The Cleveland Orchestra, <a href="https://powellflutes.com/recording-studio/artists/joshua-smith" target="_blank">Joshua Smith</a>, coaches flutist Matthew Roitstein on the Scherzo from Mendelssohn's <i>A Midsummer Night's Dream</i>. One of the greatest challenges of the excerpt is breathing -- as we know, it's quite difficult to find a good place to breathe that does not disrupt the musical line. Joshua addresses this, giving tips not only on where to breath, but also how to approach the breath and how to use air efficiently. He discusses the importance of keeping a smooth rhythmic flow, suggesting a two-measure pulse to achieve this. Another point he emphasizes is the need for clarity of articulation, which he illustrates by focusing on airspeed and the shape of the mouth.<br />
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The video clip features an introduction by Michael Tilson Thomas, Founder and Artistic Director of the New World Symphony, commenting on the excerpt as well. <a href="http://musaic.nws.edu/videos/flute-excerpt-mendelssohn-s-a-midsummer-night-s-dre" target="_blank">Click here to view the full video masterclass</a> on the MUSAIC website.<br />
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For more on Joshua Smith, <a href="https://powellflutes.com/recording-studio/artists/joshua-smith" target="_blank">follow this link</a> to view his artist profile page on the Powell website, and visit his personal website at <a href="http://www.soloflute.com/" target="_blank">www.soloflute.com</a>.Powell Fluteshttp://www.blogger.com/profile/00869106739603134170noreply@blogger.com0tag:blogger.com,1999:blog-4682488389633803670.post-70012684025290749552015-05-29T11:55:00.000-04:002015-05-29T12:01:04.576-04:00Artist Teaching Profile - Christina Jennings<div class="separator" style="clear: both; text-align: center;">
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This week, Powell artist Christina Jennings welcomed flutists to her annual <a href="http://www.colorado.edu/music/studio/flute-studio/panoramic-flutist" target="_blank">Panoramic Flutist</a> residential seminar at the University of Colorado Bolder. The seminar focuses on creating a sense of community among flutists and presents a series of sessions and workshops targeting the whole musician ("mind, body, and artistry") through a series of sessions on practice, performance, and study. This year, she welcomed guest artists Paula Robison, Lisa Garner Santa, and Jennifer Kenney. <br />
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Ms. Jennings hosts the seminar at the Univeristy of Colorado Boulder, where she is currently Associate Professor of Flute. For those interested in undergraduate or graudate studies with Ms. Jennings, her personal website (<a href="http://www.christinajennings.com/" target="_blank">www.christinajennings.com</a>) includes a page dedicated specifically to her flute studio. You can find this page by clicking the "teaching" heading in the top horizontal menu bar. She shares a brief overview of the studio and includes a link to the full studio page on the UCBolder website. The studio website is incredibly engaging, with terrific images and very thorough information for prospective undergraduate and graduate students. In addition to degree program information, Ms. Jennings shares the following perspectives on the learning environment:<br />
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The flute studio is a supportive yet intense group of
musicians who are passionate about the flute!</blockquote>
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CU is dedicated to developing the whole musician. Students
are expected to balance academic and instrumental excellence, and have the
opportunity to participate in a range of diverse programs, such as the
Entrepreneurship Center for Music, classes in the Alexander Technique through
our Musicians’ Wellness Initiative, or participate in one of the many world
music ensembles including the West African Highlife Ensemble. For a complete
look at these diverse programs, please explore the College of Music site. In
addition, the world-class courses offered through the University provide
students with a well-rounded education. Many studio members have double majored
or minored in other areas including: Business, Engineering, English and French.</blockquote>
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For additional information on Christina Jennings, visit the following pages:<br />
<a href="https://powellflutes.com/academy/masters/christina" target="_blank">Powell Artist Profile </a><br />
<a href="http://www.colorado.edu/music/studio/flute-studio/panoramic-flutist" target="_blank">Panoramic Flutist </a><br />
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Teach Flute Blog Posts:</div>
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<a href="http://www.teachflute.com/2014/10/christina-jennings-history-of-her.html" target="_blank">History of Her Powell Flutes</a></div>
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<a href="http://www.teachflute.com/2012/07/greenwood-music-camp.html" target="_blank">Greenwood Music Camp</a></div>
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<a href="http://www.teachflute.com/2013/08/christina-jennings-recording-music-of.html" target="_blank">Recording the Music of George Rochberg -- Part 1</a></div>
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<a href="http://www.teachflute.com/2013/09/christina-jennings-recording-music-of.html" target="_blank">Recording the Music of George Rocheberg - Part II</a></div>
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Powell Fluteshttp://www.blogger.com/profile/00869106739603134170noreply@blogger.com0tag:blogger.com,1999:blog-4682488389633803670.post-91737027959622553482015-05-22T13:00:00.001-04:002015-05-22T13:00:49.112-04:00Intervals 2 with Paul Edmund-Davies<div class="separator" style="clear: both; text-align: center;">
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In the latest video lesson on his <i><a href="http://www.simplyflute.com/" target="_blank">Simply Flute</a></i> website, Powell artist Paul Edmund-Davies tackles the topic of intervals. Although intervals may seem tedious to practice alone, Paul points out that they certainly demand attention as they will undoubtedly appear within quick passages, often times bringing us to a halt. We can probably all identify with the following quote from the beginning of his lesson:<br />
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<span style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 115%;"><i>When we play pieces or studies, we are understandably eager
to perform them at a good speed and with flow. Then, all of a sudden, a few
beats or bars of intervals emerge from the page and that flow is instantly
interrupted. We stumble our way through in a mild blind panic and once we can
see daylight again, wipe the perspiration from our furrowed brows!</i></span></blockquote>
In a creative and practical approach to intervals, Paul composed a few short studies to train us to be both mentally and physically prepared for these large leaps within the context of various passages. These studies incorporate a simple melody and rhythmic variations that are perfect for working toward the goal of performing intervals smoothly. His lesson begins with a video demonstration followed by text and downloadable sheet music. <a href="http://www.simplyflute.com/intervals/intervals-2" target="_blank">Follow this link to view the full lesson</a> on Paul's <i>Simply Flute</i> website.<br />
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<tr><td class="tr-caption" style="text-align: left;">Sample exercise from the lesson. <a href="http://www.simplyflute.com/intervals/intervals-2" target="_blank">Click here</a> to download the complete set from his video lesson.</td></tr>
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Powell Fluteshttp://www.blogger.com/profile/00869106739603134170noreply@blogger.com0tag:blogger.com,1999:blog-4682488389633803670.post-50902545242153775272015-05-16T10:52:00.001-04:002016-03-25T12:40:19.697-04:00A Successful Path with Demarre McGill<div class="separator" style="clear: both; text-align: center;">
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By Rebecca Weissman<br />
Communications Director, Verne Q. Powell Flutes, Inc.<br />
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I can honestly say that I have never been as inspired after hearing anyone speak than I was after listening to Powell artist Demarre McGill address a group of twelve to fourteen-year-old students in Buffalo, New York. I happened to find a video clip of his speech online, and I encourage everyone to set aside an hour to watch this video. The age of the students he addresses is certainly a critical one in our development into adulthood. At that age, it can be confusing to think about which direction to take toward not only a profession, but also your social network. Of course, as musicians, it is often times especially difficult for us to follow our passion as our chosen career path. When asked by one student if he had ever considered a different profession, Demarre emphasized the value of believing in yourself and your own abilities. Speaking particularly to music as his profession, he shared, "I do this, and I love doing this -- because I have something to say." Watch the clip. I guarantee you will find inspiration whether you are a student, teacher, parent, or professional in any line of work.<br />
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Demarre was selected to speak to the students as part of the <i>Success Looks Like Me Role Model Project<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 14px; line-height: 18.200000762939453px;">®</span></i> funded by the Community Foundation for Greater Buffalo's Communities of Giving Legacy Initiative. The program connects low-income students of color with successful multi-cultural and multi-ethnic professionals, demonstrating that success and greatness know no cultural or ethic boundaries. <a href="http://www.cfgb.org/for-donors/communities-of-giving-legacy-initiative/success-looks-like-me/" target="_blank"><span style="color: #cfe2f3;">Follow this link</span></a> to read more about the program on the Community Foundation for Great Buffalo's website.<br />
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<iframe allowfullscreen="" frameborder="0" height="281" mozallowfullscreen="" src="https://player.vimeo.com/video/117882429?title=0&byline=0&portrait=0" webkitallowfullscreen="" width="400"></iframe> <br />
<a href="https://vimeo.com/117882429">Success Looks Like Me - Demarre McGill</a> from <a href="https://vimeo.com/wnymedia">WNYMedia Services</a> on <a href="https://vimeo.com/">Vimeo</a>.Powell Fluteshttp://www.blogger.com/profile/00869106739603134170noreply@blogger.com1tag:blogger.com,1999:blog-4682488389633803670.post-32194473444166688572015-05-08T17:29:00.000-04:002015-05-10T09:43:43.968-04:00Articulation and ReleasesBy Cynthia Ellis<br />
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Your expressive vocabulary for music depends on every nuance
you can find, and many opportunities exist within the realm of articulation.
There are many different kinds of accents for example: ones that rely more
heavily on a more round sound and vibrato for the accent, (adding weight to the
note) versus accents that are sharp and
most decidedly handled by the tongue on the attack (adding more point to the
note). Releases can have many shapes: they can be square and sharply cut off
(think 20th century music) or elegantly tapered (more Mozartian and 18th century).
Listen to the beginning of each note and try several different attacks on for
size as you practice...interpret the symbols for accents, staccato and legato
in several different ways. You will be able to arrive at a creative solution
that sounds beautiful. Same idea with releases...and always take care not to go
flat on the ends of tapered notes.<o:p></o:p></div>
<br /></div>
*Note - This article first appeared on the "Teaching Tips" section of <a href="http://cindyellisflute.com/" target="_blank">Cindy Ellis's website</a>.<br />
<br />
For more on Cindy, visit her<a href="https://powellflutes.com/academy/masters/cynthia-ellis" target="_blank"> <span style="color: #cfe2f3;">Powell artist profile page</span></a>, and follow her on <a href="https://www.facebook.com/cindyellisflute" target="_blank">Facebook</a> and <a href="https://twitter.com/ellispiccindy" target="_blank">Twitter</a>.<br />
<br />
<br />Powell Fluteshttp://www.blogger.com/profile/00869106739603134170noreply@blogger.com0tag:blogger.com,1999:blog-4682488389633803670.post-47012937055047775102015-05-01T11:50:00.001-04:002015-05-01T11:50:18.715-04:00Artist Spotlight - Stephanie Mortimore<br /><div class="separator" style="clear: both; text-align: center;">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: 1em; margin-right: 1em; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioooGIE-_bgufMwSsKGJX9BsTqqBuG4az4qY1qVsyhITXcz9XLTw5OnEXLX8eSI3Gu18K0GJtudptYdEb7mHM9XfPhi5NT-QZ88Za22ir4pFwUTydw4pMI-vIVFDLTddbNlZtEoDJAeDU/s1600/Stephanie+Mortimore_Met+Orchestra+Musicians.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioooGIE-_bgufMwSsKGJX9BsTqqBuG4az4qY1qVsyhITXcz9XLTw5OnEXLX8eSI3Gu18K0GJtudptYdEb7mHM9XfPhi5NT-QZ88Za22ir4pFwUTydw4pMI-vIVFDLTddbNlZtEoDJAeDU/s1600/Stephanie+Mortimore_Met+Orchestra+Musicians.jpg" height="240" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo Courtesy of <a href="http://www.metorchestramusicians.org/" target="_blank">www.metorchestramusicians.org</a></td></tr>
</tbody></table>
</div>
<br />
Powell artist Stephanie Mortimore has held the position of Principal Piccolo with
the Metropolitan Opera Orchestra since 2000. During the 2008-09 season,
she served as Acting Principal Flute. Her two part series on piccolo intonation can be viewed by clicking on the titles to the two posts below:<br />
<blockquote class="tr_bq">
<a href="http://www.teachflute.com/2013/03/taming-beastrevolutionize-your-piccolo.html" target="_blank">Taming the Beast - Revolutionize Your Piccolo Intonation: Part I</a></blockquote>
<blockquote class="tr_bq">
<a href="http://www.teachflute.com/2013/04/taming-beastrevolutionize-your-piccolo.html" target="_blank">Taming the Beast - Revolutionize Your Piccolo Intonation: Part II </a></blockquote>
Ms. Mortimore has won numerous distinctions, including first prize in
the Myrna Brown Competition, the James Pappoutsakis Competition and
the Union League Civic and Arts Foundation Competition. She can be heard
on two Grammy Award winning recordings with the Metropolitan Opera
Orchestra.<br />
<br />
An active recitalist and sought-after teacher, Ms. Mortimore has
given concerts and masterclasses in New York, Chicago, Boston, Dallas
and in her native state of Wisconsin. She gave her debut at Carnegie
Hall's Weill Recital Hall in 2007.<br />
<br />
She has performed as a soloist with the Dallas Chamber Orchestra and
will be giving the world premiere of Daniel Felsenfeld's double piccolo
concerto in Spring, 2014 with Ensemble 212. She spends her summers
performing with the Grand Teton Music Festival in Jackson, Wyoming.<br />
<br />
Ms. Mortimore received her Master of Music from the New England
Conservatory of Music and her Bachelor of Music from DePaul University.
She also spent a year studying in Switzerland at the Conservatoire de
Genève. Her teachers have included Geralyn Coticone, Paula Robison,
Fenwick Smith, Mary Stolper and Keith Underwood.<br />
<br />
<div style="text-align: center;">
<b><span style="font-size: small;">View Stephanie Mortimore's website at <a href="http://www.stephaniemortimore.com/" target="_blank">www.stephaniemortimore.com</a></span></b></div>
Powell Fluteshttp://www.blogger.com/profile/00869106739603134170noreply@blogger.com0tag:blogger.com,1999:blog-4682488389633803670.post-75179726729906816752015-04-24T16:15:00.001-04:002015-10-19T10:59:45.860-04:00"Warming Up" with Paul Edmund-Davies<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijKnEmlVEGheLijiqfjPgTv9tEz2OFsaJisk2-q6ZXl_J5giMqslcEGizyfCvfu2ALviohhWUJCMVxHFeosDIFuPCvZnWWmPV_TrSNQYKSi-Edfo3uWikOkjmZE5sDJbT1_q9wALCpd-I/s1600/PED+Sonority.jpg" style="margin-left: auto; margin-right: auto;" width="400" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #cfe2f3;">Photo of Paul Edmund-Davies courtesy of<a href="http://www.simplyflute.com/" target="_blank"> Simply Flute</a>.</span></td></tr>
</tbody></table>
<br />
Powell artist Paul Edmund-Davies has a terrific new website (<a href="http://www.simplyflute.com/" target="_blank">www.SimplyFlute.com</a>) with many instructional videos and exercises. In his latest video, "Sonority 2," Paul presents a warm-up exercise and expands on the topic of warming up in general. Why do we warm up? How do we warm up? What are we trying to achieve? All of these questions are answered with a terrifically lighthearted, laughter-inducing style. In fact, Paul explains that when we play the flute, we are using our bodies in a "fairly unusual way...." He gives an example of playing long phrases in comparison with the way we breathe when we are not playing, He asked, "When in our everyday lives would we go around blowing air out for 15 seconds?" His humor certainly puts an enjoyable spin on the concept of warming up. <a href="http://www.simplyflute.com/sonority/sonority-2" target="_blank"><span style="color: #cfe2f3;">Follow this link to the full video</span></a>, and you'll see!<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
Powell Fluteshttp://www.blogger.com/profile/00869106739603134170noreply@blogger.com0tag:blogger.com,1999:blog-4682488389633803670.post-16392367906744525182015-04-16T15:58:00.001-04:002015-04-16T15:59:58.223-04:00The Expression Project<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
By Morgann Davis<br />
<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8tJGa9rayIKBZrvSOgd-x27tEd4KdoxVTKG1xy0x4KUz9fgUCGDIGsvxLDmcNk9elHvxXs9qLjhOl5vpvzsWUzfNx7d23mOSAnG0IBZ7IYSOS1glKuDVtPl1U9B6_iMN948aOFLNqrL4/s1600/Expression+Project+1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8tJGa9rayIKBZrvSOgd-x27tEd4KdoxVTKG1xy0x4KUz9fgUCGDIGsvxLDmcNk9elHvxXs9qLjhOl5vpvzsWUzfNx7d23mOSAnG0IBZ7IYSOS1glKuDVtPl1U9B6_iMN948aOFLNqrL4/s1600/Expression+Project+1.jpg" height="240" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #cccccc;">Morgann Davis (7th from left) and her studio </span></td></tr>
</tbody></table>
<br />
Recently I shared some thoughts on what guides the projects I
prepare for my private students, and specifically on the <i>Extended Technique Ladder </i>they completed early this winter.
Initially, my intent was to do just one project for the remainder of the school
year. However, as we prepared for the
spring studio recital (and through my own recent practice process), I realized
that there never feels like there is enough time to discuss musicianship with
my students. We spend so much time on fundamental development, which is
absolutely necessary, that we frequently neglect to find the time to discuss phrasing
and musicality on a regular basis. I decided to challenge myself to make it fit
into our preparation for the next recital.<o:p></o:p></div>
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This is an expansive topic, and I knew if I wanted to introduce it
succinctly and clearly that I would need to break it down and begin with the facts.
We spent two weeks using worksheets to learn the “basics.” First, what a phrase
is and how to find it, and second, what clues composers write that show us what
to bring out in a phrase. The possibilities for covering this are almost
endless, and I was very careful to cover the same base of information with each
student before branching off into their pieces or topics that were brought up
by questions the students had.<o:p></o:p></div>
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After introducing the more factual side of the process, we started
to have some fun with the idea of musicality. Now that the students understood what
they were looking for from the music and composer, we were able to discuss and
add in what they personally felt about their pieces. Starting by exploring the
way we assign emotions to music even if it doesn’t have words, we explored
practical ways to share our feelings through the music we prepare and perform.
Did the piece the student was preparing sound happy, sad, mysterious, or maybe
a mixture of emotions? How did they think their flute should sound to display
those emotions?<o:p></o:p></div>
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Once the conversation was started, I used two of my favorite
techniques that I've learned from my teachers and colleagues and adapted for my
own teaching. First, we used a technique that is loved by my teacher Katherine
Borst Jones and considered what their piece would be about if it were a story.
What kind of character would it be about? Is it set in a particular place or
time? How does the plot develop as the piece goes on, and how does our flute
playing need to change to make sure we hear that?<o:p></o:p></div>
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The second technique we employed has developed as something I do
with my students from a project that was introduced to me by Nicole Molumby,
who now teaches at Boise State, while she was completing her doctorate at Ohio
State during my undergraduate studies. For this part of the exercise, we
combine the technique of assigning a color to our sound (something that is
familiar to many flutists) with assigning color to the piece we are preparing.
My students imagined their piece if it were a piece of art. What color would it
be? Would it be opaque or transparent? Would there be shapes or shading? How would you make your flute sound match those colors?</div>
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<o:p></o:p></div>
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I wanted to be sure to share all this work with my students’
parents, so we took the final portion of our expression project and displayed
it at the spring studio recital. Each student “colored” the piece they were
performing using all the information they had gathered and collected over the
course of the project. I hung the colored version of the pieces outside the
recital space so that parents could see them before and after the recital,
allowing them to gather some insight into the performances they heard that day.<br />
<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEib3LIIGEG3p9C0kIkmH4c5hYTQSwCqyPBnJsJYlqUtF6SqKGwaOdwa0qIr-R00omL5zuAsOF1ziTwbAmL21aHF89OYCaWlfCEcO9rtsaioM6VB3SI4QDUn8BoRTZzEjZo8o5VmqxmatVM/s1600/Expression+Project+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEib3LIIGEG3p9C0kIkmH4c5hYTQSwCqyPBnJsJYlqUtF6SqKGwaOdwa0qIr-R00omL5zuAsOF1ziTwbAmL21aHF89OYCaWlfCEcO9rtsaioM6VB3SI4QDUn8BoRTZzEjZo8o5VmqxmatVM/s1600/Expression+Project+2.jpg" height="320" width="240" /></a></div>
<br />
For fun, I also provided a very simple piece that even my newest
students could play. Everyone interpreted
these through color as well, and I displayed them together showing how
differently everyone hears the same music.<o:p></o:p></div>
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As with any project I do with my students, the work is never conclusive.
This part of my teaching is meant to provide resources and information, and to
start an ongoing discussion of the topic at hand. Making a special focus of the
topic engages my students and gets them excited to learn something that is new,
and sometimes very unusual!<o:p></o:p><br />
<br />
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<div style="text-align: center;">
<span style="font-family: "Helvetica","sans-serif"; font-size: 10pt; line-height: 15.3333320617676px;">*Follow Morgann Davis online on her website </span></div>
<div style="text-align: center;">
<span style="font-family: "Helvetica","sans-serif"; font-size: 10pt; line-height: 15.3333320617676px;">and Facebook pages:</span></div>
</div>
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<div style="text-align: center;">
<a href="http://www.morgannelycedavis.com/" target="_blank">www.morgannelycedavis.com</a><o:p></o:p></div>
</div>
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<div style="text-align: center;">
<a href="http://www.facebook.com/DavisFluteStudio" target="_blank">www.facebook.com/DavisFluteStudio</a></div>
</div>
</div>
Powell Fluteshttp://www.blogger.com/profile/00869106739603134170noreply@blogger.com0tag:blogger.com,1999:blog-4682488389633803670.post-80274030403337081892015-04-09T09:48:00.000-04:002015-04-09T09:48:01.268-04:00Extended Techniques Ladder<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5afS9aDA1fxpD5h0TOPx9FF-_cab0ssS7NujgJ86JkCW1t26jSaHODk81LzzLD7TJbSt3i73iXruoLr-496F-JZO-X0gkayIUs-j5TJwpMq7TlaVszSz7cZgTFZ2qIeJv2VGUiLEpnU0/s1600/Morgann+Davis.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5afS9aDA1fxpD5h0TOPx9FF-_cab0ssS7NujgJ86JkCW1t26jSaHODk81LzzLD7TJbSt3i73iXruoLr-496F-JZO-X0gkayIUs-j5TJwpMq7TlaVszSz7cZgTFZ2qIeJv2VGUiLEpnU0/s1600/Morgann+Davis.jpg" height="320" width="211" /></a></div>
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<span style="font-family: "Helvetica","sans-serif"; font-size: 10.0pt;"><br /></span>
<span style="font-family: "Helvetica","sans-serif"; font-size: 10.0pt;">By Morgann Davis</span></div>
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<span style="font-family: "Helvetica","sans-serif"; font-size: 10.0pt;"><br /></span></div>
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<span style="font-family: "Helvetica","sans-serif"; font-size: 10.0pt;">One of the best parts of operating
a private studio is the opportunity to develop a unique curriculum for your
students. Sometimes you are able to pinpoint a project that works great when
repeated each year, like a scale challenge or music theory project that reviews
important basics. Other times it is best to develop a project based on what the
current needs of your students are, or what you feel is lacking from the scope
of their regular musical experience. Regardless of the reason behind developing
a challenge, </span><span style="font-family: Helvetica, sans-serif; font-size: 10pt;">as a teacher, it is an excellent
creative exercise in developing something your students enjoy, and a fantastic
instructional exercise in evaluating the needs of your students.</span></div>
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<span style="font-family: "Helvetica","sans-serif"; font-size: 10.0pt;">I’ve noticed that my studio
settles into a rhythm of production. Depending on the time of year, school
activities, auditions that are available, holidays, etc., I can predict how much
extra time my students have and when they have a little extra energy for their flute
practice. This “rhythm” is also how I decide when to schedule my studio recitals.
It will be different for each teacher, and depends heavily on your location,
local school districts, state music programs and outside offerings like youth
orchestras. We have </span><span style="font-family: Helvetica, sans-serif; font-size: 10pt;">three recitals per year, and
generally I try to do a special project leading up to the two that occur during
the school year. It helps the students to maintain focus on an important
element of their playing, and also plays off the extra attention they have to their
practice when a recital is on the horizon.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAHFqE4nd-Ng6WLchQF3FZjr1mi8tjwFaztjdGnqczDKNqvxn1azpTFV3BKpwm1CfkV87C2giI6tUMK9Iw6eu9gjgwp13gKzr6ytyLbqP_dv_kqHJ869N4qUG5RvcUSfEb2grqU-kBR-Q/s1600/Extended+Techniques+Ladder_Morgann+Davis.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAHFqE4nd-Ng6WLchQF3FZjr1mi8tjwFaztjdGnqczDKNqvxn1azpTFV3BKpwm1CfkV87C2giI6tUMK9Iw6eu9gjgwp13gKzr6ytyLbqP_dv_kqHJ869N4qUG5RvcUSfEb2grqU-kBR-Q/s1600/Extended+Techniques+Ladder_Morgann+Davis.jpg" height="320" width="240" /></a><span style="font-family: "Helvetica","sans-serif"; font-size: 10.0pt;">Over the winter months this year
(which, admittedly, I thought would never end!), I felt extra motivated to
provide something other than the “regular” lesson structure. We started the
winter with an </span><i><span style="font-family: "Helvetica-Oblique","sans-serif"; font-size: 10.0pt; mso-bidi-font-family: Helvetica-Oblique;">Extended Techniques Goal Ladder</span></i><span style="font-family: "Helvetica","sans-serif"; font-size: 10.0pt;">. The simple clip
art I enlarged and provided to each student had a ladder with five rungs that
we could fill in at a rate of one per week, or even per two weeks, depending on
the student. By not indicating the specific extended technique they would learn
at each rung, I could tailor </span><span style="font-family: Helvetica, sans-serif; font-size: 10pt;">the worksheet for each students’
age and ability level. Each student in my studio was able to participate, from
recent beginners who learned things like key clicks to advanced high school
students who refined their multiphonic production and techniques like whistle
tones.</span><br />
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<span style="font-family: "Helvetica","sans-serif"; font-size: 10.0pt;">Keeping an overall goal in mind
with each project helps me to direct my instruction and not get sidetracked in
too many different directions. For this project, I had two overall goals in
mind. First, was to introduce each student to the versatility of the flute. Understanding
the capabilities of the instrument opens their ears when hearing new music. It
can help them to be more excited to perform new music, knowing that extended
techniques are within reach of their abilities. The second goal was to open up </span><span style="font-family: Helvetica, sans-serif; font-size: 10pt;">a new wealth of possibilities for
the development of fundamentals. Seasoned flutists know how beneficial it is
for our tone and technique when we learn and regularly practice things like
singing and playing or harmonics. Getting my students started on these skills
at an early stage of development provides many avenues for practice and discussion
that will help them to be as adept as possible as their abilities develop.</span></div>
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<br /></div>
</div>
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<div style="text-align: center;">
<span style="font-family: "Helvetica","sans-serif"; font-size: 10.0pt; line-height: 115%;">*Follow Morgann Davis online on her website </span></div>
<div style="text-align: center;">
<span style="font-family: "Helvetica","sans-serif"; font-size: 10.0pt; line-height: 115%;">and Facebook pages:</span></div>
</div>
<div class="MsoNormal">
<div style="text-align: center;">
<a href="http://www.morgannelycedavis.com/" target="_blank">www.morgannelycedavis.com</a><o:p></o:p></div>
</div>
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</div>
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<div style="text-align: center;">
<a href="http://www.facebook.com/DavisFluteStudio" target="_blank">www.facebook.com/DavisFluteStudio</a><o:p></o:p></div>
</div>
Powell Fluteshttp://www.blogger.com/profile/00869106739603134170noreply@blogger.com0tag:blogger.com,1999:blog-4682488389633803670.post-20139743332303938332015-04-03T09:44:00.003-04:002015-04-03T09:44:45.184-04:00"Silver and Gold" with Paul Edmund-Davies<div class="MsoNormal">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSh2X9cFMI86I6J0p9yribzb6qf_iant0Z_XRkJcO4nyRnvn-2RDOuNaaPU2G6rJNVqHZJn7fN5BnqTJUbiz3bg03aa27ukIViFy97KF7FZz6PcslRtWKslU-0b0EyYfjD3bcKLUjcJw4/s1600/PED+highres.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSh2X9cFMI86I6J0p9yribzb6qf_iant0Z_XRkJcO4nyRnvn-2RDOuNaaPU2G6rJNVqHZJn7fN5BnqTJUbiz3bg03aa27ukIViFy97KF7FZz6PcslRtWKslU-0b0EyYfjD3bcKLUjcJw4/s1600/PED+highres.jpg" height="320" width="212" /></a></div>
There is a rather large selection of materials when it comes
to flutes – and headjoints. The
multitude of choices between silver and gold (along with the different karats
and types such as rose or yellow gold) can make choosing your flute and
headjoint a daunting task. Some flutists
then wonder if one type of material is better than another. Luckily, we had the chance to speak with
Powell artist Paul Edmund-Davies about this topic during his recent visit to
Powell…<br />
<o:p></o:p></div>
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Paul has two Powell flutes – one silver Custom and one 19.5k
Custom with a 14k mechanism. Just like
tone holes or any other option on a flute, one type of material is not better
than another – the materials are simply <i>different</i>. Silver and gold each have their unique
characteristic qualities, and Paul appreciates these qualities and differences. From his perspective, he finds that in his
own playing, the silver sound is “closest to the human voice,” and the
“brilliance of gold is breathtaking.” And,
as he said, it all depends on the player and the player’s preferences.<o:p></o:p></div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDOrj_LhSnl2uyXD8_ghlMBFrlPUkg_6k24T2OxuPnCP4T_WL1Pu4mJs-9bfvofrbhaT7-etuEg4eGxrQsRe-Q5LKbh1bLjhur-wD6BUj22GlDZSh0wdFhE04FvqWFc90Um23csMekCgk/s1600/Publication1.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDOrj_LhSnl2uyXD8_ghlMBFrlPUkg_6k24T2OxuPnCP4T_WL1Pu4mJs-9bfvofrbhaT7-etuEg4eGxrQsRe-Q5LKbh1bLjhur-wD6BUj22GlDZSh0wdFhE04FvqWFc90Um23csMekCgk/s1600/Publication1.jpg" height="270" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #cfe2f3; font-size: xx-small;">Powell Custom 19.5k with 14k keys (left) and Powell Custom silver (right)</span></td></tr>
</tbody></table>
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However, for flutists who are currently playing a silver
flute and considering moving over to gold, Paul presented several suggestions
on how to experiment with gold. Since it
can be a huge change to shift over to a gold flute, he finds that Aurumite® is
a “very good middle ground to investigate gold,” given its composition of one
layer of gold and one layer of silver.
In terms of “experimenting” with gold, he suggested the following:<o:p></o:p></div>
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1) Try your silver flute with a
silver headjoint that has a gold riser.<o:p></o:p></div>
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2) Try your silver flute with an
Aurumite headjoint.<o:p></o:p></div>
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3) Try your silver flute with a
gold headjoint.<o:p></o:p></div>
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Even with Aurumite, you will have choices. The “Aurumite 9k” and “Ruby Aurumite” have
rose gold on the outside. The “Aurumite
14k” has silver on the outside and 14k rose gold on the inside. Moving along with the progression of steps
Paul suggested should, however, give you a logical method for testing just how
much gold is right for you!</div>
Powell Fluteshttp://www.blogger.com/profile/00869106739603134170noreply@blogger.com0tag:blogger.com,1999:blog-4682488389633803670.post-51892278323323868842015-03-27T12:28:00.001-04:002015-03-27T12:35:16.614-04:00Audition Preparation with Leone BuyseTaking auditions is something we've all done throughout our lives as musicians -- both as students and professionals. Whether it is an audition for a university, a music festival, an orchestral position, or anything else that requires excerpts, preparation is key. How should you prepare? When do you begin? These are some of the questions Powell artist Leone Buyse answers in the video below from MUSAIC. In her discussion of audition preparation, she pinpoints crucial factors that may often be overlooked, including physical and mental preparation.<br />
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<br /></div>
<iframe allowfullscreen="true" frameborder="0" height="355" id="vimeoplayer" mozallowfullscreen="true" src="//player.vimeo.com/video/74903613?title=0&byline=0&portrait=0&api=1&player_id=vimeoplayer" webkitallowfullscreen="true" width="400"></iframe>
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<span style="color: white; font-family: Arial, Helvetica, sans-serif; font-size: 9.5pt; mso-fareast-font-family: "Times New Roman";">*Video courtesy of <a href="http://musaic.nws.edu/" target="_blank">MUSAIC</a><span id="goog_377410297"></span><span id="goog_377410298"></span><a href="https://www.blogger.com/"></a></span></div>
Powell Fluteshttp://www.blogger.com/profile/00869106739603134170noreply@blogger.com0tag:blogger.com,1999:blog-4682488389633803670.post-45594650094456661992015-03-20T11:16:00.001-04:002015-03-20T11:23:32.560-04:00Joshua Smith on Technique<div class="separator" style="clear: both; text-align: center;">
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYoY8jyzzCpOkc8fo_D0jsATHykJnW4iEzNgXfYccIO_Zckrf45-awNVDF4eM56pKKu0Ske-w_KE79NZ8T-4H4xdQghJmMKeX1YJ_JDAyzuF5ni3vqp-ztC0yPaMFzzG_5fdBhGstDwt4/s1600/JoshuaSmith-Lanza-15.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYoY8jyzzCpOkc8fo_D0jsATHykJnW4iEzNgXfYccIO_Zckrf45-awNVDF4eM56pKKu0Ske-w_KE79NZ8T-4H4xdQghJmMKeX1YJ_JDAyzuF5ni3vqp-ztC0yPaMFzzG_5fdBhGstDwt4/s1600/JoshuaSmith-Lanza-15.jpg" height="500" width="380" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #cccccc; font-size: xx-small;">Joshua Smith © Frank J. Lanza, 2013</span></td></tr>
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<br />
Powell artist Joshua Smith has held the position of Principal Flute with The Cleveland Orchestra since 1990. We have enjoyed reading <a href="http://soloflute.blogspot.com/" target="_blank">his blog</a>, and in particular, a series of posts that share his terrific insight on flute playing and teaching. These posts are segments of an interview with one of his former students, Madeline Lucas. This week, we wanted to share his insight on developing technique and working through difficult passages:<br />
<blockquote class="tr_bq">
<i><span style="font-family: inherit;">ML: </span></i><i>What are the basic building blocks of a good flute technique?</i></blockquote>
<blockquote class="tr_bq">
<i><span style="font-family: inherit;">JS: </span>I think there's a lot of room for possibility in that question. As far as developing finger technique goes, it's best to work slowly and steadily over a long period of time. I know, for example, that my technique is still getting better, and that there are things that I can do easily now that I couldn't do when I was your age. Physical growth comes from exercising muscles and becoming aware of how you're using them. Part of that is psychological, becoming conscious of how you use your body; that leads to the part that is physiological. Your muscles have to grow up and get the message that you're building them by practicing.</i></blockquote>
<blockquote class="tr_bq">
<i>That said, it's important to have a stable practice routine. Scales and arpeggios are great for this, especially because they build an awareness of key areas. I'm going on a tangent away from your question, I know, but key areas are the root of what makes sound, or what makes music interesting; that's the language we speak-- in varying different keys. Using scales as a way not only to develop your fingers but also to be aware of color (that one key sounds different from another) makes practicing technique interesting.</i></blockquote>
<blockquote class="tr_bq">
<i><span style="font-family: inherit;">ML: </span>Other than slow practice, which hopefully everyone does, what do you do when you get a passage that you're just stuck on?</i></blockquote>
<blockquote class="tr_bq">
<i><span style="font-family: inherit;">JS: </span>A lot of the ways I fix problems are practice games that I made up when I was in high school and college. And since they worked, they became parts of my technical routine.</i></blockquote>
<blockquote class="tr_bq">
<i>Slow, steady practice is great. The metronome helps by building a sense of pulse in everything that you do. Pulse runs music, so you can't let go of that. But the best reason to use a metronome for improving a technical passage is that it provides a goal: you know what tempo you need to reach, and you back off of that, building confidence and finger ability by degree.</i></blockquote>
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<i>Backing off and working slowly is also important because, when you get stuck with a problem, usually the reason lies in some sort of physical tension that you need to understand to get rid of. If you quickly just go over and over the problem spot, you're forcing your hands to do something that isn't working, and you're creating tension at the same time that you're reinforcing a bad habit. When you back off, you allow your mind time to process what is wrong, and to figure out how to fix it. Asking, "am I hearing every note cleanly, the way I want to?" is a way to build consciousness about what's happening.</i></blockquote>
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<i>While we're talking about slow practice, here's an example of a practice game for a tricky passage. Try a chain of beats, let's say A, B, and C, stopping at the downbeat of D. Work that out, then do B, C, and D, stopping at the downbeat of E. Then C, D, E, stopping at F, and so on. So you're working out segments, but always bridging the connection from one to the next. This is a very effective technique, and one I would do at any tempo, but certainly the best is gradually building it from a slow tempo towards your ultimate goal.</i></blockquote>
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<i>Doing the same thing in reverse, starting at the end of a passage and going backwards (the last beat, the last two beats, the last three beats, until you've started at the beginning and played through it) also tends to be really effective. But always start with a question that forces you to listen and focus: "What note am I not hearing? Why? What do I need to do to fix that?" And then you're on your way.</i></blockquote>
Visit Joshua Smith's website at <a href="http://www.soloflute.com/" target="_blank">www.soloflute.com</a> and <a href="https://powellflutes.com/recording-studio/artists/joshua-smith" target="_blank">follow this link to his artist profile page</a> on the Powell website.Powell Fluteshttp://www.blogger.com/profile/00869106739603134170noreply@blogger.com0tag:blogger.com,1999:blog-4682488389633803670.post-9222194056870526012015-03-13T10:51:00.003-04:002015-03-13T11:01:21.146-04:00Video Masterclass - Bonita Boyd <h4 style="background-color: box-sizing: border-box; color: black; font-weight: 500; line-height: 1.1; margin-bottom: 10px; margin-top: 10px;">
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<span style="color: white; font-family: "Times New Roman","serif"; font-size: 10.0pt; mso-fareast-font-family: "Arial";"><span style="font-family: Arial, Helvetica, sans-serif;">MUSAIC is a terrific
"video channel" website created through the collaborative efforts of
The New World Symphony and several of the leading music conservatories in the
U.S. and Europe. As a partner in the project, the Eastman School of Music
shared a short video masterclass with Professor of Flute (and Powell Artist),
Bonita Boyd.</span>
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coaches a senior undergraduate student, Luke Fitzpatrick, on excerpts "Aus
Liebe will mein Heiland sterben!,” one of the arias from the <i>St. Matthew Passion</i> by J.S. Bach. They work through the following sections of
the aria: 13 measures before A to 6 measures after A. Professor Boyd addresses several key elements
including “settling into” one’s sound, phrasing, and the importance of knowing
the vocalist’s part in the aria. She
also discusses best practices for performing in the style of Bach, particularly in regard to vibrato and tenutos.<o:p></o:p></span></span></span></div>
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<iframe allowfullscreen="true" frameborder="0" height="355" id="vimeoplayer" mozallowfullscreen="true" src="//player.vimeo.com/video/106013998?title=0&byline=0&portrait=0&api=1&player_id=vimeoplayer" webkitallowfullscreen="true" width="400"></iframe>
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<span style="color: white; font-family: Arial, Helvetica, sans-serif; font-size: 9.5pt; mso-fareast-font-family: "Times New Roman";">*Video courtesy of <a href="http://musaic.nws.edu/" target="_blank">MUSAIC</a><span id="goog_377410297"></span><span id="goog_377410298"></span><a href="https://www.blogger.com/"></a></span></div>
Powell Fluteshttp://www.blogger.com/profile/00869106739603134170noreply@blogger.com0tag:blogger.com,1999:blog-4682488389633803670.post-75625101757034600082015-03-06T10:01:00.003-05:002015-03-06T10:01:21.371-05:00Take Note -- Tech Tip #1<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFuwZlq8Hpz7cZ1npZAMizb5FjJX6OmKzF48ynKi-1Wxrb_7A9boL4_KRqitQS1Ml6y5C2TB6tVJhyphenhyphenabFrVfnj5ERA2e4H92BKzhawtXdpzI3hAO4F3SRXB6lkWIGAem5uU-RU8GYsqaA/s1600/iphone+treble+clef.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFuwZlq8Hpz7cZ1npZAMizb5FjJX6OmKzF48ynKi-1Wxrb_7A9boL4_KRqitQS1Ml6y5C2TB6tVJhyphenhyphenabFrVfnj5ERA2e4H92BKzhawtXdpzI3hAO4F3SRXB6lkWIGAem5uU-RU8GYsqaA/s1600/iphone+treble+clef.jpg" height="221" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #cccccc; font-size: x-small;">Photo courtesy of <a href="https://www.pinterest.com/pin/380554237238458548/" target="_blank">Pinterest</a></span></td></tr>
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This week, we had the chance to catch up with Christina Guiliano-Cobas, Powell's Director of Marketing. Christina is also a private flute instructor, and we highlighted her own "family of flutes" in a previous post which you can read by <a href="http://www.teachflute.com/2013/06/christinas-flutes.html" target="_blank">following this link</a>. <br />
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In her studio, Christina teaches a mix of flutists from beginners to more advanced high school students. Regardless of age, she requires each student to bring a notebook to lessons, which she then uses to write notes and their next assignment. One of her high school students forgot her notebook recently, so Christina decided to text a very short note with the next assignment to the student. Although not all of her students have cell phones (and we know this is certainly a topic of debate), Christina began texting assignments to her 14, 15, and 16 year-old-students. She discovered that this was quite helpful to them! She shared,<br />
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Students in this age group are very busy with band, sports, AP classes, driver's exams, part-time jobs... They use their phones for everything. It turned out that my student who forgot her notebook practiced more, remembered her assignment, and was fully-prepared for her next lesson after she received my text. Just having that small visual reminder on her phone helped tremendously. </blockquote>
She added that the physical notebooks are terrific tools for her younger (elementary school-aged) students since they are,"still very much into pens and paper, and their parents need to sign the practice page in the notebook." However, the notebooks had gone unopened with the teenaged students once the lesson was done. What happened to be a quick-fix for one high school student turned out to be an excellent method for preparing and inspiring them. Christina said, "Now, for my 14, 15, and 16-year-olds, I always text their next lesson assignment!"<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDEN1qGtEDlrtL_ByU0_hOHyeHVbboLLdRjjPWOuMciIJZ7hlw4qk7IWxlgxL4WPwT5bwRksrFLtTSzmbObx9agKcK_cvlnkIx9pIKvuICnEn8uhyUABRz4wsR6oHQ3I37KGu9n9i-lKc/s1600/music+pencils.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDEN1qGtEDlrtL_ByU0_hOHyeHVbboLLdRjjPWOuMciIJZ7hlw4qk7IWxlgxL4WPwT5bwRksrFLtTSzmbObx9agKcK_cvlnkIx9pIKvuICnEn8uhyUABRz4wsR6oHQ3I37KGu9n9i-lKc/s1600/music+pencils.jpg" height="320" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #cccccc;">Photo courtesy of <a href="https://www.pinterest.com/pin/380554237236811080/" target="_blank">Pinterest</a></span></td></tr>
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Powell Fluteshttp://www.blogger.com/profile/00869106739603134170noreply@blogger.com2tag:blogger.com,1999:blog-4682488389633803670.post-29945383275907473792015-02-27T11:33:00.001-05:002015-02-27T11:33:07.146-05:00The Powell Academy<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiSQrE9aNsdOXNo1qPW76H8WdSJAp3bLC19P4j3rCCmOUMv_imSBoqRcqmze4lyixpIH7pTo7XRQfP2ZYwRhjTj3LH4JQzkfDIZo-bsIaiWSOp0E2ot_uC94G2i9j4DD8WF0E_PlP8Kug/s1600/Powell+Academy.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiSQrE9aNsdOXNo1qPW76H8WdSJAp3bLC19P4j3rCCmOUMv_imSBoqRcqmze4lyixpIH7pTo7XRQfP2ZYwRhjTj3LH4JQzkfDIZo-bsIaiWSOp0E2ot_uC94G2i9j4DD8WF0E_PlP8Kug/s1600/Powell+Academy.png" height="285" width="400" /></a></div>
If you visit the Powell website, there are many resources and links available. There are sections you can explore that go well beyond product information. You can find a dealer, schedule a repair, shop for Powell products, and much more. One section of our website, the Powell Academy, is our educational portal. It connects you not only to educational videos and articles by artists, but to the artists as well! Imagine taking a lesson with your favorite Powell artist... It's possible through the Powell Academy! On the Academy page, if you click the "<a href="http://powellflutes.com/academy/masters" target="_blank">View Master Teachers</a>" heading on the left side menu, you'll be taken to a page with the teaching artist roster. Once there, you'll be able to click on the artist's name to view their full profile. (You can also mouse over the "Academy" heading in the top horizontal menu bar, and a drop-down menu with the Academy sections will appear.) There are thirty-nine teaching artists who are located around the globe, and distance is no obstacle since you have the choice of a live or Skype lesson. Click "<a href="https://powellflutes.com/academy/schedule-lesson" target="_blank">Schedule a Private Lesson</a>" on the left side menu (or from the dropdown menu at the top), and you'll access our online lesson request form, where you can select the artist of your choice and the date that works best for you. <br />
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Interested in having a Powell teaching artist come in for a masterclass? You can also submit this request through the Powell Academy. Click the "<a href="https://powellflutes.com/academy/host-event" target="_blank">Host an Event</a>" heading (left or top menu), and you'll be taken to the online request form.<br />
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We hope you'll enjoy visiting the Powell Academy page. The side and top menu bars should make it easy to navigate. If you enjoy reading posts here on Teach Flute, you might notice that one of the sections in the Powell Academy menu will take you here!<br />
<br />Powell Fluteshttp://www.blogger.com/profile/00869106739603134170noreply@blogger.com0