Transform Your Teaching

By Bonnie Blanchard

Increase your effectiveness with relationship-based teaching • Allow time for relationship building in every lesson to instill trust and respect. • Stay in tune with students’ interests and temperaments and adjust lessons accordingly. • Value each student and create a mission statement that puts their well being first. • Let your students get to know you too

Make each student feel special

• Let students know they are important and appreciated • Compliment at each lesson • Typecast them individually in a good way • Assume they will be great

Inspire respect and pride in your studio • Pass on a studio identity to students, including a special “members only” password. • Build traditions such as annual themed recitals for students to anticipate and enjoy. • Promote student and parent friendships by hosting musical events. • Encourage ensemble playing, celebrate individual and group successes, avoid rivalries.

Create an atmosphere of learning and achievement • Communicate teaching goals and student responsibilities right with the first lesson. • Help students achieve their potential by being honest • Boost achievement with concerts, contests, and friendly in-studio competitions. • Encourage independence by teaching students to solve problems on their own. • Set goals with each student and give prompt and honest feedback on progress. • Hold students to their personal best • Visualize the future • Applaud students’ accomplishments and effort.

Form strong ties with parents, your most valuable allies • Communicate regularly with parents. • Involve them in lessons. • Coach parents on supporting home practice sessions and setting up a reward system. • Help parents create a musical family environment that includes a reward system.

Be a better teacher • Teach the whole musician with lessons on music theory, history, and musicality. • Assess your teaching results annually and adjust to increase your effectiveness. • Add variety with new schedules, lesson plans, and room décor • Use the Music for Life two notebook system to help students retain knowledge • Hold yourself to the same high standards you wish for your students • Have confidence in your own ability • Keep learning!

Have fun!

• Always put the student above the performance • Laugh at each lesson • Use fun props • Be creative

Appreciate your good fortune in having one of the best jobs in the world! For more than thirty years, Bonnie Blanchard’s unique teaching techniques have consistently produced award-winning students and earned the respect of top college and conservatory teachers. This presentation included excerpts from book one of her five-book Music for Life series. Making Music and Enriching Lives: a Guide for All Music Teachers published by Indiana University Press. For more information, please contact:

Bonnie Blanchard 11527 36th Ave NE Seattle, WA 98125 bonniesilverwood@sprynet.com

musicforlifebooks.com contact@musicforlifebooks.com

Alexander Technique Bibliography Find below a non-comprehensive list of books related to movement, body awareness, and the Alexander Technique. If you cannot find them in your local bookstore, try [amazon.com] or [alexandertech.org] on line. (* May be ordered direct from Andover Press: 4427 N. Willis Blvd. Portland OR 97203.) My very minimalist web site for links to helpful sites: http://spot.colorado.edu/~brody/ Alexander, F. M. The Use of the Self. Orion, 2002. Anderson, Bob. Stretching. New York: Random House, 1980. Barlow, Wilfred. The Alexander Technique. Rochester VT: Healing Arts Press, 1990. Calais-Germain, Blandine. Anatomy of Movement. Seattle WA: Eastland Press, 1993. Caplan, Deborah. Back Trouble—a new approach to prevention and recovery based on the

Alexander Technique. Gainesville FL: Triad Publishing Co., 1987. * Conable, Barbara. How to Learn the Alexander Technique, 3d ed. Portland OR: Andover

Press, 1995. Conable, Barbara. The Structures and Movement of Breathing, a primer for choirs and

choruses. Chicago: GIA Publications, 2000 * Conable, Barbara. What Every Musician Needs To Know About the Body. Portland OR:

Andover Press, 1998. de Alcantara, Pedro. Indirect Procedures; a musician’s guide to the Alexander Technique.

Oxford: Clarendon Press, 1997. Feldenkrais, Moshe. Awareness Through Movement. New York: HarperCollins, 1977. Freymuth, Malva. Mental Practice and Imagery for Musicians. Boulder CO: Integrated Musician’s Press,

1999. Gray, John. The Alexander Technique. New York: St.Martin’s Press, 1990. Gelb, Michael. Body Learning: an introduction to the Alexander Technique. 3d ed. London: Aurum Press,

1994.

Horvath, Janet: Playing (less) Hurt: an injury prevention guide for musicians. MMB Music Inc., St. Louis, 2002

Jones, Frank Pierce. Freedom to Change. (originally Body Awareness in Action). London:

Mouritz, 1997. Leibowitz, Judith and Connington, Bill. The Alexander Technique. New York: Harper Collins,

1990. Maisel, Edward, ed. The Alexander Technique: the essential writings of F. Matthias Alexander. New

York: Lyle Stuart, 1990.

Mark, Thomas. What Every Pianist Needs To Know About the Body. GIA Publications, 2003. Norris, Richard, M.D. The Musician’s Survival Manual: a guide to preventing and treating

injuries in instrumentalists. St. Louis MO: MMB Music, 1993. Pearson, Lea. Body Mapping for Flutists. Columbus OH: Flutibia, 2002.

Typical problems of flutists General excess tension and effort - often increases (“builds up”) as activity continues - more tension leads to more resistance - reaction: to work harder (non-helpful strategy) Angle of the head/torso turn/body part relationships - many potentially successful possibilities - inherently flexible human system - rule of thumb: if you have to “hold on” to it to maintain, you may want to find another way Postural distortions - neck forward (e.g. to “meet” the flute) - knees locked = out of balance - upper torso “dipped in shellac” - “flutist on a shelf”, frozen upper torso - lumbar shifting or lifting up (a la vocalist “high sternum”) - weight into left hip (historical depictions) Tightening arm structure - scapular trapping or “frozen” shoulder blades - forward compression (learn how to lift flute without compressing left pectoralis) Other flute-specific - neck, not lip/jaw, movement (for tuning) - eyes to “The Flute Corner” (and consequences) - rotating head joint as a response to poor use (relate to car rear view mirror) Flute support comes from: - left forefinger/thumb - right thumb/pinkie - “face” and core Breathing - “pop top” (head/neck over-stabilized) - raising shoulders (not necessary) - gasping (mis-use of throat musculature)

Financial Management Tips for Flute Clubs

1. Elect a Treasurer who is capable and who likes the job. 2. Establish membership dues appropriate for your locale.

(adult, student, family, life, corporate sponsor) 3. Establish fees appropriate for your program.

Members: master class participants, flute choir members, contest fees Public: master class admissions, concert admissions

4. Choose bank carefully and utilize their services. (small business, minimum balance, minimum items, interest, monthly CD)

5. Be conservative about establishing your budget. 6. Monitor your expenses regularly and utilize a computer program. 7. Invite guest artists who are willing to negotiate with you on their fees. 8. Ask for contributions:

Local music stores and established flutists Companies to sponsor a scholarship winner Members and relatives of members Local persons and businesses who traditionally support the arts International flute businesses Audiences via a “donation basket” in the lobby of performances

9. Apply for grants: Civic – city, county, state Private – foundations Corporate Flute manufacturer of your guest artist

10. Pursue matching funds from volunteers’ places of employment. 11. Inquire of membership and other volunteers about grants from businesses that

contribute to non-profit organizations for whom their employees (and sometimes spouses of employees) volunteer a certain number of hours per year.

12. Think creatively about fund raising. Performances Bargain table (members’ donations – books, music, CDs, decorations, etc.) Piccolo raffle (manufacture donation) Flute-a-thon (students gather pledges for performing at the mall, etc.) Shares in a new instrument (keys, pads, corks, head joint, etc.) A booth at an event for a vendor who cannot be present CD, T-shirts, etc. production and sale Ads in various newsletters, program booklets, etc. Food Lion (and other businesses) donations for registered MVP cards

13. Pursue “in kind” contributions from both members and the public. 14. Purchase a bulk mailing permit. 15. Sell advertising space in newsletters. 16. Occasionally ask membership for extra contributions if needed. 17. Encourage bequests from persons’ wills. 18. Establish a permanent endowment fund. 19. Be willing to perform free to establish good will. 20. Learn from other musical organizations. Ann Pearce, RAFA – 2007

What is Dalcroze Eurhythmics?!

Dalcroze Eurhythmics is a unique, exciting, and powerful education in music for individuals of all ages and levels. Rhythmic movement, intense listening, and improvisation unlock creativity, nurture imagination, and open the doors to enriched and enlivened music making. Eurhythmics (literally, good rhythm) places experiential knowledge at the fore. Musical concepts are explored through social and interactive methods that invite the students to trust their ideas and develop their own intuitions. Dalcroze study has three branches:

1. Eurhythmics trains the body in rhythm, dynamics, articulation,

phrasing, and form; 2. Solfège trains the ear, eye, and voice in pitch, melody, and harmony; 3. Improvisation brings all elements together according to the

student's own invention -- in movement, with voice, at an instrument.

Emile Jaques-Dalcroze, a Swiss pianist, composer, and educator, created his method of teaching using “rhythmic gymnastics” early in the Twentieth century. In a typical Dalcroze class, the instructor will combine the elements above using rhythm games, songs, gesture, and movement as the key teaching media so that the joy of music is experienced and understood. As a precursor to or in tandem with private music lessons, Dalcroze Eurhythmics will create a platform for accelerated and deep learning in all musicians. For more information about Dalcroze Eurhythmics in Colorado, please contact Jeremy Dittus directly: Jeremy Dittus 377 Cypress St. Broomfield, CO 80020 dittus@colorado.edu coloradodalcroze.blogspot.com www.dalcrozeusa.org H: 720-214-0987 C: 614-395-4722

Jeremy Dittus, 2005

What is Dalcroze Eurhythmics? Why is it helpful?

National Flute Convention, 2007 Jeremy Dittus: DMA, Dalcroze License and Certificate, MM, MM, BM, BS

Do you remember the first time you took instrumental lessons? For most of us, it was an overwhelming experience. We had so much information to process: how to hold your hands and arms in relationship to the instrument; how to place your feet; how to count; how to recognize rhythms; how to recognize the pitches on the page and produce them on the instrument; how to produce good tone; how to express ourselves through the music…the list goes on and on. Honestly, it’s amazing that we ever survived the whole ordeal! Dalcroze Eurhythmics aims to facilitate this process by solving several of these problems away from the context of instrumental instruction. Dalcrozians believe that rhythm and pitch, the building blocks of music, can be taught more effectively by treating the body as the instrument. In this model, the whole body experiences rhythm and pitch, thereby making these elements understood in a more organic, meaningful, and above all, joyful context! For example, imagine back to when you first learned how to count in Mathematics. Were the principles of addition and subtraction presented in the abstract? “If you have two of one item and two of another item, you have four items all together.” Hopefully not! With any luck you were given blocks or other objects and encouraged to ascertain how many were present. You physically saw them, felt them, placed them together in a group, and consequently, you discovered just how many blocks you had. With music, however, this process is much more difficult to achieve because we can’t actually see or touch music…we can only feel it inside ourselves. Dalcroze Eurhythmics attempts to overcome this obstacle by utilizing the body to demonstrate the music. For instance, as notes climb up the scale, the body experiences the ascent by purposefully rising with music. This can be with the hands, arms, head, elbows, legs…anything that gives it physical and visual substance. Or, for example, if a child has the privilege to experience both the tactile and sensory differences between galloping and marching, the contrast of compound meter versus simple meter can be made much more vivid. (The beats in compound meter are divided into threes, while the beats in simple meter are divided into twos.) What is more, because the rhythmic differences are felt with the whole body, over time, they will be stored in the proprioceptive memory. (Proprioception is the so-called “sixth sense” that enables us to negotiate stairs and ladders without having to literally think about the specifics of moving each part of our body.) Eventually when the day arrives that the children make this connection to written notation, subconsciously they will remember the uneven sensation of galloping and contrast it with the vertical feeling of marching. Voila! The

child will have an easier time communicating the “feel” of the music. With this rhythm issue already solved, the child can focus on the enjoyable aspects of instrumental lessons. Another valuable aspect of the Dalcroze experience of music lies in its ability to embody rhythm and pitch in multifaceted ways. One of the general principles of Dalcroze education relates the walking beat to the quarter note (or the dotted-quarter, in compound meter). However, there are untold ways of walking: strolling, pacing, marching, limping, stomping, etc. By personifying the quarter note in different ways, the children will build a broad vocabulary of musical experience that will inform their intuitive understanding of this walking beat. They will be able to recall, relate, and reproduce these varied musical events effortlessly. In other words, the result of this training will strengthen their intuitive “muscles.” Musically and personally, what could be more precious? While the discussion of Dalcroze study might appear to be quite cerebral, in practice Dalcroze teachers manifest these ideas through the spirit of play. Using interactive social activities and games, the students are invited to discover musical principles until they can physically demonstrate them without effort. Further, they utilize their peer group as support and encouragement throughout this process. They learn how to develop their non-verbal communication in clear and effective ways, because success in the activities often requires them to negotiate tasks without using words. Once the students can demonstrate the principles with ease, the teacher introduces written notation. During this process, the students go from the known to the unknown, subconsciously relying on and bolstering their musical instincts to guide them from start to finish. Dalcroze study can be applied for students of all ages, and it works exceptionally well in tandem with students who are actively studying a musical instrument. In fact, Dalcroze programs are in place at notable conservatories such as The Juilliard School, The New England Conservatory of Music, the Cleveland Institute of Music, and many others. The combination of a more output-oriented discipline such as instrumental lessons with a process-oriented discipline like Dalcroze Eurhythmics can reap fantastic results!

Jeremy Dittus, 2007

Dalcroze Eurhythmics and the Spirit of Play: Informing Intuition.

National Flute Convention, 2007 Jeremy Dittus: DMA, Dalcroze License and Certificate, MM, MM, BM, BS

The aim of Eurhythmics is to enable pupils, at the end of their course, to say, not “I know,” but “I have experienced,” and so to create in them the desire to express themselves; for the deep impression of an emotion inspires a longing to communicate it, to the extent of one’s powers, to others…But, alas, so many men do not dream, and are content to sleep! -- Emile Jaques-Dalcroze

Some Goals in the Dalcroze Philosophy:

1. Develop a stronger, more facile relationship between the past and the present on a subconscious level within the students. The subconscious is accessed directly through emotion; that is, remembering how something “feels” provides a dynamic tool to inform intuition.

2. Develop intense listening skills through correlating sound to action. In this way, aural impulses become realized through purposeful, physical expression.

3. Develop an immediate reaction to musical principles or concepts. By relating sound to movement in a direct fashion, students will become more conversant with musical topics. Physical experience, particularly with the whole body, demonstrates our perceptions more vividly.

4. Integrate the mind, body, and emotion. Coordination of these three components will allow for a more direct access to issues of music aesthetics. When any one of these elements is lacking in any way, musicality will almost always suffer.

5. Encourage free expression. Improvisation allows students to apply what they have learned in new and creative ways. It allows them to identify with musical ideas intimately. This culminates in an embracing of diversity: individuals of varying abilities and backgrounds can come together and find musical commonality while maintaining their expressive autonomy.

6. Embrace a flexible curriculum. This allows teachers to meet the students where they are, adjusting their expectations and pathways as needed in the moment. Consequently, teachers can create a tailor-made, organic learning environment.

Jeremy Dittus, 2007

Essence of Mei by Kazuo FukushimaPresented by Dr. Mihoko Watanabe

The 35th NFA Convention, Albuquerque, New MexicoAugust 9, 2007

2007©Mihoko Watanabe

I. A brief sequence of event:1953 - Joined Jikken Kobo（Experimental Workshop)1961 - Invitation to the Darmstadt International Summer Courses for New Music in Germany

o Dr. Wolfgang Steineckeo Severino Gazzelloni

- Dr. Wolfgang Steicecke’s death1962 - Premièred at the 25th Contemporary Music Festival in Venice, Italy

- Performed at Dr. Steinecke’s grave in Darmstadt

Mei (冥): Dark, Pale, Untouchable Meido (冥土)

II. Main Japanese Influence: You say Shakuhachi, I say “Noh”• Noh (能)

• Hayashi• Noh kan

• Hishigi• Japanese belief and Noh Play

1. Iwabue2. Tomurai bue

• Use of Grace Notes1. Shoga2. Gestural Grace Notes

• Wrong Note

III: Performance:Ichigo Ichie (一期一会) PerformanceComments & Questions: Please contact Dr. Mihoko Watanabe at E-mail watanabe@uwosh.edu

Essence of Mei by Kazuo FukushimaPresented by Dr. Mihoko Watanabe

The 35th NFA Convention, Albuquerque, New MexicoAugust 9, 2007

2007©Mihoko Watanabe

The Flute In Jazz: Window on World Music

Presented by Peter Westbrook

National Flute Association, Annual Convention, Albuquerque, NM. August 2007

Of all musical instruments there can be few as ubiquitous as the flute. In essence the simplest of wind instruments, the flute is found in one or another of its forms in virtually every culture, in every historical period from antiquity to the present. Having found its place in jazz, it is opening that genre to the music of the world. It was a latecomer to jazz, however. Like the guitar, the flute had to await the development of amplification to overcome its inherently small sound, and there were also gender and other social issues that delayed the flute’s acceptance into the jazz tradition. Eventually, however, in the hands of a small number of performers from the late 1940s onward, the instrument began to make inroads into the jazz mainstream. Since then, while its struggle for acceptance continues in some quarters, it has made up for lost time, contributing a rich color to the jazz palette, and attracting the attention of many leading artists. On the one hand, the flute has largely supplanted the clarinet as the main “double” for saxophonists. Thus it shows up as a major component in the work of Don Burrows, Jane Bunnett, Buddy Collette, Eric Dolphy, Joe Farrell, Sonny Fortune, Tubby Hayes, Paul Horn, Rahsaan Roland Kirk, Yusef Lateef, Charles Lloyd, James Moody, Sam Most, Dave “Fathead” Newman, Sam Rivers, Bud Shank, Lew Tabackin, Frank Wess, Leo Wright and others. There is also, however, a core group of artists who have made the flute their exclusive instrument, among them Jamie Baum, Holly Hofmann, Kent Jordan, Hubert Laws, Herbie Mann, Nicole Mitchell, James Newton, Ali Ryerson, Jeremy Steig, and Latin Grammy winners Nestor Torres and Dave Valentin, while classical flutists Jean-Pierre Rampal, Sir James Galway, James Walker and others have taken on jazz projects. Today a new generation of jazz flutists is beginning to make its mark, in Europe and Japan as well as in North America. Others, Steve Gorn, Danilo Lozano and Ned Rothenberg, for example, having mastered the flute techniques of non-Western traditions such as India, Cuba, and Japan, are blending them with jazz styles, contributing to the various streams of fusion that make up World Music, and bringing the music of the world into jazz.

Based on: The Flute in Jazz: Window on World Music (Harmonia Books, 2007)

More information, including news, interviews, articles, bibliography, discography, etc. will soon be appearing at: www.fluteinjazz.com

For further information on each artist go to: Wayman Carver www.waymancarver.com/ Jerome Richardson http://hardbop.tripod.com/jerome.html Les Spann www.answers.com/topic/les-spann?cat=entertainment Leo Wright www.oldies.com/artist-view/Leo-Wright.html Sam Most www.artistdirect.com/nad/music/artist/card/0,,470800,00 .html Buddy Collette www.buddycollette.com/ www.npr.org/programs/jazzprofiles/archive/collette.html Frank Wess www.frankwess.org See also: ww.iaje.org/jazzmasters.asp Herbie Mann www.herbiemannmusic.com/ David ‘Fathead’ Newman www.davidfatheadnewman.com/ James Moody www.jamesmoody.com/ Paul Horn www.paulhornmusic.com/ Yusef Lateef www.yuseflateef.com/ Rahsaan Roland Kirk www.alfanet.hu/kirk/index2.html Ian Anderson www.j-tull.com/musicians/iananderson/index.html Joe Farrell http://en.wikipedia.org/wiki/Joe_Farrell Eric Dolphy http://adale.org/Eric.html Jeremy Steig www.jeremysteig.info/ Norris Turney www.jazzhouse.org/gone/lastpost2.php3?edit=979928669 Lew Tabackin www.lewtabackin.com/ Hubert Laws www.hubertlaws.com/ James Newton www.jamesnewtonmusic.com/ Holly Hoffman www.hollyhofmann.com/ Ali Ryerson www.aliryerson.com/ Steve Kujala www.tuttiflutti.com Anne Drummond www.karenkennedy.net/ (click on ‘artists’ then on Anne) Nicole Mitchell www.nicolemitchell.com/ Jamie Baum www.jamiebaum.com Jean-Pierre Rampal www.sonyclassical.com/artists/rampal/ Jimmy Walker www.jimwalkerflute.com Dave Valentin www.fantasma.com/artist_rep/artist-dave_valentine.html Nestor Torres www.nestortorres.com Andrea Brachfeld www.phoenixrisingmusic.com Danilo Lozano www.cubanflute.com Jane Bunnett www.janebunnett.com See also: Dr. Jill Allen www.drjillmusic.com Bud Shank www.budshankalto.com/

Peter Westbrook would welcome your comments at: fluteinjazz@gmail.com

LOUIS LOT“The Stradivarius of the Flute”

1807-1896BICENTENNIAL PROGRAM

National Flute AssociationAlbuquerque, NM, 2007

Louis Lot flute #1804, made 1873 (Gianinni)

LOUIS LOT As a Flutemaker

Clair Godfroy, ainé, c.1840Made when Louis Lot was co-owner of the

Godfroy workshop. This was a popular model at the Conservatoire until 1860. Notice the careful and artistic shaping of the touches for

G# and F , a Lot/Godfroy specialty.

Louis Lot #281, made 1857.Louis Lot left Godfroy and started his own business in 1855, specializing in cylindrical flutes. For five years they continued to use

the Dorus G#, seen here.

Clair Godfroy, ainé, c. 1845Boehm’s 1832, conical flute was popular in France, probably because Lot and Godfroy

made such a beautiful version of it, seen here with the Dorus G#.

Louis Lot #1125, made c.1867By the mid 1860’s Lot had enhanced his ear-lier work. His New Model, seen here, served as the basis for the Haynes and Powell French

Model flutes.

LOUIS LOTThe Louis Lot Flute

Louis Lot #1125Made 1867 (Giannini)

This decorated crown design was intro-duced around 1865.

Boehm’s first flutes used a wooden barrel for the embouchure. The lipplate was intro-

duced around 1850.

Lot and Godfroy had designed the open- holed system with shoulder clutches and

the back clutch by 1850.

This elegant mechanism is little changed today. The pointed arms and key design

are by Lot and Godfroy.

The beautiful curving shank with the side G# was introduced around 1860.

Boehm referred to this classic thumb and G# position as Louis Lot’s system.

The magnificent back clutch is the innova-tive heart of Lot’s mechanism

Lot and Godfroy had developed this footjoint design by 1850.

Jean-Pierre Rampal (1922-2000)With his gold Louis Lot #1375, made c.1869.

Rampal and his flute are still beloved worldwide. This flute was retired 90 years

after it was built, in 1959.

Georges Barrère (1876-1944)Barrère would often surreptitiously play his old Louis Lot in concerts, even when

he was promoting his Platinum flute!

Flutes were intimately connected with the

movements of society. By the 19th century, western ideas of taste, desire, even appetite had begun to permeate the entire world. Along with this came the Flute Tone of the west, brought to worldwide unity by one French flutemaker, Louis Lot.

Louis Lot is a child of the 19th century. He was born May 17, 1807, at the beginning of Napoleon’s Empire. He passed away in 1896, having lived through the whole of that remarkable

century.Louis Lot’s legacy is a Flute Tone

that unites the world; the first time in history such a thing has occurred.

Flutemaking is a sophisticated artform, requiring the marriage of

taste, passion, and technology.It is a four-dimensional artform; no

matter how beautiful a flute may be, it still needs to partner with a player to escape the three-dimensional world, and make music.

The great flutemakers are masters of these four dimensions. These artists are able to transform the tastes and tech-niques of every generation of fluteplay-ers into a unique and personable magic wand.

From the 17th century and Louis XIV, practically every generation in the various European cultures designed and built a new flute, unique to their time and place. Often, one genius would figure out the perfect cultural form, and their colleagues would follow. Louis Lot was such a man.

New York Public Library

From “Music My Love”, 1989 www.jprampal.com

Alan Weiss Gary Schocker

Trevor Wye

Lorna McGheeRobert Dickin absentia

Immanuel Davis

LOUIS LOT AT THE NFA

Louis Lot, the Stradivarius of the Flute, With David Shorey, Moderator

Panel Discussion Celebrating the Bicentennial of Louis LotFriday, 11:30 AM-12:20 PM, Isleta Room

PANEL of LOUIS LOT PLAYERS(see Program Book for Bios)

LOUIS LOT AT THE NFAConcerts and Workshops

FRIDAY11:30 AM–12:20 PM Isleta Room PANEL DISCUSSION: LOUIS LOT, THE STRADIVARIUS OF THE FLUTE, David Shorey, Moderator. See previous page.

1:00–1:25 PM Zuni Room EXHIBITOR SHOWCASE: LOUIS LOT, THE STRADIVARIUS OF THE FLUTE Special guests Gary Schocker and others will play on original Louis Lot flutes. David Shorey, presenter. David and Nina Shorey, Antique Flutes.

2:30–3:30 PM CONCERT, Ballroom A: 48 VARIATIONS ON THE CARNIVAL OF VENICE FOR 58 FLUTES AND PIANO With Trevor Wye and pianist Bryan Pezzone. Trevor will play (in tune) on his Louis Lot, his ocarinas, and his garden hose.

8:00–10:00 PM GALA RECITAL CONCERT Kiva Auditorium. Lorna McGhee plays Louis Lot.

SATURDAY12:30–1:30 PM Ballroom A OPEN MASTERCLASS with LORNA McGHEE and her Louis Lot.

2:00–3:00 PM Ballroom A OLD WINE IN NEW BOTTLES AND HOW TO GET GOOD FAST With Trevor Wye and his Louis Lot. Says Trevor: “A student (Nami Kimura) will play Lot No 3006 and the other person (Kayoko Minamino) will play an early seamed Lebret, No 1019 c.1885, both in the Young Artist Competition and in my Presentation.”

2:30–3:30 PM CONCERT, Ballroom C.: A TRIBUTE TO JOHN WION SUSAN TORKE will be playing on a flute by Louis Lot.

4:30–5:30 PM HEADLINER CONCERT #3, Ballroom C. Lorna McGhee performs with her Louis Lot.

Exhibitors with Louis Lot ThemesWichita Band Instruments

Booth 1417Displaying Louis Lot and vintage French flutes

from 1800 to 1920 as well as “Golden Age” flutes from Haynes and Powell.

Flute Center of New YorkBooths 1101, 1103, 1200, 1202

Exhibiting numerous Louis Lot and other vintage flutes in a copious display of new and

used flutes .

Altus FlutesBooths 1315, 1317

The 1807 Model, or Altus Ltd., is designed to be a modern version of the original Louis Lot flute.

Please try it, and compare it with Louis Lot flutes elsewhere!

David and Nina Shorey, Antique FlutesBooth 1404

Featuring an exhibit of important French flutes from private collections, as well as Louis Lot and

other vintage flutes for sale. Robert Johnson, Flute Specialists, Inc.

Booths 1215, 1217, 1219 With vintage French flutes offered as part of a

large display of flutes, both old and new, many of which are based on the Louis Lot French Model.

Muramatsu America, Ervin MonroeBooths 900, 902, 904

In keeping with the goal of building flutes in the great French tradition, several wooden and silver Louis Lot flutes will be on display for comparison with our other models.

Text and flute photos by David Shorey.

MINI FLUTE PEDAGOGY SPA With

Patricia George georgeflute@hotmail.com

208.234.4922 or 208.406.4971

WEBSTER'S: ped-a-go-gy n (1583) the art, science or profession of teaching

FOUR MOTTOS 1. My goal for you is: when you practice, I want you to replace my voice in your head with your voice. 2. You can teach anyone almost anything if you know the goal, where the student is on the journey to this goal, where the holes are in his process and his learning style. It is just a matter of breaking down the parts into small enough chunks and presenting it in the proper format. 3. You haven't taught until they have learned. (This is a quotation from my mother who was one of the greatest teachers of all time.) 4. Never be afraid of teaching the basic fundamentals of flute playing and musicianship.

THE MOST COMMON QUESTIONS FROM STUDENTS

1. One day I sound good, then next day not so good. How do I sound good everyday? *align your flute the same each day *align you (Body Mapping - Barbara Conable) *balance the flute well (Eb3 and Balance of Trills) *blow at the appropriate angle (Position of function - Blow to heel of hand) 2. My vibrato just happened, but I don't know exactly how it is done and it controls me rather than my controlling it. *Where? Air, Food, Spine (core and nerve) *Hand up and down neck (find the vibration while reciting the alphabet) *Whistle silent staccato notes, then slur them. (John Mack, Principal Oboe, Cleveland Orchestra) *Sh, sh, sh, rest (blow on hand) Move the air, not the abdomen *Sh, sh, sh, rest on headjoint (Chunking) *Plastic bag on headjoint *Post-it strip on vapor trail *Speed? High/faster, low/slower Solo vibrato or tutti vibrato Composer/style period Too fast on stage, sounds like a straight line in the audience (Imprint) Good musicians match others vibrato speed Tape yourself to evaluate speed Practice with metronome for control When you start, imagine the vibrato already in lotion, like stepping on to a moving merry-go-round. *Spasms: 2:1, 3:1, 4:1 (MM - quarter = 60 to *Patterns: 02320, 0234320, 023454320 *Scales: MM = 120, a triplet per tick *Use beginning books and hymnals as tone study books *Practice vibrato on trills to divorce vibrato speed from fingering. *Enter the room with the lights on. *Practice vibrato on harmonic notes. I prefer the 3rd partial. *Where? 1st note of a slur, on any accidental note, note before a skip of a 4th or More, highest/lowest note of a phrase, all the time. 3. What is the forward or "French" tonguing? Is what I am doing incorrect? *Outside the mouth *On the top lip *Thicka - eventually touching nothing *This is just one more trick in your bag of tricks. Nothing is really incorrect.

4. I can play the notes, but what should I do with them? How do I play more expressively? Definition of Music (with homage to LaRue and Hoffer) MUSIC is the organization of sound in time. Composer melody tempo Style period harmony meter Genre texture Social Implications timbre dynamics silence Getting started: What is a phrase? A musical sentence. What is phrasing? Using inflection to communicate a musical idea. Identify the form: Sonata, ABA, T-V, Rondo Mark the sections and the phrases. Where to breathe (William Kincaid): At the end of a phrase In a rest After a long note or tie After 1 In a wide skip Between repeated notes or syncopated figure (PDG) Where the composer or conductor indicates (PDG) Dot to dot the noteheads. (Five common shapes - mountain, valley, going up, coming down, gruppetto) Trace the dynamics. This will help you find the climax. Two gestures: 1. Down/up or strong/weak - idea starts on the beat (down bow) 2. Forward flow - ideas starts off the beat (up bow) Kincaid: 2,3,4,1 Some helpful Rules of Phrasing: Three parts of a note: the beginning (attack), middle (duration), end (release) Some are squares; others triangles. 4 things you can do with your air: puff or rectangle, crescendo, diminuendo, and loop As you connect more notes, ask about the gesture. (Down/up or forward flow) In the Baroque, Classic, Articulated Romantic, and Contemporary music, notes are player shorter than written. Glued or unglued. Articulatory silence or playing in a spaced style. Common Notation exceptions: Sigh figures (lift, strong, weak) and sequential material (needs dynamic design) Dealing with the dot or tie Under a slur, ask loop or less. Start softer after a dot or tie. Without slur, dot equals silence or space. Dot = decay Repeated notes are rarely played the same. Yes. Yes? Yes! Romantic music: start and end phrases more quietly Ruler phrasing Teach your audience the articulation and the dynamics (larger than life gestures or imprint what you are doing) What is an accent? (DIE - Pierre Monteaux) Strength of the beats: Dancing music (music of the 18th century) or singing music (music of the 19th/20th Century) Short or quick notes lead to longer notes Pick-up notes should be lifted Crescendo: start softer so you have someplace to go Elizabeth Green: the best orchestras (players) can play louder, softer, faster and slower. Most of us play moderator and mf Patting your foot. Pumping your flute. Gestures by slurs/phrases. Copyright: 2007 by Patricia George, georgeflute@hotmail.com, 208.234.4922 or 208.406.4971

What’s the Point? Etudes and Their Objectives

Sponsored by the Pedagogy Committee

Sunday, August 12, 2007 9:00-9:50 a.m.

Assigned Etudes:

Each one of the following etudes has been assigned for this seminar according to its ability to help a student improve in specific skill areas of flute playing: expression, double/triple tonguing, intervals and focus, finger facility, and rhythm/articulation. Expression McGinty 20 Etudes for Flute (publisher-Barnhouse) #4 Genzmer Neuzietliche Etuden fur Flote, book 2 (publisher-Schott) #15 to 1st repeat sign Casterede Douze etudes pour flute [12 Etudes] (publisher-Leduc) #5 Double/Triple Tongue Donjon Etudes de Salon (any publisher) La Tambour--some of both the Allegro and the Tremolo sections Boehm 24 Caprices, Op. 26 (any publisher) #6 to 2nd repeat sign Anderson 24 Studies, op. 63 (any publisher) #4 Intervals/Focus Moyse, M 24 Petites etudes melodiques avec variations [24 Little Melodic Studies with Variations] (publisher-Leduc) #1 practiced in the following ways, in this order:

with harmonics (finger low C in m. 5 on the C and G, keep this for the G in m. 6; finger low C and B in m. 7; finger low D and C on the A and G in m. 8; finger low D and C in last measure)

singing and playing as written

Soussman Complete Method for Flute, part 3 (publisher-Fischer) #19 Bitsch Douze Etudes pour flute [12 Studies] (publisher-Leduc)#3 Finger Facility Boehm 24 Caprices, Op. 26 (any publisher) #14 Casterede Douze etudes pour flute [12 Etudes] (publisher-Leduc) #6 Soussman Complete Method for Flute, part 3 (publisher-Fischer) #14 Rhythm/Articulation McGinty 20 Etudes for Flute (publisher-Barnhouse) #11 to be practiced each of 3 ways: TK, TT, and KT on the dotted 8th + 16th motive) Genzmer Neuzietliche Etuden fur Flote, book 2 (publisher-Schott) #18 Casterede Douze Etudes [12 Etudes] (publisher-Leduc) #11 (Rumba) lines 1-7 or last 6 lines

Other Suggested Studies: The following etudes are recommended by the pedagogy committee for further study in the particular skill areas listed above. All etudes are taken from books listed in Selected Flute Studies: A Graded Guide of Etudes, Daily Studies, and Method Books, published in 2005 by the NFA pedagogy committee. All etudes are taken from Levels G, H or I, identical levels to the assigned etudes listed above. Expression: Donjon Etudes de Salon, #1 Elegie-Etude Bitsch Douze Etudes pour flute [12 Studies] #5 Andersen Op. 63 #6 Altes, 26 Studies, #11 Karg-Elert, 30 Caprices #13, #21, 20 and 19 Anderson: Op. 33: #6 and #19

Double/Triple Tonguing: Taffanel-Gaubert Etudes de Virtuosite #3 Paganini 24 Caprices #5 Altes, 26 Studies, #6, 12, 17, 18, 19 Anderson op. 30: #8 and 22 Anderson: op. 33 # 15 Intervals/Focus: Taffanel-Gaubert Etudes de Virtuosite #2 Robert Dick Tone Development Through Extended Techniques, p. 22 Berio Sequenza--opening line only, done with singing and playing, VERY slowly! (Although this is not an etude, this is highly recommended) Berbiguer (whole set, but in particular) #2 and 6 Altes, 26 Studies, #9, 10, 18, 19 Anderson Opus 30 #14 and 21 Finger Facility: Genzmer Neuzietliche Etuden fur Flote, book 2 #23 Boehm 24 Caprices, Op. 26 #12 Altes, 26 Studies, #5 and #14 Berbiguier, #2 (fast without turned trills, slightly slower with turned trills), 4, and 16 Wye: Practice Book 6 (not listed in guide but entire book is recommended) Rhythm/Articulation: Taffanel-Gaubert Etudes Progressive #21 Casterede Douze Etudes [12 Etudes] #1 Altes, 26 Studies, #1 (for martele), #2 (for sautille), #3 and #4 , #6, #7, #17, #18 -- but you really need the "directions" from the Method Book (original to Altes) Karg-Elert, 30 Caprices: all are recommended Dubois, 13 Studies: most contain rhythmic challenges

Resources for further exploration into the Feldenkrais® Method Books by Moshe Feldenkrais Awareness Through Movement: text explaining Feldenkrais’ theory of learning through movement along with twelve lessons. The Case of Nora: a very readable case study which illuminates Feldenkrais’ ideas about learning. Body and Mature Behavior The Elusive Obvious The Potent Self Higher Judo The Master Moves Websites feldenkrais.com: find a practitioner or class near you, order products, read articles about the method feldenkrais-resources.com: the website for a center located in Berkeley, CA, with many products for sale, classes, workshops, and information about the method semiophysics.com: has several articles, including a good description of the method and many philosophical articles. Dennis Leri, whose site this is, is one of Feldenkrais’ first American students. russelldelman.com: also one of Feldenkrais’ first American students, Russell Delman combines Feldenkrais and Zen in his work. optimalmoves.com: the website of Mary Spire, a Feldenkrais trainer who is also a musician and specializes in working with musicians. She has several sets of CDs for sale which are geared toward performing artists. staceypelinka.com: my website has a description of Feldenkrais, a sample lesson with a continuation for flutists, and some articles. I will post this list of resources there as well. Recorded Lessons Available from Feldenkrais Resources or the individual trainer’s website. Recorded lessons are of course not as useful as live lessons with a teacher who can watch you move, but it’s great to listen to lessons from these very good teachers: TMJ Health (Tapes): as flutists, we use our jaw and facial muscles more than most, and will always benefit by refining the movement of these small muscles. Jaw lessons are also very helpful for all kinds of tension and stress relief, whether or not you have TMJ problems. Mark Reese and David Zemach-Bersin. ATM Workshop For Health Professionals, Performing Artists & Athletes (Tapes): a great series of lessons by one of Feldenkrais’ first Israeli students, Gaby Yaron. The Embodied Life: Russell Delman has two sets of recorded lessons with a meditative focus. Optimal Moves: Mary Spire has recorded lessons specifically for musicians.

Visualizing Vibrato By Leonard L. Garrison, The University of Idaho

leonardg@uidaho.edu

Carl Seashore’s Definition of Vibrato “A good vibrato is a pulsation of pitch, usually accompanied with synchronous pulsations of loudness and timbre, of such extent and rate as to give a pleasing flexibility, tenderness, and richness to the tone.” Tools Used in This Study Audio Recording/Editing Software: HairerSoft Amadeus Pro 1.0.3 (Mac) Pitch Correction Software: Antares Auto Tune 5 (available for both Mac and Windows) Vibrato Speeds Herz Metronome speed Triplets Sixteenths 4 240 80 60 5 300 100 75 5.5 330 110 82.5 6 360 120 90 6.5 390 130 97.5 7 420 140 105 8 480 160 120 An Abbreviated Comparison of Vibrato Speeds and Amplitudes Flutist Selection Average

Vibrato Speed Amplitude and Description

Adorján, András Boehm, Variations on a German Air

5-6 Hz 20¢, varied

Aitken, Robert Debussy, Syrinx 5-6 Hz 35¢, varied Amadio, John Doppler, Hungarian

Pastoral Fantasie 8 Hz Mostly straight

sound; narrow vibrato on selected notes

Artaud, Pierre-Yves Jolivet, Cinq Incantations

5-6 Hz 55¢

Baker, Julius Debussy, Afternoon of a Faun

5.5-7 Hz 30¢

Baron, Samuel Bach, Sonata in e 6 Hz 40-50¢ Barrère, Georges Bizet, Minuet 8 Hz Narrow Baxtresser, Jeanne Ravel, Daphnis and

Chloë 6 Hz 60¢

Bennett, William Debussy, Syrinx 6-8 Hz 40-50¢ Bezaly, Sharon Bozza, Image 6 Hz 20¢ or less Buyse, Leone Debussy, Syrinx 6 Hz 30-40¢ Debost, Michel Debussy, Syrinx 6-7 Hz 20-25¢ Dick, Robert Fukushima, Mei 5.5-7 Hz 20-50¢

Dufour, Mathieu Martinu, Sonata 5 Hz Sometimes uses non vibrato

Dwyer, Doriot Anthony Debussy, Syrinx 6-7 Hz 35-60¢ Galway, James Debussy, Syrinx 6-7 Hz 30-65¢ Gaubert, Phillipe Debussy, Le petit

berger 7 Hz 30¢

Graf, Peter-Lukas Varèse, Density 21.5 5-6 Hz 15-20¢ Hennebains, Adolphe Chopin, Nocturne in

F-sharp 6 Hz 20¢, flexible

Jennings, Christina Chaminade, Concertino

5-6 65¢

Khaner, Jeffrey Debussy, Syrinx 6 Hz 30-40¢ Kincaid, William Kennan, Night

Soliloquy 7-8 Hz 20¢

Mariano, Joseph Rogers, Soliloquy 7 Hz 35-40¢ Moyse, Marcel Debussy, Syrinx 6-7 Hz 60-65¢ Nicolet, Aurèle Denisov, Duo for

Flute and Viola 5 Hz 25-35¢

Nyfenger, Thomas Debussy, Syrinx 8-9 Hz 30¢ or less Pahut, Emmanuel Dutilleux, Sonatine 6-7 Hz 10-35¢ Peck, Donald Debussy, Afternoon

of a Faun 6.5-7.5 Hz 10-25¢

Rampal, Jean Pierre J.S. Bach, Partita 6 Hz 20-30¢ Smith, Fenwick Copland, Duo 6 Hz 25-30¢ Still, Alexa Liebermann,

Soliloquy6 Hz 35-40¢

Wiesler, Manuela Debussy, Syrinx 6-8 Hz 30¢ Willoughby, Robert Debussy, Syrinx 6-8 Hz 20-30¢ Wilson, Ransom Honegger, Danse de

la chèvre 5.5-6 Hz 10-50¢

Wincenc, Carol Debussy, Syrinx 7-8 Hz Up to 80¢ Select Bibliography

Brown, Clive. Classical and Romantic Performing Practice 1750-1900 (Oxford: Oxford University Press, 1999). Especially chapter 14 “Vibrato” pp. 517-557.

Gärtner, Jochen (translated by Einar W. Anderson). The Vibrato: With Particular Consideration Given to the Situation of the Flutist. Regensburg: Gustav Bosse Verlag, 1981.

Philip, Robert, Early Recordings and Musical Style: Changing Tastes in Instrumental Performance, 1900-1950 Cambridge: Cambridge University Press, 1992. Especially Part II, “Vibrato” (pp. 95-140).

Seashore, Carl, Psychology of the Vibrato in Voice and Instrument. Iowa City: The University of Iowa Press, 1936.

The Memory Map: A Practical Study Guide Towards Memorization of Literature for

Competition and PerformancePrepared for the National Flute Association Annual Convention 2007Prepared for the National Flute Association Annual Convention, 2007

© by Melissa Colgin-Abeln, DMAAssociate Professor

of MusicThe University of Texas at

El Paso• The memorization of music has become almost a lost art for instrumentalists and yet the advantages are tremendous in terms of complete mastery for performance.

• As flutists we spend enormous amounts of time practicing• As flutists, we spend enormous amounts of time practicing difficult works for performance or competition and the learning process yields to memorization at a certain level. Under no pressure the notes flow easily from our fingers. However, apply pressure and the scenario changes rapidly. The notes are “in our fingers” or “muscle p y gmemory” but is the music solidly burnt into our brain?

• Too often when I question students about their works in progress regarding harmonic progressions, phrase construction, and form, I get blank stares. They can play their piece but sometimes there is much left unknowntheir piece, but sometimes there is much left unknown about the music itself. The tremendous complexity and technical demands of many flute pieces necessitate practice with intellectual intensity, not just hours of mindless repetition.

• This presentation explains how to construct and use aMemory Map to replace the actual music until it too isunnecessary for performance. In the process, whethermemorization is the goal or not, the performer learns themusic to a much higher degree, hopefully in tandem with

lti t t di fa resulting outstanding performance.

• What follows is a practical guide to construct simple,written diagrams of selected works in the flute literaturefound in competitions, auditions and recitals.

Literature review of published and informal research

• Formal (library electronic databases) and informal (Googling) searches for information on memorization of music yields immense and diverse listings:

– Grove Online: [www.grovemusic.com]• A multi-sectioned article on memory, not a how-to guide

– JSTOR [www.jstor.org], the non-profit archive of scholarly j l ti l d ti b k t th 1600journal articles dating back to the 1600s,

• 1451 entries relating to memorization of music. • Earliest found listing (I did not read all 1451 entries) was

dated 1937. • JSTOR is not a current-issues databaseJSTOR is not a current issues database • Multi-year gap (2-5 years)

– International Index to Music Periodicals [http://0-iimp.chadwyck.com]

• current-issue citations and full-text and PDF file download and print capabilities

• 349 entries• Most number of pedagogical –how-to– articles

– Google search engine [www.google.com]• 1, 970,000 results, much duplication• Includes piano, guitar, strings, vocal, steelpan drums• Theatre dance• Theatre, dance• Bible verse memorization• Memory games—online, and to download• Blogs

Conventional wisdom on memorization technique

• Jamie Andreas, guitarist, http://www.acousticfingerstyle.com/memorize.hg ytm– Finger/muscle memory

Automatic yet primitive• Automatic, yet primitive– Aural memory

• “Natural talent”• Inner awareness of music, • the ability to sing internally

T h i t ll h t t t• To hear internally what note comes next– Eye/brain memory

• Memory of the written music/scoreMemory of the written music/score• Concepts and ideas of the music• Awareness of the meaning of the music

Conventional wisdom on memorization technique

• Martha Beth Lewis, PhD., pianist, www.serve.com/marbeth/memory_methods.html– Photographic memory

• Ability to memorize a picture of the score– Brute force

• Repetition, repetition, repetition– Hand position

• Analogous to finger memory—a dangerous Analogous to finger memory a dangerous method by itself

• Know what the hands look like and where they gothey go.

– Analysis• The “premier method”

f• Knowledge of theory is necessary– Memorize from the end backwards– Armchair memorizing– Slow performance– Fast performance

Conventional wisdom on memorization technique

• Leonard Garrison, flutist: “For the Mnemonically Challenged”y g

www.webpages.uidaho.edu/leonardg/memorize htmle.html– Practice memorizing all the time,

everything you play– Memorize as practice technique– Use reinforcing types of memory

T til fi• Tactile--fingers• Aural—”by ear”• Visual—”photographic memory”p g p y• Symbolic—”memorizing the names of the

notes”• Analytic ”musical analysis”• Analytic— musical analysis

Conventional wisdom on memorization technique

• Gandrup, Kimberly, flutist. “Creative Memorizing Tips”. Flute Talk Magazine, Feb. Memorizing Tips . Flute Talk Magazine, Feb. 2000– Begin memorizing the most difficult

tisection– Make time for repetition– Create pillars—know the benchmarks of Create pillars know the benchmarks of

the form– Practice in the dark– Mock performances for friends and

family

Conventional wisdom on memorization technique

• Rebecca Shockley, pianist: Mapping Music: Some Simple Strategies to Help Students Some Simple Strategies to Help Students Learn, in American Music Teacher 56:2 (Oct-Nov. 2006), p. 34-36. (Located in International Index to Music Periodicals)Index to Music Periodicals)– Uses mapping technique– For any stage of learningy g g– To gain overview of piece– Practice tool for specific problems– Diagramming the work’s main features– With or without the instrument– Pictures, musical symbols, colors,

invented symbols– Apply any level of music theory to the Apply any level of music theory to the

learning of music: chords, melodic and rhythmic patterns

The Memory Map—what is it?

• A piece of music reduced to a one-page graph, withmelodic and rhythmic notations, plus any otherinformation to assist with memorization.

• Form—pictorial or outlined– Binary, ternary or rondo form– Simple to complex series of episodes– Sonata-allegro, concerto/double exposition

• Harmony– Harmonic progressions and cadences

• Tonal, atonal, serial• Diatonic, chromatic, pentatonic

• Phraseology– Phrase structure

• Symmetrical, non-symmetrical

• Theme construction– Melodic, motivic– Repetition and contrast

• Rhythmic structures– Additive, static-patterned– Free-verse, non-rhythmic

• Other distinguishing features– Cadenzas– Free-improvisational sections, etc.– Dynamic plans– Details that aid memory and interpretation

An idea is born: Levy’s model of a musical graph/map

Music: A Listener’s Introduction, pp. 170-171.

• Themes and motives from Mozart’s Symphony No. 40 in G Minor, Mvt 1

Selected examples of Memory Maps

• C.P.E. Bach’s Solo Sonata in A minor, H. 562– 1st movement, Poco adagio: ABA form*– 2nd movement, Allegro: ABA form*– 3rd movement, Allegro: ABA form**The label of ABA form is one of convenience. Perhaps these are

rounded binary forms. Bach’s use of shortened recapitulation seems to presuppose the Viennese Classical ternary form.

• W.A. Mozart’s Concerto no. 1 in G Major– 1st movement, Allegro maestoso: Sonata-allegro

form with double exposition– 2nd movement, Adagio non troppo: ABA form with

cadenza– 3rd movement, Allegro: Rondo form

• Marco Granados’ The Hibiee-Jibiees– Single-movement solo work of multiple sections in bar

form

C.P.E. Bach’s Solo Sonata in A minor, H. 562Mvt 1, Poco Adagio, ABA form*

• 3/8 meter, Doleful, dark mood

• A: || A minor, modulation to C maj.|| mm. 1-37

– Theme A1, 8 bars (i –IV, vi, V prog)

– Restatement in CM, 6 bars, adding A2 material

– Transition, D minor, CM, 10 bars

– 7th chord progression:C7--F7--D7--G7-- E7-a7-- f#o7--G7– C--G -- f#o7 ends on deceptive cadence, 6 bars

– Closing, Theme A1—C minor, cadence CM

• B: || D minor, e minor|| mm. 38-69 Theme B1, descending arpeggios

– C#o7 to d minor, 4 bars– D#o7 to to e minor, 8 bars– Varied Theme A1 in e minor, 12

bars– Retransition, 1/2 –step motive, 8

bars

• A': || A minor || mm. 70 -94 – Theme A1 restatement, 6 bars

– Closing/coda, based on A2 material

C.P.E. Bach’s Solo Sonata in A minor, H. 562 Mvt 1, Poco Adagio, Actual map

C.P.E. Bach’s Solo Sonata in A minor, H. 562, Mvt 2, Allegro, ABA form

• A ||: A minor, modulating to C Major :||– Theme A1, bars 1-40

• 3 + 6 bars• Phrase 1 in a m; Phrase 2 in CM

– Theme A2: C M• M. 15, 6 bars• Declamatory

– Theme A3: CM • m. 21, 4 + 6 bars• Arpeggiated turnarounds

– Closing theme• m. 33, 8 bars, cadence on C M, ms.

40

• B || C major, modulating to E minor, retransition||

– Theme A1 in C M, 4m. 41, bars • Restatement in a minor, m.45, 4

bars • Sixteenth-note passagework, m. 49,

8 bars• Transition to e minor, m. 57, 8 bars

– Theme A1 in e minor, m. 65, 8 + 4

– New theme in D minor, ms. 77

– Dominant-function retransition, m. 85

– Half cadence, fermata, m. 94

• A` || A minor || mm. 95-120– Theme A1 in tonic, m. 95, 6 bars

• Coda: – Sequence of d7th chords, m. 102-3, 8

bars– Sixteenth-note thirds passage, m.

108/9, 6 bars

C.P.E. Bach’s Solo Sonata in A minor, H. 562, Mvt 3 Allegro, ABA form*

• A || A minor, modulation to E minor || mm. 1-52

– Theme A1: 6 + 6 i--V

– Theme A2: sixteenth-note passage

– Theme A1 in e minor

– Passagework—transition to closing

– Closing

• B || CM, retransition to A min|| mm. 53-101

– A1 in relative major, CM

– Passagework in CM

– Variation on A1 in CM

– Retransition and Recap fragment

• A� || A minor || mm. 102-149– Theme A1

– Variation on A1 in A minor

– Closing

*My UTEP colleague, Dr. Charles Leinberger, argues that this movement might be better labeled monothematic sonata form.

W.A. Mozart Concerto no. 1 in G Major, Mvt 1, Allegro maestoso; Sonata-allegro form with double

exposition• EXPOSITION• Tutti: Theme 1( Martial) in orchestra: 30

bars.• Solo: Theme 1, falling-4th motive, scalar

ending. Cheerful, robust! – 4+4 +6 phrases; 2-bar rest

• Bridge: Bird call eighth notes, softer– B min. V of E min, – E min to cadence on V of D Maj – 4 +4+4; 2-bar rest

• Theme 2: D major, rising thirds Vof D; – Full forte– 4+6 cadence in DMaj– 2nd statement 2+2+2+2

• Closing: Descending legato line, – scales, 10ths, closing trill– Dolce, mp

• DEVELOPMENT—aggressive!• D Maj. arpeggios transition V of a min

– A min arpeggios– E min. (N6 at m.123) m. 135 V of

e min.

– E min. Descending broken chord figures, trill pick-ups

• A min. • D Maj.• G Maj.

• Retransition: E min. to N6 ascending line; wide leaps. Subito piano—to show off Neapolitan

– N6 of a min. to D; – Gmin as iv of G D as V of G; wide

leaps– Scalar and upper-neighbor

turnarounds– Authentic cadence

• RECAPITULATION--robust• Martial Theme 1 in orch. then flute.

• Bird-call Bridge in G Major, mezzo piano

• Theme 2 in G Major (rising thirds V of G, forte

W.A. Mozart Concerto no. 1 in G Major, Mvt 1, Allegro maestoso, actual map

W.A. Mozart Concerto no. 1 in G Major, Mvt 2, Adagio non troppo; Rounded binary form

• D Major, 4/4 time, tuneful aria, softer, sweeter dynamic, subtle nuances.

• Intro: Orchestra 10 bars, A theme

• A: Solo– A1: 6 bars, half cadence

– A2: 10 bars –transition to A Major, ending full, authentic cadence

– Closing theme

• Orchestra- 2 bars

• B: 32nd note pick-up on E.– Downward curve– Restatement 8va– Move to A minor, E minor (b min)

• Orchestra- 2 bars

• A: Recap of A theme– A1, 3 bars (eighth-note pick-up not

shown)– Orchestra, 1 ½ bars

– A2 restatement in tonic, 9 bars, varied ending on e minor chord

• Orchestra – 2 bars

• Cadenza

• Coda– Orchestra 3 bars– Solo final Theme A1 statement

W.A. Mozart Concerto no. 1 in G Major, Mvt 3, Rondo –Allegro; Rondo form

• Full forte, robust dynamic plan

• A: A Theme in G Major, 8+2– Orchestra states rondo theme 25

bars out.

• B: Downward octave leap, ascending scales

– Modulation to D Maj.

• C: Orchestra/flute dialogue in D Major

• D: Arpeggiated passagework in D major.

• Closing –Mannheim rocket scales– transition material back to A

• A: A Theme in G Major, 8+2 (not shown)

• E: Legato theme: orch. 1st , then flute– Softer, sweeter mezzo piano– D Major modulating back to G

Major

• F: New material in C major– Scalar turnarounds – p-f-p– Repeated one octave lower

• G: Orch/flute dialogue in C major

• Transition: Wide leaps– Chord progression D maj---g min– D maj scale to fermata– Opportunity for short cadenza

W.A. Mozart Concerto no. 1 in G Major, Mvt 3, Rondo –Allegro; Rondo form, cont.

• Recapitulation—cont.• B1: G maj. downward octave leap

– Ascending scales

• C1: Orchestra/flute dialogue

• D1: Arpeggiated passagework in G Maj

• A’: Rondo theme in 2nd octave– Variation –added scales

• Closing material– Dominant function– Turnaround arpeggios– Varied passagework

• Coda– From Letter P– 3 sections– All tonic-dominant function

Marco Granados: The Hibiee-Jibiees Rondo form

• Introduction: F ∆, 3/8 time: 10 bars piano—cresc.--forte, rising F to C3

– Repeated sixteenth-note motive in sequential pattern

• A: ||: mezzo forte 8+forte 8 :|| (to coda on return)

– Triplet on D3 , 7th chord arpeggios, scalar turnarounds

• B: ||: Eb ∆ 16 bars– mezzo piano 8+8 :||– Theme turns on upper-lower

neighbors

• A: Bb ∆ Verbatim repetition—mezzo forte8+8

• C: Bb ∆ New Syncopated theme—mezzo forte 8+8

• D: G minor: Ascending arpeggios in sixteenths: forte 9+piano 9

– Bm, Cm, a°, Bb ∆, Gm, a°, F#°, Gm; repeated

• E: G minor: 3-note descending scale pattern in sixteenths

– Gm, Cm, F#°, Gm; mezzo forte 8+8 repeated 8+8

• F: G minor: descending triads in sixteenths – Gm, DV7, D∆, Gm; piano 8+8– Gm, DV7, D∆, G∆; piano 8+8

• B1: Restatement in Bb∆ forte 8+ mezzo forte 8

– Restatement in Eb ∆ 8+8 crescendo to forte

• A: D.S. to A-theme for verbatim restatement mezzo forte; to CODA

• C1: ||: CODA: C-theme (syncopated) in Gm 16 bars, mezzo forte 8+8 :||

• G: Permutation of E-theme in Bb∆, forte 8+piano 8

Granados’ Hibiee-Jibiees actual map

Summary

• Memorization is a process of discovery, liberation, and hard work. No one system fits all; a combination of components can aid the artist in developing skill.

• Memory maps assist the musician to more fully study and prepare a work to be performed.

• Construction of a memory map as the flutist practices leads to much insight of the composer’s intentions.

• The understanding of the varied layers of composition are necessary for success under the pressure of performance and competition.

Sources consulted

Andreas, Jamie. On Memorizing: Part 2. http://www.acousticfingerstyle.com/memorize.htmAccessed July 1 -30, 2007.

Dunsby, Jonathon. Memory and memorizing. Grove Online: www.grovemusic.comAccessed July 1 -30, 2007.

Gandrup, Kimberly. Creative Memorizing Tips. Flute Talk Magazine. Vol. 19, no. 6. February, 2000.

Houser, Virginia. Memorization-An Integral Part Of Musicianship at Every Level. http://www-personal.ksu.edu/~vhouser/memorize.htm. Accessed July 1 -30, 2007.

Kelly, Robert T. “How to Memorize Music”. http://www.robertkelleyphd.com/memory.htm. Accessed July 1, 2007.

Lewis, Martha Beth. www.serve.com/marbeth/memory_methods.htmlAccessed July 1 -30, 2007.

Levy, Kenneth. Music: A Listener’s Introduction. New York: Harper and Rowe, 1983.

Shockley, Rebecca. Mapping Music: Some Simple Strategies to Help Students Learn. American Music Teacher 56:2 (Oct-Nov. 2006), p. 34-36. Accessed in International Index to Music Periodicals, http://iimp.chadwyck.com/home.do Accessed July 1 -30, 2007.

http://www.theviolinsite.com/memorizing_music.html Accessed July 1 -30, 2007.

Addenda: make a map with your own symbols, graphing

Gabriel Faure’s Fantaisie (1898)Andantino-Allegro; slow-fast concours form

• Piano introduction, one bar• E minor, 6/8 time• A-Theme, descending e-minor scale beginning on B3 , at 15 bars, deceptive

chord on N6, authentic cadence in e minor, bar 18

• B-theme: Pick-up C1 to E1 (C maj), 3 bars, immediate restatement in G maj. Variation on A-theme woven into passage-work to move wo/ cadence to closing trills and scalar turnarounds.

• Allegro: Rondo/Episodic construction• Piano, 12-bar introduction

– Solo, bar 13, upward octave Gs, descending G-major/minor scale, chromatic ascending turnaround.

– A-theme, cheerful in G major– 10 bars– Piano, 2 ½ bars (solo interjection) 2 ½ bars– Solo varied return of main theme, low octave, restated up one step– Adantino –A-Theme varied return, rhythm augmented, passagework extensions– Allegro: Episodic construction– Piano 2 bars

• Development of earlier movtives – E minor arpeggio passagework– Quarter-note tune 8bars, varied repeat– Piano/flute dialgoue– Climax builds from C#1 to Bb4

• Main theme, Varied return– More scalar passagework– Restatement of Quarter-note theme– More developmental passagework

• Final statement of A-theme

• Coda: Arpeggiated flourishes