south australian flute news · south australian flute news print post pub. no. 100002101 abn: 96...
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The Flute Society of South Australia Inc. PLEASE visit our new website at http://saflutesociety.org/
From the President Dear Flute Society Members,
July, 2016
Founder Professor David
Cubbin
Patron Alison Rosser
Vice Patrons Associate Professor Elizabeth Koch AM
OAM Robert Brown
South Australian Flute News Print Post Pub. No. 100002101 ABN: 96 991 331 922
Contents
President’s Report 1
Coming Events 2
Concerts 7
Dates for your diary 8
Recent Events 9
Articles 11
Flute Society Info 16
This year, we have our biennial David Cubbin Memorial Competitions on September 14. Please note that we now have TWO sections to allow more competitors across different levels. Tim Nott is adjudicating the Secondary section and Alison Rosser the Senior section. Start preparing early and enter the competition! The Flute Teachers’ Evening will be on Wednesday October 26 from 7-30 pm. Associate Professor Elizabeth Koch has the Flute Society’s Library and her own library in her room at the Elder Conservatorium. We can explore some of the music and education books housed there. Hope those of you who have entered the Eisteddfod have started preparing. Good luck and all the best. This is a wonderful opportunity that Adelaide provides for aspiring musicians. Last but not least, have you checked our Facebook site and website? We are providing news about our events as well as interesting information there, so please visit them! Hope to see you soon,
Masako Kondo
Follow the Flute Society on Facebook.
Like our page at https://www.facebook.com/flutesocietyofsa.
Playing. Sharing. Inspiring.
Welcome to the July edition of South Australian Flute News. Hope you are keeping well and staying warm. Thank you to those who came and performed at the Tutti Flutti Afternoon on Sunday, May 3 at Unley Uniting Church. We had a wonderful concert with flautists from all different levels. Special thank you to Linda Pirie for organising, Karen Fletcher for hosting and Monika Laczofy for accompanying. This year’s Carolyn White Memorial Scholarship was again very well attended. Congratulations to the First prize winner Lily Seymour, the Second prize winner Audrey Yeo, and the Honourable Mention recipient Thanh-Mai Nguyen. Many thanks to Alan Aungles for adjudicating the event. We had great fun with Alison Rosser at the Adult Amateurs Flute Ensemble Afternoon. Alison brought many interesting pieces of music for us to play; starting with calm easier pieces to more challenging ones. And some to read from backwards and upside down! Thank you Alison for another wonderful afternoon. And thanks to Amy Johansen for organising the event. Do you know how to do Tongue Rams, Jet Whistles and Multiphonics? Our annual Fabulous Flute Fun Day for young flautists at St Andrews School on August 28 will be an exciting afternoon with Melanie Walters! You can dress up with colourful scarves! Please come and have fun with us!
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Fabulous Flute Fun Day When: Sunday, August 28 Where: St Andrew’s School Performing Arts Centre,
22 Smith Street, Walkerville. Another day of fun and excitement for young flautists. Wear a colourful scarf.
Melanie Walters will guide you through tongue rams, jet whistles, multiphonics and other delights. Come along to find out what these are about. Parents and friends are invited to attend the Gala Concert at 4-00 pm.
Admission for the concert: gold coin donation. See the brochure inserted in South Australian Flute News or download from http://saflutesociety.org/.
TUTTI FLUTTI – FLUTE PERFORMANCE AFTERNOON When: Sunday, September 11, 3-5 pm.
Booking in for performers from 2-45 pm. Where: Unley Uniting Church, 187 Unley Road, Unley Closing date: September 2 Members: free; non-members $10. Admission for the audience: gold coin donation.
Come along for a relaxed afternoon of flute performances. A scrumptious afternoon tea will be provided. See the information sheet and application form inserted in South Australian Flute News or download from http://saflutesociety.org/.
DAVID CUBBIN MEMORIAL COMPETITIONS The David Cubbin Memorial Prize has been given a new title and expanded into two sections for 2016.
When: Wednesday, September 14 Where: Unley Uniting Church
187 Unley Road, Unley, late afternoon/evening Admission: gold coin donation.
SECONDARY SECTION: open to secondary student flautists aged 16 years and above on September 1, 2016.
Adjudicator: Tim Nott Entry fee: $20. First Prize $150
Second Prize $50 voucher from Size Music. a) Set Piece: Ravel: Pièce en Forme de Habanera (Grade 6 Book, Series 3, AMEB) b) Own choice of contrasting work or works.Time limit: 7 minutes.
SENIOR SECTION: open to non-professional flautists aged between 18 years and 32 years of age on September 1, 2016.
Adjudicator: Alison Rosser Entry fee: $30.
First Prize $300 Second Prize $100 voucher from Size Music.
COMING EVENTS v QUEEN’S BIRTHDAY HONOURSv
We congratulate Elizabeth Koch for being awarded an AM in the Queen’s Birthday Honours for ‘significant service to the performing arts, particularly to music education and performance, and through executive roles with professional associations’.
Elizabeth Koch AM OAM
v WELCOME TO OUR NEW
MEMBERS v
Prathicksha Venekatesan Tara Mayne
Lily Seymour Bailey Fechner
Isla Walker Jarvis Zhao
We hope you enjoy being part of the
Flute Society and look forward to seeing you at our events. Please
visit our website!
v MEMBERSHIP RENEWAL NOTICESv
The mid-year membership renewal notices were posted recently. If you received one please return it promptly to the Membership Secretary, The Flute Society of SA Inc., PO Box 3208, Norwood, SA 5067.
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a) Set Piece: Jindrich Feld: Four Pieces for Flute alone, 2nd movement, Caprice (Alphonse Leduc)
b) Own choice of contrasting work or works.
Time limit: approximately 8-10 minutes. Closing date: September 2 Enquiries: Ph. 8333-0665 The brochure and entry form can be downloaded from http://saflutesociety.org/.
Come along and support our young flautists as they compete for these awards.
FLUTE TEACHERS EVENING When: Wednesday, October 26, 7-30 pm Where: Room LG14, Elder Hall building, North Terrace, Adelaide
Enter from the back door. Elizabeth invites flute teachers to look at the resources available in her teaching studio.
Please bring your flute. RSVP to Elizabeth Koch, [email protected], by October 24. Enquiries: 0409-282-927
ADELAIDE EISTEDDFOD FLUTE AND WOODWIND DIVISIONS 2016
When: August 12-15. Where: Unley Uniting Church
187 Unley Road, Unley (August 12-14). Where: Salvation Army Citadel
55 George Street, Norwood (August 15). Admission: $7, Adelaide Eisteddfod Members and Children 12 years
and under free Enquiries for Flute and Woodwind Divisions to the Convenor, Robert Brown, Ph. 8431-0452, e-mail [email protected]. **Please note the new venues. Parking will be more difficult at both locations than it was at Rosefield Uniting Church. Allow plenty of time to find a park in nearby car parks or side streets.
INFORMATION FOR COMPETITORS by Robert Brown, Convenor We are looking forward to another exciting showcase of performances. Please arrive early enough on the day to book in and to warm up without having to rush. If you need an accompanist, ask your teacher for assistance or visit the Accompanists’ Guild of SA website at http://accompanist.org.au/register-of-accompanists/ to access the Register of Accompanists. Book your accompanist sooner rather than later so you have time to rehearse and to avoid the last minute rush! There is no printed Programme Book. Visit the Adelaide Eisteddfod Society’s website at http://www.sacomment.com/aes.htm to download the PDF files that contain the programme for each Division or event. All competitors were sent an e-mail that asked them to look for these PDF files. A printed programme for the audience will be available during the Flute and Woodwind Divisions for $1. Competitors are required to use the APRA/AMCOS Copyright Declaration Form (a link is included on the Adelaide Eisteddfod website at
COMING EVENTS
vLIBRARYv The Flute Society Library is housed in Elizabeth Koch’s room (LG 14) at the Elder Conservatorium of Music. There is a large selection of sheet music, flute ensemble music (duets, trios, quartets and quintets), magazines, books and cassettes. Elizabeth may be contacted during office hours on 8313-5343 or e-mail [email protected] to arrange a time for borrowing.
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COMING EVENTS http://www.sacomment.com/aes.htm). A separate APRA/AMCOS Copyright Declaration Form must be presented at the time of booking in for each section that has been entered. Please complete 1. Performer’s Declaration, 2. Making a temporary copy for an adjudicator or examiner, and 3. Making a temporary copy for an accompanist. To speed up booking in, could each competitor please clearly write on a sheet of paper his/her name, the names of works being performed, and their composers, ready to hand in to the booking in person? The second page of the APRA/AMCOS form can be used for this purpose. Competitors are required to bring a legible piano score copy of their own choice music for the Adjudicator – don’t forget to bring it with you! I provide piano scores for the set pieces and Flute Music by French Composers. Please don’t bring photocopies of these publications with you (this wastes paper)! Backing CDs may be used. Competitors are responsible for providing their own playback equipment and CDs. The playback equipment used should be of good quality and set up before the section starts. For most sections, competitors will be asked to sit with the audience in the performance area just before the section starts and will come from there to perform. You should wait for the Adjudicator to ring the bell and the Announcer to announce the works to be presented before beginning to perform. You can begin tuning while waiting for the Adjudicator. Take your time with tuning. Look cheerful, bow after you have finished performing and don’t forget to acknowledge your accompanist. Think about deportment on stage and wear clothing that is smart and comfortable, but not those old jeans and sneakers! Don’t forget to check the height and location of the music stand and ask the Announcer to adjust it for you if you need assistance.
Public transport information. Unley: in the city the bus travels along King William Street, Wakefield Street, Pulteney Street, Unley Road. Stop 4 on Unley Road is near the Unley Town Hall. Routes: 190, 190B, 195, 195F, 196, 196F. Norwood: in the city the bus travels along Currie Street, Grenfell Street, Bartels Road, The Parade. Routes: H20, H21, H22, H23, H24, N22. Stop 9 on The Parade is near the Norwood Town Hall. Infoline 1300-311-108, website adelaidemetro.com.au.
2016 EISTEDDFOD PROGRAMME FRIDAY AUGUST 12th
UNLEY UNITING CHURCH, 187 Unley Road, Unley Woodwind Division
Adjudicator: Alan Aungles 6-50 pm, Section W425, 11 years and under Woodwind solo 7-00 pm, Section W427, 15 years and under Woodwind solo 7-15 pm, Section W434, Grade 4 Woodwind solo 7-30 pm, Section W454, Grade 5 and 6 Double Reed solo 7-50 pm, Section W456, Grade 6 and above Double Reed solo 8-05 pm, Section W453, Grade 3 and under Double Reed solo 8-20 pm, Break 8-35 pm, Section W437, Grade 7 and 8 Woodwind solo 8-50 pm, Section W438, Open Woodwind solo Finish 9-30 pm
SATURDAY AUGUST 13th
UNLEY UNITING CHURCH, 187 Unley Road, Unley Flute Division
Adjudicator: Alan Aungles 9-40 am, booking in commences 10-00 am, Section F627, Flute Solo, 6 Years and Under 10-10 am, Section F625, Flute Solo, 8 Years and Under 10-25 am, Section F600, Grade 2 Flute Solo
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COMING EVENTS 10-45 am, Section F601, Flute Solo, 10 Years and Under 11-00 am, Section F623, Flute Solo, 10 Years and Under, Folk Song 11-15 am, Morning Tea 11-30 am, Section F602, Flute Solo, 12 Years and Under 12 noon, Section F603, Grade 3 Flute Solo 12-10 pm, Section F604, Flute Solo, 14 Years and Under
Brass Division Adjudicator: Bruce Raymond 1-00 pm, Section B505, 16 years and under Brass Solo
Woodwind Division Adjudicator: Alan Aungles 1-30 pm, Section W426, 13 years and under Woodwind solo
Flute Division Adjudicator: Alan Aungles 1-55 pm, Section F605, Grade 4 Flute Solo 2-30 pm, Section F608, Grade 5 Flute Solo 2-55 pm, Section F609, Grade 6 Flute Solo 3-30 pm, Afternoon Tea 3-45 pm, Section F614, Flute Duet, Grades 4, 5 and 6 4-05 pm, Section F624, Flute Duet, Grade 7 and Above 4-30 pm, Section F616, Flute Trio or Quartet Finish, 4-50 pm
SUNDAY AUGUST 14th
UNLEY UNITING CHURCH, 187 Unley Road, Unley Flute Division
Adjudicator: Lisa Gill 1-45 pm, booking in commences 2-00 pm, Section F617, Flute Study 2-15 pm, Section F618, Unaccompanied Flute Solo 2-50 pm, Section F619, Orchestral Excerpts 3-10 pm, Section F621, Australian Flute Solo 3-30 pm, Afternoon Tea 3-40 pm, F606, Flute Solo, 16 Years and Under 4-10 pm, F607, Flute Solo, 18 Years and Under Finish, 5-10 pm
MONDAY AUGUST 15th
SALVATION ARMY CITADEL, 55 George Street, Norwood Flute Division
Adjudicator: Julia Grenfell 5-15 pm, booking in commences 5-30 pm, Section F610, Grade 7 and 8 Flute Solo 6-30 pm, Section F622, French Flute Solo 7-00 pm, Break 7-15 pm, Section F612, Complete Flute Sonata or Suite 8-20 pm, Section F611, Open Flute Solo 9-30 pm, Finish
ADELAIDE EISTEDDFOD CONCERTO Adjudicator: Emeritus Prof. David Lockett AM When: Thursday August 18th, 6 pm Venue: Salvation Army Citadel, 55 George Street, Norwood General admission for sessions: $7, Adelaide Eisteddfod Members and Children 12 years and under free
Bruce Raymond
Alan Aungles
Lisa Gill
Julia Grenfell
David Lockett AM
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ADELAIDE EISTEDDFOD SPECIAL AWARD WINNERS’ CONCERT
When: Monday, September 26, 7-30 pm Where: Salvation Army Citadel, 55 George Street, Norwood. Admission: Adult, $10; Seniors/Students, $8; Children under 16 free.
YOUNG VIRTUOSO SA FINAL 2016 (previously MBS Young Performer) Adjudicators: Tim Sexton and Norma Knight When: Sunday, October 16, 2-30 pm Where: St John’s Anglican Church, 379 Halifax Street, Adelaide Admission: Adult $15, 5MBS Member/Student $5
THE FLUTE SOCIETY PROGRAM ON 5MBS - presented by Robert Brown
The Flute Society Program is broadcast on Monday evenings at 7 pm and repeated on the following Sunday at 7 pm. 5MBS is located at 99.9 on the FM Band.
Dates Program Monday, August 8 Sunday, August 14
New CDs Lost Generation, Lunaris and Flute Perspectives, including music by Jonathan Östland and Erwin Schulhoff and Anne Boyd performed by Ulrike Anton, Eleonore Pameijer and Derek Jones
Monday, September 26 Sunday, October 2
L’Album des Six, Emily Beynon, flute; Andrew West, piano, including Poulenc Sonata
Monday, November 14 Sunday, November 20
Music for the Festive Season, including Elizabeth Koch and Suzanne Handel playing Christmas classics
The theme music used for the Flute Society Program is Rimsky-Korsakov’s Flight of the Bumblebee, played by Sir James Galway, flute, with Hiro Fujikake, synthesizer.
COMING EVENTS
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CONCERTS
CONCERTS Send your concert details to the Editor for inclusion in this section.
RECITALS AUSTRALIA Wednesday Lunch Hour Concerts 2016
Where: Pilgrim Church, 12 Flinders Street, Adelaide When: 12-10 pm and 1-10 pm Admission: Adults: $5 Tickets at the door. Enquiries: Recitals Australia, Ph. 8266-4936. See http://www.recitalsaustralia.org.au/ for more information.
Date Music by Wednesday, August 3 12-10 pm
Kesley Robinson, flute Bach, Boehm and more
Elder Hall Lunch Hour Concert Series 2016 When: 1-10 pm Admission: $12 See www.elderhall.adelaide.edu.au for more information.
Date Friday, September 30 Reconnections Tancibudek Wind Quintet, Julia Grenfell, flute;
Celia Craig, oboe; Dean Newcomb, clarinet; Sarah Barrett, horn; Mark Gaydon, bassoon
Elder Perspectives 2016 Intimate Concerts at Elder Hall
Admission: $30/$24/$19.50 Visit www.elderhall.adelaide.edu.au for more information.
Mitcham Orchestra Admission: $12, Family $20 (2 Adults, 2 Children), at the door.
Date Venue Sunday, October 23 3-00 pm
Cumberland Park Community Centre 390 Goodwood Road, Cumberland Park, (200 metres south of Big W)
Conductor: Mike Kenny
DAVID CUBBIN MEMORIAL FUND FOR 2017 Grants are available to assist young Australian flautists attend a Flute Festival or Flute Event during 2017. Please send a letter requesting financial assistance to David Cubbin Memorial Fund, C/- Robert Brown, PO Box 3228, Norwood, SA 5067 by Monday, May 1, 2017. Please include your contact information - postal address, telephone number, e-mail address. Applicants are required to provide a supporting letter from their teacher. There were no applications for financial assistance this year so the funds will be held over and combined with the funds for 2017.
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Queensland Conservatorium of Music
Leone Buyse
Julien Beaudiment
AUSTRALIAN FLUTE FESTIVAL Dates: July 1-3, 2017, Venue: Queensland Conservatorium of Music, Griffith University, 140 Grey Street, South Bank, Brisbane Theme: Collaboration Professional Learning Day: Friday, June 30 Junior Day: Saturday, July 1 Patron: Margaret Crawford Co-ordinator: Lyndie Leviston, e-mail [email protected] Ph. (02) 8006-5345, mobile 0424-504-104
Director: David Leviston Artistic Advisors: Virginia Taylor, Vernon Hill Festival Advisor: James Kortum Address: 140 Sailors Bay Road, Northbridge, NSW 2063 Website: http://www.australianflutefestival.com
YES, IT’S HAPPENING AGAIN AND HAS A NEW LOCATION! Start saving and plan to attend the next Australian Flute Festival in July 2017 in Brisbane. There will be performances, talks and masterclasses featuring leading overseas and Australian flautists, flute orchestra, Professional Development Day with Leone Buyse, Junior Day, trade stands, camaraderie … and much more! Don’t miss it!! Check the website for more information. OVERSEAS GUEST ARTISTS Leone Buyse, Mullen Professor of Flute at Rice University’s Shepherd School of Music in Houston, Texas.
Julien Beaudiment, Principal Flute of the Lyon National Opera House and teacher at the Conservatoire National Supérieur de Musique de Lyon. The Australian Flute Festival aims to focus on assisting and encouraging every individual to achieve their personal goals, allowing them to fulfil their potential as a flute player and enrich their flute playing through collaborating with other flautists. The rationale behind the theme collaboration is to encourage participants to explore the flute duet, trio and quartet repertoire. Some of the masterclasses offered will be theme specific: tone, technique, articulation, rhythm, expression, how to practice or exploring a specific style/genre of playing, such as extended technique, beatboxing, low flutes, baroque, duets/trios. To make the masterclasses more interactive for attendees, there should be set repertoire (pieces/studies/duets/trios) to be performed by delegates interested in performing in the masterclasses. Music and any worksheets will be provided to all in attendance. Masterclass performers will receive the music in advance of the Festival. The Flute Competitions will include Open Flute Competition, Young Artist Competition - 18 and under and Composition Competition. Visit http://www.australianflutefestival.com/competitions.html for more information.
Dates for your Diary
HUMOUR
‘Did you hear that Jean-Pierre Rampal has recorded an album of Frank Sinatra’s hits? It’s called I did it sideways!’
With thanks to the Muppet Show.
‘Doctor, come quickly, my wife has broken a leg!’ ‘But I’m a Doctor of Music’.
‘It’s all right – she’s broken the piano leg’.
Here we have the Van Gogh of the violin – he hasn’t got much of an ear!
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RECENT EVENTS TUTTI FLUTTI – Flute Performance Afternoon by Melanie Walters CAROLYN WHITE MEMORIAL SCHOLARSHIP 2016
Our new Treasurer, Tim, performs
beautifully
Side view
In harmony
Concentration
Karen Fletcher thanks Monika Laczofy
Held: Sunday, June 19 Unley Uniting Church
Adjudicator: Alan Aungles First Prize: Lily Seymour Second Prize: Audrey Yeo Hon. Mention: Thanh-Mai Nguyen Set Piece: Pièce romantique: Chaminade (AMEB Fourth Grade Flute Book, Series 3)
There were eleven entries this year.
2016 Scholarship Winners: Audrey Yeo, Thanh-Mai
Nguyen, Lily Seymour with Alan Aungles Lily Seymour goes to Concordia College, where she plays in the Concordia College Concert Band, Concordia College Orchestra and Concordia College Flute Quartet. Her flute
RECENT EVENTS
Held: Sunday, May 15 Unley Uniting Church Director: Linda Pirie Host: Karen Fletcher
On Sunday May 15, the Flute Society of South Australia held the first Tutti Flutti Performance Afternoon for 2016. This event, which has been held regularly since May 2011, is one of my favourite events on the Adelaide flute calendar: the atmosphere is always warm and supportive, and it is a great opportunity to hear a wide range of flute players from those performing in front of an audience for the first time through to advanced students and adult amateurs. This year was no exception,
with several young flautists giving their premiere performances, as well as tertiary music students and adult flautists performing advanced repertoire by Mozart, Boehm, and J.S. Bach. It was lovely to see a family item on the program again, with pianist Sophie Haselgrove accompanying her brother Joshua Haselgrove in a performance of a movement of a C.P.E. Bach Concerto. We were very fortunate to have the experienced and skilled pianist Monika Laczofy accompanying many of the performers, and she did a fantastic job. Thank you to Linda Pirie for all her hard work in organising the afternoon, and to all the Flute Society committee members who helped out on the day.
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teacher is Nicola Buckland. At the Adelaide Eisteddfod Lily has won First Prizes in the 10 Years and Under Flute Solo, 12 Years and Under Flute Solo, 14 Years and Under Flute Solo, Grade 5 Flute Solo, and some First Prizes in Flute Trio or Quartet sections. Audrey Yeo goes to Wilderness School where she was awarded a music scholarship in 2013. Her flute teacher is Karen Fletcher. She plays in the Wilderness Concert Band, Orchestra and Flute Quartet. At the Adelaide Eisteddfod Audrey has won First Prizes in the Grade 3 Flute Solo, Grade 4 Flute Solo and Grade 5 Flute Solo sections, Third Prize in the Grade 6 Flute Solo, and Second Prize with Alyshia Vu in the Grade 5 and 6 Flute Duet. Thanh-Mai Nguyen goes to Pembroke School. Her flute teacher is Samantha Hennessy. She plays in the Adelaide Youth Wind Orchestra and the Pembroke Middle School Orchestra. She was also awarded an Honorary Mention in the 2014 Carolyn White Memorial Scholarship. At the Adelaide Eisteddfod Thanh-Mai has won Second Prize in the 10 years and Under Flute Solo, Honorary Mention in the 12 years and Under Flute Solo and First Prize in the Flute Study section.
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Adult Amateurs Flute Ensemble Afternoon By Amy Johansen Held: Sunday, June 26, Unley Uniting Church Director: Alison Rosser Co-ordinator: Amy Johansen
RECENT EVENTS
The happy participants
Alison conducts
Some Flute Society Committee members
concentrating
The 2016 Adult Amateurs Afternoon was an adventure for all. Graciously conducted by Alison Rosser who donated her valuable time and expertise, we played a range of music that catered to a great variation in skill level. The afternoon was made more interesting by the donated time of Flute Society committee member ‘helpers’ who, due to lower than average numbers this year, joined in on the playing. Masako, Karen, Robert, Melanie and Tim were a great support to us less advanced players in helping keep the time or carrying some challenging passages that might otherwise have been beyond our reach.
The afternoon started with some lovely warm-up pieces including the Australian Lady’s March (originally composed for the Australian Lady’s Pipe Band) which presented a range of parts that offered everything from a drone note, to a range of other part options that varied in difficulty.
A couple of rounds presented some easier sight reading and beautiful tones, and then some more technically challenging pieces that offered the opportunity to read music both forward and backward (The King’s Theme from Bach’s Musical Offering) and for those more experienced, Russian Dance, where the players each start at
opposite ends of the piece (reading from different ends of the same sheet music).
We tackled some serious music that included Pachelbel’s Canon which again provided different opportunities for more and less experienced players, as well as Handel’s Pastoral Symphony arranged by our own Robert Brown.
The selection of music (not limited to what has been mentioned) also allowed players who were up to the challenge to try playing Bass and Alto flutes. We even had Douglas on a Piccolo for a little bit.
After a very challenging go at Mozart’s Overture from The Magic Flute, we finished off the afternoon with more relaxing round of Scarborough Fair.
A simple but delicious and well-earned afternoon tea (including Tim’s gluten free Lindt 70% chocolate brownies) was enjoyed and gave the opportunity for players to swap notes and get to know each other a little better. As each year passes, faces become more familiar but always alongside some much welcomed new ones.
Over-all, the day was a resounding success, and we look forward to doing it all again next year.
WORDS OF WISDOM FROM FAMOUS FLAUTIST, SIR JAMES GALWAY
Scales are the grammar of the musical language. A great deal of music is based
on scales and arpeggios.
Never play an ugly note. There really is no point in making a sound on the flute unless it is a nice one.
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ARTICLES: WISSAM WISDOM, PART 4 Compiled by Margaret Crawford Q.Isitgoodtorecordoneself?’A.Idon’tlikeusingthatforpractice.Oneconcertequals3monthsofpractice.Onerecording session equals 35 months ofpractice. When I listen tomy recordingsmy reaction, positive or negative,depends on my mood at the time. Thesoundcomesthroughafilterofemotionsand expectations. Better to record aconcertratherthanapracticesession.Here isanewconcept fora flutecourse.Videoed performances in the morning,anddiscussionsheldintheafternoon.Inanyrecordingorfilmahugepartoftheperformance is missing. Recording canbecome a process of avoiding ‘the now’.Bodylanguageisimportant,butfilmingitis not as good as the real thing; like thedifference between watching a tennismatchonTVandwatchingonelive.Regardingmemorising,youdon’thavetostartwhenyou’reyoung.
Sometimeswhenyoucan’trememberaperformance, it is a good thing. It canmeanyouwerelivinginthemoment.Whenyouwarmup,youarewarmingupyouremotions.Theyarethemotor,nottheicingonthecake.Iftheemotionsareburning,soisthebody.In every conversation there are tworealities – what is being said and thehiddenpart.Thehiddenpartisthemoreimportantpart.Theemotionalhigh-pointofthephraseisnotthebeginning,buttheend!When youhold a static instrument, suchasawind instrument, thebody languagebecomes highlighted. We becomemoreconscious of the eyes, the face, thebreathing,etc.Anydiscomfortiscleartous.Put yourself into someone else’sperceptionandreacttothat.
It is not natural to put the flute to yourface and stand still for a while and thenbreathe.Breatheinwhileyouareraisingtheflute.Whenyoucan finallyplay something theway you want it, then do it again a fewmoretimes.Youneedtobuildupabreathingstamina.Arrive at the end with something tospare.Start your practice session with a run-through. That isasclose toaconcertasyoucancome.You need more silence. The delay willincreasetheexpectation.
ARTICLES
Wissam Boustany
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THE CHIEF POINTS OF EXCELLENCE IN FLUTE PLAYING From A Treatise on the Flute by Richard Shepherd Rockstro, 1890.
ARTICLES
No one can be a really good flute player who fails noticeably in any of the following essential points, here placed in what I consider the order of their relative importance. I. Stricttime-keeping.II. Accuracywithregardtothe
notes.III. Perfectintonation,accordingto
equaltemperament.IV. Correctaccentuation.V. Judiciousrespiration.
FLUTE PLAYING HINTS FLUTE TENONS AND SOCKETS The tenons and sockets of all metal flutes should be kept clean and dry. Wipe them with a soft cloth. Do not use oil or grease on the tenons: this will attract dirt and grit, which acts as an abrasive. If dirt accumulates, dampen the wiping cloth with water or methylated spirits. This simple procedure will assure proper fitting of flute joints. Be careful not to bump the tenons so they go out of round. If this happens you will need to visit a wooodwind technician to have them repaired. If you have a wooden flute or piccolo, the cork joints should be greased periodically with cork grease. Use only a tiny smear of cork grease or the joints will become very loose.
KEEP YOUR FLUTE SAFE Do not place your flute on a chair or on a music stand, put it on the floor or on a bed, or leave it overhanging from a table or flat surface. No musical instrument will survive a fall without some damage after someone has either nudged or crashed into it. Sitting or standing on your flute may result in the tubing or the key-work being bent or twisted. When your flute has been packed away, put the case it in a safe place, where it will not be bumped or fall. If you use a flute stand, make sure not to place it where
VI. Neatarticulation,embracingtheextremesofvigourandofdelicacy.
VII. Varied,butalwaysrefinedstyle.VIII. Facilityintheproductionofa
pure,flexibleandpowerfultone,ofthetrueflute-character,andperfectlyundercommandevenintheextremesofforteandpiano.
IX. Neat,rapidandfluentexecution.
your flute will be walked into or knocked over.
If you see professional musicians backstage, you will see that those who can will have their instruments with them. Their livelihood depends on the instruments being in good condition. Shouldn’t you give yourself the same consideration?
HOW MANY FLUTE PLAYERS HAVE A FLAT FLUTE? ManyaflutehasmetitsendWhensomeonesatuponit.Asaddertalewasneverpenned,Inhistoryorinsonnet.Amusicstandiscloseathand,AtemptingrestingplaceToputtheflutewhileitismute,Butitmayfallthroughspace.SoneverputyourfluteawayUponachairormusicstand,UnlessyouhavetheurgetoplayTheflattestnotesinalltheland.Donald M. Ginsberg (from the Flute List)
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SA FLUTE NEWS THE CHIEF POINTS OF EXCELLENCE IN FLUTE PLAYING (Cont’d) SUPPORTING THE FLUTE by Robert Brown From the September 1988 issue
I will deal with the left hand position first. Make sure that your left thumb is at a right angle to the flute tube, and not at a 45° angle. The part of your thumb that should be making contact with the thumb keys is that portion opposite the base of the thumb nail. The tip of the thumb should almost touch the axle rod above. On most flutes built today, the upper thumb key bar has a groove in it, which is there to allow the player to easily pivot the thumb between the B flat and B natural keys (you only need to pivot about 2 or 3 mm). Once this left thumb position has been established, the left first finger should be able to wrap around the flute tube. The flute should now be resting on the base of the left first finger, which provides one of the three support points for the flute. The left hand fingers should all be coming over at a 45° angle to the flute tube, and placed in the centre of the keys. Hold the flute with your left hand and give your right hand a shake so it goes
floppy. The fingers will be relaxed and slightly curved. Tuck in your right thumb and place the right fingers in the middle of their keys. Now allow your right thumb to go to its flute playing position. The thumb should have turned on its side and the tip of the thumb should be resting against the inside of the flute tube. There should be a straight line between your thumb and the forearm. Now bring the flute into the blowing position. The lip-plate should be sitting in the groove in your chin. Use your right thumb tip to push the flute away and push in with the left first finger. The flute should now be pushing against your chin. Only do this enough to make the flute feel stable and not so much that you get sore spots on your chin, left first finger or right thumb. The idea is just to stop the flute from moving or wobbling about while it is being played. The flute has been turned into a lever, rotating around on the base of the left first finger, which is the fulcrum.
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X. Faultlesspositionofallthosepartsofthebodywhichareinanywayconcernedinperformance.
XI. Facilityinreadingmusicatsight.
Phrasing has not been separately mentioned in this table because it is included in time, accent and respiration. Musical expression is included in time, accent, respiration, articulation, style, tone and execution. Emphasis depends upon articulation and tone; it is an important element of style. PRINCIPAL CHARACTERISTICS OF GOOD PLAYING The great 18th century flautist, Johann Joachim Quantz (1697-1773), wrote about many aspects of flute playing in his book, On Playing the Flute. He sums up the principal characteristics of good playing ‘as that which has tone
which is not forced and has good intonation. The notes must NOT be played indistinctly, unintelligibly, feebly, sluggishly, tediously, sleepily, coarsely or dryly. The playing is poor if the music is not sung with warmth and with dynamic interest’. This certainly provides a good check list for every practice session, for, as Quantz concludes, ‘The listener who hears a piece poorly rendered is apt to be overcome with drowsiness, and will be glad when it is over!’ FINGERS Hardly move the fingers from the keys when playing. Playing is smoother and more even, and fingers strike the keys with more equal pressure. Try to play so that the fingers feel like feathers on the keys.
♫
Johann Joachim Quantz
Left Hand
Right Hand
SA FLUTE NEWS
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STARTING OUT ON THE IMPROVISATION JOURNEY by Melanie Walters
A LIST OF EUROPEAN/WESTERN FLUTE SIZES WHICH ARE KNOWN TO EXIST Compiled by Francis Firth (from the Flute List, February 20, 2016)
Classsical Music Mashup:
https://www.youtube.com/watch?v=7OYkWSW7u4k&list=RDqi4V6gY8Wf8&in
dex=2
Robert Dick demonstrates the
Glissando Headjoint: https://www.youtube.com/watch?v=nbK
vPVigPGA
Robert Dick plays Sliding Life Blues: https://www.youtube.com/watch?v=IVP
5ffxX5Kg
Robert Dick and Greg Pattillo: Basement Improvisation Jam!:
https://www.youtube.com/watch?v=QfjBZpaahnw
Comparison: Carl Reinecke: Undine Sonata
William Bennett, flute. Clifford Benson, piano:
https://www.youtube.com/watch?v=NPISaW-9MeI
Sir James Galway, flute, Phillip Moll,
piano: https://www.youtube.com/watch?v=v4C
O0Z5cuWw
Jean-Pierre Rampal, Sydney Symphony Orchestra, Mozart Flute
Concerto No 1 in G: https://www.youtube.com/watch?v=71
CugOCzcrQ
Mendelssohn Flute (Violin) Concerto,
Karl-Heinz Schütz: https://www.youtube.com/watch?v=k1
MeMiq5Zi8
Over the past few years, I have been working more and more with improvisation in both performance and teaching. Like many flautists coming from a classically-trained background, I initially found improvisation daunting, but it has since become one of the most rewarding aspects of my musical practice. For teachers, I recommend using improvisation from the earliest stages: there are plenty of improvisation activities suitable for beginners. It can be a really great way to learn new notes or new techniques, and by starting early with improvisation it becomes a natural part of music-making. Here are a few examples of ways to begin improvising. I generally like to start with exercises that are very simple to in order to build confidence, but also because there are so many wonderful ideas that can be discovered through even the simplest musical building blocks. 1) Single pitch exercises This is about exploring the possibilities on a single note, and can include repetition of the note in various rhythms, dynamic shading, tone colour variation (including air sounds and fricative sounds like ‘F’, S’, and ‘Sh’), different types of articulation (single-, double-, and flutter-tonguing; plosives like ‘P’ and ‘B’; waving the tongue up and down or side to side; and lip/tongue pizzicato). It’s amazing what you can vary without moving a finger! 2) Variations on short motifs Pick a set of pitches – it can be as simple as B-A-G – then try out as
many different ways as you can think of to play those notes. This might include playing the notes at different tempos, in different rhythms, in different octaves, or in a different order. You might even want to gradually add new pitches to the original set to increase the complexity as you develop the motif. If you are a teacher incorporating this idea into a lesson, you can turn this into a call and response activity, and have a musical ‘conversation’ with the student. 3) Scales and modes While you can of course improvise on major, minor and chromatic scales, I personally like starting off with pentatonic scales. The major pentatonic of C-D-E-G-A or G-A-B-D-E is a great starting point, and works quite well with a simple bass line like I-iv-IV-V if you are improvising as a duo. Improvising on a ‘black-note’ pentatonic is also a really good way for students to get used to unfamiliar fingerings for sharps and flats. 4) Graphic scores For those flute players who are a bit intimidated by not having any structure or notation in free improvisation, graphic scores can be an excellent way to ease in to improvisation. There are a number of graphic scores available to download at www.graphicscores.com. My personal favourite is Julia Kent’s 7 Symbols, in which the performers choose to ‘play’ symbols from a selection that includes a dollar sign, arrows, zigs-zags and even a peace sign.
♫
Octave piccolo (1 in Dayton C. Miller Collection, experimental). Piccolo in F (one or two surviving in the Brussels Museum). Piccolo in E-flat (in now unused terminology Piccolo in F, the old terminology was based on the 6 finger note so a modern concert flute was in D). Surviving museum specimens and one with Boehm style key work shown in Pierre-Yves Artaud’s book Present Day Flutes (Billaudot).
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SA FLUTE NEWS
ARTICLES A LIST OF EUROPEAN/WESTERN FLUTE SIZES WHICH ARE KNOWN TO EXIST (Cont’d)
Hogenhuis Hyperbass Flute
Piccolo in D-flat, the typical band piccolo in so called E-flat. Piccolo. A-flat flute, more often known as the B-flat flute, the staple of Irish flute bands. Robert Dick has recorded on one. Treble Flute in G, mainly a Northern Irish flute band instrument, which in some competing harmony bands (such as Carluke Primrose Flute Band) has replaced the B-flat flute. Also scored for by Mascagni under the name usignolo (nightingale) in his opera La Parisina. Soprano Flute in F, made by Kotato. Third Flute in E-flat, formerly called F flute. Graun wrote a concerto for it and it was used by virtuoso John Amadio and scored for by Sir Henry Bishop for the flute obbligato of Lo! Here the Gentle Lark. Flute in D-flat, the obsolete flute band E-flat flute. Concert flute. Flute d’amour in B-flat, A or even A-flat (concertos by Molter and Haas). A-flat flute, obsolete B-flat bass flute band flute. G Alto flute, formerly called bass flute. F Subbass (‘Tenor’) flute, made by Kotato. Robert Dick plays on one in Worlds of If. E-flat and D-flat bass flutes, obsolete F and E-flat bass band flutes. Bass Flute in C. Contraalto Flute in G, made by Eva Kingma and other makers. Contrabass Flute in F, made by Kotato. Contrabass Flute in C. Subcontrabass Flute in G, made by Eva Kingma. Subcontrabass Flute in F, made by Kotato. Subcontrabass Flute in C, made by Jelle Hogenhuis and Kotato. Hyperbass Flute in C, made by Jelle Hogenhuis, 10 metres long. [A translation by Peter Sheridan of Jelle Hogenhuis’ article about the Hyperbass Flute can be found at http://www.lowflutes.com/files/Hogenhuis_Hyperbass_flute.pdf.]
SA FLUTE NEWS
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