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19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 19 20 20 20 20 20 20 20 20 20 20 20 20 20 20 20 20 20

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Volume Volume Volume Volume Volume Volume Volume Volume Volume Volume Volume Volume Volume Volume Volume Volume Volume Volume Volume Volume Volume Volume Volume Volume Volume Volume Volume Volume Volume Volume Volume Volume Volume Volume Volume Volume Volume Volume Volume Volume Volume Volume Volume Volume Volume Volume Volume Volume Volume

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22 22 22 22 22 22 22 22 22 22 22 22 22 22 22 22 22 22 22 22 22 22 22 22 22 22 22 22 22 22 22 22 22 22 22 22 22 22 22 22 22 22 22 22 22 22 22 22 22

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Title * Dennette Derby-McDermott or Denette McDermott *Sonny Burnette, see also Sonny Burnett *Tammy Sue Kirk Thomas A. Kennedy Jean-Pierre Rampal G. F. Handel - Sonata in F Major, 2nd movement Flute Care Reminders Ransom Wilson: Young American Virtuoso Choose Your Contest Piece G. F. Handel - Sonata in F Major, 3rd movement Mindy Kaufman - New York's First Picc Ornamenting the Largo Movement of Vivaldi's C Major Piccolo Concerto The Elusive Mr. Andersen Getting the Most Out of Practicing Andersen Etudes Andersen's Scherzino And The Winner Is Jeffery Zook Phrasing Tips for the First Movement Selecting a College Frans Brueggen Some Flutes of the Past The Tin Whistle - a flutist's companion Benjamin Godard's Allegretto On Tour with the Chicago Flute Society How Is A Flute Made Selecting a Flute Flute and Piccolo Solos with Band Paula Robison: Following Her Own Star Flute Choir - The Ensemble for the 1980s Telemann Canonic Duet in G Major Christmas Gift Ideas More Flute and Piccolo Solos with Band Carol Wincenc - A Dream Fulfilled What is the Naumburg A Night Piece by Arthur Foote How To Prepare a Taped Audition/Competition Julius Baker - The Complete Flutist Thoughts on Flute Tone and Tuning Sonata for Solo Flute, by John La Montaine, first movement Comic Capers Eugenia Zukerman - Flutist Extraordinaire Fantasia in D Minor by Georg Philipp Telemann, first movement Jeff Khaner - Having a Great Time Cecile Chaminade - Concertino, Part I Adjusting to Braces William Kincaid - Master Musician The Kincaid Legacy Cecile Chaminade - Concertino, Part II Good Music for Flute Choirs Flying Fingers: Which Kind Do You Have

Robert Aitken - A Flutist With Quiet Power Danse de la Chevre by Arthur Honegger Laurence Trott - The Piccolo Virtuoso Whoa! Nellie! By George Gould Piccolo Tips from Laurence Trott Harold Bennett - The Flute Doctor Orchestra of the Month Don't Let Sight-Reading Scare You Caring for Your Flute The Piping Faun by Felix Borowski Master Class with Paula Robison Doriot Anthony Dwyer - A Woman of Many Firsts Orchestra of the Month Shall We Dance Polonaise and Double from Suite in B Minor by J. S. Bach Tips from Doriot Anthony Dwyer Geoffrey Gilbert - A Teacher of Greats Legende Pastorale by Benjamin Godard Hubert Laws - From Kuhlau to Coltrane Classical Playing Techniques in Jazz Flute Performances Irlandaise from Claude Bolling's Suite Beatrice Keram - A Winning Teacher Madrigal by Philippe Gaubert Bonita Boyd - Rising Star Orchestra of the Month Sonata by Paul Hindemith, first movement Robert Willoughby - Seeking Variety Adapting Music for Your Ensemble Andante in C Major, K. 315 by W. A. Mozart Way Back When Rhythm - The Meat and Potatoes of Music Tips for Playing Auditions - Part I Samuel Baron - Still Learning Samuel Baron -- Still Learning Live-With-Tape Eldin Burton Sonatina, first movement Go for Baroque Practicing as a Way of Life Common Tone Problems Live-With-Tape Go for Baroque Practicing as a Way of Life Common Tone Problems James Pellerite - Reaching for Perfection Airs de Ballet d'Ascanio by Camille Saint-Saens Music for the Flute Choir Auditions, Auditions, Auditions Tips for Playing Auditions, Part II Bernard Goldberg - Carrying on the Tradition

Methodical Sonata in G Minor by G. P. Telemann A Galway Experience Master Class with Bernard Goldberg Jeanne Baxtresser - Meeting the Crossroads Producing Different Tone Colors Sonata in F Major by G. P. Telemann Experimenting with Flute Tone Meet the Flutists of Stage Fright - Never! Tim Day - Finding the Center Suite Paysanne Hongroise by Bartok-Arma Tips for Playing Auditions Joseph Mariano - A Man of InFlutence Sonata "Undine" by Reinecke, first movement Preventive Maintenance The Benefits of Inflation Frances Blaisdell - Ahead of her Time Martinu's First Sonata, first movement Transcribing for Beginners Julia Bogorad - Using Every Minute The Piston Sonata, first movement Trill Fingerings A Bohm Experience in Munich Steve Kujala Handel Sonata in E Minor, first movement Learn to Improvise: Tips from Steve Kujala Nancy Toff's The Flute Book Thomas Nyfenger - More Than a Flutist Celebration Cleaning and Oiling the Flute Michala Petri - Recorder Virtuoso C.P.E. Bach's Hamburger Sonata, first movement Mary Louise Poor - A Lesson in Courage Play Without Pain The Flutist and Pianist - A Partnership Maurice Sharp - Fifty Years with Cleveland Ravel's Daphnis and Chloe Suite Tuning with Difference Tones A Flute You May Have Never Heard Michael Emmerson - Finder of the Right Stuff Summer Practice Mozart's Concerto in G Major, K. 313 Franz Schubert's Minuet in F Major Fortunate Misfortunes: Steps Toward the Alexander Technique Awareness, Freedom, and Muscular Control Michel Debost - Keeping it Simple Basics Before Revolution Howard Hanson's Serenade Jean-Pierre Rampal - With Love in His Heart

Mendelssohn's Scherzo to A Midsummer Night's Dream Harvey Sollberger - Self Discovery Through Music Luciano Berio's Sequenza for Flute Alone Doctoral Dissertations on the Flute Alternate Fingerings Andras Adorjan Diagnosis and Prescription - a la Adorjan Brahms' Symphony No. 4 and Beethoven's "Leonore" Overture No. 3 Brahms' Symphony No. 4 and Beethoven's "Leonore" Overture No. 3 Doctoral Dissertations on the Flute - Part II Britton Johnson - A Man to Remember Aaron Copland's Duo for Flute and Piano On the Block Circular Breathing - You Can Do It Doctoral Dissertations on the Flute - Part III James Newton - Starting a New Tradition Four Jazz Etudes Thaddeus Watson - An American in Frankfurt Carol Wincenc and the Magic Flute Festival Whistle Tones: Exercises for the Embouchure Stress Prevention and Control Working in the Recording Studios Lew Tabackin - The Word is Jazz Sonata in E Minor, by J.S. Bach Third Register Playing - Shh! Jennifer Steele - Profile of a Winner 30 Caprices for Flute, by Sigfrid Karg-Elert Jawboning and the Flute Embouchure, Part I Alain Marion - Following Natural Instincts Pierre Sancan's Sonatine pour flute et piano Why Can't I Get the Music Jim Walker - A Life of Changes Plugging in the Flute The British Flute Society's London Flute Day Jawboning and the Flute Embouchure, Part II Donald Peck - A Musician Who Happens to Play the Flute Too Much Tongue in Tonguing Do You Really Need A Manager How to Prepare Audition Tapes Jawboning and the Flute Embouchure, Part III Why Teach Leone Buyse Pictures Success Breakthroughs for the Adult Amateur The Penny Whistle School The Linguistic-Articulation Connection Albert Tipton -- A Scholarly Musician Solving Musical Problems Adventures in Programming Sidney Lanier's "Wind-Song"

Galway's Challenge Karl Kraber: Staying On Track Quintet Technique W.A. Mozart: "Concerto in G", K. 313 Allegro Maestoso Contemporary Sounds for the Baroque Flute The Pleasure and Pain of Performing William Hebert: Playing Piccolo with Pride Piccolo Solos Piccolo Solos Gordon Jacob's "The Pied Piper" I: The Spell for solo flute II: The March for solo piccolo Gordon Jacob's The Pied Piper. I: The Spell for solo flute. II: The March for solo piccolo Mirror, Mirror On the Wall Mirror, Mirror on the Wall The Flute Boom: An Embarrassment of Riches The Flute Boom -- An Embarrassment of Riches Concentration Thieves Concentration Thieves Kathy Chastain: Don't Call Her Madame Kathy Chastain: Don't Call Her Madame An Outsider's View, Inside the Paris Conservatoire An Outsider's View, Inside The Paris Conservatoire The Gamme-Game of Michel Debost The Gamme-Game of Michel Debost In Search of Gold In Search of Gold "Idle Conversations" (1986) Antique Flute Prices Make History Antique Flute Prices Make History Judith Lapple: At Ease With The Flute Judith Lapple: At Ease with the Flute Overcoming Performance Anxiety Overcoming Performance Anxiety How Do You Spell Relief (For Stress)? E-X-E-R-C-I-S-E How Do You Spell Relief (For Stress)? E-X-E-R-C-I-S-E Flutists Ask the Doctor Flutists Ask The Doctor Summer Flute Master Classes 1988 The 1988 Flute Talk Competition Winner: Amy Porter The 1988 Flute Talk Competition Winner: Amy Porter Becoming an Ideal Student Becoming an Ideal Student Congratulations and Advice How to Get The Most of Your Private Lessons How to Get the Most Out of Your Private Lessons Sweet 16 Communicating Without Speaking Communicating Without Speaking Robert Beaser's "Mountain Songs" Performance Guide: Robert Beaser's Mountain Songs

Balance in Flute and Guitar Playing Balance In Flute And Guitar Playing The San Diego Convention 1988 How to Get Around San Diego Profile of the President: Betty Bang-Mather Profile of the President The Role of the Inner Voice The Role of the Inner Voice An Impassioned Flutist: Raymond Guiot An Impassioned Flutist: Raymond Guiot Janet Ferguson - More Than Melody Janet Ferguson -- More Than Melody Flute Tone Quality: Does the Metal Make a Difference? Flute Tone Quality: Does the Metal Make A Diference. Music Scholarships Music Scholarships Rejoicing With the Flute Rejoicing with the Flute Michel Debost's Scale Game Michel Debost's Scale Game Variationen Walfrid Kujala: King of the High Notes Walfrid Kujala: King of the High Notes Performance Guide: An Approach to Ornamentation Performance Guide: An Approach to Ornamentation Mariano's Musical Concepts Mariano's Musical Concepts Nice (France) Flute Symposium Directory of Flute Competitions Why Corks? Why Corks? Study Duet The Piccolo Case The Piccolo Case Variations on a Theme by Moyse Variations of a Theme by Moyse Maxence Larrieu: Nothing to Prove Maxence Larrieu: Nothing to Prove Albert Cooper: Flutemaker at the Cutting Edge Albert Cooper: Flutemaker at the Cutting Edge Kirkwood Flute Ensemble Becoming a Team Player Becoming a Team Player Exploring the Voice and Flute Ensemble Exploring the Voice and Flute Ensemble A Flute Quartet with Only One Flute A Flute Quartet With Only One Flute Kirkwood Flute Ensemble Espree: Blending Flute and Harp

Espree: Blending Flute and Harp The Jubal Trio: Three Working as One The Jubal Trio: Three Working As One The Embouchure and Orthodontics The Embouchure and Orthodontics Preparing for a Career in Music Preparing for a Career in Music Pointers to Holding the Flute Pointers to Holding the Flute Two Desert Scenes Gunther Schuller "Concerto" Premiered Gunther Schuller Concerto Premiered Purchasing a Piccolo Trevor Wye: Wise Teacher Trevor Wye: Wise Teacher Thoughts on Playing the Flute Throughts on Playing the Flute Summering in Ramsgate Summering in Ramsgate "Morning Sunshine" Morning Sunshine Create a Flute Ensemble Create a Flute Ensemble Walt "The Kid" Parazaider: I Don't Want To Be A Lawyer Walt The Kid? Parazaider: I Dont Want To Be A Lawyer Practicing With A Tuner Students of Music for Life Bowling Green Stages New Music and Art Festival Teaching Breath Control Teaching Breath Control Adapting the Flute to the Embouchure The Rules of Good Page Turning To Be or To Bop: Denis DiBlasio Explains To Be or To Bop: Denis DiBlasio Explains New Music New Music The Life of a Music Software Author If the Flute Fits The Importance of Competition The Importance of Competition Producing a Good Sound A Students Guide to a Superior Festival Rating Let's Talk Picc: "The Practice Plan James Galway: Pied Piper with a Punch Performance Guide: Franz Dopplers "LOiseau des Bois" Performance Guide: Franz Doppler's L'Oiseau des Bois Teaching Finger Technique 1989 Summer Flute Master Classes "Song No. 2" from "Songs for Flute and Piano"

Jim Walker Soars Into Flight Switched On Flute The Centennial of Marcel Moyse: A Biographical Sketch The Living Heritage of Marcel Moyse The Magic of Moyse Centennial Celebrations Catherine Ransom - Winner Takes All An Interview with Peter Lukas Graf The Basics of Flute Playing N.F.A. Convention Preview Putting Contests Into Perspective Lip Plate Replacement Why Teaching is an Art "Song No. 4" from "Songs for Flute and Piano" Bonita Boyd - Flutist Savant Late Bloomer: Rien de Reede Flute Tips The Art of Writing Music Manuscripts Oh No, Not Sightreading! Chant from Three for Two, One A la Kujala The Contemporary Flutist The Dynamics of Breathing with Arnold Jacobs & David Cugell Directory of Flute Competitions Robert Dick Extends the Boundaries Eric Arnal's "Echoes from Hiroshima" A Tribute to Murray Panitz The Bowland-Dowdall Duo: They'll Take You Back in Time "Roslin Castle": A Performance Guide The Baroque Flute and Harpsichord Ensemble The First James Galway International Seminar A Survey of Ambiguous Wind Articulations Michel Debost Teaches How to Learn Playing Opera Ransom Wilson: Flutist and Conductor Flute Intonation Flute Duet No. 1 Observant Teacher Samuel Baron A Performance Guide to "Lookout!" Motivation Let It Swing The Flute and the Glass Harmonica The Nutcracker and the Piccolo Peter Lloyd: In Search of Musical Ideal Peter Lloyd Remembers Moyse The Art of Flutist Paul Taffanel The Legend of Daphnis and Chloe How to Release Tension The Pinkie Polka

1990 Summer Master Classes Playing the Adjective Harry Houdeshel: The Music Never Stops Practice Tips for Technical Passages of J. S. Bach's "A minor Partita" Theobald Boehm: Father of the Modern Flute Fantasy for flute alone Music "Elegia" Profile of Winner Jennifer Debiec Putting Contests Into Perspective Canonic Duets Confessions of a Weekend Pianist Teaching Adult Beginners Sascha Gorodnitzki on Music Circular Breathing for Wind Players New Works for Piccolo Music and Technique I Could Have Laughed All Night The 1990 Flute Convention Buying a Flute Moulade in June Soloing with the Band Flute Expectations A Conversation with Ned Rorem Technique of Sound Soichi Minegishi, Teacher and Orchestral Player Flute Sonatas Fit for a King The Strobe: A Forgotten Friend Louis Ouzer Photo Gallery Renewing Old Standards Alternate Fingerings Tempo: Machine or Heartbeat? Right Place, Right Time Combining Music and Business The Diaphragm Mystique Directory of Competitions Lady's Frolic Piccolo Repertoire Expands Hit Parade or Hit List? Listen to More Than Recordings Flutists Don't Have All the Answers Walter Haedrich Found His Way Improving Articulation Misleading Music Notation Silent Night, Holy Night Preparing Rossini's Semiramide Recipe for Flute Playing Perpetuating the Art Deficient Dynamics The Career Musician

Ceramic Flutes Playing from Orchestral Parts Challenging Talented Students The Butterflies Difficulties Made Simple Vibrato and the Flute The Vitality of Music Connecting with the Crowd Controlling Dynamics Sousa's "Stars and Stripes" Song Dance Piccolo Tidbits Interpretation is Imagination and Grammar Alexander Murray on Interpretation Concepts of Phrase Breathing Performance Guide Interpreting "Syrinx" The Alec Wilder Legacy Flutist Georges Barrere Friends for Flute Quartet Shostakovich and the Piccolo Freedom, Equality, and Stability Post-Concert Small Talk A Conversation with Mark Thomas Jean-Pierre Rampal on "Syrinx": Another Point of View Mozart's Flute Music Altissimo Register Fingering Chart 1991 Summer Master Classes Piccolo Blend Play Big, Blow Small Schubert's "Theme and Variations on Trockne Blumen" Developing Natural Musicianship Advice from the Judges Learning Artistry Ballet Music and the Piccolo Simple Mechanics of Breathing Jean-Pierre Rampal on Making Music Analysis of Telemann's "Sonata in G Major" The Inner Game of Music Song for Flute and Piano Symphony Piccolo Players The Basics of Instrumental Playing Winning With Musicality: An Interview with Dionne Hansen Evaluating Contest Performances The 19th National Flute Association Convention Orchestral Flutists Two for Two, Two Piccoloists of Note Linking the Past and Present: An Interview with George Morey

Arthur Farwell's "Suite for Flute and Piano" Ingredients of Good Practicing Starting a Teaching Studio Basics of Flute Playing A Dozen Reasons for Piccolo Playing Jan Gippo Talks Picc Improving Piccolo Technique Starting to Play Piccolo Carmen's Piccolo Duet Piccolo Auditions Directory of Flute Competitions Playing Db Repertoire on C Piccolo Performing Ravel's "Daphnis et Chloe" Soft Piccolo Playing Enjoyable Flute Playing Composing with Clarity A Guide to Improvisation The Genius of Moyse's Melodious Studies It's Never Too Late Away in a Manger Advice for Future College Flutists Early Piccolo Lessons Enjoying the Flute Let It Happen Beyond the Orchestra: An Interview with Susan Milan The Teaching of Marcel Moyse Jingle Bells Historic Flutes The Rampal Discography Tonguing and Attacks Stop Trying to be a Good Musician The History of the Piccolo Guide to Performing Stravinsky's "Rite of Spring" Controlling the Airstream Kim's Chase Dispelling Vibrato Myths Flute Vibrato The Language of Music Permission to Fail Interview with Clement Barone Nothing But Music Wind and Song: A Master Class with Arnold Jacobs Swingin' Flutist Understanding Baroque Music Flute Tradition or Labor Camp Techniques of Trust Stress or Strain Forever Flute Fingerings, In Homage to Henri Altes Composing with Imagination

Harold Bennett, Flute Doctor Sensations for Flute and Percussion 1992 Master Class Listing Symphony Piccoloists Learning Through Teaching Learning Through Questions Evaluating the Performances Comparing Bach Sonatas Nutrition for Musicians Flute Works Playing in Tune A Performance Checklist for Chaminade's Concertino Gettin' Rhythm Beyond Pan and Syrinx Splitting Keys A System of Memorization New Music for Flute Metabaino Piccolo Repertoire Fingering Follies Performing Donald Erb's Drawing Down the Moon Flute Intonation Performance Guide to Ravel's "Daphnis et Chloe" Flute Fanfare American Composer Otto Luening Sweepin' Planning a Program Advice for Young Flutists A Close Relationship The 1992 Flute Convention Maxence Larrieu on Stylistic Playing Intonation Beyond the Strobe Intonation and the Harmonic Series Browsing Baroque Performance Embouchure Problems Embouchure Development Suzuki a la Debost New Piccoloist and Concerto Productive Practicing Performance Guide to Harvey Sollberger's "Quodlibetudes" Interpreting Germanic Ornaments Composing on a Computer Flute Euphorics Duo Works The Questions Beginners Ask Playing with Vibrato Developing Expressive Playing The Nutcracker's Faux Pas

Productive Practicing The Rampal Technique Wanted: Jazz Flutists Carol Wincenc's Advice The Genesis of a Flute Choir "Hasta Maana" 1992-93 FLute Competitions Performing Piccolo Play The Three Little Devils Why Marry a Flutist? Playing With Natural Style - An interview with Marzio Conti The Work Behind Workshops The Italian Flute School, Influential and Forgotten Aur?le Nicolet - Gentleman Flutist Newly Composed Music Performing Piccolo Play Vibrato and Resonance Developing Instinctive Interpretation Expressive Nuances of Sound: Dynamics, Tone Color, and Vibrato Performing Chamber Music Improving Intonation The Elements of Technique Louis Ouzer Photo Gallery Beethoven's American Connection New Piccolo Repertoire Blending and Tuning Divergent Views on Fingering Jazz Technique Thumbs Up for Altes and Briccialdi Becoming a Studio Musician A Nelhybel Premiere Stress and Pain Piccolo Chamber Repertoire To Breathe or Not to Breathe Performing Hindemith's "Flute Sonata" Mendelssohn's "Fairy Scherzo" Modifying the Boehm System Nicolas Slonimsky's Wit A Wincenc Master Class Musical Valentines Running the Reception Line Gauntlet Music for Solo Flute Player Profiles Performing the Debussy "Sonata" College Music Programs: Progress Without Purpose Flute Tone Production 1993 Summer Master Classes New Music for Flute and Piano Performing Donald Erb's Drawing Down the Moon

Learning Through Teaching - An interview with Jonathon Snowden A Performance Checklist for Chaminade's "Concertino" Gettin' Rhythm Beyond Pan and Syrinx Splitting Keys New Music for Flute "Metabaino" Musicians As Accompanists Profile of Demarre McGill Comments and Advice From Competition Judges Reinecke's "Undine" Sonata Flute Shopping Guide Understanding the Grupetto Player Sketches The Scale Game Flute Convention Preview Vibrato Then and Now Leonardo De Lorenzo, Italian-American Flutist An Automatic C# System New Piccolo Compositions Flutes, Phantasms, Phetishes Frederick the Great, Flutist and Composer Sigfrid Karg-Elert's Flute Works John Corigliano's Flute Music Performance Tips for Intermediate Players Canonical Studies Musical Birds Beethoven's Mistake Flute Expectations Performing Messiaen's "Le Merle Noir" Switching to Wood: An Interview with Felix Skowronek Solo per il Flauto Traverso, No. 126 Directory of 1993-94 Flute Competitions Flutists' Common Mistakes Mahler's Piccolo Parts The First Six Months Cecile Chaminade's "Concertino" With a New Twist Revisiting Rubank's "Selected Studies" The Voxman Method Solo per il Flauto Traverso, No. 145 The French School: Miracle or Method Performing Aaron Copland's "Duo for Flute and Piano" Trading Flute for a Baton: An Interview with Robert Spano After Syrinx Swimming Practice Applied to Music Solo per il Flauto Traverso, No. 190 Playing Ravel with Elegance Trailblazer Doriot Anthony Dwyer Performing Gustav Holst's "The Planets"

"Monologue" Landing an Orchestral Job New Approaches to Teaching Notation Performing with Pavarotti: An Interview with Andrea Griminelli The Met's Trudy Kane Exercise on "Syrinx" Setting Studio Policy Overcoming Tension The Road to Berlin Teaching Musicality with Rhythm Crossing Over Into Jazz 1994 Summer Master Classes A Gem of a Master Class 18th-Century Woodwind Articulation Interpreting Bach's Appoggiaturas Correcting Schubert's Second Variation 1994 Competition Winner Gaspar Hoyos Judges' Roundtable Discussion Memories of Music Camp Vocalizing on the Flute Preview of the 1994 NFA Convention The Power of Elegance Recounting the Wizardry of Theobald Boehm The Piccolo Solos That Challenge the Veterans Success Building Success - An Interview with Timothy Hutchins Performing Honeggers Danse de la Ch?vre Flute Fundamentals "Variations on Yankee Doodle" by Otto Luening Playing Pops Concerts Enthusiasm for Jazz Into the Jaws of Inflation Musicality First - An Interview with Conrad Klemm Interpreting Paul Whears Music Variations 4-6 on Yankee Doodle The Benefits of Inflation Annual Listing of Flute Competitions Projecting Sound and Spirit A Guide to Performing Georges-Hues Fantaisie? Take Your Pick Take Your Pick Keeping Instruments in Shape Breathing Exercises Combining the Best of Schools - An Interview with Robert Willoughby Flute Tone and Intonation Performing Dutilleuxs Sonatine? Articulation The Holly and the Ivy The Flute Music of Ernest Bloch The First Carnegie Hall Flutist - Demetrios Callimahos

The Road That Never Ends Jazz Scales for Classical Flutists On Becoming a Music Major "Five-Six? Performing Persichettis Parable for Solo Flute? Puffing is Not Hazardous to Flute Playing John LaMontaines Flute Music Berlioz Delusive Delights Mental Concepts to Improve Performance Of Metronomes and Tempos Donald Peck: Still Enjoying the Challenge Performing Enescos Cantabile et Presto? Conquering the New World: A Profile of Georges Barrere 1995 Master Classes Drawn to the Music: An Interview with Jeanne Baxtresser Performing Debussys Interlude? from the Sonata for Flute, Viola, and Harp A New Perspective on Note Releases Coltranes Harmonic Roll Index of Performance Guides Continuing the Kincaid Legacy: An Interview with Jacob Berg Preparing for Performances Performing Jolivets Concerto Exploring the Sources of Bachs Concert Studies Buying a Used Flute Adjust it Yourself Index of Orchestral Performance Guides 1995 Competition Winner Lance Sanford Judges Comments from the 1995 Flute Talk Competition Expressive Vibrato Preparing The Childrens March? from John Coriglianos Pied Piper Fantasy" The 1995 N.F.A. Convention A Tribute to Julius Baker Producing the Best Tone Tone Colors and Articulation Celebrating Kincaids Centennial A Guide to Performing Suite de Ballet? The Musical Evolutions of Strauss, Ravel, Schoenberg Finding the Paths to Tone and Technique 1995-96 Directory of Flute Competitions Debosts Comments: Stealing Is Not a Crime In Search of Musical Meaning Performing Mozarts "Concerto #2 in D Major" Dont Forget the Bb Lever Rediscovering Kincaids Notes on Flute Performance New Music Reviews Lets Talk Picc: The Piccolo Scene in Sydney Debosts Comments: Flexing Flute Muscles New Music Reviews Of Flutes and Muses

Fresh Ideas for Mozart Cadenzas Rediscovering William Kincaids Notes On Flute Performance The Language of Articulation Lets Talk Picc: Noteworthy Piccolo Events Debosts Comments: Flute Alignment In Search of a Pure Tone - An interview with Philippe Bernold A Performance Guide to Jolivets Chant de Linos? Performing Donjons Pan? Composer Otto Luening at 95 Patience and Perseverance Pay Off The Delights of College Auditions Lets Talk Picc: New Works for Piccolo Debosts Comments: Kujalas New Textbook The Boundless Energy of William Bennett Bennett Reflects on Geoffrey Gilbert Guide to Performing Zwilichs Concerto? Another View on Mozart Cadenzas The Performance Pitfalls of Godards Allegretto? Recent Recordings "Etudes for Flute Alone? by Otto Luening Lets Talk Picc: The Open-Hole Piccolo Debosts Comments: Jean Baxtressers Ten Commandments Adjusting to Play with the Philadelphia Style - An Interview with Jeffrey Khaner Performing Martinus First Sonata? Getting the Most Out of Lessons 1996 Directory of Masterclasses Lets Talk Picc: Piccolo Solos with Band Debosts Comments: Crossing the Bridge Elena Durns Special Niche Performing the Finale? from Debussys Sonata? Blending Flutes and Clarinets Learning Showmanship from Opera Stars Practicing Scales with Harmonics "Evening at the Pond? Selected Flute Ensemble Music Lets Talk Picc: Selecting a Piccolo Debosts Comments: Of Balance and Posture? The French Influence on American Orchestras A Performance Guide to Mowers Sonata Latino? 18th-Century Tempos in Historical Context New Music: The Girl with Emphysema? Posture, Position, and Sound Improving the Odds for a Career in Music New Music Reviews Lets Talk Picc: The Piccolo in Prokofievs 5th? Debosts Comments: Pain and Pleasure? Flora Lim Reaches Her Goal Comments from the Judges Preview of the 1996 N.F.A. Convention

Practice Partners Lets Talk Picc: Grainger, Persichetti, and the Piccolo? Debosts Comments: Controlling Stress? The Quest for Musicality, An Interview with Jacques Zoon A Performance Guide to Riviers Oiseaux tendres? The Saint Louis Flutists The Boston Flutemaking Tradition New Music Reviews Lets Talk Picc: Stumbling Into Being Piccoloists? Debosts Comments: Hit It, Dont Attack It? On the Nuances of Teaching, An Interview with Bradley Garner Basic Jazz Improvisation Performance Tips from Wynton Marsalis Making a Compact Disc New Music Reviews 1997 Flute Competitions The Chicago Symphony Flutists Lets Talk Picc: Piccolo Versatility? Debosts Comments: In Pursuit of Style? Following the Rampal Style, An Interview with Shigenori Kudo A Performance Guide to Mark Phillipss Rain Dance? Lessons From Opera Lessons From Opera Composing a Cadenza in the Mozart Style The New York Flute Section Lets Talk Picc: A Concert of Piccolo Music" Debosts Comments: Isometrics and the Flute" Pearce on Piccolo A Performance Guide to Eldin Burtons Sonatina? Recent Recordings: Aspects of French Phrasing The Cleveland Orchestra Flutes A Bright Future for Mimi Stillman New Music Reviews: Lets Talk Picc: Piccolo Competition Winners? Debosts Comments: The Air Column". Basics for Beginning Flutists A Performance Guide to Katherine Hoovers Kokopeli? The Dynamics of Breathing: A discussion with Arnold Jacobs and David Cugell, M.D. The Detroit Symphony Flutes Sharing Flute Lessons The Titanium Flute New Music Reviews: Lets Talk Picc: Piccolo Misconceptions? Debosts Comments: Comfort, Fingers, and Phrasing". "Winning a Competition? "The Orchestral Experience? by Donald Peck. "Performing Muczynskis Sonata? "The Art of Gracefully Declining a Performance?

Whats New in the Music Industry. The Los Angeles Philharmonic Flutists "The Art of Flutemaking? "A Profile of Tomas Janosik? Lets Talk Picc: Liebermanns Piccolo Concerto? Debosts Comments: The Gentle Art of Teaching". On Whistle Tones and Articulation: An Interview with Bernard Goldberg Conflicting Analyses of Messiaens Le Merle noir? The San Francisco Flutists 1997 Directory of Masterclasses Lets Talk Picc: Performing Liebermanns Piccolo Concerto, An Analysis of the Second Movement? Debosts Comments: Patient Practice Pays Off". "The Latin Jazz of Nestor Torres? A Performance Guide to Liebermanns Flute Sonata by John Barcellona. The l9th-Century American Flutist, The Career and Compositions of Sidney Lanier? The Philadelphia Flutists "A Night in the Cabin? Lets Talk Picc: Liebermanns Piccolo Concerto, An Analysis of the Third Movement? Debosts Comments: Resting While Playing" New Music Reviews Reaching and Inspiring Students: An Interview with Hal Ott "The Orchestral Experience" by Donald Peck. "The Conflicts Behind Prokofievs Compositions? "Performing Prokofievs Sonata in D, Op. 94? The Atlanta Flutists Lets Talk Picc: Broughtons Piccolo Concerto? Broughton's Piccolo Concerto Of Flute Playing and Cooking Winning with Confidence: An Interview with Keren Schweitzer Comments from the Contest Judges "The Conflicts and Contributions of Johann Tromlitz? Chicago Convention Preview Lets Talk Picc: Selected Piccolo Solos? Debosts Comments: Breathe with Your Ears". From Flutist to Conductor: An Interview with Keri-Lynn Wilson "Performing Guarnieris Sonatina? The Dallas Flutists "Selected Piccolo Solos? "Hearing the Old Masters? "Ballad? from Suite for Flute and Guitar? New Music Reviews Lets Talk Picc: Audition Tips for Piccoloists? Debosts Comments: Flute Competition a La Kobe". Teaching Self-Awareness: An Interview with Ellen Schimmel A Performance Guide to Hindemiths Acht St?cke? "Embellishing Irish Folk Songs? Directory of Flute Competitions. Martinus Forgotten Suite Profile of the National Symphony Flutists

Lets Talk Picc: Piccolo Premieres? Debosts Comments: Dont Forget Your Memory". Of Piccolos, Flutes & Paintings Of Piccolos, Flutes & Paintings: An Interview with Thomas Robertello "Performing Pierre Sancans Sonatine pour flute et piano ? "The Karg-Elert Legacy" by Ronald Waln. Higdons Steeley Pause?. New Music Reviews The Minnesota Flute Section Lets Talk Picc: Piccolo Premieres? Debosts Comments: Limited Movement". Author and Flutist Eugenia Zukerman Hoovers Dances and Variations? by Wendell Dobbs "The Price of Competitions? The Pittsburgh Flute Section Book Reviews Piccolo Trill Fingerings Debosts Comments: Understanding Italian Annotations". "Bachs Continuo Sonatas? Vibrato for Beginning Flutists The Boston Symphony Flutists Albert Tipton (1917-1997) New Music Reviews: "Setting Studio Policies? Lets Talk Picc: Remastered Piccolo Solos? Debosts Comments: Understanding Burn Out". "The Ghost and Gary Schocker? Bachs Continuo Sonata in E Major? Corrections to Daphnis Suite #2? "Annual Flute Maintenance? Baltimore Symphony Flutists Lets Talk Picc: Two Piccolo Solos by John McDonald? Debosts Comments: Support Isnt Everything". Of Baroque and Modern Flutes: An Interview with Richard Graef "Felds Compositional Techniques? 1998 Directory of Masterclasses Cincinnati Symphony Flutists Lets Talk Picc: Amlins Piccolo Sonata? Debosts Comments: A Will and a Way". Pushing the Limits, An Interview with Matthias Ziegler Performing Charles Griffes Poem? "The Alexander Technique For Relaxed Playing? Maquarres Daily Exercises? "Building a Studio? "Whistle Tones? Orchestral Etiquette "Bagatelles Hongroises #4? New Music Reviews The Houston Ballet Flutists

Lets Talk Picc: John McDonalds Piccolo Solos? Debosts Comments: Amazing Grace Notes". Round Sound Without Tension: An Interview with Michael Faust C.P.E. Bachs Hamburger Sonata? "Sonata in G Major? by Carl Philipp Emanuel Bach, ornamented by Leonard Garrison. "Preventing Cracked Notes? "The Alto Flute: Beautiful Beast? Lets Talk Picc: Eight John McDonald Compositions? Debosts Comments: Look Ahead, Not Behind". "Exploring Moyses Exercises? "From Russia With Flute? Comments from the Contest Judges "Music for Flute Choirs? Lets Talk Picc: Meet Jack Wellbaum? Debosts Comments: Jawboning: Less Is More". In Search of Musical Sounds: An Interview with Pierre-Yves Artaud Felds Sonata for Flute and Piano? "Woodwind Intonation? by John Barcellona. "Composing for Flute Choir? "Imitating Voice on the Flute? Flutists of the New York Met The Business of Teaching: Building Confidence? New Music Reviews Lets Talk Picc: Advice from the Pros on Piccolo Auditions? Debosts Comments: Liberty and the Flute". Of Music and Instrument Making, An Interview with Gerardo Discepolo Performing Schumanns Romances? "Checklist for Competitions? Directory of Flute Competitions. Alain Marion (1938-1998) New Music Reviews Lets Talk Picc: New Concerto from Down Under.? Debosts Comments: Active Tone Practice". An Interview with Philip Dunigan "Vivid Images Are Better Than Words? "Using Extended Techniques in Fukushimas Mei? Auditions, College, and Beyond New Music Reviews "Musical Careers in the Military? Lets Talk Picc New Piccolo Commissions? Debosts Comments: Active Tone Practice". "Just Notes, Until Now? Performing Coplands Duo? "The Boulez Without Fear? "Developing a Jazz Technique? New Music: New Musc Reviews Lets Talk Picc The Piccolo, Then and Now? Debosts Comments: Minuet or Funeral March".

Still Passionate About Music, An Interview with Jean-Pierre Rampal by Denis Verroust, translated by Michel De "A Playful Interpretation of the Liebermann Sonata? "Trouble Shooting Flute Problems? "Flute Music of William Grant Still? The Business of Teaching: Introductory Classes? Performing Felds Introduzione, Toccata, and Fuga? New Music Reviews Lets Talk Picc Piccolo Playing Hints? Debosts Comments: In Just Three Words". Whats New in 1999: New Sounds from Robert Dick Images for Coplands Duo? Performance Suggestions from Jeanne Baxtresser "Choosing a Career in Music? A Sublime Reading List "Its Only Fitting? "A Notebook of Musical Ideas? Lets Talk Picc Practice the Picc? Debosts Comments: Imaginative Articulation". "Baltimore Flutist Emily Skala? "Rhythmic Groupings in Martinus Trio " 1999 Summer Masterclasses "Plumbing the Depths? Lets Talk Picc. Overture to Semiramide? Debosts Comments: Fingerings to Enhance Tone". "Jeanne Baxtresser Going Strong? "DeLaneys Compositional Endeavors? "Flute Music of Keith Gates? "Argentine Flutists? "Common-Sense Flute Playing? "The Best Audition Tapes? For the Love of Composing, An Interview with Hugh Downs. Lets Talk Picc Samuel Adlers Canto XIII? Debosts Comments: Lips Are For Kissing". "Boulez on Boutez? Moyses 24 Etudes for Flute? "Quit Harping and Duo It? "Flute Music of Brazil? - Pattpio Silva New Music Reviews "When the Fat Lady Sings, The Flute Comes In? "Of Flutes and Jewels? by Wendell Dobbs. Lets Talk Picc Martin Amlins Piccolo Sonata? Beth Chandler: Winning With Style "Performance Tips from the Judges? From the Principals Chair: A Conversation with Donald Peck. "Its All In the Ear? Lets Talk Picc For the Birds? Debosts Comments: Finger Anticipation". "One Fine Day? - Timothy Day

"A Guide to Martinus Sonata? 24 Bach Concert Studies by Ronald Waln. "Mozarts Flute Quartets? New Music Reviews: The Three Graces Indianapolis Flute Section Lets Talk Picc: Piccolo Tremolo Fingerings? New Music Reviews: Sonata for Two Flutes New Music Reviews: Fluitkwartet New Music Reviews: Thirteen Kanons, op. 113 New Music Reviews: Games of Pairs Finger Anticipation New Music Reviews: Time Capsule New Music Reviews: Serenade in D major, op. 41 New Music Reviews: Carnaval Royal (2 flutes) New Music Reviews: 45 Duos sur des airs folkloriques New Music Reviews: Meet Me in Dreamland Debosts Comments: Repertoire as Practice". In Search of Sound: An Interview with Patrick Gallois "First Faur?? "A Practice Guide to Etudes? New Music Reviews: Pieces Faciles de Bach et Handel New Music Reviews: Wie Eilen from Cantat #78 New Music Reviews: Jazzn' A-Round Directory of Flute Competitions. Rochester Philharmonic Flutists. Lets Talk Picc: Metal or Wood Piccolos? Talking About Flutes Debosts Comments: Faster Than the Speed of Air". Performing Tower's Concerto Performing Towers Concerto The Learning Pendulum "Military Flutist Sees Action? "Artistic Integrity? "Productive Practice? New Music Reviews: Danses Espagnoles #2 et #12 (2 fl/guitar) New Music Reviews: Eine Kleine Nachtmusik (4 flutes) New Music Reviews: From Across the Sea (3 flutes) New Music Reviews: Dance Suite (4 flutes) New Music Reviews: Variations on a Swedish Folk-tune (fl/AF) New Music Reviews: Concerto for Flute with String Quartet New Music Reviews: No Exit (Huis Clos) --fl/va/hp New Music Reviews: Pour un Rituel Imaginaire (3 flutes) New Music Reviews: April Whirlwind for Flute and Piano New Music Reviews: Prelude et Air pour flute et piano New Music Reviews: Sonata for flute and piano Lets Talk Picc: Piccolo Performances? Debosts Comments: Pant, Sniff, and Gasp". Champion of Contemporary Music: An Interview with Robert Aitken Performing Ned Rorems Trio?

"From Machine Gun Vibrato to Restrained Pulsations? by Karen Haid. Running a Studio as a Business "Inspiration From the Dance? New Music Reviews: Hanukah Music for Two Flutes New Music Reviews: International Christmas Duest New Music Reviews: More Christmas Music (2 flutes) New Music Reviews: John Philip Sousa March Collection (2 flutes) New Music Reviews: Scarborough Fair (3-4 flutes) New Music Reviews: Flute Duets Old and New New Music Reviews: Music Collection for Two Flutes, vol. 2 New Music Reviews: Modern Flutist 2 (20 duets for 2 flutes) and 3 (14 trios for 3 flutes) New Music Reviews: Exchanges (2 flutes) New Music Reviews: Suite for Flutes New Music Reviews: My Dreydl Lets Talk Picc: Mahlers Third Symphony? Debosts Comments: The Guttural Tongue". The Symphonic Soloist: An Interview with Berlins Emmanuel Pahud Koechlins Les Chants de Nectaire? "Cajun Folk Songs? Improving Flute Intonation Pausing Over Transfer Students Beyond the Score New Music Reviews: I Monti Pallidi (flute choir) New Music Reviews: Soaring (2 flutes) New Music Reviews: Vier Capricen, op. 107 (2 flutes) New Music Reviews: TierraTierra (2 flutes) New Music Reviews: The Laurel Tree (flute/ picc) New Music Reviews: Marche Militaire Francaise from Algerian Suite, op. 6-10 (multiple flutes) New Music Reviews: Game Show Addicts (2 flutes) New Music Reviews: Pastoral (ensemble) New Music Reviews: Funf Aphorismen (ensemble) Baroque Ornamentation Lets Talk Picc: Mahlers Third Symphony? Debosts Comments: Stompin an Pumpin" Bach Scholar Jean-Michel Tanguy Performing Bartoks Hungarian Suite? Acoustics of the Flute Charles Koechlins Flute Works Creative Memorizing Tips Lets Talk Picc: Mahlers Third Symphony? Debosts Comments: Musical Silence". Ervin Monroe Does it All" Performing Berios Sequenza? Clearly Confusing Notation 2000 Flute Master Classes The Tax Man Cometh. Alexa Still Enjoys the Flute Exploring Takemitsus Voice? Fluters of Old Erin by Wendell Dobbs.

Shifting the Beat for Cleaner Technique Debosts Comments: The French Connection". Lets Talk Picc: Soft Piccolo Playing" Endless Improvements Debost's Comments: "Endless Improvements" New Job, New Flute, New Country New Job, New Flute, New Country, An Interview with Mathieu Dufour, Principal Flute of the Chicago Symphony Performing Taktakishvilis'Sonata for Flute and Piano Performing Taktakishvilis Sonata for Flute and Piano? A First Lesson to Ignite the Spark "A First Lesson to Ignite the Spark? Memorizing Several Ways "Memorizing Several Ways? by Leonard Garrison. New Music Reviews: April Whirlwind for Flute and Piano New Music Reviews: Sonata for flute and piano New Music Reviews:Pour un Rituel Imaginaire (3 flutes) New Music Reviews:Prelude et Air pour flute et piano New Music Reviews: Danses Espagnoles #2 et #12 (2 fl/guitar) New Music Reviews: Sonate pour flute seule New Music Reviews: Variations on a Swedish Folk Tune (fl/AF) "Musical I.Q. Test? New Music Reviews: Jazz Conception (Method) New Music Reviews: Pan Blesse pour flute seule Vincent Persechetti and the Piccolo Let's Talk Picc: "Persichetti and the Piccolo" by Karen Haid Debost's Comments: "Managing Long Phrases" Jean-Pierre Rampal (1922-2000) Perseverance Pays Off, An Interview with Flute Talk Competition Winner Jennifer Binney. Comments from the Contest Judges, Kathleen Chastain, Mary Karen Clardy, and Donald Peck. Bendas Sonata in G for Flute and Guitar? N.F.A. Convention Preview Let's Talk Picc: "Meet Tamara Thweat" Software Review A Flutist for Every Style, Steve Kujala Talks About His Work "The French School? Tallon Perkes Cadenzas For Two Mozart Concertos. New Music Reviews Teaching With Flute Ensembles "Flute Studio Policies? "Early Piccolo Lessons? Recent Recordings Still Galway After All These Years Two Interpretations of Dutilleuxs Sontatine? "All That I Know About Music I Learned From an Etude? "The Sad Story Behind Schuberts Variations? by Karen Haid. New Music Reviews Upcoming Flute Competitions. "The Wisdom and Humor of Trevor Wye" "The Enduring Charm of 'Christmas Morning Suite'"

Edward Riley's Flute Melodies: An Early American Treasure Special Piccolo Fingerings "Density 21.5", as Corrected "Easy Steps to Student Recitals" New Music Reviews Software Review Let's Talk Picc: "New Piccolo Repertoire" This and That: How Times Have Changed Albrecht, Theodore: Mozart's Magic Flutist: In the 1780s Anton Dreyssig was Vienna's Leading Flutist A Century of "Morceaux de Concours" Learning from the Violins Joanie Madden Is a Flutist to Cherish A History of Woodwind Ensembles Keeping Track of Lessons with an Assignment Notebook Let's Talk Picc: "Dance of the Southern Lights" A Passion for New Sounds: An Interview with Camilla Hoitenga Pinky Calisthenics A Lesson in Jazz Improvisation Professional Advertising The Lesson Fees and Policies for Flute Students at All Levels The Magic of Villa-Lobos: A Performance Analysis to Ch?ros #2" Warming Up with Whistle Tones From Mariano and Kincaid to Decades of Fine Teaching: An Interview with Robert Willoughby Practice Rhythms for Students Perspectives on Legato Tonguing The Elusive Search for Proof That Music Improves the Mind A Performance Guide to "The High and the Mighty" Lowell Liebermann's Approach to Writing Music for the Flute: A Conversation with the Composer A Performance Analysis of Eugene Bozza's "Image" Guiding College-Bound Students: Teachers Are Often Asked for Advice Flute and Guitar Duos Perform at Red Cedar Chamber Festival Obituaries: Eleanor Lawrence Obituaries: John Fuggetta A Source of Piccolo Works with Varied Chamber Groups 2001 Flute Master Classes The Essence of Artistic Playing, a Conversation with Mark Sparks The Compositional Techniques of Messiaen's "Le Merle Noir" More Alternate Fingerings for Improved Intonation Embellishment, Italian Style: Ornamenting the Largo Movement of Vivaldi's C Major Piccolo Concerto Business of Teaching: Running a Studio as a Business It's Never Too Late to Check Hand Positions The Dubious Tradition of Flute Masterclasses Software Review: Music Ace Software Review: Home Concert 2000 Rushing to Meet Reiner Weeding Students from Your Studio Playing Piccolo and Alto Flute for All Around Improvements Musical Stories: Will the Real William Morris Kincaid Please Stand? The History of the Piccolo, from Fifes to Intricate Keys

Collaborating with a Composer: An Interview with Catherine Issalys and Mark Warhol The Problems in Teaching Vibrato The Trick is to Stay Fresh with a Full Teaching Load Software Review: Music Lessons II This and That: Understanding that Queasy Feeling A Roundtable Discussion of Chaminade's "Concertino" A Dream Job with the U.S. Army Fifes and Drums Choir Music without Low Flutes Flute Convention Preview: After Columbus, Ohio, Get Set for Dallas in August Cart's Baroque Flute Sonatas New Piccolo Repertoire from Norwegian Composers Audition Time "Everything She Does Is Wrong": A Conversation with Frances Blaisdell The Demons of Hand Position The Business of Running a Studio Making Demo Tapes for Wedding Performances Obituaries: Ross Prestia (1925-2001) Let's Talk Picc: My First Recording Project Roundtable Discussion of Elementary Method Books Thoughts on Playing Music by Johann Sebastian Bach Performing Donald Erb's "Music For Mother Bear" A Brief History of the Alto Flute Orchestral Solos for Alto Flute Many Options and Choices In Buying a Used Flute Lessons I Learned From My Students "Dawn Carol" Recent Piccolo Recordings Evolutions in Flute Design Patricia George Prefers to Teach and Live in Idaho The Painful Right Hand The Rockstro Debate Revisited Performance Guide to Elizabeth Brown's "Trillium" Ten Tips for a Better Sound Why I Chose Spain Reviews: "Peter Lloyd Flute Techniques" Let's Talk Picc: Piccolo Solos in Band Music Debost's Comments: Ravel and the Flute Preparing for College Auditions Custom Earplugs for Musicians Teaching Students to Practice Slowly and Perfectly Every Day The Kujalas on "Eurhythmionics" "El Desembre Congelat" ("The Icy December") The Golden Thread of Sound A Shelfful of Flute Books Let's Talk Picc: Tchaikovsky's 4th Art and Folklore in the Compositions of Katherine Hoover Performance Guide to Katherine Hoover's "Winter Spirits" Mozart and the Flute: Thoughts on Playing in the Classical Style Approaches to Memorizing

Presto from "The Faithful Music Master" Flute Fingering Faults Organized Practice Time A Shelfful of Pedagogy Books: Flute Teaching Publications Lessons from Other Instruments Back to the Flute Let's Talk Picc: Performance Tips for Jan Bach's Piccolo and Bassoon Duet Debost's Comments: The Secrets of Practicing The Leading Flute in Hollywood: Jim Walker from Bach to Free Flight "Night Soliloquy" by Kent Kennan: A Performance Guide Dispelling Common Flute Myths Take the Mystery Out of Vibrato Teaching Teaching Students to Listen A Shelfful of Flute Books Let's Talk Picc: Performance Tips for John McDonald's "Sonatina for Piccolo and Piano" Flute Notes After Her Classical Training Rhonda Larson Chose a Different Path "A Night Piece" by Arthur Foote: A Performance Guide for Students Style and Inflection Emerge Between and Beyond the Notes On Playing the Bass Flute Allegro from "The Faithful Music Master" A Shelfful of Flute Books Directory of Master Classes During the Summer of 2002 Report on the Kobe Competition Let's Talk Picc: Serious Piccolo Study Begins When Students Reach 8th Grade Debost's Comments: Misconceptions About French Tonguing Flute Duos to the Fore: Zawa - Claudia Anderson and Jill Felber Intonation - Just and Tempered Fitting and Adjusting Headjoints Ervin Schulhoff's Flute Sonata: A Performance Guide George Barr?re's Autobiography: A Lost Treasure from 1921 The Final Shelf of Flute Books Let's Talk Picc: Mahler's Piccolo Parts The Unusual Career of Suzanne Shulman Jacques Ibert's "Trois Pi?ces Br?ves", A Performance Analysis Tips on Third-Octave Intonation Proven Ways to Recruit Students Those First Four Measures Careers in Chamber Music: There's More than Corn in Iowa Allen Krantz's "Song of Spring" For Christina Jennings, the Family Calling is Music and Teaching Expression, Depth, and Emotion in the Music of Frank Martin Excessive Practicing May Cause Muscle Tremors, Focal Dystonia Flute Performance in Church My Marathon Session with Moyse The French School Arrives with George Barr?re A Few Don'ts for Flutists Piccolo Premi?res in Washington CD Reviews

CD Reviews CD Reviews Flute Notes Latin Flutist Nestor Torres: Charanga Roots, Classical Style The Duo Sonatas of J. S. Bach Duett from "Musikalisches Vielerly" by C. P. E. Bach Woodwind Quintet Literature New Music Review: The Baroque and Classical Flute: Twelve Favorite Pieces by the Masters New Music Review: Three Sonatas for Flute and Basso continuo New Music Review: Animal Anthology - Land Lovers; beginner duets New Music Review: Animal Anthology - Water Play; beginner duets New Music Review: Sei Duetti, Op. 51 New Music Review: Souvenir Anglais Fantaisie pour trois Flutes, Op. 51 New Music Review: Tarantelle Styrienne; flute choir New Music Review: Cool and Easy; (D1) New Music Review: What a Week!; (D3-4) New Music Review: Sonate pour 2 flutes; very difficult New Music Review: Sonatina; beginner ensemble for flute, 2 Bb clarinets, and bassoon. New Music Review: Flute and Guitar Stories, Vol. 3; intermediate level New Music Review: Fugue in F minor, K. 401; 2 C, alto, and bass flutes New Music Review: Adagio and Allegro, K. 594 New Music Review: Pavane, Op. 50; woodwind quintet New Music Review: Euro Suite for Flute and Guitar; difficult level New Music Review: Journeys: Jester, Jousters, and Jugglers; easy flute & piano Machines and Craftsmanship in Creating Handmade Flutes Two Orchestral Piccolo Solos: "The Procession of the Sardar" from Caucasian Sketches by Ippolitow-Iwanow; a Flute Notes CD Review CD Review The Boundless Energy of Tara O'Connor The Ongoing Search for the Perfect Tempo Albert Roussel's "Jouers de Flute" Noel sur les Flutes, by Louis Claude Daquin, arranged for three flutes by Victoria Jicha A Verical View of Etudes New Music Review: Cool and Easy; (D1) New Music Review: What a Week!; (D3-4) New Music Review: Flute and Guitar Stories, Vol. 3; (E1-2) New Music Review: Journeys: Buenos Aires; (FP2) New Music Review: Jindrich Feld "Sonatine Americaine"; (FP5) New Music Reviews: Vocalise; (E4) soprano, alto flute, and piano New Music Reviews: Jinx on You; (E5) flute and guitar New Music Reviews: Hommage d'un jeune fl?tiste ? quelques grands musiciens; (FP2-3) New Music Reviews: Good Morning, Rachel; (S1-2) New Music Review: Souvenir Anglais Fantaisie pour trois Flutes, Op. 51 New Music Review: Cherry Blossoms Are Falling; (FP1) New Music Review: Sei Duetti, Op. 51 for flute & guitar; (E5) New Music Review: Petit Menuet Pour Merwan; (FP1) New Music Review: Sonata, Op. 94, Sergei Prokofiev; (FP5) New Music Review: Selections from the Goldberg Variations; (C4)

New Music Reviews: Romance in A Major; (FP4) New Music Reviews: Concerto; (FP5) New Music Reviews: A Fond Farewell - Meditation on September 11; (FP5) New Music Reviews: Flute Forest; (S5) New Music Reviews: Minutiae; (P5) New Music Review: Louis Moyse "Second Sonata, Op. 60"; (FP5-6) New Music Review: "F?r Alise"; (S2) New Music Review: Jean Sichler "L'Oiseau-Soleil"; (FP5-6) New Music Review: "Sonate Romantique"; (FP5) New Music Review: "Sheherazade" (C4) New Music Review: The Wonderful World of Beethoven; (FP2-3) New Music Reviews: Serenade for Flute and Piano; (FP2) New Music Reviews: Three Pieces for Piccolo and Piano; (PP3) New Music Reviews: Reflections: Four Pieces for Flutes and Piano; (FP3-4) New Music Reviews: De la fl?te, volumes 1-3; (FP1-2) New Music Reviews: Nine Pieces by John Dowland, volumes 1 and 2; (E2-3) flute and guitar New Music Review: Fantasy on "When Johnny Comes Marching Home"; (FP3)(P3) New Music Review: Le Pic-Vert; (P5) New Music Review: Grande Sonate; (FP4-5) New Music Reviews: Nuites d'?toiles: 8 Early Songs; (FP3) New Music Reviews: J. S. Bach - Exercitium: Pr?ludes, Fantaisies, Toccatas, Exercitium for solo transverse flute New Music Reviews: Triumvirate; (E4) two flutes and bass flute New Music Reviews: Hark, Hark! The Lark at Heaven's Gate Sings; (FP6) New Music Reviews: FIve Pieces from "Album for the Young"; (FP3) New Music Review: 18 Studj o Soli, Op. 31 New Music Review: Essential Jazz Lines in the Style of John Coltrane; (S5) New Music Review: Suite for Solo Flute; (S5) New Music Reviews: Andante Appassionato for flute alone; (S5) New Music Reviews: The Faithful Flute; (E3) New Music Reviews: "L. DeLorenzo" for solo flute; (S5) Flute Teachers and Directors Can Work Jointly on Sectionals Update on Lost Piccolo Pieces The Color of Music Marina Piccinini Encourages Studetns to Study Full Scores The A Major Duo-Sonata by Bach Try New Flexibility Exercise, Set Angle to the Music Stand Save Time With a Newsletter From a Reader: The Top 10 Things to Know About Musicians; A non-musician's guide. Gigue from "Sonate pour trois Dessus" New Music Reviews: Reviewer's Choice - Great Flute Duos from the Orchestral Repertoire; (D5) New Music Reviews: The Sound of Music Medley; (C3-4) New Music Reviews: Wedding Set; (C3-4) New Music Reviews: Preludio & Fuga IV from "Well-Tempered Clavier", Book 1; (C4) New Music Reviews: Fl?te en t?te; (FP1) New Music Reviews: Four Pieces; (FP2) New Music Reviews: Flute Sonata #3; (FP5) New Music Reviews: Three Pieces; (FP3) New Music Reviews: Majdovalse; (FP2) New Music Reviews: 5 Incantations; (FP5)

New Music Reviews: Monologue II; (S5) Tips for Starting Flute Choirs Physical Fitness for Flutists Most requested Piccolo Excerpts

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Kathleen Goll-Wilson Jim Walker Ann McCutchan Joan Marie Baumann Linda Keefe Nancy Andrew Kathleen Goll-Wilson Bettine Clemen Ware Geoffrey Gilbert Kathleen Goll-Wilson Albert Cooper Louis Moyse Dave Schoettle Barbara Klipp Kathleen Goll-Wilson Jim Walker. Dave Schoettle Jane Bent Alexander Tkaczevski Kathleen Goll-Wilson Stephen Kujala Kevin Kelly staff editor Kathleen Goll-Wilson Joan Marie Bauman Eileen Grycky Kathleen Goll-Wilson Jan Boland Penelope Mathiesen Catherine Sell Gary Stith Charles Andrews John Wion Rebecca Magg John Knight Michaela Huber Kathleen Goll-Wilson Robert Dick Shirley Strohm Mullins Matt Marvuglio and Wendy Rolfe Kenneth Piotrowski Jan Gippo Kathleen Goll-Wilson Joan Marie Bauman John Ranck Dennette McDermort Phyllis Nefsky Ernie Block

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compiled by Susan Waller Jan Gippo Thomas A. Kennedy Robin Fellows Sherri Hubka Stephen Dembski Jan Gippo Kathleen Goll-Wilson Kathleen Goll-Wilson James Perrone Shirley Strohm Mullins Alan Zoloth Sascha Gorodnitzki Michele Gingras Jan Gippo Michel Debost Kathleen Goll-Wilson David Eagle Randy Budnikas Jan Gippo Michel Debost Dennis Hugh Avey Angeleita Stevens Floyd Mary Karen Clardy Barbara Jackson Frank Wickes Louis Ouzer Karen Yonovitz Jan Gippo Michel Debost Kathleen Goll-Wilson Lee-Ann Horning Raymond Fabrizio Randy Budnikas Jan Gippo Michel Debost Ervin Monroe Kathleen Goll-Wilson Kristina Karla Haedrich John Barcellona Bruce Barr n Jan Gippo Michel Debost Ann McCutchan Kathleen Goll-Wilson Mary Karen Clardy

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Review Review Review Review Review Review Review Review Review Review Review Review Review Review Review Review Review Review Review Review Review Review Review Review Review Review Review Review Review Review Teaching Piccolo Tone Profile Repertoire Practice Teaching General Repertoire Review Review Review Review Review Review Review Review Review Review

Julia Larson, Diane Boyd Schultz, and Kimberly Sopata Rebecca Meador John Barcellona Jennifer Cadwell

Review Choir Practice Piccolo

Contents

Jean-Pierre Rampal Sonata in F Major Maintenance Ransom Wilson Solo Sonata in F Major Mindy Kaufman C Major Piccolo Concerto Carl Joachim Andersen Andersen Etudes Scherzino Jeffery Zook Sonata in E-flat Major Career Frans Brueggen Baroque Flute Tin Whistle Allegretto Flutemaking Flute Shopping Solo Paula Robison Ensemble Canonic Duet in G Major Gift Solo Carol Wincenc Naumburg Foundation A Night Piece Recording Julius Baker Tuning Sonata for Solo Flute Terms Eugenia Zukerman Fantasia in D Minor Jeff Khaner Concertino Braces William Kincaid William Kincaid Chaminade Ensemble Hand Position

Robert Aitken Danse de la Chevre Laurence Trott Whoa! Nellie! Tips Harold Bennett Pittsburgh Symphony Sight Reading Maintenance The Piping Faun Paula Robison Doriot Anthony Dwyer National Symphony Movement Suite in B Minor Doriot Anthony Dwyer Geoffrey Gilbert Legende Pastorale Hubert Laws Jazz Irlandaise Beatrice Keram Madrigal Bonita Boyd Cleveland Orchestra Sonata Robert Willoughby Transcribing Andante in C Major, K. 315 History Rhythm Auditions Samuel Baron Samuel Baron Tape Sonatina Baroque Flute Practice Tone Tape Recorder Baroque Flute Practice Tone James Pellerite Airs de Ballet d'Ascanio Flute Choir Auditions Auditions Bernard Goldberg

Methodical Sonata in G Minor James Galway Bernard Goldberg Jeanne Baxtresser Tone Sonata in F Major Tone Saint Louis Symphony Orchestra Fear Tim Day Suite Paysanne Hongroise Auditions Joseph Mariano Sonata "Undine" Maintenance Embouchure Frances Blaisdell First Sonata Transcribing Julia Bogorad Sonata Fingerings Theobald Bohm Steve Kujala Sonata in E Minor Improvisation Book Thomas Nyfenger Celebration Maintenance Michala Petri Hamburger Sonata Mary Louise Poor Pain Accompanists Maurice Sharp Daphnis and Chloe Suite Tuning Shakuhachi Michael Emmerson Practice Concerto in G Major, K. 313 Minuet in F Major The Alexander Technique The Alexander Technique Michel Debost Michel Debost Serenade Jean-Pierre Rampal

Scherzo to A Midsummer Night's Dream Harvey Sollberger Sequenza for Flute Alone Dissertation Fingerings Andras Adorjan Andras Adorjan "Leonore" Overture No. 3 Symphony No. 4 Dissertation Britton Johnson Duo for Flute and Piano Platinum Flute Circular Breathing Dissertation James Newton Four Jazz Etudes Thaddeus Watson Carol Wincenc Whistle Tones Stress Recording Lew Tabackin Sonata in E Minor Third Register Jennifer Steele 30 Caprices for Flute Embouchure Alain Marion Sonatine pour flute et piano Publishers Jim Walker Electric flute British Flute Society Embouchure Donald Peck Articulation Manager Audition Tapes Embouchure Teaching Leone Buyse Adult Students Young Flutists Speech Albert Tipton Maurice Sharp Recitals Wind-Song

Low B Flutist of the new Solar Winds, quintet from University of Texas at Austin, makes ensemble playing his career. Kraber explores Iberts Trois Pi?ces and teaches good ensemble musicianship. Performance guide The colors of the traverso flute add dimension to modern composition. Overuse or misuse? Easy does it? is the best medicine. Regarded as a virtuoso listener and problem-solver, the piccoloist of the Cleveland Orchestra is interviewed by Repertoire featuring the not-to-be-neglected little instrument. Solo Performance guide The Pied Piper Your looking glass can become your best teacher. Mirror Too many flutists? Advice for teachers. Too Many Flutists Arrest bad habits and improve performance. Bad Habits Kathy Chastain Debosts teaching assistant at the Conservatoire in Paris makes her career as a free-lancer. This prestigious conservatory maintains high standards by encouraging competition. Paris Conservatoire Practicing can be fun with Debosts scale pedagogy. Scales A discovery of 19th-century flute works adds value to the repertoire. 19th Century Repertoire Flute Talk presents a portion of this never-before-published duet for your enjoyment. Journey to Sothebys in London for the auction of early musical instruments. Early Musical Instruments Judith Lapple Performing in The United States Air Force Band has boosted this flutists career. Attitude can calm concert jitters. Performance Anxiety Healthful tips to rid yourself of tension. Exercise Discussion of osteoarthritis and carpal tunnel syndrome. Physical Problems Find out who is teaching where and when. Meet the winning flutist from New York, student of Jeanne Baxtresser and Samuel Baron. Amy Porter Principal flutist of the New York Philharmonic advises flutists. Ideal Student Flute Talk competition judges share advice. Lesson Time Learn more with a good attitude. An invitation from N.F.A. founder and honorary life president. "An artist must search and grow,? says Paula Robison, flutist, who with her guitarist partner, Eliot Fisk, collabo Communication Interpretation of the collection of folk songs from Appalachia by the artists for whom this work was written. Mountain Songs

Hints on how to create fine ensemble with between flute and guitar. Balance California, here we come! A preview of the National Flute Associations 16th annual flute convention. Convention hints for San Diego. Betty Bang Mather: I like music that is really expressive.? Betty Bang Mather EdPress award winning author writes about controlling stress. Stress "Music is more than beautiful sound.? Raymond Guiot "There is an easier way to blow than the old traditional way of supporting hard,? says the principal flutist of th Janet Ferguson Personal preference and results from acoustical studies. Tone Handsome rewards for pre-college students. Scholarships Ideas for using flute music in various church settings. Religious Music Playing scales doesnt have to be boring. Scales Variationen "I am concerned with specifics, analyzing the physics of playing,? says Kujala. Walfrid Kujala Interpretation of the Largo from Vivaldis Piccolo Concerto. Piccolo Concerto Mariano's concepts of musicality development through scale practice. Joseph Mariano A summary of the Nice, France Convention.

Discussion of the use or non-use of headjoint corks. Corks Study Duet Argument for the increased use of piccolo in concert bands and general practice. Usage Ideas for warm-up routine. Warm-up "Some make a profound demonstration of their technical ability on the instrument but with no style, no heart, Maxence Larrieu Interview with the leading craftsman as he celebrates 50 years. Albert Cooper Developing a professional flute ensemble. Principal flutist in the New York Philharmonic writes about performance etiquette. Team Player History of the voice and flute in ensemble. Flute and Voice Repertoire for the seldom used group of flute plus three strings. Flute Quartet Kirkwood Flute Ensemble "Even with a manager, it is a full-time job to become established as a performing duo. If you want to work, yo

Espree "That their program should be unusual is inevitable, but far beyond that, they are fascinating....? wrote Micha The Jubal Trio An orthodontist tells about the protective devices available to wind players undergoing orthodontic treatment. Orthodontics by Janis Weller. The author recounts the practical skills necessary to pursuing a performing career. Career Preparation Using a new three point balance concept. Holding the Flute Two Desert Scenes Review of Walfrid Kujala's premiere performance of this work for flute/piccolo and orchestra. Concerto Purchasing An interview with flute professor of the Manchester School in England. Trevor Wye Advice from the master teacher and performer on how to raise your level of playing. James Galway International Summer School A summary of the International Summer School classes. Never-before-published new music for flute and piano. Morning Sunshine Developing a flute ensemble. Ensemble Walt Parazaider "The mettle of a good teacher is pulling something out of a mediocre talent; I never had that kind of patience, Improve your intonation by tuning in. Renewing one's excitement in being a musician and teacher. What direction is new music going? Find out where it went at Bowling Green State University. Breathing Learn how to avoid problems by breathing naturally. An analysis of the physiology of the mouth and how it relates to the flute. Tips on being a page turner for other performers. "Many jazz musicians are known for their innovative ideas, not their chops,? says Denis DiBlasio, author of Bop Denis DiBlasio "Music for Flute" by James Perrone; "Soliloquy" for solo flute by Susan W. Norton Soliloquy for solo flute Learn how to write music at the computer. Altered keys make a better fit. Learn how to develop the characteristics of a good competitor. Competition Scales and long tones are not just acrobatics for the flute. Plan ahead with certain steps towards competition preparation. ...a simple plan to practice scale patterns, develop discipline and endurance, and vary the routine so you won't "There is room for anybody anywhere if they are good,? says Galway. After performing this demanding work for a sold-out crowd in Grand Junction, Colorado, Mark Thomas shares L'Oiseau des Bois Ideas on teaching better finger motion and position. Find out who is teaching where so you can attend a class this summer. Never published music for you to try.

Free Flight flutist says he wont let the audience sleep through his concerts. Understanding the possibilities for electronic flute sound in contemporary music. Pr?cis of Marcel Moyse's career. The teaching concepts of Marcel Moyse Robert Aitken relates an anecdote of his first meeting with Marcel Moyse. List of events to celebrate the centennial of the birth of Marcel Moyse. This years Flute Talk competition winner briefly considered not entering. Soloist/conductor talks of music and musicians. "The difficulty of the flute is to play it in tune and with the right expression.? A complete listing of events at the New Orleans convention of the NFA. Competition judges Julius Baker, Jean Berkenstock, and Alexander Murray share comments and observations. Famed flutemaker says it is not as easy as it looks to redesign the embouchure hole. Son of Marcel Moyse loves to teach. Never published music for you to try. "A good teacher should focus on what the student naturally does well." Concertgebouw flutist stresses authentic interpretation. Free Flight flutist shares sound advice. Neatness counts when trying to publish compositions. Learn how to improve your skills. A never-published flute duet for you to try. Popular jazz flutist Steve Kujala says his classical training helps his improvisation. Jazz performance requires fluid technique. "It makes good sense not to concern yourself with breathing so you can concentrate on all the other aspects of

"People tell me I stretch their imaginations, but more important, I move them." An unpublished piece for solo flute and performance guide with an analysis of contemporary techniques. He endeared himself to others not only with his sense of humor, but also with his effortless musical ability. Period instruments and historical costumes add to the performances by this flute and guitar duo. This guide provides suggestions for performing 19th-century ornaments on the modern flute. "Players and listeners find this combination uniquely satisfying, but there are some performance challenges." A summary of James Galway's advice offered during his recent master class in Switzerland. Seven musicians interpret four different articulation notations. "Learning is a means to an end, not an end in itself." New York City Opera's solo flutist describes the difference between playing in an opera and playing in a symph "When I conduct I think about the big picture, the harmonic and rhythmic structure, and make sure those thin Flute students should think of every note as a tuning note. Newly-composed duet published for the first time in this issue. "The teacher should understand the student's aspirations and then fill in what is needed." A detailed explanation to help interpret a contemporary work for solo flute. Don't simply tell students to practice; make them want to. Playing jazz licks made easier with advice from teachers at the Berklee College of Music in Boston. Benjamin Franklin invented an unusual instrument that blends nicely with the flute. The Nutcracker "I don't believe in fussing over the terminology of what muscles we move. If you sing in the bath, you don't th A first-hand account of studying with the master flutist. An explanation of the pedagogy of the founder of the French flute school.

A demonic flute solo guaranteed to frustrate the most able performer, yet strengthen the little finger

An extensive listing of courses you won't want to miss. Repair Highlights of the long career of Navy flutist who became professor at Indiana University. Helpful exercises to improve technique. A narrative account of the development of the flute. Never-published music for you to play. Elegia Winner of the 1990 Flute Talk Competition talks about studying and her interests beyond the flute. The judges' comments and advice from the roundtable will help every flutist prepare for future competitions. Never-published easy duets for your enjoyment. Knowing what to eliminate will make you a better accompanist. g Beginners Thoughts on education, art, and life from a Julliard convocation address.

Repertoire Technique Composer of both serious and humorous works says that a basic ingredient of humor is finding similarities betw A preview of the events scheduled for the Minneapolis meeting in August. What to consider when shopping for a new instrument. A never-published easy solo for flute and piano. Solos Expectations Two composers talk about writing for the flute. The teaching concepts of the late flutist Geoffrey Gilbert include fundamental tone production. Profile of honorable solo flutist of the Japan Philharmonic. Researching archived 18th-century music unearths some gems. Louis Ouzer, photographer, and his history of Eastman School of Music. A graded listing of some standard repertoire. Alternate Fingerings Tempo Gary Schocker replaced Jean-Pierre Rampal on three hours' notice and that event launched his career. A survey of the music business degree programs at four schools. Breathing is easier if you think about phrasing and forget about the diaphragm. Annual listing of various contests. An original composition for flute and piano. Repertoire Stay away from overplayed repertoire and pieces you cannot handle. Concert and broadcast performances show spontaneity. Listening to other musicians will teach you what you don't know. "As a teacher I enjoy helping students achieve whatever they are looking for in music." Proper preparation and release will improve clarity of articulation. How music is notated can lead to misreading easy rhythms. Silent Night, Holy Night Semiramide Musical Recipe "Playing without articulation is like writing a poem without commas." Other musicians wonder why many flutists do not play with a full range of dynamics. Life as a professional musician is demanding but worthwhile.

Susan Rawcliffe designs unusual flutes after those from an extinct culture. Marks in the music often indicate sight-reading deficiencies. The greater their potential the more you should challenge talented students to achieve. Music Stage Fright

"Taking in air without gasping happens only when you relax." "If students understand that music can be fun, they will enjoy all music." "Remember, it is the amount of air that changes dynamics, not the jaw." A performance guide for a difficult staple in the repertoire. An original composition with lyrical melody. A new rhythmically challenging composition for flute and piano. Tidbits Interpretation "Once you have memorized a piece, it is not learned until you can play it in 12 keys." Inhaling the right amount of air according to the phrase improves breathing. Understanding its structure and story are the first steps to musical interpretation. American composer of popular and serious music included the flute in 17 works. "His high notes do not shriek nor the low ones sound windy." An original easy-level composition for flute quartet. Shostakovich Motto of France What you ask the artist can endear you to him for life or end the conversation abruptly. From teaching to editing musical scores and performing, the founder and honorary life president of the Nationa Many legends about this often-played solo piece by Claude Debussy are incorrect; "for me it is a great painting In this year of Mozart mania that celebrates his life 200 years ago, myths about his aversions to the flute need Rarely do flutists need to play notes beyond C4, but practicing in the stratosphere is good practice for tone dev So many interesting master classes and music camps are available that it wil be hard to decide where to go th Blending Sound "Although flutists have long considered the variations a major addition to the romantic repertoire, many have m Temple University professor Edwin Gordon and Eastman professor Richard Grunow say that "for a student to b After the Flute Talk competitions the judges have talked with contestants and given advice, such as "the first t "Defining musical values helps artistic interpretation." Ballet Music Breathing "You have to find a way of making yourself, the music, and the people for whom you are playing one complete "A thorough understanding of a work's structure helps a performer interpret musically." "Reading musical instructions while playing is like reading a road map while driving." A newly composed piece that blends ethereal colors throughout long phrases. Symphony Players Basics The winner of the 5th Annual Flute Competition set her sights so firmly on winning that, for the first time in he Competition judges comment on stylistic interpretation, ornamentation, and how to augment performance. Learn what flute enthusiasts will have in store during four days of convention activities in Washington, D.C.. 1990-1990 Season: flute sections of American symphony orchestras.

Geralyn Coticone and Mary Kay Fink An important link to the French school, long-time flute professor at University of North Texas studied with Barr

When American composer Farwell studied in Paris, he thought "the music of Debussy was much too far out," u Knowing what to practice and why helps accomplish musical goals. Practical advice for setting upa studio and attracting students. Basics Reasons to Play St. Louis Symphony piccoloist Jan Gippo is perpetuating piccolo players and repertoire. Using alternate fingerings facilitates difficult orchestral solos. Beginning properly makes piccolo playing enjoyable. Basic audition preparation without short cuts is the secret to success.

Blending within the orchestral texture makes bird calls musical. Enjoyment Writing with dense or simple harmonies and rhythms doesn't matter. Knowing what scale to play over an underlying chord is the basis of improvising. Using breath expressively makes these exercises studies in artistry.

arranged by Dennis Hugh Avey. Interesting arrangement of a familiar tune, first published for holiday program

Early Lessons Enjoyment Frustration Former principal flutist of the Royal Philharmonic trades orchestral for solo performance. "Hearing the master flutist play Chaminade, Toscanini put down his baton and said, 'This man knows music.'" arranged by Bill Holcombe. Familiar tune with a jazzy twist. Musicologist and flute collector documents the development of the flute. The different aspects of Rampal's musical interests, career, and life are evident through the evolution of his 1,0 Articulation Technique History Stravinsky said: "The idea of ritualistic evocation of springtime came from the music, not the music from the id "Flutists waste substantial amounts of air by blowing too much." The first publication of a composition for flute and piano. "The illusive vibrato should be a part of the sound, not a decoration." A basic discussion of vibrato production. Terms Failure Clement Barone According to John Barcellona, "No flutist is an exact duplicate, but a certain school of playing can be discerned I don't like the study of the breath, even though I'm an expert on it. Breath is fuel; it should be something yo Clever, jazzy rhythms make this duet for flute and piano fun to play. Stylistic interpretation goes beyond rote performance. Tradition Trust Strain Only after overcoming fingering obstacles can a player be musical. Composer Michael Daugherty discusses how he approaches writing flute music.

A glimpse at what inspired him to play the flute. This new piece has an interesting lyrical line with contrasting rhythmical effects. A guide for flutists of all levels to decide where to study this summer. Symphony Jonathon Snowden 1992 Competition Winner Immanuel Davis says, "It's not possible to have someone else's sound, nor would I w Julia Bogorad, Michel Debost, and Walfrid Kujala comment on the 1992 Flute Talk Competition. Proof that Bach used traditional forms in a "galant" baroque style.

Concertino Rhythm Greek Mythological Flutes Split Keys Memorization Dans le Jardin Metabaino Repertoire Fingerings Drawing Down the Moon Tuning techniques help school flute sections overcome inherent intonation problems. Analyzing difficult technical passages of this audition piece and learning how to practice the difficult spots build A newly-composed piece for flute quartet. Highlights the life and legacy of this flutist, composer, and conductor. A new piece for flute and piano. Recitals Young Flutists Relationship to Flute Flute enthusiasts will enjoy the 1992 meeting of the National Flute Association in Los Angeles. Some make a profound demonstration of their technical ability, but have no style."

by Otto Luening Recognizing and correcting embouchure flaws improves tone quality. Dispels misconceptions about blowing techniques and describes exercises for tone development. Suzuki Method Concerto for Piccolo and Chamber Orchestra Practicing Describes several extended techniques which form the basis for each of the 13 fantasias of this new music. Explains the function of various ornamental tones and how to execute them. Becomes less difficult and overwhelming when users understand how the electronic equipment functions. A newly composed piece for flute alone, recently premiered in Australia. Duo Works by Carol Kniebusch Noe. Answers young players' questions. Suggests a combination of throat and abdominal muscles produce vibrato. Presents several exercises to develop breathing endurance and dynamic range. The Nutcracker

Practicing The great French flutist explains how he makes it sound so easy. "No experience necessary; will train to improvise." Potential music majors need to know how to play a successful audition. Explains the popularity of flute choirs and the available literature. A new flute duet for your enjoyment. An annual directory of competitions for flutists of every level. Piccolo Play Trouble Fingers Who was not prepared for what was to come, rushed in and became a flutist's husband. "The most important thing to develop is a sense of musical phrasing." "A clear idea of the event's purpose can sustain you through the hard work of putting it together." Over-shadowed by the French School, the forgotten Italian School greatly influenced 19th-century flutists. Highlights the contributions of an important teacher and performer. "The Rose" by John Bellows, "Bootes" by Kim Theodore, and "Scherzino" by Aaron Einbond. Piccolo Play Vibrato and Resonance An interview with Alain Marion. "Too many flutists are technically perfect but have not developed artistic inter Stresses that using the correct vibrato assures musicality. Requires listening to others and blending to achieve musical ensemble. Flutists should learn to adjust their pitch in every performing situation. "Any serious instrumentalist continues to explore and try new ways of playing." Photos of Eastman School of Music by a long-time friend of the school. Beethoven's grand-nephew emigrated to America after defrauding the Bavarian government. Piccolo Solos Tuning Surveys how fingering techniques and flutes have changed. Helps even straight-laced flutists swing. Describes the advantages of using the thumb Bb key in an etude by Altes. "Recording sessions are 90% boredom and 10% sheer terror." Describes the process of commissioning a new work for flute and harp. Certain strategies can relieve pain caused by tension while improving flute tone. Repertoire Breathing Describes the German composer's inspiration to help guide interpretation. Provides insight into this audition favorite. Suggests that a modification of the Boehm system will aid dexterity. Highlights the musical genius of the Russian composer. Helps flutists realize musical interpretation. A quiz on celebrated composers and their affairs of the heart. Facing audience members after a recital and enduring their comments can be more traumatic than the perform A newly-composed piece, "Metabaino" is for flutists of every level. Profiles Instructs flutists how to interpret this piece for flute, viola, and harp. Points out the reality of the music business. Is influenced by lip formation as well as the airstream. A comprehensive listing of flute classes for musicians of every level. A new arrangement of "Amazing Grace" suitable for many occasions. Drawing Down the Moon

Profiles the versatile career of the principal flutist of the London Philharmonic Orchestra. Gives insightful ways to practice this brilliant showpiece. Instructs young musicians about improving the inner sense of rhythm. Describes several examples of the flute in Greek mythology. Addresses the value of additional key mechanisms. "Dans le Jardin", a soliloquy for solo flute. First published in the February 1993 issue. Accompaniment 1993 Competition winner says he wants to do it all. Discuss ways to improve performance in competition. Describes the romantic setting behind this flute solo. Defines terms flutists should know when buying new instruments. Simplifies the execution of this important musical ornament. Patti Adams Scales An overview of the 21st annual flute gathering to be held in Boston. Discusses how even expert players do not agree on its use and production. The life and work of this artist and teacher. Suggests how a standard flute can be adapted to improve intonation flaws. New Music Etiquette Presents an interesting view of the life and philosophy of the Prussian king. Discusses what influenced this composer to write his Caprices for the flute. Profiles this composer's masterful writing for flute. Suggests ways to improve musicianship. by Otto Luening. Newly -composed music for two flutes. Describes several species known to musicians. Symphony #5 Expectations Discusses how to interpret this contemporary piece based on birdsongs. "Kincaid didn't bat an eye when I told him I was playing a wooden flute because he used to play wood." by Frederick the Great, a recitative solo never before published, edited and realized by Hal Ott.

Points out several habits that are difficult to break. Mahler Beginning Students Discusses how a few changes in accompanimental texture improve this repertoire mainstay, even though the o Sheds new light on these traditional flute studies that are not simply a progression through the circle of fifths, Describes the legendary arranger and composer's lifelong quest to improve literature and technical studies for by Frederick the Great, a recitative solo never before published, edited and realized by Hal Ott. The French School This mainstay of 20th-century flute and piano literature has translucent textures and should be performed with "Young flutists auditioning for orchestras should have good pitch, rhythm, and play musically. By all means, b Richard Bennett was inspired by Debussy's mysterious and exotic musical gem to create modern works with si The techniques of disciplined swimming can be applied to flute practice to isolate problems and make improvem by Frederick the Great, edited and realized by Hal Ott, the last in a series of never-published recitative sonatas Ravel After 38 years as principal flutist in the Boston Symphony Orchestra, Dwyer has practical advice for aspiring flu Gives insightful ways to practice and prepare this large-scale orchestral suite that is out of this world.

A newly-composed piece for solo flute that includes a cadenza with bird-like sounds. Describes how a friend's recommendation opened the door to an exotic opportunity. Takes teaching note names from memorizing silly phrases to understanding the relationship between pitches. The technique of vibrato is the same in singing and flute playing because each requires a strong diaphragm an "Musicians should be versatile, from playing intimate cadenzas in "Lucia" to grandiose Strauss. Helps consider the basic structure of this famous solo for more expressive playing with rhythmic accuracy. Because a private teacher essentially sells his time, making efficient use of time and setting appropriate fees is Merely telling a student to relax rarely does much good and may even comound the problem of stiff fingers an An interview with Emmanuel Pahud. "Music can only be defined when it is opposed to silence; and silence is a "Breathing life into notes so they seem to sing and dance, command high drama, or wink impishly is not all my Discusses how classical players should alter their technique and rhythmic emphasis to play jazz styles convinci An annual listing of classes and seminars available to flutists of all ages in a variety of locations. Flutists Ervin Monroe, John Barcellona, Charches DeLaney, Hal Ott and others discuss topics ranging from repe Links articulation in music to inflections in speech using Bach's Sonatas as examples. Understanding the harmonic, melodic, and rhythmic context helps a performer know how to interpret these orn Provides a musical solution to Schubert's oversight that flutists can cut out and tape into their music. Despite a relatively late start on the flute, this talented young man from Columbia made up for lost time by co Following the semifinal round of the 8th Flute Talk Competition, judges Kathleen Chastain, Michel Debost, and Several outstanding teachers recall summertime experiences that affected their lives. Charles Groeling said, " A series of newly-published embouchure exercises that will help flutists master difficult slurs and acquire a bea From concerts to master classes and lectures, the 1994 NFA convention schedule includes something of interes Associate principal flute of the Philadelphia Orchestra David Cramer speaks of musicality when he says, "Do no After undertaking a completely new flute construction in 1831, Theobald Boehm was still not satisfied and he c Responding to which symphonic piccolo solos were the most beautiful, difficult, treacherous, and fun, 35 playe Principal flutist of the Montreal Symphony Orchestra Hutchins says, After listening intelligently to a work doz Portraying a goat waking from slumber and then dancing vigorously, this charming miniature is often the first Guides students through professional players in using practice time efficiently in fundamental exercises that em A newly-composed piccolo solo with piano accompaniment, includes a surprising new partner song sure to plea Discusses the advantages of developing a broad range of musical styles to be prepared for unusual jazz rhythm I find that students become quite excited during jazz clinics, but when the concerts are over and the clinician An Open Letter to Michel Debost from Walfrid Kujala. Even an unsuccessful attempt at learning an upper che Famed flute professor at the Winterthur Conservatory in Switzerland aims his teaching at the individual. All s by Wendell Dobbs. In his Five Haiku?, a piece for solo flute, Whear skillfully alternates rapid motion with lyric by Otto Luening, a newly-composed piccolo solo with piano accompaniment continued from last months issue In this reprint of his February 1973 article written in tribute to his former teacher Joseph Mariano, Kujala state provides flutists with necessary information to enter national and international competitions. An Interview with Paula Robison. A flutist cannot just play an orchestral passage the way he learned it in the Because Hue wrote this piece in the same style as his works for theatre, ballet, and opera, flutists should recog Tone The published articles and texts that describe how flutists produce a good tone give a bewildering range of op Explains some simple methods to maintain flutes and prevent serious problems later. Specific breathing exercises that are based on the ideas of Arnold Jacobs and Keith Underwood will increase br A student of both William Kincaid and Georges Laurent, Willoughby says, The best flute sound for me is a com Looks at the close alliance between intonation and tone production and discusses the problems involved and su Often performed for competitions or auditions, this French piece incorporates lyricism with flashy technique, an The combined efforts of the tongue, breath pressure, and embouchure provide most of the quality and expres Arrangement of a traditional carol includes exciting fast passages and double tonguing. Describes this 20th-century composers cultural influences that are evident in his various works and focuses o Musicians and critics throughout the world have paid tribute to Demetrios Callimahos extraordinary persona

After a devastating lecture from George Szell this leading cellist and teacher transformed his approach to musi Based on traditional scale exercises, but the harmonies are altered to equip flutists technically for unusual jazz Several music school deans and department chairmen share their perspectives on life as a music major to guid A newly-composed piece for solo flute, invites creative interpretation. Although originally composed as a piece for alto flute, this work is also for the regular flute. The larger instru This discussion with Walfrid Kujala and Judith Bentley continues the debate about using air pockets in the chee Adapting the soprano lines from a song cycle, LaMontaine gives his music new character by writing in the midd Otherwise known as Will-o -the Wisps' the eerie lights dance the Minuet and augment the Faustian tale. Without developing detailed musical concepts first in their minds, players will not be able to improve their mus Developing accurate concepts of tempo without a metronome can be as simple as looking at a wristwatch or m The principal flutist of the Chicago Symphony Orchestra has held that position longer than any other current p This concours? piece is a perfect choice for auditions and competitions because it has musical contrasts and l Still holding a preeminent place in the history of flute playing 50 years after his death, Barr?re set a new stand compiled by Mary Jean Sirnpson.This annual feature includes a wide range of classes for flutists of every level. The principal flute of the New York Philharmonic says in her audition the music came through because I was Because the unusual instrumentation has inherent balance and projection problems, this is a challenging work Introducing the T-U-D factor, Kujala says, One of the main goals of a wind player is to maintain clarity and p Presents a fingering exercise that alters the pitch slightly to simulate a trademark feature in certain jazz music by Leonard L. Garrison is a comprehensive listing of Flute Talks Guides to performing solo flute repertoire. Principal flute of the Saint Louis Symphony Orchestra Jacob Berg says, Although I have heard other wonderfu Being prepared is as good a motto for surviving on a stage as it is for Boy Scouts in the wilderness. Performe From the sensuous and languid opening through a jocular yet somewhat demented scherzo and ending in a vic A staple in study materials, the 24 Flute Concert Studies from J.S. Bachs Works and Famous Flute Solos inclu Before searching in vain for a used instrument, a flutist should consider what quality, style, and brand of flut Although most repairs should be left to the professionals, most flutists can learn to make minor adjustments a A comprehensive listing of Flute Talks guides to performing orchestral literature. Sanford cites the importance of getting out of the practice room and exploring the world of music beyond flute Following the semifinal round, judges Leone Buyse, Donald Peck, and Jim Walker complimented the contestant To learn how to use vibrato effectively and musically, begin by listening to a variety of musicians, especially Based on Robert Brownings poem, The Pied Piper of Hamelin,? this concerto has children rising up out of the Previewing the August flute gathering in Orlando, Florida, this years program chairman says the theme emph Emphasizing musical aspects, the famed flute soloist and teacher says that everybody is different. Playing th In her comments during the master-class phase of the recent Flute Talk Competition, Buyse, flute professor at In his comments at the recent Flute Talk Competition, Peck, principal flute of the Chicago Symphony Orchestra Former students and colleagues of William Kincaid flocked to Philadelphia to celebrate the 100th anniversary o Few composers can stir the emotions of the audience like Ralph Vaughan Williams. From simple folk melodies Three of these composers master works, Ein Heldenleben, Rapsodie Espagnole, and Five Pieces for Orchestra, Over the past 50 years several topics, from tone to vibrato and breath control, have fascinated or perplexed flu Competing is one of the best ways to develop better performance skills as well as confidence. Thinking of the b Rubato playing takes time from some notes that is given back to others in the measure, but without altering th An Interview with Benoit Fromanger. The principal flute of the Bavarian Radio Orchestra emphasizes the search by Leonard Garrison considers rhythmic traps, agogic accents in the Allegro aperto movement, and where to p Some passages are smoother if played with the Bb lever, but many flutists do not know how to use it to elimin Iit is unclear whether Kincaid or his students wrote the unpublished notes attributed to this legendary flutist. H Works for piccolo and flute and harp. Describes the excitement and pace of playing life with the Australian Opera and Ballet Orchestra. Often flutists believe that tension emanates from the neck, but usually it results from slamming the fingers do Works for piccolo, flute, and woodwind ensembles. An interview with Charles DeLaney. Flute professor at Florida State University, composer, and conductor Char

Discusses composing and improvising cadenzas, or selecting one already written when performing the D Major Kincaids teaching and playing concepts are preserved in these comments of his, and the author adds commen Compares the influence of language to different flute articulation. By experimenting with different tongue place Describes the piccolo competition and other piccolo concerts. Correctly aligning the flute can open the sound and allow the fingers to play more efficiently. In opera orchestras, musicians have to be flexible to accompany singers who take great liberties. Often their This difficult work is one of the pieces required for the 1996 Flute Talk Competition. Within a few measures the This popular contest piece calls for good sound, legato playing, breath control, proper dynamics and rhythm an Profiles this American composer who experimented with electronic music but also wrote many instrumental an The winner of the first Flute Talk Competition in 1987 plugged away until she landed a job with a major orches A veteran of many college interviews and auditions reflects on these experiences. Several new piccolo pieces featuring interesting compositional techniques will delight piccoloists and audiences "The Flutists Vade Mecum? is a new, all-encompassing approach to studying and perfecting technique. Over the years William Bennett, one of the foremost English flutists of the century, has synthesized Geoffrey William Bennett, one of Geoffrey Gilberts outstanding prodigies, remembers being shocked at his first lesson This contemporary work with Stravinsky-like characteristics explores interesting harmonies yet retains a tonal In response to Walfrid Kujalas discussion about creating a classical cadenza that is stylistically suitable for Mo When performed well with style, even technique, good sound, and careful rhythm, this challenging work make New releases for flutists Angela Koregelos, Jamie Henry, and Donna Milanovich. These recently composed lyrical etudes include many tempo and color changes. Discusses how a new piccolo can produce quarter-tones without sacrificing technique. Reviews a new book, Orchestral Excerpts for the Flute?, that features musical explanations so flutists can und As principal flute of the Philadelphia Orchestra, Jeffrey Khaner admits that his greatest challenge is learning th Intricate Czech dance rhythms and the whippoorwills song form the basis of this sonata for flute and piano. P This topic is rarely discussed, but in this summary of Jeanne Baxtressers recent lecture, high school as well a Even though the crocus has not yet poked through the ground, it is not too soon to make plans to attend class Analyzes two recent works for piccolo with band accompaniment. When players prepare fingers in advance to cross the bridge, dexterity is smoother and tone quality improved. Elena Durn developed a career that includes teaching, performing, and recording. She also established flute This work for flute, viola, and harp exemplifies Debussys love of the arabesque and is rhythmically one of his These woodwinds have many dissimilarities that complicate ensemble playing unless the players understand h Most instrumentalists never develop the stage presence of opera stars, but with a little showmanship and expr Harmonic exercises based on major scales and thirds will build embouchure flexibility and improve the tone qu This easy flute duet with changing meters and lyrical lines is good sight-reading material for the end of a lesso Flute choirs have a wide choice of music, including many fine new works composed specifically for these ensem Piccolo shopping can be confusing, but there are instruments to suit every budget. Describes sitting and standing positions that are most comfortable and do not impair flute playing. An Interview with Ren? Rateau. A student of Philippe Gaubert who emigrated to play in American orchestras, R Explains how to interpret this popular sonata so it sounds improvised. With intriguing rhythms and melodies, Beneath the surface notation, Baroque composers attempted to portray, represent, or create emotions, but mo A newly composed novelty piece for flute and guitar by Howard Vance. Suggests experimenting with flute alignment to improve the sound without modifying the embouchure. Practice is essential as a musician, but there are practical steps that will increase your chances of getting a luc Works for piccolo, flute, and flute ensembles. Suggests ways to improve the blend and intonation on this grand symphony. Practicing is not something we do to avoid feeling guilty; it is the path to greater happiness and pleasure. The winner of the 1996 Flute Talk Competition did not begin playing the flute until age 16. Unlike many of the After each Flute Talk Competition the judges gather with the contestants to offer comments and suggestions o by Eric Hoover. The 24th annual meeting of the National Flute Association in New York features performances

With the advent of such electronic aids as tape recorders, metronomes, and computerized systems, students n Most piccoloists play in a variety of ensembles, so it is important that they learn standard works for bands in a It is a matter of being comfortable and developing a calming preparation routine. People do not realize that the sound is in the head of the musician, and that the flute is only a vehicle for achie Of all of Jean Riviers music, Oiseaux tendres stands out because it is exciting, virtuosic, and displays emotion The flute section of the Saint Louis Symphony Orchestra has been together for over 25 years. Principal flute Ja Boston has long been a flutemaking center that has historical connections between the companies as flute craf New works for solo and ensemble playing. Only when the opportunity arose did Catherine Payne and Joan Voorhees turn to playing piccolo. Explains that a precise attack depends on airspeed more than tongue. The attack is not a percussion by the t Cincinnati Conservatory of Music and Juilliard teacher Brad Garner advocates scales and exercises for develop Jazz performers do not simply draw from a stockpile of constructed phrases but use ideas and experience in a Grammy Award-winner Wynton Marsalis addresses the art of making music. Playing to make somebody else Any aspiring flutist can create a compact disc now that costs have dropped and more companies compete in th Two new pieces for solo flute and flute ensemble. This annual listing of national and international competitions gives interested contestants pertinent information The flute section of the Chicago Symphony includes Donald Peck, Richard Graef, Louise Dixon, and Walfrid Kuj Addresses some of the problems arid benefits of alternately playing both flute arid piccolo. For my taste, in matters of style, less is more.? A student of Rampal, Kudo says his lessons rarely focused on technical studies. He would not tell us how to t Written for flute and audio tape, this work uses conventional notation and a few extended techniques in a lyric Opera By playing simple operatic melodies in different keys and hearing the intervals, flutists will learn that a particu With the development of the classical concerto form, Mozarts cadenzas emphasized themes of the piece and w The flute section of the New York Philharmonic is known for its high level of musicianship, both within the orch Reviews a recent concert of new works for the piccolo. "Isometrics are essential to comfort and efficiency in flute playing.? As a student, George Pearce of the National Symphony Orchestra of South Africa often listened to the recordin As one of the required pieces for the 1997 Flute Talk Competition, Sonatina displays the full technical and mus New compact discs feature Jeanne Baxtresser, Marc Adler, Wayne Hedrick and others in orchestral and chambe Most phrases in 16th- through 18th-century French popular songs, including noels, are apparent in the first str The flute section of the Cleveland Orchestra includes Joshua Smith John Rautenberg, Martha Aarons, and Mary Mimi Stillman was admitted to the Curtis Institute at age 12 as the youngest wind player in its 75-year history Flute solos, ensembles, and holiday carols. Reviews performances by the young artists who participated in the recent N.F.A. piccolo competition. "The air column is a continuous unit from inside the body to the tip of the footjoint." Most beginning flutists are taught by their school director, who is usually not a flute specialist but has an elem Written for flute alone,this fascinating, somewhat mysterious work calls for a wide range of tonal colors, extrem "Few teachers fully understand how the body regulates breathing, let alone how the breath is used in wind inst The members of the Detroit Symphony flute section are known individually as artists and businessmen. When students attend lessons in pairs, one observes and takes notes while the other performs. The student w "There are inherent difficulties in machining and joining titanium parts, but a flute made of this metal would w New beginning methods, chamber music, and jazz works. The piccolo is not the shrill little brother of the flute. "Faulty phrasing of slow lines can be attributed to uncoordinated fingerings.? Under the stress of a competition flutists sometimes forget to control intonation, pacing, vibrato, and nerves. W "One of the most important qualities for playing in an orchestra is the ability to listen and adjust to other playe Many players do not realize that this Sonata for Flute and Piano, Op. 14 is based on rock elements from the 19 Friends do not often ask professional musicians to talk or perform at parties, weddings, or social events withou

From improved flutes to high-tech intonation trainers and piccolo protectors, many new products are available The flute section of the Los Angeles Philharmonic consists of Anne Diener Zentner, Janet Ferguson, and Cather "From behind cluttered desks and workbenches come some of the most beautiful instruments in the world play "Technique is the rational aspect of music and only the first step in being a musician.? It is unabashedly romantic and has soaring melodies, lush harmonies, and lyrical lines. "The teacher/student relationship has two heads that sometimes collide.? The former principal flute of the Pittsburgh Symphony Orchestra shares his concept of flute playing. A beauti Few scholarly writings exist on Olivier Messiaens only work for solo flute. Three formal analyses of the piece i The flute section of the San Francisco Symphony Orchestra consists of Paul Renzi, principal; Robin McKee, asso This annual directory lists summer courses taught by renowned flutists, and some classes focus on pedagogy w This melodious, romantic song relieves the intensity of the first movement. "The patient work today is a warm up for next year. His style is called crossover, but Nestor Torres says, It is mainly instrumental with improvisational elements, This captivating and difficult work is composed in the neo-classical style. In less than a decade it has become o A selftaught flute player, Sidney Lanier found success as a professional musician and is known as Americas fi The flute section of the Philadelphia Orchestra consists of Jeffrey Khaner, principal; David Cramer, associate pr Written for the unusual combination of two flutes and baritone horn, this newly-composed trio includes harmon The Heroic C Minor Forever? will make the audience jump up and cheer. "Good players alternate periods of stress with moments of rest.? Works for solo flute and ensembles Some teachers love music and are excellent performers but are too impatient to motivate and inspire others As principal flute of the Chicago Symphony Orchestra for 40 years, Donald Peck adjusts the composers dynam The political strife in Prokofievs homeland and his experiences in coping with political demands on the arts in Considered to be a neoclassic work, this sonata has a tender and lyrical style that includes features of 17th and This flute section often stays after rehearsals to work on intonation or other problems and sometimes socialize A great alternative to Vivaldi challenges piccolo technique. Concerto for Piccolo and Chamber Orchestra Interpretation The winner of the 1997 Flute Talk Competition finds the most challenging pieces in the repertoire are the Bac Carol Wincenc, John Wion, and Katherine Borst Jones offered suggestions,including, The musical language is Johann Tromlitz (1725-1805) was an ill-tempered, acid-tongued, arrogant man, who was also an accomplished The 25th meeting of the National Flute Association, Jubilation 97, includes an abundance of outstanding perfo Move over Vivaldi, here is some more piccolo music to play. Breathing should be timely and silent so it is as natural as during speech. When the associate conductor of the Dallas Symphony Orchestra conducted Mahlers 9th Symphony at age 29 This brilliant yet neglected work has light and rapid articulation, challenging rhythms, and difficult phrasing th The flute section of the Dallas Symphony Orchestra consists of Jean Larson, principal, Harvey Boatright, secon The growing piccolo repertoire is more appealing and interesting to program than Vivaldi concertos or the endl On receiving a packet of old 78 recordings by famous flutists of the past, the author listened to brilliant perform A beautiful flute melody is accompanied by a guitar ostinato. New works by Mike Mower, Ricky Lombardo, and William Ryden for flute ensembles and solos. As suggested by two persons who recently won symphony jobs. "From competitions we learn that ours is not the only way.? I like to tell students that the sound begins with the inhalation. Many players just breathe and start the soun Characterized by extremes of dynamics, register changes, styles, and tone colors, this standard of the flute rep The melodies of traditional Irish music are often embellished with grace notes, triplets, rolls, crans, trills, and v This year there are competitions for a wide range of playing levels and repertoire. This treasure can take a lifetime to master because of its intricate melorhythms that are typical of Martinus m Introduces readers to principal flute Toshiko Kohno, assistant principal Thomas Perazzoli, second flute Alice Ko

Gives an overview of new works by Robert Cronin and Dianne Wachsmann. "Memory affects how we grasp the text and also the skills to play.? Thomas Robertello On leave from the Pittsburgh Symphony Orchestra to teach at Indiana University, Thomas Robertello draws fro Several rhythmic exercises are included to develop dexterity on the tricky triplet fingerings in this lyrical piece, While techniques and styles such as flutter tonguing and mixed meters seem familiar to modern flutists, they w This four-minute work in one movement is playable by any good college flute ensemble. While contemporary m includes new works for flute ensembles. Profiles Adam Kuenzel, principal, Barbara Leibundguth, co-principal, Wendy Williams, second, and Adele Lorrai Evaluates some of the music performed at the August flute convention. "Some movements are welcome if they express animation of the soul or relieve stress; exaggerated gestures d Flute soloist Eugenia Zukerman entered college as an English major about to write the great American novel, b A three-movement work for flute and harp, weaves intricate textures in brooding, lugubrious flute lines that er Ellen Kaner, Richard Sherman, and Walfrid Kujala assess the merits and problems of entering contests. Alway A profile of Robert Langevin, principal, Damian Bursill-Hall, acting co-principal, Jennifer Conner, second, and R Includes a biography of Franz Schubert and a diary for Brahms lovers. After many experiments with a tuner and several piccolos, at last a chart (pages 28-31) with every possible tri Many Italian musical expressions are so familiar that we do not ponder their underlying meanings. Although Bach included some notations on tempo, articulation, and ornamentation, most flutists augment thei Beginners develop a vibrato readily while older students struggle against ingrained habits, but the concepts of Profiles Jacques Zoon, principal; Elizabeth Ostling, associate principal; Fenwick Smith, second; and Geralyn Co The late musician and scholar Albert Tipton believed that teaching is the most important thing any of us can New jazz works for flute. Every private studio has to set policies about cancellations, make-ups, preparation, and payment. Many classic recordings of piccolo solos from 1897 to 1928 have been re-recorded. "Losing the lust for life is one of the saddest things that can happen to anyone.? To create a teaching edition of the Bach Partita, Gary Schocker wrote out the dynamics, breaths, phrasings, an Based on Corellis model of the typical 18th century sonata da camera, Bachs Sonata in E Major, B.WV. 1035 Because Ravel wrote the complete ballet to Daphnis et Chloe in great haste, many mistakes were made when One of the worst things a flutist can do is apply oil to various crevices of a flute, which can result in oil-soaked includes Emily Skala, principal, Mark Sparks, associate principal, Bonnie Lake, second, and Laurie Sokoloff, pic Analyzes Spirewise: Scherzino for Solo Piccolo? and Bolla?, two new compositions that have good ideas and "Air support on the flute must be counter-balanced with support from the leg and abdominal muscles.? As assistant principal flute of the Chicago Symphony, Graef plays a modern flute and adjusts to the blend of th Jindrich Felds Introduzione, Toccata e Fuga?, a work for unaccompanied flute, uses such special effects as b Although the crocus has not yet poked through the ground, it is not too early to consider applying for summer Profiles Randolph Bowman, principal flute, Kyril Magg, associate principal flute, Rochelle Draizir-Doepke, secon Commissioned for the 25th N.F.A. convention, this work is a stunning showcase for piccolo and piano with chal "Speed cannot be achieved at the expense of tone, articulation is not independent of interpretation, baroque m The versatile Swiss flutist performs literature from classical to jazz. Ziegler says, It is important to abandon a "Poem is a dazzling showpiece that will enchant any audience. This delicate,impressionistic composition is a fa Since the 1920s F. Matthias Alexander developed ways to reduce tension by aligning the spine, head, and neck Because students often lose focus when working on long etudes, Maquarres brief exercises call for intense con Beginning flute teachers who are not well-known in the area cannot simply hang out a shingle announcing flut Whistle tones can be used as a warm up exercise to relax the lips and open the embouchure. Without good manners and tact, musicians strong musical convictions and personalities can lead to acrimony Written for woodwind quintet plus trumpet and timpani, this charming Hungarian dance may be the perfect en Surveys flute trios and new collections by Holcombe and Bernstein. Profiles flutists Alison Young, principal, Peggy Russell-Romeo, second, and Pamela Dlouhy-Hackney, third flute

Three new piccolo pieces by this noted composer. "The generally accepted notion is that grace notes are always long and more leaned upon than the notes befor Tension is one of the biggest problems in controlling the edge in tone, and Faust says, Some flute players squ Written in Hamburg two years before C.P.E. Bach died, this Sonata combines a beautiful melodic line with the This ornamented version of C. P. E. Bachs Hamburger Sonata is stylistically consistent with the original score Some flutists experience problems of cracked notes, especially on E2, because of overblowing, incorrect tongue The predecessors of the modern alto flute date back to the Renaissance, but these instruments disappeared af These piccolo compositions exploit the full range of tonal effects of the instrument and are a wonderful addition "Any interruption of the music shows that the performer is focused on the past rather than on the music to com At first glance Moyses 24 Studies seem to be so simple that any beginning student could sight-read them. Ea The winnerof the 1998 Flute Talk Contest, Yevgeny Faniuk, emigrated from the Ukraine to Israel in 1990 to pu Judges Jeffrey Khaner, Joshua Smith, and Amy Porter suggest improvements for contestants in the semifinal r Most flute teachers use etudes, technical studies, solos, and orchestral excerpts but overlook the benefits to st The piccolo professor of the Cincinnati Conservatory of Music, who advocates avoiding treating the piccolo as In playing the flute most jaw movements are unnatural and unproductive. Artaud is professor of flute at the Paris Conservatory and grew up playing the music of contemporary compose Feld uses the contrasting themes and a variety of dynamics and articulation to create interest and change. He Music educators often just tell students they are sharp or flat without giving them information about such diffe There is a variety of compositions for flute choir that explore a wide spectrum of colors and sounds. "When I play these orchestral solo passages I try to picture myself as singing a part in an operatic scene. The Profiles Michael Parloff, Trudy Kane, Nadine Asin, Mary Ann Archer, and Karen Griffen. With so much emphasis on playing techniques, teachers often overlook the importance of playing with confiden New flute solos and ensembles by Gary Schocker, Yan Maresz and others. When preparing for auditions, listen to a number of recordings of each excerpt. "When a flutists technique is under control, he becomes a freer musician, not a slave to his instrumental shor "As musicians we create sounds that disappear into space after they are played. Sometimes the sound is captu With its changing tone colors, dynamics, and vibrato, this work displays the full range of the flutes tonal pale "Playing well in public does not come automatically for many students but improves with experience.? From m Listed are many competitions for a wide range of playing levels and repertoire. The late French flutist spoke fondly of his early lessons and remembered the qualities instilled in him by his fir New solo and chamber flute works. An overview of Michael Eastons new piccolo concerto. "Long tones are unrelated to music because they occur so rarely.? Dunigan understands the importance of emulating great instrumentalists and vocalists but borrows from the g Introducing ideas in the proper context is one of the keys to good teaching. What works beautifully for an au Traditional Japanese flute music often combines single notes with silences; Fukushima ingeniously incorporate "Both musical and personal habits can be taught and developed as a student progresses. The greater the talen New solos and ensembles for flute. A good career option for flutists is playing in a military band, which have musicians of the highest caliber and p includes pieces with local color from Kansas City. Because long tones are passive, boredom often sets in. After a 1997 recital she received a thorough and critical evaluation of her performance. This was the first tim Although the Duo for Flute and Piano (1971) is one of Coplands last compositions, it embodies his style of the The flute part alone is notoriously difficult, but the greater challenge is putting it together with the piano part. According to common wisdom, the way to play jazz is to learn the chords and scales to compose on-the-spot im "Carazona of the Bagpipes?, an Italian Christmas Carol and Christmas Brings Joy to Every Heart?, a Danish C include new jazz, chamber, and solo music for flute. The piccolo developed along with the flute, only at a slower pace. "Dont let anyone tell you that to be expressive you have to play slowly.?

"The flute is not an end in itself, it is only a means: we play the flute and through it we express what we feel. For this piece to come alive, imagine that the first movement is spooky and the second is a swift dance. In this It is one thing to avoid bad playing habits but another to identify and correct these in someone else. Some of t George Gershwin and Irving Berlin went to Harlem to listen to street music and attend neighborhood productio When recruiting private students, new teachers should consider giving a masterclass in the local schools. This serial composition for unaccompanied flute includes key clicks, flutter tonguing, glides, and a variety of vi A method book for the 21st century and popular classics. "Most Players approach the piccolo with fear and spit into it as if trying to dislodge a kernel of popcorn stuck in

The music industry developed new products for 1999, including flutes with offset finger buttons for small stude If Mozart were to pop out of his grave today and check out the leading conservatories, Robert Dick says he is s Of his Duo? Copland said, Its a lyrical piece, in a somewhat pastoral style. Almost by definition, it would h Musical preparation begins with a schedule of things to accomplish and goals that are reasonable within an allo Certain skills come naturally to some flutists and others have to work hard to master them.When considering p

In skilled hands burnishing is a precise method to change the size and shape of the headjoint tenon, although "Like a detective I look for the smallest variations in performance results and analyze where new ideas will fit i Playing the piccolo well strengthens the flute embouchure and develops finger speed. "Low notes are often tricky because they break at the moment of attack.? After an injury to her arm, principal flute of the Baltimore Symphony Emily Skala found relief in the Feldenkrai With rhythmic shifts from two to three and accented sixteenths that are typical of the Czech furian dance,this T The annual listing of things to do and places to go to improve playing skills. From the shores of the Mediterran Each of the growing family of low flutes has a distinctive tone color that will augment flute choirs. With the new This well-known work has several piccolo solos that are frequently requested by audition committees. Good bre Certain fingerings make the tone bigger; others make the sound more veiled and fragile. The long-time principal flute of the New York Philharmonic now dedicates her time to teaching. If a student w "Many of DeLaneys compositions have a literary inspiration; his propensity for the dramatic is obvious throug Although Gatess six pieces for flute remain largely unknown, his exploration of tone colors and dramatic appr The author went to Argentina to perform and teach young flutists, but during her five-week residence she learn The maxims of flute playing seldom take into account the important differences in the physical characteristics Taped auditions entail all of the requisites of a regular audition plus the challenge of creating a fine recording b Most people know Hugh Downs as a respected television personality, but few know that he is also a published This work is a rondo based on a theme from Gregorian chant. Embouchure technique comes from what you want to hear, not the other way around.? Boulez emerged during the 1950s as the enfant terrible of contemporary music. To the avant-garde his music At first glance Moyses 24 Etudes seem to be so simple that any beginning student could sight-read them. Eac Most original compositions for flute and harp have little appeal for professional musicians, let alone for the gen Legendary Brazilian flutist and composer Pattpio Silva (1880-1907) became famous for challenging local flutis include Works by Bach, Brahms, and some jazzn around. Pine Mountain Music Camp in Michigan stages a full-scale opera every summer for which students play with pr Jeweler Tom Sarkas first foray into flute jewelry developed when his daughter wanted a gold flute, so he mad In this stunning new piece,the piccolo plays with lyrical expressiveness and wild agility. The winner of the 13th Flute Talk Competition says, Ive developed more control by listening, from the initia Like great athletes, fine musicians have courage and poise under pressure. This is a quality that develops with After playing with the Chicago Symphony Orchestra for 42 years and before embarking on a new career path, No scale on any flute will be perfectly in tune because there are too many variables. A change in air speed, air "Birds? by Michael Horwood is stunning when performed with color slides of birds. In eight movements, each o "We flutists are not unlike athletes and can learn from their example.? After playing in the Baltimore Symphony and teaching for 10 years at the Peabody Conservatory, Timothy Day

This music infuses Bohemian song and dance motives in a formal compositional style with a light-hearted gaie The sources of the popular 24 studies from Bachs works are not identified, and we have little information abo Despite strong criticism against his flute and string quartets, Mozart wrote beautifully for the flute in other wor Composer Allan Blank Profiles Karen Moratz, principal, Rebecca Price Arrensen, piccolo and assistant principal, and Robin Peller, seco "Standard fingerings make certain major and minor third passages awkward.? Composer York Bowen Composer Kim Bowman Composer Johannes Brahms/Frank Michael, ed. Composer Frank William Brasinski Fingers Composer Howard J. Buss Composer Leonhard von Call/Bernaard Pauler, ed. Composer - European composers collection Composer Marc Dijoux Composer Bill Dobbins "There is only one first time, and spontaneity is a great part of our joy.? "All your life you try to produce a sound that you imagine, but it is difficult because you are too close and cann For the annual flute examination at the Paris Conservatoire in 1898 Gabriel Faur? wrote Fantaisie, Op. 79. Th For all-state and college auditions, students should not practice mindlessly but pause before playing any etude Composer Francois Nerini, ed. Composer J. S. Bach/ Daniel Dorff, ed. Composer Edward Edelson This annual listing includes solo, chamber, and orchestral soloist contests for flutists at many levels. Meet Rebecca Gilbert, Joanna Bassett, Jan Harbough Angus, and Diane Smith. From conical and cylindrical bores in metal and wood it is no wonder that students are confused about what pi Briefly discusses the search for missing manuscripts by J. S. Bach and W. F. Bach possibly hidden in Russia du "Playing soft colors requires more energy than blasting away.? Tower Concerto Committed to expanding the flute repertoire, Wincenc was eager for a new concerto that projected lyricism and Changing teachers can be exciting but also frustrating and confusing. Each new teacher has different expectati Long gone are the simple days of playing Stars and Stripes? for a patriotic concert, as 55 pounds of combat g Many students sound remarkably similar, as if they had studied with the same teacher. After the primary focus Instead of always practicing in the same room, try playing outdoors, where the scenery may inspire a new inte Composer Enrique Granados Composer W. A. Mozart Composer Thomas Simaku Composer Michael J. Regan Composer Ingolf Dahl Composer Jerome Moross Composer Donald R. Davis Composer Thierry Pecou Composer Daniel Dorff Composer Edison Denisov Composer Lita Grier spotlights the recent piccolo recitals, world premieres, and pedagogy sessions at the recent flute convention. Discusses breathing techniques for flute playing, focusing on the need to take large breaths compared to takin Profiles classical flutist Robert Aitken, quoting him extensively on his early musical experiences and education, This chamber work for flute, violoncello, and piano features each instrument in one movement with all three sh

Discriminating musicians use vibrato judiciously to enhance music, but practices have changed greatly over th In setting fees most teachers rely on what others in the community charge, but the education, years of experie Good posture enhances stage presence. Gifted dancer Martha Graham commanded attention with every move, Composer Karen Suzanne Smithson Composer Ricky Lombardo Composer Karen Suzanne Smithson Composer Ricky Lombardo Composer Ricky Lombardo Composer Simon Hunt Composer Ervin Monroe Composer Krystol Zgraja Composer Robert Baksa Composer Howard Whitaker Composer S.E. Goldfarb/ Ricky Lombardo "Mahler realized that intonation was going to be a problem with four piccolos, but he wanted a big sound.? "If I had to flutter by rolling my tongue, I would get a very weak sound.? Trained in the French school of flute playing, Pahud states When we are aware, we do not have to chase perf Charles Koechlin usually composed the melody first, seldom rejecting or simplifying an idea. His songs for flute In Cajun music the singing and drumming styles of American Indians merged with Spanish guitars, but the lyr When the pitch is off, it helps to isolate the chord in question and tune it. Begin with the root of the chord, the Before accepting a transfer student, it is best to determine how much he has learned and to hear some scales "To my relief William Bolcom was patient with my questions and worked with me to prepare his Lyric Concerto Composer Emilio Galante Composer Jennifer Grady Composer Helmut Eder Composer Diego Luzuriaga Composer Robert Maggio Composer Camille Saint-Saens/ Sondra Tucker Composer Chris Gumbley Composer Domenico Scarlatti/ Jennifer Grady Composer Thomas Richter Many performers struggle over slow movements because Baroque composers merely outlined the melodies and "At a soft dynamic a C3 is sharp, so cover it a bit to bring down the pitch.? "Flutists are so used to leading that they give cues even when playing alone. It can have a detrimental effect a As professor of flute at the Royal Conservatory in Brussels and the Hochschule in Mannheim, Germany, Tanguy Paul Arma, one of Bartoks students, arranged this work for flute and piano, and it was published in 1956. The Explains many of the variables and misconceptions about tone production. Some of the mysteries can be exp Koechlin had an appreciation of line and melody, which led him to later write a number of simple flute monodie Many flutists are anxious about memorizing pieces for contests and competitions. Most people do not have a "Mahler was one of the first composers to use the piccolo as a lyrical instrument rather than a mere orchestral "Composers express their inner conflicts through construction, harmony, movement, and silence.? Now in his 33rd season as principal flutist of the Detroit Symphony Orchestra, Ervin Monroe says that he learn Berio invented an unconventional system of notation in which notes that are close together are played fast wh Composers in the 19th century indicated phrases with flag notation, but many new editions of these works do An annual listing of programs to improve playing skills in locations as diverse as Morocco and the mountains o "Whatever comes in is income, what goes out is deductible, and whatever is left is taxable income. Everything New Zealander Alexa Still says, I desperately wanted to play the bagpipes because something about their lou This flute solo conveys images through sounds in a wide range of colors. The piece explores unearthly places a During a sabbatical leave Dobbs explored traditional Irish music and learned that the flute was added to Irish m

Almost every piece has at least one passage with technical hurdles. Although a common approach is a frontal a At one time, the Boehm system was considered to be just a gimmick by Flutists of the old school. "Think of sending the sound away from the body when playing softly.? Style In matters of style, less is more. "It takes hours and hours to master a lot of notes, but it takes years to play Mathieu Dufour Imagination makes the difference between a mediocre and special interpretation, yet this can and should cha Taktakishvili Based on Russian folk melodies, this popular recital piece has flashy, aggressive rhythms and arched phrases. First Lesson The first 30 minutes sets the tone for future flute lessons. Students should leave with their curiosity sparked fo Memory As students prepare for a solo contest or concerto competition they may become exasperated with their inabili Composer Daniel Dorff Composer Lita Grier Composer Thierry Pecou Composer Edison Denisov Composer Enrique Granados Composer Edison Denisov Composer Ingolf Dahl Take a break from practicing and try a crossword Puzzle that is designed to test general music knowledge. Composer Jim Snidero Composer Roger Bourdin Persechetti The "Parable for Solo Piccolo, Op. 125" by Vincent Persichetti (1915-1987) may have seemed a bit of an oddity Most flutists worry more about taking air in than managing the air as they blow. The pre-eminent flutist of the 20th century left a legacy of over 350 recordings, many of which have been rele Few know that Jennifer Binney once hated the flute. The piccolo was my first love after a high school band vi "Without a flexible embouchure and a flexible mind, a flutist cannot play with a variety of tone colors. If the so Musicians in the court of Frederick II, particularly Frantisek Benda, moved away from the rigid rules of Baroque Columbus, Ohio meeting from August 16-20, 2000. Determined to land a job, the piccoloist in Los Angeles took 22 auditions before her efforts were rewarded. "Timesig 2000" is a well-organized studio management software program. Los Angeles flutist Steve Kujala has subbed with the Chicago Symphony Orchestra, recorded a solo album, tou Each year a flute professor or another faculty member at the Conservatoire wrote a new solo for the concours. The principal flutist of the San Antonio Symphony and the Santa Fe Opera shares his cadenzas for Mozarts flu New works by Foss, Benjamin, Louis Moyse and others. A summertime flute ensemble was an appealing change of pace at this studio. The group was big enough to Cover all basic aspects of what is expected of each student, from when lesson fees are due, cancellation and m The piccolo embouchure is a miniature version of the flute embouchure, neither too tight nor too loose. The em Katherine Kemler, Andreas Krper, John Herrick Littlefield, & Margaret Swinchoski "[Geoffrey) Gilbert was an impressive teacher. At the first lesson I played the Prokofiev and Hindemith sonatas Henri Dutilleux expressed reservations about everything he had written prior to the end of World War II, but S Students typically start over at the beginning of a piece each time they stumble over a key change, accidental, "Die Schne M?llerin was composed during a period of sickness and depression for Schubert. In Trockne Blum New works by Howard Vance: "Silly Songs for Flute" and "Leave My Flute Alone!" Competing is one of the best ways to develop better performance skills as well as confidence. Find out the date Although he never attended a college or conservatory, Trevor Wye is highly respected as both a teacher and pe Since George Frederick McKay composed this quartet in 1946 it has become an annual tradition for many flutis

American flutists in the early 1800's would certainly have owned this collection of popular dances, marches, pa "Formerly, when a note was unresponsive or out of tune, the performer was considered faulty and sent to prac As a student of Thomas Nyfenger, Tadeu Coelho learned of a misprint in Density 21.5. Edgard Var?se had tele Piano teachers have known for years the benefits of group recitals, but ther is more to do than polishing pieces Numerous new works and arrangements. "Computer Activities - Basics of Keyboard Theory, Levels Five and Six" New works by Daniel Dorff, Robert Frank, Nicholas Underhill, David Loeb, & Michael Daugherty.

Hideko Amano, Gerald Carey, Diane Horban, Catherine Hummel, Deena Reedy, Sandy Schwoebel, Marcia Stilg

Heather Hill, Elizabeth Ko, Carolyn May, Susan Phelps, Jodi Yasko-Taylor

Since college Shulman has played principal flute with several Canadian orchesras without taking an audition, t This staple of the woodwind quintet repertoire poses many intonation, phrasing, and breathing pitfalls for the f Student flutists are often sharp in the upper register becasue they use second-octave fingerings in the third oc although the art of recruiting studetns is as important as having a thorough knowledge of playing and teaching Experienced judges can determine a great deal about a performer after hearing just a few measures of any pie If someone had told me when I first picked up a traverso that I could earn a living playing 19th-century flutes In this six-minute work the unusual blend of piccolo and guitar sounds creates a mood of playfulness and levit The experience of hearing Baxtresser perform Chaminade's Concertino "changed my life. It motivated me to w Martin wrote Ballade after a long period of 12-tone experimentation. Martin appreciated the technique, but he Repetitive motions from long practice hours over many years may cause muscle spasms that may never be cur Flutists who are not afraid to try new things will find playing in church a refreshing activity, because there are An offer to play an etude in a masterclass led to a two-hour stint in front of a group of flutists. She finally stag Although New York City was a bit intimidating to Barr?re in 1905, he quickly adjusted and was soon performin "Don't strike too hard with your tongue. It is not necessary to be able to drive nails with it in order to get the The triennial focus on the piccolo at the National Flute Association convention this year included a number of w Antal Dorati's "Sette pezzi per orchestra", "Night Music", and "American Serenade"; solo flutist in "Night Music

Jeanne Baxtresser, FLute: Debut solo recording - a CD release of earlier recordings incl. Franck "Sonata in A m Telemann Flute Fantasias, flute soloist Viviana Guzman Brief article on subject of youthful practice paying off. "Cuban music, salsa, and other Latin music forms were at a peak when I moved to New York; charanga was ve Unlike most sonatas of the Baroque era that have a solo line and an accompaniment and are similar to those o First published in a 1770 collection of pieces for assorted combinations, this charming duet, originally for flute Flutists tend to use more vibrato than others in a woodwind quintet. For unison or octave passegs with the ob edited by Elaine Schmidt Composer Antoine Mahaut. Composer Valarie Morris Composer Valarie Morris Composer Ferdinando Carulli/ Maurizio Bignardelli and Giampaolo Cetaro, ed. Composer Jean-Louis Tulou Composer Claude Debussy/ arr. John E. Davis Composers Joep Wanders and Harry Hoogenberg Composer Valarie Morris Composer Edison Denisov Composer W. A. Mozart/ arr. Pam Opacich-Wilsens Composer Jean-Marc Allerme Composer W. A. Mozart/ arr. Raymond VunKannon Composer W. A. Mozart/ arr. Raymond VunKannon Composer Gabriel Faur?/ arr. Guy Du Cheyron Composer Pip van Steen and Will Derks Composer Edward Edelson Frenchman Louis Lot laid the groundwork for the handmade flute industry in the late 19th century, but today t "The Procession of the Sardar" from Caucasian Sketches by Ippolitow-Iwanow is seldom performed but appear Suggestions for New Year's resolutions. "Uakti", performed by Matthias Zieglar on alto, bass, contrabass, quarter-tone and Matusi flutes plus electronic "Alone Into the Crowd", flutist Linda Eagleson; C. P. E. Bach "Sonata in A minor"; Donjon "Le Chant du Vent"; The life of a freelance musician is often hectic, but Tara O'Connor relishes the diversity of teaching as well as p Metronomes are ".... implacable electronic crickets claiming perfection. Perfection, however, exists only in sale The fourth movement portrays a character, M. de la P?jaudie, in the novel "La Pecheresse" by Henri de Regnei Originally intended as a Christmas piece, it can be played any time of year. The repeats in several sections ca Even students with only the rudiments of training in music theory should be able to take the melodic line of an Composers Joep Wanders and Harry Hoogenberg Composer Valarie Morris Composer Jean-Marc Allerme Composer Edward Edelson Sonatine Americaine won the 2002 NFA Newly Published Music competition Composer Bruce Levine Composer Jay Kauffmann Composer Henri Bert Composer Valarie Morris Composer Jean-Louis Tulou Composer Edward Edelson Composer Ferdinando Carulli/ Maurizio Bignardelli and Giampaolo Cetaro, ed. Composers Jean-Claude Diot and G?rard Meunier Composer Sergei Prokofiev; a newly revised version Composer J. S. Bach, arr. Lisa Ochoco

Composer Reynaldo Hahn/ transcribed by Maxence Larrieu Composer Odette Gartenlaub Composer Gary Schocker Composer Gary Schocker Composer Robert Martin Composer Louis Moyse Composer Valarie Morris Composer Jean Sichler Composer Paul Badura-Skoda Arranged by Art Lambert L. van Beethoven/ arr. John Sands Composer Bruce Levine Composer Bruce Levine Composer Bruce Levine Composer Guy-Claude Luypaerts. Composer John Dowland/ transcribed by Jean-Maurice Mourat Composer Robert Starer Composer R?gis Campo Composer Louis Drou?t/ revised by Maxence Larrieu Composer Claude Debussy/ arranged by Mimi Stillman Composer J. S. Bach/ arranged by Jean-Claude Veilhan Composer Valarie Morris Composer Hans Zender Composer Lowell Liebermann, transcribe from his own piano works Composer Giulio Briccialdi/ revised by Maurizio Bignardelli Composers Corey Christiansen and Kim Bock Composer Feim Ibrahimi Composer Elisenda Fbregas; commissioned and premiered by Tallon Sterling Perkes, principal flute in the San Composer/arranger Brent Olstad; includes ten well-known hymns Composer Jean Michel Damase Sometimes a flute teacher is asked to work with the flute section of an orchestra or band and the key to develo Since publishing information about "Melodies Pipeaux", the collection of little piccolo pieces discussed in the Ma The quality of the flute tone should change with the style and period of the music. "A frothy, frilly tone is not t Some students learn only the flute line and have "no understanding of the broader framework of a piece. They Although J. S. Bach provided more details about ornamentation and articulation than most German composers Some students stand so close to the music stand that they have to look down their noses to see the music. Th Besides giving parents an idea of upcoming events to note on their calendars, I include my teaching schedule a "In an effort to help those in a similar situation or those contemplating a relationship with a musician, I humbl Composer Antoine Dornel/ ed. Michael Lynn Compiled and annotated by Jean Baxtresser, with second flute commentaries by Ren?e Siebert and alto flute c The arrangement requires four C flutes, alto, and bass; arr. by Rick Pierce arranged by Martha Rearick Composer J. S. Bach/ arr. Lisa Ochoco Composer Jean Sichler Composer : various/ transcribed by Francois Nerini Composer Robert Baksa; the composer's transcription of his piccolo sonata. Composer : various/ transcribed by Francois Nerini Composers Jean-Claude Diot and G?rard Meunier Composer G?rard Meunier

Composer Bruce Levine The task of starting a flute choir seems daunting at first, but the problem of finding rehearsal and performance "Most flutists are diligent about working on scales, arpeggios, and repertoire, but overlook the importance of b The audition lists of 18 major orchestras include much of the same repertoire, but generally large orchestras w

ble playing his career.

estra is interviewed by two of his former students.

tner, Eliot Fisk, collaborates for a special duo.

s work was written.

e convention.

e principal flutist of the Los Angeles Philharmonic.

ith no style, no heart, no musical sensitivity,? says Larrieu, president of the jury of the International Competition in Genev

f you want to work, you have to make an effort,? says Mary Stolper, flutist in the popular duo Espree.

ating....? wrote Michael Steinberg about this flute-voice-harp trio.

rthodontic treatment.

ming career.

that kind of patience,? says the flute, sax, and clarinet player in the rock group Chicago.

DiBlasio, author of Bop Shop.

e routine so you won't become bored. Mark Thomas shares performing tips that will showcase every flutists virtuosity.

nts and observations.

all the other aspects of your playing."

rary techniques. ess musical ability.

ormance challenges."

nd playing in a symphony. make sure those things are clear and well-played."

the bath, you don't think about which muscles lift up or push down, do you?"

e little finger

future competitions.

inding similarities between dissimilarities.

ed his career.

resident of the National Flute Association has a flair for it all. me it is a great painting." sions to the flute need to be stifled. d practice for tone development. decide where to go this summer for extended studies.

epertoire, many have maligned this work as trivial and insignificant among Schubert's compositions." hat "for a student to be introduced to music theory before he can sing with good intonation, move in rhythm, and mentally ce, such as "the first three notes make the greatest impression" to "play stylistically".

playing one complete natural whole. The flute is only a means. What's important is to make music - that's what counts.

for the first time in her life, she developed pre-contest jitters. ment performance. n Washington, D.C..

exas studied with Barrere, Laurent, and Kincaid.

s much too far out," until he heard it played by Georges Barrere, who inspired this suite.

ed for holiday programs.

s man knows music.'"

the evolution of his 1,000 recordings to date.

t the music from the idea. This idea is not anecdotal."

ying can be discerned." hould be something you don't think much about."

s sound, nor would I want it, because we're all different players."

the difficult spots builds performing confidence.

of this new music.

pment functions.

h-century flutists.

eveloped artistic interpretation."

matic than the performance.

to play wood."

tay, even though the original solo stays basically intact. gh the circle of fifths, but melodious etudes. d technical studies for students. Some of the repertoire he uncovered in his frequent journies to Europe.

ould be performed with conviction. cally. By all means, be musical." modern works with similar qualities. ms and make improvements. shed recitative sonatas.

l advice for aspiring flutists. of this world.

ship between pitches. a strong diaphragm and abdominal support."

hythmic accuracy. ing appropriate fees is fundamental to a successful studio. blem of stiff fingers and muscles. ence; and silence is a part of music." k impishly is not all mystery." ay jazz styles convincingly.

pics ranging from repertoire interpretation to technique in a class sponsored by the Columbia Flute Studio.

w to interpret these ornaments and lend an improvisatory element to B.W.V. 1035. their music. up for lost time by coming to the United States to study with leading teachers. n, Michel Debost, and William Montgomery evaluated the performances and discussed many ways to improve playing, incl harles Groeling said, "Being thrown together with others from similar backgrounds and left to my own resources, I discove lurs and acquire a beautiful sonority. s something of interest for players of every level. when he says, "Do not let the instrument dictate how to play the music. We should be musicians first and flutists second not satisfied and he continued to experiment until he developed an instrument that improved tone, technique, and intona ous, and fun, 35 players nominate their choices. ligently to a work dozens of times, a player may feel it is not for him, but he can learn to appreciate such a ature is often the first solo work that high school-level flutists study, and it makes a good recital encore, contest selection, ental exercises that emphasize breathing, embouchure, scales and arpeggios, articulation, vibrato, and technical proficienc rtner song sure to please players and audience alike. or unusual jazz rhythms, improvisation, and demanding sight-reading when playing pops concerts. over and the clinicians leave, the enthusiasm often dies.? learning an upper cheek inflation embouchure (U.C.1.E.) can benefit a flutist indirectly by increasing his awareness of all t t the individual. All students have their own characteristics and what ruins flutists is that they imitate great play rapid motion with lyricism and dramatic moments with resolution. om last months issue, includes a surprising new partner song sure to please players and audience alike. Mariano, Kujala states, An ideal flute embouchure can depend a great deal on the players ability to control his cheeks

ay he learned it in the practice room with a sound that does not project to the back of a large hall.? a, flutists should recognize images of movement as they incorporate smooth technique that does not interfere with interpr

bewildering range of opinions and contradictory advice.? This veteran teacher cuts through some of the confusion on this e

rwood will increase breath capacity and endurance. Most players practice scales and arpeggios and neglect breathing ex e sound for me is a combination of these schools. The puffed-cheek technique has its place, but I do not feel the to oblems involved and suggests solutions. By keeping the lips comparatively open and relaxed in the forte, a round, full, m th flashy technique, and this performance guide gives practice suggestions so technique does not interfere with musicality the quality and expressiveness of a note, but executing an attack depends on the musical surroundings and the type and

s works and focuses on his Suite Modale?, which was written for the late flute virtuoso Elaine Shaffer in admiration of he extraordinary personality. He raised the level of flute performance and importance as a solo instrument.?

d his approach to music. The key is simple: you have to keep going. Life isnt a competition; it is only about yourself, on nically for unusual jazz harmonies and progressions. a music major to guide high school students in planning their futures.

ute. The larger instrument displays a wider palette of tone colors that add interest to the wide melodic leaps.? air pockets in the cheeks to benefit tone and embouchure flexibility, and describes how whistle tones help players learn th by writing in the middle and high registers of the flute that best highlight the instruments singing quality. the Faustian tale. e to improve their musicianship. g at a wristwatch or mentally hearing a Sousa march. an any other current principal flutist in the United States, and he still finds the job to be challenging and exciting. musical contrasts and long lyrical lines over much of the flute range. These show the flute at its best and display the perfor arr?re set a new standard for American woodwind playing and fostered the development of chamber music and the chamb flutists of every level. From classes on specific repertoire to studying with a master teacher, students will find an array of hrough because I was concentrating on sound, musicality, communicating emotion, and technical proficiency. Most players is a challenging work to perform with its wealth of detail to be coordinated, especially in light of its rhythmic complexity. maintain clarity and precision with recurring tongue strokes. Fast tempos make it necessary for the tongue to return to it e in certain jazz music. olo flute repertoire. e heard other wonderful players and many beautiful interpretations, for me Kincaid is the greatest one. The most striking t wilderness. Performers should always walk on the stage thinking, I know this piece; I can do it.? rzo and ending in a vicious dance, this flute concerto travels through the history of the flute itself. As Jolivet said, The flu mous Flute Solos includes a wide variety of Bachs compositions originally written for other instruments. Demanding yet r tyle, and brand of flute would fit his needs and suit his playing level.? e minor adjustments as well as basic care to ensure proper instrument maintenance.

of music beyond flutes: of music, I have gained more musical insights from attending classes geared to instruments oth mented the contestants and then addressed issues that will help every young musician along the path to success. musicians, especially singers like Eileen Farrell. Then think about what vibrato does for the sound in terms of coloring and ren rising up out of the audience to play flutes and drums in answer to the piper. says the theme emphasizes the enchanting powers and fantasy of the flute and its music. different. Playing the flute has to be natural. If you practice and practice it becomes a part of you. After a while a player yse, flute professor at the University of Michigan, stressed the importance of tone, which is the players trademark, a sp o Symphony Orchestra said, I tell students to relax and imitate a dramatic soprano in the high register.? Growing up liste e 100th anniversary of the birth of this great musician, considered to be the founder of the American school of flute playin m simple folk melodies to passages of pathos, his works are enjoyable to play and hear, and this piece is one of his most c e Pieces for Orchestra, differ widely in emotional content but share common traits. Adapted from a lecture before a Chicag inated or perplexed flutists. This compilation of articles describes trends in flute playing, some of which are better forgott ence. Thinking of the bigger picture of style and interpretation instead of every eighth note helps put flutists in the winner but without altering the tempo. emphasizes the search for musical meaning: The true problem in flute playing is that we do not speak enough about mu ement, and where to play rubato for an interesting interpretation. how to use it to eliminate intermediary notes that interrupt the musical flow. his legendary flutist. He insisted that students keep detailed notes on each lesson, and he gave very precise instructions a

amming the fingers down on the keys.

r, and conductor Charles DeLaney says, So many young players have no concept of how to interpret their pieces, and pe

erforming the D Major Concerto, including one that many flutists do not know that Mozart actually composed for this conce e author adds comments and clarifications to the original text, based on his lessons with students of the legendary teache different tongue placement, students can find effective ways to improve the sound during articulated passages.

t liberties. Often their voices do not project over the orchestra, so the conductor asks for many dynamic levels hin a few measures the music switches from a lamenting sound to a driving dance and includes many technical challenges. namics and rhythm and musicianship. many instrumental and vocal pieces. In the next issue several of his latest etude for flute alone, written in honor of his 95 ob with a major orchestra.

coloists and audiences alike. ting technique. synthesized Geoffrey Gilberts rigorous technical training and Marcel Moyses musical depth with his own distinct person ked at his first lesson because he played everything at an unacceptable speed. Gilbert said I was playing much too fast, ies yet retains a tonal center throughout melodic and rhythmic motives. stically suitable for Mozarts D Major Concerto, this article offers further ideas that emphasize the character of the movem hallenging work makes an impressive contest or audition solo.

ions so flutists can understand the context. hallenge is learning the orchestras traditional ways to play things. Players respond to different surro a for flute and piano. Players should place the rhythmic stress correctly with precise articulation for proper interpretation. , high school as well as college students can benefit from her advice. e plans to attend classes this summer. This annual listing provides detailed information.

one quality improved. also established flute festivals in Stratford, England and Mexico to teach young players. Being dedicated to what you are hythmically one of his most complex compositions. Of its melancholy style, the composer commented that he hardly knew players understand how to control intonation, articulation, and balance. howmanship and expressiveness their careers and performances would improve. d improve the tone quality. l for the end of a lesson. fically for these ensembles.

American orchestras, Ren? Rateau brought with him tonal ideals of the French School, an even, focused tone in all register hythms and melodies, this is a challenging work that is fun to play and hear. eate emotions, but modern performers can easily misconstrue 18th-century tempo and style indications.

e embouchure. hances of getting a lucky break.

ness and pleasure. 6. Unlike many of the previous contest winners, her goal is to become a soloist, not an orchestral player. Once I have a b nts and suggestions on the performances in the semi-final round. This year the judges were Jacques Zoon, Benoit Froman eatures performances by Paula Robison, Robert Dick, Samuel Baron, and others.

d systems, students need not simply endure lonely hours of routine practice. d works for bands in addition to orchestral repertoire.

only a vehicle for achieving that sound.? , and displays emotional extremes. Rivier said that the flute often reminded him of the sounds of birds, but the expressive ears. Principal flute Jacob Berg says, We work hard to bend and compromise to arrive at something that works as a sect ompanies as flute craftsmen who worked at one company left to open a shop of their own.

t a percussion by the tongue, but its quick and precise withdrawal.? exercises for developing technique and playing musically. Flutists should emulate the string sound and the human voice, s and experience in a particular way. In the art of jazz the improviser makes each solo a personal statement.? make somebody else feel good is what soul is; the sound is a spiritual concept of projecting your best self. mpanies compete in this field. Most flutists do not realize that making a C.D. is entirely possible on a reasonable budget.

s pertinent information regarding application deadlines, entry fees, and repertoire. Dixon, and Walfrid Kujala and is widely recognized for its rhythmic precision, full dynamic range, and musicality.

uld not tell us how to tongue a passage or where to breathe. He pointed out a small thing or two, and although those thing d techniques in a lyrical, tonal work.

will learn that a particular interval in one key is not quite the same when played in another key or a different octave. mes of the piece and wove in the established harmonies. Many of Mozarts cadenzas were brief enough to be played in o p, both within the orchestra and in solo playing.

stened to the recordings of the Philadelphia Orchestra to hear how John Krell played. I was bowled over by his sound. Ne full technical and musical qualities of the flute, but it is easier to play than it sounds at first. orchestral and chamber music. pparent in the first strain of the song. The songs in this article demonstrate both standard phrasing and possible deviation rtha Aarons, and Mary Kay Fink and is known for rhythmic precision and orchestral blend. r in its 75-year history, but now at age 14 she is a junior in college.

competition.

cialist but has an elementary understanding of the instrument. Identifying the basic habits that many beginners learn inco of tonal colors, extreme dynamics, and abrupt mood changes within a free style. ath is used in wind instrument playing. Those who have a partial understanding teach it through attention to anatomy rath d businessmen. forms. The student who observes learns as much as the player, and each student has two lessons each week.? of this metal would weigh less than half as much as one of silver.?

vibrato, and nerves. With experience, and a few helpful hints from veterans,these aspects of performance fall into place. d adjust to other players. Learn to use the conductor as a guide only.? elements from the 1960s and interpret it too squarely. Instead, the rhythms should drive forward with slight distortions or social events without being paid. There is a skill in declining gracefully.

products are available for music teachers and students. Ferguson, and Catherine Ransom. ments in the world played by amateurs and professionals alike.?

ute playing. A beautiful tone is important, but the musical content of a phrase played with a beautiful tone maintains the analyses of the piece identify different structures, neglect intervallic relationships, and fail to address important performan pal; Robin McKee, associate principal; Linda Lukas, second; and Catherine Payne, piccolo. According to Renzi, who was na s focus on pedagogy while others allow choices. While the venues, dates, and repertoire may vary, they all have one comm

rovisational elements, so it is called jazz.? His music incorporates rhythms from his Caribbean background, but he does no decade it has become one of the most popular additions to the flute and piano repertoire and is one of the required selectio known as Americas first flute virtuoso. Laniers wonderful trills, roulades, and soulful melodies completely captivated hi d Cramer, associate principal; Loren Lind, second; and Kazuo Tokito, piccolo. Ours is a very compatible, flexible section; ed trio includes harmonized flutter tonguing.

ate and inspire others.? Hal Ott, professor of flute at Central Washington University, has discovered that organization, cur the composers dynamic markings to fit within the musical context and be in tune and balance. emands on the arts influenced his music, which has a saucy, infectious impudence, with mocking reeds, michievous melod es features of 17th and 18th century music that is characteristically simple in texture and form. d sometimes socializes after the work is over.

repertoire are the Bach sonatas because of the intonation and the double tonguing, which should be precise but not borin e musical language is a message without words? and musical expression means going beyond the level of comfort to a h s also an accomplished flutist and probably contributed more to advance the progress of flutes and flute playing than anyo ce of outstanding performances and seminars.

h Symphony at age 29, she concluded that gray hair and years of suffering could help her develop more of its meaning. L nd difficult phrasing that incorporates folk song and dance rhythms of Brazil. arvey Boatright, second, and Deborah Baron, assistant flute and piccolo. concertos or the endless birdcalls of the Golden Age era. ned to brilliant performances that were only marred by old fashioned sound and surface noise.

athe and start the sound. By paying attention to the intake of air, making sure it suits the mood and tempo of the music, t andard of the flute repertoire is an excellent recital and competition piece featuring styles and colors that challenge the pe olls, crans, trills, and vibrato; but the overall effect should be so subtle that the listener is barely aware of it.

typical of Martinus music. , second flute Alice Kogan Weinreb, and piccoloist Carol Beane.

as Robertello draws from his experiences of playing both piccolo and flute. Often the easiest music is the hardest to play gs in this lyrical piece, which is on the required list for the 1998 Flute Talk Competition. modern flutists, they were new challenges when Karg-Elert first composed his 30 Caprices. Because of their diverse charac While contemporary music is often uncommunicative, this flute quartet is a welcome addition to the repertoire.

cond, and Adele Lorraine, principal piccolo.

xaggerated gestures distract.? reat American novel, but she followed Julius Bakers advice and transferred to Juilliard to focus on the flute. After establis ious flute lines that erupt in wild exclamations over a persistent harp accompaniment. ering contests. Always run your own race, never run against anyone else. Follow your own bliss. If music motivates you, Conner, second, and Rhian Kenny, piccolo.

with every possible trill, dynamic, and articulation.

t flutists augment their performance of the sonatas to account for details that were presumed as a matter of performance s, but the concepts of tone and vibrato should never be separated. econd; and Geralyn Coticone, piccolo. nt thing any of us can do because we have to define our own beliefs and articulate them to someone else; and as we do, w

breaths, phrasings, and articulations, which he likens to training wheels for a student who needs help making choices ab n E Major, B.WV. 1035 was interpreted by 18th-century flutists, who would leave out Bachs written ornaments for the f kes were made when the parts were transcribed from the score. The librarian of the Philadelphia Orchestra compared vario an result in oil-soaked paper and leather adjustments and leave gaps in the mechanism. nd Laurie Sokoloff, piccolo. t have good ideas and a sense of humor. minal muscles.? usts to the blend of the Chicago sound but finds that playing baroque instruments improves articulation, phrasing, and i uch special effects as blown and unblown key clicks, flutter tonguing, glides, and controlled vibrato speeds. While the comp applying for summer masterclasses. Information in the annual list includes faculty, location, dates, and fees. Draizir-Doepke, second flute, and Joan Voorhees, piccolo. olo and piano with challenging rhythms, meter changes, and tricky articulations. erpretation, baroque music belongs to all, and it doesnt take a specialist to play contemporary music.? mportant to abandon anything that produces tension and find the correct way. Playing the flute involves tension, but it has tic composition is a favorite among flutists throughout the world, and although the style of the composition is reminiscent spine, head, and neck for relaxed body movement. ses call for intense concentration for short periods while flutists work on sound quality and articulation. hingle announcing flute lessons and hope to fill a studio.

can lead to acrimony and dissension. may be the perfect encore piece for a chamber music recital.

y-Hackney, third flute and piccolo.

n than the notes before which they are placed. This is the first step in Baroque knowledge, but just as every law has looph Some flute players squeeze their thumbs and first fingers. I tell them to think about roundness or holding a tennis ball to melodic line with the delightful quirkiness of unpredictable outbursts. This music should portray a wide range of emotions with the original score and follows the composers ideas about varied reprises. owing, incorrect tongue placement, or the instruments tendencies. Cracking sometimes stems from the mechanics of th ments disappeared after the 17th century. Many flutists never play the alto flute because they do not understand how to p re a wonderful addition to any recital or contest. an on the music to come.? d sight-read them. Each demonstrates a specific musical principle or technique that will increase the expressive playing of to Israel in 1990 to pursue his musical studies. He is currently a student at the Manhattan School of Music in New York. Fa ants in the semifinal round of the Flute Talk Contest. Khaner said, Focus on communicating what the composer intended look the benefits to students of playing in a flute choir. In a small group balance and intonation are particularly apparent, treating the piccolo as a foreign instrument.?

ontemporary composers. He says, For me, it is more difficult to play Mozart with an orchestra. In recitals I will play anyth erest and change. He loved complex rhythms, and these are used often in this work, especially the hemiola in the third m mation about such different types of tunings as equal temperament, just intonation, and Pythagorean temperament nd sounds. n operatic scene. The great Marcel Moyse realized the value of operatic arias many years ago and published a collection of

f playing with confidence.

o his instrumental shortcomings.? mes the sound is captured on a recording, but we generally have only one chance and then it is over. The art of music is su the flutes tonal palette. Within each movement, each subsection, even each phrase, reside different characters that he experience.? From memorizing required repertoire to rehearsing with an accompanist and learning to walk on amid off th

stilled in him by his first teacher. An ancient proverb says that if I give you a fish, youll have enough food for one day; b

ut borrows from the great violin and vocal repertoire to teach phrasing, breath endurance, and subtle attacks. His student s beautifully for an aural learner may be meaningless to a visual learner. To communicate the same concept to students a ngeniously incorporates both in his avant-garde piece for unaccompanied flute. This work uses unconventional embouchure . The greater the talent, the more a teacher has to guide and direct that potential.? By senior year in high school a potenti

e highest caliber and perform music in a wide variety of styles. Unlike other recruits, musicians know what their job will en

This was the first time anyone had the courage to be completely honest with me. He observed that while my technique w mbodies his style of the 1940s. Coplands signature wide intervals and motionless rhythms suggest the American landscap r with the piano part. The complex rhythmic structure between the instruments leaves no time for delayed reaction on the ompose on-the-spot improvisations. According to this line of reasoning, if a flutist already has a good command of the in ery Heart?, a Danish Christmas Carol, arranged for flute and piano by Costel Puscoiu. These lesser-known carols have foun

express what we feel. The flute is not important. I have a hard time understanding all the emphasis on trying new headjoin s a swift dance. In this sonata only slow, methodical practice will develop the technique: the musicality comes across only meone else. Some of the problems cannot be seen, but the results can be heard. Here are some tips for novice teachers. eighborhood productions. They heard and stole my fathers tune Shuffle Along, which he wrote for the W.C. Handy mus he local schools. es, and a variety of vibrato speeds.

nel of popcorn stuck in the teeth.?

buttons for small students and accompaniments on compact disc for students to use when practicing. obert Dick says he is sure Mozart would be disappointed and wonder why we still play his stuff. Hed be much more inte y definition, it would have to be a lyrical piece, for what can you do with a flute in extended form that wouldnt emphasize asonable within an allotted time frame. Physical preparation can be in the form of jogging or swimming for 20 minutes fou m.When considering pursuing a career in music, flutists should identify their strengths and work on their weaknesses. O

djoint tenon, although many flutists have heard that burnishing is dangerous, destructive, and can ruin the headjoint. here new ideas will fit in.? Even tiny clues can be monumentally important. Some only become useful when combined with

relief in the Feldenkrais and Rolfing methods. Some musicians also find relief from Chinese and Western acupuncture, Re ech furian dance,this Trio for flute, cello, and piano captures the spirit of Czech folk dances. Martinus music uses a comp ores of the Mediterranean to the ivy-covered colleges, flute classes and seminars this year are sure to help flutists of all le te choirs. With the new double contrabass flutes, the sounds go lower than ever. committees. Good breaths and a quick tongue are the secrets to this Rossini work.

ching. If a student wants to be principal of a major orchestra, I tell him this is a great dream, but there are many wonde matic is obvious throughout his work. His traditional harmonies have colorings of impressionistic chords and splashes of oct ors and dramatic approach to composition can be heard in Suite Comique, the story told by On the First Day of the Week, eek residence she learned as much as she taught. Music doesnt sound the same after hearing a tango on every street in hysical characteristics of each player. What applies to a six-foot 250-pound flutist may not apply to a 90-pound student. ating a fine recording by fully utilizing the capabilities of good equipment. he is also a published composer. Music is so important that I cannot imagine living without it. For me its a window to so

vant-garde his music seemed fluent and assured with surreal delicacy, but to others he was an advocate of only the most d sight-read them. Each demonstrates a specific musical principle or technique that will increase the expressive playing of s, let alone for the general public. This duo searched for and arranged several pieces that would appeal to most people. challenging local flutists to play faster than he could. Pattpio always won. Many of his compositions were published durin

students play with professional musicians. Opera is not just music for the most serious audiences. a gold flute, so he made a tiny flute and suspended it on a necklace. This developed into a wide array of flute jewelry.

tening, from the initial attack to the final release and everything in between. When a flutist is still learning the basics,its ity that develops with experience. An audience wants a player to appear to be in complete control of the moment and to c on a new career path, Donald Peck shares some of his memories about conductors and repertoire. After Carolo Mario Giul hange in air speed, air angle,temperature, type of ensemble, and the anatomy of each player all affect intonation. A flutist ht movements, each one depicts a bird song.

ervatory, Timothy Day moved west and developed a passion for teaching.? In students he looks for a great sense of rhy

h a light-hearted gaiety and optimism that permeates even the serious musical moments. e little information about the original instrumentation in two extant editions. For flutists the biggest challenge is deciding w r the flute in other works. The history of the quartets is colorful and interesting, despite some historians who contend that

and Robin Peller, second flute, who have wide and varied interests when they are not playing the flute.

are too close and cannot judge.? His quest for a better sound led to trying wooden flutes. After playing metal flutes for so Fantaisie, Op. 79. The Andantino calls for expressiveness and a beautiful singing tone, while the Allegro should be energ fore playing any etude to think about the key and tonality. One of the main challenges of etudes is maintaining energy in t

many levels.

onfused about what piccolo to buy. ly hidden in Russia during World War II.

projected lyricism and high-speed virtuosic energy. At first Joan Tower was intimidated by the thought of writing a flute c has different expectations and may not explain concepts the same way as the previous teacher. At the college level a new 55 pounds of combat gear have replaced dress blues when touring a battle zone. Playing the flute in a military band for 2 After the primary focus is on technical perfection rather than playing musically. may inspire a new interpretation.

ent flute convention. ths compared to taking breaths of the size that's needed. Considers the need to take in air for musical punctuation and ph riences and education, work with the Toronto Symphony Orchestra, pursuing a career as a solo flutist, and his perspective ement with all three sharing the final movement. The lyrical lines display Rorems mastery of an elegant style, of song w

hanged greatly over the centuries. ation, years of experience, and proficiency of each teacher are pertinent factors. A fee of $30 per hour sounds great until tion with every move, just as a flutist should from the first moment.

nted a big sound.?

not have to chase perfection. All the extra effort flutists put into making a pianissimo sound or carrying out a passage of d dea. His songs for flute alone are a natural and logical outgrowth of his modal, contrapuntally conceived melodies. sh guitars, but the lyrics remained French in songs that often dealt with death, loneliness, or ill-fated love. root of the chord, then the fifth. The third should be added last.? d to hear some scales and his most recent piece. Usually after a few bars a teacher has a good idea of what to expect. are his Lyric Concerto.?

lined the melodies and did not specify how the piece should be played. The performer just improvised on the melody.

a detrimental effect and detracts attention from the music. eim, Germany, Tanguy says that ... it is perplexing that Bach did not write more for flute because it was a very popular i published in 1956. The first group of songs are painful in nature according to Slovak/Hungarian pianist Helena Gafforova w mysteries can be explained, and players have learned ways to overcome others.? of simple flute monodies that are playable by intermediate flutists. people do not have a photographic memory, but the key is to do everything to build confidence to perform well from mem han a mere orchestral timbre. This part calls for good stamina and pitch control and should be played with a shimmering v

roe says that he learned about music by listening to monthly selections from a record-of-the-month club and anxiously aw her are played fast while those that are far apart are played slowly. This spatial notation frees the music of bar lines and b ons of these works do not preserve the original notation. Many players today do not recognize or know the difference betw o and the mountains of Colorado. Some flute class offerings will lure the musically curious and adventurous. le income. Everything else is just detail.? mething about their loud sounds intrigued me. My parents gave me a flute instead.? Some of her high school teachers enco res unearthly places and also creates a garden of sound, giving each flower a color, shape and smell. Takemitsu s perfor te was added to Irish music in the 19th century. In post-famine years flutes became available to the rural people of Irela

approach is a frontal assault with many repetitions, another tactic is rhythmic transposition, shifting to unstressed notes.

it takes years to play a simple phrase."

his can and should change each time we play the same work. Interpretation can be analyzed and studied, but must not be

s and arched phrases. It is also one of the most singable works in the contemporary literature.

eir curiosity sparked for the next lesson.

rated with their inability to play from memory. There are several types of memory that students should tap into, from tact

music knowledge.

emed a bit of an oddity when it was first performed, but it is an accepted part of the repertoire today.

which have been released on compact disks. He will be remembered for his wonderful interpretations and generous natur a high school band visited my grade and I heard it played. Every day I begged for a piccolo until my mother finally gave i f tone colors. If the sound is always the same and the dynamics range from mezzo forte to a forte, the music will lack exp e rigid rules of Baroque music to the free style of the Classical era. Benda wrote lyrical melodies with straightforward harm

ts were rewarded.

rded a solo album, toured with Chick Corea, and played for the sound tracks of many movies and television programs. Di solo for the concours. Tulou and Alt?s wrote them between 1860-1892; but when Paul Taffanel became professor of flute denzas for Mozarts flute concertos.

up was big enough to give students a sense of collegiality but small enough that each person made an identifiable contribu ue, cancellation and make-up rules, and the technical progress required to advance to the next level. nor too loose. The embouchure hole of the headjoint should be aligned slightly in front of the center of the keys so the lip

and Hindemith sonatas while he played the piano parts. He asked if I always play that loud. I turned to him and said, Onl of World War II, but Sonatine, composed for a competition at the Paris Conservatory, has become a staple of the flute repe ey change, accidental, or complex rhythm. The result is that the first section is more polished than later sections. Student bert. In Trockne Blumen, the 18th song and tragic climax of the cycle, the miller is overcome with suicidal thoughts, and

ence. Find out the dates, requirements, and awards for various competitions. both a teacher and performer. He has written 30 original publications and dozens of repertoire editions. At Wye's unusu radition for many flutists. Each movement depicts a Christmas scene such as happy voices greeting one another or music

ar dances, marches, patriotic and sentimental songs. Riley engraved and published it in six separate sections and the entir aulty and sent to practice more, but by understanding the differences in the two instruments, any good flute player can al Edgard Var?se had telephoned Nyfenger after a nationally broadcast performance of the work, not to extend congratulation o than polishing pieces.

chwoebel, Marcia Stilgebauer-Rudin

t taking an audition, turned down a chance to earn a Master's degree at Eastman in favor of a recital tour, collaborated wi athing pitfalls for the flutist on the long phrases, intonation, and tricky rhythms. gerings in the third octave. Although they are similar, every fingering has to be modified in some way. of playing and teaching, music schools rarely discuss how to use newsletters, holiday recitals, resum?s, and referrals to fin w measures of any piece. A strong beginning sets the style and grabs the attention of judges who have probably already h ng 19th-century flutes I would have said they were crazy," yet Jan Boland and John Dowland have carved out a niche and f playfulness and levity, in part because the piccolo often plays in the low register. It motivated me to work toward the same goal. Coincidentally a few months later I won a concerto competition and perf the technique, but he didn't want that to be the essence of composition, only a means to achieve a musical atmosphere. that may never be cured and may end performance careers. ty, because there are often no flute parts and they have to create a part or play by ear. utists. She finally staggered back to her seat but learned things that day that have stayed with her ever since. d was soon performing and teaching in his new adopted country. it in order to get the desired effect in flute playing." ncluded a number of world premi?res. Of these, Souveniers by Robert Beaser was particularly captivating. flutist in "Night Music" is Sharon Bezaly

Franck "Sonata in A major", Schubert "Var. on Trockne Blumen", Saint-Saens "The Swan", Godard "Allegretto and Waltz"

York; charanga was very popular. New York had several bands that specialized in that music, and my father took me to a are similar to those often used in jazz, these are among the rare Baroque works with three simultaneously moving lines. uet, originally for flute and violin, works quite well for two flutes if a few octave transpositions are made in the violin part. e passegs with the oboe, the flute vibrato should be slower and narrower than is used on solo repertoire.

h century, but today the distinctions between handmade and custom flutes are increasingly hazy as technical manufacturi performed but appears on almost every audition list. "Facsimile" by Leonard Berstein is a neglected gem with long, delicat

si flutes plus electronic sounds by Diego Ortiz n "Le Chant du Vent"; Kuhlau "Fantasia #2" Op. 38, Karg-Elert "Sonata Appassionata"; Eastman "Prikichi, Chuchubi, and o f teaching as well as performing. "My life is a bouquet, wheter it involves students, writing a grant proposal, or rehearsing ver, exists only in sales literature." e" by Henri de Regneir. "He is a jaunty, 18th-century gentleman, and I picture him briskly walking down the street twirlin in several sections can be taken or omitted for a short performance in a church service. the melodic line of an etude and create an accompaniment by adding basic chords.

incipal flute in the San Antonio Symphony

d and the key to developing the group is to help enough on rhythm and intonation problems while leaving considerable res ces discussed in the May issue, the bad news is that these are presently out-of-print but the good news is that readers ma othy, frilly tone is not the answer for "Afternoon of a Faun". For a deeper, sensual tone I use an uuh syllable, which produ ework of a piece. They forget or ignore the existence of the bass line and play without regard for national and musical styl ost German composers in this era, no Baroque manuscript includes every ornament and nuance that a performance in the s to see the music. The best place is approximately 30" away from the music and the sight angle will change slightly. my teaching schedule and the telephone numbers of other students so parents can exchange lesson times when a conflict h a musician, I humbly present:"

Siebert and alto flute commentaries by David Cramer

arsal and performance places can often be resolved by contacting various educational and religious organizations. ok the importance of basic physical conditioning." ally large orchestras will request fewer excerpts, and over 90% of the orchestras want a solo selection as well.

nal Competition in Geneva.

e in rhythm, and mentally hear music is like teach

usic - that's what counts."

s to improve playing, including breathing and contr own resources, I discovered my own capabilities and interests."

s first and flutists second." ne, technique, and intonation.

encore, contest selection, or audition piece. o, and technical proficiency.

ing his awareness of all the variables involved in developing a more mitate great play

lity to control his cheeks sensitively in such a

not interfere with interpretation.

of the confusion on this essential aspect of flute p

and neglect breathing exercises. do not feel the to he forte, a round, full, mellow sound can be produc interfere with musicality. ndings and the type and style of music.?

haffer in admiration of her sensitive and expressi

s only about yourself, one day after another, forc

elodic leaps.? nes help players learn this technique.

ng and exciting. est and display the performers abilities. ber music and the chamber symphony in his ents will find an array of fresh perspectives in these summer sess proficiency. Most players forget the first three its rhythmic complexity. the tongue to return to its starting position quickly

one. The most striking thing, I have always f

. As Jolivet said, The flute is the essential musical i uments. Demanding yet rewarding to play, these studies

eared to instruments other than the flute, esp path to success. d in terms of coloring and expression.?

ou. After a while a player comes into his players trademark, a special voice and identity. Stri egister.? Growing up listening to Eileen Farrell, he can school of flute playing. piece is one of his most charming.? Flutists of all level a lecture before a Chicago Symphony concert, this arti which are better forgotten while others are put flutists in the winners circle. Find out about various compet speak enough about music, we talk about mechani

ery precise instructions about how the flute should

rpret their pieces, and perform them instead with i

y composed for this concerto. It helps if students unde s of the legendary teacher. This is the second and fin ated passages.

ynamic levels any technical challenges.

written in honor of his 95th year, will be included.

h his own distinct personality. The result is his im s playing much too fast, so I had to redo ever

e character of the movement.

r proper interpretation.

edicated to what you are doing and enjoying nted that he hardly knew whether to laugh or cry, perh

cused tone in all registers, and a flexible vibrato.

player. Once I have a broader repertoire, ues Zoon, Benoit Fromanger, and Doriot Anthony Dwyer. Try to capture a

birds, but the expressive range of the flute goes hing that works as a section, even though we come

und and the human voice, not just play the flu al statement.? on a reasonable budget.?

and musicality.

and although those things seemed insignificant at first,

a different octave. enough to be played in one breath, and many of the ornaments and cadenzas w

led over by his sound. Never mind the fingers, it was the quality of th

ng and possible deviations. The articulation and tempo derive from t

any beginners learn incorrectly will lead to improved tone, inton

attention to anatomy rather than mental concepts about wind and song.

ns each week.?

formance fall into place.

d with slight distortions over the pianos steady pulse to add excit

utiful tone maintains the listeners interest. The tone should be va ress important performance aspects. This conflicting informat ng to Renzi, who was named principal flute 53 years ago, Everyone in y, they all have one common theme: promoting good flute playing.

ckground, but he does not like to stereotype or categorize music. ne of the required selections for the 1997 Flute Talk Competition. completely captivated his audiences.? mpatible, flexible section; even when adjustments seem unreasonable

ed that organization, curiosity, and an unders reeds, michievous melodic leaps, disjointed harmonies,

be precise but not boring, and the interpretation cannot be too romant he level of comfort to a high plane of performance,? to the semifinalists. d flute playing than anyone before him.

p more of its meaning. Learning the notes is the first step, but the challe

nd tempo of the music, they begin the flow lors that challenge the performer to create the personalities of aware of it.

sic is the hardest to play well, especially in the orchestra.

use of their diverse character and great technical demands, the Caprices the repertoire.

n the flute. After establishing a musical career and writing four bo

. If music motivates you, go your own way and do not worry about the othe

a matter of performance practice in Bachs time, as in the case of the E

one else; and as we do, we start to understand them better.?

s help making choices about breathing.? He also created a second flut itten ornaments for the first statement and add them in the repeat. Instea Orchestra compared various editions and came up with these corrections.

iculation, phrasing, and intonation on the modern instruments. The tuni o speeds. While the compositional style has some similarity to baroq es, and fees.

volves tension, but it has to be used correctly.? mposition is reminiscent of the French Impressionists, Charles Grif

st as every law has loopholes, this principle has exceptions.? r holding a tennis ball to keep the hand round. I carry that one ste a wide range of emotions or affects, and Bach strove to achieve expre

from the mechanics of the attack. This often relates to enunciation in sp o not understand how to produce a proper tone and the weight of the in

the expressive playing of flutists if they take a moment to study the of Music in New York. Faniuk impressed the judges with his tone, accur at the composer intended, and you will not be distracted by yourself or by f re particularly apparent, and there is a wealth of music written

n recitals I will play anything from Poulenc to Debussy and Boulez.? he hemiola in the third movement. ean temperament published a collection of them for flutists.?

ver. The art of music is subtle and evasive. In developing and manufactu ferent characters that help bring this piece to life.? ng to walk on amid off the stage, the small details can make or break a p

nough food for one day; but if I teach you to be a fisherman, y

ubtle attacks. His students at the North Carolina School of the Arts, en me concept to students at different stages of development will entail s conventional embouchures and breath adjustments, fingerings for multiph r in high school a potential music student should have well-developed

now what their job will entail after basic training, but there i

hat while my technique was impressive, I had little to say musically. U st the American landscape. r delayed reaction on the precise articulations, rhythms, and dyn good command of the instrument, improvisation is just a matter of l r-known carols have found their way to the United States from Romania.

sis on trying new headjoints and flutes. Expression is what counts icality comes across only with lots of imagination. ips for novice teachers. e for the W.C. Handy musical revue. They changed the title to I Got Rhyth

Hed be much more interested in the best jazz improvisations because that wouldnt emphasize its songful nature? Of course you could w mming for 20 minutes four times a week. Relaxation techniques are goo on their weaknesses. Orchestral musicians have to be superb sight-r

n ruin the headjoint. eful when combined with another clue.

Western acupuncture, Reiki, and all types of massage. I shy away from nus music uses a complex but orthodox harmony. The essential i re to help flutists of all levels.

ut there are many wonderful ways to make a living in music. If the hords and splashes of octatonic and other exotic scales.? he First Day of the Week, the raw beauty of the Concertinos Nocturne, a tango on every street in Buenos Aires.? o a 90-pound student.

or me its a window to some kind of salvation; whatever there is spirit

dvocate of only the most cerebral 1 2-tone works. He hissed at Stravinsky he expressive playing of flutists if they take a moment to study the ppeal to most people. ions were published during his lifetime and several of his recordings

rray of flute jewelry.

l learning the basics,its difficult to listen to details. Some o l of the moment and to communicate honestly and confidently. After Carolo Mario Giulini came in for a day, the orchestral color sounded affect intonation. A flutist can learn all the physical corrections,

for a great sense of rhythm and pitch that I can hone. Sound quality and t

st challenge is deciding where to breathe. orians who contend that these works do not equal his string q

aying metal flutes for so many years, he was shocked by the res e Allegro should be energetic and crisp.? Teachers often assign the F s maintaining energy in the tone without forsaking dynamics, articu

hought of writing a flute concerto because the flute is often overpowe At the college level a new teacher may focus on basic techniques but a s te in a military band for 20 years has given me the chance to travel t

usical punctuation and phrasing and to keep breathing natural. utist, and his perspective on contemporary needs to firm up musical n elegant style, of song without words.? This flashy piece could be an

hour sounds great until the costs of equipment and supplies used in

rrying out a passage of detache is senseless if they do not think mu ceived melodies.

ea of what to expect.

vised on the melody.

se it was a very popular instrument among both professionals and amate ianist Helena Gafforova who studied with Bartok. It helps to imagine

o perform well from memory. Start early with the most difficult section ayed with a shimmering vibrato and singing tone.?

nth club and anxiously awaited the next selection by a major symphony o music of bar lines and beat patterns in a cadenza-like stream of know the difference between flag and bar notations.

high school teachers encouraged her to pursue painting in college, but she mell. Takemitsu s performance suggestions are sometimes unclear and k o the rural people of Ireland as the economy improved. Inexpensive fl

ing to unstressed notes.

studied, but must not be copied. The temptation is

hould tap into, from tactile, aural, and visual to symbolic and analytic

tions and generous nature. my mother finally gave in.? Her views modified over time, and she w e, the music will lack expression. Try to develop a beautiful, soft, with straightforward harmonies. In this sonata the trills and appo

television programs. Discovering where the mine fields are in Los Angeles ecame professor of flute in 1894, he asked other composers, primarily facu

de an identifiable contribution. Everyone had a good time and made new frie

nter of the keys so the lips do not cover too much of the hole.

ed to him and said, Only when the piano player is that loud. I c e a staple of the flute repertoire. This one-movement work has distinct an later sections. Students should be taught that slow, careful pra with suicidal thoughts, and envisions the maidens flowers lying withered

editions. At Wye's unusual eight-month course, which takes place at h ng one another or music echoing in a quiet church.

ate sections and the entire volume first became available in 1816. y good flute player can also play the piccolo well." to extend congratulations, but to point out an error. The author hopes

cital tour, collaborated with a folk singer/rock star, and she recorded

um?s, and referrals to find new students. o have probably already heard numerous performers. e carved out a niche and amassed an audience of faithful followers.

erto competition and performed the Concertino." e a musical atmosphere.

er ever since.

d "Allegretto and Waltz"

d my father took me to a club to hear Tito Puente's orchestra. Imagine. I ltaneously moving lines. made in the violin part.

as technical manufacturing developments merge with craftsmanship. ed gem with long, delicate phrases and extended pianissimo passages.

"Prikichi, Chuchubi, and other Birds of Cura?ao" nt proposal, or rehearsing with New Millennium."

ng down the street twirling his cane."

leaving considerable responsibility with the student section leaders. news is that readers may be able to persuade the publisher to re uuh syllable, which produces a golden sound that is perfect." national and musical styles." hat a performance in the 18th century would have played. will change slightly. on times when a conflict arises.

us organizations.

ction as well.