Transform Your Teaching
By Bonnie Blanchard
Increase your effectiveness with relationship-based teaching
• Allow time for relationship building in every lesson to instill trust and respect.
• Stay in tune with students’ interests and temperaments and adjust lessons accordingly.
• Value each student and create a mission statement that puts their well being first.
• Let your students get to know you too
Make each student feel special
• Let students know they are important and appreciated
• Compliment at each lesson
• Typecast them individually in a good way
• Assume they will be great
Inspire respect and pride in your studio
• Pass on a studio identity to students, including a special “members only” password.
• Build traditions such as annual themed recitals for students to anticipate and enjoy.
• Promote student and parent friendships by hosting musical events.
• Encourage ensemble playing, celebrate individual and group successes, avoid rivalries.
Create an atmosphere of learning and achievement
• Communicate teaching goals and student responsibilities right with the first lesson.
• Help students achieve their potential by being honest
• Boost achievement with concerts, contests, and friendly in-studio competitions.
• Encourage independence by teaching students to solve problems on their own.
• Set goals with each student and give prompt and honest feedback on progress.
• Hold students to their personal best
• Visualize the future
• Applaud students’ accomplishments and effort.
Form strong ties with parents, your most valuable allies
• Communicate regularly with parents.
• Involve them in lessons.
• Coach parents on supporting home practice sessions and setting up a reward system.
• Help parents create a musical family environment that includes a reward system.
Be a better teacher
• Teach the whole musician with lessons on music theory, history, and musicality.
• Assess your teaching results annually and adjust to increase your effectiveness.
• Add variety with new schedules, lesson plans, and room décor
• Use the Music for Life two notebook system to help students retain knowledge
• Hold yourself to the same high standards you wish for your students
• Have confidence in your own ability
• Keep learning!
Have fun!
• Always put the student above the performance
• Laugh at each lesson
• Use fun props
• Be creative
Appreciate your good fortune in having one of the best jobs in the world!
For more than thirty years, Bonnie Blanchard’s unique teaching techniques have consistently
produced award-winning students and earned the respect of top college and conservatory
teachers. This presentation included excerpts from book one of her five-book Music for Life
series. Making Music and Enriching Lives: a Guide for All Music Teachers published by
Indiana University Press. For more information, please contact:
Bonnie Blanchard
11527 36th Ave NE Seattle, WA 98125
[email protected]
musicforlifebooks.com
[email protected]
Alexander Technique Bibliography
Find below a non-comprehensive list of books related to movement, body awareness, and the Alexander Technique. If
you cannot find them in your local bookstore, try [amazon.com] or [alexandertech.org] on line. (* May be ordered
direct from Andover Press: 4427 N. Willis Blvd. Portland OR 97203.) My very minimalist web site for links to helpful
sites: http://spot.colorado.edu/~brody/
Alexander, F. M. The Use of the Self. Orion, 2002.
Anderson, Bob. Stretching. New York: Random House, 1980.
Barlow, Wilfred. The Alexander Technique. Rochester VT: Healing Arts Press, 1990.
Calais-Germain, Blandine. Anatomy of Movement. Seattle WA: Eastland Press, 1993.
Caplan, Deborah. Back Trouble—a new approach to prevention and recovery based on the
Alexander Technique. Gainesville FL: Triad Publishing Co., 1987.
* Conable, Barbara. How to Learn the Alexander Technique, 3d ed. Portland OR: Andover
Press, 1995.
Conable, Barbara. The Structures and Movement of Breathing, a primer for choirs and
choruses. Chicago: GIA Publications, 2000
* Conable, Barbara. What Every Musician Needs To Know About the Body. Portland OR:
Andover Press, 1998.
de Alcantara, Pedro. Indirect Procedures; a musician’s guide to the Alexander Technique.
Oxford: Clarendon Press, 1997.
Feldenkrais, Moshe. Awareness Through Movement. New York: HarperCollins, 1977.
Freymuth, Malva. Mental Practice and Imagery for Musicians. Boulder CO: Integrated Musician’s Press,
1999.
Gray, John. The Alexander Technique. New York: St.Martin’s Press, 1990.
Gelb, Michael. Body Learning: an introduction to the Alexander Technique. 3d ed. London: Aurum Press,
1994.
Horvath, Janet: Playing (less) Hurt: an injury prevention guide for musicians. MMB
Music Inc., St. Louis, 2002
Jones, Frank Pierce. Freedom to Change. (originally Body Awareness in Action). London:
Mouritz, 1997.
Leibowitz, Judith and Connington, Bill. The Alexander Technique. New York: Harper Collins,
1990.
Maisel, Edward, ed. The Alexander Technique: the essential writings of F. Matthias Alexander. New
York: Lyle Stuart, 1990.
Mark, Thomas. What Every Pianist Needs To Know About the Body. GIA Publications, 2003.
Norris, Richard, M.D. The Musician’s Survival Manual: a guide to preventing and treating
injuries in instrumentalists. St. Louis MO: MMB Music, 1993.
Pearson, Lea. Body Mapping for Flutists. Columbus OH: Flutibia, 2002.
Typical problems of flutists
General excess tension and effort
- often increases (“builds up”) as activity continues
- more tension leads to more resistance
- reaction: to work harder (non-helpful strategy)
Angle of the head/torso turn/body part relationships
- many potentially successful possibilities
- inherently flexible human system
- rule of thumb: if you have to “hold on” to it to maintain, you may want to find another way
Postural distortions
- neck forward (e.g. to “meet” the flute)
- knees locked = out of balance
- upper torso “dipped in shellac”
- “flutist on a shelf”, frozen upper torso
- lumbar shifting or lifting up (a la vocalist “high sternum”)
- weight into left hip (historical depictions)
Tightening arm structure
- scapular trapping or “frozen” shoulder blades
- forward compression (learn how to lift flute without compressing left pectoralis)
Other flute-specific
- neck, not lip/jaw, movement (for tuning)
- eyes to “The Flute Corner” (and consequences)
- rotating head joint as a response to poor use (relate to car rear view mirror)
Flute support comes from:
- left forefinger/thumb
- right thumb/pinkie
- “face” and core
Breathing
- “pop top” (head/neck over-stabilized)
- raising shoulders (not necessary)
- gasping (mis-use of throat musculature)
Financial Management Tips for Flute Clubs
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
20.
Elect a Treasurer who is capable and who likes the job.
Establish membership dues appropriate for your locale.
(adult, student, family, life, corporate sponsor)
Establish fees appropriate for your program.
Members: master class participants, flute choir members, contest fees
Public: master class admissions, concert admissions
Choose bank carefully and utilize their services.
(small business, minimum balance, minimum items, interest, monthly CD)
Be conservative about establishing your budget.
Monitor your expenses regularly and utilize a computer program.
Invite guest artists who are willing to negotiate with you on their fees.
Ask for contributions:
Local music stores and established flutists
Companies to sponsor a scholarship winner
Members and relatives of members
Local persons and businesses who traditionally support the arts
International flute businesses
Audiences via a “donation basket” in the lobby of performances
Apply for grants:
Civic – city, county, state
Private – foundations
Corporate
Flute manufacturer of your guest artist
Pursue matching funds from volunteers’ places of employment.
Inquire of membership and other volunteers about grants from businesses that
contribute to non-profit organizations for whom their employees (and sometimes
spouses of employees) volunteer a certain number of hours per year.
Think creatively about fund raising.
Performances
Bargain table (members’ donations – books, music, CDs, decorations, etc.)
Piccolo raffle (manufacture donation)
Flute-a-thon (students gather pledges for performing at the mall, etc.)
Shares in a new instrument (keys, pads, corks, head joint, etc.)
A booth at an event for a vendor who cannot be present
CD, T-shirts, etc. production and sale
Ads in various newsletters, program booklets, etc.
Food Lion (and other businesses) donations for registered MVP cards
Pursue “in kind” contributions from both members and the public.
Purchase a bulk mailing permit.
Sell advertising space in newsletters.
Occasionally ask membership for extra contributions if needed.
Encourage bequests from persons’ wills.
Establish a permanent endowment fund.
Be willing to perform free to establish good will.
Learn from other musical organizations.
Ann Pearce, RAFA – 2007
What is Dalcroze Eurhythmics?!
Dalcroze Eurhythmics is a unique, exciting, and powerful education in music
for individuals of all ages and levels. Rhythmic movement, intense listening, and
improvisation unlock creativity, nurture imagination, and open the doors to
enriched and enlivened music making. Eurhythmics (literally, good rhythm)
places experiential knowledge at the fore. Musical concepts are explored
through social and interactive methods that invite the students to trust their
ideas and develop their own intuitions. Dalcroze study has three branches:
1. Eurhythmics
trains the body in rhythm, dynamics, articulation,
phrasing, and form;
2. Solfège trains the ear, eye, and voice in pitch, melody, and harmony;
3.
Improvisation brings all elements together according to the
student's own invention -- in movement, with voice, at an instrument.
Emile Jaques-Dalcroze, a Swiss pianist, composer, and educator, created his
method of teaching using “rhythmic gymnastics” early in the Twentieth century.
In a typical Dalcroze class, the instructor will combine the elements above
using rhythm games, songs, gesture, and movement as the key teaching media so
that the joy of music is experienced and understood. As a precursor to or in
tandem with private music lessons, Dalcroze Eurhythmics will create a platform
for accelerated and deep learning in all musicians.
For more information about Dalcroze Eurhythmics in Colorado, please contact Jeremy
Dittus directly:
Jeremy Dittus
377 Cypress St.
Broomfield, CO 80020
[email protected]
coloradodalcroze.blogspot.com
www.dalcrozeusa.org
H: 720-214-0987
C: 614-395-4722
Jeremy Dittus, 2005
What is Dalcroze Eurhythmics? Why is it helpful?
National Flute Convention, 2007
Jeremy Dittus: DMA, Dalcroze License and Certificate, MM, MM, BM, BS
Do you remember the first time you took instrumental lessons? For most of us, it was
an overwhelming experience. We had so much information to process: how to hold
your hands and arms in relationship to the instrument; how to place your feet; how to
count; how to recognize rhythms; how to recognize the pitches on the page and
produce them on the instrument; how to produce good tone; how to express ourselves
through the music…the list goes on and on. Honestly, it’s amazing that we ever
survived the whole ordeal!
Dalcroze Eurhythmics aims to facilitate this process by solving several of these
problems away from the context of instrumental instruction. Dalcrozians believe that
rhythm and pitch, the building blocks of music, can be taught more effectively by
treating the body as the instrument. In this model, the whole body experiences rhythm
and pitch, thereby making these elements understood in a more organic, meaningful,
and above all, joyful context!
For example, imagine back to when you first learned how to count in Mathematics.
Were the principles of addition and subtraction presented in the abstract? “If you
have two of one item and two of another item, you have four items all together.”
Hopefully not! With any luck you were given blocks or other objects and encouraged
to ascertain how many were present. You physically saw them, felt them, placed them
together in a group, and consequently, you discovered just how many blocks you had.
With music, however, this process is much more difficult to achieve because we can’t
actually see or touch music…we can only feel it inside ourselves. Dalcroze
Eurhythmics attempts to overcome this obstacle by utilizing the body to demonstrate
the music. For instance, as notes climb up the scale, the body experiences the ascent
by purposefully rising with music. This can be with the hands, arms, head, elbows,
legs…anything that gives it physical and visual substance. Or, for example, if a child
has the privilege to experience both the tactile and sensory differences between
galloping and marching, the contrast of compound meter versus simple meter can be
made much more vivid. (The beats in compound meter are divided into threes, while
the beats in simple meter are divided into twos.) What is more, because the rhythmic
differences are felt with the whole body, over time, they will be stored in the
proprioceptive memory. (Proprioception is the so-called “sixth sense” that enables us
to negotiate stairs and ladders without having to literally think about the specifics of
moving each part of our body.) Eventually when the day arrives that the children make
this connection to written notation, subconsciously they will remember the uneven
sensation of galloping and contrast it with the vertical feeling of marching. Voila! The
child will have an easier time communicating the “feel” of the music. With this rhythm
issue already solved, the child can focus on the enjoyable aspects of instrumental
lessons.
Another valuable aspect of the Dalcroze experience of music lies in its ability to
embody rhythm and pitch in multifaceted ways. One of the general principles of
Dalcroze education relates the walking beat to the quarter note (or the dottedquarter, in compound meter). However, there are untold ways of walking: strolling,
pacing, marching, limping, stomping, etc. By personifying the quarter note in different
ways, the children will build a broad vocabulary of musical experience that will inform
their intuitive understanding of this walking beat. They will be able to recall, relate,
and reproduce these varied musical events effortlessly. In other words, the result of
this training will strengthen their intuitive “muscles.” Musically and personally, what
could be more precious?
While the discussion of Dalcroze study might appear to be quite cerebral, in practice
Dalcroze teachers manifest these ideas through the spirit of play. Using interactive
social activities and games, the students are invited to discover musical principles until
they can physically demonstrate them without effort. Further, they utilize their peer
group as support and encouragement throughout this process. They learn how to
develop their non-verbal communication in clear and effective ways, because success
in the activities often requires them to negotiate tasks without using words. Once
the students can demonstrate the principles with ease, the teacher introduces written
notation. During this process, the students go from the known to the unknown,
subconsciously relying on and bolstering their musical instincts to guide them from
start to finish.
Dalcroze study can be applied for students of all ages, and it works exceptionally well
in tandem with students who are actively studying a musical instrument. In fact,
Dalcroze programs are in place at notable conservatories such as The Juilliard School,
The New England Conservatory of Music, the Cleveland Institute of Music, and many
others. The combination of a more output-oriented discipline such as instrumental
lessons with a process-oriented discipline like Dalcroze Eurhythmics can reap fantastic
results!
Jeremy Dittus, 2007
Dalcroze Eurhythmics and the Spirit of Play:
Informing Intuition.
National Flute Convention, 2007
Jeremy Dittus: DMA, Dalcroze License and Certificate, MM, MM, BM, BS
The aim of Eurhythmics is to enable pupils, at the end of their course, to say, not “I know,” but “I have
experienced,” and so to create in them the desire to express themselves; for the deep impression of an
emotion inspires a longing to communicate it, to the extent of one’s powers, to others…But, alas, so many
men do not dream, and are content to sleep! -- Emile Jaques-Dalcroze
Some Goals in the Dalcroze Philosophy:
1. Develop a stronger, more facile relationship between the past and the
present on a subconscious level within the students. The subconscious
is accessed directly through emotion; that is, remembering how
something “feels” provides a dynamic tool to inform intuition.
2. Develop intense listening skills through correlating sound to action. In
this way, aural impulses become realized through purposeful, physical
expression.
3. Develop an immediate reaction to musical principles or concepts. By
relating sound to movement in a direct fashion, students will become
more conversant with musical topics. Physical experience, particularly
with the whole body, demonstrates our perceptions more vividly.
4. Integrate the mind, body, and emotion. Coordination of these three
components will allow for a more direct access to issues of music
aesthetics. When any one of these elements is lacking in any way,
musicality will almost always suffer.
5. Encourage free expression. Improvisation allows students to apply what they
have learned in new and creative ways. It allows them to identify with
musical ideas intimately. This culminates in an embracing of diversity:
individuals of varying abilities and backgrounds can come together and
find musical commonality while maintaining their expressive autonomy.
6. Embrace a flexible curriculum. This allows teachers to meet the students
where they are, adjusting their expectations and pathways as needed in
the moment. Consequently, teachers can create a tailor-made, organic
learning environment.
Jeremy Dittus, 2007
Essence of Mei by Kazuo Fukushima
Presented by Dr. Mihoko Watanabe
The 35th NFA Convention, Albuquerque, New Mexico
August 9, 2007
I.
A brief sequence of event:
1953
1961
1962
- Joined Jikken Kobo（Experimental Workshop)
- Invitation to the Darmstadt International Summer Courses for New Music in Germany
o Dr. Wolfgang Steinecke
o Severino Gazzelloni
- Dr. Wolfgang Steicecke’s death
- Premièred at the 25th Contemporary Music Festival in Venice, Italy
- Performed at Dr. Steinecke’s grave in Darmstadt
Mei (冥): Dark, Pale, Untouchable
II.
Main Japanese Influence:
•
•
•
•
•
III:
Meido (冥土)
You say Shakuhachi, I say “Noh”
Noh (能)
• Hayashi
• Noh kan
Hishigi
Japanese belief and Noh Play
1. Iwabue
2. Tomurai bue
Use of Grace Notes
1. Shoga
2. Gestural Grace Notes
Wrong Note
Performance:
Ichigo Ichie (一期一会)
Performance
Comments & Questions: Please contact Dr. Mihoko Watanabe at E-mail [email protected]
2007©Mihoko Watanabe
Essence of Mei by Kazuo Fukushima
Presented by Dr. Mihoko Watanabe
The 35th NFA Convention, Albuquerque, New Mexico
August 9, 2007
2007©Mihoko Watanabe
The Flute In Jazz: Window on World Music
Presented by Peter Westbrook
National Flute Association, Annual Convention, Albuquerque, NM. August 2007
Of all musical instruments there can be few as ubiquitous as the flute. In
essence the simplest of wind instruments, the flute is found in one or another of its forms
in virtually every culture, in every historical period from antiquity to the present. Having
found its place in jazz, it is opening that genre to the music of the world.
It was a latecomer to jazz, however. Like the guitar, the flute had to await the
development of amplification to overcome its inherently small sound, and there were also
gender and other social issues that delayed the flute’s acceptance into the jazz tradition.
Eventually, however, in the hands of a small number of performers from the late 1940s
onward, the instrument began to make inroads into the jazz mainstream. Since then, while
its struggle for acceptance continues in some quarters, it has made up for lost time,
contributing a rich color to the jazz palette, and attracting the attention of many leading
artists. On the one hand, the flute has largely supplanted the clarinet as the main “double”
for saxophonists. Thus it shows up as a major component in the work of Don Burrows,
Jane Bunnett, Buddy Collette, Eric Dolphy, Joe Farrell, Sonny Fortune, Tubby Hayes,
Paul Horn, Rahsaan Roland Kirk, Yusef Lateef, Charles Lloyd, James Moody, Sam
Most, Dave “Fathead” Newman, Sam Rivers, Bud Shank, Lew Tabackin, Frank Wess,
Leo Wright and others. There is also, however, a core group of artists who have made the
flute their exclusive instrument, among them Jamie Baum, Holly Hofmann, Kent Jordan,
Hubert Laws, Herbie Mann, Nicole Mitchell, James Newton, Ali Ryerson, Jeremy Steig,
and Latin Grammy winners Nestor Torres and Dave Valentin, while classical flutists
Jean-Pierre Rampal, Sir James Galway, James Walker and others have taken on jazz
projects.
Today a new generation of jazz flutists is beginning to make its mark, in Europe
and Japan as well as in North America. Others, Steve Gorn, Danilo Lozano and Ned
Rothenberg, for example, having mastered the flute techniques of non-Western traditions
such as India, Cuba, and Japan, are blending them with jazz styles, contributing to the
various streams of fusion that make up World Music, and bringing the music of the world
into jazz.
Based on: The Flute in Jazz: Window on World Music (Harmonia Books, 2007)
More information, including news, interviews, articles, bibliography,
discography, etc. will soon be appearing at: www.fluteinjazz.com
For further information on each artist go to:
Wayman Carver
Jerome Richardson
Les Spann
Leo Wright
Sam Most
Buddy Collette
Frank Wess
Herbie Mann
David ‘Fathead’ Newman
James Moody
Paul Horn
Yusef Lateef
Rahsaan Roland Kirk
Ian Anderson
Joe Farrell
Eric Dolphy
Jeremy Steig
Norris Turney
Lew Tabackin
Hubert Laws
James Newton
Holly Hoffman
Ali Ryerson
Steve Kujala
Anne Drummond
Nicole Mitchell
Jamie Baum
Jean-Pierre Rampal
Jimmy Walker
Dave Valentin
Nestor Torres
Andrea Brachfeld
Danilo Lozano
Jane Bunnett
www.waymancarver.com/
http://hardbop.tripod.com/jerome.html
www.answers.com/topic/les-spann?cat=entertainment
www.oldies.com/artist-view/Leo-Wright.html
www.artistdirect.com/nad/music/artist/card/0,,470800,00
.html
www.buddycollette.com/
www.npr.org/programs/jazzprofiles/archive/collette.html
www.frankwess.org See also: ww.iaje.org/jazzmasters.asp
www.herbiemannmusic.com/
www.davidfatheadnewman.com/
www.jamesmoody.com/
www.paulhornmusic.com/
www.yuseflateef.com/
www.alfanet.hu/kirk/index2.html
www.j-tull.com/musicians/iananderson/index.html
http://en.wikipedia.org/wiki/Joe_Farrell
http://adale.org/Eric.html
www.jeremysteig.info/
www.jazzhouse.org/gone/lastpost2.php3?edit=979928669
www.lewtabackin.com/
www.hubertlaws.com/
www.jamesnewtonmusic.com/
www.hollyhofmann.com/
www.aliryerson.com/
www.tuttiflutti.com
www.karenkennedy.net/ (click on ‘artists’ then on Anne)
www.nicolemitchell.com/
www.jamiebaum.com
www.sonyclassical.com/artists/rampal/
www.jimwalkerflute.com
www.fantasma.com/artist_rep/artist-dave_valentine.html
www.nestortorres.com
www.phoenixrisingmusic.com
www.cubanflute.com
www.janebunnett.com
See also:
Dr. Jill Allen
Bud Shank
www.drjillmusic.com
www.budshankalto.com/
Peter Westbrook would welcome your comments at: [email protected]
LOUIS LOT
As a Flutemaker
LOUIS LOT
The Louis Lot Flute
Louis Lot #1125
Made 1867 (Giannini)
LOUIS LOT
“The Stradivarius of the Flute”
1807-1896
BICENTENNIAL PROGRAM
National Flute Association
Albuquerque, NM, 2007
Clair Godfroy, ainé, c.1840
Made when Louis Lot was co-owner of the
Godfroy workshop. This was a popular model
at the Conservatoire until 1860. Notice the
careful and artistic shaping of the touches for
G# and F , a Lot/Godfroy specialty.
Clair Godfroy, ainé, c. 1845
Boehm’s 1832, conical flute was popular in
France, probably because Lot and Godfroy
made such a beautiful version of it, seen here
with the Dorus G#.
This decorated crown design was introduced around 1865.
Boehm’s first flutes used a wooden barrel for
the embouchure. The lipplate was introduced around 1850.
Lot and Godfroy had designed the openholed system with shoulder clutches and
the back clutch by 1850.
This elegant mechanism is little changed
today. The pointed arms and key design
are by Lot and Godfroy.
The beautiful curving shank with the
side G# was introduced around 1860.
Louis Lot #281, made 1857.
Louis Lot left Godfroy and started his own
business in 1855, specializing in cylindrical
flutes. For five years they continued to use
the Dorus G#, seen here.
Louis Lot #1125, made c.1867
By the mid 1860’s Lot had enhanced his earlier work. His New Model, seen here, served
as the basis for the Haynes and Powell French
Model flutes.
The magnificent back clutch is the innovative heart of Lot’s mechanism
Boehm referred to this classic thumb and G#
position as Louis Lot’s system.
Lot and Godfroy had developed this
footjoint design by 1850.
Louis Lot flute #1804, made 1873 (Gianinni)
F
lutemaking is a sophisticated
artform, requiring the marriage of
taste, passion, and technology.
It is a four-dimensional artform; no
matter how beautiful a flute may be, it
still needs to partner with a player to
escape the three-dimensional world, and
make music.
The great flutemakers are masters of
these four dimensions. These artists are
able to transform the tastes and techniques of every generation of fluteplayers into a unique and personable magic
wand.
From the 17th century and Louis
XIV, practically every generation in the
various European cultures designed and
built a new flute, unique to their time
and place. Often, one genius would
figure out the perfect cultural form, and
their colleagues would follow. Louis Lot
was such a man.
LOUIS LOT AT THE NFA
Louis Lot, the Stradivarius of the Flute,
With David Shorey, Moderator
Panel Discussion Celebrating the Bicentennial of Louis Lot
Friday, 11:30 AM-12:20 PM, Isleta Room
PANEL of LOUIS LOT PLAYERS
(see Program Book for Bios)
1:00–1:25 PM Zuni Room EXHIBITOR SHOWCASE: LOUIS LOT, THE
STRADIVARIUS OF THE FLUTE Special guests Gary Schocker and others will play on
original Louis Lot flutes. David Shorey, presenter. David and Nina Shorey, Antique Flutes.
8:00–10:00 PM GALA RECITAL CONCERT Kiva Auditorium. Lorna McGhee plays Louis
Lot.
From “Music My Love”, 1989 www.jprampal.com
Jean-Pierre Rampal (1922-2000)
With his gold Louis Lot #1375, made c.1869.
Alan Weiss
Gary Schocker
Rampal and his flute are still beloved
worldwide. This flute was retired 90 years
after it was built, in 1959.
lutes were intimately
connected with the
movements of society. By the 19th
century, western ideas of taste, desire,
even appetite had begun to permeate
the entire world. Along with this came
the Flute Tone of the west, brought
to worldwide unity by one French
flutemaker, Louis Lot.
Georges Barrère (1876-1944)
Barrère would often surreptitiously play
his old Louis Lot in concerts, even when
he was promoting his Platinum flute!
FRIDAY
11:30 AM–12:20 PM Isleta Room PANEL DISCUSSION: LOUIS LOT, THE
STRADIVARIUS OF THE FLUTE, David Shorey, Moderator. See previous page.
2:30–3:30 PM CONCERT, Ballroom A: 48 VARIATIONS ON THE CARNIVAL OF
VENICE FOR 58 FLUTES AND PIANO With Trevor Wye and pianist Bryan Pezzone. Trevor
will play (in tune) on his Louis Lot, his ocarinas, and his garden hose.
SATURDAY
12:30–1:30 PM Ballroom A OPEN MASTERCLASS with LORNA McGHEE and her Louis
Lot.
2:00–3:00 PM Ballroom A OLD WINE IN NEW BOTTLES AND HOW TO GET
GOOD FAST With Trevor Wye and his Louis Lot. Says Trevor: “A student (Nami Kimura)
will play Lot No 3006 and the other person (Kayoko Minamino) will play an early seamed
Lebret, No 1019 c.1885, both in the Young Artist Competition and in my Presentation.”
F
New York Public Library
LOUIS LOT AT THE NFA
Concerts and Workshops
2:30–3:30 PM CONCERT, Ballroom C.: A TRIBUTE TO JOHN WION
SUSAN TORKE will be playing on a flute by Louis Lot.
4:30–5:30 PM HEADLINER CONCERT #3, Ballroom C. Lorna McGhee performs with her
Louis Lot.
Exhibitors with Louis Lot Themes
Immanuel Davis
Trevor Wye
Louis Lot is a child of the 19th
century. He was born May 17, 1807, at
the beginning of Napoleon’s Empire.
He passed away in 1896, having lived
through the whole of that remarkable
century.
Louis Lot’s legacy is a Flute Tone
that unites the world; the first time in
history such a thing has occurred.
Wichita Band Instruments
Booth 1417
Displaying Louis Lot and vintage French flutes
from 1800 to 1920 as well as “Golden Age”
flutes from Haynes and Powell.
Flute Center of New York
Booths 1101, 1103, 1200, 1202
Exhibiting numerous Louis Lot and other
vintage flutes in a copious display of new and
used flutes .
Text and flute photos by David Shorey.
Lorna McGhee
Robert Dick
in absentia
Altus Flutes
Booths 1315, 1317
The 1807 Model, or Altus Ltd., is designed to be
a modern version of the original Louis Lot flute.
Please try it, and compare it with Louis Lot
flutes elsewhere!
David and Nina Shorey, Antique Flutes
Booth 1404
Featuring an exhibit of important French flutes
from private collections, as well as Louis Lot and
other vintage flutes for sale.
Robert Johnson, Flute Specialists, Inc.
Booths 1215, 1217, 1219
With vintage French flutes offered as part of a
large display of flutes, both old and new, many of
which are based on the Louis Lot French Model.
Muramatsu America, Ervin Monroe
Booths 900, 902, 904
In keeping with the goal of building flutes in the
great French tradition, several wooden and silver
Louis Lot flutes will be on display for comparison
with our other models.
MINI FLUTE PEDAGOGY SPA
With
Patricia George
[email protected]
208.234.4922 or 208.406.4971
WEBSTER'S: ped-a-go-gy n (1583) the art, science or profession of teaching
FOUR MOTTOS
1. My goal for you is: when you practice, I want you to replace my voice in your head with your voice.
2. You can teach anyone almost anything if you know the goal, where the student is on the journey to this
goal, where the holes are in his process and his learning style. It is just a matter of breaking down the parts
into small enough chunks and presenting it in the proper format.
3. You haven't taught until they have learned. (This is a quotation from my mother who was one of the
greatest teachers of all time.)
4. Never be afraid of teaching the basic fundamentals of flute playing and musicianship.
THE MOST COMMON QUESTIONS FROM STUDENTS
1. One day I sound good, then next day not so good. How do I sound good everyday?
*align your flute the same each day
*align you (Body Mapping - Barbara Conable)
*balance the flute well (Eb3 and Balance of Trills)
*blow at the appropriate angle (Position of function - Blow to heel of hand)
2. My vibrato just happened, but I don't know exactly how it is done and it controls me rather than my
controlling it.
*Where? Air, Food, Spine (core and nerve)
*Hand up and down neck (find the vibration while reciting the alphabet)
*Whistle silent staccato notes, then slur them. (John Mack, Principal Oboe, Cleveland Orchestra)
*Sh, sh, sh, rest (blow on hand) Move the air, not the abdomen
*Sh, sh, sh, rest on headjoint (Chunking)
*Plastic bag on headjoint
*Post-it strip on vapor trail
*Speed?
High/faster, low/slower
Solo vibrato or tutti vibrato
Composer/style period
Too fast on stage, sounds like a straight line in the audience (Imprint)
Good musicians match others vibrato speed
Tape yourself to evaluate speed
Practice with metronome for control
When you start, imagine the vibrato already in lotion, like stepping on to a
moving merry-go-round.
*Spasms: 2:1, 3:1, 4:1 (MM - quarter = 60 to
*Patterns: 02320, 0234320, 023454320
*Scales: MM = 120, a triplet per tick
*Use beginning books and hymnals as tone study books
*Practice vibrato on trills to divorce vibrato speed from fingering.
*Enter the room with the lights on.
*Practice vibrato on harmonic notes. I prefer the 3rd partial.
*Where? 1st note of a slur, on any accidental note, note before a skip of a 4th or
More, highest/lowest note of a phrase, all the time.
3. What is the forward or "French" tonguing? Is what I am doing incorrect?
*Outside the mouth
*On the top lip
*Thicka - eventually touching nothing
*This is just one more trick in your bag of tricks. Nothing is really incorrect.
4. I can play the notes, but what should I do with them? How do I play more expressively?
Definition of Music (with homage to LaRue and Hoffer)
MUSIC is the
organization of
Composer
Style period
Genre
Social Implications
sound in
melody
harmony
texture
timbre
dynamics
silence
time.
tempo
meter
Getting started:
What is a phrase? A musical sentence.
What is phrasing? Using inflection to communicate a musical idea.
Identify the form: Sonata, ABA, T-V, Rondo
Mark the sections and the phrases.
Where to breathe (William Kincaid):
At the end of a phrase
In a rest
After a long note or tie
After 1
In a wide skip
Between repeated notes or syncopated figure (PDG)
Where the composer or conductor indicates (PDG)
Dot to dot the noteheads. (Five common shapes - mountain, valley, going up, coming down, gruppetto)
Trace the dynamics. This will help you find the climax.
Two gestures:
1. Down/up or strong/weak - idea starts on the beat (down bow)
2. Forward flow - ideas starts off the beat (up bow) Kincaid: 2,3,4,1
Some helpful Rules of Phrasing:
Three parts of a note: the beginning (attack), middle (duration), end (release)
Some are squares; others triangles.
4 things you can do with your air: puff or rectangle, crescendo, diminuendo, and loop
As you connect more notes, ask about the gesture. (Down/up or forward flow)
In the Baroque, Classic, Articulated Romantic, and Contemporary music, notes are player shorter than written.
Glued or unglued. Articulatory silence or playing in a spaced style.
Common Notation exceptions:
Sigh figures (lift, strong, weak) and sequential material (needs dynamic design)
Dealing with the dot or tie
Under a slur, ask loop or less. Start softer after a dot or tie.
Without slur, dot equals silence or space. Dot = decay
Repeated notes are rarely played the same. Yes. Yes? Yes!
Romantic music: start and end phrases more quietly
Ruler phrasing
Teach your audience the articulation and the dynamics (larger than life gestures or imprint what you are doing)
What is an accent? (DIE - Pierre Monteaux)
Strength of the beats: Dancing music (music of the 18th century) or singing music (music of the 19th/20th Century)
Short or quick notes lead to longer notes
Pick-up notes should be lifted
Crescendo: start softer so you have someplace to go
Elizabeth Green: the best orchestras (players) can play louder, softer, faster and slower. Most of us play moderator and mf
Patting your foot. Pumping your flute. Gestures by slurs/phrases.
Copyright: 2007 by Patricia George, [email protected], 208.234.4922 or 208.406.4971
What’s the Point?
Etudes and Their Objectives
Sponsored by the Pedagogy Committee
Sunday, August 12, 2007 9:00-9:50 a.m.
Assigned Etudes:
Each one of the following etudes has been assigned for this seminar
according to its ability to help a student improve in specific skill areas of
flute playing: expression, double/triple tonguing, intervals and focus, finger
facility, and rhythm/articulation.
Expression
McGinty 20 Etudes for Flute (publisher-Barnhouse)
#4
Genzmer Neuzietliche Etuden fur Flote, book 2 (publisher-Schott)
#15 to 1st repeat sign
Casterede Douze etudes pour flute [12 Etudes] (publisher-Leduc)
#5
Double/Triple Tongue
Donjon Etudes de Salon (any publisher)
La Tambour--some of both the Allegro and the Tremolo sections
Boehm 24 Caprices, Op. 26 (any publisher)
#6 to 2nd repeat sign
Anderson 24 Studies, op. 63 (any publisher)
#4
Intervals/Focus
Moyse, M 24 Petites etudes melodiques avec variations [24 Little Melodic
Studies with Variations] (publisher-Leduc)
#1 practiced in the following ways, in this order:
ƒ with harmonics (finger low C in m. 5 on the C and G, keep this for the
G in m. 6; finger low C and B in m. 7; finger low D and C on the A and
G in m. 8; finger low D and C in last measure)
ƒ singing and playing
ƒ as written
Soussman Complete Method for Flute, part 3 (publisher-Fischer)
#19
Bitsch Douze Etudes pour flute [12 Studies] (publisher-Leduc)#3
Finger Facility
Boehm 24 Caprices, Op. 26 (any publisher)
#14
Casterede Douze etudes pour flute [12 Etudes] (publisher-Leduc)
#6
Soussman Complete Method for Flute, part 3 (publisher-Fischer)
#14
Rhythm/Articulation
McGinty 20 Etudes for Flute (publisher-Barnhouse)
#11 to be practiced each of 3 ways: TK, TT, and KT on the dotted 8th +
16th motive)
Genzmer Neuzietliche Etuden fur Flote, book 2 (publisher-Schott)
#18
Casterede Douze Etudes [12 Etudes] (publisher-Leduc)
#11 (Rumba) lines 1-7 or last 6 lines
Other Suggested Studies:
The following etudes are recommended by the pedagogy committee for
further study in the particular skill areas listed above. All etudes are taken
from books listed in Selected Flute Studies: A Graded Guide of Etudes,
Daily Studies, and Method Books, published in 2005 by the NFA pedagogy
committee. All etudes are taken from Levels G, H or I, identical levels to
the assigned etudes listed above.
Expression:
Donjon Etudes de Salon, #1 Elegie-Etude
Bitsch Douze Etudes pour flute [12 Studies] #5
Andersen Op. 63 #6
Altes, 26 Studies, #11
Karg-Elert, 30 Caprices #13, #21, 20 and 19
Anderson: Op. 33: #6 and #19
Double/Triple Tonguing:
Taffanel-Gaubert Etudes de Virtuosite #3
Paganini 24 Caprices #5
Altes, 26 Studies, #6, 12, 17, 18, 19
Anderson op. 30: #8 and 22
Anderson: op. 33 # 15
Intervals/Focus:
Taffanel-Gaubert Etudes de Virtuosite #2
Robert Dick Tone Development Through Extended Techniques, p. 22
Berio Sequenza--opening line only, done with singing and playing, VERY
slowly! (Although this is not an etude, this is highly recommended)
Berbiguer (whole set, but in particular) #2 and 6
Altes, 26 Studies, #9, 10, 18, 19
Anderson Opus 30 #14 and 21
Finger Facility:
Genzmer Neuzietliche Etuden fur Flote, book 2 #23
Boehm 24 Caprices, Op. 26 #12
Altes, 26 Studies, #5 and #14
Berbiguier, #2 (fast without turned trills, slightly slower with turned trills), 4,
and 16
Wye: Practice Book 6 (not listed in guide but entire book is recommended)
Rhythm/Articulation:
Taffanel-Gaubert Etudes Progressive #21
Casterede Douze Etudes [12 Etudes] #1
Altes, 26 Studies, #1 (for martele), #2 (for sautille), #3 and #4 , #6, #7, #17,
#18 -- but you really need the "directions" from the Method Book (original to
Altes)
Karg-Elert, 30 Caprices: all are recommended
Dubois, 13 Studies: most contain rhythmic challenges
Resources for further exploration into the Feldenkrais® Method
Books by Moshe Feldenkrais
Awareness Through Movement: text explaining Feldenkrais’ theory of learning through movement
along with twelve lessons.
The Case of Nora: a very readable case study which illuminates Feldenkrais’ ideas about learning.
Body and Mature Behavior
The Elusive Obvious
The Potent Self
Higher Judo
The Master Moves
Websites
feldenkrais.com: find a practitioner or class near you, order products, read articles about the method
feldenkrais-resources.com: the website for a center located in Berkeley, CA, with many products for
sale, classes, workshops, and information about the method
semiophysics.com: has several articles, including a good description of the method and many
philosophical articles. Dennis Leri, whose site this is, is one of Feldenkrais’ first American students.
russelldelman.com: also one of Feldenkrais’ first American students, Russell Delman combines
Feldenkrais and Zen in his work.
optimalmoves.com: the website of Mary Spire, a Feldenkrais trainer who is also a musician and
specializes in working with musicians. She has several sets of CDs for sale which are geared toward
performing artists.
staceypelinka.com: my website has a description of Feldenkrais, a sample lesson with a continuation
for flutists, and some articles. I will post this list of resources there as well.
Recorded Lessons
Available from Feldenkrais Resources or the individual trainer’s website. Recorded lessons are of
course not as useful as live lessons with a teacher who can watch you move, but it’s great to listen to
lessons from these very good teachers:
TMJ Health (Tapes): as flutists, we use our jaw and facial muscles more than most, and will always
benefit by refining the movement of these small muscles. Jaw lessons are also very helpful for all
kinds of tension and stress relief, whether or not you have TMJ problems. Mark Reese and David
Zemach-Bersin.
ATM Workshop For Health Professionals, Performing Artists & Athletes (Tapes): a great series
of lessons by one of Feldenkrais’ first Israeli students, Gaby Yaron.
The Embodied Life: Russell Delman has two sets of recorded lessons with a meditative focus.
Optimal Moves: Mary Spire has recorded lessons specifically for musicians.
Visualizing Vibrato
By Leonard L. Garrison, The University of Idaho
[email protected]
Carl Seashore’s Definition of Vibrato
“A good vibrato is a pulsation of pitch, usually accompanied with synchronous pulsations
of loudness and timbre, of such extent and rate as to give a pleasing flexibility,
tenderness, and richness to the tone.”
Tools Used in This Study
Audio Recording/Editing Software: HairerSoft Amadeus Pro 1.0.3 (Mac)
Pitch Correction Software: Antares Auto Tune 5 (available for both Mac and Windows)
Vibrato Speeds
Herz
Metronome speed
4
240
5
300
5.5
330
6
360
6.5
390
7
420
8
480
Triplets
80
100
110
120
130
140
160
An Abbreviated Comparison of Vibrato Speeds and Amplitudes
Flutist
Selection
Average
Vibrato Speed
Adorján, András
Boehm, Variations
5-6 Hz
on a German Air
Aitken, Robert
Debussy, Syrinx
5-6 Hz
Amadio, John
Doppler, Hungarian 8 Hz
Pastoral Fantasie
Artaud, Pierre-Yves
Baker, Julius
Baron, Samuel
Barrère, Georges
Baxtresser, Jeanne
Bennett, William
Bezaly, Sharon
Buyse, Leone
Debost, Michel
Dick, Robert
Jolivet, Cinq
Incantations
Debussy, Afternoon
of a Faun
Bach, Sonata in e
Bizet, Minuet
Ravel, Daphnis and
Chloë
Debussy, Syrinx
Bozza, Image
Debussy, Syrinx
Debussy, Syrinx
Fukushima, Mei
Sixteenths
60
75
82.5
90
97.5
105
120
Amplitude and
Description
20¢, varied
5-6 Hz
35¢, varied
Mostly straight
sound; narrow
vibrato on selected
notes
55¢
5.5-7 Hz
30¢
6 Hz
8 Hz
6 Hz
40-50¢
Narrow
60¢
6-8 Hz
6 Hz
6 Hz
6-7 Hz
5.5-7 Hz
40-50¢
20¢ or less
30-40¢
20-25¢
20-50¢
Dufour, Mathieu
Martinu, Sonata
5 Hz
Dwyer, Doriot Anthony
Galway, James
Gaubert, Phillipe
Debussy, Syrinx
Debussy, Syrinx
Debussy, Le petit
berger
Varèse, Density 21.5
Chopin, Nocturne in
F-sharp
Chaminade,
Concertino
Debussy, Syrinx
Kennan, Night
Soliloquy
Rogers, Soliloquy
Debussy, Syrinx
Denisov, Duo for
Flute and Viola
Debussy, Syrinx
Dutilleux, Sonatine
Debussy, Afternoon
of a Faun
J.S. Bach, Partita
Copland, Duo
Liebermann,
Soliloquy
Debussy, Syrinx
Debussy, Syrinx
Honegger, Danse de
la chèvre
Debussy, Syrinx
6-7 Hz
6-7 Hz
7 Hz
Sometimes uses
non vibrato
35-60¢
30-65¢
30¢
5-6 Hz
6 Hz
15-20¢
20¢, flexible
5-6
65¢
6 Hz
7-8 Hz
30-40¢
20¢
7 Hz
6-7 Hz
5 Hz
35-40¢
60-65¢
25-35¢
8-9 Hz
6-7 Hz
6.5-7.5 Hz
30¢ or less
10-35¢
10-25¢
6 Hz
6 Hz
6 Hz
20-30¢
25-30¢
35-40¢
6-8 Hz
6-8 Hz
5.5-6 Hz
30¢
20-30¢
10-50¢
7-8 Hz
Up to 80¢
Graf, Peter-Lukas
Hennebains, Adolphe
Jennings, Christina
Khaner, Jeffrey
Kincaid, William
Mariano, Joseph
Moyse, Marcel
Nicolet, Aurèle
Nyfenger, Thomas
Pahut, Emmanuel
Peck, Donald
Rampal, Jean Pierre
Smith, Fenwick
Still, Alexa
Wiesler, Manuela
Willoughby, Robert
Wilson, Ransom
Wincenc, Carol
Select Bibliography
Brown, Clive. Classical and Romantic Performing Practice 1750-1900 (Oxford:
Oxford University Press, 1999). Especially chapter 14 “Vibrato” pp. 517-557.
Gärtner, Jochen (translated by Einar W. Anderson). The Vibrato: With Particular
Consideration Given to the Situation of the Flutist. Regensburg: Gustav Bosse Verlag,
1981.
Philip, Robert, Early Recordings and Musical Style: Changing Tastes in
Instrumental Performance, 1900-1950 Cambridge: Cambridge University Press, 1992.
Especially Part II, “Vibrato” (pp. 95-140).
Seashore, Carl, Psychology of the Vibrato in Voice and Instrument. Iowa City:
The University of Iowa Press, 1936.
The Memory Map: A Practical Study Guide
Towards Memorization of Literature for
Competition and Performance
Prepared for the National Flute Association Annual Convention,
Convention 2007
© by Melissa Colgin-Abeln, DMA
Associate Professor
of Music
The University of Texas at
El Paso
become almost
•
The memorization of music has
a lost art for instrumentalists and yet the advantages are
tremendous in terms of complete mastery for
performance.
•
As flutists
flutists, we spend enormous amounts of time practicing
difficult works for performance or competition and the
learning process yields to memorization at a certain level.
Under no pressure the notes flow easily from our fingers.
However, apply pressure and the scenario changes
rapidly.
p y The notes are “in our fingers”
g
or “muscle
memory” but is the music solidly burnt into our brain?
•
Too often when I question students about their works in
progress regarding harmonic progressions, phrase
construction, and form, I get blank stares. They can play
their piece,
piece but sometimes there is much left unknown
about the music itself. The tremendous complexity and
technical demands of many flute pieces necessitate
practice with intellectual intensity, not just hours of
mindless repetition.
•
This presentation explains how to construct and use a
Memory Map to replace the actual music until it too is
unnecessary for performance. In the process, whether
memorization is the goal or not, the performer learns the
music to a much higher degree, hopefully in tandem with
a resulting
lti outstanding
t t di performance.
f
•
What follows is a practical guide to construct simple,
written diagrams of selected works in the flute literature
found in competitions, auditions and recitals.
Literature review of published and informal
research
•
Formal (library electronic databases) and informal (Googling)
searches for information on memorization of music yields
immense and diverse listings:
– Grove Online: [www.grovemusic.com]
• A multi-sectioned article on memory, not a how-to guide
– JSTOR [www.jstor.org], the non-profit archive of scholarly
j
journal
l articles
ti l d
dating
ti b
back
k tto th
the 1600
1600s,
• 1451 entries relating to memorization of music.
• Earliest found listing (I did not read all 1451 entries) was
dated 1937.
• JSTOR is not a current-issues
current issues database
• Multi-year gap (2-5 years)
– International Index to Music Periodicals [http://0iimp.chadwyck.com]
• current-issue citations and full-text and PDF file
download and print capabilities
• 349 entries
• Most number of pedagogical –how-to– articles
– Google search engine [www.google.com]
• 1, 970,000 results, much duplication
• Includes piano, guitar, strings, vocal, steelpan drums
• Theatre,
Theatre dance
• Bible verse memorization
• Memory games—online, and to download
• Blogs
Conventional wisdom on
memorization technique
• Jamie Andreas, guitarist,
g y
http://www.acousticfingerstyle.com/memorize.h
tm
– Finger/muscle memory
• Automatic,
Automatic yet primitive
– Aural memory
•
•
•
•
“Natural talent”
Inner awareness of music,
the ability to sing internally
T hear
To
h internally
i t
ll what
h t note
t comes nextt
– Eye/brain memory
• Memory of the written music/score
• Concepts and ideas of the music
• Awareness of the meaning of the music
Conventional wisdom on
memorization technique
• Martha Beth Lewis, PhD., pianist,
www.serve.com/marbeth/memory_methods.html
– Photographic memory
• Ability to memorize a picture of the score
– Brute force
• Repetition, repetition, repetition
– Hand position
• Analogous to finger memory
memory—aa dangerous
method by itself
• Know what the hands look like and where
they go.
go
– Analysis
• The “premier method”
• Knowledge off theory is necessary
–
–
–
–
Memorize from the end backwards
Armchair memorizing
Slow performance
Fast performance
Conventional wisdom on
memorization technique
• Leonard Garrison, flutist: “For the
g
Mnemonicallyy Challenged”
www.webpages.uidaho.edu/leonardg/memoriz
e html
e.html
– Practice memorizing all the time,
everything you play
– Memorize as practice technique
– Use reinforcing types of memory
•
•
•
•
Tactile--fingers
T
til fi
Aural—”by ear”
p
g p memory”
y
Visual—”photographic
Symbolic—”memorizing the names of the
notes”
• Analytic—
Analytic ”musical
musical analysis
analysis”
Conventional wisdom on
memorization technique
• Gandrup, Kimberly, flutist. “Creative
Memorizing Tips”.
Tips . Flute Talk Magazine, Feb.
2000
– Begin memorizing the most difficult
section
ti
– Make time for repetition
– Create pillars
pillars—know
know the benchmarks of
the form
– Practice in the dark
– Mock performances for friends and
family
Conventional wisdom on
memorization technique
• Rebecca Shockley, pianist: Mapping Music:
Some Simple Strategies to Help Students
Learn, in American Music Teacher 56:2 (OctNov. 2006), p. 34-36. (Located in International
Index to Music Periodicals)
–
–
–
–
–
–
–
Uses mapping technique
For anyy stage
g of learningg
To gain overview of piece
Practice tool for specific problems
Diagramming the work’s main features
With or without the instrument
Pictures, musical symbols, colors,
invented symbols
– Apply any level of music theory to the
learning of music: chords, melodic and
rhythmic patterns
The Memory Map—what is it?
•
A piece of music reduced to a one-page graph, with
melodic and rhythmic notations, plus any other
information to assist with memorization.
•
Form—pictorial or outlined
•
•
•
•
•
–
–
–
–
–
–
–
–
–
–
–
–
–
Binary, ternary or rondo form
Simple to complex series of episodes
Sonata-allegro, concerto/double exposition
Harmony
•
•
Harmonic progressions and cadences
Tonal, atonal, serial
Diatonic, chromatic, pentatonic
Phraseology
•
Phrase structure
Symmetrical, non-symmetrical
Theme construction
Melodic, motivic
Repetition and contrast
Rhythmic structures
Additive, static-patterned
Free-verse, non-rhythmic
Other distinguishing features
Cadenzas
Free-improvisational sections, etc.
Dynamic plans
Details that aid memory and interpretation
An idea is born: Levy’s model of a musical
graph/map
Music: A Listener’s Introduction, pp. 170-171.
•
Themes and motives from Mozart’s Symphony No. 40 in G Minor,
Mvt 1
Selected examples of Memory Maps
•
C.P.E. Bach’s Solo Sonata in A minor, H. 562
– 1st movement, Poco adagio: ABA form*
– 2nd movement, Allegro: ABA form*
– 3rd movement, Allegro: ABA form*
*The label of ABA form is one of convenience. Perhaps these are
rounded binary forms. Bach’s use of shortened recapitulation
seems to presuppose the Viennese Classical ternary form.
•
W.A. Mozart’s Concerto no. 1 in G Major
– 1st movement, Allegro maestoso: Sonata-allegro
form with double exposition
– 2nd movement, Adagio non troppo: ABA form with
cadenza
– 3rd movement, Allegro: Rondo form
•
Marco Granados’ The Hibiee-Jibiees
– Single-movement solo work of multiple sections in bar
form
C.P.E. Bach’s Solo Sonata in A minor, H. 562
Mvt 1, Poco Adagio, ABA form*
•
3/8 meter, Doleful, dark mood
•
A: || A minor, modulation to C
maj.|| mm. 1-37
–
–
Theme A1, 8 bars (i –IV, vi, V
prog)
Restatement in CM, 6 bars,
adding A2 material
Transition, D minor, CM, 10 bars
–
7th chord progression:C7--F7--D7--
–
Closing, Theme A1—C minor, cadence
CM
–
•
B: || D minor, e minor|| mm. 3869 Theme B1, descending
arpeggios
–
–
–
–
•
G7-- E7-a7-- f#o7--G7– C--G -- f#o7
ends on deceptive cadence, 6 bars
C#o7 to d minor, 4 bars
D#o7 to to e minor, 8 bars
Varied Theme A1 in e minor, 12
bars
Retransition, 1/2 –step motive, 8
bars
A': || A minor || mm. 70 -94
–
Theme A1 restatement, 6 bars
–
Closing/coda, based on A2
material
C.P.E. Bach’s Solo Sonata in A minor, H. 562 Mvt 1,
Poco Adagio, Actual map
C.P.E. Bach’s Solo Sonata in A minor, H. 562, Mvt 2,
Allegro, ABA form
•
A ||: A minor, modulating to C Major :||
– Theme A1, bars 1-40
•
•
•
3 + 6 bars
Phrase 1 in a m; Phrase 2 in CM
–
Theme A2: C M
–
Theme A3: CM
–
Closing theme
•
•
•
•
•
M. 15, 6 bars
Declamatory
m. 21, 4 + 6 bars
Arpeggiated turnarounds
m. 33, 8 bars, cadence on C M, ms.
40
B || C major, modulating to E minor,
retransition||
– Theme A1 in C M, 4m. 41, bars
•
•
•
Restatement in a minor, m.45, 4
bars
Sixteenth-note passagework, m. 49,
8 bars
Transition to e minor, m. 57, 8 bars
–
Theme A1 in e minor, m. 65, 8 + 4
–
New theme in D minor, ms. 77
–
Dominant-function retransition, m. 85
–
Half cadence, fermata, m. 94
•
A` || A minor || mm. 95-120
– Theme A1 in tonic, m. 95, 6 bars
•
Coda:
– Sequence of d7th chords, m. 102-3, 8
bars
– Sixteenth-note thirds passage, m.
108/9, 6 bars
C.P.E. Bach’s Solo Sonata in A minor, H. 562,
Mvt 3 Allegro, ABA form*
•
•
•
A || A minor, modulation to E minor ||
mm. 1-52
– Theme A1: 6 + 6 i--V
–
Theme A2: sixteenth-note
passage
–
Theme A1 in e minor
–
Passagework—transition to
closing
–
Closing
B || CM, retransition to A min|| mm.
53-101
A
–
A1 in relative major, CM
–
Passagework in CM
–
Variation on A1 in CM
–
Retransition and Recap
fragment
|| A minor || mm. 102-149
– Theme A1
*My –
UTEP colleague,
Dr. on
Charles
argues that this movement might be better labeled monothematic sonata form.
Variation
A1Leinberger,
in A minor
–
Closing
•
•
•
W.A. Mozart Concerto no. 1 in G Major, Mvt 1,
Allegro maestoso; Sonata-allegro form with double
exposition
EXPOSITION
Tutti: Theme 1( Martial) in orchestra: 30
bars.
Solo: Theme 1, falling-4th motive, scalar
ending. Cheerful, robust!
–
4+4 +6 phrases; 2-bar rest
•
Bridge: Bird call eighth notes, softer
–
B min. V of E min,
–
E min to cadence on V of D Maj
–
4 +4+4; 2-bar rest
•
Theme 2: D major, rising thirds Vof D;
–
Full forte
–
4+6 cadence in DMaj
–
2nd statement 2+2+2+2
•
Closing: Descending legato line,
–
scales, 10ths, closing trill
–
Dolce, mp
•
DEVELOPMENT—aggressive!
•
D Maj. arpeggios transition V of a min
–
A min arpeggios
–
E min. (N6 at m.123) m. 135 V of
e min.
–
E min. Descending broken chord
figures, trill pick-ups
•
•
•
•
•
A min.
D Maj.
G Maj.
Retransition: E min. to N6 ascending
line; wide leaps. Subito piano—to show
off Neapolitan
–
N6 of a min. to D;
–
Gmin as iv of G D as V of G; wide
leaps
–
Scalar and upper-neighbor
turnarounds
–
Authentic cadence
RECAPITULATION--robust
•
Martial Theme 1 in orch. then flute.
•
Bird-call Bridge in G Major, mezzo piano
•
Theme 2 in G Major (rising thirds V of G, forte
W.A. Mozart Concerto no. 1 in G Major, Mvt 1,
Allegro maestoso, actual map
W.A. Mozart Concerto no. 1 in G Major, Mvt 2,
Adagio non troppo; Rounded binary form
•
D Major, 4/4 time, tuneful aria, softer,
sweeter dynamic, subtle nuances.
•
Intro: Orchestra 10 bars, A theme
•
A: Solo
– A1: 6 bars, half cadence
–
A2: 10 bars –transition to A Major,
ending full, authentic cadence
–
Closing theme
•
Orchestra- 2 bars
•
B: 32nd note pick-up on E.
– Downward curve
– Restatement 8va
– Move to A minor, E minor (b min)
•
Orchestra- 2 bars
•
A: Recap of A theme
– A1, 3 bars (eighth-note pick-up not
shown)
– Orchestra, 1 ½ bars
–
A2 restatement in tonic, 9 bars,
varied ending on e minor chord
•
Orchestra – 2 bars
•
Cadenza
•
Coda
– Orchestra 3 bars
– Solo final Theme A1 statement
W.A. Mozart Concerto no. 1 in G Major, Mvt 3,
Rondo –Allegro; Rondo form
•
Full forte, robust dynamic plan
•
A: A Theme in G Major, 8+2
– Orchestra states rondo theme 25
bars out.
•
B: Downward octave leap, ascending
scales
– Modulation to D Maj.
•
C: Orchestra/flute dialogue in D Major
•
D: Arpeggiated passagework in D
major.
•
Closing –Mannheim rocket scales
–
transition material back to A
•
A: A Theme in G Major, 8+2 (not
shown)
•
E: Legato theme: orch. 1st , then flute
– Softer, sweeter mezzo piano
– D Major modulating back to G
Major
•
F: New material in C major
–
–
–
Scalar turnarounds
p-f-p
Repeated one octave lower
•
G: Orch/flute dialogue in C major
•
Transition: Wide leaps
–
–
–
Chord progression D maj---g min
D maj scale to fermata
Opportunity for short cadenza
W.A. Mozart Concerto no. 1 in G Major, Mvt 3,
Rondo –Allegro; Rondo form, cont.
•
•
Recapitulation—cont.
B1: G maj. downward octave leap
–
Ascending scales
•
C1: Orchestra/flute dialogue
•
D1: Arpeggiated passagework in G Maj
•
A’: Rondo theme in 2nd octave
–
•
Closing material
–
–
–
•
Variation –added scales
Dominant function
Turnaround arpeggios
Varied passagework
Coda
–
–
–
From Letter P
3 sections
All tonic-dominant function
Marco Granados: The Hibiee-Jibiees Rondo
form
•
Introduction: F ∆, 3/8 time: 10 bars piano—
cresc.--forte, rising F to C3
–
•
A: ||: mezzo forte 8+forte 8 :|| (to coda on
return)
–
•
Repeated sixteenth-note motive in
sequential pattern
Triplet on D3 , 7th chord arpeggios,
scalar turnarounds
B: ||: Eb ∆ 16 bars– mezzo piano 8+8 :||
–
Theme turns on upper-lower
neighbors
•
A: Bb ∆ Verbatim repetition—mezzo forte
8+8
•
C: Bb ∆ New Syncopated theme—mezzo
forte 8+8
•
D: G minor: Ascending arpeggios in
sixteenths: forte 9+piano 9
–
•
E: G minor: 3-note descending scale pattern
in sixteenths
–
•
Gm, Cm, F#°, Gm; mezzo forte 8+8
repeated 8+8
F: G minor: descending triads in sixteenths
–
–
•
Bm, Cm, a°, Bb ∆, Gm, a°, F#°,
Gm; repeated
Gm, DV7, D∆, Gm; piano 8+8
Gm, DV7, D∆, G∆; piano 8+8
B1: Restatement in Bb∆ forte 8+ mezzo
forte 8
–
Restatement in Eb ∆ 8+8
crescendo to forte
•
A: D.S. to A-theme for verbatim restatement
mezzo forte; to CODA
•
C1: ||: CODA: C-theme (syncopated) in Gm
16 bars, mezzo forte 8+8 :||
•
G: Permutation of E-theme in Bb∆, forte
8+piano 8
Granados’ Hibiee-Jibiees actual map
Summary
•
Memorization is a process of discovery,
liberation, and hard work. No one system fits
all; a combination of components can aid the
artist in developing skill.
•
Memory maps assist the musician to more
fully study and prepare a work to be
performed.
•
Construction of a memory map as the flutist
practices leads to much insight of the
composer’s intentions.
•
The understanding of the varied layers of
composition are necessary for success under
the pressure of performance and competition.
Sources consulted
Andreas, Jamie. On Memorizing: Part 2.
http://www.acousticfingerstyle.com/memorize.htm
Accessed July 1 -30, 2007.
Dunsby, Jonathon. Memory and memorizing. Grove Online:
www.grovemusic.com
Accessed July 1 -30, 2007.
Gandrup, Kimberly. Creative Memorizing Tips. Flute Talk Magazine. Vol. 19,
no. 6.
February, 2000.
Houser, Virginia. Memorization-An Integral Part Of Musicianship at Every Level.
http://www-personal.ksu.edu/~vhouser/memorize.htm. Accessed July 1 -30,
2007.
Kelly, Robert T. “How to Memorize Music”.
http://www.robertkelleyphd.com/memory.htm.
Accessed July 1, 2007.
Lewis, Martha Beth. www.serve.com/marbeth/memory_methods.html
Accessed July 1 -30, 2007.
Levy, Kenneth. Music: A Listener’s Introduction. New York: Harper and Rowe,
1983.
Shockley, Rebecca. Mapping Music: Some Simple Strategies to Help Students
Learn. American Music Teacher 56:2 (Oct-Nov. 2006), p. 34-36. Accessed
in International Index to Music Periodicals,
http://iimp.chadwyck.com/home.do Accessed July 1 -30, 2007.
http://www.theviolinsite.com/memorizing_music.html Accessed July 1 -30, 2007.
Addenda: make a map with your own symbols,
graphing
Gabriel Faure’s Fantaisie (1898)
Andantino-Allegro; slow-fast concours form
•
•
•
Piano introduction, one bar
E minor, 6/8 time
A-Theme, descending e-minor scale beginning on B3 , at 15 bars, deceptive
chord on N6, authentic cadence in e minor, bar 18
•
B-theme: Pick-up C1 to E1 (C maj), 3 bars, immediate restatement in G maj.
Variation on A-theme woven into passage-work to move wo/ cadence to
closing trills and scalar turnarounds.
•
•
Allegro: Rondo/Episodic construction
Piano, 12-bar introduction
–
–
–
–
–
–
–
–
•
Development of earlier movtives
–
–
–
–
•
Solo, bar 13, upward octave Gs, descending G-major/minor scale, chromatic
ascending turnaround.
A-theme, cheerful in G major
10 bars
Piano, 2 ½ bars (solo interjection) 2 ½ bars
Solo varied return of main theme, low octave, restated up one step
Adantino –A-Theme varied return, rhythm augmented, passagework extensions
Allegro: Episodic construction
Piano 2 bars
E minor arpeggio passagework
Quarter-note tune 8bars, varied repeat
Piano/flute dialgoue
Climax builds from C#1 to Bb4
Main theme, Varied return
–
–
More scalar passagework
Restatement of Quarter-note theme
–
More developmental passagework
•
Final statement of A-theme
•
Coda: Arpeggiated flourishes