Flute Talk

Articles May June 2014

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Interview:
Teaching at Texas State University: A Conversation with Adah Toland Jones.
“Rampal was bigger than life, incredibly energetic and very demonstrative. My playing was quite timid at times, and his sparkle was just what I needed to bring me out of my shell. I can remember several occasions when he stood right in front of my music stand and shouted ‘Joue!’ (Play!) “‘Joue la Flûte!’ with the most amazing twinkle in his eyes.”
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Personal Perspective:
Don’t Forget the Audience
“As my mother would have said, “It takes two to Tango,” and musicians do not perform in a vacuum – at least they shouldn’t have to. They play for the Audience.”
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Performance Preparations:
Preparing a Baroque Sonata for Performance
“Find the manuscript or earliest edition of the music. Decipher as much as possible of the composer’s original intent. Unfortunately, many modern editions are heavily edited in a well-meaning attempt to give students information about Baroque performance traditions that was not included in the original printed edition.”
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Practicing:
Five Weeks to Better Intonation
“If I were playing a word association game and given the word intonation, I would probably respond with bad, because intonation is one of those musical components we only single out when we are disturbed by it.”
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Teaching:
Wake-up Call
“As I reflect back on my studies, there were two days in music theory that I wished the professor had said, ‘This is really important, so pay attention, because you will use this information every day of your musical life.’”
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Let's Talk Picc:
Piccolo and Flute: Similarities and Differences
“Sometimes flutists assume tone production on piccolo is vastly different from flute. It is not different at all. It simply comes down to a concept of sound, and listening for that sound. Problems arise when flutists assume tone production is different, so they produce a different tone.”
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