| Articles February 2012 |
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Interview:
An Interview with Jasmine Choi
“Baker’s assignments were demanding, but he gave me freedom
and made me find my own voice. In my lessons I would play a phrase four different ways and ask him which he liked best. He told me all were very nice, but it was important for me to pick what I liked. He often said, ‘the best teacher is yourself.’”
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Practicing:
Finding the Perfect Practice Space
“The solo work of dismantling and rebuilding with constant repetition that is my practice method seems an intensely private affair to me, and I marvel at those who can unselfconsciously practice no matter the proximity of any other hearers. This struggle has led me to find special places in which to practice.”
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Alto and Bass Flutes:
Bass Flute for Beginners
“While there are many similarities to playing the C flute, the size and weight of alto and bass flutes require flutists to experiment with the physical aspects of aligning and balancing the instrument in the hands.”
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The Teacher's Studio:
Phrasing Study: Barret Melody No. 1
In the preface pages Barret writes, “The nuances or shades of expression give variety to music. In going from a pianissimo to a forte, and vice versa, an intermediate nuance is necessary to avoid an abrupt transition.”
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Debost's Comments:
Henri Dutilleux
“Dutilleux is a very shy man who is extremely critical of himself, and even more adamant about the quality of his own work.”
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Feature:
A Fresh Look at Breathing, Tone, Articulation and Dynamics
“For dynamics and better sound, Keith Underwood advised flutists to play loud, but not to blow hard. When flutists blow hard, it closes off the sound. When changing dynamics, the jaw is kept in a neutral position. The lower lip and chin do not jut out.”
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Let's Talk Picc:
Holst’s Two Suites
“In general, he asks the piccolo to play in the same octave as the flute when the overall sound desired is warmer, and in tutti passages, the flutes are doubled at the octave by the piccolo.”
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