- Sep 19, 2017 Audition prep guide: 2017-18 ETSBOA All East Flute Junior High music (9-10) Sep 19, 2017
- Sep 19, 2017 Audition prep guide: 2017-18 ETSBOA All East Flute Senior High music (11-12) Sep 19, 2017
- Sep 18, 2017 Audition prep guide: 2017-18 WTSBOA All West Flute Senior High 11-12 Sep 18, 2017
- Sep 14, 2017 Audition prep guide: WTSBOA All-West Tennessee 9-10 flute music Sep 14, 2017
- May 10, 2017 New flute May 10, 2017
- January 2017
- Oct 28, 2016 Why failure is as important as success Oct 28, 2016
- Sep 27, 2016 Announcing a competitive masterclass for high school flutists Sep 27, 2016
- Sep 21, 2016 What is tenure, anyway? Sep 21, 2016
- August 2016
- July 2016
These two short excerpts for the ETSBOA All-East Tennessee Honor Band are a delight to play. Both are in compound meter, emphasizing the need for young musicians to master meters outside of 4/4, 3/4, and 2/4. Both excerpts stay within a conservative range (they don’t go too high or too low) while demanding a variety of articulations and dynamics.
Examining the lyrical excerpt, the first big hurdle for many students will be the key signature. Mark Db’s and Gb’s where it will help you but try to not mark every single one. Read your articulation accurately - be sure to tongue and slur exactly where it is written. Exaggerate the crescendos and diminuendos in measures 2-5. The first beat of measures 5 and 6 are marked forte followed quickly by piano. The one note marked forte also has an accent, so really make this come out of the texture. Follow the breath mark as suggested before measure 9. Feel free to really blow and let loose in bar 9 through 11, where it’s marked forte. Enjoy your sound and open up. The piece doesn’t end where we expect it, but make it beautiful anyway and create a tasteful ritardando.
The technical passage, in 12/8, should feel light and buoyant. In addition to staying in time, you will have to switch quickly between forte and piano several times. Dynamic shifts are good to practice slowly, too. Practice exactly where you change the dynamic - for instance, in measure 16, the last G of the first beat and the first G of the second beat are two totally different dynamics. Practice your soft G first and then practice a very loud G. Practice playing them in quick succession, and then make sure you are able to make as good of a contrast in the context of the piece.
Good luck preparing, and don’t forget to practicing sightreading!