Tag Archives: articulation

Day 123 – January 31st – Two Thirds

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The last day of January marks two thirds of the way through the flute studio course! A little more if we’re splitting hairs, since February is short. After a rather turbulent January with classes being shifted around, lots of trips up to London and then a particularly crazy last two weeks, today was a good moment to stop and collect myself a little in preparation for the remaining two months. In aid of that, I took myself off on a long and blustery walk across the Downs this afternoon. It was chilly, and the melted snow made for very soggy ground, but there is something wonderful about squelching through mud. I got back just as it began to snow again, and had a lovely practice session while watching the farm outside turn white!

After the last few days of particularly noticing nervousness and tension, my goal today was to practice well and without tension. I think that in my panic to get things prepared this last week, I’ve tended to note bash, learning in mistakes and then tension associated with them. Not good at all. Anyway, hopefully now that I’m a little more aware of what I’m doing, I can stop doing it an practice a little better.

I’m preparing Andersen No. 13 for Monday, which is a chromatic study with the odd whole tone put in for good measure (to trip us up!). After doing so much practice of patterns and scales, I am noticing that much more of these studies falls under the fingers easily. I suppose that’s why this one feels so devilish – I fall into the pattern and then it changes.

I’m supposed to be doing Altes No. 20 and 21 for Monday, but keep jumping ahead and practising no. 22 as well. It’s a duet arrangement of the Mendelssohn Scherzo from Midsummer Night’s Dream, and I really enjoy playing it. Getting through the whole thing is a tongue stamina challenge rather than (apart from one or two tricky passages) any problem of notes. The first flute part (which I play) doesn’t get the main solo until the very end, after seven pages of double tonguing, and the challenge is to make it still sound fresh, clear and bouncy. I’d like to think I can manage all three studies for class, but we’ll see how things go tomorrow.

Day 116 – January 24th – Piccolo

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Today was piccolo masterclass with Patricia Morris, the retired Principal Piccolo of the BBC Radio Symphony Orchestra and author (with Trevor) of The Piccolo Study Book and Practice Book for the Piccolo. It was a great day, and I felt like I really learned a lot about the way to practice piccolo effectively and for life.

Patricia advocated practising piccolo every day, even if it’s only for ten or twenty minutes. Rather than note bashing, this should ideally be slow practice of tunes of segments of studies, as the most important thing on the piccolo is achieving a homogeneous tone across the whole range. This all needs to be in tune as well! We talked a lot about getting up to high notes quietly, and I need to remember not to push for them – much better to set up properly a few notes beforehand and then let it happen. That said, when Patricia asked me to play (sightread) the picc solo from the slow movement of Shostakovich’s Symphony No. 6, I didn’t do too bad a job of getting the high note out. The alternate fingering she showed me did help with this though!

I mentioned in a blog post a few weeks ago that I’d set myself the task of learning all the excerpts for the Queensland Symphony Orchestra piccolo audition in preparation for this class. I was feeling pretty prepared, with the only elephants still being Tchaikovsky Symphony No. 4 (eeek) and Verdi’s Othello (I’ve just never played it before). Needless to say, we didn’t actually get onto any of my excerpts at all, though I now think I’m better equipped to work on them myself.

Now I’m working myself up to some more practice, and there are another three classes next week. No rest for the wicked!

Day 114 – January 22nd – Studies, studies and more studies

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There were only five of us for class today, as it seems like colds are doing the rounds. So far I’ve been ok, and I’m hoping that it’ll stay that way!

As I said in my post yesterday, I was feeling a little trepidation about today’s studies, particularly the two Altès that I’ve spent a lot of time on. By contrast, I’d spent very little time on the Moyse studies, and (unfortunately) not as much as I should have Andersen No. 12! The results were interesting:

Moyse #5 and #9: Good following of notes with my lips, though both could have been faster. After no. 9 we talked a little about my needing to open up the tone in my top register. When I played the study again I did it with a lovely full tone, but need to be doing that all the time rather than just when prompted.

Moyse #8: “Lovely” – just get rid of a few wrong notes. I’d practiced this one a lot at the start of the week, but not in the last few days, and so just decided to go for it.

Then Trevor was a bit mean and made me sightread the next three studies so that he could show everyone what needed working on with them! It seems that he wants me to prepare all these in time for Monday which isn’t going to be much fun.

Andersen #12: Started out well but then I fell apart at the end of the B section where there were some particularly nasty leaps. Trevor didn’t seem terribly perturbed though, which was a bit strange. He just said ‘thank you’ and asked what was next – it seems he could tell I just hadn’t spent enough time on it. Looks like that’s back on for Monday, along with no. 13 which is a whole lot of chromatic scales.

Altès #18: “Some good things about this study, but you’re not bringing out the tune” sums this one up, and I agreed. I had spent so long on the notes and making sure that the articulation patterns were right that I hadn’t thought enough about musical direction. I need to play it again on Monday, which is a bit of a pain, but I do think I’ve learned a lot from this study.

Altès: #19: Fine, though I think Trevor would have liked it a little faster. I can play segments of it up to speed, but my tongue still feels like it’s going to fall off when I try to do a page of triple tonguing at crotchet =100!

Bach Variations #12 and #13: Ok but not tight enough…. I need to being doing little bits of this every day for a few minutes to get it tight enough.

Bach Variations #14 and #15: Trevor seemed quite pleased with these, but then tried to push and see how expressively I could play. The challenge with all these studies is achieving the articulation challenges as well as making them sound musical, and I was almost there with both. A case of attention to detail and then forgetting it and letting the music come through.

With regular class as well as the two masterclasses, we still have five to prepare for in the two weeks. Trevor’s solution to this is to set us even more work, and has asked us to write a cadenza for the first movement of Mozart’s G major flute concerto as well for next Thursday. Looks like I’m spending the evening working!

Day 113 – January 21st – Snow!

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I woke up this morning to some proper snow, though it was in the air rather than on the ground. My morning practice accompanied the flurries and eddies playing round the dairy. Sadly, I couldn’t persuade it to settle, and by lunchtime any little traces at the side of the road had all melted.

It reminded me of another long practice day I spent accompanying snow, five years ago now. I was in Helsinki on my exchange year, and ended up in one of the big practice rooms in the ‘P-talo’ (P-house) with two grand pianos, a couch and a wall of windows. It had snowed for months, and the fluffy morning whiteness no longer astounded me the way it had at first. Yet that day the snow danced as it fell, whipped up by the wind into great swirls and currents of fairy floss. I was practising scales, and remember trying to make them ebb and flow in the same way the snow did, flourishing effortlessly as I ascended. Today wasn’t quite as magical as five years ago, but I tried to capture the same feeling nevertheless.

Tomorrow is a studies class rather than repertoire, as we’re still getting back on track after Trevor’s illness. This time yesterday, I was trying not to panic too much about my studies, the two Altès in particular. I find both of them difficult – no. 18 for the combination of a tricky 6/8 articulation pattern and lots of leaps, and no. 19 for the speed at which I’m required to triple tongue! However, as often happens on the final day before class I really felt like I made a lot of progress today, and am now playing both at something approaching the marked speed. I dealt with the triple tonguing one by playing it every twenty minutes in all my practice sessions today – I probably drove the others a bit mental but it’s working. As for no. 18, I’ve learned the notes and will probably play it better tomorrow in class if I take a step back and trust myself rather than being too pedantic about trying to get every single note.

Day 107 – January 15th – Back to Class

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Though we started a little later than usual, it was back to class today now that Trevor’s on the mend. Having had the extra few days to practise, I was quite confident that I could present something a bit more polished than usual. I’d also taken some more time to focus on my recurring weak spots – dynamics and sloppy dotted rhythms in particular. Overall, my playing was quite good, dare I say a step up from previous weeks. In a nutshell, the feedback was:

Moyse 25, no. 4 – Good expression, good dynamics, but accompanying line wasn’t always even when oscillating between C and D.

Moyse 25, no. 5 – I’d tried to learn the notes to play quickly, rather than thinking about “following each note with the lips”. Back on the menu for next week, along with its partner study no.9.

Moyse 25, no. 6 and 7 – In character and expressive, though a little on the slow side. When I get faster, I need to remember to accent the first part of the beat rather than the triplet in no. 6.

Andersen no. 11 – A few wrong notes here and there, but expressive and even. A little more diminuendo on the last semiquaver of each beat would be good, but at least I wasn’t cutting them!

Altès no. 16 – Expressive, with a particularly good cadenza. I need to watch my trills, which were too fast for the character of the piece, and make sure that my crotchets in the opening melody “disappear into the silence” like a lifted violin note.

Altès no. 17 – Fine, though could have been faster (yes, I know I need to learn to tongue faster – doesn’t everyone?!)

Moyse 50 Variations – Having spent a lot of time on these this week, Trevor seemed much happier about how I was getting along with them. After a few outings, no. 5 was finally passed (jump for joy!), and nos. 9 and 11 were “perfect”. No. 10 was a little harder, and it took a few goes for me to make the difference between the melody line and accompanying parts big enough. I need to keep remembering that for everyone else to hear a big dynamic contrast I have to be making a really huge, supernatural-feeling difference between the loudest and softest notes. Finally, no. 12 was “a bit unstable” and is back on for next week.

I was rather hoping for a bit of chamber music this evening but nobody else seemed terribly interested, so I’ve spent the time working on my new website. Though it’s nowhere near complete, it might be worth taking a look!