The "other" side of performance: your accompanist

There is nothing new under the sun. Most likely everything I will say in this post has been said before. However, I feel it is something that isn't put forward enough for amateur and new performers.

YOU are not the ONLY one on stage! Your pianist is your team mate. She has worked just as hard as you have to learn your music. She also much be constantly aware of what nuances you bring to a piece of music. There is a real art to being an accompanist, and not all pianists can do it.

There is also an art to knowing how to rehearse with your accompanist. As the soloist, you need to be ready to communicate various details to you accompanist:

• You must set the tempo.
• You are not a metronome, and shouldn't play like one. Music ebbs and flows, and you need to know where you want to speed up or slow down.
• Are there places where you just need a fraction more time to get through the notes? This must be addressed, too.
• You need a clear idea of where you are going to take a breath in passages without rests.
• Dynamics! How loud, how soft, when do you start your crescendo? Are there places where it changes suddenly?

In addition to all of this, there is one more step you need to take: familiarize yourself with the piano part. Don't just listen to it, but sit down with the score and read it through. I wish I could take credit for this final thought, but I can't. I have a recital in 2 days, and my accompanist just said this:

"Music is a conversation between the flute and the piano. Analyze the score so you can understand when each instrument is talking."

Ever heard of "Body Mapping?"

If you have been around in the music or fitness world very much, you have probably heard about "body mapping." I have heard of this tool many times and in different ways for years. It is similar to other disciplines like Physio Synthesis, Pilates, Alexander Technique, Feldencrais in the sense that it is a way to align the body and get things working well.

The thing about body mapping is that every article I have read doesn't really give me an understanding of what it is or how it can help me….until now. I got lucky enough to listen in to a webinar on arm and shoulder pain for flutists and violinists presented by Lea Pearson. I learned sooooo much!

I won't try to share what I learned, because that would not be a service to you. Instead I offer a link to Lea's website and hope you will go there and learn something valuable.

So here it is, check it out:

Click HERE for Lea's website.

Click HERE to share your discoveries on my facebook page.

When a note doesn't speak well.

A common problem for flutists is the note that wheezes or doesn't speak at all. Our lowest and highest notes are usually the ones that challenge us, but others can, too. 

Today I had an experience that reminded me of a very important point: the note that doesn't speak isn't always the culprit! The problem may be the note before or after it, or even several notes away! 

Consider today's challenge: first octave, middle C. The preceding notes were moving donward: A-G-E flat; then the C began a scale moving upward, C-D-E flat-F-G-A ....

When the E flat was wheezing, and the C not speaking at all. Of course my first thought was to focus on C, which is always a challenge. But upon slowing down and playing the preceding notes, I discovered that my left hand fingers were not covering the holes well, and although the G sounded, it wasn't a good note, and as soon as I fixed the G, I no longer had problems with either the E flat or the C. 

So, the next time a note is giving you trouble...take a good look at several ones leading to it and following it. Good luck!

Holding the Flute in Balance

Recently I ran across something talking about "the Rockstro Grip." I had never heard of it, so went digging around on the web. The result of my research is this excellent article.  Go ahead, read it, or at least skim down it, save the link and come back to read it thoroughly later.

It has changed my position! There isn't really anything in this article that my teacher hasn't told me before. But it's all together in one place, and maybe I have come to a point in my development as a flutist to apply it.

I started playing flute with tendinitis, or maybe arthritis, in both thumbs. My hands would often ache, and that had nothing to do with playing the flute. So I have struggled because it seems my hands just don't go the way they should. 

But today they did. My balance was lovely, my tone was awesome, and I felt a freedom in finger movement that I have never had before. Wow.

Now, go check out "the Rockstro Grip," revolutionize your performance!

The Summer Challenge!

It has been a while! I have been focused on healing from knee surgery for the past 3 months. You can read all about that in my blog on that subject: PartialKnee.Blogspot.com

Now that I have two strong legs to stand on, I am back working on my flute performance. I am going to be taking the CM Test, Level 7 next winter, so there is work to be done!

My teacher has decided to focus on daily practice (for herself) this summer, and I like the idea, so am taking up the challenge. We each post our daily progress on her Facebook Page: Stephanie's Students

                                     ****     ****      ****     ****

On another front, I am working on music theory again. We have been going through "Basics of Keyboard Theory" by Julie McIntosh Johnson. I am doing Levels 5 through 9 simultaneously. Sounds funny, doesn't it?

Here is why and what I am doing. These are really just workbooks. Each book is arranged in the same order: Key Signatures, Scales, Intervals, etc. I worked all the way through book 4, and when I opened up 5, it was frustrating to me to go back and re-learn everything. I felt like I was getting a sample of each subject area, then moving on without really learning it.

So I took Book 5, Key Signatures, did the worksheets, and then moved onto Book 6, 7, 8, and 9. By that time I had actually learned the key signatures, and felt confident with them.

It is really working well for me, except with intervals. My slightly dyslexic brain just rebels at grasping intervals!!!

Since I have been not working on much of anything music-wise for 3 months, this is a good time to step back and attack intervals again. I found a website with great exercises, all very customizable. I first found this site when I wanted a way to quiz myself on key signatures. 

Now I discover they have an app which I can keep on my iPad, so I don't have to be at the computer, or internet connected to study! Sweet.

Now I have the app, and am doing daily practice on intervals. This website is really terrific, and the app is a good deal at $3.99 so I recommend you check it out!

Click here for the website.

Articulations

Whether you are a beginner or advanced flutist, good articulation is key. It is important to understand the different techniques, and learn them correctly to begin, and later on it's a good idea to be sure you haven't gotten sloppy.

Click here to go to an excellent article on articulation.

Now get out your flute and PRACTICE!!

Learning from the Masters

From time to time I run across a YouTube video that offers an opportunity to learn from a Master Flutist. I discovered Emmanuel Pahud a few years ago when I needed a recording of a piece I was learning. I fell in love with his sound, so the other day I was wandering around on YouTube and found this clip from a Masterclass he gave: watch and learn!