Special thanks to Tadeu Coelho for launching the Summer 2020, New Perspectives Series with a truly engaging and informative master class!
Dr. Coelho's 3 Steps to Glory is an innovative and transformative approach to learning music; we quickly observed many of the deficiencies in our usual practice habits that lack the communicative aspects of a truly exceptional performance.
To assist with more meaningful practice, Dr. Coelho shared his Flute Workout Series with accompanying CDs to provide flutists with a musical backdrop for practicing long tones and other warm-up exercises. The potential for improved intonation and a greater sense of direction are among many of the noticeable benefits.
My students will be happy to know I just purchased my copies! :-)
It was an honor to witness the sheer joy with which Dr. Coelho teaches and performs!
Mr. Edmund-Davies' Simply Flute Warm Up targets the four pillars of flute playing: breathing and phrasing, finger dexterity, articulation and intervals. It is a complete and thorough method that is accessible to elementary through advanced flutists.
We spent the majority of the class playing straight through the exercises...in true boot camp fashion!
The Simply Flute Study Programme offers a vault of resources from Free Materials (including PDFs and videos); exercises in all four technical categories; several of Mr. Edmund-Davies publications; tutorials and even travel and hobby videos. This class offered a small glimpse into the depth of these offerings. Visit Simply Flute today to learn more or to subscribe.
It was a very special class with the inspirational Christina Jennings.
Her program, Rise Up Flutists is designed to bring out your very best as a flutist, with a central focus on tone production and its many nuances. For us, the greatest revelation was the effect of registral tendencies on tone production and resonance. Additionally, Professor Jennings offered subtle postural adjustments and cues that yielded dramatic and instantaneous changes in our sound. It was an unexpected transformation and met with great enthusiasm!
We were in awe of her command on the flute, yet through her clarifying explanations of her warm-ups, she left us feeling empowered to develop our own sound to its fullest potential.
Her class left quite an impression on all of us. Thank you, Christina!
These opportunities are not to be missed!
We were energized and feeling fearless after our class on extended playing techniques with Nina Assimakopoulos!
Her class offered participants a method for breaking down some of the most challenging extended techniques into manageable steps. We explored jet whistles, pitch bends, beatboxing, tongue clicks, finger glissandi and more using Assimakopoulos’ clarifying demonstrations, vivid analogies, step-by-step guides and personalized feedback as direct access to each of these techniques.
Professor Assimakopoulos’ versatility as a performer and teacher offer unique insights into the application of these techniques in contemporary flute repertoire and creating more of an impact in performance.
Thank you for encouraging our creativity (and curiosity!) in this exiting realm of musical possibilities!
Professor Assimakopoulos’ method book “The Virtuosic Flutist: Brilliant Studies for the Next Step and Beyond, Book One” is filled with this type of pedagogy—systematic and descriptive—and immediately applicable. Important aspects of flute playing are addressed: breathing, intonation, vibrato and tone color.
Yet another fulfilling and enriching class with Ory Schneor on the topic, "Baroque and Classical Interpretation and Articulation for the Modern Flutist."
A natural pedagogue, Mr. Schneor offered a thorough explanation on the distinguishing features of Baroque and Classical articulation that set them apart from other genres. He offered specific exercises for practicing the subtle nuances of length, micro-dynamics and metric weight within a musical phrase. These included refining bell tones in practice, distributing tonal weight across a metric hierarchy and combining these features in the appropriate musical contexts of Bach, Telemann and Mozart.
The combination of lecture, playing demonstrations and immediate feedback for student participants helped solidify these ideas for future study in our individual practice. See also Mr. Schneor's blog on Baroque Interpretation.
Mr. Schneor is a Member of the Geneva Camerata, principal flutist with the Tongyeong Festival Orchestra, Morphing Vienna Orchestra and guest principal flutist with the Munich Chamber Orchestra. He is the founder and instructor at FLUTEinWIEN - Intensive Masterclasses in Vienna, individually tailored to the needs and goals of each participant...now ONLINE! More information here:
Our highly anticipated class with Gaspar Hoyos was an absolute joy!
If you’re familiar with Mr. Hoyos’ Saturday Practice Posts on Facebook, then you know the abundance of exercises for tone and articulation, in particular he has shared with the flute community.
You can view these posts on his Facebook page at: https://www.facebook.com/gasparhoyosm/
Gaspar Hoyos is Principal Flute with the Opera Nationale de Lorraine, France.
Class Topic: "How to approach Moyse's "De la Sonorité" and Reichert's "7 Daily Exercises" (Nos. 1 and 4)(Ed. Alphonse Leduc, Paris) for expressive music making"
In this class, he shared his unique approaches to several exercises from Moyse, De la Sonorité and Reichert, 7 Daily Exercises…all of which were innovative ways to deepen the intention and meaning of the desired outcome of the exercise.
Mr. Hoyos is a shining example of a teaching artist; his warmth as an artist is inherently aligned with his generosity and expertise in sharing musical ideas with students and the flute community. We are most grateful for these new perspectives.
Thankful to Brook Ferguson for sharing her topic "Listening inward, listening outward: the unbreakable bond between physical awareness and tone production."
Ms. Ferguson walked us through each level of listening outward (i.e., I hear my intonation...; I hear my tone quality...etc.) and listening inward (i.e., I feel my breath moving through my chest cavity...; I feel the shape of my mouth...etc.). With each new level of awareness, we observed changes in our bodies, which had a direct impact on the resonance, color and depth of our tone production.
When we listen outward to various aspects of our tone production and learn to sense the inward signals of our bodies, we began to feel more connected to the intimate relationship between the two. Furthermore, Brook offered a "checklist" for uncovering the subtle nuances of tension in the body and gently freeing those areas to allow for more freedom and openness in the sound.
It was a refreshing (and effective!) approach to a sometimes daunting task!
Brook Ferguson is Principal Flute with the Colorado Symphony Orchestra and River Oaks Chamber Orchestra.
View her website at www.belcantoflutes.com