The Road to Seattle

As the 12th Annual Baroque Flute Boot Camp appears on the horizon, here are a few thoughts on PRACTICE. 

At this time your practice routine should include a Live Performance Situation component, that is, play your pieces as if you were giving a concert. Another component to include in your preparation is one of Rhetoric. 

Rhetoric. Think about what you want each phrase to mean; what you are trying to communicate to the listener. Even a piece that is not complex has something to say. 

Worried about identifying the rhetoric of your piece? Start with this question: is it a song or a dance? If it is a dance, is it happy or sad? If it is a song, imagine what the words to the song might be and treat the phrases as you would stanzas of a poem. 

Perhaps it is something else, such as a prelude. What is a prelude, exactly? It is a device to get you and the listener ready for the rest of the piece. The prelude could be a tour de force, or just something that sets the mood. 

The rhetorical aspect could lead to interesting decisions, such as a slight change in the rhythm, or of temporarily suspending musical time in order to emphasize a point, in the manner of an oration. 

Other questions to ask yourself: What do the words melancolique (melancholy), gravement (seriously), grave (serious), tendrement (tenderly or painful), or other words in Italian or German, mean? These are guidelines not only for the character of the piece but to help you decide on the tempo. Remember: Adagio = "at ease," or not in a hurry; it doesn't mean "play deathly slow and put Kim to sleep." Largo = "broad" or "large," not "play deathly slow and put Kim to sleep." Andante is your gait, allegro is lively. Allegretto is a little lively. Larghetto is a little large/broad. 

Confused about the difference between French and Italian pieces? Think of the differences between French and Italian cuisine. 

There are new performing challenges every time we play. My life recently has taken me to a place where playing it safe is not an option; playing it safe only leads to pain, angst, and a feeling of being unsatisfied. 

If you find yourself feeling lost or confused, uncertain about which way to go, just ask yourself: "What would Lewis and Clark do?" 

When Lewis and Clark were stuck in the Columbia gorge during a typical rainy November in the Pacific Northwest with nothing to eat but pounded fish for many days in a row, what did they do? Cry? Quit and die? Turn around and head for home? Dial it down? Play it safe? No. They stayed, considered their options, and then gave it their best effort. 

Three days to go. 

Helpful hints for the newbies

Here are some tips to help you win the coveted "Teachers Pet" Award. Courtesy of Blaise Wrenn.

How to win the undying gratitude of the spa* director:

*Formerly known as a Boot Camp

1. Trill before the beat as often as possible.

2. When he corrects you, trill late.

3. Never vary your articulation.

4. When he demonstrates a passage for you, claim that you cannot hear any difference.

5. Play out of tune - especially on notes that are not usually a problem.

6. When he asks you to adjust your pitch, overcompensate in the opposite direction.

7. Grip your flute as tightly as possible, after all it is an expensive piece of equipment, and you wouldn't want to drop it.

8. When he asks you to 'lighten up', laugh.

9. During a prelude exercise, always break one of the restrictions.

10. When he calls you on it, fix the restriction, but break a different one.

11. Over-dot all dotted rhythms.

12. When he corrects you, put the dot on the other note. (He's particularly fond of the Scottish snap!)

13. Whine frequently.

Bio(graphy) Hazard

OK Folks, 


Time to post your bios (yes, everyone needs to do this, even those who have never posted before) so everyone will have an idea about with whom they will be spending 40 hours of flute playing in two weeks. 


I'll go first. Kim Pineda was born in Pasadena, California. His childhood was filled with all the usual things a child has in a loving home, and recordings of classical music and jazz were a regular part of the day. After a few episodes with local, county, and federal law enforcement officers, Kim discovered a better way to be a rebellious, reclusive teenager: playing and studying early music. This choice, however, was not without consequences. In addition to the ribbing about playing recorder, Kim's non-musical friends were a little concerned about his priorities. "You want to play a broke flute? Why not get a good one?"   Described as looking more like a piano mover than a professional musician, some say a sight gag ensues when the biggest person in the ensemble walks on stage with the smallest instrument. Studying music led, somehow, to the study of zymurgy, US and European history, and, of all things, an interest in the history of politics (some governmental things haven't changed in centuries). When not involved in music, Kim and his wife Marika enjoy cooking, gardening, and birding. In their spare time they read non-fiction, try new recipes, and watch stimulating, informative, and occasionally depressing movies and documentaries on DVD. 

The countdown continues

The 12th Annual Baroque Flute Boot Camp begins in three weeks.

You will need:

• Your flute(s)
• Your workbook
• Pieces from the repertoire list plus the piece of your own choosing* 
• Music stand (we are not in a Music Department building so there are no SPU stands running around)
• If you are coming from out of town, a light jacket (yes, I know last summer was the most brutal summer in Seattle history, including the hottest recorded day EVER in Seattle history, but typically it cools down in the evenings, and some folks have been known to roam the neighborhood on those evenings when they are not engaged in flute playing until the wee hours)
• Emergency contact person with appropriate information (no one has ever had any sort of accident other than a cracked head joint because they didn't follow oiling and breaking-in instructions, but we want to have our bases covered)
• A Hawaiian-style shirt because, as the returnees know, Thursday is HAWAIIAN SHIRT DAY.
• Your mobile phone charger (seems a minor thing but it could cause mild discomfort if you suddenly find yourselves lost in downtown Seattle with no juice; FYI, my phone charger uses the Micro SD type of plug).
• Asuncion, Ernie, Kim, Patty: what else am I forgetting here?
• The boot camp is available for college credit/clock hours through SPU. The course number is MUS 5058 and I will have all of that material available at the first meeting on Sunday night. Please let me know in advance of the first meeting if you would like to consider taking it for credit. I can't remember the cost but that will be payable directly to SPU. 

That is all for now. Don't forget to oil, practice long tones and chromatic scales, and ab ove all, don't forget to breathe.

kp

PS--Masterclass is FUN! ("We don't need no stinking comfort zone!")

*(If you haven't decided on repertoire by the end of this week and haven't sent me an electronic copy of your optional piece, you will need to bring 6 hard copies of the full score).

Workbook Now Available

OK Folks,

Go to the wiki workspace and download the workbook! Please note that you do NOT have to download the complete scores to the Big Band Pieces, but you do need the individual parts for them.

You also need five (5) tabs for your 3-ring binder (1-1/2" - 2" will hold everything).

IF you are staying in the dorms and this is your FIRST time at the workshop, please contact me directly and I'll send you the contact information for SPU conference services.

I will have a list of neighborhood restaurants available at our first meeting.

And . . . just to get an idea, how many folks are interested in the early dinner/pre-workshop mixer at around 4PM? Transportation to and from SPU will be provided.

Any questions about anything, please call me or send me an email.

Alright. Time to practice.

PS--Did I mention the importance of oiling your flute(s) BEFORE the workshop starts?

Short Octave Equals Continuo

OK, because our harpsichord for the week is an Italian model with what is known as a "short octave," I am encouraging you all to select pieces that require CONTINUO only, and to stay away from obbligato keyboard parts. 

Thank you.

Update (revised 30.vi.2010)

We have TWELVE (12) people officially enrolled in this year's workshop.

Of the twelve, four have given me their repertoire choices. Slack will, of course, be given to the recent enrollees to the workshop, and, because I have slacked a bit in not giving the four rep lists to our accompanists, I will hereby respectfully beseech the rest of you to consider your repertoire choices soon. Unless, of course, you are waiting for the workbook to be posted, in which case the accompanists will have the music at the same time as you.

That's all for now. More updates as they come in.

Reading List (Yes, I cracked under pressure)

I've uploaded to the wiki some excerpts from Friedrich Niedt's Musical Guide. It is a thoroughbass guide but because I'm always harping on flute players to learn the bass parts to their sonatas, this could be valuable to some players, IF they decide to take the UberGeek challenge and actually read it.

NB: This is hardcore History of Music Theory/Historical Performance Practice stuff, for the non-music major flute player.

I'll also post a slightly earlier French theorists guide for thoroughbass as well.

Wiki Annex (more music for your "spare" time)

I just created an Annex folder for the wiki and have uploaded more duets, trios, solos with continuo, and trio sonatas. Some of the trios and trio sonatas will be incorporated into the workbook.

Repertoire List Complete

The previously missing pieces are now available. 

Go download music!

OK Boot Campers!

Except for the pieces by CPE  Bach, Handel, Hotteterre, Muthel, and Telemann, the rest of the repertoire list is up and available for you to download.

The above-named composers will be uploaded on Monday.

There will be no more Quantz of the Week posting. Just get to practicing on the repertoire.

The workbook will be available online on July 2. Please don't bug me about it unless you don't see it online by 17:00 Pacific time on July 2.

To the woodsheds!

Quantz of the Week

Quantz of the Week:  

 

• #12 Capricio; 
• #34 in both keys (A- and Ab-major); 
• #40 in both keys (f#- and f-minor). 

Clarity of tone, articulation, and fingerings are the goals, NOT speed. Anyone caught speeding through these pieces will be fined with the Kirnberger sonata in Eb-minor.

2010 Repertoire List

Hello Everyone, 

Here, at last, is the 2010 Boot Camp repertoire list. 

From the solo list, we want you to choose two pieces by two different composers. It can be the whole piece or just one movement. You will also prepare one piece of your own choice, for a total of 3 composers. 

From the duets, choose one depending on your level. 

From the unaccompanied, please choose one. 

For the players who are new to Baroque flute, solos, duets, and unaccompanied pieces will be in the workshop workbook. 

All of these pieces will be available as PDFs. Location TBA. 

Solo with Continuo--
• Ana Bon: Sonata III in Bb Major (Op I)
• CPE Bach: Sonata in D Major
• Blavet: Sonata in A, Op. III, No. 4*
• Blavet: Sonate, La Vibray, Op. II, No. 2*
• Caix d'Hervelois: 3me Suite*+
• Couperin: Le Rossignol-en-Amour
• Couperin: Premier Concert from Concerts Royaux
• Handel: Sonata in G Major
• Hotteterre: 1me, 2me, or 3me Suite, Book I*+
• Kirnberger: Sonata in F Major*
• Kleinknecht: Sonata II, 1748
• Leclair: Sonata in e, Op. IV, No. 2*
• Monteclair: Concert II or Concert IV*+
• Müthel: Sonata in D
• Tartini: Sonata in A, from Giedde Collection* (and modern typeset)
• Telemann: Methodical Sonatas (1st movements only)

Duet--
• WF Bach: D Major or F Major (Advanced)
• Blavet: Any of the Op. I duets (Entry level-Intermediate)

Unaccompanied--
• JS Bach: Cello Suite III, in C, BWV 1009 (Kim Sato transcription)
• J B de Boismortier: Six Suites, Op. 35
• G Ph Telemann: 12 Fantasies
• J D Braun: Pièces san basse, 1740*

NB: You are free to bring as many other duets or trios as you think you can manage to play during the week during the free time (assuming, of course, that no one's lips fall off before Wednesday). 

* = facsimile edition
+ = facsimile edition in French violin clef

Quantz of the Week: 6 June 2010

 Is it time for the next week of Quantz already? 

OK, this will be the last group of pieces to focus exclusively on FLAT keys. Number 40 in Ab (if you are using the facsimile, this should show the first measure in A and then the first measure again in Ab), and number 29 in F, 2/4, for those still getting used to the idea that FLAT keys are fun, and, for those seeking to combine FLAT keys, embouchure flexibility, and variety of articulation, number 18 in F (Capricie III).

And, FYI, there WILL be a quiz on all of these Quantz pieces in flat keys at the boot camp. That means you might actually be asked to play them while Janet and I stare at you and scrutinize every finger motion and embouchure twitch. 

Not that we nitpick or anything . . .

Changing the pads on your flute

Over the past 6 months, I've noticed the keys on my flutes make a sticky sound. Every time I pressed the key, I would get some extra percussive noise. I tried first to clean them. Rod Cameron suggested acetone (nail polish remover) to clean the pad, but that didn't work. I finally contacted Janet See to find out what to use as pad material. Neoprene was the answer! Neoprene can be ordered from kayak shops. Since there aren't any kayak shops in Dallas, she sent me some from her local shop.

It was quite easy to change the pad. I pulled the old pad off and used a small file (found at any hardware store) to take off the excess pad material and glue (which was minimal). I cut the neoprene to the appropriate size and applied contact cement to the key and neoprene. After it was completely dry (10-15 minutes), I pressed the neoprene onto the key. Voila, my flutes are now percussion free!

Brain Bender

Baroque Flute Brain Bender: Monteclair's IVe Concert Dessus et Basse. 

• "La Melancolique" (Bb) 
• "La Tenebreuse" (h)
• Chaconne (Bb)

Your brain will get bent switching between Bb and h (b-minor for the US contingent). Lots of embouchure action and relaxation of fingers.

Practice Journal: A break from relaxing to concentrate on tuning

 A brief respite from the Quantz Capricen finger relaxation exercises we've been doing: Number 14, Minuetto in Bb (3/4), and number 18, Capricie III in F (C).

Yes, the goal of the previous Quantz etudes is to relax the fingers and see how little they need to move and how soft they can be while playing the pieces. The two new numbers are also for relaxing but also for helping you tune certain intervals between particular notes which may or may not be cooperative under the best of circumstances. 

"If it were easy, anyone could do it." 

Practice Journal: Suggested Quantz Capricen

Number 31, in Bb, 6/8

Number 32, in c, 2/4

Number 38, in Eb, 3/4

Number 37, in Bb, 6/8

The goal is to be relaxed and hands free of tension. DO NOT think about tempo. Yet. 

This is preparation for numbers 39-41. 

kp

Official Notice

FYI: I am practicing EXCLUSIVELY in flat keys until June 15. That may or may not mean anything in terms of the workshop agenda in July (yeah, right). Just thought I'd share that bit of information. 

12th Annual Baroque Flute Boot Camp 2010

The 12th Annual Baroque Flute Boot Camp in Seattle, Washington, July 25-31, 2010.

Faculty:

Baroque Flute

Kim Pineda and Janet See

Assisted by

Gus Denhard, theorbo, baroque guitar, and continuo ensemble

Don Simons, harpsichord, workshop accompanist

In 2010 the Baroque Flute Boot Camp (BFBC) takes place from July 25-31. The BFBC is open to baroque flute players of all levels. We are very supportive and encouraging to those new to the baroque flute. For the advanced players we offer a stimulating and challenging environment (we throw down the gauntlet and challenge you to pick it up).

The BFBC offers predominantly flute instruction and technique by day, with smaller group classes, large and small ensemble playing, and technical clinics by night. Participants also have time to meet in smaller groups on their own to work on various types of ensembles, with and without coaching. Enrollment is limited to 16 flute players, and 4 lute/guitar players. Players of other continuo instruments such as Baroque cello, viola da gamba, or Baroque bassoon are welcome to enroll. Please contact the workshop director for details on the curriculum for these instruments.

The BFBC gives you the chance to work hard under close supervision. What to expect at the Boot Camp:

• Your instructors will push you out of your comfort zone to improve your playing technique.
• Expand your knowledge of baroque style and interpretation.
• Integrate this by playing in small groups, large groups, and in the class recital.
• Learn how to lead, accompany, play together, and learn the difference.
• Gain confidence in a non-competitive environment.
• Group classes in Alexander Technique as it relates to playing your instrument
• Fundamentals of baroque improvisation (it comes in handy!)
• Have fun in the process.

N.B.--This is a PROCESS-oriented, not goal-oriented, workshop.

All you need is a positive attitude and a baroque flute or continuo instrument that plays at a=415 Hz.

For more information go to Baroque Northwest's workshop link.