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?