Baroque Flute Boot Camp XIV: Message from the Director

Dear Baroque Flute Enthusiasts,

For the 2012 Baroque Flute Boot Camp I will be on hiatus. Many of you know that since September 2008 I have been pursuing a PhD in Musicology at the University of Oregon. It has been intellectually stimulating and very enjoyable. One requirement for the PhD is writing a dissertation. Another aspect of the PhD program in music history/musicology is the opportunity to teach undergraduate lecture classes. The dissertation and teaching not one but two summer sessions this year will keep me from participating in the Fourteenth Annual Baroque Flute Boot Camp (14 years? Really? Wow!). 

This is only a one year hiatus. I expect to be back at the helm in 2013. But the boot camp will only miss my personality this year. My collaborator, friend, and colleague, Janet See will be there, as usual, and after a two-year apprenticeship, our friend and colleague Kathie Stewart, Baroque flute teacher at the Oberlin Conservatory, will be the other boot camp instructor. 

The participants will continue to be pushed out of their respective comfort zones to acquire new skills and knowledge of Baroque flute and Baroque performance practices. My patented Forehead Slap of Despair (FSD) may be missed, but other than that, the Boot Camp Experience will be the same. You can expect lots of flute playing, technical exercises, improvisation theory and practice, camaraderie, encouragement, and the feeling that your brain has been filled to capacity each day.

I will, obviously, be sad to not be a physical part of the BFBC XIV, but feel confident that Ms. See and Ms. Stewart will conduct business as usual. If anything, the environment may be more intense, challenging, and stimulating than in years past, because that is how we roll at the BFBC. 

See you physically in 2013. See you virtually all the time. 

kp

14th Annual Baroque Flute Boot Camp, July 29-August 4, 2012

Alert the media! 


BFBC XIV: July 29-August 4, 2012, in Seattle, at Seattle Pacific University. 


The website will be updated soon. 


For you past participants, we will be using the same workbook as last year. 


Watch this space for details and updates. 


More information to follow. Soon! 


Thank you. 


-- The Management

PPOTW: 16.xii.2011

In the absence of specific pieces, and to mark the end of my two-week hiatus from serious practice, I remind myself (and you as well) about these two things: 


The Twenty-Minute Workout


And . . . 


Smoke and Mirrors


Ready . . . go!

PPOTW (Practice Pieces of the Week): November 17, 2011

OK, so I'm a few weeks behind on these, and the cross posting. Let's keep the whining down and the posture up. 

• Telemann, TWV 40.6, and 40.7 (Fantasias 5 & 6)
• Quantz, Capricci 2 (Presto) and 42 (Courante)
• Hotteterre, Preludes in c-minor
• J-D Braun, Sonata (1740; found in the pieces sans basse collection)

Practice Pieces of the Week (PPW) for September and October

Apologies for the delay in posting these. I forget that not everyone is using Facebook.

I'll be more diligent about the cross-posting.


Hotteterre Preludes in A-major (3 & 4); in Bb-Major (1 & 2).
Quantz Capriccen: Number 6 (Fantasia Presto); Number 31 (in Bb).

Hotteterre, g-minor preludes 3 & 4; Braun, Menuetto (p.10; this will get your lips in shape) & Capriccio (p. 12); Couperin, Concerts royaux, Quatrieme concert, Prelude (Gravement), Courante Francoise, and Sarabande tres tendrement (yeah, I like E-major).

The work continues (or, "if it were easy, anyone could do it")

Thanks again, everyone, for yet another fantastic week of Baroque Flute Boot Camp, Angst Factory, and Catharsis Clinic. I had a great time and love to see the changes in playing from year to year from individuals and from the group.

On the Facebook BFBC group I announced that I would be posting items for practice, in the manner of the "Quantz of the Week.." It could be just about anything, from the Bach of the Week, the Braun of the Week, the Blavet of the Month, or just about anything else, including, but not limited to, the Anderson Etude of the Week.

I just uploaded some files to the PB Works site. If you don't have them already, now is the time to get them. I'll be closing down the site for the winter and spring, as I always do, which means I'll remove your email from the site. I'll let you know when that will happen, probably not before Thanksgiving, so you can have enough time to finish any downloading you have been considering. I'll put a notice here, on the FB page, and on the wiki itself.

To start our Weekly Workout, I propose the following:

Hotteterre, Preludes 1-3 on page 6 of L'art de preluder (the facsimile, in French Violin Clef);
J D Braun, Rondeau, Giga, and Menuetto on pages 6-7 of the pieces sans basse (found on the wiki).

Those feeling particularly courageous should take the Rondeau in both keys (e-minor, g-minor; just switch to the French Violin Clef to get the g-minor/bassoon version).

More as it happens.

Quantz of the Week: Number 7

As usual:

• Level I: Good focus of tone on EVERY note
• Level II: Add perfect intervals (tuning)
• Level III: Add clarity of the written articulations, and make sure any articulation symbols are different from the notes that are not marked, and from those with different marks.
• Everyone: Take the first repeat only (AAB form). 

Levels I and II: Do not concern yourself with speed or any thoughts of tempo. Focus on the 2 Ts: Tone and Tuning.

Advanced players: This is NOT a race. It is all about TUNING and clarity (gotta love those slurs!). Don't make me bring back the Team and Individual Time Trials . . . 

Quantz of the Week: Number One (Yeah, believe it or not)

As usual:

• Level I: Good focus of tone on EVERY note
• Level II: Add perfect intervals (tuning)
• Level III: Add clarity of the written articulations, and make sure any articulation symbols are different from the notes that are not marked, and from those with different marks.
• Everyone: Take the first repeat only (AAB form). 

Levels I and II: Do not concern yourself with speed or any thoughts of tempo. Focus on the 2 Ts: Tone and Tuning.

Advanced players: This is NOT a race. It is all about TUNING and clarity (gotta love those slurs!). 

Baroque Flute Boot Camp XIII

Yep. It's time again to start getting ready for the Thirteenth Annual Baroque Flute Boot Camp in Seattle, Washington. 24-30 July 2011.

Thirteen? Really? Seems like we just started.

The crew for 2011:

Flutes: Kim Pineda, Janet See
Continuo: Gus Denhard, theorbo; Don Simons, harpsichord

And below are photos from BFBC XII (2010).

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.

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 . . .

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.

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.