The Incredible serenity of Timothy Hutchins

Dear Flutists,

You must see this Timothy Hutchins video.
For incredible serenity, see part 3. It's simply stunning.
Best,
Jen

Timothy Hutchins plays the Liebermann Concerto

Part 1:



Part 2:



The serenity that stuns you, in part 3

Part 3:






Part 4:

Paula Robison videos

Dear Flutists,

Paula Robison, always one of my fave flutists, has quite a few videos up now.
Very fascinating. Enjoy. Best, Jen


Paula Robison, flute video - "Il Gardellino" - Vivaldi Goldfinch Concerto.





Paula Robison, flute video - "Sonata" by Donizetti



Paula Robison speaking on Art and Life

Robert Langevin in recital

Dear Flutists,

The principal flutist of the New York Philharmonic in recital on video.



Comments welcome.
Best, Jen :>)

Tonguing from the throat for four years

Dear Flutists,
Here's an inquiry from a student that I thought was really worth sharing. There may be other throat-tonguers reading along on the internet.

Dear Ms. Cluff,
I have been playing flute for 4 years and I'm currently principal flutist of the local Honours Band and National Youth Band.
I have a question about tonguing that I am currently very confused about. Every time when you tongue, does the tip of the tongue must always touch the top of the inside of the mouth - near the top teeth?
Apparently I tongue with my throat all along but this way, I have a beautiful rich and clear tone. I just started studying with another flutist and she told me that tonguing with my throat is not correct at all and that I've never learned how to tongue. So when I do tonguing by touching the tip of my tongue to the top of the inside mouth, my tone is completely lost - I sound like a total beginner (most airy tone i've ever heard)! I cannot tongue fast at all no matter how hard I try. Is this correct? When I tongue you can hear my tongue movement (if this makes sense).
I heard that when you tongue this way (having your tongue touch the top of the inside mouth everytime you tongue), it's hard to have clear articulations and play fast and complicated music when it comes to tonguing. My previous teacher didn't tell me that the tip of the tongue should touch the top mouth but my current teacher emphasizes this! Who is right?! Thank you for your help.

My reply,

Is the syllable too explosive?

Almost every flute student says "Tu" differently at first. You could have an accent or a family speaking trait that makes your "TTTTu" more explosive, and more likely to distort your embouchure right at the "T" part of the word.

It's like Tu in French, or oooTuuTuu.
You can even experiment with Du as in Dude.......or hudu-hoodoo-dootuu-tuuduu to find it.
It's not like that hard "T" as in "I'm going TToo the store."

That almost explodes like a high hat cymbal: Tst!

It's the French "Tu" as in "Tu es, Il est, Elle est..."
It's very slightly like "Du" to a Canadian speaker.

There doesn't have to be any explosion to the pronunciation.
You can touch softly on the pallet. Think about using a softer "T" with only three or four tongue-cells on the very tip of the tongue.

Is your embouchure or lips changing when you tongue?

Additionally, when first learning to tongue, almost every student accidentally moves their embouchure into a slightly off-center aim. They almost "twitch" their lips into a slightly different position when first working on clear "Tu" tonguing. Because it feels much like talking.

Likely this is happening to you. You hear that the tone goes fuzzy but you're unaware of some tiny tiny lip change that you made when you start to tongue with "tu" for the first time.

I've always thought it reasonable that our lips tend to move whenever the tongue is engaged in eating, talking or singing etc. So it's only natural for the lips to move when the tongue moves, and therein lies the problem for your perfectly centered tone.

So the answer is simple: Be aware of keeping the embouchure still and the tone full of air when first adding "Tu".

Try saying: HooodooooHoooodoooo, or HuuuuTuuuuHuuuuuTuuuu and refuse to move your embouchure whatsoever. You should learn to lightly interrupt the flow of tone with the Du or Tu without creating turbulence at the lips.

How is this usually learned?

In lessons a flute student gradually learns to keep the lips EXACTLY the same as when slurring with good tone. So they go back and forth from all-slurred to all-tongued on their etudes and pieces. Small chunks of notes are done with varying articulations and all-slurred is always the default to find the tone and the air-speed for a given phrase of music.

And yes, I do mean that the embouchure stays EXACTLY the same for tonguing as it does for slurring. The air speed remains the same too. The air support remains the same too.
You're not alone in learning tonguing late in your studies. About one in every hundred flutists doesn't tongue conventionally using "Tu" and then at some point (usually first year University flute lessons) they discover they've been doing it with their throat or the wrong part of their tongue all through high school.
It's not uncommon for you to have a problem learning something like this at your stage if you tongued so well with your throat that no one noticed until now.

You may be farther ahead than you think! :>)

What's your maximum single tonguing speed saying "Gu Gu Gu?"
Did you know that you only have to add the syllables "Du Du Du" or "Tu Tu Tu" in order to have a fantastic ability to double tongue?
You're already half way there. :>)

Meanwhile, here's all the help you'll need:


Articles on Tonguing for Flute:

http://www.jennifercluff.com/articu1.htm

http://www.jennifercluff.com/articu2.htm

The above two articles contain everything I can possibly say about single and double tonguing for flutists. And I do believe that your flute teacher is correct:
You need to say "Tu" and "Du" for correct tonguing on the flute, and not "Gu" or "Thoo" as some students accidentally teach themselves.

Here are some illustrations of the tongue's best and easiest positions. (click on picture below to make it bigger, and then use back button to return here.)



And here is why your current method of tonguing will not likely be useful in the longrun. The throat is more closed, tighter and less available for resonance space, and "Gu" as a syllable is unlikely to allow speedy tonguing when you get to fast tempo flute pieces that need double or triple tonguing:



If you read the dozens and dozens of "how to play the flute" books, you'll find there is not a single one that states that you should tongue with the throat.
They all say to start a tongued note with "Tu" as in French, and then let the tongue's tip move straight down to behind the lower front teeth.

As students learn to keep their embouchure still during this "Tu Tu Tu" tongue motion, they also learn to use a constant fast air speed from low in the lungs, and only "interrupt it briefly" with the tip of the tongue as in "TuuuuuTuuuuuuTuuuuu...".
If the student explosively utters "TTTTu!" then the lips will distort with the explosive ball of air that is coming through them, causing a squeak or blasty loss of tone. So be aware that the lips must maintain their best position and not distort when performing accents or heavy, loudly tongued passages.

All this takes time, patience and intelligent work. (As Trevor Wye/Marcel Moyse say in their books on flute tone and articulation.)

There are quite a few books, articles, and flute masterclasses on this topic.
Look for "Flute articulation" articles and good flute method books and check it out for yourself.

Best, and let me know how this works out.

Jen Cluff

Flute Duets - free online sheet music

Dear Flutists,
Today I had a request from flute students looking for free pdf flute duets online, and one student particularly wanting any duets by Purcell.

So after hunting around myself on the internet today, and finding very little Purcell for two flutes, I thought I'd ask here; Does anyone knew any published editions of Purcell for duet?
Perhaps there's a great Recorder series of books of Purcell?

Meanwhile, I did find quite a few interesting duets for novice-intermediate level so I thought I'd share the links (below).

Great fun to play them into a recording device with a metronome, and then play back the first part to create a one-flute-band!

Note to old music scholars: the Boismortier duets below are very unusually key-signatured; thanks to a commenter on this blog, I now know it's called "french violin clef" and is read as bass clef! I've never seen a keysig like that before! Of course, with a little thinking, you can begin to de-encrypt it! It sounds two octave higher (naturally) and was used for flute and violin music in the 1700s.

Free flute duets to print (pdf)

All free flute duets at Petrucci online Music Library

Purcell Duet for two flutes

Purcell - Two flutes plus bass instrument

Purcell two flutes and harpsichord

RECORDER 4 part SATB arrangements of Purcell.

Telemann flute duet

Blavet Flute duets

Loeillet book II of duets

Boismortier Flute duets using bass-clef like "french violin clef".

Mozart flute duets: Scroll down to Duo in a major for 2 flutes and see three duos:

Devienne Duet 1

Devienne Duet 2

Leclair Duet (violins)

Cambini duet

Furstenau Duets

Galli-Bellini Duet

Jensen flute duets: Romantic era

CPE Bach Duet: Two flutes and bass

Bright vs Dark Flute Tone Qualities

Dear Flutists,
Two posts in one day! Whoa nellie! But this is very interesting.
Here's a question I received from a blog reader:

Hi Jen, love the blog! Listen, I wanted to seek your opinion in continuance of your website recommendations....I'm an intermediate adult flutist and I'm looking for a Muramatsu flute.I adore the heavy wall sound, but cannot afford a DS/GS model.
I tried Miyazawa heavy wall once and liked the action, but it was out of my price range.Do you know which of the older used models from the either company would have a darker tone? Currently, I play a 1989 Artley nickel plated.
However, the mechanism is choppy, stiff, and clumsy despite many reputable flute shops looking after it. Is the nickel giving me a darker sound quality that I like?
Should I go for an "Old Scale" Standard?
Would solid silver make the quality brighter as tonguing is my greatest limitation in playing? Should I go for a nickel plated silver?
Basically, I'm trying to figure out the best way to simulate heavy wall sound, but not kill off what little articulation that I have.
I bought a 14K Aurumite headjoint and it is amazing, but the Artley can't keep up with the action. I would really like to find a darker flute (C ft) with great action to match it. My instructors have said that the B foot is darker, but I "hear" C foot as darker when I compare my flute to B models head to head.
I appreciate any help you can give me!

Dear AI,

The fact is that no two flutes play alike, and until there is an exacting replication technology, where a given flute is utterly replicated in various different materials, this will continue to be the case. If you travel to a flute store where all the flutes are in excellent repair (no pad leaks) and play-test try 10 identical flutes in a row with sequential serial numbers you will be unlikely to find two that sound identical or even feel the same. Always there will be some that feel or sound darker or lighter than others.

Also, older flutes with out of tune scales (sharp C#s, flat low registers etc.) make more work for the intermediate player. That times spent humouring the old scale flutes into tune could be spent on developing tone colour options instead of just trying to play to pitch. So avoid old-scale flutes if you can.

Now, to the real question which is about the human perception of "light vs dark" in flute tones. The debate about bright vs. dark tone has been going on for at least a century, and possibly several centuries.

Nancy Toff writes on this in her book "The Flute and Flute Playing".
I have to agree with her:


Note: to read the above jpeg, click on it to enlarge, and use back button to return.

See the original on google books here:
Nancy Toff's book on google books: see page 96 and 97.

After reading your email, and Toff's words on the subject, I wondered if there were any scientific research papers that were fairly recent and well researched, and I found this one - well worth reading:

The effect of heavy-wall flutes on tone colour
In the above paper this was the conclusion:

The data and graphs (of sound spectrums of heavy wall and normal wall flutes) showed no directional correlation between a change in flute wall thickness and the relative amplitudes of the harmonics, suggesting that flute wall thickness does not affect the timbre of the tone produced. The outcomes of the trials also suggest the flute timbre varies slightly among flutes of the same thickness. This conclusion indicates that timbre of the flutes cannot be exactly reproduced, even under uniform conditions.

Although harmonic amplitude was not affected, there was a slight, but definite change in the frequencies of the harmonics. It can be concluded that as flute wall thickness increases, the frequencies of the fundamental, second, and third harmonic also increase. As stated in the data analysis, an explanation of the increased frequencies is probably due to a decrease in the volume of air inside each flute.

Also, as the flute player matures and grows more discerning, more tone colours and qualities become audible to them. See:

Article on listener's expertise on pitch and tone colour. It seems that years of experience and listening improves ones ability to discern finer and finer degrees of tone colour.

I also enjoyed this article by Bret Pimentel, about all the factors that affect the player's sense of "dark vs. light":

Bret writes:
The mistake here, according to scientists, is thinking that the vibrating instrument is what is producing the sound. Basic acoustics tells us that the woodwind instrument is merely a container for the real sound-producing body—a vibrating column of air.

A number of scientists have undertaken to prove empirically that characteristics of a woodwind instrument’s sound are affected only by the characteristics of the air column. But there are several factors which make this a difficult proposition.

First, as every woodwind player knows, no two instruments play alike. Fine woodwind instruments vary from specimen to specimen. These variations range from the easily visible to the virtually undetectable, and interact in complex ways to affect the sound of the instrument. In order to accurately test the effect of wall material, these instrument-to-instrument variables must be eliminated.

A particular difficulty with eliminating these variables in woodwind instruments is the question of the instrument’s pads. Woodwind instruments have toneholes that are opened and closed by pads made of cork or animal skin. These pads are installed by hand by specialized craftsmen, and the process is widely regarded as more of an art than an exact science. Small variations in the organic materials involved, and in the pads’ installation, can cause very noticeable differences in the way each instrument plays.

A second consideration is the human physiological factor. A woodwind player’s embouchure—the way he uses the complex system of facial muscles to form an interface with the mouthpiece—is, as he will ruefully tell you, highly variable. Even the finest and most consistent players change their embouchures, at least imperceptibly, from moment to moment. Many of these subtle changes are made intuitively and without the player’s awareness of which muscles are being used, or maybe even that they are being used at all. The complex human respiratory system adds another comparable layer of problems. The human anatomy presents a highly complicated and hard-to-measure set of variables that must be dealt with in order to construct a scientifically acceptable experiment.

A third and even more mysterious factor is the influence of human psychology. Any bias on the part of woodwind players or listeners can affect their perception of an instrument’s sound. A bassoonist, for example, might consciously or unconsciously expect that, say, a bassoon with richly grained wood might have a “fuller” sound, or that a plastic bassoon will just sound more “plasticky.” The simple expectation of hearing a certain sound may influence the bassoonist (or a listener) to project that expectation onto the actual sound heard.

Finally, I found an excellent pdf dissertation (free download with tons of great pictures and quotes) about developing the flute tone:
Improving tone production on flute by GR Wilcocks (2007)

So I'm really glad you asked the age-old question about dark vs. light flute tone, because I wouldn't have found all these cool resources (especially the great dissertation paper above!) if I hadn't been spurred onto it.

My advice to you would be to buy a mechanically reliable flute with a good scale.
I tend to recommend Azumi 3000 (under $2000) but would need to know your budget limitations if shopping used instruments.

If you're shopping as an "investment" in your future, for about $2500-$3500 you could likely find a used Sankyo Silver Sonic, if in very good repair, which I also think is excellent and capable of being played quite easily with a "darker" sound.
But as a developing player, you'll want to choose all kinds of tone colours, and I believe that a better quality flute will likely give you that choice.

But remember, a darker sound can be created to a certain extent on most headjoints, simply by blowing more downward in angle.
I tried to imitate the sound samples you sent me here by playing your mp3 over my computer speakers, and then immediately imitating them and setting the sounds side by side. I finished the sound sample with a bit of a William Bennett performance.
Now there's a great mixture of dark and light!
Have a listen to a 2 minute sample of this here. (press the play button when you arrive.) The William Bennett snippet is right at the end. Fun eh?

Matching the dark tone of your Artley with my Altus.

This is a skill which I fool about with often, for example Fluteloops show online with the imitation of 16 of James Galway's flutes.

You may have to adjust your chin placement, lip angles or air angle to find the limits of bright and dark on a single headjoint, so the best is to experiment with the full span of tone colours available.

Meanwhile, go flute shopping within your budget, and get a mechanically able flute. I'm firmly of the opinion that you can make any flute sound "dark" by altering the embouchure, or changing the headjoint, as over 95% of the tone is created by the splitting edge and the resonance at the splitting edge, and not by the body of the flute.

Good luck in your search, and go for a reliable, fast mechanism with a good scale, and then darken your tone using embouchure exercises; that would be my advice. It gives you more options of constant tone development.

Best of luck finding a decent flute for the next stage of your flutey journey,
Jen

LSO on tour blog - Petrouchka's street musicians

Dear Flutists,
If any of the flutists reading have played Petrouchka, or ever had to move from a live, echoey hall to a dead hall, or vis versa, where you feel you have to force the sound to make it lively, or in this case, pull the sound back to allow it to resonate without forcing, then you'll find that this is very interesting reading from Gareth Davies, co-principal flutist of the LSO.

I relate very much to these comments from the conductor about this ballet's flute solo; it's how I wish this flute solo would be played every time! Like a street musician! Fabulous! Best and enjoy this excerpt from:
London Symphony Orchestra on tour: The BLOG
Jen

Excerpt from "It means nothing to me; Oh Vienna

However, we are not here as tourists, we are here to work. This time Valery is at the controls and vibrato has been switched back on again and the full throaty roar of the orchestra has once again been shouting out from the Barbican. This is one of the reasons that playing in Vienna is so difficult; our home at the Barbican is not as reverberant and consequently we have to work very hard to make a good sound. Of course, when you go and play the Musikverein and its famously luxuriant acoustic, we can sound overwhelming.

Ein Heldenleben is an incredibly detailed and complex score which demands clarity if it is not to turn into a soup, something which we can do at the home ground, but in Vienna it requires a different approach. Of course as Richard Strauss himself used to conduct this piece in this very hall, there is no excuse not to get it right, in fact it is vitally important that we get it right.

Valery spends much of the balance rehearsal doing what its says, balancing the score. In many ways, the Musikverein has such a character of its own that it almost becomes another instrument in the orchestra that needs to be played in the right way so as to bring the best out of it. The long chord at the end in which the wind and brass have to diminuendo is made much easier in the acoustic, however the rich opening of multiple lines and rhythms can be a messy sludge.

By the time the concert arrives, Valery is a more contained version of himself in terms of movement and urges restraint in dynamics from the heavy artillery of the orchestra. Once we do this the sound is fabulous, there is one moment in particular near the end of the piece where the strings soar up to a high phrase – it is simply one of the most beautiful sounds I have ever heard and I can’t help but smile.

Petrouska is also on the programme. I love playing this with Valery. I don’t know any other conductor who can conjure up images from the ballet like he does. Of course his background and other job are perfect for this. In rehearsal we reached the flute cadenza which is where the ballerina begins to dance, I played it as I thought it should go. Valery stopped,

“Gareth, that level of virtuosity is not needed here, he is a street magician who picks up a flute. Take your time.”

And sure enough, the bit immediately preceding the cadenza takes on a different form as he conducts it and suddenly the cadenza (something which I’ve always wondered how to play) makes sense.

The famous episode when the bear comes to market (played by the tuba) and the clarinets screech away in my ear to call the crowds in. It’s a very difficult bit to play as the two clarinets have to play very high in unison – it is usually – but today it sounds very good indeed. Valery stops.

“Clarinetti. It sounds too good. I want more like a glissando instead of hearing all the notes. Don’t forget, he is holding his clarinet in one hand playing, and in the other hand he is holding a chain with a bear on it. I don’t know about you, but I wouldn’t be concentrating on playing it evenly!”

Fair point.

It is the attention to detail that he brings to this ballet music that makes it such a joy to play with him and why, at the end of the concert where we play the ballet’s downbeat ending the audience in Vienna is stunned into silence before clapping for a very long time.

Leaving the stage, I see posters for all of the great artists playing at the Musikverein, past and present. I walk past a bust of Gustav Mahler and feel the weight of musical history and feel relieved and pleased that the performance went well.

It means nothing to me?

It means everything.

--------Gareth Davies

Free video Pahud plays Haydn Symphony 92

Dear Flutey readers,
Well who wouldn't want to watch Pahud play Haydn's "Oxford" Symphony No. 92 ?!
Thanks to the GFC-chatter who pointed out that the video is free merely for signing in with email, creating a password, and indicating your location.
Go to:
The Berlin Philharmonic Concert Hall and click on free video. They are having an online free viewing if you sign in only. Look on the right when you arrive.

Haydn Oxford Symphony; what a clean-machine. :>)
The scoring is for a single flute, and there are great moments to enjoy. Pahud even pulls off some jazzy snazzy at the end of the slow mvmt. What marvellous playing.

Of course we all notice how the flute must be so clean, precise and flexible in its three roles in this small ensemble writing:
1. Flute and strings
2. Flute and oboes/woodwinds
3. Flute as soloist.

Pahud manages to efforlessly swing through all the roles, and look like a Swiss tennis player at the same time. What a wonder.

Most enjoyable.
Notes:
Yes, it looks like there might be a thrilling Brahms One on the end, but alas, for some reason my Brahms One isn't "free" but about $12 to watch.

And if your video stream seems to stall and resume every two minutes, like mine did, switch to less resolution, which is the smallest of the three squares shown in graphic by the pause button. Enjoy!

Best, Jen

This blog has moved

Hello flutey readers,

Yes, it's true.

The URL above (have a look up, way up) has changed, and this flute blog is now here:

http://jennifercluff.blogspot.com/.

It was all part of the great migration of FTP blogs.....and I didn't personally comprehend ANY of it, even though there were helpful tutorials. NO, not at all. I was aided by my dear friend B. who helped me through the whole thing (who actually re-located my migrating blog for me.)

Huge thanks and many many kudos. I have no skills in the computer department, honestly.

So, for awhile, while surfing around my site you may find that there may be a few seconds delay when going back and forth to the blog. It should be cleared up as we go. Thanks everyone. (and especially dear B.)

New address of blog is always here.

And for feed subscribers, please update your feed subscriptions to http://jennifercluff.blogspot.com/feeds/posts/default;
(However to be goofily, I mean totally honest, I actually don't know what that means, but I hope you do.)
Best,the not so savvy when it comes to computers,
Jen :>)

Prokofiev Flute Sonata fingerings for high D triplets

Note: click on pictures to make them bigger, then use back button to return to text.

Dear Flutists,
Here is a set of fingerings that many might find useful for the triplets going up to high D4 in the Prokofiev Sonata first movement.
The passage in question looks like the above (and wow, does that 8va marking ever make the flutist's job just that much more taxing, doh!
And the alternate fingerings I suggest are here:



Note: click on pictures to make them bigger, then use back button to return to text.

As usual, the overblowing of B-natural for high Gb3 is typical and easy. No one will hear the dubious quality of the harmonic at these high speeds and it frees the pinky of the right hand to begin its movements to the low C keys. Reminder, you cannot have the left thumb on the Bb thumb key from earlier in the run.

A very simple way to play high Bb is without trill keys or even right hand pinky. This fingering often appears in alternate fingering charts as a simplification for use in awkward situations. This situation is PERFECT for its use.

And finally:

This is the standard super high D fingering, with the pinky holding down both low C keys. I find the gizmo doesn't really assist this note on my flute (does it help anyone else?) and that because of the previous notes having no pinky down, there has been more time to move the pinky in advance of the D4 sounding. You can also sound the D4 with no pinky down, but it is wilder and sharper in pitch. Suit yourself.

The best way to practice it is to practice the penultimate Bb3 and D4
as half notes slowly and easily, keeping fingers low and relaxed. As this becomes easier, then speed the two notes up gradually, using quarters, then eighths.
Next day, gradually practice the last three notes: Gb (overblow B), Bb3, D4 in the same slow way, gradually increasing speed and smoothness as the pinky
begins its motion to the low C keys. Finally add one note at
a time to the front of the grouping.

There are more Prokofiev flute works, and Ibert Concerto fingerings here on my alternate fingering page. Best of luck.

Darn that Serge, he should have had to actually play his parts on flute!
hahahahaa!

Hope this helps.
Best,
Jen

Spanish Music for Flute, Harp & Strings

Question: I'm searching for Spanish chamber music for a combination of harp, flute and strings. Any suggestions? Something similar to Piece en forme de Habanera by Ravel would be great. Thanks.

Jen's research:
Overview of Spanish Composers
Spanish Composers Public Domain (free) sheetmusic in pdf

Possible Spanish flute-harp-strings works found:
============================
Flute/Harp/Strings
=========================

Manuel Moreno Buendía
Suite popular española (flute, harp, viola)

14- I Divertimento (1:33)
15 - II Fantasy /Fantasía (2:09)
16 - III Dance / Danza (2:20)
17 - IV Nocturne / Nocturno (1:56)
18 - V Rondo / Rondó (2:33)

Listen to this work.

-------------------------

Prelude, marine et chansons by Joseph Guy Ropartz for flute, violin, viola and cello

Sheetmusic for this work.

European PD free sheetmusic


================
Flute and harp:
===============
Granados: Andaluza

Sheetmusic for this work.
-----------------------------
3 Spanish Watercolours, Composer: Maj Sonstevold
Listen to this work online here.

3 Spanske akvareller (Spanish Water Colours)
I. Gualdal Quivir
II. Guadiana
III. Tajo

Available from:
Music Information Centre Norway
P.O. Box 2674 Solli
Tel: +47 2327 6300
Fax: +47 2327 6301
info@mic.no
-------------------------

Jacques Ibert: Entracte for flute and harp

Sheetmusic for this work
==========================

Flute and strings
===========================

Composer : CALIENDO
Title : Sincerita(fl,vln,va,vc)(sc&pts)
Publisher : Caliendo World Music Publishing Inc
Grade : 2+
Sheetmusic for this work.
The passionate influence of the Flamenco school combines with American classical
jazz in a rhythmically complex and dynamic composition.

-----------------------------

Moszkowski Five Spanish Dances (not my personal fave says Jen)
Sheetmusic for this work.

---------------------
Piazzolla - Oblivion for flute, cello and piano
Sheetmusic for this South American/American work.

=======================
Spanish composers: transcription possibilities
===========================

Granados (free sheetmusic) mostly piano works:
http://imslp.org/wiki/Category:Granados,_Enrique

Arriaga (free sheetmusic) String quartet:
http://imslp.org/wiki/3_String_Quartets_(Arriaga,_Juan_Cris%C3%B3stomo_de)

-----------------------
Breton (free sheetmusic) String quartet & piano trio:

http://imslp.org/wiki/String_Quartet_in_D_major_(Bret%C3%B3n,_Tom%C3%A1s)

http://imslp.org/wiki/Piano_Trio_in_E_major_(Bret%C3%B3n,_Tom%C3%A1s)

Sound samples of Thomas Breton's string quartet.


De Falla: (free sheetmusic):

http://imslp.org/wiki/Category:Falla,_Manuel_de

Good luck with your search.
This is a groovy sounding chamber combination, and I'm looking forward to finding other similar works myself for flute, cello and piano for my own concerts next season.
So comments with more pieces of Spanish music very welcome!
Best, Jen

Galway's high register embouchure video

Dear Flutists,

Just dropping in quickly to let you know that there's a new James Galway "how to" video up on his website.

http://www.thegalwaynetwork.com/masterclasses.html#recital

When you arrive at the above site, choose the video that's called:

Upper Register Embouchure" & "Reflections on Marcel Moyse

The question from the Weggis audience was:
How do you form the embouchure for the upper register?

The embouchure change is also shown in previous blog posts here.

Hope all my readers feel free to comment and give opinions and observations.

I've been mass practicing myself.
Hope to hear from you,

Jen :>)