Circle of Fifths to print

Dear Flutists,

Sue Garton very kindly sent me a link to her free circle of fifths page to print and put up in your September flute studio. Thank you Sue!

Circle of Fifths for flute teachers in pdf is here.


Also for all September teachers and students, free flute fingering charts are here also.


Best, Jen

Quantz & Galway - same advice three centuries apart

Dear Group,
I love how these two essays, that of Sir James Galway (b. 1939) and J. J. Quantz (1697 - 1773), although over three centuries apart, tell us the exact same information. See below.
Best, Jen

Sir James wrote today on Galway Flute Chat:

I think a Galway follower* would have a really hard job of copying me.In fact a Galway follower has more to follow than the average flute player.
First of all they have to have a grasp of the technique on a larger scale.

They would have to be able to play with a great staccato, single tongue, double tongue, immaculate scales, a fine touch on the keyboard, a very flexible sound and then they would have to put this all together to copy the larger picture.

Supposing there was such a person who could do this. It still would not be an exact copy as there are other things to take into account. The person's background. In my case it was lower working class. Now I don't know anybody with the same background as myself who plays the flute or does anything else for that matter. Most of the people I know who study the flute have a home with hot and cold running water, a real bathroom, a refrigerator, electric light, parents how own at least one car and who are both employed. They are people who have in their early teens a gold flute or a very good flute of a standard that I did not have until I was in my second year at the Royal College of Music.

The average student these days is born with a silver spoon in their mouth compared to what I was born with. It was from these humble beginnings that I learned to respect my teacher and to do as I was instructed. I did not go around having one lesson with everyone who would listen and who would take my money for doing so. Having lessons with many teachers is interesting when seen from my point of view.

When a student fixes to have a lesson from a teacher they will generally have their attention drawn to the point the teacher himself is having the most difficulty with. When I was studying with John Francis in the RCM, I went to have a lesson with another well known flute player and I came away asking myself " What was that all about?" This well known gentleman had not improved anything I was doing before. It stopped me spending money where it did not bring about improvement.

The one thing I was born with and had beaten into was a respect for authority. I had a respect for my teacher which most students today do not possess in this free society into which we have been thrown.

Why? Because they are in a different time and place in society. Most of the students question the teaching they are subjected to. I had young students tell me that their teacher said it was better to do such and such a thing like the way they were doing the task to hand. It got to the point that when a student would tell me that their teacher told them how to do something I would just ask them to leave and continue with this teacher who was having such a success. I even wondered why they were standing in front of me in the first place.

Gradually I stopped teaching these sort of students and began to teach only in masterclass situations. I had learned that some of these students who would play for me only uses the moment spent in front of me to include my name in a long list of people with whom they had "studied."

Now when you see the CV of the average flutist they have at least a half a dozen well known pedagogues included. What did they learn from these people? How did it affect them? Mostly it brought them to a place of residence the player who plays with no character and sometimes an appalling lack of understanding as far as flute technique is concerned has come to reside.

The people who study with me at the very least can play the flute to a high degree of proficiency. They know about the embouchure, about scales, about the touch of the fingers on the keyboard, about the position of the hands on the keyboard, about the tone, the flexibility of the lips, and about what the big picture is all about. They will understand the style of playing flute music.

In my relation with Marcel Moyse I played all of the Sonorité for him and the first time I played for him was a true eye opener. He taught me how to play with a good projection and musically too. He showed me how to play his books on interpretation which also contain the exercises based on Reichert. He taught me the principle of a good staccato and how to use it in the interpretation. These lessons spent with the great man were lessons for life and I have never forgotten them. May I add here (to those who didn't know that Moyse left text and editions as well as books of exercises), Moyse has written quite a few books of original composition and thought.

At the same time I was learning with Moyse there were other teachers who had discovered all sorts of shortcuts to playing the flute. Instead of using a scale method written by someone who was professor in the Paris Conservatoire and who had taught many very good flute players, they would go for the short cut provided and recommended by players who never succeeded on moving the listener or in most cases even having a job in a good orchestra.

The ghosts of these people are still active in the flute players who studied with them. They are passing on the shortcuts and even trimming them further. It all boils down to the fact that people do not want to spend so much time in improving their flute playing. There are just too many other distractions. The Internet for one. There we have a subject for another day.

Let me finish this letter by saying that there is no shortcut to success. The only way to succeed is to take the method of a really great flute player, in my case it was Moyse, and adhere to their teaching and use their recordings as a role model. I never leave home without a copy of at least two books by Moyse and I am happy to say he made such a great impact upon me for which I a forever grateful.

Best wishes.
Sir James Galway writing from LA. USA.

* - "copy-cat" Galway fans

Now note how the exact same sentiments are made by Quantz in the 1700s!!!!

___________________________

Excerpt from the Introduction to Quantz’s
“On Playing the Flute”
_____________________________
Someone who has the talent and the inclination for music must make every effort to secure a good master. It would take too long if I were to treat of masters in every branch of music. As an example, I will only take time to discuss the type of master required for the study of the flute. It is true that this instrument has become very
common in the last thirty to forty years…

As was not the case when it first came into vogue, we no longer suffer from any lack of pieces through which a student may learn with but slight difficulty the skill necessary on the instrument to control his tongue, fingers, and embouchure.
In spite of this, there are still very few who know how to play it in accordance with its nature, and in its proper style. It seems as if the majority of flute players today have fingers and tongues, to be sure, but are deficient in brains, does it not?

It is absolutely necessary for anyone who wishes to learn the instrument adequately to have a good master, and I expressly demand it of anyone who wishes to make use of my method. But how many are there upon whom the title of master may be justly conferred?

Are not the majority, when closely observed, still students in their science?

To be sure, there are some who play the instrument well, or at least passably; many, however, lack the ability to impart to others that which they know themselves.
It is possible that somebody who plays quite well knows little of how to teach.

Someone else may teach better than he plays.

And since a student is not able to judge whether a master instructs well or poorly, he is fortunate indeed if by chance he selects the best.

The attributes of a teacher who will train good students are difficult to define in detail, but an approximate idea may be gained from the following list of defects he must avoid.
A beginner will also do well to ask the advice of persons who are impartial, yet have insight into music.

Flute masters to be wary of:
_______________________
The student must beware of a master who understands nothing of harmony and who is no more than an instrumentalist; who has not learned his science thoroughly, and according to correct principles;

-who has no clear notion of embouchure, fingering, breathing, and tonguing;
- who does not know how to play the (fastest) passage-work in the Allegro or the (ornaments and) embellishments of the Adagio distinctly and roundly;
- who does not have an agreeable and distinct execution, or a refined taste in general;
- who possesses no knowledge of the proportions of the notes needed for playing the flute with correct intonation.
- Who does not know how to observe tempo with the greatest strictness;
- Who does not know how to play a plain “Air” coherently, and to introduce the appogiaturas (and all other ornamentations) and trills at the proper places;
- Who in Adagio does not know how to add extempore graces to the plain Air as the plain Air with its harmonies requires;
- And who is unable to sustain light and shadow through the alternation of Forte and Piano as well as through the graces.
The student must avoid a master who is not in a position to explain clearly and thoroughly everything that the student finds difficult to understand, and seeks to impart everything by ear, and through imitation, as we train birds.

Avoid a master who flatters the apprentice, and overlooks all defects or who does not have the patience to show the student the same thing frequently, and have him repeat it.

Avoid the master who does not know how to choose the pieces that are suited to the current capacity of the student, and how to play each piece in its style.

Avoid the master who seeks to delay the student, or who does not prefer honour to self-interest, hardship to comfort, and unselfish service to jealousy and envy; or who in general does not have the progress of music as his goal.

Masters with these defects cannot train good students. If, however, one is found whose students not only play truly and distinctly, but are also quite sure in tempo, you have substantial reasons to expect much of him.

Great Masters for the Beginner:
___________________________
Whoever wishes to apply himself to music profitably will enjoy a considerable advantage if he falls into the hands of a good master at the very beginning.
There are some who have the harmful delusion that at the outset it is unnecessary to have a good master in order to learn the fundamental principles.

For the sake of economy they often take whoever is cheapest, and often someone who himself knows nothing at all, so that one blind man leads another.

I advise the opposite course.

The best master should be secured at the very beginning, even if he must be paid two or three times as much as others. It will cost no more in the end, and both time and effort will be saved.

More can be accomplished in a year with a good master than in ten years with a poor one.


What the student needs do:
_______________________
Although, as has been shown here, much depends on a good master who can instruct his apprentices thoroughly, still more depends upon the students themselves.
There are frequent examples of good masters who have trained poor students, and, on the contrary, of poor masters who have trained good students.

It is well known that many excellent musicians have distinguished themselves who have had no other master than their natural ability, and the opportunity to hear much that is good.

These musicians have advanced further through their own industry, diligence, and constant inquiry than many who have been instructed by several masters.

Thus a special industry and attentiveness are also required of a student.
Anyone who lacks them should be advised not to occupy himself with music, at least if he proposes to make his fortune through it.

No success can be promised to anyone who loves idleness, slothfulness, or other such futile things more than music.

Many who dedicate themselves to music deceive themselves in this regard. They shrink from the inevitable hardships.

They would like to become skillful, but they do not wish to exert the necessary effort. They imagine that music is all pleasure, that to learn it is child’s play, that neither physical nor mental powers are needed, that neither knowledge nor experience appertains to it, and that everything depends entirely upon inclination and good natural
ability.

It is true that innate ability and inclination are the primary foundations upon which solid understanding must be built. But thorough instruction, and, on the part of the student, much industry and reflection, are absolutely necessary to erect the entire structure.

If a novice has had the good fortune to find a good master at the outset, he must place all his confidence in him.

He must be tractable rather than obstinate; he must seek zealously and eagerly not only to carry out and copy what his master prescribes during the lesson, but also to repeat it frequently by himself with much diligence; and if he has not properly understood something, or has forgotten it, he must ask the master about it at the following lesson.

A novice must not allow himself to be vexed if he is frequently admonished about the same matter, but must rather take such admonitions as a sign of his own carelessness and of the zeal of his teacher, and hold that master the best who corrects him most frequently.

Hence the student may play close attention to his defects; for when he begins to recognize them, half the battle is won.
If it is necessary for the master to correct him all too often about the same matter, he may be safely assured that he will have little success in music; for there are countless things which no master will teach him, or CAN teach him, and which he must, as it were “lift” from others.

Indeed it is this licensed thievery that produces the greatest artists.

The student must not drop anything that has been the subject of much criticism before he can play it as the master demands.
He must not prescribe to the master what kind of pieces should be given to him; it is for the master to know best what can be of advantage to the student.

If, as I presuppose, he has had the good fortune to find a good master, he must seek to retain him as long as he has need of instruction.

There is nothing more injurious than for a student to betake himself for instruction to one master after another.
Different kinds of execution and different ways of playing confuse the beginner, since he must, so to speak, constantly start over again.
There are many who like to boast of having studied with many great masters, but they will seldom be found to have profited much from it.
Whoever runs from one master to another is satisfied with none, and has confidence in none; and no one wishes to accept the precepts of a person in whom he has no confidence.

Having placed the proper confidence in a good master, and allowed him sufficient time to manifest his knowledge,
the student with a genuine desire to perfect himself will discover from time to time new benefits that he had been previously unable to perceive, which will stimulate him to further inquiry.
Inquiry of this sort must also be warmly recommended to the beginning musician.

Industry alone is not enough.
He may have good natural ability, good instruction, great industry and good opportunities to hear much of what is beautiful, yet never rise above mediocrity.
He may compose a great deal, and sing and play frequently, without increasing his knowledge and skill.

For everything in music that is done without reflection and deliberation, and simply, as it were, as a pastime, is without profit.
Industry founded upon ardent love and insatiable enthusiasm for music must be united with constant and diligent inquiry, and mature reflection and examination.
In this respect a noble pride must prevent the beginner from being easily satisfied, and must inspire him to gradually perfect himself.
Anyone who only cares to devote himself to music haphazardly, as to a trade rather than an art, will remain a lifelong bungler.

Get excited about music

Dear Flutists,

Fall is coming and with the first breath of autumn air, comes a need for new excitement for music!
So watch the bow hairs fly in this video! Flutists should be THIS thrilling. How can it be done?
All I know is that the musical excitement is very catching! And September is just around the corner.

Video

Martha Argerich, Mischa Maisky, Joshua Bell, Henning Kraggerud, Yuri Bashmet in Shostakovich:




For pedagogical interest: Video
Yehudi Menuhin - On the cirular motions of the hands in violin playing:




Note: Menhuin's injuries to the arms, leading to these comments of his, are discussed here.

Happy days!
Best, Jen

Comment from subscriber:
Jen,

What a great and exciting performance of the Shostakovich Quintet.! Thanks for sharing it. Those players are so "into" the music, and the technique is secondary or even in third or fourth place to the expression of the music, their interaction with the other members, and the sheer joy in music making.

Alas, I fear the flute will never be able to reach that level of brilliance, excitement, intensity, sharp, clean articulation, incisive attacks, dynamic change, and blend of tone. We will just have to do what we do best which is making a light, flutey sound with a myriad of shadings of color, using vibrato and resonance to draw attention to our part, and play with as much shaping of the line with intensity and dynamics as we can muster....and yet the flute will never compete with the strings or piano in terms of bigness and richness of sound.

I really like the eccentric video of Menuhin. His idea of the circular interaction of the fingers, vibrato and bow got me thinking about how this might apply to the flute. I think there might be a similar effect going on between the flow of the air through the larynx/glottis/ vocal folds and the opening and closing and constriction of the air stream and the change in air pressure caused by the vibrato AND the resistance of the aperture that causes some "bounce back" of the air into the throat and nasal cavities, where it is again re-cycled and propelled forward by the constant pressure of the air flow. The action of the tongue in repeated articulation also can be involved in this circle of air flow, especially in double tonguing.

Anyway, thinking about this cyclic process helped me open my throat, relax the tension on the vibrato mechanism, and let the air flow with pulses that were faster, freer and had more color. Need to work on this. It sure worked for a few moments at a time; will continue to develop with work, I'm sure.
Thanks for you great posts on your blog and on the chat groups. P.

Dear P.
Thanks so much for your comments.
The circular motion is actually in all body motion, I find, and helps relieve tension. Flutist's wrists and arms are often so static that they require almost invisibly small circular rotation to undo unecessary tensions. Great natural players usually make these small circles without knowing it. However, in relaxing an overly-tense player, or a flutist with arm or wrist pain, small circular motions really are key to the release of habitual tensions. I've been into this since Abby Whiteside's book on piano player's torsos as the hub of the circular arm-wheel, and other great instrumental teachers who've used rotation as a gentle way of releasing static "holding". Indeed, thinking of the fingers as pistons that only go up and down causes mis-programming of muscle use.
Appreciate all the comments I get; especially with these great details and specifics.
Thanks for writing.
Jen

4 - Marcel Moyse - Pearls from the Master

This is the final set of notes from Jerrold Pritchard's class at Brattleboro in 1977 with flute legend, Marcel Moyse.
Please enjoy! And huge thanks to Mr. Pritchard for his generosity and sharing.
What wonderful information and the additional notes are so valuable!
Scroll down to bottom to find links to all the notes in pdf.

On phrasing and expression:

You must find the form and shape before you can play a melody expressively. In Bach, the fundamental melody notes must sing with colour. Find the hidden chord tones and the movement of the line toward the resolution of the dissonance.

J. Pritchard writes: As you have noted Jen in previous discussions on "outlining", this is critical and so difficult to explain and work on with younger students who have no sense of the harmonies, the balance of consonance and dissonance, the different in feeling and impact of an upbeat and a downbeat, or the subtleties of type of accentuation (a legato dash with a vibrato vs. a biting, dry short staccato vs. a sudden loud booming accent vs. a bell stroke with sudden release of the air and a quick diminuendo.
The whole issue of the foreground vs. the background; the skeleton vs. the body, and the shadow vs. the substance is a very complicated business to explain. With less advanced students it often is best to just ask them to play the fundamental melody notes and the important connecting passing notes as a means of simplifying the texture and the technical problems and letting the "grund" and the "ursatz" differentiate themselves natural by building up the layers of complexity bit by bit.

Pickups and connecting notes of a phrase are like articles and prepositions.

J. Pritchard writes: This is a reference to the logical structure of most musical phrases in the common practice period of Western music from 1600-1900. What is "Classic " about Classical music is its universality, the commonality of a unifying language. The rhetoric of a music phrase or structure is something like our native tongue, which we have absorbed automatically by constant hearing and practice in listening , if not in speaking/playing it.
On a larger scale even most listeners with little or no knowledge of harmony or musical form can easily determine just by the " feeling" whether a section of a symphony or a sonata is

1) the statement of an idea/motive

2) a repetition or minor variation of an idea

3) a transition section that is moving to another key or musical idea

4) a waiting section that is prolonging the end of the section or resolving to a major cadence

5) a closing section that is propelling the section to an end.

Hearing and understanding what is going on in a developmental section is a bit trickier but most student i have had in my music appreciation/intro to music classes have fairly quickly learned to intuitive feel when a section is unstable, changing, and fragmenting musical elements that have come before or overlap, answer or echo as in a fugal section.

I suspect Moyse really meant, or should have said, here "conjunction" and "preposition" and perhaps adverb", because they usually don't exist by themselves; they are dependent on the context and the nouns and verbs which they direct attention to.

Example: An eighth note "pick up gesture is rather like saying: "And (prep) Then (adverb) We (subject) Ate (verb) The (article) Apple (noun object).

The big building blocks that convey most of the meaning of a sentence are, of course the nouns and verbs-- the subject-verb(action)-object (We-Ate-Apple) give much of the meaning of the sentence. (This is the dominant grammatical structure in the large majority of language world -wide, though in some languages the sequence of these elements doesn't have this order or consistency. )

Of course, musical language is not identical with speech, but has many of the same organizational principles--at least in the western tradition of folk music and instrumental music.

Atmosphere: feel the mood.

J. Pritchard writes: This is the most elusive concept, the most personal and most interpretive element. Learning to correctly (or logically) and/or compellingly intuit the emotional content of a phrase or piece of music is the most open to individuality--and the most essential in establishing a convincing performance, especially of romantic music with either obvious or hidden extra-musical elements.

Be still inside so emotion can come to you.

J. Prichard writes:This one of the most difficult things in "Life", not just in Music. Taking time to reflect, to breathe, to relax the body and open the mind is something we all need to do more. Trying to superimpose an artificial sentiment is equally dysfunctional in expressing yourself to another person in words or in music. It also is essential that you have found your true feelings and not just portraying what is expected socially or in the situation.

There is value in simplicity and the closeness of the familiar. “my mother is not president, but i prefer her.”

J. Pritchard writes: Again, exaggeration for effect. Also this is placing a value on playing what you know instinctually, have absorbed over time, or have enough experience with to make an accurate judgment about.

Reichert is not Mozart, but should be played melodically with expression.
J. Pritchard writes: Reichert was not as fine or profound a composer as Mozart, but his music still needs to be treated with respect and played as accurately and musically as you can. Playing Reichert's little technical studies and daily routines with attention to musicality, phrasing and expression will yield the best results in improvement of your flute playing.
Moyse really did not want you to "add" expression to the music. He believed very strongly that you, as a performer, had to find the treasure buried there on the page by the composer, to be true to the composer's intentions, to feel the music inside you based on what was written, and have the understanding and control to bring out those latent characteristics and make the musical gestures come back to life. (Rather like the concept that the figure is already within the block of marble and the sculptor must find the way to reveal it in its best form and with clarity.)

The last section of Moyse' tone study book, "De la Sonorite", contains a number of passages from the works of great composers. Some of these seem rather austere and difficult to make come to life and sing.

Moyse's method is to play each of these selections six times:

--Twice with no change in tempo, dynamics, or nuance of color or vibrato, with focus on good pitch, correct rhythms, and focus of tone. Just establishing the "bones" of the music.

--Twice with dynamics added where the composer indicates or following basic musical principles of phrasing and direction of the musical line. Giving the music flesh and muscle.

--Twice more with judicious use of vibrato and tone color change to bring out the inherent mood of the piece. Providing clothing to make it less naked.
By the end of these repetitions, you invariably have more control and a much deeper, richer understanding of the potential musicality found there in each passage. You have given your mind the opportunity and the leisure to find the kernel of music in each phrase and the luxury of knowing that any interpretive element you have used is done after consideration and with good judgment.

The style of rhythms changes from piece to piece. A dotted eighth and sixteenth in the opening of the “Marseilles” is different from that in Massenet’s “Elegie.”

J. Prichard writes:This again deals with the context and style and intent of a piece. The composer gives many clues with descriptive language they add to the music. Still, it takes a good deal of listening, playing and experiencing various style of music and the common gestures of each to make a good solid and appropriate interpretation of how to play a dotted eighth and sixteen note--and even then we may be fooled as often (as in Handel and 18th century French music) this may be played with the 16th very close to the next downbeat as "double-dotted".

Like singers and violinists, we must stress and bring out the important notes of a phrase, or pattern, or figure.

J. Prichard writes:A fairly self-evident statement, but one often overlooked by less advanced and experienced performers. It takes a good deal of knowledge of style periods, composer, forms, and the rhetoric of music to be able to do the careful analysis to determine just what is most "important" in a passage.
A story of a reading session and a conversation about Chopin with two famous composers:
Ravel demanded strict rhythmic interpretation; Arthur Rubinstein was free, but he landed on his feet smoothly. It is difficult was to decide who is right—I will ask Chopin when I get to heaven! This is very interesting to me, because Moyse usually had very clear notions of what "he" wanted to emphasize or bring out in a piece. He usually tried to get you to play just what was written and believed the composer's notation was his words on the subject.
Another amusing story he told in the class was of an "dream" he had in which he got to heaven and Debussy or Poulenc or important composer said : "Moyse, Vey you let zeez students play my music like zeez? (--incorrectly, that is.) He didn't want to have to face those kind of questions when he reached the pearly gates.

Some rules can be inferred:

1) look for the line direction
2) develop the line to the high point and
3) savor the climax.

Another focus on the rhetoric and logical organization of most music. He points us to the more
obvious clues. What has the most meaning to me is the word "savor" and the advice to enjoy the most poignant/beautiful/intense and/or most impressive or important point in the phrase. [Rather like working hard to pedal your bicycle to the top of the long, steep hill; you don't want to quickly roar down the other side without stopping to observe and enjoy the view.]

Play with a walking style. Place the feet on the beat to emphasize the natural pulse.

J. Prichard writes: Like the earlier comment on "dancing", Moyse wanted the natural and instinctual aspects of lifeto be used. We all have a regular rhythmic guide in the beating of our heart. Until the metronome was invented much music relied on the heartbeat to determine the pace of the music, or multiples or proportions a beat. If our heart beats 60-72 beats per minute when at rest, a calm mood is established in the music with this flow of the pulses. As we get more agitated the heart speeds up, and so should the music. (Of course, we have do this when the music dictates the change in speed—not from nervousness, or personal agitation and panic.)

Phrasing is movement. Life comes from the direction of the line.

J. Pritchard adds: Essentially he is saying, “Don't let the music be static and all with same in emphasis or dynamic.” Variety, change and movement is what makes Life (and Music) interesting. You have to “follow your bliss” and go where life takes you--and control it with reason (and emotion)… if you can.

Debussy said: 'Look for the expression between the notes.'

J. Prichard writes: It is how we connect two notes that gives a good deal of the stylistic information to the listener. As flutists, we need to play equal attention to the space between notes and the manner in which they are connected with sound, color, emphasis, smoothness or disjunct-ness. We often need to imitate the quality of the human voice, which is very supple and elegant in the way a singer does a wide leap with "portamento" or even a kind of glissando effect. (The Latin root of the word is "portare" or "to carry" the sound. In French it is "port de voix" from " portour". [A person at a train station who carries your bags or the person who opens a door for you to make the transition from inside to outside also is called a "porter."]

READ MORE: Pearls of the Master Parts 1-3 blogposts.

Part 1: Marcel Moyse on Flute Tone & links to Moyse's online free mp3 recordings.

Part 2: 24 Petite Edudes Melodiques & mp3 of Cluff-Pritchard discussion on studying with Moyse.

Part 3: Marcel Moyse speaking on Flute Technique with notes by Jerrold Pritchard.

PRINT: Marcel Moyse Brattleboro study notes in pdf .

The 24 LIttle Melodic Studies notes.

Marcel Moyse on Tone, Technique, Phrasing and Expression for Flutists.

All the best,

Jen

3 - Marcel Moyse - Pearls from the Master

Dear Flutists,
Here are some more "Pearls from the Master", spoken by Moyse on Technique continued from part 1 of this series on Moyse's teaching in the 1970s. The quotes are from Jerrold Pritchard's trip to Brattleboro in 1977. We both have added our comments to elucidate the meanings of these quotes.

On Technique

Like a baby learning to walk, he can do better with the aid of a chair. Walk before you run. Try several times.

Jen explains: Simplify a challenging technique into tiny steps that can be performed easily. Sometimes you actually have to go right back to basics for a few minutes. Perhaps something about your breathing/posture/headposition/lip position may indeed be getting in the way of mastering a new technique.
Master the technique with several attempts at simpler and simpler small groups of notes.
It's better to layer up the skills rather than get frustrated by trying to do too many things at once. Even one or two notes is not too few. Gradually expand the new skill or technique back into the chunk/phrase/piece of music.
Don't try and do too much all at once. It's human nature, but it wastes time.

Prepare the lips and tongue for the attack.

Jen writes: If you only think to add the embouchure and tongue AFTER you've already played, it's too late. Explosive air speed can cause the lips to splay, distorting the tone.
Set the lips in a containing position in preparation for the increased airspeed and volume of air that is used in tonguing.

If you bicycle too fast, you break your neck. Miss a note you still live!

Jen explains: Don't worry about the odd missed note. You can still practice a fast run-through just to observe where things stand with your preparation. Even if you miss a note or two, you'll learn alot about the lightness of fast playing by attempting it from time to time within your practice.
Fast playing often takes a different hand sensation, finger sensation, flute balancing, and general embouchure chosen to play many notes in a row. Don't stay at slow tempi so long that you don't attempt fast tempi just to discover these changes.

Don’t sit the flute hard on the lips and teeth for too long—the lips will go on strike!

Jen writes: If you use excessive pressure, pushing the flute into the lip and teeth, your lip will eventually become numb and less active. Lighten the pressure against the chin to play flute for longer and longer without fatigue. Make a point of lightening the pressure.

Teaching is important too—not all will be virtuoso!

Jen writes: Many of the young performers in a masterclass dream of being virtuoso soloists and orchestral players. But with so few chosen, the rest will become teachers, possibly. So listen carefully when following the master's instructions. You may end up using them for teaching, rather than becoming a world-class soloist.

Not everyone is obliged to play the flute!

Jen writes: Flute playing at the highest levels is perhaps not for everyone.
It's possible that you have set your goals so high that you can't even get half-way there. Take your time and really learn the techniques.
If you think you already know them, look at them again to make sure.

Toscanini said: “We live like dogs”. [come un chien.] We are here to work on
this earth. Practice — God will help you.

J. Pritchard clarifies: This is clear exaggeration for effect on the student audience. Moyse wishes the students to realize that improvement and proficiency will not come without concerted effort and diligent practice.
Personally, I think practicing more than four hours very often leads to fatigue and bad habits, especially if there is not sufficient rest between each practice session. After all, we are using only a few muscles around the lips. The key, of course, is finding the efficient way to practice and to practice those things which build skill and take us directly on the path to success. [He also allows for inspiration and assistance from the deity.]

Dance cheerfully: there is more energy in his feet than in a flutist’s brain…sometimes.
J. Pritchard clarifies: I believe the issue here is to play with a sense of rhythm and to use your innate ability to move in time to help you find the essence of the piece and the heart and pulse of the music. Movement and dancing helps us find where the big accents beats are and to differentiate between the lightness of when the foot is in the air and the weight of your foot coming down on the beat. Sometimes you have not think too much and to let the natural flow of things guide you. [I LOVE the sly comment at the end about how not everyone has good movement or a dull brain.]

In pianissimo entrances, use the trill keys like an octave key on a saxophone to make the middle eb, e, and f response softly and quickly.

J. Pritchard adds: This is a nice trick that you obviously don't want to use too much or unnecessarily, but, if you are in a situation where you can't keep the pitch up when playing pianissimo, or your lips are tired an inflexible, just cracking open the trill key (the first key works best for me) a tiny bit will make the octave jump. You then may be able to let the trill key close again once the note has stabilized. There definitely is a change in tone color when you use the trill keys and in some situation this won't fit the music, but having a harmonic sound is better than cracking the note, being out of tune, or not having the upper note respond.

Flick the grace notes.

J. Pritchard writes: The issue here is to impart lightness and quickness by starting the grace note with the finger above the key that produces in the quick acciatura. Particularly in a spot when the grace note uses a key with a spring to bring it back down or up (AB-F; EB-D; B-C, etc, you can let the spring push your finger back up. Starting with the finger on the key of the grace note means you have to physically lift the finger with muscle action going up and down. In a quick E-F grace note before the beat, you can let the downward action of the finger rebound up with the spring doing much of the work. This technique requires very good timing and coordination of the tongue and release of the breath, but is worth the effort and imparts a kind of lightness to the figure.

Success? You can get famous playing bad notes, too!
J. Pritchard writes: Or, if you play too many wrong notes, you become "infamous" ! Actually a great performance by a virtuoso is a bit of an illusion at times, because what may be needed is an effect not a perfect note or leap.


A very young student in the class asked: “what do you think of Rampal’s playing”? After berating the impetuous youth a good while for, at his low level of proficiency,even being concerned about such matters and presuming to criticize a famous flutist, he said with an impish twinkle in his eye: “Rampal plays so fast, I don’t know if he is good or if he is bad!”

J. Pritchard adds: This remark about the speed was one of Moyse's pet peeves. He would have much preferred a student to play more slowly and beautifully with singing tone that was at a speed you could savor and enjoy. He really chides a couple of students who came with some big piece with flying finger in an attempt to impress him. I recall one very pushy individual [who it turned out was not a paying member of the class and who disappeared after the first class session) who played first in the class and started out with a very difficult pieces with many, many 32nd note passages at a rapid tempo. He got about half way through and realized that Moyse was not impressed by speed and brilliant playing –especially if not done perfectly--and was looking at him with amazement and disapproval. The fellow began to falter, to make mistakes, and even shook in lips, tone and fingers from nervousness...he finally ground to a halt. And after a moment of tense silence Moyse smiled and said: "Now we begin. “ And proceeded to work on some basic issues of tone control and development of a singing style.

A complete pdf printout of all of Moyse's pointers and their explanations is free to download here.

Continued in Part 4.

Best,
Jen

2 - Marcel Moyse - Pearls from the Master

Dear Flutists,

This is the second part of the Marcel Moyse exeperience, as told by Jerrold Pritchard. Here is Jerry talking about the summer in Brattleboro Vermont, with the Maestro himself. This is just fascinating!

NOTE - mp3 went here -2013 - whoops: possibly non-functioning mp3 link:
 you can listen at this link, or download the mp3 soundfile of our conversation.

And in words and examples, here are the fabulous Masterclass notes from Moyse's masterclasses on the Twenty-Four-Petite!

Printable PDF Moyse Masterclass notes on his 24 Little Melodic Etudes!

Mr. Pritchard's fabulous note-taking from the same 1977 Moyse Masterclass include all kinds of great quotes about tone, technique and flute playing expertise which will be upcoming in the next blog post. So look forward to that too.

However today's Moyse Masterclass notes are about the Twenty-four Little Melodic Studies with Variations , which, as you'll hear from the above interview, were a main focus of the summer classes for all flutists attending.



If you're not familiar with the above book, Moyse presents a simple two to three line melody that requires the flutist of every level to gradually improve their musicanship and technical expertise.

From Jerrold Pritchard's notes from the 1977 here are points that Moyse made on this very book. Download the class notes in pdf here. I've added some short musical samples in the pdf, to make it useful to survey.

Here is a jpeg sample of what you'll find in the downloadable pdf (click to make bigger):



Jen adds: In my opinion the "24 Petite" is a fundamental book for all flutists, and being able to see the films of Moyse teaching these Twenty-four Little Melodic Studies on video is simply fabulous when you're getting to know how Moyse taught the flute.

Highly recommended you see the videos of Moyse teaching at Brattleboro. (Click on VIDEOS on left side bar to view DVD purchase information.) You can also inquire at university libraries as to whether there are copies for Interlibrary Loan.

The book itself is published by Alphonse Leduc, and is widely available through all sheetmusic stores. Here is a link to this book at Fluteworld.

Please do treat yourself to these great notes when you are working in this book.

More to come.....

And you're a new reader of this blog, and you want to subscribe to see the whole series of upcoming Moyse posts, look for the subscribe button on the right side bar. (subscribing is safe to do, and only sends you a copy of each post as it goes online to whichever email address you choose).

Comments from other Moyse students very very welcome.
Stories too!

Continue to Part 3.
Best, Jen

1 - Marcel Moyse - Pearls from the Master

It is my extraordinary privilege to bring you some incredibly insightful quotes and explanations from a Marcel Moyse flute class held in 1977, thanks to a reciprocal exchange between fellow flutist Jerrold Pritchard and myself. Mr. Pritchard interviewed me recently to write a profile on me (eek!) for Flutist Quarterly, and then sent me these Moyse quotes as a gift for all the incredibly complex questions he asked me during the interview process. Wowza, what a gift! Check it out.

Here's Moyse speaking on Tone.

Pearls of the Master: Words of Advice from Marcel Moyse
From notes at masterclass in Brattleboro, VT in May 1977
by Jerrold Pritchard

The famous French flutist and former Professor of Flute at the Paris Conservatory, Marcel Moyse was a masterful flute teacher and player. He could be very precise and effective in his instructions, but his energy, his enthusiasm, his devotion to perfection, and his way of describing how to approach a melody or a special phrase were what made him exceptional. At times he would seem to get the very best from a student in his master classes just by the look on his face, the sparkle in his eyes, the gesture of his hands.

In May of 1977, I was fortunate to attend one of his annual flute seminars near his home in Brattleboro, VT. It was one of the most exhilarating experiences of my life; and today I can still hear his voice in my mind, recall the setting, the mood, the students, and Moyse’ way of getting you to play with absolute accuracy and attention to the composers intentions as well as the mood and emotion of each phrase. Although by this time late in his life he did not perform for the class much, he was able to convey his ideas and ideals very well in words.

Fortunately, I took copious notes about individual pieces that were played, and on the scores of his etudes and exercises to preserve, as best I could, how Moyse described a piece, his advice on tone, technique, phrasing and interpretation, his stories of his career as player and teacher, and the way he was able to come up with just the right image expressing something or describing what he wanted to you do. His English was still strongly accented with a musical French inflection which sometimes made it difficult to hear or apprehend what he said. At times, I was fortunate to sit next to a pupil who spoke French who could translate when Moyse used a French word or phrase I did not know. I suspect that everyone at the class came away with their own impression and version of what he said; the wording is probably not exact, but here is what I heard and captured on paper:

On Tone:
You must try all possibilities for finding the proper center and focus of the tone. Like an Ant moving a heavy object from his path: Determined and Patient.

Lips unfocused? Experiment! They must be soft like a cushion on a chair, comfortable, pleasurable.

The Flute tone escapes like a fish in the hand--Don’t have a “Fish Tone”!

Climate influences mood, style, air, and lips. Put the Sun in your tone: Red, rich, colorful.

Place the Tone—don’t put it. Place it carefully like a fine piece of crystal on a table. [The French was “Posé”.]

Don’t play loud; Play generously. Power is not in the character of the flute, only expansiveness. Like a piggish person on a train making more room for themselves, make room for each tone, comfortable and relaxed.

Scoop out the tone in the low register like mayonnaise from the bottom of the jar.

Your vowel quality must be beautiful. You would never say “I love you” with an ugly, nasal voice.

(continued on this blog in part 3 and 4 of this Moyse series)

So this will be a multi-part blog post over the next few days. Please feel free to comment, and don't hold your breath like a blow-fish (what is the French for that?!), but I'm pretty chuffed and excited myself with the upcoming parts 2 and 3 of this "Pearls from the Masters". Seriously. Pritchard's insights are fabulouso-mosso!

Meanwhile, to fill in those flute players who aren't as familiar with Moyse as those who were around in the '70s, let's get a quick overview.

Firstly, herere is an old black and white film of Moyse in action in the Paris Symphony.




Also, there are Moyse's recordings:
Have a listen to this one right now:



http://www.youtube.com/playlist?list=PL7A65D95C6B645DF5 At this youtube link you can find a number of Moyse's performance mp3s taken from old 78 records on youtube. Now, ha ha, don't be too freaked out with the sound quality. The technology wasn't happening back then, but the soul of the Bel Canto singing style is still audible.

And of course there are also Moyse's amazingly interesting sheetmusic/explanatory books on flute playing.

Sheetmusic Books by Marcel Moyse

Études et éxercises technique (1921)
Exercises Journaliers (1922)
24 Études de virtuosité d'après Czerny (1927)
Mécanisme-chromatisme pour flûte (1927); Éditions Alphonse Leduc
École de l'articulation (1927); Éditions Alphonse Leduc
25 Études mélodique (Var) (1928)
12 Études de grande virtuosité d'après Chopin (1928); Éditions Alphonse Leduc
20 Études d'après Kreutzer (1928)
100 Études faciles et progressives d'après Cramer (1928); 2 volumes
24 Petites études mélodique (Var) (1928)
De la Sonorité (1934)
25 études Journalier (Op-53) Soussman
Gammes et Arpèges (Scales and Arpeggios); Éditions Alphonse Leduc
Le Débutant flûtiste (1935)
24 Caprices-études : Boehm Op. 26 (1938)
Tone Development Through Interpretation
20 Exercises et études sur les Grandes Liaisons

One of my favourites for advanced players is "How I stayed in Shape" which is full of interesting exercises.

As an avid flute student,if you were only to purchase 2 or 3 of the books by Marcel Moyse, I highly recommend for all students:

De La Sonorite

Tone Development Through Interpretation

Exercises Journaliers

In part 2 of this series of blog posts, the above book 24 Petites études mélodique will be covered as well with Moyse's hands-on class quotations. Lots of good information to follow in subsequent blog entries.

And do please join in by using the comment button below if you have masterclass notes or memories of studying with Moyse yourself.

Can't wait to get started!
See next post, and huge thanks to Mr. Pritchard for his kindness is providing us all with his own memories from 1977 and since.
Fabulous!
Best,
Jen