Wobble vs Vibrato

A couple of students have recently come to have lessons with a bit of a wobbly tone. This isn’t uncommon and can creep up without much notice, so I would like to discuss this further and give some tips.

Wobble vs vibrato

The main difference between a wobble and vibrato is that the former is something that is quite uncontrolled and automatic, often disrupting the phrase and disguising the core of one’s sound, usually quite slow and wide. Vibrato is something that adds an expressive quality to the sound and can help build phrases and changing the expression or character. I like to think of vibrato as “spinning the sound”, which implies that it doesn’t get in the way, but makes the sound come alive.

One of my teachers would often say “vibrato is like ketchup” i.e – one shouldn’t smother your food in it, but rather add a tasteful amount to enhance the dish. If one can get a lively and expressive sound without vibrato (i.e. a sound with a healthy air speed, core and resonance), it is then possible to add some vibrato tastefully.

Getting back to wobble, one of my students played a melody from Moyse’s Tone Development Through Interpretation and the sound was shaky and the wobble was automatic and disrupted the tone. Observing more closely, I noticed it was more about an instability of tone and a lack of form in the embouchure. So the air was not being directed as it should. There was also tension due to over-breathing (trying to take in too much air). So, I gave the following exercises:

“Pooh” attack

For keeping embouchure shape

Observe the shape of your lips when you say “pooh”. Also notice how your lips are closed on “p” and then how the air makes an opening in the lips on the “ooh”. Try elongating the vowel sound: oooooo and notice how your lips stay in place.

Now without vocalising the word, almost whisper the word “pooh”, so it’s purely blowing air through the lips.

Next take the flute and try a short “pooh” on one note. Play each note of a melody (e.g The Swan by Saint-Saëns) like this. No force from muscles, just a simple exhalation, like gently blowing out a candle. I suggest breathing in through the nose for this to avoid opening the lips each time.

Next, make the poohs gradually longer – think of the elongated vowel you did earlier. So, start with very short notes and gradually get longer and longer, making sure the airstream is steady.

Then join all the “pooh”s together to form a slurred melodic line. This is muscle memory, starting simple.

This is also great for soft playing. Try it with the slow movement of the Poulenc sonata.

Paper on the wall

Blow a small square of paper against a wall- only using your air to keep the paper up. This requires the air to be steady and fast, directed right in the middle.

Breathing out of time to avoid tension

We often over-breathe in order to sustain a long phrase, creating tension in the body.

When practising, instead of rushing a breath, take time so you don’t force a breath in, but rather allow the air in by itself. The in breath, when done like this, should be silent.

Start with a 4 second breath for each breath you take in the melody. If that goes well and every breath is silent, move on to three seconds, then two seconds, one second and then in time making sure that each breath is not forced in. Breathing in is passive; blowing out is active.

Whistle tones

Try sustaining a steady whistle tone – explained here:

Vibrato

There are several theories about vibrato and I don’t want to go into too much of that, but if we think of vibrato as a fluctuation in pitch, then we can practice several things to help that along. One doesn’t want to create a pulsed vibrato or something that sounds manufactured but something that is spinning and within the tone that creates expression. One wants to aim for a vibrato that is flexible so you can play with a slow and wide vibrato but also a fast and shallow one, depending on the phrase or the character of the music. The depth of vibrato is determined by the degree of pitch change. Allow the pitch to change as you play louder and softer, without adjusting with the lips.

In my lessons with William Bennett I worked on vibrato to help find depth in the sound and reaction in the tone. We practised different numbers of pulses such as going from one pulse per bar to 8. This exercise is detailed in my book Mastering the flute with William Bennett. Wibb would often get me to think of vibrating in 5s or 7s so it was difficult for the listener to count my vibrato. Once you practice this a lot, you can then allow a natural vibrato through where the air moves freely. By doing the vibrato exercise, you are releasing muscles around the diaphragm so the airstream is flexible and not restricted.

One should remember that “no vibrato” is a type of vibrato, so we have a whole palette of vibratos to choose from according to what the music dictates. For example, a haunting solo in a Shostakovich Symphony might call for no vibrato to create an atmosphere representing a cold winter’s day in Russia. Whereas, the climax of the solo from Daphnis and Chloe might require more vibrato to show the intensity of expression. When playing the Brahms 4 solo, a tasteful use of vibrato, increasing toward the peak of the solo. So, there should never be an ON/OFF switch for vibrato, but more of a spectrum of possibilities.

So, first master your airstream and let that be your primary expression.  Then practise all variations of vibrato so you can paint a wonderful picture with or without vibrato, but never wobbly!

Thanks for reading and Happy Fluting!

Flute superstitions 

“I can only play well if…”

I think we all have our own pre-performance rituals, but sometimes it can get a little out of hand (myself included!).  Here are some common ones that I relate to. Your comments are appreciated!

Food/drink

“I must eat [pasta] before I play”


Often people have a particular food that they must eat, such as rice, sushi, bananas, chocolate etc.  For me, it’s always been a mocha or hot chocolate.  Ever since I did a successful audition at Royal Academy of Music after a hot chocolate, I’ve found the need to drink it before every important concert.  Somehow the hot milk calms my nerves and the chocolate makes me sound better.  I wish I had a less calorific ritual!  Conversely, if I drink tea (especially green or mint) or red wine, it makes me sound worse.   How about you?  What’s your go-to or must-have food/drink before you play? 

Lip balm


I’ve seen players apply this like crazy, whereas some say it makes their lips even dryer.  I find I need to do a sugar & olive oil scrub once a week to make my lips smoother, especially in winter, when they tend to get chapped.  Every night, I apply lip balm to protect my lips from the dry air.  But then there are so many choices!  These days I find Aloe Vera Vaseline works well (sadly not sponsored!) 

How do you protect your lips? 

Warm up

 I always do a solid warm up before I play, but try not to do too much, just little and often, mostly to check my sound is alright.  I do singing and playing, whistle tones, harmonics and pitch bends to help find my sound.  When that doesn’t work, I’ll do some lying down semi-supine (Alexander Technique).  It helps get my body aligned and, in turn, makes my sound better.  

What about your warm up routine?  I’d be interested to hear what people do!

Exercise

Doing stretches and going for a walk/swim/run are common things to do before playing.  It gets the endorphins flowing and distracts one from concert jitters.  I often do some stretches and breathing exercises, just working on keeping the air steady and expanding the areas of the body responsible for breathing.  Tension goes straight to the breath and airstream.  

Quiet vs chit chat

I’m a big fan of silence or having a moment of calm before a concert, but have often played with people that let out all their stress right before the concert, which is frankly a nightmare.  Of course, I listen and nod but I’m secretly thinking “It would be nice to hear about this person’s problems after the concert over a drink!”

Let me know your thoughts and findings! This is a topic which fascinates me! 

Mastering the Flute with William Bennett (IUP) – available to order

Front cover

My new book if officially available to order!

Here’s the link:

http://www.iupress.indiana.edu/product_info.php?products_id=808963

I look forward to sharing with you some useful exercises and advice passed to me from the master himself, William Bennett.

Here’s some reviews from the people who have read my book

“Bennett’s principles of musical expression are rooted in the physics of sound as well as an awareness of compositional construction…. The principles of phrasing assembled here are applicable to all musicians, whatever their instrument or voice.” —Kathryn Lukas, Professor of Music (Flute) at Indiana University Jacob’s School of Music

“Now in his eightieth year, [William Bennett] is still in high demand as a teacher at the Royal Academy in London and in masterclasses worldwide. However, finding any of his methods and exercises in writing proves to be difficult, as he hasn’t written them down himself… Seed has studied extensively with… Bennett and his students, and has also assisted at his masterclasses, so his knowledge of the material is impressively thorough. Mastering the Flute with William Bennett is an invaluable resource for flute players.” —Karen Evans Moratz, author of Flute for Dummies and Principal Flute in the Indianapolis Symphony Orchestra

“Roderick [Seed] has collected a wide range of exercises covering many topics that give the flute player the tools to play with different dynamics and a range of expression, and simultaneously helping them with associated technical difficulties such as pitch control. [He] has introduced my approach to the flute in a clear and logical way with his own insights and experiences.” —William Bennett, Foreword,Mastering the Flute with William Bennett

Here’s a table to contents to give you an idea of what topics the book covers:

Foreword / William Bennett
Acknowledgments
Introduction
1. Finding a Sound
2. “Harmonics in Tune” Tone
3. Reaction in the Sound
4. Attacks, Articulation and Repeated Notes
5. Prosody: “Elephants And Taxis”
6. Harmonics Exercises
7. Shakuhachi Exercise for Embouchure Control
8. Intonation Exercises
9. Flexibility Exercises
10. Other Exercises: Whistle Tones and Vocalises
11. Approaching Melodies
Bibliography
Index

If you have any questions about how to order the book, please let me know.

Thanks for reading and Happy Fluting!

PIFR Blog: Day 7 – Concert day

2nd July 2016

#pifr2016 Day 7

Faculty concert


We heard simply beautiful performances of pieces by Dvorak, Handel, Clara Schumann, Benson, Sarasate (with a surprise piccolo part played by Wibb), Kuhlau (Wibb and Gwen embodied the ballet class in their performance!),  Gaubert, Lachner and Poulenc.   Each of the faculty members had their own unique musical personalities, but they combined perfectly. Having done the work on empathy and compassion throughout the week, I could see this clearly in their performances with Roger Admiral on piano.   They all brought out  different qualities in each others playing.  For  example, Lorna’s commitment to delivering phrases with such beauty and care was evident in the Gaubert duet- both Lorna  and Gwen  matched each other’s contouring and dynamics. Wibb’s  energy (still at the age of 80!), huge colourful sound and mischievousness were also well matched by Lorna and Gwen.  

Skit night

After dinner it was the turn of the students to perform in the form of skits.  After some wine, we were ready to poke fun at our esteemed faculty members.  I was involved in a skit entitled “Mindless Musician”- a parody of the retreat, where we basically portrayed the opposite of the faculty’s teaching and/or behaviour.  Characters included Valley Girl Gwen, Heather, easily satisfied Wibb, tight and restricted Lorna, “Graby”, and victims.  I played the part of Wibb and was happy to see him laughing at my impression of him, making short notes, drunk repeated notes, stressing in the wrong place (“elePHANT”) etc.  

The evening ended up at Mark House, where we enjoyed each other’s company and admired the beautiful sunset one last time.

It really was a most fantastic retreat.  I set out to be more open in my expression and find my confidence, and I believe I found that with inspiration to take away with me for a year of practice and self-exploration.

On the ferry home Chris noticed the fog horn or ship’s whistle sounded a bit forced- we presumed there was some tightening which restricted the flow of air and resonance.  😉

It’s been a “WONderful” week – I’m exhausted but also refreshed and rejuvenated, ready to prepare for my recital in Tokyo this August.

Hope to see everybody back next year! Make sure to check out www.fluteretreat.com and the Facebook page for interviews, recordings and more.

PIFR Blog: Day 6 – the last day of classes

1 July 2016

#pifr2016 Day 6

Heather’s workshop- the tunnel of love

It was the last day of classes today and the day started with a very emotional workshop with Heather.  We participated in an exercise that involved giving and receiving compliments.  Many tears were shed, but I think this helped the group become closer and let go of insecurities and any uncomfortableness.  

Wibb’s class on Moyse 24 Studies


Another great class by Wibb.  By the end of this retreat we got to number 10.  Not bad, considering Wibb’s huge attention to detail and excellence.  It really raised everyone’s level to a new height.  Articulation, stress, colour, atmosphere, length of notes, type of attack – the list goes on.  So many qualities that contribute to vivid music making, Wibb scrutinised every aspect.   

Wibb’s repertoire class 

We heard Widor’s 4th movement and learnt about taking the phrase to the top (“Do a Rampal- take me to the top”), good accents and matching lengths of notes to suitable words: “I hate your guts!”

Next was Schumann’s Romance no.1 where we learnt the importance of tuning up with the sound we want to play the piece with.  Then came the challenge of making music without distorting the stress or rhythm.  Wibb used the 24 studies for this.

In the Bach E minor, Wibb’s incredible knowledge of harmony and phrasing was fascinating to observe.  Everything made sense and brought cohesion to the whole movement.

Wibb told a great story about Martinu in relation to his sonata.  We heard about bell chimes, Martinu as a sick, young boy stuck in a bell tower tending to a sick bird.  Wibb’s story telling invoked a great change in Marie’s playing.  I also wrote down some more exercises for the book! 

Mindful Musician
This workshop spoke of the rituals we can use to either elevate our energy levels or lower them, depending on the situation.  This related strongly to preparing for concerts or auditions where centering the breath and energy can help when we get anxious or need more “sparkle”.

Lorna and Gaby’s class (Solo flute repertoire)


We heard Syrinx and Bozza.  Lorna gave so many great pieces of advice but also demonstrated with such ease and integrity.  Her sound is beyond compare and every note has a strong musical intention.  When asked a question about finding inspiration, she said that the best thing we can do is listen.  Then she played an excerpt from Mahler which moved people to tears- such wonderful artistry that encapsulated the character of the music.  She gave another beautiful quote, which I think makes a great ending to the day: 

Allow the stillness to be there for the inner song to be heard

PIFR Blog: Day 4 – it got emotional

29th  June 2016

 Today was the longest day of the retreat so far. So many wonderful things happened today which made it pretty draining, but everything was just so fantastic that we pushed through.  

Heather’s workshop – compassion

Heather set up activities where we led our partner in a task, blindfolded! This involved trust, empathy and compassion.  We learnt that practising empathy strengthens compassion, which is having the desire to alleviate the suffering of another.  I took away various things from this. In music, as teachers, we need to have compassion for our students and let them know we are there to help.

Wibb- Moyse 24 Studies

Today,  2 more “victims” took on the task of the 24 studies, continuing from where we left off yesterday.  Colleen and Jenny got through numbers 3, 4 and 5.  Wibb worked with Colleen on various “attacks” (soft, clear etc), making number 3 sound happy and dance-like.  


With number 4, Wibb worked on getting a good bell tone in the low register. 

Like the great bell in a church (Marcel Moyse on no.4)

The variation brought up sensitive fingerings to help the octaves sound in tune when soft.  “Dream out the top note”

Number 5 required a naughty, indelicate sound.  “Keep it rude!”

Wibb repertoire class


We heard performances of Gaubert Sonatine– a piece most of us hadn’t heard of, but that we all loved! Colleen worked with Wibb on putting words to the phrase to make sense of it and was reminded not to do “Dutch bulges”!!  It was beautifully played.

Jenny worked on Airs Valaques by Doppler.  Wibb gave many humorous stories of vampires, bogey-men and Count Dracula! 

You are Dracula wanting some blood!

Mona played the second movement of the Reinecke Concerto, which Geoffrey Gilbert apparently called it “the most passionate  piece in the flute repertoire”.  

We learnt about 10 different fingerings for B above the stave! Useful for getting one out of scrapes!

Lastly, August played Corrente from Bach’s Partita.  Wibb demonstrated at the piano the harmonies and harmonic rhythm of this movement and encourages August to make great phrasing and shape.  We also learnt about “hemorrhoids”! (Hemiolas in our language!)

Mindful Musician – creativity and play

This was led by Wayne McNab.  We learnt about many things from this knowledgable man! Firstly we worked on centering our Qi- which gave us strength without excess muscle tension, something very useful for flute playing.

He talked about what blocks our creativity, drawing on points such as 

  • Only wanting to give one answer
  • Being confined by rules, assumptions and regulations 
  • Not wanting to make mistakes 
  • Having pre-conceptions 
  • Being too serious and forgetting to play

Lorna and Gaby’s class


This was perhaps one of the most magical moments I’ve ever experienced in music.  Lorna and Gaby worked together with a common goal of making magic happen, by simply allowing it to happen.  I played the Taktakishvili 2nd movement and Lorna took my playing to a level I never knew I could play at.  It was so emotional for me (and others also cried!) – we all felt something special in the room after the class.  Lorna and Gaby just have such a great commitment to making beautiful music that everybody’s playing transformed.  

Lorna worked with Marie on finding a big sound that can be menacing without an excessive air supply.  They worked on vowel sounds and resonance to achieve something truly wonderful.

Peter played Taktakishvili 1st movement and found ease in tricky passages using reverse psychology and finding an element of play.  

Alex ended the class with Marin Marais Folies d’Espagne.  Lorna made connections to ballet and the Polonaise by Bach to create an excitement and great style in Alex’s playing.

Today was over by 9pm.  Every hour was well spent.

Thanks for reading and Happy Fluting!

PIFR Blog: Day 3 -“Flute is like a fish – it gets away!”

28th  June 2016 

#pifr2016 Day 3

Lorna McGhee’s Technique class and repertoire class with Gabriella-Minnes Brandes, Wibb’s 24 Studies workshop and repertoire class and Heather Campbell’s workshop on empathy – a wonderful day of inspiring classes.

Empathy workshop with Heather Campbell

To start the day, we had a workshop given by Heather Campbell, the self-healing facilitator.  Today’s class centered around empathy and how to interact in a situation that makes you uncomfortable.  Heather talked about each of us having our own frequency or energy that we present to others.  She mentioned how the most powerful state is one that is neutral- since it is a place from where we can step into another emotional state or frequency.  We learnt through asking our partner a series of questions how to empathize with them, by extending our frequency to another and inviting them to return that.    This drew parallels with rehearsals and differing points of view with another musician.  We can accept and appreciate another’s point of view without allowing ourselves to get into a heightened state.  If we keep in a neutral state by working on grounding ourselves, we can empathize with that person and find common ground  (not the same as compromising).

Wibb’s 24 Studies class and repertoire class

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Alex and I played no.s 1 and 2 from Moyse’s 24 Studies.  Wibb’s knowledge and first-hand experience of learning these with Moyse, as well as his own unique ideas led to a fascinating class – something I never get bored of hearing.  Wibb is full of stories and it was particularly interesting to contrast the first two studies.  We worked on colours (“happy tone”), repeated notes  (“You’re drunk again!”), appogiaturas (“I love you”, legato  (“Put your fingers down slowly!”), character (“Take me to Heav-en”..”but don’t be religious about it!”), expressive articulation (“When I do something in my body- the flute- it reacts! (Moyse)”).    He also taught about soft attack and finding the sound and how Moyse said how easy it is for a sound to disappear or appear-  “The flute is like a fish- it gets away!”.

Take me to Heav-en …  but don’t be religious about it!

In the repertoire class, Wibb focused on the importance of stress and rhythm.  The two pieces were the Schulhoff Sonata played by Chris, who was told to “put some sparkle dust on it” and the 1st movement from Bach’s B minor sonata played by Peter (“I’m Pe-ter, terribly Pe-ter”- the opening theme!).  We learnt to find how our bodies resonate by singing an arpeggio and feeling how the resonance point moves up as we sing higher.   In the Bach, Wibb taught how we can use Moyse Sonority (triplet exercise) to get an expressive soft high register.

Lorna’s technique class

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This class was not your usual technique class.  One might expect an hour of Taffanel & Gaubert exercises or Moyse scales, but Lorna explained how “technique”was artistry.  It takes a great deal of generosity of spirit to take the trouble of getting a good technique that you share with the audience.  Technique is not simply finger co-ordination, it involves taking care of your body, listening, refusing to compromise and being self-reliant, among other things.

We worked on the technique of sound and used Alexander Technique procedures to help.  We did some work lying on the floor in semi-supine, humming to find resonance (much like Wibb did in his class with singing an arpeggio).  We learnt about opposing forces in our bodies- one pulling us up and the other yielding our feet into the ground (vertical), as well as how our chest and hips can expand horizontally to create space and build resonance.    We also did long tones and pitch bends to find a sound that sat right in the middle of our resonance and focus.

Lorna and Gaby’s class – repertoire 

Strictly, this wasn’t a repertoire class- it was more of a “how to improve your sound dramatically” class!  Gaby and Lorna worked together in a very unique approach, drawing from Alexander Technique and Lorna’s own approach to flute sound.  It was quite astonishing how everyone improved in just 30 minutes.  This was probably the most inspiring part of the day and reminded me of my amazing studies with Lorna a few years ago and why I decided to come to this flute retreat.

Some quotes from the class:

“Play like your life depended on it!”

“Breathe as if forte, even in piano“.

“Find where the note resonates and make friends with it!”

“Keep the bow moving.”

“In a diminuendo, come to rest, but don’t drop the ball!”

“Trust you have enough breath.  Don’t live in poverty, but in abundance!”

Lorna demonstrated beautifully how a sound can be so enjoyable to listen to when our bodies are free from undue tension, which “puts a lid on the piano” or “puts a mute on the sound”.

I really can’t put into words how inspiring this class and day was.  You need to experience it for yourself!   So, see you next year everyone!

Thanks for reading and Happy Fluting!

 

 

 

PIFR Blog: Day 2 – “The flute is made of plastic”

#pifr2016

27th  June 2016

Today was the first full day and we experienced a wide variety of classes and workshops.  I will talk about each of the classes below.

Heather Campbell’s class – Awareness.  9-11am

This was a very interesting workshop which focused on identifying and validating the self.  We each picked an item of nature from outside and described what we saw, felt and smelt.  It was working on sensory awareness.  Heather made everybody simplify their statements and make sure we all started with “I feel/  I see” etc  (not  “it is”).  This made our thoughts more vivid and succinct.  We were able to draw parallels to music and teaching.  Making one’s thoughts and directions clear is very important for one’s interpretative idea.  Often simplicity is better.  In conflict of opinion, it is essential that you each value your own opinion and truth first and then try to find common ground in each other’s view.  This was easier when the objects were the same. For example, two people picked pine cones and it was easy to find common ground-  both had a similar smell or texture.   When the objects were different, it was harder to find a truth in both, but surprisingly there was something that linked each object and that was true for both of them.  One could see this as a metaphor for playing with others in chamber music.  Playing with other flute players and matching their sound is easier than playing with a group of other instruments, yet there is still something that connects each instrument to make music together.

Alexander Tecnhnique class with Gabriella-Minnes Brandes 11-12pm.

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This was a great introduction to the Alexander Technique and how it can relate to music-making.  We started with a walking exercise and making ourselves aware of our movement.  We directed our bodies to release any undue tension and to notice our breath.  Following that, there was a ball game.  Many balls were thrown and we were to notice how we responded to incoming throws.  Was there tension in our responses?  Did we tighten any muscles?    We then moved on to using wooden sticks in pairs and trios to work on leading and following.  The best movement came about when we were not actively leading and following, but allowing the movement to happen.  Often it was a thought that created tension, but just by allowing things to happen our bodies were more free and less constricted in movement.    This is true of flute playing.  Gripping the flute too tightly sets up a series of bad habits which constrict our sound.

Lunch

Wibb’s masterclass  1-4pm

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I was up first (fair enough- I didn’t have jet lag to contend with!).   I played Bach’s G minor sonata.  Wibb was concerned with making the first movement’s character virile and avoiding edited articulations which did not match the piano.  A lot of the time, Wibb posed the question, “How do you sing it?”.  From that, I could feel which articulation was natural and suited the character of the music.  Wibb’s famous use of words like “elephant” and “taxi” were present, but the main thing I got from the class was delivering an emotion.  The first movement of the G minor has a certain strength, which is why short note values and echo effects were not suitable.

Next was Faure Fantaisie (first section) played by John.  Wibb worked on getting a good soft attack for the opening B2.  He used harmonic fingerings and the word “wa” to invoke the character of “a sexy South American singer”!  He improvised a Latin accompaniment to the opening, which gave the music a whole new dimension.  Wibb’s famous colourful playing was evident – depending on the harmony, the colour should be different.  For example, some interrupted cadence points required a gassy sound, where as some passages needed a more nasal colour.    Rubato was also discussed using imagery of a bicycle going down a hill and then making your sweetheart wait for you.

Language and its inflections were discussed in Schubert’s Trockne Blumen, played by Alex.  He worked quite hard on getting the theme sounding like a singer.  Lengths of notes were dictated by the text-  no short Mickey Mouse notes!  “Dot means long!”  Some other  good quotes include:  “It’s a gloomy piece, but you’re not allowed to be flat”.    About breathing between phrases:  “I’m going to die.  I’m already dead” –  you have to breathe in between!  He then suggested we all listen to Dietrich Fischer-Dieskau’s recording.  Here’s a link to the recording with the text.  Schubert

Last was Gaubert’s Madrigal, played by Courtenay.  Wibb talked about how Gaubert did a lot of rubato in this piece, even though nothing is marked.  He found a recording at a Paris flea market which influenced his interpretation.  Gaubert apparently breathed in between slurs and pushed the tempo on in more excited passages.  Alternative fingerings for the last two notes were suggested  (these will be in my book).    The colour of C sharp was discussed-  Wibb said this note needs more “bite” – intensify the air column and lip it down, or put “chicken shit” in the C sharp hole!  Another great quote:  “The flute is made of plastic -it will bend anywhere!”

Mindful Musician 5-6pm

This workshop, led by Gwen Klassen, was essentially about flow  – that unique feeling one experiences when “in the zone”.  We did the 8 Silken Movements of Qi Gong- which rejuvenated us and helped with the connection of breath and flow.  Gwen then moved on to discuss how to achieve flow in performance and how we can use Mindfulness and Emotional Intelligence to reach that state.  This led on to talking about thoughtful practice.

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Gwen’s evening class  7pm to 8.30pm

Gwen worked with students on topics such as their practising process, using tools to help train our ears better, finding the story in the music and injecting that into our performance, increasing energy levels, problem-solving and more.  It was a good way to end the day, drawing on different topics from all the classes.

Tomorrow is Day 3, including classes by Lorna McGhee and Wibb’s 24 studies workshop.  Can’t wait!

Thanks for reading and Happy Fluting!

 

 


 

PIFR Blog: Day 1

26th June 2016 – Welcome to Pender Island! 

#pifr2016

It’s day one of the Pender Island Flute Retreat (“PIFR”).  We have all been promised a week of beautiful weather on one of the most beautiful islands in British Columbia.  So, not a bad start to the week!

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After a day of ferry crossings, everyone congregated at Mark’s House for dinner and the evening workshop.  Including faculty there are 25 of us.  We were greeted by a very friendly Gwen Klassen and assistant Emma Shubin in the most wonderful setting.  It was 7pm by the time we started the opening workshop.  It was a good chance to introduce ourselves and participants from previous years let us know why they decided to come back.  Everyone then gave an example of something that they feel joyful about and something they grieve (or feel regretful about) in their flute playing life.  There was a wide spectrum of answers and it really helped people open up.  There will be more self-exploration and development throughout the week in addition to learning about flute, music and much more, which we are all excited about.

Tomorrow is the first day of classes with Wibb, as well as workshops with Heather Campbell and Gabriella Minnes-Brandes.

Check back for Day 2 tomorrow!  There will be some interviews with participants to enjoy as well.

Thanks for reading and Happy Fluting!

 

Coming soon: Pender Island Flute Retreat Daily Blogs

From the 26th June to 3rd July, I will writing a daily blog series at the Pender Island Flute Retreat 2016  (look for “PIFR Blog”).   This is a summer course organised by Canadian flautist Gwen Klassen with an impressive international faculty.  There will be flute master classes given by  William Bennett, who celebrated his 80th birthday this year and 60 years of the finest flute playing.    Lorna McGhee, principal flute of the Pittsburgh Symphony and faculty at Carnegie Mellon, will give technique classes and masterclasses.   A series of   workshops entitled “Mindful Musician” will be given by Gwen and Wayne McNab, a Reiki master.   Heather Campbell, a facilitator of self-healing and human development will give a series of workshops  throughout the week.  There will be Alexander Technique workshops with Gabriella Minnes-Brandes, who will also assist Lorna McGhee’s masterclasses, giving a unique approach to the study of our instrument.

The retreat ends with a faculty recital on Saturday 2nd July at 1pm, held at the Pender Island Community Hall.

July 2, 2016 concert flyer

 

I will be writing about the classes as well as interviewing various participants and faculty.

If you want to get the latest information, pictures and videos from the retreat, look for the hashtag #pifr2016 and please make sure to follow, like and share PIFR at the following places:

FACEBOOK

https://www.facebook.com/PenderIslandFluteRetreat/

INSTAGRAM

@pifr10

https://www.instagram.com/pifr10/

TWITTER

@pifr10 

WEBSITE

www.fluteretreat.com 

CDs and the 3738go merchandise that celebrates Wibb’s 80th birthday will be on sale.  If you use coupon code “rodfluteblog”, you can get 10 % off all products, subject to availability.  http://www.roderickseedflute.com/#!shop/cxst

Thanks for reading and Happy Fluting!