Last night I made the mistake of watching a lecture on veganism, and it's safe to say that I'm pretty skeeved out by animal products now. Besides that little adventure, I have been eating in a pretty unbalanced way and I need to get myself heading in the direction I've been wanting to for a while.
I'm going to try to make it 31 days eating strictly vegan.
Yes, I said "try." I know that it takes commitment to make these things happen, but if I just say that I will do this and then mess up, it's all going to be over. So, in an attempt to keep myself on the path that I want to take, I'm going to say "try."
I have a few other goals for this month, but I'm going to put them a little lower on the totem pole so I don't overwhelm myself. The first goal is to practice every day. Every. Day. I'm getting ready for a recital in November, and the spring and summer will be taken up by the Latin Flute Affair, so I want to get some quality practice in now, and stock up on some solid technique as well as assuage some body use issues before the pressure hits.
Besides regular, quality practice time, I need some exercise. My yoga practice has fallen by the wayside since we moved. Mostly, it's because getting to my old studio would require me to drive in fairly heavy traffic, and I haven't found a new one in my area yet. Plus, I just haven't made it a priority lately. Mostly it's that. I'm also hoping to go walking/jogging more.
So far today I've been a good vegan and a good flutist, let's keep it that way!
Showing posts with label Repertoire. Show all posts
Showing posts with label Repertoire. Show all posts
Tuesday, October 1, 2013
Monday, September 9, 2013
Exciting news!
I'm excited to announce a joint venture with a great colleague, Alejandro Pinzon!
We are teaming up to present "Latin Flute Affair," a series of Latin music programs! Each program consists of recitals, conducting workshops, and lectures leading up to a concert of music for flute and orchestra. We're currently finalizing details for our first event, which will be at the end of April/beginning of May with the final concert being held on Cinco de Mayo. As the title implies, this program will feature all sorts of Latin music. Some will be by Latin composers, some will simply be in a Latin style or based on other Latin influences.
Interested in partnering with us musically or financially? Perhaps you know of a great location or organization that we should contact! Let us know via here!
Be sure to bookmark our website and check in frequently, we're working on adding more concert dates and venues around the country!
We are teaming up to present "Latin Flute Affair," a series of Latin music programs! Each program consists of recitals, conducting workshops, and lectures leading up to a concert of music for flute and orchestra. We're currently finalizing details for our first event, which will be at the end of April/beginning of May with the final concert being held on Cinco de Mayo. As the title implies, this program will feature all sorts of Latin music. Some will be by Latin composers, some will simply be in a Latin style or based on other Latin influences.
Interested in partnering with us musically or financially? Perhaps you know of a great location or organization that we should contact! Let us know via here!
Be sure to bookmark our website and check in frequently, we're working on adding more concert dates and venues around the country!
Tuesday, November 13, 2012
Goals for Quarter 2 (for real this time)
I'm very excited about playing these days! Sunday was my first concert with the SFPWE. They're some really great people, and the concert was a blast. Tomorrow starts tech week rehearsals with the Outre Theater for Wild Party, and I'm definitely looking forward to that as well.
My broad goals for the quarter are below:
Technique
Gilbert Technical Flexibility
Boehm 12 Etudes
Etudes
Karg-Elert 31 Etudes.
Donjon 8 Etudes de Salon
Repertoire
Debussy Syrinx
Varese Density 21.5
Taktakishvili Sonata
Handel Sonata in F
Clarke The Great Train Race
Perilhou Ballade
So far I have been able to play every day, and beyond that, I've really been able to get some good work in most days. I haven't heard back from any other schools in need of faculty, but I'm going to start listing ads in local synagogue bulletins and order new (updated) business cards.
Maybe I should add some orchestral excerpts to this list...I'll have to do that later.
My broad goals for the quarter are below:
Technique
Gilbert Technical Flexibility
Boehm 12 Etudes
Etudes
Karg-Elert 31 Etudes.
Donjon 8 Etudes de Salon
Repertoire
Debussy Syrinx
Varese Density 21.5
Taktakishvili Sonata
Handel Sonata in F
Clarke The Great Train Race
Perilhou Ballade
So far I have been able to play every day, and beyond that, I've really been able to get some good work in most days. I haven't heard back from any other schools in need of faculty, but I'm going to start listing ads in local synagogue bulletins and order new (updated) business cards.
Maybe I should add some orchestral excerpts to this list...I'll have to do that later.
Monday, November 5, 2012
Goals for Quarter 2, First rehearsal tomorrow!
Tomorrow is the first rehearsal of Wild Party, and I'm definitely looking forward to it! Turns out I won't have a soprano sax, but I think I'm okay with only playing 4 instruments for now.
One major goal for me is to play (flute) every day. Even if I only get to play for a couple minutes or so, I really don't want to find myself slipping into one, two, or three days in a row without playing.
I'm working out of Geoffrey Gilbert's Technical Flexibility, Boehm's 12 Etudes, and I'm going to try my hand at the Karg-Elert 31 Etudes.
As far as repertoire goes, I know I'm going to do Debussy Syrinx and Varese Density 21.5, probably the Taktakishvili Sonata, and from there I'm not too sure.
I've sent out more resumes to schools and universities to see if I can get a little more adjunct work, and I'm really going to push for getting some students this quarter.
I've got a busy day tomorrow, can't wait!
One major goal for me is to play (flute) every day. Even if I only get to play for a couple minutes or so, I really don't want to find myself slipping into one, two, or three days in a row without playing.
I'm working out of Geoffrey Gilbert's Technical Flexibility, Boehm's 12 Etudes, and I'm going to try my hand at the Karg-Elert 31 Etudes.
As far as repertoire goes, I know I'm going to do Debussy Syrinx and Varese Density 21.5, probably the Taktakishvili Sonata, and from there I'm not too sure.
I've sent out more resumes to schools and universities to see if I can get a little more adjunct work, and I'm really going to push for getting some students this quarter.
I've got a busy day tomorrow, can't wait!
Friday, September 21, 2012
Marcel Bitsch (1921 - 2011)
One year ago today, a French composer named Marcel Bitsch passed away. His flute etudes are little known gems amongst the vast amounts of etudes and literature we have at our fingertips; twelve little gems that I plan on introducing you to.
I first stumbled upon his Douze Etudes pour Flute a few years ago. Now, since I don't remember when and where I bought this collection, and didn't know anything about him at all, it's safe to say that I probably was more entertained by his name than by anything else. Thankfully I have grown up since then, and have begun taking a serious look at these etudes.
As I began working on his etudes recently, I discovered that these are highly developed compositions that can - and ought to - stand alone on the concert stage in addition to the studio. Etude No. 2 - "Pour la souplesse des levres," for example, is not just a tone development study, but an exploration of sound and tonality. It takes a simple, yet disjunct theme and uses it to explore distant keys. It covers the full expressive range of the instrument, low C to high C, piano to forte, calm to agitated. All the while it maintains a striking cohesion and closes with a remarkable statement of both halves of the theme played simultaneously. If these etudes are any indication of other works of Mr. Bitsch (musical and literary), and I think they are, they are most certainly deserving of more attention and perusal than they currently receive from the community.
Since he passed so recently, there isn't much research or established scholarship on his life and work, which makes starting this process more difficult than my thesis was (John Cage and Arnold Schoenberg are a *little* well known, lol).
What I can say about him, looking at the back cover of the Douze Etudes (Leduc), is that he attended and later taught at the Paris Conservatory. While he wasn't an extremely prolific composer, he did write works and/or etudes for flute, bassoon, trumpet and horn, as well as three piano concerti and a handful of symphonic works. He also wrote books on harmony, counterpoint, and analytical editions of many works by Johann Sebastian Bach, which as I understand are generally held in high regard.
I have decided to take these etudes into a detailed study, one that will encompass technique, style, analysis, and a dash of musicology. I hope that this multifaceted research project will lend itself well to several different formats: lecture recitals, individual etudes as part of recitals, analytical presentations. I hope that I'll be able to present this material, at least in part, at various professional conferences.
There is a good portion that I've written for Etude No. 2 of course, but I doubt that I'll be posting much of it here verbatim because once I share it publicly, it'll lose publishability points pretty quickly, methinks. However, I will try to make videos and share short summaries on each one (as possible).
I was actually planning on recording a video for today, but...I had a run in with a meat slicer at work a couple days ago and my right thumb, while intact, is bandaged up and can't really support the weight of the flute (or even piccolo) for very long. It'll be fine soon enough though. In the meantime, more writing and research for me!
I first stumbled upon his Douze Etudes pour Flute a few years ago. Now, since I don't remember when and where I bought this collection, and didn't know anything about him at all, it's safe to say that I probably was more entertained by his name than by anything else. Thankfully I have grown up since then, and have begun taking a serious look at these etudes.
As I began working on his etudes recently, I discovered that these are highly developed compositions that can - and ought to - stand alone on the concert stage in addition to the studio. Etude No. 2 - "Pour la souplesse des levres," for example, is not just a tone development study, but an exploration of sound and tonality. It takes a simple, yet disjunct theme and uses it to explore distant keys. It covers the full expressive range of the instrument, low C to high C, piano to forte, calm to agitated. All the while it maintains a striking cohesion and closes with a remarkable statement of both halves of the theme played simultaneously. If these etudes are any indication of other works of Mr. Bitsch (musical and literary), and I think they are, they are most certainly deserving of more attention and perusal than they currently receive from the community.
Since he passed so recently, there isn't much research or established scholarship on his life and work, which makes starting this process more difficult than my thesis was (John Cage and Arnold Schoenberg are a *little* well known, lol).
What I can say about him, looking at the back cover of the Douze Etudes (Leduc), is that he attended and later taught at the Paris Conservatory. While he wasn't an extremely prolific composer, he did write works and/or etudes for flute, bassoon, trumpet and horn, as well as three piano concerti and a handful of symphonic works. He also wrote books on harmony, counterpoint, and analytical editions of many works by Johann Sebastian Bach, which as I understand are generally held in high regard.
I have decided to take these etudes into a detailed study, one that will encompass technique, style, analysis, and a dash of musicology. I hope that this multifaceted research project will lend itself well to several different formats: lecture recitals, individual etudes as part of recitals, analytical presentations. I hope that I'll be able to present this material, at least in part, at various professional conferences.
There is a good portion that I've written for Etude No. 2 of course, but I doubt that I'll be posting much of it here verbatim because once I share it publicly, it'll lose publishability points pretty quickly, methinks. However, I will try to make videos and share short summaries on each one (as possible).
I was actually planning on recording a video for today, but...I had a run in with a meat slicer at work a couple days ago and my right thumb, while intact, is bandaged up and can't really support the weight of the flute (or even piccolo) for very long. It'll be fine soon enough though. In the meantime, more writing and research for me!
Tuesday, August 21, 2012
My First Video Post!
Okay, here it is! My very first YouTube upload, and the first vlog to supplement this blog. The sound quality isn't as clear as I had hoped it would be, but hey, it's not like I've invested in special equipment, so no complaining here! Enjoy!
Friday, July 27, 2012
The Overall Plan
Alright, so I've been working on a master plan for the year. It's undergone several revisions, and has now reached a reasonable state.
I'm going to be spending a large amount of time of this year restructuring my playing style and embouchure. It's very critical for my long-term success as a professional that I get the (mostly minor) issues that I have under control. Along with this will be plenty of articulation and finger technique, which I will use technical exercises (Taffanel & Gaubert, DeLorenzo, Moyse, etc.) and etude books (Boehm, Moyse, etc.) Along with the general technique mentioned above, I plan on having certain weeks where I will focus on "special" topics: trills, multiphonics, etc.
Next is repertoire. I'm only going to work on a few pieces a quarter per instrument. The exact number will vary, and I'll be starting with some vaguely familiar or very important works and move towards works that are brand new to me.
I'll also be working very diligently on orchestral excerpts. Like with repertoire selections, the exact number per quarter will vary depending on a number of factors.
In order to make the execution of this whole process more manageable, and to help myself in keeping track of my goals, I've divided the year into four 13-week quarters.The first quarter is Aug. 1 - Oct. 30. I'll plan out each quarter in advance, and then plan daily practice sessions for each week in advance of the start of the week. Once I have a typed up version of my plan for the first quarter I'll post it, and I'm considering doing the same thing with weekly practice sessions. I'm also going to try and make some posts where I review my practice from the day/week, as well as some audio or video recordings as possible.
If you have any suggestions or comments along the way, please share them with me!
I'm going to be spending a large amount of time of this year restructuring my playing style and embouchure. It's very critical for my long-term success as a professional that I get the (mostly minor) issues that I have under control. Along with this will be plenty of articulation and finger technique, which I will use technical exercises (Taffanel & Gaubert, DeLorenzo, Moyse, etc.) and etude books (Boehm, Moyse, etc.) Along with the general technique mentioned above, I plan on having certain weeks where I will focus on "special" topics: trills, multiphonics, etc.
Next is repertoire. I'm only going to work on a few pieces a quarter per instrument. The exact number will vary, and I'll be starting with some vaguely familiar or very important works and move towards works that are brand new to me.
I'll also be working very diligently on orchestral excerpts. Like with repertoire selections, the exact number per quarter will vary depending on a number of factors.
In order to make the execution of this whole process more manageable, and to help myself in keeping track of my goals, I've divided the year into four 13-week quarters.The first quarter is Aug. 1 - Oct. 30. I'll plan out each quarter in advance, and then plan daily practice sessions for each week in advance of the start of the week. Once I have a typed up version of my plan for the first quarter I'll post it, and I'm considering doing the same thing with weekly practice sessions. I'm also going to try and make some posts where I review my practice from the day/week, as well as some audio or video recordings as possible.
If you have any suggestions or comments along the way, please share them with me!
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