Volume Issue PageVolume 00Volume 00Volume 00Volume 00Volume 01 ### 1Volume 01 ### 3Volume 01 ### 6Volume 01 ### 1Volume 01 ### 4Volume 01 ### 5Volume 01 ### 1Volume 01 ### 5Volume 01 ### 1Volume 01 ### 2Volume 01 ### 5Volume 02 ### 1Volume 02 ### 3Volume 02 ### 7Volume 02 ### 1Volume 02 ### 3Volume 02 ### 4Volume 02 ### 5Volume 02 ### 1Volume 02 ### 3Volume 02 ### 5Volume 02 ### 1Volume 02 ### 3Volume 02 ### 4Volume 02 ### 6Volume 02 ### 7Volume 02 ### 1Volume 02 ### 3Volume 02 ### 4Volume 02 ### 6Volume 02 ### 1Volume 02 ### 3Volume 02 ### 4Volume 02 ### 6Volume 02 ### 1Volume 02 ### 4Volume 02 ### 1Volume 02 ### 4Volume 02 ### 6Volume 02 ### 1Volume 02 ### 3Volume 02 ### 6Volume 02 ### 8Volume 02 ### 11Volume 03 ### 1Volume 03 ### 4Volume 03 ### 1Volume 03 ### 6

Volume 03 ### 8Volume 03 ### 1Volume 03 ### 3Volume 03 ### 4Volume 03 ### 5Volume 03 ### 6Volume 03 ### 8Volume 03 ### 1Volume 03 ### 3Volume 03 ### 5Volume 03 ### 6Volume 03 ### 10Volume 03 ### 1Volume 03 ### 4Volume 03 ### 1Volume 03 ### 4Volume 03 ### 6Volume 03 ### 1Volume 03 ### 4Volume 03 ### 1Volume 03 ### 5Volume 03 ### 6Volume 04 ### 2Volume 04 ### 7Volume 04 ### 9Volume 04 ### 14Volume 04 ### 16Volume 04 ### 20Volume 04 ### 2Volume 04 ### 2Volume 04 ### 7Volume 04 ### 9Volume 04 ### 15Volume 04 ### 18Volume 04 ### 20Volume 04 ### 7Volume 04 ### 15Volume 04 ### 18Volume 04 ### 20Volume 04 ### 1Volume 04 ### 8Volume 04 ### 14Volume 04 ### 16Volume 04 ### 18Volume 04 ### 2Volume 04 ### 8Volume 04 ### 14Volume 04 ### 17Volume 04 ### 2Volume 04 ### 8Volume 04 ### 11Volume 04 ### 16Volume 04 ### 21

Volume 04 ### 22Volume 04 ### 2Volume 04 ### 9Volume 04 ### 16Volume 04 ### 2Volume 04 ### 10Volume 04 ### 17Volume 04 ### 25Volume 05 ### 6Volume 05 ### 11Volume 05 ### 18Volume 05 ### 6Volume 05 ### 12Volume 05 ### 18Volume 05 ### 24Volume 05 ### 6Volume 05 ### 12Volume 05 ### 18Volume 05 ### 26Volume 05 ### 6Volume 05 ### 12Volume 05 ### 18Volume 05 ### 6Volume 05 ### 8Volume 05 ### 14Volume 05 ### 16Volume 05 ### 21Volume 05 ### 8Volume 05 ### 14Volume 05 ### 25Volume 05 ### 28Volume 05 ### 8Volume 05 ### 14Volume 05 ### 19Volume 05 ### 24Volume 05 ### 30Volume 05 ### 32Volume 05 ### 8Volume 05 ### 11Volume 05 ### 14Volume 06 ### 8Volume 06 ### 20Volume 06 ### 6Volume 06 ### 12Volume 06 ### 24Volume 06 ### 33Volume 06 ### 6Volume 06 ### 12Volume 06 ### 16Volume 06 ### 16Volume 06 ### 24Volume 06 ### 4Volume 06 ### 8

Volume 06 ### 15Volume 06 ### 26Volume 06 ### 31Volume 06 ### 8Volume 06 ### 16Volume 06 ### 6Volume 06 ### 11Volume 06 ### 16Volume 06 ### 20Volume 06 ### 32Volume 06 ### 6Volume 06 ### 16Volume 06 ### 28Volume 06 ### 12Volume 06 ### 16Volume 06 ### 34Volume 06 ### 10Volume 06 ### 16Volume 06 ### 25Volume 07 ### 10Volume 07 ### 13Volume 07 ### 21Volume 07 ### 32Volume 07 ### 8Volume 07 ### 14Volume 07 ### 16Volume 07 ### 24Volume 07 ### 30Volume 07 ### 35Volume 07 ### 6Volume 07 ### 17Volume 07 ### 22Volume 07 ### 29Volume 07 ### 6Volume 07 ### 11Volume 07 ### 21Volume 07 ### 29Volume 07 ### 34Volume 07 ### 6Volume 07 ### 12Volume 07 ### 15Volume 07 ### 27Volume 07 ### 33Volume 07 ### 6Volume 07 ### 11Volume 07 ### 11Volume 07 ### 13Volume 07 ### 13Volume 07 ### 19Volume 07 ### 19Volume 07 ### 22Volume 07 ### 22Volume 07 ### 24

Volume 07 ### 24Volume 07 ### 6Volume 07 ### 6Volume 07 ### 11Volume 07 ### 11Volume 07 ### 14Volume 07 ### 14Volume 07 ### 17Volume 07 ### 17Volume 07 ### 20Volume 07 ### 25Volume 07 ### 25Volume 07 ### 6Volume 07 ### 6Volume 07 ### 12Volume 07 ### 12Volume 07 ### 14Volume 07 ### 14Volume 07 ### 18Volume 07 ### 18Volume 07 ### 20Volume 07 ### 8Volume 07 ### 8Volume 07 ### 12Volume 07 ### 12Volume 07 ### 17Volume 07 ### 17Volume 07 ### 22Volume 07 ### 24Volume 07 ### 8Volume 07 ### 8Volume 07 ### 14Volume 07 ### 14Volume 07 ### 19Volume 07 ### 19Volume 07 ### 22Volume 07 ### 23Volume 07 ### 26Volume 07 ### 26Volume 07 ### 29Volume 07 ### 29Volume 08 ### 6Volume 08 ### 6Volume 08 ### 10Volume 08 ### 10Volume 08 ### 16Volume 08 ### 16Volume 08 ### 18Volume 08 ### 18Volume 08 ### 20Volume 08 ### 20Volume 08 ### 22Volume 08 ### 22

Volume 08 ### 26Volume 08 ### 6Volume 08 ### 6Volume 08 ### 12Volume 08 ### 12Volume 08 ### 15Volume 08 ### 15Volume 08 ### 16Volume 08 ### 19Volume 08 ### 24Volume 08 ### 24Volume 08 ### 27Volume 08 ### 28Volume 08 ### 28Volume 08 ### 29Volume 08 ### 29Volume 08 ### 6Volume 08 ### 6Volume 08 ### 10Volume 08 ### 10Volume 08 ### 13Volume 08 ### 14Volume 08 ### 14Volume 08 ### 18Volume 08 ### 18Volume 08 ### 21Volume 08 ### 21Volume 08 ### 23Volume 08 ### 8Volume 08 ### 8Volume 08 ### 12Volume 08 ### 12Volume 08 ### 16Volume 08 ### 16Volume 08 ### 20Volume 08 ### 20Volume 08 ### 28Volume 08 ### 28Volume 08 ### 34Volume 08 ### 42Volume 08 ### 42Volume 08 ### 44Volume 08 ### 8Volume 08 ### 8Volume 08 ### 12Volume 08 ### 12Volume 08 ### 18Volume 08 ### 18Volume 08 ### 21Volume 08 ### 21Volume 08 ### 28Volume 08 ### 28Volume 08 ### 8

Volume 08 ### 8Volume 08 ### 14Volume 08 ### 16Volume 08 ### 18Volume 08 ### 20Volume 08 ### 20Volume 08 ### 22Volume 08 ### 28Volume 08 ### 8Volume 08 ### 8Volume 08 ### 13Volume 08 ### 16Volume 08 ### 18Volume 08 ### 20Volume 08 ### 22Volume 08 ### 22Volume 08 ### 24Volume 08 ### 26Volume 08 ### 32Volume 08 ### 8Volume 08 ### 12Volume 08 ### 12Volume 08 ### 24Volume 08 ### 26Volume 08 ### 30Volume 08 ### 8Volume 08 ### 13Volume 08 ### 14Volume 08 ### 16Volume 08 ### 21Volume 08 ### 22Volume 08 ### 8Volume 08 ### 10Volume 08 ### 14Volume 08 ### 18Volume 08 ### 22Volume 08 ### 25Volume 08 ### 27Volume 08 ### 28Volume 09 ### 8Volume 09 ### 12Volume 09 ### 14Volume 09 ### 16Volume 09 ### 19Volume 09 ### 21Volume 09 ### 8Volume 09 ### 11Volume 09 ### 14Volume 09 ### 22Volume 09 ### 8Volume 09 ### 12Volume 09 ### 22Volume 09 ### 8

Volume 09 ### 11Volume 09 ### 18Volume 09 ### 20Volume 09 ### 22Volume 09 ### 8Volume 09 ### 13Volume 09 ### 17Volume 09 ### 20Volume 09 ### 22Volume 09 ### 8Volume 09 ### 14Volume 09 ### 19Volume 09 ### 24Volume 09 ### 26Volume 09 ### 32Volume 09 ### 8Volume 09 ### 12Volume 09 ### 14Volume 09 ### 16Volume 09 ### 17Volume 09 ### 18Volume 09 ### 24Volume 09 ### 32Volume 09 ### 8Volume 09 ### 16Volume 09 ### 18Volume 09 ### 20Volume 09 ### 32Volume 09 ### 8Volume 09 ### 11Volume 09 ### 16Volume 09 ### 18Volume 09 ### 20Volume 09 ### 21Volume 09 ### 25Volume 09 ### 32Volume 09 ### 7Volume 09 ### 8Volume 09 ### 12Volume 09 ### 16Volume 09 ### 18Volume 09 ### 32Volume 10 ### 6Volume 10 ### 8Volume 10 ### 11Volume 10 ### 16Volume 10 ### 18Volume 10 ### 20Volume 10 ### 24Volume 10 ### 26Volume 10 ### 30Volume 10 ### 4Volume 10 ### 8

Volume 10 ### 14Volume 10 ### 18Volume 10 ### 20Volume 10 ### 24Volume 10 ### 32Volume 10 ### 2Volume 10 ### 6Volume 10 ### 8Volume 10 ### 12Volume 10 ### 15Volume 10 ### 20Volume 10 ### 24Volume 10 ### 32Volume 10 ### 6Volume 10 ### 8Volume 10 ### 13Volume 10 ### 16Volume 10 ### 22Volume 10 ### 24Volume 10 ### 25Volume 10 ### 36Volume 10 ### 2Volume 10 ### 4Volume 10 ### 8Volume 10 ### 13Volume 10 ### 17Volume 10 ### 19Volume 10 ### 22Volume 10 ### 25Volume 10 ### 32Volume 10 ### 2Volume 10 ### 6Volume 10 ### 10Volume 10 ### 13Volume 10 ### 20Volume 10 ### 22Volume 10 ### 26Volume 10 ### 32Volume 10 ### 2Volume 10 ### 6Volume 10 ### 8Volume 10 ### 12Volume 10 ### 14Volume 10 ### 16Volume 10 ### 20Volume 10 ### 32Volume 10 ### 2Volume 10 ### 6Volume 10 ### 13Volume 10 ### 19Volume 10 ### 25Volume 10 ### 31Volume 10 ### 2

Volume 10 ### 8Volume 10 ### 14Volume 10 ### 21Volume 10 ### 25Volume 10 ### 32Volume 10 ### 3Volume 10 ### 10Volume 10 ### 14Volume 10 ### 23Volume 10 ### 28Volume 10 ### 32Volume 10 ### 38Volume 11 ### 8Volume 11 ### 12Volume 11 ### 18Volume 11 ### 20Volume 11 ### 2Volume 11 ### 32Volume 11 ### 8Volume 11 ### 12Volume 11 ### 18Volume 11 ### 20Volume 11 ### 22Volume 11 ### 25Volume 11 ### 27Volume 11 ### 28Volume 11 ### 32Volume 11 ### 2Volume 11 ### 8Volume 11 ### 11Volume 11 ### 15Volume 11 ### 18Volume 11 ### 20Volume 11 ### 28Volume 11 ### 32Volume 11 ### 2Volume 11 ### 4Volume 11 ### 8Volume 11 ### 12Volume 11 ### 15Volume 11 ### 16Volume 11 ### 20Volume 11 ### 2Volume 11 ### 4Volume 11 ### 32Volume 11 ### 8Volume 11 ### 14Volume 11 ### 18Volume 11 ### 24Volume 11 ### 25Volume 11 ### 2Volume 11 ### 4Volume 11 ### 32

Volume 11 ### 8Volume 11 ### 13Volume 11 ### 18Volume 11 ### 21Volume 11 ### 2Volume 11 ### 4Volume 11 ### 32Volume 11 ### 8Volume 11 ### 14Volume 11 ### 16Volume 11 ### 20Volume 11 ### 24Volume 11 ### 32Volume 11 ### 6Volume 11 ### 8Volume 11 ### 11Volume 11 ### 19Volume 11 ### 25Volume 11 ### 27Volume 11 ### 29Volume 11 ### 10Volume 11 ### 17Volume 11 ### 19Volume 11 ### 21Volume 11 ### 2Volume 11 ### 24Volume 11 ### 26Volume 11 ### 32Volume 11 ### 2Volume 11 ### 32Volume 11 ### 8Volume 11 ### 13Volume 11 ### 16Volume 11 ### 18Volume 11 ### 24Volume 11 ### 4Volume 11 ### 6Volume 11 ### 32Volume 11 ### 8Volume 11 ### 14Volume 11 ### 16Volume 11 ### 18Volume 11 ### 19Volume 11 ### 22Volume 11 ### 25Volume 11 ### 26Volume 11 ### 2Volume 11 ### 32Volume 12 ### 2Volume 12 ### 6Volume 12 ### 9Volume 12 ### 21Volume 12 ### 24

Volume 12 ### 24Volume 12 ### 28Volume 12 ### 29Volume 12 ### 32Volume 12 ### 36Volume 12 ### 2Volume 12 ### 6Volume 12 ### 12Volume 12 ### 16Volume 12 ### 19Volume 12 ### 22Volume 12 ### 24Volume 12 ### 32Volume 12 ### 2Volume 12 ### 2Volume 12 ### 8Volume 12 ### 14Volume 12 ### 17Volume 12 ### 24Volume 12 ### 26Volume 12 ### 32Volume 12 ### 2Volume 12 ### 8Volume 12 ### 11Volume 12 ### 18Volume 12 ### 21Volume 12 ### 23Volume 12 ### 25Volume 12 ### 29Volume 12 ### 32Volume 12 ### 2Volume 12 ### 8Volume 12 ### 14Volume 12 ### 18Volume 12 ### 25Volume 12 ### 27Volume 12 ### 28Volume 12 ### 32Volume 12 ### 2Volume 12 ### 8Volume 12 ### 12Volume 12 ### 15Volume 12 ### 17Volume 12 ### 19Volume 12 ### 22Volume 12 ### 24Volume 12 ### 26Volume 12 ### 32Volume 12 ### 8Volume 12 ### 11Volume 12 ### 17Volume 12 ### 20Volume 12 ### 26

Volume 12 ### 32Volume 12 ### 6Volume 12 ### 10Volume 12 ### 17Volume 12 ### 19Volume 12 ### 21Volume 12 ### 24Volume 12 ### 26Volume 12 ### 2Volume 12 ### 6Volume 12 ### 9Volume 12 ### 17Volume 12 ### 21Volume 12 ### 24Volume 12 ### 32Volume 12 ### 2Volume 12 ### 8Volume 12 ### 14Volume 12 ### 24Volume 12 ### 29Volume 12 ### 36Volume 13 ### 2Volume 13 ### 8Volume 13 ### 13Volume 13 ### 20Volume 13 ### 22Volume 13 ### 24Volume 13 ### 27Volume 13 ### 32Volume 13 ### 2Volume 13 ### 8Volume 13 ### 11Volume 13 ### 17Volume 13 ### 24Volume 13 ### 27Volume 13 ### 32Volume 13 ### 2Volume 13 ### 8Volume 13 ### 12Volume 13 ### 14Volume 13 ### 22Volume 13 ### 2Volume 13 ### 8Volume 13 ### 12Volume 13 ### 15Volume 13 ### 17Volume 13 ### 20Volume 13 ### 29Volume 13 ### 8Volume 13 ### 12Volume 13 ### 16Volume 13 ### 18Volume 13 ### 21

Volume 13 ### 8Volume 13 ### 13Volume 13 ### 16Volume 13 ### 22Volume 13 ### 25Volume 13 ### 8Volume 13 ### 12Volume 13 ### 16Volume 13 ### 21Volume 13 ### 6Volume 13 ### 13Volume 13 ### 16Volume 13 ### 29Volume 13 ### 8Volume 13 ### 12Volume 13 ### 18Volume 13 ### 20Volume 13 ### 8Volume 13 ### 14Volume 13 ### 21Volume 13 ### 26Volume 14 ### 8Volume 14 ### 14Volume 14 ### 18Volume 14 ### 21Volume 14 ### 26Volume 14 ### 27Volume 14 ### 10Volume 14 ### 13Volume 14 ### 20Volume 14 ### 23Volume 14 ### 28Volume 14 ### 30Volume 14 ### 8Volume 14 ### 13Volume 14 ### 18Volume 14 ### 18Volume 14 ### 22Volume 14 ### 24Volume 14 ### 8Volume 14 ### 11Volume 14 ### 13Volume 14 ### 18Volume 14 ### 22Volume 14 ### 8Volume 14 ### 11Volume 14 ### 15Volume 14 ### 18Volume 14 ### 20Volume 14 ### 24Volume 14 ### 6Volume 14 ### 12Volume 14 ### 15

Volume 14 ### 21Volume 14 ### 26Volume 14 ### 28Volume 14 ### 6Volume 14 ### 12Volume 14 ### 16Volume 14 ### 20Volume 14 ### 6Volume 14 ### 12Volume 14 ### 15Volume 14 ### 21Volume 14 ### 23Volume 14 ### 6Volume 14 ### 10Volume 14 ### 13Volume 14 ### 16Volume 14 ### 20Volume 14 ### 22Volume 14 ### 24Volume 14 ### 8Volume 14 ### 11Volume 14 ### 15Volume 14 ### 17Volume 14 ### 22Volume 15 ### 8Volume 15 ### 18Volume 15 ### 20Volume 15 ### 24Volume 15 ### 8Volume 15 ### 12Volume 15 ### 18Volume 15 ### 31Volume 15 ### 4Volume 15 ### 8Volume 15 ### 12Volume 15 ### 20Volume 15 ### 23Volume 15 ### 28Volume 15 ### 32Volume 15 ### 4Volume 15 ### 6Volume 15 ### 8Volume 15 ### 12Volume 15 ### 18Volume 15 ### 27Volume 15 ### 32Volume 15 ### 4Volume 15 ### 8Volume 15 ### 12Volume 15 ### 18Volume 15 ### 22Volume 15 ### 26Volume 15 ### 28

Volume 15 ### 32Volume 15 ### 3Volume 15 ### 8Volume 15 ### 12Volume 15 ### 14Volume 15 ### 19Volume 15 ### 22Volume 15 ### 25Volume 15 ### 26Volume 15 ### 32Volume 15 ### 4Volume 15 ### 8Volume 15 ### 13Volume 15 ### 18Volume 15 ### 20Volume 15 ### 32Volume 15 ### 4Volume 15 ### 8Volume 15 ### 11Volume 15 ### 14Volume 15 ### 17Volume 15 ### 21Volume 15 ### 22Volume 15 ### 24Volume 15 ### 32Volume 15 ### 4Volume 15 ### 8Volume 15 ### 12Volume 15 ### 18Volume 15 ### 21Volume 15 ### 23Volume 15 ### 25Volume 15 ### 27Volume 15 ### 32Volume 15 ### 4Volume 15 ### 10Volume 15 ### 14Volume 15 ### 20Volume 15 ### 23Volume 15 ### 32Volume 16 ### 4Volume 16 ### 8Volume 16 ### 11Volume 16 ### 15Volume 16 ### 18Volume 16 ### 26Volume 16 ### 32Volume 16 ### 3Volume 16 ### 8Volume 16 ### 13Volume 16 ### 20Volume 16 ### 22Volume 16 ### 23

Volume 16 ### 25Volume 16 ### 30Volume 16 ### 32Volume 16 ### 4Volume 16 ### 8Volume 16 ### 11Volume 16 ### 15Volume 16 ### 15Volume 16 ### 21Volume 16 ### 25Volume 16 ### 32Volume 16 ### 4Volume 16 ### 8Volume 16 ### 12Volume 16 ### 19Volume 16 ### 20Volume 16 ### 23Volume 16 ### 26Volume 16 ### 29Volume 16 ### 32Volume 16 ### 4Volume 16 ### 8Volume 16 ### 12Volume 16 ### 14Volume 16 ### 22Volume 16 ### 27Volume 16 ### 28Volume 16 ### 30Volume 16 ### 31Volume 16 ### 4Volume 16 ### 8Volume 16 ### 11Volume 16 ### 12Volume 16 ### 16Volume 16 ### 18Volume 16 ### 22Volume 16 ### 26Volume 16 ### 30Volume 16 ### 32Volume 16 ### 4Volume 16 ### 8Volume 16 ### 12Volume 16 ### 16Volume 16 ### 20Volume 16 ### 32Volume 16 ### 4Volume 16 ### 8Volume 16 ### 12Volume 16 ### 16Volume 16 ### 20Volume 16 ### 24Volume 16 ### 32Volume 16 ### 4

Volume 16 ### 7Volume 16 ### 8Volume 16 ### 11Volume 16 ### 14Volume 16 ### 18Volume 16 ### 24Volume 16 ### 32Volume 16 ### 32Volume 16 ### 6Volume 16 ### 8Volume 16 ### 11Volume 16 ### 20Volume 16 ### 24Volume 16 ### 34Volume 17 ### 4Volume 17 ### 6Volume 17 ### 10Volume 17 ### 16Volume 17 ### 18Volume 17 ### 22Volume 17 ### 24Volume 17 ### 26Volume 17 ### 32Volume 17 ### 4Volume 17 ### 6Volume 17 ### 10Volume 17 ### 15Volume 17 ### 18Volume 17 ### 24Volume 17 ### 26Volume 17 ### 32Volume 17 ### 4Volume 17 ### 8Volume 17 ### 8Volume 17 ### 12Volume 17 ### 18Volume 17 ### 22Volume 17 ### 23Volume 17 ### 24Volume 17 ### 32Volume 17 ### 4Volume 17 ### 6Volume 17 ### 9Volume 17 ### 12Volume 17 ### 20Volume 17 ### 26Volume 17 ### 32Volume 17 ### 4Volume 17 ### 8Volume 17 ### 14Volume 17 ### 20Volume 17 ### 28Volume 17 ### 30

Volume 17 ### 31Volume 17 ### 32Volume 17 ### 4Volume 17 ### 8Volume 17 ### 13Volume 17 ### 19Volume 17 ### 24Volume 17 ### 26Volume 17 ### 32Volume 17 ### 4Volume 17 ### 8Volume 17 ### 12Volume 17 ### 14Volume 17 ### 26Volume 17 ### 32Volume 17 ### 4Volume 17 ### 6Volume 17 ### 9Volume 17 ### 13Volume 17 ### 15Volume 17 ### 18Volume 17 ### 20Volume 17 ### 22Volume 17 ### 24Volume 17 ### 27Volume 17 ### 28Volume 17 ### 32Volume 17 ### 4Volume 17 ### 9Volume 17 ### 12Volume 17 ### 15Volume 17 ### 20Volume 17 ### 24Volume 17 ### 32Volume 17 ### 4Volume 17 ### 6Volume 17 ### 9Volume 17 ### 11Volume 17 ### 25Volume 17 ### 32Volume 18 ### 4Volume 18 ### 8Volume 18 ### 12Volume 18 ### 16Volume 18 ### 20Volume 18 ### 22Volume 18 ### 23Volume 18 ### 26Volume 18 ### 28Volume 18 ### 32Volume 18 ### 4Volume 18 ### 8Volume 18 ### 13

Volume 18 ### 17Volume 18 ### 24Volume 18 ### 27Volume 18 ### 30Volume 18 ### 32Volume 18 ### 4Volume 18 ### 9Volume 18 ### 11Volume 18 ### 14Volume 18 ### 18Volume 18 ### 21Volume 18 ### 26Volume 18 ### 32Volume 18 ### 4Volume 18 ### 8Volume 18 ### 12Volume 18 ### 18Volume 18 ### 21Volume 18 ### 24Volume 18 ### 26Volume 18 ### 32Volume 18 ### 4Volume 18 ### 8Volume 18 ### 14Volume 18 ### 18Volume 18 ### 20Volume 18 ### 24Volume 18 ### 26Volume 18 ### 28Volume 18 ### 32Volume 18 ### 4Volume 18 ### 6Volume 18 ### 8Volume 18 ### 13Volume 18 ### 16Volume 18 ### 19Volume 18 ### 22Volume 18 ### 28Volume 18 ### 31Volume 18 ### 32Volume 18 ### 4Volume 18 ### 8Volume 18 ### 12Volume 18 ### 14Volume 18 ### 28Volume 18 ### 32Volume 18 ### 4Volume 18 ### 8Volume 18 ### 13Volume 18 ### 18Volume 18 ### 21Volume 18 ### 23Volume 18 ### 24

Volume 18 ### 25Volume 18 ### 32Volume 18 ### 4Volume 18 ### 6Volume 18 ### 12Volume 18 ### 16Volume 18 ### 20Volume 18 ### 23Volume 18 ### 26Volume 18 ### 30Volume 18 ### 32Volume 18 ### 9Volume 18 ### 12Volume 18 ### 20Volume 18 ### 24Volume 18 ### 32Volume 19 ### 4Volume 19 ### 8Volume 19 ### 12Volume 19 ### 14Volume 19 ### 19Volume 19 ### 22Volume 19 ### 29Volume 19 ### 32Volume 19 ### 22Volume 19 ### 22Volume 19 ### 22Volume 19 ### 22Volume 19 ### 4Volume 19 ### 22Volume 19 ### 22Volume 19 ### 22Volume 19 ### 23Volume 19 ### 23Volume 19 ### 4Volume 19 ### 8Volume 19 ### 12Volume 19 ### 17Volume 19 ### 21Volume 19 ### 21Volume 19 ### 21Volume 19 ### 22Volume 19 ### 26Volume 19 ### 32Volume 19 ### 2Volume 19 ### 4Volume 19 ### 8Volume 19 ### 8Volume 19 ### 18Volume 19 ### 20Volume 19 ### 22Volume 19 ### 22Volume 19 ### 24

Volume 19 ### 24Volume 19 ### 24Volume 19 ### 24Volume 19 ### 26Volume 19 ### 26Volume 19 ### 26Volume 19 ### 28Volume 19 ### 28Volume 19 ### 28Volume 19 ### 28Volume 19 ### 32Volume 19 ### 4Volume 19 ### 8Volume 19 ### 12Volume 19 ### 17Volume 19 ### 21Volume 19 ### 22Volume 19 ### 26Volume 19 ### 26Volume 19 ### 26Volume 19 ### 26Volume 19 ### 28Volume 19 ### 28Volume 19 ### 28Volume 19 ### 28Volume 19 ### 29Volume 19 ### 29Volume 19 ### 29Volume 19 ### 32Volume 19 ### 4Volume 19 ### 8Volume 19 ### 13Volume 19 ### 21Volume 19 ### 24Volume 19 ### 26Volume 19 ### 27Volume 19 ### 28Volume 19 ### 28Volume 19 ### 28Volume 19 ### 28Volume 19 ### 28Volume 19 ### 29Volume 19 ### 29Volume 19 ### 29Volume 19 ### 29Volume 19 ### 32Volume 19 ### 36Volume 19 ### 4Volume 19 ### 8Volume 19 ### 11Volume 19 ### 14Volume 19 ### 22Volume 19 ### 24

Volume 19 ### 32Volume 19 ### 4Volume 19 ### 8Volume 19 ### 11Volume 19 ### 14Volume 19 ### 19Volume 19 ### 32Volume 19 ### 8Volume 19 ### 11Volume 19 ### 16Volume 19 ### 22Volume 19 ### 26Volume 19 ### 32Volume 19 ### 4Volume 19 ### 4Volume 19 ### 8Volume 19 ### 8Volume 19 ### 13Volume 19 ### 13Volume 19 ### 18Volume 19 ### 18Volume 19 ### 20Volume 19 ### 20Volume 19 ### 22Volume 19 ### 22Volume 19 ### 22Volume 19 ### 22Volume 19 ### 24Volume 19 ### 24Volume 19 ### 24Volume 19 ### 26Volume 19 ### 30Volume 19 ### 30Volume 19 ### 32Volume 19 ### 32Volume 19 ### 4Volume 19 ### 6Volume 19 ### 8Volume 19 ### 14Volume 19 ### 22Volume 19 ### 25Volume 19 ### 32Volume 20 ### 4Volume 20 ### 6Volume 20 ### 12Volume 20 ### 15Volume 20 ### 20Volume 20 ### 26Volume 20 ### 30Volume 20 ### 32Volume 20 ### 4Volume 20 ### 7Volume 20 ### 11

Volume 20 ### 20Volume 20 ### 22Volume 20 ### 28Volume 20 ### 32Volume 20 ### 7Volume 20 ### 11Volume 20 ### 16Volume 20 ### 18Volume 20 ### 20Volume 20 ### 21Volume 20 ### 23Volume 20 ### 30Volume 20 ### 32Volume 20 ### 2Volume 20 ### 6Volume 20 ### 10Volume 20 ### 14Volume 20 ### 16Volume 20 ### 18Volume 20 ### 26Volume 20 ### 32Volume 20 ### 6Volume 20 ### 12Volume 20 ### 16Volume 20 ### 20Volume 20 ### 6Volume 20 ### 12Volume 20 ### 16Volume 20 ### 18Volume 20 ### 21Volume 20 ### 22Volume 20 ### 26Volume 20 ### 32Volume 20 ### 6Volume 20 ### 12Volume 20 ### 14Volume 20 ### 18Volume 20 ### 31Volume 20 ### 31Volume 20 ### 32Volume 20 ###Volume 20 ### 8Volume 20 ### 11Volume 20 ### 14Volume 20 ### 16Volume 20 ### 18Volume 20 ### 20Volume 20 ### 23Volume 20 ### 25Volume 20 ### 26Volume 20 ### 30Volume 20 ### 31Volume 20 ### 32

Volume 20 ### 2Volume 20 ### 8Volume 20 ### 16Volume 20 ### 20Volume 20 ### 22Volume 20 ### 24Volume 20 ### 32Volume 20 ### 10Volume 20 ### 18Volume 20 ### 22Volume 20 ### 26Volume 20 ### 29Volume 20 ### 32Volume 21 ### 4Volume 21 ### 8Volume 21 ### 14Volume 21 ### 26Volume 21 ### 31Volume 21 ### 31Volume 21 ### 32Volume 21 ### 4Volume 21 ### 9Volume 21 ### 11Volume 21 ### 14Volume 21 ### 16Volume 21 ### 18Volume 21 ### 24Volume 21 ### 30Volume 21 ### 32Volume 21 ### 6Volume 21 ### 8Volume 21 ### 13Volume 21 ### 14Volume 21 ### 16Volume 21 ### 20Volume 21 ### 26Volume 21 ### 31Volume 21 ### 32Volume 21 ### 2Volume 21 ### 6Volume 21 ### 10Volume 21 ### 13Volume 21 ### 16Volume 21 ### 19Volume 21 ### 20Volume 21 ### 28Volume 21 ### 32Volume 21 ### 6Volume 21 ### 11Volume 21 ### 13Volume 21 ### 17Volume 21 ### 20Volume 21 ### 22

Volume 21 ### 23Volume 21 ### 26Volume 21 ### 30Volume 21 ### 31Volume 21 ### 32Volume 21 ### 2Volume 21 ### 6Volume 21 ### 10Volume 21 ### 13Volume 21 ### 18Volume 21 ### 20Volume 21 ### 28Volume 21 ### 32Volume 21 ### 2Volume 21 ### 4Volume 21 ### 10Volume 21 ### 12Volume 21 ### 15Volume 21 ### 16Volume 21 ### 18Volume 21 ### 22Volume 21 ### 30Volume 21 ### 32Volume 21 ### 2Volume 21 ### 5Volume 21 ### 8Volume 21 ### 14Volume 21 ### 16Volume 21 ### 19Volume 21 ### 29Volume 21 ### 32Volume 22 ### 6Volume 22 ### 12Volume 22 ### 14Volume 22 ### 16Volume 22 ### 19Volume 22 ### 26Volume 22 ### 32Volume 22 ### 6Volume 22 ### 10Volume 22 ### 14Volume 22 ### 16Volume 22 ### 20Volume 22 ### 23Volume 22 ### 26Volume 22 ### 36Volume 22 ### 2Volume 22 ### 2Volume 22 ### 2Volume 22 ### 4Volume 22 ### 6Volume 22 ### 10Volume 22 ### 16

Volume 22 ### 19Volume 22 ### 22Volume 22 ### 22Volume 22 ### 22Volume 22 ### 22Volume 22 ### 22Volume 22 ### 22Volume 22 ### 22Volume 22 ### 22Volume 22 ### 22Volume 22 ### 23Volume 22 ### 23Volume 22 ### 23Volume 22 ### 24Volume 22 ### 24Volume 22 ### 24Volume 22 ### 24Volume 22 ### 24Volume 22 ### 26Volume 22 ### 32Volume 22 ### 2Volume 22 ### 5Volume 22 ### 5Volume 22 ### 6Volume 22 ### 10Volume 22 ### 14Volume 22 ### 16Volume 22 ### 18Volume 22 ### 19Volume 22 ### 19Volume 22 ### 19Volume 22 ### 19Volume 22 ### 19Volume 22 ### 19Volume 22 ### 19Volume 22 ### 19Volume 22 ### 19Volume 22 ### 20Volume 22 ### 20Volume 22 ### 20Volume 22 ### 20Volume 22 ### 20Volume 22 ### 20Volume 22 ### 20Volume 22 ### 20Volume 22 ### 20Volume 22 ### 20Volume 22 ### 20Volume 22 ### 21Volume 22 ### 21Volume 22 ### 21Volume 22 ### 21Volume 22 ### 21

Volume 22 ### 21Volume 22 ### 21Volume 22 ### 21Volume 22 ### 21Volume 22 ### 21Volume 22 ### 21Volume 22 ### 22Volume 22 ### 22Volume 22 ### 22Volume 22 ### 22Volume 22 ### 22Volume 22 ### 22Volume 22 ### 22Volume 22 ### 22Volume 22 ### 23Volume 22 ### 23Volume 22 ### 23Volume 22 ### 23Volume 22 ### 23Volume 22 ### 23Volume 22 ### 26Volume 22 ### 31Volume 22 ### 2Volume 22 ### 5Volume 22 ### 9Volume 22 ### 13Volume 22 ### 14Volume 22 ### 15Volume 22 ### 16Volume 22 ### 18Volume 22 ### 18Volume 22 ### 18Volume 22 ### 18Volume 22 ### 18Volume 22 ### 18Volume 22 ### 18Volume 22 ### 18Volume 22 ### 19Volume 22 ### 19Volume 22 ### 19Volume 22 ### 26Volume 22 ### 30Volume 22 ### 32

Title* Dennette Derby-McDermott or Denette McDermott*Sonny Burnette, see also Sonny Burnett*Tammy Sue KirkThomas A. KennedyJean-Pierre RampalG. F. Handel - Sonata in F Major, 2nd movementFlute Care RemindersRansom Wilson: Young American VirtuosoChoose Your Contest PieceG. F. Handel - Sonata in F Major, 3rd movementMindy Kaufman - New York's First PiccOrnamenting the Largo Movement of Vivaldi's C Major Piccolo ConcertoThe Elusive Mr. AndersenGetting the Most Out of Practicing Andersen EtudesAndersen's ScherzinoAnd The Winner Is Á Jeffery ZookPhrasing Tips for the First MovementSelecting a CollegeFrans BrueggenSome Flutes of the PastThe Tin Whistle - a flutist's companionBenjamin Godard's AllegrettoOn Tour with the Chicago Flute Society Á How Is A Flute MadeSelecting a FluteFlute and Piccolo Solos with BandPaula Robison: Following Her Own StarFlute Choir - The Ensemble for the 1980sTelemann Canonic Duet in G MajorChristmas Gift IdeasMore Flute and Piccolo Solos with BandCarol Wincenc - A Dream FulfilledWhat is the NaumburgA Night Piece by Arthur FooteHow To Prepare a Taped Audition/CompetitionJulius Baker - The Complete FlutistThoughts on Flute Tone and TuningSonata for Solo Flute, by John La Montaine, first movementComic CapersEugenia Zukerman - Flutist ExtraordinaireFantasia in D Minor by Georg Philipp Telemann, first movementJeff Khaner - Having a Great TimeCecile Chaminade - Concertino, Part IAdjusting to BracesWilliam Kincaid - Master MusicianThe Kincaid LegacyCecile Chaminade - Concertino, Part IIGood Music for Flute ChoirsFlying Fingers: Which Kind Do You HaveRobert Aitken - A Flutist With Quiet PowerDanse de la Chevre by Arthur HoneggerLaurence Trott - The Piccolo VirtuosoWhoa! Nellie! By George Gould

Piccolo Tips from Laurence TrottHarold Bennett - The Flute DoctorOrchestra of the MonthDon't Let Sight-Reading Scare YouCaring for Your FluteThe Piping Faun by Felix BorowskiMaster Class with Paula RobisonDoriot Anthony Dwyer - A Woman of Many FirstsOrchestra of the MonthShall We DancePolonaise and Double from Suite in B Minor by J. S. BachTips from Doriot Anthony DwyerGeoffrey Gilbert - A Teacher of GreatsLegende Pastorale by Benjamin GodardHubert Laws - From Kuhlau to ColtraneClassical Playing Techniques in Jazz Flute PerformancesIrlandaise from Claude Bolling's SuiteBeatrice Keram - A Winning TeacherMadrigal by Philippe GaubertBonita Boyd - Rising StarOrchestra of the MonthSonata by Paul Hindemith, first movementRobert Willoughby - Seeking VarietyAdapting Music for Your EnsembleAndante in C Major, K. 315 by W. A. MozartWay Back WhenRhythm - The Meat and Potatoes of MusicTips for Playing Auditions - Part ISamuel Baron - Still LearningSamuel Baron -- Still LearningLive-With-TapeEldin Burton Sonatina, first movementGo for BaroquePracticing as a Way of LifeCommon Tone ProblemsLive-With-TapeGo for BaroquePracticing as a Way of LifeCommon Tone ProblemsJames Pellerite - Reaching for PerfectionAirs de Ballet d'Ascanio by Camille Saint-SaensMusic for the Flute ChoirAuditions, Auditions, AuditionsTips for Playing Auditions, Part IIBernard Goldberg - Carrying on the TraditionMethodical Sonata in G Minor by G. P. TelemannA Galway ExperienceMaster Class with Bernard GoldbergJeanne Baxtresser - Meeting the CrossroadsProducing Different Tone ColorsSonata in F Major by G. P. TelemannExperimenting with Flute ToneMeet the Flutists of Á

Stage Fright - Never!Tim Day - Finding the CenterSuite Paysanne Hongroise by Bartok-ArmaTips for Playing AuditionsJoseph Mariano - A Man of InFlutenceSonata "Undine" by Reinecke, first movementPreventive MaintenanceThe Benefits of InflationFrances Blaisdell - Ahead of her TimeMartinu's First Sonata, first movementTranscribing for BeginnersJulia Bogorad - Using Every MinuteThe Piston Sonata, first movementTrill FingeringsA Bohm Experience in MunichSteve KujalaHandel Sonata in E Minor, first movementLearn to Improvise: Tips from Steve KujalaNancy Toff's The Flute BookThomas Nyfenger - More Than a FlutistCelebrationCleaning and Oiling the FluteMichala Petri - Recorder VirtuosoC.P.E. Bach's Hamburger Sonata, first movementMary Louise Poor - A Lesson in CouragePlay Without PainThe Flutist and Pianist - A PartnershipMaurice Sharp - Fifty Years with ClevelandRavel's Daphnis and Chloe SuiteTuning with Difference TonesA Flute You May Have Never HeardMichael Emmerson - Finder of the Right StuffSummer PracticeMozart's Concerto in G Major, K. 313Franz Schubert's Minuet in F MajorFortunate Misfortunes: Steps Toward the Alexander TechniqueAwareness, Freedom, and Muscular ControlMichel Debost - Keeping it SimpleBasics Before RevolutionHoward Hanson's SerenadeJean-Pierre Rampal - With Love in His HeartMendelssohn's Scherzo to A Midsummer Night's DreamHarvey Sollberger - Self Discovery Through MusicLuciano Berio's Sequenza for Flute AloneDoctoral Dissertations on the FluteAlternate FingeringsAndras AdorjanDiagnosis and Prescription - a la AdorjanBrahms' Symphony No. 4 and Beethoven's "Leonore" Overture No. 3Brahms' Symphony No. 4 and Beethoven's "Leonore" Overture No. 3Doctoral Dissertations on the Flute - Part IIBritton Johnson - A Man to RememberAaron Copland's Duo for Flute and Piano

On the BlockCircular Breathing - You Can Do ItDoctoral Dissertations on the Flute - Part IIIJames Newton - Starting a New TraditionFour Jazz EtudesThaddeus Watson - An American in FrankfurtCarol Wincenc and the Magic Flute FestivalWhistle Tones: Exercises for the EmbouchureStress Prevention and ControlWorking in the Recording StudiosLew Tabackin - The Word is JazzSonata in E Minor, by J.S. BachThird Register Playing - Shh!Jennifer Steele - Profile of a Winner30 Caprices for Flute, by Sigfrid Karg-ElertJawboning and the Flute Embouchure, Part IAlain Marion - Following Natural InstinctsPierre Sancan's Sonatine pour flute et pianoWhy Can't I Get the MusicJim Walker - A Life of ChangesPlugging in the FluteThe British Flute Society's London Flute DayJawboning and the Flute Embouchure, Part IIDonald Peck - A Musician Who Happens to Play the FluteToo Much Tongue in TonguingDo You Really Need A ManagerHow to Prepare Audition TapesJawboning and the Flute Embouchure, Part IIIWhy TeachLeone Buyse Pictures SuccessBreakthroughs for the Adult AmateurThe Penny Whistle SchoolThe Linguistic-Articulation ConnectionAlbert Tipton -- A Scholarly MusicianSolving Musical ProblemsAdventures in ProgrammingSidney Lanier's "Wind-Song"Galway's ChallengeKarl Kraber: Staying On TrackQuintet TechniqueW.A. Mozart: "Concerto in G", K. 313 Allegro MaestosoContemporary Sounds for the Baroque FluteThe Pleasure and Pain of PerformingWilliam Hebert: Playing Piccolo with PridePiccolo SolosPiccolo SolosGordon Jacob's "The Pied Piper" I: The Spell for solo flute II: The March for solo piccoloGordon Jacob's The Pied Piper. I: The Spell for solo flute. II: The March for solo piccoloMirror, Mirror On the WallMirror, Mirror on the WallThe Flute Boom: An Embarrassment of RichesThe Flute Boom -- An Embarrassment of RichesConcentration Thieves

Concentration ThievesKathy Chastain: Don't Call Her MadameKathy Chastain: Don't Call Her MadameAn Outsider's View, Inside the Paris ConservatoireAn Outsider's View, Inside The Paris ConservatoireThe Gamme-Game of Michel DebostThe Gamme-Game of Michel DebostIn Search of GoldIn Search of Gold"Idle Conversations" (1986)Antique Flute Prices Make HistoryAntique Flute Prices Make HistoryJudith Lapple: At Ease With The FluteJudith Lapple: At Ease with the FluteOvercoming Performance AnxietyOvercoming Performance AnxietyHow Do You Spell Relief (For Stress)? E-X-E-R-C-I-S-EHow Do You Spell Relief (For Stress)? E-X-E-R-C-I-S-EFlutists Ask the DoctorFlutists Ask The DoctorSummer Flute Master Classes 1988The 1988 Flute Talk Competition Winner: Amy PorterThe 1988 Flute Talk Competition Winner: Amy PorterBecoming an Ideal StudentBecoming an Ideal StudentCongratulations and AdviceHow to Get The Most of Your Private LessonsHow to Get the Most Out of Your Private LessonsSweet 16Communicating Without SpeakingCommunicating Without SpeakingRobert Beaser's "Mountain Songs"Performance Guide: Robert Beaser's Mountain SongsBalance in Flute and Guitar PlayingBalance In Flute And Guitar PlayingThe San Diego Convention 1988How to Get Around San DiegoProfile of the President: Betty Bang-MatherProfile of the PresidentThe Role of the Inner VoiceThe Role of the Inner VoiceAn Impassioned Flutist: Raymond GuiotAn Impassioned Flutist: Raymond GuiotJanet Ferguson - More Than MelodyJanet Ferguson -- More Than MelodyFlute Tone Quality: Does the Metal Make a Difference?Flute Tone Quality: Does the Metal Make A Diference.Music ScholarshipsMusic ScholarshipsRejoicing With the FluteRejoicing with the FluteMichel Debost's Scale GameMichel Debost's Scale Game

VariationenWalfrid Kujala: King of the High NotesWalfrid Kujala: King of the High NotesPerformance Guide: An Approach to OrnamentationPerformance Guide: An Approach to OrnamentationMariano's Musical ConceptsMariano's Musical ConceptsNice (France) Flute SymposiumDirectory of Flute CompetitionsWhy Corks?Why Corks?Study DuetThe Piccolo CaseThe Piccolo CaseVariations on a Theme by MoyseVariations of a Theme by MoyseMaxence Larrieu: Nothing to ProveMaxence Larrieu: Nothing to ProveAlbert Cooper: Flutemaker at the Cutting EdgeAlbert Cooper: Flutemaker at the Cutting EdgeKirkwood Flute EnsembleBecoming a Team PlayerBecoming a Team PlayerExploring the Voice and Flute EnsembleExploring the Voice and Flute EnsembleA Flute Quartet with Only One FluteA Flute Quartet With Only One FluteKirkwood Flute EnsembleEspree: Blending Flute and HarpEspree: Blending Flute and HarpThe Jubal Trio: Three Working as OneThe Jubal Trio: Three Working As OneThe Embouchure and OrthodonticsThe Embouchure and OrthodonticsPreparing for a Career in MusicPreparing for a Career in MusicPointers to Holding the FlutePointers to Holding the FluteTwo Desert ScenesGunther Schuller "Concerto" PremieredGunther Schuller Concerto PremieredPurchasing a PiccoloTrevor Wye: Wise TeacherTrevor Wye: Wise TeacherThoughts on Playing the FluteThroughts on Playing the FluteSummering in RamsgateSummering in Ramsgate "Morning Sunshine"Morning SunshineCreate a Flute EnsembleCreate a Flute EnsembleWalt "The Kid" Parazaider: I Don't Want To Be A Lawyer

Walt ÒThe Kid? Parazaider: I Donˆt Want To Be A LawyerPracticing With A TunerStudents of Music for LifeBowling Green Stages New Music and Art Festival Teaching Breath ControlTeaching Breath Control Adapting the Flute to the EmbouchureThe Rules of Good Page TurningTo Be or To Bop: Denis DiBlasio ExplainsTo Be or To Bop: Denis DiBlasio ExplainsNew MusicNew MusicThe Life of a Music Software AuthorIf the Flute FitsThe Importance of CompetitionThe Importance of CompetitionProducing a Good SoundA Studentˆs Guide to a Superior Festival Rating Let's Talk Picc: "The Practice PlanJames Galway: Pied Piper with a PunchPerformance Guide: Franz Dopplerˆs "LˆOiseau des Bois"Performance Guide: Franz Doppler's L'Oiseau des BoisTeaching Finger Technique 1989 Summer Flute Master Classes "Song No. 2" from "Songs for Flute and Piano"Jim Walker Soars Into FlightSwitched On Flute The Centennial of Marcel Moyse: A Biographical SketchThe Living Heritage of Marcel MoyseThe Magic of MoyseCentennial CelebrationsCatherine Ransom - Winner Takes AllAn Interview with Peter Lukas GrafThe Basics of Flute PlayingN.F.A. Convention PreviewPutting Contests Into Perspective Lip Plate Replacement Why Teaching is an Art "Song No. 4" from "Songs for Flute and Piano" Bonita Boyd - Flutist SavantLate Bloomer: Rien de ReedeFlute TipsThe Art of Writing Music ManuscriptsOh No, Not Sightreading!Chant from Three for Two, OneA la KujalaThe Contemporary FlutistThe Dynamics of Breathing with Arnold Jacobs & David CugellDirectory of Flute CompetitionsRobert Dick Extends the BoundariesEric Arnal's "Echoes from Hiroshima"A Tribute to Murray PanitzThe Bowland-Dowdall Duo: They'll Take You Back in Time

"Roslin Castle": A Performance GuideThe Baroque Flute and Harpsichord EnsembleThe First James Galway International SeminarA Survey of Ambiguous Wind ArticulationsMichel Debost Teaches How to LearnPlaying OperaRansom Wilson: Flutist and ConductorFlute IntonationFlute Duet No. 1Observant Teacher Samuel BaronA Performance Guide to "Lookout!"MotivationLet It SwingThe Flute and the Glass HarmonicaThe Nutcracker and the PiccoloPeter Lloyd: In Search of Musical IdealPeter Lloyd Remembers MoyseThe Art of Flutist Paul TaffanelThe Legend of Daphnis and ChloeHow to Release TensionThe Pinkie Polka1990 Summer Master ClassesPlaying the AdjectiveHarry Houdeshel: The Music Never StopsPractice Tips for Technical Passages of J. S. Bach's "A minor Partita"Theobald Boehm: Father of the Modern FluteFantasy for flute aloneMusic "Elegia"Profile of Winner Jennifer DebiecPutting Contests Into PerspectiveCanonic DuetsConfessions of a Weekend PianistTeaching Adult BeginnersSascha Gorodnitzki on MusicCircular Breathing for Wind PlayersNew Works for PiccoloMusic and TechniqueI Could Have Laughed All NightThe 1990 Flute ConventionBuying a FluteMoulade in JuneSoloing with the BandFlute ExpectationsA Conversation with Ned RoremTechnique of SoundSoichi Minegishi, Teacher and Orchestral PlayerFlute Sonatas Fit for a KingThe Strobe: A Forgotten FriendLouis Ouzer Photo GalleryRenewing Old StandardsAlternate FingeringsTempo: Machine or Heartbeat?Right Place, Right Time

Combining Music and BusinessThe Diaphragm MystiqueDirectory of CompetitionsLady's FrolicPiccolo Repertoire ExpandsHit Parade or Hit List?Listen to More Than RecordingsFlutists Don't Have All the AnswersWalter Haedrich Found His WayImproving ArticulationMisleading Music NotationSilent Night, Holy NightPreparing Rossini's SemiramideRecipe for Flute PlayingPerpetuating the ArtDeficient DynamicsThe Career MusicianCeramic FlutesPlaying from Orchestral PartsChallenging Talented StudentsThe ButterfliesDifficulties Made SimpleVibrato and the FluteThe Vitality of MusicConnecting with the CrowdControlling DynamicsSousa's "Stars and Stripes"SongDancePiccolo TidbitsInterpretation is Imagination and GrammarAlexander Murray on InterpretationConcepts of Phrase BreathingPerformance Guide Interpreting "Syrinx"The Alec Wilder LegacyFlutist Georges BarrereFriends for Flute QuartetShostakovich and the PiccoloFreedom, Equality, and StabilityPost-Concert Small TalkA Conversation with Mark ThomasJean-Pierre Rampal on "Syrinx": Another Point of ViewMozart's Flute MusicAltissimo Register Fingering Chart1991 Summer Master ClassesPiccolo BlendPlay Big, Blow SmallSchubert's "Theme and Variations on Trockne Blumen"Developing Natural MusicianshipAdvice from the JudgesLearning ArtistryBallet Music and the PiccoloSimple Mechanics of Breathing

Jean-Pierre Rampal on Making MusicAnalysis of Telemann's "Sonata in G Major"The Inner Game of MusicSong for Flute and PianoSymphony Piccolo PlayersThe Basics of Instrumental PlayingWinning With Musicality: An Interview with Dionne HansenEvaluating Contest PerformancesThe 19th National Flute Association ConventionOrchestral FlutistsTwo for Two, TwoPiccoloists of NoteLinking the Past and Present: An Interview with George MoreyArthur Farwell's "Suite for Flute and Piano"Ingredients of Good PracticingStarting a Teaching StudioBasics of Flute PlayingA Dozen Reasons for Piccolo PlayingJan Gippo Talks PiccImproving Piccolo TechniqueStarting to Play PiccoloCarmen's Piccolo DuetPiccolo AuditionsDirectory of Flute CompetitionsPlaying Db Repertoire on C PiccoloPerforming Ravel's "Daphnis et Chloe"Soft Piccolo PlayingEnjoyable Flute PlayingComposing with ClarityA Guide to ImprovisationThe Genius of Moyse's Melodious StudiesIt's Never Too LateAway in a MangerAdvice for Future College FlutistsEarly Piccolo LessonsEnjoying the FluteLet It HappenBeyond the Orchestra: An Interview with Susan MilanThe Teaching of Marcel MoyseJingle BellsHistoric FlutesThe Rampal DiscographyTonguing and AttacksStop Trying to be a Good MusicianThe History of the PiccoloGuide to Performing Stravinsky's "Rite of Spring"Controlling the AirstreamKim's ChaseDispelling Vibrato MythsFlute VibratoThe Language of MusicPermission to FailInterview with Clement Barone

Nothing But MusicWind and Song: A Master Class with Arnold JacobsSwingin' FlutistUnderstanding Baroque MusicFlute Tradition or Labor CampTechniques of TrustStress or Strain ForeverFlute Fingerings, In Homage to Henri AltesComposing with ImaginationHarold Bennett, Flute DoctorSensations for Flute and Percussion1992 Master Class ListingSymphony PiccoloistsLearning Through TeachingLearning Through QuestionsEvaluating the PerformancesComparing Bach SonatasNutrition for MusiciansFlute WorksPlaying in TuneA Performance Checklist for Chaminade's ConcertinoGettin' RhythmBeyond Pan and SyrinxSplitting KeysA System of MemorizationNew Music for FluteMetabainoPiccolo RepertoireFingering FolliesPerforming Donald Erb's Drawing Down the MoonFlute IntonationPerformance Guide to Ravel's "Daphnis et Chloe"Flute FanfareAmerican Composer Otto LueningSweepin'Planning a ProgramAdvice for Young FlutistsA Close RelationshipThe 1992 Flute ConventionMaxence Larrieu on Stylistic PlayingIntonation Beyond the StrobeIntonation and the Harmonic SeriesBrowsingBaroque PerformanceEmbouchure ProblemsEmbouchure DevelopmentSuzuki a la DebostNew Piccoloist and ConcertoProductive PracticingPerformance Guide to Harvey Sollberger's "Quodlibetudes"Interpreting Germanic OrnamentsComposing on a ComputerFlute Euphorics

Duo WorksThe Questions Beginners AskPlaying with VibratoDeveloping Expressive PlayingThe Nutcracker's Faux PasProductive PracticingThe Rampal TechniqueWanted: Jazz FlutistsCarol Wincenc's AdviceThe Genesis of a Flute Choir"Hasta Ma±ana"1992-93 FLute CompetitionsPerforming Piccolo PlayThe Three Little DevilsWhy Marry a Flutist?Playing With Natural Style - An interview with Marzio ContiThe Work Behind WorkshopsThe Italian Flute School, Influential and ForgottenAur?le Nicolet - Gentleman FlutistNewly Composed MusicPerforming Piccolo PlayVibrato and ResonanceDeveloping Instinctive InterpretationExpressive Nuances of Sound: Dynamics, Tone Color, and VibratoPerforming Chamber MusicImproving IntonationThe Elements of TechniqueLouis Ouzer Photo GalleryBeethoven's American ConnectionNew Piccolo RepertoireBlending and TuningDivergent Views on FingeringJazz TechniqueThumbs Up for Altes and BriccialdiBecoming a Studio MusicianA Nelhybel PremiereStress and PainPiccolo Chamber RepertoireTo Breathe or Not to BreathePerforming Hindemith's "Flute Sonata"Mendelssohn's "Fairy Scherzo"Modifying the Boehm SystemNicolas Slonimsky's WitA Wincenc Master ClassMusical ValentinesRunning the Reception Line GauntletMusic for Solo FlutePlayer ProfilesPerforming the Debussy "Sonata"College Music Programs: Progress Without PurposeFlute Tone Production1993 Summer Master ClassesNew Music for Flute and Piano

Performing Donald Erb's Drawing Down the MoonLearning Through Teaching - An interview with Jonathon SnowdenA Performance Checklist for Chaminade's "Concertino"Gettin' RhythmBeyond Pan and SyrinxSplitting KeysNew Music for Flute"Metabaino"Musicians As AccompanistsProfile of Demarre McGillComments and Advice From Competition JudgesReinecke's "Undine" SonataFlute Shopping GuideUnderstanding the GrupettoPlayer SketchesThe Scale GameFlute Convention PreviewVibrato Then and NowLeonardo De Lorenzo, Italian-American FlutistAn Automatic C# SystemNew Piccolo CompositionsFlutes, Phantasms, PhetishesFrederick the Great, Flutist and ComposerSigfrid Karg-Elert's Flute WorksJohn Corigliano's Flute MusicPerformance Tips for Intermediate PlayersCanonical StudiesMusical BirdsBeethoven's MistakeFlute ExpectationsPerforming Messiaen's "Le Merle Noir"Switching to Wood: An Interview with Felix SkowronekSolo per il Flauto Traverso, No. 126Directory of 1993-94 Flute CompetitionsFlutists' Common MistakesMahler's Piccolo PartsThe First Six MonthsCecile Chaminade's "Concertino" With a New TwistRevisiting Rubank's "Selected Studies"The Voxman MethodSolo per il Flauto Traverso, No. 145The French School: Miracle or MethodPerforming Aaron Copland's "Duo for Flute and Piano"Trading Flute for a Baton: An Interview with Robert SpanoAfter SyrinxSwimming Practice Applied to MusicSolo per il Flauto Traverso, No. 190Playing Ravel with EleganceTrailblazer Doriot Anthony DwyerPerforming Gustav Holst's "The Planets""Monologue"Landing an Orchestral JobNew Approaches to Teaching Notation

Performing with Pavarotti: An Interview with Andrea GriminelliThe Met's Trudy KaneExercise on "Syrinx"Setting Studio PolicyOvercoming TensionThe Road to BerlinTeaching Musicality with RhythmCrossing Over Into Jazz1994 Summer Master ClassesA Gem of a Master Class18th-Century Woodwind ArticulationInterpreting Bach's AppoggiaturasCorrecting Schubert's Second Variation1994 Competition Winner Gaspar HoyosJudges' Roundtable DiscussionMemories of Music CampVocalizing on the FlutePreview of the 1994 NFA ConventionThe Power of EleganceRecounting the Wizardry of Theobald BoehmThe Piccolo Solos That Challenge the VeteransSuccess Building Success - An Interview with Timothy HutchinsPerforming Honeggerˆs Danse de la Ch?vreFlute Fundamentals "Variations on Yankee Doodle" by Otto LueningPlaying Pops Concerts Enthusiasm for Jazz Into the Jaws of InflationMusicality First - An Interview with Conrad KlemmInterpreting Paul Whearˆs Music Variations 4-6 on Yankee Doodle The Benefits of Inflation Annual Listing of Flute CompetitionsProjecting Sound and SpiritA Guide to Performing Georges-Hueˆs ÒFantaisie?Take Your PickTake Your Pick Keeping Instruments in Shape Breathing Exercises Combining the Best of Schools - An Interview with Robert WilloughbyFlute Tone and Intonation Performing Dutilleuxˆs ÒSonatine?ArticulationThe Holly and the IvyThe Flute Music of Ernest Bloch The First Carnegie Hall Flutist - Demetrios CallimahosThe Road That Never Ends Jazz Scales for Classical Flutists On Becoming a Music Major"Five-Six?Performing Persichettiˆs ÒParable for Solo Flute?Puffing is Not Hazardous to Flute PlayingJohn LaMontaineˆs Flute Music

Berliozˆ Delusive Delights Mental Concepts to Improve Performance Of Metronomes and Tempos Donald Peck: Still Enjoying the ChallengePerforming Enescoˆs ÒCantabile et Presto? Conquering the New World: A Profile of Georges Barrere1995 Master Classes Drawn to the Music: An Interview with Jeanne Baxtresser Performing Debussyˆs ÒInterlude? from the Sonata for Flute, Viola, and HarpA New Perspective on Note ReleasesColtraneˆs Harmonic Roll Index of Performance Guides Continuing the Kincaid Legacy: An Interview with Jacob BergPreparing for Performances Performing Jolivetˆs Concerto Exploring the Sources of Bachˆs Concert Studies Buying a Used Flute Adjust it Yourself Index of Orchestral Performance Guides 1995 Competition Winner Lance Sanford Judgesˆ Comments from the 1995 Flute Talk CompetitionExpressive Vibrato Preparing ÒThe Childrenˆs March? from John Coriglianoˆs ÒPied Piper Fantasy"The 1995 N.F.A. Convention A Tribute to Julius Baker Producing the Best Tone Tone Colors and Articulation Celebrating Kincaidˆs Centennial A Guide to Performing ÒSuite de Ballet?The Musical Evolutions of Strauss, Ravel, Schoenberg Finding the Paths to Tone and Technique 1995-96 Directory of Flute CompetitionsDebostˆs Comments: Stealing Is Not a CrimeIn Search of Musical MeaningPerforming Mozartˆs "Concerto #2 in D Major" Donˆt Forget the Bb Lever Rediscovering Kincaidˆs Notes on Flute Performance New Music ReviewsLetˆs Talk Picc: The Piccolo Scene in Sydney Debostˆs Comments: Flexing Flute MusclesNew Music ReviewsOf Flutes and MusesFresh Ideas for Mozart Cadenzas Rediscovering William Kincaidˆs Notes On Flute Performance The Language of Articulation Letˆs Talk Picc: Noteworthy Piccolo Events Debostˆs Comments: Flute AlignmentIn Search of a Pure Tone - An interview with Philippe BernoldA Performance Guide to Jolivetˆs ÒChant de Linos? Performing Donjonˆs ÒPan?Composer Otto Luening at 95 Patience and Perseverance Pay Off The Delights of College Auditions

Letˆs Talk Picc: New Works for PiccoloDebostˆs Comments: Kujalaˆs New TextbookThe Boundless Energy of William Bennett Bennett Reflects on Geoffrey Gilbert Guide to Performing Zwilichˆs ÒConcerto?Another View on Mozart Cadenzas The Performance Pitfalls of Godardˆs ÒAllegretto? Recent Recordings"Etudes for Flute Alone? by Otto LueningLetˆs Talk Picc: The Open-Hole Piccolo Debostˆs Comments: Jean Baxtresserˆs Ten Commandments Adjusting to Play with the Philadelphia Style - An Interview with Jeffrey KhanerPerforming Martinuˆs ÒFirst Sonata? Getting the Most Out of Lessons 1996 Directory of Masterclasses Letˆs Talk Picc: Piccolo Solos with Band Debostˆs Comments: Crossing the Bridge Elena Durflnˆs Special Niche Performing the ÒFinale? from Debussyˆs ÒSonata? Blending Flutes and Clarinets Learning Showmanship from Opera Stars Practicing Scales with Harmonics "Evening at the Pond?Selected Flute Ensemble Music Letˆs Talk Picc: Selecting a Piccolo Debostˆs Comments: ÒOf Balance and Posture? The French Influence on American OrchestrasA Performance Guide to Mowerˆs ÒSonata Latino? 18th-Century Tempos in Historical Context New Music: ÒThe Girl with Emphysema?Posture, Position, and Sound Improving the Odds for a Career in Music New Music ReviewsLetˆs Talk Picc: ÒThe Piccolo in Prokofievˆs 5th? Debostˆs Comments: ÒPain and Pleasure? Flora Lim Reaches Her Goal Comments from the JudgesPreview of the 1996 N.F.A. Convention Practice Partners Letˆs Talk Picc: ÒGrainger, Persichetti, and the Piccolo? Debostˆs Comments: ÒControlling Stress? The Quest for Musicality, An Interview with Jacques Zoon A Performance Guide to Rivierˆs ÒOiseaux tendres? The Saint Louis Flutists The Boston Flutemaking Tradition New Music Reviews Letˆs Talk Picc: ÒStumbling Into Being Piccoloists? Debostˆs Comments: ÒHit It, Donˆt Attack It? On the Nuances of Teaching, An Interview with Bradley Garner Basic Jazz Improvisation Performance Tips from Wynton Marsalis Making a Compact Disc New Music Reviews

1997 Flute CompetitionsThe Chicago Symphony Flutists Letˆs Talk Picc: ÒPiccolo Versatility? Debostˆs Comments: ÒIn Pursuit of Style? Following the Rampal Style, An Interview with Shigenori KudoA Performance Guide to Mark Phillipsˆs ÒRain Dance? Lessons From OperaLessons From Opera Composing a Cadenza in the Mozart Style The New York Flute SectionLetˆs Talk Picc: ÒA Concert of Piccolo Music"Debostˆs Comments: ÒIsometrics and the Flute"Pearce on PiccoloA Performance Guide to Eldin Burtonˆs ÒSonatina?Recent Recordings: Aspects of French PhrasingThe Cleveland Orchestra FlutesA Bright Future for Mimi StillmanNew Music Reviews: Letˆs Talk Picc: ÒPiccolo Competition Winners?Debostˆs Comments: ÒThe Air Column". Basics for Beginning FlutistsA Performance Guide to Katherine Hooverˆs ÒKokopeli? The Dynamics of Breathing: A discussion with Arnold Jacobs and David Cugell, M.D. The Detroit Symphony FlutesSharing Flute Lessons The Titanium Flute New Music Reviews: Letˆs Talk Picc: ÒPiccolo Misconceptions?Debostˆs Comments: ÒComfort, Fingers, and Phrasing". "Winning a Competition?"The Orchestral Experience? by Donald Peck. "Performing Muczynskiˆs Sonata?"The Art of Gracefully Declining a Performance? Whatˆs New in the Music Industry. The Los Angeles Philharmonic Flutists"The Art of Flutemaking?"A Profile of Tomas Janosik? Letˆs Talk Picc: ÒLiebermannˆs Piccolo Concerto?Debostˆs Comments: ÒThe Gentle Art of Teaching". On Whistle Tones and Articulation: An Interview with Bernard Goldberg Conflicting Analyses of Messiaenˆs ÒLe Merle noir? The San Francisco Flutists1997 Directory of MasterclassesLetˆs Talk Picc: ÒPerforming Liebermannˆs Piccolo Concerto, An Analysis of the Second Movement? Debostˆs Comments: ÒPatient Practice Pays Off". "The Latin Jazz of Nestor Torres?A Performance Guide to Liebermannˆs Flute Sonata by John Barcellona. The l9th-Century American Flutist, ÒThe Career and Compositions of Sidney Lanier?The Philadelphia Flutists"A Night in the Cabin? Letˆs Talk Picc: ÒLiebermannˆs Piccolo Concerto, An Analysis of the Third Movement?Debostˆs Comments: ÒResting While Playing"

New Music Reviews Reaching and Inspiring Students: An Interview with Hal Ott "The Orchestral Experience" by Donald Peck. "The Conflicts Behind Prokofievˆs Compositions?"Performing Prokofievˆs Sonata in D, Op. 94? The Atlanta FlutistsLetˆs Talk Picc: ÒBroughtonˆs Piccolo Concerto? Broughton's Piccolo ConcertoOf Flute Playing and CookingWinning with Confidence: An Interview with Keren SchweitzerComments from the Contest Judges"The Conflicts and Contributions of Johann Tromlitz?Chicago Convention Preview Letˆs Talk Picc: ÒSelected Piccolo Solos? Debostˆs Comments: ÒBreathe with Your Ears".From Flutist to Conductor: An Interview with Keri-Lynn Wilson"Performing Guarnieriˆs Sonatina? The Dallas Flutists"Selected Piccolo Solos?"Hearing the Old Masters? "Ballad? from ÒSuite for Flute and Guitar? New Music ReviewsLetˆs Talk Picc: ÒAudition Tips for Piccoloists?Debostˆs Comments: ÒFlute Competition a La Kobe". Teaching Self-Awareness: An Interview with Ellen Schimmel A Performance Guide to Hindemithˆs ÒAcht St?cke?"Embellishing Irish Folk Songs? Directory of Flute Competitions. Martinuˆs Forgotten SuiteProfile of the National Symphony Flutists Letˆs Talk Picc: ÒPiccolo Premieres?Debostˆs Comments: ÒDonˆt Forget Your Memory".Of Piccolos, Flutes & PaintingsOf Piccolos, Flutes & Paintings: An Interview with Thomas Robertello"Performing Pierre Sancanˆs ÙSonatine pour flute et pianoˆ ?"The Karg-Elert Legacy" by Ronald Waln.Higdonˆs ÒSteeley Pause?. New Music ReviewsThe Minnesota Flute SectionLetˆs Talk Picc: ÒPiccolo Premieres?Debostˆs Comments: ÒLimited Movement". Author and Flutist Eugenia ZukermanHooverˆs ÒDances and Variations? by Wendell Dobbs"The Price of Competitions? The Pittsburgh Flute SectionBook Reviews Piccolo Trill Fingerings Debostˆs Comments: ÒUnderstanding Italian Annotations". "Bachˆs Continuo Sonatas?Vibrato for Beginning FlutistsThe Boston Symphony FlutistsAlbert Tipton (1917-1997)New Music Reviews:

"Setting Studio Policies?Letˆs Talk Picc: ÒRemastered Piccolo Solos?Debostˆs Comments: ÒUnderstanding Burn Out". "The Ghost and Gary Schocker?Bachˆs ÒContinuo Sonata in E Major?Corrections to ÒDaphnis Suite #2? "Annual Flute Maintenance? Baltimore Symphony FlutistsLetˆs Talk Picc: ÒTwo Piccolo Solos by John McDonald?Debostˆs Comments: ÒSupport Isnˆt Everything". Of Baroque and Modern Flutes: An Interview with Richard Graef"Feldˆs Compositional Techniques?1998 Directory of MasterclassesCincinnati Symphony FlutistsLetˆs Talk Picc: ÒAmlinˆs Piccolo Sonata?Debostˆs Comments: ÒA Will and a Way". Pushing the Limits, An Interview with Matthias ZieglerPerforming Charles Griffesˆ ÒPoem?"The Alexander Technique For Relaxed Playing? Maquarreˆs ÒDaily Exercises? "Building a Studio?"Whistle Tones? Orchestral Etiquette "Bagatelles Hongroises #4? New Music ReviewsThe Houston Ballet Flutists Letˆs Talk Picc: ÒJohn McDonaldˆs Piccolo Solos?Debostˆs Comments: ÒAmazing Grace Notes". Round Sound Without Tension: An Interview with Michael FaustC.P.E. Bachˆs ÒHamburger Sonata?"Sonata in G Major? by Carl Philipp Emanuel Bach, ornamented by Leonard Garrison. "Preventing Cracked Notes? "The Alto Flute: Beautiful Beast?Letˆs Talk Picc: ÒEight John McDonald Compositions?Debostˆs Comments: ÒLook Ahead, Not Behind". "Exploring Moyseˆs Exercises? "From Russia With Flute?Comments from the Contest Judges"Music for Flute Choirs? Letˆs Talk Picc: ÒMeet Jack Wellbaum?Debostˆs Comments: ÒJawboning: Less Is More".In Search of Musical Sounds: An Interview with Pierre-Yves ArtaudFeldˆs ÒSonata for Flute and Piano? "Woodwind Intonation? by John Barcellona. "Composing for Flute Choir? "Imitating Voice on the Flute? Flutists of the New York MetThe Business of Teaching: ÒBuilding Confidence?New Music Reviews Letˆs Talk Picc: ÒAdvice from the Pros on Piccolo Auditions?Debostˆs Comments: ÒLiberty and the Flute". Of Music and Instrument Making, An Interview with Gerardo Discepolo Performing Schumannˆs ÒRomances?

"Checklist for Competitions? Directory of Flute Competitions. Alain Marion (1938-1998)New Music ReviewsLetˆs Talk Picc: ÒNew Concerto from Down Under.? Debostˆs Comments: ÒActive Tone Practice".An Interview with Philip Dunigan"Vivid Images Are Better Than Words?"Using Extended Techniques in Fukushimaˆs ÙMeiˆ? Auditions, College, and BeyondNew Music Reviews"Musical Careers in the Military? Letˆs Talk Picc ÒNew Piccolo Commissions?Debostˆs Comments: ÒActive Tone Practice". "Just Notes, Until Now? Performing Coplandˆs ÒDuo? "The Boulez Without Fear?"Developing a Jazz Technique?New Music: New Musc ReviewsLetˆs Talk Picc ÒThe Piccolo, Then and Now?Debostˆs Comments: ÒMinuet or Funeral March".Still Passionate About Music, An Interview with Jean-Pierre Rampal by Denis Verroust, translated by Michel Debost. "A Playful Interpretation of the Liebermann Sonata? "Trouble Shooting Flute Problems? "Flute Music of William Grant Still?The Business of Teaching: ÒIntroductory Classes?Performing Feldˆs ÒIntroduzione, Toccata, and Fuga?New Music Reviews Letˆs Talk Picc ÒPiccolo Playing Hints?Debostˆs Comments: ÒIn Just Three Words".Whatˆs New in 1999: New Sounds from Robert DickImages for Coplandˆs ÒDuo? Performance Suggestions from Jeanne Baxtresser "Choosing a Career in Music?A Sublime Reading List "Itˆs Only Fitting?"A Notebook of Musical Ideas? Letˆs Talk Picc ÒPractice the Picc?Debostˆs Comments: ÒImaginative Articulation". "Baltimore Flutist Emily Skala?"Rhythmic Groupings in Martinuˆs ÙTrioˆ "1999 Summer Masterclasses"Plumbing the Depths? Letˆs Talk Picc. ÒOverture to Semiramide?Debostˆs Comments: ÒFingerings to Enhance Tone". "Jeanne Baxtresser Going Strong? "DeLaneyˆs Compositional Endeavors? "Flute Music of Keith Gates? "Argentine Flutists? "Common-Sense Flute Playing?"The Best Audition Tapes?

For the Love of Composing, An Interview with Hugh Downs. Letˆs Talk Picc ÒSamuel Adlerˆs Canto XIII?Debostˆs Comments: ÒLips Are For Kissing". "Boulez on Boutez?Moyseˆs Ò24 Etudes for Flute? "Quit Harping and Duo It? "Flute Music of Brazil? - Pattflpio SilvaNew Music Reviews"When the Fat Lady Sings, The Flute Comes In? "Of Flutes and Jewels? by Wendell Dobbs. Letˆs Talk Picc ÒMartin Amlinˆs Piccolo Sonata?Beth Chandler: Winning With Style"Performance Tips from the Judges?From the Principalˆs Chair: A Conversation with Donald Peck. "Itˆs All In the Ear? Letˆs Talk Picc ÒFor the Birds? Debostˆs Comments: ÒFinger Anticipation". "One Fine Day? - Timothy Day"A Guide to Martinuˆs Sonata? 24 Bach Concert Studies by Ronald Waln. "Mozartˆs Flute Quartets? New Music Reviews: The Three GracesIndianapolis Flute SectionLetˆs Talk Picc: ÒPiccolo Tremolo Fingerings?New Music Reviews: Sonata for Two FlutesNew Music Reviews: Fluitkwartet New Music Reviews: Thirteen Kanons, op. 113New Music Reviews: Games of PairsFinger AnticipationNew Music Reviews: Time CapsuleNew Music Reviews: Serenade in D major, op. 41New Music Reviews: Carnaval Royal (2 flutes)New Music Reviews: 45 Duos sur des airs folkloriquesNew Music Reviews: Meet Me in DreamlandDebostˆs Comments: ÒRepertoire as Practice".In Search of Sound: An Interview with Patrick Gallois "First Faur?? "A Practice Guide to Etudes? New Music Reviews: Pieces Faciles de Bach et HandelNew Music Reviews: Wie Eilen from Cantat #78New Music Reviews: Jazzn' A-RoundDirectory of Flute Competitions. Rochester Philharmonic Flutists. Letˆs Talk Picc: ÒMetal or Wood Piccolos?Talking About FlutesDebostˆs Comments: ÒFaster Than the Speed of Air". Performing Tower's ConcertoPerforming Towerˆs Concerto The Learning Pendulum "Military Flutist Sees Action? "Artistic Integrity? "Productive Practice? New Music Reviews: Danses Espagnoles #2 et #12 (2 fl/guitar)

New Music Reviews: Eine Kleine Nachtmusik (4 flutes)New Music Reviews: From Across the Sea (3 flutes)New Music Reviews: Dance Suite (4 flutes)New Music Reviews: Variations on a Swedish Folk-tune (fl/AF)New Music Reviews: Concerto for Flute with String QuartetNew Music Reviews: No Exit (Huis Clos) --fl/va/hpNew Music Reviews: Pour un Rituel Imaginaire (3 flutes) New Music Reviews: April Whirlwind for Flute and PianoNew Music Reviews: Prelude et Air pour flute et pianoNew Music Reviews: Sonata for flute and pianoLetˆs Talk Picc: ÒPiccolo Performances?Debostˆs Comments: ÒPant, Sniff, and Gasp". Champion of Contemporary Music: An Interview with Robert AitkenPerforming Ned Roremˆs ÒTrio?"From Machine Gun Vibrato to Restrained Pulsations? by Karen Haid. Running a Studio as a Business "Inspiration From the Dance? New Music Reviews: Hanukah Music for Two FlutesNew Music Reviews: International Christmas DuestNew Music Reviews: More Christmas Music (2 flutes)New Music Reviews: John Philip Sousa March Collection (2 flutes)New Music Reviews: Scarborough Fair (3-4 flutes)New Music Reviews: Flute Duets Old and NewNew Music Reviews: Music Collection for Two Flutes, vol. 2New Music Reviews: Modern Flutist 2 (20 duets for 2 flutes) and 3 (14 trios for 3 flutes)New Music Reviews: Exchanges (2 flutes)New Music Reviews: Suite for FlutesNew Music Reviews: My DreydlLetˆs Talk Picc: ÒMahlerˆs Third Symphony?Debostˆs Comments: ÒThe Guttural Tongue". The Symphonic Soloist: An Interview with Berlinˆs Emmanuel PahudKoechlinˆs ÒLes Chants de Nectaire?"Cajun Folk Songs?Improving Flute IntonationPausing Over Transfer Students Beyond the Score New Music Reviews: I Monti Pallidi (flute choir)New Music Reviews: Soaring (2 flutes)New Music Reviews: Vier Capricen, op. 107 (2 flutes)New Music Reviews: TierraÁTierra (2 flutes)New Music Reviews: The Laurel Tree (flute/ picc)New Music Reviews: Marche Militaire Francaise from Algerian Suite, op. 6-10 (multiple flutes)New Music Reviews: Game Show Addicts (2 flutes)New Music Reviews: Pastoral (ensemble)New Music Reviews: Funf Aphorismen (ensemble)Baroque OrnamentationLetˆs Talk Picc: ÒMahlerˆs Third Symphony?Debostˆs Comments: ÒStompinˆ anˆ Pumpin"Bach Scholar Jean-Michel TanguyPerforming Bartokˆs ÒHungarian Suite?Acoustics of the FluteCharles Koechlinˆs Flute WorksCreative Memorizing Tips

Letˆs Talk Picc: ÒMahlerˆs Third Symphony?Debostˆs Comments: ÒMusical Silence".Ervin Monroe Does it All"Performing Berioˆs ÒSequenza? Clearly Confusing Notation2000 Flute Master ClassesThe Tax Man Cometh. Alexa Still Enjoys the FluteExploring Takemitsuˆs ÒVoice? Fluters of Old Erin by Wendell Dobbs. Shifting the Beat for Cleaner TechniqueDebostˆs Comments: ÒThe French Connection".Letˆs Talk Picc: ÒSoft Piccolo Playing"Endless ImprovementsDebost's Comments: "Endless Improvements"New Job, New Flute, New CountryNew Job, New Flute, New Country, An Interview with Mathieu Dufour, Principal Flute of the Chicago SymphonyPerforming Taktakishvilis'Sonata for Flute and PianoPerforming Taktakishviliˆs ÒSonata for Flute and Piano? A First Lesson to Ignite the Spark"A First Lesson to Ignite the Spark? Memorizing Several Ways"Memorizing Several Ways? by Leonard Garrison. New Music Reviews: April Whirlwind for Flute and PianoNew Music Reviews: Sonata for flute and pianoNew Music Reviews:Pour un Rituel Imaginaire (3 flutes)New Music Reviews:Prelude et Air pour flute et pianoNew Music Reviews: Danses Espagnoles #2 et #12 (2 fl/guitar)New Music Reviews: Sonate pour flute seuleNew Music Reviews: Variations on a Swedish Folk Tune (fl/AF)"Musical I.Q. Test?New Music Reviews: Jazz Conception (Method)New Music Reviews: Pan Blesse pour flute seuleVincent Persechetti and the PiccoloLet's Talk Picc: "Persichetti and the Piccolo" by Karen HaidDebost's Comments: "Managing Long Phrases"Jean-Pierre Rampal (1922-2000) Perseverance Pays Off, An Interview with Flute Talk Competition Winner Jennifer Binney. Comments from the Contest Judges, Kathleen Chastain, Mary Karen Clardy, and Donald Peck. Bendaˆs ÒSonata in G for Flute and Guitar? N.F.A. Convention PreviewLet's Talk Picc: "Meet Tamara Thweat"Software ReviewA Flutist for Every Style, Steve Kujala Talks About His Work "The French School?Tallon Perkesˆ Cadenzas For Two Mozart Concertos. New Music ReviewsTeaching With Flute Ensembles "Flute Studio Policies?"Early Piccolo Lessons? Recent RecordingsStill Galway After All These YearsTwo Interpretations of Dutilleuxˆs ÒSontatine?

"All That I Know About Music I Learned From an Etude? "The Sad Story Behind Schubertˆs Variations? by Karen Haid.New Music ReviewsUpcoming Flute Competitions. "The Wisdom and Humor of Trevor Wye""The Enduring Charm of 'Christmas Morning Suite'"Edward Riley's Flute Melodies: An Early American TreasureSpecial Piccolo Fingerings"Density 21.5", as Corrected"Easy Steps to Student Recitals"New Music ReviewsSoftware ReviewLet's Talk Picc: "New Piccolo Repertoire"This and That: How Times Have ChangedAlbrecht, Theodore: Mozart's Magic Flutist: In the 1780s Anton Dreyssig was Vienna's Leading FlutistA Century of "Morceaux de Concours"Learning from the ViolinsJoanie Madden Is a Flutist to CherishA History of Woodwind EnsemblesKeeping Track of Lessons with an Assignment NotebookLet's Talk Picc: "Dance of the Southern Lights"A Passion for New Sounds: An Interview with Camilla HoitengaPinky CalisthenicsA Lesson in Jazz ImprovisationProfessional AdvertisingThe Lesson Fees and Policies for Flute Students at All LevelsThe Magic of Villa-Lobos: A Performance Analysis to ÒCh?ros #2"Warming Up with Whistle TonesFrom Mariano and Kincaid to Decades of Fine Teaching: An Interview with Robert WilloughbyPractice Rhythms for StudentsPerspectives on Legato TonguingThe Elusive Search for Proof That Music Improves the MindA Performance Guide to "The High and the Mighty"Lowell Liebermann's Approach to Writing Music for the Flute: A Conversation with the ComposerA Performance Analysis of Eugene Bozza's "Image"Guiding College-Bound Students: Teachers Are Often Asked for AdviceFlute and Guitar Duos Perform at Red Cedar Chamber FestivalObituaries: Eleanor LawrenceObituaries: John FuggettaA Source of Piccolo Works with Varied Chamber Groups2001 Flute Master ClassesThe Essence of Artistic Playing, a Conversation with Mark SparksThe Compositional Techniques of Messiaen's "Le Merle Noir"More Alternate Fingerings for Improved IntonationEmbellishment, Italian Style: Ornamenting the Largo Movement of Vivaldi's C Major Piccolo ConcertoBusiness of Teaching: Running a Studio as a BusinessIt's Never Too Late to Check Hand PositionsThe Dubious Tradition of Flute MasterclassesSoftware Review: Music AceSoftware Review: Home Concert 2000Rushing to Meet ReinerWeeding Students from Your StudioPlaying Piccolo and Alto Flute for All Around Improvements

Musical Stories: Will the Real William Morris Kincaid Please Stand?The History of the Piccolo, from Fifes to Intricate KeysCollaborating with a Composer: An Interview with Catherine Issalys and Mark WarholThe Problems in Teaching VibratoThe Trick is to Stay Fresh with a Full Teaching LoadSoftware Review: Music Lessons IIThis and That: Understanding that Queasy FeelingA Roundtable Discussion of Chaminade's "Concertino"A Dream Job with the U.S. Army Fifes and DrumsChoir Music without Low FlutesFlute Convention Preview: After Columbus, Ohio, Get Set for Dallas in AugustCart's Baroque Flute SonatasNew Piccolo Repertoire from Norwegian ComposersAudition Time"Everything She Does Is Wrong": A Conversation with Frances BlaisdellThe Demons of Hand PositionThe Business of Running a StudioMaking Demo Tapes for Wedding PerformancesObituaries: Ross Prestia (1925-2001)Let's Talk Picc: My First Recording ProjectRoundtable Discussion of Elementary Method BooksThoughts on Playing Music by Johann Sebastian BachPerforming Donald Erb's "Music For Mother Bear"A Brief History of the Alto FluteOrchestral Solos for Alto FluteMany Options and Choices In Buying a Used FluteLessons I Learned From My Students"Dawn Carol" Recent Piccolo RecordingsEvolutions in Flute DesignPatricia George Prefers to Teach and Live in IdahoThe Painful Right HandThe Rockstro Debate RevisitedPerformance Guide to Elizabeth Brown's "Trillium"Ten Tips for a Better SoundWhy I Chose SpainReviews: "Peter Lloyd Flute Techniques"Let's Talk Picc: Piccolo Solos in Band MusicDebost's Comments: Ravel and the FlutePreparing for College AuditionsCustom Earplugs for MusiciansTeaching Students to Practice Slowly and Perfectly Every DayThe Kujalas on "Eurhythmionics""El Desembre Congelat" ("The Icy December")The Golden Thread of SoundA Shelfful of Flute BooksLet's Talk Picc: Tchaikovsky's 4thArt and Folklore in the Compositions of Katherine HooverPerformance Guide to Katherine Hoover's "Winter Spirits"Mozart and the Flute: Thoughts on Playing in the Classical StyleApproaches to MemorizingPresto from "The Faithful Music Master"Flute Fingering Faults

Organized Practice TimeA Shelfful of Pedagogy Books: Flute Teaching PublicationsLessons from Other InstrumentsBack to the FluteLet's Talk Picc: Performance Tips for Jan Bach's Piccolo and Bassoon DuetDebost's Comments: The Secrets of PracticingThe Leading Flute in Hollywood: Jim Walker from Bach to Free Flight"Night Soliloquy" by Kent Kennan: A Performance GuideDispelling Common Flute MythsTake the Mystery Out of Vibrato TeachingTeaching Students to ListenA Shelfful of Flute BooksLet's Talk Picc: Performance Tips for John McDonald's "Sonatina for Piccolo and Piano"Flute NotesAfter Her Classical Training Rhonda Larson Chose a Different Path"A Night Piece" by Arthur Foote: A Performance Guide for StudentsStyle and Inflection Emerge Between and Beyond the NotesOn Playing the Bass FluteAllegro from "The Faithful Music Master"A Shelfful of Flute BooksDirectory of Master Classes During the Summer of 2002Report on the Kobe CompetitionLet's Talk Picc: Serious Piccolo Study Begins When Students Reach 8th GradeDebost's Comments: Misconceptions About French TonguingFlute Duos to the Fore: Zawa - Claudia Anderson and Jill FelberIntonation - Just and TemperedFitting and Adjusting HeadjointsErvin Schulhoff's Flute Sonata: A Performance GuideGeorge Barr?re's Autobiography: A Lost Treasure from 1921The Final Shelf of Flute BooksLet's Talk Picc: Mahler's Piccolo PartsThe Unusual Career of Suzanne ShulmanJacques Ibert's "Trois Pi?ces Br?ves", A Performance AnalysisTips on Third-Octave IntonationProven Ways to Recruit StudentsThose First Four MeasuresCareers in Chamber Music: There's More than Corn in IowaAllen Krantz's "Song of Spring"For Christina Jennings, the Family Calling is Music and TeachingExpression, Depth, and Emotion in the Music of Frank MartinExcessive Practicing May Cause Muscle Tremors, Focal DystoniaFlute Performance in ChurchMy Marathon Session with MoyseThe French School Arrives with George Barr?reA Few Don'ts for FlutistsPiccolo Premi?res in WashingtonCD ReviewsCD ReviewsCD ReviewsFlute NotesLatin Flutist Nestor Torres: Charanga Roots, Classical StyleThe Duo Sonatas of J. S. BachDuett from "Musikalisches Vielerly" by C. P. E. Bach

Woodwind Quintet LiteratureNew Music Review: The Baroque and Classical Flute: Twelve Favorite Pieces by the MastersNew Music Review: Three Sonatas for Flute and Basso continuoNew Music Review: Animal Anthology - Land Lovers; beginner duetsNew Music Review: Animal Anthology - Water Play; beginner duetsNew Music Review: Sei Duetti, Op. 51New Music Review: Souvenir Anglais Fantaisie pour trois Flutes, Op. 51New Music Review: Tarantelle Styrienne; flute choirNew Music Review: Cool and Easy; (D1)New Music Review: What a Week!; (D3-4)New Music Review: Sonate pour 2 flutes; very difficultNew Music Review: Sonatina; beginner ensemble for flute, 2 Bb clarinets, and bassoon.New Music Review: Flute and Guitar Stories, Vol. 3; intermediate levelNew Music Review: Fugue in F minor, K. 401; 2 C, alto, and bass flutesNew Music Review: Adagio and Allegro, K. 594New Music Review: Pavane, Op. 50; woodwind quintetNew Music Review: Euro Suite for Flute and Guitar; difficult levelNew Music Review: Journeys: Jester, Jousters, and Jugglers; easy flute & pianoMachines and Craftsmanship in Creating Handmade FlutesTwo Orchestral Piccolo Solos: "The Procession of the Sardar" from Caucasian Sketches by Ippolitow-Iwanow; and "Facsimile" by LeonarFlute NotesCD ReviewCD ReviewThe Boundless Energy of Tara O'ConnorThe Ongoing Search for the Perfect TempoAlbert Roussel's "Jouers de Flute"Noel sur les Flutes, by Louis Claude Daquin, arranged for three flutes by Victoria JichaA Verical View of EtudesNew Music Review: Cool and Easy; (D1)New Music Review: What a Week!; (D3-4)New Music Review: Flute and Guitar Stories, Vol. 3; (E1-2)New Music Review: Journeys: Buenos Aires; (FP2)New Music Review: Jindrich Feld "Sonatine Americaine"; (FP5)New Music Reviews: Vocalise; (E4) soprano, alto flute, and pianoNew Music Reviews: Jinx on You; (E5) flute and guitarNew Music Reviews: Hommage d'un jeune fl?tiste ? quelques grands musiciens; (FP2-3)New Music Reviews: Good Morning, Rachel; (S1-2)New Music Review: Souvenir Anglais Fantaisie pour trois Flutes, Op. 51New Music Review: Cherry Blossoms Are Falling; (FP1)New Music Review: Sei Duetti, Op. 51 for flute & guitar; (E5)New Music Review: Petit Menuet Pour Merwan; (FP1)New Music Review: Sonata, Op. 94, Sergei Prokofiev; (FP5)New Music Review: Selections from the Goldberg Variations; (C4)New Music Reviews: Romance in A Major; (FP4)New Music Reviews: Concerto; (FP5)New Music Reviews: A Fond Farewell - Meditation on September 11; (FP5)New Music Reviews: Flute Forest; (S5)New Music Reviews: Minutiae; (P5)New Music Review: Louis Moyse "Second Sonata, Op. 60"; (FP5-6)New Music Review: "F?r Alise"; (S2)New Music Review: Jean Sichler "L'Oiseau-Soleil"; (FP5-6)New Music Review: "Sonate Romantique"; (FP5)New Music Review: "Sheherazade" (C4)

New Music Review: The Wonderful World of Beethoven; (FP2-3)New Music Reviews: Serenade for Flute and Piano; (FP2)New Music Reviews: Three Pieces for Piccolo and Piano; (PP3)New Music Reviews: Reflections: Four Pieces for Flutes and Piano; (FP3-4)New Music Reviews: De la fl?te, volumes 1-3; (FP1-2)New Music Reviews: Nine Pieces by John Dowland, volumes 1 and 2; (E2-3) flute and guitarNew Music Review: Fantasy on "When Johnny Comes Marching Home"; (FP3)(P3)New Music Review: Le Pic-Vert; (P5)New Music Review: Grande Sonate; (FP4-5)New Music Reviews: Nuites d'?toiles: 8 Early Songs; (FP3)New Music Reviews: J. S. Bach - Exercitium: Pr?ludes, Fantaisies, Toccatas, Exercitium for solo transverse flute; (S4-5)New Music Reviews: Triumvirate; (E4) two flutes and bass fluteNew Music Reviews: Hark, Hark! The Lark at Heaven's Gate Sings; (FP6)New Music Reviews: FIve Pieces from "Album for the Young"; (FP3)New Music Review: 18 Studj o Soli, Op. 31New Music Review: Essential Jazz Lines in the Style of John Coltrane; (S5)New Music Review: Suite for Solo Flute; (S5)New Music Reviews: Andante Appassionato for flute alone; (S5)New Music Reviews: The Faithful Flute; (E3)New Music Reviews: "L. DeLorenzo" for solo flute; (S5)Flute Teachers and Directors Can Work Jointly on SectionalsUpdate on Lost Piccolo PiecesThe Color of MusicMarina Piccinini Encourages Studetns to Study Full ScoresThe A Major Duo-Sonata by BachTry New Flexibility Exercise, Set Angle to the Music StandSave Time With a NewsletterFrom a Reader: The Top 10 Things to Know About Musicians; A non-musician's guide.Gigue from "Sonate pour trois Dessus" New Music Reviews: Reviewer's Choice - Great Flute Duos from the Orchestral Repertoire; (D5)New Music Reviews: The Sound of Music Medley; (C3-4)New Music Reviews: Wedding Set; (C3-4)New Music Reviews: Preludio & Fuga IV from "Well-Tempered Clavier", Book 1; (C4)New Music Reviews: Fl?te en t?te; (FP1)New Music Reviews: Four Pieces; (FP2)New Music Reviews: Flute Sonata #3; (FP5)New Music Reviews: Three Pieces; (FP3)New Music Reviews: Majdovalse; (FP2)New Music Reviews: 5 Incantations; (FP5)New Music Reviews: Monologue II; (S5)Tips for Starting Flute ChoirsPhysical Fitness for FlutistsMost requested Piccolo Excerpts

Author Categorysee *Dennette McDermott"

see also "Tammy Kirk"*See also Tom KennedyArthur Hegvik, Elizabeth F. von Bergen MusiciansWalfrid Kujala MusicN TeachingMeme Tunnell MusiciansN TeachingWalfrid Kujala MusicN MusiciansWalfrid Kujala MusicJohn Bailey MusiciansAmy Hamilton TechniqueWalfrid Kujala MusicZart Dombourian-Eby MusiciansAmy Hamilton MusicSusan M. Klick TeachingZart Dombourian-Eby MusiciansAmy Hamilton FluteDona Gilliam, Mizzy McCaskill FluteSusan M. Klick MusicZart Dombourian-Eby FluteMary Jean Simpson TeachingZart Dombourian-Eby MusicN MusiciansAnne McGinty MusicZart Dombourian-Eby MusicJohn Bailey TeachingZart Dombourian-Eby MusicPolly McKay MusiciansSamuel Baron TeachingVictoria Grenier MusicCarol Kniebusch and Mary Jean Simpson TeachingPolly McKay MusiciansCarl Adams TeachingDonald Peck MusicPolly McKay TeachingZart Dombourian-Eby MusiciansRichard Graef MusicPolly McKay MusiciansWilliam Montgomery MusicKay Ragsdale TeachingJohn C. Krell MusiciansJohn Solum MusiciansWilliam Montgomery MusicRobert K. Webb MusicPolly McKay TeachingPolly McKay MusiciansCharles DeLaney MusicPolly McKay MusiciansLaurence Trott Music

Laurence Trott PiccoloCarol Montparker MusiciansN MusiciansKristin Switala TeachingRobin Fellows FluteCarole Morgan MusicSue Bradle MusiciansPolly McKay MusiciansN MusiciansLisa DiTiberio, Polly McKay Hansen TeachingLinda Chesis MusicMarilyn Massler Kushick MusiciansWilliam Montgomery, Sally J. Yearwood MusiciansPhilip Sample MusicPolly McKay MusiciansGeorge Hummel TeachingVictoria Grenier MusicPolly McKay MusiciansPenelope Fischer MusicPolly Hansen MusiciansN MusiciansAnne Lindblom MusicWilliam Montgomery MusiciansAmy Rice-Young TeachingBonita Boyd MusicN FluteMary Stolper TeachingEric Hoover TeachingPolly Hansen MusiciansPolly Hansen MusiciansBob Houston TeachingWilliam Montgomery MusicGlennis Stout FluteSamuel Baron TeachingWilliam Montgomery TeachingBob Houston TeachingGlennis Stout FluteSamuel Baron TeachingWilliam Montgomery TeachingPolly Hansen MusiciansJulia Bogorad MusicRobert K. Webb MusicZart Dombourian-Eby TeachingEric Hoover TeachingWilliam Montgomery MusiciansFelix Skowronek MusicPolly Hansen MusiciansSue Bell MusiciansPolly Hansen MusiciansMary Jean Simpson TeachingVictoria Grenier-Jicha MusicRoger Mather TeachingN Musicians

Randall G. Reyman TeachingPolly Hansen MusiciansCarol Wincenc MusicEric Hoover TeachingPolly Hansen MusiciansCarol Wincenc MusicSam Gordon FluteWalfrid Kujala TeachingPolly Hansen MusiciansTim Day MusicRobert K. Webb TeachingPolly Hansen MusiciansJulia Bogorad MusicJeanne Flemming Gnecco TechniquePeggy F. Baird MusiciansPolly Hansen MusiciansDavid Shostac MusicPolly Hansen TeachingVictoria Grenier-Jicha TeachingMarie Bird Garritson MusiciansJonathan G. Bayley MusicSam Gordon FlutePolly Hansen MusiciansLeone Buyse MusicMarta Hepler Drahos MusiciansMary Louise Poor TeachingShirley Strohm Mullins TeachingPolly Hansen MusiciansToshiko Kohno MusicFrances Lapp Averitt TeachingNorman Stanfield FlutePolly Hansen MusiciansDon DeRocke TeachingKyril Magg MusicSusan Royal MusicAlexander Murray TeachingFrank Pierce Jones TeachingPolly Hansen MusiciansMichel Debost MusiciansVictoria Grenier-Jicha MusicKathleen Goll-Wilson MusiciansToshiko Kohno MusicEllen Johnson and Ellen Kaner MusiciansHarvey Sollberger MusicNancy Toff TeachingRobin Fellows TechniqueKathleen Goll-Wilson MusiciansKathleen Goll-Wilson MusiciansTim Day MusicTim Day MusicNancy Toff TeachingMorgan Jenkins MusiciansErich Graf Music

Kathleen Goll-Wilson FluteRobert Dick TechniqueNancy Toff TeachingPolly Hansen MusiciansBill Holcombe MusicPolly Hansen MusiciansIris Brooks MusiciansFrances Lapp Averitt TechniqueWilliam Watson TeachingAnn Richards TeachingPolly Hansen MusiciansRobert Willoughby MusicKaren Leech TeachingKathleen Goll-Wilson MusiciansGeorge Hambrecht MusicWalfrid Kujala TeachingKathleen Goll-Wilson Musicians Alain Marion MusicDennis Hugh Avey TeachingSally Montgomery MusiciansSteve Hecox TeachingShelagh Aitken TeachingWalfrid Kujala TeachingKathleen Goll-Wilson MusiciansDonald Peck TechniqueRebecca Leff TeachingCarol Kniebusch TeachingWalfrid Kujala TeachingRobert Aitken TeachingKathleen Goll-Wilson MusiciansWilliam Watson TeachingMary Beth Norris TeachingRobert Dick TechniqueKathleen Goll-Wilson MusiciansAnne Trenkamp MusiciansAmy Rice-Young TeachingPatricia Harper MusicJames Gallway FluteKathleen Goll-Wilson InterviewKarl Kraber Practice tipsBelva Prather RepertoirePeter Bloom Baroque fluteWilliam A. Adair, M.D. MedicalKaren Yonovitz and Susan Wailer PiccoloCarol Brown MusicCarol Brown PiccoloGlennis Stout GuideGlennis Stout MusicJohn Bailey Practice tipsJohn Baily TeachingDonn Laurence Mills TeachingDonn Laurence Mills TeachingBetty White Ferguson Practice tips

Betty White Ferguson TeachingKathleen Goll-Wilson MusiciansKathleen Goll-Wilson InterviewFrances Lapp Averitt HistoryFrances Lapp Averitt TeachingFrances Lapp Averitt Practice tipsFrances Lapp Averitt TechniqueBrooks deWetter-Smith MusicBrooks de Wetter-Smith MusicGreg Tucker Sheet musicPeter Bloom General interestPeter Bloom FluteKathleen Goll-Wilson MusiciansKathleen Goll-Wilson InterviewJudith Lapple Practice tipsJudith Lapple TeachingBarbara Prentice Practice tipsBarbara Prentice TeachingWilliam A. Adair, M.D. MedicalWilliam A. Adair, M.D. Teaching

EventsKathleen Goll-Wilson InterviewKathleen Goll-Wilson MusiciansJeanne Baxtresser Practice tipsJeanne Baxtresser TeachingBrooks deWetter-Smith, William Montgomery, and Carol Win Performance tipsAnn Richards TeachingAnn Richards Practice tipsMark Thomas EventsKathleen Goll-Wilson Performance tipsKathleen Goll-Wilson TeachingPaula Robison and Eliot Fisk GuidePaula Robison and Eliot Fisk MusicEric Wilner Practice tipsEric Wilner TeachingKathleen Goll-Wilson EventsJeanne Scranton GeneralKathleen Goll-Wilson ProfileKathleen Goll-Wilson Musicians

PerformanceWilliam Watson TeachingKathleen Goll-Wilson InterviewKathleen Goll-Wilson MusiciansPolly Hansen InterviewPolly Hansen MusiciansJoan Lynn White PhysicsJoan Lynn White TeachingEdward Kocher College tipsEdward Kocher TeachingLisa Ann Stone Church musicLisa Ann Stone TeachingFrances Lapp Averitt TechniqueFrances Lapp Averitt Technique

N/A MusicKathleen Goll-Wilson InterviewKathleen Goll-Wilson MusiciansWalfrid Kujala GuideWalfrid Kujala PiccoloAndrea Kapell Loewy TechniqueAndrea Kapell Loewy MusiciansMary Karen Clardy General

GeneralIan Senior PhysicsIan Senior FluteN/A MusicMel Webster GeneralMel Webster PiccoloJoan Schubert Wilson Practice Joan Schubert Wilson TeachingKathleen Goll-Wilson InterviewKathleen Goll-Wilson MusiciansKathleen Goll-Wilson InterviewKathleen Goll-Wilson FluteTeresa Meeks BusinessJeanne Baxtresser PerformanceJeanne Baxtresser TeachingRonald L. Waln RepertoireRonald Waln MusicJohn-Herrick Littlefield RepertoireJohn-Herrick Littlefield MusicTeresa Meeks MusiciansKathleen Goll-Wilson InterviewKathleen Goll-Wilson MusiciansNancy Toff InterviewNancy Toff MusiciansMerrill Wilson, D.D.S. MedicalMerrill Wilson TeachingJanis Weller BusinessJanis Weller TeachingVernon L. Braaten Flute positionVernon L. Braaten TeachingN/A MusicElaine Guregian ReviewElaine Guregian MusicJan Gippo PiccoloKathleen Goll-Wilson InterviewKathleen Goll-Wilson MusiciansJames Galway PerformanceJames Galway MusiciansPatricia Harper TeachingPatricia Harper GeneralStacey Shae Sheet musicStacey Shae MusicAmy Rice Young PedagogyAmy Rice Young TeachingKathleen Goll-Wilson Musicians

Kathleen Goll-Wilson InterviewDeanna L. Mathews Practice tipsJohn Madden PhilosophyJoanna Cowan EventKerry Walker TeachingKerry Elizabeth Walker TeachingJ. Charles Culbreath, D.D.S. MedicalLinda Jenks Colby PerformanceKathleen Goll-Wilson InterviewKathleen Goll-Wilson MusiciansSusan W. Norton and James Perone Sheet musicSusan W. Norton MusicMike Williams TechnicalHerbert Levy TechnicalMary Karen Clardy PerformanceMary Karen Clardy TeachingLin Keh-Ming TechniqueWilliam Clayton Miller PerformanceJan Gippo Practice tipsKathleen Goll-Wilson InterviewMark Thomas GuideMark Thomas MusicKerry Elizabeth Walker PedagogySusan Wailer EventDave Schoettle Sheet musicKathleen Goll-Wilson InterviewJim Walker ElectronicAnn McCutchan BiographyJoan Marie Baumann BiographyLinda Keefe BiographyNancy Andrew EventKathleen Goll-Wilson InterviewBettine Clemen Ware InterviewGeoffrey Gilbert Pedagogy

EventKathleen Goll-Wilson PerformanceAlbert Cooper TechnicalLouis Moyse PhilosophyDave Schoettle Sheet musicBarbara Klipp InterviewKathleen Goll-Wilson InterviewJim Walker. InterviewDave Schoettle GeneralJane Bent TeachingAlexander Tkaczevski Sheet musicKathleen Goll-Wilson InterviewStephen Kujala PedagogyKevin Kelly Pedagogystaff editor EventKathleen Goll-Wilson InterviewJoan Marie Bauman Sheet musicEileen Grycky InterviewKathleen Goll-Wilson Interview

Jan Boland PerformancePenelope Mathiesen PerformanceCatherine Sell PedagogyGary Stith PedagogyCharles Andrews PedagogyJohn Wion PerformanceRebecca Magg InterviewJohn Knight PedagogyMichaela Huber Sheet musicKathleen Goll-Wilson PedagogyRobert Dick PerformanceShirley Strohm Mullins PedagogyMatt Marvuglio and Wendy Rolfe PedagogyKenneth Piotrowski HistoricalJan Gippo PiccoloKathleen Goll-Wilson InterviewJoan Marie Bauman PedagogyJohn Ranck PedagogyDennette McDermort HistoricalPhyllis Nefsky PedagogyErnie Block Sheet musiccompiled by Susan Waller EventsJan Gippo PiccoloThomas A. Kennedy InterviewRobin Fellows PedagogySherri Hubka HistoricalStephen Dembski Sheet musicJan Gippo PiccoloKathleen Goll-Wilson InterviewKathleen Goll-Wilson PedagogyJames Perrone Sheet musicShirley Strohm Mullins PedagogyAlan Zoloth Teaching BeginnersSascha Gorodnitzki PedagogyMichele Gingras PedagogyJan Gippo PiccoloMichel Debost TechniqueKathleen Goll-Wilson Pedagogy

EventDavid Eagle PedagogyRandy Budnikas Sheet musicJan Gippo PiccoloMichel Debost TeachingDennis Hugh Avey InterviewAngeleita Stevens Floyd PedagogyMary Karen Clardy InterviewBarbara Jackson RepertoireFrank Wickes TechnologyLouis Ouzer HistoricalKaren Yonovitz RepertoireJan Gippo PiccoloMichel Debost TeachingKathleen Goll-Wilson Career

Lee-Ann Horning CareerRaymond Fabrizio Breathing

EventsRandy Budnikas Sheet musicJan Gippo PiccoloMichel Debost PedagogyErvin Monroe PedagogyKathleen Goll-Wilson PedagogyKristina Karla Haedrich InterviewJohn Barcellona PedagogyBruce Barr Notationn MusicJan Gippo PiccoloMichel Debost TeachingAnn McCutchan PedagogyKathleen Goll-Wilson PedagogyMary Karen Clardy CareerIris Brooks TechnologyJohn Wion PedagogyKaren C. Rogers PedagogyJan Gippo PiccoloMichel Debost TeachingJim Walker. PedagogyCarol Wincenc BreathingDenis DeBlasio PedagogyJohn Barcellona PedagogyCarol Kniebusch Noe PerformanceDavid Schoettle Sheet MusicKim Theodore Sheet MusicJan Gippo PiccoloMichel Debost TeachingCatherine A. Sell PedagogyKathleen Goll-Wilson PedagogyRoy E. Ernst and Douglass M. Green PerformanceVirginia Nanzetta InterviewFrank Crane InterviewCatherine Dill Sheet MusicJan Gippo PiccoloMichel Debost TeachingErvin Monroe GeneralKathleen Goll-Wilson Interview

PerformanceKathleen Goll-Wilson and Robert Rawlins HistoricalErnie Brock PedagogySusan Waller EventJan Gippo PiccoloMichel Debost TeachingJohn Barcellona PerformanceKathleen Goll-Wilson Pedagogy

PerformanceGerald Eugene PedagogyLois Schaefer PiccoloMichel Debost Teaching

Kathleen Goll-Wilson InterviewRoy E. Ernst and Douglass M. Green PerformanceBarry Green PedagogyStephen Harlos Sheet MusicJan Gippo PiccoloMichel Debost TeachingKathleen Goll-Wilson InterviewErvin Monroe, Gwen Powell, Christine Smith Performance

EventHistorical

Alejandro Tkaczevski Sheet MusicJan Gippo PiccoloMary Karen Clardy InterviewPat Harper RepertoireKaren Yonovitz Practice tipsMartha Lewis PedagogyMichel Debost TeachingJan Smith PiccoloKathleen Goll-Wilson InterviewJan GippoStephen TanzerJohn Wion PerformanceJanice Smith

CompetitionsRichard Roberto. PiccoloWalfrid KujalaZart Dombourian-Eby PiccoloMichel Debost TeachingDennis Hugh Avey CompositionEllen Burr TeachingMarilyn Shotola PedagogyDorothy McDade Johns PedagogyDennis Hugh Avey Sheet musicWalfrid Kujala PedagogyCynthia Ellis PiccoloMichel Debost TeachingBarry Green Teaching

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Elizabeth Churchville PedagogyBreathing

Bill Holcombe Sheet musicCarolyn Krysl PedagogyMichel Debost TeachingBarry Green TeachingWalfrid Kujala PiccoloWalfrid Kujala TechniqueKathy Chastain Debost InterviewCarol Montparker InterviewOstap Soroka Sheet music

Master classesJan Gippo PiccoloMary Karen Clardy MusiciansKathleen Goll-Wilson InterviewKathleen Goll-Wilson CompetingRobin B. Fellows StyleLeone Buyse NutritionDouglas BellAlan Zoloth IntonationWilliam Montgomery MusicJohn Barcellona TeachingMargaret Steen FluteAlbert Cooper TeachingMichel Debost TeachingN/A MusicN/A MusicJan Gippo PiccoloMichel Debost TechniqueJan Gippo PiccoloKathleen Goll-Wilson IntonationMary Karen Clardy RepertoireOtto Luening Sheet musicEmily Good InterviewDavid Schoettle Sheet musicMichel Debost TeachingErvin Monroe TeachingRobin Chapman PiccoloKatherine Borst Jones EventKathleen Goll-Wilson InterviewKenneth Meisinger IntonationAndrea Kapell Loewy IntonationOtto Luening Sheet musicNorman C. Chapman StyleHanna Szapiro EmbouchurePhillip Kaplan EmbouchureMichel Debost TeachingJan Gippo PiccoloMichel Debost TeachingJudith Cook Bentley RepertoireWendy Herbener Mehne StyleDavid Schoettle ComposingDudley Duncan Sheet music

N/A MusicTeaching Beginners

Lyon Leifer VibratoHarley Sandberg PedagogyJan Gippo PiccoloMichel Debost TeachingKathleen Goll-Wilson InterviewJeff Jarvis JazzDiane Holtje Willis PedagogyAdah Toland Mosello Flute choirBill Holcombe Sheet music

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HistoricalEric Street PerformanceMarg Daly Sheet musicCynthia Ellis PiccoloRobin B. Fellows RepertoireDavid Burge CareerKatherine Borst Jones and Judith Delzell Tone

EventBill Holcombe Sheet music

Jan Gippo PiccoloMary Karen Clardy InterviewWilliam Montgomery RepertoireJohn Barcellona Teaching rhythmMargaret Steen RepertoireAlbert Cooper TechnicalBill Holcombe Sheet musicMarg Daly Sheet musicMichel Debost TeachingKathleen Goll-Wilson InterviewJudith Bentley, Marzio Conti, and Jan Gippo CompetingEdith Eastman RepertoireCarlyn Lloyd-Ford PedagogyRobert Austin StyleJan Gippo MusiciansMichel Debost TechniqueJill Felber EventNorman C. Chapman VibratoGian-Luca Petrucci ProfileJacques Zoon TechnicalJan Gippo PiccoloMichel Debost TeachingHal Ott ProfileDouglas Worthen RepertoirePaul Doebler RepertoireSonny Burnett Performance tipsOtto Luening Sheet musicErvin Monroe HumorJan Gippo PiccoloMichel Debost TeachingPaula Hutchinson RepertoireMegan Lyden InterviewHal Ott Sheet music

EventWalfrid Kujala PedagogyJan Gippo PiccoloMichel Debost TeachingThom Ritter George RepertoireWendell Dobbs RepertoireShirley Strohm Mullins RepertoireHal Ott Sheet musicMichel Debost TeachingJohn Barcellona RepertoireKathleen Chastain InterviewMadelyn Holmes ProfileEileen Yarrison PedagogyHal Ott Sheet musicJan Gippo PiccoloDean Elder ProfileMary Karen Clardy RepertoireAaron Einbond Sheet musicSarah Swersey CareerRichard E. Clark, Laura Hamm, and Julianne Dent Pedagogy

Kathleen Goll-Wilson InterviewJoan Sparks ProfileStevens Hewitt RepertoireKenneth Renshaw, Martha Beth Lewis, and Jim Kunitz TeachingKatherine Glaser PedagogyKathleen Goll-Wilson InterviewPeter Gries PedagogyBill McBirnie Jazz

EventKathleen Goll-Wilson PedagogyWendy Herbener Mehne StyleJ. Franklin Fenley StyleJohn Wion RepertoireKathleen Goll-Wilson Interview

CompetingPedagogy

Philippe Bernold PedagogyGwen Powell EventTania DeVizia ProfileLudwig Boehm Technical, HistoricaJan Gippo PiccoloJonathan Bayley ProfileRobin Fellows RepertoireMary Karen Clardy PedagogyOtto Luening Sheet musicLeonard Garrison PerformanceDenis DiBlasio JazzWalfrid Kujala EmbouchureRobert Rawlins ProfileWendell Dobbs RepertoireOtto Luening Sheet musicWalfrid Kujala Pedagogy

EventKathleen Goll-Wilson ToneGeorge Pope RepertoireWalfrid Kujala TeachingWalfrid Kujala ToneJames Phelan PedagogyTadeu Coelho BreathingKerry Walker InterviewRobert Willoughby Tone, IntonationJohn Barcellona RepertoireJohn Hinch ArticulationAnthony Scott Watson Sheet musicKim McCormick RepertoireAndrew Callimahos ProfileLynn Harrell ProfileRobert Rawlins. Jazz

CareerNancy DeHaven Hall Sheet musicAlan Zoloth RepertoireKerry Walker EmbouchurePaula Hutchinson Repertoire

Diane Boyd RepertoireSonny Burnett PedagogyJohn Knight, Stephen Chenette, and Barbara Prentice PedagogyKathleen Goll-Wilson InterviewKathleen Goll-Wilson RepertoireGeorges Barr?re Historical

EventKathleen Goll-Wilson InterviewRobin B. Fellows RepertorieWalfrid Kujala ArticulationBill McBirnie JazzLeonard Garrison MusicKathleen Goll-Wilson InterviewStephen Zolper PerformanceBrian Luce RepertoireRonald Waln RepertoireGinger Hedrick PedagogyRobert Ambs TechnicalLeonard Garrison PedagogyKathleen Goll-Wilson InterviewKathleen Goll-Wilson CompetingJim Walker VibratoNorma Lee Garcia RepertoireAngeleita S. Floyd EventKathleen Goll-Wilson InterviewLeone Buyse ToneDonald Peck Tone, ArticulationKathleen Goll-Wilson HistoricalMark Thomas RepertoireLarry Schanker RepertoireMichel Debost Tone, technique

EventMichel Debost PerformanceKathleen Goll-Wilson InterviewLeonard Garrison RepertoirePaul Gray TechniqueTadeu Coelho PedagogyJan Gippo and Donna Milanovich ReviewsDiane Berger PiccoloMichel Debost TechniqueMary Karen Clardy & Jan Gippo ReviewsKathleen Goll-Wilson InterviewWalfrid Kujala PerformanceTadeu Coelho PedagogyJohn Wion ArticulationLois Schaefer PiccoloMichel DebostMary Karen Clardy InterviewJohn Barcellona Repertoire

RepertoireEmily Good InterviewJennifer Steele Conner CompetingJim Moore Auditioning

PiccoloMichel Debost PedagogyNancy Andrew ProfileMonya Winzer Gilbert ProfileSarah Bassingthwaighte RepertoireBetty Bang Mather RepertoireSusan Klick Repertoire

ReviewsOtto Luening Sheet musicJohn Fonville PiccoloMichel Debost RepertoireKathleen Goll-Wilson InterviewDennette McDermott RepertoireDeniece Schow PedagogyMary Jean Simpson EventJan Gippo PiccoloMichel Debost TechniqueKathleen Goll-Wilson InterviewRobin Fellows RepertoireLeone Buyse PerformanceSusan Hayes CareerEric Ruyle TechniqueEddy Palmer Sheet musicCarol Kniebusch Noe Flute choirJan Gippo PiccoloMichel Debost PedagogyKathleen Goll-Wilson InterviewThomas W Brown RepertoireWendy Herbener Mehne Style

Marilyn Shotola PedagogyJohn Bingham CareerRobert Austin ReviewsJan Gippo PiccoloMichel Debost PedagogyKathleen Goll-Wilson Interview

CompetingEvent

Jim Walker PedagogyScott Graddy PiccoloMichel Debost PedagogyKathleen Goll-Wilson InterviewJulie Stone RepertoireKathleen Goll-Wilson OrchestraRobert Austin HistoricalMary Karen Clardy & Jan Gippo ReviewsDiane Boyd PiccoloMichel DebostKathleen Goll-Wilson InterviewRobert Rawlins JazzStuart Ling PerformanceAnn Richards RecordingMary Karen Clardy Reviews

EventKathleen Goll-Wilson OrchestraNan Raphael PiccoloMichel Debost PedagogyBonnie Kim InterviewTrygve Peterson RepertoireJohn Wion TeachingJohn Wion IntonationJulie Harr StyleKathleen Goll-Wilson OrchestraDiane Boyd PiccoloMichel Debost PedagogyMikki Steyn PiccoloMary Karen Clardy Repertoire

ReviewsBetty Bang Mather & Gail Gavin StyleKathleen Goll-Wilson OrchestraKathleen Goll-Wilson InterviewDiane Gold Toulson and Robert Austin ReviewsLois Schaefer PiccoloMichel DebostKathleen Goll-Wilson & Michel Debost Teaching BeginnersLillian Santiago-Caballero RepertoireKevin Kelly BreathingKathleen Goll-Wilson OrchestraJohn R. Bailey PedagogyJonathon A. Landell TechnicalMary Karen Clardy & Diane Gold Toulson ReviewsJan Gippo PiccoloMichel Debost TechniqueKathleen Goll-Wilson CompetingDonald Peck PerformanceJohn Barcellona RepertoireSusan Swartz Career

CareerKathleen Goll-Wilson OrchestraRobert Austin HistoricalDennette McDermott ProfileJan Gippo PiccoloMichel Debost PedagogyNora Lee Garcia InterviewHeather Hall Coleman RepertoireKathleen Goll-Wilson OrchestraMary Jean Simpson EventJan Gippo PiccoloMichel Debost TechniqueKathleen Goll-Wilson InterviewJohn Barcellona RepertoireMary Jean Simpson ProfileKathleen Goll-Wilson OrchestraEddy Palmer Sheet musicJan Gippo PiccoloMichel Debost Pedagogy

Donna Milanovich, Mary Karen Clardy, and Diane Gold Touls ReviewsKathleen Goll-Wilson InterviewDonald Peck PerformanceDiane Boyd ProfileJudith Bentley RepertoireKathleen Goll-Wilson OrchestraRegina Helcher PiccoloRegina Helcher PiccoloMichel Debost TeachingKathleen Goll-Wilson InterviewKathleen Goll-Wilson CompetingJordan Vogel ProfilePatti Adams EventTammy Kirk PiccoloMichel Debost BreathingKathleen Goll-Wilson InterviewJoseph Bonner RepertoireKathleen Goll-Wilson OrchestraTammy Kirk PiccoloSusan Milan HistoricalBen Yarmolinsky RepertoireDiane Boyd ReviewsRegina Helcher PiccoloMichel Debost PedagogyKathleen Goll-Wilson InterviewJulie Stone RepertoireCarolyn Treybig Irish flute

EventDennette McDermott Repertoire

ProfileRegina Helcher PiccoloMichel Debost PedagogyKathleen Goll-Wilson MusiciansKathleen Goll-Wilson InterviewAlain Marion RepertoireRonald Waln Repertoire

RepertoireRobert Austin ReviewsKathleen Goll-Wilson OrchestraDiane Boyd PiccoloMichel Debost PerformanceKathleen Goll-Wilson InterviewWendell Dobbs RepertoireLinda Marianiello Competing

ProfileReviews

Morgan Williams PiccoloMichel Debost StyleWendy Herbener Mehne StyleJoseph Bonner Teaching BeginnersKathleen Goll-Wilson OrchestraKathleen Goll-Wilson HistoricalDenis DiBlasio Jazz

Ellen Burr TeachingRichard Roberto.Michel Debost PedagogyKathleen Goll-Wilson PedagogyWendy Herbener Mehne StyleJennifer Shaw-Liva RepertoireMara Goosman TechnicalKathleen Goll-Wilson OrchestraTammy Kirk PiccoloMichel DebostKathleen Goll-Wilson InterviewDennette McDermott RepertoireMary Jean Simpson EventKathleen Goll-Wilson OrchestraZart Dombourian-Eby PiccoloMichel Debost PedagogyNancy Andrew ProfileMark Thomas RepertoireAlexander Murray PedagogyThomas A. Kennedy TechniqueEllen Burr TeachingBecky Glover EmbouchureMartha Aarons CareerIstvan Horvath-Thomas RepertoireDiane Boyd Reviews

ProfileTammy Kirk PiccoloMichel Debost StyleKathleen Goll-Wilson InterviewLeone Buyse RepertoireLeonard Garrison RepertoireJohn Rautenberg PedagogyChristine Michelle Smith Alto fluteTammy Kirk PiccoloMichel Debost PedagogyEleanor Lawrence RepertoireKathleen Goll-Wilson InterviewKathleen Goll-Wilson CompetingBelva Prather Flute choirRegina Helcher PiccoloMichel Debost PedagogyKathleen Chastain InterviewLana Johns RepertoireJohn Barcellona IntonationSonny Burnett Flute choirPaul Renzi PedagogyKathleen Goll-Wilson OrchestraEllen Burr TeachingDiane Boyd, Mary Karen Clardy, and Diane Gold Toulson ReviewsRegina Helcher PiccoloMichel Debost TechniqueKathleen Goll-Wilson InterviewKenneth Chia Repertoire

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PedagogyKathleen Goll-Wilson PedagogyKerry Clinton RepertoireJessica Schmitz PerformanceLinda Marianiello CareerTrey Reely PedagogyJames Phelan TechnicalJean Berkenstock PedagogyDiane Boyd PiccoloMichel Debost ArticulationSusan Hayes ProfileDennette McDermott Repertoire

EventPaige MacDonald Bass fluteJan Gippo PiccoloMichel Debost TechniqueDon Bailey ProfileKaren Haid ProfileTracy Schmidt ProfileAlison Young ProfileRebecca Dunnell PedagogyKaren Van Dyke Auditioning

InterviewJan Gippo PiccoloMichel Debost EmbouchureKathleen Goll-Wilson and John Knight. PedagogyEleanor LawrenceMonty and Phyllis Adams PerformanceTadeu Coelho ProfileJulia Larson ReviewsPenelope Fischer PerformanceWendell Dobbs ProfileZart Dombourian-Eby PiccoloKathleen Goll-Wilson InterviewKathleen Goll-Wilson Competing

ProfileDavid Wechsler IntonationLaurence Trott PiccoloMichel Debost TechniqueKathleen Goll-Wilson InterviewTimothy Day RepertoireRonald Waln RepertoireElaina Rigg RepertoireJulia Larson ReviewsKathleen Goll-Wilson OrchestraMorgan Williams PiccoloJulia Larson ReviewsJulia Larson ReviewsJulia Larson ReviewsJulia Larson ReviewsMichel Debost TeachingJulia Larson ReviewsJulia Larson ReviewsJulia Larson ReviewsJulia Larson ReviewsJulia Larson ReviewsMichel Debost PedagogyJara Kern InterviewLeslie Fagan RepertoireLisa Gamer PedagogyJulia Larson ReviewsJulia Larson ReviewsJulia Larson Reviews

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Diane Boyd PiccoloKathleen Goll-Wilson EditorialMichel Debost PedagogyCarol Wincenc MusicCarol Wincenc RepertoireErnestine Whitman PedagogyTeresa Collins CareerBritt East PedagogySandra Sutak PedagogyMary Karen Klardy/Diana Boyd Reviews

Mary Karen Klardy/Diana Boyd ReviewsMary Karen Klardy/Diana Boyd ReviewsMary Karen Klardy/Diana Boyd ReviewsMary Karen Klardy/Diana Boyd ReviewsMary Karen Klardy/Diana Boyd ReviewsMary Karen Klardy/Diana Boyd ReviewsMary Karen Klardy/Diana Boyd ReviewsMary Karen Klardy/Diana Boyd ReviewsMary Karen Klardy/Diana Boyd ReviewsMary Karen Klardy/Diana Boyd ReviewsTammy Kirk PiccoloMichel Debost BreathingScott Paterson InterviewMary Karen Clardy RepertoireKaren Haid VibratoRhonda Ringering TeachingEric Lamb PedagogyJulia Larson ReviewsJulia Larson ReviewsJulia Larson ReviewsJulia Larson ReviewsJulia Larson ReviewsJulia Larson ReviewsJulia Larson ReviewsJulia Larson ReviewsJulia Larson ReviewsJulia Larson ReviewsJulia Larson ReviewsJan Gippo PiccoloMichel Debost ArticulationKathleen Goll-Wilson InterviewFrancesca Arnone RepertoireLana Johns RepertoireRobin Fellows IntonationBarbara Sands TeachingSusanna Self-Huppert PedagogyJulia Larson ReviewsJulia Larson ReviewsJulia Larson ReviewsJulia Larson ReviewsJulia Larson ReviewsJulia Larson ReviewsJulia Larson ReviewsJulia Larson ReviewsJulia Larson ReviewsNina Barwell StyleJan Gippo PiccoloMichel Debost PedagogyKathleen Goll-Wilson InterviewDennette McDermott RepertoireJohn W. Coltman TechnicalLeonard Garrison MusicKimberly Gandrup Pedagogy

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TeachingJara Kern ProfileChristina Jennings RepertoireWendell Dobbs HistoricalWalfrid Kujala PedagogyMichel Debost HistoricalZart Dombourian-Eby PiccoloMichel Debost TeachingMichel Debost StyleKathleen Goll-Wilson MusiciansKathleen Goll-Wilson InterviewJohn Barcellona MusicJohn Barcellona RepertoireRobert Cento TeachingRobert Cento and Judy Smith PedagogyLeonard Garrison TeachingLeonard Garrison PedagogyMary Karen Clardy/Diana Boyd ReviewsMary Karen Clardy/Diana Boyd ReviewsMary Karen Clardy/Diana Boyd ReviewsMary Karen Clardy/Diana Boyd ReviewsMary Karen Clardy/Diana Boyd ReviewsMary Karen Clardy/Diana Boyd ReviewsMary Karen Clardy/Diana Boyd ReviewsSonny Burnett PedagogyMary Karen Clardy/Diana Boyd ReviewsMary Karen Clardy/Diana Boyd ReviewsKaren Haid MusicKaren Haid PiccoloMichel Debost Breathing

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Leslie Fagan ProfileRae Terpenning RepertoireDavid and Denise Thompson ProfileJan Gippo PiccoloIrna Priore RepertoireEllen Burr Teaching

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Melissa ColginWalfrid KujalaWendell DobbsMichael JohnsKaren CelellaNan RaphaelShanna Pranaitis InterviewShannon Finney TechniqueMarc Adler JazzRhonda Ringering Business

BusinessAnita Thesen RepertoireSandy Schwoebel ToneVanessa Holroyd and Vanessa Mulvey InterviewLisa Garner Santa Rhythm

ArticulationRichard Ashley and Shanna Pranaitis TeachingLaurie Sokoloff PiccoloJan Gippo InterviewKimberly Gandrup RepertoireLisa Garner Santa Teaching

Therese Wacker PiccoloGrace Petree EventsJan Gippo InterviewIrna Prioere RepertoireAnita Thesen TechniqueWalfrid Kujala PiccoloRhonda Ringering BusinessVanessa Breault Mulvey TechniqueDolores Fredrickson TeachingElizabeth Ann Reed TechnologyElizabeth Ann Reed TechnologyDavid SchwartzSandra Schwoebel BusinessAndrea Redcay Piccolo

Sol Schoenbach ProfileTherese Wacker PiccoloLawrence Fuchsberg InterviewValerie Potter TeachingEllen Burr TeachingElizabeth Ann Reed TechnologyMark Thomas Performing

RepertoireWendell Dobbs CareerDiane Boyd Schultz Choir

EventDennette Derby McDermott RepertoireJennifer Odell PiccoloDonald Peck CareerSandy Schwoebel InterviewBrian Luce TechniquePhyllis Hester and Victoria Jicha BusinessEllen Burr Business

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Mark Thomas RepertoireChristine M. Smith RepertoireAndrea Redcay Alto fluteJohn Rautenberg Alto fluteGinger Hedrick TeachingVictoria Jicha TeachingMargaret Lowe RepertoireTammy Sue Kirk PiccoloWalfrid Kujala TechnicalVictoria Jicha InterviewSandy Schwoebel TechniqueVictoria Jicha TechniqueJohn Barcellona RepertoirePatricia George ToneClaudia Walker ProfileVictoria Jicha TeachingNan Rafael PiccoloMichel Debost TeachingVictoria Jicha AuditionCatherine Wheeler TechnicalMartin Schuring TeachingWalfrid Kujala Teaching

RepertoireRebecca Meador ToneJulia Larson Mattern TeachingLaurie Sokoloff PiccoloVictoria Jicha RepertoireJohn Barcellona RepertoireJohn Wion TeachingJennifer Mishra Teaching

Sheet musicDiane Boyd Schultz Technique

Angela McBrearty TeachingJulia Larson Mattern TeachingDeniece Schow TeachingPolly McKay Hansen TeachingRegina Helcher PiccoloMichel Debost TeachingVictoria Jicha ProfileKatherine Borst Jones RepertoireBradley Garner and Gary Garner TeachingPatricia George TeachingVictoria Jicha TeachingJulia Larson Mattern TeachingJennifer Odell Cadwell PiccoloVictoria Jicha EditorialVictoria Jicha InterviewVictoria Jicha RepertoirePatricia George TeachingChristine Potter Bass flute

RepertoireJulia Larson Mattern Teaching

EventHideko Amano and Tracy Schneider EventJan Gippo PiccoloMichel Debost ArticulationVictoria Jicha RepertoireJoanna White IntonationJames Phelan TechnicalLana Johns RepertoireGeorge Barr?re ProfileJulia Larson Mattern TeachingJan Gippo PiccoloPolly McKay Hansen ProfileJoanna White RepertoirePatricia George IntonationRhonda Ringering TeachingMary Karen Clardy PerformanceVictoria Jicha CareerLois Herbines RepertoireVictoria Jicha InterviewDonald Peck RepertoirePeter W. Iltis Practice tipsRoland Stycos PerformanceSuzanne Shulman TeachingGeorge Barr?re AutobiographyRex Elton Fair ArticulationDiane Boyd Schultz Piccolo

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Victoria Jicha TeachingVictoria Jicha ProfileWendy Herbener Mehne RepertoireMichael Lynn Repertoire

Joanna White PerformanceJulia Larson, Diane Boyd Schultz, and Kimberly Sopata ReviewJulia Larson, Diane Boyd Schultz, and Kimberly Sopata ReviewJulia Larson, Diane Boyd Schultz, and Kimberly Sopata ReviewJulia Larson, Diane Boyd Schultz, and Kimberly Sopata ReviewJulia Larson, Diane Boyd Schultz, and Kimberly Sopata ReviewJulia Larson, Diane Boyd Schultz, and Kimberly Sopata ReviewJulia Larson, Diane Boyd Schultz, and Kimberly Sopata ReviewJulia Larson, Diane Boyd Schultz, and Kimberly Sopata ReviewJulia Larson, Diane Boyd Schultz, and Kimberly Sopata ReviewJulia Larson, Diane Boyd Schultz, and Kimberly Sopata ReviewJulia Larson, Diane Boyd Schultz, and Kimberly Sopata ReviewJulia Larson, Diane Boyd Schultz, and Kimberly Sopata ReviewJulia Larson, Diane Boyd Schultz, and Kimberly Sopata ReviewJulia Larson, Diane Boyd Schultz, and Kimberly Sopata ReviewJulia Larson, Diane Boyd Schultz, and Kimberly Sopata ReviewJulia Larson, Diane Boyd Schultz, and Kimberly Sopata ReviewJulia Larson, Diane Boyd Schultz, and Kimberly Sopata ReviewJonathon Landell TechnicalJan Gippo PiccoloVictoria Jicha Teaching

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Jara Kern ProfileMichel Debost PracticeMary Louis Poor RepertoireVictoria Jicha RepertoireDona Gilliam PracticeJulia Larson, Diane Boyd Schultz, and Kimberly Sopata ReviewJulia Larson, Diane Boyd Schultz, and Kimberly Sopata ReviewJulia Larson, Diane Boyd Schultz, and Kimberly Sopata ReviewJulia Larson Mattern, Diane Boyd Schultz, and Kimberly Sopa ReviewsJulia Larson, Diane Boyd Schultz, and Kimberly Sopata ReviewJulia Larson, Diane Boyd Schultz, and Kimberly Sopata ReviewJulia Larson, Diane Boyd Schultz, and Kimberly Sopata ReviewJulia Larson, Diane Boyd Schultz, and Kimberly Sopata ReviewJulia Larson, Diane Boyd Schultz, and Kimberly Sopata ReviewJulia Larson, Diane Boyd Schultz, and Kimberly Sopata ReviewJulia Larson, Diane Boyd Schultz, and Kimberly Sopata ReviewJulia Larson, Diane Boyd Schultz, and Kimberly Sopata ReviewJulia Larson, Diane Boyd Schultz, and Kimberly Sopata ReviewJulia Larson, Diane Boyd Schultz, and Kimberly Sopata ReviewJulia Larson, Diane Boyd Schultz, and Kimberly Sopata ReviewJulia Larson, Diane Boyd Schultz, and Kimberly Sopata ReviewJulia Larson, Diane Boyd Schultz, and Kimberly Sopata ReviewJulia Larson, Diane Boyd Schultz, and Kimberly Sopata ReviewJulia Larson, Diane Boyd Schultz, and Kimberly Sopata ReviewJulia Larson, Diane Boyd Schultz, and Kimberly Sopata ReviewJulia Larson, Diane Boyd Schultz, and Kimberly Sopata ReviewJulia Larson, Diane Boyd Schultz, and Kimberly Sopata ReviewJulia Larson, Diane Boyd Schultz, and Kimberly Sopata ReviewJulia Larson, Diane Boyd Schultz, and Kimberly Sopata ReviewJulia Larson, Diane Boyd Schultz, and Kimberly Sopata Review

Julia Larson, Diane Boyd Schultz, and Kimberly Sopata ReviewJulia Larson, Diane Boyd Schultz, and Kimberly Sopata ReviewJulia Larson, Diane Boyd Schultz, and Kimberly Sopata ReviewJulia Larson, Diane Boyd Schultz, and Kimberly Sopata ReviewJulia Larson, Diane Boyd Schultz, and Kimberly Sopata ReviewJulia Larson, Diane Boyd Schultz, and Kimberly Sopata ReviewJulia Larson, Diane Boyd Schultz, and Kimberly Sopata ReviewJulia Larson, Diane Boyd Schultz, and Kimberly Sopata ReviewJulia Larson, Diane Boyd Schultz, and Kimberly Sopata ReviewJulia Larson, Diane Boyd Schultz, and Kimberly Sopata ReviewJulia Larson, Diane Boyd Schultz, and Kimberly Sopata ReviewJulia Larson, Diane Boyd Schultz, and Kimberly Sopata ReviewJulia Larson, Diane Boyd Schultz, and Kimberly Sopata ReviewJulia Larson, Diane Boyd Schultz, and Kimberly Sopata ReviewJulia Larson, Diane Boyd Schultz, and Kimberly Sopata ReviewJulia Larson, Diane Boyd Schultz, and Kimberly Sopata ReviewJulia Larson, Diane Boyd Schultz, and Kimberly Sopata ReviewJulia Larson, Diane Boyd Schultz, and Kimberly Sopata ReviewJulia Larson, Diane Boyd Schultz, and Kimberly Sopata ReviewJulia Larson, Diane Boyd Schultz, and Kimberly Sopata ReviewAndrea Redcay Graves TeachingJan Gippo PiccoloDonald Peck ToneVictoria Jicha ProfileWendy Herbener Mehne RepertoirePatricia George PracticeKenneth Renshaw TeachingAndrew Jicha GeneralMichael Lynn RepertoireJulia Larson, Diane Boyd Schultz, and Kimberly Sopata ReviewJulia Larson, Diane Boyd Schultz, and Kimberly Sopata ReviewJulia Larson, Diane Boyd Schultz, and Kimberly Sopata ReviewJulia Larson, Diane Boyd Schultz, and Kimberly Sopata ReviewJulia Larson, Diane Boyd Schultz, and Kimberly Sopata ReviewJulia Larson, Diane Boyd Schultz, and Kimberly Sopata ReviewJulia Larson, Diane Boyd Schultz, and Kimberly Sopata ReviewJulia Larson, Diane Boyd Schultz, and Kimberly Sopata ReviewJulia Larson, Diane Boyd Schultz, and Kimberly Sopata ReviewJulia Larson, Diane Boyd Schultz, and Kimberly Sopata ReviewJulia Larson, Diane Boyd Schultz, and Kimberly Sopata ReviewRebecca Meador ChoirJohn Barcellona PracticeJennifer Cadwell Piccolo

Contents

Jean-Pierre RampalSonata in F MajorMaintenanceRansom WilsonSoloSonata in F MajorMindy KaufmanC Major Piccolo ConcertoCarl Joachim AndersenAndersen EtudesScherzinoJeffery ZookSonata in E-flat MajorCareerFrans BrueggenBaroque FluteTin WhistleAllegrettoFlutemakingFlute ShoppingSoloPaula RobisonEnsembleCanonic Duet in G MajorGiftSoloCarol WincencNaumburg FoundationA Night PieceRecordingJulius BakerTuningSonata for Solo FluteTermsEugenia ZukermanFantasia in D MinorJeff KhanerConcertinoBracesWilliam KincaidWilliam KincaidChaminadeEnsembleHand PositionRobert AitkenDanse de la ChevreLaurence TrottWhoa! Nellie!

TipsHarold BennettPittsburgh SymphonySight ReadingMaintenanceThe Piping FaunPaula RobisonDoriot Anthony DwyerNational SymphonyMovementSuite in B MinorDoriot Anthony DwyerGeoffrey GilbertLegende PastoraleHubert LawsJazzIrlandaiseBeatrice KeramMadrigalBonita BoydCleveland OrchestraSonataRobert WilloughbyTranscribingAndante in C Major, K. 315HistoryRhythmAuditionsSamuel BaronSamuel BaronTapeSonatinaBaroque FlutePracticeToneTape RecorderBaroque FlutePracticeToneJames PelleriteAirs de Ballet d'AscanioFlute ChoirAuditionsAuditionsBernard GoldbergMethodical Sonata in G MinorJames GalwayBernard GoldbergJeanne BaxtresserToneSonata in F MajorToneSaint Louis Symphony Orchestra

FearTim DaySuite Paysanne HongroiseAuditionsJoseph MarianoSonata "Undine"MaintenanceEmbouchureFrances BlaisdellFirst SonataTranscribingJulia BogoradSonataFingeringsTheobald BohmSteve KujalaSonata in E MinorImprovisationBookThomas NyfengerCelebrationMaintenanceMichala PetriHamburger SonataMary Louise PoorPainAccompanistsMaurice SharpDaphnis and Chloe SuiteTuningShakuhachiMichael EmmersonPracticeConcerto in G Major, K. 313Minuet in F MajorThe Alexander TechniqueThe Alexander TechniqueMichel DebostMichel DebostSerenadeJean-Pierre RampalScherzo to A Midsummer Night's DreamHarvey SollbergerSequenza for Flute AloneDissertationFingeringsAndras AdorjanAndras Adorjan"Leonore" Overture No. 3Symphony No. 4DissertationBritton JohnsonDuo for Flute and Piano

Platinum FluteCircular BreathingDissertationJames NewtonFour Jazz EtudesThaddeus WatsonCarol WincencWhistle TonesStressRecordingLew TabackinSonata in E MinorThird RegisterJennifer Steele30 Caprices for FluteEmbouchureAlain MarionSonatine pour flute et pianoPublishersJim WalkerElectric fluteBritish Flute SocietyEmbouchureDonald PeckArticulationManagerAudition TapesEmbouchureTeachingLeone BuyseAdult StudentsYoung FlutistsSpeechAlbert TiptonMaurice SharpRecitalsWind-SongLow BFlutist of the new Solar Winds, quintet from University of Texas at Austin, makes ensemble playing his career.Kraber explores Ibertˆs Trois Pi?ces and teaches good ensemble musicianship.Performance guideThe colors of the traverso flute add dimension to modern composition.Overuse or misuse? ÒEasy does it? is the best medicine.Regarded as a virtuoso listener and problem-solver, the piccoloist of the Cleveland Orchestra is interviewed by two of his former students.Repertoire featuring the not-to-be-neglected little instrument.SoloPerformance guideThe Pied PiperYour looking glass can become your best teacher.MirrorToo many flutists? Advice for teachers.Too Many FlutistsArrest bad habits and improve performance.

Bad HabitsKathy ChastainDebostˆs teaching assistant at the Conservatoire in Paris makes her career as a free-lancer.This prestigious conservatory maintains high standards by encouraging competition.Paris ConservatoirePracticing can be fun with Debostˆs scale pedagogy.ScalesA discovery of 19th-century flute works adds value to the repertoire.19th Century RepertoireFlute Talk presents a portion of this never-before-published duet for your enjoyment.Journey to Sothebyˆs in London for the auction of early musical instruments.Early Musical InstrumentsJudith LapplePerforming in The United States Air Force Band has boosted this flutistˆs career.Attitude can calm concert jitters.Performance AnxietyHealthful tips to rid yourself of tension.ExerciseDiscussion of osteoarthritis and carpal tunnel syndrome.Physical ProblemsFind out who is teaching where and when.Meet the winning flutist from New York, student of Jeanne Baxtresser and Samuel Baron.Amy PorterPrincipal flutist of the New York Philharmonic advises flutists.Ideal StudentFlute Talk competition judges share advice.Lesson TimeLearn more with a good attitude.An invitation from N.F.A. founder and honorary life president."An artist must search and grow,? says Paula Robison, flutist, who with her guitarist partner, Eliot Fisk, collaborates for a special duo.CommunicationInterpretation of the collection of folk songs from Appalachia by the artists for whom this work was written.Mountain SongsHints on how to create fine ensemble with between flute and guitar.BalanceCalifornia, here we come! A preview of the National Flute Associationˆs 16th annual flute convention.Convention hints for San Diego.Betty Bang Mather: ÒI like music that is really expressive.?Betty Bang MatherEdPress award winning author writes about controlling stress.Stress"Music is more than beautiful sound.?Raymond Guiot"There is an easier way to blow than the old traditional way of supporting hard,? says the principal flutist of the Los Angeles Philharmonic.Janet FergusonPersonal preference and results from acoustical studies.ToneHandsome rewards for pre-college students.ScholarshipsIdeas for using flute music in various church settings.Religious MusicPlaying scales doesnˆt have to be boring.Scales

Variationen"I am concerned with specifics, analyzing the physics of playing,? says Kujala.Walfrid KujalaInterpretation of the Largo from Vivaldiˆs Piccolo Concerto.Piccolo ConcertoMariano's concepts of musicality development through scale practice.Joseph MarianoA summary of the Nice, France Convention.

Discussion of the use or non-use of headjoint corks.CorksStudy DuetArgument for the increased use of piccolo in concert bands and general practice.UsageIdeas for warm-up routine.Warm-up"Some make a profound demonstration of their technical ability on the instrument but with no style, no heart, no musical sensitivity,? says Larrieu, president of the jury of the International Competition in Geneva.Maxence LarrieuInterview with the leading craftsman as he celebrates 50 years.Albert CooperDeveloping a professional flute ensemble.Principal flutist in the New York Philharmonic writes about performance etiquette.Team PlayerHistory of the voice and flute in ensemble.Flute and VoiceRepertoire for the seldom used group of flute plus three strings.Flute QuartetKirkwood Flute Ensemble"Even with a manager, it is a full-time job to become established as a performing duo. If you want to work, you have to make an effort,? says Mary Stolper, flutist in the popular duo Espree.Espree"That their program should be unusual is inevitable, but far beyond that, they are fascinating....? wrote Michael Steinberg about this flute-voice-harp trio.The Jubal TrioAn orthodontist tells about the protective devices available to wind players undergoing orthodontic treatment.Orthodonticsby Janis Weller. The author recounts the practical skills necessary to pursuing a performing career.Career PreparationUsing a new three point balance concept.Holding the FluteTwo Desert ScenesReview of Walfrid Kujala's premiere performance of this work for flute/piccolo and orchestra.ConcertoPurchasingAn interview with flute professor of the Manchester School in England.Trevor WyeAdvice from the master teacher and performer on how to raise your level of playing.James GalwayInternational Summer SchoolA summary of the International Summer School classes.Never-before-published new music for flute and piano.Morning SunshineDeveloping a flute ensemble.EnsembleWalt Parazaider

"The mettle of a good teacher is pulling something out of a mediocre talent; I never had that kind of patience,? says the flute, sax, and clarinet player in the rock group Chicago.Improve your intonation by tuning in.Renewing one's excitement in being a musician and teacher.What direction is new music going? Find out where it went at Bowling Green State University.BreathingLearn how to avoid problems by breathing naturally.An analysis of the physiology of the mouth and how it relates to the flute.Tips on being a page turner for other performers."Many jazz musicians are known for their innovative ideas, not their chops,? says Denis DiBlasio, author of Bop Shop.Denis DiBlasio"Music for Flute" by James Perrone; "Soliloquy" for solo flute by Susan W. NortonSoliloquy for solo fluteLearn how to write music at the computer.Altered keys make a better fit.Learn how to develop the characteristics of a good competitor.CompetitionScales and long tones are not just acrobatics for the flute.Plan ahead with certain steps towards competition preparation....a simple plan to practice scale patterns, develop discipline and endurance, and vary the routine so you won't become bored."There is room for anybody anywhere if they are good,? says Galway.After performing this demanding work for a sold-out crowd in Grand Junction, Colorado, Mark Thomas shares performing tips that will showcase every flutistˆs virtuosity.L'Oiseau des BoisIdeas on teaching better finger motion and position.Find out who is teaching where so you can attend a class this summer.Never published music for you to try.Free Flight flutist says he wonˆt let the audience sleep through his concerts.Understanding the possibilities for electronic flute sound in contemporary music.Pr?cis of Marcel Moyse's career.The teaching concepts of Marcel MoyseRobert Aitken relates an anecdote of his first meeting with Marcel Moyse.List of events to celebrate the centennial of the birth of Marcel Moyse.This yearˆs Flute Talk competition winner briefly considered not entering.Soloist/conductor talks of music and musicians."The difficulty of the flute is to play it in tune and with the right expression.?A complete listing of events at the New Orleans convention of the NFA.Competition judges Julius Baker, Jean Berkenstock, and Alexander Murray share comments and observations.Famed flutemaker says it is not as easy as it looks to redesign the embouchure hole.Son of Marcel Moyse loves to teach.Never published music for you to try."A good teacher should focus on what the student naturally does well."Concertgebouw flutist stresses authentic interpretation. Free Flight flutist shares sound advice.Neatness counts when trying to publish compositions.Learn how to improve your skills.A never-published flute duet for you to try.Popular jazz flutist Steve Kujala says his classical training helps his improvisation.Jazz performance requires fluid technique."It makes good sense not to concern yourself with breathing so you can concentrate on all the other aspects of your playing."

"People tell me I stretch their imaginations, but more important, I move them."An unpublished piece for solo flute and performance guide with an analysis of contemporary techniques.He endeared himself to others not only with his sense of humor, but also with his effortless musical ability.Period instruments and historical costumes add to the performances by this flute and guitar duo.

This guide provides suggestions for performing 19th-century ornaments on the modern flute."Players and listeners find this combination uniquely satisfying, but there are some performance challenges."A summary of James Galway's advice offered during his recent master class in Switzerland.Seven musicians interpret four different articulation notations."Learning is a means to an end, not an end in itself."New York City Opera's solo flutist describes the difference between playing in an opera and playing in a symphony."When I conduct I think about the big picture, the harmonic and rhythmic structure, and make sure those things are clear and well-played."Flute students should think of every note as a tuning note.Newly-composed duet published for the first time in this issue."The teacher should understand the student's aspirations and then fill in what is needed."A detailed explanation to help interpret a contemporary work for solo flute.Don't simply tell students to practice; make them want to.Playing jazz licks made easier with advice from teachers at the Berklee College of Music in Boston.Benjamin Franklin invented an unusual instrument that blends nicely with the flute.The Nutcracker"I don't believe in fussing over the terminology of what muscles we move. If you sing in the bath, you don't think about which muscles lift up or push down, do you?"A first-hand account of studying with the master flutist.An explanation of the pedagogy of the founder of the French flute school.

A demonic flute solo guaranteed to frustrate the most able performer, yet strengthen the little fingerAn extensive listing of courses you won't want to miss.RepairHighlights of the long career of Navy flutist who became professor at Indiana University.Helpful exercises to improve technique.A narrative account of the development of the flute.Never-published music for you to play.ElegiaWinner of the 1990 Flute Talk Competition talks about studying and her interests beyond the flute.The judges' comments and advice from the roundtable will help every flutist prepare for future competitions.Never-published easy duets for your enjoyment.Knowing what to eliminate will make you a better accompanist.

Teaching BeginnersThoughts on education, art, and life from a Julliard convocation address.

RepertoireTechniqueComposer of both serious and humorous works says that a basic ingredient of humor is finding similarities between dissimilarities.A preview of the events scheduled for the Minneapolis meeting in August.What to consider when shopping for a new instrument.A never-published easy solo for flute and piano.SolosExpectationsTwo composers talk about writing for the flute.The teaching concepts of the late flutist Geoffrey Gilbert include fundamental tone production.Profile of honorable solo flutist of the Japan Philharmonic.Researching archived 18th-century music unearths some gems.

Louis Ouzer, photographer, and his history of Eastman School of Music.A graded listing of some standard repertoire.Alternate FingeringsTempoGary Schocker replaced Jean-Pierre Rampal on three hours' notice and that event launched his career.

A survey of the music business degree programs at four schools.Breathing is easier if you think about phrasing and forget about the diaphragm.Annual listing of various contests.An original composition for flute and piano.RepertoireStay away from overplayed repertoire and pieces you cannot handle.Concert and broadcast performances show spontaneity. Listening to other musicians will teach you what you don't know."As a teacher I enjoy helping students achieve whatever they are looking for in music."Proper preparation and release will improve clarity of articulation.How music is notated can lead to misreading easy rhythms.Silent Night, Holy NightSemiramideMusical Recipe"Playing without articulation is like writing a poem without commas."Other musicians wonder why many flutists do not play with a full range of dynamics.Life as a professional musician is demanding but worthwhile.Susan Rawcliffe designs unusual flutes after those from an extinct culture.Marks in the music often indicate sight-reading deficiencies.The greater their potential the more you should challenge talented students to achieve.MusicStage Fright

"Taking in air without gasping happens only when you relax.""If students understand that music can be fun, they will enjoy all music.""Remember, it is the amount of air that changes dynamics, not the jaw."A performance guide for a difficult staple in the repertoire.An original composition with lyrical melody.A new rhythmically challenging composition for flute and piano.TidbitsInterpretation"Once you have memorized a piece, it is not learned until you can play it in 12 keys."Inhaling the right amount of air according to the phrase improves breathing.Understanding its structure and story are the first steps to musical interpretation.American composer of popular and serious music included the flute in 17 works."His high notes do not shriek nor the low ones sound windy."An original easy-level composition for flute quartet.ShostakovichMotto of FranceWhat you ask the artist can endear you to him for life or end the conversation abruptly.From teaching to editing musical scores and performing, the founder and honorary life president of the National Flute Association has a flair for it all.Many legends about this often-played solo piece by Claude Debussy are incorrect; "for me it is a great painting."In this year of Mozart mania that celebrates his life 200 years ago, myths about his aversions to the flute need to be stifled.Rarely do flutists need to play notes beyond C4, but practicing in the stratosphere is good practice for tone development.So many interesting master classes and music camps are available that it wil be hard to decide where to go this summer for extended studies.BlendingSound"Although flutists have long considered the variations a major addition to the romantic repertoire, many have maligned this work as trivial and insignificant among Schubert's compositions."Temple University professor Edwin Gordon and Eastman professor Richard Grunow say that "for a student to be introduced to music theory before he can sing with good intonation, move in rhythm, and mentally hear music is like teachAfter the Flute Talk competitions the judges have talked with contestants and given advice, such as "the first three notes make the greatest impression" to "play stylistically"."Defining musical values helps artistic interpretation."Ballet MusicBreathing

"You have to find a way of making yourself, the music, and the people for whom you are playing one complete natural whole. The flute is only a means. What's important is to make music - that's what counts.""A thorough understanding of a work's structure helps a performer interpret musically.""Reading musical instructions while playing is like reading a road map while driving."A newly composed piece that blends ethereal colors throughout long phrases.Symphony PlayersBasicsThe winner of the 5th Annual Flute Competition set her sights so firmly on winning that, for the first time in her life, she developed pre-contest jitters.Competition judges comment on stylistic interpretation, ornamentation, and how to augment performance.Learn what flute enthusiasts will have in store during four days of convention activities in Washington, D.C..1990-1990 Season: flute sections of American symphony orchestras.

Geralyn Coticone and Mary Kay FinkAn important link to the French school, long-time flute professor at University of North Texas studied with Barrere, Laurent, and Kincaid.When American composer Farwell studied in Paris, he thought "the music of Debussy was much too far out," until he heard it played by Georges Barrere, who inspired this suite.Knowing what to practice and why helps accomplish musical goals.Practical advice for setting upa studio and attracting students.BasicsReasons to PlaySt. Louis Symphony piccoloist Jan Gippo is perpetuating piccolo players and repertoire.Using alternate fingerings facilitates difficult orchestral solos.Beginning properly makes piccolo playing enjoyable.

Basic audition preparation without short cuts is the secret to success.

Blending within the orchestral texture makes bird calls musical.

EnjoymentWriting with dense or simple harmonies and rhythms doesn't matter.Knowing what scale to play over an underlying chord is the basis of improvising.Using breath expressively makes these exercises studies in artistry.

arranged by Dennis Hugh Avey. Interesting arrangement of a familiar tune, first published for holiday programs.

Early LessonsEnjoymentFrustrationFormer principal flutist of the Royal Philharmonic trades orchestral for solo performance."Hearing the master flutist play Chaminade, Toscanini put down his baton and said, 'This man knows music.'"arranged by Bill Holcombe. Familiar tune with a jazzy twist.Musicologist and flute collector documents the development of the flute.The different aspects of Rampal's musical interests, career, and life are evident through the evolution of his 1,000 recordings to date.ArticulationTechniqueHistoryStravinsky said: "The idea of ritualistic evocation of springtime came from the music, not the music from the idea. This idea is not anecdotal.""Flutists waste substantial amounts of air by blowing too much."The first publication of a composition for flute and piano."The illusive vibrato should be a part of the sound, not a decoration."A basic discussion of vibrato production.TermsFailureClement Barone

According to John Barcellona, "No flutist is an exact duplicate, but a certain school of playing can be discerned."I don't like the study of the breath, even though I'm an expert on it. Breath is fuel; it should be something you don't think much about."Clever, jazzy rhythms make this duet for flute and piano fun to play.Stylistic interpretation goes beyond rote performance.TraditionTrustStrainOnly after overcoming fingering obstacles can a player be musical.Composer Michael Daugherty discusses how he approaches writing flute music.A glimpse at what inspired him to play the flute.This new piece has an interesting lyrical line with contrasting rhythmical effects.A guide for flutists of all levels to decide where to study this summer.SymphonyJonathon Snowden1992 Competition Winner Immanuel Davis says, "It's not possible to have someone else's sound, nor would I want it, because we're all different players."Julia Bogorad, Michel Debost, and Walfrid Kujala comment on the 1992 Flute Talk Competition.Proof that Bach used traditional forms in a "galant" baroque style.

ConcertinoRhythmGreek Mythological FlutesSplit KeysMemorizationDans le JardinMetabainoRepertoireFingeringsDrawing Down the MoonTuning techniques help school flute sections overcome inherent intonation problems.Analyzing difficult technical passages of this audition piece and learning how to practice the difficult spots builds performing confidence.A newly-composed piece for flute quartet.Highlights the life and legacy of this flutist, composer, and conductor.A new piece for flute and piano.RecitalsYoung FlutistsRelationship to FluteFlute enthusiasts will enjoy the 1992 meeting of the National Flute Association in Los Angeles.Some make a profound demonstration of their technical ability, but have no style."

by Otto Luening

Recognizing and correcting embouchure flaws improves tone quality.Dispels misconceptions about blowing techniques and describes exercises for tone development.Suzuki MethodConcerto for Piccolo and Chamber OrchestraPracticingDescribes several extended techniques which form the basis for each of the 13 fantasias of this new music.Explains the function of various ornamental tones and how to execute them.Becomes less difficult and overwhelming when users understand how the electronic equipment functions.A newly composed piece for flute alone, recently premiered in Australia.

Duo Worksby Carol Kniebusch Noe. Answers young players' questions.Suggests a combination of throat and abdominal muscles produce vibrato.Presents several exercises to develop breathing endurance and dynamic range.The NutcrackerPracticingThe great French flutist explains how he makes it sound so easy."No experience necessary; will train to improvise."Potential music majors need to know how to play a successful audition.Explains the popularity of flute choirs and the available literature.A new flute duet for your enjoyment.An annual directory of competitions for flutists of every level.Piccolo PlayTrouble FingersWho was not prepared for what was to come, rushed in and became a flutist's husband."The most important thing to develop is a sense of musical phrasing.""A clear idea of the event's purpose can sustain you through the hard work of putting it together."Over-shadowed by the French School, the forgotten Italian School greatly influenced 19th-century flutists.Highlights the contributions of an important teacher and performer."The Rose" by John Bellows, "Bootes" by Kim Theodore, and "Scherzino" by Aaron Einbond.Piccolo PlayVibrato and ResonanceAn interview with Alain Marion. "Too many flutists are technically perfect but have not developed artistic interpretation."Stresses that using the correct vibrato assures musicality.Requires listening to others and blending to achieve musical ensemble.Flutists should learn to adjust their pitch in every performing situation."Any serious instrumentalist continues to explore and try new ways of playing."Photos of Eastman School of Music by a long-time friend of the school.Beethoven's grand-nephew emigrated to America after defrauding the Bavarian government.Piccolo SolosTuningSurveys how fingering techniques and flutes have changed.Helps even straight-laced flutists swing.Describes the advantages of using the thumb Bb key in an etude by Altes."Recording sessions are 90% boredom and 10% sheer terror."Describes the process of commissioning a new work for flute and harp.Certain strategies can relieve pain caused by tension while improving flute tone.RepertoireBreathingDescribes the German composer's inspiration to help guide interpretation.Provides insight into this audition favorite.Suggests that a modification of the Boehm system will aid dexterity.Highlights the musical genius of the Russian composer.Helps flutists realize musical interpretation.A quiz on celebrated composers and their affairs of the heart.Facing audience members after a recital and enduring their comments can be more traumatic than the performance.A newly-composed piece, "Metabaino" is for flutists of every level.ProfilesInstructs flutists how to interpret this piece for flute, viola, and harp.Points out the reality of the music business.Is influenced by lip formation as well as the airstream.A comprehensive listing of flute classes for musicians of every level.A new arrangement of "Amazing Grace" suitable for many occasions.

Drawing Down the MoonProfiles the versatile career of the principal flutist of the London Philharmonic Orchestra.Gives insightful ways to practice this brilliant showpiece.Instructs young musicians about improving the inner sense of rhythm.Describes several examples of the flute in Greek mythology.Addresses the value of additional key mechanisms."Dans le Jardin", a soliloquy for solo flute.First published in the February 1993 issue.Accompaniment1993 Competition winner says he wants to do it all.Discuss ways to improve performance in competition.Describes the romantic setting behind this flute solo.Defines terms flutists should know when buying new instruments.Simplifies the execution of this important musical ornament.Patti AdamsScalesAn overview of the 21st annual flute gathering to be held in Boston.Discusses how even expert players do not agree on its use and production.The life and work of this artist and teacher.Suggests how a standard flute can be adapted to improve intonation flaws.New MusicEtiquettePresents an interesting view of the life and philosophy of the Prussian king.Discusses what influenced this composer to write his Caprices for the flute.Profiles this composer's masterful writing for flute.Suggests ways to improve musicianship.by Otto Luening. Newly -composed music for two flutes.Describes several species known to musicians.Symphony #5ExpectationsDiscusses how to interpret this contemporary piece based on birdsongs."Kincaid didn't bat an eye when I told him I was playing a wooden flute because he used to play wood."by Frederick the Great, a recitative solo never before published, edited and realized by Hal Ott.

Points out several habits that are difficult to break.MahlerBeginning StudentsDiscusses how a few changes in accompanimental texture improve this repertoire mainstay, even though the original solo stays basically intact.Sheds new light on these traditional flute studies that are not simply a progression through the circle of fifths, but melodious etudes.Describes the legendary arranger and composer's lifelong quest to improve literature and technical studies for students. Some of the repertoire he uncovered in his frequent journies to Europe.by Frederick the Great, a recitative solo never before published, edited and realized by Hal Ott.The French SchoolThis mainstay of 20th-century flute and piano literature has translucent textures and should be performed with conviction."Young flutists auditioning for orchestras should have good pitch, rhythm, and play musically. By all means, be musical."Richard Bennett was inspired by Debussy's mysterious and exotic musical gem to create modern works with similar qualities.The techniques of disciplined swimming can be applied to flute practice to isolate problems and make improvements.by Frederick the Great, edited and realized by Hal Ott, the last in a series of never-published recitative sonatas.RavelAfter 38 years as principal flutist in the Boston Symphony Orchestra, Dwyer has practical advice for aspiring flutists.Gives insightful ways to practice and prepare this large-scale orchestral suite that is out of this world.A newly-composed piece for solo flute that includes a cadenza with bird-like sounds.Describes how a friend's recommendation opened the door to an exotic opportunity.Takes teaching note names from memorizing silly phrases to understanding the relationship between pitches.

The technique of vibrato is the same in singing and flute playing because each requires a strong diaphragm and abdominal support.""Musicians should be versatile, from playing intimate cadenzas in "Lucia" to grandiose Strauss.Helps consider the basic structure of this famous solo for more expressive playing with rhythmic accuracy.Because a private teacher essentially sells his time, making efficient use of time and setting appropriate fees is fundamental to a successful studio.Merely telling a student to relax rarely does much good and may even comound the problem of stiff fingers and muscles.An interview with Emmanuel Pahud. "Music can only be defined when it is opposed to silence; and silence is a part of music.""Breathing life into notes so they seem to sing and dance, command high drama, or wink impishly is not all mystery."Discusses how classical players should alter their technique and rhythmic emphasis to play jazz styles convincingly.An annual listing of classes and seminars available to flutists of all ages in a variety of locations.Flutists Ervin Monroe, John Barcellona, Charches DeLaney, Hal Ott and others discuss topics ranging from repertoire interpretation to technique in a class sponsored by the Columbia Flute Studio.Links articulation in music to inflections in speech using Bach's Sonatas as examples.Understanding the harmonic, melodic, and rhythmic context helps a performer know how to interpret these ornaments and lend an improvisatory element to B.W.V. 1035.Provides a musical solution to Schubert's oversight that flutists can cut out and tape into their music.Despite a relatively late start on the flute, this talented young man from Columbia made up for lost time by coming to the United States to study with leading teachers.Following the semifinal round of the 8th Flute Talk Competition, judges Kathleen Chastain, Michel Debost, and William Montgomery evaluated the performances and discussed many ways to improve playing, including breathing and contrSeveral outstanding teachers recall summertime experiences that affected their lives. Charles Groeling said, "Being thrown together with others from similar backgrounds and left to my own resources, I discovered my own capabilities and interests."A series of newly-published embouchure exercises that will help flutists master difficult slurs and acquire a beautiful sonority.From concerts to master classes and lectures, the 1994 NFA convention schedule includes something of interest for players of every level.Associate principal flute of the Philadelphia Orchestra David Cramer speaks of musicality when he says, "Do not let the instrument dictate how to play the music. We should be musicians first and flutists second."After undertaking a completely new flute construction in 1831, Theobald Boehm was still not satisfied and he continued to experiment until he developed an instrument that improved tone, technique, and intonation.Responding to which symphonic piccolo solos were the most beautiful, difficult, treacherous, and fun, 35 players nominate their choices.Principal flutist of the Montreal Symphony Orchestra Hutchins says, ÒAfter listening intelligently to a work dozens of times, a player may feel it is not for him, but he can learn to appreciate such aPortraying a goat waking from slumber and then dancing vigorously, this charming miniature is often the first solo work that high school-level flutists study, and it makes a good recital encore, contest selection, or audition piece.Guides students through professional players in using practice time efficiently in fundamental exercises that emphasize breathing, embouchure, scales and arpeggios, articulation, vibrato, and technical proficiency.A newly-composed piccolo solo with piano accompaniment, includes a surprising new partner song sure to please players and audience alike.Discusses the advantages of developing a broad range of musical styles to be prepared for unusual jazz rhythms, improvisation, and demanding sight-reading when playing pops concerts.ÒI find that students become quite excited during jazz clinics, but when the concerts are over and the clinicians leave, the enthusiasm often dies.?An Open Letter to Michel Debost from Walfrid Kujala. ÒEven an unsuccessful attempt at learning an upper cheek inflation embouchure (U.C.1.E.) can benefit a flutist indirectly by increasing his awareness of all the variables involved in developing a more Famed flute professor at the Winterthur Conservatory in Switzerland aims his teaching at the individual. ÒAll students have their own characteristics and what ruins flutists is that they imitate great playby Wendell Dobbs. In his ÒFive Haiku?, a piece for solo flute, Whear skillfully alternates rapid motion with lyricism and dramatic moments with resolution.by Otto Luening, a newly-composed piccolo solo with piano accompaniment continued from last monthˆs issue, includes a surprising new partner song sure to please players and audience alike.In this reprint of his February 1973 article written in tribute to his former teacher Joseph Mariano, Kujala states, ÒAn ideal flute embouchure can depend a great deal on the playerˆs ability to control his cheeks sensitively in such a provides flutists with necessary information to enter national and international competitions.An Interview with Paula Robison. ÒA flutist cannot just play an orchestral passage the way he learned it in the practice room with a sound that does not project to the back of a large hall.?Because Hue wrote this piece in the same style as his works for theatre, ballet, and opera, flutists should recognize images of movement as they incorporate smooth technique that does not interfere with interpretation.ToneThe published articles and texts that describe how flutists produce a good tone give Òa bewildering range of opinions and contradictory advice.? This veteran teacher cuts through some of the confusion on this essential aspect of flute pExplains some simple methods to maintain flutes and prevent serious problems later.Specific breathing exercises that are based on the ideas of Arnold Jacobs and Keith Underwood will increase breath capacity and endurance. ÒMost players practice scales and arpeggios and neglect breathing exercises.A student of both William Kincaid and Georges Laurent, Willoughby says, ÒThe best flute sound for me is a combination of these schools. The puffed-cheek technique has its place, but I do not feel the toLooks at the close alliance between intonation and tone production and discusses the problems involved and suggests solutions. ÒBy keeping the lips comparatively open and relaxed in the forte, a round, full, mellow sound can be producOften performed for competitions or auditions, this French piece incorporates lyricism with flashy technique, and this performance guide gives practice suggestions so technique does not interfere with musicality.ÒThe combined efforts of the tongue, breath pressure, and embouchure provide most of the quality and expressiveness of a note, but executing an attack depends on the musical surroundings and the type and style of music.?Arrangement of a traditional carol includes exciting fast passages and double tonguing.Describes this 20th-century composerˆs cultural influences that are evident in his various works and focuses on his ÒSuite Modale?, which was written for the late flute virtuoso Elaine Shaffer in admiration of her sensitive and expressiÒMusicians and critics throughout the world have paid tribute to Demetrios CallimahosÙ extraordinary personality. He raised the level of flute performance and importance as a solo instrument.?After a devastating lecture from George Szell this leading cellist and teacher transformed his approach to music. ÒThe key is simple: you have to keep going. Life isnˆt a competition; it is only about yourself, one day after another, forcBased on traditional scale exercises, but the harmonies are altered to equip flutists technically for unusual jazz harmonies and progressions.Several music school deans and department chairmen share their perspectives on life as a music major to guide high school students in planning their futures.A newly-composed piece for solo flute, invites creative interpretation.Although originally composed as a piece for alto flute, this work is also for the regular flute. ÒThe larger instrument displays a wider palette of tone colors that add interest to the wide melodic leaps.?This discussion with Walfrid Kujala and Judith Bentley continues the debate about using air pockets in the cheeks to benefit tone and embouchure flexibility, and describes how whistle tones help players learn this technique.Adapting the soprano lines from a song cycle, LaMontaine gives his music new character by writing in the middle and high registers of the flute that best highlight the instrumentˆs singing quality.

Otherwise known as ÙWill-oˆ -the Wisps' the eerie lights dance the Minuet and augment the Faustian tale.Without developing detailed musical concepts first in their minds, players will not be able to improve their musicianship.Developing accurate concepts of tempo without a metronome can be as simple as looking at a wristwatch or mentally hearing a Sousa march.The principal flutist of the Chicago Symphony Orchestra has held that position longer than any other current principal flutist in the United States, and he still finds the job to be challenging and exciting.This Òconcours? piece is a perfect choice for auditions and competitions because it has musical contrasts and long lyrical lines over much of the flute range. These show the flute at its best and display the performerˆs abilities.Still holding a preeminent place in the history of flute playing 50 years after his death, Barr?re set a new standard for American woodwind playing and fostered the development of chamber music and the chamber symphony in hiscompiled by Mary Jean Sirnpson.This annual feature includes a wide range of classes for flutists of every level. From classes on specific repertoire to studying with a master teacher, students will find an array of fresh perspectives in these summer sessThe principal flute of the New York Philharmonic says in her audition Òthe music came through because I was concentrating on sound, musicality, communicating emotion, and technical proficiency. Most players forget the first three Because the unusual instrumentation has inherent balance and projection problems, this is a challenging work to perform with its wealth of detail to be coordinated, especially in light of its rhythmic complexity.Introducing the T-U-D factor, Kujala says, ÒOne of the main goals of a wind player is to maintain clarity and precision with recurring tongue strokes. Fast tempos make it necessary for the tongue to return to its starting position quicklyPresents a fingering exercise that alters the pitch slightly to simulate a trademark feature in certain jazz music.by Leonard L. Garrison is a comprehensive listing of Flute Talkˆs Guides to performing solo flute repertoire.Principal flute of the Saint Louis Symphony Orchestra Jacob Berg says, ÒAlthough I have heard other wonderful players and many beautiful interpretations, for me Kincaid is the greatest one. The most striking thing, I have always fBeing prepared is as good a motto for surviving on a stage as it is for Boy Scouts in the wilderness. ÒPerformers should always walk on the stage thinking, ÙI know this piece; I can do it.ˆ?From the sensuous and languid opening through a jocular yet somewhat demented scherzo and ending in a vicious dance, this flute concerto travels through the history of the flute itself. As Jolivet said, ÒThe flute is the essential musical iA staple in study materials, the 24 Flute Concert Studies from J.S. Bachˆs Works and Famous Flute Solos includes a wide variety of Bachˆs compositions originally written for other instruments. Demanding yet rewarding to play, these studiesÒBefore searching in vain for a used instrument, a flutist should consider what quality, style, and brand of flute would fit his needs and suit his playing level.?Although most repairs should be left to the professionals, most flutists can learn to make minor adjustments as well as basic care to ensure proper instrument maintenance.A comprehensive listing of Flute Talkˆs guides to performing orchestral literature.Sanford cites the importance of getting out of the practice room and exploring the world of music beyond flutes: of music, ÒI have gained more musical insights from attending classes geared to instruments other than the flute, espFollowing the semifinal round, judges Leone Buyse, Donald Peck, and Jim Walker complimented the contestants and then addressed issues that will help every young musician along the path to success.ÒTo learn how to use vibrato effectively and musically, begin by listening to a variety of musicians, especially singers like Eileen Farrell. Then think about what vibrato does for the sound in terms of coloring and expression.?Based on Robert Browningˆs poem, ÒThe Pied Piper of Hamelin,? this concerto has children rising up out of the audience to play flutes and drums in answer to the piper.Previewing the August flute gathering in Orlando, Florida, this yearˆs program chairman says the theme emphasizes the enchanting powers and fantasy of the flute and its music.Emphasizing musical aspects, the famed flute soloist and teacher says that everybody is different. ÒPlaying the flute has to be natural. If you practice and practice it becomes a part of you. After a while a player comes into his In her comments during the master-class phase of the recent Flute Talk Competition, Buyse, flute professor at the University of Michigan, stressed the importance of Òtone, which is the playerˆs trademark, a special voice and identity. StriIn his comments at the recent Flute Talk Competition, Peck, principal flute of the Chicago Symphony Orchestra said, ÒI tell students to relax and imitate a dramatic soprano in the high register.? Growing up listening to Eileen Farrell, he Former students and colleagues of William Kincaid flocked to Philadelphia to celebrate the 100th anniversary of the birth of this great musician, considered to be the founder of the American school of flute playing.ÒFew composers can stir the emotions of the audience like Ralph Vaughan Williams. From simple folk melodies to passages of pathos, his works are enjoyable to play and hear, and this piece is one of his most charming.? Flutists of all levelThree of these composersˆ master works, Ein Heldenleben, Rapsodie Espagnole, and Five Pieces for Orchestra, differ widely in emotional content but share common traits. Adapted from a lecture before a Chicago Symphony concert, this artiOver the past 50 years several topics, from tone to vibrato and breath control, have fascinated or perplexed flutists. This compilation of articles describes trends in flute playing, some of which are better forgotten while others are Competing is one of the best ways to develop better performance skills as well as confidence. Thinking of the bigger picture of style and interpretation instead of every eighth note helps put flutists in the winnerˆs circle. Find out about various competRubato playing takes time from some notes that is given back to others in the measure, but without altering the tempo.An Interview with Benoit Fromanger. The principal flute of the Bavarian Radio Orchestra emphasizes the search for musical meaning: ÒThe true problem in flute playing is that we do not speak enough about music, we talk about mechaniby Leonard Garrison considers rhythmic traps, agogic accents in the Allegro aperto movement, and where to play rubato for an interesting interpretation.Some passages are smoother if played with the Bb lever, but many flutists do not know how to use it to eliminate intermediary notes that interrupt the musical flow.Iit is unclear whether Kincaid or his students wrote the unpublished notes attributed to this legendary flutist. He insisted that students keep detailed notes on each lesson, and he gave very precise instructions about how the flute shouldWorks for piccolo and flute and harp.Describes the excitement and pace of playing life with the Australian Opera and Ballet Orchestra.Often flutists believe that tension emanates from the neck, but usually it results from slamming the fingers down on the keys.Works for piccolo, flute, and woodwind ensembles.An interview with Charles DeLaney. Flute professor at Florida State University, composer, and conductor Charles DeLaney says, ÙSo many young players have no concept of how to interpret their pieces, and perform them instead with iDiscusses composing and improvising cadenzas, or selecting one already written when performing the D Major Concerto, including one that many flutists do not know that Mozart actually composed for this concerto. It helps if students undeKincaidˆs teaching and playing concepts are preserved in these comments of his, and the author adds comments and clarifications to the original text, based on his lessons with students of the legendary teacher. This is the second and finCompares the influence of language to different flute articulation. By experimenting with different tongue placement, students can find effective ways to improve the sound during articulated passages.Describes the piccolo competition and other piccolo concerts.Correctly aligning the flute can open the sound and allow the fingers to play more efficiently.ÒIn opera orchestras, musicians have to be flexible to accompany singers who take great liberties. Often their voices do not project over the orchestra, so the conductor asks for many dynamic levelsThis difficult work is one of the pieces required for the 1996 Flute Talk Competition. Within a few measures the music switches from a lamenting sound to a driving dance and includes many technical challenges.This popular contest piece calls for good sound, legato playing, breath control, proper dynamics and rhythm and musicianship.Profiles this American composer who experimented with electronic music but also wrote many instrumental and vocal pieces. In the next issue several of his latest etude for flute alone, written in honor of his 95th year, will be included.The winner of the first Flute Talk Competition in 1987 plugged away until she landed a job with a major orchestra.A veteran of many college interviews and auditions reflects on these experiences.

Several new piccolo pieces featuring interesting compositional techniques will delight piccoloists and audiences alike."The Flutistˆs Vade Mecum? is a new, all-encompassing approach to studying and perfecting technique.ÒOver the years William Bennett, one of the foremost English flutists of the century, has synthesized Geoffrey Gilbertˆs rigorous technical training and Marcel Moyseˆs musical depth with his own distinct personality. The result is his imWilliam Bennett, one of Geoffrey Gilbertˆs outstanding prodigies, remembers being shocked at his first lesson because he played everything at an unacceptable speed. ÒGilbert said I was playing much too fast, so I had to redo everThis contemporary work with Stravinsky-like characteristics explores interesting harmonies yet retains a tonal center throughout melodic and rhythmic motives.In response to Walfrid Kujalaˆs discussion about creating a classical cadenza that is stylistically suitable for Mozartˆs D Major Concerto, this article offers further ideas that emphasize the character of the movement.When performed well with style, even technique, good sound, and careful rhythm, this challenging work makes an impressive contest or audition solo.New releases for flutists Angela Koregelos, Jamie Henry, and Donna Milanovich.These recently composed lyrical etudes include many tempo and color changes.Discusses how a new piccolo can produce quarter-tones without sacrificing technique.Reviews a new book, ÒOrchestral Excerpts for the Flute?, that features musical explanations so flutists can understand the context.As principal flute of the Philadelphia Orchestra, Jeffrey Khaner admits that his greatest challenge is learning the orchestraˆs traditional ways to play things. ÒPlayers respond to different surroIntricate Czech dance rhythms and the whippoorwillˆs song form the basis of this sonata for flute and piano. Players should place the rhythmic stress correctly with precise articulation for proper interpretation.This topic is rarely discussed, but in this summary of Jeanne Baxtresserˆs recent lecture, high school as well as college students can benefit from her advice.Even though the crocus has not yet poked through the ground, it is not too soon to make plans to attend classes this summer. This annual listing provides detailed information.Analyzes two recent works for piccolo with band accompaniment.When players prepare fingers in advance to cross the bridge, dexterity is smoother and tone quality improved.Elena Durfln developed a career that includes teaching, performing, and recording. She also established flute festivals in Stratford, England and Mexico to teach young players. ÒBeing dedicated to what you are doing and enjoying This work for flute, viola, and harp exemplifies Debussyˆs love of the arabesque and is rhythmically one of his most complex compositions. Of its melancholy style, the composer commented that he hardly knew whether to laugh or cry, ÒperhThese woodwinds have many dissimilarities that complicate ensemble playing unless the players understand how to control intonation, articulation, and balance.Most instrumentalists never develop the stage presence of opera stars, but with a little showmanship and expressiveness their careers and performances would improve.Harmonic exercises based on major scales and thirds will build embouchure flexibility and improve the tone quality.This easy flute duet with changing meters and lyrical lines is good sight-reading material for the end of a lesson.Flute choirs have a wide choice of music, including many fine new works composed specifically for these ensembles.Piccolo shopping can be confusing, but there are instruments to suit every budget.Describes sitting and standing positions that are most comfortable and do not impair flute playing.An Interview with Ren? Rateau. A student of Philippe Gaubert who emigrated to play in American orchestras, Ren? Rateau brought with him tonal ideals of the French School, an even, focused tone in all registers, and a flexible vibrato.Explains how to interpret this popular sonata so it sounds improvised. With intriguing rhythms and melodies, this is a challenging work that is fun to play and hear.Beneath the surface notation, Baroque composers attempted to portray, represent, or create emotions, but modern performers can easily misconstrue 18th-century tempo and style indications.A newly composed novelty piece for flute and guitar by Howard Vance.Suggests experimenting with flute alignment to improve the sound without modifying the embouchure.Practice is essential as a musician, but there are practical steps that will increase your chances of getting a lucky break.Works for piccolo, flute, and flute ensembles.Suggests ways to improve the blend and intonation on this grand symphony.ÒPracticing is not something we do to avoid feeling guilty; it is the path to greater happiness and pleasure.The winner of the 1996 Flute Talk Competition did not begin playing the flute until age 16. Unlike many of the previous contest winners, her goal is to become a soloist, not an orchestral player. ÒOnce I have a broader repertoire,After each Flute Talk Competition the judges gather with the contestants to offer comments and suggestions on the performances in the semi-final round. This year the judges were Jacques Zoon, Benoit Fromanger, and Doriot Anthony Dwyer. ÒTry to capture a by Eric Hoover. The 24th annual meeting of the National Flute Association in New York features performances by Paula Robison, Robert Dick, Samuel Baron, and others.With the advent of such electronic aids as tape recorders, metronomes, and computerized systems, students need not simply endure lonely hours of routine practice.Most piccoloists play in a variety of ensembles, so it is important that they learn standard works for bands in addition to orchestral repertoire.It is a matter of being comfortable and developing a calming preparation routine.People do not realize that the sound is in the head of the musician, and that the flute is only a vehicle for achieving that sound.?Of all of Jean Rivierˆs music, Oiseaux tendres stands out because it is exciting, virtuosic, and displays emotional extremes. Rivier said that the flute often reminded him of the sounds of birds, but the expressive range of the flute goes The flute section of the Saint Louis Symphony Orchestra has been together for over 25 years. Principal flute Jacob Berg says, ÒWe work hard to bend and compromise to arrive at something that works as a section, even though we comeBoston has long been a flutemaking center that has historical connections between the companies as flute craftsmen who worked at one company left to open a shop of their own.New works for solo and ensemble playing.Only when the opportunity arose did Catherine Payne and Joan Voorhees turn to playing piccolo.Explains that a precise attack depends on airspeed more than tongue. ÒThe attack is not a percussion by the tongue, but its quick and precise withdrawal.?Cincinnati Conservatory of Music and Juilliard teacher Brad Garner advocates scales and exercises Òfor developing technique and playing musically. Flutists should emulate the string sound and the human voice, not just play the fluJazz performers do not simply draw from a stockpile of constructed phrases but use ideas and experience in a particular way. ÒIn the art of jazz the improviser makes each solo a personal statement.?Grammy Award-winner Wynton Marsalis addresses the art of making music. ÒPlaying to make somebody else feel good is what soul is; the sound is a spiritual concept of projecting your best self.Any aspiring flutist can create a compact disc now that costs have dropped and more companies compete in this field. ÒMost flutists do not realize that making a C.D. is entirely possible on a reasonable budget.?Two new pieces for solo flute and flute ensemble.

This annual listing of national and international competitions gives interested contestants pertinent information regarding application deadlines, entry fees, and repertoire.The flute section of the Chicago Symphony includes Donald Peck, Richard Graef, Louise Dixon, and Walfrid Kujala and is widely recognized for its rhythmic precision, full dynamic range, and musicality.Addresses some of the problems arid benefits of alternately playing both flute arid piccolo.ÒFor my taste, in matters of style, less is more.?A student of Rampal, Kudo says his lessons rarely focused on technical studies. ÒHe would not tell us how to tongue a passage or where to breathe. He pointed out a small thing or two, and although those things seemed insignificant at first,Written for flute and audio tape, this work uses conventional notation and a few extended techniques in a lyrical, tonal work.OperaBy playing simple operatic melodies in different keys and hearing the intervals, flutists will learn that a particular interval in one key is not quite the same when played in another key or a different octave.With the development of the classical concerto form, Mozartˆs cadenzas emphasized themes of the piece and wove in the established harmonies. ÒMany of Mozartˆs cadenzas were brief enough to be played in one breath, and many of the ornaments and cadenzas wThe flute section of the New York Philharmonic is known for its high level of musicianship, both within the orchestra and in solo playing.Reviews a recent concert of new works for the piccolo."Isometrics are essential to comfort and efficiency in flute playing.?As a student, George Pearce of the National Symphony Orchestra of South Africa often listened to the recordings of the Philadelphia Orchestra to hear how John Krell played. ÒI was bowled over by his sound. Never mind the fingers, it was the quality of thAs one of the required pieces for the 1997 Flute Talk Competition, Sonatina displays the full technical and musical qualities of the flute, but it is easier to play than it sounds at first.New compact discs feature Jeanne Baxtresser, Marc Adler, Wayne Hedrick and others in orchestral and chamber music.Most phrases in 16th- through 18th-century French popular songs, including noels, are apparent in the first strain of the song. The songs in this article demonstrate both standard phrasing and possible deviations. The articulation and tempo derive from tThe flute section of the Cleveland Orchestra includes Joshua Smith John Rautenberg, Martha Aarons, and Mary Kay Fink and is known for rhythmic precision and orchestral blend.Mimi Stillman was admitted to the Curtis Institute at age 12 as the youngest wind player in its 75-year history, but now at age 14 she is a junior in college.Flute solos, ensembles, and holiday carols.Reviews performances by the young artists who participated in the recent N.F.A. piccolo competition."The air column is a continuous unit from inside the body to the tip of the footjoint."Most beginning flutists are taught by their school director, who is usually not a flute specialist but has an elementary understanding of the instrument. Identifying the basic habits that many beginners learn incorrectly will lead to improved tone, intonWritten for flute alone,this fascinating, somewhat mysterious work calls for a wide range of tonal colors, extreme dynamics, and abrupt mood changes within a free style."Few teachers fully understand how the body regulates breathing, let alone how the breath is used in wind instrument playing. Those who have a partial understanding teach it through attention to anatomy rather than mental concepts about wind and song.The members of the Detroit Symphony flute section are known individually as artists and businessmen.When students attend lessons in pairs, one observes and takes notes while the other performs. ÒThe student who observes learns as much as the player, and each student has two lessons each week.?"There are inherent difficulties in machining and joining titanium parts, but a flute made of this metal would weigh less than half as much as one of silver.?New beginning methods, chamber music, and jazz works.The piccolo is not the shrill little brother of the flute."Faulty phrasing of slow lines can be attributed to uncoordinated fingerings.?Under the stress of a competition flutists sometimes forget to control intonation, pacing, vibrato, and nerves. With experience, and a few helpful hints from veterans,these aspects of performance fall into place."One of the most important qualities for playing in an orchestra is the ability to listen and adjust to other players. Learn to use the conductor as a guide only.?Many players do not realize that this Sonata for Flute and Piano, Op. 14 is based on rock elements from the 1960s and interpret it too squarely. Instead, the rhythms should drive forward Òwith slight distortions over the pianoˆs steady pulse to add excitFriends do not often ask professional musicians to talk or perform at parties, weddings, or social events without being paid. There is a skill in declining gracefully.From improved flutes to high-tech intonation trainers and piccolo protectors, many new products are available for music teachers and students.The flute section of the Los Angeles Philharmonic consists of Anne Diener Zentner, Janet Ferguson, and Catherine Ransom."From behind cluttered desks and workbenches come some of the most beautiful instruments in the world played by amateurs and professionals alike.?"Technique is the rational aspect of music and only the first step in being a musician.?It is unabashedly romantic and has soaring melodies, lush harmonies, and lyrical lines."The teacher/student relationship has two heads that sometimes collide.?The former principal flute of the Pittsburgh Symphony Orchestra shares his concept of flute playing. ÒA beautiful tone is important, but the musical content of a phrase played with a beautiful tone maintains the listenerˆs interest. The tone should be vaFew scholarly writings exist on Olivier MessiaenÙs only work for solo flute. Three formal analyses of the piece identify different structures, neglect intervallic relationships, and fail to address important performance aspects. This conflicting informatThe flute section of the San Francisco Symphony Orchestra consists of Paul Renzi, principal; Robin McKee, associate principal; Linda Lukas, second; and Catherine Payne, piccolo. According to Renzi, who was named principal flute 53 years ago, ÒEveryone inThis annual directory lists summer courses taught by renowned flutists, and some classes focus on pedagogy while others allow choices. While the venues, dates, and repertoire may vary, they all have one common theme: promoting good flute playing.This melodious, romantic song relieves the intensity of the first movement."The patient work today is a warm up for next year.His style is called crossover, but Nestor Torres says, ÒIt is mainly instrumental with improvisational elements, so it is called jazz.? His music incorporates rhythms from his Caribbean background, but he does not like to stereotype or categorize music. This captivating and difficult work is composed in the neo-classical style. In less than a decade it has become one of the most popular additions to the flute and piano repertoire and is one of the required selections for the 1997 Flute Talk Competition.A selftaught flute player, Sidney Lanier found success as a professional musician and is known as Americaˆs first flute virtuoso. ÒLanierˆs wonderful trills, roulades, and soulful melodies completely captivated his audiences.?The flute section of the Philadelphia Orchestra consists of Jeffrey Khaner, principal; David Cramer, associate principal; Loren Lind, second; and Kazuo Tokito, piccolo. ÒOurs is a very compatible, flexible section; even when adjustments seem unreasonableWritten for the unusual combination of two flutes and baritone horn, this newly-composed trio includes harmonized flutter tonguing.The ÒHeroic C Minor Forever? will make the audience jump up and cheer."Good players alternate periods of stress with moments of rest.?

Works for solo flute and ensembles ÒSome teachers love music and are excellent performers but are too impatient to motivate and inspire others.? Hal Ott, professor of flute at Central Washington University, has discovered that organization, curiosity, and an undersAs principal flute of the Chicago Symphony Orchestra for 40 years, Donald Peck adjusts the composerˆs dynamic markings to fit within the musical context and be in tune and balance.The political strife in Prokofievˆs homeland and his experiences in coping with political demands on the arts influenced his music, which has a saucy, infectious impudence, with mocking reeds, michievous melodic leaps, disjointed harmonies,Considered to be a neoclassic work, this sonata has a tender and lyrical style that includes features of 17th and 18th century music that is characteristically simple in texture and form.This flute section often stays after rehearsals to work on intonation or other problems and sometimes socializes after the work is over.A great alternative to Vivaldi challenges piccolo technique.Concerto for Piccolo and Chamber OrchestraInterpretationThe winner of the 1997 Flute Talk Competition finds the Òmost challenging pieces in the repertoire are the Bach sonatas because of the intonation and the double tonguing, which should be precise but not boring, and the interpretation cannot be too romantCarol Wincenc, John Wion, and Katherine Borst Jones offered suggestions,including, ÒThe musical language is a message without words? and musical expression Òmeans going beyond the level of comfort to a high plane of performance,? to the semifinalists.Johann Tromlitz (1725-1805) was an ill-tempered, acid-tongued, arrogant man, who was also an accomplished flutist and probably contributed more to advance the progress of flutes and flute playing than anyone before him.The 25th meeting of the National Flute Association, Jubilation Ù97, includes an abundance of outstanding performances and seminars.Move over Vivaldi, here is some more piccolo music to play.Breathing should be timely and silent so it is as natural as during speech.When the associate conductor of the Dallas Symphony Orchestra conducted Mahlerˆs 9th Symphony at age 29, she concluded that gray hair and years of suffering could help her develop more of its meaning. ÒLearning the notes is the first step, but the challeThis brilliant yet neglected work has light and rapid articulation, challenging rhythms, and difficult phrasing that incorporates folk song and dance rhythms of Brazil.The flute section of the Dallas Symphony Orchestra consists of Jean Larson, principal, Harvey Boatright, second, and Deborah Baron, assistant flute and piccolo.The growing piccolo repertoire is more appealing and interesting to program than Vivaldi concertos or the endless birdcalls of the Golden Age era.On receiving a packet of old 78 recordings by famous flutists of the past, the author listened to brilliant performances that were only marred by old fashioned sound and surface noise.A beautiful flute melody is accompanied by a guitar ostinato.New works by Mike Mower, Ricky Lombardo, and William Ryden for flute ensembles and solos.As suggested by two persons who recently won symphony jobs."From competitions we learn that ours is not the only way.? ÒI like to tell students that the sound begins with the inhalation. Many players just breathe and start the sound. By paying attention to the intake of air, making sure it suits the mood and tempo of the music, they begin the flowCharacterized by extremes of dynamics, register changes, styles, and tone colors, this standard of the flute repertoire is an excellent recital and competition piece featuring styles and colors that challenge the performer to create the personalities of The melodies of traditional Irish music are often embellished with grace notes, triplets, rolls, crans, trills, and vibrato; but the overall effect should be so subtle that the listener is barely aware of it.This year there are competitions for a wide range of playing levels and repertoire.This treasure can take a lifetime to master because of its intricate melorhythms that are typical of Martinuˆs music.Introduces readers to principal flute Toshiko Kohno, assistant principal Thomas Perazzoli, second flute Alice Kogan Weinreb, and piccoloist Carol Beane.Gives an overview of new works by Robert Cronin and Dianne Wachsmann."Memory affects how we grasp the text and also the skills to play.?Thomas RobertelloOn leave from the Pittsburgh Symphony Orchestra to teach at Indiana University, Thomas Robertello draws from his experiences of playing both piccolo and flute. ÒOften the easiest music is the hardest to play well, especially in the orchestra. Several rhythmic exercises are included to develop dexterity on the tricky triplet fingerings in this lyrical piece, which is on the required list for the 1998 Flute Talk Competition.While techniques and styles such as flutter tonguing and mixed meters seem familiar to modern flutists, they were new challenges when Karg-Elert first composed his 30 Caprices. Because of their diverse character and great technical demands, the Caprices This four-minute work in one movement is playable by any good college flute ensemble. While contemporary music is often uncommunicative, this flute quartet is a welcome addition to the repertoire.includes new works for flute ensembles.Profiles Adam Kuenzel, principal, Barbara Leibundguth, co-principal, Wendy Williams, second, and Adele Lorraine, principal piccolo.Evaluates some of the music performed at the August flute convention."Some movements are welcome if they express animation of the soul or relieve stress; exaggerated gestures distract.?Flute soloist Eugenia Zukerman entered college as an English major about to write the great American novel, but she followed Julius Bakerˆs advice and transferred to Juilliard to focus on the flute. After establishing a musical career and writing four boA three-movement work for flute and harp, weaves intricate textures in brooding, lugubrious flute lines that erupt in wild exclamations over a persistent harp accompaniment.Ellen Kaner, Richard Sherman, and Walfrid Kujala assess the merits and problems of entering contests. ÒAlways run your own race, never run against anyone else. Follow your own bliss. If music motivates you, go your own way and do not worry about the otheA profile of Robert Langevin, principal, Damian Bursill-Hall, acting co-principal, Jennifer Conner, second, and Rhian Kenny, piccolo.Includes a biography of Franz Schubert and a diary for Brahms lovers.After many experiments with a tuner and several piccolos, at last a chart (pages 28-31) with every possible trill, dynamic, and articulation.Many Italian musical expressions are so familiar that we do not ponder their underlying meanings.Although Bach included some notations on tempo, articulation, and ornamentation, most flutists augment their performance of the sonatas to account for details that were presumed as a matter of performance practice in Bachˆs time, as in the case of the E Beginners develop a vibrato readily while older students struggle against ingrained habits, but the concepts of tone and vibrato should never be separated.Profiles Jacques Zoon, principal; Elizabeth Ostling, associate principal; Fenwick Smith, second; and Geralyn Coticone, piccolo.The late musician and scholar Albert Tipton believed that Òteaching is the most important thing any of us can do because we have to define our own beliefs and articulate them to someone else; and as we do, we start to understand them better.?New jazz works for flute.

Every private studio has to set policies about cancellations, make-ups, preparation, and payment.Many classic recordings of piccolo solos from 1897 to 1928 have been re-recorded."Losing the lust for life is one of the saddest things that can happen to anyone.?To create a teaching edition of the Bach Partita, Gary Schocker wrote out the dynamics, breaths, phrasings, and articulations, which he likens to Òtraining wheels for a student who needs help making choices about breathing.? He also created a second flutBased on Corelliˆs model of the typical 18th century sonata da camera, Bachˆs Sonata in E Major, B.WV. 1035 was interpreted by 18th-century flutists, who would Òleave out Bachˆs written ornaments for the first statement and add them in the repeat. InsteaBecause Ravel wrote the complete ballet to Daphnis et Chloe in great haste, many mistakes were made when the parts were transcribed from the score. The librarian of the Philadelphia Orchestra compared various editions and came up with these corrections.One of the worst things a flutist can do is apply oil to various crevices of a flute, which can result in oil-soaked paper and leather adjustments and leave gaps in the mechanism.includes Emily Skala, principal, Mark Sparks, associate principal, Bonnie Lake, second, and Laurie Sokoloff, piccolo.Analyzes ÒSpirewise: Scherzino for Solo Piccolo? and ÒBolla?, two new compositions that have good ideas and a sense of humor."Air support on the flute must be counter-balanced with support from the leg and abdominal muscles.?As assistant principal flute of the Chicago Symphony, Graef plays a modern flute and adjusts to the blend of the Chicago sound but finds that Òplaying baroque instruments improves articulation, phrasing, and intonation on the modern instruments. The tuniJindrich Feldˆs ÒIntroduzione, Toccata e Fuga?, a work for unaccompanied flute, uses such special effects as blown and unblown key clicks, flutter tonguing, glides, and controlled vibrato speeds. While the compositional style has some similarity to baroqAlthough the crocus has not yet poked through the ground, it is not too early to consider applying for summer masterclasses. Information in the annual list includes faculty, location, dates, and fees.Profiles Randolph Bowman, principal flute, Kyril Magg, associate principal flute, Rochelle Draizir-Doepke, second flute, and Joan Voorhees, piccolo.Commissioned for the 25th N.F.A. convention, this work is a stunning showcase for piccolo and piano with challenging rhythms, meter changes, and tricky articulations."Speed cannot be achieved at the expense of tone, articulation is not independent of interpretation, baroque music belongs to all, and it doesnˆt take a specialist to play contemporary music.?The versatile Swiss flutist performs literature from classical to jazz. Ziegler says, ÒIt is important to abandon anything that produces tension and find the correct way. Playing the flute involves tension, but it has to be used correctly.?"Poem is a dazzling showpiece that will enchant any audience. This delicate,impressionistic composition is a favorite among flutists throughout the world, and although the style of the composition is reminiscent of the French Impressionists, Charles GrifSince the 1920s F. Matthias Alexander developed ways to reduce tension by aligning the spine, head, and neck for relaxed body movement.Because students often lose focus when working on long etudes, Maquarreˆs brief exercises call for intense concentration for short periods while flutists work on sound quality and articulation.Beginning flute teachers who are not well-known in the area cannot simply hang out a shingle announcing flute lessons and hope to fill a studio.Whistle tones can be used as a warm up exercise to relax the lips and open the embouchure.Without good manners and tact, musiciansˆ strong musical convictions and personalities can lead to acrimony and dissension.Written for woodwind quintet plus trumpet and timpani, this charming Hungarian dance may be the perfect encore piece for a chamber music recital.Surveys flute trios and new collections by Holcombe and Bernstein.Profiles flutists Alison Young, principal, Peggy Russell-Romeo, second, and Pamela Dlouhy-Hackney, third flute and piccolo.Three new piccolo pieces by this noted composer."The generally accepted notion is that grace notes are always long and more leaned upon than the notes before which they are placed. This is the first step in Baroque knowledge, but just as every law has loopholes, this principle has exceptions.?Tension is one of the biggest problems in controlling the edge in tone, and Faust says, ÒSome flute players squeeze their thumbs and first fingers. I tell them to think about roundness or holding a tennis ball to keep the hand round. I carry that one steWritten in Hamburg two years before C.P.E. Bach died, this Sonata combines a beautiful melodic line with the delightful quirkiness of unpredictable outbursts. This music should portray a wide range of emotions or affects, and Bach strove to achieve expreThis ornamented version of C. P. E. Bachˆs Hamburger Sonata is stylistically consistent with the original score and follows the composerˆs ideas about varied reprises.Some flutists experience problems of cracked notes, especially on E2, because of overblowing, incorrect tongue placement, or the instrumentˆs tendencies. ÒCracking sometimes stems from the mechanics of the attack. This often relates to enunciation in spThe predecessors of the modern alto flute date back to the Renaissance, but these instruments disappeared after the 17th century. Many flutists never play the alto flute because they do not understand how to produce a proper tone and the weight of the inThese piccolo compositions exploit the full range of tonal effects of the instrument and are a wonderful addition to any recital or contest."Any interruption of the music shows that the performer is focused on the past rather than on the music to come.?At first glance Moyseˆs 24 Studies seem to be so simple that any beginning student could sight-read them. Each demonstrates a specific musical principle or technique that will increase the expressive playing of flutists if they take a moment to study theThe winnerof the 1998 Flute Talk Contest, Yevgeny Faniuk, emigrated from the Ukraine to Israel in 1990 to pursue his musical studies. He is currently a student at the Manhattan School of Music in New York. Faniuk impressed the judges with his tone, accurJudges Jeffrey Khaner, Joshua Smith, and Amy Porter suggest improvements for contestants in the semifinal round of the Flute Talk Contest. Khaner said, ÒFocus on communicating what the composer intended, and you will not be distracted by yourself or by fMost flute teachers use etudes, technical studies, solos, and orchestral excerpts but overlook the benefits to students of playing in a flute choir. In a small group balance and intonation are particularly apparent, and there is a wealth of music writtenThe piccolo professor of the Cincinnati Conservatory of Music, who advocates Òavoiding treating the piccolo as a foreign instrument.?In playing the flute most jaw movements are unnatural and unproductive.Artaud is professor of flute at the Paris Conservatory and grew up playing the music of contemporary composers. He says, ÒFor me, it is more difficult to play Mozart with an orchestra. In recitals I will play anything from Poulenc to Debussy and Boulez.?Feld uses the contrasting themes and a variety of dynamics and articulation to create interest and change. He loved complex rhythms, and these are used often in this work, especially the hemiola in the third movement.Music educators often just tell students they are sharp or flat without giving them information about such different types of tunings as equal temperament, just intonation, and Pythagorean temperamentThere is a variety of compositions for flute choir that explore a wide spectrum of colors and sounds."When I play these orchestral solo passages I try to picture myself as singing a part in an operatic scene. The great Marcel Moyse realized the value of operatic arias many years ago and published a collection of them for flutists.?Profiles Michael Parloff, Trudy Kane, Nadine Asin, Mary Ann Archer, and Karen Griffen.With so much emphasis on playing techniques, teachers often overlook the importance of playing with confidence.New flute solos and ensembles by Gary Schocker, Yan Maresz and others.When preparing for auditions, listen to a number of recordings of each excerpt."When a flutistˆs technique is under control, he becomes a freer musician, not a slave to his instrumental shortcomings.?"As musicians we create sounds that disappear into space after they are played. Sometimes the sound is captured on a recording, but we generally have only one chance and then it is over. The art of music is subtle and evasive. In developing and manufactuWith its changing tone colors, dynamics, and vibrato, this work displays the full range of the fluteˆs tonal palette. ÒWithin each movement, each subsection, even each phrase, reside different characters that help bring this piece to life.?

"Playing well in public does not come automatically for many students but improves with experience.? From memorizing required repertoire to rehearsing with an accompanist and learning to walk on amid off the stage, the small details can make or break a pListed are many competitions for a wide range of playing levels and repertoire.The late French flutist spoke fondly of his early lessons and remembered the qualities instilled in him by his first teacher. ÒAn ancient proverb says that if I give you a fish, youˆll have enough food for one day; but if I teach you to be a fisherman, yNew solo and chamber flute works.An overview of Michael Eastonˆs new piccolo concerto."Long tones are unrelated to music because they occur so rarely.?Dunigan understands the importance of emulating great instrumentalists and vocalists but borrows from the great violin and vocal repertoire to teach phrasing, breath endurance, and subtle attacks. His students at the North Carolina School of the Arts, enIntroducing ideas in the proper context is one of the keys to good teaching. ÒWhat works beautifully for an aural learner may be meaningless to a visual learner. To communicate the same concept to students at different stages of development will entail sTraditional Japanese flute music often combines single notes with silences; Fukushima ingeniously incorporates both in his avant-garde piece for unaccompanied flute. This work uses unconventional embouchures and breath adjustments, fingerings for multiph"Both musical and personal habits can be taught and developed as a student progresses. The greater the talent, the more a teacher has to guide and direct that potential.? By senior year in high school a potential music student should have well-developed New solos and ensembles for flute.A good career option for flutists is playing in a military band, which have musicians of the highest caliber and perform music in a wide variety of styles. Unlike other recruits, musicians know what their job will entail after basic training, but there iincludes pieces with local color from Kansas City.Because long tones are passive, boredom often sets in.After a 1997 recital she received a thorough and critical evaluation of her performance. ÒThis was the first time anyone had the courage to be completely honest with me. He observed that while my technique was impressive, I had little to say musically. UAlthough the Duo for Flute and Piano (1971) is one of Coplandˆs last compositions, it embodies his style of the 1940s. Coplandˆs signature wide intervals and motionless rhythms suggest the American landscape.The flute part alone is notoriously difficult, but the greater challenge is putting it together with the piano part. The complex rhythmic structure between the instruments leaves no time for delayed reaction on the precise articulations, rhythms, and dynAccording to common wisdom, the way to play jazz is to learn the chords and scales to compose on-the-spot improvisations. ÒAccording to this line of reasoning, if a flutist already has a good command of the instrument, improvisation is just a matter of l"Carazona of the Bagpipes?, an Italian Christmas Carol and ÒChristmas Brings Joy to Every Heart?, a Danish Christmas Carol, arranged for flute and piano by Costel Puscoiu. These lesser-known carols have found their way to the United States from Romania.include new jazz, chamber, and solo music for flute.The piccolo developed along with the flute, only at a slower pace."Donˆt let anyone tell you that to be expressive you have to play slowly.?"The flute is not an end in itself, it is only a means: we play the flute and through it we express what we feel. The flute is not important. I have a hard time understanding all the emphasis on trying new headjoints and flutes. Expression is what countsFor this piece to come alive, imagine that the first movement is spooky and the second is a swift dance. In this sonata only slow, methodical practice will develop the technique: the musicality comes across only with lots of imagination.It is one thing to avoid bad playing habits but another to identify and correct these in someone else. Some of the problems cannot be seen, but the results can be heard. Here are some tips for novice teachers.George Gershwin and Irving Berlin went to Harlem to listen to street music and attend neighborhood productions. They heard and stole my fatherˆs tune ÙShuffle Along,ˆ which he wrote for the W.C. Handy musical revue. They changed the title to ÙI Got RhythWhen recruiting private students, new teachers should consider giving a masterclass in the local schools.This serial composition for unaccompanied flute includes key clicks, flutter tonguing, glides, and a variety of vibrato speeds.A method book for the 21st century and popular classics."Most Players approach the piccolo with fear and spit into it as if trying to dislodge a kernel of popcorn stuck in the teeth.?

The music industry developed new products for 1999, including flutes with offset finger buttons for small students and accompaniments on compact disc for students to use when practicing.If Mozart were to pop out of his grave today and check out the leading conservatories, Robert Dick says he is sure Mozart would be disappointed and wonder why we still play his stuff. ÒHeˆd be much more interested in the best jazz improvisations because Of his ÒDuo? Copland said, ÒItˆs a lyrical piece, in a somewhat pastoral style. Almost by definition, it would have to be a lyrical piece, for what can you do with a flute in extended form that wouldnˆt emphasize its songful nature? Of course you could wMusical preparation begins with a schedule of things to accomplish and goals that are reasonable within an allotted time frame. Physical preparation can be in the form of jogging or swimming for 20 minutes four times a week. Relaxation techniques are gooCertain skills come naturally to some flutists and others have to work hard to master them.When considering pursuing a career in music, flutists should identify their strengths and work on their weaknesses. ÒOrchestral musicians have to be superb sight-r

In skilled hands burnishing is a precise method to change the size and shape of the headjoint tenon, although many flutists have heard that burnishing is dangerous, destructive, and can ruin the headjoint."Like a detective I look for the smallest variations in performance results and analyze where new ideas will fit in.? Even tiny clues can be monumentally important. Some only become useful when combined with another clue.Playing the piccolo well strengthens the flute embouchure and develops finger speed."Low notes are often tricky because they break at the moment of attack.?After an injury to her arm, principal flute of the Baltimore Symphony Emily Skala found relief in the Feldenkrais and Rolfing methods. ÒSome musicians also find relief from Chinese and Western acupuncture, Reiki, and all types of massage. I shy away fromWith rhythmic shifts from two to three and accented sixteenths that are typical of the Czech furian dance,this Trio for flute, cello, and piano captures the spirit of Czech folk dances. Martinuˆs music uses a complex but orthodox harmony. The essential iThe annual listing of things to do and places to go to improve playing skills. From the shores of the Mediterranean to the ivy-covered colleges, flute classes and seminars this year are sure to help flutists of all levels.Each of the growing family of low flutes has a distinctive tone color that will augment flute choirs. With the new double contrabass flutes, the sounds go lower than ever.This well-known work has several piccolo solos that are frequently requested by audition committees. Good breaths and a quick tongue are the secrets to this Rossini work.Certain fingerings make the tone bigger; others make the sound more veiled and fragile.The long-time principal flute of the New York Philharmonic now dedicates her time to teaching. ÒIf a student wants to be principal of a major orchestra, I tell him this is a great dream, but there are many wonderful ways to make a living in music. If the"Many of DeLaneyˆs compositions have a literary inspiration; his propensity for the dramatic is obvious throughout his work. His traditional harmonies have colorings of impressionistic chords and splashes of octatonic and other exotic scales.?Although Gatesˆs six pieces for flute remain largely unknown, his exploration of tone colors and dramatic approach to composition can be heard in Suite Comique, the story told by On the First Day of the Week, the raw beauty of the Concertinoˆs Nocturne, The author went to Argentina to perform and teach young flutists, but during her five-week residence she learned as much as she taught. ÒMusic doesnˆt sound the same after hearing a tango on every street in Buenos Aires.?The maxims of flute playing seldom take into account the important differences in the physical characteristics of each player. What applies to a six-foot 250-pound flutist may not apply to a 90-pound student.Taped auditions entail all of the requisites of a regular audition plus the challenge of creating a fine recording by fully utilizing the capabilities of good equipment.

Most people know Hugh Downs as a respected television personality, but few know that he is also a published composer. ÒMusic is so important that I cannot imagine living without it. For me itˆs a window to some kind of salvation; whatever there is spiritThis work is a rondo based on a theme from Gregorian chant.Embouchure technique comes from what you want to hear, not the other way around.?Boulez emerged during the 1950s as the enfant terrible of contemporary music. To the avant-garde his music seemed fluent and assured with surreal delicacy, but to others he was an advocate of only the most cerebral 1 2-tone works. He hissed at StravinskyAt first glance Moyseˆs 24 Etudes seem to be so simple that any beginning student could sight-read them. Each demonstrates a specific musical principle or technique that will increase the expressive playing of flutists if they take a moment to study the Most original compositions for flute and harp have little appeal for professional musicians, let alone for the general public. This duo searched for and arranged several pieces that would appeal to most people.Legendary Brazilian flutist and composer Pattflpio Silva (1880-1907) became famous for challenging local flutists to play faster than he could. Pattflpio always won. Many of his compositions were published during his lifetime and several of his recordings include Works by Bach, Brahms, and some jazznˆ around.Pine Mountain Music Camp in Michigan stages a full-scale opera every summer for which students play with professional musicians. Opera is not just music for the most serious audiences.Jeweler Tom Sarkaˆs first foray into flute jewelry developed when his daughter wanted a gold flute, so he made a tiny flute and suspended it on a necklace. This developed into a wide array of flute jewelry.In this stunning new piece,the piccolo plays with lyrical expressiveness and wild agility.The winner of the 13th Flute Talk Competition says, ÒIˆve developed more control by listening, from the initial attack to the final release and everything in between. When a flutist is still learning the basics,itˆs difficult to listen to details. Some oLike great athletes, fine musicians have courage and poise under pressure. This is a quality that develops with experience. An audience wants a player to appear to be in complete control of the moment and to communicate honestly and confidently.After playing with the Chicago Symphony Orchestra for 42 years and before embarking on a new career path, Donald Peck shares some of his memories about conductors and repertoire. ÒAfter Carolo Mario Giulini came in for a day, the orchestral color soundedNo scale on any flute will be perfectly in tune because there are too many variables. A change in air speed, air angle,temperature, type of ensemble, and the anatomy of each player all affect intonation. A flutist can learn all the physical corrections, "Birds? by Michael Horwood is stunning when performed with color slides of birds. In eight movements, each one depicts a bird song."We flutists are not unlike athletes and can learn from their example.?After playing in the Baltimore Symphony and teaching for 10 years at the Peabody Conservatory, Timothy Day moved west and Òdeveloped a passion for teaching.? In students he looks for Òa great sense of rhythm and pitch that I can hone. Sound quality and tThis music infuses Bohemian song and dance motives in a formal compositional style with a light-hearted gaiety and optimism that permeates even the serious musical moments.The sources of the popular 24 studies from Bachˆs works are not identified, and we have little information about the original instrumentation in two extant editions. For flutists the biggest challenge is deciding where to breathe.Despite strong criticism against his flute and string quartets, Mozart wrote beautifully for the flute in other works. The history of the quartets is colorful and interesting, despite some historians who contend that these works do not equal his string qComposer Allan BlankProfiles Karen Moratz, principal, Rebecca Price Arrensen, piccolo and assistant principal, and Robin Peller, second flute, who have wide and varied interests when they are not playing the flute."Standard fingerings make certain major and minor third passages awkward.?Composer York BowenComposer Kim BowmanComposer Johannes Brahms/Frank Michael, ed.Composer Frank William BrasinskiFingersComposer Howard J. BussComposer Leonhard von Call/Bernaard Pauler, ed.Composer - European composers collectionComposer Marc DijouxComposer Bill Dobbins"There is only one first time, and spontaneity is a great part of our joy.?"All your life you try to produce a sound that you imagine, but it is difficult because you are too close and cannot judge.? His quest for a better sound led to trying wooden flutes. After playing metal flutes for so many years, he was shocked by the resFor the annual flute examination at the Paris Conservatoire in 1898 Gabriel Faur? wrote Fantaisie, Op. 79. ÒThe Andantino calls for expressiveness and a beautiful singing tone, while the Allegro should be energetic and crisp.? Teachers often assign the FFor all-state and college auditions, students should not practice mindlessly but pause before playing any etude to think about the key and tonality. One of the main challenges of etudes is maintaining energy in the tone without forsaking dynamics, articuComposer Francois Nerini, ed.Composer J. S. Bach/ Daniel Dorff, ed.Composer Edward EdelsonThis annual listing includes solo, chamber, and orchestral soloist contests for flutists at many levels.Meet Rebecca Gilbert, Joanna Bassett, Jan Harbough Angus, and Diane Smith.From conical and cylindrical bores in metal and wood it is no wonder that students are confused about what piccolo to buy.Briefly discusses the search for missing manuscripts by J. S. Bach and W. F. Bach possibly hidden in Russia during World War II."Playing soft colors requires more energy than blasting away.?Tower ConcertoCommitted to expanding the flute repertoire, Wincenc was eager for a new concerto that projected lyricism and high-speed virtuosic energy. At first Joan Tower was intimidated by the thought of writing a flute concerto Òbecause the flute is often overpoweChanging teachers can be exciting but also frustrating and confusing. Each new teacher has different expectations and may not explain concepts the same way as the previous teacher. ÒAt the college level a new teacher may focus on basic techniques but a sLong gone are the simple days of playing ÒStars and Stripes? for a patriotic concert, as 55 pounds of combat gear have replaced dress blues when touring a battle zone. ÒPlaying the flute in a military band for 20 years has given me the chance to travel tMany students sound remarkably similar, as if they had studied with the same teacher. After the primary focus is on technical perfection rather than playing musically.Instead of always practicing in the same room, try playing outdoors, where the scenery may inspire a new interpretation.Composer Enrique Granados

Composer W. A. MozartComposer Thomas SimakuComposer Michael J. ReganComposer Ingolf DahlComposer Jerome MorossComposer Donald R. DavisComposer Thierry PecouComposer Daniel DorffComposer Edison DenisovComposer Lita Grierspotlights the recent piccolo recitals, world premieres, and pedagogy sessions at the recent flute convention.Discusses breathing techniques for flute playing, focusing on the need to take large breaths compared to taking breaths of the size that's needed. Considers the need to take in air for musical punctuation and phrasing and to keep breathing natural.Profiles classical flutist Robert Aitken, quoting him extensively on his early musical experiences and education, work with the Toronto Symphony Orchestra, pursuing a career as a solo flutist, and his perspective on contemporary needs to firm up musical This chamber work for flute, violoncello, and piano features each instrument in one movement with all three sharing the final movement. ÒThe lyrical lines display Roremˆs mastery of an elegant style, of song without words.? This flashy piece could be an Discriminating musicians use vibrato judiciously to enhance music, but practices have changed greatly over the centuries.In setting fees most teachers rely on what others in the community charge, but the education, years of experience, and proficiency of each teacher are pertinent factors. A fee of $30 per hour sounds great until the costs of equipment and supplies used inGood posture enhances stage presence. Gifted dancer Martha Graham commanded attention with every move, just as a flutist should from the first moment.Composer Karen Suzanne SmithsonComposer Ricky LombardoComposer Karen Suzanne SmithsonComposer Ricky LombardoComposer Ricky LombardoComposer Simon HuntComposer Ervin MonroeComposer Krystol ZgrajaComposer Robert BaksaComposer Howard WhitakerComposer S.E. Goldfarb/ Ricky Lombardo"Mahler realized that intonation was going to be a problem with four piccolos, but he wanted a big sound.?"If I had to flutter by rolling my tongue, I would get a very weak sound.?Trained in the French school of flute playing, Pahud states ÒWhen we are aware, we do not have to chase perfection. All the extra effort flutists put into making a pianissimo sound or carrying out a passage of detache is senseless if they do not think muCharles Koechlin usually composed the melody first, seldom rejecting or simplifying an idea. His songs for flute alone are a natural and logical outgrowth of his modal, contrapuntally conceived melodies.In Cajun music the singing and drumming styles of American Indians merged with Spanish guitars, but the lyrics remained French in songs that often dealt with death, loneliness, or ill-fated love.When the pitch is off, it helps to isolate the chord in question and tune it. Begin with the root of the chord, then the fifth. The third should be added last.?Before accepting a transfer student, it is best to determine how much he has learned and to hear some scales and his most recent piece. Usually after a few bars a teacher has a good idea of what to expect."To my relief William Bolcom was patient with my questions and worked with me to prepare his Lyric Concerto.?Composer Emilio GalanteComposer Jennifer GradyComposer Helmut EderComposer Diego LuzuriagaComposer Robert MaggioComposer Camille Saint-Saens/ Sondra TuckerComposer Chris GumbleyComposer Domenico Scarlatti/ Jennifer GradyComposer Thomas RichterMany performers struggle over slow movements because Baroque composers merely outlined the melodies and did not specify how the piece should be played. The performer just improvised on the melody."At a soft dynamic a C3 is sharp, so cover it a bit to bring down the pitch.?"Flutists are so used to leading that they give cues even when playing alone. It can have a detrimental effect and detracts attention from the music.As professor of flute at the Royal Conservatory in Brussels and the Hochschule in Mannheim, Germany, Tanguy says that ... Òit is perplexing that Bach did not write more for flute because it was a very popular instrument among both professionals and amatePaul Arma, one of Bartokˆs students, arranged this work for flute and piano, and it was published in 1956. The first group of songs are painful in nature according to Slovak/Hungarian pianist Helena Gafforova who studied with Bartok. ÒIt helps to imagineExplains many of the variables and misconceptions about tone production. ÒSome of the mysteries can be explained, and players have learned ways to overcome others.?Koechlin had an appreciation of line and melody, which led him to later write a number of simple flute monodies that are playable by intermediate flutists.Many flutists are anxious about memorizing pieces for contests and competitions. ÒMost people do not have a photographic memory, but the key is to do everything to build confidence to perform well from memory. Start early with the most difficult section

"Mahler was one of the first composers to use the piccolo as a lyrical instrument rather than a mere orchestral timbre. This part calls for good stamina and pitch control and should be played with a shimmering vibrato and singing tone.?"Composers express their inner conflicts through construction, harmony, movement, and silence.?Now in his 33rd season as principal flutist of the Detroit Symphony Orchestra, Ervin Monroe says that he learned about music by listening to monthly selections from a record-of-the-month club and anxiously awaited the next selection by a major symphony oBerio invented an unconventional system of notation in which notes that are close together are played fast while those that are far apart are played slowly. This spatial notation frees the music of bar lines and beat patterns in a cadenza-like stream of Composers in the 19th century indicated phrases with flag notation, but many new editions of these works do not preserve the original notation. Many players today do not recognize or know the difference between flag and bar notations.An annual listing of programs to improve playing skills in locations as diverse as Morocco and the mountains of Colorado. Some flute class offerings will lure the musically curious and adventurous."Whatever comes in is income, what goes out is deductible, and whatever is left is taxable income. Everything else is just detail.?New Zealander Alexa Still says, ÒI desperately wanted to play the bagpipes because something about their loud sounds intrigued me. My parents gave me a flute instead.? Some of her high school teachers encouraged her to pursue painting in college, but sheThis flute solo conveys images through sounds in a wide range of colors. The piece explores unearthly places and also creates a garden of sound, giving each flower a color, shape and smell. Takemitsu Ùs performance suggestions are sometimes unclear and kDuring a sabbatical leave Dobbs explored traditional Irish music and learned that the flute was added to Irish music in the 19th century. ÒIn post-famine years flutes became available to the rural people of Ireland as the economy improved. Inexpensive flAlmost every piece has at least one passage with technical hurdles. Although a common approach is a frontal assault with many repetitions, another tactic is rhythmic transposition, shifting to unstressed notes.At one time, the Boehm system was considered to be just a gimmick by Flutists of the old school."Think of sending the sound away from the body when playing softly.?Style In matters of style, less is more. "It takes hours and hours to master a lot of notes, but it takes years to play a simple phrase."Mathieu DufourÒImagination makes the difference between a mediocre and special interpretation, yet this can and should change each time we play the same work. Interpretation can be analyzed and studied, but must not be copied. The temptation isTaktakishviliBased on Russian folk melodies, this popular recital piece has flashy, aggressive rhythms and arched phrases. It is also one of the most singable works in the contemporary literature.First LessonThe first 30 minutes sets the tone for future flute lessons. Students should leave with their curiosity sparked for the next lesson.MemoryAs students prepare for a solo contest or concerto competition they may become exasperated with their inability to play from memory. There are several types of memory that students should tap into, from tactile, aural, and visual to symbolic and analyticComposer Daniel DorffComposer Lita GrierComposer Thierry PecouComposer Edison DenisovComposer Enrique GranadosComposer Edison DenisovComposer Ingolf DahlTake a break from practicing and try a crossword Puzzle that is designed to test general music knowledge.Composer Jim SnideroComposer Roger BourdinPersechettiThe "Parable for Solo Piccolo, Op. 125" by Vincent Persichetti (1915-1987) may have seemed a bit of an oddity when it was first performed, but it is an accepted part of the repertoire today.Most flutists worry more about taking air in than managing the air as they blow.The pre-eminent flutist of the 20th century left a legacy of over 350 recordings, many of which have been released on compact disks. He will be remembered for his wonderful interpretations and generous nature.Few know that Jennifer Binney once hated the flute. ÒThe piccolo was my first love after a high school band visited my grade and I heard it played. Every day I begged for a piccolo until my mother finally gave in.? Her views modified over time, and she w"Without a flexible embouchure and a flexible mind, a flutist cannot play with a variety of tone colors. If the sound is always the same and the dynamics range from mezzo forte to a forte, the music will lack expression. Try to develop a beautiful, soft,Musicians in the court of Frederick II, particularly Frantisek Benda, moved away from the rigid rules of Baroque music to the free style of the Classical era. Benda wrote lyrical melodies with straightforward harmonies. In this sonata the trills and appoColumbus, Ohio meeting from August 16-20, 2000.Determined to land a job, the piccoloist in Los Angeles took 22 auditions before her efforts were rewarded."Timesig 2000" is a well-organized studio management software program.Los Angeles flutist Steve Kujala has subbed with the Chicago Symphony Orchestra, recorded a solo album, toured with Chick Corea, and played for the sound tracks of many movies and television programs. ÒDiscovering where the mine fields are in Los AngelesEach year a flute professor or another faculty member at the Conservatoire wrote a new solo for the concours. Tulou and Alt?s wrote them between 1860-1892; but when Paul Taffanel became professor of flute in 1894, he asked other composers, primarily facuThe principal flutist of the San Antonio Symphony and the Santa Fe Opera shares his cadenzas for Mozartˆs flute concertos.New works by Foss, Benjamin, Louis Moyse and others.A summertime flute ensemble was an appealing change of pace at this studio. ÒThe group was big enough to give students a sense of collegiality but small enough that each person made an identifiable contribution. Everyone had a good time and made new frieCover all basic aspects of what is expected of each student, from when lesson fees are due, cancellation and make-up rules, and the technical progress required to advance to the next level.The piccolo embouchure is a miniature version of the flute embouchure, neither too tight nor too loose. The embouchure hole of the headjoint should be aligned slightly in front of the center of the keys so the lips do not cover too much of the hole.Katherine Kemler, Andreas Kr˜per, John Herrick Littlefield, & Margaret Swinchoski"[Geoffrey) Gilbert was an impressive teacher. At the first lesson I played the Prokofiev and Hindemith sonatas while he played the piano parts. He asked if I always play that loud. I turned to him and said, ÙOnly when the piano player is that loud.ˆ I cHenri Dutilleux expressed reservations about everything he had written prior to the end of World War II, but Sonatine, composed for a competition at the Paris Conservatory, has become a staple of the flute repertoire. This one-movement work has distinct

Students typically start over at the beginning of a piece each time they stumble over a key change, accidental, or complex rhythm. The result is that the first section is more polished than later sections. Students should be taught that slow, careful pra"Die Sch˜ne M?llerin was composed during a period of sickness and depression for Schubert. In ÙTrockne Blumen,ˆ the 18th song and tragic climax of the cycle, the miller is overcome with suicidal thoughts, and envisions the maidenˆs flowers lying witheredNew works by Howard Vance: "Silly Songs for Flute" and "Leave My Flute Alone!"Competing is one of the best ways to develop better performance skills as well as confidence. Find out the dates, requirements, and awards for various competitions.Although he never attended a college or conservatory, Trevor Wye is highly respected as both a teacher and performer. He has written 30 original publications and dozens of repertoire editions. At Wye's unusual eight-month course, which takes place at hSince George Frederick McKay composed this quartet in 1946 it has become an annual tradition for many flutists. Each movement depicts a Christmas scene such as happy voices greeting one another or music echoing in a quiet church.American flutists in the early 1800's would certainly have owned this collection of popular dances, marches, patriotic and sentimental songs. Riley engraved and published it in six separate sections and the entire volume first became available in 1816."Formerly, when a note was unresponsive or out of tune, the performer was considered faulty and sent to practice more, but by understanding the differences in the two instruments, any good flute player can also play the piccolo well."As a student of Thomas Nyfenger, Tadeu Coelho learned of a misprint in Density 21.5. Edgard Var?se had telephoned Nyfenger after a nationally broadcast performance of the work, not to extend congratulations, but to point out an error. The author hopes Piano teachers have known for years the benefits of group recitals, but ther is more to do than polishing pieces.Numerous new works and arrangements."Computer Activities - Basics of Keyboard Theory, Levels Five and Six"New works by Daniel Dorff, Robert Frank, Nicholas Underhill, David Loeb, & Michael Daugherty.

Hideko Amano, Gerald Carey, Diane Horban, Catherine Hummel, Deena Reedy, Sandy Schwoebel, Marcia Stilgebauer-Rudin

Heather Hill, Elizabeth Ko, Carolyn May, Susan Phelps, Jodi Yasko-Taylor

Since college Shulman has played principal flute with several Canadian orchesras without taking an audition, turned down a chance to earn a Master's degree at Eastman in favor of a recital tour, collaborated with a folk singer/rock star, and she recordedThis staple of the woodwind quintet repertoire poses many intonation, phrasing, and breathing pitfalls for the flutist on the long phrases, intonation, and tricky rhythms.Student flutists are often sharp in the upper register becasue they use second-octave fingerings in the third octave. Although they are similar, every fingering has to be modified in some way.although the art of recruiting studetns is as important as having a thorough knowledge of playing and teaching, music schools rarely discuss how to use newsletters, holiday recitals, resum?s, and referrals to find new students.Experienced judges can determine a great deal about a performer after hearing just a few measures of any piece. A strong beginning sets the style and grabs the attention of judges who have probably already heard numerous performers.If someone had told me when I first picked up a traverso that I could earn a living playing 19th-century flutes I would have said they were crazy," yet Jan Boland and John Dowland have carved out a niche and amassed an audience of faithful followers.In this six-minute work the unusual blend of piccolo and guitar sounds creates a mood of playfulness and levity, in part because the piccolo often plays in the low register.The experience of hearing Baxtresser perform Chaminade's Concertino "changed my life. It motivated me to work toward the same goal. Coincidentally a few months later I won a concerto competition and performed the Concertino."Martin wrote Ballade after a long period of 12-tone experimentation. Martin appreciated the technique, but he didn't want that to be the essence of composition, only a means to achieve a musical atmosphere.Repetitive motions from long practice hours over many years may cause muscle spasms that may never be cured and may end performance careers.Flutists who are not afraid to try new things will find playing in church a refreshing activity, because there are often no flute parts and they have to create a part or play by ear.An offer to play an etude in a masterclass led to a two-hour stint in front of a group of flutists. She finally staggered back to her seat but learned things that day that have stayed with her ever since.Although New York City was a bit intimidating to Barr?re in 1905, he quickly adjusted and was soon performing and teaching in his new adopted country."Don't strike too hard with your tongue. It is not necessary to be able to drive nails with it in order to get the desired effect in flute playing."The triennial focus on the piccolo at the National Flute Association convention this year included a number of world premi?res. Of these, Souveniers by Robert Beaser was particularly captivating.Antal Dorati's "Sette pezzi per orchestra", "Night Music", and "American Serenade"; solo flutist in "Night Music" is Sharon BezalyJeanne Baxtresser, FLute: Debut solo recording - a CD release of earlier recordings incl. Franck "Sonata in A major", Schubert "Var. on Trockne Blumen", Saint-Saens "The Swan", Godard "Allegretto and Waltz"Telemann Flute Fantasias, flute soloist Viviana GuzmanBrief article on subject of youthful practice paying off."Cuban music, salsa, and other Latin music forms were at a peak when I moved to New York; charanga was very popular. New York had several bands that specialized in that music, and my father took me to a club to hear Tito Puente's orchestra. Imagine. IUnlike most sonatas of the Baroque era that have a solo line and an accompaniment and are similar to those often used in jazz, these are among the rare Baroque works with three simultaneously moving lines.First published in a 1770 collection of pieces for assorted combinations, this charming duet, originally for flute and violin, works quite well for two flutes if a few octave transpositions are made in the violin part.

Flutists tend to use more vibrato than others in a woodwind quintet. For unison or octave passegs with the oboe, the flute vibrato should be slower and narrower than is used on solo repertoire.edited by Elaine SchmidtComposer Antoine Mahaut.Composer Valarie MorrisComposer Valarie MorrisComposer Ferdinando Carulli/ Maurizio Bignardelli and Giampaolo Cetaro, ed.Composer Jean-Louis TulouComposer Claude Debussy/ arr. John E. DavisComposers Joep Wanders and Harry HoogenbergComposer Valarie MorrisComposer Edison DenisovComposer W. A. Mozart/ arr. Pam Opacich-WilsensComposer Jean-Marc AllermeComposer W. A. Mozart/ arr. Raymond VunKannonComposer W. A. Mozart/ arr. Raymond VunKannonComposer Gabriel Faur?/ arr. Guy Du CheyronComposer Pip van Steen and Will DerksComposer Edward EdelsonFrenchman Louis Lot laid the groundwork for the handmade flute industry in the late 19th century, but today the distinctions between handmade and custom flutes are increasingly hazy as technical manufacturing developments merge with craftsmanship."The Procession of the Sardar" from Caucasian Sketches by Ippolitow-Iwanow is seldom performed but appears on almost every audition list. "Facsimile" by Leonard Berstein is a neglected gem with long, delicate phrases and extended pianissimo passages.Suggestions for New Year's resolutions."Uakti", performed by Matthias Zieglar on alto, bass, contrabass, quarter-tone and Matusi flutes plus electronic sounds by Diego Ortiz"Alone Into the Crowd", flutist Linda Eagleson; C. P. E. Bach "Sonata in A minor"; Donjon "Le Chant du Vent"; Kuhlau "Fantasia #2" Op. 38, Karg-Elert "Sonata Appassionata"; Eastman "Prikichi, Chuchubi, and other Birds of Cura?ao"The life of a freelance musician is often hectic, but Tara O'Connor relishes the diversity of teaching as well as performing. "My life is a bouquet, wheter it involves students, writing a grant proposal, or rehearsing with New Millennium."Metronomes are ".... implacable electronic crickets claiming perfection. Perfection, however, exists only in sales literature."The fourth movement portrays a character, M. de la P?jaudie, in the novel "La Pecheresse" by Henri de Regneir. "He is a jaunty, 18th-century gentleman, and I picture him briskly walking down the street twirling his cane."Originally intended as a Christmas piece, it can be played any time of year. The repeats in several sections can be taken or omitted for a short performance in a church service.Even students with only the rudiments of training in music theory should be able to take the melodic line of an etude and create an accompaniment by adding basic chords.Composers Joep Wanders and Harry HoogenbergComposer Valarie MorrisComposer Jean-Marc AllermeComposer Edward EdelsonSonatine Americaine won the 2002 NFA Newly Published Music competitionComposer Bruce LevineComposer Jay KauffmannComposer Henri BertComposer Valarie MorrisComposer Jean-Louis TulouComposer Edward EdelsonComposer Ferdinando Carulli/ Maurizio Bignardelli and Giampaolo Cetaro, ed.Composers Jean-Claude Diot and G?rard MeunierComposer Sergei Prokofiev; a newly revised versionComposer J. S. Bach, arr. Lisa OchocoComposer Reynaldo Hahn/ transcribed by Maxence LarrieuComposer Odette GartenlaubComposer Gary SchockerComposer Gary SchockerComposer Robert MartinComposer Louis MoyseComposer Valarie MorrisComposer Jean SichlerComposer Paul Badura-SkodaArranged by Art Lambert

L. van Beethoven/ arr. John SandsComposer Bruce LevineComposer Bruce LevineComposer Bruce LevineComposer Guy-Claude Luypaerts.Composer John Dowland/ transcribed by Jean-Maurice MouratComposer Robert StarerComposer R?gis CampoComposer Louis Drou?t/ revised by Maxence LarrieuComposer Claude Debussy/ arranged by Mimi StillmanComposer J. S. Bach/ arranged by Jean-Claude VeilhanComposer Valarie MorrisComposer Hans ZenderComposer Lowell Liebermann, transcribe from his own piano worksComposer Giulio Briccialdi/ revised by Maurizio BignardelliComposers Corey Christiansen and Kim BockComposer Feim IbrahimiComposer Elisenda Fflbregas; commissioned and premiered by Tallon Sterling Perkes, principal flute in the San Antonio SymphonyComposer/arranger Brent Olstad; includes ten well-known hymnsComposer Jean Michel DamaseSometimes a flute teacher is asked to work with the flute section of an orchestra or band and the key to developing the group is to help enough on rhythm and intonation problems while leaving considerable responsibility with the student section leaders.Since publishing information about "Melodies Pipeaux", the collection of little piccolo pieces discussed in the May issue, the bad news is that these are presently out-of-print but the good news is that readers may be able to persuade the publisher to reThe quality of the flute tone should change with the style and period of the music. "A frothy, frilly tone is not the answer for "Afternoon of a Faun". For a deeper, sensual tone I use an uuh syllable, which produces a golden sound that is perfect."Some students learn only the flute line and have "no understanding of the broader framework of a piece. They forget or ignore the existence of the bass line and play without regard for national and musical styles."Although J. S. Bach provided more details about ornamentation and articulation than most German composers in this era, no Baroque manuscript includes every ornament and nuance that a performance in the 18th century would have played.Some students stand so close to the music stand that they have to look down their noses to see the music. The best place is approximately 30" away from the music and the sight angle will change slightly.Besides giving parents an idea of upcoming events to note on their calendars, I include my teaching schedule and the telephone numbers of other students so parents can exchange lesson times when a conflict arises."In an effort to help those in a similar situation or those contemplating a relationship with a musician, I humbly present:"Composer Antoine Dornel/ ed. Michael LynnCompiled and annotated by Jean Baxtresser, with second flute commentaries by Ren?e Siebert and alto flute commentaries by David CramerThe arrangement requires four C flutes, alto, and bass; arr. by Rick Piercearranged by Martha RearickComposer J. S. Bach/ arr. Lisa OchocoComposer Jean SichlerComposer : various/ transcribed by Francois NeriniComposer Robert Baksa; the composer's transcription of his piccolo sonata.Composer : various/ transcribed by Francois NeriniComposers Jean-Claude Diot and G?rard MeunierComposer G?rard MeunierComposer Bruce LevineThe task of starting a flute choir seems daunting at first, but the problem of finding rehearsal and performance places can often be resolved by contacting various educational and religious organizations."Most flutists are diligent about working on scales, arpeggios, and repertoire, but overlook the importance of basic physical conditioning."The audition lists of 18 major orchestras include much of the same repertoire, but generally large orchestras will request fewer excerpts, and over 90% of the orchestras want a solo selection as well.

Several outstanding teachers recall summertime experiences that affected their lives. Charles Groeling said, "Being thrown together with others from similar backgrounds and left to my own resources, I discovered my own capabilities and interests."

An Open Letter to Michel Debost from Walfrid Kujala. ÒEven an unsuccessful attempt at learning an upper cheek inflation embouchure (U.C.1.E.) can benefit a flutist indirectly by increasing his awareness of all the variables involved in developing a more

compiled by Mary Jean Sirnpson.This annual feature includes a wide range of classes for flutists of every level. From classes on specific repertoire to studying with a master teacher, students will find an array of fresh perspectives in these summer sess

Competing is one of the best ways to develop better performance skills as well as confidence. Thinking of the bigger picture of style and interpretation instead of every eighth note helps put flutists in the winnerˆs circle. Find out about various compet

After each Flute Talk Competition the judges gather with the contestants to offer comments and suggestions on the performances in the semi-final round. This year the judges were Jacques Zoon, Benoit Fromanger, and Doriot Anthony Dwyer. ÒTry to capture a

With the development of the classical concerto form, Mozartˆs cadenzas emphasized themes of the piece and wove in the established harmonies. ÒMany of Mozartˆs cadenzas were brief enough to be played in one breath, and many of the ornaments and cadenzas w

As a student, George Pearce of the National Symphony Orchestra of South Africa often listened to the recordings of the Philadelphia Orchestra to hear how John Krell played. ÒI was bowled over by his sound. Never mind the fingers, it was the quality of th

Most phrases in 16th- through 18th-century French popular songs, including noels, are apparent in the first strain of the song. The songs in this article demonstrate both standard phrasing and possible deviations. The articulation and tempo derive from t

Most beginning flutists are taught by their school director, who is usually not a flute specialist but has an elementary understanding of the instrument. Identifying the basic habits that many beginners learn incorrectly will lead to improved tone, inton

"Few teachers fully understand how the body regulates breathing, let alone how the breath is used in wind instrument playing. Those who have a partial understanding teach it through attention to anatomy rather than mental concepts about wind and song.

Many players do not realize that this Sonata for Flute and Piano, Op. 14 is based on rock elements from the 1960s and interpret it too squarely. Instead, the rhythms should drive forward Òwith slight distortions over the pianoˆs steady pulse to add excit

The former principal flute of the Pittsburgh Symphony Orchestra shares his concept of flute playing. ÒA beautiful tone is important, but the musical content of a phrase played with a beautiful tone maintains the listenerˆs interest. The tone should be vaFew scholarly writings exist on Olivier MessiaenÙs only work for solo flute. Three formal analyses of the piece identify different structures, neglect intervallic relationships, and fail to address important performance aspects. This conflicting informatThe flute section of the San Francisco Symphony Orchestra consists of Paul Renzi, principal; Robin McKee, associate principal; Linda Lukas, second; and Catherine Payne, piccolo. According to Renzi, who was named principal flute 53 years ago, ÒEveryone inThis annual directory lists summer courses taught by renowned flutists, and some classes focus on pedagogy while others allow choices. While the venues, dates, and repertoire may vary, they all have one common theme: promoting good flute playing.

His style is called crossover, but Nestor Torres says, ÒIt is mainly instrumental with improvisational elements, so it is called jazz.? His music incorporates rhythms from his Caribbean background, but he does not like to stereotype or categorize music. This captivating and difficult work is composed in the neo-classical style. In less than a decade it has become one of the most popular additions to the flute and piano repertoire and is one of the required selections for the 1997 Flute Talk Competition.

The flute section of the Philadelphia Orchestra consists of Jeffrey Khaner, principal; David Cramer, associate principal; Loren Lind, second; and Kazuo Tokito, piccolo. ÒOurs is a very compatible, flexible section; even when adjustments seem unreasonable

The winner of the 1997 Flute Talk Competition finds the Òmost challenging pieces in the repertoire are the Bach sonatas because of the intonation and the double tonguing, which should be precise but not boring, and the interpretation cannot be too romantCarol Wincenc, John Wion, and Katherine Borst Jones offered suggestions,including, ÒThe musical language is a message without words? and musical expression Òmeans going beyond the level of comfort to a high plane of performance,? to the semifinalists.

When the associate conductor of the Dallas Symphony Orchestra conducted Mahlerˆs 9th Symphony at age 29, she concluded that gray hair and years of suffering could help her develop more of its meaning. ÒLearning the notes is the first step, but the challe

Characterized by extremes of dynamics, register changes, styles, and tone colors, this standard of the flute repertoire is an excellent recital and competition piece featuring styles and colors that challenge the performer to create the personalities of

While techniques and styles such as flutter tonguing and mixed meters seem familiar to modern flutists, they were new challenges when Karg-Elert first composed his 30 Caprices. Because of their diverse character and great technical demands, the Caprices

Flute soloist Eugenia Zukerman entered college as an English major about to write the great American novel, but she followed Julius Bakerˆs advice and transferred to Juilliard to focus on the flute. After establishing a musical career and writing four bo

Ellen Kaner, Richard Sherman, and Walfrid Kujala assess the merits and problems of entering contests. ÒAlways run your own race, never run against anyone else. Follow your own bliss. If music motivates you, go your own way and do not worry about the othe

Although Bach included some notations on tempo, articulation, and ornamentation, most flutists augment their performance of the sonatas to account for details that were presumed as a matter of performance practice in Bachˆs time, as in the case of the E

The late musician and scholar Albert Tipton believed that Òteaching is the most important thing any of us can do because we have to define our own beliefs and articulate them to someone else; and as we do, we start to understand them better.?

To create a teaching edition of the Bach Partita, Gary Schocker wrote out the dynamics, breaths, phrasings, and articulations, which he likens to Òtraining wheels for a student who needs help making choices about breathing.? He also created a second flutBased on Corelliˆs model of the typical 18th century sonata da camera, Bachˆs Sonata in E Major, B.WV. 1035 was interpreted by 18th-century flutists, who would Òleave out Bachˆs written ornaments for the first statement and add them in the repeat. InsteaBecause Ravel wrote the complete ballet to Daphnis et Chloe in great haste, many mistakes were made when the parts were transcribed from the score. The librarian of the Philadelphia Orchestra compared various editions and came up with these corrections.

As assistant principal flute of the Chicago Symphony, Graef plays a modern flute and adjusts to the blend of the Chicago sound but finds that Òplaying baroque instruments improves articulation, phrasing, and intonation on the modern instruments. The tuniJindrich Feldˆs ÒIntroduzione, Toccata e Fuga?, a work for unaccompanied flute, uses such special effects as blown and unblown key clicks, flutter tonguing, glides, and controlled vibrato speeds. While the compositional style has some similarity to baroq

"Poem is a dazzling showpiece that will enchant any audience. This delicate,impressionistic composition is a favorite among flutists throughout the world, and although the style of the composition is reminiscent of the French Impressionists, Charles Grif

"The generally accepted notion is that grace notes are always long and more leaned upon than the notes before which they are placed. This is the first step in Baroque knowledge, but just as every law has loopholes, this principle has exceptions.?Tension is one of the biggest problems in controlling the edge in tone, and Faust says, ÒSome flute players squeeze their thumbs and first fingers. I tell them to think about roundness or holding a tennis ball to keep the hand round. I carry that one steWritten in Hamburg two years before C.P.E. Bach died, this Sonata combines a beautiful melodic line with the delightful quirkiness of unpredictable outbursts. This music should portray a wide range of emotions or affects, and Bach strove to achieve expre

Some flutists experience problems of cracked notes, especially on E2, because of overblowing, incorrect tongue placement, or the instrumentˆs tendencies. ÒCracking sometimes stems from the mechanics of the attack. This often relates to enunciation in spThe predecessors of the modern alto flute date back to the Renaissance, but these instruments disappeared after the 17th century. Many flutists never play the alto flute because they do not understand how to produce a proper tone and the weight of the in

At first glance Moyseˆs 24 Studies seem to be so simple that any beginning student could sight-read them. Each demonstrates a specific musical principle or technique that will increase the expressive playing of flutists if they take a moment to study theThe winnerof the 1998 Flute Talk Contest, Yevgeny Faniuk, emigrated from the Ukraine to Israel in 1990 to pursue his musical studies. He is currently a student at the Manhattan School of Music in New York. Faniuk impressed the judges with his tone, accurJudges Jeffrey Khaner, Joshua Smith, and Amy Porter suggest improvements for contestants in the semifinal round of the Flute Talk Contest. Khaner said, ÒFocus on communicating what the composer intended, and you will not be distracted by yourself or by fMost flute teachers use etudes, technical studies, solos, and orchestral excerpts but overlook the benefits to students of playing in a flute choir. In a small group balance and intonation are particularly apparent, and there is a wealth of music written

Artaud is professor of flute at the Paris Conservatory and grew up playing the music of contemporary composers. He says, ÒFor me, it is more difficult to play Mozart with an orchestra. In recitals I will play anything from Poulenc to Debussy and Boulez.?

"As musicians we create sounds that disappear into space after they are played. Sometimes the sound is captured on a recording, but we generally have only one chance and then it is over. The art of music is subtle and evasive. In developing and manufactu

"Playing well in public does not come automatically for many students but improves with experience.? From memorizing required repertoire to rehearsing with an accompanist and learning to walk on amid off the stage, the small details can make or break a p

The late French flutist spoke fondly of his early lessons and remembered the qualities instilled in him by his first teacher. ÒAn ancient proverb says that if I give you a fish, youˆll have enough food for one day; but if I teach you to be a fisherman, y

Dunigan understands the importance of emulating great instrumentalists and vocalists but borrows from the great violin and vocal repertoire to teach phrasing, breath endurance, and subtle attacks. His students at the North Carolina School of the Arts, enIntroducing ideas in the proper context is one of the keys to good teaching. ÒWhat works beautifully for an aural learner may be meaningless to a visual learner. To communicate the same concept to students at different stages of development will entail sTraditional Japanese flute music often combines single notes with silences; Fukushima ingeniously incorporates both in his avant-garde piece for unaccompanied flute. This work uses unconventional embouchures and breath adjustments, fingerings for multiph"Both musical and personal habits can be taught and developed as a student progresses. The greater the talent, the more a teacher has to guide and direct that potential.? By senior year in high school a potential music student should have well-developed

After a 1997 recital she received a thorough and critical evaluation of her performance. ÒThis was the first time anyone had the courage to be completely honest with me. He observed that while my technique was impressive, I had little to say musically. U

The flute part alone is notoriously difficult, but the greater challenge is putting it together with the piano part. The complex rhythmic structure between the instruments leaves no time for delayed reaction on the precise articulations, rhythms, and dynAccording to common wisdom, the way to play jazz is to learn the chords and scales to compose on-the-spot improvisations. ÒAccording to this line of reasoning, if a flutist already has a good command of the instrument, improvisation is just a matter of l"Carazona of the Bagpipes?, an Italian Christmas Carol and ÒChristmas Brings Joy to Every Heart?, a Danish Christmas Carol, arranged for flute and piano by Costel Puscoiu. These lesser-known carols have found their way to the United States from Romania.

"The flute is not an end in itself, it is only a means: we play the flute and through it we express what we feel. The flute is not important. I have a hard time understanding all the emphasis on trying new headjoints and flutes. Expression is what counts

George Gershwin and Irving Berlin went to Harlem to listen to street music and attend neighborhood productions. They heard and stole my fatherˆs tune ÙShuffle Along,ˆ which he wrote for the W.C. Handy musical revue. They changed the title to ÙI Got Rhyth

If Mozart were to pop out of his grave today and check out the leading conservatories, Robert Dick says he is sure Mozart would be disappointed and wonder why we still play his stuff. ÒHeˆd be much more interested in the best jazz improvisations because Of his ÒDuo? Copland said, ÒItˆs a lyrical piece, in a somewhat pastoral style. Almost by definition, it would have to be a lyrical piece, for what can you do with a flute in extended form that wouldnˆt emphasize its songful nature? Of course you could wMusical preparation begins with a schedule of things to accomplish and goals that are reasonable within an allotted time frame. Physical preparation can be in the form of jogging or swimming for 20 minutes four times a week. Relaxation techniques are gooCertain skills come naturally to some flutists and others have to work hard to master them.When considering pursuing a career in music, flutists should identify their strengths and work on their weaknesses. ÒOrchestral musicians have to be superb sight-r

After an injury to her arm, principal flute of the Baltimore Symphony Emily Skala found relief in the Feldenkrais and Rolfing methods. ÒSome musicians also find relief from Chinese and Western acupuncture, Reiki, and all types of massage. I shy away fromWith rhythmic shifts from two to three and accented sixteenths that are typical of the Czech furian dance,this Trio for flute, cello, and piano captures the spirit of Czech folk dances. Martinuˆs music uses a complex but orthodox harmony. The essential i

The long-time principal flute of the New York Philharmonic now dedicates her time to teaching. ÒIf a student wants to be principal of a major orchestra, I tell him this is a great dream, but there are many wonderful ways to make a living in music. If the

Although Gatesˆs six pieces for flute remain largely unknown, his exploration of tone colors and dramatic approach to composition can be heard in Suite Comique, the story told by On the First Day of the Week, the raw beauty of the Concertinoˆs Nocturne,

Most people know Hugh Downs as a respected television personality, but few know that he is also a published composer. ÒMusic is so important that I cannot imagine living without it. For me itˆs a window to some kind of salvation; whatever there is spirit

Boulez emerged during the 1950s as the enfant terrible of contemporary music. To the avant-garde his music seemed fluent and assured with surreal delicacy, but to others he was an advocate of only the most cerebral 1 2-tone works. He hissed at StravinskyAt first glance Moyseˆs 24 Etudes seem to be so simple that any beginning student could sight-read them. Each demonstrates a specific musical principle or technique that will increase the expressive playing of flutists if they take a moment to study the

Legendary Brazilian flutist and composer Pattflpio Silva (1880-1907) became famous for challenging local flutists to play faster than he could. Pattflpio always won. Many of his compositions were published during his lifetime and several of his recordings

Like great athletes, fine musicians have courage and poise under pressure. This is a quality that develops with experience. An audience wants a player to appear to be in complete control of the moment and to communicate honestly and confidently.After playing with the Chicago Symphony Orchestra for 42 years and before embarking on a new career path, Donald Peck shares some of his memories about conductors and repertoire. ÒAfter Carolo Mario Giulini came in for a day, the orchestral color soundedNo scale on any flute will be perfectly in tune because there are too many variables. A change in air speed, air angle,temperature, type of ensemble, and the anatomy of each player all affect intonation. A flutist can learn all the physical corrections,

After playing in the Baltimore Symphony and teaching for 10 years at the Peabody Conservatory, Timothy Day moved west and Òdeveloped a passion for teaching.? In students he looks for Òa great sense of rhythm and pitch that I can hone. Sound quality and t

Despite strong criticism against his flute and string quartets, Mozart wrote beautifully for the flute in other works. The history of the quartets is colorful and interesting, despite some historians who contend that these works do not equal his string q

"All your life you try to produce a sound that you imagine, but it is difficult because you are too close and cannot judge.? His quest for a better sound led to trying wooden flutes. After playing metal flutes for so many years, he was shocked by the resFor the annual flute examination at the Paris Conservatoire in 1898 Gabriel Faur? wrote Fantaisie, Op. 79. ÒThe Andantino calls for expressiveness and a beautiful singing tone, while the Allegro should be energetic and crisp.? Teachers often assign the FFor all-state and college auditions, students should not practice mindlessly but pause before playing any etude to think about the key and tonality. One of the main challenges of etudes is maintaining energy in the tone without forsaking dynamics, articu

Committed to expanding the flute repertoire, Wincenc was eager for a new concerto that projected lyricism and high-speed virtuosic energy. At first Joan Tower was intimidated by the thought of writing a flute concerto Òbecause the flute is often overpoweChanging teachers can be exciting but also frustrating and confusing. Each new teacher has different expectations and may not explain concepts the same way as the previous teacher. ÒAt the college level a new teacher may focus on basic techniques but a sLong gone are the simple days of playing ÒStars and Stripes? for a patriotic concert, as 55 pounds of combat gear have replaced dress blues when touring a battle zone. ÒPlaying the flute in a military band for 20 years has given me the chance to travel t

Discusses breathing techniques for flute playing, focusing on the need to take large breaths compared to taking breaths of the size that's needed. Considers the need to take in air for musical punctuation and phrasing and to keep breathing natural.Profiles classical flutist Robert Aitken, quoting him extensively on his early musical experiences and education, work with the Toronto Symphony Orchestra, pursuing a career as a solo flutist, and his perspective on contemporary needs to firm up musical This chamber work for flute, violoncello, and piano features each instrument in one movement with all three sharing the final movement. ÒThe lyrical lines display Roremˆs mastery of an elegant style, of song without words.? This flashy piece could be an

In setting fees most teachers rely on what others in the community charge, but the education, years of experience, and proficiency of each teacher are pertinent factors. A fee of $30 per hour sounds great until the costs of equipment and supplies used in

Trained in the French school of flute playing, Pahud states ÒWhen we are aware, we do not have to chase perfection. All the extra effort flutists put into making a pianissimo sound or carrying out a passage of detache is senseless if they do not think mu

As professor of flute at the Royal Conservatory in Brussels and the Hochschule in Mannheim, Germany, Tanguy says that ... Òit is perplexing that Bach did not write more for flute because it was a very popular instrument among both professionals and amatePaul Arma, one of Bartokˆs students, arranged this work for flute and piano, and it was published in 1956. The first group of songs are painful in nature according to Slovak/Hungarian pianist Helena Gafforova who studied with Bartok. ÒIt helps to imagine

Many flutists are anxious about memorizing pieces for contests and competitions. ÒMost people do not have a photographic memory, but the key is to do everything to build confidence to perform well from memory. Start early with the most difficult section

Now in his 33rd season as principal flutist of the Detroit Symphony Orchestra, Ervin Monroe says that he learned about music by listening to monthly selections from a record-of-the-month club and anxiously awaited the next selection by a major symphony oBerio invented an unconventional system of notation in which notes that are close together are played fast while those that are far apart are played slowly. This spatial notation frees the music of bar lines and beat patterns in a cadenza-like stream of

New Zealander Alexa Still says, ÒI desperately wanted to play the bagpipes because something about their loud sounds intrigued me. My parents gave me a flute instead.? Some of her high school teachers encouraged her to pursue painting in college, but sheThis flute solo conveys images through sounds in a wide range of colors. The piece explores unearthly places and also creates a garden of sound, giving each flower a color, shape and smell. Takemitsu Ùs performance suggestions are sometimes unclear and kDuring a sabbatical leave Dobbs explored traditional Irish music and learned that the flute was added to Irish music in the 19th century. ÒIn post-famine years flutes became available to the rural people of Ireland as the economy improved. Inexpensive fl

As students prepare for a solo contest or concerto competition they may become exasperated with their inability to play from memory. There are several types of memory that students should tap into, from tactile, aural, and visual to symbolic and analytic

Few know that Jennifer Binney once hated the flute. ÒThe piccolo was my first love after a high school band visited my grade and I heard it played. Every day I begged for a piccolo until my mother finally gave in.? Her views modified over time, and she w"Without a flexible embouchure and a flexible mind, a flutist cannot play with a variety of tone colors. If the sound is always the same and the dynamics range from mezzo forte to a forte, the music will lack expression. Try to develop a beautiful, soft,Musicians in the court of Frederick II, particularly Frantisek Benda, moved away from the rigid rules of Baroque music to the free style of the Classical era. Benda wrote lyrical melodies with straightforward harmonies. In this sonata the trills and appo

Los Angeles flutist Steve Kujala has subbed with the Chicago Symphony Orchestra, recorded a solo album, toured with Chick Corea, and played for the sound tracks of many movies and television programs. ÒDiscovering where the mine fields are in Los AngelesEach year a flute professor or another faculty member at the Conservatoire wrote a new solo for the concours. Tulou and Alt?s wrote them between 1860-1892; but when Paul Taffanel became professor of flute in 1894, he asked other composers, primarily facu

A summertime flute ensemble was an appealing change of pace at this studio. ÒThe group was big enough to give students a sense of collegiality but small enough that each person made an identifiable contribution. Everyone had a good time and made new frie

The piccolo embouchure is a miniature version of the flute embouchure, neither too tight nor too loose. The embouchure hole of the headjoint should be aligned slightly in front of the center of the keys so the lips do not cover too much of the hole.

"[Geoffrey) Gilbert was an impressive teacher. At the first lesson I played the Prokofiev and Hindemith sonatas while he played the piano parts. He asked if I always play that loud. I turned to him and said, ÙOnly when the piano player is that loud.ˆ I cHenri Dutilleux expressed reservations about everything he had written prior to the end of World War II, but Sonatine, composed for a competition at the Paris Conservatory, has become a staple of the flute repertoire. This one-movement work has distinct

Students typically start over at the beginning of a piece each time they stumble over a key change, accidental, or complex rhythm. The result is that the first section is more polished than later sections. Students should be taught that slow, careful pra"Die Sch˜ne M?llerin was composed during a period of sickness and depression for Schubert. In ÙTrockne Blumen,ˆ the 18th song and tragic climax of the cycle, the miller is overcome with suicidal thoughts, and envisions the maidenˆs flowers lying withered

Although he never attended a college or conservatory, Trevor Wye is highly respected as both a teacher and performer. He has written 30 original publications and dozens of repertoire editions. At Wye's unusual eight-month course, which takes place at h

American flutists in the early 1800's would certainly have owned this collection of popular dances, marches, patriotic and sentimental songs. Riley engraved and published it in six separate sections and the entire volume first became available in 1816.

As a student of Thomas Nyfenger, Tadeu Coelho learned of a misprint in Density 21.5. Edgard Var?se had telephoned Nyfenger after a nationally broadcast performance of the work, not to extend congratulations, but to point out an error. The author hopes

Since college Shulman has played principal flute with several Canadian orchesras without taking an audition, turned down a chance to earn a Master's degree at Eastman in favor of a recital tour, collaborated with a folk singer/rock star, and she recorded

If someone had told me when I first picked up a traverso that I could earn a living playing 19th-century flutes I would have said they were crazy," yet Jan Boland and John Dowland have carved out a niche and amassed an audience of faithful followers.

"Cuban music, salsa, and other Latin music forms were at a peak when I moved to New York; charanga was very popular. New York had several bands that specialized in that music, and my father took me to a club to hear Tito Puente's orchestra. Imagine. I

Frenchman Louis Lot laid the groundwork for the handmade flute industry in the late 19th century, but today the distinctions between handmade and custom flutes are increasingly hazy as technical manufacturing developments merge with craftsmanship."The Procession of the Sardar" from Caucasian Sketches by Ippolitow-Iwanow is seldom performed but appears on almost every audition list. "Facsimile" by Leonard Berstein is a neglected gem with long, delicate phrases and extended pianissimo passages.

Sometimes a flute teacher is asked to work with the flute section of an orchestra or band and the key to developing the group is to help enough on rhythm and intonation problems while leaving considerable responsibility with the student section leaders.Since publishing information about "Melodies Pipeaux", the collection of little piccolo pieces discussed in the May issue, the bad news is that these are presently out-of-print but the good news is that readers may be able to persuade the publisher to re