Flute Orchestra

Conductor: Dr. Sandra Saathoff

Dr. Sandra Saathoff is a freelance flutist, clinician, and principal flute of the Seattle Philharmonic. She helped launch a nonprofit organization, Silver Flight Ensembles and Foundation, dedicated to helping student flutists, and currently conducts the Bellevue Youth Symphony Orchestra's flute ensemble. A published author and music arranger, she has also performed and taught throughout the United States and Europe. Dr. Saathoff has served as Assistant Program Chair, Secretary, Convention Manager, and on the Long-Range Strategic Planning Committee for the National Flute Association; as well as President, VP, and Newsletter Editor for the Seattle Flute Society. Learn more.

Contact Dr. Sandra Saathoff at flutes@byso.org

Messages from the Conductor

We chase perfection so that we can perform with excellence.

Greetings flutists!   We keep on making progress – yea!  And I’m confident we’ll have a great performance on Saturday!  This week:

• Please practice with the backing track only (not one of the videos with the movements).  If you can do it by yourself without following anyone, you’ll be more confident on stage!
• Practice with the music.  Play P to the end; then all of the last page; then middle of 3rd page to the end … give the end of the piece 10x as much attention. Make sure all the musical elements (articulations/dynamics/pitch bends/marcato harmonico/correct notes/alternative fingerings / etc.) are in place so you are doing everything the composer has asked.
• Read all my comments (emailed and below) and practice things in.
• Practice only the footwork.
• Don’t know what to improve?  Read and incorporate ALL the comments below.

BRING: MUSIC STAND / ALL music – including Garden Party / ALL instruments / Snack & Water bottle / Homework – something to do during down time / extra battery or charging cords

Definition of COMMITTED and COMPELLING. Watch this and tell Sandy on Saturday (or before via email) what you thought/felt (and maybe there will be prizes 🙂 for all who respond ) :  https://youtu.be/dW4RoaQUkRM?si=5VwrCh2B18_vptRS  

(if a toddler can be … we certainly can!)  It’s a privilege and an honor to perform at Benaroya Hall – I truly hope you enjoy and appreciate the experience!

*** OH!  And we forgot to vote!  Please email me asap (flutes @ byso. org) with your choice – what lobby tune do you want to play again at the Garden Party? 

Lastly, please note Highway 520 Bridge will be closed this weekend.  Please plan your travels accordingly …

Have a great week – Enjoy the sunshine!!
~Sandy

Here’s a list of things to fix and practice before our Benaroya concert!  I have updated the “DANCE WITH ME” list.  Please check it again for clarifications.

Everyone should mark these notes (including Rehearsal Letters) into their music and practice it in:

Sir Duke (fix your music so you don’t have to turn pages)

• m. 15 accent the last note of count 3 (before the quarter rest).
• m. 16-17 – THERE’s a GIANT CRESCENDO
• m. 17 – count 4 – the accented note should be tongued more forcefully, with energy, and played shorter
• Rehearsal A (m. 18);  Flute 4 / Alto / Bass … do not breathe at the end of m. 19 .. wait until after count 1 of m. 20
• m. 18 – 25 – Flutes 1, 2, and 3 … much softer – you’re accompaniment; (Flute 4 / Bass / Alto – LOUDER 😊 )
• m. 27 – count 4 is silent! Most of us are playing the last 16^th note of count 3 on the downbeat of count 4.
• m. 28 – is unison rhythm … the 2 quarter notes in the middle should happen on the “and” AFTER count 2 and count 3 …. We are rushing this rhythm and getting to the “and” (8^th notes) of count 4 too soon. This is the same as in m. 56/m.80
• m. 32 … look at beat 3 and beat 4. The 8^th note after the 1^st rest happens right on the “and” of count 3. The 8^th note after the 2^nd rest is happening too late (m. 60, too)
• m. 34 = Rehearsal B; in m.34-36 and m. 38-40 Flutes 2 and 3 should be softer
• mm. 42-45 – ACCURACY of notes and articulations
• m. 43 parts 2, 3, and 4 … the last 16^th of count 3 needs more of an accent
• m. 46 / Rehearsal C – much louder flute 2s; softer everyone else
• m. 61 (one measure before Rehearsal D (m. 62)): should be unison rhythm; the 4^th note of the measure happens on the “and” of count 2; the eighth rest is the downbeat of count 3.
• m. 70 – 76: Flutes 1 and 2 – play softer (but not flat!); Flute 3s – much louder!
• m. 71: Flute 3 – do not breath at the end of the measure; wait until after beat 1 of m. 72
• m. 77 (one measure before Rehearsal E) – everyone needs to crescendo more!
• Rehearsal E (m. 78) to end – just needs more detailed work from everyone – notes/rhythms/articulations/dynamics/pitch

UPTOWN FUNK (fix your music so you don’t have to turn pages)

Finger snaps need to be louder – also add a matching foot tap

In general, don’t add extra slurs; and staccatos need to be crisper / shorter / with pointy – sharp tongue.  This piece has a more percussive and aggressive style.

• m.14 – repeated 16ths … need more articulation and must sound like different notes
• m.16 – establish good pitch, then roll in/fall
• m.16 – flute 3’s – that’s a big solo at the end of the measure – play loud!
• m.17 and m. 19 – count 1 – everyone that plays should add an accent (flute 4 – make sure you enter right on time … not too early / not too late)
• m.17 and m. 19 and m. 21– flute 1 and flute 2 …. Super short 8^th notes
• Flute 3s – m. 20 – 33.  More articulate/tongue well and distinctly – and more accurate playing, in general (notes/rhythms); play with full, rich (and loud) sound.
• Practice the D.S. – so the repeat is confident.

DANCE WITH ME (updated 5/6)

For help with airy sounds, visit: https://www.flutexpansions.com/aeolian-colored-air

For help with lip pitch bends, visit: https://www.flutexpansions.com/glissando-pitch-bend

For help with the Marcato Harmonico … ultimately, you are trying to produce the low octave and the higher octave at the same time, which is one type of a multiphonic.  Our technique for this piece is a very easy introduction – that doesn’t require much finesse. It’s easiest if we close our aperture (hug the lips tightly around the air column); tongue super hard (“punch” the roof of your mouth); and use the top lip to aim the air low, into the flute – while blowing lots of FAST air.  If your notes stay too high – make sure your head is up and you haven’t rolled in too much; also check the space inside your mouth – you can change the shape of your oral cavity (make it bigger, make it smaller (how much space is between your teeth?) and use different vowels to help color the sound (ah / ooh-ewe / oh / uh / etc.)  EXPERIMENT!  But you must be committed, convincing and compelling!  Really GO FOR IT!

If you are not emotionally / physically / mentally tired after playing this piece – you have not really invested ENOUGH OF YOURSELF!  You need to practice with the same energy you hope to perform with.

• Everyone needs to have everything learned and memorized! Performance-ready!
• I want to return to my original idea: don’t bounce to the music on the 1st page.  Turn the bouncing on at Letter F – the 1st page should be commanding and intense
• For all pitch bends: the note MUST begin in tune, before you begin the fall or rise.
• By now you should know how to produce that airy wind sound and marcato harmonico – and can produce it confidently and consistently.  If you can’t – you need to practice more and take the music to your private teacher.  They are important features of this piece.
• To all in Row 3 – as of last night, only 1/2 of you can play the music and do the choreography accurately.  YIKES!  Please step up and be more committed to the success of this performance. Some of you aren’t using the alternative fingerings accurately, also.
• You have to practice on your own and experiment to find the best way that works for you to produce the special effects / extended techniques.
• Additionally, I still don’t always hear the pitch bends.  I see lots of flute movement, however. Don’t sacrifice the actual playing – we need to hear the pitch rise on the G’s, especially.  For the Pitch Bend on the G … establish a good G, then roll in to out for the pitch rise.  At the same time, lift your head to help aim the air higher (and create more of pitch rise). “Kiss the note goodbye” 🙂  The lifting of the flute is only for show … for the audience 🙂 . For the C# in the rapping section – remember you are fingering a very low C# but overblowing to the printed octave.  Aim your air down and duck your head down – as you roll in.  But be sure to recover to a good/normal playing position to continue with the D’s (fingered like a low D, and overblown).
• I acknowledge that there may be a few students who did play with dynamics, used the proper wind/airy tone, and successfully demonstrated the pitch bends in their playing.  However, since the majority did not, anyone who was doing what they were supposed to, had all their hard work erased.  TRAGIC! Let’s do better! Let’s support each other with our best efforts!  Everyone must positively contribute!  I love L’s idea of performing with sincerity 🙂
• At D, F, and I – the 8th notes on count 4 should be short and accented.
• Rehearsal E and J – your feet move on counts 1 and 3;  your elbow lifts on count 4
• At Rehearsal H – it’s full sound plus full windy.  (try “kuh” as your tonguing syllable)
• For all the marcato harmonico sections – high knee lifts! AND ACCURATE notes – with the cracked/split tone – you can do it, I promise! 🙂 This is what needs the most work from everyone. The notes on the last page are different than page 2.
• Add elbow lifts to go with the airy sound in measures: 27, 28, 29, 51, 52, and 53
• At K – bend forward; but look towards audience
• At L – move your feet slower (more like cut time), keep feet close to the ground, and your body more still – definitely no bouncing.  You should glide and float and bend backwards. Movement:  m. 59 take only 4 beats to rise; / m. 60 start sliding/gliding backwards; / m. 61 slowly begin bending backwards. / By m. 65 you should be looking up to the ceiling. It’s like an uber slow motion sequence in an action movie 🙂
• For the Airplane section at Rehearsal M – keep your feet slow; and bend your knees a bit – but no bouncing / keep your hips still.  Rehearsal L and M require our best traditional tone and intonation (double check your Eb / Bb into a tuner); with smooth phrasing.  It should be a huge contrast to what came before and what comes after.
• The ending pose will be like how the composer does it in the performance I shared with you. Left foot steps forward, bend the knee (lunge); and bend over your left knee (your body will turn a bit to the left).  Hold the sound and be still (a middle D, with the LH 1st finger down) for 4 counts; but Swoop the end of your flute downwards on the 4th beat of the note – it’s totally ok (and preferred), if there is a cool “effect” at the beginning and/or end of your note :). KEEP FLUTE ATTACHED to your chin. – After you lunge – don’t move your head – only the flute swooshes.  Stare at a spot on the ground.  After swoosh –  Freeze; then rise when Hannes and Jackie do – with a huge smile on your face. We will bow together at the end  https://www.youtube.com/watch?v=hyzB7t_DU7M
• Overall, the piece is very effective and everyone has done a fantastic job learning all these new extended techniques and incorporating the movement!  I think it’s going to be very successful and popular!   WOO HOO!  Thank you all for your hard work and dedication!
  • My comments above and below are quite picky 😊 and I hope are ways to help it be truly first-rate.  I think we have a chance to do the best performance of this piece EVER!  Well-done!
  • Opening Pose: Great poses with strong attitudes!
    • Row 2  – please incorporate Carrie and Elizabeth into your row.  For the opening pose, Marcus – I think you’ll now need to face the other direction.  Everyone in Row 2 – where should you be looking?  To the floor? The person next to you? Or to the audience?
    • Row 1 – I like how you see less of the flute the way some people are holding it.
    • Row 3 – when you hear the howling, hold the flute in front of you (with fingers over the keys) – but not in “playing position’. Head down;  Wait until the tambourine to bring the flute up.  If you make a group – only 2’s or possibly  groups of 3 … the group of 4 seems too large/clustered (though I could be convinced otherwise) … but we still want to be in a line.
  • Page 1 – Excellent!
  • 1st MARCATO HARMONICO section – in addition to getting better with the tonal effect and note accuracy.  Try to maintain your line/row as you march forward.  Some of you will need to take bigger steps, others will need to take smaller.  When going backwards, all of us in general are taking smaller steps than when we marched forward – so we’re not returning to our “home” spot.
  • one before H – there should be a big crescendo that leads us into H. and the sounds we produce at H should be loud – full tone PLUS full air. 
  • Letter H – we don’t have the same attitude and confidence that we had at the beginning –  We want the same bold steps with confidence!  But this is also where you can add some head bobbing; hip movement (like Wil Offermans does in the video), a bit of a bounce; and look like you’re having some fun 😊 Above all, show strength and confidence and attitude – put your DIVA hats on 🙂 This should be an enhanced GIANT version of what we did earlier.
  • Top of Page 3 / Letter I – the feet movement happen on counts 1 and 4 – make sure you know which direction to go 😊
  • At K – the slow march forward – bend forward a bit – but keep your head up and look toward the audience.  There should be EPIC diminuendos … start each measure Triple FFF forte!  Count 3 should be mp and super airy.
  • L/M – slow feet (not double-timed) that barely come off the floor; if you know how to use vibrato – make sure you are 🙂   Nice job with the playing and the movements. It’s a very smooth and beautiful sound. This is also a good chance to straighten your rows.
  • At N – rapping;  needs more aggressive pitch bends with more energetic articulation;  this has to be a change of mood from the previous section.  I think it will look better if you are more upright while bending your knees (not bending forward) and heads are up.  The mood has to be more like you are talking/shouting towards the audience – very articulate – like you have something super important to say  … make sure your knees bend ON the beat. Don’t bend forward too much – think more up and down.
  • At O – when we move Left/Right … try not to angle your feet/body to the side … keep facing forward.  (and stay loud and aggressive with the Marcato harmonico). Don’t forget the high knee lifts – look energetic!
  • Before P and Q – freeze during the measures of rest and stand tall – try not to move your body.  Breathe deeply to gather more energy.   It’s ok to have the flute come away from your face to give your lips a break
  • Last page, especially, needs more accuracy and security with memorization of notes/rhythms and footwork.
  • Ending pose – Good!  But don’t start the swoosh too early (or late) – right on count 4 … and if any ‘extra sounds’ happen at the beginning or the end … that’s totally ok. The flute should stay connected to your chin as you swoosh.

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SATURDAY FO/FC SCHEDULE:

• 10:15 AM Flute Ensembles DRESS REHEARSAL ON STAGE
• 10:30 AM Flute Ensembles END OF REHEARSAL – MOVE TO LOBBY
• 10:50 AM BYSO FLUTES DRESS REHEARSAL IN LOBBY – bring music stand
• 11:30 AM Flute Ensembles Lobby rehearsal done. BACK TO STAGING AREA FOR LUNCH (11:30 – 1:25 Lunch/break)
• 1:30 PM BYSO FLUTES DRESS REHEARSAL IN LOBBY – bring music stand
• 2:15 PM BYSO FLUTES PERFORMANCE IN LOBBY (15-20 minutes)
• 3:00 PM Welcome –        Kevin Vortmann

ON STAGE Flute Orch / Flute Choir Combined Ensembles PERFORMANCE

• 5:00 PM                   END OF CONCERT: All Students stay for entire concert;

then head to lobby to pick up their stuff and meet parents when concert ends.

BID FOR THIS FANTASTIC FLUTE BASKET!

Your BYSO Flute Team has put together a wonderful “flute basket” for the BYSO spring fundraiser.  We hope that there are a lot of online bids to win this pretty amazing collection of items! 😊

Dr. Merrie, Dr. Nayoung, Bridget, Dr. Frieda, and Dr. Sandy are contributing the following:

• $20 Gift Certificate to FluteWorks
• Dr. Merrie’s CD(s) of cool music she recorded
• Sheet Music arranged and autographed by Jasmine Choi
• Cute flute t shirt
• Flute figurines and original artwork
• 1 hour of ensemble coaching session (Sandy) – (like for a duet / trio / woodwind quintet / band flute section / etc.)
• 1 60 minute flute lesson with Bridget Pei of the SSO
• 2 tickets to the Seattle Symphony in May / June

Practice Videos 

All Benaroya music should be “performance-ready”. Please practice what you need to in order to improve your weakest areas.

Here are the videos from last week’s “Dance With Me” rehearsal:  https://www.dropbox.com/scl/fo/hvmn2w2e55l02u2mhvrpm/APnRJqtKBIW7rbNRZLJV_1o?rlkey=td3uahuhrq9u064ldmcfqlj1i&st=8rscq15g&dl=0

Below is a description of an A+ performance.  You can use this list of goals as a ‘report card’ and compare your own performance with the standards listed.

A description of an A+ Performance:

Our pieces need to be full of musical nuance.  Everyone must play with their best musicality in order for our pieces to be successful.

• Musicality can’t happen unless technique (notes/rhythms/extended techniques) are securely in place at the highest level of accuracy and precision.  You must be committed and compelling! 

Musicality for Dance With Me is different than the musicality needed for the lobby music, or the Bach.

Goals:

• All notes and rhythms accurately learned; Technical facility is excellent – with confident and fluent finger technique (accuracy at all tempos). Technical Facility also includes the ability to:
  • produce the airy sound;
  • do the pitch bends;
  • create the marcato harmonico sound (with correct notes/dynamic);
  • use the alternative fingerings effectively and accurately
• All notes are in tune – excellent control of tone throughout the entire range of the instrument; Listening and adjusting is apparent. Everyone in the ensemble demonstrates mastery of a mature tone that is rich, warm, and vibrant on all notes.
• All printed dynamics are practiced in – and are compelling (exaggerated).
• There are evident Contrasts in all the articulations – staccato sounds different than legato which sounds different than accents … exaggerate the differences
• The ensemble is well-balanced and parts blended – no one is relying on someone else to carry the section.
  • With a unison piece such as “Dance With Me” – EVERYONE must contribute at the highest level of performance.  Please do not rely on anyone else.
• The ensemble shares the same unifying pulse – displaying synchronicity; the rhythms are well subdivided and accurate.
• Phrasing is consistent throughout the ensemble; everyone breathes in appropriate spots.
• Very musical and sensitive performance. Appropriate style and tempo. Excellent use of dynamics (both printed and the performers’ own) to tell the musical story. A wonderful energy is presented which matches the style of the music.
• Memorization of Dance With Me – secure and accurate.
• Choreography for Dance With Me – accurate, on the beat, with energy, style, and pizzazz.

If any of these tasks are difficult for you – focus on that skill.  Don’t just do a run-through of the entire piece from start to finish. Work slowly on difficult sections, then gradually increase the tempo. Use the recording and practice videos for help performing Dance With Me.

PLEASE take your music to your private teachers for additional individual help.

Some of YOUR COMMENTS (I didn’t include all the duplicate ideas)

WISH LIST – things to work on.  Use these comments, plus my emailed comments, and the list above, to fix during your peer-led rehearsals. 

• Our spring “Bach to Rock” music includes:
• Benaroya Stage:  Dance with Me – celebrating the 50th Anniversary of Hip Hop
• Benaroya Lobby:  Mamma Mia, Sir Duke, and Uptown Funk  – joined by flutists from Youth, Philharmonia, and Sinfonia orchestras.
• Botanical Gardens: Bach’s Wachet auf… and You’ve Got a Friend in Me, plus another tune from our Benaroya lobby tunes.