youth playing in concert

Flute Orchestra Messages

Hi all –

Welcome back – and thanks for a great rehearsal!

Don’t forget to bring Syrinx!  – please write in the counting for this piece. Use 1e+a for all Dotted Notes;  and 1 + for all tuplets/quarter notes/8th notes.  Triplets will be 1 trip-let 2 trip-let (or 1 triplet AND triplet (if 16ths).   Be sure to line up the counting very carefully with the notes.

Posture matters 🙂  Ears on top of shoulders – and don’t grip your keys too hard!

REHEARSAL PLAN for 4/28 – please see UPDATED part assignments below. 3 rehearsals remaining

** Please come with everyting “PERFORMANCE READY” so we can add the polish (as our concert recording will act as an audition recording for NFA)

Notice: seating chart below…

  • 6:30 pm Warm up: tone / articulation / intonation (attach contact microphones)
  • 6:40 pm Syrinx – clap and count – entire piece
  • 6:50 pm Palmer – Flautista (mvts. 1, 2, and 3 …. or 3, 2, and 1 )
  • 7:30 pm Break
  • 7:40 pm Cross the Wide Missouri – please read below!

Performance Notes by Kelly Via

‘Cross the Wide Missouri is a tribute to the Missouri River which flows through Kansas City, site of the 36th Annual Convention of the National Flute Association in 2008. This piece was commissioned by the West Michigan Flute Association for performance in a flute choir showcase at this convention.

  1. Reflections in the Water combines original material with two Native American tunes and an American folk song presented in four vignettes representing life along the Missouri River centuries ago. A common moving water theme (duple eighth-notes against triplets) ties the vignettes together and continues through the second movement. The beginning captures the peacefulness of the river banks and the sound of drums in the distance. After the induction of the water theme, a soft, solo alto flute begins a Sioux chant, building up to a unison climax.

A second statement of the water theme introduces the Osage tune, Walking Over the Earth, by four solo C flutes followed by the full ensemble. The abrupt interruption of this tune signals that something is amiss; the settlers have arrived. The depiction of the ensuing conflict includes an angry version of the water theme leading to a dissonant climax. The final reference to the peaceful beginning is followed by the silence representing the many lives that were lost.

Concluding the movement is a setting of the folk song, The Sioux Indians, a tragic tale of a group of settlers who cross the Missouri River and are soon engaged in a fierce battle with Sioux warriors. Here, the survivors bury their dead and the settlers continue their journey westward as alto and bass flutes gently play this setting’s final verse.

Special attention to the words “Shenandoah” and “’Cross the Wide Missouri” are featured in this unusual setting of the familiar tune, Shenandoah, as is the continuation of the moving water theme. After the first verse is played only by alto, bass and optional contrabass/contralto flutes, the full ensemble joins in for the second verse, playing above the moving water theme. Following the third verse played only by C flutes, the full group enters quietly, effecting a reflective ending. In particular, the first and third verses should be played with noticeable rubato to achieve the
desired interpretive effect.

In Reflections in the Water, the descending lines following the solos in measures 1, 3, 4, 12 and 107 indicate downward pitch bends. These pitch bends are best achieved by rolling the flute inward while dropping or slowing the airstream. A percussive effect to simulate the sound of distant drums is indicated by a plus sign (+). Players should loudly slap the key indicated precisely with the tongue and air at the beginning of each note bearing this symbol.

The moving water theme that ties the two movements together must always be played with rhythmic precision.

My sincere appreciation goes to Barbara Conlon-Muth for locating the Osage tune and sharing her wealth of information about the Native American culture.

Mambo is defined as a repeating section of a song, also known as montuno. It is often mistaken for a specific type of rhythm or song form. The dance done during this part of the music also became known as the mambo. All rhythms here are to be performed in a “straight,” not swung style, not only in this dance, but in every movement of this suite. The downbeat of each bar at the beginning of a phrase should be heavy and legato. There is a strong interplay between the last eighth note of each bar and the subsequent downbeat. Accent the syncopated rhythms as marked
and aim to get the eighth and sixteenth note rhythms as accurate as possible. The feeling of this movement is not light at all but rather, quite heavy, reflected in the downbeats of every first and third bars of the four bar phrases.

A drummer who is familiar with Latin drum set technique may wish to vary the written part or use a mambo pattern with which they are comfortable.

The Bolero is a Spanish dance in moderate triple time that began in the late eighteenth century. While the Cuban bolero, however, is in 2/4 time, the decision was made to write it out in four, finding that it is easier to read that way. This is a sedate, suggestive dance. Picking a slower tempo in the quarter for a slower pulse works better in performing the triplets with full extension, and will allow the solo piccolo greater freedom of expression.

Again, if the percussionists are comfortable with Latin rhythm, experimenting to find something that works well is in order.

Paso Doble is a kind of showy, one-step dance. It is usually in duple time, but in this rare instance it is in triple time. Here, the off-beats (or “and”s) following beats two and three are accented and emphasized. Both Spanish and military in origin, the Paso Doble easily evokes images of a matador flourishing his cape or doffing his three cornered hat. This movement is more or less a march in 3/4 time, which requires maintaining an absolutely steady, rigid tempo while the ensemble displays its showmanship.

“Oh Shenandoah” (also called “Shenandoah“, “Across the Wide Missouri“, “Rolling River“, “Oh, My Rolling River“, “World of Misery“) is a traditional folk song, sung in the Americas, of uncertain origin, dating to the early 19th century.  https://youtu.be/L64v0icD4ms?si=hw4yym7cv2Qw5piS

https://youtu.be/IBH2QrUyz7o?si=MrKeUKLzOwv33Hlb
Oh Shenandoah,
I long to hear you,
Away you rolling river.
Oh Shenandoah,
I long to hear you,
Away, we’re bound away
Cross the wide Missouri.

Seating Plan:

Flautista:

Row 2: FL 1 (Matthew – Chanler) / FL 2  (Ember) / FL 3 (Jackie – Lin)  / Picc (Kayla)

Row 1: FL 4 (Mathilde) / FL 5 (Isabelle) / Bass  (Flora – Noah) / Alto (Varshini – Shachar)

Cross …Missouri:

Row 2:  Fl 1 (Lin), Fl 1 (Isabelle), Fl 1 (Ember) / Fl 2 (Matthew)  Fl 2 (Chanler) / Fl 3 (Kayla) Fl 3 (Mathilde)

Row 1: Fl 4 (Jackie) / Basses / Altos

                          Conductor

YOUR PRACTICING and PREPARATION:

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/intonation) are securely in place at the highest level of accuracy and precision.  You must be committed and compelling!

Goals:

  • All notes and rhythms accurately learned; Technical facility is excellent – with confident and fluent finger technique.
  • All notes 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 practiced in – and are compelling.
  • 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.
  • The ensemble shares the same unifying pulse – displaying synchronicity
  • 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.

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.

Practice accurate intonation – just like you practice the correct notes and rhythms.

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

https://youtu.be/EObVnNje1AE?si=XStsXf1at87e7xYV 1st 2 movements (w/o percussion) of Flautista

 

Happy Fluting!
~Dr. Sandy

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Link of the week: Some things to think about (Bulletproof Musician site also has articles about practicing / performing / reducing anxiety / etc.):

Greg Pattillo – Peter & The Wolf: https://youtu.be/c6SHsF1n9Qw?si=KnnKbk3EI6lRFECi 

 

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