| A | B | C | D | E | F | G | H | I | J | K | L | |
| Row 3 (back) | Kaylyn ♦ | Coco | Hannah ♦ | Noah | Arnav ♦ | Matthew ♦ | Crystal ♦ | Jeri | Medha ♦ | Pia ♦ |
Julinna ♦ |
|
| Row 2 | Shiho ♦ | Ada ♦ | Isabelle ♦ | Kaylee ♦ | Gwen ♦ | Marcus | Samuel ♦ | Shachar ♦ | Chloe C ♦ | Carrie | Rio ♦ | Elizabeth |
|
Row 1 (front)
|
Leo ♦ | Kayla | Jackie ♦ | Chloe K ♦ | Karthik ♦ | Hannes ♦ | Suah ♦ | Alice ♦ | Stella ♦ | Ember ♦ | Siyu ♦ |
*** Please write your NEWEST row number and column letter on your Dance With Me music. *** (And, if I forgot any changes – please let me know! I’ve made an additional change since Monday 🙂 [Current as of 5/1/24] (Current: 33 replies/34)
Greetings flutists! So MUCH IMPROVEMENT! Keep up the great work! Fantastic rehearsal tonight – thank you! WOO HOO! (Our recording engineer, Ron, was SO IMPRESSED too 🙂 )
- 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!
See the very end of this page for more information about submitting your REQUIRED homework this week – a self-critique of your own performance (from the Video of your Row) and group reflection (based on the full group video). Due by FRIDAY!
Here’s a list of things to fix and practice, and prepare for OUR LAST rehearsal before our Benaroya concert! I have updated the “DANCE WITH ME” list. Please check it again for clarifications. Really try to improve the Marcato Harmonico sections this week.
Since we only have one more rehearsal – everyone should make a special effort to attend! We have yet to have a rehearsal with everyone present.
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 16th 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” (8th 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 8th note after the 1st rest happens right on the “and” of count 3. The 8th note after the 2nd 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 16th 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 4th 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 8th 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 4/30)
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 1/3 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.
- 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). 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
- 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
HOMEWORK THIS WEEK
All Benaroya music should be “performance-ready”. Please practice what you need to in order to improve your weakest areas.
As we mentioned, you must submit a SELF-evaluation AND GROUP reflection to Dr. Merrie (FluteChoir@BYSO.org) and Dr. Sandy (flutes@BYSO.org) by Friday, in order to not be asked to a play a music test with the conductors. This is important and meaningful and will help everyone to perform their best – raising the playing standard for everyone. Thank you for taking it seriously and being conscientious. ♦
Here are the videos: https://www.dropbox.com/scl/fo/hvmn2w2e55l02u2mhvrpm/APnRJqtKBIW7rbNRZLJV_1o?rlkey=td3uahuhrq9u064ldmcfqlj1i&st=8rscq15g&dl=0
Each person will watch:
- the video recording of their own row – and
- the full group (there are 2 to choose from, of the same performance – just from different cameras)
You must submit an email of your self-critique (from your “row” performance); as well as a full group evaluation – noting what went well, in addition to what can be improved. Include an EQUAL number of positive comments along with constructive feedback for improvement. ♦
We would like to receive these by Friday, May 3rd so we have time to create an appropriate rehearsal plan for Monday based on what was observed.
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.
You may submit a list; and you do not need to write in complete sentences. You can choose to remark on all the topics listed below, or only a few. You can also use a Horsfall/SYAMFA/Solo-Ensemble adjudication form as a guide for analyzing your own performance and that of the group. Choose a format that works for you – it’s the information and comments that you include that is most important. Try and offer lots of specific comments (remarking on a particular measure/skill/etc.) as well as ‘global’/general comments about the whole piece.
All the comments will be collected and shared with everyone.
Please let Dr. Sandy know if you have any questions.
♦ Email evaluations to Dr. Merrie (FluteChoir@BYSO.org) and Dr. Sandy (flutes@BYSO.org) by Friday, then use the week to work on the areas you identified as needing improvement. ♦
THANKS FOR YOUR HARD WORK AND DEDICATION!
Dr. Sandy, Dr. Merrie, and Dr. Frieda
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.
May 6th Rehearsal Plan
Marcato Harmonico = “ticket” for entry
- 6:30 – 6:55 Each row in a different room; Peer-led rehearsals of “Dance With Me” (based on your video observations). If you want to use backing track, squad leaders – make sure you have it on your phone, and/or a bluetooth speaker, or laptop (that you don’t need internet for).
- 6:55 – 7:20 Everyone return to drama room. Tutti – practicing: Music only (no movement); Footwork only (no flutes); put it together one time through – performance dress rehearsal.
- 7:20 – 7:30 break
- 7:30 – 7:45 practice some spots; and 1 more full run-through
- 7:45 – 8:30 pm Lobby and Garden Music – choose which of the lobby pieces to play again.
- Including Bach (Sleepers Awake) and You’ve Got a Friend
| Positives |
| We started in unison |
| Good sound at L |
| Good airy sound & general sound |
| Whenever the whole group stomps down on a beat together it looks really clean which is nice |
| Section O the transition between moving left to right was smooth |
| Nobody was late to marching forward at section Q |
| · The starting poses look great and especially cool when everyone is staying super still then suddenly moves into position together |
| · Footwork moving fairly together as an ensemble overall and mostly accurate |
| · Strong airy sounds at beginning with noticeable contrasting dynamics |
| · Good high knees in the marcato harmonico sections |
| · Good beautiful playing at the blowing backwards and airplane section from measure L-N but could be more in tune at some times |
| · Turning was done together at section M |
| · Airy wind sound at the beginning had dynamics |
| * the notes were good and mostly accurate |
| – good counting of the note values |
| – good volume especially when we played without wind |
| – pretty good high knees |
| * The transition from the beginning pose to standing was very smooth and consistent throughout the group. |
| * Solid strength of sound throughout most of the piece. |
| * Our intonation wasn’t too bad. |
| * The “blowing back” part is fairly consistent. |
| * Everyone was still while holding the starting and ending positions. |
| * I think we did a great job of getting the whole vibe of the piece collectively. Although there are a few rough spots, the piece is coming together. I think the confidence level has also gotten better over the practices. |
| * most of the notes were played together and on time |
| *Even as a group, there isn’t much of a delay in the steps. Most people are putting their steps at the same time to create a cool effect instead of a domino effect. |
| * The beginning pose with all three groups doing different poses makes it seem like a good performance and looks pleasant. |
| * Spacing between people and rows was consistent throughout the whole piece. This happened especially during the marching part, where everybody was able to keep the same distance from others. |
| – can hear dynamics from A to B |
| – lifting the flute a measure before E was synchronized |
| – maintained spacing pretty well |
| – Very confident movements, especially in the first row and second row |
| – Generally stayed together on movements, movements on first page done especially well and confidently by the group |
| – Appropriate “loudness” — were not shy (especially 1st row) and showed group commitment |
| – Dynamics on first page done well especially Section A |
| – Stayed in straight lines for duration of piece |
| – Used landmarks of the piece such as sections to get back together with the group if a person had gotten lost |
| Stayed still during starting poses |
| Got up at same time |
| The airy sound was much louder upfront than what I heard it as |
| Mostly together, good steps |
| Turning was together |
| * I heard strong airy sounds, better than the recording of my row. I liked the sense of uniformity on beginning of the piece. |
| – Dance moves are generally together |
| – use of dynamics in section A |
| – notes memorized |
| – section L notes were in rhythm and in tune |
| – section M turning was on point and together |
| – phrasing is consistent |
| – Playing on time together |
| – air-fingering notes played correctly |
| * Starting poses are pretty uniform |
| * Group puts down flutes at the same together |
| * First step looks like it has confidence |
| * Playing at D is together and sounds have good substance |
| * Steps up until E are pretty together as a group |
| * Group steps forward at G with decently high steps |
| * Turning at M is divided well among the 8 measures |
| * Stepping forward and back at P is pretty together |
| * Playing overall, especially the non-airy portions, has decent substance |
| * Notes and rhythms seem learned/memorized across the board |
| * There is a central, unifying pulse that the group generally follows |
WISH LIST – things to work on. Use these comments, plus my emailed comments, and the list above, to fix during your peer-led rehearsals.
| * We could’ve done more of a pitch bend |
| – section E&J, move on count 3 and lift arm on count 4 |
| * We didn’t lift our knees much |
| * Some of us didn’t lift our heads and look up at the same time as others at L |
| * Flutes/elbows not always lifting together–accent the first beat after the pickup note to help? |
| * Not crouching or rising together (right on count 4) |
| * Pitch bend arm lifts should be more uniform |
| * Bouncing was not in sync; work on bouncing to the beat |
| * Section right after marcato harmonico didn’t step together |
| * Section E steps don’t completely match up especially the elbow lift after the step to the side |
| * Section G when marching out front, some steps don’t match the beat and end up on the wrong foot and off the beat |
| * Section I the steps also don’t match up all the way and some people end up going in the wrong direction or on the wrong beat |
| * Crouch down at section L was not together, some people in the back went down sooner than the people in the front |
| * Bouncing at N is off with some people not bouncing enough and other people bouncing too much that they’re late to the next bounce which takes them off the beat |
| * Notes at section P sounded off |
| · Timing of the elbow lift at measure E-F and J-K needs to be corrected and more together with everyone doing the elbow lift on beat 4 and not before |
| * The sound of the note needs to change more for the pitch bends |
| · More note accuracy in marcato harmonico sections, missing accidentals |
| · More cracked, aggressive, “ugly” notes in marcato harmonico; sections, too not marcato harmonico currently |
| * Bouncing needs to be together on the beat from measure N-O, not everyone in the ensemble is bouncing on beat |
| – we need to be more in sync with the beats and time our steps accordingly |
| · Circle airplane twist should move more together, right now; people are reaching 3 o clock, 6 o clock, 9 o clock, and the front at different times |
| – our tone is a little off (might be the recording) and the wind sound is varied in volume and style- |
| · the marcato harmonica section sounds normal and not as sharp and pointy as it’s supposed to be |
| – not a lot of marcato harmonico |
| – the notes near the ending sounded a bit jumbled (from letter F-G) |
| * the dynamics weren’t dramatic enough |
| * People were not smiling enough |
| – pitch bends are not coming through even though some people are doing it |
| Many of the steps were uncertain throughout the group, especially in the second half. |
| Didn’t hear any pitch bend. 🙁 |
| Many of the elbow raises were early. |
| The bounces look more like a wave than a singular motion. |
| Knees could be lifted higher during the marcato section. |
| I think we can work on greater dynamic contrast throughout the entire piece. Additionally as I watched the video I noticed that not everyone’s flute angles matched. Some were perfectly straight while others were angled down as if some arms were tired or posture was bad. I think it’s important to keep the posture straight. Also an important part that we keep messing up on is the bouncing part. |
| – Piece overall needed more dynamics, pay attention to markings |
| * accuracy for dance steps at I and notes at P could be better |
| – There can be more “commitment” during steps |
| – Togetherness — especially at the bouncing section and lifting elbow up at section J, also stepping together on third beat (section J) -Confidence with steps at Section I -Hold on C# before falling at Section N |
| – Sections at m.35 and m.83 need more emphasis on marcato harmonico and high knees |
| Minor thing you pointed out but just aligning all the flutes the same
Should the pitch bends be together? |
| I think that there is room for more dynamic contrasts and better intonation throughout the piece. I feel like tonguing can also be more clear, especially on lower notes. If possible, the leg movements and moving up/down on fast-paced parts could be better coordinated. |
| – bring our flutes up together |
| – pitch bending: note G and section N |
| * Moves would be improved with more energy; group should give off a sense of enjoyment |
| * Pitch bends, dynamics, and general contrasts are overall lacking in intensity |
| * Lots of messing up steps during I (wrong foot at wrong times) |
| * Starting J seems unconfident and messy |
| * The crouching at the end of measure 58 is not together, as well as rising |
| * Bouncing at N is messy and not uniform |
| – section H same idea more air and sound to the fullest |
| – use of the elbow lifting up can be more on time and used more “dramatically” |
| – Especially during the “airplane” Section M |
| – at the last count of K everyone crouching down and by m.59 should be rising than going slowly backward |
| – more marcato harmonica and dynamic use |
| – bouncing needs to be on the right measures and follow with everyone else |
| – careful not to crack the high D in section N |
| – Dance moves for sections O can be more together |
| Stepping on the third beat and putting the elbow up for the fourth beat of measures 27, 28, and 29 is not uniform |
| Stepping to the side at O after the bouncing is not together |
| Putting the flute down at the end is not uniform |
| Airy sounds could use more aggression and punch |
| Lots of people looking towards the ground; comes off as unconfident |
- 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.
