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

*** Please write your NEW row number and column letter on your Dance With Me music. *** (And, if I forgot anyone – please let me know! 🙂

Greetings flutists!   So MUCH IMPROVEMENT!  Keep up the great work!

Scroll down to the very end for the rehearsal plan for Monday 4/29. Here’s a list of things to fix and practice, and prepare for Monday’s rehearsal.  Everyone should mark these notes (including Rehearsal Letters) into their music:

Sir Duke

• 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

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

• 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
• For all pitch bends: the note MUST begin in tune, before you begin the fall.
• By now you should know how to produce that airy wind sound – and can produce it confidently and consistently.  If you can’t – you need to practice more and take the music to your private teacher.  It is an important feature of this piece.
• To all in Row 3 – as of last night, only 2 of you can play the music and do the choreography.  YIKES!  Please step up and be more committed to the success of this performance.
• The lack of the wind sound and lack of dynamics – is extremely disappointing after having worked on this page for many weeks. You have to practice on your own and experiment to find the best way that works for you.
• Additionally, I heard no 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 and 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 🙂 .
• 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!
• 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
• 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!
• 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. m. 59 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.
• For the Airplane section at Rehearsal M – keep your feet slow; and bend your knees a bit.
• 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 for 4 counts; Swoop the end of your flute downwards on the 4th beat of the note. Freeze; then rise when Hannes and Jackie do – with a huge smile on your face.  https://www.youtube.com/watch?v=hyzB7t_DU7M

April 29 Rehearsal Plan – please come prepared by practicing lots this week!

BRING YOUR OWN MUSIC STAND, all music (with no page turns), a pencil, and all instruments needed. When you enter – be very careful of the audio equipment!.  Do not put your music stand together until break time. 

All Benaroya music should be “performance-ready” by this rehearsal.

• 6:30 – 7:30 PM  Dance with Me
  • A recording engineer will be present to video record each row performing for the rest of the group.  When not performing, bring paper to write down your feedback and impressions of what you saw and heard.  The recording engineer (Ron Haight) will also record a full-group performance – a dress rehearsal for us to view and analyze during the week.
  • Then, each person will watch the video recordings of each row – and the full group, and must submit an email self-critique (to Dr. Merrie and Dr. Sandy); as well as a full group evaluation – noting what went well, in addition to what can be improved. We would like to receive these by Friday, May 3rd so we have time to create an appropriate rehearsal plan for Monday.
• 7:30 – 7:40 PM – BREAK
• 7:40 PM – 7:55 PM – Dance with Me – tutti (everyone together)
• 7:55 PM – LOBBY / Garden Party Music – with Philharmonia flutists

• • “Woodshedding” practice techniques include: tonguing all the notes; changing the rhythm (long-short long-short or short-long short long) instead of even 16ths. playing “backwards”:  count 4, then counts 3 and 4: then counts 2, 3 and 4; then the entire measure (1, 2, 3, 4). Slow practice leads to quicker improvement! (as long as you practice for accuracy.)   Ask your private teachers for additional help. Work in small sections – just a few beats at a time. Don’t forget to use a finger breath every now and then 🙂
  • Once you can play all the notes slowly and accurately, consistently (3 times in a row? 5 times in a row?) …. you can begin to increase the tempo.  “Chunking” individual beats (4 sixteenth notes, plus the next downbeat (so 5 note chunks) is a great method.  Set your metronome to your goal tempo (let’s say mm = 60-80 bpm).  1st play the 5 note chunk all tongued like 8th notes (1 and 2 and 3);  then repeat again as 8th notes – but all slurred (always making sure the notes are even and steady with the metronome).  Then play the same chunk again as written (slurred) and in 16th notes (1 e and uh 2).  This 2x slow / 1x fast chunking method is an excellent practice technique for increasing speed.  Practice = PERMANENT – so you must insist on accuracy.  If you are making mistakes, you are playing too fast.

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) 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.

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

Please – please! –  practice individually on your own, so you learn all of our music (practice more on just the tough spots until they are easy).  We have only a few weeks left to make a lot of progress on our pieces.  AND you must meet the following memorization goals (notes and choreography) for Dance with Me (use the video materials and backing track to help!):

• by April 1: Beginning until G
• by April 20: Beginning to Rehearsal L : be sure to make substantial changes in dynamics, as indicated – AND the pitch bends should be quite noticeable and exaggerated.
• by April 22: Squad Leaders (FO: Ada, Stella, Gwen, Hannes, Matthew & Marcus; FC: Chloe C, Shachar, Jackie, Alice, Karthik) – have everything memorized
• by April 29: Everyone has everything fully memorized (notes and choreography) – though it is helpful if you get things memorized sooner :).

April 29th – All Benaroya music (stage/lobby) must be completely learned and performance-ready.  You need to be able to play it accurately with and without a metronome.  Practice with a tuner and make sure all long notes are in tune (at least!).  Please be great, independent musicians and practice ALL YOUR MUSIC – even if we haven’t spent much time on the music in rehearsals yet.   THANK YOU!

My favorite practicing app (tuner / metronome / recorder / tone analyzer / decibel meter) is TONAL ENERGY – a must have for serious musicians 🙂

Happy Fluting!
~Dr. Sandy

I hope you realize how fantastic our workshop with Marianne Gedigian was!  She’s a world-class performer and instructor and we were very fortunate to have her join us.  And many thanks to FluteWorks Seattle and Haynes Flutes for making it financially possible for her to come share her knowledge and experience with us! It’s nice to have companies so supportive of BYSO’s student flutists!

Some of the topics you may have heard about before – but it’s important to remember! And, If everyone is talking about breathing (for example) – it must be something we should ALL pay more attention to!  In addition to breathing, we learned about these topics, too (and more!):

• “Masterclass” – this is a common form of music instruction around the world; and everyone was able to see an informal masterclass in action.  It is SO HARD to play in front of your peers – so many thanks to our brave volunteers.  You can take the knowledge she shared and apply it to your own playing.  If you are wise, you would find your music to those WMEA Set A / B / C examples (Dvorak 8 and Brahms 4) and write down the reminders and things she talked about in your own music and apply it to your own playing.
• Orchestral Excerpts – are the famous flute solos taken from masterpieces of the symphonic repertoire.  They are used for audition purposes because they require you to demonstrate great technique and musicality in a very short period of time. Not only do you practice how to play them, you should learn about what is going on in the music in the whole orchestra.  (Remember MG’s stories from last night? Not just stories – but super important contextual information about the music!)
• Finger Breaths – Finger Breaths are a technique associated with the teachings of Keith Underwood, a renowned flutist and educator. It’s a method used for breath analysis and improving breath support. We noticed how much this exercise improved our own tone last night!  There are videos online where you can explore this topic some more: Finger Breath, Breathing Exercise #9 – YouTube or Basic Finger Breath (1) (youtube.com) or others!
• Flute Assembly, Position, Posture, Tone Production – the basics!  These must be secure in order to develop the best technique and musicality. We all need reminders!
• MG’s musical and educational path – we all get through life differently.  It’s great to hear from others on what they did / why / how.  And she’s right – you don’t need to have all your life planned before you even go to college :).   Learning from the wisdom of others helps you to make better choices.
• Musical Line – flow and direction (not vertical or beat-ish). This fluency and sense of phrasing is critical to mature playing that is expressive and enjoyable to listen to and compelling musically.

BYSO will post pictures on social media and in the weekly newsletter this week. 🙂  You all were great – attentive and willing to try your best, no matter what she asked you to do.  She was so impressed!  Congratulations 🙂

You also got to try out some first-class instruments – which is always fun!

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.