Rehearsals will be held on Monday evenings from 6:30 – 8:30 pm. Musicians are expected to arrive and be prepared to rehearse 15 minutes prior to start time.
WINTER QUARTER 2026 DETAILS
Rehearsals
Winter Quarter Dates
Mondays from 6:30 – 8:30 pm
1/5, 1/12, 1/26, 2/2, 2/9, 2/23, 3/2, 3/9
There is no rehearsal on 1/19 for MLK Day
or on 2/16 for Presidents’ Day.
Rehearsal Location
Drop Off/ Pick Up
Odle Middle School
Plan on prompt drop off and pick up to
502 143rd Ave NE
avoid congestion.
Bellevue, WA 98007
Retreat Location
Time & Date
Odle Middle School
Saturday, January 10
502 143rd Ave NE
10:00 am – 1:00 pm
Bellevue, WA 98007
Concert
Time & Date
Meydenbauer Center Theatre
Saturday, March 14 @ 7:00 pm
11100 NE 6th St
Call time is 5:40 pm. Scroll down
Bellevue, WA 98004
for more information.
Student Checklist
Bring a music stand
Bring a pencil
Print your sheet music prior to first rehearsal (using link at top of this page) and bring with you to rehearsal
Arrive 15 minutes prior to the start of rehearsal to ensure you are in your chair and ready to play at the start of rehearsal
Have fun!
ATTENDANCE POLICY FOR LAST REHEARSAL BEFORE THE CONCERT
If a Flute Orchestra student misses the final Monday night rehearsal before the concert, their participation in the upcoming concert will be contingent on a music test. They will be required to submit a video of their performance of excerpts (details provided by the conductor) no later than Wednesday at midnight. The conductor will then make a decision whether the student can participate in the upcoming concert. This decision will be communicated by Thursday.
CALL TIME | 5:40 pm All musicians should arrive promptly 5:40 pm.
DROP OFF Musicians can be dropped off via the parking garage or lobby at Meydenbauer. There is no parking garage fee for the first 30 minutes.
PARKING Parking is available in the garage beneath Meydenbauer. Please see their website for rates.
CONCERT ATTIRE Be sure to check your ensemble’s concert attire requirements.Students must arrive wearing their concert clothing. They will not have a place to change later.
VOLUNTEERS – WE NEED YOU! Volunteers will be a vital part of a successful day at Meydenbauer for all of our students. We need volunteers to help the check in process and supporting ensembles during their dress rehearsals. Volunteers have early access to reserve their seats in the hall. Click here to sign up!
CONCERT TICKETS Families of enrolled BYSO students get priority access to concert tickets at Meydenbauer and can purchase tickets via the link sent in the weekly newsletter, starting Thursday, February 12 at 4:00 pm. On February 26, any remaining tickets will be open to the general public.
STAY THE WHOLE CONCERT Performing students are expected to stay from their call time to the end of the concert. Listening to other musicians perform is an important part of each student’s music education, and it’s also important to support fellow BYSO musicians in this way. Students who must leave early due to unavoidable schedule conflicts must get permission from their conductor and the BYSO office prior to the concert.
SPRING QUARTER 2026
Rehearsals: Spring Quarter rehearsal dates are Mondays 3/23, 3/30, 4/13, 4/20, 4/27, 5/4, and 5/11. Note that there is no rehearsal on 4/6 for Spring Break. Rehearsal time and location is the same as for Winter Quarter.
Concert:
Saturday, May 16 @ 7:00 pm at Bastyr University Chapel
Full Spring Quarter details will be posted above at the beginning of March.
About
Flute Orchestra is an advanced ensemble for flutes. Flute Orchestra consists of BYSO flutists who were placed at the Philharmonia level after auditioning. Because orchestras need only a few flutes at a time, some of these students may take turns playing in Philharmonia during the year while also practicing and performing in the Flute Orchestra ensemble. The typical Flute Orchestra student has had several years of private instruction and substantial ensemble experience and is highly skilled on his or her instrument.
Flute Orchestra students prepare challenging music encompassing the entire flute family: piccolo, traditional C flute, alto, and bass. Flute Orchestra is a dynamic group where students can develop ensemble and specific flute-related skills in an enjoyable and rewarding setting. Past works performed include Camuglia’s La Danse de la Nuit, De Bosismortier’s Concerto in A for Five Flutes, and Bozza’s Jour d’été à la Montagne.
Recent Flute Orchestra Performance
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.
WooHoo! I’m soimpressed with your progress! It’s very apparent that your musical awareness and listening skills have greatly improved – which foster increased technical growth! Once you understand the “why” you are more able to direct your own practicing to achieve great music-making. Congratulations!
Many thanks to Elena, Andrew, Jackie, Haeun, Jiwon, Matthew, and Donald for their perfect attendance this term! 🙂
If anyone would like to play alto or bass flute next term – please let me know ASAP. Thanks!
Absence Meeting: For those with 2 absences:
Practice Log – complete 3 more practice log sessions – with very specific goals. AND
Submit recording (emailed to Dr. Sandy), with metronome clicking at performance tempo for: Carousel (E-G); Town (mm. 65-90); Fluten (beginning – B); Serendipity (m. 70 to end) by Friday afternoon 4 pm – no later!
This week’s Practice Suggestion – “Sandwich Practice” (PB & J )
Slice of Bread … a complete performance run-through, with metronome clicking. Imagine yourself in the performance hall. No stopping / No Do-overs / Count out all the rests. Always thinking “what comes next?” – no need to dwell on what has already happened.
Peanut Butter … pick one small area (less than 4 measures) that you would like to improve – woodshed with detailed practice until it becomes so easy, you know you can open your ears and listen to the entire ensemble, rather than just your own playing, while performing.
Jelly … either pick a different section to woodshed … or play the ‘tuning game’ … picking areas to improve your intonation (at the correct dynamic)
Slice of Bread … end with another “performance run-through” – this time without a metronome on … and see if you can maintain a steady tempo on your own (still counting out all the rests / no do-overs / etc.) … you can turn on the metronome occasionally to make sure you haven’t strayed too far from the performance tempo.
PLEASE take your music to your private teachers for additional individual help. In addition to your own technical goals, please consider the following:
Carousel: there are still areas which need improved intonation, more musicality – contrasts in dynamics, while “Listening Louder than You Play” to make sure our balance is good and we sound like one giant flute
A fast, syncopated rhythm drives this piece along, appearing in almost every bar. Over this rhythmic ostinato, two other themes combine and merge, this time based on a triplet pattern. Technical dexterity, a sense of phrase direction, and attention to dynamics are the keys to performance success.
*** The way this piece is edited … the OPEN end of a crescendo/diminuendo symbol means to play loud (and the closed end, means play soft) – regardless of the prevailing written dynamic. *** … for example, look at measures 82 – 90 …. there’s a big crescendo in one measure, followed by another big crescendo in the next measure (in many of your parts) …. it’s NOT one crescendo …. it’s mp to ff in the 1st measure, and then a repeat of mp to ff in the next measure (you have to get soft to start that 2nd measure)
Also, all long notes (half notes and longer) must CHaNgE… Usually, if they happen at the beginning of a phrase they crescendo; and if they happen at the end of a phrase they diminuendo (without going flat 🙂 )
Town:
Everyone, but Altos/Basses in particular – please practice m. 53 to the end with tuners and try to improve intonation (at correct dynamic).
Also, we will try and add all the Fp‘s on Saturday. If you can find them, highlight them, and practice them in that would be great!
Listen to recording on this page, while also watching the pages of the score that are available. Notice how the parts link up / are the same / are different / and the use of polyrhythms. Then listen again, looking at your own music.
– Carefully check tuning in the first 9 measures – while playing musically with dynamics
– Maintain a light, defined staccato throughout the Allegro section. Shorter notes! All 8th notes and dotted 8th notes should be light and crisp – with pointy tongue staccato and space before/after notes
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) are securely in place at the highest level of accuracy and precision.
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. Listening is apparent.
The ensemble shares the same unifying pulse – displaying synchronicity. Listening and matching is apparent.
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.
Get $5 or free tickets to see professional cultural events in the Puget Sound area – especially for teens! https://www.teentix.org/how-to/
Enrichment activities – to help you become a more knowledgeable flutist, to create a common language and knowledge base, and increase your ability to think about music.
Please watch and learn about the traverso! AND Send me an email with your 3 favorite facts that stood out (or take aways) after watching this short, but very well-done video:
Torvil and Dean – Olympic Ice Dancing 1984. The exquisite pacing and building of tension, and the perfectly timed synchronicity … amazing! A way to “SEE” what we try and do as musical story tellers! https://youtu.be/t2zbbN4OL98?si=HQJ_n3dEILm4NX9U
