Flute Orchestra Messages – Bellevue Youth Symphony Orchestra

It’s Concert Time!

Dear Flute Orchestra –

WooHoo! I’m so impressed 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! 🙂

Current Ensembleship Points: Thanks for your participation in this big experiment. I don’t think I will track points like this in the future – but there is a definite link between demonstrated technical skill and preparation, improvement!, and points earned! https://docs.google.com/spreadsheets/d/e/2PACX-1vTMrVdATfos7BcKcT847JHir1UNSD3x1yia8tJYJyNNFWgMn64lwxFfh-b2Y9Z6Na2yd3rMboaKDhAW/pub?gid=0&single=true&output=pdf

Our NFA performance trip info is here: 2026 National Flute Association Convention – Bellevue Youth Symphony Orchestra! Sign up now 🙂

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

Fluten II:

Listen here: Fluten II by Vincenzo Sorrentino

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!

Serendipity:

https://ummpstore.com/products/golinsky-serendipity-for-flute-choir?_pos=2&_sid=fe02bbd2b&_ss=r
- 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

Vote for your favorite marches here: Sousa’s March Mania ! 🙂

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) 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.

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19 Best Flute Concertos (NOT by Mozart) – Flute Center –

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Check it out! Density 21.5 – Wikipedia – performed below by Claire Chase https://www.clairechase.net/about

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: