ARTICLES AND COMMENTARY

Journet of an Artist
At the 2008 National Flute Association convention in Kansas City I had the pleasure of participating in a panel discussion moderated by Jan Vinci, senior artist-in-residence at Skidmore College.  Other panelists were Tadeu Coelho, artist professor of flute at the North Carolina School of the Arts; George Pope, professor of flute at the University of Akron; and Mark Vinci, a jazz saxophonist, recording artist and composer who teaches at SUNY Purchase and Skidmore College. 


What I Look for in a Prospective Student
Excerpted from remarks made on August 19, 2000 during a Pedagogy Panel presentation at the National Flute Association Convention in Columbus, Ohio

Owning the Stage
Strategies for Successful Performance
You've practiced well and are eager to perform. Standing backstage, you hear the audience become quiet as the house lights dim. Next comes a crucial moment: your opportunity to connect with your listeners and put them and yourself at ease even before playing a note..

Inspiration from Jean Ferrandis
When an artist challenges me to explore new approaches to music making and teaching, my fondest hope is to be able to share that gift of inspiration with students and colleagues. Summarized below are some ideas that have proven energizing and thought-provoking to the Shepherd School Flute Studio--and their teacher!

On November 19, French soloist and conductor Jean Ferrandis presented a master class and recital at Rice. His ability to communicate the importance of playing naturally, and of using the body freely to enhance the musical message, was deeply inspiring. First and foremost, he stressed saying "Hello" before beginning to play. This simple act can connect us to the essence of artful flute playing: a natural inhalation that bypasses thoughts of blowing across an embouchure plate or reading notes and instead leads to direct, personal communication with our listeners. A musical score is only a guide, and our goal should be to convey a personal message as if we were singing or speaking. He advised students to focus completely on the music rather than thinking about sound, saying "If your music is beautiful, then your tone will necessarily be beautiful." Reminding everyone that a long note is "many small pictures," he repeatedly underscored the need to eliminate lower back tension, and to loosen knees, hips, and shoulders in order to find maximum air. His recommendation for rapid technical passages: Think long fingers, light pressure, with power coming from the back, and above all, don't change who you are! You may be riding on a fast train, but only the train is going fast--not you. Perhaps his most powerful message: "While you are playing, you must love the music and you must love yourself." Merci, Jean, for all the inspiration you continue to give us. .