News

Liebermann Sonata for Flute and Harp, Op.56 August 12 2016

 
Liebermann Sonata for Flute and Harp, Op.56

 

This is a story about a dream come true.

At the 1990 NFA Conference, I was asked by a well-known flutist to turn pages for her accompanist during the finals of the Young Artist competition.  It had become a sub-specialty for me, so I agreed, not knowing the rehearsal would have an impact on events far into the future.

On the program was the flute and piano sonata of Lowell Liebermann.  In manuscript form.  In a wire-bound book.  It was a page-turner’s nightmare, actually, but that was not what captured my imagination and interest.

I had never heard music like that before.  Dark and brooding at one moment, and then bursting forth with muscular fireworks the next, the fabulous new effects of rhythm, harmonies, and sheer brilliant technique left me spell bound as I dodged the pianist’s left hand.  Exiting the rehearsal, I was able to whistle, hum, and hear almost the entire sonata in my head.  Wondering when the last time that happened might have been, I resolved that when it came time for me to commission a new work, it would be by Lowell Liebermann.

Several years later, my flute and harp duo was awarded the Chamber Music America Residency Grant Award.  During that time, Anne Sullivan (harpist) and I decided that we would commission a work for flute and harp that would be a significant addition to the repertoire.  I thought immediately of Lowell.

Commissioning is a fascinating process.  I recommend it to all musicians.  Being part of this creative process is an experience like no other.  As musicians, we are re-creators.  Just thinking of what it would be like to compose a work unlike any other is mind boggling to me. 

 

LINK: http://www.fluteproshop.com/products/liebermann-sonata-op-56


Blizzard Jonas 2016 with Flute Pro Shop's PAN-o-METER January 21 2016

 

 

 

Greetings from ground zero for Winter Storm Jonas, aka The Blizzard.

What's a flute shop to do when weather phenomenon like this shows up and forces the cancellation of the Flute Society of Philadelphia's Flute Fair?
We will have a virtual Flute Fair, right here in Wilmington, Delaware.
Who better to help us with this project than our old flute friend, Pan?
Our Pan is 15" tall.  The Weather Channel tells us that Jonas will dump 12-18" of snow on us Friday-Sunday.  I'd say Pan is just the right size for us to gauge the accuracy of this prediction.
Here's how the Flute Fair will work:
From the time the snow starts until we have 6"on the ground (or up to Pan's knees)
ALL SHEET MUSIC will be 25% off.  
Here's the fun part: from 6" until the snow stops, ALL SHEET MUSIC will be 50% off.
This is how Kristen Michelle and I will keep from getting cabin fever: we will be filling your orders as soon as they come in.

Measurements will be taken every hour once the the snow starts.Special prizes will be available for those of you who accurately predict the total snow fall amount here at FPS at 4 hours into the storm.  We will take accurate measurements using our exclusive Pan O'meter.

Simply use Pan15inches25 or Pan15inches50 in the code box and your discounts will be applied.


“The December eBay Amnesty Flute Repair Special” December 03 2015

Flute Pro Shop
Presents
“The December eBay Amnesty Repair Special”
The following is a fictionalized compilation of several instances in which FPS has rescued flutes in distress.”
 

It was a dark and stormy late afternoon in early December.  There was a tentative push on the shop door and, and in walked one of Flute Pro Shop’s clients, soaked by the pouring rain and looking sheepish.

Joan stood up to greet her. “Hello!”

A torrent of words poured out.

“Please don’t hate me.  But.  I saw this really great deal on a silver flute on eBay.  The store looked legit, and the price was fantastic!  It looked great in the photo.  It didn’t bother me that it was listed as ‘no return’, and ‘as-is.”

“The thing is it doesn’t play very well and I don’t know what to do.  So I got all my courage up and came to you.  Can you help?  Please?”

“Please sit down,” Joan said, “let me hang up your coat.  Would you like a cup of tea?  Now, let’s look at this flute and see what we can do for you.  I’ll bet you saw our December special.”

“December special?”

“Yes.  Many of our clients are lured by low prices on eBay, and do exactly what you did.”

“I’m not the only one?”  She was very surprised at this.

“Not at all,” Joan assured her, “it is a problem, and many don’t have your courage to come see us.  We decided to offer an ‘eBay Amnesty Discount’ to anyone who has received a flute from an eBay site and finds it is in bad repair.”

“Oh!  Then I am in luck!  Well.  Sort of.” She shrugged.

“Do you have the EBay receipt with the flute model and serial number?”

“I was supposed to keep that?”

“It would have been easier, but if you don’t mind logging into your eBay account, we can find it there.”

Comforted by the tea, she opened up her IPad, logged into eBay, verified the flute was indeed purchased there, and the flute was signed in and placed in the repair queue.

As it was, the flute needed a complete Clean, Oil, and Adjust (COA) and needed 4 pads replaced.  Typically this service at Flute Pro Shop is $365.00. 

Due to the Amnesty discount, the COA was only $299.

She came back into the shop on a bright sunny mid-December day, and opened the door with energy.  “Hi!” 

The flute was presented to her, and she played it at once.

“Wow!  I can’t believe this is the very same flute I brought in a week and a half ago!  I bet it cost a lot to have it sound this good.”

Much to her delight, the price was reasonable, and she left happy with a flute that worked well.

This scenario happens fairly regularly, which makes us wonder how many others are out there struggling with a poorly regulated flute.

Flute Pro Shop is reaching out to you, the bargain seekers (and who isn’t these days?) to say we love you anyway, and we love your flute, and we will take excellent care of you both!

Go to www.fluteproshop.com to get the details of this wonderful offer.

And next time, check us out before making that eBay purchase!

 

 

 

 


Flute Pro Shop's Scary Story Contest Winners! November 12 2015

FLUTE PRO SHOP SCARY CONTEST WINNERS!

Thank you to all who participated! We are looking forward to this again next year! 

 

Winning Story.  "Tchaikovsky's 4th Symphony piccolo part. Every flute payer dreads this beast!" 

We got to the scherzo.  All was going well.  First entrance fine, on to the tempo change.  Nice tempo, no problem.  I don’t usually need to count here, but I will.  THE CLARINET COMES IN A BAR EARLY!!!!!!  But I am counting so I somehow keep it together and come in at the right time.  Everyone gets back on track.  All is well.  Or is it?

 Despite the gratitude of the conductor, from that point on every time I hear the lovely pizzicato of the scherzo my palms start sweating and I get nervous.  It even happened once in a school demo concert when I knew we weren’t even playing the piccolo entrance.  Now this ghost haunts me for the rest of my days.  Talk about spooky.  

 And my current conductor loves Tchaikovsky…

 

 

1st Runner up. 

Why I Always Use Tape, A Horror Story

It’s Fall, 2008. I’m a sophomore in West Chester’s music program. Today is the flute studio

recital and I am about to play a Bach Sonata for not only Dr. Kim Reighley, but all of my peers.

Now, the story could just end here because anyone with even just a little stage fright knows

how nerve wracking this alone can be; sadly, it doesn’t.

It’s my turn and I start my piece and things are going well: my fingers are behaving, I remem- ber how to breathe. I’m going to be just fine. I turn the page and count the last measure of

rests and start to come back in. But something isn’t right. Is the accompaniment in the wrong

spot? My part doesn’t sound right. It’s because my pages are in the wrong order. I’ve somehow

flipped the last two pages... My stomach plummets to somewhere well below the stage and I’m

frozen with embarrassment, fear, and shame. I stop the accompanist and tell the audience that

my pages are in the wrong order. In this moment, I promise myself I’ll drop out of college and

move to a new state so I never have to face these people again.

But the show must go on. I fight the urge to run crying from the auditorium, shuffle my pages

back in order, take a breath, give the accompanist a cue and finish the piece.

And this, friends, is why you should always tape your pages together.

 

 

2nd Runner up. 

My first recital ever was my Junior recital for my undergraduate degree. I was doing well and was feeling great about my performance until I got to the section of Varese's Density 21.5 with all the fourth octave D's, and I forgot the fingering. I suddenly had no clue. I floundered on stage, trying to figure it out, attempting several (incorrect) fingerings, until I had a realization: this piece is UNACCOMPANIED. There's no pianist to confuse, or to curse me for sudden changes of plans or random cuts. I can play whatever I want, and no one (except for my teacher, all the other flutists in the audience, any composition student that's studied it, and the horrified ghost of Mr. Varese) will know! I had a way out of this nightmare: pretend the part with all those lovely high D's didn't exist.  So I skipped the whole section, and finished the piece as smoothly as I could under the circumstances. It probably only lasted a few seconds in real time (it seemed like an eternity), but it resulted in several hours of post-recital waterworks - and years of performance anxiety. I now know several fingerings for the fourth octave D (for insurance - or idiot-proofing - take your pick) and have since performed the piece successfully - after having written in the fingering above those measures in my sheet music.

 

3rd Runner up.


Double, double toil and treble
Fingers burn and flutists revel;
Section of a flute lip plate
In the caldron boil and bake;
Key of Powell and students of Baker;
pad of Haynes & audition takers.
Piccolo peg and wood of fife;
Taffanel, Gaubert and practicing strife.
For a charm of powerful trouble
Scary as a nasty spit bubble. Double, double toil and treble; Fingers burn and flutists revel. Cool it with a contra bass G, Then take it to Joan, Kristen & David Kee




 

 

 


SPARX Flute and Harp Duo | Joan Sparks and Anne Sullivan November 03 2015

Flute Pro Shop is continuing its L'Awning Concert Series with a SPARX Flute and Harp Duo concert on November 20th, 2015.
 
More party than performance, house concerts are gatherings where you'll enjoy fantastic music in an intimate, informal setting. The evening will feature music of Lauber, Rodrigo, Debussy, Liebermann, and Daniel Dorff with plenty of time for mingling with artists and guests.
 
Friday, November 20th, 6 to 8 p.m.
 
Performance location is in North Wilmington. Address and event details will be sent to guests who RSVP.
 
Free to attend! All we ask is that you bring a refreshment (soda/beer/wine) to share.
 
Space is limited, so RSVP by November 15th.

5 years and 32 feet long.... July 03 2015

July is a great month of celebration for me.  All my children were born in July.

 A son in 1985, a daughter in 1987, and Flute Pro Shop in 2010.

The human children are out in the world, on their own, and thriving.  Thank goodness.  Because Flute Pro Shop has entered kindergarten and still needs careful nurturing and guidance.

Just as children become their own people, so do businesses.  In this case, FPS has become its own little person, and I do believe it is becoming greater than the sum of its parts.

To celebrate this 5th birthday, FPS was named a Top Music Retailer for 2015 by North American Music Merchants (NAMM).  Not only is that, but the awards banquet at Summer NAMM in Nashville on the actual birthday of FPS!  Our music retail peers looked at FPS and decided we were worthy of that honor at this tender age.  What an honor!  What a challenge!

The entire team here at FPS pulls together and creates a dynamic business that represents best business practices in repair service, on-line presence, social media, vendor relationships, the curated music collection, and the many new and previously owned instruments in the inventory.  There is a true understanding of service to the customer.  It starts with answering the phone, shipping instruments, accessories, and music in attractive, professional containers, maintaining an attractive place of business, and goes from there.  The team here values each and every customer no matter who they are.

And let’s talk about the customers.  FPS enjoys loyal, informed, and curious customers who stay in touch and give valuable input.  The large majority see what FPS is doing and appreciate it.  They tell others.  We have groups of customers “generations” deep: top flute personality-teacher-students-students of students.  It’s kind of a family tree.

One final observation: in this time of cuts in the arts, ever-increasing competition, and bitter rivalries, FPS remains a positive environment in which customers feel validated, encouraged, and cared-for, and they give that back to us. 

To all of these customers, and to the FPS, a big thank you from me, Dave Kee, and Kristen Michelle!  What will the next 5 years bring?  Stay tuned.  Big things are  coming up. And I do mean big.  As in 32 feet long…. 

 

 

 


A bouquet of flowers. June 19 2015

There was a large basket of flowers on the porch!  For me!

Having just returned from playing a noon-time concert that consisted of three major flute and tenor arias from the JS Bach b-minor Mass, and the Sts. Matthew and John Passions, I naturally supposed the flowers were from the grateful tenor for my heroic work that day.

That assumption was very wrong.
They were from the famed first flutist of the New York Philharmonic, Jeanne Baxtresser.
The previous day she had called me after tracking me down through AFM Local 802 in New York City.  She had read the book, "Dyslexia, a Modern Watergate" by Dr. Harold Levinson as research to help a family member.  My son and I were very successfully treated by Dr. Levinson, and he published much of my journal in his book, in which I detailed the many improvements my son and I had enjoyed since beginning treatment. My photo was published, as well as the fact that I was a professional flutist.  Jeanne did the rest herself.
"I've met you before," I said as we chatted.  I recalled the time I was substituting with the Philadelphia Orchestra, and the run out concert we did at Avery Fischer Hall, the home of the NY Phil.  In a classic moment, the Philadelphia musicians were taking the stage as the New Yorkers left it.  Jeanne and Mindy Kauffman, the piccoloist in the Phil, were just packing up when the Philadelphia flute section got to our chairs.  I was introduced to Jeanne and Mindy and we all exchanged greetings. Looking out into the hall as we warmed up, I saw Jeanne and Mindy, listening.
In that program, I covered the 2nd flute part in the Copland 3rd Symphony.  The third movement opened with the now-famous "Fanfare for the Common Man" theme. Only it is introduced by two flutes playing in open octaves, 4ths and 5ths.  And....what did Riccardo Muti begin the rehearsal with?  Yes indeedy, the 3rd movement of the Copeland.  Yikes!!!  Luckily all went well, the pitch was fine (my teacher, the legendary Murray Panitz, was principal flute) and the rehearsal went on.
Back to Jeanne and the phone conversation: she remembered that occasion. We connected over that shared experience.
Jeanne and I spent a good hour and a half on the phone chatting about Dr. Levinson, the treatment, and how it was a good possibility that her family member could be helped.  In that short amount of time I realized what a caring, compassionate and genuine person she is.  Grabbing the phone, I called her immediately to thank her for the gorgeous arrangement.  Again her graciousness flowed over the phone lines (back then, in the 80's, we still used land lines.  We had "car phones" that were large, bulky, and had hand sets much like land lines).
I hadn't seen or spoken to Jeanne until last year, when Flute Pro Shop attended The Consummate Flutist seminar at Carnegie Mellon University.  We reconnected over our two shared experiences.  What I saw and heard in that amazing flute class inspired me to donate the Murray W. Panitz Memorial Scholarship for 2015, the 25th anniversary year of his passing.
Isn't it amazing where a bouquet of flowers will lead?

Flute Pro shop was named a Top 100 Music Retailer for 2015 by NAMM!! June 17 2015

 

It’s time to settle down now.  I’ve been walking around in a general state of delirium after FPS was named a Top 100 Music Retailer for 2015 by NAMM three weeks ago today. 

While I was the one that wrote the applications, it is the team here at Flute Pro Shop that has earned the award.  David Kee is an outstanding master flute repair technician who takes care of big flutes and not-so-big flutes with equal care and concern for the flutist.  Tim, the reed repair tech, and flute sous chef, keeps us all current with the younger generation. Like our logo, and all the social media materials? That’s Kristen Michelle, who also is a fabulous flute whisperer, matching up flute and player in a manner that instills confidence.  Denise is our bookkeeper, and knows very well how to say “no” to uninformed spending (generally speaking that is me).  And Ron handles most of the inventory entry and all of the shipping, all the while keeping us laughing at his jokes.

Also in line for thanks are our manufacturers and flute makers who dedicate themselves to quality and innovation.  It’s the feeling of pride in these outstanding products that fuels us to show these flutes, accessories and music with passion and energy.

And then, I must thank all of our customers who have supported us in our 5 years in this shop.  Without your loyalty and referrals, this award would not be possible.

Rather than punching at the computer keys right now, I am typing with an attitude of gratitude for all the wonderful folks who have been there with us and who have helped FPS earn a Top 100 Music Retailer award for 2015.

 


Summer = Technique April 29 2015

 

 

 

 

Summer = Technique!!

As the calendar turns to May, I begin to plan my summer flute practice.  At the same time, plans for the swimming season as well.  Nothing like swimming out doors, when the honeysuckle is in bloom...but I digress...
I love the summer because I can practice for myself.  The concert season is concluded, there are fewer concerts in which I am not in charge of the program, and I can work on what I want to work on.
So each and every summer I design for myself a Technique Building practice routine.
This year I am going to do Something New, Something Old, Something Borrowed, and Something Blue.
New=Nicola Mazzanti's Daily Exercises for the Piccolo.  Only, I will do them on the flute.
Something old that I have been wanting to re-examine the are the Jean-Jean "Etudes Modernes."  Looking through them today, I was reminded what a collection of gems they are.
And borrowed?  Amy Porter's J. S Bach Six Cello Suites for Flute.
Finally blue.  "Famous Flute Studies and Duets", or as we call it here at FPS, "Big Blue".  In this collection are the Andersen etudes, Op. 30 and 63, and the fabulous solo version of "L'Apres midi".
I will park these volumes on my music stand and plan each practice session based upon what worked/didn't work the previous day, weeks, or months before.
The Mazzanti is where I warm up all techniques.  I love the fresh approach, new exercises, and his commentary.  
Next up is the Bach.  So many of the flexibility exercises in the Mazzanti are the ideal warm up for these cello suites.  I particularly enjoy bringing out the implied counterpoint in the Bach after having played those exercises.
Then, there is the Jean-Jean etude book.  I plan to do these in order, as they flow so well one into the other.
Call me a nerd, but I love the solo version of L'Apres midi in the big blue "Famous Flute Studies and Duets."  I will make this a daily routine.  It is fun to bring out the various colors of the solo instruments.  And I love playing the harp glissandos immediately following the famous flute solo in the beginning.
This summer I am adding something very new to me: improvisation.  This will of course happen in the privacy of my very own studio, as I am very shy about the whole process.  
If you'd like to explore these technical wonders with me, visit www.fluteproshop.com and order the volumes outlined above.
If you enter the code: FPSSummer15, you will be given a 15% discount.  After you complete your purchase you will receive a bonus discount code for what we will be releasing at the end of June! Stay tuned. 
Enjoy!  I know I will....

Giving back April 13 2015


                                                                                                                                                                                    

Every Saturday morning of each semester for 2 years of a masters degree from Temple University, and 2 more of doctoral work, I drove to Cherry Hill from Wilmington, DE for a 9:00 AM lesson with the legendary flutist Murray Panitz. That entailed a 6:30 wake up call, thorough warm up at home, and the almost one hour drive.


I loved those lessons.

But woe to you if you made an error that was less than intelligent.

One eyebrow would lift and you knew it was bad. You mentally scanned what you just did to be able to anticipate the criticism. If you could form a question around the infraction, sometimes, on a very lucky day, you could avoid the upcoming inquisition.

For the worst infractions, however, it was the eyebrow and a very sharp, "Hello?!" Yikes. Far too often it was a slip that was something that you knew all too well was going to be called out.

It took me 4 lessons to complete the 8 bars of the second movement of the Bach b-minor Sonata.

It took many many months for me to hear the word, "Excellent."

On that day, as I drove from my lesson into Philadelphia for a gig, Handel's "Alleluia" Chorus came on my car radio as I was crossing the Ben Franklin Bridge in my yellow Subaru sedan. It was spring, the windows were open, the breeze sweet. I was on top of the world.

And there was a parking spot on the street just yards from my gig! What a day.

Then there was that sound we all dread. That metallic crush when you know you have miscalculated where that taxi cab was on that parallel parking swing. The Philly cab driver was eloquent in his use of the vernacular, and I had to give insurance info, play the gig, and wait for the wrath of my husband.

Memories like this are part of the personal lore of my lessons with Murray. I cherish the memory of these. But even more so: that magnificent sound that filled the biggest halls regardless of the dynamic.

And now I have the great good fortune to be able to help others study with an inspirational teacher, and at the same time, help preserve the memory of a great musician and flutist.

With this in mind, I will fund three scholarships this year in memory of Murray. The first is through the Flute Society of Greater Philadelphia. The second is for tuition to The Consummate Flutist seminar at Carnegie Mellon University and the third is for tuition at the Galway Flute Festival in Swizterland. 

It is my hope that others will do similar donations in memory of their teachers. In this way we can preserve the legacy of those great ones who came before us.


Crossing a bridge... March 24 2015

 

It was a beautiful August morning-clear, warm, fragrant. There had been a violent storm the night before, and the world felt freshly scrubbed.

My black lab, Turbo, and I were on a trail walk along the Brandywine River. Turbo had been in deep mourning for two months, as his beloved companion the yellow lab Chester, had died in June. I had never seen anything so poignant than the grief exhibited by this magnificent dog.

But on this day, Turbo had a smile in his eyes and a spring to his step as we started out.

Crossing a bridge, we startled a Great Blue Heron, who flew out from under the bridge with a burst of color and the whir of wings beating the air.

Turbo was elated as he pranced along. We were both smiling now.

Typically, the end of summer was bittersweet for me. But this year, I was anticipating a very full season of concerts, talented students, and exciting work on the residency my flute and harp duo had developed. My mind was full of plans.

On the return, Turbo and I left the path, and walked along the river. He scrambled down the bank frequently to swim, his very favorite activity. Rather than cross a meadow damp with dew in my brand new trainers, I elected, as I had dozens of times that summer, to take a path along the stream over which the "heron bridge" crossed, and jump across at my favorite place.

Disaster.

The gully washer the night before had undermined my landing rock, and as my right foot hit, it shoved forward, pitching me back onto my left hip, which in turn drove my left hand into the stream bed.

I knew instantly that the hand was broken.

I swore a blue streak, and then Turbo's nose was under my arm and he nudging me out of the stream and leading me up the bank. Looking at my hand, I saw that the pinky was at an awful angle, pointing away from me at the knuckle. Turbo looked back, seemed to say, "let's get out of here" and marched in front of me the 1.5 miles out of the woods. Getting to the car, he hopped nimbly in the back, something he had not done in months.

On that walk out of the woods I knew that my wonderful concert season was going to be changed. I faced the reality of not ever playing the flute at a professional level again. I made plans to take up the work on my doctorate again, only now it would be a PhD in Musicology.

The hand was badly broken. I think the word "crushed" was used. My 4th metacarpal was broken in 2 places, my middle finger badly dislocated and the tendon had been pulled away from the pinky at the broken knuckle. The doctor speculated the force it took to damage the pinky that much. The word "tons" was used.

And so, I went home and picked up the pieces, Turbo curled at my feet, my devoted companion as I mourned the destruction of that concert season.

As it turned, out, I was playing again in 8 weeks, and with the guidance of a brilliant Hand Physical Therapist, my flute technique began to approach what it had been.

There was much to learn here:

1. Find out what the heck the symbolism of the Great Blue Heron is.
2. Use the bridge.
3. Yes, you can teach flute lessons without playing the flute. But you also have to develop a very strong vocabulary of adjectives.
4. It is possible to get stuff done in 10 minute practice sessions.
5. All physical therapists are guaranteed a place in heaven.
6. Concerts can and will be rescheduled and no one is the worse for wear.
7. You still have a right hand.
8. Paul-Edumund Davies "28 Days of Warm-Ups" book is fabulous for training the hands to move at the same speed. Esp. No. 3 and 4.
9. A puppy can change everything.*
10. There is more to life than playing the flute.

I learned that adaptability is a life long skill, and when you look beyond limitations it can lead you to great things. Like starting a brand new business.

*Two weeks later, we brought home our precious yellow lab, Blitz. He died a year ago this week.

11. All dogs go to heaven.


My hair and why I did it. March 11 2015

 It was a balmy summer morning. Honeysuckle perfumed the air. Time to get up for an early morning swim practice. Only...the pool where the gang was going to swim was known for iffy chemicals. Thinking, "What color will my hair be after this swim?" I prepared to sleep an extra hour.


I had been coloring my hair since the age of 25, when I started to go gray. It started out innocently enough: henna rinses that would turn the gray hair a lovely auburn color.

By age 31 the henna could not cut it, and so I began having chemical hair color applied. That lasted 31 years, every 4 weeks like clock work. Occasionally I would attempt the process myself. Then I would run to the stylist and beg to have my attempt covered up. 372 color applications later, I was ready for a change.

That summer morning was a turning point for me. Why should my hair color-or lack thereof-make my mind up about swimming? Especially swimming out doors, which is my favorite.

I got up and swam with a fierce determination to liberate myself.

At the next hair appointment my stylist and I set up a plan, and the process of growing my hair out began. And guess what? The chlorine in the pool assisted! As the chemical color faded, my true color phased in. The entire thing took just 3 months.

And you know what was under all that color? Platinum! (At my house no one says gray or white). Platinum around my face that is. Darker in the back, and lots of other colors to boot. Monochromatic simply will not do.

I thought I knew why I changed my hair color: swimming, right?

Not exactly.

My hair color says I have the courage to be my age. It says I have authority. That I am dignified, not flirty. I am a woman, not a girl. It says I know what I am doing, why I am doing it, and don't even try to give me any nonsense.

It says I am comfortable with my age, place in life, and ready to move full force into the next fabulous phase of life. Am I ever!

 

 

 


SPARX Flute and Harp Duo Holiday Concert December 08 2014

SATURDAY, DECEMBER 20 2014
7:00 PM  8:30 PM
 

Delaware's favorite flute and harp duo SPARX gives a rare holiday performance on Saturday, December 20. 2014 at 7:00 pm at Church of the Holy City in Wilmington.

The program will include highlights from the duo's popular Christmas CD, Christmas Echoes, as well as classical and holiday music guaranteed to make your season beautiful and bright.

 

 

Click the link below to purchase tickets online

$15.00 Online

$20.00 at the door


Summer Flute Festival with Flute Pro Shop June 05 2014

 

I LOVE THE SUMMER!  I love doing intense technical practice in the summer to protect and repair technique, sound, pitch and rhythm.

Join me this summer as we re-vamp our flute playing!  This is a multilevel course designed to improve all levels of mind/body flute playing.  It will require 1 hour of mindful flute practice each day, as well as 20 minutes of reading and exercise time. 

There will be a class once a month at Flute Pro Shop to review the work ahead and the results of the previous weeks’ work.  Classes will meet from 1:00 PM to 3:00 PM.  The dates are: July 12, July 26, and August 9.  The series of 3 classes is $90.00.

 

10 Week Flute Festival Study Course

Practice Planner for Musicians, or you can download the app “Practice Nag”

“Body Mapping for Flutists” Lea Pearson

“Flute Scale book” George and Louke

“24 Etudes” Op. 15 Andersen

-OR-

“Etudes mingnonnes” Op. 131 Gariboldi (less intense than Andersen)

Power Lung: Green, or “Move Aire”

Long Tones of the Month

Total package: $250.00

 

The package includes free access to videos to help you along the way.  You will be given a password when you make your purchase of the materials listed above, which will allow you access to the weekly practice plans and the instructional videos.  And of course, you are invited to join the live classes once a month.

Let’s all raise the bar on our flute playing.  The world will be a more beautiful place that’s for sure!


Spring Maintenance tips for you and your Flute! April 02 2014

There are two season changes that challenge flutes and their owners.  Spring and Autumn.

As the first day of spring approaches this week, let's review the most typical problems associated with the atmospheric changes, and how to keep your flute in great working order.

For most of us, at sometime in the next three months, we will turn off the heat off in our homes, and shortly turn on the AC.

It is said that in the North Eastern US the typical relative humidity in our homes during winter, is down around 10%, which is rather like Death Valley.  That's why the floor boards shrink, static electricity is such a problem and house plants need much more water.  The pads, shims, and spacers that keep your flute regulated react by shrinking.  This is why a flute, which has been working perfectly fine in January, shows up needing repair in April.

To help your flute make the adjustment, take just a few precautions:

1.  Completely swab out the inside of the flute each time you play, and use pad cleaners at the end of the day.  We recommend Flute Flags for swabbing, as well as any of the high quality BG France products.  BG France's Universal Pad Cleaners work much better than the standard cigarette papers to keep pads dry and stable.

2.  Put the flute in its case every night, as soon as you have finished for the day.

3.  Let the flute come to room temperature before putting any hot air into it either by warming it up or by playing it.

4.  Store your swab in the exterior pocket of your case cover.  Not a good idea to put the moisture (ie spit) you've just taken out of the flute and put it on top of the flute, and then seal it in the case.

5.  Store your flute on a shelf or in a drawer.  There is a nasty pest called a Pad Bug,  a cousin of the carpet beetle, that will literally eat your pads.  They are tiny insects, but if you are putting a flute away for a while, and store it on the ground, you may have unwanted guests in your case and an unplayable flute when you take it out again.

6.  Never let a well-meaning (but inexperienced in flute repair) band director try to balance the pads or regulate the flute.  Countless examples of the problems this causes come through the shop door every Spring.

7.  Piccolos: here we have some real issues involving wood and its care.  Be extra careful in playing the piccolo only once it is at room temperature.  Swab it out frequently.  Keep it out of sunshine and fast moving cold air.  Make sure you put it in its case every night.  These little guys are so small it is tempting to leave them on your music stand or on a shelf.  

STRESS
Here is a good rule of thumb: if you are under stress, so is your flute!  Solo and Ensemble coming up?  Senior Recital? Audition for summer programs?  The big end of year orchestral concert and you are slated to play the 1st flute part in Daphnis?  Make a repair appointment at least 3 weeks in advance of the big day.  The extra practice you put in during this time of the year stresses your flute and its adjustment.  Anticipate this and avoid the nasty last minute rush to get your flute repaired.  It WILL happen if you have the mind set of Scarlett O'Hara, "Fiddle dee dee.  I'll just worry about it tomorrow."  The problem is, tomorrow is the big concert.

Of course regular maintenance will head off any major problems, especially if you have noticed problems occurring in specific times of the year.  I have a flute that always has a problem with the Bb mechanism in the early spring.  Knowing that, I have David Kee, the,  FPS flute specialist, gives my flute a check up in April, and I end up avoiding a problem. As always, if your flute is acting strangely, take it to be repaired.  The problem will never "just go away."  Better to be safe than sorry....
To schedule your appointment with Dave please call 302.479.5000 or email info@fluteproshop.com

How about those Phillies! February 26 2014

We have all experienced it on both sides of the stage.  A concert simply does not go well.  The reasons for this are too numerous to count-everything from environmental, to physical, to emotional, to lack of preparation.  The great drama of live performance is just that-it is live.  And so it is scheduled.  Often at a time when one may not want or be able to have to give a performance of stellar proportions.
So what do you say when your colleagues don't play well?  How do you act when you don't?
First things first.  Concerts require great courage and mental toughness.  That is the given and something to always keep in mind.  Respect is the least any performer deserves simply for getting up there and taking the risk.  Few other people in any other field would have the guts to do so.
So, there you are at the reception, and your dear friend and colleague is putting on a brave face knowing he/she had just had a sub-par performance.  Do you:
a.  Say: well done, slap them on the back, and lie to their face?
b.  Say: gee so sorry you just blew the evening?
c.  Say: I really enjoyed your accompanist?
d.  Defer talking about music with: What a great outfit!?
e.  All of the above?
There are a couple of instances in which I did not meet my own standards.  In one, my teacher at the time said, "I am so sorry.  I know you play better than you just did."  While that was difficult to hear, it cut to the chase as to how we were both feeling, and cleared the air for a frank and helpful conversation about the situation and why I would never ever put myself in the same position again
Another time I played the wrong fingering in an orchestra concert during a very exposed phrase.  It was the kind of thing when you try so hard to match the pitch of your colleague-who was my teacher at THAT time-you play his note fingering instead of your own, and the result is ghastly.  It was an Eb.  Go ahead and try fingering the high Eb, and use the air as in a middle Eb.  You will see just how horrible it was.  I just wanted the stage at Avery Fischer Hall to swallow me.  Two remarkable things: No ONE flintched.  No one else in the section, the conductor, the audience.  I wondered if I had actually done the dastardly deed!  But at the end, another player said to me, "It's OK Joan.  I don't think anyone outside of the section noticed."  He was perfect: acknowledged the error,and comforted me at the same time.  This happened decades ago and I am still grateful.
So how do you act when you have not played well?  Sulk? Crawl off the stage?  Don't show up at the reception?
First and foremost: give yourself respect.  Standing up and playing is an act of courage, remember?  No one on the stage plans to play or perform badly.  We are all human, and that means we make mistakes.  And as adults, it is difficult to be as prepared as we ideally would like.  I often tell my students that if anyone wants to judge them, let that person live their life, and then play a concert flawlessly.
Now, we are not talking about blatant lack of preparation.  But I am sure, dear reader you are not one of those.  Why?  Because you are most likely a flutist, and as such, most likely to be a "Type A" personality.  As such, you would never not be prepared.  You know I am right on this one!
So if there is a problem in a performance, and you need to help your colleagues through the awkward moment in the receiving line,  use a distraction.  Try:
a.  I loved the acoustic
b.  Wasn't the counterpoint interesting in the Prokofieff?
c.  My accompanist, colleague, fellow performers are so much fun to work with!
d.  How about those Phillies!
e.  And this is the best: I'd love to have a crack at that fast movement again!
Complaining about conditions reflects badly on you.  Why did you accept the engagement?  Complaining about colleagues also reflects badly on you!  Why do you feel you have to work with such idiots?
These few suggestions will make it so that you save face regardless of the situation, and never become the stuff of skuttlebut.  
Good luck!  Play well!  Have fun!  And be generous....

"You is GOOD!" February 17 2014

Snow has been a big part of my life recently.  It was the reason I got one of the most memorable and sincere compliments in my life.  Last week, while snowed in in Cleveland, I practiced my flute in my hotel room, getting a great deal accomplished because there were absolutely no interruptions.  It was lunch time, so I put the flute away, and opened up the door to my room.  A warm and friendly grinning housekeeper said, “Was that you playing the flute?”  I said yes, it was.  “You is GOOD!” came at me, with an even bigger smile.  She made my day, and I told her so, gratefully.How often is a compliment so sincere and so heartfelt?  This will stay with me for a very long time, and fueled much more practicing after lunch.There is only one appropriate response to a compliment.  “Thank you.”  Thanks to my Grandmother, this was ingrained into my conscience at a very early day.  “You will receive many,” she would say, “learn to be gracious.”You see, if someone likes your flute playing enough to compliment you, they are, by definition, a genius. Accept that.If you demure, and say, “Well, it wasn’t my best.”  Or-“Really?  I didn’t think so.” You are telling them they have no taste.  Refer to the previous paragraph.  Why would you ever tell a genius they have no taste?  “Gee Mr. Einstein, I really blew that high D.  Didn’t you hear it?”  Imagine.There are many comments you can make if you don’t think you played your best.  I like these: “Great acoustic!”  “The audience was so appreciative.”  “I liked how they laughed at my jokes.”  “The pianist is awesome.”  “My shoes sure were comfortable.”  And so on.  That way everyone leaves feeling good about the conversation, and you can obsess over every cracked note on your own.There are 3 people to whom you should admit a less than stellar performance: your teacher, your parent, or your significant other.  Don’t burden others with your negative thoughts.Next challenge: What to say when a colleague has a bad performance.

Who knew? February 07 2014

So, this Delaware girl (me) shows up in the greater Cleveland area without the means to sweep off her car and no boots during the first week of February.  Clearly “lake effect snow” is something I have not been really aware of as I have sat snugly in the Mid-Atlantic region for most of my life.

Much to my dismay, when I woke up to 8 inches of snow Monday morning in Marietta, OH, the realization of my omissions was to say the least, uncomfortable. Fortunately the hotel had a broom that I could use to brush off my trusty Trailblazer.  In the shoe department I was on my own.  Flats soaked through, car cleaned the best I could, I headed off to the next destination through still more snow.

And, after two days and two stops, I ended up in a hotel at the Cleveland Airport.  Where I sit, currently stranded by even more snow. Good news:  I now have a broom and snow boots.  It’s just the campus that was to have hosted my presentation closed today.  It will happen tomorrow.  Or so we think…

I had a very lovely day.  Finally enough time to practice certain projects in a methodical, uninterrupted way!  Getting to email, some of it a week old!  Phone calls!

Fortunately there is a restaurant in this hotel.  Note to self: always book hotels with restaurants in February in “snow belt states”.  Yet another foreign term to yours truly.

The guests in this hotel, all of whom landed in the small restaurant for breakfast, lunch, and dinner, became chummy.  After all, we had much in common: stranded, frustrated, and we had to eat.  Bored eventually by our smart phones, we turned to each other for companionship and conversation.  The whole room buzzed with it at dinner a short while ago.

Next to my table at dinner were two gentlemen from the south, as I could tell by their conversation.  I busied myself with my wings and wine, and then one of them said, “Delaware”.  As in, “Remember that power plant in Delaware?” Well.  I could not let that go.  I chimed in: I’m from Delaware.

And so the conversation unfolded.  Marty and Mark were consultants for power plants which were looking to convert from coal power to natural gas.  Turns out Marty, who grew up on a farm in South Carolina, had trained to be…

…an opera singer.

What fun that was, to hear the story of a farm boy whose mother insisted he and his 4 siblings take piano lessons. “I didn’t much take to the piano.  But I could sing.”

He sang in all sorts of productions in his home town and beyond.  Opera, musicals, choruses, church soloist. So when I told him about my business he related right away.

Who knew?

I learned a great deal about power plants, and that coal power is much cleaner than we think, and that much of US coal is shipped to China.  I explained the global nature of flute manufacturing.  And when it was all over I had two new friends, two new business cards, and two places to stay the next time I was in northern most South Carolina.  Suddenly, being stranded had its advantages.


The Levit Flutes Roundtable at Flute Pro Shop January 17 2014

 

On Sunday, we at Flute Pro Shop hosted Lev Levit and David Houston from Levit Flutes as they presented us with an overview of their fine flutes, manufacturing approach, and an insight to the engineering that goes into the production of a fine handmade flute.
Levit Flutes sent three flutes for all of us to audition the week prior to their arrival. The Levit Standard gold flute with sterling keys was my personal favorite, but then I play on a gold flute. I was very pleased with the compact, complex quality to the sound, quick response, and ease of articulation. The pinless mechanism is very silky and the scale very even throughout the range. The Levit Standard silver flute was brighter than the gold flute, in a well balanced and easy to nuance sound. The third flute sent to us was a Kingma System flute. I can’t pretend to know how to best utilize this flute. The key work is complex and beautiful. I was impressed with how the additional keys didn’t interfere with traditional fingerings and how facile the keys were. There is a little added weight, but it was not a negative factor for me. 
Lev and David also brought along an instrument that was in process. All the metal parts were placed on a table, and we could see the construction of the flute from the tube to the ribs, posts, steels, keys, springs, and so on. Completely fascinating to see the flute “undressed” like this, and also how lightning fast David, Lev, and our David Kee could assemble the key work. 
It takes 100 hours to make a flute. At Levit Flutes, Lev does all of the flute making, while David finishes the flute. They explained that the engineering and initial assembly is empirical, while much of the finishing is intuitive. The balance of the two ways of thinking was apparent in the conversation between David and Lev. They both had answers to our questions, but their approach was sometimes dramatically different. The discussion was often very lively and fun.
What was wonderfully apparent was the passion with which each partner brought to the flute making process. That, and the deep knowledge they each had for flute making. 
Lev is the protégé of Bic Brannen, and reflects deep respect for the great flute maker. The scale and headjoint design can be traced back to the legendary Albert Cooper. The key work was designed by Bic Brannen for the Oston-Brannen flute. As Mr. Brannen says, “No flutist seeking to purchase a premium quality instrument can afford to make a decision without first trying the Levit Flute”.
Here at Flute Pro Shop, we are proud to promote these fine flutes, and the men behind them!


The Levit Flute Co. Roundtable at Flute Pro Shop | Sunday January 12th January 09 2014

 

Flute Pro Shop Presents
The Levit Flutes Roundtable with Lev Levitt and David Houston .
Sunday January 12 , 2014
3612 Silverside Road, Wilmington, DE
2:00 - 5:00 p.m.

The design specs, metals, headjoint cuts and other innovations will be discussed.
Flutes will be available to examine and play in a Roundtable setting.

Refreshments will be served.
Seating is limited, so please make your reservation early!
Call 302-479-5000 or email info@fluteproshop.com
Don’t miss out on this unique flute experience!

 

 


Traveling with Flutes: how to avoid disaster! January 06 2014

       
Recently, a well-known flutist who was traveling with 11 flutes made out of various woods had the instruments confiscated and destroyed (allegedly) by a US Customs Agent.
I travel frequently with many instruments, and have yet to experience anything remotely this disastrous, but have certainly had inconveniences and ill-informed TSA agents running across security holding 2/ 14 karat headjoints, exclaiming, “Guess what these are made out of??” True story. More than one time.
Here is what I have learned about domestic travel and traveling abroad with instruments.
First and foremost, your instrument should not travel in checked baggage.
And here is the rest:
Domestic Travel:
Place your instruments in their own bin, one layer deep only. If they are piled up, you will be asked to step over to the exam table and the instruments will be swabbed with a dry cloth. Avoid this if possible. We know TSA is protecting us all. But rarely do they know the proper protocol surrounding opening a flute case.
The X-ray may not be able to “see” inside a wooden case. I will never again travel with any wooden case for flutes or headjoints. It is wise to have a travel case if you have a wooden case as your primary case.
The best solution? Any of the Wiseman cases. Even if they are opened incorrectly your flute will stay securely in place.
As your instrument(s) go through the scanner, let the TSA Agent know that these are musical instruments.
I also do not put a metronome in a case cover or near the flute. Just my own personal precaution.
Avoid stowing your flute in the overhead compartment. It gets very cold up there. Your flute could go out of adjustment very, very fast. This happened to me as I was on my way to do one of the very early Web broadcasts from Chicago. Until I had played the flute for about an hour, I had no low register!
I always carry a gig bag. Here comes another story: I left my flute on a parking lot tarmac one cold and rainy evening at Clarion University in Clarion, PA, while I changed out of my good concert shoes into driving/rain shoes. The next morning, the biology professor turned the flute into security, but only after I had called from each exit of the PA turnpike to inquire about it. Yes, this was 1989, before mobile phones! A gig bag is too large to miss, or at least in my case, this is a mistake I only made once…
Traveling Abroad:
To completely ensure the safety of your instruments, and to avoid delays at Customs on either end of the trip, make sure you have filled out the proper paperwork at your local Customs office prior to travel.
The required form is titled “Certificate of Registration for Personal Effects Taken Abroad”, Form No. 4457. Before traveling, visit the US Customs Service in your area. Along with the instruments you will be traveling with, bring proof of purchase and your passport. (Flute Pro Shop will be happy to send you a record of any instrument purchased from us.) List your instruments, makers, serial numbers, purchase price. The customs service will stamp it, and you are good to go. I stow this form in my Passport wallet just in case. This service is free, or in some cases a small fee is required.
The link to this form is: forms.cbp.gov/pdf/CBP_Form_4457.pdf
Remember, foreign repairs ARE dutiable. In addition to Form 4457, be prepared to show the receipt of the repair work and proof of payment.
Perhaps most importantly, treat the TSA Agent and/or Customs Agent with respect and politeness, regardless of how you are treated. They may or may not return the favor, but you will no doubt avoid unnecessary delays by behaving with dignity!

“I wish I had your life!” December 13 2013

“I wish I had your life!” the very attractive and friendly woman said from across the Flute Pro Shop exhibit table at the flute festival last weekend.
My thought was, “Really??”
She had been following the FPS Facebook page, and seen the places I had been, the people I had been with, and the beautiful instruments that come in and out of the shop, she explained.
That evening, as I was once again in residence on I-95 North, I thought about that exchange.  I began to feel lucky, and realized that what I do is an adventure, that no two days are alike, and I have a business that I look forward to going to everyday.
What makes it so rewarding?  The customers!  The incredible flute teachers all over the country.  The performers who are setting the bar higher and higher.  The folks at Flute Pro Shop who take care of things so I can travel and meet more wonderful people. 
I live for the special smile a flutist flashes when the perfect flute is in their hands, and the way they cradle the case in their arms after the sale is made.  I love the look of pride on the parents’ and grandparents’ faces that their child can make such a beautiful sound.
The other day, a long suffering little brother came into the shop while his sister tried piccolos.  And yes, one must make sure that high C speaks readily!  The little guy accurately pinpointed the best piccolo for his sister, making the same assessments I was making.  A little humbling to be sure.  But he was spot on and very proud of himself.  He wants to play the saxophone someday, and I am quite sure he will be very good.
While I have sharply reduced my own teaching schedule, Tim at FPS has increased his.  The improvement I hear week after week through the walls is amazing, and something I’m not sureTim as a teacher can tell, as he is so close to the process.  A youngster who in September had no idea of how to play an F Major scale is now touring the circle of keys with ease.
How about the instruments Dave Kee restores to perfection?  The gratitude of customers who have their beloved instrument back in top shape is wonderful to see.  We often hear, “I never thought it could sound this good!"
Of course I get tired of driving, especially when I-95 is doing its best impression of a parking lot (NOVA comes to mind) And don’t get me started on TSA security regulations  which require only one layer of instruments in each bin at the security screening...  And there are those times when it can be impossible to please some people no matter how hard we all try. 
But all in all, I think the woman I met last week is correct.  I have a great life and rewarding work, and how can you not love that?

Flute Pro Shop's Snow Day Survival Guide (1/12/12) December 10 2013

 

Flute Pro Shop's Snow Day Survival Guide
Hello all you fans of snow, ice and days off! But then there are times when we all have had enough. Enter Flute Pro Shop with our exclusive Snow Day Survival Guide. A sure fire cure for a dose of cabin fever.

Circuit Training

Start this early in the A.M. and you’ll feel saintly by the end of the day. Comfortable clothes are recommended.

PowerLung®
1 set of 10 reps at your most comfortable setting.
*
1-mile brisk walk on the treadmill (or ‘dreadmill’ as my friend calls it.) No treadmill?
Walk up and down a flight of stairs 20 times.

30-minute flute practice:
Long tones and chromatic scales/an etude/a new piece for you!

Upper body stretches

15-minute flute practice:
Any etude that is a challenge, or orchestral excerpts/standard repertoire that may have become rusty for you.

Repeat an additional 2x.

Guaranteed to make you exempt from shoveling! (At least that’s how it works at Flute Pro Shop.)

No snow in your region of the country? No problem! Choose a location that gets lots of snow—like Buffalo, NY or better yet for this year, Alaska—and ‘adopt’ it. When they get snow, you do too—virtually, of course.

 

 

 

Celebrate the Snow!

My neighbor invites us over for Brandy Alexanders the evening of the first real snowfall (it being Delaware, we haven't had one yet: snowfall or Brandy Alexander...) and it has become one of my most-cherished traditions. Take this opportunity to meet or get reacquainted with your neighbors.

 

 

 

Comfort Foods 


I always keep the ingredients for chili and cornbread on hand for the above occasion. Check out the next blog for a copy of my favorite chili recipe, and by all means, use it to create your own tradition!

 

 

Advice from the Animals

There is nothing more enjoyable than watching dogs frolic in the snow. My two Labradors love it!
Watch your pets and try not to smile. Better yet, throw a bumper for them and give them a piece of puppy heaven. Take a Nap. Enough said!

 

 

 

Power Outage?

What a mess.
Once the generator is running and you have a little light, read that travel book you’ve had on the coffee table since 2006 and enjoy pictures of the Caribbean!

 

Learn New Music

Prepare for the inevitable with the purchase of some exciting music.

Here are some of my favorites to get started:

Joseph Jongen: Sonata for Flute and Piano, Op. 77 Fabulous, and your technique will improve from the practice of this fine piece.

Boosey & Hawkens: Anthology of Flute Music (Composers include Harty, Lees, Gorecki, Del Tredici, Alwyn & Butterworth.) Some wonderful works that are not always in the standard repertoire.

Pizzolla: Histoire du Tango for Flute and Piano, Guitar, or Harp. Wonderful, evocative works that will make you think of warmer climates.

Khachaturian: Concerto for Flute and Piano. Originally for violin; fabulous for low-register articulation.

Geisiking:Sonata for Flute and Piano, editied by Trudy Kane. A real gift to the repertoire and destined to be a standard.

Gaubert: 3rd Sonata for Flute and Piano. Not for the faint of heart!

All of this music is in stock at Flute Pro Shop. Please email: info@fluteproshop.com to order!

 

 

Snow Day Flute Party — Woot!

Invite your flute friends over and play fun games like
~Nail that Scale,
~Scale Roulette, or
~ Last Flutist Standing!
Look for all the rules in the next Blog!



Now that you are all set and prepared for your next snow day, share some of your snow survival stories with us. Comment on this blog, or post them on the Flute Pro Shop Face Book Fan page.


Call to Action: Personal Relevance October 28 2013

 

This week, the instrumental music business was given two incredible gifts:

 

  1. In a show of support for their Baseball Teams in the World Series, the Brass Sections of the Boston Symphony Orchestra and the Saint Louis Symphony Orchestra collaborated to produce an hilarious and brilliantly played medley of tunes including “I can do Anything better than You” and “Take me out to the Ball Game”.

 

  1. The Ohio State Marching Band did an astonishing job on the field in two different shows.  In a tribute to Michael Jackson, the entire band “moon walked”.  Later, they formed two battle ships, one representing OSU and the other University of Michigan, and the Ohio sunk the Michigan.  All this while playing their instruments at a very high level indeed.

 

Here we have two organizations who know how to make their art forms personally relevant to millions of people.

 

I had to ask myself, “What am I doing to make this art form relevant to the community at large?”

 

Hmmm…well….

 

So I am issuing a challenge to me and all of us in the world of instrumental music, regardless of genre: what can we do to make this art form personally relevant to one person each day.

 

Some examples:

 

  1. Share the video of the Brass sections supporting their baseball teams on Facebook.
  2. Share the video of the OSU marching band in the same way.
  3. Share anything that is universally appealing involving instrumental music.
  4. Talk about why you love to play your instrument to absolutely anyone who will listen.
  5. Involve family members and friends with your progress, new challenges, new and exciting music.
  6. Form a club that goes to concerts, operas, and ballets.
  7. Consider commissioning new work based on ideas that are currently relevant. There are few things more exciting than this!
  8. Take a friend to a concert.  If you are a musician, point out what is going on, give some back story, and let them know who you know on stage.
  9. Start a new instrument, or simply change your equipment and write about it in any of the social media outlets.
  10. Join the board of any performing arts organization.

 

Let your passion for our art form show, act on it, bring people into the joy and beauty and power of instrumental music, and you know what?  Your world will be a better place, and so will ours!