Potent Practicing - Handout from the Seattle Flute Society's Flute Celebration Day

Hello everyone!

Thanks to everyone who came to my presentation at the Seattle Flute Society's Flute Celebration Day.

In case you missed it, here's the handout about the topics I presented.

Happy practicing!

A Flute Student's Guide to Collaboration: 7 Rules for Peaceful Piano Partnership

 Learning to play with piano accompaniment is a vital skill for all musicians.  Flute composers generally write solo sonatas for flute AND piano.  The piano part provides harmonic and melodic structure that supports the flute part.  It brings a depth to the music not necessarily achieved by the flute itself.  As a student, learning to collaborate with a pianist is an essential skill.  By playing with another instrument, you learn teamwork, leadership, listening skills, and the essential elements of music are deepened (tone, rhythm, dynamic contrast, musicality). 

When working with pianists, it's important to understand their role as well as your own.  Here are a few easy guidelines to follow to make sure you're being the best soloist possible.  After all, you definitely want the pianist to be excited about working with you in the future instead of running away from you!

 

 1. Initial Contact

When you first either email or call a pianist you're interested in playing with, it's important to include the following information:

• Who you are
• How you received their contact information
• Date, time, and location of the performance
• The piece(s) you're playing.  Ask if they already have a copy of the piano part or if they would like you to bring or send your copy before the first rehearsal
• Desired number of rehearsals
• The day and time of your regular lesson and if they are generally available then
• Ask about the hourly fee and cancellation policy if not already known
• The best way to contact you
• How excited you are about working with them!

 

2. Scheduling

Collaborative pianists are working professionals, and their schedules constantly change.  The sooner you can get rehearsals and lessons booked, the better off you'll be.  Just because one time is open in a pianist's schedule one day does not mean that time will be open the next day.  There is no such thing as scheduling rehearsals too soon!

Either ask pianists for their current availability or suggest the days and times that work best for you.  As a general courtesy, please do not list all the reasons why you cannot come at a particular time (ballet, swimming, little brother's baseball practice, class).  Try to work together to find a comparable time that fits both of your schedules.

 

How many rehearsals do I need?

Definitely schedule one rehearsal one to two days before the performance.  Working backwards, try to book at least one rehearsal each week for the 3 weeks leading up to the performance.  Always bring your pianist to at least 2 private lessons depending on your level and the number of pieces you're playing.  If the pianist is not able to come to your normal lesson time, ask your private teacher about any other times they might be able to accommodate you.

Do not wait until the last minute to schedule rehearsals and lessons!  Pianists, private teachers, and you all have very busy schedules.  The more in advance you can book rehearsals and lessons, the better!

3. Cancelling

Most pianists have a cancellation policy of one to two days before the rehearsal.  This means that if you have to cancel and you do so the day of or the day before the scheduled rehearsal, you will still need to pay the pianist for their time.  The pianist has reserved that time for you.  When you have to cancel close to the rehearsal time, they cannot fill that time with any other rehearsals.  Make sure you are understanding and appreciative of their time!

If you need to make a change to your rehearsal schedule, make sure you contact the pianist ASAP.

4. General Courtesies

•  Before your first rehearsal, make sure you have the correct address and have already looked up directions.  Leave earlier than you think you need to in case you run into traffic or get lost.
• When you arrive for your rehearsal, make sure you are on time or early.  If you are early, wait until a few minutes before the scheduled time to meet the pianist.  Pianists often come from other rehearsals, concerts, or events, or could be working with another musician before your scheduled time.  Coming in very early can disrupt the rehearsal before you.
• If you know that you will be late, call the pianist to let them know.  If they do not answer, they are probably en route to the rehearsal site or working with someone else.  Leave a message.  If you are running late, do not expect the pianist to add time to the end of your rehearsal.  You've scheduled only that specific time to work with them. 
• When you're in rehearsal, turn off your cell phone.  If you have a friend or family member sitting in the rehearsal with you, it's okay for them to quietly use their phone, laptop, or tablet.
• Have a check prepared before you go into the rehearsal.  Do not wait until when the rehearsal is over to write a check.  Having to wait on a check can make the pianist late to their next rehearsal.
• Make sure you include the concert fee in the last rehearsal's check.
• Always thank the pianist for their time.  They're your music-making partner and half of your team!

 

5. When am I ready for my first rehearsal?

Answer the following questions before going to your first rehearsal.  If most of the answers are "yes," you're ready to meet with the pianist!

•  Have I listened to the recording while looking at the piano part?
• Am I familiar with what the piano plays during rests or interludes?
• Have I practiced playing along with the recording so I am comfortable hearing another instrument play while I am playing?
• Can I play the whole piece without stopping?
• Have I recorded myself playing the whole piece without stopping including counting, singing, hearing the piano part during rests?
• Does my teacher think I'm ready to rehearse with the pianist?
• Do I know how to tune with the piano?
• Do I know the tempo that I want to play the piece?
• Am I confident in how I want the piece to sound (phrasing, dynamics, musicality)? 
• Have I practiced cues, cutoffs, and how I am going to handle ritardandos or accelerandos?

 

6. Rehearsals

It's important to make the most out each and every rehearsal.  Follow these tips to help stay organized before, during, and after rehearsals.

• Before heading to rehearsals, make sure you spend plenty of time warming up.  You should never go into a lesson or rehearsal "cold."
• Make sure you bring your music, your instrument, and a pencil.
• Tune with the piano before beginning to play.
• Talk about your general goals for the piece.  If there's a section that's not up to tempo, it's okay to play it slower.
• Sing the melody in your head to make sure you know which tempo you will take before beginning to play.
• Be a leader!  Do not follow the piano.  You have the melody line most of the time.  Don't wait on the piano (even though it sounds really cool)!  
• Don't be intimidated by how loud the piano is.  Play out!
• If the tempo is too fast or too slow, say something!
• Work together with the pianist to make the music sound the best it can.  It's okay to ask the pianist for advice or for help.  Make sure you're confident in your own playing so that the pianist does not have to give you a lesson on your own piece. 
• Work section by section until you are comfortable playing together.  Then put the piece back together.  Try to play the entire piece through at the end of each rehearsal.
• If there's a place where you continually mess up, mark it in your music.  Go home and listen to the recording a thousand times where that spot is, and make it a priority to make sure you get it right at the next rehearsal.
• If the pianist tells you you're out of tune on a note, you're slowing down without realizing it, etc., also mark it in your music so you can work on it at home.
• Thank the pianist for their time at the end of rehearsal, and confirm the next rehearsal day and time.
• If you want to be a super star collaborator, RECORD your rehearsal, go home and listen intently.  Take notes on what you and your pianist talked about and places you can make better on your own.

 

 7. Concert

• Before playing your piece, make sure you tune very carefully with the pianist.  If you don't know if you're in tune or not, look at the pianist with a concerned face and they will help you! 
• When you are finished playing your piece, be sure to acknowledge your pianist.  
• It's always a nice gesture to give your pianist a card, nice chocolate bar, or some other small gift to thank them for playing with you.
• Get a picture with your pianist!  They're the other half of your team!

 That's all, folks!  Follow these rules and your rehearsals will be a breeze.  Pianists spend many years in school to not only learn their instrument but also how to collaborate with instrumentalists.  Appreciate your pianist's talents, and enjoy making beautiful music together!

 

Audition Interviews!

A few weekends ago, several of our studio's students competed in the annual Horsfall Flute Competition sponsored by the Seattle Flute Society.  For both students, this was their first competition audition EVER.  They have kindly taken the time to answer a few interview questions about their experience to help YOU understand what's it's like to take auditions.  Thank you Michelle and Kevin for your time!

Michelle
1.    How was the general experience?

I think that it was a good experience to have as early as possible. When under no pressure to win, it can be very fun and educational.

2.    Tell us about the warm up room and how you warmed up.   At home, at the competition venue?  Was it scary playing in front of other competitors?

I found that there were always multiple people in each warm-up room. Because I didn’t know that before, I felt glad I warmed up at home first. It was kind of nerve-wracking to play in front of other competitors, but after one person starts playing, everyone does. At the competition venue, I mostly practiced the hard spots, beginning, and ending. At home, I ran through the whole thing several times from beginning to end, including the introduction. I practiced bowing without hitting my stand and playing with a dress on.

3.    How did you prepare for being nervous?

I did not really prepare for being nervous, but rather told myself that being nervous would not help me in any way. I practiced the hard spots A LOT before the actual competition, so I would have less trouble with them and be less nervous.

4.    What was the audition room like?  Anything unexpected?

The audition room was a big lecture hall. I expected it to be like our recital room, and it was pretty close. Nothing really unexpected, except maybe that there were desks instead of the usual rows of cushioned seats. Also, the lights are kept on during the audition, unlike the recital.

5.    What was going through your mind while playing?

I always try to clear my mind before playing. I focused entirely on the music and let my mind control me. I was not thinking of how hard a spot was before playing it, but making sure the music was flowing smoothly and I was making the piece interesting.

6.    How did you like receiving comments from the judge? 

The judge’s comments were very useful to me, especially since this was my first competition. I learned about cueing the pianist, starting the piece and making my notes crisper. The first two, I felt, would help me a lot in future competitions.

7.    Was it as scary as you thought it would be?

It was definitely scary, but not as much as I thought it would be. There were only 4 people in the room other than me and Kristine: Katherine, the judge, my mom, and the cue person. 

8.    What will you do next time to prepare for such an audition?

I would practice even more with the pianist on cueing and with my performance clothing on.

9.    Do you feel like your preparation was sufficient, or are there things you'd do differently?  Describe.

I feel that my preparation was sufficient, but mostly because this piece was really easy. I would have to do more if the piece was on my current level.

10.    What advice do you have for other students who will be taking their first audition soon?

My advice would be to not worry. While it would be great to win, I usually set my expectations low so I will be pleasantly surprised later. Always over prepare so there are no “surprises” on the day of auditions. Practice in performance clothes and with the pianist to make sure you are in sync with each other (does brain-melding work? I haven’t tried it.) Warm-up extensively at home and leave small touchups for the audition venue. Since there are usually a lot of people in the practice rooms, you won’t be able to hear yourself very well. Don’t worry too much – the outcome does not matter as much as the experience; “What we discover is more important than what we win.” - FLL


Kevin

1.    How was the general experience?

It was, overall, a great experience to have and I really enjoyed my time there. It’s always helpful to take comments from a person whose musical experience is above average (a judge) to make for improvements and become a better musician even though it’s slightly nerve-wracking.

2.    Tell us about the warm up room and how you warmed up.   At home, at the competition venue?  Was it scary playing in front of other competitors?

The warm up room was a little empty classroom filled with empty chairs with individual table tops. A piano in the front for tuning as well. I warmed up by playing a few excerpts from my piece that exercised things needed for the piece to sound good (i.e. tone, articulation, etc.). It was extremely scary to play in front of other competitors, especially when the 1st place winner was playing in the same room as I.

3.    How did you prepare for being nervous?

I tried to prepare for being nervous, but there’s no nervous like the nervousness experienced while playing for an audience of over a dozen as well as a judge.

4.    What was the audition room like?  Anything unexpected?

The audition room was roomy and had lots of space. Nothing I unexpected from what I thought it was going to be like.

5.    What was going through your mind while playing?

What was going on in my head: “Don’t mess up…Don’t mess up…Don’t mess up…” Also irrational thoughts regarding nerves shaking my embouchure.

6.    How did you like receiving comments from the judge?

I really liked getting comments from the judge and I thought her comments were helpful and truthful. It wasn’t too bad and I appreciate someone who offers constructive criticism.

7.    Was it as scary as you thought it would be?

It was actually less scary than I thought it would be. I over thought the competition and resolved to believe that it was going to be extremely scary. It was much less scarier than I had anticipated.

8.    What will you do next time to prepare for such an audition?

Try different ways to prepare for the nervousness and make sure that I have confidence in whatever piece I’m playing.

9.    Do you feel like your preparation was sufficient, or are there things you'd do differently?  Describe.

I think my preparation was sufficient, but I could’ve done more things and be even further prepared for the performance. I would practice and develop confidence in my piece and practice performance (moving would be one thing) as well.

10.    What advice do you have for other students who will be taking their first audition soon?

Don’t get discouraged if you don’t make it in or win. Give your audition your best try and convince the judges that you’re worthy of participating in the competition.



Thanks, Kevin and Michelle for your thoughtful answers!  You inspire us all to do our best and try things that may seem scary at first!