Are you sweating your audition for All District Band? If you're anything like my flute students, marching band has taken over your life, and you're struggling to find practice time. Sound familiar? Well it's time to wipe off that sweat and head over to my YouTube channel, because I'm posting vlogs on all the excerpts. You'll be able to hear each piece, get practicing tips, and play along with me at different tempos. Are you ready? Let's go nail that audition!! Click the image below to get started. 

Come out next weekend on Saturday, June 3rd for an afternoon filled with flute music right here in Jefferson City! Performers include Smyth Flute Studio students accompanied by wonderful area pianists! Works by Telemann, Mozart, Gaubert, Bloch, and more! Hope to see you there!!

All the early mornings, late evenings, smelly band bus excitement is over and you probably have a sudden influx of free time on your hands. Though it may be tempting to play the "i deserve it" card and spend the extra hours vegging on the couch snapchatting with your friends, it might be a good idea to start thinking ahead. 

What a novel idea!

In about two months, Christmas break will be over and your band directors will start talking about this crazy little thing called Solo and Ensemble Contest. Now, if you are like most band students, you will hear that talk about twenty times before it finally registers that... "Oh crap. I wanted to do that. But I am NOT prepared. Oh crap. Oh crap..."

Well, let me save you the anxiety. 

Give me a shout today and we can start up some flute lessons and pick out your contest music NOW so that you have PLENTY of time to get ready. You'll fly through those Springtime performances with raving scores and crowded rooms filled with ear splitting applause. All because you thought ahead... planned your course... and practiced your fanny off. 

What are you waiting for? Let's get it started!! 

Hey you!

Yes...I'm talking to you. 

You know...the one who "forgot" to practice all summer. 

It's ok...you can come out from where you've been hiding, because I am JUST as guilty as you are. 

In fact, when I was in Jr. High and High School (do they even call it Jr. High anymore??) I don't think I EVER took my flute out of the case during the summer months unless it was a Fourth of July parade...

Add that to one year in the color guard (don't judge...) and two years as a drum major...sometimes it would be November before I really played my flute! Eek!

The only thing that saved me, I have to say, was taking private lessons. Even if I did lose a lot over the summer, seeing my flute teacher every week really boosted my motivation to, well, not suck anymore. :) 

Don't be that guy! Contact me today to get those beginning of the year lessons started!

Here's a throwback to my high school years---My dad and me posing before a concert. Did I mention that he was my band director?? :) Fun times. Looking back (literally), I really should have heeded the advice on that motivational poster behind me...

It's that time of the year again, and that means school is starting! What better time of the year to set up flute lessons right here in Jefferson City, Missouri? Whether you are just starting out learning to play or looking at an overwhelming audition packet for district band or orchestra, we can tackle it together at Smyth Flute Studio! I've been in your shoes and have lots of experience breaking down the difficult concepts into bite sized chunks you can handle. You will be surprised at how much you can accomplish and how great you can sound with personalized guidance and consistent practice! Contact me today to schedule your first lesson--I'm looking forward to working together!! 

Well, the title speaks for itself, but Smyth Flute Studio has new digs in Jeff City Missouri! If you are a flute player in the Capitol City or surrounding areas (Wardsville, Holts Summit, Ashland, Tebbets, Hartsburg, St. Martins, etc...), contact me today to schedule lessons! I'm so excited to gain a whole new group of flute students and grow musically together! 

Read more about flute lessons HERE. 

Listen/Watch me in action HERE. 

Read about my experiences HERE.

I am SO looking forward to meeting you and playing awesome music!! 

Sincerely,

Katie

Mastering the notes and rhythms of a piece is only one small part of learning music. Much more artistry lies in the ability to convey the style and message the composer intended. Do you know who composed your piece? Do you know when in history that composer lived and penned the music you are playing? Do you know the ins and outs of that particular period of music history?

When I was a young high-school and college music student, I rarely spent time thinking about these things. It was my goal to "get-by" with just learning most of the notes and rhythms and trying to pass my juries and perform my recitals without making too many mistakes. I felt like a trained monkey with little to offer in terms of emotion or style. I just wanted to survive without the dreaded violent shaking and blackouts that often plagued my performances.. 

Sound familiar?

Well, I'm here to tell you that this is a very sad existence. Music is so much more than playing everything "perfectly" and I guarantee you will glean much more excitement and satisfaction from your musical pursuits if you can enter into the lives and purposes of those who composed the pieces you are learning. Becoming familiar with the social norms and events that were occurring in these time periods adds a whole new layer of understanding and connection your audience (or jury panel) is sure to appreciate. 

To explore the historical context of the piece you are learning, here's a handy guide:

1. Research the composer and the musical period in which the piece was written. These times are approximate--there is much debate over the actual dates of each period. 

• Middle Ages: 1150-1400
• Renaissance: 1400-1600
• Baroque:1600-1750
• Classic:1750-1830
• Romantic:1830-1920 (WW1)
• 20th Century/Modern: 1920-Present

2. Find out the purpose of the music. 

• Did it have a specific function in society like for a particular dance, societal tradition, or courtly ritual?
• Is it sacred or secular?
• Was it intended to be programmatic (telling a story)?
• Did the composer intend it for intellectual pondering?
• Is it nationalistic in nature?
• Is it social commentary or satire?
• Was it intended purely for an artistic experience?

3. How does the historical context relate to the performance practice of the piece?

• Does the musical period call for terraced dynamics and very little vibrato?
• How should the trills be approached?
• Should you use your own ornamentation?
• What style of articulation is appropriate?
• Should you incorporate high emotional peaks or keep it stable and even?
• Is there room for tempo liberties?

4. If possible, look for recordings from the time period the piece was written, or a modern recording that uses period        instruments and styles. As you are listening, make notes about the performer's interpretation. 

As you explore the historical context of your piece, here are some handy online resources:

Oxford Music Encyclopedia
Naxos
Classic FM
Famous Composers by Musical Period
Learn Listening Online
Classical Net
Wikipedia

If you are really interested in learning more, go to your local university's music library and start exploring! Most music librarians are very eager to point you in the direction of your research--make good use of their expertise!

I hope this guide is helpful for you in your study--leave me a note in the comments to let me know how your music preparation is going!

Happy Practicing!

Learning New Music: The "Chunking" Method


I can't think of many things more daunting than staring at a new piece of music. Can you relate? Often times, when I'm in such a situation I want to start at the beginning and play through the entire thing without stopping. This leads to extreme frustration when I can't play all of the passages correctly or anywhere near the indicated tempo. 

The result?

I give up. Defeated, I file the piece of music away in the drawer from which it came and try to never think about it again. Then, every time I hear someone else performing that really cool piece that I really wanted to learn I feel sorry for myself. 

UGH! 

Who has time for this kind of apathy? I know one thing for sure: If I don't have a plan before I sit down to tackle a new and challenging piece of music, I will never learn to play the things I really love. 

SO....























The following is just one of the many ways to break down the goal of learning a new piece into bite-sized manageable chunks. If you find yourself in a similar situation as mine, just follow this easy guide and you'll be on your way to beautiful flute music in no time. 

What are you waiting for? Try it now and then leave me a comment to tell me how you did. I'd love to hear your success story!

The "Chunking" Method

1. Gather a pencil, a practice journal/calendar, and your music. 

2. Quickly study the form of the piece:

• Does it start off with a slow melodic line for several measures and then speed up to a quick Allegro section? 
• What about the ending? Is it the same as another part of the music? 

3. Make an simple outline of the large scheme by marking it in the music or drawing it in your practice journal. 

4. Set a goal date to have the entire piece learned:

• Do you plan to perform this on a recital or at contest? Make your completion goal for two to three weeks before that date.      

5. Set goal dates for each larger section:

• Count how many weeks you have between now and your completion goal date. 
• Divide up the number of weeks among each section--be sure to allow extra time for the more difficult sections and less time for the easier ones. 
• You should have one goal date per section
• You don't have to learn the piece in order--often times I will start at the end and work backward. 
• Write the goal dates on the diagram in your practice journal/calendar in PENCIL. 

6. Divide each larger section into logical smaller sections

• Look at the phrasing or the style of music and section off groups of measures that are alike. 
• Depending on the length/style of the piece your sections at this point should be anywhere from 8 to 16 measures in length. 
• Add these sections to your diagram in your practice journal/calendar in PENCIL.

7. Assign goal dates for each smaller section

• Count up how many days/weeks you have between now and the first goal date.
• Divide up the number of days/weeks among each smaller section--allowing more time for difficult passages and less time for the easier ones. 
• Write the goal dates on the diagram in your practice journal/calendar in PENCIL. 

8. Start learning your first smaller goal section:

• Start with playing through the first phrase. 
• Play it slowly until you are comfortable.
• Go on to the next phrase.
• Play it slowly until you are comfortable.
• Add the first two phrases together. 
• Continue learning and adding phrases. 
• Repeat this process each day until you have the first section under your fingers. 
• Gradually increase (or decrease)  the tempo each day until it is as fast (or slow) as it should be. Never play faster than your fingers and mind can keep up!

9. Once the first section goal is met--move on to the next one and the next until the piece is learned. 

Things to Remember

• Though the "chunking" method is easy and effective,it can get rather microscopic in nature. Don't lose sight of the bigger musical picture as you are learning--listen to recordings and play through the other sections in your extra time. 
• Getting the piece under your fingers is super important, but so are the other aspects of the music. In addition to doing "finger-work" through the challenging passages, remember to also practice dynamics and tempo changes. 
• It's okay if you don't meet each goal perfectly! This is why you wrote them in PENCIL. Life happens and sometimes you need to adjust your goals accordingly. It's Okay!

If this list seems overwhelming to you, you are probably over-thinking it. Don't be too detailed in your diagrams and notes in your journal--make it as quick and easy as you can so you can spend your time playing the music. 

As you get started on your chunking adventure, keep me updated on your progress! I'd love to know what pieces you are working on and how you are feeling as you meet your goals. 

Happy Practicing!

What are Long Tones?
Long Tones are exactly what it sounds like they are. They are a series of long notes usually in a successive descending or ascending pattern. 

Why do I need to practice them?
Long tones are used for warm up or any other time when you feel like focusing on your sound. Long tones help get the air moving correctly and allow you to think about the quality/intonation of sound related to the physical placement of your body. Since the long-tone pattern is simple and easily memorized, you will have the brain power to make sure everything else is executed correctly--air intake/production, inner mouth shape, posture, stance, finger placement, etc. 

How do I do it?
If you are new to long tones, start small by picking one range of your flute scale to work on at a time, and avoid extremes at first. I've provided a PDF document of what I give to my flutists who are in their first two years of playing. My best advice is to begin in the staff on a b-natural, as indicated in Trevor Wye's Tone Book, moving to a b-flat/a-sharp by slurring with a gentle crescendo--hold out the b-flat/a-sharp until your air is gone. Letting yourself completely run out of air will feel awkward and a little scary at first, but I promise it will get better! Repeat this pair, and then begin on b-flat and move to a in the same manner. Continue these two note groupings down the scale until you reach the bottom of your range--low f or a low c if you're more advanced. The goal of the long tone process is to seamlessly change from one sustained note to another with a steady air stream (i.e. no bumps or waves). 

Frequently Asked Questions:

• What if my air runs out too soon? If you are new to long tone warm ups, you might run short on air for the first few weeks. Just be patient with yourself and focus on deep breaths and fast air through the flute. 
  
• What dynamic should I use? In the beginning, a medium dynamic like mf or mp is necessary. Not too loud, not too soft. As you get more proficient, start practicing the long tones at different dynamic levels with a tuner. 
• What if my low notes sound really weak? The important thing is to not force it. Keep the air moving quickly and your embouchure formation relaxed and steady--you will start sounding stronger in a few weeks if you keep at it every day. 
  
• What if I get really bored? Go through a mental checklist in your head as you are moving through the longtones. Am I relaxed? Is my air flowing quickly? Is my posture relaxed and upright? Is there any tension in my hands, fingers, or neck? Mental imagery is also helpful when performing anything musically--think of a nature scene or an idea from a book you're reading and somehow relate it to the flow of the long tones. 
  
• How many minutes should I spend on long tones before I get on with the rest of my practicing? Personally, I wouldn't spend longer than a few minutes--five max. Your time is limited, and you have music to get to!