Category: humor

  • Right or Wrong? Extended or Not?

    Every community has its own lingo, subject to the winds of its own political climate. The community of Contemporary Western Art Music is no exception. Flutists and flutist/composers form a micro-climate within this community, and we certainly like to make our voices heard. There has been a call from our corner to scorn the term “extended techniques”. How did this come about?

    Well, the term implies exclusion, according to the flwoke (a word I just made up for the flute-playing woke). Calling a flute sound an “extended technique” implies it is “other”, not included in the corpus of sounds that the flute can make. You can’t extend something that is complete unto itself.

    I have to say, though, that the pioneer spirit in me is disappointed. The Western, Classical flute tradition does have a particular sound that is suited to the repertoire of the 19th and 20th centuries (as the “early” flutes have theirs that fits the repertoire and acoustical environments of their eras). I like to imagine I live in a world that extends beyond that.

    Another aspect, though, is the knee-jerk reactions of some flutists to these sounds. There are some teachers alive today who insist there is a right way and a wrong way to play the flute (non-classical flute sounds being, by default, wrong). Instead of getting angry about this, I translate and paraphrase that: there are sounds that work for certain repertoire, instrumentation and acoustical environments. Soloists and orchestral musicians need an air-to-tone ratio that will project in traditional concert halls, a vocal-style vibrato that will carry the sound and doesn’t offend modern sensibilities, a harmonic structure that blends with other woodwinds, is in tune with itself, and an ear attuned to 12-ET (and the minor adjustments needed to play chords within a wind section).

    It is worth noting that the boundaries of what is considered “right” are in flux. Think of vibrato styles of past generations, or what was considered acceptably “in-tune” in early recordings. Although in flux, the methodology of teaching these “right” combinations is rather codified, although each generation produces its own pedagogical literature.

    My theory is that before amplification became a thing, this “right” way of playing was crucial to acoustical survival, it wasn’t only a question of taste, much less right or wrong. Flute sounds evolved according to the acoustic realities of the time. Any technique that made the flute sound more present was encouraged, be it a faster vibrato or more harmonics in the sound. Whatever helps the instrument to project in its environment is right. Instrument makers responded to these demands with larger, partially cylindrical bores, “better” scales, and larger tone holes.

    Techniques like harmonics, multiphonics, percussive effects, air sounds, and circular breathing have a history that goes back before the 20th century, but their presence on stage has proliferated since the mid 20th century. There are multiple reasons for this, but one aspect pertinent to my point is that these sounds are no longer under pressure to acoustically conform to man-made architecture* and can achieve presence through amplification. Thus they have not been subjected to such strict methodology and ideals of right and wrong.

    But are these techniques extended? I will leave the question open. The need for a catch-all term that grabs a search-engine’s hit does impose a level of conservatism. For me, the important point is that contemporary music is an emerging tradition – you could say that it is still being extended. Perhaps “extending” techniques would be a compromise? Using the term extended implies that it still has somewhere to go, that there are still sounds to be discovered and ways to approach known sounds that have yet to be discovered. This is what gives me motivation and hope. When students ask me, “how do I make that sound?”, or, “what is the fingering for that?”, I tend to get a fanatical gleam in my eye. The answer is often, there is no “right” way, because you are lucky to be participating in an emerging tradition. I do it this way, someone else approaches it differently, and if you can think of a better way, I will come to you for lessons!

    *Ignoring the fact that microphones and digital environments are man-made, at least until the robot revolution.

  • What is your Superpower?

    Having a kid and playing modern board games where it is teamwork against the forces of chance or evil (not everyone for him/herself like in my day), it is easy to fall into this kind of thinking.

    Because these days, everyone is special, right? No one is supposed to get left behind. Everybody has their own, special superpower. So what is my, personal, superpower? I am hoping I don’t have just one. However, for the time being, since I am spending a good amount of time each day on the piccolo, it is easy to imagine my superpower is that of playing high B’s and C’s. This is my special weapon, to produce blasts that measure over 100 decibels. Do I use it to combat evil? Well, maybe in my imagination only. But since this is not a game, it is my actual job to produce these notes, I have to deal with the situation in my own way. If I delude myself in order to produce what a composer writes, well, we all have to do whatever it takes, right?

    The thing with superpowers is that they do not happen automatically, you have to train them, refine them and learn to engage them exactly when needed. ZAAP!! Bullseye!

    In “The Dong with a Luminous Nose” by Georges Aperghis, on page 18 (of 21), after playing loads of low, airy sounds, singing and speaking, there are suddenly a few high C’s that pop up. And to boot, the piece ends on a high C. Now, high C’s are supposed to be my superpower, but they often fail me here in this context. Among the Jumbly Girls, the wail of the chimp and snipe, I forget that I have a lethal weapon in my hands. So my practice has to involve a lot of psychology. I have to remember to engage this power, to never lose sight of it. For this, microseconds help. Taking that microsecond in the leap to high C from the D below, not to say “Oh $§&”*”, but to say “Engage!” This takes practice (for me).

    So I share this so you all can think about your own superpowers, hone them, and practice engaging them. See if it works for you.

  • Some Practice Ideas

    A few thoughts after some days of intensive practice. My focus has been awareness of tension, since I have a few sore points on my hands due to an old injury. One concept from yoga has helped me. According to what I have learned, the arm structure is considered an open system, whereas the legs are a closed system due to the fact that they end with the feet on the ground (at least when standing). In flute playing, the arms are also sort of closed system; they end with the fingers on the flute. But I like to imagine that in spite of that, they are open systems. Just that feeling that they could continue to extend if they wanted. Same with the legs while performing, even though they are grounded, I like the idea of them being an entire structure that could extend if needed.

    It is very important for me to think of extension not only as motion away, but with a twist. Pretend you have a knob that’s straight in front of you and just beyond your reach. Bring your right arm out to reach for the knob. Bring your shoulder blade from the back with you while reaching out, but make sure the shoulders are not raised. Rotate the entire arm outwards (as if you want to turn the knob to the right with your whole arm).  Then, leaving your upper arm (the part nearest the shoulder above the elbow) as is, rotate only the lower arm and your palms in (as if turning that knob back to the left). Then bring the arm into playing position (let the shoulder blade come back with the arm). When I do this, I have a better feeling of security and freedom. Repeat with the left arm, first turning the knob to the left with the entire arm, then back to the right with only the lower arm.

    The other thing I have to tell myself is not to get tense about tension. If at the end of a phrase I notice my leg is stiff, so what? Just unstiffen it and get on with it. The point is, I noticed it. I have to remind myself this is a process. If there is time, repeat the passage with better awareness, to find out which action made me try to support with my leg. And then hopefully laugh at my ridiculous notion that a locked knee can help with my high note. Better than beating yourself up.

    And Mula bandha really helps! (It is NOT the squeezing of those other cheeks that some refer to.) Awareness of the pelvic floor is a positive way to exercise awareness, to get away from being too vigilant about the negative or unproductive things. I once had a male flutist tell me “but I don’t have a pelvic floor” and I was gullible enough for a microsecond to actually look down to see if his insides had spilled out onto the ground from between his legs. Guys, you do have pelvic floors. It is part of the blueprint for human anatomy.

  • Multiphonics, yes or no. A Flowchart

    Well, it’s more of a labyrinth than a flow chart, but here it is. This is specifically geared towards ensemble writing. Here’s a link to the file as a PDF: Multiphonic_flow(3)

  • The True Range of the C Flute

    The True Range of the C Flute

    Back in the USSR, when information was really suppressed, many people were hungry for the truth. Now governments hide the truth from us under a deluge of information. I think composers suffer from this deluge, but it is not a government conspiracy.

    The true range of the concert C flute is a matter of public domain, published in text books, on the internet, and God knows where else as a cold, hard fact. It is neither a state secret nor rocket science. Yet why is it ignored?

    Sometimes I can understand why. We often work with composers of electronic music who transfer their sound world into “scores” and leave the instrumentation up to us. There are also arrangers who don’t sweat the details of register, and tell me up-front that I am free to choose which size flute I want to use when. That’s cool.

    But when that’s not the case, how to bring this issue out from under the deluge information? I considered several options. Swear words, Russell Brand revolutionary rhetoric, sexing-up – what can I do to get your attention?

    Here is my first attempt. Download it here as a PDF, or view it here. Suggestions are welcome, but please keep it family-friendly. [later edit: Here you can find a detailed presentation about the range of the flute. Here you can find a graphic of piccolo vs. flute ranges.]

    True_Range

  • Are intervals born of air or lips? Let the leopard decide.

    Are intervals born of air or lips? Let the leopard decide.

    On forums and in masterclasses there has been a lot of discussion about which element plays a more important role in producing intervals on the flute. Aside from the change of fingering, do we change more with the lips, with the air speed, or with air volume?

    Take the fingering element out of the equation and try playing through the harmonic series on low C or D. How do you produce the upper partials?

    The trend these days is to say the air makes the changes. Emily Beynon makes a good example and case for air speed:

    In this (long) masterclass series, Phillipe Bernold has a student start the day on a rising dominant 7 chord. Here he suggests the most important thing to start the day is to wake up the air column. There should be a natural increase of both volume and speed of air as you ascend. The lips stay neutral. This is very important for legato.

    Here is why I agree that the air, either volume or speed, rather than the lips should play the major role in interval moving. Please note I do not deny that the lips must remain flexible, and that exercises for suppleness also include playing intervals and harmonics (at least some of mine do).

    As humans, which is more necessary for survival, fast reflexes of our breathing apparatus, or of our facial muscles? Imagine a pre-historic flutist out strolling, searching for good material to build the perfect bone or wood flute. She is set upon by a leopard. She screams and runs. The lightning-quick reflexes of that sharp intake of breath to make sound and to get enough oxygen for the muscles to run is what saves her life. Fast-talking a leopard has been a known fail.

    A Cro Magnon Bone Kingma-System, gimme gimme!!
    “A Cro Magnon Bone Kingma-System, gimme gimme!!”

    So it is my unscientific opinion that the muscles controlling the breathing apparatus, including the diaphragm, have much quicker reflexes, thus can make quicker adjustments than the facial muscles used in the embouchure. Of course, we all know some fast talkers, but they are a scientific law unto themselves!

    Wildlife disclaimer: when stalked by a predator in real life, do not act like a prey animal and run. You will be chased. And caught. Unless they are bees.

    Photo: bigkitten.com

  • Should I Study Flute with Karl Marx?

    Should I Study Flute with Karl Marx?

    The short answer is no. Dialectical materialism* has no place in the music room.

    Although his beard may have been bushier than Monsieur Taffanel’s.

    The long answer is more complicated. I am no expert on the works of Marx, and realize I am using his image for exaggerated effect. My real argument is anti-materialist and I could have just as easily picked on the Bourgeoisie. Read the comments below for quotes on Marx’s ideas on creativity. At the end of the day, we may have a lot in common.

    I approach the subject of materialism and economics with some humility and trepidation.  For many of my colleagues in the Netherlands and the USA, economic determinism has reared its ugly head. Many orchestral musicians have lost their source of income and teaching staff have been severely reduced in many music schools and conservatories. The latter has hit me as well. This has made me think more than ever about my teaching responsibilities and, as usual when I have conflicting emotions, spurred a belated adolescent rebelliousness.

    Rebelliousness against whom? Against those who teach the lie: “there is a right way and a wrong way to play”, “play it my way because I have a job and a house (or a yacht or whatever), “work hard and you will be rewarded with_____”.

    Materialistic success is dangled before the student like a carrot before a donkey. Even worse, the materialistic success of the teacher creates in some cases an arrogant sort of authority. Granted, this may do the trick for some students. A clever teacher will latch on to whatever motivates the student and use it accordingly.

    Yet doesn’t it make more sense to train whole musicians? Performers who improvise and compose. Composers who perform (rather than sit at the computer or synthesizer, which then spits out the parts).

    I’m going to go out on a limb here and say the opposite of what seems to be the majority opinion. Despite the dwindling opportunities for orchestra work and reduced funding for the arts, this is as good a time as ever for young musicians who have something unique to say. With the internet, the world is your oyster. With the big institutions dying out, this is the time for small enterprises to fill the niches. Finding an orchestra job may be a quicker way to material success, but it is not a given these days. Nor does an orchestra job (or any material success) necessarily equal musical satisfaction or personal happiness. Having a job is hard work. I can vouch for that as a former orchestral player and as a full-time ensemble player. If finances are the only thing keeping you at your job, that is the quickest way to burn-out and bitterness. When things are getting grim for me, I can turn my attention to improvisation, or listen with knowledge and pleasure to Jazz or Carnatic music. Then I thank my former teachers who exposed me to these wonderful things!

    This is why I think it is important for students to be exposed to as many ways of making music as possible. How else can you find out what it is you want to express and the best medium for expressing it?

    Human beings are not going to stop listening to music entirely. Music will always be there in some form or another, in the background, in the foreground, live in concert or through ear buds. Take heart that you can make music, and get paid for it, if you are courageous, persistent, and seek inspiration. The path may be long or it may be short, but if you want to be heard, you will be! There is no excuse not to be heard, these days.

    *Footnote: From my reading I gather that Marx did not coin or make particular use of the term dialectical materialism. It was popularized in a Marxist context  by Stalin in his 1938 paper Dialectical and Historical Materialism. I definitely would not have wanted to study with Stalin.

  • Newsflash for Teachers: Being an Asshole is Ineffective

    Every time I pick up a science news magazine or book I end up smacking my head in disbelief that science goes to such lengths to prove what everybody else knows already. So being an Asshole is an ineffective approach to teaching. Really, a Nobel Prizewinning scientist said so!  I read it in a random book on randomness: The Drunkard’s Walk by Leonard Mlodinow. The author tells the story of Daniel Kahneman, a psychologist who won the 2002 Nobel Prize in Economics (!). I’ll retell this because here is an interesting twist on “what everybody else knows already”.

    While working as a psychology professor at Hebrew University in the 1960s, Kahneman lectured  a group of Israeli air force flight instructors on behavior modification. As a well-read mother of an almost-three year old, I know about behavior modification: rewarding positive behavior works, but punishing mistakes does not. Almost every other parenting book will tell you this. My husband does not agree, but that is another story.

    When I read the following passage though, my first connection was not to my son, dear as he is, but to teaching flute. I listen to some teachers brag about how tough they are, and now believe they are driven by a misconception. Perhaps more importantly, this will give us a lesson on how not to talk to ourselves, as we practice for hours on end, give concerts, and play auditions.  I’ll begin quoting from page 7, just mentally replace the word “flight” with “flute”:

    Kahneman drove home the point that rewarding positive behavior works but punishing mistakes does not. One of [the pilot instructors] interrupted,…”I’ve often praised people warmly for beautifully executed maneuvers, and the next time they do worse,” the flight instructor said. “And I’ve screamed at people for badly executed maneuvers, and by and large the next time they improve. Don’t tell me that reward works and punishment doesn’t work. My experience contradicts it.” The other flight instructors agreed. To Kahneman the flight instructor’s experiences rang true. On the other hand, Kahneman believed in the animal experiments that demonstrated that reward works better than punishment. […] And then it struck him: the screaming preceded the improvement, but contrary to appearances it did not cause it.

    How can that be? The answer lies in a phenomenon called regression toward the mean. That is, in any series of random events an extraordinary event is most likely to be followed, due purely to chance, by a more ordinary one. Here is how it works: The student pilots all had a certain personal ability to fly fighter planes. Raising their skill level involved many factors and required extensive practice, so although their skill was slowly improving through flight training, the change wouldn’t be noticeable from one maneuver to the next. Any especially good or especially poor performance was thus mostly a matter of luck. So if a pilot made an exceptionally good landing – one far above his normal level of performance – then the odds would be good that he would perform closer to his norm – that is, worse – the next day. And if
    his instructor had praised him, it would appear that the praise had done no good. But if a pilot made an exceptionally bad landing – […] then the odds would be good that the next day he would perform closer to his norm – that is, better. And if his instructor had a habit of screaming “you clumsy ape” when the student performed poorly, it would appear that his criticism did some good. In this way an apparent pattern would emerge: student performs well, praise does no good; student performs poorly, instructor compares student to lower primate at high volume, student improves. The instructors in Kahneman’s class had concluded that their screaming was a powerful educational tool. In reality it made no difference at all.

    So the next time you or anyone else crash and burn, it’s fine to mull it over and figure out what went wrong, but it doesn’t pay to be an asshole about it – especially to yourself. And besides, apes are higher primates, not lower primates.

    but I was going for that high D!