1.

) Syllabus
2.) Lesson Menu
3.) Program Notes
4.) Flute Studio Handouts/ Notes
5.) Masterclass Notes
6.) Recital Attendance List and Programs
7.) Listening Journal
8.) Spring 2016 Schedule
9.) Spring Repertoire List

Lesson Menu
9/ 19/ 2016

Lesson Piece:
Content: Berbiguier 18 Studies: #17: F# Major Allegro

 Evaluation: Feedback:
Tempo in Devienne can drag or speed. Be sure not to drop
beats.
Decide points to breathe.
Try to find scales in runs. What key are we in and what chords
are being used?
Approach trills from above

Personal:
Watch flute angle- low and stifling notes
Dynamic is full- perhaps play with dynamics? Keep good
tone!

Assignment: T&G: #14 (Memorization)

Berbiguier 18 Studies: #18
Devienne: Work on pacing- tempo can be inconsistent.

9/26/2016

Lesson Piece:
Content: Berbiguier # 18
Devienne

Evaluation: Feedback:
Turn- focus on making all grace notes move before reaching
the beat.
Work with metronome
Know rushing and dragging tendencies

Personal:
Watch accidentals/ key signature

Assignment: Same Assignment

10/3/2016

Lesson Piece:
Content: Devienne Concerto no. 7 in E m

Evaluation: Feedback:
Articulation- have more diversity in articulation
Maestoso
Style changes between major and minor sections (still think
air and articulation)
Personal:
Work backwards to start memorizing

Assignment: Boehm Exercise 1

Practice memorizing Devienne from the end.
10/ 10/ 2016

Lesson Piece:
Content: Theobald Boehm 24 Caprices- #1
Devienne Concerto #7 in E m

Evaluation: Feedback:
Work in measure sections and add on a couple measures each
day. Dont get stuck in same spot or slow when a mistake is
made! Address it when it is problem and backward practice.

Personal:
Whether note comes out or not in bottom of range, keep
energy moving forward as if it did.
Possible lead in foot joint
Watch posture when things get difficult- dont turn into a
turtle!

Assignment: Clean up Theobald Boehm #1- Work Backwards

Memorizing larger portion of Devienne concerto
10/ 17/ 2016

Lesson Piece:
Content: Devienne

Evaluation: Feedback:
All about tone! Focus on creating different feelings and
REALLY focus on how to start an articulation
Hows your air? Consider when you are nervous! Take in
enough air to make it through phrases and still have some air
left. Always breathe in same places.
Personal:
Agreed- always breathe in the same places!

Assignment: Memorize portions of Devienne with consistent breathing!

Boehm #1
Octave Ferroud- Jade

10/ 24/ 2016

Lesson Piece:
Content: Boehm #1
Octave Ferroud- Jade

Evaluation: Feedback:
Smooth playing between changing time signatures
Work on counting time changes and rhythms

Personal:
Know chord structures of Devienne. Sit down and analyze by
writing some chord structures and tonal centers on music.

Assignment: Memorizing more of Devienne Concerto- working backwards-

3rd page.
10/31/2016

Lesson Piece:
Content: Orchestral Excerpts
Devienne

Evaluation: Feedback:
Find Floating/ light quality for G# in excerpt
Set embouchure and mouth shape first to consider what
sound you want to project. Consider firmness in chest/
abdomen for support.
Think projection and direction, not fuzzy
Excerpt: consider where breaths should be taken, and keep
those breaths consistent!

Personal:
Not necessarily bad to have support in chest/ higher in
abdomen if it is not tension, but raised support. Still have low
air support, but maybe use slightly higher muscles to alter
tonality in upper register.

Assignment: Official Recital Date- April 7th 5:30pm

Orchestral Exceprts
Devienne
11/ 7/ 2016

Lesson Piece:
Content: Orchestral Excerpts
Devienne

Evaluation: Feedback:
Consider where original and variations are in main theme.
Get through it! Even if you think you dont know the whole
piece- work through what you know and get through it. THEN
check what you can work on.
Personal:
Memorize 1st 2 pages! Was a little rough today.
Turns sound great!
Shorten repeated notes

Assignment: Listen to first movement of Devienne concerto- memorize

first 2 pages and transitions.
Play concerto for 2 people

11/ 14/ 2016

Lesson Piece:
Content: Devienne

Evaluation: Feedback:
Work on keeping consistent tempo
Had end memorized and now have beginning basically
memorized- maintain memorization of ending! How do they
relate!
 Personal:
YOU CAN DO THIS! Keep the piece fun!

Assignment: Focus on articulation, repeated notes, airflow, and passion in

Concerto.

11/28/ 2016

Lesson Piece:
Content: Whole Concerto, Memorized!

Evaluation: Feedback:
Think more relaxed and smooth- technique is there but sound
is a bit frantic.

Personal:
Be sure to feel tempo in head before starting- first tempo
started out about 10-15 clicks faster than necessary :P
Stay calm and keep check points in head for where you know
what is coming next and when you have made big arrival
points.

Assignment: Every time practicing concerto, practice with metronome at

quarter= 118
WHOLE CONCERTO MEMORIZED!

12/5/2016

Lesson Piece:
 Content: Day of Concerto Competition!

Evaluation: Feedback:

Personal:

Assignment:

Program Notes:

Francois Devienne, Concerto No. 7 in E Minor: Allegro:

Francois Devienne (1759-1803), was a French composer of the classical era alongside other
composers such as Mozart during this time. Devienne began an important part of his career as,
you guessed it...a bassoonist! Tricked you there, but that will come in due time. Devienne was
actually 2nd bassoon of the Paris Opera around the age of 22, when he first began studying with
the principal flute player of the same orchestra. Quickly he surpassed his teacher and began
professionally playing both bassoon and flute in both. Doubling his life by another 20 years,
Devienne moved to playing principal chair on both bassoon and flute in many professional
orchestras, as well as the Military Band of the French Guard. In 1793 Devienne contributed to
the flute repertoire a method book on the one keyed flute titled, Nouvelle mthode thorique et
pratique pour la flte. Later, in 1795, Devienne became the professor of flute at the Paris
Conservatory. Devienne composed an array of concertos for flute, and the one I will be playing
for you today is Concerto no. 7 in E minor, composed in 1787. In this concerto, the work moves
between 3 movements, Allegro, Adagio, and Allegretto. Today I will be playing the Allegro
section, which displays a wide array of tone colors, technical passages vs. lyrical passages, and
an overall triumphant feeling of being in the classical era.
Pierre Octave Ferroud, Three Pieces for Solo Flute: Jade:

36 years my not be a very long time to make ones mark on the world, however, French
Composer Pierre-Octave Ferroud managed to leave a legacy of music in just that amount of time.
Born in Lyons in 1900, Ferroud studied natural science and like many smart college students,
changed his mind and decided to study a musical instrument- organ. Ferroud later made great
attributes to his community through the Salon DAutomne Lyonnaise, which was founded to
encourage the performance of new music, encouraging his later contributions to a well known
society for contemporary music performance, Le Triton, in Paris. Further contributions include
acting as a music critic and a composer. As his career was continuing to grow, Ferroud tragically
was killed in an automotive related accident leaving behind close friend Poulenc who was so
moved as to write later religious works for Ferroud

Specifically today, I will be performing the Ferrouds Three Pieces for Solo Flute. This
compilation of pieces consists of 3 works that Ferroud wrote within the years, 1921-1922 in
different locations and dates, with different dedications. The works seem to be compiled with an
over-arching orientalism style in which Ferroud, a french composer, emphasizes chinese
elements in his music. Jade specifically is a dance-like movement, dedicated to Madame
Genevieve Petit in Lyon, November 1921.
 Listening Journal

Title Recording 1 Recording 2 Recording 3

Francois Emmanual Pahud: Philippe Bernold: Andrs Adorjn:

Devienne 16th note sections tie Broad and fast vibrato on Playing with time- when
together through air. forte sections. whole note trills are
Concerto No. 7 Tongue is very light. approached from above, he
in E Minor, Minimal Vibrato on piano plays with trill slowing
Mvmt.1: Starting of major sections sections. slightly towards end,
Allegro is very light and barely dragging the cadence.
articulated, keeping the Sweet sections- slow wide
idea smooth. Emulates vibrato moving into next Soft tonguing throughout-
strings. ideas of phrases. especially in triplet section-
light tongue emphasizes
-Some added ornamentation piano dynamic.
to ends of phrases.
Homogenous sound
throughout.
Octave Ferroud Emmanual Pahud: Marina Piccinini: X
Drastic dynamic changes Little vibrato in fast
Three Pieces between repeated moving sections
for Solo Flute: motives
Very dry sound- focused
Jade Light and lifted vibrato
embouchure and short
Descending 16ths- accented notes
increasing harmonics
Much vibrato/ wide on
Drastic pitch bends forte long notes.

Faster tempo than Pahud

8.) Spring 2016 Schedule

M T W R F S Su

8-9 MUSE350 MUSE350 MUSE350

9-10 ____ _____

MUSP390 MUSP390

10-11 MUSP390 MUSP390

11-12 MUHI330 MUHI330

12-1 MUSC340 _________ MUSC340 _________ MUSC340

1-2 Recital Hour MUSC340 MUSC340

2-3

3-4

4-5

5-6 MUST413 MUST413

6-7 YSOECI STUDIO

7-8

8-9