Flute Lesson Syllabus 2016–17

MUS 1-2-3-4 40; MUS 245, 345, 445, 545

Instructor: Dr. Suzanne Snizek

email: ssnizek@uvic.ca

Welcome to the Uvic Flute Studio! I am looking forward to working with each one of you.

Process First, you will need to sign up for a ensemble placement audition. Sign up sheets will be posted on the ensemble bulletin board located at the base of the stairs. This audition will take place during the first week of classes (usually the first Thursday) and will help to place all students in their large (Wind Symphony, Concert Band, Choir or Orchestra) and small chamber ensembles. Audition materials will be posted on the school website and also posted on my office door.

Please also sign up for a private lesson time for first term. This sign up sheet will be posted on or by my office door by the first week of classes. You will similarly choose a new lesson slot for second term during the first week of that term. Lessons may fluctuate to accommodate my own performance and travel schedule. Lessons are 50 minutes in length. All students are expected to be punctual, ‘warmed up’ and fully prepared for each lesson. Please be sure to bring a notebook to each lesson.

Attendance policy

1. Lessons cancelled because of a documented illness (i.e., those with a doctor’s note) will be rescheduled at a mutually convenient time.
2. Any unexcused missed lesson will not be made up.
3. If you know in advance that you need to reschedule a lesson (for any reason), please arrange this directly with another willing student, and then inform me, in an email to ssnizek@uvic.ca, of the change in advance. If you have to miss a lesson because of illness, please email me, with as much advance notice as possible, at the above address. Generally, I require 24 hrs. advance notice in order to reschedule a lesson.

 

Master Class meets weekly on Wednesdays at 1:30. This class is crucial to your development as a flutist, and all flute students are expected to attend all master classes. There will be rotating performance dates for each student for each term; this list, including planned repertoire, will be posted (outside my office door) near the beginning of each term. Participation, attitude, attentiveness and preparedness will be the determining factors in the assessment of your work in master class. Specific repertoire and themes change every term; specifics on this coming year will be detailed in a separate document.

 

 

Jury There is a juried performance of 15 minutes duration for all performance stream majors and 10 minutes for all other streams. There may be sight reading as part of the jury for performance majors. A jury exam performance missed for any reason (other than a genuine and unavoidable emergency) cannot be rescheduled.

 

Private lesson mark will be determined as follows:

One third of mark:

1. Weeklyprivatelesson (including assigned readings/summaries) and
2. Weekly master class

This part of your mark assesses your degree of musical preparedness, as well as your attitude, attendance and punctuality (for performance majors this includes IPS attendance and participation).

 

One third of mark:

1. Quality of your performances in Tuesday and Friday noon hours, annual Studio recital; and for performance majors, your IPS performances and
2. A technical exam (administered in January, date TBA). All students except fourth year undergraduates and graduate students will be assessed in a technical exam. Fluency, accuracy, tonal homogeneity and speed will be assessed. Details TBA.

 

One third of mark: Jury or graduating recital

 

Please note: In every category listed above, a student’s attitude towards learning, consistency of effort, (weekly preparation), openness to trying new approaches/concepts, and evidence of improvement and effort are extremely important factors in your overall mark.

 

 

Readings and summaries Three short written reflections on required readings (between 400-600 words) will be required as part of this course. You may read your assigned readings in any order that works best for you. The first is due on 1 October; the second will be 19 January, and the last will be due by March 19. To save paper, please submit your summary by email (word doc) attachment. Late assignments will not be accepted.

This assignment is designed to heighten your awareness of the context of performing and to expand your thinking about various larger issues in performance. I would like each student to ‘digest’ and directly apply the practical information contained in these texts to their own playing. To that end, I would like the written assignments to focus on what was personally most useful to you as a player and how you actually applied the information in your practice and/or performance experiences. Please include in your summaries three specific examples of how you have applied suggestions/information, sourced directly from the text, to your own practice as a musician.

The required readings for 2016-17 are listed below. I encourage you to purchase these items rather than borrowing them as they will be items you will (hopefully!) return to throughout your musical lives.

 

For first year students:

1. The Inner Game of Music by Barry Green or The Mastery of Music: Ten Pathways to True Artistry by Barry Green
2. The Art of Wind Playing by Arthur Weisburg
3. Playing (Less) Hurt by Janet Horvath

 

For second year students:

1. The Creativity Habit by Twyla Tharp or Kincaidiana by John Krell
2. The Proper Flutist by Trevor Wye
3. Casals and the Art of Interpretation by David Blum

 

For third year students:

1. Body Mapping for Flutists by Lea Parsons
2. The Notation is Not the Music by Barthold Kuijken OR Casals and the Art of Interpretation by David Blum
3. Making your Creative Mark: Nine Keys to Achieving your Artistic Goals by Eric Maisel OR Mastering Creative Anxiety by Eric Maisel

 

For fourth year students:

1. Kincaidiana by John Krell OR The Early Flute by Rachel Brown
2. Arrau on Music Performance by Joseph Horowitz
3. Modernising Performance Practice by Jennifer Borkowski

 

For graduate students:

Please choose three of the above titles that you have not yet read.

 

Practice I suggest daily practice be proportioned as follows:

25% tone

25% technique

25% etude/s

25% repertoire

Even (especially!) when you are in the midst of preparing recitals this is an excellent way to practice. Attending concerts, performing, listening to recordings, reading relevant texts and physical exercise/stretching (yoga is excellent, as is swimming!) are important activities. These should constitute a regular part of your ‘out of the practice room’ practice. Students are expected to attend their professor’s and fellow flutist’s recitals and concerts. I will also be performing off campus on a regular basis and so will occasionally need to reschedule lessons accordingly. Thank you, in advance, for your flexibility in this.

 

Materials I will be making individually tailored recommendations for all students. Students will be expected to purchase music as determined by the instructor. Every undergraduate will prepare a weekly etude, in addition to technical work and repertoire. Graduate students will, in addition, generally be expected to complete works more quickly. We will strive to cover all genres (‘early’ music, classical, Romantic/French salon, 20^th C and beyond) and fill in any gaps in repertoire. If a student has a very strong background in one area, there will be greater emphasis given to the others. Piccolo, Alto and Bass study are all strongly encouraged as well.

 

Studio policy

1. I do not photocopy any music or lend any music (parts, scores or recordings) from my personal library to students. As with any academic course, all students are required to secure their own materials. If financially necessary, you may instead borrow available materials from the Macpherson library. We have a fairly comprehensive existing collection. I can also request the library purchase new items if they do not happen to have an item we need. However, it is important to develop your own music library.

 

2. Performances represent the work we do together in the studio, as well as your own individual practice. Therefore, when I feel a work is ready to be performed, I will suggest a concert venue to you (usually, Tuesday and Friday music concerts). This will happen after I have first heard the material successfully and confidently presented in a polished manner in the studio, and as it is to be presented publicly: in its entirety and with all collaborative musicians. Performance permission slips will not be signed in anticipation of a student’s later work. Please plan accordingly. I will have performance permission slips, at the ready, in my studio.

 

3. Please check with me before scheduling a solo recital. Please note that according to current wind section requirements, all graduating recitals need to be presented before 15 March. My schedule fluctuates throughout the year according to my concert schedule and other commitments, but I make every effort to be present at all UVic flute student recitals.

 

I am looking forward to a very productive and enjoyable ‘musical journey’ with all of you! Please join me in extending a warm welcome to our new students!

 

Please see below for undergraduate marking at UVic:

http://web.uvic.ca/calendar2016-01/undergrad/info/regulations/grading.html

 

Please see below link for graduate marking at UVIc:

http://web.uvic.ca/calendar2016-01/grad/academic-regulations/grading.html

 

Please consult below link for UVic academic policies:

http://web.uvic.ca/calendar2016-01/undergrad/info/regulations/academic-integrity.html

For information on academic supports avialable to all Uvic students: http://www.uvic.ca/current-students/home/academics/strategies-support/index.php

 

Please see below for counselling support available to all Uvic students:

http://www.uvic.ca/services/counselling/

Please see below for wellness and safety information:

http://www.uvic.ca/current-students/home/wellness-safety/index.php

 

Please see below for required audition selections for UVic large ensemble placement. ALL flutists must audition on both flute and piccolo. Short excerpts will be chosen from the list below. Please  also keep an eye on the UVIc website for further details on the audition (dates, procedures etc).
FLUTE
1. Mozart Concerto in G major first mvt, exposition only. Please use whichever edition you prefer.
2.St. Saens ‘Voliere’ from Carnival of the Animals: http://imslp.org/wiki/File:PMLP06099-Saint-Saens_-_Carnaval_des_Animaux_(Volière_trans._Garban_-_flute_and_piano).pdf
3. Brahms German Requiem, first flute part mvt. 2 only http://javanese.imslp.info/files/imglnks/usimg/7/77/IMSLP40458-PMLP11297-Brahms-Op045.Flute.pdf
4. Strauss Til Eulenspiegel Merry Pranks entire first fl part; http://ks.imslp.info/files/imglnks/usimg/a/a1/IMSLP50710-PMLP12185-StraussR-Op28.Flute.pdf
PICCOLO: Semiramide Overture, entire piccolo part. http://petrucci.mus.auth.gr/imglnks/usimg/4/40/IMSLP50081-PMLP48525-Rossini-SemiramideOv.Flute.pdf

I just received this information from Lauren Eselson who is a faculty member at the Academy in Calgary. She will be teaching in BC over the summer! Please consider applying for the programme, it would be great for any of you to work with her. It is really helpful to be involved in a summer programme as it keeps you going in terms of motivation with your own individual practice over the summer, AND it offers a chance to broaden your perspective by having another teacher’s insights. Please see: http://valhallafinearts.org/home/valhalla-summer-school-of-music/

Also PLEASE consider attending the Pender island Flute retreat where Lorna McGhee, William Bennett and Gwen Klassen (principal flute in Calgary Symphony) teach for a week in the summer. It is possible to attend for one single day or go for two days with an overnight stay (this is what I like to do). It is a lovely place to be in the summer as well as an inspiring flute event! You should contact Gwen Klassen in advance to arrange that. See http://www.fluteretreat.com/2016-course-details.html

Had a lovely visit to the beautiful Okanagan, where it is full blown summer (by our mild coastal measures!). Heard some very talented young players at the Vernon Community Music School where my guest class and recital was hosted. BIG thank you to event co-ordinators, Christine Moore (flutist with Okanagan Symphony and flute teacher at Kelowna Community Music School) and Margaret Burton, the flute teacher at the Vernon School.

pictured from left to right) flutists Suzanne Snizek and Christine Moore

 

Just got this question from an incoming new student:

“Thought I would get the ball rolling a bit. What can I do to get myself ready for September, musically and mentally?”

Excellent question. This is what I suggest for everyone:

1. All of you should work on improving your technique. Scales: chromatic, major/minor/whole tone, and arpeggios. Also practice scales in 3rds and chromatic seconds (c d, c# d#, de, d#f, etc). Keep it creative, and remember to change articulations as well as dynamics. Summer is the best time to really buckle down and propel yourself further technically, when you do not have a million other competing musical tasks.
2. Maintain a close, friendly relationship with your metronome.
   Also, if you have not already mastered it, be sure to memorize T and Gaubert’s ex. #4, and be able to play in any of the articulation patterns listed above it fluently.
3.  Daily practice on Bach C major second mvt for double tonguing work. Also work on Carnival of the Animals for same skill development.
4.  Work through etude books, ‘assigning yourself’ one new one each week. Try to keep up that pace: it will help build your technique and your ability to learn new materials quickly.
5. Tonally: Work on Tone Development though Interpretation and the 24 Petites Melodiques by Moyse. Best if you can have lessons at least occasionally with someone (check with me for recommendations) over the summer to check in on these; sometimes difficult to determine your progress without any extra expert guidance.
6.  Intonation usually is one of the first skills to slip when working in isolation. Be sure to practice with a tuner regularly.
7. Try to keep playing with others over the summer, either independently or in a summer festival or masterclass setting. Pender Island is a wonderful programme; you can drop in and audit for as short of a time as a single day!
8.  Practice both your flute and piccolo.
9.  Make sure ALL your instruments are in good working condition. Get any necessary repairs done NOW. You will not want to be without your flute as you near the beginning of the school yr…
10. Get going with basic aspects of your repertoire for the coming year (e.g., rhythm and notes), but be sure to keep an open mind for revisions that might be requested by your teacher/s later. IF you do not know what your repertoire will be for the coming year AND you have a first year graduate recital or fourth year required graduating recital to complete in the coming year, please check in with me (via email) before 1 June for guidance.
11.  Listen to lots of different recordings to situate yourself contextually with the piece as a whole.
12. Audition excerpts for large ensemble placement will be posted sometime in June. This audition is always during the very first week of classes, and usually on the first Thurs after classes begin.
13. There are lots of things going on the first week or so. Please keep up on all happenings via the UVic School of Music website.
14. Then …reward yourself after practice sessions by enjoying some beach time!

Wanted to share with you a quick list of upcoming flute recitals at UVIc. We would love to see you at any (or all!) of these free concerts. If you are out of town you may listen in via livestream at http://finearts.uvic.ca/music/events/live/

9 April Saturday at 6 pm in PTY: Bailey Finley third yr recital. Programme includes new music for flute with electronics by Nathan Friedman; Kummer flute trio (with Sierra Phosy and Monica Mun); jazz standard ‘Misty.’

10 April Sunday 12 noon in PTY: Sierra Phosy fourth yr recital. Programme includes Chaminade Concertino and Copland Duo.

10 April Sunday at 2 pm in PTY: Gillian Newburn and Cooper Reed shared 3rd yr recital. Repertoire includes Burton Sonatine, Glick Sonata, Fukushima’s Shun-San.​
17 April Sunday at 4 pm in PTY: Jillian Broughton third yr recital. Repertoire includes Takemitsu Towards the Sea for alto flute and guitar, Liebermann Sonata for flute and guitar.

17 April Sunday at 8 pm in PTY: Monica Mun second yr recital. Repertoire includes Varèse Density 21.5, selections from Boris Blacher Sonata and J. S. Bach Sonata in E major.

Hello everyone,

Just a few jury reminders:

1. Please be sure to alert (or remind) your pianist of your assigned jury time.
2. Please fill out three copies of the jury form, which will be available on the table outside the front office upstairs.
   Due to time constraints, flutists will be requested to perform selections from only three of their four prepared works. The three selections will be chosen (selected from your jury form) by the committee.
3. Please be ready and waiting outside the recital hall door, with your pianist, by the jury slot before your own to help keep us on track with the schedule. Be sure to keep your flute warm prior to your performance as it is often cold in the outside hallway and in the back stage area.
4. Please be sure to take your time in tuning, to ensure you are thoroughly ready. It often takes longer than one might expect.
5. Please provide one copy of each score (or flute part, if it is an unaccompanied work)) for the committee.
6. Best of luck to everyone! Looking forward to hearing all of you and the ‘fruits’ of our hard work!

Hello Fellow flutists!

We will be hosting a guest artist recital and master class given by Derek Roy Jones from the University of Melbourne.  The class will run from 1230 to 230. The first hour of class will be a master class held in  B016 in Maclaurin B wing of UVic. The class will feature three of our talented Uvic flute students (Bailey, Cooper and Gillian). Class will be followed by the guest recital which will take place in the PTY recital hall from 130(ish) to 220. Both events are open to the public. Donations gratefully accepted.

FLUTE MC SCHEDULE: every Weds afternoon 130-220 pm

Classes in B037 unless otherwise noted. All students will need Moderne Orchesterstudien Band 1/Volume 1 (Schott; edited by Zoller). Available at L and McQuade. There are numerous copies now available at the Victoria store location.

JAN TOPIC: EXCERPTS

6 Jan (PTY) Daphnis and Chloe: Gillian first, Kelsey second, Bailey piccolo, Jillian prepare alto flute part only. We will present this work as a whole and as a group ensemble. Please be sure to prepare your entire assigned part (as included in the book) thoroughly.

13 Jan Afternoon of a Faun: Monica, Jamie, Olivia

20 Jan Firebird: Gillian fl, Jamie fl, Cooper piccolo

27 Jan Symphonic Metamorphosis: Jasmine, Monica, Jillian

FEB TOPIC: SOLO (UNACCOMPANIED) REP

3 Feb TBA Kelsey Takemitsu’s Itinerant, Olivia, Sierra Ferroud Trois Pieces.

10 Feb Reading break

17 Feb (in PTY): Taya: Telemann Fantasie #2;  Sierra: Ferroud Trois Pieces; Cooper: selected orchestral excerpts

24 Feb Monica, Jamie, Kelsey

28 February GUEST MASTERCLASS with Torrey Kaminski (former President of Seattle Flute Society and certified yoga instructor), followed by potluck dinner in lounge: Cooper, Gillian, Jamie and Jasmine performers

MARCH MIXED TOPICS

2 March Petrouchka: Cooper, Gillian, Bailey

9 March Flute Pedagogy: Sierra, Jillian, Taya,

16 March GUEST MASTER CLASS Derek Jones (University of Melbourne, Australia) Gillian, Cooper, Bailey

23 March Extended techniques: Olivia (TBA), Taya (Robert Aitkens Icicle, Jasmine (Barbara Pentland’s Trance)

30 March Flute Studio Celebration!!