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SFS seeks Interim Flute Choir Director

The Seattle Flute Society seeks an Interim Director for the fall session of the SFS Flute Choir, September to December 2018. The Flute Choir is a non-audition group of amateur flutists who enjoy playing the flute and want to play intermediate and advanced music in an ensemble. The group style is to be upbeat with an emphasis on skill-building and all members strive to be positive and friendly. Although the flute choir members are not compensated for their playing, the Director is a paid position.

If you are inserted in this position, please review this document and send the requested materials to Paul Taub, SFS President, by 11:59pm on August 5th, 2018. A full search for a permanent director will be conducted during the fall session. The Interim Director may be considered for the long-term position.

We’d like to express our sincere thanks to Katrina Sibicky for her dedication to the SFS and the excellent work she contributed to the Flute Choir for many seasons. Katrina has stepped down from her position to spend more time with her family.


2018-19 Ensemble placement auditions

2018-19 Flute Ensemble Audition will be held on Thursday 6 September. Sign up list will be posted on the ensemble board at base of stairs; please be sure to sign up for a time. Auditions typically begin with flutes, starting around 230 pm (in PTY recital hall).


Please note: As previously noted on this blog, all 2018-19 ensemble placement excerpts are available in

Kujala, Walfrid. Orchestral Techniques for Flute and Piccolo: An Audition Guide. Progress Press, 2006.

This book is available for purchase through Flute World. See

  1. Prepare Dvorak: a.Flute solo as found on top of p. 35 (please ignore bottom item p.35) and b. Flute solo as found on p. 36

2. Prepare Bartok: Flute solo p.9

3. Prepare Shostakovich: a. Flute solo as found on p.66 and  b.  Flute solo (item marked “original version” though you may choose to perform using the suggested enharmonic fingerings as printed on bottom of that page) on p.67 and c. piccolo solos as found on p. 63 and 64. If you are an incoming new first year student and do not yet own a piccolo these piccolo excerpts are optional. All other students should prepare these two excerpts in addition to all the above listed flute excerpts.


Upcoming Flute trio concert

An upcoming chamber music event in Victoria, created by three former UVIc flute students:

Do you like family-friendly entertainment, good times, and tacos? So do we!
Join Trio Taco for a musical evening tea party in support of our upcoming tour of Ontario showcasing some *brand new* Canadian contemporary music. This is a fun, casual fundraising event where we will be selling tea, various baked goods, and of course, tacos and our signature Trio Taco merchandise – cash only, please.
Bring a friend or make a friend; conversation and laughter is highly encouraged at this particular concert! This is a family-friendly event and children are welcome.
ADVANCE TICKETS are available on a sliding scale for $8 – $15. They can be reserved via e-transfer to, or in person, wherever one of us Tacos Fillings can be found around town (just ask us!). Tickets can also be purchased at The Shielingin Cadboro Bay Village.
AT THE DOOR TICKETS will be available for $10 – $20 sliding scale.
Wondering how the sliding scale works?
If you are un- or under-employed (or a student), please pay on the lower end of the scale. If you are reasonably employed, please pay towards the middle of the scale. If you are well-employed or otherwise financially well-off, please pay towards the upper end of the scale. No questions asked.
The Oaklands Community Centre is a fully accessible venue, and has gender-neutral washrooms as well as a changing table on site. Let us know if there is anything else we can do to accommodate you!
We respectfully acknowledge the Songhees, Esquimalt, and WSÁNEĆ peoples on whose unceded traditional territory we practice and perform

2018-19 UVic Flute Syllabus

Flute Lesson Syllabus 201819

Instructor: Dr. Suzanne Snizek


Welcome to the Uvic Flute Studio! I am looking forward to working with each one of you. I will be your flute instructor and mentor during your time here at Uvic. Please do not hesitate to ask for guidance. I am at school nearly every weekday and can meet with you by appointment or during my office hours, which are posted outside my office door. If these times conflict with your class schedule, we can arrange another time if needed; just ask! 

Process Firstly, 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 place students in their large ensembles (Wind Symphony, Concert Band, Choir or Orchestra) and small chamber ensembles (as required by respective degree streams). Audition materials will be posted on the flute blog and the Uvic music school website.

Secondly, please also sign up for a private lesson time for first term. This sign-up sheet will be posted on my office door by the first week of classes. You may need to choose a new lesson slot for second term during the first week of that term.

The lesson schedule will fluctuate to accommodate my travel and performance schedule. My staying active as a performer assists me in assisting you. Thank you, in advance, for your flexibility.

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, which you use only for flute lessons, and a pencil 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, 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 typically meets weekly, on Wednesdays at 1:30. Occasionally we will have master class at other times, particularly when visiting guest artists join us. These dates are all set well in advance: if you have an unavoidable class schedule conflict, please inform me in advance.

This year will be an exciting one! I will be in Ecuador (Loja International Music Festival) from 16-27 October 2018 and in Suzhou (China) from 3-22 December for a faculty exchange. Please note there will not be any masterclasses during those windows. We will have guest artist Clara Novaková resident with us for three weeks in February; additional master classes may be held during that time (details TBA).  We may also have one additional  guest artist from the US (details TBA). A detailed master class schedule will be provided to you at the beginning of each term.

Master classes are essential to your development as a flutist. All flute students are expected to attend all master classes. Participation, attitude, attentiveness and preparedness will be the determining factors in the assessment of your participation in master class. Specific repertoire and themes change every term; specifics on this coming year will be detailed in the aforementioned masterclass document.

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

Private lesson mark will be determined as follows:

One third of mark:

  1. Weekly private lesson (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 (Tuesday and Friday noon hours, annual Studio recital and for performance majors, your IPS performances) AND
  2. A technical exam (administered the week of 29 October). All undergraduate students will be assessed in a technical exam. Fluency, accuracy, tonal homogeneity and speed will be assessed and given a mark (A, B, etc). Details regarding content and expectations are posted on the flute blog.

 One third of mark: Jury or graduating recital

For all students: 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.

For performance majors: IPS is a requirement for all Performance Majors. IPS Grading is based on attendance and participation in the seminar as indicated by IPS attendance sheets and performance notes completed by IPS faculty.

 Readings and summaries Four very short written reflections (about 300-400 words) on required readings 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 by 30 September; the second by 1 December, the third by 25 January and the last by 1 April. To save paper, please submit your summary in an email with “Student Name/Reading Summary #X” in subject line.  Please note that late assignments will not be accepted. This pragmatic assignment is intended to heighten your awareness of the context of performing and to expand your thinking about performance issues. I would like each student to apply these texts to their playing. To that end, please focus in your summaries on three specific examples of how you have applied information, sourced directly from the text, to your practice as a musician.

 Readings for 2018-19  I encourage you to purchase these items for your own library. If you have already read one of the suggested readings for your year, simply choose another title from this list that especially interests you.

For first year students: 

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

For second year students:

  1. The Creativity Habit by Twyla Tharp
  2. The Proper Flutist by Trevor Wye or Music and the Flute by Thomas Nyfenger
  3. Casals and the Art of Interpretation by David Blum
  4. Mastering Creative Anxietyby Eric Maisel

For third year students:

  1. Kincaidiana by John Krell
  2. The Notation is Not the Music by Barthold Kuijken
  3. Making your Creative Mark: Nine Keys to Achieving your Artistic Goals by Eric Maisel
  4. The Early Flute by Rachel Brown

For fourth year students:

  1. Body Mapping for flutists by Lea Parsons; or Vocal Wisdom by Lamperti (this one suggested by Lorna McGhee)
  2. Arrau on Music Performance by Joseph Horowitz
  3. The Proper Flutist by Trevor Wye or Flute by James Galway
  4. On the Art of Playing the Flute by Quantz

For graduate students:

Please consult with me (at the beginning of the academic year) in choosing four selections from any of the above.

Practice I suggest daily practice be proportioned as follows:

25% tone

25% technique

25% etude/s

25% repertoire

Attending concerts, performing, listening to recordings, reading relevant texts and physical exercise/stretching (yoga is excellent, as is swimming!) are also important activities. These should constitute a regular part of your ‘out of the practice room’ practice.

In addition, all flute students are expected to attend their professor’s and fellow flutist’s solo recitals.

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 tonal study, technical work and repertoire. Graduate students will generally be expected to complete repertoire more quickly. We will strive to cover all genres (early music, classical, Romantic/French salon, 20thC and contemporary music) and fill in perceived repertoire ‘gaps’. Piccolo, Alto and Bass study are all encouraged.

Studio policies

  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 (i.e., in its entirety and with necessary collaborative musicians). Performance permission slips will not be signed in anticipation of a student’s later work. Please plan ahead.
  3. Please check with me before scheduling degree required solo recitals. Please note that according to current wind section requirements, all graduating recitals need to be presented before 7 March.
  4. I have significant sensitivities to artificial scents. Please do not wear any scented products (perfume, hairspray, scented shampoo or soap) to your lessons or coachings. Please note: most professional orchestras and other ensembles now have a “no scent” policy. It is therefore prudent (and courteous to your musical colleagues) to adopt this approach in your UVic student ensembles. Please refrain from using these products in our work space.
  5. Please demonstrate respect for our collective artistic endeavours by refraining from socialising in the hallways (the resulting  noise disturbs those working in the studios and practice rooms). The lobby is our designated site for relaxing and socialising.

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!

Supportive information and links

Regarding undergraduate marking at UVic:

Regarding graduate marking at UVIc:

Please consult below link for UVic academic policies:

For UVic’s attendance policyplease see the following link:

For information on academic supports available to all Uvic students:

Please see below link for important Wellness and Safety information:

Counselling Services – Counselling Services can help you make the most of your university experience. They offer free,professional, confidential, inclusive support to currently registered UVic students.

 Health Services – University Health Services (UHS) provides a full service primary health clinic for students, and coordinates healthy student and campus initiatives.

Centre for Accessible Learning – The CAL staff are available by appointment to assess specific needs, provide referrals and arrange appropriate learning accommodations. Please refer to below link for details. The sooner you let us know your needs the quicker we can assist you in achieving your learning goals in this course.

Elders’ Voices – The Office of Indigenous Academic and Community Engagement (IACE) has the privilege of assembling a group of Elders from local communities to guide students, staff, faculty and administration in Indigenous ways of knowing and being




Summer music program

Just received this note from Lauren Eselson (flute teacher at Mount Royal Conservatory in Calgary ):

Dear Flutists and Teachers,

Just a friendly reminder the deadline for application is fast approaching for VSSM 2018! May 31, May 30 for scholarships.
Please come join Mary Sullivan and I in the beautiful Slocan Valley of BC for flute core class, chamber music with strings/pno, and more!

Technical Exam heads-up

Hello continuing (and new incoming) UVic flutists!

We will be having a technical exam the week of 29 October 2018.  I am giving everyone ample time to work towards these goals:  if you proceed at a calm, slow pace you will be much more successful in reaching these goals!

Contents of exam:

Be prepared to perform below items from memory; strive also to play all items with a relaxed bodily approach and awareness:

  1. All major and minor scales slurred, extended range up to high b or b flat, in 16ths at mm. 152. You may extend up to high c or C sharp if you prefer (please note: in fall of 2019 that will become the new studio expectation).

Also at mm. 112 in all standard articulations: t2 s2; s 2 t 2; s2 s2; all t; all s; t1 s3; s3 t1

  1. Whole tone scales all slurred at 152. Begin on low c or c sharp and play three octaves.
  2. ‘Chromatic seconds’ pattern, all slurred, at mm. 120. Start at low c d, c# d#,d e, d# e#, e f#, etc. up to high c then b flat, b a, b flat a flat, ag, etc back down to low c .
  3. All major scales in thirds at mm. 120 (all slurred and all tongued in 16ths)
  4. Major and minor arpeggios at mm.120 (all slurred and all tongued in 16ths)
  5. Broken ‘overlapping’ arpeggios (i.e., C G E C G E etc) also at mm. 120 in 16ths (all slurred and all tongued in 16ths)

Some tips:

For most of you this will require very gradual and persistent work over an extended period. Begin slowly, at whatever happens to be an easy tempo for you.

  1. Use the mirror to ensure proper positions, check posture and minimise tension.
  2. Play through these for each other (a “scale buddy” is a great idea over the summer!) to prepare for the exam. Even if you are in a remote location for the summer you can still play for each other via Skype or FaceTime, etc.
  3. Remember: strive for ‘more tone, less tongue.’ At mm.112 you can use single tonguing effectively if you play with a light approach.
  4. Record yourself at regular intervals to monitor progress.
  5. Please make sure you are fingering everything correctly (i.e., playing e natural with the d sharp key actually depressed, playing all middle e flats with index up etc.).