| Articles May 2012 |
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Interview:
Dedication and Artistry, An Interview with William Hebert
“Arthur Lora, who played principal flute with the NBC Symphony had an awareness of the musical business and advised, ‘If a third tier orchestra has an opening for principal flute, take it. If a second class orchestra has an audition for second flute, take that. If a first class orchestra has an opening for piccolo, take it.’”
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Career Advice:
How to Apply for a College Teaching Position
“Merely winning flute competitions used to be sufficient to get an interview for a college job. However, the college teaching market is changing and applicants now have to be versatile, flexible, innovative, and smart to get noticed.”
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Teaching:
Fun with Musical Games
Try these musical games and activities with flute camps, studio parties, and group classes as well as presentations for flute clubs and musical organizations. “Games not only offer creative paths to learning, but give students an opportunity to form friendships.”
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The Teacher's Studio:
Two Kinds of Technique
“Young people have great respect for technique. They must have. Music is technique, it is the only aspect of music we can control...One can be free of the essential techniques of one’s art only when it has been completely mastered.”
– Nadia Boulanger
composer and teacher
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Flute Choir:
Start a Flute Choir With Your Studio
“I decided to offer a weekly summer flute choir, so students would continue to play their flutes during the summer. The students enjoyed the experience so much that they asked to have flute choir year around.”
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Debost's Comments:
Where to Stand or Sit
“When an ensemble problem occurs, such as the last entrance of the theme in the Adagio non troppo, 2nd movement of Mozart’s Concerto in G, K.V. 313, where the flute is in unison with all the first violins, a discreet glance at the concertmaster’s fingers will be even more useful than the baton.”
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