Glissando Headjoint

Flute and Composer Friends,

If you don’t yet know about the Glissando Headjoint, I am happy to introduce you to some of what it can do. It was invented by the flutist/composer/musician extraordinaire Robert Dick, and plenty of information about its conception and eventual construction can be found at other sources. Check out this link for a video demonstration by Robert.

Since buying one of these headjoints a couple of years ago, I am feeling more comfortable and adept at using it. I am happy to have met several people worldwide who also use it, and it has been especially rewarding to have some new pieces written which utilize the headjoint. It is possible to extend the range of the flute downwards, and it produces a true glissando, as opposed to one produced by quickly fingering a descending scale or using the head to bend the pitch downwards.

From the flutist’s perspective, it takes a while to learn the mechanics of the headjoint. It is cut somewhat differently compared to my standard headjoint. Despite the fact that it somewhat resembles a medieval torture device, it is actually quite comfortable to play. The steep learning curve is figuring out how far out the carrier tube has to be extended in order to get the note that is needed. I have found the best way to remember these specific positions is to write reminders in the margins (“Nearly halfway, Fully extended, Very close to home positions,” etc.). Granted, they aren’t precise but they help me remember generally how far the tube must be extended, and then I rely on muscle memory and my ears to tweak. On a side note, working with the glissando headjoint has been the best ear training teacher I’ve ever had. There is an established fingering chart and notation system in place.

Jay Batzner has written a beautiful work that calls for the glissando headjoint, and you can check it out here.

If you are a composer interested in working with me and writing for the glissando headjoint, please feel free to contact me at tammy.yonce at sdstate.edu.

IMG_1286[1]
With the carrier tube in “home” position. In this case, it plays exactly like a C flute. The two wings can be adjusted to fit each player’s face, and those are used to slide the tube.
IMG_1287[1]
With the carrier tube fully extended.
 

Circular Breathing Progress

A couple of years ago, I made an attempt to learn circular breathing. It was a frustrating process and I didn’t stick with it, so I didn’t become proficient at the technique. It was probably a decent introduction to the idea but I’m not sure how much benefit I got from that initial failed attempt.

As I focus more heavily on contemporary music, the likelihood that I will encounter the specific requirement to use circular breathing within a piece becomes more realistic. I recently started working on a piece that does require circular breathing. Obviously it’s time for me to figure this out.

I have Robert Dick’s Circular Breathing for the Flutist. I also ran across a helpful video by Helen Bledsoe, which can be found here: http://www.youtube.com/watch?v=UQyAotWQjZQ. Reading descriptions of how to learn the technique is helpful, but sometimes it is necessary for me to see it being used to really understand what should be taking place.

At this point, I am able to inhale and exhale simultaneously for short bursts. I’m practicing this using a glass of water and a straw as well as just inhaling and exhaling without using the glass. When using the glass of water, you blow bubbles into the water through the straw while taking in a breath through your nose. Apparently it is rather common for people to accidentally inhale water while trying to coordinate these. Fortunately, I haven’t done that yet.

I haven’t been able to move past this stage at this point but I have been practicing it for only a week or so. I feel good about the consistency of my practice, even though I’ve been going a bit beyond the recommended 10 – 15 minutes a day. It takes me a while to get the hang of it each practice session, and once I do, I try to get as much as possible out of it. This has resulted in sore embouchure muscles after a couple of sessions, so I’m trying not to overdo it.

I hope to be able to start using this technique in an actual piece of music in a couple of months, while still keeping in mind that it can take years to be truly proficient.

I plan to keep track of my progress here, which will hopefully keep me accountable. If you are also in the process of learning how to use circular breathing, feel free to share your experiences.

The Glissando Headjoint

Dreary spring day at SDSU.
Dreary spring day at SDSU.

I recently purchased a Glissando headjoint, which is a relatively new piece of flute “gear” invented by Robert Dick. If you aren’t familiar with him, he’s one of the preeminent performers of contemporary music. He’s active as a performer, a composer, and a teacher. This headjoint slides out from its home position to create a true glissando and can therefore make either subtle or extreme adjustments to pitch. It can also be played as a standard headjoint.

Here’s a fantastic demonstration of how it works:

Glissando Headjoint Demonstration (video)

My first performance on this headjoint will be this August at the National Flute Association Annual Convention in New Orleans, where I’ll be giving the premiere of a new work by Jay Batzner. The title of the work will be Dreams Grow Like Slow Ice for glissando headjoint and electronics, and I’m really looking forward to seeing what kinds of sounds can be coaxed out of this new setup.

If there are any flutists out there who own one of these and want to collaborate, or if there are any composers who are interested in writing for this headjoint, contact me!

Kentucky Flute Festival recap

I recently returned from the Flute Society of Kentucky‘s 2012 Festival, which as held at Western Kentucky University in Bowling Green. It was really a top-notch event with interesting workshops and performances. It was very well-organized by the Festival chair, Dr. Heidi Alvarez, who is the flute professor at WKU. What a class act, and one of the most hospitable flutists I’ve ever had the privilege to meet.

While it was impossible to attend every single event at the Festival, I thought it would be worthwhile to give a summary of what I did see there and perhaps introduce you to some new ideas.

On Friday, 13 January, I caught the end of a workshop on intonation by Dr. Elizabeth Goode, professor of flute at Valdosta State University in Valdosta, GA. This presentation was based on an article she has published in Flute Talk entitled “Good Vibrations: A Practical Approach to Intonation.” It was nice to see a compilation of flute intonation tendencies in one place, and I also enjoyed hearing about the intonation tendencies of other instruments. (Yes, I guess we have to play with instruments other than flute, right?) She also reminded me of the value of incorporating resultant tones into my practice and teaching.

I gave a lecture about ways to make practicing more effective and efficient. The basics can be found here: Practicing Difficult Sections and here: Practice Tips.

I then heard a presentation about performance injuries. The presenter, Adam Pettry, has been through several injuries which required him to take a long break from performance. He went over specific products that can be used to help alleviate symptoms and hopefully prevent injury. I find this to be an interesting topic because my background includes influential teachers who do not play with extra “gadgets,” and I fear that adding things to the instrument might affect resonance and overall tone quality. I posed the question on Twitter and received a variety of responses, but I think it boiled down to “do what you have to do.” Not sure about this one.

I then enjoyed a lecture from Atlanta’s own Tony Watson, who has recently relocated to Louisville, Kentucky and is establishing a Suzuki program at the University of Louisville. It was great to spend some time with someone from my neck of the woods, and I enjoyed learning about the Suzuki method of instruction. The most striking was the realization that I (and many others, I suspect) incorporate Suzuki ideas into my teaching, even though I don’t have any background in the method. As Tony explained, “Good teaching is just good teaching,” and ideas can freely flow between different methods of instruction.

The next presentation I saw was given by Melissa Keeling, who is a graduate student at Middle Tennessee State University. She demonstrated how to incorporate microphones, amplification, and effects to the regular ol’ flute. She uses it to write her own music (even though she shies away from calling herself a “composer”) and says that she hasn’t found music that incorporates this technology. I wonder if there is any out there. It’s a really neat idea and something I can see myself embracing but I have little interest in writing the music myself.

I then gave a lecture on my dissertation stuff: several works involving flute by the Grammy-winning Joan Tower.

That evening, we were treated to a recital by the Guest Artist, Mr. Walfrid Kujala. He performed a movement from JS Bach’s F Major Organ Sonata, the Beethoven Serenade in D arranged for flute and piano, Katherine Hoover’s Three Sketches for Piccolo and Piano, and Otar Gordeli’s Flute Concerto, Op. 8. I particularly enjoyed the piccolo piece. (Am I really saying I enjoyed piccolo? Why, yes!)

That ended day one of the Festival. I wasn’t prepared for how cold it was there even though I brought a good coat. The thermometer in the rental car read 25 degrees F. I was also slightly jet-lagged, so I called it a night.

Saturday, 14 January was another jam-packed day of flute goodness. I spent a lot of time at the exhibits that morning. Even though I’m not officially in the market for a flute, I like to see what’s available. I especially like to try as many intermediate-level models and brands as possible, so I can better help my students when they’re ready to buy step-up instruments. I spent a lot of time with Flute Specialists (Clawson, MI) and Carolyn Nussbaum Music Company (Plano, TX) and had lovely chats. I also bought a stack of music I was needing (no pesky shipping charges!). A couple of notable instruments/gear: I found a delicious vintage Powell piccolo, which is currently out of my price range, and I tried a Robert Dick glissando headjoint. (More about that later.)

My attention naturally gravitated towards the recital of chamber music of the 20th and 21st centuries, since that’s primarily what I focus on. I had some Twitter folks ask me specifically what was on the program, so let me list it here:

The Piper Calls for Flute and Guitar by Frederick Speck
In the Clear Blue for Two Flutes and Piano (World Premiere) by Michael Kallstrom
Spindrift for Piccolo and Piano by Ken Benshoof
Mountain Songs for Flute and Guitar by Robert Beaser
Interior States for Flute and Cello by Jonathan McNair
Sonata for Flute, Viola, and Harp by Claude Debussy

It was really a varied program, and I found several works that I would like to incorporate into my repertoire. Surprisingly, one of them was the piccolo piece. (I’m not usually a piccolo gal; can you tell?) This recital ran a bit long, so I was late to the beatbox workshop but caught enough of it to learn the basics. This was presented by Denis Santos, a doctoral student at the University of Kentucky. In case you haven’t heard of beatboxing flute yet, check this out: http://www.pattillostyle.com/Beatbox_Flute/Home.html

The next recital was given by the interdisciplinary group The Fourth Wall, which incorporates dance and acting into their musical performances. They were quite good at engaging the audience, and it was an unusual experience.

The closing concert of the festival also featured a lot of new music, which made it really interesting to me. In case you’re wondering, it included:

The Falling Cinders of Time for Solo Flute by Michael Kallstrom
Reflections by Maggi Payne
Three Beats for Beatbox Flute by Greg Pattillo

and a recital by Michele Gori, an Italian flutist who plays all the flute family and mixes them up with a looper and electronics. Some of the works he played were from our standard repertoire, such as Honegger’s Danse de la chevre. Others were his own compositions. It was really interesting to hear the standards in such a new context.

All in all, what a full event! I especially liked the emphasis on the new – new technology, new trends, new music. Maybe these trends will stick, and maybe they won’t but showing what is at the forefront of the flute community is a great way to inspire people and keep these festivals fresh.

If next year’s Festival of the Flute Society of Kentucky is anything like this year’s, I’ll plan to be there. I recommend that you do the same!

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