Tuesday, May 30, 2017

Circle of Fifths & Major/minor Scale Guide (Free Printable!)


This is just a sneak peak. The link to the PDF is below!


Whew! It took me two solid hours to make this guide and I think I'll just keep this blog post short so I can take a break :-). 

It won't be easy, but I'm going to finish my personal challenge - 31 posts in 31 days - and keep raising money for the Maverick Flute Choir GoFundMe Campaign. If you haven't donated yet but regularly visit my blog, I'd so appreciate it if you took a moment to give - thanks!! 

Without further ado, here is the link for the...



I hope it comes in handy! 

Happy Practicing!
Terri Sànchez

P.S. Here's another great post about using the Circle of Fifths from musical-u.com!


The Ultimate Bb Fingering Guide for Flutists (A Free Printable)




I'm very happy to share this post with you because I've been meaning to do it for a long time! Please feel free to print and share freely :-). 


But first... 

This is post 24 out of 31 for May 2017! I've got 2 days left to finish my big challenge and I'm pumped up and ready to make this happen. Let me thank you in advance for helping with the Maverick Flute Choir GoFundMe Campaign this summer by donating HERE. I have faith that those of you reading this blog and benefiting from my free printables will find it in your heart to help my dream of getting my students to NFA this summer come true. 


And now... 

Here is a user-friendly resource for you and your students. My hope in making this guide was to end the deceptively simple (or is it deceptively difficult? I can never decide) task of picking out the best B-flat and A-sharp fingerings based on musical contexts. 

Click the link below for the free printable PDF!





Picture below is just a sneak peak! Click the link above for the PDF. 



Happy Practicing!
Terri Sànchez

Sunday, May 28, 2017

3 Ways Artistry & Technique Can Stay Happily Married in Your Practice

Post 23 of 31 for May 2017


I recently began a student's lesson by asking how her performance went this past weekend. She responded, "Well, the last time I performed it, it was really musical, but I played it messy. This time, I got all of the technique, but the spirit wasn't there." The conversation that followed is the inspiration for this post!

A common struggle for many flutists is the apparent battle between "technicality" and "musicality." I put both of these words in quotation marks because I believe (very strongly!) that no technical passage should be devoid of expression and no beautiful musical passage should be played with poor technique. It actually breaks my heart when it seems as though a flutist has divorced technique from artistry and feels that they can only be practiced one at a time. 

So...


How can you keep artistry and technique happily married in your practicing?



1. Make slow tempos and/or small sections incredibly dramatic. 
When you practice at slow tempos and/or repeat small sections you have extra time to make your louds louder, softs softer, and the flow between notes even more meaningful. Your articulation can be extra precise, you can listen more carefully for intonation and tone quality, and you can stay even more aware of your body position and breathing. When you create "larger-than-larger-than-life" versions at slow tempos and in small sections, your up-to-tempo full version playing will retain the same dramatic characteristics!


2. Use practice games to drill the sounds you want. 
When you practice notes in small groups, different rhythms, or creative combinations, it is the perfect chance to drill in the sweet spots in every single sound. Use a variety of practice methods to internalize not only muscle memory but sound memory!


3. Train your mind to think artistic thoughts. 
Rather than playing like a robot for 90% of your practice and then trying to be "more musical" right before the performance, practice thinking artistically every time you practice your flute! If you connect your music with a story, take time to connect with the story every time. Same goes for any interpretive approach (colors, images, emotions, shapes, etc.) Teach your mind to think the same artistic thoughts in your practice that you ultimately want in your performance. 


Happy Practicing!
Terri Sánchez


P.S. To browse the other posts from my 31 posts in 31 days challenge this month, click HERE


How do you figure out what to practice next?



When I first started college as a music major, I had no idea how to practice. It was always easier to work on ensemble music or solo repertoire for the next deadline because it felt "real." Because warm-ups, exercises, etudes, and other repertoire didn't feel as real, it was always easy to put them off until "next time," "sometime," or "later."

Even when I was determined to have a great practice session with a challenging piece of music, I couldn't easily figure out specific practice plans and would often resort to just "running through" the piece. When I was done running through it, I felt (mistakenly) like my choice was to run through it again or put my flute away.  

You or your students have probably had some experience with feeling stuck because there is too much to do or not enough to do. 

Use the following list of ideas as a kick in the pants or just a simple answer to the question, "What do I practice next?"

What to Practice Next

1. That hard part that's been secretly bugging you. 
If you're honest with yourself, you know there are moments in your current assignments (from a teacher or self-assigned) that are not up to par. Enjoy the self-esteem that comes from conquering your challenges!

2. Any solo or exposed parts in your ensemble music. 
The next time you're in rehearsal and get a chance to shine in special musical moments that you've practiced in advance, you'll thank yourself!

3. Tricky tuning spots. 
Instead of blaming other musicians or feeling frustrated, work on playing beautifully in tune with yourself, the piano, a tuner, and drones, so that next time you need to tune with others you will have more confidence and clarity. 

4. Fast passages that need rock solid muscle memory. 
Even if you feel like you've "learned" all of the fast passages in your current musical projects, odds are that you could still achieve faster tempos, more clarity, more familiarity, and more confidence!

5. Warm-ups that help you play your best. 
Don't be shy about spending a ton of time on warm-ups before or even in the middle of a practice session. The more you develop your tone, breathing, embouchure flexibility, vibrato, dynamic range, and color palette, the more polished your overall flute playing will become! 

6. Exercises that address fundamental skills you want to improve.
Flutists don't get good at advanced skills like tapers, gorgeous vibrato, dramatic dynamic contrast, etc. by just thinking about them. You have to actually do these skills over and over again to gain mastery!

7. Etudes to keep your mind sharp and your reading skills in shape.
Contrary to what some flutists may think, etudes are not just instruments of torture :-). Think of practicing etudes like video games, daily physical exercises, or practice versions of solo music. The more you play, the easier they get. The easier it is for you to play etudes, the easier it is to play all of your music!

8. Orchestral excerpts you may play in future auditions. 
If you're a young flutist without orchestral auditions coming up soon, you can still listen to great orchestral works and print orchestral flute parts from imslp.org to play along! If you are aspiring to create a music career, you definitely want to become more familiar with orchestral literature. 

9. Scales, scales, and more scales! 
Scales can be used to practice every kind of flute skill and also help you gain total comfort with all the major and minor key signatures. Play your scales staccato, legato, fast, slow, loud, soft, and in any other form that helps you improve areas of your flute playing that you know need improving. 

10. Music that you love now or would love to play in the future!
No music is off-limits to you. Play music from your favorite soundtracks (Disney included!), music you've loved playing in the past, or music you've dreamed of playing. Life is too short to feel like you are limited in your musical choices. There are so many wonderful things to play... enjoy unlimited freedom of choice!

Happy Practicing!
Terri Sánchez

P.S. Most people spend $40 or more on Starbucks each month. Would you consider donating $40 or more to the Maverick Flute Choir GoFundMe Campaign? If you do, you'll receive a beautiful copy of The Musician's Inspirational Practice Journal!


Saturday, May 27, 2017

Note/Rest Pairings (A Great Sightreading Tip!)



Post 21 of 31 for May 2017!



When I was younger, reading rests (especially sightreading rests), caused me to worry and guess, hoping that my rhythm was close to correct. Best case scenario, rests like the ones in the picture above felt like awkward pauses and worst case scenario, they turned into full blown mistakes with plenty of negative ripple effects. 

Later in my musical education, I understood the importance of subdividing, so the rests made sense to me mathematically and intellectually, but I still struggled to find an efficient, reliable way of reading them in real time. 

Now, I am happy to share with you that, though the notes and rests in the picture above may seem complicated, the counting in both examples is literally as simple as 1, 2, 3!

In the 3/4 example (quarter note = 1 beat):

Eighth note + Eighth rest = 1 beat

Dotted eighth + Sixteenth rest = 1 beat

Sixteenth note + Dotted eighth rest = 1 beat




In the 6/8 example (dotted quarter = 1 beat):

Quarter note + Eighth rest = 1 beat

Eighth note + Quarter rest = 1 beat

Dotted eighth note + Dotted eighth rest = 1 beat



I call these combinations Note/Rest Pairings. If you start to look out for them, you will find them everywhere in your music! 

In the selection below, from Danse de la Chevre by Arthur Honegger, the sixteenth note rests may seem difficult to read, but if you look closely, you can see that they are just part of a simple Note/Rest Pairing with the previous sixteenth note. 

In other words, if you're practicing with the eighth note beat on your metronome, no need for an awkward pause or guess just because you encounter a sixteenth note rest. All you have to do is play the note after the rest on the very next eighth note click!



The more you practice reading Note/Rest Pairings, the easier they will get :-). 


Happy Practicing!
Terri Sánchez


P.S. I'm working hard to follow through on my 31 Posts in 31 Days May 2017 Challenge. If you appreciate what I'm doing, will you donate to the Maverick Flute Choir GoFundMe Campaign? Thank you!!




Have trouble learning all your music? Read this!




Post 20 of 31 for May 2017!

I wish I could remember the name of the class or the teacher, but even though I don't, I'm very grateful to them for sharing the article "Hospital Corners" from impactednurse.com. It doesn't seem like the website is still running, but I saved a copy of the article because I knew it would be meaningful to me and my students in the future!

The article copy I have is just a blurry printout, so I thought I would retype it here so you can read it more easily. I encourage you to read the story patiently (instead of just skimming) and think about any connections to you, your practicing, and performing that may be helpful. 

September 17, 2008

hopital corners.

In this hand you have the theory, and in this hand the practice, and in the difference of their unfolding we make the beds our patients lay in. 

As a new student nurse I was instructed in the correct way to make a hospital bed. A neatly folded rectangle of starched white is placed in the center of the bed and carefully folded. 

This was done slowly, in a sort of gentle reverse origami, so as not to generate disturbing air vortices that might spread organisms from one patient to another. The overhanging sheet is tucked under the mattress with a series of slow poking karate chops. When you got good at it, you could tuck the entire length of the mattress with a single letter-opening sweep.

The sheet is tied under the mattress at one end, to stop the patient sliding down when the head of the bed is elevated. Granny knot. A tricky fixing 'cause the sheet only just reaches, and if you pull it through too much you end up with a banana bend in your bed. 

Do it right and your bed is smooth as wedding cake marzipan. 

Finally, the flourish that is the hospital corner. Lift the edge, corner tucks under and the overhang falls back down. Just like folding the nose of a paper plane. Flip. Flop. 

My first day on a busy surgical ward and the registered nurse takes me out to make some beds. I place the starched rectangle in the center of the bed and began the unfolding. I am at one with the sheet. 

Open, open, over and out to the edge. Move around to the other side. Open, open, over and out to the edge.

The nurse bends over the bed. Leans in real close.
'Ian.'

Sweep down the edge (I had been practicing this move), and then flip...
'Ian!!...what in the name of Nightingales nipples do you think you are doing exactly?'

Grabbing the sheet the nurse pulled my work undone and with a fisherman's cast, slung the sheet out over the bed. It spun out in an instant of frozen gossamer before collapsing with a Hindenburg flop atop the mattress. It was crimpled and slightly askew.

Left over right. Right over left. On goes the top sheet. And the blanket. Fold it all back. Pillow is jackhammered into its case. Flop. Done.
'We have twelve beds to make and then five people to shower in the next 45 minutes! Then we have to do the pill round and change those dressings. Save the bedroom Zen for home...this is a hospital!'

And so I began to realize the difference between what we should do, and what we must do. 

As musicians, there is a constant battle between the old-school-take-your-time-polish-every-detail-patient-preparation that would make our music as "perfect" as humanly possible vs. the reality of a busy schedule and upcoming performance deadlines. 

My last post, The Practice Honesty Awesomeness Policy, mentions how honest, detailed practice is actually easier (and much, much, better!), but I also think it's important to recognize when our practicing polishing has turned into obsessive perfectionism. 

Occasionally, a student will come into a lesson with a piece only half-learned, or the hard parts completely skipped, and then tell me the reason is that they were striving for quality over quantity. I try my best to explain that quality over quantity is important to a degree, but that quantity cannot be ignored! When it's time to perform, you can only perform the entire musical work, not just selected parts. 

My solution to this tricky balance is to combine honest practicing with constant practice flow. Even if some sections of new music need a slower tempo or a practice game version, if I decide to work on a piece, I work on the entire piece! This way, there are no notes or rhythms that I have not engaged with before I put the piece away for the day. 

Remember, beauty in the details is a huge part of high quality music making, but it is definitely not an excuse to avoid the big picture.

Happy Practicing!
Terri Sánchez

P.S. HERE is a link to the page with an ongoing list of posts from my 31 Posts in 31 Days May 2017 Challenge. I've received three donations as a result of my posts so far, and it would mean the world to me if you added your donation to the Maverick Flute Choir GoFundMe Campaign - thank you!!

Friday, May 26, 2017

The Practice Honesty Awesomeness Policy




I was about to ask your permission to rant on this blog post topic, but then I realized, I can just give myself permission!

Here goes my rant... 

You've got to be honest when you practice. Really. 

Like, 

face-yourself-be-real-and-quit-with-the-excuses honest. 

Think about it for a second. 

During a typical practice session, how many bobbles do you let slip by without addressing them?

How many times have you only felt 75% certain of the notes flying by when you knew that you could reach 100% certainty with more time, patience, and creative practice?

Is it common for you to accidentally turn into a flute robot, just "getting the job done" and not including your musical knowledge, artistic sensibilities, and whole self in the practice project?

Don't get me wrong... despite the Prof. Umbridge picture above, I'm not here to call you out. In fact, I'm writing this post to do the opposite!

You see, I know the reason why the bobbles, the insecurities, and the autopilot practicing happens too often. Somewhere in the back of your mind, you believe that you're doing the best you can! Part of you must feel like ignoring or denying the mistakes is easier. There is definitely fear of some kind, otherwise, you wouldn't have a reason for avoiding more quality practice. 

I have some WONDERFUL news for you. Really wonderful news.

Honest

practicing

is...

EASIER!

and...

makes you WAY, WAY more awesome as a flute player. 

The problem with ignoring your practicing issues (or worse yet, becoming desensitized to them), is that you create negative ripple effects in the rest of your practicing and performing. 

When you are dishonest, even for a few minutes of practicing, bobbles, mess, and other problems accumulate pretty quickly!
A little bobble today turns into a persistent irritation with a "hard part" tomorrow, and possibly an awkward or frustrating moment in your next performance! 

However, if you deal with the messy spot in your music right here, right now, you have basically created a much more positive "flute future." 

When I make mistakes, I'm actually HAPPY. 

Not just "be positive and happy because I think I'm supposed to be" happy, but really and truly happy!

Mistakes are clues. Mistakes are gifts. Dealing with mistakes helps you enter a magic time machine and give your future self the muscle memory, confidence, and connection you will need for that awesome future performance! 

Becoming an honest practicer may take some time, but if you dedicate yourself to more and more honesty each time you practice, you will find out that what I am saying is true. 

Easier, better, way more AWESOME practice is as easy as facing your mistakes, dealing with them, and enjoying the lighthearted feeling you earn when there's no guilt or denial in your practice sessions. 

Happy Practicing!
Terri Sánchez


P.S. Please donate to the Maverick Flute Choir NFA trip GoFundMe Campaign - I would really appreciate it! Thanks!!