Saturday, June 6, 2020


Inspirational Quotes | Page 50 | Male Sexual Assault Support Forum ...

Dear flute friends,

I have been quietly taking in all that has happened in the past week in this country, and admittedly I have been remiss in my lack of statement on social media.  This is because: a) expressions of deep feeling on social media always turn gross b) I was afraid that whatever I said would appear performative coming from a white middle-aged lady and c) it seemed time for white people to shut up and let black people speak (like, without posting about it for our gold stars). But, I also realize that it's important for each and every ally to help add to the valuable voices out there trying to advocate for a sane world. 

So, as a flute player, what comes to mind? SUPPORTING BLACK COMPOSERS. Here are just a few you may never have heard of and they've all written some beautiful works for flute and various chamber groups:

David Baker
Joseph Bologne (Chevalier de Saint-Georges) 
Leo Brouwer 
Adolphus Hailstork 
Undine Smith Moore
Coleridge-Taylor Perkinson 
Julio Racine 
Hale Smith 
William Grant Still  

On the more modern end of things, I have been devouring works by Shawn Okpebholo, Valerie Coleman, and Flutronix.

Perhaps there will come a time when a black composer, like a woman composer, can be casually sprinkled into everyone's recital programs and it'll be No Big Deal, because it happens all the time.  But for now, we should all work harder to amplify composers who go ignored. I am declaring here my commitment to perform works by each of these composers in the coming years, and I encourage you to do so, as well. And readers, please add your favorite black composers in the comments under this post!

Here's a site you should bookmark and visit regularly: Music By Black Composers

And what better way to support black composers than by commissioning new music from them? Here's an old guide to help you get started (to be used in conjunction with Music By Black Composers, above):

Take care of yourselves and each other!

Sunday, May 17, 2020

WSFI goes online!

Dear Friends,

I hope you are all well in these strange times. In lieu of our annual three-day Wyoming Summer Flute Intensive, I am excited to announce our series of free, live webinars geared towards flutists ages 12 and up. If students complete 5 of 6 webinars, they also qualify for one free online lesson with me. Guest teachers include UW alumni Blair Mothersbaugh and Dr. Brittany Trotter, current UW student Lucas Regnell, and special guest Dr. Elizabeth Robinson, piccoloist with Topeka Symphony and professor of flute at Missouri Southern State University. 

Specific schedule and details can be found here:

Impatient people can go directly to the registration form here:

Thank you for sharing this with your eager flute students! My best to you all.

Monday, April 6, 2020

From the pedagogy files: VIBRATO!

We're still teaching remotely here at UW, as we will be for the remainder of the semester.  (click here for apps to help make your online teaching more productive) Among the various teaching duties I have is the privilege of sharing ideas with my advanced students in a pedagogy class. In lieu of our weekly seminars, we have been developing notes on assigned readings (well, my students have been doing all of the heavy lifting) and sharing them around for inclusion in a final reference notebook. Last week's subject was vibrato, and I thought I'd share some of the ideas I found most inspiring in my review of these materials.

Assigned readings

  • Potter, Chris. Vibrato Workbook. Falls House Press, 2010. Pp. 1-2, 8, 13, 16-18.
  • Moratz, Karen. Flute for Dummies. Hoboken, NJ: Wiley Publishing, Inc., 2010. Ch. 13.
  • Toff, Nancy. The Flute Book. London: Oxford University Press, 1996. Pp. 106-114.

Favorite ideas (thanks to my students for providing the material for this):

From Nancy Toff:

History of Vibrato

  • Began as an ornament produced by the fingers
  • Form we use today didn’t come around until the late 19th century
  • Beginning of the note should start right on pitch for vibrato to be most effective
  • Charles Nicholson called it “an embellishment that should resemble the pulsations of a bell or glass; slow at first then increasing as the sound diminished”
  • Vibrato we use today originated in Paris
  • Taffanel was one of the creators in the 19th c.
  • Natural, comes from the "heart and soul"
  • By 1940, vibrato was accepted in American woodwind sections in orchestras

From Chris Potter:
Tips for getting started

  • Choose what sounds good to you as a player
  • Listen to others, record yourself and play it back
  • Moyse said “the best vibrato is one you don’t notice, the tone is just beautiful”
  • Start by playing with no vibrato and establish a nice tone, then experiment with different speeds and depths

From Karen Moratz:

Keeping Vibrato Natural

  • The purpose of vibrato is to enhance your sound and expressiveness
  • The occasional piece may require extreme vibrato which is desired by the composer, most pieces like this will be from the 20th century
  • Listen to vibrato from other musicians including string players and vocalists to give examples of different styles of vibrato
  • Harsh shallow vibrato with jagged edges to the pitch, out of control, happens when there is too much tension in the throat
  • Natural vibrato happens at 120-275 waves per minute, after 120 there’s generally a natural flow of vibrato that is hard to measure out to practice

I am also reminded of John Wion's excellent blog post about vibrato, including a fascinating scientific (ish) study of depths and speeds, which you should definitely read on his website here.

Patricia George has also shared some amazing videos of what happens inside the mouth when we play with vibrato here.

Favorite vibrato exercises

  • Chris Potter's entire Vibrato Workbook!
  • all of the vibrato exercises from Nina Assimakopoulos' The Virtuosic Flutist
  • the vibrato exercises in Fiona Wilkinson: The Physical Flute

Tuesday, March 17, 2020

Teaching Under Quarantine

As of Friday, University of Wyoming announced that it was cancelling all in-person instruction for the remainder of the term to help keep cases of COVID-19 low. While this can be frustrating for all of as Type-A people who have had everything planned to a "T" for months, I welcome the opportunity to explore new technology and get creative in these strange times.

Since I'm rooting around for clever resources to make lessons, studio class, juries, and recitals still happen, I thought I'd share what I find. I'll keep adding to this list as I discover more, and I welcome you all to add your favorite apps and programs in the comments, as well. Also, if you have a social site featuring how you're keeping your flute studio running this month and you'd like more buddies, please share a link in the comments, as well! We here in rural areas have long known the internet can be used for good to bring people together; now is our chance to stretch those muscles!

Teaching lessons: Zoom allows you to create a scheduled meeting and generate a shareable link to help your students get on, and it also has a) built-in recording equipment and b) "show screen" function. Since I already encourage my students to record their lessons, I particularly appreciate how easy it is to share the video of their remote lessons for transcription.

"Hiring" a pianist: Smart Music is offering free accounts through June 30 due to our collective sequestration. The repertoire choices are not amazing (not nearly what they were years go), but I did find some simpler pieces like the Godard Suite, and oddly, The "Undine" Sonata-?!

"Performing" with piano: Now that students cannot rehearse on campus with their pianists, I'm asking them to have their pianists record their parts to jury and recital pieces whenever possible. With Sound Trap, students can upload the recorded piano part and then record themselves playing on top of it, which yields a more blended recording. They offer a 30-day free trial.

Creating chamber music: Acapella is a popular app you've probably all seen in use--think your favorite flutist playing Christmas quartets with herself on Insta. Your students can all upload videos of them each playing their parts and put it together. Not the same experience as in-person (as is true with all of these apps), but if they were rehearsing together the first half of the semester, it might be a reasonable time to do this. Here's a nice video by flutist Gina Luciani to help everyone get started.

Studio class / Juries: Flipgrid is an easy way for students to upload their performance videos to one place. You can create a class and add everyone, which allows all members to view all videos with one handy portal to collect everything.

Wednesday, February 26, 2020

University of Wyoming has a Music Entrepreneurship Certificate!

Friends, I am so thrilled to announce the creation of University of Wyoming's Music Entrepreneurship Certificate program, the culmination of two years of work between myself and several colleagues in two different departments here at UW. I have created, and will teach, all of the music-specific entrepreneurship classes, and we've got some great courses on offer from our internationally recognized College of Business, as well.

The beauty of this program is that it's a tidy 12 credit hours, offered online, and can be taken in tandem with any degree program or independently.  So, if you already hold all the degrees you wish to earn from academia but feel like your education lacked the practical life skills you now realize you need, this certificate is for you!  If you're currently enrolled somewhere in a music program that fails to offer any training in creating your own unique career, this certificate is for you, too! And did I mention it's all online??

Here's what we're offering:

Careers in Music
Careers in Music complements traditional musical training by expanding the student's understanding of the range of careers in the professional music world.  Students will learn how music progresses from artistic creation to consumable product, and how professional musicians utilize skills in marketing, performance, teaching, recording, technology, venue management, and fundraising. Individual projects will develop professional materials, and guest speakers who have succeeded in building viable, unique careers for themselves will present information to help the modern musician not only compete in the marketplace, but to be a creative and dedicated professional.

Entrepreneurial Mindset
This course introduces students to entrepreneurial mindsets and concepts essential to success in startups or within established firms. Provides a basic overview of creativity and innovation, and students experience the process of identifying and evaluating ideas and developing them into business

Music Entrepreneurship Seminar
This class further crystallizes successful business enterprise development introduced in Entrepreneurial Mindset – ENTR 2700. In this experiential learning environment students will hone their entrepreneurial skills in idea creation, business incubation, development, research and finally commercialization. This learning laboratory will foster entrepreneurial venture development by combining core readings and assignments in the first half of the class with the development of individual music-centered projects to guide students through their selected business venture experience.

Internship in Music Business
The internship in music business offers a monitored and evaluated professional work experience in
public or private organizations on assignments relating to students’ individual career goals, allowing
students to explore the relationship between theory and practice in their major. Placement is limited to situations approved by the Music Entrepreneurship Certificate adviser or Department of Music Chair.

Management and Organization
An introduction to the theory and practice of management with emphasis on individual and small group behavior, design and structure of organizations, relationship between the organization and its environment and statistical and quantitative skills used in examination of management processes. Also covers interpersonal communications, ethics and international management.

Introduction to Marketing
An investigation of the marketing discipline with emphasis on vocabulary; principles; functional
interrelationships; marketing strategies, practices and problems in national and international

If this sounds like it might be up your alley, or if you know someone else who might feel the same way, visit to learn more!