VCA Flute Ensemble Premieres New Commissions
-
December 3, 2009
The newly reformed VCA ensemble premiered two new works at the Australian Flute Festival this October in Adelaide. The festival organized by David and Lyndie Leviston and coordinated by the incredible Elizabeth Koch runs every two years in a various Australian capital. The year the beautiful Elder Hall, Adelaide University was the home of this marvelous gathering.
The VCA Flute Ensemble had been rehearsing (on and off) for about a year, and the interest in new music was vibrant. Composers Joanna Selleck and Vaughan McAlley composed two challenging and fun pieces for the extended flute ensemble.
Andrew's Poem for Patrick
-
November 11, 2008
The well known British composer, Andrew Downes has composed a Contrabass Flute Sonata for me. As a composer of numerous works for flute and flute choir, this was an obvious choice for me. I marvelled when I opened the score of Andrew's work, and his understanding and use of material for the contra. As we had spoke several times on email in a collaborative manner, I knew Andrew knew what would sound and what would'nt. But a performer can never be sure of what they get. I was absolutely blessed!
Mr. Downes has set the piece in four succient movements and has created the work to feature the finest (and challenging) qualities of the Contrabass flute. The first movement is an Allegro and begins with a low haunting theme on solo flute.
Oh, if you are wondering about the title, I have named my Contrabass Flute in memory of my dear father, Patrick. It is a constant reminder of his dedication and support in my musical career.
Low Flutes: Quantity, Speed and Angle
-
August 9, 2008
The Low Flutes (Alto, Bass and Contrabass) are unique in the issues to air quantity, air speed, and embouchure angle. These instruments all require much more air to excite their wider longer body tubing, a slower air speed and possibly a closer angle to the back wall of the embouchure tone hole.
AIR QUANTITY
The quantity of the air used to play the contrabass flute well, sompared to the flute is almost double. Really! You need to fill up the lungs, drop the diaphragm and extend the intercoastal muscles of the rib cage. This manner of breathing and inhalation will allow your low flute to sing like a cello with a fine bow. Also do not neglect the chest cavity. As a fine Opera Tenor once stated, Älways leave the chest up and open....ready to do it's job." Well there are varying degrees of this technique, but please use in moderation, as an overuse can cause problems with your back and neck.
The basic concept: fill your body with so much air, then top it up with even more. Overtime your can here some dramtic tonal changes in the quality of your sound and musical phrasing.
SPEED QUALITY
The air speed on the low flutes will be slower and the embouchure will be a bit wider in shape. I set my blowing in a reverse psychology and convince myself that as I blow out my air in coming in. A great method to slow down and control the air speed of your embouchure.
EMBOUCHURE ANGLE
