Beatbox Flute 2013 Youtube Greg Pattillo

Total Page:16

File Type:pdf, Size:1020Kb

Beatbox Flute 2013 Youtube Greg Pattillo ㄞ ₏栚ⱚ㘴岇ⒿBeatbox Flute⮶侓㢾⦷2013㄃䤓㣑⊨᧨䶻₏㶰択拝Youtube 㶲彭Ⓙ Greg Pattillo 䤓㈀䓖᧨挲㣑⊨亰䦃㢾泩䍉⮸ⅉ᧝崜䦮䤓屉㈦⺜㡋栆䶪䤓 崜巧挓⮹⺠᧨☮∕栆䶪䤓檂唁挓厌㦘抨㲲⮩摜䤓唁ㇸ᧨㈭∕㼡㦘㎂拝栆䶪咖 beatbox ⻔䏅挓♾ⅴめ抨䲽㡈㆞抲俟怆∕᧨䦮䤓㢾⮹淋㠶䯭ぴℕ᧝ ㈭抨⃚㈛᧨栚ⱚ⺜Beatbox Flute䞱䞮ℕ咗怲᧨⇕挓ₜ䩴拢崁㈭⇤栚ⱚₚ㓚 ⺚㔍傃剡䤓ぴ␆᧨⦷喺喺⮶䀆䤓㚫⺚拝䲚₼᧨䤋䚍ℕ喀⦚栆䶪⹅␋⇫㦁⹅ Ian Clarke 䤓₏氥槭デ㦘怲䤓㦁⷟᧨⚜䍉 ಠ ಠZoom Tube᧨㢾₏氥俵栆䶪solo䤓搆䌺䗷 ⯞㦁䥽ᇭ楥䏅₵ₜ⏷䏅㢾beatbox flute䤓䆣⯞㽤᧨⇕䠅₼㓏∎䞷Ⓙ䤓ᇷㆅ⇇㔏 㽤 ಠExtendedಠ techniqueᇸ☊㎞⮥⦿㓢栚ℕ㒠⺜beatbox flute䤓∎䞷㡈㆞᧝ ⃮峀㢾⥯䍉㦘怙∕怙⮩䤓ⅉ嬺 Greg Pattillo 䤓beatbox flute㓏⛇ㆤ᧨⚛㄃ Ⅵ⻀⦷呹む㓏⻻䤓⦧浣 PROJECT Trio 䤓 Youtube 櫊拢孰摜㠿ₙ⍂ℕ₏侊⒦ 䤓㟨⸇ᇭ抨K㈀䓖㦍⦷2010㄃䟀⚛㲲⦧浣ₙ⍂拝᧨⚜䍉ᇷBeatbox Flute 101 - A Lesson with Greg Pattilloᇸᇭ ₏栚ⱚ䤓㈀䓖侣♲承♙⻤䯉⛈⯞㡈㆞⇕⺩㦹┯⏴↊⇤䤓巫√᧨力 2013 ㄃ ₙ⍂䤓㠿㟨⸇㈀䓖ⓖ⚁䎰ⓜ√䤓棓ヅℕ傃剡䤓巫√咖₏KⅥ㦻ⅉ䆣⯞䤓㦁巫㟨 ⸇᧨崁㈀䓖㒹咂䥽ⓜ䍉㷱⃮め┄抯ℕ36嚻䤓㟅䦚㶰㠇ᇭ ㈭㷳 Beatbox Flute 抟䇇ℕ㓢栚ℕⅥ䯭䱧䤓⮶栏᧨挏嵚⚓恾浧㓚拁⏴⪰⭧ ⏶᧨㦘怙∕怙⮩䤓ⅉₙ⍂₵䆣⯞呹む䤓 Beatbox Flute 䓗㦻᧨⃮㏱㏱䤓帙㒟ℕ ₏匰㠿䇽㿐₵栚䤋⒉ Beatbox Flute 㓏䔈㦘䤓檂唁᧝ ⦷傃剡咖⹵悟䤓拝䲚₼᧨㏱㏱⦿㒠⃮㘴岇ℕ棎◰弬㕘ᇬBeatbox ䷘䷘咖 Beatbox Flute 抲㘴䤓㔏厌᧨㩴桀ᇬ律彆ℕ䦇桫䤓㦇仜咖㦁巫᧨岑桀ℕ⚓㆞⚓㲲 䤓Youtube櫊拢᧨䪣䴅㹞⊚ⅉ䤓䆣⯞㡈㆞ᇭ㦏俑⃮㎂尐⺖抨⯦㠿䤓䆣⯞㲰㆞ヅ ⥭♿䋲᧨咗峀厌䍉㓏㦘⸇栆䶪㔏嫢䤓ⅉ㓢栚₏䓖〓㠿䤓⮸䴉᧨⦷㦹∕厌␀⚛栚 ┄㠿䤓ゑ⫃₵俵℗⮶䧍₏⊚㠿䤓匁檂᧨㦮㦪♻楕⚓恾ⅉ氻₏⚛䍉抨⊚⏔䆎゛㦪 咖♾厌㊶䤓ℭ㿁檂㲑ゑ⫃₏怆⋩煭⅏煋᧝ 掼⸖㽿, 2018 ⏼㦗 1 ⇫劔亰⅚ 掼⸖㽿 Myrllin Cheng 䟨㽤栆䶪䆣⯞⹅᧨㦍↊㽤⦚⚁䔈㕘㠾⪰檂㲑棱栆䶪咖⹵泦┖⫃┸㟨᧨位抩 䠅ⅲ咖☂咗檂㲑ᇭ㦍䘁㡴㦻⮶梹⦚椪檂㲑⮶後䶻ℛ⚜᧨₵䘁㡴㦻⹛⭺⼀榊尥♿ ✛㽤⦚䆣⯞⹅◣㦒᧤SPEDIDAM᧥䗝⸇摠ᇭ䟱㯼㡋㽤⦚ゃ煝ズ乓檂㲑棱ᇬゃ煝 ゑ䵚檂㲑棱♙⚁䔈㕘㠾⪰檂㲑棱᧨♥㈦栆䶪✛⸳⏶㲑䆣⯞⹅㠖㐠᧷䚍↊浧楓澂 㠿浧₼ᇬ㠿咗⦚₼檂㲑䙼栆䶪♙⸳⏶㲑㟨ズᇬ㉆㠿丰ㆵ㲑⦧栆䶪氥ゼᇬ浧楓ゑ 丰㲑⦧⓾氥ゼᇭ 2014㄃扣♿㈛᧨䳜㰄咖⚓櫭⨚檂㲑⹅⚗⇫䆣⒉᧨嫷䆣ㇱ㏚㳺恷♳␇咖䚍ⅲ 檂㲑⃒咂恷䟛嫷䆣ᇭ扠㄃⏶棳ℕ咖䧍⮩ℳ檎㲑⦧ᇬ栆䶪⦧ᇬ㷛㓚䷘⚗⇫䆣⒉᧨ 㦃⦷2016㄃咘戵ℕ₏⫃⊚ⅉ┄⇫檂㲑䆣⟀㦒᧨ₜ㡆⢦峵㘷椂⒉㠿᧨㖠㒿栆䶪䆣 ⯞䤓㰄棟᧨俟⚗Beatboxᇬ㈹䜿✋⛇ᇬ榊⷟匁檎㟗㨫䷘᧨帢栆䶪♾ⅴ悂厺⒉♳ ␇䤓㫕㩅᧨⺖檂㲑娜⏴䞮㿊㦃彋扠䧍ⅉ䤓₥䟛ᇭ 2 ⺗㠖㘷堵 㨦㠖啠劐ズ 浧楓ゑℳ檎㲑⦧栆䶪氥ゼ 挓岧㈦⃔拯ⓜ䤓㩟₏㄃㝣↊栆䶪㹣後䤓峤⹸㣑᧨㦘₏⇜≙初䤓⺞䟆䞮⛈ Hüe 䤓 Fantasie ⇫䍉呹指㦁᧨䠅㣑㒠嬺Ⅵ怔燰䤓檂㲑㊶㓏⛇ㆤ᧨㦃岬䟿抨⊚ ⺞䟆䞮♾ⅴ㔙㺲㘶Ⓟ䤓抨煋Ⰼ᧨Ⅵ⻀㢾ᇷ掼⸖㽿ᇸ᧝ ℚ椣扠20㄃䤓㣑栢᧨Ⱁ⅙Ⅵ⦷栆䶪䤓檧⩮㦃┯位拁᧨楥䏅㒠咖⸖㽿₵䎰ズ 䞮桫≑᧨䏅力Ⅵ㿐㤱䤓㈹䜿✋⛇♙䞮╤⦿栆䶪Beatbox㔏ぶ☊囦⹵⛇ㆤ囦㒠᧨ ⥯㷳⃮䑒怆ℕ㒠ヺⅥ栚嵁抯䰞檂㲑⸇⷟䤓䑀㍔咖㊄檼᧝ 䥽ⓜ♿䋲⺠⷟▥㒟䍉ℕ₏䲽怷╱᧨⦚⹅倢䉮⮶ₜⰑⓜ᧨檂㲑䟛䤓ぴ⇫榏㻑 摞㦘棟᧨抯㒟⮶㔈⎹䱏ⅉ㓜⮥㿐䤓䴧⬒᧤Ⱁ㒠䤓㎪㈡囘㊰䯌⦷▦℻⮶㷛┖棱㝣 ↋栆䶪氥ゼ᧥᧨力抨⻀㢾㒠栚㷳嵁䲚䤓䥽䤓᧨゛㦪厌⺖⎹䱏䤓ⅉ㓜㫈䟨♿䋲᧨ 䍉㦹∕䤓⃊ⅉ剐㙟◖⦚椪䶅䒼┪᧷㦃㦮䦋抨㶰嵁䲚㓏㜡ₚ䤓䲽⷟᧨厌帢抨刳㰄 ␆䇪┪䤓栆䶪⹅⊠抟䇇⦷⦚椪咭♿ₙ䤋⏘䤋䑀᧨䯬䰞⮶⹅⦷塬嫢抨㬬初焦力唀 截䤓拢恾ₙ᧨偊㟍⏘唡᧝ 3 ؾᙕ รԫີΚBeatbox Flute ࣳԺ٤ၲ 5 1.1 Beatbox Flute ਢչᏖΛ 6 ϟ Beatbox Flute 9 זΚႚอΕ෼ٽዝ৉ऄऱ࿨ .1-2 13 פรԲີΚBeatbox Flute ᒭࣳ Կଃ 1 4ءഗ .2-1 Օቔ Kick / Bass drum1 5 ሥ Hi-hat 1 8 K՛ቔ K snare 20 2-2. ܮ௛ଃ 2 4 5 2 ۥଃۼ࢏ .2-3 2-4. ૹរᖞ෻ 2 7 รԿີΚᆏ৉ᒭ฾ 28 3-1. Bass / Kick drum (B)2 9 3-2. K Snare (K) 3 1 3-3. Hi-Hat (T) 3 3 3-4. ᆏ৉ᒭ฾ 3 4 3-5. Little 007 Star 35 ள۩ॹဢ 38 .3-6 40 ڴਣᎾՕᖏ߆უ .3-7 ร؄ີΚBeatbox Flute ᑨԺྤᒡ 4 2 4-1. Beatbox Flute ଅᑪፖႚࢭ 43 4-2. Beatbox Flute ኙ࣍९ยඒߛऱᐙ᥼ 50 Q & A 52 ஼ؾ 53ە೶ ࿨፿ 54 4 䶻₏䵯 Beatbox Flute 㷵┪⏷栚 5 䶻₏䵯᧶Beatbox Flute 㷵┪⏷栚 “乏⯞♲㔏ಠ Beatbox / Beatboxing” “栆䶪乏⯞♲㔏ಠ Beatbox Flute / Flute beatboxing / Fluteboxing” (ⅴₚ亰䳀 BBF) 1.1 Beatbox Flute 㢾⅏煋᧻ ಠBeatbox 怆䄟㡋ℛ◐₥侏 80 - 90 ㄃ⅲ䤓⣊❗♙毡咛㠖▥᧨㦘曡㡋䓄⭺熢 俓岼⌨㠃⯦彆ₚ∕㒥㢾䱮⊮䤕槭デ㢑彃᧨㡋㢾⦷乏䦐倢彊♙⚓䲽劒摞ₙ᧨㣑デ ⦷斓檂栢㒥㘡傃⸳ㇸ㘡㣑䞷ⅉ匁♊㲰↎ᇬ㦎ⅲ䓄⭺熢㒥熢匁㳮⣷᧤drum machine᧥䤓㟗㨫᧨力㈛㓜㏱㏱⦿䆣帙㒟₏䲽ⅉ匁㲰↎塬嫢ᇭ 侣ⅉ匁 Beatbox ∎䞷楨➖ᇬ咛檼ᇬ♲口♙燊口␀澃䴉栢ⅴ♙⠘捷匁ヅ᧨∕ 完抯♙䤋⒉⚓䲽㛸㝵檂᧨塘ⅴ㲰↎ⅴ熢㭡㒥熢Ⓠ㠁㝙熢䤽ᇬ熢挙㒥擇䤓㟗㨫᧨ ⃮⥯㷳䎰嵥⦷侣ⅉ匁 Beatbox 㔠㒥 Beatbox Flute᧤BBF᧥ₙ㛸㝵檂䤓岢傃㰄 䍉摜尐᧨⃮㓜㢾帢䓄⭺熢䤓匁檂➾Ⱘ➾匥䤓桫昄ᇭ ᧧ ಠ= ಠ ಠ? 6 ಠ ⃮⻀㢾崹᧨ BBF ⹵椪ₙ⻀㢾⺖䓄⭺熢俓䤓檂㟗┯拁栆䶪䤓䆣⯞ₙ᧨帢㒠 ⊠♾ⅴ⚛㣑䤋⒉抨⏸䲽㲑⣷䤓匁檎ᇭ ಠ 栆䶪᧧䓄⭺熢 ᧹ Beatbox Flute BBF 棳ℕ♾ⅴ䆣⯞⚓㆞⚓㲲䚍ⅲ㿐嫛檂㲑欷㫋䤓㦁䥽᧨⃮㣑デ♜拝∕摜㠿 䆣儈♳␇檂㲑䤓倢␇㦁䥽⍞㢾᧶ゃ❗A⺞嵎䎰⇃⯞栆䶪䗷⯞㦁ᇬ㪃♾⮺㠾⪉䤓 印㫒擦䷘᧨∎栆䶪䤓䆣⒉㦁䥽♗㦃┯䤓㞃㇄♙ㅲ㽪ᇭ ㉒㤉⦥1᧶Beatbox Flute ಠ ಠ栆䶪㦻愺㢾₏檔槭デ␆ⓜ嫪㊶䤓ⅲ嫷㲑⣷᧨⸒咖ⅉ匁䤓␀ⷧ㦃㢾⹕ₜ♾⒕ 䤓᧨␅☮⥯⦷㡋㒠⊠䤓⣃➖咖㲑⣷㦻愺䤓抲㘴ₙ₵䎰亶䓖㒥⛈⣃䤓棊椣᧨䦃㘴 ₣⠽侣⦿ⅴ㺲㋾♙㺲㪀抲㘴ⅉ浣咖㲑⣷᧷⥯㷳 Beatbox 㔏厌₼⮶⮩㠇䤓㛸㝵匁 ᧤Ⱁ᧶⮶熢ᇬ⺞熢ᇬ擇䷘᧥㈦ⅴ⸛初䤓咖栆䶪䤓匁檎俟⚗᧨㒟䍉㠿₏ⅲ䤓䆣⯞ 㲰㆞ᇭ 䧍㓏䤕䩴᧨栆䶪⦷♳␇檂㲑ゑ⫃₼⇣㦘₏ゼ⃚⦿᧨⦷㲑⦧ᇬ䗷⯞♙⸳⏶㲑 䤓⇫❐₼⃮倢デ匌Ⓙ⸒䤓匁檂ᇭ䏅力ℚ⹵ₙ᧨ₜ⚛㡋⍂倀檂㲑₼䤓檂唁㰑㊄᧨ ⦷ Rap 檂㲑䤋⻤⚁孰栆䶪⒉⃝㎞㠨⃚⮥䤓⃮㢾㈗摜尐䤓₏檔檂㲑⏒侯ᇭ⸒⏔䆎 ㈚╤㎮♙☮ⱚ㎮䤓檂唁䔈役᧨∎栆䶪⦷ℛ◐₥侏 50 - 60 ㄃ⅲ᧨㦃㢾⮶摞䤓∎ 䞷⦷䓄⭺㲑孰᧨㒟䍉䓄⭺堸⏚㠾欷㓚㉔⌨䤓䶻ℛ⺗栆㲑⣷ᇭ 7 厌呹䟀䤓俟⚗⍂倀᧤♳␇᧥檂㲑✛䓄⭺檂㲑䤓偙⹕桫≑ಠ᧨∎栆䶪栚ⱚ嬺⮶ 䧍㓏崜䩴᧨ಠ⸒⏔䆎㺲㋾ᇬ䑀㍔₣䃁㩢┪㇆䤓匁檂᧨⃮∎㈦⸒⦷㕘ₐ檂㲑⃚₼Ⱁ Charangaᇬ泆嘝᧤Salsa᧥䷘檂㲑孰⮶㟍䟿ㇸ᧨㒟䍉㉔ₜ♾⺠䤓㲑⣷⃚₏ᇭ 䟀㡋抨㲲䤓㸆⚁䂄䄟♙䲽㡞᧤檂㲑᧥娜⚗᧨∎栆䶪䤓㲑䲽∎䞷乓⦜⃮抟䇇 䤓ᇬ⏷槱㊶䤓㞃㇄Ⓙ₥䟛䓗⦥䤓⚓⊚⦿●ᇭ ⬆ J.P. Rampal ᧤♳␇栆䶪᧥ ⬆ Hubert Laws ᧤䓄⭺栆䶪᧥ ⬆ Dave Valentin ᧤㕘ₐ䓄⭺栆䶪᧥ ⬆ Greg Pattillo ᧤Beatbox Flute᧥ ⦥䯉 1᧶栆䶪檂㲑₥䟛䓗⦥ 8 1-2. 䆣⯞㽤䤓俟⚗᧶⍂倀ᇬ䚍ⅲ ᧢ Beatbox Flute ␅⹵᧨⦷㓏㦘栆䶪⇫❐䠅₼Ⓒ䞷ⅉ匁䆣⯞栆䶪₵槭⏷㠿䤓㔏ぶ᧨㈭ℛ◐₥ 侏₼㦮䚍ⅲ㲑᧤Contemporary Music᧥栚ⱚ䤋⻤咂⅙᧨㒠⊠⦷⮶摞䤓䠅ⅲ⇫❐ 孰♾ⅴ䤋䚍䠅ⅲ⇫㦁⹅⊠め倢ㅲ㽪⦿∎䞷栆䶪䚍ⅲ䆣⯞㔏ぶ₼䤓ᇷಠ ㆅ⇇⯞㽤 ಠ Extended technique ᇸಠ᧨␅₼⃮▔⚺ℕⅉ匁咖䶪匁⚛㣑䆣⯞䤓㡈㽤ᇭ ▔㕻⍞㢾ⅴᇷ㝻匁ᇸ䤋檂㡈㆞᧨挙⛈挙䤋⒉㖖⸩䤓ⷦ㹜ᇬ♹⛈㺲匁㒥挙⛈ 挙⟀䷘拁椝㔏ぶ᧨⍞㢾ᇷchᇸᇷkᇸᇷshᇸᇷtᇸᇷhᇸ᧨㒥㢾ᇷ啀咛ᇸᇷ㽪檂ᇸ ᇷ䅠檂ᇸ䷘᧨⻀め倢㦘櫭⇋ BBF 䤓匁檂᧤BTKT᧥✛䆣⯞㓚㹄ℕᇭ 巫√1᧶Ian Clarke, ಠZoom Tube, m.71-72 ℚ⹵ₙ᧨ᇷㆅ⇇⯞㽤ᇸ咖ᇷBBFᇸ⦷∎䞷咖㊬值ₙ㦘K㰑㊄ₙ䤓ₜ⚛ᇭ 栆䶪䤓ᇷㆅ⇇⯞㽤ᇸ⦷䚍ⅲ檂㲑孰⮶⮩㢾⇫䍉䔈㸙檂㟗䤓₏䲽ᇷ㝻㏚ᇸ䤓 嫷䚍᧨⍞㢾欷匁ᇬ㼨㼨匁ᇬ崭㎞ₜ㢝䤓⥗崭䷘᧨俤⮶⮩㠇䤓ㆅ⇇⯞㽤㢾䞷∕䍉 㦁䥽完抯䔈㸙䤓匁檎ⅴ䞱䞮㎂⍞值ㄵ₼䤓㎞⬒᧨┄抯䗷䔈䤓䴉栢㎮᧷䞷ᇷ槭栆 䶪▥ᇸ䤓䔈㸙檂㟗䉏䤋ⅉ⺜㡋匁檂䤓㎂⍞┪᧨≒∎匌劔拁⏴♵₏⻳㶰䤓㎂⍞值 ㄵᇭ1 1 ♾♒劒 Pierre-Yves, Artaud. ಠLa flûte au présent. ♿䋲᧶☮䶨⦚椪⒉䓗䯍 Robert, Dick. ಠTone developpement through extended techniques. ♿䋲᧶㲑檊⒉䓗䯍 9 ᇷBBFᇸ ⓖ㦃⮩䤓⺗㽷⦷檂㲑䤓☂咗咖⺜乏⯞䤓㘛㙰ₙ᧨∎檂㲑䤓⛗䚍␆ 㦘㇆䍗䤓㈚╤㎮᧨₵ⅿ徃䆣⯞劔⺜⊚ⅉ初㎮䤓䚕屲∕┄抯㒥偷僣㓏∎䞷䤓 Beatbox 匁檂᧨₏咻∕崹⒕䍉⏸䲽㡈㆞᧶ 1. ㇆嵎㇆䍗䤓乏⯞㎮咖㈚╤ಠ᧨㦃⺗㽷⦷ Beatbox 䤓∎䞷₵ₜ䔈⒴㇆ 嵎㡚㈚偩㬬䞩咂⸛㠃䤓栆䶪匁檂 2. ㇆嵎㡚㈚咖乏⯞䤓俟⚗ಠ᧨㦘扠⃝⸛㠃䤓栆䶪匁檂挓㦘Ⰼ匌㔠㒥勂䐮 厌崂䤓㡚㈚偩㬬 BBF 䤓䤋⻤䜿⬒⮶⮩㠇㢾⦷ RapperᇬBeatboxer 㒥㢾嫦檼䆣⒉劔䤓䆣⒉ 㲰㆞䠅₼᧨⥯㷳檂㲑₼㣑デヅ㦘㇆䍗䤓 “Jazzy feeling” ᧤䓄⭺㎮᧥᧨峵⦥帢匌 劔䞱䞮咖⃚☂咗㒥愺浣恮囦怆咭䤓⇫䞷᧨㇆嵎咖ⅉ䤓℡╤咖抲俟᧨㦃㽷摜䚍⹵ 㩅㱚䤓ㆉ抯᧨㦃␆㣑ⅲ㎮咖ⷧ⦷㎮ᇭ ⥯㷳 BBF ⺜㡋栆䶪䤓䤋⻤∕崹棳ℕ␆⌨⍂倀䆣⯞㽤㓝⹵䤓岢傃᧨⺜㡋㦍㘴 岇拝䚍ⅲ㲑䤓⸇⷟㒥㲑㓚㦃㢾⹈㢢ₙ㓚䤓₏檔ぴ␆᧨Beatbox 抨檔䔈唁⃮帢䚍 ⅲ栆䶪㦃␆⌨ℕ楲厌♾彃䤓㣑ⅲ㎮ᇭ ㉒㤉⦥ 2᧶栆䶪䆣⯞㽤 10 ಠ ␅₼₏檔咖ᇷㆅ⇇⯞㽤ᇸₜ⚛䤓⦿㡈᧨⦷㡋䆣⯞劔榏尐␆⌨䆣⯞ᇷಠ ➖㛸 㝵檂ᇸಠ♙ᇷಠ 櫝㛸㝵檂ᇸಠ䤓厌┪ᇭᇷ➖㛸㝵檂ᇸ櫭⇋㡋攔丰㲑⣷䤓䤋匁㡈 ㆞᧨択拝䴉㺲咖楨➖䤓榖╤∕䞱䞮ₜ⚛䤓檂浧᧨帢⚛櫕熢㈦ⅴ㦘ₜ⚛䤓檂唁᧷ 力ᇷ櫝㛸㝵檂ᇸⓖ㢾択拝咛檼咖ₜ⚛●⫙䤓ₙ櫝䞱䞮㛸㝵∕完抯ₜ⚛䤓檂㟗ᇭ 㒠⊠♾ⅴ䂉䟴䤓⒦⒉⻻㡋ᇷ➖㛸㝵檂ᇸᇉᇷBᇸᇷPᇸᇷPfᇸ䷘䤓匁檎᧶ ● ⮶熢 ● ⺞熢᧤熢䤽᧥ ● ₼熢 力⻻㡋ᇷ櫝㛸㝵檂ᇸᇉᇷkᇸᇷgᇸ䤓匁檎᧶ ● ⺞熢᧤熢挙ᇬ榊⷟熢᧥ ● 榊⷟匁檎᧤楫岙ᇬ㝵䥳᧥ ● 檎㭡 㦏䍉亰⠽䤓ⓖ㢾ᇷಠ 燡㛸㝵檂ᇸಠ᧨⪉㦻ₙ㢾䞷∕㲰㝻ᇷ擇ᇸᇉᇷtᇸᇷkᇸ 䤓匁檂᧨䦇⺜㡋栆䶪䤓⪉㦻傃剡⻀㢾⠽⚟咖楨⚟䤓岢傃ᇭ ㉒㤉⦥ 3᧶㛸㝵檂 11 ♵⮥᧨䠅㒠⊠⦷䆣⯞ BBF 㣑㦒䀗劦⮶摞䤓㺶㺲᧨⥯㷳㹞䲽㛸㝵檂掌㦒㦘呹 む䤓ᇷಠ ⛇㺲檂ᇸಠ᧤inhaled sounds᧥∕⇫䍉✋⛇煭㒥匁檎䤓∎䞷᧨ⅴ挎⏜㙪 㺲ₜ恂抯㒟愺浣䤓ₜ拸䞩咂凉㺶ᇭ㈗呹䏅⦿᧨䆣⯞劔榏尐⃊╤⸇剡䨻栢⮶摞䤓 ⛇㺲咖㉺抮㙪㺲䤓㡈㽤᧨棳ℕ厌帢䆣⯞劔㦃拁₏㷴䤓♊㊬劒栆䶪ₙ䤓㙪㺲⮥᧨ ⺜㡋䆣⯞栆䶪檂㲑俤⺜㢾㈗⮶䤓ヺ┸ᇭ 巫√2᧶Ps᧤⺞熢᧥⛇㺲檂, Greg Pattillo, ಠFour Etudes for Beatbox Flute, Hotel Crazyness, m.13-14 巫√3᧶ts᧤擇᧥K᧤熢挙᧥⛇㺲檂, Greg Pattillo, ಠThree Beats, No.2, m.47 & m.109 12 䶻ℛ䵯 Beatbox Flute 傃㷵┮ 13 䶻ℛ䵯᧶Beatbox Flute 傃㷵┮ “㏱┮䁻䏘㒟摠ᇭ㉺┮ⓖ䩴␅㓏㏱⃮ᇭ”ಠ by Andrea La Rose “Slow work refines. Fast work tells you where you need to do more slow work.” 2-1. ⪉㦻ₘ檂 ㉒㤉⦥ 4᧶⪉㦻ₘ檂 ᇷBeatbox Fluteᇸ㦏⪉㦻䤓㰑㊄棳ℕᇷFluteᇸ䆣⯞㔏ぶ⃚⮥᧨♾㎂力䩴䤓 挓㦘ᇷBeatbox ᇸ䤓⪉㦻┮岢傃ᇭ 䓄⭺熢↊₏⊚乏⯞傃剡掌⺠ₜℕ⮶熢ᇬ⺞熢♙擇抨ₘ䲽⪉㦻檂唁䤓俟⚗᧨ 抨⃮㢾㦏⍂倀䤓偷Ⓟᇭ⥯㷳㘴ₚ∕䶻₏⊚㷴泮⻀㢾尐∕䨼屲₵₣䥰♾厌⦿➾Ⱘ ➾匥䤓㲰↎抨ₘ䲽㓢㝙㲑⣷䤓檂唁᧶ A. ⮶熢 B B. 擇 T C. ⺞熢 K BBF ⏗泔囪䛭㫋᧪イ㙟㾪᧤Greg Pattillo᧥䞷ℕ₏♴槭デ亰⠽䤓喀㠖♴⷟ ∕⇫䍉₏栚ⱚ䤓㈚╤傃剡ಠ “Boots and cats” ᧤樃⷟咖弢᧥᧨₏⊚㦏⪉㦻䤓 [ ⮶ 熢 / 擇 / ⺞熢 / 擇 ] ⃮⻀㢾 Beatbox 㦏⪉㦻䤓乏⯞傃剡 [ BTKT ] ᇭ 14 A) ⮶熢 Kick / Bass drum ⦥䯉 2᧶⮶熢 ⺜㡋檂㲑⹅㒥㓏㦘䤓 beatboxer᧤乏⯞♲㔏劔᧥∕崹ᇷ⮶熢ᇸ掌㢾槭デ摜 尐䤓匁檂᧨抩デ掌㢾㟍⦷ᇷ㇆㕜ᇸ᧤Down beat᧥ ⃮⻀㢾㕜煭ₙ䤓䶻₏㕜ᇭ 㒠⊠ⅴ喀㠖ᇷBᇸ䤓檂乏⇫䍉⮶熢䤓䶵壮᧨択拝ₚゃ咖楨➖䤓㛸㝵䞱䞮匁 檂䤓␀澃ᇭ㒠⊠⏗偙栘⣃ゃ咖楨➖᧨䞷┪⦿㎂䤋⒉ᇷBᇸ䤓檂᧤⹵椪ₙₜ榏榖 ╤匁ヅ䤋⒉匁檂᧥᧨帢ₚゃ㏱㏱㈏ⓜ䲊╤䦃Ⓙ㺲⤃⒉∕䤋⒉⍞㟍⻐䤓匁檂 ᇷዜዿᇸ᧨峵囦㔍Ⓙ␆㦘櫕伡㎮₣㦘㇆䍗␀澃䤓匁檂ᇭ 帢⇯䤓愺浣⺳␅㢾厇口㟍涕㓢栚᧨䤋⒉ᇷBᇸ檂㣑∎㳺椣含值㖐⦷⚛㲲䤓 ⇜函᧨抨㲲♾ⅴ∎⇯䤓⮶熢匁≬㦘Ⰼ䤓␀澃䴉栢᧨₵₣俵℗₏⊚␆嫬㝙┪䤓匁 檂ᇭ 15 傃剡₏᧶⦷㖎怆栆䶪⃚ⓜ᧨㉔檗䭉≬ᇷBᇸ⦷♹㦘楨➖䤓㛸㝵ₚ⃮厌㷲䭉 ⦿䤋⒉Ⰼ䤓␀澃ᇭ⥯㷳傃剡₏氥尐䥽䤓⦷㡋᧶ ● 䭉≬㷲䭉䤋⒉Ⰼ䤓⮶熢␀澃匁ᇷBᇸ ● 㟍涕㓢栚厇口᧨愺浣☂㢾㓏㦘匁檂䤓␀澃乀᧨㦘㟍涕ᇬ⹻桙䤓浣㏚㓜㦘 䦇⺜哾Ⰼ䤓嫬㝙┪✛㰄␆Power䤓┪拢 [B] 傃剡ℛ᧶㖎怆栆䶪᧨ₜ拝⦷抨⊚椝㹄栆䶪匁ₜ摜尐᧨摜尐䤓㢾᧶ ● 㷲䭉䤋⒉⮶熢匁ᇷBᇸ䤓⚛㣑帢㺲呹䏅⦿ᇬ㟍涕⦿䋛拁丰♲₼ ● 栆䶪♹檗懘㙪㖖㽤᧨♹榏䤋⒉㺲檂㤺ₜ榏尐䤋⒉⹵檂 16 傃剡ₘ᧶䚍⦷㒠⊠尐帢ᇷBᇸ咖栆䶪匁⏸⊚匁檂㏱㏱℡䦇⛇ㆤᇬ槯扠᧨ 抟䇇⦿帢⏸⊚匁檂♾ⅴಠ synchronizedᇷ⚛㷴䤋匁ᇸಠ᧝ 17 B) 擇 Hi-hat ⦥䯉 3᧶擇 ᇷ擇ᇸ㑘崁並㢾㒠㦏⠫㷰䤓匁檂⃚₏᧨⃮♾ⅴ崹㢾栆䶪䆣⯞劔㦏⹈㢢ₙ㓚 䤓匁檂ᇭHi-Hat 抩デ㢾㟍⦷ᇷ㇀㕜ᇸ᧤Up beat᧥ 㒥ᇷ♜㕜ᇸ᧤Off beat᧥⇫䍉 煭偃檂䤓∎䞷ᇭ 㒠⊠ⅴ喀㠖ᇷTᇸ䤓䤋檂⇫䍉Hi-hat䤓䶵壮᧨⹵椪ₙ㒠⊠㔙 [t] ✛ [s] 䤓檂俓 ⚗怆∕䤋⒉ [ts] 䤓檂᧨⍞㢾ᇷዯᇸ䤓檂ᇭ⦷ Beatbox 孰槱㒠⊠♾ⅴ匌Ⓙ⮶摞⇝ 櫊Ⱁ⮶熢㒥⺞熢䤓␀澃匁᧨力 Hi-hat ⓖ俵℗匁檂₏⊚㢝ℽ咖櫕伡䂔㣿䤓唁ㇸᇭ 䚍⦷㒠⊠䞷咛檼㔙㺲㷱⇞᧨䤋⒉䩼≒䤓ᇷTᇸ᧨帢匁檂匌怆∕偙䃙₵₣櫕 伡䂔㯩ᇭ㒠⊠㉔檗⏗岢傃咛檼≬㖐㦘┪䤓䕏㏚᧨⚵ⓖ匁檂⹈㢢匌怆∕䎰㇄┪᧷ 䠅䐮㌘偙䃙ᇬ櫕伡䂔㣿䤓ᇷTᇸ㈛᧨峵囦抟䇇┯抮㒥㟈帙乏⯞⇫䍉傃剡ᇭ 18 Hi-Hat ♾ⅴ亰䟴⦿⒕䍉ₘ䲽ₜ⚛䤓檂唁᧨抨ₘ䲽檂唁⦷⹵椪㝜⇫䤓㣑⊨⺜ 檂㲑掌厌怆Ⓙ㈗Ⰼ䤓䇳殍⇫䞷᧶ ● Closed hi-hat ⺐栘匁᧶䩼≒檂 ● Open hi-hat 栚㟍匁᧶㸧檎⮩ / 栆檂 ● Pedal hi-hat 吂悞匁᧶䩼≒檂 [t / ts / tsh] Hi-Hat 㣑デ榏尐㉺抮䤓煭咛₵⿛⚗拁㕜煭栢便㈽䤓傺椨₼᧨⃮⥯㷳⦷擇䤓 ⏼⊚傃剡孰值㖐䳸⸩䤓抮ㄵᇬ䟀㏱咂㉺┯抮ᇬ≬㖐㈚╤㎮㢾咂桫摜尐䤓ᇭ 㦘䳸⸩ᇬ⦉⸩ᇷ⸘孬Ⰼᇸ䤓乏㕜᧨㦒帢檂㲑䤓㈚╤匌怆∕㦃㿐㤱᧨⃮㢾∎ BBF 唁ㇸ匌怆∕㫋⮥⛇ㆤⅉ䤓摜尐⥯侯⃚₏ᇭ 19 C) K⺞熢 K snare ⦥䯉 4᧶⺞熢 ⺞熢⺜㡋↊⇤₏⊚ beatboxer 㒥 beatbox flute player ∕崹掌㢾㦏摜尐⃮㢾 㦏桫昄䤓₏⊚匁檂᧨ₜ⚛㡋⮶熢咖擇᧨⺞熢䤓匁檂䂔厕㦃␆檎ℽ䤓嫬㝙┪᧨⦷ ⪉䮝乏⯞₼⃮⮶⮩⒉䚍⦷䶻ℛ㕜ₙᇭ 㒠⊠ⅴ喀㠖ᇷKᇸ䤓䤋檂⇫䍉K⺞熢䤓䶵壮᧨抨⃮㢾ᇷ⛇㺲檂ᇸ䤓␅₼₏⊚ 㙪㺲煭ᇭ⺖㈛咛㫈檑⇞ₙ櫝₵₣⛇₏♲㺲᧨␀澃煭⮶侓⦷㈛燡✻⚗壤᧨峵囦⮩ ⛇ㄍ㶰㺲⺚㔍㛸㝵煭ᇭ ♾ⅴ⦷ᇷKᇸ檂䤓俟⻍壤┯煭 [sh] 䤓⣃⨚⍞㢾 [ksh] ᇬ[kh] 㒥 [keh]᧨帢 K snare 䤓匁檂␀澃㦃⦢ᇬ㦃㦘▔尕㎮ᇭ 㹞₏⊚ⅉ䤓♲口㱚抯掌㦘㓏ₜ⚛᧨峵囦⦷ₜ⚛䤓煭ₙ⢦峵㛸㝵檂᧨Ⰼ䤓␀ 澃煭⃮峀㦒⦷㈛燡ふ⚂⏸⌃⃚₏㒥劔⦷㷲₼栢᧨㹞⊚ⅉ掌ₜ₏㲲ᇭ⦷㔍Ⓙ㷲䭉 䤓㛸㝵煭⃚ⓜ⇯⃮㦘♾厌㦒嬺呹む䤓♲㻃⡕Ⓙ᧨ₜ拝抨㢾₏⊚拝䲚᧨⺞熢䤓匁 檎挓㦘⚓䲽ₜ₏㲲䤓匁檂⍞㢾᧶PfᇬPsh䷘䷘ᇭ ₜ拝氥⏗㒠⊠㉔檗⏗䳸⸩ K Snare 䤓匁檂᧨抨㢾㦻䵯䤓摜煭檂ᇭ⇤㽐⦷栆 䶪ₙᇷKᇸ⃮㢾槭デⰌ䞷䤓⛇㺲檂咖㙪㺲煭᧨㦘Ⰼ䤓␀澃⃚㈛㒠⊠⻀♾ⅴ∕䤋 ⻤⚓䲽ₜ₏㲲䤓⺞熢匁ℕ᧝ 20 K Snare 棳ℕ⛇㺲檂⃚⮥䠅䏅⃮㦘⍞栆䶪ₙ䤓 K ⚟檂᧨ₜ拝㦃榏尐⺚㔍㈛ 咛㫈咖ₙ櫝䤓㛸㝵檂帢ᇷKᇸ㦃㦘␀澃ᇭ㈛咛㫈檑⇞ₙ櫝᧨帢⣃ゃ≬㖐㓢栚᧨ ₚ櫝㈏ⓜ㘷㦘┪䤓䤋⒉ᇷKᇸᇭ [K / Ksh / Keh] ಠ傃剡₏᧶⏗⠽䗷択拝♲口㔙㷲䭉䤓⇜函㔍⒉∕ ● ㈛咛㫈檑⇞ₙ櫝᧨⮩㎂㎂熢䤽䤓匁檎⺜匁檂䤓㲰↎⃮㦒㦘㓏ヺ┸ 傃剡ℛ᧶㘴囦㖎怆栆䶪∎䞷ᇷㆅ⇇㔏ぶᇸ孰䤓 “Aeolian Tone” ᧤㺲檂᧥᧨ 帢ᇷKᇸ咖ᇷ㺲檂ᇸ⚛㣑䤋⒉匁檎 ● 栆䶪榏∎䞷 “Aeolian Tone” ⥯㷳檂唁♹㦘㺲檂䍉㷲デ 21 傃剡ₘ᧶⹵檂᧧㺲檂 ● 楨⚟傃剡᧨ₜ拝ᇷKᇸ檗␆⌨ BBF 崁㦘䤓㛸㝵檂 傃剡⥪᧶⚛檂傃剡 ● 択拝G嵎塜嵎檂椝∕傃剡⺞熢ᇷKᇸヅ拁㲑㦁㣑䤓㈚╤㎮᧨䟀㏱力㉺᧨檂 㲑䤓㈚╤♙䓄⭺㎮⦷㉺抮䆣⯞䤓㣑⊨㓜厌憤力㢢咘⦿⻤䚍⒉∕ ● 㹞₏⊚ᇷKᇸ⸛掌⃊╤㙪㺲 22 傃剡℣᧶◙檂椝᧧⇝檂傃剡 ● ⇝檂椷㣑≬㖐厇口䤓栚桙咖㟍涕᧨㖖㽤懘㙪㣑䭉≬㺲㋾ₜ♦㈀檎₵厌䤋 ⒉哾Ⰼ䤓⺞熢檂ᇭ ● 㺲㋾ᇷKᇸ䭉⹵咖䶪♲䞱䞮㛸㝵帢匁檂␆㦘☮ⱚ㎮⻀㢾㦏Ⰼ䤓䕏㏚ 傃剡⏼᧶⚟檂咖⺞熢ᇷKᇸ檂懘㙪 ● 㦘乏⯞䤓㈚╤᧨≬㖐抮ㄵ䳸⸩᧨ヅ煭䢚䕑ᇬⰌ䘸䤓㉒㏚ₚ♊傃剡᧨㦏㈛ 䞩咂♾ⅴ┯拁呹䟀☂咗᧨䤋㙽┄㎞帢傃剡㦃㦘怲᧝ 23 2-2.
Recommended publications
  • New York Flute Club Newsletter Interview 2012
    March 2012 Amy Porter and “The Anatomy of Sound” Interview by Wendy Stern hen I was a master’s student at Juilliard in the early ’80s I received a phone call from my former teacher, Deborah WCarter, who raved about a star student and asked if this student, Amy Porter, could please stay with me for her Juilliard audition. Upon meeting Amy and hearing her play (she practiced just about nonstop for the three days she was in my apartment), I knew she was a major talent. I have followed her career with interest and awe as she won both national and international competitions, became principal flute at the Atlanta Symphony, established herself as an international recitalist and concerto soloist, and, most recently, earned awards for teaching and scholarship as a professor of flute at the University of Michigan. Amy and I conversed via email during the first weeks of February 2012. WENDY STERN: The week of March 24, 2012 is certainly a busy one for you...not only are you the guest artist at the NY Flute Fair, you will also be the soloist in the NY premiere of Michael Daugherty’s Trail of Tears with the American Composers Orchestra at Zankel Hall. How did this concerto [whose title refers to a particularly brutal forced relocation of Native Americans in the late 1830s] come to be written for you? AMY PORTER: Michael Daugherty [a faculty colleague at the University of Michigan’s School of Music] had mentioned to me for many years that he would like to write a flute concerto for me.
    [Show full text]
  • April 1, 2008. You Will Be Able to Sign up for Solos, Ensembles, and Auditing As Well As Order T-Shirts and Patches
    Dear Flutists, I can’t believe how quickly time is passing. As I write this, only 97 days, 18 hours, 7 minutes and 46 seconds until the start of the 31st Annual Texas Flute Festival which begins with the semi-final round of the Myrna W. Brown Artist Competition, Thursday, May 15 at 2:00 PM Recital Hall of the College of Music – University of North Texas. Once again, you will be able to register online March 1 – April 1, 2008. What a stellar list of guest artists we have this year. Renee Siebert, distinguished member of the New York Philharmonic for over 25 years, is well known throughout the world, not only as an orchestra member, but also as a soloist, chamber musician, and teacher. Renee is a highly sought after interpreter and coach of orchestral repertoire and collaborated with Jean Baxtresser, former principal of New York Philharmonic, on the widely acclaimed, “Great Flute Duos from the Orchestral Repertoire.” She will present a masterclass Friday evening and perform throughout the day on Saturday. Although many of us had not heard of Greg Pattillo until recently, he is hugely popular with the junior high and high school students, largely because of his video clips on YouTube. He will present a workshop on how to beatbox, a masterclass on extended techniques, and will perform in recitals with PROJECT bass player, Peter Seymour, a Dallas native, and Erich Stephenson, cellist. Bringing a new sound to flute playing, Greg’s beat- boxing style is a mixture of genres stemming from his classical training at the Cleveland Institute of Music where he studied with Joshua Smith.
    [Show full text]
  • Festival Newsletter
    THE In This Issue newsletter. Letter from the President Festival Schedule 2019 Festival Edition Guest Artist Line-Up Karena Pezzullo, Editor Share Tweet Letter from the President Greetings all! Wow! It is hard to believe the year has flown right by as we are now just days away from the 2019 Texas Flute Festival. It is so easy to get tired and bogged down during this time of year with busy schedules, but I am looking forward to an inspiring and refreshing day of music making with you all! I could not think of a better way to end the academic year than by gathering together and celebrating the progress and hard work that everyone has put forth throughout the year. If you’re not already pumped, then get ready! This year’s guest artists are bringing a wide variety of talent to the Flute community, featuring Project Trio, Kara Kirkendoll Welch, and Martin Godoy. You do not want to miss these amazing artists in concert! They will each perform solo recitals as well as a performance on the Artists' Showcase Recital. During the festival, be sure to check out the clinics these artists are offering. – Want to learn how to beat box and jam out? Be sure to check out Greg Pattillo’s class on beat boxing and flute playing. – Trying to brush up on your orchestral excerpts? Then come and hear Kara Kirkendoll Welch’s masterclass discussing orchestral literature. – Join last year’s Myrna Brown winner, Martin Godoy, as he presents a masterclass to Junior High students from across the Dallas/Fort Worth area.
    [Show full text]
  • 2008 Texas Flute Festival Guest Artists
    Texas Flute Society Membership Application January 1, 2009 - December 31, 2009 Name _________________________ Please select from the following: ______ $ 10.00 Student/Undergraduate Address _______________________ ______ $ 25.00 Adult/Graduate Student/ City ___________________________ Teacher/Professional State ______ Zip Code___________ ______ $ 35.00 Sustaining Member Home Phone ___________________ ______ $500.00 Life Member Alt. Phone _____________________ $ ______ Total Enclosed E-Mail ________________________ If you are a teacher, please check all the Choose One: categories you instruct: _____ New member ____ Elementary ____ Grades 7-9 _____ Renewing Member ____ Grades 10-12 ____ College/University _____ Information Change/Update ____ Adult Mail with appropriate payment to: Teaching Locale _______________________ Larry Bailey Texas Flute Society, Membership 2553 Primrose Drive Richardson, TX 75082 2 President - Tara Richter 817-605-0871, [email protected] Vice President – Mary Reyes 972-956-8553, [email protected] Spring 2009 Editor - Dolores August 682-553-0979, [email protected] Letter from the President Dear flutists, Happy March and I hope this finds you well. Solo contest season is upon us, the 32nd Annual Texas Flute Festival approaches, and busy days are ahead. Greg Patillo and Project have released a new CD this month! If your copy of Winter in June is as worn as mine, I am sure you will want to purchase their new album. The Texas Flute Society has advance copies of the CD, so look for the order form in this newsletter. It is an opportunity you do not want to miss. On April 4th Judy Dines, flutist with the Houston Symphony, will be giving an Orchestral Excerpts masterclass.
    [Show full text]
  • PROJECT Trio -Study Guide
    PROJECT Trio -Study Guide- Combining the virtuosity of world-class artists with the energy of rock stars, PROJECT Trio is breaking down traditional ideas of chamber music. Blending their classical training with an eclectic taste in musical styles, they make a big impact on audiences of all ages. The genre-defying Trio is acclaimed by the press as “packed with musicianship, joy and surprise” and “exciting a new generation of listeners about the joys of classical and jazz music.” Objective of the Performance: PROJECT Trio explores all the amazing genres and styles that music has to offer from the last 400 years. • ENGAGE the audience with world-class performance and story telling. • EXPLORE and teach the timeline of music using the great musicians/ composers of the history of Western Music. • INSPIRE creativity through witnessing virtuosic performance from incredible performers. • ENLIGHTEN the audience to the power of music and all that it has to offer. Table of Contents What to Expect..........................................................................3 About the Artists.......................................................................4 Pre Performance Preparation...................................................5 Instruments................................................................................6 Vocabulary..................................................................................7 Post Performance.......................................................................8 Resources....................................................................................9
    [Show full text]
  • Navy Pier Jazzes up Thursday Evenings with Big Sounds at Tiny Tavern
    FOR IMMEDIATE RELEASE CONTACT: Payal Patel, Navy Pier (312) 595-5073 [email protected] Lydia Jordan-Parnell, Navy Pier (312) 595-5063 [email protected] Navy Pier Jazzes Up Thursday Evenings with Big Sounds at Tiny Tavern The Midwest’s top-attended leisure destination kicks off free six-week jazz ensemble concert series at new craft cocktail lounge, starting Thursday, February 23 CHICAGO (February 21, 2017) – Navy Pier is all about that jazz. The popular lakefront destination introduces a free jazz concert series, Big Sounds at Tiny Tavern. The Pier has teamed up with its new craft cocktail lounge, Tiny Tavern, and the Jazz Institute of Chicago to launch the six-week soirée, which offers a fun, sultry twist to Thursday evenings, while giving a nod to Chicago’s historic and influential jazz scene. Every Thursday from February 23 to April 6, guests are welcome to swing and sway to the smooth tunes of three different ensembles from the Jazz Institute of Chicago. Performances begin at 5:30 p.m. and end at 7 p.m. During the jazz sets, Tiny Tavern will offer guests complimentary appetizers with the purchase of a bottle of sparkling wine or champagne. Big Sounds at Tiny Tavern is set to feature three prominent local jazz ensembles throughout the series: Cole DeGenova Quartet—As a pianist, vocalist and composer, Cole DeGenova has spent most of his life crafting his eclectic artistic voice, beginning his career at age 16 as a jazz pianist around his native Chicago. As a bandleader, he started his funky alternative soul group Cole DeGenova & The Peoples Republic at the prestigious Berklee College of Music, where he released his first album JUST PEOPLE AGAIN in 2009.
    [Show full text]
  • Project Trio Project Trio
    Ithaca College Digital Commons @ IC All Concert & Recital Programs Concert & Recital Programs 9-13-2016 Guest Artist Recital: Robert G. Boehmler Community Foundation Series: Project Trio Project Trio Greg Pattillo Eric Stephenson Peter Seymour Follow this and additional works at: http://digitalcommons.ithaca.edu/music_programs Part of the Music Commons Recommended Citation Project Trio; Pattillo, Greg; Stephenson, Eric; and Seymour, Peter, "Guest Artist Recital: Robert G. Boehmler Community Foundation Series: Project Trio" (2016). All Concert & Recital Programs. 1985. http://digitalcommons.ithaca.edu/music_programs/1985 This Program is brought to you for free and open access by the Concert & Recital Programs at Digital Commons @ IC. It has been accepted for inclusion in All Concert & Recital Programs by an authorized administrator of Digital Commons @ IC. Robert G. Boehmler Community Foundation Series: PROJECT TRIO Greg Pattillo, flute Eric Stephenson, cello Peter Seymour, bass Ford Hall Tuesday, September 13th, 2016 8:15 pm Program Tonight's program will be announced from the stage. Project Trio Combining the virtuosity of world-class artists with the energy of rock stars, PROJECT Trio is breaking down traditional ideas of chamber music. The genre-defying Trio is acclaimed by the press as “packed with musicianship, joy and surprise” and “exciting a new generation of listeners about the joys of classical and jazz music.” Gramophone Magazine singled out the group as “an ensemble willing and able to touch on the gamut of musical bases ranging from Baroque to nu-Metal and taking in pretty much every stylism in between,” while The Wall Street Journal hailed the Trio for their “wide appeal, subversive humor and first-rate playing.” The New York Times has called beatboxing flutist Greg Pattillo “the best in the world at what he does.” The Trio was forged out of a collective desire to draw new and diverse audiences by performing high energy, top quality music.
    [Show full text]
  • Beatboxing and the Flute: Its History, Repertoire, and Pedagogical Importance Christopher Kuhns
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2014 Beatboxing and the Flute: Its History, Repertoire, and Pedagogical Importance Christopher Kuhns Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC BEATBOXING AND THE FLUTE: ITS HISTORY, REPERTOIRE, AND PEDAGOGICAL IMPORTANCE By CHRISTOPHER KUHNS A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2014 Christopher Kuhns defended this treatise on April 2, 2014. The members of the supervisory committee were: Eva Amsler Professor Directing Treatise James Mathes University Representative Patrick Meighan Committee Member Deborah Bish Committee Member Valerie Trujillo Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii ACKNOWLEDGMENTS Many thanks to the members of my committee: Professor Patrick Meighan, Dr. Deborah Bish, Dr. James Mathes, Professor Valerie Trujillo, and Professor Eva Amsler for your generous support and advice during my time at FSU. Special thanks to Professor Amsler for her ideas, encouragement, direction and inspiration. I’m truly thankful to my friends and family for their unending support. Most importantly I’m thankful for my beautiful wife, Krystal, and for all of her motivating
    [Show full text]
  • Nov 11 Draft.Indd
    November 2011 Flutronix: Music of the Future with Classical Roots by Jayn Rosenfeld lutronix fl utistsNathalie Joachim and Allison Loggins-Hull came Greg Pattillo: Fto my house early in September. the man behind Nathalie had taken fl ute lessons with me there 17 years earlier, and she the YouTube sensation still remembered the street address. by Nathalie Joachim and The two handsome young musicians, Allison Loggins-Hull (Flutronix) both in their late 20s, are fl utists, ith millions of hits on You- entrepreneurs, and innovative, WTube, a recent appearance self-made women of the on “The Tonight Show” with Jay highest order. What follows is Leno and an upcoming interna- a summary of what I learned tional tour with the PROJECT from our wide-ranging Trio, Greg Pattillo is at the top conversation and follow-ups of his game. To many it seems by email. that he achieved instant, over- night success, but as we sat and Flutronix aims to make chatted with Greg, we found that music and concert-going his story is one of persistence, brand new. They perform hard work, and the courage to the works of pioneers of think outside of the box. We new music alongside met with Greg after a rehearsal their own creations, at the Project Trio’s studio in combining instrumental DUMBO Brooklyn, before he fl ute playing and mixed left for home to be with his new media elements. Their baby girl. original compositions navigate daring forms of Greg started off like many of us popular, experimental, fl utists do—he began playing in and contemporary (Cont’d on page 5) classical music in Flutronix fl utists Allison a visionary mix, Loggins-Hull (left) while implementing Nathalie Joachim electronics and digital effects.
    [Show full text]
  • Pan • Flute • News
    The British Flute Society the President Sir James Galway OBE magazine Vice-president Albert Cooper • Chairman Atarah Ben-Tovim MBE pan lute pan f The Journal of the British Flute Society 3 News 53 Fluting in the 1940s Volume 27 number 2 June 2008 BFS Silver Jubilee Competition. Convention Patrick Souper’s name is strangely Editor Robert Bigio matters. BFS Council news. Flute choir news. familiar. In this fascinating memoir he explains why. • BFS Convention artists Contacting the BFS 9 Secretary and advertising Interviews with the fantastic musicians who Anna Munks will be performing at the BFS Convention in 27 Eskdale Gardens Manchester in August. Purley, Surrey CR8 1ET Telephone and fax 020 8668 3360 The flute music of Email [email protected] 59 York Bowen. Membership secretary John Rayworth The Nook, How Mill Glen Ballard, flute player and York Bowen Brampton, Cumbria CA8 9JY expert, describes the flute music of this sadly Telephone 0845 680 1983 neglected composer. Email [email protected] Editorial Robert Bigio The new Associated Board 1 Doveridge Gardens 65 London N13 5BJ syllabus: A fuss about Telephone 020 8882 2627 nothing? Fax 020 8882 2728 Email [email protected] Christine Hankin discusses the merits of the • new syllabus. Editorial committee Robert Bigio Simon Hunt 70 Reviews Mike MacMahon • CDs, literature, software and music. Assistant editor Carla Rees [email protected] Junior editor Thomas Hancox How flutes are made [email protected] 41 Copy editor Christopher Steward • Jim Phelan rounds off his four-part series by showing the stages in the making of a The small print Design and typesetting Robert Bigio headjoint.
    [Show full text]
  • Contemporary Music Notation for the Flute: a Unified Guide Ot Notational Symbols for Composers and Performers
    Graduate Theses, Dissertations, and Problem Reports 2019 Contemporary Music Notation for the Flute: A Unified Guide ot Notational Symbols for Composers and Performers Ms. Eftihia Victoria Arkoudis West Virginia University, [email protected] Follow this and additional works at: https://researchrepository.wvu.edu/etd Part of the Composition Commons, Music Performance Commons, Music Practice Commons, and the Other Music Commons Recommended Citation Arkoudis, Ms. Eftihia Victoria, "Contemporary Music Notation for the Flute: A Unified Guide ot Notational Symbols for Composers and Performers" (2019). Graduate Theses, Dissertations, and Problem Reports. 3860. https://researchrepository.wvu.edu/etd/3860 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. Contemporary Music Notation for the Flute: A Unified Guide to Notational Symbols for Composers and Performers Eftihia Victoria Arkoudis Dissertation submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree Doctor of Musical Arts in Music Performance Nina Assimakopoulos, M.M., Chair Evan A.
    [Show full text]
  • The Flutist of Sanssouci: King Frederick “The Great” As Performer and Composer
    VOLUMEXXXVIII , NO . 1 F ALL 2 0 1 2 THE lut i st QUARTERLY The Flutist of Sanssouci: King Frederick “the Great” as Performer and Composer The Remarkable Career of Walfrid Kujala Greg Pattillo’s Three Beats for Beatbox Flute THEOFFICIALMAGAZINEOFTHENATIONALFLUTEASSOCIATION, INC Brad Garner Depends onYamaha.“I love my Yamaha YFL-897H. The evenness of the scale and the ability to have so many different tone colors makes my job as a performer and teacher much easier. I won't play anything else.” – Brad Garner, The University of Cincinnati College – Conservatory of Music, The Juilliard School, New York University and The Aaron Copland School of Music, Queens College 695RB-CODA Split E THE ONLY SERIES WHERE CUSTOM Sterling Silver Lip Plate IS COMPLETELY STANDARD 1ok Gold Lip Plate Dolce and Elegante Series instruments from Pearl offer custom performance options to the aspiring C# TrillC# Key student and a level of artisan craftsmanship as found on no other instrument in this price range. Choose B Footjoint from a variety of personalized options that make this flute perform like it was hand made just for you. Dolce and Elegante Series instruments are available in 12 unique models starting at just $1600, and like all Pearl flutes, they feature our advanced pinless mechanism for fast, fluid action and years of reliable service. Dolce and Elegante. When you compare them to other flutes in this price range, you’ll find there is no comparison. pearlflutes.com Table of CONTENTSTHE FLUTIST QUARTERLY VOLUME XXXVIII, NO. 1 FALL 2012 DEPARTMENTS 11 From the
    [Show full text]