NYFC JAN07.6pp 12/30/06 9:46 AM Page 1

The New York Club NEWSLETTER NEWSLETTER January 2007

A THOUSAND-MILE JOURNEY STARTS WITH ONE STEP: DIZI MASTER TIM LIU Interview by Rebecca Quigley im Liu was born in Kaohsiung, Taiwan, and has been teaching tradi- tional Chinese flute for more than 20 years. During his childhood Toverseas he was awarded the prestigious Best Musician Award in the Golden Lion Flute Solo Contest and was a member of the Taipei City Chinese Classical Orchestra. Principal flutist of the Chinese Music Ensemble of New York from 1983 to 1992, Tim is now recognized as one of the outstanding masters of dizi in this country. More information about his instruments, educa- tional packages, and Lyrichord-label recordings can be found at his website, www.2measures.com. This interview was conducted via email in late October. As a player, I was particularly interested to hear about the evolution of dizi, along with its con- struction and performance techniques. REBECCA QUIGLEY: Let’s begin with the In Concert history of your instrument. When is the earliest known reference to dizi in Chi- Tim Liu, dizi (Chinese bamboo ) nese history? LiQun Li, (Chinese hammered dulcimer) BaoLi Zhang, (Chinese two-stringed fiddle) (Cont’d on page 4) Sunday, January 21, 2007, 5:30 pm Yamaha Piano Salon, 689 Fifth Avenue IN THIS ISSUE (entrance between Fifth and Madison on 54th Street) A Thousand-Mile Journey Starts Yang Bien Chuay Ma ...... Wei Shen Dzowng With One Step: Dizi Master (“Grain Delivery Man”) (1969) (b. 1940) Tim Liu ...... 1 by Rebecca Quigley Zhe Goo Fay ...... Hunan folk tune (“Flight of the Zhe Goo Bird”) arr. Loo Chuen Ling (b. 1921) From the President ...... 2 Ergonomic Fluting The General’s Command ...... Sichuan Yangqin folk tune re-arr. Shean Fua Member Profile ...... 3 Sue Carlson Soung Yeo Chu (“Village Utopia”) ...... Tsai Jing Ming David Weiss Puts Dizi Technology (1958) (b. 1939) to Work on Broadway ...... 8 Streams of Sorrow ...... Shandong Folk Tune by Rebecca Quigley Relaxation for Flutists: A Few Spring Comes to Xiang River ...... Ning Bao Sung Techniques ...... 9 (1977) (b. 1943) by Patricia Spencer Journey to Gu-Su ...... Jian Shen Wei Announcements (1962) (b. 1924) Flute Happenings...... 3 Ensembles Program Update and The Horseman’s New Song ...... Jien Guong Ee Next Meeting ...... 5 (1960) (1944–2000) New Date for May meeting/concert....5 Flute Fair 2007 Update ...... 11 Program subject to change NYFC JAN07.6pp 12/30/06 9:46 AM Page 2

2 — NYFC Newsletter Ergonomic Fluting by David Wechsler his month, I want to talk about posture and related THE NEW YORK FLUTE CLUB INC. occupational illnesses that affect flutists. We are all Tathletes of the hands and lips, and as such are subject 2006–2007 to injury. The flute is a very asymmetrically held instrument, Board of Directors and because of this players can be susceptible to little nig- David Wechsler, President gling performance aches and pains that over time can Jayn Rosenfeld, First Vice President From the become real chronic problems. Couple that with the Ardith Bondi, Second Vice President President absolutely essential use of the computer for everyone these Jeanne Wilson, Recording Secretary days and your arms don’t get very much of a rest. I have Keith Bonner, Membership Secretary Edward Wolf, Treasurer been acutely aware of posture issues for about 25 years. Every time I ever had a small pain doing anything on the flute, I immediately Katherine Fink Karla Moe went to work in a kind of self-biofeedback mode and tracked down the problem, Susan Friedlander Seth Rosenthal then successfully corrected it. Of course the Alexander and Feldenkrais methods Svjetlana Kabalin Rie Schmidt Fred Marcusa Stefani Starin are excellent tools to help relaxation, posture, and body awareness. Nancy Toff Here are some of my helpful hints for playing and prolonging flute playing. The first thing one must do when holding a flute is to realize that the very posi- Advisory Board Jeanne Baxtresser Robert Langevin tion of your hands can cause problems. If you turn in too much, you kink your Harold Jones Gerardo Levy right wrist. If you turn out too much, you exaggerate the curve of same. Neither is Marya Martin good. You must find a hand position that gives the best possible gentle curve with the least amount of kinking or stretching. This is easily accomplished by just turn- Past Presidents Georges Barrère ...... 1920–1944 ing your headjoint in or out until the position feels good on your right wrist. It John Wummer ...... 1944–1947 takes a little getting used to, but is easy. For arms, your upper body from the Milton Wittgenstein ...... 1947–1952 waist must point at a slight angle to the left from that of your legs. This has the Mildred Hunt Wummer ...... 1952–1955 Frederick Wilkins ...... 1955–1957 effect of moving your arms closer to the center of your body, and correcting some Harry H. Moskovitz...... 1957–1960 of the unequal weight distribution of your arms and putting them closer to the Paige Brook ...... 1960–1963 center. This also removes a great deal of pull from your left shoulder. The flute Mildred Hunt Wummer ...... 1963–1964 Maurice S. Rosen ...... 1964–1967 should be angled down slightly, not straight out parallel to the floor. Also be Harry H. Moskovitz ...... 1967–1970 aware of keeping your arms naturally hanging down against your body, not in an Paige Brook ...... 1970–1973 exaggerated elbows up position, or the opposite, pushing your elbows against Eleanor Lawrence ...... 1973–1976 your sides. There is no need for either, and an elbow up does nothing for breath Harold Jones ...... 1976– 1979 Eleanor Lawrence ...... 1979–1982 even though you may feel that it does. Paige Brook ...... 1982–1983 Players must learn to support the instrument and their arms without any added John Solum ...... 1983–1986 tension to their neck and shoulders. I am an advocate of young players playing for Eleanor Lawrence ...... 1986–1989 Sue Ann Kahn ...... 1989–1992 longer periods of time seated on a chair with arms, until they are strong enough to Nancy Toff ...... 1992–1995 support the flute for longer periods. Even older players should do that if they get Rie Schmidt ...... 1995–1998 tired. One must also be careful not to sit slouched. This presses down on your Patricia Spencer...... 1998–2001 Jan Vinci ...... 2001–2002 belly muscles, which are the entire support system of your breathing. Always sit Jayn Rosenfeld...... 2002–2005 (and stand!) up straight. A great example for carriage (the really old fashioned word for posture) is to watch ballet dancers in their rest position before they begin Newsletter Katherine Saenger, Editor dancing. They are all standing erect, yet relaxed, understanding the responsibility of 115 Underhill Road being a calm vertebrate. For your face, the only muscular contraction should be Ossining, NY 10562 that of your embouchure. The rest of your face should be like a really good Texas 914-762-8582 Hold ’Em player or a Botox injectionee—no expression. You must be careful not to [email protected] do strenuous exercises or work unless you are used to it. You can hurt your arms Sue Carlson, Layout/Production that way. The dangers of tendonitis and carpal tunnel syndrome are real. If you use 789 Westminster Road Brooklyn, NY 11230 a computer a lot, you must watch the angle of your arms in relation to the key- 718-258-5325 board. A minor thing to correct, yet a major cause of damage. [email protected] I am a righty, and for most of my life my left hand has gotten away with doing little. When I began to have tension in my right arm at the computer, I started www.nyfluteclub.org mousing with my left hand. At first I was embarrassingly uncoordinated, but now I Copyright © 2007 by The New York Flute Club Inc. am better than with my right hand. I now lead with my left, doing basic everyday unless otherwise noted. All rights reserved. tasks as a lefty, to more equally distribute the workload. Of course, there’s no sub- stitute for being ambidextrous. I would love to be ambidextrous. Why, I’d cut off my right arm to be ambidextrous! Ba-dump-pa. I hope you find these little sugges- tions helpful, so you can concentrate on music, not pain. NYFC JAN07.6pp 12/30/06 9:46 AM Page 3

January 2007 — 3

FLUTE HAPPENINGS Kincaid student, who was teaching Member nearby at Western Carolina University; FREE to current NYFC members, this section lists upcoming per- formances by members; flute-related contests, auditions, and Profile later, Philip Dunigan at the North Car- masterclasses organized/sponsored by members; and brief olina School of the Arts (from whom descriptions of members’ new recordings, sheet music, and books. Sue Carlson she learned the real meat and potatoes Send submissions to the Newsletter Editor. NYFC member of flute playing), Samuel Baron (at JANUARY ’07 since 2006 SUNY Stony Brook), Tom Nyfenger, Newsletter layout/ and Trudy Kane. Thursday 7:00 pm JAN production editor Duo Del Norte with SHARON since 2006 High school: Sylva-Webster High School 18 LEVIN, flute, and Gene Pino, guitar, in Sylva, NC (where she spent many, performing a mix of baroque, classical, Latin many hours with the Golden Eagles and popular music including chorhinos by Employment: Manager of digital produc- marching band “getting it right”). Abreu and others, Ecuadorian mestizo music, tion for the book publisher W.W. Nor- Fauré’s Pavane and Chopin’s Variations on a Theme by Rossini. ton & Company, and freelance flutist. Degrees: BM (North Carolina School of the Arts, 1977); MM (SUNY Stony • The Westport Arts Center, 51 Riverside Ave- A recent recital/performance: A busy nue, Westport, CT. • Admission: $20. • Info, call Brook, 1978). Sharon Levin at 203-557-3973. November 2006: two performances of Madama Butterfly with the Brooklyn- Most notable and/or personally satisfying Saturday 5:30 pm accomplishment(s): Raising her two JAN based Regina Opera Company; soloist 20 ELISE CARTER, flute, with Lin Li, for the same group’s International kids and seeing them turn into “really piano, Dave Calkins, guitar, and Opera and Song Festival, playing “The great people”; regaining her health after Matthew Demerritt, saxophone, in a recital of Swiss Shepherd”; and a performance some scary medical troubles. She says, works by Burton, C.P.E. Bach, Reinecke, Schocker and others. “Although I love music with a border- with her woodwind quintet, Viva Voce, • Weill Recital Hall, 154 West 57th Street, NYC. on Staten Island. line religious devotion, the music busi- • Admission: $25 (through Elise Carter at 973- ness is not where I want to be. I feel 851-5435 or box office on day of performance). Career highlight(s): As a flutist: princi- lucky to have found a career that chal- pal in the Knoxville (TN) Symphony Sunday 8:00 pm lenges my brain every day and still JAN following graduate school, then years leaves me enough energy to play.” 28 “Second Viennese Roots and as a freelancer with many different NY- Shoots,” a program of seminal area orchestras including American Bal- Favorite practice routines: Practicing is music of the early 20th century with reverber- not Sue’s favorite thing. But to warm ations in today’s hearts and ears, by the Da let Theatre. Performances with the Capo Chamber Players with PATRICIA Sylvan Winds, a 1988 performance at up the lips she still does a series of SPENCER, flute. Works by Arnold Schoenberg the Library of Congress with the Gal- arpeggios and scales Philip Dunigan (arr. Webern), Hanns Eisler, Alban Berg, liard Wind Quintet (when she and the taught her years ago, a routine she also George Perle, Milton Babbitt (a solo flute piece), and a world premiere by Kati Agocs. oboist, Judith Dansker, were both about finds helpful for agility and intonation. • Merkin Concert Hall, 129 West 67th Street, nine months pregnant), and lots of Other interests: Volunteering at the NYC. • Admission: $20 general, $10 students/ chamber music with her current quin- seniors. • Box office 212-501-3330 or visit Regina Opera (her family company, co- www.dacapochamberplayers.org. tet. At Norton: getting a “top secret” founded by her sister-in-law), where security clearance and then doing the her children perform with the chorus FEBRUARY ’07 layout/typesetting of the 9/11 Commis- and her husband runs the sound sys- Thursday 1:30 pm sion Report in one straight 56-hour tem; reclaiming her inner jock with a FEB The OMNI Ensemble, with DAVID period in July 2004 to make a press run now-seven-year-old routine of swim- 8 on Saturday for books in the store on WECHSLER, flute, Deborah Sepe, ming (currently 3 miles per week), cello, Jim Lahti, piano, in a program including Thursday. yoga, ballet, and Pilates; and improving J.S. Bach's Suite in B minor and piano quar- tets by Fauré and Copland. Current flute(s): A commercial model her photo retouching skills (despite the fact that this sounds a lot like what she • Center for the Arts at the College of Staten Powell from the 1980s that she loves Island, 2800 Victory Boulevard, Staten Island, for its big, rich sound, and a Jeff Weiss- does at her day job). NY. • Admission: $15 general, $10 students/sen- man selected for the same iors. Info/reservations, call 718-859-8649 or visit Advice for NYFC members: Sue says, “I www.omniensemble.org. reason. generally try to steer clear of giving Influential flute teachers: Her first people advice . . . unless you’re a fam- Flute Happenings Deadlines teacher, Alexander LeSueur, a former ily member, then look out!” Issue Deadline Mail date* February 2007 01/11/07 02/08/07 March 2007 01/25/07 02/22/07 April 2007 03/15/07 04/12/07 May 2007 04/05/07 05/03/07 *Projected NYFC JAN07.6pp 12/30/06 9:46 AM Page 4

4 — NYFC Newsletter

Tim Liu (cont’d from page 1) What attracted me to join was that we tion, and he suggested that I not, wouldn’t have to go to daily morning because the association sponsoring that TIM LIU: There are two schools of and afternoon cleaning, and flag-raising competition was from another music thought about where dizi originated. and lowering ceremonies, plus I would school and students from my school Official documents show that dizi was be able to get close to some cute girls! might not be treated fairly. I thought brought back from somewhere west of Erhu [a long-necked two-string fiddle about it for a few seconds, decided I by Emperor Wudi’s messenger, that is played with a bow] was my didn’t have anything to lose, and signed Zhang Qian, in 119 BCE. But the dis- assigned instrument, but I loved the up for the competition. covery of older flutes in several ancient sound of dizi. I got good at it and after I asked my captain in the army for tombs show that the Chinese played a half-year of practice, won myself a a day off to go to the competition. bone and bamboo flutes long before. fourth place award at the city musical Jokingly, he told me, “If you don’t win Some examples: a flute was found in a competition (Yes, there were more than the competition, don’t come back to tomb from the Eastern Han dynasty four kids in the competition!). Seeing my see me.” You should have seen his (206 BCE–9 CE) with an extra hole, name printed in the newspaper was a face when I showed him my name perhaps for pasting a membrane; two bigger deal than a useless paper certifi- printed in the newspaper to prove that bamboo flutes were found in a tomb cate. At that time, you had to take a city- I had actually won. I got five “Honor- dated to 168 BCE; and more than thirty wide test to fight for high school seats, able Wild Vacation Days,” and a 9,000-year old flutes (made from the which were limited. Most families saved reward of $10,000 [new Taiwan dol- wing bones of the red-crowned crane) up money for their kid to go to “after lars]. I had never had that much with five or seven holes were found in school study” to prepare for that impor- money in my life before, and it was a the village of Jiahu (Central Yellow tant test. My parents gave me money good foundation for a young soloist. River Valley). too, but I hid it under the sink and went That helped me get into the only pro- Despite some experimental dizi out to practice when it was time to go fessional Chinese music ensemble in (11-hole flutes, half-note flutes, or to those classes. While the others stud- Taiwan at that time. It turns out that it adapting Western-style mechanical keys ied, I practiced dizi at the park, in the was a very fair competition after all! for temporary notes), six-hole dizi are dark, where nobody would bother me, still the popular choice of most dizi because people believed that playing RQ: When and why did you arrive in players. Dizi have basically been the dizi at night attracted ghosts. I was not the United States? same since the Yuan Dynasty afraid of that nonsense, but do remem- TL: In 1982 or 1983, after my two years’ (1279–1368 CE). ber mosquitoes in the summer, cold service in the army and one year in the winds in the winter, and a few “reality Taipei Municipal Chinese Music Orches- RQ: Let’s talk about your background. shows” in the darkness of the park, if tra (the only professional Chinese music Can you tell us about your earliest you know what I mean. ensemble in Taiwan at that time), I said musical studies? good-bye to the members of the TL: I think I am the first musician RQ: At what moment did you know you orchestra, my two girlfriends, and pri- among my relatives. My parents like to would pursue music for a living? vate students, and packed my bags. I sing and I think that is all the musical TL: It may have been those two slaps arrived in the US with exactly $3 in my background I got from my family. on the face from my Dad, after I told pocket, which I paid to the luggage Around age 12, my school was looking him I got accepted, and was leaving carrier who was so eager to take care for students to participate in a newly home to go to music school! I am not of my luggage. They were my last $3— formed Chinese Classical Ensemble. quite sure if those two slaps strength- I did not know I would have to pay ened my mind to pursue music for a this friendly person to help me! living or not, but after he spent all his My parents had saved up enough money to send me to music school money to open their own Chinese [there was no way] I could change my restaurant in Spotswood, NJ. Being the mind. I did not link music playing oldest son, I could not say no to my with money until I got into a profes- “duty,” but had to help my parents who sional music ensemble and realized had supported me all these years. I how much money I could make by started my duty the day I arrived to the playing music and teaching private US, going right into the kitchen directly students. from JFK Airport. Two months later, I wrote letters RQ: What was it like to win the Best back to my two girlfriends, along the Musician Award in the Golden Lion lines of, “Forget about me, don’t wait, Solo Contest in 1981? go find someone else while you are still TL: I was in the army serving my young, Christopher Columbus was mandatory two years at the time of the wrong, it’s hopeless here, very tired, competition. I asked my dizi teacher for guidance about entering the competi- (Cont’d on page 6) NYFC JAN07.6pp 12/30/06 9:46 AM Page 5

January 2007 — 5

FLUTE Ensemble Program Update and Next Meeting HAPPENINGS by Annette Baron, NYFC Ensembles Coordinator FEBRUARY ’07 FEB Saturday 8:00 pm he second ensemble get-together for the 10 The OMNI Ensemble, with DAVID WECHSLER, flute, in same program T2006–7 season was held on Sunday, Decem- as February 8. ber 10th in New Jersey. The five participants, repre- • Brooklyn Conservatory of Music, 58 Seventh senting a range of levels, benefited greatly from working Avenue (corner of Lincoln Place), Brooklyn, NY. • Admission: $15 general, $10 students/seniors. together and learning from each other. For two hours, the group played Info/reservations, call 718-859-8649 or visit through a variety of popular, classical, and novel choir pieces and talked www.omniensemble.org. about flute manufacturers, fingering issues, phrasing, tone, breathing, blending, and technique. FEB Sunday 2:00 pm 11 Duo Del Norte with SHARON LEVIN, flute, and Gene Pino, gui- tar, in the same program as January 18. • Westport Public Library, Arnold Bernhard Plaza, 20 Jesup Road, Westport, CT. • Admis- sion is free. • Info, call 203-291-4840 or visit www.westportlibrary.org.

FEB Sunday 4:00 pm 11 The Kaiser Woodwind Quintet with LAURA KAREL GEORGE, flute, will perform a world premiere of NJ composer Louis Gordon’s “Movements,” com- positions by Leon Karel and Franz Danzi, Ronald Roseman’s Renaissance Suite, and transcriptions of music by Gershwin, Respighi, and Cervantes. • St. Cassian Roman Catholic Church, 187 Belleview Avenue, Upper Montclair, NJ. • Admission: $15 suggested donation. • Info, call 973-744-2850. Sunday 8:30 pm FEB Flutist MICHAEL PARLOFF and 11 friends will perform music of NYFC members Gwen Glaz, Hal Archer, Vanessa Levario, Diane Lynch, and Schulhoff (Sonata for flute and piano), Annette Baron participated in the December 10 ensembles get-together in NJ. Debussy (Chansons de Bilitis), Schubert (“Trockne Blumen” Variations, Op. 160), Bach (Sonata in G Minor, BWV 1001), and Jongen (Concert à cinq for flute, string trio, and harp, Op. 71). • Weill Recital Hall, 154 West 57th Street, NYC. NEXT ENSEMBLES GET-TOGETHER • Admission: $35 general/$15 students/seniors. • Info, call MidAmerica Productions at 212/239- 4699 or email mwaymire@midamerica-music. Sunday February 4, 2007 com. 2:00–4:00 pm FEB Wednesday 7:00-9:00 pm 14 “Swinging on a Star,” a masterclass The next ensembles get-together will be in Brooklyn by Paula Robison featuring love (Park Slope), at the home of Julia Porter, 463 17th Street, songs and melodies, TBA. • Diller-Quaile School of Music, 24 East 95th Apt. #9. Please RSVP to Annette Baron. Street, NYC. • Admission (auditors): $30 gen- eral, $15 students. • Info, call Heather Holden Annette Baron at 212-369-1484 x26, or email hholden@ NYFC Ensembles Coordinator diller-quaile.org. New York Flute Club New Date and Place for Email: [email protected] May Ensembles Concert Phone: 973-244-0992 and Annual Meeting Sunday, May 20, 2007 Greenwich House Music School 46 Barrow Street, NYC 5:30 pm NYFC JAN07.6pp 12/30/06 9:46 AM Page 6

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Tim Liu (cont’d from page 4) TL: I tried it once, but didn’t have any She told me she loved the program and special feeling about it. I am sure learn- was nice enough to give me her need sleep, good-bye.” They must have ing more would open up my world and endorsement to help me promote it. thought that because I was a restaurant advance my dizi playing, but when you Along with her endorsement, and those owner’s son I was having a good life in are in love with someone, you don’t of Dave Weiss and Paula Chan Bing, I the US, and had decided it was the even want to look at others. The distributed my program through time to dump them. But that was not thought of the benefits of playing flute www.shakuhachi.com, the website of the truth. I did not see hope at that only entered my mind for a few sec- Monty Levenson, a wonderful shaku- moment and thought I was doing them onds. It’s OK, I can only handle one hachi maker out in California. I set up a favor. lover at a time, and I know my my own website after I produced my limitations. other two dizi programs. RQ: Did something happen after that to change your mind and make you want RQ: How do you balance your perform- RQ: How were your instructional pack- to stay in the US? ing career with your day job? ages How to Play the Dizi and 2 Mea- TL: I did not change my TL: I keep reminding myself that I want sures at a Time™ influenced by your mind. I believed once I left both, and that I can have it all. My day- experiences as a teacher? Taiwan, my music career time job in sales allows me to arrange TL: I find that most students absorb would be over, that as the oldest my own hours and my time is spent only 50% of what I teach them during son I felt it was my turn to con- between my two sons, my job, lessons, and after the lesson, most stu- tribute and my duty to help the fam- practice, performances and my dents forget 50% of what they ily. My heart told me that it was the web business (www.2Mea- absorbed. (Perhaps because I am not a right thing to do and I followed it. I am sures.com). I get up very good teacher? Or maybe they are glad I made that decision. More than a around 7:00 am and not very good students?) Then, when few times I wondered if maybe I would rarely hit the bed they practice at home, they practice the be happier, become famous, or make before wrong way without knowing it and more money if I had stayed in Taiwan, 1:00 am. I waste lots of their money and my valu- but because I followed my heart, I had realize this is able time. I told myself, what if they peace in my mind and knew every- not a good thing could follow and practice with me thing would be all right in the future. for my health, but every two measures at a time, every you only live once and time? Would they practice the RQ: Can you talk about your experi- I only have 24 hours per “right way” and get better results ences during the nine years you per- day, so what can I do? within a much shorter time? formed with the Chinese Music Sure they will! I think this Ensemble of New York? RQ: How did your business come method is not only limited to TL: The Ensemble was founded by Mr. into existence? dizi. Tran-Nien Zhang with four other mem- TL: I got calls from a few professional bers. Mr. Zhang was friends with my woodwind players [see sidebar discus- RQ: The 2 Measures at a erhu teacher back in Taiwan. When I sion with one of them, David Weiss], Time™ method was inspired joined the group in 1982, there were especially after the Broadway shows by an old Chinese proverb. . . . only one or two formally-trained musi- Miss Saigon and The Lion King opened. TL: Yes, “A thousand-mile journey starts cians, but their musical style was very I was busy with my daytime job, prac- with one small step.” A destination a rich, and I hungrily absorbed from each tice, performances, and my newborn thousand miles away seemed impossi- player’s style like a starving baby. I dis- first son, so I just didn’t have the time ble in old China, but with an experi- covered some beautiful music from to give private lessons. But the demand enced guide by your side, a thousand- these amateur players and got to per- of people wanting to learn how to play mile journey can be achieved by taking form many famous dizi solo pieces that dizi kept coming up, and finally, I one small step at a time. This applies were not allowed to be played in Tai- stayed up to 5:00 am for more than a to learning dizi as well. The 2 Measures wan at that time because it was consid- few nights to put my first instructional at a Time™ method is based on the ered to be “promoting communist program together. Based on my teach- natural learning process of imitation culture.” Later, when more professional ing experiences, I’ve tried my best to and repetition. You can go at your own performers joined the ensemble, it make the program as clear as possible. pace, repeat each individual lesson as enriched and expanded my music style I then offer my full support via email many times as you wish, and get feed- even more. I remember when Baoli and any form of communication possi- back from me by email. The program Zhang had just joined the ensemble ble. To me, it’s a joy to receive record- comes with a dizi, dizi accessories playing erhu, his playing made me ings from participants, to share their (membrane, membrane glue, and tas- think, “That is the way it should be.” progress, and to get asked for my opin- sel), the CD, and my book, so partici- ion of their playing. pants can start to learn and enjoy this RQ: What have been your experiences After the program was made, I wonderful instrument the minute they with the Western flute? called Carol Wincenc for [feedback]. open the package. NYFC JAN07.6pp 12/30/06 9:46 AM Page 7

January 2007 — 7

RQ: Let’s talk about the construction of , and a variety of audience compare the different playing dizi and how it differs from the Western vibrato types and . Fingering styles. My friend LiQun will demonstrate flute. Can you describe the mokong (the techniques include trills, glissandi, YangQin (hammered dulcimer) for us, hole between the embouchure and the tremoli, portamenti, and half-holing, then my friend Baoli Zhang will demon- finger holes) and the dimo membrane among others. The basic tech- strate the erhu with LiQun’s accompani- that covers it? Why is the dimo selection niques are flutter-tonguing and different ment, and we will play several pieces and pasting ability so important to the kinds of staccati such as single-, dou- together. If time allows, we will answer sound of dizi? ble-, and triple-tonguing. The use and some questions and let the audience TL: Compared to the modern Western combination of these techniques members look at the instruments. By flute, dizi have a very simple construc- depends on the styles (folk, silk and the way, there will be an after-concert tion. On the upper side of the bamboo bamboo, or operatic), schools (South- dinner in Chinatown, and you are all tube it has one embouchure hole, one ern or Northern) and regions (Shangshi welcome to join us. We’ll share the membrane hole, six fingering holes, and province or province) of dizi costs for about $15–20 per person. two holes to balance/correct the pitch. repertoire. However, contemporary On the underside of the bamboo, there conservatory-trained performers are are another two holes at the end to bal- generally required to integrate all these ance/correct the pitch and from which techniques so that modern composers some people hang tassel decorations. can freely apply these techniques A special feature of dizi is the according to their specific needs. mokong. This membrane hole was invented by Liu Xi during the Tang RQ: You have recorded several albums. dynasty (618–907 CE). The mokong is Can you tell us about the challenges located between the embouchure hole you faced in the recording studio with and fingering holes, and is covered by dizi? a thin membrane called the dimo. TL: In the recording room usually the When the dizi is played, the dimo air is very dry. This slows down the vibrates and produces a very special dimo’s vibration, making the dizi sound crisp sound. The inventor called his muffled. The same thing happens on new instrument Chi Sing Guang or the the concert hall stage, especially on a “seven stars tube” (six finger holes plus brightly lit stage. one membrane hole equals seven) and A humidifier in the recording room said the reason for his invention was to will usually take care of the dryness “help produce a better sound.” problem, but on the stage we rely on The dimo is very sensitive to mois- our experience to paste the dimo looser ture and the temperature of the envi- than usual, then count on the brightly LiQun Li at the Chinese hammered ronment. Dizi players adjust it from lit stage’s higher temperature and dryer dulcimer. time to time to get the best sound we air to bring the dimo down to the right can and when we cannot get the sound tightness. Most of time it works, but to our liking we have to change it. Dizi when we paste it too loose, and the RQ: Have you composed works for dizi? players are very picky about the quality dimo does not come back to the right Will any of your compositions be fea- of the dimo; how it should be pasted tightness in time, we are in serious tured in the concert? and how loose or tight it is adjusted. I trouble, because it is very hard to blow TL: I have written a few songs and an once ran into a so-called “woodwind out high notes when the dimo is too ensemble piece, but none for dizi. specialist” who proudly told me that he loose. That happened to me once on There are still too many lovely dizi pasted Saran Wrap™ on the membrane stage and is a recurring nightmare—it is pieces out there that I haven’t had time hole, and was able to leave it on for time for your entrance and no sound to play yet. Maybe after my two young years. What does that say about his tal- comes out of your instrument! sons move out of the house, I will have ents if he cannot recognize the differ- a chance to give it a try! ❑ ence in sound between Saran Wrap™ RQ: Can you tell us about your upcom- and a real membrane?  ing NYFC concert? TL: Since this is the first time I am play- Rebecca Quigley is a Westchester- RQ: What other modern flute techniques, ing for the Club, I will just share some based freelance flutist, teacher, and like circular breathing, flutter-tonguing, dizi music I like and mix traditional and shakuhachi player. multiphonics, and , are used modern pieces. I will start with a on dizi? smaller Northern-style dizi called BanDi RQ and TL thank Mary Ann Lach (Mrs. TL: Dizi techniques can be categorized (literally opera flute), follow by a larger Tim Liu) for her help in straightening into three kinds: blowing, fingering, Southern-style dizi called QunDi. I will out the nuances of TL’s English. and tonguing. Long and even breathing play these two pieces without any is fundamental. Dizi players also use accompanying instruments to let the NYFC JAN07.6pp 12/30/06 9:46 AM Page 8

8 — NYFC Newsletter DAVID WEISS PUTS DIZI TECHNOLOGY TO WORK ON BROADWAY David Weiss, a New York City-based are possible in the bamboo with epoxy beauty of Tim’s instruments is their musician, performs on flutes and wood- and “pining.” I rub oil into the bamboo malleability—if you play them without winds from many different cultures. three to four times each winter, a tech- “Chinese” ornamentation, they can Active in the recording industry, he has nique also used by shakuhachi players. work in almost any ensemble, and not been heard on television commercials, I’ve found playing around New York sound Chinese. films, documentaries, and CDs. that the halls are dry, but not too dry, and the older the instruments, the more RQ: What scene(s) does it appear in? REBECCA QUIGLEY: When you met Tim they seem to adjust to our climate. Can you also briefly talk about the other Liu, did you already have a personal flutes you use in the show? interest in the dizi and Chinese music, RQ: How did you get your start playing or did you need an instrument for a job? on Broadway? DAVID WEISS: I’ve always been inter- DW: In 1983 I got a call from a music ested in world music, beginning with contractor who needed a flute player East Indian and Japanese music. I first for a Broadway production of the met Tim in 1991, through a friend. I Shakespeare play All’s Well That Ends found his instruments suitable for work- Well. Andrew Lolya, who had been my ing with a western ensemble, after I re- teacher at the Manhattan School of tuned them a bit. I bought them to use Music, recommended me for the job. in Miss Saigon, for which I had just The show closed after about two been hired, but also because I con- months, but my name got around, and cluded they could work for me in many I started subbing for other musicians. different ways. Tim imports his dizi I slowly started getting more shows from both and ; my of my own. I’ve worked on over 50 instruments are about 15 years old. productions, between shows of my own and subbing. These days, I RQ: Let’s talk about the mechanics of split my time between the the- your instruments. What pitch is your ater and the recording studio. dizi tuned to? DW: Because dizi have no keys—and RQ: Tell us about how and have just six fingerholes—it is necessary when you use the dizi in The Lion to use different instruments depending King. Was it written in the score, or did on which key you are in. Chinese musi- you suggest the instrument for its cians carry instrument cases with 12 ? flutes, because it is essential to have a DW: I was hired to play for The Lion DW: The song “Can You Feel The Love flute in each key. This sounds expen- King because they wanted someone Tonight” features the two B instru- sive, but I could have purchased a new who could play flute, piccolo, pan- ments, especially the one with the dimo flute headjoint for what I’ve paid for all pipes, and all sorts of “ethnic flutes” (I paper. It has a very sensuous sound my flutes from Tim. The range of each hate that term, but that’s another story). and fits the instrumental ballet in the instrument is about two octaves. The The idea was to jointly create the part, middle of the scene. The other flutes lowest one I have starts on F# above as I brought an extensive knowledge of really “color” the characters of the middle C; the highest is a fifth up from these unusual instruments and the dis- show. The panpipes are associated with a piccolo. tinctive colors they have. The com- Simba, the young Lion King; his father posers were willing to go anywhere in Mufasa, the older Lion King, is colored RQ: The bamboo on my shakuhachi the world musically to get “the sound” with low wood flutes. One of the dizi requires constant attention to prevent that worked. I play 13 instruments in in B is also featured right after Mufasa cracking in drier climates like New the show. Three of them are dizi I pur- dies. The evil uncle Scar gets stuck with York. Do you have to take extra steps to chased from Tim. One is a high F the nasty sounding bass pan pipes. I’ve protect your dizi? sopranino dizi and another is pitched in used dizi for all sorts of things, literally DW: Like shakuhachi, dizi are made of B major. One utilizes dimo paper, the every aspect of the business. It’s up to bamboo, and have tone holes and inte- membrane that gives the dizi such a the player to take the instrument some- rior bores evened out by hand. But the distinctive sound. The other sounds like where new. dizi is bound at several intervals by a standard wood flute. The dizi were wire, and this really helps prolong the not originally part of The Lion King For more about David Weiss, visit life of the bamboo. Repairs and patches score. I brought them into the mix. The www.davidweissflute.net. NYFC JAN07.6pp 12/30/06 9:46 AM Page 9

January 2007 — 9 RELAXATION FOR FLUTISTS: A FEW TECHNIQUES by Patricia Spencer

uilding a relaxation habit into “Oops—next time I’ll be sure to play an phrase. (Then take it away and breathe  one’s flute technique is one of F at that spot” (or the correct rhythm, quickly for the other half of the time.) Bthe cornerstones of learning the or a louder crescendo, or whatever is Do the same for your scales—put a nice instrument—others including, of needed). This simple change keeps fermata over every breathing spot. Two course, a deep artistic involvement your level of observation high, and years ago I was privileged to play on with the world of music, a tireless omits the tension-producing part about the same concert (at an NFA conven- search for your own creative voice, a “how stupid” the error was. Everyone tion), with the superb flutist Paul constant curiosity and excitement about makes errors. The trick is to deal with Edmund-Davies, first flutist with the Lon- understanding/shaping/hearing more them intelligently and with a “loosen- don Philharmonia Orchestra. In addition in the repertoire (and not just flute ing” approach to fixing them. to hearing his wonderful performance repertoire!). and rehearsals of the John Harbison The importance of the relaxation Singing concerto, I heard part of his pre-concert cornerstone is sometimes underesti- Singing a phrase or a tricky spot can be warm-up: he was playing Taffanel & mated. We all want to play ever faster a helpful way of learning it—away from Gaubert No. 4, and he was taking sev- and louder, tongue at the speed of the flute. This eliminates the fingering eral beats for every breath! light—we imagine technique-building and tone production part and lets you Here’s something else to try: play as the development and strengthening relax and focus just on the musical your scales until you are almost but not of certain muscles and muscular mem- shape and rhythm. It is also helpful to quite out of breath, then, instead of ory patterns. But for maximum effi- say just the rhythm (not worrying about breathing immediately, exhale a little ciency and effectiveness (and thus the pitches) and vice versa—sing just more and at the same time relax your maximum fun!), the habit of loosening the pitches and no rhythm. And here’s jaw, throat, shoulders, and breathing and releasing needs to be an integral a surprise: it actually doesn’t matter if muscles. This could result in your next part of all technical workouts. your voice won’t “go” to the pitches breath simply coming in as a reflex, Below are a few relaxation methods you’re learning—the process of trying which would be terrific. But even if the I have found helpful in my own play- to get it to go there will still help your little extra “puff and release” does not ing and teaching. flute playing! happen to trigger a reflexive breath, it is still a good relaxation habit and will “No-fault” Practicing Every breath is a special improve your sound. (Needless to say, An important first thought: if you are opportunity for relaxation as with developing speed of fingers, experiencing tension, don’t imagine that We all know that, in order to develop after slow practice one must also go you are somehow at fault. In many smooth and quick finger technique, we fast—but with a looser feeling!) cases, almost the opposite is true: the need to practice slowly. But how often fact that you feel the musical excite- we forget to apply the same wisdom to “Paint the ceiling”** ment, that you care about the sound the development of breathing technique! Intersperse your flute practice with var- that comes out of the flute, leads you This is partly because of our wonderful ious relaxing physical stretches. One of to put out special effort which can take Andersen etudes, which for the most my favorites is “paint the ceiling,” a the form of physical clenching. Most of part leave little or no time for breaths, series of arm circles. Put the flute us (probably 99% of the people I have even between phrases. Our repertoire is somewhere safe. Let your right arm fall worked with or taught) need to also chock-full of fabulous pieces (the limply at your side and then spread develop methods to counteract this. Bach Sonatas!) that require quick and your fingers into a big wide open The tension slows the learning process hopefully quiet breaths.* Therefore in hand. Rotate your hand clockwise, and makes performances into daunting, order to build a habit of relaxation with pointing your thumb away from you high-pressure events instead of enjoy- every breath, we must start by simply and back, perhaps even toward the able challenges, opportunities to com- taking the extra time that is needed for a wall behind you. Imagine your wide- municate your artistic vision. relaxed breath. Try this for a week: for spread hand is a paint brush, and, with A “no-fault” approach to practicing at least half of your practice time on an can be step one. When you play a Andersen study, put a quarter rest, with **This exercise came from a wonderful class wrong note (or wrong rhythm, or out a fermata over it, at the end of every I attended in “Semiokinesis,” taught by Marc of tune note, or wrong dynamic, etc.), Bassis. For more information, see: http:// rather than saying “Oh, how stupid I * This short article will not describe the  www.semiokinesis.org/mski/Accueil.html. am, that’s wrong, it should be an F ” mechanics of breathing technique (that (for example), try simply saying would be a different article!). (Cont’d on page 10) NYFC JAN07.6pp 12/30/06 9:46 AM Page 10

10 — NYFC Newsletter

1 23Photos: Ardith Bondi

The author demonstrates the “paint the ceiling” exercise: (1) Let your right arm fall limply at your side and then spread your fingers. (2) Rotate your hand clockwise, pointing your thumb away from you. Let- ting your gaze follow your hand, start a big arm circle from way behind you to way above, first “painting” the wall behind you (3) and then the ceiling (4). After holding the stretch for several seconds at the highest point of the arc, relax your hand and let your arm “flop” down in the 45forward curve of your circle (5).

a big arm circle from way behind you Thought-practicing motions that you might be adding to way above, you are painting first the This simple technique not only pro- when you actually play. wall behind you and then the ceiling motes relaxation but also speeds up In an insightful article,*** Betty Bang with the center of your palm. Let your the learning process. After you have Mather reported on an experiment in gaze follow your hand, and pause at played a “tough spot” several times, “thought-practicing” by basketball play- the highest point of the arc, with your instead of actually playing it, imagine it ers. Team A practiced as usual, shoot- fingers still spread wide and your palm as clearly as possible in your head: ing baskets and making passes, team B facing straight up. This will feel a little sing it silently to yourself, imagining sat on the benches and imagined what uncomfortable, as you are stretching each fingering change, no matter how if felt like to shoot baskets and make your hand, wrist, forearm, and shoul- slowly. Don’t move your fingers—just passes, and team C did a combination. der muscles. After a few seconds of imagine the movements. And don’t be The team that improved the most was holding the stretch, relax your hand shocked if it takes several seconds to team C. And the team that made the and let your arm “flop” down in the imagine a finger change that you can second most improvement was team forward curve of your circle. Repeat already manage easily on the flute. B—after only sitting on the benches with your left arm; do both sides, alter- This process brings the essence of the and “thought-practicing.” nately, five to ten times. Try inhaling fingering (or the big slur, or the on the upward part of the arc, and pitch/dynamic control, or whatever exhaling on the downward “flop,” and you’re working on) into a different *** Betty Bang Mather, “Playing the Flute ask yourself if that gives you even level of consciousness and helps you with Your Whole Brain,” The Flutist Quar- more relaxation. shed some of the extra, tension-related terly, Vol. XV, No. 4, Fall 1990. NYFC JAN07.6pp 12/30/06 9:46 AM Page 11

January 2007 — 11

Tonguing workouts Play slower use a bell we all hear everyday as a In the same way that swimming or run- This is so obvious you’ll think I’m continuing “bell for awareness”—namely ning can contribute to relaxation and insulting you—nevertheless, each year the telephone. Personally, I have to smooth muscle coordination, a moder- at auditions I am amazed at how many admit I have not been able to learn to ately strenuous tonguing workout can young players play too fast for them- loosen and relax and do a little breath- help relax your tongue and throat. selves, sacrificing relaxation, tone color, ing exercise whenever I hear the phone. Depending on your level, this workout phrasing, and notes in the process. At (Probably I need to attend this retreat!) could be some tongued scales, an least half of your practice time on diffi- Nevertheless, you may be able to find a Andersen tonguing etude, Saint-Saëns cult passages should be slow (and signal, for yourself, that helps you “Volière” (or perhaps Marco Granados’s singing), building relaxation into the develop a habit of regular “checking in” fun “Hibiee-Jibiees” joropo etude!). phrase at each of several different slow on your breathing, balance, relaxation, Intersperse your workout with resting tempos. Furthermore, the fast practice and spiritual connection. moments (maybe with some relaxed can be in short spurts, interspersed with breathing exercises) and keep focusing rests, for the same reason. Conclusion on loosening and “floating” all the jaw, This brief outline of methods is far from neck, and occipital musculature. Make “Bell for awareness” exhaustive. Your teacher will have many sure to incorporate nice long relaxed A certain ebb and flow of tension and good methods, some tailored for your breaths into your workout, especially at release are part of the learning process. particular habits. Watch for a planned the beginning. (As you get into it, you By going a little bit beyond your limit, in list of recommended further reading. ❑ may find that your breaths naturally get speed, softness, tonguing, or whatever,  quicker while still keeping relaxed.) you’ll experience more relaxation in the A champion of new music, flutist Also make sure not to overdo it. next day’s session. A student once told Patricia Spencer (www.patriciaspencer Experiment with different time periods me she had attended a meditation flute.com) is well known for her perform- (10–15 minutes, up to 45) and figure retreat where a “bell for awareness” was ances, solo and chamber recordings, out what works for you. A helpful rung at random intervals. When they and commissioning of present-day com- secret—it doesn’t have to be daily! For heard the bell, they would each take a posers. She is a member of the Da Capo developing both speed and relaxation, moment to check in on their breathing, Chamber Players and on the faculty of a tonguing workout four or five times a balance, and spiritual connection with Bard College and Hofstra University. week is sometimes even better than their activity. After they had completed daily. the retreat, their teacher suggested they ©2007 Patricia Spencer

UPDATE ON NEW YORK FLUTE FAIR 2007: STAR TRACK, SETTING YOUR COURSE Katherine Fink, Flute Fair Chair Date: Saturday, March 10, 2007 Venue: Union Theological Seminary International soloist and teacher Carol Wincenc inspires a day of career planning with stellar performances, master- classes and lectures, including a world premiere by illustrious composer Paul Schoenfield. Teachers, future stars and star gazers will enjoy this view from the top. Please check www.nyfluteclub.org for detailed information and updates. MASTERCLASS with CAROL WINCENC Those interested in participating in the masterclass should send a one-page resume and good quality recording (tape or CD) with two contrasting movements or works which you intend to perform at the class (standard flute or piccolo repertoire, no avant-garde). Advanced high school level and beyond are preferred. Please send materials by February 1, 2007 to: Jeanne Wilson 2600 Netherland Avenue, Apt. 425 Riverdale, NY 10463 [email protected] ATTENTION ALL ENSEMBLE TEACHERS! Please contact Stefani Starin at [email protected] by February 1, 2007 if you are interested in having your student ensemble perform at NY Flute Fair 2007 on Saturday March 10 at 2:00 pm. Any ensemble of three or more students (ages up to 18) is eligible. Maximum 10 minutes for each group. NEW YORK FLUTE CLUB ANNUAL COMPETITION The preliminary auditions will be held at the Kaplan Space at Carnegie Hall on March 9, 2007 with final auditions at the Flute Fair on March 10. Winners will perform at the Yamaha Piano Salon on April 29. Eligible age is 18–27, applications must be postmarked by February 10. See www.nyfluteclub.org for details and application. NYFC JAN07.6pp 12/30/06 9:52 AM Page 12

The New York Flute Club Park West Finance Station P.O. Box 20613 New York, NY 10025-1515

January 21, 2007 concert Sunday, 5:30 pm • Yamaha Piano Salon, 689 Fifth Avenue (at 54th Street) Tim Liu, dizi (Chinese bamboo flutes)

87th Season 2006–2007 Concerts Happy New Year! The first Club event October 29, 2006 • Sunday, 5:30 pm for 2007 will be a concert by the dizi master Tim Liu, fol- FENWICK SMITH, flute, and SALLY PINKAS, lowed by a dizi Q&A session and a post-concert dinner in piano Chinatown. Rebecca Quigley’s interview left me impressed November 19, 2006 • Sunday, 5:30 pm with Tim’s good humor, his childhood dedication to music LEW TABACKIN, jazz artist (how many junior high students do you know who would December 17, 2006 • Sunday, 5:30 pm LAUREL ZUCKER, flute, and skip high school entrance exam coaching sessions to MARK DELPRIORIA, guitar From the practice the flute in the park?), and expertise in dizi peda- Holiday reception Editor gogy. Rebecca also had some questions for a Broadway January 21, 2007 • Sunday, 5:30 pm practitioner of the dizi, David Weiss (see sidebar on p. 4). TIM LIU, Chinese bamboo flutes This month we have two self-help articles on the February 25, 2007 • Sunday, 5:30 pm THE HANOVERIAN ENSEMBLE closely related topics of ergonomic fluting (Dave Wechsler’s “From the Presi- JOHN SOLUM and RICHARD WYTON, dent,” p. 2) and mindful relaxation (Pat Spencer on p. 9). We also have some baroque flutes updates from Kathy Fink on Flute Fair 2007 (note that several planned events March 10, 2007 • Saturday, all day have early February deadlines for participants) and from Annette Baron on the FLUTE FAIR 2007—CAROL WINCENC, Union Theological Seminary ensembles program. Sue Carlson, the NYFC Newsletter's new layout/production editor, is this April 29, 2007 • Sunday, 5:30 pm 2007 NYFC COMPETITION WINNERS month’s Member Profile subject. First a freelance flutist and now a graphic pro- May 20, 2007 • Sunday, 5:30 pm duction manager for a book company, she is probably the only one of our sub- ANNUAL MEETING & ENSEMBLE CONCERT jects who can claim a family opera company to volunteer with. Makes me wish I Greenwich House Music School had a family opera company, but it is probably not an endeavor for the faint- All concerts and events (except as noted) at Yamaha hearted! Piano Salon, 689 Fifth Avenue (entrance between Fifth and Madison on 54th Street). All dates and pro- Anyway, all for now. See you soon. grams subject to change. Tickets $10, only at the door; Best regards, free to members. For more information, visit the NYFC website at www.nyfluteclub.org or call 732-257-9082. Katherine Saenger ([email protected])