So, NFA was a blast! I was fortunate enough to make a lot of professional connections and was able to meet a few of our very own flutelanders like Joebutky, and flutepicc06.
Update on flutepicc06. Anyone here still remember him? I was in the exhibit hall and ran into him at a booth (recognized him from pictures I saw when I was still on myspace). I finally got the scoop on where he's been. There was ultimately a dramatic argument behind the scenes in the private messages that caused him to leave. He's doing really well though. He will be finishing school this fall and will be starting his career as a band director soon. In the mean time he has worked with John Landell and the Vermont Flutemakers Guild doing flute repair and flutemaking. It was nice finally meeting him and seeing how he was doing.
I ultimately didn't go to many clinics but spent most of my time in the exhibit hall working on networking. My teacher Jim helped me make some great connections with Powell and Haynes. They've both shown interest in hiring me to make flutes for them (even though I have no experience other than minor repairs of my own). I'll definitely be following up on those offers soon considering that my top two career choices are studio recording and flutemaking.
I took notes at two clinics. One was about artistic career development: sell art, not out! The other was 'To Accept, or Not to Accept: a discussion about college auditions' with Carol Wincenc (Juilliard and Stoneybrook), Jonathan Keeble (Un. of Ill at Urbana Champaigne), Marianne Gedigian (Uni. Texas at Austin), and Jim Walker (Uni. of So. California). LOTS of great info there! I was considering auditioning for three of the four on the panel and was able to mark one off of my list. She and I just wouldn't mesh well.
If anyone is interested I'll post my notes here.
NFA Anaheim Follow-up
Moderators: Classitar, pied_piper, Phineas
Whoah I totally went for the first time to convention as a high school senior this year. It was awesome! I'm definitely going to try going next year. I had lessons with Angeleita Floyd, Diane Boyd-Schultz, and Mary Karen Clardy. And after this experience, I suddenly made the decision to never even look at the University of North Texas as an option again 
If anyone catches my drift. But I got one big step into the door of Northern Iowa, and I'm pretty excited about that.
I met Mr. Miyazawa the flute maker and he and one of his Japanese sellers helped me make arrangements for me to come study in Japan, which was probably the height of my experience at the convention. As a high schooler, the recitals became a little extensive and boring, I'm guessing because I don't know the pieces or the people, such as my age. But Jim Walker's recital was amazing As well as many others.
I really do encourage everyone else to go. It's like... a flute geek's heaven.
Anyway, before I totally bum off your thread... glad you had a good time
If anyone catches my drift. But I got one big step into the door of Northern Iowa, and I'm pretty excited about that.I met Mr. Miyazawa the flute maker and he and one of his Japanese sellers helped me make arrangements for me to come study in Japan, which was probably the height of my experience at the convention. As a high schooler, the recitals became a little extensive and boring, I'm guessing because I don't know the pieces or the people, such as my age. But Jim Walker's recital was amazing
As well as many others.I really do encourage everyone else to go. It's like... a flute geek's heaven.
Anyway, before I totally bum off your thread... glad you had a good time
A lack of professionalism makes room for creativity. That's my excuse >.>
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fluteguy18
- Posts: 2311
- Joined: Sun Jul 16, 2006 3:11 pm
So Jim Walker's recital went well? Good, I'm glad. I missed it because of flight delays. He and I didn't have much time to chat other than over breakfast one morning (as my teacher he was helping me make some career decisions), and then around the exhibit hall.
And YES. I understand what you mean about the University of North Texas. Mary Karen can be... well... intense. I had a similar experience with Leone Buyse back in June. She was sweet in masterclass, but ruthless in private. She made it very clear that she doesn't want me to apply to Rice. That of course is FINE BY ME! I will probably end up getting my Master's degree with Jim (Walker). Not only is he a great player, but he is a genuine teacher who is not afraid to go in and do surgery to fix problems in your playing.
And YES. I understand what you mean about the University of North Texas. Mary Karen can be... well... intense. I had a similar experience with Leone Buyse back in June. She was sweet in masterclass, but ruthless in private. She made it very clear that she doesn't want me to apply to Rice. That of course is FINE BY ME! I will probably end up getting my Master's degree with Jim (Walker). Not only is he a great player, but he is a genuine teacher who is not afraid to go in and do surgery to fix problems in your playing.
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fluteguy18
- Posts: 2311
- Joined: Sun Jul 16, 2006 3:11 pm
To Accept or Not Accept: Notes
Here are my notes from the Discussion Panel with Carol Wincenc (Juilliard/Stoneybrook), Jeffrey Khaner (Univ. of Ill.), Marianne Gedigian (Univ. of Tx/Austin), and Jim Walker (Univ. of So. Cal, and The Colburn School).
Preparing Your CD:
What we listen for:
CW: 'Firstly, I hate prescreening. Take a lesson with the instructor prior to your audition if possible. I look for a life energy, impeccable technique and a vibrant sound.'
JK: 'The X Factor.'
J.Walker: I listen for reasons to rule you out. We all go through dozens of CDs and only take a few for a live audition. You must be precise, in tune, and have personality. I usually know enough in the first 30 seconds whether or not to keep listening.
M.G: When judging, sometimes we listen to the CDs several times.
Importance of audio quality/accompanist:
Keeble: You must have peerless audio quality. The best you can get (even if it is in a studio). Often times 15 minutes of music takes 2 hours to record. Do it over several days, and have the best accompanist possible. Don't wait until the last minute. And playing with an accompanist shows your sense of rhythm.
Gedigian: No accompanist necessary. It is important to remember that not all regions of the country have adequate accompanists available. It is important to respect that.
Walker: Cut out the piano intro. We don't want to spend that first 30 seconds listening to piano. Be smart about it.
Wincenc: You must have piano in both the prescreening and live rounds at Juilliard.
Choice of Repertoire/order of selections:
Walker: Put your best foot forward. We try to get rid of tapes. Why do we require the Mozart? It's default. it tells everything. The G Major... the first 30 seconds tells all, and I'll stop listening.
Gedigian: Make the first 30 seconds enjoyable.
Keeble: The first 45 seconds of your audition says it all.
Walker: I require a DVD audition simply because there is NO EDITING. CDs ARE EDITED.
Taking Your Life Audition:
What we listen for:
Wincenc: Your first impression rules all. Choose your first work. That is a gift we give to you to put your best forward. Be yourself, and be organized.
Gedegian: I listen for potential. I listen beyond the present moment and for openness. What do you have to say in your music?
Keeble: Your repertoire defines you.
Walker: We want you to be successful. Don't play with piano if you can't play in tune.
The Audition:
When you come in, show yourself.
(forgot who said it) If you choose your first selection, choose your best because you will play it the longest. Don't choose the one that you want to get over with first. We may not even ask for that selection.
Gedigian: Treat the audition monitors well. They are often our students, and they blab. Treat the admissions staff with respect as well. They blab also.
What do you expect of prospective MM students in comparison to BM students? (Masters vs. Bachelors).
Gedigian: Your BM is about establishing and reestablishing your fundamentals. For the MM program, your fundamentals must be solid, and I expect more artistry.
(forgot who said it, I think it was either Carol or Jim): Only one out of three applicants will get a live audition.
(I think it was Carol.)
How to distinguish yourself:
Walker: Don't make a huge list of schools and apply to all of them. The ambition is impressive, but you won't yield results that way. Choose a few schools, and get on that teacher's radar.
(SIDE NOTE: at a class shortly before this one, they were discussing college audition preparation. Basically... get on their radar! Most of the time, teachers at the big schools choose their students before the audition or at least have a good idea of who they want to accept. You should 'go into your audition feeling at least 80% sure that if you play a good audition that you will be accepted).
Test scores MATTER!!!!
At Universities, test scores matter, and you can't be admitted even if you won an audition. Jim Walker once wanted to accept four students into his studio (BM and MM combined), and only ONE of them had scores high enough to be accepted. At Juilliard, your TOEFL test matters if English is your second language. Wincenc: "I once had a young man come and audition for me from Central Asia. He hadn't had a flute lesson in his whole life, and he was brilliantly talented. I wept actual tears when I realized that his scores weren't high enough to be accepted to Juilliard. It was such a disappointment for both of us."
Does it matter where you came from?
Wincenc: Unfortunately yes. At Juilliard the standard is so high that we must take into consideration your professional experience as well. Although, that is not to say that brilliant students and players have come out of nowhere (see above).
Gedegian and Walker at the same time: NO!!!!!
Gedegian: I don't care where you come from. All I want to hear is your potential and to hear if you are someone that I can smile at as you come into my door every day.
Walker: Hey, I'm from Podunk, middle of nowhere, yadayadayada. I don't care where you are from. I don't care if you came from somewhere where music is a strong thing or not. If you can play, then that's all that matters.
(There was some bickering/banter between Wincenc and the Gedegian/Walker team here! It was funny!)
Playing tips on the Mozart:
Wincenc: practice it while sitting on a medicine ball. Bouncing on the ball in time helps!
Walker: play it with one beat per measure. It makes you accountable of rhythm and tempo at the same time.
---------------------------------------------------
Sorry that my notes became more vague at the end as to who said what. Towards the end they started talking over one another, and it was hard to write everything down. It was definitely an interesting class!!!!!
Preparing Your CD:
What we listen for:
CW: 'Firstly, I hate prescreening. Take a lesson with the instructor prior to your audition if possible. I look for a life energy, impeccable technique and a vibrant sound.'
JK: 'The X Factor.'
J.Walker: I listen for reasons to rule you out. We all go through dozens of CDs and only take a few for a live audition. You must be precise, in tune, and have personality. I usually know enough in the first 30 seconds whether or not to keep listening.
M.G: When judging, sometimes we listen to the CDs several times.
Importance of audio quality/accompanist:
Keeble: You must have peerless audio quality. The best you can get (even if it is in a studio). Often times 15 minutes of music takes 2 hours to record. Do it over several days, and have the best accompanist possible. Don't wait until the last minute. And playing with an accompanist shows your sense of rhythm.
Gedigian: No accompanist necessary. It is important to remember that not all regions of the country have adequate accompanists available. It is important to respect that.
Walker: Cut out the piano intro. We don't want to spend that first 30 seconds listening to piano. Be smart about it.
Wincenc: You must have piano in both the prescreening and live rounds at Juilliard.
Choice of Repertoire/order of selections:
Walker: Put your best foot forward. We try to get rid of tapes. Why do we require the Mozart? It's default. it tells everything. The G Major... the first 30 seconds tells all, and I'll stop listening.
Gedigian: Make the first 30 seconds enjoyable.
Keeble: The first 45 seconds of your audition says it all.
Walker: I require a DVD audition simply because there is NO EDITING. CDs ARE EDITED.
Taking Your Life Audition:
What we listen for:
Wincenc: Your first impression rules all. Choose your first work. That is a gift we give to you to put your best forward. Be yourself, and be organized.
Gedegian: I listen for potential. I listen beyond the present moment and for openness. What do you have to say in your music?
Keeble: Your repertoire defines you.
Walker: We want you to be successful. Don't play with piano if you can't play in tune.
The Audition:
When you come in, show yourself.
(forgot who said it) If you choose your first selection, choose your best because you will play it the longest. Don't choose the one that you want to get over with first. We may not even ask for that selection.
Gedigian: Treat the audition monitors well. They are often our students, and they blab. Treat the admissions staff with respect as well. They blab also.
What do you expect of prospective MM students in comparison to BM students? (Masters vs. Bachelors).
Gedigian: Your BM is about establishing and reestablishing your fundamentals. For the MM program, your fundamentals must be solid, and I expect more artistry.
(forgot who said it, I think it was either Carol or Jim): Only one out of three applicants will get a live audition.
(I think it was Carol.)
How to distinguish yourself:
Walker: Don't make a huge list of schools and apply to all of them. The ambition is impressive, but you won't yield results that way. Choose a few schools, and get on that teacher's radar.
(SIDE NOTE: at a class shortly before this one, they were discussing college audition preparation. Basically... get on their radar! Most of the time, teachers at the big schools choose their students before the audition or at least have a good idea of who they want to accept. You should 'go into your audition feeling at least 80% sure that if you play a good audition that you will be accepted).
Test scores MATTER!!!!
At Universities, test scores matter, and you can't be admitted even if you won an audition. Jim Walker once wanted to accept four students into his studio (BM and MM combined), and only ONE of them had scores high enough to be accepted. At Juilliard, your TOEFL test matters if English is your second language. Wincenc: "I once had a young man come and audition for me from Central Asia. He hadn't had a flute lesson in his whole life, and he was brilliantly talented. I wept actual tears when I realized that his scores weren't high enough to be accepted to Juilliard. It was such a disappointment for both of us."
Does it matter where you came from?
Wincenc: Unfortunately yes. At Juilliard the standard is so high that we must take into consideration your professional experience as well. Although, that is not to say that brilliant students and players have come out of nowhere (see above).
Gedegian and Walker at the same time: NO!!!!!
Gedegian: I don't care where you come from. All I want to hear is your potential and to hear if you are someone that I can smile at as you come into my door every day.
Walker: Hey, I'm from Podunk, middle of nowhere, yadayadayada. I don't care where you are from. I don't care if you came from somewhere where music is a strong thing or not. If you can play, then that's all that matters.
(There was some bickering/banter between Wincenc and the Gedegian/Walker team here! It was funny!)
Playing tips on the Mozart:
Wincenc: practice it while sitting on a medicine ball. Bouncing on the ball in time helps!
Walker: play it with one beat per measure. It makes you accountable of rhythm and tempo at the same time.
---------------------------------------------------
Sorry that my notes became more vague at the end as to who said what. Towards the end they started talking over one another, and it was hard to write everything down. It was definitely an interesting class!!!!!
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fluteguy18
- Posts: 2311
- Joined: Sun Jul 16, 2006 3:11 pm
Flutes/headjoints: I'm still a HUGE Brannen fan, but ultimately I have realized that at the moment they don't suit my needs. I love them, but from an outside perspective they don't compliment me as well as other makers. Their color is great, but my articulation isn't as clear, nor is my upper register clear when playing ppp. Nagahara was my favorite maker this year, followed by Burkhart. I also really like Manke wood headjoints.
I still stand by my comments about Haynes. They are MUCH improved.
The Brannen 15/85 still reminds me a lot of the Miyazawa GS alloy model. Very similar material. In comparison to their all silver counterparts, I thought they were a little less bright and had a bit more texture to the sound. But that was to my ears only, and there is of course the headjoint factor...
Ultimately I walked out of the exhibit hall very happy with my flute. The only flute I would exchange for it was either the Nagahara Full Concert Model, or perhaps the Miyazawa GS/Miyazawa 9k. The only one that I was fully sold on was the Nagahara. The Burkhart flutes were all very nice, but I didn't try them out as much as the others. When I was at the booth, I was whisked away by Jim taking me around to meet people. I loved their response and mechanism. Not sold on the tone color thing yet. It was too noisy to tell a lot.
I still stand by my comments about Haynes. They are MUCH improved.
The Brannen 15/85 still reminds me a lot of the Miyazawa GS alloy model. Very similar material. In comparison to their all silver counterparts, I thought they were a little less bright and had a bit more texture to the sound. But that was to my ears only, and there is of course the headjoint factor...
Ultimately I walked out of the exhibit hall very happy with my flute. The only flute I would exchange for it was either the Nagahara Full Concert Model, or perhaps the Miyazawa GS/Miyazawa 9k. The only one that I was fully sold on was the Nagahara. The Burkhart flutes were all very nice, but I didn't try them out as much as the others. When I was at the booth, I was whisked away by Jim taking me around to meet people. I loved their response and mechanism. Not sold on the tone color thing yet. It was too noisy to tell a lot.