Tuesday, September 29, 2015
7:00 pm
Richmond District Library
351 9th Avenue (near Clement)
San Francisco, CA
Free admission.
Join us for an hour filled with a wonderful variety of music performed on flutes of all sizes, shapes and combinations.
For more information contact Gail Edwards, director, at flutege@sbcglobal.net.
This weekend, members of Berkeley Choro Ensemble are having two shows featuring visiting Brazilian musicians: Vitor Gonçalves, piano/accordian, NYC and Rio, and Rogério Souza, 7-string Brazilian guitar, Rio, guitarist,composer and scholar of Brazilian Popular Music. Please join us! We’re really happy to welcome our friends, both of whom will be teaching at California Brazil Camp in Cazadero during this period.
Saturday, August 22nd, 8 pm
Piedmont Piano Club, Uptown Oakland
1728 San Pablo Ave. (at 18th), Oakland
$20 – To reserve tickets with your credit card, please call (510) 547-8188…
Piedmont Piano Company is pleased to present:
Brazilian Folkloric Jazz
Harvey Wainapel & Vitor Gonçalves
piedmontpiano.com/concerts/150822wainapelgoncalves.html
Harvey Wainapel and Vitor Gonçalves will present a concert that showcases the great variety and richness of Brazilian music; besides the well-known sounds of samba and bossa nova, the duo will perform exotic rhythms such as choro, maracatú, forro, xote, and more. Expect an evening of high-spirited virtuosity, spontaneity, and lyricism.
Sunday, August 23rd, 2-4 pm
Berkeley Choro Ensemble and
Rogério Souza Home Concert
North Berkeley off Solano
This program will feature Rio de Janeiro 7-string Brazilian guitarist, ogério Souza, one of the leading performers and scholars of Brazilian Popular Music, in choro, original compositions, samba and more. Featuring Jane Lenoir, flute, Harvey Wainapel, clarinet,
Brian Rice, pandeiro/percussion and some special guests.
to Reserve: berkeleychoroensemble {at} gmail.com
Address delivered at the time of reservation
or ticket purchase:
Tickets: (recommended-space limited)
www.brownpapertickets.com/event/2156462
Only a few days remain to register and get the month of May 30% discount for Flutes By The Sea Masterclass, July 9-11, 2015 in Half Moon Bay.
June 19 and 27, 2015
Learn more: Alliance Francaise Silicon Valley
Donate to their Indiegogo campaign: LeFrestival
Flute Recital – “Bach, Budapest and Beyond”
Robert Stallman with pianist Dmitriy Cogan and flutist Isabelle Chapuis
St. Paul’s Episcopal Church, 1430 J Street, Sacramento, CA 95814
Tickets: $ 25 Adults, $20 Students (Discounts available to Sacramento Flute Club Members). Tickets at the door or online at: camelliaflutes.com. Contact: sacramentofluteclub@gmail.com or 530-387-4807
Master Class – “It’s About the Music”
St. Paul’s Episcopal Church, 1430 J Street, Sacramento, CA 95814
$85 participants/$35 auditors. Come with your flutes!
Visit camelliaflutes.com for registration forms and tickets. Contact sacramentofluteclub@gmail.com for more info.
Recital – “Bach, Budapest and Beyond”
Robert Stallman with pianist Dmitriy Cogan and flutist Isabelle Chapuis
Trinity Chapel, 2320 Dana Street, Berkeley, CA 94704
Tickets: $ 25 general, $20 Seniors/Students/Disabled
Contact: 510-549-3864 – www.trinitychamberconcerts.com
Master Class – “It’s About the Music”
Queen of the Holy Rosary School of Music, Mission San Jose, 43326 Mission Blvd., Fremont, CA 94539
$85 participants/ $35 auditors. Come with your flutes! Pianist Frank Johnson.
Contact Diane Grubbe at noevalleyflute@aol.com or 415-794-2575 for info or to sign up.
Master Class – “It’s Always About the Music!”
Valley Christian High School, Music Conservatory Bldg., 100 Skyway Drive, San Jose, CA
$85 participants/ $35 auditors. Come with your flutes! Pianist Dmitriy Cogan.
Contact: isabellechapuis@sbcglobal.net or 650-948-2060 for info or to sign up.
House Concert – “Schubert and His Romantic Influences”
Robert Stallman with pianist Dmitriy Cogan, flutist Isabelle Chapuis, and a special appearance by flutist Apoorva Rangan.
Home of Venkat and Jaisri Rangan, 24801 Prospect Avenue, Los Altos Hills, CA 94022.
Tickets at the door: $35. Dessert and wine après concert. For info contact Judy Quinn at judyquinn123@gmail.com. Directions: From 280, take El Monte exit (west) and make a left turn onto Stonebrook, then a right onto Prospect. First come first served parking nearby.
Download a flyer.
Performances, masterclasses, workshops, competitions, and exhibitors all in one place. Buy your tickets online and take advantage of early bird discounts.
Place:
Valley Christian Schools Conservatory
100 Skyway Dr #110, San Jose, CA 95111
Please join Music from Boxwood Artists Chris Norman, flute, and David Greenberg, violin, for this concert, joined by guest Gilbert Martinez on harpsichord.
Location: Trinity Chapel, Dana and Durant Streets, Berkeley, CA 94704
September and October are cooling down in the Bay Area, but the music continues to simmer courtesy of local flutist Jane Lenoir.
Chris Norman – David Greenberg Duo: Saturday, September 21, 2013 at St. Alban’s Episcopal Church in Albany.
First Annual Berkeley Festival of Choro Music: Sunday, October 13, 2013 at the Berkeley Arts Festival and The Freight and Salvage in Berkeley.
The Choro Music Festival is also seeking tax-deductible donations to open up the workshops to young musicians for free. This fund drive will provide scholarships to local students 14-21 years of age and ensure the success of this event, which will be an annual event with visiting guests from Brazil. Please check out their donation page at Wepay.com.
Robert Stallman returns in March for another series of concerts and masterclasses. Robert will be in concert on March 15, 2013 in Mountain View and March 22, 2013 in San Jose. He will also conduct a masterclass on March 24,2013 in San Francisco. More details are available on the events calendar….
It’s a week before show time and in the workshop,
Email is burning with news of hang ups.
It’s Nutcracker season where flutes can grandstand,
With high B-flat notes ringing true through the band.
But high notes are failing on two diff’rent axes,
On the same run of notes – the lovely B-major passage.
“Huh? What gives?”, I voice with erudition,
That note is no trouble, it’s not the lower rendition.
Is it catching? Is it coincidence? Or am I losing my mind?
Bring it in, let me look, and I’ll see what I find.
(And here is the part where I stray from true verse,
I’m not a machine and this is getting perverse.)
A nasty, uneven, cracking transition between high A and B-flat or high G and B-flat on a piccolo and a flute. Two different instruments, two different players, two different Nutcrackers. In both cases, it seems like the trill rod is the culprit. Unfortunately, that makes no sense.
The first two B-flats on your instrument are notoriously fickle. They constitute.
High, B-flat, however, while a complex fingering to the flutist is simpler for repair.
The piccolo may seem like a small flute, but it’s really not. One of the ways in which it is not a flute is its trill mechanism. Unlike the flute, the downward action of the trill keys is not stopped by corks under the keys that rest on the body. The corks under piccolo trill keys rest on the right hand key stack which stops the downward action of the trill keys.
Piccolo Trills
Flute Trills
The flutist in question has a strong grip.
And he practiced and toiled ’til sweat doth did drip.
(Sorry – I’m stopping now)
Gratuitous verse aside, his strong grip and his particularly nimble left-hand fingers were indeed related to the sticking trill key. Because the piccolo trill key rests on the right hand key stack, if depressed hard enough it affects the action of the F# key.
In short: during quick passages his left hand worked a nanosecond faster than his right hand, and thus during the transition from high B-flat to G his G spoke before the F# key lifted. Thus the squeak.
Recommendation: Release right, first finger faster. Or, reduce grip with right hand.
The flute had been in previously for this complaint. The sticking trill key problem was sporadic and I had not successfully reproduced the condition in the shop. I had disassembled and cleaned the rod and tested it and believed the problem was resolved.
When the flute returned, I looked at all possible points of contact between the trill key and other parts of the flute and found no places where the other keys were touching the trill rod. Fortunately the flutist was there to reproduce the problem, because regardless of how much I squeezed I could not get the trill key to hang. And hang ONLY when coming off the high B-flat.
Looking For Points of Contact
After I had spent considerable time losing hair and testing every part of the flute, the flutist asked me, “Maybe it’s the cork?” Well, that doesn’t make sense, but because I had tried everywhere else I looked anyway. And it was indeed the cork.
The flute in question had a slightly longer than average cork under its trill key. By longer, I mean at most 2mm. This protrusion of cork in combination with a sturdy grip resulted in the cork touching and compressing against and around the body rib. Maybe there was also a sticky substance (glue, oil, dead skin, dirt, etc.) on that portion of cork. So with all variables in place, the trill cork contoured itself around the rib causing there to be a momentary adhesion between the rib and the trill cork then the flutist’s finger was lifted.
The Sticking Point
Action: Sand paper the back of the trill cork so that regardless of how hard the trill key was depressed its cork no longer touched the rib.