BBC critic notes, “Stallman’s claim to a special place among the world’s masters of the flute rests in the daring artistry he demands of himself in every situation.”
“Mentored by Jean-Pierre Rampal early on, he went to Paris as a Fulbright scholar to study with Rampal, Alain Marion and Gaston Crunelle at the Paris Conservatoire, thus his teachings importantly bring the French linage of flute playing to us.”
While attending a master class in San Jose, California in 2017, I heard him remind the students of the importance choosing and making appropriate of tone quality, vibrato, and articulation for the right style of era and making music supported by technique.
• Confidence comes from knowing how
• There is no good technique without tone
• Commit to a feeling. How can I get you to reveal your emotions?
• Say something when you play!
• Play with depth, not just pretty!
What is Good Tone?
• A good tone is open, clear, in tune, has steady core, all partials centered, using consistent color throughout all registers”.
• EE is nasal and buzzy. Eu is warm. Relax Ee ot Eu
• Spin the sound to float it. Feel the sound moving -not stagnant”.
• Don’t hold your breath while you play”.
• It is essential to have “point” in the sound so it is rich and projects.
• Add depth of tone to your scales and phrases. Scales are music!
• The tone is Half Cooked, not done yet, but you are getting there.
Mozart Concerto in G+
• Maestoso means play majestically, with the correct regal dotted rhythm.
• Feel the beat in 2. Its not a March!
• Give weight to the 1st note as if saying Hello! This is my stage!
• For the best quality of articulation attacks: strike the tongue on the “bump” where the teeth & gums meet. Use the Tue syllable and give weight to the attack but not accent. Go inside the core of the note.
• No staccato! No clipping slur by 2’s”.
• You know, I have my own Stallman cadenza editions”?
• For the opening melody say your 1st note well! It should be full, dark, and the vibrato deepened in amplitude.
• Develop your long tone potential. Deepen your sound as an exercise and transcribe this melody in several other keys.
Deepening the tone exercise
• Use the vowel “Tue” not Tah
• Quarter note =60 4/4. B –Bb each a whole note, b-Bb quarter notes, B-BB half notes to B whole note. Descend ascend a step
• Posture! Lean forward
• Open mouth
• Press tummy, inhale, and allow air to enter like a vacuum -4 counts
• Hear the entry –use Hoh
• Not too fast! Not always one speed either!
• We don’t want to hear “sugar” on top of all the notes. Mix it into the batter.
• Running fast notes do not get vibrato!
• Forget “piano” when you play with an orchestra as a soloist except in very exposed and un-layered passages.
• What’s often important is not what’s written but how it sounds”
• When the dynamics are “p” or “mp” in solo rep or concerto, don’t be ‘forte’ but be heard out in the hall -whatever that takes.
• Don’t take the dynamics too literally.
• What’s written on the page is not necessarily how it is going to sound. What’s important is how it sounds, not necessarily what’s written on the page!
Handel Sonata B-
• B minor is a special key. Bach only wrote a few pieces in B-. Only the Locrian mode has the tri-tone (devils interval) and was banned but Bach spiritualized it. He turned it into something sacred.
• For this mood the tone needs deepening,
Vibrato for deeper dimensions
• Use deeper amplitude for forte to intensify the vibrato
• Find the sound first and then slip into the vibrato.
• You are not a doorbell! Not suddenly alarming. Hear the pitch first!
• Music is about expressing! These are Mozart’s private feelings shared with us.
• Commit to a feeling. How can I get you to reveal yourself? More! Reveal your emotions. “Say something!”
• Can you fake if you don feel it or understand the emotions (aesthetics) yet? In time it will come!
• But, itis not a guessing game. You gather the feelings through the harmony-tension release, key, mode, accidentals and through the various levels of sequence building, appoggiaturas, and dynamics.
• Use a special sense of the articulation for the 2nd movement
• For this go inside the note, keep it legato but with deep meaning.
• Use these syllable: da, da, da, ma, ma, ma or mu, mu, muh
Play with depth, not just pretty!
• Push into the sound but don’t sound pushed.
• Like sleep-walking, deliberate, slow, plodding like a Bach bass line. Imagine Bach sleep walking in the streets of Leipzig in his slippers.