Titled "Noisy Oyster," they will be premiered at the BFS in August.

Click NFA schedule for further details: http://www.nfaonline.org/pdfs/convention/2010Schedule.pdf

I wanted to thank you all for your support and kind assistance of my recent brief tour of the US West coast. I felt honoured and blessed to have inspired many students, faculty, and friends about the MAGIC of the the Low Flutes. These instruments have power, sensitivity, and pure grace when allowed the opportunity to shine. I (and the instruments) enjoyed the attention and interest you bestowed on us.

After 6 planes, 5 Major cities, and over 1,000 miles of driving in less than two weeks, I would like to give you a summing up of my trip:

SAN DIEGO FLUTE FESTIVAL was a blast, with an opportunity to rehearse and perform with some of the finest flutist Southern CA has to offer. It was a pleasure meeting and working with Bradley Leighton, who inspired me to purchase the Hogenhuis Subcontrabass flute, from the images and sounds on his website. This man can swing and jive.......and if you have not heard his recordings, they are a must for your collection! Just google him and you find out more. Thanks Bradley and Donna. As a team (with flutist Rebecca Kleinmann and Marion Fredricson) we premiered two new LOW FLUTES QUARTETS, which were fun to prepare and fascinating for the audience members to listen to.  These unique quartets will find their way around the globe and are sure to make an impact on flute communities everywhere. Thanks Houston Dunleavy and Michael Rosiak for your compositional contributions. Also big thanks to the coordinators of the San Diego Flute Festival for their kind invitation to perform and share these instruments with all.

My very short visit to CAL-ARTS was quite special and these students have much to contribute to the world of sound. The lecture was only the introduction to the inspired closing section, where students of all disciplines (brass, piano, strings, etc.) stood in front of the lecture and performed a few creative 'conduction sessions.' YouTube videos to follow soon. Man those guys can shape, manipulate, and inspire sounds for sure. Thank you to my colleague Rachael Rudich for the kind invitation, and to Vinny Golia for assisting in the conduction sessions. Also to my duo partner Marion Fredricson for performing Adrienne Albert's "Three for Two," as our intro piece. These small gems give the instruments a real chance to sing and expressive themselves.

On to CAL STATE UNIVERSITY in FRESNO, where Teresa Beaman's studio had several students eager to hear and play these instruments. The studio owns one of the earlier Hogenhuis Contrabass models, which makes a strong rich tone, when played at full bore. Keep up the good work Cindy! Their growing Flute Ensemble was pleasure to listen to and I enjoyed hearing the students prepare works for their final recitals. Nicole Modell was the young lady responsible for my invitation, so a warm and sincere thank you to her. 

A quick visit to CAL STATE UNIVERSITY-NORTHRIDGE had me chatting to a group of composer interested in the sounds and power of the big Flutes. Head of Composition, Liviu Marinescu was warm and welcoming and inspired many interesting questions about the possibilities of these instruments. Thanks to composer, Emeritus Professor, and flutist Daniel Kessner for the kind invitation. That evening I was again on my old stomping ground at UCLA. I was joined by the beautiful and talented Marion Fredricson on Contrabass flute, and we gave the UCLA premiere of "Three for Two"  by the Award winning composer Adrienne Albert. These works should be published shortly, and if you have an interest in Low Flutes music, these again are a must. Arranged for one player on Alto/Bass and the other player on Contrabass flute, these delightful yet profound pieces are a real gems to our ever growing repertoire. Thanks Adrienne for your talent and time. Sheridon Stokes, Flute Professor at UCLA asked several students to play their recital pieces and one young man, stood up and played "Below." I was so honoured to hear a work that was brand new only two years ago, find it's way into the repertoire already. What a treat. UCLA and especially Sheridon have given me many fine opportunities, and I thank them for their support. 

After a short trip (2 full days) to visit my wonderful Mother and family in NYC, I was back on the West coast again, this time up north.

PORTLAND STATE UNIVERSITY has a motivating Music department, with many excellent faculty members, especially their head of Woodwinds, Barbara Heilmair. I was invited by the Instrumental Music Club, and gave two lecture demonstrations and an evening recital. My visit was warm and welcoming, and I hope to return in 2012. I must thank my fellow chamber music colleagues, Ray McKean-accompanist, who played with great beauty and sensitivity on such short notice, you are a champ! And to flute professor Sydney Carlson, who performed a set of new Duos for Piccolo and Sub-Contrabass flute by Houston Dunleavy. This was really a fun moment, trying to inspire the hugh 12 foot pipe of the Subcontrabass flute to play and imitate a piccolo.......and there's something for the books. Thank you Barbara and all the PSU staff and faculty for such a fine trip. I hope these instruments will continue to inspire, awe, and entertain for many, many years to come.

The ever growing interest in these flutes is truly astounding, and hope more folks around the world will find their own way to the beautiful and enriching timbres if the Low Flutes.

I had a 10 hour lay over in Los Angeles, so I hopped into a cab and visited the famous Getty Museum off the 405 in Sepulveda Pass. What a treat, seeing and feeling this building.
I reckon it is one of the most beautiful buildings ever constructed for sure. I jumped on a plane at midnight, hit hard turbulence about halfway across the Pacific Ocean (always around Christmas Island), thanked GOD
for my wonderful trip and was back teaching on Monday. Life is good.

On April 23rd, I will embark on a fast paced tour of parts of the West Coast of the US. With performances and lectures in four major cities, the instruments will be seen and heard by many, many ears.

"Friends in Low Places" (Sunday April 25th) San Diego Flute Festival- a program that will highlight a new genre of chamber music for the Low Flutes Quartet (Alto, Bass, Contra and Sub-contrabass flutes). Two newly composed works, 'Foul Play' by Australian composer Houston Dunleavy and the sassy 'Quasi Latino' by the talented Melbourne based composer Michael Rosiak will demonstrate the versatility and colour of these gentle giants of the flute family. A world class set of performers will contribute to this major musical event.

Sheridon Stokes, Bradley Leighton, Marion Fredrickson and Rebecca Kleinmann will join breaths to fill the hughe pipes of the big flutes and add some new sub-sonic music to the growing repertoire of these unique instruments.

"Big Flute Beats" (Monday April 26th)- Lecture/ Performance for Cal Arts Institute. A discussion and interactive demonstration, showing the rhythmic essence of these 'drain pipe' flutes. Coordinated by Professor of Flute and extraordinary flutist and musican Rachael Rudich.

"Performance/ Lecture" (Tuesday April 27th)- University of California, Fresno. An overview of the Low Flutes and a listen to some of the new music composed for these instruments.

"Composing for the Low Flutes" (Wednesday April 28th/ 4-5:30PM)- California State University, Northridge. A listen to some pointers about composing for the Low Flutes, including ranges-timbres-articulations-'bum notes'- blending, etc.

"Lecture/ Demonstration: Action-Reaction" (Wednesday April 28th/ 8PM)- University of California, Los Angeles. In Popper Hall (Free). Come along and hear a chat about the flutes and then hear some of the UCLA flute studio read through some chamber pieces for the Low Flutes. Featuring works by Stokes, Giles, Lawrence, and Albert.

"Below: Music for Low Flutes" (Monday May 1st- Thursday May 4)- Portland State University. A few days visit to one of the finest Universities on the North West Coast. A complilation of masterclasses for flutist and composers, along with an evening recital program of the newly completed CD for Low Flutes, "Below." 

Click below for program: 

<a href="<a href="Voices">http://www.lowflutes.com/publicfiles/Voices_from_the_deep.docx">Voices">http://www.lowflutes.com/publicfiles/Voices_from_the_deep.docx">Voices">http://www.lowflutes.com/publicfiles/Voices_from_the_deep.docx">Voices from Deep- Program</a>

Check for more under Press/Reviews tab........

I have seen all types of curved head set ups, from in-line with flute body, to the head positioned over the the top of the body, and played in a downward blowing position. I find that placement of the headjoint halfway between these two extreme positions, so another words, just above the thumb plate, yet not over the keys, is a somewhat optimal setup. This position is roughly over the rods. There are two mechanical reasons for this placement.

1) the flute can now be supported from underneath, and the LH can provide a slight upward force to counter balance the weight of the larger body and tube, ' gently'  pushing the headjoint into a solid and stable embouchure position.  

2) This angled position allows for 'pitch manuvering' which is a realistic truth on the low flutes.  

What is often the problem with this position, is that flutist then counteract themselves by turning the position of the head joint in (towards the lips), which can negate their efforts made to get the air source through the longer, larger pipe. A more open position tone hole set up, will provide deeper, richer  low partials , creating a clearer, cleaner, projecting tone.

To recap, the position of the curved head has to work for the weight-balance, freedom of fingers and best tone production on the instrument. With aware self-observations in the mirror, one can solve numerous problems and create new methods of self expression through this unique relationship of the curved headjoint. This curved type of headjoint has many more choices that the normal striaght headjoint and can be a wonder to explore. The best advice I can give is: make the darn thing work for you. There are some many positions, yet the 'correct' one is the one that works best for your sound, and comfort.

Enjoy the sounds, feel the vibes!

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  Wild New Music for Flute(1998) Sheridon Stokes and Jared Ferguson-Alto/Bass           Works of incantaions, fearturing composers performing on Alto, Bass and C Flutes (Sheridon Stokes Music)   

  
  


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  Glaciers in Extinction (2005) Roberto Fabbriciani-Hyperbass flute and tape               A World premiere recording of the Hyperbass flute. Six evocative, soundscapes exploring the enigmatic tones of the World's largest flute (Col Legno) 

  
  


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  Spinning: Geoffrey Collins-Flutes (1995) Featuring the incredible Alto flute solo composition by Andrew Ford, writing for Helen Tara O'Connor (Tall Poppies)

  
  


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  JEUX: Mikael Helasvuo-Alto Flute (2001) A fantastic work by Finnish Esa Pekka Salonen, featuring exciting and wild extended techniques. Outstanding performance

  
  


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  Others to come

  
  

Two (or more) compositions will be created that will showcase and ignite the creative sounds (and groans) of the low flutes. Thomas Reiner, newly appointed Chair of the School of Music at Monash, is planning a work for Alto/ Bass flutes that will feature high density energized cells that fly and fizz around the unique and distinct sound of the orchestral tubular bells. Must be a first?

Professor/ Lecturer Peter McIIwain is composing a surprise work for the sub-contrabass flute (with electronics), that will be based around the imaginative theme of an oil refinery. Now if that is not challenging my creativity.............. I feel honoured and blessed to have these fine musicians and colleagues composing for these over sized pipes. Stay tuned for premiere dates in 2010.