Colosseum-- Rome (Been There)

Macchu Picchu, December 2008
Macchu Picchu, December 2008Sarah: girl with the booty. She was shakin it everywhere we went. This chica SURVIVED the trip. We were a little worried that she would be eaten by Mexicans, but I took it upon myself to be her personal bodyguard and she came out in one piece. I think...
And there's our little Rach Face. How can you not just love that face? Seriously? This girl did a great job documenting the trip, getting weird tan lines/burns/burning bubbles of death, and wearing her braces like a star. Our tour guide even gave her a shout out because she is a brace face! Yeah baby.
Who is this crazy? I think she's been on here before. This girl succesfully got burned in some small way every day. Way to go, lame-o.
Of course there had to be some sort of a photo shoot BEFORE we did anything. I think I might've felt a little ornery about that, but in retrospect I am glad we did it. I just wanted to lay down on my beach chair and pass out.
Ohmigosh fer cute. Look at that spread! We even had papaya and pineapple, too. Delicious. (Actually the papaya was kind of nasty... kind of... but we tried it)
I don't really know what to say about this man, Trevor Wye. Maybe I should give a run down of what the 7 days I spent with him were like? Okay.
Before we even started class he told us all to call him Trevor, so I will refer to him as Trevor not because we are buddy-buddy or because I want to appear chummy with this diva of the flute world, but because I merely like to comply with authority.
There were around 25 people in the class. 14 performers and the rest were all participants. Everyone participated in a 2.5 hr. warmup routine every morning and the rest of the day was dedicated to Andersen Etudes, orchestral excerpts, and solos. All of the "rest of the day" material was played by the "performers." We were given a general list of pretty much 1,000 different things that we should have prepared for the week and I started working on them about a week before. :) Hooray for procrastinating. Here are some memorable points:
The first thing we did every day was tune to the piano, something that all flutists are generally quite bad at (myself included), and I really feel like I made some progress as I had to go through this process of tuning myself and listening to others tune every day. We tuned A-D-A, which I have never done before and it was reaaaaally great. Almost everyone was sharp on every note-- Trevor always says, "When in doubt, pull out. YOU'RE SHARP YOU'RE SHARP YOU'RE SHARP!" One fabulous trick I learned is this: depending on your flute, your middle D might be sharp (very likely, actually). If this is the case, pull out the foot joint. That's right, foot joint. It has the same effect as pulling out the head joint. Genius, no? Try it and thank me later, okay?
After we tuned we always played a tune by ear. FYI: I am terrible at this. He wouldn't tell us what key he was in, he would just play the tune once and we had to find him. So the first day I was a completely lost soul, but I kind of believe in staring my fear straight in the face so naturally I was looking right at Trevor. He stopped the entire class, walked up to me, took my hand off my flute, and slapped my left hand. Hard. Then he said, "Tell everyone what that was for." I had no idea, so I just raised my eyebrows and said, "Uhhhhh...." and he said, "Do not let me catch you looking at my fingers again. Cheaters never succeed." So that was fun. This happened to everyone at least once during the week, although not everyone got their hand slapped like me, so we got used to it. But that first day was a SHOCKER. If he every caught anyone playing the exercises with round thumb Bb, without their pinky on middle E, or forking F# you had to come to the middle of the room and "confess" before the whole class what you had done wrong. It eventually became kind of funny, but at the beginning everyone was very. afraid. Anyway, bottom line from this point is that this class was not a hearts and roses and every body hold hands and sing-around-the-campfire kind of class. There were some tears (not on my part). I feel like I grew a thicker skin, which is great.
Each performer played a solo from the standard repertoire as well as a solo of Trevor's choosing. Trevor's goal in all of this was to expose us to some pieces that were good pieces but aren't often included as a staple of our rep, which I loved! Here are some pieces you might like to check out:
Blavet, Sonata no. 4 op. 2
Bonis, Sonate (I played this one-- very nice solo, not too tough)
Gaubert, Madrigal (beautiful beautiful piece-- I am also in love with Gaubert)
Damase, Sonate in Concert
Marais, Les Folies d'Espagne (g minor w/ piano)
Doppler, Airs Valaques
Berkeley, Sonata
So when we weren't doing solos or etudes or other things we were working out of this book, Trevor's Guide to Efficient Practice Book, or Book 6: Advanced Practice. Let me tell you, friends, it was insanity. My brain and fingers have never hurt so bad. I highly recommend purchasing the book above. In that book, our favorite exercises were:
p. 64 (don't forget to use first finger Bb)
p. I don't know. Reichert exercise #1-- it's in Section 3.
p. I don't know. Section 6. Trevor's exercise where you play MTriad, mtriad, minor subdominant, dimished in each key. Double time beats 3 and 4 of the bar.
p. 74 Scales. Glorified T&G.
All of the exercises above had to be played from memory after the first day. Disgusting. This might be why I did not get much sleep that week. I remember coming home the first night at 11 and my roommates were asleep, so I just sat in my room and fingered and thought through all the major and minor keys and their dominants and dimished triads for a very. very. long. time. It didn't help much. For that reason, I spent a good amount of time "demonstrating" in front of the class until I could do it. Ohhhhh dear.
We also did a lot from the Efficient Practice book. We did a lot of the thirds exercises (kill me) and always played Mozart Symphony No. 41, 4th movement in every single key. From memory. I cannot do it.
And if you have practice book 6: Advanced Practice, we always did the first technique exercise. RIDICULOUS. You try that at lightning speed and tell me you can keep up and put your pinky down every time you play low E. That's what I thought. My pinky was so sore. And some days he made us do the pinky polka, which was a joke.
Trevor is a brilliant flutist and teacher, but he is tough and if you can't adapt quickly it will not be a good experience. He actually ended up liking me quite a bit, which I think was completely due to my ability to adapt because I definitely wasn't the best player in that room. I would recommend his class to anyone, simply because you will have a new desire to improve your technique and your ability to transpose and think quickly.
Okay, this post is waaaay too long. There is a lot more to tell, but I don't feel like writing it down. I feel like I have written down everything that could be beneficial.
And here's a picture of him coaching me (Linda took this) :
It was military week or something down by Faneuil Hall/Quincy Marketplace the first week of May. Met Brad for lunch and he made me take a picture with this huge thing. It fits me, right? I'm thinking about joining the military. Please disregard my hair in this humid weather.
2nd: Went down to FM for Mother's Day weekend. My family always treats me like a star when I am down there. This is a picture of my sister who is not-so-little anymore at my FAVORITE restaurant in town.
Leah and I went to the New England Aquarium on Saturday and saw this big shark. SCARY.