• flute,  musician,  semi-pro

    My Daily Flute Repertoire Go-Through List

    One of the issues I face is TIME. It takes time to work up and then keep repertoire perform-able, and, never knowing what I’m going to be asked to play, I have to keep them all in the pipe (quite literally when one plays the flute). Added to that is all the foot switching required when you use electronic effects, and that’s the part that I usually skimp on — always a mistake. Invariably, it’s the stuff I skimp on that comes back to bite me, because that’s sure to be the piece or pieces that Forrest will decide he wants us to work on, or even record and video. And, of COURSE, if he wants to do a live recording session, it’s guaranteed that I’ll have neglected to cut my hair and look something of a disheveled urchin. (Of course.)

    It takes a lot of time and meticulous attention to the electronics to set up for a live recording session. Because of Forrest’s driving schedule this winter, which has been as brutal, the roads having been the worst winter driving ever in Alberta and, especially, British Columbia, we just haven’t had the time to do any more live recording/video sessions. I know that it’s coming, though, so, below, I’ve pasted the list of my daily repertoire practice.

    Some of these are really simple to play …until you add in messing about with the stomp boxes. Some of them, of course, are rhythmic nightmares for me, some just a torture of finger snarls. But all of it is tough when trying to keep my eyes on both music and the switches I have to hit just a millisecond before the effect(s) is or are is supposed to kick in.

    In classical playing, one keeps a goodly amount of pieces worked up — about a hundred-and-fifty or so. With the stuff we play, though, I’m lucky it’s only about fifty-some, right now. Here’s my daily task: (And, yes, some of these are already recorded and videoed, but I didn’t feel like editing the list, because, honestly, I still have to keep up the ones we’ve already recorded.)

    1. Alone Again Or
    2. Another Brick in the Wall/Goodbye Blue Sky
    3. Aqualung
    4. Baby I Love Your Way
    5. Beth
    6. Black Hole Sun
    7. Black Magic Woman
    8. Bungle in the Jungle
    9. Carry On Wayward Son
    10. Cheap Sunglasses
    11. Closer to the Heart
    12. Cross-Eyed Mary
    13. Dog Breath Variations
    14. Duetto
    15. Dust in the Wind
    16. Eye of the Tiger
    17. FM
    18. Fooling Yourself
    19. Hold Your Head Up
    20. Hotel California
    21. Icarus
    22. Idiot Bastard Son
    23. In Memory of Elizabeth Reed
    24. JS Tull Medley
    25. Lazy
    26. Let’s Make the Water Turn Black
    27. Let’s Move to Cleveland
    28. Light My Fire
    29. Living in the Past
    30. Locomotive Breah
    31. Long Distance Run Around
    32. Marqueson’s Chicken
    33. Mission Impossible
    34. Money
    35. More Than a Feeling
    36. My Favorite Things
    37. Never Been Any Reason
    38. Norwegian Wood
    39. Nothing Else Matters
    40. Oh No
    41. Oye Como Va
    42. Peaches in Regalia
    43. Porgy & Bess
    44. Roundabout
    45. Roxanne
    46. Scarborough Fair/Sounds of Silence
    47. She’s Not There
    48. Siciliano
    49. Sing or the Day
    50. Summertime
    51. Time of the Season
    52. Uncle Meat
    53. Waltz in A Minor
    54. Walking on the Moon
    55. Watermelon in Easter Hay
    56. What’s New in Baltimore
    57. Woman in Love

  • flute,  musician,  semi-pro

    My Morning Funny

    Dawn's Azumi flute

    So, husband texts, asking which pieces I’d like to rehearse when he gets home. I give him a rather extensive list of well over a dozen difficult pieces. An hour-and-a-half later, when I’m working through number four on the list, he texts to tell me that he’s hit all of them, so we’re good to go, and he’s heading out …which means he’s starting his assigned heavy-haul KW semi- and heading toward customs to get back into the U.S.

    I sit there staring at that text, thinking, ‘You hit that entire list? In an hour-and-a-half? Wow!’ Then comes my sigh of frustration.

    Music is so totally in his hand, and so is his instrument. What I have to work weeks at, he manages in a few minutes, or, at most, a few run-throughs during his practice sessions.

    Laughter strikes me. It’s only fitting, I think, that me, who spent decades in formal study, grilled and drilled, has to work very hard to come up to speed, while he, who had no formal education in music or his instrument, can toss off really, really intricate, difficult riffs like it’s nothing and hit them every time.

    I used to be that good, but with a qualifier: only after years and years of determined practice and only by continuing daily practice, practicing every day, at least four hours a day, could I be that adept and agile, my sight-reading top-notch, my ability to toss off brand new pieces superb, and my repertoire flawless — four hours of practice a day. And that, my friends, is the difference between a virtuoso musician (him) and somebody who’s just talented.

    Azumi flute