Western Kentucky University

November 1, 2013November 15, 2022

Recent Collaborations

One of the best parts of my job is the opportunity to collaborate with all types of musicians on different projects. Recently, I’ve had the good fortune to work with players here on my home campus, in the community, and in the region.

My first collaboration this academic year was with my dear friends from Western Kentucky University. Composer and bass singer Michael Kallstrom, flutist Heidi Alvarez, and pianist Don Speer visited South Dakota State University; I enjoyed performing and spending some time with them. We gave a recital of works by Michael for various combinations of flutes, piano, bass voice, and electronics. One of those works was a world premiere, which is always a fun experience. These are some of my favorite people to make music with, and I hope to work with them again very soon.

I performed in a faculty trio several times so far this semester, and it reminded me how fortunate I am to be here on the faculty of SDSU. Mike Walsh, Nate Jorgensen, and I worked on the Divertissement by Aubert Lemeland, and we presented it at an SDSU event and on both Mike’s and Nate’s faculty recitals. They are really sensitive musicians, and working with them is a treat.

In September, I gave a benefit recital for the South Dakota chapter of the March of Dimes. I worked with pianist Mary Walker, on faculty at SDSU, who is a talented collaborator. We were able to get off-campus and give a performance in the community, spread awareness of the mission of the March of Dimes, and raise a little bit of money for them. This is the second year I have been able to make some small contribution to the important work of this organization since the premature births and deaths of my niece and nephew, and it is my intention to regularly give recitals to benefit the March of Dimes.

I gave a couple of recitals and flute masterclasses to students at University of Wisconsin-Stout and University of Wisconsin-Eau Claire in October. I was able to reconnect with a classmate from my DMA studies at University of Georgia, Dr. Aaron Durst, who is Director of Instrumental Music at UW-Stout. I also had the good fortune of meeting the flute professor at UW-Eau Claire, Dr. Tim Lane. I had a great time working with high school and college students in Wisconsin and enjoyed presenting two different recital programs on that trip. I particularly enjoyed collaborating with Aaron Durst on a couple of works for flute and saxophone; one work was written by a professor at University of Georgia, Dr. Roger Vogel, which was a fun connection to make.

I performed with a student on his junior recital here at SDSU. I’m perfectly happy to work with students on their performances because I think it’s an important part of the learning process, and it’s an honor to be asked.

I’m looking forward to one more performance this semester. I’ll be performing at North Dakota State University with Jenny Poehls, who is the flute instructor there. We are working a program of flute duets and works for two flutes and piano. It includes some traditional flute repertoire as well as some contemporary pieces. It has been nice to work with a flutist who is relatively nearby on an ambitious program. I’m also looking forward to giving a flute masterclass while I’m there. We’ll be presenting the same recital here at SDSU at a later date.

December should be a nice break, and then I’m excited to start another series of performances starting in January. If you’re interested in collaborating, let’s talk!

January 23, 2013November 15, 2022

2012 in Review

This is a little delayed, perhaps, but it’s time for a bit of perspective on the events of last year. As I went back and read through my summary of 2011, I can’t help but be reminded of how incredibly, insanely different this January is compared to last January.

Last January, I wrote my end-of-year summary while enjoying a vacation overlooking the Atlantic Ocean. This January, I live over 1500 miles away from that beach and hope to see it again some time this year. Some of my goals last year were to get a full-time music gig, find a vintage Powell flute, present and perform at flute conventions, continue writing, and collaborate on more musical performances. I’m thrilled that so much of that was accomplished in 2012.

In my quest to obtain a full-time, tenure-track faculty position, I ended up going on two interviews last year. The second was successful, and I am quite happily the newest Assistant Professor of Music at South Dakota State University. My job is a blast. I’m happy to go to work every day, my colleagues are fun to be around, and I hit the lottery with my students. I’ve said this before, but the midwestern work ethic is alive and well in South Dakota. My workload includes world music, woodwind pedagogy, music history, and applied flute. We’re starting a flute choir this semester, which I’m pretty excited about.

During the first half of last year, I was on faculty at University of South Carolina Aiken and Newberry College. There I was teaching Theory II, Theory IV, form and analysis, world music, applied flute, flute studio, and flute ensemble. It was a heavy load, but I really enjoyed being about to spend some time with theory. And it was sad to leave the flute students I had spent several years with but I know they will continue to work hard and do well.

I managed to attend and perform (or present) at several flute conventions last year, including the Kentucky Flute Festival, the Atlanta Flute Fair, the South Carolina Flute Society event, and the British Flute Society. I presented various workshops on efficient practice and the flute music of Joan Tower, performed with Ian Clarke and on a flute choir piece for the SCFS, and judged the adult amateur competition of the BFS. It was great to be able to see colleagues and friends and hear amazing players. Some performer highlights were Walfrid Kujala, Ian Clarke, Christina Smith, and so many amazing British flutists at the BFS event. I also attended some great masterclasses throughout the year with Keith Underwood, Patricia George, and the Imani Winds. Hearing players at this level is always a much-needed inspiration.

One of my goals last year was to be involved in more musical collaborations. I felt like that was something that I neglected to do in 2011, probably because my teaching schedule was too heavy. My first big collaboration of 2012 was a benefit concert for the March of Dimes. The music students at Newberry College put together a nice program, and we ended up raising over $700 for the local chapter. I hope to be able to make this an annual fundraising event. Other collaborations included several works with my new colleagues at SDSU, including Nate Jorgensen, Emily Toronto, and Mike Walsh. It was a great way to jump in and play some chamber music repertoire I haven’t played before. I was also invited to be guest artist by Heidi Alvarez at Western Kentucky University, where I joined several of the faculty members in performing music by my Twitter-friend Michael Kallstrom. Heidi is a great flutist and teacher, and I enjoyed working with her and her students.

Miscellaneous things: I recorded the soundtrack for a short animation at Savannah College of Art and Design in Atlanta; bought a vintage Powell flute; enjoyed soaking up the country music culture in Nashville; moved across the country; got a quick introduction to Native American culture from an expert at SDSU, which I could use for my world music class; got to know the state of South Dakota through numerous recruiting trips; watched the marching band participate in the 100th Hobo Day parade at SDSU; and drove through an actual blizzard to play in a concert. This year included trips to (or through) twelve states and two countries. Good thing I like travelling!

So what’s the plan for 2013? Basically, keep going. Collaborate as much as possible, recruit amazing flute students, teach, write, travel. I’ve also found myself playing more and more new music as the years go by. I commissioned a work last year by Rob Cronin and had another dedicated to me by Rob Steadman, and I’m looking forward to performing those this year. Working with composers is pretty great, and I’m looking forward to more of that this year.

As always, I’m interested in collaborations. If you want to work together, contact me! Email or Twitter @TammyEvansYonce.

January 20, 2012November 15, 2022

Kentucky Flute Festival recap

I recently returned from the Flute Society of Kentucky‘s 2012 Festival, which as held at Western Kentucky University in Bowling Green. It was really a top-notch event with interesting workshops and performances. It was very well-organized by the Festival chair, Dr. Heidi Alvarez, who is the flute professor at WKU. What a class act, and one of the most hospitable flutists I’ve ever had the privilege to meet.

While it was impossible to attend every single event at the Festival, I thought it would be worthwhile to give a summary of what I did see there and perhaps introduce you to some new ideas.

On Friday, 13 January, I caught the end of a workshop on intonation by Dr. Elizabeth Goode, professor of flute at Valdosta State University in Valdosta, GA. This presentation was based on an article she has published in Flute Talk entitled “Good Vibrations: A Practical Approach to Intonation.” It was nice to see a compilation of flute intonation tendencies in one place, and I also enjoyed hearing about the intonation tendencies of other instruments. (Yes, I guess we have to play with instruments other than flute, right?) She also reminded me of the value of incorporating resultant tones into my practice and teaching.

I gave a lecture about ways to make practicing more effective and efficient. The basics can be found here: Practicing Difficult Sections and here: Practice Tips.

I then heard a presentation about performance injuries. The presenter, Adam Pettry, has been through several injuries which required him to take a long break from performance. He went over specific products that can be used to help alleviate symptoms and hopefully prevent injury. I find this to be an interesting topic because my background includes influential teachers who do not play with extra “gadgets,” and I fear that adding things to the instrument might affect resonance and overall tone quality. I posed the question on Twitter and received a variety of responses, but I think it boiled down to “do what you have to do.” Not sure about this one.

I then enjoyed a lecture from Atlanta’s own Tony Watson, who has recently relocated to Louisville, Kentucky and is establishing a Suzuki program at the University of Louisville. It was great to spend some time with someone from my neck of the woods, and I enjoyed learning about the Suzuki method of instruction. The most striking was the realization that I (and many others, I suspect) incorporate Suzuki ideas into my teaching, even though I don’t have any background in the method. As Tony explained, “Good teaching is just good teaching,” and ideas can freely flow between different methods of instruction.

The next presentation I saw was given by Melissa Keeling, who is a graduate student at Middle Tennessee State University. She demonstrated how to incorporate microphones, amplification, and effects to the regular ol’ flute. She uses it to write her own music (even though she shies away from calling herself a “composer”) and says that she hasn’t found music that incorporates this technology. I wonder if there is any out there. It’s a really neat idea and something I can see myself embracing but I have little interest in writing the music myself.

I then gave a lecture on my dissertation stuff: several works involving flute by the Grammy-winning Joan Tower.

That evening, we were treated to a recital by the Guest Artist, Mr. Walfrid Kujala. He performed a movement from JS Bach’s F Major Organ Sonata, the Beethoven Serenade in D arranged for flute and piano, Katherine Hoover’s Three Sketches for Piccolo and Piano, and Otar Gordeli’s Flute Concerto, Op. 8. I particularly enjoyed the piccolo piece. (Am I really saying I enjoyed piccolo? Why, yes!)

That ended day one of the Festival. I wasn’t prepared for how cold it was there even though I brought a good coat. The thermometer in the rental car read 25 degrees F. I was also slightly jet-lagged, so I called it a night.

Saturday, 14 January was another jam-packed day of flute goodness. I spent a lot of time at the exhibits that morning. Even though I’m not officially in the market for a flute, I like to see what’s available. I especially like to try as many intermediate-level models and brands as possible, so I can better help my students when they’re ready to buy step-up instruments. I spent a lot of time with Flute Specialists (Clawson, MI) and Carolyn Nussbaum Music Company (Plano, TX) and had lovely chats. I also bought a stack of music I was needing (no pesky shipping charges!). A couple of notable instruments/gear: I found a delicious vintage Powell piccolo, which is currently out of my price range, and I tried a Robert Dick glissando headjoint. (More about that later.)

My attention naturally gravitated towards the recital of chamber music of the 20th and 21st centuries, since that’s primarily what I focus on. I had some Twitter folks ask me specifically what was on the program, so let me list it here:

The Piper Calls for Flute and Guitar by Frederick Speck
In the Clear Blue for Two Flutes and Piano (World Premiere) by Michael Kallstrom
Spindrift for Piccolo and Piano by Ken Benshoof
Mountain Songs for Flute and Guitar by Robert Beaser
Interior States for Flute and Cello by Jonathan McNair
Sonata for Flute, Viola, and Harp by Claude Debussy

It was really a varied program, and I found several works that I would like to incorporate into my repertoire. Surprisingly, one of them was the piccolo piece. (I’m not usually a piccolo gal; can you tell?) This recital ran a bit long, so I was late to the beatbox workshop but caught enough of it to learn the basics. This was presented by Denis Santos, a doctoral student at the University of Kentucky. In case you haven’t heard of beatboxing flute yet, check this out: http://www.pattillostyle.com/Beatbox_Flute/Home.html

The next recital was given by the interdisciplinary group The Fourth Wall, which incorporates dance and acting into their musical performances. They were quite good at engaging the audience, and it was an unusual experience.

The closing concert of the festival also featured a lot of new music, which made it really interesting to me. In case you’re wondering, it included:

The Falling Cinders of Time for Solo Flute by Michael Kallstrom
Reflections by Maggi Payne
Three Beats for Beatbox Flute by Greg Pattillo

and a recital by Michele Gori, an Italian flutist who plays all the flute family and mixes them up with a looper and electronics. Some of the works he played were from our standard repertoire, such as Honegger’s Danse de la chevre. Others were his own compositions. It was really interesting to hear the standards in such a new context.

All in all, what a full event! I especially liked the emphasis on the new – new technology, new trends, new music. Maybe these trends will stick, and maybe they won’t but showing what is at the forefront of the flute community is a great way to inspire people and keep these festivals fresh.

If next year’s Festival of the Flute Society of Kentucky is anything like this year’s, I’ll plan to be there. I recommend that you do the same!