Master Class with the Attacca Quartet

When a string quartet coaches woodwind chamber ensembles, amazing things happen.

Yesterday our students had the good fortunate to play in their woodwind chamber ensembles for the fine musicians in the Attacca Quartet. Coaching by a string player is quite different from that of a wind player, and we took away some helpful gems of information. I've combined my notes with those of two of my flute students, Claire Foster and April Mondy. 

Phrasing and musical intent

• In legato/cantabile passages, where one instrument has the melody, have the supporting/inner voices play alone, as "one living organism," shaping the phrases and keeping the pulse.This allows the melody-line instrument to "float along" without pulsing each beat. 
• Think about the sounds/consonants you're "singing" inside: is it "dah dah dah or tu tu tu or ta yah ta..."? Each one of these scat-like series of sounds creates a different phrase, timbre, or musical line. Sing these syllables for each other and make sure you're all on the same page. 
• Sing together to determine breathing and phrasing. 
• In addition to thinking of strong/weak beats, also thing of strong/weak measures. Think of these as "waves" of dynamic changes, exaggerated, in a back-and-forth motion. 
• In practice, take turns "leading," while conveying phrasing and other musical ideas. Give the leader more of your attention, and let them inspire you. This is especially helpful when you're getting bored with your interpretation.

Color

• Because a flute quartet has a very homogeneous sound (as opposed to the different instruments used in a string quartet), be aware of the "density" of the sound. Make sure the melody can be heard. 

Articulation

• In faster movements, more percussive articulation can help convey a stronger beat. This may change the timbre, so don't be afraid to play with it. 
• Focus on the "front" of the sound for more character.

Communication

• Speak-sing your individual parts together, with wild gestures. 
• Study the score, and use it in rehearsals
• If the piece is fast, slow it down and exaggerate all musical gestures.
• Inner voice parts--which often have the least musical information--need to make sure they are listening very carefully. 
• Practice everything at home, even the easiest notes. Then in rehearsal, you'll be ready to listen, not just play your own part. This helps music-making become even more fun! 

Thanks to the Attacca Quartet for their enthusiastic, insightful suggestions (and for a moving performance that evening); to Laura Howell at DSU's Bologna Performing Arts Center for arranging the master class; and to my colleague Dr. Bret Pimentel for organizing the details.