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Miyazawa Newsletter - September 2016

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MIYAZAWA NEWS
NFA Miyazawa Artist Showcase "Tadeu Coelho - A Virtuosic Performance on His 18k Gold Miyazawa"


World-renowned flutist and Miyazawa Artist Tadeu Coelho presented a recital alongside pianist David Guilliland for the Miyazawa Showcase held at the National Flute Association Convention in San Diego, CA this past August. To experience the flawless mastery of Tadeu's performance, please visit the video section of our Miyazawa facebook page to hear an excerpt of his arrangement of Paganini's Cappricio No. 24. His technical genius and lyrical sensitivity continue to inspire all.



To visit the Miyazawa facebook page, please click here.
Joanie Madden on Tour!

Miyazawa Artist Joanie Madden heads out on tour with Cherish the Ladies this weekend with concerts starting on the west coast. The tour continues throughout Japan and Alaska before returning to the states again. Please check their website to see if they will be in a town near you!

One of the most prolific and visible Irish musicians and composers in the world, Joanie Madden has sold over 500,000 solo albums, performed on over 200 recordings including three Grammy-winning albums and was the first American to win the Senior All-Ireland Championship on the tin whistle. For the past three decades, she has been the leader of the internationally renowned all-female traditional Irish music and dance ensemble, Cherish the Ladies, which just released their 16th album.



For more information regarding tour dates & locations, please click here.
   
upcoming Events
Interested in attending an event by one of our Miyazawa Artists? Find an event in your area by checking out our Artist Events Calendar on our website for any upcoming performances of our Artists!
For information on other Miyazawa events, please visit the Miyazawa Events Calendar.

I
f you have certain specifications that you are interested in and will be able to attend any of these events, please contact us in advance. We will be happy to bring something special for you.

RAFA Flute Fair - November 12, 2016
Miyazawa will be exhibiting at the RAFA Flute Fair held at the Highland UMC in Raleigh, NC. Guest Artist is Mimi Stillman.
Learn More

SEMFA Flute Festival - November 12, 2016
Miyazawa will be exhibiting at the SEMFA Flute Festival held at the Westminster Church of Detroit in Detroit, MI. Guest Artist is George Pope.
Learn More

Rochester Flute Fair - November 12, 2016
Miyazawa will be exhibiting at the Rochester Flute Fair held at the Hochstein School of Music and Dance in Rochester, NY. Guest Artist is Molly Barth.
Learn More
Artist Interview
Ellen Huntington
Our Featured Artist for the month is Ellen Huntington
Miyazawa Artist Ellen Huntington is the Second Flutist with the Quad City Symphony Orchestra and faculty at North Park University. Ellen joins harpist Lillian Lau as a founding member of the Lyrebird Ensemble, a flute and harp duo based in Chicago devoted to performing works composed exclusively for flute and harp. Their CD, Taking Flight, was released in 2010.

Ellen is also on the faculty of the University of Wisconsin-Whitewater Flute Camp, the Annual Summer Flute Retreat at Illinois Valley Community College and the Midwest Young Artists Flute Workshop. As the recipient of a Fulbright Grant, she spent the 1999-2000 academic year studying with Jean-Claude Gerard at the Hochschule fur Musik und Darstellende Kunst in Stuttgart, Germany. Ellen can also be heard in performance with the Wisconsin Chamber Orchestra and the Chicago Symphony.


We had the opportunity to ask Ellen a few questions.
Click on the link to hear her experience as a Fulbright Scholar in Germany, studying with Walfrid Kujala as well as advice for upcoming flutists.
Featured Article
"Cold Forged Keys"
Drop forging is a method of forming keys and parts from solid metal. Another option is the casting method; melting the metal to a liquid state in order to form the keys. Miyazawa takes the benefit of drop forging a step further by using cold forging where metal is not expanded or contracted from heating and cooling. One should be aware of what method is used when looking for a stronger, more consistent and reliable mechanism.

Our featured article for the month of September discusses the advantages of cold forged keys.
Click on the link below to read our featured article.

Visit our Educational Articles
 
Media Library
Areon performs Mike Mower's "Fictions: Mvt. 4"
Visit our Media Library
Miyazawa Spotlight
Ask an Artist - Tadeu Coelho

Dear Tadeu,
Where do you think vibrato is produced? Do you have any vibrato exercises that can improve vibrato?

Thank You,
Kimberly Boross


Hello, Kimberly.

Thank you for sending this important question. This is a loaded one. There seems to be a lot of preoccupation and confusion about where vibrato is produced. The question itself sort of infers that if one knows where vibrato is produced then it will follow that we should be able to do it "correctly" or do it better. I am not so certain that having the knowledge of where it is produced will lead to the mastery of the vibrato. When teaching anything physical, it is important not only to describe the actual movement but the correct sensation, the feel of it. Think as in the game of tennis. One can read about all of the techniques and directions on how to produce a powerful serve but doing it is another story, isn't it? This is the same about a lot of things in life. One can read a manual on how to do something and still not be able to achieve the desired outcome without pursuing the feel of it. More importantly, reading about it might lead to even more frustration and issues of insecurity since when reading is not the same thing as feeling it. Vibrato is a very personal thing, connected directly to our body and soul. It does not mean one cannot learn how to produce a prettier vibrato, or learn how to vary it in order to fit the desired emotional musical output. But we must be careful when addressing it, so we encourage rather than discourage the student.

With all that said, one can accomplish vibrato in different parts of the body. The most obvious ones would be the throat and the abdominal muscles, but vibrato can also be produced in the jaw (most of jazz saxophonists use this kind) and also with the tongue, among others. The kind of vibrato that I try to emulate is the guitar type, where the frets prevent one from changing the pitch too much, becoming more of a "color" vibrato. This means that the vibrato will be narrow in amplitude. Please note that we are only talking about amplitude at the moment, not speed. If one observes violinists, some of the prettiest vibratos in history are (were) produced by players with "fat" fingers. Yes, that is right. What this means is that the amplitude is not too wide when they move their fingers, making it less distracting for the audience.

Let's consider now the flute vibrato. Most players, whether they acknowledge it or not, use some kind of throat vibrato. On the other hand, some flutists insist that they prefer the abdominal vibrato and make an effort to engage these muscles while they play. The truth is that one can use the abdominal muscles to produce vibrato, but why should we do that? It is too much work! The abdominal muscles should be engaged all the time when we play the instrument but we don't need to physically move them in order to achieve a beautiful vibrato. It may appear like we are moving them but it is a sympathetic movement from the throat and internal air pressure. Usually, oboists are the ones who tend to claim that vibrato is produced with the abdominal muscles, and for them that is where they "feel" the vibrato since they have so much backed up air pressure. At the end, it is not really important where vibrato is produced as long as it is beautiful and musically appropriate. Like many singers, they just let it happen. Singers feel vibrato is a natural part of their voice. They can control it to serve the music, but in the end it is their "voice". So, they just let it happen naturally.

I have a fun way to show and feel the vibrato by making use of a breathing bag. Kimberly, if we have the opportunity to meet someday, I would be happy to show you how I teach vibrato and the physical feelings associated with it. I hope this not-so-brief answer has helped you to better understand and hopefully put it in context how we should think about vibrato.

All best,

Tadeu




Click here to read more about Miyazawa Artist Tadeu Coelho.
   
Featured Testimonial
"I have owned my Miyazawa flute for several years now, and I absolutely LOVE it! I have received numerous complements on my sound and the fluidity of this flute, and every time, I am more than happy to say that it is a Miyazawa!"

- Lisa Napier
 
 
 
 
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