Program Information for Sessions 1&2

The ARIA program is geared to advanced instrumentalists aged 16 to 32, who would welcome the opportunity to work with several established performers/pedagogues during a two-week or four-week session. Participants receive 4 private lessons and 5 chamber music coachings for either of the two-week sessions, or 8 private lessons and 8 chamber music coachings for the four-week sessions. In addition, participants will have the opportunity to participate and/or audit several master classes (each faculty member gives one master class during his/her stay at ARIA).

Program Information for Session 3

The boot camp sessions for Violin, Cello, Flute, and Clarinet are designed to provide an intensive and in-depth experience for serious students, aged 16 to 28. Workshops, seminars, lectures, private lessons, and master classes will provide the participants with a wealth of information on the fundamentals of technique for their instrument, on musicianship, practicing strategies, and career issues.

Masterclass and Workshop Topics for Session 3

Violin

• Galamian Detaché (10 sessions)
• An overview of standard bow strokes
• The works for solo violin of J. S. Bach
• Fundamentals of scales and arpeggios
• Dorothy Delay’s left hand foundation
• Hearing music as harmony and counterpoint
• Metrical framework and tempo relationships
• Communicating character and personality
• The art of choosing intelligent fingerings and bowings
• The practice room as a laboratory for beauty and eloquence
• Playing without residual tension
• Orchestra auditions: busting the myths
• Rhythmic Spacing
• The Art of Intonation
• Taking the mystery out of playing the violin

• Why and how should we warm up?
• Fundamentals of tone production
• Taking the insecurity out of shifting
• Learning the geography of the fingerboard through scales and arpeggios.
The merits of various fingering patterns, traditional and unconventional.
• Principles of intonation when practicing double stops
• Efficient practicing and problem solving
• Why and how should we practice etudes? (Several sessions on Popper, Piatti, Dotzauer, and other etude books)
• The Solo Suites of J.S. Bach: understanding style, character, musical architecture, and choosing appropriate technical means.
• Performance principles: projecting musical ideas with clarity, playing with expression, choosing appropriate sound colors and vibrato, and what it means to really prepare for a public performance.

• Vibrato: how to produce it and how to use it
• Intonation: Equal temperament/Just tuning
• Alternative fingerings for better intonation
• How to play second flute (Required text- Baxtresser “Great Flute Duos”)
• Phrasing and articulation: Do they matter?
• From Urtext to Your Text: Making musical sense of an urtext edition
• Baroque ornamentation: getting started using Telemann Fantasies/Sonatas
Intonation and Outonation: Learning to use the tuner and your ears, not your eyes
• Daily warm ups
• Orchestral Excerpts
• Honing your ensemble skills through flute duets
• Intense Technical Workout
• Repertoire, Research, and Rewards
• How to Practice
• Baroque Boot Camp
• Modern Music and Extended Techniques
• Research materials for Stage Fright/Confidence Boosters
• Masterclasses on upcoming solo repertoire including:
• CPE Bach Sonata in A minor for solo flute
• Telemann Fantasias #8,9,10 & 11
• Kart- Elert Sonata Appassionata for Solo Flute and Caprice #30
• Berio – Sequenza per flauto solo

• How to REALLY practice
• Expressing your voice through the clarinet
• Breathing and air support:
• Posture, warm-ups and exercises
• Sound and intonation:
• Leading with the ears
• Shape of airstream, voicing, use of the embouchure, warm-ups
• Articulation:
• Healthy production, warm-ups, exercises to improve beauty and speed
• Hand/finger position:
• Finding the balance in instrument support, wrist, hand, and finger relationships
• Practicing:
• Time, use of the body, awareness and growth
• Performance preparation:
• Musical/instrumental work
• Physical well-being
• Exercise
• Yoga
• Other mind/body enhancing activities
• Visualization
• Reeds:
• Equipment
• Storage
• Commercial reed work
• Hand-making reeds
• Legacy
• The great clarinetists, biographies, and listening examples
• Orchestral Excerpts
• The First Round- An approach to Legato
• Orchestral Excerpts
• The First Round-An approach to Articulation
• Orchestral Excerpts
• The Second Round-An approach to Breathing and Legato
• Orchestral Excerpts
• The Second Round-An approach to Overall Phrasing
• Using the Klose Complete Method to establish the procedure for an approach to having a solid technique
• Using the Rose 40 to lay the groundwork for a solid rhythmic base utilizing various articulations
• The Mozart Concerto
• Defining the exposition of the first movement relative to phrasing and articulation
• Utilizing a Sustained Air Stream to Formulate a Good Legato Style
• This will focus on the Klose Scale page, the broken chords in the Baermann
• Excerpts-Rachmaninov Second Symphony solo , Pines of Rome, and Galante Dances-opening solo
*Equipment needed: Clarinets, barrels, mouthpieces, tuning rings, instrument care and repair, Peter Hadcock’s “The Working Clarinetist" published by Roncorp, etudes and technical studies.

General Career Topics (for all participants, all instruments)

• Tips for a successful orchestra audition
• Tips for a successful university position interview
• How to start your own music camp
• Managing your time and money wisely