Commonwealth Games

It's Back!!!
Fresh from conquering South African football stadiums, the Vuvuzela (pitched in almost Bb) has been unleashed on New Delhi. Loved by some and despised by others, the vuvuzela was a constant topic of conversation in South Africa. While the local football fans embraced the atmosphere it helped create at games across the country, many overseas broadcasters and viewers complained that the drone disrupted the enjoyment of watching games on television. Because of the sounds that emanated from the World Cup, several Premier League clubs and even the All England Club at Wimbledon banned vuvuzelas from their venues. UEFA has also banned them from European football competition and the Rugby World Union has banned them from their event in New Zealand 2011. The debate however has not deterred Commonwealth Games organisers in the Indian capital, where 50,000 vuvuzelas were imported from China for the event. The sound of the Vuvuzela though may not be the biggest problem, especially if the games continue to under-achieve.
Crumbling infrastructure, blown construction deadlines and the increasingly delusional and desperate rants of the Delhi organising committee have dominated headlines and spared Commonwealth Games Officials from confronting questions regarding their competition's future beyond Glasgow in 2014. The unfolding drama of Delhi's chaotic preparation for the Commonwealth Games has served to distract from a broader sporting issue: the relevance of the Games themselves. The failure of leading athletes to attend, poor ticket sales and tepid interest from global television subscribers have called into question whether the Commonwealth Games have become an antiquated, outdated notion. The competition formerly known as the British Empire Games has proved capable of moving with the times in the past, but never before in such a competitive sporting environment. The rise of sports-dedicated pay and digital networks has provided the likes of athletics and cycling exposure they have never previously enjoyed and, in the process, robbed the Commonwealth Games of its former exclusivity. Delhi's organisational woes and structural collapses might draw a morbidly curious viewership in lieu of the sporting audience lost with the withdrawals of Usain Bolt and Asafa Powell but it does give the opportunity for other sports and leisure activities to take front stage. After all, when was the last time Lawn Bowling took prime television time?

With what is fast becomeing a ‘B’ list line-up of athletes it might well be that the most entertaining thing about the 2010 Commonwealth Games is in fact that monotone note produced from the Lepatata (that’s the Tswana name). Or perhaps India had foresight, and brought in those 50,000 Vuvuzelas from China to use them as they were traditionally used. To summon distant villagers to attend community gatherings – in this case – the 2010 Commonwealth Games!

And that's - "As I See It!"

Damaged, Broken or Waiting for ...?

After first-hand experience, and being allowed to sit and wallow in the bowels of the Ontario Health Care system it has become patiently obvious (excuse the pun) that we have a damaged health system. After having had surgery on my arm cancelled TWICE ……. I was third time lucky and successfully had surgery 11 weeks and 4 days after the first cancellation. At this point I must congratulate the entire surgical team upon the excellent and efficient work they did that day. The surgeon and his team did a wonderful job and are true artists – Thank You. However, back to my story and what originally got my goat! Why was the original surgery cancelled? The first time was because the hospital had double-booked the anesthesiologist and, as no-one can be in two places at once, that meant that one of the surgeons had to lose the coin toss. The losing surgeon – was my surgeon. His whole day, which included my surgery, was cancelled because of hospital administration ineptitude! The second time the surgery was cancelled – no-one is really sure why as the version from the nursing staff differs from the surgeon’s office and, I have a feeling, both would differ from the REAL reason. It takes a little sniffing but eventually it becomes apparent that at the root of most surgery cancellations (not all - as emergencies do happen) is not the surgical team, not the nursing staff, not even emergency trauma – but Hospital Administration. Paper pushing, business management, civil servant like icons with a huge amount of self-preservation and salary benefits! It tells a story when hospital parking lots have more spaces reserved for the administrators than for the health care providers!!!

Surgery cancellation is one thing but then – when the operation is done, one has to go back for check-ups. This is when another scenario raises it’s ugly head and becomes a renal attentive dragon to be dealt with. WAITING!!!

You are given a time to be at the hospital, and, after checking in you sit, you wallow, you grow a beard and celebrate a birthday. If you are lucky you will be seen for your appointment 2 – 3 hours after arriving at the time designated to you. Sound familiar? Why the long wait at hospitals – not the emergency – but the scheduled appointments for re-checks etc…? This is an area where one would expect the administrators to excel (it sounds like an organizational thing). However here, in their area of expertise, they fail miserably! How on earth can they be expected to master the intricacies of surgical tactics and surgery allocations when they cannot plan a simple re-check appointment? Alas and alack, the alarm bells begin to sound as one realizes just how far the admin syndrome has spread. It has moved beyond hospitals and into the family doctors offices as well. Here you will find the front desk constantly being manned (and womaned) by Snotty, Overbearing, Attitude Retentive personnel who act as if you are an inconvenience interrupting their peace and quiet while and then proceed to talk down to the patients. The patients who are there because they have a health problem, but also without whom, all of the before-mentioned administrators would be out of a job. The same process of appointment scheduling that has proved so successful in the hospitals has been implemented in the Family Doctor’s surgery (although they have not yet moved to the major league as one will only wait about 30-45 mins past the due time here). In my opinion we need an overhaul - where the Health professionals (Surgeons, Doctors, Nurses) run the system, not the bureaucratic, paper-pushing inmates! It is a situation like this when I remember a quote by Sir Winston Churchill, “If you are going through Hell – Keep on going.” Let us keep going, and fix the problems.

Q. Who develops and implements hospital procedures?
A. Administration, not those involved in delivering the health care.

Q. Who knows about what is needed and the best way to provide a caring service?
A. Certainly Not Administration!

Solution:
Why do we not try and involve those who actually know what is required – the surgeons and the nurses. They are the health care providers yet it seems no-one in the decision making process (overrun with Administrators) listens to them and their ideas. We should help and allow the professionals to do their jobs. Administration should stick to paper pushing, writing cheques and taking out the rubbish. Not getting involved in an area where they have no training and definitely no idea!
Yes – there are definitely things mal-functioning in the Ontario Health Care System. I have not yet started to talk about other aspects of the system that I have noticed since living at the hospital waiting for my appointments. e.g. In a country of Health Care – Why do patients have to pay for items of health providing necessity - like basic casts, splints etc…? Certainly, pay for deluxe versions, but the basic needed care should be OHIP! If you break an arm or a leg is it not necessary to have a cast? Necessary medical aid should ALL be covered.
Why are dentists not under OHIP? Are they too, not a part of HEALTH CARE? Here is section that is raping the system and driving up insurance and health benefits across the country. Pay a fair salary for the work done, but not the extravagant fees being issued from Dentist offices.

The sad part is that the health system is actually full of responsible, caring, attentive, excellent members (Surgeons, Nurses, Emergency response teams etc..). The infrastructure is certainly damaged and needs repaired. However, like my arm (which was also damaged and needed repair) the work to fix the system will probably be cancelled a few times before the Provincial and Federal Govt’s get off their “elite” backsides and actually do something positive to help it recover. What is happening here is more a direct result of political mismanagement and deliberate ignoring of the situation that has been repeatedly brought to their attention by the professionals in the business. I for one – am not impressed and we need to take back our HealthCare and start fixing the infrastructure one step at a time – immediately!

I have been told that I am TOO passionate about the situation. So, should I sit back meekly, bend over, and recieve an O.H.I.P. enema??? OF COURSE I am passionate about this – it has happened to me. However I am talking not only for myself, but for the many hundreds that this has also happened to. The SILENT, patient masses who suffer in silence and allow this travesty to continue. I say – NO MORE!!! Time for someone to be the voice, and if that offends the political masters and the petty bureaucrats trying to protect their golden parachutes and pillage the system - then so be it. To quote that wonderful English Bard William Shakespeare, “Unto thine own self be true!”


And THAT – is “As I See It!”

FLUTE TIPS

I often get asked by young flute players “What can I do to improve?” As I tell those in my Flute Masterclass – There is no one thing that one can do. Playing the flute is a lifetime of continuous learning and improving. When you finish Music College or University you leave with the basic tools to begin working on perfecting your craft. Yes – believe it or not, after 4 years of University “Performers” you have only just scratched the surface. Now, you must begin to learn and listen! The most important of all is “LISTEN”
In order to get to the starting line (an accomplished performer with good tone and technique) there are several methods I fully endorse. It all comes down to basics and your foundation. A correct and regular practice schedule from the very beginning, spending the right amount of time on TONE, TECHNIQUE, SIGHTREADING, REPERTOIRE, ENSEMBLE & SOLO PERFORMANCE. The best exercise of all is – SCALES!!!!! Played slowly theses will help develop tone,played quickly they will develop technique. Learn ALL your scales and you will become a better player. SCALES – SCALES – SCALES!!!!!! The BEST tool in your arsenal. ALL music is scalic!
Check how other flute players perform. How they stand, how they present their programme. How they execute their playing. Below you can compare the stance and position of the music stands of both Sir James Galway and myself. The similarities are there for a reason!

These following tips, developed over many master classes, may help answer many of the questions that seem to arise again and again from performing students.
TONE:
When I was a young player starting out I spent countless hours each day warming up with the Marcel Moyse “Sonorite” exercises. These are without doubt (in my mind) the best studies ever written to produce a great tone. However, they do have one fault and that is – they are completely boring! When playing the Moyse Sonorite it is so very difficult to keep the mind on the task at hand. It is so very easy for the brain to wander and we then forget to LISTEN! If you work the Moyse correctly it will considerably improve your tone (although perhaps not your English).
Tone Production:
· Use the French sound: "Tu"
· Keep your head up!
· The first part of a yawn opens up the throat.
· When playing soft stuff keep your throat. open.
· Never hold sound back
· Relate the flute to singing. "No one would sing it like that, so you shouldn't play it like that."
· "It is much better to be standing still, than to see someone doing the same movement over and over again."
· Don't keep time with your body.
· "Using Vibrato all the time brings the sun out...and it isn't sunny all the time."
It all comes from singing – Sing your parts – vocalize before you play. If you can sing it – You can play it!
· Relate the flute to singing. "No one would sing it like that, so you shouldn't play it like that."
· Play a line on the flute and then sing it.
· You can sing with different colours and different styles. It is the same on the flute.
· Get the song inside you before you start.
· Listen to Singers
Vibrato:
· Say "Ha" through the flute
· You don't have to practice vibrato a lot.
· Set a metronome, and have your vibrato start with quarter notes, then eights, triplets and finally the sixteenth notes.
· Don't do it with your throat.
· Use vibrato sparingly.
Breathing:
· Gaubert once said: "You should breath after a long note."
Music Stand
· Should be a flute lengths from your body
· Try putting it to the left and down a little.
Hand Position: Right Elbow should not be too high. If you do find a problem with your hand position, it will be hard to fix. Set a timer and play for 3 minutes, then check where your hands are and play for another 3 minutes.
Don't squeeze your flute on the keys or the lip plate. If you squeeze your keys gently a few hundred times, then you will damage your computer.
Don't hunch forward while you are playing.
On the right hand, the Knuckles should be parallel to the keys.
Your head, right elbow, and right foot should all be in line.
Listen to recordings of the great flute players to hear how they perform and execute a piece.

Always LISTEN and ALWAYS – ALWAYS HAVE FUN!!!!

And that is "As I See it!"

PERFORMING MOZART.

To play the Mozart Flute Concertos successfully you must become several characters in a mini opera, demonstrate effortless mastery of the instrument, change moods and character in a flash, and do all this within a very ‘classical’ ethos. In short, you’ve got to play squeaky clean with an abundance ‘color’ and expressivity. One of the ways you can really help yourself toward this end, is to listen to his operas. Mozart’s understanding and love for the human voice is remarkable. And he transferred every bit of this affinity to his works.

The Flute Concerti.
The two Concertos, K.313 and 314, and the Andante in C, K. 315, were written in Mannheim in 1778 to fulfill a commission from a Dutch physician and amateur flute player, Ferdinand Dejean (1731-1797). This commission, arranged by the Mannheim Court flautist, Wendling, (Johann Baptist Wendling, 1723-1797), was for ‘three short, simple concertos and a couple of quartets for the flute’ for a fee of 200 gulden. After writing the first concerto, Mozart found that time was running out, so, in order to complete the commission, he transcribed his earlier Oboe Concerto in C into D major to make a second Flute Concerto. Of the two Concertos, the only surviving autographs are of the Andante in C and the solo oboe part of the Oboe Concerto, though there is doubt about the authenticity of the latter. It is likely that the Andante in C was written as an easier alternative to the second movement of the D major Concerto.
Period instruments: The exact kind of flute used by Wendling and Dejean to perform Mozart’s music is not known but it is assumed to be the one-keyed flute common at that time with four joints and an internal diameter of between 18.6mm and 19mm. However, for the Flute and Harp Concerto, The Duc de Guines, a former ambassador to London, surely used the six keyed English flute with it’s foot joint extension down to low C.

Mozart’s ‘dislike’ of the flute: In a letter to his father on 14th February, 1778, Mozart wrote ‘Whenever I have to write music for an instrument I dislike, I immediately lose interest’ Mozart’s remark was coloured by the fact that Dejean had failed to pay him fully for the Concertos and Quartets he had commissioned and perhaps, too, Mozart had less enthusiasm writing for an amateur player. The flute, with its cross-fingered notes, gained a reputation for being played out of tune and that too may have affected his comments. Mozart’s remark has been widely quoted and exaggerated though he wrote some wonderful solos for the flute. His later orchestral works show no signs of his dislike for the instrument he reputedly loved to hate.
Performing Notes
Performing Style. As Franz Vester has pointed out, these works were written in a period when the late baroque style was in vogue..’this is dancing and talking music - not singing music’ Articulation is the language of music and its clarity, together with the use of the slur, is of particular importance to these Concertos. In eighteenth century music, a slur is a diminuendo...except sometimes (always that exception). The slur and all that a slur implies, governs the phrasing to a large degree. Flautists of this century have adopted a more romantic style with ‘long line’ phrases. It is common in these times to hear long, conceivably overlong cadenzas.

Ornaments.
Ornaments serve to link notes together, to enliven a particular note or phrase, and to draw the listeners attention to them. Mozart wrote these Concertos during a change in ornamental style, so that it is particularly difficult for us to know exactly how the ornaments are to be played.
The two ornaments which concern us are appoggiaturas and trills.
Appoggiaturas: Accented appoggiaturas: these usually appear as a small note whose written value does not always indicate the rhythm to be played. In some editions the suggested rhythm is been shown above the stave on its first appearance; the performer should play the parallel places in the same way. Why didn’t Mozart simply write the rhythm he wanted played? Appoggiaturas indicate a special stress or a dissonance, or sometimes they draw the listeners attention to the note to which the appoggiatura is attached. It is a useful device and marks a distinct indication to the performer. How the appoggiatura is played is more important than its exact value. It always steals the emphasis from the note to which it is attached which follows softly. The appoggiatura is invariably slurred to its principal note....and a slur is a diminuendo!
Trills: All trills begin on the upper note...except sometimes! The exceptions are shown either by the omission of an auxiliary note, or by the inclusion of the lower auxiliary. Upper or lower- both are played on the beat. The trill begins on the lower auxiliary when it is approached from below after a scale passage and to give more finality at the end of a long section. When the trill is short one, particularly in the faster movements, it is unimportant whether it starts on the upper or principal note.
Mozart is quite clear about whether a turn should or should not be played at the end of a trill. Where none is written, none should be played. A turn has the effect of giving finality to the trill as in a cadence and in many cases, the trill is simply decorative and is not intended to indicate the end of a section.
Cadenzas.
These generally appear towards the end of the movement and are an opportunity to surprise and delight the audience and to encourage applause. The pause on the six-four chord is suspended and interrupted with scales and arpeggios until the appearance of the dominant seventh leading to it’s resolution. Contrary to popular belief, cadenzas were generally short, the reason is that a flute player can only play one note at a time and would have to break the harmony and melody to take a breath. Cadenzas, therefore, were kept to within one or two breaths to maintain the forward motion of the harmony. For an important competition on the other hand, the competitor would be wise to play the kind of cadenza the jury are accustomed to hear...
*In a short cadenza, it is not essential to quote from the thematic material.
*A cadenza should sound spontaneous.
*A cadenza should contain a surprise or two.
*If there is a cadential trill, then the orchestra, harpsichordist or pianist should play the dominant seventh chord half way through the trill to help carry it forward to the resolution.
*A cadenza does not have to start on the given note, nor indeed to end on the printed trill, or even end on a trill at all in which case, a reentry into the Concerto would constitute a surprise!
*Keep your cadenza simple to begin with and only modulate when you are more experienced in writing them, and only then, no more than two modulations in one cadenza
Write your cadenza with barlines; a cadenza doesn’t strictly need them but you will be more likely to plan it with the correct phrase lengths and with an overall shape.
If you are playing the concerto with the piano, put in the dominant seventh chord half way or part way through the final trill of the cadenza to help to maintain the forward movement. That chord is indicated in the Novello edition.
Play your cadenza spontaneously as if you are making it up as you go along.
Finally, be patient; don’t expect an immediate and brilliant result: only Mozart could do that.
Examples of cadenzas, and helpful hints on writing one are to be found in the Mozart Concertos and Andante, published by Novello

IMPORTANT: You practise to get good, fast! Combine other techniques into your tone, technique and scale sessions, such as vibrato, expression and breathing. The breathing indications in most pieces and studies are there for the amateur, the disabled, the elderly or for small people!. Really fill up your lungs and make long phrases when you practice. It won’t get better unless you do.
Regular practise is the only way. Progress becomes quicker when you practise the same things each day. Progress is greater when you practise at the same time each day too! This works after about two weeks. Get up earlier and start at 8.30 or 9.00. Then you are free to do other things during the day.
Listen to other players, or CDs. This will help develop your critical faculties.

And that is "As I See it!"

World Cup !

So now we know that the 2010 World Cup final will be contested by Holland and Spain. As both are first-time finalists, this means we will have a new winner the eighth in all of the Jules Rimet trophy, joining the elite group of Uruguay, Italy, Germany/West Germany, Brazil, England, Argentina and France.

The legends of the game have made an exit from the World Stage and a new Champion will be crowned, which is probably a good thing. After all, did you really want to see Maradona naked?

The way people go on about soccer at World Cup time is reminiscent of the way people like to talk about politics around elections. People who usually don’t show much of an interest in the sport become armchair analysts once every three of four years, willing to throw their two cents in on the eventual winner and what they need to do to get there. The difference between the World Cup and elections is people actually seem to enjoy having conversations about it a lot more than they do about politics. I am not going to talk about why England left early (embarrassed), or how Brazil and Argentina did not get through. Instead – DID YOU KNOW?

The 'curse' of Nike's World Cup ad
Almost every soccer player featured in Nike's sensational World Cup commercial has bombed out of the tournament. Could the glitzy spot be jinxed?

Didier Drogba (COTE D'IVOIRE): The curse strikes: The Cote D'Ivoire striker almost didn't make the World Cup at all, after fracturing his arm shortly before the tournament began. But even with the Chelsea star playing, his team "collapsed in the group stage." An injury-hampered Drogba scored just one goal in the World Cup.
Fabio Cannavaro (ITALY): The curse strikes: The Italian defender is shown in the ad heroically saving a goal with a backflip kick. If only he had shown such skill on the actual field — Cannavaro's typically stingy "past-it Italian defense" let in five goals in three games, and the world champions failed to get past the group stage.
Wayne Rooney (ENGLAND): The curse strikes: The English striker failed to score a single goal in the World Cup, and "barely ventured into the German area" during England's 4-1 defeat in the knock-out stage. As predicted in the ad, the British tabloids have ripped him to pieces. Our "so-called talisman couldn't even control the ball," said the Sun's Steven Howard. "What an embarrassment."

Franck Ribery (FRANCE): The curse strikes: The sensational meltdown of France's World Cup squad barely needs repeating, but Ribery was also accused of soliciting sex with an underage prostitute before the tournament even started. The winger could not inspire his team beyond the opening stages in South Africa.
Roger Federer (SWITZERLAND): The curse strikes: Even star tennis players aren't immune from the curse. Shown briefly playing Rooney at table tennis, Federer lost his No. 1 world ranking soon after the Nike ad premiered, and narrowly avoided a humbling first round defeat at Wimbledon last week.
Ronaldinho (BRAZIL): The curse strikes: The curse struck the A.C. Milan star early — he was dropped from the Brazilian World Cup squad in May.
Cristiano Ronaldo (PORTUGAL): The curse strikes: The Portuguese striker is the last to be afflicted by the curse. After a lack-lustre begininng, Ronaldo broke his scoreless international run during his team's 7-0 drubbing of North Korea — but Portugal's game against Spain showed that he too could not escape the curse.

VUVUZELA !!!
WIMBLEDON, England — Quiet, please.
Organizers are making sure there will be no racket from vuvuzelas at the Wimbledon tennis championships. The plastic horns which have provided a constant drone at the World Cup in South Africa will be banned from the Grand Slam tournament.

The vuvuzela is fast becoming extinct from its brief relationship with rugby and South Africa could be the latest country to ban the noisy trumpet from its rugby stadiums.
Vuvuzela's will be banned from all Test venues for the Springboks home leg of the Tri-Nations campaign, which includes the Test to be played at the National Stadium (formerly known as Soccer City), where vuvuzelas have been most welcome throughout the FIFA World Cup.
The vuvuzela's existence at sporting events aside from football appears to be in doubt after its ban from Wimbledon and next year's Rugby World Cup in New Zealand.

And that is - As I See It!

A RANT!

HEALTH CARE– Non-Caring , Patient Abuse!
I was scheduled for day surgery (right elbow arthroscopy and lateral epycondyle release) at 2.00pm on June 4th 2010, only to have the surgery cancelled 9.00am the morning of with the reason being that the hospital had not booked an anesthesiologist. It was re-scheduled for 1.00pm June 22nd 2010, only to be cancelled again - this time just minutes before the surgery. Yes – I was admitted, kept waiting for 2 hours and then, on a gurney in a hospital gown, was informed that the (short) surgery was being cancelled yet again. On this occasion, according to the nurse, because the surgeon had faced complications in an earlier surgery and did not want me waiting around only to be told he would not be able to operate on me that day!
There must be something wrong when surgeries can be cancelled – TWICE - and neither time is for a valid emergency, clinical or trauma reason (those one can understand). The first time for a hospital booking error (their error) and the second time because the surgeon (or the nursing staff) may run overtime! This is no way to treat anyone. Patients, frightened of “going under the knife” mentally prepare for the ordeal and bend over backwards, making arrangements to accommodate the schedule of what seems to be a socio elite, non-caring, meat factory mentality genus of human species. The mental anguish of both patient and families involved is enough on it’s own, added to which is the financial cost and disruption of your own schedule.
Most doctors of all types will charge you if you do not give 24 hours notice to cancel before an appointment. However, when surgery is involved it seems that the patient is not even worthy of an apology and has no rights whatsoever.
When Doctors can charge you if you miss their appointment why in return can you not charge the doctors when they miss YOUR appointment? Is your time not as valuable as theirs?
Surgery can be cancelled the morning of and even 15 minutes before surgery. The patient who has had to alter schedules, arrange transportation, book off work and cancel appointments which in some cases (as a musician) means turning down performances that can be up to and above $1200 a performance. These venues book someone else who is available and the patient (musician), after cancellation, now has NO WORK – IS OUT OF POCKET – and possibly NO INCOME for the next several weeks. Due to making arrangements for surgery – that then does not take place.
Worse yet – is the case when the surgery is re-scheduled and the performer makes the same arrangements to discover, in hospital gown, minutes before surgery that it is being cancelled yet again!
NO person would mind if the surgery is cancelled because of an emergency, accident or trauma victims being rushed ahead of them.

What has given me cause for concern is that surgery has been cancelled twice to date due to:
1. The hospital did not book an Anesthesiologist.
2. The surgeon thinks he may not get to you (on the re-schedule) due to a longer surgery in the morning for your relatively short operation (and this is at 1.00pm in the afternoon).

To top this, the hospital then inform you that YOU have to call the surgeons office to re-schedule. Who cancelled in the first place?? When you call (at 2.00pm) it is to have an answering machine greet you. So, one leaves a message, telling them that your surgery has been cancelled for the second time and you would like to re-schedule. You also ask that someone will do you the courtesy and return your call. Does anyone do you the courtesy of calling you? This is really a rhetorical question because the staff most likely have been trained in the same manner of customer service as the rest of the Day Surgery Health Teams (your problem not ours).
It is not right that an individual or their families be put through the mental anguish of preparing three times or more for what to them is a frightening ordeal. Think of the cancellation of meetings and work – on again, off again! No board or employer will tolerate that.
There should be some form of accountability for the Surgeon, the Hospital and even the Provincial Govt., to ensure that this kind of treatment does not happen. Who is going to cover the loss of wages? There should be some form of compensation for victims of such seemingly non-caring, abusive and irresponsible cancellations.

Am I frustrated?----------------Right
Am I in pain?---------------------Extremely
Am I upset?-----------------------Sensitive
Am I ready for #3?-------------Perhaps
Will I forget?---------------------Eventually
What do I not want?----------Cancellation
What do I want?----------------Treatment

What do I ask? Treat me as a person, not take away food order #28, and show a little respect!

And that – is “As I See it!”

Ensemble Playing Tips

Whether you’re a member of a local youth orchestra, a marching band, or a grade 7 music class, these tips are important points for anyone involved in an ensemble.
1. Watch the conductor.
Whether they mention or not, most conductors love a performer who watches regularly and takes cues from their direction. When your director stands at the front of the band obviously ready to say something or begin a piece, stop talking and make eye contact with him or her. Memorize your first note so that you can breath and play with the first beat. Try to be able to look up at the conductor at least every few bars, and if possible, at the start of each bar. Look ahead in your music, and when you notice that you have an entrance, look to your conductor to see if he or she has any cues and respond to them. As well, if your conductor offers you any specific suggestions, try to follow them as best you can. Be aware of fermatas (pauses) and time changes. If you show your conductor respect in these ways, in time he or she will value you as one of their best ensemble players.
2. Be ready to start on time.
Speaking of respect for your conductor, being ready with your instrument and music out is another great way of showing your dedication to ensemble. Though it may seem less important to someone in a junior high band, if you’ve chosen to be in a musical ensemble, make the most out of your time and the conductor’s by starting on time. There are few things that annoy a conductor more than an ensemble player, particularly a section lead, who comes to the band late or not at all. If you’re out having a coffee when you should be playing a solo, chances are you won’t have a solo for long.
Decide where your priorities lie; if you don’t want the benefit of ensemble experience, then consider leaveing the ensemble. If you want to stay and enjoy band, then rethink how disrupting your ensemble really benefits anyone, including yourself. If you just don’t enjoy the band or its conductor, leave it and try to find an ensemble with which you can arrive enthusiastic to each rehearsal.
3. Know your music.
Yeah, yeah, we all remember grade 7, when your practice time was like a half an hour a week for some of you, if any time at all. Well, beyond grade 7 (hey - if you’re in grade 7 and want to be better than the other gr. 7s, follow this tip!) you need to actually look at your music between band nights. Along with your regular warm-up and private study, you should incorporate regular time to review your ensemble pieces and smooth out any complicated rhythms or tough technical passages. The last thing you want is to be singled out in band to play a particular passage and demonstrate to everyone that you do not practice.

That is "As I See it!"

Promoting your Concert / Recital

1. What does organizing a Recital or Concert entail?
   Auditorium, Sound and Light Arrangements. Parking arrangements at the venue.
   Sponsorship &Publicity (Designing and printing posters, flyers, ads, banners and choosing the right locations to distribute / place the same and creating web sites)
   Ticketing (printing tickets and sale of tickets before the event date, and box office on the day)
   Making a Brochure (Getting the content ready, and handling the technical aspect of making a brochure).Identifying the MC for the concert and Putting up signs to the concert location on the day of the concert .
   
2. Locate site & establish dates
   Select the location carefully, keeping in the mind the need for parking and public transportation. Think of who your target audience will be and find a location in the same neighbourhood. Other points on site selection are set-up times, availability for rehearsal(s), refreshments (if you having an intermission), unloading and loading, changing areas for the performers. Decide on a venue which can accommodate your expected audience. Too big an auditorium might leave empty pockets giving an appearance of poor turnout and also make ushering very difficult. Choose the right size and make sure that there will be sufficient technical help from the auditorium. Also verify, if space is available for food stalls and AID merchandise tables. Identify if parking lots are sufficient for the audience you are expecting. Auditorium should be in a convenient location.

Firstly, time and timing is very important.Treble check the date of the concert so that there’s no confusion there. (It has happened) Then make sure that any publicity is printed and ready to be displayed in plenty of time. This allows for hold-ups at printers, weekends, bank holidays etc. Then make sure that any publicity is printed and ready to be displayed in plenty of time. This allows for hold-ups at printers, weekends, bank holidays etc.You want a good return on ticket sales so don’t leave publicising the event till the last minute. Things like” book now to avoid disappointment” and “when they’re gone they’re gone” are good stock phrases to use.


3. The design of any posters, flyers or leaflets that you create is vitally important. They have to meet the A.I.D.A criteria. Not sure what that is?
   A=attention . I=interest. D=desire. A=action. Basically, the design needs to be good enough/bright enough/unusual enough to attract everyone’s attention. But especially, the attention of your target audience.Some research into what’s grabbing that particular age group’s attention would be a good idea when it comes to promoting a concert. There should definitely be something of interest in the flyer etc too. Not just a blatant advert. Add some interesting fact, an anniversary of something, the fact that this is a return by popular demand or similar.Then you’ve got to make the audience want to come – the concert’s got to be unmissable. Why? Use your imagination because people act on their desire.
   


4. Finally, if all the above works, then your audience will decide to come because all that’s left for them to do is take action!Be sure to get this promotional literature everywhere that the potential audience will see it, including the venue itself.If you or some helpful volunteers are putting flyers out yourselves, it’s best to stick them at around eye level for maximum effect.Get them in local shops, libraries, shop & café noticeboards, colleges, schools( if that’s the relevant age group), Universities, local government halls, council offices, village halls, supermarket & mall boards. Like I say, anywhere and everywhere.

Promoting a concert with Facebook and MySpace
Promoting a concert can be a tricky business, but can be carried out largely online these days. I would recommend you use this as just one tactic though, combined with more traditional ways.Facebook has the advantage of groups being built up by location, so you can search for these and promote to them.MySpace is good particularly if you have a big list of friends already. Bear in mind that they need to live close enough to your event to be able to make it on the night though. Send out regular broadcasts and keep you blog updated with news about the concert.I would suggest making a video to promote your event, maybe a song or performance just for online. You can then post this on YouTube and Helloworld as well as the other video networks.Helloworld has the added advantage that you can broadcast your concert live - so people all aruond the world can view it (they don't need any software or downloads at all their end) and you can even charge pay per view if it is a charity event for example.

That's "As I see it!" This is a big one! So leave a comment if you want general or Flute specific. (Your choice - suggest)

Saxophone Tips.

To learn how to play saxophone well you will need to work hard on your fingering skills. You also need to bear in mind that the saxophone creates it's sound through vibration of the reed and that sound then vibrates through the saxophone. If you hold the sax tightly your grip is going to lessen the effect of the vibration, something that may become evident when you start using the octave key to play the higher notes. Press the keys lightly, don't try and ram them home. Aside from affecting your tone you'll most likely do some damage to the keys. Get some fingering exercises. These are designed to give you practice at going between different notes. Yes they are hard at first but you will reap huge rewards later as you will be able to quickly change between notes with no discernable sound issues.

Learn your fingering charts. Could there be anything more annoying than playing a great tune only to forget the keying of the next note. Learn alterante keying for notes. If you are struggling to play something because of the keying look around for an alternate keying position.
Finally, practice, practice, practice. Great saxophone tip! It's the only real way you are going to progress. Don't expect to practice half an hour a day and be able to turn into Stan Getz. The greats could happily practice for several hours a day. Put the effort in and you get the reward out.

Saxophone Effects
There are several effects you can learn to make you sound better. As you progress you start including these naturally when you play.
Some tunes demand effects, so if you want to blow a mean sax, take the time to learn some of these.
Tonguing - Touching the reed with your tongue between notes
Slurring - Playing up or down the scale without pausing
Growling - Humming whilst blowing
Honking - Making the sax honk like a goose.
Slaptongue - Making a popping sound
Flutter Tongue - Like growling but made with the tongue.
Note bending - Starting a note flat and sharpening it up.
Learn them and use them, but use them in moderation. Think of the K.I.S.S. statement (keep it simple, stupid) You can get too much of a good thing. Saxophone tip No.1 - It's easy to ruin something good with too much effort.

Saxophone Care
Look after your sax!!!!! It may seem an obvious saxophone tip but how many people out there play their sax and then put it down with the mouthpiece and reed still on it and a puddle of spit in the bow? You need to clean it after use. Get a pull through and a pad saver. Take it apart when you have finished playing and swab it down. Clean in between the pads and the tone holes to remove any moisture. This preserves the pads and stops sticking keys. Take the mouthpiece off and clean it. Never pick up the sax any other way than by the bell and certainly never, never by the neck. The neck is the most influential part of your sax. It shapes the sound. Any damage to the neck and you really need to buy a new one.
Treat it with respect and you will have years of fun and trauma ahead of you. Treat it badly and it will bite you back.

Stage Presentation & Deportment

On-stage behavior is something that even non-musicians seem to think they know something about. Teachers often forget to discuss this issue because it is assumed that students know a bit about it already, having been audience goers and television watchers. However, after some very goofy incidents, I realize that stage deportment should really be discussed! Here are ten tips to great stage presence for your recital or "How to become paranoid on Stage."

1. Smile as you come onto the stage.

2. Bow. Bow at the same time as your pianist, or chamber music partners.
• Be sure to bow at a tempo moderato - not too fast or you‘ll give yourself whiplash. One of my friends suggests saying a really long dinosaur name to your feet at the bottom of your bow, to keep your head down long enough. “Stegosaurus!”
• Avoid curtseys and hand flourishes, even if you are really into bowing practices from previous centuries. Keep your hands at your sides and let them trace the seam on your pants/skirt.

3. When you are ready to play, take a breath in the tempo of your piece if you start, or nod to the pianist/instrumentalist if someone else starts.

4. Check your posture while you play—sometimes when we are nervous we do strange things with our stance, limbs, or hands.
• Have a friend or family member attend your dress rehearsal, or use a video tape, so you can get feedback on how you look while playing.

5. If there is a piano interlude, be sure to hold focus and posture—pick a place to look: above the audience, the back of the hall, an exit sign, your teacher’s smiling face, your music, or perhaps you will look towards your pianist and enjoy the music!
• If you slump, seem distracted or unhappy, the audience may not pay attention to the beautiful performance of your chamber partners, or even clap prematurely! Holding your flute close to your face may help the audience realize the piece is not over.
• If you look towards the audience, look towards the foreheads and hairstyles of your audience. Making eye contact can be unnerving for both you and the audience members.

6. Even if you do make a mistake (which does happen, even if you are very well-prepared and rehearsed) keep going as if NOTHING has happened and don’t make any faces! Most audience members are thinking about the beautiful music, tomorrow’s grocery list, napping, etc, so they will have totally missed whatever small mistake you may consider HUGE.

7. After you have finished the piece, SMILE!

8. Acknowledge your pianist/chamber partners and BOW together.

9. If you are the soloist, leave the stage first, and everyone else will follow. If you are part of a chamber group, leave the stage in the same order as you entered.

10. HAVE FUN, or at least make sure you LOOK like you’re having fun!

That's "As I See it!"

Clarinet Tips

I was asked if I could write something for clarinets - Here it is!

It is not easy to become a great clarinet player. It takes a lot of hard work, dedication, and tons of practice. Some of the key things to work on are your breathing, dexterity, sound quality and rhythm. The following tips will help you improve your skills:

1. Breathing Exercises
It is always best to begin by doing some breathing exercises. Breathe in and out slowly, and see how long you can breathe out. Form your embouchure as you breathe in and out to simulate playing the clarinet. Always breathe in through your nose and out through your mouth. Your tummy should rise as you breathe in, to allow more space for your lungs to expand, therefore holding more air and allowing you to breathe out longer. Beginners usually take a breath after every four measures in a musical piece, advanced players can usually wait longer. If your shoulders rise when you breathe in then you are not blowing from your diaphragm.
2. Holding Your Clarinet Correctly
Curve your hands slightly and place the soft pads of your fingers over the holes. Keep your left thumb close to the register key as it covers the hole underneath it completely. Most of the weight of your clarinet should be supported by your right thumb. It is important that your right thumb supports most of the weight otherwise you will not be able to place the pads of your fingers into the holes correctly. Keep your body relaxed, don't tighten up your shoulders, and keep your elbows to the sides.
3. Your Embouchure
Fold your bottom lip over your bottom teeth, with the reed downwards inside your mouth. Gently place your top teeth on the top of your mouthpiece. Keep your lips firmly around the mouthpiece. Do not bite on the mouthpiece. Keep the corners of your mouth tight. Practice this until you can obtain a steady sound. Try to find a comfortable position as you play. Try out different lip pressures, teeth positions until you obtain a clear steady tone. Always moisten the reed before you begin to play.
4. Troubleshooting
a) If you are having problems with your sound, check to make sure your reed is not damaged. If so, replace it.
b) If you are having trouble placing your fingers on the clarinet, make sure all the parts of your clarinet are positioned correctly.
c) If the sound is muffled or air doesn't seem to flow through your clarinet, make sure there is nothing trapped inside your clarinet such as your cleaning rod.
d) If it becomes difficult to assemble your clarinet, then apply some cork and neck grease to the clarinet.
5. Take Care Of Your Clarinet
Clean your clarinet after each use, inside and out. Beginners may have to clean the inside of their clarinet several times during a practice session. Check to make sure all the keys are functioning properly and that none are loose. keep the screws on the keys tight, but not so tight that they won't work. When assembling your mouthpiece, avoid touching the tip of the reed as it is very delicate.
6. Miscellaneous Tips
Keep working on your skills even if it seems difficult. You will eventually notice a difference even if you sound like a bus at first.
Listen to recordings of clarinet music to give you inspiration and an idea of what it should sound like.
Work on difficult passages until you can play them with ease. If you become too frustrated, take a break and play something easier. Remember to always go back to the difficult passages.
Practice every day if possible. The longer you leave between playing the less muscle memory will be attained.
Record yourself playing your clarinet and play it back to check your sound quality, and your rhythm.
Have a fellow clarinet player practice with you. This way you can offer encouragement to and receive feedback from him/her.
If you can afford to, take some private lessons. It often helps to have some guidance, feedback and encouragement from an experienced teacher.
The above will help in giving you years of musical fun and trauma! That is "As I See it!"

Concert Preparation

1. Prepare in Advance
Rehearsals are not the time to learn notes, but rather to put the ensemble together and work on musical matters such as balance, interpretation, style, phrasing, choice of instruments, and mallet selection. Parts should be well prepared in advance.

2. Be Flexible
Public performance forces you to keep going, to not stop for corrections, and not slow down when the part is difficult. It is very different than practicing in a room by yourself. This is the place to test nerves, concentration, organizational abilities, the capacity to rebound and continue playing after a crisis, and the ability to react to the conductor.
Unpredictable things happen at live performances--even to people with many years of experience. (I can attest to that!) Sometimes conductors make mistakes; people come in wrong or not at all (and that was your cue); soloists run out of breath or hold a note longer than at the rehearsal; someone jumps a beat; the balance may be different with an audience in the hall; someone drops a stick. Be flexible and adapt to changes around you.

3. Before the Performance
Eat something--not candy, but real food, preferably some protein; if there is only time for a snack, has some nuts or a banana.

· Prepare your music in the programme order.
· See that you have enough room to play comfortably.
· Position the music stand to be in a direct line with the conductor.
· Warm up carefully.

4. During the Performance

· Do not dwell on mistakes or misjudgments; keep your concentration intact.
· Do not focus on the negative things that happen.
· Do not allow yourself to be distracted.
· Maintain concentration when your part becomes easy after a busy passage, and especially when you are counting rests.

“Experience is the name everyone gives to their mistakes” – Oscar Wilde

5. After the Performance

Savour the things that went well during the concert and do not dwell on the mistakes. Enjoy the pleasure of the experience, but remember to address the mistakes and not let them happen again.

Evaluate your playing in order to solve any problems that surfaced. Be critical but not self-deprecating with phrases like, "I’m no good" or "I’ll never learn," etc. A blanket condemnation is pointless, self-indulgent and destructive. Pick out specific things that have to be worked on and use the experience to learn.

Solve the problems one at a time. Some may be corrected easily. Perhaps the page turns were difficult; photocopied sheets were not taped together and a page fell off of the music stand; the player in front blocked the view of the conductor, etc.

Finally, you never really "know" how to play a piece; each performance is a new experience. The creative person continues to change. With students, the changes are fast and furious and often cataclysmic. As one matures, the changes are not as radical and frequent, but do continue. True creativity is a continuing and developmental process.
You will never reach a state of "perfection." Occasionally you might be pleased with your performance, but the next concert is always a new challenge and something to look forward to.


IMPROVEMENT IDEAS
Practice in a room with full length mirrors. See which movements look good, and which come across as awkward. Practice facing the mirror, as you would do the audience in a live performance.
Channel all your nervousness into your diaphragm. Relax your neck, and your shoulders, and breathe slowly and deeply using your diaphragm to empower your performance. Put any tension you have there! When you breathe in, your stomach should push out. As you breathe out, your stomach should shrink. (Tip - your shoulders should not be moving when you breathe)

In the end, good stage presence is simple - don't be BORING. You're free to do whatever you like as long as it is visually interesting. All you have to do is spend a little time working on it, and you'll improve the quality of your live shows by leaps and bounds. That is "As I See it!"

What would you like to read about ? - Leave a comment!

Nerves

Just back from West Virginia where the Burlington Teen Tour Band had 5 performances in three days (three of which were competition). They came home with six 1st place awards and two 2nd place - CONGRATULATIONS! Nerves play a part of intense performance and in this section I discuss certain rehearsal practises that will help the nerve factor and help make for an enjoyable and successful performance.

Everyone gets nervous and it is only natural. What we want is for the body to manufacture adrenaline that will help us put on an exciting and enjoyable performance for the audience as well as you. Unfortunately the body sometimes over-reacts and we start to feel the beginnings of anxiety and other nervous symptoms. I remember my first solo performance as a young musician, waiting to go on, sweating, dry mouth, a complete bag of nerves. First off, performances are just like practices. The more you do it; the better and more relaxed you become. If you can have decent success at one performance, it becomes easier the next time. But whether it is your first time or your fiftieth time, there are a few things that you can try to help control anxiety.

Try to practice on the stage or in the room where you will be performing.
Envision it full of people just like it would be on performance day, or better yet, hold a dress rehearsal and invite some of your friends for a preview. Most people in the music world that I have become acquainted with are very supportive of each other. So tell yourself before a performance, “They are here to support me. No one is against me. They want me to perform well.”

As far as the day of the performance is concerned, try eating a banana. In addition to potassium (which is the reason ballet dancers eat bananas) studies have shown that they also have a chemical similar to serotonin, a neurotransmitter that may help regulate anxiety and depression. A word of warning - stay clear of the caffeine! The last thing you want to do is make your heart race more with stimulants! In addition, eat light meals on performance day. Eat things that hopefully will not upset your stomach. Remember: When you think about the performance, see yourself performing well. Be positive about what will happen.

Personally, I do not arrive to the performance hall too early to warm-up. Waiting around backstage with nothing to do can help lead to extra anxiety. I do enjoy getting there early and mixing with and meeting some of the audience before the performance starts. This way I start to get a feel and sense of the audience, where they are from, who they are and begin to associate with them. After that I like a few moments (about 20 minutes) before going on stage to be totally alone and prepare myself like an Olympic athlete for the greatest performance I have ever given. Before I go onstage, I take a few long deep breaths. This will hopefully slow my heart rate slightly.

Hopefully these things might offer a little assistance with your performance anxiety. Figure out what works best for you. There is no cure-all for this anxiety that we feel. Remember, it is normal to be nervous; that shows you care. But it is how you let it affect you that makes the big difference. And that, is "As I See it."

Next article will be about "Concert / Performance Preparation"
Without music life would be a mistake. ~Friedrich Wilhelm Nietzsche

Auditions

“A performance that demonstrates every virtuoso skill at your command without pay.”

Auditions can be a frightening time for young musicians, especially your first! Like everything else in performance, the more you do the easier it will become. The more information you have regarding the audition the easier it will be. Call the University and ask them what is to be expected at the audition. They will give you a complete schedule on how the audition will be run and what you will be expected to play.
Audition checklist
· Choose material that displays your skills, range and versatility.
· Master your material—your preparation will enhance your confidence.
· Talk to and watch other performers/musicians. Learn from their experiences.
· Don’t be afraid to call the university/company in advance to find out what the audition will be like.
· Consider an audition as a performance—auditions require as much preparation and energy as the real thing.
· Develop techniques to handle audition "nerves"—many performers/musicians use relaxation and warm-up exercises.
· Ignore mistakes—if you make an error, just continue and don’t get flustered.
· Be yourself—people who give auditions want to find out who you are beyond your performance piece.
· Develop resiliency—if you did your best, but didn’t get the position, add the audition to your list of learning experiences.
· Be persistent—go to as many auditions as you can to build your performance skills.

Having gained the musical knowledge and prepared the content for your audition is there anything else I can do? What about the other aspects of human interaction and job hunting?
Are you prepared? Being a fully employed musician is more than just the ability to play well. Your creativity and attention to detail must include communication and people skills.
First impressions do count!
There is no such thing as a second impression and human nature is such that when you walk into the room for your audition an opinion is already being formed. You can’t afford not to project the right message. Projecting a strong image is no longer an option in business and is no longer seen as superficial. Your personal presentation is an integral part of the total package you will provide. Differentiating yourself from your competitors with your presence is the challenge and in a business where there are many musicians at the same virtuoso level as yourself it is essential as you perform for auditions. Ninety percent of all people will form an opinion of you within the first 10 – 40 seconds of meeting you – before you even play a note.
So, how do we ensure that we get the best, favourable hearing that we can?
1. Dress for the occasion.
Do not over-dress (white tie and tails – unless you have just come from a performance with the Berlin Philharmonic or the London Symphony) and do not under-dress (arrive in torn jeans and grubby tee shirt which still has the fish & chips from your lunch on it).
Think customer first. Match their style of dress when you meet with them, when appropriate show respect and look like you fit into their world.
Dress smartly yet comfortable as befitting a professional. Whether you are wearing a more formal business suit or a relaxed casual outfit, maintain an image of professionalism.
Always be neat, tidy and appropriate.
2. Become aware of your nervous gestures and eliminate them
Avoid rapid, jerky movements because you will appear nervous and edgy.
Make sure that your words and actions are saying the same thing.
Practice in front of a mirror on how you hold your instrument when not playing and talking to the audience or people holding an audition.
Do not assume and speedily rush into answers. Think of the question before you make a response. 3. Arrive early for your audition.
Anything could happen on our way to the audition site, traffic hold-up, accident, bad weather causing slow driving etc… Arrive early so that you can become familiar with where you are to go and become comfortable in the surroundings you will be performing. Some people on front of you may not show up and you could find yourself rushed. This is definitely not something you want to happen. If you have an accompanist then ensure that they too are there in good time. Remember that it is you who are auditioning and not the accompanist.

The preparation having all been done what can you do on the day itself?
· Walk straight and confidently onto the stage. Announce yourself clearly and concisely, omitting ‘ummm’ and ‘ahhhh’. Practice how you stand in front of a mirror.
· Strong start and strong finish. The way you begin leaves a strong impression so start strong, do not hesitate when beginning and remember to blow through and lift the last note.
· If you make a mistake do not stop. Do not mutter, sigh or make comments.
· When you have finished stand comfortable and confident. Make eye contact with the judges. This sends a good message and will help boost your own confidence. And that is "As I See it!"

Coming next: NERVES - How to perform with them!

If you have an area of flute or general performance you would like to read about - leave a comment.

SIGHTREADING

The pause is as important as the note. ~Truman Fisher

One of the many asked questions I hear is, “How do I improve my sight-reading?”
Sight-reading is an essential element of musical life. It is also an acquired skill that you can develop and do very well. Learning to play your scales by memory can be half the battle. Major scales, minor scales (natural, harmonic and melodic forms) chromatic scales. You can sightread better if you know your scales and arpeggios.

Scales in thirds and arpeggios all make up much of the music you will see, so if you know them in advance you will be better equipped to handle any sight-reading that comes your way. It is also important to know the definitions of musical terms, as they are also big clues to interpretation, speed and phrasing. Knowing whom the composer is and what time period the music was written can be another important clue to interpretation. This is important because when a piece of music was written and by whom can affect how you perform grace notes, mordents and grupettos as well as other ornamentation.

I was very fortunate in that when I was principal flute with the Royal Marines I was faced with sight-reading every day. In fact it was an important part of our musical training, equal in time and more to viva voce, theory and harmony. Sight-reading, not just in Orchestra, but also in Concert Band as well as in various styles – from Symphonic masterpieces to Broadway shows, Duets and Ensembles. The more you do it, the better it becomes and the easier you will find it. Eventually sight-reading becomes a lot of fun and you will find yourself looking for new and more demanding pieces to test your newly acquired knowledge and confidence.

When sight-reading you should look for certain things before playing. All the information you need is right there on the music in front of you.

· Key signature
· Time signature
· Tempo
· Style
· Overall structure
a. Sections with repeats or endings
b. D.S or D.C.
c. Changes in key & tempo
d. Temporary tempo changes such as rallentando, a tempo

· Stylistic markings
a. Accents, staccato, legato etc…
b. Articulation patterns (slur 2 tongue 2)
c. Dynamics
d. Ornamentation

· Rhythmic patterns
· Scale patterns
· Accidentals

It is also very important to train your eyes to read ahead of what you are playing in order to give yourself time to mentally process the visual and react to it physically. And that is "As I See It!"

“Never edit by ability” - Geoffrey Gilbert