LIFE AS A PICCOLO PLAYER | CONVENTION
VALE LESLIE BARKLAMB | PICCOLO CONCERTOS

PICCOLO REPORT

Following the very successful inauguration of Piccolo specialist sessions at the Brisbane Convention, three sessions were programmed for Melbourne.

1. Piccolo Workshop

Here is a report on this session from Catherine Buxton.

"Many enthusiastic piccolo players packed into the Beckett Theatre on Friday to get some hints on how to tackle some of the problems of this wonderful little instrument. Frederick Shade, Principal Piccolo with the Melbourne Symphony Orchestra, took the session, and he was ably assisted by Michael Smith, Principal Piccolo with Orchestra Victoria, and a repairer of flutes and piccolos.

Fred stated that he is beginning to believe that the piccolo should be treated as an extension of the flute rather than as an entirely different instrument. The fingering, and blowing are basically the same, and the middle and high range of the flute overlaps the first octaves of the piccolo. When starting to play the piccolo treat it as a smaller flute - the embouchure is smaller but the shape is basically the same. The embouchure must be relaxed. However, there is more backpressure than on the flute. It is best not to commence playing the piccolo until the embouchure is well established on flute. In a school group situation the piccolo should be given to the best flute player as a good embouchure, intonation and good breath control are very important. And although there are altered fingerings which can be used to adjust intonation of certain notes, Fred  recommends that these be used sparingly.

Things to consider when buying a piccolo.
Cylindrical piccolos have a good intonation but are difficult to play in extremes of register. Conical bore piccolos have a better quality of sound particularly in the low register, but require more effort to play at times. For students a composite body is quite acceptable and is usually better than a cheap silver-plated model. It is essential to try different piccolos before buying one as each instrument will be different, even when the same make and model! Check the pitch of middle C#,D & D#, also check if you can play a top B - some instruments have difficulty with this note.

The intonation of each instrument will be different, and so you need to get to know your own instrument and its peculiarities. Most piccolo players will do the majority of their practice on the flute, with a follow-up on the little instrument.

Internet sites

The Woodwind fingering guide  www.wfg.sneezy.org
Flute World www.fluteworld.com

References

The Piccolo Study Book by Trevor Wye and Patricia Morris

(A most comprehensive book of orchestral excerpts, arranged in various categories e.g. technique, tone, articulation etc. Highly recommended.)

A Basic Guide to Fingering for the Piccolo by Stephen Tanzer

(Every possible fingering you wanted to know!)

Tulou Metodo Piccolare per Ottovino  pub. by Ricordi

(An Italian method book, since covered by more recent method books.)

Learning the Piccolo by Clement Barone

(Is an excellent little publication. There used to be an audio cassette with this book, which is very helpful.)

Orchestral Excerpts for Piccolo with piano accomp. by Jack Wellbaum

(This is a wonderful addition to orchestral excerpts material.)

Piccolo, Piccolo by Danielle Eden

(A most helpful and informative publication. Highly recommended.)

The Woodwind Anthology Volume 1 (The Instrumentalist Co.)

(A large volume containing article on all the woodwind instruments which have appeared in "The Instrumentalist" over many years. A wealth of information.)" (C.B.)

2. Piccolo Showcase

Here we had some of Australia's leading piccolo players showing what they can do, including several young performers who have specialised in the piccolo.

The first item was a Telemann Sonata for two flutes played by Rosamund Plummer (Pr. Picc. in S.S.O.) and Michael Smith (Pr. Picc. in O.V.). They really got the sound to buzz! The second item was a premier performance of "Piccolino" for solo piccolo, written by Michael Easton (who has written a Piccolo Concerto) and performed by Fred Shade. It was written especially for the Festival. At the conclusion of the performance Fred and Michael had a brief discussion about the work. The composer said that the title has a dual origin as it is not only appropriate for this short one-movement work, but is also the name of the restaurant in London which he frequented and where he met other composers! Then Judith Carpenter performed "Studies on East Asian Pipes" by David Loeb for solo piccolo. The composer has evoked the haunting sounds of native flutes from Asian countries in these short movements and Judith displayed these brilliantly.

Rosamund then performed a virtuoso piece by Damaré entitled "Bouquet of Roses", displaying her complete command of the instrument and wonderful breath control.

And we musn't forget Vivaldi! Fred Shade played the slow movement of the C Major Concerto, to remind all present of the little instrument's capacity to play a gentle tune.

The programme concluded with Fred Shade and Catherine Buxton performing "The Fluttering Birds" by Jean Genin. It is a most entertaining piece, and takes us back (as did the Damaré) to a another era. Oh, what nostalgia!

By all accounts, these pieces were very well received by the packed auditorium.

3. Piccolo Panel

The third session was a panel discussion comprising of Fred Shade, Michael Smith, Rosamund Plummer, Judith Carpenter and Catherine Buxton. Each panelist was invited to introduce themselves, talk about their training on piccolo, study and work experience, preparation for orchestral and solo auditions, repertoire, piccolos etc. Three of the panellists (Fred, Michael and Rosamund) hold permanent positions in Australian orchestras, while Judith is a Masters student and has worked in orchestras overseas, and Catherine teachers in schools. With this very broad range of skills and experience, the questions coming from the audience were more than adequately covered.

The three Piccolo sessions were very well attended and demonstrate the level of interest there is in the little instrument. It is hoped that the piccolo will be a permanent feature at all future flute conventions.

Frederick Shade
Convenor