I realize I may need a different website for my personal career as a classical musician, i.e., flutist (primary) and stringed/stringless violin and cello (secondary). When I merit an orchestral title, I’ll do that…for now, I’ll blog here. First order of business, in terms of my musical career (apart from stringless technology entrepreneurship), is to define my values and answer the following question:
Why do I want be a flutist and stringless artist?
To be a positive male role model, especially on flute.
To inspire excellence in music without promoting a competitive culture. I value the hard work, discipline, sacrifices, and self-care that is needed to produce high-quality art, but I do not believe that competition is a necessary motivator to achieve results. Rather, love of instrument and love of music–along with a sincere desire to improve–are powerful emotions that supersede competition and can carefully inspire us to reach our utmost potential.
To shed light on the value of mental practice and virtual osmosis, and to advance electronic (i.e., electroacoustic) music making for the symphony orchestra – its composers, musicians, sound producers, and its prospectively vast audience.
I am a seeker of knowledge and truths, especially in the circles of flute and violin, and I wish to share such pertinent, factual, or novel data with others.
I am maturing into an artist, and I only identify as a musician.
To reach my utmost potential on flute & piccolo, to connect with the community, to publish helpful works, to accept and make opportunities, and to engage & inspire!
It has been one full year since I have returned to flute (after not having played flute for roughly 13 years). Over the past year I have/am:
- Procured a Burkart Elite Platinum Enhanced Flute and a Bulgheroni 602 Piccolo.
- Attended my 1st National Flute Association Convention.
- Participating in Brook Ferguson’s Bel Canto Flute Academy.
- Attended CSU-Pueblo Flute Day and Colorado Flute Day.
- Performed One Complete Season with Freedom Winds on Picc.
- Performing in Freedom Band’s “Flute Loops.”
- Completed One Season with the Rocky Mountain Flute Choir on Bass Flute and am Preparing for our Performance at the 2019 NFA Convention in Salt Lake.
- Performed Live Acapella Flute at Natural Grocers.
- Gave a Successful Pseudo Solo Flute Recital at a Retirement Community in Boulder.
- Performing with the Castle Rock Orchestra on Picc.
- Won my 1st Job Playing Flute in a Startup Rock Orchestra: “MetaFonic Rockestra.”
- Writing Flute Technique Exercises.
- Volunteering my Design Skills to Illustrate a Poster Session for The Rocky Mountain Flute Choir and Amy Rice Blumenthal at the NFA Convention.
- Will be Performing in Jeffery Zook’s (Detroit Symphony) Piccolo Masterclass.
Lisa M. Hsu (1997) – bought me my first “step-up” model flute: Miyazawa (Equivalent to 402) at age 16 (I started on flute late).
Stringless Technology (2013 – 2018) – improved my technique and comprehension after fully retiring from flute in 2009 (sold my Miyazawa after graduating from music school in 2006).
Paul P. Langley (2018)- bought me my current “high-quality” flute: Burkart Elite Flute (#1124) and my Bulgheroni Piccolo.
Flute Center of New York – provided a reasonable platform to navigate the great labyrinth of flutes.
J.L. Smith and Co. – introduced me to the Bulgheroni piccolo at the 2018 NFA convention.
BBVA Compass – financed the flute and piccolo.
State Farm – insured my flute and piccolo.
Steve Hotzler – encouraged me to play flute again and invited me to play with Freedom Winds.
Mile High Freedom Band: Freedom Winds – welcomed a seat in band for the first time since 2006.
Barbara Camp – encouraged me to play flute at the professional level instead of strings.
Brook Ferguson – helped me with the Burkart purchase and is a “top-notch” role model and teacher.
Ellen Ramsey – helped me with the Burkart purchase.
Mary-Ellen Dooley – provided positive feedback and guidance.
Marilee Snyder – provided positive feedback and guidance.
Olivia Lynn Kieffer – is supportive of my return to flute.
Tabetha Thompson, Melissa Foos, Jill Roth, and Jaded Vegas (among others) have expressed their unsolicited belief that I can make it to the “major league” in music.
Dr. Richard Soule (UNLV) – was my second flute professor. He emphasized natural lines and contours and helped me to relax. UNLV gave me my long-awaited orchestral experience and a stage to advance piccolo.
Dr. Bradley Garner (CCM – UC) – was my first flute professor. Like Dorothy DeLay, he ‘guided’ his studio, licensing us with our own unique artistry. Dr. Garner was fond of saying “lower on the lip” and highlighted a centered, open embouchure. CCM, furthermore, exposed me to excellence (in particular, Erinn Frechette and Jessica Huang). Special thanks to Jack Wellbaum (CCM) for requiring piccolo class/study.
Sherrie Parker – was my first flute teacher (in high school) and gave me valuable tips, extra time, and attention.
Thomas Leslie and Terri Milligan – my college band directors who gave me leadership roles and good direction.
Tommy Yu – composer who dedicated music to me in college.
Mr. and Mrs. Jackson and Ms. K and Karen McCauley–my HS music directors–all of whom got me started in music and who have allowed me to explore different instruments.
Additionally, I have performed or will be performing in masterclasses with Sir James Galway (Berlin Philharmonic), Randolph Bowman (Cincinnati Symphony), and Jeffery Zook (Detroit Symphony).
Darryl Nakatani – for lending me a bass flute to smartly relax my embouchure and to enjoy the full spectrum of the flute family.
Dr. Liestikow, who via psychology and hypnosis, is helping me to overcome performance anxiety and is further helping me to better understand sports psychology, health, and happiness.
Neal Durbin, who wrote and is writing flute literature for me.
All the interesting and diverse people I have met through music, i.e., saxophone, clarinet, flute, cello, violin, e-music, and stringless technology, who make it all worthwhile!
Lorena Perry, my vocal instructor who is helping to illuminate the similarities and differences between flute and voice techniques. I chose to engage because I hypothesized that flute is the closest instrument to voice due to the fact that flute is the only instrument that makes indirect contact with its vibrating member.