Jeffrey Hsu, Flutist & Stringless Artist


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.

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.

Special Thanks and Attached History:

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.

Testimonials

Comments on High Ceiling Music from Anonymous Violinist:

“In order to feel that kind of emotion with that level of music… you have to go through years and years of training. With stringless, you are able to access the transformative healing power of music while still learning muscle training. [After playing through Tchaikovsky], I was dunked into a river of strong, deep, electrifying pain and elation – I could feel the emotion. With stringless, you are ejected into the stratosphere and it can be overwhelming.”

From the Inventor:

I cry sometimes, when I play through Sibelius, Vieuxtemps, Bach, Vaughan Williams… there is such an intense feeling of accomplishment. And, when I played through the Elgar Cello Concerto, I cried quite hard, because I could literally feel the pain and beauty of the First World War. It’s really indescribable.

From a training perspective, stringless allows you to play through high-ceiling works, even if you’re not “good enough.” And, whether you like it or not, you’re getting better at the same time.

From a Stringless Student:

“Virtual play is fun.”

Electronic and Stringless Advantages

Stringless^

  • No Tripping Over Strings
  • No Chaffing/No Unnecessary Callouses/No Fingertip Pain
  • Less Risk of Injury
  • Novel Experiential Processes/New Cognitive Maps (Virtual Play and ‘Acting Out’ Mental Practice)
  • Adjustable Body
  • Truly Silent
  • Bowing Platform Designed to Condition Perpendicular Movement
  • Open Fingerboard Naturally Develops Dexterity
  • No String Breakage or Wood Fractures
  • Expedite Practice and/or Practice More
  • Get Outside More
  • Conquer Fear and Aggravation
  • Less Physical Obstructions

Electronic

  • Synthesize Software Instruments in Real Time
  • Polyphonic
  • Swing Magnetic Effects
  • Plug Into Master Speaker System for House Control and Further Effects like Panning and Automation
  • Manipulate Controls and Settings from One Personal Device, Most Notably Virtual String Dimensions
  • Minimize or Expand Number of Virtual Strings
  • Extend and Homogenize Range and Color
  • Switch Between Solo and Orchestral Modes
  • Change Timbre for Time Period Selection
  • No Wolf Tones
  • Stays In-Tune
  • Sensor Readings for Wide Range of Feedback
  • Visual Training Option (Fingerboard Display or Outside Monitor)
  • Deliver Experiential Processes (via New Modes)
  • Design Novel Programs based on Stringless Cognitive Maps
  • Engineer Symmetrical Platforms
  • Facilitate Slides and Pitch Bends
  • Create Stringless Network/Data Sharing/I-Net Gaming

^ All stringless advantages apply to electronics.

The Bracket Violin

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“Everyday I get to live and experience one of my dreams: I get to play through Vieuxtemps, Tchaikovsky, Saint-Saens, Elgar, Mendelssohn, Bach, and Mozart… almost anything that I want. And while I do this, I get better at classical instruments – because I engage in modern complementary studies that are both challenging and fun. Try telling me that is not worth pursuing or not worth sharing!”

– Jeffrey Hsu, Inventor

The bracket violin effectively sets a modern foundation for musical study and complements pedagogy and performance:

  • Expedites Rehearsal Time and Improves Sonic Performance.
  • No Callus Irritation = More Potential Practice Time if Desired.
  • Dramatically Improves Dexterity (Likely for all Musical Instruments).
  • Establishes Intonation via Auditory Memory (Likely for all Musical Instruments).
  • Independent or Guided Experimentation as Framed through Pedagogy to Form Natural Grips and Grasp Balance Requirements Over Time.
  • Encourages Full Use of Bow, Understanding of Bow Vectors, and Realizing Bow Propulsion through Virtual Osmosis.
  • Sustaining Flowing State of Vibrato via Virtual Osmosis.
  • Intuitive (Virtual Osmosis) and Coherent (Mental Reading) Decoding of Music Literature (and Optionally in–Adults–or in Mandatory–Children–Combination with Strings).
  • Designed to Activate Attention and the “Magic Synthesis” in the Brain through Experiential or Mental “Flow.”
  • Significantly Enhances Reading Comprehension (especially through Mental Reading) or Helps to Form Visual Map of Finger Placements and Corresponding Notes in Brain which can then be Visualized while Reading Music or Playing from Memory on Bowed Stringed Instrument.
  • Contemporary Processes to Accelerate Memorizing of Music.
  • Effective and Safe Unilateral and Bilateral Training only Possible on Stringless and Not Possible on Strings.
  • Stringless does Not Produce Poor Habits because Stringless Does Not Strengthen or Reinforce Work with Resistance Training.
  • Templates are ‘Stringless’ and Do Not Result in Poor Technique or Visual Dependency; Instead, Set of Decals Serve as Collective and Imaginative Manual of Spatial Aspects of Fingerboard in Brain which Can be Accessed Later via Memory Retrieval for Strings (as Discussed Above).
  • Templates (or Future Light Patterns) are Graded for Different Stages of Learning.
  • Variety of Bowing Platform Options including Singular Track Option to Reduce Inhibition for Experiential Flow, Interchangeable with Plural Tracks for More Accurate Mental Reading, such as Traversing Full Bowing Range According to Left-Hand Position, Simulating Arc of Bridge to Properly Roll Bow for String Crossing, and Shifting into Correct Positions and Digit-Related Locations.
  • Singular Track and Open Fingerboard Design Lowers Inhibition but Conditions Perpendicular Movement of Bow (which Later Applies to Proper Bowing Range) and Allows Body to Naturally Develop Rigid Finger Placements in Left-Hand Over Time.
  • Other Bow Guides on Market are Anecdotes–because they Do Work for You–and Do Not Effectively Condition Proper or Natural Movement; they also Stifle Experimentation.
  • Stringless Precipitates Natural Rewards in Brain (i.e. Achievement) and therefore Creates New Habit Loops for Effective Learning Strategy.
  • Relieves Students and Professionals of Aggravation Associated with Difficult or Tedious Learning Tasks.
  • Stringless is Fun, Challenging, and Artistically Creative while Complementing Art of Violin.
  • Stringless is Accessible via Household Electronics and Existing/ Affordable Technologies and Bracket Violin (or future Laser Iterations) Should Be Affordable to Most Households.
  • No Tuner or Metronome is Needed because Digitally Enhanced Music Recordings Create Accurate Auditory Memories in Brain (i.e., when Attentional Networks are Activated via Singularity*), and Said Recordings Provide Rhythmic Backdrop for Fingering and Bowing Articulations.
  • While Repetition is Important for Student Programming, Creative Conditioning Solves Major Problems–Reason Why Many Do Not get Involved or Discontinue their Participation in Arts–and that is, Creativity and Time. Virtual Osmosis Allows Stringless Participant to Temporarily Bypass Technical Error–while Improving Motor Skills over Time–in order to Experience Art of Violin and Gain Positive Musical Experience.  Perhaps in Future, Professional Orchestras will Open Up their Halls to Engage Silent Orchestras – Licensing Music Lovers to Share Art of Performance with Expanded Audiences.  More Activity may Augment Ticket Sales and Orchestra Attendance and Widen Scope of Music Appreciation, especially for Transient Non-Artists (like Family and Friends).
  • Rote Exercise, furthermore, Can Lead to Injury and are One Reason Why Students Have Difficult Time Adjusting to New Musical Parameters.
  • Traditional Exercises/Pedagogy can be Applied to Stringless.
  • Virtual Play can Serve as Enhanced Reward, i.e., Pleasure/Satisfaction of Making, or in this Case, Experiencing Music.
  • Less Self-Reflective Judgement and Less Observable Judgement in Stringless Method that is Highly Important for String Performance.
  • More Opportunity to Learn via Osmosis, Either Virtually Online or In-Person.
  • Stringless May Help Disadvantaged or Underprivileged Students to “Catch-Up” in Cases where They Did Not Have Opportunity to Study Early On.
  • Allows Tense Musician to Practice on More Gentle Platform Until Musician Naturally Relaxes Over Time as More Bits of Information are Realized.
  • Innovation Can Help User with Selecting Acoustic Instrument of Choice.
  • Stringless is Tested, Well-Researched, Works, and Makes Sense!

One more thing… Stringless is expected to evolve all the benefits of human development that go along with learning to play a musical instrument, like bringing out intelligence, improving attendance in school, and potential plastic changes in adults.

Possible adverse reactions:

  • Injury due to accelerated learning in adults.
  • Depression due to perceived failures in ameliorated learning.
  • Reliance on Virtual Rewards.

News

Jeffrey will have an exhibit at the NoCo Mini maker Faire, unveiling the latest in stringless technology design and interacting with the public through stringless educational programming.

Make Music Day Denver on June 21st, 2016

Make Music day features free music, builds community in Denver

See Make Music Day Performance

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Modus Volunteers–Colorado–January 2016

January 2016 newsletter highlighting just a few of the wonderful contributions made by Colorado Modus Volunteers.

http://us12.campaign-archive1.com/?u=f1234fc6d2b03ae663836cefd&id=8aed10b157