Angela J.

Rowland, flute 12/23/16, 7)20 PM

Angela J. Rowland

Flute and Piccolo

HOME
BIO

LESSONS

LISTEN

PICTURES

CONTACT ANGELA

Historical Articles "Let's Talk Picc" - Orchestral Excerpts

LETS TALK PICC
April 1991

BALLET MUSIC AND THE PICCOLO

By Lois Schaefer

In the seven movements of the Ballet Music of Faust by Gounod, the piccolo shines as an important voice in the orchestra in both lyrical and technical
passages. The first movement, A Dance of the Nubian Slaves, is a waltz with a rather short but beautiful section for the piccolo doubling the flute at the
octave.
(Example A)

The second movement, an adagio, is titled Cleopatra and the Golden Cup, which also includes a short section for flute and piccolo. Both of these
excerpts require a round, soft tone. In the following excerpt, a very precise staccato is also required.
(Example B)

The third and fourth dances can also be used for studies on articulation. The theme of the Dance Antique is played by all of the woodwinds, except for
the oboe; because the piccolo is the highest voice, it will predominate. Every effort should be made, however, to achieve a good blend.
(Example C)

The tempo marking is Allegretto, and Trevor Wye suggests a metronome marking of [quarter note]=112 in his Piccolo Practice Book, which seems about
right because there is no indication in the score. Anyway, this dance is a good double-tonguing exercise and also tests your expertise handling the tied
notes.

Let us consider the technique of double tonguing, supposing that everyone has his favorite syllables to say while playing. I have found not for speed, but
for openness of sound and immediacy of attack, it is best to use the vowel sound ah after the consonants T and K. Dont be tempted to use an eee sound,
which moves the T and K closer together in the mouth for faster playing; it leaves little room for the air to pass smoothly over the tongue and thereby
making a tight closed sound, especially in the high register.

Play the first measure lightly with little or no emphasis. Do not accent rhythmically the first note of the second measure, as the G is longer and therefore
the more important note. Please forget everything you have been taught about first beats being the heaviest in a measure. One must consider the
direction of each phrase or segment: does it go up or down? What are the lengths of the notes, and which notes should be stressed? Look at the third
measure. Do you wish to stress the first E, or should the sixteenths lead to the next measure, with emphasis on the first beat? Yes, sometimes you should
accent first beats. In the next three measures, aim for the tied eighth to sixteenth notes because the sixteenths lead to them; the tied notes are the highest
and the longest. Bear in mind these are subtle terms and you should not pounce on these notes.

http://angelajrowland.com/lessons/piccoloarticlesgippo2.html Page 1 of 11
Angela J. Rowland, flute 12/23/16, 7)20 PM

(Example D)

Near the end of the complete excerpt is the beginning of a triplet pattern. If the tempo is too fast for regular triple tonguing, use a double-tongue pattern
with a misplaced accent: Tah, Kah, Tah, Kah, Tah, Kah. You can start the single triplets with Kah so that you land on a Tah. Once you have control of your
articulation, you may find that using middle finger F# makes the passage smoother.

The fourth dance is The Dance of Cleopatra and Her Slaves. The tempo marking calls for moderato maestoso in [cut] time, and [half note] = 76-80
might be appropriate. This is a fairly brisk tempo for single tonguing, but it allows the attack to be clear and therefore will be well worth the effort. Play
the first note lightly, but be slightly heavier on the second note. Dont anticipate it, and be careful to play the correct rhythm, which is a dotted eighth and
sixteenth, not a lazy triplet. You will find that your tongue will go much faster from sixteenth to dotted eighth if you use the syllables Tah Dah, instead of
Tah Tah. At the end of the fourth measure is the beginning of a much longer sequence of dotted notes. Try to keep the consonant sounds light as the
melody line ascends to the high G. Keep the tempo by feeling it move forward rather than dragging. Measure 8 is the culmination of the crescendo,
followed by a short diminuendo.

The next two dances do not include any passages, but the final movement is fast and furious and everyone in the orchestra is involved. This movement is
good for practicing fast double tonguing. Now is your chance to be King of the Mountain, riding high above everyone else and insisting they listen to you.

Ballet Music and the Piccolo

LETS TALK PICC
September 1993

BEETHOVENS MISTAKE
By Jan Gippo

Great composers rarely consider the limitations of existing instruments when developing an idea. They usually know the range of the instruments, but
push the expressive range of both performer and instrument. Bach, for example, simply ignored the limitations of available instruments and wrote the
music he heard in his heart.

The scope and sheer power of Beethovens music was in many cases beyond the capacity of the instruments of his day. The flutes had from 12 to 18 keys
and the piccolo was an open-holed, ring-keyed Meyer system instrument with a tiny embouchure hole. Beethoven miscalculated the piccolos potential,
however, in his Symphony #5.

The Symphony #5 is surely among the most important musical works ever created. Not only were the musical ideas new and remarkable, the
orchestration used trombones, contrabassoon, and piccolo for the first time in symphonic history. Although the piccolo was a brilliant and, for the most
part, innovative addition to the symphony, the part has performance problems in five places.

The first difficult occurs 16 bars after [B] in the first movement. The piccolo is the only orchestral instrument playing this material and should cut through
the entire orchestra, which includes all three trombones. (Example A)

The chances are slim that the orchestra will play only forte as marked, and the piccolo should be prepared to play as loudly as possible to be audible. Use
extreme air speed, as much and as fast as possible, but remember to pull out the headjoint to avoid playing sharp. At that point just play as well as
possible and hope the sound carries. Beethovens miscalculation was believing that the piccolo on its own could project this important motive, taken from
the violin part just preceding. A better solution might have been to add a flute or oboe to give this passage more presence.

The next problem happens two bars after [D] and two bars before [E]. Once again only the piccolo plays the motive. (Example B)

The only difference from the first example is that now the orchestra plays fortissimo. Play as before, pulling out the headjoint and using great air speed,
but back off the whole note B at [E]. This note should blend with the other instruments, and playing it too loudly will sound frightful.

Next is the most famous and controversial example, occurring eight measures before letter [F]. (Example C). Although the only moving part above the
melody, the piccolo part lies in a range that does not project. Every conductor asks for more sound yet each is completely unaware that unless the
orchestra plays at a reasonable dynamic level, it is impossible to play this passage. There is no dynamic marking in the score, so a good mezzo forte in the
orchestra will make the passage work, and interestingly, makes it more musical as well.

The most brilliant writing for solo piccolo occurs 14 bars after [H], but here also is a miscalculation. (Example D) The score indicates that the sixteenth
notes should be separated. Playing them separated and as fast and loudly as necessary not only makes the notes sound pinched and almost inaudible, but
compromises the important rhythm. Slur the notes as shown below, making sure to tongue the last note. (Example E)

In the following excerpt the five beats before the trill are doubled with the first horn.
(Example F)

Intonation is a problem here because the horn probably cannot hear the piccolo so the piccoloists has to tune to the horn. Usually the low E is flat, so
bring it up and remember to use vibrato on the entire passage including that first low E.

The next hurdle is the G trill, which most often sounds flat. TO make the trill sound in tune be sure to play it with the chin up and an open, easy air flow.
Start trilling immediately; slur the A and B to the C3 coming out of the trill instead of playing the G and slowing starting to trill faster. A subito piano
occurs 18 bars before the Presto. Practice playing the repeated C3 notes using the fingering 123 1 34 and play the following measure very softly. This is a
problem of coordinating the air speed that players can easy if they are prepared to switch quickly.

One last reminder: the Presto toward the end contains a high G marked fortissimo. Dont play it loudly but blend with the entire orchestra. Sometimes

http://angelajrowland.com/lessons/piccoloarticlesgippo2.html Page 2 of 11
Angela J. Rowland, flute 12/23/16, 7)20 PM

this might mean playing only at a mezzo forte level; dont worry, the piccolo part still comes through.

Beethovens Symphony #5 is a true masterpiece. Have fun being a soloist in one of the most memorable musical experiences.

Beethoven's Mistake
LETS TALK PICC
February 1994

BRAHMS AND THE PICCOLO

By Jan Gippo

Even though Ravel and Dvork used the piccolo sparingly, their music had solo passages. Johannes Brahms used the piccolo color as sporadically but
always combined the piccolo with other instruments. Brahms used the piccolo in general color combinations and blends, for clarity, and as a sparkle or
highlight.

Brahms limited orchestral output includes only four symphonies, two orchestral serenades, four concertos, two overtures, a Requiem, a Theme and
Variations, and four pieces with chorus and orchestra. He also wrote 21 Hungarian dances, only three of which he arranged for orchestra. Of these 18
major pieces Brahms included the piccolo in only 8 pieces and used it sparingly in all but two.

Of all the great composers, Brahms created the most perfect music in structure, harmony, form, and balance. No matter how sparingly he wrote for the
piccolo, its part is calculated and necessary, not whimsical or an afterthought despite the brevity of musical material. To understand how Brahms
intended the piccolo to sound within each composition, consider the three categories of color combination, clarity, and sparkle.

As far as writing for the piccolo in color combinations, look at the Tragic Overture and A German Requiem as notable examples. Of the 482 measures of
the Tragic Overture, the piccolo only plays 15 measures that include the five notes, G-C-A-D-E. This is, however, one of the most precarious piccolo parts.
Each time the piccolo enters, beginning 96 measures into the piece, the instrumental color and combination is different. Thirteen measures after [E] the
piccolo enters pianissimo in octaves with the oboe and in fifths with the clarinet and bassoons. Because the G2 on most piccolos is sharp, lip it down to
match the oboe. However, the C3 is flat so use an alternate fingering for C that works best for your instrument, which is probably 123 1 4. While resting
for so many measures before playing, try to stay relaxed to play the first entrance without tension. Remember to vibrate when starting the first note to
help in the quiet attack and to blend the sound. At 195 the piccolo plays the same notes, but here it is scored much differently as the piccolo part is written
in octaves with the oboe as the flutes play in thirds. The piccolos C3 is in octaves with the second flute and in sixths with the oboe and clarinet. At this
second entrance play the C3 lower than the previous time. Again, use an alternate fingering to compensate for the pitch. The last entrance five measures
after [N] are in unison with the flute and in octaves with the oboe and bassoon. The D2 will be sharp to the other instruments so lip it down. The A2
needs to be in tune with the oboe and the first flute, and it is easier to tune to the oboe. In all these entrances the piccolo should not stand out but should
blend as part of the changing colors. Listen to how the same musical material sounds different through Brahms sophisticated orchestration of doubling.

In his Requiem Brahms uses the piccolo in only two of the six movements. In the second movement the piccolo plays in unison with the violins, adding
new color to the pianissimo mysterious melody. In the sixth movement the piccolo augments the overall forte dynamic.

In the category of clarity are the Academic Festival Overture, the Haydn Variations, and Symphony #4. In the overture Brahms uses the piccolo to extend
the range of the orchestra and make the melody clear and bright, doubling the violins one octave higher at the end. Here the piccolo plays an octave above
the other instruments, whereas in the previous pieces the piccolo plays in unison.

In the Haydn Variations the piccolo clarifies certain notes in the orchestral texture. In the fifth variation the piccolo plays the tonic Bb throughout, first
doubling the clarinet and then the flutes. The Bb is flat on the clarinet so play it lower than usual. Be aware that the piccolos Bb doesnt blend well
because the note uses a small length of tube. In the eighth variation is an exposed passage where the piccolo and clarinet double an extremely soft
chromatic passage, then play seven measures of syncopated Bbs. To compensate for this problematic note, use the fingering T 1 3 1234 which is in tune,
blends perfectly, and allows a soft dynamic and diminuendo.

In the third movement of his Symphony #4 Brahms replaces the second flute with a piccolo for the entire movement. Here the piccolo clarifies the
melody, outlining the upper sonorities of the music. Once again the piccolo plays in octaves with the violins, not in unison, which adds clarity. At 11 after
[B] some editions are marked solo, but the score does not indicate the same. This passage is exposed, but the clarinet and bassoon double the piccolo.

The third way that Brahms writes for piccolo adds sparkle and highlights to the music. In his Piano Concerto #2, Brahms adds the piccolo to the first flute
part close to the end of the last movement, marking a change from flute to piccolo. Play this passage soloistically, with bounce and energy.

The fifth movement of Brahms Serenade No. 2 is most fun and rewarding to play. Beginning by adding color and blend to the texture, at [B] the piccolo
expands the range. At the end of this excerpt diminuendo the B2 without cracking or going flat. Use the fingering T 1 3 123 to blend into the texture. At
measure 252 is a fun yet startling moment when the piccolo sounds as a separate voice high above the orchestral texture, playing a run into a trill, and
then doubling the melody in the third octave. This is the only time Brahms exposed the piccolo. At [G] is the recapitulation of the music at [B], only now
it is a fourth higher, ending on E3. To help make the diminuendo and keep the pitch up press the right-hand second finger against the first trill key to vent
the tone hole slightly. This trick also prevents the note from cracking.

The final glory belongs to the piccolo at the end of the piece as it sounds above the entire orchestra in joyous outbursts of trills.

Although Brahms used the piccolo sparingly, he wrote important passages that add clarity, blending colors, and sparkle to his compositions.

http://angelajrowland.com/lessons/piccoloarticlesgippo2.html Page 3 of 11
Angela J. Rowland, flute 12/23/16, 7)20 PM

Brahms and the Piccolo

LETS TALK PICC
January 1994

DVORKS PICCOLO SOLOS

By Jan Gippo

Antonin Dvorks piccolo solos vary in length from four measures to only one note, and the piccolo player has to sit through the rest of the performance
without playing. Although the resting evokes humorous remarks, the solos can be quite tricky. However, Dvork knew and wrote exactly what was
necessary musically.

Dvork incorporated the entire range of the piccolo in the eight Slavonic Dances, Books I and II, Opus 46, written in 1878. Excepting number 4 in Book I,
all dances use the piccolo extensively in soloistic passages. Scored for two players, one flute and one piccolo without a second flute, Dvork was well aware
of the piccolos color in the orchestral texture.

Because all eight dances are orchestrated similarly let us examine number 8 in Book II. This dance is a furious fast movement in 3 with a heavily accented,
tied-over third beat that syncopates each four-bar motive. (Example A)

Each eight-bar phrase is repeated, and the four different musical ideas are interrupted by a lyrical interlude. The piccolo plays almost continuously
throughout the piece, resting only during two short sections, which makes this an endurance test.

Remarkably, no other instrument plays as much music as the piccolo, whose color adds to all the other instrumental melodic lines. At A the piccolo part
doubles the flute and oboe; and eight bars later the piccolo doubles the flute. In each case the color changes are quite noticeable, yet the piccolo is the only
constant. (Example B)

In the last theme Dvork doubles the piccolo with the flute and oboe, but this time he uses the lower octave of the piccolo and the second octave of the
flute, creating an unusual unison, a unique sound and beautiful timbre. (Example C)

In all the dances of opus 46, Dvork not only knew the range and color of the piccolo, but also used its special timbre innovatively.

Five years after he composed the Slavonic Dances, Dvork wrote Symphony #6, opus 60 in 1883. He scored the piccolo only in the trio of the scherzo third
movement. (Example D)

The most difficult aspect of this exposed solo is the intonation of the octave Es, and usually flat B needs to be higher than expected. Added to the difficulty
of tuning, the oboe sustains an E, which creates a perfect fifth with the B.

Six bars later the same music occurs, but here it is written down a whole step. For the difficult D3 use the fingering T234 234; to insure that the F#2 is not
sharp, use the fingering T123 2 4. Here the oboe sustains an F, so be sure to check the intonation with the oboe before rehearsing with the orchestra.
(Example E)

In Symphony #7, Dvork again uses the piccolo in only the scherzo third movement. Here the piccolo continues the flute line up to C, making the line
more smooth and less awkward than if played by the flute only. (Example F)

The solo in Symphony #8 is the famous 12-measure sustained note which follows the beautiful flute solo. Here the problem is tuning to the flutes D and
entering very softly without attack, and making a slight swell into A. Because the most critical intonation problem is the octave D, finger the D3 T234 234.
Having enough air to sustain the D without taking a breath is challenging, so start the solo softly and use very little air. Make only a small crescendo to
letter A and save air until the ninth measure of the solo; then make the crescendo to forte. Use vibrato during the entire solo. Even though it is only one
note, this is a solo and should not sound weak or tentative. Then sit back and enjoy the rest of this beautiful symphony because the piccolo has no more to
play. (Example G)

Probably Dvork most famous piccolo solo occurs in Symphony #9 From the New World. Because the E2 is flat on most piccolos, try to play this note
sharper by leaning on the first trill key with the middle finger of the right hand to vent the tone hole slightly. Opening the key too much distorts the sound.
The B at the end of the solo is also a notoriously flat note, so use the alternate fingering T1 3 12 4. Although this fingering sounds slightly [like a]
harmonic, practice it so it is clear and in tune. Use the vibrato in the entire four-measure solo as if playing the flute, and sustain the last B for the full one
and one-half beats, making a slight diminuendo. (Example H)

In each of the piccolo solos Dvork used the instrument sparingly but innovatively to create a new, exotic color in the orchestral texture. Be sure to
practice them soloistically to add special colors to these great romantic symphonies.

Dvorak Piccolo Solos

LETS TALK PICC
October 1993

MAHLERS PICCOLO PARTS

By Jan Gippo

http://angelajrowland.com/lessons/piccoloarticlesgippo2.html Page 4 of 11
Angela J. Rowland, flute 12/23/16, 7)20 PM

The symphonies of Gustav Mahler are the epitome of 19th-century Romantic expressionism. He combined lush, forceful, and brooding melodies with
extended classical forms and innovating orchestrations.

As Mahler scored his music, the piccolo took on three different roles. The first was as the high voice in massive outbursts of symphonic sonority. The
second was as the highest voice in soft, unison octave passages. The third introduced a new piccolo sound: melodic solos in the lower octave. Until
Mahler no composer had scored orchestral works that exposed a soft, extended solo for the piccolo. Most of his symphonic solos for piccolo are quite
short, sometimes only a few notes, but the piccolo lends a beauty and shimmer to the music.

The opening of Mahlers Symphony #1 is among the most treacherous music in all orchestral literature. All the instruments play extremely soft unisons
and octaves. At one octave above the oboe and four octaves above the bass clarinet, the piccolo has the most exposed sound. (Example A)

The trick here is to use vibrato even when playing at the softest dynamic. It is a misconception that playing without vibrato will produce a softer piccolo
sound. Because of its timbre a piccolo played without vibrato will not blend but instead stand out of the musical texture and sound louder. Less than
perfect intonation will also make the piccolo sound as though it is too loud. Dont try to play too softly; playing in tune and with vibrato will produce a soft
enough sound. To play the passage as smoothly as possible between the second and third measures, gently depress the second and third fingers and lift
the fourth finger of the right hand while playing the C2. That will make the next note, D2, respond without a pop. When fingering the D, use the thumb
Bb to make a seamless connection to the following note, Bb1.

For the next solo that occurs in the last movement, use the primary fingering 123 1 34.
(Example B)

The challenge of this solo is to play with enough sound despite the staccato marking. Use a da-da-da tonguing, never a t or ta, which in this passage will
come across as a spitting sound. As in the previous solo, do not try to play it too softly; composers often mark the music the way they imagine the sound
instead of how the player should achieve it.

The fifth movement of Mahlers Symphony #2 contains one of the most sublime musical moments. The passage starts with off-stage horn and trumpets
followed by a flute solo, which two off-stage trumpets answer. Next is a piccolo solo beginning with successive C#s that should sound molto espressivo,
with clear yet sustained separation in the triplets. (Example C)

Play the grace notes long and lyrically, and sustain the whole note C# with ample vibrato at a piano dynamic. The trill should be even and not too fast.
Although the 32nd-note passage is marked schnell, meaning very quickly, play each note as clearly and smoothly as possible without accenting them.
Playing in a hall that is very live may call for slowing the passage to keep each pitch distinct. The instruments off-stage may cause the pitch to sound
sharp to players on stage, so be prepared to play at a significantly higher pitch for this passage, and resume normal tuning for the rest of the movement.

At measure 315 in the second movement of his Symphony #4 Mahler in the Langsam and espressivo markings permit the player to take time and lean on
the quarter notes. Slowing down substantially at the ritardando allows the chromatic harmony to settle before the suddenly faster tempo. Finger the C
123 1 34 and the C# 23 234.

Mahlers remarkable and expressive music gives the piccolo many shining musical moments. These musical gems, when carefully prepared and played
from the soul, will allow the piccolo to crown a symphony orchestra with its halo of light.

Mahler's Piccolo Parts

LETS TALK PICC
April 1990

MUSIC ELEGIA
By Jan Gippo

At a recent piccolo master class, at least 50 percent of the questions concerned how to play the flute better after playing the piccolo. The traditional job
description for a piccolo player in a symphony is third flute/piccolo; in opera, ballet, and some orchestras the title is second flute/piccolo; and smaller
orchestras identify the job as assistant first flute/piccolo. In all cases the player needs to move smoothly from piccolo to flute. Following are some
suggestions that might help the transition.

The first responsibility of the third flute is to play in tune with the rest of the section; second, to blend; and third, to play all the notes of the lower flute
part. The player should find a headjoint that is easy to blow and has flexibility to ensure quick adjustments in intonation. With a variety of equipment
now available to the flutist, what you use should meet your special needs, especially if you follow some general guidelines.

No pitch stays the same so constant adjustment is needed to be in tune and to blend. Because a third flute/piccolo player is not playing a principal part,
his sound should not be the dominant tone in the section. The third flute plays predominantly in the lower octave, which requires a softer articulation
than the other octaves. A headjoint that has a high wall and a slightly larger blow hole with a rounded lip plate produces the best results for a third flute
sound. Try to find the perfect combination to suit your style.

The third flute also needs to use alternate fingerings to improve faulty intonation. For example, in the third movement of Mahlers Symphony No. 4, the
third flute part has a B2 (Example A) for four measures, to be played pianissimo. Because the chord is written in the wind parts, the individual tone color
is important so the sound blends with the clarinets. I recommend fingering the note 123 123, but lip it down because this fingering produces a sharp note.
With practice this sound can be beautiful even though holding it requires sufficient breath so it will not go flat or drop out. In the same movement when
the third flute plays a pianissimo E2, use the regular T123 12 but add the second trill key. Once again, when played with the other wind parts, this sound
will be in tune and blend beautifully.

In the first movement all four flutes play the second melody, beginning fortissimo on E3 (Example B). Finger the E3 as usual but lift the little finger on the

http://angelajrowland.com/lessons/piccoloarticlesgippo2.html Page 5 of 11
Angela J. Rowland, flute 12/23/16, 7)20 PM

right hand. This helps bring down the pitch and prevents the note from cracking. To facilitate the diminuendo to piano, the third and fourth flutes should
drop out halfway through the sustained E3, which will create a better diminuendo effect than if all four players try to stay in tune while playing to a piano
level.

In one of the most difficult third flute parts, the third movement of the Concerto for Orchestra by Bela Bartok, the player needs to make three very fast
changes. After the first piccolo solo, the player has only three beats to put down the piccolo, pick up the flute, and play a low C marked pianissimo, which
must speak immediately. The third flute is the third voice in a canon begun by the first flute, and all players in the section need to blend. Then the piccolo
player has eight counts to get ready to play the famous solo. After this solo ends, the same player has one beat to change from the piccolo to the flute.

Practice this movement by recreating the physical position you use in a symphony orchestra. Most symphonies provide a doubling table, which is a small
table about chair height, 18 inches across, placed to the right of the piccolo chair, so the player can put down one instrument and pick up the other.
Practice sitting down next to such a table and learn to pick up your flute without looking down and put the flute to your lips with the least amount of
motion. Then put the flute down and grab the piccolo. After you understand this feeling, practice playing a few notes and again quickly switch
instruments. You will eventually develop the coordination to play every note without ever missing a beat.

Playing third flute can be fun, but it takes practice and commitment.

Music "Elegia"
LETS TALK PICC
September 1992

THE NUTCRACKERS FAUX PAS

By Jan Gippo

The first Young Artist Piccolo Competition will be held at next years flute convention in Boston with a $1,000 first prize, $500 second prize, and $300
third prize. The idea for this biennial competition was conceived when the National Flute Associations piccolo committee was formed to promote the
piccolo by creating more performance opportunities. The committee commissions piccolo compositions, searches for and preserves old out-of-print
piccolo solos, and maintains a lending library of out-of-print band parts for these solos and a list of piccolo music. For this first competition a soon-to-be
announced composer will write a new piece to be performed by the contestants during the semifinal round.

With increased opportunities for piccolo performance, many piccoloists inquire about suitable available repertoire. This list will guide the serious
performer to appropriate music for student, graduate, or professional recitals.

Andrieu, Fernand Rossignol dAmour for piccolo and piano (Billaudot);

Bliss, Marilyn Rima for piccolo and piano (Pan Publications);
Bottje, Will Gay Concertino for piccolo and piano (Zalo Publications);
Broughton, Bruce Concerto for piccolo and orchestra (Meridian);
Calabro, Louis Three Pieces of Solo Piccolo for solo piccolo (Elkan-Vogel);
Couperin, Francois Le Rossignol en Amour for piccolo and continuo (Universal) ;
Dillon Diffraction for solo piccolo (Peters) ;
Du Bois, Rob Bewegingen for piccolo and piano (Donemus Amsterdam);
Elliot, Willard Fantasy for piccolo and piano (Southern);
Genin, Paul Agricole Fantaisie for piccolo and piano (Billaudot);
Guerinel, Lucien Historette I for solo piccolo (Billaudot);
Gurin, Shelley Foster Sentiments for Piccolo with piano or orchestra (Shelley Foster);
Isaacson, Michael The Fearless Whistler for solo piccolo;
6/8 Dances for solo piccolo;
November Song for solo piccolo (Alry Publications);
Jacob, Gordon The Pied Piper for flute alternating with piccolo (Oxford University Press);
Jones, Charles Sonata Piccolo for piccolo and piano (Zalo Publications);
Karg-Elert, Siegfried Kolibris for piccolo and piano (PWM Edition);
Lerstad, Terje B. Concerto for piccolo and piano (Meridian);
Loeillet, Jean-Baptiste Sonata in C Major for piccolo and continuo, arr by Fleury (Leduc);
Loeb, David Six Preludes on East Asian Pipes for solo piccolo;
Four Preludes Vol. II for solo piccolo (Alry Publications);
Nocturnes and Meditations for solo piccolo (Alfred Publishing);
Marais, Marin Les Folies dEspagne for solo piccolo (Brenreiter) ;
Marcello, Benedetto Sonatas Op. 2 Nos. 1-24 for piccolo and continuo (Musica Budapest) ;
McDonald, John D. Spirewise-Scherzino for solo piccolo;
Self Referential Solo No. 4 for solo piccolo (Encore);
Musgrave, Thea Piccolo Play for piccolo and piano (Novello);
Niverd, Raymond Piccolo Concerto for piccolo and orchestra (Billaudot);
Persichetti, Vincent Parable for solo piccolo (Elkan-Vogel);
Pinkham, Daniel Piccolo Concerto for piccolo, strings, and percussion (E.C. Schirmer);
Presser, William Rondo for piccolo and piano (Presser);
Rabol, Georges Songe Caraibe for piccolo and piano (Billaudot);
Schudel, Thomas Piccolo Concerto for solo piccolo with strings and percussion (Schudel);
Stern, Jacob Row for solo piccolo (Alry Publications);
Snyder, Randall Rara Avis for solo piccolo (Judy Green Music);
Stockhausen, Karlheinz Tuesday from Light for solo piccolo;
Tip-of-the-Tongue Dance for solo piccolo (Stockhausen);

http://angelajrowland.com/lessons/piccoloarticlesgippo2.html Page 6 of 11
Angela J. Rowland, flute 12/23/16, 7)20 PM

Townsend, Douglas Dance, Improvisation, and Fugue for piccolo and piano (Peters);
Vinci, Pietro Sonata in D Major for piccolo and continuo, arranged by Fleury (Leduc);
Vivaldi, Antonio Concerto in A minor for piccolo and orchestra;
Concerto in C major, Op. 44, No. 11 for piccolo and orchestra (Ricordi);
Concerto in C major F. VI, No. 5 for piccolo and orchestra (McGinnis and Marks).

Playing the Nutcracker

The many flute and piccolo players engaged to play The Nutcracker Ballet by Tchaikovsky during the approaching holiday season will discover that the
complete ballet is a very difficult score, and the third flute/piccolo part most demanding. This is made more difficult by a mistake in the part, but will
surprise the unsuspecting. The passage occurs in the first act during the midnight scene when the actors are asleep. After the flute plays a trill, a
descending arpeggio, and a measured trill at letter C, the second flute answers with triplet Dbs. Here the second flute part is clearly marked change to
flute, then second flute.
(Example A)

This passage has been played as marked for many years, but what a shock to find out the conductors score indicates this is a piccolo solo. The American
publication of the score is also contradictory, marked Pic. (Fl. II), although it should be played on piccolo.
(Example B: American score)

The Russian score is clearly marked for the piccolo to take the section. Play the Db with the fingering 23 234, but not too loudly because it should balance
the flutes low C#.
(Example C: Russian score)

Just before letter C the part is marked 1st piccolo, but here the score calls for a piccolo duet; the second piccolo is included in the third flute/piccolo part.
(Example D)

This passage is passed traditionally the first piccoloists, who is the third flute/piccolo player.

As the mice gather just before the battle, the following music occurs, which is difficult to play smoothly and softly; moreover, this passage is an exposed
solo. In the fourth measure after E use the G fingering T1234, overblowing it for the D harmonic; move the third finger of the left hand to produce the E.
In the next measure use the same technique: finger F F123 1 4 and overblow it to produce C, moving the right-hand first finger for D. With practice these
notes will sound clear and smooth.

At measure 94, the G to A alternation is problematic because it is almost impossible to play. Using the fingering T 23 234 and trilling the third finger of
the left hand does not respond well, especially in soft passages, but it is the only fingering. For this exposed solo, start trilling the third finger before
blowing; when beginning the air column, pinch a little (now forget reading that word) because this note needs more concentrated focus. Playing the trill
loudly is not as difficult as playing softly and delicately. This fingering does not work, however, on the new cutaway embouchure headjoints.

The next F to G pattern can be played by overblowing Bb and C, but finger the Bb using thumb Bb. Both harmonics are flat so squeeze the aperture
slightly. At measure 96 overblow the Bb-C and A-Bb fingering as before. The last D will be flat, especially when played softly. Use the fingering T 234 234
and sustain the note using vibrato.
(Example E)

Nutcracker Faux Pas

LETS TALK PICC
March 1991

PICCOLO BLEND
[Shostakovich]
By Jan Gippo

The opening passage at number 2 in the third movement is a unison solo section for flute, oboe, and piccolo. This is a treacherous passage for intonation
among the three instruments, but especially for the piccolo as it ascends to the high Gb and Ab. These notes are hard to play to begin with, but now the
piccolo must play softly and blend with the other instruments. This passage should be practiced with the other instrumentalists to adjust for intonation on
the difficult intervals. At the end of the second measure into the third, and each time this music occurs, is a crescendo. It is best if the piccolo does not
take the lead among the other instruments, but plays under the flute and the oboe. This technique is known as voicing, which is effective when used
properly to reduce blending and intonation problems.

The Largo and measure 117 is a beautiful, yet difficult solo. At number 3 the flute and piccolo are voiced at the same octave, playing softly. Intonation is
the most problematic of any of the solos, and it is important for the piccolo to be softer than the flute. By voicing this way the intonation can be adjusted
quickly and the listener will hardly notice. The most difficult notes are the D and Cb. Use alternate fingerings to help smooth out the large intervals.
Breathe after the tied A, and continue until the fifth measure, but dont breathe again after the D. Dont panic and forget your vibrato, which will help
tuning with the flute and give a shimmer to the passage.

The last two solos for piccolo in the fourth movement are at number 4, which are answers to long flute solos. The most important element stylistically is to
match the tone of the flute and to diminuendo to nothing. Two measures before 148, start with a good piano-level dynamic with appropriate tone, then
use the alternate fingering for the B and vibrate to the end of the note. Do not try to play without vibrato because the sound will be flat as well as
unpleasant. At number 5, the next piccolo solo at measure 151 is a little harder because the D tends to pop out of context. To avoid this, sustain the G
without stopping the air, and do not start the diminuendo until the D. Take your time on these little statements because they create the atmosphere for
the fast section. The solos should sound mournful and reflective, just as the oboe solo that begins the movement.

http://angelajrowland.com/lessons/piccoloarticlesgippo2.html Page 7 of 11
Angela J. Rowland, flute 12/23/16, 7)20 PM

Shostakovich wrote beautifully for the piccolo. He understood its power and expressive capability and was a champion composing for it with proper
voicing.
(Examples)

Piccolo Blend
LETS TALK PICC
December 1993

PLAYING RAVEL WITH ELEGANCE

By Jan Gippo

Maurice Ravels music is beautiful, lyrical, passionate, and impressionistic but above all, his music is elegant. He wrote wonderful orchestral flute solos in
such works as Daphnis and Scheherezade. His piccolo solos are not as extensive but they are elegant.

Ravels most famous piccolo solo is in the second suite of Daphnis and Chlo at measure 159. (Example A)

Marked to be played off stage, only rarely do orchestral piccoloists do so, which accounts for why the solo is often misunderstood. Too often it is played
very rapidly and softly, as if a bumblebee flew quickly in and out of the room. This does not convey the mood of the opening of the suite. The solo should
be played elegantly, and too often players forget to play it as the solo it is. The opening run in Daphnis and Chlo is never played rapidly and without
shape nor should this little piccolo solo, which has the melody. Elongate the first two notes A and A a little to begin the solo, then play the following notes
very measured so every note played is audible. The A on the second and third beat should have a lot of vibrato. Dont take the 64th notes following the A
too fast because the tempo is slow and measured. The next six notes along with the next eight notes in the bar should all be played as one gesture. Do
not play too fast but use a lot of vibrato, then diminuendo slightly on the last note E. Remember to hold the E a full eighth-note count so that it connects
with the clarinets that pick up the melody on the second beat. The clarinet attack will not be abrupt but rather easy and gentle, so the final piccolo note
could be held over a little with lots of vibrato. The entire solo should be played at mezzo forte as marked. This solo sets the mood for the other flute solos
to follow.

The next big and enjoyable piccolo solo occurs after the famous flute solo as the flute section is playing up a storm. At one measure after 182 the piccolo
has two scale flourishes that start piano and crescendo to forte. Start the passage between a mezzo piano to a mezzo forte and make a crescendo. Because
the scale starts on the low B, beginning the solo softer than a mezzo forte level will obscure all but the last three or four notes. The crescendo basically
happens naturally as the notes ascend. (Example B)

At 183 is a marking en animent toujours advantage, meaning to gradually increase in speed. The difficulty is making the two staccato, slurred notes sound
good. Do not start too loud too soon and do not play too short, but play with a legato tonguing and be careful not to slow down. Bring out the accents on
the second beat of the second measure and the second beat in the fourth measure, and do not start to crescendo until indicated in the last two measures.
Then crescendo quickly because at this point the conductor will probably be pushing the tempo faster until the music comes to an abrupt stop at the end
of the solo.

The last note is a 32nd note marked short, but make sure to play the note without choking it off. In a good hall the note will ring, so make it sound short,
but it doesnt need to be short. To make a note short without shutting it off, a player can exhale air. Another way is to stop it with the tongue, which
produces a short clipped note like those Rossini uses. For this passage the best way to make the note short is by instantly reversing the air as if sucking
through a straw. That will allow the note to sound short but resonant. (Example C)

The French have long been fascinated with Spanish music, but the Pyrenees Mountains prevented the two countries from exchanging cultures until the
middle 1700s. By that time Spanish music had taken on a rhythmic and harmonic flair that was heretofore unheard of in France, and the French
impressionists especially became fascinated with the Spanish rhythms, and Ravel was no exception. His famous Bolero features two piccolos and horn
playing the famous melody. The sole difficulty is getting the high F#. Use the alternate fingering for the high F#.

In Ravels suite Rhapsody Espanol, the first big piccolo solo occurs in the second movement one measure before 14. At first glance it looks frighteningly
fast because it has 16 32nd notes going up to a high A. Remembering how Daphnis should be played elegantly, start this particular run in tempo, but make
a ritardando on the last beat for an elegant statement before the descending chromatic scale. The difficulty with this solo is creating an elegant arc rather
than accenting the last note A. Practice the third beat of the measure before 14 and the entire measure of 14 as one pattern to achieve this grand arc.
Starting pianissimo and making a diminuendo to triple piano ascending to the high A is also challenging, but do not take this literally. Here Ravel wants
elegance, not a screechy piccolo sound. Play it with a beautiful sound in a relatively normal piano range and do not squeeze the lips so the piccolo sounds
like a toy. Keep the embouchure open and simply allow less air through the aperture. Practice the chromatic scale for clean fingering. Many players begin
without enough support on the first part of the run because it doesnt need it. You need enormous support, however, on the third beat of the run and the
first measure at 14. Therefore, inhale sufficiently and be ready to give extra pressure on the third beat before 14, but do not squeeze the lips; allow the
supported air column to play the sound. (Example D)

The piccolo ends the movement at seven measures after 15. Once again we see Ravel at his best, writing extremely short little solos that make an elegant
difference. Following clarinet, the piccolo ends the movement on the second beat marked ppp. Do not take this literally because the full orchestra is
playing at this point. The solo needs to sound above the texture as an acoustic instrument, not a small toy or mosquito. Picking up the same dynamic as
the clarinet, play it at a nice piano level with a little diminuendo as it ascends to end the movement beautifully. Make sure the notes sound full and even
and use vibrato. (Example E)

The piccolo opens the fourth movement Feria with a little solo that is relatively easy to play, and it repeats five times. Marked pp, the first note should
not be loud, but the low G will not sound nearly as loud as the high G. The octave skip accentuates the high G, so put more sound on the low G to even it
out. Again Ravel uses his famous marking of two staccatos plus a slur to indicate legato tonguing. Make it sound spaced and, depending on the type of
hall, place the spaces closer together. The more legato the tonguing the better the solo will sound, but the three Gs in a row need to sound separated. Be
sure to make the top G and the three bottom Gs sound even. (Example F)

http://angelajrowland.com/lessons/piccoloarticlesgippo2.html Page 8 of 11
Angela J. Rowland, flute 12/23/16, 7)20 PM

The next difficult solo occurs at both 9 and at the end of the movement. The first time is quite fast and slurred; in the fourth measure are staccatos under
slurs. Too many piccoloists play this too short, sounding like a machine gun. Practicing this passage with legato tonguing, which is not difficult once a
player understands the concept of elegance. In the fourth bar after 9 the difficulty comes between the first and the second beat as G2 changes to G3. Here
a player will lose time unless it is practiced slowly with six beats to three notes. However, practice those two Gs as though the low G were the grace note to
the high G, and play the two notes together fast; therefore do not practice it slowly.

When played up to tempo the grace note G octave will actually sound in time. This solo is also difficult because it is so repetitious. (Example G)

The next solo, from Alborada del Gracioso, occurs at 25, beginning again with a chromatic scale. The run should be forte and slow down just before the
second beat, which is a traditional interpretation although not marked. The fingers should be under complete control to prepare and play every note
precisely. The marking tremolo dental means flutter tongue, and the easy part of this solo is that it starts forte with a crescendo which helps begin the
flutter tongue. The slowing down helps create an elegant arc that concludes with the descending flutter tongue. (Example H)

Although the solo in Ravels Concerto is extremely problematic, it is one of the longest and most enjoyable solos he wrote for piccolo. Here the piccolo
states the melody before any other instruments, and the solo starts the piece. The speed makes the solo difficult; it moves in a fast duple meter. Marked
forte, the low G on the second line falls in a weak range. This solo is a good example of the way composers help improve a players skill by writing solos
that are impractical. Here the composer obviously wanted the woody piccolo timbre at that tessitura. The range poses articulation problems, so space the
notes while maintaining enough sound to hear pitches, not just a percussive tongue. Put much air behind the tongue and do not use ta or ka but da or du
because the T or K sound do not produce enough sound. In the third measure the accented half note is often played out of proportion to the rest of the
notes in the solo. Accent it but do not play it louder. The note will sound louder because it is longer than the others, but it needs to be in balance with the
rest of the solo. In the ninth and eleventh measures of the solo the accents are also very important. Here the piano plays an accompanimental part so
make these Gs prominent. Be careful because G is a sharp note on the piccolo. Playing it loudly with an accent may cause it to go too sharp. Check the
note on your tuner and make sure the embouchure compensates the angle of the air so the G is in tune.

In the last two measures of the solo the piccolo descends to a low D, which makes playing this note at ff almost impossible. Being the orchestrator that he
was, Ravel doubles the line with the flute to help the piccolo. Allow the flute timbre to dominate here, and do not try to continue being the soloist for the
last two measures. (Example I)

The last solo at the end of the movement at 6 is once again vintage Ravel, with five or six piccolo notes to give timbre and flavor. Marked mezzo forte
espressivo, the second and third notes, D and A, are an expressive interval. Play it at a mezzo forte level with vibrato, which is the key ingredient to make
elegant piccolo playing. Make a slight agogic crescendo from the D to the A and lean on the A as though it were a blue note in jazz. Once again the
duration and amount of crescendo is subtle and elegant.

Ravel wrote wonderful flute and piccolo solos as part of a sonorous texture. Remember that the piccolo has a beautiful timbre for solo playing. Approach
every solo with great elegance to reward both player and audience.

Ravel with Elegance

LETS TALK PICC
November 1990

PREPARING ROSSINIS SEMIRAMIDE

By Jan Gippo

For any band or orchestral repertoire take time to familiarize yourself with the work before you begin to practice it. Attend a concert or listen to a
recording to understand the musical style of the composer. The articulation, vibrato, and voicing of a piccolo and flute part in a Mahler symphony is
altogether different than in a Rossini overture. With the score analyze how the piccolo is used within the piece. Look for solos and exposed passages; as
you study the score, you can determine how the piccolo sound fits within the context of the work and how it should blend with other sounds. This will
prepare you for the first rehearsal and you wont feel lost even if you have not played the piece with an ensemble.

Rossinis overture to the opera Semiramide is a well-known work with several piccolo solos, often on audition repertoire lists, and is a good example of
how such a work should be prepared.

Measure 37: The entire orchestra plays a D major chord and the piccolo tops it off. Although the dynamic is marked forte, the piccolo sound needs to
blend; mezzo forte is loud enough.

Measure 89: When listening to any works by Rossini you will hear faster music played very short. To achieve this effect, beginning in this measure and
throughout this section, replace the dot of the dotted sixteenth-notes with a thirty-second beat rest.
(Example A)

Measure 112: At the Allegro the famous melody begins. The violins play 12 16th-note Fs very short using a bow technique called spiccato, which is a fast
movement of the bow off the string. This creates a short and light, playful sound. When the piccolo is added to the melody 16 measures later it should
imitate the violins. Use a very short articulation on the syllables ta ka ta ka with your tongue placed at the ridge of the roof of the mouth right above your
front teeth. Do not place the tip of the tongue at the teeth because this will slow the tongue, making it sound heavy. Stop the air after each syllable and
place the ka as close as possible to the ta.

Measure 113: Make a diminuendo to the D and use the fingering T 234 234.
(Example B)

Measure 137: The three sixteenth-note pickups to the downbeat are treacherous and are often played too late. Do not take a breath just before you play
then, but take a big breath where it is marked and play softly and lightly to the end of the phrase in measure 145. If you lack air this passage will seem
more difficult, but with practice you will be able to make it to the end of the phrase in one breath. Begin tonguing the sixteenth-note pickups with a da ta

http://angelajrowland.com/lessons/piccoloarticlesgippo2.html Page 9 of 11
Angela J. Rowland, flute 12/23/16, 7)20 PM

ka ta.
(Example C)

Measure 190: This is the first of the famous piccolo solos. Some discrepancies in articulation exist in different published editions, but this version is the
most widely accepted. To play the third note of the triplet very short and light, use the syllable tat to make a clear separation between notes. (Example D)

Measure 194: Diminuendo starting on the third beat to finish the solo.

Measure 321: The piccolo begins the eight-measure melody with the clarinet doubling for three measures and the flute doubling for the next two, but the
piccolo finishes alone with a flourish to the high A and a diminuendo to the cadence. This solo is most difficult in measures 327 and 328 because the
fingerings are awkward and the high A to E interval can be problematic. Many players rush the A to E on the first-beat triplet and the fourth-beat triplet in
anticipation of the A octave leap on the first beat of the next measure. Practice this passage slowly beginning with the metronome set to [?] = MM 50 and
increase your speed until the passage is comfortably within your grasp and you can play it up to tempo.
(Example E)

Practicing any repertoire in this manner will help you learn it for a lifetime of playing and not only to get through an audition. Patient preparation will
result in solid performance.

Note: Additional musical examples with measure numbers are continued on page 31. [See scanned images]

Semiramide
LETS TALK PICC
February 1991

SHOSTAKOVICH AND THE PICCOLO

By Jan Gippo

Sometimes we think so much about the physical and technical parts of flute and piccolo playing that we forget the reason for all the concern. Tone is the
beautiful sound that conveys the poetic idea in the form of musical language. That is why we work so hard to produce the sound. We are artists; we paint
with sound. So now that we know most of the expected technical requirements of playing, let us apply them in playing the difficult but elegant solos from
the Symphony No. 10 of Dmitri Shostakovich.

Shostakovichs music is passionate with explosive urgency. The most difficult task is to make the music loud, immediate, and intense without making the
tone crass, belligerent, or ugly. In the soft moments, where the melody is stark, reflective, and distant, the problem becomes one of making the piccolo
sound beautiful, not tentative; smooth, not coarse or choppy; and mournful, not distant and weak.

In the first movement at number 40 we encounter the classic Shostakovich style woodwind passage, which is notey with tight chromatic unison patterns
that are very fast and treacherous. Here the dynamic marking is ff. Dont do it, because one f is plenty. Remember, many wind instruments are playing
and the combined effort is effective and loud. If the piccolo plays too loudly, it will sound actually out of tune, and the resultant sound will be panic, which
is not musically intended. The same rule of dynamic should apply to the trills at number 44. In these places the piccolo should be a flash of light bouncing
off a well-polished diamond.

At number 69 the piccolo has one of the most compelling solos in all symphonic literature. For 15 of the 34 measures it is a duet with the second piccolo,
but the problem starts right from the first Bb. Because the solo is preceded by the basses and cellos playing softly, the first reaction is to play softly so as
not to disturb the mood. Thinking this way inevitably leads to an explosion on the first note. Here is where we need to remember the rules about beautiful
sound.

To insure against an explosion on that first note, breathe in time with the music. In other words, dont take a breath and fill the chest until it feels as
though it will erupt, holding it until the moment of entrance. Breathe with the flow and mood of the piece; in this case, slowly and silently. Breathe in
much the same manner as a ballerina moves her arm in a slow, smooth arch. Think of breathing up through the ground rather than filling down to the
diaphragm. Breathe in one flowing motion, following through and sustaining the sound.

The second rule of a beautiful sound is vibrato. Even when a conductor says not to vibrate he doesnt mean it, at least not on the piccolo. If a piccolo
doesnt vibrate the tone will sound like the pitch on a quartz tuner. When a conductor asks for no vibrato, he is really asking for a non-espressivo sound.
This can be accomplished by playing softly with a shallow vibrato. In the case of the Bb at number 69, play with a very expressive vibrato: not fast or
tight, but rather a wide vibrato with no more than four fluctuations per beat to establish the piccolo sound, which compels the listener to hear this
mournful melody. Make the crescendo to the F in the third measure and diminuendo to the fourth measure where the second piccolo starts the duet. The
second piccolo has the counter melody in moving quarter notes. This is the part that should be played with much espressivo. Little diminuendos and
crescendos should follow the line of the first piccolos solo line. This part needs to be played as a solo also, not tentative. Ten measures after 69 should be
marked p to create an echo. The phrasing seems to work best if the first piccolo does not take a breath until 14 measures after 69. Although this is very
difficult, it can be accomplished by using very little air on each note and using a gentle vibrato to help sustain the phrase. One measure before 70 be sure
the G is not sharp, and sustain it by feeling as though you are inhaling rather than blowing out. This will keep a floating sound and save air. Even though
the music says non crescendo, the note needs some musical shape. Because we are not allowed to get louder or softer, the only way to accomplish this is
with vibrato. Intensify the sound in the second measure after 70 by speeding up the vibrato and making it less wide, enough to make a difference in feel.
Do the same at the end of the solo.

The tympani plays and then the piccolo holds one more measure. Only then should the last diminuendo start. If it is started too soon there will be
nowhere to go, and the listener will not perceive any dynamic contrast. Use alternate fingerings for intonation and ease in playing these passages,
especially for the B four measures after 70 and similar places where that music occurs. Pitch is very important. The piccolo is playing all alone and it is
important not to play flat as the solo wears on and you get very tired.

http://angelajrowland.com/lessons/piccoloarticlesgippo2.html Page 10 of 11
Angela J. Rowland, flute 12/23/16, 7)20 PM

Shostakovich and the Piccolo

LETS TALK PICC
October 1994

TCHAIKOVSKYS 4TH
By Laurie Sokoloff

Playing the treacherous piccolo solo in the Scherzo movement of Tchaikovskys 4th Symphony typifies the old adage that orchestra musicians spend 90%
of their time bored to death and 10% scared to death. Many piccoloists have learned to cope with this enigmatic solo, but not without tribulations.

Although Jan Gippo has found many alternate fingerings for the piccolo, he has never found a special fingering for the treacherous piccolo solo in the
Scherzo of Tchaikovskys Symphony #4. Trembling piccoloists will be relieved to know one has been discovered that works well for most players.

(Example A)
The thumb Bb is indicated; the first trill key symbol is and the second trill key is *. The graphic keeps a space for every key.

When playing this passage, articulate with a soft legato tongue. Although this unusual fingering for the F3 is quite flat, the note goes by so quickly that the
pitch is unnoticeable. One advantage of this fingering is that keeping the G# key open for the first ten notes stabilizes the instrument so it does not roll
while playing all the open Dbs. It also sounds at the true piano dynamic that Tchaikovsky indicated.

Many piccoloists perform the solo on Db piccolo, including Jan Gippo of the St. Louis Symphony and Walfrid Kujala of the Chicago Symphony Orchestra.
Kujala is comfortable playing the Db piccolo, which he has played since high school. Performing the solo on Db piccolo means transposing down one-half
step to the key of G major. Former piccoloists of the Detroit Symphony Orchestral Clement Barone prefers the C piccolo sound for the solo and prepares
for performances by concentrating on placing the first of the 32nd notes directly on the beat rather than too early. He first practices just the first three
notes, then successively adds one more note until completing the entire passage.

Lawrence Trott of the Buffalo Philharmonic recommends practicing the solo at various tempos because from one conductors slowest interpretation to
anothers fastest tempo, the pace can vary as much as 100%. Lois Schaefer, now retired from the Boston Symphony Orchestra, copes ingeniously with
unexpected tempos: after the Tempo I section begins, she plays the passage silently three times, fingering the notes without blowing. She feels it is
important to end the silent playing before the clarinet solo in order to have enough time to actually play the solo.

Kujala recalls his first performance of the Tchaikovsky with the Chicago Symphony at the outdoor Ravinia concert series. Although he joined the
orchestra in 1954 as assistant principal flute, he switched to piccolo in 1957 when the piccoloist died. The following summer Tchaikovskys 4th was
scheduled to be performed with C.S.O. music director Fritz Reiner, who hated outdoor concerts and during the rehearsal went through only the first few
measures of each movement and left with a see you tonight. Fortunately Reiner took a good tempo, all went well, and the maestro saluted Kujala after
the solo. Despite his success, Kujala says the initiation was stressful because in those days there was no job protection.

When on tour with the Houston Symphony Clement Barone remembers leaving his swab in the piccolo and nothing came out when he reached the solo.
Bonnie Lake, long time piccoloists with the Baltimore Symphony Orchestra, remembers Leonard Bernstein sitting next to her during a rehearsal of the
Tchaikovsky at Tanglewood. The moment she began playing the famous solo, Bernstein stuck a lighted cigarillo in the end of her piccolo. During a
concert tour in Greece, Jan Gippo was surprised when conductor Jerzy Semkow decided to use the Tchaikovsky Scherzo as an encore, but he did not have
his Db piccolo on stage. Although he hadnt played the solo on a C piccolo for over three years, all went well despite the shock.

Many conductors know this solo challenges even veteran performers. During a four-week tour Lukas Foss commented to Lawrence Trott, You play this
very well. I take a different tempo every night, but I cant seem to throw you. Zubin Mehta once told Miles Zentner of the Los Angeles Philharmonic,
Dont say #!@#! after you play the solo; someone in the audience might read your lips! Several years ago conductor Sergiu Comissiona congratulated
Ethan Stang, formerly of the Pittsburgh Symphony Orchestra, on his performance. Stang remarked that he found the tempo to be unusually fast.
Comissiona asked, Dont you have to catch a train by midnight? On different occasions, conductors Fritz Reiner, William Steinberg, and Vladimir
Bakaleinakoff told Stang that Tchaikovsky explained the meaning of this solo in some of his notes and letters are representing a drunken sailor stumbling
out of a bar and then relieving himself over a fence.

Kyril Magg of the Cincinnati Symphony Orchestra, and George Hambrecht, retired principal flutist of that orchestra, recall that William Hebert discovered
that transposing the Scherzo solo down a minor third to F major fits perfectly in the last four measures of the same movement. During a rehearsal Hebert
played the usual solo and surprised the orchestra and George Szell by adding the transposed solo at the end. Even the usually tyrannical and humorless
Szell smiled, but Hebert claims this was only because the conductor had gas. Hebert confirmed all of this and added that Szell had himself cremated so
that he wouldnt spin in his grave every time someone in the orchestra told a story about him. When I experimented with Heberts innovation during a
youth concert, the orchestras personnel manager was not pleased. When I protested that it was funny, he countered dryly, I never said it wasnt funny.

The alternate fingerings for this tricky solo are recommended, but improvised endings are not.

Tchaik IV

http://angelajrowland.com/lessons/piccoloarticlesgippo2.html Page 11 of 11