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One week to go! J.S. Bach "Corrente" Workshop on Feb. 5

29/1/2023

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Register now!
I'm really happy to see our sign-up list growing, with participants from all around the world! Don't be shy in joining our world-wide flute community in discovering and appreciating this amazing piece in our flute literature! 

Registration is through the Traverso Practice Net.

To give you an idea, this is from one of my favorite sections in the C.P.E. Bach solo sonata in A minor:
You can create layers in your sound by employing the right combination of articulation and breath work, and when the acoustics is just right you can really experience and enjoy the spatial relationships between the notes. We'll get into that so have your flute ready for my J.S. Bach "Corrente" Workshop!
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Always shaping

10/1/2023

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I'm currently revisiting J.S. Bach's violin sonata in B minor with obbligato harpsichord, BWV 1014 for an upcoming program. Today in my practice I was reminded again of the golden rule - the first note after a tie or long note is most often light. You still have to look at context of course, and suspensions would be an exception, but this is a small detail which can be easy to miss. Take a look at the first two bars of the "Andante" above, which is the second movement of the sonata.
Apparently, the slur between the A and G is not in the original, but the editor put it in as there are many inconsistencies regarding the articulation grouping of two's. It IS a good suggestion, but one could also tongue lightly and play the G in diminuendo from the A. The "in diminuendo" concept is more important than whether it should be slurred or tongued. This will then set off the B nicely, let it "pop" a little, like just a touch of light on the edges of some clouds. ​In fact, the entire movement is doing just that - the motifs are like wispy layers which keep rising, descending, floating.
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With just 3 notes, we can already create an acoustical layering or texture, making our sound 3-dimensional.

We might think of this kind of phrasing as having more priority in lyrical movements, but this is just as important in fast movements! By doing so, the fast will sound even livelier, without us actually playing faster. Watch out when articulation becomes "stodgy", when the air sounds inflexible.

Always lifting, always shaping.  It's a bit of a paradox of course, that we have to work to sound not over-worked. But it's no different than what singers have to do. 
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"Beyond the Allemande" Online Workshop Feb. 5th

6/1/2023

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Join me in a workshop hosted by Traverso Practice Net, a new online platform dedicated to everything about practicing on historical flutes. This is the platform's first ever event to kick off the new year and I'm super excited! 

"The Partita in A minor by Johann Sebastian Bach is a unique and fascinating work in the solo flute repertoire. It also presents many questions and challenges for both historical and classical flutists. In this 30-minute online workshop, Teddie Hwang will break down the barriers to this music and invite everyone to appreciate and enjoy the breathtaking beauty of the "Corrente", which is often overshadowed by the Partita's first movement "Allemande"....continue reading on Traverso Practice Net

If you don't know it already, watch my interpretation of the Corrente on Limerick Early Music.
Register for the workshop
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  • Home
  • About
    • Teddie Hwang
    • Teaching
  • Music & Imagery
    • The Lecture
    • Long Exposure
    • Light and Dark
    • Negative Space
  • Media
    • Films and Recordings
    • Teddie Hwang Photography
  • Projects
    • Music Programs
    • Music Photography
  • Flute-Playing Blog
  • News
  • Contact