1 – “How has Tone Development Through Interpretation helped me to develop as a musician?”

“Tone Development Through Interpretation” has helped me to develop a strong sense of phrase direction, lyricism, and pacing. I have used these melodies to find a balance in the use of my vibrato and ideas about the way that my air stream carries a line so that those skills can be applied to other pieces.

2 – “How has Tone Development Through Interpretation helped me to develop my artistry?”

Webster’s dictionary defines artistry as “artistic ability or skill.” The basic skills essential to flute playing are absolutely reinforced with “Tone Development Through Interpretation,” including creating a singing line with direction, using a spinning vibrato throughout a phrase, varying color for contrasts in character, and the ability to play in tune with oneself at a variety of dynamic levels. But, to me, artistry is more than that. It cannot be right or wrong, rather it is the uniqueness found in the expression of a melody. The practice of applying these essential skills through “Tone Development Through Interpretation” helps in opening my creative mind to this expression.

3 – “Moyse wrote Tone Development Through Interpretation as a way of finding a larger dramatic and emotional range on the flute. His goal was for flutists to find limitless possibilities with tone colors, vibrato, and dynamic range. Describe a strategy for studying, using the book, that would take you through a broad spectrum of feelings/ colors/ characters.”

To start, I use “Tone Development Through Interpretation” daily to practice my vibrato. My strategy involves completing vibrato exercises that push my vibrato speed and width in a variety of registers and tempos. Then, I go to the book and choose an exercise (maybe #1) where I can apply my vibrato to the musical gestures present in the melodies. Once I am satisfied with my vibrato, I am free to move onto dynamics then colors, adding one at a time always with the overarching goal of purity of tone and clarity of phrase direction. In doing this, the feelings and characters present in the melody change as these elements of flute playing are manipulated.

4 – “How do you intend to follow the teaching ideals and musical philosophy of Marcel Moyse and why?”

Although many methods and studies teach young players how to play the flute, I think that what is unique and important about Moyse is that especially through “Tone Development Through Interpretation” he focused on teaching his students how to be musical. This is essential since many players can be perfect technically but musically uninteresting. It is a performer’s musical uniqueness and creativity that ultimately separates them from other good players into a category of distinction. This is what I strive for myself and my students in using Moyse’s studies and following his legacy.