Aria International Summer Academy
Advanced Music Studies
2018 Season - Mihai Tetel, Director
About the Program
Program Information for the Boot Camp Sessions

These sessions are designed to provide an intensive and in-depth experience for serious students aged 16-28. Workshops, master classes, lectures, and private lessons provide the participants with a wealth of information on technique, musicianship, intelligent practicing, career topics.

Please note: All participants receive instruction through private lessons and/or master classes from all teachers for their instrument in any given session.

All participants will be sent in May a list of suggested repertoire to prepare in order to fully take advantage of what the program has to offer.

Here is a tentative list of master class topics for 2018:

Violin

  • Voicing in Bach (Fulkerson)
  • The Art of the Etude (Zazofsky)
  • Fear not your double stops! (Grossman)
  • Romantic Violin concerti (Muresanu)
  • How to approach works from different periods (Bernhardsson)
  • Paganini Caprices (Huang)
  • Understanding intonation through harmony (Jolles)
  • Orchestral excerpts (Grossman)
  • The art of the Cadenza (Lansdale)
  • Solo Bach: the crucial element – Personalization (Zazofsky)
  • Bow strokes and the best etudes to perfect them (Grossman)
  • The Art of the Glissando (Chang)
  • Mozart concerti (Huang)
  • Performance anxiety and the breath (Grossman)
  • Bow distribution 2.0: Play It as You Sing It (Zazofsky)
  • The U-shaped bow (Jolles)
  • Building your teaching tools: what to teach and when (Grossman)
  • Vibrato: lessons from Sinatra, Crosby, and Nat King Cole (Zazofsky)
  • Memorization: tools, techniques, traditions (Lansdale)
  • Slow encore and character pieces (Muresanu)
  • Schradieck School of Violin Technique (Grossman)
  • Beyond the notes: the possibility of Art (Chang)
  • Bach solo Partitas and Sonatas: The Fundamentals (Grossman)
  • Beethoven violin sonatas (Muresanu)
  • Why is it so useful to practice scales? (Bernhardsson)
  • Maximizing the minimal in encore pieces (Grossman)
  • Bach through a Baroque lens (Jolles)
  • Pick-a-spot practice (Grossman)
  • Crafting the phrase in your concerto (Grossman)
  • The Romantic concerto, playing with Virtuosity and Brilliance (Jolles)

Cello

  • Hot spots in the Saint-Saens A minor Cello Concerto (Baldwin, Curry)
  • Should we always keep the tempo in any given movement of the Bach Suites? (Carr)
  • Bow technique: Connecting the elbow to the fingers (Carrai)
  • Deliberate practice: what, why, and how? (Mark)
  • Haydn concerti: issues of technique, style, and imagination (Tetel)
  • Dance topics in the Bach cello suites (Baldwin)
  • Sound production (Rosen, Uchimura)
  • Beethoven Variations: the character is in the bow (Mark)
  • 12-minute practice (Rafferty)
  • The Preludes of the Bach Suites (Carrai)
  • Take your vibrato to the next level (Kim)
  • Brahms sonatas: finding the right tone, vibrato, and appropriate shifting (Tetel)
  • Daily fitness routine: 3rds, 6ths, octaves, arpeggios, trill exercises and sound building (Baldwin)
  • Practice plan for Dvorak Concerto, 1st movement (Uchimura)
  • Creating a clarion sound – intoning with the bow (Kluksdahl)
  • How to practice scales to develop specific skills (Tetel)
  • Orchestral excerpts – tricks of the trade (Rafferty)
  • 18th century ornamentation (Carrai)
  • Popper etudes (Rosen, Tetel)
  • How much should we be vibrating when we play Bach, Beethoven, or Debussy? (Carr)
  • Intonation and using Difference Tones (Tartini Tones) (Mark)
  • Sound exploration in Bruch’s Kol Nidrei (Curry)
  • Dance movements of the Bach Suites (Carrai)
  • Practicing the most difficult passages: a few tips (Carr)
  • Exploring colors in French repertoire (Tetel)
  • Building speed and agility in your playing (Kim)
  • Piatti Caprices (Rafferty)
  • Exploring 3rds, 6ths, and octaves through concerti of Saint-Saens, Dvorak, Schostakovich (Kluksdahl)
  • Schumann’s works for cello and piano (Uchimura)
  • Organized shifting (Kim)
  • Intonation – how do you know which F# is the one for you? (Rafferty)
  • Developing a good warm-up: the 5 points (Kim)
  • Solo and Sonata cello works since 1950 (Kluksdahl)
  • Are you practicing the bow? (Uchimura)

Flute

  • How to practice Mendelssohn’s Scherzo (Thorne)
  • The Embodied flutist (Jennings)
  • Mozart’s concerti (Shin)
  • Prokofiev Sonata (Keeble)
  • Mock orchestral audition (Mendenhall)
  • Debussy: Afternoon of a Faun (Toote)
  • Brahms symphonies excerpts (Goldman)
  • Scale game (Barth)
  • What is a great tone and how to find it (Still)
  • How to practice Voliere from the Carnival of Animals (Thorne)
  • Griffes – Poem (Mendenhall)
  • Unifying the four registers of the flute (Jennings)
  • Color and expression In Martin’s Ballade (Keeble)
  • Flute music by French composers (Shin)
  • Extended techniques for flute (Barth)
  • Taffanel – Andante Pastorale (Mendenhall)
  • Orchestral duos (Goldman)
  • Piccolo: demon or diva? (Toote)
  • Manipulate your metronome: how and when to get metronomic help (Still)
  • Memorization (Barth)
  • How to practice the Variation from Stravinsky’s Firebird (Thorne)
  • Carmen Fantasie: opera, drama, virtuosity (Mendemhall)
  • Performing with Power (Jennings)
  • Lyrical orchestral excerpts by Ravel, Debussy, and Bizet (Keeble)
  • The value of etudes (Barth)
  • Playing the music BETWEEN the notes (Shin)
  • Burton Sonatina (Mendenhall)
  • To wobble or not to wobble? Vibrato and how to get the right spin (Still)
  • Developing legato through practicing Moyse’s De la Sonorite (Thorne)
  • Berio Sequenza (Barth)
  • Mastering Beethoven’s Leonore Overture No.3 and Mendelssohn’s Scherzo (Keeble)
  • The Moveable Flutist (Jennings)
  • Kuhlau Duos (Mendenhall)
  • Developing line through studying Moyse’s Tone Development Through Interpretation (Thorne)
  • Deciphering the Baroque: Bach’s E minor Sonata and Telemann Fantasies (Keeble)
  • The best practice for practice (Still)
  • Performance anxiety (Shin)
  • The art and craft of spinning vibrato (Keeble)
  • Practice smarts (Shin)
  • Beat the finger busters! (Still)
  • Mozart concerti exposition: grab attention from the first note! (Still)
  • The essence of sound: resonance, projection, and clarity (Keeble)
  • Bach through Stravinsky: convincing symphonic style (Still)
  • Get off to a winning start: orchestra etiquette and professional conduct 101 (Still)
  • Memorizing strategies for all types of learners (Still)
  • How to start an audition: Mozart G Major Concerto, 1st movement (Keeble)
  • Training for fabulous, flexible intonation (Still)
  • College and orchestral auditions demystified (Keeble)

Clarinet

  • Messenger “Solo de Concours” and Weber Concertino: building a solid technique (Grant)
  • Reeds, reeds, and more reeds (Mondie)
  • How to approach the French clarinet repertoire (Debussy, Poulenc, Francaix, etc.) (Gunn)
  • The Exposition of the Mozart Concerto: a plan for every note, every phrase (Samuels)
  • Articulation: speaking through the reed (Chodacki)
  • Practicing daily fundamentals/warm-up routine (Gunn)
  • Finding the groupings of notes in Stravinsky’s Three Pieces, 2nd movement (Grant)
  • Orchestral excerpts of Beethoven, Schubert, Mendelssohn, and Brahms (Samuels)
  • Weber Concerto No.1: opera and the clarinet voice (Chodacki)
  • Orchestral preparation (Mondie)
  • Mozart Concerto: how to approach phrasing (Gunn)
  • Debussy’s Premiere Rhapsody: The intersection of Character, Expression, and Technique (Samuels)
  • Brahms sonatas (Gunn)
  • The critical issue of controlled legato in Brahms’s 1st Symphony, 1st movement (Grant)
  • Articulation: Refinement, Clarity, and Speed (Samuels)
  • Orchestral excerpts (Gunn)
  • Cavallini Caprices: bel canto in #19 and #25 (Chodacki)
  • Articulation differences in Beethoven 6th Symphony (mov. 1 & 2) and Mendelssohn Scherzo (Grant)
  • Mock orchestral audition (Mondie)
  • Effective use of the Rose 32 Etudes as phrasing studies (Gunn)