Plugged In: Practice and Performance Method for Flutists

1st Place WINNER: 2024 National Flute Association – Newly Published Music Competition

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“Plugged In: Practice and Performance Method for Flutists” is an innovative flute method book that uniquely integrates electronic tools to enhance tonal, technical, and rhythmic stability.

In the realm of music, the flute possesses a unique ability to stir emotions and captivate listeners. However, to unlock the full potential of this instrument, one must delve into a path of self-discovery and technical mastery.

Divided into three distinct sections, the initial section provides foundational knowledge and skills, setting the stage for effective utilization of the electronic tools discussed in the subsequent sections.

Let's see what people are saying about it

“This is a fantastic book for flutists who are looking to improve their rhythm and musicality through the use of delay. In my own experience, I have found that playing with effects, including delay, to be incredibly valuable in developing my musicianship. Christian Glascock’s “Delay Studies” clearly outlines how to incorporate delay in the context of ten compositions. These studies will certainly improve many areas of any flutist’s playing – and they’re a blast to perform!”

-Melissa Keeling
Author, The Electric Flute: A Beginner’s Guide to Playing Flute with Effects

“This new method book is a must for flutists! The comprehensive guide places emphasis on essential skills such as tone development, flexibility, rhythm, pitch, posture, and breathing. Walsh’s approach stands out with its clear and thorough instructions, providing guidance along with practical and engaging exercises. The accompanying audio tools enhance the learning journey, especially the innovative delay studies which will challenge flutists of all levels. I wholeheartedly recommend this resource to flutists eager to elevate their playing to new heights.”

Virginia Broffitt Kunzer
Associate Professor of Flute, Auburn University

“When I was a young student starting to play in ensembles it was assumed that others would adjust to the sharpness of my C# just as I would be expected to adjust to the oboe’s sharp E or flat F. It was several years later that I discovered I was actually supposed to aim at correct intonation on my instrument. Then, after a couple of years not playing ensemble music, I discovered painfully that I had been training my ear to hear as correct my flute’s intonation faults. That meant buying one of the first tuning machines and retraining my ear to hear tempered intonation. Still later, a seasoned performer, I realized that in ensembles I was only changing fingerings for the next note, followed by a quick pitch adjustment as necessary. I was not pre-hearing intervals the way a singer does.

All of which is to say just how valuable a resource Plugged In is. What a difference it would have made had I had this as a student. And how it could have changed how I taught. The concepts of tempered and just intonation are explained, and with the use of drones the ear is helped to hear and understand them. Intonation and color can be easily described as “the more you listen the more you hear”, and this book meticulously helps and directs students to accurately refine their listening. And beyond this, part three addresses rhythm, musicianship, and ensemble skill, achieved with the use of delay, an amazing concept totally new to me.”

John Wion
Former Principal Flute, New York City Opera
Emeritus Professor of Flute, The Hartt School