Last week I read Kincaidiana, which I found to be rather...lovey. And adoring. And...eh.
However, this week I read his "Notes on Flute Performance", which I'm going to keep forever and ever, because it was so blunt and declarative, and like, "now you know how to play the flute. You're welcome."
Some of the bits clearly reminded me of my own teacher's style. In fact, at my DePauw audition, she taught me some phrasing suggestions that have stuck with me ever since, and it turns out they're straight from Kincaid. It's rather hard to explain in the blogosphere, but it involves starting phrases with the second note in a measure instead of the first note. It moves the phrase along better. Another example is slapping the G key while a low note is articulated to make the note speak better.
It's actually kind of hard to blog about this essay (or whatever), because it was so filled with all these little tricks and suggestions--inaudibly practicing low attacks in orchestra before your entrance, alternate fingerings, and taking dynamic liberties in baroque pieces.
Anyway, I understand why someone would write an adoring book about the techniques of Kincaid, because they're awesome. But they're also matter-of-fact and there is no sense of pride in his teachings--it's just an instruction manual. And it's awesome.
Listening to Okkervil River: "John Allyn Smith Sails" from The Stage Names
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