AMA Flute 2000
Prof. Robert Winn (born in Hallifax) graduated from the
Royal Academy of Music in London and has been a student of Geoffrey Gilbert, Trevor Why und Edward Beckett. From 1985 till 1999 he was solo flutist of the Royal Philharmonic Orchestra London and played the symphonic works of Dorati, Maazel, Previn, Davis, Masur und Ashkenazy. Composers like Beriot, Lloyd Webber, Peter Maxwell Davies, Maurice Jarre, Buddy Rich and Dizzy Gillespie have requested him to play their works.
Next to his grand experiences in the classical music business – he has been awardee of numerous competitions, like the Martin-Trust-Scholarship in London and the Capital Radio Ann Innstone Award – he has participated as a flutist in several Hollywood films like Lord of the Rings, Notting Hill, The English Patient and more.
Through his teaching activities (from 1994-1998 he was professor at the Academy of Music Franz Liszt in Weimar and in 1999 he received a professorship for flute at the Music Academy in Cologne) he has been working with musicians such as Sir Peter Pears, Heather Harper Hubert Käppel, Gideon Kremer, Andre Previn, Robert Masters and Vladimir Ashkenazy. Robert Winn was a guest lecturer at numerous master classes in Canada, Australia, Spain, Belgium and the Czech Republic. His textbooks for beginners and advanced flute students and textbooks which relate to specific technical topics of playing the flute are available through the AMA Verlag.
His “AMA Flute Method” is the first part of three (“
Getting’ On With It” and “High Performance Flute”), which is published in the series “Fun-School” and is aimed at students aged 7 and above. In this book all the important aspects of the instrument (head, neck , care of the instrument) and the theory of harmony are addressed. The author omits extravagant explanatory texts, but also works with a minimum of words and with many colour photographs, which give information about posture and hand positions (e. g. thumb flap). Chapters like “How do I hold my breath longer” or “Daily breathing exercises” help the students to play longer melodic curves.
The range of pitch is growing by the end of the school up to a third octave and all basics keys are practices in many exercises. The school ends with a chapter consisting of notated scale exercises and is rounded off with a notated handle chart. On the CD (including playbacks) the exercises are recorded with different accompaniment sounds so that the student can broaden his musical consciousness.
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