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Teaching

Salter Frontispiece

This just in:

Shadowing Bach

Shadowing BachOriginal studies for Baroque and modern flutes, based on the technical challenges found on Bach’s flute parts for the St. John and St. Matthew Passions, B Minor Mass, Magnificat, Christmas Oratorio and the Mass in A. I wanted to come up with something I wish I’d had when I was a student, and which could provide working material for my students and other flute players in general. Here it is!

Available at Pipistrelle Music.

"...an excellent preparation for our “favourite” Bach orchestral bits...but also independently from that context, they are very good practicing pieces."
Barthold Kuijken

Recorder studies are next!


Teaching News

I’m delighted to be working with two traverso students at the University of Toronto this academic year. 

Thanks to the woodwind department of Wilfrid Laurier University for the opportunity to meet and coach several good young players at a recent master class.

I’m also delighted to be coaching a few sessions for the Community Baroque Orchestra of Toronto this fall, and teaching another early music appreciation course for Ryerson University’s Life Institute.

In other news, best wishes to Anthea Conway-White as she begins working with Rachel Brown this fall at London’s Royal College of Music!

Alison Melville currently teaches recorder and traverso (Baroque flute) at the University of Toronto’s Faculty of Music, which offers M.Mus. and DMA programs in historical performance as well as programs in collaboration with Tafelmusik. She also teaches traverso at Wilfrid Laurier University, Waterloo, ON, and maintains a private teaching studio in Toronto. She also enjoys working with modern flutists on Baroque ornamentation, articulation and other aspects of performance practice to help them incorporate a more historically informed style in their playing.

Alison’s musical interests and experience are wide-ranging, but she has particular affection and insight for the following repertoires and subjects:

  • French Baroque music for recorder and traverso;
  • English recorder music of the late 17th and early 18th centuries;
  • flute music of the Scottish Baroque;
  • 16th-century Italian diminution practice;
  • Italianate high Baroque ornamentation;
  • the playing of divisions on a ground and other forms of improvisation;
  • Bach’s cantata obbligato parts;
  • Baroque chamber music with voice;
  • recorder music of the last 100 years, both ‘neo-classical’ and avant-garde.

Click here for Alison's faculty listing at the University of Toronto, Faculty of Music.

Click here for more information on the historical performance programs at the University of Toronto - though the list of teachers is incomplete.

If you have any questions regarding university or private study, you can contact Alison at alison@alisonmelville.com

From 1999 to 2010 Alison taught at the Oberlin College Conservatory of Music, before resigning to accommodate a busy performance schedule and to pursue various new musical pursuits. She has also taught for the Glenn Gould School, York University, University of Western Ontario, has taught master classes at universities across Canada, and has taught at numerous workshops for Early Music Vancouver, Amherst Early Music, CAMMAC, San Francisco Early Music Society, Montréal International Recorder Festival, the Texas Toot, and others.

For her own education, musical and otherwise, Alison is indebted to Hugh Orr, Jeanette van Wingerden and the late, great Greta Kraus; and Frans Brüggen and Barthold Kuijken for their inspiration.

Special thanks to the late Isabel Smaller, the late David Marsden, and Mr. Green, formerly of Westfields County Primary School, London SW13.

Musick quote from Salter

Photo Credits: Paul Orenstein (banner); Colin Savage