Is Extreme Lack of Sleep Beneficial for Music Study?

Since my last post, I have tried three more flutes.  I received two Yamaha flutes from Flute World yesterday, a 574 and 684 model.  Both are fine instruments.  The 574 model has a silver handcut headjoint, plated tube, offset G, split E, C# trill and B foot.  It sounds great on paper, but I found the mechanism to be a little stiff, and the sound in the low register was lacking.  It certainly wasn't comparable to the Muramatsu EX from Mr. and Mrs. Grossi.  The 684 has both a silver headjoint and tube, inline G, C# trill, and B foot.  I'm sure the split E can be added, and I'm sure it's available with offset G.  The mechanism is definitely better than that of the 574, and the sound is also an improvement.  The sound wasn't as refined as the Muramatsu, though.

I actually practiced on these flutes while on call yesterday evening.  It was an uncomfortable practice session for a couple of reasons.  First off, it was horribly hot and humid in my office.  The day was unseasonably warm, and, naturally, the heat was on in the building.  Secondly, even though I waited until 7 pm, there were a few people milling about, including housekeeping staff and one of my colleagues.  I shut the door and did my best, but I was still feeling shy playing long tones up to a high C.  I think the somewhat unpleasant environment was actually good for me, though.  An old surgery attending from my med school days said we learn best when we're a little uncomfortable.  He was referring to putting students on the spot by asking questions to which they probably didn't know the answer, but it's the same idea.  My practice included the usual stuff -- long tones (Moyse style); T and G scale studies 1,2 and 4; Cavally's Melodious ... Third Etude and the Bach Partita.  I made progress on everything, but I wasn't happy with the etude, so I decided to work on it again the following session.

Call was shaping up to be pleasant until about 9 pm when everyone decided to go into labor.  And while no one delivered during my call, my pager kept me up most of the night.  Such is life for an ob-gyn.  I don't work post-call.  I tried doing that for awhile, but it's a miserable proposition, not to mention unsafe.  My plan was to get a nap at home for a few hours and then do something productive with my day.  Insomnia reared its ugly head, blowing my plan to smithereens.  Instead, I straightened up the condo, read some flute related material, adjusted my practice schedule, and goofed off.  None of these activities made me sleepy, unfortunately.  

I had an appointment today with Ms. Trimber to try out more flutes.  It turns out that she really only had one in mind - a Miyazawa (not sure the model).  We matched it up with the Hammig headjoint I'd been using with her Trevor James.  The Miyazawa has a silver handcut headjoing, plated tube, offset G and a B foot.  It is heavy-walled.  The split E and C# trill are available.  Dear reader, the flute sounds great.  It has a better sound than the Muramatsu and the mechanism is comparable, if not better.  We have a winner.  The price of the Miyazawa with just the body and foot, with the specifications I want, is $4620.  The Hammig headjoint is $2000.  This is over my price limit of $5000.  Ms. Trimber said she'd call Hammig and see if they'll budge.  If they do, then she may be able to take a bit of a decrease in profit so that the flute is in my price range.  She hasn't contacted me yet, and the suspense is killing me.  After my visit with Ms. Trimber, who, by the way, is a doll (she gave me a music stand because mine broke), I drove to the Grossi's and gave them their Muramatsu back.  The were very gracious about it.  Ms. Grossi made the statement that if you love a Miyazawa, you won't like a Muramatsu.  I liked the Muramatsu just fine, but I can get more features with the Miyazawa a lot cheaper.  

Dear reader, despite having had very little sleep, I practiced today.  After the obligatory long tones, I started with Trevor Wye Practice Book 1 and fooled around with the harmonic studies at the beginning.   They were very helpful in waking up the part of embochure that at one time allowed it to be flexible.  Then, of course T and G with progress made!  I have started number 4 again, this time with the second articulation (each four note group slured) at 63 beats per minute.  Hey, it's progress.  The Etude that vexed me in yesterday's practice was less vexing today.  My biggest problem was playing the notes wiht a nice, clear staccatto.  Playing legato at first helped.  I just came up with the mindset that if I can get a good sound playing legato, then I can get a good stoccatto.  I got through it my satisfaction, and I can move on to the next exercise.  The Bach practice went well.  I am proficient at playing the first movement up to the repeats.  

There's more to say, but I am falling asleep as I type.  Take care!!!!  Hopefully I'll settle on a flute soon and can focus this little blog on my musical progress.