Welcome to

'The Flute Kit'

'Absorb what is useful, Discard what is not, and Add what is uniquely your own’ (Bruce Lee)

Dr. Steven Cupitt (UK)

FLUTE TEACHER OF THE YEAR

Nominee 2024

www.flutealmanac.com

What is The Flute Kit?

The Flute Kit is a research-based attempt to approach instrumental teaching, and in particular teaching and learning in flute playing, in a completely new and unique way. No two players are alike; we all have different personal needs…different interests, different goals, and different starting points…not to mention different physiognomy…i.e., different shaped faces (lips, jaw, teeth, tongue, etc.,), and this means that what works really well for one player might not be the best option for another. For any player who finds that they get stuck, reach a plateau, or need fresh ideas to unlock their potential, or for teachers who have tried everything they can think of to help a student, without achieving the success they seek, The Flute Kit series of books and resources aims to provide new, research-based ideas, approaches, and materials guaranteed not to be found in any other book currently on the market. If you already use the excellent books authored by flute players and writers like Marcel Moyse and Trevor Wye, The Flute Kit's books and resources will extend your thinking and practice even further by adding a range of new ideas and new tools to your toolkit!

The books and other resources provided by The Flute Kit aim to empower a personalised journey of exploration and discovery. The Flute Kit does not tell players how to do something; it offers ideas to try out, explore, and personalise in the hope of empowering artistic agency, autonomy, motivation, authenticity, imagination, and individuality.

All resources from The Flute Kit have emerged through doctoral and post-doctoral research and been proven through the research process to have the potential to positively impact the development of technique and artistry, and all ideas are based in the practice of some of the most experienced players and teachers in Europe (The London Philharmonic Orchestra, BBC Symphony Orchestra, English Chamber Orchestra, The Netherlands Radio Philharmonic Orchestra, Royal Academy of Music, London, Royal College of Music, London, Trinity Laban Conservatoire, London, Royal Conservatoire of the Hague, Chetham's School of Music, Manchester, The Purcell School for Young Musicians, Hertfordshire, etc.,). That said, not all ideas will work for all players; it is for each individual player to explore, experiment, and take and adapt what works for them. In the immortal words of the martial arts legend Bruce Lee, players are invited to ‘Absorb what is useful, Discard what is not, and Add what is uniquely your own’.

The Flute Kit is aimed at serious students and their teachers, and at adult learners who might be developing their skills and love of music and the flute without the support of a teacher, as well as professional players. Any committed flute player or teacher looking for new ideas to enhance their practice as expressive and creative artists and/or creative and adaptive teachers will find new and exciting ideas here.

PROFILE: Steven Cupitt

After finishing my postgraduate studies at Trinity College of Music, London, I pursued a joint career as performer and flute teacher. As a performer I was a member of the Britten-Pears Orchestra, and played regularly with several ad hoc opera orchestras, as well as being active as a freelance player specialising in the fields of chamber and contemporary music.

I have a lot of experience in orchestral, chamber, and contemporary music, and as a soloist. I have performed in the majority of the principal concert venues in London, such as the Royal Festival Hall and the Barbican, and under conductors such as Oliver Knussen, Stefan Asbury, and Thomas Adès. I have performed in some of the UK’s leading festivals (Edinburgh, Aldeburgh, Huddersfield, etc.) and for music societies all over the country, in a wide variety of chamber music ensembles, including flute, viola and harp; flute, soprano and piano; various mixed wind/string combinations; and wind quintets. I have studied with a number of leading British flautists, and more recently worked collaboratively with several expert performer-teachers from major European conservatoires during my doctoral research.

I stopped playing professionally in my 30s, and since then I have dedicated myself to teaching. I pride myself on my ability to motivate, inspire, and build confidence in learners across all age ranges and ability levels, and to build positive working relationships with pupils, parents, and colleagues wherever I work. I love teaching students to become positive, enthusiastic, and confident musicians, and coaching students for public performances and examinations (where students are interested), which I believe to be activities of the utmost importance in music education.