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September Newsletter

Back to School: Back to Work

It’s that time again; time to stock up on school supplies, time to dust off the instrument, time to buy more sheet music, time to start lessons again, and most of all, time to get back to work.  Summer stock is over, and the regular performing season is beginning to take full swing.

Now that schooling is over for me, it’s time to find work.  This fall season, I can be seen on the Detroit Opera House stage in Elektra and Madame Butterfly with Michigan Opera Theatre, subbing for multiple churches, working as a substitute teacher, and costuming Bowling Green State University's fall opera Amal and the Night Visitors for their Arts Extravaganza weekend.  The only thing I wanted out of my schooling was to be employable in the arts, and diversification has been my life.  I have done everything from performing on stage to performing in the pit orchestra, costuming, directing, and artistic director.  My goal is to always be involved in the Theatre.

This year, I have been blessed with an opportunity to perform with the Michigan Opera Theatre as an apprentice singing my first solo part on the Detroit stage.  It will be my second time singing a solo part on a professional stage: increasing my professional repertoire from ten words and three notes off stage to over a minute on stage singing over 70+ musicians without a microphone, but no music career starts on a professional stage.  My musical life has consisted of a slow and steady upward motion combining a lifelong passion with a professional career, but I have never forgotten where my music comes from and my passions began.

When I was little, my mother would buy me records, then cassette tapes, and then compact disks of the musicals she would take me to see either at the Fox Theatre in St. Louis or on Broadway in New York City.  I would play them during bedtime and memorize every word and note and then be taken to see the musical.  I could tell my mother every note from the instruments to the singers that was different than the memorized recording in my head, but musical talent and skill was not uncommon to my family.  Everyone in my family had some form of musical background, and it was apparent that I would share some musical talent.  Because there was such a musical background in my family, my mother decided it was time for me to begin learning an instrument, and so in third grade, I set out to have my own musical career with my very own instrument.

Choosing an instrument can be a life-long commitment, and for me, it will stay with me the rest of my life.  It feels like it was only yesterday that I picked out my first instrument even though it occurred over two decades ago.  Because I went to a private school with no music program, my mother took me to our local music store in Columbia, Missouri.  I got to try out every instrument possible which is a service the public school system provided for fifth graders.  I started with a trumpet since that was my grandfather’s instrument; it was to no avail.  I could put lots of wind through but no sound came out.  I also tried a French horn, my grandmother’s instrument.  There was just as much success as the trumpet.  I was not interested in a trombone or tuba, so we moved from the brass family into the woodwind family where hopefully I could find more success.  I could squeak out sounds on the clarinet, but my mother said she would not have a squawking instrument in her house.  I wasn’t allowed to even look at a saxophone because of the Presidential scandal at the time.  What does a saxophone have to do with impeachment hearings?!  I’ll never know, but it was out of the question.  A snare drum has no melody, and it did not help that it was heavy.  Why in the world would I want to play an instrument that just gets heavier as you progress?  It’s the only instrument I know that increases in size into a trap set.  I was running out of options.

The only band instrument left was the flute.  The salesman brought out a flute for me to try and pulled out the headjoint for me to try to make a sound. It was a success; I could make a sound.  Then the salesman showed me how my finger could change the pitch with just the headjoint.  I never did put the whole instrument together that day.  It was settled; my first flute was an Armstrong.  It was a nickel plated flute with a c foot.  The lining of the case was blue, and it came with a cleaning rod.  Shortly after the purchase, we found a flute teacher, and my grandparents paid for private lessons.  I’ve never gave it a second thought that I should be doing something else other than music.

Now I enjoy playing for musicals when I am not on the stage.  One of my favorite parts of playing for a musical is the variety of instruments required to be performed by one person.  Most of the scores call for one person to play flute, clarinet, and saxophone with additional possibilities of recorder, oboe, piccolo, alto flute, English horn, soprano saxophone, tenor saxophone, baritone saxophone, bass clarinet, and others.  Before I played for my first musical in 2000, I learned to play clarinet, saxophone, trumpet, French horn, and piano.   How I ended up playing each of these instruments came in an unusual way, but that is another story for another day.

Diversification is the name of the game, and I will always love learning a new skill like another instrument or lighting a stage.  Who knows what is in store for me this fall.  I love every minute of it, and I wouldn’t change a thing.  Back to school, back to work, and back to the theatre is the life for me. 

 

 

Bio:

Tenor Blake Bard, from Ulman, MO, is currently singing with Michigan Opera Theatre apprentice for the 2014-15 season including Young Servant in Elektra and the Registrar in Madame Butterfly.  Recent Roles include Parpignol in La Boheme with Toledo Opera, Danilo in The Merry Widow and Le Chevalier in Dialogues des Carmelites with Bowling Green State University, Prunier in La Rondine and covering Franz in Les Contes d'Hoffmann with Chicago College of Performing Arts at Roosevelt University.  As a Young Artists with Chicago Opera Theatre, Blake covered Egeo and Sole in Giasone and Mambre in Mose in Egitto.  Blake holds a Bachelors in Music and Masters in Music in Voice Performance from Bowling Green State University.  Other special interests include reed doubling for musicals, costuming, directing, and farm living.

August Newsletter

New Caliendo Flute Ensemble Piece Premiering at the 2014 NFA Convention

by Julie Stone, Professor of Flute, Eastern Michigan University

Emerald Flutes in Performance
“How about a new premiere?! Let's really celebrate!” These were the words in an email from Christopher Caliendo responding to my inquiry about a piece for the Eastern Michigan University Emerald Flutes to perform at the NFA Convention in Chicago. Needless to say Dr. Penny Fischer and I
(co-directors of the ensemble) were speechless!! We are fans of his compositions for flute ensemble and were looking for an upbeat crowd pleaser to complement the other pieces on our program, Flutes Plus! (flutes with additional instruments). For this occasion, Caliendo composed an upbeat piece, Hoe Down, that is everything and more that one would expect from this exciting composer. Along with a fast tempo of quarter=148, the piece includes intricate rhythms, 16
th note passages, fast articulation, and even a few contemporary techniques to make the rodeo come alive! In the Caliendo style, no part is overlooked and includes an interesting ride for all parts. He did include parts for optional cello and harp since the ensemble will be playing other pieces on the concert with those instruments. 

                                                             

The EMU Emerald Flutes have a long-standing relationship with Caliendo since its performance of La Milonga at the NFA Convention in 2000 so this is a sentimental and exciting occasion for all of us. We hope to see many of you at our concert at noon on Thursday, August 7, in the Normandie Lounge at the Hilton Chicago. In addition to Hoe Down, the program includes Chinese Dragons for four flutes and percussion by Nancy Faber; Symphony Atlantis for flute orchestra, harp, and cello by Melvin Lauf, Jr.; and Dance with Me for flute ensemble and CD by Wil Offermans. Members of the ensemble who will be performing in Chicago include:

      
Penelope Fischer and Julie Stone, directors

Members: Mare Almhiemid, Terese Brooks, Ashley Hagadon, Sarah Hamilton, Joshua Lockhart, Anjali Martin, Timothy Mullins, Amber Nellett, Mary Rose Nieman, Kathryn Suminski, Kyle Thompson, Dakota Williams, Sherry Young, Kayla Younkin, Celisa Guitierrez, harp, and Kelsey Brichford, cello



Julie Stone Headshot
Julie Stone
is Professor of Flute at Eastern Michigan University and flutist with the Eastern Winds. She has performed widely as a soloist, chamber, and orchestral musician winning awards including the National Flute Association Professional Performers Competition. She was a featured performer in the International College Music Society Conference in Berlin, Germany and has recorded for the Albany, Crystal, and ACA Digital labels. She has been published in Flute Talk magazine and the Flutist Quarterly and has taught at the Interlochen Center for the Arts. 



July Newsletter

Building a Program for the NFA Convention


by Alice Dade - Assistant Program Chair 2014 NFA Convention


Phil Dikeman and I became friends when I started subbing with Detroit Symphony in 2009, where Phil was Assistant Principal as well as Acting Principal. We were known to shop together, dine at the glamorous Sonic, and bond over our enjoyment of cooking. We also figured out that Phil was a judge when I competed in the NFA High School Soloists Competition in 1998!

 

In 2011, Phil and I were about to begin new careers as professors at Vanderbilt University and The University of Missouri. Since both of us came from orchestral backgrounds, this was completely new territory.  We were on the phone or texting each other quite a bit with student success stories, ideas for studio classes, revisions of syllabi, and all things new professor. I don’t think I would have gotten through my first year in Missouri without his advice or good listening skills.

 

When Phil told me he had accepted the offer of Program Chair for the NFA Chicago 2014 Convention, I knew he had his work cut out for him. It’s a notoriously difficult, time consuming position which people have told me is another full time job. He then asked me if I was interested in being his Assistant Program Chair. I heard myself saying yes without thinking, and couldn’t believe what I was committing to! What exactly did this job entail?  But, this was Phil—had it been anyone else I may have asked for time to think about it.

 

For a few months, there was an underlying sense of panic in all of our phone calls. Once in awhile we received emails from NFA members with questions about the gala concert, or concerts they were interested in performing in Chicago. At this point we weren’t sure how to answer anything, which added heat to our bubbling panic. Thankfully we caught ourselves and started a tradition of saying, “NFA 2014!!” much like Molly Shannon in Superstar, at the end of emails and phone calls. We knew we had to keep our sense of humor intact. We also knew that attending the New Orleans convention in 2013 would answer a lot of questions.

 

New Orleans was integral as we met Ann Welsbacher, Publications Director, and Brian Covington, Web Consultant. Brian created the database of proposals with a user-friendly search tool. We could search by the title, performer, proposal number, or choose to see one category at a time. As an NFA member sent a proposal it was entered into the database and sent to us via email. Ann walked us through the schedule grid, essentially the Events at a Glance schedule found near the end of an NFA program book, as well as the program book itself. All of this gave us a basic idea of how to get to work once the proposal deadline had passed.

 

We knew it was October 11th because the proposal emails suddenly stopped. It was time to compile programs. We read through every proposal and took notes of repertoire we didn’t know or pieces that seemed to fit together on a concert. Phil and I found it helpful to compare notes on the phone. We also created a dropbox folder with our brainstorms of concerts as well as lists of proposals to accept.

 

Once we had chosen recitals, chamber concerts, workshops, panels and lecture recitals from the database, we needed to send out the letters. This was a memorable night as Phil and I were up until about two or three a.m.! We divided the list into categories so the work was shared between us. There was also a lot of double/triple checking in this step, we wanted to make sure we didn’t miss any proposals!

 

It was time to enter them into the grid, now color-coded and specific to the Chicago Hilton, thanks to Sandy Saathoff. Rooms were set-aside for flute choir, presentations in need of audio/visual equipment, and competitions. Our next questions were: how many scheduled concerts or lectures should there be in one day of a convention? Better yet, how many concerts should we schedule in one hour?

 

Phil and I then took inventory of previous conventions. For instance, Saturday in Las Vegas 2012 there were 16 concerts, in addition to 4 exhibit showcases, 5 lectures, 3 lecture recitals, 2 panels, and 7 workshops. Since every convention venue has a different amount of space, we would be working with different numbers. However, we did come to realize that each day, actually each hour, needed to be well balanced. There should be a concert or workshop for every type of flutist, whether they are amateur, professional, someone who specializes in new music, baroque specialists, flute choir enthusiast, or college student.

 

There were more late nights of typing programs and moving concerts because of scheduling but the bulk of the work is now finished. The program book is ready for print! Some things pop up here and there but we are at the point where we’re looking forward to seeing these programs come to life. 

 

On the first full day of the convention, Alexa Still will present a panel discussion and workshop on Arnold Jacobs, someone I’ve always thought was fascinating. There is also a panel discussion titled “Off the Beaten Path” with all of our pushing the envelope flutists including Greg Patillo, Hillary Abigaña, Ali Ryerson, Shivhan Dohse, Barbara Siesel, and David Weiss. Jeanne Baxtresser and Alberto Almarza will present a career mini-conference on teaching and collaborative teaching. That night the Gala concert is so exciting as Carol Winenc, Life Time Achievement Award Winner Maxence Larrieu, Christina Jennings, Jonathon Keeble, Nicola Mazzanti, and Cecilie Løken will perform.

 

After an exciting first day, there are still so many artists and events to look forward to, including Mimi Stillman, who will give her NFA premiere performance. Jonathan Keeble will perform a flute and harp recital, including the beautiful piece Dance of the White Lotus under the Silver Moon by Stella Sung. Carol Wincenc and Judith Mendenhall will present a Moyse Workshop and Nicole Esposito and Michel Bellavance will present a joint recital. I will not miss the Flute Lover’s Luncheon as Claire Chase is the guest speaker. And finally, for the piccolo player in you, Mary Ann Archer, Christine Erlander Beard, Peter Sheridan, and Cynthia Ellis will present a Potpurri of Piccolo.

 

Mark Sparks will present a recital, as will the flutists of the L.A. Philharmonic. The Chicago Flute Club is now twenty-five years young and will present four new works commissioned by the organization. Zart Dombourian-Eby will present a masterclass for amateur flutists and Nancy Stagnitta will present a workshop for the new to jazz flutist. The performers of the Gala concert on Saturday night include Julien Beaudiment, Leone Buyse, Robert Dick, Mary Kay Fink, and Sarah Jackson. And to end the convention, Sir James Galway and Lady Jeanne Galway will present a concert with pianist Philip Moll.  

 

We have worked hard to schedule this convention in a way that you will be able to see every concert or event you would like. Thanks to Phil Dikeman, Kelly Jocius, Executive Director, Kris Mayo, Beth Chandler, Zart Dombourian-Eby, and the NFA board, this convention will be great. I can’t wait to get to Chicago!

Alice K. Dade is the Assistant Professor of Flute at the University of Missouri, Principal Flute of Festival Mozaic, and Artist Faculty of Medellín Festicámara in Colombia. Previously, Alice was Acting Co-Principal Flute of the Swedish Radio Symphony Orchestra. Alice writes a column for Chicago Flute Club’s Pipeline and has been published in Flute Talk Magazine and The Instrumentalist. A graduate of The Juilliard School, Alice studied with Carol Wincenc, Robert Langevin, and Sandra Church.

NFA Gala Dinner Drawing

Trevor James Rebate

Trevor James Rebate

Free Flute Repair Workshop

Sign-up today for our free flute repair workshop on Saturday, July 12, 2014 starting at 10:00 am. Space is limited, contact us today! 

Free Flute Repair Workshop

Azumi/Jupiter Promo

May Newsletter

How to Get Started In the Music Business:

I was born in Detroit, Michigan and came from a musical family.  My Father (Dezie McCullers) was a part of the Funk Brother’s horn section with Motown and my two brothers are musicians as well.  I am excited to be the first flute player to Hit # 1 on both the Billboard and Smooth Jazz charts with my most recent CD “In the Flow”.  I spent much of my early career successfully meeting challenges and overcoming obstacles establishing my career while raising two boys as a single mother and working days as a Deputy Sheriff in Detroit courthouses. I have recorded five CD’s and have had three record deals.  Presently I am signed with Trippin & Rhythm Records/Sony Records distribution Label.

Every year, Colleges & University programs prepare thousands of jazz musicians with hard earned diplomas.  When these graduates hit the streets with high hopes many learn that the diploma doesn’t necessarily guarantee a successful beginning in the music industry. The dream was simple: To perform music one loves for attentive audiences in jazz clubs, concert halls, and festivals while earning a fair wage for their efforts.  But  once set loose from the nurturing college environment one can quickly experience a new reality. “The world doesn’t take kindly to jazz artists”. Even after years of “paying one’s dues” only a small percentage of jazz artists will eventually realize their “dreams”.  Those that do are often referred to as “The Chosen Ones”.  Commercial success results from a rare combination of talent, perseverance, good looks, personality, ambition, geography and an ability to skillfully navigate unpredictably changing public tastes.

Why so few “Chosen Ones”? Simple economics: People who want to play jazz actually outnumber those who enjoy it or pay to hear it. Consequently, in the microscopic jazz economy, there isn’t nearly enough to go around though competition for the crumbs is relentless and sometimes brutal. This simple financial reality underlies virtually all of the difficulties in sustaining a career as a jazz musician.

But when the jazz bug bites, it’s hard to shake.  So it is very important to practice every day, perfecting your craft, because you never know when your big break will come and you need to be prepared. Remember that hard work, focus, and strong spiritual faith will help you to achieve your goals. Your goals and your music can redefine the state of jazz today! 

Soul Jazz Flutist,

Althea René

Biography
I was born December 25th in Detroit, Michigan and I began my musicaljourney at age four as a classical flautist. I studied classical music while attending Howard University in Washington D.C. and later I gained further musical inspiration from the accomplishments of Yusef Lateef, lan Anderson, and my father, one of Motown's original Funk Brothers, Dezie McCullers. ! have since developed my own creative style.


As a single mother I raised two boys. For more than 10 years I was also employed as a Deputy Sheriff for Wayne County, Michigan (Detroit). Today, I am a full-time performing/recording artist, regarded by many as a "master of my craft" and one of the world's most exciting solo improvisational flautists.

May 2013, I released my fifth project "ln The Flow". Collaborating with Grammy award winning producer Michael Broening; (producer for legendary icons George Benson, Marion Meadows, and Paul McCartney) we co-wrote the title track. That song became my hit single and it reached number one ranking on both the Billboard Chart and the Smooth Jazz Chart. Our partnership allowed me to become the first flute player in the history of Billboard Music Chart to reach the number one spot. My second single release "Sunday Cruise' is ranked in the Billboard top 20.

Appearances


2014 - Capital Jazz Cruise Althea Rene
2014 - Las Vegas City Lights Jazz and R&B Festival
2014 - Austin Jazz Festival
2014 - Jazz on the Hilltop
2014 - Brian Culbertson Napa Valley Jazz Getaway
2013 - Capital Jazz Festival
2013 - Low Country Jazz Festival
2013 - Jazz Fest West
2013 - Spring Breeze Jazz Cruise
2013 - Sea Breeze Jazz Festival
2013 - Chene Park Soul-Jazz Explosion
2012 - 2011 lnternational Dubai Jazz Festival
2012 - Spring Breeze Jazz Cruise
2012 - 20th Annual Las Vegas City of Lights Jazz Fest
2011 & 2009 - St. Lucia JazzExtravaganza
2011 & 2009 - Sea Breeze Jazz Festival
2011 - Berks Jazz Festival
2010 - Capital Jazz Festival
2010 - Capital Jazz Cruise
2009 - Norman Brown Smooth Jazz All-Star Cruise
2008 - Brian Culbertson's Smooth Jazz All-Star Cruise
2007 - North Sea Jazz Festival in the Netherlands
2007 - Russian River Jazz Festival
2007 - BET Studio Jams


www.AltheaRene.com                   www. Facebook.com/AltheaReneFanClub

Discography


In The Flow, Trippin'N Rhythm Music, 2013
No Restrictions, Red Cat Music Group/Bungalo Records/Universal Music Dist., 2008
In The Moment, Chocolate Caramel/Koch, 2006
Chocolate Rush, Chocolate Carmel Music, 2003
Flute Talk, lndependent Release, 2000

April Newsletter

April 2014 

Purchasing a Piccolo

by Nan Raphael

solopikolo@aol.com

 

While the repertoire for piccolo has increased exponentially in the last few decades so have options for those who are ready to purchase a new instrument. There are many more choices in all price ranges for buyers than there were even 15 years ago. In addition, many improvements have been made in the scale, headjoint cut and design, padding etc. The intent of this article is not to recommend specific brands but to broaden awareness of the range of options one has in all price ranges that have been introduced within the last 20 years.

 

When purchasing an instrument, the first thing you should consider is how much are you willing or able to spend.  Purchasing a used instrument may allow you to get more for your money. Once that is determined, consider testing new and used instruments to find the best fit. If you are trying out instruments at a showroom or flute fair you can seek a quiet area where you can really hear for evenness of sound, scale, tone quality, overall response etc. You can request a trial period so that the instrument can be tried out in familiar settings. If there are headjoints to choose from, ask how long exchanges can be made and try every cut to find the one that responds best for you. During the trial period, work closely with a tuner to make sure the scale is acceptable and that the tone is even throughout. What works for one person may not work for another.

 

The next thing to consider is whether to purchase a plastic, composite, metal, plastic with metal headjoint or wood instrument. The material a piccolo is made of will have an effect on tone quality and response. In general wood piccolos produce the mellowest sound but have more resistance. Wood piccolos are generally preferred by professionals for tone quality and the capacity to blend better within an ensemble. The most common wood used is grenadilla which is the most durable and stable. Some makers have experimented with and offer more exotic woods including Cocus wood, Cocobolo, Rosewood, Ironwood, Morado, Pink Ivory, Satine, Bocote or Kingwood (which is no longer being used to make piccolos since it is in very short supply). Piccolos made of Kingwood can now only be found in the used market and as a result have become very expensive. Some people do have an allergic reaction to exotic wood.  While many high end wood piccolos have sterling silver or silver-plated keys and tenons, they can be purchased with gold keys and or gold tenons as well. Plastic or composite (blend of wood and resin) is an excellent choice for outdoor playing since these materials make the instrument more weather proof. While brighter sounding than wood, they are a little mellower than plastic. Plastic is the least expensive and is a good choice for those who need a “wash and wear” piccolo for marching band or summer community band/orchestra. Composite instruments are a little more expensive but still excellent options for outdoor playing. To expand the versatility of a composite instrument, some makers offer the option to purchase a wood headjoint in order to achieve a mellower sound for better blend without the expense of purchasing an all wood instrument. Options in metal can range from silver plated, nickel plated, to sterling silver or gold.

 

The bore (the inside of the body of the piccolo) comes in two shapes, conical and cylindrical. Conical bore piccolos taper toward the foot end of the instrument and generally provide more uniform sound throughout. Cylindrical bore piccolos are the same width throughout with easier response in the upper register, but thinner sounding in low register.

 

Once you’ve selected the make and model, decide what headjoint style you want.

Silver heads have a flute-like lip plate while most plastic, composite and wood piccolos have no lip plate. This could take some time getting used when starting out on piccolo. There are some models that offer a carved lip plate to make it easier for those who don’t play a lot of piccolo and who prefer the feel of a lip plate. There can also be a wide variety of embouchure hole shapes to choose from as well such as wave, or modified wave embouchure holes (which facilitate response in the low register).

 

If purchasing a mid priced or more expensive instrument, do inquire about pads used. Pads do have an affect on tone quality. Improvements within the last 30 years have made pads more durable and stable than the traditional felt pad which is still in use today after 100 years especially on less expensive instruments. Cork is also an excellent option for varying weather conditions. The disadvantage to cork is that frequent swabbing is necessary to prevent water buildup, especially when it’s humid. Straubinger pads are made with multilayered synthetic materials which make these more stable than traditional skin pads and are used on many high end instruments.

 

For the high end purchaser, there are several “extras’ to choose from such as pitch, extra keys, pad type and headjoint cut. There are three available pitches A-440, A-442, and A-444. Most players prefer A-442. Extra key options include split E (recommended), C# Trill, high G# mechanism.  

Last but not least there are some essential accessories to have on hand. All piccolos come with a cleaning rod. What you need to provide is a cloth with stitched edges. There are several other swabs out there such as The Piccolo Flag which does a great job of collecting water on the inside edge of the cork, the Piccolo Snake. For cleaning pads and soaking up excess water BG soft clothes are good options. If one decides to oil the bore of a wood piccolo, take care not to get oil into the pads or mechanism. Almond oil or Naylor’s Bore Oil are best.  For sticky or dirty pads, Pad Juice with applicator strips will keep pads healthy in between COAs.

Now that you are armed with what to look for, have fun shopping for your new piccolo. Hopefully, your purchase will give you many years of satisfaction.

Since retiring from the US Army Field Band in 2003, Nan Raphael, now an artist for Gemeinhardt Flutes,  has been a guest artist/clinician nationwide, piccoloist with the International Flute Orchestra, Washington Winds, Columbia Flute Choir and Capitol City Symphony. Nan has written several articles about piccolo playing for Flute Talk and the Flute Society of Washington Newsletter as well as being published in the National Flute Association’s Pedagogy Anthology Vol. 2. She has 4 piccolo CD’s and a book of piccolo excerpts from the symphonic band repertoire. www.nanraphael.com

March Meltdown Madness

 

Winner gets a $200 check or $250 gift certificate!  

 

Our parking lot is full of snow!  This year, Michigan has set records for snowfall amounts and sub-zero temperatures.  Inspired by March Madness, we came up with an idea for a contest.  We are starting a pool for our Facebook friends to guess when the snow will be completely melted from our parking lot.  The winner gets to choose a prize of either a $200 check or a $250 Flute Specialists, Inc. gift certificate!

How to enter:

  1. “Like” Flute Specialists, Inc. on Facebook.  If you’re already friends with our Flute Specialists account, you will still need to like our Flute Specialists, Inc. business page.
  2. Send us a private message with your name, address, e-mail address and the date you’re choosing for the pool. Please do not post this on our wall.
  3. Periodically check on our Facebook page and our website for updates on the snow melt process!
  4. Spread the word!  Tell your friends!
     

Rules:                                                                                                                                          

  1. Only one vote is allowed per person.
  2. Must be 18 or older to play.
  3. The winner will be calculated after all snow has completely melted off the parking lot surface for the first time.
  4. Snow melt will be calculated during Flute Specialists’ standard business hours, Monday thru Friday 11:00 AM to 6:30 PM EST.  If the total melt occurs after hours, it will be credited to the next business day. 
  5. If more than one contestant has chosen the correct day, a random drawing will pick the final winner.
  6. Winners will be notified by Facebook and he/she will be allowed to choose to receive a $200 check in the mail or a $250 gift certificate to Flute Specialists to be used online or for in-store purchases. 
  7. No purchase necessary to enter.  Just “like” the Flute Specialists, Inc. page on Facebook.  It’s free and easy. 
  8. If you have any questions or problems, e-mail us at newsletter@flutespecialists.com
  9. Deadline for all entries is March 20, 2014 11:59 PM EDT – First day of spring!