Johannes Donjon's Pan! is one of the most beloved works in the flute repertoire, inspired by the Greek god Pan. The piece combines playful bird calls, flowing arpeggios, and brilliant technical passages with a haunting, lyrical melody that shifts between melancholy and hope. It is a favorite flute and piano piece for recitals, competitions, and flute study.
Rather than following a traditional form, Pan! unfolds like a musical story. It alternates between calm, expressive melodies and energetic, virtuosic sections, creating the feeling of Pan wandering through the forest. Frequent changes in mood and character keep the music fresh and engaging from beginning to end.
The work showcases many hallmarks of the French flute tradition, including lyrical phrasing, sparkling ornamentation, expressive rubato, and dazzling technique. For flutists, Pan! is both a technical challenge and an opportunity to paint vivid musical scenes through color, expression, and imagination.

Group Practice 7/25/26
With support from Flute World.  Use code ALLISON2026 for 10% off sheet music and accessories! 
​Details

• Meeting Focus and Resources: Allison Flute Studio opened the July 2026 session focusing on Donjon's "Pan". They highlighted resources such as IMSLP, the My Pianist Pro app, and sheet music availability in the "24 Short Concert Pieces" and "Concert and Contest Collection," noting a 10% discount at Flute World using code "allison2026" (00:00:03). Additionally, they announced that the next month's session will focus on the Coler Opus 33, Book 2, Number 8 in D minor (00:01:03).
• Warm-up Strategy: Allison Flute Studio led a warm-up session covering arpeggios found in the piece, specifically G major, A flat major, A major, B flat major, B diminished, A minor 7, and D minor 7 (00:02:08). They emphasized practicing these technical elements away from the performance piece to build confidence and muscle memory before addressing the more complex 32nd and 64th note passages (00:01:03) (00:08:38).
• Technical Exercise "Figuros": Allison Flute Studio introduced the "Figuros" exercise, using the pattern C-B-A, to prevent players from accidentally adding notes during fast passages (00:09:36). They explained that this exercise reinforces patterns in measures 13, 14, and 15, preventing the urge to insert extra notes like G between F and A, thereby strengthening technique for thirds (00:12:16).
• Finger Independence: Joan Lonergan noted a tendency to leave the middle finger down during B-A transitions (00:15:15). Allison Flute Studio acknowledged this as a common habit and encouraged focused practice to build the necessary neuro-muscular connections to move the fingers independently (00:16:16).
• Trill Fingerings (Measures 21-22): Nicholas Fitton addressed a question from Debbie regarding trills in measures 21 and 22, explaining that the trill is from A flat to B flat. They demonstrated that one can keep the thumb B flat pressed while trilling the third finger for the A flat-B flat trill, or alternatively, use the L2 finger depending on preference (00:18:10).
• Measure 23 Transition: Allison Flute Studio discussed the challenge of navigating the B flat major arpeggio in measure 23, which transitions to a B natural. They suggested that players choose between sliding the thumb off the B flat key or using the F lever key to facilitate the move to B natural, emphasizing that practicing both methods to find what feels comfortable is beneficial (00:21:50).
• Lever Key Identification: Ann Carnegie requested clarification on the location of the "side B flat" or lever key. Allison Flute Studio clarified that it is located near the F key and requires a slight pronation of the wrist to access, cautioning that it is distinct from the C sharp trill key (00:23:50).
• Pedagogy for Beginners: Regarding a question about teaching B flat trills to beginners, Allison Flute Studio stated they encourage students to learn multiple B flat fingerings early on. They advised having students use the thumb B flat for measures 21 and 22, then transitioning to the F key for the arpeggio in measure 23 to ensure smooth, efficient playing (00:24:41).
• Articulation in Measure 31: Nicholas Fitton explained their approach to the staccato articulation under the slur in measure 31. They recommended removing the tongue initially and using breath pulses ("ha-ha") to maintain consistent air support, subsequently adding a light tongue articulation to provide definition without breaking the phrase line (00:27:00).
• B Flat Fingerings: Mary-Ellen Swayne and Allison Flute Studio agreed on the importance of practicing all B flat fingerings—thumb, lever, and F key—to remain adaptable (00:29:58). Allison Flute Studio noted that thumb B flat is historically grounded in the Boehm system and should not be viewed as a "cheat" fingering (00:31:12).
• Dynamics and Interpretation: Nancy Surridge asked about dynamics after measure 24, as the music returns to the initial tempo (00:31:59). Allison Flute Studio suggested returning to a peaceful, passive dynamic to allow room for a subsequent crescendo, noting that individual interpretation is acceptable (00:32:53).
• Thumb B Flat Mechanics: Allison Flute Studio clarified that the thumb B flat key can remain depressed for most notes except for B natural and high F sharp. They recommended marking the music with specific symbols (circles with plus or minus signs) to prepare for necessary thumb switches (00:33:39).
• Air Support and Continuity: Discussing how to keep air moving through runs, Allison Flute Studio recommended using recording tools to check for pitch stability (00:35:24). They emphasized maintaining a consistent air column throughout the piece to ensure that pitch does not drop, particularly during ascending or descending runs (00:38:04).
• Core Engagement and Resistance: Nicholas Fitton suggested practicing without the flute by using "sh" sounds to simulate the resistance of the instrument. They explained that this engages the transverse abdominal muscles and encourages better air pressure management (00:39:06). Allison Flute Studio reinforced the pedagogical value of this core engagement for maintaining steady air (00:42:04).
• Performance and Storytelling: Mary-Ellen Swayne performed a section and asked for guidance on the accelerando and tempo (00:44:47). Allison Flute Studio encouraged them to treat the music as a personal story—suggesting the bird motif—rather than strictly adhering to the 72 bpm marking if 68 bpm felt more sustainable for their phrasing (00:46:29) (00:48:22).
• Interpretive Approaches: Joan Lonergan inquired about the approach of leaning on the first note of 32nd note runs, referencing Paul Edmund Davies (00:51:31). Allison Flute Studio responded that while this can create an improvisatory feel, players must ensure that this "rubato" does not distort the underlying rhythm established by the accompaniment (00:53:36).
• Maintaining Consistent Air in Soft Passages: Dr. Deborah Podolka discussed the difficulty of maintaining pitch and air support in softer sections (00:54:28). Allison Flute Studio provided feedback on Dr. Deborah Podolka's playing, noting that adding more "lift" of air between repeated notes—such as the two C's or two G's—could clarify the phrasing. They also shared a conducting tip from their teacher: to encourage faster playing, one should use smaller conducting gestures (00:57:16).
• Performance Technique and Conducting: Allison Flute Studio advised using condensed, smaller movements rather than lush gestures to maintain audience focus and control during softer passages. They explained that when playing the flute, one should focus on moving from point A to point B over a shorter distance to create a more condensed sound. Dr. Deborah Podolka identified the last line of the piece as a point of difficulty regarding tempo and air control (00:59:09).
• Last Line Phrasing and Technique: Allison Flute Studio noted that the ad lib section allows for freedom, and the diminuendo encourages a slight retardando. Regarding the repeated G's in the third-to-last measure, they suggested applying a continuous airstream—similar to previous advice on slur staccato—before reaching the trill and the piano E. Allison Flute Studio commended the execution of the piano E (01:00:05).
• Rhythmic Accuracy and Retardando: Allison Flute Studio cautioned that excessive slowing during the final line could compromise rhythmic accuracy, specifically noting that a judge would likely expect the trill to be held for four beats in relation to the established tempo (01:00:05). They suggested using significantly less retardando if teaching this to a student, to ensure the performer can complete the trill and release the high E on beat four. Dr. Deborah Podolka acknowledged the risk of slowing down too much when performing with a pianist or machine (01:01:24).
• Musical Context and the Ad Lib Motif: Nicholas Fitton compared the ad lib section to a motif found in Beethoven's Symphony No. 6, describing it as a pastoral oscillation between a whole step. They suggested that by adopting a tempo similar to the Beethoven piece—where the motif moves from slower to faster—a performer can avoid causing friction with their pianist. Dr. Deborah Podolka confirmed that they have a good pianist and do not wish to disrupt the accompaniment (01:02:20).
• Interpretive Debate: Pan versus Bird: Allison Flute Studio explored whether the music represents Pan, who might be relaxing, or a bird. They noted that if the character is a bird, the music should not necessarily slow down or "go to sleep" like the end of the "donskra," but rather might represent a final chirp before sunset (01:04:01). Mary-Ellen Swayne added that Pan is frequently depicted with birds in various stories and pottery (01:04:49).
• Singing as a Pedagogical Tool: Nicholas Fitton revealed that the composer, Donjon, was a flutist in the Paris Opera, which adds an operatic element to the music (01:04:49). They recommended that if a student struggles with phrasing or keeping the air moving, they should sing the music, as it is an organic way to internalize the composer's inspiration. Allison Flute Studio encouraged this practice, noting the supportive environment of the group (01:05:35).