Argentinian Gabriela Galvan studied Baroque Traverso with Gabriel Pérsico at the Manuel de Falla Conservatory and specialized in Baroque and Classical Traverso under the guidance of Rachel Brown in London. She was captivated by historical flutes for their incredible variety of sound possibilities and the opportunity to discover and explore repertoires and composers that she would never even have imagined existed. She is currently studying for a PhD in Arts on flute sonatas of female composers of the court of Frederick II of Prussia.
Gabriela performed in the main halls of Argentina, Italy, the United Kingdom, Croatia, Spain, Brazil, Germany, and Israel. She has also published CDs on Italian, French (“Of affections and passions”, 2015) and German (“Deutsche Delikatessen”, 2018) music of the 18th century, and her brand new release this year is “Dolce e Coraggioso”, featuring music by Corelli, Barsanti, Platti, Vivaldi and Locatelli. 

Gabriela's website
embochure website
embochure YouTube Channel
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The first thing you do when you pick up your traverso to start the practice day, and why?
I usually play a couple of long notes. I usually start in the middle register and work my way up to explore the upper register. For me it is essential to feel that the sound is centered and with the correct focus.
Any recurring piece to play every day, and why?​
I don't have a recurring piece that I practice daily. What I do in accordance with the tonalities of the works that I am playing is to practice very simple melodies that I know very well in those tonalities. That allows me to gain confidence in the tonalities in which I am working.
Do you have a daily routine?​
My routine starts, as I said before, with a series of long notes. At the beginning I work with a motif of two notes to which I add until I complete the pentachord. To this I then add some further nuances. I practice crescendo and diminuendo, always taking care not to alter the pitch. Then follows a section of bending notes where I try to work on flexibility. I also usually work on harmonics and compare them with the real positions.
Then it is the turn to work with the tongue and fingers. At the beginning I choose a simple pattern that I am making more complex according to the needs of the pieces that I am working on. I find it useful to incorporate the practice of ornaments so that when they appear in the pieces, I feel them more blended in. Managing gradual speeds in trills, for example, has always been a challenge for me. By working on it within the daily routine, I gradually improve them as well.
What kind of goals do you set for your practice?​
The overall goal is to feel comfortable playing the piece I'm working on. Keeping the musical goal in mind first and foremost. I wonder what the piece in front of me demands musically. The technique will depend on that demand. 
Do you do any systematic warm-up?
Yes, as described above.
Do you have a specific structure for warm-up and practice sessions?​
After the warm-up session I explore the pieces that I am aiming to study. If for various reasons, I have little time, I reduce the time that I dedicate to each section or part of the routine, but I try to respect the order whenever I can.​
Any distinctive characteristics of baroque flute daily practice vs. modern flute or other instruments?​
I consider vital the study and practice of flexibility, or note bending, to have ductility and efficiency when dealing with different tones and to be able to enhance their colors and characteristics that are so different in the baroque flute. Also practice a "repertoire" of scales with different fingerings to be able to choose the most appropriate one according to the need or the context.
What are the key elements and unmissable points of daily practice?​
Above all, do not lose sight of the fact that all technique is based on a musical objective. Thinking about what I want to say musically is vital in order not to lose focus and thus find the appropriate technical means to materialize what I want to communicate personally. It has been difficult for me to understand that it is vital not to focus on limitations or difficulties but rather on what I want to communicate musically, and then to work out the ways to achieve it.
How long and distributed should warm-up and practice be?
There is no single formula. I believe that it should be adapted to the needs of each moment.
Any  specific tip to address difficult technical passages during daily practice?
Listen to yourself always; it seems very simple, but it is super-difficult. Develop an attentive listening in real time is something that takes time and requires conscious work.​
Are there any tools that are particularly useful for practicing?
A mirror helps me a lot when I work to correct postural issues or when it comes to working on finger coordination in difficult passages. Recording myself is also a very useful tool for me It works as a great help.
Any other general advice, suggestion, tip?
Make sure to practice in intervals of time in which you can sustain attention and concentration.
How do you advise your students as far as structuring their daily practice?
Basically, I suggest the same routine that I have described above. But each student is different and must adapt it according to their specific needs.
Do you suggest or teach a warm-up routine?
Yes, the one that I have described previously and that I apply in my personal study.
Are there any specific pieces particularly beneficial to be played regularly in daily practice?​
Note bending has been a vital exercise for me, and I highly suggest and recommend it. I have not found anyone to whom this exercise has not brought benefits.