Tracy L. Harris Yamaha Performing Artist and Clinician Professor of Flute/Piccolo/LowFlutes College of the Sequoias

Transcription

1 MUSIC FOR ALL Flute and Piccolo Worksheets Provided by: Tracy L. Harris Yamaha Performing Artist and Clinician Professor of Flute/Piccolo/LowFlutes College of the Sequoias June 24-June 30, 2018 Ball State University Muncie, Indiana 6/11/2018 COPYRIGHT TRACY L. HARRIS

2 FLUTE AND PICCOLO BASICS WE WILL BE COVERING THIS WEEK 1. Proper Assembly of the Flute and Piccolo Parallel assembly with Barrel, Clockwise/Counterclockwise, Music Stand Alignment Method for flute, proper alignment of Piccolo. 2. Proper Hand/Body Position for Flute and Piccolo 2 C s Rule, the Fulcrum Concept, Marionette position, Standing/Sitting Position in front of stand in a 45 degree angle, Head Tilt matching Flute Tilt, Piccolo Position always at attention. 3. Breathing The Essential Techniques for Flute and Piccolo Breath Builder, Gut in when its out and out when its in, exhale before inhale, Tracy s Santa Method, Consistency is key for both flute and piccolo. 4. Tone Secrets to Producing Amazing Tone Fast on Flute and Piccolo Tracy s PIP Test and Frowny Embouchure, Headjoint work is Key, Aiming air INTO tone hole, flexible embouchure and jaw for best tonal control. 5. Properly Tuning a Flute and Piccolo Techniques for Tuning Metronome -Tuner/Tuner Pickup, Tuning in context their Bb is terrific so what s wrong?, tuning in 3rds, 5ths and octaves. Knowing important alternate fingerings. 6. Vibrato Production for Flute and Piccolo Learn in Under 5 Minutes The Owl Method, the European Ambulance technique, easy exercise for vibrato control (speed and Intensity of vibrato wave). 7. Articulation - Single and Double Tonguing for Flute and Piccolo Single tongue exercises and double tongue exercises for clean and precise articulation. 8. Care and Maintenance of the Flute and Piccolo A Handout of Do s and Don'ts to keep flutes and piccolos properly serviced and playing their best. 9. Flute and Piccolo Fingering/Trill Charts with Alternate Fingerings Fingering Charts that can be in folders at all times, the Value of alternate fingerings. 10. Efficient Practice Routines and Mental Strategies for Competition Timed practice element by element, dispelling the adrenaline response, the empowering effect of Mock Auditions, memorization of audition material, Friendly competition. 6/11/2018 COPYRIGHT TRACY L. HARRIS

3 #1 Proper Assembly of the Flute and Piccolo 6/11/2018 COPYRIGHT TRACY L. HARRIS

4 Proper hand position, technique, intonation, and the best tone quality can only be achieved when your flute is properly assembled. Once correctly assembled, and properly held the flute s keys will remain parallel to the floor. Once properly aligned, mark with a Sharpie pen & cover with clear tape to provide an everyday reference point. Proper Flute assembly ensures that the tenon is protected from damage. It also prevents air leaks which can produce a fuzzy tone. Headjoint tenon Foojoint tenon Always keep the flute parallel to the floor during its assembly. Twist clockwise when assembling vs. counter clockwise when disassembling the flute. Never grab the flute s keys to assemble or disassemble a flute. When properly assembled, a flute s keyboard will be parallel to the floor with the keys upright optimizing hand position and technical control. 6/11/2018 COPYRIGHT TRACY L. HARRIS

5 #1 Proper Assembly of the Piccolo Critical to Sounding Your Best A piccolo is half the size of a flute, and shares many characteristics of its big sister, including the method of its proper assembly. Align the Center of the headjoint s Embouchure Hole with the Center of the first un-depressed key on the body similarly to the flute. Additionally, when holding the piccolo, be sure that the keys stay parallel to the floor to provide the optimal hand position. Headjoint tenon Apply grease to cork as shown at right. Do not put grease on the silver section shown left. Apply Grease to entire cork When Assembling the piccolo hold the sections as shown below. Left hand grips right below tenon Right hand grips bottom of headjoint firmly Always assemble the Piccolo parallel to the floor and always be sure to twist clockwise when assembling and counter clockwise when disassembling the sections. Never grab the piccolo s keys when assembling or disassembling. When properly assembled, the piccolo s keyboard will be parallel to the floor with the keys upright. Like the flute, this provides for an optimal hand position and the best technical control. Where to mark proper alignment on a piccolo 6/11/2018 COPYRIGHT TRACY L. HARRIS 2018` 5

6 #2 Proper Hand/Body Position For Flute & Piccolo 6/11/2018 COPYRIGHT TRACY L. HARRIS

7 #2 Proper Hand/Body Position for Flute Easy to follow guidelines to maximize the consistency of Your tone/technique The 2 C s Rule Developing a good technique requires the use of precise and consistently correct Hand position. Left Hand Right Hand Hover Mode Magnets to Metal Keeping the fingers low to the keys is essential to clean, quick technique. Right Hand From Performer s Perspective Left Hand From Performer s Perspective Both Hands From Performer s Perspective Both Hands From Conductor s Perspective 6/11/2018 COPYRIGHT TRACY L. HARRIS

8 #2 Proper Hand/Body Position for Piccolo Easy to follow guidelines to maximize consistency of tone/technique The Modified 2 C s Rule for Piccolo Hand position for piccolo is critical, especially since the fingers are much closer together than on the flute. Position the right hand in the shape of a collapsed C (similar to a vertical U) and the Left Hand up and positioned horizontally straight-on to the piccolo body. Center each finger carefully over each key. This keeps the fingers properly separated and away from the mechanism. It also reduces overall tension, a frequent byproduct of incorrect hand position. Left Hand Right Hand Hover Mode Magnets to Metal Just like the flute, keeping the fingers low to the keys is essential to clean, quick technique for the piccolo. Both Hands From Performer s Perspective Both Hands From Conductor s Perspective 6/11/2018 COPYRIGHT TRACY L. HARRIS

9 #2 Proper Hand/Body Position for Flute & Piccolo Easy to follow guidelines to maximize consistency of tone/technique Tracy s Pencil Rule for the Right Hand Check to see that you are not touching the mechanism/hinge tubing of their flutes or piccolos. Use the left hand, in concert with pressure applied with the left arm against the chin. Tracy s Pencil Rule applied to right hand The Pencil Rule helps to promote good hand position Body Position for both Standing and Sitting Angle of Flute and Piccolo should match the Angle of the Head This ensures that the airstream will hit the embouchure hole evenly and at the proper angle. Everyday practice in front of a mirror is essential to ensure consistency. 45 Degree angle standing in front of stand 45 Degree angle sitting in front of stand Positioning yourself at a 45 Degree angle to your stand will optimize field of vision while reading music. your breathing will also be more open and free. 6/11/2018 COPYRIGHT TRACY L. HARRIS

10 #3 Breathing The Essential Techniques for Flute and Piccolo 6/11/2018 COPYRIGHT TRACY L. HARRIS

11 #3 Breathing The Essential Techniques for Piccolo Easy to follow guidelines to maximize consistency of tone/technique It is essential that you know how to breathe correctly for optimal control and projection. I use the following description when working with flute/piccolo players and it always seems to resonate with students: Think of your lungs like two big balloons. Filling a balloon increases its size and letting air escape decreases its size. Breathing in inflates your lungs, and exhaling deflates them. Because your gut should relax and go out when breathing in, and goes in when breathing out, a proper breathing fundamental can be summed up as: IT S OUT WHEN IT S IN and IT S IN WHEN IT S OUT GUT S OUT WHEN AIR S IN" The Gut goes OUT when breathing IN GUT S IN WHEN AIR S OUT" The Gut goes IN when breathing Out If you get dizzy and/or feel tingling or numbness while breathing deeply you may be HYPERVENTILATING. To relieve these symptoms hold your breath or breathe into a paper bag until the symptoms pass. This is normal and will get better as you learn to breathe more deeply on a regular basis! Lack of Back Pressure and the Need for Constant Airspeed There is little or no back pressure when producing a tone on the Flute, although the piccolo is less extreme than the flute. When the air exits the lips there is no reed or mouthpiece to slow it down the airstream is basically unencumbered. Overall a large lung capacity must be maintained to generate and control a sufficiently fast airstream (the piccolo to a lesser extent). 6/11/2018 COPYRIGHT TRACY L. HARRIS

12 #4 Tone Secrets to Producing Amazing Tone Fast on Flute and Piccolo 6/11/2018 COPYRIGHT TRACY L. HARRIS

13 #4 Tone Secrets to Producing Amazing Tone Fast on Flute and Piccolo The Harris PIP Method 1. Place your index finger's PIP Joint (proximal interphalangeal - PIP for short) on the bottom of your chin (not under). 2. Form your best "Frowny"" embouchure, then relax your jaw and let it lower down and back a bit. Using your first finger, push against the chin with significant pressure while aiming your airstream straight down and centered on the PIP Joint. 3. Two ways to Confirm the Direction of the Airstream: A. You will feel the airstream clearly hitting your PIP Joint B. When placing your opposite hand in close proximity to your face, you should feel NO AIR hitting the palm of your hand while blowing down towards your PIP Joint 6/11/2018 COPYRIGHT TRACY L. HARRIS

14 #4 Tone Secrets to Producing Amazing Tone on Flute/Piccolo Smiley vs. Frowny Embouchure - Keep your smile on the inside! Correct Frowny Shaped Embouchure 1. Is more flexible, & produces stronger overtones fostering a rich sound & better intonation. 2. Maintains a rounder-shaped embouchure hole - its smaller size facilitates playability as notes ascend into the flute/piccolo's 2nd and 3rd registers. 3. More effectively directs the airstream INTO the flute/piccolo thus increasing the volume of air driven though the flute. This improves projection and improves the sound quality. 4. Increases scope of Dynamic palette and makes controlled Tapering of notes easier. Keep the embouchure plate pressed against the chin with significant pressure at all times when playing Improperly "floating the headjoint by barely pressing the lip plate against the lower lip allows the insufficiently compressed lip tissue to impede the proper aim of the airstream and thus producing a fuzzy tone. Incorrect Smiley Shaped Embouchure 1. Causes the corners of the mouth to turn upward, and pulls the lower lip away from and off of the embouchure plate. 2. Tenses the lips producing a very inflexible embouchure controlled mostly from the corners of the mouth. 3. Is usually too large and misshapen - does not readily change as needed for register shifts. 4. Misdirects the airstream focusing it improperly OVER the embouchure hole rather than INTO it, fuzzes the tone quality, weakens projection & worsens intonation throughout the registers. 5. Makes tapering and dynamic control much more difficult. 6/11/2018 COPYRIGHT TRACY L. HARRIS

15 #5 Properly Tuning a Flute and Piccolo 6/11/2018 COPYRIGHT TRACY L. HARRIS

16 #5 Properly Tuning a Flute & Piccolo Techniques for Tuning Intonation Challenges for Today s Flute/Piccolo Player When played in tune, the modern Flute/Piccolo sounds its most resonant and produces the clearest tone. Proper Intonation often demands alternate fingerings, the proper application of airspeed, correct headjoint placement, and use of the correct embouchure. If the intonation is consistently off, the head joint cork position and integrity should be checked prior to forcing an alternate fingering to correct the problem. The cork is integral to achieving good and proper intonation. Flute Headjoint cork assembly Piccolo Headjoint cork assembly 1. The 'crown'. 2. The cork 3. The front plate. 4. The back plate. 5. The threaded rod. Check for Correct Cork Position Inside Headjoint Check your headjoint cork placement every few months for best intonation. Good intonation requires ensuring that the cork located in the top of each flute/piccolo headjoint is properly positioned. Often the flute/piccolo crown can become loose so players tend to "over tighten" the crown. This movement of the cork steadily into the headjoint, towards the crown, produces a problem I call "Cork Creep. This cork migration too close towards the crown causes an extreme lowering of the produced pitch. Have your headjoint cork inspected professionally at least once a year to check whether the cork requires replacement. 6/11/2018 COPYRIGHT TRACY L. HARRIS

17 #5 Techniques for Properly Tuning a Flute & Piccolo The cork s position can be easily verified by inserting the end of the flute/piccolo cleaning rod into the headjoint. If the tick mark shows up exactly in the middle of the embouchure hole the cork is properly placed. Checking cork placement in Flute headjoint with cleaning rod Checking cork placement in Piccolo headjoint with cleaning rod Having a flexible jaw and embouchure is a must when it comes to playing in tune. TRIO DEMO Set it and forget it Flexible and Fabulous Trio Music Practice 6/11/2018 COPYRIGHT TRACY L. HARRIS

18 #5 Properly Tuning a Flute Techniques for Tuning Tuner Pick up with metronome You should tune with a tuner, using a pickup if possible. The tuner pickup/audio input jack makes it possible to tune without any interference from the other instruments in the rehearsal room. A common complaint from flute players is they cannot hear themselves over all the other instruments when tuning. Flute Choir Music Here. Pitch Tendencies of the Flute by Register & Dynamic Regardless of a note s register or dynamic, every flutist tends to sound sharp or flat to varying degrees. Knowing the pitch tendencies of the flute and piccolo throughout all the registers and dynamics is a mustand can be quickly learned. We can summarize these differences according to octave as follows: First/Low Register: To help prevent notes in this register from sounding flat, maintain a steady, robust airspeed. Remember that notes played with a louder dynamic such as a forte (ff) will tend to sound sharp and notes that are piano (p-pp) can be very flat. Second/Middle Register: Notes in this register will tend to flatten in softer dynamics and tend to sharpen when played using mezzo forte () and forte (f to ff) dynamics. Third/High Register: Maintaining a fast and consistent airspeed will prevent notes in this register from sounding flat when played using very soft dynamics. Please note when playing a louder dynamic such as a mezzo forte and forte, notes tend to go sharp. 3rd register D is notoriously flat especially when played using softer dynamics. The use of alternates is essential in this register. Pitch is effected by the Temperature of your playing environment. Molecules move more slowly in a cold environment, driving down the pitch, while molecules in a warmer environment move more quickly through the tubing, driving the pitch up. 6/11/2018 COPYRIGHT TRACY L. HARRIS

19 #5 Properly Tuning a Piccolo Conical or Cylindrical bore which one are you playing on? Piccolo Bore - Cylindrical Tubing vs. Conical Tubing: The exterior shape of the piccolo s body tube reflects the shape of its interior or bore. The bore determines the path of the flow of air through the piccolo which in turn affects the nature and quality of a piccolo s tuning tendencies. Piccolos are available with one of two different bore types: Cylindrical: Many student piccolos are made with a Cylindrical bore which means the body is the same diameter from one end to the other with straight parallel sides and the interior is shaped like a cylinder. It is often made of metal or composite materials and has a conical headjoint (tapers in diameter at the crown). Cylindrical - same diameter from end to end Conical: More expensive/professional piccolos are made with a Conical Bore, meaning that the body tapers in diameter from top to bottom reflecting the interior s conical shape, and attaches to a cylindrical headjoint. The Conical design, while a bit more difficult to play in the higher registers, often delivers a richer sound, a greater range of tone colors, and a superior intonation. Conical - tapers in diameter from top to bottom 6/11/2018 COPYRIGHT TRACY L. HARRIS

20 #6 Vibrato Production for Flute and Piccolo- Learn in Under 5 Minutes 6/11/2018 COPYRIGHT TRACY L. HARRIS

21 #6 Vibrato Production for Flute and Piccolo- Learn in Under 5 Minutes The lovely embellishment that Vibrato adds to a Flute/Piccolo s tone can be easily mastered using simple techniques. Properly practicing and applying these techniques will broaden the dimension of your flute/piccolo s sound and will increase your overall projection. "Hoot" your way to a terrific vibrato in 5 Steps! 1. Turn on your metronome to quarter note = 50 and say out loud who who who to each beat while moving as much air as possible with each who. 2. Next, try taking out the "w" and just say "ooh" "ooh" "ooh" in time with the metronome. 3. Once you feel coortable with steps 1 & 2, try connecting the "ooh" "ooh" "ooh's" together into one fluid line, and sing them with the metronome.. 4. Play a 2nd register D, and waver two times per beat blowing ooh ooh into your piccolo. Once you have mastered two ooh s per beat at quarter note=50, try wavering 3, then 4 then 5 wavers per beat,. The wavers should be evenly spaced throughout the beat. 5. Increase the tempo on your metronome one click at a time, mastering 2, 3, 4, 5 wavers per beat, until you reach quarter note = 60. Strive to achieve 5 ooh s or wavers per beat at quarter note = Practice the vibrato exercise below utilizing different dynamics from pp to ff making sure the quieter the dynamic, the narrower the vibrato (amplitude of the wave), and, conversely, the louder the dynamic, the wider the vibrato (amplitude of the wave). Vibrato Exercise Diagram of Amplitude of Wave for ff and for pp 6/11/2018 COPYRIGHT TRACY L. HARRIS

22 #7 Articulation - Single and Double Tonguing for Flute and Piccolo 6/11/2018 COPYRIGHT TRACY L. HARRIS

23 #7 Articulation - Single and Double Tonguing for Flute and Piccolo There are many kinds of articulation and each type should be played distinctly and with clarity. For many flute/piccolo players this is a challenge. Many students don t articulate at all or they use a breath articulation. When first attempting articulation, notes tend to crack and feel unstable, so many flute/piccolo players shy away from articulation in general. I have found the following techniques help with teaching the basics of articulation and they remove the mystery and fear that often comes with learning how to articulate: 1. How to achieve a Lively and Energetic Single Tongue Articulation Proper single tonguing technique needs a great deal of air speed to achieve balanced, clean articulation. To achieve this play a simple scale with breath articulation only, using the syllable "Hoo" "Hoo" "Hoo. It helps to flex the abdominal muscles as they play. Once they can play a simple scale with just breath articulation then have them try using their tongue with the same amount of airspeed behind each articulation using the syllable two. This will help you feel what it s like to play with the proper airspeed and how it feels to combine airspeed with an articulation. Play the exercise below and it will help you to have a much greater appreciation for the many kinds of articulations that exist. 2. Proper Embouchure is Essential to Maintaining a Quality Tone When Articulating The shape, tension and integrity of the embouchure determine tone quality while tonguing. Be sure you are not tonguing too softly or not at all, often a result of trying to achieve perfectly clean tone. And of course avoid the dreaded "Smiley" embouchure which will result in the tone cracking when tonguing. 6/11/2018 COPYRIGHT TRACY L. HARRIS

24 #7 Articulation - Single and Double Tonguing for Flute and Piccolo 3. Check to make sure your players are not falling into the habit of improperly STOPPING a note with the tongue. A note s release should be facilitated with the embouchure by either breaking the embouchure entirely or tapering/lifting off the note in conjunction with the proper airspeed/embouchure control. 4. Practice your scales with an articulation of the day - this is quite effective in helping players be more musically communicative. 5. Have students use earplugs when practicing articulation let them "feel how the tongue actually works inside of the mouth. 6. Too Koo and Doo Goo your way to a fantastic Double Tongue. A wonderful way to improve your double tonguing is t practice a Bb scale double tonguing each note 4 times too koo- too koo at mm = 60 to start. This will result in easier and cleaner articulation in tongued fast passages. (DEMO) 7. To strengthen double tonguing in a balanced way, sometimes reverse the syllables, and practice "Koo Too" or "Goo Doo" to strengthen the normally weaker "Koo" or "Goo" syllable. 8. When single or double tonguing let the airspeed do the work. Use plenty of airspeed to help the tongue sound crisp, clean and light. Ask them to lean back in their seats until they feel their abdominals flexing and then try some single and double tonguing. They will hear and feel a difference right away. 6/11/2018 COPYRIGHT TRACY L. HARRIS

25 #8 Care and Maintenance of the Flute and Piccolo 6/11/2018 COPYRIGHT TRACY L. HARRIS

26 #8 Care and Maintenance of the Flute & Piccolo Clear Do s and Do-Not s to keep Flutes and Piccolos properly Serviced and playing their best. Flutes and Piccolos are delicate instruments, despite the fact that they feel like cold, indestructible metal (or wood). Both must be handled with the utmost care in order for them to perform at their best. Care and Maintenance DO S DO - Always handle the instrument with great care, never grab or hold it by the keys when cleaning, assembling or disassembling it. DO - Always wash hands before playing the instrument. Dirty hands foster material deterioration. DO - Always brush the teeth before playing this prevents food sugars and acids from seeping into the instrument s mechanisms and pads. Such seepage ruins the pads and causes leaks. DO - Always have the instrument serviced by a professional repairperson at least two times a year to check the headjoint cork, as well as the pads to correct for wear and tear which may cause leaks. DO - Always swab out the instrument after every practice with a 100% cotton handkerchief use either a plastic or wooden cleaning rod. Don t use metal - this may scratch the instrument. DO Always insure instruments against theft or damage. Instrument insurance is available through companies which specialize in insuring musical instruments. DO - Always polish the parts that are not delicate including the main body tubing, headjoint, and keys with a silver polish cloth DO - Invest in a good piccolo or flute stand to rest the instrument upon when practicing field shows or any time the flute or piccolo is left unattended even for a brief period of time. Care and Maintenance DO NOT s DO NOT - Leave a flute or piccolo in a very hot or cold car. DO NOT -Travel with the instrument in the trunk. Instead buckle it into the seat. In an accident, a seatbelt may save the instrument s life and possibly someone else s life as well. DO NOT- Store the instrument s cleaning swab inside the case along with the instrument the pads will re-absorb all of the moisture just swabbed out of the instrument with that very cloth. DO NOT - Handle the instrument with dirty hands or play after just having eaten a meal/sugary substance. DO NOT - Leave the assembled instrument unattended where people can accidentally bump into it and cause potentially expensive damage. DO NOT - Leave the instrument out overnight or for any extended period of time outside of practice. DO NOT - Wash the instrument with any type of liquid or submerse any of its parts in water. 6/11/2018 COPYRIGHT TRACY L. HARRIS

27 #8 Care and Maintenance of the Piccolo A few words about Piccolo maintenance and preserving your hearing Wooden Piccolo Care and Maintenance Have students Oil wooden headjoints with either "Tung" or Almond oils - apply a very small amount (2 drops or so) on a towel and rub the inside and outside. Let the oil soak into the wood over the span of an hour and then wipe off the excess oil. Leave the oiled headjoint out of its case overnight to dry. DO NOT get any of the oil on the pads of the piccolo. If you feel you cannot do this safely then take the instrument to your band s local piccolo technician. Never leave a wooden piccolo out on a peg overnight. Always keep it stored in its case when not in use. Never store a wooden piccolo in extreme temperatures. Piccolo Player Healthcare Prevent permanent hearing damage by having students always protecting the ears with some form of hearing protection. Hearing damage is a clear and present danger to any piccolo player and their directors. I recommend the use of some form of hearing protection whenever playing the piccolo. There are very effective products now available that protect hearing while at the same time allowing the student to hear what they are playing quite clearly. Standard foam earplugs are helpful but often very hard to hear through. 6/11/2018 COPYRIGHT TRACY L. HARRIS

28 #9 Flute and Piccolo Fingering/Trill Charts with Alternate Fingerings /11/2018 COPYRIGHT TRACY L. HARRIS

29 #9 Flute and Piccolo Fingering/Trill Charts with Alternate Fingerings Easy to learn fingerings that will ensure consistent intonation throughout your registers. Some important recommendations regarding flute/piccolo fingerings: Good intonation is always a challenge, but there is a quick way to improve intonation through the utilization of a few, select alternate fingerings. The challenge regarding alternate fingerings has always been which one to use. For the band flute or piccolo player this can be overwhelming. Learning just a few alternate fingerings will alleviate the stress and confusion that often accompanies the use of alternates for better intonation. The following custom fingering charts I designed with the band/wind ensemble flute/piccolo player in mind. These fingerings were bench tested in hundreds of clinics with both plateau and French model flutes with both C and B foots to help distill down just one or two alternates where possible and very necessary. The sooner you get acquainted with the concept of alternate fingerings the faster you will see ear training progress and the more in tune you will play in your section. It is important to recognize that intonation is not just effected by register, but also by dynamic, test the few critical alternates at home with your chromatic tuner to see what works best for you. Some of the most problematic notes to play in tune in a section are unison pitches and especially unison pitches in the 3 rd register. I recommend that you teach just a few important alternates to start - perhaps one a week as follows: C# in 2 nd and 3 rd Register then 3 rd register E, F, F#,G#, A, A#, and C 4 th Register 6/11/2018 COPYRIGHT TRACY L. HARRIS

30 #9 Sample Flute Fingering Chart with Alternate Fingerings Easy to learn fingerings that will ensure consistent intonation throughout your flute/piccolo registers /11/2018 COPYRIGHT TRACY L. HARRIS

31 #9 Sample Flute Trill Chart with Alternate Fingerings Easy to learn fingerings that will ensure consistent intonation throughout your flute registers. It is important that you take the time to learn the correct trill fingerings for all trills you will be called upon to play. More often than not the fingerings are often approximated simply because students are unfamiliar with them and are sometimes too embarrassed to ask for assistance or clarification. I created simple to read charts with only one or two options for any particular trill to help remedy this problem. Your section will sound its best when everyone utilizes the right fingerings for each specified trill /11/2018 COPYRIGHT TRACY L. HARRIS

32 #9 Sample Piccolo Fingering Chart with Alternate Fingerings Easy to learn fingerings that will ensure consistent intonation throughout your piccolo registers /11/2018 COPYRIGHT TRACY L. HARRIS

33 #9 Sample Piccolo Trill Chart with Alternate Fingerings Easy to learn fingerings that will ensure consistent intonation throughout your piccolo registers. It is important that you take the time to learn the correct trill fingerings for all the trills you will be called upon to play. Just as with the flute, the trill fingerings are often approximated simply because students are unfamiliar with these fingerings, and are sometimes too embarrassed to ask for assistance or clarification. I created simple to read piccolo charts with only one or two options for any particular trill to help remedy this problem. Just as it is with your flute, your Piccolo and your section will sound their best when everyone utilizes the same trill fingerings for each specified trill /11/2018 COPYRIGHT TRACY L. HARRIS

34 9A A Great Example of Music That Uses Alternates: Sousa s Stars & Stripes Forever For Piccolos A fun and beneficial way for you to practice this iconic piccolo solo 6/11/2018 COPYRIGHT TRACY L. HARRIS

35 #10 Efficient Practice Routines and Mental Strategies for Competition 6/11/2018 COPYRIGHT TRACY L. HARRIS

36 #10 Efficient Practice Routines and Mental Strategies for Competition A good practice routine should be structured as follows : TECHNIQUE 40% - Scales, arpeggios, and technical studies TONE 20% - Tonal Studies INTONATION 10% - Octave studies, Perfect Fourths, Fifths, Arpeggios, Harmonic studies ARTUCLATION 10% - Single and Double tonguing with changes in articulation REPERTOIRE 20% - Solo Music/Band and Wind Ensemble Literature Top 4 Tips for a successful competition or chair test: BE TECHNICALLY PREPARED - Memorization BE MENTALLY TOUGH Mock Auditions BE FULLY WARMED-UP BEFORE THE AUDITION Run Though Your Practice Routine CONSULT A FLUTE PROFESSIONAL - Take lessons even one is beneficial 6/11/2018 COPYRIGHT TRACY L. HARRIS

37 #10 Efficient Practice Routines and Mental Strategies for Competition Addressing The Adrenaline Factor Adrenaline Factor warning signs Shaking hands, legs, lips Shortness of breath Excessive sweating Difficulty concentrating Racing heartbeat Hyperventilation Reducing the "Adrenaline Factor Preparation is EVERYTHING! Practice in a way that builds confidence practice slowly and methodically Seek out opportunities to perform in public Never let an imperfect performance cause long standing anxiety or doubt Don t converse with competitors during the audition process Try to minimize students physical over-exertion and undue stress before they audition to maintain normalized blood pressure and pulse Qualities of Successful Performers: GENUINE LOVE and TECHNICAL COMMAND of your instrument. UNDERSTANDING that being a Performing Artist" means the emphasis must be on Performing. COURAGE to stand up and perform as musically and artistically as possible. DETERMINATION to be as prepared as possible for every performance. 6/11/2018 COPYRIGHT TRACY L. HARRIS

38 Flute Resources by Tracy Harris Available at Flute Boot Camp Manual-Covers all Essential Flute Techniques Fingering Charts for Wall including selected alternate fingerings for better intonaion Picc Perfect Manual-Covers all Essential Piccolo Techniques for the Band Picc Player 6/11/2018 COPYRIGHT TRACY L. HARRIS

39 q = 76 An American Minute Composed for Tracy Harris (c)2018 All Rights reserved Todd Allan Harris Flute 1 5 Fl. 1 ff Fl. 1 8 f 11 Fl. 1 f 14 Fl. 1 f rit. f 17 Fl. 1 p

40 q = 76 An American Minute Composed for Tracy Harris (c)2018 All Rights reserved Todd Allan Harris Flute 2 Fl 2 5 ff Fl 2 8 f 11 Fl 2 f Fl 2 14 f rit. f Fl 2 17 p

41 q = 76 An American Minute Composed for Tracy Harris (c)2018 All Rights reserved Flute 3 Todd Allan Harris 5 Fl 3 ff Fl 3 8 f 11 Fl 3 f 14 Fl 3 f rit. f 17 Fl 3 p

42 An American Minute Composed for Tracy Harris (c)2018 All Rights reserved Todd Allan Harris q = 76 Piccolo 1 5 Picc.1 ff Picc.1 8 f 11 Picc.1 f Picc.1 14 f rit. f 17 Picc.1 p

43 q = 76 An American Minute Composed for Tracy Harris (c)2018 All Rights reserved Todd Allan Harris Piccolo 2 Picc. 2 5 ff 8 Picc. 2 f 11 Picc. 2 f Picc f rit. f 17 Picc. 2 p

44 Piccolo Flute I Flute II Flute III 1 Easy - A Folk Song Arranged for Tracy Harris by Todd Harris (c) 2018 q = 60 Picc. Fl. I 5 Fl. II Fl. III Picc. Fl. I Fl. II Fl. III 10

45 Piccolo 1 or Flute 1 1 q = Folk Song In The Round Arrangement Created for Tracy Harris by Todd Harris (c) Picc. 1 or Fl Picc. 1 or Fl Picc. 1 or Fl Picc. 1 or Fl Picc. 1 or Fl p 17 18

46 1 q = Flute 2 Folk Song In The Round Arrangement Created for Tracy Harris by Todd Harris (c) Fl Fl Fl Fl. 2 Fl p

47 1 q = Folk Song In The Round Arrangement Created for Tracy Harris by Todd Harris (c) Flute 3 4 Fl Fl Fl Fl Fl p 18

48 1 q = Folk Song In The Round Arrangement Created for Tracy Harris by Todd Harris (c) Flute 4 Fl Fl Fl Fl. 4 Fl p 17 18

49 1 Scaling D Composed for Tracy Harris - (c)2018 All Rights Reserved q=114 Flute 1 Todd A. Harris 5 Fl.1 10 Fl.1 Fl Fl.1 Fl.1 rit. 25

50 1 Scaling D Composed for Tracy Harris - (c)2018 All Rights Reserved q=114 Flute 2 Todd A. Harris Fl Fl.2 Fl Fl.2 Fl.2 rit. 25

51 Piccolo 1 Scaling D Composed for Tracy Harris - (c)2018 All Rights Reserved q=114 Todd A. Harris 1 5 Picc Picc. 1 Picc Picc. 1 Picc. 1 rit. 25

52 1 Scaling D Composed for Tracy Harris - (c)2018 All Rights Reserved q=114 Piccolo 2 Todd A. Harris 5 Picc Picc. 2 Picc Picc. 2 Picc. 2 rit. 25