sample 2016 by Theodore Presser Company All Rights Reserved Printed in U.S.A. International Copyright Secured

Similar documents
Keys: identifying 'DO' Letter names can be determined using "Face" or "AceG"

TMEA ALL-STATE AUDITION SELECTIONS

Mastering the Language of Jazz

Mastering the Language of Jazz

The Goal of this Session is to help attendees answer the three questions.

Mastering the Language of Jazz


Information Sheets for Proficiency Levels One through Five NAME: Information Sheets for Written Proficiency Levels One through Five

Advanced Orchestra Performance Groups

Preparatory Orchestra Performance Groups INSTRUMENTAL MUSIC SKILLS

INSTRUMENTAL MUSIC SKILLS

Power Standards and Benchmarks Orchestra 4-12

INSTRUMENTAL MUSIC SKILLS

Poway Unified School District Instrumental Music Scope and Sequence Grades 5 through 12

Fink Advanced Musical Etudes, 112 Studies based on Blazhevitch's Etudes Accura No. 154

Flute Studio University of Idaho GUIDELINES for ADMISSION TO MusA 115

TMEA ALL-STATE OBOE MASTERCLASSES Before we begin with the selections, following are general suggestionsfor preparation:

Plainfield Music Department Middle School Instrumental Band Curriculum

COURSE: Instrumental Music (Brass & Woodwind) GRADE(S): Level I (Grade 4-5)

Music theory B-examination 1

Curriculum Map for Intermediate Orchestra Grades 8.1

Middle School Intermediate/Advanced Band Pacing Guide

WSMTA Music Literacy Program Curriculum Guide modified for STRINGS

Lesson 1. Grade Level(s)/Type of Ensemble: 8 th Grade Band. Central Focus: Compound Meter

MR. DICKSON'S METHOD FOR BAND

Starter Packet for Flute

INSTRUMENTAL MUSIC SKILLS

Elementary Strings Grade 5

œ œ œ œ œ œ œ œ œ œ Playing on the 3 Black Keys Dr. Kathy Rabago Right Hand Left Hand A quarter note ( q ) = 1 beat

Flute Pedagogy. First Lessons--Flute. Mel Bay's First Lessons--Flute is an easy method for beginning players of all ages.

Oskaloosa Community School District. Music. Grade Level Benchmarks

Beginning Band Primer Part 1

The Kikuchi Music Institute Library. Creating Music LEVEL ONE. A comprehensive course in music composition. By Lee W. Kikuchi

2. ARTICULATION The pupil must be able to able to articulate evenly and clearly at a variety of slow to medium tempos and demonstrate a good posture

ADVANCED STUDY GUIDE

PRESCOTT UNIFIED SCHOOL DISTRICT District Instructional Guide January 2016

Beginning Band Primer Part 1

Benchmarks: Perform alone on instruments (or with others) a varied repertoire Perform assigned part in an ensemble

Content Area Course: Band Grade Level: Eighth Instrumental Music - Band

BEGINNING INSTRUMENTAL MUSIC CURRICULUM MAP

Greeley-Evans School District 6 Year One Beginning Orchestra Curriculum Guide Unit: Instrument Care/Assembly

Sample assessment task. Task details. Content description. Task preparation. Year level 9

Florida Performing Fine Arts Assessment Item Specifications for Benchmarks in Course: M/J Chorus 3

FLUTE 101: MASTERING THE BASICS. A Method for the Beginning Flutist PHYLLIS AVIDAN LOUKE PATRICIA GEORGE PRESSER. with Teaching and Phrasing Guides

UPSIDE-DOWN SCALE STUDIES FOR IMPROVISATION

TEACHER S GUIDE to Lesson Book 2 REVISED EDITION

Clark County School District Las Vegas, Nevada

Intermediate Concert Band

Elementary Strings Grade 4

2012 Directory of Music Schools NO LOGIN REQUIRED

Greenwich Public Schools Orchestra Curriculum PK-12

Selection 3. Page(s): 52. Etude Title: 32 Etudes, 3. Key: G Major Etude Title: 32 Etudes, 6

Beginning Band Primer Part 1

Clarinet Basics, Foundations for Clarinet Players

The Keyboard. the pitch of a note a half step. Flats lower the pitch of a note half of a step. means HIGHER means LOWER

UPSIDE-DOWN SCALE STUDIES FOR IMPROVISATION

Piano Safari Repertoire Book 2

8 th Grade Concert Band Learning Log Quarter 1

Rests & 4 4 Œ Œ Œ Œ. 5. Write the count below the notes and rests, then clap and count the rhythm out loud.

MISD Bands - Level 1

DEPARTMENT/GRADE LEVEL: Band (7 th and 8 th Grade) COURSE/SUBJECT TITLE: Instrumental Music #0440 TIME FRAME (WEEKS): 36 weeks

Page 8 Lesson Plan Exercises Score Pages 81 94

Instrumental Music II. Fine Arts Curriculum Framework

Assessment Schedule 2017 Music: Demonstrate knowledge of conventions used in music scores (91094)

J. JENNINGS PUBLISHING COMPANY 5012 Kahn Street, Carmichael, CA 95608

Marion BANDS STUDENT RESOURCE BOOK

Band 5. Aural/visual. CFA for LT2 Aural/Visual

AP MUSIC THEORY 2016 SCORING GUIDELINES

BAND REPORTING SCALES AND CURRICULUM GUIDE 2/9/2016

Elements of Music David Scoggin OLLI Understanding Jazz Fall 2016

Blue Gold Black Green Red

Instrumental Performance Band 7. Fine Arts Curriculum Framework

Table of Contents. Lesson Page Material Major Scales (Up to 4 flats/sharps) Key Signatures

THE ANGLO-AMERICAN SCHOOL OF MOSCOW. K-12 Music

INTERMEDIATE ORCHESTRA

Content Area Course: Chorus Grade Level: 9-12 Music

Department of Teaching & Learning Parent/Student Course Information. Band (MU 9230) One Credit One Year Grade 6

Richardson Area Bands

Ultimate Music Theory Certification Course INTERMEDIATE RUDIMENTS

ABOUT THIS EDITION. Exploring Piano Masterworks 3

Instrumental Music II. Fine Arts Curriculum Framework. Revised 2008

œ œ œ œ œ œ œ œ œ œ œ

Instrumental Music I. Fine Arts Curriculum Framework. Revised 2008

Department of Teaching & Learning Parent/Student Course Information. Beginning Orchestra Grades 9-12 One Credit Per Year (MU 9237)

MUSIC PROGRESSIONS. Curriculum Guide

Content Area Course: Chorus Grade Level: Eighth 8th Grade Chorus

Sample Teaching Inventory Database:

Hall Crystal Flutes U A & = HALL. James Hall. Handmade in. James & Jenny Hall. Retail 2018 CRYSTAL FLUTES.

Flute and Piccolo. Selection 1. Selection 2. Page(s): 48. Edition EA Book - Editor Title Publisher

Chapter 2: Beat, Meter and Rhythm: Simple Meters

Pathway to a Beautiful Flute Sound

Instrumental Music III. Fine Arts Curriculum Framework. Revised 2008

NCEA Level 2 Music (91275) 2012 page 1 of 6. Assessment Schedule 2012 Music: Demonstrate aural understanding through written representation (91275)

Department of Teaching & Learning Parent/Student Course Information. Intermediate Orchestra (MU 9238) One Credit Per Year Grades 9-12

Audition Information Cello

Euphonium Topics. by Master Sergeant Carlyle Weber Master Sergeant Donald Burleson Field Band Drive Fort Meade, Maryland

Cadet Music Theory Workbook. Level One

Special Studies for the Tuba by Arnold Jacobs

Objective 2: Demonstrate technical performance skills.

AP Music Theory. Sample Student Responses and Scoring Commentary. Inside: Free Response Question 1. Scoring Guideline.

Transcription:

3 Table of ConTenTs About This Book...4 1. Vibrato...5 2. Headoint Octaves...6 3. Vibrato Initiation and Single Notes...7 Two-Octave Scales: Maor and Relative Melodic Minor...8 4. Continuous Vibrato: Putting the Cycles Together...10 5. Vibrato Placement, and On and Off...11 6. Vibrato Speed...12 7. Vibrato and Harmonics...13 8. Preliminary Vibrato Practice...14 9. Melodies in Simple Meter...16 Two or Three Vibrato Cycles per Quarter-Note 10. Melodies in Simple Meter with Dotted Rhythms...19 Two Vibrato Cycles per Quarter-Note 11. Melodies in Simple Meter with Pick-Up Notes...21 Two Vibrato Cycles per Quarter-Note 12. Melodies in Simple Meter...23 13. Duet Melodies...26 14. Melodies in Simple Meter with Dotted Rhythms...27 15. Melodies in Simple Meter with Pick-Up Notes...32 16. Melodies in Compound Meter...36 17. Repeated Notes and Articulatory Silence...39 18. Two-Note Slurs and Sigh Figures...40 19. Harmonic Melodies in Simple Meter...42 20. Refining and Polishing...45 2016 by Theodore Presser Company All Rights Reserved Printed in U.S.A. International Copyright Secured 414-41217 Unauthorized copying, arranging, adapting, recording, or digital storage or transmission is an infringement of copyright. Infringers are liable under the law.

About This Book VIBRATO Vibrato is one of the most controversial topics in flute playing. One school of thought maintains it cannot and should not be taught; adding it will appear in the sound once the flutist has found his musical, expressive soul. Another school of thought champions that vibrato can and should be taught once the teacher hears any suggestion of natural vibrato in the student s tone. Part of the mystique of flute vibrato has been the lack of understanding about how it is produced. Modern technology has now given us the tools to understand vibrato production. Once understood, it becomes clear how to approach the teaching of vibrato; however, discovering the artistic and expressive usage of vibrato takes a lifetime. For a video demonstration of vibrato production: http://fabulousflute.com/teaching-tips/. Violinists of the past have had a huge impact on modern vibrato usage. Fritz Kreisler (1875-1962) was the first violinist to use a continuous vibrato in performances even though the use of vibrato had been written about in early violin treatises. Isaac Stern (1920-2001) reflected, The vibrato should be carefully planned. Jascha Heifetz (1901-1987) said, Vibrato...is part of each individual musical personality, something one is born with...expressing one s temperament. Most violinists learn to vibrate in their first year of study. This should be true in flute pedagogy also. This book defines vibrato, explains how vibrato is produced, offers a wealth of information about learning and refining the skill, and its usage. Well-known melodies are used throughout so the flutist can focus on the vibrato production. Whether you developed a natural vibrato or are learning vibrato for the first time, the explanations and exercises in this book will enhance your vibrato production and control. This book is designed for flutists of all ages and levels of advancement. Basic Suggestions FLUTE ALIGNMENT: Align the flute the same way each time. Pull the headoint ¼ inch from the body. STANCE: Generally flutists should stand for lessons and practice. Place the left foot in front (at the 12:00 position) and right foot in back (at the 3:00 position) as if serving a tennis or volleyball. The left foot should be pointed to the center of the music stand and the lower body angled 45º to the right. As the head turns to the left, the upper body slightly spirals to the left to achieve the lineup of nose, aperture, embouchure hole, and left elbow crease with the center of the music stand. When sitting to play, rotate the chair 45º to the right and repeat the above directions achieving the same lineup of nose, aperture, embouchure hole, and crease in the left elbow with the center of the music stand.

HEADJOINT OCTAVES Practice the following exercises alternating octaves on the headoint. There should be no movement in the aw, chest, or abdomen. The HAH staccato is detached (HAH HAH HAH), and playing the HAH staccato slurred (HAH-AH-AH) creates the vibrato cycle. Vibrato is learned more quickly when using the chunking technique. With the chunking technique, play a one-inch chunk or group of notes, followed by a rest. Breathe in every rest. While the headoint pitches are approximately A1 and A2, the exact pitch of the low and high notes may vary depending on the design of the headoint. With the headoint only, alternate HAH staccatos (HAH HAH HAH) with HAH staccatos slurred (HAH-AH-AH). q = 60 1. 2. & 4 œ. œ. J œ. J œ. œ. J œ. J 4x. & 4 4 HAH HAH HAH p HAH-AH -AH With the headoint only, play HAH staccatos slurred on Exercise 2 to create vibrato cycles. q = 60 œ. œ. œ. œ. œ. œ. œ. œ. 3 3 & œ. œ. œ. œ. œ. œ. 3 3 œ. œ. œ. œ. Œ Ó œ. œ. œ. œ. œ. œ. Œ Ó 3 œ œ. œ. œ. Œ Ó. œ. œ. œ. œ. œ. 3 3 œ. œ. œ. œ. œ. œ. œ. œ. œ. Œ Ó 3 3 œ. œ. œ. œ. œ. œ. œ. œ. & œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. Œ Ó @ @ œ @ œ... @ @ Œ Ó simile 3 4x

MELODIES IN SIMPLE METER Two or Three Vibrato Cycles per Quarter-Note Using the metronome, practice the following steps: Go Tell Aunt Rhody & b 4 1. œ œ œ œ œ œ œ œ œ œ w Au Clair de la Lune 2. 1. Count Aloud: Practice subdividing by 2s [1 & 2 & 3 & 4 &], then 3s [1 la li, 2 la li, 3 la li, 4 la li]. 2. Use Articulations: Practice subdividing each beat by 2s, then 3s using the articulations T, K, then HAH staccatos to fill in the background of each beat. 3. Vibrate with HAH staccatos slurred with 2, then 3 vibrato cycles per beat. Start each note with the tongue, unless the note is under a slur. Play at a p to mf dynamic with no movement in the aw, chest, or abdomen. q = + 100 4. When appropriate, also play the melodies on pages 16-38 at 8va and 15ma. & b 4 4 œ Old MacDonald & c œ œ œ 3. œ œ œ Sur le Pont d Avignon œ œ œ œ œ œ œ w œ œ œ œ œ œ œ œ w œ œ œ œ w œ œ œ œ œ œ Traditional French Folk Song Children s Song œ œ œ œ w & bb 4 4. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Twinkle Twinkle Little Star & # 4 5. œ œ œ œ œ œ œ œ œ œ œ œ & # œ œ œ œ œ œ œ œ œ œ œ œ French Folk Song œ French Folk Song œ œ œ œ œ œ œ œ œ œ œ œ

Morning Mood from Peer Gynt Suite No. 1, Op. 46 6. & # # # # 8 6 œ Allegretto pastorale p œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Repeat, playing 3 vibrato cycles per eighth note. Sicilienne from Pelléas et Melisande, Op. 80, measures 1-9 Allegretto molto moderato & b b 8 6 7. Œ Œ œ p œ dolce œ J œ J œ & bb œ J œ œ œ b œ œ œ J œ π Fantaisie, Op. 79, measures 1-19 8. & # 8 6 Andantino. p dolce œ œ œ œ œ. œ. œ. œ. œ œ œ n œ J # œ œ œ œ œ œ # œ œ. # œ œ nœ œ. Edvard Grieg œ œ œ Gabriel Fauré œ J œ œ Gabriel Fauré & # œ œ. œ. n œ. œ. œ œ œ. # œ œ œ œ œ œ. œ œ œ. œ. œ. œ. œ œ œ. œ. œ. # œ # œ. & # f & # nœ œ nœ œ. œ. œ. œ œ œ œ œ œ œ œ œ œ œ # œ # œ œ. œ. œ. n œ. œ œ œ # œ nœ. # œ œ. œ. œ. n œ. œ œ œ. #œ œ Œ.