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by
Christine Elizabeth Beard
2003
The Treatise Committee for Christine Elizabeth Beard Certifies that this is
the approved version of the following treatise:
Excerpts for Flute from the Wind Band Literature: An Annotated
Guide for Practice, Performance, and Audition Preparation,
Presented as a Progressive Supplementary Teaching Method
Committee:
Donald J. Grantham, Supervisor
Karl F. Kraber, Co-Supervisor
Jerry F. Junkin
Kristin Wolfe Jensen
Glenn A. Richter
Mike Anzaldua, Jr.
Excerpts for Flute from the Wind Band Literature: An Annotated
Guide for Practice, Performance, and Audition Preparation,
Presented as a Progressive Supplementary Teaching Method
by
Christine Elizabeth Beard, B.M., M.M.
Treatise
Presented to the Faculty of the Graduate School of
The University of Texas at Austin
in Partial Fulfillment
of the Requirements
for the Degree of
Doctor of Musical Arts
The University of Texas at Austin
December 2003
Dedication
This project is dedicated to my parents, Herbert R. and Elizabeth J. Erlander, and
to my mother-in-law, Pat Beard; they did not live to see me complete this degree,
but all played significant roles in my life which enabled me to accomplish this
goal. They are deeply missed but not forgotten.
v
Acknowledgements
I would like to thank the following persons, for without them, neither this
project nor the completion of this degree would have been possible: Paul Bissell,
for his friendship, inspiration, talent, and the countless hours spent preparing me
for the music history comprehensive exit examinations; Kimberly Bissell, for her
friendship; Dr. James Saker, for being a terrific colleague and friend; Dan
Welcher, Jerry Junkin, and Karl “Fritz” Kraber, all of whose artistry and
dedication to their craft constantly inspire me; Kristen Jensen and Dan Welcher
for the time they both freely gave helping me put job materials together; Joe
Bonner, for being a superb teacher and friend; the entire staff at the Texas Music
Educators Association, but especially Susan Daugherty and Bob Floyd, who were
wonderful to work for and who whole-heartedly supported me in my academic
and professional endeavors; Michelle Vigneau, Larisa Montanaro, and Steve
Kostelnik, for their talents and friendship; and finally my incredible husband,
Michael, for unselfishly placing all of his own goals and aspirations on hold until
I reached my own.
vi
Preface and Explanation of Symbols
Across the United States, the majority of public school students who
choose instrumental music as an elective will spend many years of their lives
playing in a wind band. In small school districts throughout the country, often the
student’s only option is to play in a band due to the absence of an orchestra
program. Even at the collegiate level (especially at small institutions), only a
handful of wind and percussion players will be given the opportunity to play in an
orchestra; most will receive their musical training and performance experience
through the school’s band program.
The literature for wind band is vast and constantly expanding. As
prominent composers continue to explore this medium, the repertoire will
continue to be challenging and musically rewarding for musicians at all levels.
Professional wind bands are gaining in popularity and acceptance throughout the
world, and auditions for positions into these ensembles (including military bands)
are as competitive as those for professional orchestras. Comprehensive resources
utilizing this literature are needed for beginning- and intermediate-level wind
players to assist them in their daily practice to reinforce proper techniques, as well
as to help more advanced musicians prepare for performances and auditions.
Throughout the course of this book, the hands are each referred to as “LH”
or “RH” (left hand and right hand, respectively), while the fingers are referred to
by numbers - one through four. As shown in the chart below, “RH1” refers to the
vii
first finger of the right hand; likewise, “LH4” refers to the fourth (i.e., “pinky”)
finger in the left hand:
Table 1: Chart demonstrating the fingering system used throughout this book.
The range of the flute is abbreviated using a numbering system derived
from the octave in which each note occurs, where each octave begins on C and
ends on B. The notes in the first or lowest octave of the flute each have a
designation of “1,” whereas the fourth or highest octave notes have a “4.” Hence,
the D in the staff is labeled “D2” while the G four ledger lines above the staff is
notated “G3.”
Table 2: Numbering system of the flute range used throughout this book.
viii
Excerpts for Flute from the Wind Band Literature: An Annotated
Guide for Practice, Performance, and Audition Preparation,
Presented as a Progressive Supplementary Teaching Method
Publication No._____________
Christine Elizabeth Beard, D.M.A.
The University of Texas at Austin, 2003
Supervisors: Donald Grantham and Karl F. Kraber
The primary intent of this thesis is to put together a comprehensive
collection of the most important excerpts for flute from the wind band repertoire.
In addition to providing detailed instructions on how to practice and perform these
excerpts, the excerpts are organized into chapters dealing with specific aspects of
flute playing: tone development, vibrato production, articulation, intonation,
dynamics, technique, etc. In this format, not only does this collection result in an
excellent source of wind band excerpts for flute, but it also functions as a
supplementary progressive teaching method.
ix
Table of Contents
Preface and Explanation of Symbols ...................................................................vi
List of Tables ................................................................................................... xiii
List of Musical Examples..................................................................................xiv
Chapter I: Tone ...................................................................................................1 The Low Register ........................................................................................1
Camphouse, Mark: A Movement for Rosa ...........................................3 The Middle Register ....................................................................................6
Menin, Peter: Canzona........................................................................7 Grainger, Percy: Lincolnshire Posy .....................................................9
The High Register .....................................................................................13 Ives, Charles: Variations on “America”............................................15 Menin, Peter: Canzona......................................................................17 Holst, Gustav: First Suite in Eb..........................................................18
Chapter II: Vibrato.............................................................................................19 Varying the Vibrato...................................................................................20
Copland, Aaron: Variations on a Shaker Melody ..............................23 Wagner, Richard: Elsa’s Procession to the Cathedral .......................25 Holst, Gustav: First Suite in Eb..........................................................29
Playing Without Vibrato............................................................................30 Grantham, Donald: Bum’s Rush ........................................................31
Chapter III: Articulation (Part 1) .......................................................................34 Single Tonguing........................................................................................34
Del Tredici, David: In Wartime.........................................................37 Maslanka, David: Symphony No. 4...................................................38
Slurring .....................................................................................................40
x
Schoenberg, Arnold: Theme and Variations, Op.43a.........................43 Daugherty, Michael: Niagara Falls...................................................46
Mixed Articulations...................................................................................49 Milhaud, Darius: Suite Francaise......................................................50 Maslanka, David: Symphony No. 4...................................................53
Chapter IV: Dynamics.......................................................................................56 Loud Playing.............................................................................................56
Maslanka, David: Symphony No. 4...................................................58 Soft Playing...............................................................................................60
Chabrier: March Joyeuse ..................................................................62 Dynamic Contrast......................................................................................64
Grantham, Donald: Phantasticke Spirites ..........................................65
Chapter V: Intonation........................................................................................70 The Low Register ......................................................................................73
Husa, Karel: Apotheosis of This Earth...............................................74 Grainger, Percy: Molly on the Shore .................................................76
The Middle Register ..................................................................................77 Persichetti, Vincent: Symphony No. 6...............................................78 Young, Charles R.: Tempered Steel...................................................81
The High Register .....................................................................................84 Hindemith, Paul: “March” from Symphonic Metamorphosis .............86 Welcher, Dan: Castle Creek Overture ...............................................88
Chapter VI: Breathing and Phrasing ...................................................................90 Holst, Gustav: Hammersmith ............................................................94 Grantham, Donald: Fantasy Variations .............................................96
Chapter VII: Articulation (Part 2).....................................................................100 Double Tonguing.....................................................................................100
Husa, Karel: Apotheosis of This Earth.............................................102
xi
Bernstein, Leonard: Overture to Candide ........................................103 Ives, Charles: Variations on “America”..........................................104 Daugherty, Michael: Niagara Falls.................................................106
Triple Tonguing ......................................................................................108 Hindemith, Paul: “March” from Symphonic Metamorphosis ...........110
Chapter VIII: Trills and Embellishments ..........................................................112 Trills. ......................................................................................................112
Hindemith, Paul: “March” from Symphonic Metamorphosis ...........116 Grace Notes.............................................................................................117
Ives, Charles: Variations on “America”..........................................118 Arnold, Malcolm: Tam O’Shanter...................................................120 Godfrey, Daniel: Jig .......................................................................121 Arnold, Malcolm: Four Scottish Dances .........................................122
Glissandi .................................................................................................123 Welcher, Dan: Castle Creek Overture .............................................124 Bernstein, Leonard: Overture to Candide ........................................126
Chapter IX: Special Fingerings.........................................................................129 Trill Fingerings and Harmonics ...............................................................129
Holst, Gustav: Hammersmith ..........................................................131 Holst, Gustav: First Suite in Eb........................................................133 Arnold, Malcolm: Four Scottish Dances .........................................134 Maslanka, David: Symphony No. 4.................................................135
Some Common Alternate Fingerings .......................................................137
Chapter X: Technique and Rhythm ..................................................................145 Arnold, Malcolm: Four Scottish Dances .........................................145 Grainger, Percy: Colonial Song.......................................................148 Hindemith, Paul: Symphony in Bb...................................................149 Grainger, Percy: Molly on the Shore ...............................................152
xii
Grainger, Percy: Lincolnshire Posy .................................................155 Reynolds, Verne: Scenes.................................................................158
Chapter XI: Extended Techniques ....................................................................162 Flutter-Tonguing .....................................................................................162
Bernstein, Leonard: Four Dances from “West Side Story” ..............164 Del Tredici, David: In War Time.....................................................166
Quarter-Tones .........................................................................................167 Husa, Karel: Apotheosis of This Earth.............................................168
Pitch Bends, Slides and Quarter-Tone Glissandi ......................................170 Wilson, Dana: Shakata....................................................................171 Husa, Karel: Apotheosis of This Earth.............................................173
Contemporary Notations..........................................................................174 Schwantner, Joseph: . . . and the mountains rising nowhere . . . ......175
Appendix A: Musical Examples Cited by Composer ........................................177
Appendix B: Musical Examples Cited by Title.................................................179
Appendix C: Musical Examples Cited by Publisher..........................................181
Works Consulted..............................................................................................183
Vita…..............................................................................................................185
xiii
List of Tables
Table 1: Chart demonstrating the fingering system used throughout this
book.............................................................................................. vii
Table 2: Numbering system of the flute range used throughout this book.... vii
Table 3: Vibrato illustrations. ......................................................................19
Table 4: Intonation chart to map the flute’s pitch tendencies. .......................71
Table 5: Trill chart of whole step and half-step trills ..................................115
Table 6: Chart of alternate fingerings for flute with description of how
each fingering affects the tone and/or pitch of the note. ................144
xiv
List of Musical Examples
Example 1: Low register tone exercise................................................................1
Example 2: Low register tone exercise involving leaps. ......................................2
Example 3: Excerpt from A Movement for Rosa by Mark Camphouse. ...............3
Example 4: Method of practicing the final three notes of the Camphouse
solo. .................................................................................................4
Example 5: Camphouse solo transposed for further use as low register tone
study. ...............................................................................................5
Example 6: Middle register tone exercise............................................................6
Example 7: Solo from Canzona by Peter Menin. ................................................7
Example 8: Modified solo from Canzona to show phrasing. ...............................8
Example 9: Excerpt from “Harkstow Grange,” the second movement of
Lincolnshire Posy by Percy Grainger. ..............................................9
Example 10: Grainger excerpt transposed for further use as a middle register
tone study. .....................................................................................12
Example 11: High F3..........................................................................................14
Example 12: High register tone exercise. ............................................................14
Example 13: Excerpt from Variations on “America” by Charles Ives (arr.
Schuman/Rhoads) ..........................................................................15
Example 14: Excerpt from Canzona by Peter Menin...........................................17
Example 15: Solo from the second movement of First Suite in Eb by Gustav
Holst. .............................................................................................18
Example 16: Low/middle register vibrato Exercise No.1 pulsing eighth notes. ...21
xv
Example 17: Low/middle register vibrato Exercise No. 2 pulsing eighth notes. ..21
Example 18: Vibrato exercises pulsing groupings of eighth notes in fives,
sixes and sevens. ............................................................................22
Example 19: Excerpt from Variations on a Shaker Melody by Aaron Copland. ..23
Example 20: Opening flute solo from Elsa’s Procession to the Cathedral from
“Lohengrin” by Richard Wagner (arr. Cailliet)...............................25
Example 21: Flute solo from the first movement of First Suite in Eb by Gustav
Holst. .............................................................................................29
Example 22: Modified solo from the first movement of Holst’s First Suite in
Eb. ..................................................................................................29
Example 23: Excerpt from Bum’s Rush by Donald Grantham. ............................31
Example 24: Exercise for subdividing and counting quarter note triplets found
in Bum’s Rush by Donald Grantham. .............................................31
Example 25: Exercise for smoothing out the intervals found in Bum’s Rush. ......33
Example 26: Exercise for developing articulation and tone. ................................36
Example 27: Excerpts from “Hymn,” the first movement of In Wartime by
David Del Tredici. .........................................................................37
Example 28: Excerpt from Symphony No. 4 by David Maslanka........................38
Example 29: Exercise for slurring intervals (can be transposed to start on any
note). .............................................................................................42
Example 30: Excerpt from Schoenberg’s Theme and Variations, Op.43a. ..........43
Example 31: Excerpt from Niagara Falls by Michael Daugherty........................46
xvi
Example 32: Exercise for practicing interval leaps in Daugherty’s Niagara
Falls. .............................................................................................48
Example 33: Exercise for counting excerpt from Daugherty’s Niagara Falls......48
Example 34: Example of different combinations of articulations which can be
applied to scale study. ....................................................................49
Example 35: Excerpt from “Provence,” the fifth movement of Suite Francaise
by Darius Milhaud. ........................................................................50
Example 36: Second flute solo from “Provence,” the fifth movement of Suite
Francaise by Darius Milhaud.........................................................52
Example 37: Excerpt from Symphony No. 4 by David Maslanka........................53
Example 38: Exercise for left hand pressure to help control volume. ..................56
Example 39: Excerpt from Symphony No. 4 by David Maslanka........................58
Example 40: Etude for dynamic contrast and lip flexibility (original
composition based on similar studies by Marcel Moyse). ...............61
Example 41: Excerpt from March Joyeuse by Emmanuel Chabrier (arr. F.
Junkin)...........................................................................................62
Example 42: Excerpt from Phantasticke Spirites by Donald Grantham...............65
Example 43: Excerpt from “Postscript,” the final movement of Apotheosis of
This Earth by Karel Husa...............................................................74
Example 44: Special E2 fingering useful in the Husa solo. .................................75
Example 45: Low register exercise to help develop strength in the RH pinky
finger. ............................................................................................75
Example 46: Low register excerpt from Molly on the Shore by Percy Grainger...76
xvii
Example 47: Excerpt from the third movement of Symphony No. 6 by Vincent
Persichetti. .....................................................................................78
Example 48: Excerpt from Tempered Steel by Charles R. Young........................81
Example 49: Fingerings for high Bb3. .................................................................84
Example 50: Excerpt from “March,” the final movement from Symphonic
Metamorphosis by Paul Hindemith (arr. Wilson)............................86
Example 51: Alternate fingering for Bb3. ............................................................87
Example 52: Excerpt from Castle Creek Overture by Dan Welcher (arr.
Bissell)...........................................................................................88
Example 53: Excerpt from Hammersmith by Gustav Holst. ................................94
Example 54: Excerpt from Fantasy Variations by Donald Grantham..................96
Example 55: Exercise to develop double tonguing and to generate a back
stroke that is equal to the front stroke. ..........................................101
Example 56: Variation of the previous double tongue exercise. ........................101
Example 57: Second variation of the previous double tongue exercise. .............102
Example 58: Excerpt from “Postscript,” the third movement of Apotheosis of
This Earth by Karel Husa.............................................................102
Example 59: Excerpt from Overture to Candide by Leonard Bernstein (arr.
Beeler). ........................................................................................103
Example 60: Excerpt from Variation I of Variations on “America” by Charles
Ives (arr. Schuman/Rhoads). ........................................................104
Example 61: Example of how to practice excerpt from Variations on
“America.”. .................................................................................105
xviii
Example 62: Double tongue passage in Niagara Falls by Michael Daugherty. .106
Example 63: One example of staggered breathing opportunities in the double
tongue passage in Niagara Falls by Michael Daugherty...............107
Example 64: Triple tongue pattern (Option 1)...................................................108
Example 65: Triple tongue pattern (Option 2), also referred to as an
“alternating double tongue.”.........................................................109
Example 66: Excerpt from the “March” from Symphonic Metamorphosis by
Paul Hindemith (arr. Wilson). ......................................................110
Example 67: Example of a phrasing possibility for the triple tongued section
found in “March” from Symphonic Metamorphosis......................111
Example 68: How key signatures affect trills. ...................................................113
Example 69: How accidentals affect trills. ........................................................114
Example 70: Opening of “March,” the final movement from Symphonic
Metamorphosis by Paul Hindemith (arr. Wilson)..........................116
Example 71: Passage in Variations on “America” by Charles Ives (arr.
Schuman/Rhoads) utilizing single grace notes..............................118
Example 72: Passage in Variations on “America” utilizing double grace notes.119
Example 73: Excerpt from the Tam O’Shanter by Malcolm Arnold (arr.
Paynter). ......................................................................................120
Example 74: Flute Solo from Jig by Daniel Godfrey. .......................................121
Example 75: Excerpt from the second movement of Four Scottish Dances by
Malcolm Arnold (arr. Paynter). ....................................................122
xix
Example 76: Flute Solo from Castle Creek Overture by Dan Welcher (arr.
Bissell).........................................................................................124
Example 77: Excerpt from Overture to Candide by Leonard Bernstein (arr.
Beeler). ........................................................................................126
Example 78: Two forms of the minor mode, harmonic and melodic. ................127
Example 79: The harmonic or “overtone” series starting on C1. .......................130
Example 80: Excerpt from Hammersmith by Gustav Holst. ..............................131
Example 81: Excerpt from “March,” the final movement of First Suite in Eb by
Gustav Holst. ...............................................................................133
Example 82: Excerpt from the fourth movement of Four Scottish Dances by
Malcolm Arnold (arr. Paynter). ....................................................134
Example 83: Harmonic fingerings for final section of Four Scottish Dances.....135
Example 84: Excerpt from Symphony No. 4 by David Maslanka.......................135
Example 85: Use of harmonic fingerings in Symphony No. 4 by David
Maslanka. ....................................................................................136
Example 86: Excerpt from the first movement of Malcolm Arnold’s Four
Scottish Dances (arr. Paynter). .....................................................145
Example 87: Marking beats and how to count the opening section of Four
Scottish Dances............................................................................146
Example 88: How to practice opening rhythmic figures in Four Scottish
Dances.........................................................................................147
Example 89: High register exercise concentrating on High E3-F#3-G#3
fingering patterns. ........................................................................147
xx
Example 90: Excerpt from Colonial Song by Percy Grainger............................148
Example 91: How to count the passage from measure 44 to 48 in Grainger’s
Colonial Song. .............................................................................148
Example 92: Flute solo in the first movement of Symphony in Bb by Paul
Hindemith....................................................................................149
Example 93: Another excerpt from the first movement of Symphony in Bb by
Paul Hindemith. ...........................................................................150
Example 94: Flute II excerpt from the opening of the first movement of
Symphony in Bb. ..........................................................................151
Example 95: Flute II excerpt from Molly on the Shore by Percy Grainger.........152
Example 96: Exercises for low notes using right hand pinky finger as found in
the second flute part of Grainger’s Molly on the Shore. ................154
Example 97: Excerpt from “The Brisk Young Sailor,” the fourth movement of
Lincolnshire Posy by Percy Grainger. ..........................................155
Example 98: Practice and performance analysis of “The Brisk Young Sailor,”
the fourth movement of Lincolnshire Posy. ..................................156
Example 99: Method for practicing the fourth movement of Lincolnshire Posy.156
Example 100: Flute solo from Scenes by Verne Reynolds.............................158
Example 101: Scale pattern in the flute solo from Scenes by Verne
Reynolds......................................................................................160
Example 102: Analysis of the musical line in the flute solo from Scenes by
Verne Reynolds. ..........................................................................161
Example 103: Exercise for practicing flutter-tonguing. .................................163
xxi
Example 104: Flute solo from the fourth movement, “Cool (Fugue)” in Four
Dances from “West Side Story” by Leonard Bernstein (arr.
Polster). .......................................................................................164
Example 105: Excerpt from In War Time by David Del Tredici. ...................166
Example 106: Excerpts from “Apotheosis,” the first movement of
Apotheosis of This Earth by Karel Husa. ......................................168
Example 107: Flute Solo from Shakata by Dana Wilson...............................171
Example 108: Excerpts from Apotheosis of This Earth by Karel Husa. .........173
Example 109: Excerpts from . . . and the mountains rising nowhere . . . by
Joseph Schwantner.......................................................................175
1
Chapter I: Tone
The most important aspect of any flute player’s performance is the quality
of the sound. Without a beautiful tone, it matters not how fast you are able to
move your fingers or how clearly you can articulate rapid technical passages; if it
does not sound beautiful, no one will care to listen. Thus, tone work is crucial to
the serious player’s daily regiment and it begins with a proper warm-up.
To be successful at tone development, you must learn to be seriously
critical when listening to yourself moving from one note to the next and not allow
yourself to continue on should you hear a glitch or detect that the tone quality has
deteriorated. Using stepwise or chromatic intervals is an excellent practice
technique to develop consistency of tone from one note to the next.
THE LOW REGISTER
Example 1: Low register tone exercise.1
1 Trevor Wye, A Trevor Wye Practice Book for the Flute Volume 1: Tone, (London: Novello and Company, Ltd., 1992) 11.
2
Play each measure slowly, no faster than quarter note = 60. The point is
not to hurry through the exercise, but rather to listen carefully to your tone quality
throughout the duration of each pitch and to control the sound perfectly when you
move from one note to the next. This exercise should be practiced using a
straight-tone as well as vibrato, and at a variety of dynamic levels.
Once you have mastered the art of moving from one note to the next while
maintaining a beautiful tone, you can then move on to larger intervals. The same
type of exercise can apply to practicing leaps:
Example 2: Low register tone exercise involving leaps.2
Further examples of tone exercises similar to these for all three octaves of
the flute can be found in popular method books including De La Sonorite by
Marcel Moyse, The Paula Robison Flute Warmups Book by Paula Robison, and A
Trevor Wye Practice Book for the Flute Volume 1: Tone by Trevor Wye.
2 Wye, A Trevor Wye Practice Book 9.
3
Camphouse, Mark: A Movement for Rosa To apply the skills learned in the two previous exercises, try the opening
solo from A Movement for Rosa by Mark Camphouse:
Example 3: Excerpt from A Movement for Rosa by Mark Camphouse.
The flute begins this work alone, so be prepared to perform this opening
phrase with or without the conductor. At quarter note = 50, the tempo should be
slow and the mood sorrowful. Be careful not to tongue the first note too
aggressively, but make sure the articulation is clear. Experiment with various
syllables such as “doo,” “poo,” or tonguing between the teeth to get the best
result. (See Chapter III for further discussion on articulation.)
Because it is unaccompanied, you should think of the opening eighth notes
at a true piano which crescendo slightly into the lightly articulated dotted half
note A. To keep the A legato, try using a “doo” syllable in place of the traditional
“too” for a softer sound; any vibrato you use on the sustained A in measure 1
should sound as if it grows out of the preceding eighths. Due to the sad and
reflective character of this solo, a slow and slightly wide vibrato should be the
goal, with the vibrato becoming shallower as you decrescendo each phrase.
4
After the breath in measure 2, re-enter at the same dynamic level. Vibrate
both quarter notes while making a crescendo into measure 3. At this point, there
are two acceptable phrasing interpretations from which to choose. The first option
is to follow the natural accentuation of the bar line by placing the height of the
phrase on the downbeat C in measure 3, and then let the remainder of the solo
relax. The second alternative is to sustain the same dynamic level through the 5/4
measure to the G2 at the end of the bar, and then make a gradual diminuendo in
measures 4-5.
Regardless of which phrasing option you choose to use in measure 3,
avoid tapering off into nothing on the sustained G so you will still have room to
diminuendo at the end of the solo. Again, re-enter after the breath at the same
dynamic level and decrescendo to the end of the phrase. Keep the pitch from
going flat as you get softer by maintaining a fast and steady air stream while
gradually making the aperture smaller. Practice the final three notes in the
following manner:
Example 4: Method of practicing the final three notes of the Camphouse solo.
5
For extra practice on low register tone, transpose the previous excerpt
down a half-step starting on D#, then again starting on D natural:
Example 5: Camphouse solo transposed for further use as low register tone study.
6
THE MIDDLE REGISTER
Example 6: Middle register tone exercise.
The sound quality of middle register should be thought of as an extension
of the low register tone. Keep the embouchure relaxed and the aperture round or
oval shaped. As you ascend, think of pushing the lips forward rather than pulling
the corners of the mouth back; the latter simply creates tension in the lips and
7
mouth which will result in a bright, pinched sound that will be out of tune. As
with the low register exercises, listen carefully to make sure your tone stays
consistent from one note to the next.
Menin, Peter: Canzona Once you are comfortable with the previous exercises, try this solo
passage from Peter Menin’s Canzona:
Example 7: Solo from Canzona by Peter Menin.
Make sure to take a good breath before you begin. (For tips on better
breathing, see Chapter VI.) Perform this solo passage with a full, rich tone color
and sparkling vibrato which is fast but shallow. Begin at a solo mezzo forte and
without letting the pitch go sharp, dynamically move towards the Db two bars
after rehearsal H, letting the C relax slightly. You may need to shorten the value
of the C half note slightly to take a breath if you can not make it all the way to the
downbeat of the fifth measure.
8
Follow the crescendo in the next phrase, but do not let the downbeat A in
the fourth measure decay too quickly, as it should continue to sustain into the G
on beat 3. The following F# should, however, be an obvious release from the
build-up created in the previous measure. You can take a quick breath here by
replacing the eighth note tie with an eighth rest; when doing this, be careful not to
taper the F# too much so when you re-enter, you will sound as if you are
continuing the phrase. The intended direction of this next phrase is clearer if the
leaps are removed revealing the step-wise motion:
Example 8: Modified solo from Canzona to show phrasing.
After the breath in the fifth measure, again follow the written crescendo,
making certain to direct the line all the way to the G2 in measure 6 as opposed to
letting the height of the phrase occur on the highest note, the Bb2 two beats earlier.
The sixth bar after H should be performed with a slight decrescendo all the way
into the dotted quarter note D2 in measure 7. Although it relaxes here, do not let
the intensity of the tone or vibrato slacken. If needed, take a quick breath after the
downbeat D2 in bar 7, being conscious not to over-attack the G2 when you re-
enter. Practice the last six notes of this excerpt as a descending scale pattern in
9
equal quarter note values; start at a comfortable mezzo forte and finish at a lush
but not forced fortissimo.
Grainger, Percy: Lincolnshire Posy The following excerpt from “Harkstow Grange,” the second movement of
Percy Grainger’s Lincolnshire Posy, can also be used as a middle register tone
study:
Example 9: Excerpt from “Harkstow Grange,” the second movement of Lincolnshire Posy by Percy Grainger.
You will notice that this melody contains both stepwise motion as well as
leaps. Practice this melody employing a dark and full sound, following the
contour of the line to produce the unwritten crescendos and decrescendos of each
phrase. For complete control of your use of air and phrasing, practice the entire
excerpt without vibrato making sure not to allow any “bumps” in the sound.
Although intonation is discussed in more detail in Chapter V, it is important to
point out that in this excerpt the Db’s pose an intonation catastrophe waiting to
happen if left unchecked. Keep the throat open and the embouchure relaxed.
Moving the jaw back or bowing the head slightly down (as opposed to rolling the
10
flute in) will direct the air stream at a more downwards angle and will result in
better pitch on the Db’s. (For further hints on getting these Db’s under control, see
Chapter IX on alternate fingerings.)
When performing this work, you should read the text to the English folk
song which inspired this movement so you will fully understand the tragic nature
of the story. Know that many conductors prefer there to be no audible breaths, so
be prepared to work out a staggered breathing routine with your section to make
this entire excerpt sound seamless. The grace note at the beginning of measure 10
should be placed before the beat; to help place it correctly, think of this grace note
as a thirty-second note pick-up from the previous measure. (For further discussion
on grace notes, see Chapter VIII.) Articulate the Ab cleanly, but make sure that the
Db quarter note receives more emphasis than the grace note. Give the Db full value
with a beautiful tone and singing vibrato and maintain it throughout this excerpt.
Let the phrase relax towards the end of measure 11 and then work to keep
the tone from getting too bright or grainy as you crescendo to make the leap from
the Eb to the Ab into measure 14. Perhaps an even greater danger appears at the
end of measure 14: although Grainger indicates a decrescendo, remember to push
the air from the Bb into the following Gb in measure 15 to support the sound and
maintain a beautiful tone. The accented notes in measure 14 also warrant attention
since Grainger obviously expected a change in style here; play these notes with
weight, accenting them with the breath rather than with the tongue to bring them
11
out. The decrescendo at measure 14 should continue all the way into measure 17,
but note that it starts at fortissimo and only drops to mezzo forte, so do not
decrescendo all at once. When you arrive at measure 18, refrain from using any
vibrato on the sustained Ab, or at the very least, use a very shallow vibrato so as
not to stick out of the texture. This chord should continue to sound lush while
executing the decrescendo to pianissimo and a deep vibrato can make the flute
section sound out of balance with the rest of the ensemble. Be conscious of the
vibrato other flutes in the section are using and make sure the section blends
together in terms of the speed and depth of the vibrato. (For more detail on vibrato
production and style, see Chapter II.)
12
For further practice of middle register tone development, transpose this
excerpt to the keys of D, Eb and E Major:
Example 10: Grainger excerpt transposed for further use as a middle register tone study.
13
THE HIGH REGISTER
When playing in the third octave, your goal should always be to work for
a beautiful tone that is not shrill or bright. Again, try to think of the upper register
as simply an extension of the middle register and avoid pinching or letting the
embouchure become tense. As with the middle register, the embouchure should
remain as relaxed as possible with the lips pushed forward to form a small, round
aperture rather than pulling the corners of the mouth back which will only
increase tension. Air speed is the key element. The air stream must move very
quickly to support the sound rather than depending completely on the embouchure
to produce the high notes. An effective exercise to practice proper air speed is to
practice harmonics. Harmonic studies can be found in many popular method
books, including Tone Development Through Extended Techniques by Robert
Dick and A Trevor Wye Practice Book, Vol.1: Tone by Trevor Wye.
To effectively ensure that the mouth and face stay relaxed, a common
practice is to let the cheeks inflate slightly as you play. When watching many
professional flutists perform, you may notice that their cheeks tend to vibrate.
This can happen only if the cheeks stay completely relaxed and you allow the air
stream to fill up the oral cavity which in turn creates a larger resonance chamber
in which the air can vibrate.
To learn this technique, pick any third octave note that is comfortable to
play, such as F3:
14
Example 11: High F3.
Stand in front of a mirror and imagine you are about to blow out the
candles on a birthday cake; some players find it easier to start without using any
articulation at all, using an air attack to begin the note. Let your cheeks inflate as
you blow out the air, exaggerating this gesture and for the moment not worrying
about the dynamic level or the quality of the sound. Do not be afraid to blow too
hard. Watch yourself in the mirror to see if you are truly inflating your cheeks,
since often it feels as if you are doing it when in reality you are not.
The point of this exercise is simply to get used to the way it feels to have
the cheeks inflate as you produce a sound. Once you are comfortable with the
process, you then need to try to articulate the start of the note and begin to work to
control the sound while keeping the cheeks slightly inflated. Not only will this
technique keep you from getting tense, it will also enable you to produce a full,
open-sounding high register that will not be shrill.
Now try the following exercise:
Example 12: High register tone exercise.
15
Keep the cheeks relaxed using the technique described above, and keep
the tone quality consistent from one measure to the next. If you reach a note that
sounds shrill or pinched, work to correct that problem before moving on to the
next measure. Notice that this exercise extends up to C#4 and D4. This is done for
two reasons: first, the higher you extend your range, the less difficult Bb3, B3 and
C4 become, even if it is strictly in the psychological sense; and second, several
excerpts discussed in this book employ these fourth octave notes and therefore
must be covered. (See the Chapter VIX for fingerings of these notes.) As with the
previous tone exercises for the low and middle register, this exercise should also
be practiced at a variety of dynamic levels as well as with and without vibrato.
Ives, Charles: Variations on “America” Now that you can produce a characteristic high register tone, you are
ready for the following excerpt from Variations on “America” by Charles Ives:
Example 13: Excerpt from Variations on “America” by Charles Ives (arr. Schuman/Rhoads)
You will certainly recognize the tune from “America” in this excerpt
starting at rehearsal I. In this section, the entire band is playing at a full dynamic
16
level; notice that Ives marked the flutes at fff. However, you must not take this
dynamic marking too seriously considering that the third octave will already
sound loud and will have a tendency to overpower the rest of the ensemble if you
do not work to control it. Play this section with a full and beautiful sound which is
controlled and not forced. Never sacrifice tone quality for volume. You will need
to work out a staggered breathing routine with the rest of the flute section since
the phrase is continuous and too slow to play in one breath at such a loud dynamic
level. Avoid breathing at the bar lines; should you choose to breathe under a slur,
remember to mask your re-entry by tonguing very gently.
As you approach the fifth measure after I, make a slight crescendo from
the eighth notes on beat 2 into the C4 on beat 3 so that the C does not pop out of
the texture. Try using a softer syllable such as a “doo” to articulate the C4.
Remember to keep the cheeks relaxed while sustaining the fourth octave C’s to
help keep them full without sounding shrill. Pay close attention to articulations in
this section; on tongued notes, use a less aggressive attack on tongued notes that
will be heard clearly without being harsh. Your vibrato throughout this entire
excerpt should be somewhat fast without sounding nervous, and at a medium-
wide amplitude that compliments the character of this section but does not
consume the core of your sound. (For further discussion on vibrato, see Chapter
II.)
17
Menin, Peter: Canzona For further practice in the high register, try this solo from Peter Menin’s
Canzona:
Example 14: Excerpt from Canzona by Peter Menin.
If this excerpt looks familiar, that is because it is exactly the same as the
example discussed in detail on pp. 7-8 with the exception that it is a M6 higher.
Consequently, it should be performed much the same way as the previous
Canzona excerpt. However, because this solo does extend into the third octave, a
few alternate fingerings can help improve the intonation of this excerpt. (See
Chapters V and IX for a detailed discussion on intonation issues and alternate
fingerings.)
18
Holst, Gustav: First Suite in Eb For additional practice in tone production playing through all three
registers of the flute, try the following solo from Holst’s First Suite in Eb:
Example 15: Solo from the second movement of First Suite in Eb by Gustav Holst.
19
Chapter II: Vibrato
The New Harvard Dictionary of Music defines vibrato as “a slight
fluctuation of pitch used by performers to enrich or intensify the sound.”3 In her
book Flute Fundamentals: The Building Blocks of Technique, Mary Karen Clardy
describes vibrato as “one of the most expressive tools for tone development,
projection and phrase shaping.”4 Indeed, vibrato is an important element in the
twenty-first century flutist’s sound, and it must be practiced in order to control as
well as to vary the vibrato according to the musical style.
A Example of vibrato that is too wide.
B Example of vibrato that is too
shallow.
C Example of an erratic vibrato.
D Example of a well-modulated vibrato.
Table 3: Vibrato illustrations.5
3 Don Michael Randel, The New Harvard Dictionary of Music, (Cambridge, MA: Belknap Press of Harvard University Press, Revised ed. 1986) 910. 4 Mary Karen Clardy, Flute Fundamentals: The Building Blocks of Technique, (Valley Forge, PA: European American Music Corporation, 1993) 26. 5 Clardy, Flute Fundamentals 26.
20
The first example above illustrates a vibrato that is too wide, especially for
low register passages or at soft dynamic levels. The second example shows a
faster, narrower (i.e., shallower) vibrato that would also be inappropriate,
particularly in the upper register and at loud dynamic levels. The third example
demonstrates what an erratic vibrato might look like; notice that each wave is
different from the next both in depth and in speed. Finally, the last example
illustrates what a well modulated vibrato might look like.6 Keep in mind that the
speed and depth of any vibrato should vary depending on the mood and character
of the musical piece; therefore, you need to learn to vary the vibrato and to do
that, you must practice vibrato exercises.
VARYING THE VIBRATO To learn to control vibrato and ultimately vary its speed and depth, begin
by pulsing eighth notes with the air stream on sustained whole notes starting at
about quarter note = 80. The throat should stay relaxed so not to impede the flow
of air which can result in extraneous throat noise.
6 Clardy, Flute Fundamentals 26.
21
Example 16: Low/middle register vibrato Exercise No.1 pulsing eighth notes.
The example above uses the F Major scale, but you can choose any scale
you wish. Work only in the low and middle registers of the flute at first, keeping
the pulses even and steady and listening carefully to the tone quality on each note.
Once you have mastered the previous exercise at a variety of speeds, try pulsing
straight eighth notes without stopping the vibrato at the bar line:
Example 17: Low/middle register vibrato Exercise No. 2 pulsing eighth notes.
22
Once the low register is under control, you can then move on to the high
register repeating the previous exercises an octave higher. To develop a more
natural sounding vibrato, try pulsing groups of fives, sixes and then sevens:
Example 18: Vibrato exercises pulsing groupings of eighth notes in fives, sixes and sevens.
23
Now try implementing various styles of vibrato in the following excerpts
according to the character of the music:
Copland, Aaron: Variations on a Shaker Melody
Example 19: Excerpt from Variations on a Shaker Melody by Aaron Copland.
This lovely solo found in Aaron Copland’s Variations on a Shaker Melody
is the perfect opportunity for the flutist to show off a beautiful tone quality and
sparkling vibrato. The trick to performing this solo well is to keep it as simple as
possible. This does not mean it should be static. However, you should keep in
mind that the lifestyle of the Shaker people is simple and uncomplicated, and if
you over-play this music it will only sound fussy.
The flute’s first entrance two bars before rehearsal 1 can pose several
challenges for even the most advanced player. Although articulation will be
discussed in more detail in Chapter III, experiment with tonguing between the
teeth to enable the low register Eb’s to speak immediately and with clarity. Do not
be afraid to attack the first low Eb, but avoid accenting it with the air or the
24
tongue. The vibrato on the Eb’s in both octaves should be relatively narrow and
innocent, but the speed should be rather quick and joyful. Pay close attention to
the intonation between these octaves, as the low Eb will tend to be flat and the
middle Eb can go sharp. Be mindful as well to keep the middle Eb’s from jumping
out of the delicate texture; the opening five notes of the flute solo should be
played smoothly while creating a sense of motion towards the downbeat of
rehearsal 1.
At rehearsal 1, sustain the middle Eb with a beautiful tone and continue the
same character of vibrato into the second measure after 1. At this point, begin a
slight crescendo starting on beat 2 while simultaneously increasing the speed of
the vibrato. Avoid breathing at the bar line, continuing the crescendo into the
third measure and the high Eb. Increasing the speed of the vibrato helps to make
the connection between the middle and high Eb’s seamless, as you should always
use a faster vibrato in the high register compared to the lower octaves. Maintain
the faster velocity of the vibrato throughout the next few measures, continuing the
forward motion into the climax of the first phrase which occurs at the downbeat
six bars after rehearsal 1. After reaching the downbeat Ab, you may make a slight
lift and take a breath, the first true breathing opportunity of the passage. The
syncopated Eb’s four measures before 2 should all be sustained for their full value,
while articulating each one clearly will help to emphasize this unexpected but
interesting rhythm.
25
Before the second solo entrance five measures after 2, letting the section
cover the last two notes in the tutti passage will enable you to prepare for the solo
entrance. The Eb quarter note is a pick-up to the downbeat Ab six before 3, so
make a crescendo into the Ab. The vibrato in the second solo section should return
to the slower speed used in the opening of the first solo, while this entire phrase
should diminuendo slightly four bars before 3 to the end of the solo, placing less
emphasis on the final Ab than the on previous tied Eb.
Wagner, Richard: Elsa’s Procession to the Cathedral
Example 20: Opening flute solo from Elsa’s Procession to the Cathedral from “Lohengrin” by Richard Wagner (arr. Cailliet).
The story of Lohengrin takes place in Antwerp, c.900s: Telramund accuses Elsa of having murdered her brother, Gottfried, heir to the Brabant dynasty. While defending herself, Elsa relates her dream of a knight in shining armor who will come to save her. When Elsa prays, the knight appears, magically drawn in a boat by a swan. Defeating Telramund in combat, he betroths himself to Elsa on condition that she never asks his name or origin.
26
Before dawn in the castle courtyard, Ortrud and the Telramund swear vengeance and attempt to sow distrust Elsa's mind, preying on her curiosity. At the cathedral entrance, Ortrud and Telramund attempt to stop the wedding by suggesting that the unknown knight is in fact an impostor, and accusing him of sorcery. Though troubled by doubt, Elsa reiterates her faith in the knight before they enter the church.7
The beautiful flute solo which opens the band transcription of Elsa’s
Procession to the Cathedral by Richard Wagner (arr. Cailliet) is one which every
flutist dreams of having the opportunity to perform. It is also one of the most
difficult passages to play in terms of intonation and phrasing. Restraint and
control are key elements to performing this solo well, as is maintaining a
gorgeous tone while executing each phrase to perfection. Keep in mind Elsa’s
innocence, the hint of doubt running through her mind as to her betrothed’s true
identity, and her struggle to show him complete devotion despite her insecurity.
As in the previous Copland excerpt, the initial entrance for the soloist can
be a bit intimidating. Daily practice on producing soft, instantaneous attacks will
guarantee a perfect start every time. In this example, try starting the sound with a
“poo” syllable, letting the lips create the articulation as opposed to the tongue. Do
not let the pitch on the opening Eb and F sag; keep the air moving quickly even at
a soft dynamic.
7 “Lohengrin,” Opera Synopsis, John Freeman, The Metropolitan Opera, New York 1996-2003 <http://www.metopera.org/synopses/lohengri.html>.
27
Although the opening dynamic in this solo is piano, remember that solo
passages require more projection than tutti passages so enter at a healthy mezzo
piano. The vibrato should start fairly shallow and at a moderately quick speed
which increases and widens as the dynamic level rises and the flute moves into
the third octave. Let the vibrato spin throughout this melody without allowing it to
overpower your sound. Articulate tongued notes lightly, using a “doo” syllable to
keep the melody legato and to avoid having notes jump out of the texture.
In the opening four-bar phrase, the first measure should crescendo into the
half note C on the downbeat of measure 2, but should then relax slightly on the
following Bb dotted quarter note. Breathing should be avoided until the eighth rest
in measure 4; however, should you be unable to complete this phrase in a single
breath, an alternate breath may be taken in measure 2 before the last eighth note.
In either case, be careful not to accent the pickup note by attacking it too harshly
or with the air. Likewise, support the high Eb on the downbeat of measure 3 with
fast air, being mindful that the Eb is not the height of the phrase, but rather, the
half note G on the downbeat of measure 4. At the end of the measure, keep the
pitch up on the dotted quarter note F during the diminuendo by continuing to use
fast air while pushing the lips forward to decrease the size of the aperture.
The second phrase beginning in measure 5 should move forward
dynamically to the downbeat of measure 6 and the high Eb, followed by a slight
relaxation into beat 3. Be careful not to accent the Eb’s with the breath which will
28
cause them to jump out of the texture. If a breath is needed you may take a quick
one after the dotted quarter note in measure 7, but know that it is better to play the
entire four measure phrase (bars 5-8) in one breath if possible. Keep the vibrato
spinning throughout the first eight measures, letting it increase slightly in speed
with each crescendo and relaxing a bit with each diminuendo.
At rehearsal 1, begin the first Eb with very little vibrato. As the tension
builds throughout this quasi-chromatic passage, be certain to vibrate the
ascending quarter notes without letting the vibrato keep the line from maintaining
its legato quality. The vibrato should gradually get faster and a little wider as the
line ascends, until the climax on the downbeat of the seventh measure after 1.
Two measures before 2, beats 2 through 4 all move towards the Bb one bar before
2. Sustain the Bb half note for its full duration and do not do too much diminuendo
before 2 in order to pass of the solo line to the oboe seamlessly.
29
Holst, Gustav: First Suite in Eb
Example 21: Flute solo from the first movement of First Suite in Eb by Gustav Holst.
This beautiful solo from Holst’s First Suite in Eb is the perfect opportunity
for the flutist to display a gorgeous sound and tasteful vibrato. Each ascending
half note in the opening should increase in volume as well as in the intensity of
the vibrato before relaxing again on the descending triplet falling to the D2 twelve
bars after C. It is helpful to extract the half notes and play them in chorale style to
determine how the first phrase should sound:
Example 22: Modified solo from the first movement of Holst’s First Suite in Eb.
30
In the second half of the solo starting eighth measure before D, play the
first two quarter notes as pickups into the next bar, stressing the downbeat C2 and
then putting a slight diminuendo in the rest of the measure. The following
measures should all build towards the C3 four bars before D before a gradual
decrescendo is applied. Make sure the vibrato is not too aggressive or nervous-
sounding for the lyric nature of this passage.
PLAYING WITHOUT VIBRATO Just as important as being able to play with a musically expressive vibrato
is the ability to play senza vibrato (without vibrato) and to be able to turn it off
and on as directed by the composer or conductor. Executing a passage musically
without the aid of vibrato can be a challenging task for the modern flutist. You
must maintain complete control of the air stream and not allow any “hiccups” in
the sound. Learning to play without vibrato is an effective practice tool which
should be routinely employed in other aspects of your daily regiment: not only
will your use of breath and air improve, but you will also realize that vibrato is
only a single element of musical expression and that many other factors are
involved in this complicated process.
31
Grantham, Donald: Bum’s Rush
Example 23: Excerpt from Bum’s Rush by Donald Grantham.
Since this solo passage is doubled by the piccolo and clarinet, it would be
wise to spend additional time outside of rehearsal with those players to work on
blending, balance, and matching pitch throughout this entire passage. Rhythmic
accuracy is another critical element. To understand the subdivision of quarter note
triplets in 2/4 time, try the following exercise:
Example 24: Exercise for subdividing and counting quarter note triplets found in Bum’s Rush by Donald Grantham.
32
At quarter note = 136±, this entire passage should sound “icy” and without
accent; keep the air moving fast to support the sound and make the connection
between intervals smooth without the aid of vibrato. Measure 203 should “grow”
into the downbeat of measure 204, but do not crescendo too much too soon since
the high point of the phrase does not occur until measure 205. Without
interrupting the phrase for a breath, lightly articulate the C quarter note triplet in
measure 204 and continue the crescendo into the high E in measure 205. In senza
vibrato passages, intonation issues will be completely exposed without the aid of
vibrato to help mask slight variations in pitch, so listen carefully to the intonation
on the C# since it will have a tendency to go sharp during the crescendo.
Subsequently, if the high E is consistently sharp, try playing it without the right
hand pinky finger to help bring down the pitch.
While sustaining the high E in measure 205, make certain to subdivide the
quarter note triplet pulse silently to ensure that you do not move to the Eb too
early or too late. For practice, place a breath accent where the second quarter note
triplet would occur on both the high E and on the following Eb where it is tied
over to the downbeat of measure 206. The decrescendo in measure 205 should
begin immediately after the downbeat, being careful not to accent any of the notes
in measure 206 with the breath or the fingers. Try the following patterns using
these same pitches to help smooth out these intervals:
33
Example 25: Exercise for smoothing out the intervals found in Bum’s Rush.
Release the tie slightly early on the downbeat of measure 208 to give
yourself ample time for a breath without causing yourself to be late on the D#. The
eighth notes in this measure will feel surprisingly quick after all of the quarter
note triplets; to avoid dragging them, subdivide the previous 3/4 measure into
eighth notes. As before, release the tie in measure 210 slightly early to create a
slight “lift” even if no breath is actually needed. Make the crescendo grow from
measure 208 all the way to the downbeat of bar 211, being cautious not to go
sharp on the Db. Avoid taking a breath after the Db, instead letting the remainder
of the phrase taper off gracefully. Keep the pitch under control as you make the
diminuendo, but know that the clarinet will have a tendency to go sharp while the
piccolo will have a tendency to be flat on the high G3 and Ab3.
34
Chapter III: Articulation (Part 1)
One of the most basic acts musicians learn on their instruments after
producing a sound is how to articulate. Even so, this seemingly simple process is
often the most challenging and if executed incorrectly, can result in poor tone
quality, muddy or harsh articulation, and countless other problems. In the public
school band setting, it is difficult for directors to hear individual tonguing in an
ensemble, and thus students are often unaware of a problem until their deficiency
begins to keep them from improving. Every note that starts a piece or a phrase
must be articulated in some way, whether it is with the tongue, the lips, or in some
cases, the air. The most common and basic form of articulation is to use the
tongue.
SINGLE TONGUING When single tonguing, articulation is produced by the tongue moving
forward to strike the back of the upper teeth as if you were saying the word “too”
or “doo.” Note that these words are preferable to the traditional examples “te” and
“de” which have nothing in common with the flute embouchure. In contrast, when
saying “too” and “doo,” you are emulating the shape of the basic flute
embouchure and are forced to keep the aperture round. Without the flute, say both
of these words while simultaneously blowing air to feel the motion of the tongue.
Notice how the word “too” produces a crisp sound; this is because the tongue
must be pointed to pronounce this word. Conversely, when pronouncing the word
35
“doo,” the tongue has a flatter shape and thus produces a rounder sound. These
two articulations, though sometimes used interchangeably, depend on the style of
the music.
The following exercise can be transposed to start on any note and is
helpful in developing perfect attacks with a beautiful tone that speaks instantly.
Many players do not realize that maintaining the tone quality while tonguing has
as much to do with articulation as the tongue does. Practice at various dynamic
levels employing a variety of articulation styles (staccato, legato, tenuto, hard
attacks, soft attacks, air attacks, etc.) using different syllables to begin each note,
including “too,” “doo,” “poo,” and “French style” tonguing (between the teeth):
36
Example 26: Exercise for developing articulation and tone.8
Not only do you need to pay attention to how you start or ‘attack’ each
note when playing an articulated passage, but you must also focus on the release
of each note. For example, in legato or tenuto passages where the composer
indicates tongued notes in succession, you must work to connect one note to the
next while quickly interjecting the tongue to lightly articulate without interrupting
the air stream or creating space. In staccato passages, you must ‘lift’ or put space
between notes without clipping them off with the tongue; in other sections, the
music may indicate for you to stress attacks while letting the body of the note
decay, similar to a bell tone. The variety of styles is endless and must all be in the
8 Marcel Moyse, De La Sonorite, (Paris: Alphonse Leduc, 1934) 15.
37
performer’s vocabulary ready to use as determined by the music, the acoustical
setting, and the conductor’s interpretation.
Del Tredici, David: In Wartime
Example 27: Excerpts from “Hymn,” the first movement of In Wartime by David Del Tredici.
This simple, hymn-like theme recurs often in the opening movement of
Del Tredici’s In Wartime. The repeated high E’s at rehearsal 19 and the Bb’s at
bar 84 have tenuto marks over them which indicate connection, putting little or no
space between each note. Remember that there must be slightly more separation
between repeated pitches than what is typically required for changing pitches, for
if there is not enough space or if the articulation is not clear enough, the audience
might not hear them as separate notes but rather as one sustained pitch.
Each time this passage occurs, each repeated note should lead into the
next, with the goal in both phrases occurring on the third sixteenth note. Use a
“doo” syllable to keep it legato, but put a little emphasis on the attacks to make
the rhythm audible. If the high E’s are troublesome (and you do not have a split E
38
or high E facilitator on your flute), try fingering them without the right pinky
finger which will keep them from cracking but might also make them a little flat.
This issue can be resolved by slightly venting the bottom trill key (using RH3) to
bring the pitch up slightly. This fingering is a life-saver, but it must be practiced
in order to control the intonation and to keep the tone color consistent with the
surrounding notes.
Because both of these solo passages are relatively short, strive to perform
each in a single breath. In the solo at 19, keep the direction moving forward while
sustaining the half note. The release of the last note in bar 21 should be gentle and
slightly tapered, as should the last sixteenth in bar 85, so that neither phrase
sounds as if it ends abruptly.
Maslanka, David: Symphony No. 4
Example 28: Excerpt from Symphony No. 4 by David Maslanka.
This is one of many solo opportunities the flute enjoys in David
Maslanka’s nearly thirty-minute long wind band masterpiece, Symphony No. 4.
39
In the section beginning at 173, the orchestration is reduced to a chamber
ensemble consisting of imitative solo entrances starting with the bass clarinet and
followed by the harp, alto flute, flute, and later, clarinet and piccolo. By the time
the flute enters, no one line is meant to be heard over another, but rather, it is a
collage of color. Even so, the line should be performed with the same care and
attention to detail as if it were a true solo passage.
It is important to mention that the rests leading up to the flute entrance at
bar 181 must be counted carefully. Due to the imitation, the downbeat of the
phrase is often displaced, and if you try to listen for where you are to enter,
chances are likely that you’ll miss it or enter in the wrong spot. Notice that the
eighth notes do not have staccato marks, so do not play them too short in this
passage. As indicated in the score, this music should be delicate, so rather than
“short,” think “lift.” When playing staccato, it is important to realize that you
should avoid clipping the note off with the tongue in an effort to play short.
Instead, use short, diaphragmatic bursts of air similar to what you would use in
blowing out a candle.
In 3/4 meter, the downbeat of each measure is the strongest beat; this rule
still applies even when the passage is fast enough to be played in one. Keeping
this in mind, the downbeat C2 in bar 181 should get a slight emphasis while the
following D and Eb relax as if making a slight decrescendo. Think of the last two
40
eighth notes on beat 3 as pick-ups to bar 182, again placing emphasis on the
downbeat Eb.
Measure 183 is an exception to the normal accentuation of the metric
pattern, given that Maslanka places an accent over the Ab2 on beat 3 while also
indicating a crescendo. Beginning with beat 3 of bar 182, gradually crescendo as
you approach the accented Ab in measure 183, and then let the quarter notes in
184 relax. However, the last quarter note B1 in bar 184 should push slightly into
the downbeat of measure 185. Do not let the energy relax on the release of this
quarter note, or during the quarter-rests; rather, think of the downbeat B2 leading
into the next measure despite the rests in between. Replace what is written in
measure 185 with a dotted half note; an implied crescendo in this bar leads to the
downbeat C in measure 186. In order to make this happen in spite of the rests, do
not taper the end of the B quarter note; then re-enter on the C at a slightly louder
dynamic to create the aural illusion of a crescendo. This same tactic should
continue to be observed in each restatement of the motive: bar 188 into 190, and
again bar 192 into 193 with each consecutive statement being more energetic than
the previous one.
SLURRING Slurring might seem less complicated than tonguing, but many pitfalls can
affect the tone, response, and intonation of a note when slurring. It is important to
remember that when slurring between notes, you must maintain a fast and steady
41
air stream; in other words, do not let the air relax between the notes. To do so
results in poor connection between notes and can also cause the pitch to drop and
become unstable.
Slurring small intervals is somewhat easier than large ones since not much
change in the embouchure or the air speed is required. However, the larger the
interval, the more “lip gymnastics” as well as air speed manipulation is required
to achieve perfect connection between the notes. Practicing scales slurred in
eighth or sixteenth notes is an excellent practice tool for achieving perfect legato
between half-step and step-wise intervals; it also highlights any problem spots
present in the technique: when you tongue between notes, in reality you are
creating a split second between each note to get the fingers in the right place.
When you slur on the other hand, you are not afforded this luxury which is why
you sometimes will hear glitches between consecutive pitches.
To practice slurring intervals, look at the following exercise:
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Example 29: Exercise for slurring intervals (can be transposed to start on any note).9
Notice that this is the same exercise that was used for practicing
articulations and releases of notes. Keep in mind that when you see exercises
published in method books, they can be used in many different ways; be creative
in how you use them and continuously experiment with different combinations of
articulations and tempi to cover every possible angle.
9 Moyse, De La Sonorite 15.
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The above exercise should likewise be practiced with a variety of slurring
combinations and at a variety of speeds. The tempo at which the intervals are
played can play a crucial role as to whether or not the connection and response are
clear. The faster the tempo, the more quickly you must make changes. Remember
that when slurring ascending intervals, you must increase the air speed between
the notes and also push the lips slightly forward for the upper note. When slurring
descending intervals, the opposite is true: if the air speed remains too fast, the
lower note will crack or sound overblown and be sharp. It is helpful to practice in
front of a mirror to watch the movement of the lips when slurring intervals so you
can see what physically needs to happen for optimal results.
Schoenberg, Arnold: Theme and Variations, Op.43a
Example 30: Excerpt from Schoenberg’s Theme and Variations, Op.43a.
In this standard masterpiece for wind band, Schoenberg uses brackets
labeled with the letter “P” to indicate where the principal themes or parts occur.
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The flute solo in Variation VII is doubled in octaves by the clarinet while legato
sixteenth note figures are passed back and forth between lower clarinets.
When playing softly, the flute has a tendency to go flat while the clarinet
has the opposite problem of going sharp. Find independent time to practice with
the solo clarinetist as well as with a tuner to save valuable ensemble rehearsal
time. Although the entrance is marked at piano, articulate the first note strongly
enough that it speaks in the correct octave; experiment with articulating between
the teeth to get a “ping” response on the first note. This style of tonguing is
known as “French style” tonguing. The analogy of attempting to spit a piece of
rice off the end of your tongue or off your lip generally works well to learn the
procedure. Only the very tip of the tongue should protrude between the teeth and
through the lips. The air should already be in place behind the tongue and as you
withdraw it back into your mouth, a short burst of air occurs simultaneously with
the articulation. This method of tonguing is quite helpful in achieving clear
articulation on low register notes, during passages at soft dynamic levels, as well
as any other instance you wish to have a secure and precise attack.
As you slur these step-wise intervals, be conscious not to let the air sag
between the quarter notes. Keep the vibrato shallow and at a fast speed to blend
with the clarinet sound; the resulting color should be a unique blend of the two
instruments rather than one dominating the sound over the other. In measure 192,
push slightly into beat 2 with the air and maintain this same air speed into the
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downbeat of bar 193. At this point, the phrase can begin to relax slightly until it
reaches the half note in bar 194. Gently taper the release of this final note without
letting the pitch sag. In bar 195, do not attack the D# too aggressively. Follow the
contour of the line and lead into the downbeat of measure 196 with the air before
once again letting it diminuendo slightly towards the end of the phrase. The
phrase should not taper down to nothing, however, since the line must be passed
off to the oboe entering in the next bar.
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Daugherty, Michael: Niagara Falls
Example 31: Excerpt from Niagara Falls by Michael Daugherty.
Michael Daugherty’s exciting work entitled Niagara Falls presents many
technical challenges, one of which is slurring difficult intervals in rapid
succession. At quarter note = 96, this passage is tricky for even the most
experienced player; in addition, the repeated high E is one of the most difficult
notes on the flute to slur to and from due to its instability and tendency to crack.
To avoid this problem, finger E3 without RH4 (pinky); not only will this fingering
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keep the E from cracking, but it will also bring down the pitch on this typically
sharp note.
Notice how this excerpt alternates from slurring down from E3 to slurring
up to E3. In the first measure of G, you must set your embouchure for the high
E’s during the sixteenth rests and as you slur down from the E3, relax the
embouchure and the air speed slightly. Do not relax too much or you will not hit
the lower notes in the correct octave, or they will be out of focus. In the second
bar where the intervals now slur up to the E3, you must increase the air speed as
you are leaving the lower note while at the same time, pushing the lips forward to
form the proper embouchure for the high E.
First, practice only the notes which change, omitting the high E’s. Notice
that it is simply a chromatic scale. This scale is more important than the repeated
notes, so in your practice, work to bring out the changing notes while putting less
emphasis on the repeated E’s. Daugherty’s scoring in this section helps to
accomplish this goal by having many other instruments playing only the
chromatic scale, albeit in a different rhythm.
Second, change the rhythm of the passage to practice quick legato both
going to and coming from the high E. A couple of examples follow:
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Example 32: Exercise for practicing interval leaps in Daugherty’s Niagara Falls.
The last aspect of this passage which needs attention is the rhythm. Much
of this piece uses jazz-like rhythms, but it is not wise to simply try to “feel” it.
Make marks in the part indicating where the beats fall using either numbers or
lines. You may also find it helpful to practice counting the rhythm aloud while
clapping the beat:
Example 33: Exercise for counting excerpt from Daugherty’s Niagara Falls.
At measure 80 the dynamic level drops to pianissimo. Because the entire
flute section is in unison on this line, you must work hard to play as softly as
possible so that the flute section does not overbalance the rest of the band in these
two bars leading up to H. Figuratively speaking, the bottom falls out from
underneath the ensemble and gradually builds back up to fortissimo at H, so it
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may be wise to cut back to only a few players in bar 80 and gradually add players
back in as the crescendo reaches its peak.
MIXED ARTICULATIONS In all music, one generally can expect to find an array of articulations.
Some combinations are relatively simple to execute, while others can prove
difficult depending on the context. The most efficient method of practicing a
variety of articulations is to apply them to your scale work. It is impossible to
include every imaginable combination, but the following example illustrates many
of the most common as well as those which often prove difficult to execute:
Example 34: Example of different combinations of articulations which can be applied to scale study.
Arguably the most important point to mention is how to release a note
under a slur before articulating the following note. Look at Example b above.
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Unless the music indicates otherwise (for instance, by using a staccato over the
second note), the second note under the slur should not be cut short or released
early to facilitate the articulation of the next note. The tongue must quickly
interject, but no obvious space or lift should exist between the slurred group and
the next slurred group. This requires the air stream to remain constant and for the
tongue to move quickly.
Once you feel comfortable playing these examples at various speeds, you
are ready to try them as they appear in actual music.
Milhaud, Darius: Suite Francaise
Example 35: Excerpt from “Provence,” the fifth movement of Suite Francaise by Darius Milhaud.
This dance-like music from Suite Francaise by Darius Milhaud features
solo flute and piccolo in octaves; driven by a constant eighth note pattern in the
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percussion, it incorporates tongued elements as well as the common “slur two,
tongue two” pattern. The articulated eighth notes throughout this excerpt should
be bounced and light while placing emphasis on beats one and three of each
measure. The first eighth note in bar 15 should be thought of as a pick-up into
beat 3 so as not to put too much stress on the first note. Be sure to vibrate on all
quarter notes and longer note values to keep the energy spinning through this
theme.
Although this section can be analyzed as being constructed of two-bar
phrases which begin on beat 3 and end on beat 2, the main cadences do not occur
except at every fourth bar; thus, you should work to play four-bar phrases on each
breath. In the first phrase, everything should lead into the high A on the downbeat
of bar 17. The A3 should have stress placed on it, with the following F3 being
slightly relaxed in comparison to end the phrase. The next phrase begins where
the first leaves off, and similar to the first phrase, leads towards the downbeat in
measure 19. Sustain the half note F for at least a dotted quarter note’s duration
and breathe.
The sixteenth notes in measure 19 should be kept light and clean. Add a
slight tenuto on beat 3 to help accent the beat as well as to prevent rushing. The
tongued sixteenths should not be played short or they will most likely suffer in
tone quality. Depending on the tempo, these notes may need to be double tongued
(See Chapter VII) but typically the tempo is relaxed enough to play this section
52
effectively single tongued using a “too” syllable. Lead into the downbeat of 20,
again putting emphasis on the first quarter note A and relaxing slightly on the next
F3. Try to avoid breathing if possible until bar 21 after the half note F3. The
following phrase should be executed in much the same way as the previous
statement since it is identical material.
In measure 23, the opening statement returns and should be performed
with the same metric stress and direction. Although it is not clearly indicated in
the part, the end of the solo occurs after the downbeat of measure 27 when the rest
of the section joins in on beat 2 on the high Eb3. Play this last note of the solo as if
it were the final note in the entire piece; do not cut it off too short anticipating the
tutti section. You may even find it easier to do this by leaving out the first note
after the solo in order to effectively “switch gears” and change styles.
Example 36: Second flute solo from “Provence,” the fifth movement of Suite Francaise by Darius Milhaud.
53
The second solo section in this movement should be performed following
the same instructions, as it is exactly the same material transposed to a higher
pitch level, with the following exceptions:
Because this section revolves around the high E3 pitch, try fingering E3
without RH4 (pinky) for the same reasons discussed earlier in this chapter. Be
careful to get the pinky back down for the high A3, however, since this note will
not speak without it down. This can make using the altered E3 fingering a little
tricky, so you may wish to alternate between it and the standard fingering as
needed. Also, due to the register in which this solo occurs, the pitch will have a
tendency to be sharper than the previous solo section. Keep the embouchure
relaxed and avoid pinching and over-blowing. High G3 is especially sharp on
flute (discussed in Chapter V on Intonation) but is typically flat on piccolo;
careful and diligent practice with a tuner while striving to stay relaxed will
eventually pay off.
Maslanka, David: Symphony No. 4
Example 37: Excerpt from Symphony No. 4 by David Maslanka.
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This solo, a variation on the familiar hymn tune attributed to Louis
Bourgeois (1551) entitled “Old 100,” features many different articulations within
its short five bars. Pay close attention to detail and make certain you are executing
the articulations and accents exactly as Maslanka notated, even when it proves
more difficult. This solo should be light and demonstrate lots of character and
attitude while adhering to the printed dynamic level, since the only instruments
playing are the flute and marimba.
The rhythms are somewhat unnatural with accents placed in unusual
places within the line, so take care to practice this section subdivided to ensure
every note is properly placed on the correct part of the beat. Making note of where
the downbeats and upbeats occur on melody notes may also prove helpful and
will offer short-term goals to keep you perfectly in time. Although staccatos are
indicated, be careful not to clip any off with the tongue by using syllables such as
“tut.” As before, think of short, diaphragmatic bursts of air to achieve the desired
effect; for the accented gestures (ex: bar 701, beat 3), say “too-ah” several times
aloud to hear the type of release you need to emulate before trying it on the flute.
Try to match the percussive quality of the marimba here as well as
working to blend into its sound. The articulation must be executed exactly at the
same time the mallets strike the keys of the marimba; try using a sharper “too”
syllable to keep the articulation tight and crisp. Intonation is also a critical
element at this point since it is a unison line and the marimba will not be able to
55
adjust. Keep in mind that this solo comes 700 bars into the piece; chances are that
the pitch of the winds has risen, so be prepared to bring the pitch down when you
play this passage with the marimba.
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Chapter IV: Dynamics
It is simply not enough to play the correct notes and rhythms as they
appear on the printed page; you must also strive to play expressively. It is a
serious mistake to think that dynamics can be added in after the technique is
learned; you must teach yourself to read all of the musical elements the first time -
notes, rhythms, articulations, phrasing and dynamics - even when sight reading.
LOUD PLAYING To play more loudly on the flute, the air speed and the amount of air
flowing into the flute must increase. To accomplish this task, the aperture must
become slightly larger and more round to allow more air through the mouth while
simultaneously increasing the air speed. To get more air into the flute, try to angle
the air directly down into the flute (as opposed to across) by lowering the chin
slightly and applying more left hand pressure. The ratio of air flowing into the
flute versus air cutting across the blowhole should be approximately 70/30. Try
the following exercise to better understand how the angle at which the air enters
the flute can affect the sound and volume:
Example 38: Exercise for left hand pressure to help control volume.
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Take any pitch you are comfortable playing (such as G2) and sustain it at a
healthy mezzo forte dynamic. Without changing the air speed or the embouchure
in any way, simply add more left hand pressure to secure the flute more tightly
against your chin (indicated above as ‘ON’). You should notice about a 10%
increase in volume as well as a slight change in tone color compared to when you
are playing with normal pressure (indicated above as ‘Off’). Granted, changing
the amount of pressure you are using is only one step in the overall process of
creating dynamic contrast, but this single element is often overlooked and thus is
worth mentioning.
When attempting to play loudly, air is often wasted towards the beginning
of a sustained note or phrase and the end result is that you run out of breath.
Playing loudly takes as much air control as playing softly; you must gauge
yourself and not expel too much air at first in order to save some for the end of the
phrase. The point is to keep the air moving at a constant speed and volume.
Certainly this will vary to some degree depending on the direction of the phrase,
but the mindset is what is important. Take more air in when you breathe, and do
not release it all right away. (For a more in depth discussion on breathing, see
Chapter VI). Also, it is important to know what your limitations are and not to
surpass them. Never sacrifice tone quality to achieve the impossible dynamic.
Work to improve your skills in the practice room, but during a performance be
58
mindful of your physical limits and stay within those boundaries so not to sound
like you’re over-blowing or “rough around the edges.”
Maslanka, David: Symphony No. 4
Example 39: Excerpt from Symphony No. 4 by David Maslanka
The flute soloist is in the spotlight in this section of Maslanka’s
Symphony No. 4. This passage is not only marked forte, but it also calls for the
flutist to “sing out.” Due to the range at which the flute is scored and the various
motives that interject almost sporadically in the background, it is necessary for the
flute to project the sound as full and round as possible throughout the solo
passage.
Take in as much air as possible before you begin; not only will you need it
for volume, but also to simply complete the phrases. Keep the tone round and
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focused with a moderate speed of vibrato that is not too wide and a strong “too”
syllable to emphasize the accents. Although Maslanka varies the rhythm slightly
from what is commonly sung, it is helpful to think of the text (written by Thomas
Ken, 1674) on which this passage is based to determine additional breathing spots
to avoid breathing in the middle of a word:
Praise God from Whom all blessings flow; Praise Him all creatures here below; Praise Him above ye heav’nly host; Praise Father, Son and Holy Ghost.
The tempo at which the conductor takes this section, how loud you are
playing, and how effectively you are conserving air will all play a role in the
phrasing of this solo. If you are unable to complete the phrases breathing only
where indicated, additional breaths can be added in measure 378 between the tied
G and the C half note on beat 2, at the end of measure 385, and after the downbeat
of bar 394 between the tied C and the half note A. These breaths must all be quick
without cutting the previous notes short.
Although the overall dynamic in this passage is full, there must still be
some direction to the phrases. The first phrase, starting with the pick-up into 373
and ending at bar 381, should lead into bar 380. Measure 381 can be handled one
of two ways: the sustained E can taper slightly before the breath as if at the end of
a phrase, or the E can crescendo at the end of the measure while the vibrato also
becomes more energized before the breath is taken. Either interpretation is
acceptable. In the next phrase, the goal is the downbeat F at 386. Note that if a
breath is taken at the end of bar 385, the half note C should not be tapered before
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the breath. Instead, slightly crescendo the C, take a quick breath, and continue the
crescendo to the downbeat F at 386. In the final phrase, follow the contour of the
line, letting the dynamic rise slightly as you ascend to the E in measure 391 and
then relax slightly going into bar 393 to help conserve air. Do not let it drop too
quickly in volume, though, until you reach the downbeat of 396, where the tone
color and vibrato should also change with the change in tempo. Let the tone
lighten up and the vibrato become narrower as you diminuendo the sustained C
and let it fade into the background.
SOFT PLAYING It is a common myth that to play softly, slower air is required. Not so. The
speed of the air needs to remain fast; what does change is the volume of air and
the angle at which the air enters the flute. The aperture must be made smaller to
let less air into the flute. For loud dynamics the 70/30 ratio was used, where
approximately 70% of the air gets into the flute and 30% goes across the tone
hole; to accomplish this, you must angle the air in a more downward direction.
For soft playing, the opposite is true: you must angle the air more across the tone
hole, causing the ratio to come closer to 60/40. The aperture must also become
smaller and more focused while playing softly; with a smaller aperture, the
volume of air that gets into the flute is limited, but the air speed is still behind it to
support the sound.
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Example 40: Etude for dynamic contrast and lip flexibility (original composition based on similar studies by Marcel Moyse).
This etude must be played at a slow tempo, no faster than quarter note =
50. The lower octave notes should be played at a healthy mezzo forte, which then
diminuendo into the upper octave notes played at piano. To achieve this, the angle
of the air stream must change between the bottom and top notes as well as the size
of the aperture. Practice in front of the mirror helps achieve this goal, because
often you perceive you are making the proper movement with the lips when in
fact there is little or no movement actually occurring. This etude demonstrates the
change that must take place from loud playing to soft playing. To play passages
that are continuously soft, the lips must remain pushed forward while the aperture
remains small and round with fast air to support the sound.
Slow practice on long tones is an effective tool for learning to control the
tone quality at soft dynamic levels. But often the nervous energy associated with
fast passages causes players to forget to play soft. Even in sections where the
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fingers are flying, it is necessary to learn to maintain a soft dynamic level with a
beautiful tone.
Chabrier: March Joyeuse
Example 41: Excerpt from March Joyeuse by Emmanuel Chabrier (arr. F. Junkin).
In this solo line found in March Joyeuse by Chabrier, the flute must
rapidly perform scalar passages with flawless technical precision and ease. They
must also be executed at a soft dynamic level since these gestures are each
literally passed off from one instrument to the next, ending with the solo flute.
Watch the conductor and listen carefully during the extended rests to come in at
precisely the right moment. If you wait to breathe until right before your entrance,
you’ll be late. Instead, take advantage of the time between phrases and inhale over
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the course of several beats before each entrance, making sure the tongue and
embouchure are both properly set in advance.
Have your lungs already filled up with the air behind the tongue at the
front of the mouth waiting to release the air for the first entrance at measure 156;
this will help keep the note from being attacked with the tongue too aggressively
but will also provide a clean start. There should be a slight push dynamically into
the downbeat of bar 157, but only to bring out the contour of the line. Due to the
fast tempo of this piece, trill fingerings can be used to facilitate the motion from
F3 to G3 (discussed in Chapter VIII), but all other notes in this passage must
executed with standard fingerings. Let the descending scale diminuendo all the
way into the downbeat C in bar 158, being careful not to accent the last note.
In bar 161, the flute enters at forte on rapid repeated E’s which then
decrescendo. Although a final dynamic is not indicated in the part, this line
should fade out of the texture, so work to make as much contrast as possible. The
same concept from the etude applies to this diminuendo: as you get softer on the
E, the angle of the air must change from blowing down to blowing more across,
while at the same time the lips come forward and the aperture gets smaller. Do not
let the pitch go flat. To practice, play a sustained E and apply the diminuendo over
the course of four beats without tonguing; once that feels comfortable, do the
same procedure while tonguing. This passage should be triple-tongued (described
in Chapter VII) without playing the notes too short so as not to lose tone.
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In the tutti section (measures 163-164) leading up to the final solo, it may
be helpful to omit this passage and let the rest of the flute section cover it as you
prepare for the final scale. As in the previous section, have the air ready to go
behind the tongue and simply release the air on cue. This passage is technically
tricky, and no alternate fingerings exist to make it easier. Slow, repetitive practice
breaking up the scale into groups of four notes, always playing to a downbeat, is
necessary for flawless technique. Try not to rush over the top of the scale since
this will only amplify the problem; aim instead for the downbeat A3 in bar 165 by
placing a slight tenuto on that note; the same can also be done on the following
G3 on the upbeat of beat 1. Let the remainder of the phrase relax and fade out at
the end of the bar. Although no downbeat is written in measure 166, if the
previous passage is executed correctly, the audience perceives the flute as having
played the downbeat, but simply at an inaudible dynamic.
DYNAMIC CONTRAST In most musical passages, it is rarely required that the player remain at one
dynamic level. In some music, it is often left up to the player to determine the
expressive intricacies; however, some composers are extremely particular in their
instructions, often requiring the player to make sudden and extreme contrasts in
range, tone color, and dynamics.
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Grantham, Donald: Phantasticke Spirites
Example 42: Excerpt from Phantasticke Spirites by Donald Grantham.
The music of Donald Grantham is both technically and musically
challenging; this solo excerpt from Phantasticke Spirites in no exception. The
musical intentions are made clear by the composer who instructs, “exaggerate
dynamics, accents, and articulations” at the start of the flute solo. Although
ornaments will be discussed in more detail in Chapter VIII, place the grace notes
throughout this excerpt before (but as close to) the beat as possible to sound
“chirpy” and bird-like.
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The G half note in measure 179 should be played at a solo forte; the tone
should be full and round, employing a fast but somewhat wide vibrato. Try using
a “doo” syllable to start the note so that the initial attack is not too harsh. While
sustaining the G, lead into the eighth note D on beat 2 by increasing the air speed
and the speed of the vibrato. The D should be tongued clearly, and a slight tenuto
should also be added to help bring out the accent. Let the contour of the eighth
notes be the guideline for the rise and fall of the dynamics in these two bars,
relaxing some on the descending line going into bar 180 and then building again
into the downbeat of 181.
Note that staccato marks under a slur have nothing to do with the way a
note is attacked but everything to do with the style in which it is released. Thus,
the downbeat of 181 should not be articulated, but rather be released with the air
after the slur to create space or lift. It is helpful to practice bar 181 without the
grace notes to understand the direction of the phrase. In doing so, you will hear
that although both high G’s have accents on them, that it is actually the second G
on beat 2 (beat 3 if thinking in 4) that should receive a little more emphasis.
Sustain the dotted quarter into the following sixteenth notes which should then
relax slightly into the downbeat of measure 182. If a breath is needed, a quick one
can be taken here, but it would be better to wait until the end of the phrase at bar
183. Think of the eighth note D as a pick-up note into beat 2 with a slight lift on it
rather than thinking “short,” which would not be an appropriate style. The duple-
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slurred eighth notes should be connected without putting space between the two
groups; to achieve this, think articulating with a “doo” syllable and maintain the
air stream through the line. Beats two and three should both lead dynamically into
the downbeat of bar 183. Do not taper the half note in 183 too much, as the phrase
should end with a sense of arrival; instead, vibrate the B and sustain it at full
value, tapering it only enough to exit gently as you release it on beat 2.
In the next section, dynamic contrasts are clearly dictated to the flutist.
Play the quarter note E3 in bar 184 at forte, again with space after the end of the
note and placing even more emphasis on the following eighth note E, as if the
quarter note was a pick-up to beat 2. To secure these high E’s and prevent them
from cracking or being sharp, finger them without RH4 (if you do not have a split
E on your flute). The first eighth note E should also be loud, but then immediately
come down to piano on the following eighth note D. The line then proceeds to
crescendo into the half note E at the end of measure 185. Although the crescendo
is marked at the end of bar 184, waiting until bar 185 to start the crescendo will
have a more exaggerated effect.
Although a quarter rest begins bar 186, this measure is actually still part of
the previous phrase. Again, thinking of the quarter note F3 as a pick-up to the half
note D on beat 2 will help give proper emphasis on the accented D. After the
initial forte attack, the D should diminuendo into the E in the next measure; make
sure the vibrato also follows suit, relaxing somewhat during the decrescendo. The
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upbeat of 2 in 187 should also be thought of as a pick-up into bar 188. This
entrance should be loud in comparison to the previous dynamic level, so
exaggerate this contrast as much as possible without overblowing the G3 or
causing it to be out of tune. The downbeat E3 in 188 should be articulated
strongly but then should immediately back away to piano, which then quickly
crescendos back to forte into the high F#. Practice making this dynamic contrast
happen by removing the trill to focus on the tone quality and tuning of the E3
during the crescendo. Upon putting the trill back in, make certain the E speaks
clearly before you begin the trill, and also be mindful to end the trill on the E
before moving to the F#. (For further study on how to properly execute trills, see
chapter VIII.) Although the F# has an accent on it, it should grow out of the
crescendo. Be sure to articulate the beginning of the F# rather than slurring into it,
and release it with a fast vibrato to make it shimmer.
The next phrase segment starting with the pick-up into bar 189 should be
played in a reflective mood while maintaining a light character with the
articulation in a “lifted” style rather than short. Lean on the first C in the triplet on
beat 2, and let the phrase relax going into measure 190. The character of the next
phrase from 191-193 can be described as one which begins with a strong resolve
but ends in a questioning, uncertain manner. The pick-ups going into bar 191
should enter at a healthy mezzo forte with an accent on the first D, which
crescendos to fortissimo on the downbeat G on measure 191. The accent on the
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G3 should be accomplished strictly with air and not the tongue; however, be
careful not to overblow it and go sharp. Be certain to play measure 191 in the
legato style indicated by not cheating the note values and by keeping the air
stream steady. By bar 192, the dynamic must again diminish back down to piano.
The pick-up to 194 should begin at piano, gradually building over the
course of three measures to forte in bar 197. The half note B on the downbeat of
196 should not be tapered, as the crescendo should continue to build even through
the rest. The final phrase beginning with the pick-up into 197 should be played in
a decisive, dignified style which this time does not falter. Practice the interval
slurs at 198 slowly to ensure perfect legato connection and consistency of tone.
This final phrase should sing, concluding with a sparkling vibrato on the final
high G in bar 199.
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Chapter V: Intonation
Playing in tune is an important concept to master but one that is too often
ignored, even by advanced players. Solid intonation is a critical musical element
that can keep even the most technically proficient flutist out of work if it is not
kept under control or if the player is unable (or unwilling) to make adjustments.
Diligent practice with a tuner is necessary to play in tune consistently, but even
for players who have perfect pitch, it is critical to realize two facts: one, your
instrument does not have perfect pitch; and two, you must be able to play in tune
but then also learn to be flexible with the intonation to match other players in any
given ensemble. A good way to start is by mapping out your instrument’s pitch
tendencies:
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Table 4: Intonation chart to map the flute’s pitch tendencies.
The above chart should be copied and filled out in the following manner:
after you are properly warmed up, have another person watch the tuner and fill
out the intonation chart while you play. This method is preferred to filling out the
chart yourself simply because when watching the tuner, it is easy to adjust the
pitch to where it is supposed to be rather than letting the notes fall where you
might naturally want to place them. Tune to your regular tuning note at a healthy
mezzo forte without using vibrato; vibrato changes the pitch of the note and
therefore should never be used when tuning. It might also be helpful to check
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another note before getting started; for example, if you chose Bb2 or A2 to tune,
also check D2: in doing this, you are checking both an open note (very few keys
depressed) and a closed note (almost all the keys depressed). Make any
adjustments necessary and then begin to map out your flute.
The person filling out the sheet for you can do so in a various ways. One
option is to simply draw arrows in the direction of the pitch tendency. For
example, if the C#3 is sharp, an arrow going up would indicate the pitch was
sharp. This method works well in achieving a general indication of intonation
tendencies. A more precise method is to write in exactly how many cents sharp or
flat each note occurs; in this way, you can better tell which notes are problematic
and which notes are in need of slight adjustments.
Play each note at a slow tempo, at least four beats in duration at a
comfortable mezzo forte dynamic and without vibrato. Make sure to keep the air
stream steady throughout the duration of each note so as not to let the pitch
change. Once finished with the entire range of the flute, you should repeat the
exercise at both forte and piano dynamic levels to see how the pitch tendencies
change as determined by the dynamic. Although general consistencies in
intonation occur from flute to flute, each instrument can exhibit its own peculiar
traits, making it important to find out what the tendencies are on your particular
instrument. Once you know which notes are problematic, you can then begin to
work on adjusting the embouchure and in some cases, incorporate alternate
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fingerings into your vocabulary to manage these notes and keep them under
control. (For details on alternate fingerings, see Chapter IX.) Keep in mind that at
any given time, you may be required to adjust your pitch depending on the
instrument(s) with which you are playing. Thus it is wise to become familiar with
clarinet, oboe, and trumpet intonation tendencies since the flute often doubles
these parts in wind band music.
THE LOW REGISTER In general, the flute’s low register tends to be flat; however in recent
years, many flute makers have adjusted the flute’s scale (i.e., placement of the
tone holes) in an attempt to correct this problem. Typically, the notes in the low
register are flat due to lack of breath support, especially at soft dynamic levels.
To fix notes which are flat in the low register, first use fast air to support
the sound; this act alone should bring the pitch up on any note at least a few cents.
If this does not completely bring the note to pitch, experiment with the angle at
which you are blowing the air into the embouchure hole: pushing the jaw forward
and raising the head to blow more across rather than down will help to bring up a
note’s pitch, and conversely, moving the jaw back and lowering the head to blow
more down into the flute will help bring the pitch down. These actions are the
preferred method, rather than rolling the flute in and out. Although taught as a
standard method of tempering intonation by many unsuspecting band directors,
rolling the flute can be more harmful than helpful: it can result in covering too
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much or too little of the tone hole, which can then result in poor tone quality and
response; and it can also cause poor hand or arm position, since rolling the flute
makes it necessary to adjust the angle at which the flute is held.
Try the following excerpts with a tuner and check the intonation as you
play:
Husa, Karel: Apotheosis of This Earth
Example 43: Excerpt from “Postscript,” the final movement of Apotheosis of This Earth by Karel Husa.
In this solo passage found in “Postscript,” the third movement of
Apotheosis of This Earth by Karel Husa, the clarinet passes off the E2 to the flute.
This is important to know because the clarinet tends to be sharp in soft passages
while the opposite is true for the flute. Make every effort to blend into the
clarinet’s sound as well as matching its pitch as you enter. To do this successfully,
no vibrato should initially be used until the note is successfully transferred to the
flute and the solo becomes solely that of the flute. Slightly venting the bottom trill
key on the E can also help bring the pitch up and also allow it to be played at an
incredibly soft dynamic without fear of dropping the octave:
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Example 44: Special E2 fingering useful in the Husa solo.
Once the E has been established, a very narrow vibrato can be applied, at
which point the trill key can be released before moving to the low C. There may
be a slight change in tone quality when using this fingering, which is why you
should not depress the trill key all the way down and why you should also wait to
remove the trill key until vibrato is employed to help mask the tone color change.
Upon moving from the E2 to the low C, the RH pinky finger must slide
from the D#/Eb key to the low C key. E2 must be fingered using the D# key due to
the inferior tone quality resulting from not using it. To make sliding easier, rub
your pinky down the side of your nose before the solo entrance; the oil from your
face will help lubricate your finger and in turn will help facilitate the movement
from the D# key to the low C key. Low register exercises focusing on this motion
should also be practiced to develop strength in this typically weak finger.
Example 45: Low register exercise to help develop strength in the RH pinky finger.
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Make sure you keep the flute still when moving from the E2 to the low C,
since any unnecessary motion might break the legato connection between the two
notes. Practice in front of a mirror to watch the embouchure change necessary to
keep both notes in focus, and check the intonation with a tuner to make sure you
keep the pitch up. Lightly articulate the F in bar 52 without putting any accent on
it and sustain the F with a narrow vibrato; continue to listen carefully to the pitch
and make the necessary adjustments with the angle of the air to play the F in tune.
Again, practice with a tuner will help you to place each note perfectly every time.
Grainger, Percy: Molly on the Shore
Example 46: Low register excerpt from Molly on the Shore by Percy Grainger.
One of Grainger’s greatest skills was his use of color and unique
combinations of instruments in his orchestrations. In this excerpt from Molly on
the Shore, the flute section plays in unison with the horns; the flutes must blend
into the horn sound, striving to keep the pitch constantly in tune while making the
indicated crescendos and decrescendos. Practice with a tuner while making the
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dynamic changes will prove helpful in determining what intonation adjustments
must be made; note that in performance, it will be the responsibility of the flutes
to match the pitch given to them by the horns.
Do not play this excerpt too loudly, keeping in mind that the entire flute
section and the horn section are in unison. The accents should be stress accents
rather than hard attacks. Follow Grainger’s markings precisely, noting not only
the dynamic markings but the written instructions, “gradually louden lots.” This
directive indicates that the entire passage should gradually become louder while
simultaneously employing the hairpin dynamics. Be careful not to overblow or let
the tone spread while attempting to play louder in the low register; work also to
keep the pitch down as you make the crescendo by angling the air further down
into the flute rather than across. The final dynamic level should reach forte in bar
122, creating an effective build-up into the next section.
THE MIDDLE REGISTER Generally speaking, C2, C#2 and D2 tend to be high on most flutes;
however, any note can potentially go flat when attempting to play soft or if it is
not supported by a fast air stream. These notes can both be brought to pitch by
adjusting the embouchure and the angle at which the air is directed into the flute;
but C#2 can also be brought down by adding all the fingers in the right hand.
Alternate fingerings are commonly used by advanced-level and professional
players to help manipulate the pitch as well as to facilitate difficult technical
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passages. However, it should be pointed out that it is extremely important not to
rely on alternate fingerings without making every possible attempt to work
through the passage using standard fingerings; alternate fingerings typically are
inferior in tone quality to standard fingerings (which is why they are referred to as
“alternates”) and must not be used in situations in which it is noticeable that “fake
fingerings” are being substituted. (For more information on special fingerings, see
Chapter IX.)
Another cause of intonation trouble is simply the use of incorrect
fingerings. This difficulty is especially true in the upper register, but several notes
in the middle register are also commonly mis-fingered: D2 and Eb2 are often
fingered incorrectly by leaving the LH first finger down; F#2 also falls victim to
bad habits when flutists play it using RH2 in place of RH3. Although this is an
acceptable alternate fingering for middle F#2, it should be used only in rapid
passages and not on sustained sounds due to its obvious inferior tone quality.
Persichetti, Vincent: Symphony No. 6
Example 47: Excerpt from the third movement of Symphony No. 6 by Vincent Persichetti.
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This solo passage found in the third movement of Vincent Persichetti’s
Symphony No. 6 is in a moderate 6/8 (two beats per bar). This meter is important
to note because 6/8 has natural stresses that normally occur and apply to this
passage. In 6/8 time, the downbeat of each measure is typically the strongest beat
of the measure, while the second strongest beat generally occurs on the fourth
eighth note, or beat 2 of each measure. This emphasis should be executed gently
and naturally, so as not to make the phrase bumpy.
Take a slow, deep breath over the course of an entire measure before
entering, and be mindful not to let the pitch sag. The vibrato in this excerpt should
be somewhat shallow and slow to adhere to the composer’s instructions to play
the line placido (“placid” or “calm.”) A breath is often taken in bar 109 after the
tie and before the pick-up note, but if possible, it is better to play this passage as
one six-measure phrase rather than two short ones. Check the tuning between the
octave C’s in bars 109 and 110; sustain though the C2 in bar 109, letting the
vibrato and air speed gradually increase to give a forward direction into the next
measure. Although the highest note in this excerpt is the C3 in bar 110, the height
of the entire passage is actually the downbeat B2 in measure 111. Keeping this
high point in mind, put a little crescendo on the C3 going into the B2 in 111.
From this point forward, let the phrase relax, but do not let the pitch drop as you
start to descend and make the diminuendo.
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As you taper the final A2 in measures 112 and 113, keep the pitch up by
pushing the lips forward and making the aperture smaller. Another useful trick for
keeping the pitch up in the decrescendo is to push the end of the flute away from
you slightly. To practice this technique, play any sustained pitch and without
changing dynamics, slowly push the end of the flute away from you allowing the
embouchure plate to eventually lift away from the lips on the right side. When
executed correctly, the pitch goes slightly sharp. When coupled with a
diminuendo, the pitch will have less of a tendency to go flat. Note, however, that
this technique is meant only to assist you in achieving optimal intonation and by
no means is it a replacement for working towards complete embouchure
flexibility and control.
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Young, Charles R.: Tempered Steel
Example 48: Excerpt from Tempered Steel by Charles R. Young.
In the first section of this flute solo in Tempered Steel, the flute plays the
melodic line alone; during the second statement, however, the oboe doubles the
flute. Oboists can generally play longer phrases, but it is not always the best
musical decision to simply play as long as you can on a single breath; it is
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important to decide with the oboist ahead of time where the breathing points will
occur.
Although the tempo does not actually change from the driving, rhythmic
material presented in the first half of the piece, the music takes on a slower feel at
186 due to the lyric quality of the solo line and longer note values in the lush
accompaniment supporting it. Play the solo line expressively, with a beautiful
tone and a spinning vibrato. Stress the downbeat slightly in bar 186 to help
establish meter and the feeling of it being in one and lead into the C#3, being
careful to keep the pitch down. In this passage, it can be helpful to add all the RH
fingers on all of the C#3’s to keep the pitch down and to keep the tone from being
too bright.
The first breath can be taken after the tied A2 in measure 192; however,
do not be late coming back in on the D2, since the duple subdivision must be
performed with precision. Although you’re playing two beats against three,
simply think of these measures as “1-&,” just as you would if playing two quarter
notes in 2/4 meter. The D2 after the breath is a pick-up into bar 193, so push into
the downbeat A2 and give it a slight emphasis. Relax again on the following D
and then build up to the C#3 in 195.
The second opportunity to breathe is at the end of bar 196; release the C#3
slightly early to take the breath. Dig into the sound on the low A1 in measure 197
and crescendo into the following F#, saving some volume for the sustained F#
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itself. This entire phrase should lead all the way into the A2 in bar 200. Once you
arrive at this A, taper it off into the breath in bar 201, again being careful not to
distort the duple rhythm of the dotted quarter notes.
The third phrase starts with the pickup into 202. Just as with the first
phrase, lead into the C#2, keeping the phrase from losing momentum on the
sustained sounds. Take a deep breath at the end of bar 204 and save some air in
this next phrase so you do not have to take such a deep breath in bar 209, which
would disrupt the phrase. Keep the D3 in measure 206 from suddenly jumping out
of the texture by pushing into it from the previous A2, but save some crescendo
for the C# in bar 208. Aim the air down as you build the crescendo to help keep
the pitch from going high, using the alternate fingering if needed. Take a quick
breath in measure 209 after the tie, but do not taper before the breath. Re-enter on
the following C# at the same dynamic level and continue the crescendo into the F#
on the downbeat of bar 210, the peak of the phrase. After you reach this measure,
the remainder of the phrase must relax going into 214 until it tapers off in
measure 216. Keep the pitch up as you make the diminuendo, and color the sound
with a spinning vibrato that continues the lyric quality of this excerpt.
At 222, the oboe joins the flute in unison. Work to create a balanced blend
of the two instruments’ colors rather than sounding like two individuals playing
the same line. Not only must the two instruments be in tune with each other, but
the vibrato must also match between the two players; keep in mind that oboists
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generally use a narrower vibrato than flutists and thus it will be the job of the
flutist to match the oboe rather than vice-versa. Follow the same general phrasing
principles as outlined in the previous section, taking into consideration the minor
alterations Young makes in the melodic line. Before 250, taper the phrase just like
the phrase at 214; the goal is to seemingly finish the phrase just as it did before,
but instead, abruptly changing back to the rhythmic, angular style that began the
work. Use the forked F#3 fingering (LH 2 in place of 3) to keep the pitch from
going sharp on the fortissimo attack.
THE HIGH REGISTER When thinking of the high register on the flute, one often defines the third
octave as synonymous with being sharp. Although this idea is generally true, there
some notes in the upper register are typically flat on the flute. For example, D3 is
often flat, especially when played at soft dynamic levels. Bb3 is flat on almost
every flute, but is often more prone to being flat due to incorrect fingerings. Many
students finger Bb3 as shown in the first example, but the real (and more in tune)
fingering is the second example:
Example 49: Fingerings for high Bb3.
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The diagram on the left shows an alternate fingering many students use as
standard but which is typically flat; the diagram on the right shows the actual
standard fingering which is less flat. Although it is acceptable to use the first
fingering in certain situations to facilitate difficult technical passages, the second
fingering plays more in tune and should be used on long sustained notes as well as
all scale study.
As stated previously, with few exceptions, most notes in the upper register
on the flute are inherently sharp. The lips must come forward and the aperture
must become more round, with extremely fast air to support the sound. At the
same time, you must strive to keep your embouchure relaxed and resist the
temptation to pinch or squeeze to cause the notes to respond. To work on keeping
the cheeks relaxed, refer to the tone exercises discussed in Chapter I. In addition,
several alternate fingerings can be employed to help regulate pitch in the third
octave (discussed in Chapter IX), but again, it is imperative that you exhaust all
other options, most important of which is to develop good tone and pitch using
standard fingerings, before resorting to making alternate fingerings a staple of
your technique.
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Hindemith, Paul: “March” from Symphonic Metamorphosis
Example 50: Excerpt from “March,” the final movement from Symphonic Metamorphosis by Paul Hindemith (arr. Wilson).
Although not a solo excerpt, this passage in Hindemith’s “March” from
Symphonic Metamorphosis is always nerve-wracking for both the flute section
and the conductor. Suddenly, the entire bottom drops out of the ensemble in the
second ending, leaving the flutes to play extremely softly in the upper register in
octaves over other winds. Intonation in this passage is usually a nightmare and is
often further compromised because both players and directors automatically
assume the flutes are sharp on the Bb3 when in fact the opposite is true.
Since both the standard and the alternate fingering for Bb3 mentioned
earlier are flat (the second being less flat) and the intonation problem is further
compromised by attempting to play softly, work to bring the pitch up on Bb3 by
blowing slightly more across the embouchure hole rather than down and always
support with fast air, even at soft dynamics. While this suggestion may seem
contradictory, the difference between loud and soft playing is not so much the
speed of the air as it is the amount or volume of air that is allowed to pass through
the lips and into the instrument: when the size of the aperture diminishes but the
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air speed remains the same, less air will be directed into the flute and the dynamic
level will in turn decrease. If the speed does not stay fast, then the pitch will drop
and often, tone quality will also suffer.
After having worked to produce a more stable Bb3, if the intonation still is
not consistent, you can experiment with an alternate fingering which works well
at extremely soft dynamics:
Example 51: Alternate fingering for Bb3.
This alternate Bb3 fingering is slightly sharp and is not good for dynamic
levels over mezzo piano but can be brought down and is easy to sustain at soft
dynamics; also, due to the awkward nature of the fingering, it would be
impossible to implement this fingering in technical passages. Even in this slow
and sustained excerpt found in “March,” it will take much practice to make a
smooth legato between the alternate fingering and the following F3. To make the
transition a bit easier, try forking the F3 by adding RH3, but be careful when
doing so not to let the pitch on the F3 go flat. Do not forget to slide the LH thumb
off the Bb key before playing the Gb3 in the third bar, another common fingering
mistake that results in poor intonation and inferior tone quality.
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Breathe quickly at the end of this phrase, being mindful not to attack the
following F2 too aggressively as you reenter. Although no crescendo is indicated,
make a slight push from the F2 through the line into the F3 the bar before G. Use
the standard fingering for F3 here, since the forked fingering will be flat. Do not
accent the E3 on the downbeat of G, and keep the pitch from dropping. Although
it is common to finger E3 without the RH pinky to keep the pitch down on this
normally sharp note, at soft dynamics this pitch is unstable and the standard
fingering or a sharp fingering should instead be utilized.
Welcher, Dan: Castle Creek Overture
Example 52: Excerpt from Castle Creek Overture by Dan Welcher (arr. Bissell).
In this solo excerpt from Castle Creek Overture, it is easy to overshoot the
sustained notes at the top of the running sixteenths, causing them to go sharp.
Practice each run slowly, checking with a tuner upon reaching the top note. To
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bring the pitch down in measures 63 and 64, finger both E3’s without the RH
pinky, and use the alternate forked fingering for the F#3. In bar 71, the Db3 will go
extremely sharp as will the Eb3 in bar 72 unless the air is directed in a more
downwards angle. Practice this technique slowly and with a tuner to make certain
you do not bring the pitch down too far, working to make the tuning adjustment
before the note is played.
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Chapter VI: Breathing and Phrasing
It would seem logical that breathing, being an involuntary function of the
human body, would be the one aspect of playing the flute (or any wind
instrument) that would be most natural. However, it is instead one of the most
common pitfalls and a skill that requires much training. In “The Flute Book,”
Nancy Toff defines breathing as a three-step process: inhalation, suspension, and
exhalation, pointing out that the third step, exhalation, is the most important, “for
it is exhalation that activates the air column in the flute and lungs and thereby
generates tone. The ability to control that exhalation with the lungs and abdominal
muscles before the air stream ever reaches the embouchure . . . is essential.”10
To properly execute the first step in the process of breathing, inhalation,
keep your lower body, neck, and shoulders relaxed and open the mouth and throat
as if saying the word “ah.” Breathe deeply through the mouth and allow the air to
fill the abdominal cavity, not just the upper chest. When done correctly, your rib
cage and stomach should expand; avoid the common pitfalls of raising the
shoulders, tightening the throat, and “sucking in” the stomach, all of which
actually impede the breathing process.
During the second step, suspension, hold the air for a split second before
proceeding to the third step of exhalation. This short but important step will keep
10 Nancy Toff, The Flute Book: A Complete Guide for Students and Performers, 2nd ed. (New York: Oxford University Press, 1996) 81-82.
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you from hyperventilating and it also allows you to set your embouchure muscles
and tongue in place before exhaling to generate a sound.
The final step, exhalation, requires the most control. If you allow all of the
air to escape all at once, you will not be able to play long phrases. Think of what
happens when you blow up a balloon and let it go without tying off the end; your
air stream can be thought of in the same way. To control the amount of air you are
exhaling, not only must you control the size of your embouchure, but you must
also keep the speed of the air steady.
To simulate this concept, again think of a balloon filled with air. When
you hold the neck of the balloon with both hands and then pull the neck outwards
to release the air, not only will the air begin to escape from the balloon, but a
sound will also occur. If you are keeping the size of the hole through which the air
is escaping steady, the pitch will stay relatively the same. But listen to what
happens as the balloon gets close to deflation and there is less air pressure to
support the sound; the pitch begins to drop. The same is true for your air stream:
to maintain pitch and tone quality, the air support and air speed must remain
constant.
Just as important as knowing how to breathe is deciding where to breathe.
Often this moment is indicated in the music with an apostrophe, check mark or
simply by inserting a rest at the end of a phrase; yet keep in mind that sometimes
these suggestions are those of an editor and that they may or may not be the most
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musical choice in terms of phrasing. You should strive to breathe only at the ends
of phrases; when this is not possible, alternatives must then be decided upon.
In the case of long, sustained phrases, avoid breathing at the bar line; aim,
instead to breath after the longest note values, stealing time away from the note
prior to the breath rather than the note following. In the case of rapid technical
passages, several phrasing options are commonly used: look for repeated notes
and breathe between them; omit the second repeated note, replacing it with a
breath if necessary; or breathe where a change of direction occurs. Whatever your
decision, it is important to mark breathing points in your music and practice
taking those breaths even when working on the music under tempo. Having your
breaths clearly indicated in your part will keep you from guessing where you
should breathe when under the pressure of a performance and will in turn
facilitate better phrasing.
The initial breath is perhaps the most important; if a solid breath is not
taken at the start, the breathing in the remainder of the piece will suffer. Although
many players and teachers advocate breathing in tempo just before you play, it is
instead conceivably wiser to inhale slowly over the course of several beats. If a
conductor insists on an audible breath in tempo, breathe early without filling the
lungs to capacity so that room still remains to “top off” or completely fill up on
the conductor’s cue. This practice will help to ensure that you start off with as
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much air as possible and will help you to avoid running out of air and taking
breaths in awkward, unmusical places.
Breathing is a natural part of music-making when dealing with wind
instruments, and thus the breaths must be made part of the music. In a master
class conducted on October 19, 2003 in Kansas City, MO, Leone Buyse
(Professor of Flute at the Sheppard School of Music at Rice University) spoke of
this point: the character of breath must match the character of the music; in other
words, the type of breath that is taken in the first movement of the Muczynski
Sonata will differ from the type of breath that is taken during the slow, sustained
phrases in Samuel Barber’s Canzone. It would look and sound ridiculous to
breathe in an excited manner during the Barber, and it would likewise be very odd
to breathe in a relaxed style during the Muczynski. Breathing is not only an
essential component of tone production, but it also must become part of the
musical expression and drama of the piece.
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Holst, Gustav: Hammersmith
Example 53: Excerpt from Hammersmith by Gustav Holst.
Breathing and maintaining control of the air stream are critical aspects of
this solo passage found in Holst’s Hammersmith; if a solid breath is not taken at
the very start, every phrase that follows will inevitably suffer. Likewise, if the air
is exhaled too quickly, you will not successfully endure through the long phrases.
Another element that should be given careful consideration is vibrato; the vibrato
throughout this entire passage should be slow and somewhat wide, conveying a
mournful or sorrowful character rather than one that is active or agitated.
To start, inhale slowly over the course of at least two beats prior to the
first note and enter at a healthy solo mezzo piano dynamic. The first Ab2 should be
thought of as a pickup into the next measure, so place a little more emphasis and
vibrato on the whole-note G four bars before M. The first part of the opening
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phrase can be thought of as a musical sigh ending three bars before M with the
whole-note B1. At this point, it is wise to refill your lungs even if you do not feel
like you need a breath this early; to make it through this solo successfully, it is
crucial to “stack” your air for the longer phrases that lie ahead.
The second half of the phrase begins much the same way, but instead
moves in the opposite direction; although the high E3 before M is the highest
note, the phrase should lead all the way into the downbeat G#2 at M. Let the speed
of the vibrato increase gradually as you ascend the line approaching M; take a
quick breath at the bar line and continue with the same intensity at which you left
at the start of the G#. The last part of this opening statement should then relax in
terms of both dynamic level and vibrato, starting at M in order to conserve air.
Two measures after M, place emphasis on the A# half note and after moving to the
G#, back away and blend into the background applying a shallow vibrato, much
like the sustained D3 at the end of the famous flute solo in Beethoven’s Leonore
Overture.
Get off the tied G# slightly early three bars before N and take a breath
before the triplet; although marked pianissimo, the articulation must remain clear
and the tone must project with energy. Breaths can be taken after each of the
phrase segments leading up to N, but do not let the breaths obstruct the phrase.
The arrival at N marks the first full statement of this new motive played by the
flute, so it should be performed with more conviction than the phrase segments
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leading up to it. Finally, the scale passage leading into the final statement should
crescendo into the downbeat two bars before O, but the peak of the phrase should
be saved for the triplet quarter-note F3 on the and of beat 1. From this point
forward, the phrase should relax, maintaining the tempo through the built-in
ritard until it finally comes to rest on the final Db2 before O.
Grantham, Donald: Fantasy Variations
Example 54: Excerpt from Fantasy Variations by Donald Grantham.
Just as in the previous excerpt from Hammersmith, this beautiful solo
passage in Fantasy Variations by Donald Grantham requires optimal breath
control and lyric phrasing. As in the Holst, the vibrato in this excerpt must not be
overdone; you must also take care to avoid vibrating on only the beats in eighth-
note passages. To vibrate only on the beats makes the line sound uneven and
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bumpy; instead, vibrate every note slightly, thinking of how each note should be
treated differently in accordance with its role in the direction of the phrase. It is
also helpful to practice this entire passage without vibrato to make certain you
have total control over your use of air before vibrato is even a factor.
Although the indicated dynamic is pianissimo, the flute is in the spotlight
here and should begin confidently. Think of the first note as a pickup into beat 2,
making the indicated crescendo lead all the way to the Db2 in bar 280. If possible,
sustain through the Db without breathing and continue the line upwards to the
downbeat F# in measure 281 before making the diminuendo. Breathe after the D3
in bar 281, making sure not to disrupt the mood of the music by taking a loud and
distracting breath. Be careful not to let the high Eb3 in bar 282 suddenly jump out
of the texture; this measure should crescendo all the way to the downbeat of
measure 283. To make it through the next phrase, take another breath after the Ab
on beat 3 of 282 and continue the motion into the downbeat of 283 before letting
it relax again. Although it is possible to breathe after the tied D here, it is better to
play a longer phrase and wait until the same opportunity in bar 284.
Make a crescendo through the end of measure 284 and, without
broadcasting it beforehand by tapering, suddenly back off on the downbeat C#3 in
285. To make certain the listener comprehends the subito piano that just occurred,
wait to make any crescendo until you reach the Bb, then let the Bb grow in
dynamic and use of vibrato. Breathe after the tied Bb, breaking the slur, but
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continuing the crescendo through the breath to the downbeat of measure 286.
Avoid breathing after the tied E2 in 286, instead waiting until the end of the
measure. Note that bar 286 is a written out ritard, and the tenuto indicated on the
last D#2 on beat 4 should be quite deliberate, while the following E2 should taper
off as if this were the end of the solo.
It is a good idea to play bars 287 and 288 without vibrato for two reasons:
first, this passage needs to sound serene and an overactive vibrato will be
counterproductive in this task. Second, this passage is in unison with the
vibraphone, making intonation critical; to blend more easily with the vibraphone,
use little or no vibrato. A poco ritenuto is indicated at the start of bar 287, and as
the “poco” indicates, it should not be overdone. Think of a ball going up a hill as
you ascend up the line: as it starts to reach the top, it slows down ever so slightly
and then regains some of its previous momentum as it begins to descend. At the
end of measure 288, it is appropriate to stretch the last two eighths and, as you
make a slight crescendo, once again apply vibrato as you make the transition into
the a tempo at 289.
Wait to breathe until the tied Ab2 after beat 3, shaving a little length off
this note in a graceful manner and making certain to take in enough air to make it
through to the end of 291. A breath should be avoided at the downbeat of 291,
waiting instead until the end of the measure; take time with the ritard, placing a
slight tenuto on the D2 on beat 3 and then relaxing on the following F. Let the
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vibrato get slower and wider as you play the final two measures of the solo,
making a slight crescendo from the eighth note in both bars 292 and 293 into the
half notes. The final C3 in bar 293 needs to be treated as if there were a fermata
on this note as well, letting the note taper almost into nothing before finally
dropping down to the octave C2 which completes the solo.
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Chapter VII: Articulation (Part 2)
DOUBLE TONGUING Although single tonguing is the standard, it is not always logical to apply
it in situations where the music demands that you tongue in succession over a
period of time; this is especially true at fast tempos, when it is sometimes
impossible to tongue at the required speed, not to mention the fact that the tongue
eventually tires and basically quits functioning. This fatigue occurs because when
single tonguing, the same stroke (i.e., the syllable “too”) is repeated over and
over; naturally after a period of time, the tongue muscle will tire. In order to give
the tongue less work to do, you must learn to use a different part of the tongue in
an effort to essentially divide the workload between the front and the back of the
tongue. This technique is called “double tonguing.”
The basic syllable applied to single tonguing, “too” or “doo,” will remain
the same but will now be referred to as the “front stroke,” since it is formed at the
front of the tongue. The second syllable, called the “back stroke,” is formed at the
back of the mouth using either “koo” or “goo.” When a clearer, slightly harder
articulation is called for, the “too-koo” combination will provide the best results;
in most circumstances, the “doo-goo” combination will provide a clean but more
legato double tongue that is stylistically correct for music of all periods and styles.
To learn to double tongue effectively, it is essential to work slowly with a
metronome to make the back stroke even with the front stroke; it is just as
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important to make the back stroke sound as similar to the front stroke as possible,
without any aural evidence of weakness. To accomplish this, practice the
following tonguing patterns using scales:
Example 55: Exercise to develop double tonguing and to generate a back stroke that is equal to the front stroke.
The exercise above is effective because not only are you practicing the
double tongue syllables “T-K-T-K” as they would normally be applied, but you
are also having to put emphasis on the back stroke when practicing “K-T-K-T” by
placing the weaker syllable on the strong beats. This exercise will help strengthen
the back stroke, inevitably making it more equal to the front stroke.
Once you have mastered the previous exercise in all registers, reduce the
number of repeated notes and apply the same tonguing patterns as before:
Example 56: Variation of the previous double tongue exercise.
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Finally, eliminate all repeated notes and repeat the same articulation
patterns as before:
Example 57: Second variation of the previous double tongue exercise.
When developing the art of double tonguing, it is important to remember
that you should always practice using long, sustained sounds instead of short
ones. When a double-tongued passage is played at tempo in a legato style, the
notes will sound short due to the speed; if you attempt to play the notes too short,
they will not have enough tone. It is also more difficult to line up the fingers with
the tongue when the notes are played too short and inevitably, the tonguing will
not sound clean.
Husa, Karel: Apotheosis of This Earth
Example 58: Excerpt from “Postscript,” the third movement of Apotheosis of This Earth by Karel Husa.
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In this solo excerpt found in the third movement of Husa’s Apotheosis of
This Earth, use a “T-K” syllable to keep this passage crisp and clean. Husa
instructs that this passage be played “rhythmically precise,” so practice with a
metronome subdivided on eighth notes to ensure perfect time. It may also prove
helpful to mark where the beats occur in this passage. Although marked piano,
give a little forward direction to the repeated Ab’s as they occur in each phrase
segment, backing away once the repetition is broken. Remember to use long,
legato sounds while double tonguing to maintain good tone quality, since it will
sound short due to the speed of the notes.
Bernstein, Leonard: Overture to Candide
Example 59: Excerpt from Overture to Candide by Leonard Bernstein (arr. Beeler).
In this solo from Bernstein’s Candide, the flutist is required to alternate
between double-tongued and slurred articulations. Use the front stroke to start the
passage, also employing the front stroke on the accented eighth notes found at the
end of bar 141 and into 142. The opening pickups should move forward
dynamically into the downbeat of measure 141; place a slight tenuto on the A
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before continuing through the rest of the line. Keep the staccato eighth notes light
without being too short, again using a legato double-tongued style. Follow the
basic contour of the line to help you assess the direction of each phrase. If
necessary, take a quick breath after any of the longer note values found in
measures 142 or 143, but ultimately strive to play the entire solo passage in a
single breath. Although marked staccato, the final G3 in bar 147 should be
released with a little bit of vibrato to make the sound shimmer.
Ives, Charles: Variations on “America”
Example 60: Excerpt from Variation I of Variations on “America” by Charles Ives (arr. Schuman/Rhoads).
This passage found after rehearsal G in Ives’ Variations on “America”
features the flute section’s agility and ability to play rapid, articulated passages. It
is helpful to first break the phrases into sections, identifying which parts of the
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lines are chromatic and which are not. Other useful practice techniques include
placing fermatas on the first note of each group; changing the rhythms; adding
slurs; and dividing the passage into fragments, always continuing to the first note
of the next idea to overlap the material. The following example demonstrates a
combination of several of these techniques:
Example 61: Example of how to practice excerpt from Variations on “America.”.
Keep the note lengths long and sustained in order to preserve the tone
quality; this technique will also help to keep the notes even. Each group should be
slightly louder than the one previous, with the height of each phrase occurring on
beat 3 of each measure. The third phrase starting on C3 peaks on beat 2 and
decrescendos slightly through the end of the bar. The final chromatic scale should
be practiced in groups of threes, fours, and finally sixes to insure that every note
in the scale is accounted for and is even; this final gesture should not diminish as
you descend the scale, instead maintaining the fff dynamic to the very end as if
ending with a slap in the face.
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Daugherty, Michael: Niagara Falls
Example 62: Double tongue passage in Niagara Falls by Michael Daugherty.
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This double tongue section found in Daugherty’s Niagara Falls is a true
test of stamina; fortunately for the flute section, the music is repetitive. Staggered
breathing throughout the section needs to be worked out to make certain there are
no “holes” or gaps. For reasons discussed previously, approach the double tongue
in a legato style, taking into consideration the contour of the melody to determine
the subtle direction of each phrase. Decide if you wish to play eight-bar phrases,
six-bar phrases, etc. and mark in breaths so you take them in the same place each
time. The breath should always be executed by leaving at least one note out,
preferably after a beat, so as not to disrupt the evenness of the sixteenths.
Following is an example of a few breathing suggestions, dividing the flutes into
two groups, A and B:
Example 63: One example of staggered breathing opportunities in the double tongue passage in Niagara Falls by Michael Daugherty.
Notice at measure 183 the sudden change in dynamic from fortissimo on
the downbeat to piano on the second sixteenth note. Note also that the last four
sixteenth notes in this measure should have a slur over them just as they did
previously. The music stays soft with just a small crescendo in bar 184 and again
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in 186; keep the articulation light and support the soft passage with fast air. At
measure 188, crescendo all the way to fortissimo on the downbeat of bar 189 and
make a subito piano on the second sixteenth note of the bar. The crescendo in
measure 190 should be gradual, starting at piano and arriving at fortissimo at
rehearsal P. Play the whole note at P with a beautiful tone, adding vibrato to color
the sound, and listening carefully to play in tune following the taxing double
tongue section.
TRIPLE TONGUING Triple tonguing should be applied to passages where the rhythms are
grouped into patterns of threes, sixes, nines, etc. There are two schools of thought
as to what syllables should be used for triple tonguing; the standard method is to
always place the strong syllable, “too” or “doo” on the strong beat, thus creating a
“T-K-T / T-K-T” tonguing pattern that would be applied as follows:
Example 64: Triple tongue pattern (Option 1).
Notice in the example above how there is a repeated front stroke from the
last note to the first note of each group. Although this option might provide more
clarity on the strong beats, this repeated stroke will inevitably never be as fast as a
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triple tongue pattern without the repeated stroke. The second method is to simply
use the standard double tongue pattern, alternating the accentuation between the
front and back strokes to fit into a triple pattern, thus omitting the repeated stroke:
Example 65: Triple tongue pattern (Option 2), also referred to as an “alternating double tongue.”
Just as when learning to double tongue, practice triple tonguing on scales
slowly with a metronome to stay even, employing long, legato sounds as opposed
to short, staccato ones to keep the tone quality full and beautiful on every note.
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Hindemith, Paul: “March” from Symphonic Metamorphosis
Example 66: Excerpt from the “March” from Symphonic Metamorphosis by Paul Hindemith (arr. Wilson).
In this triple tongued passage found in the “March” from Hindemith’s
Symphonic Metamorphosis, the flute section must be careful not to compress the
triplets and push the tempo. Although staccatos are indicated, playing with longer
sounds will still sound short due to the speed of the piece, and it will also help
keep the section from rushing due to the lack of time or space between the notes.
Another common pitfall is in the rhythm of the first four bars; often, the flutes
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will add an extra note at the end of each phrase to end on a strong beat rather than
ending right before a strong beat.
Although marked piano, you should still give a little direction to each of
the phrases, executed within the context of piano. Following is one example of
some phrasing ideas which can be employed in this section:
Example 67: Example of a phrasing possibility for the triple tongued section found in “March” from Symphonic Metamorphosis.
Remember that when double tonguing or triple tonguing, the articulation
should never obstruct the tone quality. Practice multiple tonguing on a daily basis
to gain full control of this technique, working first at a slow tempo to make the
strokes even with each other and to line up the tongue perfectly with the fingers.
Eventually with enough practice, your single tongue and your double tongue will
be indistinguishable to the listener.
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Chapter VIII: Trills and Embellishments
Due to the agility and dexterity of the flute, music for the instrument is
often ornamented with a wide assortment of embellishments, including trills,
grace notes, glissandi, turns, and many others. This chapter will examine specific
types of ornaments as they appear in the band repertoire and will also provide a
detailed chart of standard trill fingerings.
TRILLS Whether referring to orchestral literature, solo pieces, or works for concert
band, trills are a staple of the flutist’s musical vocabulary in any genre. For many
note combinations, special trill fingerings allow the flutist to move between the
notes with more speed and clarity than with the standard fingering; however, trill
fingerings are often inferior in pitch and sometimes also in tone quality. Due to
this fact, it is important, whenever possible, to begin trills using the real fingering
before moving to the trill fingering; this technique will cause the listener to retain
the good sound and pitch in the ears even after the trill fingering has been
employed.
Knowing what note to trill to can cause confusion. The standard rule is to
trill up to the next note in the key signature. It is imperative to think of the rule in
this manner rather than simply stating “up to the next note.” Look at the following
example as a case in point:
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Example 68: How key signatures affect trills.
The first measure in the example above has a key signature of four flats;
following the standard rule for trills, the C would trill up to the next note in the
key signature, Db. But in the second measure, the key changes to having only one
flat; although the C on which the trill is based remains the same, the upper note
now becomes D natural. In measures 3 and 4 with two sharps in the key signature,
the E will trill up a whole step to an F# and the B will trill up a whole step to a C#;
however in measures 5 and 6, now with no sharps or flats in the key signature, the
E trills up only a half-step to an F and the B will trill up to a C, also a half-step
higher.
Composers sometimes do want trills to go to a note other than the next one
up in the key signature. To indicate this movement, a special notation clarifies the
desired intention. If the trill is intended to go down from the written pitch rather
than up, usually the composer will write the note to which you should trill in
parenthesis. If a note is to be trilled a half-step above or below what the standard
trill would be, the composer will indicate this desire by adding an accidental
above or next to the trill symbol:
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Example 69: How accidentals affect trills.
In the example above, the C2 in measure 1 would now trill up to a D2
rather than a Db2 due to the natural sign; in measure 2, the flat makes the trill on C
only a half-step up to Db instead of D natural. The third example would normally
trill from E to F# in the key signature, but due to the natural sign it instead trills
from E2 to F2; likewise, the B1 in measure 4 will trill up only a half-step to C
natural. Finally in measures 5 and 6, the sharp trills indicate that the E2 and the
B1 will go up a whole step, to F#2 and C#2 respectively.
Trills must be practiced in order to achieve evenness and fluidity between
the printed note and the note to which you are trilling. Finally, the style and mood
of a piece determine at what speed a trill should be executed. Some music
requires that a trill begin slowly and gradually increase in speed, while in other
music it is necessary for the trills to be as fast as possible. Often, these indications
are not made in the music, and thus it is up to the performer to decide how to play
the trill based on the musical style of the work or passage or the period in which it
was written.
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Table 5: Trill chart of whole step and half-step trills11
11 Trill Chart, (Elkhart, IN: Gemeinhardt Co., Inc. 2003).
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Hindemith, Paul: “March” from Symphonic Metamorphosis
Example 70: Opening of “March,” the final movement from Symphonic Metamorphosis by Paul Hindemith (arr. Wilson).
The trills in the opening of Hindemith’s “March” from Symphonic
Metamorphosis are somewhat confusing at first glance; notice two bars before A
the downbeat Gb2 is trilled, and the trill has a double-flat indication. Break the
process down step by step: under normal circumstances, the trill would go up
from Gb to A natural; one flat would change the trill to Ab. The double flat lowers
the trill another half-step, making it an Abb (enharmonically G natural). Thus the
trill two bars before A is simply a half-step trill. The same process applies to the
Eb trills on the downbeats of bars 3 and 4 after A: the Eb3 would normally trill to
F3, but due to the flat next to the trill symbol, it will instead trill up only a half-
step to Fb3 (i.e., E natural).
The trills in this movement should be full of nervous energy; therefore,
begin the printed note and let it sound clearly for an instant, then immediately
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move into a fast trill which crescendos into each resolution. Pay close attention to
the articulations after each trill: the first two trills, two before A and three after A,
both slur into a new note. The last trill on Eb3, however, is tied into the same note.
In this case, you will sustain the trill a full beat (where the half-note gets one beat)
and without rearticulating, stop the trill on beat 2, sustaining the Eb3 before
finishing out the measure.
GRACE NOTES Another common type of ornamentation found in flute music is the grace
note. Grace notes can be a single note or multiple notes, and despite some
exceptions, they are usually placed before the beat. This rule certainly holds true
for most modern band compositions; but should a composer wish otherwise, a
clear indication will be noted in the music. The speed and character of grace notes
is dependent upon the context of the music. For example, in a slow, melodic
passage, grace notes will often be played in a slower, more leisurely fashion than
those found in a fast, energetic piece.
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Ives, Charles: Variations on “America”
Example 71: Passage in Variations on “America” by Charles Ives (arr. Schuman/Rhoads) utilizing single grace notes.
In this variation on the theme “America,” Ives ornaments the melody with
grace notes. Practice the melody alone, removing the grace notes to work on the
desired length of the eighth notes and the direction of the phrase; then reinsert the
grace notes, being sure not to place more emphasis on the grace notes than on the
melody notes. All of the grace notes in this passage should be played before the
beat in a somewhat lazy “flipped” style. Pay special attention to four bars before
and two bars before G, making sure that the rhythm of the melody does not
become distorted due to the ornamentation.
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Example 72: Passage in Variations on “America” utilizing double grace notes.
Ives’ finale in Variations on “America” requires the flute section to
embellish the melody with double grace notes. Again, it is beneficial to play the
melody alone and unornamented; in doing so, pay close attention to the note
lengths of the melody since some are eighths while others are quarters with tenuto
indications. As before, these grace notes are to be placed before the beat; to
accomplish this, steal a little time away from the rest or note before the grace note
occurs to play them in time rather than borrowing time away from the note toward
which they are heading. Make sure that the rhythm does not become distorted in
the places where multiple beats appear with grace notes, such as six and eight bars
after S.
In the ninth bar after S, notice the quarter notes with bars between them.
This notation is called a tremolo, and is executed much like a trill but in a strictly
metered fashion. Thus, given two bars, the speed of the tremolo will equal
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sixteenth notes; if given three bars, as in this example, the speed of the tremolo
will equal thirty-second notes. The printed note value, in this case the quarter
notes, tells you over how many beats you play each tremolo. Thus in this
example, each tremolo will get one beat (i.e., eight thirty-second notes).
Arnold, Malcolm: Tam O’Shanter
Example 73: Excerpt from the Tam O’Shanter by Malcolm Arnold (arr. Paynter).
As the title implies, the main theme in Malcolm Arnold’s Tam O’Shanter
is Scottish in character, and is undoubtedly meant to emulate a bagpipe. Practice
the melody without the grace notes, stressing the first and second beats of each
measure as you would a jig or other lively dance. This same character must be
retained once the grace notes are reinserted, and the clarity of the rhythm must
also be preserved. Do not place too much emphasis on the grace notes themselves,
but rather, lean on the notes they ornament to bring out the rhythm of the melody.
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Godfrey, Daniel: Jig
Example 74: Flute Solo from Jig by Daniel Godfrey.
Another example of sprightly dance music, this flute solo in Daniel
Godfrey’s Jig is technically demanding even without the grace notes to further
complicate the issue. This passage must be first approached without the
ornaments to learn the rhythmic and melodic patterns before tackling the grace
notes. As in the Tam O’Shanter excerpt, the “big” beats (i.e., the dotted quarter
note pulse) should be emphasized. Keep the energy moving forward throughout
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the duration of the passage, building gradually through each phrase with the
indicated crescendos.
Arnold, Malcolm: Four Scottish Dances
Example 75: Excerpt from the second movement of Four Scottish Dances by Malcolm Arnold (arr. Paynter).
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In the second movement of Four Scottish Dances, Arnold varies the music
by ornamenting it in a variety of ways, as well as by modulating through several
keys by half-step to build increasing excitement. The flutes are required to
perform a combination of grace notes as well as trills at a very fast tempo. Keep
the style playful and the articulation unencumbered throughout this entire
movement. All of the trills and grace notes in this passage must be executed using
the standard fingerings, with the exception of the Bb trills after D. This section
should be played using single thumb (i.e., B natural thumb) until at least the
fourth bar after D due to the half-step trills. This passage is more manageable
when the A# lever key (played with RH1) is substituted for Bb in place of the
standard “one and one” fingering. What is special about the A# lever is that it can
be held down while other notes are played and it will not affect their tone quality
or pitch, and having the option of leaving this finger down can make the
technique much less problematic.
GLISSANDI Often when a composer wants a “smear” effect or simply wants the
performer to fill in the space between large intervals, a glissando will be indicated
in the part. This instruction will often be notated with the word “glissando”
written out, or it might appear in its abbreviated form, gliss.; it can also be
indicated by a diagonal line - straight or jagged - between the interval in question.
Deciding what notes to play is somewhat up to the performer, but a couple of
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rules can prove helpful: first, it is not necessary (and often impossible) to attempt
to play every note between the interval when executing a glissando. Second, the
entire glissando need not be played at a single speed; it is often appropriate to
begin a glissando slowly, gaining momentum, or vice-versa, depending on the
musical setting in which it appears.
The majority of glissandi are going to be diatonic, meaning that you
should fill in the notes in the scale of the key in which you are playing. This
procedure does not always refer to the key in which the piece is written because
most music modulates to different key areas within a single piece; therefore, you
must first determine what key you are in at that moment and then proceed to fill in
the missing notes.
Welcher, Dan: Castle Creek Overture
Example 76: Flute Solo from Castle Creek Overture by Dan Welcher (arr. Bissell).
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In measure 148 of Castle Creek Overture by Dan Welcher, the flute must
play a glissando from the F2 to the next octave F3. Since no key signature exists,
you must look at the phrase to tell you what notes you can appropriately insert. In
this case, a simple F Major scale would be a valid choice since the glissando starts
and ends on F; however, another possibility could be to play a scale in Bb Major
since there are Eb’s in this statement as well. In this case, either option will work
and will sound tonally acceptable to the listener.
Approaching the next glissando in bar 152 in the same manner, consider
the remainder of this phrase; here C#’s abound. C# is not a key signature by itself,
but a case could be made for simply playing a scale with a C# inserted. But when
played, it does not tonally please the ear. Next, consider what keys have a C# in
them with the fewest accidentals: the obvious first choice would be D Major,
having only two sharps, F# and C#. Playing a scale here in the key of D does seem
like a good choice, but perhaps an even better option is available.
In the first phrase, measures 148-150, the tonal center is based around Bb,
evident in the use of the Bb and Eb accidentals. You can also hear it when you
come to rest on the Bb2 in bar 149. Play the phrase from bar 152 to 155 and listen
for what note sounds like the tonal center. In doing so, you should feel as if the
music comes to rest on the sustained A’s in this passage. Thus, it is a good choice
to play the second glissando in the key of A, although the key of D will certainly
work since it is a closely related key.
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The final glissando in measure 158 to 159, when taking the upcoming F#
and C# accidentals into consideration, should be played in D Major. When
executing each of the glissandi in this solo, be sure to sustain the bottom (i.e.,
printed) note for an instant before proceeding to fill in the interval; this technique
will place the printed note in the listener’s ear and help establish the rhythm of the
measure. Also experiment with manipulating the pace of each glissando, starting
more slowly and gradually gaining speed towards the top of the scale.
Bernstein, Leonard: Overture to Candide
Example 77: Excerpt from Overture to Candide by Leonard Bernstein (arr. Beeler).
The majority of the glissandi found in Bernstein’s Overture to Candide
work (and sound) best when approached chromatically rather than diatonically. At
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least in the case of the glissandi in measures 35 and 40, the intervals are relatively
small, and there is time to fill in all of the notes in the chromatic scale. The
glissando in bar 42, however, does not work in the same manner. As in the
previous example by Welcher, take the diatonic approach to these two measures
to determine how to best fill in the interval.
Starting in bar 41, play to the end of measure 42. Your ear should tell you
that C sounds like the tonal center of this excerpt, but instead of being the tonic of
C Major, it is the tonic of c minor. But what form of the minor? Again, look at the
accidentals in this phrase segment: Cb (i.e., enharmonically B natural) in bar 41
and B natural in 43; although this information provides a clue, it still does not
give the final answer because two forms of the C minor mode contain the B
natural: the harmonic minor and the melodic minor form.
Example 78: Two forms of the minor mode, harmonic and melodic.
Judging by the Ab in bar 41, it is theoretically more likely that the
harmonic minor form makes more sense as the basis for the glissando in measure
42, but it is also more difficult to play than the ascending melodic minor scale. In
reality, either form will sound acceptable to the listener’s ear and in the end,
nothing matters more. The process involves both listening for what sounds correct
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as well as taking an analytical or theoretical approach to determining how to
interpret the glissandi.
In bars 55 through 57, the grace notes should be placed before but as close
to the beat as possible. To facilitate the technique in this passage, play the first
grace note F3 in bar 56 and again in bar 58 using the standard F3 fingering; move
to the Eb3 as normal, but then use the standard Eb3-F3 trill fingering for the
subsequent F’s. Using the trill fingering reduces the awkward nature of this
passage and will allow you to play the line more cleanly while exerting less effort.
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Chapter IX: Special Fingerings
After spending years learning to play the flute using all the correct
fingerings, you will finally get to a point in your studies where using alternate
fingerings becomes acceptable. It is important to understand that in order to
develop solid technique you must first master the standard fingerings and not rely
on shortcuts. However, some circumstances call for alternate or special
fingerings; for instance, some intonation issues can be easily resolved through the
use of alternate fingerings. Furthermore, some technically demanding passages
can become less difficult when alternates are utilized. The question to keep in
mind when making the decision whether or not to use an alternate fingering is
this: does the use of the alternate fingering enhance the musical expression and
performance, or does it compromise tone quality and intonation? If you believe it
enhances it, then you are probably right in your decision to apply it; if not, then
you should reevaluate your reason for wanting to use it.
TRILL FINGERINGS AND HARMONICS Most students overlook the fact that trill fingerings are the number one
source of alternate fingerings available to the flutist; in other words, trill
fingerings need not be limited to trills. Trill fingerings are actually an alternate
fingering devised to enable the flutist to play between two pitches at a very rapid
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rate of speed. So it is logical to conclude that these fingerings can also be applied
to rapid alterations of notes other than trills.
Harmonics are a product of the overtone series. Almost every note in the
first two octaves of the flute can be overblown to produce a higher pitch:
Example 79: The harmonic or “overtone” series starting on C1.
In the example above, finger a low C1 and then adjust the embouchure and
air speed to produce all of the upper notes. Harmonics are sometimes written in
music in place of standard fingerings for their unique tone color, but harmonics
can also be useful as alternate fingerings in some technical passages. Keep in
mind that the tone quality and pitch of harmonics are in most cases inferior to
standard fingerings; thus, they should be reserved for quick passages that are not
exposed.
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Holst, Gustav: Hammersmith
Example 80: Excerpt from Hammersmith by Gustav Holst.
In this passage found in Holst’s Hammersmith, many trill and other
alternate fingerings can be employed to make the rapid alteration of the sixteenth
notes smoother and less awkward. In the seventh bar, after playing the D#2, leave
all the right-hand fingers down for the rest of the measure until you play the final
F#. Three bars before the 6/8 meter, play the first two notes (E2 and F#2) as
normal, and then use the E to F# trill fingering for the remainder of the measure.
Two measures before the 6/8, it is possible to use trill fingerings to alternate from
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Eb2 to F2 and again from D2 to E2, but the tone quality is noticeably stuffy;
therefore it is better to simply work out the technique here using standard
fingerings. In the bar before the 6/8, use the A# lever for the Bb; it is easier to use
than the “1 and 1” fingering because if you do not pick up the A# lever in time to
play the C2 or even the A1, it will not affect them. However, the lever must be
picked up before playing the final B natural at the end of the bar.
In the second measure after C, play the first two notes normally and then
leave RH3 down for the rest of the bar to make the Ab-Gb slur less cumbersome.
In the third measure of C, you can choose to play the downbeat Db2 as normal or
with RH3 down, since it was left down in the previous measure; then once you
play the Eb2 with the standard fingering, leave all the right-hand fingers down for
the following Db. The C2 to D2 combination in this same measure can be
executed using the C to D trill key: finger C2 normally and then add the top trill
key for D2. Finally, in the fourth bar of C, the Bb1 on beat 2 can be played with
the A# lever rather than the standard “1 and 1” fingering. Although it is possible to
work out the technique in this measure alternating between the B and Bb thumb
key, it is easier to use the A# lever which will ultimately minimize the possibility
of technical errors due to performance nerves.
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Holst, Gustav: First Suite in Eb
Example 81: Excerpt from “March,” the final movement of First Suite in Eb by Gustav Holst.
As in the previous Hammersmith excerpt, there are many opportunities to
make the technique flawless with the aid of trill fingerings in this passage from
Holst’s First Suite in Eb. All of the D3 to Eb3 combinations after D can be played
using the standard trill fingering. In the fourth system, the F3 to G3 triplet figures
can be played by fingering F3 and then trilling to G3 by lifting the LH thumb. In
the last measure of the fourth system, make sure you are using thumb Bb, play the
Ab2 normally, and then simply raise LH2 for the Bb2. In the second measure of the
fifth system, the C3 to D3 triplet can also be played using the standard trill
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fingering by playing C as normal and then adding the bottom trill key to play the
D3. It is worth mentioning that the triplets in this section are typically slurred;
however, do not slur the triplets into the subsequent quarter notes. Although it is
more challenging to tongue the quarter notes at a fast tempo, it sounds cleaner,
and even more importantly, it is the correct method of executing the articulation.
Arnold, Malcolm: Four Scottish Dances
Example 82: Excerpt from the fourth movement of Four Scottish Dances by Malcolm Arnold (arr. Paynter).
Even at a fast tempo, these repetitive sixteenth note patterns at the end of
Malcolm Arnold’s Four Scottish Dances can be worked out using the standard
fingerings. Keeping the fingers as close to the keys as possible is critical to good
technique. However, in dire straits, it is acceptable to overblow a few harmonic
fingerings two bars before the Presto to make the technique easier and increase
the speed:
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Example 83: Harmonic fingerings for final section of Four Scottish Dances.
In the example above, the original (upper) notes can all be sounded using
the lower note fingerings and overblowing them. Use Bb thumb and play the entire
phrase using only the left-hand fingers. The tone quality will sound a little stuffy,
but by increasing the air speed the harmonics will sound clearer.
Maslanka, David: Symphony No. 4
Example 84: Excerpt from Symphony No. 4 by David Maslanka.
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Many technical challenges await the flute section throughout Maslanka’s
Symphony No. 4, and this exposed section is no exception. At quarter note = 152,
the tempo is exceptionally fast and the fingering combinations are not only
difficult to play, but the demand on the embouchure to change rapidly also
presents response issues. To help facilitate the technique in this excerpt, many
alternate fingerings can be utilized.
The C3 to E3 combinations at 88 can be made to respond more easily if
the bottom trill key is added to the E3’s. Beginning in measure 90, the D3 to F3
slurs can be played with harmonics, overblowing G2 and Bb2 while using Bb
thumb. The following combination, F3 to A3, presents a challenge because the
standard fingerings are so closely related; although Bb2 can be overblown to
produce the F3, the response is better if you play the first F3 of each group with
the real fingering and alternate it with the harmonic Bb2 fingering on the upbeat:
Example 85: Use of harmonic fingerings in Symphony No. 4 by David Maslanka.
In measure 96, slurring the interval Bb2 to Eb3 is difficult because the
embouchure does not relax enough to come back down to the Bb. Play the Bb
adding the RH1 and focus the air and embouchure for the Bb; keep this same
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configuration when fingering the Eb3. If done properly, the Eb3 will speak using
the Bb2 embouchure, which will then allow the Bb2 to not be overblown.
In measures 100 through 101, leave RH3 down on the Cb3 and Bb2;
similarly, you may leave the RH1 and RH2 fingers down in bar 102 when moving
from the E2 to the A2. The E2 to G#2 combination beginning in 103 is especially
awkward due to the cross-fingering; however, with diligent practice and keeping
the fingers close to the keys, this pattern will eventually become more
manageable. It also helps the technique on all of the sixteenth note groupings in
this passage to place a slight tenuto on the first note of each set; this action slows
the fingers down, but it also makes musical sense, as each group should sound as
if it tapers off into the rest.
SOME COMMON ALTERNATE FINGERINGS
F 1 G 1
T 123|–2–Eb
Tone not as clear; flat; should be used sparingly
A1
T 12–G#|1––Eb Clearer tone; more open
T 12–|123Eb Flat
T 12–|12–Eb Flat
T 12–|––3Eb Slight color change
T 12–|–2–Eb Slight color change
T 12–|1––Eb Slight color h
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change
A 1 B 1
T 1––|Bb–––Eb
Third standard fingering
T 1––|123
Slight color change
T 1––|123Eb Slight color change
T 1––|12–Eb Clearer tone; more open
Bb 1––|––3Eb Slight color change
Bb 1––|–2–Eb Slight color change
B1
T 1––|––3Eb Slight color change
T 1––|–2–Eb Slight color change
C2
T 123|123C Harmonic fingering
123|123C Slight color change; sharp
1––|123Eb
Noticeable color change; flat
1––|12–Eb
Noticeable color change; flatter
1––|1––Eb
Noticeable color change; flatter
1––|––3Eb Slight color change; flat
1––|–2–Eb Slight color change; flat
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C 2 D 2
–23|123C#
Sounds hollow; sharp
–23|123C Slight color change
T –23|123C#
Slight color change; sharp
–––|123
More in tune; good for ff
–––|123Eb More in tune; good for ff
–23|123Eb Slight color change; flat
–––|12–Eb Slight color change
–––|–23Eb More in tune; good for ff
–––|––3Eb More in tune; good for ff
–––|–2–Eb More in tune; good for ff
–––|1––Eb Slight color change; flat
D2
T 123|123
Harmonic fingering
D 2 E 2
T –23|12 D3Eb Sharp; good for pp
E2 F 2
T 123|12D
#–Eb
Slight color change; sharp; good for pp
E 2 F2
T 123|1––Eb
Slight color change; sharp; good for pp
F 2 G 2
T 123|–2–Eb
Tone not as clear; flat; should be used sparingly
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G2
T 123|123C Harmonic fingering
G 2 A 2
T 123|123C#
Harmonic fingering
T 123G#|123C# Sounds hollow; sharp
A2
T 12–G#|–––Eb Sounds more open
A 2 B 2
T 1––|Bb–––Eb
Third standard fingering
T 123|123Eb Harmonic fingering
T 1–3|123Eb
Noticeable color change; sharp
B2
T 123|12–Eb Harmonic fingering
123|123B Harmonic fingering
C3
T 123|123C Harmonic fingering
123|123C
Slight color change; very sharp
T 123|1––Eb Slight color change; sharp
C 3 D 3
–––|123
More in tune; good for ff
T –23|123C#
Bright; sharp
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––23|–23Eb Sharp; good for pp
D3
T –23G#|1––Eb Bright; sharp; good for pp
T 123|–––Eb Harmonic fingering
T 123|123
Harmonic fingering
T –23|123
Harmonic fingering
D 3 E 3
T 123G#|–––Eb Harmonic fingering
T –23|123Eb Harmonic fingering
T 123|123Eb Harmonic fingering
T 123G#|––D
#–Eb
Bright; very sharp; good for pp
T 123G#|12 D3Eb Sharp; good for pp
E3
T 12–|12–
More in tune; prevents cracking; often used as standard fingering for passages mf or louder
T 12–|12D#–Eb
Slight color change; sharp; good for pp
T 12–|12D#–
Slight color change; less sharp than previous;
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good for pp
T 123|12–Eb Harmonic fingering
T 12–|–––Eb Harmonic fingering
T 12–|––D#–Eb Slight color change; flat
F3 T 1–3|1–3Eb
Often used as standard fingering in passages mf or louder; will be flat in soft passages
T 1–3|1–D#3Eb Bright; hollow; sharp
T 1–3|1––C#
Sharp; good for pp
T 1–3|1–3C#
Less sharp than previous
T 123|1––Eb Harmonic fingering
Bb 1––|–––Eb Harmonic fingering
F 3 G 3
T 1–3|–2–Eb
Often used as standard fingering in passages mf or louder; will be flat in soft passages
T 1–3|––3C#
Sharp; good for pp
T 1–3|–2–C#
Less sharp than previous
T 1–3|–23
Very sharp
T 123|––3Eb Harmonic fingering
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T 1––|–––Eb Harmonic fingering
G3
123|123C
Sharp; noticeable color change
123|123Eb Noticeable color change
T 123|–––Eb Harmonic fingering
1––|–––Eb Harmonic fingering
G 3 A 3 –23G#|–23Eb
Often used as standard fingering in passages mf or louder; will usually be flat in soft passages
T –23G#|12–Eb Sharp
T 123G#|123C# Harmonic fingering with added G# key
–––|–––Eb Harmonic fingering
A3
T –2–|1O–Eb
Useful in ff passages; brings the pitch down
A 3 B 3
T –––|1D––
Standard fingering (included because this note is so often fingered incorrectly.)
T –––|1–D#–
Sharp; good f
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for pp
T 1––|1D––
Flat
T 1––|1D–Eb Flat
Bb 1–3|–D23Eb Sharp; good for pp
B3
T 1–3|–OD#–
Useful in ff passages; brings the pitch down
Bb 1–3|––D#–B Sounds more open
C4
123G#|12–ß Brings the pitch down
123G#|123ß Brings the pitch down
T 123G#|1–– ß Brings the pitch down; stuffy
Table 6: Chart of alternate fingerings for flute with description of how each fingering affects the tone and/or pitch of the note.
When working with the alternate fingerings presented above, make note of
how each one sounds on your flute and refer to a tuner often. Many fingerings
work well on some flutes but not on others. Remember that the use of alternates is
meant to enhance the technique - not to substitute for poor technique. Tone
quality and intonation should always be a concern when deciding when or if to
use an alternate fingering in place of a standard one.
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Chapter X: Technique and Rhythm
This chapter is devoted to wind band excerpts that present complex
rhythms and demanding technical challenges to the flutist.
Arnold, Malcolm: Four Scottish Dances
Example 86: Excerpt from the first movement of Malcolm Arnold’s Four Scottish Dances (arr. Paynter).
In the opening section of Four Scottish Dances, correctly placing the
rhythm of the sixteenth notes versus the sixteenth note triplets is often an issue not
just for the flutes but for the entire ensemble. Admittedly, it is a little confusing at
first glance to differentiate between the straight sixteenths and the triplets in a few
places because of the beams. However, this problem can be resolved quickly by
placing beat indications in the music:
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Example 87: Marking beats and how to count the opening section of Four Scottish Dances.
By indicating the beats in the music, you can more quickly identify which
groups are triplets and which groups are straight sixteenths that will at least get
you through the first reading rehearsal. The most common error is to play the
straight sixteenths too fast, at the same speed as the triplets before them. To
practice the rhythm of this passage, break each phrase into smaller groupings
(always playing to a beat) and practice with the metronome set on eighth note
subdivisions (or double the speed if your metronome does not have subdivisions).
Below is one example of how to practice measures 3 and 4:
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Example 88: How to practice opening rhythmic figures in Four Scottish Dances.
The entire opening can be practiced in this same manner, making short
technique exercises out of each phrase. Also concentrate some practice time to
working out the difficult E3-F#3-G#3 fingering combination that prevails through
this entire piece; scale studies in E Major are helpful, as are high register finger
exercises similar to this:
Example 89: High register exercise concentrating on High E3-F#3-G#3 fingering patterns.
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Grainger, Percy: Colonial Song
Example 90: Excerpt from Colonial Song by Percy Grainger.
This passage in Grainger’s Colonial Song is another example of a classic
trouble spot for the entire ensemble in regards to rhythm. Slow practice with the
metronome set on subdivided eighths (even sixteenth notes) is critical to
understanding how all of the notes fit into the beat.
Example 91: How to count the passage from measure 44 to 48 in Grainger’s Colonial Song.
The transition from the 3/4 meter in bar 45 to the 3/8 in measure 46 is not
as difficult as it may seem; simply subdivide the eighth-note pulse in bar 45 and
keep the same pulse you established with the eighth notes into measure 46.
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Essentially, this passage is Grainger’s attempt to write out the rubato he wanted in
this section; be prepared, for the conductor may wish to show this rubato without
having to mark all of the beats.
Hindemith, Paul: Symphony in Bb
Example 92: Flute solo in the first movement of Symphony in Bb by Paul Hindemith.
At first glance, this solo in Hindemith’s Symphony in Bb does not look all
that challenging; but the syncopated rhythms and uncommon 3/2 meter throw off
many good flutists. As in the excerpts previously discussed, it is always helpful to
mark where the beats fall in the part so even if you do get off, you can
immediately see where to regroup on the next beat.
This solo also presents another challenge: the F#3 at the end of L
immediately jumps up to a B3. Fingering F#3 with the standard fingering will
present a problem because you are already using the RH3 on the F# key, and it
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needs to be available to depress the D# trill key for the B3. Therefore, finger the
F#3 with the alternate “forked” fingering (RH2) in place of RH3, leaving it free to
depress the D# trill on the high B3.
Example 93: Another excerpt from the first movement of Symphony in Bb by Paul Hindemith.
This excerpt found later on in the first movement poses the same problem
as the previous excerpt: planning ahead for the difficult F#3-B3 fingering
combination. The first F# in bar 70 can be played normally, but the second one
right before the B3 needs to be fingered using RH2 to facilitate the B3. Place a
slight tenuto on the following G# on beat 3 to ensure that you do not skip over the
G natural one note later. It is also helpful to bracket the groups in this passage that
are strictly chromatic in order to let your eyes move ahead more quickly. These
quasi-chromatic, angular lines are meant to sound like wild flourishes within the
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dense texture Hindemith created, yet every note is important and should not be
“faked.” Slow practice with a metronome and breaking the lines into smaller
groups will enable you to play these passages cleanly and with ease.
Example 94: Flute II excerpt from the opening of the first movement of Symphony in Bb.
This passage from the Symphony in Bb found in the second flute part is
one of the most technically challenging flute passages in the band repertoire.
Similar fingering issues occur as discussed with the previous excerpts, but in
addition to the F#3-B3 combination, numerous alternations between Bb3 and Eb3
must be addressed. Another obstacle to overcome is the required use of the “1 and
1” fingering for Bb2 since the high F#3’s will not speak if Bb thumb is employed.
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For increased stability, leave the RH4 (pinky) down on all of the high
Bb3’s from the beginning up to measure 5, but for better tone and pitch, continue
to lift LH1. In measure 2, the Bb3 on the upbeat of two (following the Eb3) can be
played with the normal fingering using the side of your RH3 finger rather than
placing it on top of the key. However, in bar 3 it is impossible to execute beat 2
using the standard fingerings at tempo. There are two fingering possibilities to
choose from: using an alternate on the Eb3, or using an alternate on one or both of
the Bb3’s. To implement the first option, simply overblow an Ab2 in place of the
Eb3, fingering Bb3 as normal. For the second option, finger Eb3 normally but play
Bb3 without the aid of the top trill key; for this option to sound the clearest, use
thumb B natural and leave RH1 down. Although both options work, the first
option is somewhat clearer in tone and pitch; also, the Eb3’s are not as easily
heard in the texture as the Bb3’s, and consequently their slightly inferior tone
quality will not be as apparent in an ensemble setting.
Grainger, Percy: Molly on the Shore
Example 95: Flute II excerpt from Molly on the Shore by Percy Grainger.
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This extremely difficult passage is found in another second flute part, this
time in Molly on the Shore by Percy Grainger. The first and second flutes are
divided, playing harmonies in thirds throughout most of this piece. Practicing
extended range scales in thirds, such as the sixth exercise presented in the popular
flute method book, 17 Grands Exercices Journaliers de Mecanisme pour Flute by
Paul Taffanel and Philippe Gaubert, will make this piece effortless.
The ends of measure 189 and measure 190 need special consideration. In
any other key this passage would not cause so much difficulty, but the fact that
the key of Ab Major includes both Eb and Db makes this measure extremely
awkward since all of the low notes - C1, Db1, and Eb1 - all change via one finger,
the RH5 (pinky). To master this devilish little passage, break it apart and practice
each element independently with a metronome, gradually increasing the tempo
before putting it back together:
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Example 96: Exercises for low notes using right hand pinky finger as found in the second flute part of Grainger’s Molly on the Shore.
One well-known practice many players perform before playing any
passage that incorporates rapid sliding of the RH4 finger is to rub the pinky finger
down the side of nose; this will lubricate your finger with the oil that naturally
builds up around that area of your face and allow the finger to slide more easily
between the foot joint keys. This suggestion, in combination with concentrated
practice using the previous exercises, will eventually enable you to play this
excerpt flawlessly.
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Grainger, Percy: Lincolnshire Posy
Example 97: Excerpt from “The Brisk Young Sailor,” the fourth movement of Lincolnshire Posy by Percy Grainger.
Many technical passages in both solo and ensemble music are composed
of patterns which should be familiar to flutists practicing the proper material,
including all major and minor scales, scales in thirds, and arpeggios. This passage
in “The Brisk Young Sailor” from Grainger’s Lincolnshire Posy is a perfect
example of this point, since it is completely derived from the Bb Major scale and
arpeggios. If you are versed in basic music theory or have a piano background, it
may prove helpful in passages such as this to label each set of arpeggios (i.e., FM,
gm, etc.). From beat 3 in measure 19 through measure 20, and again in bars 23
through 24, bring out the scale patterns hidden within the arpeggios since this is
the melodic material.
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Example 98: Practice and performance analysis of “The Brisk Young Sailor,” the fourth movement of Lincolnshire Posy.
In order for this passage to sound brilliant, it must be technically flawless.
Practice slowly with a metronome, dividing the material into smaller sections and
gradually increasing the speed as you put it back together. Following is one
example of how to practice this passage:
Example 99: Method for practicing the fourth movement of Lincolnshire Posy.
The above practice method can be applied to the entire excerpt. The
rhythm can be altered in numerous ways; a few examples include putting fermatas
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or holds only on the beat, applying them only to the ‘and’ of each beat, and
swinging the sixteenths in long-short-long or short-long-short patterns. Changing
the articulations also helps to ingrain the patterns in the brain and under the
fingers, so try a variety of articulation patterns: slur two, tongue one; slur groups
of threes; tongue one, slur two; slur groups of twos; tongue one then slur groups
of threes; etc. As mentioned previously, whenever you break down a passage, it is
always important to practice to the next beat; in doing so, you are also practicing
the overlap into the next measure or section.
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Reynolds, Verne: Scenes
Example 100: Flute solo from Scenes by Verne Reynolds.
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Verne Reynolds gives the flute the spotlight in his Scenes, but it comes at
a cost. As in most contemporary music, this intense solo is technically challenging
due to its unfamiliar patterns which do not fall into classic categories of major and
minor scales and arpeggios. Work each measure slowly to learn the interval
combinations, always overlapping a group with the first note of the next one. It is
helpful to realize that Bb thumb can not be used in this passage due to the high
occurrence of B naturals and high F#/Gb3’s except two bars before 11 on beat 3;
sliding back and forth is indicative of poor technique and will inevitably get you
into trouble in complex passages such as this.
For players who are not accustomed to playing (or hearing) contemporary
music, an equally difficult aspect of this solo is trying to determine its musical
line and phrasing. Approach the phrases initially by looking at the contour of each
phrase group; if the line is ascending, make a crescendo. If it is descending, relax
a bit in dynamic. If a sudden jump from one register to the next must be executed,
as in the end of the first measure of the second system, experiment with sudden
changes of dynamics or moods to create the element of surprise or shock.
Beginning with the pickup into the third system, let the dynamic (but not the
energy) relax after the tied Bb and bring out the ascending Bb scale pattern by
making a gradual crescendo:
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Example 101: Scale pattern in the flute solo from Scenes by Verne Reynolds.
Immediately following this passage, there is another dramatic leap over
two octaves down to G1; let the dynamic again back down, following the contour
of the line as a guide. Sometimes the intervals change rapidly, while at other
points they move by step; in the angular passages, sudden or quick changes in
dynamic are appropriate. Conversely, in the stepwise or chromatic passages, more
gradual dynamic changes should occur. Beginning in the second measure of the
fifth system, the intervals are seemingly random, but if you look at the next two
bars as if they were written for two different voices, one whose stems go up and
the other whose stems go down. Both lines are basically moving in an ascending
fashion, ultimately reaching for the high Bb3 in the sixth system. Thus, a gradual
crescendo should be made until the climax is reached.
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Example 102: Analysis of the musical line in the flute solo from Scenes by Verne Reynolds.
Relax after the high Bb in the phrase above as you again start to fall. The
line is not sure it wants to give up quite yet, so in the seventh system, let the
phrase lead the listener dynamically once more into the upper register; put a slight
tenuto on the F3 on beat 3 of the first measure and let the phrase decrescendo
down to the Gb2 on beat 4. The pickups into the second bar should lead into the
downbeat and the line should once again begin to gain momentum up to the high
Bb3 before it quickly falls back down. Put emphasis on the downbeat F1 at 11
before letting the phrase resolve on the final Eb1, being conscious of the driving
rhythmic style that has been established and not ending the solo too gracefully.
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Chapter XI: Extended Techniques
While some wind band pieces present complex rhythms and demanding
technical passages to the flutist, other wind band excerpts require extended
techniques, including flutter tonguing, pitch slides, pitch bends, and quarter-tones.
Additionally, it is important to mention that the notation of many contemporary
techniques has not been standardized; hence there are many ways in which
modern composers indicate these intentions.
FLUTTER-TONGUING Although still labeled a contemporary technique, flutter-tonguing first
appeared in the orchestral literature over a century ago in Don Quixote by Richard
Strauss (1896-97). It is now considered a standard technique expected of all
flutists, commonly seen in both solo and ensemble literature. There are two
methods of executing flutter-tonguing: the standard method is to roll the tip of the
tongue against the roof of the mouth or behind the back of the teeth, as in the
Spanish language when pronouncing the double “rr.” The second method is not
technically a flutter but is produced by a gargling action, achieved by the
vibration of the uvula against the back of the throat. Many players are physically
unable to roll the tongue, so for them, this option is invaluable. It is also easier to
produce the flutter effect in soft passages where there is low air speed using the
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throat flutter instead of the tongue flutter. However, with diligent practice, the
tongue flutter can also be effective in soft, low register passages.12
To practice, start on any note and begin playing as normal with a good
tone without vibrato. As you begin the flutter using one of the above methods,
strive to maintain as much of a characteristic tone quality as possible. Practice
with a tuner, since the pitch tends to rise when doing a flutter with the tongue as a
result of the increased air speed required for this to physically happen:
Example 103: Exercise for practicing flutter-tonguing.
12 Toff, The Flute Book, 120.
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Bernstein, Leonard: Four Dances from “West Side Story”
Example 104: Flute solo from the fourth movement, “Cool (Fugue)” in Four Dances from “West Side Story” by Leonard Bernstein (arr. Polster).
This jazzy flute solo is found in the final movement of Four Dances from
“West Side Story” by Leonard Bernstein (arr. Polster). The articulations,
specifically the tongued notes, should be done in a legato style to emulate the jazz
style which is mostly slurred. Swing the dotted-eighth to sixteenth patterns in a
lazy fashion to sound laid back and “cool.” To further imitate the jazz style,
emphasis should be put on the syncopations which occur in measure 19 on the
tied G2, the tied F2 at the end of the bar, and again on the first Bb2 in measure 21.
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The first opportunity to breathe comes also in bar 21 after the tied A2 on
beat 3; shave a little time off the tie to sneak in a breath to get you through the
flutter-tongue and the remainder of the phrase. The Eb3 in bar 22 begins as
normal; as you start to make a crescendo, initiate the flutter on the downbeat of
23, continuing the crescendo through to the resolution on the E natural.
Immediately after the release of the E3, come back down to piano and begin the
swinging style again, putting emphasis on the syncopated F2 right before beat 3 in
measure 24. Make a gradual crescendo in bar 25, again placing some emphasis on
the syncopated F2 at the end of the bar. At the end of measure 26, the F#3 starts
out normally before applying the flutter-tongue in the next bar. Continue the
crescendo through the flutter all the way to the accented E3 on beat 3, letting the
Bb2 relax some. The final two measures of the solo should be played in a lazy
style, each statement getting softer than the previous one, as if fading away into
the distance.
166
Del Tredici, David: In War Time
Example 105: Excerpt from In War Time by David Del Tredici.
This flutter-tongued passage found in Del Tredici’s In Wartime is difficult
due to a lack of breathing opportunities and the duration of the flutter-tongue. It is
inconceivable that any one player should be able to make it through this passage
in a single breath, so staggered breathing needs to be worked out throughout the
section. In doing so, always play to the first note of a beat before taking a breath,
leaving out one or two notes before coming back in so not to disturb the rhythm.
Note that although the flutter-tongued scales do not have a slur over them, it is
understood that a slur will be applied in order to sustain the flutter from note to
note.
167
QUARTER-TONES Quarter-tones are pitches which occur halfway between the half-steps in
the chromatic scale. Although they were considered foreign to Western art music
until the middle of the 20th century, these sounds have been standard in music of
countries throughout other parts of the world for centuries. Two ways to produce
quarter-tones are standard: the first method is to use an altered fingering to raise
or lower the pitch, in most cases requiring a French or “open hole” model flute.
The second, somewhat less accurate method is to adjust the embouchure and/or
the angle of the air to manipulate the pitch. For a complete chart of quarter-tone
fingerings for flute, see A Modern Guide to Fingerings for the Flute by James J.
Pellerite.
168
Husa, Karel: Apotheosis of This Earth
Example 106: Excerpts from “Apotheosis,” the first movement of Apotheosis of This Earth by Karel Husa.
The quarter-tones in these excerpts from Husa’s Apotheosis of This Earth
can be executed using either altered fingerings (open-hole model flutes only) or
using the embouchure. For the quarter-tone at 19, for plateau (closed-hole model)
169
flutes, there are two options: first, finger Bb2 as normal and simply lip it down by
relaxing the embouchure and lowering the head to change the angle at which the
air is entering the flute to a more downward angle; the second option is to play
Bb2 and add RH123, which will also lower the pitch. Using the second option may
still require lowering the pitch down somewhat with the embouchure, but not as
much as when fingering the Bb2 with the standard fingering.
For an open-hole model flute, you can also choose one of the methods
above, or you can finger a Bb2 and add only the rim of the A key (LH2). This
option will actually bring the pitch down a little lower than a quarter-tone, so you
will consequently need to raise the pitch some by raising the head to blow more
across the flute.
Before 85, Husa alternates the A2 between the standard pitch and a
quarter-tone flat. This effect can be achieved with the embouchure by lowering
the head and moving the jaw back to bring the pitch down, and by raising the
head or pushing the jaw forward for the normal pitch; or it can be accomplished
with another special fingering (again, French model flutes only). Finger A2 as
normal; on the quarter-tone flat pitches, add only the rim of the G key (LH3).
Either method will work, but the second option provides an immediate change of
pitch while the first option “slides” between the two.
Beginning in measure 98, the passage indicates that both quarter-tone flat
pitches and quarter-tone sharp pitches be alternated with normal pitches. If
170
playing a plateau model flute, the easiest way to execute this passage is to finger
A2 as normal and simply adjust the embouchure and the angle of the air up for the
quarter-tone flat Bb2, and down for the quarter-tone sharp G#2; you will end up
moving your head up and down in a seemingly robotic fashion, but it will work.
For the French model flute, the quarter-tone flat Bb2 can be fingered like Bb2,
adding only the rim of the A key (LH2). This option will put your fingers in
perfect position to slide the LH2 finger over the hole to play the standard A. For
the quarter-tone sharp G#’s, finger A2 and add only the rim of the G key (LH 3).
At the end of measure 104, the fingering method – whichever you are using – will
stay the same as the flutter-tongue is added to the mix. However, those who are
using the embouchure method to play the quarter-tones may find that the quarter-
tone sharp G#’s may not speak due to the downward angle of the air and the
increased air speed required by the flutter-tongue.
PITCH BENDS, SLIDES AND QUARTER-TONE GLISSANDI Pitch bends are notes that start normally and then bend slightly up or down
from the original pitch. They are usually produced by manipulating the
embouchure and the angle of the air stream either by raising and lowering the
head or by rolling the flute in or out; bending a note down in this manner is
usually easier than bending it up. Pitch slides, on the other hand, usually require a
special fingering, since you start on one note and gradually “slide” the pitch up or
down until you arrive on another indicated note. The only difference between a
171
pitch slide and a quarter-tone glissandi is that in a quarter-tone glissandi, the
composer will indicate that you begin or end on a quarter-tone rather than a
normal pitch. For detailed instructions on how to perform these techniques, as
well as a comprehensive fingering chart dealing with these fingerings, see Tone
Development Through Extended Techniques by Robert Dick.
Wilson, Dana: Shakata
Example 107: Flute Solo from Shakata by Dana Wilson.
In this flute solo found in Shakata by Dan Wilson, the flute plays alone
until 75. The opening Bb2 at 68 emerges from the echoes of the thunderous
passage before it. For a nice effect, try starting the Bb2 without vibrato and
gradually adding it along with a slight crescendo as you hold the audience’s
attention. The pitch slide at the end of measure 70 can be executed either with the
embouchure or with an altered fingering. If using the embouchure, work to bring
the pitch down as far as possible, since it is a half-step interval and not a quarter-
172
tone as in the previous excerpts found in the Husa. The embouchure will need to
open up more widely and roundly than normal while the head lowers to blow the
air further down into the flute. Practice with a tuner to see how close to the
standard A pitch you can come. To use an alternate fingering, it is the Bb1 on beat
4 that is actually altered: play Bb1, adding only the rim of the A key (LH2) and
then sliding the finger to cover the hole of the A key. Draw out the pitch change
by blowing into it rather than backing away from it.
The same method can be applied to the pitch slide found at the end of the
solo in bar 77. However, it is advisable that, regardless of what model flute you
are playing, plateau or French, you execute this pitch slide with the embouchure
rather than altered fingerings. It can be done, but the fingering is rather difficult to
employ: as before, it is the first note that will have the altered fingering, playing
the A1 like an Ab1 but pressing down only the rim of the A key and then sliding
the finger to cover the hole for the Ab1. The fingering itself is awkward, but it is
further complicated by the fact that you have to get to that fingering from the
previous D2. It is thus recommended that you simply use the embouchure in this
case to execute the pitch slide, working with a tuner to come as close as possible
to the desired A1 pitch.
173
Husa, Karel: Apotheosis of This Earth
Example 108: Excerpts from Apotheosis of This Earth by Karel Husa.
This quarter-tone glissando found before 161 in the first movement of
Apotheosis of This Earth can be executed only on an open-hole model flute.
Finger F#3 normally and slowly begin to depress the F key (RH1), first beginning
with only the rim and gradually sliding the finger to cover the hole until the F3 is
eventually reached on beat 4. Draw out the pitch change blowing through it rather
than backing away from it, and move the fingers as slowly through the process as
possible. If playing a closed-hole flute, the only comparable option is to overblow
the harmonic fingering B2 for the F#3 and slowly slide the thumb over to the Bb
key, working to make as gradual a pitch change as possible.
For the half-step glissando found before 34 in the third movement, again,
no good way exists to execute this glissando on a plateau model flute except to try
174
to move the fingers as slowly as possible from one note to the next, depressing the
keys in slow motion to try to bring out as much pitch bend as possible. For open-
hole flutes, finger high E3, adding only the rims of both RH3 and LH3. As you
make the glissando, slide both fingers slowly to cover the holes; the result is a
perfect pitch slide glissando.
CONTEMPORARY NOTATIONS
Because contemporary notations have not been standardized, the
performer may often be confused about what to do. Hopefully the composer has
provided ample instructions in the music to help guide you; if not, ask your
director or private teacher for assistance, or check out books on contemporary
music for flute to find out more about what innovations have been introduced in
recent years. Better yet, listen to recordings of contemporary music by flutists
such as Robert Dick or Patricia Spencer, two of the foremost contemporary music
specialists in the world. Although some of these techniques have trickled down
into the band repertoire, many more have not simply because these techniques are
not effective in large ensemble settings. Nonetheless, the wind band music of
Karel Husa and Joseph Schwanter demonstrates these techniques to their fullest,
using them effectively and as a necessary part of the music rather than simply
using them for the sake of using them. Arguably, the notations used by both of
these composers can be considered more standard than those used by other wind
band composers simply because both Husa and Schwantner use these notations in
their music much more regularly than other band composers to date.
175
Schwantner, Joseph: . . . and the mountains rising nowhere . . .
Example 109: Excerpts from . . . and the mountains rising nowhere . . . by Joseph Schwantner.
This passage from Joseph Schwantner’s . . . and the mountains rising
nowhere . . . may look unusual because no notes are written. Actually, there are
many notes written - but not in the traditional sense. The curvy lines beginning at
E indicate that you should follow the general contour of the line, improvising
rapid scale-like passages within the range of low E1 and climbing as high as an
A2. The somewhat straight line extending out from the repeat sign means that you
are to continue this passage through the duration of about twenty seconds, as
176
indicated by the numbers below each staff. The conductor will explain to you how
the cues will all be worked out so you will know when it is time to move onto the
next section. At F, the same idea continues, this time in a gradual upwards
direction spanning the course of twenty-five seconds. Do not get anxious and
allow yourself to get too high too quickly for this impatience will spoil the effect.
Continue improvising scalar passages all the way to G, finally ending at
fortissimo on the highest note you can play. It is not necessary to coordinate this
passage with the other players in the section, as the intended effect is supposed to
sound amorphous.
17
7
App
endi
x A
: M
usic
al E
xam
ples
Cit
ed b
y C
ompo
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CO
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SER
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122,
134
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12
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s fro
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Stor
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stei
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3, 1
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TR
N
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habr
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Emm
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land
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s 23
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Tre
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86
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a, K
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, 173
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38
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58,
135
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7,
17
Milh
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Dar
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Suite
Fra
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s. 50
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Pers
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nt
Sym
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78
17
8
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158
Scho
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3a
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43
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17
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25
Wel
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C
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88
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W
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a Sh
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Pub
. 17
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81
17
9
App
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175
Apo
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Hus
a, K
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Schi
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74
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Pi
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31
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24
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96
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Hol
st, G
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Boo
sey
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, 29,
133
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Po
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164
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ces
Arn
old,
Mal
colm
Pa
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r C
arl F
isch
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122,
134
, 145
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amm
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st, G
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v
Boo
sey
& H
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s 94
, 131
In
War
time
Del
Tre
dici
, Dav
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Haw
kes
37, 1
66
Jig
God
frey
, Dan
iel
C
arl F
isch
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121
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hire
Pos
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rain
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155
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C
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76, 1
52
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Dau
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Pe
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46
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Be
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ic
103,
126
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pirit
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Piqu
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65
Sc
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Re
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15
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akat
a W
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, Dan
a
Ludw
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Pub
. 17
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50, 5
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mph
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b H
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149,
150
, 151
18
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R
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35
Sym
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Pe
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, Vin
cent
Theo
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Pre
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78
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m O
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Payn
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12
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Stee
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, Cha
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.
Sout
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Mus
ic
81
Them
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aria
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, Op.
43a
Sc
hoen
berg
, Arn
old
Be
lmon
t Mus
ic
43
Var
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ns o
n a
Shak
er M
elod
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opla
nd, A
aron
Boo
sey
& H
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s 23
V
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on
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Pre
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18
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App
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: M
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xam
ples
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, Arn
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Them
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tions
, Op.
43a
43
Bern
stei
n M
usic
Be
rnst
ein,
Leo
nard
O
vertu
re to
Can
dide
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eler
10
3, 1
26
Boo
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& H
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s Be
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Leo
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Fo
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Cop
land
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elod
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23
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s D
el T
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In
War
time
37
, 166
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kes
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st, G
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rst S
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in E
b
18, 2
9, 1
33
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s H
olst
, Gus
tav
Ham
mer
smith
94, 1
31
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l Fis
cher
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rnol
d, M
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lm
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Sco
ttish
Dan
ces
Payn
ter
122,
134
, 145
C
arl F
isch
er
Arn
old,
Mal
colm
Ta
m O
'Sha
nter
Pa
ynte
r 12
0 C
arl F
isch
er
God
frey
, Dan
iel
Jig
12
1 C
arl F
isch
er
Gra
inge
r, Pe
rcy
Col
onia
l Son
g
148
Car
l Fis
cher
G
rain
ger,
Perc
y M
olly
on
the
Shor
e
76, 1
52
Car
l Fis
cher
M
asla
nka,
Dav
id
Sym
phon
y N
o. 4
38, 5
3, 5
8, 1
35
Car
l Fis
cher
M
enin
, Pet
er
Can
zona
7, 1
7 Eu
rope
an A
mer
ican
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inde
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Met
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10, 1
16
Euro
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25
183
Works Consulted
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Clardy, Mary Karen. Flute Fundamentals: The Building Blocks of Technique. Valley Forge, PA: European American Music Corporation, 1993.
Dick, Robert. Tone Development Through Extended Techniques. Revised ed. St. Louis, MO: Multiple Breath Music Company, 1986.
Freeman, John. “Lohengrin,” 11 August 2003. Opera Synopsis, New York: 1996-2003. <http://www.metopera.org/synopses/lohengri.html>.
Gillaspie, Jon A., Marshall Stoneham, and David Lindsey Clark. The Wind Ensemble Catalogue. Westport, CT: Greenwood Press, 1998.
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Moyse, Marcel. De La Sonorite. Paris: Alphonse Leduc, 1934.
Pellerite, James J. A Modern Guide to Fingerings for the Flute. Van Nuys, CA: Alfred Publishing Co., Inc. 1968.
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Rehrig, William H. The Heritage Encyclopedia of Band Music. 3 Vols. Westerville, OH: Integrity Press, 1991-96.
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Stoneham, Marshall, Jon A. Gillaspie, and David Lindsey Clark. Wind Ensemble Sourcebook and Biographical Guide. Westport, CT: Greenwood Press, 1997.
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Trill Chart. Elkhart, IN: Gemeinhardt Co., 2003.
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185
Vita
Christine Elizabeth Beard was born in Chicago, IL on October 2, 1971.
She was adopted and raised by her grandparents, Herbert R. and Elizabeth J.
Erlander, with whom she lived in Hot Springs, AR from 1974-1989. A 1989
graduate of Hot Springs High School, Christie received a Bachelor of Music in
flute performance from Arkansas State University (Jonesboro, AR) in 1995,
where she studied with Joe Bonner; and a Master of Music in flute performance
from The University of Texas at Austin in 1998, where she studied with Karl F.
Kraber.
Ms. Beard has performed across the United States and abroad as a
chamber artist and soloist, including the National Flute Association Convention in
Washington, D.C.; the National Association of Composers, USA conference in
Los Angeles; the Austrian-American Mozart Academy Festival Orchestra in
Salzburg, Austria; the Texas Chamber Consort; the Chamber Soloists of Austin;
and as an orchestral player as a member of the Northeast Arkansas, Pine Bluff,
Temple, and Abilene Symphonies.
In addition to her active performance schedule, Ms. Beard is an
Artist/Clinician for Gemeinhardt-Roy Seaman Piccolos, a position the
Gemeinhardt Flute Co. created for her in 2002. She has appeared as a clinician at
the 2003 Nebraska Music Educators Conference (Lincoln, NE), and at Texas
Music Educators Association Conventions (San Antonio, TX) in both 2001 and
186
2002. Her articles have been published in the Southwestern Musician and in
Flutewise, and her arrangement of Eugene Damare's "The Wren Polka" for
piccolo and band (©Go Fish Music 2003) has enjoyed performances across the
United States and Europe. An advocate of new music, she enjoys collaborating
with composers which has resulted in two new commissions: a flute duo entitled
"Fermat's Last Theorum" by Dr. Paul Bissell; and a work for flute, soprano, and
guitar entitled "Summer Songs" by Dr. Neil Flory.
Christine Beard joined the faculty at the University of Nebraska at Omaha
in 2002 where she teaches applied flute, music theory, and serves as Coordinator
of Woodwind Studies. Ms. Beard was also hired to teach graduate flute studies as
Visiting Instructor of Flute at the University of Nebraska at Lincoln in 2003. She
is founder and director of the Heartland Community Flute Choir, an adult amateur
flute ensemble over forty members strong which performs concerts in and around
Omaha. She also serves on the Board of Directors for the Nebraska Flute Club, an
organization she co-founded in 2003, which works to promote flute activities
throughout the state of Nebraska.
Permanent address: 10355 Hamilton Plaza, Apt. 104. Omaha, NE 68114
This dissertation was typed by the author.
