Complete Daily Exercises [PDF]

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TREVOR WYE

Complete Daily Exercises

utel for the

e*ee*e*****eee*

For Larry Krantz, Nelson Pardec,Jobu Rayuorth and Helen Spielman

for their initiative anddedicationto the lnternet FLUTE Lst,

a greattoolfor theadvancementof onrknowledgeof thefute.

Joulus de Flate A.laussel

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Jaur Scaloo!

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Novello Publishing Limited

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Contents Preface

4

SECTION I: TONE EXERCISES, WARM-UPS AND VOCALISE | 2

Extract from Daily Exercise No.2 (Reichert) Extract fromn Violin Concerto (Brahms) 6

3 4

Extract from Il Fortuno di Destino Akatombo (Kosaku Yamada) 7

5 6 7 8

Extract Extract Extract Extract

from from from from

(Verdi)

6

Daly Exercises No.5 (Reichert) Flute Concerto (Reinecke) 8 Peer Gynt Suite (Grieg) 8

La Sensible (Royer)

5

7

9

SECTION 2: SCALES AND SCALE EXERCISES I MajorScales to top B or D 12 2 3

Harmonic Minor Scales to top B or D Whole Tone Scales |4

4

Major Scales to top B or D in thirds Minor Scales to top B or D in thirds Broken Whole Tone Scales 19

5

6

13

15 17

Daily Exercises on Scales: 7 8

9 10

IT

Major Scale Exercise Minor Scale Exercise

20 22

Major and Minor Scale Exercises

23

No.I from Seven Daily Exercises (Reichert) Cascading Major and Minor Scales 29

28

SECTION THREE: ARPEGGIOS I

2

3

Arpeggios to top B and low C 33 Extended Arpeggios to top D and low B Augmented

4

Diminished

5

Arpeggios

5th

Arpeggios

35

7th

Arpeggios

35

of the 7th

6

Arpeggio

Study

I

36

7

Arpeggio

Study 2

38

36

8 9 10

Daily Exercise No.I (Maquarre) Daily Exercise No.5 (Maquarre) Broken Arpeggios 46

I|

Broken 7th Arpeggios 47

12 13 14

Broken Broken

Augmented Sth Arpeggios Diminished 7th Arpeggios

Broken

Arpeggio

15 16 17 18

No.2 No.4 No.5 No.7

from from from from

Seven Seven Seven Seven

Study

Daily Daily Daily Daily

34

40 42

48 48

48

Exercises Exercises Exercises Exercises

(Reichert) (Reichert) (Reichert) (Reichert)

52 56 58 62

19 No.l rom Twelve Studies (Boehm) 64 20

No.II from Twelve Studies (Boehm)

65

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SECTION FOUR: CHROMATIC EXERCISES I 2

3 4 5 6

Chromatic Scale to top C or D Broken Chromatic Scales 67

67

No. 6 from SevenDailyExercises(Reichert) 68 Four Chromatic Sequences 70 First Chromatic Study 72 Second Chromatic Study 73

SECTION FIVE: THE THIRD OCTAVE Six exercises from D.S. Wood's Technical Exercises for Facilitating the Execution of the Upper Notes of the Flute I Scales 74 78 2 Broken Scales 3

Broken

4

Thirds

|

84

5

Thirds 2

87

6

Thirds

90

7

8

Scales 2

3

Chromatic

Final

Study

81

93

94

SECTION SIX: DAILY EXERCISES I 2 3 4 5 6

7

8 9 10

Daily Exercise Daily Exercise Daily Exercise Daily Exercise Twelve Studies Twelve Studies Twelve Studies

No.I No.2 No.3 No.4 No.2 No.3 No.4

(Wye) 96 (Wye) 98 (Wye) 100 (Wye) 102 (Boehm) 106 107 (Boehm) (Boehm) T10

Twelve Studies No.9 (Boehm) I12 Twelve Studies No.I2 (Boehm) Il6 Twelve Studies No.I0 (Boehm) I18

II RightandLeftHandCo-ordination Exercise 12

Four Studies on Perpetuum Mobile

Practising

121

I22

127

Exclusive distributors: Music Sales Limited, Newmarket Rood, Bury St Edmunds, Suffolk IP33 3YB.

Order No. NOVI 20850 ISBN 0-85360-935-7 © Copyright 1999 Novello & Company Limited. Music processed by Barnes Engraving Cover design by Chloë Alexander

No part of this publicotion may be copied or reproduced in any form or by any means without the prior permission of Novello Publishing Limited.

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This book contains the

traditional

workout. They were based on the

exercises which most

autists

worldwide use in their daily

ve most popular 'French School' study books, though some of

them have been mod ed in the light of present day practice and custom, but, for those who prefer it the original material is still covered, too. I have taken the liberty of extending the compass of some of the favourites to top D, or to low B,

which is often now required, but allowing those with more traditional views to retain the old format if they wish. In order to save space, I have excluded the less important

exercises, and added some

new ones of my own – based on old ideas - which I nd useful. I also wish to add that most of these

exercises are fairly easy to memorise, a skill which is widely recognised as having great bene ts for

the future of any young player. Learning to memorise can be thought of as an investment, or 'money in the bank'! Where

appropriate, I have suggested ways of practising these exercises based on my experiences in

teaching. Of course, there are as many ideas on practising as there are people playing the

ute, but I

hope you nd these hints useful. Finally, the Practice Card can be moved about the book and referred to for your daily practice scheme. It also provides a guide to different

articulation

patterns which can be used with most

exercises.

Trevor Wye

4

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I have often thought f only there was a book containing all of the daily exercises!' Well here it is.

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Preface

1

ToneExercises,Warm-ups andVocalise' Every player has, at some time or another, been captivated by the beauty of a

good melody, and used it to help them develop their tone. Moyse developed this Idea further by compiling vocal melodies he heard at the Opéra Comique in Paris.

The rst of these 'vocalise' by Reichert has been a standard warm-up exercise since the days of Paul Taffanel and perhaps before him. Moyse used this

sequence in his classes to help encourage and develop the imagination of his

students. It remains my all-time favourite,especially when used with different

colours. It is ideal to begin the day with this simplesequentialexercise to warm-up the lips, the breathing,and begin to add expression. The other exercises were suggested by enthusiastic students over the years. The

expression' or 'interpretation' used to vocalise these melodies is personal,though T have made a suggestion as to how to start, but to gain the most bene t from

them, a lot depends on the way they are played. Exercise No.8 by Royer is useful for developing the strength of the lips and tone

when moving from octave to octave. As always, these exercises are better committed to memory because of the freedom

of expression gained through dispensing with the process of reading the notes. Blank pages have been added for you to add your own melodies. 1

The full exercise can be found on page 52. As a tone exercise it should be practised

in all twenty-four keys,as each key has its own problems of tone, colour and intonation.* Reichert Daily Exercise No.2

Slowly

mp

This exercise may also be practised in the following way:

* See Practice Book One TONE, Page 24- Tone Colour

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SECTION

f

2

Extract from Brahms Violin Concerto Slowly

In each key, different notes will tend to crack when leaping from a low to a high note.

Continue in the following keys:

3 Repeat Þp each time.

From Verdi's 'll Fortuno di Destino'

Slowly

mf

mt

See also No.5 from 'Seven Daily Exercises' (Reichert) on the following page.

6

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4

Repeatp each time. 'Akatombo' by Kosaku Yamada

mf

mf

m

mf

Continue in the following keys:

5 See page 56 for the complete exercise in 24 keys. Some days, start in one of the

middle keys so that different problems are encountered and overcome.

Repeat þ each time

Reichert Daily Exercise No.5

7

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6 Andante cantabile

From Reinecke's Flute Concerto

m

cresc.

cresc.

Cresc.

mf

mf

cresc.

f

Crese

mt

Continue in the following keys:

etc.

7

This exercise is good for practising a soft, muted tone colour, and for breath control.

Repeat þ each time The Death of Ase From Grieg's 'Peer Gynt Suite

Very slowly

mf

m

mf

mt

mf Continue in the following keys:

8

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The Low Register This exercise can be practised with various nuances and is useful for learning

to 'follow' the notes with the embouchure, which helps achieve beauty and evenness of tone when moving through large intervals. If this rst exercise is awkward for you to read, then choose an easier key to start with.

8 Repeat mp,p and pp each time From Royer's 'La Sensible'

mf

mf.

mf

mf

9

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The Middle and High Registers When moving between registers, how easy it is to crack the notes!

Aim for clean and exible intervals. Repeat p each time.

92hk

mf

10

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SECTION 2

Scales And Scale Exercises Why do we spend time on scales?

There are many reasons, but the one that hit me hardest was when some years ago, I spent a week at the British Museum Reading Room, for the purpose of listing all the

music for one or two utes and continuo written before the year 1800.I started on Monday afternoon and by Friday morning I had only reached the letter D or E and had

already collected a huge list of sonatas and suites. Later, looking through the European Library Lists, I tried to calculate how many pieces world-wide may have been written

for this combination. It might be more than 80,000, and all were written using common scales and arpeggios.

It follows that if we practise scales and arpeggios regularly, we are simultaneously

The cue size notes in each scale

learninga huge number of pieces. Scales and arpeggios must be a good investment!

can be omitted if preferred.

1 MajorScalesto top B or D Omit the small bracketed notes throughout if you are unfamiliar with top D. ok

major

EEEEEE

2

* Practise playing top E without the DÀ key - it's atter.

** When slurring from top B to C, use the B ngering but remove the thumb.

Db major

EFFFEF#F#EEFEE##e

D major

*Use the 3rd

Eb

nger for F# in the 3rd octave only -this is also atter.

major

E major

F major

F# major

12

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G major

FFFFEE

Ab major

A major

EEEEE

B major

B major

2 Harmonic MinorScalesto top B or D Cminor

C# minor

D minor

EEEEEEEEE#be

Eb minor

E minor

13

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Fminor

F# minor

E

G minor

G# ninor

A minor

be

Bb minor

B

minor

3 WholeToneScales These are used by many composers and most frequently in 20th century French orchestral repertoire.

On C

geieie

On C#

14

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4 MajorScalesto top B or D in thirds Cmajor

D major

D major

Eb major

Emajor

15

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F major

F#

EEE

major

EEEEEEE

G major

Ab major

ẾEEE#####E

A major

16

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Bb major

B major

5 MinorScalesto top B or D in thirds C

minor

C# minor

f e

EÉEEEEEEEEE

D minor

17

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Eb

minor

E minor

F minor

F# minor

EEEE

G

E#

minor

18

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G#

minor

A minor

Bb minor

+ B minor

6 Broken WholeToneScales

19

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Dailyexercises on scales

Mo .

7 MajorScale Exercise Refer to the Practice Card for articula

uggestions.

Practise also in these forms: a)

te. b) etc.

Repeot up an octave

43

* Take care to use thę D# key for E. It is also a way to balance the

ute when moving between octaves.

20

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tt

.

+

pbe

t

tffteasstit

X

nstttteelet

D.S 8va higher

21

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8 MinorScaleExercise Refer to the Practice Card for articulation suggestions.

T. anl G:

Repeat up an octave

22

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D.S 8va higher

9 Major and MinorScaleExercises

tor Techncalram To((aad Gaibent

Refer to the Practice Card for articulation suggestions.

EI4

Relative minor

23

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EJ4

txpresswe sail

lafto

-

Stat hul EFEFF

eieieibe,

EFFFFEE

A

24

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ay aye keys

Miar keys

Stog Rck Sound Open French Sond

keep the aur Steam mIE even keie2babe

pEEEFFEE

steiebebe

FEEEE#R

25

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t te

EEEEE

EEE

e#eiei2ee

FFEi teeEEFFFFEPiehe

FEE

27

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lo.1 fromSevenDailyExercises(Reichert) using these articulations:

ny!

Vey Snte aonngos

and

Best Samdl! and

Fine

a

F

.

eieie2beg

ipiebbe 28

botom O

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Rbylhmi

1

2

A eieieitte.

tettieie

D.C. al Fine 8va higher

Dim

*Use middle nger for F#.

Use'longAb: o

7

|o••)

11 Cascading Major and Minor Scales

C Eb F*

AG

C# E G Bó ( DF Ab B9 D

Refer to the Practice Card for changes of articulation. Vary your routine by starting at Db then making a Da Capo.

major

A minor

trtrtte,

EFteg

Trevor Wye

EFt,efEEEEtet.

F major

*When top E follows top A, take off the D# key for E. 29

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D minor

B

major

G minor

E

major

C minor

Ab major

EFFFE

F minor

Db major

Bb minor

F#

etttt tef.

major

DD# minor

30

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Bmajor Ee

G# minor

t,

E major

C# minor

A major

F#

minor

D major

B minor

te?

G major

E

minor

*Use long'G#. *Use middle nger for F#. 31

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SECTIN

3

Arpeggios i1 Arpeggios to top B and low C Refer to the Practice Card for variations of articulation. When practising these arpeggios, it is useful to include the various alternative ngerings tor ease and uidity, and also because they are in tune! Examples are given throughout. In general, D major is more in tune using the middle nger, atter ngering for F#. *1

EFE

E E

EEEE:

EF

-E

EF * Top E is more in tune (less sharp) without the D# key.

To gain familiarity with a useful ngering.practise the so-called'Mignon ngering' for top Bb when playing pp. It is sharp and will require attening:

*Use the'long'Abhere: o

o• )

*Play E without the D# key to facilitate the leap. 33

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"6

*Practise 'leaning' on the trill key for Bb to gain speed. Use middle

nger F# here to smooth the interval.

2 Extended Arpeggios to top D and low B Refer to the Practice Card for articulation suggestions.

EE

et

-t

34

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£E

b

be

* Play E without the D# key to facilitate the leap.

*Middle

nger F#.

3 Augmented5thArpeggios Refer to the Practice Card for articulation suggestions.

4 Diminished7thArpeggios

itte

35

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5 Arpeggiosofthe 7th The rst bar is the 'form' of the exercise. Practise it with all the different accidentals.

1

$ET

t

4

tt

5

2

3

eEEE

5

4

1

6 ArpeggioStudy1 Refer to the Practice Card for articulation suggestions. a)

1

3

3

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6

7

b

FEE

d) E

2

3

4

f)

37

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7 ArpeggioStudy2 Refer to the Practice Card for articulation suggestions.

bbbe

be

b

38

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E

babeEg

EEE

EEELe.

b

beFEF# be

be

D

EEFÉ.

.

be

EEE EEE

-"E

4tef"EEEEFA

1

ÉEEEE

35

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8 DailyExerciseNo.1(Maquarre) Refer to the Practice Card for articulation suggestions. C major

A minor

F

major

D minor

Bb major

G minor

Eb major

C minor

Ab major

e F

minor

Db major

Bb minor

40

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Gb

major

Eb minor

B major

G# minor

E major

C# minor

A major

F minor

D major

B minor

G major

u

minor

C major

41

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g DailyExerciseNo.5(Maquarre) Refer to the Practice Card for articulation suggestions.

C major

A minor

E

F major

be D minor

Bb major

G

minor

42

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EL

major

be C.minor

A

major

F minor

Db major

Bb minor

43

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Gb major

be Eb minor

B major

G# minor

E major

C# minor

44

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A major

F# minor

D major

B minor

E

G major

E minor

45

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rokenArpeggios

6

7

4

3

4

5

* When moving from top Eb to Bb it is better to become familiar with a useful forte Bb.

First play top Eb, then remove the 2nd nger of the left hand, and at the same time, lean' on the

key without taking your nger off the 'F key, and take your

rst trill

nger off the G# key.

46

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11 Broken 7th Arpeggios See note on previous page about top Bb. Also use the middle nger

F# when moving to top B, and the long Ab ngering afterEb.

Top E is better in tune ( atter) without the D# key.

6

7

5

7

3

9

4

47

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12 Broken Augmented 5th Arpeggios

-

E"E

E

13 Broken Diminished 7th Arpeggios

14 Broken Arpeggio Study Refer to the Practice Card for articulation suggestions.

48

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be

De

F,

P

E 49

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be

50

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F#EF

-+

b

.

'E,£,

,be EEAEA

h

efeErtaf.

etAEFEEEe

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Pay both Sloy and Thind alad It was a favourite of Marcel Moyse(seepageS in the TONEsection). fast

LB No.2fromSevenDailyExercises(Reichert)

This Reichert study is a ne tone exercise when played slowly.

-

Tou guality and

It can be practised in these tywo ways as well:

MEMORY

ete

It can be used for pianissimo practice in the 2nd and 3rd octaves:

mf:

Refer to the Practice Card for articulation suggestions.

Hser les Rek

M.

sttla

pp

P

P

infoahn

p

p

Fine Repeat 8ve

Slact

are

Repeat 8ve

52

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Repeat 8ve

Repeat 8ve

b

Repeat 8

53

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Repeat8ve

54

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Repeat 8ve

Kepeat 8ve

3

D.C. al Fine Repeat 8ve

J

55

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16 No.4 from Seven Daily Exercises (Reichert) This is another which is both fascinating and bene cial to use as an expressive

tone exercise or warm-up. It can also be played like this:

Slowly etc

Refer to the Practice Card for articulation suggestions. Fine

Repeat 8ve

Repeat 8ve

2Ee

Repeat 8ve

Repeat 8ve

Repeat

56

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8ve

Repeat 8ve

E

Repeat 8ve

t

Repeat8ve

D.C. al Fine

57

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17 No.5 from Seven Daily Exercises (Reichert) This too, can be altered rhythmically and turned into a ne study for expression,

intonation or triple tonguing, as well as exibility. Here are some suggestions: Slowly

p

Slowly eto

Slowly etc

p

Refer to the Practice Card for articulation suggestions.

Fine

b

58

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Repeat 8

Repeat 8ve

Kepeat 8ve

+

bbe

59

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EFFF

Repeat 8ve

60

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F

Repeat 8ve

D.C. al Fine

6

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18 No.7 from Seven Daily Exercises (Reichert) This exercise may also be practised with single tonguing throughout.

Repeat 8ve

Repeat 8ve ne

Repeat

8ve

Repeat 8ve

Repeat 8ve

Repeat 8ve

Repeat 8ve

Repeat 8ve

Repeat 8ve

Repeat 8ve

62

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Repeat 8ve

Repeat 8ve

Repeat 8ve

Repeat 8ve

Repeat 8ve

Repeat 8ve

Repeat 8ve

Repeat 8ve

Repeat 8ve

D.C. al Fine Repeat 8ve

63

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Plhy witk voy coedl No.1 from TwelveStudies (Boehm) his

study cạnbe,practisedleggto,and,withsingle and triple tonguing.

hat post00

tand

Cma

Cmay dom

Fma

Fna dm

poSrlions.

C m incr

Fmo be

C dim

Bual

Sou

iluat alat intetonand

ferble

Ddim7

t me doim7

Bb ma, don

E

bb

tytettetttgtter 64

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20 No.11 from Twelve Studies (Boehm) This may be practised in the following ve ways:

This study can also be varied by making the second bar of each line a minor arpeggio.

tiitrtrttt trttitetree

65

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SECTION

4

F Chromatic Exercises 1 ChromaticScaleto top Cor D Refer to the Practice Card for articulation suggestions.

2 BrokenChromaticScales

EE

#ebetbefeie£teteE#eEhe

be#

67

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No.6 from Seven Daily Exercises (Reichert)

2Apil S

allSltad! aloo pey tJS

er to the Practice Card for articulationsuggestions.

Ta al 2Gas Fine

eie

ebe ebeŁeebeebe EEEE"E/EEE EEEEE

ieEEFFFF

'Eeee

ate pie eeebeebe eebeeb epieieEFEE be

+tetitt

'EEebe

68

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FFEP

ebehebe ER

FFFE"EEFE#EME

x t EEEEEEFEEEEFE eebe

EEEEEis:

D.. alFine

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4 FourChromaticSequences Also practise with the following articulations:

'

Refer to the Practice Card for articulation suggestions.

*Omit bracketed notes if your compassis to top B. 70

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EDA

bbe

bebeieie

b be bb

be b

H b

L

71

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5 FirstChromaticStudy To practise the 3rd octave, play 7-12 an octave higher,

and follow with 1-5 two octaveshigher. Refer to the Practice Card for articulation suggestions. Trevor Wye repeat : x3

repeat x3

repeat

repeat x3

repeat x3

repeat x3

repeat: x3

repeat x3

x3 repeat X

10

11

12

repeat x3

repeat x3

repeat x3

72

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6 SecondChromaticStudy To practise the 3rd octave, repeat from No.12 in reverse order one octave higher (12, 11, 10,9,8, etc.). Refer to the Practice Card for articulation suggestions. repeat x3

Trevor Wye

repeat x3

repeat x3

repeat x3

repeat X3

6

repeat x3

repeat x3

H repeat :x3

repeat x3

10

repeat x3

repeat x3

12

repeat x3

repeatx3

73

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5

"hird Octave y Exercisesto top B, C or D after D.S.Wood: dies For Facilitating The Execution Of The Upper Notes On The Flute Beginning with the rst study, play through it to the highest point that you reasonably can, and then try to add a higher note every week or so. When Exercise 1 has been worked at for some time, it is better to add

the second study to it. This will lead to increased ef ciency in the

rst exercise.

It is important to iron out any technical problems in the lower two octaves before venturing into che third octave, and the practise of pages 20-23 is advised.

Refer to the Practice Card for articulation suggestions.

1 Scales C major

C minor

C# major

C# minor

D major

D minor

Eb major

Eb minor

74

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E major

E

minor

F

major

F

minor

,

F# major

F# minor

+

G major

G

Ab

minor

major

A minor

A major

*E is atter without the D# key. 75

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A minor

Bb

major

Bb minor

B

major

B

minor

C major

C minor

C# major

C# minor

D major

**E is atter without the D# key.

** Why not alternate between the 2nd and 3rd ngers for F#? 76

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Dminor

Eb major

minor

Eb

E major

E minor

EEEEEEE F

major

F

minor

#major

EEEẾ G major

G

minor

77

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2 BrokenScales1 C major

C minor

t

C major

C#

minor

D major

(x3)

D minor (x3)

Eb

major

E! minor

E major

E minor

F major

F

minor

(x3)

(x3)

(x3)

(x3)

(x3)

(x3)

* Don't be tempted to use any but the normal ngering!

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fi

F# major (K3)

F#

minor (x3)

G major («3)

G minor (x3)

N

Abmajor X3)

A

minor

A major

A minor

Bb major

Bb

x3)

(x3)

(x3

minor

B

major

B

minor

*Alternate

(x3)

between the 2nd and 3rd nger for F# in each repeat.

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fl

fi

major

(x3)

C minor

(x3)

C# major

(x3)

C# minor

D major

D minor

(x3)

E

(K3)

(x3)

Et major

Eb minor

E major

E

minor

F

major

F minor

(3)

(x3)

(x3)

*Use usual B ngering, and remove the thumb for aneasier, atter C. This is also useful in a fast chromatic scale to top C.

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C minor

C major

C# minor

D major (x3)

D minor

Eb major (x3)

Eb minor

E major

E minor

F major

F minor

*Alrhough

(x3)

(x3)

dif cult, it is more bene cial as an exercise, to use the 1st nger for A# or Bb in the

rst two octaves throughout.

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fi

C major

fi

fi

3 BrokenScales2

fi

F#

major

(x3)

F# minor

G major

(«3)

G minor

(x3)

A

major

(3)

Ab

minor

(x3

A major

(x3)

A minor

(x3

Bb major

(x3)

Bb minor

(x3)

B major

(«3)

2

B minor

x3

* Alternate in each bar with 2nd and 3rd

nger for F#.

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fi

Cmajor E

minor

(x3)

C# major

(X3)

C# minor

D major

(«3)

(