Flute [PDF]

Zitiervorschau

A comprehensive band methodzyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA tnat develops creativityzyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA and musicianship Dear Band Student: Congratulations on deciding to become a member of the band! There is a special kind of enjoyment that comes from performing with a musical group that can be found nowhere else. As a skilled band musician, you will be able to playa wide variety of musical styles from symphony to jazz, from contemporary

pop to marching bando With regular daily

practice, there's no limit to the exciting musical experiences waiting for you! We wish you the best of success in achieving your musical goals.

Mark Williams

Art Direction:

Ruth Lebenson

Book Design: T om Gerou Music Engraving:

Greg Plumblee

IIlustrations:

Martin Ledyard

Photography

(pages 3 & 4): Jordan Miller

Instrument Thsnks M a tt

photos (cover, pages 1 & 2) are courtesy 01 Yamaha Corporation

to th e s tu d e n ts

M cK agan

lesl

f o r t h e ir

and

s ta ff

o f L in d e r o

p a r t ic ip a t io n

in

C anyon

M id d le

th e p h o to g ra p h s

S chool

on pages

Copyright © MCMXCVII Alfred Publishing Co.• Inc. AII rights reserved. Printed in USA.

and

8and

3 and

4.

01 America. D ir e c t o r

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11

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OETTINO READY

To

PLAY

1. Hold the head joint in your left hand and the middle joint in your right. 2. Put the head joint and middle joint together with a back-and-forth twisting center of the embouchure HEAD

motion. The

hole should be

J O I N T ponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA

lined up with the center of the main line of keys.

3. Twist the foot joint onto the assembled head and middle joints. Une up the foot joint so that the long rod connected back of the

n key points

to the

to the center of

the keys on the middle joint.ZYXWVUTSRQPONMLKJIH

FLUTE CARE 1. When you are finished

playing, take your flute apart FOOT

and dry the inside of each section using the cleaning

rod. Make sure the end of the cleaning

rod

is covered with a soft cloth. 2. To keep your flute shiny, wipe the keys off with a soft cloth. 3. Sto re only those items in your case that the case is designed to hold. Forcing music or other objects into your flute case can cause problems with the instrument.

JO IN T

CHECK YOUR PLAYINO POSITIONzyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA 1. Sit on the front half of your chair. 2. Keep your feet flat on the floor. 3. Sit up straight and tall. 4. The flute should be held at a slight downward angle and pushed slightly forward, with the elbows away from the body. 5. The edge of your right thumbnail

is

placed under the flute between the first and second fingers. 6. Fingers remain curved, even when not pressing down . the keys.

•

ponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA

FORMINO THE EMBOUCHURE Embouchure

(ahrn-buh-sure)

is a French

word used to describe the way you shape your mouth while playing.

Here is how to

form a good embouchure: s l i g h t l y as if 1. Stick your lower lip outVUTSRQPONMLKJIHGFEDCBA

you are pouting. 2. Remove the head joint, and with the open end pointing

to the right, place

the lower edge of the embouchure

hole

on the lower edge of your lower lip. 2. Without changing

the placement on

your lip, roll the head joint away so that you are blowing directly across the embouchure

hole.

3. Firm the corners of your mouth, allowing

the very center of your lips to

{ e e l as if you are saying "who".

4. If you look in a mirror, you will see only half of the embouchure

hole.

PRODUCINO YOUR FIRST TONE

PRACTICE TIPS

1. Practice taking a full breath, filling

1. T ry to find a place with a good, firm chair where

the bottom

of your lungs so that your stomach expands.

you will not be interrupted.

Then fill the top of your lungs without

hold your music in the correct position for playing.

raising

your shoulders. Always using a full breath while playing helps to produce long, full tones. 2. Using only the head joint, form an embouchure

2. Start by playing long tones. This builds your embouchure

and improves your tone.

3. Always include some already learned "review"

and start blowing a focused stream of air by

pieces, so that you continue

whispering

your performance.

"doo",

feeling as if you are holding

back some of your breath. After you've made a

4. Spend a concentrated difficult

end of the head joint to produce a lower pitch.

play only the easy parts.

whispering

"doo-doo-doo",

being sure that your

tongue is behind your teeth. Produce as many notes as possible on one breath, always feeling you are holding

back some breath. As you

practice, you will learn to focus the air more efficiently to produce longer tones.

to improve and perfect

period of time on the most

tone, try placing your right hand over the open

Next, produce several notes on one breath by

Use a music stand to

parts of your music. Avoid the temptation

5. To make your practice even more enjoyable, playing along with theONMLKJIHGFEDCBA A C C E N T O N A C H IE V E M E N T accompaniment

CDs or cassettes.

try

to

THE STAFFzyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA 5 lines and 4 spaces used for writing music.

TREBLE CLEF

Also called G clef.

DOUBLE

The second line

I

BAR LINE

The end of

of the staff is the note G.

a section Divides the staff

TIME

BAR

into measures.

SIONATURE

MEASURE

of music.

The distance

Tells us how many beats are in a measure

between two

and what kind of note gets one beat.

bar lines.

THE MUSICAL ALPHABET The musical alphabet uses only the letters A through G. These are used to name the notes on the staff in

LINE-SPACE-LlNE-SPACE (A, S,

e,

order

D, E, F, G, A, S, etc.).

There are rules that help us

e

E

A

FIHGFEDCBA ~ ZYXWVUTSRQPONMLKJIHGFEDCBA From bottom to top, the spaces spell FACE.

~~----G~_~B D~

~~--E---------::::3 The lines can be remembered by using the first letter of each

remember the names of the lines

word in the sentence

and spaces of the staff.

Every Good soy Does Fine.

LEDOER LINES

Used to extend the staff.

A

B zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA e o E F G A B e o E F

G

A

B

e

11.

zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA TIME

4= 4=

SOLO

One person playing

SIONATURE WHOLE

4 beats in each measure quarter note receives 1 beat

3

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NOTE

WHOLE

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REST

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A C C E N T O N C R E A T IV IT Y : T b ls D ld M a n Ch

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f

h

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American Folk Song

69

f

P

f

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f

•

SINGLE EIGHTH

Each receives ~.

~and

NOTE ANO EIGHTH

1;2 beat in

!time.

~ ~ 1

EASY

RESTzyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA

&

2

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EIOHTHS

11.

112.

1

70~~:~

paZYXWVUTSRQPONMLKJIHGFEDCBA f f POLLY WOLLY

DOODLE

Allegro

71

American

Vi

Folk Song

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HGFE

P

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MARCH

FROM

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ALLA TURCA

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Wolfgang

Moderato>

A. Mozart

(1756-1791)

72 f LA BAMBA

.

Mexican

Folk SongIHGFEDC

73 f

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74~~'~ P

For more individual technique

practice,

see page 42. #5.

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TEMPOZYXWVUTSRQPONMLKJIHG M A R K IN O

V i v a c e zyxwvutsrqponmlkjihgfedcba

Very fast tempo

QpPOSITE DIRECTIONS

75~'i~*~n~

A:

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f ACCIDENTAL ENCOUNTER

76~¡~_ P

f

CHESTER

William

Andante

~

Billings

(1746-1800)

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p

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BELLA BIMBA

Italian

Moderato

11.

Folk Song

112.

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CHOPSTICKS rouen ••

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ACCENT

80

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Fill in the note names, then fill in the fingerings .

ON THEORY

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ooOlIOOOCl

ooOlIOOOCl

OOOlIOOOCl

00"

00"

00"

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ooOlIOOOCl

ooOlloooCl

ooOlIOOOClIHGFE

00"

00"

00"

•

M U L T IP L E

HGFEDCBA

D V N A M IC

M EASURE

REST

2 ZYXWVUTSRQPONMLKJIHGFEDCBA

M A R K IN O S

, 1 1 f f ponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA mezzo forte-medium loud Count:

mezzo piano-medium

m p

12

3 4 ;

2

2 3 4

softzyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA

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81

EXTENDED

RESTS

toueti

2 3 ;2 2 3

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8 2 VUTSRQPONMLKJIHGFEDCBA

23

;223

m j'

p

f

KOOKABURRA (Round)

CD

Moderato

Australian Folk Song

83Vi mp

FROM "ORPHEUS"

FINALE

(Can-Can)

Jacques Offenbach

>

Vivace

(1819-1880)

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f

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m j'

ACCENr

O N C R E A rIV IT Y : R h y th m ic Im p lo v is a tio n

Improvise your own rhythms in each measure using only the pitches shown.

85

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CCENT ON PERFORM ANCE

GALACTIC

EPISODEzyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA

John O'Reilly and Mark WilliamsHGFEDCB

AndanteVUTSRQPONMLKJIHGFEDCBA

mp

Allegro

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m f zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA

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ponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA STACCATO Play the notezyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA 1¡2 its normal length.VUTSRQPONMLKJIHGFEDCBA

JI

BUILDER 1)

86

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A SHORT STORY

. . . 87

m j'

WILLlAM TELL OVERTURE

88

Gioacchino Rossini

=p, ti

~~ aZYXWVUTSRQPONMLKJ

f HATIKVAH Andante

.

Israeli National Anthem

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MINUET

Johann Sebastian Bach

Moderato

~

(1685-1750)

90~1~1~ mp

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ACCENT ON FLUTE

91~.$~~'*~'$~ m f' For more individual technique

practice. see page 43. #6 & 7.

HG

DOTTED

OUARTER

1&2&

N O T E zyxwvutsrqponmlkjihgfedcba

1&2&

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In ~ ' and time, a dotted quarter note receiveszyxwvutsrqponmlkjihgfedcbaZYXWVUT 11;2 beats.

DOTTED OUARTERSZYXWVUTSRQPONMLKJIHGFEDCBA ~

,,:',")

..

92~~~~ VUTSRQPONMLKJIHGFEDCBA m 1 & 2 &

Count:

3 & 4 & aZYXWVUTSRQPONMLKJIHGFEDCBA

Giuseppe Verdi

ANVIL CHORUS from "IL TROVATORE" Moderato I

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rouen

(1813-1901)

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ALOUETTE Vivace

French-Canadian

Folk Song

SAKURA Japanese

95~

Folk Song

~

mp

~

~ mp

WEARING

r ito

OF THE OREEN

Allegro

~

Irish Folk SongIHGFEDC

96HGFEDCBA

ACCENT

ON THEORY

TAKE A REST: Complete each measure by adding the correct rest, then write in the counting

and clap.

0.5.

(OALzyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA SEO NO) AL FINE

Go back to the sign ~ and play until Fine.

lrs

RAINING,

IT'S POURINO

'1

ModeratoVUTSRQPONMLKJIHGFEDCBA

,

T raditionalZYXWV

99

b

m i ' HGFEDCBA

m p

ARIRANO Andante

Korean Folk SongaZYXW

100 p

m i' QOE TO

p

Jov

from "SVMPHONV

No. g"

Ludwig van Beethoven

101

f ONMLKJIHGFEDCBA

ACCENr

102

te0

D N C R E A rIV lry : F r e e I m p r o " i s a t i o n zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA

n

o

Using the five pitches shown, improvise your own melody using any rhythms you know. You may play these notes in any order, repeat notes or use rests.

TEMPO

•

MARKINO

Largo D.C.

Very slow

(DA

CAPO) AL FINEzyxwvutsrqponmlkjihgfedcbaZYXWVU

Go back to the beginning play until Fine.

Do ES

EASY

ITzyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA

112.

103~ aZYXWVUTSRQPONMLKJIHGFEDCBA

FROM

"NEW

WORLO

:~~.

~ VUTSR

mp

mp

f THEME

and

SYMPHONY"

Antonin

Dvolák

(1841-1904)

p

SONO

OF THE VOLOA

Andante

BOATMEN

.

Russian Folk Song

1 0 5 _ ~ ~ i~ mp

LIZA JANE

Vivace

106 ~~~

American

Folk Song

if~· *~-I

~.*~-~ HANSEL

107

ANO ORETEL

CHORALE

Engelbert Humperdinck

¡tii

ntONMLKJIHGFEDC

mp

ACCENT

ON FLUTE . >

.

108

f For more individual

mp technique

practico. see page 43.

#8.

•

ponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA SY.~COPATION

Starting a note that is one beat or longer on "&."

RHYTHM

109

1

& 2

&

& 2

1

&

ANTICS

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VUTSRQPONMLKJIHGFEDCBA

m j" Count: 1

2

&

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1IHGFEDCBA & 2 &

&

Aoo

LONO TIME

American

11.

Allegro

Folk Song

112.

1

1IaZ

110~i~e f HAlL,

mp

THE CONQUERINO

Moderato 11

11

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George F. Handel

(1685-1759)

P.

7:::.

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a

111

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ezyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA CRESCENDO

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CROSSINC

DIMINUENDO

get softer graduallyponmlkjihgfedcbaZYXWVUT

get louder gradually

THE BREAK

e 115~'~'_'~ aZYXWVUTSRQPONMLKJIHGFEDCBA

f

-

-

116

TRUMPET

rouen

VOLUNTARY

Jeremiah

Moderato a

117 b

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FINLANDIA

Jean Sibelius

Andante

(1865-1957)

IHGFEDCBA

~~~-=~~~==-

118

m p -=::::::::: m f

ACCENT

O N C R E A T IV IT Y

Clarke

(1674-1707)

= Create your own composition

"7WD

====- p HGFEDCBA

mp

containing

a balance of unity and variety.

119~~~~~~~ 1. Copy the first two measures into measures 5 and 6 to create unity. 2. Compose new music for the remaining measures to add variety.

3.

Play your composition.

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TIME

"

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e

SIGNATUREZYXWVUTSRQPONMLKJIHGFEDCBA

Common Time-same

SHEPHERD'S

HEY

as

i

rouen English Folk Song

AllegroVUTSRQPONMLKJIHGFEDCBA r= :

120

BOTANY BAY ModeratozyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA

-==

121 ~~

~*~· fiF*~

Australian

Folk Song

-m p ~

HGFEDCBA m p

REUBEN ANO RACHEL (ROund) Vivace

r:i'\

I

T raditional

122 aZYXWVUTSRQPONMLKJIHGFEDCBA

f AMAZINO ORACE

123ONMLKJIHGFEDCBA

ACCENT ON FLUTE

~

11

124_----':~ For more individual

technique

practice, see page 43, #9.

112.

1

po

•

MORE

SVNCOPATION

1IHGFEDCBA & 2 &

1

&

2

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.sVNCOPATEO RHVTHMS

RUSSIAN SAILORJS DANCE

Glierezyxw

Reinhold

Moderato

(1875-1956)

126~~~~~

~~~@ VE BANKS ANO BRAES OF BONNIE DOON I

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. ~

127

P

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Folk Song

112.aZYXWV

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-=::::::::= m p

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Scottish

11.

Andante ZYXWVUTSRQPONMLKJIHGFEDCBA

a

rouen

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TOM DOOLEV American

Folk Song

~~~.fi~~

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ACCENT

ON THEORY

Arrange the following

dynamics in order from softest to loudest and back:

m ¡ f. p .

f·m p ·

129

•

KEY SIONATURE

0001000 41 IHGFEDCBA

AII B's, E's, A's and D's should be ponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDC

0(7'

ON

Top

played as 8~, E], A~ and

m throughout.

OF OLO SMOKY American

~.~~-'7·~70~r

131~·

Folk Song

*

ZYXWVUTSRQPONMLKJIHGFEDCBA

~

~.ij.~.&.~ Peter 1. Tchaikovsky

MARCH SLAV

(1840-1893)

rr---'1r2I

Largo

132

~e~":~ VUTSRQPONMLKJIHGFEDCBA

-=:::::::::::aZYXWVUTSRQPONMLKJIHGFEDCB f :::=:::::::==-

mp

LAS MAÑANITAS Mexican Folk Song

133

f

p

~

f

p

POMP ANO CIRCUMSTANCE Edward Elgar

Andante

(1857-1934)

r

134VIl f

1,.

~~~~r~@

!Ff

For more individual

technique

11 ~~o

~:lf =

practice, see paqe 43, #10.

2.

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FLUTE

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SOLO

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Carl Maria von Weber

rnzyxwvutsrqponmlkjihg HGFEDCB (1786-1826)

Allegro

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Flute

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LILI'UOKALANI Hawaiian composer (1838-1917)

ANDANTE

MEASURE

Moderately slow tempo

BACH, JOHANN SEBASTIAN German composer

( 1685-1750) BAR LINE Divides the staff into measures BASS CLEF

en

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MEZZO FORTE ( m f )

Medium loud

MEZZO PIANO ( m p )

Medium soft

MODERATO

MULTIPLE MEASURE REST Indicates more than one

( 1770-1827)

measure of rest

BILLlNGS, WILLlAM

American composer (1746-1800)

NATuRAL

BRAHMS, JOHANNES German composer (1833-1897) BREATH MARK (,)

A suggested place to take a breath

CLARKE, JEREMIAH

English composer (1674-1707)

COMMON TIME

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(C)

-===)

t

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OFFENBACH, JACOUES French composer (1819-1880) ORCHESTRATION Choosing which instruments playa

section of music PIANO ( p )

DIVISI

Get softer gradually

D.S.

The end of a section of music

(DAL SEGNO) AL FINE

ANTONIN

Czech composer (1841-1904)

DVNAMIC MARKINGS

Symbols that indicate loudness

or softness of the music ELGAR, EDWARD

ROUND

Gradually slow down the tempo

Playing the same music beginning at

difterent times SHARP

A composition with ~arts for two players

DvoRÁK,

Play the music again from the beginning

RITARDANDO (RITJ

Go back to the sign ~

and play until Fine DUET

REPEAT SIGN

ROSSINI, GIOACCHINO Italian composer (1792-1868)

play the bottom notes

11)

Note(s) preceding the first

full measure

Some players play the top notes while others

DOUBLE BAR (

Soft

PICK-UP NOTE(s)

and play until Fine

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(q) Cancels a flat or sharp until the next

bar line

time signature

Get louder gradually

(DA CAPO) AL FINE

DIMINUENDO (

Austrian composer

(1756-1791)

BEETHOVEN, LUDWIG VAN German composer

D.C.

Medium tempo

MOZART, WOLFGANG A.

the staff is the note F

CRESCENDO (

The distance between two bar lines

(#) Raises the pitch of a note one half step

SIBELlUS, JEAN

Finnish composer (1865-1957)

SLUR Connects notes of difterent pitch SOLO One person playing SOUSA, JOHN PHILlP

English composer (1857-1934)

American composer

( 1854-1932)

FERMATAaZYXWVUTSRQPONMLKJIHGFEDCBA (1 ':''\) Hold the note longer

STACCATO ( .)

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STAFF 5 lines and 4 spaces used for writing music

through, then on the repeat, skip to the 2nd

STRAUSS, JOHANN JR.

ending FLAT (~)

Play the note 1f2 its normal length

Austrian composer

( 1825-1899) Lowers the pitch of a note one half step

SVNCOPATION Starting a note that is one beat or longer

on U&"

FORTEVUTSRQPONMLKJIHGFEDCBA (f) Loud FOSTER, STEPHEN American composer (1826-1864) GLlERE, REINHOLD GRIEG, EDVARD

Norwegian composer (1843-1907)

TEMPO MARKINGS

HAVDN, FRANZ JOSEPH Austrian composer

Terms which indicate the speed of

the music

English composer of German

birth (1685-1759)

1. Russian composer

( 1840-1893)

Russian composer (1875-1956)

HANDEL, GEORGE F.

TIE

Joins two notes of the same pitch to make one long note

TIME SIGNATURE Indicates how many beats are in each

( 1732-1809) HUMPERDINCK, ENGELBERT German composer

(1854-1921

TCHAIKOVSKV, PETER

)

INTERNAL REPEAT Repeat only the music between

the signs KEV SIGNATURE Indicates notes which are to be

flatted or sharped throughout LARGO Very slow

measure and what kind of note receives one beat TREBLE CLEF (~)

Also called G clef.

The second line .

of the staff is the note G VARIATION Changing the rhythm or notes of a theme to

create variety VERDI, GIUSEPPE

Italian composer (1813-1901)

VIVACE Very fast tempo

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