Kujala Vade Mecum.pdf

The Flutist's Vade Mecum o f

Scales, A r p e g g i o s ,

a n d

F i n g e r i n g

T e c h n i q u e

Second Edition

b y

Walfrid

Kujala

p r o g r e s s

Copyright © 2012 Progress Press E v a n s t o n , Illinois ( U S A )

T r i l l s

Dedicated

to the memory of my father,

Arvo August

Kujala

Copyright © 2012 Progress Press Progress Press 222 Main St. #504 Evanston, Illinois 60202 www.Progress-press.com Second Edition, 2012 First Edition, 1995 All rights reserved. No part of this book shall be reproduced, stored in a retrieval system, or transmitted by any means - electronic, mechanical, photocopying, or otherwise - without written permission from the publisher, except for the inclusion of brief quotations in a review. ISBN: 978-1-4675-1736-2 Music engraving: Philip Rothman, NYC Music Services (New York, New York) Publication advisor: James Jasek (Waco, Texas) Printed by Davis Brothers Publishing Company, Ltd. (Waco, Texas) Cover design, layout and preliminary draft: Sherry Kujala (Evanston, Illinois) Music notation set in Sibelius 7

T a b l e

o f

C o n t e n t s

T h e P r o d u c t i o n Process of t h e S e c o n d Edition

4

Introduction

1

Key to Codes

10

Fingering Charts

11

Part 1 Basic S c a l e s a n d A r p e g g i o s

13

Triads

31

T r i a d s in O p e n P o s i t i o n

33

Seventh Chords

34

T o n e Study Based on the O p e n i n g of B e e t h o v e n :

S y m p h o n y No. 1

36

Part 2 La S c a l a K u j a l a

38

Part 3 E x t e n d e d Intervals: Attaining Defter Fingers a n d a M o r e S u p p l e E m b o u c h u r e

47

Chromatic Expanding Intervals

62

Alternating Minor and Major 2nds

67

Alternating Minor and Major 3rds

68

Alternating Perfect and A u g m e n t e d 4ths

69

Alternating Perfect 5ths a n d M i n o r 6ths

70

Alternating Major 6ths and M i n o r 7ths

71

Part 4 Composed Accelerandos

72

Trill Drills

76

Broken 4ths, 5ths, and 6ths

79

M i s c e l l a n e o u s Interval Studies (Useful for Ibert and Karg-Elert)

85

Part 5 C h r o m a t i c S c a l e s in Q u i n t u p l e t s

86

C h r o m a t i c S c a l e s in S e p t u p l e t s

88

Pentatonic Scales

90

Blues Scales

92

Octatonic Scales

94

Hungarian M i n o r Scales

95

M o d a l Scales

96

4- Note Scale " T o p s "

103

5- N o t e S c a l e " T o p s "

107

Part 6 Studies Based o n Typical Chord Progressions

113

Short Etudes Based on Chord Progressions f r o m P r o m i n e n t Orchestral Passages

116

Mozart Excerpts

126

Bach, B e e t h o v e n , Ravel, Prokofiev and M e n d e l s s o h n Excerpts

128

Part 7 Guidelines f o r Each S e c t i o n of t h e

Vade Mecum

130

A b o u t W a l f r i d Kujala

136

Afterword

137

4

T h e

P r o d u c t i o n

P r o c e s s

o f

t h e

S e c o n d

E d i t i o n

By

Sherry Kujala Manuscript W h e n Wally and I planned the new edition of the Vade Mecum w e p o n d e r e d the physical attributes of the b o o k that had been in print since 1995. The first edition w a s a lovely display of Wally's l o n g t i m e passion for hand m a n u s c r i p t . This passion dates back to his days as a teen in West Virginia w h e n b u i l d i n g his personal collection of music m e a n t a trip to the library to c o p y flute parts and scores by h a n d . W h i l e a r d u o u s and t i m e - c o n s u m i n g c o m p a r e d to t o d a y ' s p r o d u c t i o n m e t h o d s in the fast paced electronic arena, the process of hand m a n u s c r i p t instilled in Wally an u n d e r s t a n d i n g of the music that can be lost in the m o r e c o n v e n i e n t , rapid presentation of images t h r o u g h m o d e r n t e c h n o l o g y . T i m e s have c h a n g e d , and in t o d a y ' s w o r k e n v i r o n m e n t it w o u l d be unreasonable to expect even the m o s t d e v o t e d s t u d e n t to m i m i c Wally's history of hand m a n u s c r i p t to s i m p l y build a library Nevertheless, the benefits of this old craft s h o u l d be n o t e d . A sample of his hand m a n u s c r i p t f r o m the 1995 edition is displayed on p. 5. W e w e r e t e m p t e d to exercise Wally's love of hand m a n u s c r i p t in the s e c o n d e d i t i o n , but instead chose to e m p l o y our recently acquired skills of music notation t h r o u g h the use of Sibelius software. As a flutist w i t h little experience in music n o t a t i o n , I w a s pleased to f i n d that the Sibelius software package w a s accessible to a novice. W h e n all of the notes and instructions w e r e nearly c o m p l e t e , I sensed an overall appearance that failed to e x u d e t o p level professionalism. S o f t w a r e and m o d e r n d i s t r i b u t i o n m e t h o d s have o p e n e d the d o o r s for m a n y p e o p l e t o p u b l i s h , and w i t h this ease of market entry c o m e s an u n f o r t u n a t e lapse in standards. Our goal w a s strict o b s e r v a n c e of the established rules of e n g r a v i n g that are critical to g o o d style and c o m f o r t in reading music.

n u m b e r of pages, and no longer possible w i t h the e x p a n d e d n e w e d i t i o n . Having o b s e r v e d w o r n copies of the Vade Mecum in the hands of m a n y flutists over the years, w e are pleased to see that its o w n e r s have spent a respectable a m o u n t of t i m e w i t h the material. H o w e v e r , the Vade Mecum is a b o o k that clearly deserves a higher quality p r o d u c t i o n . I began to research durable b i n d i n g f o r m a t s , and w a s pleased t o recall f r o m m y high school days a s u m m e r j o b in m y h o m e t o w n of W a c o , Texas, at the Library Binding C o m p a n y . Library Binding C o m p a n y was a family business in operation since 1949. The Jasek family consisted of Frank Jasek, Sr, the ultimate authority in the business at that t i m e , and his three sons - James, Ed, and Frank, Jr. J a m e s was the one I knew as " b o s s " for t w o s u m m e r s w h e n I was still in m y teens. A n d n o w m a n y years later, J a m e s has been on hand to act as m y advisor for the publication of the second edition of the Vade Mecum. I r e i n t r o d u c e d myself to J a m e s Jasek, feeling as t h o u g h m y w o r k as a professional musician and publisher in the Chicago area had taken m e full circle back to Library Binding in m y h o m e t o w n , n o w as a client, rather than a high s c h o o l student e n g a g e d in a s u m m e r j o b . I w a n t e d advice on the m o s t suitable f o r m a t for a b o o k of this size, scope and p u r p o s e . W e settled o n hard cover w i t h s m y t h e s e w n pages. The s m y t h e s e w n pages will a l l o w the b o o k to lie flat o n the music stand w i t h no stress o n the spine of the book, and will be a c o n t r i b u t i n g factor to a longer lifespan for the book. After an e n l i g h t e n i n g d i a l o g u e w i t h J a m e s o n the art of s m y t h e s e w n pages, I p u r s u e d m o r e advice f r o m h i m , realizing that his entire life had been i m m e r s e d in the craft of book b i n d i n g . J a m e s Jasek has advised m e o n m a n y details of the p r o d u c t i o n process that w o u l d not have o c c u r r e d to m e w o r k i n g o n m y own. The Benefits of Historical Context

Having set the bar very high f o r our standard for p r o d u c t i o n , w e contacted c o m p o s e r J o s e p h S c h w a n t n e r for his advice on achieving a m o r e perfect layout. As a t o p tier c o m p o s e r , S c h w a n t n e r insists on a high quality layout that will properly c o m m u n i c a t e his music t o the p e r f o r m e r . A t this stage of the process, J o s e p h S c h w a n t n e r i n t r o d u c e d us to Philip R o t h m a n , a c o m p o s e r based in N e w York, w h o s e e n g r a v i n g skills are recognized as the best in the field. W i t h Philip's attention to detail, and his pleasant, c a l m d e m e a n o r , I w a s c o n f i d e n t that a student of the Vade Mecum w o u l d be reading m a n u s c r i p t of absolute clarity and artistic appeal. M y p r e l i m i n a r y score w a s f u n c t i o n a l , but not p o l i s h e d , and it b e c a m e a w o r k of art in the capable hands of Philip R o t h m a n . Binding and Hard Cover The soft cover saddle stitch f o r m a t of the 1995 e d i t i o n held up to t e m p o r a r y use, but a different f o r m a t will be m o r e sturdy for a b o o k intended for t o p - o f - m i n d awareness, h a n d l e d and t r a n s p o r t e d f r e q u e n t l y by its o w n e r for m a n y years. The saddle stitch f o r m a t of the 1995 edition w a s at the m a x i m u m

I w o r k e d at Library Binding for t w o s u m m e r s , first in high s c h o o l , and then t o w a r d the e n d of college. The tasks of m y first j o b w e r e r e m o t e f r o m flute playing, but years later, I can s p o t parallels to m y w o r k in the field of b o o k b i n d l i n g to s o m e of the m o r e detail w o r k necessary t o achieve perfection in flute playing. The first s u m m e r was m y o p p o r t u n i t y to learn to appreciate the validity of one's existence w h e n d e v o t i n g an entire s u m m e r to one very small step in a huge process, repeating that one very small step t h o u s a n d s of t i m e s w i t h no apparent r e w a r d in sight. A t the t i m e I failed to fully appreciate h o w each step was critical to the success of the final p r o d u c t - a beautifully b o u n d book. I w o r k e d all s u m m e r on o n e p r o c e d u r e at a stage w h e n pages w e r e d i s a s s e m b l e d , hardly recognizable as b o d y parts of a book. I toiled repetitively at m y specialized task at Library Binding C o m p a n y that first s u m m e r , a n d d o not recall ever seeing an actual book. One c o u l d d r a w a hypothetical parallel to s p e n d i n g an entire s u m m e r playing a c h r o m a t i c scale and never seeing an actual piece of music.

5 W h e n I r e t u r n e d t o Library Binding t o w a r d t h e e n d of m y studies at Baylor University, I benefitted f r o m a f e w years of maturity. I w a s better e q u i p p e d t o grasp t h e beauty of the art of book b i n d i n g , and I w a s able t o " z o o m o u t " f o r a broader v i e w of a c o m p a n y r u n n i n g like c l o c k w o r k under t h e s t e w a r d s h i p of t h e Jasek f a m i l y . Rather than being tied t o o n e small task f o r m a n y repetitions, I m o v e d a r o u n d t h e f i r m briefly d a b b l i n g in m o r e stages of t h e process. I c o u l d observe each critical step falling into its rightful p o s i t i o n . I g r e w t o appreciate t h e i m p o r t a n c e of the small steps that had once d i s c o u r a g e d m e w h i l e in a state of detail fatigue.

and n o w m a n y years later w h i l e at w o r k o n m y o w n project. W h e n I r e c o n n e c t e d w i t h J a m e s Jasek in 2010, I w a s s t u n n e d t o learn that Library Binding C o m p a n y had closed just three weeks prior t o o u r discussion. T h e c o m p a n y w a s o n e of t h e constants of m y h o m e t o w n that I a s s u m e d w o u l d be in place forever, b u t t i m e s c h a n g e , people retire, and t h e d o o r s of Library Binding C o m p a n y locked f o r t h e last t i m e o n M a y 2 1 , 2010. l a m h o n o r e d that J a m e s Jasek has briefly stepped o u t of r e t i r e m e n t t o supervise the p r o d u c t i o n of Vade Mecum. Moving ahead w i t h the Vade

A r m e d w i t h a n e w appreciation f o r t h e i m p o r t a n c e of polish in detail, I transferred a n d applied this c o n c e p t t o m y w o r k as a flutist. T h e benefits g r e w f r o m a c o m m i t t e d effort t o material such as w h a t o n e can f i n d in t h e Vade Mecum. Both s u m m e r s at Library Binding C o m p a n y w e r e i m p o r t a n t t o m y u n d e r s t a n d i n g of w h a t it takes t o sustain integrity t o a specialized craft. I c a m e o u t of that experience w i t h an image of b o o k b i n d i n g as a mosaic. A n y one " g e m " , or single step in t h e process, can s e e m meaningless in isolation (my s e n t i m e n t s d u r i n g t h e first s u m m e r ) , b u t in t h e aggregate, a beautiful cohesive w h o l e . I o w e a d e b t of gratitude t o m y advisor, J a m e s Jasek, for supervising m y efforts as a teen a n d y o u n g adult, a n d n o w

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Serious attention t o t h e material in t h e Vade Mecum has the potential t o inspire a sense of detail fatigue, m u c h like w h a t I e x p e r i e n c e d in m y first s u m m e r at Library Binding C o m p a n y . But as t h e flutist c o n q u e r s all of its parts t h r o u g h diligent, steady attention a n d practice, t h e cohesive w h o l e at t h e e n d of t h e t u n n e l is a beautifully b o u n d " t o o l b o x . " This t o o l b o x contains t h e necessary c o m p o n e n t s of musicanship and flute p l a y i n g , enabling t h e flutist t o c o n q u e r t h e m o s t challenging of repertoire. In keeping w i t h t h e p h i l o s o p h y of the book, Vade Mecum ("Go W i t h M e " ) , w e have chosen a p r o d u c t i o n process w h o s e final p r o d u c t anticipates f r e q u e n t and long t e r m use.

Vade Mecum,

F i r s t E d i t i o n (1995)

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about Walfrid Kujala:

Photo: Jonathan Roob

WALFRID

KUJALA

was

appointed

to

the

Northwestern

University faculty as Professor of Flute in 1962 after having j o i n e d the Chicago S y m p h o n y under Fritz Reiner in 1954 as assistant principal flute, b e c o m i n g principal piccolo in 1958. He was also principal flute of the Grant Park Orchestra f r o m 1955 to 1960. He had previously been a m e m b e r of the Rochester Philharmonic f r o m 1948 t o 1954, a n d t a u g h t at t h e Eastman School of Music w h e r e he h a d received his B.M. a n d M . M . degrees a n d Performer's Certificate, s t u d y i n g w i t h J o s e p h Mariano. His p r e v i o u s teachers had been his father, A u g u s t Kujala, and Parker Taylor. He has been a soloist w i t h the Chicago S y m p h o n y under Sir Georg Solti, Fritz Reiner, A n t o n i o J a n i g r o , Seiji Ozawa and Lawrence Foster, and has a p p e a r e d as soloist at the Stratford and Victoria Festivals in Canada. As a 60th birthday present, his students and colleagues c o m m i s s i o n e d a flute c o n c e r t o f o r h i m f r o m Gunther Schuller in 1985, and the premiere was given by Kujala and the Chicago S y m p h o n y c o n d u c t e d b y Sir Georg Solti in O c t o b e r 1988. He also p e r f o r m e d the s a m e c o n c e r t o w i t h the Spokane S y m p h o n y under t h e c o m p o s e r ' s direction at t h e Sand Point Festival in Idaho, a n d w i t h t h e Rochester Philharmonic c o n d u c t e d by Robert S p a n o , a n d also w i t h t h e N o r t h w e s t e r n University S y m p h o n y under Victor Y a m p o l s k y In 1990 he gave t h e A m e r i c a n p r e m i e r e of t h e flute c o n c e r t o b y Finnish c o m p o s e r Einojuhani Rautavaara at t h e National Flute Association c o n v e n t i o n in M i n n e a p o l i s . Kujala is a past president of the NFA and w a s a recipient of its Lifetime A c h i e v e m e n t A w a r d in 1997.

W a l f r i d Kujala i s t h e a u t h o r o f several t e x t b o o k s , i n c l u d i n g 77ie Flutist's Progress, The Flutist's Vade Mecum of Scales, Arpeggios, Trills and Fingering Technique, The Articulate Flutist, a n d m o s t recently, Orchestral Techniques for Flute and Piccolo: An Audition Guide. He is a c o n t r i b u t i n g editor for Flute Talk, and was a visiting Professor of Flute at the Eastman S c h o o l of Music f r o m 1973 t o 1975 and at the S h e p h e r d S c h o o l of Music at Rice University f r o m 1995 t o 1997. T h o u g h he retired f r o m the Chicago S y m p h o n y in 2 0 0 1 , Kujala m a i n t a i n e d his ties t o the orchestra, being t h e coach f o r the flute section of the Civic Orchestra of Chicago f r o m 2001 t o 2006, and a p p e a r i n g as guest soloist in 2005 w i t h the CSO in its Family Concert series in a p e r f o r m a n c e of Prokofiev's Peter and the W o l f f e a t u r i n g the Magic Circle M i m e C o m p a n y . During his 50 years o n t h e N o r t h w e s t e r n faculty, Kujala has p e r f o r m e d m a n y recitals and c h a m b e r concerts at N U , and has s o l o e d w i t h its C h a m b e r Orchestra a n d S y m p h o n i c W i n d E n s e m b l e in a d d i t i o n t o its S y m p h o n y Orchestra.

I n t r o d u c t i o n By

Walfrid Kujala History and Background This b o o k is a distillation of m y o w n practice material and m e t h o d s that have gradually e v o l v e d since m y j u n i o r high school days. M y first flute lessons at age 11 w e r e w i t h Frank Migliaccio in Clarksburg, W e s t Virginia. I had studied w i t h h i m for only f o u r m o n t h s w h e n he died s u d d e n l y . He had been the only flute teacher in t o w n (and he also gave private lessons on the other orchestral i n s t r u m e n t s ) . Fortunately I w a s able to continue taking lessons f o r a f e w m o r e m o n t h s w i t h his brother, J o h n , w h o w a s also a flutist and had m o v e d t o Clarksburg t e m p o r a r i l y f r o m Pittsburgh to settle Frank's estate. It is hard to believe that there w a s a t i m e like this w h e n the flute w a s not as p o p u l a r as it is t o d a y , and that a t h r i v i n g city of 25,000 in habitants had only one flute teacher - and t h e n there w e r e none! M y love for the flute had taken a f i r m hold in this first year, and despite the tragic loss of m y e s t e e m e d teacher, I benefitted f r o m plenty of e n c o u r a g e m e n t and g u i d a n c e f r o m my father, A u g u s t Kujala, w h o kept m e on track. A l t h o u g h he w s not a professional musician at the t i m e (his regular j o b w a s that of a steelworker) he w a s an excellent avocational bassoonist. T w o years after m y first year of study w i t h the flute, m y father became a professional bassoonist and j o i n e d the H u n t i n g t o n S y m p h o n y . A l t h o u g h I had no regular f o r m a l lessons w i t h h i m , my father w o u l d often listen to m y practicing and make helpful suggestions and c o r r e c t i o n s , especially in r h y t h m , intonation and p h r a s i n g . Fun and " G a m m e s " A u g u s t Kujala's o w n highly disciplined w a y of practicing served as an inspiring m o d e l f o r m e , especially his emphasis on scales as a f o u n d a t i o n for d e v e l o p i n g fine t e c h n i q u e and musicianship. His scale practice was mainly f r o m the G. Pares Daily Exercises and Scales (published by Carl Fischer), a scale book generically a d a p t e d f o r all w i n d i n s t r u m e n t s . Of course I acquired the flute v e r s i o n , and that served as m y scale diet for a f e w m o n t h s until I began t o realize that it's scope w a s s o m e w h a t limited - key signatures only w e n t up t o f o u r sharps and flats, very f e w arpeggios or broken intervals, and m i n i m a l coverage of m i n o r scales. In the m e a n t i m e , having o b s e r v e d that m y best f r i e n d , a pianist w i t h w h o m I f r e q u e n t l y played duets (Frank C i m i n o was his n a m e ) , spent a fair a m o u n t of his practice t i m e on arpeggios and c h o r d progresseions, I b e c a m e fascinated w i t h the w o r l d of h a r m o n y . I b o r r o w e d several elementary h a r m o n y treatises f r o m the local library and learned as m u c h as I c o u l d about the r u d i m e n t s of intervals, triads, seventh c h o r d s , and harmonic progressions. Little by little I w o r k e d out patterns based o n this material and applied t h e m to m y daily practice. I w o u l d go t h r o u g h the entire circle of keys, playing the major and m i n o r scales, their respective broken t h i r d s , the c h r o m a t i c scale, the f o u r triads, and the d i m i n i s h e d and d o m i n a n t seventh arpeggios (I hadn't yet met up w i t h the w h o l e t o n e scales) - all by m e m o r y and w i t h different speeds, articulations and d y n a m i c s . I t h o u g h t of this part of m y practicing as " m u s i c a l v o c a b u l a r y strengthenthing," and still d o it regularly to this day. Its final

d e v e l o p e d f o r m constitutes the centerpiece of m y Vade Mecum (pages 13-30).

Flutists'

Upscale Move W h e n I w a s 13, our f a m i l y m o v e d to H u n t i n g t o n , West Virginia, w h e r e m y father had been e n g a g e d as principal bassoonist of the H u n t i n g t o n S y m p h o n y . He was part of the core orchestra of a b o u t 25 professional musicians (funded by the Federal Music Project) a u g m e n t e d by a b o u t 40 volunteer part-timers f r o m the tri-state area (Ohio, Kentucky and West Virginia). T h o u g h t h e y m a d e their living in other professions, a surprisingly large n u m b e r of t h e m w e r e very c o m p e t e n t , dedicated players. Luckily, a f e w y o u n g students like myself w e r e invited to fill s o m e of the positions, and I g o t to play s e c o n d flute and piccolo, a position that I held for f o u r years until I g r a d u a t e d f r o m high s c h o o l . The principal flutist w h e n I j o i n e d the orchestra was Harold Duesler, w h o had attended the Cincinnati Conservatory w h e r e he had s t u d i e d w i t h A l f r e d Fenboque. Deusler was e m p l o y e d in a n o n - m u s i c day j o b in A s h l a n d , Kentucky and c o m m u t e d to H u n t i n g t o n for the t w i c e - w e e k l y evening s y m p h o n y rehearsals. I had h o p e d to take lessons f r o m h i m , but because of the d e m a n d s of his regular j o b and the travel t i m e i n v o l v e d in getting to rehearsals, he s i m p l y was not able to c o m m i t himself to any t e a c h i n g . He d i d , h o w e v e r , give me m a n y valuable pointers d u r i n g rehearsals, w h i c h was almost as g o o d as having regular lessons. He also generously lent m e various pieces of flute music f r o m his library, a m o n g s t w h i c h w a s a v o l u m e that b e c a m e very influential in furthering m y technical d e v e l o p m e n t . This w a s the Henri Altès Celebre Méthode Complète de Flûte (published by Leduc). The Altès Influence M o s t m o d e m m e t h o d books make only sporadic a t t e m p t s to analyze and explain t e c h n i q u e s to the student. The authors apprarently feel that s u p p l y i n g exercises and music in a s o m e w h a t progressive sequence is the limit of their responsibility and a s s u m e that the private teacher will provide al the nuts and bolts of i n s t r u c t i o n . Therefore the student s h o u l d not be b o t h e r e d w i t h printed explanations of such arcane matters as e m b o u c h u r e and breath c o n t r o l , t o n g u i n g and alternate fingerings. In the 18th century Quantz did not s e e m t o feel that w a y , and neither, fortunately, did Altès in the t w e n t i e t h century. For a teacherless student like myself, the Altes was an exciting treasure t r o v e of ideas that stimulated me enormously. This was expecially true of Section III, " A d v a n c e d T e c h n i q u e , T o n g u i n g , Expression," an apt description of the aims of its main material, the Etudes Complémentaires (published separately by G. S c h i r m e r as the Altès 26 Studies). His rationale of fingering choicess is clearly laid out in the i n t r o d u c t o r y chapter of Section III e n t i t l e d , " M e a n s of Fascilitating Certain Passages W h i c h Cannot Be Played W i t h the Ordinary Fingering," and all 26 of the Etudes Complémentaires are t h o r o u g h l y annotated as to w h e r e the various special f i n g e r i n g s are to be used. Regrettably these annotations are not included in the Schirmer

8 edition. M o s t of these I successfully applied t o m y scale and a r p e g g i o practice, and n o w they have b e c o m e an integral part of m y Vade Mecum. Not all of the special f i n g e r i n g s in the Vade M e c u m are derived f r o m Altes. M a n y are of m y o w n i n v e n t i o n and others are in fairly general usage, but I like to think that the Altes spirit pervades in this book. It [riust be n o t e d that the phrase, " W h i c h Cannot Be Played W i t h the Ordinary F i n g e r i n g " , in the chapter title cited a b o v e is s o m e w h a t m i s l e a d i n g since m a n y of the " f a c i l i t a t i n g " f i n g e r i n g s (such as leaving the right hand t h i r d finger d o w n for all the notes in an Fjt m i n o r arpeggio) are valuable for i m p r o v i n g the s m o o t h n e s s of a passage even t h o u g h they can still be played w i t h " o r d i n a r y f i n g e r i n g " -- albeit with less efficiency. Developing Better Tone and Style W h e n I was in the t e n t h grade, Parker Taylor w a s e n g a g e d as the full-time principal flutist of the H u n t i n g t o n S y m p h o n y . He was gracious e n o u g h to take m e o n as a p u p i l , and for the first t i m e in a l m o s t three years I had the o p p o r t u n i t y to study f o r m a l l y w i t h an artist flute teacher a n d also sit next to h i m in the orchestra. Taylor was an Eastman g r a d u a t e , having studied w i t h Leonardo De Lorenzo ( w h o was just retiring) and his successor, J o s e p h Mariano. Taylor's style of playing was a remarkable blend of the technical discipline d e r i v e d f r o m De Lorenzo and the w o n d e r f u l tonal expressiveness and musicality learned f r o m M a r i a n o . Fortunately, m y p r e v i o u s l y self-taught r e g i m e n of scales and a r p e g g i o s , along w i t h practicing f r o m the Altes M e t h o d and a f e w other etude books and solo collections had served m e w e l l , and Taylor was able to concentrate m o s t l y o n repairing m y t o n e p r o d u c t i o n p r o b l e m s and instilling s o m e badly needed c o n c e p t s of phrasing and style. M e a n w h i l e , he e n c o u r a g e d m e to c o n t i n u e practicing m y previously a d o p t e d scale and a r p e g g i o routine and to e x p a n d on t h e m - and i n d e e d I have been d o i n g it ever since. Goals of This Book W i t h careful selectivity, and by a d o p t i n g m o d e r a t e t e m p o s , this book can be used as early as the b e g i n n i n g of the s e c o n d year of flute s t u d y . But its true effectiveness transcends any particular age or level of ability, for it is i n t e n d e d not just for the initial learning of scales and a r p e g g i o s but for p e r m a n e n t and o n g o i n g i m p r o v e m e n t of this material t h r o u g h diligent review. Think of this Vade Mecum ("Go w i t h m e " in Latin) as a steady c o m p a n s i o n , always available for review and r e n e w a l . It can also, of course, be used effectively w i t h the piccolo by making the necessary adaptations for range limitations. Facilitating Fingerings I have already c o m m e n t e d on one of the chief goals of this b o o k - learning t o use "facilitating" f i n g e r i n g s a la Altes. (William Kincaid's label was "sensitive fingerings.") A s y o u leaf t h r o u g h the b o o k y o u will notice m a n y passages that are marked w i t h special f i n g e r i n g c o d e s . These codes are e x p l a i n e d at the end of this i n t r o d u c t o r y chapter. S o m e of these f i n g e r i n g s m a y not be to y o u r liking, especially at s l o w e r t e m p o s , but as y o u get familiar w i t h t h e m , y o u will f i n d t h e m quite valuable for d e v e l o p i n g a s m o o t h e r finger t e c h n i q u e at faster t e m p o s . A l s o , I try to give t h o r o u g h c o v e r a g e to the a p p r o p r i a t e uses of the three Bb f i n g e r i n g s , w i t h special e m p h a s i s on the p r o p e r use of

the right hand lever -- a m u c h neglected but e n o r m o u s l y useful key. Increased Vocablulary A n o t h e r a i m is to c o v e r m o r e than just the usual major, m i n o r , and c h r o m a t i c scales by a d d i n g w h o l e t o n e , m o d a l , pentatonic, octatonic, Hungarian minior, and blues scales to enrich y o u r v o c a b u l a r y . Notating Articulations Rather than m a k i n g rotating s e l e c t i o n s f r o m an articulation m e n u , I believe it is m o r e practical to see and react to printed articulations as an essential part of music n o t a t i o n . Familiarity w i t h the actual notation of articulations is as i m p o r t a n t to the i m p r o v e m e n t of music reading accuracy and p e r f o r m a n c e style as are the actual notes and r h y t h m s t h e m s e l v e s . One of the m o s t w i d e l y used articulations - f o u r sixteenth notes, t w o s l u r r e d - t w o t o n g u e d - also happens to be one of the m o s t w i d e l y abused due to a s t r o n g t e n d e n c y to rush the t w o slurred notes. C o n s e q u e n t l y , I have m a d e a special p o i n t of g i v i n g it m o r e c o v e r a g e than s o m e of the other articulation patterns. In triplet g r o u p s I feature the t w o s l u r r e d , one t o n g u e d articulation for the same reason. Dynamic Markings Practicing scales and a r p e g g i o s w i t h a variety of d y n a m i c s is o b v i o u s l y very i m p o r t a n t , but w e t e n d t o neglect that area. If w e d o not actually see the m a r k i n g s , w e d o n ' t d o them. This is not to say that printed d y n a m i c markings are always automatically o b s e r v e d , but at least w e o u g h t to have clear idea of w h a t the d y n a m i c m a p really is and d o our best to f o l l o w it. To further this quest, I have i n l u d e d a variety of m a r k i n g s t h r o u g h o u t the first part of this book, Basic Scales and Arpeggios. S o m e of t h e m m a y s e e m a w k w a r d and unnatural, but in o b s e r v i n g t h e m , y o u r t o n e c o n t r o l and intonation will benefit greatly. The r e m a i n i n g material in the b o o k s h o u l d , of c o u r s e , be practiced w i t h v a r y i n g d y n a m i c s of y o u r o w n choice. Altissimo Range M o s t of the traditional scale and etude books have s h u n n e d the use of e x t r e m e high notes, perhaps in the mistaken n o t i o n that practicing t h e m w o u l d h a r m one's e m b o u c h u r e . But the persistent high register d e m a n d s of so m u c h of our c o n t e m p o r a r y music make it necessary to solidify our t e c h n i q u e in the altissimo range. I have therefore m a d e it a point to include material for that p u r p o s e . For instance, the e x p a n d i n g interval exercise at the b e g i n n i n g of each key change in the Basic Scales and Arpeggios always covers the highest as w e l l as the l o w e s t notes in that key signature, a s s u m i n g Cj or D4 t o be the highest note and B the lowest. T h o s e flutists w i t h o n l y a C f o o t w i l l naturally ignore the l o w B's. Two-Octave Scales On the other h a n d , I have also taken a s o m e w h a t m o r e conservative a p p r o a c h in the basic scales and a r p e g g i o s by limiting t h e m to a t w o - o c t a v e range w i t h i n their respective tonalities, rather htan always e x t e n d i n g t h e m to the highest a n d lowest possible notes. Since the extremities of the flute range are t h o r o u g h l y c o v e r e d elsewhere in the b o o k , I believe it is

9 m u c h m o r e i m p o r t a n t in the Basic Scales and Arpeggios to concentrate o n their musical qualities (evenness, articulation, d y n a m i c s , etc.) w i t h o u t being continually distracted by the need to scale Pice's Peak. Even a one-and-a-half octave scale can be challenging to the u n w a r y flutist. Witness the often unevenly executed o p e n i n g scale of the A l l e g r o solo in the Beethoven Leonore No. 3 Overture, w h i c h is m e r e l y a " s i m p l e " ascending G major scale of only t w e l v e notes. Odd Groups and Meters Metric and r h y t h m i c g r o u p i n g s of t w o s , threes, f o u r s and sixes have been typical in all periods of music, but the once rare g r o u p i n g s of fives, sevens, and nines are n o w b e c o m i n g more c o m m o n p l a c e . For that reason I have featured these g r o u p i n g s in m a n y of the exercises in this book, especially in the " C o m p o s e d A c c e l e r a n d o " exercises and c h r o m a t i c scales on pages 72. These exercises are also useful for perfecting the r h y t h m s of three notes aainst t w o beats, f o u r against three, and three against f o u r - situations that are t o o often c o m p r o m i s e d t h r o u g h careless and unnecessary g u e s s w o r k . The scale exercises o n pp. 26-30 emphasize the use of 7/8 meter. Inverted Intervals A n o t h e r neglected area of t e c h n i q u e is the practicing of the inversions of broken 3rds, 4ths, 5ths, and 6ths. These are covered in the Basic Scales and Arpeggios for the 3rds and on pages 79-84 for the rest. Inverted broken 3rds and 4ths occur frequently in music of the classical p e r i o d , perhaps even m o r e often than the " n o r m a l " b r o k e n invervals. Long T o n e s Practicing long tones and s l o w intervals are t w o of the staples of one's tonal practice, but I believe that finger flexibility exercises are just as i m p o r t a n t , and have i n c l u d e d material for that p u r p o s e on pages 47-61 of the book. One can use these exercises f o r i m p r o v i n g s m o o t h n e s s and precision of f i n g e r i n g changes, at the same t i m e being very conscious of the need f o r well-controlled air f l o w and sensitive e m b o u c h u r e p l a c e m e n t , w h i c h also h a p p e n to be our goals in practicing sustained tones. For those w h o m i g h t be looking f o r e a s u p p l e m e n t a r y approach to long t o n e and s l o w interval practice, I have also a p p e n d e d on page 36 a sequence of exercises based o n the intervallic p r o g r e s s i o n s in the first four bars of the Beethoven S y m p h o n y No. 1. These exercises originally appeared in part 3 of m y article in The Instrumentalist, " J a w b o n i n g and the Flute E m b o u c h u r e " (September, October, and D e c e m b e r , 1971), and are mainly d e s i g n e d for the i m p r o v e m e n t of d y n a m i c c o n t r o l and intonation as well as t o n e quality. More Specifics Concerning Facilitating Fingerings One of the principles I f o l l o w in r e c o m m e n d i n g facilitating fingerings centers a r o u n d the liberalization of the right hand little finger. All f o r m a l f i n g e r i n g charts specify that the Df key s h o u l d be d o w n (open) f o r all the notes except C 1 , C | 1 , D 1 , D2, Bl>3, B3, C4, Cs4, and D4. M o s t of us have conscientiously learned our basic f i n g e r i n g s w i t h o u t realizing that having the pinky up has no adverse acoustical effect on all the notes of the first t w o octaves (except for E1 and E2), as well as m a n y of the t h i r d octave notes. W e are perhaps unaware that there are m a n y

situations w h e r e f i n g e r i n g s m o o t h n e s s can be m u c h i m p r o v e d by giving R4 a rest and substituting R3 for flute balance and stabilization. That is of course the reason all the charts s h o w R4 d o w n — t o help the flutist balance the i n s t r u m e n t ; but it is not really that crucial, especially if y o u use s o m e version of the Rockstro p o s i t i o n . (See pages 90-91 in m y Flutist's Progress book.) T h u s , t h r o u g h o u t this book y o u will see innumerable e x a m p l e s of - 4 + 3 fingerings (keeping y o u r pinky up w h i l e h o l d i n g the right hand t h i r d finger d o w n ) for passages that revolve a r o u n d the octave break. There are also m a n y instances of + 1 2 3 and + 1 2 f i n g e r i n g s for the same r e a s o n - a l l in the name of s m o o t h n e s s and stability One of the m o s t i m p o r t a n t facilitating fingerings for rapid t e m p o s is playing F$ w i t h R2 instead of R3. This fingering is t o o often i g n o r e d until one is s u d d e n l y c o n f r o n t e d w i t h an e x t r e m e l y fast scale passage in G, D, A, E, or even B major (or their relative m i n o r s ) , then discovering w i t h d i s a p p o i n t m e n t that using the R2 f i n g e r i n g is t o o uneven and unreliable. So the only w a y to build an even t e c h n i q u e w i t h this fingering (or any facilitating fingering) is t h r o u g h s l o w practice, gradually increasing the s p e e d . T h o u g h w e need to be t e m p o r a r i l y tolerant of any subtle differences in quality or pitch that b e c o m e evident at s l o w e r practice t e m p o s , w e can confidently expect that these differences will fade w h e n the requisite fast t e m p o is reached. Interestingly, one of the a r g u m e n t s s o m e have against this f i n g e r i n g or m o s t other alternate fingerings is that they c o m p r o m i s e t u n i n g and/or quality. Yet the same people will c o n v e n i e n t l y ignore the fact that m o s t of the irregular fingerings for trills (as, f o r instance, any trill played w i t h one or both of the trill keys) can display the same " f l a w s " , but our ears have learned to accept t h e m . The ears, in fact, have no other choice. The clumsiness of trilling C2-D2 w i t h the r e g u l a r f i n g e r i n g w o u l d be s i m p l y unacceptable, so the tradeoff in speed and fluency using the first trill key m o r e than makes up for the tuning/quality " f l a w " . Being one of the c o m m o n facilitating f i n g e r i n g s , I d o n ' t specifically note the places w h e r e the R2 Fj fingerings can be applied in this book except in s o m e of the examples in the final f o u r pages, especially for the Mozart, Bach and Ravel excerpts. O t h e r w i s e , s o m e pages w o u l d be overly p o p u l a t e d w i t h R2 indications. Contrary Motion Fingerings The contrary m o t i o n i n v o l v e d in the right hand (third finger g o i n g d o w n w h i l e the first t w o fingers go up) w h e n f i n g e r i n g E to Fs w i t h the standard F( f i n g e r i n g , especially at m o d e r a t e or s l o w t e m p o s , requires a special kind of.precision. The t h i r d finger has to be 5 milliseconds earlier in its descent than the u p w a r d m o t i o n of the first t w o fingers. Otherwise one hears a fleeting G grace note. Conversely, w h e n g o i n g f r o m Ft! to E the first t w o fingers must m o v e d o w n 5 milliseconds earlier than the t h i r d finger g o i n g up to prevent an a n n o y i n g Dtj grace note. Therefore the rule is: " W h e n g o i n g f r o m E td" Fit lead w i t h the t h i r d finger, and w h e n g o i n g f r o m Fi to E lead w i t h the first t w o fingers". A l m o s t every f i n g e r i n g change in the t h i r d octave involves contrary m o t i o n , so they need the same kind of scrutiny. E-F, EF$, F-G and F}-Gs s e e m to be the m o s t vulnerable because they involve contrary m o t i o n b e t w e e n both hands.

10 Warm-Ups S o m e flutists are avid practitioners of prescribed w a r m up routines, d e v o t i n g as m u c h as 20 minutes or m o r e of their initial practice t i m e to long tones and s l o w intervals. Others feel that long tone practice is m o r e beneficial after first limbering up their e m b o u c h u r e and fingers t h r o u g h scales and arpeggios. Still others will avoid f o r m a l long tone practice altogether on the g r o u n d s of their being u n m u s i c a l , preferring instead to practice slow, expressive melodies like those in Marcel Moyse's Tone Development Through Interpretation. A l t h o u g h it is impossible to p r o v e w h o is right, I believe it is i m p o r t a n t to a d o p t a flexible attitude, and to e x p e r i m e n t w i t h various approaches to find out w h a t w o r k s best for the individual, but being careful not to b e c o m e dedicated to a mindless (and thus "earless") routine. Also, one must face up to the reality of s o m e t i m e s having only limited t i m e to " w a r m u p " before a rehearsal or concert. For such circumstances, one of m y favorite shorter w a r m - u p s is to play by m e m o r y the first t w o pages of Extended Intervals: Attaining Defter Fingers and a More Supple Embouchure f o u n d on pages 4748 of this book. The half-note fermatas at the end of each line can be an o p p o r t u n i t y for " l o n g t o n e " practice w i t h crescendod i m i n u e n d o (alternately w i t h and w i t h o u t vibrato). I have f o u n d that practicing the upper octave first always seems to make m y low notes s o u n d better, but that's p r o b a b l y just a personal quirk. It might be just the opposite for s o m e o n e else, in w h i c h case, the last t w o pages of that section could very well be the best starting point. Finally, I w o u l d like to make a fervent plea in favor of your making regular use of y o u r m i r r o r and recording device in practicing. Visually m o n i t o r i n g y o u r playing position, finger m o t i o n s , and e m b o u c h u r e activity gives y o u valuable feedback, and hearing your practice via the recording device will give y o u a really objective basis in j u d g i n g y o u r r h y t h m i c evenness, tone quality and intonation. The mirror and recorder s h o u l d be regarded as indispensable learning tools. Order of Practice As y o u w o r k y o u r w a y t h r o u g h the Vade Mecum, keep in regular t o u c h w i t h the first part, Basic Scales and A r p e g g i o s , reviewing at least t w o keys daily (all 12 weekly). After y o u study the rest of the book, y o u can be selective a b o u t y o u r daily review according to y o u r needs (and challenges). For m e , the section titled Extended Intervals: Attaining Defter Fingers and a More Supple Embouchure is a valuable section for daily review. I usually do a b o u t t w o or three pages daily, both on flute and piccolo.

Codes: c

=

low C

B

=

l o w B key (gizmo)

DI.

=

l o w Db key

T

=

t h u m b Bb k e y

X

=

s i d e k e y ( l e v e r ) f o r A # o r B b (R1

Y

=

f i r s t trill k e y (left)

Z

=

s e c o n d trill k e y ( r i g h t )

S

-

s l i d e w i t h little f i n g e r (R4)

J

=

j u m p o v e r at t h e last m o m e n t w i t h t h e little f i n g e r (R4) r a t h e r than slide.

A bracket over a g r o u p of notes s h o w s the extent of a special f i n g e r i n g use. V e r y l o n g g r o u p s are indicated by broken brackets:

r

i

Finger N u m b e r s w i t h o u t an R or L are a s s u m e d t o b e R. Left h a n d f i n g e r s a r e a l w a y s i d e n t i f i e d w i t h L.

+ 123

=

r i g h t h a n d 1st, 2 n d a n d 3 r d f i n g e r s down. + 1,-1-12, + 2 , + 3 = s a m e i d e a .

-4/+3

=

M o d i f i c a t i o n of n o r m a l f i n g e r i n g . D o n ' t d e p r e s s little f i n g e r b u t d o d e p r e s s R3 i n s t e a d .

L4

=

Gt

key

Fingering Chart for Regular Fingerings 1st Octave

2nd Octave

c

••••

• • •

S

C|

• • • •

• • •

—

D

• • • •

• •

c

•

• • • •

F

• • • •

F#

••••

^—

Same

C «o»

O

OO 0|

c i ^—

Same

C|o « ol

• OO—

•

• •

D O . . .

OOO j

D

• • O—

•

• • • 1

Et • • • • 1

• • • l

Et » «

• •

E

°m* m

i

E

<—

Same

E

• O 0|

F

«-

Same

F •

F#

«-

Same

F#

••°

OO 0|

G

<—

Same

G

• o

o o o i

G»

«-

Same

G| o « f l

O O 0|

o o o i

A

<-

Same

A

o « o

• o o i

Bt o o o

• •

oo

• • • • 1

A

«i

Bt

•

O o

o o o i

Bt

<-

Same

Bt

•

O o

• o o i

Bt

«-

Same

Bt

•«° °* o o o .

Bt

*-

Same

B

«-

Same

B

•

•

oo o

o o

° o .

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DORIAN

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NATURAL MINOR

WHOLE TONE

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Tonic on F - 3rd Octave DORIAN

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15

M E L O D I C MINOR

HARMONIC MINOR

NATURAL MINOR

WHOLE TONE

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Tonic on Fi - 1st Octave 2

M E L O D I C MINOR

DORIAN

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2

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WHOLE TONE

Tonic on Ftt - 2nd Octave 29

M E L O D I C MINOR

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DORIAN

M E L O D I C MINOR

HARMONIC MINOR

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M E L O D I C MINOR

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HARMONIC MINOR

NATURAL MINOR

WHOLE TONE

99

Tonic on B> - 1st Octave 106

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M E L O D I C MINOR

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M E L O D I C MINOR

HARMONIC MINOR

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M E L O D I C MINOR

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M E L O D I C MINOR

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Guidelines for Each Section of the Vade Mecum B a s i c S c a l e s a n d A r p e g g i o s , p. 13

Fl>). F o r i n s t a n c e , don't u s e it in the Ftt m a j o r s c a l e , but you c a n u s e it in the Ftt natural m i n o r s c a l e , b a r s 21, 22, 23, 53,

T h e s e 18 p a g e s of m u s i c c o n s t i t u t e the heart of this b o o k , a n d s h o u l d be p r a c t i c e d regularly, at least t h r e e p a g e s daily - a n d e v e n t u a l l y m e m o r i z e d . T h e o n e b a d p a g e turn at the e n d of p a g e 1 (for w h i c h w e a p o l o g i z e ) will give y o u a further i n c e n t i v e t o w a r d m e m o r i z a t i o n .

a n d 60.

v

I h a v e intentionally l a b e l e d all the s p e c i f i c s c a l e s ,

A r t i c u l a t i o n S t y l e - D o not a d o p t a p a s s i v e style in o b s e r v i n g the printed articulations. D e l i n e a t e them with great c a r e a n d f i r m n e s s , a n d follow t h e s e g u i d e l i n e s : T h e last note of a slur s h o u l d m a t c h the s h o r t n e s s of the e n s u i n g t o n g u e d n o t e s in the f o l l o w i n g p a t t e r n s :

b r o k e n thirds a n d a r p e g g i o s in e v e r y key t h r o u g h o u t the i

text a s a n aid in h e l p i n g y o u to r e m e m b e r their n a m e s a n d

•

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TTT2

f u n c t i o n s s o that they e v e n t u a l l y b e c o m e a regular part of

JTTJ

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your musical vocabulary. T h e last note of a slur s h o u l d be long in the T h e basic s c a l e s , broken thirds, and arpeggios s h o u l d a l w a y s be p r a c t i c e d first with c o n t i n u o u s s l u r s , then a l l - t o n g u e d , a n d finally with the printed articulations. A l l - s l u r r e d is the m o s t r e v e a l i n g in t e r m s of e v e n n e s s , a n d is the f o u n d a t i o n for practicing the articulated v e r s i o n s . B e certain that the first beat of e a c h s c a l e or a r p e g g i o is p l a y e d in strict t e m p o . It is e a s y to get in the habit of s t r e t c h i n g the first o n e or t w o n o t e s , e s p e c i a l l y w h e n c o p i n g with the "reluctant" l o w note starts in the k e y s of C , Dk D a n d E k A l s o , a v o i d i n d i s c r i m i n a t e u s e of hard k e y - s l a p a t t a c k s .

following

patterns:

In

the s e c o n d note of the slur s h o u l d be lighter t h a n the first, T h e o p e n i n g s t u d y in triplets featuring p r o g r e s s i v e l y expanding

intervals s h o u l d u s u a l l y be

60, or e v e n s l o w e r .

played

at J

=

but not n e c e s s a r i l y s h o r t e r , d e p e n d i n g on the t e m p o and overall style of the m u s i c .

F a s t e r t e m p o s c a n be tried later a s

e m b o u c h u r e flexibility i m p r o v e s .

In the m i x e d m e t e r articulations of

T h e s c a l e s , b r o k e n 3 r d s , a n d a r p e g g i o s s h o u l d be

j

j

j

j

p l a y e d at v a r i o u s t e m p o s r a n g i n g f r o m 72 to 138, but d o not p u s h for the faster t e m p o s until y o u are a b s o l u t e l y c o n f i d e n t of y o u r fingering e v e n n e s s at m o d e r a t e s p e e d s . At faster t e m p o s it w o u l d be a p p r o p r i a t e to omit bar 24 a n d play all four s c a l e s c o n t i n u o u s l y in o n e breath f r o m bar 17 t h r o u g h bar 32.

S o m e of the articulation patterns

a n d d y n a m i c c h a n g e s will be difficult to e x e c u t e at the faster t e m p o s , s o be p r e p a r e d to s p e n d extra p r a c t i c e time on t h e m . Observe

the

fingering

specifications

particularly for the t h r e e different

Bt-'s.

carefully,

(If t h e r e is no

marking o n a Bk it is a s s u m e d to be the " o n e - a n d - o n e " fingering). A l t h o u g h n o n e of the Fit's are m a r k e d , y o u s h o u l d a l w a y s p r a c t i c e the R 3 fingering first, then s e t a s i d e a b o u t a third of y o u r p r a c t i c e time for perfecting y o u r s e c o n d finger e v e n n e s s . . R e m e m b e r to start with m o d e r a t e t e m p o s , then g r a d u a l l y i n c r e a s e the s p e e d . T h e first o p p o r t u n i t i e s for this alternate fingering are for the G k s o n p a g e 19 - the Ai. Major a n d Minor s e c t i o n , b a r s 2 1 , 2 2 , 2 3 , 3 0 , 31 5 1 , 53, 59, a n d 60. Of c o u r s e , i n c l u d e the high G b a s w e l l a s the m i d d l e Gk T h e s e c o n d finger Fj}3 (or Gk) s h o u l d be u s e d only in p a s s a g e s w h e r e it is p r e c e d e d or f o l l o w e d by E (or

on p a g e s 26-27 the first note of e a c h slur s h o u l d r e c e i v e a slight breath a c c e n t to clarify the alternating r h y t h m i c structure. T h e E Major a n d Minor s e c t i o n f e a t u r e s s e e m i n g l y r a n d o m articulation p a t t e r n s , but t h e y d o follow a l o g i c a l , s y m m e t r i c a l pattern a s c a n be s e e n in b a r s 253 2 , w h e r e the s l u r s i n c r e a s e a n d d e c r e a s e o n e note at a time i n d e p e n d e n t l y of the u n d e r l y i n g f o u r - n o t e r h y t h m i c g r o u p s . G i v e the first note of e a c h beat a bit m o r e a c c e n t than u s u a l in s u c h s c a l e s in o r d e r to g i v e the listener a m o r e r e a s s u r i n g s e n s e of p u l s e . D y n a m i c s - P r o p e r attention to d y n a m i c s is j u s t a s important music.

in e x e r c i s e s a s w e l l a s in s o l o a n d e n s e m b l e

M a n y of the d y n a m i c s in this s e c t i o n g o "against

the grain", s o m a k e a s p e c i a l effort to r e n d e r t h e m in an authoritative m a n n e r . Bt l e v e r - T h e u s e of the B\> lever is too often n e g l e c t e d . T h r o u g h o u t the b o o k I h a v e carefully m a r k e d a n "x" in all the p l a c e s w h e r e its u s e is m u c h p r e f e r a b l e to the " o n e - a n d - o n e " Bt or the t h u m b Bk T h e first e x a m p l e s

131 are on p a g e 18 in c o n n e c t i o n with the Ek m i n o r s c a l e s . It's b a r s 3-7, f o u r - n o t e i n v e r s i o n s , a s in b a r s 9-12, a n d b r o k e n , a d v a n t a g e lies in the fact that in a n a s c e n d i n g s c a l e the first a s in 13-15, e n d i n g with the violinistic s o u n d i n g t w o - o c t a v e finger c a n be on the Bk lever slightly a h e a d of time w h i l e o p e n v o i c i n g of e a c h triad. P a g e 33 is a f o l l o w - u p to the still fingering the p r e c e d i n g Ak, a n d in a d e s c e n d i n g s c a l e t w o - o c t a v e o p e n position t r i a d s , useful for i m p r o v i n g y o u r it c a n r e m a i n m o m e n t a r i l y o n the Bk lever w h i l e going to intonation a c c u r a c y a n d e m b o u c h u r e flexibility. Ak, resulting in a s m o o t h , s e a m l e s s s o u n d i n g note c h a n g e , T h e 7th c h o r d s likewise are p r e s e n t e d a s i n v e r s i o n s a n d incidentally with l e s s key n o i s e T h i s o v e r l a p p i n g kind in g r o u p s of t h r e e in b a r s 2-6, a n d g r o u p s of four in bars of fingering t e c h n i q u e a l l o w s us to maintain o p t i m u m control in other s c a l e s s u c h a s Fit m a j o r , B m a j o r B m i n o r , 7-10, a n d b r o k e n f o r m in b a r s 12-14. a n d the c h r o m a t i c . A flutist with a Ctt trill key on his In the t r i a d s , e a c h three-line e x e r c i s e is played i n s t r u m e n t m a y be reluctant to u s e the Bl> lever for fear of inadvertently b u m p i n g into the Cf trill key b e c a u s e of its a p p l y i n g the a c c i d e n t a l s f r o m e a c h of the c h o r d s outlined c l o s e proximity to the B\> lever, but with e n o u g h p r a c t i c e at the e n d of the e x e r c i s e . A s a l w a y s , v a r y y o u r d y n a m i c s a n d e x p e r i e n c e that s h o u l d be a b s o l u t e l y no p r o b l e m . a s often a s p o s s i b l e . A s y o u i n c r e a s e y o u r t e m p o , try A n o t h e r p r i m e e x a m p l e of the Bk lever a d v a n t a g e is in the playing all t h r e e lines c o n t i n u o u s l y in o n e breath, omitting third m o v e m e n t of the Prokofiev S o n a t a , w h e r e m a n y of the half-note of the 8th bar. the 16th triplet p a s s a g e s are written with alternating Bk's a n d B ' s s e p a r a t e d by G ' s In the 7th c h o r d s , e a c h four-line e x e r c i s e is played u s i n g the a c c i d e n t a l s f r o m e a c h of the c h o r d s outlined at R o l l i n g t h e T h u m b - T h e v a s t majority of s p e c i f i e d a p p l i c a t i o n s of the d o u b l e - t h u m b B\> key o c c u r in s p o t s w h e r e the shifting onto or off that key c a n be d o n e logically a n d s m o o t h l y f r o m a pivot note like C or Dk H o w e v e r , the f e w e x c e p t i o n s requiring a p r e c i s e rolling (not sliding) of the t h u m b are w o r t h s p e c i a l p r a c t i c e . T h e y first o c c u r on p. 18, bar 6 6 , a n d p. 18 b a r s 20, 2 8 ; A g o o d e x e r c i s e for i m p r o v i n g o n e ' s t h u m b - r o l l i n g t e c h n i q u e is to play the B!> a s a g r a c e note going quickly to Bh s e v e r a l t i m e s , then the o p p o s i t e : Bti g r a c e note going quickly to Bk s e v e r a l t i m e s . Pinky "non-use" Another unorthodox but i m p o r t a n t fingering pattern f e a t u r e s the " n o n - u s e " of the pinky for the s a k e of s m o o t h e r finger t e c h n i q u e . T h e s e o c c u r at p.19, bar 14; p. 2 0 , b a r s 9, 10, 15 (Dk Major) a n d elsewhere. A c l o s e relative of the pinky " n o n - u s e " t e c h n i q u e is o n e that o c c u r s v e r y f r e q u e n t l y t h r o u g h o u t this book a n d that w a s m e n t i o n e d earlier in t h e introduction the - 4 / + 3 fingering. I c o n s i d e r it to be o n e of the m o s t important f i n g e r i n g s for a s s u r i n g legato s m o o t h n e s s a n d flute stability. Its first a p p e a r a n c e in the B a s i c S c a l e s a n d A r p e g g i o s is at p a g e 16, bar 20. T h e n at p., 24, b a r s 64, 7 5 - 7 6 ; p. 28, b a r s 1, 11-12, 14; p. 29, b a r s 9 7 - 9 8 .

the e n d of the e x e r c i s e . A s with the triads, after i n c r e a s i n g y o u r t e m p o , omit bar 11 a n d play b a r s 7-14 in o n e breath. Refer b a c k to the original f o r m s of the triads a n d 7th c h o r d in the B a s i c S c a l e s a n d A r p e g g i o s s e c t i o n to refresh your m e m o r y

c o n c e r n i n g all the a p p l i c a b l e

facilitating

fingerings. B e e t h o v e n S y m p h o n y N o . 1, p. 36 E v e r s i n c e r e a d i n g a b o u t the p r e m i e r e of his S y m p h o n y No. 1 w h i c h elicited s o m e criticism of B e e t h o v e n ' s startling u s e of a C 7th c h o r d (resolving to F major!) i n s t e a d of a c o n v e n t i o n a l C m a j o r c h o r d a s the o p e n i n g c h o r d of the s y m p h o n y , I h a v e b e e n fascinated by the h a r m o n i c p r o g r e s s i o n s in the 12-bar introduction a n d the u n u s u a l u s e of d y n a m i c s , e s p e c i a l l y the two fp's in the first bar.. My Symphony

tone No.

s t u d y , b a s e d on the first four b a r s of 1,

explores

a

multitude

of

dynamic

s c h e m e s , ultimately leading up to the o p e n i n g four bars of the actual first flute part with their t w o i c o n i c j ^ p ' s . At letter M the beat a n d t e m p o r e m a i n the s a m e , the halfnote n o w b e i n g the e q u i v a l e n t of the p r e v i o u s w h o l e - n o t e . T h e notation n o w r e s e m b l e s the p h r a s e at letter X , w h i c h

O t h e r important facilitating f i n g e r i n g s (identified a s + 1, + 1 2 or + 1 2 3 ) are c o n s i s t e n t l y f e a t u r e d in t h e s e 18 p a g e s (and in m a n y other s e c t i o n s of the b o o k ) , e s p e c i a l l y in the b r o k e n 3 r d s s e c t i o n s of e a c h key on p. 13 (bars 3 4 , 3 7 , 4 1 , 4 5 , 4 9 , 5 2 , 56 a n d 60). T h e y m a y feel s t r a n g e (and u n n e c e s s a r y ) at first, but the payoff is the extra s m o o t h n e s s a n d efficiency y o u feel w h e n playing t h e m at faster t e m p o s T r i a d s a n d 7 t h C h o r d s , p. 31 T h e triad a n d 7th c h o r d s t u d i e s on p a g e s 3 1 - 3 5 a r e a n e x p a n s i o n of the s i m p l e f o r m s of t h e s e c h o r d s in t h e B a s i c S c a l e s a n d A r p e g g i o s s e c t i o n .

T h e triad

e x p a n s i o n s take the f o r m of t h r e e - n o t e i n v e r s i o n s , a s in

is the original first flute line in B e e t h o v e n ' s s c o r e . Forte-pianos and subito pianos are more challenging (and u n c o m f o r t a b l e ) for flutists t h a n for b r a s s or string p l a y e r s b e c a u s e of the d a n g e r of g o i n g i m m e d i a t e l y flat on Xbefs ( w h i c h is p r o b a b l y w h y m o s t flutists s h y a w a y f r o m d o i n g the e l e v e n j ^ p ' s in the first m o v e m e n t of the M o z a r t D M a j o r C o n c e r t o ) . T h e d y n a m i c m a r k i n g s in the O to V s e c t i o n s are i n t e n d e d to d e v e l o p skills in p r o g r e s s i v e s t e p s . My article, " J a w b o n i n g a n d the Flute E m b o u c h u r e " in 77je Instrumentalist of S e p t . , O c t . , a n d D e c . 1 9 7 1 (in w h i c h the B e e t h o v e n s t u d y originally a p p e a r e d ) , a n d later reprinted in Flute Talk of M a y / J u n e , S e p t . , O c t . , 1 9 8 7 , e x p l o r e s in detail s o m e of the t e c h n i q u e s for c o n t r o l l i n g pitch a n d quality in d y n a m i c

good fp

132 and register c h a n g e s .

the c l a s s i c "hairpin" d y n a m i c or the o p p o s i t e : start forte,

T h e r e are m a n y

other

p h r a s e s in our s o l o a n d

o r c h e s t r a l literature that c o u l d be s u c c e s s f u l l y t r a n s f o r m e d

d i m i n i s h to p i a n i s s i m o , t h e n c r e s c e n d o b a c k to forte.

In

either c a s e , play alternately with a n d w i t h o u t vibrato.

into s i m i l a r t o n e d e v e l o p m e n t s t u d i e s , a s I h a v e d o n e with the B e e t h o v e n . T h e B r a h m s First (fourth m o v e m e n t

A l s o p r a c t i c e different r h y t h m i c patterns. T h e triplets can

solo) c o m e s i m m e d i a t e l y to m i n d - i n

be c h a n g e d into e a c h of the f o l l o w i n g r h y t h m s :

12 different

keys!

Or h o w a b o u t the first t w o b a r s of the I n t e r m e z z o f r o m Bizet's C a r m e n , or e v e n the first four n o t e s of the E n e s c u C a n t a b i l e ? Don't be afraid to e x p l o r e s u c h p o s s i b i l i t i e s . L a S c a l a K u j a l a , p. 38

A n d the 16ths into:

In this s e c t i o n I've t a k e n s a m p l e s c a l e motifs f r o m many

solo works

patterns.

and

Compared

organized them to

standard

a r p e g g i o s , this s e c t i o n might

be

into

straight

extended

scales

appropriaately

and titled,

"Applied Scale Studies".

T h e s e s t u d i e s c a n a l s o be p r a c t i c e d in " c o n t i n u o u s slur" s t y l e , l e a v i n g out the f e r m a t a half-notes a n d going

A s u s u a l , in p r a c t i c i n g t h e s e s t u d i e s be s u r e to u s e different t e m p o s ( s l o w e r t e m p o s at first) a n d m a n y different d y n a m i c s . T h e s t u d i e s are p r e s e n t e d in a key s e q u e n c e b a s e d on the circle of 4 t h s in both m a j o r a n d m i n o r k e y s f o l l o w e d by a s e t of c h r o m a t i c a n d w h o l e - t o n e s c a l e s t u d i e s , a n d finally a s e q u e n c e of s c a l e patterns in chromatic order. R u d i m e n t a r y t r a n s p o s i t i o n p r o j e c t s via key s i g n a t u r e c h a n g e s are highly r e c o m m e n d e d . For e x a m p l e , No. 1 c a n be p l a y e d in Ctl m a j o r or m i n o r , No. 2 in Fit m a j o r or m i n o r , No. 3 in B m a j o r or m i n o r , No. 4 in E m a j o r or m i n o r , a n d s o o n . A n o t h e r v a l u a b l e t r a n s p o s i t i o n project is to t r a n s p o s e t h r o u g h clef c h a n g e : r e a d No. 1 a s if it w e r e in b a s s clef, either in E or E\>, No. 2 in A or A k No. 3 in D or Dt (but an o c t a v e l o w e r ) . T r a n s p o s i n g s o m e of the p r o b l e m a t i c p h r a s e s in y o u r s o l o s or e t u d e s c a n be a n effective s t r a t e g y for m a s t e r i n g the t e c h n i c a l h u r d l e s . T h e v a r i o u s t r a n s p o s i t i o n s of M o z a r t p h r a s e s f r o m t h e D M a j o r C o n c e r t o , M a r r i a g e of F i g a r o O v e r t u r e , a n d Haffner S y m p h o n y in the final s e c t i o n of this b o o k a r e g o o d e x a m p l e s of this t y p e of a p p r o a c h .

s t r a i g h t a w a y into the next lines.

Y o u s h o u l d be able to

play t w o or t h r e e lines in o n e breath at a m o d e r a t e t e m p o , or p e r h a p s four lines in fast t e m p o .

C o n c e r n i n g the U p p e r R a n g e : I c h o s e to limit the u p p e r r a n g e of t h e s e s t u d i e s to B 3 , but y o u m a y w a n t to c h a l l e n g e y o u r s e l f by i n c l u d i n g C 4 , Cj|4, a n d D4, in w h i c h c a s e y o u c a n p r a c t i c e s t u d i e s 12, 11, a n d 10 o n e octave higher. My

favorite

facilitating

fingering

example

illustrated in the first line of No. 13 a n d 25.

is

C o m p a r e d to

the regular f i n g e r i n g , the notated o n e is a p r i m e e x a m p l e of efficiency, facility, e a s e , s p e e d , a n d s m o o t h n e s s . C h r o m a t i c E x p a n d i n g I n t e r v a l s , p. 6 2 S l o w p r a c t i c e of t h e s e e x e r c i s e s is often more effective than fast p r a c t i c e in r e v e a l i n g u n e v e n finger s y n c h r o n i z a t i o n , e s p e c i a l l y in c o n t r a r y finger motion s e c t i o n s like b a r s 118-20, 144-47, 151-54, 157-58, 170-72, a n d m a n y similar p a s s a g e s later.

S t u d i e s 13-19, 2 2 , 2 3 , a n d 24 are printed with alternate articulations, but y o u s h o u l d m a k e it a habit to vary y o u r articulation patterns in m a n y of the other

tempos

studies.

relevant).

D o n ' t f o r g e t to v a r y y o u r a r t i c u l a t i o n s , d y n a m i c s , and

repeated

rhythms The

three

(dotted

fingerings or m o r e

for

rhythms some

are especially intervals

times c a n be very

when

awkward

E x t e n d e d I n t e r v a l s : A t t a i n i n g Defter F i n g e r s a n d a M o r e

or, at fast t e m p o s , i m p o s s i b l e .

S u p p l e E m b o u c h u r e , p. 4 7

i n v o l v e c o m b i n a t i o n s of h i g h E - B t , E b - B k E - B , a n d E t - B .

T h o s e c a s e s typically

T h e y o c c u r in b a r s 2 5 2 - 5 3 a n d 2 7 9 - 8 0 . T h i s s e c t i o n h a s b e c o m e o n e of m y f a v o r i t e s for daily p r a c t i c e . T h e first t w o lines of e a c h s t u d y ( c h r o m a t i c a n d w h o l e - t o n e ) are g o o d finger w a r m - u p s at both fast a n d m o d e r a t e s p e e d s , then the next four lines ( d i m i n i s h e d 7th, a u g m e n t e d triad, perfect 4th , a n d perfect 5th) require m o r e attention to e m b o u c h u r e c h a n g e a n d breath management.

illustrated

in t h o s e

b a r s will

articulation p a t t e r n s !

Vary your dynamics and

A n d the f e r m a t a half-notes at the

e n d of e a c h line s h o u l d be utilized a s long-tone s t u d i e s . D o

logical

f i n g e r i n g c h a n g e s . T h o u g h not e s s e n t i a l , t h o s e f i n g e r i n g s c a n a l s o be u s e d in b a r s 1 9 9 - 2 0 0 a n d 2 2 5 - 2 6 to r e d u c e t h e " s q u e a k " t e n d e n c i e s of the h i g h E ' s a n d E k s . A l t e r n a t i n g M i n o r a n d M a j o r I n t e r v a l s , p. 6 7 All of the e x e r c i s e s

N e e d it be s a i d a g a i n ?

T h e fingerings

ensure smooth,

on

p a g e s 67-71

s h o u l d be

p r a c t i c e d with e a c h bar r e p e a t e d t w o or t h r e e t i m e s .

In

addition to the " c o n t i n u o u s s l u r " v e r s i o n , p r a c t i c e with t w o - n o t e s l u r s , playing the s e c o n d note s o m e w h a t short.

133 C o m p o s e d A c c e l e r a n d o s a n d R a l l e n t a n d o s , p. 7 2

B r o k e n 4 t h s , 5 t h s , a n d 6 t h s , p. 79

T h e r e are i n n u m e r a b l e e x a m p l e s of alternating d u p l e a n d triple r h y t h m s , the s o - c a l l e d " B r u c k n e r r h y t h m s " in o u r s o l o a n d s y m p h o n i c literature. A s e a s y a s t h e y look on the printed p a g e , t h e y c a n be difficult to play with c o n s i s t e n t a c c u r a c y . T h e m o s t f a m o u s a n d v u l n e r a b l e e x a m p l e s are in the o p e n i n g t w o b a r s of the D e b u s s y l'apres-midi d'un faune a n d the m a n y parallel p l a c e s t h r o u g h o u t that w o r k , w h e r e the Biq is often p l a y e d a s a triplet 16th rather t h a n a d u p l e 16th. A s i m i l a r pitfall o c c u r s in the 2nd a n d 4th b a r s of the o p e n i n g s o l o p h r a s e in the C h a m i n a d e C o n c e r t i n o .

Be s u r e to p r a c t i c e t h e s e e x e r c i s e s in all k e y s , both m a j o r a n d m i n o r . F o r e x a m p l e , lines 1-3 in C major and m i n o r , a n d in C# m a j o r a n d m i n o r . (Bars 23-30 in D major, 6 8 - 7 5 in G m a j o r a n d 83-90 in A m a j o r will be e s p e c i a l l y relevant for Mozart p a s s a g e s . ) M i s c e l l a n e o u s I n t e r v a l S t u d i e s ( U s e f u l for Ibert a n d K a r g E l e r t ) , p. 8 5 Practice slurred-2

E x a m p l e of a n often " d e c o m p o s e d " a c c e l e r a n d o : the r e p e a t e d B ' s in the m i d d l e of the R a v e l Daphnis b Chloe p a n t o m i m e s c e n e flute s o l o . Here the s e x t u p l e t o n the third beat of the bar with r e p e a t e d B ' s is often p l a y e d s u d d e n l y too fast (and a l s o too s t a c c a t o ) , m a k i n g the arrival at the 3 2 n d note s c a l e too early, then h a v i n g to s l o w d o w n that s c a l e in o r d e r not to beat the c o n d u c t o r to the next downbeat.

all-slurred, all-tongued,

tongued,

3

slurred-1

2-note

tongued,

1

the e n d of the flute c a d e n z a in the fourth m o v e m e n t of the

2

s l u r r e d . A l s o play with c o n s e c u t i v e 3-note s l u r s a s if they w e r e in triplet r h y t h m . C h r o m a t i c S c a l e s in Q u i n t u p l e t s a n d S e p t u p l e t s , p. 86 In addition to practicing with e v e n 16ths, w h e n e v e r t h e r e are articulation s e q u e n c e s in the quintuplets involving 2's a n d 3 ' s , o r 3 ' s a n d 2 ' s , a s in b a r s 4 - 1 5 a n d 25-36, practice t h o s e in d u p l e t s a n d triplets ( B r u c k n e r r h y t h m ) .

E x a m p l e of a n often " d e c o m p o s e d " r a l l e n t a n d o :

slurs,

tongued-3

Similarly

in the s e p t u p l e t s , divide into triplet 8ths a n d q u a d r u p l e t 16ths in b a r s 4 - 1 5 a n d 22-27.

Bartok C o n c e r t o for O r c h e s t r a : . Here w e c a n e a s i l y o v e r react to the c h a n g e f r o m the quintuplet to the triplet by

P e n t a t o n i c S c a l e s , p. 90

s u d d e n l y g o i n g too s l o w l y , t h u s spoiling a logical t e m p o preparation for the u p c o m i n g s o l o e n t r a n c e of the o b o e . W h e n y o u look at the r h y t h m i c s t r u c t u r e of the C o m p o s e d A c c e l e r a n d o e x e r c i s e s , y o u will of c o u r s e be c o n c e n t r a t i n g v e r y hard on the first line, sorting out its r h y t h m s by m e a n s of alert s u b d i v i s i o n s , but t h e n don't take for g r a n t e d the i n n o c e n t looking b a r s 6 a n d 7. Notationally, b a r s 2, 4, 5, 20, 21, a n d 23 s h o w the

A s with the quintuplet c h r o m a t i c s c a l e s , d o s o m e of y o u r practicing u s i n g the " B r u c k n e r r h y t h m " . T h e 5 n o t e s c a n be c o n v e n i e n t l y d i v i d e d into duplet-triplet, or tripletduplet. S o m e w e l l - k n o w n e x a m p l e s of p e n t a t o n i c s are the Griffes P o e m (beginning) a n d the third m o v e m e n t of R a v e l ' s M o t h e r G o o s e S u i t e , featuring the p i c c o l o at the beginning. B l u e s S c a l e s ( c o m m e n t a r y b y S t e v e K u j a l a ) , p. 9 2

" a n a t o m y " of 3 a g a i n s t 4, 4 a g a i n s t 3, a n d 3 a g a i n s t 2, but the actual s t a n d a r d printed notation of t h e s e r h y t h m s are s h o w n in b a r s 2 7 , 2 9 , 30, 4 5 , 4 6 , a n d 48.

Thus when

c o n f r o n t i n g t h o s e r h y t h m s in a printed s c o r e , u s e lines 1 a n d 5 a s an i m a g i n a r y t e m p l a t e for e s t a b l i s h i n g a c c u r a t e subdivisions. It is of c o u r s e e s s e n t i a l to p r a c t i c e t h e s e p a g e s with a metronome. Trill D r i l l s , p. 7 6 At first p r a c t i c e t h e s e "drills" at a b o u t J = 80 H o w e v e r , the ultimate goal is to p r a c t i c e the e x e r c i s e s at e q u a l trill s p e e d , the 16ths of the quintuplets a n d s e p t u p l e t s at the s a m e rate of s p e e d a s the nine 3 2 n d n o t e s . T h e m e t r o n o m e translation w o u l d then b e : bar o n e = 163. bar 2 = 116, bar 3 = 90. T h e s e e x e r c i s e s are s o m e w h a t similar to the o n e s in m y Articulate Flutist book. H o w e v e r , the o n e s in the Articulate Flutist are m o r e e l a b o r a t e a n d comprehensive.

T h e r e is no "official" b l u e s s c a l e . H o w e v e r , a n y b l u e s s c a l e will a l w a y s be b a s e d on a pentatonic s c a l e , either a m i n o r or m a j o r p e n t a t o n i c . W h a t g i v e s it its " b l u e s i e n e s s " are the n o n - p e n t a t o n i c , or "blue", n o t e s that create the h a r m o n i c t e n s i o n w h i c h c a n be r e s o l v e d by s i m p l y going up or d o w n a half-step to the next pentatonic note. T h u s in a C m i n o r p e n t a t o n i c , the actual s c a l e is C-E!>-F-G-B!>-C. T h e b l u e s v e r s i o n w o u l d be C-Ek-F-Ftt-G-B-Bb-C. S o the Fit a n d the Btiare the " b l u e " , or t e n s i o n n o t e s . T h e t e n s i o n c a n be m a d e m o r e p r o n o u n c e d by taking a d v a n t a g e of the tri-tones b e t w e e n F a n d Bti, a n d b e t w e e n Fit a n d C . In the C m a j o r pentatonic the actual s c a l e i s : C - D - E - G - A - C . B l u e s v e r s i o n : C-Dtf-E-G-G|!-A-C (only o n e tritone, DjJ-A). O c t a t o n i c S c a l e s , p. 94 With their alternating w h o l e a n d half s t e p s , t h e s e s c a l e s are fun to p r a c t i c e , a n d t h e y are s c a l e s that c o m e up often in w o r k s by c o m p o s e r s s u c h a s G l i n k a , R i m s k y K o r s a k o v , S t r a v i n s k y , Bartok, S c r i a b i n , D e b u s s y , R a v e l , B e n j a m i n Britten a n d Olivier M e s s i a e n . In addition to the e q u a l 8th note r h y t h m s , practice

134 in alternating d u p l e a n d triple r h y t h m s , a s in b a r s 3 1 - 5 9 .

Short Etudes B a s e d on Chord Progressions from P r o m i n e n t O r c h e s t r a l P a s s a g e s , p. 116

H u n g a r i a n M i n o r S c a l e s , p. 9 5 My S o m e t i m e s called a " g y p s y " scale, the

Hungarian

fascination

modulation

techniques

with of

the

harmonic

various

style

masters

and

motivated

m i n o r s c a l e is often u s e d in e a s t e r n E u r o p e a n m u s i c . U s i n g

m e to " a r p e g g i a t e " the u n d e r l y i n g h a r m o n i e s into short

t w o a u g m e n t e d 2 n d s i n s t e a d of o n e , a s in the

etude-like p i e c e s .

harmonic

In m a n y c a s e s the t h e m a t i c

are o m i t t e d or c a m o u f l a g e d ,

m i n o r s c a l e , g i v e s it a m o r e exotic c o l o r

elements

but at other t i m e s

the t h e m e s or r h y t h m i c patterns a r e quite

either

recognizable

( n u m b e r s 8, 10, 11, 12, 13, 2 6 , a n d 27).

M o d a l S c a l e s , p. 9 6 M o d a l s c a l e s are a l m o s t n e v e r i n c l u d e d in traditional

During s o m e of y o u r p r a c t i c e b r e a k s take a little

s c a l e b o o k s , but b e c a u s e m o d e s are a definite part of s o

extra t i m e to s t u d y the c h o r d a n a l y s i s that a c c o m p a n i e s

m a n y c o m p o s e r s ' h a r m o n i c v o c a b u l a r i e s , I b e l i e v e it is

each etude.

v e r y i m p o r t a n t for m u s i c i a n s to s t u d y t h e m .

c h o r d s y m b o l s , c o n s u l t a g o o d h a r m o n y t e x t b o o k like the

If y o u ' r e not familiar with the l a n g u a g e of

W a l t e r Piston Harmony R a t h e r than u s i n g the " w h i t e - k e y " o r d e r of m o d e s (Ionian,

Dorian,

Phrygian, Lydian, Mixolydian,

L o c r i a n ) in this m o d a l

or g o o n l i n e , t y p i n g in key w o r d s

like " c h o r d p r o g r e s s i o n " or " R o m a n n u m e r a l a n a l y s i s " .

Aeolian,

s c a l e s e c t i o n , I c h o s e to u s e a

Excerpts from Mozart, Bach, Beethoven, Poulenc, Ravel,

s e q u e n c e that w o u l d entail a o n e - b y - o n e c h a n g e in the

Prokofiev, and M e n d e l s s o h n

key s i g n a t u r e (5 flats, 4 flats, 3 flats, 2 flats, 1 flat, no flats,

F i n g e r i n g s " , p. 126

with

"Applied

Facilitating

1 sharp, 2 sharps, 3 sharps, 4 sharps, 5 sharps, 6 sharps) P a g e s 126-127 c o n t a i n Mozart e x c e r p t s . T h e first one

that w o u l d be g e n e r a t e d f r o m a c o m m o n tonic note, a n d then p r o c e e d in c h r o m a t i c o r d e r (7 s c a l e s on C , 7 s c a l e s

is the o p e n i n g t h e m e of the Marriage

on C J , etc.). T h i s s y s t e m e n a b l e s o n e to better r e c o g n i z e

T h o u g h the flute n e v e r g e t s to play this t h e m e (the cellos

the "flavor" of e a c h m o d e .

a n d b a s s o o n s a r e the actual o p e n i n g a beautifully

T h e pentatonic, blues, octatonic, Hungarian minor, a n d m o d a l s c a l e s will s u r e l y a d d s o m e s p i c e to y o u r s c a l e repertoire. A w o n d e r f u l s o u r c e for c o n s t r u c t i n g other u n u s u a l s c a l e s is the Thesaurus of Scale and Melodic Patterns by N i c h o l a s S l o n i m s k y . M a n y c o m p o s e r s h a v e taken a d v a n t a g e of S l o n i m s k y ' s m e t h o d o l o g y a s a r e s o u r c e for their motivic c o n s t r u c t i o n s . S o m e jazz artists h a v e a l s o e n r i c h e d their v o c a b u l a r y of i m p r o v i s a t i o n patterns t h r o u g h this c o m p r e h e n s i v e t h e s a u r u s .

attractive fingering when

patterned

vehicle

for

5- note s c a l e s will help solidify y o u r control of t h e s e pivot points. A s u s u a l , the m o s t effective w a y of practicing t h e s e is to d o t h e m all-slurred b e c a u s e this will r e v e a l m o s t clearly a n y fingering u n e v e n n e s s (that i s , if y o u are really listening). A l s o , y o u s h o u l d play e a c h bar t w i c e w h e n practicing the entire line in the 4 - n o t e s c a l e t o p s s e c t i o n a n d the t w o lines in the 5-note s c a l e t o p s s e c t i o n .

perfecting

smoother

an

facilitating

A s I often like to do

half or w h o l e - s t e p h i g h e r or l o w e r c a n be v e r y effective in t a m i n g their difficulties, a n d i n d e e d that is w h a t I h a v e d o n e h e r e for the ' F i g a r o ' e x c e r p t .

At the b o t t o m of p a g e 126

is the o p e n i n g t h e m e of the fourth m o v e m e n t of Mozart's S y m p h o n y No. 35 (Haffner).

It is p l a y e d by the violins

a n d is r e p r o d u c e d h e r e in its original D m a j o r f o r m , then P a g e 127 c o n t a i n s t w o e x c e r p t s

f r o m the D Major Flute C o n c e r t o , a l s o t r a n s p o s e d into five Incidentally, m a n y m o r e e x e r c i s e s for the

D M a j o r C o n c e r t o a p p e a r in the last part of m y Flutist

Articulate

book. T h e first t w o lines of p a g e 128 are f r o m the first

m o v e m e n t of the J . S . B a c h B M i n o r S u i t e , a n d the next t h r e e lines are f r o m the B a d i n e r i e m o v e m e n t of the s a m e work.

T h e next t w o lines are f r o m the s e c o n d m o v e m e n t

of the E M i n o r S o n a t a , a n d the last line is f r o m the s e c o n d m o v e m e n t of the A M i n o r Partita. be a veritable

(This p a g e t u r n s out to

-4/+3festival!)

T h e last p a g e h a s s t u d i e s f r o m the B e e t h o v e n D

S t u d i e s B a s e d o n T y p i c a l C h o r d P r o g r e s s i o n s , p. 113

Major Serenade T h e s e harp-like a r p e g g i o s e q u e n c e s will help y o u r e c o g n i z e a n d u n d e r s t a n d the i m p o r t a n c e of g o o d h a r m o n i c p r o g r e s s i o n s . A s a s p e c i a l project, c o n v e r t the a r p e g g i o s into block c h o r d on the p i a n o a n d try c o m p o s i n g different m e l o d i e s o v e r t h e m .

p r e s e n t e r s ) , it is

t e c h n i c a l p h r a s e , a n d offers

e x e c u t i o n s on the flute.

different k e y s . Almost every instrumental player has a t e n d e n c y to r u s h s c a l e t u r n a r o u n d s . P r a c t i c i n g the " t o p s " to s i x different t y p e s of 4 - n o t e s c a l e s a n d 8 different t y p e s of

Overture.

practicing difficult p a s s a g e s , t r a n s p o s i n g t h e m a

t r a n s p o s e d to A major. 4- N o t e a n d 5 - N o t e S c a l e " T o p s " , p. 103

of Figaro

( o p e n i n g of the first m o v e m e n t ) ,

Leonore

O v e r t u r e No. 3, P o u l e n c S o n a t a third m o v e m e n t , Daphnis

b Chloe

Ravel

(beginning of S u i t e No. 2, the t w o flutes

d e p i c t e d h e r e in s e g u e f a s h i o n , w h e r e a s in the

original

they play s i m u l t a n e o u s l y ) , a n " x - r a t e d " m e a s u r e f r o m the Prokofiev Peter

and the

f r o m the M e n d e l s s o h n

Wolf, a n d finally, a + 1 2 3 Scherzo.

"demo"

135

Afterword: "To Your Health!" I h o p e y o u h a v e b e e n gaining s o m e n e w benefits f r o m y o u r s t u d y of the Vade

Mecum.

And I also hope

rather limited c o m p a r e d to, for e x a m p l e , the longer t o u c h p i e c e for the Git key, s o it is e s p e c i a l l y important to c o r r e c t

y o u h a v e n ' t tired of m y s e e m i n g l y i n c e s s a n t labeling of

e x c e s s i v e spring tension.

s o m e of m y favorite facilitating f i n g e r i n g s - e s p e c i a l l y

s h o u l d be able to m a k e the o p t i m u m

A n y expert flute t e c h n i c i a n adjustment.

t h e - 4 / + 3 a n d other related -4 f i n g e r i n g s . In r e c e n t y e a r s w e h a v e b e c o m e m o r e a w a r e of the I recently

received

an

email

from

my

former

possibility of finger a n d w r i s t strain w h e n

overexerting

s t u d e n t Helen B l a c k b u r n , a T e x a s C h r i s t i a n U n i v e r s i t y

o u r s e l v e s in practicing a n d p e r f o r m i n g .

faculty m e m b e r a n d principal flutist of the D a l l a s O p e r a

n e w field of p e r f o r m i n g arts m e d i c i n e h a s v a r i o u s n a m e s

O r c h e s t r a , w h o w r o t e that s h e is a regular u s e r of the

Vade

for the m o r e s e r i o u s c a s e s of m u s c l e or nerve strain s u c h

(first edition) with her s t u d e n t s , a n d t h e y h a v e

a s o c c u p a t i o n a l o v e r u s e s y n d r o m e a n d repetitive strain

Mecum

affectionately d u b b e d - 4 / + 3 a s " T h e W a l l y " fingering.

I

felt highly h o n o r e d !

The

relatively

injury. A n d of c o u r s e the d r e a d e d c a r p a l tunnel s y n d r o m e (median

nerve

dysfunction)

a n d focal d y s t o n i a of

the

hand. I like to think that m y e m p h a s i s on facilitating f i n g e r i n g s is not j u s t for the p u r p o s e of m a k i n g t h i n g s " e a s i e r " , but m o r e importantly, to attain greater efficiency in our t e c h n i q u e . For i n s t a n c e , the right h a n d little finger, b e c a u s e it is in the d o w n position m o s t of the t i m e , c a n be particularly v u l n e r a b l e to p h y s i c a l s t r a i n , a n d that h a s m o t i v a t e d m y p e r s i s t e n t a d v o c a c y of " T h e W a l l y " fingering a n d its relatives.

If y o u are b e g i n n i n g to e x p e r i e n c e any s y m p t o m s of o v e r u s e injury, there are m a n y r e s o u r c e s at y o u r d i s p o s a l . T h e J o h n L u n n Flutes w e b s i t e , H a n d s O n ! features a n i m p r e s s i v e list of p e r f o r m i n g arts m e d i c i n e clinics t h r o u g h o u t the U S A , a n d a l s o a bibliography of articles a n d p u b l i c a t i o n s m o r e directly related to the flute on the s u b j e c t of injury p r e v e n t i o n .

Incidentally, y o u s h o u l d a l s o be a w a r e of the possibility that the s p r i n g t e n s i o n of y o u r D|t key might be g r e a t e r t h a n n e c e s s a r y , t h u s creating e v e n m o r e r e s i s t a n c e for y o u r pinky to o v e r c o m e . B e c a u s e of the relative s h o r t n e s s of the Dtt key t o u c h - p i e c e , its l e v e r a g e is

T h e p i o n e e r organization in thisfield is the Performing A r t s M e d i c i n e A s s o c i a t i o n , w h i c h w a s f o u n d e d in 1983 by Dr. A l i c e B r a n d f r o n b r e n e r . P A M A p u b l i s h e s an excellent j o u r n a l , Medical Problems of Performing Artists, and P A M A ' s w e b s i t e lists m a n y other important r e s o u r c e s .