Professional Documents
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MUS 524
Dr. A. Loewy
April 28, 2017
James Pappoutsakis
His artistry and inspired teaching
Transcribed, edited and annotated
By Nina Barwell
The exercises in this chapter are designed to help flutist strengthen each note in every
octave and develop good intonation practices.
The first, ex. 1a suggests practicing in half steps, starting on C above the staff and matching
it with the B natural (a half step below). The exercise is continued to the C below the staff
but Barwell recommends practicing this exercise an octave above the written starting pitch
to achieve strength and good intonation in that register as well.
Matching tones in two half steps in exercise 1b helps with consistency as it gives an
opportunity to match not one note in strength and intonation but two, and the tasks becomes
more difficult with each added note but will eventually strengthen the players ability to
have stability and good intonation through traveling between pitches.
The descending and ascending 7th chord exercises prove to be the most difficult next to the
half steps ascending and descending in three octaves in the chapter of matching pitches as
more notes are incorporated, the need for stability and good intonation increases and
dynamics such as decrescendos and crescendos are being demanded by each set of chords.
The half steps in octaves requires consistent air flow and is more productive with the use
of a tuner.
I find that stability in the hands, good posture and good support plays a great role in
achieving the demands of this chapter.
This chapter uses a single pitch as the center from which it travels in a descending half step
pattern which is reversed after an octave to ascend.
The pattern is played with equal quarter notes starting on the C above the staff descending
a half step and returning to center pitch then descending to a half step lower.
The exercises varies to grace notes being used as center pitch in ex. 2f.
The aim in this chapter is to maintain space in between molars, a relaxed jaw and air stream
that is directed down into the flute to produce a beautiful and rich tone.
The exercise is more effective to me when played slowly and as the book says, The
exercises are only useful if they are played with an open throat, a sound that is rich, full,
rounded and focused and has singing like quality.
The chapters aim as well as the first chapter, in my opinion are geared towards creating a
homogenous sound through out the three octaves of the flute.
This chapter urges flutists to cease all work when practicing and return to an exercise that
enables and supports beautiful sound should the quality of the tone begin to diminish.
This chapter begins with an emphasis on the five finger exercises and clear instructions to
produce clear, focused and round tone quality.
Tension may arise from practicing these exercises and a good way to avoid this is to
practice with relaxed curved fingers, and gently apply pressure in each finger to avoid key
noises.
The same exercise should be play an octave higher in which the flutist should aim for
accuracy and ensure that the solid yet rich tone does not deteriorate from that of the lower
octave.
The chapter then introduces octave slurs and demands a beautiful lower note but later
demands that both lower and upper octaves be played with the same beautiful and
consistent sonority.
The octave slur is introduced again in the form of five finger exercise both slurred and
staccato. The more challenging and fun of the two however proved to be the staccato
because it required far more control as I pushed the tempo.
excellent air support will help to prevent tightening the lips this has been helpful to me
outside of this chapter. Excellent air support fixes more problems than you realize that you
have.
This chapter aims at strengthening the fourth and fifth fingers in both hands as they tend to
be the weakest. Strengthening these fingers require slow and steady movements between
G, G# and A particularly in the second and third octaves of the flute.
Avoid fatigue in the fingers and never abuse the muscles in the hands as they may
eventually lead to temporary or permanent damage.
Slow, steady and consistent work is necessary to get the notes evenly expressed.
Practice down to the mid to low registers of the flute slowly and evenly and allow the
fingers to become familiar with the C, C# and B movements as they tend to be the more
neglected notes of the flute.
The suggested piece for working on even fingers in this chapter is the Flight of the Bumble
Bee for two flutes. The first flute deal with the mid to upper register while the second part
deals mostly with the mid to lower register which proves to be more difficult than the first
part.
Practice trills in scalar mode, i.e. start a trill on every note of the scale and ensure that the
notes are even. Avoid getting excited on the easier trills as each set of trill should have an
equal number of notes. Consistency is key!
The book gives examples of practicing trills with grace notes as well as how to properly
incorporate them into the trill pattern with even notes in various octaves
Descending one octave scales are emphasized with a slight crescendo on the first note
and a last note that is held. This helps to ensure that the entire scale is done with a full
and rounded tone.
Descending scales are good for fixing weaker low register notes
Play scales such as F major in the ascending form with a held first and last note and
good intonation as before in the descending scale. This helps to strengthen the upper
register with a rich tone and promotes effortless playing.
Aim air stream down in the flute and keep a consistent intonation from beginning to
end of the legato scale whether it be an ascending or a descending.
Play loop scales to enhance the richness in the upper register and maintain effortless
feeing with good tone.
I find that the excerpt from the Undine sonata for flute and piano is a great practice
example as it should sound effortless yet rich and flowing when being performed
(Opinion)
Play triads in root position until the sit comfortably in the muscle memory then invert
the triad and allow the fingers to become comfortable with the intervallic movements.
Skip from the root to the fifth of the triad slowly and repeatedly. Avoid over working
the muscles.
This chapter implies the study of arpeggios and their inversions.
Chapter 8 Articulation
All tonguing stems from the variations of the three basic flute strokes;
o Portamento A light tonguing action either between the notes or when starting
the note
o Marcato a very strongly accented attack
o Sautille a light bouncing staccato
When articulating, it is important to use a full stream of air that is rhythmically
interrupted by the tongue. A tongue that is well supported by air stream is crucial for
good articulation.
For single tonguing, practice the practice the HA exercise where you replace the
stroke of the tongue with the breathing muscles which separates the notes or projects
the attack on the notes. This keeps the air constant and consistent but also allows the
flutist be aware articulations.
After engaging the breathing muscles, use the tongue to articulate a TU syllable with
the same engagement of the breathing muscles to properly articulate in place of the
HA
The tongue should never be heard hitting the palate when articulating
Blow strongly and tongue lightly
For double tonguing, practice the syllable KU using the back of your tongue, after
strengthening the KU syllable, add the TU and practice them together TU-KU.
Practice slowly and incorporate the exercises into scales and aim to keep the strokes
consistent.
An extra KU syllable is added to the double tonguing to create the triple tonguing
technique. Playing a scale and articulating each note as a triplet is a useful method to
practice this technique.
Chapter 9 Intonation
Chapter 10 Vibrato
Vibrato should be considered a tool that is natural in expressiveness as it comes
naturally through singing.
Vibrato should have a certain serenity and placidity to it.
The intensity of the vibrato is built on your expression and whatever ideas you
generate from analyzing the piece music to be performed.
Chapter 11 Dynamics
The dynamic markings are simply the composers way of illustrating the emotions on
a paper.
Both vibrato and dynamics are a part of a tones expressivity and should be used as
demanded by pieces
Chapter 13 Audition
Never take an audition unless you feel as though you are fully prepared and equipped
to win and hold the job should you win.
Be fully Prepared!!!
Show confidence when playing in front of an audition committee
Play in time and play beautifully, but most importantly, play with good intonation.
Do not rush when approaching a new piece of music for the first time.
Observe the piece, the key, the time signature and calmly approach the piece with
vibrato and an expressive and singing tone quality.
Read ahead of the music in an effort to prevent surprises and mistakes
It is important to practice sight reading as it is an important part of the training for
musicians
Find a partner to sight read duets with.. Those who practice sight reading tend to have
more fun with their music than those who do not.
Practice music sight reading music at the appropriate level to your skills and technique
Never redo a passage and ignore all mistakes made and play piece to the end.
When learning new material, always approach the music at a slow tempo to ensure
minimum errors.
Use a metronome to lower the speed of your piece or passage and increase the speed of
the metronome after 3-5 repeats of the piece or passage by two clicks and repeat this
process until you have reach the desired performance tempo.
Change the written articulation constantly into variations of the original.
Play the passage of quarter note equals until the movement from one note to the next
is easy.
Always use a metronome!!!!
Andre Jones
MUS 524
Dr. A. Loewy
April 28, 2017
Denis Bouriakov
Concerto in D minor,Op. .47 I. Allegro Moderato
o The flutes entrance was very subtle and somewhat mysterious but eventually
opened up into a big and piercing sound.
o Virtuosic passages were executed with a full and well rounded sound that was not
only confident but entertaining.
o There was evenness in all registers, the lower register projected very clearly and
blended into the mid to third register of the flute without losing its integrity.
o Bouriakov articulated all his passages clearly
o The air stream was steady and constant throughout the performance
o The piano was equally soloistic in my opinion and
o I really enjoyed that long trill that was in tune and still musical performed as if it
were a piece by itself. The intensity of the trill gave me a sense of excitement
o The piece opens with an early baroque like sicilienne with clear tone with very
controlled vibrato
o As the piece progressed, the piece sounded more virtuousic and the piano
supported with moving block chord patterns.
o The scale passages were all light and very precise. The double tonguing was
rather clean.
o Though passages were all clean and well expressed, the tongue could still be
heard articulating as Bouriakov articulated faster.
o The end of the piece was like the end of the phrases, light, bouncing and precise.
Stephan Hoskuldsson