DEVELOPING ARTISTRY VIA THOUGHTFUL PRACTICE: A METHOD BOOK

FOR INTERMEDIATE FLUTE STUDENTS

by

ELIZABETH CELINE THACKSTON

A LECTURE DOCUMENT

Presented to the School of Music and Dance

in partial fulfillment of the requirements
for the degree of
Doctor of Musical Arts

December 2014
 LECTURE DOCUMENT APPROVAL PAGE

Student: Elizabeth Celine Thackston

Title: Developing Artistry Via Thoughtful Practice: A Method Book for Intermediate
Flutists

This lecture document has been accepted and approved in partial fulfillment of the
requirements for the Doctor of Musical Arts degree in the School of Music and Dance by:

Molly Barth Chairperson

Frank Diaz Committee Member
Steve Vacchi Committee Member

Original approval signatures are on file with the School of Music and Dance.

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© 2014 Elizabeth Celine Thackston

iii
 CURRICULUM VITAE

NAME OF AUTHOR: Elizabeth Celine Thackston

GRADUATE AND UNDERGRADUATE SCHOOLS ATTENDED:

University of Oregon, Eugene, Oregon

New York University, Manhattan, New York
University of Arkansas, Fayetteville, Arkansas
University of Alabama, Tuscaloosa, Alabama

DEGREES AWARDED:

Doctor of Musical Arts, Flute Performance, 2014, University of Oregon

Master of Musical Arts, Flute Performance, 2005, New York University
Bachelor of Music, Flute Performance, 2003, University of Arkansas

AREAS OF SPECIAL INTEREST:

Flute Performance
Flute Pedagogy
Arts Administration
Non-Profit Management

PROFESSIONAL EXPERIENCE:

Private Instructor and Clinician, 2005-Present

Graduate Teaching Fellow, University of Oregon, 2011-2012

Instructor of Flute and General Music, Middle Tennessee State University, 2005-
2009

Instructor of Flute, Fisk University, 2005-2008

PROFESSIONAL ORCHESTRAL EXPERIENCE:

Nashville Symphony Orchestra, Nashville, Tennessee, 2013-Present

Substitute Flutist
Chattanooga Symphony Orchestra, Chattanooga, Tennessee, 2013-Present
Substitute Flutist
Alabama Symphony Orchestra, Birmingham, Alabama, 2013-Present
Substitute Flutist
Columbia Symphony Orchestra, Portland, Oregon, 2012-2013
Second Flute and Piccolo
Opera Theater Oregon, Portland, Oregon, 2010-2013

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 Flute and Piccolo
Portland Summerfest Opera, Portland, Oregon, 2011-2013
Second Flute and Piccolo
Vancouver Symphony Orchestra, Vancouver, Washington, 2012-2013
Substitute Flutist
Oregon Ballet Theater, Portland, Oregon, 2011-2013
Substitute Flutist
Salem Chamber Orchestra, Salem, Oregon, 2009-2013
Substitute Flutist
Nashville Symphony Orchestra, Nashville, Tennessee, 2005-2009
Substitute Flutist
Nashville Chamber Orchestra, Nashville, Tennessee, 2005-2009
Substitute Flutist

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 ACKNOWLEDGMENTS

I express deep gratitude to my teacher, Molly Barth, who was supportive,

insightful, and patient throughout my studies. Thank you to my committee, for their

knowledge and advice.

I am indebted to my husband, Matt Thackston, for his unconditional love,

patience, support, and motivation.

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 TABLE OF CONTENTS

Chapter Page

I. DEFINING THE NEED FOR MATERIALS .......................................................... 1

Scope of Research .................................................................................................. 2

Literature Review................................................................................................... 2

Tone Development ................................................................................................. 6

Technique Studies .................................................................................................. 14

Etude Practice ....................................................................................................... 15

The Method ............................................................................................................ 15

II. DEFINING THE NEED FOR A HOLISTIC APPROACH ................................... 17

Strategic Practice Habits ........................................................................................ 17

Motivation and Inspiration..................................................................................... 21

Performance Anxiety ............................................................................................. 22

Physical Well-Being .............................................................................................. 25

Mindfulness ........................................................................................................... 27

Time Management ................................................................................................. 28

APPENDICES ............................................................................................................. 29

A. METHOD BOOK PREFACE: BREATHING AND STRETCHING .............. 29

B. METHOD BOOK PART 1: TONE .................................................................. 37

C. METHOD BOOK PART 2: TECHNIQUE ...................................................... 52

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 D. METHOD BOOK PART 3: ETUDES.............................................................. 104

E. METHOD BOOK PART 4: HOLISTIC PRACTICE ....................................... 118

D. METHOD BOOK PART 5: SUPPLEMENTAL MATERIALS ...................... 129

BIBLIOGRAPHY ........................................................................................................ 135

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 Chapter One: Defining the Need for Materials

Before beginning my doctoral work, I worked as a private teacher for a number of

years, teaching young middle school and high school students. I noticed that after

completing the beginner/advanced beginner method books, there were very few sources

for students devoted to the intermediate learner. Students would have to work from

technique and tone methods that were sometimes above their skill level and from etude

books that did not adequately address the range of competencies that I desired for them.

Instead of having a central source for their studies, my pupils were asked to buy a number

of books that were not fully accessible to them. While this expanded their libraries and

gave them materials to “grow into,” it also proved frustrating for some, and too expensive

for many. Existing intermediate methods were lacking in appeal and scope, with very

little discussion on creativity, the development of tone color, or contemporary techniques

- not only in terms of practicing for use in flute literature, but also as a vehicle for tonal

flexibility. Additionally, many were not visually engaging or particularly inspiring to

students during what I perceive to be a difficult time in their musical development.

Moving out of the beginner stage and into an intermediate stage of learning generally

requires more focus and sustained efforts at practicing the instrument.

This lecture document, “Developing Artistry Via Thoughtful Practice: A Method

Book For Intermediate Flute Students,” is an intermediate method book for young flutists

that covers aspects of holistic practice (breathing, stretching, mindfulness, meditation,

and productive practice strategies), as well as the development of artistry through the

exploration of musicality, tone color, and creative improvisation. It includes etudes for

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daily practice as well as technical flexibility exercises and standard material such as

scales, arpeggios, and thirds.

SCOPE OF RESEARCH

The scope of this document embodies typical components of a method book, and

is a comprehensive, contemporary resource that covers aspects of tone and technique for

the intermediate student. It is my goal to augment these studies with the goal of exploring

more abstract topics such as creativity, improvisation, and tone color. The method book

contains a holistic approach that delves into healthy breathing exercises, stretching and

strengthening, and mindfulness, while developing a focused and rewarding approach to

practice and addressing performance anxiety. The book is comprised of etudes, tone,

phrasing, vibrato, and technique exercises, along with instructions on stretching,

breathing, practice strategies, and mindfulness exercises. Along the way, the book will

contain inspirational stories, quotes, and information to help young flutists think

imaginatively, work diligently, and build healthy and positive habits. In addition to the

method book, which is the core of this document, I will supply a review of literature that

explores the need for holistic instruction as well as issues related to performance anxiety

and young learners.

LITERATURE REVIEW: AVAILABLE RESOURCES FOR STUDENTS

One of the primary components of this method book is a comprehensive approach

to flute study for intermediate students, with areas of instruction in tone development,

technique studies, and etude practice. In choosing the scope of the exercises to be written

for the book, I reflected on my own teaching and the various tone and technique books

that I have used with my intermediate students. I returned to these sources and worked

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through them, picking out aspects of each that worked particularly well, and assessed

why students seemed to prefer certain approaches more than others. I asked the questions,

“Why did this approach work?” and “What does it highlight for my students?” My goals

in compiling this book are to be as inclusive as possible with my approach, so that

students can buy one book as a comprehensive resource, while providing them with

engaging exercises that they will enjoy returning to on a daily basis.

In looking at existing method books I used the National Flute Association’s 2004

guide, “Selected Flute Repertoire: A Graded Guide for Teachers and Students,” and their

2005 “Selected Flute Studies: A Graded Guide of Etudes, Daily Studies, and Method

Books” to help define an intermediate level of performance. The Pedagogy Committee of

the National Flute Association assigns ratings to literature and method books based on

their Level Criteria Chart. This chart is organized by alphabetical levels, with “Level A”

being beginner, and “Level I” being advanced. I chose to focus on repertoire and methods

in the middle of the range, Levels D through F. These levels include the following

criteria:

• Level D: Pitch Range of C1-G3, Major/Minor keys to 4 sharps and 4 flats,

free use of accidentals and enharmonics. Rhythm combinations including
sixteenth note triplets, quintuplets and thirty-second notes. Meter
including 3/8, 5/8, 6/8, 7/8, 9/8, and 12/8, as well as 2/2 and 3/2. Meter
changes where the beat remains constant, as well as “extended
syncopations” and hemiola. Articulations including flutter tonguing and
multiple tonguing (double/triple tonguing). Musical symbols that include
dynamics, repeats, D.C., D.S., simple ornamentation symbols that include
grace notes, mordents, trills, small cadenza figures, and notation of
harmonics, multiphonics, and flutter tonguing. Pedogogical focus includes
tone development, lower register ease, control of dynamic spectrum from
p to f as well as crescendo/diminuendo over short phrases of 2 bars.
Increased breath control for four measures or more. Introductory
knowledge of extended techniques such as harmonics, multiphonics and
flutter tonguing.

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 • Level E: Pitch Range of C1-A3, Major/Minor keys to 5 sharps and 5 flats,
free use of accidentals and enharmonics as well as forms of the minor
scale and chromatic scale. Rhythm combinations to include “moderately
complex rhythmic combinations using values as short as thirty-second
notes in slower tempos, and note groups of up to sextuplet in faster
tempos.” Meters include common simple, compound and mixed meters.
Articulations of any combination, with “moderate use” of multiple
tonguing and flutter tonguing. Standard notation of musical symbols and
ease with all basic ornaments, as well as “moderate use” of extended
techniques. Pedagogical focus to include tone development, vibrato, low
register ease, dynamic extremes from pp to ff in “moderate registers” and
extension of crescendo/diminuendo over four to six bars. “Increased ease
with varied musical styles.”

• Level F: Pitch Range of C1-Bb3, Major/Minor keys to 6 sharps and flats,

with “extended use of chromatic passages and complex patterns of
accidentals.” Rhythm combinations of greater complexity “using values as
short as thirty-second notes in slower tempos and note groups of up to the
septuplet in faster tempos; extended passages of sixteenth notes or
triplets.” Use of common simple, compound and mixed meters, as well as
changes between simple and compound meters. Articulation patterns of
“moderate complexity” including multiple tonguing, as well as
combinations of double and triple tonguing. Standard notational symbols
including ornaments and extended techniques. Pedagogical focus to
include variations in tone color and vibrato, tempo changes and rubato.
Extreme dynamic changes in “moderate registers” and
crescendo/diminuendo over four to six measures. Adeptness in the upper
register. “Focus on managing the challenges of piano as equal partner.”

The National Flute Association’s 2005 “Selected Flute Studies: A Graded Guide

of Etudes, Daily Studies, and Method Books” lists only eight selected method books for

intermediate learners, grouped in levels “DEF” and “EFG”. In my research, I was able to

find only sixteen books that fit into this range of skills, but this included books that

moved through beginner level to intermediate/advanced (such as the Wagner Method,

and the Taffanel and Gaubert Complete Method.) I limited my search to method books,

which I defined as being comprehensive books that contained not only tone, technique

and etude work, but also explanations and expertise from the authors to instruct the

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student on improvement. I only sought out English-language books that are currently in

print. In addition to using the NFA’s graded guide, I also used web catalogs with graded

recommendations from Flute World and Carolyn Nussbaum Music Company to fill out

my list.

In my research, I found books that focused primarily on tone development and

technique, and found very few that addressed tone color, vibrato, musicality, musical

creativity or extended techniques. I was able to find only one method book that came

close to covering all of these aspects, and it was published in five volumes! This was

Karen Smithson’s Playing the Flute!, published in 1999, and I found it to be very

comprehensive. Books that have been published very recently, such as Kathy Blocki’s

Blocki Flute Intermediate Method (2006), and Patricia George and Phyllis Louke’s Flute

102: Mastering the Basics, a Method and Solo Collection for the Intermediate Flutist

(2012) specifically address the intermediate student, and delve into topics outside of tone

and technique development. However, the depth to which each book addresses creativity

(via improvisation or composition), contemporary techniques, or musicality is lacking. I

found no method book in my research that addresses the ideas of healthy practice habits

or physical development and the advantages of breathing and strengthening exercises.

In my experience, most of the students who perform at the intermediate level are

older middle school students or those students just entering high school. Leaving behind

the world of the beginner, with all of the enthusiasm that comes in learning a new skill,

students often feel overwhelmed or frustrated as expectations begin to heighten and new

(and sometimes anxiety-inducing) opportunities like auditions and competitions become

more common. The development of a healthy practice routine, a creative and musically

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meaningful approach to literature, and a healthy attitude towards performance are key

parts of the intermediate learning experience and better equip students as they grow as

musicians. It is my hope that a comprehensive yet economical method book that

addresses these issues will help to create a more confident, creative, and joyful musical

experience.

TONE DEVELOPMENT

The development of a beautiful, expressive, and varied tone is something that all

flutists strive for everyday. Two of the most often used tone development books in a

flutist’s library are De la Sonorite, by Marcel Moyse, and Practice Book for the Flute,

Volume One: Tone, by Trevor Wye. De la Sonorite, published in 1934, follows Moyse’s

principle of a “model note,” which focuses on the tone quality of the very first note,

stating that it is “very important as it is to become the model sound that is to be recreated

on each successive note.” (Gearhart dissertation, p. 28) This reference note approach is

also used by Trevor Wye, and he instructs students to always return to the reference note

at the end of the exercise. The idea of including a model note, a constant reference to

which all other notes are to be compared, sets up students for a consistent routine that

asks them to employ careful listening and matching of tone quality. The two exercises in

De la Sonorite that worked well for my students included the “Suppleness in the Low

Register” exercise (p. 10), because it addresses a few key components of tone at the same

time. In addition to simply helping to develop a player’s low register tone, it tests

endurance with longer note values and challenges the student to reach dynamic extremes.

It also becomes a good exercise for intonation in the low register, and with the use of the

model note, asks students to try to match the quality of each primary note (in the first

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exercise, F, for example.) The widening intervals help to develop lip flexibility. Finally,

there are numerous pitch combinations, so there’s the opportunity for a bit of variety.

A second exercise, intended for lip flexibility via expanding intervals (p. 16), can

be practiced both slowly for tone development and quickly for a finger challenge. One

addition that I appreciate from flutist Jill Felber is the idea of filling in particularly

difficult wide intervals. Fill the intervals with a chromatic scale first, then a diatonic

scale, then with a third, fifth, or other interval in between. This gets the student to

understand the volume of air needed for getting the interval to speak. This exercise helps

to fill the flute with a healthy volume of air, and shows students how to make quick,

small adjustments as they move through changes in register.

In De la Sonorite, Moyse opens the book with a very basic long tone exercise (p.

6), starting off in the second register, which is distinctly different from many other long

tone exercises, and I believe it offers the flutist two advantages. First, the brightness of

the second register gets the flutist’s air moving, and the rhythm (commencing on beat

four of an incomplete bar and slurring chromatically into a dotted half note in the next

measure) gives momentum over the bar line, lending a particular liveliness and forward

motion. Many tone exercises focus on whole note patterns that can begin to feel quite

stagnant.

Overall, De la Sonorite can be a test of a younger student’s endurance, with

exercises that can be overly tiring, but the tone exercises included here address a number

of issues at the same time (fullness of sound, lip flexibility, dynamic contrast,

articulation, and intonation, to name a few) and can be a good start for the intermediate

student who is beginning to learn how to practice more thoughtfully.

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 Trevor Wye’s Practice Book for the Flute, Volume One: Tone, published in 1980,

includes standard long tone exercises such as those in De la Sonorite, as well as a variety

of exercises that address tone color, tone development through extended techniques

(harmonics, whistle tones, and pitch bends), tapering, and intonation, among other topics.

Wye’s book was the first tone method book that I came across in my research to address

these topics in one volume, and there are exercises in this book that appeal to flutists at

all stages of study. Wye’s explanation of issues, such as tone development through

extended techniques, musical tapering, and tone color are sufficient, although short on

instructions as to how to physically affect the change that student might be looking for in

the sound. His approach delves too much into the quality of the sound over the physical

aspects of how you can create that sound. A small quibble with the method is the limited

variety he offers in the area of tone color, only suggesting examples like: “a purple rich

sound” or a “hollow yellow sound,” which I believe to be pretty limited in the range of

colors that the flute is able to produce.

Both the Moyse and the Wye method books are quite utilitarian, and good

foundations for students to have, but formal in prose and are not visually engaging, which

is a component that I think is essential to keeping the attention of young students. Both

were lacking in descriptions of physical attributes that affect sound (placement of the

flute on the lip, angle of air, size of embouchure, size of resonating cavity, speed of air)

which I find to be essential in working with students, especially intermediate students

who are just beginning to refine ideas of tone and technique.

In my review of other existing tone methods, several authors provided inspiring

examples of creative exercises, explanations, or visually engaging methods that work

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well for students. One method book that I considered a wonderful example of

thoughtfully-written and well-presented ideas is The Physical Flute: Creative Techniques

for the Development of Tone, Vibrato, and Pitch Control, by flutist Fiona Wilkinson.

Published in 1999, this method book is structured well, starting with breathing and

stretching to prepare for warming up, and delving into Alexander Technique influenced

explanations on how and why we need to be considerate of these physical aspects when

playing the flute. I think the explanations are not overly formal and the text is user-

friendly. All of the warm-up exercises move through pitches fairly quickly, encouraging a

fullness of tone throughout the melody instead of a focus on individual notes that you

would get in Wye or Moyse. This is probably a weakness for the book as it relates to

intermediate students as it doesn’t give them the opportunity to really listen well, but it

does make for a more lively warm-up, as it keeps your attention! One of the things that is

most valuable about this book is the physical descriptors that come with each section as

well as the illustrations that she gives to help make a point. It’s as simple sometimes as

illustrating the shape of the embouchure, but I think that these visual aids are very useful

and engaging. Wilkinson has a great section on tapering, but in this case (as with all the

sections of the book) gives very little in the way of musical examples to help students to

know where/when to apply a taper. She has an extensive section on dynamic changes and

intonation, with exercises on both using a tuner to work on intonation, as well as working

with a piano to improve the ear. Wilkinson’s section on tone color is thorough, and one

aspect that stands out is the divorcing of tone color from dynamic range. Lots of teaching

on “yellow” or hollow tone, for example, focuses on softer, gentler excerpts, while

“purple” tone is reserved for forte, aggressive passages. She challenges the flutist to have

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a wide range of color at all dynamic levels. Her section on vibrato contains useful

illustrations, and her final section on expression in music ties all of the concepts of the

book together neatly, although there is a notable dearth of musical applications or

examples from the repertoire.

Robert Dick’s Tone Development Through Extended Techniques, published in

1986, is limited in its approach, featuring only extended techniques exercises, but covers

a wide variety of extended techniques and provides good physical descriptions to help

students achieve the desired sounds. The extended techniques covered include throat

tuning (singing and playing), harmonics, fourth register practice, pitch bends, whisper

tones, diffuse tones, and multiphonics. The book is quite text-heavy and formal, and is

lacking in any visual appeal. The exercises are thorough and move through the entire

range of the flute, but it would be most useful to include musical applications as opposed

to only exercises (the Allemande from J.S. Bach’s Partita, shown on page 22, is the sole

example of an application to traditional flute repertoire.) A way to improve upon this

could be the inclusion of etudes or excerpts that show how these techniques could be

used in your practice as a way of developing tone in a musical context. There is a lot of

value in connecting this more to the traditional repertoire so students can best use it in

their everyday practice. This book also does not explicitly address how extended

techniques can help in practicing tone color changes, which would be useful to students.

Vowel changes, multiphonics (octave multiphonics, especially), harmonics, and throat

tuning are all valuable ways to explore different physical changes that happen in order to

produce the extended technique. Additionally, the chapter on “extended timbres” with

bright/diffuse tones can help a flutist to understand the timbral possibilities that are

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available to us. One important question that Dick fails to address is explaining how can

we create these tone colors on the flute while using traditional (and in-tune) fingerings.

Two pedagogy books that are worth including here because of their style and

content are not necessarily intended for younger students, but are geared towards more

advanced flutists and teachers. However, both books include creative concepts on tone

development and color that are effectively explained and useful for young learners, as

well as illustrations that clearly demonstrate the principles outlined in the book. The first

is Roger Mather’s The Art of Playing the Flute, a three-volume set that was published

separately in 1980, 1981 and 1989. Volume one addresses breath control, volume two

addresses embouchure, and volume three is a catch-all, dealing with topics such as

posture, technique, resonance, articulation, and vibrato. At 250 text-heavy pages, the

book suffers from overly precise instructions at times, but Mather’s approach to tone

development and color is quite creative and precise, and he does provide helpful

illustrations to aid in understanding the concepts outlined in the book. At points, the

physical descriptors are overly instructive, which can inhibit a student who is too

interested in doing things exactly right.

The most important/valuable part of this book to me is Mather’s approach to tone

color. He addresses it first in Part I of the book, where he focuses on how good breath

support affects tone color, but discusses it most thoroughly in Part II of the book, which

relates to embouchure. Mather states that the Part I techniques are universal – breath

control techniques work the same way for all in affecting tone color, while embouchure

modifications are much more individual and each flutist will have to experiment to find

what works best for them. It is admirable that, instead of categorizing tone color potential

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into only two categories (yellow/purple), he embraces the wide range of sounds that a

flutist can achieve and then tries to analyze the scientific aspects of various colors. He

suggests experimentation through different vowel sounds; lengthening/shortening the air

reed; the placement of the lip opening as well as size and shape (there’s also lots of good

basic information on playing with an offset embouchure here); positioning of the flute on

your chin; alignment of headjoint; function of the corners of the mouth; jaw placement;

and air pressure. He also describes several tone colors in depth: Round, Hollow, Brassy,

Transparent, and Floating. The third volume has two very interesting chapters that also

relate to tone color, featuring topics on resonance via lung strength and resonance via

throat, the sinuses, and the mouth cavity. It is in these chapters where he offers the most

interesting experiments as a means of exploring the resonant cavities in the body. He

suggests, for example, trying to play with cotton balls in the mouth, to hear how the lack

of resonant space in the mouth produces a weak, dull sound. He names a number of

factors that one would normally consider when playing (keeping the throat open and

vocal cords low) but also mentions things like flaring the nostrils, positioning the

front/middle/rear of the tongue, and manipulating the soft palate in order to change the

quality of the resonant cavity. These techniques are not often referenced in tone color

development and have great potential to affect the quality of one’s sound.

Finally, The Gilbert Technique, written by Angeleita Floyd and published in

1990, outlines the pedagogical principles of Geoffrey Gilbert, a revered English flutist.

Written primarily as a pedagogical reference book, I decided to include it here because of

its clear principles and wonderful illustrations. There are numerous photos in the book

that help to illustrate physical concepts and aspects of breath support, posture, and

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embouchure. While the book is primarily text instead of music, it is formatted in a

visually appealing way. The explanations on all subjects are clear and concise and the

physical descriptions are plentiful, especially in the section on embouchure. The physical

process of embouchure and aperture formation in tone development as well as the

direction and speed of air are very precisely outlined in bullet points, and easy to

understand directions are given, as well as a “troubleshooting” guide. The economy of

language that Floyd employs is appreciated, and I believe that the overall style of

presentation would be really useful for younger students.

Different sections of Floyd’s book address extended techniques as a means of

tone development but do not use musical examples to demonstrate how you could apply

these in everyday practice. The section included on tone color is very precise in its

explanation of why it’s possible for our tone color to change and what we have to do to

produce different tone colors, but again, tone color discussion is limited to the hollow

“aquarium” tone versus a richer, purple sound, which is a quite narrow interpretation of

tone color possibilities. In general, however, this book does well in keeping the reader

engaged when more text-heavy explanations are needed.

Tone development and color are overwhelmingly broad topics to explore for

intermediate students especially, so finding ways to be clear and economical in writing,

as well as visually engaging and mentally stimulating, are important. The above methods

are good resources for ideas on the variety of exercises needed for student development

as well as great examples of how to (or how not to) convey this information an easily

digestible and engaging format.

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TECHNIQUE STUDIES

Most of the intermediate method books that were surveyed for this project

contained a standard pattern of technical exercises that will also be included in my

method book. These standard “daily” exercises include: major and minor scales,

arpeggios, and the chromatic scale. Some methods included thirds and whole tone scales,

which will also be a component of my book. My method book for intermediate students

will go a step beyond most other methods as I intend to include all forms of the minor

scale (many methods just featured the natural form, or natural and melodic forms), as

well as whole tone scales and technical exercises in thirds, and arpeggios that feature not

only major and minor spellings, but seventh chords, diminished chords, and augmented

chords. Each key area will have its own page for easy organization. Since the book is

intended for intermediate students, the pitch range will not venture below C1 or above

Bb3, although C major scale is presented in three octaves. Most method books included a

chart for altissimo (4th octave) fingerings reaching D4, which will also be included in my

method book. The method book will also include explanations into how to build major

and minor scales and arpeggios, as well as a diagram of the circle of fifths. These daily

technique exercises will come with suggestions for articulation variations as well as

rhythmic variations.

In compiling technical exercises outside of these daily standards, it is important to

give students a rotating variety of challenging finger exercises that change from day to

day. Most interesting to me were not exercises that followed scalar patterns, although

these are of great value (for example, Taffanel and Gaubert’s 17 Grands exercices

journaliers de mécanisme) but exercises that covered a range of intervallic patterns and

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had a more musical effect. Existing technical methods in this category that sprang to

mind were 7 Exercices journaliers pour la flute by M.A. Reichert, Daily Exercises for the

Flute by André Maquarre, and Geoffrey Gilbert’s Sequences. In my own composition of

technical exercises, the goal is to include not only the essential scalar exercises (for

example, Taffanel and Gaubert’s five-note ascending/descending scale pattern) but also

to present technique exercises that challenge the developing technique of the intermediate

student while maintaining an element of creativity in the melodic line.

ETUDE PRACTICE

Etudes are my original compositions, and will address the following areas of

development:

• Tone development, including beauty of tone, dynamics, color, intonation

• Melodic interpretation and musical phrasing
• Creative improvisation
• Extended techniques
• Vibrato
• Articulation
• Tricky finger combinations

Etudes will stay within the recommended range for intermediate level students as

defined by the National Flute Association. One of my goals in composing etudes for this

method book is to include “on the spot” practice strategies and reminders within the

etudes so that students will have ample opportunities to integrate good practice habits as a

part of their daily routine.

THE METHOD

Throughout the method book, my intention is to offer instruction for student

development as well as practice reminders and suggestions for constructing a daily

routine. Most of the intermediate method books that were surveyed for this document (a

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full listing is given in the appendix) were woefully thin on actually describing concepts in

any detail or giving students practice goals, two components that are important to flutists

who are at such a sensitive stage of development.

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 Chapter 2: Defining the Need for a Holistic Approach

In exploring the need for a method book that offers a more holistic approach to

music-making for intermediate students, I wanted to research practice strategies,

performance anxiety, motivation, and physical well-being for younger students, to see if

scholarly sources supported my hypothesis that students tend to be underdeveloped in

these areas. Overwhelmingly, all of the articles I found supported the ideas that students

desire instruction on these topics at younger ages than one might expect, and that they

struggle with issues that eventually lead to stress, distraction, attrition, and injury.

Through my exploration of intermediate method books, I found none for flutists

that addressed the ideas of healthy practice habits, avoidance of injury along with the

advantages of breathing and strengthening exercises, finding motivation or inspiration as

a flutist, or coping with performance anxiety and strategies for building confidence.

Scholarly literature, however, overwhelmingly supports the idea that students need

instruction in these areas, and that students recognize this need and express the desire to

learn more, whether from teachers, peers, training sessions, or literature.

STRATEGIC PRACTICE HABITS

The development of strategic practice habits in young students is an

overwhelmingly popular topic in music education literature. In a 2012 study examining

the transition from beginning music student to intermediate student, researcher Peter

Miksza notes that students become less motivated to practice because of parental

involvement and more motivated by their own desires and challenges. He cites past

studies that recognize valuable tools for helping students learn to practice efficiently,

including deliberately slow tempi, practicing at a range of tempi, “chaining” (working

17
from smaller chunks into bigger chunks), working with a metronome, and making

markings in the part. These tools aid students in reaching practice goals efficiently, and

lead to a greater sense of success.

Robert Duke, in his 2009 study of practice strategies, argues that encouraging

students to strictly practice “by the clock” is a less effective strategy than one that

prioritizes goals and problem solving. Each student learns differently, and Duke points

out that in other academic areas, students are not expected to advance because they

commit the same number of hours as their peer group, but instead that a student’s efforts

at problem-solving and the quality of the work he/she does is more indicative of progress.

Through the study of university piano students, his research found that the most

successful students approach practice sessions with effective tools for quick error

correction and therefore are able to create performances that are more consistent and of a

higher caliber. Duke argues that neither teachers nor method books invest enough time in

teaching students how to practice in a goal-focused way. He states:

“Yet, it is rare in published methods to see examples of systematic instruction in

problem solving and error correction, even though devising solutions to problems
is one of the central features of learning. It is generally not the case that experts
(in any discipline) simply avoid making mistakes when they are learning
something new, but experts correct their mistakes efficiently and effectively.
Thus, it seems that error correction should be a prominent part of novices'
instruction and that the most appropriate goal for young learners is not that they
play their instruments for 30 minutes a day but that they skillfully identify and
systematically address the mistakes that are an inevitable part of learning” (p.
319).

Duke found that the specific strategies that worked for the most successful pianists in his

research study included tempo changes to accommodate difficult passages, marking of

treacherous spots, taking tricky sections out of context, and practicing hands separately.

18
Duke says that the tempo change strategy was the most effective strategy used by the top-

ranked pianists.

As flutists, we have many ways of creating variation in our practice strategies. In

my own teaching, I have found that students who have not had private lessons rarely

understand how to practice, other than playing through pieces from beginning to end. In

lessons we work on isolating difficult passages through the following ways:

1) “Chunking” – isolating small, one-inch passages of music that are then

repeated. Students keep track of the repetitions via “picket fences” (four dashes in a row,

with one slash through each group, to make a small “fence”), “penny games” (using

pennies on a stand, students slide a penny from one side to the other to represent one

repetition), or by using a counter on a smart phone or tablet (“Tally” is a good app for

this purpose.) Students report to me that this feels tedious at first but they appreciate

seeing the repetitions adding up and it makes them feel that they are accomplishing a

good amount of work. Students report a lot of success with this method and I will often

challenge them in lessons to take specific “chunks” and do a certain amount of daily

repetitions each week. For most students, this is the quickest way that they see progress.

2) Tempo Variations – in chunked sections, or in larger sections of a piece,

students are encouraged to manipulate the tempo of the passage in order to effectively

address errors. We will sometimes play a metronome game where we start at half tempo

and then move the metronome up ten clicks for five repetitions, and then down five clicks

for five repetitions until we move slightly past the performance tempo. We will also vary

how the metronome keeps the beat, setting it to tick on the “and” of the beat instead of on

the beat, or on the “e” or “a” of the 16th note. We also try more broad settings, with the

19
metronome clicking only on beats two and four of a bar, or only on the half note. This

helps students to test their own internal sense of time.

3) Articulation Variations – in technical passages, I encourage students to vary the

articulation that is marked in several different ways. I feel that this helps the technical

development of a passage because it encourages them to think differently about pitch

relationships from one note to the next, and it takes the mind away from the fingers

slightly and focuses more on the air and the tongue, which can be useful for students who

get too “stuck” on a difficult passage. We try different patterns of tongued and slurred

combinations, much like the suggestion offered in daily exercise books from Marcel

Moyse as well as Paul Taffanel and Philippe Gaubert.

4) Grouping – in passages of straight sixteenth notes, students number each note

of the four sequentially, and then reorder the starting note in each repetition. So, a normal

passage of 1-2-3-4 may become 2-3-4-1, 3-4-1-2, or 4-1-2-3. Taking small passages, the

student then plays with the metronome on with these regrouped sixteenth notes. This

helps their eyes to move forward more efficiently, and helps to propel the music over the

beat and over the bar line.

5) Skeletal Practice – with repertoire, students can sometimes be so involved in

executing the technical aspects of a passage that they forget to communicate the musical

line. Taking away the embellishments in a technical passage in an attempt to get at the

simplest musical phrase is a great practice technique. It helps students to understand the

direction of the phrase and to know which notes are most important.

6) Improvisational Practice – in this practice strategy, students are encouraged to

explore new ways of communicating the musical character of a passage via improvising

20
on themes, bits of phrases, or rhythmic motives that they find in their repertoire. Through

short improvisations, students may expand the boundaries of expression via phrasing,

tone color, dynamic contrast, and expressive tempo changes. Akin to this strategy is the

idea of “character” practice. Similar to improvisational practice, character practice asks

students to work with specific passages from their repertoire to find many new ways of

expressing one single phrase. I may give the student a set of scenarios, moods, or

characters to interpret, specific to a few measures of music. The student then performs a

phrase from his repertoire in the selected style. The process repeats, with the student

portraying these various styles, until all of the selections have been explored. When the

student tries actively to think about creating differences in so many ways with the written

example, it effectively creates a palette of expressive choices from which the student

might choose.

Addressing practice strategies is a primary goal in writing my intermediate

method book. I plan to use the strategies outlined above in combination with a chapter of

etudes to teach students how to best develop their practice techniques.

MOTIVATION AND INSPIRATION

In addition to Miksza’s work with motivation and practice habits, Peter MacIntyre

has researched the subject of motivation and young music students and in a 2012 study

found that the motivation to learn music early on is supplied by parental encouragement,

but for older, high-school aged students, motivation to learn music was supplied by a

desire for “integrativeness” (“taking on the characteristics of musicians, positive attitudes

about learning music, and an interest in music learning”), positive interactions with the

peer group and a positive view of the teacher (teachers who supplied feedback along with

21
clear directions and who were seen as being successful at their own instruments were

highly motivating factors to high school students.)

In considering how a method book might provide further motivation for students,

the idea of “integrativeness” is worth exploring. How could a method book inspire a

student to “[take] on the characteristics of musicians, positive attitudes about learning

music, and an interest in music learning”? A component of a method book that might

inspire this characteristic is the inclusion of practice strategies, inspirational stories and

biographical information from famous flutists and musicians. Additionally, further

examples of flute literature for listening, as well as vignettes about the impact of music in

the lives of students in the intermediate peer group could prove to be motivational

inclusions in the book.

PERFORMANCE ANXIETY

Scientific studies in decades past have focused primarily on the phenomenon of

performance anxiety as it relates to adults. Research on the occurrence of performance

anxiety in children and adolescents has only recently been undertaken. For example, a

2011 study from Helene Boucher, published in the Journal of Research in Music

Education, found that very young students (3-4 years old) experienced performance

anxiety that loaded them with high levels of cortisol, known as the “stress hormone.”

Many students tested in advance of a performance had cortisol levels higher than adults.

Boucher cites two studies that suggest students find that advice from teachers on

strategies for handling performance anxiety to be “relatively uncommon.”

In a second study by Dianna Kenney and Margaret Osborne, published in 2006,

researchers found that performance anxiety built steadily in middle school years, peaking

22
around 10th grade. Interestingly, in this particular study the researchers found that females

exhibited higher levels of performance anxiety than males (this finding has not always

been replicated in other studies, however). Reasons cited for increased performance

anxiety include 1) the peer group increasingly being a focus of attention, 2) an increase in

retrospection and self-evaluation, 3) increased social/interpersonal anxiety. Students who

were able to control their performance anxiety had increased tools for “realistic self-

appraisal” and used phrases such as, “I’m bound to make a few mistakes” to help ease the

pressure of performance.

Finally, a third study surveyed students to understand what coping techniques

were undertaken to help manage performance anxiety. In a 2006 study, authors Lydia

Fehm and Katja Schmidt worked with high school students, aged 15-19, at a German

performing arts school, asking students to list the short-term strategies (i.e. those that

were undertaken directly prior to performance) and long-term strategies (those that are

practiced over time) that students used to help manage performance anxiety.

Additionally, the researchers asked these students to rate the perceived effectiveness of

these strategies. Survey answers included the following short-term solutions: rehearsing

difficult measures, positive thinking, prayer, smoking cigarettes, relaxation, and “calming

substances.” Of these short-term solutions, prayer received the highest score for

perceived helpfulness to students. For long-term solutions, students listed regular practice

strategies, relaxation techniques, counseling or therapy, and talking to teachers/peer

group about performance anxiety. Overall, no long-term strategy was perceived to be

overly helpful.

23
 Students were also asked to list ways that performance anxiety could be

addressed. Respondents who wanted more help in addressing performance anxiety said

that discussion with the teacher in private lessons, more performing opportunities, a

frank, open discussion on performance anxiety, a more supportive studio atmosphere, and

training courses in performance/relaxation techniques could all be helpful in addressing

performing anxiety.

In my work with students, we discuss various strategies for coping with

performance anxiety. The following seem to be most successful and are included in my

method book:

1) Preparation – The development of solid practice strategies and thoughtful,

regular practice is the most helpful way to calm anxiety, as students feel that they have

adequately prepared for their performance. I encourage students to run through their

repertoire in a variety of settings (for friends, teachers, family, or in classrooms,

churches, practice rooms, friendly venues) prior to a big performance.

2) Mantra – Similar to the cited use of “prayer,” in Fehm’s study, students who

develop a mantra or saying that has positive connotations have found some measure of

calm prior to performing.

3) Breathing and stretching – In addition to the everyday physical advantages and

tension-correcting aspects that a repertoire of breathing and stretching exercises can give

to a student, these exercises also can offer a way of managing stress prior to

performances. Yoga, in particular, has been a helpful routine in helping to fight

performance-related stresses.

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 4) Attention to diet – A quick note on performance-day diets is apropos, as many

of my younger students sometimes spend solo and ensemble day feasting on vending

machine candy, salty snacks, and sugary drinks, only to find that they have a difficult

time focusing or producing a consistent sound while performing. Sharing basic

information with students like drinking water, or avoiding caffeine or salty foods, is

useful.

5) Visualization – Helping students to understand the advantages of visualization,

mentally walking themselves through a performance, and anticipating physical and

mental aspects of playing as well as the emotional highs and lows of the moment, can

help a student to be more prepared for a performance.

PHYSICAL WELL-BEING

In a study of students entering a university to study music, published by Claudia

Spahn et al in 2004, the researchers found that music students “started their course of

study with specific problems and greater health impairment than students majoring in

other subjects. A quarter of the music students entering university had playing-related

health problems, and one-third of the music students showed conspicuous scores for

anxiety” (p. 29) Another study, published by Heidi Blackie, quotes a university piano

professor who states that many college-aged students come into programs experiencing

injuries and are “unwilling” to change their behaviors, as habits are so deeply ingrained.

This points to the failure of teachers to instruct and engage younger students on issues of

avoiding performance-related injuries. A 1988 study published by Alan Lockwood

examined attitudes of school-aged music students (from 10 years old up to 18), many of

whom believed that a “no pain, no gain” approach to performance was acceptable. A

25
surprising 79% of students surveyed believed that pain is acceptable in overcoming

technical problems. In this study, 49% of these middle and high-school aged students

reported performance-related injuries of varying degrees. 68% of the students who

responded positively were female, which is a result that holds in accordance with other

published data on musicians and performance injury.

Various studies revealed that musicians in general were reluctant to seek or

receive treatment from health care professionals. Surprisingly, in a 1987 study of

university music majors by H.J.H. Fry, students who sought professional medical

attention were often told that the physical issues they faced were non-existent and were

simply manifested in their own minds.

In a 2001 article by Margaret Redmond and Anne Tiernan, private teachers

expressed a reluctance to provide students with information on performance injuries

when they felt it was outside of their own experience. The study found that, while

addressing preventative measures to aid against injury, teachers focused the most on

proper body mechanics and posture, playing techniques, the importance of the warm up,

and awareness of a student’s physical limitations when selecting repertoire. Overall,

however, the study found that “few [instructors] teach their students about risk factors for

injury and increasing practice load incrementally” (p. 37). Many studies advocate for a

greater collaboration between health care professionals and music teachers at all levels in

educating students on preventative practices and performance-related injuries.

Of the many suggestions gleaned from the research, I intend to use the following

healthy strategies in my method book:

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 1) Practice breaks, of three varieties – “mini breaks” of five to ten seconds in

between repetitive practice “chunks,” longer breaks of five minutes for every twenty-five

minutes practiced, and longer breaks away from the flute after consecutive hours of

practice.

2) Pacing practice sessions through the week – so that students do not find

themselves having to “cram” for their lessons or performances.

3) Posture Awareness – I will include information on healthy posture for flutists

with notes on attending to tension in flute “trouble spots,” such as the jaw, neck, hands,

wrists, elbows, and shoulders.

4) Stretching and Breathing – Along with posture awareness, healthy playing

postures for the flutist, these slow and gentle stretches are useful in the midst of practice

sessions and at the end of the session.

5) Mental Practice – I will advocate during longer breaks that the flutist do mental

practice or visualization.

6) “Cool Down” – at the end of practice sessions, unwinding with a slow

movement or long tones to help relax the body and the mind, as well as soothing stretches

and breathing exercises.

MINDFULNESS

Mindfulness is defined by Jon Kabat-Zinn as “paying attention in a particular

way: on purpose, in the present moment, and nonjudgmentally” (p 4). Research has been

done in the past few years that explores the use of mindfulness-based techniques in

educational settings and their benefits for not only adults but younger students. In a 2012

article on mindfulness and children, Kim Rempel shares research that finds mindfulness

27
instruction to children to be helpful in boosting self-esteem and self-confidence, the

ability to focus, reducing stress, and aiding in the management of emotional reaction. She

cites a 2005 study by Napoli et al that found the “[b]enefits of teaching mindfulness in

school include an increase in creativity, greater cognitive flexibility, and better use of

information to improve memory for retention of teachings” (p. 213).!

In an article by Frank Diaz on mindfulness strategies in a music education setting,

Diaz states that current demands on young students leads to increased multi-tasking and

distraction, and have difficulty maintaining attention on their work. He states that

“musical activities... are especially conducive to promoting mindfulness,” since these

strategies involve “guided attention to stimulus, paired with prompts to re-engage with

the stimulus when presented with distractions” (p. 12). Musical warm-ups, listening

exercises, and working to promote awareness of the physical sensations of performing

can all be adapted to include components of mindfulness.

In my method book, there are mindfulness prompts throughout that encourage

students to engage with the exercises in a thoughtful and attentive way, as well as basic

information about mindfulness and how it can be a part of a student’s daily work.

TIME MANAGEMENT

In addition to strategies that relate to physical and mental practice, I will include a

component of the method book that is dedicated to time management, helping students to

strategize and plan for a daily practice routine that will ensure efficient use of time,

thorough preparation, and progression/retention on the instrument.

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PREFACE:

breathing
and
stretching

29
30
Stretch Safely!

Stretching, when done improperly, can cause more harm than good. Work with your
teacher to find stretches that work for you, and be sure not to overdo it. In Timothy
Jameson’s book titled Repetitive Strain Injuries, he offers the following tips to observe
when stretching (pp. 204-205):

1) Don’t bounce the body up and down while stretching. Instead, use gentle,
prolonged stretches that you hold for 10-15 seconds each.
2) Stretching should never be painful. Stretch to the point that you feel a “gentle
tugging” on the muscle.
3) Be sure the room you’re in is warm. Stretching in a cold area is more likely to
cause injury.
4) Use your breath to aid in stretching. Before you stretch, take a deep breath. Then,
exhale as you stretch. Use the exhalation to envision stress and tightness leaving
the body.

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31
Neck rolls: Gently lower your chin to your chest. You should feel a nice stretch in the
back of your neck. From this position, roll your head to the right and let your earlobe
touch your right shoulder. Your face should face forward the entire time. From this
position, take a nice, deep breath through your nose. Let your chin roll back to center,
then over to the left shoulder. Deep breath. Let your head roll back to center, and repeat.
Be careful not to scrunch your shoulders!

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32
Hip opener: Sitting in a chair with your feet on the floor and place your right ankle on top
of your left knee. From this position, let the weight of your knee stretch toward the floor,
feeling a gentle stretch in your hip. Inhale and exhale in this position for a moment, then
switch to the other ankle.

Side opener: Sweep your arms straight up above your head. With your right hand, gently
hold your left wrist and stretch, leaning over to the right, feeling a lengthening on the left
side of the body. Take a couple of deep breaths in and out through the nose, relax both
arms by your side, then switch to the other side.

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33
Mountain Pose/Deep Breathing: Stand with your feet hips width apart, arms relaxed at
your sides. Feel yourself lifting from the sternum, and grow taller through the crown of
your head. Relax your throat, your neck, and your stomach, and let your hands and feet
feel heavy. Sweep your arms up while taking a big breath in. As your arms move towards
the ceiling, feel your rib cage expand all around as you inhale. Feel your back open up,
widening to make room for your lungs to grow. Reach towards the ceiling and feel the
expansion across your torso and into your back. Sweep the arms back down, exhaling,
but stay tall through the crown of the head.

Chest opening variation: Grab your hands behind your body, interlace the fingers and pull
them down behind the body, towards the tailbone. Inhale, let your shoulders stretch back,
and grow taller through the crown of your head.

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34
Forearm and wrist stretches: Stretch your left arm out in front of your body, with the
palm facing down. With your right hand, gently pull your left hand back towards your
body – your left fingers will be pointing toward the floor. Gently pull until you feel a nice
stretch in the wrist.

Variation One: turn your palm so that it is facing out, away from you, and your fingers
are still pointed toward the floor. With your right hand, gently pull your left fingertips
back towards your body. Be sure to do this gently, and do not over stretch your wrist.

Variation two: turn your hand up, with fingertips pointing toward the ceiling, and with
your other hand gently pull your fingertips toward your body.

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35
Energizing Conductor Breath

Standing, legs hip-width apart, arms hanging naturally at your sides.

Take a breath as you raise your arms straight out in front of you (like you’re going to hug someone)

Inhale again, swinging your arms out to the side (stretching your arms open wide)

Inhale again, reaching your arms up over your head.

Three inhales total – no exhaling!

Then, from this position, exhale loudly (saying AHHHHHH) as you bend forward and let your arms hang. Let
your neck be loose and free. With your arms hanging, try some wide arm circles to release the shoulders even
more. When you’re ready, come back to standing slowly, stacking one vertebra on top of the next until you’re
standing tall. Repeat this exercise a few times. It’s great in the morning, for finding energy, or for helping to
release anxiety and nerves before a performance.

Source: Adapted from Mia Olson’s Musician’s Yoga

Tranquility Breath

Sitting comfortably, place the tip of the tongue on the ridge behind your upper front teeth, as if you’re saying
“Luh”. Exhale all of your air through the mouth. Close your mouth and inhale through your nose, counting to
four. Hold this breath for seven counts, keeping your body relaxed and your throat open. Exhale completely
through the mouth for eight counts. Make your air “whoosh” (it may help to purse your lips slightly in an “O”
shape). While exhaling be sure to keep your tongue in position behind your top teeth.

Repeat this cycle – 4 counts of inhaling, 7 of holding, 8 of exhaling – four times.

Source: Dr. Andrew Weil

Bumble Bee Breath

This breath can help you to focus as you find a more introspective, calming state of mind. Try this when you are
feeling anxious or unable to concentrate.

Cover your ears with your hands, blocking out external sounds. Close your eyes. Sit comfortably or stand.

Inhale slowly through your nose. As you exhale through your nose, hum a low tone - “Hmmmmmmmmm” –
keeping the mouth closed. Once you’ve exhaled all the air, repeat. This is not a counted exercise, but inhale and
exhale slowly. Don’t force yourself to inhale or exhale too much air. Focusing your attention on the insides of
your eyelids, see if this helps you to slow those racing thoughts and find a bit of peace!

Source: Bhramari Breath, BKS Iyengar, The Light on Pranayama

Floor Exercises for Relaxation

Spinal Twist: Lying on your back, bring your knees in towards your stomach, and take a few breaths here,
loosening up your lower back. Extend your arms out beside you. Take one more deep breath, and when you
exhale, slowly lower your knees to the ground on one side, allowing your back to twist in the same direction.
Take a few deep breaths in this position, then bring your knees back to center. Inhale again, and as you exhale,

35
36
take your knees down toward the opposite side. Take a few deep breaths here and feel a nice stretch through the
spine. Come back to center.

Rest Position: This is a great pose to use at the end of any rigorous practice session, or to gain focus before an
audition. Lie on the floor (or a mat) with your knees elevated. For your head, use a few thin books or magazines
to support your neck. Be sure not to use something too thick – if your chin is crunched into your chest, use
something shorter. Use this restful moment to evaluate tension in your body. You may find it helpful to use
mindful breathing in order to alleviate tension. Close your eyes and focus on the point of tension. Inhale gently
but deeply, and as you exhale, visualize the tension leaving your body, following the breath. Spend as long as
you like in this position, as long as you are being consciously aware of your body.

36
37
SECTION ONE:

tone

37
38
Flute Tone

It’s difficult to communicate all the aspects of a beautiful flute tone in writing. The best thing to
do, if you’re interested in having a diverse and lovely sound, is work with a private teacher.
However, here are some basics to consider:

1) Flute Placement on the Lip: The embouchure plate should be

placed on your chin, and your lower lip covers about 1/3 of
the tone hole. Scoot the lip plate up to the red line where your
skin and your lip meet. Your lower lip should stretch across
the lip plate. Don’t grimace or force your lip to stretch, but
think about a long, fat bottom lip that connects fully with the
lip plate.

2) Consider the size of your lip opening. Different sizes and

shapes of the opening will create different types of sound.
You can think about the shape of a straw to help find a good
size. Try this: shape the opening like you are drinking out of
a regular straw. Then, see what it feels like to shape the lip
opening to fit the size of a coffee straw. Or, what if it were a
big round shape, like the size of a bubble tea straw? (If you
haven’t seen one, it’s big and round!) Experiment with each
size and see how it affects your sound. Also, experiment
with the amount of pressure you feel when your lips are in
place – could you hold a straw in place with your lips?

3) Blow zippy, fast air, aiming your airstream down towards

your elbow. 80% of the air you blow should be aimed into
the flute – blowing more across the flute to get a big full
sound will result in an airy and unfocused tone. Be careful not to tilt your head down or
roll in too much.

4) Have a big, resonant space inside of your mouth. Think about how much space is in
between your back teeth when you yawn. Try to form a flute embouchure around that
yawning space in the back of your mouth. This space helps with your air direction,
creates room in your mouth for the air to move through, and results in much less tension
in the jaw and chin.

5) Keep the tongue low in the mouth while playing – don’t let it crouch in the middle or
hang on the roof of your mouth.

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39
 Tone Warm-Up: Bold and Vibrant

œ b˙ œ ˙
& 44 b ˙ nœ b˙ ˙ bœ ˙
f
œ b˙ œ n˙
&b ˙ nœ b˙
5

˙ #œ n˙

9
œ #˙ œ n˙
&# ˙ œ #˙ n˙ #œ n˙

13
œ ˙ œ b˙
& ˙ œ ˙ b˙ nœ b˙

œ ˙ œ #˙
17

&˙ bœ ˙ #˙ œ #˙

œ ˙
21

& ˙ bœ ˙

For this warm-up, go for a beautiful, full sound throughout. Take big, yawning breaths that extend down into
your toes.

39
40
 Flute Warm-Up Exercises
Sing (and hold) the first note of
each two-measure figure.

& 44 œ œ œ # œ ˙ . Œ œ œ œ #œ ˙. Œ œ #œ #œ #œ ˙. Œ

œ #œ
œ œ œ œ #œ #œ ˙. œ #œ ˙.
&œ œ ˙. Œ Œ Œ
7

#œ #œ œ œ #œ
#œ #œ #˙. œ ˙.
Œ Œ
13

&

Goal: To work on opening the mouth and throat through the middle register. Sing in the
octave most comfortable to you. Try to keep the sung pitch as steady as possible.

Be Mindful:

- Sit quietly in your seat with relaxed but stable posture.

- Close your eyes and completely cover your ears with your hands.
- Take in a relaxing breath.
- Hum (mouth closed) the first note of this tune for as long as your breath
comfortably allows.
- Notice the sound of your voice and feel it vibrate through your body. This is not
about the quality of your humming! Just spend a minute, eyes closed, feeling the
vibration of your vocal cords in your body.
- If you find yourself distracted, return your focus to the sound of your voice.
- Take a breath and try again. You can stick with the first note if you like, or you can
pick a new note.
- When you are finished, open your eyes, pick up your flute, and play the exercise as
written.

40
 Flute Warm-Up Exercises

3 œ . œ œ jœ ˙. ˙. œ. œ œ œ. œ œ ˙. ˙.
&4 J œ . œ J J

œ j ˙. œ. œ œ
& œ. J œ #œ. œ œ ˙. j
9

J œ. œ #œ ˙. ˙.

Practice with the following vowel sounds:

AUH (jaw dropped, hot air zooming low, imagine holding an egg in your mouth!) Seek a rich, deep sound.
EUH (keeping tongue low, imagine holding a baby carrot in your front teeth.) Seek a pale, open sound.

Try both of these tone colors at varying dynamics. Practice this exercise first without vibrato, then add it.

41
 Tone Warm-Up
œœ œœ
Bouncy! Take a full breath on each eighth note rest.
œœ œœ
4 . œ
œ œ œ ‰ œ. œ œ œ ‰ œ. œ œ œ ‰ œ. œ œ œ‰
&4 œJ œJ
oh!

œJ œJ
œ œ œ
5
œ. œ œ œ œ œ œ
& œ J ‰ œ ‰ Œ
J

Goal: Try to keep the lips from being too tense in the leap up to the third octave. Experiment with
finding the right balance between a speedy air stream and lip pressure.

Try once slowly, using only your lip pressure to get the octave leap to sound.
Try again slowly, using only your air speed to get the octave leap to sound.

Can you find a nice balance between the two?

Through the whole exercise, try to take yawning breaths - breathe down to your toes! Practice this
with a metronome so that you aren't late after the breath. Being able to take quick, big breaths that
are in time with the music is a very important skill!

Variations:

- Transpose into 12 major keys.

- Sing and hold the first pitch of each measure in the most comfortable range. Slur throughout.

- Instead of starting notes with the tongue, use the "HA" articulation.

42
Tone Color

The flute is capable of producing a kaleidoscope of colorful

tones. These varied “tone colors” can be a great tool for adding
musical variety and thinking creatively about your sound. Two
basic variations of tone color are rich purple and hollow
yellow. Tone color variations can be achieved by changing the
shape of your embouchure, changing the angle of your air, the
resonant space inside your mouth, or the speed of the air. Use
these variables to create a wide range of colors to choose from.
With all of your practice, be sure to use a tuner to be sure that
your beautiful yellow tone is not flat, or your rich purple sound
isn’t too sharp.

Some tips on achieving purple tone, which has a richness of sound and lots of resonating
harmonics:

1) Experiment with pressing slightly on the ridge under your nose, flaring your nostrils, or
changing the pressure in between your lips
2) Use fast air, aiming down into the flute
3) Keep a lot of resonant space in between your back teeth

Some tips on achieving a yellow tone, which is more pale and hollow:

1) Experiment with making a more rounded “ew” opening with the lips and in the front of
your mouth. Think about having a small egg on the front of your tongue.
2) Blow slightly more across the embouchure hole
3) Bring the lips a little more forward into a very slightly puckered shape

Don’t limit your thinking to just colors – think about descriptive words, textures, feelings –
anything that can help you to think more creatively about your sound! Work to play with a varied
palette of sound at every dynamic level.

Resonant Space in the Mouth: Try this exercise. Investigate the difference in tone quality
based on the shape of your mouth. Shape your mouth like you’re going to say these syllables:

“Ah” - “Ew” - “Oh” - “Uh”

Using those shapes, play your instrument. Listen carefully to see how the tone quality and color
change when shifting the syllable that you use.

TIP: Record yourself when experimenting with tone! It’s imperfect, but will give you a sense
of how your sound is changing. What we hear when we play is often not quite as pronounced
to an audience. Recording yourself is a good, objective way to hear how your tone is
developing.

43
44
 Score
Tone Color #1

œ œ œ bœ
q = 60
œ
Flute
4
&4 œ œ ˙ bœ œ œ œ bœ ˙

bœ œ œ bœ bœ
&œ œ ˙ bœ œ œ œ bœ ˙
5

Fl.

œ
& œ #œ œ #œ
#œ #œ œ #œ #œ #œ
9

Fl. œ ˙ ˙

œ œ
œ œ œ œ bœ œ bœ
13

Fl. & œ œ ˙ œ ˙

bœ œ
& bœ œ œ œ bœ ˙ bœ œ bœ
17

Fl.
œ œ ˙

œ #œ œ
21

Fl. &# œ œ œ #œ ˙ œ #œ œ #œ œ ˙

44
45
 Vibrato Exercise: Lullaby
With each vibrato exercise, try measured vibrato (pulsing in 2s, 3s, 4s, and 5s for each beat)
and then work to play them using a natural, spinning vibrato. Start each exercise at 60 beats

˙ œ. œ w #
per minute and work gradually up to 120.
4 œ œ ˙ ˙
&4 œ œ .
J œ œ ˙ ˙ ˙ œ œ ˙ J

# œ œ œ. œ ˙ ˙ ˙ œ. œ w
& J œ œ ˙ ˙ ˙ œ œ ˙ J ##

## ˙ ˙ œ. œ w ###
& œ œ œ . œJ ˙ œ œ ˙ ˙ ˙ œ œ ˙ J

### j˙ ˙ œ. œ w ####
& œ
œ œ . œ ˙ œ œ ˙ ˙ ˙ œ œ ˙ J

#### ˙ ˙ ˙ œ. œ w nnnnbb b
& œ œ œ . œJ œ œ ˙ ˙ ˙ œ œ ˙ J b

˙ ˙ œ. œ w
bb b b œ œ œ . Jœ ˙ œ œ ˙ ˙ ˙ œ œ ˙ J nbbb
&

bb œ œ œ . œ ˙ ˙ ˙ œ. œ w
& b J œ œ ˙ ˙ ˙ œ œ ˙ J nbb

b ˙ œ. œ w nb
& b œ œ œ . Jœ ˙ ˙ œ œ ˙ ˙ ˙ œ œ ˙ J

œ . œ ˙ ˙ ˙ œ. œ w
&b œ œ J œ œ ˙ ˙ ˙ œ œ ˙ J

45
46
 Vibrato Exercise: Meunier, tu dors
(Miller, you're sleeping) French Traditional Folk Song
˙ œ ˙ œ œ œ œ œ œ œ ˙ œ ˙ œ œ œ œ ˙.
{q = c 60-120}
œ
3 b
&4

˙ œ ˙ œ œ œ œ œ œ ˙ œ ˙ œ œ œ œ ˙.
&b Œ Œ œ œ bb

˙ œ ˙ œ œ œ œ œ œ ˙ œ ˙ œ œ œ œ ˙.
b œ œ bbb
&b Œ Œ
œ ˙ œ œ œ œ œ œ œ ˙ œ œ œ œ ˙.
œ ˙ œ ˙
b bbbb
&bb Œ Œ

œ ˙ œ œœœ œœ œ ˙ œ œ œ œ ˙.
bb b b Œ Œ œ ˙ œ ˙ #
nnnn## #
&
œ ˙ œ œ œ œ œ œ œ ˙ œ œ œ œ ˙.
#### œ ˙ œ ˙
& ΠΠn###

### œ ˙ œ ˙ œ œ œ œ œ œ œ ˙ œ ˙ œ œ œ œ ˙. n##
& Œ Œ
œ ˙ œ œ œ œ œ œ œ ˙ œ œ œ œ ˙.
## œ ˙ œ ˙
& ΠΠn#

# ˙ œ ˙ œ œ œ œ œ œ œ ˙ œ ˙ œ œ œ œ ˙.
& Œ Œ œ

46
47
 A Breakfast Tune
œ œ œ œ œ. œ œ œ ˙. œ ˙. œ ˙. œ
Jœ œ œ œ œ
& 44 œ

œ œ œ œ ˙. œ œ œ œ œ. œ œ œ w
œ Jœ œ œ œ œ
&

These three melodies are designed for practice throughout the day. After you try a few long tones, try
a harmonics exercise in each practice session. This one will get your air moving!

Play through each exercise first with the written notes to get an idea of the melody. Then use the low
fingerings as indicated to produce all of the high register pitches. Use a combination of fast air and a
smaller lip opening to get the right pitches to sound. Play very SLOWLY at first to be sure you're
correct!

Try transposing this melody. Use low B, low C#, or low D as your basic fingering. Listen carefully.

47
 Three Notes for Lunch
œœœœ œœœœ œ œ œ œ œ ˙ œœœœ ˙
2 œ . ˙
&4 œœœœ ˙
œ œ œ œ œ œ œ œ œ. œ ˙ œœœœ ˙
J
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙
œ. œ ˙ ˙
& œ œ œ œ œ œ œ œ œ. œ ˙ œ œ œ œ œ œ œ œ ˙ ˙
J

Good practice for your right pinky! Keep your right pinky curved and on the edge of the key.

Play through very slowly at first to be sure you're getting the correct pitches.

48
 Winding Down
œ œ œ œ œ œ ˙ œ œ ˙ œœœœ
# 2 œ œ œ œ
& 4 œ œ œ œ œ œ
œ œ œ œ ˙ œ œ ˙ œœœœ

œ œ œ œ œ œ
# œ œ œ œ œ ˙ œ ˙
& œ œ œ œ œ œ œ œ œ œ ˙ œ œ ˙

Try to keep your wrist soft and relaxed through the jump to low C.

Do you recognize the tune? I have changed measures five and seven, as well as thirteen and
fifteen. Can you play the original version using traditional fingerings?

49
 Tone Flexibility Exercise
œ œ œ œœœœœ œ œ œœ œœ œœ œ
# 6 œœœœœœ œ œœœ œ œ œ œ œ œ œ œ œ
& 8

œ œ œ œœœœœœœœœ œ œœ œœ œœ œ œœœœœœœœœœ œ
# œ œ œ œ œ
&

œ œ œ œ œ œ œ œ œ œœœœ œœœœ
# œœœœœœ œ œ œ œ œ œ œ œ œ œ œ œ ˙.
& œ

To be practiced slurred in 6s, 2s, 3s and 4s, as well as tongued.

To be practiced as a melodic exercise, slowly, with a full sound and resonance through large leaps.
Practice singing a low G while playing slowly through the exercise. Keep the throat in a low position.

50
 Exercise in Tonal Clarity
œ œ œ œ œ œ œ œ œ œœ
## 2 œ œ œ œ œ œ œœ
œ œ œ œ œ œ œœ œ
œ
& 4 œœ

œ œ œ œ œ œ œ œ œ œ œ œ œ
# œ œ œ œœœœœ
& # œœœ ˙

To be practiced 4 ways: slurred, with abdominal HA, as well as tongued (legato and staccato).

Variation: Practice as a melodic exercise, slowly, with a full sound and resonance through large leaps.
Practice singing a low G while playing slowly through the exercise. Keep the throat in a low position.

51
SECTION TWO:

technique

52
53
 Minor Scale Fragments
To be practiced as written and 8VA. For even more of a challenge, try 16VA from
m. 1-64. Vary dynamics, practicing all pp or ff, or with cresc/dim suggestions below.

b bb 3 Œ
& 4 œ œ œ œ œœœœ œ œ œ œ œœœœ œ œ œ œ œœœœ ˙ œ œœœœ œ œ œ
p f
#
Πnnn## #
or
b
&bb
6

œ œœœœ œ œ œ œ œœœœ œ œ œ ˙ œ œ œ œ œœœœ œ œ œ œ œœœœ

#### n n nn
ΠΠb
11

& œ œ œ œ
œ œ œ œ œœœ ˙ œ œœœ œ œ œ œ œœœ œ œ œ œ œœœ œ œ œ ˙

& b œ œ œ œ œœœœ œ œ œ œ œœœœ œ œ œ œ œœœœ ˙ Œ

œœœœœ œ œ œ
17

& b œ œœœœ œ œ œ œ œœœœ œ œ œ ˙ Œ bbbbbb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

22

b
& b bbbb œ œ œ œ œ œ œ œ ˙ Œ œœœœœ œ œ œ œœœœœ œ œ œ œœœœœ œ œ œ
27

b bbb b Œ nnnnnn# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ Œ
32

& b ˙

#
& œ œ œ œ œ œ œ œ œ œ œ œ
37

œ œ œ œ
53
 # nbb
& œœœœœ œ œ œ ˙ Œ b b œ œ œ œ œœœœ œ œ œ œ œœœœ œ œ œ œ œœœœ ˙ Œ
39

b ##
& b bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ Œ nnnn # œ œ œ œ œ œ œ œ
45

###
œ œ œ œ œœœœ œ œ œ œ œœœœ ˙ Œ œœœœœ œ œ œ œœœœœ œ œ œ
50

&

### œ n
Œ nn bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙
œœœœ œ œ œ ˙ Œ
55

&

#
b œ œ œ
& b œœœœ œ œ œ œœœœ œ œ œ œœœœ œ œ œ ˙ Œ nn## ## œ œ œ œ œ œ œ œ
61

####
# œ œ œ œ œœœœ œ œ œ œ œœœœ ˙ Œ œœœœœ œ œ œ œœœœœ œ œ œ
66

&

#### nnnn œ œ œ
# œœœœœ œ œ œ ˙ Œ n œ œ œ œ œœœ œ œ œ œ œœœ œ œ œ œ œœœ
71

&

&˙ Œ œœœœœ œ œ œ œœœœœ œ œ œ œœœœœ œ œ œ ˙ Œ bbbbb œ œ œ œ œ œ œ œ

76

54
 b bbb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ Œ
œ œ
œœœœ œ œ œ œœœœ œ œ œ
82

& b

b bbb œ œ œ œ œ œ œ œ ˙ # œ œ œ
Œ nnnnn # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
87

& b

## ˙ Œ œœœœœ œ œ œ œœœœœ œ œ œ œœœœœ œ œ œ ˙ Œ

92

&

Be Mindful:

Have a look at the bracketed measures (65-72). By this point, you may be tired of practicing. You may be
especially grumpy that you've just arrived at the key of G# major. But use this mid-point in the exercise to
check in and be sure that you're maintaining great habits.

1) Play two measures. Check in with your posture. Feel a lengthening in your spine. Feel the broad space
between your shoulders, and release any tension from your upper body. Let your arms feel heavy.

Breathe deeply, taking as much time as you need to get a beautiful, healthy breath.

2) Play the next two measures. Check in with your head and neck. Is your jaw relaxed and open? Is your
brow free of worry wrinkles?

Breathe deeply, taking as much time as you need to get a beautiful, healthy breath.

3) Play the next two measures. Are your fingers springy and light?

Breathe deeply, taking as much time as you need to get a beautiful, healthy breath.

4) Play the last two measures. Think about your air - are you zooming warm air all the way through the
flute?

Breathe deeply, and try the passage again from beginning to end. Be thoughtful of the way all of these
physical factors work together to create a ringing, singing flute sound.

55
 Octave Hops

œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœœœœœœ
4 œœ
&4 œ œ œ œ

œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ
&œ œ œ œ Œ b
3

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
&b œ œ œ
5

œ œ œ

œœœœœ
œ œ œ œ œ œ œ œ œ œ œ œ œœœœ bb
&b œ Œ
7

œ œ œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
b œ œ
&b œ œ œ œ
9

œœ œ
b œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ
&b œ œ œ œ œ œ Œ bbb
11

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
bb œ œ œ œ œ œ
b
13

&
œœœœœ
œ œ œ œ œ œ œ œ œ œ œ œ œœœœ
b œ œ œ œ bbbb
&bb Œ
15

56
 bbb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
b œ œ œ œ œ œ
17

&

œ œ œ œ œœœœœ
b œ œ œ œ œ œ œ œ œœœœ
& b bb œ Œ bbbbb
19

œ œ œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
b œ œ œ
& b bbb
œ œ œ
21

œœœœœ
œ œ œ œ œ œ œ œ œ œ œ œ œœœœ
b bbb œ œ œ œ Œ bbbbbb
23

& b

b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
& b bbbb œ œ œ
25

œ œ œ

œ
œ œœœœœ œ œ œ œ œ œ œœœœœœœ #
b
& b bbbb œ Œ nnnnnn## ##
27

œ œ œ œ

#### œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ
& #
29

œœœœœ
#### œ œ œ œ œ œ œ œ œ œ œ œ œœœœ ####
# œ œ œ œ Œ n
31

&

57
 œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ
33
#### œ œ œ œ œ œ
&
œœœœœ
œ œ œ œ œ œ œ œ œ œ œ œ œœœœ
35
#### œ œ œ œ Œ n###
&

### œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ
37

&

œœœœœ
### œ œ œ œ œ œ œ œ œ œ œ œ œœœ n##
œ Œ
39

& œ œ œ œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
# œ œ œ œ œ œ
& #
41

œœ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ
## œ œ œ œ œ
œ œ œ œ n#
Œ
43

&

# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ
45

& œ œ œ œ

œ œ œ œ œ
œ œ œ œ œ œ œ œ œ
# œ
47
œ œ œ œ œ œ Œ
& œ œ œ œ

58
 Flying Fingers

œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ
4 œ œ œœœœœ œ œ
&4 œ œ

œ œ œ œ œ œ œ œ œ #œ œ œ œ œœœœœœ œ
œ œ œœœ œ b
&œ
3

œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ
&b œ œ œ œœœœœ œ œ nb
5

œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ
œ œ œœœœœ œ œ
&b
œ œ nb b
7

œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœ
b œ œœœœœ œ œ
&b œ œ nnbb
9

œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ
bb œ œ œœœœœ œ œ nnbbb
11

& œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœ
bb œ œ œ œœœœœ œ œ
b nnnbbb
13

&

œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ
b œ œ œœœœœ œ œ
&bb œ œ nnnbbbb
15

59
 œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœ
bbbb œ œ œ œœœœœ œ œ nnnnbbbb
17

&

œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ
bbbb œ œ œ œ œœœ œ nnnnbbbbb
19

& œ

b œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœ
& b bbb œ œ œ œ nnnnnbbbbb
21

œ œ œ œœœ

œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ
bb œ œ œœœœœ œ œ
b
& bb œ nnnnnbbbbbb
23

œœœ œœœ œœœœœœœ œœœœ

b œœœœœ œ œ nnnnnnbbbbbb
& b bbbb œ œ œ
25

œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ
œ œ œ œ œœœ œ #
b œ
& b bbbb nnnnnn## ##
27

œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœ
#### œ œ œ œœœœ œ œ nnnn ####
& # œ n #
29

#### œ œ œ œ œ œ œ œ œ ‹œ œ œ œ œ œ œ œ
# œ œ œ œœœœœ œ œ nnnn ####
n
31

&

60
 #### œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœ nnnn####
œ œœœœœ œ œ
33

& œ œ

œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ
#### œ œ œ œœœœœ œ œ nnnn###
œ
35

&

œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœ
### œ œ œœœœœ œ œ nnn###
œ
37

&

### œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ nnn##
œ œ œœœœœ œ œ
39

& œ

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1) Practice this exercise in all keys, using the circle of fifths in the appendix as a guide.

2) Vary the articulation in the following ways:

- Slur all
- Tongue 2/Slur 2 or Slur 2/Tongue 2
- Slur 3, Tongue 1 or Tongue 1, Slur 3
- Staccato/Legato Throughout
- Ha (abdominal articulation, no tongue)

3) Vary the rhythm in the following ways:

- "Jazzy" rhythm: long-short (dotted eighth, sixteenth)
- "Snappy" rhythm: short-long (sixteenth, dotted eighth)
- Triplet-Eighth, or Eight-Triplet

4) Practice at different dynamic levels: pp-p-mf-ff

5) Start pp and crescendo to forte at the downbeat of the next bar, then decrescendo to pp.
Continue with this dynamic pattern every two bars.

6) Practice for quick, in-tempo breaths. Breathe

69 at the end of every bar.
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28

& œ œ œ œ

œ œ œ œ œ œ œ œ œ œ œ œœœ œœœ œœœ

# œœœœœ œ œ œ œ w n
œ œ
31

& œ

œ œ œ œ œ œ œ œ œ œ œ œœœ œœœ œœœ

&œœœœœ œ œ w
34

œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œœœ œœ
œœœœœœœœœ œ œ œ w
37
œ œ œ œ
&

73
 Fingerbuster: Whole Tone Scales

# œ œ œ œ œ œ œ #œ œ œ # œ œœœ
œ œ# œ # œ œ œ # œ # œ œ œ #
œ œ œœœ œœ # œ œ œ
& 44 œ œ
3 3 3 3 3 3 3 3 3 3 3 3

œœœ œ œ œ #œ œ #œ #œ œ œ œ œ œ œ œ
#œ #œ œ #œ œ œ œ œ œ œ œ œ œ
#œ #œ #œ #œ œ œ
4

&
3 3 3 3 3 3 3 3 3 3 3 3

œ œ œ œ œ œ œ #œ œ #œ #œ œ œ œ œ œ œ œ # œ # œ œ # œ œ œœœ
#œ #œ #œ œ œ œ œ œ œ
& #œ
7

3 3 3 3 3 3 3 3 3 3 3
3

#œ œ œ œ œ œ œ œ œ œ œ œ œ # œ œ #œ œ œ œ #œ œ #œ œ œ
#œ #œ œ œ #œ œ #œ œ #œ œ œ œ
10

&
3 3 3 3 3 3 3 3 3 3 3
3

œ œ œ œ #œ œ œ œ œ # œ # œ # œ œœœ
œ œ œ œ œ #œ œ œ œ œ
#œ œ œœ œ œ œ #œ #œ œ
& #œ
13

3 3 3 3 3 3 3 3 3 3 3 3

œ
œ œ #œ #œ #œ œ œ œ œ œ
&œ w
16

3 3 3 3

74
75
 Study in Sixths

œ œœ œ œ œœ
œ œ œ œœ œ œœ
6 œœœœ œœ œœ œ œ œ œ œ œœœœ œ
&8 #œ .

œ œ œ œ œœ
œ
œ œ #œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œœ
&œ œ œ œ #œ œ œ b
4

œ .

œ œ œ œ œœœ œœœ
œ œ œ œ
&b œœœœ œœ œœ œ œ œ œ œ œœœ œ
œ # œ œ . nb
7

œ œ œ œ œœœ œœœ
œ
œ œ #œ œ œ œ œ œ œ œ œ œ #œ œ œœ
&b œ œ œ # œ œ œ œ . nb b
10

œ œ œ œ œœœ œœœ
œ
b œœœœœœœ œœ œ œ œœ œœ œ œœœ œ nb
b œ #œ œ. n b
13

&

œ œ œ œ œœ
œ œ
b œ #œ œ œ œ œ œ œ œ œ #œ œ œ œ œœ
b
& œ œœ œ œ œ # œ œ œ . nnbbb
16

œ œ œ œ œ œ œ œœœ
bbb œ
œ œœœœ œœ œ œ œœ œ œ œ œ n œ œ . nnnbbb
19

& œ œ œ œœœ

œ œ œ œ œœœ œœœ
œ
bb b œ œ œ œ n œ œ œ œ œ œ œ œ œ œ n œ œ œœœ œ
n œ œ œ . nnnbbbb
22

&

75
 œ œœ œ œ œœœ œ œ œ
bbb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ œ n b
b œ œ œ n œ œ . n nnb bb
25

&

œ œ œ œ œœœ œœœ
b nœ œ nœ œ n nbb b
& b bb œ œ œ œ œ œ œ œ œ œ œ œ œ œœ n
œ nœ œ œ œ. n b b
28

œ œ œ œ œœ
œ œ
œ œ œ œ œ œœ œœ œ œ œ œœ
b bbb œ œ œ œ œ œ œ œ œ œ œ . nn n bb b
nœ nn bb
31

& b

œ œ œ œ œœ
œ
bb b b œ œ œ œ n œ œ œ œ œ œ œ œ œ œ œ n œ œ œ œ œœ
œ œ n œ œ œ . nnnn bbbb b
34

& b œ n b

œ œ œ œ œ œœ
b bbb b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ
œ œ œ œ œ . nnnnnnbbbbbb
37

& b œ œ nœ

œ œ œ œ œœ
b bbb b œ n œ œ œ œ œ œœn œ œ œ œ œ œ œ œ . n n n n ####
& b œ œœ œœ œœ œ nn #
40

œ œ nœ œ

œ œ œ œ œœœœœœ œ œœ
œ
#### œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ œ nnnn ####
& # œ ‹œ œ. n #
43

œ œ œ œ œœ
œ
#### œ ‹ œ œ œ œ œ œ œ œ œ œ ‹ œ œ œ œ œœ œ . nnnn ####
œ œ
& # œ œœ œ n
46

œ‹œ œ

#### œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ nnnn####
œ œœ œœ œœ œ
49

& œ œ œ œ œ.
#œ
76
 œ œ œ œ œœœ œœœ
œ
#### œ œ œ œ # œ œ œ œ œ œ œ œ œ œ # œ œ œœœ œ nnnn###
# œ œ œ.
52

&

œ œ œ œ œœœ œœœ
œ
### œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ nnn###
œ œ œ œ
55

& œ #œ œ.

œ œ œ œ œœ
### œ œ
œ œ #œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œœ nnn##
œ œ #œ œ œ
58

& œ œ œ .

## œ œ œ œœ œ œ œ œœœ nn##
œ œœœœ œœ œ œ œœ œœ œ œ # œ œ .
61

& œ œ œœœœ

œ œ œ œ œœœ œœœ
œ
## œ œ œ œ # œ œ œ œ œ œ œ œ œ œ # œ œ œœœ œ nn#
# œ
64

& œ œ.

œ œ œ œ œœœ œœœ
# œ œ œ œ œ œ œœ œ œ n#
œ œ œ œ œ œ œ
67

& œ œ œ œ œ #œ œ.

# œ œ œ œ œ œ œ œœœ
œ
& œ œ œ œ #œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ.
70

#œ

77
 Large Interval Leaps

.
œ œ.
œ œ. œ œ œ œ.#œ œ. œ . œ œ . œ œ. œ. œ.
4 œ œ œ œ œ œ œ b
& 4 œ. œ. œ
œ . .
œ. œ
œ . œ

œ. œ œ. œ œ. œ. #œ œ.
œ œ œ œ œ . œ œ . œ œ. œ. œ
œ. œ œ. . œ . œ œ œ . œ nb b
&b œ. œ œ
5

œ. œ

œ œ. œ œ. œ œ. œ. #œ œ. œ . œ œ . œ œ. œ. œ
b œ œ œ œ. œ œ. œ. œ œ œ . œ bbb
& b œ. œ .
9

œ. œ œ

œ œ.
œ œ. œ œ. œ. nœ œ. œ . œ œ . œ œ. œ. œ.
b b œ. œ œ. œ œ œ œ œ
. œ . œ œ œ œ bb
bb
& b
13

œ. œ. œ

œ œ. œ œ. œ. nœ œ. œ . .
b œ œ. . œ
œ œ œ œ œ. œ œ œ . œ
œ œ œ œ . œ bbbbb
& b bb œ . œ œ œ
17

. .
œ. œ œ .

œ œ. œ œ. œ œ. œ.nœ œ. œ . œ œ . œ œ. œ. œ
bbb œ . œ. œ œ œ œ. œ œ. œ. œ œ œ . œ bb b b
b œ bb
21

& b œ. œ

bb b b b œ œ . œ œ . œ œ . œ œ . œ œ . n œ œ . œ œ œ . œ œ œ . œ œ . œ œ . œ œ . nn n n####
œ nn #
25

& b œ. œ œ. œ. œ. œ.œ

œ . œ œ . œ œ . œ .‹œ œ . œ œ œ. œ. œ # #
#### œ œ œ œ .
œ œ. œ œ. œ. œ œ . œ œ .œ n # #
# œ. œ .
29

& œ. œ œ
78
 œ œ.
œ œ. œ œ. œ. #œ œ. œ . œ œ . œ œ. œ. œ.
#### œ . œ. œ œ œ œ œ œ. œ œ
. .
œ œ œ n###
œ
33

& œ. œ

### œ œ.
œ œ. œ œ. œ.#œ œ. œ . œ œ . œ œ . œ . œ . n#
œ. œ œ œ œ œ œ œ œ œ œ œ #
37

& . . . œ .
œ. œ œ

œ œ. œ œ. œ œ. œ.#œ œ. œ . œ œ . œ œ. œ. œ
## œ . œ. œ œ œ œ. œ œ. œ. œ œ œ . œ n#
œ
41

& œ. œ

#
œ œ. œ œ. œ œ. œ.#œ œ. œ . œ œ . œ œ. œ. œ
œ. œ. œ œ œ œ. œ œ. œ œ. œ œ œ .œ
45

& œ. œ w

To be practiced at all levels of dynamics!

79
 C Major

œ œ œ œœœœœœ
œ œ œ œ œ œœœœœ
4 œ œ œ œ œ
œ
Major Scale

&4 œœœœœœ œ

œœœœ œ œœ œ œ œ œ œœ
bb œ œ œœœœ
Natural Minor
œœœœ œœ
œœ œ œ œ b œ œ œ œ œ œ œ œœœœ
3

&
˙

œ œ œ nœ œ œ œ œ œ œ
bbb œ
Harmonic Minor

œ nœ œ œ œ œ nœ œ
8

& œœ œ œ œ œœœœ˙

œ œ n œ nœ œ bœ Aœ œ œ œ
Melodic Minor

bbb nœ nœ œ œ œ œ œ Aœ Aœ nnn
12

& œœ œ œ œ œœœœ˙

œ # œ œ # œ œ œ #œ œ
œ # œ œ œ # œ œ #œ œ #œ œ
Chromatic Scale

œ #œ œ #œ œ œ # œ
16

& œ #œ œ #œ œ œ #œ

# œ œb œn œ œ œb œ œb œn œb œ œ œb œ œ b œ œ œ b œ œ b œ œb œ
œ œb œ œb œ œ œb œ
œ bœ œbœ œ œ bœ œ bœ
18

& ˙

#œ œ œ œ œ œ œ
Thirds Within

œ œ # œ # œ
Whole Tone Scale Major Scale

& œ œ œ #œ #œ #œ œ œ #œ #œ #œ
œ
21

œœœœœœœ œœ w
œ œ œ œ œ œœœ
œ œ œ œ
œœœœ œ œ
œ œ œ œ œ œ
&œœœœœœœ œ
26

80
81
 œœœœœœœ
C Major

œ œ œ œ œ œ œ œœ œ œ
œ œœœœœ œ œ
œ œœœœœ œœœ œ œ bbb
30

& œ œœ w

œ œ œ n œ œ nœ nœ œ nœ œ ˙ œ Aœ Aœ œ œ œœ
bb œ œ œ
Thirds Within Minor Scale
œ œ
& b œ œ œ œ œ œ œ nœ œ nœ nœ œ œ œ
36

Arpeggios: Major œ œ
œ
œ œ œ œ
bb b œ œ œ œ œ A œ œ A œ œ œ nn n œ œ œ œ
œœ œœ
41 3

& œ œœœœœ œ œ œ
3

œ ˙ œ
œ 3 3 3 œ˙
œœ œœ
3

œ b œ œ œ œœ
Augmented
œ œ # œ œ œ
œ # œ # œ
Minor

b œ b œ œ œ
& œ bœœœ œœ #œœ œ #œ
46 3 3
3 3

b œ ˙ œ œ œ˙
bœ œ œ œ
3 3 3 3 3 3 3 3

œ b œ œ
bœ bœ bœ œœ
Seventh Chords: Major
b œ œ
Diminished

& œ bœ bœ œ œ bœ œœœ
50 3
3

b œ ˙ œ œ
œœœœ bœ œ œ œ
3 3 3 3

œœ œ œ œœ œ
œœœ
Minor
œ bœ œ bœ œ
œ œ œ bœ œ bœ œ bœ
53

& œ
œ œ bœ œ œ œ œ
œ bœ œ œ bœ œ œ bœ œ
Dominant
bœ œ bœ œ œ œ bœ
œ bœ œ œ œ bœ œ
57

& œœ

b œ b œ bœ œ œ œ œ
bœ œ œ bœ bœ ∫œ
Diminished
b œ b œ
Half-Diminished
b œ b œ b œ
& œ bœ bœ bœ œ œ bœ bœ
bœ œ bœ bœ ∫œ
œ
61

b œ b œ ∫œ œ œ œ œ
œ œ ∫œ bœ
bœ œ ∫œ
65

& bœ bœ w

81
82
 F Major

œ œ œœ œœœœœœœ
œœœ œ œ œœœœœ
œ œœœœ
Major scale

& b 44 œ œ œ œ œ œ

œœœ œœœ
b œ œ œ œœœœ œ œ œœ
& b œ œ œ œ œ œ œ ˙ nb b b œ œ œ œ œ œ œ œœœœ
3 Natural Minor

œ ˙

œ œ œ œ nœ œ œ œ œ œ œ
œ œ œ œ nœ œ
Harmonic Minor

b bbb œ œ œ n œ œœœœ
œœœ
8

& ˙

œ œ nœ nœ œ bœ Aœ œ œ
bb nœ nœ œ œ œ œ œ œ Aœ Aœ
nnnnb
Melodic Minor

&b b œœœœœ œœœœ

12

œ n œ œ # œ œ # œ œ œ œ bœ nœ bœ nœ œ bœ
œ
œ #œ œ œ #œ œ #œ
Chromatic Scale

& b œ #œ œ #œ œ œ nœ œ #œ
16

œ bœ œ bœ œ œ bœ œ bœ
&b œ nœ bœ œ bœ œ bœ
18

nœ #œ #œ œ œ œ œ
œ œ œ œ œ #œ
Whole Tone Scale

#œ œ
& b œ œ œ nœ #œ #œ nœ œ œ w
20

œ œ œ œ œ œ œ œ
œ œ
Thirds Within Major Scale

b œ œ œ œ œ œ œ œ œ œ
œ œ
24

& œ œ

82
83
 œœœœœœœœ œœœœœœœ œ
F Major

œ œœœœœœ œ
&b œ œ œœ œœœ œ œ œ œœœ w nb b b b
27

œ œœ

œ œ œ n œ œ nœ nœ œ nœ œ ˙
œ
b b œ œ œ œ œ nœ œ nœ nœ œ œ œ œ œ œ
Thirds Within Minor Scale

b
& b œ œ
33

œ Aœ Aœ œ œ œ
œ œ œ œ œ œ œ Aœ œ œ
bb b Aœ œ œ œ œ œ œ œ œ œ œ n n n n b 42
& b
37

œ ˙

œ œ œœœ b œ œ œ œ bœ
Arpeggios: Major Minor

2 œ œ œœ œ œ œœ
b
3 3

œ œ ˙ b œ bœ ˙
41

& 4 œ œ
3 3 3 3
3 3

# œ œ #œ œ bœ
œ bœ bœ
Augmented
œ œœ bœ œ
Diminished

# œ œ #œ œ ˙ 44
&b œœ œ bœ bœ bœ bœ ˙
47 3 3

3 3 3 3
3 3

œœ
Seventh Chords: Major
œœœ Minor
œ bœ œ bœ œ
œ œ œ œœœ bœ œ b œ bœ œ bœ
4
&b 4 œœœ œœ bœ œ œ bœ
53

œ bœ œ bœ œ œ b œ bœ œ bœ bœ
œ b œ bœ œ bœ
Dominant Half-Diminished
œ œ bœ œ
œ œ bœ
bœ œ œ
&b œ œ bœ bœ bœ bœ
57

b œ ∫œ œ ∫œ bœ
∫œ œ
Diminished
b œ bœ œ ∫œ
b b œ b œ bœ bœ
61

& œ w

83
84
 Bb Major

œ œ œ œœœœœ œœœœœ
œ œœœœ
bb 4 œ œ œ œ œ œ œ œœœœœ
Major scale

& 4 œœ

œ œ œ œ œœœœ œœœœœ
bb n b b œ œ œ œœœ
Natural Minor œœœ œ
œœœ˙
& œœ œœœœœ˙ n b b b œœ
3

œ
œ œ n œ œœ œœ
n œ œ œ œ œ œ œ œ œ nœ
bbb œ œ œ œ œ œ œ œœœ
Harmonic Minor

b œ˙
8

& b

œ œ œ n œ nœ œ bœ Aœ œ œ œ
œ œ œ œAœAœ œ
bb b b œ œ œ œ œ n œ n œ œœœ˙ nnnnnbb
12 Melodic Minor

& b

œ n œ œ # œ œ # œ œ œ œ bœ nœ bœ nœ œ bœ
œ #œ œ œ nœ œ #œ œ
b œ œ nœ œ #œ
Chromatic Scale

& b œ nœ œ #œ
16

œ bœ œ nœ bœ œ bœ œ bœ
b œ nœ bœ œ bœ œ nœ U
b w
18

&
œ œ œ œ
œ œ œ nœ #œ #œ œ œ œ #œ
b œ œ œ nœ #œ #œ
Whole Tone Scale
20

b #œ nœ œ œ w
&

œ œ œ œ œ œ œ œ œ œ œ œ
bb œ œ œ œ œ œ œ œ œ œ œ œ
Thirds Within Major Scale
24

&

84
85
 œœœœœœœ œ
Bb Major

œ œ œ œ œ œ œœ œ œ
bb œ œœœœœ œ œ
œ œœœœœ œœœ œœœœ w nnbbbbb
27

& œ
œ œ œ n œ œ nœ ˙
œ œœœ œ œ
bb b œ œ œ œ œ œ œ n œ œ n œ n œ œ
Thirds Within Minor Scale

& bb Ó
33

œ Aœ Aœ œ œ œ
œ œ œœœœœ œ
bb b b Aœ Aœ œ œ œ œ œ œ
œ œ w n n n n n b b 42
37

& b

œ œœ œ œ œ bœ
œœ œœ
œœ
b œ œœ
Arpeggios: Major Minor

b b 2 œœœ œœ
˙ œ b œ bœ ˙
41

& 4
3 3 3 3 3 3

œ #œ œ bœ
3 3

#œ bœ
œœ œœ œ bœ bœ œ
Augmented Diminished

b b œ œ #œ #œ œ ˙ œ bœ bœ bœ bœ ˙ 44
47

&
3 3 3 3 3 3

œ œœœ bœ œ bœ œ bœ
3 3

œ œ œ œ œœœ
Minor
b œ œ
bœ œ œ bœ œ
Seventh Chords: Major

bb 4 œ œ œ œ œ œ bœ œ bœ
53

& 4

œ bœ œ bœ œ bœ bœ œ bœ bœ
Dominant
bœ œ œ œ œ bœ bœ
Half-Diminished
œ b œ bœ œ bœ
b
&b œ œœ œ œ œ bœ bœ bœ bœ
57

b œ ∫œ œ ∫œ bœ
b œ bœ œ ∫œ
bb œ b œ b œ ∫ œ œ bœ bœ
Diminished

w
61

&

85
86
 Eb Major

œ œ œ œ œœœœœœœœœ
b œ œ œœœ œœœœ
œœœ
Major scale

& b b 44 œ œ œœœœ œ

œœœ œœœ œœœ

bb œ nn b b b b œ œ œ œ œ œœ
& b œœœœœ œ˙ n b b œœœœœœœ
Natural Minor
œ œœœœ
3

œ ˙

œ œ œ œ nœ œ œ œ œ œ œ
nœ œ œ œ œ nœ œ œ
Harmonic Minor
bb
& b b bb œ œ œ œ œ œ œœœ˙
8

œ œ nœ nœ œ bœ Aœ œ œ
bb b b b œ œ œ œ œ œA œA œ
nœ nnnnnnbbb
Melodic Minor

& b œ œ œ œ œ nœ œœœœ˙
12

œ œ n œ œ n œ œ #œ œ œ œ bœ nœ bœ bœ œ bœ
b œ nœ œ #œ œ œ nœ œ # œ
Chromatic Scale

& b b œ nœ œ #œ œ œ nœ
16

b œ bœ œ nœ bœ œ bœ œ bœ U
&bb œ nœ bœ œ bœ œ nœ
18

n œ # œ œ œ œ œ
œœ œ n œ œ œ œ #œ
Whole Tone Scale

b bb n œ # œ nœ nœ œ œ w
n œ
20

& œœœ

œ
Thirds Within Major Scale
œ œ œ œ œ œ œ
b œ
œ œ œ œ œ
&bb œ œ œ œ œ œ œ œ œ œ
24

86
87
 Eb Major
œœœœœœœ
œ œœœœœœœ œ
& b bb œ œœœœœœ œ nnnbbbbbb
27

œ œœœœ œ œœ w

œ n œ œ n œ n œ œ nœ œ ˙
œ
œœœœœ œ œ œ
Thirds Within Minor Scale

b bbb œ n œ œ n œ n œ
& bb œœœœœ œ
32

œAœAœ œ œ œ
bb b b œ œ œ œ œœœ œ
& bb
Aœ Aœ œ œ œ œ œ œ œ œ œ n n n n n n b b b 42
36

œ œœ ˙

œ œœ
Arpeggios: Major Minor
œ œœ
b 2 œ œ œœ œ b œ bœ œ
b b œ œœ ˙ œ œ bœ ˙
40 3 3

& 4 œœ œ bœ
3 3 3 3
3 3

n œ œ nœ ∫ œ œ∫ œ b œ
Augmented Diminished

bb œ œ œœ b œ
b n œ nœ œ ∫œ œ œ∫ œ 44
46 3 3

& œœ ˙ œ b œ bœ ˙
3 3 3 3
3 3

œ œœœ œ bœ œ bœ œ bœ
Minor
œ
Seventh Chords: Major

b 4 œœœ œœœ
œ œ œ bœ œ bœ œ
b œ œ bœ œ
&bb 4 œœœ
52

bœ

œ b œ œ bœ œ ∫ œ b œ œ b œ∫ œ b œ
œ œ b œ
Dominant Half-Diminished
b œ œ bœ œ œ œ b œ∫ œ
& b b œ œ œ bœ œ œ b œ∫ œ b œ
56

bœ

∫ œ ∫œ œ ∫œ ∫œ
b œ b œ bœ œ ∫œ
Diminished

& b b œ bœ ∫œ ∫œ ∫œ
60

bœ w

87
88
 Ab Major

œ œ œœ œœ œœœœœ
œœœ œ œ œœœœœ
b œ œœœœœ
Major scale

& b b b 44 œ œ œ œ œ

œœœœ œœœœ
bb b nn n # # # # œ œ œ œœœœ œ œœœ
& b œœœ œœœœ˙ n # œœœœœ œœœœ˙
3 Natural Minor

œ œ œ œ œ ‹œ œ œ œ œ œ œ œ
#### ‹œ œ œ ‹œ œ œ
Harmonic Minor

œ œ œ œ œœœ˙
& # œœ
8

œ œœ #œ ‹œ œ#œ Nœ œ œ œ
#### œ#œ ‹ œ œ
Melodic Minor
œ œ œa œ N œ œ nnnn b b
& # œœœœ œœœ˙ nb b
12

œ œ n œ œ n œ œ #œ œ œ œ bœ nœ bœ bœ œ bœ
b œ nœ œ #œ œ œ nœ œ nœ
& b bb œ n œ œ n œ œ
œ nœ
16 Chromatic Scale

œ bœ œ nœ bœ œ bœ U
bbbb œ bœ œ nœ bœ œ bœ œ
nœ w
18

&
œ œ œ œ
Whole Tone Scale
œ œ œ nœ nœ #œ œ œ œ #œ
b bbb œ œ n œ n œ # œ nœ nœ œ œ w
œ
20

&

œ œ œ œ œ œ œ œ œ œ
bb b b œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Thirds Within Major Scale
24

&

88
89
 œœœœœ œ
Ab Major

œ œ œœœœœœœ œ
bb b œ œœœœœœ œ ##
& b œ œœœœ œ œœ w nnnn # ##
27

œ # œ œ ‹ œ # œ œ ‹œ œ ˙
œ œ
#### œ œ œ œ œ # œ œ ‹ œ # œ œ œ œ œ œ œ œ
Thirds Within Minor Scale

& # œ œ
32

œ N œa œ œ œ œ
œ œ œ œ œ œ œaœœ œ
#### Nœ œ œ œ œ œ œ œ œ œ œ nnnn b b 2
& # nb b 4
36

œ ˙
œœ œœ
œœœ œœ œ b œ œ bœ œ
Arpeggios: Major Minor

b œ œœ œ œ bœ
& b b b 42 œ œ ˙ œ bœ ˙
40

3 3 3 3 3 3

œ nœ ∫ œ œ∫ œ b œ
3 3

nœ
œœ œœ b œ
Augmented
œ œ∫ œ
Diminished

b nœ nœ œ ˙ ∫ œ
& b bb œ œ œ b œ bœ ˙ 44
46

3 3 3 3 3 3

œ œ œ bœ œ bœ œ bœ
3 3

œ œ œ œ b œ œ
Seventh Chords: Major Minor

bb b 4 œ œ œ œ œ œœœ
œ b œ œ bœ œ œ bœ œ
bœ
& b 4 œ
52

œ bœ œ bœ œ ∫ œ b œ œ b œ∫ œ b œ
bœ œ œ œ œ bœ b œ
œ œ œ b œ∫ œ b œ œ œ b œ∫ œ
Dominant Half-Diminished
b œ
& b bb œ œ bœ
56

∫ œ ∫œ œ ∫œ ∫œ
b œ bœ œ ∫œ
bbb œ b œ ∫ œ ∫ œ œ ∫œ
Diminished

b bœ w
60

&

89
90
 Db Major

œ œ œ œœœœœœœœœœ
b œ œœœœ œœœœ
œœ
Major scale

& b b b b 44 œ œ œ œ œ œ œ œ

bb b œ œ nn n # # # # œ œ œ œœœœ œœœœ
œœ œ œ œœœ œ
Natural Minor

& b b œœœœœ ˙ n n œ
3

œ œ œœœ˙
œ œœœ

#### œ œ œ #œ œ œ œ œ œ œ
Harmonic Minor

œ #œ œ œ œ œ œ #œ œ
8

& œœ œ œ œ œœœœ˙

#### œ œ œ # œ #œ œ nœ Nœ œ œ œ nnnn b b
#œ #œ œ œ œ œNœNœ
Melodic Minor
bbb
12

& œœ œ œ œ œœœœ˙

œ n œ œ n œ œ n œ œ œ œ b œ b œ∫ œ b œ œ b œ
b œ
& b bbb œ n œ œ n œ œ œ n œ œ nœ œ nœ œ œ nœ œ nœ
16 Chromatic Scale

bb œ bœ œ nœ bœ œ bœ U
&bbb œ ∫œ œ nœ bœ œ bœ œ
18

nœ w

œ œ œ œ
nœ nœ nœ
Whole Tone Scale
bb b b œ œ œ œ œ œ nœ
& b œ œ œ nœ nœ nœ nœ nœ œ œ w
20

œ œ œ œ œ œ
Thirds Within Major Scale
œ œ
bbbb œ
b œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ
24

&

90
91
 Db Major

œœœœœœœ
b œ œœœœœœœ œ U ##
& b bbb œ œœœœœœœ œ œ nnnnn # #
27

œ œ˙

#### œ # œ œ #œ œ Nœ Nœ œ œ œ œ
Thirds Within Minor Scale

# œ œ
œœœœ œ œ œ œ œ
# œ # œ
31

& œ
œœœœœ œ œ

#### œ œ œ œ œ nnnn b b 2
Nœ œ Nœ œ œ œ œ œ œ œ bbb 4
35

& œ w

œ œœ œ œ œ bœ 3
Arpeggios: Major Minor

b œ œ b œ
& b b b b 42 œ œ œ
œ œœ œ œœ
3

œ
38 3 3

œ ˙ œ b œ bœ ˙
3 3 3 3

œ nœ ∫ œ œ∫ œ b œ 3
Augmented
n œ
Diminished

b œ œ b œ
& b bbb œ œ n œ œ œ nœ œ œ∫ œ 44
3

∫ œ
44 3 3

œ ˙ œ b œ bœ ˙
3 3 3 3

œœ œœœ œ bœ œ bœ œ
Seventh Chords: Major Minor

bb 4 œ œ œ œœœ bœ œ b œ bœ œ bœ
&bbb 4 œœœ œ œ œ bœ œ œ bœ
50

Dominant
œ b œ œ b œ œ
Half-Diminished
∫ œ b œ œ b œ∫ œ b œ
b œ œ b œ
& b bbb œ œ œ b œ œ œ bœ œ
œ œ b œ∫ œ b œ
œ œ b œ∫ œ
54

bœ

∫œ ∫œ œ ∫œ ∫œ
bb b b b œ bœ œ ∫œ
Diminished

& b œ bœ ∫œ ∫œ œ ∫œ bœ
58

91
92
 Gb Major

œœœ œœœœœœ
œœ œ œ œ œœœœœ
b œœœœ œœœœ
Major scale

& b b b b b 44 œ œ œ œ œ

œœœ œœœ
bb b b œ nn n n # # # œ œ œ œœœœ œ œ œœ
œ œ œœœœ
Natural Minor

& b b œœœœœœœ˙ n n œœœœœ

3

œ œ œ œ #œ œ œ œ œ œ œ
### œ œ œ œ #œ œ
Harmonic Minor

œ œ œ # œ œœœœ
œœœ
8

& ˙

œ œ#œ #œ œ nœ Nœ œ œ
### œ œ œ œ œ œNœNœ nnn b b b
œ#œ #œ
Melodic Minor

œ œ œœœœ bbb
12

& œ œ ˙

œ n œ œ n œ œ n œ œ œ œ bœ bœ Nœ bœ Nœ bœ
b œ nœ œ œ nœ œ nœ œ
& b bbbb œ n œ œ n œ œ œ n œ
œ nœ
16 Chromatic Scale

œ nœ bœ nœ bœ œ bœ œ U
bb nœ bœ nœ bœ œ nœ bœ
& b b bb
18

nœ w

n œ nœ œ œ œ œ
œ œ n œ œ œ œ nœ
nœ œ
Whole Tone Scale

b bbb b œ n œ n œ nœ nœ œ œ w
œ
20

& b œ

œ œ œ œ œ œ œ œ œ œ
œ œ
Thirds Within Major Scale

b bbb b œ œ œ œ œ œ œ œ œ œ œ
24

& b œ

92
93
 œœœœœœœ
Gb Major

œ œœœœœœœ œ U ##
b œ œœœœœœ œ nnnnnn #
& b bbbb œ œœœ˙
27

œ œ œ # œ œ #œ œ Nœ Nœ œ œ œ œ
### œ
#œ#œ œ œ œ œ œ œ œ
Thirds Within Minor Scale

#œ œ
œœœœœœœ
31

&

### œ œ œ œ œ N œ œ N œ œ œ œ œ œ œ œ nnn b b b 2
bbb 4
35

& œ w

œ œœ œ œ œ
œ œœ œ∫ œ ∫œ œ
Arpeggios: Major Minor

bb b b 2 œ œ œ œœ ˙ œ œ∫ œ
& bb 4 œ œ∫ œ
38

3 3 3 3
3 3

œ nœ
3 3

œ œ nœ œ œ œ ∫œ∫œ
Augmented Diminished
b
& b bbbb ˙ œ œ nœ nœ œ ˙ œ∫œ∫œ
43

3 3 3
3

œ∫œ œ œ œ œ œ œ
3 3

∫œ œ œ
Seventh Chords: Major

bb
& b b bb ∫œ∫œ 4 œ œ œ œ œ œ œ
œ
48

˙ 4 œ
3
3

œ b œ œ b œ œ∫ œ œ
Dominant
œ bœ
bbb b ∫ œ œ b œ œ ∫ œ b œ œ∫ œ bœ œ œ
Minor

b œ œ
52

& b œ œ

œ bœ œ ∫ œ b œ œ b œ∫ œ∫ œ
œ ∫ œ
Half-Diminished

bbb b œ bœ œ ∫ œ bœ œ œ b œ∫ œ
b œ ∫ œ ∫œ
55

& b œ

∫œ ∫œ œ ∫œ ∫œ
œ ∫ œ ∫œ œ ∫œ
Diminished

b bbb b ∫ œ ∫ œ ∫ œ ∫œ ∫œ
58

& b œ w

93
94
 B Major

œ œ œ œœœœœœœœœœ
#### 4 œœœ œœœœ
Major Scale

œ œ œ œ
& # 4 œ œ œ œœ
œ œ œ

#### œ œ œ œ
U nnnn ##
& # œ n
3

œ œ œ œ œ œ œ
œ œ œ œœ œœ
œ œ œ œ œ œœœœœ
## œ œ œ œ œ œ œœœ
Natural Minor

œ œ˙
4

&

œ œ œ œ #œ œ œ œ œ œ œ
œ œ œ #œ œ œ
## œ œ œ œ œ œ # œ œ
Harmonic Minor
œœœ˙
8

&

œ œ #œ #œ œ nœ Nœ œ œ
œ œ œ œ œ Nœ Nœ
## œ œ œ œ œ #œ #œ œ œœœœ˙ nn####
Melodic Minor

#
12

&

œ # œ œ nœ #œ œ nœ #œ
####
Chromatic Scale
nœ œœ#œ œ n œ # œ n œ # œ
# n œ # œ œ n œ # œ
16

& nœ#œ œnœ#œ n œ # œ

œ nœ #œ
nœ #œ nœ #œ œ œ nœ bœ nœ bœ nœ œ bœ nœ bœ nœ
#### œ b œ n œ b œ n œb œn œ œb œ
# n œb œn œ œb œn œb œ
18

&

‹ œ ‹ œ œœœœ
œ œ # œ œ œ œ ‹œ
Whole Tone Scale

#### ‹ œ ‹ œ œ ‹œ #œ œ œ w
# n œb œn œ œb œn œb œ œ œ œ# œ
20

& nœ ˙

94
95
 œœœœœ ˙ œœœœ
B Major

œ œ œ œ œ
#### œ œ œ œ œ œ œ œ œ œ œ œ œ
Thirds Within Major Scale

& # œ
25

œœœœœ œ
#### œ œ œœœœœœœ œ nnnn ##
œ œœœœœœ w
& # œ n
29

œ œ œ œ œ #œ œ #œ #œ œ #œ œ ˙
œ œ
## œ œ œ œ œ œ œ # œ œ # œ # œ œ œ œ
Thirds Within Minor Scale
33

&
œ Nœ Nœ œ œ œ œ
œ œ œ œ œ œ Nœ œ
## Nœ œ œ œ œ œ œ œ œ œ œ nn#### 2
œ #œ ˙ # 4
37

&

œ œœ œ œ œ nœ
œœ œœ œ n œ œœ
Arpeggios: Major Minor
#### 2 œ œ œœ ˙ œ
& # 4 œ œ nœ nœ ˙
41

3 3 3 3 3 3

œ ‹œ œ nœ
3 3

œ œ ‹œ œœ œ nœ nœ nœ œ
Augmented
#### œ œ ‹ œ
Diminished
‹œ œ nœ nœ nœ nœ 4
& # ˙ œ ˙
47

4
3 3 3 3 3 3

œœ œœœ œ nœ œ nœ œ
3 3

œ
Seventh Chords: Major
œ œ œœœ nœ œ n œ nœ œ nœ
#### 4 œ œ œ
Minor
œ œ œ nœ œ œ nœ
& # 4
53

œ nœ œ nœ œ œ n œ nœ œ nœ nœ
œ n œ nœ œ nœ
Half-Diminished
œ œ nœ œ
Dominant

#### œ œ œ n œ nœ œ œ nœnœ nœnœ

& # œ
57

n œ bœ œ bœ nœ
n œ nœ œ bœ
#### nœ bœ œ
Diminished

n œ nœ nœ
& # œ w
61

95
96
 E Major

œ œ œ œ œœœœœœœœœ
#### 4 œ œœœœ œœœœ
œœœ
Major scale

& 4 œœœœœœœ

œœœ œœœ œœœ

#### œ nnnn# œ œœœœ
Natural Minor

œœœ œ œ œ
œœœœœ œ˙ œ
3

& œ œ œ
œ
Harmonic Minor
œ œ œ œ #œ œ œ œ œ œ œ
# œ #œ œ œ œ œ #œ œ
& œœœœ˙ œ œ
7

œœ œ

#
Melodic Minor
œ œ œ œ #œ #œ œ nœ Nœ œ œ œ œ
& œœœœ˙ œ œ #œ #œ œ œ Nœ Nœ
11

œœ œ
Chromatic Scale
# n# # # # n œ # œ n œ # œ œ nœ #œ nœ
& œ œ œ œ ˙ œ # œ œ
15

œ nœ #œ nœ #œ

nœ #œ nœ #œ œ œ nœ bœ nœ œ bœ nœ bœ nœ
17
#### œ œ # œ œ œ nœ œ bœ nœ œ nœ œ bœ œ bœ nœ œ nœ
&

# œ n œ œœœœ
#### œœ œ # œ œ œ œ nœ
Whole Tone Scale

# œ # œ n œ #œ #œ œ œ w
19

& w œœœ

œ œ œ œ œ œ
#### œ
œ œ œ œ œ œ œ
œ œ œ
Thirds Within Major Scale

œ œ œ
24

& œ œ œ œ

96
97
 E Major
œœœœœœœ œ
27
#### œ œœœœœœ œ
œ œœœœœœ œ nnnn#
& œ œœœ˙

œ # œ œ # œ # œ œ #œ œ ˙
# œ
œœœœœ œ œ
Thirds Within Minor Scale
# œ œ
œ
& œœœœœ œ # œ œ # œ
31

œ Nœ Nœ œ œ œ
# œ œ œœœœœ œ n# # # # 2
Nœ Nœ œ œ œ œ œ œ œ
35

& œ w 4

œ œœ
Arpeggios: Major
œ œœ
#### 2 œ œœ n œ nœ œ
Minor

œ œ œœ ˙ œ œ œ nœ ˙
39 3 3

& 4 œœ œ nœ
3 3 3 3
3 3

#### œ #œ œ #œ œ bœ œ bœ
œ nœ nœ œ
Augmented Diminished

#œ œ œ #œ
nœ bœ bœ nœ 44
45 3 3

& œ œ œ ˙ œ ˙
3 3 3 3
3 3

œ œ œœœ œ nœ œ nœ œ nœ
#### 4 œ œ n œ
Seventh Chords: Major Minor

œœ œœœ nœ œ œ nœ œ
4 œœœ œ œ nœ œ
51

& nœ

œ nœ œ nœ œ œ b œ nœ œ nœ bœ nœ
Dominant Half-Diminished
#
## # œ n œ
œ nœ œ œ nœ œ b œ nœ œ œ nœ bœ
55

& œ œ œ œ n œ nœ

b œ bœ œ bœ bœ
#### n œ nœ œ bœ
Diminished

b œ bœ œ bœ nœ
59

& œ n œ w

97
98
 A Major

œ œ œœ œœ œœœœœ
### 4 œœœ œ œ œœœœœ
œ œœœœœ
Major scale

& 4 œœœœ œ

œ œ œ œ œœœ œœœœ
U
nnn œ œ œ œ œ œ œ œ œœœœ
Natural Minor

###
œœœ œ œœœœ˙ œ
3

&

œ œœ #œ œ œ œ œ œ
œ #œ œ œ œ œ œ œ #œ œ
Harmonic Minor
œœœœ˙ œ œ œ œ œ œœœœ˙
7

&

œ œ œ #œ #œ œ nœ Nœ œ œ œ
#œ #œ œ œ œ œ Nœ Nœ œ ###
Melodic Minor

œ œ œ œœœ˙
&œœ
12

œ œ # œ œ # œ œ ‹œ œ œ œ nœ bœ nœ nœ bœ nœ
### œ #œ œ ‹œ œ œ #œ œ #œ
Chromatic Scale

œ #œ œ #œ œ œ #œ
16

&

bœ nœ œ bœ œ bœ nœ œ œ
### œ nœ œ bœ œ bœ nœ œ bœ n œ
Whole Tone Scale

# œ # œ
w œ œ œ
18

&

#œ nœ œ œ œ œ
œ # œ œ œ œ nœ
### #œ #œ œ œ w œ
œœœœœœœ
21
Thirds Within Major Scale

&

œ œ œ œ œ œœœœœœœ œœœ œ
œ œ
### œ œ œ œ œ œ œ œ œ œ
25 œ œœœ
&

98
99
 A Major

### œ œ œ œ œ œ œ œ œ œ œ œ
Thirds Within Minor Scale
nnn œ #œ
œ œœœ w œœœœ œ œ
29

&

œ # œ œ # œ # œ œ #œ œ ˙ œ Nœ Nœ œ œ œ
œ œœ œ œ œ
œ #œ#œ œ œ œ œ œ
33

&

œœœœœ
Arpeggios: Major
œ œœ
Nœ œ Nœ œ œ œ œ œ œ œ œ œ ### 2 œ œ œœ œœ
œœ
œ œœ ˙ 4 œ
37

&
3 3 3

œœ œ #œ
3

œ n œ œ nœ œ
Augmented
œ œ #œ œœ
###
Minor
œ œ nœ œ #œ #œ œ
˙ œ nœ ˙ œ ˙
42

&
3 3 3 3 3 3

bœ œ bœ nœ œ œœœ
3 3

n œ œ
œœœ œœœ
Seventh Chords: Major

### n œ b œ œ œ bœ
Diminished

œ nœ ˙ 44 œ œ œ œœ
49

&
3 3 3

nœ œ nœ œ nœ œ nœ œ
3

n œ œ nœ œ nœ œ œ œ œ nœ
nœ œ nœ œ
Minor Dominant
### nœ œ œ nœ œ œ œ œœ
œ
54

&

b œ n œ œ nœ bœ b œ bœ
### n œ b œ n œ œ n œ n œ œ nœ bœ bœ œ n œ
Half-Diminished Diminished

n œ n œ b œ
œ œ
58

&
œ bœ bœ
### nœ œ bœ bœ nœ w
61

&

99
100
 D Major

œ œ œ œœœœœœœœœœ
# œ œ œœœ œœœœ
œœ
Major scale

& # 44 œ œ œ œœœœ œ

# nnb œ œ œœœœœ œœœœœ

Natural Minor

œœœ œ œœœ
& # œœœœœœœ ˙ œ
3

œœ œ œ
œ

œ œ œ œ #œ œ œ œ œ œ œ œ
Harmonic Minor

œ #œ œ œ œ #œ œ
&b œ œ œ œ ˙ œ
7

œ œ œ œ

Melodic Minor
œ œ œ n œ #œ œ nœ Aœ œ œ œ
&b œœœœ˙ œ nœ #œ œ œ œ œ Nœ Aœ
11

œœœœ

n## œ #œ œ #œ
Chromatic Scale

&b œ œ œ œ ˙ œ # œ œ # œ œ
15

œ #œ œ #œ œ œ # œ

œ œ œ nœ nœ bœ nœ bœ nœ bœ
## œ œ # œ œ # œ œ # œ nœ œ bœ œ bœ nœ œ bœ
œ bœ œ bœ nœ œ bœ
17

&

# œ # œ œœœœ
## œ œ # œ œ œ œ #œ
Whole Tone Scale

# œ # œ œ #œ #œ œ œ
19

& w œ œ œ #œ w

œ œ œ œ œ œœœœœœœ
## œ
œœœ œ œ œ
Thirds Within Major Scale

œ œ œ œ œ œ œ
24

& œœœœœ œ

100
101
 D Major

## œ œ œ œ œ œ œ œ œ œ œ œ nn
œ œœœ œœœœœ œ b
28

& œ œ w

œ œ œ n œ œ # œ n œ œ #œ œ ˙
œ œœœ œ œ
Thirds Within Minor Scale

& b œ œ œ œ œ œ œ nœ œ #œ nœ œ
32

œ Aœ Nœ œ œ œ
œ œ œ œ œ œ œ Nœ œ #
b Aœ œ œ œ œ œ œ œ œ œ œ œ n # 42
36

& œ ˙

œ œ œ œ nœ 3
Arpeggios: Major

## 2 3 œ œ œ œ œ œ
Minor

œ n œ œœ
3

& 4 œœœ œœ ˙ œ
40 3

œ n œ nœ ˙
3 3 3 3

#œ œ #œ œ 3 bœ œ bœ
Augmented
## œ œ nœ nœ œ
Diminished

& œ œ #œ œ œ #œ 44
3

œ nœ bœ bœ nœ ˙
46 3 3

œ ˙
3 3 3 3

œ œ œ œ œœ œ nœ œ nœ œ nœ
Seventh Chords: Major
Minor
## 4 œ œ œœœ nœ œ n œ œ nœ œ
& 4 œœœœ œ œ nœ œ
52

nœ

nœ œ nœ œ œ nœ œ nœ bœ nœ
Half-Diminished
œ b œ
Dominant
## œ n œ
& œ œ œ nœ œ œ nœ œ
œ œ nœ bœ nœ
œ œ nœ bœ
56

nœ

bœ bœ œ bœ bœ
## n œ nœ œ bœ
Diminished

b œ bœ œ bœ nœ
60

& œ n œ w

101
102
 G Major

œ œ œœ œ œœœœœœ
# œœœ œ œ œœœœœ
œ œœœœœ
Major scale

& 44 œ œ œ œ œ

œ œ œ œœœœœ œœœœœ
# nbb œœœ œœœ
Natural Minor

œœ œ œ œ
3

& œœœœ œœœ˙

œ

œ œ œ œ œ #œ œ œ œ œ œ œ œ
#œ œ œ #œ œ
Harmonic Minor
b œ
&b œ œ œœ ˙ œ œ œ
œœ
7

œ œ œ œ nœ #œ œ nœ Aœ œ œ œ œ
œ œ nœ #œ œ œ Nœ Aœ
Melodic Minor
b
&b œœœœ˙ œœœ
11

œ #œ œ #œ
b œ œ œ œ nn# œ # œ œ
Chromatic Scale

&b œ #œ œ #œ œ œ # œ œ # œ
15

œ bœ nœ nœ bœ nœ bœ
œ œ #œ œ #œ œ #œ œ nœ œ bœ œ bœ œ bœ
# nœ œ bœ œ bœ œ œ bœ
œ bœ
17

&

# œ # œ œœœœ
œ œ œ # œ œ œ œ #œ
Whole Tone Scale
# # œ # œ #œ #œ œ œ w
œ œ œ #œ
19

& w

œ œ œ œ œ œ œ œ œœœœœœœœ
# œ œœœœœ œœœœœœœ œ
Thirds Within Major Scale

& œ œ
24

102
103
 G Major
œœœœœœœ
# œ œœœœœœœ œ
œ œœœœœœ œ
28

& œ œœœœœœœ

œ œ œ œ œ nœ œ #œ
# œ
nbb œ œ œ œ œ n œ œ # œ n œ œ œ œ œ
Thirds Within Minor Scale

& œœœœ˙ œ œ
32

nœ œ #œ œ ˙ œ Aœ Nœ œ œ œ
œ œ œ œ œ œ œ Nœ œ
b Aœ œ œ œ œ œ œ œ œ
&b
36

œ œœ œ œœ
nn # 2 œ œ œ œ œœ œ bœ bœ œ
Arpeggios: Major Minor

b
&b œœœœ˙ œœ ˙ œ bœ œ œ bœ
40

4 œ
3 3 3 3
3 3

œ #œ œ bœ
3 3

œ œ #œ œœ œ bœ bœ bœ œ
Augmented Diminished
#
œ œ #œ #œ œ ˙ œ bœ bœ bœ bœ ˙ 44
46

& ˙
3 3 3 3
3 3

œœ œœœ œ nœ œ nœ œ bœ
3 3

œœ œ œœœ b œ
œ œ bœ œ nœ œ œ nœ œ
Seventh Chords: Major
# 4 œœ
Minor

bœ
53

& 4 œ œ

œ nœ œ nœ œ b œ nœ œ nœ bœ
nœ œ œ œ œ nœ b œ bœ œ nœ
Half-Diminished
# œ œ œ bœ bœ nœ œ
Dominant
œ bœ bœ
œœ
57

&

bœ bœ œ bœ bœ
# bœ bœ bœ œ b œ
Diminished
bœ œ bœ
bœ bœ
61

& œ w

103
104
SECTION
THREE:

etudes

104
105
 Etude 1

œ œ œ œ œ œ. œ. œ. œ. . œ œ œ œ .
q = 66-76

## 2 #œ #œ œ œ # œ œ œ œ #œ œ œ œ
# œ œ
& 4 œ
ƒ
œ œ œ œ - . œ. œ. œ. œ. - . œ. œ. œ.
œ œ œœ œ œœ œ œ œœœœœœœ œ . œ œ œ
## œœ
œ
6

&
P
.œ œ. œ œœ œœœœ- œ
œ- œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ # œ-
12
##
&
f

# # œ œ œ # œ œ œ œ œ œ- œ œ œ # œ œ œ œ œ œ- œ œ
. . -
œ œœ
# œ œ œ
17

& œ # œ
P 3 3
π
œ œ œ œ œ œ œ œ œ - œ œ œ œœœ œœœœ-
œ œ ˙ œ œ œ œ œ
23
## œ œ # œ œ
&
3
ƒ
œœœœœ œœ œœœœœ œœœœœ œ œ œœ œ
29
## œœœ œ œ Uœ
&
Be Mindful:

1) Look at the two sets of brackets above (measures 24-25 and measures 25-26). Pick a bracket to begin.
2) SAY the note names aloud. Do not go any faster than what you can comfortably (and correctly) say.
3) Pick up your instrument and try again. SAY the note names while using the correct fingering (no playing yet)
4) PLAY the notes this time. Only go as fast as you could when you were saying the note names. Perhaps it is
helpful to imagine seeing the note names in your head as you play them.
5) Pick a new bracket and repeat the process!

See the appendix for other practice strategies. Try chunking to get some of the tricky measures under your fingers.

105
 Etude 2

# 3 œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ
q = 52

& 4 œ ˙.
P pale, cool sound
7
# œ œ #œ ˙. œ. œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ. œ œ œ ˙.
&
F deepening tone 3 3

œ
˙. #œ. œ #œ œ œ œ ˙. œ œœœœ œœœ œœ
13
# #œ. œ #œ œ œ œ œ
&
f (echo) f π
(sudden!)

# œ œ œ ˙. œ .. œ œ œ œ œ. œ ˙.
œ œ œ œ
19

& œœœœ œ R œ.
F rich, warm sound

# œ #œ œ œ œ œ œ
#˙.
œ #œ œ œ œ œ œ
#˙ œœ œœœœœ œœœ œœ
œ
25

&
3 3
(echo) f π
(sudden!)
31
# œ œ œ ˙.
&
f

106
 Etude 3
Key clicks! Click L3 with flute rolled in on chin completely.

4
When you see "RO", roll flute out so that the embouchure hole is open.

&4 ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
RO RO RO RO

3
*
&¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
RO RO RO RO

&¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
RO RO

b¿ ¿ ¿ ¿
7
Normal position, instead of clicking, say "CHA!"
& b¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ b¿ ¿ ¿ ¿
CHA CHA CHA CHA
etc..

b¿ ¿ b¿ ¿ ‰ ¿ ‰ ¿ ‰ ¿
9
Slide LH fingers 2 and 3 to glissando to Bb.
& b¿ ¿
SHHH... AH! SHHH... AH! CHA CHA CHA CHA CHA

b¿ ¿ b¿ ¿ ‰ ¿ ‰ ¿ ‰ ¿
11

& b¿ ¿
SHHH... AH! SHHH... AH! CHA CHA CHA CHA CHA

& b¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
13
1 - 2 - 3 - 4 (keep counting!)

b¿
CHA CHA CHA CHA CHA CHA CHA CHA SHHHHHHHHHH

(U )
‰
15
Back to key clicks, rolled in position on chin.
&¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ‰ ¿ ¿ ‰ ¿

107
 U
j ‰ Œ Ó
17

&¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿

This etude can also be used as a duet. When you reach the *
sign, your partner will start in the first
measure. You should always be exactly two measures ahead of your partner. You will both end
together, with your partner's last note on beat one of measure 16 (it's marked with a fermata
in parentheses.)

108
 Etude 4

q = 76-84

b 2 œ b >œ œ b >œ
flz. flz.

&b b 4 œœœœœ œ ˙ œ œ œ œ œ. œ. ˙ œ œœ œ œœ
. . > >
f
b b b œ. œ. œ. œ. b >˙
flz.

b
b œ œ œ œ œ. œ. ˙ b œ œ œ œ œ. œ. ˙
7

& œœœœœœœ
π > > F
>œ œ œ n œ œ œ œ œ œ n œ œ œ nœ œ œ nœ nœ œ
bbb œ. n œ. n œ
14

& œ œœœœ œ
œ œ œ. .
ƒ
œ nœ œ œ nœ œ
bb # œ œ œ œ œ œ œ œ nœ œ œ nœ œ œ œ
flz.
flz.

& b
20

nœ
œ œ œ œ œ. œ. b >˙
P
œ œœœœ œœ
b b œ œ. œ. b >˙ bœ œ œ >
œ bœ œ œ nœ œ œ œ œ œ œ ˙
flz. flz.

b
27

& œœ œ œ
f rit. Í

In measures 16 and 18, use your lips to bend the note down and up. Try to bend the pitch without
rolling in and out. It's a great way to improve your lip flexibility!

109© 2013
 Etude 5

œ œ œ œ œ œœœœœœœ
#### 4 ‰ œ œ œ œ œ œ œ œ œ . œ œ œ œ œ œ ≈ œ œ
q = 76-84

& # 4
P
# ˙ . œ œ œ œ œœ
## # œ œ œ œœœ œ œ Œ œœ ˙
œ œ œ œ œ œ œ œœœ œ
# Œ Œ Œ
4

&
π P
˙. œœœ œœœœœœœ œ œ
#### œ nœ œ #œ œ ˙
& # Œ ≈ œ
8

π F

#### œ # œ n œ œ œ œ œ ˙ œ œ œ œ nœ #œ œ œ œ nœ
& # œ œ #œ nœ œ œ œ œ œ
11

π f

#### œ œ œ œ œ œ œ œ œ œœœ œ œ œœœœœ œ œ œ œ œ

& # œ œ œ œ œœœ œ œ
14

œ
p f

#### œ œ œ œ œ œ ˙ œ œœ œ œœœ œœœ œœœœœœœœ˙

& #
18

#### œ œ œ œ œ œ œ œ œ œ œ œ w
& #
21

110
 Etude 6

q = 60
˙ . (1) œ œ ˙ . (3)
3 .. œ . œ œ ˙. œ . œ œ # # ˙˙ .. œ œ œ œ œ œ #˙.
(2)

&4 J J
F P F f

. œ œœ œœ(4)
œœ b œ œ ˙ . œ œ œ œ œ #(5)˙˙ ..
& ∑ . ˙. bœ
P p
˙ . (6) ˙. ˙ œ #œ œ œ œ
œ œ œ ˙˙ ..
œ œ œ œœ œœ ˙˙ .. #˙ œœ
œ ˙.
&
p F p F subito p

1) Left Hand (LH): Thumb/Middle Finger/Ring Finger. Right Hand (RH): Pinky
2) LH: Thumb/Index Finger/Middle Finger/Ring Finger. RH: 2nd Trill/Ring Finger
3) LH: Thumb/Index Finger/Middle Finger RH: Index Finger/1st Trill/Middle Finger
4) LH: Thumb/Index Finger/Middle Finger/Ring Finger RH: Index Finger/1st Trill/2nd Trill
5) LH: Thumb/Middle Finger/Ring Finger RH: Index Finger/1st Trill/Middle Finger
6) Same as #4, but blow slightly faster air to achieve the upper register D

With each multiphonic, pay attention to the dynamic marking. The volume level will help you
to achieve a more clear multiphonic.

111
 Etude 7

bœ nœ. œ bœ. œ œ. œ #œ bœ #œ œ bœ nœ
q = 84-92

œ b œ œ bœ œ œ œ bœ œ
2 #œ
&4
f 3 3 3 3 3

flz. œ œ œ bœ œ #œ œ #œ œ bœ nœ bœ
& #œ œ #œ œ #œ œ #œ œ
5 3 3

3 3 3 3

œ. œ œ. œ œ #œ nœ
œ #œ. œ
flz.
œ bœ. bœ œ bœ œ
flz.
9

&
3 3

#œ bœ #œ œ bœ nœ
œ. œ #œ. œ œ bœ bœ nœ nœ #œ b œ bœ #œ nœ nœ
13

& œ
3 3

#œ œ œ
3

œ.
3 3 3

flz. œ œ #œ
œ
& bœ nœ œ #œ œ #œ Œ
17

3 3
3

œ œ œ œ œ œ
œ œ œ œ # œ #œ œ œ #œ œ œ bœ nœ #œ œ
3

b œ
21

& œ œ
3 3 3 3 3 3
3
flz.
œ. œ ˙
#œ œ œ #œ œ #œ
& œ #œ œ œ #œ œ œ. œ
25 3

3 3
3

"flz." stands for flutter-tongue. Pretend to gargle, purr, or "roll" your Rs. This is the same way that flutists
flutter tongue. Now, try blowing air while doing it. Once you've mastered that, add the flute to the mix.

112
 Etude 8
Sing diamond notes in any comfortable octave.

œ œ
q = 52

# 4 œ œ œ œ œ œ œ œ œ œ
& 4 — — — —
Œ Œ Œ Œ

œ j
3
# œ œ œ œ œ œ. œ ˙
& — — Œ Œ · ·

# œ œ œ œ œ
œ œ œ œ œ œ
5

& — — Œ Œ Œ Œ œ
— —

# œ #œ œ œ œ œ j
œ œ #œ. œ ˙
7

& ·
— — Œ Œ #·

# œ œ œ œ œ œ œ
œ œ œ œ œ
9

& Œ — — — —
Œ Œ Œ

œ œ œ œ œ
# œ œ œ œ œ
œ œ
11

& Œ — — — —
Œ Œ Œ
œ œ œ œ œ œ œ
13
# œ œ œ
& — — — Œ — — — Œ
œ œ j
15
# œ œ œ œ
œ œ œ. œ ˙
& · ·
— Œ — Œ

113
 Etude 9

œ n œ œ œ œ b œ œ œ œ œ œ œ œ œ œ œ œ n œ œ œ œ b œ œ œ œ. œ. .
q = 66-72

bbb b 4 œ œ.
b
& b 4
P f

b bbb b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ n œ œ œ œ œ œ ˙
3

& b
p F

b bbb b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ. œ œ
5

& b
π f
œ œ œ œ œ œœœœ œ
bbb œ œ œ œ œ œ œ œ œ˙
b b œ
7

& b œ œ œ
ƒ
œ œ œ œ œ œ Aœ œ œ
bbb b œ œ. nœ œ. œ œ . œ œ .
b œ . œ
9

& b
F f 3

œ œœœ œœœœ œœœœœœœ œ œ œ œ. œ œ. œ œ

bb b b b œ. œ. œ œ
11

& b
f 3 3 3 3
subito p
3

b œ œ
& b bbbb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ n œ œ œ œ œ œ œ
13

P P F
œ œœœœœ
bb b b b œ n œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ . œ œ . œ œ . œ Uœ
15

& b
p ƒ
3 3

114
 Etude 10

œ
#### 7 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
e = 100

œ
œ œ œ . . œ œ œ. . œ œ œ œœœœœœ œœ
3

& 8 œ œ
F 3 3
3

#### œ œ œ œ œ- œ- œ œ œœœœœœœ j ‰ œ
œ œ œ
3

œ œ œ
4 3

& œ œ œ œ œ œ œ - œ- œ œ œ œ œ œ- œ
π F 3 3
. . œ. œ
œ œ œ œ œ œ œ œ œ-
#### œ œ œ œ œ œ œ œ. œ œ-
‰ Jœ ≈ œ œ œ # œ œ œ œ œ œ œ J
7

&
ƒ3 3 π ƒ
œ œ œ œ . œ. œ -
#### J # œ œ œ œ œ œ - œ- œ œ œ œ . œ œ œ œ œ œ
œ . . œ œ
‰ œ œ œ œ œj œ œ œ œ œ œ J J
10

& J J
p 3 .
3 3
F 3 3

- . œ œ œ œ œ œ œ- œ. œ. œ œ œ œ
# . œ
## # œ œ j œ œ œ œ œ œ j œ œ œ œ œ œ œ œ J ‰œ œ
J œ œœ œ œœ
13 3

& J
P F 3 3 3 3 3
f sub p

115
 Etude 11

œ œ˙ œœœ ˙
œœœœœ˙
q = 76

b 4 œœ œ œœœœœœ
Flute &b b 4 œœœ œœ
f pp π f pp
œœœœœœ œ œ˙ œœœœ
sub sub

œ
b bb œ ˙ œ œ œœ œœ
œœ˙
œ
4

& œ
sub pp
Fl.
π f π
œ
œœ ˙ œœœœ œœœ˙ œ nœ œ œ œ œ œ œ œ
b œ œ
&b b œœœœ
7

π
Fl.
f sub pp f
œœœœœœœœ˙
b œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ n˙
&bb
10

Fl.

œœ˙ œœ ˙ œœœœœ
œ œ œ œ œœœœœ
b œ œœœœ œœœœœ
& b b œœœ
13

Fl. œ
f pp f pp f
œ œ œœœœœ
sub sub

œ œ œ œ œ œ
b œ œ ˙ œ œœ œ œœœœ œ œ œ
&bb œ œ œ
16

Fl.
œ œ œ
p f
œ œ œ œ œ œ œœ œœ œœ œ œ œ œ œ n˙
b œ œ œ œ œ
œœ œ œœ œ œ œ
&bb
19

Fl. œ œ œ œ
p
nœ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ rit.
˙ œ œ˙
b œ
&bb œ œœœœœ
22

Fl.
p f

116
 Etude 12
To be triple tongued with both TKT-TKT and TKT-KTK

œ œ œ œ œ œ œ œ œ œ œœœœ œœœœœœ œ
œ œ œ œ œ œ œœœ
q = 84

### 2
& 4
f 3 3 3 3 3 3 3 3 3 3

### œ œ œ œ œœœ
œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ œJ ‰ œ œ œ œ œ œ œ œ
6 3

& J
3 3 3 3 3 3
3 3 3 3 3

œ œ œ œ œ œ œ œ œ œ‰œ œ‰œ œ œ‰œ

### œ œ œ ‰œ œ œ‰œ œ
‰ œ ‰ œœœœ
13

&
3

3 3 3 3 3 3 3 3 3

œ œ œ nœ œ nœ œ bœ œ bœ
3

œ
3

œ œ œœ œ œ nœ
### j‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰
œ
19

&
3 3 3 3 3 3 3 3 3
3 3

### œ b œ œ b œ n œ b œ U œ œ # œ œ ‰ œ œ ‰ # œ œ ‰ œ œ œ œ œ œ œ œ œ œ # œ œ œ œ
Œ J‰
25

&
3 3 3 3 3 3 3 3 3
3

### œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
J ‰ œœœ œ œ
31

&
3 3 3 3
3 3 3 3 3 3 3 3

œ
### œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ œ‰œœ‰œ
œ Œ
38

&
3 3 3 3 3 3 3 3 3 3

œ œ œ œ œ œ œ œ œ
### ‰ ‰ ‰ œ‰œœœœ œ
‰œœœœ ˙
44

&
3 3 3 3 3 3
3 3

117
 SECTION
FOUR:

holistic practice

118
119
 Creative Improvisation

composition vii, Wassily Kandinsky

Color is the keyboard, the eyes are the harmonies, the soul is the piano with many
strings. The artist is the hand that plays, touching one key or another,
to cause vibrations in the soul. – Wassily Kandinsky

To improvise is to invent in the moment, to make choices based on instinct, knowledge,

and emotion rather than following a prepared plan or map.

Musical improvisation is something that is uniquely yours. It is an individual expression

of creativity. It’s a tool that can help us to find greater nuance in our playing, and it helps
to amplify emotions and characters in our flute repertoire.

Improv teaches us to be riskier, to embrace the moment and run with it. To find the
wonderful improviser that lives within us can help to silence the negative, judgmental
“ghosts” that so often plague us as musicians.

We are not all perfect performers, but as we work diligently at our daily practice and in
our efforts to become more generous and spontaneous musicians, the world of creative
improvisation is a useful method for uncovering the playful, artistic spirit that makes for
the most inspirational of performances.

Here are some suggestions for incorporating improvisation into your daily practice:

30-second, two-note study, from flutist Robert Dick:

“Often we fear playing “wrong” notes. So all the notes in this exercise will be
correct. Pick any two notes, A-natural and B-natural, for example. You may play
these two notes in all octaves, tone colors, articulations and dynamics, but only
use the two notes you have selected. Thus no wrong notes are possible and you
will be free to think about other musical aspects, directions and dimensions. ...

119
120
 The next step is to choose a spirit, a subject for your improvisation. In choosing
your subject, speak with yourself in any way that you like ... Then, prepared with
your chosen pair of notes and a sense of 30 seconds, play” (p. 108).

Whisper-Shout: Choose three notes and experiment with replicating a simple

improvised phrase at a fortissimo dynamic and a pianissimo dynamic (articulation, pitch
choice, vibrato intensity, etc. are all up to you), with the teacher and student being
mindful in listening for throat tension, a roundness of tone and beauty and intention of
phrasing.

Equal Sound/Equal Silence: Pick roughly a 10, 15, or 20-second interval of time and
create a simple phrase using only a few pitches, whatever you like. Try to create a
distinctive character, scene, or emotion in your phrase. Then, allow for an equal period of
silence. Consider the phrase you just played. What’s the next line of your musical story?
Are you creating a dialogue, and you think that your next phrase is a reply? Are you
moving the musical story forward in some way? Do you want to expand your phrase, or
would you like to create a completely contrasting mood or scene? Over a 5-minute
period, see what story unfolds.

Magnification: Experiment with a passage (improvised or written) in which an emotion

is progressively amplified and then reduced. If you have a sustained, gentle, and soft
passage, can you magnify it to be as sweet, soft (in tune!) and gentle as possible? If you
have a running, quick, passage that you feel portrays a sense of excitement, can you
brighten your sound, hone your articulation, and lighten your fingers to magnify that
sense of excitement as much as possible? Challenging ourselves to reach the limits of
musical phrasing can help us to gain insight into our performance of it – you may not
always wish to play that passage in such an animated way, but at least you have worked
to set your intention for it.

Practice Improvisationally: In your practice, take passages from specific repertoire and
improvise small sections of music in the same character as that passage. If you’re
working with a collaborative pianist for your recital or are preparing for a chamber music
performance, you might convince your collaborator to try it with you. Perhaps stick with
the same tonality and overall mood of a specific section – or not!

120
121
 Organizing Your Practice Time

Each day, take a moment to plan your practice session. Think positively about your
progress and your intentions behind playing your instrument. Realistically consider the
time that you have and divide it between tone, technique, etudes, and repertoire. One of
the best time management tools is simply to expect that you’ll have less time to practice
than you think. Burton Kaplan’s book, Practicing for Artistic Success, suggests
subtracting about 20% of the time you think you’ll have, as interruptions and distractions
are certain to creep in. For every hour that you think you have to practice, plan on about
50 minutes of real practice time. Strategize what you’ll need to spend the most time doing
in your practice session and place that at the top of your list. Divide the rest of the time
accordingly. Start at the top of your list and go as far as possible in one hour. There is a
chart included in this book to help you plan.

Generally, for every 25 minutes practiced it’s good to take a 5-minute break to stretch,
breathe, walk around, and let yourself relax.

If charting your practice time is difficult, consider the Pomodoro Method, in which you
set a timer for 25 minutes, which is one “Pomodoro,” followed by a five minute break. If
you have an hour to practice in a day, that’s two Pomodoro sessions. Divide your goals
by Pomodoro sessions – try to do one on tone and technique, and one on repertoire.
That’s nearly an hour of practice! It will go by quickly. There are Pomodoro timers
online and applications for mobile devices that make tracking your Pomodoro sessions
very easy (and fun).

In any situation, try to always find a quiet place to practice that is free of distraction.
Silence your phone, ignore the internet, and pay attention to your sound and the music
that you’re making.

William Westney, in his great book, The Perfect Wrong Note, suggests a range of
questions you can ask to get your practice session started:

I’m a detective, what new evidence will there be today?

I assume I know nothing and have retained nothing from yesterday.

I gladly relinquish control, and the practice room gives me a golden opportunity
to do so.

I know that unexpected events – like mistakes – are full of priceless information
that I can’t get any other way. So I hope to flush out some juicy, honest mistakes.

When I overdo things and take chances, I learn faster.

By the time I leave this instrument (even if it’s only ten minutes from now) I will
know that I did some honest work and made a tangible improvement in at least

121
122
one identified challenge. And that will be a satisfying feeling that no one can take
away from me. (p. 85)

122
123
 Organizing Your Practice Time

Each day, take a moment to plan your practice session. Think positively about your
progress and your intentions behind playing your instrument. Realistically consider the
time that you have and divide it between tone, technique, etudes, and repertoire. One of
the best time management tools is simply to expect that you’ll have less time to practice
than you think. Burton Kaplan’s book, Practicing for Artistic Success, suggests
subtracting about 20% of the time you think you’ll have, as interruptions and distractions
are certain to creep in. For every hour that you think you have to practice, plan on about
50 minutes of real practice time. Strategize what you’ll need to spend the most time doing
in your practice session and place that at the top of your list. Divide the rest of the time
accordingly. Start at the top of your list and go as far as possible in one hour. There is a
chart included in this book to help you plan.

Generally, for every 25 minutes practiced it’s good to take a 5-minute break to stretch,
breathe, walk around, and let yourself relax.

If charting your practice time is difficult, consider the Pomodoro Method, in which you
set a timer for 25 minutes, which is one “Pomodoro,” followed by a five minute break. If
you have an hour to practice in a day, that’s two Pomodoro sessions. Divide your goals
by Pomodoro sessions – try to do one on tone and technique, and one on repertoire.
That’s nearly an hour of practice! It will go by quickly. There are Pomodoro timers
online and applications for mobile devices that make tracking your Pomodoro sessions
very easy (and fun).

In any situation, try to always find a quiet place to practice that is free of distraction.
Silence your phone, ignore the internet, and pay attention to your sound and the music
that you’re making.

William Westney, in his great book, The Perfect Wrong Note, suggests a range of
questions you can ask to get your practice session started:

I’m a detective, what new evidence will there be today?

I assume I know nothing and have retained nothing from yesterday.

I gladly relinquish control, and the practice room gives me a golden opportunity to do so.

I know that unexpected events – like mistakes – are full of priceless information that I
can’t get any other way. So I hope to flush out some juicy, honest mistakes.

When I overdo things and take chances, I learn faster.

By the time I leave this instrument (even if it’s only ten minutes from now) I will know
that I did some honest work and made a tangible improvement in at least one identified
challenge. And that will be a satisfying feeling that no one can take away from me. (p. 85)

123
Practice Strategies:

1) Chunking: When you “chunk,” take small sections of your etude (start small, with
perhaps 2 beats at a time) and work these spots in isolation. You can use a variety
of tools to chunk:
a. Repetition – with the metronome on, starting slowly, repeat a “chunk” 10
times with all correct rhythms, fingerings, articulation, musical expression,
and dynamics. If successful, move the metronome up 5 BPMs, and repeat
the process. It can feel rewarding to track your repetitions, so mark each
one with a pencil and paper, slide a coin from one side of your stand to the
other, or use an application like Tally on your smart phone to keep track.
b. Pattern Work - Apply a different articulation pattern, rhythm, or grouping
to the “chunk” in order for your brain, fingers, and tongue to process the
information. See the included list of articulation, rhythmic pattern, and
grouping variations
c. Metronome work – If working in a pattern of ongoing 8ths or 16ths, set
the metronome to click on the “and” of the beat or on the “e” or “a” of 16th
notes.
2) Chaining: After selecting a particularly difficult area to “chunk,” you can then
start to “chain” these smaller pieces together. Taking a couple of measures at a
time, you can use all the same techniques described above for a larger section of
the piece.

Remember to:
- Practice with intention: Don’t separate the notes from your ultimate goals for
musical expression. Practice each “chunk” with the same musical choices that
you’d make if you were to perform it.
- Notice your physical state: Check in after every few repetitions to be sure that
your neck and jaw are relaxed and free, shoulders are broad and open, that
you’re standing in a comfortable position with soft (not locked) knees, both
feet rooted into the ground. Release your arms down by your sides, bend over,
and let your arms and head hang free before returning to playing position.
Take some deep breaths here and rest a moment.
- Take a break: After 25 minutes of hard work, take a short break to walk
around or rest.

124
124
 Daily Practice Plan Daily Practice Plan

Total Time Available (subtract 20%): Total Time Available (subtract 20%):

Technique Goals: Technique Goals:

1. 1.

2. 2.

3. 3.

Musical Goals: Musical Goals:

1. 1.

2. 2.

3. 3.

Repertoire Goals: Repertoire Goals:

1. 1.
Time: _______ minutes Time: _______ minutes

2. 2.
Time: _______ minutes Time: _______ minutes

3. 3.
Time: _______ minutes Time: _______ minutes

4. 4.
Time: _______ minutes Time: _______ minutes

5. 5.
Time: _______ minutes Time: _______ minutes

125
125
 Performance Anxiety

Performance anxiety is an issue that affects even the most diligent and seasoned flutists.
While there is much to be said about having a thoughtful and determined practice routine,
performance anxiety may still sneak in. We are all subject to self-doubt and negativity
from time to time.

Two strategies that can help to alleviate performance anxiety are mindfulness and
visualization. These are not short-term solutions. They are tools that require long-term
commitment to be effective. If you are working towards an upcoming performance, start
to incorporate these techniques months before the date. Small sessions each day will
make a difference!

Mindfulness

To be mindful is to pay attention to the present moment, not getting caught up in

worrying about the past or the future, and observing your current actions with curiosity
and a non-judgmental attitude. Approaching your practice session with intent to cultivate
mindfulness is a great way to boost creativity, listening skills, focus, and to help retain
information between practice sessions.

Before you start a practice session, take a few minutes and do a short activity to bring
awareness to yourself and your intentions for practice. As you enter your practice space,
closing the door, think of that action as being a way of truly leaving the rest of the world
outside.

Mindfulness warm-up: Closing your eyes, focus on your breath as it moves in and out of
your body. As your mind wanders, return to your breath. Listen to your breath as you
inhale and exhale.

In starting your practice session, take a moment and focus your attention on all the parts
of you that are involved in playing your instrument: your head, neck, and shoulders; your
arms, wrists, hands, and fingers; your torso and abdominal muscles; and even your legs
and feet that hold you up from the ground. Release any extra effort that you may be
holding on to as you pick up your flute and play a note.

Throughout your practice session, check in with yourself and thoughtfully observe your
actions and the sensations that you’re experiencing, particularly when you are working on
difficult music.

Throughout the method book, you will find a couple of check-in points that prompt you
to a more mindful state of observation. Create your own prompts, and work to make this
approach a daily part of your routine.

126
 The best way to capture moments is to pay attention. This is how we cultivate
mindfulness. This means being awake. It means knowing what you are doing.... Just try to
keep your attention focused on any object for even a short period of time. You will find
that to be mindful, you may have to remember over and over again to be awake and
aware. We do this by reminding ourselves to look, to feel, to be. It’s that simple.
- Jon Kabat-Zinn

Meditation

Many believe that meditation is a religious practice, but religion is not what meditation is
about. The mindfulness exercise described above can be a form of meditation. Finding a
relaxed, non-judgmental state of mind is key to having more productive practice sessions
and performances. Try this exercise:

Two Minute Meditation: Find a quiet place to sit down. Close your eyes. From
here you can:
a. “Watch” your breath, as with the mindfulness exercise. As your mind
strays, gently return to the sensation of your breath entering and leaving
your body; OR
b. Focus on an object in your mind, something that gives you peace; OR
c. Repeat a phrase to yourself that’s positive and fulfilling, such as “I’m
grateful to make beautiful music today.”
Let your breath be natural and easy. As thoughts come into your mind, gently let
them go as best you can.

Mia Olson writes about meditation as being a great technique to detach yourself from
your thoughts. “Meditation is an excellent practice of trying to become compassionate
with yourself rather than being self-judgmental. Become the witness, not the judge” (p.
25).
Visualization

Once you feel comfortable with finding a calm mental space, you might add a
visualization component into your daily practice.

The book Working Out, Working Within, by Jerry Lynch and Chungliang Al Huang is a
great source for visualization instruction. In it, they state that visualization is a “planned,
conscious use” of the mind “during a deep, relaxed state to create desirable and fulfilling
images of a future event” (p. 21). Visualization helps you to “see positive possibilities
and dwell on these by selecting images that complement the direction you wish to go or
what you wish to do” (p. 22).

To practice visualization, you want to first calm your mind and relax, so trying a
meditation exercise first is helpful. Envision yourself in whatever setting you’re working
towards, whether that is a performance, an audition, a public speech, or even a
particularly difficult conversation.

127
Try this:

1) Imagine the room that you will be in. Is it daytime or night time? Is it cold or
warm? Is the floor tiled or carpeted? Will you be seated or will you stand? Where
will your audience be? What will happen when you walk in the room? What will
you be wearing? What will you have in your hands? Will you have musical
collaborators? Who is in the audience? Try to have a mental image that covers the
details of your performance situation as closely as possible. This may be helped
by actually scouting your performance space ahead of time, considering
wardrobe, or consulting with friends who might have experience in the same
situation.
2) With this mental image in your mind, walk into the visualized setting with a
confident stride and a smile. Envision yourself setting your music down, playing
the most divine warm-up notes, and launching into your piece with gusto and
intention. Every note that you play is exactly what you want. You communicate
dramatic dynamics, clear articulation, gorgeous tone, perfect intonation, flawless
technique, and stunning musicality. You understand all of this – you have worked
hard for these moments and you have the ability to create a dazzling performance.
Visualize success. Feel the keys move in your hands, hear the melodic line, and
sense the breath moving in and out of your body.
3) When you finish your performance, sense a feeling of kindness and gratefulness
from every space in the room. Know that everyone is rooting for you.
4) Visualize yourself leaving the space, putting away your instrument, and sitting
back to relax.

The most important component of visualization is infusing each image with positivity and
success. If you start to let judgmental self-talk creep in, gently refocus your energy on
positivity. Take a moment to stop and listen to your breath.

Practice this visualization daily as a part of your routine.

Lynch and Al Huang state, “Negative self-talk and images create anxiety and tension,
both of which block your efforts to perform up to your capabilities; visualization, on the
other hand, clears the way for you to do all that is needed to complete the task
successfully” (p. 23).

128
SECTION FIVE:

supplemental
materials

129
 circle of fourths circle of fifths
!

! !

! C major
!
a minor
G major F major
!
e minor d minor
D major Bb major !
!
b minor g minor !

A major Eb major
f# minor c minor
! !
! !
E major Ab major
c# minor f minor
!
!

B major Db major
g# minor bb minor
!
Gb/F# major !

Eb/D# minor

!!

130
131
Fingering chart for upper register 3rd and 4th octave notes.

Sample taken from Alternative Fingerings for the Flute,

by Nestor Herszbaum.

131
132
 Chunking: Rhythmic Patterns
Here are a few rhythmic variations that are beneficial for practicing tricky 16th note passages.
These are just suggestions. Make up your own! Be sure to practice them with your metronome.

œ œ œ œ œ œ œ œ œ œ œ œ-
œ
Original:

## 2 4
& 4 4

œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ -̇
## 4
& 4

œ œ. œ œ. œ œ. œ œ. œ œ. œ œ. -̇
##
&

œ œ œ œ œ œ œ œ œ œ œ œ -̇
##
&
3 3 3

œ œ œ œ œ œ œ œ
œ œ œ œ -̇
#
& #
3 3 3

œ œ œœœœœ œ œœœœ-
œœœœ œ ˙.
##
&

œ œ. œ œ œ œ œ. œ œ œ œ œ. œ œ. ˙
##
&

132
133
 Chunking: Articulation Patterns

œ œ œ œ œ œ œ œ œ œ œ œ œ- œ œ œ œ œ œ œ œ œ œ œ œ œ-
Slur by 2s Slur 2/Tongue 2 (or Tongue 2, Slur 2)

## 2
& 4

œ œ œ œ œ œ œ œ œ œ œ œ œ- œ œ œ œ œ œ œ œ œ œ œ œ œ-
Tongue 1, Slur 2 Tongue 1, Slur 3

##
&

œ œ œ œ œ œ œ œ œ œ œ œ œ-
Slur 3, Tongue 1

## ∑
&

133
134
 Chunking: Grouping
Each sixteenth is assigned a number value. Group the numbers in various ways to create new
note patterns.

œ œ œ œ œ
Original:
œ œ œ œ œ œ-
1 1
œ
3 3
œ
2 3 4 2 4 2 4
1 1

## 2
& 4

œ œ œ4 œ1 œ2 œ3 œ œ1 œ2 œ œ œ1 œ
2 3 4 3 4

##
&

œ
3 œ
4
œ1 œ2 œ
3
œ
4 œ1 œ
2 œ3 œ4 1œ œ
##
&

œ4 œ1 œ2 œ3 œ4 œ1 œ œ3 œ4 œ œ3 œ
œ
2 4
1 2

##
&

134
135
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