f ]r

Uncontrolled Warm Up L'lZ\€_ fi,f )ni

.4-'
avt

and...

tol"nl-t--..

Always pick a color, an atmosphere, an emotion.

Tone #2

1. Air only 2. Lips only. 3. Combine both.

Tone #4
/--> /1-i

Tone #5

l. Separate 2. Slur 3, Slur with diminuendq

Repeat on C#, D, D#, etc. {' ?.r,r.'r".
"e. }

inTONEation
A

PP "ff-PP PP "ff PP pp "ff pp

1591 59159
- -

pp ff-pp PP ="ff-pp
I 59 159

Pitch Benders

G)
flarmonics .,'

More Harmonics!

G
 GEOFFRBY GILBERT CLASS
Belfast, Ireland, April L - 7, 1986

April 2, Continued:

^<-r)->-
p _______=_,._ f
speak a crescendor "o h"
-you articulate the beginning, but that's the softests part of it.
-decide the lenth of 1/8ttr notes and stick to it throushout

SCAITIES
Scales., arpeggios (dim/dom.) 20 minlday including these combinations:

SINGLE TENUIO

DOUBLE TOUNGED

c+
 , ,. te dt.o,

\-- t ll
t'ii t-)---t"' I n_l
aa

/A\
('fl ---------,
/---. -\
tatt
tll/
ttl ttl/
-i 1r I -l
t ll
\t lll
t,,
Y_.: t----'-
Ittt
L---H
I

o;, ;; attt
tt(/
Ittr
'e 22 '
ttll
ULttt Lt-ut
@4,' t12
G\ 7,)'' tfrr;;) :t
uu
'
-i-LJ--l tt ( |
''i-:
P1',]i
Vl t-l--r
t1/
l--t--t-
d'Ll-!-t
,^ ,--_\ I ) ; ^
@);'-
:
i-l-l-t l-lJJ
\-/
(e"itr
/--?\ r r
@7,t=UJJ
,t=
Ju IJ-U
@ T, in
t_ J-LI l>:-',
w
@ s;. i:>, oi
'dr='; ;;
)=l=
l-t-Ll
ettl
trl
u-!J I tu
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rlii , ,, l i I |
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v
 THESTUDIO
Practise Scheme
Warm-up: Start with a 15 minute slow/fast expessive warrn-up 15
Then either Fast or Slow first [you do both]:
Fast: Daily exercises, finger exercises, scales, octaves, etc. All
scales to be played with a fine tone: make a special point of this. 60
OR
Slow: tone exercises, flexibility exercises, tone colour, exercises in
whatever octaves you are working on. Try to include - at the same
time - remedial work on vibrato and intonation. 45

Studies [Etudes]: Do a long study for two weeks, or a short one for one
week, then try to perform it: then leave it and move on to another 75

Special P roblems : Articulation, vibrato, whatever. 20-30

Pieces: Learn a new piece thoroughly every 10 days or so: choose

pieces in
different styles so that you work at the unfamiliar. Then finish with
orchestral repertoire. Do as much from memory as you can. 60
i:
i :'':::::: :::a:: i ; :! :i

Finish with a slow melody: practise communicating. Uie:,siow passages

from pieces, or the tures from the'Melody Bookt:"D'olas much
from memory as possible. 20

TOTAL. .5 hours & 5mins

IMPORTANT: You practise to get goodfost; combine other techniques into your tone, technique
and scale sessions, such as vibrato, expression; breathing - the breathing indications in most pieces
arr shrdies are there for the amateur, the disabled, the elderly or for small girls. Really fill up your
lungs and make long phrases when you practice. It wonrt get better unless you do.
Regular practise is the only way. Get up earlier and start at 8.30 or 9.00. Then yon are free to do
other things during the day.

Listen to other players, or CDs. This will help develop your critical faculties.

The Six Week Repeating Technique and Tone Hot-Up.

WEEKS One and Two:
(a) Moyse Technical Mastery for the Virtuoso Flutist: pages 1-4, and later
1-6. Later still, the two variations, 'B' Series and'C' Series.
(b) Daniel S. Wood. Technical Exercises for Facilitating the
Execution of The Upper Notes of the Flute.
(c) Reichert2 andPractise .Book. Five, expressivo
(d) Tone Exercises.
(e) Sequential exercises: Reichert 1-6, Boehm 12....etc.
 (g) Intonation: P.Bk. Four, 24 Studies or Expressive Scales in P.B
Five, or Reichert2, or, Melodies.
WEEKS Three and Four:
(a) Practise Book Six, p.12. A,B,C,D,Q and p.17. @on't
practicel)
i (b) Daniel S. Wood. Technical Exercises for Facilitating the
Execution of The Upper Notes of the Flute.
(c) Reichert 2 and P.B. Five, expressivo Five, or Reichert2, or, Melodies.
WEEKS Five and Six:
(a) Moyse'. Gammes et Arpeges (480 Exercises). Work through the chart
(b) Daniel S. Wood . Technical Exercises for Facilitating the
Execution of The Upper Notes of the Flute.
(c) Reicheft2 and P.B. Five, expressivo
(d) Tone Exercises.
(e) Sequential exercises: Reichert l-6, Boehm 12....etc.
(f) Articulation.
(g) Intonation: P.Bk. Four, 24 Studies or Expressive Scales in P.B
Five, or Reichert2, or, Melodies.
DAILY: Scales to top B, ( Moyse Exercises Journaliers) or to C @ractise Book
Five) or to D, (Geoffiey Gilbert's Book). Half way through working at top'B', start in
thirds. Half way through working to top 'C', start doing scales in thirds.
End with an arpeggio to top'F'(4th octave, as in Practise Book Six)
After some facility is gained, begin using'Variations on an Exercise'
 , ', . , The Complete Audition Tangler
I A Selective Ranking of Orchestral Solos for Flute and Piccotro

; by Waltid Irujala

The following excerpt books are refered to in this tabulation:

John lVummer-Orchestral Excerpts from the Synrphonic Repertoire for Flute,

8 vo[; International Music Co.
Code: \W.21.1.6(8) is Wummer, vol.4, page?l,line 1,
bar6playSbars.
Kedheinz Zoller--Modeme Orchester Studien fur Flote, 2 vol., Schott.
Code:Z'1.75.6(18) is Zoller, vol.1, pageZl,line 6 bar 1, play 18 bars.
The'\{oderfi Flutist (orchestal excerpts on pp. 36-96), Southern Music Co"
Code: MF.79.404{6) is Mod. Flut., page 79, line 4, bar 4, play 6 bars.
John Krell--20ftr Cc,ntury Orchsstra Studies for Flute, G. Schirmer.
Code: W.95 {3pages) is Krell page 95, play 3 full pages'
Wilfred Smith--Orchestral Studies for the Flute, 3 vol., United IVIusic Fublishers.
Code: 52.32.9.6(64) is Smitlt, vol.2, page 32, line 9,
bar 6, play 64 bars.
Shostakovitch Orchesral Excerpts ($mphonies 1-9), compiled by John Wummer,
L€eds.
Code: Shos.26.3.5(14) is Shosfakovitclq page 26,line 3, bar 5, play 14
bars.

1. Debusqy: Afternoon of a Faun; W1,3&31(alD

2. Beethoven: LeonorE No.3; W4,2 1. 1.6(8): W 4.22,3. 1 (33)
3. Ravel: Daphnis and Chloe: Iili5.41.5.4(25)
4. Mendelssohn: Scherzo from Mdsrnn. Night's Dream; final 46 bars.
5. Brahms: Symphony No.4; W7.6.4.6(13)
5. Beethoven: Symphony No.3; W23A.2.1(28): 1V2.29.8(9)
7. Brahms: Symphony No.1; W2.61.5.1.(9)
8. Hindemith: Symphonic Metamorphasis on Weber Themes; W7.40.9.4(tB)
9. Strauss: Dance of 7 veils Aom SalomolW7.72.i7.5(241
10. Dvotak Symphony in G; W4.19.5.1(34)
1 1 . Flokofleff: Classical Symphony ; W 6.A2. 6.2(36)

1 2. Stravinsky: Pekouchka; 21.25.6.1(18)

1 3. Bartok Concerto for Orcheefru, 27. 47 (all\; 21,A8.5. I (6)

14. Kahler: Das Liedvon der Erde; W6.19,2.1(9); W6.19.10.4(8)

15. Schumarur: Symphony No.1; W1.3.2.3(11): W1.3.5.3(6)
1 6. Strauss : Till Eulenspiet MF .7 9.4.4(6);MF. 80. 6. 5( I 9)

1 7. Tschaikowsky: Symphony No. 4; W2.47 .3. l(13) W2.47 .8. 1(27)

18. Beethoven: Symphony No.6; W7.8.1.7(8)

r/. I\,{anrlolconl"a.
1O rlrvrruvDDvrul. T+rlion Qrtnnknanr'
l|,{I.|.sr uJrrrl,rrvrry J \I/t e ,l (/tO\
Jf a.s.a.v\ptJ
20. BeethoveNr: Syrnphony No. 7; W8. I 4. 1 (44); W8. 1 7. 8. I (22)
21. Brahms: Symphony No.3; W6.61.4. 1(14)
22. Rossini: William Tell Overhue ; 52.32.9.6(64\
23. Prokofieff: Peter and the Wolf; W1.49.6.1(16); Krell also good
24. Saint'Saens: Caf,nival of the Anfunals; W7.62(all)
25.Bizet: L'Mesiene Minuet; Various solo collections
26. Gluck: Minuet and Dance of the Blessed Sprits; Various solo collections
27. Ravel: Bolero; W3.26.1.1(17)
28. Shostakovitch: Symphony No. I ; W3.17 .5. 4(9); W3. I 7. 8.4(9)
29. Shostakovitoh: Symphorry No. 5 ; Shos. 263. 5 $ $; 29.8.2(23 ); 30. 6. 2( I 7):
31.e.1(25)
30. Stravinskv: Firebird; K.95 (3 pagss)
31. Debussy: la Mer; W8.21.9.1(21)
32. Stravinsky: Song of the Nightingde; W1.43.9.3(13);W1.aas.4(Catutrza.plus 8)
or 21.28.7.1(13); 21.29.3.1(Cadenza plus 8)
33. Rimsky-Korsakov: Capriccio Espagr,role; W6.45.2. l(through cadannl
34. Rims$: Scherazade; W2.9.5.6{5);10.8.1(J); 11.3.2(a);D3.6{13); 1?.11.1(5);
13.11.1(5)
35. Rimsky: Russian Easter Orerfure; W1.23.1.1{9}
36. Thomas: Mignon Overhne; W8.3. 1. 1(6)
3 7. Snauss : Symphonie Domestica; \,ff .92.I.1 (22)

38. Skauss : Heldenleben; MF. 89. 8. 1 (1 2); MF. 90.2. 2(f 0)

39. Strauss: Don Quizote; MF.87. l. 1(5)
40. Hindethmith: Nobilissima Visione; W5. 32. 1. 1 ( 1 4)
41. Shostakovitch: Symphony No. 6; Shos. 35. 7(24); 41.4.5{20)
42. Stavinsky: Faiey's Kiss; 22.14.5.2(4)
43. Debussy: Nocturne; 22.5.1.1(19)
44. Dvorak New World $ymphory; W5.48.9.6(8)
45. Tschaikowslcy: Symphony No. 6; W6. 5 l. 8. I (5); W6. 52. I 0. l{8)
46. Tschaikowsky: Piano Concerto No.1; 2nd Movernent, bam 5-12
47. Piston: The lN{iredibls Flutist; K.64.1.1(26)
48. Mussorgsky: Night on Bare Mountain; W1.54.11.1(7)
49. Shostakovitch: Symphony No.15; ist Movement bars 3-41
50. Romicek: Donna Diana Overture: W5.60.4.9(20)
51. Kodaly: Peacock Variation*; 22.35.Yar.L4
52. Britren: Young Penson's Guide; Zl.1{tix.A1
.{,lso Johann Stauss: Cadenzafrom Tales from Viene Woods:
and Perpetuum Mobile
IN 6'5 AS WELLi (12 combinations)

MULTIPLE TOIINGED: