Pan flute text book

The second part

Lesson 22 (p.88-89)

Ex. 115
Ex. 116
Ex. 117
Folklore melody
Ex. 118
Folklore melody
Ex. 119
Folklore melody
Ex. 120
Observation
The lesson 22 is characterized by the particular rhythms of exercise 115-116 and by a large number of popular Romanian
melodies.
The staccato is dominating the first exercise where you must hear your each beat of your tongue, very short, very clear and very
precise.
Naturally, after such a tour de force, you will feel your tongue tired, and you will have profuse salivation. In this case, rest for a
few minutes then, start again by fragments.
In addition to the staccato, the precision of the movements of the head in the intervals of fourth and fifth plays a very important
role in this exercise. These intervals placed on short time values will require you, to execute them correctly, more time and effort
than you can imagine.
……………………………….. Attention !

If you cannot hold on 16 beats in the first movement of the exercise, breathe where you see an R between parentheses, but very
quickly, and without opening your mouth too much. The second exercise is remarking itself by its rhythm which is 7 beats (broken
down into 3 plus 4). Pay attention to triplets (trios) which appear for the first time and which are not easy to execute. Study them
slowly and properly not to distort the character of the exercise. Breathing in the middle of the triplet will create difficulties for
you.
............................
Study with patience and calm in a slow tempo, and when you are convinced that you are capable of a correct execution, start in a
normal tempo, but you will not be able to succeed.
The other melodies 117, 118, 119 and 120 being short, you will study them with pleasure.
Pay attention to the rhythmic formula of exercise 117.
.............................
Break this formula down and study it slowly.
.........................
or
........................
 This arpeggio will do you a lot of trouble, because the eighth note in the middle that will force you to execute it very quickly,
especially in Allegro. Study it well, spacing the notes.
Given the number of exercises in this lesson, and the problems it raises, you will need to devote them 3 weeks.

Lesson 23 (p. 91-93)

Ex.121
Ex. 122
Ex. 123
Observation
Because of the difficulties of this lesson, all the exercises will be performed in Andante.
You will find very difficult formulas to execute there. Here are a few:
.........................
.......................... etc.
......................... etc.
........................... etc.
This game of fourths and fifths combined here and there with thirds or seconds will give you many difficulties. You will need a
lot of calm and patience. Do not get angry, study all the movements before attacking an interval.
Be very careful with breathing: at certain times, you must hold on 12 beats; or you should breathe in the middle of a measure. It
is absolutely necessary that you stop often during this lesson and that you repeat measure by measure. We believe that one month
you will be able to assimilate everything. When you are sure of that, change the tempo to Allegretto, taking it easyly. If you do not
succeed, if it seems too difficult, try again and go to the next lesson.

Lesson 24 (p.93-95)
Ex. 124
Ex. 125
Observation
The lesson 24 is made up of only two exercises, which are quite long and which will put the student to a test, because they
combine the intervals of seconds, thirds and fourths.
The fifth is seldom: given the difficulty of execution, the time has not yet come to study it in detail.
When you succeed in performing these exercises without tempo errors, you will be able to look at your progress as very real and
worthy of consideration. From the breathing point of view, the lesson is not difficult, except for exercise 125 which, in some
places, it forces you to breathe briefly, and to attack, immediately after, the next note, otherwise you might risk lose the rhythm
and get lost.
Check each movement again before you start, and remember to be completely relaxed. Leave aside any tension as it will harm
you. Tightening the lips and muscles of the maxillary especially in the high register for the notes LA, SI, DO will make you play
them very unpleasant. Study this lesson for 3 weeks then, try the Allegretto.

Lesson 25 (p.96-98)
Ex. 126
Ex. 127
Ex. 128
Ex. 129
 Observation
These four exercises sum up everything we have learned so far. The intervals of seconds, thirds, fourths and fifths dominate from
one end to the other.
.................... seconds
................... thirds
........................... fourths
.......................... fifths
Perhaps the student will not be able to solve the problems posed by this lesson. It is however necessary to continue.
It is really difficult, but at this point, it is unthinkable to give up.
I want to say that the difficulties of this lesson are not insurmountable.
The rapid succession of intervals should not scare you. The time and perseverance of your studies will decide the success. Do
you not notice that your arms, neck, head have already been freed from the characteristic tension of beginners? The lips and
muscles of the maxillary do not tire so quickly, the staccato is more precise, the breathing more powerful and able to resist long
sentences. Observing this progress, the desire to go further increases. We already know a mass of elements allowing us to tackle
some much more difficult exercises.
So let's go ahead and success.

Lesson 26 (p.98- p.101)

DO MAJEUR SCALE

After having studied the two tones SOL major and MI minor, we now move on to the study of another range opening new
horizons towards discovering the secret of this instrument. This is because the pan flue is the only instrument which has such a
method of performing dieses and flats.
After studding SOL major, let's start with DO major which is the range that is obtained with the least difficulty.
For this, it is necessary to cancel the FA sharp to get the natural pipe, as you will see.
Place the FA sharp pipe of the instrument under the lip, right in the middle.
Blow and you will find that you have obtained a FA sharp.
Tilt the instrument towards the mouth, starting from the normal position, as you can see in the positions below.

54 normal position.
55 position to obtain the FA note

By blowing again, you can find that the note obtained is lower. Control it with the piano. The note is not an FA, but an
intermediate note between FA sharp and FA natural. Start again tilting the instrument towards the mouth and covering the pipe
very slightly with the lower lip (Figures 56 and 57).
Move forward the lower jaw a little and breath slightly, much more slightly than you have done so far. Control with the piano.
This time the sound obtained is lower than the FA. Raise the instrument a little, control dozens of times, until the desired note is
obtained.
Stop! Remember the angle of inclination of the lip and the instrument.
Try again, try to get the angle the note quickly this time.
Go back to FA sharp, trying to get two successive notes: FA sharp- FA natural, FA sharp- FA natural, FA sharp- FA natural.
 Now control the quality of the sound which is not satisfying. Then try not to blow as much for the FA (natural) as for the FA
sharp.
Blow hard in the pipe to make it sound the FA sharp and more weakly to obtain the FA natural.
It is essential to get used to this system because it is essential for the emission of all sharps and all flats, otherwise the modified
notes will always sound false.
Now let's try some exercises on the stave.
Ex. 130
Ex. 131
Ex. 132
Ex.133
Ex. 134
In Exercise 130, to get the FA natural, we start from the same pipe as described above.
In the other exercises, the system changes completely.
In Exercise 131 you are forced to start from another pipe and make the note FA. It is even more uncomfortable because from the
position of the note MI, you must pass to the pipe FA sharp in the position of catching the note FA natural, therefore incline the
pan flute to the angle which allows you the realization of this note.
Now watch out! If you blow in the MI pipe, you can alternate the respective note, looking for the requested inclination to blow in
the FA sharp pipe; but attacking in precisely with a short "TOU” you will get the natural FA. Repeat the exercise until you are
convinced that you have done the right sound in the right way.
As a precaution, the FA natural note must be repeated as many time as necessary, so that the student don’t play an FA sharp by
mistake.
In the exercise 132 the process is reversed. You start from a superior, SOL, and go down to the FA sharp pipe with the right angle
of inclination, blow and get the FA natural.
Let’s connect the two exercises. It is much more difficult for us to get the FA natural placed between MI and SOL.
…………………………..
Let's break this movement down into two fragments.
………………….
and
……………………..
Then let's execute the whole formula.
………………………….
It is not easy, it is even annoying but don’t give up. Keep calm and start again because you have to succeed at all costs.
Restart from exercise 130, checking all the time with the piano if the achievement is the right note.
Go from one exercise to another a few days apart, let's study exercises 131, then 132, 133 and 134.
A month later, you will control everything, and you will see that you have acquired the reflex allowing you to obtain the FA
natural with the FA sharp pipe.
This process will be consolidated over time and you will arrive at a fast and a precise realization of all technical problems of this
note.
To achieve it as correctly as possible, it is necessary to introduce it into the study of the notes you have until now and of the
staccato every morning before going on to the proper exercises.
For the upper register, the process remains the same, but the angle of inclination of the pan flute is smaller.
Ex. 135
 Ex. 136
Ex. 137
Ex. 138
Ex. 139

Lesson 27 (p.102-103)

Here it is now the major DO scale we are going to study.

…………………………………….
Ex. 140
Ex. 141
Ex. 142
Observation
The 27 lesson will familiarize you with the tone of major DO. You may have noticed that the transition to the note FA is only
carried out by the neighbor steps and not by jumping. To train this reflex, it is important to get used to this slow passage on large
values. Later, when everything goes by itself, the difficulties will surrender.

Lesson 28 (p. 104-105)

Ex. 143
Ex. 144
Ex. 145
Observation
The lesson 28 is following the same line as the lesson before. Nothing new, but it will help you a lot in mastering the handling of
the instrument, on the maxillary and the lower lip.
These three movements must be started at the same time to ensure the emission of a pure, clear and round FA note. At the same
time, these exercises have the advantage of training you in regular breathing in DO major.