Advanced Flute Studies The Art Of Chunking Books Pdf File |TOP|
C958: 80 Graded Studies for ClarinetBook 2selected and edited by John Davies & Paul Harris. Faber Music,1986, SS, 32pages. This book has studies 51-80 which range from the intermediatelevel to the advanced intermediate (with a few beyond that including afiendishly fast mixed meter concoction from Harris). The studies aremostly from the usual suspects such as Müller, Demnitz,Baermann,Rose, Lazarus, Klose, etc. In addition to the students for which it wasintended, this book may be useful to the adult clarinetist who doesn'town many etudes books and is looking for some variety.
Advanced Flute Studies The Art Of Chunking Books Pdf File
C125: Velocity Studies - Intermediateby Kalman Opperman. Carl Fischer, 1999, SS, 45 pages. This volume nowincludes a downloadable .mp3 files of all 33 techincal studies playedby clarinetist Adam Ebert (aformerOpperman student). Dedicated to John Bruce Yeh. Thirty-three technicalstudies most of which are a page in length. Several have singlemeasures that are to be repeated.
Note: all exercises that use the words: " ah HA!!" are pronounced "aa AA". The "H" sound is not meant to constrict the throat to hurl the air forward, but is to activate the lower lungs do hurl the air similar to the way they do when you laugh or shout. To feel for this, start a note with no HAAAA on it, and gradually increase the HAAAAA. (You may have to breath inbetween each increase in order to have enough air for this experiment.) aaaaaa (pp) haaaaaaa (mp) HAAAAA (mf) HAAAAAAAAAA! (f) HAAAAAAAAAAA!!!!! (ff) As each louder HAAAA is added, relax the center of your lips just a tiny bit more and more, until you can feel the air pushing the inside edge of your lips out. When you can feel the inside membrane on the inside edge of your lip opening vibrating slightly, you have relaxed the lips enough. Keep playing at that exact level of HAAA, and with that same feeling, and listen to the tone. How does it sound? With the same feeling still there, of full HAAAA and a splayed out inner lip membrane, play around with a scale or a run, without making any lip changes. How does it sound? If you have difficulty feeling the air splay out your inner lip membrane, experiment by saying: Peu, Peu, Peu as you increase the air pressure ("Peu" as in french.) ( In english it's like saying "Pe.." as in "Permanent") 4. Aiming with the Inner Lips: Now that your lips feel more sensitive and alive, it is possible to imagine that you're aiming the air stream with the inner membrane of the lips, just inside the lip opening. Picture the airstream as being movable up or down by directing it from just inside your lips. Roll your lips a tiny bit over and under eachother while feeling the inner membrane. Picture the air being aimed from a point inside your lips, just in front of your teeth. If this image doesn't work right away there is one way to feel it: Take a straw and chew it flat or grab a spare coffee-stick from a cafe au lait. Place the flattened end horizontally, just barely inside your lips, not even in as far as your teeth. Just lay it in between the center of your lips and gently close your lips on it. Now move it slowly back and forth until you have make the inner lip membrane a bit more sensitive. The straw represents the air stream as it passes by the inner lips. Now, without the straw there, pretend you can still feel it, and aim your notes on the flute with the inner part of your lips. Listen to the sound, and experiment with feeling the air being aimed by the part of your lips that the straw was just touching. Imagine the air passing the inner lip membrane at that spot while listening for the best tone. All these lip awareness exercises are actually techniques in advanced flute playing, so come back to them often to see if they are of any use on days when your tone is slow to come. Meanwhile, we'll move on to the question of rolling in and out. ROLLING IN OR OUT? HOW DO I KNOW WHERE I AM?
If you wish all the notes on the flute to have good tone you must listen carefully to see if every pair of them sounds exactly alike. If the first note could be called the colour red, for example, is the second note exactly the same colour red, or is it green? Listen very carefully. If the first note is yellow, does the second one sound brownish-black? (examples of books to use: Moyse's "De La Sonorite" or Trevor Wye's "Practice book for the flute Vol. I Tone" or Paula Robison's "Bell's Warmup" from her book of warmups. All these feature whole notes slurred in pairs with a crescendo going to the second note. Each pair of notes is a semi-tone apart, starting on B2 and going down to low C, and then for high longtones, starting on B2 and ascending to B3.) Both notes should have exactly the same sound with no sound of changing notes, even! Gradually you will work your way up to making all the notes on the flute sound so much alike that no one listening would ever know that the flute's three octaves actually sound different. You want there to be no screeching on the high notes, and no weak sounding breathiness on the low notes. The whole stretch of the flute should sound beautifully pure and of the same colour and quality. That is the goal of Longtones. The very last thing to say on the subject of tone is about finger slapping. When you're changing notes in your longtone exercises, be sure and listen for key noises. Each key should be closed without any bump or thud, so that it sounds as if you are silkily gliding from note to note. Listen to each key as it goes down.
At this level of high register flute playing, there is no substitute for the excellent and inexpensive slim volume by Thomas Filas called: Top Register Studies for Flute. The publisher is Fischer, and this book is readily available at larger music stores (or they can quickly re-order a copy for you.) If you need to order by mail try: www.fluteworld.com or Topwind in the U.K. Filas says in the introduction that there are three steps to performing the top register of the flute with ease and fluency: 1) Reading the notation easily, through daily playing of one or more of the three-line studies each day and making a direct link from the printed note with its leger lines, and your instant fingering of that note. 2) The Execution of top register intervals in all keys. The book starts with C major/A minor and then gradually adds flats and sharps to introduce you to various combinations and to improve the polish and ease of your finger-changes in the high register. 3) The Articulation of top register intervals; the coordination of tongue, lips and fingers with breath control, enabling you to play the three-line studies with no slower and faster bits, but just solidly and easily. The great thing about these short studies is that they sound like adorable fragments of truly fun/goofy music. They're easy to listen to as well, and very smooth and pretty. No two are exactly alike, and yet they cover every high note, every key, and every weird possible fingering in the top register of the flute. So here are my studio suggestions of how to practice the Filas Top Register Studies: 1. The key to practicing these is to begin very very slowly in tempo, perhaps at quarter note= 60 on the metronome...and to at first play the three line study through all slurred, breathing as required. If anything about it seems difficult, break your Filas study down into easily conquorable pieces. For example: a) It can be very relaxing physically to just play three or four notes of each bar several times, and then holding the last note out like a longtone. Then choose three or four other notes in the same bar (move your starting place around each time you've managed well) and play them very thoroughly. b) If a particular large leap to a high note is giving you trouble, stop and relax, and then start on the lower note that you must leap from and very easily do chromatic longtones up to the note that you will leap to. ex: F3 to A3 leap too tough? Play a beautiful F3. (Walk up to it chromatically if necessary from B2 as if you're re-checking your high longtones from your earlier warmup that day). Now play F to F# and hold.(always crescendo to the second note when doing longtones.) Match the tone of the two notes. Then play long held F# to G. Then: G to G#. Then: G# to A. If you've matched the tone all the way up, and left your lips as near to the position they started in, and fingered delicately, and not changed anything drastically in your embouchure, then you'll have found the right "mouth" and wind speed for the high A. Memorize the feeling of that "mouth", and then play with that exact same mouth when you move from F3 to A3. c) If a series of notes seems to lose air, and have unstable support from your lungs for the tone try this: PUSH through the notes as if your air must reach the end of three-notes-in-a-row. Make your airstream like a river that's always running ahead to the next place. It could be that your airspeed was becoming static, and only vertically supported (like saying a short "HA!!" instead of a long "HAAAAAAAAAAAAAAAAAAA!!!!!" So be aware that your lung support and torso muscles will feel constantly helpful, and are not going flabby during a series of notes. d) fingers must stay low to the keys and relaxed. If you come across a note you're not familiar with, or a finger exchange from one note to another that gives you instant-dyslexia, take 10 minutes or so to sit down, check the fingering chart, look at your fingers, and make a metal connection between which fingers are rising and which are falling. The last thing you want to do is "flail" at an unfamiliar fingering. It would be like sending a novice out in a one-man-sail-boat in a heavy wind....how long do you imagine it would take until all the sails and ropes are banging about in the breeze and the whole boat is listing right and left, and getting waves over the side? So don't bother with this flailing. Sit down, bring the flute's keys close to your eyes, and closely watch your fingers go up and down from one note to the next. And when they're up, leave them close enough to be able to go down again without any wasted effort. Next stage: 2. Know all the notes, and have great tone throughout all bars of the study now? Okay...now we can go slightly faster. a) increase the tempo very gradually, but no faster than you can do it without mistakes. b) leave the study in little chunks, and pause often, holding a note, to make it like a longtone ending to a mini-group of notes. c) breath when you need to (make the mini-groups small at first) and take a good fully-rib-expanded breath when you need to as well. Don't wait too long to take a breath and play with no air in your lungs. This will only tighten your body, face and throat up unnecessarily. d) design your own little melodies from these mini-groups of notes, and feel free to expand them into your own invented compositions.....adding trills or held notes, or adding decorative notes...or even improvising just out of pure creativity. (This helps release your sense of freedom in music.) 3. Take a break. Stretch and relax. If you're really clever, you'll put on a CD of a fabulous singer (classical or R&B, jazz or folk even) or truly great and inspiring FLUTE player and just bask in the ease of their high notes. Their lung control will become a familiar sound while secretly your body will absorb the familiarity with beautiful soaring sounds and begin biologically processing how to emulate it. 4. Come back to your Filas three-line study later that session or later that day, and play through the whole thing a few times, all slurred and slowly. Any fingery areas that cause stumbling or any areas of bad tone, circle in pencil. 5. Work very slowly on the pencilled areas, and repeat suggestions mentioned in number 1 above. (longtoning up to high leaps, moving the air forward toward a goal note.) 6. The next day, go through the same process, and speed the three line study up slightly. Each time you speed it up, focus on the beauty of soaring phrases, and what emotional interpretation you'd try with this if this were a piece you were emoting. You can certainly attempt dynamics, just for fun and fooling around with colours and expression. But by and large you'll want to play at a soaring mezzo forte, with occasional swells to fortes. 350c69d7ab