PREHENSIV
;^
^
Practice Journal Week
BOOK
1
-
Fluh
Standard of Excellence Comprehensive Band Method By Bruce Pearson <^Y^ea^aa
Oo^3
Dear Student:
Welcome you
to the wonderful world of instrumental music. The moment you pick up your flute, begin an exciting adventure that is filled with challenges and rewards. If you study
will
carefully
beautiful
I
and practice regularly, you will quickly discover the joy and satisfaction of playing music for yourself, your family, your friends, or a concert audience.
hope you have many rewarding years of music-making.
Best wishes,
Practicing Make
-
the key to
EXCELLENCE!
practicing part of your daily schedule.
plenty of time for
If
you plan
it
as
you do any other
activity,
you
will find
it.
same place every day. Choose a place where you can concentrate on making warm-up routine, including long tones and simple technical an athlete, you need to warm-up your mind and muscles before you begin performing. every practice session. Keep track of your practice time and progress on the front cover
Try to practice
in
the
music. Start with a regular and familiar exercises.
Like
Set goals for
Practice Journal.
Practice the hard spots
in
your lesson assignment and band music over and over,
them perfectly. Spend time practicing both alone and with the
STANDARD OF EXCELLENCE
until
you can play
recorded accompani-
ments.
At the end of each practice session, play something fun.
ISBN 0-8497-5926-9
©
1993 Neil A. Kjos Music Company, 4380
Jutland Drive, San Diego, California.
International copyright secured. All rights reserved.
Printed
in
the U.S.A.
WARNING! Governments
around the world provide copyright laws to encourage composition and publication ot new music. Anyone copying this music without permission is breaking the copyright law and is subject to penalties. inv w.iv Thank you! Please do not violate copyright laws. Do not ropy or reproduce the contents of this bonl.
I^PS NEIL A. KIOS MUSIC COMPANY, PUBLISHER
Putting
Your Flute Together
HEAD JOINT
MIDDLE JOINT
embouchure hole
embouchure
FOOT JOINT
tone holes
—
<'^^
/'><^
U
iUi
plate
E flat key
STEP1 Open your
case
right side up.
STEP 2 Put the head joint into the middle joint with a gentle twisting motion.
STEP 3 Line
up the embouchure hole with the center of the
tone holes.
STEP 4 Hold the assembled head and middle twist on the foot joint.
W21FL
STEPS joints
and gently
Line
up the foot joint so the rod
tone holes.
is
centered with the
Preparing
To
Play
STEP1 Sit
up
straight
on the edge of your
chair.
STEP 2
Make
a "C" with your
left
hand so
that
you form a
shelf at
the base of your thumb. Rest the flute on that shelf.
STEP 3 Place your
left
underside of the rest
thumb on flute.
the long straight key on the
Move your left hand to the right and
the flute at the base of the index finger
knuckle and
between the
first joint.
STEP 4 Place the first
tip
of your right
and second
t-
thumb under the flute between the
I
I
^
fingers.
STEPS Curving your fingers on both hands, place your right little finger on the El> key. Your elbows should be away from
your body. The flute should be pointing slightly downward.
Playing
Your
STEP1 Remove the head joint and
Flute
place your right hand over the as if saying "whee-too."
open end. Shape your mouth
STEP 2 Place the head joint on your chin,
and
position
it
so that the
edge of the embouchure hole is at the bottom of the lower lip. The corners of the lower lip should rest against the
embouchure
^
plate.
STEP 3
Zy
Cover 1/4 to 1/3 of the embouchure hole with your lower lip. Take a full breath of air and blow over the hole using the syllable "doo" to play a long, steady tone.
STEP 4 Assemble the head joint to the body. Position your flute
to
the right of your body, with the flute pointing slightly
downward.
-
STEPS Take a
full
breath of
air
and play a
long, steady tone.
Caring For Your Flute STEP! After playing, dry the inside of your flute with a soft cloth
over a cleaning rod.
STEP 2 Shake the water out ofthe head joint. Wipe the joints clean.
STEP 3 Wipe the
outside of your flute with a
Carefully put away
all
soft,
clean cloth.
parts of your flute and latch your case.
W21FL
For Flutes Only TREBLE CLEF
TIME
WHOLE
SIGNATURE
NOTE
^
WHOLE
o
REST ''^^^^^rS^M.
Ledger Linex
4=4 counts 4
in
S k
each
fff)
^
measure
Bar Lines
X
—
J ^
Staff
,
Measures'
A whole
note gets
A whole
rest gets
4 counts
in
^ time.
4 counts
in
¥
^-o-
A flat
FLAT
-o
\>
?-^
one B[>
B---
f time.
(1?)
lowers the pitch of a note
half step.
for the entire
It remains measure.
in
effect
Bb
THE MAGIC FLUTE Bflat(Bb)
Bb
P^
t^
-o-
-o-
o = open • = pressed down
• oo|»oo^
^^
A double
-o-
bar line marks the end of the music.
THE "A" TRAIN A
A
M A
3X
XE
3X
3X
XH
• • o |o o o^
TWO TONE
M
FLUTERS
^
:^
Use plenty of
G
M A
-o-
XE
air.
Q G WHIZ A
-^
XE
G -o-
-o-
-o-
-o-
• • • |o o o^
FLUTE PURSUIT
^^
XE
-O-
XE
Are you playing with a good embouchure and hand position?
9 rum
i
FLUTiE
XE
-O-
-o-
XE
FLUTE COCKTAIL
|i How W21FL
-ois
your posture?
XE
-o-
-o-
For Woodwinds Only TREBLE CLEF
TIME
WHOLE
SIGNATURE
NOTE
Ledger Lino \^
i
P
4 counts in each
measure
FLAT
/
Bar Lines
X Stafl
\
Measures
m
^
\>
o
WHOLE REST
A whole
note gets
A whole
rest gets
4 counts
in |
time.
4 counts
in |
time.
-^
^
A 9-^-
flat
one Bb
(l>)
lowers the pitch of a note
half step.
It
remains
in effect
measure.
for the entire
Bb
THE FIRST NOTE D
.
L
D
.
m
-»-
o = open • = pressed down
^
-O-
-O-
-€*-
-€*-
A
double bar
line
marks the end of the music.
THE SECOND NOTE c
.
c
XE
XE
XE /ooiooo^
TEA FOR
P
TWO
Use plenty
-^
XE
-o-
of
XE
air.
THE THIRD NOTE
^^ Bflat(Bb)
•oc
'•
.;
B[,
^
-o-
-o-
-o-
c^
THREE OF A KIND
I
i
XE
-o-
-O-
XE
Are you playing with a good embouchure and hand position?
m a
THREE'S
COMPANY t
^
-^
XE
WOODWIND WHIRLWIND
P How
^-o-
is
XE
-O-
^^^
your posture?
W21FL
ForThe Full Band TREBLE CLEF
TIME
WHOLE
SIGNATURE
NOTE
REST j^^jg^j^^^gj^m.
'liiiiiiifiarrgi'Tff-'
Ledger Line
= 4 counts in each measure
\
^
Bar Lines
A whole
note gets
A whole
rest gets
4 counts
in
I time.
4 counts
in
Staff
i Measures'
one
(l>)
lowers the pitch of a note It remains in effect
half step.
for the entire
D
.
*6
measure.
BAND
^P D
f time.
-O-
A flat
TIME FOR
_
WHOLE
o
-o-
-o-
-o-
-o-
o = open • = pressed down
A
double bar
line
marks the end of the music.
THE FUN CONTINUES c
c
^^ ^^
XE
XE
3X
• o o |o o o^
WHOLE LOTTA COUNTING
m
Write
-^ in
3X
the counting
and clap the rhythm before you
FOURSCORE
^^"
• O O !• O Qj
m
play.
Bl>
t
^
when you
o^^
XE
Page 39 1111^
Bflat(Bl>)
t^
-O-
-^-
-O-
-o-
see a page number followed by an arrow, Excellerate to the page indicated for additional studies.
MIX 'EM UP
m P a
-o-
XE
-O-
XE
MELTING POT XE
-O-
-^
XE
BAND ON PARADE XE
I Lines with a
W21FL
medal are Achievement
Lines.
-O-
The chart on page 47 can be used
^ to record your progress.
^
HALF NOTE
HALF REST
o Each half note gets 2 counts in \ time.
a
Each half 2 counts
L
1,
BREATH MARK
rest gets in
\ time.
Take a breath.
A BREATH OF FRESH AIR
M u
-»-
-o-
Be sure
to take a
51 SIDE
full
breath of
XE
Tf"
-O-
-O-
air.
BY SIDE
-^
Xt
XE
xt
-O-
-€»-
[0 TWO BY TWO
i
i
-^
-o-
xn
HALF THE PRICE
P Write
^
^'
in
-O-
XE
also played
^^
(S^
15>
S^
-»-
Bb
^
P
-^
the counting and clap the rhythm before you play.
Page 39
CARDIFF BY THE SEA
g
^
[0 TWO FOR THE SHOW
^^ s
XE
p
-
Welsh
?
Song
-O-
Duet -o-
-o-
p ^^
^
Folk
5
p
p ^
p
-o-
p
a GO FOR EXCELLENCE!
i
\^?
r
^^p
-o-
XE
-O-
W21FI
8
PHRASE Each quarter rest gets 1 count in \ time.
Each quarter note gets 1 count in \ time.
|i(t)
r
r
r
r
^
i
^
A
^
^
phrase
is
a musical thought
or sentence. Phrases are usually four or eight measures long.
A QUARTER'S WORTH
4urrr "iMrrrrmn i
Write
in
i
>rrrr
""
i
the counting and clap the rhythm before you play.
^^
a HOT CROSS BUNS t^ clap
u
^—H—^—
¥:
¥:
K
^
¥:
>
English Folk
Ul f-H Ul f-H
>
t
^^Vrrr in
DOWN
QO
4^
mark
a breath
^r
n
^^
^
ffrr
^" i
^
^r^
i
BY THE STATION
¥:
-o-
Traditional
r^rYrnY^
rr^r^
¥:
French Folk Song
end of each phrase.
at the
Song
-o-
P
AU CLAIRE DE LA LUNE
Draw
-^
rrrr
i
r^
l
y
rr rrr^ r^
r ^
^fMTff y
^
i
i
g EASY STREET E flat (El,)
El,
.
k sx
r^^ \}rj
j
a (g
h
rT \
zz:
r r
I
f r r r
l
0«4
^
D COUNTRY WALK
i
j '7 f p
GETTIN'
English Folk
Hb^
IT
^
I
r r
^
Z=K
^
TOGETHER
1©
(&
F
-o-
• ••|«oo^
m
2Z=ff
f=k
-o-
#i
r^'TMf^r^l^pf^
Song
t rr
^
FOR FLUTES ONLY I W21FL
I'p
i'r
^
|
^
m P n
(P
f^r-
*'
^^
^
-o-
REPEAT SIGN
COMMON TIME
FERMATA
U Hold the note or Repeat from the beginning.
Common the
same
time
means
as \ time.
rest its
longer than
usual value.
SOLO
10
IE
TIE
A tie
£5
TIME SIGNATURE
m
= 2 counts in each measure = quarter note gets one count
a curved line that connects two notes pitch. Tied notes are played as one same of the is
unbroken note.
^
a WARM-UP G
o • ••looo^
Q
r
UfJ
P
rf
1
f
p
U^ 1
1
Iy-'
P
if
P
'l
r
P
|l'"
II
11
Key signatures change
KEY SIGNATURE
certain notes throughout
a piece of music. This key signature all
i
B's as
B
flats
and
all
E's
as E
means
play
flats.
I
MARK TIME
M For lower notes,
r\ \ff?
make your
lip
jj|i>ppp jj|i>i>pp Ji^p^piii>pp
^
r\
opening
larger
and
-o-
i^f^r F
direct your air stream lower.
SWEETLY SINGS THE DONKEY - Round
^^r^rr 1.
a MARY
,2.
,
i
lS>
(S>-
r
r
-^
\tr^
i
r-}
^
^m
the note
names before you
m^ n CRUSADER'S
in
^
r-i
r^
I
^
rJ
Song
Indies Folk
Tutti
m^
zz
Tutti zz:
m m
t9
(5^
t^UT^ ^
play.
MARCH
m
^
p^
^^
Page 39
Traditional
m m
s
?
s
the counting and clap the rhythm before you play.
Em BALANCE THE Draw one note
J^
511
I
?
Solo/Soli
Write
-**-
West
s in
mm
ANN
Solo/Soli
Write
Traditional
GO
or
one
SCALES
rest to
balance each scale.
J
o \\
J
FOR EXCELLENCE!
i
r
i
r'
i
"r W21FL
12
and bottom notes.
^^^^ °^ ^^^ section plays the top notes
DIVISI
part of the section plays the
UNISON
div.
unis.
rq»
Everyone plays the same notes.
BALANCE BUILDER 2r\
^^ $
4
3
Tonic
Dominant
Subdominant
Tonic
/O
5
7^
?
rsi -o-
-O-
JINGLE BELLS S.
J.
Band Arrangement
arr.
^^
m
zzm.
t
%
^
%
t
t
=g
^
f
10
11
>
<
I
\>"
i
i
=g
f
1961)
I
I
19
f
f
f
f
1
r
div.
12
^
15
18
1
^u'^
(b.
^
^^
unis.
^
14
'
f
wm
13
!7
'
I
f
div.
V
Elledge
4unis.
div.
m
Pierpont (1822 -1893)
Chuck
16
«
13
|u
EIGHTH NOTES
^
r
Two
r
eighth notes are as long
as a quarter note.
|u
j~}
r
p
p
Each eighth note gets
1/2
count
in
n=j
Li
u*
p
f
and
\ time.
1/2
+ V2 =
1
count
WARM-UP
I^
r\
i
221
-o-
r\
^
XE
-^
?
^
JH EIGHTH NOTE ENCOUNTER
i 7\\ Write
in
J
J
i
J
\
the counting for the top line before
ALONG
JIM
i'''i
you
J
J
J
J
[
J
J
J
J
play.
American Folk Song
JOSIE
jr
f
I"
J
J
\
I
f
p^p^
LI
r
IB EIGHTH NOTE EXPLORER i clap
i Write
Jin
J in
J
T
r SH
J
J
J
:l
.1
J
I
J
J
J
J
J
J
the counting for the top line before you play.
GO TELL
P
J
GO
[J
r
r
r
Gioacchino Rossini (1792
BILL
l;
r
^
^
t*=i=t
[j T '
^
m
r
m f
r
r
-
1868)
^^ u
FOR EXCELLENCE!
4^^-prr [f rrrnJr^r'rrrHrrrcr rrfHrr i
i
[rr W21FL
14
D EIGHTH NOTE EXPRESS
###
#
f
#
|
#
##
J
J
f
f\ Write
I
.1
J
J
:l
J
J
J
^
l;
^
^
X
K^
K-
the counting for the top line before you play.
in
SKIP
LOU
IT,
Tutti
Solo/Soli ^
i
r
American Folk Song
Tutti
Solo/Soli
i
[jr
r
I
[_r^
f
^
I
^r
f
r
EIGHTH NOTE EXPERT #
4i''^r
^
m
=jg
r
clap -^<
Write
in
><
¥^
^
^<
X
^
^<
X
><
^
¥r-
K
the counting for the top line before you play.
MEXICAN MOUNTAIN SONG
Mexican Folk Song
I^^^P^ a BAFFLING BAR
m Write
in
^
LINES
M
^ the counting and
draw
in
FOR FLUTES ONLY
lb'4
^
-
r
—
P
^
^^
^
^
r
?
the bar lines before you play.
—
'"
^^—-— =^—
^
f
^
p
^
—
15
&
SLUR A
curved
line that
A
connects two or more
*P
NOTE
PICK-UP
note that comes before the
#
r^ -
F
first full
measure of a piece of music.
notes of different pitches.
WARM-UP
^ i
r
Tongue only the
first
note of each
r r
I
^
ERIE
r
r
I
r
I
r
f^^
^
-*-
slur.
THEME FROM "SYMPHONY NO.
n^ t
r
I
r\
1"
Johannes Brahms (1833
^si i^
m
CANAL CAPERS
^^^ f
f
m \}
-
1897)
P
\
\i
American Work Song
Page40
m
4^^
i
^^
r
cjr^r
r •
r
'
LT [-r
r
i
r
LAUGHING SONG Round
"^
Traditional
-
1.
,
r
r
T
|
2.
^
[JLJ
STAR SEARCH
rSTtl
*
i
Wolfgang Amadeus Mozart
&
si
in
the missing notes for "Twinkle, Twinkle,
GO
756
-
1
79
s
Little
Star" before
you
play.
FOR EXCELLENCE!
iz r
r
1
^ 0-
Draw
(
[jr rr
r
i
r
r
LOJ
'
i
i
Lrrrr
r
s
Ff=^-^^^^ W21FI
16
^
KEY SIGNATURE
This key signature
and
all
A's as
means
play
all
B's as
B
flats, all E's
as E
flats,
A flats.
aa CLIMBING STAIRS A flat
(A
• • ft|o o o^
y
Ab
m^
b)
i^
gZZJ
p
r
r
fei
T
r
i
r
r
1&-
^
^
BINGO
P
American Folk Song i:s
¥
r^^
$
w^^
i# # ^
m
Si THERE'S MUSIC
* S^
*
IN
m
0-
MT
•
^
r,r, r
'\^
^
George
^
i'
F.
^
Root (1820
^
0-
«
1895)
-
^
THERE'S THE SAME MUSIC IN THE AIR
^
F
\
THE AIR
ji
rrr
i
George
F.
Root (1820
-
1895)
m.
P
Circle the notes
ra SCALE
changed by the key
signature.
SKILL
f"""rrrr rf i
' i
M" i
I
r r
i
rr rrrr i
i
r
f
FOR FLUTES ONLY
Q c;r W21FL
tQj:ji;r
17
DOTTED HALF NOTE A
dot after
TIME SIGNATURE
18
A
NATURAL
It
natural sign cancels a
remains
in
flat
or a sharp.
effect for the entire measure.
WARM-UP |:
A flat
Ab
(A b)
5 IE • ••llooo^
OLD BLUE Solo/Soli lo/Soli
1
LT
r
''^
r
I
s^
J^
^s_^ r
r
I
i
t
>
l;
r
i
^
i
/ Solo/Soli
^
4
s—H_^
u\r'^
r
g THIRD TIME
I
\i
r
AROUND
^^m Circle the notes
i,^.
J
r
I
cj
'^
i
t
I
i
^
^ _
"^
signature.
m
M0 -U*i
r
Traditional
.-^
A. '>
s 't
^
^^
;iJ
LULLABY -Duet ,
s
—
Tutti
M [J
9
A^
J
changed by the key
T
Traditional
i
^^ p
B.
^
s
?
^
SP ^
^
^ ^
M y~y
?
i»
MINUTEMAN MARCH
l'''"^r
Li
r
Robert Frost
i
r
V
r
p
u
i
^m
u
A
Al]
^^^
f
FOR FLUTES ONLY
s 11
- ^
/ W21FL
If
^
ir
.
»
1942)
^ akr» played niavpri also
a SI
r
(b.
XE
^^
3X
19
ACCENT 1.
1st
and 2nd
ENDINGS
ONE-MEASURE REPEAT SIGN
||2.
20
SAWMILL CREEK Accompaniment
Solo with Piano
Bruce Pearson
^
Flute
^
^^
^
Piano
'"
'
7
3
2
1
w^
Go
^^ ^ f^
nl
i
/
/?
r=?=^
'
back
to the
f
first
^ ^3 n?
?
I
-U'^"^\jj i ^3
s^
1942]
ft'MlTlulMftN
P 4
(b.
repeat sign.
3
I
—
t
f "CT
2.
.^
9
0.
#
# # O
'
'
10
•
l
#
/ IT
a ^Ti
^=a 13
$§'S
f
f
m
w
^
^
i
^
17
^^ 20
a
• *
# # -»-r-
^
21
i
J-^
22
^
a ^^^ ^^
V^''i.
W21FL
I
?
J
?
r
'
r
23
L;r
r
»
I
f
:
J
i i
^
^
19
18
^^3 ^^ ^a
f
^^
t
t
^
r
^
lOM.
15
^^
^=f ¥W
r
»— »—
fl
a
12
r
16
'14
^>^
24
r>
/
i
^
^a
^^ ^^ ^^ ^^3 25
> >
#ii=»
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1
21
LONG
REST
number
Rest the
12
Count:
2
4
3
2
4
3
of measures
indicated.
MONTEGO BAY Band Arrangement 1
n
-4 div.
^q^
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a 17
^ ^^
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10
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29 30
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div.
time
2nd time
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26
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21
20 mils
div.
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div.
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8
18 19
Elledge
unis.
13-14
' 11
Calypso Song (b. 1961)
Chuck
arr.
^ ^
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32
i
>34>
>>> m
REGAL MARCH Band Arrangement 1
E>
-2
i l>
i.
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arr.
(b.
Chuck
(b.
Elledge
p?
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a
Bruce Pearson
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P
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1942) 1961)
12
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13
14
div.
15
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19
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16
18
f
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20
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div.
25
a
m m m
26
27
28 <•
m
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22
m WARM-UP G
G
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Move
^
F
• • • !• O O^ •••|«oo^
your lower jaw and
t/
lips
back
for
lower notes.
Sn FULL OF HOT AIR
^
Bflat(B[>)
A
• •o|ooo^
m
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p
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div.
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^
George Leybourne (1842
FLYING TRAPEZE
i
Song
mill
#
rr
f'ir
I
Italian Folk
^^m back to the
gQ
first
1884)
s
wm Go
-
repeat sign.
Composer your J
^"i
f
[JU
I
Using the given rhythms, draw
in
ni
J
i
r
' i
r;:rr
notes to complete the melody.
Title
i
n
cj
and play your composition.
31 FOR FLUTES ONLY
t^=^ nnii W21FL
iriii
Ps
J.
name
23
KEY SIGNATURE
This key signature
means
play
all
B's as
B
flats.
LOOK SHARP
P^ A
E
XE
AURA
mm
E
LEE
G.
^^
m —
i^
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Poulton
(d.
1867)
M
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BARCAROLLE
Jacques Offenbach (1819-1 880)
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MAJOR SCALE
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If
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Arpeggio
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SONG Tutti
Solo/Soli
^te m $
1.
n
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i
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i
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,
II
2.
-
/
For lower notes,
ffij
GO
m "This
make your
lip
opening
larger
and
direct
FOR EXCELLENCE!
your
air
stream lower.
American Folk Song
Old Man"
> ^ >
/
s
? W21FL
24
DA CAPO AL FINE (D. C AL FINE) Go
back
to the beginning
and play
until
the Fine.
25
la THAT'S A WRAP
^
e^ /
POLLY WOLLY DOODLE M
^^ ffil
^M
f^
/
clap
——
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r
r
n
X
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K-
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00
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stomp
foot
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American Folk Song
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n
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fi
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VOLGA BOAT SONG
4 Cr
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1
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Russian Folk Song
^ ^ a KOOKABURRA
-
^
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Round
Australian Folk 2.
1
—
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f
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r
GO
Song
FOR EXCELLENCE!
"Ronde'
^
f
Tielman Susato
1»
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r r r r
i
r
r
r
i
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r
1—
^
( 1
500? -1561?)
-#-A
^^ W21FL
26
SINGLE
EIGHTH NOTE
DOMED QUARTER NOTE
A single
p
;>
eighth note
is
half as long as a quarter note.
j>-=
1/2
count
27
JUST A LITTLE OFF THE TOP
a
|^^<^
^
f
^
p
o*
-^
^
f
J
'h
J
For higher notes,
~n-
XE
P
make your
lip
opening smaller and
direct your air stream higher.
TOP DRAWER Duet
J]
-
m i
331
-O-
^
XE
/
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J
'l
J
^
J
W
i
T^ *
/ HOME ON THE RANGE
fl
Page 41
^» i
^-
Daniel
K
r
E.
Kelley (1843
1905)
-
c/
^
i
/
S^ /
/
n
•
Circle the notes
? changed by the key
\
r
u
Z21
signature.
THE CONQUERING HERO Duet
George
-
m
A.
^ ^ ^^ ^ XE
i
/
^'
# #
i
'i
rTr f
^ ^
Frideric
i
m
P
GO FOR
^
lS^
Handel (1685-1 759)
-o-
^ -o-
EXCELLENCE!
I
n
=«=»:
^
P W21FL
28
Andante - moderately slow Moderate - moderate speed
TEM POS
Allegro - quick and
WARM-UP
mezzo forte
DYNAMICS
{'^f)
-
medium
loud
mezzo piano {Mp) - medium
lively
soft
Band Arrangement
-
Andante
^^ xC
div.
9-&-
'
-^
331
XE
XE
mf
HIGH WINDS AHEAD Andante^
^m^
^
1^^
r
r
r
i
i
r
lS^
?
r
f
LOOK BEFORE YOU
LEAP
Moderate
|^'v<^JrTriJrTr
i
r^^ru^-Nr"^
/ Eb
MAJOR SCALE
SKILL
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^m
Allegro
m
^
? mf
Chords Arpeggio
^
div.
.Q
f
'-^
^
^
r
VARIATIONS
^
ON A THEME
BY
XE -^
S^ -<9^
MOZART
Wolfgang Amadeus Mozart
(1
756
-
1
79 V
Moderate
mm Theme
Variation
(main melody)
•
r
r
r
11
^
r
f
f^ ^
i^
(time signature changes)
—
•
mp
1
r
Variation 3
Variation 2 (rhythm changes)
I
(melody changes)
rP-
r pr
i
?
if r
a FOR FLUTES ONLY Andante
m/ For higher notes,
W21FL
11
make your
lip
i
P-
opening smaller and direct your
9
P-
XE air
stream higher.
29
crescendo
Gradually play louder.
L
DYNAMICS
decrescendo
i SJ
-
-
Gradually play
softer.
SLIPPERY SLURS Andante
$
f
m
^ -^-
r
r
'
r
r '
r
f
'
i
i
r
r
WALTZ STREET
^^
Moderato
^g nr
rirr ^
r
"«/
THEME FROM "SYMPHONY NO.
9"
^
^
Ludwig van Beethoven
(1
^
770
1827)
Moderato
^ i
P r
i
rrrr rprirrrnrrrrirrrr i
mf
i
f
mf
rrrr rrrrf i
i
^
rcrr
-
p
mrrrnrp
/
READY OR NOT C
Andante
I
^
& •ooiooo^
ri^^rTir
-
Pr rr ifrr i
i
/
ACH! DU LIEBER AUGUSTINE
German
Page4i
>
Allegro
S i
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m
r
i^rr
i
rr
r
i
/
S
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T'i^r:
p~y
I
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m
a GO FOR
•
^
m
mp
i
Pfr
/
Song
>
'
EXCELLENCE!
Moderato
j '"'u
rTr f
^ ^
Folk
u
=
i'-iui' ^i^
—
Play using each of the following articulations:
A.
/
*>
J J
i
cjrj [JL/ L;[j ^=— i
B.
•*
^ J_«l
i
i
r '"P
C. J J^J J
W21FL
30
BALANCE BUILDER Tonic
^^
^
Subdominant
^
2
3
i
^ -^
Dominant
^
4 -O-
6
Tonic 7
'
^
TRUMPET VOLUNTARY Band Arrangement
, ^
^^
p.-
^-
3
P--
2
?
4
3
'
^
^
e_
9
-16
I
.
^
6
^^ ^.
12
'»
P^#^
div.
18
17 !>
H
/
S 13
>
>
>
Moderate
Jeremiah Clarke (1 674? - 1 707) arr. Bruce Pearson (b. 1942)
i
>
^ ^^
19
S
\
/W/?
^
20
#
V i ^
^
f
\,
22
«
^^J
.
J^
24
f 25
Ia
27
I
^^
29
28
*'
P
i
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^
31
J
26«.
I ^\\ 36
33
35
3
s^^^
^
37
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i
38
g
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42
/ W21FL
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41
r>
unis.
div.
34 '
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g
43
t
44
39
^
unis.
4Q
?^=f mp 45 ii.
n\ 46
XE
31
TEMPO
Ritardando
(ritard. or rit.)
SAKURA-Duet
Gradually slow the tempo.
Japanese Folk Song
Andante
^
-
A.
m
i
0t
M^^
i
mp
^
f
~7^
:zz
^ mp
M=^^
i^=^
^
%
zz
^ mf-
////?
^^
^
^
P
^
>»f
n\
e
^
-o-
mp
:x:
IZl
-zi
%
-^
n/.
^
-»-
-o-
^
p
rit.
Draw
in
a breath
mark
at the
end of each phrase.
u GRANDFATHER'S WHISKERS
American Folk Song
Moderate
m
Si mf
^m Im ^
m m
i^
^
#
•
^
mf
a variation
I
;
r;
i
1.
m
m
'\
u[s
r
;
r^
i
i
Il2.
.
' \
is
i i\^
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r
^
11
I
Wolfgang Amadeus Mozart
r
r
I
f
r
(1
756
-
1
791
r
Composer your
Variation
Compose
s
Hey!
TWINKLE VARIATION Theme
0-0-
-0—0-
on "Twinkle, Twinkle,
name
Little Star."
W21FL
^
mf
All Night, All
Day"
r
^ ^ ^ ^ ir^
rr
m m m
4
"""
^
ui= s mf
r
P
r-
r
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r
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^
m
«.
i
MANHATTAN BEACH MARCH
Page 41
Allegro
^
m
m
^
E
/
aP
^
Philip
Sousa
(1
854
-
1
932)
^
Theme
Introduction
*->
John
lllll^
;>
g
^
2.
a '^yj Write
in
?
i
#
f
DYNAMIC DECISION the following dynamics from softest to loudest:
mezzo forte
piano
mezzo piano
forte
softest
loudest
aj FOR FLUTES ONLY Moderate
q^N# mf W21FL
#
^
-&^
O
P
^
^^ Largo
H
rpr
'
pir
Pr
-o-
rrrp
i
"'f
mp JUST FINE Moderate
^
e
^u^f\
r \
"
^^
^
^
'^g^r
f
S
f
^n ^f
fes
I
,
CHORALE Duet
fggi
f
P
f f ^rl
Lowell
-
^IM
Mason (1792- 1872)
Largo A.
i
^s
i
m
n
^ ^
.
g
p
m m
«/ B.
.
^^ I
mf
.,
ff,
a
?z^
ri
n
m
m
,
a
mm
r\
fi
/
w/?
r'
XE
/
/«/
t9-
CJ
rit.
r\
mm.
7T
331
/
/»/
rit.
TEMPO TIME Write
in
the following
tempos from slowest
to fastest:
Andante
Allegro
Moderato
Largo
slowest
fastest
aq GO FOR Allegro
mf
EXCELLENCE!
p^^ W21FL
34
RICOCHET ROCK
^
^
Allegro Vi
/
clap
^^
^'
i-
r
Jd
(b.
1961
^H H
^M n
^m r\
f-H n
Ju
—
^
^
-M
US LOCH LOMOND
^^
Scottish Folk
_
Moderate
#
m
#
tf
i
Song
rT
F
f
mp
n\
tTr
a
Elledge
m
WM-
^
>
?
n
f-H
^
^
^^ n r
Chuck
M
'
ff
r\
mp
a SHALOM, CHAVERIM
Hebrew
Andante e:
4'""ilH [jr
m
Song
a
r
a Draw
m
Folk
?
in
a breath
mark
at the
end of each phrase.
Composer your name
^ rMLf fur^f^rrr
i
i
Compose an ending
for this
melody.
FOR FLUTES ONLY
Title
r
r
and play your composition.
^
^'rrrnrrrnfi ^ Moderato
i
£^fa^ I
mf
Move W21FL
your lower jaw and
lips
forward for higher tones and backward
for
lower tones.
35
GRANDFATHER'S CLOCK
Henry
Moderate
r?
r
:s
r i
—
m m
0
C.
Work (1832
1884)
-
m^ Fine
0-
"if
DC.
nni'inr
M, Circle the note
KUM
changed by the key
BA YAH
al Fine
o
rr
signature.
m
African Folk
Song
Largo tS>-
t
^U"
^ i^
(S"
r-
n GRANT US PEACE
^
^
-
r ir^rr ^
m^
3X
g
i
r-(^
°
f
I
r
r
r
w
I
Round
German Canon
Andante 1
-±^
^
#
#
,
T21
mp
sKS
i
f
iT
Sk^ GO
ff
r
i
ff
i
I
'
rr/
f
#
f r
i
f^
a
I
22
^
i
FOR EXCELLENCE!
Moderato
s^ i
r
CT
i
T
r
r
r
r
i
f
fj
»!/
S
^
cjrJr «
«!/•
i
r
Qrr
LLrr flfj i
/
mp W21FL
36
MINUET Solo with Piano Accompaniment
Johann Sebastian Bach (1685 - 1750) 1
Moderate
Flute
Piano
H :r r r
'
i
T
i
i
r
P
r
i
^P
9
-10
9
[J
I
[J [J
^^ ^m
^
te
P
11
15
12
f r
[JcJ
I
f
f
^m
^
W21FL
f
r
r
iT
^P ^
r=f
?
37
^
21
22
#
^
l77^#
rr
r
mp
^
mp
^^
a-
25
29
26
27
28
^ #
mf
sS 1
^ ^^
4
pi
^
^
^
^
^
»i/"
^
30 32
31
4
I
^
#
M=^
r
^
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J
t.^
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^ 37
35 34
'
3
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t!^:
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2.
36
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rs
27-
/^
^^^
^^i
mp
-a-
P
i ^^^
r\
W21FL
38
ROCKIN' RONDEAU Band Arrangement Based on a theme by Jean-Joseph Mouret (1682 arr.
1
Chuck
Elledge
(b.
738) 1961) 1
Moderate
-3
^^
i
r
r
^
mf
r
;
rr
T-
div.
S U
div.
8#
t
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10
i
^
13
^*
s 15
12
J
t=f
P=f
^
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s
20-21
2
^3
19
18
/>
mf
TWJO div.
23
24-.
a
l^=t
26
EU
22
25
fc=i
P
^
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div.
'
27
29^-
28
IS
/ nY.
30
-33
s
Allegro
—
div.
.
36
34
[_jrf
i
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a
S
u
39
38-
40
i /
div.
41
a
^
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f
42#
43
44
i
rl
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>
div.
45
^
46^
'
47
h
i
«z=z nY.
W21FL
48-^
XE
39
> EXCELLERATORS-FoR Flutes Only
m
-^
A
tie is
pitch.
•
SLUR
TIE two notes one unbroken
a curved line that connects
Tied notes are played as
I^
m
^
A
same
of the
slur
is
a curved line that connects
Tonpuo onlv
different pitchos.
note.
XE
tho
two or more notes of
first
slur.
-o-
XE
XE
-^
-O-
XE
XE
-O-
XE
-€*-
F^
$
P
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^
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Trrrirrr rrrnrrr
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rirrr
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i
^
W21FL
40
lilt
EXCELLERATORS- For Flutes Only
^m
^^4 ^i^ ||||^^
,|,iMii,liii
^
f'T rr rr
^
I
r
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r
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iz:
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r
It
P
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W21FL
.
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^
106A r
m
W=0
r
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^^
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m
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9
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41
f EXCELLERATORS-FoR Flutes Only 120A
m
^^
uu u:
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I
ir
i
120B
4^''''rT^r
f'r
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i
22
f
m
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fiT?^ngnQ
mm
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i
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lLLtut i
LfL^
M
139 A
^L;^-i
I
139B
Ju.ffrrLrf
i
-rrrrr jrrrr
f i
zz
^ W21FL
42
Scale Studies Bb
MAJOR SCALE
t'if
rr
^m
Arpeggio
F
rr
M
° 1
I
f
Thirds
rrf
E\> rt
MAJOR SCALE
i
rrnrrrnr
Arpeggio
m m^ P
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43
Rhythm
Studies or
4—
C
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f^
JJ
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46
Glossary/Index Accent
(p.
1
>
9)
attack the note louder
Accidentals (pp.6,
1
24) J, \>,\.
8,
.
.
sharp,
.
Measure
space between two bar
(pp.4-6)
known
or natural
flat,
Allegro (p.28)
quick and
Andante
moderately slow
Mezzo Piano
Arpeggio (pp.22-23, 28, 42)
notes of a chord played one at a time
Moderate
Articulation (pp.15, 19, 39)
type of attack used to play a note or
Mouret, jean-Joseph (p.38)
(p.28)
lively
Mezzo
group of notes Bach, johann Sebastian (pp.36-3 7)
Bar Line (pp.4-6)
German composer
.
.
(/
685-/ 750J
medium
(p.28) OT/>
French composer f/682-/ 738)
Amadeus
(pp.15,
composer
Austrian
28,31) Natural
soft
moderate speed
(p.28)
Mozart, Wolfgang
divides the music staff into measures
-,
medium loud
^f
Forte (p.28)
(p.l 8)
lines; also
as a "bar"
cancels a
t]
flat
(/
756-/ 79/)
or sharp
Beethoven, Ludwig van (p.29)
German composer fl770-/827j
Offenbach,jacques (p.23)
Brahms, Johannes
German composer f/833-/897j
One-Measure Repeat
take a breath
Pearson, Bruce
American composer/author
Phrase
musical thought or sentence
Breath
Mark
(p.l 5)
9
(p.7)
Chord (pp.22-23, 28)
two or more pitches sounded
Chromatic Scale
scale of half steps
at the
same
time (p.42)
Clarke, Jeremiah (p.30)
English
Common
same
Time (p.9)C
~==z
Crescendo (p.29)
Da Capo
al
.
the (p.29)
==-
as ^
and play
until
Double Bar
(pp.4-6)
==
Dvorak, Antonin (p.33
Dynamics Elledge,
(pp.1
Chuck
Embouchure
7,
1st
.
.
note of a scale; chord
built
on
fifth
Frost,
.
.
American composer
.
(5.
mouth formation used
^T\
play 1st ending
.
.
American composer/publisher
Italian
(p.l 3)
(p.
i
an
collection of pitches arranged from low
Sharp
raises the pitch of a
(p.
24) I 5,
curved
39)
first
Harmony(pp.7, 9-10,12,
its
usual value
one person plays American composer (7854-7932)
Staff (pp.4-6)
ending, and play
(b.
J942J
685-/ 75 9j
and spaces on which music
lines
:
Strauss,
Johann
Jr.
Austrian
(p.24)
sung
at the
same time
Interval
distance
Introduction (p.32)
(/
Susato, Tielman (p.25)
Belgian
Tempo
(pp.28, 31, 33)
speed of music
Theme
(pp.28, 31-32)
curved
as
Time Signature
(pp.4-6, 9-10, 17).
.
in
Key Signature (pp.11,
sharps or
16, 23)
flats
in
500?- 756/
J")
a piece of music
pitch; tied notes are played
one unbroken note tells
you number of counts
each measure; bottom number
you the type of note
tell
that receives
one count Tonic (pp.12, 30)
American composer (/843-/905J
same
(7
connects two notes of
line that
.top number
between two notes
Kelley, Daniel E. (p.2 7)
composer
main musical idea
Tie (pp.10, 39)
854-/ 927 j
theme
on
fourth note of a scale
section of music that precedes the first
composer (7825-7899)
fourth note of a scale; chord built
(pp.12, 30)
different notes played or
German composer
(p.24)
is
written
the
two or more
step
Sousa, John Philip (p.32)
18, 21-23,
26-28, 30-33, 38)
Humperdinck, Engelbert
(/
^fl
Solo (p.9)
Subdominant
German composer
note
connects two or more
line that
whole section plays
time through; then,
first
Norwegian composer f/843-/907j
9)
composer (7792-/868)
Scale (pp.22-23, 28, 42)
Soli (p.9)
loud
Handel, George Frideric(p.2 7)
signs
tempo
notes of different pitches
to play
American composer/author
(p.l 8)
between repeat
gradually slow the
lowers the pitch of a note V2 step
7)/
Grieg, Edvard
of music
(p.31).
F. (p.l 6)
Gioacchino
Slur (pp.1
1961)
hold note or rest longer than (pp. 19-20)
[,
Robert
.repeat from beginning or repeat sectioi
.
loudness or softness of music
28-29)
first
est to highest or highest to lowest
2nd ending
Forte (p.l
.
''
(ritard. or rit.)
George
before
[mo-ims)
marks the end of the music
repeat music, skip
Flat (pp.4-6)
Root,
Rossini,
Czech composer f/84M904j
(p.3)
(p.9)
.11
note of a scale .
)
(pp.12, 21, 34, 38)
and 2nd Endings
11.
part of the section plays the
instrument
Fermata
Repeat Sign (pp.9, 20)
Ritardando
come
measure
American composer (7822-/893J American composer fd./867j
"
bottom notes fifth
note or notes that
Poulton, G.R. (p.23)
to the beginning
7942)
(fa.
soft
Pierpont,J.S.(p.l2)
part of the section plays the top notes
(pp.12, 30)
7)^
Fine
and
Dominant
(p.l
full
gradually play softer
Divisi(p.l2)
(p.8)
repeat the previous measure
composer (/674?-7707j
go back
.
'/'....
Pick-UpNote(s)(p.15)
gradually play louder
Fine (p.24) D.C. al Fine
Decrescendo
Piano
French composer (78/9-/880)
(p.l 9)
first
=
stated right after the clef;
key signatures change certain notes
note of a scale; chord
built
on
first
note of a scale
G
Clef;
read by
flute,
oboe,
clarinets,
saxophones, trumpet, french horn &
throughout a piece of music mallet percussion
Largo (p.33)
slow
Ledger Line (pp.4-6)
short lines used to extend the staff
Leybourne, George (p.22)
English
composer (/842-/884J
Tutti (p.9)
everyone plays
Unison
everyone plays same notes and rhythm;
(p.l 2)
Variation (pp.28, 31)
repeated musical idea which has been
2 slightly
Long Rest
(p.2i;
.
rest the
number
of
changed
in
some way from
measures indicated the original
Mason, Lowell
W21FL
(p.33)
American composer f/792-/872j
Work, Henry C.
(p.35)
American composer (7832-7884)
47
t
48
The Flute
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O O O
OO
d;c?
TZ^
oc:^
Flute History The
early history of the flute
instruments and that
it
is
unknown, but most historians agree
largely
originated
somewhere
in
Central Asia.
Members
that
it is
one of the
oldest musical
of the early flute family
found
were held
The first evidence of a transverse flute (held to the side) its way to Germany, where its use became common by the 1 2th most popular usage during that time was for military music.
either forward or to the side.
is
in
artwork dating
back to 200 B.C. The flute eventually found century.
Its
Flutes had only tone holes, without keys, until the late 1 600's, when the Baroque flute was invented. It was made of wood, and had seven tone holes and one key for the little finger. It was built in three sections instead
of one piece. This helped intonation because the space
improvements, the In
1
flute
became
847, Theobald Boehm, a
consisted of two main steps.
a regular
German First,
flautist and goldsmith, completely redesigned the flute. The redesign each hole was placed so that each note would have the same tone quality.
Second, a key system was added. The
and made notes easier to
between the sections could be adjusted. With these member of the orchestra and rapidly increased in popularity.
play.
The
Boehm system improved intonation, made the tone of the flute louder,
flute
has remained basically unchanged to the present day.
Today, flutes are played in bands, orchestras, woodwind quintets, chamber ensembles, and jazz bands. Flutes are usually
made of silver or silver alloy, but can also be made of gold or even
include the piccolo, alto
flute,
bass
flute,
Flute Survival Kit
n D n
2
soft,
dean
pencil
band music
]W21FL
cloths
n D D
key
oil
method book music stand
and contrabass
flute.
platinum. Other types of flutes
Flute Fingering O = open • = pressed down
Chart
When more
than
one
fingering
used. Additional fingerings,
is
shown, the
known
first is
certain situations to allow for better technique.
I#=
the
most commonly
as "alternate" fingerings, are used
in
Bruce Pearson's
SmNDARD OF
EXCELLENCE
Comprehensive Band Method
^
for
The complete curriculum the instruction of beginning and intermediate band students Comprehensive Band Method
Award
Pins
&
"
Medals
Accompaniment Recordings Music Theory
&
History
Workbooks
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