) A Tune a Day A First Book for Flute Instruction By C. Paut Herrurtu ond Hucu M. Sruart ‘Copyright 1869, 1981 by The Boston Music Co BOSTON MUSIC COMPANY BOSTON, MASS.*UPIL’S DAILY PRACTICE RECORD Pupil fills ia mun: ber of minutes of daily practice. Parent sms init To im space designated ae certicaton of pupil's record for the Teacher fils im gade for quality of each week's work as shown by the lesson ‘Teacher signs initials. = Excelent: G = Good: M = Medivm, Distinctly Above Passing: US Lowe Lack of Etorts F = Falling. CT EST GRADE, Sih TEST GRADE Ine rT] Gen TEST GRADE ‘TEST GRADE Teh TEST GRADE re IL TEST GRADE FINAL GRADE ‘Shoot GradeOREWORD TO TEACHERS objective has intentionally round, but rather to con- 4 thorough musi back a good flute playing. These NY compiling this co been not tecover ti fentrate on tbe ‘scquic sround on a sib found two requisites are imsep | to the simpler rudiments of aly ‘understood as the need A brief setion ds ‘music which should be ‘The learning off the pions and fingerings as intro- duced should beinsisted! = 0 abit of careful listening (oll-sdngs have been selected crest as pieces, and because, some technical poiat to be Cultivate isthe peril The familie hymns = veeause ‘of the melodie in a addition, eh ome off sastered. ‘The value of lemrnins: > “think count” from the very pinning cajact be wrer-se:imuted. Only in this way ean pupil sense rigthim. Rhrthm, one of the most essential “ements of music, amd ussally conspicuous by its absence sm amateur ensmble plaving, is emphasized throughout. “Many teachers dio the thinking for their pupils, instead fof helping them to think for themselves. Inssting upon ne mastery of each point =ill aot dull their interest. ‘What greater gratification can there be for « pupil, hhether he be a chilid or adult, than for hit to recognize 's increasing adievement. Lessons racked “Supplementary Material” may be ‘ven as a reward for well-prepared work, Class teaching should be « combination of individue instruction and ensemble playing. At every lesson ther should be individual playing so that all the necessary curzee tions can be made. Never allow a pupil's tnistakes tb ge unnoticed, since only in constant eotrection will be develop the habit of careful thinking and playing, ‘A decided advantage of group-teaching is that it pro- ‘vides experience in ensemble playing and gives every pupil the opportunity of listening to the others, of observing their mistakes, and of hearing the corrections Classes should be rograded whenever necessary 50 as not to retard the progress of the brighter students, nor to discourage the slower ones. This procedure also acts as an incentive for greater effort on the part of the pupil. “Lessons marked “Fingering”, “Sesles and Arpegeios”, and “Important Assignment” should be used whenever recessary, according to the individual student's require: meats. The tests, following each five lesions, are given as a definite check on the pupil's progress of knowledge and accomplishment. ‘These tests are most important and ‘should not be omitted The eventual success af cach pupil depends on the regular and careful home practice, according to directions. If possible, it would be wel for the tescher to keep in touch with the parents ‘This course provides one lesson a week fr a school year. © PAUL HERFURTH HUGH M. STUART RUDIMENTS OF MUSIC Music is epresented on paper by a combination of characters and signs; it is necessary to leara all ofthese in order wo play the Hute intelligently. (Characte called notes are written upon and between five lines, called the staf. The chancter ee placed athe begining of the sais cae the treble or Gee ‘The stafis divided by bars into measures as follows Bar. Bar co. 18 (ii)These measures, ia turn, are equal in time value, aeordiag to the fractional numbers (Time sigoature) pleced at the beginning hf each pio ‘The time signatureadicates the umber of ots of equa value ineach meatus. The aper igre iver he nutes ct vests counts naomi and the lover gu adater what Hadtanotelnscobeasucas fo © ape te tne yest weno a ete ea] Alt note andro quarters in cach eases camals 2 quieter note: quale 4 eight note; et, There are different Kinds of notes, each variety representing a certain time value as follows: ale eo 12s es 423 4 t @ 8 4 dadesuae ‘Whole Nuteequals: Two Half Notes, Four Quarter Notes, or Eight Eighth Notes. ‘The count for the above would be: four to the whole note: two to each half note: one to each quarter note, and one to each group of two eighth notes. ‘The notes are named after the frst seven letters ofthe alphabet, space in which they are placed. Diesdses fie, according to the line on, of The G clef: which encircles the second line, establishes the note G on this line, from which the other named as follows: os Sea Ga BC DEFS GF ED lines and spaces a1 Im addition notes arewritten upon and between short lines above and below the staff. These lines are called ledger lines. ae ery Good Buy Does Finely. F-A-C-E A rest indicates a pause or silence for the value of the note after which itis named, such as WHOLE REST ALF RESTS QUARTER RESTS EIGHTH RESTS ‘The end of the piece is indicated by a light and heavy line: ‘When a section or part of « piece is to be repeated it will be shown by a double bar with two dots: SS] 1 0, 18a tiv)FC REWORD TO STUDENTS staly o Nestudent sh n instrument withuut Uicaid uf x competeut instructor for that partigular instrument Due to the varationsaf mouths teeth, and lip formations of diferent individuals, I believe the al important ques. tions as to position of mosthpicce, breathing, tongueing, and lip control should be decided by your teacher for vour particular ease ‘TECHNICS ‘The most important technics for wind instrument players are a follows: (1) Developing and stragthening the lip muscles, (Process) Playing of long sustained tones (2) Developing clarity and precision in attacks, (Process) Proper we of the tongue. (8) Developing a fine quality of tone. (Process) A combisation of No, 1 and careful listening (4) Developing fluency a fingering (Process) Playing ef scales and arpeggios in various keys (Developing a master of the entire range of the instrument. (Process) A combisation of all of the above. Left Hand Thumb Position CORRECT POSITION (POSTURE) When playimg the fute alway: stand or sit erect with head up, Arms, bands, and fingers should be pletely relaxed and field in a atural pxsition. Any stiffass ofthe body will be reflected in the quality of your pl jg. 1. When practicing, itisbetter to play ina standing postin as this wll help you to bresthe preosre, HOLDING AND: FINGERING THE FLUTE. ‘The ute is Falanced and suppo-ted by the fst joint ofthe RIGHT thumb, which should press against the under de ofthe Gute directly beneath the serond Bnger of the RIGHT hand. ‘The palin shouldbe turned sway trom the plover ad the litle Snger should pres key IAC. The first fnger of the LEFT hand, while curved to press hey Tl, should be Dressed firmly at its first phalznx against the body of the Hute. The palm should be toward the player. After these _~agers are in place, the remasing fingers should fall into place easly if eurved slighty. CARE OF THE INSTRUMENT Be sure to ask your teacher about caring for your instrument. A well cared-for instrument will play more easly PHRASING ‘The breathing marks (7,in addition to indicating the proper places to breathe, also serve as aa introduction to the fecling of proper phrasing of melodies. This is important at itis that which gives tleaning to tnuse HOW TO PRACTICE ‘The most important part of your practicing is in being able to think out the problems at hand: Sngering, tongue- ing, phrasing. ete. WHAT YOU CAN'T THINK YOU CAN'T PLAY. Be sure to do. good plece of work on levee + oefore attempting lesson 2, and so on with each succeeding lesson. Play slowly at first and think carefully the chy thon ote values), phrasing, tone, Sogering, and attack (tongueing). YOU are your own best teacher. Lene to intelligently criticise your ows playing. Ubelieve you know when you have done a good job and when you haven't. Don't be satis. awed with a lesson half done. yor are only fooling yourself. A good student is one who practices rogulary every day, > You? 1M. Go. 11882 (1DIAGRAM OF FINGERING EMBOUCHURE HOLE Ch DS D be BE in 9 Il ale izle 2 lz tele | | i WAND I ND FOURTH OR LITTLE Fl cER xe_lrolaclac _|eclac_aclso'sclaclno|ne | [nc | | | | | |[L.MEANS LEFT HAND | | fe aoe ee Porro otd Note: Uf fate has-open Gt key, LX must be held down at all times unless Gtor Ab se to be played Bx co. ss992 -2 byhands, with the open end to the right. Close the lips and extend the Face the inner edge of the hole against your lower lip so that the nam of ust above the white, Be sure the hole is at the ceater of the lip. Pak Upper teeth. Take a good breath, withdraw the tongue slightly. ead dice ‘The opening between the lips should be quite saall in andar (See pieture below ) Take the head piece of the dute in your comers of the mouth slightly as when smiling the hole can Be felt of the red part of the lip, the tip of the tongue at the upper edge of the the airina steady strvaim against the outer edge ofthe hele. todirect the stream of air against the rim ofthe hole without waste of Experiment ith the postion of the head piece against the lis; turn the hole slightly in or out, covering tle more lets of the hole. Listen to yourself. A better tone will be your guide, seston ou cam produce s tone and sustain it for the duration of your breath, try the following exercises forthe -ad piece, Lesson One, F co. 112A TUNE A DAY LESSON 1 OBJECTIVES: 1, To produce a tone on the head piece. 2. Correct position of the lips against the embouchure hole 3) Correct uce of the tongue, 4. Breathing, and the production of toae. 5. To learn the value of whole,half, and quarter aotes and rests. 6. To learn a moter time) signature and what it does [Four counts toa measure |A quarter note gets one count. Exercises for Head Piece Practice these exercises many times and devote 4 considerable amouat of your practice time playing. te z tones in front of « mirror where you can see the position of your tips. gate cco sores FSSA on wae comm ess =I g METER (time) SIGNATURE. ZMEANS { PCounts 234,62 34, ee H tig ig J 4 tT f t tT T T a 234, 1234, te, WHOLE (4 couat) NOTES eS and WHOLE ‘4count! RESTS etto— — 4 : * SCout 1 2 94,12 84, ee Whole Notes and Half Notes p bod ! agt | pte i oitsii > value saan se f quanren( sus Nores GaP PEY a guanreRtcon nests gy Count 2 3 4, 1 I 1284, et Half Notes and Quarter Notes ot toad Jd dtd be eCounti 234, 1294, ee ya fall rowad tone on the headpiece, and you understand how to count the above CAT shaw ann howe th yecrmnte the fate and saw will be ready 10 proceed 40 ‘Wren you can pi LESSON 1A. Copyright, MOULIL, by The Boston Music Taal. Co. usa ieeraet nn REELESSON 1a JECTIVES: 1, Correct poste 2. Further developm: of mosth position, 8. To introduce third-lins B. LEFT HAND Fisst finger 02 key 1; ‘Thumb on key TI; First finger against flute RIGHT HAND Thumb beneath flute under second finger Little flager on key RC. FINGERING GUID! ms | LEFT $200ssteane ner os Introducing 3rd-line B 8 E(elateane key pressed down, Ti (Lt) (Key RO z 3 ree This nove is— @ ee = 7 OE = = Think:Count12 34 ahaa ® ‘Think:Count 423 4 ‘These are_notes? © ® oe Site etises bieeetleres pest aoe ‘Think-Count1 23 4 1294 4234 BMLCo. 11832LESSON 13 ECTIVES: 1. Correct position and correct holding of flute 2. To iatrodues mecond-npace A Think:Count 1 2 34 ‘These are—_notes and receive 128 1208 Band A March (Duet) on (PS ‘Think|Count 2 34 s2a48 teacher $3 SSS BAL, naseLESSON 1B (continued) BUSCTIVES: 1, To introduce second-line G. 2. Practical application of previous knowl Think:Comntizs 4:2 34 notes and recieve ‘Think: Count « Duet) @® © 2 : Pupil Teachei Oa “Mihen two motes on «he same degree line or space! of the staff are connected by a curved line — they He'to be plared asone ate, adding the value of the two notes together. This is called « TIE. “Hold fermata): ashort curved tine drawn over a dot, lengthens the value of the note BAE.Co. neseLESSON 2 5 OBS IVES: 1. To develop a futter tone. 2. Practice in the use of whole, half,and quarter notes and rests, 3! Application oF pre-knowledge Hold ea: ote as loag as possible. og= =e == opas! ‘Think:Count a2 2 4 og Think:Comnt:. 4 of: ‘Think:Count: © 3 4 Flying Fancies In a Canoe © = ‘Think:Counts 2 a4 ‘The Bells (Duet) Pupil Think Count 1 2 34) Teacher At Plerrot’s Door (Duet) French Folk Soag Pupil ‘Think: Teacher Long Tones Home work: “vite a line of notes thus far studied, using half and quarter aotes and rests. Mark the letter name (G-A-B) above ‘each note. BM.Co. us2e LESSON 3 ( SJECTIVES: 1, To teara the name and fingering for third-space C, 2. _Continsation of previous objectives Introducing 3rd-space C No thumb (L1) (Key RC) c This new aote is__? ® Think: Count: 2 2 4 ot ee Think: Countt 2 3 4 oe ae E 2 = f = = Think: Count 1 2 5 4 © Sea ae ‘Think: Count1 2 3 4 Melody (Duet) Time signature is__? Thi pote Pupil = Ss Think:Count 1 2 34 Teacher Mixed Melody (Duet) Pupil ‘Think:|Count 4 334 Teacher Hold each note as long as possibie. (oi A A O o BM.CS. unasLESSON 34 z OBJECTIVE: Application of pre-knowledge. Happy Days (Duet) @ Pupil Teacher Kassaksavell (Duet) Folk-Song (Duet) Melody Hold each notte as long as possibie. an © Homework: Write a line of notes thus far studied, marking the name of each, BM.co, ags27 LESSON 4 OBJECTIVES: 1. To teara the name and fingering for first-space F 2. To develop a clearer tone by playing tong tone: 3. Emphasis om ehythe, Introducing tst- space F Ti L12-8) (Rl) Key RC ¥ ® f= @ these are. sot e Think:Counts 2 3 4 ‘Think:Count 12 34 Hold each aote as long as posible. a ® Different Note Values ® Toe tettes same of of dibs sote ie? Onis note is_? This note ie_? © rnis note is? Popes French ® ‘Time signature is__? Pupil “Teacher ‘Home work: Wrive a line of notes thus far learned, using half and quarter notes and marking the letter names above the notes. BM.Co. uaseLESSON 5 9 OBJECTIVES: 1 To learn the name and fingering for third-line B-flat 2, To tearn the; meaning of the flat 3, To notice key signatures and learn whet they mean, Intruducing: ar¢-iioe B-flat TI) (RI: Key RO : ow cB A ELATh LOWERS THE NOTE TO WHICH IT APPLIES BY ONE HALF TONE. A NATURAL TAKES AWAY THE EFFECT OF ASHARP* OR FLAT AND RESTORES THE NOTE “TO UR ORIGINAL PITCH. (*see Lesson Niae) This note is? ® Z = : Se q SE SS @ = = a f =| ‘Thimk:Coumt i 2 3 4 1234 @ o€& rs x = =i peste =i ; aS Think-Coumt': 2 34 —7 SSS © The Key of F Major Ths flat placed on the Ord line of the staff just after the clef sign, affects every B throughout the Blece, except when temporarily cancelled by a natural if) siga. NOTICE KEY SIGNATURES aie FINGER ACCORDINGLY. AN ACCHDENTAL IS A SHARP OR FLAT WHICH DOES NOT BELONG TO THE KEY SIGNATURE AND APPLIES ONLY TO THE MEASURE IN WHICH IT 1S PLACED, ® F Major — One flat Duet Pupil SS ThinksCount 12 3 «| Pupil Oats and Beans (Duet) This note Pupil ‘Think: Count 123 4 ‘Teacker| Bak ca. sansa!LESSON 5a ECTIVES: 1, To introduce the slur, 2. To practice using the notes previously learned. 3. Further use of the key of F This sign — plaged over or below two or more notes, indicates that they are to be played ia one math, and that © se first note in each group should be tongued, To" ToNcve marion Tiink:Coumt: © 4 @£ we a + Think: Count « 2 3 < Lightly Row ® [Ficeatar carey Papil — Think:Count 1 2 34 German Fotk-Song. ‘Teacher o Jingle Bells J. Pierpont Bice. ses