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FL Handbook 13
FL Handbook 13
FL Handbook 13
Flutist
1225 University of Oregon
Eugene, OR 97403-1225
W: 541-346-3790
mbarth@uoregon.edu
FLUTE STUDIO HANDBOOK
Contents:
1. Undergraduate flute studio suggested repertoire
A. Year One..p. 2
B. Year Two..p. 4
C. Year Threep. 6
D. Year Four..p. 8
E. Graduate and Doctoral...p. 10
2. General Studio Informationp. 15
A. Reference Books
B. Studio Class Format
C. Flute Practices Class Format
D. Instrumental Playing Test
E. Recitals/Performances
F. Expectations for Private Lessons/ Grading
G. Make-up Policy for Lessons/ Make-up Extra Credit
3.
4.
5.
6.
7.
8.
*Note: When purchasing sheet music, it is good to look for the least-edited
publication, especially when purchasing music of Bach or Mozart (Barenreiter,
Henle, and Kalmus are often good)
Recommended music houses:
Flute World: (248) 855-0410, www.fluteworld.com
Carolyn Nussbaum Music: 1-(877) FLUTE4U, www.flute4u.com
Document created with the assistance of University of Oregon Graduate
Students: Emily McPherson, Tara Schwab, Celine Thackston
YEAR TWO
Etudes:
Anderson, C.J.- 24 Studies for Flute Solo, Op. 30
Bitsch, Marcel- Douze Etudes
Demersseman, Jules- 50 Melodic Studies
Moyse, Marcel- 25 Melodic Studies
Technique:
Debost, Michel- The Scale Game
Dick, Robert- Tone Development through Extended Techniques
Kujala, Walfrid- Orchestral Techniques for flute and piccolo
Moyse, Marcel- Tone Development through Interpretation
Taffanel/Gaubert- 17 Big Daily Exercises
Unaccompanied:
Bach, C.P.E.- Sonata in a minor for flute solo
Bozza, Eugene- Phorbeia
Debussy, Claude- Syrinx
Ibert, Jaques- Piece
Telemann, G.P.- 12 Fantasies
Varese, Edgard- Density 21.5
Concertos and Solos w/Orchestra:
Bach, C.P.E.- Concerto in d minor
Corigliano, John- Voyage
Jolivet, A.- Concerto
Martin, Frank- Ballade
Mozart, W.A.- Concerto in D Major
Mozart, W.A.- Concerto in C Major for flute and harp
Vivaldi, Antonio- Concerto in g minor, La Notte
YEAR THREE
Etudes:
Anderson, C.J.- 24 Studies for Flute Solo, op. 21
Casterede, Jacques- Douze Etudes for flute
Furstenau, A.B.- 24 Etudes for Flute, Op. 125
JeanJean, Paul- Etudes Modernes for flute
Technique:
Berbiguier- 18 Exercises or Etudes
Debost, Michel- The Scale Game
Moyse, Marcel- Exercices Journaliers
Taffanel/Gaubert- 17 Big Daily Exercises
Unaccompanied:
Bach, J.S.- Partita in a minor
Charke, Derek- WARNING! Gustnadoes Ahead (with electronics)
Dick, Robert- Lookout
Fukushima, Kazuo- Mei
Hayden, Paul- A Tre
Higdon, Jennifer- rapid fire
Marais, Marin- Les Folies d'Espagne
Muczynski, Robert- 3 Preludes, Op. 18
Telemann, G.P.- 12 Fantasies
Concertos and Solos w/ Orchestra:
Foss, Lukas- Renaissance Concerto
Hansen, Howard- Serenade
Ibert, Jacques- Concerto
Mozart, W.A.- Concerto in G Major
Rivier, Jean- Concerto
Stamitz, Carl- Concerto in g minor
Vivaldi, Antonio- Piccolo Concerto in C Major, RV 444
YEAR FOUR
Etudes:
Andersen, C.J.- 24 Studies, Op. 15 (also piccolo)
Bozza- Etudes Arabesques
Damase- 24 Studies for flute
Moyse, Marcel- 24 Small Melodic Studies
Offermans, Wil- For the Contemporary Flutist- 12 Studies for the flute
Technique:
Debost, Michel- The Scale Game
Moyse, Marcel- De La Sonorite
Taffanel/Gaubert- 17 Big Daily Exercises
Wye, Trevor- Piccolo Practice Book
Unaccompanied:
Clarke, Ian- Zoom Tube
Colquhoun, Michael- Charanga
Hoover, Katherine- Kokopeli
Jolivet, Andre- Cinq Incantations
La Montaine, J- Sonata
Lieberman, Lowell- Soliloquy
Takemitsu, Toru- Itinerant
Telemann, G.P.- 12 Fantasies
Concertos and Solos w/ Orchestra:
Gordeli, Otar- Flute Concerto, Op. 8
Jacob, Gordon- Concerto for flute and string orchestra
Kennan, Kent- Night Soliloquy
Khachaturian, A- Concerto
Liebermann, L- Piccolo Concerto
Mozart, W.A.- Concerto in D Major
Tower, Joan- Concerto
Vivaldi, Antonio- Piccolo Concerto in A Minor, RV 445
will be mandatory for all graduate and doctoral students and voluntary for all
undergraduate students.
Piccolo: In addition to the undergraduate list, I suggest study of the works and
studies included in A Piccolo Practice Book by Trevor Wye and Patricia Morris.
Orchestral Excerpt Books:
Jeanne Baxtresser: Orchestral Excerpts for Flute
Jeanne Baxtresser: Great Flute Duos from the Orchestral Repertoire
Baldassarre Torchio: Passi Difficili e Solo per Flauto e Ottavino
John Wion: Opera Excerpts for Flute, Volumes I-IX
John Wummer: Orchestral Excerpts from the Symphonic Repertoire, Vol. I-IX
Trevor Wye and Patricia Morris: The Orchestral Flute Practice Book 1 and 2
Trevor Wye: The Piccolo Practice Book
GENERAL STUDIO INFORMATION
Reference Books:
Bate, Philip- The Flute
Blakeman, Edward- Taffanel: Genius of the Flute
Blanchard, Bonnie- Making Music and Enriching Lives
Blanchard, Bonnie- Music for Life
Boehm, Theobald- The Flute and Flute Playing
Brown, Rachel- The Early Flute
Copland, Aaron- What to Listen for in Music
Dannreuther, E.- Musical Ornamentation
Davis, Richard- Becoming an Orchestral Musician
Debost, Michel- The Simple Flute
Delusse, Charles. LArte de la flute traversiere. Paris, 1761.
Dolmetsch, Arnold- Interpretation of Music of the 17 th and 18th Centuries
Donington, Robert- A Performers Guide to Baroque Music
Dorgueille, Claude- The French Flute School 1860-1950
Downes, Irene- Olin Downes on Music
Floyd, Angelita- The Gilbert Legacy
Furstenau, Adolf Bernard. Floten-Schule Leipzig, 1826.
Galway, James- Flute
Garfield, Charles- Peak Performance
Giannini, Tula- Great Flute Makers of France
Gippo, Jan- The Complete Piccolo
Green, Barry- The Inner Game of Music
Harby, Karla- Selected Flute Master Classes
Herszbaum, Nestor- Alternative Fingerings for the Flute
Highstein, Ellen- Making Music in Looking Glass Land
Hotteterre, J. (1968)- Rudiments of the flute, recorder & oboe (Principes de la
flte)
Howell, T. (1974)- The avant-garde flute; A handbook for composers and flutists
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throughout the course of the term. Visiting artists will occasionally lead the class.
Specific graduate student presentations/visiting artists/recital preparation will be
a focus as well. Students should make every effort to attend all studio class
sessions; grades will reflect attendance.
Lesson Credit/Attendance Policy:
If you are registered for one-hour weekly lessons (4 credits), you must attend all
studio/practices classes on Tuesdays and Thursdays. If you are registered to
take lessons for hour per week (2 credits), you must attend studio class on
either Tuesday or Thursday.
Instrumental Playing Tests:
An examination is to be conducted during the 9th week of studio class each term.
The fall exam focuses on fundamentals; the winter exam focuses on etudes, and
the spring exam focuses on memorization. All students listen to one another.
Flute Practices Class Format:
These are some topics to be addressed during studies with Professor Barth.
Approximate weekly schedule is subject to revision based on events in the
area/visiting artists:
Michel Debosts Scale Game
Taffanel and Gaubert- precision is the key to success
Time Management and Practice Techniques
Public Speaking 101
Improvisation Workshop
The Business of Music- Resumes, Press Kit
The Business of Music- Networking, Dealing with Presenters
The Business of Music- Grants
The Business of Music- Internet Presence/Image
The Business of Music- Artist Management
The Business of Music- Taxes
The Business of Music- Starting 501-C3/Non profit organization vs. partnership
Extended Techniques- Flutter Tongue and Harmonics
Extended Techniques- Sing/Play
Extended Techniques- Whistle Tones and key clicks
Extended Techniques- Multiphonics
Extended Techniques- Tongue ram and Pizzicato
Robert Dick- Tone Development Through Extended Techniques
How-to teach- Mock Lessons between students
Orchestral Auditions Part One- Preparation
Orchestral Auditions Part Two- Mock Preliminary Audition
Orchestral Auditions Part Three- Mock Finals Round
Orchestral Auditions Part Four- Trial Week
Commissioning new works- what to knowComposer/Flutist interaction
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one other faculty member will hear selections from the complete program, with
accompaniment. Students are responsible for organizing this panel and
scheduling the jury based upon the availability of the committee.
All non-majors are encouraged to give a solo recital during their last year of
study. Ideally, each solo recital (for music majors and non-majors alike) will
include in addition to solo works of his/her choosing, one chamber music piece
and one piece commissioned for the event. Students are also encouraged to
participate in chamber music and large ensembles offered within the university
and community.
Juries:
Students are required to take a jury examination at the end of each term. These
juries will consist of a prepared solo or solos demonstrating the performers
expressive and technical abilities as well as the applicable technical
requirements. In all cases, if the works chosen require piano, the student must
provide an accompanist. Level-up juries will consist of something similar to the
following: two movements of a Bach sonata, a work from the book Flute Music
by French Composers and a contemporary work for solo flute. At least one jury
must be performed on the piccolo (the school owns a Resona piccolo: contact
Rick Blake for rental information).
Expectations for Private Lessons:
1. Please bring all necessary materials: flute, pencil, tuner, metronome, Taffanel
and Gaubert book, etude book, all pertinent solo and orchestral music. Please
bring to each lesson, studio class, and practices class a binder or folder that will
include handouts, this flute handbook, and blank pages on which to take notes
and write weekly assignments. The purchase of a recording device is essential to
your development- you are your own best critic, after all!
2. Preparation of weekly lesson:
A) Scales, arpeggios, long tones, special exercises assigned during
the previous week.
B) Etude, as requested the previous week.
C) Solo repertoire, ideally to be chosen from the list provided at the
beginning of each year. If a pianist is to attend the lesson, the
student should rehearse in advance all of or a section of the piece,
as time allows.
D) Orchestral repertoire, if time allows.
3. Accompanists: Students should secure pianists as early as possible each term
(if needed). Professor Barth must hear all accompanied material with piano at
least one month prior to any public performance or jury.
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D:
-tardy attendance
-lack of preparation of requested materials
-student displays unresponsive/defensive behavior
F:
Student Fails to attend scheduled lesson (unless prior approval is issued from
the teacher)
2. Studio Class/ Flute Practices Class= 40%
10%: an evaluation of students performance(s) during studio class (including an
assessment of any class taught by a graduate student)
10%: Instrumental Playing Test
10%: completion of assignments
10%: attendance/punctuality, active participation in offering constructive criticism
to peers, responsibility demonstrated by bringing to class copies of studio
performance pieces. Concert attendance: you are responsible for attending
all flute degree recitals and at least two ensemble concerts per term.
3. Jury Grade = 10%
Committee determines jury grade based on students performance.
Make-up Lesson Policy:
Students with a contagious illness are required to STAY HOME. Bringing illness
into studio class or private lessons is irresponsible and does no one any good.
Professor Barth will reschedule no more than two missed lessons per term due to
a students illness. Student cancellations due to an overloaded schedule or
inadequate preparation will not be rescheduled, and will adversely impact the
students grade. Extenuating circumstances will be evaluated as they arise.
Please notify Professor Barth as far in advance as possible, by phone and email,
if a lesson needs to be missed. Email: mbarth@uoregon.edu. Cell Phone: 541556-7297.
Make-up Credit for Lessons/Studio/Practices Class:
If you go to three professional classical or jazz performances on campus or
elsewhere, and do the following (see below), I will consider those three
attendances to compensate for one missed lesson, studio class, or practices
class (above the permissible missed class, missed due to a reason other than
illness). You can attend a student performance as well, which could offer an
interesting point of comparison. These will be due on the last day of classes,
each semester.
Provide me with, for each concert:
1. a copy of the program
2. your ticket stub
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WORDS OF WISDOM
1. Keep all doors open.
A. Observe, always- everything.
B. Be ready! Musical skills: sight-reading, orchestral excerpts,
piccolo, alto flute, fluency of all scales. Business skills: upto-date resume, biography, C.V., CD.
C. Speak no ill, be honest and sincere, give compliments
where due, be competitive only with yourself. Remember
that there is something to be learned from every individual
that we encounter in daily life.
D. Exude confidence when interacting with people. Enable
their trust in you.
E. If at all possible, say yes to every opportunity that comes
your way until you have the stardom to take only those
gigs that you favor the most.
2. Be hard on yourself but at the same time track your progress and
acknowledge your accomplishments.
3. Care for your body- it will thank you. Stretch often, take a break when
necessary, and always feel a sense of alignment from head to toe.
TO MAKE THE MOST OF YOUR PRACTICE SESSION:
1. Balance your flute properly to avoid injury and achieve optimal musical
results. Three points to attain counter-balance: chin, left index finger (near
bottom joint), and right thumb. Posture should be relaxed yet aligned
(neck and head above body, not jutting out too far). If you are sitting, feel
your sit-bones beneath you, and the chair should be 20 degrees or so offcenter, to your right, to be able to look at the music without contorting the
back muscles. If you are standing, use the strong leg muscles to support
your weight and feel the floor through both feet. One foot placed slightly in
front of the other will help you to gain stability. Last, make sure that your
flute is parallel to your lips.
2. Breathing. At the beginning of any sound that you make, allow yourself at
least four beats in the tempo that you intend to play to take a deep breath.
Open and drop your throat, and allow all air cavities to fill completely
(stomach, chest, back, neck, throat). Feel the emotion of the music (even
if it is a scale) through the breath. During passages that require you to
breathe, be conscious of the depth and open-quality of each breath that
you take.
3. Tone. Drop your throat and sing each note at least one octave (two
octaves when dealing with a high register note) below the one that you
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play. This will lower the pitch of the high register and allow more
complexity and harmonics into the sound.
4. Lyricism. Play in horizontal, not vertical, lines when trying to achieve a
sense of beauty or length of phrase. In moving passages, use this
technique to bring out the fastest notes of the phrase. Practice this daily in
your scales, etudes, long tones and repertoire. Take note of the motion of
your fingers to aid your sense of lyricism- less motion equals more beauty.
5. Record Yourself. In practice and in performance, it is immensely helpful to
consult audio and video recordings often.
6. Practice slowly. Learning a passage correctly through extremely slow
repetition at first will make the passage quickly and efficiently improve.
Play a difficult passage slowly and perfectly, ten times in a row. Then go to
sleep or do other work. Come back to the passage the next day- it will be
better!
FLUTE STUDIO MID-TERM ASSESSMENT SHEET: Please print this and bring
it to your 5th or 6th lesson of the term if you wish to receive clarification on
your progress.
Name:_________________________
Term:__________________________
Music Major: Y / N
Comments/Critiques:
1. Preparation of etudes, exercises, orchestral excerpts:
2. Preparation of solo material:
3. Participation in studio class, other performance opportunities:
4. Attendance, brings necessary materials to lessons, other misc:
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Kenneth Gekeler- Belwin Flute Method, Books 1-3- Two pages of instruction,
fingering chart, and basic beginning exercises and tunes. 1 st notes: G, A, B.
Bruce Pearson- Best in Class- has been replaced by Standards of Excellence. 1st
notes: D, E flat, F, C, B flat.
Bruce Pearson- Standards of Excellence- often used now by beginning band
students. 1st notes: B flat, A, G, D, C.
Malcolm Pollack- Abracadabra Flute the way to learn through songs and tunesbeginners band method- uses British note names etc.
Fred Weber and Douglas Steensland- Flute Student, Volumes 1-3.
Rubank- Elementary, Intermediate and Advanced Method Books (Voxman)
Sources for flute materials:
Flute World: http://www.fluteworld.com, Phone: (248) 855-0410
Carolyn Nussbaum: http://www.flute4u.com, (972) 985-2662,(877) 358-8348
Solo/Method Books:
1A) Beginner Solos:
Forty Little Pieces, trans. L. Moyse- in progressive order
Time Pieces for Flute, Volume 1 with SmartMusic CD-Rom, Arranger: Ian
Denley
1B) Beginner Method Books:
Marcel Moyse- The Debutante Flutist- a very good method book of easy
notes, exercises and tunes for the beginner flutist
Taffanel and Gaubert- Method Complete de Flute- a guide for beginner
through professional flutists. 1st notes: G, A, B, C. Contains a few pages of
instruction, and a tome of exercises. This is the most widely used exercise book
for advanced flutists, but the beginning tunes/exercises chosen are also
excellent.
Fred Weber- Student Instrumental Course- good for student who has
never read music.
Trevor Wye- Beginner's Book for the Flute, Volume I & II.
2A) Intermediate Solo/Books:
Concert and Contest Collection, compiled by H. Voxman
24 Short Concert Pieces, compiled by Robert Cavally
Barber, S.- Canzone
Bartok- Suite Paysanne Hongroise
Guenther- 20 Etudes for these changing times- meter changes
Handel- Sonatas
Quantz- Concerto in G Major
2B) Intermediate Method Books:
Melodious and Progressive Studies, books 1-3, compiled by R. Cavally
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Daniel Deitch
Folkers & Powell
Rod Cameron Flutes
Gerhard Kowalewsky
Simon Polak
Stanesby
Specific features on top-model flutes:
1. C-sharp trill key (aids a number of trill fingerings and alternate fingerings)
2. Split- E mechanism- eliminates cracked Es, which are a frequent problem.
However, the Split-E mechanism also can cause obstacles with intonation and
some new music techniques.
3. G key is either placed in-line or on a separate rod. If placed on a separate rod,
the left-hand ring finger enjoys a more ergonomic position.
4. Headjoint riser- the material between the lip-plate and the tube of the flute
headjoint can be made of very precious metals such as Platinum or gold,
potentially enhancing the tone quality of the instrument.
5. Wall thickness- a heavier-bore of the flute tube generally produces a darker,
more complex tone. Conversely, a thin-walled instrument produces a brighter
tone.
6. Low B Foot Joint- extends the low range of the flute to a low B (one semi-tone
lower than most beginner flutes).
7. Open hole flute- while most beginning flutes have solid keys, advanced flutes
will contain holes in the center of each key to aid with alternate fingerings, tone
quality and intonation.
Consideration when purchasing a piccolo: Marching Band or Concert
Band/Orchestra?
1) Wood (Grenadilla, usually)- best for serious players, in climate
controlled-environments only.
2) Plastic/Composite Material- good for someone who wants to play
outdoors and indoors, and achieve something close to the sound of a wooden
instrument.
3) Silver/Silver Plate- Ideal for marching band situation, the sound is
brighter and farther-reaching (if you can imagine that!)
4) Also available is a piccolo with a metal headjoint and plastic body.
Since the headjoint is the main tone-producing component of any flute or piccolo,
the metal headjoint/plastic body will sound pretty similar to an all-metal piccolo.
Points that I advocate in teaching:
Before Playing:
1) Balance/counterbalance- The Three Points Rule
2) Breathing Exercises- Kujalas book, balloon game.
3) To learn embouchure formation- Blow bubbles, spit rice
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4)
5)
6)
7)
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Students should be aware that the School of Music and Dance desires to discourage
any sort of action that makes an individual feel uncomfortable or unwelcome. Students
with concerns related to discrimination, bias, or sexual harassment are encouraged to
contact the following office or offices should you wish to report such an incident and get
help in resolving the incident.
Affirmative Action and Equal Opportunity Office, 474 Oregon Hall, (541) 346-3123
Bias Response Team, 164 Oregon Hall, (541) 346-1139
Conflict Resolution Services, 164 Oregon Hall, (541) 346-0617
Counseling Center, 210 Health and Counseling Center, (541) 346-3227
Student Advocacy, 334 EMU, (541) 346-1141
If you are registered with the Office of Disability Services, you should make an
appointment with the instructor as soon as possible to discuss any course
accommodations that may be necessary. To request disability accommodations, register
for services at the Office of Disability Services.
Office of Disability Services, 164 Oregon Hall, (541) 346-1155
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