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    Suzuki.Flauta Traversa Vol 03

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    52 views16 pages

    Suzuki - Flauta Traversa Vol 03

    Uploaded by

    Selene Vaccaro

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    Download as pdf
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    em iki ‘Flute School FLUTE PART VOLUME 3 by Toshio Takahashi Suzuki Method International Suzuki ‘Flute School FLUTE PART VOLUME 3 by Toshio Takahashi CONTENTS | Heanaireacpee AN Dyas a Pech, 50! oS sae wlig Pos 6 2] Andante Cantabile, PJ. Tehaikowsky ....... 0.202200 a 3] Serenade, R. Drigo....... Sachin See ssa. 4) Orphée et Eurydice, C. Gluck... 0.0.0.0. ey ( S')| Seteuade, Woodall) 22 pam eeee gee hus ess: 5 ul 6) Allegretto, B- Godard! neers w et G8 cs nis «ss 12 T | ikeuét; G. Bitet. o.oo AROMA RTE Aer kre ie ais as 4 Copyright © 1971 by Dr. Shinichi Suzuki ‘Sole publisher forthe entire world except Japan: ‘Summy-Birchard In. ‘exclusively distributed by ‘Warner Bros. Publications Inc. Secaucus, New Jersey, U.S.A. All ights reserved Printed in US.A. ISBN 0-87487-169-1 357911 13 1S 6 13 10864 ‘The Suzuki name, logo and wheel device are trademarks of Dr. Shinichi Suzuki used under exclusive license by Summy-Birchard, In. How To Play Softly (p) Lip Attack Exercises ‘Tene your jw shy and practice whiting whe pro cuncing ‘Po Ph Let the air fow between the sranbrane tthe ips sensitvely with sal lip! sp opening, keeping medium ale prewire behind the tower. side view in lip atack Yo 777» 70MM 2 breath pre rates eres a Notice the position of the lower teeth. ‘Main purpose of lip attack is to make a very small ellip- tical ip opening, and small vibrative membranes. So when you can get soft and clear tone by lip attack, then try to get the same tone by spitting, Keeping the same small elliptical lip opening. When spitting, use the very tip of the tongue. Let the air flow between the membranes of the lips softly, clearly and quietly. PORE VoTTP 7 2ORE FEA ZTE BEBOREREN ORS ECOL, EERO REC, LETH DUS ERE OM COWL, BMRA CREEMI, BREILM, BU SOR CRRERML TOG 77 EWERAIT ES ke, SCM CREEL, EDR EAS MH LT BS, ROEIL EL EE LN TTI PEST BIEETS, AOEDT ERMA, WCHEEOR ehe (Wn, FL BU ENOREOMURMEE ED span? ENT RACH DUS OMMOMTE ME oe (MH 8. +e aes a oe membrane Se Kowdork nuecasans, Lower lip wll over about 2/3 of embouchure hole. Vo PT ee 7 OUI, = CAE EMBO, acne CME DO SORDMM EMME ES EEA SE Oe, MHOCUMUA EAMES IEE Rl, OF ChECK EMBER 2 SRORMEM ST % p=pwho t= twhd te ty sitting nd time PMO EAL YT «777 REP EP TOR, BORMERS, MOBIL TO Su eoReMMEns Met. OL TCHUSEL eerie sap stoic KE EBIER ORE Ee pian Spee a P deepand wit color momeekee © P More air pressure behind the lower lip, but still keep a smal elliptical ip opening. anette 4 oP Fe mu enn R MENTE Tm Cee Leta e CH REMIE Ee Dynamics ‘To get a louder tone, you should not blow harder. You have only to let air flow between the lips more and ‘more widely, feeling bigger column of air behind you lower lip. The jaw is slightly tense in piano, but quite slack in forte. The same for the lips, 4 somewhat sus- tained pressure for the P but much less so for the J. ‘This is a very good way to keep good intonation. The Jaw should slack downward. — —— _ #8 WoRPEMT ERRORS 1 EKEORNER CA, B. POE SUMUBE, EnesLEWERNBET. SU OMRME LOH, MC BUS ONCE CS He SEHK. 20M, EF OmoMME Lea E CRUSEL EOL MORMOL, ADELE CFRE Pens. ROMMEFECEE LHe CE HE RONBEMonHE, SHMOmes Er Ber Lom KORO pms fmm mit ‘Lip opening variation from P to. ae P i twa ‘middle high — RFS OOS. ET. 26, Fomowms Fine ai jet goes forward. ‘Observe the position of lower teeth. ‘The distance between the teeth is narrow, Aven rs Fite, ELETOMomMen ere. Wide air jet goes a lite downward ‘Observe the position of lower teeth. ‘The distance between the” teeth is wide, = = a ?—7— c——? —— te SF PB 5 é = <6 = te —— 2 St P. oS P 7 I—S: P =f: P 2 a = = :& = SS 1 I 1 I 1 1 Vibrato 1, Light Vibrato Exercise String players can vibrate even pizzicato note. This very effective for a better sonority, Light vibrato means the vibrato played even on a short note like astacato note. Light vibrato isthe frst step in obtaining a fine vibrato ‘You don't have to practice it with aloud tone, The point is how to give ‘life’ to a stright dead tone. > Light vibrato 9-4 bE 9— x Light vibrato must start immediately with the fist attack. ‘Try it with medium loudness. Light vibrato must be al- ways quick and shallow, Practice to get a little longer light vibrato 3. Practice to get louder sonority with light vibrato Good as Leh azo 0a~(2nd time) sf > yf te wa 2 Use light vibrato on> ero 1. FA RETI— hOB mM Ete— HE GET I~ PEDO Lec thm ConememeT en nen Aier> Ed, SOAP APOE CMMME LONE ETD beat RETIRE RMU SSEETS. T RCOMBENN TIA HET I~ HOMME, MBBS E77 FeMeRNOM—BTAS, CHUKREWT wrt some SEMBLE IELT, ST OEM AM CMM EL, MIO ERL (Woes mens. won SOAP 2 ORWEMMOEA TR, MC, HOH BEF MARAT EO SME CMOS. TH 77 L AMMO GR OREEIETS, GEHOSKREES FEAT ENT, HCHHOMERT HET INT eonncres. 2. PAETI—-bOBK 1, OMMME RITE CRS ES EEO RS, TARE I~ FEDS ORG, 2ORH( ONORE HEE eT. 3. HH (HOM) EAC TOME 24 PET I FART EAU EMR THB HEE FEes. BHARAOR TENE Bad Domairrt he7e— becuse 4. A good vibrato will occur during a full long tone that began without any vibrato. “The tone color and sonorty ofa full long tone should be kept exactly the same when vibrato begins to occur. Your consciousness must be kept on the sonority even when vibrato continues. The tone itself must always be deep and full, and vibrato must be shallow and quick. Good Vibrato is one of the most important emotional expres- sions. It must not be created just physically (by diaphragm ‘or throat), but emotionally (by your musical emotion), 4. ROHR OY TR-VEETI- PEWS E7IR FEM CORAL ENE CMET RE LOT Whew, 74 ET I= FRR RML A Le Fommicians = bee) ATP oa emmeReR OT CEOUL, 20 FO, WHESLURATEROEDERD, 24 FE7 Pb ekU RecN ES, MMERC OTE irene es E79 — bie Monee) EaOKE EAD cot emIR i) RMI cm So cmUmt BE - eS x Vibrato should not be heard superficially. Firstly time sonority of long tone should be heard clearly, because vibrato is expressive life for tone but never the tone itself. Start to play with vibrato from the beginning Particularly, practice low register in J and the bigh register in. with a good vibrato. You must remember that good vibrato depends mainly on suitable, sufficient sir pressure working on the diaphragm. ma 3 a AVWMER> CHEEOTE FEAUAEMEL TE EXEC, REGEN ET I= OPER ATUSES THUMM, ECMO TAREE TIN Hib CURE WSMRMTAS. ETP FEMMw TAT, RTM, 5. HOILEDMSURUBELTI—- FEDS Re CUM, pCUMMNL Ae 7I— Fete MUTE LOO TMM EO CMM BS Ee PURE CM AMOMM DC HOA’, pCO RCE Ole, MESON DS (fe) COMMA ON C8 Ea PERT En 1

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