La Stannteavea Philippe BERNOLD La Technique d Embouchare 218 exercices pour maitriser toutes les difficultés liées & 'embouchure de la flite traversizre et acquérir une belle sonorité 218 exercises for mastery of all difficulties concerning tranverse flute embouchure and the acquisition of a good tone 3° édition PEDAGOGIE DE LA FLUTE TON DU PAR PHILIPPE BERNOLDLA TECHNIQUE D'EMBOUCHURE EMBOUCHURE TECHNIQUE Ayant-propos Forword Le travail quotidien du flatiste est bien souvent déséquilibré : importance qu'il accorde au travail des doigts et des coups de langue (généralement appelé “travail technique") est sans commune mesure avec le temps et attention qu'il accorde a lélaboration de la sonorité considérée comme essentielle, malgré tout, & ses yeux. Il est vrai aussi que le nombre des méthodes publiées, traitant précisément de ce sujet, est assez restreint et cela peut en partie expliquer ce phénomene. Bien sir, les professeurs ne se lassent pas de donner conseils et Tecommandations ; mais une véritable codification métho- dique de ce que j'appellerais la technique d’embouchure me semble encore faire défaut. Cest cette lacune que cet ouvrage voudrait essayer de combler, en proposant & Tétudiant un manuel gradué inspiré par les considérations suivantes, qu'il ne devra jamais perdre de vue : 1°- Le travail de la technique d'embouchure ne doit pas atre laissé au hasard, & inspiration du moment, & une plus ou moins grande familiarité avec Vinstrument. P- Ce travail requiert autant de minutie que celle apporiée aux exercices de gammes et darpeges. 3 - Ce travail doit étre varié et aborder aussi rationnellement que possible toutes les difficultés qui lui sont propres. #- Le travail de la technique d'embouchure ne doit jamais étre abstrait : au contraire, quelle que soit sa forme, un exercice est avant tout un morceau de musique. &- Le travail de la technique d'embouchure doit ére quotidien et progressif. The flutist’s work is very often unbalanced. The impor Tance he gives to the finger-work and the tonguing (goneraly referred to as *technique”) cannot be comparet (gerne time and care he gives t0 the elaboration of the ind, regarded as essential, in spite of all, to his mind. It is also true that the number of published methods dealing precisely with this subject is rather limited, anc this may partly explain this phenomenon. Of course, eachers never cease giving advice and recommandations, puta real methodical codification of what I would call the embouchure technique seems to me still lacking. This work is precisely meant to try filling in this gap, propo- Sing to the student a graded handbook inspired by the following considerations, which he will never have to lose sight of : 1°- The practice of the embouchure technique should not be left to chance, to the inspiration of the moment, nor to a relative familiarity with the instrument. 2°- This work requires as much careful attention as that expended on scales and arpeggios. 3°- This work must be varied and deal with the different inherent problems as rationaly as possible. 4°- The practice of embouchure technique should never be dissociated from a deeply musical approach of the exercise 5°- The practice of embouchure technique must be daily and. progressive 6+ Above all, this work deals with reflection and er eenCHAPITRE I CHAPTER I LES VOCALISES VOCALISES Travail d'homogénéisation du timbre et des nuances dans les trois registres Equality of timber and dynamics on all three octaves Ce sont des exercices simples et musicaux, formés diintervalles assez petits, qui permetient au flatiste de bien commencer son travail quotidien. Je me suis efforcé d’écrire des phrases musicales : ne le perdez jamais de vue (ce ne sont pas des exercices abstraits). Portez votre attention sur les points suivant * Jouez lexercice dans une nuance forte : son tres, large. * Noubliez pas que les notes hautes doivent sonner plus fort que les notes graves : allez dans le sens des nuances naturelles, afin déviter toute crispation. * Gardez la gorge bien ouverte, quel que soit le egistre ; donnez plus d'air et découvrez 'embouchure jans I'aigu sice registre vous parait plus difficile. * Pensez. votre inspiration : c'est elle qui géndre la yhrase (quantité d'air, énergie, tempo), et vous permet ie la conduire. * Attention a la justesse : les dernidres notes de la ocalise sont souvent trop basses. * Allez d'une note & l'autre en tendant légerement le iaphragme : soutenez. * Ne jouez pas les vocalises trop lentement, vous erdriez l'intérét musical. Voici 25 vocalises classées par ordre de difficulté : roisissez chaque jour un exercice différent afin d'éviter ute monotonic. | exercise everyday. These are simple and musical exercises, employing relatively small intervals, which permit the flutist r0 commence his daily practice with ease. Always keep in mind that I have striven to write musical phrases, not abstract exercises. Pay attention to the following points : * Play the exercise forte, with an expansive sound. * Do not forget that the high notes should sound louder than the low notes (follow the natural dynamics, inorder to avoid tension) * Keep the throat well opened, regardless of the register. Give more air in the high register and uncover the embouchure if you have difficulties with it. * Think about your inhalation : that is what generates the phrase (quantity of air, energy, tempo) and allows You to carry it well to the end. * Mind the intonation ; the last notes of the vocalise are often flat. * Slightly tense the diaphragm (support) when pas- sing from one note to another. * Do not play the vocalises too slowly, in order not to lose the musical interest. 25 vocalises have been here classified in order of difficulty. To avoid monotony, choose a different er eentVocalise n° 2Omnibus Edition Trevor Wye PRACTICE BOOK for the Flute BOOK Tone BOOK Technique «> BOOK Articulation ° BOOK Intonation & Vibrato 12: BOOK Breathing & Scales 153 BOOK « Advanced Practice 205 NovelloStart your practice time with the reference tone, a bright B natural. « These last few notes become progressively more difficult and this is because the tube length is longer and offers more resistance the lower you descend. Notice that you crescendo as you descend. This will help strengthen theTHE MIDDLE REGISTER | these need to be spread into i -w colours, When the lower register has been practised with some interesting ne' °. the second octave. You will notice that however easy it was to get two different colours in the low oe iis more difficult in the second octave. But you don’t want to have two colours in the low register and only on: a the middle octave. Making a ‘yellow’ tone in the second octave is much easier than getting the darker, ‘Purp! colour, but the exercises below will make it easier to hear and to achieve the desired result. Remember one important point: as you rise to middle E, avoid raising the airstream or air direction. We all have a tendency to do this without realising it because it helps to get middle E more cleanly and smoothly. E is a nore which tends to crack or ‘split’ if blown too hard. However, with some intelligent and patient work, a lot can be gained with a little expenditure of time. ‘You will start by practising the first 4 bars of the first exercise with a yellow colour and before beginning; go back to refresh your memory with the ‘Aquarium’ melody in ‘yellow’ (on page 10). Then begin the exercise, trying to keep the ‘yellow’ colour up to middle E. After a few days at this, with the same exercise, move on to the darker ‘purple’ colour but this time keep the air direction low, avoiding raising it to make middle E easier. In this colour, the E will often break up and crack. This is quite alright as you are discovering just how this happens; then you can practise getting middle E without cracking it (also see Proper Flute Playing). Slowly ——___* Dabs —>.. i ele bom40 NOTE ENDINGS and Nuances Ifyou spend time on these two exercises, it becomes clear that, in a diminuendo, as the air speed is reduced and the pitch goes flat, so the embouchure hole (the blow hole) needs to be uncovered to compensate for this drop in pitch. This action will make the note sharper, returning it back to its correct pitch. The simultaneous movements of air speed, jaw, lips and perhaps the head too, have to be co-ordinated and practised together before achieving any long-term result. In the next exercise, the tone is gradually and smoothly made softer without the note becoming flat. Play each note for 4 beats so that reeularion is introduced into the exercise ~ that of controlling loud and soft playing according to a set time. Your head should be down and your jaw back for the forte, gradually raising the airstream, uncovering the mouth hole and keeping the pitch exactly the same during the diminuendo. Make sure that you keep your arms still; don’ turn the flute in toith your hands as you practise this exercise. Sf Pp Lf —— pp Lf —— pp Sf — Bp Sf — vp SF — PP SF —— PP © After a few days, move on to Exercise 2. You may notice that as you move towards middle D, the notes are easier to control. This is because the tube is shorter: the further up you go, the easier it is to control the pitch. When D is reached, and the notes above, controlling the pitch is a little more difficult and may require more movement. Middle E is a difficult note too, due to the length of the tube at that point, but on continuing up the scale, there will be fewer difficulties. Slowly 2 f= pp Lf — vp Lf — vp Lf — vp If = pp Lf — vp Lf = vp Lf PP ff — PP I — PP I — we I — we Lf — we LS — we ‘After a few days, go on to Exercises 3-6, though don’t be too impatient to move on. Each exercise shortens the time taken to keep the tone at the correct pitch and you should be in perfect control of each exercise before moving on to the harder ones. Use your tuner to check the pitch. You will see by now that this is how pitch is controlled and how tone colours are handled and how players play expressively. It is perhaps the most vital part of your flute study. The long term aim is musical communication. ‘After practising the ‘Short Endings’ (Exercise 6) you can see that these can be added to a note of any length or loudness; you can end the note quickly without it dropping in pitch. As you become more proficient in this technique and use your jaw/lips and the airspeed more thoughtfully and effectively, so your head movement is likely to decrease. These will be the essential tools to use in being expressive. 5 : Si —pp pp pp Spe pp Pp I= Pp If pp SSS Se — pp If — pp PP LF v — —ve w= ppMathode . Complete de ie. FLUTE NOUVELLE EDITION EN HUIT PARTIES. PREMIER VOLUME — I. Technique Générale, Il Signes €Agrément. II. Coupe de Langue. DEUXIEME VOLUME — IV. Grands Exercices Joumaliers de Mécanisme, V- Enudes Progresives. Vi. Downe Grandes Erodes de View. VIL Style, VIN. Tits itil, _DEUTSCHER TEXT — TEXTO CASTELLANO ENGLISH ‘TEXT = % : par TAFFANEL « GAUBERT Paris, Editions Musiciles Alphonse Leduc, 175, Rue Saint Honoré = Cayeghe ts 20d. © 9 by Aber Led cf O% «itd a Free mpi(aee tthe 124 ry E.J. 6— INTERVALLES _ Intervats _Intervatle_ Intervatos Atravailler sucegssivement | Tobe practised witheach of | avecchacune des articulations | the following articulations: Artikalationea ruben: heinander mit folgenden |yn Bscalas croméaticas. ras d . 5 cam ; . MES CHROMATIQUES Chromatio scales — Chromatische Tonlette Trabéjese sucestoamente co” cada una de las sigutentes arte eulacténes: Nacheinander mit folgenden Arti- gutiben: chacune des arti les articulations | fotiooing artioulationes [eau ravailler suecessi uecessivement | no be practised with cacho/the ntes: TOE rn iter errr errr teem sheen ere FT eT | ne lex Gammes.Toulefoir, lex € er 25 qui voudront. a ment Vouerage de GARIBOL : f. avoir Rove “la” main 4 jent tout ce gui con Ln Méthode cont t - er we pocureront wil 'UDe COMPLE fi un reeueil pe F lier #6 P a ubre DES chumee-poon webre O sournDIE” SOLOFLOTE Eine Sammlung reprdsentativer Werke vom Barock bis zur Gegenwart Band III: RomantikVariationen aber eine Arie aus Rossini’s Armide Seve Mer 7 (1795— 1975 Andante Edition Peters 3160531605¢ Edition PetersEdition PetersJ.S. BACH Sonate C-Dur fiir Fléte und Basso Continuo Sonaten Es-Dur, g-Moll fiir Fldte und obligates Cembalo iiberliefert als Werke Johann Sebastian Bachs Sonata in C major for Flute and Basso Continuo Sonatas in E-flat major and G minor for Flute and Obbligato Harpsichord handed down as works by Johann Sebastian Bach BWV 1033, 1031, 1020 Herausgegeben von / Edited by Alfred Diirr Barenreiter Kassel - Basel - London - New York - Praha BA 5220lauto traverso Sonata BWV 1033 1. Andante ~ De oe oe © 1975 by Birenreiter-Verlag, Kasse!iceterr es fer Sfeer tee tier ge a, ap eee-_ Wiener Urtext Edition UT 50087 Franz Schubert »Trockne Blumen“ aus/from ,,Die schéne Miillerin* Introduktion und Variationen fiir Klavier und Flote Introduction and Variations for Piano and Flute D 802 (op. post. 160) Nach Autograph und Erstdruck herausgegeben von Jiirgen Kindermann in Zusammenarbeit mit Karlheinz, Zaller / Fingersitze des Klavierparts von Konrad Richter n Kindermann Edited from the autograph and the first edition by J ig by Konrad Richter in collaboration with Karlheinz Zéller / Piano finger Wiener Urtext Edition, Schott/ Universal Edition Wiener Urtext Edition, Musikverlag Ges. m. b. H. & Co., K. G., Wien Edition, Wis Ein Gemeinschaftsunternchmen der Verlge Schote Music GmbH & Co. KG, Mainz und Universi Eivon, "1% Ish 979.0 5057-0868ew aS Se ——— is oe : a riper tees titres = == = : 4-$ = ee eee eae se oe seete = rth ion ae inFELIX MENDELSSOHN Suefio de una noche de verano Flauta 1 Scherzo, 2 compases antes “P" al final