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    Método para flauta.

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    Método para flauta.

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    14 views21 pages

    Suzuki Flute School - Volume 01

    Uploaded by

    Hemerson Milani
    Método para flauta.

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    of 21
    ® Flute School Volume 1 Flute Part ZY" Suzuki Flute School Volume 1 Flute Part by Toshio Takahashi INTRODUCTION FOR THE STUDENT: This matcrial is part of the worldwide Suzuki Method of teaching. Companion recordings should be used with these publications. In addi- tion, there are piano accompaniment books that go along with this materia FOR THE TEACHER: In order to be an effective Suzuki teacher, a great deal of ‘ongoing education is required. Your national Suzuki association provides this for its membership. Teachers are encouraged to become members of their national ‘Suzuki associations and maintain a tcacher training schedule, in order to remain current, via institutes, short and long term programs. You are also encouraged to join the International Suzuki Association FOR THE PARENT: Credentials are essential for any teacher that you choose, We recommend you ask your teacher for his or her credentials, especially listing those relating to training in the Suzuki Method. The Suzuki Method experience should be a positive one, where there exists a wonderful, fostering relationship between child, parent and teacher. So choosing the right teacher is of the utmost importance. In order to obtain more information about the Suzuki Method, please contact your country’s Suzuki Association, the International Suzuki Association at 3-10-15 Fukashi, Matsumoto City 390, Japan, The Suzuki Association of the Americas, 1900 Folsom, #101, Boulder, Colorado 80302 or Summy-Birchard Inc., c/o Warner Bros. Publications Inc., 15800 NW. 48th Avenue, Miami, Florida 33014, for current Associations’ addresses. CONTENT: Mary Had a Little Lamb, Folk Song .... Fireflies, Children's Song Kagome Kagome, Children’s Song Cuckoo, Folk Song o..cvvvveeeee Lightly Row, Folk Song ‘Twinkle, Twinkle Little Star Variations, Suzuki-Takahashi Go Tell Aunt Rhody, Folk Song... Amaryllis, J. Gays Allegro, Shinichi Suzuki ‘The Honeybee, Folk Song Ste Long, Long Ago, 7-H. Bayly Lullaby, F. Schubert ‘The Moon over the Ruined Castle, R. Taki Minuet, J.S. Back Minuet, J.S. Bach Minuet, J.S. Bach Bourrée, GF. Handel oo... .000 cece cece cette eens Fingering Chart Suzuki Method New and Effective Education in Music ‘Through the experience I have gained by con- ducting experiments in teaching young children for over thirty years, I have come to the definite conclusion that musical ability is not an inborn talent but an ability which can be developed. Any child, properly trained, can develop musical ability just asall children in the world have devel oped their ability to speak their mother tongue. Children learmed the nuances of their mother tongue through repeated listening, and the same process should be followed in the development of an ear for music. Every day children should listen to the recordings of the music which they are studying or about to study. This listening helps them to make rapid progress. The children will begin to try their best to play as well as the performer on the recording. By this method the child will grow into an adult with fine musical sense, It is the most important training of ‘musical ability. ‘Tonalization ‘The word “tonalization” is « new word coined tree years ago to apply to violin training as an equivalent to vocalization in voeal training. Ton- alization has produced wonderful results in violin education. It should be equally effective in flute and all instrumental education, Tonalization is the instruction given the pupil, as he learns each new pioce of music, to help hhim produce a beautiful tone and to use mean. ingful musical expression. We must train the pu- pil to develop a musical ear that is able to re00g- nize a beautiful tone, He must then be taught how to reproduce the beautiful tone and fine musical expression of the flute artists of the past and present. BARE Lonmin OD POSE GK LARA Eatin ey 8 HET BT (ateomnE) Foxe eh, BOUL ETRE Ire UM OUCH, FLERENERL ALE FH, RMOAMEM LENE BEE BOHEWHOT LOM, ALEOHECETO EM eseer PR er ROEHL, RENrIOLacEE (RENT, Feb, POEL 2 ci BLT EOTHEENS DEMME MEDAL MHASH LEME COMMIS, SOE Dee e e GEMML CALOTT, BREY ABDEAMEMTE ROE, HEME, WHOL C2 F EMRE SERN HMI BS EM, OEY EE aR CHO TG LOCHEME, Mo TOR HE RU EBORT. K Rie, eR Yo WF eMoe emlRD Sous e, MOM ORS ELBRTT. TFT ES EEE oT FYGREM, UES Ee ores Te Fe cme, ver SREY pemNbecectsa. SOM INE Bo CRE KEE MIO RE bh BOT, Homer, WC b Evi LO hese ome WL vbr (2) Tonslization i= 6+ OGRE, IEE EMER NER ORB CT. WR OEIC BF & RIMIE (Vocalization )2 I tM BRE CLS ORDTIREML Ca EE be TOF, WM CRRA Eom ee Le B, BOLI CURUSEEROTLEGm SH BROMO EMEC Lot. RLOHE, TREK L We 2 CCR EE Seamer EL eee t poner y are Important Points in Teaching. 1, “What is the best way to make a pupil enjoy learning and practicing?” This is the principal problem for the teacher and parents, that of mo- tivating the child properly s0 that he will enjoy practicing correctly at home. They should dis cuss this matter together, considering and examin- ing each case in order to help the child enjoy the lessons and practice. They should be sensitive to the state of mind of the child. Forcing the child every day, saying, “Practice, practice, practice”, is theworst method of education and only makes ‘the child hate practicing, 2. In addition to daily practice at home, the pu- pil should listen (0 the recording of the piece he is learning, every day and as often as possible. This should be habitual. Progress will be very rapid, Six days a week of practice and listening at home will be more decisive in determining the child’s rate of advancement than one or two, lessons a week 3. The pupil should always play without music at the lessons, This is the most important factor in improving the pupil’s memory. It also speeds up the pupil's progress. Instruction in music reading should be given according to the pupil's age and capability. Tt is very important for the pupil to learn to read music well, but if the child is forced to read ‘music at the very outset of his study, and always practices with music, he will, in performance, feel quite uneasy playing from memory and there- fore will not be able to show his full ability. In acquiring skill, ability grows through daily habit. In learning his mother tongue, the child begins to read only after he is able to speak. ‘The same approach should be followed in music. sniscty yoterr SERIE RTO ET, FEOF BO TOMES ENERO ET, COR Wits &, MLOwAOM eH, RLOm EMT REBRL, 7H 1OARERMHORL OME ORROTRS tbo TAT SAME, welt, REN KIA ame, 1, ROL CHITOSE BDERTS Lo, CeO OS HG eMC R ERED PUBS 2 BE bo Ca WOH, SNES T, FY GATE CRETE EYES EMTS EME EOS Lb mT F.MBEG, UA ACROEEARAL, BO Fr tobe tseme cones eA. SLeae, ENS MAOBRE, Loeb e Cee MONET, SHO EOS FE GEL TL Epc aEO TH ET, Leb 2 vo reMaws RESO THERMO FEM, EC PMT SMM EO 82 EET USE kiko Ct OAT MLOA SHE 2 BOL AT EOL, EBS 6 URMOFBO SMELT, NONES Liki oe sn coe eT. 3. wR Lo APRN OUMA THe oNsT, CORRE, FELOREN EMM, MIB PERE SHE CH, MAORBULEH ENON EG b> CHM OTT Dna, RMENU RRC T ON, LALO bie REM RL OL, RAMEE THERE, HAO FORMICA eC eo THe et, En, MBO MOL BORN. TO HS TH AElMoBROMATH, BEDE Ona EEN SCR PERUMNEMC COR ET, EERIE, MMCU CHIE, EnmoMURHENTS Fe EL Mia, AN COMET & fon CANES Music reading should be taught only after the child's musical sensitivity, playingskill, and mem- ‘ory have been sufficiently trained. Even after they have acquired the ability to read music, hhowever, the children asa rule play from memo- 1y at all lessons 4. When a pupil gets to the stage where he can Play a piece without a mistake in notes or finger ing, the time is ripe for cultivating his musician- ship. I would say to the child, “Now you are ready. We can start very important work to de velop your sbility”, and then I would proceed to teach beautiful tone, fine phrasing, and mu- sical sensitivity. The quality of the pupil's per; formance depends greatly on the teacher's con- stant attention to these important musical points. ‘The following point is very important. When the child can perform piece A satisfactorily and is given 4 new piece, B, he should not drop A but practice both A and B at the same time. ‘This procedure should continue as new pieces are added. He should always be reviewing pieces that he knows well in order to develop his ability to.a higher degree 5. Mothers and children should always watch pri- vate lessons of other children. This is an added ‘motivation, When the child hears music played well by other children, he will want to be able to play as well, and so his desire to practice will increase Lessons should vary in length according to the need of the child. The attention span of the child should be taken into account. If the small child is able to concentrate only for a short time, it is better to shorten the lesson time until he is more adaptable. At one time the lesson may be only five minutes, at another, thirty ‘minutes, Shinichi Suzukt WUSOCHESEEBNTUNU REA, 4 fe ere Beem PEL Co BMES Swe CULE EGR EAM TEbR, HEHE DOMmaT a ERCT, REEL A “EH, MMR Eh, = ATID S 0 EC RNENTE Ly Ark DELS” boot, Oo I RLOR, CRE MELO Vy ATEUD ET, MO LTORED LORIN NORIO, iON E OEE gotheat COU LOAMSI EM, REAHAOMIME Ce BCans. MUUBomems, ALBes bE MEG CH EET, COMmELML OMI EE Svockfieenst, conseLtMneE? memELTHeet ae 5. BAL y AVE LENO MOTELG, MOFEL BOE Ay EMRE SURE LEL, FORME, FLERER OE LOE S I PEG EHC mM ESE Lan Ly AVOMMEEE Lomb hos emis ROMMEL NET, HEEL OU EM DCEO, Mito CES AOE ALAN, 30 Oeeenoet Preparatory Exercises 1. Posture Stand erect with legs about one foot apart. ‘The center of gravity must be around the base of the big toes. Keep the legs, torso and head rect 2. Breathing and breath control 1. Practice to firm stomach muscles while seated with your feet parallel to the floor. 2.Open your throat fully, and inhale a very large amount of air, until you can feel a big column of air from your lungs to the bottom of your abdomen. 3. After you inhale fully, hold your breath and allow air pressure to build up behind the lips. ‘Then expand the abdomen so that air pres- sure may work on the diaphragm, 4, Exhale avery small amount of air to keep high air pressure behind the lips, keeping your abdomen expanded, 3. Whistling ‘An oboe has double reeds. Your lips are double reeds for a flute. Practice whistling so as to feel how the air flows between the lips. Then you will find the correct position of the jaw ‘and how to use the lips. 4, Embouchure Hold just the head joint with both hands. In front of a mitror, practice resting the embou- cchure plate against the lower lip which was moved a little forward. The lower lip must cover about half of the embouchure hole. Now, try to let the air flow between the lips, pro- ouncing “hw6, hwo? as you whistle. This is different from real whistling in that the Tips should be slightly pulled out at both sides. Tr— b Sk ¢ BIS 1. ee mReDs mS, MORO Shae LMNEI ENE ED FESS Pena, HUBER OREO LT. 2. LRP AHL 50, Hho LEME BREAN SHE Meni CEC, MEMS CMEBREAR, NER THAT SSE CHS, OLOME CHM Fora () OTe EERO, ROREREERE, MB EC TSMR EH MS ORC LOH ED. (@) ot, SCOmcmMETE, OF ER tr EBS Ly Me Re HERTS ARTS, LOMA 19, BUBONN SRewejeRerese. @) FREMRL EOD, Beko, MAENE AnOMMETS. SOMMMEBEHE CR wea, 4) @okeeRE2>, WeBne THOR LENG, DLTOBEL CRB ETE, tho ARAL OREM CLA bt, PUTO wm. 3. NOME HMO A RL (Mo CHEER, CUES OERORNORME, 7 ETEMET Uo FESO RROMNOMBTHS, ROTERS DEEARREL, ROBTEROG HUBEI- Fos jms sa, ANG HA THOSE SL, A BUSH RORBEM TNE. 4. BNSC BUSLOMMR ROBO EME CE TERED, CBU 2CROREMIM REE 74 ORCS Homntas, RNEMEED EET, LTO CBE SON EATER, UMER CEE BERS, LOLEO CHUB ORR EO Eko eat, ROE Le Rahs EO Sah TE, DEVRCKAG ROMS EIR RE RDC HU BOMBAEH, MOET CRC ( RUSE AT, ERO CHUB EMC MED Cb Le MASE, eM omaca (OTHE. 5, Assembling the flute Leam how to assemble the three parts of the ‘ute by looking at the following picture. When you assemble the fute, do not hold the sections by the Key rods. 6. Balancing the flute In playing the Mute, you should balance it, using only your chin, the index finger of the left hand (between its second joint and knuckle) and the thumb and little finger of the right hand. ‘You should not hold the flute with your hands fand should not push the embouchure plate against your lower lip, because both lips must always be free. Keep the elbows away from the body and the torso and head erect, not sumped forward Tonalization 1. Attack Exercise by Whistling Don't try to blow the embouchure hole. You have only to let the air low between the lips, pronouncing ‘hw, hwo? at you whistle, Try to create soft oboe like tone color. Low Bis the easiest note to try in this way. Try to feel some air pressure ftst behind the lower lip, and then aeainst the vibrative membrane of the upper lip while air is going out slong the lower lip. The lip opening should be controlled by the lip muscle around the opening, not by the check muscle at the corner of the lips. Your throat is the resonance body of the flute, Your lips are strings. Your breath is the bowing. Let the tone reverberate fully in your roomy theoat body tube 5. BHOR DEH oMOMIOMIE es FET, TPEML EEN. Fe nere che EARS, bee Kon ced s © em T 3 eM WROKS, RMEMITZ ES, AK OMEL nie7n foot joint Las aah 6. FU hOPRAG REOPHEMS AMET, EEOMEEOR WOR ARERR EME, LOST oes LM’ ML Ae Footie somo EIERT 2. MoU E 7b sath BEIE, ELDOMEMOM CRATE, aReM) > ME CREB CE SATO Mr. Louis Moyse 104 © 4 — BE lL. FARV YTS BRAORE FAYE TELM AIEADD ERB. REESAY, STEBOAEM EMBER AL BEL ORE, HCG OMC TEE ORT MEK CERORMOTE TTS, Yam be RSD EET, EEO CHES EMCI, UMOMAT, TAB URES, HOF ERS ATEHEL, LF OMOMnE RI, OE EEE CRMREF CRUZ OMMIO, tO8C Exercises in low register 1 PRO HO Tighten and advance your lower jaw 2 litte, and you ‘can fel the air flowing between the wibrative membranes of both lipt while pronouncing “hia? or “twh with the broud, Mat tip opening, Lips should be lihtly pulled ‘out at both sides, but vibraive membranes should be free, broad and close 10 each other. psnsam upper ip | ibrative membrane lower ip. tt 5 ate Aircolumn is rather at and Lower ip wilcoverabout s Somer Cmte, sping rather forward, Sannin, of embouchure hole. Preparatory Study ai 1| Mary Had a Little Lamb «9-240% Folk Song. ~ th Try to make a good clear 77m Fireflies iz % 2 | lens Soy Try tomakes good dearE AC orc sate | | = 4 4 | SS See =e] | | j 3| Kagome Kagome *=% »=% Children's aoe ih ‘Try to makeagood clearE. | RISE [4] Cuckoo *-> = 35 Remember BY fingering 79 pentiesve [5] Lightly Row #25 6:3 Folk Song eat =f: ee ee Exercises in middle register + %Oe# Don't try blow hard. The lip opening shouldbe litte hye p ante tka em narrower and pulled at both sides a Utle more, and ‘more elliptical by loosening your jaw. Algo you should buildup air presure moderately behind your tongue, “Try to let air ow between the lips by more air pressure behind the lower lip. Never tighten the lips lat 0 get a higher note Sv ome ‘more ar presse ROOEOR CRUST BORE, RRO Ar ETEK Et, tonnes, Lower lip wll cover about 2/3 of embouchure hole cerdhoavaeeincral Air column is more eliptical and lite downwards, Preparatory Study sisi 6| Twinkle, Twinkle Little Star Variations SOSGR BRM | Shinichi Suzuki ~ T;Taks Variation 1 er er: ae - Theme 7| Go Tell Aunt Rhody e+. vsu 5 3 ss eee 9| Allegro 7v 70 Shinichi Suzuki ORR “Fa tempo The Honeybee 4.54.4 Folk Song KAS TR by ‘ b Slurring and Legato Exercises %7— 4) 7— } O48 Preparatory Study Ri@e03 Smonthly without any key noise. FMRHL GUE 1G ti| Long, Long Ago 27 e> 7 73— THBesly Moderato pe eee = Pere pees SB = [12] Lullaby + + & ‘apaiemio 13) The Moon over the Ruined Castle % %% 5 R. Taki i ALE Andante + ~ Tonalization ++) 42> G Major Scale Exercises} monet Slowly and exactly o> <8 G Major Arpeggio Exercises} Hittin 71 -~

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