E. Wagner FOUNDATION TO FLUTE PLAYING AN ELEMENTARY METHOD 0223 06258 005447 CONTENTS Introduction Position ‘The Flute and Is Care How t Practice What to Practice ‘Transposition Fingering The Cruteh (oF Bridge) Open and Closed GE Key Recathing Funing Time Before Playing Goneral Pret ninary Advice Additional Advice Rudiments of Music Kinds of Notes Winds of Rests Sharps, Flats, Natsrats, ete Signs Most Frequently: Used Tone Prexhurtion Construction of Seales Exercises on the D and F Seales Dotted Quarter Notes Followed by Fighths The Slur Simple ‘Tonguing, Exercises Sharing and Tonguing Miscellaneous Slurring Exercises Syncopation Staccato Tonguiing Staveato Exercises in 6-8 Time Now Miscellaneous Exercises Dotted Eighths Followed by Sixteenths Staccato Exercises in Sixteenth Not Sisteenths Followed by Dotted Fighths. Scale Studies. Triplets. ‘The Chromatic Seale Exercises for Developing Technique. Preparatory Exervises on the Turn The Turn Grace Notes. The Trill. Major and Minor Scales Major and Minor Chord Exercises Melodic Minor Seales Harmonic Minor Seales Sustained Tones Intervals Emibouchure Exercises Miscellancous Technical Exercises. Double Tonguing Triple Tonguing Caslenzas Collection of Songs and Solos, Euwdle 1 u ut Ww V NN vil Grand Fantasie 105 106 108 110 12 14 116 nTTHEOBALD BOEHM THEOBALD BoENM was born in Munich, fon April 9th, 1794. In his youth he was quite delicate, ut through the lung exercise which he derived from playing the flute, he eventuatly: became possessed of unusual strength, Being of a mechanical as well as an artistic frame of mind, he realized in his carly youth that the Bute was 2 very imperfect instrument and he devoted most of his time to its improvement At sixteen years of age, he made a fute for his own use, and at cighton te held the position of frst Hutist at_a theatre in Munich. In about 1828, Boehon es tablisied a factory for the manufacture of sates ‘These instrumeacs were still of the old style, but their mechanism was considerably improved, After almost twenty years of toil and study, the new system instr ment, universally known as the Bochm Flute, was given to the world ia 1847 Theobsid Bochm’s name will always be a household word among flutists. He died in 1881 at the age of ight INTRODUCTION In writing this book, my idea was simply to provile a method for beginners, which woh progress. ss tematically by slow degrees, thas giving the stutlent an apportiinity of aequiring i solid foutakation, Ther are many wonderful flute methods yublished, some fof which ge too far bevontl the eapabilitics (ths student, alter he first few pages. | have trie te make this book precisely. what its name implies a Foundation, pure and simple The exercises are explained in sla, anv} the state who is nat within each of a competent teacher, shoul find this work easy to comprchend. Uhave tried write the lessons as though [were giving they pers sonally to each student, Evry affert has ben nude to mae the exercises pleasing anil yneladious, 90 96 to increase the student's interest with each lesson Those wh have mastered these exercises, ani hae profited by: the advice aurd suggestions given, will have a ood foundation pon which to build, a there is no reason why’ thes: should not hectic exec: ent players. This book should serve as a lite pret ation far the acter stancard and-more advanced methods, If this work will start flutists on the proper path. J will be happy: in the thought thee ges! mission has Jaeen accomplished Exxtor F. WaunnacPOSITION When practicing, always stand, if at all possible. Stand erect and expand the chest Keep the right elbow higher than the left. The left elbow should not be too elose to the body. ‘The position should be free and comfortable Stand before a mirror when practicing, in order to correct any faulty position Avoid any contortions of the face, condition is to be desired. The checks should 4 very common fault, to the ease of playing. A. normal not be puffed out, This is nd one which adds nothing The player who puffs out his cheeks loses the muscular control of his lips, and his articulation will become impaired.POSITION --- Continued 5 Do not lift the fingers too high or keep them be kept in the same place, viz., under the first too stifl, Let them bend naturally over the and second fingers keys, Endeavor to secure a position of perfect The thumb of the vight hand should always reposeTHE FLUTE Adjustment and Care Fe tte consists of thee parts; the bent the mille joints andthe tal foo jin On the headjoinr there are hokey butat the upteca e he Blo bole or embouchre Necungh whieh the sand fy prods On the middle and taitpringe ave se keys xe which the sntrument played. Mut the ve Topetierprogery, ace the per en of ve mnddlejuint between the thumb- and forsinger of the felt hand, take eh tailpiece by ite fer end, and, with sere tara, slide the talline nto the hover cork end the mille joint to abe ponion in which the litle finger of Xie rhe and wil fal dicey ow te DD hess Toast the aaj eta thee jt of the midleoine in'che bel f te thumr the ft had and wi the Fit hana ent tue he heal jrst 10 the io whe Ue low sbte wr eaoachure iret Tie wih the keys the mikidle joints The exact position sf the. hlow:hole uma he uniform, he ast iy eterna by he al Sine can proce a letter tone by having. igh were cavers having i ligey teed ine This aed the diferent formations she Bysrsnd the erison the head wile playin Take rhe Mate aset the same way: i wa pat together AMter pla} ings dry ut cov jotat wth oft ace of Sanya around thin cleaning tik. whe cones with the Phase uf mont tes, Tin heey the keys bright, wipe the Verspiration fem then with the pace af silk Bere ping Tre hygienic reawins, never alls anyoue to use your im he Hearings ant dite part of your dastrument cannot ate york well forever sitbout attention Bove and the. Sil shold he used eequentty Wis essential to pull ut the stopper which is tocated in the headjnint each tone tbe insteusen! He siped, but if yet fire accustomed tr ding it be carelal that it is properly replaced The stopper in the hewljoint should not be tampered with. fr will he find in ite proper place if the first, second wail third D can be produced in perfect tune. Tis best wo havea mark on the projecting end af the cork serew that une way was place the cork exactly at the cor fect distance, 17 millimeters (about 14-46 of an inch) om the center of the blow hole How to Practice Set aide a regular tine for practice each day if possible Vio mot tempt too much at frst, and do noc get dis ‘graged if the Brstlesone prove tiresome and monotonous. Th striking tones, especially in rapid eveeution, the fingers and the tongue mist work simultaneously. lay all music exactly ax writen. Practice in sich a manner that you can play without ape parent effort, and can derive pleasure from i ‘Do not practice too long at-one time. Too much or 100 strenuous practice is ae harmful 25 too litte. Use discretion Always cease practicing when he tive begin to grow sired Do ot tey to practice for an hour oF more at a sietch. Tt is often an impossibility, and always does more harm than zd. When the lips are in good condition, do not tre oF Strain shein. Rest every little while. Playing when the lips fare ticed weakens them, and is 10 be avoided whenever asible. Fifteen minutes of correct practice is more beneficial than four hers of carelessness Tu not spend too miele on high tones: two much of this sort of practioe weakens the lips materially What to Practice Practice whatever maybe necessary and what you are ot lamar with, Dovnot neglect the remote Keys Precrce sustained tones for ton or een minutes each days "This scengtnens the lips, and greatly improves the {tality a tone Narhing 8 the way of praetie Is more oo not sacifce tome for technique pertormer's must valuable asset, Ds not fal to practice all sorts of exercises and. sates, and ot give up anti they are rampletely mastered “ive parcolar astenion to quality uf tone, alan to style of performance ado pasig Aoi the Swremelst or “vibrato” style of ulaying, See that your tone is absolutely clear and ure A good ne is ‘Transposition Learn to Wanspose, This i a positive necessity for pro tcagunals-ant secs convenient and ese for amateds: TWitowld aut be vied, howeves, woe He pupil has fai nowlede ul the rizneats of i aos beyond the Bist sages of laying " Fingering The fingeings given in this method are exact as they wore given ts thetniter by the late Carl Wehner who 83 Sifu ot Boch hams.» Thee are many’ methods which Jilediterent Rngeringe fo the quick poages sich a akin Thain ihe Art space an onthe eh line withthe wile ge of the right hand. andthe high 4 with the thd Finke of the eight hay ano the wae of the double By Key Inplsing in fat ko have always found i€-espeiont to teach the comet fiyeting at hen, in onde to develop all she fingers Alter tne sabe 10 play aii well he wi Seo discover which Is {he eaakent ad smplest way’ to play cersin passage The Crutch (or Bridge) “The use of the ertch isa matter of personal taste. Most players of the closed Gé flute do not use it. while almost all tho play the open GA Rute Sd that it has its advantages, checally when playing in the upper eexises. 1 is usually Tal for beginners uo use the crutch, as it affords a certain Tupport for the left hand, Open and Closed G# Key “There has always been more of less controversy regarding the merits of the open and closed Gg key. The flute with the Closed Ga key was first made to enable the players of the Sli oe Meyer system fure to change over to the Bochnt Gstem without altering the fingering for the Ge, as all the (Old flutes were made with the closed Gi key ‘Bechm, in his book, "The Flute and Flute Playing.” gives many’ reasons for bis preference for the open G flute, the principal one being that all the Gogers of the let hand are ised for closing the Keys, sshile om the closed CG Gute, the