BOOK 1 Robert Cavally’s VELOCITY STUDIES , fo DEVELOPMENTAL and | PROGRESSIVE STUDIES for FLUTE Compiled and Edited by Bootsie K. Mayfield ROBERT & CAVALLY EDITIONSRobert Cavally’s Developmental and Progressive Studies for Flute Compiled and edited by Bootsie K. Mayfield Based on the pedagogy of Robert Cavally To be used together for maximum development Tone Studies —- Book 1 HL00119355 Velocity Studies — Book 1 HL00119361 Scale Studies — Book 1 HILOO117659 ROBERT CAVALLY EDITIONS HAL-LEGQNARDFOREWORD Robert Cavally is known throughout the flute world for his Melodious and Progressive Studies for Flute and numerous publications of flute repertoire. The value of these publications lies in the organization of hundreds of etudes and solo pieces, compiled and edited into progres- siveand developmental formats forall levels of flutists. Each exercise and solo book is carefully edited with dynamic markings, breath markings, and metronome markings. Many of his studies for the beginning flutist contain detailed notes of the goals to be achieved with each exercise Today he has over 5O books still being used by professional flutist, teachers, and students throughout the world. Mr. Cavally is recognized as one of the premier teachers of the 20th century, having influenced hunclreds of professional lutists currently performing with top symphony orchestras and teaching in mejor universities and conservatories. He maintained a large private teaching studio, ‘was affiliated with the Cincinnati Conservatory of Music from 1938-1979, and was flutist with the Cincinnati Symphony Orchestra from 1943-1965. He did not teach by rote; rather he believed al aspects of flute performance could and should be taught in a systematic, diagnostic, and developmental course of study. He believed excellent flutists were not merely born with, some innate ability, but that each skill had to be carefully developed. Thad the privilege of studying with Robert Cavally throughout my high school and college years. When I was hired by Auburn University to develop their flute program (the youngest full- time faculty member hired by Auburn up to that time), he became and remained my mentor until the time of his death. Even in his later years when he was in failing health, he still was a Master Teacher and knew more than I would ever hope to attain, By teaching me to learn from cevery person [ever had the privilege to work with, he gave me the Foundation, ability and desire to continue learning throughout life. At the time of his death, Mr. Cavally was in the process of making handwritten notes of" all of his developmental exercises of tone studies, scale patterns, and velocity studies. These studies were designed and used by him for over 30 years in developing highly successful soloists, symphony players, and teachers with major universities Mr. Cavally left me these teaching techniques in his will to be published for future generations. The writing of these books has been 15 years in the making, and has been a humbling experience as [relived his words of wislom, Ieis my prayer that these books will be a great legacy fora students. I want to express my heartfelt appreciation to Mr. Cavally. He was like a father to me as ‘well as a teacher and friend, Special recognition also belongs to his devoted wife, flutist Joan Cavally.Joan continues to be an inspiration to me, both professionally and personally: None of this would have been possible without her support and input. To this day she remainsa leader nati in the music world, serving on boards for various music organizations as well asthe Cink Conservatory of Music. also want to thank my students as well as my family and friends. Hove youall for your continued support and encouragement. Much gratitude goes to my devoted husband, Dr. Robert Mayfield, and my four precious children. You have loved me through all ofmy endeavors and endured my many hours of teaching, performances and writing, [could not have done this project without your support. ‘To Mr.Cavally:[ earned from you even after your passing, as I pored over your handwritten notes and exercises. I still hear your voice as I teach, perform, and write. You will always be my inspiration. The writing of these books has been a huge undertaking and I pray Ihave done you justice. May these books help to preserve, for generations to come, your remarkable legacy to the flute world, With humble admiration and gratitude, Bootsie K. MayfieldNOTES FROM THE LESSONS OF ROBERT CAVALLY Robert Cavally taught students to follow a fivetiered practice format for maximum develop- ‘ment, and followed the same format in his private lessons 1. Tone Study 2. Velocity Study 3. Scale Study 4. Method Book 5. Repertoire The student was never allowed to skip any of these components, or to change the order. Each exercise was carefully designed to lead to the next study as the student improved his/her tone, learned new scale patterns, developed technique, and then applied all of the above to the method study and subsequent solo and /or orchestral material. The student was always devel- oping tonally, technically, and stylistically in a systematic order. This concept of building from cone study to the next is the basis of all of Cavally’s complete developmental studies. (In fact, he was so strict about this concept that if the student had not practiced correctly by skipping oneor more of these studies, the lesson was over once they could not play the next pattern) Consistency and repetition were at the core of Mr. Cavally’s teaching philosophy; a student was never allowed to just play solos unless it was a specific coaching session; even then, he or she was expected to have followed the essential warm-up format, Velocity Studies Velocity studies are designed to improve one’ technical speed. The studies begin with a simple pattern and gradually progress to more difficult patterns. The difficulty increases tonally as well as technically; breath control isalso a factor. Mr. Cavally never allowed his students to gain technical speed at the expense of hand position, breath control, or tone quality ~all elements must be sustained as the speed is increased. He stressed the importance of practicing with a metronome at all times, He also taught his students to double or even triple note values, practic- ing very slowly and gradually increasing the tempo. He did not allow the student to change the shythm or the articulation when studying an exercise. Practice formats are included with each study. The rate at which a student masters each study is dependent on many factors. Each rhythmic pattern takes approximately a week, which means the student could remain on each study for a ‘month or more. Younger students could spend several months on each practice pattern, increasing the tempo gradually a day (or even a week) ata time. The key isthat one should never progress to the next study until the exercise has been mastered ~ with proper hand position, correct fingerings, and excellent tone quality at the ultimate speed of 104 (quarter note).This page intentionally blankPoints to Remember + Practice with the metronome. + Commit each lesson to memory before proceeding to the next lesson. + Practice standing for better diaphragmatic control. + Flute up at all times so it is parallel to the floor. * Left wrist is bent so the thumb of the left hand is straight. * Head is straight and level at all time: + Thumb of the right hand should be back behind the flute and pushing forward. + Breathe from the diaphragm and practice diaphragmatic control, knowing when to stay extended and when to contract. + Fingers should always remain close to the keys in order to develop faster technique. + Triple or double the note values but never change the rhythm or ulation of the exercise. + Maintain a good tonal center at all times. If the tone quality is not maintained, a slower tempo is required. + Start slowly using the metronome and gradually increase the speed. As the speed increases, the number of measures between breaths should also increase. + Do not stop the air flow when articulating; rather, think of tonguing through the air. This requires good diaphragmatic support. + Keep your throat open at all times. + Standard fingerings are always to be used unless indicated otherwise. Velocity Studies Book 1 should be used in conjunction with the Tone Studies Book 1 and Scale Studies Book 1.FINGERING CHART a ae Bb ThITh (Bs thumbkey) (BE thumb key) © = Open Pressed down ‘Note names “The letter denotes the pitch, while the nurnber denotes the senster/octave on the fle (1 —Tow riser, 2- middle resister, 3 high register, 4~ extreme high}, ‘Thumb keys There are two thumb keys forthe let hand. The thumb will always beon the Bf key (the“long key) ‘when playing chromatically in C major, or ina sharp key. The thumb will bon the Bo key (the“fat” key) whenever Brisin the key signature (exception: key of Go major). Trill keys Too smaller keys located above/ between the keys for RHI REZ and REB, The Ist trill key isto be played. using RH2, the 2nd till key using RES Side key “The key to the left of the REI key; used in later studies Ci key An optional key above the side key Foot joints Fingerings for certain pitches vary depending on the foot jointon your flute, + C foot ~ Thisis the foot joint on the standard flute and includes the low Cand C4 evs + B foot This isastightly longer foot joint and alo includes alow B key Gizmo key Akey often included on a B foot joint. I islocated above the B/C/C# keys,NOTE NAME _ FINGERING NOTE NAME _ FINGERING pe Limhs RH 124 a LH Thi23) RH 4 (low C/CB keysor gizmo) ee Heer ener Gorrie LH/Th123. RH 34 (low C/CB keysorgizma) re LHTh123, RH 14 C4 (C foot) uni234 RHA 2 LH -Th123. RH 124 C4 Bfo00) L123 RHA (low C/CEResorsizm) —gyayyy TAR ERE 1B LH-Th13 RH 3nd hey) b2 LH-mh23 RH 123 BSVAKS LHC Th1 RH 12 (Isley) pic LH RHA 3 unTh2 RHA a Lat RH AICI 234 RH BI LH Th RH co unis RHA BoI/A#I (chromatic) LH Tht RH 14 Garris LH THIS. RH34 BSI/A4I (Hlatkens) LH 1TH1 RH 4 x Paes tee al LH ThI2 RH zs MAL Tela WH a4 AIGA LHTh1234 RH 4 53/3 LH Th1234 RH 1234 ci cH TK? med bs Ut Th23 RHA caveat LH Thi23, RH 34 pi3/c83 ut RH 4 FL LH Thi23) RA 14 a TA RH et LH Th123, RH 124 E eae BDA LH Thi23) RH 123 DI LH Th123, RH 123 B2/AH2 (chromatic) LH Thi RHA pace LHTHI23) REL 123 BAK (latkeys) LH OTL RHA (Cites) & terete a LT Th123, RH 123 (tke, AUG LH Th1234 RET 4 Low B Ut Th123° RH 123. wea | piace ees tae ook tan shoul ate pa by beer nore tema propeenfonse developer [Betiscnoneshouldaheays he played wsngehe BikeyPITCH AND FINGERING CHART 4 4 ae) Bb ThITH (Beehumb key) (BE thumb key) © = Open @ = Pressed down pa" C#A/D>a* C4 (B foot) C4 (C foot) o bo es gobecuges* CUB eB sgeony GH3/Ab3, F#3/G)3" fobo C#3/Db3 gobo. e 9Q01000y ‘Theses aretught in Bock and by bognners in order tocar rope cmbouchure developmentBz .A#2/B)2 (chromatic) ‘A#2/Bb2 (flat keys) cs _= 2 fobo obo EE eee = p92 ee | H o- 9 —! eecicoey e280 00% seeeoy es mpm - enma 7 oe wie Gs gem) GS oe oe eo a wi a re A#1/Bb1 (chromatic) A#L/Bol (flat keys) AL Gir foro | é ° 9 aaa ea ee e280 saeco DAVES can plow Grom Grates 4 seseees ; sees2 foo joi ben ere Lesson 1 C Major “rund the fist measure refers to pening ot and dosen on the dpa aes to keep extend “Cris the point t which the diaphragm coateacts and allo the remaining isles Students must ake care to put RH backdown on Ese itcomesaltee DI. Kis very important tri this and during this oping itshould be moving upand down. RE remain down forall notes ‘other than DI, D2, AB3/88 and 1 and Con Flutes with aC Fo jon) [Make certain RH reminsdowin when ging rom El 12M Isdown fo c2: ml up for D2 Makessre LH ismoving up and down in this ropi Ltt and down forE2 Make sure] is moving up and down i this grouping Use the oat fingering for E3(LHUTh 12 RH 124, RA isawaysdown for Adana up for. For, use RHBto press the 2nd tilkey RH isup for C4 your late has aC foot joint Fora Boot joint RH presses the C/CHheys (erthowizmo hes} 04 PaceLesson 2 Chromatics ‘When playing chromatic alaysute standard fingerings and keep the thumbon the Pt key. Use RE ‘oplay Pinal octaves donot use thealternate ingesing for F¥ (RE) + under the fest measure refers to pushing out and down onthe diaphragm inorder to kep it extended “Cr isthe pointat which the diaphragm contractsand all ofthe remsning air elas, Keep RH down when gins from: Dil toEl ELtoFI DIE? F202 11 sup for D2 and D#2, dove for E2 Make sre this fingers moving up and doven in these groupings ‘When plying from A3to AE3 remember that RH isdown for ASand upfor AB3.On AB3,the Iti key isprowed with RH RF remains cow forall nctesother than DI, D2, A43/B63and KS (and Con flues with aC Fete) = 108 Borji esas here + fon it ein he ieee fel ee eres SreeLesson 2 oa Speer aaa cinivtniptninteinteiede cee eee Ficisivicipieteteteteteipinieie = | teferererererere? ———— EE oe = pecretercees “= _——$_—_§| eae tceteeteet6 Lesson 2 Practice format before beginning 16th-note pattern A. Play entire exercise in quarter notes (all tempi) (2 foot jon bene here) + (Cot joint gins her) SS se ©This page intentionally blankLesson 3 ‘Chromatic Ascension and Descension ‘When plying chromatic aways use stndard fingerings an keep the thumbon the Bt key. Use RH toploy Final ctaves donot use the alternate Fingering for (RU Make certain all oteshave cea, consisent and Fall tin all octaves Do nt incre sped wnt hiss achiews When ascending the besnning note ofeach group should pradually get sate, so that vel thereisa sradual decrescendo Fem ms. tom. When descending the brinning note ofeach groupshould radualy ee louder, so that overall theres sxadual crecend fom. 1Dtorm.18 = = weet rte tipo oie eiete eee ee Phe plete Pisye 6 ——— Pivde ete cde rc oe a ate Clete ctete ele ate mee tcc ple siete ciede cle o — n Et oe fhe wishe abe igi > oe C=" ————— == See SE EEE saudSLesson 3 Goce trie ithe ie Practice format before beginning 16th-note pattern A. Quarter notes in alter (fonts) (oot) z zl o> 3B, Eighth notes in all emp Ce ———— - ipereipet = (See aes C. Proceed with 16th-note pattern, starting slowly and gradually increasing the speed until J = 104 is mastered. “Make certain a clear and centered tone fs present at al times.Lesson 4A - C Foot Joint Whole Steps Each goupin ection A should grad Similarly, cach group i section B be sig Phabioee idler up mtic tan eerste era oud than the The thumbison the Bb key forsectin A. Mave tthe key to play F Practiceand master section A (Whole steps fom C1) before movingon to section B (Wholesteysfrom C41), LUT ie aly up for D2 and DA2/Eb2 RH aheays down for ASand upfor AHS/BS and BS REL sup For iF your Flitehae.aC fot joint. For 1B foot int, RHA presses the C/C# keys (or te ano key) 04 A. Whole steps from CLLesson 44, otter tees feeb fey Ber aR Practice format before beginning 16th-note pattern \ Quarter notes in all tempi [6th-note format, starting slowly and gradually inereasing the speed up to J= 104, ‘clear and centered fone is present at all times. Once the tempo of J = 104 is proceed to the next group. 2. Proceed in the 16th-note format, starting slowly and gradually increasing the speed up to J = 104. Make certain a clear and centered tone is present at al times.Lesson 4B - B Foot Joint Whole Steps Esch group in sctom A shoal gradually get softersy that every group ssf than the previous group Similarly cach group i section Bl sghty ude han the previous Practceand master sction A (Whole step fren lw 8 beoce ming on to sction B (Whole steps fom cy he thumb son the By key For section A ane the By key forseton B Move athe Ht key te play F/G LH always up forD2 snd DA2/Eb2. RHA always down for AS and up for A#3/83 and I3.RE4 sup for Cf your Fate hasaC Footoint For afoot int, REL presses the C/CH ke or thesia key) Jet04 A. Whole steps from low B SSS SS OA ete ee tf ssLesson 4B Scere ee | Df Practice format before beginning 16th-note pattern A. Quarter notes inal tempt S= === ee eee ee ee eae — EE ee = Feo os — | a ee era : eo . Prozedin the 1th not format the speed upto J= 104 ‘Make certain a clear and centerc impo of 4= 104 is mastered, proceed to the next group. A. Quarter notes in tempi ; 15 aes 1 3, Eghth notes in al tmp Paes Tip ee [pete eer C. Proceed in the 16th-note format, starting lowly and gradually increasing the speed until the tempo of = 104 ismastered. Make certain a clear and centered tone is present at all times,Lesson 5 Alternation of Whole Steps Use the same fingerings asthe pty (Lesson This wl suk nthe movement of the thumb from the Be key tothe Be key mid.leson. LesonSshoull begin and endon ff Like Leson each sending sefterso that every group ssoftethan the previous eronp Simla should he sly louder than the previouseroup, p (em, 1-9} should gradvally st fh descending group (em 918) Aree Lieto tise + Bead in'e Pine toe at peace fey tei ike che ire tie eeLesson 5 #e ce triS pice Peer erie are oe ER Practice format before beginning 16th-note pattern A. Quarter notes in all tempi @ flier iain patent eee pe pee C, Proceed in the 16th-note format, starting sl Make certain a clear and centered tone is present at all times towly and gradual ineeasing the sped until = 104s masteredLesson 6A — C Foot Joint Alternation of Major Tonic Arpeggios Alternating Between the Thumb Keys Lewons throug consis of arpeosthat progress up the chromatic scale one heat at tne (For example the fist beat of m, 1belowisa C majo arpesgothe second bet C8 nur arpa che thd beat 1) major the fourth beat Es sor) Because cach arpa ised na different lees, yu learn these ssn tomove ck and forth beeen the E> thumb key and the Be key ‘Attimesthe sith cn be made when comingaff of Coe C4/Db(notesthatclo not ryuirethurnb) and ‘thismtho shoul be used whenever oil Often hoveever, the switch must be made hy sing Fem ‘ne thumb key to the other. Use the felling steps for practice | Finger throush the leson before playing (begn with the thumb on the Bees) AAI/Eb1 and AA2/B82 should always he played ith the Bs thule 2 Assou pay the feson in quarter notes (ection A), get nt the abit of loki ahead! 1-2 heats nthe ‘isc. Watch or upcoming instances of and A/T. As sou workon these and sinilarexercsey ou will bento anticipate when a thumb ke switch should be made Sa gk em Ieper OG Remember io ws less air ascending and mor air descending. Li isabways up for and 2/12 Keep RH down she Thumb should always be on the Bt key for G3/P83 When moving to 3 ficen P&S, se RH2 (ised of RIB] to presthe 2nd el hey wsfrom BS toLesson 6A Practice format before beginning 16th-note pattern A. Quarter notes in all tempi C. Practice inthe 16th-note format, starting slowly andl gradually increasing the speed until J = 104 is mastered. fake certain a clear and centered tone is presenta all times,Lesson 6B - B Foot Joint Alternation of Major Tonic Arpeggios Alternating Between the Thumb Keys sons throush 9 consist of arpesgios that progress up the chromatic salon best ata une (For example the Fist beat of m.L below ia nator apes the second bets major arp the third beats isjr the fourth beat D major, et) Beats each agi is sed on a different sale key, you wl learn in thrselesons to move back and focth between the By thumb key and the Bt key Ac times the witch can be made when coming off of C ar /Ds notes that donot require thumb). and thismethod should be use whenever posible Often however, the switch mast be made by siding fom ‘ne thumb key to the other. Use the following steps for practic: 1. Finger throat the sso before playing (esi withthe thumb the Bikey) A#L/D] asd A#2/T82 should alwayshe played withthe Br husbkey 2 Asyouplay the fess in quarter notes (ston A) tint the habit of looking ahead 1-2 bests the music Watch for upcoming instances of Band AA/2. Ayo work these and similar exercises ‘you will bog to anticipate when a thumbley switch shoukl be made Remember to use ess aicascending and more ar desening L111 Salwaysup foe? and DED /E52 Keep RE clown when going fom E5210 F2 “Thumb should always be onthe Bt key for GA3/#8, When moving to 3 from Fuse RE instead of RED) to pressthe 2d til key,Practice format before beginning 16th-note pattern ‘A. Quarter notes in all tempi ——— B, Bighth notes in al tempi oe re pee EF C. Practice in the 16th-note format, starting slowly and gradually increasing the speed until J= 104 is mastered. Make certain a clear and centered tone i present at all mes,Lesson 7A - C Foot Joint Alternation of Minor Tonic Arpeggios ym Lesion 6. Thea ir descending he Eb minor apes. E31 t0B BG/AB3 Rand CALesson 7A, Seas Practice format before beginning 16th-note pattern |. Practice entire exercise in quarter notes (all tempi) . Proceed to 16th-note format, starting at a slow tempo and working up until J= 104 is mastered. ‘Make certain a clear and centered tone is present at all mes.Lesson 7B - B Foot Joint Alternation of Minor Tonic Arpeggios ReviewAlernating Hetveen the Pharm Keys from Lesson 6 The rps inthisleson arc in minor keys Use esac ascending and moreair descending. Always use the Rb key when playing the Es minor apes Sundar fingerines shoul be used on llarpeggi This means that the Rs thumb key suse for Fo and 2 ‘Thurand LHL are up for AS, RAs aheays down for AS an up for B3/AK3 BB and C4 (C Foot joint) Se certain when play F3 that you are using RHand the BY thumb key, When Ht snus use RH2o the second til ey stead of RIE,Lesson 7B Klee oe a 2 GUISLSE A Practice format before beginning 16th-note pattern A. Quarter notes in all tempi (C. Practice in the 16th-note format, starting slowly and gradually increasing the speed until = 104 is mastered. “Make certain a clear and centered tone ts present at all mes.Lesson 8A - C Foot Joint Diminished Seventh Chords chor Every interval na diminished seventh Use RES for 4/6 Lat isup Useless BeLesson 8A. 5 p Lane title eit eich Phe prateieineyg SSE ities =o Te Tele “ee Se are Practice format before beginning 16th-note tuplet pattern « Bighth notes in all tempi _ Practice in the 16th-note pattern, starting slowly and gradually increasing the speed! until 4= 104 is mastered. Make certain a clear and centered tone is present at all times.Lesson 8B - B Foot Joint Diminished Sevenths Review ‘Altemating Between the Themb Keys from Leson 6 The chow in thisksua are based on diminished seventh chords Every interval a ior third slscventh Phy the ive thescond h Use RIE For 14/68 all octaves. LM] up foe D2 and D2 882. et using 22 plus 3" rythm (two notes the Fr half ofthe beat and thse notes on et) Useles airascendingand more sir descending.Practice format before beginning 16th-note tuplet pattern (Eighth notes in all tempi |. Practice in the 16th-note pattern, starting slowly and gradually increasing the speed until = 104 is mastered. ike certain a cl lear and centered tone is present at al times,Lesson 9A - C Foot Joint Dominant Sevenths Review “Altemating etween the Thumb Key fom Lescn 6 Phy the fivenatetuplet using a°2 thesecond half ofthe eat). 3 shythm (two notes the est lf of the box and three notes on Use the Bh thumb key foe AML/Bb anc A¥Z/12. This wall necessitate sing the thumb ackand forth ‘between the Bh and the Bikes, F83/Gi8 macho playd withthe Bthumb hey RH iden For A3 and wp for A855, 15, and Con flutes with aC foot joint IF your Fate has foot joint REL peeses the C/C# keys (or the ino key) Wes wets ats met et GE ee ge reLesson 9A Practice format before beginning 16th-note tuplet pattern {Eighth notes in all tempi See ies {. Practice in the 16th-note format, starting slowly and gradual nereasing the speed until J= 104 is mastered. [F Make certain a clear and eentered tone is present at all times.Lesson 9B - B Foot Joint Dominant Sevenths Review “Alternating Between the Thum Keys from Leson 6. Phy the fivenotetupet usinga"2 pls rhythm (owo notes on the it half ofthe beat an three noteson thesecond half of the beat) Use the Bs thumb key for A#1/B51 and A42/42.This wil neeasitate sing the than back an forth between the Bb ancl the Bt ey 45/9 must be played with theB§ thumb hey [RE ic doen for ASand up for A#3/ 83 and Con fates with aC Fot joint your flute hasaB Foot Joint RH presses the /CE keys or the gizmo key), = =see eee es rr - — sm. ue Bea Corte Sti aee rea)Lesson 9B Practice format before beginning 16th-note tuplet pattern 1. Blghth notes in all tempi aii era iets |. Practice inthe f6th-note pattern, starting slowly and gradually increasing the speed until J= 104 is mastered, Make certain a clear and centered tone is present at al times.Lesson 10A - C Foot Joint Chromatic Whole Steps “The overall dynamic concepts wo begin 2t£F and gradually decresendo when ascending and cresendo when descending. Thesmuller decrecendo resend markings lieate that you sold be cael aot to accent the weak portion of the best (upper notes equi lsat) Each acending group should get sfte, and each, descending group should pt lode ‘When ticuiting every two nots i isimpertant to keep the ine smooth an nt allot ta become choppy. Think of articulating through the a interrpt he ai Bow ut donot completely stop thesirflos, Diaphragmatic supports critical in mastering this concept, (Use RES for M/C in clromutic exercises Do not se the alternate Fingering of RH. ‘When playing AB] or AR2/B'2 in chromatic exercises use the 1&1 Fingering, TH} up for D2and D2 E52 ‘Thumband L1 are up for GI/A83 — WE ee heeLesson 10A Practice format before beginning 16th-note pattern ee eee . Practice in the 16th-note format, starting slowly and gradually increasing the speed! until J= 104 is mastered. Make certain a clear and centered tone is present at all times.Lesson 10B - B Foot Joint Chromatic Whole Steps “The overall dynam concep ist bern at fF an rally decresendlo wien wcenlingand crsendo when descending The smaller decrescend /rescendo markings indicate that you shoal be caeful noo accent the woak portion ofthe beat (upper notes euire less ar} Each ascendingazoup should ast ter, and each, ddscendingeroopshould get ler ‘When articulating every to not tit choppy. Think of atculting trough the Diaphragmatic suppor isc in mastering zt toeep the line south and nt allow eto become nterrp their low at donc complcely st thea low iscomcept. ‘Use RE for H¥/Gh in chromatic exectaes Dono ete altematefingsing of REZ, ‘When playing Atl /#1 or Af2/2 in chromatic exercies us the 1 | fingering 1841 bup for Daan D2 /632 “Thumb and tare upfor GIS/AN, ge eee: SS aheeneesLesson LOB Practice format before beginning 16th-note pattern A. Quarter notes in all tempi B. Kighth notes in all tempt SS totes purus “- | ycfeidis ie 2 ted orate [steip ete tete r———— (C. Practice in the L6th-note format, starting slowly and gradually increasing the speed until J= 104 is mastered Make certain clear and centered tone ks present at all tines.46 Lesson 11A - C Foot Joint Chromatic Minor Thirds The overall dynamic concepts to been at andl gradually decresendo when ascending and crsendo when dscending The smaller derescendo/crescendo markings indate that you should be caret ott accent the weak portion of the best (upper notes requ lesair) Each ascending group should et softer, and cals descending prop should get louder. ‘When articulating every two notes it isimportant to keep the linesmooth and not allow tts Iecore choppy. Think articulating dhrough che air nterpe thea flow but do not completely stop thea Flow Diaphragmatic suppor isc in mastering this concept. (Use RED for F/G in chromatic exercines Dont use the alternate Fingering of RH2. ‘Use the Be thamb key on this exercise bocaws of the wider interval Thiswill require moving your thumb ‘back and forth between the Bh andthe Bt thumbbheys. Rs down For A3 bt up for AES/103, 83, and Con flutes with aC foo joint If your futcbas a B foot joint REL pressesthe C/CH keys [or the ms key)Lesson IA Practice format before beginning 16th-note pattern A. Quarter notes inall tempi CC. Practice in the 16th-note format, starting slowly and gradually increasing the speed until J = 104 is mastered. “Make certain a clear and centered tone is present at al times,Lesson 11B - B Foot Joint Chromatic Minor Thirds ‘The overall dynamic concepts to gin at JF and gral decresendo when escending and cresendo when descending The smaller decrexcendo crescendo markings indicate that youshouldl be careful nt to accent the weak portion of the eat (upper notesrequlre les ale} Each ascending soup should et softer, and each descent prop shold pet lover When articulating every two mes itis important to kep the line smooth and notalow it to become choppy. Think of articulating darough the as intetupt their flv: but do not completely stp thea low. Diaphragmatic suppor iscritial in mastering this concert Use RHR for PE/Gh in chromatic exertes Do ot sete alternate Fingingof RII {Use the ib thumb key on tic exercise bre tock ind forth between the Band the Be ofthe wider interval Thiswillroquite moving your thumb snbbheys RM isdown for A3 but wp for AE3 85,3, and Con Fates with aC foot joint. your lite has Boot Joint, RE presses the CC keys or the gizmo key)Lesson HIB Practice format before beginning 16th-note pattern =} SS | 7 SS a A. Quarter notes in all mpi B, Bighth notes in all tempi . Practice in the 16th-note format, Make certain a clear and centered ton Slowly and gradually increasing the speed until J= 104 is mastered. present at all Cites,Lesson 12A - C Foot Joint Chromatic Major Thirds Theoverall dynamic concep to bein st and gradually dcresnd when scending and cesendo when descending. The semllerdecescenda crescendo markings nite that you sold be careul not taccent the weak portion of the brat (uprer ates rogue lesa) Each ascending group sho peta, and each descending soup should wet eucee ‘When articuatingevery two notes tisimportant keep the lin smooth and ne llow it to become choppy: Think of articulating through te a nterupe the alow but do oe completely stp Usa lw Diaphragmatic support scien mastering thisconcer (Goethe 181 fingering fr AE/BH1 and 42/262 (Goethe B thumb key foe Bo and BA2, HT calways up for D2 and D&2/E2 ‘Thumb and 11 aealwaysup for GEB/A93. is apon and31 Lesson 12A Practice format before beginning 16th-note pattern A. Quarter notes in all tempi . Practice in the 16th-note format, starting slowly and gradually increasing the speed until J= 104 is mastered. Make certain a clear and centered tone is present at al times.Lesson 12B - B Foot Joint (Chromatic Major Thirds Theaveal dynamic concep isto begin at 0 and gradually dectesndo when ascending ane crsendo when slesceniing The smaller derescenda/crewendo markings indicate that you should be careful no ea acent the weak potion of the bea (upper noes require ls ae} Each acenting group should pe softer, an ach descending roup should get ouder, When aticulatingevery two notes tisimportnt tokeopthe line smooth and wot allt core hoppy. Thinkof articulating dhrough the ar intcruptthe airflow but dont completely sth sir flow. Disphragmatc support srt in mastering this concep ete ae ela Pegs nde ow (Usethe 181 fingering for AHL/BL and 42/852 Use the Bh thumb key foe Bo and BA2, LAL isalways up For D2 and 42/62. Thumb and LHI ae aways up for 3/483. 104 == aes gt gt SSS yats naan gabe eee ip eric dg ariel ON GEE o theltte ithe ttetrie Hee feswie tintebe riches "4 7 Sie ASSLesson 12B Practice format before beginning 16th-note pattern A. Quarter notes in all tempi C. Practice in the L6th-note format, starting slowly and gradually inereasing the speed until J= 104 is mastered. Make certain clear and centered tone is present at all ime.Lesson 13A - C Foot Joint ‘Chromatic Perfect Fourths Theoverlllynamic concep isto begin at and gradually decresendo when ascending and cesendo when descending Thesmallerdcrescende crescendo markings indkatethat you should be earful nat to accent the weak prion ofthe heat [uppec notes equi es air} Each ascending rou oul et safe, and ach descending soup should get onder, ‘When ark alatingevery two notes isimportant wo keep the ine smnath and nal tt beso ‘hoppy: Think of articulstng through the air interrupt ar flow but donot comply stop thea Flow Diaphragmatic suppor iscsitical in mastning this concept Gee the Bs thumb ey foe AHI /Bb and AED /B42.This wil necatateniding the thumb back and forth between the Hb and the key ‘Thumb must beon theBtkey for H/C. RH must bedoven for A3and up for AH3/Bb3 and BS. fe PNET > Pai PAL Ae ae a,Lesson 13A Practice format before beginning 16th-note pattern A. Quarter notes in all tempi . Practice in the 16th-note format, starting slowly and gradually increasing the speed until “Make certain a clear and centered tone is present at al times.Lesson 13B - B Foot Joint ‘Chromatic Perfect Fourths “The ove dyramic concepts to hesn st and radelly deco when ascending and creed when descending The smaller decrescendo/eescendo marking indicate that ou should be cael not taco the weak portion ofthe best (apper notes require less at) Each mcesiny group sbould gto, and each descending sroupshould pt louder ‘When articulating every two nats itis importnt to hae theline soth nd not allowit ta boone ‘hoppy. Think of atculting through the air ineerape the alle but don compet stop the ilo Diaphrasmaticsupportccriicl in mastering thisconcepe Use the chumb key for Adland A42/852.Thiswll mcntte sing the thumb backs forth betwen the Bo andthe Bt. Thumb must he om the Bikey For F88/G3, REM must dows for AS and up for ABS/B43 aneLesson 13B Practice format before beginning 16th-note pattern A. Quarter notes in all tempi — in . Practice in the 16th-note format, starting slowly andl gradually inereasing the speed until J= 104 is mastered Make certain a clear and centered tone s present at al times.Lesson 14A - C Foot Joint Chromatic Augmented Fourths When articulating every two notes tisimportant keep the ine sinenth and not allow eo become choppy: Ths eccmesmore difficlt she intervals widen. Because ofthe chromaticnatur ofthe exercise use the 1&1 fingering for Adland 42/0. LIM slays up for? and 12/82 ood ¢ Ot = = se cee se rege ee s re. Fe oe ithe He teh te = — — “be peta a Practice format before beginning 16th-note pattern A, Quarter notes in all tempi B, Fight notes in all tempi te ae of Liao Line inbe gotta C. Practice in the 16th-note format, stating slowly and gradually increasing the speed until = 104 is mastered. “Make certain a clear and centered tone & present at al times.Lesson 14B - B Foot Joint Chromatic Augmented Fourths notes isimportant tose the re smooth and nt allow itt become ifFc sthe tervals widen, When atcaatingesey hope This becomes mor ecause ofthe chromatic ature ofthe exercise ase the 181 fingering for ABL/BPL and AB2/52 Lit isalay upforD2 and DI, Coles tte aoe eS] G — a ones Practice format before beginning 16th-note pattern A, Quarter notes in all tempi —=o == 6rpae eta ea - . Practice in the 16th-note format, starting slowly and gradually increasing the speed unt J = 104 is mastered. ‘Make certain a clear and centered tone is present at al times.© Lesson I5A - C Foot Joint Chromatic Perfect Fifths When articulating every two nots itis important to kee teline Smoot an pot allow eto Become choppy Thishecomes moredificaltasthe intervals widen Tongue throngh he a esaso impoetant ous less sin the ascending wider ntervalso thatthe weak portion of the feat not oer than the do best. Tach grouping should gradually pet solteraensingand louder deserding Maintain proper support the dapheagm, ‘Use the Bb thumlbkey for AL/B01 and M2/842 This means that your thumb wll nove back nd ort Ietween the twa thumb keys throughout the exer Use RES to play 4 all octaves) GHS/A83 splay with thueband LH oy UR RHE op Glace Practice format before beginning 16th-note pattern poset ucea SS — See wr . Practice inthe 16th-note format, starting slowly and gradual Make certain a clear and centered tome is present at all times, increasing the speed until J= 104 is masteredLesson 15B - B Foot Joint Chromatic Perfect Fifths ‘Whenarivulatingevey two mots is important to ep the Ine smooth and not low ito eseme hop. “Thisbrcomesmoredlfcalt sthe intervals widen. Tose through the si esalsoimportant to sess sironthe ascending wider intervals that the weak portion ofthe beat snot adr haa the dowabe ach grouping shoold ada get softer ascending and louder descending: Maintain proper supporto the Aah Use the lbthumb ey for ML/H and A#2/142.Thismcins that your thumb will move hack an forth tse he two thumb kes throughout the exer Use RES olay 4 (allocates) (645/a83 4 paved with thumband 131 up, fo fel eS I EELS IL peonongess gave Practice format before beginning 16th-note pattern Fler notes i all tem C. Practice in the L6th-note format, starting slowly and gradually increasing the speed until J= 104 is mastered. Make certain clear and centered tone i present at al times.Lesson 16A - C Foot Joint Chromatic Augmented Fifths ‘Tongue through the column keeping hes ow continuous Donato thea with the tone rope diaphraunatic supports esentil The wider the interval the mores necessary to be owt of wing Jsairascending ic mer deserting tha the weak portion of the hes enn accent (inde by thedymamsc markings just below the staff Because ofthe chromatic ature of thinsty use the 1&1 fingering for AA1/DL and Af2/B42 LHL salwaysupforD2and 12/182, In measres ond keep RH Fenn with BS ia nesses the low C/CH kes (or gto) for C4, F3, BBB and EX ger norinaly Se Chae No ae ay Lo, ey Sees oer ot = = 2, io (BLP, re lie fe Fee i betsy > cot os Wee Practice format before beginning 16th-note pattern A, Quarter notes in all tempi BB. Eighth notes in all tempi eae ae es fai . Practice in the 16th-note format, starting slowly and gradually inereasing the speed until J= 104 is mastered. “Make certain a clear and centered tone s present at all ies.Lesson 16B - B Foot Joint Chromatic Augmented Fifths Tongue through th i column, keeping the alow cotinuous Do not stop te wit the tongue. Proper carhragniticsupport ses The wider the Interval the mare fsnecssiry tobe avare of using Ieswarascending and moreai descending so thatthe weak portion ofthe beat st accented ike by the dynamic marking jst el the staf) Becanecf the chromatic natura thst, we the | & 1 figsrng fr AH /B1 and 42/62. Lit satways for D2and D#2/E. Inmeanures4 and keep RH the low C/C keys [or sem) For 4,3, BE nd 3 Bi esing with BS in menue == Mae Seis eae eo be it betel po €. rain te hs rat ating tus rail ning he sed wi =184 omar TiC etn tra te peta stmROBERT NEIL CAVALLY Robert Cavally (1906 - 1994) is internationally recognized as a flutist, teacher, and author. His 205 published works include 15 progressive methods (containing hundreds of etudes organized and edited into developmental levels), eight solo collections for flute and piano, 20 works for ensembles; and 33 flute solos~ all of which are still in print today and are used by professional flutists teachers and students throughout the world, He also premiered ten compositions for solo fhite, written for and dedicated to him by famous composers, He was the original editor of The Flute Forum, which was frst published in the autumn of 1959 by the W.T: Armstrong Company. In this capacity he wrote, edited and compiled numerous articles on the flute and flute pedagogy, working with flutists throughout the world, Hisarticle “The Ideal Flute Tone ‘was published in the January /February 1949 edition of The Instrumentalist magazine. He is recognized in The International Who's Who in Music, Music and Dance in the Central States, and My Complete Story of the Flute by Leonardo De Lorenzo, Mr. Cavally held a Bachelor of Music degree from the Cincinnati Conservatory of Music, where he wasa student of Ary van Leeuwen, Asa graduate stuclent at the Paris Conservatory ‘of Music, he studied with Phillipe Gaubert and Marcel Moyse. He toured in concert with Lily Pons for five years, and performed solos and obligatos for Pearl Besumer and Mary Moore of the New York Metropolitan Opera. He was piccolo soloist for John Philip Sousa's band, and orchestral flutist and soloist with the NBC Radio Network, WLW Radio Orchestra, Paris Opera, ‘Armco Band, Dayton Philharmonic, Cincinnati Summer Opera Orchestra, and the Cincinnati Symphony Orchestra (a position he held for 28 years). During that time he performed under many famous conductors, including Arturo Toscanini, Fritz Reiner, Eugene Goosen, Thor John- son, Max Rudolf, Georges Enesco, Fansko Cleava, and Igor Stravinsky. Cavally was Professor of Flute and Woodwind Ensembles at the Cincinnati College Conservatory of Music (later affiliated with the University of Cincinnati) from 1938-1979, and retired as Professor Emeritus of Flute. He also taught at Xavier University and owned private studios in Cincinnati and Dayton, Many of his students have national reputations and are affili- ated with major symphony orchestras and universities, Born in Cincinnati to Frederick Cavally and Pearl McMillen, Roberts family later moved to Denver in a futile attempt to save the life of his ailing mother. His father and stepmother, Ina Philips, were gifted artists, in fact Cavally came from. long line of talented artists. Though he spent his youth in Colorado, Roberts relatives were the founders and owners of the Cincinnati Oil Works (1938). When Robert was 19, his father moved the family back to their roots in Cincinnati and established his own advertising agency. Inhis mid-twenties Cavally married Roberta Timmers,a commercial artist. Roberta died in May 195} leaving behind her husband and a young son, Christopher. In 1955 he married Joan Harrison, a former student and professional flutist who still performs and serves asa patron of the arts in Cincinnati. in 1939, the Cavallys purchased a beautiful historic mansion overlooking the Ohio River that is listed in the National Historic Registry. In addition to performing and teaching, he‘was an avid woodworker and lover of animals, His home was the perfect place to practice, teach, raise his numerous animalsand enjoy woodworking, and still be ten minutes from Music Hall, Robert Cavally leaves behind a legacy of flute material and progressive teaching techniques carried on by several generations of flutists His contribution to the flute world is immeasurable. He is remembered as a devoted husband, father, soloist, orchestral player, teacher, editor, and author. Through his numerous publications, developmental teaching techniques, and students, he continues to teach and develop flutists around the world, The one legacy he had not published, his sought after developmental teaching techniques, are at long last available, SS BOOTSIE K. MAYFIELD Bootsie K. Mayfield isan honor graduate and recipient of performance grants/scholarships from the Cincinnati Conservatory of Music, where she wasa student of Robert Cavally. As win- ner of a national scholarship, Bootsie first studied with Mr. Cavally at the Conservatory Summer Institute. Asa result of thisexperience, she traveled ten hours twice a month from Columbus, Georgia to study privately with him throughout high school. Cavally served as her mentor until his death, and left all of his unpublished teaching techniques to her to edit and publish. Bootsie Mayfield was selected by Mr. Cavally to serve as master of ceremonies when he ‘was honored at the National Flute Association convention in San Diego in 1988, In 1994, she ‘was selected to perform at his Funeral concert. In 1995, she presented a retrospective of his life at the National Flute Association convention in Orlando, Florida, She authored, edited, and. published The Cavally Legacy, which contains numerous contributions from many of his former students, ‘Ms Mayfield holds the Bachelor and Master of Music degrees in flute performance, and islisted in the Marquis International Who's Who in Music a3. performer, teacher, and author. In 1970, she became the first and youngest Full-time faculty woodwind specialist at Auburn University, where she developed the flute program and served as flute professor for 12 years. While at Auburn she received research grants and authored and published several articles on flute pedagogy, and recorded extensively for the Alabama Educational Television Network and the ‘Alabama Bandmasters Association, Other faculty affiliations include Dallas Baptist University (Dallas, TX), Rollins College (Winter Park, FL) and Gardner-Webb University (Boiling Springs, NC). In addition, she has developed and implemented flute programs in the publicand private schools of Alabama, Texas, Louisiana, and Florida Performing professionally since the age of 16, Bootsie has served as guest artist atthe Inter- national Spoleto Festival, the Mississippi Arts Festival, the Georgia Flute Society, and the OhioOhio Music Festival and many more, She has held positions as principal or solo flutist with the ‘Columbus Symphony Orchestra, the Auburn Baroque Ensemble, the Millennium Quintet, the internationally syndicated Pageant Orchestra of Houston, and numerous other ensembles and orchestras. She has performed in concert and directed master classes with Julius Baker, solo flutist for the New York Philharmonic Orchestra, Doc Severinsen of the NBC Tonight Show Orchestra, and the Moody Blues: Named as one of the Outstanding Young Women in America, she was recommended by the governor and senators of Alabama for a White House performance, She was on the roster of Young Audiences of New York, and served as manager and solo flutist with the Houston Flute Quartet for four years. She has worked with schools in Texas and other states in developing and implementing a highly effective “integrated music curricula” in the elementary (KS) classroom, Prior to moving to North Carolina in 2008, Ms. Mayfield resided in Orlando with her husband and four children. In addition to owning her own private studio and contracting and recording agency, she performed with the Bach Festival Orchestras, the Orlando Concert Band, and as soloist in various cities throughout the United States She was selected by Michael Eisner ‘to perform for celebrity guests at the 50th birthday celebration of the Walt Disney Corporation. at Walt DisneyWorld. She has also done extensive performing as solo flutist with the Potpourri ‘and Elegancelll ensembles. Recently, she performed, produced, and leased a flute and harp CD to Lady Primrose Corporation of Dallas for national distribution. Ms Mayfield is n constant demand asa performer and teacher, contracting and performing as solo flutist with various orchestras and ensembles for concerts, conventions, and special events Inaddition to teaching, performing, and writing, she continues to be an advocate for women and handicapped rights. She isthe leading expert on the teaching techniques of Robert Cavally. [As president of BKM Enterprises, Inc. she is the curator of the Cavally catalog (containing over 200 flute compositions) and owner of all Robert Cavally copyrights, In 2012, as author and editor, she completed twelve method books on Robert Cavally's Progressive and Developmental Studies for Flute and signed a publication contract with, Hal Leonard Corporation, the world’s largest publisher of sheet music. Six of the twelve books will be published and available to the public in August 2013, with the remaining six to be published in 2014, In addition to overseeing the release of these publications, Ms. Mayheld will be teaching the Robert Cavally Masterclass Series at various locations throughout the United States, Europe, and Asia. Sheis currently solo flutist with the Millenium Quintet. Sometimes referred to.as ‘the peopl’ flutist” she can be contacted at wwwthepeoplesflutistcom,Also available from Hal Leonard: Corresponding primer level works by Robert Cavally Primer methi Let’sPlay the Flute (HL00970161) Primer solo collections for flute and piano Solos for the Debutante Flutist_ (HI00970040) Seven Artistic Solos ~ with easy accompaniments (HI0087009) Corresponding Level 1 works by Robert Cavally Level 1 method book Melodious and Progressive Studies (HIL00970024) Level 1 studies Joachim Andersen ~ Twenty-Four Instructive Studies, Op. 30. (HI00970026) Joachim Andersen ~ Twenty-Four Progressive Studies, Op. 33. (HL03770625) Joachim Andersen ~ Eighteen Studies, Op.41_(HIL00970028) Ernesto Kohler ~ 15 Easy Melodic Exercises, Op. 33, Bk. 1 (1100970021) Level 1 solo collections for flute and piano 24 Short Concert Pieces (HL00970038) Romantic Music for Flute, Book | (HIL00970015) Romantic Music for Flute, Book 2. (HILO0970018}, 15Concert Pieces. (H100111924) even Sonatas and Famous Largo (HIL00870036) (continued on following page)Level 1 individual solos for flute and piano Andersen ~ Scherzino, Op.55, No. 6 (HI00970058) JS. Bach ~ Suite in B Minor (HL00970060) Bournonville~ Danse pour Katia (HL00970076) Donjon ~Pan (Pastoral), (HIL00970089) Doppler ~ Berceuse, Op. IS (HILO0970094) Faure ~Sicilienne (HL00970090) Gaubert ~ Berceuse (HLO0970147) Gluck ~ Minuet and Dance of the Blessed Spirits (HL00970062) Godard ~ Allegretto (from Suite de Trois Morceaux) (HI.00970063) Godard — Idylle (from Suite de Trois Morceaux) (HIL00970087) Godard — Waltz (from Suite de Trois Morceaux) (H100970136) Handel ~ Sonata No. 21 (HL00970065) Sonata No.2 (HL00970066) Sonata No.3 (HL00970067) onata No.4 (HL00970068) Handel ~ Sonata No.5 (HLO0970069) Handel ~ Sonata No.6 (HI00970070) Handel Sonata No.7 (HIL00970071) Hue~ Serenade (HL00970072) Koehler ~ Berceuse, Op. 30, No.2. (HLO0970147) Mouquet ~ Five Short Pieces (HL00970077) Sonata No.1 (HLO0970115) Sonata No.2. (HL00970119) Sonata No.3 (HIL00970120) Mozart ~ Sonata No.4 (HLO0970121) Mozart ~ Sonata No.5 (HL00970122) Mozart ~ Sonata No.6 (HLO00970123) Movart ~ Sonata No.7 (HLO00970124) Mozart ~ Sonata No.8 (HIL00970125) Mozart ~ Sonata No.9 (HL00970126) Perilhou ~ Ballade (HI00970135) Pessard - Andalouse (HL00970073) Quantz~ Arioso & Presto. (HIL00970085) Mozart Mozart MozartRobert Cavally’s DEVELOPMENTAL and PROGRESSIVE STUDIES for FLUTE Compiled and Edited by Bootsie K. Mayfield These highly anticipated volumes from the studio of legendary flutist Robert Cavally (edited by former student and protégée Bootsie K. Mayfield) represent a wealth of pedagogy from a beloved teacher and performer of the flute. Published in three series and four levels, the Developmental and Progressive Studies for Flute join Cavally's famous Melodious and Progressive Studies as some of the most important repertoire available to student and professional flutists. Use all three books in a level for the maximum development, ‘Tone Studies ~ Primer .... HLOQII9343 = Book 2... HLOON9356 Scale Smdies ~ Primer... HLOONLA9S6 = Book 2... HLoON19358 Velocity Studies - Primer .. HLO0119360 Velocity Studies ~ Book 2... ILo0119362 ‘Tone Studies - Book 1... HLQOI9355 ‘Tone Studies ~Book 3... HLOO9357, Scale Studies - Book 1 | HLON7659 Scale Stuies ~ Book... HLo0119359 Velocity Studies - Book 1 | HLOOIT9361 Velocity Studios ~ Book 3 | HILOOIL9363, Also Available from Hal Leonard Robert Cavally’s MELODIOUS AND PROGRESSIVE STUDIES FOR FLUTE ‘One ofthe most highly eganted series for beginnes,fatetmediate and advanced fue study, these volumes ‘contain a wealth of famous studies and ewes by Andersen, Gariboli, Kohler, Boehm and many more as ‘well as slo excepts from lamous works forthe fue Ls Pay the Fate to0970161 ook too>s0038 Book 2 Hoo 002s Book 3 Nitooorenst Book 4 (30 Vinuos Side). HLOO97D012 Book 48 (6 Grandes Eades). HLOOS70013 us siase ROBERT ve restos I) cae MLN 08607 EDITIONS 9"781480"342798" HLoor16961 HacUeowanEEE 1 Robert Cavally’s VELOCITY STUDIES o DEVELOPMENTAL and PROGRESSIVE STUDIES for FLUTE Compiled and Edited by Bootsie K. Mayfield ROBERT CAVALLY EDITIONS