The second part

Instrument practice

Lesson 4

We will focus this lesson on the knowledge of new pipes: LA - SI - DO – RE

Positon on the stave,

Position on the instrument

From the point of view of the force, it should be observed that the air distributed in these pipes must have a greater pressure than
in the pipes already used until now.
Why? Because the narrower and shorter the pipes is the more difficult is for air to enter and make them vibrate.
Arriving at the knowledge of the pips of the high register, we will realize that it will be almost impossible for us to succeed to
produce at the first try the notes at their right pitch. To succeed, from the beginning, the real notes in the pipes LA, SI, DO, RE we
have to attack the sound with a move of the tongue shorter than the previous ones and with a more accentuated reduction of the
orifice through which the air column leaves.
Let's attack the LA tube. As usual, control if it has the desired height.
Now, beating the time:
Ex. 11
Ex. 12
Ex. 13
Ex. 14

Are you tired? Do you feel dizzy?

Rest for 10-15 minutes breathing deeply several times.
For the next exercise, you need to prepare a larger air column, because this time you are under the pressure to resist until the end.
It should be noted that the exercise is based only on related measures.
Let's take a deep breath in then breathe out. Let's repeat the process several times, controlling our breathing, then take a deep
breath and start:

Ex. 15

It is possible that at one of the notes, for example: DO to RE, you will no longer be able to resist 8 beats.
Stop, take a short pause of the maxillary muscles and of the lips. If possible rest as well as the lungs and the heart, then start
again from the point at which you stopped, insisting where the effort has become too big. We repeat two measures, then four or
more, then the whole exercise. We have acquired enough resistance to blow for 52 measures in four times.

Lesson 5
 First part
Let's recap the previous four lessons. We realize that we have learned to blow in a large part of the pipes and this will allow us to
attack more complicated exercises and longer intervals than the third.
The number of notes that we know exceeds an octave and gives the possibility of extending the melodies. We will continue in
MAJOR SOL.
Here is the range of notes we have now:

Here is the position on the pan flute, of the pipes that we know:

To get out of the monotony of the exercises that we learned, let's introduce the fourth (quarter), the whole note and the interval
of fourth.

If we look at this stave, we observe that the range it contains gives the possibility of studying the interval of four easily.
So we have seven fourths: six perfect fourths, plus one, DO-FA dies, increasing.
The study of this interval is based on the same principle as that of the third, with the difference that instead of a free pipe, we will
skip two.

To be able to achieve this easy step, it is necessary to feel the shape of the two other tubes (DO and RE which were left free)
under the lip starting from the tube SI and moving the head towards the tube MI. When we are sure that we have covered three
pipes (the third being MI), we will attack with precision right in the middle of this pipe. Success will be assured.
We will have thus achieved an interval of fourth.
Starting now from the pipe DO -- the pipes remaining free this time being RE and MI--, we attack the pipe FA dies. While the
head is moving towards the pipe giving the fourth, the air column is interrupted (because, otherwise, we would hear the echo of
the pipes above which we are passing) and we attack the respective pipe, either by retaining some quantity of air in the body
necessary for a new attack, either by stopping during the passing and breathing again before the time of the attack.
Pay attention to the air column dosage.

Don't let us try to blow the air through the first pipe.
We do the same with the other fourths..
Attentions! At the beginning, it is essential to feel well under the lips the pipes left free as well as the third pipe, the one that
gives the fourth, otherwise we would never know where we stop and we would confuse the intervals.
From the point of view of the solution of intervals, the pan flute is undoubtedly the most difficult of all the instruments.
Here, now, the diagram of the sequence of fourths.

Rising:

Descending

The position of fourths on the pan flute:

 Rising:

Descending

To execute easier the sequences of fourths, we remember the following principle: to rise, starting from the SI pipe, we leave free
the second and the third pipes and we play the fourth (MI); to execute the next quarter, starting with DO, we go down leaving
only one pipe free, the RE pipe, and so on.
Descending from the note RE, the principle is opposite, that means that we leave free two pipes to get to at LA, than jump only
one pipe to go back to the DO, etc.

Now let's move on to an exercise that allows you to learn the interval of fourth.
Ex. 16

Ex. 17

Ex. 18

Ex. 19

Ex. 20

Ex. 21

If the tempo of this exercise seems too lively, you can try it in andante, but with the condition of breathing after each measure.

The second part of lesson 5

Observations
This lesson has been divided into two parts because the fourth interval requires a fairly long study, about two or three weeks or
more. It is necessary to insist on the observation of a great precision in the movement of the head, which will allow you to reach
with the lip exactly the center of the pipe. The first part introduced you to this issue, thanks to the second and third intervals. The
exercises do not pose any major technical problems, with the exception of exercise 21.
But let's try to analyze them one by one and if you find yourself struggling with any difficulties, let's try to solve them together.
Exercise 16
This exercise can cause us breathing problems only. The jumps of fourths have been specially highlighted to give you the
preparation time you needed for easier execution.
Attention is required from time/measure 23 until the end.
In time 23 and 24, you have two successive fourths. Do not be afraid, you will certainly succeed . We suggest you study it for four
days.
Exercises 17 and 18
Both are relatively easy if you strictly respect the measure throughout their interpretation and if you do not hurry too much. If you
find it difficult to arpeggios at the start of each exercise, study them separately.
Exercise 18 poses a small problem: a fourth interval between the first and the second measures.
Breathe deeply before the two measurements because the R sign does not appear. For the two exercises: 2 or 3 days of study.
Exercise 19
This exercise contains several technical problems that are difficult to solve. The successive fourths one after the other in white,
then in black, should be studied separately (each measure apart). We resume the whole exercise afterwards.
Leave your hands relaxed, do not tense the neck, and breathe so as to have a large reserve of air which will give you the
possibility of overcoming all difficulties.
Do not forget to move the pan flute using the arms in the opposite direction to the head to manage to easily solve these fourths.
From the start, apply the rule.
"To make an interval of fourth going up, we leave two pipes free. To make the next quarter going down, leave only one free."
Exercise 20
In this exercise, a problem arises in measures 11-12-13, because you will meet there a new element: APREGE, having at the base
the fourth RE-SOL, after which comes another descending arpeggio, RE- SI-SOL. This is not very easy and you have to do a
special study of the respective measures in a much slower tempo, Andante or Largo. The last measure is even more difficult, so
put you’re the whole things you have studied in it and try to be completely relaxed. For the two exercises 19 and 20, count four
days of study.
Exercises 21, 22, 23
The first two are roughly repeating the previous ones, but the 23 creates real difficulties for the solving the problem of the fourth.
To get out of it use the same method: study slowly and fragmentary, then repeat.
To make it easier to resolve each measurement, the breath sign has been specially placed at the start of each measurement.
From measure 17, you have six fourths to solve, and, from measure 21, the 7 fourths we already know. Pay attention to breathing
at measures 25, 26.
For these 3 exercises, 8 to 10 days are necessary, including 5 to 6 days for the number 23.
We will continue to insist on the SOL MAJEUR range to fix ourselves well on this tonality and to get the idea of the balance of
this part of the instrument. We will use the breaks to give the student the opportunity to breathe, and we use the concept of
"black" to energize the exercise. So, be careful, no hurry, take the indicated tempo and always breathe where you see the R sign.
Make sure to dose and share your air column well.
We took in account the student’s elementary techniques : none has exceeded his possibilities.
In these exercises, to achieve complete success, the student must be very persistent. The fourth interval requires real insistence,
because it will prepare you for the execution of larger intervals. I still insist: pay attention to the precision of the movement of the
head and hands to reach the right pipe. Do not take bad habits that would generate you difficulties to solve the more difficult
problems that we will encounter.
Ex. 25

Ex. 26

Ex. 27
Only exercises 25 and 27 present certain difficulties.
Exercise 25 has a descending arpeggio, then another ascending in bars 3 and 4, which have to be studied with greater patience. I
suggest you to fragment this passage into segments of two and work on each of them separately, slowly.
For example:
Ex. 28
Ex. 29
Ex. 30
Ex.31
Ex. 32

After studying about 10-15 minutes the two measures in two beats (tempo) separately, let’s try at 3 beats(tempo).
Ex. 33.
Ex. 34.
Ex. 35
Ex. 36
We take each measure undivided, then slowly two measures together.