James Thompson

Flute Pedagogy
Dr. Mihoko Watanabe

Survey of Flute Etudes

Description of Project
In this project, I will endeavor to create a comprehensive list of standard flute etude
books, using a variety of different research tools. I will create a grading system and
develop criteria to rank the difficulty and pedagogical value of each book.  From this, I
will create a four-year plan of study for undergraduate flute performance majors, basing
my choices of appropriate etudes on my grading system.  This will be a semester-long
project, and will include regular feedback and critiques of my grading system and four-
year plan by Dr. Watanabe and the other members of the Flute Pedagogy class.  The
completed project can be shared with the entire flute studio, and will be an invaluable
resource for myself as I begin my professional career.

About Flute Etudes

 What does étude mean?
 What are flute etudes and why are they important?
 Why is this project necessary?

Rationale
 What should or should not be included in this survey?
o Original etude books
o Compilations
o Flute method/exercise books
 Grey area
o Transcriptions
o “Specialized” versus “generalized” etudes

Methodology
 Resources Consulted
 Grading/Ranking Systems
 Citation issues
o Publishers/editions
o Languages

Explanation of Grading/Ranking Systems

NFA Grading/Ranking System

Ranks etude books from A (beginner) to K (advanced). Extensive list of criteria to
determine an etude book’s rank. G through K more or less correspond with collegiate
study as follows:
G: First-year college music major
 H: Second-year college music major
I: Third-year college music major
J: Fourth-year college music major
K: Graduate students

RCM (Royal Conservatory of Music—Canada) Grading System

Ranks material from 1-10 and ARCT (professional level material). Examinations cover
repertoire, technique (including etudes, orchestral excerpts, and scales), and depending on
the level, sight-reading, ear tests, theory, musicianship and theory. Extensive criteria
developed to judge exams. Grade 1 is more or less a beginning level, and grade 10 is
roughly equivalent to upper-level undergraduate or even graduate study. The ARCT
(Associate of the Royal Conservatory) level is equivalent to the Graduate/Professional
Level.

ABRSM (Associated Board of Royal Schools of Music—United Kingdom) Grading

System
Ranks material from 1-8. Examinations cover repertoire, scales, theory, aural skills, and
practical musicianship. Extensive criteria developed to judge exams. No age/time
restrictions, but essentially follows an eight-year program of study roughly equating to
the span from middle school until the student enters university.

Pellerite Grading System (In James Pellerite’s Handbook of Literature for the Flute)
Grades range from I-IX
Grade I-II: Very Easy to Easy
Grade III-IV: Moderately Easy to Intermediate
Grade V-VI: Intermediate to Moderately Difficult
Grade VII-VIII: Difficult to Very Difficult
Grade IX: Extremely Advanced—Virtuoso Level

When applied to academic levels:

Grade I-III: Elementary; also beginning instrumental techniques classes at the
university level
Grade III-V: Intermediate (Middle School); also classes in instrumental
techniques at the university level
Grade IV-VI: High School; instrumentalists in secondary or elective levels of
university activity; also some music education majors
Grade VI-VIII: University performance majors, or conservatory level; advanced
music education majors; also some graduate students
Grade VIII-IX: University performance majors, or conservatory level; graduate
majors; professional and advanced conservatory groups

James Thompson Grading System

Beginning Level
Generally appropriate for students with up to a year of study. (generally middle school
and junior high students)
Range: Limited, stays between low F and high D, with notes beyond used sparingly)
Rhythm/Meters: Very simple rhythms
Articulations: Simple, repetitive patterns
Breathing/Phrasing/Style: Straightforward in terms of breathing and phrasing, simple in
style
Technical Demands/Keys: Few technical challenges, major/minor keys with up to 2 or 3
sharps/flats, and few accidentals

Secondary Level
Generally appropriate for students with more than a year of study, and perhaps up to 3 or
4 years (generally junior high and younger high school students).
Range: Fairly limited, stays primarily between low D and high F
Rhythm/Meters: Simple rhythms, with slightly more variety than Beginning Level
Articulations: Simple patterns, with more variety and faster single-tonguing than
Beginning Level
Breathing/Phrasing/Style: Straightforward, some longer phrases, more variety in style
Technical Demands/Keys: Some technical challenges, major/minor keys up to 3 or 4 flats
or sharps, accidentals more common

Intermediate Level
Generally appropriate for high school students. May also be appropriate for some
particularly advanced junior high students and younger college students, particularly
music minors.
Range: Full range, but extremes used sparingly (especially high G#-C)
Rhythm/Meters: Moderately challenging rhythms, including more dotted rhythms and
syncopations
Articulations: Greater variety of patterns, fast single-tonguing and possibly double-
tonguing
Breathing/Phrasing/Style: Longer phrases, more variety of style within each etude, some
straightforward ornamentation
Technical Demands/Keys: More technical challenges, little virtuosity, major and minor
keys up to 5 flats and sharps, more chromaticism possible

Advanced Level
Generally appropriate for advanced high school students, especially those seeking to
pursue music. Also appropriate for college-level students, particularly freshmen and
sophomores and music minors.
Range: Full range (including low B)
Rhythm/Meters: Variety of rhythms and meters, including some more complex rhythms
Articulations: Complex patterns, double-tonguing and perhaps some triple-tonguing
Breathing/Phrasing/Style: Requires more endurance in terms of breathing, more complex
ornamentation, great degree of variety in style
Technical Demands/Keys: Presents numerous technical challenges and/or a small degree
of virtuosity, all major and minor keys possible, significant chromaticism possible
 Collegiate Level
Generally appropriate for college-level students, especially performance majors and
upperclassmen.
Range: Full range, including some extended (low B and up to fourth octave D)
Rhythm/Meters: Complex and varied, including some asymmetrical meters
Articulations: Complex patterns, double-tonguing and triple-tonguing
Breathing/Phrasing/Style: Breathing endurance necessary, complex ornamentation
possible, dramatic changes in style
Technical Demands/Keys: Presents major technical challenges and/or a degree of
virtuosity, all major and minor keys and some modes or atonality possible, high degree of
chromaticism, uses basic extended techniques (harmonics and/or flutter-tonguing)

Professional Level
Generally appropriate for graduate students, professional flutists, and possibly advanced
undergraduates.
Range: Full range, including extended (low B and fourth octave)
Rhythm/Meters: Very complex, varied, and asymmetrical rhythmic patterns
Articulations: Very complex patterns, including very rapid double and triple tonguing
Breathing/Phrasing/Style: High level of breath endurance required, dramatic changes in
style possible, difficult ornamentation possible
Technical Demands/Keys: Extreme technical challenges and virtuosity, any key is
possible, including free-tonal, atonal, modal music and extreme chromaticism, wide
range of extended techniques may be used, high degree of stamina required

Annotated List of Select Etudes (In Progress)

Secondary Level
Composer Title Areas of Focus Distinguishing NFA RCM Pellerite
Features Grade Grade Grade
Level Level Level
Gariboldi, Études Technique 20 short etudes, covers D 4 I-II
Giuseppe Mignonnes. Articulation most major and minor
Op. 131 Phrasing/Style keys
Tone
Gariboldi, Vingt Petites Technique 20 little studies, only III-IV
Giuseppe Études Rhythm in keys up to four
Articulation flats/sharps, practice
suggestions given only
in French
Gariboldi, 30 Easy and C-D I-IV
Giuseppe Progressive
Studies
Moyse, Marcel 24 Petites Phrasing/Style Short melodic etudes D-F I-II
Études Articulation with variations,
Mélodiques includes practice
Avec suggestions
Variations
 (Facile)
Moyse, Marcel 25 Études Phrasing/Style Short melodic etudes E-H
Mélodiques Articulation with variations,
Avec Technique includes practice
Variations Interval Leaps suggestions
(Moyenne
Force)
Zachert, Walter Melodische Scales/Modes Includes breath marks III-VI
Übungen Articulation
Interval Leaps

Intermediate Level
Composer Title Areas of Distinguishing NFA RCM Pellerite
Focus Features Grade Grade Grade
Level Level Level
Berbiguier, Grandes Études Articulation 11 lengthy studies,
Benoît-Tranquille Caractéristiques Breathing annotated practice
Interval Leaps suggestions and
suggested breath
marks provided
Drouet, Louis 25 Études Célèbres Technique Covers all major F-H 6-8 III-VI
Tone and minor keys.
Interval Leaps Ends with a massive
Articulation 12-page study that
Phrasing/Style recaps the entire
book
Gariboldi, Grandes Études de Phrasing/Style Most etudes VII-IX
Giuseppe Style, Op. 134 Technique modulate
Genzmer, Harald Neuzeitliche Etüden, Technique 12 etudes. Etudes F-H III-IV
vol. 1 Virtuosity are progressive
Rhythm
Articulation
Hugues, Luigi 40 Studies, Op. 101 Technique Scalar patterns, F-I III-IV
sequences, largely
diatonic

Advanced Level
Composer Title Areas of Distinguishing NFA RCM Pellerite
Focus Features Grade Grade Grade
Level Level Level
Bitsch, Marcel Douze Études Technique 12 studies, each I-J VII-IX
Articulation of which is titled
Rhythm with its primary
Tone focus
Phrasing/Style
Interval Leaps
Ornamentation
Briccialdi, Giulio 24 Studi Technique 24 studies H-K V-VI
Interval Leaps
 Articulation
Ornamentation
Donjon, Johannes 8 Études de Salon Technique 8 studies, each G-I 8
Virtuosity with a
Interval Leaps programmatic
Articulation title
Phrasing/Style
Dubois, Pierre Max Treize Études de Articulation 13 studies of G-J V-VI
Moyenne Difficulté Expression medium
Flexibility difficulty,
Ornamentation includes some
flutter-tonguing
Fürstenau, Anton Six Grandes Phrasing/Style 6 lengthy VII-IX
Études, Op. 29 Articulation studies,
Interval Leaps annotated with
Technique some practice
suggestions
Fürstenau, Anton Bouquet des Tons, Technique 24 studies H-K VII-IX
Op. 125 Phrasing/Style covering all
Tone major and minor
Articulation keys
Ornamentation
Gariboldi, Giuseppe L’Indispensabile— Virtuosity A stand-alone V-VI
Caprice Etude Compound etude, divided
Melody into 3 sections of
contrasting tempi
Genzmer, Harald Neuzeitliche Technique 12 etudes. G-J 7-8 V-VI
Etüden, vol. 2 Virtuosity Etudes are
Rhythm progressive.
Articulation
Moyse, Marcel 48 Études de Virtuosity 48 virtuosity VII-IX
Virtuosité Technique studies. Most are
Dynamics subdivided into
Articulation variations and
Ornamentation have practice
Interval Leaps suggestions
Reichert, M.A. Six Études, Op. 6 Technique Includes helpful H-I V-VI
Flexibility advice and
Interval Leaps practice
Articulation suggestions
Schade, William 24 Caprices Technique Covers all major F-J V-VI
Articulation and minor keys.
Rhythm This edition is
Interval Leaps somewhat hard
Ornamentation to read

Collegiate Level
Composer Title Areas of Focus Distinguishing NFA RCM Pellerite
Features Grade Grade Grade
Level Level Level
Andersen, Joachim 24 Etudes, Technique Covers all major and H-K 10 VII-IX
Op. 15 Articulation minor keys. Includes
Rhythm suggestions for
Interval Leaps practice such as
 different rhythms and
articulations
Altès, Henri 26 Selected Technique 3 duets, including a H-J III-VI
Studies Articulation transcription of
Virtuosity Mendelssohn’s
Interval Leaps Scherzo from A
Rhythm Midsummer Night’s
Phrasing/Style Dream
Briccialdi, Giulio 6 Grandi Technique 6 lengthy etudes VII-IX
Studi, Op. 31 Virtuosity
Articulation
Ornamentation
Interval Leaps
Camus, Pierre Douze Études Interval Leaps 12 studies, with ad lib. V-IX
Articulation piano accompaniment.
Ornamentation Each study is titled
with its area of
emphasis. Includes
extensive practice
suggestions (all in
French)
Castérède, Jacques Douze Études Rhythm 12 studies F-J V-IX
Articulation
Interval Leaps
Virtuosity

Professional Level
Composer Title Areas of Focus Distinguishing NFA RCM Pellerite
Features Grade Grade Grade
Level Level Level
Andersen, Joachim 24 Grand Virtuosity Virtuosic, lengthy J-K VII-IX
Studies, Technique studies. Some
Op. 60 Articulation suggested breath
Ornamentation marks are included
Interval Leaps
De Lorenzo, Il “Non Virtuosity 18 caprices. Begins VII-IX
Leonardo plus ultra” Technique with a lengthy exercise
del Ornamentation on arpeggios. The
Flautista, Phrasing/Style following caprices
Op. 34 Transposition have programmatic
titles. Includes a few
extended techniques.
Practice suggestions
accompany each
caprice. Transposition
of many of the
caprices is suggested.
Jeanjean, Paul 16 Études Technique 16 virtuosic modern H-K V-IX
Modernes Flexibility etudes. Arpeggios or
Rhythm scales addressed are
Articulation typically noted below
Phrasing/Style the etude. Many
etudes have drastic
 changes in style,
tempo, or dynamics
Karg-Elert, Sigfrid 30 Articulation Several caprices are H-K 9-10 V-IX
Caprices, Technique written in
Op. 107 Virtuosity asymmetrical meters.
Phrasing/Style Performance
Rhythm directions given in
Interval Leaps Italian and German.
Dynamics Last caprice is a
chaconne with 17
variations
Schocker, Gary 10 Etudes Rhythm Includes a brief list of
Technique practice suggestions.
Interval Leaps Covers the entire
Phrasing/Style range from low B to
Extreme Registers fourth octave F

Representative List of Specialized Etude Books

Composer Title Areas of Focus Distinguishing NFA RCM Pellerite
Features Grade Grade Grade
Level Level Level
Bozza, 10 Études sur Carnatic (South Some etudes are VII-IX
Eugène des Modes Indian) modes unmetered, others
Karnatiques require playing quarter
tones and asymmetrical
meters. Includes table
of 24 Carnatic modes
Bozza, 14 Études- Arabesque style Highly ornamented I-J VII-IX
Eugène Arabesques etudes, invoking
Western conceptions of
Arabic art and music
Bozza, Graphismes Contemporary Development of skills V-VI
Eugène Musical Notation related to reading and
interpreting unusual
notations in
contemporary music
Colquhoun, Nine Etudes for Extended Etudes are annotated
Michael the Techniques with directions for
Contemporary incorporating the many
Flutist extended techniques
Dick, Robert Flying Lessons Contemporary I-K
Music
Filas, Top Register Top Register III-VI
Thomas Studies for Development
Flute: 90
Melodious
Studies
Gates, Odd Meter Asymmetrical E-I V-VI
Everett Etudes Meters
Lejeune, One Dozen Intonation I-II
Harriet Daily Pitch &
Peacock Sound Search
Studies
Moyse, 10 Études Virtuosity Virtuosic etudes in the VII-IX
Marcel d’Après style of Wieniawsky
Wieniawsky
Nicolet, Pro Musica Avant-Garde Music Wide range of extended VII-IX
Aurèle Nova: Studies techniques addressed,
for Playing as well as a general
Avant-Garde approach to
Music contemporary music
Paganini, 24 Capricci, Op. Virtuosity Transcribed for Flute, H-K 9-10 VII-IX
Nicolò 1 Originally for Violin
Piazzolla, 6 Études Tango Style I-J 8-10
Astor Tanguistiques
Ruggiero, Sei Studi Atonali Atonal Music Includes some extended VII-IX
Giuseppe techniques
Rynearson, 11 Avant-Garde/ Large number of V-IX
Paul Contemporary Contemporary extended techniques
Flute Etudes Music and percussive effects,
7 of the etudes are
Serial compositions

Undergraduate Performance Major: Four-Year Plan of Etude Study

For the sake of creating a progressive plan of study, the books for each calendar year
were selected from the following grade levels: Freshman Year: Secondary and
Intermediate Levels; Sophomore Year: Advanced Level; Junior Year: Advanced
and Collegiate Levels; Senior Year: Collegiate and Professional Levels

Freshman Year: Fall Semester

Areas Addressed: Technique, Phrasing/Style, Articulation, Rhythm
Secondary Level
15 Études: Aux Amateurs, Giuseppe Gariboldi

Freshman Year: Spring Semester

Areas Addressed: Tone, Technique, Interval Leaps, Articulation, Phrasing/Style
Intermediate Level
25 Études Célèbres, Louis Drouet

Sophomore Year: Fall Semester

Areas Addressed: Articulation, Expression, Flexibility, Ornamentation
Advanced Level
Treize Études de Moyenne Difficulté by Pierre Max Dubois

Sophomore Year: Spring Semester

Areas Addressed: Technique, Phrasing/Style, Tone, Articulation, Ornamentation
Advanced Level
Bouquet des Tons, Anton Fürstenau
Junior Year: Fall Semester
Areas Addressed: Technique, Virtuosity, Interval Leaps, Articulation, Phrasing
Advanced Level
8 Études de Salon, Johannes Donjon

Junior Year: Spring Semester

Areas Addressed: Ornamentation, Technique, Articulation, Virtuosity, Interval Leaps,
Rhythm, Phrasing/Style
Collegiate Level
26 Selected Studies by Henri Altès

Senior Year: Fall Semester

Areas Addressed: Technique, Articulation, Rhythm, Interval Leaps
Collegiate Level
24 Grand Studies, Op. 15, by Joachim Andersen

Senior Year: Spring Semester

Areas Addressed: Rhythm/Asymmetrical Meters, Articulation, Technique, Virtuosity,
Phrasing/Style, Interval Leaps, Dynamics
Professional Level
30 Caprices, Op. 107, Sigfrid Karg-Elert

Resources

The Associated Board of the Royal Schools of Music. “Syllabus for Woodwind & Brass
Instruments 2000 and 2001.” 1999.

Byrne, Mary C.J., et al. “Selected Flute Repertoire and Studies: A Graded Guide.” Santa
Clarita, CA: National Flute Association, 2009.
http://www.nfaonline.org/Committees/Pedagogy/Selected%20Flute
%20Repertoire%20and%20Studies.pdf.

Cluff, Jennifer. “E is for Excellence—E is for Etudes.” Accessed March 13, 2016.
http://jennifercluff.blogspot.com/2011/02/e-is-for-excellence-e-is-for-etudes.html.

Garrison, Leonard. “Repertoire for Applied Study in Flute.” Accessed March 13, 2016.
http://www.leonardgarrison.com/appliedrep.html.

Pellerite, James. A Handbook of Literature for the Flute: Compilation of Graded Method
Materials, Solos, and Ensemble Music for Flutes, 3rd ed. Bloomington, IN: Zalo
Publications, 1978.

The Royal Conservatory of Music. “Woodwind Syllabus: 2006 Edition.” Frederick Harris
Music: 2006.
Toff, Nancy. The Flute Book, 3rd ed. New York: Oxford University Press, 2012.

Complete Bibliography of Flute Etude Books (In Progress)

Altès, Henri (1826-1895). Twenty-Six Selected Studies for the Flute. Edited by Georges
Barrère. New York: G. Schirmer, 1945.

Andersen, Joachim (1847-1909). 24 Etudes for Flute, Op. 15. Edited by Louis Moyse.
New York: G. Schirmer, 1970.

Andersen, Joachim (1847-1909). 24 Etudes for Flute, Op. 21. Edited by John Wummer.
New York: International, 1962.

Andersen, Joachim (1847-1909). 24 Etudes for Flute, Op. 30. Edited by John Wummer.
New York: International, 1962.

Andersen, Joachim (1847-1909). 24 Etudes for Flute, Op. 33. Edited by John Wummer.
New York: International, 1959.

Andersen, Joachim (1847-1909). 26 Little Caprices, for Flute, Op. 37. Edited by Robert
Hériché. Paris: Gerard Billaudot, 1972.

Andersen, Joachim (1847-1909). 18 Etudes, for Flute, Op. 41. Edited by John Wummer.
New York: International, 1960.

Andersen, Joachim (1847-1909). 24 Grand Studies: The School of Virtuosity, for Flute
Solo, Op. 60. 2 vols. Edited by John Wummer. New York: International, 1972.

Andersen, Joachim (1847-1909). 24 Technical Etudes for Flute, Op. 63. Edited by John
Wummer. New York: International, 1962.

Artaud, Pierre-Yves (b. 1946). Harmoniques: Cahier d’Exercises: Monophoniques et

Polyphoniques pour Flûte. Paris: Gerard Billaudot, 1992.

Barrère, Georges (1876-1944). The Flutist’s Formulae: A Compendium of Daily Studies

on Six Basic Exercises. New York: Schirmer, 1935.

Berbiguier, Benoit-Tranquille (1782-1838). 18 Etudes for Flute. Edited by Lamar

Stringfield. New York: Carl Fischer, 1929.

Berbiguier, Benoit-Tranquille (1782-1838). Grandes Études Caractéristiques. Edited by

Marcel Moyse. Paris: Leduc, 1949.

Bitsch, Marcel (1921-2011). Douze Études pour Flûte. Edited by Jean-Pierre Rampal.
Paris: Leduc, 1955.
Boehm, Theobald (1794-1881). 12 Studies, Op. 15. Edited by Jean-Pierre Rampal. New
York: International, 1963.

Boehm, Theobald (1794-1881). 24 Caprices, Op. 26. Edited by Jean-Pierre Rampal. New
York: International, 1964.

Boehm, Theobald (1794-1881). 24 Melodious Studies, Op. 37. Edited by John Wummer.
New York: Carl Fischer, 1947.

Bozza, Eugène (1905-1991). 10 Études sur des Modes Karnatiques, pour Flûte. Paris:
Leduc, 1973.

Bozza, Eugène (1905-1991). 14 Études-Arabesques pour Flûte. Paris: Leduc, 1960.

Bozza, Eugène (1905-1991). Graphismes: Préparation à la Lecture des Différents

Graphismes Musicaux Contemporains, pour Flûte Seule. Paris: Leduc, 1975.

Briccialdi, Giulio (1818-1881). 6 Grandi Studi per Flauto, Op. 31. From 18 Grand
Studies, Op. 31. Edited by Domenico Vinci. Milan: G. Ricordi, 1971.

Briccialdi, Giulio (1818-1881). 24 Studi per Flauto. Edited by Gabriele Gallotta. Milan:
Edizioni Suvini Zerboni, 1982.

Briccialdi, Giulio (1818-1881). Exercise Indispensable des Gammes Majeures et

Mineures. Paris: Gerard Billaudot, 1980.

Camus, Pierre H. (1885-1948). Six Grandes Études for Flute, Op. 10. Edited by Robert
Cavally. San Antonio: Southern, 1978.

Camus, Pierre H. (1885-1948). Douze Études pour Flûte. Paris: Leduc, 1920.

Castérède, Jacques (1926-2014). Douze Études pour Flûte. Paris: Leduc, 1962.

Colquhoun, Michael (1953-2016). Nine Etudes for the Contemporary Flutist. New York:
McGinnis & Marx, 1982.

Damase, Jean-Michel (1928-2013). 24 Études pour Flûte. Paris: Lemoine, 1984.

Damase, Jean-Michel (1928-2013). 25 Études pour Flûte: Degré Moyen. Paris: Lemoine,
1987.

De Lorenzo, Leonardo (1875-1962). 9 Great Studies, Op. 34. Frankfurt: Zimmerman,

1903.

De Lorenzo, Leonardo (1874-1962). Il “Non plus ultra” del Flautista: 18 Capricci per
Flauto, Op. 34. Frankfurt: Zimmerman, 1923.
Delusse, Charles (1720-1774?). Twelve Caprices for Solo Flute. Edited by David
Lasocki. London: Nova Music, 1979.

Demersseman, Jules (1833-1866). 50 Études Mélodiques, Op. 4. 2 vols. Edited by Israel

Borouchoff. San Antonio: Southern, 1985.

Dick, Robert (b. 1950). Flying Lessons. 2 vols. New York: Multiple Breath Music, 1985.

Donjon, Johannes (1839-1912). 8 Études de Salon for Flute Alone. In The Modern
Flutist, edited by Albert Andraud. San Antonio: Southern, 1968.

Drouet, Louis François Philippe (1792?-1873). 25 Études Célèbres pour la Flûte, Suivies
du Grand Exercice Récapitulatif. Edited by Louis Fleury and Jan Merry. Paris:
Leduc, 1962.

Drouet, Louis François Philippe (1792?-1873). 25 Studies for the Flute: Including Étude
Modulée. Edited by Rien de Reede. Amsterdam: Broekmans & Van Poppel, 1984.

Drouet, Louis François Philippe (1792?-1873). 47 Studies for Flute: Exercices de Tous
Genres. Edited by P. Loewer. Amsterdam: Broekmans & Van Poppel, 1967.

Drouet, Louis François Philippe (1792?-1873). 62 Études pour Flûte. Edited by Ary van
Leeuwen. Leipzig: Zimmermann, 1890.

Dubois, Pierre Max (1930-1995). Treize Études pour Flûte de Moyenne Difficulté. Paris:
Leduc, 1963.

Filas, Thomas J (1908-?). Leger Domain: 52 Top Register Studies for Flute in all Major
and Minor Keys. New York: Carl Fischer, 1976.

Filas, Thomas J (1908-?). Top Register Studies for Flute: 90 Melodious Studies. New
York: Carl Fischer, 1969.

Fürstenau, Anton Bernhard (1792-1852). Six Grandes Études pour la Flûte, Op. 15.
Edited by Robert Heriché. Paris: Gerard Billaudot, 1981.

Fürstenau, Anton Bernhard (1792-1852). Six Grandes Études, Op. 29. Edited by Marcel
Moyse. Paris: Leduc, 1949.

Fürstenau, Anton Bernhard (1792-1852). 12 Grand Studies for Flute. Boston: Cundy-
Bettoney, 1902.

Fürstenau, Anton Bernhard (1792-1852). 26 Studies for Flute, Op. 107. 2 vols. Edited by
Werner Richter. Frankfurt: Litolff/C.F. Peters, 1963.
Fürstenau, Anton Bernhard (1792-1852). Bouquet des Tons: 24 Exercices, Caprices, et
Préludes dans tous les Tons Majeurs et Mineurs, Op. 125. Edited by Marcel
Moyse. Paris: Leduc, 1952.

Gariboldi, Giuseppe (1833-1905). 12 Études de Perfectionnement et de Virtuosité, pour

Flûte, Op. 217. Edited by Pierre-Yves Artaud. Paris: Gerard Billaudot, 1998.

Gariboldi, Giuseppe (1833-1905). 15 Études pour Flûte, aux Amateurs. Amsterdam:

Broekmans & Van Poppel, 1965.

Gariboldi, Giuseppe (1833-1905). 15 Études modernes, élégantes, et progressives pour la

Flûte. Amsterdam: Broekmans & Van Poppel, 1965.

Gariboldi, Giuseppe (1833-1905). Vingt Petites Études pour Flûte. Edited by Jan Merry.
Paris, Leduc: 1952.

Gariboldi, Giuseppe (1833-1905). Vingt Études Chantantes pour Flûte, Op. 88. Edited by
Jan Merry. Paris: Leduc, 1947.

Gariboldi, Giuseppe (1833-1905). 20 Studies for Flute, Op. 132. Edited by Adriaan
Bonsel. Amsterdam: Broekmans & Van Poppel, 1979.

Gariboldi, Giuseppe (1833-1905). 30 Easy and Progressive Studies for Flute. 2 vols.
New York: Galaxy Music, 1960.

Gariboldi, Giuseppe (1833-1905). Die Ersten Übungen für Flöte. Edited by Emil Prill.
Frankfurt: Peters, 1957.

Gariboldi, Giuseppe (1833-1905). L’Indispensabile—Caprice Etude (Daily Study) for

Flute Solo, Op. 48. New York: Edition Musicus, 1900.

Gariboldi, Giuseppe (1833-1905). Étude Complète des Gammes pour Flûte, Op. 127.
Edited by Jan Merry. Paris: Leduc, 1959.

Gariboldi, Giuseppe (1833-1905). Études Mignonnes pour Flûte, Op. 131. Edited by
Stefan Albrecht. New York: Schott, 2008.

Gariboldi, Giuseppe (1833-1905). Grandes Études de Style pour Flûte, Op. 134. Edited
by Pierre-Yves Artaud. Paris: Gerard Billaudot, 1998.

Gariboldi, Giuseppe (1833-1905). Grands Exercises Pour la Flûte, Op. 139. Edited by
Jan Merry. Paris: Leduc, 1956.

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