BOOK 1- Flute

STANDARD OF EXCELLENCE
COMPREHENSIVE BAND METHOD
By Bruce Pearson
c.
(

Dear Student:

Welcome to the wonderful world of instrumental music. The moment you pick up your flute,
you will begin an exciting adventure that is filled with challenges and rewards. If you study
carefully and practice regularly, you will quickly discover the joy and satisfaction of playing
beautiful music for yourself, your family, your friends, or a concert audience.

I hope you have many rewarding years of music-making.

Best wishes,

Practice and Assessment - the key to EXCELLENCE!

Make practicing part oí your daily schedule. If you plan it as you do any other activity, you will find
plenty oí time for it.
›Try lo practice in the same place every day. Choose a place where you can concentrate on making
music. Start with a regular and familiar warm-up routine, including long tones and simple technical
exercises. Like an athlete, you need to warm-up your mind and muscles before you begin performing.
>Set goals for every practice session. Keep track of your practice time and progress on the front cover
Practice lournal.
Practice the difficult spots in your lesson assignment and band music over and over, until you can play
them perfectly.
›Spencl time during each practice session using the STANDARD OF EXCELLENCE Book 1 ACCOMPANI-
MENT RECORDINGS and iPAS practice and assessment software. The ACCOMPANIMENT RECORDINGS
and,iPAS are included on two CDs in the STANDARD OF EXCELLENCE ENHANCER KIT, available separately
(Neil A. Kjos Music Company edition number PW21EK).
›At the end of each practice session, play something fun!

ISBN 0-8497-5926-9
1993, 2004 Neil A. Rios Music Company, 4382 Jutland Drive, San Diego, California.
International copyright secured. All rights reserved. Printed in U.S.A.
WARNING! Governments around the world provide copyright laws to encourage composition and publication of new music.
Anyone copying this music without permission is breaking the copyright law and is subject to penalties.
Please do not violate copyright laws. Do not copy or reproduce the contents of this book in any way. Thank you!

igrJS NEIL A. KJOS MUSIC COMPANY, PUBLISHER

W21FL
2

PUTTING YOUR FLUTE TOGETHER

HEAD JOINT MIDDLE JOINT FOOT JOINT
embouchure hole tone holes

embouchure plate E flat key

STEP 1
Open your case right side up.

STEP 2
Put the head joint into the middle joint with a gentle
twisting motion.

STEP 3
Line up the embouchure hole with the center of the
tone holes.

STEP 4 STEP 5
Hold the assembled head and middle joints and gently Line up the foot joint so the rod is centered with the
twist on the foot joint. tone holes.

W2 1 FL
PREPARING lo PLAY
STEP 1
Sit up straight on the edge of your chair.

STEP 2
VA7k "C" wíth your left hand so that you form a shelf at
the base of your thumb. Rest the flute on that shelf.

STEP 3
Place your left thumb on the long straight key on the
underside of the flute. Move your left hand to the right and
rest the flute at the base of the index finger between the
knuckle and first joint.

STEP 4
Place the tip of your right thumb under the flute between the
first and second fingers.

STEP 5
Curving your fingers on both hands, place your right little
finger on the El, key. Your elbows should be away from
your body. The flute should be pointingslightly dowrmgrd.
PLAYING YOUR FLUTE
STEP 1
Remove the head joint and place your right hand over the
open end. Shape your mouth as if saying "whee-too."

STEP 2
Place the head joint on your chin,and position it so that the
edge of the embouchure hole is at the bottom of the lower
lip. The corners of the lower lip should rest against the
embouchure plate.

STEP 3
Cover 1/4 to 1/3 of the embouchure hole with your lower
lip. Take a full breath of air and blow over the hole using
the syllable "doo" to play a long, steady tone.

STEP 4
Assemble the head joint to the body. Position your flute to
the right of your body, with the flute pointing slightly
downward.

STEP 5
Take a full breath of air and play a long, steady tone.
CARING FOR YOUR
FLUTE
STEP 1
After playing, dry the inside of your tlute with a soft cloth
over a cleaning rod.

STEP 2
Shake the water out of the head joint. Wipe the jointsclean

STEP 3
Wipe the outside of your flute with a soft, clean cloth.
Carefully put awayall partsof your flute and latch your case.

W21F1
4

FOR FLUTES ONLY

TREBLE TIME WHOLE WHOLE
CLEF SIGNATURE 4 NOTE REST
Ledger Line N Bar Unes A whole note gets A whole rest gets
/ 4 in time. 4 counts in2 time.
= 4 counts e FN

in each
measure
A
E
8
o 1] Staff

rnts
Measures7-

A tlat (6) lowers the pitch of a note

FLAT one half step. It remains in effect
for the entire measure.

11 THE MAGIC FLUTE

B flat (Bb)

17 c. 1, o IZZ,
t>40.
•O 0;• oOd O = open
A double bar line marks the end oí the music.
0••• • = pressed down

Ei THE
A
"A" TRAIN
A
t 11

••

EJ TWO TONE FLUTERS

1M-

00 ti ti

Use plenty of air.

G WHIZ

El FLUTEPURSUIT
ti let ti

I> Are you playing with a good embouchure and hand position?
6 TUTTI FLUTIE

11 t O
70 t

FLUTE COCKTAIL

ti 1,0 W11

How is your posture?

\ V21 FI_
 5

FOR WOODWINDS ONLY

TREBLE TIME WHOLE WHOLE
CLEF SIGNATURE NOTE REST
Ledger Line Bar Unes A whole note gets A whole rest gets
counts in t time. 4 counts in t time.
•rfr = 4 counts - E

.1 in each e° Staff
measure '..LI
E

Measuresrr-*

A flat (6) lowers the pitch of a note

FLAT one half step. lt remains in effect
BL for the entire measure.
B BE,

El THE FIRST NOTE

o o
"
o. = open A double bar line marks the end of the music.
• = pressed down
In THE SECOND NOTE

ti ti ti ti

111 TEA FOR TYVO

ti ti

• 1:se plentv of air.

4 THE THIRD NOTE

8 flat ( Bb) Bb
t 1)0 t'o t).
•oc1,00,1
Pe-

THREE OF A KIND
ti

• Are vou playing with a good embouchure and hand position?

6 THREE'S COMPANY
ti

41
l'r¡ WOODWIND WHIRLWIND

170 t 1)0

How is your posture?

\,^,' 21 I I.
6

FOR THE FULL BAND

TREBLE TIME WHOLE WHOLE lar

CLEF SIGNATURE NOTE REST

Ledger Line Bar Unes A whole note gets A whole rest gets

-- 4 counts
in each A
e
E
/ F

o
o
Staff
4 counts in time. 4 counts in t time.

measure E

MeasuresV"

A flat (6) lowers the pitch of a note

FLAT one half step. it remains in effect
Bb for the entire measure.

fl TIME FOR BAND

O 4 D
o

C••i•• O = open
• = pressed down A double bar line marks the end of the muslo.

ig THE FUN CONTINUES

ti 1L1

•0010004

▪ WHOLE LOTTA COUNTING

IMF
ti (.3

• Write in the counting and clap the rhythm before you play.

4 FOUR SCORE Page 39 IIII

B flat(Bb) B7

tpo
•O O l• Od
When you see a page number followed by an arrow, Excellerate to the page indicated for additional studies.

•MIX 'EM UP
ti

6 MELTING POT
(1 ••1 o ti

Fi BAND ON PARADE é,14,

1 11
••Ir
ti

• Lines with a medal are Achievement Lines. The chart on page 47 can be used to record your progress.
I
 7

HALF NOTE f J HALF REST BREATH MARK

5

Each half note gets Each half rest gets

2 counts in I time. 2 counts in t time.

Itr r 1~1
Take a breath.

8 A BREATH OF FRESH AIR

ti ti WI•r
1)0
1

Be sure to take a full breath of air.

9 SIDE BY SIDE
1><.> ti o

10 TVVO BY TWO
ti ti o

HALF THE PRICE also played

1r o
r r 1~1

rr r íd

VkIrite in the counting and clap the rhythm before you play.

lag CARDIFF BY THE SEA Page 39 11111* Welsh Folk Song

o
t1
f íd íd

TVVO FOR THE SHOW - Duet

r r
A.
O
-w9 O o o

IB. 4
/ 5r r -4,-. t)
íd
o
íd 1)0
o 1~,

14 GO FOR EXCELLENCE!

r o t t).
8

QUARTER NOTE QUARTER REST PHRASE

Each quarter note gets Each quarter rest gets

1 count in time. 1 count in time. A phrase is a musical thought
or sentence. Phrases are usually
rrrr four or eight measures long.

A QUARTER'S WORTH

Itrrrr 1111 rrrr 1111

Write in the counting and clap the rhythm before you play.
rierr 1 1 1 1 rrrr
16 HOT CROSS BUNS English Folk Song
9

clap

4
>< y< y< Jih jJ. JJJ )( )

Efil AU CLAIRE DE LA LUNE French Folk Song

luTrrr r Prrrr
11> Draw in a breath mark at the end of each phrase.
rrr r trr 1).

18 DOWN BY THE STATION Traditional

r,r rr r 1 r 1 'r'rr rrr rIrr

19 EASY STREET
E flat(G)

C *III*•ed
1"
p o
rr rr rr rr
O -

20 COUNTRY WALK English Folk Song

17ir br 17 P (.1

rr rr rrr
Eil GETTIN' IT TOGETHER

17..v
rr rrrr
EE FOR FLUTES ONLY
5 y
o 110

W21 H.
 9

REPEAT SIGN COMMON TIME FERMATA SOLO One person plays.

SOLI Whole section plays.

Hold the note or

Repeat from the beginning. Common time means rest longer than TUTTI Everyone plays.
the same as jtime. its usual value.

MERRILY WE ROLL ALONG Page 39 liii Traditional

41 rrtr rrr rrr rr rtirr rrr rrrr

Write in the note names beiore you play.
I 1
24 LIGHTLY ROW- Duet ^, r Traditional

A.
u

rr rrrl o 9
rr tT rrr
B. r:\
rr rr rrr rrr rr rr' rr rr
ONE STEP AT A TIME

rrrr 1=1

rl 5c,
Write in the counting and clap the rhythm before you play.

26 GOOD KING WENCESLAS Traditional English Carol

solo/son ,Tutti SOIO/SOli ,Tutti
1. P
/7P I

r'rr
9 1711
,

riTr 1
SONG OF THE FIORDS Norwegian Folk Song
solo/son , Tutti Solo/Soli , Tutti

rrrr
-9

rrr rrrr rrrr rr 17 I

28 Composer
your name
•
P ha u
Ittrrr Sr 17r
Fill in the rest of the measures using the given rhythms and any notes you know. title and play your composition.

29 GO FOR EXCELLENCE!
6. 6.
17,
1
W21FL
10

TIE TIME SIGNATURE

= 2 counts in each measure
A tie is curved Une that connects two notes 4 =quarter note gets one count
of the same pitch. Tied notes are played as one
unbroken note.
li(1)r r 1 1
30 WARM-UP

••••C 00d

TIED AND TRUE

r r t9 9
r r •
JOLLY OLD ST. NICHOLAS - Duet American Carol
A.
rrrr •p O
t
'''O ;
Clp

B.
O•O
rrrr br O O O • br2
rrrr 1)

AMIGOS Mexican Folk Song

9
r r Keep on playing,
•
o O
O 99 o O

Write in the counting and clap the rhythm betore you play.

34 FARM,OUT Traditional
O
_
O 1
• o P
••

El FOR FLUTES ONLY /

1
4
4„,
1J-4
5

trrr rrr
Keep your fingers close to the keys.
rrtr rrr
boO O
rr
W21 FI
 11

Key signatures change certain notes throughout

KEY SIGNATURE a piece of music. This key signature means play
all B's as B flats and all E's as E flats.

36 MARK TIME
A A (:\

•IoCcd
,Dop:
J rrr
J r r r r J rr r J r
For lower notes, make your lip opening larger and direct your air stream lower.

SWEETLY SINGS THE DONKEY - Round Traditional

1. , 2.

rrr
5
•
o
41711 r j rr rrrr 43

so,./so„ r
38 MARY ANN
Tutt
West lndies Folk Song

b e
rr 1 1 rl
•
rl rr
Solo,Sol' Tutti

rrr •
r
Write in the note names before you play.
1 1 1 rl
4111
j rl

39 CRUSADER'S MARCH Page 39 111111> Traditional

1 rr •
9
o
rr •
rl rr
Write in the counting and clap the rhythm before you play.

40 BALANCE THE SCALES

Draw one note or one rest to balance each scale.

, 11

~PM

41 GO FOR EXCELLENCE!
•
1
r r
r •
r r 1
W2la
12

DIVISI Pad of the section plays the top notes and div. unis.
pant of the section plays the bottom notes.
117
UNISON Everyone plays the same notes.

BALANCE BUILDER
Subdominant Dominan! [Orli(
2 3 5 6" 7(\
O

1 - r O

JINGLE BELLS
Band Arrangement I. S. Pierpont (1822 - 18931
arr. Chuck Elledge (b. 19611
2 3 4 unis

F F F F r
6 7 8

9 d
10 11 12
o o
1 Or
t- o

14 15 16
1

18 19 20
9 9
Ir Ir o 9

21 dis
un is. 9 22 23 24

42 SCHOOL SONG
soiosoii 9 Tutti
.72

r r
soio,soii Tutti
_IN

r r r J
91044
43 FOR FLUTES ONLY
„tí rr r J
r
'\'21 EL
 13

EIGHTH NOTES Two eighth notes are as long

as a quarter note.

L: Each eighth note gets 1/2 count in and 1 time.

+= J
1/2 + 1/2 = 1 count

44 WARM-UP
/J E>

() o

45 EIGHTH NOTE ENCOUNTER

-11 r • .•. r IP r lip r • • • .

. . . J )( .1 „1 J . ,1 xl
l lap i

.I ) 1 .•
Write in the counting for the top linc before you play.

•••••••" American Folk Song

46 JIM ALONG JOSIE

4 1,b r r • u • 0
r r •0 o

47 EIGHTH NOTE EXPLORER

t,. „ „, - a ,, „ . 00 . r, , - a - a „, „, a
Il,,ap ,
il j i
4
)( )(.
1 .1 J . , , . .. .
Write in the counting for the top linc before you play.

48 GO TELL BILL Gioacchino Rossini (1792 - 18681

9

49 GO FOR EXCELLENCE!
a

r r :r
VV21 FI
14

EIGHTH NOTE EXPRESS

rrrr r r r r r r •
clap
J J jlIl J j j
j

I> Write in the counting for the top line before you play.

SKIP IT, LOU American Folk Song

solo/son Tutti

1771 r
so,o,so„ r r r J J

4 r r r r Tutti

r r r r
EIGHTH NOTE EXPERT
o O 0O

clap
)( I j 1(
I J J
Write in the counting for the top line before you play.

MEXICAN MOUNTAIN SONG Mexican Folk Song

Lrr
r r r r u

54 BAFFLING BAR LINES

r r r r r
• Write in the counting and draw in the bar lines before you play.
•19.90.

go FOR FLUTES ONLY

r rr
9

r
• For higher notes, make your lip opening smaller and direct your air stream higher.

W21 FL
 15

fir
SLUR PICK—UP NOTE

A curved line that connects two or more A note that comes before the first full
notes of different pitches. measure of a piece of music.

56 WARM-UP
1, e o • o

Tongue only the first note ni each slur.

11C.
la THEME FROM "SYMPHONY NO. 1" • lohannes Brahms (1833 - 1897)

179 te

41IF íd
r r
58 ERIE CANAL CAPERS Page 40 1111111 American Work Song
9
• fri
r r
r r r r
59 LAUGHING SONG - Round Traditional
1. , 2.

r r r rLr
9
Ci Lt.
fy
J

60 STAR SEARCH Wolfgang Amadeus Mozart (1756 - 1791)

Lr Li Li
-517
C.J Li Li
Dra‘y in the missing notes for "Twinkle, Twinkle, Little Star" Perore you play.

61 GO FOR EXCELLENCE! _

10'1 r flt
Ir •
r
o
rrr
w21FL
16

This key signature means play ah l B's as B flats, ah l E's as E flats,

KEY SIGNATURE and all A's as A flats.

62 CLIMBING STAIRS
A flat (A b) Ab

c_r r r
•
r r• r ri

63 BINGO American Folk Song

117 O O
12-r r r 1;0

rrr
a 1

rt‘rr 61

64 THERE'S MUSIC IN THE AIR George F. Root(1820 - 1895)

rrrr r o

65 THERE'S THE SAME MUSIC IN THE AIR George F. Root (1820- 1895)

6
6
rrrr r r rrrne
Circle the notes changed by the key signature.

66 SCALE SKILL

íírr MIL

67 FOR FLUTES ONLY

A

-Carr• o

W2 1FL
 17

0•
DOTTED
TIME SIGNATURE DYNAMICS
HALF NOTE

A dot after a note adds half 3 = 3 counts in each measure

the value of the note. 4 = quarter note gets 1 count forte(f)- loud

+• = d J = J. :)( }°
-tk tI
(1
fly piano (13)- soft

2 + 1 = 2 + 1 = 3 counts

68 WARM-UP

,<> <, r •. r ••
o

69 CHANNEL THREE

r rr P• t-+•

clap
I I
1( )4 ) I I
)4 1( J >)
pat
Write in the counting tor the top linc before you play.

70 DOWN IN THE VALLEY American Mountain Song

J.
r
Ji

BROTHER MARTIN - Round Latin American Folk Song

2,
o o o

9 3.

Australian Folk Song

51B THE LITTLE FISH

1171 csIr r r rrr rrr rr 1

Draw in a breath mark al the enci oí each phrase.

SE1 GO FOR EXCELLENCE! Czech Folk Song

"When Loye Kind"
ar

rr rr rr
ri•

W21FL
18

A natural sign cancels a flat or a sharp.

NATURAL It remains in effect for the entire measure.

74 WARM-(JP
A flat (A,)

••la Jd

OLD BUJE Traditional

solosoli Tutti

~PI
Fu ti

• a a
r

76 THIRD TIME AROUND A:

9
1;71, izAJ
rrr
II> Circle the notes changed by the key signature.

LULLABY - Duet 1 rditional

A. "s.

B.
a

78 MINUTEMAN MARCH Robert Frost (h. 1942)

ti CI
o

Jis° played A;

79 FOR FLUTES ONLY

a o (1 o o a a
 19

ACCENT Attack the note louder.

11.2.
• lst and 2nd Play the first ending the first time through.
•. ; Then, repeat the music, skip the first ending,
ENDINGS and play the second ending.

ONE-MEASURE Repeat the previous measure.

REPEAT SIGN

Mexican Folk Song

80 MEXICAN HAT DANCE
>
• 1. I1 2.
o o
11 I
r 11• 11

J )(I i11

81 FRÉRE JACQUES - Round French Folk Song

1. ,2. 3-

r r
82 MORNING MOOD Edvard Grieg (1843 - 1907)

rr u°5 r7r r r flr r 1

83 MING COURT Chinese Folk Song
9

171, u r Lec_
Write an S under each siur and a T under the tie before you play.

84 GO FOR EXCELLENCE!

4t,'76t r rInr AL
o J •41/

r
9

r r rr Ynn r
W2111
20

SAWMILL CREEK
Solo with Piano Accompaniment
Bruce Pearson (b. 1942)
6
11 1
2 r3-1 4411 5
ra

Flute
1 bt
n•
111
o ro411
%•Zr
Co back to the first repeat sign.
4
2 t.

Piano

7 2.

r r1," 81
9 9 10 P" 12

rr
5 17 r

12.

t,64, ZIJ
J
J FF F EFF
2
5

13
15 17 18 19*
6_ • r o
914
11
, Jff
11
, o 'a•ilF

J -.0J• muz
FfF • J JerZ
H J- - J
2

20
22 1 24 25 > >•
23r
r r
J J
a
J
a
z
1993, 2004 Neil A. Kjos Music Company. Page 20 ts authorized for duplication lo mees specific requirements for festivals,
contests, and competitions. A photocopy may be distributed to an accompanist. AH copies must be destroyed after the event.
W2 1FL
 21

2
LONG REST Rest the number of measures
Count: 1 2 3 4 2 2 3 4
indicated.

MONTEGO BAY Calypso Song

Band Arrangement
arr. Chuck Elledge (h. 1961)
1 -4 div.
4 g

F F
'7 8

z 9

10 di% ums
2
rr 11

r
12rj 13 - 14

r r
16

~ami

4
17 • 18

765
2 19 div.

r Lit
20 unis.

r1
•

II time -f
div
I
22

2nd lime - p
28

24 mig 25 26e " 27

> amo

29
I 2. ,30 31 dtv. 32 33 me > > 34 > >
Ir

rrr
REGAL MARCH
Band Arrangement Bruce Pearson (h. 1942)
3
arr. Chuck Elledge (h. 1961)
1 -2
2 4 5 6 p. 5

rr a a

9 11
7 (i. , h2. 9
8 • • 12
a MIMO II ▪ or ,
41 C./•
•

13
d 14 15 16 . • 17 18
3. 9

/ 71r

U fl1S
>,
1 211 22> > >- > 23> >- > >" 24 >
p.
20

Lr rr ▪ 41,

1.1111S.
25 di'.

F
26 28 29> 30
e

1
W21F1
 23

KEY SIGNATURE This key signature means play ah l B's as B flats.

92 LOOK SHARP
E
r •p•
rtur rr •

01114-

93 AURA LEE G. R. Poulton (d. 1867

o • P
o o
o P
f 4
i

94 BARCAROLLE Jacques (911enbach 1819 - 18801

112.

95 JUST BY ACCIDENT
,b r. r 1'

e)
1Í P
1'
96 F MAJOR SCALE SKILL

4 ti 1
r
Chords
Arpeggio (-›
/
r •
, fi• 1
1

97 SAILOR'S SONG
solo..soil , 2.
amo 000

For lower notes, make your lip opening larger and direct your air stream lower.

98 GO FOR EXCELLENCE! American Folk Song

-Thrs Oíd Man"

r p1 o o ff r • r

:
24

F
DA CAPO AL FINE(D. C. AL FINE) SHARP #
F

Go back to the beginning and play until the Fine. A sharp (#) raises the pitch of a note one half step.
It remains in effect for the entire measure.

99 WARM-UP
P
I; e la
3 rrr 10
1
100 IN THE POCKET
o o •

101 POCKET CHANCE

o o o o
• o

102 STRICTLY BUSINESS

J 6 J o
r r
103 SMOOTH SAILING
E flat (E)') ,

o o jo
J 11~

J j J

104 ROSES FROM THE SOUTH johann Strauss, 1r. (1825- 1899)

J J

b61. J J J h J J

105 THEME FROM "HANSEL AND GRETEL" Engelbert Humperdinck (1854 .1921)
D.C. al Fine
Fine

J a .1 J JJ r r
106 FOR FLUTES ONLY Page 40 MI.
F sharp (FI) 9

prr rdr o

••• •

'''•'9741~~
 25

107 THAT'S A WRAP

?V•

108 POLLY WOLLY DOODLE American Folk Song

L
rr Cr rrr
.

rr o

ciapj J J J
foot stomp
r
1.

4 rr
r•••••.,

rrr
112.

J >TM i i
f f
109 VOLGA BOAT SONG Russian Folk Song

••••••,..„

rrr r
110 Composer
your name
Hand Clappers

li ,Jf JJJJ
í Knee Slappers

tJ 1 nJ
f
ÍJ .7J J

Compose a duet (accompaniment) part for Knee Slappers. The first measure has been completed for you. Title and
perform your composition.

111 GO FOR EXCELLENCE! Tielman Susato (1500?- 1561?)

"Ronde" •,
4 •
9 o o • •
1;1

o •
• r•
rr
W21 FL
 A single eighth note is half as long as a quarter note.
SINGLE
EIGHTH NOTE 01) = 1/2 count

DOTTED
QUARTER NOTE r. J. A dot after a note adds half the value of the
+ • =J+:)=.
1+ 1/2 =1+ 1/2 = 1 1/2 counts
note.

112 WARM-UP - Band Arrangement

,
o o

113 SHORT CUT

••••• lur 19. mor gor aw ...
L UP ••• UF u.
hl i
..~.1' /100/ .9~1 LO Ell.j
Y •

f
clap 7
•

_ _ 7
.4 ,‹ 7 ,r7 .7
)( .7 O71 ,1 .71 .71 )( )( .7 )<, .. .7)( .71
Write in the counting for the top line before you play.

114 SPOT THE DOTS

•

1177-1 ILL: - 21
f
d'élP jlJ.JJjJJJjj JJJJ J-7- i 1
I> Feel the pulse oí 'bree eighth notes during each dotted quarter note.

115 ALI THROUGH THE NIGHT 11% \Nelsh Folk Song

u•
r P r .
a C

116 ALOUETTE French-Canadian Folk Song

Fine
•
r
9
• so• •

D.C. al Fine
>

19%
117 FOR FLUTES ONLY

J o
•
11, o

'1 I

- ,,tymIns~m
 27

118 JUST A LITTLE OFF THE TOP

rJ J o

175; J o 41._3

For higher notes, make your lip opening smaller and direct your air stream higher.

119 TOP DRAWER - Duet

A.
E> SI

B. 9

61M a
J J „ o

120 HOME ON THE RANGE Page 41 III, Daniel F. Kelley (1843 - 1905i

115
V r r
r
1
r 77
P_
"I• Ir

Circle the notes changed by the key signature.

121 THE CONQUER1NG HERO - Duet George Frideric Hanclel (1685 - 17591
A.
•I 9
•
O o CP
rr. o

J o o

;IC1;9>
122 GO FOR EXCELLENCE!

o•
Cff r p P•
rr
28

Andante - moderately slow

mezzoforte(V)- medium loud
TEMPOS Moderato - moderate speed DYNAMICS
Allegro quick and lively mezzo piano (gap)- medium soft

123 WARM-UP - Band Arrangement

Andante
div. sot, O

O 1.2 ti O

mf
124 HIGH WINDS AHEAD
Andante

b fw 11

r
o.
r
125 LOOK BEFORE YOU LEAP
Moderato
t, be.
f
di
r r rrr fl p
J•
126 E MAJOR SCALE SKILL
Allegro
J r r J J
1717 :1f
n„
Chords
Arpe ggio div.
ti 17 9
b 4.1
o o O

127 VARIATIONS ON A THEME BY MOZART Wolfgang Amadeus Mozart (1756 - 1791)

Moderato
Theme (main melodY) Variation 1 (time signature changes)

.
I
9 .11

r rr r r r r
mp
Variation 2 (rhythm changes)

r* o
r r r
Variation 3 (melody changes)

rr r rr 111
1 11
o P—•
o o

128 FOR FLUTES ONLY

Andante

rr ti

I> For h4gher notes, make your lip opening smaller and direct your air stream higher.
FI
 29

crescendo - Gradually play louder.

DYNAMICS
decrescendo - Gradually play softer.

129 SLIPPERY SLURS

Andante

o O •
11
130 WALTZ STREET
Moderato

mf

131 THEME FROM "SYMPHONY NO.9" tudwig van Beethoven ;1770 - 182

Moderato
176 • AF
rr r r Pr) mi"

000 o o• • •9 o•
• O

9.0 os• r•
Illf

132 READY OR NOT

o -o- -a — A
9 9 P
d.!

•oc.0 o 04

133 ACH! DU LIEBER AUGUSTINE Page 41 IHI Cerman Folk Sorq.1

Allegro

4 b ,
r. O O
1
O

Illf
ir •,

r
>-
r
9

r• r ,
r 1 ▪r r
134 GO FOR EXCELLENCE!
Moderato
o O m 0 0 0l o o
o 9 o

t tar..1
100/1 moolo sows

nzp mp
—
Play using each of the following articulations: A. •._• •• 8, •• •_. C.
30

BALANCE BUILDER
Tonic Subdominant Dorninant Tonic
1 6 1:2-
23
P:\ 4 -429- 5 9 7

TRUMPET VOLUNTARY
Band Arrangement

leremiah Clarke (1674? - 1707)

arr. Bruce Pearson (b. 1942)
Moderato ›-

e
17if
2

6r. rr

rrr
9

r 11 ,------- 12

4 17 • 18 19

• •

logio ~mut

inp

20
E
F
22 23 24

9tv F ej
o
/
FF FFF
... .....
25 unis. 129 i .
26 . 27 28 30 •
.

ei
hy P
ri ,
' 1 1 1

31 33
32 34$,

101
35 /---ity

r
36 div.
37 39

Illf
"r gr 7
.

Rip

41 t->
42 43 44 46

1V2 It
 31

TEMPO Ritardando(rüard. or rit.) - Gradually slos,y the tempo.

135 SAKURA - Duet lapane,,e Sor»;

Andante
A.
1, I rrr
mp
rrrr
r r r
B.
6
1, I
mp
íJ
e
r r r r rr

4 rrr r
mf _ mp mf

rl o
"14ii«

atf — mp ¡/1

(7\
t,rrr r r r Cf. <Oh

mp ni.

mp
r o o

Draw in a breath mark al the end oí each phrase.

American Folk Song

136 GRANDFATHER'S WHISKERS
Moderato
P

mf
I 1, II?.

c_ru 5
ley!

137 TVVINKILE VARIATION Wolfgang Amadeus Mozart 11756 - 791)

Theme

r r r r r
Cm-111)0,4..1
Variation your name

Compose a variation on "Twinkle, Twinkle, Latle Star."

IV! I I
32

138 PARTNER SONGS - Duet American Spirituals

Andante
Swing Low, Sweet Chariot"

r
9

o
mf
,"All Nrght, Day"
•j

o o
mf
II 2.
1247 o• E.
r'rrrij'»
9
o r •

ij

139 MANHATTAN BEACH MARCH Page 41 IIHI John Philip Sousa (1854- 1932)
Allegro
Introduction 9
Theme

•
íd

t,bb LJ• -L7 r

112.

Lir 1 o

140 DYNAMIC DECISION

Write in the following dynamics from softest to loudest: mezzofolie piano forte mezzo piano

softest loudest

141 FOR FLUTES ONLY

Moderato

rrr r r o •
r
mf

•
• ,141-.114.514.5.
-
•
 33

TEMPO Largo - slow

4i91190
142 "LARGO" FROM THE NEW WORLD SYMPHONY Antonin Dvoi•ák (1841 - 1904)
Largo
9 5

mp
r rrrp o

143 JUST FINE 2:7

Moderato
bgt •"
— • il *
• •

• •
• h•
• 1•

144 CHORALE - Duet Lowell Mason (1792- 1872)

Largo

4
A.
be
•
r rr r r rr r 9 •
r
tqf nzp nif
• cd- IV
-7 •

Inp — llzr mp mf -

-r r rr r rr r r rr r r rr
mp mf
r/ rr „ • r' r1
111
mp mf rit.

145 TEMPO TIME

Write in the following tempos írom slowest to fastest: Andante Allegro Moderato Largo

slowest fastest

146 GO FOR EXCELLENCE!

Allegro

Ir Ir5 J
'
I
filf 55
V512 11 L
34

147 RICOCHET ROCK Chuck Elledge (b. 1961)

Allegro
4
[4;a —

It71 fzr """r Li "r r7-tfr -2* rs rrLr-

cil1 1 J 1 ›il x x

148 LOCH LOMOND Scottish Folk Song

Moderato 9

4 be ci« r a

mp

r Le-
— mp

149 SHALOM,CHAVERIM Hebrew Folk Song

Andante
• • r r r
1. 2.

[le
1
I> Draw in a breath mark at the end of each phrase.

150 Composer
your name
9

rr
u
r crr' r o
1
• Compose an ending íor this melody. Title and play your composition.

~V.
151 FOR FLUTES ONLY
Moderato

1[7b(Irrrr

mf
rr 1
• move your lower iaw and lips t'on,vard for higher tones and backward for lower tones.
lV2 II L
 35

152 GRANDFATHER'S CLOCK Henry C. Work (1832 • 1884)

Moderato Fine
•
c_r
9
o
r
nlf
ti
o
ti 1
D.C. al Fine
a.
ti
Circle the note changed by the key signature.

153 KUM BA YAH African Foil< Song

Largo

nr r r r r rPri
o

ti ti ‘r-Tr r ti
1,6 r r r r o
r rr o

German Canon
154 GRANT US PEACE - Round
Andante
1.
o

171'b
ti C.r ti
inp

r ti
o •
rr mr ti
C.)•

155 GO FOR EXCELLENCE!

Moderato

4'
1 17 411 r r rr
ti
W2IFI

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,
36

MINUET
Solo with Piano Accompaniment
Johann Sebastian Bach
(1685 - 1750)
1 Moderato
1, 2 3 4

Flute

Moderato
4

o
inp
Piano

L
ti
• J •
o
2

4 rr 6

7r
9 9

r
2

34

9 o.
P
riLLr
11 13
1 14 15.

4 L SI
J
4 1 rrri 1 J • 1 J
1 1 1*

16
20

Lr cmf
2

1 1 J J

-r 1
•

3
o

01993, 2004 Neil A. Kjos Music Company. Pages 36 and 37 are authorized for duplication to meet specific requirements for festivals,
contests, and competitions. A photocopy may be &tribute(' to an accompanist. AH copies must be destroyed after the event.
W2114.

•
 37

I 21

22
• 23 24

mp
4

inp

25
26 27 L29
28

mf
I

30
31

4
I. 32
33
14,

5 4

.
•

tk té

r r LL2r,
35
37

-6 •
oo

2
• *-r r
W2111
38

ROCKIN' RONDEAU
Band Arrangement
Based on a theme by
Jean-Joseph Mouret (1682 - 1738)
arr. C:huck Elledge (b. 1961)

1 -3
Moderato
3

1.1
10
* 9

11

13
unis.
2 14
1:
-9 11>

5 -17
20 - 21 11111S.
18• 2 22
11,

nip
1231
25
•
Li
78 29

r
27 28

rit.
unis.
1 313 1 - Allegro 4 35 36
1.101S.
• O
k
34 • 1.
1
o • é

~Ps.

37 40 0ap ipO
0-
0

41
43 44 unis

8?7bur 42

rit.

W21 FI.
 39

1111* EXCELLERATORS-FoR FLUTES ONLY

o
TIE SLUR
A tie is a curved Une that connects two notes of the same A slur is a curved line that connects two or more notes of

pitch. Tied notes are played as one unbroken note. different pitches. Tongue only the first note of a slur.

4A

41
111

4B
O

11

r r id
o
r r
12B
a
1
íd íd
23A
bff'
rbr 17.
rr mrr rr
23B
•
rrrr
P

rr r
39A

r r- J rJr rrrr rr rrrr rr 9 u

r
39B

39C
írr-'r r P •u

4t)be rrr7 rrr • p

rrr rr W.2 I I'
¡lir> EXCELLERATORS- FOR FLUTES ONLY
58A

r r r '
r r
588
9

4'2 r rr rr
88A
•

rrrjr r pr

kk r ' 1

r r r

106A

r r f

4r r r r
1068

9
-r o
risir
sirld
c:Ce-w
° cJ
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111* EXCELLERATORS-FoR FLLJTES ONLY
120A
I • 111,

IR. O_ A_ ft AIL
o popo,

120B
e
e
IF o o

5
•
e

r r J 1

133A

133B
J J .) J J o'

139A
o e

ri
illteg~auir r; • rj a o
-

e Myr J

139B
I* •
42

SCALE STUDIES
B2 MAJOR SCALE Arpeggio
e a -di

9
.
1
e
9
r r
Thirds • •
i• AL 0- 41. fa
•
rr r
I 1
I

Eb MAJOR SCALE Arpeggio

r ,e .•
r
9 •

t <9.---1111

1 hirds

• 9- a •
e 12
• Ir e •rr •
e

E MAJOR SCALE Arpeggio

•
o
Iff • r 1
e• e e

F
Thirds
e 9 e

A7 MAJOR SCALE Arpeggio

• IP
P
e
e •r rv---
1

Thirds
e a rr r r,r rrr, rrr
4 ;'1,17 Jr

CHROMATIC SCALE b 43- 0-70- a

9t# —-- b9
(
bai • e r r '2• b

II I
 43

RHYTHM STU DIES

Or e

o 1 :11 .1JILJHJIJ,J:11
4
61 61 EJ J J -61
•,‘

6
JJJI I JJJ1 I JJJ1 1 JJ1 :1
vi 8
JffliJJIIHJIIIJJ11:1 I JwHwiJ1111 J1111
9 10
*o* •••: JJ; JJI
En
111J1111J1111J1 111 .11 J 1 JJ1 J 1 JJI J I JJ1 J 1 JJ:
uJ 14
ool •• • •ol o:
J1 1J J1. J1 I J1

16
J1 JH11 JI J1
EFI 18
I JJ1 1 IJJ1 { 1 JJ1 1 1 JJ1 .1 JJ1 J JJ1
19 20
JJ.j JJJ JJJ JJJ J61Jd JJ J!
W2 1 FI
44

RHYTHM STUDIES

24
1JJ .7)1JJJ.77:
26
••••J I
28
1.1-7JJJfJJ J J :f J.17J.77:
29 30
J :11 1J

1.7:J J Z1 .71 1 1.1:1 :

34
1 1 Z1 .7)1 : .17.77 1 f .77.7J 1
36
IJ":1 I J7JJJJ1 .
1~1
1 111~~1~1

1 101 111.041
,

38
.hJJ1J .hJJ 1JJJ•
39 40
J J) 1 J J. .1) J I J. .h .N1 J.

-~19111#1,11~51
RHYTHM STUDIES
2
4 E
16 1 I -1 - Hi-
E I 4
1J IJ1 :ti
6
J J ZIJ ZJ 1.17J ZJ1ZJ
8
1 1:1111-1:11 r:11 r:11 ::11•7::11
3
4
E
' H•
61 H• 9,JJJ1JJJIJJJIJJJ:1
11 4
JIJ J1.1 JiJJ:11 IJJ1J.11JJHJ:11
6
1JJIHJ I 1JJ I IJJ 1 :1 J11:11
E
11JJ11JJ11JJ11JJ:1
9 10
J7J 1J .7J J .71J J .71
1111
.7ñ1J.77.1-::11 J. .1) J J. J :{1
W2111_
GLOSSARY/INDEX
Accent (p i9)>
Accidentals (pp.6, 18, 2414, b.
Allegro(p28).
Andante (p.28} .
Arpeggio top 22.23, 28. 42) .
Articulation (pp 15. 19, 39)
Bach, lohann Sebastian (pp.36-37).
Bar Line (pp.4-61
Beethoven, Ludwig van (p.29)
Brahms, lohannes(p.15)
Breath Mark (p.7)9
Chord (pp.22-23, 28) .
Chromatic Scale(p42)
Clarke, jeremiah (p.30)
Common Time (p.9)e
Crescendo (p 29) -=
Da Capo al Fine (p.24) D.C. al Fine.
attack the note louder Measure (pp.4-6) space between two bar fines; also
sharp, fIat, or natural known as a "bar"
quick and lively Mezzo Forte (p.28) y medium loud
moderately slow Mezzo Piano(p.28)snis - • ..... .medium soft
notes of a chord played one at a time Moderato(p.28) moderate speed
type of attack used lo play a note or Mouret, Jean-foseph (p.38) French composer(1682-1738)
group oí notes Mozart, Wolfgang Amadeus(pp.15,
German composer (1685-1750) 28,31) Austrian composer(1756-1791)
divides the inusic staff into measures Natural (p.18)11 cancels a flat or sharp
German composer (1770-1827) Offenbach, Jacques (p.23) French composer(1819-1880)
German composer (1833-1897) One-Measure Repeat (p.19) . . .repeat the previous measure
take a breath Pearson, Bruce American composer/author (b. 1942)
two or more pilches sounded al the same Phrase (p.8) musical thought or sentence
time Piano(p.17) p soft
scale of hall steps Pick-Up Note(s)(p.15) note or notes that come before firS1
English composer(1674?.!707) fui' measure
same as t Pierpont, 1.5.(p.12) American composer(1822-1893)
gradually play louder Poulton, G.R. (p.23) American composer(d.1867)
go back to the beginning and play.until Repeat Sign (pp.9, 20) ,repeat from beginning or repeat sectíon

Decrescendo (p.29)
Diisi p 121
Dominan((poi?, 30)
Double Bar Ipp.4-6) ti
Dvoiák, Antonin(p33)
Dynamics IPA 7, 2129)
Elledge, Chuck (pp.12. 21. 34, 38).
Embouchure (p.3)
Fermata (p.9) \
1st and 2nd Endings(pp.19-20) .
—p.
Flat (pp.4-6)1,
Forte (p.17)f
Frost, Robert (p.18)
Grieg, Edvard (p. t 9)
Handel, George Frideric (p.27) . .
Harmony Ipp.7, 9-10, 12, 18, 21-23,
26-28, 30-33. 38)
Humperdinck, Engelbert (p 24)
Interval . .distance between two notes
Introduction (p.32).
Kelley, Daniel E.(p27) .
Key Signature lpp.11. 16. 23)
Largo (p.33) . slow
tedger Line (pp.4-6)
Leybourne, George (p.22)
2 slightly changed in some way from
Long Rest (p.21) 1 1
Mason, Lowell(p.33)
the Fine
gradually play softer
part of the section plays the top notes
and part of the section plays the
boltom notes
fifth note of a scale; chord built on fifth
note of a scale
marks the end of the music
Czech composer(1841-1904)
loudness or softness of music
. American composer (b. 1961)
mouth formation used to play an
inslrument
hold note or test longer ¿han its usual value
play lst ending first time through; then,
repeal music, skip first ending„ and play
2nd ending
lowers the pitch of a note 1/2 step
loud
American composer/author (b. 1942)
Norwegian composer(1843-1907,
German composer (1685-1759)
two or more different notes played or
sung al the same time
German composer(18544921)
section of music that precedes the
first theme
Amencan composer (1843-1905)
sharps or flais stated right atter the clef;
key signatures change certain notes
throughout a piece of music
short bes used lo extend the staff
English composer (1842-1884)
. rest the number of measures indicated
American composer(1792-1872)
:11- • of music between repeat signs
Ritardando (ritard. or rit.) (p31). gradually slow the tempo
Root, George F.(p16).
Rossini, Gioacchino (p.13)
Scale (pp.22-23, 28, 42)
Sharp (p. 24)#
Slur(pp.15, 39)
Soli(p.9)
Solo (p.9)
Sousa, John Philip (p.32)
Staff(po 4-6i — fines and spaces on which music is
Strauss, Johann Jr.(p.24)
Subdominant (pp.12, 30)
Susato, Tielman (p.25)
Tempo (pp.28, 31, 33)
Theme (pp.28, 31-32)
Tic(pp.10, 39)
Time Signature (pp.4-6, 9-10, 17)
Tonic (pp.12, 30)
Treble Clef (pp.4-6)
Tutti (p.9)
Unison (p.12)
Variation (pp.28, 31)
Work, Henry C.(p35)
American composer/publisher
(1820-1895)
Italian composer (1792-1868)
collection of pitches arranged from low-
est to highest or highest to lowest
raises the pitch of a note 1/2 step
curved fine that connects two or more
notes of different pilches
whole section plays
one person plays
American composer(1854-1932)
wrinen
Austrian composer (7825-1899)
iourth note of a scale; chord buili on
fourih note of a scale
Belgian composer(1500?-1561?)
speed of music
main musical idea in a piece of music
curved fine that connects two notes oí
the same pitch; lied notes are played
as one unbroken note
top number tells you number oí counts
in each measure; bottom number tells
you the type of note that receives
one count
first note of a scale; chord built on first
note of a scale
G Clef; read by flute, oboe. clarinets,
saxophones, trumpet, french horn &
mallet percussion
everyone plays
everyone plays same notes and rhythms
repeated musical idea which has been
the original
American composer (1832-1884)

W21FL
 se o

EXERCISE 7
ee
•5.11 S
— 5

EXERCISE 23 EXERCISE 41
ANDARD O
EXERCISE 55 EXERCISE 70 EXERCISE 84 EXERCISE 104 EXERCISE 122 EXERCISE 136 EXERCISE 146
111 notes U notes 1_1 notes il notes notes Li notes U notes El notes LI notes notes
E rhythm 0rhythm O rhythm U rhythm rhythm rhythm Li rhythm Li rhythm n rhythm II rhythm
E tone Il repeat LI repeat 11 hand position E dynamics [-] tone Li dynamics O slurs tonguing Li articulations

EXERCISE 12 EXERCISE 29 EXERCISE 43 EXERCISE 57 EXERCISE 73 EXERCISE 87 EXERCISE 106 EXERCISE 126 EXERCISE 139 EXERCISE 148
Li notes O notes CJ notes ii notes Ll notes Li notes notes Li notes Li notes LI notes
Li rhythm [1 rhythrn rhythm rhythm n rhythm L1 rhythm Li rhythm 0 rhythm Li rhythm Li rhythm
E tone '1 r. El hand position U slurs Ll dynamics 1 1 accents li hand position Li tempo 11 repeat Li"

EXERCISE 14 EXERCISE 31 EXERCISE 46 EXERCISE 61 EXERCISE 78 EXERCISE 91 EXERCISE 111 EXERCISE 128 EXERCISE 141 EXERCISE 151
0 notes Li notes [3 notes E notes Li notes Li notes 0notes U notes Li notes Li notes
Li rhythm Li rhythm [__] rhythm Li rhythm E rhythm 0rhythm n rbythm E rhythm Li rhythrn Li rhythm
n tone tone E tonguing Li slurs ii tonguing E hand position I dynamics U tempo Li tone articulations

EXERCISE 17 EXERCISE 35 EXERCISE 49 EXERCISE 63 EXERCISE 79 EXERCISE 95 EXERCISE 115 EXERCISE 131 EXERCISE 142 EXERCISE 153
Li notes notes Il notes 0 notes '_J notes L .1 notes Li notes Li notes El notes I1 notes
E rhythm Li rhythm E rhythni rhythm 1 1 rhythm E rhythm II rhythm Li rhythm 0rhythm _ rhythm
Li tonguing Li hand position E tone El tone ] hand position il slurs Li tone E dynamics Li tempo 1 breathing

EXERCISE 22 EXERCISE 39 EXERCISE 53 EXERCISE 67 EXERCISE 82 EXERCISE 98 EXERCISE 117 EXERCISE 134 EXERCISE 143 EXERCISE 155
o notes O notes 0 notes Li notes E notes [ 1 notes E notes E notes H notes Li notes

II rhythm Li rhythm Ill rhythm [1] rhythm Li rhythm E rhythm [i rhythrn Li rhythm U rhythm E rhythm
111 tone Li breathing Li tone Li hand posítion Li slurs O / 111 hand position Li articulations Li tempo 0dynamics
,
48

TH E FLUTE

FLUTE HISTORY
The early history of the flute is largely unknown, but most historians agree that it is one of the oldest musical
instruments and that it originated somewhere in Central Asia. Members of the early flute family were held
either forward or to the side. The first evidence ofa transverse flute(held to the side)is found in artwork dating
back to 200 B.C. The flute eventually found its way to Germany,where its use became common by the 12th
century. Its most popular usage during that time was for military music.

Flutes had only tone holes, without keys, until the late 1600's, when the Baroque flute was invented. It was
made of wood,and had seven tone holes and one key for the little finger. It was built in three sections instead
of one piece. This helped intonation because the space between the sections could be adjusted. With these
improvements, the flute became a regular member of the orchestra and rapidly increased in popularity.

In 1847,Theobald Boehm,a German flautist and goldsmith, completely redesigned the flute. The redesign
consisted of two main steps. First, each hole was placed so that each note would have the same tone quality.
Second,a key system was added. The Boehm system improved intonation, made the tone of the flute louder,
and made notes easier to play. The flute has remained basically unchanged to the present day.

Today,flutes are played in bands,orchestras,woodwind quintets,chamber ensembles,and jazz bands. Flutes

are usually made of silver or silver alloy, but can also be made of gold or even platinum. Other types offlutes
include the piccolo, alto flute, bass flute, and contrabass flute.

FLUTE SURVIVAL KIT

2 soft, clean cloths .11 key oil
pencil method book
band music music stand
FLUTE FINGERING CHART
O = open When more than one fingering is shown, the first is the most commonly
•= pressed down used. Additional fingerings, known as "alternate" fingerings, are used in
certain situations to allow for better technique.

cl DL' 13 E7 E F7

mi 17 cli>
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