sl ROE, VV @ Raw) yee Essential | Practice MaterialPratt asaeeeneeeeeeeeeaeew TREVOR WYE Complete Daily Exercises | fly the glimited jon WIV STZ,Contents Preface 4 SECTION |: TONE EXERCISES, WARM-UPS AND VOCALISE Extract from Daily Exercise No.2 (Reichert) 5 Extract from Violin Concerto (Brahms) 6 Extract from Il Fortuno di Destino (Verdi) 6 ‘Akatombo (Kosaku Yamada) 7 Extract from Daily Exercises No.5 (Reichert) 7 Extract from Flute Concerto (Reinecke) 8 Extract from Peer Gynt Suite (Grieg) 8 Extract from La Sensible (Royer) 9 ev omaune SECTION 2: SCALES AND SCALE EXERCISES Major Scales to top Bor D 12 Harmonic Minor Scales to top Bor D |3 Whole Tone Scales 4 Major Scales to top B or D in thirds 15 Minor Scales to top B or D in thirds 17 Broken Whole Tone Scales 19 Doily Exercises on Scales: Major Seale Exercise 20 Minor Scale Exercise 22 Major and Minor Scale Exercises 23 No.1 from Seven Daily Exercises (Reichert) 28 Cascading Major and Minor Seales 29 onan SECTION THREE: ARPEGGIOS ‘Arpeggios to top Band low C 33 Extended Arpeggios to top D and low B34 ‘Augmented Sth Arpeggios 35 35 1 2 3 4 5. Arpeggios of the 7th 6 Arpeggio Study 1 36 7 Arpeggio Study 2 38 8 Daily Exercise No.I (Maquarre) 40 9 Daily Exercise No.5 (Maquarre) 42 10 Broken Arpeggios 46 11 Broken 7th Arpeggios 47 12. Broken Augmented Sth Arpeggios 48 13 4 Is 16 7 18 9 20 Broken Diminished 7th Arpeggios 48 Broken Arpeggio Study 48 No.2 from Seven Daily Exercises (Reichert) 52 No.4 from Seven Daily Exercises (Reichert) 56 No from Seven Daily Exercises (Reichert) 58 No.7 from Seven Daily Exercises (Reichert) 62 No. from Twelve Studies (Boehm) 4 No.1 from Twelve Studies (Boehm) 65 be canoracennvnnannannancds 3 a —] 3 2 ob HEEB SECTION FOUR: CHROMATIC EXERCISES Chromatic Scale to top C or D 67 Broken Chromatic Seales 67 No. 6 from Seven Daily Exercises (Reichert) 68 Four Chromatic Sequences 70 First Chromatic Study 72 Second Chromatic Study 73 SECTION FIVE: THE THIRD OCTAVE Six exercises from D.S. Wood's Technical Exercises for Facilitating the Execution of the Upper Notes of the Flute Scales 74 Broken Scales | 78 Broken Scales 2 8! Thirds | 84 Thirds 2 87 Thirds 390 Chromatic 93 Final Study 94 SECTION SIX: DAILY E 1 Daily Exercise No.l (Wye) 96 2 Dally Exercise No.2 (Wye) 98 3 Dally Exercise No.3 (Wye) 100 4 Dally Exercise No.4 (Wye) 102 5 Twelve Studies No.2 (Boehm) 106 ‘ 7 8 9 ERCISES Twelve Studies No.3 (Boehm) 107 Twelve Studies No.4 (Boehm) ||0 ‘Twelve Studies No.9 (Boehm) 1|2 ‘Twelve Studies No.I2 (Boehm) 116 10 Twelve Studies No.I0 (Boehm) | 18 ight and Left Hand Co-ordination Exercise |21 12 Four Studies on Perpetuum Mobile |22 Practising 127 Exclusive dsbucrs: ‘Music Sls Linited, Newmarker Road, Bury Se Edmunds, Suffolk P33 3Y8, Order No. NOVI20850 ISBN 0.85360.935.7 (© Copyght 1999 Novel & Company Lied. ‘Maxie processed by Bares Engroving Cover desi by Chie Alexander No port ofthis pubiation may be copied or reproduced in any form ‘or by any mears witout the prior permission of Novela Publshing Limited,Preface I have often thought ‘If only there was a book containing all of the daily exercises!’ Well here it is. This book contains the traditional exercises which most flautists worldwide use in their daily workout. They were based on the five most popular ‘French School’ study books, though some of them have been modified in the light of present day practice and custom, but, for those who prefer it the original material is still covered, too. | have taken the liberty of extending the compass of some of the favourites to top D, or to low B, which is often now required, but allowing those with more traditional views to retain the old format if they wish. In order to save space, | have excluded the less important exercises, and added some new ones of my own ~ based on old ideas — which | find useful. I also wish to add that most of these exercises are fairly easy to memorise, a skill which is widely recognised as having great benefits for the future of any young player: Learning to memorise can be thought of as an investment, or ‘money in the bank’! Where appropriate, | have suggested ways of practising these exercises based on my experiences in teaching. Of course, there are as many ideas on practising as there are people playing the flute, but | hope you find these hints useful Finally, the Practice Card can be moved about the book and referred to for your daily practice scheme. It also provides a guide to different articulation patterns which can be used with most exercises. Trevor Wye TFHRMDRAMDOANDAHDAHAHAHHHDHodds ] ow Ww oo wo» w® w 3s 2 w w “4 SECTION 1 Tone Exercises, Warm-ups and ‘Vocalise’ Every player has,at some time or another, been captivated by the beauty of a ‘g00d melody, and used it to help them develop their tone. Moyse developed this idea further by compiling vocal melodies he heard at the Opéra Comique in Pars. ‘The first of these 'vocalise’ by Reichert has been a standard warm-up exercise since the days of Paul Taffanel and perhaps before him. Moyse used this sequence in his classes to help encourage and develop the imagination of his students, It remains my all-time favourite, especially when used with different colours.* Its ideal to begin the day with this simple sequential exercise to warm-up the lips, the breathing, and begin to add expression. 10s were suggested by enthusiastic students over the years. The iterpretation’ used to vocalise these melodies is personal, though | have made a suggestion as to how to start, but to gain the most benefit from them, a lot depends on the way they are played. Exercise No by Royer is useful for developing the strength of the lips and tone ‘when moving from octave to octave. ‘As always, these exercises are better committed to memory because of the freedom cof expression gained through dispensing with the process of reading the notes. Blank pages have been added for you to add your own melodies. ‘The full exercise can be found on page 52.As a tone exercise it should be practised in all bwenty-four keys, as each key has its own problems of tone, colour and intonation. Reichert Daily Exercise No2 atatract from Brahms Violin Concerta ——~~. ————_ — In each key, different notes will tend to crack when leaping from a low to a high note. Continue in the following keys: by ty Repeat pp each time. From Verdis'l Fortuno di Destino’ Slowly ny = —— See also NoS from ‘Seven Daily Exercises’ (Reichert) on the following page. 6 es LSet MOM MMH MOM OOOOH OMby Repeat p each time, “Akatombo! by Kosaku Yamada —a—:0dUhL”6) [Uh he oo 08 ww wow wow oo}. ——— ae a w a Continue in the following keys: ow w& a See page 56 for the complete exercise in 24 keys. Some days, startin one of the imiddle keys so that diferent problems are encountered and overcome. Repeat p each time Reichert Daily Exercise NoS pettheoy w w wow WwAndante cantabile a From Reinecke’ Fute Concerto ® e j mf ae f == Continue in the following keys: & | es This exercise is good for practising a soft, muted tone colour, and for breath control. Repeat p each time The Death of Ase vey From Grieg’s'Peer Gynt Suite™ ae mf = Continue in the following keys: €- < ‘i : “i €- 3bY a oF KO KHCRD HHH HKCHH EY > bb wb wb bw The Low Register This exercise can be practised with various nuances and is useful for learning 10 follow’ the notes with the embouchure, which helps achieve beauty and ‘evenness of tone when moving through large intervals. f his frst exercise 's awkward for you to read, then choose an easier key to start with Repeat mp, p and pp each time From Royer's'La Sensible’ F i :The Middle and High Registers ‘When moving between registers, how easy its to crack the notes! ‘Aim for clean and flexible intervals. Repeat p each time. | | | a rnnrDMOP OE OaagnannannanmnsLPPPRMRMRHEnannnnnnnnannnnnonm s |wit SECTION 2 Scales And Scale Exercises Why do we spend time on scales? ‘There are many reasons, but the one that hit me hardest was when some years ago, | spent a week at the British Museum Reading Room, for the purpose of listing all the music for one oF two flutes and continuo written before the year 1800. started on Monday afternoon and by Friday morning | had only reached the letter D or E and had already collected a huge list of sonatas and suites. Later, looking through the European Library Lists, | tried to calculate how many pieces world-wide may have been written for this combination. It might be more than 80,000, and ail were written using common scales and arpeggios. Ie follows that if we practise scales and arpeggios regularly, we are simultaneously learning a huge number of pieces. Scales and arpeggios must be a good investment! El Major Scales to top B or D ‘Omi the small bracketed notes throughout if you are unfamiliar with top D. cee EEee | ‘The cue size notes in each scale «an be omitted if preferred, ¢ faa 44443 ae * Practise playing top E without the D# key ~ it later. “** When slurring from top B to C, use the B fingering but remove the thumb. Db major mnmeeoaeeeenannmenreannnenenma®mbeEe_e_RURUGD "OOCOCTOGAHESC RHE SY FY B major Harmonic Minor Scales to top B or D Cminor eeett = as ester tet H _ pert sett é > a é pepazeeetieee =ee eee Paste sees E EEE ESESSete = Fi minor oF GE minor Aminor te € € € €& € € & & € & & Whole Tone Scales ‘These are used by many composers and most frequently in 20th century French orchestral repertoire.| El Major Scales to top B or D in thirds C major 1 EERE pe eter. te Cie & s==e: 4 vl ss = ae eeepetetetetee Ee fete Ji3233 eee = HOU KHEHKEHEKLKHKEKLUKUEKDT KEKE YLYHEHY®. aint F major EEfCErteter neon Littetrs Si SS sepstets eeebebetercreee Amajor bee RRRARAREBRR PRE NRRaA| Ebb KBB K EK KH KK OKT KT HE HET H Bb major i Minor Scales to top B or D in thirds C minor aS Se ets ° = paittetete tet a Efetete eftete se. — & SSS SS ee C# minor 8| ons | & minor 3 EEtEetetetiteaas pa e / = —= — pappoitic te tee sleet E a : suse aot oe - e e ftteteter ay ——— ftetetee : Hs OnMOORORORROAaQanNe| owe DOW OBE owe & & ww Ee terse sete esc eeeeeeeee be ww ww Gt minor = apeeeteEsPeteterereeeee ty ie im me ie 11 11 ly ims 118 1 i» ie 6 rn ® in » ia Bb fice caasiieteeeteee eRelecchEEseelteteter eens ne prteteseteset ts See B minor Pee i Ii wd Iris id rr Milly wepeeete ke Eee maporer cit ele ett cftE & SS ir pe 1 £ fie Pies = fe ae = == acote atte ose. ts forDaily exercises on scales Major Scale Exercise Refer to the Practice Card for articulation suggestions. Practise also in these forms: as ee eee ee = % Take care to use the D# key for E.Itis also a way to balance the flute when moving between octaves. 20 Meo eee eee e eee wee eedi wo w ere | ¢ ooo wo wD OOo OG wet t ae poet tt en pe steht eee ee, ——SSSS Se www w witetete HP to a on ete puteteie titee, ecete —S Se SS wow w& eettttes,oeet geprtitereartire pebas? DB Ba iter aEI Minor Scale Exercise Refer to the Practice Card for articulation suggestions. Repeat up an otve a Deas eecaceeeeseancnececaaasé be| a | | | 3 5 3 3 3 3 3 pte Pitre picts pes tne sipiebeler f i poet eee pet hte borat ene pett toe yoisipitee, per ttes, SaaS a fs £ tote titer ne pett ten tote titee, pettes 5 = : patete Fete Sie eee a == SS SSS SS SS SS a gotete tlt ton pottes pa elet ten er tices bee tte eetee % ee ie a 3 8 Bva rhatttes ontfte. tee. tetestteen erttons te OS oon a gece etree ete eerste peice cee ceeg = 3 ED Major and Minor Scale Exercises Bmaior Ee eet teens Eft pen G# minor Emijor Ch minor A major, ' cEseeensEtteee fees eettttree tt tne, ft 2 F# minor Some 0 seer? G major ,Efteee, Etteee, Etter. tte tonattt te, Eminor * Use tong’ Gt. * Use middle finger for F&evi wnh wy Owe| SECTION 3 Arpeggios El Arpeggios to top B and low C Refer to the Practice Card for variations of articulation. ‘When practising these arpeggios s useful to include the various alternative fingerings for ease and fluidity, and also because they are in tune! Examples are given throughout. In general, D major is more in tune using the middle finger, fatter fingering for FE. owwe HHH KEEH SH oewvewuewwe w® a 3 3 +" Top Bis more in tune (less sharp) without the Di key. SS? To gain familiarity with a useful fingering, practise the so-called Mignon fingering? for top Bb when yng pis sarp and wil require faterng, @ G19) 0).0 @ sq P Usethe'iong Abhere: o@ e)0 00) be Play E without the D# key to facilcate the leap 3B45 practise Yeaning’ on the tril key or Bb to gain speed 5 Use middle finger FB here to smooth the interval. Ei Extended Arpeggios to top D and low B Refer to the Practice Card for articulation suggestions. hewmeeeeaaneneerneeeeanaeedVbHooHHUHOHHKHTHECKCHKCHLCHCHD HTH HKHT HH KOO HO V +" Play E without the Df key to facilitate the leap. Middle finger FB. Augmented 5th Arpeggios Refer to the Practice Card for articulation suggestions. El Diminished 7th Arpeggios Cae eet ee i tee ne im T8 ) tt bate EE Pte pete E 35Eh Arpeggios of the 7th “The first bar is the orm’ of the exercise. Practise it with all the different accidentals. Gl Arpeggio Study 1 Refer to the Practice Card for articulation suggestions. a 36 PvOOR OHH AOA HonHHDDRHH9nHHHaADR,QDMRnOnmnnneaeane * e Pn ® © 2. oe Ff tt 7 mArpeggio Study 2 Refer to the Practice Card for articulation suggestions. 38 ee eeePeewee eeeeeeneeeeeee hE CGEBf Daily Exercise No.1 (Maquarre) Refer to the Practice Card for articulation suggestions. ee. 5 ==. Pee = TT TE rae 1h = ra ee etfs C minor ee ee Ab major 2, ~ ~ * ettte, ptt ee at! z F minor D- east other softest ffl eae pe ie ie Db major at. = tee a Ge nae Fa eral ee ee ahwepae rcpt | 40 pee eceenececanenunenanaanndbbb KHHHHHHHHH HHH DEHDEHTSH Gb major ee 2 a a Eb minor 4 ea rap tener ER gett Z SS ation : ee : gece ret cee ee E minor cg ee caf bic ae See ees coe we fee ten abtttenctitte,, .tEfettetea siete frets itr fie eee aeee EI Daily Exercise No.5 (Maquarre) Refer to the Practice Card for articulation suggestions. C major F major __— e sr fe Diminor bmw a pepe tee eee Peeper, » nie 1 ms fe..ef EES eo... . ,-_- ~~... «oe ea enEb major $ 8 a Tale t Ft» ef fb, minor @b’HUHKHKKHKHDHKHHHEDHLEDHDOADWH w Bb minor etetifins cefitice oeti esi Fee =] | boeoeaae BGb major 5 pep ete Ee tee» fle fe fle ————————— =| g be se & minor G# minor fe eft t ht opt PEPE oe — et pt wee fete petttte. ~efEeette : == Se eS SS SS E major C# minor Pee eC eo ee eee we we oa eee ew oo weDmajor ae pepftetlt tp cit t cE EE tte === SS SS = fs « Se Sj $ et epet U te = G major - . - eee a te ¢ » Gl Fie ete ele EL e eeEtie » settee Effin, = * £ £ : (Se —S SSS +jroken Arpeggios Broken Arpeggi * When moving from top Eb to Bb itis better to become familiar with a useful forte Bb. First play top Eb, then remove the 2nd finger of the left hand, and at the same time, lean’ on the first trill key without taking your finger off che’ key. and take your finger off the G# key. 4% c®9 @@eeeenaaun54uQganrenrenvnnnnaee‘bhOOHUHHWHHHHEHH HEHEHE HEHE HUULDEEUSD Hl Broken 7th Arpeggios See note on previous page about top Bb. Also use the middle finger Ft when moving to top B,and the long Ab fingering after Eb. Top Eis better in tune (fatter) without the Di key. # aesnte Erb teresiete 47Broken Augmented 5th Arpeggios pee ee es ——_ peers ee SEES 4 = ip pre tetebCPEEEPEE thet ate eff cei tbsflere: — i Broken Arpeggio Study Refer to the Practice Card for articulation suggestions. ee eg TPODRDRDHPHRHRARHR OHHH OHO KR HHHAAR,DMR MOHanoannnnnnmnnmnnnnnannneam ® ftPpeesesercereeneveeeeeeee st * 50‘UDOT H HOH HOHOHOH HK HHH HOH HKDUDULULROGEHSD omf 1B No.2 from Seven Daily Exercises (Reichert) This Reichert study is a fine tone exercise when played slowly. Iwas a favourite of Marcel Moyse (see page 5 in the TONE section). It can be practised in these two ways as well: = = - Fine Repeat ve PRnnonnnagn gD | 2ooe erPrePneen ®@ 9m ae> e > QOHRPRHRMRHOOMOOOHOnnnnnnnmn”® 53rie boeHebtCHeKCEHKHHKEHKEKECHKHHHeHeHKHHKHOH HHH # / { / idl { I sulQPOMnnmnnannmnananmnanm om » 55IZ No.4 from Seven Daily Exercises (Reichert) This is another which is both fascinating and beneficial to use as an expressive tone exercise or warm-up. lt can also be played lke this: Stony SS SF == = =. “i li f Nk i IL Refer to the Practice Card for articulation suggestions. 56 crrnr nga ORneeeaoenvreanepnavaoHgeagse |’ VbOFOHKHHKKCKewHK owe wHHKenUTeaeD 7No.5 from Seven Daily Exercises (Reichert) This too, can be altered rhythmically and turned into a fine study for expression, intonation or triple tonguing, as well as flexibility. Here are some suggestions: Tr rT VR eoOwPeeneonaRanvnnnannnnne1/4 ail fe a) 4 Hy iy i Ti i a a ic id i ‘ | & QHHRKPRKRTAARARARHRHRAERHRRHRHRARHRHRTARE G.r@ObEeEHHKHTKCKTCKCGOCHKHEKEKCHKHHHKHKHHKHHKHEH HDHD BAN [ i / /46 Pnmmnmeemnemem*m*namnm® is{B No.7 from Seven Daily Exercises (Reichert) ‘This exercise may also be practised with single tonguing throughout. 2g eG % Repeat ve Repeat ve a i rr rn en vneanrnanannesvsaenenrannnnangneL =e =t adver = aE gearrrsies tet = = fom Wea veee = eat == vere Pee Parasrre! = * P= de t OMPPMPnnnnnmrnrnnnnnnannnnnem a” é iH DG.ol Fine 63D No.1 from Twelve Studies (Boehm) This study can be practised legato, and with single and triple tonguing, 2 cy Tn O7r @MMeeeonoenene#n#nnnnnnnoeagg®? aneH] No.11 from Twelve Studies (Boehm) This may be practised in the following five ways: cercercerrer frrcercercer cer cer coy cer BM ty FF Sree sees Pa gee Lp as eet VooveHoooHKHHeoHTKCHGHEHHEHDHHOHKHHUECKETSDODEHrebose Fbb’CCGKGKCCEKCGCCSbRECGCCBKRE HE HESeee eb we wwe wD He who HHH > 0 SECTION 4 Chromatic Exercises El Chromatic Scale to top C or D Refer to the Practice Card for articulation suggestions. 1 Broken Chromatic Scales baie ete piries fete ie abe eietete siete te EE ie EREE elete * reticteratinattette tere babes tebete pte pate, ==No.6 from Seven Daily Exercises (Reichert) Refer to the Practice Card for articulation suggestions, rpc ete cy ®eererrenrnerenrannrnnnann or Tnnenee D69 DHRMMRHRHRHHHHHOOHHDHOHHMHHHOH,Four Chromatic Sequences ‘Also practise withthe following articulations: Refer to the Practice Card for articulation suggestions. * Omit bracketed notes if your compass is to top B. 70 npmopaqg PP nne gerRmwaeagn®m s a a .‘Ub bUOHOUOHOKOHOOCHCGHKCHCHCHHH HHH HEHE SOi First Chromatic Study To practise the 3rd octave, play 7—12 an octave higher, and follow with 1-5 two octaves higher Refer to the Practice Card for articulation suggestions. 1 ‘Trevor Wye repeat nam 9 repeat TPR ePeRTRennnenone repeat repeat J en ai Second Chromatic Study ‘To practise the 3rd octave, repeat from No.12 in reverse order ‘one octave higher (12, 11,10, 9,8, et.) Refer to the Practice Card for articulation suggestions. pict fhe rhe roges ton ft € aveee pee ———e 4 2 Ss 3 3 8, peat ba ob, ‘repeat x3. ba repeat ooead ww 6 repeat 3 wo w w 7 repeat 3 9 repeat ow ww w& ‘a pSae: SSUES ae repeat 3 2 repeat x3 13 s 3 3 9 3 repeat 3 BSECTION 5. The Third Octave Six Daily Exercises to top B, C or D after D.S. Wood: ‘Studies For Facilitating The Execution Of The Upper Notes On The Flute Beginning with the first study. play through it to the highest point that you reasonably can,and then try to add a higher note every week or so. ‘When Exercise 1 has been worked at for some time, it is better to add the second study to it. This will lead to increased efficiency in the first exercise. oo oO It is important to iron out any technical problems in the lower two octaves before venturing into the third octave, and the practise of pages 20-23 is advised. p Refer to the Practice Card for articulation suggestions. Scales major PPR Reoannnannaoen one Dp 74bos UHHH HHH EHB HH HEHLDLYUEODGD) ‘ E major ee eee sn E minor a a ee Reino PR major a Ce G major minor +" Eis flatter without the Df key. 1s4 A minor eetiteenestttte, _ SS SSS 268 Free. B major a gis eftthtteecettteeneet ttre epcbiberers PEE es B minor Se a ee pfeteceteerstiterncttitee peetlt ee ace tibiae (ip spe bee See eee See CH major et =~. aes SE eh cepeEteeecetiterecetitee eretbeecectEFere fo rr a er a ct etre £ z D major = = ef +" Eis fatter without the DP key. © Why not alternate beeween the 2nd and 3rd fingers for F#? 76 onan Pnnmnneoeonomg® gQanneane onan nOboe’ BC BEKO HOHE HHHO HCH HHH HHHKHHY £ ee ey cEEECEReeREEEEPEBroken Scales 1 C major 556 ep eae I eee minor nog g ® Ct major pm C# minor D major D minor 9 pte te 2 4 re = aes r Eb major Eb minor tat major Pe E minor i F major . (2) F minor 2 : etoPbbef tee = * Don't be tempted to use any but the normal fingering! oeeeeeee#eee#e#enpgsew#ePnee® n 78oovodwu ( oveeoevuesebe oosoonesseesdu & ” Bb minor yo) B major B minor (3) + Aleernate between the 2nd and 3rd finger for Fi in each repeat.C minor e (3) Gre ace Rese cee C# minor bi fiat — 1m me D minor minor E major F major me TH. * Use usual B fingering, and remove the thumb for an easier, flatter C. This is also useful ina fast chromatic scale to top C. 80 | nT TR ePereeervrnneoaenoangaenmnnmnag gd ” 9ob bvovvevoooOeovnbDKeC KL HECK HHH HOELCOKOUORES EI Broken Scales 2 C major minor C4 major . —EGRERPaPi gn _ppaspeure, cpaesesee C# minor D major D minor & o Eb major * Eb minor E major E minor F minor e * Although dificult, it is more beneficial as an exercise, to use the 1st finger for Af or Bb in the first ewo octaves throughout. 8Ft minor B minor 03) * Alternate in each bar with 2nd and 3rd finger for FB. 82 noon” m oO € poo ® 7Pneqee® @ @ om @‘KbOboboeobooeooOoO aD HE HH HHDHHHDRDHUBEOHOODHD C major eo Efee £ me rire ere te oS] = = C minor P ef oe goeeblt EFEEEREge Se = ‘C8 major (< + 3) £ : ny 7% gi Pte Sifetetetees £ Eb major pees ee eee eee dihee — E major * Alternate in each bar between the normal Ab and the ‘ong’ fingering. (see p.33) 8Thirds 1 nor a ee D major D minor & major &b minor E major E minor F major F minor major nomoommeoe gn gm Oo ® o oo” 7 @ ® ® @ @ @ o nVbeoKeKoKeKSHeHe Ho HHH HHKHHHHOHEHKHHHDH FE minor G major G minor ‘Ab major ) Aminor 03) Bb major 63) Bb minor 63) B minor 03)minor (3) (CH major 3) 63) C# minor Eb major ea) Eb minor 2) E minor F major Fminor gg » nn nnomnom mM o °?@P @ @ @ ® ”o@® @ o ”Oboe KRHKFEKHH HHH HH HHH HH HOHOHEESHD Bi Thirds 2 ‘The repetition of pairs of notes can lead us unthinkingly into bad habits: be sure that fingers arent left down when they should be off. The differences in tone may not be so noticeable now but it will lead to further problems later. C major a re ee ee C minor ee C# major ee eee C4 minor eee D major D minor & major minor E major E minor F major F minor ee fe : 2 oe _ 2 SS SS r a7 |FE major (3) FE minor G major G minor tay epfeftetetee d’. Bb major B major (a) pa) aPpERE EERE REY « POD DDDORHRAMRATDHHHOHDOHO MO HOADTOSS HKOH HH HHH KH HHH HHH HKEDBHHDH C major C minor Cé minor D minor a Eb major Eb minor E minor Fminor ig 89© Thirds 3 C major C minor C4 major C# minor D major D minor i i SS. os ee a o GEE fA Eb major Eb minor eatet te, Emajor Eminor a Gee eee F major F minor prey aftetetter, Z a2 90 Pn PT Vn ogn7ne#enenertenoee#se#nmsnennanown@e ®Ob HEHEHE HE HC HK KEKE HDHEHEKEBY ) FE minor G major G minor 2 gezeetet ene fetie, ‘Ab major é : ecfetsteetes fee Ab minor Amajor jie i petetelteter fe Aminor peetecebietee feat Bb major Bb minor 2 £e ee ae seat! cEEeterees £ $e fe C# minor Dimajor Eb major Eb minor Eminor 5 ep F minor £ Lrvnvnnonnvnngenervrewenennnnnnneameg g) 3 3 9 3 9 = = s s s 3 = 2 3 2 3 3 2 3 = 3 2 Hd Chromatic ee a ft Ct major SS ee Ce HAMDHDDADAADMAMHM®MAOMAM®®AOMOHE & H W,GSeoOovuvooeveKegKeKbeEegODKaHE EHH HO H BYn® ® ae Se, esos ecrrrei ear 3 ; mS Efleeee £2 prigtes peteee ee ngce SS ; = TPTMHMDHMMRHMHA MD ® RenanEl No.12 from Twelve Studies (Boehm) This may be practised in two ways: Cher cher - Cher ones 116 TDR OPDDROHHRODRDODDODDOMMAD SD , ” LoomLN MOOMHRHHHMHMHHHRHMHOHREHHMe MS{D)_No.10 from Twelve Studies (Boehm) gm This may be practised in two ways: fret € é © = € é « = * = ® € © € ® z = = nm 11819 ee ee eeeeUeouvueevwveuoeeeP eee od © OY l 120Right and Left Hand Co-ordination Exercise ‘Also practise in these keys: $e Se © and with the following articulation: poceanta tte CPP « Ch « and, when able an octave higher: reptteptece Pree * Dont forget the correct use of the Di key:it also helps the balance of the ute. a - VUbKSbSOSKS SHH KH HHH HEHE BKK YW OYY 124Four Studies on Perpetuum Mobile (Trevor Wye) (Original Solo Allegro ~ Ero feoN fo £ f te bal >= pS SSS = Soe Practice in the following ways: ney pe ot pet eee epee £ ‘Study No.1 aN aS Hes fe fpf bet = fon fe Nite Zs oaeoa@qgeaaee8eeekssea a os hamDue ececacannaansananaeenhsStudy No.2 Practise also in the following ways: So fae 2 cee Hig t root gle re ate Sie pee oe 124 on Dee e eee ee nn eee ee 8s en an a eeStudy No3 Practise also in the following ways: » Goer » doer o cher » tie bey, ‘s&h, Lier eS | 'r | Study Not Se a a . ~ ¢ bef be b, a je ep 4 + te Se i = beat 126 anononnnnnnnnannemnnnrnnnmnnman OM, |eeU bd TOPS Ter rvs Vee ey uw Practising Here are some suggestions for varying the Reichert Exercise No2 and the major and minor scale exercise p.52, and the scale exercises on p23, wo ofthe easiest exercises to memorise. 127