Complete Daily Exercises
September 12, 2022 | Author: Anonymous | Category: N/A
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Contents Preface
4
SECTION I: TONE EXERCISES, WARM-UPS AND VOCALISE | 2 3 4
5 6 7 8
Extract from Daily Exercise No.2 (Reichert) 5 Extract fromn Violin Concerto (Brahms) 6 Extract from Il Fortuno di Destino (Verdi) 6 Akatombo
Extract Extract Extract Extract
(Kosaku
from from from from
Yamada)
7
Daly Exercises No.5 (Reichert) Flute Concerto (Reinecke) 8 Peer Gynt Suite (Grieg) 8 La Sensible (Royer) 9
7
SECTION 2: SCALES AND SCALE EXERCISES I Major Sc Scales to to top B or D 12 2 3
Harmonic Minor Scales to top B or D Whole Tone Scales |4
13
4
Major Scales to top B or D in thirds
15
5
Minor Scales to top B or D in thirds
17
6 7 8
Broken Whole Tone Scales Dail Daily y Exer Exerci cise ses s on Sc Scal ales es:: Major Scale Exercise 20 Minor Scale Exercise 22
9
Major and Minor Scale Exercises
10
IT
19
23
No.I from Seven Daily Exercises (Reichert) Cascading Major and Minor Scales 29
28
SECT SE CTIO ION N THRE THREE: E: ARPE ARPEGG GGIO IOS S I
2
Arpeggios to top B and low C 33 Extended Arpeggios to top D and low B
3
Augmented
5th
Arpeggios
35
4
Diminished
7th
Arpeggios
35
5
Arpeggios
6
Arpeggio
Study
I
36
7
Arpeggio
Study 2
38
of the 7th
34
36
8 9 10
Daily Exercise No.I (Maquarre) Daily Exercise No.5 (Maquarre) Broken Arpeggios 46
40 42
I|
Broken 7 th th Arpeggios 47
12 13 14
Broken Augmented Sth Arpeggios Broken Diminished 7th Arpeggios Broken Arpeggio Study 48
15 16 17
No.2 from Seven Daily Exercises (Reichert) No.4 from Seven Daily Exercises (Reichert) No.5 from Seven Daily Exercises (Reichert)
52 56 58
18
No.7 from Seven Daily Exercises (Reichert)
62
20
No.II from Twelve Studies (Boehm)
48 48
19 No.l rom Twelve St Studies (Boehm) 64
65
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S E C T IO N F O UR UR : C H R O MA MAT IC E X E R C I S E S I 2
3
4 5 6
C h r o m a tic S c a le to t o p C o r D B r o k e n C h r o m a tic S c a le s 6 7
67
No.6 No.6 fro rom m S eve evenn Da DaililyyE xxee rrci cise sess(R (Ree iich chee rrt) t) 6 8 F o u r C h r o m a t ic S e q u e n c e s 7 0 F ir s t C h r o m a t ic S t u d y 7 2 S e c o n d C h r o m a tic S tu d y 7 3
S E C T I O N F IV E : T H E T H IR IR D O CT C TA V E S ix ix e xxee rc rc is is es es f rroo m D ..S S . W o od od 's 's Te ch ch ni nic al al E x e rrcc is is es es fo r F aacc ililita titin g th e E xe xe ccuu ttiio n o f th e U pppp er er N ootte s o f th e F lluu ttee I Scales 74 2 B ro k e n S c a le s 78 3
B ro ke n
4
T h i rd s
|
84
5
T h ir d s 2
87
6
T h ird s
90
7
C h r o m a t ic F in a l S t u d y
8
S c a le s 2
3
81
93
94
S E C T IO N S IX : D A I LY E X E R C IS E S I 2 3 4 5 6 7
D a ily E x e rc is e D a il y E x e r c is e D a i ly E x e r c is e D a il y E x e r c is e Tw e l v e S t u d i e s Tw e l v e S t u d i e s Tw e l v e S t u d i e s
N o .I N o .2 N o .3 N o .4 N o .2 N o .3 N o .4
(W ye ) 9 6 (W ye ) 9 8 (W ye ) 100 (W ye ) 1 02 (B o e h m ) 106 107 (B o e h m ) (B o e h m ) T 1 0
8 9 10
Tw e l v e S t u d i e s N o . 9 ( B o e h m ) I 1 2 Tw e lv e S tu d ie s N o .I2 ( B o e h m ) Il6 Tw e lv e S t u d ie s N o .I 0 (B o e h m ) I18
12
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Preface I h a ve ve o f t e n t h o ug ug ht ht f o n llyy th er er e w as as a b o ok ok c o n t a iinn in g a llll o f t h e d aaiily e xxee rrcc is e s ' W el ell h e rree it is . T h is b o o k c o n ta in s t h e t r a d it io n a l e x e r c is e s w h ic h m o s t fl a u t is ts w o r ld w id e u s e in t h e ir d a i ly w o rk o u t. T h e y w e r e b a s e d o n t h e fi v e m ooss t p o p u l a r 'F re n c h S c h o o l' s tu d y b o o k s , th o u g h s o m e o f t h e m h a v e b e e n m oodd fi e d in th e lig h t o f p r e s e n t d a y p r a c tic e a n d c u s t o m , b u t , fo r t h o s e w hhoo p r e f e r it t h e o ririg in in al al m at ate rriia l is s titill c ov ov er ere d, d, to oo.. I h a v e ta k e n th e lib e r ty o f e x te n d in g th e c o m p a s s o f s o m e o f t h e fa v o u r ite s to to p D , o r t o lo w B ,
w hi hic h is o ftft e n n o w r e q u iirr e d , b u t a llo w iinn g t h o se se w iitt h m or ore tr a d it io n a l v ie w s to re ttaa in in t h e o ld fo rrm m at at if th e y w i s h . I n o r d e r t o s a v e s p a c e , I h a v e e x c l u d e d t h e le s s im p o r t a n t e x e r c is e s , a n d a d d e d s o m e n e w o n e s o f m y o w n – b a s e d o n o l d id e a s - w h ic h I fi n d u s e f u l . I a ls o w i s h t o a d d t h a t m o s t o f t h e s e e x e r c is e s a r e fa ir ly e a s y to m em em oorr is e , a s k ill w hhiic h is w iidd e ly r e c o g n is e d a s h a v in g g r e a t b e n e fi ts fo r
th e fu tu r e o f a n y y o u n g p la y e r.r. L e a r n in g to m em em or or is e c aann b e th o u g h t o f a s a n i n v e s tm tm en en t, o r 'm on on eeyy i n th e b a n k ' W hhee r e a p p r o p r ia t e , I h a v e s u g g e s t e d w a y s o f p r a c t is i n g th e s e e x e r c is e s b a s e d o n m y e x p e r i e n c e s in t e a c h i n g . O f c o u r s e , th e r e a r e a s m a n y id e a s o n p r a c ti s i n g a s t h e r e a r e p e o p le p la y i n g t h e fl u t e , b u t I
h o pe pe y o u fi n d t h e s e h i n ts u s eeffu l . F in a lly, th e P r a c tic e C a rd c a n b e m o v e d a b o u t th e b o o k a n d re fe rr e d to fo r y o u r d a il y p ra c ti c e s c h e m e . I t a ls o p r o v i d e s a g u i d e t o d if f e r e n t a r t i c u l a t io n p a t t e r n s w h i c h c a n b e u s e d w i t h m o s t exercises.
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S E C T IO N
1
Tone Exerci Exercises,Wa ses,Warr m-ups andVocal andVocaliise' Eve Eve ry ry p llaa yyee r h aass , a t s oome me ti m mee o r a nnoo tthh eerr, b eeee n c aapp ttii vvaa ttee d b y th e b eeaa uutty o f a goodd melody goo melody,and ,and use usedd it to hel helpp th them em dev devel elop op thei theirr tone.Moy tone.Moysedeve sedevelo lopedthi pedthiss I d eeaa f u rrtth eerr b y c om om pi pilin g v oc oc aall m eell o di die s h e h ea ea rd rd a t th e O ppéé ra ra C oom m iiqq uuee in P aarr is is .
T he he fi rrss t o f t hhee se se 'v 'voo ccaa lilis e' e' b y R e ic ic hhee rtrt h aass b eeee n a s ta ta nndd aarr d w a rrm m -u -u p e xxee rc rc iiss e s in in ce ce th e d ay ay s o f P au au l Ta ffffa nnee l a nndd p eerr h aapp s b eeffo re re h im im . M ooyy ssee u se se d th iiss
sequence sequen ce in hi hiss clas classe sess to hel helpp encou encoura rage ge an andd dev devel elop op th thee imagi imaginat natio ionn of his his st stude udent nts. s. It re remai mains ns my al alll-titime me favou favouri rite te,es ,espec pecia iallllywhen ywhen used used with with di diff ffer erent ent colour colours. s. It is ideal ideal to beg begin in the the day with with thissimpl thissimplesequ esequent entia iale lexer xerci cise se to warm-u war m-upp th thee lips, lips, th thee breat breathi hing,an ng,andd begin begin to addexpress addexpressio ion. n. The ot other her exerc exercis ises es wer weree sugges suggeste tedd by ent enthus husia iast sticstud icstudent entss ov over er th thee years years.The .The expres exp ressi sion' on' or 'int 'interp erpret retat atio ion' n' use usedd to voc vocal alis isee thesemelodi thesemelodies es ispersona ispersonal,t l,thou hough gh T h a v e m aadd e a s u g g e s tio n a s to h o w to s ta r t, b u t t o g a in th e m ooss t b e n e fi t f r o m
th eem m , a l o t d eepp eenn ddss o n t h e w aayy t h eeyy a re re p la l a yyee dd..
Ex Exee rc rc is is e No. No. 8 b y Ro yyee r i s u ssee ffuu l fo r d eevv eell op op iinn g t he he s trtr eenn ggtt h o f t hhee lip s a nndd t on on e when mov when movin ingg fr from om oc octa tavv e tooc tav tave. e. As a llwa wayy s, s, t hhee ssee e xxee rrcc iiss eess a rree b eett ttee r c oommi mmitt ttee d t o me mo mo ry ry b eecc aauu ssee o f t he he f re re eedd oom m of exp expre ressi ssion on gai gained ned th thro rough ugh di dispe spensi nsingwith ngwith th thee pr proce ocess ss of readi reading ng the the not notes. es. Bl Blaa nnkk p aagg eess h aavv e b eeee n a dddd eedd fo r y oouu t o a dddd y oouu r o wn me lloo ddii es es . 1
T he he fu llll e xe xe rrcc is is e c an an b e fo un un d o n p aagg e 5 2 . A s a to ne ne e xe xe rc rc is is e it s h ou ou lldd b e p ra ra ccttis eedd in a llll tw e nt nty -f-f oouu r k ey ey s, s, a s e ac ac h k ey ey h as as its o w n p ro ro bl bl em em s o f to ne ne , c ol olo uurr a nndd in to to nnaa titio nn.. * Reichert Reic hert Daily Daily Exer Exercise cise No.2
lowly
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T hi his e xxee rc rc iiss e m ay ay a llss o b e p ra ra ct ct is ed ed in t h e f o llllo wi win g w ay ay :
* S eeee P rraa ct ctic e B oooo k O nnee T ON ON E E,, P a ge ge 2 44-- To nnee C oollo uurr
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2
E xt xtrr act act f ro ro m B ra ra hm hm s V iioo lliin C o nce ncerr to to Slowly
In e a c h k e y, d iffe r e n t n o te s w ill te n d to c r a c k w h e n le a p in g fr o m a lo w to a h ig h n o te . C oonn titin uuee in th e f o llllo wi win g k e ys ys :
3
Repeat p e ac ac h tim e. e. Slowly
F rroo m Ve rrdd i'i's ' ll F oorr t u no no d i D eess ttiin o' o'
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S e e p a g e 5 6 fo r th e c o m pl ple t e e x e r c is e in 2 4 k e y s . S o m e d a y s , s t a r t in o n e o f t h e m iidd dl dle k eeyy s s o th at at d iifffe rree nntt p rroo bbll e ms ms a rree e nncc oouu nntt e rree d a nndd o ve ve rrcc om om ee.. Repeat e ac ac h ti m e
R ei eicc her hertt D ai aill y E xer xercc is is e N o. o.55
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Th The e Lo Low w Re Regi gist ster er This This exer exerci cise se can can be prac practi tise sed d with with vari variou ous s nuan nuance ces s an and d is usef useful ul fo forr le lear arni ning ng
to 'f 'fol ollo low' w' th the e note notes s wi with th th the e em embo bouc uchu hure re,, wh whic ich h he help lpsachi sachiev eve e be beaut auty y and and even evenne ness ss of tone tone when when mo movi ving ng th thro roug ugh h la large rge in inte terv rval als. s. If th this is fir first st ex exer erci cise se is awk wkwa ward rd fo forr you to read read,the ,then n ch cho oose ose ane aneas asiier key to star startt wi with th..
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SECTION 2
Scales And Scale Exercises Why do we spend time on scales?
There here are ma man ny re reas aso ons, but the the one one tha that hit hit me hard harde est was when when som some yea yearsag rsago o, I spent a week at the British Museum Reading Room, for the purpose of list istin ing g all the
mu musi sic c for for one one or tw two o flutes utes and and co cont ntin inuo uo wr writ itte ten n befo beforre the the year ear 1800 1800.I .I star starte ted d on Monday afternoon and by Friday morning I had only reached the letter D or E and had
alre alread ady y co coll llec ecte ted d a huge huge li list st of so sona nata tas s an and d suit suites es.. La Late terr, look lookin ing g th thro roug ugh h the the Euro Europe pean an Libr Librar ary y List Lists, s, I tr trie ied d to ca calc lcul ulat ate e how how ma many ny pi piec eces es wo worl rldd-wi wide de ma may y have have been been wr writ itte ten n
fo forr this this co comb mbin inat atio ion. n. It migh mightt be more more than than 80,0 80,000 00,an ,and d al alll were were writ writte ten n us usin ing g co comm mmon on
sca scales les and arp arpeg eggio gios. s.
It fo follllow ows s that that if we pr prac acti tise se sc scal ales es and and ar arpe pegg ggio ios s re regu gula larl rly y, we ar are e si simu mult ltan aneo eous usly ly lear learni ning nga a huge huge numb number er of piec pieces es.Sc .Scal ales es and and arpe arpegg ggio ios s must must be a good good in inve vest stme ment nt
The cue size notes in each scale can be omitted if preferred.
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*Practise 'leaning' on the tri trill key for Bb to gain speed. Use middle finger F# here to smooth the interval.
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A minor
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B b m aj ajo r
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11 Br Brok oken en 7th 7th Ar Arpeg peggi gios os S ee ee n ootte o n p rree vi vio u s p ag ag e a bo bo ut ut to p B b. b. A ls ls o u se se th e m id id dl dle fi nngg eerr F # w hhee n m ov ov in g to to p B , an an d th e lo ng ng A b fi ng ng er er in g a ftfte rE r E b. b. To p E is b eettt e r in tu nnee ( fl at atte r)r) w itith ou ou t t h e D # k eeyy.
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T h is R ei eic h e rt s t u d y is a fi n e to n e e x e rc is e w he he n p la y e d s lo w ly ly.
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Slowly etc
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17 No.5 No.5 fr from om Seve Seven n Dail Daily y Exe Exercis rcises es (R (Re eiche ichert rt)) Th This is too too, can be al alte tere red d rhy rhythm thmic ical ally ly and turn turned ed in into to a fine fine stu tudy dy for for expr expres ess sion ion, in into tona nati tion on or trip triple le to tong ngui uing ng,, as we wellll as flexi flexibi bilility ty.. He Here re are are some some sugg sugges esti tion ons: s: Slowly p
Slowly eto
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S E C T IO N
4
F C hrom hromati aticcxerci xercises ses 1 Chroma Chromatt icScal Scaleto eto top Cor D
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4 Fo Four urCh Chro roma mati tic c Sequences Sequences
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5 Fir First stChromatic C hromaticStudy
To p ra ra ct ctis e th e 3 rrdd o ct ct a ve ve , p llaa y 7 -1 -1 2 a n o ct ct a ve ve h iigg he he r,r,
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Tr Trevo evorr Wye r ep epeat eat : x3
repeat repeat x3
repeat
repeat x3
rep repeat eat x3
repeat repeat x3
repeat: x3
repeat repeat x3
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10
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11
r ep ep ea ea t x 3
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6 SecondChromatic SecondChromaticStudy Study
To p ra ra ct cti se se th e 3 rd rd o ct cta ve ve , re ppee a t from rom N o .1 .1 2 i n rev rev ers ersee o rd rd er er one octave octave hi highe gherr (12, (12, 11, 10, 10,9, 9,8, 8, et etc. c.). ). Refer Refer to th thee Pra Pract ctic icee Car Cardd fo forr ar artiticul culat atio ionn sugges suggestitions ons.. rep repeat eat x3
re ppee a t x 3
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re repp ea ea t x3
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hi h ir d Octav Octavee y E xxee rc rc is is es es ttoo to p B , C o r D a ftfte r D ..S S .W .W oooo d: d:
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R e fe fe r t o th e P ra ra cctt ic ic e C a rd rd fo r a rtrtic ul ula titio n s ug ug ge ge st stio ns ns .
1 Scal Scales C m aj a jo r
C m in o r
C # m aajjo r
C # m in in or or
D m aj ajo r
D m in in o r
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E major
E
minor
F
major
minor
,
F# majo majorr
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G major
+
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A m in in oorr
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B
minor
C m aj a jo r
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D
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2 Br Brok oken enSc Scal ales es1 1 C major
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F# ma majo jorr (K3)
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major
(x3)
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(x3)
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D major
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(K3)
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E major
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minor
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(x3)
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3 Brok Broken enSc Scal ales es2 2 C maj ajo or
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F major
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No.10 No. 10 f r om Twel welve ve Stud Studiies (Boe (Boehm) hm) h a s m ay ay b e p ra c tis e d in tw o w ay ay s :
a ll 6 ld in 2 s
21/04/1s
a nd nd s in in gl gl e t on on gu gu ed ed :
be
tiniriirizi
be
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