Standard of Excellence Comprehensive Band Method Book 1 Flute

PREHENSIV

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Practice Journal Week

BOOK

1

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Standard of Excellence Comprehensive Band Method By Bruce Pearson rrrr

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the counting and clap the rhythm before you play.

^^

a HOT CROSS BUNS t^ clap

u

^—H—^—

¥:

¥:

K

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¥:

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English Folk

Ul f-H Ul f-H

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t

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DOWN

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mark

a breath

^r

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^^

^

ffrr

^" i

^

^r^

i

BY THE STATION

¥:

-o-

Traditional

r^rYrnY^

rr^r^

¥:

French Folk Song

end of each phrase.

at the

Song

-o-

P

AU CLAIRE DE LA LUNE

Draw

-^

rrrr

i

r^

l

y

rr rrr^ r^

r ^

^fMTff y

^

i

i

g EASY STREET E flat (El,)

El,

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k sx

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h

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r r

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f r r r

l

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English Folk

Hb^

IT

^

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r r

^

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TOGETHER

1©

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F

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m

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Song

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FOR FLUTES ONLY I W21FL

I'p

i'r

^

|

^

m P n

(P

f^r-

*'

^^

^

-o-

REPEAT SIGN

COMMON TIME

FERMATA

U Hold the note or Repeat from the beginning.

Common the

same

time

means

as \ time.

rest its

longer than

usual value.

SOLO

10

IE

TIE

A tie

£5

TIME SIGNATURE

m

= 2 counts in each measure = quarter note gets one count

a curved line that connects two notes pitch. Tied notes are played as one same of the is

unbroken note.

^

a WARM-UP G

o • ••looo^

Q

r

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rf

1

f

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II

11

Key signatures change

KEY SIGNATURE

certain notes throughout

a piece of music. This key signature all

i

B's as

B

flats

and

all

E's

as E

means

play

flats.

I

MARK TIME

M For lower notes,

r\ \ff?

make your

lip

jj|i>ppp jj|i>i>pp Ji^p^piii>pp

^

r\

opening

larger

and

-o-

i^f^r F

direct your air stream lower.

SWEETLY SINGS THE DONKEY - Round

^^r^rr 1.

a MARY

,2.

,

i

lS>

(S>-

r

r

-^

\tr^

i

r-}

^

^m

the note

names before you

m^ n CRUSADER'S

in

^

r-i

r^

I

^

rJ

Song

Indies Folk

Tutti

m^

zz

Tutti zz:

m m

t9

(5^

t^UT^ ^

play.

MARCH

m

^

p^

^^

Page 39

Traditional

m m

s

?

s

the counting and clap the rhythm before you play.

Em BALANCE THE Draw one note

J^

511

I

?

Solo/Soli

Write

-**-

West

s in

mm

ANN

Solo/Soli

Write

Traditional

GO

or

one

SCALES

rest to

balance each scale.

J

o \\

J

FOR EXCELLENCE!

i

r

i

r'

i

"r W21FL

12

and bottom notes.

^^^^ °^ ^^^ section plays the top notes

DIVISI

part of the section plays the

UNISON

div.

unis.

rq»

Everyone plays the same notes.

BALANCE BUILDER 2r\

^^ $

4

3

Tonic

Dominant

Subdominant

Tonic

/O

5

7^

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rsi -o-

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JINGLE BELLS S.

J.

Band Arrangement

arr.

^^

m

zzm.

t

%

^

%

t

t

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^

f

10

11

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I

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i

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1961)

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19

f

f

f

f

1

r

div.

12

^

15

18

1

^u'^

(b.

^

^^

unis.

^

14

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wm

13

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f

div.

V

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div.

m

Pierpont (1822 -1893)

Chuck

16

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13

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EIGHTH NOTES

^

r

Two

r

eighth notes are as long

as a quarter note.

|u

j~}

r

p

p

Each eighth note gets

1/2

count

in

n=j

Li

u*

p

f

and

\ time.

1/2

+ V2 =

1

count

WARM-UP

I^

r\

i

221

-o-

r\

^

XE

-^

?

^

JH EIGHTH NOTE ENCOUNTER

i 7\\ Write

in

J

J

i

J

\

the counting for the top line before

ALONG

JIM

i'''i

you

J

J

J

J

[

J

J

J

J

play.

American Folk Song

JOSIE

jr

f

I"

J

J

\

I

f

p^p^

LI

r

IB EIGHTH NOTE EXPLORER i clap

i Write

Jin

J in

J

T

r SH

J

J

J

:l

.1

J

I

J

J

J

J

J

J

the counting for the top line before you play.

GO TELL

P

J

GO

[J

r

r

r

Gioacchino Rossini (1792

BILL

l;

r

^

^

t*=i=t

[j T '

^

m

r

m f

r

r

-

1868)

^^ u

FOR EXCELLENCE!

4^^-prr [f rrrnJr^r'rrrHrrrcr rrfHrr i

i

[rr W21FL

14

D EIGHTH NOTE EXPRESS

###

#

f

#

|

#

##

J

J

f

f\ Write

I

.1

J

J

:l

J

J

J

^

l;

^

^

X

K^

K-

the counting for the top line before you play.

in

SKIP

LOU

IT,

Tutti

Solo/Soli ^

i

r

American Folk Song

Tutti

Solo/Soli

i

[jr

r

I

[_r^

f

^

I

^r

f

r

EIGHTH NOTE EXPERT #

4i''^r

^

m

=jg

r

clap -^<

Write

in

><

¥^

^

^<

X

^

^<

X

><

^

¥r-

K

the counting for the top line before you play.

MEXICAN MOUNTAIN SONG

Mexican Folk Song

I^^^P^ a BAFFLING BAR

m Write

in

^

LINES

M

^ the counting and

draw

in

FOR FLUTES ONLY

lb'4

^

-

r

—

P

^

^^

^

^

r

?

the bar lines before you play.

—

'"

^^—-— =^—

^

f

^

p

^

—

15

&

SLUR A

curved

line that

A

connects two or more

*P

NOTE

PICK-UP

note that comes before the

#

r^ -

F

first full

measure of a piece of music.

notes of different pitches.

WARM-UP

^ i

r

Tongue only the

first

note of each

r r

I

^

ERIE

r

r

I

r

I

r

f^^

^

-*-

slur.

THEME FROM "SYMPHONY NO.

n^ t

r

I

r\

1"

Johannes Brahms (1833

^si i^

m

CANAL CAPERS

^^^ f

f

m \}

-

1897)

P

\

\i

American Work Song

Page40

m

4^^

i

^^

r

cjr^r

r •

r

'

LT [-r

r

i

r

LAUGHING SONG Round

"^

Traditional

-

1.

,

r

r

T

|

2.

^

[JLJ

STAR SEARCH

rSTtl

*

i

Wolfgang Amadeus Mozart

&

si

in

the missing notes for "Twinkle, Twinkle,

GO

756

-

1

79

s

Little

Star" before

you

play.

FOR EXCELLENCE!

iz r

r

1

^ 0-

Draw

(

[jr rr

r

i

r

r

LOJ

'

i

i

Lrrrr

r

s

Ff=^-^^^^ W21FI

16

^

KEY SIGNATURE

This key signature

and

all

A's as

means

play

all

B's as

B

flats, all E's

as E

flats,

A flats.

aa CLIMBING STAIRS A flat

(A

• • ft|o o o^

y

Ab

m^

b)

i^

gZZJ

p

r

r

fei

T

r

i

r

r

1&-

^

^

BINGO

P

American Folk Song i:s

¥

r^^

$

w^^

i# # ^

m

Si THERE'S MUSIC

* S^

*

IN

m

0-

MT

•

^

r,r, r

'\^

^

George

^

i'

F.

^

Root (1820

^

0-

«

1895)

-

^

THERE'S THE SAME MUSIC IN THE AIR

^

F

\

THE AIR

ji

rrr

i

George

F.

Root (1820

-

1895)

m.

P

Circle the notes

ra SCALE

changed by the key

signature.

SKILL

f"""rrrr rf i

' i

M" i

I

r r

i

rr rrrr i

i

r

f

FOR FLUTES ONLY

Q c;r W21FL

tQj:ji;r

17

DOTTED HALF NOTE A

dot after

TIME SIGNATURE

18

A

NATURAL

It

natural sign cancels a

remains

in

flat

or a sharp.

effect for the entire measure.

WARM-UP |:

A flat

Ab

(A b)

5 IE • ••llooo^

OLD BLUE Solo/Soli lo/Soli

1

LT

r

''^

r

I

s^

J^

^s_^ r

r

I

i

t

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l;

r

i

^

i

/ Solo/Soli

^

4

s—H_^

u\r'^

r

g THIRD TIME

I

\i

r

AROUND

^^m Circle the notes

i,^.

J

r

I

cj

'^

i

t

I

i

^

^ _

"^

signature.

m

M0 -U*i

r

Traditional

.-^

A. '>

s 't

^

^^

;iJ

LULLABY -Duet ,

s

—

Tutti

M [J

9

A^

J

changed by the key

T

Traditional

i

^^ p

B.

^

s

?

^

SP ^

^

^ ^

M y~y

?

i»

MINUTEMAN MARCH

l'''"^r

Li

r

Robert Frost

i

r

V

r

p

u

i

^m

u

A

Al]

^^^

f

FOR FLUTES ONLY

s 11

- ^

/ W21FL

If

^

ir

.

»

1942)

^ akr» played niavpri also

a SI

r

(b.

XE

^^

3X

19

ACCENT 1.

1st

and 2nd

ENDINGS

ONE-MEASURE REPEAT SIGN

||2.

20

SAWMILL CREEK Accompaniment

Solo with Piano

Bruce Pearson

^

Flute

^

^^

^

Piano

'"

'

7

3

2

1

w^

Go

^^ ^ f^

nl

i

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/?

r=?=^

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back

to the

f

first

^ ^3 n?

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1942]

ft'MlTlulMftN

P 4

(b.

repeat sign.

3

I

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t

f "CT

2.

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9

0.

#

# # O

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10

•

l

#

/ IT

a ^Ti

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f

m

w

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^^ 20

a

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21

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W21FL

I

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23

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f

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19

18

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^^

t

t

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lOM.

15

^^

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r

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fl

a

12

r

16

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^^ ^^ ^^ ^^3 25

> >

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#-

M

i I

>

1

21

LONG

REST

number

Rest the

12

Count:

2

4

3

2

4

3

of measures

indicated.

MONTEGO BAY Band Arrangement 1

n

-4 div.

^q^

^m '

f

a 17

^ ^^

di\.

10

-

i9-

7

^

s=t

2

s

t

>

mm

m p p

/

23

a^ ^

i^

29 30

\>\

r

31

^

^

16

div.

time

2nd time

-J -

yO

28 1.

unis.

g^^

26

rJ « I /3

div.

22

»=» 1st

m

e=t

15_

21

20 mils

div.

unis.

div.

'9

8

18 19

Elledge

unis.

13-14

' 11

Calypso Song (b. 1961)

Chuck

arr.

^ ^

'33^>

32

i

>34>

>>> m

REGAL MARCH Band Arrangement 1

E>

-2

i l>

i.

i

/

a

Bruce Pearson

10

L£urr rrL::; i

i

P

p

r

1942) 1961)

12

^

13

14

div.

15

¥^

^^

19

%

V,

s^

17

16

18

f

21 unis.

>

20

g^

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m

^ /

m^m m m

22

>

>

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>

> >

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24>.

^

div.

25

a

m m m

26

27

28

/ Arpeggio

i

#

IH THE

r

i

SKILL

f r

rT

r

Page 40

^^

MAN ON THE

i

mrTrr

f

A

^

9

fei

m p^

»

i

f

t&^

Chords

rs

div.

«

^

^

George Leybourne (1842

FLYING TRAPEZE

i

Song

mill

#

rr

f'ir

I

Italian Folk

^^m back to the

gQ

first

1884)

s

wm Go

-

repeat sign.

Composer your J

^"i

f

[JU

I

Using the given rhythms, draw

in

ni

J

i

r

' i

r;:rr

notes to complete the melody.

Title

i

n

cj

and play your composition.

31 FOR FLUTES ONLY

t^=^ nnii W21FL

iriii

Ps

J.

name

23

KEY SIGNATURE

This key signature

means

play

all

B's as

B

flats.

LOOK SHARP

P^ A

E

XE

AURA

mm

E

LEE

G.

^^

m —

i^

^

Poulton

(d.

1867)

M

i

BARCAROLLE

Jacques Offenbach (1819-1 880)

rr '^

R.

m

r^

»

I

zz

i

^

^

2.

JUST BY ACCIDENT b^^ij

f

P=DM

'r

'ir

^H

fepdz

/ ffil

F

MAJOR SCALE

'I'M

'

^

SKILL

If

r

/

^

P¥

^

Arpeggio

P^

^ P

I^

"^' SAILOR'S

:^

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Chords div.

f^

s

^

SONG Tutti

Solo/Soli

^te m $

1.

n

d ^ T^^

^

^

i

I

[

/"jn

i

J

,

II

2.

- ^ >

/

s

? W21FL

24

DA CAPO AL FINE (D. C AL FINE) Go

back

to the beginning

and play

until

the Fine.

25

la THAT'S A WRAP

^

e^ /

POLLY WOLLY DOODLE M

^^ ffil

^M

f^

/

clap

——

-^

r

r

n

X

?<

K-

^

><

00

^

—

^

1~T

rr

M-

stomp

foot

fu

American Folk Song

S

0t

)(

X

n

X:

"

r

^m

'r

JSl

" r

mJ

?

^^ ¥i

n—

¥^^K

¥-

n

—K—

M

fi

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^ ni

>*

rr IBJ

VOLGA BOAT SONG

4 Cr

r

r

1

/

^

Russian Folk Song

^ ^ a KOOKABURRA

-

^

^#-f

Round

Australian Folk 2.

1

—

^m ^^1

f

rrrr

^

r

GO

Song

FOR EXCELLENCE!

"Ronde'

^

f

Tielman Susato

1»

'

r r r r

i

r

r

r

i

r

r

1—

^

( 1

500? -1561?)

-#-A

^^ W21FL

26

SINGLE

EIGHTH NOTE

DOMED QUARTER NOTE

A single

p

;>

eighth note

is

half as long as a quarter note.

j>-=

1/2

count

27

JUST A LITTLE OFF THE TOP

a

|^^

J J

i

cjrj [JL/ L;[j ^=— i

B.

•*

^ J_«l

i

i

r '"P

C. J J^J J

W21FL

30

BALANCE BUILDER Tonic

^^

^

Subdominant

^

2

3

i

^ -^

Dominant

^

4 -O-

6

Tonic 7

'

^

TRUMPET VOLUNTARY Band Arrangement

, ^

^^

p.-

^-

3

P--

2

?

4

3

'

^

^

e_

9

-16

I

.

^

6

^^ ^.

12

'»

P^#^

div.

18

17 !>

H

/

S 13

>

>

>

Moderate

Jeremiah Clarke (1 674? - 1 707) arr. Bruce Pearson (b. 1942)

i

>

^ ^^

19

S

\

/W/?

^

20

#

V i ^

^

f

\,

22

«

^^J

.

J^

24

f 25

Ia

27

I

^^

29

28

*'

P

i

r

^^ /WjO

^

31

J

26«.

I ^\\ 36

33

35

3

s^^^

^

37

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i

38

g

r^

42

/ W21FL

r

^

;i

/»/

41

r>

unis.

div.

34 '

r /

g

43

t

44

39

^

unis.

4Q

?^=f mp 45 ii.

n\ 46

XE

31

TEMPO

Ritardando

(ritard. or rit.)

SAKURA-Duet

Gradually slow the tempo.

Japanese Folk Song

Andante

^

-

A.

m

i

0t

M^^

i

mp

^

f

~7^

:zz

^ mp

M=^^

i^=^

^

%

zz

^ mf-

////?

^^

^

^

P

^

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n\

e

^

-o-

mp

:x:

IZl

-zi

%

-^

n/.

^

-»-

-o-

^

p

rit.

Draw

in

a breath

mark

at the

end of each phrase.

u GRANDFATHER'S WHISKERS

American Folk Song

Moderate

m

Si mf

^m Im ^

m m

i^

^

#

•

^

mf

a variation

I

;

r;

i

1.

m

m

'\

u[s

r

;

r^

i

i

Il2.

.

' \

is

i i\^

^

r

^

11

I

Wolfgang Amadeus Mozart

r

r

I

f

r

(1

756

-

1

791

r

Composer your

Variation

Compose

s

Hey!

TWINKLE VARIATION Theme

0-0-

-0—0-

on "Twinkle, Twinkle,

name

Little Star."

W21FL

^

mf

All Night, All

Day"

r

^ ^ ^ ^ ir^

rr

m m m

4

"""

^

ui= s mf

r

P

r-

r

rrrrrfr

r

/>

S

^

m

«.

i

MANHATTAN BEACH MARCH

Page 41

Allegro

^

m

m

^

E

/

aP

^

Philip

Sousa

(1

854

-

1

932)

^

Theme

Introduction

*->

John

lllll^

;>

g

^

2.

a '^yj Write

in

?

i

#

f

DYNAMIC DECISION the following dynamics from softest to loudest:

mezzo forte

piano

mezzo piano

forte

softest

loudest

aj FOR FLUTES ONLY Moderate

q^N# mf W21FL

#

^

-&^

O

P

^

^^ Largo

H

rpr

'

pir

Pr

-o-

rrrp

i

"'f

mp JUST FINE Moderate

^

e

^u^f\

r \

"-

t

^U"

^ i^

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r-

mf

TWJO div.

23

24-.

a

l^=t

26

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22

25

fc=i

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27

29^-

28

IS

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30

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s

Allegro

—

div.

.

36

34

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a

S

u

39

38-

40

i /

div.

41

a

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f f

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Accidentals (pp.6,

1

24) J, \>,\.

8,

.

.

sharp,

.

Measure

space between two bar

(pp.4-6)

known

or natural

flat,

Allegro (p.28)

quick and

Andante

moderately slow

Mezzo Piano

Arpeggio (pp.22-23, 28, 42)

notes of a chord played one at a time

Moderate

Articulation (pp.15, 19, 39)

type of attack used to play a note or

Mouret, jean-Joseph (p.38)

(p.28)

lively

Mezzo

group of notes Bach, johann Sebastian (pp.36-3 7)

Bar Line (pp.4-6)

German composer

.

.

(/

685-/ 750J

medium

(p.28) OT/>

French composer f/682-/ 738)

Amadeus

(pp.15,

composer

Austrian

28,31) Natural

soft

moderate speed

(p.28)

Mozart, Wolfgang

divides the music staff into measures

-,

medium loud

^f

Forte (p.28)

(p.l 8)

lines; also

as a "bar"

cancels a

t]

flat

(/

756-/ 79/)

or sharp

Beethoven, Ludwig van (p.29)

German composer fl770-/827j

Offenbach,jacques (p.23)

Brahms, Johannes

German composer f/833-/897j

One-Measure Repeat

take a breath

Pearson, Bruce

American composer/author

Phrase

musical thought or sentence

Breath

Mark

(p.l 5)

9

(p.7)

Chord (pp.22-23, 28)

two or more pitches sounded

Chromatic Scale

scale of half steps

at the

same

time (p.42)

Clarke, Jeremiah (p.30)

English

Common

same

Time (p.9)C

~==z

Crescendo (p.29)

Da Capo

al

.

the (p.29)

==-

as ^

and play

until

Double Bar

(pp.4-6)

==

Dvorak, Antonin (p.33

Dynamics Elledge,

(pp.1

Chuck

Embouchure

7,

1st

.

.

note of a scale; chord

built

on

fifth

Frost,

.

.

American composer

.

(5.

mouth formation used

^T\

play 1st ending

.

.

American composer/publisher

Italian

(p.l 3)

(p.

i

an

collection of pitches arranged from low

Sharp

raises the pitch of a

(p.

24) I 5,

curved

39)

first

Harmony(pp.7, 9-10,12,

its

usual value

one person plays American composer (7854-7932)

Staff (pp.4-6)

ending, and play

(b.

J942J

685-/ 75 9j

and spaces on which music

lines

:

Strauss,

Johann

Jr.

Austrian

(p.24)

sung

at the

same time

Interval

distance

Introduction (p.32)

(/

Susato, Tielman (p.25)

Belgian

Tempo

(pp.28, 31, 33)

speed of music

Theme

(pp.28, 31-32)

curved

as

Time Signature

(pp.4-6, 9-10, 17).

.

in

Key Signature (pp.11,

sharps or

16, 23)

flats

in

500?- 756/

J")

a piece of music

pitch; tied notes are played

one unbroken note tells

you number of counts

each measure; bottom number

you the type of note

tell

that receives

one count Tonic (pp.12, 30)

American composer (/843-/905J

same

(7

connects two notes of

line that

.top number

between two notes

Kelley, Daniel E. (p.2 7)

composer

main musical idea

Tie (pp.10, 39)

854-/ 927 j

theme

on

fourth note of a scale

section of music that precedes the first

composer (7825-7899)

fourth note of a scale; chord built

(pp.12, 30)

different notes played or

German composer

(p.24)

is

written

the

two or more

step

Sousa, John Philip (p.32)

18, 21-23,

26-28, 30-33, 38)

Humperdinck, Engelbert

(/

^fl

Solo (p.9)

Subdominant

German composer

note

connects two or more

line that

whole section plays

time through; then,

first

Norwegian composer f/843-/907j

9)

composer (7792-/868)

Scale (pp.22-23, 28, 42)

Soli (p.9)

loud

Handel, George Frideric(p.2 7)

signs

tempo

notes of different pitches

to play

American composer/author

(p.l 8)

between repeat

gradually slow the

lowers the pitch of a note V2 step

7)/

Grieg, Edvard

of music

(p.31).

F. (p.l 6)

Gioacchino

Slur (pp.1

1961)

hold note or rest longer than (pp. 19-20)

[,

Robert

.repeat from beginning or repeat sectioi

.

loudness or softness of music

28-29)

first

est to highest or highest to lowest

2nd ending

Forte (p.l

.

''

(ritard. or rit.)

George

before

[mo-ims)

marks the end of the music

repeat music, skip

Flat (pp.4-6)

Root,

Rossini,

Czech composer f/84M904j

(p.3)

(p.9)

.11

note of a scale .

)

(pp.12, 21, 34, 38)

and 2nd Endings

11.

part of the section plays the

instrument

Fermata

Repeat Sign (pp.9, 20)

Ritardando

come

measure

American composer (7822-/893J American composer fd./867j

"

bottom notes fifth

note or notes that

Poulton, G.R. (p.23)

to the beginning

7942)

(fa.

soft

Pierpont,J.S.(p.l2)

part of the section plays the top notes

(pp.12, 30)

7)^

Fine

and

Dominant

(p.l

full

gradually play softer

Divisi(p.l2)

(p.8)

repeat the previous measure

composer (/674?-7707j

go back

.

'/'....

Pick-UpNote(s)(p.15)

gradually play louder

Fine (p.24) D.C. al Fine

Decrescendo

Piano

French composer (78/9-/880)

(p.l 9)

first

=

stated right after the clef;

key signatures change certain notes

note of a scale; chord

built

on

first

note of a scale

G

Clef;

read by

flute,

oboe,

clarinets,

saxophones, trumpet, french horn &

throughout a piece of music mallet percussion

Largo (p.33)

slow

Ledger Line (pp.4-6)

short lines used to extend the staff

Leybourne, George (p.22)

English

composer (/842-/884J

Tutti (p.9)

everyone plays

Unison

everyone plays same notes and rhythm;

(p.l 2)

Variation (pp.28, 31)

repeated musical idea which has been

2 slightly

Long Rest

(p.2i;

.

rest the

number

of

changed

in

some way from

measures indicated the original

Mason, Lowell

W21FL

(p.33)

American composer f/792-/872j

Work, Henry C.

(p.35)

American composer (7832-7884)

47

t

48

The Flute

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Flute History The

early history of the flute

instruments and that

it

is

unknown, but most historians agree

largely

originated

somewhere

in

Central Asia.

Members

that

it is

one of the

oldest musical

of the early flute family

found

were held

The first evidence of a transverse flute (held to the side) its way to Germany, where its use became common by the 1 2th most popular usage during that time was for military music.

either forward or to the side.

is

in

artwork dating

back to 200 B.C. The flute eventually found century.

Its

Flutes had only tone holes, without keys, until the late 1 600'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

improvements, the In

1

flute

became

847, Theobald Boehm, a

consisted of two main steps.

a regular

German First,

flautist and goldsmith, completely redesigned the flute. The redesign each hole was placed so that each note would have the same tone quality.

Second, a key system was added. The

and made notes easier to

between the sections could be adjusted. With these member of the orchestra and rapidly increased in popularity.

play.

The

Boehm system improved intonation, made the tone of the flute louder,

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

include the piccolo, alto

flute,

bass

flute,

Flute Survival Kit

n D n

2

soft,

dean

pencil

band music

]W21FL

cloths

n D D

key

oil

method book music stand

and contrabass

flute.

platinum. Other types of flutes

Flute Fingering O = open • = pressed down

Chart

When more

than

one

fingering

used. Additional fingerings,

is

shown, the

known

first is

certain situations to allow for better technique.

I#=

the

most commonly

as "alternate" fingerings, are used

in

Bruce Pearson's

SmNDARD OF

EXCELLENCE

Comprehensive Band Method

^

for

The complete curriculum the instruction of beginning and intermediate band students Comprehensive Band Method

Award

Pins

&

"

Medals

Accompaniment Recordings Music Theory

&

History

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