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Altes

Method for the Boehm Flute, Part 2



Lesson V

LOWER NOTES

To produce the lower notes, the lips of the pupil should be presseu together, and held more loosely than for the middle. notes. To produce the u'pper notes, the lips should be pressed

together even more firmly than for the middle notes. --

Allegro (J :: 126)

N91

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N92

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THEME

Allegro (J = 126)

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N~ S MELODIC EXERCISE

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VARIATION I

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VARIATION II Un poco meno vivo .,

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' ~ - Allegro (J - 132)

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N95

SCALE , .+--fL
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I. - ---. Allegro (J 132)

NQ7 MELODIC EXERCISE

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5

Lesson VI

EQUALITY OF TONE AND PERFECT INTONATION

I have already remarked that the two octaves beginning from lowe to c

~ -~'"

Ex. : : : II 0 II I

are fingered identically. If the strength of "the air-stream of the breath were the same for both octaves, the tonal fullness of the second octave would suffer. The tone would be a hybrid mixture of both octaves, or would be thin in comparison with that of the first octave alone. Intonation would not be perfect, but would tend to be somewhat flattened. In order to secure full tonal volume and the exact pitch the instrument is capable of, the tones of the second octave must be stronger than those of the first; yet without any hint of stronger accentuation.

Bule._ The air-stream for the second octave must possess a greater degree of velocity than that needed to produce the lower notes, so that both octaves, whose fingerings are indentically the same, may have

, .... ao 0 ~o"" #_.o:!!:

Ex. II

the homogeneity that ensures equality and perfect intonation. The student must see to it that this increase of velocity does not constitute a nuance, but only contributes to equality of tone. W

I cannot too strongly recommend the teacher to insist on the scrupulous observation of this rule, whose importance it is needless to insist upon.

OCTAVES

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(1) To attain the desired result without exertion, it must not be forgotten that the lips should be pressed together rnor : fir mlv for the medium register than for the lower.

6

Andantino (J. : 69)

N<? Ii !

MELODIC

EXERCISE

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I'" I Dots above or below notes indicate that the notes are to bertetached, in a manner more short and abrupt than hitherto observed.

A curved line placed above or below a number of notes,

called a slur, indicates that all the notes included within it are to be connected; in other words, played with but one articulation.

Detach ed and Tied Notes

Allegretto (J : 8~)

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.., 1 ----- ----- Sixteenth Notes Allegretto (J = ss)

~ r=:

N?7 MELODIC EXERCISE

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------- 10

Lesson vn

Three-Eighth Time Allegretto (J. = 66 )

N~ 1

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Allegretto (J . = 66 )

N93 !

MELODIC

EXERCISE

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Allegro(J = 126)

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~ TRIPLETS

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- AlIegro(J - 138) TRIPLETS

N<?6 MELODIC EXERCISE

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~ .. - - 1 - 4 If the student is to derive any benefit from the lessons which follow, these "even preliminary lessons must be render .. d in an entirely satisfactory manner. If necessary, they should be repeated again and again, until the .mb_uchu1'e is perfect, and position and fingering beyond reproach.

15

Lesson VIII

SCALE AND ARPEGGIO OF 0 MAJOR

An arpeggio is a broken chord, that is to say, a chord whose individual notes are sounded one after the other.

Allegro (J = 152) SCALE

Fingering for IJ and A; third octave IJ If .D.~

,

2'!.dfinger sr! finger

{ Li.1tle fin 6'f key

A .... . ~ ~ ~_'f/I" • .-
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ger
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e I '-""'~ Thumb Ok

is: finger ~ 2'!.dfinger

~ Sr:d finger ~

~ ~I.&'\, key ~ ~ C#key

E O~ key ...::I

N?2

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SCALE progressing in intervals of a Third

NQ 5

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N<'> 7

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Allegro (J: 152) INVERSIONS

NQ S MELODIC EXERCISE

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19

Fingering for P_ and for () and A

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,~~ II

!, ; : !

ii [ ! I

ls..t finger ,'"

Thumb C keY'-4~ __ -A-"'--I1 21!.d finger ar_d finger.

{ Li1tJe finger, --II

0, key

l'!.t finger 21!.d finger ar,!l finger

~lE~ key

c.:: C# key -------11

Q)

:E C~ key ...JI

...:l

Lesson IX KEY OF G MAJOR (Alteration of Fby the #)

SCALE AND ARPEGGIO IN (J MAJOR

(J =152) ,

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@: I • ""'--'" ----- I Learn these letters by heart. Repeating them backwards, you will obtain the position of the flats, as follows:

{OrderOfll 23" 6 6 7

Example: sharps. I.p, 0, e, D, A, E, B! OrdeI'! of 7 6 6 " 8 2 1 S flats.

(1) It is indispensable to have the position of sharps and flats always present in the memory. The following is an easy method of memorization, bearing in mind the fact that the sharps occur in the order given:

t 2 346 6 7

F, C, @, D, A, 11, B.

20

~ JJ, , I
14! , I .
I .
f.; JJ, I I
I I
I
4! I •
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, NQ 5

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. 21

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fj J,j. .
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, , ~' E

NQ 8 4 ti f; 4 ~ 14 r 1 4 ~ 14 IT 14 r I J IT 14 = 14 I

4- 4 r Ig'E loJ [ 1/5 loJ f iJ fiJ'E 145 IJ'[ 101 E I ~i g'f 14 t 14 rifF 101 r If IT IJ r-1J'r 14 j 14· :1

Allegro (J : 152)

N99 MELODIC EXERCISE

~ JJ, ~. -A ___ • ~ ~" -1'i . ~ ~" . .
" "
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.
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@ 1,...1 ..... ...... ......... "7 "!" III! III! ---- Ftire 22

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~

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. . .
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< It.
f) JI,
~ ;' - I
It. 1 I -' -I IJ. S.at Fine

23

Fingering for C#: 0#

4 0# C!~7" Ih .

{If!.t finger

~ I' Thumb C key

~ .

t.t:i 2~d finger

fi.. ~ sr_d finger

"4 {Little finge

0# key

# .1

r \/

{S_t finger
~ 2~d finger
~ sr_d finger
~ for""'
~ ~ 0# key
~
::::
~ O~ key .:.. )L..
1.. f
.. '""'
-
- '""'
~
- '-'
r
- "
- ""'
~
.. '-'
- "
- ....
1-
'-'
-1..
- Lesson X KEY OF 0 MAJOR

,

SCALE AND ARPEGGIO IN .D MAJOR ,

Nl?l

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j
.
e.
~ .u. I _I I I
~ ~ .u , - - - , - -
- -
~ ·
·
·
ilt

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I ·
· ·
It L .1 N<? 3

,

24

~ ~ f! ~~~ ... .". .... .' ,
j •
·
II! I I .. ... -,;;
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·
~ I I ..... NQ Ii

~ Jj. . • ... ~ F +- =F ~ ~+--F-~" .. .
·
·
II! ~ ~ ~~
~ Jj. . .
·
·
II! 25

N<? 9 MELODIC EXERCISE

Allegro (J :152)

,

r:, ~ ~~~,... '''' ~ ~ .fL ~ .r=:>». 1*-
~
@.

r:, ~ ~,... -
I
@. .. ... ... - fJ,u. f:,..~ __ ~~.fL._. ~~ ___ -;;., __ ..". -fL -- ~ ..
-- --
~
@.. -.", -
~ ,u. I -
I
@. .. I I I .. I Fine

26

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~. [ ~ t ~q~ ~ ~ ~ 1*" n ~ ~ ~
~ '" ~ ~
I- ..
I
~
~ '" L .. L
.. • r r .. ,

,

,

~ .&I ~h ... ~ .fL ~ n' fL..,... (~~ *"
t
.. ..
~ '" ~ 1
. .
I
.. r I 27

,

P. S. at Fine

Lesson XI KEY OF F MAJOR

SCALE AND ARPEGGIO IN F MAJOR ,

,

is,! finger

ar,!I finger

{ Little finge~r ----lI C# key

~ - ,..-
~ - -
j · ·
· · ·
.. -.r.... "'---'" ~
- ~
~ - - _*tt
I · · •
· · ·
.. ..... - ----.- .... .. is) finger

~ , I I I I I

t I I I I
~ I
·
e -6-- + ~ - - - -
-- ...,
·
·
..
~
. ·
. ·
e .... 4- - ... ... - ~ ' .. ~ f!: ~ ~ JL • - .,.. ~ ~ ~~fL.
·
e
~ I
-
·
e. • .. 28

,

!

~~~~ f=~~. ,
~ "'.1'-- • - , I I
·
·
.. I I I
~ ."..f/Lf!:.,... .fL • .,.. • I I
·
·
41 I I ..... ' NQ 5

---.,..... ,

.~

N97

N9 8

29

Alle ro (J 116)

Nfl 9 I

MELODIC

EXERCISE

g .: --,..,,,. ~. f: ~
~ .~ / -- ------
----
~ ~ 1 1
1\
~ ••• --- I ,

30

~ ----~~~ -fL. :....-..------
••
• .
~
< ..
'" - ~ ""'-~ I
,
.
.
t: ........ j"".I.oJ ........ .. ,

-~

I ••

....

!tj i~~ .... _ .. ~ ~. ~, , .~ ...
.
I
@ - I I
~ - .as r---r--, .-..
t . .
. .
@ .... - - I I ,

,

s.s.« FinIJ

31

Lesson xn KEY OF Db MAJOR

Fingering for .B~ and B~:

IJ!, ~Jf/.~~ , .liJ, ~ = b ..

SCALE AND ARPEGGIO IN B~ MAJOR

,

is) finger
~ Thumb Ckey
~ 211.d finger
~ ar!l finger
~
{ Little finger
0# key .,
{s.t finger
~ 211•dfinger
~ ar•d finger
t ~rH'Y
~
~ ~ C# key
§ cq key
o-l N92

1\ I .,
j ·
·
~ I I I I , , I , I I I I I
~ I
I ·
·
Ii .. .. I I ., .. I I ~ ,.. I ., ,
~ ·
· ·
·
~ ~ I
~ I
, ·
· ·
.. ·
.. .. • .. .- .. .. .. u Nt? 3

32

~ ~,,~
, ......--:;~ jI..- I-~~ , - -'
'\ I ·
. · · ·
· ·
I ~ - I .....- I
I ..
«<. ~ ~:~ .- ~ I.p.
'\ I ·
I · · ·
· ·
~ ~. '-": !,o"~
~ ~ ....... . ----- .,

NC? 5

o o

33

NI? 7 MELODIC

EXERCISE{~~~~~~~~~~~~~~~~~~~~~~~~~~~

fl I 4L~~ ~~. ~ .: 1t-0 ~~ fI- 1r ~ .,.. 'h • 1*". .,...
I
tJ -
~
"'I I
.
~ .
.
.
t. I '"""'" '"""'" .. I r" ,

,

,

fl I #. ~,..~- 1r_ ~ ~----. ,. f:. ~ __ ~. f:. ' .fl.1/,-
l
tJ
~
fl I
I

~ r ------ ~ ~ .. r" ....... ill""""'" - fl I .~.,.. 61 .".. . ' ~,.. .1*" • 1!=.~' .... F"~ ~ ~~
~
t.
• ,...,...,
~ I' ---. ........., I ..1 -
l

~ - .. - ~ ~ I _~ .. ~ .,.f-r:- .,... ~ ~.l't .-(1- itt ft -.-. .1*"
l
t. .'
-fl- 1 ....-I
fI I ~ - ..-t ~
~ -
.
tJ - ......... r ...... 34

f\ I x- .... -II- ' ... -II- ~ ~ ~ ~ ~ ~ ~ ~ .... .. ~
~ ~ ~
~
~ ~
II I - ~ .....,...,
~ ,
,
~ ., ., Of r r - ,. ~~ -'~ .". .... 1!: ~:~
II I ~ ~:t!: -F-+- I- , tf!:.' _ .... ,.~~ ,
., ~~f- .'
j
t
~ ~ I I .
. . . .
. .
. ,
~ ,
I - -11-' tt:. -If.~" -II- ~ .fI- ~
~ I - ~
~ . ,
~ I I
~
f\ I
I
~ - .......... ......... ......... I . ' --~ . .. 35

i~t finger

, . . .

\ :

· .

· .

· .

\{

21!.d finger 31',!i finger

l~t finger ~ ~d finger

~ ~ ~

~

S~d finger

....

~l S~ key ~ Of key ----II

g oq key -II

~

Lesson XIII

KEY OF A MAJOR

SCALE AND ARPEGGIO IN A MAJOR

N9,1

- iII-_
fl ~ ~ .... ... - -
I , - I
· · ·
· · ·
t --- ~
I ~~H r-.-... ~ "19-
· ·
· · ·
~ - ~ - ..... 4' fl ~ ~ I , 1
I .
~ I I I I
) fl ~ ~ I I I I
I :
\ ~ ... - ... -- ~ NQ 2

fl~~ " " I
~ · ·
· ·
t ~ ~ ~ ~
- - - - -

~ IJ~~ --"" - .--t .--,
· ·
· ·
t .. - ... 4- .- -- 4- fl ~,ijo '.-~ ..... '._ .... • f:~·~~ ~
1-,1-1- ~
-
I
t
< ... -t:,..t.
fl ~ oI! I - - ..... ~ ~
I
t, .... : . I I N93

36

,

N94

,

NQ 5

THEME

NQ 6 MELODIC EXERCISE

Allegro ( = 144.) ~~~ .---~
~
fJ ,u. -It _-!fIHHII-.,.-'It ----
, I I
. ~
1 ..1
fJ~-It I .
~ . .
.. I
~ I I ,,~Jt ..1 I .= -.l ---
..---... -
----- -- ·
~ ~ ·
I .... I I~
~ ~ £
~ I
~,u.J1 1.1
·
~ ·
. -
@ I r .. ...... -- ~,u.-It • ---~~ __ tf}1 -- ~~ -- ffL ~ _f..-r- ~
~~ . ·
·
I I
@. -- ~
• ~ JL I 1.
~,u.J1 -- ·
·
~ .........- I ....... .. -
@ - .... I 37

VARIATION I

~~oIk .- ~.- ~~, ~ .. ,.--. ,
\I~ - - 1 T ~
~ -
~~~ I
I
~ ~ flIT -. ~JoIoo!t .~.~t~'1 ,.. ..----:. , -,..- ~ ,
~
@, - - I I
-
~JoIo.ft I I
I
.
~ I flIT ~ .IHt .. -!fL .. .. ~:~ :e ~ e .... ~: ~
'-
, ·
·
~
~ JoIo .f±
I ·
·
e. 'JI. .. ... - ~ JoIo o!t .~ ~ ~.fI-. . ... ~.~ ~ .. ~--:".. ~:~ ...... ~,
I
e. -......
~~~
I
t., - -- ~ ~ -9- I r II

1\ ~ oI.f _ ... - ~~ ~ .. _ .. ~ ~ I
..... ~,
~ ·
·
'- - I I ~ -
( -
~Jt
I . ·
·
~ .. U· VARIATION II

.!~ e .'1 .;~~ 3 ~ .. t._f!: _
~JoIoM. ~Ft- ~ ~"1*" ~-;. - ... ---...... 3 _". ...,.
, ~ .
......
< ..L
~ (JJoIoo!t 'l I
.
~ I ~ - • .. 38

~U: e: 9 i~ .1 -!&!: t._
fI JJ, oI! , .~ ~ ----.-. ~-:. _ .. - .:-.....
,. - -po'
I ' ........
t
~ !) r--...
'I JJ, ~
I I v I
t - I I 11 JJ, ~ 3 _ ~ 3 .. ~ ,. ~~ ~ , ~ • ~
- ~ !)
·
t ·
--... ....... I
t .....
~ 1'1 JJ, ~
·
·
~ rT -
t • -. - .. • 4 3 ~----- 1] ~ tt~' L~~~ /J
~ • .e ~ ~ . ~ ~ 1= 3 -- ~ ~ ... -:.
fl JJ, ~ ~J.. , ...;.a
~ [T I-
t,) f)
~ JJ, .Ho .---...
~
...,.'" I
3: LL 3 t -
t 1'1 JJ, oI! .1~~ :I ~,..~~- 3 __ • ~ #~~--- 31f1"~t..,. """
. +- ------ . ·
·
~ .......
@.l I
fl~~ ,......". ·
·
l ~...t'I I • • -
tJ , J - 39

Fingering for SJ,:

~

(t'! fin .. r
~ Thumb Okey
~ 2'ld finger
~ ( 3'_' ling er
Iio:;
~ {Little finger
G#'key
1s..t finger
~ 2'ld finger
t:q ar_d finger
~. ....
~rk'~
~
IIi;j .,ga 0# key
::::
~ oq key ..:..
<,
-
-
-
--
-
-
-
-
-
"""'
'-' Lesson XIV KEY OF E~ MAJOR

SCALE AND ARPEGGIO ,

N91

~ I , I I I I I
t .
.
t ~
<
I') I
,

-i ... I r;,I I I r;,I I N«? 2

'I. I , - ........ , - - ........
I ·
·
.. .. - ..
~
~ I
I · .
·
..., I .. I I .. I .. I .. I I .. I ill I '. ~ ~ ~ ~ .". . • -/L~ .,.~.,..
I .
..
~
fJ I I I
I
.
-e -,.. I I -- N«? 3

40

N940

,

'" I ~t:~~ ~ .. I'-. ~_. , I I I
·
I ·
It I I ..
~
I ~ · .... .fL. 1 ... - • I I I
·
·
\~ I I T -. • - NC? 5

NC? 6

41

Andantino (J . = 88) CANZONETTA (Section One)

N97.

MELODIC EXERCISES

.' .

. ,

. . ......--... .

------



. ,

I

,

.,. .... - .-11-. .. fL· ~ _ .p.. • _.,a.. , ".,;*- ."*_fi· ~~. t
1'\ , f-t--
~ -
f'l, I .. ........
. .
. . .
• I """"""" - .. - I ~ 42

(Section Two)

,

I "I __ .. .fL. -.----- _ ,. .. tt~ ~ , -.~~ ,--........
. ~. ~
t: r r --r
r
~ 1 -+- I ..
, . -
.
\to . .
I ...... ~ r .
1-1.1 ....... I I -I'" r • ", J!. ~---. ~~ tlJ- f". ---.. , :::;;" r".
.--... ~t= ~ ~ h • .p..-
.
I -
t. ~
~I ./L-.~ I I ""'--
~ I
- -
. .
. . . .
to I ... ~ ... 1 - 43

Lesson XV

STUDIES IN CHROMATIC SCALES ON (J AND .A

On (J j ~ ~ ~ "----,,

Nq 1 4 II Firm'C IF C-C F I#EUt IL - We fEI+E EFIF~FF~Flr • :.

NIl 2 ~ 1\ ~rr I#riirf * I Unlet;. I 00::r F' ~ =1

N~ II ~ Il :;JJ#J IU J#J J I.J J#J J Ir- • Ir r~rJ I&J J~JJIMMll· :11 NH ~ II :@~iJJ~JJ l@Dr f I!Q@J.JJ I [tJml ' :11

Nq Ii ~ I' lfJ5i5 iJ#JJ I.e C#r;J cirC-r I EF#jf#trlI1lf i· I 4 mF~tc bE! I r bE r ~r r 'j ~fJ I bJ 3 ~ J 3 iJJw I l' - III

N96 ~*i ::itt#LlfF#ErtfffFlf - Iff4fftfffflOOf$J

N~ 7 ~ ~ II f!tr@rff#fr trrri i Iff~ftttff I mer FE , 'II

Nq 8 4 ¥ 1\ ~FFifflrr I~Erj;Vr£#rlfrfgfWI f ,- I f¥ UIE~ftrr If4ferrr ~rr I~cr br/tia, I J , • :4

44

TABLE OF THE @1NERAL COMPASS OF THE FLUTE

ORDINARY FINGERING (1)

Bole open Bole closed Bole half closed KeU open IeU closed

l'!t finger ~ Thumb C

~

E-.

~

~

sr_d finge

6 l e * • * ~ * ~ * ~ ?

I~
~
I
I
I ij 1~ OCT:VE - Lo:er. NO:~~_ ~,,~ .. ~ 0 h ... "~,,q .. @,,~~ .. ,,1i"1" ij :' J
I
I
FT
~r(TY y Y Y i Y i r l Y
I
~
I
I
trill __ E I
~ --
--~ I
key_( ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~
r. __ ~
~ • • • • • • • • • • 0 0 0
r __ I - - '- - ~ ~ ro.
) - - - - - '-' '-' '-' ~
g~ , rl'
'-'
I". • • • • • • 0 0 0 0 • 0 0
~
r • • • • • 0 0 0 0 0 0 0 0
~
r • • • • e 0 • 0 0 0 0 0 0
~
ey __ ~~ ~ ~ 'b :b 'b :b :b 4J 4J 'b

ey (, ~ ~ 'b
~ ~
ey __ ~ '" 'b :b

~ 21!.d finge

{Little fin G# key

ll!.t finger

21!.d finge S~d finge

(0 In presenting; a complete taDle of the customary rmgering for the genera.l compass of the flute at this stage, instead of at the be~imrlng of the method, I call attention to the fact that there remain only two additional fingerings to Iearn (upper B ~ and cq), the others having been taught in the course of the exercises preceding. A table of fingering should be consulted only when a. certain note, demanding a. special fingering, compels the student to do so. Bearing this in mind, he will find it much easier to learn and remember the fingerings he requires.

45

.. ~.Q.q~~~#.Q..q~
. .
.'
~ .~ . . \ . t ~. ~ .- .. ~ r r ..
\:' .. / ( '..: .. ~.'
Great key I I \ I I I I I I '\
O~ to .oq trill
f!.t finger 0 0 0 • • • • • • • • •
~ Thumb 0 key 'b ~ ~ ~ ~ ~ '), ~ '), ~ ~ :0
t:i
~ 2n_d finger 0 • • • • • • • • 0 0 0
~ arj finger 0 • • • • • • • 0 0 0 0
~ I Little finger
0# key
ls_t finger 0 • • • • 0 0 0 0 • 0 0
~ 2'!.d finger 0 • • • 0 0 0 0 0 0 0 0
t:i ar~ finger 0 • • 0 0 • 0 0 0 0 0 0
t :.. 'b \ 'b "b "b "b "b 1:> "b 1:> :0 'b
~ 11> ! Blk.,
~ ~ 0# key
~ O~ key
..:l , .
~ : V \ ... " .. \./
~: . . ..
I I I I I I I I 1 i 1
0 0 • • • • • 0 0 0 • •
:0 ~ ~ ~ ~ 4, 'b 'b ~ 4, 4, :0
0 • • • 0 0 • • • 0 0 •
0 • • 0 • • 8) • 0 0 • • Great key
O~ to J)~ trill
lsj: finger
~ Thumb o key
~ 2l!.d finger
~
Itoli ar~ finger
~ {Little finger
0# key
l-:.t finger
~ 2l!.d finger
~ Sr_d finger
~ F..
~ ~r'''Y
~ It::
G) 0# key
~ Cq key
..:l 0 0 • • • 0 0 0 • • 0 •
0 0 • • 0 0 0 0 0 0 0 0
0 0 • 0 0 • 0 0 0 0 0 0
"b 'b 'b 'b 1:> 'b 'b 'b 'b 'b "b 'bm (1) There are Flutes upon which this note, upper O~,is difficult to produce. This can be overcome by moditying the fingering, th1l8:

Close tM E~ key.

46

SCALES AND ARPEGGIOS IN ALL THE MAJOR KEYS WITH SHARPS

followed by Chromatic Scales on A and C

The study of scales is very important; hence if the student wishes to familiarize himself rapidly with the mechanism of the instrument he must make them a daily stud!!.

C major

Allegro (d. 112)' Ifj

~ , 4' JJ IJJJJ I r' rei rrEV: ttl trw r' rJiJJJ;J:I: _~i~J r I Ed IFr41 :Ir I

,

~iajoJ' JJI rrEr I r'rrlrFITlfFflfrrrjl'rElrrrJ:.: .JirrFlrffrVrrr:1 J - I

D major ~' ,

~'i g' UJ IJJrr I r' mrrrepftltrrm'rri _J:D: uJiJJrlrd4rJ;J:1 g -I

~ 'irt rr I rErF Ii rE,d, f' WI fErriC Fe I rrrr:II' • dbrFjrtil fiin J - I

E major m ~'~ ~

~ \!'M i j~ IJ Fme IF' FE IrrL P 11 trrrw' rr I JJJJ :11: aliJ FE I rrrVErJ:1 J - I

,

~ m" r' rFI Eefl r:re ,FI,rt, Eftl t'tt I Frtr :11: ..rrr' rrt lEi IErr[:l F - I

F# major g fl it

~ Y¥ iJJlrrrEIF'flbl== Ifrtru:'rrlrJJJ:I!: .JdJrflhqtrpJ:1J -I

c# major , ~

~ ~i JJ IJJJJ I r' rFlrrtt If rei FeW r' rJiJJJ;J 41: _~:iJJr I rH I ErJJ :14 -I

Chromatic scale of A , ._~ ~ ,

~ tlt!rtrr!.'rrd¢rfbr=FpJrlfr9rrWmlrt!rIJ t I

Chromatic scale of C ~ b

~ 3iJP_JJIMm*EMtILr&r I rnterlrbegA~!JdlJb • t

47

SCALES AND ARPEGGIOS IN ALL THE MAJuR KEYS WITH FLATS

followed by Chromatic Scales on A and C

END OF PART ONE

48