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The 60 Style Drills are applied to exercise #4 from 17 Big Daily Exercises. The passage at the end of each key should be played as fluidly as possible. Each day I enjoy choosing an emotion with which to play each drill.
The 60 Style Drills are applied to exercise #4 from 17 Big Daily Exercises. The passage at the end of each key should be played as fluidly as possible. Each day I enjoy choosing an emotion with which to play each drill.
The 60 Style Drills are applied to exercise #4 from 17 Big Daily Exercises. The passage at the end of each key should be played as fluidly as possible. Each day I enjoy choosing an emotion with which to play each drill.
revised by Molly Alicia Barth. Some dynamics and tempo markings have been altered, and numbers 10, 11, 17, 48-50, and 57-60 have been added to reflect the current need for flutists to be trained in contemporary flute techniques. Please refer to Taffanel and Gaubert Exercise No. 4 from 17 Big Daily Exercises. The 60 Style Drills (see the right two columns on the chart) are applied to Taffanel & Gauberts Exercise #4, which is repeated twice through in its entirety. Six keys are actually repeated more than once because they are also played an octave higher. By starting with a different scale each day and continuing down the left side of the chart in order, you will be thoroughly entertained by playing all scale pat- terns with all sorts of styles (dynamics, articulations, and rhythms). The tran- sitional passage at the end of each key should played as fluidly as possible, slurring all notes together in a slow, gorgeous manner. At first this may seem a lot to take in, but after getting the hang of each Style Drill, you will be able to make it through the entire 60 scales (24 keys + 6 octave transpositions x 2 = 60) in 30 minutes. This is a great to play the Scale Game through in its entirety each day, when your schedule allows. First and foremost, have fun! Stretch your limits. For example, when pianissimo is indicated, see where the breaking point is. When does sound no longer come out? Once you find that point, you can ride along the line just above this breaking point, while push- ing the breaking point softer and soft- er each day. Similarly, if a passage is to be played slur four/tongue four (#24), ask your- self: How short can the staccato notes be? How connected can the slurred notes be? By carefully considering these ideas, you will soon discover in yourself a beautifully centered tone that you can play in all ranges, at all dynamic levels. Each day I enjoy choosing an emo- tion with which to play each drill. For example, I might convey Anger while playing #40 (halves and 16ths, slur, forte, fast) on a D-flat major, 8va scale. I might choose to soar through a B- minor scale during #34, playing as if riding on the wind, or I might be a mouse quietly scurrying through my rural house during #43. I could possibly curl up by the fire, lulling me to sleep with its warmth, during #3. While it is important to be critical with yourself so that you play these drills as accurately as possible, this game is not designed for you to sit on one drill for an hour until you get it right. That would quickly lead to bore- dom, which is entirely not the idea here. Keep going; make a mental note of problems that arise, and fix them the next time the same problems pop up. Enjoy the Scale Game! Key Rotation Taffanel & Gaubert #4 is played all the way through, twice every day, but each day you start in a different place in the exercise. The style drills you apply, however, always begin with #1 on the chart. Therefore, you are apply- ing various articulations, dynamics, and tempos to different keys than you did the day before. Where 8va is marked, replay the section you just played at the higher octave, then pro- ceed to the next key. For Example: First Day: Begin at C major with style drill #1 (Slur, mf, medium). After playing the C major section, go back to the beginning and play the C major key again an octave higher. As you reach the next key marked in the key column, change to the next style. So C major 8va would be played in the sec- ond style of slur, ff, fast. When you fin- ish this key, begin playing the A minor section using style drill #3. Continue through the keys and style drills through #30. Dont forget to include the keys marked to be played an octave higher. You will play the first 30 style drills on the first time through the exercise. Then repeat the key column (C major through E minor)with style drills #31-60. Second Day: Begin at C Major 8va; with Style Drill #1 (Slur, mf, medium); work on down the key column, chang- ing keys and octaves as indicated while also moving through Style Drills 1-30, which are now displaced by one num- ber. In other words, C major 8va, with style drill #1, A minor with style drill #2, F major with style drill #3, D minor with style drill #4, and so on. When you finish the E minor section (playing #29), go back to the beginning of the exercise and play the C major key with style #30. Then start back at C major 8va with style #31 and continue through the keys again. Third Day: Begin at A minor in the key column with style drill #1, and continue through the keys, their repe- titions, and style drills, which are now displaced by two numbers. In other words, A minor with style drill #1, F major with style drill #2, D minor with style drill #3, and so on. Continue in this fashion for 30 days until you have once again reached the first day. You can keep track of your daily key starting point by placing a paper clip next to the key for the next days starting place. Michel Debosts Scale Game with revisions by Molly Alicia Barth How to Read the Chart TT = single tongue TK = double tongue TKT = triple tongue KK = single tongue using K as the only articulation Hu Hu = short, pointed articula- tion using only breath and abdominal muscles pp, p, mp, mf, f, ff = dynamic indi- cations very slow, slow, medium, fast, very fast = tempo indications Barth's Scale GameVJarc v7VJ:Layout 1 12/10/10 2:43 PM Page 1 When you are pressed for time, just play through the key column once with the first 30 style drills (15 min- utes) and play the other 30 style drills on the following day. Barth's Scale GameVJarc v7VJ:Layout 1 12/10/10 2:43 PM Page 2 C major C major, 8va A minor F major D minor D minor, 8va B b major G minor E b major C minor C minor, 8va A b major F minor D b major D b major, 8va B b minor G b /F # major D b /D # minor B major G # minor E major C # minor C # minor, 8va A major F # minor D major D major, 8va B minor G major E minor 1. Slur, mf, medium 2. Slur, ff, fast 3. slur, pp, very slow 4. TT, mr, very slow 5. TT, p, medium 6. TT, ff, fast 7. TK, mf, fast 8. TK, pp, medium 9. TK, ff, fast 10. KK, mf, medium 11. Hu Hu, f, medium 12. Duplet on each note (TK), mp, medium 13. Duplet every other note (TK), mf, medium 14. Quadruplet every note (TK), mf, medium 15. Triplet on each note (TKT), f, fast 16. Triplet every other note (TKT), mp, medium 17. Flutter Tongue (flz) Slur, F, slow 18. Slur (Sl) 2, tongue (tng) 2 (TT), f, slow 19. Sl 2, tng 2 (TK), mf, fast 20. Tng 2 (TT), slur 2, f, slow 21. Tongue 2 (TK), sl 2, mp, fast 22. Sl 2, tng 6 (TK), f, very fast 23. Sl 3, tng 5 (KTKTK), p, very fast 24. Sl 4, tng 4 (TK), f, fast 25. Tng 4 (TK), sl 4, p, fast 26. Tng 1 (staccato), sl 2, tng 1 (stacc.), mf, medium 27. Tng 1 (stacc.), sl 3, ff, medium 28. Sl 3, tng 1 (stacc.), pp, fast 29. Mixed tonguing, TKTT, mf, medium 30. Mixed tonguing TTTK, mf, medium 31. Tng 2, then slur all by 2s, p, medium 32. Slur by 4s, accent 1st of each group, mf, medium 33. Slur by 2s, ff, fast 34. 2 8ths slurred, 6 16th triplets single tongued (TT), f, fast 35. As #34, mf, medium 36. As #34, double tongued (TK), mf, fast 37. As #34, triple tongued (TKT, mf, fast 38. 8 32nds slurred, 1 quarter tngd, f, very fast 39. As #38, tngd (TK), 1 quarter tngd, mf, very fast 40. Halves and 16ths, slurred, f, fast 41. Halves and 16ths TK, ff, very fast 42. Halves and 16ths, slurred, p, fast 43. Rests and 16ths TK, pp, very fast 44. Quintuplets slurred, mf, medium 45. Quintuplets tongued (KTKTK), f, fast 46. Septuplets slurred, ff, medium 47. Septuplets tngd (KTKTKTK), mp,fast 48. Pitch bends on each note (ascending- bend up/descending-bend down), mf, very slow 49. Pizzicato tongue, pp (minimal air), medium 50. Pizzicato tongue, ff (Maximal air), medium 51. Slur 4 ff, tng 4 pp, medium 52. Tongue 4 ff, slur 4 pp, medium 53. Mixed thythm slur, f 54. Mixed rhythm tongue, ff 55. Mixed rhythm slur, ff 56. Mixed rhythm tongue, mf 57. Inverted double tongue (KT), mp, fast 58. Sing/play simultaneously, use as much vocal range as possible 59. Sing pedal tone, play 16ths, f 60. Tongue ram-covered tone hole, f Key: Style Drills: Barth's Scale GameVJarc v7VJ:Layout 1 12/10/10 2:43 PM Page 3 The Scale Game: Examples on how to play Taffanel & Gaubert #4 Numbers refer to the Style Drill column. Barth's Scale GameVJarc v7VJ:Layout 1 12/10/10 2:43 PM Page 4