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WOLF PACK BANDS
WOLF PACK
BANDS
WOLF PACK BANDS W ARMUP B OOK F LUTE Mr. Michael Uhrich Director of Bands 3575

WARMUP BOOK FLUTE

WOLF PACK BANDS W ARMUP B OOK F LUTE Mr. Michael Uhrich Director of Bands 3575
Scales Major Chromatic Whole Tone All-State Requirements
Scales
Major
Chromatic
Whole Tone
All-State Requirements
Table of Contents
Table of Contents
Whole Tone All-State Requirements Table of Contents Long Tones & Intervals Contest Band Warm-Ups Tuning
Long Tones & Intervals Contest Band Warm-Ups Tuning Intervals pg. 5-6 Pg. 7 1-2-3 Pg.
Long Tones & Intervals
Contest Band Warm-Ups
Tuning Intervals
pg. 5-6
Pg. 7
1-2-3
Pg. 8
Concert F Descending
Harmony Training (1&2)
On Field Warm-Up
Long Tones
Dynamic Exercises
Pg. 8
Pg. 9
Pg. 9
pg. 10-12
PB. 13
Warm-Up & Flexibility
Warm-Up 1A-2C
Flexibilities & Riffs
Technical Exercises 1-8
Intervals in B Flat
SLHS Warm-Up
Multiple Tonguing Exercises
Chorales
Chorale 1-4
All Through the Night
Pavane
Chester
Guiding Hand
0 Head, Bruised and Wounded
O'er the Grand River
Warm-up Chorale
America
Air
German National Anthem
Morning Star
Three Warm-Up Chorales for Band
References Circle of 4ths & 5ths Sight Reading Articulation Patterns Articulation Drill Fingering Chart
References
Circle of 4ths & 5ths
Sight Reading
Articulation Patterns
Articulation Drill
Fingering Chart
for Band References Circle of 4ths & 5ths Sight Reading Articulation Patterns Articulation Drill Fingering Chart

Scales

Scales

Scales

Scales Concert D Concert G - o Concert E Concert A Chromatic Scale - Thejourney toward
Scales Concert D Concert G - o Concert E Concert A Chromatic Scale - Thejourney toward
Scales Concert D Concert G - o Concert E Concert A Chromatic Scale - Thejourney toward
Concert D Concert G - o Concert E Concert A
Concert D
Concert G
-
o Concert E
Concert A

Chromatic Scale

D Concert G - o Concert E Concert A Chromatic Scale - Thejourney toward the goal
D Concert G - o Concert E Concert A Chromatic Scale - Thejourney toward the goal
D Concert G - o Concert E Concert A Chromatic Scale - Thejourney toward the goal
-
-

Thejourney toward the goal is much more exciting than arriving at the destination. Anonymous

Whole Tone Scale
Whole Tone Scale
An: Tolmach
An: Tolmach
Whole Tone Scale An: Tolmach All-State Chromatic Requirements
Whole Tone Scale An: Tolmach All-State Chromatic Requirements
Whole Tone Scale An: Tolmach All-State Chromatic Requirements
Whole Tone Scale An: Tolmach All-State Chromatic Requirements
All-State Chromatic Requirements
All-State Chromatic Requirements
Whole Tone Scale An: Tolmach All-State Chromatic Requirements
Long Tones & Intervals

Long Tones & Intervals

Contest Band Wann-Ups
Contest Band Wann-Ups
Dallas C. Burke
Dallas C. Burke
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repeat 3x-p,mf,ff
Tuning Interval
Tuning Interval
Tuning Interval Interval Tuning 2 Interval Tuning 3 The pathway to success is not always straight
Tuning Interval Interval Tuning 2 Interval Tuning 3 The pathway to success is not always straight
Interval Tuning 2
Interval Tuning 2
Tuning Interval Interval Tuning 2 Interval Tuning 3 The pathway to success is not always straight
Tuning Interval Interval Tuning 2 Interval Tuning 3 The pathway to success is not always straight
Interval Tuning 3
Interval Tuning 3
Tuning Interval Interval Tuning 2 Interval Tuning 3 The pathway to success is not always straight
Tuning Interval Interval Tuning 2 Interval Tuning 3 The pathway to success is not always straight
The pathway to success is not always straight and smooth. - Joseph Alsobrook - 7
The pathway to success is not always straight and smooth.
- Joseph Alsobrook
-
7
Concert F Descending
Concert F Descending

Concert F Descending

Concert F Descending
Concert F Descending
Harmony 'lrainlng
Harmony
'lrainlng
Tomoki Ubata
Tomoki Ubata
Harmony 'lrainlng Tomoki Ubata
Harmony 'lrainlng Tomoki Ubata Harmony Training On Field Warm-Up (Blue Devil) T o m o k
Harmony Training On Field Warm-Up (Blue Devil)
Harmony
Training
On Field Warm-Up (Blue Devil)

Tomoki T o m o k i U b a t a Ubata

Tomoki Ubata Harmony Training On Field Warm-Up (Blue Devil) T o m o k i U
Arr. Danny Orrantia
Arr. Danny Orrantia
Tomoki Ubata Harmony Training On Field Warm-Up (Blue Devil) T o m o k i U
Long Tones
Long Tones
Long Tones Long Tone 1A Long Tone 1B Excellence is not a point of ani:val, but
Long Tone 1A
Long Tone 1A
Long Tones Long Tone 1A Long Tone 1B Excellence is not a point of ani:val, but
Long Tones Long Tone 1A Long Tone 1B Excellence is not a point of ani:val, but
Long Tones Long Tone 1A Long Tone 1B Excellence is not a point of ani:val, but
Long Tones Long Tone 1A Long Tone 1B Excellence is not a point of ani:val, but
Long Tone 1B
Long Tone 1B
Long Tones Long Tone 1A Long Tone 1B Excellence is not a point of ani:val, but
Long Tones Long Tone 1A Long Tone 1B Excellence is not a point of ani:val, but
Long Tones Long Tone 1A Long Tone 1B Excellence is not a point of ani:val, but
Excellence is not a point of ani:val, but rather a byproduct of the pilgrimage. -Dr.
Excellence is not a point of ani:val, but rather a byproduct of the pilgrimage.
-Dr. Tim Lautzenheiser

/o

Long Tone 1C
Long Tone 1C
Long Tone 1C Long Tone 2 Intervals of a minor 2nd Intervals of a Major 2nd
Long Tone 2
Long Tone 2
Intervals of a minor 2nd
Intervals of a minor 2nd
Long Tone 1C Long Tone 2 Intervals of a minor 2nd Intervals of a Major 2nd
Intervals of a Major 2nd
Intervals of a Major 2nd

d

o Intervals of a minor 3rd
o
Intervals of a minor 3rd
Long Tone 1C Long Tone 2 Intervals of a minor 2nd Intervals of a Major 2nd
Long Tone 1C Long Tone 2 Intervals of a minor 2nd Intervals of a Major 2nd
Long Tone 1C Long Tone 2 Intervals of a minor 2nd Intervals of a Major 2nd
Long Tone 2B
Long Tone 2B
Long Tone 2B Long Tones/Mouthpieces Part of the reward of doing something is losing yourself Plil
Long Tone 2B Long Tones/Mouthpieces Part of the reward of doing something is losing yourself Plil
Long Tone 2B Long Tones/Mouthpieces Part of the reward of doing something is losing yourself Plil
Long Tones/Mouthpieces
Long Tones/Mouthpieces
Long Tone 2B Long Tones/Mouthpieces Part of the reward of doing something is losing yourself Plil
Part of the reward of doing something is losing yourself Plil in the Jacltson dance.
Part of the reward of doing something is losing yourself Plil in the Jacltson dance.
-

Flute

Dynamic Exercises
Dynamic Exercises
Arr. Tolmach
Arr. Tolmach
F l u t e Dynamic Exercises Arr. Tolmach
F l u t e Dynamic Exercises Arr. Tolmach
F l u t e Dynamic Exercises Arr. Tolmach
F l u t e Dynamic Exercises Arr. Tolmach
Warm-Up & Flexibility
Warm-Up & Flexibility
Warm-Up 1A
Warm-Up 1A
Warm-Up 1A Warrn-Up 1B We are all bust sacrifices. .we all have lives .but in a
Warm-Up 1A Warrn-Up 1B We are all bust sacrifices. .we all have lives .but in a
Warm-Up 1A Warrn-Up 1B We are all bust sacrifices. .we all have lives .but in a
Warrn-Up 1B
Warrn-Up 1B
Warm-Up 1A Warrn-Up 1B We are all bust sacrifices. .we all have lives .but in a
Warm-Up 1A Warrn-Up 1B We are all bust sacrifices. .we all have lives .but in a
Warm-Up 1A Warrn-Up 1B We are all bust sacrifices. .we all have lives .but in a
We are all bust sacrifices. .we all have lives .but in a successful organizations, everyone
We are all bust
sacrifices.
.we all have lives
.but in a successful organizations, everyone makes

[s-

1B We are all bust sacrifices. .we all have lives .but in a successful organizations, everyone
- Unknown
-
Unknown
Warm-Up 1C
Warm-Up 1C
Warm-Up 1C Warm-Up 1D
Warm-Up 1C Warm-Up 1D
Warm-Up 1C Warm-Up 1D
Warm-Up 1C Warm-Up 1D
Warm-Up 1D
Warm-Up 1D
Warm-Up 1C Warm-Up 1D
Warm-Up 1C Warm-Up 1D
Warm-Up 1C Warm-Up 1D
Warm-Up 1C Warm-Up 1D
Warm-Up 2A
Warm-Up 2A
Warm-Up 2A Warm-Up 2B
Warm-Up 2A Warm-Up 2B
Warm-Up 2A Warm-Up 2B
Warm-Up 2A Warm-Up 2B
Warm-Up 2B
Warm-Up 2B
Warm-Up 2A Warm-Up 2B
Warm-Up 2C
Warm-Up 2C
Warm-Up 2C A goal without a deadline is just a wish. - Jim Irish
A goal without a deadline is just a wish. - Jim Irish
A goal without a deadline is just a wish.
- Jim Irish
Flexibilities and Riffs
Flexibilities and Riffs
Flexibilities and Riffs
Flexibilities and Riffs
Flexibilities and Riffs
Flexibilities and Riffs
Flexibilities and Riffs
Flexibilities and Riffs
Flexibilities and Riffs
Technical Exercise #1
Technical Exercise #1
Technical Exercise #1 8 Concert Eb !5 Concert Ab Concert Gb .-.n 43 Concert E 57
8 Concert Eb
8 Concert Eb
Technical Exercise #1 8 Concert Eb !5 Concert Ab Concert Gb .-.n 43 Concert E 57
!5 Concert Ab
!5
Concert Ab
Concert Gb .-.n 43 Concert E 57 Concert D Concert G
Concert Gb
.-.n
43 Concert E
57 Concert D
Concert G
Exercise #1 8 Concert Eb !5 Concert Ab Concert Gb .-.n 43 Concert E 57 Concert
78 ConcertF memm A
78
ConcertF
memm
A
Exercise #1 8 Concert Eb !5 Concert Ab Concert Gb .-.n 43 Concert E 57 Concert
Technical Exercise #2
Technical Exercise #2
Technical Exercise #2 Techincal Exercise #3 Technical Exercise #4
Technical Exercise #2 Techincal Exercise #3 Technical Exercise #4
Technical Exercise #2 Techincal Exercise #3 Technical Exercise #4
Techincal Exercise #3
Techincal Exercise #3
Technical Exercise #2 Techincal Exercise #3 Technical Exercise #4
Technical Exercise #2 Techincal Exercise #3 Technical Exercise #4
Technical Exercise #4
Technical Exercise #4
Technical Exercise #2 Techincal Exercise #3 Technical Exercise #4
Technical Exercise #5
Technical Exercise #5
Technical Exercise #5
Technical Exercise #5 Technical Exercise #6 Technical Exercise 7
Technical Exercise #6
Technical Exercise #6
Technical Exercise 7
Technical Exercise 7
Technical Exercise 8
Technical Exercise 8
Technical Exercise 8 Intervals B Flat
Intervals B Flat
Intervals B Flat

SLHS WARM-UPS

SLHS WARM-UPS
SLHS WARM-UPS
SLHS WARM-UPS
SLHS WARM-UPS
SLHS WARM-UPS
SLHS WARM-UPS
F l u t e Multiple Tonguing Exercises [Composer]

Flute

Multiple Tonguing Exercises [Composer]
Multiple Tonguing Exercises
[Composer]
F l u t e Multiple Tonguing Exercises [Composer]
F l u t e Multiple Tonguing Exercises [Composer]
F l u t e Multiple Tonguing Exercises [Composer]
F l u t e Multiple Tonguing Exercises [Composer]
F l u t e Multiple Tonguing Exercises [Composer]
F l u t e Multiple Tonguing Exercises [Composer]

Chorales

Chorale 1

Chorale 1 Chorale 2 Chorale 3 Chorale 4 . Quincy Hilliard - n n I O
Chorale 1 Chorale 2 Chorale 3 Chorale 4 . Quincy Hilliard - n n I O
Chorale 1 Chorale 2 Chorale 3 Chorale 4 . Quincy Hilliard - n n I O

Chorale 2 2

Chorale 1 Chorale 2 Chorale 3 Chorale 4 . Quincy Hilliard - n n I O
Chorale 1 Chorale 2 Chorale 3 Chorale 4 . Quincy Hilliard - n n I O

Chorale 3 3

Chorale 1 Chorale 2 Chorale 3 Chorale 4 . Quincy Hilliard - n n I O
Chorale 4 . Quincy Hilliard - n n I O a a Y I V.
Chorale 4
.
Quincy Hilliard
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All through the Night
All through the Night
All through the Night Pavane An expanded mind never goes back to its original size. -
All through the Night Pavane An expanded mind never goes back to its original size. -
All through the Night Pavane An expanded mind never goes back to its original size. -
All through the Night Pavane An expanded mind never goes back to its original size. -

Pavane

An expanded mind never goes back to its original size. - Anonymous
An expanded mind never goes back to its original size.
- Anonymous

Chester

Guiding Hand Balent
Guiding Hand
Balent
0 Head, Bruised and Wounded
0 Head, Bruised and Wounded
0 Head, Bruised and Wounded O'er the Grand River Warm-up Chorale Claude Gervaise (fl. 1540-1560)
0 Head, Bruised and Wounded O'er the Grand River Warm-up Chorale Claude Gervaise (fl. 1540-1560)
O'er the Grand River
O'er the Grand River
0 Head, Bruised and Wounded O'er the Grand River Warm-up Chorale Claude Gervaise (fl. 1540-1560)
Warm-up Chorale Claude Gervaise (fl. 1540-1560)
Warm-up Chorale
Claude Gervaise (fl. 1540-1560)
0 Head, Bruised and Wounded O'er the Grand River Warm-up Chorale Claude Gervaise (fl. 1540-1560)
0 Head, Bruised and Wounded O'er the Grand River Warm-up Chorale Claude Gervaise (fl. 1540-1560)
0 Head, Bruised and Wounded O'er the Grand River Warm-up Chorale Claude Gervaise (fl. 1540-1560)

Air

Air America

America

Air America
Air America
Air America
Gennan National Anthem
Gennan National Anthem
Franz Joseph Haydn
Franz Joseph Haydn
Gennan National Anthem Franz Joseph Haydn
Gennan National Anthem Franz Joseph Haydn Morning Star Paul Lavender
Morning Star Paul Lavender
Morning Star
Paul Lavender
Flute 1 commissioned by the Ball State University chapter of Phi Mu Alpha to honor
Flute 1
commissioned by the Ball State University chapter of Phi Mu Alpha
to honor Dr. Joseph R.Scagnoli
Three Warm-up Chorales for Band
on reharmonized melodies from Percy Aldridge Grainger
on reharmonized melodies from Percy Aldridge Grainger
I. Intonation: Harvest Hymn
I. Intonation: Harvest Hymn
Ryan Fraley
Ryan Fraley

(ASCAP)

Slowly (J = so) A 4 - - * C I
Slowly (J = so)
A
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I
Hymn Ryan Fraley (ASCAP) Slowly (J = so) A 4 - - * C I II.
Hymn Ryan Fraley (ASCAP) Slowly (J = so) A 4 - - * C I II.
II. Balance: Horkstow Grange
II. Balance: Horkstow Grange
slowly (1= 60)
slowly (1= 60)
A 4 - - * C I II. Balance: Horkstow Grange slowly (1= 60) Q 2005
A 4 - - * C I II. Balance: Horkstow Grange slowly (1= 60) Q 2005
A 4 - - * C I II. Balance: Horkstow Grange slowly (1= 60) Q 2005
Q 2005 Ryan Fraley All rlghts resewed www.ryanholey.com
Q 2005 Ryan Fraley
All rlghts resewed
www.ryanholey.com
Three Warm-up Chorales Flute 1 - Page 2
Three Warm-up Chorales
Flute 1 - Page 2
Ill. Expression: Irish Tune
Ill. Expression: Irish Tune
Expressively (J = so)
Expressively (J = so)
Three Warm-up Chorales Flute 1 - Page 2 Ill. Expression: Irish Tune Expressively (J = so)
Three Warm-up Chorales Flute 1 - Page 2 Ill. Expression: Irish Tune Expressively (J = so)
Three Warm-up Chorales Flute 1 - Page 2 Ill. Expression: Irish Tune Expressively (J = so)
Three Warm-up Chorales Flute 1 - Page 2 Ill. Expression: Irish Tune Expressively (J = so)
Three Warm-up Chorales Flute 1 - Page 2 Ill. Expression: Irish Tune Expressively (J = so)
Three Warm-up Chorales Flute 1 - Page 2 Ill. Expression: Irish Tune Expressively (J = so)
Flute 2 commissioned by the Ball State University chapter of Phi Mu Alpha to honor
Flute 2
commissioned by the Ball State University chapter of Phi Mu Alpha
to honor Dr. Joseph R. Scagnoli
Three Warm-up Chorales for Band
on reharmonized melodies from Percy Aldridge Grainger
on reharmonized melodies from Percy Aldridge Grainger
I. Intonation: Harvest Hymn
I. Intonation: Harvest Hymn
Slowly (J = so)
Slowly (J = so)
Ryan Fraley
Ryan Fraley

(ASCAP)

Intonation: Harvest Hymn Slowly (J = so) Ryan Fraley (ASCAP) II. Balance: Horkstow Grange slowly (J
Intonation: Harvest Hymn Slowly (J = so) Ryan Fraley (ASCAP) II. Balance: Horkstow Grange slowly (J
Intonation: Harvest Hymn Slowly (J = so) Ryan Fraley (ASCAP) II. Balance: Horkstow Grange slowly (J
II. Balance: Horkstow Grange
II. Balance: Horkstow Grange
slowly (J = 60)
slowly (J = 60)
Fraley (ASCAP) II. Balance: Horkstow Grange slowly (J = 60) 14 15 Q 2005 Ryan Fraley
Fraley (ASCAP) II. Balance: Horkstow Grange slowly (J = 60) 14 15 Q 2005 Ryan Fraley
Fraley (ASCAP) II. Balance: Horkstow Grange slowly (J = 60) 14 15 Q 2005 Ryan Fraley
14 15 Q 2005 Ryan Fraley All rlghls reserved www.ryanhaley.com
14
15
Q 2005 Ryan Fraley
All rlghls reserved
www.ryanhaley.com
Three Worm-up Chorales Flute 2 - Page 2
Three Worm-up Chorales
Flute 2 - Page 2
Ill. Expression: Irish Tune
Ill. Expression: Irish Tune
Expressively (J = 60)
Expressively (J = 60)
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References
References

References

Circle of 4ths & 5ths
Circle of 4ths & 5ths
lvla ior I(e\rs C G [Isharp) - F [Iflat) I FJ Bb (2flats) / D
lvla ior I(e\rs
C
G [Isharp)
-
F [Iflat)
I
FJ
Bb (2flats)
/
D (2 sharps)
.
1'
'q 1's
Eb,flats)#
:
lidinor Keys
gflat -
A (3sharps)
4
I
Ab (4 flats)
b flat
".! kJ '-, e flat
I
I
Db (5 flats]
Cb (7 flats)
C#(7sharps)
F#(6sharps)
Gb '(6flats)
Sight Reading Below are strategies you need to lalonl about sight reading ~iiusic.First tlkilg you
Sight Reading
Sight Reading
Below are strategies you need to lalonl about sight reading ~iiusic.First tlkilg you need to
Below are strategies you need to lalonl about
sight reading ~iiusic.First
tlkilg you need to lciiov\,is that the music that urill be placed in front of you
may be a11y type oflll~lsic.TVhet11e1-it is a n~arcl~,fanfare, overture, or
prelude you lilost likely will have never seen this.
1. 2.
1.
2.

Enter tlie room q~~ietlyand orderly. The judge's first inlpression is how you enter the room. Once you aIe settled into your seat, you vilill place your music ~mdemeathyour chak. Sight reading niusic will then be distributed. Do not remo17ethe music until you are insb-ucted by the adjudicator. You will have 3 min~~testo discuss and study the march. All questions about rlqrthrn, keys, or anything will happen at ths time.

3.
3.
4.
4.
a. The first thing you look at is the KEY SIGNATURE! b. Second is TIME
a. The first thing you look at is the KEY SIGNATURE!
b. Second is TIME SIGNATURE
c. Afrer that you look for repeat sips, kej7 signature changes, time
signakre changes, DS a1 Coda's, Coda signs, etc.
d. As a group we can count aloud, sizzle, and tap feet.
e. 'T70UMAY NOT PLAY
INSTRUMENT
5. You will then be given a one minute umning until the down beat. 6.
5. You will then be given a one minute umning until the down beat.
6. You will be given 5 minutes to discuss the Overture and then repeat

all steps in #I When done you will place music back in folder and wait patiently for directions.

7.
7.
and then repeat all steps in #I When done you will place music back in folder
Articulation Patterns
Articulation Patterns
Articulation Patterns

Flute

Articulation Drill
Articulation Drill
Eddie Green
Eddie Green
F l u t e Articulation Drill Eddie Green
F l u t e Articulation Drill Eddie Green
F l u t e Articulation Drill Eddie Green
?ra particular nc 3te, press the colored keys or levers in the drawing above the
?ra particular nc 3te, press the colored keys or levers in the drawing
above the note. T 'helow (
# keys zare not fiound onI the picc mlo.