Andre Jones

MUS 524
Dr. A. Loewy
April 28, 2017
James Pappoutsakis
His artistry and inspired teaching
Transcribed, edited and annotated
By Nina Barwell

Chapter 1 Matching Tones

The exercises in this chapter are designed to help flutist strengthen each note in every
octave and develop good intonation practices.
The first, ex. 1a suggests practicing in half steps, starting on C above the staff and matching
it with the B natural (a half step below). The exercise is continued to the C below the staff
but Barwell recommends practicing this exercise an octave above the written starting pitch
to achieve strength and good intonation in that register as well.
Matching tones in two half steps in exercise 1b helps with consistency as it gives an
opportunity to match not one note in strength and intonation but two, and the tasks becomes
more difficult with each added note but will eventually strengthen the players ability to
have stability and good intonation through traveling between pitches.
The descending and ascending 7th chord exercises prove to be the most difficult next to the
half steps ascending and descending in three octaves in the chapter of matching pitches as
more notes are incorporated, the need for stability and good intonation increases and
dynamics such as decrescendos and crescendos are being demanded by each set of chords.
The half steps in octaves requires consistent air flow and is more productive with the use
of a tuner.
I find that stability in the hands, good posture and good support plays a great role in
achieving the demands of this chapter.

Chapter 2 Intervals and Pivot notes

This chapter uses a single pitch as the center from which it travels in a descending half step
pattern which is reversed after an octave to ascend.
The pattern is played with equal quarter notes starting on the C above the staff descending
a half step and returning to center pitch then descending to a half step lower.
The exercises varies to grace notes being used as center pitch in ex. 2f.
 The aim in this chapter is to maintain space in between molars, a relaxed jaw and air stream
that is directed down into the flute to produce a beautiful and rich tone.
The exercise is more effective to me when played slowly and as the book says, The
exercises are only useful if they are played with an open throat, a sound that is rich, full,
rounded and focused and has singing like quality.
The chapters aim as well as the first chapter, in my opinion are geared towards creating a
homogenous sound through out the three octaves of the flute.
This chapter urges flutists to cease all work when practicing and return to an exercise that
enables and supports beautiful sound should the quality of the tone begin to diminish.

Chapter 3 Lip Control

This chapter begins with an emphasis on the five finger exercises and clear instructions to
produce clear, focused and round tone quality.
Tension may arise from practicing these exercises and a good way to avoid this is to
practice with relaxed curved fingers, and gently apply pressure in each finger to avoid key
noises.
The same exercise should be play an octave higher in which the flutist should aim for
accuracy and ensure that the solid yet rich tone does not deteriorate from that of the lower
octave.
The chapter then introduces octave slurs and demands a beautiful lower note but later
demands that both lower and upper octaves be played with the same beautiful and
consistent sonority.
The octave slur is introduced again in the form of five finger exercise both slurred and
staccato. The more challenging and fun of the two however proved to be the staccato
because it required far more control as I pushed the tempo.
excellent air support will help to prevent tightening the lips this has been helpful to me
outside of this chapter. Excellent air support fixes more problems than you realize that you
have.

Chapter 4 Figures Consecutive passages and intervallic skip

This chapter aims at strengthening the fourth and fifth fingers in both hands as they tend to
be the weakest. Strengthening these fingers require slow and steady movements between
G, G# and A particularly in the second and third octaves of the flute.
Avoid fatigue in the fingers and never abuse the muscles in the hands as they may
eventually lead to temporary or permanent damage.
Slow, steady and consistent work is necessary to get the notes evenly expressed.
Practice down to the mid to low registers of the flute slowly and evenly and allow the
fingers to become familiar with the C, C# and B movements as they tend to be the more
neglected notes of the flute.
 The suggested piece for working on even fingers in this chapter is the Flight of the Bumble
Bee for two flutes. The first flute deal with the mid to upper register while the second part
deals mostly with the mid to lower register which proves to be more difficult than the first
part.

Chapter 5 Finger Technique

Practice trills in scalar mode, i.e. start a trill on every note of the scale and ensure that the
notes are even. Avoid getting excited on the easier trills as each set of trill should have an
equal number of notes. Consistency is key!
The book gives examples of practicing trills with grace notes as well as how to properly
incorporate them into the trill pattern with even notes in various octaves

Chapter 6 Scales for legato playing

Descending one octave scales are emphasized with a slight crescendo on the first note
and a last note that is held. This helps to ensure that the entire scale is done with a full
and rounded tone.
Descending scales are good for fixing weaker low register notes
Play scales such as F major in the ascending form with a held first and last note and
good intonation as before in the descending scale. This helps to strengthen the upper
register with a rich tone and promotes effortless playing.
Aim air stream down in the flute and keep a consistent intonation from beginning to
end of the legato scale whether it be an ascending or a descending.
Play loop scales to enhance the richness in the upper register and maintain effortless
feeing with good tone.
I find that the excerpt from the Undine sonata for flute and piano is a great practice
example as it should sound effortless yet rich and flowing when being performed
(Opinion)

Chapter 7 Freedom of intervals in the third register

Play triads in root position until the sit comfortably in the muscle memory then invert
the triad and allow the fingers to become comfortable with the intervallic movements.
Skip from the root to the fifth of the triad slowly and repeatedly. Avoid over working
the muscles.
This chapter implies the study of arpeggios and their inversions.
 Chapter 8 Articulation

All tonguing stems from the variations of the three basic flute strokes;
o Portamento A light tonguing action either between the notes or when starting
the note
o Marcato a very strongly accented attack
o Sautille a light bouncing staccato
When articulating, it is important to use a full stream of air that is rhythmically
interrupted by the tongue. A tongue that is well supported by air stream is crucial for
good articulation.
For single tonguing, practice the practice the HA exercise where you replace the
stroke of the tongue with the breathing muscles which separates the notes or projects
the attack on the notes. This keeps the air constant and consistent but also allows the
flutist be aware articulations.
After engaging the breathing muscles, use the tongue to articulate a TU syllable with
the same engagement of the breathing muscles to properly articulate in place of the
HA
The tongue should never be heard hitting the palate when articulating
Blow strongly and tongue lightly
For double tonguing, practice the syllable KU using the back of your tongue, after
strengthening the KU syllable, add the TU and practice them together TU-KU.
Practice slowly and incorporate the exercises into scales and aim to keep the strokes
consistent.
An extra KU syllable is added to the double tonguing to create the triple tonguing
technique. Playing a scale and articulating each note as a triplet is a useful method to
practice this technique.

Chapter 9 Intonation

Always listen to yourself with the intensity of the audience.

Play ascending 5ths in chromatic progressions with the lights off or with the eyes closed
to ensure that you are completely focused on listening to yourself.
Tuners are also very important but also aim to train the ears to more than the eyes as a
good intonation is vital.

Chapter 10 Vibrato
 Vibrato should be considered a tool that is natural in expressiveness as it comes
naturally through singing.
Vibrato should have a certain serenity and placidity to it.
The intensity of the vibrato is built on your expression and whatever ideas you
generate from analyzing the piece music to be performed.

Chapter 11 Dynamics

The dynamic markings are simply the composers way of illustrating the emotions on
a paper.
Both vibrato and dynamics are a part of a tones expressivity and should be used as
demanded by pieces

Chapter 12 Audition preparation

Practice orchestral excerpts in their entirety with complete accuracy.

Do not aim for only the famous excerpts but instead try to be well rounded and prepared
for whatever is thrown at you in an audition.
Practice a mock audition in a room by yourself and imagine you are on a stage in front
of a large audience.
Prepare yourself mentally to be prepared for a pleasant experience. Auditions should
not be fearsome as fear builds anxiety and anxiety tends to cause many problems in an
audition and or performance.
In your audition pieces and other materials, check for intonation, accurate notes and
rhythms, clear articulation and good tone quality.
After you have warmed up, go into an auditorium space when no one is present and
practice the orchestral excerpts from the Jeane Baxstresser book of orchestral excerpts
for flute and piccolo.

Chapter 13 Audition

Never take an audition unless you feel as though you are fully prepared and equipped
to win and hold the job should you win.
Be fully Prepared!!!
Show confidence when playing in front of an audition committee
 Play in time and play beautifully, but most importantly, play with good intonation.

Chapter 14 Sight reading

Do not rush when approaching a new piece of music for the first time.
Observe the piece, the key, the time signature and calmly approach the piece with
vibrato and an expressive and singing tone quality.
Read ahead of the music in an effort to prevent surprises and mistakes
It is important to practice sight reading as it is an important part of the training for
musicians
Find a partner to sight read duets with.. Those who practice sight reading tend to have
more fun with their music than those who do not.
Practice music sight reading music at the appropriate level to your skills and technique
Never redo a passage and ignore all mistakes made and play piece to the end.

Chapter 15 Lesson Preparation

Always turn up for your lessons on time and prepared.

Music must be completely prepared at the correct tempo
Have your music completed with mastery and artistry and listen to great artists play
this piece
Play the indicated dynamics, articulation and perform with good intonation.

Chapter 16 Practice methods

When learning new material, always approach the music at a slow tempo to ensure
minimum errors.
Use a metronome to lower the speed of your piece or passage and increase the speed of
the metronome after 3-5 repeats of the piece or passage by two clicks and repeat this
process until you have reach the desired performance tempo.
Change the written articulation constantly into variations of the original.
Play the passage of quarter note equals until the movement from one note to the next
is easy.
Always use a metronome!!!!
Andre Jones
MUS 524
Dr. A. Loewy
April 28, 2017

Denis Bouriakov
Concerto in D minor,Op. .47 I. Allegro Moderato

o The flutes entrance was very subtle and somewhat mysterious but eventually
opened up into a big and piercing sound.
o Virtuosic passages were executed with a full and well rounded sound that was not
only confident but entertaining.
o There was evenness in all registers, the lower register projected very clearly and
blended into the mid to third register of the flute without losing its integrity.
o Bouriakov articulated all his passages clearly
o The air stream was steady and constant throughout the performance
o The piano was equally soloistic in my opinion and
o I really enjoyed that long trill that was in tune and still musical performed as if it
were a piece by itself. The intensity of the trill gave me a sense of excitement

Concerto in D minor,Op. .47 II. Adagio

o This movement has a more reflective and sentimental tone.

o The flute opens up with a beautiful singing tone with just the right amount of
vibrato to help sell the mood of the piece.
o The piano solo remains soloistic as the flute rests for almost an entire minute
before returning with a beautiful legato phrase which develops into a faster more
legato phrase that climaxes to a trill supported by a good air stream. This trill ends
after soaring and suddenly relaxes then goes back into a smooth passage work that
is still very expressive and singing..

Concerto in D minor,Op. .47 III. Allegro, Ma Non Tanto

o The piece opens with and exciting piano introduction that sounds like galloping
horses from a western movie
 o The flute then joins the piano with galloping style rhythms that are very
embellished
o The piano continues to demonstrate its counter melody with galloping style
rhythm while the flute carries on with its melody. The piano sounds an ascending
movement that sounds like a mixture of chromatic and scalar movements in its
mid register while still offering support and the pulsating rhythm
o The flute demonstrates clear articulation in the virtuosic passing nearing the end
of the piece. The virtuosic passages included scalar runs, arppegiated patterns.

Sicilienne and Riguadon

o The piece opens with an early baroque like sicilienne with clear tone with very
controlled vibrato
o As the piece progressed, the piece sounded more virtuousic and the piano
supported with moving block chord patterns.
o The scale passages were all light and very precise. The double tonguing was
rather clean.
o Though passages were all clean and well expressed, the tongue could still be
heard articulating as Bouriakov articulated faster.
o The end of the piece was like the end of the phrases, light, bouncing and precise.

Chaconne, BWV 1004

o The piece began with a very open and warm tone.
o The lines I found were all well expressed.
o His tone in my opinion could use some color variation as I believe that his
baroque flute voice sounds very much like that of his classical especially when he
begins to playing the lower register of the flute.
o The technique is rather brilliant and clean
o The lower voice of his flute tends to have more weight or sound way stronger
than the upper registers but not in the instance where he is forced to do the
rushing motion of moving from the lower register of the flute up into the mid
register
Seranade Melancolique
o The piece open with a beautiful dotted eighth sixteenth rhythm in the piano after
which the flute enters with a rich and slightly darker tone that is open and
expressive.
o The flute then switches mood two minutes into the melancholy melody and starts
playing the same rhythmic pattern the flute open with but alternates between that
and another melody.
o The flute maintains a singing like quality throughout the entire piece
o Bouriakovs trills are all very convincing regardless of the key or the mood he
tries to portray. The trill this time leads into recap of the previous melody at a
 ritardando tempo and piano to pianissimo dynamic level that fades into the end of
the piece.

Introduction and Rondo Capriccioso, Op. 28

o The piece opened with a simple and repetitive melody that soon turned into
virtuosic passage work
o I really wish his tone colour was not the same for all his piece. I almost feel as
though I am listening to one long piece.
o The trills and embellishments are well articulated
o I know this has been pointed out before but his trills excite me, and this one where
he trills on varying dynamics and works his way back into the main melody was
quite masterful.
o I love the openness of his sound and the fact that his lower register proves to be
his strongest register and it always sings out.
o His ability to move from ebellishments in upper register and then into the depths
of his lower register fascinates me.
o The trade off of melody between the flue and piano was a good one as the flute
became the accompaniment but still being equally heard and balanced.
o The piece concluded with the demonstration of pure virtuosic passage work from
Bouriakov which was well articulated and clean with good dynamic.

Stephan Hoskuldsson

Introduction and Variations on Trockne Blumen from Die Schone

o His tone is warm but light in comparison to Bourikov who has a darker tone
o The opening of this piece is light and singing.
o the flutes sound got smaller as he ascended into the upper registers
o The virtuosic passages were all clear and well expressed
o The variation in which the flute became the accompaniment was beautifully done.
The flute was lightly accompanying but still at a moderate tempo

Flute Sonata op. 23 Lieberman

o Lento con Rubato was expressive and clear tone.
o You can tell he had a clear idea of what he wanted to express in this piece
o The vibrato was rather beautiful throughout this piece
o The Presto energico had very clear passage work in the upper register
o The octave jumps in the presto sounds effortless. He manipulates his air very well
 Flute sonata in D major Prokofiev
o He displays a mastery of the lower register that I did not hear before in the
previous pieces. Beautiful and singing.
o His ability to demand and display different tone colours seem to be one of his
better qualities as a flutist
o The tone in the moderato is absolute astounding. I love his bright tone. There are
times when I feel as though he should not be this light and bright in tone but then
there are times when it works so perfectly. He has a really good understanding of
Prokofiev.
o The Scherzzo sounded effortless.
o The virtuosic passage work seemed extremely easy for him as he performed.
o The Andante was in itself a beautiful work. His tapers on his lower register and
that one low D was excellently done.