BHS BAND WARMUP PACKET FLUTE

Fingering Chart 1ntonation Tendencies ,..,,,,.,.,,...,.,,,,,..,,..,,,.,,, 2Long-tones 4Circle of Fifths 5Articulation 6Flexibility/Technique 8Scales 13Chorales 18“Need to Know” 24

Theory 25

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Pitch Tendencies & Aijtiiients5 sharpF flatV very112H = ha’f-hole

Flute (Notes not addressed aregenerally acceptable)

Use righthand 2ndfinger 10

replace right0 lU .1r(t

Use lowC# (RP2)in place ofLb (RPI)

Add right hand3rd finger and uselow C4 (RP2) toreplace Lb (RPI)

Use thumb, Li andL3 of left hand. RT1,RT2 and RP1 of righthand Many alternatesexIst Experiment onyour instrument

Use all 4 Use all 4

fingers of of cli, Ileft hand, 3 and Clt & half ise athole 2nd of righlright hand(No Ot nob for citherl

PitchTendency F S VS F F F

Adjustment Direct air Add 3rd finger Add all 3 fingers of Add 101) right l/2H 3rd finger Add lower rightflow upwards of left hand and right hand or use hand trill key of right hand hand trill kcv RT2

direct air down low C# fingering, 1/2 open RTIDirect air down

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F S VS F S F

1/211 riithl Add 3rd finger Add all 3 fingers /211 left Do not Lise Use ba C’I (RP2)hand I St finger of left hand of right hunid, hand 3rd finger Ph key RPI in place of Ph (RP 1

Dtrect air down Direct air down

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Note Could he high Note Could he highor low depending on or low depending on

instrument instrument.S F S F S S F

Add 2nd & 3rdlinger of

right hand

page 9

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page 8

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ELrifc0l0i Play diatonically from top line F up to Bb three or four times. Tune the Bb 8 cents

sharp. (Note: Bb on piccolo is not always the most centered note. If you find this to be true, tune to lop line

F playing up from 3rd space C three or four times. Again tune approximately 8 cents sharp.) Be aware that

many piccolo and flute players tune with more air than needed. This pushes te pitch up considerably. Play

with what Emory Remmington called “a conversational breath. This will give you a more accurate reading.

Be aware of the head joint and its adjustment, as this has a severe influence on the pitch. (Not& Bb above

the staff should be well centered. Use frequent checks to see if this note stays constant.)

Oboe: Beingaware of the problems that the reed and instrument present, itis still imperative that we become

consistent in our approach to tuning. Play diatonically from 1st space F up to 3rd line Bb three or four times.

The Bb should be slightly sharp. Then play diatonically from 3rd line Bb up to F three or four times. The

F, especially the fork fingering, will be slightly sharp. if you use the regular fingering for top line F, the pitch

will tend to be flat, (Note: A reed of approx. 70mm is recommended to achieve the desired pitch without

squeezing.) Constantly check 2nd space A and A above the staff as this is the most centered note on the horn.

Bassoon: The instrument, reed and bocal have a great deal to do with the pitch of this instrument. Check

the 2nd line Bb and 4th line F, playing to both of them diatonically from below three or four times. If these

notes are not close to the required pitch immediately work with the bocals (size 00 to 4 from small to large

or sharp to flat) and the reed lengths. The reed should be 2l/8’ overall and a #2 bocal on a good instrument

should work best. Also be aware of the distance the reed fits on to the bocal. Too much or too li tile will cause

the instrument to play far enough Out of tune so that accurate tuning will he impossible. Ills important to

note that choosing a qualified student, instru ment, reed and bocal will tend to make the pitch problems

less frustrating for you and your double reed players.

larinj Check 2nd line G and adjust the barrel (approx. 1/8 inch). Then check low C. If it is sharp, adjustthe middle joint. Finally check 3rd space C. If this note is also sharp, adjust the bell. (Note If this adjustmentfurther flattens low E then disregard.) Once this is completed, play up to each note, diatonically, three or

four times to insure consistency. (Note: Most student clarinets are built sharp. This is why it is imperative

to secure an accurate reading on 2nd line G first.)

Aiip..apdBari Sax: First check 2nd line G. It should be very close to the centered pitch. Second check

G above the staff. This note should register slightly sharp. Play up to these notes diatonically, from D, three

or four times. (Note: Top line F sharp is the best note to check for zero tolerance.)

Inor...S.j Follow the same procedure as alto sax. Second line G should be almost perfect and G above

the staff should be sharp. (Note: 3rd line B is the best note to check for zero tolerance.)

It is again noted that the quality of the instrument, reed, ligature and mouthpiece play a very

important part in the successful development of acceptable intonation.

page 5

Flute Baldwin Band Standard Warm-ups 4Overlap

Long Tones

Ahing! Separate

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Player 1 Player 2 Player 1II

Player 2 Player 3

6 [çoncert Paynter

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13 B-flat Paynter (Descending)

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19 D Paynter (Descending) F Paynter (Ascending)

Fr F IF F IF iiFF FhF1FF1FifF II25 Paynter (Skips)

L’ F F F “F I F F ii

(c minor)

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Appendix

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D

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33Legato/Staccato , etc.

35 Eight and 2 Sixteenths 2 Sixteenths and an eighth

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37 Sixteenth Eighth Sixteenth Triplets

39 Triplets 1 & 3 Dotted Eighth Sixteenth

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41 Double Tonguing (“ta-k& or ‘da-ga)

Triple Tonguing (ta-ka-ta” or da-ga-da OR ta-ta-ka or da-da-ga)

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48 Add a note (etc. up & down scale)!

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Articulation

29 Legato (“doo )Flute

Staccato (dit) Accents (dab)

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Application Lxercises çirom MOUIIK auver uui), irie orrIpieLe’

Saxophonist. Gienmoore, PA: Northeastern Music Pub’ishers)

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BAND INFO — “NEED TO KNOW”

Strategies for SMART practice:

1. Play rhythms on one pitch first if difficult2. Look for patterns3. Play in a comfortable range first (down an octave?)4. Isolate one challenge at a time5. Work slow to fast (use a metronome)6. Build from the middle

Logical Steps to Effective Intonation

1. Listen for “beats”2. Make an adjustment; if beats get faster, try the opposite until the beats slow and

eventually disappear.3. If you have to pinch to make the beats stop, make your instrument shorter

4. If you have to relax to make the beats stop, make your instrument longer

5. When you hear no beats while playing with your normal embouchure you are in tune!

Ways and Steps to Listening1. If you hear yourself sticking out of the band’s sound you may be playing too loud. This is

BALANCE. See below for info on the Pyramid of Sound.2. If you adjust your volume and still stick out of the band’s sound, adjust your posture,

embouchure, and breath support to make your tone mesh better. This is BLEND. Think

of putting your sound “inside” other voices...e.g. Alto’s try to fit “inside” the horn sound;

Trumpets try to fit “inside” the tuba sound.3. If you adjust your volume and tone and still stick out of the band’s sound, you may be

out of tune. This is INTONATION (see above).4. Always listen down to the lowest instrument, to the people on either side of you, and to

yourself.

The Pyramid of Sound (BALANCE)

1. Higher voices are more easily heard than low voices; therefore to create a more

balanced sound, adjust all dynamics levels as follows.2. Low voices (tuba, low brass, tenor sax) should be strongest...play at or above the written

dynamic level3. Middle voices (alto, horn) are the next highest priority...play at or slightly below the

written dynamic level4. High voices (trumpets, flute, clarinet) should be least prominent...play one level below

the written dynamic level

Scale and Chord Related Theory

C natural minor scale (lower the 3rd, 6th, and

7th scale degrees a half step).

lnr-&. W H w w H w wF7\rir-i

C D E’ F G 8L cScale Perees 1 2 3 4 5 6 7 8

C melodic minor scale (ascending lower the 3rd and descending ‘ower the 7th, 6th,

and 3rd scale degrees a half step).

w H w w w w H w H w H w

IIriririr/\r-iri/\r-ir-i/\ii

_____

CDPFGABC BAGF EDCSruicDcrecs 1 2 3 4 5 6 7 8 7 6 S 4 3 2 1

From Bottom: From Bottom: From Bottom:

root-thlrd.fifth third-fifth-root fifth-root-third

A scale is a series of single notes which ascend or descend in a stepwise manner within the range of an octave.

Because scales are arranged in a stepwise mannei the note names will always be in alphabetical

The notes within scales have a specific whole step/half step

jffiryii g jonshi with each other,

C major scale (half steps are between scale degrees

3 - 4 and 7 - 8).

Intervals: W W W W W H

F ii I./’\I II II i/\

CDEFGABCScale Degrees: I 2 3 4 /15 6 ,,7” 7 8

Tonic Dominant Leading Tone

C harmonic minor scale (lower the 3rd and

6th scale degrees a half step).

Jntervalr W H w w + H H

CDEF GABCScale De’recs 1 2 3 4 5 6 7 8

Augmet€d & PimiIsbedC

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Intervals of the C major scale:

Major 2nd Major 3rd Perfect 4th Perfect 5th Major 6th Major 7th Perfect Octave

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C major triad (three note chord) in root position and inversions.

Root Position First Inversion Second inversion

Basic chord types constructed from C:

Essential Vocabulary: Major Minor Diminishediowrr third lower third & fifth

Interval - the distance between two notes

Half Step - the closest interval between two notes

Whole Step - an interval of two half steps Augmented Sus 4raise filth fourth reptac third

Third - the distance of two adjacent lines or two adjapaces

_______________________________

Scale Degree - a note’s classification according to its position in the scale

Tonic - the first note of a scale, the key-note from which the scale takes its name

Dominant - the fifth scale degree, chords built on this note are “dominant and normally resolve to the tonic

Teading Tone - the seventh scale degree, It Is one half step below tonic and its tendency is to “lead” or rise to the tonic

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