Winning Woodwinds!: Beginning Band Method Book Supplement For: Flute
Winning Woodwinds!: Beginning Band Method Book Supplement For: Flute
Winning Woodwinds!: Beginning Band Method Book Supplement For: Flute
Woodwinds!
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WINNING WOODWINDS
Table of Contents
Introduction................................................................................................... 2
Reading Rhythms.....................................................................................23-24
Works Cited............................................................................................45-46
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WINNING WOODWINDS: FLUTE PAGE 2
Recommended items:
• A metronome (a small device that you set to click and/or blink at a
regular rate to make sure you don’t speed up or slow down when you
play. ) If you don't own a metronome, a free one is available online at
www.metronomeonline.com
• A chromatic tuner (a small device that will tell you what note you are
playing, and if the pitch is accurate.) If you don’t own a metronome
but you have a computer with a microphone, a free chromatic tuner is
available online at www.seventhstring.com/tuner/tuner.html
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PAGE 3 WINNING WOODWINDS: FLUTE
Before we start learning how to play our instrument, we need to first start to de-
velop proper posture. Correct posture isn’t just about looking professional
while you play—it helps you breathe better. This is important, since you have
chosen to play a wind instrument!
Imagine a garden hose that’s turned on full blast. If you bend the hose, the flow
of water will slow down or stop altogether. When you hunch over, you are put-
ting a “kink” in your airway, which makes it more difficult to breathe in and out.
Seated Posture
1. Sit on the front edge of your chair with your feet flat on the floor and spread
shoulder width apart. Your weight should be distributed far enough forward
that you can stand straight up without having to shift your weight first.
2. Push your spine slightly forward towards your navel until you are sitting up-
right and tall.
3. Make sure your shoulders, arms and neck stay relaxed. You should be com-
fortable enough to sit in this position for quite a while.
Yes! No!
Yes! Yes!
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WINNING WOODWINDS: FLUTE PAGE 4
You may look at this section and think, “What do I need to learn about
breathing? I’ve managed to live on this earth for years and have successfully
inhaled and exhaled enough to still be here today!”
Playing a musical instrument requires you to use more air than you would
normally use when you’re just sitting around having a conversation with friends.
It also means that you have to learn how to control the rate and speed of the air
that you use.
Developing good posture will help allow you to breathe in large amounts of air
quickly.
Breathing Technique
1. Start by laying on the floor, flat on your back, with one hand on your stomach
and the other hand on your upper chest. Relax and breathe naturally for a
few minutes. You should notice that, when your body is relaxed, your
abdomen expands first, and then your chest does when you inhale. As you
exhale, your chest deflates first, then your abdomen.
2. Sit in your chair (while demonstrating proper posture.) Relax your shoulders
and try to inhale and exhale in the same way that you did while you were
lying on the floor—filling your lungs all the way to the bottom first, then up to
your chest before exhaling. Try and expand your ribs outwards until you feel
like they can’t expand any more before exhaling. If you are breathing
properly and expanding your lungs, your shoulders should not move very
much as you inhale and exhale.
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PAGE 5 WINNING WOODWINDS: FLUTE
Checkpoint: Think about saying the word “OH” when you inhale and “HO” when
you exhale. If you are breathing correctly, you should feel cold air in your throat
when you inhale and you should be able to blow warm air onto the palm of your
hand when you exhale.
3. When you play a musical instrument, you need to be able to inhale so that
your lungs are full in a short amount of time. Try the following exercise to
help you breathe in more quickly:
• Turn your metronome on to 60 beats per minute (mm=60)
• Inhale for 4 beats, then exhale for four beats; make sure that the air is
either constantly moving in or out; you should never stop and “hold”
your breath in this exercise.
• Inhale the same amount of air over the course of 3 beats and exhale
over the course of 5 beats. You may need to add pressure from your
stomach muscles to keep the air moving as you exhale. (Imagine
blowing out a birthday cake with 1,000 candles on it—you’ll use those
same muscles!)
• Inhale for 2 beats and exhale for 6; then inhale for 1 beat and exhale
for 8.
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WINNING WOODWINDS: FLUTE PAGE 6
Before you get started, ask your music teacher to help you put a mark on your
case to help you identify which side is the TOP and which side is the BOTTOM.
(As a general rules, the latches flip UP to open on most cases.)
Put your instrument case on the floor and open the latches. Always leave your
case on the floor—if you attempt to assemble your instrument with your case on
your lap, you could drop it!
When you open your case, this is what you should see:
Barrel
Rod
For right now, all you will need to get started is the head joint. Take it out of the
case, then close and latch your case and leave it on the floor.
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PAGE 7 WINNING WOODWINDS: FLUTE
“Embouchure” (pronounced AHM-buh-shur) is the term for the way you form
your lips and facial muscles in order to play a wind instrument. The term comes
from the French word bouche (pronounced boosh) which means “mouth.”
Step 1: Spitting Rice (Note: It’s probably best to do this activity outside.)
• Sit or stand up straight. If you are standing, your weight should be
distributed evenly over both legs, you should be standing tall (pushing
your spine slightly towards your belly button), your shoulders and
head should be relaxed and balanced.
• Put a single grain of rice in between the center of your lips.
• Look straight ahead and use your tongue to try and launch (spit) the
piece of rice off of your top of your lip at a 45 degree angle away from
your body. Your tongue should touch the spot where your upper teeth
and your upper lip meet.
• Practice this several times until you can do it consistently.
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WINNING WOODWINDS: FLUTE PAGE 8
keep your corners in place. There should still be space between your
molars (your back teeth.)
• While saying “see,” add the word “sue,” and then the word
“too” (exhaling at a 45 degree angle, just
like you did when you were spitting rice.)
• Watch yourself in the mirror and practice
saying “See Sue Too” several times over.
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No squished shoulders!
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Now that you understand the basic principles of forming your embouchure, here
are a couple of exercises to help you keep it strong.
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PAGE 11 WINNING WOODWINDS: FLUTE
Sometimes, even when you think you’ve done everything right, you still don’t
sound exactly like you’re supposed to. Here’s a short guide to help you identify
common problems with sound production—and suggestions on how to fix them.
No Tone, • You may be directing your air across the hole instead of into it.
Rushing Air: • Make sure the lip plate is firmly against your chin, look straight
No sound comes out ahead and visualize blowing the air down into the embouchure
when you play, just hole instead of across it.
the sound of air • If you’re still having trouble, put your instrument down and try spit-
rushing through ting rice off of your top lip, aiming at a target on the floor 45 de-
your instrument. grees away from you—then go back to playing the head joint
again.
Some Sound, • You are “splitting the tone”—that is, air is rushing over as well as
Much Air into the hole and out the sides of the lips.
You are able to pro- • Be sure you are maintaining the “see” part of the embouchure.
duce a sound on • Practice the “one chopstick” exercise, then reset the “See-Sue-
your instrument, but Too” embouchure and try again.
it still sounds very
airy.
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High –Pitched • You’re blowing much harder than you need to. Try blowing less
Whistle forcefully and more directly in to the hole.
Your sound is very • Your head joint may be rolled in too far, causing the hole to be cov-
high pitched and ered too much. Roll the head joint out and place your right thumb
may squeal on the back side of your flute to help prevent your flute from rolling
backwards.
Flat sounding • Check to make sure the cork in the crown of the head joint is ad-
pitch (A) on the justed properly.
head joint • If the cork is adjusted correctly, Your head joint is rolled too far in
towards your body, so too much of the embouchure hole is cov-
ered.
• Roll the head joint out and place your right thumb on the back side
of your flute to help prevent your flute from rolling backwards.
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PAGE 13 WINNING WOODWINDS: FLUTE
Barrel
Rod
Instrument Assembly
1. Put your instrument case on the floor and open the latches. Always leave
your case on the floor—if you attempt to assemble your instrument with your
case on your lap, you could drop it!
2. Pick up the HEAD JOINT of your flute with one hand. Hold it in between the
tenon and the lip plate. Pick up the BODY of your flute with your other hand.
Be sure to hold it by the barrel (the part of the body where there are no
keys.)
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WINNING WOODWINDS: FLUTE PAGE 14
3. Insert the head joint tenon into the barrel of the body
joint with one smooth twisting motion. The head joint
should not be pushed all the way in—leave about 1/4” of
the head joint tenon showing. Line up the center of the
embouchure hole with the second key on the body of the
flute.
4. Continue holding the body of the flute by the barrel, then pick up the FOOT
JOINT with your other hand—hold it on the end where there are no keys. Use
one smooth, slightly twisting motion, insert the tenon on the body into the
foot joint near the E-flat key. Line up the rod on the foot joint with the center
of the last key (next to the tenon) on the body.
Take your instrument apart in the opposite order from the way you assembled
it—take the head joint off of the body, put the head joint in the case, then untwist
the body from the foot. When you put the body in the case, be sure that the A-
flat key points to the center of the case.
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PAGE 15 WINNING WOODWINDS: FLUTE
There are three major concerns when it comes to caring for an instrument.
Remove the cleaning rod and cloth from your case. For your cleaning cloth,
you can use a handkerchief or a long, narrow strip of cloth cut from an old t-
shirt. Wooden or plastic cleaning rods are the best—metal cleaning rods can
scratch the inside of your flute if you’re not careful.
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Thread the corner of the cleaning cloth through the eyelet (like threading a
needle.) Cover the top of the cleaning rod with the cloth, then gently twist
the cloth around the rod until the entire cleaning rod is covered by the cloth.
Pass the swab through the flute one section at a time—first through the head,
then through the body and foot , swabbing in the direction that the air passes
through the instrument (from the barrel to the body to the end.)
It’s also a good idea to wipe down the outside of your flute with a cleaning
cloth before putting the instrument away.
• You see a screw sticking really far out. (Note: The screws on
your instrument are precisely adjusted to make your flute work.
If you think a screw needs tightening, take it to a professional.
Unless you or your parent know what they’re doing, you could
cause serious damage to your instrument if you attempt to “fix”
the flute yourself!)
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PAGE 17 WINNING WOODWINDS: FLUTE
Playing with correct hand position will allow you to play faster notes with greater
ease and will help avoid playing-related injuries later on in your playing career.
In order to make it easier to get started holding your flute, this section will focus
on teaching one hand at a time.
Left hand:
Middle Finger
(place this first!) Thumb
Be sure to maintain a relaxed “C” shape in your hand and a straight wrist. Your
thumb should point up to the sky on the thumb lever (see picture.) Once your
thumb is in the correct position, add the ring finger and pinky finger on the next
two keys. Finally, place your index finger on the second key away before the
middle finger (leaving an empty key in between your index and middle fingers.)
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Right hand:
Pinky Finger
Thumb
(place this first!)
(Underneath)
Next, put your right hand pinky on the E-flat key on the foot joint (seen in the
diagram above.) Your ring finger goes on the last key of the body joint, the mid-
dle finger before that, and the index finger before that. Your right hand thumb
should rest on the body of the flute just underneath your index finger.
Now that you’re holding your flute properly, it should balance in four places:
• Your “snuggle spot” against your chin (not allowing the head joint to move)
• The base of your left hand index finger (pulling slightly towards you)
If you are holding your flute at these four balance points, your instrument should
feel very secure. If you ask a partner (teacher, parent, or friend) to try and pull
your head joint away from you, they should not be able to pull it away (just like
when you were using your head joint alone.)
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PAGE 19 WINNING WOODWINDS: FLUTE
Now that you understand how to hold your instrument, it is going to take some
time to become familiar enough with the it that you won’t have to look down and
think about exactly where each of your fingers is supposed to go before you
play. This is called developing “muscle memory.”
For the first week you have your instrument, set aside 30-60 minutes of time in
the evening—while you are watching TV, listening to music, talking to a friend,
or any other activity you can do without the use of your hands.
Assemble your instrument and find a seat where you can get comfortable. Start
by placing your left thumb and index finger in their appropriate location on the
instrument. Spend 5-10 minutes lifting and lowering your index finger
repeatedly (“wiggling”). After 5 or 10 minutes (or, if you’re watching TV, at the
next commercial break), start wiggling your second finger up and down. Repeat
this with each finger of your left hand. Then, repeat this with the fingers in your
right hand. Don’t forget to wiggle your left thumb too!
By “wiggling” your fingers one at a time, you fingers will start remembering
where they’re supposed to go without having to think about it. Through the
course of the week, you should start to be able to pick up your instrument and
place your fingers without even having to think about it—which leaves your
brain free to think about other things (like notes, rhythms, and which fingers
you’re supposed to put down to play a particular note.)
As you learn new notes, practice “wiggling” the fingering to help you develop
muscle memory for each of the notes you learn.
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Here is an easy process to figure out how to place your instrument. Like with fin-
ger-wiggling, the more you do this, the less you will have to think about it.
1. Imagine you are standing in the center of a clock face with your feet
shoulder width apart. Point your left foot towards 12 o’clock on the
clock face and your right foot towards 3 o’clock. Align your hips and
your body so that they are at a 45 degree angle (facing between 1 and
2 o’clock on the clock face.)
2. Hold your flute properly and bring it up to nose level. When you de-
press the left hand pinky key, you will notice that it opens a tone hole
on the back of the flute; this is your A-flat key. Move your entire flute
so that the center of the A-flat key is touching the tip of your nose.
3. Move the flute away from your body by 6-inches with both hands. (Use
a ruler the first time you do this!)
4. Without moving your flute, turn your head to the left so that it faces the
same direction as your left foot (towards 12 o’clock on the clock face.)
5. Slowly push your right hand forward and left hand back to rotate your
flute around like it was a propeller until the lip plate lines up with the
“snuggle spot” on your chin. You should now have the “perfect” play-
ing position!
6. Next, try to re-create the same position while seated. Instead of start-
ing standing with your hips pointing at a 45-degree angle, face your
chair at a 45-degree angle and it down. Then repeat steps 2-5 to de-
velop seated posture.
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PAGE 21 WINNING WOODWINDS: FLUTE
Before you learn to start making sound on your instrument, it’s important to be
familiar with the symbols of music.
Clef:
The symbol placed at the left
of the staff which tells us
which notes go on which
lines of the staff.
Your instrument reads
`444 Staff:
The set of five lines and
four spaces upon which
music is written.
Each line and space of the staff has a name that corresponds to a letter of the
alphabet. Only the first seven letters of the alphabet (A through G) are used in
reading music. After G, the letters repeat—so our musical alphabet goes A, B,
C, D, E, F, G, A, B, C, D, E, F, G, etc.
The notes that go on the spaces of the staff can be remembered by stacking the
letters of the word FACE. (Remember: SPACE rhymes with FACE.)
`4u6o6[6\4 C
A
F
The notes that go on the lines of the staff can be remembered by the saying
Every Good Boy Deserves Fudge. The first letter of each word can be stacked
to give you the notes which go on the lines of the staff.
`5y6i6p6]6a6 D
B
G
E
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WINNING WOODWINDS: FLUTE PAGE 22
When you put both sayings together, the lines and spaces alternate to reveal
pieces of our musical alphabet. (And remember: Our musical alphabet starts at A
and ends at G—then we repeat the same letters over again!)
`5y6u6i6o6p6[6]6\6a6
E F G A B C D E F
Our musical alphabet can be extended above and below the staff using ledger
lines. We continue alternating the pattern of lines and spaces to name addi-
tional notes.
Notes above the staff continue the pattern of lines and spaces by
adding letters going forward in the alphabet.
Example: the top line is F, so the next space up would be G,
the line above that is A, etc.
`qwertyuiop[]\asdfg
G A B C D E F G A B C D E F G A B C
To figure out which note comes next below the staff, start from the bot-
tom line of the staff (first line E), and count backwards in the alphabet.
Example: the bottom line is E, so the space below that is D, and the line
below that is C, etc.
Congratulations! You can now figure out any treble clef note name on, above,
or below the staff! The next step is to be able to look at a note and recognize it
immediately (without having to count up and down.) Use the flash cards at the
end of this book to help you practice reading notes faster.
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PAGE 23 WINNING WOODWINDS: FLUTE
When do I play?
Now that you can read the notes on the staff, read a fingering chart, and produce
a good quality tone on your instrument, it’s time to learn the terms and symbols
that tell you when and for how long you will play.
Beat
Put the first two fingers of your right hand on the front side of your neck (near
your voice box)—you’ll be able to feel your heartbeat or pulse. Sometimes our
heart beats fast (like after you’ve been running) and sometimes it beats slow
(like when you’re drifting off to sleep), but it is almost always steady. Music has
a steady pulse that we call beat.
Rhythm
While the underlying beat of music is always the same, we have different sym-
bols which determine for how many beats each note should be played.
The four most common symbols that tell us how long to play a note are as fol-
lows:
w h q e
Whole note Half note Quarter note Eighth note
These symbols can be mixed and matched into varying patterns in music; the or-
ganization of note lengths in time is called rhythm.
Young musicians often use the terms beat and rhythm interchangeably—but they
actually mean different things. Remember: beat is always steady; rhythm can
(and often does) change.
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WINNING WOODWINDS: FLUTE PAGE 24
Learning how long each note value lasts in relation to another is a lot like using
fractions in math.
In math,
In music,
q q
h ee
w h q
ee
ee
ee
q
When we add numbers in math, we know that if 1+1 equals 2 and 2 + 3 = 5, then
1 + 1 + 3 also equals 5. (This is known as the transitive property in case your
math teacher ever asks.)
Applying the same rhythmic equivalencies above (1 whole note = two half notes
= 4 quarter notes, etc.), we can come up with any number of rhythmic
combinations that equal one whole note:
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PAGE 25 WINNING WOODWINDS: FLUTE
Time Signatures
While the last example grouped rhythms by whole notes, it’s actually possible to
group them in any number of ways. But how do you know how beats and
rhythms are grouped in your music?
When you are reading a piece of music, to the right of the clef sign, you will find
two numbers stacked on top of each other like this:
These symbols are called time signatures. They tell us how our notes will be
grouped in our music. These groups are called measures.
As a young musician, the most common time signature you will see is called
“four-four”. The top number tells us how many beats are in each measure. The
bottom number tells us what type of note equals one beat. Think of the bottom
number like the denominator of a fraction—if the bottom number is a 4, think of
the fraction 3. Another name for that fraction is a “quarter”—so if the bottom
number of the time signature is 4, then we are counting in quarter notes.
4
The time signature 4 then means that there are 4 quarter note (q) beats in
every measure. Rhythms will always need to “add up” so that they are equal to 4
quarter notes in each measure.
Beat: q q q q q q q q q q q q q q q q
Rhythm This is one measure of music. This is a bar line. It separates This is a double bar line.
measures of music. It tells us when to stop.
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There are endless possibilities for the time signatures you can play. The only
limitation is that the bottom number has to relate to one of our possible note
values (1 = whole notes, 2 = half notes, 4 = quarter note, 8 = eighth notes, etc.)
Examples:
The bottom number is 8, so think 7; this means that an eighth note (e)
equals one beat.
This time signature means there are 6 eighth notes in each measure.
The bottom number is 4, so think 3; this means that a quarter note (q)
equals one beat.
This time signature means there are 3 quarter notes in each measure.
Rests
In addition to the symbols that tell us when we should play, there are also
symbols which tell us when we should leave silence in the music—these symbols
are called rests. The most common rests are as follows:
0 9 Ô Ò
Whole rest Half rest Quarter rest Eighth rest
As the names would imply, a whole rest takes up the same number of beats as a
whole note, a half rest equals the same number of beats as a half note, etc. Thus,
when “adding” the number of beats in a measure, rests count for just as much
time as their “note” equivalent.
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PAGE 27 WINNING WOODWINDS: FLUTE
Now that you’ve learned the basic skills of music reading and tone production,
let’s put them all together!
4
G
1. 4
`56i5-5605-5i5-5605-5i5-5605-5i5-5605-=
Play—2—3—4 off—2—3—4 Play—2—3—4 off—2—3—4 Play—2—3—4 off—2—3—4 Play—2—3—4 off—2—3—4
• Set up your instrument, sit with good posture, and hold your instrument in
playing position.
• Look at the music! What is your time signature? What does it mean?
• What’s your first note? What’s the fingering? Do your notes change in the
piece?
• If you are not working with a teacher at the moment, it may be helpful to turn
on your chromatic tuner. (Make sure it is set to “C” so the correct notes show
up for your instrument!) The tuner will help make sure you’re playing the
correct pitch.
• Here we go! Think “1-2-3-breathe” then play through the exercise! Hold
each whole note for 4 beats, then don’t play (rest) for 4 beats during each
whole rest. You should be thinking:
Play—2—3—4—Off—2—3—4breathe—Play—2—3—4—Off—2—3—4breathe
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WINNING WOODWINDS: FLUTE PAGE 28
Great! Now that you’ve got that first exercise down, here are a few more! Be sure
to watch ! the music carefully—sometimes the notes change!
4
4
`56o5-5605-5o5-5605-5o5-5605-5o5-5605-=
A
2.
AXSdfgnhnjKl,
4 !
3. 4
`56i5-5605-5i5-5605-5o5-5605-5o5-5605-=
!
4
4. 4
`56o5-5605-5i5-5605-5o5-5605-5i5-5605-=
Articulation
Now that you’ve played through your first exercises, go back and play them again
one more time. This time, think about articulation, or tonguing. Starting a note with
just your air works okay for these whole notes. However, as you play quicker
rhythms (quarter and eighth notes), your notes will sound airy and imprecise unless
you start them by using your tongue.
Say the word “too” by touching the very tip of your tongue against the bottom of
your upper teeth. You should have a crisp, clean attack. Now put your mouthpiece
only up to your lips. Form your embouchure, take a big breath, and say “too” at
the exact same time you start blowing to produce a sound. You should hear a much
cleaner attack as long as the sound starts with your tongue (not your lips.)
Now try blowing out one long note (exhaling the whole time)—then break up the
note by saying “too” at may different places.
Finally, go back and play through the first four exercises, starting each whole note
with the word “too” so each note has a crisp, clear attack.
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PAGE 29 WINNING WOODWINDS: FLUTE
4
4
`56p5-5605-5p5-5605-5p5-5605-5p5-5605-=
B
5.
AXsdfgnhnjKl,
As you start playing notes which require putting fewer fingers down, make sure
you are holding your head joint firmly in your “snuggle spot” on your chin.
Pulling your left hand toward you will help keep your head joint in place. The
more securely you hold on to your head joint against your chin, the easier it will
be to play notes with fewer fingers (because you won’t be afraid you’ll drop
your flute!)
Ask your teacher, a parent, or a friend to try pulling your head joint away from
your “snuggle spot”—if they can’t pull it away, then you’re doing a great job! If
it moves, then pull your left hand a little closer to you while you play (but be
careful that you don’t start “clenching” your hands over the keys!)
4
4
`56[5-5605-5[5-5605-5[5-5605-5[5-5605-=
C
6.
AzsdfgnhnjKl,
!
4
7. 4
`56[5-5605-5p5-5605-5[5-5605-5p5-5605-=
4
!
8. 4
`56i5-5605-5o5-5605-5p5-5605-5[5-5605-=
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WINNING WOODWINDS: FLUTE PAGE 30
!
4
9. 4
`56[5-5605-5p5-5605-5o5-5605-5i5-5605-=
4
10. 4
`56i5-5605-5o5-5605-5p5-5605-5i5-5605-=
4
11. 4
`56[5-5605-5o5-5605-5p5-5605-5i5-5605-=
The next note you’re going to learn is high G. High G is fingered open like low
G, but you will blow faster air (like you’re blowing through a coffee stirrer
instead of a regular straw) to get the higher pitch. Try to stay relaxed when you
play, even on this higher note. Use a tuner to help you check to make sure
you’re playing the right pitch.
4
G
12. 4
`56s5-5605-5s5-5605-5s5-5605-5s5-5605-=
AXSDfgnhnjKl,
Now that you can play your G an octave higher, let’s try playing all four of your
first notes up an octave! Remember, a small aperture and fast air is the key to
hitting higher notes!
G A B C
4
13. 4
`56s5-5605-5d5-5605-5f5-5605-5g5-5605-=
AXSDfgnhnjKl, AXSdfgnhnjKl, AXsdfgnhnjKl, AzsdfgnhnjKl,
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PAGE 31 WINNING WOODWINDS: FLUTE
Take a breath after each whole note if you need to. Be sure to speed up your
air for the second note of each pair, and don’t forget to articulate!
4
14. `5i6-5o6-56p5-5605-5s6-56d5-5f6-5g5-=
4
4
15. 4
`556i6-5s6-5605-5o6-5d6-5605-5p6-56f5-=
Remember, half notes get 2 beats in 4/4 time. Don’t change the way you con-
stantly blow air when you play from any whole note exercises—just separate
the notes by lightly tonguing where appropriate.
4
16. 4
`56xx-6o-5605-vv5-6[6-5605-..-5i6-=
4
17. 4
`56..-5d6-5605-~~-6g6-5605-6/~-6s-=
4
18. 4
`56xv-6cb-5606-.~-/!-5606-~.-6i-=
4
19. 4
`5x.-c/-v~-6g-!b-~v-/c-6i6-=
Now that you have a better understanding of how to produce a good tone,
read music, and read a fingering chart, you have all of the tools you need to
teach yourself many of the songs and exercises you will find in your band
method book. The rest of the materials in this book will help you
strengthen the skills you have already learned.
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WINNING WOODWINDS: FLUTE PAGE 32
This chart shows both preferred and alternate fingerings for the flute. When
more than one fingering is shown, the first is the most common.
Every instrument has a few notes that don’t sound quite in tune when they are
played. The chart below will show you the pitch tendencies for those notes—that
is, if a note tends to be a little sharp (too high) or flat (too low.) If you adjust the
pitch on those notes, you’ll sound even better faster!
Each of the shapes in the fingering chart correspond to a key on the flute.
azsdfgnhnjkl,
In the chart on the next two pages, if a key is filled in (like this: A) it means you
should push that key down. If a key is open (like this: a) it means that key stays
up.
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WINNING WOODWINDS: FLUTE PAGE 36
Cut out the flash cards on the following pages and use the “Reading Notes in
Treble Clef” section (pages 21-22) and your fingering chart to fill in the note
name and fingering on the back of each card. Use them to quiz yourself until you
can instantly identify both the name and the fingering for each note!
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WINNING WOODWINDS: FLUTE PAGE 38
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WINNING WOODWINDS: FLUTE PAGE 40
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WINNING WOODWINDS: FLUTE PAGE 42
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WINNING WOODWINDS: FLUTE PAGE 44
Acknowledgements
Many thanks to all of the people who worked with me to make this project possible.
Special thanks go to:
• The ABC Clinicians and Conductors for sharing their knowledge and wisdom—
much of which had a direct impact on this product.
• The students who volunteered to come in during their summer vacation to
participate in this project, and their parents for providing permission for their
participation. Thank you, Isabelle Keneally, Fiona Farley, Carolyn Grahn, Izaak
Grant, and Mateo Lauron.
• My fellow ABC candidates who offered guidance, suggestions, and
encouragement during the process of completing this project and my colleague,
Denny d’Alelio, for his guidance on bassoon.
About the Author
Catrina Tangchittsumran-Stumpf is entering her seventh year as the director of
bands at Thomas Jefferson Middle School in Arlington, Virginia,
where she oversees the Symphonic Band, Concert Bands,
Beginning Band, and Jazz Ensemble. She has served as the
Elective Team Leader since 2007 and is a member of the
International Baccalaureate Steering Team. As of the 2010-2011
school year, she has been appointed the Secondary Instrumental
Music Lead Teacher for Arlington Public Schools and will also
serve on the Arlington Public Schools Secondary School Grading
Committee.
Ms. Tangchittsumran-Stumpf holds a Bachelor of Music in Music
Education from James Madison University, and is pending completion of a Master of
Music in Conducting from the American Band College of Sam Houston State
University. Her primary instrument is flute, on which she performs regularly with
the Fairfax Wind Symphony. She is certified to teach Instrumental Music (grades k-
12) in the State of Virginia and has completed Level 3 assessment training for the
International Baccalaureate Middle Years Program.
In addition to her position as the Band Director at Jefferson Middle School, Ms.
Tangchittsumran-Stumpf serves as the Color Guard and Marching & Maneuvering
Instructor for the Wakefield High School Marching Warriors. She is the Manager for
the Arlington Junior Honors Band & Orchestra for Grades 4-6.
Ms. Tangchittsumran-Stumpf is a member of the Music Educators National
Conference, the Virginia Music Educators Association, the Virginia Band &
Orchestra Directors Association, and the Women Band Directors International.
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PAGE 45 WINNING WOODWINDS: FLUTE
American Band College. The American Band College Summer 2008 Notebook.
Ashland, OR: ABC, 2008.
- - - The American Band College Summer 2009 Notebook. Ashland, OR: ABC,
2009.
- - - The American Band College Summer 2010 Notebook. Ashland, OR: ABC,
2010.
Chapa, Ray. Clarinet Clinic. American Band College, Ashland, OR. 1-2 July
2010.
Dinkins, Bruce. Clarinet Clinic. American Band College, Ashland, OR. 24 June
2008.
Durran, Daryl. Bassoon Clinic. American Band College, Ashland, OR. 29 June
2009.
Gedigian, Marianne. Flute Clinic. American Band College, Ashland, OR. 1-2
July 2008.
George, Patricia. Flute Clinic. American Band College, Ashland, OR. 23-24
June 2010.
Pilafian, Sam and Patrick Sheridan. The Breathing Gym. Mesa, AZ: Focus On
Music, 2007.
Rachor, David. Bassoon Clinic. American Band College, Ashland, OR. 29 June-1
July 2010.
American Band College Master's Degree Project • More info on ABC @ www.bandworld.org • scottmckee@bandworld.org • (541) 778-4880
WINNING WOODWINDS: FLUTE PAGE 46
Spring, Robert. Clarinet Clinic, American Band College, Ashland, OR. 1-2 July
2009.
Walker, Jim. Flute Clinic. American Band College, Ashland, OR. 2-3 July 2009.
American Band College Master's Degree Project • More info on ABC @ www.bandworld.org • scottmckee@bandworld.org • (541) 778-4880