MOLLY ALICIA BARTHFlutist

1225 University of OregonEugene, OR 97403-1225

W: 541-346-3790mbarth@uoregon.edu

FLUTE STUDIO HANDBOOKContents:

1. Undergraduate flute studio suggested repertoire A. Year One……………………………………………..p. 2B. Year Two……………………………………………..p. 4C. Year Three……………………………………………p. 6D. Year Four……………………………………………..p. 8E. Graduate and Doctoral……………………………...p. 10

2. General Studio Information …………………………………p. 15A. Reference BooksB. Studio Class Format C. Flute Practices Class FormatD. Instrumental Playing TestE. Recitals/PerformancesF. Expectations for Private Lessons/ GradingG. Make-up Policy for Lessons/ Make-up Extra Credit

3. Chamber Music Suggestions ……………………………….p. 224. Words of Wisdom ………………………………………….....p. 265. Practice Session Advice ……………………………………..p. 266. Mid-term Assessment Sheet …………………………………p. 277. Flute Pedagogy Handbook ……………………..……………p. 288. Anderson Etudes- Variations…………………………..….....p. 35

*Note: When purchasing sheet music, it is good to look for the least-edited publication, especially when purchasing music of Bach or Mozart (Barenreiter, Henle, and Kalmus are often good)

Recommended music houses:Flute World: (248) 855-0410, www.fluteworld.comCarolyn Nussbaum Music: 1-(877) FLUTE4U, www.flute4u.com

Document created with the assistance of University of Oregon Graduate Students: Emily McPherson, Tara Schwab, Celine Thackston

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UNDERGRADUATE FLUTE STUDIO SUGGESTED REPERTOIRE:Each year all Undergraduate students refer to the same list, regardless of class year.

YEAR ONE

Etudes: Anderson, C.J.- 24 Studies for Flute Solo, Op. 33 (with my variations)Donjon- 8 Etudes de SalonBoehm, Theobald- 24 Caprices, Op. 26Karg-Elert,Sigfrid- 30 Caprices, Op. 107 Filas, Thomas- Top Register Studies for the Flute

Technique:Debost, Michel- The Scale Game (to be provided by Professor Barth)Reichert, M.A.- 7 Daily Exercises, Op. 5Taffanel/Gaubert- 17 Big Daily Exercises

Unaccompanied: Berio, Luciano- SequenzaBozza, Eugene- Image Carter, Elliott- Scrivo in VentoKarg-Elert, Singfrid- Sonata AppasionataGranados, Marco- “La Bella y…El Terco”Hindemith, Paul- Acht StuckeHonegger, Arthur- Danse de la ChevreHoover, Katherine- Reflections Telemann, G.P.- 12 Fantasies

Concertos and Solos w/ Orchestra:Bach, J.S.- Suite in b minorBoccherini- DM Flute ConcertoGriffes, Charles- PoemMozart, W.A.- Concerto in G Major Nielsen, Carl- ConcertoQuantz, J.J.- Concerto in G MajorVivaldi, Antonio- Piccolo Concerto in C Major, RV 443

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Solos w/ Piano Accompaniment:Bach, J.S.- Sonatas Boehm, Theobald- ElegyBorne, F.- “Carmen” FantasyCopland, Aaron- DuoDutilleux, Henri- SonatineHindemith, Paul- SonataPiston, Walter- SonataPoulenc, Francis- SonataTelemann, G.P.- Sonata in F Major for piccoloFlute Music by French Composers

Orchestral Excerpts:

Flute:Bartok- Concerto for OrchestraBeethoven- Symphony No. 7Bizet- L’Arlesienne Suite No. 2Dvorak- Symphony No. 4 in G MajorMendelssohn- Italian Symphony, 4th movementProkofieff- Classical SymphonyRavel- Daphnis et Chloe- Suite No. 2Strauss, R.- Till EulenspiegelTchaikovsky- Symphony No. 4

Piccolo:Ippolitov-Ivanov- Caucasian Sketches, Procession of the SardarProkofieff, S.- Lieutenant KijeRavel, Maurice- Mother Goose SuiteRossini- la Gazza Ladra OvertureShostakovich- Symphony No. 5

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YEAR TWO

Etudes: Anderson, C.J.- 24 Studies for Flute Solo, Op. 30Bitsch, Marcel- Douze EtudesDemersseman, Jules- 50 Melodic StudiesMoyse, Marcel- 25 Melodic Studies Technique:Debost, Michel- The Scale GameDick, Robert- Tone Development through Extended TechniquesKujala, Walfrid- Orchestral Techniques for flute and piccoloMoyse, Marcel- Tone Development through InterpretationTaffanel/Gaubert- 17 Big Daily Exercises

Unaccompanied: Bach, C.P.E.- Sonata in a minor for flute soloBozza, Eugene- PhorbeiaDebussy, Claude- SyrinxIbert, Jaques- Piece Telemann, G.P.- 12 Fantasies Varese, Edgard- Density 21.5

Concertos and Solos w/Orchestra:Bach, C.P.E.- Concerto in d minorCorigliano, John- VoyageJolivet, A.- ConcertoMartin, Frank- BalladeMozart, W.A.- Concerto in D MajorMozart, W.A.- Concerto in C Major for flute and harpVivaldi, Antonio- Concerto in g minor, “La Notte”

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Solos w/ Piano Accompaniment:Bach, J.S.- SonatasBarber, Samuel- Canzone Bartok, Bela- Suite Paysanne HongroiseBoehm, Theobald- Nel Cor Piu Non Mi Sento, Thema und Variationen Demersseman, J.- Grand Air VarieDonjon- ElegieHasse, J.A.- Sonata in d minorHue, Georges- FantasieProkofieff, Serge- SonataSchubert, Franz- Sonata in a minor, “Arpeggione”Schumann, Robert- Three Romances, Op. 94Vivaldi, Antonio- Sonata No. 4, 5, or 6Widor, C.- Suite Op. 34Flute Music by French Composers

Orchestral Excerpts:

Flute:Beethoven, Symphony No. 4Bizet- Carmen Suite No. 1, IntermezzoBrahms- Symphony No. 4, 4th movement soloMendelssohn- Scherzo from a Midsummer Night’s DreamProkofieff- Peter and the WolfStravinsky, Igor- Petrouchka (1947 revised version)Strauss- Don Juan

Piccolo:Bartok- Concerto for OrchestraBerlioz- Damnation of Faust, Menuet des FolletsDvorak- Carnival OvertureShostakovich- Symphony No. 8Shostakovich, Symphony No. 10

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YEAR THREE

Etudes: Anderson, C.J.- 24 Studies for Flute Solo, op. 21Casterede, Jacques- Douze Etudes for fluteFurstenau, A.B.- 24 Etudes for Flute, Op. 125JeanJean, Paul- Etudes Modernes for flute

Technique:Berbiguier- 18 Exercises or EtudesDebost, Michel- The Scale GameMoyse, Marcel- Exercices JournaliersTaffanel/Gaubert- 17 Big Daily Exercises

Unaccompanied: Bach, J.S.- Partita in a minor Charke, Derek- WARNING! Gustnadoes Ahead (with electronics)Dick, Robert- LookoutFukushima, Kazuo- Mei Hayden, Paul- A Tre Higdon, Jennifer- rapid fire Marais, Marin- Les Folies d'EspagneMuczynski, Robert- 3 Preludes, Op. 18Telemann, G.P.- 12 Fantasies

Concertos and Solos w/ Orchestra: Foss, Lukas- Renaissance ConcertoHansen, Howard- SerenadeIbert, Jacques- ConcertoMozart, W.A.- Concerto in G MajorRivier, Jean- Concerto Stamitz, Carl- Concerto in g minorVivaldi, Antonio- Piccolo Concerto in C Major, RV 444

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Solos w/ Piano Accompaniment:Bach, J.S.- SonatasBoehm, Theobald- Grand PolonaiseBriccialdi, G.- Il Carnevale di Venezia, op. 78Casella, Alfred- Sicilienne et BurlesqueDemersseman, J.- Sixth Solo de ConcertHoover, Katherine- Medival SuitesMartinu, Bohuslav- SonataMessiaen, Oliver- Le Merle NoirMozart, W.A.- Andante and RondoMuczynski, R- SonataMusgrave, Thea- Piccolo Play in Homage to Couperine, piccolo and pianoRoussel, Albert- Joueurs de Flute, Quatre piecesSaint-Saens, Camille- OdeletteFlute Music by French Composers

Orchestral Excerpts:

Flute:Beethoven- “Eroica” Symphony No. 3, 4th movementBrahms, J.- Symphony No. 2Debussy- Afternoon of a FaunHindemith- Symphonic MetamorphosisOrff, Carl- Carmina Burana, movements 6 and 9 (also 2 and 3, for ensemble)Rimsky-Korsakov- ScheherezadeSaint-Saens- Voliere from Carnival of the AnimalsStrauss, R.- Salome, Dance of the 7 VeilsStravinsky- Song of the Nightingale

Piccolo:Bartok- Roumanian Dances, No. 3 Pe LocBeethoven- Symphony No. 9Ravel- Daphnis et Chloe- Suite No. 2Rossini- Semiramide OvertureStravinsky, Igor- Firebird

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YEAR FOUR

Etudes: Andersen, C.J.- 24 Studies, Op. 15 (also piccolo)Bozza- Etudes ArabesquesDamase- 24 Studies for fluteMoyse, Marcel- 24 Small Melodic StudiesOffermans, Wil- For the Contemporary Flutist- 12 Studies for the flute

Technique:Debost, Michel- The Scale GameMoyse, Marcel- De La SonoriteTaffanel/Gaubert- 17 Big Daily ExercisesWye, Trevor- Piccolo Practice Book

Unaccompanied: Clarke, Ian- Zoom TubeColquhoun, Michael- CharangaHoover, Katherine- KokopeliJolivet, Andre- Cinq IncantationsLa Montaine, J- SonataLieberman, Lowell- SoliloquyTakemitsu, Toru- ItinerantTelemann, G.P.- 12 Fantasies

Concertos and Solos w/ Orchestra:Gordeli, Otar- Flute Concerto, Op. 8Jacob, Gordon- Concerto for flute and string orchestraKennan, Kent- Night SoliloquyKhachaturian, A- ConcertoLiebermann, L- Piccolo ConcertoMozart, W.A.- Concerto in D MajorTower, Joan- ConcertoVivaldi, Antonio- Piccolo Concerto in A Minor, RV 445

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Solos w/ Piano Accompaniment:Bach, J.S.- SonatasBach, C.P.E.- Hamburger Sonata in G MajorBoehm, Theobald- Swiss Air, Brilliant Variations, Op. 20Burton, Eldin- SonatinaChristensen, James- Piccolo EspagnolHosokawa, Toshio- LiedJolivet, Andre- Chant de LinosLiebermann, Lowell- SonataRachmaninoff, S.- Vocalise, op. 34, No. 14Reinecke, Carl- Sonata, Undine, Op. 167Sancan, Pierre- SonatineTaktakishvili- SonataTelemann, G.P.- Suite in a minorFlute Music by French Composers

Orchestral excerpts:

Flute:Beethoven- Leonore Overture No. 3Brahms- Symphony No. 1Britten- Young People’s Guide (both flute parts)Mendelssohn, Felix- “Scottish” Symphony No. 3Ravel, Maurice- BoleroRimsky-Korsakov- Capriccio EspagnolRossini- William Tell OvertureStrauss- Sinfonia DomesticaStravinsky- Firebird Suite

Piccolo:Ravel, Maurice- BoleroRossini- The Thieving Magpie OvertureShostakovich- Symphony No. 9Tchaikovsky- Symphony No. 4

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GRADUATE AND DOCTORAL FLUTE STUDIO SUGGESTED REPERTOIRE Students will be expected to fill in any major holes in repertoire missed during previous studies. Reference to the above undergraduate repertoire list will sort out any missing pieces. In addition, the following repertoire is suggested, and pursuing an area of specialization is encouraged.

Etudes:Anderson- 24 Grand Studies for the flute, Op. 60Anderson- 24 Technical Etudes, Op. 63Bach, J.S.- Flute Obbligatos from the CantatasColquhoun- 9 Etudes for the Contemporary FlutistDamase- 24 Etudes pour FluteDeLorenzo- 12 Etudes for Flute Dick, Robert- Flying Lessons, Six Contemporary Concert EtudesGenzmer, Harald- Neuzeitliche etudes fur Flote (vol 1 and 2)Gilbert, Geoffrey- Technical Flexibility for FlutistsLefkoff, Gerald- 20 Rhythmic EtudesPaganini, N- 24 Caprice, Op.1Piazzola- Tango EtudesRobison, Paula- Flute Warmups BookWood, Daniel- Studies for Facilitating the Execution of the Upper Notes

Technique:Dick, Robert- Tone Development through Extended TechniquesDick, Robert- Circular Breathing for the FlutistEden, Danielle- Piccolo! Piccolo! (2 volume series)Moyse, Marcel- 20 Exercises and StudiesMoyse, Marcel- 48 Studies of Virtuosity, vol. 1 and 2Wye, Trevor- Practice Book #6

Unaccompanied:Aitken- IciclesAitken- PlainsongArnold, M.- Fantasy for Solo FluteBielawa, Lisa- Gargoyles (2009)Brown, Elizabeth- Trillium (1999)Cage John- Solo for flute, alto flute and piccoloCrawford-Seeger, Ruth- Diaphonic Suite No. 1 for solo fluteDeLorenzo- Suite Mythologique, Op. 38Dick, Robert- AfterlightDick, Robert- Fish are Jumping (1999)Dick, Robert- Flames Must not Encircle SidesDuBois, Pierre Max- Incantation et Danse pour flute seuleFeld, Jindrich- Erinnung an MozartFeld, Jindrich- Fantasie- VariationsFeld, Jindrich- Introduction, Toccata et Fugue

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Feld, Jindrich- KontrasteFerneyhough, Brian- Cassandra’s Dream SongFukushima, Kazuo- RequiemGandolfi, Michael- Three Pieces for Solo FluteGlass, P.- Arabesque in MemoriamGubaidulina, Sophia- Sonatina for flute (1978)Herchert, Jorg- Komposition for flute solo I/IIHoover, Katherine- Winter Spirits (1997)Ittzes, Gergely- Multiphonique Sound PoemsIttzes, Gergely -Just a Tube (5 Etudes)Jolivet, Andre- AscesesJolivet, Andre- Cinq Incantations (1938)Knussen, Oliver- MasksLaBerge- Rollin’Lang, David- ThornLavista, Mario- Lamento for solo bass flute Lavista, Mario- Nocturno for solo alto flute Liebermann, L.- SoliloquyMeltzer, Harold- RumorsNyman, Michael- Yamamoto Perpetuo for solo flute (2008)Part, Arvo- EstlanderRan,Shulamit- East WindRands, Bernard- Memo 4Rzewski, Frederic- MollitudeSaariaho, Kaija- Couleurs du Vent for solo alto fluteSaariaho, Kaija- Dolce Tormento for solo piccoloSaariaho, Kaija- Laconisme de l’aileSavage, John- Impromptu for solo flute (2009)Scelsi, Giacinto- Pwyll (1954)Sciarrino, Salvatore- L’Opera per FlautoStockhausen- numerous solo flute pieces availableSuzuki, Kotoka- Little SuiteThomas, Augusta Read- KarumiTakemitsu, Toru- Voice

Flute with electronics:Ayers, Lydia- Time’s Graffiti: Lucky Calligraphy (2006)Brown, Elizabeth- Arcana (2004)Casale, Emanuele- Studio 2b, alto flute Clarke, Ian- TRKsColquhoun, M.- Duplicity, for flute and digital delayDavidovsky, Mario- Synchronisms, No. 1Dai Fujikura, Dai- Poison Mushroom Dick, Robert- everyone@universe.existenceDu Yun- Run in a Graveyard- bass flute and electronicsGuzman, Edgar- Prometeo y Epimeteo

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Kreiger, Arthur- Close Encounters (1997)Musgrave, Thea- Narcissus for solo flute and digital delay (1987)Reich, Steve- Vermont Counterpoint (1982)Saariaho, Kaija- Laconisme de l’aileSaariaho, Kaija- NoaNoaSuzuki, Kotoka- Slipstream

Concertos and Solos w/ Orchestra:Aitken, Robert- Concerto for Flute and String Orchestra (Shadows V)Amlin, Martin- Concerto for piccolo and orchestra (1999)Anderson, Joachim- Moto Perpetuo for piccolo and orchestraBach, C.P.E.- Concerto in D MajorBach, J.S.- Brandenburg Concertos Nos. 2, 4, and 5Boehm, Theobald- Concerto in G Major, op. 1Boulez, Pierre- …explosante-fixeBresnick, Martin- Pan Penseroso (2009)Corigliano, John- Flute ConcertoDavies, Peter Maxwell- Temenos, with Mermaids and Angels (1999)Davies, Peter Maxwell- Strathclyde Concerto No. 6 (1994)Denisov, Edison- Flute Concerto (1975)Ewazen, Eric- Concerto for flute and chamber orchestra (1988)Feld, Jindrich- Flute Concerto (1954)Feld, Jindrich- Fantasie Concertante for flute, string orchestra and perc.(1980)Godard- Flute ConcertoGould, Morton- Concerto for flute and orchestra (1985)Graf, Friedrich Hartmann – Flute Concerto in DGubaidulian, Sophia- "The Deceitful Face of Hope and of Despair"Harbison, John- Flute Concerto (1995)Hetu, Jacques- Concerto, Op. 51Laderman, Ezra- Concerto for flute and orchestra (1987)Liebermann, Lowell- Concerto, op. 39 (1992)Ligeti, G- Double Concerto, for flute, oboe and orchestraLuening, Otto- Concertino for flute and chamber orchestra (1969)Penderecki, Krzysztof- Flute Concerto (1992) Pergolesi, Giovanni Battista – Concerti in G/DPiston, W- Concerto for Flute and Orchestra (1971)Reinecke, Carl- flute concerto, op. 283Ritchie, Anthony- Flute ConcertoRodrigo, J.- Fantasie para un GentilhombreRodrigo, J-Concierto pastoral, for flute and orchestra (1978)Rorem, Ned- Flute ConcertoRouse, Christopher- Concerto for flute Saariaho, Kaija- Aile du songeSchmidt, Heather- Flute Concerto (2003)Schuller, Gunther- Concerto for Flute (1988)Sheng, Bright- Flute Moon

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Sierra, Roberto- Concierto Caribe (1993)Vahi, Peeter- Chant of the Celestial Lake, tone poem/flute & chamber orchestraVerhey, Theodoor- Flute Concerto in D MinorVivaldi, Antonio- Piccolo Concerto in A MinorWagner, Melinda- Concerto for Flute, Strings and Percussion Zwilich, Ellen Taaffe- Concerto for flute and orchestra (1991)

Solos w/ Piano Accompaniment:Amlin, Martin- Sonata for flute and piano (1987)Amlin, Martin- Sonata No. 2 for flute and piano (2004)Bacchus, Peter- Short Piece After Robert Dick Bach, C.P.E.- SonatasBaptiste, Ludwig Albert Friedrich – Flute SonatasBeaser, Robert- Variations for Flute and PianoBenda, Franz – Flute SonatasBliss, Marilyn- Rima for piccolo and pianoBoulenger, Lili- D’un Matin de PrintempsBoulez, Pierre- SonatineBunch, Kenji- Velocity (2006)Clarke, Ian- Orange DawnCorelli- 6 Sonatas, Op. 5Couperin- Concerts RoyauxDamase, Jean-Michel- Rhapsodie (1992)D’Rivera, Paquito- Fiddle DreamsD’Rivera, Paquito- Invitatcion al Danzon (2001)Feld, J- SonateFeld, J- Sonatine AmericaineFeld, J.- Quatre PiecesFoss, Lukas- Three American PiecesFranck, Cesar- SonataGubaidulina, Sophia-"Allegro Rustico" for flute and piano (1963)Gubaidulina, Sophia-"Sounds of the Forests" for flute and piano (1978)Harvey, Jonathan- NatarajaHoover, Katherine- Masks, Op. 56 (1998)Hoover, Katherine- Mountain and Mesa (2009)Hoover, Katherine- Two for Two (alto/bass flute with piano)Hotteterre- SuitesHyla, Lee- Warble (2008)Ibert, Jaques- Jeux (1923)Jolivet, Andre- Sonata for flute and piano (1958)Jongen, Joseph- Sonata for flute and piano, Op. 77 (1924)Kagel, M.- PhantasiestuckeKarg-Elert, Sigfrid- Sonata in Bb Major, Op. 121 (1918)Kirnberger, Johann Philipp- Flute Sonatas with figured bassKleinknecht, Jakob Friederich- Sonata in B minor Kuster, Kristin- Perpetual Noon

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LaBarre- Suite in G MajorLeClaire, Jean-Marie- Sonatas for flute and continuoLeon, Tania- Alma (2006)Messiaen, Olivier- Fantasie (originally for violin)Moravec, Paul- Nancye’s Song (2005)Mower, Mike- Deviations on The Carnival of Venice (2005)Murail, Tristan- Le Fou a pattes blues (1990)Müthel, Johann Gottfried- Sonata in D major Quantz, J.J.- Flute Sonatas Pierne, Gabriel- Sonate Op. 36Poulenc, Francis- Les chemins de l’amour (1940) Rochberg, George- Between Two Worlds, Five Images for Flute and PianoScelsi, Giacinto- Krishna e Radha (1986) Scheibe, Johann Adolph – 3 Sonatas for Harpsichord and Concertante FluteSchoenfeld, Paul- Slovakian Children’s Songs (1995)Schulhoff- SonataSchwantner, Joseph- Black AnemonesSchwantner, Joseph- Looking Back (2008)Schwantner, Joseph- SoaringSierra, R.- ErosSierra, Roberto- Sonata (2006)Sollberger, Harvey- Angel and StoneTilson Thomas, Michael- NotturnoTorke, Michael- SpriteDel Tredici, David- Acrostic Song from “Final Alice”Vine, Carl- SonataWolpe, Stefan- Piece in Two Parts for flute and pianoZielche, Hans Hinrick- Sonatas with basso continuoZyman, Samuel- Sonata

Piccolo (see also Concertos and Solos with Orchestra):Amlin, Martin- Sonata for piccolo and piano (1997)Amlin, Martin- Sonatina PiccolaDamare, Eugene- Le Merle BlancDaugherty, Michael- The High and the Mighty for piccolo and pianoDick, Robert- Gravity’s Ghost for solo piccoloGyongyosi, Levente- Sonata (2007) for piccolo and pianoLaMontaine, John- Sonata for piccolo and pianoMower, Mike- Sonata for piccolo and pianoPersichetti, Vincent- Parable for solo piccoloSchoenfield, Paul- Sonatina for piccolo and piano (2009)

Orchestral excerpts:Flute: Each year I will hold a mock flute audition, alternating among the positions of Principal Flute, Flute 2, and Flute 3/Piccolo. I will either take the list of an audition being held that year, or make up a list of my own. This mock audition

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will be mandatory for all graduate and doctoral students and voluntary for all undergraduate students.Piccolo: In addition to the undergraduate list, I suggest study of the works and studies included in “A Piccolo Practice Book” by Trevor Wye and Patricia Morris.

Orchestral Excerpt Books:

Jeanne Baxtresser: Orchestral Excerpts for FluteJeanne Baxtresser: Great Flute Duos from the Orchestral RepertoireBaldassarre Torchio: Passi Difficili e Solo per Flauto e Ottavino John Wion: Opera Excerpts for Flute, Volumes I-IXJohn Wummer: Orchestral Excerpts from the Symphonic Repertoire, Vol. I-IXTrevor Wye and Patricia Morris: The Orchestral Flute Practice Book 1 and 2 Trevor Wye: The Piccolo Practice Book

GENERAL STUDIO INFORMATION

Reference Books:Bate, Philip- The FluteBlakeman, Edward- Taffanel: Genius of the FluteBlanchard, Bonnie- Making Music and Enriching LivesBlanchard, Bonnie- Music for LifeBoehm, Theobald- The Flute and Flute PlayingBrown, Rachel- The Early FluteCopland, Aaron- What to Listen for in MusicDannreuther, E.- Musical OrnamentationDavis, Richard- Becoming an Orchestral MusicianDebost, Michel- The Simple Flute Delusse, Charles. L’Arte de la flute traversiere. Paris, 1761. Dolmetsch, Arnold- Interpretation of Music of the 17th and 18th CenturiesDonington, Robert- A Performer’s Guide to Baroque MusicDorgueille, Claude- The French Flute School 1860-1950Downes, Irene- Olin Downes on MusicFloyd, Angelita- The Gilbert Legacy Furstenau, Adolf Bernard. Floten-Schule Leipzig, 1826. Galway, James- Flute Garfield, Charles- Peak PerformanceGiannini, Tula- Great Flute Makers of FranceGippo, Jan- The Complete PiccoloGreen, Barry- The Inner Game of MusicHarby, Karla- Selected Flute Master ClassesHerszbaum, Nestor- Alternative Fingerings for the FluteHighstein, Ellen- Making Music in Looking Glass Land Hotteterre, J. (1968)- Rudiments of the flute, recorder & oboe (Principes de la flûte)Howell, T. (1974)- The avant-garde flute; A handbook for composers and flutists

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Krell, John- Kincaidiana Kujala, Walfrid- Orchestral techniques for flute and piccolo: An audition guide : an inside look at symphonic performance traditionDe Lorenzo, Leonardo- My Complete Story of the Flute Mather, Betty Band and Elizabeth A. Sadilek- JS Bach Partita in A minor with

Emphasis on the AllemandeMiller, Richard- On the Art of Singing Morris, G. (1991)- Flute technique Neuhaus, Margaret- The Baroque Flute Fingering Book, 2nd EditionNeumann, Frederick. Performance Practices of the Seventeenth and Eighteenth Centuries. Neumann, F.- Ornamentation in Baroque and Post-Baroque Playing Nicholson, Charles. A School for the Flute. Nyfenger, Thomas- Music and the Flute Papalos- Janice- The Performing Artist’s HandbookPellerite. James- A Modern Guide to Fingerings for the Flute Pellerite, J. J. (1978)- A handbook of literature for the flute: Compilation of graded method materials, solos, and ensemble music for flutesPhelan, James- The Complete Guide to the Flute and PiccoloPotter, Christine- Alto and Bass Flute Resource BookPowell, Ardal- The Flute Putnik, E. (1970)- The art of flute playingQuantz, J.J.- On Playing the FluteRistad, Eloise- A Soprano on Her HeadRockstro, P.- The Flute Sinclair, John (Ed.)- Flute Stories: 101 Inspirational Stories Stevens, Roger- Artistic Flute Technique and Study Toff, N. (1979)- The development of the modern fluteToff, Nancy- The Flute Book Tromlitz, Johann Georg. The Virtuoso Flute-Player. Vester, Frans- Flute Music of the 18th CenturyWeisberg, Arthur- The Art of Wind Playing Wilkins, W. (1974)- The index of flute music including the index of baroque trio sonatasWye, Trevor- Marcel Moyse, An Extraordinary ManYves-Artaud, Pierre- Present Day Flutes National Flute Association. (2001)- Selected flute repertoire: A graded guide for teachers and studentsThe New Harvard Dictionary of Music, ed. Don RandelFlute Talk MagazineThe Flutist’s Quarterly Magazine

Studio Class format: One weekly 50-minute performance class divided into 2 segments- 25 minutes each for 2 students to play and receive comments. Students are assigned pieces to play at the beginning of each term; each student will perform once or twice

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throughout the course of the term. Visiting artists will occasionally lead the class. Specific graduate student presentations/visiting artists/recital preparation will be a focus as well. Students should make every effort to attend all studio class sessions; grades will reflect attendance.

Lesson Credit/Attendance Policy:If you are registered for one-hour weekly lessons (4 credits), you must attend all studio/practices classes on Tuesdays and Thursdays. If you are registered to take lessons for ½ hour per week (2 credits), you must attend studio class on either Tuesday or Thursday.

Instrumental Playing Tests:An examination is to be conducted during the 9th week of studio class each term. The fall exam focuses on fundamentals; the winter exam focuses on etudes, and the spring exam focuses on memorization. All students listen to one another.

Flute Practices Class Format:These are some topics to be addressed during studies with Professor Barth. Approximate weekly schedule is subject to revision based on events in the area/visiting artists:

Michel Debost’s “Scale Game” Taffanel and Gaubert- precision is the key to successTime Management and Practice TechniquesPublic Speaking 101Improvisation Workshop The Business of Music- Resumes, Press KitThe Business of Music- Networking, Dealing with PresentersThe Business of Music- GrantsThe Business of Music- Internet Presence/ImageThe Business of Music- Artist ManagementThe Business of Music- TaxesThe Business of Music- Starting 501-C3/Non profit organization vs. partnershipExtended Techniques- Flutter Tongue and HarmonicsExtended Techniques- Sing/Play Extended Techniques- Whistle Tones and key clicksExtended Techniques- MultiphonicsExtended Techniques- Tongue ram and PizzicatoRobert Dick- Tone Development Through Extended TechniquesHow-to teach- Mock Lessons between studentsOrchestral Auditions Part One- PreparationOrchestral Auditions Part Two- Mock Preliminary AuditionOrchestral Auditions Part Three- Mock Finals RoundOrchestral Auditions Part Four- Trial WeekCommissioning new works- what to know-Composer/Flutist interaction

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Chamber Music Workshop Teaching Beginning FluteField trip to Oregon Symphony Collective compilation of area performance venuesCollective compilation of festivals for the flutistCollective Compilation of Chamber Music for the flutistBook Report10-second elevator speech”Chamber Music Workshop Flutist/Dancer interaction Mozart ConcertiBreathing for the flutistSelf-Presenting a ConcertFlutists/Electronics repertoireFlute/electronics studio interactionJob Search: Mock interviewStarting Chamber ensemble- what to knowAlexander TechniqueTeaching intermediate fluteFinding your niche- creativityMemorizationYoga for the MusicianProgramming a RecitalBaroque OrnamentationMarcel Moyse/Debost/Kincaid/Baker- Schools of flute playingDoctoral lecture prep (topic of DMA candidate’s choice)Flute-making, past and presentWorld flutes Flute Ensemble Fun!Flute sales representative visitTargeted Listening- Syrinx or otherYou are an entrepreneurExtended techniques- playing your flute like a shakuhachiThe history of the fluteCollective compilation of competitions for the flutistEmergency Flute RepairEntreprenurial assignment

Recitals/Performances:Music majors need to consult with me about specific plans (dates, repertoire) for required degree recitals. Each student performing a degree recital must play a pre-recital jury, in lieu of their end of the semester jury, at least four weeks prior to their recital date. At least one degree recital must include a work performed on the piccolo (the school owns a Resona piccolo: contact Rick Blake for rental information). A committee including Professor Barth, one woodwind faculty, and

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one other faculty member will hear selections from the complete program, with accompaniment. Students are responsible for organizing this panel and scheduling the jury based upon the availability of the committee. All non-majors are encouraged to give a solo recital during their last year of study. Ideally, each solo recital (for music majors and non-majors alike) will include in addition to solo works of his/her choosing, one chamber music piece and one piece commissioned for the event. Students are also encouraged to participate in chamber music and large ensembles offered within the university and community.

Juries:Students are required to take a jury examination at the end of each term. These juries will consist of a prepared solo or solos demonstrating the performer’s expressive and technical abilities as well as the applicable technical requirements. In all cases, if the works chosen require piano, the student must provide an accompanist. Level-up juries will consist of something similar to the following: two movements of a Bach sonata, a work from the book “Flute Music by French Composers” and a contemporary work for solo flute. At least one jury must be performed on the piccolo (the school owns a Resona piccolo: contact Rick Blake for rental information).

Expectations for Private Lessons:

1. Please bring all necessary materials: flute, pencil, tuner, metronome, Taffanel and Gaubert book, etude book, all pertinent solo and orchestral music. Please bring to each lesson, studio class, and practices class a binder or folder that will include handouts, this flute handbook, and blank pages on which to take notes and write weekly assignments. The purchase of a recording device is essential to your development- you are your own best critic, after all!

2. Preparation of weekly lesson: A) Scales, arpeggios, long tones, special exercises assigned during

the previous week.B) Etude, as requested the previous week.C) Solo repertoire, ideally to be chosen from the list provided at the

beginning of each year. If a pianist is to attend the lesson, the student should rehearse in advance all of or a section of the piece, as time allows.

D) Orchestral repertoire, if time allows.

3. Accompanists: Students should secure pianists as early as possible each term (if needed). Professor Barth must hear all accompanied material with piano at least one month prior to any public performance or jury.

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Grading and Performance Tracking System:Professor Barth will grade students based on timely and consistent attendance each week, adequate preparation on all private lesson components listed above, and on a general willingness to learn and to engage with Professor Barth and fellow students in a constructive and productive manner. Each Quarter, the Playing Tests will also be a factor at the time of grading. At each lesson, a grade is issued by Professor Barth, assessing preparedness and the progress made since the last lesson, and since the beginning of the year. If the student is not meeting expectations, a dialogue will ensue. Performances are encouraged so that students will receive feedback from other students and faculty. Grading for Flute Studio Class will be based on attendance, preparation, and participation; the grade will be affected if a student fails to attend more than one class or if the student does not complete weekly assignments.

Percentages weighted for each component of your flute studio work:

1. Lesson Grade= 50% Each lesson will receive a grade, based on the following: evaluation of student’s performance/preparation level during each lesson (including an assessment of the amount of material covered each term), successful procurement of all materials required for lessons, attendance/punctuality, and a general positive attitude and willingness to learn. I will grade each lesson, and calculate an average of the required 9 lessons. Any lesson that the student fails to attend without prior notice (whether regularly-scheduled, make-up, or with a substitute) will result in an F for that lesson.

General guidelines for grade assessment of each individual lesson:

A+ to A-:-punctual attendance-all requested materials prepared fully, up-to-tempo, with a variety of tone colors and dynamics, and with demonstrated study of the style/musical intent of the chosen works-student responds in a positive manner to the teacher’s comments

B+ to B-:-attendance within 5 minutes of lesson start-time-requested material 80-89% prepared-student responds in a positive manner to the teacher’s comments

C+ to C-:-tardy attendance- incomplete preparation of requested materials-student displays unresponsive/defensive behavior

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D:-tardy attendance-lack of preparation of requested materials-student displays unresponsive/defensive behavior

F:Student Fails to attend scheduled lesson (unless prior approval is issued from the teacher)

2. Studio Class/ Flute Practices Class= 40%

10%: an evaluation of student’s performance(s) during studio class (including an assessment of any class taught by a graduate student)10%: Instrumental Playing Test10%: completion of assignments10%: attendance/punctuality, active participation in offering constructive criticism to peers, responsibility demonstrated by bringing to class copies of studio performance pieces. Concert attendance: you are responsible for attending all flute degree recitals and at least two ensemble concerts per term.

3. Jury Grade = 10% Committee determines jury grade based on student’s performance.

Make-up Lesson Policy:Students with a contagious illness are required to STAY HOME. Bringing illness into studio class or private lessons is irresponsible and does no one any good. Professor Barth will reschedule no more than two missed lessons per term due to a student’s illness. Student cancellations due to an overloaded schedule or inadequate preparation will not be rescheduled, and will adversely impact the student’s grade. Extenuating circumstances will be evaluated as they arise. Please notify Professor Barth as far in advance as possible, by phone and email, if a lesson needs to be missed. Email: mbarth@uoregon.edu. Cell Phone: 541-556-7297.

Make-up Credit for Lessons/Studio/Practices Class:If you go to three professional classical or jazz performances on campus or elsewhere, and do the following (see below), I will consider those three attendances to compensate for one missed lesson, studio class, or practices class (above the permissible missed class, missed due to a reason other than illness). You can attend a student performance as well, which could offer an interesting point of comparison. These will be due on the last day of classes, each semester.

Provide me with, for each concert: 1. a copy of the program2. your ticket stub

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Write a 500-word report comparing/contrasting the concerts. Specifically, it would be good to talk about things like the conductor's methods of making the orchestra sound its best, or about the flutists/wind section (how they communicate, etc). Be detailed- I need to know that you actively listened to them and learned from the experience in order for this to count towards make-up credit.

CHAMBER MUSIC SUGGESTIONS- This list barely begins to list the array of works that exist. Students are strongly encouraged to independently research chamber music repertoire when planning performances.

Two Flutes:Aitken, Robert- Shadows IV: My Song for Two Flutes (1994)Amaya, Efrain- Path Ways (2009)Dorati, Antal- Sonata per AssisiFeld, Jindrich- Duo ConcertanteKuhlau, Friedrich- Flute duets, Op. 10, Op. 39, Op. 81, Op.102Takemitsu, Toru- Masque Incidental IITcherepnin, Alexander- Duo, Op. 108, and Prelude Nach Op. 24/3Telemann, G.P.- 6 Canonic Sonatas

Duets:Arma, Paul- DivertissementsBertino, U.- Dialogue of a Bear and Nightengale, piccolo and contrabassoonBoismortier, Joseph- Sonatas for two flutesCarter, Elliott- Enchanted Preludes for flute and celloCarter, Elliott- Esprit Rude/Esprit Doux for flute and clarinetDel Tredici, David- Acrostic Song from “Final Alice,” flute and harpDeSantis, Dennis- Breaking Training (2000) for flute and percussionEtezady, Roshanne- Smoke and Mirrors for flute and marimbaHarrison, Lou- Ariadne for flute and percussionHarrison, Lou- First Concerto for flute and percussionKlatzow, Peter- Figures in a Landscape for flute and marimbaKorde, Shirish- Lalit (2009) for flute and tablaLang, David- lend/lease (2008) for piccolo and wood blocksLiebermann, Lowell- Sonata for flute and harp, Op. 56 (1997)Lunsqui, Alexandre- Ligare for flute and percussionMusgrave, Thea- Impromptu No. 1 for flute and oboeMusgrave, Thea- Primavera for flute and sopranoNoda, Teruyuki- Eclogue for flute and percussion (1970)Offermans, Wil- Tsuru-No-sugomori for flute and guitarPiazzolla, Astor- Cuatro Estaciones Portenas for flute and guitarPiazzolla, Astor- L’Histoire du Tango, for flute and guitarSaint-Saens, Camille- Une Flute Invisible for soprano and flute Shankar, Ravi- L’aube enchantee, for flute and guitar Sierra, Roberto- Renadio for flute and guitar

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Sollberger, Harvey- Sunflowers, for flute and vibraphoneVilla Lobos, H.- Bachianas Brasileiras for flute and bassoonVilla Lobos, H.- Jet Whistle, for flute and celloVinao, Alejandro- Formas del Viento (2008) for flute and percussion

Trios:Arnold, Malcolm- Trio for flute, viola and bassoonBaksa, R.- ScenarioBeethoven- Serenade in D Major, op. 25 for flute, violin and violaBeethoven- Variations on “La ci darem la mano” (Don Giovanni)-flute, violin, violaCarter, Elliott- Esprit Rude/Esprit Doux II for flute, clarinet and marimbaChen Yi- Night Thoughts for flute, cello and pianoCrumb, George- Vox Balaenae for flute, cello and piano (amplified)Debussy, C.- Sonata for flute, viola and harpFeld, Jindrich- Trio for flute, clarinet and bassoonHoover, K.- Trio for FlutesLarson, Libby- Barn Dances (2004) for flute, clarinet and pianoLiebermann, Lowell- Night Music, Op. 109 (2009) for flute, clarinet and pianoLiebermann, Lowell- Trios No, 1 and 2 for flute, cello and pianoMullikin, David- La Chateau Gele for flute, violin and violaMusgrave, Thea- Taking TurnsRimsky-Korsakov, Nicolai- Flight of the Bumblebee for three flutesGubaidulina, Sophia- "The Garden of Joy and Sorrow" for flute, harp and viola Saariaho, Kaija- Cendres for alto flute, cello and pianoSaariaho, Kaija- New Gates for flute, viola and harp Silvestrov, Valentin- Trio for Flute, Trumpet and CelesteSirota, Robert- Birds of Paradise for flute, clarinet and pianoSollberger, Harvey- Divertimento, for flute, cello and pianoTcherepnin, Alexander- Trio for 3 flutes, Op. 59Takemitsu, Toru- And Then I Knew ‘twas Wind for flute, viola and harp

Quartets:Applebaum, Mark- Theme in Search of Variations IIIBacchus, Peter- Quartet for Diverse Flutes Bertholemieu, Marc - Chats Quartet for flutesBernstein, Leonard- Halil for flute, 2 percussionists, and pianoBozza, Eugene - Deux Equisses for four flutes - Jour d'ete a la montagneCarter, Elliott- Eight Etudes and a Fantasy for woodwind quartet Casterede Jacques – Flutes en vacances, Quartet for flutesCharke, Derek- Raga Cha for four flutesChen Yi- Qi, for flute, cello, piano and percussionCrumb, George- An Idyll for the Misbegotten, for flute and 3 percussionists Dahl, Ingolf - Quartet for FlutesDubois, Pierre Max - Quatuor for flutes Folio, C.- One for Four- flute quartetGianella, Luigi – Flute Quartet in G Major, Op. 52

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Gubaidulina, Sophia- Quartet for four flutes (1977) Higdon, Jennifer- Solitudes for four flutesHigdon, Jennifer- Steeley Pause for four flutesJeanjean, F.- Ski Symphonie Jongen, Joseph - Elegie for four flutesKuhlau, Friedrich- Grand Quartet in e minor, op. 103 for four flutesMcMichael, Catherine- A Gaelic Offering, for flute quartet or flute choirMower, M.- Fictions, Suite for 4 flutesMozart, W.A.- all 4 flute quartets (flute, violin, viola, cello)Ravel, Maurice- Chansons Madecasses for soprano, flute, cello and pianoSchwantner, Joseph- Silver Halo (2007) for 4 flutes and energy chimesTcherepnin, Alexander- Quartet for 4 flutes, Op. 60

Quintets:Agay, Denes- Five Easy Dances for wind quintet Agrell, Johan – Concerto in D for 5 instruments (flute, 2 violins, viola, bass) Barber, Samuel- Summer Music, op. 31, for wind quintetBerio, Luciano- Opus Zoo, for wind quintetBitsch- Wind QuintetBozza, E.- Scherzo,. Op. 48, for wind quintetBunch, Kenji- Shout Chorus (2006) for wind quintetChen Yi- Feng for wind quintetChen Yi- Woodwind QuintetCurrier, Sebastian- Static, for flute, clarinet, violin, cello and pianoDahl, Ingolf- Allegro and Arioso, for wind quintetDick, Robert- Gossip Cats are Dancing (1993) for flute quintetD’Rivera- Kites Over Havana for wind quintetD’Rivera, Paquito- Wapango for wind quintetDahl, Ingolf- Allegro and AriosoFine, Irving- Partita, for wind quintetGinastera, Alberto- Impresiones de la Puna for flute and string quartetGubaidulina, Sophia- "Galgenlieder à 5”, fourteen pieces for mezzo-soprano, flute, percussion, bayan and double-bass Hindemith, Paul- Kleine Kammermusik, op. 24, no. 2Harbison, John- Quintet for WindsHolst, Gustav, Wind Quintet in A flat, Op. 14Husa, Karl- Serenade for Wind QuintetIbert, Jacques- Trois Pieces BrevesKancheli, Giya- NINNA NANNA for flute and string quartetLavista, Mario- “cinco danzas breves” for woodwind quintetLigeti, G.- 6 Bagatelles for wind quintetLigeti, G.- 10 Pieces for wind quintetMcMichael, Catherine- Floris, for flute quartet or flute choir and piano or harpMilhaud, Darius- La Cheminée du Roi René, op. 205Nielsen, Carl- Wind Quintet, op. 43Perle, George- For Piano and Wind, for fl., eng. horn, clar., horn, bsn., pno.

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Perle, George- Wind Quintets, Nos. 1-4Persichetti, Vincent- Pastoral, op.21Piazzolla, Astor- Milonga Sin Palabras, arranged for wind quintetReicha, Anton- Wind Quintets, Op. 88 and Op. 91 Saariaho, Kaija- Terrestre, for solo flute with percussion, harp, violin and celloSamuel, Rhian- Fantasy Quintet (1997) for Five FlutesSchoenberg, Arnold- Wind Quintet, Op. 26Taffanel, Paul- Quintet for Wind InstrumentsTorke, Michael- Telephone Book, for flute, clarinet, violin, cello and pianoVilla-Lobos, Heitor- Quinteto em forma de chôros, for flute, oboe, English horn, clarinet, and bassoon

Sextets:Please speak with Professor Barth if interested in repertoire for flute, clarinet, violin, cello, piano and percussion or voice or any subset thereof to obtain an extensive list. You may also visit http://www.eighthblackbird.com/works.html.

Flute Choirs:Carmen Fantasie- BorneWithin….Ian ClarkePaint Your Mammouth- R. DickFlourishes by By Kathy Farmer. scored for piccolo, 4 flutes, alto and bass. Cassations by Jindrich Feld Danza Espanola by Marco GranadosVariations on Jagwa bagwan by Linda Holland. Mariposas by Katherine Hoover. Scored for four solo flutes/piccolos, six orchestral flutes and alto flute. Celebration by Katherine Hoover. Scored for six flutes. Hill Country Sketches, K. McMichaelBelo Horizonte by David MorganJungle Dance- Wil OffermansSleep by Eric Whitacre, arr. Christine BeardPedazitos by Nancy Wood (fl/ pic 3fl afl bsfl)From the Seventh Day, K. Stockhausen

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WORDS OF WISDOM

1. Keep all doors open . A. Observe , always- everything.B. Be ready! Musical skills: sight-reading, orchestral excerpts,

piccolo, alto flute, fluency of all scales. Business skills: up-to-date resume, biography, C.V., CD.

C. Speak no ill , be honest and sincere, give compliments where due, be competitive only with yourself. Remember that there is something to be learned from every individual that we encounter in daily life.

D. Exude confidence when interacting with people. Enable their trust in you.

E. If at all possible, say yes to every opportunity that comes your way until you have the “stardom” to take only those gigs that you favor the most.

2. Be hard on yourself but at the same time track your progress and acknowledge your accomplishments.

3. Care for your body - it will thank you. Stretch often, take a break when necessary, and always feel a sense of alignment from head to toe.

TO MAKE THE MOST OF YOUR PRACTICE SESSION:

1. Balance your flute properly to avoid injury and achieve optimal musical results. Three points to attain counter-balance: chin, left index finger (near bottom joint), and right thumb. Posture should be relaxed yet aligned (neck and head above body, not jutting out too far). If you are sitting, feel your sit-bones beneath you, and the chair should be 20 degrees or so off-center, to your right, to be able to look at the music without contorting the back muscles. If you are standing, use the strong leg muscles to support your weight and feel the floor through both feet. One foot placed slightly in front of the other will help you to gain stability. Last, make sure that your flute is parallel to your lips.

2. Breathing . At the beginning of any sound that you make, allow yourself at least four beats in the tempo that you intend to play to take a deep breath. Open and drop your throat, and allow all air cavities to fill completely (stomach, chest, back, neck, throat). Feel the emotion of the music (even if it is a scale) through the breath. During passages that require you to breathe, be conscious of the depth and open-quality of each breath that you take.

3. Tone . Drop your throat and “sing” each note at least one octave (two octaves when dealing with a high register note) below the one that you

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play. This will lower the pitch of the high register and allow more complexity and harmonics into the sound.

4. Lyricism . Play in horizontal, not vertical, lines when trying to achieve a sense of beauty or length of phrase. In moving passages, use this technique to bring out the fastest notes of the phrase. Practice this daily in your scales, etudes, long tones and repertoire. Take note of the motion of your fingers to aid your sense of lyricism- less motion equals more beauty.

5. Record Yourself . In practice and in performance, it is immensely helpful to consult audio and video recordings often.

6. Practice slowly . Learning a passage correctly through extremely slow repetition at first will make the passage quickly and efficiently improve. Play a difficult passage slowly and perfectly, ten times in a row. Then go to sleep or do other work. Come back to the passage the next day- it will be better!

FLUTE STUDIO MID-TERM ASSESSMENT SHEET: Please print this and bring it to your 5th or 6th lesson of the term if you wish to receive clarification on your progress.

Name:_________________________Term:__________________________Music Major: Y / N

Comments/Critiques:

1. Preparation of etudes, exercises, orchestral excerpts:

2. Preparation of solo material:

3. Participation in studio class, other performance opportunities:

4. Attendance, brings necessary materials to lessons, other misc:

Expected Grade if above critiques are not addressed:_________

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FLUTE PEDAGOGY HANDBOOK:

Textbooks/ advantages and disadvantages of each:

Books for teachers (researched at UO library in 2008- some books may now be out of print):Blocki Flute Method- by Kathy Blocki- addresses embouchure formation/flexibility, air speed etc.William Dietz (Editor)/Hal Ott (Flutist Contributor)- Teaching Woodwinds- contains helpful drawings, fingering chart, exercises and tunes for teachers to use. 1st notes: B, A, G.Mark Ely- Wind Talk for Woodwinds: a Practical Guide to Understanding and Teaching Woodwind Instruments.Walfrid Kujala- The Flutists Progress- written by accomplished flutist. 1st notes- C, B, A, G, F (listed without note names- just with fingerings). I support his methods of teaching, though not always commonplace. Advocates use of ear and pictures of fingerings prior to association with note-heads. Good diagrams and fun musical examples. Excellent breathing chapter.E.C. Moore- The Flute and its Daily Routine- (Leblanc educational series)- advocated the 3-point system of holding the flute. Mostly written instruction, some tunes to play. Written by accomplished flutist. Not comprehensive, but contains valuable advice and charts/teaching hints/daily routine.Edwin Putnik- Flute Pedagogy and Performance- (out of print?) Small, concise, written by accomplished flutist. No music examples to be played.Phillip Rehfeldt- Playing Woodwind Instruments: A Guide for Teachers, Performers and Composers- As title suggests, not designed purely for beginning band student. Contains much info that I do not support. Layout is annoying (toggles among all wind instruments prior to each instrument’s dedicated chapter)Taffanel and Gaubert- Method Complete de Flute- a guide for beginner through professional flutists. 1st notes: G, A, B, C. Contains a few pages of instruction, and a tome of exercises. This is the most widely used exercise book for advanced flutists, but the beginning tunes/exercises chosen are also excellent.Frederic Westphal- Guide to Teaching Woodwinds- Prevalent book used today. Contains useful checklists and photos, lists of method books/study materials, and details (like sharp/flat tendencies of each note, double tonguing, flutter tonguing, common problems). Frederic Westphal- Woodwind Ensemble Method for Teacher Education: Beginning Class Instruction- difficult to navigate. Very general. Many easy-moderate level duets.

Books for beginning band students:Phyllis Avidan Louke and Patricia George- Flute 101: Mastering the BasicsPhyllis Avidan Louke and Patricia George- The Flute Scale Book: A Path to Artistry

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Kenneth Gekeler- Belwin Flute Method, Books 1-3- Two pages of instruction, fingering chart, and basic beginning exercises and tunes. 1st notes: G, A, B.Bruce Pearson- Best in Class- has been replaced by Standards of Excellence. 1st

notes: D, E flat, F, C, B flat.Bruce Pearson- Standards of Excellence- often used now by beginning band students. 1st notes: B flat, A, G, D, C.Malcolm Pollack- Abracadabra Flute the way to learn through songs and tunes- beginner’s band method- uses British note names etc.Fred Weber and Douglas Steensland- Flute Student, Volumes 1-3.Rubank- Elementary, Intermediate and Advanced Method Books (Voxman)

Sources for flute materials:Flute World: http://www.fluteworld.com, Phone: (248) 855-0410Carolyn Nussbaum: http://www.flute4u.com, (972) 985-2662,(877) 358-8348

Solo/Method Books:

1A) Beginner Solos:Forty Little Pieces, trans. L. Moyse- in progressive orderTime Pieces for Flute, Volume 1 with SmartMusic CD-Rom, Arranger: Ian

Denley

1B) Beginner Method Books:Marcel Moyse- The Debutante Flutist- a very good method book of easy

notes, exercises and tunes for the beginner flutistTaffanel and Gaubert- Method Complete de Flute- a guide for beginner

through professional flutists. 1st notes: G, A, B, C. Contains a few pages of instruction, and a tome of exercises. This is the most widely used exercise book for advanced flutists, but the beginning tunes/exercises chosen are also excellent.

Fred Weber- Student Instrumental Course- good for student who has never read music.

Trevor Wye- Beginner's Book for the Flute, Volume I & II.

2A) Intermediate Solo/Books:Concert and Contest Collection, compiled by H. Voxman24 Short Concert Pieces, compiled by Robert CavallyBarber, S.- Canzone Bartok- Suite Paysanne HongroiseGuenther- 20 Etudes “for these changing times”- meter changesHandel- SonatasQuantz- Concerto in G Major

2B) Intermediate Method Books:Melodious and Progressive Studies, books 1-3, compiled by R. Cavally

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Anderson Etudes, Op. 33, 41Cavally- Melodious & Progressive StudesTodeo Coelho- Flute Workout Startup!- 2 volumes, dealing with traditional

and non-traditional (blues, bebop, modes, etc) scales. Comes with a CD.Frank Erikson- Rhythms and Rests- 2-part exercises (as solo or duo) Thomas Filas- Top Register Studies for the flute- proceeds through the

circle of fifths.Peter Lukas Graf- Check-Up- practice techniques/developing controlLinda Holland- Easing into Extended Techniques- series of 5 books. Marlee Lindon- FLUTE FUNdamentals- good for adult intermediate

amateur. Inspirational essays accompany exercises.Deanna Little, Daily Flutin’- daily exercisesMarcel Moyse- De La Sonorite - tone development bookMarcel Moyse- Tone Development Through Interpretation- famous

tunes/opera favorites as tone, register and transposition studies. Useful for all wind players.

Christine Potter- Technique Standards for Flute, Levels A, B and C- series of 3 books, beginner through intermediate- based on scales and arpeggios, including written tests covering ear training and theory.

Taffanel and Gaubert- Method Complete de Flute- a guide for beginner through professional flutists. 1st notes: G, A, B, C. Contains a few pages of instruction, and a tome of exercises. This is the most widely used exercise book for advanced flutists, but the beginning tunes/exercises chosen are also excellent.

Trevor Wye- Practice Books for the Flute vol. 1-5- All topics covered: Tone, Scales, Arpeggios, Vibrato, Intonation etc.

3A) Advanced Solos (this is a jumping-off point only- there are thousands!):Flute Music by French Composers- the best book for its money- an

advanced student will use it for a lifetimeBach Flute Sonatas, Partita, and Suite in b minor- encourage the

purchase of an Urtext edition (Barenreiter, Henle)Borne, F.- “Carmen” FantasyCopland, A.- DuoDebussy- Syrinx- for solo fluteBozza- Image for Solo FluteGriffes- PoemHindemith- Sonata for Flute and Piano, Acte Stucke for solo fluteMozart Flute Concerti in G Major and D Major- encourage the purchase of

an Urtext edition (Barenreiter, Henle)Prokofiev SonataTelemann Fantasies- for solo flute Vivaldi- Flute and Piccolo concerti

3B) Advanced Method Books:Anderson- Etudes, Op. 15, 21, 37, 60.

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Baxtresser- Orchestral Excerpts (2 volumes)- good advice for each.Cohen, Sheryl- Bel Canto Flute- lesson notes from Rampal, Marion.Robert Dick- Tone Development through Extended Techniques- promotes

use of alternative approaches to the flute (simultaneous singing/playing, for ex) as a method of teaching an all-around good flute sound.

Karg-Elert- 30 Caprices, Op. 107- excellent for developing good rhythmic skills.

Walfrid Kujala- The Flutist’s Vade Mecum- books addressing finger facility. Includes template for organizing practice schedule.

Roger Mather- The Art of Playing the Flute- 3 volumesLouis Moyse- Exercises for the Flute in unfamiliar sequences- 3 books in

this series- great for improving sight-reading, intonation, and finger/lip flexibility.Reichert- Seven Daily Exercises, Op. 5- good tone and finger studies.Robison- the Flute Warm-up BookSheridan Stokes- Special Effects for the Flute- covers contemporary

techniques.Taffanel and Gaubert- Method Complete de Flute- a guide for beginner

through professional flutists. 1st notes: G, A, B, C. Contains a few pages of instruction, and a tome of exercises. This is the most widely used exercise book for advanced flutists, but the beginning tunes/exercises chosen are also excellent.

George Philipp Telemann- Methodical Sonatas- melody line with ornamental line below.

4) Reference Books:Debost, Michel- The Simple Flute Pellerite. James- A Modern Guide to Fingerings for the Flute Phelan, James- The Complete Guide to the Flute and Piccolo

Flute Brands:

Beginner Instruments ($500 - $1,000):Armstrong- 102, 104Gemeinhardt- 2SPJupiter 313 S, 507 S, 511 SYamaha YFL-221, 261, or 281

Intermediate Flutes ($1,000-$4,000):Altus 807 C or B, 907C or B.

Altus Azumi AZ 3000RBSAmadeus (Haynes’ 2nd brand)Azumi (Altus’ 2nd brand)Brio DrelingerTrevor James 10X2E, P3CPOJupiter 911 RBSO

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Di medici (made by Jupiter) 911 RBS, 1011 RBSMiyazawaMuramatsu, EX modelPearl- Quantz 505EResona (Burkart’s 2nd brand)Primo Sankyo CF -201 & 301Sonare (Powell’s 2nd brand)Yamaha YFL-381, 461, 481, 584Dean Yang- Amber, Emerald, Topaz

Advanced Flutes ($6,000-$20,000, depending on silver or gold components):Arista Brannen Lillian BurkartEmmanuelHaynesMuramatsu- GX or DS modelsNagaharaPowellWilliams

Piccolos:Burkart – advanced (also makes inexpensive Global Piccolo)Di Zhao- intermediateGemeinhardt (metal and plastic for beginners- steer away from high-end models)Hammig- advancedJupiter- student to intermediateKeefe- advancedNagahara- intermediatePearl- beginner to intermediatePowell- advancedSankyo- intermediateWeissmanYamaha- beginner to intermediate (wood and plastic available)

Alto Flutes:Altus- 1019SE, 819SEDean YangKingmaSankyo- SAF101, SAF201Sonare- AF-60, AF-70Trevor James- TJ-AFPYamaha

Baroque Flutes:Boaz Berney

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Daniel DeitchFolkers & Powell Rod Cameron Flutes Gerhard Kowalewsky Simon PolakStanesby

Specific features on top-model flutes:1. C-sharp trill key (aids a number of trill fingerings and alternate fingerings)2. Split- E mechanism- eliminates cracked E’s, which are a frequent problem. However, the Split-E mechanism also can cause obstacles with intonation and some new music techniques.3. G key is either placed in-line or on a separate rod. If placed on a separate rod, the left-hand ring finger enjoys a more ergonomic position.4. Headjoint riser- the material between the lip-plate and the tube of the flute headjoint can be made of very precious metals such as Platinum or gold, potentially enhancing the tone quality of the instrument.5. Wall thickness- a heavier-bore of the flute tube generally produces a darker, more complex tone. Conversely, a thin-walled instrument produces a brighter tone.6. Low B Foot Joint- extends the low range of the flute to a low B (one semi-tone lower than most beginner flutes).7. Open hole flute- while most beginning flutes have solid keys, advanced flutes will contain holes in the center of each key to aid with alternate fingerings, tone quality and intonation.

Consideration when purchasing a piccolo: Marching Band or Concert Band/Orchestra?

1) Wood (Grenadilla, usually)- best for serious players, in climate controlled-environments only.

2) Plastic/Composite Material- good for someone who wants to play outdoors and indoors, and achieve something close to the sound of a wooden instrument.

3) Silver/Silver Plate- Ideal for marching band situation, the sound is brighter and farther-reaching (if you can imagine that!)

4) Also available is a piccolo with a metal headjoint and plastic body. Since the headjoint is the main tone-producing component of any flute or piccolo, the metal headjoint/plastic body will sound pretty similar to an all-metal piccolo.

Points that I advocate in teaching:

Before Playing: 1) Balance/counterbalance- The “Three Points Rule”2) Breathing Exercises- Kujala’s book, balloon game.3) To learn embouchure formation- Blow bubbles, spit rice

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4) Bark like a dog- access breathing/core muscles5) Karate “Haaa-yaaa”- access core muscles/reduces inhibitions6) Flame of Candle (for adults or careful children), to keep steady air7) Coffee Stir sticks- move lips up or down to show air direction/push it away

and bring it back to gain flexibility8) 3”X3” paper on wall- blow on it from 6 inches away to keep it up9) Posture- Yoga Tree pose and Mountain pose10) Marionette Puppets- string attached from top of head to ceiling

To start playing- head-joint only:1) Use mirror/ fingers in front of mouth. Lazor beam of air2) Open throat “Tongue depressor”, Grapefruit in mouth3) Shape of lips- spit rice/pinky in between lips4) Posture open and relaxed

Fingering the Flute/ early playing:1) “little devils”2) over/underblowing3) airstream direction for each register- magic points on face to alter octave4) Diaphragm bounces- loud, obnoxious sound- one beat per second, then

two beats per second.

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Joachim Anderson Opus 30 Etudes- Molly Barth’s Variations:

1. Transpose to D Major2. Double Tongue3. Slur4. Triple Tongue5. Transpose to Eb Major6. 8va (mostly)7. Create your own variation8. Double Each Note (and double tongue)9. No Variation10. Transpose to C Major11. Slur12. Double Tongue 1st and 3rd sections of the piece13. Triple Tongue14. Create your own variation15. 8va (mostly)16. new rhythm: 32nd-dotted sixteenth in repetition17. Transpose to G Major18. 8va19. Triple Tongue the triplets/double each sixteenth note (and double tongue them)20. Create your own variation or play as triplet eighth/triple quarter21. Double Tongue22. Transpose to a minor23. 8va24. Double tongue, or create your own variation

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Joachim Anderson Opus 33 Etudes- Molly Barth’s Variations:

1. 8VA2. Double each note (double tongue)3. Transpose to F Major4. Double Tongue5. Play on piccolo6. No variation7. Double Tongue8. 8VA9. Triple Tongue10. Play on piccolo11. Transpose to A major12. Double Tongue13. Double each note (double tongue)14. No Variation15. Play on piccolo16. New rhythm: Dotted sixteenth/3nd repeated17. Transpose to A major18. Triple each note (triple tongue)19. No variation20. Play on piccolo21. Transpose to B Major22. No variation23. All articulated (Double Tongue/Triple tongue)24. Inverse Rhythm (32nd/dotted 16th)

Students should be aware that the School of Music and Dance desires to discourage any sort of action that makes an individual feel uncomfortable or unwelcome.  Students with concerns related to discrimination, bias, or sexual harassment are encouraged to contact the following office or offices should you wish to report such an incident and get help in resolving the incident.

Affirmative Action and Equal Opportunity Office, 474 Oregon Hall, (541) 346-3123 Bias Response Team, 164 Oregon Hall, (541) 346-1139 Conflict Resolution Services, 164 Oregon Hall, (541) 346-0617 Counseling Center, 210 Health and Counseling Center, (541) 346-3227 Student Advocacy, 334 EMU, (541) 346-1141

If you are registered with the Office of Disability Services, you should make an appointment with the instructor as soon as possible to discuss any course accommodations that may be necessary.  To request disability accommodations, register for services at the Office of Disability Services. 

Office of Disability Services, 164 Oregon Hall, (541) 346-1155

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