PEDAGOGICAL APPLICATRON OF FLUTE STUDY TO TEACHERS’ NEEDS Thesis {or the Degree of DE. D. MECHIGAN NEE UNIVERSIYY Charies E1. Osborne 1962 IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII L 10463 1308 This is to certify that the thesis entitled Pedagogical Application Of Flute Study To Teachers' Needs presented by Charles E- Osborne has been accepted towards fulfillment of the requirements for Ph . D . Music degree in £9000“ g g1; (Amati/(Ix Major professor Date May 17, 1962 LIBRARY Michigan State University ABSTRACT PEDAGOGICAL APPLICATION OF FLUTE STUDY TO TEACHERS' NEEDS by Charles E. Osborne The importance of a capable flute section to a band or orchestra is self—evident. As a concert-goer, performer, music educator and adjudicator, the writer has been made aware of and is concerned with the many problems indigenous to this group. The r61e of the flute has been a prominent one in the orchestra for many years. Today, the flute sec- tion of the band has been growing larger and the flute has been given an increasing importance and prominence in the contemporary literature. Bands of today are greatly superior to those of just a decade ago and the music that they perform is comparably more difficult and demanding of the flutist. Thus the modern concert band and orchestra require a well- trained flute section. It is the aim of the writer to pro- vide a reference to and a solution of the many problems attendant to the proper playing of the flute. The fundamental problems included in this study are listed as follows: The study of basic flute acoustiCs, Charles E. Osborne assistance in the selection and care of the instrument, cor- rect tonal and technical concepts, breathing problems, embouchure study, proper fingerings, harmonics, a problem and its solution in the teaching of vibrato, remedial litera- ture, solos, ensembles, recordings of flute music, and rela- ted areas are included. The text of the dissertation is a compilation of the philosophies and techniques of many teachers documented by books, articles, unpublished manuscripts, periodicals, bul- letins, pamphlets, interviews, and recordings,selected from the great amount of available material on the basis of uti+ ltatg the ideas and research of the recognized authorities in the field. The study of vibrato that is reported in this dissertation made use of the fluoroscope, consultations with members of the medical profession, and experiments connected with the apparent source of the flute vibrato. A different approach to the teaching of vibrato is a significant result of this particular phase of the dissertation. The major findings of the study are the solutions, as well as can be determined from research, to the problems mentioned in the preceding paragraphs. Charles E. Osborne In summary, the aim of this dissertation is to provide the teacher with documented supplementary material that is organized into one complete source, and in its total concept, to be a means of improving the quality of flute instruction in the schools of our country. PEDAGOGICAL APPLICATION OF FLUTE STUDY TO TEACHERS' NEEDS BY Charles E. Osborne A THESIS Submitted to Michigan State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Department of Music 1962 I 4A" . I .‘I (I'll! ll’lll [III I'll); .I |{III ‘ 1.: I..| ii PREFACE This study of the flute has been made to assist the instrumental teacher. It contains concepts and technical approaches to flute playing and teaching that are not gen- erally introduced in basic method books. The text is a com- pilation of the philosophies and techniques of many teachers documentated by books, articles, periodicals, bulletins, pamphlets, interviews, unpublished manuscripts and recordings selected from the great amount of available material on the basis of utilizing the ideas and research of the recognized authorities in the field. The element that often means the difference between the development of a good musical organization and one that is mediocre is the technical capacity of the instructor and the instrumental ability of the students. The director's responsibility is to find a means of analyzing, isolating and correcting any such deficiencies. It is hoped that herein the instrumental director may become acquainted with ideas that will fit into his own philosophy and pattern of flute teaching, and further, that it will stimulate inde- pendent thinking and subsequent critical evaluation of his present methods. iii The writer acknowledges with appreciation his indebtedness to Dr. William R. Sur, Chairman of Music Educa- tion at Michigan State University and to Dr. Russell E. Friedewald, Associate Professor of Flute and Theory at Michigan State University, for their thoughtful criticisms and recommendations. The author also wishes to thank Miss Ada Berkey, Reference Librarian at Western Michigan Univer- sity for her kindness and wise assistance. Last, but not least, the author wishes to express his gratitude to his wife, Dorothy, without whose support and encouragement this would probably not have been written. iv CONTENTS Page PREFACE O O O 0 O 0 O O O O O O O O O O C O 0 O O O O O 0 ii LIST OF FIGURES I O O O O O C O O O O O O O O O O O O O 0 Vi DEFINITION OF TERMS USED . . . . . . . . . . . . . . . . Vii INTRODUCTION . . . . . . . . . . . . . . . . . . . . . . 1 Chapter I. A SHORT HISTORY OF THE FLUTE . . . . . . . . . . 3 II. ACOUSTICS OF THE FLUTE . . . . . . . . . . . . . 17 III. THE FLUTE . . . . . . . . . . . . . . . . . . . . 27 Selection and Care 27 Care of the Body on Silver Flutes 35 Assembling the Flute 36 Chronic Repair Problems 37 Reseating Pads 38 Freeing Sticky Pads 40 Bending Keys 41 Corking Keys 42 Inspecting the Instrument 43 IV. THE BREATHING PROCESS: SUPPORTING AND CONTROLLING THE TONE . . . . . . . . . . . . . . . 46 V. THE FORMATION OF THE EMBOUCHURE: ITS ATTENDANT PROBLEMS AND SOLUTIONS . . . . . . . . . 56 VI. FINGERING AIDS: HARMONICS, BASIC FINGERINGS, PIANISSIMO FINGERINGS, AND TRILL CHARTS . . . . . 72 VII. TUNING AND INTONATION . . . . . . . . . . . . Reasons for and Correction of Poor Intonation VIII. TONAL DEVELOPMENT . . . . . . . . . . . . . IX. THE VIBRATO . . . . . . . . . . . . . . . . . History and Evolution The Successful Teaching of Vibrato X. ARTICULATION: SINGLE, DOUBLE, TRIPLE AND FLUTTER-TONGUING . . . . . . . . . . . . . XI. THE PICCOLO, ALTO AND Eb FLUTE . . . . . . SUMMARY . APPENDIX I. II. III. IV. V. VI. _REMEDIAL LITERATURE . . . . . . . SELECTED REPERTOIRE FOR ENSEMBLES USING UNUSUAL OR LESSER KNOWN COMPOSITIONS . . A LIST OF FLUTE RECORDINGS . . . . . . . A LIST OF ETUDES AND SOLOS . . . . . . . A LIST OF FLUTE DUETS, TRIOS AND QUARTETS ADDRESSES OF PUBLISHERS . . . . . . . . . BIBLIOGRAPHY . . . . . . . . . . . . . . . . . . . . 104 105 116 121 121 124 130 138 146 149 149 157 170 179 190 194 197 Figure Figure Figure Figure Figure Figure Figure LIST OF FIGURES Diagram of Boehm's Ring Key . Harmonic Series . . . . . . . waveforms of Two Flute Tones Spectrum of the Flute . . . . Diagram of Lip Formations . . Diagram of a "Cupid's Bow". . Basic Fingerings, Pianissimo Fingerings, and Trill Charts vi Page 13 18 23 23 64 65 80-103 vii DEFINITIONS OF TERMS USED Definitions of terms used peculiar to the subject are given in the body of the text in conjunction with the individ— ual aspects with which they may be associated. Concert pitch is used, octaves being identified as follows: piano middle C (which is low C on the flute), equals C-4, third space C equals C—5. (See chapterVI.)l The fingers are named thusly: thumb, first, second, third, fourth (little finger), and not as in "continental" piano fingering nomenclature. The five grades of difficulty for the lists are: Grade I—-mainly for first year instrumentalists. Grade II--for those definitely beyond the beginning stages. Grade Ink-for those who have acquired some technique. Grade IV--for advanced instrumentalists. Grade V-—most1y for college or professional players. 1Since this dissertation is mainly aimed at band and orchestra directors, the system of naming notes in their respective octaves is the one used by The Instrumentalist magazine. This magazine is perhaps the most widely read of the professional organs and it is surmised by the writer that this system would be the one most comprehensible to the reader. INTRODUCTION The importance of a capable flute section to a good band or orchestra is self-evident. As a concert-goer, per- former, music educator and adjudicator, the writer has been made aware of and is concerned with the many problems indigen- ous to this group. The necessity for a study of this nature has been in the author's mind for the past ten years. The role of the flute has been a prominent one in the orchestra for many years. Today the flute section of the band has been growing larger and the flute has been given an increasing prominence in the contemporary repertoire. Bands of today are greatly superior to those of just a decade ago and the music that they perform is comparably more difficult and demanding of the flutist. Thus, the modern concert band and orchestra require a well-trained flute section. The fundamental problems included in this study are: acoustics, assistance in the selection and care of the instru— ment, correct tonal and technical concepts, proper finger- ings and procedures, vibrato, remedial literature and other related areas. To present possible solutions to these prob- lems can contribute to a higher standard of performance by the flutists in bands and orchestras. The aim of this thesis is to provide the teacher with supplementary material and be a means of improving the quality of instruction. CHAPTER ONE A SHORT HISTORY OF THE FLUTE The flute is one of the oldest wind instruments known to man, and its development is an account of genius in the field of evolution. The fundamental principle of the flute was prob- ably discovered thousands of years ago by some Neanderthal or Cro-Magnon man, when he noticed that the soft wind blowing across the top of a broken reed made a pleasant sound. Some of the better examples of early instruments that have come down to us today are the bone flutes found at Bornholm, Denmark dating from about 3000-2500 B.C.l Two thousand years ago the poet Lucretius embodied in verse the age-long tradition that the whistling of the wind over hollow reeds was gratifying to the ear. These observations required intelligence of the highest type in primitive man and they take their place alongside this early person's awareness of numbers and time. Karl Geiringer, Musical Instruments, trans. by Bernard Miall (London: Allen and Unwin, 1945), p. 159. 2 . . . Franc1s Galpin, A Textbook of European Mus1cal Instru- ments (London: Lowe and Brydone, 1937), p. 56. 3Curt Sachs, The History of Musical Instruments (New York: W. W. Norton and Co., 1940), p. 44. No doubt that centuries passed before our remote ances— tors rose to an intellectual stature which enabled them to com— prehend that low notes came from long reeds and high notes came from short reeds. To combine these reeds of varying length like the pipes of a organ to make the well—known syrinx or pipes of Pan was a major innovation. The Egyptians played this ancient flute long before they wrote history. In their mythol- ogy the invention of the syrinx is credited to Osiris, the great god of the underworld. Thus do they prove the existence of the syrinx long before recorded history.4 Plato was acquainted with the pipes of Pan, and in his dialogue, The_ Republic, he has Socrates engage Glauco, a musician, in con- versation concerning these primitive flutes. It is evident that Socrates does not think well of these early instruments, saying that they were bad for the morals of the people. He amplifies this statement by saying that no women can listen to the Lydian pipes and remain virtuous, concluding that they should be banned from his ideal state.5 4Nicholas Bessaraboff, Ancient European Musical Instru— ments (Boston: Harvard University Press, 1941), p. 44. 5 Plato, The Republic, trans. by Francis M. Cornford (London: Oxford University Press, 1960), p. 85. Hundreds of years after the syrinx was conceived, another great musical discovery came to light. Somehow, holes were burned or worn in the body of the syrinx, and as a result, the player found that he could get sounds of various pitches by covering or uncovering the holes.6 Although the syrinx sur- vived for centuries, it was finally supplanted by this newer type of flute. The flute with holes in its side is found among all primitive peoples of the world. Next to the drum, it is one of the most common musical instruments of which we know. It is made of every conceivable material capable of forming a tube through which holes can be pierced. Flutes have been made of cane, wood, pottery, stone, metal, leather, and bones. The Surinam Indians of Guiana, South Africa, had the gruesome custom of making flutes from the shinbones of their slain ene- mies. The Shinbone, or tibia,(the Latin name for flute is tibia) of animals has always been a choice material for mak- ing flutes.7 Ancient peoples were fond of the flute. It played a prominent part in the lives of the Egyptians, Hebrews and 6Richard S. Rockstro, The Flute (London: Rudall Carte Co., 1928), p. 131. 7Rockstro, p. 134. the latter developed flute playing to a great art, as they did other arts. Flute contests were held as a part of the ath— letic games, and there was a keen rivalry for the flute play- ing honors as well as for athletic prowess. The fourteenth century marked the departure of having flutes blown in two different manners. Some flutes were blown across the end and we know them today as flageolets, which were slightly different from the recorders, beak flutes and recordenL or English flutes. Other flutes were blown from the side and were called transverse, or German flutes. After the fourteenth century, the end—blown flute generally gave way in many parts of Europe to the side-blown flute, and today this is the type with which we are familiar. After 1700, the end-blown flute was forced from popularity in favor of the superior transverse, or German flute. Bach and Handel wrote for both types of flutes, but by the time of Haydn the flageolet was no longer generally found in the orchestra.9 8H. Macaulay Fitzgibbon, The Story of the Flute (London: Walter Scott Co., 1914), p. 10. 9Albert Riemenschneider, The Use of the Flutes in the Works of J. S. Bach (Washington D. C.: The Library of Congress, 1950), p. 10. When the flute began to take its place in the first orchestras it was by no means the instrument it is today. It was a plain wooden tube, usually of yellow boxwood, sometimes cocuswood or grenadilla, pierced with finger holes only. Although the more expensive models were ornamented with rings of ivory at the joints and the edge of edges of the bell, their musical possibilities were no greater than the unadorned ones.10 With the awakening in instrumental music which was taking place in the sixteenth and seventeenth centuries came an interest in improving the musical resources of the instru— ments. Around 1677 came another invention in the history of the flute, the invention of a key.11 Musicologists are not at all certain as to who invented the first key, but whoever did this rendered a service to musicians. (Apparently, the D# tone on the flute was the most difficult for the musician to play in tune and it was this key that was invented.) Players tried boring holes in the body of the flute to make the D# sound, but finally evolved the idea of using a hinge 10Rockstro, p. 139. 11Adam Carse, Musical Wind Instruments (London: Macmillan and Co., 1939), p. 84. as a fulcrum, a pad for covering the hole at one end and a spatule at the other, which was within easy reach of the little finger of the right hand. A spring was placed under the spatule end of the key which raised this portion in the air and depressed the other end, thereby keeping the hole covered. Strange as it may seem, it required another half cen- tury for the invention of the second key. The supposed new perfection of the flute of this age kept anyone from thinking there could be any additional improvements. Now that the player could play D#-4 it was assumed that the millennium of the flute had arrived. The greatest virtuoso of the day was Johann Joachin Quantz (1697-1733), who is famous as the instructor and flute maker for Frederick the Great of Prussia and later as court musician during all of Frederick's reign.12 Imbued with the musical thought that enharmonic differences should be recog- nized, Quantz finally came to believe that there was a slight shortcoming in the flute which he had been taught to believe was perfection itself. He conceived the idea of a second key, a key which would correct the final error in this almost 12Rockstro, p.151. "perfect instrument." Accustomed to playing sharps and flats with due recognition of their enharmonic differences, Quantz could not accept for Eb the note which was produced when the D#-4 key was depressed. Quantz was unable to rest until he had corrected this fault, so in 1726 he finally evolved anoth- er key for the playing of Eb. Quantz's conception of meantone tuning resulted in having the diatonic semi-tone D to Eb one fourth greater than the chromatic semi-tone D to D#. Although the Eb key did not long survive, Quantz made another improvement which we find today on our modern flutes. This improvement is the moveable cork in the head-joint which was supposed to tune the octave D's, but is used in modern flutes as an aid in repairing dents in the head-joint. (Repairmen remove the cork and insert tools into the head joint which will remove all traces of dents in the tube-- see chapter III.) Quantz's second invention, the sliding head-joint, was made in 1752. He describes it in his autobiography: At this time I was able to invent the sliding headjoint of the flute, by means of which it is possible to change the pitch of the instrument by as much as a half step in either direction, with- out changing the middle-joint and without sacri- ficing the purity of tone or accuracy of intonation. l 3J. J. Quantz, "Herrn J. J. Quantzens Lebenslauf," Historisch-Kritische Beytrage, ed. by Marpurg, Vol. 1, p. 249. 10 More keys were added in the intervening years, but it remained for one person to transform the flute into one of the most perfect of all wind instruments. This person was Theobald Boehm (1794—1881). Before entering into the discussion of Boehm's contributions to the development of the flute, it is important to bring to light the controversy between Boehm and Captain William Gordon (1790-1858). The controversy arose out of the fact that both men, seeking independently, and appar- ently about the same time, to improve the old style flute, hit on a new key system using ring keys which were so designed that when one tone hole was closed by the player's finger, I other holes along the body of the instrument would also be closed, or opened, simultaneously.14 The idea of the ring key was not in itself a new invention, but the application of it that both Gordon and Boehm made to the flute was an innova- tion. The Boehm-Gordon controversy would probably never have arisen but for the fact that the two men met one another while each was seeking to perfect his own invention, and this, of course, gave a basis for later accusations that one or the other had stolen the idea for subsequent improvements. Gordon, it would seem, had no special mechanical skills by l4Fitzgibbon, p. 49. 11 which he could translate his ideas into a practical reality. In fact, with Boehm's cooperation, Gordon engaged the services of one of Boehm's skilled flute makers to make certain improve- ments. Gordon himself acknowledges his debt to Boehm for the use of certain mechanisms. Gordon's earlier versions, as well as his later modifications, remained basically clumsy and impractical and they were never fully accepted by contemporary flutists. This lack of success is probably responsible for Gordon's subsequent illness and the aggravation of what was generally regarded as his mania over improving the flute. Gordon was eventually confined to an asylum, where he died. In contrast to Gordon, Boehm was a highly skilled craftsman and well-schooled in the science of acoustics. The results of this skill were evident in the eminently practi- cal application which he made of those ideas he shared with Gordon. Boehm's new system met with a far greater degree of acceptance for this reason. The ultimate success of Boehm's improvements on the flute rests in the fact that he perfected the instrument not only from a mechanical standpoint but acoustically as well. Where Gordon's invention met with vir- tually no acceptance, Boehm's subsequent improvements were successful. The fact that within a very few years after 12 Boehm's perfection of his instrument so many players were will- ing to change over to the new system would seem to establish the correctness of calling our modern flute the Boehm rather than the Gordon system. Having established Boehm as the most likely inventor of the modern flute, it is important to trace the development of Boehm's work in more detail. Boehm was unable to obtain flutes made according to his wishes, so in 1828 he set up his own factory and began the building of flutes as he felt they should be made. Boehm was a goldsmith by trade and his knowl- edge of this craft was of great use to him. He was dissatis- fied with the intonation of the flute of his day and produced, after hours and days of tedious work, a flute with fourteen holes, all of the same size and spaced along the flute for more accurate intonation. Here was the most accurately built chromatic scale that had ever been constructed.16 He solved the seemingly unanswerable question of how eight fingers and a thumb could cover fourteen holes with the application of the ring key. 15Fitzgibbon, p. 167. 16Carse, p. 94. 13 Figure 1 Diagram of Boehm's Ring Key To an acoustically correct chromatic scale and ingen- ious application of the ring key, Boehm contributed still another feature, open keys. The first D#-4 key had been a closed key, that is, it was sprung closed with a spring and was opened by pressing down on the spatule end of the key. The open key works in a manner exactly opposite from that of the closed key. It is mounted so that it is poised above the hole and the pad covers the hole when the spatule is depressed by the finger. Boehm chose open keys because he saw that they could be manipulated faster and with greater ease than closed 14 keys, for in order to spring a closed key shut tight, enough so that the hole could not leak, a stiff spring must be used. To open the hole the finger must overcome the action of the stiff spring. The open key, on the other hand, requires a spring stiff enough only to keep it from dropping over the hole, and it takes little strength of the finger to overcome such a light spring and depress the key. Light action meant speed and ease of operation, and that was what Boehm was striving for from the outset. In 1847 Boehm produced an even more radical flute. He had taken up the study of acoustics and had applied some of the laws of sound to the practical building of the flute. He had established as most efficient that tube which is thirty times as long as its diameter. He also found that the defec- tive high and low notes could be made to sound better by making the flute cylindrical rather than conical. His new flute was therefore cylindrical rather than conical except for the head-joint, which was shaped like a parabola, or truncated cone. 7Webster defines the parabola as a curve formed by the intersection of a cone with a plane parallel to its side. Webster's Approved Dictionary (New York: World Pub. Co., 1955), p. 709. 15 Although our modern flutes are built with the open system, catalogs of the manufacturers of these instruments carry a phrase which is more or less confusing to the non- flutist. Flutes may be had with closed G# or open G#, but in the United States most flutes are closed G#. The famous French flutist Coche is responsible for this confusion because he objected to the open G# and subsequently reversed the action to a closed G#. This took place in 1838, and seems to be the standard action for the present day flutists. Techni- cally speaking, history shows that a man named Dorus actually conceived the idea of reversing the action, but Coche made some insignificant changes and made it popular with the flutists.18 Few important changes have been made since Boehm finished his flute in 1847 with the exception of Briccicaldfs thumb Bb key in 1849. (This key aids in the facilitation of speed in keys of one flat or more by placing the thumb on a short lever directly beside the B natural key.) Almost all of our flutes today are made of metal. At first there was much criticism of the metal flute on the 8Adrien Girard, Histoire et Richesses de La Flute (Paris: Grund, 1953), p. 16. 16 basis that it had an inferior tone quality. Boehm himself seemed a little doubtful on this subject but finally straddled the issue by saying much depended on the taste of the individ- ual player.19 The English flute players of today still feel quite strongly on this subject as they prefer the wooden flute to the metal.20'21 Besides being one of the most pleasant sounding voices of the orchestra and band, the flute is the most agile of the wind instruments, being surpassed only by the violin in its technical capabilities. This great ability and agility is due to the fact that the acoustics of the flute are almost perfectly worked out and also that the key mech- anism is exceptionally close to the body of the flute, which makes it extremely light in action and lightning fast in response. 19Theobald Boehm, Die F16te und das Flbtenspiel in akustischerLitechnischer und artistischer Beziehung (Munchen: J. Abel, 1871). p. 54. 0 . . . 2 Anthony Baines, WoodW1nd Instruments and their History (London: Faber and Faber Ldt., 1957), p. 55. 21Gerald Jackson, "A Talk for Flautists," Woodwind Book (London: Boosey and Hawkes, 1958), p. 48. 17 CHAPTER TWO ACOUSTICS OF THE FLUTE A basic knowledge of the acoustics of wind instruments is indispensible to a thorough understanding of fingering and tone production factors on these instruments. (This chapter will be specifically concerned with the acoustics of the flute.) The nature of air columns, harmonic series, overblow- ing of partials, shapes of tubes, and resonators are all im- portant aspects of wind instrument acoustics. The first concept necessary for the student of wind instruments to understand is that all wind instruments are constructed of tubes or pipes. In order to produce a tone on these instruments, the air within the tube, which is called the air column, must be set into vibration or motion by means of edge tones or vibrating bodies such as lips or reeds. The lowest tone produced when the air column is set into vibra- tion by means of a vibrating body is called the first partial or fundamental tone. If a pipe such as a flute is blown with more force or with a different tongue setting, the next higher tone of the harmonic series is produced. This is known as the second partial and is one octave higher than the first partial. The principle of blowing faster air to produce the higher 18 partials is called overblowing. As the velocity of the air is increased, the pitch of the vibrating body becomes higher and new partial tones are produced.1 These partial tones make up the harmonic series as shown in figure 2. This chart indi- cates the relation of intervals between the partials. The position of the fundamental (or first partial) may vary, but the relationship between the partials above the fundamental note (or first partial) is always constant. 123 45678910111213141516 Figure 2 From Musical Acoustics by Charles Culver, Copyright 1956, McGraw-Hill Book Company, Inc. Used by permission. 1 Hall and Kent, The Language of Musical Acoustics (Elkhart, Indiana: C. G. Conn Co., 1957), p. 5. 19 Without changing the length of the tube, players of such instruments as the trombone, trumpet, and flute, by means of breath pressure, lip, and tongue action alone, can produce eight or nine 'm'_“j"'j 1' “ ‘ b rr_______r __ v -1 ,1_i f: 20 10 0 10 201-.--..“ 2'. _______ Ab —. -._——-—,———-—_—_-._. . W4-—€343AR -1NET G Comparisonlbilow .- I‘. “CURVE‘ Cb fundamentals-with (- E overblown oc’iax2e*s;gi:t;:: ”‘ _'__.-.Z__ ________ Eb oi—sesond—regis ter—r.—m— — 4 \ - D _..__ Db - ~—~-— ~ «3’ c ..__ _ __ _— B ———F—LU'—I‘E~-~~ ____-_.-_j '.-..._ -—~-— - - 13b -11-]: . I _-__-.._- _7. _ _ - __L____-- _ _ , _ _ A _ I... l o, . _ . Ab _____1._-___.-, _l - r ‘. . _i - G N. _ ‘ fl__m.- -_ {3b ~ — ’— 3‘. F _ ___ - L _ I .7 . é . E _ ~— . . Eb .. -1. H... , _ 1-".-- M - Eh ”I" ‘ 7 ’ _ 7 C , --__-__ r. . , '\, ._.-_---._._____ _ ————- < flat ~~——- sharp > -\ 50 40 30 2010 010 20 30 4O 50 the disagreement of register tendencies between flute and clarinet. Figure 8 ‘FIVDDR Intonation Deficiencies of Wbodwind Instruments in En§emble by Donald Stauffer, Copyright, 1954. The Catholic r"DJIer’sity of America Press, used by permission. 114 Bb-6 An interesting comparison is drawn in the small graph in figure 8 of the relative intonation of the tones in the middle register with their parent fundamentals in the low octave. The second octave is shown to be sharp with the low octave and the tones have a tendency to deviate in the same direction. Figure 8 illustrates in musical notation the relative tendency (of intonation of notes throughout the register of the flute. {Fhe relative curve from flat to sharp cannot be indicated too vvell in a chart of this nature, only the relativity of intona- tzion of a tone in respect to its neighbors may be seen. Another interesting and important comparison to be dirawn between flute and clarinet is the direction of pitch cjhange that accompanies a crescendo or increase in intensity. The tone of the flute is apt to go sharper as is borne out by the study cited by Ahrens and experience of Inlisicians. Best results in terms of intonation agreement Iaestween flute and clarinet would seem to be when both were E>JJaying as loudly as possible. Once the instructor is aware ‘31? these tendencies he is able to advise the student as to 't1163 likelihood of the placement of the pitches. Conse- unntly, the student is able to know beforehand what notes to bul'lflor before having to play them. \ l3Ahrens, pp. 269-89. 115 In summary, it may be said that even though this chapter has delved into the tuning problems and intonation problems of the flute in detail, even to the use of scientific instruments, this entire chapter will be of no avail unless the student and instructor work together in improving the aural potential of the performer. 116 CHAPTER EIGHT TONAL DEVELOPMENT Since the development of tone is such a difficult and nebulous entity on which to satisfactorily express one's views, a summary of tonal development as expressed by some of the world's leading flute teachers and performers will be of value. In conducting the basic research for this chapter, the works and writing of many flutists were investigated. The authors chosen as being most representative as teachers and players were Theobald Boehm,l Marcel Moyse,2 George Barrére, . . . 4 5 6 Frederick Wilkins, R.S. Rockstro, and J. J. Quantz. After 1Theobald Boehm, The Flute and Flute Playing (New York: Mcginnis and Marx, reprint, 1960), p. 136. 2Marcel Moyse, Of the Sonorousness (Paris: Leduc, 1934), p. 10. 3 , George Barrere, "Flute Tone," Etude, June, 1936, p. 355. . 4 . . . . . Frederick Wilkins, The Flutist's Guide (Elkhart, Indiana: Artley and Co., 1957). p. 23. 5R. S. Rockstro, pc 435. 6 . . . n J. J. Quantz, Versuch einer Anweisungrdie Flote Traversiere Zu spielen (Berlin: Voss, 1752), p. 90. 117 reading the advice given the flutists as to how to best effect a proper tonal development, the author compiled the ideas, which were basically all the same, into the section which follows. The pure flute tone depends upon the direction in which the air stream is blown against the edge of the embou- chure plate. Each octave requires a different direction of the air stream. When the correct one is found, not only will a good tone result, but the pitch will not be affected by the different volumes of air that will course through the flute. By overblowing, each tone can be made to break into partials of the harmonic series. If the overblowing is more than an octave, this indicates a tense embouchure and the student is advised to learn to relax the lips. It must be remembered that the flute overblows the octave and anything more than this is in the nature of a misplaced tone.. For players who lack a proper understanding of tone quality or lack tonal discrimination and are handicapped by faulty embouchure, the tone quality may be improved by the following exercises. Since a gradual transition of all things is best, by passing from the easy to the difficult, no one, in playing the flute, should begin with the higher and/or lower tones, which are difficult to produce. He 118 should begin in the middle register in which the tones B-4 and C-5 are located. The beginner should play these tones starting with a double piano dynamic and then should cres- cendo to a forte dynamic without raising the pitch. Once there, the student should bring the tone back to the double piano again without going flat. The next step is to play the C—5 again, and while the clear, pure tone is being sounded, push the B-4 key down rapidly and strive to retain the same quality of tone on the B-4 as was being produced on the C-5. Continuing in this manner, and with the least possible altera- tion of the embouchure, gradually, proceed to the lower tones and then practice from C-5 upwards to the higher register. Since each tone is always developed out of the proceeding tone, which is as good as it can be, all of the tones will remain as near pure as is possible considering the achievement level of the student. As soon as one obtains a feeling of certainty in the embouchure formation, he should then practice all of the major and minor scales. Following this, he should practice playing the exercises in the book Of the Sonorousness by 7 . Moyse. The embouchure Will thus become accustomed to the 7Moyse, p. 10. 119 playing of large and small intervals, and will soon be in a position to play the greatest skips with the proper embouchure formation, and consequently, with absolute certainty. In summarizing the writings of the previously men- tioned authors, the following conclusions describing a good tone and the fundamentals of tone production are presented.8’ 9. 10, 11, 12, 13 Description of a Good Tone 1. Must have "core" or center 2. Should have no'fuzz" on the outside edge of the tone 3. Must project well 4. Must have good pitch 5. Should have a good vibrato 8Boehm, p. 136. 9Moyse, p. 5. loWilkins, p. 23. llRockStro, p. 435. 2Barrére, p. 355. l3Quantz, p. 90. 120 Fundamentals of Good Tone Production Must use consistent breath support Must have correct direction of air stream for octave desired Should have correct speed of air stream for octave desired Must have knowledge and use of proper pitch adjustment Must understand correct use of vibrato Must vary size of tone and intensity in accordance with the mood of the music Should study professional tones (records-concerts) The acquisition of a beautiful tone is an unending and greatly taxing job. The words of Theobald Boehm seem to sum up a proper and complete philosophy regarding the tonal development in a concise and pertinent manner. The one who takes care, in practicing every note, will be, at the end, a good player.1 l4Boehm, p. 137. 121 CHAPTER NINE THE VIBRATO History and Evolution While it is generally accepted that the use of vibrato in wind-instrument playing is a sign of modernism, and that in line with progress, it is a new concept, documents exist that tend to prove that vibrato was used by wind players as early as the sixteenth century, and was a common practice throughout subsequent eras. One reference seems to have gone unnoticed so far, although it is one of the oldest and most significant in its implications. It takes one back into a period slightly earlier than the Baroque, preceding that of the culture of the solo voice and its reflection upon instrumental technics. It is found in one of the earliest books on musical instruments published, Martin Agricola's Musica Instrumentalis Deudsch,l which first appeared in 1528, and which was a reworking in German of its predecessor, Sebastian Virdung's Musica Getutscht of 1511. Agricola used Virdung's plates of various instruments but added his own text, which he changed and augmented in subsequent editions of 1530, 1542, and 1545. 1 . . . . Martin Agricola, Mus1ca Instrumentalis Deudsch (Wittenburg: George Rhan, 1528), p. 209. 122 In the latter editions, discussing the Swiff Fife, a cylin- drical six-holed instrument which is reproduced in four sizes, descant, alto, tenor, and bass, Agricola states: When playing the fife bear well in mind To blow it with a trembling wind The way they mostly teach it in The case of the Polish Violin As trembling ornaments the song Here too it never can be wrong.2 The continuation of this poem exhorts the German organ makers to install in their instruments a vibrato mechanism, a device known, but not frequently used at the time. The book also re- lates that "God did not give us knowledge of vibrato to keep it to ourselves, but to make it available to everybody."3 In one of the first flute methods published, Jacques Hottetérre 1e Romain's Principes de la Flute Traversiere, which appeared in 1707, a chapun is devoted to two ornaments, one designated as battement, the other as flattement. The former is a trill produced by covering only the edge of the hole below the note played, or by completely covering the tone-hole immediately below the note played. The flattement 2Josef Marx, "The Truth About Vibrato," WQodwind, Vol. IV, No. 3, Nbvember 1951, p. 6. 3Marx, p. 8. Hottetérre, Principes de la Flute Traversiere (Paris: Ballard, 1707), p. 29. 123 of the low D-4, then the lowest note on the flute, was pro- duced by turning the flute backward and forward, thus lower- ing the pitch. Since these procedures produce a downward wave of only a few vibrations this ornament may be grouped with the vibrato. Hottetérre further informs us that the same method also applies to the recorder and the oboe. On June 12, 1778, Mozart wrote in a letter: The human voice trembles by itself, but such, and in a degree which is beautiful--that is the nature of the solo voice which one imitates, not only on wind instruments, but also on the string instru- ments, yes, even on the clavichord--but as soon as it passes the limit, it is against nature; it sounds just like an organ when someone pokes the bellows. Fortunately, knowledge of wind instrument vibrato in the past is not based entirely on theoretical speculation. These previously mentioned documents prove its existence, as well as that of vibrato in general, much earlier even than it generally is assumed. These references have covered a span of 250 years and should serve to convince the reader of the plausibility of these claims, though they certainly do not exhaust the subject. These examples only suffice in that 5 . . . Emily Anderson, The Letters of Mozart and His Family, Vol. II (London: MacMillan and Co., 1938), P. 817. 124 they open the door to more research, more information and more interpretation in the hope that substantial positive proof will be forthcoming which will give credence to the facts already stated. The Successful Teaching of Vibrato Many articles have been written about the problem of vibrato. This study has been made with the idea of reinforc— ing knowledge about the vibrato and with a desire to clarify some misconceptions about this ancient and vexing enigma. webster defines vibrato as "an effect obtained by rapidly alternating the original tone with a slightly perceptable variation in pitch." Flute players have devised many means of obtaining this sound among which are the throat vibrato, the natural or chest vibrato and the diaphragm vibrato. This study is concerned only with the diaphragm vibrato. The so-called diaphragm vibrato is not actually a diaphragmatically produced sound. It is a pulsation produced by the rib, or intercostal, muscles. This is a statement which conflicts with the opinions of many teachers, performers and writers. As a flutist, the writer has always been inter- ested in the teaching and playing of vibrato. This interest has been fostered by many fine teachers and professional 125 flutists during years of study. This interest led to a con- versation with an anesthesiologist who was an amateur flutist. In questioning the physician the writer found that, medically speaking, the diaphragm is basically an involuntary muscle and could not be trained, without the greatest difficulty, to produce the undulations necessary to the diaphragm vibrato. This was demonstrated when the physician, the writer, and three flute students traveled to a near-by university hospital and obtained the services of a fluoroscope. The fluoroscope is a machine for examining internal structures by viewing the shadows cast on a fluoresent screen by objects or parts through which x-rays are directed. The shadows vary with the intensity of the objects or parts. All of the flutists took turns playing in front of the screen and all took turns watching the process of vibrato. The sight that greeted the students and the writer was convincing. The diaphragm did not cause the vibrating sound that has so long been associated with it. The intercostal muscles, that is the rib muscles, did the work of pushing out a gently pulsating sound. While the flutists played, the diaphragm merely moved upward in a slow steady fashion, not unlike the bellows of past years. As an experiment, the writer has tried to imagine exactly 126 what muscle to move when trying to move the diaphragm. It is very difficult to attempt to manipulate a muscle that is so completely enclosed inside the body and with such involuntary characteristics. One cannot actually feel the muscle move. However, if a student were instructed to try and manipulate the rib muscles, it is much easier and quite possible to do just this, as the student is able to feel this band of muscles and can actually see it working at moving the rib cage. This manner of teaching is logical and is also quite fast in ob- taining results. Since seeing this intercostal motion and talking to members of the medical profession, the writer makes certain to use the following method of beginning the vibrato. When first working with the student, have the person practice moving the rib muscles back and forth with greatly exaggerated movements. This motion mu§r_be done in a regular rhythm. The student must be quickly brought to the realization that this is the basis of teaching and learning the vibrato. This rib motion is also tied up with the motion of moving the abdomen ig_and 93; in strict rhythm. To do this motion the student executes rhythmic inhalation and exhalation of air. It must be emphasized that moving the abdomen is a basic tenet of this type of vibrato and must be accomplished to create a controlled sound. Once this feeling has been accomplished and 127 established the next step is to stop the exaggerated overt movement and get the pulsation of air scaled down accordingly until with relatively small muscle movement the inhalation and exhalation of air is even and smooth. Following this the student should put the flute to his lips and start the vi- brato by saying with his breath, sans voice, "ha, ha." By setting the metronome at sixty beats per minute and trying first to get one big pulsation per beat perfectly and evenly the student will be on his way to producing a sound that will have an excellent singing quality. After this is accomplished the student should strive for two pulsations per beat continuing until he reaches the optimum of six vi- brations per beat on the metronome. After the evenness prob- lem has been solved the student might wish to experiment with the speed of the vibrato. While the speed of six vibrations per beat is suggested, many flutists prefer a slower or fast- er sound and it should be delegated to the musical good sense of the performers which speed they choose. Needless to say, the vibrato speed should change sometimes to fit the prevail- ing mood and intensity of the work being performed. A vi— brato that is able to go only at one speed is not as useful as that which can be changed to fit the need of the artist and of the music. 128 When the student can control his vibrato the next important step is to be able to go from one note to the other with no stopping of the tone and vibrato. To do this it is recommended that the student work on very simple melodies such as the slow movements from the Baroque flute sonatas of J. S. Bach and G. F. Hande1.6’7 The practice of popular tunes that the flutist may play by ear is also helpful and recommended. This later method allows the younger student to be more aware of the aural dimension of music by concentrating solely on his tone and vibrato production without having to read music. The use of scales in the development of the vi- brato leaves much to be desired. It is true that scale prac- tice is an aid in securing a smooth vibrato through the step- by-step production of tones. In addition to this experience, the student needs practice in developing the smooth vibrato while playing large intervals. Experience of this sort may be secured by working on the tone book of M. Moyse.8 Of the 6 . . J. S. Bach, Six Sonatas for Flute and Piano (San Antonio, Texas: Southern Music Co., 1939). 7 G. F. Handel, Seven Sonatas for Flute and Piano (San Antonio, Texas: Southern Music Co., 1939). M. Moyse, Of the Sonorousness (Paris: Leduc, 1934), pp. 16-27. 129 Sonorousness. While it is tiring to work on the tone and vi- brato exercises the rewards far outweigh the drudgery. The writer hopes that teachers will find the material presented useful in helping their students to understand and develop a smooth singing vibrato. 9 Charles Osborne, "An X—ray View of Flute Vibrato," The Bandwagon, Vol. 8, No. 3, (Fall, 1960), p. 5. 130 CHAPTER TEN ARTICULATION: SINGLE} DOUBLE, TRIPLE AND FLUTTER TONGUING In the sixteenth century writers expounding on the art of flute playing were concerned with the correct methods of articulation. As flute teachers and performers today continue to cope with this problem, a detailed account of modern prac— tice is included in this chapter. The basic attack, slurring, single, double and triple tonguing and flutter-tonguing will be discussed. Starting a tone on the flute by merely blowing into the instrument, although possible, is a technique rarely em- ployed in performance, and best never practiced by the begin— ning student. The tone is most frequently started by estab- lishing the requisite air pressure in the mouth cavity and then releaging this air by means of the tongue. In essence, this is accomplished by moving the tongue so as to form an inaudible "da" (as in far) sound, which is preferable to other syllables in that it emphasizes the use of the tip of the tongue while also encouraging a more open throat in the start of the tone. It will be noticed in this basic attack, that the tongue normally touches the gum just above and behind the 131 upper teeth. This is the correct position of the tongue in attack, and is, of course, the approach to be stressed with the beginning student.l In further development of this basic attack, the following generalities may serve as guides. (The student should bear in mind, however, that these generali- ties are intended primarily as a guide for the beginning student; variants of the single attack, as well as other types of articulation are discussed later in the chapter.) 1. The tip of the tongue is to be used in the study- ing of this basic attack; any variation will not produce as clean or acute a beginning of the tone. 2. The tongue should strike nearer to the edge of the upper incisors as one plays lower in range or louder in intensity, and strike higher up on the gum as one plays higher in range or in a softer dynamic. In starting the low- est tones, the tongue may even almost touch the lips of the performer, but care should be taken that the tongue is Egg allowed to protrude between the lips. If the tongue pro- trudes with each attack, it disturbs the embouchure in such a lDouglas Steensland, "A Flute Playing Outline,” (Elgin, Illinois: 1949), unpublished manuscript presented at Music EduCators National Conference, Chicago, Illinois, 1949. 132 manner that the attack often has a distinct sound of its own, the tone being unnecessarily delayed. 3. The tongue is used to start tones, ggr_stop them. In starting and in repeating tones, the preparation of the tongue for starting one tone will of necessity cut off the previous tone. The double-acting "tut-tut" sound of the tongue, frequently used in misguided attempts at staccato, is limited in its application to music and is definitely not recommended for the beginning student. Let the student con- centrate on starting the tone with a clean attack, and stop- ping it, when not immediately followed by another, by simply interrupting the air stream, keeping adequate breath support and slightly lifting the head at the end of the tone so that the pitch does not sag or go flat. The student should think of ending the tone as in the shape of an eggshell, a tapering off of the sound. 4. The student should strive for evenness of attack in relation to the tone that follows. Tones beginning with an accent or swelling from a soft attack are used for expres- sive reasons and are most often indicated by the composer. The basic attack, however, is at that point wherein the tone begins and continues at the same dynamic level.2 2N'elson Hauenstein, Technics of Teachinnglute (Ann Arbor, Michigan, University of Michigan, 1953), unpublished manuscript. 133 Mention should be made of that aspect of articulation known as slurring. When one notices a slur mark in his music he should understand that the tongue is not involved in this articulation except to start the tone. The beginning student will have to be continually reminded not to use his tongue in passages that are clearly marked as being slurred. In studying many methods for the purpose of finding the best syllables to use in single tonguing, the results were confusing. In ten methods studied, both old and new, there were seven different manners of forming the "one and only syllable for best production of single tonguing." The meth- ods studied were of French, English, German and American origin and since the famous writers of these books were suc- cessful in their field, the student does not know what to believe. In the books the syllables given were "too," "ter," "te," "doo," "da," "tee," "tek," and many other variations of the same. From consolidation of the ideas it seems that if the student is serious in learning to tongue, he should pay strict attention to two basic premises pre- sented in the methods. 1. If the student wishes a strong, hard, explosive attack for special effect passages, he should use and experi— ment with a syllable that begins with a "t" sound. 134 2. If the student wishes a soft attack he should use a syllable that begins with a "d" sound. Of course, the stu- dent will have to use the correct amount of breath support and diaphragmatic pressure to go along with the chosen syl- lables. The student will wish to know how to increase his speed in this matter of tonguing and the following recom- mendation is made in order to achieve this end. The use of a metronome is all important in this matter--simp1y set the metronome at a slow rate of speed, i.e., sixty beats a min— ute, and play four repeated sixteenth—notes to one beat using scale and arpeggiated patterns. When this is even, controlled and relaxed, speed up the metronome and consequently increase the playing speed along with it. As this process is a diffi- cult and laborious one, an excellent motto for the young flutist is to "make haste slowly." Double Tonguing As regards doubling tonguing, the following concepts must be remembered. The syllable most often used is "doo" for the down—stroke and "goo" for the up-stroke. By apply— ing the same technic as mentioned in the previous paragraph, the speed of the double tongue may be speeded up to the 135 desired mark. If the double tongue is lineven, the student is advised to switch the tonguing syllables around and start the tonguing on the "goo" until the sound is more even as to weight of sound in tonguing. In playing music of German and French origin it is important to know the various meanings for the double tonguing indications in the music. In French the words for double tonguing are ”double coup de langue"—-in German the word is "doppelschlag." For the student wishing to acquire suitable materials for development of double tonguing the "Staccato Etude" by Safranow, published by Cundy-Bettoney is an excellent source. (See Appendix I.) Triple Tonguing This dissertation will not delve deeply into the triple tonguing actions as it is falling into disuse among modern flutists. If the student is determined to learn this technique he may simply use the double tongue syllables and accent in the following manner, "g22_gOO doo ggg_doo goo ggg goo doo." It will be apparent that the only difference between the double and triple tonguing is that the accent falls in a different place every other time. 136 Flutter Tonguing Flutter tonguing is a device that seems to be gaining in favor with modern composers. Most authors attribute the flutter tongue in music to Richard Strauss, but Agricola made mention of it in his book on musical instruments in ref- erence to very elaborate decorative playing.3 Modern com— posers such as Henry Brant in "Angels and Devils,‘ Darius Milhaud in his Sonatine, S. Karg-Elert in his Suite, opus 135, and M. Ravel in La Valse, use the flutter tongue mere- ly as an effect. The flutter tongue is produced by rolling the tongue against the roof of the mouth in exactly the same way as one rolls an r.” Many flutists have difficulty in doing this and have to revert to making a guttural "r" sound in the throat to make the same effect. In flutter tonguing be cer- tain to keep the embouchure relaxed and do not permit the sound to become too rough. Maintain the proper pitch, as the tendency is toward sharpness. Some of the terms that composers use to indicate the flutter tongue are: "rrrrrrrrr" Flutter 3Agricola, p. 186. 137 Flatterzunge (German) Tremolo (French) En roulant la langue (French) Students of tonguing will have to spend many hours in patient practicing in order to achieve an even relaxed sound in tonguing. The student will have to rest frequently in order not to tire himself unduly as the practice of tonguing entails a large amount of muscular control and at first the muscles will tire very quickly. As the student gains con- trol of these muscles and as these muscles gain strength, the length of practice time may be elongated. 138 CHAPTER ELEVEN THE PICCOLO, ALTO AND Eb FLUTE One of the primary shortcomings in the average flute player's consideration of the piccolo is his failure to recognize it as a separate instrument. All too often he thinks of it as a necessary but embarassing "poor relation" of the flute. The attitude that automatically assigns the piccolo the rble of a secondary instrument--and it is found even among professional p1ayers--is certainly not conducive to the development of good piccolo players. This way of think- ing then makes being assigned to piccolo in band or orches- tra something of a demotion. The first recommendation is for the band or orchestra director to assign one of his best talents in the flute section to piccolo.l One must remember that while the piccolo player may play less fre- quently during an average concert than the first or second flute, he is almost certain to be heard in every passage where he does perform. lEdward Ellanger, "Teaching Flute," WOOdwind, Vol. IV, No. 3, Nbvember, 1951, p. 6. 139 Good piccolo players are said to be few in number, yet this need not be so. Most good flute players would be able to play excellent piccolo if only they would purge them— selves of the "inferior instrument" complex and study the instrument seriously. No one should ever have the misfortune of being forced to play on an inferior instrument of any description-- in the case of the piccolo, this axiom can hardly be over- emphasized. Only the best quality instruments obtainable should be used. The inferior piccolo is a notorious offend- er as regards intonation; and its thin, shrill sound lays a slim veneer on top of what might be a most pleasing orches- tral or band tone. Piccolos are still being manufactured in Db as well as in C, but it is recommended that only the C piccolo be considered for purchase. Orchestral music employs the C instrument, and even in band,where the Db piccolo was once used almost exclusively, the C piccolo is supplanting it more and more. Some publishers of band music are today issuing separately printed alternate parts for C and Db piccolos. Many publishers, however, are already discontinuing the 140 publishing of the Db parts. This is good, because the C piccolo is, generally speaking, a superior instrument. The Db piccolo has never, in the opinion of many, seemed to have quite as good a tone quality as the C. The reason for the existence of the Db piccolo in the first place was due to the fact that for bands, the Db instrument put the player into a more advantageous key, i.e., if the band key was Ab, it would put the piccolo player into the key of G. This is no longer necessary as the players of today have greatly improved their skill and are not so hampered by key signatures. The C piccolo hasaislightly longer tube, giving the manufacturer a little more with which to work. This is an important con— sideration in an instrument where the tone holes and fittings are already tightly compressed into such a short length of tube.2 The fact that there are three types of piccolo now available should be pointed out at this juncture in the dis- cussion. These are, l.) the cylinder type bore, 2.) the conical bore, both in wood and silver, and 3.) the wood piccolo, which is almost exclusively conical. All three of these are on the instrumental market today and the band or 2 W. E. Haynes, Flutes (Boston: Haynes Co., 1953), p. 13. 141 orchestra director should be advised of what is best for the players. The wood piccolo is QQE recommended for high school or college players.3 Because the wood piccolo does not have a raised aperture plate, it has an entirely different feel than the flute and this requires a different embouchure setting than either type of silver piccolo. It tends to be more tiring on the performer when a full evening of playing is required. In other words, its use demands a piccolo "specialist" who practices a great deal. It is a liability for football playing occasions, as it is prone to crack in severe cold. Not many wood piccolos are being made today, but they are still used by many professionals who feel that they give a more rounded, softer tone. There are also pro- fessionals who use the silver headjoint with the wood body. These men feel that the silver headjoint makes the instru- ment blow easier without sacrificing tonal quality. The silver piccolo, as stated above, is made in two different types of bore, conical and cylindrical. The con- ical bore is the only one most professionals recommend. 3Ellwanger, p. 7. 4Haynes, p. 4. 5 Haynes, p. 13. 142 The most important difference between the two types of bore is in the tone quality; that of the conical bore is more full- bodied and more pleasing. In addition, it is more flute-like in character and more equally balanced throughout its com- pass. The tone quality of the cylindrical bore tends to be shrill and thin; its low register is particularly weak and hollow, and it is a notorious offender as regards intonation. Its one advantage is, admittedly, its easier blowing high octave. weighed against the unrewarding quality of tone which the cylindrical bore instrument has to offer in all registers, this one advantage seems negligible. It is true that the conical bore piccolo requires somewhat more prac— tice, but it is well worth the effort in terms of superior tone quality and intonation. The manner in which one distinguishes between con- ical and cylindrical bore piccolos is simple. The cylin- drical bore is exactly the same diameter throughout the entire length of the tube, whereas in the conical bore the tube becomes perceptibly smaller by the time it reaches the E and D keys (second and third fingers, right hand), before flaring out again slightly at the end past the D# key. 143 The Alto Flute In 1854, Theobald Boehm made his first Altf16te in G.1 It was a success as it satisfied the need for deeper, stronger and more sonorous flute tone. By enlarging the bore and extending the proportions of his then revolution- ary new metal flute in C, he created an entirely new instru- ment, as different from the flute in C as the alto oboe was from the oboe. Hewever, those who opposed Boehm's innovations discredited his alto flute, claiming that it was altogether valueless, generally heavy and inflexible in its tonal responses. Such unwarranted attacks, coupled with the long- recognized failure of the older larger flutes, succeeded in persuading many that the new alto flute was also a failure. Some have thought that the alto flute, for example, ought to be like the flute in C in quality, merely extend- ing the compass. Actually the two instruments have a different quality even when two tones of the same pitch are sounded. The differences have been described as similar to that between the true soprano and a true contralto. Boehm lBoehm, p. 119. 2Boehm, p. 120. 144 has mentioned that on occasion, his alto flute playing was mistaken for a French horn.3 To cite but two specific seri- ous works, Stravinsky makes use of the alto flute in Le Sacre du Printemps, and Ravel uses it to great advantage in Daphni§,et Chloe. Many other serious composers have used the G flute effectively in working for TV and motion pictures. The Eb Flute In recent years the Eb soprano flute has become more and more widely used in this country. Of course, the most logical place for this instrument is in the band. Many band scores call for an Eb clarinet and it is this instrue ment that the Eb flute is intended to replace. The Eb clarinet is a very difficult instrument on which to play in tune as well as to obtain a good and secure tone. It takes a real artist to coax from this instrument a tone with any degree of delicacy and refinement. The Eb soprano flute, on the other hand, responds even more easily than the concert flute and permits great agility and subtlety on the part of the performer. The 3 Boehm, p. 122 145 tone of the soprano flute is somewhat light and does lack some of the basic tonal qualities of the C flute. Many flute sections are growing entirely too large and the band director is casting about for a place for the abundance of flutists. By putting some of the players on the Eb instrument, he is able to spread the range of his flute section and to accommodate more players in the group. Thus this instrument has a definite place in the organizations of today and is available at very reasonable prices. 146 SUMMARY In summary, it is the ultimate hope of the writer that this dissertation has met its established goals in that it provides a quick and authenticated reference for the instrumental teacher and the artist~f1utist. Selecting the instrument and player, having copius amounts of selected and graded materials from which to choose, and methods of flute playing in all of its complicated, broad and comprehensive aspects have been the ultimate aim of this paper. Since flute sections in bands and orchestras have grown so large in past years and the popularity of flute playing has increased on such a tremendous scale, this dissertation is intended to serve as an aid to those engaged in learning to play the flute. Performance fea— turing the flute is not only on the rise in bands, and orchestras, but is also becoming more prominent in the field of solo and ensemble festivals. Modern composers have noted the upsurge and tech- nical improvement in high school and university music groups and have upgraded the technical difficulties of their compositions so as to be able to challenge the capa- bilities of the performers. Since these new works demand 147 better musicianship and knowledge on the part of the flutist, the music director must also be better prepared to meet the challenge presented and meet the student's needs. The music educators and music directors cannot possibly spend all the time necessary to delve into all the aspects of any given instrument even though they might have an extreme interest in these areas. This dissertation has not considered all of the aspects of the flute and cannot hope to do so as there are continuing changes and new problems arising all of the time. There are peveral problems, however, which have arisen dur- ing the course of this paper which should be brought out at this point. There is a need for further study of the repertoire that is musically satisfactory and sufficiently challenging in the area of music for the beginning flutist. This repertoire is barren in that most of the music is in the form of arrangements of other works, or is just simply unworthy in a musical sense. Much of this latter music had been written merely to sell to unsuspecting students or to directors not familiar with the repertoire. Another area that is in need of investigation lies in the vexing dif- ferences in tonal response of head-joints, no two head-joints 148 play alike. While it is encouraging to note that all of the leading flute manufacturers maintain laboratories for experi— mentation and quality control, more experiments are indicated to ascertain exactly what effect the shape of the oral cavity has upon the tone of the flute and what may be done about it. This is the field which, to this author's knowledge, has not been scientifiCally investigated. Finally, if this dissertation is able to assist any- one in his quest in acquiring knowledge of the flute and its many ramifications, the dissertation will have fulfilled its purpose. 149 APPENDIX I REMEDIAL LITERATURE In many ways there is more than just a coincidental analogy between the doctor prescribing medicines for his patient and the flute teacher selecting remedial material that will aid the flutist with special problems. To select one etude book for all students to study is as illogical as prescribing one medicine to cure all of the known ills and diseases of man. It follows then that the flute teacher must be familiar with many books and know their proper usage in order to prescribe the study material that will most likely aid the needs of the student in overcoming his prob— lems, be they technical or musical. As no study of this nature has appeared in print for a number of years, it is appropriate to include it here. There are many books that are published with remedial purposes in mind. The author has studied and rejected those which seem inconsequential and inadequate. The following list, which is not intended to be all— inclusive, is annotated with information about the books and includes comments on the proper usage of the material. 150 Bona, Pasquale . . . Complete Method for Rhythmical Articulation . . Carl Fischer The essence of this book is stated in the introduction and the following is a free translation from the Italian: To impart to beginners and young pupils in general a correct and practical method which will teach the proper rhythmical proportionment of the single notes composing the beats of a musical theme, the recognition of their respective values, and the giving to each note, so to say, a special signifi— cance and individuality, as considered in its inter- relationships with the rest, is certainly a matter of signal and special importance in musical education. This text provides excellent material for a student who is experi- encing difficulty in playing rhythms, reading articulations and understanding the complexities of patterns. (Seventy- two pages.) Allard, Joseph . . . Progressive Jazz Rhythms, 1947 . . . New Sounds in Music Co., or Selmer Instrument Co. This is a two-volume series of the typical rhythms used in modern jazz music. As many of these rhythms ap- pear in the more serious compositions written for the bands and orchestras of today, it is imperative that a student 151 familiarize himself with them. A study of this material will aid the student in sight reading in syncopation, modern phrasing, and technic. Both volumes are written in manu- script, which is again something that a young musician must learn to read if he is to have a complete training in music. Reading different types of manuscript is especially impor— tant for the musician who wishes to go into the professional field of commercial music. (Fifty pages.) Brooke, Arthur . . . Harmonic Fingerings For The Flute . . . . . . . . Cundy-Bettoney The study of harmonics or overtones benefit the flutist in two distinct ways: 1.) It enables him to gain control of the notes in the high register, 2.) it furnishes easier fingerings which create better facility in the third octave. The book also aids the student in that it explains how one overcomes the difficulty in playing high fast trem- olos, something which every flutist has to contend with, one time or another, in his playing. (Eight pages.) Safranow, A. (arr.) . . . Staccato Etude on the Theme "Perpetual Motion by Paganini . . Cundy-Bettoney This work is a study in double-tonguing. It con- sists of six full pages of running sixteenth-note patterns, 152 which encompass the complete range of the flute and demand a great dynamic variation from the player. If an instructor is seeking material for the development of the single tonguing action, this etude will also fulfill his needs. It is recommended that judicious and consistent use of a metro- nome be made as it will help the student measure his progress in attaining speed and rhythmic precision. Moyse, Marcel . . . School of Articulation, 1934 . . . Leduc- Southern All possible types of articulation are included in this book. Although this book is published by Leduc of Paris, it is more readily available through Southern Music Co., in this country. (Twenty—three pages.) Barrére, Georges . . The Flutist's Formulae, 1935 . . . G. Schirmer Mr. Barrére lists this as a compendium of daily studies on six basic exercises. He recommends that all the exercises be played legato although any articulation is possible. Each exercise may be played through the "circle of fifths," thus giving the flutist a good foundation in all of the keys. This material is strongly recommended for flutists with co-ordination and technical problems. (Thirteen pages.) 153 Maquarre, André . . . Daily Exercises for the Flute . . . . . .G. Schirmer These exercises are similar to those contained in the Flutist's Formulae by Barrére (refer to comments above) as they provide additional material for the flutist with technical and co-ordination difficulties. (Thirty- seven pages.) WOOd, Daniel . . . Studies for Facilitating the Execution of Upper Notes on the Flute o o o o o o o o cundY-Bettoney This work is directed toward the student who is having trouble in playing in the high register due to the lack of finger co-ordination. Because high-register playing is most fatiguing, it is recommended that the student limit his practice of this material to not more than fifteen minutes in any given practice period. (Twenty pages.) Endresen, R. M. . . . Supplementary Studies for Flute, 1927 . . . . . Rubank Co. This book has several important features which are: exercises for stressing technical aspects of flute playing with cantabile passages for the development of tonal qual— ity and phrasing; excellent exercises for review and read- ing; preparatory exercises for more advanced technique, 154 and finally, short passages that are good for the young play- er in that it is challenging and does not tire the student unduly. This book is recommended for the beginner with a phrasing problem. Tempi and keys are varied and quite easy. (Twenty-four pages.) Demersseman, J. . . . Fifterelodious Studies, 1937 . . . Leduc or ‘ Southern Music Co. This book has been revised and annotated by Marcel Moyse and is recommended for the study of phrasing. The studies are more difficult than the previous book cited and should be reserved for the more advanced student. There is a diversity of keys and tempi that should sustain the int- erest of the more advanced player. (Sixteen pages.) Moyse, Marcel . . . Of the Sonorousness, 1934 . . . . . . . . . . Leduc or Southern Music Co. Mr. Moyse gives careful instructions on how to acquire the tone and on how to practice in order to obtain that end. The book also is an extraordinarily good source of material for lip flexibility and for the practice of begin- ning and releasing tones. Most highly recommended. (Twenty- seven pages.) 155 Mazas . . ..... . . . . QE§£§.- . . . . David Gornston Eighteen duets in as many different styles of manu- script writing. Although these duets are written for other instruments, they may be played on flutes with an occasional transposition by flutists playing the bottom part. (Thirty— nine pages.) Mann, Herbie . . . . Jazz Flute, 1960 . . ... . . Soundpost Inc., or from Presto Many young students are interested in playing jazz flute and this book will answer some of the questions per- taining to this style of playing. It must be understood that this book does not tell one hgy_to play jazz flute, but rather, gives the neophyte many good ideas as to possi- ble effects, type of instrument needed, tone, and interpre- tation. Four solos with piano accompaniment are included. (Twelve pages.) Moore, E. C. . . . . . The Flute Book, 1953, . . . . . . . Leblanc Corp. Besides being an outstanding text on playing, this book has a trouble chart in it that serves to pin-point difficulties and their remedial actions. The author should like to recommend this as good source material, especially 156 for the music director who is not a flutist, as it delves into many different aspects of playing the instrument. In summary, the combination of adequate material, copious practice, and good teaching will aid the student in his search for the answer to flute playing problems. 157 APPENDIX II SELECTED REPERTOIRE FOR ENSEMBLES USING UNUSUAL OR LESSER KNOWN COMPOSITIONS This listing of ensembles for woodwinds, strings and percussion attempts to investigate ensembles from a different point of View. It is a selected listing of music that either the author has played himself or has had stu- dents perform in public. This is a carefully prepared list of practical music that should interest ensemble perform- ers and teachers. It is hoped that the use of these materials will bring to concert and festival programs of ensemble lit- erature a renewed vitality. Having had experience as an adjudicator, the writer has noticed that the ensemble groups at festivals tend to play the same materials year after year. Flute trios, clarinet quartets, woodwind quintets and the like are all needed, but there are possi- bilities for interesting variations. Most adjudicators would welcome the opportunity to listen to an unusual ensemble that displayed a little imagination on the part of the teachers and the performers. 158 In a number of the listings substitutions have been suggested. These substitutions are intended to aid the teacher who wishes to perform a certain ensemble but does not have the required instrumentation. All of these sub— stitutions have been tested by the author both in the class- room and in performance. Roman numerals following the publisher refer to the grade level of the composition. 1 Charles Osborne, “Selected Repertoire for Ensem— bles Using Unusual or Lesser Known Compositions," The Instrumentalist Magazine, Vol. XIV, No. 9 (May, 1960), pp. 38-39. 159 Ensembles for Two Instruments Hart, weldon . . . . Interlude for Flute and Bassoon . . . . . . . .Spratt, III This is contemporary music that is not too difficult for the student with adequate technical command of his instru- ment. The work comes in score form so that two copies will be required. The bassoonist needs a facility in reading tenor clef, but the highest note does not exceed C5. McKenzie, Jack . . . Pastoral for Flute and Percussion . . . . . . Presto, IV The meter of this work is quite complex, a mixture of 7/8, 5/8, and 6/8 being employed in the fast section. Once established, however, it falls into place in the performer's mind. The percussion part uses timpani or tuned tom—toms, cymbal, and gong. The flutist must have control of the entire range of the flute. This is a work that serves well as an excellent program number for advanced players. Naumann, J. G. . . . Duet for Oboe and Faqott . . . . . . . McGinnis and Marx . . . . III This duet can be used for flute and bassoon or flute and cello, and is a pleasant sounding Baroque work with both andante and allegro movements. There is some use of tenor 160 clef; the bassoon part goes as high as B4, but this should not trouble an average high school player. Telemann, G.P. . . . Drei Dutzend Klavier- fantasien . . . . . . . Barenreiter, or Southern . . III Although these pieces are for harpsichord, they make excellent material for flute and bassoon. The bassoon part will occasionally go into treble clef, but this can be read an octave lower. It contains seventy-five pages of duets with numerous slow movements for tone production improvement and many fast duets for developing technic. Ensembles for Three Instruments Arnold, Malcolm . . . Divertimento for Flute Oboe and Clarinet . . . McGinnis and Marx . . . III A number written in a light vein that would also make good program music. It can be played with two flutes and clarinet, or flute, violin and oboe. There are six move- ments. l6l Beethoven . . . . . Serenade for Flute, Violin and Viola . . . . . . . . . Peters . . III There are five sections in this work, and one or more of them would be quite suitable for festival presentation. The range of the instruments is limited to two octaves so that most young players would be able to conquer the techni— cal problems. The musical difficulties of these pieces require a sensitive ensemble feeling, which must be carried out in order to make every note sound properly in the classi- cal style. Bizet, G. . . . . . Three Pieces for Flute, Clarinet and Piano . . . . Southern . .III The three pieces are: Entr'acte from Carmen, Inter- mezzo Religiogg from L'Arlesienne Suite Number Two, and Valse-Minuet from L'Arlesienne Suite Number I. These can be performed with flute, clarinet, or oboe and piano with option- al parts for French Horn, alto oboe, and bassoon. All of the numbers are in the key of Eb; therefore they can be played as a suite or separately. 162 Bloch, Ernest . . . . Concertino for Flute, Clarinet and Piano . . . G.Schirmer .. V In this work the viola can take the part written for clarinet. The flute does a considerable amount of playing in the third octave, therefore needing a facile technique in this range. The viola or clarinet is difficult because of the wide leaps and skips written in the fugal section. There are some complexities of rhythm in alternating measures of 3/4, 4/4, and 2/4. The piano part is difficult because it is an orchestral reduction. Haydn, F. J. . . . . . Four Trios for Two Flutes and Cello . . . . . . . . Southern . IV Here is classic composition at its best. The work can be played by flute, oboe, and cello, or flute, clarinet and cello with bassoon or viola in place of the cello. This is such fresh and invigorating music that it will fit almost any performance occasion. Holst, Gustav . . . . . Terzetto for Flute, Oboe and Viola . . . . . . . McGinnis and Marx . . IV This composition typifies the late style of writing by Holst. The ranges are moderate and the technique is not demanding. The flutist, however, must have command of the 163 low register in order to compete with the oboe which is con- fined to its lower range. The combination is strange but the resulting sound is full, pleasing, and well blended. Milhaud, Darius . . . . Suite for Violin, Clarinet and Piano . . . . . . . McGinnis and Marx, ...IV Flute players like this work because the violin part fits their instrument quite well. Milhaud has composed a pleasant, unpretentious work. It is not difficult as far as range and rhythm are concerned, and the player will find everything in it from South American music to tongue-in- cheek western. Mozart, W. A. . . . . . Symphonie Concertante for Violin, Viola and Piano . . . . . . . . Peters . . IV This work is also playable by the combination of flute, clarinet and piano. The violin part can be played on flute with a few changes to suit the range. On page three, letter H, the violin part should be changed from the low G's and Bb to an octave higher. The viola part must be transe posed into the key of F for the clarinet. This is a major work lasting twenty minutes and is a valuable source of material for this instrumental combination. The piano part is an orchestral reduction. 164 Olsen, Sparre . . . . Suite for Flute, Oboe and Clarinet . . . . . McGinnis and Marx . . III The clarinet part is written in C, and a high school musician might have to write out his part to make it more comfortable. The suite is in five short movements and is modern in harmonic approach, but it does not make demands on the technics of the performers. Piston, Walter . . . . Three Pieces for Flute, Clarinet and Bassoon . . Southern, 0 O V This is an advanced work both technically and musi- cally. Players will have to spend a great deal of time checking to see that they are performing all of the acci— dentals correctly. Ensembles for Four Instruments Honegger, A. . . . . Rhapsody for Two Flutes, Clarinet and Piano . . . McGinnis and Marx . . . V The clarinet part is in A and can be transposed and played on a Bb instrument with the exception of one low Eb in the last movement which can be played an octave higher. The work is in three parts: Larghetto, Allegro (in 5/4 meter), and Larghetto. This is modern in flavor but not so 165 much that it would take a long time to appreciate the beauty of the work. Mozart, W. A. . . . . Andante for Mechanical organ 0 O I O O O O O O 0 AMP O C III A classical piece that is arranged for flute, oboe, viola and cello. It helps to fill a gap in the literature that is extremely sparse in works for woodwinds. The mech— anical organ was a type of forerunner to our player piano popular in the days of Mozart. Prokofiev, S . . . . Humorou§_Scherzo for Four Bassoon; . . . . . Omega . . III Here is an outstanding composition for the group fortunate enough to have the bassoons. The first and fourth parts demand good bassoonists, but the two middle parts can be performed easily by just average players. The first part is difficult because of the high tessitura and, of course, the bottom part makes use of low notes which are difficult to produce cleanly. There are running eight- note patterns much like an Alberti bass in the fourth part. This scherzo is a certain audience pleaser and never fails to become a conversation piece due to its wit and humour. 166 Ensembles for Five Instruments Handel, G. F. . . . . . Two Marches for Five Winds . . . . . Mercury . . III This is an arrangement of two trumpets, two oboes and bassoon that also has a continuo part. Oboes may be replaced by flutes. The two marches make a good opening number for an ensemble program. Mozart, W. A. . . . . . Five Square Dances for Flute and Strings . . . McGinnis and Marx . . III Although the title of this work makes use of the word Square Dances, the German word in the original score is Contretanze, meaning a dance of a rustic or peasant nature. One of the interesting aspects of this work is the use of a toy drum or tom-tom in the third and fourth movements. These pieces must be classed as musical gems, a delight to hear, and to perform. Ensembles for More Than Five Instruments Anderson, Leroy . . . . Suite of Carols . . . Mills . . III Anderson has scored this suite for piccolo, two flutes, two oboes, alto oboe, two bassoons, contra-bassoon, three Bb clarinets, alto clarinet and bass clarinet. An alto saxophone can play the alto oboe part, and a 167 contra-bass Clarinet can play the contra-bassoon part. This is excellent music for the entire woodwind section of a band if the director wishes to double the parts. All of the carols are arranged interestingly, and suitable contrasts in tempo between movements are suggested. This is good material E for a Christmas program or any program during the winter con- 5 cert season. Beethoven . . . . Rondino in Eb . . . . . Mercury . . IV This is originally scored for two horns, two oboes, two clarinets, and two bassoons, the horns being given the major load to carry. Some substitutions can be made in the oboe parts if necessary. A flute can replace the first oboe, or two clarinets can play the parts if no oboes are avail- able. The bassoon parts can be taken by two bass clarinets or one bass clarinet and a contra-bass clarinet on the bottom part. Haydn, F. J. . . . .Octet in F Major . . International .. IV The original score calls for two oboes, two clari- nets, two horns, and two bassoons. The writer has used four Bb clarinets, two alto clarinets, and two bass clari— nets. Flutes may be used on the two top parts. This work is a valuable addition to the clarinet choir repertoire. 168 All transpositions fit the clarinets without being awkward. This is a major work in four movements in typical classical form. Strauss, R. . . . . Serenade in Eb . . . International . . IV This is scored for two flutes, two oboes, two clari- nets (Bb), four horns, two bassoons, and contra-bassoon. The "“' "“' “ ' " '53: it, composer wrote this when he was about eighteen years old, and his writing clearly shows how much he admired Mozart, an admiration he retained throughout his life (Mozart has written Serenades for this very same combination and this work is cast in the same mold). A contra—bass clarinet can be sub- stituted for the contra-bassoon. Temple and Shaw . . Duplicity and Audacity from the Vanity Fair Suite . . Mills. .1v The instrumentation for this ensemble is flute, oboe, four Bb clarinets, bass clarinet, alto saxophone, piano, bass and dance drums. The music is extremely engag— ing and intriguing, sounding like miniature overtures to a musical comedy. Either of the numbers would bring an en- semble program to an excellent conclusion. 169 Wilder, Alec . . . Neurotic Goldfish, Debutante's Diary, She'll Be Seven in Ma! 0 O O O O O O O O O 0 O Presto O 0 III The instrumentation is for flute, two Bb clarinets, bassoon, alto oboe, oboe, piano, bass, and dance drums. Wilder has written excellent material for people who want to play written jazz. The alto oboe part can be taken, if transposed, by alto saxophone. APPENDIX III A LIST OF FLUTE RECORDINGS Various Composers . . . Award Artist Series . . . . AAS 706 Bach, Bach, Bach, Bach, Bach, William Kincaid, Flutist, Vol. I and II C.P.E. . . . . . Concerto in G . . . . Concert Hall for Flute and Orchestra Ser. 1077 A. Nicolet, Flutist C.P.E. . . . . . Sonata No. l in D Major for Flute and Piano . . . . . . . . . westminster 407 Jean Pierre Rampel, Flutist J.S. . . . . . . Brandenburg Concerto No. 4 . . . . . . . . . . Columbia M249 Marcel Moyse, Flutist, A. Busch, Violinist, R. Serkin, Pianist J.S. . . . . . . Brandenburg Concerto No. 5 . . . . . . . . . . Columbia M250 Marcel Moyse, Flutist J.S. . . . . . . Brandenburg Concerto No. 4 . . . . . . . . . . Columbia ML4346 John Wummer, Flutist 170 ‘ “EV-la. 33., 171 Bach, J.S. . . . . . . Seven Sonatas for Flute and Harpsichord . . . . . . . Vox PL6160 Peter Cartage, Flutist, M. Carbonnier, Harpsichordist Bach, J.S. . . . . . . Six Sonatas for Flute and Harpsichord . . . . . . . Decca DXll3 Julius Baker, Flutist Bach, J.S. . . . . . . Sonata in B Minor for Flute and Harpsichord . . Columbia ML5264 Haydn Soc. 9073 Westminster XWN18352 Harold Sebastian, Flutist on Columbia Viderd Birkelund, Flutist on Haydn Society John wummer, Flutist on Westminster Bach, J.S. . . . . . . Sonata in A Minor for Flute alone . . . . . . . Boston 408—409 westminster XWN18352 Phillip Kaplan, Flutist on Boston John wummer, Flutist on westminster Couperin, Francois . . Les Routs Reunis, Concerto No. 6 in B Flat Major . . . . . . Mercury 15007 A Jean Pierre Rampal, Flutist Couperin, Francois . . Famous Baroque Sonatas for Flute and Harpsichord . . Red Label LP 1649 W. E. Nusio, Flutist Various Composers . . A Flute Recital . . . . . Mercury MG 10067 Jean Pierre Rampal, Flutist 172 Various Composers . . . The Flutist's Showcase . . . . Golden Crest GR 4020 Frederick Wilkins and James Pellerite, Flutists Frederick The Great . . Concerto in C Major for Flute . . . . . . . . . . SPA 23 Kurt Schneider, Flutist Foote, Arthur . . . . Night Piece for Flute and strings . . . . . . . . . Decca DL 4013 Julius Baker, Flutist Griffes, Charles. . . . Poem for Flute and Orchestra . . . . . . . . . . Decca DL 4013 Julius Baker, Flutist Gluck, ChristOph . . Concerto for Flute and Orchestra . . . . . . . . . . Oceanic CC 29 Jean Pierre Rampal, Flutist Bach, W.F. . . . . . . Sonata in F Major for Flute, Violin and Piano . . . . . . . . . . . . Lyric 57 Elaine Schafer, Flutist, Arthur Brink, Violin A. Pinkham, Piano Various Composers . . Flute Duets . . . . . . . Washington 419 Julius Baker, Jean Pierre Rampal, Flutists Bizet, Georges . . . . Carmen Fantasie . . . . . . . Polphon 16026 Emil Prill, Flutist 173 _m h’f’ .-uw . . . . .. . ‘ ’ -.s.~vI:‘!&V .I - Beethoven, L . . . . . Sonata for Flute and Piano . . . . . . . . . . . . . . SPA 28 W. A. Wanausek, Flutist Boccherini, Luigi . . Concerto for Flute in D Major . . . . . . Concert Hall Society 50 Paul Renzi, Flutist BoCcherini, Luigi . . Concerto for Flute in D Major . . . . . . . . . . . Vox PL9440 W. A. Wanausek, Flutist Brant, Henry . . . . . Angels and Devils for Solo Flute and Flute Orchestra . . . . . . Composers Recordings CRI 106 Frederick Wilkins, Flutist Burton, Eldin . . . . Sonatina for Flute and Piano . . . . . . . . . Classic 1006 John wummer, Flutist, Eldin Burton, Pianist Ciardi, C.A. . . . . Carnival Russe . . . . . . . . Odean ' 3275 Emit Prill, Flutist Couperin, Francois . . The Four Concerts Royaux . . . . . . . . . . . . Lyric 54 Phillip Kaplan, Flutist, Marcel Mayes, Pianist Handel, G.P. . . . . . Sonatas for Flute and Harpsichord . . . . . . . . Decca DX116 Julius Baker, Flutist, Sylvia Marlowe, Harpsichordist 174 Handel, G.F. . . . . . Sonatas for Flute and Harpsichord . . . . . Westminster XWN 2222 John wummer, Flutist, R.E. Valenti, Harpsichordist Handel, G.F. . . . . . Sonatas No. I and V for Flute and Harpsichord . . Westminster XWN18583 John Wummer, Flutist, R.E. Valenti, Harpsichordist Handel, G.F. . . . . . Sonata No. II, IV, VII, IX, XI for Flute and Harpsichord . . . . . westminster XWN18583 John wummer, Flutist, R.E. Valenti, Harpsichordist Handel, G.F. . . . . . Sonata No. V for Flute and Harpsichord . . . . . . . . Oxford 102 Julius Baker, Flutist Haydn, J. . . . . . . Concerto in D Major . . . . . . . Epic LC 3075 Marcel Redel, Flutist Hanson, HOward . . . . Serenade for Flute, Strings and Harp . . . . . . . . Mercury 40003 Joseph Mariano, Flutist Haydn, J. . . . . . . Sonata in G Major for Flute and Piano . . . . . Concert Hall Society 1082 René Leroy, Flutist Haydn, Michael . . . . Concerto in D Major for Flute . . . . . . . . . Unicorn 1007 W. A. Wanausek, Flutist 175 Hindemith, Paul . . . . Sonata for Flute and Piano . . . . . . . . . . . . Oxford 103 Julius Baker, Flutist Hindemith, Paul . . . . Sonata for Flute and Piano . . . . . . . . . . . . Columbia ML 4339 William Kincaid, Flutist A. Solokoff, Pianist Hindemith, Paul . . . . Sonata for Flute and Piano . . . . . . . . . . . . Mercury 10067 Jean Pierre Rampal, Flutist Ibert, J. . . . . . . . Concerto for Flute . . . . . . Oxford 104 Julius Baker, Flutist Kennan, Kent . . . . . Night Soliloquy . . . . . . . . Mercury MG 40003 Joseph Mariano, Flutist LeClair, Jean . . . . . Concerto for Flute in C Major . . . . . . . . . . . Vox 10150 W.A. Wanausek, Flutist Martinu, B. . . . . . . Sonata for Flute and Piano . . . . . . . . . . . . . EMS 2 René Leroy, Flutist, G. Reeves, Pianist Mozart, W.A. . . . . . Concerto in D Major for Flute . . . . . . . . . Concert Hall 1073 A. Nicolet, Flutist 176 Mozart, W.A. . . . . . Concerto in G Major for Flute and Orchestra . . . . .See below John Wummer, Flutist Columbia ML 4567 Elaine Shaffer, Flutist EMI CAP 67135 Herbert Barwaher, Flutist Epic 3033 W.A. Wanausek, Flutist Vox 8130 Mozart, W.A. . . . . . Concerto in D Major for Flute and Orchestra in Album, Flute Contest Music . . Lanier, H&A Selmer Charles Delaney, Flutist Nielsen, Carl . . . . Concerto for Flute and Orchestra . . . . . . . . London 1124 Hans Jespersen, Flutist Various Composers . . Music for the Flute . . . . LP Oxford Or 102 Julius Baker, Flutist Various Composers . . Music for the Flute . . . .LP Columbia 4339 William Kincaid, Flutist Pergolesi, Giovanni . Concerto for Flute in G Major . . . . . . . . . . . . Vox W.A. Wanausek, Flutist 9440 Piston, walter . . . . Sonata, Prokofiev Sonata . . . . . . . . . . Claremont 1206 Doriet Anthony, Flutist Quantz, J.J. . . . . Concerto in D Major No. 17 for Flute and Orchestra . . . . . SPA 23 W.A. Wanausek, Flutist Quantz, J.J. . . . . . Concerto in F Major for Flute and Orchestra . . . Herbert Barwaher, Flutist Quantz, J.J. . . . . . Sonata for Flute and Harpsichord . . . . . . John Wummer, Flutist, F. Valenti, Harpsichordist Quantz, J.J. . . . . . Trio Sonata . . . . . . . Julius Baker, Flutist Rogers, Bernard . . . Soliloquy for Flute and Strings . . . . . . . . . Joseph Mariano, Flutist Schubert, Franz . . . Variations for Flute and Piano . . . . . . . . . John Wummer, Flutist Tartini, Giuseppe . . Concerto in G Major for Flute and Orchestra . A. Nicolet, Flutist Telemann, G.P. . . . . Concerto in E Major for German Flute and Oboe d'amore . . . . . . . . . A. Nicolet, Flutist Telemann, G.P. . . . . Concerto in A Minor for Flute and Orchestra W.A. Wanausek, Flutist 177 . . . Epic LC 3134 Westminster XWN 18070 . . Oxford 104 . . Mercury 50076 . Columbia 4717 . . Decca ARC 3109 . . Decca ARC 3109 Urania 8005 and Epic LC 3075 178 Telemann, G.P. . . . . Fantasies in d minor and b minor for Flute Alone . . westminster 402 Sam Baron, Flutist Telemann, G.P. . . . . Sonata in c minor for Flute and Harpsichord . . . . . . westminster 407 Jean Pierre Rampal, Flutist g g Telemann, G.P. . . . . Suite in a minor for Flute ;7 and Orchestra . . . . . . . . . . Decca f 8552 é James Pappoutsakis, Flutist Vivaldi . . . . . . . Concertos I-VI for Flute Op. 10 . . . . . . . . . . . . . Epic BC 1014 R.S. Tassinari, Flutist Vivaldi, Antonio . . . Pastorale for Flute and Continuo, Op. 13, No. 4 . . . . . . . . . . . . . Allegro 3009 W.A. Wanausek, Flutist Wilkins, Frederick . . The Flutist's Guide . . . D&J Artley Co. Frederick Wilkins, Flutist Piccolo Vivaldi, Antonio - . - Concerto for Piccolo in C Major . . . . . . . . westminster 18834 Jean Pierre Rampal, Piccoloist 179 APPENDIX IV A LIST OF ETUDES AND SOLOS In compiling a list of this nature the author did not deem it advisable to make up a list of his personal favorites. Rather, he consulted many lists of well-known flute teachers, selecting significant works from their own personal reper- toires. This source of flute etudes and solos represents material that is in current use. (This is also the same criteria that was used in selecting the duets, trios and quartets.) Catalogue of Flute Music, Daniel Connor Indiana University, Bloomington, Indiana February 3, 1953, unpublished Master's thesis in manuscript. Flute Solos, Dr. Russell Friedewald, Michigan State University, E. Lansing 1950, unpublished manuscript. Selected Flute Materials, Nelson Hauenstein, University of Michigan, Ann Arbor, 1949, unpublished manuscript. A Catalogue of Music Literature for the Flute, Frederick Wilkins, Elkhart Indiana, 1957, published by the Artley Flute Co. 180 Personal interviews with Mary Francis James, University of Illinois, Urbana, Illinois and James Pellerite, Philadelphia Symphony and Indiana University, Bloomington, Indiana. National Association Of Schools of Music, Solo Literature for Wind Instruments Bulletin of the National Association of Schools of Music, No. 31, January, 1951. 3’7 -‘ .5.“ m ." I -.— O 1 FLUTE MATERIALS Composition Elementary Study Materials Elementary Flute Method . Method for Flute Book I . . . Flute Method Book I . . . . . Intermediate Study Materials Intermediate Flute Method . . Advanced Flute Method, Vol. I and II . . . . . . . Method for Flute Book II . . Flute Method, Book II and III 0 O O O O O 0 O O I Eighteen Studies for Flute Twenty-four Progressive Studies O O O I O O O O O O Melodious Studies, Book I . . . . . . . . . . ETUDES Composer A.C. Peterson . Emil Eck C. Gekeler A.C. Peterson . . Hymie Voxman(ed.) Emil Eck . . . . C. Gekeler T. Berbiguier . . J. Anderson, Op. 33 . . . . Robert Cava11y(ed.) 181 Publisher ggggk; Rubank . . . I Belwin . . . I Belwin . . . I Rubank . . . II Rubank . . . II Belwin . . . II Belwin . . . II G. Schirmer.III Southern . .III Southern . .III 182 Advanced Study Materials Six Divertissements . . . . . Franz Kuhlau, Op. 68 . . . . . Cundy—. Bettoney . . IV Selected Studies . . . . . . Hymie Voxman . . . Rubank . . . IV Melodious Studies, Book II and III . . . . . . Robert Cavally, (ed.) . . . . . . Southern . . V Bach Studies . . . . . . . . J.S. Bach . . . . Southern . . V Twenty-four Caprices . . . . T. Boehm . . . . . Southern . . V Twenty-four Melodious Studies . . . . . . . . . . T. Boehm . . . . . C. Fischer . V Grade I Gigue . . Arioso, Gavotte . Fourteen Pieces Andantino, Nocturno Everybody's Favorite Flute Solos Forty Little Pieces for the Beginner Flutist Siciliano Le Cygne (The Swan) Grade II I Bourree . Praeludium FLUTE SOLOS FLUTE AND PIANO Twenty Four Short Concert Pieces Siciliano Scherzino Rigaudon . . Jean Leclair . . J.S. Bach G. Barrére . . C. Gluck, G. Barrére . . Charles Koechlin . . A. Lewallen . . Edited by Jay Arnold . . Louis Moyse . . C. St. . . J.S. Bach . . R. Bove . . Robert Cavally . . Francoeur Kreisler . . R. Freed . . Edvard Grieg, Gilbert I I Saéns G. Schirmer G. Schirmer G. Schirmer . Southern Belwin Amsco(I-VI) G. Schirmer G. Schirmer G. Schirmer C. Fischer . Southern C. Fischer C. Fischer . . Presto 183 Echo . . . . . . . . . . . Fourteen Pieces . . . . . Fantasie, Valse Romantic . Adagio . . . . . . . . . Concert and Contest Collection . . . . . . . Pastorale . . . . . . . . Tambourin . . . . . . . . Air . . . . . . . . . . . Grade III Sonatas in A, G Major and E Minor . . . . . . . . Siciliano, from Eb Sonata Scherzino . . . . . . . . Aria . . . . . . . . . . . Twenty—four Short Concert Pieces . . . . . . . . . Syrinx, for Flute alone . Concert and Contest Collection . . . . . . . Andante in C Major . . . . The Little "Nigar" . . . . 18th and 19th Century Pieces . . . . . . . . . Paul Hindemith A. Lewallen W.A. Mozart, A. Mondonville Jacques Aubert G. Platti J. Anderson Eugene Bozza Robert Cavally Claude Debussey W.A. Mozart Paul Fleury, Charles Koechlin Jaromir weinberger Claude Debussy . ed. 184 Associated . Southern . . Belwin . . Belwin . . Rubank .C. Fischer G. Schirmer G. Schirmer . . Presto G. Schirmer . Belwin . .Southern . .Southern . .Southern . . Rubank .Cundy-Bettoney . .Southern . .Southern Variations on a Theme of Mozart . . . Serenade . . . . The Little White Mule Menuet Antique . The Prophet Bird Four Figures in Time Minuet, from the L'Arlesienne Suite Sonata Number Four Sonata in F Major . Grade IV Contemporary French Recital Pieces, Vol. Scherzo and Romance D'un Matin de Printemps Romance . . . . . Madrigal and Romance Danse de la Chevre for (Flute alone . . . . I and II Piece en form de Habanera Four Preludes . . Airs de Ballet . Reynaldo Hahn . Georges Hfie . . J. Ibert . Maurice Ravel Robert Schumann, G. Barrére . Burrill Phillips Georges Bizet M. Blavet . . . B. Marcello . . Edited . . . . . Charles Widor . N. Boulanger . . Fritz Brun . Philippe Gaubert Arthur Honegger Maurice Ravel . D. Shostakovitch C. St. Saéns . . 185 . International C. Fischer Southern Southern G. Schirmer Elkan-Vogel C. Fischer Cundy-Bettoney . Oxford International C. Fischer Southern Rubank .Southern .Southern .Southern .Southern .Southern Sonatas I-VI (Grades Sonatas I-VI (Grades Sonatine Sonata in E Minor Sonata in G Minor Four Sonatas Sonatinas for the Young Flutist Concerto Concerto Concerto Concerto Grade V in in in in Concertino Fantasie Cantabile and Presto Andante and Scherzo Third Sonata Nbcturne and Allegro Scherzando D Major G Major D Major D.Major Concert Piece . . Piece for Flute Alone Improvisation and Burlesque III-IV) IV-VI) G.F. Handel . . . J.S. Bach . . . . Philippe Gaubert D. Scarlatti A. Vivaldi . . G. P. Telemann . Edited . . . . G. Pergolesi . G. Pergolesi . . F.J. Haydn . . . Luigi Boccherini C. Chaminade . . Gabriel Fauré . . Georges Bizet . . Louis Ganne . . . Philippe Gaubert Philippe Gaubert G. Hoffmann . . . J. Ibert . . . . Arthur Lora . . . 186 . . . . Southern . . . . Southern . . . . Southern . . . G. Schirmer .McGinnis and Marx . . . G. Schirmer . . G. Schirmer . . International . . International . . . . . Southern . . . . . Southern C. Fischer . Belwin Southern . Cundy-Bettoney Southern Southern . Rubank Southern Broadcast Scotch Pastorale . Concerto in G Major Serenade . . . . . Night Soliloquy . Grade VI Suite in B Minor . Poem . . . . . . . Sonatina . . . . . Sonata in G Major Fantasie . . . . . Concerto in G Major Concerto in D Major Suite in A . . . . Suite in A Minor . Cyril Scott . J.J. Quantz . Howard Hanson Kent Kennan . J.S. Bach . . Charles Griffes Camargo Guarnieri F.J. Haydn . Georges Hfie . W.A. Mozart . W.A. Mozart . D. Scarlatti, Benjamin . G.P. Telemann 187 . . Associated Cundy-Bettoney . . C. Fischer . . C. Fischer Cundy-Bettoney . G. Schirmer Cundy-Bettoney Boosey—Hawkes . . Southern . . Southern . . Southern Boosey—Hawkes . . Southern fi'a.4:¢:.g" I" ' 188 The writer has had requests from his students for music of a lighter vein that they can play for recreation or for special performances. After careful study of more than fifty compositions in this category, the following were selected as being most suitable. LIGHT MUSIC FOR THE FLUTE Flute Cocktail . . . . . . Harry Simeone . . .Shawnee Press III This work is subtitled Scherzo and Blues, for two or three flutes and piano. Band and orchestra accom- paniments are both available. Calculation and Frolic, from Three Short Pieces for Flute . . . . . . . . . Don Gillis . . . . . . . Mills III This is arranged for flute and piano only. Piece en form de Habanera .Maurice Ravel . . . . . Southern II Published by Leduc of Paris but available through Southern Music in this country, this arrangement is for flute and piano. In the Groove . . . . . . Robert McBride . . . . . Mills III This is published for flute and piano. Tenderly . . . . . . . . . E. Lawrence, M. Cross . . . . . Presto III Tenderly is arranged by Stanley Applebaum for flute and piano. 189 The Little'Nigar”. . . . . Claude Debussey . . . . Southern II This is arranged for flute and piano. Flute Sessions . . . . . L. Gearhart . . . . . . Shawnee II and III A book for fun and education. It has pieces for 2, 3 and 4 flutes, one being for flute alone. The book contains rounds, canons, trios, duets and quartets all written in interesting styles. Some of the composers represented are J.S. Bach, Kuhlau, Mendelssohn, Brahms, Beethoven, Mozart and Palestrina. 190 APPENDIX V A LIST OF FLUTE DUETS, TRIOS AND QUARTETS Composition Composer Publisher Grade Fifteen Two-Part Inventions . .J.S. Bach . . . . . Cundy- Bettoney . . IV Canon from Sonata in F Minor. .W.F. Bach . . . . . C. Fischer. .III Divertimento . . . . . . . . .mario Castelnuduo; Tedesco . . . . . Mercury . . . IV Six Melodic Duets . . . . . . .G. Gariboldi. . . . Cundy- Bettoney . .III Sonate . . . . . . . . . . . .G.F. Handel . . . . Southern . . II Forty Progressive Duets, Vol. I . . . . . . . . . . .E. Koehler. . . . . C. Fischer. . II Forty Progressive Duets, Vol. II . . . . . . . . . . .E. Koehler. . . . . C. Fischer. .III Three Brilliant Duets, Op. 80 . . . . . . . . . . .Franz Kuhlau. . . . Inter- national . .III and IV Three Flute Duets, Op. 81 and 102 . . . . . . . . . . .Franz Kuhlau. . . . Cundy- Bettoney . . IV Three Duos Concertants, Op. 10 . . . . . . . . . . .Franz Kuhlau. . . . Cundy- Bettoney . . IV Three Grand Duets, Op. 39 . . .Franz Kuhlau. . . . Cundy- Bettoney . . V Three Duets . . . . The Flutist's Classic Duet Repertoire . Six Canonic Sonatas Six Sonatas . . . . Four Sonatas . . . Sixteen Flute Duets Canonic Sonatine . Six Duets . . . . . Selected Duets, Vol. Selected Duets, Vol. Flute Sessions . . Thirty Easy Duets . Inventions Based on American Tunes . Masterworks Arranged for I & II Two Flutes, Vol. I II W.A. Mozart Lawrence Taylor. G.P. Telemann G.P. Telemann Valentine, David Glazer Giulio Briccialdi. Paul Hindemith J.J. Quantz . Hymie Voxman (arr.) . . Hymie Voxman (arr.) . . . L. Gearhart . Louis Moyse . Mark Nevin . . (Telemann, Bach, Handel, Marcello, and Quantz) . . . 191 Cundy- Bettoney IV Witmark . IV Inter— national . . IV Mercury IV C. Fischer. III Belwin . IV Schott and AMP . . VI G. Schirmer . IV Rubank . . . III Rubank . . . IV Shawnee Press . . . III and IV McGinnis and Marx . . III Schroeder and Gunther . II Belwin . . . II and III 192 TRIOS Miniature Suite No. 2 . . . . .Albisi . . . . . . .Cundy- Bettoney. . V Two Short Pieces . . . . . . .Georges Bizet. . . .Carl Fischer . . V Trio, Op. 87. . . . . . . . . .L. Beethoven . . . .Southern . . IV Allegro Giocoso . . . . . . . .F.J. Haydn . . . . .Mills . . .III Rondo Scherzando. . . . . . . .F.J. Haydn . . . . .Boosey- Hawkes. . . II Sonata in G Major . . . . . . .James Hook . . . . .Rubank . . .III Three Grand Trios, Op. 86 . . .Franz Kuhlau . . . .Southern . . IV Trios, Op. 24, 53, 59 . . . . .Kaspar Kummer. . . .Cundy- Bettoney. .III and IV Sonata for Three Flutes . . . .J.J. Quantz . . . .McGinnis and Marx. .III Three Trios, Op. 93, No. 2. . .A. Walckiers . . . .Southern . . IV Grand Trio Concertant, Op. 31 . . . . . . . . . . . .W. Gabrielsky. . . .Southern . . IV Theme and Variations, Op. 25 . . . . . . . . . . . .L. Beethoven . . . .Belwin . . .III Classic Fantasy . . . . . . . .George Waln . . . .Kjos . . . . II Flute Sessions . . . . . . . .L. Gearhart. . . . .Shawnee Press . . .III Rondo Capriccioso. Suite Italienne Gavotte Elegie . Grand Quartet. Quartet Op. 103 Quartet Op. 12 . Flute Quintet in with Piano Stabat Mater Flute Sessions Minor Adagio and Scherzo . . . QUARTETS J.S..Bach, L. Taylor . . . David Bennett. . Yvonne Desportes F.J. Gossec. . . Joseph Jongen. . E. Kohler . . . Franz Kuhlau . . Anton Reicha . . A. Turechek . . F.A. Wounters. . G. Rossini . L. Gearhart. . . 193 .Mills . . . II and III .Southern. . . V .Southern. . . V .Belwin. . . III .Southern. . IV .Southern. . . V .Southern. . .IV and V .Cundy— Bettoney . . V .Witmark . . IV .Rubank . . III .Ricordi . . II .Shawnee Press. . . III ACA ACP AL. Alf AMP Bel BH. BMI BN. Bro CB. CF. CFP CP. EM. EV. 194 APPENDIX VI ADDRESSES OF PUBLISHERS American Composers Alliance, 250 west 57th Street, New YOrk. American Composers Press, 853 Seventh Avenue, New YOrk. Alphonse Leduc, 175 rue St.—Honore, Paris, France. (See EV or SO) Alfred Music Co., Inc., 145 W. 45th Street, New YOrk 19. Associated Music Publishers, Inc., 1 W. 47th Street, New YOrk 36. AMSCO Music Publishing Co., 1600 Broadway, New YOrk l9. Belwin, Inc., Rockville Center, Long Island, New York. Boosey & Hawkes, Inc., P.O. Box 418, Lynbrook, Long Island, New York. Broadcast Music, Inc., 580 Fifth Avenue, New YOrk. Baxter-Nbrthrup, 837 South Olive Street, Los Angeles, California Broude Bros., 56 west 45th Street, New Yerk l9. Cundy-Bettoney Co., Inc., Badlee and Madison Streets, Hyde Park, Boston 36, Mass- achusetts. Carl Fischer Inc., 62 Cooper Square, New Yerk 3, 306 S. Wabash Avenue, Chicago, Illinois; 252 Tremont Street, Boston, Mass— achusetts. C. F. Peters Corp., 373 Park Avenue South, New YOrk 16. The Composers Press, Inc., 287 Broadway, New Ybrk. Edition Musicus-New YOrk, Inc., 23 West 47th Street, New YOrk 19. Elkan-Vogel Co., Inc., 1716 Sansom Street, Philadelphia 3, Pennsylvania. Gor GS. GW. Int Kjo Mar MB. McG Mil OD. Ox. Pre Ric Ru. SB. SG. 195 Gornston, David, 117 West 48th Street, New York. G. Schirmer, Inc., 609 5th Avenue, New York 17. George Wahr Publishing Co., Ann Arbor, Michigan. International Music Co., 509 Fifth Avenue, New York 17. Kjos Music, 525 Busse Highway, Park Ridge, Illinois. Edward B. Marks Music Corp., 36 Nerth 52nd Street, New Yerk 19. M. Baron Co., 8 west 45th Street, New York. McGinnis-Marx, 408 2nd Avenue, New York 10. Mills Music, Inc., 1619 Broadway, New York Mercury Music Corp., 47 west 63rd Street, New York 23. Oliver Ditson Co., Bryn Mawr, Pennsylvania. Oxford University Press, 417 Fifth Avenue, New York 16, New YOrk. Presto Music Service, P.O. Box 10704, Tampa 9, Florida. G. Ricordi & Co., 16 west 6lst Street, New York 23. Rubank, Inc., 5544 west Armstrong, Chicago 46, Illinois. Summy-Birchard Co., 1834 Ridge Avenue, Evanston, Illinois. Schroeder and Gunther, Inc., 6 East 45th Street, New YOrk l7. Sha So. Sp. Wit Shawnee Press, Delaware Water Gap, Pennsylvania. Southern Music Co., 1100 Broadway, San Antonio 6, Texas. Spratt WOodwind Shop, 77 west Broad Street, Stamford, Connecticut. M. Witmark & Sons, RCA Building, Rockfeller Center, New York 20. 196 197 BIBLIOGRAPHY Books Agricola, Martin. Instrumentalis Deudsch. Wittenburg: G. Rhan, 1528. Anderson, Emily. The Letters of Mozart and His Family. Vol. II, London: MacMillan and Co., 1938. Bachner, Louis. Dynamic Singing. New York: L. B. Fischer Co., 1944. Baines, Anthony. woodwind Instruments and Their History. London: Faber and Faber, 1947. Bartholomew, Wilmer. Acoustics of Music. New YOrk: Prentice- Hall, 1946. Benade, Arthur. Horns, Strings and Harmony. Garden City, N.Y.: Doubleday and Co., 1960. A very interesting book on acoustics written for the layman. There are numerous experiments that can be inexpensively produced to show the laws of acoustics. Bessaraboff, Nicholas. Ancient European Musical Instruments. Boston: Harvard University Press, 1941. Boehm-Miller. The Flute and Flute Playing, trans. by D.C. Miller, N.Y.: McGinnis and Marx, 1871. Brand, Eric. Band Instrument Repairing Manual. Fifth edition. Elkhart, Indiana: Pri. print., 1946. Buck, Percy. Acoustics for Musicians. London: Oxford University Press, 1938. Carse, Adam. Musical Wind Instruments. London: MacMillan and Co., 1939. 198 Cerminara, N. First Principles of Tone Production. Kenosha, Wis.: Leblanc Co., 1950. Chapman, F. B. Flute Technique. N.Y.: Oxford University Press, 1951. This book offers the reader an opportunity to View the English approach to flute teaching. The book contains a section on literature for flute solos and also includes music for flute and voice. Culver, Charles. Musical Acoustics. N.Y.: McGraw-Hill Co., Fourth edition, 1956. Danbenny, Ulric. Orchestral Wind Instruments. London: Reeves Co., 1920. Douty, Nicholas. What the Vocal Student Should Know. Philadelphia: Presser Co., 1924. Eby, W. M. The Embouchure. N.Y.: Walter Jacobs Co., 1920. Ewen, David. American Composers Today. N.Y.: H. w. Wilson Co., 1949. Fillebrow, Thomas. Resonance in Singing and Speaking. Third edition, Boston: Oliver Ditson Co., 1911. Fitzgibbon, H. Macauly. The Story of the Flute. N.Y.: Charles Scribner and Son, 1941. Galpin, Francis. A Textbook of European Musical Instruments. London: Lowe and Brydone, 1937. Geiringer, Karl. Musical Instruments. trans. by Bernard Miall, London: Allen and Unwin, 1945. . Girard, Adrien. Histoire et Richesses de la Flute. Paris: Grund, 1953. Globus, Rudo. The WOodwind Anthology. N.Y.: McGinnis and Marx, 1952. 199 Hall and Kent. The Language of Musical Acoustics. Elkhart, Indiana: C. G. Conn Co., 1957. Hall, David. The Record Book. N.Y.: Oliver Ditson Co., 1948. Helm, Ernest. Music at the Court of Frederick The Great. Norman, Oklahoma: The University of Oklahoma Press, 1960. Helm, Sanford. Catalog of Chamber Music fibr Wind Instruments. N.Y.: McGinnis and Marx, 1952. Hottetérre, Le Romain. Principes de La Flute Traversiere. Paris: Christophe Ballard, 1707. Hunter, Joseph. Acoustics. Englewood Cliffs, N.J.: Prentice— Hall, 1957. Putnik, Edwin. Flute Pedagogy and Performance. Chicago: Estes Music Co., 1953. Quantz, J.J. Versuch einer Anweisung die Flote Traversiere. Zu spielen. Berlin: Johann F. Voss, 1752. Richardson, G. w. The Acoustics of Orchestral Instruments and the Organ. London: Arnold Co., 1929. Riemenschneider, Albert. The Use of the Flute in the works of J. S. Bach. Washington, D. C.: The Library of Congress, 1950. Ries, Claire R. Composers in America. rev. ed., N.Y.: MacMillan and Co., 1947. Rockstro, R.S. The Flute. London: Rudall Carte and Co., 1890. Rohner, T. Music Instruments. Evanston, Illinois: The Instrumentalist Co., 1959. Russell, Louis Arthur. English Diction. Boston: Oliver Ditson Co., 1925. Russell, Louis Arthur. Embellishments of Music. Phila- delphia: T. Presser Co., 1894. 200 Sachs, Curt. History of Musical Instruments. N.Y.: Norton and Co., 1940. Scott, Charles. The Fundamentals of Singing. N.Y.: Pitman and Co., 1954. Seashore, Carl. Psychology of Music. N.Y.: McGraw and Hill Co., 1938. Slonimsky, Nicolas. The International Cyclopedia of Music and Musicians. rev. and enlarged, fifth edition, N.Y.: Dodd, Mead and Co., 1949. Stauffer, Donald. Intonation Deficiencies of woodwind Instruments in Ensembles. Washington, D. C.: Catholic University of America Press, 1954. Talmadge, Irving. The Interlochen List of Recommended Materials. Ann arbor, Michigan: National Music Camp Press, 1953. Taylor, David. The Psychology of Singing. N.Y.: The Mac- Millan Co., 1908. Thorton, James. woodwind Handbook. Albuquerque, New Mexico: The University of New Mexico Press, 1961. Tuthill, Burnet. Solo Literature for Wind Instruments. Bulletin of the National Association of Schools of Music Press, No. 31, Memphis, Tenn., January, 1951. Voxman, HYmie and Gower, William. Selective Wind and Per— cussion Material. Iowa City, Iowa: State University of Iowa Press, 1954. Waln, George. Selective Music Lists. Washington, D. C.: National Interscholastic Music Activities Commission of the Music Educators National Conference, 1953. Waln, George. Materials for Miscellaneou§_Ensembles. washington, D. C.: Music Educators National Confer— ence Press, 1960. 201 welch, Christopher. History of the Boehm Flute. second edition, facsimile of reprint of 1892 edition, N.Y.: McGinnis and Marx, 1961. Wier, E. The Macmillan Encyclppedia of Music and Musicians. N.Y.: Macmillan and Co., 1938. Wilkins, Frederick. The Flutist's Guide. Elkhart, Indiana: The Artley Flute Co., 1957. Willaman, Robert. The Clarinet and Clarinet Playing. Salt Point, N.Y.: pri. print. by Willaman, 1949. Unpublished Material Fair, Rex Elton. "The Flute," Music Department of University of Colorado, Boulder, Colorado, 1947 (Mimeographed). Friedewald, Russell. "List of Flute Music." Michigan State University, East Lansing, Michigan, 1950 (Mimeo- graphed). Hauenstein, Nelson. "Selected Flute Materials," Music Department of University of Michigan, Ann Arbor, Michigan, 1949 (Mimeographed). Hauenstein, Nelson. "Technics of Teaching the Flute." Music Department of University of Michigan, Ann Arbor, Michigan, 1953 (Mimeographed). Pellerite, James. "Practice Suggestions for the Develop— ment of Tone and Technic in Playing." Music Depart— ment of University of Michigan, Ann Arbor, Michigan, 1952 (Mimeographed). Poor, Mary Louise Nigro. "The School Music Director's Guide to Flute Teaching." Dekalb, 111., 1952 (Mimeographed). Steensland, Douglas. "A Flute Playing Outline." Elgin, 111., 1949 (Mimeographed). 202 Other Sources Michigan State University, Personal Interview and Lessons with Dr. Russell Friedewald, 1948-1953. University of Illinois, Personal Interview and Lessons with the Flute Instructor, Miss Mary Francis James, 1951. University of Michigan Summer School workshop, Personal Interview with guest clinician James Pellerite, 1951. Articles and Periodicals Anderson, A. "Orchestral Voices." Etude, Vol. 50, June, 1932, 406. Ahrens, A.W. "Characteristic Limitations of the Internal Tuning of Selected Wind Instruments." Journal of ExperimentalyEducation, Vol. XV, No. 4, June, 1947, 269. Baasch, Robert. "The Large Flutes." The Instrumentalist, Vol. IX, No. 4, December, 1954, 28-29. Babitz, Saul. "Flute Articulation." Woodwind world, Vol. IV, No. 7, March, 1952, 5. Baker, Julius. "Flute Playing in the U.S." woodwind WOrld, Vol. III, No. 5, December, 1959, 16. Bang, Betty. "Expanding the Repertoire." Flute Forum, Vol. II, No. 2, Spring, 1961, 10. Baron, Samuel. "Travel NOtes on European Flutists." woodwind world, Vol. III, No. 2, April, 1959, 5. Barrére, Georges. "What About the Flute?" Etude, Vol. 45, June, 1936, 355-6. 203 Cameron, R. "The Flute, Its Story and Practice," Etude, Vol. 49, June, 1936, 398-9. Cavally, Robert, "The Ideal Flute Tone." The Instrumentalist, Vol. III, No. 3, January—February, 1949, 22-23. Cavally, Robert. "Recollections of the Eb Flute Now Rejoining The Band and Orchestra." woodwind world, Vol. 1, No. 1, Autumn, 1959, 5. Collis, James. "The First Lady of the Flute." woodwind World, Vol. III, No. 4, September, 1959, 8. Ellwanger, Edward. "Teaching Flute." woodwind, Vol. IV, No. 3, November, 1951, 6. Ellwanger, Edward. "Teaching Flute." WOOdwind, Vol. IV, No. 5, January, 1952, 7. Ellwanger, Edward. "Teaching Flute." woodwind, Vol. IV, No. 4, December, 1951, 8. Fleury, Louis. "The Flute and Flutists of the French Art of the Seventeenth and Eighteenth Centuries." Musical Quarterly, Vol. IX, October, 1923, 4. Gihle, Osmund. "Care and Repair of Flutes." The Instru- mentalist, Vol. V, No. 1, September, 1950, 39. Hester, Byron. "Toward A Fuller Artistry." Flute Forum, Vol. II, No. 2, Autumn, 1960, 13. Hosmer, James. "Getting A Clear Picture of the Embouchure," Flute Forum, Vol. II, No. 2, Autumn, 1960, 4. Hosmer, James. "The Vibrato Question." Woodwind, Vol. II, October, 1949, 2. Kujala, Walfrid. "Balancing the Flute." Flute Forum, Vol. II, No. 1, Autumn, 1960, 12. Kujala, walfrid. "Bibliography of Teaching Literature." woodwind, Vol. VI, NOs. 5 and 6, November and December, 1953. 204 Laurent, Georges. "On Flute Vibrato." woodwind World. Vol. II, No. 1, February, 1958, 14. Malek, Vincent. "Flute Facts; Growing in Importance.” The Instrumentalist, Vol. XIV, No. 6, February, 1960, 62. Marx, Josef. "The Truth About Vibrato." Woodwind, Vol. IV, No. 3, November, 1951, 6. McGinnis, Donald. "The Flute Double." The Instrumentalist, Vo. IX, No. 6, February, 1955, 20. This article deals with the doubling of flute and saxophone and clarinet. The author contends that in order to double well, the saxophone player will have to learn to relax his lower lip and tighten up his upper lip. The only way to accomplish this is to play long tones and concentrate on pure sound. Miller, D. C. "Historic Glass Flutes." Flute Forum, Vol. I, No. 1, Autumn, 1959, 13. Miller, D. C. "Tones of a Flute." Etude, Vol. 45, August, 1927, 580. Moskovitz, Harry. "Idea Exchange.” The Instrumentalist, Vol. XIII, No. 9, May, 1959, 20. This article describes a small collection of flutes owned by Moskovitz. This would be interesting to the collector. Moskovitz, Harry. "The Eb Flute." woodwind world, Vol. II, No. 6, November, 1958, 2. Moyse, Marcel. "Sonority and Intonation." Flute Forum, Vol. I, No. 2, Spring, 1960, 3. Moyse, Marcel. "The Art of Vibrato." Flute Forum, Vol. II, No. 1, Autumn, 1960, 7. 205 Osborne, Charles. "An X-Ray View of Flute Vibrato.” The Band- wagon, Vol. 8, No. 3, Fall, 1960, 5. Osborne, Charles. "Selected Repertoire for Ensembles Using Unusual or Lesser Known Compositions." The Instrumental- ist, Vol. XIV, No. 9, May, 1960, 38. Pellerite, James. "Improving Technic of Tone Production.” The Instrumentalist, Vol. VIII, No. 4, December, 1953, 22. Pellerite, James. "Flute Facts: End Protector Rings." The Instrumentalist, Vol. XIV, No. 2, October, 1959, 56. Petty, James. "Scoring for Flute in Band Literature." Flute Forum, Vol. I, No. 2, Spring, 1960, 5. Poor, Mary Louise Nigro. "Tuning the Flute." The Instru- mentalist, Vol. VIII, No. 1, September, 1953, 69. Miss Poor states that one should never move the head- joint of the flute, but one should adjust the tuning with just the embouchure and the raising and lowering of the head. This is a decidedly different manner of tuning the flute and it is open to argument among flutists. It would seem, on the basis of the great majority of available research, that Miss Poor is in the minority in this concept. Quantz, J. J. "Herrn J. J. Quantzens Lebenslauf." Vol. I, Historisch-Kritische Beytrage, trans. by D. C. Miller, ed. by Marpurg, 1914, 249. Rohner, Traugott. "Flute and Piccolo Manufacturing Figures." The Instrumentalist, Vol. XIII, No. 1, September, 1957, 34. Riley, James. "Toward A Better Flute Tone." The Instrumental- ist, Vol. XV, No. 5, January, 1961, 66. Riley, James. "Playing and Interpretating Marks of Articula- tion." Flute Forum, Vol. I, No. 1, Autumn, 1959, 7. Russell, M. E. "Flute Playing, Good and Bad." Etude, Vol. 64, February, 1946, 79. 206 Saurini, Albert. "What To Do About the Disorganized Student.” Flute Forum, Vol. II, No. 2, Spring, 1961. Silver, Martin. ”Jean Pierre Rampal." woodwind World, Vol. III, June, 1959, 6. Silver, Martin. “Flute Playing in Germany." Woodwind World, Vol. III, No. 6, February, 1960, 18. Smith, C. S. "Haydn's Chamber Music and the Flute." Musical Quarterly, Vol. XIX, July and October, 1933, 3 and 4. Taylor, Laurence. "Flute Facts." The Instrumentalist, Vol. IX, No. 9, May, 1955, 41742: This article discusses the weakness of many summer camps. The students spend most of their time in big groups and never acquire the greatly needed small ensemble experience. Mr. Taylor suggests that the students purchase trios and quartets and take them along to camp and play them. Taylor, Laurence. "Flute Facts." The Instrumentalist, Vol. X, No. 4, December, 1955, 27. The article deals with the approach to the piccolo in that the embouchure has to be more tight. He also tells of the decline of the Db piccolo in band. Taylor, Laurence. "Flute Facts." The Instrumentalist, Vol. X, No. 5, February, 1956, 37-38. The names of the books to be used for study of the piccolo and also the names of some solos for piccolo are discussed. Taylor, Laurence. "Flute Facts." The Instrumentalist, Vol. X, No. 2, October, 1955, 26-27. This is a list of materials for the beginning flutist. 207 Taylor, Laurence. "Flute Facts.” The Instrumentalist, Vol. VII, No. 3, November-December, 1952, 53—55. This article deals with the lower voiced flutes, their use now and the music available to them. Taylor, Laurence. "Flute Facts." The Instrumentalist, Vol. VIII, No. 8, April, 1954, 36. A discussion on where the finest flutes are being made today, Europe or the U. S. Mr. Taylor suggests that the fourth part in a flute quartet be played on an alto flute. The article also suggests that using a wood piccolo with a silver headjoint is an excellent idea. Taylor, Laurence. "Flute Facts." The Instrumentalist, Vol. XIII, No. 7, March, 1959, 75. In the Baroque era, the good notes had to be empha- sized (because of the faulty instruments) and the bad notes or dull sounding notes glossed over. The 18th century trill was begun on the upper note--not on the printed note. Taylor, Laurence. "Flute Facts." The Instrumentalist, Vol. XIII, No. 8, April, 1959, 60. In the Baroque style, the grace note is played gg_ the beat, and not before. A grace note with a line through it is played before the beat. In Handel's day it was the responsibility of the performer to add all trills, dynamics, phrasing and embellishments because he knew the style and it was not necessary to write it in to the music. Taylor, Laurence. "Flute Facts.” The Instrumentalist, Vol. X, No. 8, April, 1956, 74-75. The alto flute is perfected and is ready for use by high school students. The price is still rather ex- pensive, but if enough demand were to be created, the manufactunas would be able to lower the price. 208 Taylor, Laurence. "Flute Facts." The InstrumentalistL Vol. X, No. 9, May, 1956, 37. The flute music of Mozart is featured in this article. It delves into the chamber music and solos for orches- tra in detail. Taylor, Laurence. "Flute Facts.“ The Instrumentalist, Vol. XIII, No. 10, May, 1959, 60. This is an article on problems of playing the flute and their possible solutions. Taylor, Laurence. "Flute Facts." The Instrumentalist, Vol. XI, No. 2, October, 1956, 38. This article deals with a list of flute and guitar music. Taylor, Laurence. ”Flute Facts." The Instrumentalist, Vol. XI, No. 3, NOVember, 1956, 35. Vibrato is discussed; the pros and cons of when to begin using it, and how fast the vibrato should be is included. ' Taylor, Laurence. "Flute Facts." The Instrumentalist, Vol. XI, No. 4, December, 1956, 76. In this article the author gives a list of "popular" music for the flute. This is an area where the student wants to go many times but is actually hindered by the teacher's lack of information. Taylor, Laurence. "Flute Facts." The Instrumentalist, Vol. XI, No. 5, January, 1957, 53-54. Mr. Taylor tells of old music and foreign copies ofsmm. 209 Taylor, Laurence. "Flute Facts." The Instrumentalist, Vol. XI, No. 7, March, 1957, 72. There are many signs and symbols in old music to denote ornaments. He tells of editing the old music correctly. Taylor, Laurence. "Flute Facts.” The Instrumentalist, Vol. XI, No. 8, April, 1957, 68. Mr. Taylor gives different interpretations of the old music trills and grace notes. Taylor, Laurence. "Flute Facts." The Instrumentalist, Vol. XI, No. 9, May, 1957, 56. Flute literature and flute duets suitable for festival use are included. Taylor, Laurence. "Flute Facts." The Instrumentalist, Vol. XI, No. 10, June, 1957, 52. This article discusses music for strings and flute and unusual combinations for flute and other instruments. Taylor, Laurence. "Flute Facts." The Instrumentalist, Vol. XIII, No. 1, September, 1957, 102. Much of our early Baroque flute literature was written for the recorder. Composers used to put on their mus- ic, "flauto" for the recorder, and "traverso" for the transverse flute. Taylor, Laurence. "Flute Facts." The Instrumentalist, Vol. XII, No. 2, October, 1957, 86. There are five sizes of recorders but only four of them are in general use; the soprano, alto, tenor and bass. Much of the ensemble music can be used with "C" flutes and also with alto flute on some bottom parts. He lists some publishers of recorder music. 210 Taylor, Laurence. "Flute Facts." The Instrumentalist, Vol. XII, No. 3, November, 1957, 70. This article deals with"written out" exercises for double tonguing with the use of "too, koo." Taylor, Laurence. "Flute Facts." The Instrumentalist, Vol. XII, No. 4, December, 1957, 43. In this article the author tells of many special keys which may be added or removed from the flute. Taylor, Laurence. "Flute Facts)‘ The Instrumentalist, Vol. XII, No. 5, January, 1958, 60. Possibilities of special keys for flute and their approximate costs are included. Taylor, Laurence. "Flute Facts." The Instrumentalist, Vol. XII, No. 6, February, 1958, 74. A list of neglected flute solo material is included. Taylor, Laurence. "Flute Facts." The Instrumentalist, Vol. XII, No. 8, April, 1958, 48. The flute player in a woodwind quintet should have a tone of a large type. He should be a good listener in order to blend with the other instruments. The flutist also must have a flair for leadership. Taylor, Laurence. "Flute Facts." The Instrumentalist, Vol. XII, No. 9, May, 1958, 37. This article tells of the difficulty that the flute has in being heard in the quintet. It then deals with the remedy for the situation. Taylor, Laurence. "Flute Facts." The Instrumentalist, Vol. XII, No. 11, August, 1958, 68. In this article, Mr. Taylor gives a list of alto flute solos with piano accompaniment, or with orchestral ac- companiment. He also lists chamber music using alto flute and orchestral music with alto flute. 211 Taylor, Laurence. "Flute Facts." The Instrumentalist, Vol. XIII, No. 2, October, 1958, 86. A list of quartets for flute and strings is included. Taylor, Laurence. "Flute Facts." The Instrumentalist, Vol. XIII, No. 3, November, 1958, 70. The author gives a list of recommended flute books pertaining to the flute's history, music for flute, and biographies of well-known flutists. Taylor, Laurence. "Flute Facts." The Instrumentalist, Vol. XIII, No. 4, December, 1958, 64. This is a continuation of lists of books for the flute library. Taylor, Laurence. "Flute Facts." The Instrumentalist, Vol. XIII, No. 5, January, 1959, 81. More books for the flutist are included. Taylor, Laurence. "Flute Facts." The Instrumentalist, Vol. XIII, No. 6, February, 1959, 74. This is a discussion of how to play the music of Handel and Bach in a correct manner. Taylor, Laurence. "Flute Facts." The Instrumentalist, Vol. IX, No. 1, September, 1954, 57. Mr. Taylor has compiled a list of graduate thesis titles and their authors. Taylor, Laurence. "Flute Facts." The Instrumentalist, Vol. IX, No. 1, October, 1954, 42—43. In this article, lists of graduate dissertations and magazine articles are featured. 212 Taylor, Laurence. "Flute Facts.” The Instrumentalist, Vol. IX, No. 3, November, 1954, 40-41. This article discusses the "Miller Collection” of flutes in the Library of Congress. This collection contains all kinds of flutes and flute-like instruments. Taylor, Laurence. "Flute Facts." The Instrumentalist, Vol. IX, No. 4, December, 1954, 39. This article gives a list of music for flute suitable for Christmas performance. Taylor, Laurence. "Flute Facts." The Instrumentalist, Vol. X, No. 5, January, 1955, 51-52. This piece of writing deals with doubling on the flute, clarinet and saxophone. Taylor, Laurence. "Flute Facts." The Instrumentalist, Vol. IX, No. 6, February, 1955, 17. This is a listing of solos for two or more flutes with band accompaniment. Also the list includes solos for flute and orchestra. Taylor, Laurence. "Flute Facts." The Instrumentalist, Vol. V, No. 3, November, 1950, 38. This article tells of Theobald Boehm who originated the open G-sharp key, which is of course, the oppo- site to closed G that we use today. An open G-sharp flute can be inexpensively converted. Taylor, Laurence. "Flute Facts." The Instrumentalist, Vol. VI, No. 2, October, 1951, 45. WOOden piccolos are not recommended for high school or college use because the instrument requires a tighter embouchure and is more tiring to the player, also, they have a tendency to crack. The silver piccolo with a conical bore is a more pleasing and full bodied sound while the cylindrical bore is a more shrill and thin sound. 213 Taylor, Laurence. "Flute Facts.” The Instrumentalist, Vol. VI, No. 4, January-February, 1952, 48. This article delves into the field of using recorder literature for the flute. Mr. Taylor discusses the problem of a piccolo player who is playing well in tune with himself, but is flat in pitch. The solu- tion is to cut off a thirty-second of an inch of the head-joint. Taylor, Laurence. "Flute Facts.” The Instrumentalist, Vol. III, No. 2, November—December, 1948, 46. Information about flutes, flutists and the literature for flute is included. Taylor, Laurence. "Flute Facts." The Instrumentalist, Vol. III, No. 4, March—April, 1949, 24. This article deals with the platinum flute in general and has some special discussion of the alto flute. Taylor, Laurence. "Flute Facts." The Instrumentalist, Vol. III, No. 5, May—June, 1949, 34. In this article, the author talks about various aspects of flute literature and where it may be obtained. Taylor, Laurence. "Flute Facts." The Instrumentalist, Vol. IV, No. l, September-October, 1949, 50. This article has pictures of various flutes, delves into literature and players of the flute. Taylor, Laurence. ”Flute Facts." The Instrumentalist, Vol. IV, No. 3, January-February, 1950, 43. In this article the author tells of new fingerings for high Bb, Ab and third space Db above the staff. Taylor, Laurence. "Flute Facts: A Remarkable Amateur." The Instrumentalist, Vol. XV, No. 7, March, 1961, 64-65. 214 Taylor, Laurence. "Flute Facts; Playing With the Organ." The Instrumentalist, Part One, Vol. XIV, No. 3, November, 1959, 56—57. Taylor, Laurence. "Flute Facts; Playing With the Organ.” The Instrumentalist, Part Two, Vol. XIV, No. 4, December, 1959, 46-47. Taylor, Laurence. "Flute Facts; Research for the Flute." The Instrumentalist, Vol. XIV, No. 5, January, 1960, 58-60. Taylor, Laurence. "Flute Facts; How To Teach Phrasing." The Instrumentalist, Vol. XIV, No. 7, March, 1960, 76-78. Taylor, Laurence. "Flute Facts; Flute Performances in New York." The Instrumentalist, Vol. XIV, No. 8, April. 1960, 52-53. Taylor, Laurence. "Flute Facts; Early Mozart Sonatas.” The Instrumentalist, Vol. XIV, No. 9, May, 1960, 48. Taylor, Laurence. "Flute Facts; Random Thoughts." The Instrumentalist, Vol. XIV, No. 10, June, 1960, 62—63. Taylor, Laurence. "Flute Facts; The Trio Sonata." The Instrumentalist, Vol. XV, No. 2, October, 1960, 46. Taylor, Laurence. "Flute Facts; Who Was J. J. Quantz?" The Instrumentalist, Vol. XV, No. 3, November, 1960, 30. Taylor, Laurence, "Flute Facts; High Register Fingerings." The Instrumentalist, Vol. 68. Tipton, Albert. "Articulation on the Flute." XV, No. 4, December, 1960, Flute Forum, Vol. II, No. l, 1960, 5. Waln, George. "Are You Intonation Conscious?" The Instru- mentalist, Vol. X, No. 6, February, 1956, 34. 215 Waln, George. "Careful Listening Means Better Intonation." The Instrumentalist, Vol. IX, No. 7, March, 1955, 53. Waln, George. "Basic Pitch Consideration." The Instru— mentalist, Vol. XIV, No. 6, February, 1960, 70. Waln, George. "Long Playing Discs for Flute Teaching." The Instrumentalist, Vol. VIII, No. 3, NOvember, 1953, 24-25. This is good listing for the non—flute player. Waln, George. "The First Flute Lesson." The Instrumentalist, Vol. XIII, No. 2, October, 1957, 79. Waln, Ronald. "The Big Switch From ? to Bassoon." The Instrumentalist, Vol. XIII, No. 2, October, 1958. Mr. Waln states that the transfer from flute to bassoon is not too difficult. The student has only to learn to drop his jaw back and down and to develop the lip and facial muscles. The Flutist's throat will remain open in the playing of the bassoon as it did in the flute. Washburn, Clinton. "The Boehm Flute." Woodwind World, Vol. III, No. 9, September, 1960, 6. Willoughby, Robert. "Flute Vibrato." The Instrumentalist, Vol. XI, No. 6, February, 1957, 34. Willoughby, Robert. "Flute Tone and Intonation." The Instrumentalisg, Vol. V., No. 2, October, 1950, 16. wummer, John.“ "The Importance of Articulation On the Flute." woodwind WOrld, Vol. III, June 1, 1959, 8. Wummer, John. "The Mozart G Major Concerto." woodwind World, Vol. II, October, 1958, 5. Zlotnik, Henry. "Distortion and the Playing of Flute." woodwind world, Vol. III, No. 4, December, 1950, 4-5. Zlotnik, Henry. "Head-joints and Heartaches." woodwind WOrld, Vol. IV, No. 2, October, 1951, 5. 1 4. k. ...g.< l= ‘ as. tone 5) fi" “3 $5 L35? ‘.&'I ‘5 f") . I.“ {LY \5 L L4 ‘ ii