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Tracy L. Harris · 2019. 9. 4. · Hand position for piccolo is critical, especially since the...
Transcript of Tracy L. Harris · 2019. 9. 4. · Hand position for piccolo is critical, especially since the...
“MUSIC FOR ALL”
Flute and Piccolo Worksheets
Provided by:
Tracy L. HarrisYamaha Performing Artist and Clinician
Professor of Flute/Piccolo/LowFlutes
College of the Sequoias
June 24-June 30, 2018
Ball State University – Muncie, Indiana
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FLUTE AND PICCOLO BASICS WE
WILL BE COVERING THIS WEEK ☺
1. Proper Assembly of the Flute and PiccoloParallel assembly with Barrel, Clockwise/Counterclockwise, Music Stand Alignment
Method for flute, proper alignment of Piccolo.
2. Proper Hand/Body Position for Flute and Piccolo2 C’s Rule, the Fulcrum Concept, Marionette position, Standing/Sitting Position in front
of stand in a 45 degree angle, Head Tilt matching Flute Tilt, Piccolo Position “always at
attention”.
3. Breathing – The Essential Techniques for Flute and PiccoloBreath Builder, Gut in when its out and out when its in, exhale before inhale, Tracy’s
“Santa Method”, Consistency is key for both flute and piccolo.
4. Tone – Secrets to Producing Amazing Tone Fast on Flute and
Piccolo
Tracy’s PIP Test and Frowny Embouchure, Headjoint work is Key, Aiming air INTO tone
hole, flexible embouchure and jaw for best tonal control.
5. Properly Tuning a Flute and Piccolo – Techniques for Tuning Metronome -Tuner/Tuner Pickup, Tuning in context – their Bb is terrific so what’s
wrong?, tuning in 3rds, 5ths and octaves. Knowing important alternate fingerings.
6. Vibrato Production for Flute and Piccolo – Learn in Under 5
MinutesThe ”Owl” Method, the “European Ambulance” technique, easy exercise for vibrato
control (speed and Intensity of vibrato wave).
7. Articulation - Single and Double Tonguing for Flute and PiccoloSingle tongue exercises and double tongue exercises for clean and precise articulation.
8. Care and Maintenance of the Flute and PiccoloA Handout of Do’s and Don'ts to keep flutes and piccolos properly serviced and playing
their best.
9. Flute and Piccolo Fingering/Trill Charts with Alternate FingeringsFingering Charts that can be in folders at all times, the Value of alternate fingerings.
10. Efficient Practice Routines and Mental Strategies for CompetitionTimed practice element by element, dispelling the adrenaline response, the empowering
effect of Mock Auditions, memorization of audition material, “Friendly” competition.
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#1 Proper Assembly of the Flute and Piccolo
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Proper hand position, technique, intonation, and the best tone quality can only be achieved when
your flute is properly assembled. Once correctly assembled, and properly held the flute’s keys
will remain parallel to the floor.
Always keep the flute parallel to the floor during its assembly. Twist clockwise when
assembling vs. counter clockwise when disassembling the flute. Never grab the flute’s keys
to assemble or disassemble a flute. When properly assembled, a flute’s keyboard will be
parallel to the floor with the keys upright optimizing hand position and technical control.
Once properly aligned, mark with a Sharpie pen & cover with clear tape to provide an everyday reference point.
Proper Flute assembly ensures that the tenon is protected from damage.
It also prevents air leaks which can produce a fuzzy tone.
Headjoint tenon Foojoint tenon
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A piccolo is half the size of a flute, and shares many characteristics of its big sister,
including the method of its proper assembly. Align the Center of the headjoint’s
Embouchure Hole with the Center of the first un-depressed key on the body similarly
to the flute. Additionally, when holding the piccolo, be sure that the keys stay parallel
to the floor to provide the optimal hand position.
When Assembling the piccolo hold the sections as shown below.
Always assemble the Piccolo parallel to the floor and always be sure to twist clockwise whenassembling and counter clockwise when disassembling the sections. Never grab the piccolo’skeys when assembling or disassembling. When properly assembled, the piccolo’s keyboardwill be parallel to the floor with the keys upright. Like the flute, this provides for anoptimal hand position and the best technical control.
Where to mark proper alignment on a piccolo
Apply grease to cork as
shown at right. Do not put
grease on the silver section
shown left.
Headjoint tenonApply Grease to entire cork
Left hand grips
right below tenonRight hand grips bottom of
headjoint firmly
#1 Proper Assembly of the PiccoloCritical to Sounding Your Best
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#2 Proper Hand/Body Position
For Flute & Piccolo
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#2 Proper Hand/Body Position for FluteEasy to follow guidelines to maximize the
consistency of Your tone/technique
Left Hand Right Hand
The 2 C’s RuleDeveloping a good technique requires the use of precise and consistently correct Hand position.
“Hover Mode “– Magnets to Metal Keeping the fingers low to the keys is essential to clean, quick technique.
Right Hand From Performer’s Perspective
Both Hands From Performer’s Perspective
Left Hand From Performer’s Perspective
Both Hands From Conductor’s Perspective
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#2 Proper Hand/Body Position for PiccoloEasy to follow guidelines to maximize consistency of tone/technique
The Modified 2 C’s Rule for PiccoloHand position for piccolo is critical, especially since the fingers are much closer together than on the
flute. Position the right hand in the shape of a collapsed C (similar to a vertical U) and the Left Hand up
and positioned horizontally ‘straight-on’ to the piccolo body. Center each finger carefully over each key.
This keeps the fingers properly separated and away from the mechanism. It also reduces overall
tension, a frequent byproduct of incorrect hand position.
“Hover Mode” – Magnets to MetalJust like the flute, keeping the fingers low to the keys is essential to clean,
quick technique for the piccolo.
Left Hand Right Hand
Both Hands From Performer’s Perspective Both Hands From Conductor’s Perspective
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#2 Proper Hand/Body Position for Flute & PiccoloEasy to follow guidelines to maximize consistency of tone/technique
Body Position for both Standing and Sitting Angle of Flute and Piccolo should match the Angle of the Head
This ensures that the airstream will hit the embouchure hole evenly and at the proper angle.
Everyday practice in front of a mirror is essential to ensure consistency.
Tracy’s Pencil Rule applied to right hand
The Pencil Rule helps to promote
good hand position
Tracy’s “Pencil Rule” for the Right HandCheck to see that you are not touching the mechanism/Hinge tubing of their flutes or piccolos.
Use the left hand, in concert with pressure applied with the left arm against the chin.
45 Degree angle standing in front of stand 45 Degree angle sitting in front of stand
Positioning yourself at a 45
Degree angle to your stand
will optimize field of vision
while reading music. your
breathing will also be more
open and free.
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#3 Breathing – The Essential
Techniques for Flute and Piccolo
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#3 Breathing – The Essential Techniques for PiccoloEasy to follow guidelines to maximize consistency of tone/technique
It is essential that you know how to breathe correctly for optimal control and projection. I
use the following description when working with flute/piccolo players and it always seems
to resonate with students:
Think of your lungs like two big balloons. Filling a balloon increases its size and letting air
escape decreases its size. Breathing in inflates your lungs, and exhaling deflates them.
Because your gut should relax and go out when breathing in, and goes in when breathing
out, a proper breathing fundamental can be summed up as:
“GUT’S OUT WHEN AIR’S IN"
The Gut goes OUT when breathing IN
If you get dizzy and/or feel tingling or
numbness while breathing deeply
you may be HYPERVENTILATING. To
relieve these symptoms hold your
breath or breathe into a paper bag
until the symptoms pass. This is
normal and will get better as you
learn to breathe more deeply on a
regular basis!
IT’S OUT WHEN IT’S IN and IT’S IN WHEN IT’S OUT
“GUT’S IN WHEN AIR’S OUT"
The Gut goes IN when breathing Out
Lack of Back Pressure and the Need for Constant AirspeedThere is little or no back pressure when producing a tone on the Flute, although the piccolo is
less extreme than the flute. When the air exits the lips there is no reed or mouthpiece to slow it
down – the airstream is basically unencumbered. Overall a large lung capacity must be
maintained to generate and control a sufficiently fast airstream (the piccolo to a lesser extent).
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#4 Tone – Secrets to Producing Amazing
Tone Fast on Flute and Piccolo
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#4 Tone – Secrets to Producing Amazing
Tone Fast on Flute and Piccolo
The “Harris PIP Method”
1. Place your index finger's PIP Joint (proximal interphalangeal - PIP for short) on the
bottom of your chin (not under).
2. Form your best "Frowny"" embouchure, then relax your jaw and let it lower down and
back a bit. Using your first finger, push against the chin with significant pressure while
aiming your airstream straight down and centered on the PIP Joint.
3. Two ways to Confirm the Direction of the Airstream:
A. You will feel the airstream clearly hitting your PIP Joint
B. When placing your opposite hand in close proximity to your face, you should feel
NO AIR hitting the palm of your hand while blowing down towards your PIP Joint
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#4 Tone – Secrets to Producing
Amazing Tone on Flute/Piccolo
Smiley vs. Frowny Embouchure - Keep your smile on the inside!
Correct “Frowny” Shaped Embouchure1. Is more flexible, & produces stronger overtones fostering a rich sound & better intonation.
2. Maintains a rounder-shaped embouchure hole - its smaller size facilitates playability
as notes ascend into the flute/piccolo's 2nd and 3rd registers.
3. More effectively directs the airstream INTO the flute/piccolo thus increasing the volume of
air driven though the flute. This improves projection and improves the sound quality.
4. Increases scope of Dynamic palette and makes controlled Tapering of notes easier.
Keep the embouchure plate pressed against the chin with significant pressure at all times
when playing – Improperly "floating the headjoint“ by barely pressing the lip plate against
the lower lip allows the insufficiently compressed lip tissue to impede the proper aim of the
airstream and thus producing a fuzzy tone.
Incorrect “Smiley” Shaped Embouchure1. Causes the corners of the mouth to turn upward, and pulls the lower lip away from and off of
the embouchure plate.
2. Tenses the lips producing a very inflexible embouchure controlled mostly from the corners
of the mouth.
3. Is usually too large and misshapen - does not readily change as needed for register shifts.
4. Misdirects the airstream focusing it improperly OVER the embouchure hole rather than INTO
it, ‘fuzzes’ the tone quality, weakens projection & worsens intonation throughout the registers.
5. Makes tapering and dynamic control much more difficult.
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#5 Properly Tuning a Flute
and Piccolo
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#5 Properly Tuning a Flute & Piccolo
Techniques for Tuning
Intonation Challenges for Today’s Flute/Piccolo Player
When played in tune, the modern Flute/Piccolo sounds its most resonant and produces the
clearest tone. Proper Intonation often demands alternate fingerings, the proper application
of airspeed, correct headjoint placement, and use of the correct embouchure.
If the intonation is consistently off, the head joint cork position and integrity should be
checked prior to forcing an alternate fingering to correct the problem. The cork is integral
to achieving good and proper intonation.
Check for Correct Cork Position Inside Headjoint
Check your headjoint cork placement every few months for best intonation. Good
intonation requires ensuring that the cork located in the top of each flute/piccolo headjoint
is properly positioned.
Often the flute/piccolo crown can become loose so players tend to "over tighten" the
crown. This movement of the cork steadily into the headjoint, towards the crown,
produces a problem I call "Cork Creep.” This cork migration too close towards the crown
causes an extreme lowering of the produced pitch.
Have your headjoint cork inspected professionally at least once a year to check whether
the cork requires replacement.
Flute Headjoint cork assembly
1. The 'crown'.2. The cork 3. The front plate.4. The back plate.5. The threaded rod.
Piccolo Headjoint cork assembly
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Checking cork placement in Flute headjoint with cleaning rod
Checking cork placement in Piccolo headjoint with cleaning rod
The cork’s position can be easily verified by inserting the end of the flute/piccolo cleaning
rod into the headjoint. If the tick mark shows up exactly in the middle of the
embouchure hole the cork is properly placed.
#5 Techniques for Properly Tuning a Flute & Piccolo
Having a flexible jaw and embouchure is a must when it comes to playing in tune.
TRIO DEMO – “Set it and forget it” – “Flexible and Fabulous”
Trio Music Practice
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#5 Properly Tuning a Flute
Techniques for Tuning
Pitch is effected by the Temperature of your playing environment. Molecules move more
slowly in a cold environment, driving down the pitch, while molecules in a warmer
environment move more quickly through the tubing, driving the pitch up.
Pitch Tendencies of the Flute by Register & Dynamic
Regardless of a note’s register or dynamic, every flutist tends to sound sharp or flat to varying
degrees. Knowing the pitch tendencies of the flute and piccolo throughout all the registers and
dynamics is a mustand can be quickly learned. We can summarize these differences according
to octave as follows:
First/Low Register: To help prevent notes in this register from sounding flat, maintain
a steady, robust airspeed. Remember that notes played with a louder dynamic such as a forte
(ff) will tend to sound sharp and notes that are piano (p-pp) can be very flat.
Second/Middle Register: Notes in this register will tend to flatten in softer dynamics
and tend to sharpen when played using mezzo forte (mf) and forte (f to ff) dynamics.
Third/High Register: Maintaining a fast and consistent airspeed will prevent notes in
this register from sounding flat when played using very soft dynamics. Please note when
playing a louder dynamic such as a mezzo forte and forte, notes tend to go sharp. 3rd register D
is notoriously flat especially when played using softer dynamics. The use of alternates is
essential in this register.
You should tune with a tuner, using a pickup if possible. The tuner pickup/audio
input jack makes it possible to tune without any interference from the other
instruments in the rehearsal room. A common complaint from flute players is
they cannot hear themselves over all the other instruments when tuning. Flute
Choir Music Here.
Tuner Pick up with metronome
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#5 Properly Tuning a Piccolo
Conical or Cylindrical bore – which one are you playing on?
Cylindrical: Many student piccolos are made with a Cylindrical bore which means the
body is the same diameter from one end to the other with straight parallel sides and the
interior is shaped like a cylinder. It is often made of metal or composite materials and has a
conical headjoint (tapers in diameter at the crown).
Cylindrical - same diameter from end to end
Conical: More expensive/professional piccolos are made with a Conical Bore, meaning that
the body tapers in diameter from top to bottom reflecting the interior’s conical shape, and
attaches to a cylindrical headjoint. The Conical design, while a bit more difficult to play in
the higher registers, often delivers a richer sound, a greater range of tone colors, and a
superior intonation.
Conical - tapers in diameter from top to bottom
Piccolo Bore - Cylindrical Tubing vs. Conical Tubing: The exterior shape of the
piccolo’s body tube reflects the shape of its interior or bore. The bore determines the path of
the flow of air through the piccolo which in turn affects the nature and quality of a piccolo’s
tuning tendencies. Piccolos are available with one of two different bore types:
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#6 Vibrato Production for Flute and Piccolo-
Learn in Under 5 Minutes
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#6 Vibrato Production for Flute and Piccolo-
Learn in Under 5 Minutes
Practice the vibrato exercise below utilizing different dynamics from pp to ff making sure
the quieter the dynamic, the narrower the vibrato (amplitude of the wave), and, conversely,
the louder the dynamic, the wider the vibrato (amplitude of the wave).
"Hoot" your way to a terrific vibrato in 5 Steps!1. Turn on your metronome to quarter note = 50 and say out loud “who”“who””who” to each
beat while moving as much air as possible with each “who”.
2. Next, try taking out the "w" and just say "ooh" "ooh" "ooh" in time with the metronome.
3. Once you feel comfortable with steps 1 & 2, try connecting the "ooh" "ooh" "ooh's"
together into one fluid line, and sing them with the metronome..
4. Play a 2nd register D, and waver two times per beat blowing “ooh” “ooh” into your
piccolo. Once you have mastered two “ooh’s” per beat at quarter note=50, try wavering
3, then 4 then 5 wavers per beat,. The wavers should be evenly spaced throughout the beat.
5. Increase the tempo on your metronome one click at a time, mastering 2, 3, 4, 5 wavers per
beat, until you reach quarter note = 60. Strive to achieve 5 “ooh’s” or wavers per beat at
quarter note = 60-66.
The lovely embellishment that Vibrato adds to a Flute/Piccolo’s tone can be easily mastered
using simple techniques. Properly practicing and applying these techniques will broaden the
dimension of your flute/piccolo’s sound and will increase your overall projection.
Diagram of Amplitude of Wave for ff and for ppVibrato Exercise
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#7 Articulation - Single and Double
Tonguing for Flute and Piccolo
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#7 Articulation - Single and Double Tonguing
for Flute and Piccolo
There are many kinds of articulation and each type should be played distinctly and with
clarity. For many flute/piccolo players this is a challenge. Many students don’t articulate at
all or they use a “breath” articulation. When first attempting articulation, notes tend to
crack and feel unstable, so many flute/piccolo players shy away from articulation in general.
I have found the following techniques help with teaching the basics of articulation and they
remove the mystery and fear that often comes with learning how to articulate:
1. How to achieve a Lively and Energetic Single Tongue Articulation
Proper single tonguing technique needs a great deal of air speed to achieve balanced, clean
articulation. To achieve this play a simple scale with “breath” articulation only, using the syllable
"Hoo" "Hoo" "Hoo”. It helps to flex the abdominal muscles as they play. Once they can play a
simple scale with just breath articulation then have them try using their tongue with the same
amount of airspeed behind each articulation using the syllable “two”. This will help you feel
what it’s like to play with the proper airspeed and how it feels to combine airspeed with an
articulation. Play the exercise below and it will help you to have a much greater appreciation for
the many kinds of articulations that exist.
2. Proper Embouchure is Essential to Maintaining a Quality Tone When Articulating
The shape, tension and integrity of the embouchure determine tone quality while tonguing. Be
sure you are not tonguing too softly or not at all, often a result of trying to achieve perfectly
clean tone. And of course avoid the dreaded "Smiley" embouchure which will result in the tone
cracking when tonguing.
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4. Practice your scales with an “articulation” of the day - this is quite
effective in helping players be more musically communicative.
5. Have students use earplugs when practicing articulation – let them "feel“
how the tongue actually works inside of the mouth.
3. Check to make sure your players are not falling into the habit of
improperly STOPPING a note with the tongue. A note’s release should be
facilitated with the embouchure by either breaking the embouchure
entirely or tapering/lifting off the note in conjunction with the proper
airspeed/embouchure control.
6. Too Koo and Doo Goo your way to a fantastic Double Tongue.
A wonderful way to improve your double tonguing is t practice a Bb scale
double tonguing each note 4 times – ‘too koo- too koo” at mm = 60 to start.
This will result in easier and cleaner articulation in tongued fast passages.
(DEMO)
7. To strengthen double tonguing in a balanced way, sometimes reverse the
syllables, and practice "Koo Too" or "Goo Doo" to strengthen the normally
weaker "Koo" or "Goo" syllable.
8. When single or double tonguing let the airspeed do the work. Use plenty of
airspeed to help the tongue sound crisp, clean and light. Ask them to lean
back in their seats until they feel their abdominals flexing and then try some
single and double tonguing. They will hear and feel a difference right away.
#7 Articulation - Single and Double Tonguing
for Flute and Piccolo
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#8 Care and Maintenance of the
Flute and Piccolo
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#8 Care and Maintenance of the Flute & PiccoloClear Do’s and Do-Not’s to keep Flutes and Piccolos
properly Serviced and playing their best.
Flutes and Piccolos are delicate instruments, despite the fact that they feel like cold,
indestructible metal (or wood). Both must be handled with the utmost care in order for
them to perform at their best.
Care and Maintenance DO’SDO - Always handle the instrument with great care, never grab or hold it by the keys
when cleaning, assembling or disassembling it.
DO - Always wash hands before playing the instrument. Dirty hands foster material deterioration.
DO - Always brush the teeth before playing – this prevents food sugars and acids from seeping
into the instrument’s mechanisms and pads. Such seepage ruins the pads and causes leaks.
DO - Always have the instrument serviced by a professional repairperson at least two times a year
to check the headjoint cork, as well as the pads to correct for wear and tear which may
cause leaks.
DO - Always swab out the instrument after every practice with a 100% cotton handkerchief – use
either a plastic or wooden cleaning rod. Don’t use metal - this may scratch the instrument.
DO – Always insure instruments against theft or damage. Instrument insurance is available
through companies which specialize in insuring musical instruments.
DO - Always polish the parts that are not delicate including the main body tubing, headjoint,
and keys with a silver polish cloth
DO - Invest in a good piccolo or flute stand to rest the instrument upon when practicing
field shows or any time the flute or piccolo is left unattended even for a brief period of time.
Care and Maintenance – DO NOT’sDO NOT - Leave a flute or piccolo in a very hot or cold car.
DO NOT -Travel with the instrument in the trunk. Instead buckle it into the seat. In an accident, a
seatbelt may save the instrument’s life and possibly someone else’s life as well.
DO NOT- Store the instrument’s cleaning swab inside the case along with the instrument – the pads
will re-absorb all of the moisture just swabbed out of the instrument with that very cloth.
DO NOT - Handle the instrument with dirty hands or play after just having eaten a meal/sugary
substance.
DO NOT - Leave the assembled instrument unattended where people can “accidentally” bump into it
and cause potentially expensive damage.
DO NOT - Leave the instrument out overnight or for any extended period of time outside of practice.
DO NOT - Wash the instrument with any type of liquid or submerse any of its parts in water.6/11/2018 COPYRIGHT TRACY L. HARRIS 2018 26
#8 Care and Maintenance of the Piccolo
A few words about Piccolo maintenance
and preserving your hearing
Wooden Piccolo Care and Maintenance
➢Have students Oil wooden headjoints with either "Tung" or Almond
oils - apply a very small amount (2 drops or so) on a towel and rub
the inside and outside. Let the oil soak into the wood over the span
of an hour and then wipe off the excess oil. Leave the oiled headjoint
out of its case overnight to dry. DO NOT get any of the oil on the
pads of the piccolo. If you feel you cannot do this safely then take the
instrument to your band’s local piccolo technician.
➢Never leave a wooden piccolo out on a peg overnight. Always keep it
stored in its case when not in use.
➢Never store a wooden piccolo in extreme temperatures.
Prevent permanent hearing damage by having students always protecting
the ears with some form of hearing protection. Hearing damage is a clear
and present danger to any piccolo player and their directors.
I recommend the use of some form of hearing protection whenever
playing the piccolo. There are very effective products now available that
protect hearing while at the same time allowing the student to hear what
they are playing quite clearly. Standard foam earplugs are helpful but
often very hard to hear through.
Piccolo Player Healthcare
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#9 Flute and Piccolo Fingering/Trill
Charts with Alternate Fingerings
1
11
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#9 Flute and Piccolo Fingering/Trill Charts
with Alternate FingeringsEasy to learn fingerings that will ensure consistent
intonation throughout your registers.
Some important recommendations regarding flute/piccolo fingerings:
► Good intonation is always a challenge, but there is a quick way to improve
intonation through the utilization of a few, select alternate fingerings.
► The challenge regarding alternate fingerings has always been which one to
use. For the band flute or piccolo player this can be overwhelming.
Learning just a few alternate fingerings will alleviate the stress and
confusion that often accompanies the use of alternates for better intonation.
► The following custom fingering charts I designed with the band/wind
ensemble flute/piccolo player in mind. These fingerings were bench tested in
hundreds of clinics with both plateau and French model flutes with both C
and B foots to help distill down just one or two alternates where possible and
very necessary.
► The sooner you get acquainted with the concept of alternate fingerings the
faster you will see ear training progress and the more in tune you
will play in your section. It is important to recognize that intonation is not
just effected by register, but also by dynamic, test the few critical
alternates at home with your chromatic tuner to see what works best for
you.
► Some of the most problematic notes to play in tune in a section are unison
pitches and especially unison pitches in the 3rd register. I recommend that
you teach just a few important alternates to start - perhaps one a week as
follows: C# in 2nd and 3rd Register then 3rd register E, F, F#,G#, A, A#,
and C 4th Register
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122122 122
#9 Sample Flute Fingering Chart
with Alternate Fingerings
Easy to learn fingerings that will ensure consistent
intonation throughout your flute/piccolo registers.
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122122
#9 Sample Flute Trill Chart
with Alternate Fingerings
Easy to learn fingerings that will ensure consistent
intonation throughout your flute registers.
It is important that you take the time to learn the correct trill fingerings for all trills you will be
called upon to play. More often than not the fingerings are often “approximated” simply
because students are unfamiliar with them and are sometimes too embarrassed to ask for
assistance or clarification. I created simple to read charts with only one or two options for any
particular trill to help remedy this problem. Your section will sound its best when everyone
utilizes the right fingerings for each specified trill.
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#9 Sample Piccolo Fingering Chart
with Alternate Fingerings
Easy to learn fingerings that will ensure consistent
intonation throughout your piccolo registers.
122
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#9 Sample Piccolo Trill Chart
with Alternate Fingerings
Easy to learn fingerings that will ensure consistent
intonation throughout your piccolo registers.
122
It is important that you take the time to learn the correct trill fingerings for all the trills you
will be called upon to play. Just as with the flute, the trill fingerings are often “approximated”
simply because students are unfamiliar with these fingerings, and are sometimes too
embarrassed to ask for assistance or clarification. I created simple to read piccolo charts with
only one or two options for any particular trill to help remedy this problem. Just as it is with
your flute, your Piccolo and your section will sound their best when everyone utilizes the same
trill fingerings for each specified trill.
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9A – A Great Example of Music That Uses Alternates:
Sousa’s “Stars & Stripes Forever” For PiccolosA fun and beneficial way for you to
practice this iconic piccolo solo
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#10 Efficient Practice Routines and
Mental Strategies for Competition
6/11/2018 COPYRIGHT TRACY L. HARRIS 2018 35
#10 Efficient Practice Routines and
Mental Strategies for Competition
Top 4 Tips for a successful competition or chair test:
•BE TECHNICALLY PREPARED - Memorization
•BE MENTALLY TOUGH – Mock Auditions
•BE FULLY WARMED-UP BEFORE THE AUDITION–Run Though Your Practice Routine
•CONSULT A FLUTE PROFESSIONAL - Take lessons – even one is beneficial
A good practice routine should be structured as follows :
•TECHNIQUE 40% - Scales, arpeggios, and technical studies
•TONE 20% - Tonal Studies
•INTONATION 10% - Octave studies, Perfect Fourths, Fifths, Arpeggios, Harmonic studies
•ARTUCLATION 10% - Single and Double tonguing with changes in articulation
•REPERTOIRE 20% - Solo Music/Band and Wind Ensemble Literature
6/11/2018 COPYRIGHT TRACY L. HARRIS 2018 36
#10 Efficient Practice Routines and
Mental Strategies for Competition
Addressing “The Adrenaline Factor”
“ Adrenaline Factor” warning signs •Shaking hands, legs, lips…
•Shortness of breath
•Excessive sweating
•Difficulty concentrating
•Racing heartbeat
•Hyperventilation
Reducing the "Adrenaline Factor“ –
Preparation is EVERYTHING!
•Practice in a way that builds confidence – practice slowly and methodically
•Seek out opportunities to perform in public
•Never let an imperfect performance cause long standing anxiety or doubt
•Don’t converse with competitors during the audition process
•Try to minimize students’ physical over-exertion and undue stress before they
audition to maintain normalized blood pressure and pulse
Qualities of Successful Performers:
•GENUINE LOVE and TECHNICAL COMMAND of your instrument.
•UNDERSTANDING that being a “Performing Artist" means the emphasis
must be on “Performing.”
•COURAGE to stand up and perform as musically and artistically as possible.
•DETERMINATION to be as prepared as possible for every performance.
6/11/2018 COPYRIGHT TRACY L. HARRIS 2018 37
Flute Resources by Tracy Harris
Available at www.JWPepper.com
6/11/2018 COPYRIGHT TRACY L. HARRIS 2018 38
Flute Boot Camp Manual-Covers
all Essential Flute Techniques Fingering Charts for Wall including selected
alternate fingerings for better intonaion
Picc Perfect Manual-Covers all Essential Piccolo
Techniques for the Band Picc Player
q = 76
Todd Allan Harris
An American MinuteComposed for Tracy Harris (c)2018 All Rights reserved
Flute 1 mf
5
Fl. 1 ff
8
Fl. 1 f
mf
11
Fl. 1 f
mf
14
rit.
Fl. 1 f
mf
f
17
Fl. 1 mf
p
q = 76
Todd Allan Harris
An American MinuteComposed for Tracy Harris (c)2018 All Rights reserved
Flute 2 mf
5
Fl 2 ff
8
Fl 2 f
mf
11
Fl 2 f
mf
14
rit.
Fl 2 f
mf
f
17
Fl 2 mf
p
q = 76
Todd Allan Harris
An American MinuteComposed for Tracy Harris (c)2018 All Rights reserved
Flute 3 mf
5
Fl 3 ff
8
Fl 3 f
mf
11
Fl 3 f
mf
14
rit.
Fl 3 f
mf
f
17
Fl 3 mf
p
q = 76
Todd Allan Harris
An American MinuteComposed for Tracy Harris (c)2018 All Rights reserved
Piccolo 1 mf
5
Picc.1
ff
8
Picc.1 f
mf
11
Picc.1
f
mf
14
rit.
Picc.1
f
mf
f
17
Picc.1 mf
p
q = 76
Todd Allan Harris
An American MinuteComposed for Tracy Harris (c)2018 All Rights reserved
Piccolo 2 mf
5
Picc. 2 ff
8
Picc. 2 f
mf
11
Picc. 2 f
mf
14
rit.
Picc. 2 f
mf
f
17
Picc. 2 mf
p
Arranged for Tracy Harris by Todd Harris (c) 2018Easy - A Folk Song
q = 601
Piccolo
Flute I
Flute II
Flute III
5
Picc.
Fl. I
Fl. II
Fl. III
10
Picc.
Fl. I
Fl. II
Fl. III
q = 60 - 84
Folk Song In The RoundArrangement Created for Tracy Harris by Todd Harris (c) 2018
1 2 3Piccolo 1or Flute 1
mf
45 6
Picc. 1 orFl. 1
7 89
Picc. 1 orFl. 1
10 11 12 13
Picc. 1 orFl. 1
14 15Picc. 1 or
Fl. 1
16 17 18Picc. 1 or
Fl. 1 p
q = 60 - 84
Folk Song In The RoundArrangement Created for Tracy Harris by Todd Harris (c) 2018
1 2 3
Flute 2 mf
45 6
Fl. 2
7 89
Fl. 2
10 11 12 13
Fl. 2
14 15
Fl. 2
16 17 18
Fl. 2 p
q = 60 - 84
Folk Song In The RoundArrangement Created for Tracy Harris by Todd Harris (c) 2018
1 2 3
Flute 3 mf
45 6
Fl. 3
7 89
Fl. 3
10 11 12 13
Fl. 3
14 15
Fl. 3
16 17 18
Fl. 3 p
q = 60 - 84
Folk Song In The RoundArrangement Created for Tracy Harris by Todd Harris (c) 2018
1 2 3
Flute 4
45 6
Fl. 4 mf
7 89
Fl. 4
10 11 12 13
Fl. 4
14 15
Fl. 4
16 17 18
Fl. 4 p
q=114 Todd A. Harris
Scaling DComposed for Tracy Harris - (c)2018 All Rights Reserved
1
Flute 1 mf
5
Fl.1
10
Fl.1
15
Fl.1
20
Fl.1
25
rit. Fl.1
q=114 Todd A. Harris
Scaling DComposed for Tracy Harris - (c)2018 All Rights Reserved
1
Flute 2
5
Fl.2 mf
10
Fl.2
15
Fl.2
20
Fl.2
25
rit. Fl.2
q=114 Todd A. Harris
Scaling DComposed for Tracy Harris - (c)2018 All Rights Reserved
1
Piccolo 1 mfmf
5
Picc. 1
10
Picc. 1
15
Picc. 1
20
Picc. 1
25
rit.
it
Picc. 1
q=114 Todd A. Harris
Scaling DComposed for Tracy Harris - (c)2018 All Rights Reserved
1
Piccolo 2 mf
5
Picc. 2
10
Picc. 2
15
Picc. 2
20
Picc. 2
25
rit. Picc. 2