Tag Archives: teaching

Exploring the new ABRSM flute syllabus 2018: Grade 7

Whisper it quietly but this might be time to invest in whole pieces or compilation books, rather than buy the ABRSM book itself!

List A:

This is another strong list with a more diverse range of periods than often.

The Rabboni Sonata in D major is particularly tuneful and highly recommended, especially for those less likely to be at home in the Baroque period.

For those who are, the Telemann Sonata in G major is a strong choice. Gluck’s Che faro senza Euridice arranged by Boehm is an absolutely wonderful piece published in the ABRSM book but it’s also available in Romantic Miniatures Volume 2 which you could then use for grade 8!

 

Less familiar are:

Frederick the Great: Allegro from Sonata in B flat Spitta No 76.

If you splashed out on the complete volume of these sonatas for grade 5 this one is a great option here. It’s also available separately and is well worth the money as the whole sonata is delightful.

The movement set is a lovely and sprightly fast movement which could be  tricky for the fingers. If you can sort out the tonguing to suit yourself you will be rewarded with a happy piece that will bring joy to everyone!

Serini: Andantino grazioso and Allegro assai from Sonata No 1 in D major

The beautiful slow movement which is quite Romantic in character is followed by a very lively Allegro assai. This is fiddly rather than difficult with the editorial trills making the writing very intricate.  It’s a challenge, as it should be at this level, but refreshingly different.

 

 

List B:

Again, the supporting pieces are strong. You may not need to look any further than the Poulenc, Faure, Berkeley or Tea for Two but there are other really interesting options available to explore too!

Edward German: Intermezzo

This is a lovely Intermezzo with a rather rambling rhapsodic format that is charming .It will need work to cement the ensemble as a result, especially as there are several changes of speed. Definitely worth a look though, especially if you liked the Saltarello from the last syllabus.

Moszkowski: Spanish Dance from 300 Years of Flute Music.

This will be valuable if you are looking for slightly less daunting. The Spanish style is one that everyone knows and there is plenty of character in the writing to help with interpretation. Blessed with a straightforward structure, this is definitely not as technically demanding as some of the other pieces. You may also have this book already so it makes sense to play something completely different from it!

Paul Wachs: La Flute de Pan from Romantic Miniatures Volume 1

This is another great French flute piece that has a lot in common with the  Mel Bonis that is published in the ABRSM book. It’s a little more straightforward in harmonic style though. It has a charming rhythmic simplicity, and if you have a student with a supple tone, good breathing and decent intonation, this is perfect!

List C:

There are some most interesting studies set for this grade which includes both core repertoire and the opportunity to leave your comfort zone! You might have already introduced your student to the Telemann Fantasias, or the  CPE Bach Unaccompanied Sonata so you’re instantly ahead of the game! However, be sure not to miss the expressive Prill Study in D minor from More Graded Studies Book 2 which is a tone colour challenge, and there is  the Toreador’s Song from The Bizet Notebook if you need something very well-known.  As ever though, there is always room for something different!

Alicia Hart: Scats from Scatadoodle

This book features at grades 4 and 5 (good value again!) and introduces the concept of the scat-singing technique used by jazz players. It’s a great choice if your accompanied pieces are more traditional. This piece has a natural swing rhythm which should be quite easy to learn as the patterns are quite repetitive. It’s technically fairly demanding with some big leaps around the flute but it’s is very well written with plenty of places to breathe. Playing this from memory would be relatively easy for any player used to doing this and would be very impressive in the exam!

There is just so much quality in the music set for this grade that you could quite easily never repeat the same set of pieces – even over 3 years!

 

 

Exploring the new ABRSM flute syllabus 2018: Grade 6

The choice of repertoire in all three lists is very wide and there is quite a variation in standard. Programme planning is a must now  and there is so much to choose from  – an embarrassment of riches!

List A:

All the greats are represented on this list so you may feel that Bach, Handel and Telemann are all you need to complement the repertoire from the ABRSM grade 6 book. This would mean you miss out on these gems though!

Drouet: Allegro Moderato from Sonata in A minor from Three Little Sonatas for Flute and Piano

This is the first movement of the Sonata which has been used at grades 4 and 5 so you can complete the set. Not the most difficult piece on the list but utterly lovely!

 

Giuseppe Rabboni: Sonata No 8 in C major from Sonatas for Flute and Piano

If you didn’t include the Sonata in A minor for grade 5 then perhaps now is your chance to explore these wonderful sonatas. This rather expensive book comes with a beautiful performance and play-along CD – great for de-stressing in a traffic jam!

This slow, one movement piece is completely charming, and once you have stopped worrying about how black it looks on the page, relatively straightforward technically.  You do need a great sound though, and immaculate intonation would be an added bonus! You’ll love it!

Vivaldi:  Allegro from Concerto in D major RV783

This energetic movement will provide a serious technical workout. You  need to play all those notes through the tutti passages too so stamina will be an issue. It’s easy style-wise though so if you can play it, it plays itself!

 List B:

The two block-buster pieces on this list  are the Gaubert Madrigal and Andy Scott’s And Everything is Still. Start with these and you can’t go wrong! However, there are 2 new pieces by English composers that might be of interest at some point. Both have the same wistful character:

John Frith: Arabesque

This slow, lilting waltz is really appealing. It has good structure which underpins the elusive harmonies and a lovely short cadenza passage. Played with conviction it will sound gorgeous!

 Paul Lewis: Lullaby for Laura from Pictures of Childhood

The same applies to this piece too, but here the style is a little more accessible. The 6/8 rhythms hold the melody together and despite a little technical section in the middle, this is the easier of the two to play successfully.

List C:

The general listing is full of books you might already have. Highlights from them are:

Entr’acte from A Bizet Notebook arranged Simon Hunt 

This is the Entra’cte to Act 4 so it’s full of energy and colour and you get to play both the famous oboe melody as well as the semiquaver flute passages. It works really well as a solo piece and is a great way to get to know yet another of those wonderful Bizet pieces!

Cavallini: Theme and Variation from More Graded Studies for Flute Book 2

More Romantic writing here with a beautiful theme for showing off breathing and tonal flexibility followed by a triplet variation. Quite a workout!

 

Oliver Ledbury: Imaginings from Flute Salad.

If you think you know this book but haven’t looked at the last page please think again.

To play this interesting study you really will need imagination, as it is possible that it’s the first time your student will have encountered this kind of writing. Although not technically difficult, it needs really good pacing and flexibility of both sound and rhythm to capture the meaning of the title. It’s a wonderful piece though and great one to make a good contrast in your programme.

Have fun with all these  – everyone will be happy with whatever you choose!

Exploring the new ABRSM 2018 Flute Syllabus: Grade 5

Blog snapshot – my recommendations at a glance!

A question for you  – what makes a good grade 5 flute player?

It’s notoriously difficult to excel at this grade so it is perhaps an interesting exercise to think about which of the following your potential candidate might possess before matching them up with repertoire. :

  • The basics – a more developed sound with increased finger speed, and snappier tonguing
  • More stylistic awareness which results in the choice of a balanced programme
  • Confidence in their playing and the ability to take ownership of the performance

The ABRSM book for this grade is very strong and will challenge all these questions most  successfully. But even so there is plenty of variety and quality to be found elsewhere. There will come a time when  the examiners will be very happy to hear some new music!

List A              

This  is a classic list including the usual mix of Handel, Telemann and Beethoven, plus an arrangement of the Dvorak Humoresque. The  Allegro from the Sonata in G major by  Pietro Locatelli from 300 Years of Flute Music will also be very popular and used a great deal.

This compilation is also included at grades 4, 6, 7 and  8 – another great value purchase!

Drouet: Rondeau from Sonata in A minor (Three Little Sonatas)

If you didn’t include the Cantabile from this Sonata for grade 4, here is another chance to explore Drouet’s charming style. Easy on the eye, ears and technique, this is a good way to learn about structure as the movement uses repeats and da capos in a more intricate way than usual. You’ll love it!

Frederick the Great: Allegro assai from Sonata in A minor, Spitta No. 21

The music of the flute enthusiast Frederick the Great has been overshadowed by that of his teacher Quantz and is not often played. This Allegro, together with another one set for grade 7 are both really interesting.

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Mainly set in the middle register, the articulation is tricky but the small range of notes used helps to limit the technical demands. It’s rhythmically engaging and lovely to play. You can purchase this Sonata separately but if you have fallen head over heels for Frederick’s charms, this and the equally appealing Sonata No 76 set for grade 7 are available in one volume!

Giuseppe Rabboni: Sonata No 10 in D minor from Sonatas for Flute and Piano 

If these sonatas have passed you by, you are in for a real treat! Although the book appears expensive it is set for grades 6 and 7 too, and includes a demonstration and playalong CD. This is beautiful and worth the purchase price alone!

The great thing about all these Sonatas is that they are all so tuneful. You do need your wits about you for this one though. A great sound and musicality will help but poise and a sense of style are essential to bring this fabulous slow movement to life!

List B

There are more stunning tunes on this list which contains some little-known pieces which are soon to become famous!

Bock and Harnick: Sunrise, Sunset from Roll Over Bach arranged by Adam Gorb

One of the great songs from Fiddler on the Roof and the arrangement is lovely.There is a real duo feel here with the evocative sweeping melody passing between flute and piano in the opening section. The famous chorus doesn’t appear until bar 34, and even then it’s still split between the instruments. This is more akin to a fantasy than a straightforward transcription,  which if played beautifully, could be most effective.

Richard Lane: Caprice

This is a very appealing if rather quirky piece. The rhythms are relatively simple and the whole piece lies nicely in the middle of the flute so the principal task here is to learn the notes in the passage work and accomplish the main tonguing patterns.The partnership with the piano will deliver the interesting harmonic style and, best of all, it’s only a minute long!

 

Wilhelm Popp:  Spanish Dance from Romantic Miniatures Vol 1

This is yet another fantastic piece! It’s one of those gems that sounds more difficult than it actually is, so it’s  great fun to play! The straightforward rhythmic structure and technical challenges are simply presented to get you off to a flying start. It’s then possible to play it at the correct Bolero speed which is so evocative of Spain. All you need then is a pair of castanets!

List C:

There isn’t really a dud on this list – you can’t go wrong!

Bizet: Gypsies Dance from A Bizet Notebook arranged Simon Hunt

It’s such a treat to be able to play these good solo flute arrangements of Carmen for an exam. A treasure of a book, it’s very good value especially as it is set for grades 3, 6 and 7 as well. This famous dance is quite short so the detailed finger patterns will be the focus of attention here. Everyone knows this tune though and that always makes practising easier!

 

Helen Madden: Icing on the Cake  from 20 Fantastic Studies

I love this book of well-written original studies by Helen Madden, all of which have great titles. Each one has practice tips too. This one is technically demanding and the composer herself recommends slow practice. A clear incentive perhaps?  You also need really good control of dynamics to fully bring out the character which should be ‘stylistic and bold’. If you like real jazz you’ll love this.

 

Investing in music at this level is still difficult to encourage, but with this amount of choice the task of persuading parents to part with their money should be much more straightforward!

Find this exam music and more using the Just Flutes Exam Music Finder

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Exploring the 2018 ABRSM Flute Syllabus: Grades 1 and 2

So here we are again! Astonishingly it’s 8 years since ABRSM introduced a selection of the music for each grade in one book. This seemed such a big event back then, but now we are all used to the format, like it or not!

The marketing of the ABRSM volumes has been even more targeted this time, and can now be accessed in three ways:

  1. New Exam Packs (Grades 1-5) containing pieces, scales, sightreading and a download code to access performance and accompaniment material.
  2. Selected Pieces for Grades 1-7 containing pieces and the download code.
  3. Scales and Sight-Reading Packs for Grades 1-5

As excellent as these books are, they will become very familiar all too soon! I want here to draw attention to the part of the syllabus that is often neglected nowadays: the alternative pieces. ABRSM examiners are always delighted when players come in with something different, so they really are worth investigating!

Grade 1

Depending on your point of view, the entire syllabus for Grade 1 can seem either safe – with many familiar tunes and books listed – or a little disappointing in that there’s not a lot new. That is really a teacher issue though, and I’m sure that your students will love what’s on offer! Quite a number of the alternative books set for Grades 1 and 2 are great value for money, including Time Pieces Volume 1, Harlequin Book 1 and  Winner Scores All. These books contain pieces for higher grades too, and as they are compilations they also give plenty of additional repertoire.  Study books that fall into this brief include Fifty for Flute Book 1, 125 Easy Classical Studies and Skilful Studies.

If you’d like to branch out a little and still provide a good return on investment, the  Grade by Grade series definitely fits the bill.  This is an alternative ‘exam pack’ with pieces, scales, sight-reading and aural specifically tailored to the Grade 1 player., along with creative tasks which are great fun. Each piece has performance directions to help overall musical understanding, the scales are linked to the keys of the pieces and the both the sight-reading and aural content is very well explained. A performance and accompaniment CD is included. The famous Haydn Minuet and the Susato Rondo set on List A are both very tuneful and have  just the right amount of challenge to effectively stretch a younger player.  On list B Helen Long’s Spooked  is great!

Helen Long – Spooked sample

It’s an imaginative piece with quirky changes of rhythm and articulation in A minor that really capture the title. The piano part is an integral part of this piece, which  gives a great starting point for the understanding of vertical structures. In other words for players to learn that there’s someone else playing with you!

Also on List B,  Ten Top Pops is another book crammed full of pieces kids will want to play.

Set for Grade 1 is the Theme from Wallace and Grommit – who can resist that?! The main difficulty with playing something well-known is playing what’s on the page and not what’s in your head! You’ll also need a good pianist but that shouldn’t be a problem – everyone will want to  have a go at this one!

The most interesting study book on List C is Sad Song or Articulate from Thirty One, Two, Three  Studies. Each of these little gems has a title to give focus to your practice. You can sing Sad Song as well as play it, as it has easy rhythms and a straightforward phrase structure. Articulate is a little more of a challenge and the rhythms can catch you out. As you might expect from this title, tonguing is the challenge but clear dynamic markings help with managing those contrasts so loved by examiners!

Grade 2

This is only a small step up from Grade 1 and, as some books will be already be familiar, the transition should be seamless. There are plenty of classical tunes and familiar songs to encourage tonal development and they are great for singing too!

A lovely choice for List A is Hook: He Piped So Sweet from An English Garland. Those with a naturally good sound will love this piece as it is so beautiful! There are bars rest to count and pauses to negotiate, so working with a pianist will be a top priority.  This book of 12 eighteenth century English melodies is very unusual and quite charming.  It’s also used at grade 3 so it’s great value too!

Harlequin Book 1 is a familiar and well-loved book, so it’s lovely to see that some new pieces have been set from it. The repetitive form of Tchaikovsky’s Ancient French Song makes this piece easy to learn, and it’s good for those struggling with the second octave as all the repeated sections are up there. You’ll also need to have a singing sound to make this sound really French – despite the Russian composer!

List B is all about singing too, and although  Wouldn’t It Be Loverly will be the ABRSM book  blockbuster there are some great – and surprising! – alternatives. There is something for everyone here!

Mr Benn from Mr Benn for FluteYounger players will be thrilled by the inclusion of this popular song and if they are real Mr Benn fans they will be able to learn all the other pieces in the album too!  The familiarity alone should make light work of practising, which is good news as it’s not as easy as you might expect. (The piano part also has it’s moments!) They can play The Wizard for Grade 4 if they can wait that long!

At the other end of the style spectrum  is the Rolling Stones’ Paint It Black from HartbeatI’m not sure quite what Mick Jagger would make of his heavy rock number being played by fledgling flutes, but I daresay he is delighted to reach a new audience! Paul Hart has arranged this really well  so the piece is pitched at exactly the right level for the grade. Put away your prejudice – if your student is a good player with attitude, you can’t lose – and their parents and grandparents can rock along too!

There is plenty of good music to choose from on List C, but Jasmine Flower from More Graded Studies Book 1 is possibly the nicest. The Simultaneous Learning concept behind this book points you in the right direction before you start. This should help your student to focus on the musical as well as the technical detail. However, in this case I think they’ve missed a trick. The pentatonic scale used here (D major minus a few notes) is easily practised, and the impact this tonality has on the origin of the piece will really help the understanding of the style. You could even add in some improvisation exercises. Mike Mower has a similar piece in his excellent Junior Musical Postcards which encourages exactly that. It’s a really appealing piece and certainly makes a change from all that jazz.

This new syllabus certainly provides a great deal of choice for younger players.  Mixing and matching between the ABRSM publications and other books will definitely help making the exam process stay fresh for another four year!

Find this exam music and more using the Just Flutes Exam Music Finder

Flute Tutor Books – Recommendations 2017

The market for flute tutor books is crowded and often bewildering. There is almost too much choice, with different approaches, starting notes, rates of progress, type of repertoire and even the basic quality of the publication all jostling for our attention. Here I’ve picked out three lovely books which are aimed at the younger end of the market, and all are written by flute players. They may just help!

Flute Perfect by Doris da Costa and Anastasia Arnold

Buy now at Just Flutes

Flute Perfect - CoverThis is brand new to the market.  It is written by two experts who are passionate about the whole flute teaching process and it really shows.  At its heart is a clear desire to encourage and nurture young players, keeping the development of a good musician to the fore throughout. They are astute enough to price it well too, so it’s excellent value for money.

Advantages

This book has several major advantages. Firstly the layout is relatively simple and uncluttered with no gimmicks. The black and white illustrations are usually pertinent, and if they are decorative they add to the page rather than detract from it. There are no photos to illustrate posture – that is left to the discretion of the teacher.

Secondly, progress is steady. Each chapter introduces a single note and each tune or exercise has a clear purpose. Some pieces use practice bars to help with the learning, and encouraging downward scales at such an early stage is extremely useful. Playing from memory, experimenting with articulation with evaluation of the results, improvisation and  basic writing skills will all stretch the imagination of a young player and make the learning process much more varied. The anticipated grade at the end of the book is Grade 1.

Flute Perfect - Sample

Thirdly, and most importantly, rhythm,  making a good sound and aural awareness are given a very high priority throughout, ensuring that the core aim of musical development never gets lost.  This makes total sense but is quite often missing in the dash for learning ever more notes faster.

Supporting Teacher’s Book

Flute Perfect Teacher's Book- CoverA further plus is that this book is designed for both individual and group tuition. This is supported by the excellent Flute Perfect Teacher’s Book which is  a great resource for all of us but is especially useful for new teachers and those for whom the flute is not their main instrument. It’s multi-tasking with comprehensive teaching notes, ensemble parts and piano accompaniments all included. There are tips and suggestions to help with each  chapter including group activities such as warm-ups and improvisation. These are clearly outlined and can give a welcome structure to a lesson as well as providing material that can be used elsewhere. As the main focus here is on learning through ensemble playing  it’s really helpful that the arrangements are flexible and that all the parts can all be photocopied. Piano accompaniments are included too and can also be purchased separately.

At the very least you will find these books a useful addition to your teaching bag and they may end up as the only tutors in it!

Get Set! Flute by Hattie Jolly and Ali Steynor

Buy now at Just Flutes

Get Set! Flute - CoverThis is the most modest of the three books but the only one to include a backing tracks CD with printable piano accompaniments. It’s marketed as suitable preparation for the Prep Test and pre-Grade 1 so it’s great to see a curved head flute included in the opening photos. There are some lovely illustrations throughout and the book is quite colourful generally.  Picture signs signal Listen up! games, Rhythm Time activities and Find, Say and Play games which are designed to help accomplish various tricky tasks such as the difference between B natural and B flat, or memorising a simple piece.

Starts Simply

The first things the beginner meets in this book are pulse and breathing, before it moves on to some quite extensive work for headjoint only. There is nothing ground-breaking here but everything is explained clearly with an emphasis on rhythm skills, listening skills and tonguing. Basic theory is covered also using the headjoint, so that blowing and reading are already in place before the topics of putting the flute together, holding and cleaning the flute, and posture and balance are introduced. There are more clear instructions here and even parents will be able to see whether or not these elements are being put into practice!

Colour-Coded

Get Set Flute! Sample PageNotes are introduced using diagrams, with different colours used for each hand – blue for the left and red for the right.  The material used is almost all original and extremely well written, and each skill or musical point covered is logically laid out.  There are plenty of written activities too and these will deliver theory by the back door. Inevitably the pages appear busier as the music becomes more complex but as the range reached at the end is only one octave from low to middle D this is not too much of a problem.

Supporting Book

Supplementary repertoire is available in Get Set! Flute Pieces Book 1 which has a printed piano accompaniment and another backing track CD. Although not directly linked to the tutor, running both together will provide a really thorough work-out!

Overall these are lovely books for enthusiastic little ones and it won’t break the bank!

Fluting Stars Book 1 and Fluting Stars Book 2 by Ana Kavcic and Blaž Pucihar

Buy Book 1 at Just Flutes | Buy Book 2 at Just Flutes

Fluting Stars CoverThis is the top end of the market price wise, so what do you get for your money? A first rate composer in Blaz Puciher for a start and most of the material is original. You are also paying for very high quality books that are beautifully produced in full colour. The illustrations are sumptuous and any young player will surely love looking at them! The scope in terms of notes covered is wider although progress is made via musical complexity in Book 2,  the third octave being left for another day. Piano accompaniments to all the tunes are available as a download.

Clear and Attractive Diagrams

This book is also aimed at the younger pupil so curved head flutes take their place alongside the straight head ones. The drawings and photos are really clear, making assembling and blowing very easy to follow. Breathing and embouchure set-up are covered in detail and here the colourful illustrations really help lift this information off the page. The extensive headjoint section in this book includes the use of the Pnuemo Pro blowing device which is interesting if you haven’t seen it in action before – again there are some lovely photos. Tone quality is right at the heart of the first section of Book 1. A radical departure from the norm is the introduction of singing and playing, single, double and triple tonging, and vibrato before the use of the whole flute. Now that really is interesting! Another unique feature is the initial lack of notation. The first note learned is middle register D followed by low and middle G, A and B. This is done together with a box for naming objects starting with those letters. It is only then that ‘How do we write music?’ is broached.

Kep Leaps

The rest of the books are laid out in Key Leap sections:

Key Leap score sample Each of these introduces new notes, and contains a variety of other items such as theory, finger fitness exercises, dance forms and chamber music. These sections are also supplemented by:

  • The Fluting Star Magazine for more music theory
  • Treasure Chest of Sparkly Tones for tone development
  • Ear Detective for aural awareness,
  • Notes in a Minute and Finger Fitness for technique
  • Cherry on Top which sets a new challeng
  • Stellar Student which uses puzzles to master the theory

This is really quite comprehensive! The format of the second book is the same except that there are more notes and fewer illustrations.

These are impressive books written by committed educationalists who have a great deal of experience of the flute and a wealth of knowledge of teaching. It’s an investment purchase  but they really are quite beautiful!

All these excellent books will make any young student really happy. That also means happy teachers, not to mention parents. Have fun deciding which one to go for – I’m saving up for a complete set!

Browse all Flute Tutor Books at Just Flutes

6 Christmas Books That Your Flute Choir Should Own

Searching for Christmas music for your flute choir’s festive concert? We’ve hand-picked six great seasonal books that every flute choir should own.

1. Have Yourself A Merry Little Christmas

Ricky Lombardo’s arrangement of Have Yourself a Merry Little Christmas gives the solo to the alto flute, with three accompanying flutes providing a sumptuous backing. This is a masterstroke of arranging and really works, giving a lucky player a fantastic chance to shine and sending the audience home happy!

Have Yourself A Merry Little Christmas

 

2. Frederick Delius’s Sleigh Ride

Nancy Nourse’s transcription of Frederick Delius’s Sleigh Ride for piccolo, 4 flutes, alto, bass and sleigh bells is a chance to play less familiar music. This is an early Delius work which delivers the crisp clarity of a snowy day together with the pulse of a horse-drawn sleigh. The bells add a lovely touch!

Sleigh Ride

 

3. The Nutcracker (in 5 Minutes)

No review of Christmas flute choir music would be complete without a mention of The Nutcracker (in 5 minutes). Judy Nishimura has crammed your favourite dances from the ballet into a very short space of time – and it’s not easy! Your flute choir needs a piccolo, four flutes, alto, bass and contrabass for a successful performance (but she has also produced a version for flute and piano so no-one need lose out!).

The Nutcracker (in 5 minutes)

4. White Christmas

Irving Berlin’s White Christmas in the Wonderful Winds catalogue is written for four C flutes. This clever arrangement perfectly fills a short slot in your concert and your audience will enjoy spotting the hidden traditional carols. Includes three easy parts, with a trickier jazzy fourth part.

White Christmas

5. A Christmas Collection

Robert Rainford’s two-volume Christmas Collection (Vol 1, Vol 2) will provide you with 14 best-loved traditional carols, including Once in Royal David’s City, Away in a Manger and The Holly and the Ivy. Although scored for flutre choir with every kind of flute from piccolo to contrabass, this collection works well on four C flutes too. Teachers will be able to use this book in so many different situations – a life saver!

A Christmas Collection

 

6. Simon Desorgher: Jingle Bling

If you’re looking for something a little different why not try Simon Desorgher’s Jingle Bling. Fun to play, it’s written for instruments in C only (piccolo, 6 flutes and bass) it’s basically in C major and it features a popular Christmas tune (can you guess which one?!). There is a complexity between the parts due to the canonic nature of the writing, so although none of the parts is overly difficult, it will take some putting together. The ending is a little unorthodox, but this is a great piece to spice up your Christmas concert. Jingle Bells will never be the same again!

Jingle Bling - Simon Desorgher

 

We’ve chosen these six best-selling books from our Christmas Music section, but there is much more good music available for the festive period, and something to please everyone. Merry Christmas!

The Whole Musician: Becoming Happy, Healthy Musicians

Are you inclined to criticize yourself for the smallest things? Are you overly concerned about what others think of you and your playing? Are you fearful of getting it wrong? Are you stuck in a rut? It is very likely that we all have some emotionally charged reactions to these questions in some form or another. Their effect on our musical lives can shape our playing and alter the pure enjoyment we can attain from one simple note.

Christopher Lee: On Accuracy and Freedom

Christopher LeeWhen I first started playing in orchestras I remember it being one of the most stressful things in my life at that moment. You see, at the beginning, I (and I imagine lots of young musicians) felt I had something to prove. That I was worthy of sitting in that chair. So, I focussed on being an accurate player, and what that meant to me at the time was putting all the right notes in the right spot at the right dynamic and in tune. With that mindset, I never achieved this goal. There was something inside of me that made me want to play a phrase a certain way which in turn made it more difficult technically. Therefore, as every concert came up I’d be determined to have an accurate night. At the end of the concert I’d decide that the next night it was going to happen and so on.

Then, something changed somewhere. I forgot about my long-standing challenge and all it took was one concert where that focus wasn’t in my mind. It worked. It was an accurate concert, and also, musical! I realised then that my one-sided focus to be accurate was not going to work for me because my musical side was one to take risks and react to what others were doing in concert. Once my mind had switched to simply enjoying the music-making I found that the accuracy also became consistent.

This led to a freedom of feeling and thinking which runs through all the repertoire that I play. It takes me a long time to come to an interpretation of a piece simply because it’s always changing as I discover more and more sounds, colours and moods. At times I incorporate so-called “extended techniques” in old repertoire because it gives light to a more musical sound. These are not things I learned from school, or from reading a textbook. These are things that came from imagination, and, happy accidents in the practice room. So from there, every “mistake” I make in practicing is merely an opportunity to see if I hear something else in a phrase.

This constant search for colours in sound can be somewhat addictive! Yet, for me, it is the way to tell my story when I play for others. A natural extension of this is my belief that everyone has something to say. For some of us it could be bottled up inside and we may not even know what it is yet! I use some acting techniques in workshops to help free this creativity in others. For we are all actors the minute we step on stage to deliver our story.

Meg Griffith: On Perfection and Perception

Meg GriffithAt a crossroads in my musical life, I sat trying to decide which direction to take my career. With so many inspiring opportunities surrounding us all, one would think this would be an exciting pastime. Unfortunately, I was filled with negative energy – there was a lack of passion towards music and disappointment and sometimes disgust directed toward myself and my playing. I thought I had no idea how to get to my goals efficiently and positively so I just stared at the seemingly unattainable, building my own walls around me and giving myself permission to expend less energy towards my goals. I thought of quitting.

Then I began to consider why I chose the flute in the first place – simple enjoyment of the instrument and the music itself. This idea had become clouded during the busy years of musical schooling in which I focused on what I ought to sound like and what others thought of me. I dusted the idea off, made it the basis of every aspect of my teaching and playing, and let it guide me as I determined how to approach problem solving on the road to my goals. The difference in both my attitude and the attitudes of my students was incredible – we still worked hard, still competed, still performed, still obsessed over small mistakes, but the approach, both intellectually and emotionally, was hugely different and far more positive. We spend so much time trying to attain perfection (whatever that really is in the long run) that we forget to look at the beauty we offer in each moment.

That is all well and good you say, but easier said than done. For me, things began to come together when I stood back to watch my reactions during my practice sessions and then ask questions to better understand those reactions:

  • After intense criticism over the smallest things, how do I feel? Is this helping me get to my goal? Why am I being so critical?
  • Are my reactions helpful and detailed in ways that lead to decisions that can help me get to my goal? Or are they overly general? (That sounded bad. VS I liked the musical approach, but I lost control of the register and it became airy. What tools do I use to solve the sound aspect while keeping the musical idea?)
  • Why do my reactions tend to be negative or critical? Am I afraid of getting something wrong? What happens if I do? (Nothing – except that I find a new understanding of my mental or physical approach to playing which helps me avoid the same mistake in the future.)
  • Is my fear of getting something wrong based in shame or embarrassment within the view of others? Where does this comparison come from? Do I feel my offerings are not worth as much as others? Why should another’s offerings define my own?

Asking these types of questions, even if you find out you don’t know every answer, is the first step to understanding yourself and therefore having compassion for your challenges rather than frustration and shame. One of my favorite teaching moments after walking through questions like these is seeing the emotions on a student’s face when he or she fully realizes that not only is there nothing to be ashamed about (relief) but that they do know the answers and have every tool to lead them to success (pride).

On Where to Turn

Whole MusicianOpportunities for one-on-one coaching in topics dedicated to these challenges as well as discussions with people just like us who can provide anecdotes like the ones above make up one of our favorite aspects of being musicians: the support within our community. Expand your network and open your mind to new approaches by surrounding yourself with positive energy and supporting yourself in mind and body. Whole Musician retreats bring all these aspects of musicianship and more into our awareness with the aim of making us all happy and healthy musicians. We will be presenting workshops on these ideas and more in London from August 26-28. If anyone is curious about what goes on at Whole Musician retreats, by all means look for our registration information online at WholeMusician.net.

Trubcher Publishing

Publisher Profile: Trübcher Publishing

Roz Trübger, founder of Trübcher Publishing, is very enterprising and clearly loves the flute. She has an impressive catalogue of music to her credit with a wide spread of titles. Educational resources, obscure repertoire and ensemble music are her three main niches, and every book has either an accompanying CD or an online audio clip to help you along.

A Listers’ is a highly respected series which aims to facilitate the learning process of core repertoire. All the pieces come with a standard flute part edited by Trübger herself, a piano score, a second flute part and a CD with a 2-speed playalong. Teachers who have limited keyboard skills obviously find this format invaluable, but there is also the advantage of being able to play these pieces as flute duets with or without accompaniment. Meanwhile, the dual speed CD backing tracks help with home practice.

A-Listers features important works such as sonatas by Bach and Handel, concertos by Mozart, Vivaldi, Quantz and Gluck as well as single pieces such as the Fauré Sicilienne, all of which are vital in the building of a strong flute foundation. This collection is a good way to teach this mainstream repertoire.

Trübger has unearthed some real gems for her ‘Forgotten Music‘ series. Again, each title is fully supported by an audio resource, which although computer generated, does give you confidence that you are in the right area. Little-known composers such as Macfarren and Graeff might entice you, and there are other gems that time has forgotten. The Romance in A by the English amateur flute player James Mathews is a wonderful piece, written in 1868 in a Romantic style and beautifully straightforward to play. It’s worth the money for the front cover alone, as the photo of Mathews with his extraordinary gold flute is quite something! The highlight of the series so far however, has to be the Romance by Alfred Bruneau. Written in about 1884, he has accompanied his sumptuous melody with a flowing accompaniment. Pure French pleasure!

As you might expect, Trübger’s arrangements for flute ensemble all work extremely well. She really knows how to handle the spacing of the instruments, which is so important to the success of any transcription. Her choice of repertoire is intelligent, with a wide range of styles to choose from. You could start with the Widor Toccata for four piccolos – not an obvious choice of instrumentation perhaps, but one that is highly effective in the right hands! The famous semiquaver theme is evenly distributed between all four parts encouraging listening skills to develop both accuracy and intonation. The audio clips are again electronic and the speeds chosen are deliberately quite slow. Here, this results in quite a pretty sounding performance but acoustically the piece offers a great deal in terms of skill and stamina, not to mention entertainment!

Von Suppe’s Pique Dame Overture is another excellent arrangement. This is for 6 flutes and the addition of piccolo, alto and bass, together with optional cymbals, gives added scope for textural variety. The style is easy to access and the writing straightforward, with just the right amount of independence in the parts. Both the piccolo and bass flute are less busy than the rest which is good both technically and aurally. The G major key and familiar rhythms also help here, and although 6 parts can seem daunting at first, the overriding aim is to give confidence to developing players as they tackle more substantial works.

If you are feeling yet more adventurous try Six Sweets by Marin Rabadan for 5 flutes and alto flute. Don’t let the title here lull you into a false sense of security: this should be played at helter-skelter speed with all six instruments cascading around the opening section! The central blues is more restrained and the closing vivo has great rhythmic drive. The style is jazz, the ensemble needs to be very tight. It’s a fantastic workout!

Whatever you choose to play from this lovely and very individual publisher, satisfaction is almost certainly guaranteed!

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Exploring The 2014 ABRSM Flute Syllabus: Grades 6 and 7

By the time we reach this more advanced level, playing skills should be at the point where the choice of repertoire is based on stylistic considerations rather than technical ones. The 2014 ABRSM syllabus reflects this, with a myriad of pieces to choose from.

The good thing here is that most of the works are originals rather than arrangements. At Grade Six, List A is dominated by Baroque composers but the inclusion of a Walckiers Scherzo in the ABRSM book and a movement from a little-known concerto by Leopold Mozart further down the list means that you also have viable alternatives. The Walckiers in particular will be very popular despite its foray into E major for the lyrical trio, and the ‘bien rhythme et avec verve’ performance direction at the start gives you a flavour of its upbeat style. The Leopold Mozart Presto is similar and perhaps more tricky, but both pieces offer a refreshing change from the ‘there’s nowhere to take a breath’ dilemma. Perhaps the most interesting Baroque piece is actually in the unaccompanied section, again in the ABRSM book, with a sensitive arrangement by Trevor Wye of a Handel Allemande in C minor.

French music is well represented in the List B pieces of both grades. The wonderful Roussel Aria will have a much wider audience as it’s now in the book, and Caplet’s dreamy Reverie is available in The Flautist’s Collection Book 3, a lovely selection of music edited by Paul Edmund-Davies. These two pieces should be on everyone’s radar! For fans of Gaubert, the Sicilienne is still with us, and it is one of his most loved pieces. When bought together with the Madrigal, it represents a very good purchase.

List B opens up still further with two pieces by living artists. The American flautist and composer Gary Schocker is starting to gather a real fan base in the UK, and Spring Energy (or Heigh Ho) from Dances and Daydreams is typical of his quirky style. Here, strong rhythm, changing metre and unexpected harmonies give the almost-familiar melody a twist. Luckily the main theme keeps recurring in various guises to help with the technique, and the ending is suitably abrupt. Another contender for Best Piece of the Syllabus is And Everything is Still… by Andy Scott. Andy is really beginning to make a name for himself, and this is one gorgeous piece. Grab a copy now and enjoy the simple melody which ‘unravels alongside delicate harmonic statements, creating a calm and gentle atmosphere.

Sticking with living composers, Rob Buckland’s Charming Snakes in the ABRSM book will really appeal to those wanting to move away from the more traditional studies for the solo piece. The exotic writing contrasts a rhythmic dance-like figure with a flowing chromatic melody to produce a compelling piece that would stand up very well in a concert.

At Grade Seven, the ABRSM book may be less appropriate, as by now students often wish to purchase complete works. However, it does still have a part to play in introducing unusual repertoire at a reasonable cost. If you missed the Popp Sonatina in C last time round, here is another chance to savour its virtuosic flute writing. You need reasonable fingers for this, but everyone enjoys flashing around in an easy key! The Sonatina by the Dutch composer Jaap Geraedts is a gem – tuneful and rhythmic, with good ensemble skills essential for a successful performance. The charm of André Caplet’s Petite Valse is embodied in the rubato, where almost every bar changes speed. An excellent choice if you have already learned the Reverie at Grade Six, these two pieces together work well in a concert. The excellent With Life (also available in Russell Stokes’ book Tricky Jazz Singles) provides the best change of style for list C.

Away from the AB book there is an even broader range of genres. The pick of the Baroque choices on List A is possibly the B minor Sonata by Telemann. This is quite a dark work, and the two set fast movements have real technical challenges, especially as the writing is all in the lower registers of the flute. The other movements are not so hard, and playing the complete sonata is perfectly possible at this level.

If you prefer something sunnier, you might like to look at the Rondo from the Sonata in D major by the nineteenth century German composer Johann Wilms. This is a lively Allegro, with a spritely theme and a brief D minor interlude. Thirds and sixths abound in the duet style writing with the piano, which helps the ensemble, and the whole piece is very approachable, not to mention enjoyable!

Two works jump out from List B. The first is an absolutely delightful Nocturne by Lily Boulanger from a bargain of an album entitled Flute Music by Female Composers. Worth the money for this wonderful vignette alone, with its beguiling melody and simple accompaniment, this rather special book contains a range of material from the Baroque to contemporary works and will hold your interest for a very long time. Fujiko in Vocalise: Songs Without Words is another good piece by Andy Scott, this time in a more obvious jazz style. Its languid melody becomes ever more improvisatory without losing its melancholy and reflective feeling. Allthe pieces in this album, edited by Clare Southworth, have a song element but they are varied and well worth dipping in to.

Another alternative to the more traditional studies set for the solo list is the Polka from Dynamic Dances by Allen Vizzutti. If you have already used this book at Grade 5, you will appreciate the rhythmic drive of these pieces which evoke the character of the dance with a modern twist.

If you want to play the Kohler Study from Op 33, you might like to purchase the duet part published separately by IMC. This adds another layer of difficulty – performing the solo version will seem very easy by comparison!

These grades are important for a developing flute player and the need for variety as well as technical development has never been more acute. There is a great deal of interesting material here, which will make the task just a little easier.

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Exploring The 2014 ABRSM Flute Syllabus: Grades 4 and 5

ABRSM LogoBy the time a pupil reaches the level of the intermediate grades 4 and 5, repertoire needn’t be governed by an exam syllabus. Pieces outside of the ‘exam books’ therefore become increasingly important as a player begins to widen their musical horizons.

The ABRSM books for these two grades offer up some interesting music. At grade four, there is a lovely arrangement of a Cimarosa Piano Sonata which will need delicate tonguing to convey the con eleganza performance direction. I can also recommend trying the Honegger Romance in the same book, as this is an original and unusual piece for flute and piano with some scrunchy harmonies to become accustomed to.

Not everyone will take to it, but Allegretto by Russell Stokes (also in Easy Jazz Singles) is sure to be a winner. If you’re starting to think about some programme planning for pupils’ concerts, this selection is about as varied as it gets!

One of the best pieces on the entire syllabus can be found in the Grade 5 book. Léo Delibes’s Morceau is a wonderful vignette that will really appeal to those with a love of French Flute School music.  Written as a sight-reading test for the Paris Conservatoire, the challenge at this level is both technical and artistic. Perhaps here, the first teacher-pupil conversations about changes of sound could take place.

The Largo and Vivace by Daniel Purcell will introduce pupils to a little-known British composer, while Mike Mower’s Mango Tango will provide some jazz-based interest. The big hit of the Grade 5 book, however, is bound to be The Playful Pony from Luna’s Magic Flute by Blaž Pucihar which is a wonderfully tuneful and happy piece. I’m sure that girls in particular will love it!

The exam books alone are unlikely to keep all teachers occupied until 2017 though, and there is a wealth of lovely flute music further down the syllabus lists. It needn’t cost a fortune either, as there are good value books available which cover several grades. Here are some of my favourites to provide your students with a broader knowledge of repertoire:

List A

If you are a fan of CPE Bach, then the volume of his Six Sonatas could be for you. This book can be used for grade 4, 5 and 6, therefore represents long-term value for money.

Classical Music for Flute by Peter WastallPeter Wastall’s Classical Music for Flute had gone out of fashion over recent years, but it is a great hunting ground for simple pieces in the Classical style. The Sonata in C by James Hook is bright and sunny, and will be really useful in developing the neat articulation needed to bring out the clarity of the writing. This is a charming piece which really deserves its revival, and should be popular for Grade 5.

Another good book to invest in is the Telemann Suite in A minor which covers Grades 3-5. All the movements are lovely, and ultimately it is an ideal work to perform in its entirety with a school orchestra. At under £10 (at time of going to press), it works out just around £3 per grade!

List B

Although Latin Connections contains just one set piece (for Grade 4), this is a book that both teachers and students will absolutely love. ‘What Are You Doing the Rest of Your Life’ by Michel Legrand is probably one of the least well-known tunes on a contents page that lists all the greats of Latin music. Add in the benefits of a playalong CD and hours of pleasure can be had for not that much money!

Blaž Pucihar: Flute at PlaySome more of Blaž Pucihar’s beautiful tunes can be found in Flute At Play, which is set for grades 4 and 6. This book is beautifully presented with full colour illustrations and a good quality CD. The music isn’t a pushover, and both Flute At Play in a jaunty A major and Dreamy Flute, with its slow sustained melody, will give a Grade 4 pupil a real workout. Flute At Play consists of ten pieces altogether which form a complete story, so there is plenty of scope for performance away from the exam – if you have enough students at this level, you could have a concert with a different player for each piece!

If you are able to splash out, there are some other lovely things to explore, especially at Grade 5. If you have a really promising student, they may be ready for the Claude Arrieu Sonatine, first movement, which is difficult but well worth the effort. As the whole work is on the Diploma list as well, you might find this student able to perform the whole work at some future date! Gerard Meunier’s atmospheric Au Crepuscule (At Dusk) is a beautiful sweeping melody which will stretch musical flexibility, but once mastered will be returned to many times. All the Goran Marcusson arrangements in the album Frösöblomster (Flowers from Froso) are delightful, with Song of Summer being particularly approachable at this level.

List C

There are two study books in particular that will serve you well at several grades. There’s a lot of good material in Flute Studies Volume 1 published by Breitkopf, including some general practice notes. It starts at a basic level and, exam-wise, will take you through to grade 6. Kohler, Gariboldi et al are included, but set at grade 5 is a challenging Allegro by Pal Jardanyi. Rhythmically simple, the G minor centre modulates constantly, with the E flat major meno mosso section visiting D flat and G flat majors before returning home. Great for expanding aural awareness!

If you would prefer something a little more contemporary, try Allen Vizzutti’s Dynamic Dances. The Flamenco on the Grade 5 list is great, with strong Spanish rhythms (it brings Toreador’s Song from Carmen to mind). This is one of the easier pieces in this book, so it will readily add another dimension to technical work for more advanced players.


There is plenty here to make the exam route more interesting as well as stimulate a young flute player. Enjoy the variety on offer!