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Citation preview

WINDY HILL MIDDLE SCHOOL

WOLF PACK BANDS

WARMUP BOOK FLUTE Mr. Michael Uhrich Director of Bands 3575 Hancock Rd Clermont, FL 34711-7146 (352) 394-2123

Table of Contents Scales Major Chromatic Whole Tone All-State Requirements Long Tones & Intervals Contest Band Warm-Ups Tuning Intervals 1-2-3 Concert F Descending Harmony Training (1&2) On Field Warm-Up Long Tones Dynamic Exercises Warm-Up & Flexibility Warm-Up 1A-2C Flexibilities & Riffs Technical Exercises 1-8 Intervals in B Flat SLHS Warm-Up Multiple Tonguing Exercises Chorales Chorale 1-4 All Through the Night Pavane Chester Guiding Hand 0 Head, Bruised and Wounded O'er the Grand River Warm-up Chorale America Air German National Anthem Morning Star Three Warm-Up Chorales for Band References Circle of 4ths & 5ths Sight Reading Articulation Patterns Articulation Drill Fingering Chart

pg. 5-6 Pg. 7 Pg. 8 Pg. 8 Pg. 9 Pg. 9 pg. 10-12 PB. 13

Scales

Scales

o

Concert E

Concert D Concert A

-

Concert G

Chromatic Scale

The journey toward the goal is much more exciting than arriving at the destination. - Anonymous

Whole Tone Scale

All-State Chromatic Requirements

An: Tolmach

Long Tones & Intervals

Contest Band Wann-Ups A

u

I

,I

h

I* J

Long Tones/

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I

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4

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Dallas C. Burke

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I

B V

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I h n u

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7 Y A

, (7--

ID. h l

m

I I

I I

Power Cho*

-

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m

(3

a

I I

I

m

I I

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I

\

I I

F

I I

I

8

repeat 3x- p,mf,ff

Tuning Interval

Interval Tuning 2

Interval Tuning 3

The pathway to success is not always straight and smooth. - Joseph Alsobrook -

7

Concert F Descending

Harmony 'lrainlng

Harmony Training

On Field Warm-Up (Blue Devil)

Tomoki Ubata

Tomoki Ubata

Arr. Danny Orrantia

Long Tones

Long Tone 1A

Long Tone 1B

Excellence is not a point of ani:val, but rather a byproduct of the pilgrimage. -Dr. Tim Lautzenheiser

/o

Long Tone 1C

Long Tone 2 Intervals of a minor 2nd

Intervals of a Major 2nd

d o

Intervals of a minor 3rd

Long Tone 2B

Long Tones/Mouthpieces

Part of the reward of doing something is losing yourself in the dance. - Plil Jacltson

Flute

Dynamic Exercises

Arr. Tolmach

Warm-Up & Flexibility

Warm-Up 1A

Warrn-Up 1B

We are all bust.. .we all have lives.. .but in a successful organizations, everyone makes sacrifices. - Unknown

[s-

Warm-Up 1C

Warm-Up 1D

Warm-Up 2A

Warm-Up 2B

Warm-Up 2C

A goal without a deadline is just a wish. - Jim Irish

Flexibilities and Riffs

Technical Exercise # 1

8

!5

.-.n

43

57

Concert Eb

Concert Ab

Concert Gb

Concert E

Concert D

Concert G

78

A

ConcertF

m

e

m

m

Technical Exercise #2

Techincal Exercise #3

Technical Exercise #4

Technical Exercise #5

Technical Exercise #6

Technical Exercise 7

Technical Exercise 8

Intervals B Flat

S L H S WARM-UPS

S L H S WARM-UPS

Flute

Multiple Tonguing Exercises

[Composer]

Chorales

Chorale 1

Chorale 2

Chorale 3

Chorale 4 n

Y

A

fm

I

O

I V.

h l

LJ

I* \J

-

I C,

I P

I

I

I I

I

. I

n

Quincy Hilliard a

I

I I

I

I I

a I

I

1

All through the Night

Pavane

An expanded mind never goes back to its original size. - Anonymous

Chester

Guiding Hand

Balent

0 Head, Bruised and Wounded

O'er the Grand River

Warm-up Chorale

Claude Gervaise (fl. 1540-1560)

Air

America

Gennan National Anthem

Franz Joseph Haydn

Morning Star Paul Lavender

Flute 1

commissioned by the Ball State University chapter of Phi M u Alpha to honor Dr. Joseph R. Scagnoli

Three Warm-up Chorales for Band on reharmonized melodies from Percy Aldridge Grainger

I. Intonation: Harvest Hymn

Ryan Fraley (ASCAP)

Slowly (J = so) A

I

4

-

II. Balance: Horkstow Grange slowly (1= 60)

Q 2005 Ryan Fraley

All rlghts resewed www.ryanholey.com

-

*

C

Three Warm-up Chorales Flute 1 - Page 2

Ill. Expression: Irish Tune Expressively (J = so)

Flute 2

commissioned by the Ball State University chapter of Phi M u Alpha to honor Dr. Joseph R. Scagnoli

Three Warm-up Chorales for Band on reharmonized melodies from Percy Aldridge Grainger

I. Intonation: Harvest Hymn Slowly (J = so)

II. Balance: Horkstow Grange slowly (J = 60)

14

15

Q 2005 Ryan Fraley All rlghls reserved www.ryanhaley.com

Ryan Fraley (ASCAP)

Three Worm-up Chorales Flute 2 - Page 2

Ill. Expression: Irish Tune Expressively (J = 60) n

Y

I

I V .

II

I n

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1A

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I

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w !

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References

Circle of 4ths & 5ths

lvl a io r I(e\rs -

C

F [Iflat)

G [Isharp)

I

FJ

Bb (2flats)

.'q

D (2 sharps)

/

1'

,

1's

Eb flats)#

:

lidinor Keys

4

g flat -

A (3 sharps)

I

Ab (4 flats)

".!

b flat..

k J ' -,e flat I

Db (5 flats] C#(7sharps)

I

F#(6sharps) Gb '(6flats)

Cb (7 flats)

Sight Reading Below are strategies you need to lalonl about sight reading ~iiusic.First tlkilg you need to lciiov\, is that the music that urill be placed in front of you may be a11y type oflll~lsic.TVhet11e1-it is a n ~ a r c lfanfare, ~, overture, or prelude you lilost likely will have never seen this.

1. Enter tlie room q ~ ~ i e tand l y orderly. The judge's first inlpression is how you enter the room. 2. Once you aIe settled into your seat, you vilill place your music ~mdemeathyour chak. Sight reading niusic will then be distributed. 3. Do not remo17ethe music until you are insb-ucted by the adjudicator. 4. You will have 3 m i n ~ ~ t to e s discuss and study the march. All questions about rlqrthrn, keys, or anything will happen at t h s time. a. The first thing you look at is the KEY SIGNATURE! b. Second is TIME SIGNATURE c. Afrer that you look for repeat s i p s , kej7 signature changes, time signakre changes, DS a1 Coda's, Coda signs, etc. d. As a group we can count aloud, sizzle, and tap feet. e. 'T70UMAY NOT PLAY INSTRUMENT

5 . You will then be given a one minute umning until the down beat. 6. You will be given 5 minutes to discuss the Overture and then repeat all steps in #I 7. When done you will place music back in folder and wait patiently for directions.

Articulation Patterns

Flute

Articulation Drill

Eddie Green

?ra particular nc3te, press the colored keys or levers in the drawing above the note. T'he low ( # keys zare not fiound onI the piccmlo.