Shapes on the note D on TIN whistLe & wooDen FLute

THESE RUDIMENTARY EXERCISES WILL INCREASE THE FLUIDITY OF YOUR FLUTE AND/OR TIN WHISTLE PLAYING. THEY WILL IMPROVE (1) FINGER-DEXTERITY (2) RHYHMIC STEADINESS AND SENCE OF PULSE/TIME (3) TONE QUALITY (4) ABILTY TO PICK APPROPRIATE BREATHING PLACES AND TO SNATCH BREATHS QUICKLY WITHOUT LOOSING THE TIME (5) ABILITY TO SOLO OVER A CHORD SEQUENCE (6) LEARN MELODIES BY EAR QUICKER. learn all these shapes starting on notes other than just D, namely: F, C, G, D, A, E, and F©. however, D is the only scale that can be played over 2 octaves due to the restriection in the possible note-range of most flutes and whistkes. but You are able to do all the others over the full range. All shapes should begin with the note in question, then assend to the highest of its three arpeggio notes, decend to the lowest of its three arpeggio (If this is not the tonic then you will need to assend back to the tonic. E.g. G major-pentatonic goes from low G>up to highest D>down to low D>back up to low G. e.g. B major scale goes from low B>up to highest D©>down to low D©>back up to low B e.g. B aolian mode goes from low B>up to highest Dª>down to low Dª>back up to low B eg. A major 7 broken chord goes from low A>up to highest C©>down to low E>back up to low A eg. E dorian mode goes from low E>up to highest B>back down to low E

SCALES/MODES On the note D

D MAJOR SCALE ( BRIGHT SOUND - MAJOR 7TH, MAJOR 3RD, MAJOR 6TH )                                             7/8 Rhythm grouped 3,2,2 7/8 Rhythm grouped 2,2,3 

D MIXOLYDIAN MODE ( SLIGHTLY LESS BRIGHT SOUNDING THAN MAJOR - FLAT 7TH, MAJOR 3RD, MAJOR 6TH) 6                                             Rhythm as in previous example 

D DORIAN MODE ( DARKER, DARK AT BOTTOM BUT BRIGHT AT TOP - FLAT 7TH, MINOR 3RD, MAJOR 6TH ) 11                                             Rhythm as in previous example 

D AOLIAN MODE A.K.A 'NATURAL MINOR' ( EVEN DARKER - FLAT 7TH, MINOR 3RD, MINOR 6TH ) 16                                             Rhythm as in previous example  USEFUL PATTERNS FOR THE SCALES/MODES On the note D

D MAJOR SCALE ( IN THIRDS ) 21 polka rhythm                        etc. etc.                  D MAJOR SCALE ( IN RUNNING THIRDS ) 30 jig rhythm                          etc. etc.                      Hamish napier © 2 BROKEN CHORDS On the note D

D MAJOR ARPEGGIO D MINOR ARPEGGIO 38 Jig Rhythm   Jig Rhythm                                        

D MAJOR-7 BROKEN CHORD, D^7 D-MINOR 7 BROKEN CHORD, DM7 44 Reel Rhythm    Reel Rhythm                                          

D 7 BROKEN CHORD, D7 50 Reel Rhythm                        

PENTATONICS On the note D D MAJOR-PENTATONIC SCALE 53                                  5/8 Rhythm grouped 2,3 5/8 Rhythm grouped 3,2

D ¨3-PENTATONIC SCALE 58                               

D MINOR-PENTATONIC SCALE 63                               

USEFUL PATTERNS FOR THE PENTATONICS On the note D

D MAJOR-PENTATONIC ( IN THIRDS-ISH ) 68 jig rhythm                                                  

D MINOR SCALE ( IN RUNNING THIRDS-ISH ) 75 slip jig rhythm                    etc. etc.                    Hamish napier ©