V#4Fg Fg Fg Fg Fg F F F F seeF how long you can V#4 g quick,g deep breaths; don’tg stop! g makeg this note last see how long you can quick, deep breaths; don’t stop! V#4 i i i i i i i i i i i i i makei thisi note ilast V#4 i i i i i i i i i i i i i i i i D minor4 pentatonic scale i i i i i i i i i i i i i DV minorb4 pentatonici scalei i i i i q 4 i i i i i i i i i i h Vb4 i i i i i i i i i i i h q D major##4 pentatonic scale i i i i i i i i i i i DV major4 pentatonic scalei i i i i i q # 4 i i i i i i i i i i h V #4 i i i i i i i i i i i i i h q Warm-up exercises Although this book is written for the classical Western flute, many of the styles represented belong to older traditional instruments. To hear these instruments being played, search online for the following: Kevin Crawford (Irish wooden flute); Hans Fredrik Jacobsen (Norwegian willow flute); Kudsi Erguner (Arabic ney flute); Yu Xunfa > > - >. >. - > > > (Chinese dizi flute); Theodosii Spassov (Bulgarian kaval flute); and Dr Natesan Ramani #4 i. #i. i bi i i i i =i> >i i i. i. i. (South Indian venu). 4 . V >. >. - r . .bi>. >i. - r . > > > . > . V#4 i #i i r . i r . i i =i >i . i i. i. i. 1. Guanabara Bay BREATHING PRACTICE 4 > > > In this piece you’ll need to take a big deep breath before each phrase. Remember to support the … 4 a aaaaaa. sound from the diaphragm. To increase your breathing capacity and diaphragm control, practise a Clap the bul - gar rhy - thm. series of five notes (B is a good one to start with), taking a quick, deep breath between each one 4 >a aa> aaaa> . (as if someone has just given you a fright). Drop your jaw as you breathe in. Try to make each … . noteV# 4asFg long as possible——seeFg if youFg can make theFg last note as Fglong as the first one. Clap the bul - gar rhy - thm. #4F F F F seeF how long you can V 4 g quick,g deep breaths; don’tg stop! g makeg this note last see how long you can quick, deep breaths; don’t stop! quick, deep breaths; don’t stop! make this note last #PHRASING4 iAND TONGUINGi i i ThisV pieceFi ishould soundi F smoothi i andF relaxed;i i eachiaF phrasei shouldi Fi ideallyi be played in one breath. Play# 4thisg exercisei withg your metronomei g set to g=i 108. How manyg barsi can you play in one breath? CanV you4 i managei i morei thani thei fouri writteni i here?i iWheni thisi soundsi i reallyi good, try it again, this see how long you can time tonguing the notes. The tonguing should be very gentle: ‘dah dah dah’ instead of ‘te te te’. quick, deep breaths; don’t stop! make this note last Try to make it sound almost as smooth as it does with a slur; don’t stop the air between notes. Ex. i V V V V # 4 i i i i i i i i 4 i i i i Ex.V i V 4 i i i i i i i i i i i i Walk V- ingf sinceV thef ear V- lyf morn V- ingf V 4 i i i i i i i i Brazil Walk - ingf since thef ear - lyf morn - ingf 2. Shanghai Rickshaw Ride China Ex. ii PENTATONIC SCALES C blues scale (h = i) bi i Traditional Chinese music is based on pentatonic (5-note) scales. Try playing the two pentatonic 4 bi i ii#iiii D minor pentatonic scale 4 bi i ii scales used in this piece: i Ex.V ii bi i ii#ii ii i i i i i i C bluesi scalei (h = i) D minor4 pentatonic scale i i i i i i iibi i DV minorb4 pentatonici i scalei i i i i i i i i i h q V 4i i bi i ii iibi i iibi i ii#ii Vb4 i i i i i i i i i i i i i i i i q V i i bi i ii#ii#i i =i i bi i iibi i ii#i i =i i V i i i i i i i h i i bi i ii bi i g D major pentatonic scale #i i =i i bi i ii # i i i i i i i V bi i ii#i i =i i bi i g D major4 pentatonic scale i i D minormajor# pentatonic scale i i i i q V 4 i i ii i i Sarasangi raga b##44 i i ii ii ii ii ii ii i ii ii ii ii ii ii i h q V A#CTI4iiViITYi i iIDEASii i i ii ii ii hh q 43 bi i i i bi • The blacki notes on a piano form a pentatonic scale. Try making up a tune on the pianoh just SarasangiV i ragai i i i i i i i i h. using these notes; it’s easy, even if you don’t play the piano. Hold down the sustaining pedal 3 and listen to the sound. V 4 i i bi i i i bi i i D majorMake pentatonic up your scale own pentatonic melody on your flute using the notes of one of the scales above. i i i i i i h. • # 4 i i i i i i i i i i i V 43 i i i i i i i V #4 i i i i i 28 i i i i h q V 43 i i >i. #i>. i- bi>. >i. i- >i >i > > >i . 3 i i i i i V#4 > > - r . >. >. - r . > > =i i . > i i i . V 4 #4 >i. #i>. i- . .bi. i. i- . >i >i =i> >i . >i i. i. i. 3 V 4 r . r . V 43 4 > > > 43 … 4 a>. >. aai- biaaaa>. >i. i- >i. > > > >i V #44Clap>i #i the bul> . - gar rhy> - thm.. i =i i . i. i. i. V… 44a aar . .aaaar . i. = 72, then i = 108 i. = 72 Clap the bul - gar rhy - thm. Clap the bul - gar rhy - thm. 68()43 a. a. a a a . .68aaaaaa a. a. a. a. … i. = 72, then i = 108 . .i. = 72 . 6count:3 123456,123456, say:6 I want to tra-vel to Ar - gen - ti - na. 4 > > > … 8()4 a. a. a a a . .8aaaaaa a. a. a. a. 4 a aaaaaa. count: 123456,123456, say: I want to tra-vel to Ar - gen - ti - na. … . i. = 72 Clap the bul - gar rhy - thm. V## 68 i iii i iii i iii i i i i i iii i iii i. r. single: i. = te 72 te - te te te te - te te etc. i i i i Vdouble:## 68 tei teiii- ke te tei teiii- ke te i iii i iii i iii i. r. single: te te - te te te te - te te etc. double: te te - ke te te te - ke te ##6 h. h. i. i. i. i. V 8 h. i. i. V##68 h. i. i..