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WOLF PACK BANDS
WINDY HILL MIDDLE SCHOOL
Mr. Michael UhrichDirector of Bands
3575 Hancock RdClermont, FL 34711-7146
(352) 394-2123
WARMUP BOOKFLUTE
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
Concert E Concert D Concert G
o Concert A -
Chromatic Scale
The journey toward the goal is much more exciting than arriving at the destination. - Anonymous
Whole Tone Scale An: Tolmach
All-State Chromatic Requirements
Long Tones & Intervals
Contest Band Wann-Ups Dallas C. Burke
A Long Tones u I I, - ------- / I I .
h I* n I I I
J V I
B V
4 Y" tv-I I I I I
I I I I K> I h n C >
eJ \ u / 0
7 , (7- m m .f. m a (3 \ Y I D . - I I I I I m I I F
A h l I I I I I I I I I I I I
/ \ Power Cho* 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 Tomoki Ubata
Harmony Training Tomoki Ubata
On Field Warm-Up (Blue Devil) 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.
/o -Dr. Tim Lautzenheiser
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 Concert Eb
!5 Concert Ab
.-.n Concert Gb
43 Concert E
57 Concert D
Concert G
78 ConcertF A 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
SLHS WARM-UPS
SLHS WARM-UPS
Flute Multiple Tonguing Exercises [Composer]
Chorales
Chorale 1
Chorale 2
Chorale 3
Chorale 4 Quincy Hilliard n I O - . a a n Y I V . I C, I P I I I I A h l I* I I I fm LJ \ J I I I I I 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. 1540-1 560)
Air
America
Gennan National Anthem Franz Joseph Haydn
Morning Star Paul Lavender
Flute 1 commissioned by the Ball State University chapter of Phi Mu 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 - - * C
II. Balance: Horkstow Grange slowly (1 = 60)
Q 2005 Ryan Fraley All rlghts resewed www.ryanholey.com
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 Ryan Fraley Slowly (J = so) (ASCAP)
II. Balance: Horkstow Grange slowly (J = 60)
14 15 Q 2005 Ryan Fraley
All rlghls reserved www.ryanhaley.com
Three Worm-up Chorales Flute 2 - Page 2
Ill. Expression: Irish Tune Expressively (J = 60)
n I I n I - F - - \ Y I V . II I \ I h~ I \ r~ I I Y h n
I I 1F w I # I - 1 A I I ! / + I A I I I I
References
Circle of 4ths & 5ths
lvl a i o r I( e\rs - F [I flat) C G [I sharp)
I
FJ Bb (2 flats) / D (2 sharps)
. 1'
'q 1 ' s Eb , flats)# : lidinor Keys g flat - A (3 sharps)
I 4 Ab (4 flats) b flat..
".! k J '-, e flat I I
Db (5 flats] Cb (7 flats) C#(7sharps) F#(6sharps) Gb '(6 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~arc l~ , fanfare, overture, or prelude you lilost likely will have never seen this.
1 . Enter tlie room q~~ie t ly and 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 ~mdemeath your chak. Sight reading niusic will then be distributed.
3. Do not remo17e the music until you are insb-ucted by the adjudicator. 4. You will have 3 min~~tes to 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 ips , 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. 'T70U MAY 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
?r a part icular nc 3te, press the colored keys or levers in the drawing 'he low ( above the note. T mlo. # keys z are not fi ound on I the picc
Warm up Book Flute.pdfWarm Up Flute.pdf