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TMEA 2016-17 ALL-STATE FLUTE PRACTICE GUIDE – Dr. Lisa Garner Santa 1 TMEA ALL-STATE FLUTE/PICCOLO 2016-17 Practice Guides BOOK Famous Flute Works - An Anthology of Studies for Flute Compiled and Edited by Mills and Cole Selection 1 Anton Bernhard Fürstenau (1792-1852) - Grand Study in E Major Page(s): 6-7 Key: E Major Etude Title: E Major Tempo: Quarter Note = 110 - 120 Play from beginning to the end of m. 60, no repeats. Errata: m.7 – Fourth note is C# (later editions have corrected this). Piccolo: m.22 - Play C# one octave higher. Anton Bernhard Fürstenau was German Romantic Composer and virtuoso flutist. This etude is marked Allegrissimo which means, “in a quick, lively tempo.” This study demands proficiency in: Double Tonguing E Major, A Major, and D Major Scales and Arpeggios The Chromatic Scale Chromatic Minor Thirds
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Page 1: TMEA 2016-17 Practice Guides

TMEA2016-17ALL-STATEFLUTEPRACTICEGUIDE–Dr.LisaGarnerSanta 1

TMEA ALL-STATE FLUTE/PICCOLO 2016-17 Practice Guides BOOKFamousFluteWorks-AnAnthologyofStudiesforFluteCompiledandEditedbyMillsandColeSelection 1 Anton Bernhard Fürstenau (1792-1852) - Grand Study in E MajorPage(s):6-7Key:EMajorEtudeTitle:EMajorTempo:QuarterNote=110-120Playfrombeginningtotheendofm.60,norepeats.Errata:m.7–FourthnoteisC#(latereditionshavecorrectedthis).Piccolo:m.22-PlayC#oneoctavehigher.AntonBernhardFürstenauwasGermanRomanticComposerandvirtuosoflutist.ThisetudeismarkedAllegrissimowhichmeans,“inaquick,livelytempo.”Thisstudydemandsproficiencyin:

• DoubleTonguing• EMajor,AMajor,andDMajorScalesandArpeggios• TheChromaticScale• ChromaticMinorThirds

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DOUBLETONGUINGSTEP1Practicethefollowingexerciseoneachnoteofthetwo-octaveE-Majorscale,three-octavechromaticscale,orotherscaleofchoice.Keeptheairstreamconsistentthroughout.“T”–Tuh,“K”–Kuh(Experimentwithothersyllables,suchasduh-guhortoo-koo,todiscoverwhatworksbestforyou.)Quarternote=90–132

(imagefromMidwestClinicbyBradleyandGaryGarner,December20,2001)STEP2Practicetheetudedoublingeachnoteofthestudyutilizingthefollowingarticulations.Usethemetronometohelppromoteevenness.Practicingthiswayallowsyoutodevelopyourarticulationwhilekeepingthefingersataslowertempo.

• TT–Keepthearticulationasevenasyoucan.• KK–Thisislikepowerlifting!Slowdownthetempoifneeded.• TK–Keepthearticulationasevenasyoucan.• KT–Imaginethatyouarecallingyourcat,“herekitty-kitty-kitty,”ifyour

tonguegetstangled.• T(long)K(short)–Maketherhythmasangularaspossible,likeadouble-

dottedeighth-notefollowedbya32nd-note.• T(short)K(long)–Therhythmhereisthereverseoftheonedirectlyabove.

Keepthe“T”onthedownbeat.

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STEP3Practicetheetudeslurred.Byremovingthearticulationyouwillbeabletomoreclearlyheartheevenness,orlack-there-of,ofthefingers.Oncethefingersareeven,youarereadyforthefinalstep.STEP4Putitalltogether.UseaTKarticulationforallsuccessive16th-notes.Foranadvancedworkoutonthisetude,utilizethearticulations/rhythmsinStep2withoutdoublingeachnote.BREATHINGANDPHRASINGBreathsmaybetakenattheendofeachsectionbeforetherepeatsigns.Youmayalsodecidetoaddabreathonthebarlinebetweenmm.44-45and52-53.SPECIALFINGERINGS

• ConsiderusingtheleverkeyfortheA#/B-flatsinmm.7,32,andinthestepwisechromaticpassages.

• KeepyourrighthandlittlefingerdownonmiddleandlowEandF#.(Leavingthelittlefingerupflattenspitchanddullsthetoneonthesenotes.)

PRACTICERHYTHMSApplypracticerhythmsasindicatedbelowtomeasuresthatprovetobeparticularlydifficult.Examplesmightincludemm.7,21,and53-59.

(imagefromTheFlute/TheoryWorkoutbyGarner-Santa-Hughes)

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Selection 2Ernesto Köhler (1849-1907) – Op.33, Book II, A Minor Page(s):64Key:AMinorEtudeTitle:Etude38Tempo:EighthNote=68-80PlayfromBeginningtoend.Errata:

• Inm.3,thesharpbetweenbeats4and5pertainstotheturn.(revised7/21)• Inm.11,thelasttwonotesshouldbeslurred.(revised8/2)• Inm.18,thethirdornamentalnoteisA-natural.• Inm.19,thesharpbetweenbeats4and5shouldbeplacedbelowtheturn.

(revised7/21)• Addaslightritardatendofm.44.

Piccolo:• Inm.5,playC#oneoctavehigher(revised8/2)• Inm.10,playC-naturaloneoctavehigher.

Ernesto Köhler wasanItalianflutistandcomposerknownbestforhismethod,ProgressinFlutePlaying.TERMINOLOGYYouwilldiscovertheappropriatestyleforthisetudethroughunderstandingthedirectivesgiveninItalian.I’vetranslatedthemforyouhere.adagiopatetico–slowandheart-rendingconmoltaespressione–withmuchexpression(moltaisthefeminineformofthewordmolto)rall.(rallentando)–graduallygettingsloweratempo–returntotempopienavoce–fullvoicecomeeco–likeanecostentate–(femininepluralofstentato)–brokenorstrainedallargando–gettingslowerandslowerunpocopiumosso–alittlemoremotionstringendo–graduallygettingfasterconpassion–withpassionaccelerandoecresc.(crescendo)–gettingfasterandloudercadenza–typicallyreferstoavirtuosicpassageinsertedneartheendofaworkadlib–atliberty,rhythmicallyfreeItempo–returntothefirsttempo

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EXECUTIONOFTURNSThesideways“S”thatyouseeinmm.1,3,17,and19iscalledaturn.Theturncontainsnotesaboveandbelowtheprintednotewithwhichtheyareassociated.Theorderofthenotesdependsonthedirectionoftheprintedturn.Tracetheshapeoftheturnwithyourfingerfromrighttoleft.Ifthelinemovesupwardthenthefirstnoteoftheturnwillbethenoteabovetheprintednote,followedbytheprintednote,thenthenotebelowtheprintednote,andfinallyareturntotheprintednote.Alltheturnsinthisetudefollowthispattern.Generallyturnsconsistoffournotesthatactsomewhatlikegracenotestothenotethatfollows.Whenlearningthisetude,theeighth-notewillgetafullbeat.Theturnsinthisetudewillalwaysoccurontheupbeat.Let’slookatm.1.Playtheopeninge-naturalfor2and½beats.Playthefournotesoftheturn(f-natural,e,d#,e)like64th-notesontheupbeatofbeat3.Thesecondturninm.3(andlikewiseinm.19)isalittledifferent.Theturnhereprecedesarepeatednote,thereforeplayathree-noteturn(e,d,c#)asa32nd-notetriplet,ontheupbeatofbeat4.GRACENOTESTheexecutionofthegracenotesinthisetudecanalsobetricky.Allofthegracenotescomebeforethebeat,howeversome,inordertobestylisticallyappropriate,aremorerhythmicalinnature.Let’slookatmm.2&18.Imaginethatthedotted-quarter-note“A”consistsoftwotiedeighth-notesplusone32nd–note,followedbythegracenotes(g#,b,a)onthefollowingthree32nds.Thecountedrhythmforthefirsthalfofthemeasurewouldsoundlike“1–(2–3)–ta–te–ta–4.”Thegracenotesinmm.5&9arequickandbeforethebeat.OTHERCONSIDERATIONSRhythmicintegrityiscrucialinordertocreateaneffectiveperformanceofthisetude.Payspecialattentiontothedottedrhythms.Moreoftenthannot,thedottednotesaren’theldfullvalue.Muchoftheromanticangstinthisetudeiscreatedbyholdinglongernotevaluestheirfullduration.Anddon’tforgetabouttherests.Silenceispowerful.Usethereststocreatesuspense,aswellaspoise,inyourperformance.Iwouldliketobringyourattentiontom.30.Herewearriveintherelativemajoratanewtempo,onethatisfeltin2ratherthan6.Noticethatinm.24thereare

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directionstomovethetempo.Thenagain,inm.28,weareaskedtoacceleratethetempo.Averygentlerallentando(slowing)landsusinm.30,andinanewtempo.Isuggestdotted-quarter=48-50.Letthisflowlikeagentlewaltz.Theopeningslowertemporeturns,followingthecadenza,inm.46.Acolorfulperformanceiscreatedbyutilizingafulldynamicrangeincombinationwithvarietyinvibratoandarticulation.Ingeneral,insofterpassagesyoucanexperimentwithamorenarrowvibratoatamoderatespeed.Inthepassionatefortesections,youcanexperimentwithawiderandfastervibrato.Therearesomanypossibilitiesformusicalcreativityinthisetude.Thenotesandrhythmsmustbeintact,butfeelfreetoexploreshapesandtonecolorsbeyondwhatisprintedonthepage.Selection 3 Sigfrid Karg-Elert (1877-1933) – Op.107, no.11, F# Minor Page(s):12Key:F#MinorEtudeTitle:Etude6Tempo:DottedQuarterNote=60-72PlayfromBeginningtoend.Errata:

• Inm.10,thelastnoteshouldbeincludedintheslur.(revised7/27)• Inm.11,thirdnoteshouldbeFnatural.(revised8/2)• Inm.14,thelastnoteshouldbeincludedintheslur.• Inm.17,slurthechromaticscaleintriplets.• Inm.19,thesixthnoteofthefirstgroupingshouldbeincludedintheslur.

(revised7/27)• Inm.31,theentiremeasureisslurred.(revised7/21)• Inm.27,the7thnoteshouldbeE-natural.(revised7/21)

SigfridKarg-ElertwasaGermanpianistandcomposerwhoseworksdemonstrateanimpressionisticinfluence.IntypicalKarg-Elertfashion,themeterisobscuredinplacesbyeitherthecontourofthenotesthemselvesorbyrhythmicallydissonantnote-beaming.Karg-Elert’scompositionalstylewasalsohighlyinfluencedbyJ.S.Bach,whichisevidentinthecounterpointfoundbetweenmultiplemusicallines.ThisetudeismarkedVelocissimoemoltoleggerrowhichtranslatesto“fastandverylight.”Inadditiontodouble-tonguing,thisetuderequirestriple-tonguing.Therearetwowaystotriple-tonguebutoneofferstheadvantageofspeed.Itisbeneficialtopracticeboth.Bothdouble-tonguingandtriple-tonguingutilizetwopartsofthe

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tongue–thetipofthetongue,likesayingtheword“tail,”andthemiddleofthetongue,likesayingtheword“cat.”We’vedetailedthedouble-tonguingexerciseearlierinthepracticeguide,andundoubtedlyyourworkondouble-tonguingwilltranslatetoeaseintriple-tonguing.OnetraditionalwayoftripletonguingistousethearticulationpatternTKT|TKT.The“T”standsforthesyllable“Tuh”and“K”standsforthesyllable“Kuh.”Whileitmaybeeasiertocomprehendinitially,thispatternoftriple-tonguingwillultimatelybeslowerthanthealternative.Thealternativeissimplyamodificationofthedouble-tongue:TKT|KTK.Becausethereisnodoublestrikeofasinglesyllable,thisisthepatternofchoicewhenitcomestospeed,arequirementforthisetude.Youmayexperimentwithothersyllables,suchas“duh-guh”and“too-koo”tofindwhatiseasiestforyou.Iliketocombinesyllablesfortriple-tonguingtocreateacombinationthatmentallyandphysicallyseemstorollabiteasier:DGD|KTK(duh-guh-duh|kuh-tuh-kuh).Likethedouble-tonguingexercise,youcanincorporateyourtriple-tonguingpracticeintoyourscale-workbyfirstplayingthecompletesix-notepatternoneachnoteofascale.Thendoublethespeedsothatyouarechangingnotesforeverythreestrikesofthetongue–thisiswhatwillberequiredinplaceslikem.13oftheKarg-Elert.PREPARATION SUMMARY

ü Translate all foreign terms. ü Consider form and phrase structure and mark all breaths accordingly. ü Indicate all tempos with a metronome marking. ü Divide long flourishes into logical subunits. (For example, a group of 7 could be

subdivided into 3 + 4.) ü Mark possible note groupings where appropriate. ü Mark scale patterns as necessary. ü Mark breaks in typical scale patterns as necessary. ü Clarify ornamentation such as turns. ü Learn notes, rhythms, and articulations slowly and carefully, catching all

accidentals. ü Bracket measures which may present greater technical challenges and practice

them more frequently. ü Discover and mark “foundation” tempos for technical passages. ü Apply practice rhythms where appropriate. ü Strive for rhythmic precision with variations in tempo occurring only in

conjunction with convincing musical ideas. ü Match articulation and vibrato to the style and character of each piece or passage. ü Implement the general rule regarding the use of the thumb b-flat and lever keys. ü Bring out all dynamic markings while taking care to consider pitch. ü Use standard alternate fingerings to aid in keeping pitch down in 3rd octave and

on middle register d-flat. ü Experiment with your own musical ideas.

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LISA GARNER SANTA

Lisa Garner Santa’s versatile programming ranges from the elegant Baroque music of Bach to the jazz-inspired writings of Mike Mower. Her passion for contemporary flute repertoire was sparked over a decade ago by the early flute works of Lowell Liebermann, which was the topic of her dissertation. Since then, she has supported the effort to expand and promote new music by performing and commissioning works from young as well as established composers including Warner Hutchison, Matthew Santa, Mike Mower, Joel Puckett, Derek Bermel and Peter Fischer. As a pedagogue, Lisa Garner Santa presents masterclasses throughout the United States and abroad. International exchanges include masterclasses at the Royal College of Music in London, England and Victoria University in Wellington, New Zealand, and most recently at Peking University in Beijing, China. Presentations and performances at various regional and national conventions include invitations from the Texas Music Educators Association, the Texas Music Teachers Association, the National Association of Wind and Percussion Instructors, and the College Music Society. Her research, pedagogical articles and interviews are published in The Flutist Quarterly, The Flute View, Flute Talk, and The Instrumentalist. In recognition of her creative teaching, she was awarded the Texas Tech Big 12 Fellowship, the Texas Tech Alumni Association New Faculty Award, and the President's Excellence in Teaching award. She is also an Executive Council member of Texas Tech University’s prestigious Teaching Academy and a graduate of TTU's Institute for Inclusive Excellence.

Lisa Garner Santa currently serves as Artist-Performer and Professor of Flute at Texas Tech University where she enjoys a diverse career as teacher, recitalist, soloist, and chamber musician. "the kind of tone I prefer - rich, colorful, perfectly in control, and always in tune. Her phrasing is all well-shaped and thoughtful...a truly remarkable artist with dazzling musical ability." - American Record Guide

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As an active member of the National Flute Association, Dr. Garner Santa has been a featured performer at the numerous conventions. She has served as adjudicator and/or coordinator for many NFA events and competitions including the High School Soloist Competition, the NFA Newly Published Music Competition, the NFA Professional Flute Choir Competition, as the General Competitions Coordinator, and as NFA Convention Associate Program Chair for the 2002 convention. She served the NFA as Program Chair for the 2011 convention held in Charlotte, NC followed by two years on the NFA Executive Committee. With co-authors Matthew Santa and Thomas Hughes, Lisa Garner Santa developed the Flute/Theory Workout, a method that efficiently introduces full-range scalar and chordal flute technique while introducing music theory fundamentals at the same time. The Workout, which comes with an entertaining accompaniment CD, is available through Carolyn Nussbaum Music Co., and Flute World. Dr. Garner Santa offers a full fundamentals flute course, created in conjunction with MusicProfessor.com, on Udemy.com. Lisa Garner Santa is a Wm. S. Haynes Ambassador/Clinician. www.lisagarnersanta.com http://wmshaynes.com/ambassador-clinicians/dr-lisa-garner-santa https://www.youtube.com/results?search_query=lisa+garner+santa+-+topic https://www.facebook.com/Lisa-Garner-Santa-100292076700687/?fref=ts http://www.depts.ttu.edu/music CONTACT: [email protected]


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