Arpeggios

[jim stone]

I'm practicing arpeggios from the Bill Hart book, 'Better,
Stronger, Faster.' This consists of exercises for fife,
however most of them go well enough on the flute.
Tried this awhile ago and was bored witless, however
now I'm actually enjoying it, at least enough not to
stop. My impression is that this sort of methodical
approach to fingering actually improves dexterity.
One does all sorts of intricate patterns repeatedly.
(Analogous to isolating particular muscles when lifting
weights.)

I've wondered, reading accounts from people who studied
classical flute in college (J Peeples, for instance, on his site),
what they actually did. I suppose these sort of exercises
are a good part of the program.

Anyhow, anybody else up to this? What do you think?

[MikeC]

I think this is also an aid to learning tunes. Helps me understand why one note fits so well with another. It helps me know what notes to substitute and still fit in. Plus, it's the only way to sorta play chords on the flute.

Good stuff I should probably practice more...

[jim stone]

Yes, I suppose it gets one deep into the structure of tunes.
Lots of tunes are made of arpeggios, principally.

[peeplj]

I played lots and lots of scales. Major and natural, melodic, and harmonic minor, up and down the flute, in every key, from the lowest scale tone on the flute to the highest, both scalewise and in thirds, every day at the start of practice.

Didn't concentrate on apreggios too much, as the scales in thirds covers this base pretty well as far as getting the muscles going.

Etudes...many, many etudes. Did books of them. Now a good many of the etudes for flute are build around arpeggios, so I think this is where the kind of exercises you are thinking of really came into play.

I'm probably not your best choice for information, though, as I left after a couple of years and wound up getting a degree in electronics, later.

If Dana is still around she could probably give you better info.

--James

[Hoovorff]

In college, as a flute major, my teacher had me play major and minor scales in all the keys. These were done as peeplj states, from the lowest to highest pitch. My teacher DID have me do many arpeggios: those based on the tonic triad (the I/one chord), the dominant (V), the major seventh, the diminished 7th, etc. in every key. This took you over every possible arpeggiated pattern. He also had me practice five note patterns that would involve overtones or harmonics in the upper register. I found it interesting that Jean-Michel Veillon recommends practicing harmonic scale patterns as a way of strengthening the embouchure.

And, of course, long tone exercises that focused on gradually increasing the distance between notes ( for example, B-A-B-flat, B-flat-A-flat-A. Expanded to the next note: B-A-flat-B-flat, B-flat-G-A, etc.) These were a part of every lesson and warm-up.

I certainly don't practice that way now, except on occasion! On my Irish flute, I often launch into tunes. Though, I just bought June McCormack's new book, and she has some good roll, tap, cut, crann exercises that I've been trying.

Just my experience, Jeanie

[chas]

Etudes...many, many etudes. Did books of them. Now a good many of the etudes for flute are build around arpeggios, so I think this is where the kind of exercises you are thinking of really came into play.

There are a lot of jigs and reels that are built around arpeggios, too. It's a lot more fun than playing the straight thing for no reason.

[Dana]

I would agree that playing exercises will increase one's dexterity. Scales are definitely stressed for college flute majors. We played scales in all the keys, major and 3 different minors, using various articulations. We also worked on chromatic scales. There are flute exercise/warm up books that incorporate scale-like passages, along with thirds, fourths, fifths and sixths, and arpeggios. I like the Taffanel/ Gaubert Daily Studies best, although the book is pretty expensive. The Macquarre Daily Exercises for flute are much more reasonable in price.

Playing the exercises cleanly is more important than speed. Once you have all the finger motions perfectly clean, you can begin to pick up the speed gradually. Don't forget to also focus on maintaining a clear, even tone.

I also like Chas's approach of playing jigs and reels that are built around arpeggios. Just be careful to focus on the technical aspects and play cleanly. An old prof of mine used to tell us to strive to play our "exercises like pieces, and our pieces like exercises". What I believe he meant is to aim for both musicality and technical facility, no matter what you're playing.

Dana

[jim stone]

Thanks. Certainly I've noticed that people who have studied
flute, especially in college, have technical chops I envy.
But I suppose this isn't something magical--do the exercises,
get the chops. As I'm not about to play in every key, a number
of those exercises are probably wasted on me, but
the Hart book has a number in D, G, C, and minor keys.

I want (need) more agility and precision. I definitely take
apart tunes and practice slowly difficult passages.
I suspect these exercises will help, too.

[Coffee]

That book you refrenced, I can't find it at Amazon. Where can I acquire a copy of it? (to add to my load-bearing wall of books...)

[Chiffed]

Just a note on studies books:

I've put away my flute books in favour of oboe studies. The lower range seems to suit simple-system flute better than the nosebleed stuff.

[jim stone]

That book you refrenced, I can't find it at Amazon. Where can I acquire a copy of it? (to add to my load-bearing wall of books...)

I don't know. I don't know if it's for sale. I recall I sent
off to somebody a few years ago and got it in the
mail. Bill Hart, Better, Stronger, Faster, exercises for Fire,
but no publisher or copyright. Sorry!

Maybe an internet search?

[talasiga]

Yes, I suppose it gets one deep into the structure of tunes.
Lots of tunes are made of arpeggios, principally.

I totally agree with your "deep into" comment. I tried to raise discussion on this some years ago here but to no avail.

I like to alternate my practice with sessions of melodic/song repertoire and their abstraction and free form explorations
and "techno' sessions focussing purely on posture, tone, graced scales and arpeggios (triadic and power chord) and rhythm.

I am a fiarly emotional type and the rigour of the latter keeps me balanced. It is amazing how the techno practice rubs off and shines through spontaneously in performance/free play.

[Hoovorff]

You can get the Maquarre book and the Taffanel that Dana mentions from www.fluteworld.com

Jeanie

[BillG]

For the fife drill book, Better, Stronger, Faster, go here:

http://www.fifeanddrum.com/store/index.html

It is good and fun as well.

BillG