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Table of Contents:
Written by flautist Paul Edmund-Davies 'for all flautists... eventually!' this book covers four key areas of study: Sonority, Fingers, Articulation, and Intervals. It tackles these issues in a logical, musical, and interesting way, and can be used to 'tone' everything up or as part of a dedicated regime. Musicians who follow this four-week course from start to finish will notice a very positive improvement in their overall ability, agility, accuracy, security and control. From Paul Edmund-Davies: 'This book came about as a result of a limited conviction of, and at certain times despair in, my own technique ‘system’. Having been impressed on numerous occasions with the seemingly flawless and almost irritatingly fluent control of others, I had over a long period of time wondered why I appeared to struggle with what ultimately were some very basic issues (yes, being a musician is fuelled by a sinister cocktail of paranoia and self doubt!). Of course there are numerous books available covering all aspects of playing, but there appear to be few available that highlight key elements in a compact, logical, compelling and musically stimulating way. When I was studying, it seemed to be that one week I was concentrating on articulation, the next week scales, the following week something else and so on, which in many ways is what it should be like, in order to embrace all of the complexities of learning an instrument.' |
The daily exercises cover four areas: sonority, fingers, articulation and intervals. I felt compelled to write about my experience with these exercises because it is a lesson in humility. With several decades of professional playing under my belt, I took a look at some of the pages and thought “how simplistic, I don’t need that stuff”. But playing them, I realized that they were quite challenging. So I got to work. And they sound nice! My family particularly likes to hear me practice Articulaton no. 7.
A number of exercises I find useful for piccolo practice. Intervals no. 2 is not only good for intervals, but makes a great intonation study if played with a drone from a tuner or computer. (How I wish I had a live tambura player to assist me :-)). Articulation no 6, with its combination of repeated and moving notes, is especially good for controlling the sometimes tricky middle register of the piccolo.
The section on fingers I find very practical. He points out that scales are all well and good, but they don’t really train the fingers to lift and close with swift independence. The exercises, some of which are based on Taffanel & Gaubert, reinforce this idea. Because its familiarity makes for easy memorization, I am a great adapter of T&G myself, and am always happy to learn other approaches.
- Helen Bledsoe
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| Catalog: | 25084300 |
| Publisher: | Carolyn Nussbaum |
| Composer: | Edmund-Davies, Paul |
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| Voicing: | Flute Method |
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| Pages: |
C000031413030026