Neie Yewusvsiu. RUBANK EDUCATIONAL LIBRARY No. 95 H. VOXMAN AND AN OUTLINED COURSE OF STUDY DESIGNED TO FOLLOW UP ANY OF THE VARIOUS ELEMENTARY AND INTERMEDIATE METHODS _THE RUBANK ADVANCED METHOD for Flute is published in wo volumes, the course of study being divided in the following manner: Vou.) {Keys of CF G, Bb, and, D Mejor. "(Keys of A, D, E, G, and B Minor. Keys of Eb, A, Ab, E, Db, and B Major. Vol. it } Keys of C, FH, F, and CB Minor. PREFACE THIS METHOD is designed to follow any of the v Elementary ‘and Inter- mediate instruction series, or Elementary instruction series comprising two or more volumes, depending upon the previous development of the student. The authors have found it necessary in their teaching experience to draw from many sources in order to provide a progressive course of study. The present publication assem- bles in two volumes, the material essential to a well-rounded musical development. ‘THE OUTLINES, one of which is included in each of the respective volumes, tend to afford an objective picture of the student's progress. They will facilitate the ranking of member «@ large ensemble or they may serve as a basis for awards of merit. In addition, a one-sided development along strictly technical or strictly ‘melodic’ lines is avoided. The use of these outlines, however, is not imperative ‘and they may be discarded at the discretion of the teacher. A Usman — Wr. GevesOUTLINE oF RUBANK ADVANCED METHOD FOR FLUTE, Vol. BY H. Voxman and Wm. Gower NIT SCALES MELooic | aRticu- | _ FINGER i and INTERPRE- LATION EXERCISES ORNAMENTS: ‘aamanin ARPEGGIOS (Key) |__ TATION 1[s5@® 6 @cle © |#7# Ol” © 60 © 7 @ { 5 @ 6 © © 20 @ 4a @®|57 © 60 © 67 @ ws @ 6 @® ¢ u_ @ | 47 ©[7 © 60 @ 67 ® 216 ® 6 @® 6 22, @© 48 @ [57 © 60 @ 67 @ i Ts_o a 23 © Oly” © ©]0® 67 © 6 [6 @ 7@ «| 2 © | #6 O17 ® 60 @ a7 ®@ 7 ® ® a 2 © 2 @ | 57 © 60 @ 6s @ ul? @ © a 24 © 4 @ | 7 © a @®® 68 ® 9 [7 @ 8 @ F 25 @ 49 @) | 57 @ 61 @) 68 @ ij: © ° © F [3 @ | «0 @©|7@® ao ® 6 ® “u [8 ° @ F EEO) 30 aw) | 7 @® ot ® 68 ® ils ® ° ® Fl» © |» @|[7 © @ ® 6 ® ij[o @ a 28 @ 30 @ | 7 & 62 @ 6 © “a fo @ a 28 @) a @ | 57 @ 62 @) 69 @ ijeenoeo ales © |s @|7 © a @ eo @ [0 @® 1 © ¢/[s @ | [7 © © [2@® 6 @ ,[o@® to ¢{[a @ [a ®©[7 © 2@ oo @® 11 [10 @® i @ G 32 @ 52 @ | 57 @ 62 @ 28 @® [69 ® i9 | @ @ G aa @ [| 2 @[57 © 68 @ @ 7” @ {[R@ © 3 @ 52 @ | 57 @ ee 7 @ ule @ @ e 36 @) 3 @|7 @@ |a@ 70 @ ale @ @ @ e 36 @ 33 @ | 57 © 3 @ 70 @ 2 [8 @u © Bw | a © | @l|7 © B® EO) a] @ 4 © B | 37 @ 33 @ | 37 @ 8 @ 7 @® a Be 4 @® B | 38 @ a @l7 ee @ |He 7A @® a [a @ @ Bl] 38 @ 54 @ | 57 © 64 @@ na © ar | @ ¢ |” © |@ @|7@ 5 @ n_@® 2 [ss @ @ & 40 @ 4 @ [57 @ 65 @ a @® 2 [sb @ 8 © e|o @ | @[7 © 6 @ a_® i | @ 7 @ p{|# @ [| s @[7 © 5 _@) n_© a [6 @v @ pila @ | ely @ 6 @ 2 ® | 16 @ 17 @ D 2 @ 56 @ | 57 @ 65 @ 2 © %_ | 17 @ D 42 @ 56. 57 @ 65 © 2 @ 34 | 17 @ bh 43 56 @ | 57 @ 68 2 @ 8 || 18 @ @ b 44 @ 66 @ | 37 @ 6 @® 2_® 3 [8 @ @®@ @@® b 4 @ 56 @ | 57 &@ 66 @ tO} NUMERALS designate page number. ENCIRCLED NUMERALS designate exercise number. COMPLETED EXERCISES may be indicated by crossing out the rings, thuspep —| te t + z | - T ca WOW “ung xeem |ppo#D oumoubig ayues0g f0V01 "FoS “4d “MUL “POM Oh] “wow “URS PRACTICE AND GRADE REPORT 2390 ouon SuePMS YalSawas GNODaS | YalLSawas isuldScales and Arpeggios © Major [ 5 simile Smile simile Copyright MCMXL by Rubank,InéxChica gol International Copyright Secure: 802-72-PL. re eS ts RMR SEM RE- Various articulations may be used in the chromatic,the interval, and the arpeggio exercises at the option of the instructor. @ @ Exercise in Thirds Common Chord Dominant 7th Chord A Minor 1 The sign A indicates a half step 45 } Harmonic 9 Melodic il for Af (Bh) in all the chromatic sccles.Hee eee aE ' 13 Gf i 2 z Common Chord Diminished 7th 15 F Major® 1) The student wil nd it advantageous to practice the lt seat key fingering for the Bb's. - ceases 902-72 Er TNE PEE SS ETS ERATCommon Chord 22 Dominant 7th 23 4S | we Natura 24 Melodie simite Thirdsfl Common Chord Diminished 7th G Major xife phe ot. : Pope te tea = i cs = ——t Common Chord Dominant 7th 96 Eset tpelae iaaPlea12 E Minor | Natural Harmonic 5 melodic Thirds: hel ; \ Common Chord Diminished 7thBb Major a — simile | | 43 I IThiras Common Chord 49 Dominant 7th 50 G Minor Neterat Harmonic 51 @ 1 Melodicaexerenet Peter ee, paz et es ttpe et e o | Thirds Common Chord z 556 Diminished 7th 56 aD Major —— simile ete ete eH ee EEE 58 = * simite eae Ptenay & tfeee te —— senileThirds 61 ‘Common Chord Dominant 7th 63 B Minor Natural Harmonic MelodicThirds Common Chord Diminished 7th| | 19 Studies in Melodic Interpretation For One or Two Part Playing The following studies are designed to aid in the development of the students interpretative abil- ity. Careful attention to the marks of expression is essential to effective use of the material, Pencil the technically difficult passages and devote extra time to their mastery, In rhythmic music in the more ropid tempi (marches, dances,ete.) tones that are equal divisions of the beat are played somewhat detached (staccato). ‘Tones that equal a beat or are multiples of beat are held full value. Tones followed by rests are usually held full value. This point should be @- specially observed in slow music. The tenuto sign (—) indicates the-note Is to be custained full value. HOHMANN Allegro20 Allegretto KUMMER | %a Allegretto WIEDEMANN pant f feet D.0.al Fine PE ee EST RE22 moZART Allegro | lt Fe 7 set mf spirito23 T. | Tempo di bolero (moderato) TuLouPopp = Allegro risoluto FAllegro DEVIENNE. wegue 802-72 2S een sone tees pneeereeeea —— KUMMER Allegretto an Spanier men ese seea28 DEVIENNE. Andonte. : f sa (1) See Ex. 7, page 61. Allegretto brillante DEVIENNE Ree ee te tp ieee art —_— sparging Ett toneat action’29 802-72 spree ESR eT et eres a i]PLEYEL | he ee ED ) ‘Tempo di Menuetto eneMenuetto D.0.al >) HOHMANN Allegretto PE SE MES ETE,KUMMER Aliegretto | 0272 |202-72 FODOR Allegretto35 KALLIWODA326 Allegro CAMPAGNOLI aT, zs 802-72a7 \ Allegretto BOUSQUET o + Se a: res e é } 902-72- PL. peepee es fem egret aresntme aaSPOHR Tempo di Polacca og beet 5 Reader oH a eee To nest steain 802-72-PL39 D.S.al Fine] Andantino DEVIENNE,40 Adagio Dorus (fe. po a. doleissimoa“ i Allegro SOUSSMANN D.C.|at Fine,2a3 HOH MANN Se epeceeati cee te Ete Allegro risolute44 In No.24 play the quarter and ei slight accent, Allegro ighth notes somewhat detached. Give the syncopated notes aDouble Tonguing 7 The following two pages have not been made a regular part of the outline becauseit js not desirable to assign for ail students the same time for beginning the. study of these articulations. A correctly devel- oped single tonguing is an essential prerequisite. If the student already possesses thie ability, these studies may be begun at once. If he does not, they should be practiced only after further progress is made Double tonguing is generally used only when single tonguing technic is inadequate. The articulation consists of a forward stroke of the tongue on T (tuh) and a backward one on K (Kuh). Strive for @ similar shorpness of attack on both consonants. Practice slowly until an even stroke of the tongue. is acquired without a loss in tone quality. TKTK TK TK TKTKTKTK 4 Guest er! = Double tonguing is olso applied tothe rhythmic figure IJ (or £4) in rapid movements. TKTK46 Triple Tonguing } This articuletion consists of three motions of the tongue — on T,K,and T. The remarks concern- ing double tonguing apply here with equal force. i tr tert tert ; : 7 7 Lew 2 g aden teen tite PPP: eee : 1 Guz = keStudies in Articulation” = In all exercises where no tempo is indiceted the student should play the study as rapidly asis con- sistent with tonal control and technicat accuracy. The first practice on each exercise should be done very slowly in order that the articulation may be carefully observed. tm allegro tempi figures similar to FEEEL= should be performed BABEF ete. the figure SEES should be played SRSEEESEE The material for these exercises has been taken from the methods of Popp, Soussmann, Kéhlar, Gariboidi, ete. These studies may be double tongued and single tongued ofter the preceding two pages have bean mostered, Example EEE, ete, (1) Refer to the preceding two pages. The double-tonguing Gnd triple-tonguing exercises should be studied concurrently with the Studies in Articulation. 802-7250 Moderato > 1 con energiva pppeeetepere ferrets fptr cele ee Sf8 Allegretto mossobg ne Pepe. s shen, See Peete. Dl al Fine eaia teAndantino Allegretto 802-72a: Hee : 7 Exercises in Fingering Practice these exercises slowly and increase in rapidity as the difficulties in fingering are over- come. ese regutar tingering @) © ® (| gaa as Ripe SS regular Ff fingering 202-72 tee reramemneemreoneterarcroetTable of Trills for the Boehm Flute (Closed GiKey) | Trill with finger pads or keys enclosed by w a te er oo = f i at a fete bo or 1 1 4 A i i Impracticabte | £ a impracticable 3 t ia i ' som fl mehw sober59 [bone : loban | econ60 BE) Musical Ornamentation (Embellishments) E The following treatment of ornamentation is by no means complete. It is presented here only as a 3 guide to the execution of those ornaments which the student may encounter at this stage of his mus- ical development. There are different manners of performing the same ornament. The Trill (shake) | The trill (or shoke) consists of the rapid clternation of tuo tones. They are represented bythe print= ed note (cclled the principal note) and the next tone above in the diatonic scale. The interval between the two tones may be elther oholf-step orawholo-ctep. The signs for the trill crew and =~, ] An accidental when used in conjunction with the trill sign affects the upper note of the trill Be sure to look up each trill fingering in the table *, Play as in No.t 6 oeeo Grace Notes (Appogglatura) The grace notes are indicated by notes of a smaller size.They may be divided into two classes: long and short. Long grace notes from “Sonata in A Major” mozart All alla turca dm, ipeslsge Ff ef of n instrumental music of recent composition the shart grace notes should occupy as little time as possibie and that value is token preceding the principal note. They may be single, double, triple or quadruple, as the case may be. The single short grace note is printed as a small eighth notewith @ stroke through Its heck. itis not to be accented. Use trill fingerings when fundamental finger— ings ore too difficult. Short grace notes 10 Allegretto pied, 11 Pp t ra ® Allggretto BN62 “ 7 .” i Excerpt from“ Turkish March” Beethoven eS i eR __ The Mordent («) The short mordent (apiconsists of o single rapid alternation of the principal note with its lower auxiliary. Two or more alternations are executed in the long mordent. The short inverted mordent (++) doos not have the cross line. Init the lower cuxiliary is re- placed by the upper. It is the more commonly used mordent in music for the wind instruments. The mordent takes its value from the principal note. Short Mordent Long Mordenti | Short (single) Inverted Mardent Long (double) inverted Mordent wy aw. awe bbiad Excerpt from Schubert “Minuet” Moderato ay i aay. 21 4 In trill of sufficient length a special ending is generally used whether indicated or not The closing of the trill consists of two tones: the scole tone below the principal note and the p pal note. In tong trills of a solo character it is good taste to commence slowly and gradually increase tho speed. Practice the following exercises in the menner of both examples 1 and 2. Ext x2 802-72hee The Turn (Gruppetto) The turn consists of four tones: the next scale tone above the principal tone, the principal tone It- self, the tone below the principal tone, and the principal tone again. When the turn oo is placed to the right of the note, the principal tone is held almost to its full volue, then the turn is played Just before the next melody tone. In this case (Ex. 1,2,3,4 and 5) the four tones are of equal length. When the turn Is placed between a dotted note and another note having the same value as the dot (Ex,6 and 8), the turn is then played with the last note of the turn taking the place of the det, making two notes of the same value. The turn sign after a dotted note will indicate that one melody ote ites hidden In the dot. Exa Ex.2 x. Ex. 4 Ex.5 ee —= =< Ex.6 Ex.7 Ex.8 cor Played peaaeae | Sometimes on accidentel sign occurs with the turn, and in this cose when written below the sign, it refers to the lowest tone of the turn, but when written above to the highest (Ex.1 and 2 below). When the turn is. placed over a note (Ex.3),the tones are usually played quickly, and the fourth tone Is then held until the time value of the note has expired. ik In the inverted turn (Ex.4) the order of tones is reversed, the lowest one coming first, the principal next, the highest third ond the principal tone again, lost. The Inverted turnis indicated by ‘the ordinary turn sign reversed @ or by@. Ex Ex.2 Ex.3 Ex.4 Fee ERR OO rs6sModerato 66 Moderato 802-72SOLOS 7 The Swan. C.SAINT SAENS | Adagio i 802-72| } 6s Gavotte | from “Paris and Helen” 1 eLuck | Allegre (ds 66) i ee ; /69 Vt Saeterjentens Sandag ——— morendo a PEP Fine 002-7270 Menuet I soecnenmt | | Andante grazioso con un pooo dé moto } 4 P : = nf ores. Fine ) TRIO \Romance Sans Paroles * Andante Sivort motto espressivo mezza voce PP smicemerenmmceHAYDN Serenade Andante cantabile 72 sit 802-72