Suzuki ‘Flute School FLUTE PART VOLUME 3 by Toshio Takahashi CONTENTS 1] Humoresque, A. Dvofdk 000s 6 2] Andante Cantabile, P/. Tchaikowsky ... 0.00... 00 cece eee 7 3] Serenade, R. Drigo 2.6... e teens 9 4] Orphée et Eurydice, C. Gluck . . 10 5] Serenade, Woodall u 6] Allegretto, B. Godard 12 7] Minuet, G. Bizet... . 14 Copyright © 1971 by Dr. Shinichi Suzuki Sole publisher forthe entire world except Japan: Summy-Birchard Inc. exclusively distributed by Warner Bros, Publications Inc, Secaucus, New Jersey, U.S.A. llrightsreserved Printed in U.S.A. ISBN 0-87487-169-1 35791113 15 1413 10864 The Suzuki name, logo and wheel device are trademarks of Dr. Shinichi Suzuki used under exclusive livense by Summy-Birchard, Ine.How To Play Softly (p) Lip Attack Exercises ‘Tense your jaw slightlyand practice whistling while pro- rnouncing ‘Pwho Pwho'. Let the air flow between the ‘membranes of the lips sensitively with a small elliptical lip opening, Keeping medium air pressure behind the lower lip. side view in lip attack Y¥ 7T Sy 20H =) 21mm [Notice the position ofthe lower teeth Main purpose of lip attack is to make a very small ellip- tical lip opening, and small vibrative membranes. So when you can get soft and clear tone by lip attack, then try to get the same tone by spitting, Keeping the same small elliptical lip opening. PORE YITT I 7 2ORR DARN PTA DUSORERIED TR. LOT, WEEROTRE CO, EEC B OER E CME, COWL, RMOROMATEREMY, BRED, ¢ SUS OMCRREEML TOS 7 > CME RT ES 1, SCM CREEL, MOE EE CELT AB, LOEIELTRC SERN TTI PERO SECTS, AOEDTHERMOH, BC SURO Ene COEN, FC BURN ORE OMOR REE ED, “77a EVI RET SUZ ORMOM TERE wa meee, “8 tts SS ent TI Kondo nuscas mn, Lower lip will cover about 2/3 of embouchure hole. Vo 7TPy POBMI, F6b8 EMAAR OM, MOLEC SUS OROMMEMBZE SEEDS OF, MHOC HMORNMA SEI Eee, OF EMCDS CREMMER. RES BORMEM ST. * cote yroamre, Wen Oeat P=pwhd hs When spitting, use the very tip of the tongue. Let the air flow between the membranes of the lips softly, clearly and quietly. te by spitting 2nd time 2M ALT «7 7e ACTF EL 7OM, BORMERM, MME Eo TC USO CMMENE HOT, OL TC BUS EL neeeiey gee Seige =| 4 vel >omas A bere bese4. A good vibrato will occur during a full long tone that began without any vibrato. ‘The tone color and sonority of 2 full ong tone should be kept exactly the same when vibrato begins to occur. Your consciousness must be Kept on the sonority even when vibrato continues. The tone itself must always be deep and full, and vibrato must be shallow and quick. Good RY Vibrato is one of the most important emotional expres- sons. t must not be created just physically (by diaphragm ‘or throat), but emotionally (by your musical emotion) Vibrato should not be heard superficially. Firstly time sonority of long tone should be heard clearly, because vibrato is expressive life for tone but never the tone itself. Start to play with vibrato from the beginning Particularly, practice low register in J and the high register in P with a good vibrato, You must remember that good vibrato depends mainly on suitable, sufficient sir pressure working on the diaphragm. me 3 4. KUHBDOYTh—VEET IN“ BEDS ETP FEM Lome L EMEC MEER GOT Baw, DC KETI= FP ERREMBLE LEOD FORMEHNestorce a. RT emo seme mER OT COL, £0 98, WHEDLURLTERORN EMD, 74 bE7 POP eRE Se TMRTE, MMUDREKC RATE cmmonmmemd ances ky Bad BS ETP FA FOO SM) RMON 9 CR MORES EMOKE IATL EM CRNMI EE a a AMM MS CHEMO E SEAS ER BRET, ASCO’ T I~ Hom MRAM ATOREI THOME, ECMO TARS ETI MoO THEE IM ANTAS. ETI ERNeCA OT, KECH EM, 5. HOLUDMEVRUREETI- BEDS “Ri STUER, poUmMOE SE TI~ EONS POUT HL OO TMMERTCMMT Bo Ey PURE CEMOMMOMMME LD HORE. peOm RCE ME, RMA RROMME KS = (2) SRM Tk La FUERTE en: 4 ZORMES PLD FED MRL EGOS, ROE Mm 89 24%, Ronde A WIRE 7 nF RAL a) RMA SE TMAH AL TMS STRMKOUD THD, MEAT ORHumoresque 241 2%7 A.DvoFak Kites 7 oe > Poco lento e grazioso $$ — Revie = rit a tempo PP teggeve SS SS. a tempo 1) Express low grace notes well harmonically D Mere meme wor semare re Play this part steadily and passionately, be@ tempo PP teggiero — t rm P ~ =P —— Padim, PP Fitard. + Try tomake a good contrast between the ehythmical part and the singing part. WHE, Foc wRMmeD CHAT, Andante Cantabile 7» 777%» 7—-Ev from Quartet Op. 11 RU ME Mll, #5 P.I.Tel Andante cantal Pespres. x open beS eT P molto express, ——_—S__ SS Pocoa poco agitato

——_ >» ~~ morende ‘© Play grace notes very expressively. miTe (gf) EO eens. © “Acclrte the topo and eres Toners Leceh T8286 5 Sing beutiful and munealy with sweet tone color, WAZA CRE CEI. whewe stem ‘© Be careful not to play too slowly and monotonously. wt F295Serenade «v+-7 Vibes ee Allegretto Cantabile ——s P (80a (Ind time) 7—1 Allegretto d= 10s © ‘© Smooth scale movement with beauty and brightness. van-bee 7 © Good movement from main note of the melody to next main note, FOF ¢ =I aDLBAOM NCE, ‘© Good color with fullnessin lower register. Warmer cae.u“ Minuet *x2y1 from “LArlésienne”™ "FUNK eb Andantino quasi allegretto G.Bizet“Gaee® Pee «tne ‘poco rit, PB poco pit sostenuto a a ‘alande ome e mor : an - + do ‘© Innale enough and exhale effectively to play many long phrases, Dem mae e bore RS oe 1 Play dotted notes long enough and expressively (LOT ePRK RIND eo. Profound and beautiful high G. ARCERLC. RC 1 Play Trio part rather rhythmically. powerfully, taking care of accent, HALEN) KE nis, NHC THEY HETER.