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Flute technique / Gareth Morris.

By: Morris, Gareth.
Material type: materialTypeLabelBookPublisher: Oxford ; New York : Oxford University Press, 1991Description: vi, 68, [1] p. : ill., music ; 19 cm.ISBN: 019318432X .Subject(s): Flute -- Instruction and studyDDC classification: 788.32
Contents:
The History of the flute -- A: The old flute -- (i) The development of the Baroque instrument -- (ii) The flute in the late eighteenth and early nineteenth centuries -- B: The new flute: Theobald Boehm -- (i) His experiments and first improvements -- (ii) The Final 1847 model -- (iii) Later modifications and additions -- The technique of playing the flute -- A: The acoustics of the instrument -- B: First principles -- (i) Assembling the parts of the flute -- (ii) Fingering and sound production of the first register -- (iii) Fingering and sound production of the second and third registers -- C: Breach control -- D: Intonation -- (i) Embouchure control -- (ii) The cork in the headjoint -- E: The tongue -- F: Dynamics -- Annotated fingering charts -- A preferred fingerings -- B: Allowed alternatives -- C: Trills -- D: Positions of the embouchure in the three registers and in the two breaks -- Style -- A Phrasing: the means of controlling it -- B: Tone -- (i) Variety of nuance and the influence of music upon it -- (ii) Vibrato -- The practice of scales, arpeggios, and exercises -- (i) For the embouchure -- (ii) For the fingers and tongue -- The technique of orchestral playing -- Repertoire -- A solo music -- B: Chamber music -- C: Studies.
Summary: This book by the former Professor of Flute at the Royal Academy of Music (1945-1985) and Principal Flute of the Philharmonia Orchestra (1949-1972) is designed for professional and amateur alike. It contains detailed instructions for sound production, breath control, intonation, tonguing, and dynamics and offers sound advice on phrasing, tone, vibrato, and orchestral playing. There are annotated fingering charts showing normal fingerings, alternative fingerings, and trill fingerings, and a concise account of the history of the instrument
Holdings
Item type Current library Call number Copy number Status Barcode
General lending MTU Cork School of Music Library Lending 788.32 (Browse shelf(Opens below)) 1 Available 00176075
Total holds: 0

Enhanced descriptions from Syndetics:

This book by the former Professor of Flute at the Royal Academy of Music (1945-1985) and Principal Flute of the Philharmonia Orchestra (1949-1972) is designed for professional and amateur alike. It contains detailed instructions for sound production, breath control, intonation, tonguing, and dynamics and offers sound advice on phrasing, tone, vibrato, and orchestral playing. There are annotated fingering charts showing normal fingerings, alternative fingerings, and trill fingerings, and a concise account of the history of the instrument. There is a useful repertory list and an appendix by Sebastian Bell (Principal Flute of the London Sinfonietta and current Professor of Flute at the RAM) describing avant-garde techniques.

Includes bibliographical references (p. [69]).

The History of the flute -- A: The old flute -- (i) The development of the Baroque instrument -- (ii) The flute in the late eighteenth and early nineteenth centuries -- B: The new flute: Theobald Boehm -- (i) His experiments and first improvements -- (ii) The Final 1847 model -- (iii) Later modifications and additions -- The technique of playing the flute -- A: The acoustics of the instrument -- B: First principles -- (i) Assembling the parts of the flute -- (ii) Fingering and sound production of the first register -- (iii) Fingering and sound production of the second and third registers -- C: Breach control -- D: Intonation -- (i) Embouchure control -- (ii) The cork in the headjoint -- E: The tongue -- F: Dynamics -- Annotated fingering charts -- A preferred fingerings -- B: Allowed alternatives -- C: Trills -- D: Positions of the embouchure in the three registers and in the two breaks -- Style -- A Phrasing: the means of controlling it -- B: Tone -- (i) Variety of nuance and the influence of music upon it -- (ii) Vibrato -- The practice of scales, arpeggios, and exercises -- (i) For the embouchure -- (ii) For the fingers and tongue -- The technique of orchestral playing -- Repertoire -- A solo music -- B: Chamber music -- C: Studies.

This book by the former Professor of Flute at the Royal Academy of Music (1945-1985) and Principal Flute of the Philharmonia Orchestra (1949-1972) is designed for professional and amateur alike. It contains detailed instructions for sound production, breath control, intonation, tonguing, and dynamics and offers sound advice on phrasing, tone, vibrato, and orchestral playing. There are annotated fingering charts showing normal fingerings, alternative fingerings, and trill fingerings, and a concise account of the history of the instrument

Table of contents provided by Syndetics

  • Introduction (p. vii)
  • 1 The History of the Flute (p. 1)
  • A The Old Flute (p. 1)
  • (i) The Development of the Baroque Instrument (p. 1)
  • (ii) The Flute in the Late Eighteenth and Early Nineteenth Centuries (p. 3)
  • B The New Flute: Theobald Boehm (p. 5)
  • (i) His Experiments and First Improvements (p. 5)
  • (ii) The Final 1847 Model (p. 6)
  • (iii) Later Modifications and Additions (p. 7)
  • 2 The Technique of Playing the Flute (p. 9)
  • A The Acoustics of the Instrument (p. 9)
  • B First Principles (p. 11)
  • (i) Assembling the Parts of the Flute (p. 11)
  • (ii) Fingering and Sound Production of the First Register (p. 11)
  • (iii) Fingering and Sound Production of the Second and Third Registers (p. 17)
  • C Breath Control (p. 21)
  • D Intonation (p. 22)
  • (i) Embouchure Control (p. 22)
  • (ii) The Cork in the Headjoint (p. 25)
  • E The Tongue (p. 29)
  • F Dynamics (p. 31)
  • 3 Annotated Fingering Charts (p. 35)
  • A Preferred Fingerings (p. 35)
  • B Allowed Alternatives (p. 35)
  • C Trills (p. 39)
  • D Positions of the Embouchure in the Three Registers and in the Two Breaks (p. 39)
  • 4 Style (p. 46)
  • A Phrasing: the Means of Controlling it (p. 46)
  • B Tone (p. 47)
  • (i) Variety of Nuance and the Influence of Music upon it (p. 47)
  • (ii) Vibrato (p. 48)
  • 5 The Practice of Scales. Arpeggios, and Exercises (p. 49)
  • (i) For the Embouchure (p. 49)
  • (ii) For the Fingers and Tongue (p. 50)
  • 6 The Technique of Orchestral Playing (p. 52)
  • 7 Repertoire (p. 55)
  • A Solo Music (p. 56)
  • B Chamber Music (p. 60)
  • C Studies (p. 62)
  • Appendix Avant-garde Techniques--Sebastian Bell (p. 63)
  • Bibliography (p. 69)

Reviews provided by Syndetics

CHOICE Review

As is the case with most self-tutors, no one will learn to play the flute from Morris's small treatise. Although "instructions" are here, the absence of the teacher needed to explain and demonstrate precludes the possibility of skill acquisition. What is here is the experience of a professional in terms understandable by the nonprofessional and some real facts about those things often left unsaid the need for excellent "true" intonation and how to achieve it through technique and instrumental health such as a correctly placed head joint cork, a small but essential requirement; the difficulty of perfectly phrasing something as apparently simple as a two-note phrase in Schubert; and the naked truth about the real difficulty of playing any instrument really well. A book of wisdom for new and old players of all ages, but not a beginner's manual. J. P. Ambrose; University of Vermont

Author notes provided by Syndetics

Gareth Morris was formerly Professor of the Flute at the Royal Academy of Music, and was principal flautist of the Philharmonia Orchestra.