Complete Daily Exercises

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TREVOR WYE
Complete
Daily Exercises
utel
for the
e*ee*e*****eee*
For Larry Krantz, Nelson Pardec,Jobu Rayuorth and Helen Spielman

for their initiative anddedicationto the lnternet FLUTE Lst,
a greattoolfor theadvancementof onrknowledgeof thefute.
Joulus de Flate A.laussel
Thint alt ost.culaa pehs ca

Jaur Scaloo!
Wotchout t meldic
MING!
Novello Publishing Limited
Created with Scanner Pro

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Contents
Preface 4
SECTION I: TONE EXERCISES, WARM-UPS AND VOCALISE

| Extract from Daily Exercise No.2 (Reichert) 5
2 Extract fromn Violin Concerto (Brahms) 6
3 Extract from Il Fortuno di Destino (Verdi) 6
4 Akatombo (Kosaku Yamada) 7
5 Extract from Daly Exercises No.5 (Reichert) 7
6 Extract from Flute Concerto (Reinecke) 8
7 Extract from Peer Gynt Suite (Grieg) 8
8 Extract from La Sensible (Royer) 9
SECTION 2: SCALES AND SCALE EXERCISES

I MajorScales to top B or D 12
2 Harmonic Minor Scales to top B or D 13
3 Whole Tone Scales |4
4 Major Scales to top B or D in thirds 15
5 Minor Scales to top B or D in thirds 17
6 Broken Whole Tone Scales 19
Daily Exercises on Scales:
7 Major Scale Exercise 20
8 Minor Scale Exercise 22
9 Major and Minor Scale Exercises 23
10 No.I from Seven Daily Exercises (Reichert) 28
IT Cascading Major and Minor Scales 29
SECTION THREE: ARPEGGIOS

I
Arpeggios to top B and low C 33
2 Extended Arpeggios to top D and low B 34
3 Augmented 5th Arpeggios 35
4 Diminished 7th Arpeggios 35
5 Arpeggios of the 7th 36
6 Arpeggio Study I 36
7 Arpeggio Study 2 38
8 Daily Exercise No.I (Maquarre) 40
9 Daily Exercise No.5 (Maquarre) 42
10 Broken Arpeggios 46
I| Broken 7th Arpeggios 47
12 Broken Augmented Sth Arpeggios 48
13 Broken Diminished 7th Arpeggios 48
14 Broken Arpeggio Study 48
15 No.2 from Seven Daily Exercises (Reichert) 52
19 No.l rom Twelve Studies (Boehm) 64
20 No.II from Twelve Studies (Boehm) 65

SECTION FOUR: CHROMATIC EXERCISES
I Chromatic Scale to top C or D 67
2 Broken Chromatic Scales 67
3 No. 6 from SevenDailyExercises(Reichert) 68
4 Four Chromatic Sequences 70
5 First Chromatic Study 72
6 Second Chromatic Study 73
SECTION FIVE: THE THIRD OCTAVE

Six exercises from D.S. Wood's Technical Exercises
for Facilitating the Execution of the Upper Notes of the Flute
I Scales 74
2 Broken Scales 78
3 Broken Scales 2 81
4 Thirds | 84
5 Thirds 2 87
6 Thirds 3 90
7 Chromatic 93
8 Final Study 94
SECTION SIX: DAILY EXERCISES

I Daily Exercise No.I (Wye) 96
2 Daily Exercise No.2 (Wye) 98
5 Twelve Studies No.2 (Boehm) 106
6 Twelve Studies No.3 (Boehm) 107
7 Twelve Studies No.4 (Boehm) T10

8 Twelve Studies No.9 (Boehm) I12
9 Twelve Studies No.I2 (Boehm) Il6
10 Twelve Studies No.I0 (Boehm) I18
II RightandLeftHandCo-ordination
Exercise 121
12 Four Studies on Perpetuum Mobile I22
Practising 127
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Preface
I have often thought f only there was a book containing all of the daily exercises!' Well here it is.
This book contains the traditional exercises which most autists worldwide use in their daily
workout. They were based on the ve most popular 'French School' study books, though some of
them have been mod ed in the light of present day practice and custom, but, for those who prefer it
the original material is still covered, too.
I have taken the liberty of extending the compass of some of the favourites to top D, or to low B,
which is often now required, but allowing those with more traditional views to retain the old format
if they wish. In order to save space, I have excluded the less important exercises, and added some
new ones of my own – based on old ideas - which I nd useful. I also wish to add that most of these
exercises are fairly easy to memorise, a skill which is widely recognised as having great bene ts for
the future of any young player. Learning to memorise can be thought of as an investment, or 'money
in the bank'!
Where appropriate, I have suggested ways of practising these exercises based on my experiences in
teaching. Of course, there are as many ideas on practising as there are people playing the ute, but I
hope you nd these hints useful.
Finally, the Practice Card can be moved about the book and referred to for your daily practice
scheme. It also provides a guide to different articulation patterns which can be used with most
exercises.
Trevor Wye

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SECTION 1
ToneExercises,Warm-ups andVocalise'
Every player has, at some time or another, been captivated by the beauty of a
good melody, and used it to help them develop their tone. Moyse developed this
Idea further by compiling vocal melodies he heard at the Opéra Comique in Paris.
The rst of these 'vocalise' by Reichert has been a standard warm-up exercise
since the days of Paul Taffanel and perhaps before him. Moyse used this
sequence in his classes to help encourage and develop the imagination of his
students. It remains my all-time favourite,especially when used with different
colours. It is ideal to begin the day with this simplesequentialexercise to
warm-up the lips, the breathing,and begin to add expression.
The other exercises were suggested by enthusiastic students over the years. The
expression' or 'interpretation' used to vocalise these melodies is personal,though
T have made a suggestion as to how to start, but to gain the most bene t from
them, a lot depends on the way they are played.
Exercise No.8 by Royer is useful for developing the strength of the lips and tone
when moving from octave to octave.
As always, these exercises are better committed to memory because of the freedom
of expression gained through dispensing with the process of reading the notes.
Blank pages have been added for you to add your own melodies.
The full exercise can be found on page 52. As a tone exercise it should be practised
in all twenty-four keys,as each key has its own problems of tone, colour and intonation.*
Slowly Reichert Daily Exercise No.2
mp
f
This exercise may also be practised in the following way:
* See Practice Book One TONE, Page 24- Tone Colour

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2 Extract from Brahms Violin Concerto
Slowly
In each key, different notes will tend to crack when leaping from a low to a high note.
Continue in the following keys:
3
Repeat Þp each time. From Verdi's 'll Fortuno di Destino'
Slowly
mf
mt
See also No.5 from 'Seven Daily Exercises' (Reichert) on the following page.

4
Repeatp each time.
'Akatombo' by Kosaku Yamada
mf
mf
mf
5
See page 56 for the complete exercise in 24 keys. Some days, start in one of the
middle keys so that different problems are encountered and overcome.
Repeat þ each time
Reichert Daily Exercise No.5

6
Andante cantabile From Reinecke's Flute Concerto
m cresc.
cresc.
mf Cresc.
mf cresc.
f
mt Crese
etc.
7
This exercise is good for practising a soft, muted tone colour, and for breath control.
Repeat þ each time
The Death of Ase
From Grieg's 'Peer Gynt Suite
Very slowly
mf
mf
mt
mf

The Low Register
This exercise can be practised with various nuances and is useful for learning
to 'follow' the notes with the embouchure, which helps achieve beauty and
evenness of tone when moving through large intervals. If this rst exercise
is awkward for you to read, then choose an easier key to start with.
8
Repeat mp,p and pp each time
From Royer's 'La Sensible'
mf
mf.
mf
mf

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The Middle and High Registers
When moving between registers, how easy it is to crack the notes!
Aim for clean and exible intervals.
Repeat p each time.
92hk
mf
10

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SECTION 2
Scales And Scale Exercises

Why do we spend time on scales?
There are many reasons, but the one that hit me hardest was when some years ago,
I spent a week at the British Museum Reading Room, for the purpose of listing all the
music for one or two utes and continuo written before the year 1800.I started on
Monday afternoon and by Friday morning I had only reached the letter D or E and had
already collected a huge list of sonatas and suites. Later, looking through the European
Library Lists, I tried to calculate how many pieces world-wide may have been written
for this combination. It might be more than 80,000, and all were written using common
scales and arpeggios.
It follows that if we practise scales and arpeggios regularly, we are simultaneously The cue size notes in each scale
learninga huge number of pieces. Scales and arpeggios must be a good investment! can be omitted if preferred.
1 MajorScalesto top B or D
Omit the small bracketed notes throughout if you are unfamiliar with top D.
ok
major
EEEEEE 2
* Practise playing top E without the DÀ key - it's atter.

** When slurring from top B to C, use the B ngering but remove the thumb.
Db major
EFFFEF#F#EEFEE##e
D major
*Use the 3rd nger for F# in the 3rd octave only -this is also atter.
Eb major
E major
F major
F# major
12

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G major
FFFFEE
Ab major
A major
EEEEE
B major
B major
2 Harmonic MinorScalesto top B or D

Cminor
C# minor
D minor
EEEEEEEEE#be
Eb minor
E minor
13

Fminor
F# minor
G minor
E
G# ninor
A minor
Bb minor
be
B minor
3 WholeToneScales
These are used by many composers and most frequently in 20th century French orchestral repertoire.
On C
geieie
On C#
14

4 MajorScalesto top B or D in thirds
Cmajor
D major
D major
Eb major
Emajor
15

F major
EEE
F# major
EEEEEEE
G major
Ab major
ẾEEE#####E
A major
16

Bb major
B major
5 MinorScalesto top B or D in thirds

C minor
C# minor
f e EÉEEEEEEEEE
D minor
17

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Eb minor
E minor
F minor
F# minor
EEEE E#
G minor
18

G# minor
A minor
Bb minor
B minor
6 Broken WholeToneScales
19

Dailyexercises on scales
7 MajorScale
Exercise Mo .
Refer to the Practice Card for articula uggestions.
Practise also in these forms:
a)
te.
b)
etc.
Repeot up an octave
43
* Take care to use thę D# key for E. It is also a way to balance the ute when moving between octaves.
20

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tt
. +
t
pbe X
tffteasstit nstttteelet D.S 8va higher
21

8 MinorScaleExercise
Refer to the Practice Card for articulation suggestions. T. anl G:
Repeat up an octave
22

D.S 8va higher
tor Techncalram To((aad Gaibent

9 Major and MinorScaleExercises
Refer to the Practice Card for articulation suggestions.
EI4
Relative minor
23

txpresswe EJ4 lafto
sail
-
Stat hul
EFEFF
eieieibe,
EFFFFEE
24

ay
aye keys Stog Rck Sound keep the aur Steam mIE
Miar keys Open French Sond even
keie2babe
pEEEFFEE
steiebebe
FEEEE#R
25

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fl
26

t
e#eiei2ee
te EEEEE EEE
FFEi teeEEFFFFEPiehe
FEE
27

lo.1 fromSevenDailyExercises(Reichert)
Vey Snte aonngos
ny!
using these articulations:
Best Samdl!
and and
Fine
eieie2beg .
ipiebbe
28 botom O

Rbylhmi 1
A
eieieitte.
tettieie
D.C. al Fine 8va higher
7
*Use middle nger for F#.
Dim C Eb F* AG
Use'longAb: o |o••) C# E G Bó (
11 Cascading Major and Minor Scales
DF Ab B9 D
Refer to the Practice Card for changes of articulation.
Vary your routine by starting at Db then making a Da Capo.
major
trtrtte,
Trevor Wye
A minor
EFteg EFt,efEEEEtet.
F major
*When top E follows top A, take off the D# key for E.
29

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D minor
B major
G minor
E major
C minor
Ab major
EFFFE
F minor
Db major
Bb minor
etttt tef.
F# major
DD# minor
30

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Bmajor Ee
G# minor
t,
E major
C# minor
A major
F# minor
D major
B minor
te?
G major
E minor
*Use long'G#.
*Use middle nger for F#.
31

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SECTIN 3
Arpeggios
i1 Arpeggios to top B and low C
Refer to the Practice Card for variations of articulation.
When practising these arpeggios, it is useful to include the various alternative ngerings
tor ease and uidity, and also because they are in tune! Examples are given throughout.
In general, D major is more in tune using the middle nger, atter ngering for F#.
*1
EFE
E E
EEEE:
EF
-E
EF
* Top E is more in tune (less sharp) without the D# key.
To gain familiarity with a useful ngering.practise the so-called'Mignon ngering'
for top Bb when playing pp. It is sharp and will require attening:
*Use the'long'Abhere: o
o• )
*Play E without the D# key to facilitate the leap.
33

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"6
*Practise 'leaning' on the trill key for Bb to gain speed.

Use middle nger F# here to smooth the interval.
2 Extended Arpeggios to top D and low B

EE
et
-t
34

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£E
b
be
* Play E without the D# key to facilitate the leap.

*Middle nger F#.
3 Augmented5thArpeggios
4 Diminished7thArpeggios
itte
35

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5 Arpeggiosofthe 7th
The rst bar is the 'form' of the exercise. Practise it with all the different accidentals.
$ET
t
4
tt
2 5
3 5
eEEE 1 4 6 7
6 ArpeggioStudy1
a)
1 3

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b
FEE
d)
E
2 3 4
f)
37

7 ArpeggioStudy2
bbbe
be
38

E babeEg
EEE
EEELe.
beFEF# be
D
be EEFÉ.
be
.
EEE
EEE -"E
4tef"EEEEFA 1
ÉEEEE
35

8 DailyExerciseNo.1(Maquarre)
C major
A minor
F major
D minor
Bb major
G minor
Eb major
C minor
Ab major
e
F minor
Db major
Bb minor
40

Gb
major
Eb minor
B major
G# minor
E major
C# minor
A major
F minor
D major
u
B minor
G major
minor
C major
41

g DailyExerciseNo.5(Maquarre)
C major
A minor
F major
be
D minor
Bb major
G minor
42

EL major
be
C.minor
A major
F minor
Db major
Bb minor
43

Gb major
be
Eb minor
B major
G# minor
E major
C# minor
44

A major
F# minor
D major
B minor
E
G major
E minor
45

rokenArpeggios
4 7
3 4 5
* When moving from top Eb to Bb it is better to become familiar with a useful forte Bb.
First play top Eb, then remove the 2nd nger of the left hand, and at the same time, lean' on the rst trill
key without taking your nger off the 'F key, and take your nger off the G# key.
46

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11 Broken 7th Arpeggios
See note on previous page about top Bb. Also use the middle nger
F# when moving to top B, and the long Ab ngering afterEb.
Top E is better in tune ( atter) without the D# key.
6 7
7
9
3 4
47

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12 Broken Augmented 5th Arpeggios
-
E"E E
13 Broken Diminished 7th Arpeggios
14 Broken Arpeggio Study

48

be
De
F,
E
49

be
50

-+ F#EF
.
'E,£,
,be EEAEA
h efeErtaf.
etAEFEEEe
51

LB No.2fromSevenDailyExercises(Reichert)
Pay both Sloy and
This Reichert study is a ne tone exercise when played slowly.
It was a favourite of Marcel Moyse(seepageS in the TONEsection). fast
Thind alad
-
It can be practised in these tywo ways as well:
MEMORY Tou guality and infoahn
ete
Hser les Rek

It can be used for pianissimo practice in the 2nd and 3rd octaves:
M. sttla
mf: pp
P
P p p
Fine
Repeat 8ve
Slact
are
Repeat 8ve
52

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Repeat 8ve
Repeat 8ve
Repeat 8
53

Repeat8ve
54

Repeat 8ve
Kepeat 8ve
D.C. al Fine
Repeat 8ve
55

16 No.4 from Seven Daily Exercises (Reichert)
This is another which is both fascinating and bene cial to use as an expressive
tone exercise or warm-up. It can also be played like this:
Slowly
etc
Fine
Repeat 8ve
Repeat 8ve
2Ee
Repeat 8ve
Repeat 8ve
Repeat 8ve
56

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Repeat 8ve
Repeat 8ve
t Repeat8ve
D.C. al Fine
57

This too, can be altered rhythmically and turned into a ne study for expression,
intonation or triple tonguing, as well as exibility.
Here are some suggestions:
Slowly
Slowly
eto
Slowly
etc
p
Fine
Repeat 8
b
58

fl
fi
Repeat 8ve
Kepeat 8ve
bbe
59

EFFF
Repeat 8ve
60

F
Repeat 8ve
D.C. al Fine

This exercise may also be practised with single tonguing throughout.
Repeat 8ve
Repeat 8ve
ne
Repeat 8ve
Repeat 8ve
Repeat 8ve
Repeat 8ve
Repeat 8ve
Repeat 8ve
Repeat 8ve
Repeat 8ve
62

Repeat 8ve
Repeat 8ve
Repeat 8ve
Repeat 8ve
Repeat 8ve
Repeat 8ve
Repeat 8ve
Repeat 8ve
Repeat 8ve
D.C. al Fine
Repeat 8ve
63

Plhy witk voy coedl Bual Sou
No.1 from TwelveStudies (Boehm)
his study cạnbe,practisedleggto,and,withsingle and triple tonguing. iluat alat intetonand
hat post00 tand poSrlions.
ferble
Cma Cmay dom C m incr Ddim7 t me doim7
Fna dm Fmo C dim Bb ma, don

Fma
be E
bb
tytettetttgtter
64

20 No.11 from Twelve Studies (Boehm)
This may be practised in the following ve ways:
This study can also be varied by making the second bar of each line a minor arpeggio.
tiitrtrttt trttitetree
65

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SECTION 4
F Chromatic
Exercises
1 ChromaticScaleto top Cor D
2 BrokenChromaticScales
EE
#ebetbefeie£teteE#eEhe be#
67

No.6 from Seven Daily Exercises (Reichert)
2Apil S
allSltad!
er to the Practice Card for articulationsuggestions.
aloo pey tJS Ta al 2Gas

Fine
eie ebe ebeŁeebeebe

EEEE"E/EEE EEEEE
ieEEFFFF 'Eeee
ate pie eeebeebe eebeeb
epieieEFEE be
+tetitt 'EEebe
68

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FFEP ebehebe ER
FFFE"EEFE#EME
x
t EEEEEEFEEEEFE
eebe
EEEEEis:
D.. alFine
69

4 FourChromaticSequences
Also practise with the following articulations:
'
*Omit bracketed notes if your compassis to top B.
70

EDA
bbe
bebeieie
b
be bb
be
b
L 71

5 FirstChromaticStudy
To practise the 3rd octave, play 7-12 an octave higher,
and follow with 1-5 two octaveshigher.
Trevor Wye
repeat : x3
repeat x3
repeat
repeat x3
repeat x3
repeat x3
repeat: x3
repeat x3
x3
repeat X
10
repeat x3
11
repeat x3
12 repeat x3
72

6 SecondChromaticStudy
To practise the 3rd octave, repeat from No.12 in reverse order
one octave higher (12, 11, 10,9,8, etc.).
Trevor Wye
repeat x3
repeat x3
repeat x3
repeat x3
repeat X3
6
repeat x3
repeat x3
H
repeat :x3
repeat x3
10
repeat x3
repeat x3
12
repeat x3
repeatx3
73

5
"hird Octave
y Exercisesto top B, C or D after D.S.Wood:
dies For Facilitating The Execution Of The Upper Notes On The Flute
Beginning with the rst study, play through it to the highest point that
you reasonably can, and then try to add a higher note every week or so.
When Exercise 1 has been worked at for some time, it is better to add
the second study to it. This will lead to increased ef ciency in the rst exercise.
It is important to iron out any technical problems in the lower two octaves
before venturing into che third octave, and the practise of pages 20-23 is advised.
1 Scales
C major
C minor
C# major
C# minor
D major
D minor
Eb major
Eb minor
74

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E major
,
E minor
F major
F minor
F# major
F# minor
+
G major
G minor
Ab major
A minor
A major
*E is atter without the D# key.
75

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A minor
Bb major
Bb minor
B major
B minor
C major
C minor
C# major
C# minor
D major
**E is atter without the D# key.

** Why not alternate between the 2nd and 3rd ngers for F#?
76

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Dminor
Eb major
Eb minor
E major
E minor
EEEEEEE
F major
F minor
#major
EEEẾ
G major
G minor
77

2 BrokenScales1
C major
C minor
C major
C# minor
D major
(x3)
t
D minor
(x3)
Eb major (x3)
E! minor
(x3)
E major (x3)
E minor
(x3)
F major
(x3)
F minor
(x3)
* Don't be tempted to use any but the normal ngering!
78

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F# major
(K3)
F# minor
(x3)
G major
(«3)
G minor
(x3)
N Abmajor
X3)
A minor
A major
x3)
A minor (x3)
Bb major (x3
Bb minor
B major (x3)
B minor
*Alternate between the 2nd and 3rd nger for F# in each repeat.
79

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major (x3)
C minor (x3)
C# major (x3)
C# minor (x3)
D major (K3)
E
D minor (x3)
Et major
Eb minor
E major
E minor (3)
(x3)
F major
(x3)
F minor
*Use usual B ngering, and remove the thumb for aneasier, atter C.
This is also useful in a fast chromatic scale to top C.
80

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3 BrokenScales2
C major
C minor
C major
C# minor
D major
(x3)
D minor
Eb major
(x3)
Eb minor
E major
E minor
F major
(x3)
F minor
(x3)
*Alrhough dif cult, it is more bene cial as an exercise, to use the 1st nger for A# or Bb in the rst two octaves throughout.
81

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F# major
(x3)
F# minor
G major
(«3)
G minor (x3)
A major (3)
Ab minor (x3
A major (x3)
A minor (x3
Bb major (x3)
Bb minor (x3)
B major 2 («3)
B minor x3
* Alternate in each bar with 2nd and 3rd nger for F#.
82

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Cmajor («3)
E
minor (x3)
C# major
(X3)
C# minor
(<3)
D major
EE EEE («3)
D minor (x3)
Eb major
x5)
A
Eb minor
E major (x3)
E minor
EÉEEE EEE
t
(x3)
F major
X3)
F minor
* Alternate in each bar between the normal Ab and the 'long' ngering, (see p.33)
83

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4 Thirds1
C major
C minor
C# major
C# minor
D major
D minor
x3)
Eb major
Eb minor
(«3)
E major
E minor
(x3)
F major
F minor
84

F# major
(x3)
minor
(x3)
G major
(K3)
G minor
(x3)
Ab major
(x3)
Ab minor
(x3)
A major (x3)
A minor
Bb major (x3)
Bb minor (x3)
B major («3)
(x3
B minor
85

C major («3)
Cminor x3
C# major (x3)
(x3)
C# minor
(x3
D major
D minor
(x3)
Eb major
Eb minor (x3)
X3
E major
E minor
(x3)
(X3)
Fmajor
F minor
86

5 Thirds2
The repetition of pairs of notes can lead us unthinkingly into bad habits:
be sure that ngers aren't left down when they should be of. The differences
in tone may not be so noticeable now but it will lead to further problems later.
C major
C minor
C# major
CH minor
D major
(x3)
D minor
(x3)
Eb major
(X5)
Eb minor
E major
E minor
F major
(x3)
F minor
(X3)
87

fi
F major
(x3
F minor
G major
(x3)
G minor
(x3)
Ab major
Ab minor
A major (x3)
A minor
B major (x3)
B minor (K3)
B major (x3)
E
B minor
88

(x3)
Cmajor
N C
minor (x3)
CH major (x3)
C# minor (x3)
D major (x3
E
D minor
A Eb major 3)
Eb minor
F major
E minor
(x3)
F major
F minor
89

6 Thirds3 31/09 /16
C major
Cminor
Cử major
C#minor na
D major
D minor
AV(S)
Eb major
Xv
Eb minor
E major
E minor
F major
F minor
90
Y
FAmajor G
minor
G major
G minor
Ab major
bminor
Amajor
A minor
Bb major
Bb minor
B major
B minor
91

C major
C minor
#
C major
ASFE:trt.
C minor
D major
2
D minor
Eb major
Eb minor
E major
E minor
Fmajor
F minor

7 Chromatic
Cmajor
C major
D major
Eb major
E major
F major
F# major
G major
e be
Ab major
A major
Bb major
B major
* To avoid 'cracking' of middle Eb be sure the 1st nger of the left hand is off at the start of the note.
93

fi
C major
C# major
x
D major
Eb major
E major
F major
EEEEEEEEEEEEEE!
8 FINALSTUDY
F major
F# major
G major
Ab major
A major
Bb major
(x3)
94

B major
C major
(x3)
C# major
(x3)
D major
(X3
Eb major (x3)
E major
(x3)
E
F major
(K3)
A
F# major (x3
G major (X3)
X3)
Amajor
E
x3
A major
Bb major 3)
90

SECTION 6
Daily Exercises
This section contains the most popular daily exercises which are
often used as 'warm-ups', tone exercises, and aids to better
articulation. Most of them are commonly played from memory.
1
Trevor Wye
96

Fine
D.C. al Fine 8va higher
97

2
Trevor Wye
98

D.C. al Coda 8vo higher
2nd time to Coda
EEE EEE£E:
EFFEE EFFE
99

3
Trevor Wye
1
1,
100

D.C. al Fine 8va higher Fine
This can also be practised in the following ways:
etc
etc.
101

4
Trevor Wye
102

Repeat on 8va higher
103

This exercise can also be practised in the following forms:
a)
b
and etc.
d
etc
f)
etc.
h)
etc etc.
i)
k) )
and
etc.
m) n
etc.
t etc.
p)
etc.
104

Macr Bods
Leaa
C Eb c D eb ft E4 G F G f# A G B G B4 A C
Bb C# 8 D
B> C AB A5B& GA P fG E DF DE
ct C D B CA Bo C A B G# B6 4A F#G
list öf yau Juost dcalt Scaea
up
C E # G E G/FA F At G B GB
A C# BD B DA
donn
AC Ab B4 G4 A# f# A4 f G E G4 fd DF
Do E C E B D Bb pb AC
105

5 No.2 fromTwelveStudies(Boehm)
Practise in the following ways:
EE
be
D
bebeÉE
beb
D be
EE
106

ie EE"EE
E"E
6 No.3 fromTwelveStudies(Boehm)
(r Ir
be
Ir tr
107

tr
Ir/
tr Ir
Ir
tr
abżbbob b v
tr
abe
tr
b bbe
bè bebb Ir tr
tr
tr
108

tr,
Ir
tr/
Ir
tr/
tr.
tr,
tr
Ir
109

No.4 from Twelve Studies (Boehm)
a Bo Abplsnty
8-
0CO
be De
e
be
110

Va.
111

8 No.9fromTwelveStudies(Boehm)
112

+
DA
P
113

"ebee
be
£be PEEete be
H
114

A
115

9 No.12fromTwelveStudies(Boehm)
This may be practised in two ways:
or
116

b
b Fbe
ERFEF
117

No.10 from Twelve Studies (Boehm)
all 6ld in 2s
has may be practised in two ways:
21/04/1s
and single tongued:
tiniriiirizi be
be
riz
118

b b
be be be
beFbe FF be
119

120

=
11 Right and Left Hand Co-ordination Exercise
Also practise in these keys:
and with the following articulation:
a) all slurred b)
) d)
and, when able, an octave higher.
X
attezttuttat
* Don't forget the correct use of the D# key; jt also helps the balance of the ute.
121

fl
12 Four Studies on Perpetuum Mobile (Trevor Wye)
Original Solo
Allegro
Practice in the following ways:
) b)
If this study is too dif cult, begin by playing it in this pattern:
etc
Study No.1
122

fi
F
123

Study No.2
Practise also in the following ways:
124

Study No.3
Practise also in the following ways:
a) r b) ) )
125

Study No.4
Even i you se foeen hrough halyule lacek
Now
eoenhis ul hanse
you' t
out o this
grou sDns to mae he best
shuchonyandyou he tokee mon ,
126

Practising
rere are some suggestions for varying the ReichertExerciseNo. o.2
and the major and minor scale exercise p.52, and the scale exercises
on p.23,two of theeasiestexercisestomemorise.
)
3
etc
Àp etc.
etc.
8
-
etc.
etc.

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Tohatan M;llhauc Sncln Haclau Sa

Bicto Saatinn Gaubest Sonnda faategie .

For Larry Krantz, Nelson Pardec,Jobu Rayuorth and Helen Spielman

Joulus de Flate A.laussel

Thint alt ost.culaa pehs ca

Novello Publishing Limited

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SECTION I: TONE EXERCISES, WARM-UPS AND VOCALISE

SECTION 2: SCALES AND SCALE EXERCISES

SECTION THREE: ARPEGGIOS

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SECTION FIVE: THE THIRD OCTAVE

SECTION SIX: DAILY EXERCISES

7 Twelve Studies No.4 (Boehm) T10

12 Four Studies on Perpetuum Mobile I22

Order No. NOVI 20850 ISBN 0-85360-935-7

No part of this publicotion may be copied or reproduced in any form

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Slowly Reichert Daily Exercise No.2

This exercise may also be practised in the following way:

* See Practice Book One TONE, Page 24- Tone Colour

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Continue in the following keys:

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Continue in the following keys:

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Repeat p each time.

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Scales And Scale Exercises

* Practise playing top E without the DÀ key - it's atter.

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2 Harmonic MinorScalesto top B or D

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5 MinorScalesto top B or D in thirds

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tffteasstit nstttteelet D.S 8va higher

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tor Techncalram To((aad Gaibent

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D.C. al Fine 8va higher

*When top E follows top A, take off the D# key for E.

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