2012 T.M.E.A. All-State Etudes Practice Guide Dr. Meg Griffith

You have the etudes, now what? This guide offers you a start to your prep and practice through an understanding of how the music is put together. We will be on our way to not only learning what’s on the page but exploring the tools needed to make your own musical decisions that will make your performances truly your own. Listen to the recordings while going through this practice guide. Each time you listen, pick one aspect to focus on with the advice given, from rhythm to dynamics to specific patterns. This will narrow your focus as you listen for details and will show you that through organization and awareness, these pieces are not only very playable but beautiful and fun!

Etude 1 Elegie-Etude, measures 9 to the first note of 33

Johannes Donjon (1839-1912) As we begin our exploration of this piece, be careful not to look at the 32nds and panic – the patterns and repetition make it less daunting than it seems. With careful study and some planning, this is a fun and impressive piece to perform, both on flute and piccolo. The only changes to the written music for those on piccolo are in measure 11: play the low D-C#-D up one octave – this happens twice in the measure so be sure the change is included both times. Markings Allegro tres modere: very moderate Allegro.

Too fast a tempo and this piece becomes frantic. As does the flutist. largement (in the second half of measure 21): broadly

Take the opportunity to slow down the tempo and create some drama leading up to the D# and C# fermatas. Nothing says drama like a fermata and there are 3 in this measure alone!

vif (measure 22): brilliant, bright, quick, and spirited

Note the change in character between the largement section and the vif section – allow that to help pull you into character and into the right tempo (always remembering your overall instruction of moderate Allegro)

Lentement (measure 25): slowly and leisurely

The fun, playful vif character leads to this slower tempo. Still in a way playful because of the surprising change, the repeated pattern can start slow and steady and, if you like, can increase in speed near the end of the measure, like a ball rolling downhill as it moves toward the next tempo change.

A Tempo: return to the original tempo, in this case Moderate Allegro

lento (end of measure 32): slow

Again, this gives you permission to make your approach to the fermata a little more dramatic, and because this is the end of the section you will play for the auditions, it helps you create a convincing ending as well.

ten. (above the G at the end of measure 10): abbreviation for tenuto, to hold

The G can be emphasized more than the F#, almost like a small decrescendo from one note to the next.

en diminuant (measure 24): to diminish Tempo Range: 56-66 per quarter note Subdividing Considering the amount of continuous 32nd notes throughout, setting the metronome to include the eighth note will help keep the notes organized and even by dividing them into 4’s.

If your metronome does not have such a setting, simply double the tempo you have chosen: 50 would become 100, 60 would become 120, and so on.

While keeping track of the subdivision in this way can help simplify the 32nds and keep the patterns even, the musical feel should remain with the quarter note, with each larger beat leading to the next. Slow practice with the subdivision will help make these broader sweeps easier when you begin practicing specifically for tempo and style. Key and Scales Key: E Minor Scales: E Natural Minor, E Harmonic Minor, and E Melodic Minor

Practice of these scales gets the general shape of the piece under your fingers before you start the learning process. Bb Thumb Options While there are no Bb’s, its enharmonic equivalent – A# – appears in measures 18-25. The more efficient and comfortable options are the 1-and-1 fingering and the lever. I personally prefer lever, but practice both options to decide which works best for you.

Measure 21 does not include B naturals so Thumb Bb can be used – switch to Thumb Bb when you put your thumb back down after the high G and leave it on until the fermata C# after which you can move back to natural thumb. Patterns and Melodies This piece is built on patterns – work with them separately and what seems like a lot of notes becomes simplified. Familiarity with these chords makes recognizing these repeating patterns (key word: repeating!) easier.

Hidden Melodic Lines The patterns in measures 12 through 16 hide melodic lines. To hear that melodic line, play only the first note of every 4.

In the case of measure 12, the line becomes G-F#-F natural-E-Eb-C#-D. Notice that the 4th note of each 4 is repeated (same as the melodic line just mentioned).

The other notes repeat (C-A, C-A, C-A, C-A) until the last 2 groupings when it moves down one step (B-G, B-G).

This pattern of moving melody notes with sets of repeated pairs is the basis for measures 12-15. Send your focus towards connecting those melody notes and rely on the repetition of the patterns in between them to help simplify the entire process. Form Working with just the section required for the tryouts, we can divide the piece into four sections, each with its own sound and set of patterns. Explore their similarities and differences to simplify your practice and inform your musical decisions.

Section A: Measure 9-17 Section B: Measures 18-21 Section C: Measures 22-25 Section D: Measures 26-33

Breaths The long measures in this piece can seem daunting at first, especially when considering where to take a breath. However, Donjon clearly marks a few and leaves us good opportunities to add our own.

Measure 11

If you feel you need a small fill up to get to the end of 12, you can sneak a breath after the F# in the middle of the measure.

Measure 15

A breath can be taken after the low A that starts the sextuplets at the end of the measure. While it breaks up the rhythm, it finishes one thought, allows you to breathe, and continues onto the next phrase.

Measure 17

In the original version of this work, Donjon places a breath mark in parenthesis after the first note of 17 (the A) to help us get to the end of the measure. Again, this interrupts the pattern, but musically, it ends one idea and then begins another, making the breath mark fit naturally.

Measure 26

If you feel uncomfortable making the phrase last from measure 25 to the end of 27, slip in a breath after the high D at the end of 26 and let the C serve as a pickup into 27.

Once you have decided which breaths to take, mark them clearly and practice them as integral parts of the music to make them feel natural and comfortable. Knowing where all your breaths are provides stability, especially when nerves come into play. And aim for a deep, full breath each time, no matter its placement. Musical Interpretation

Accents By displaying the harmonies we have reviewed, you become your own accompaniment. But where on earth is the melody? Besides the melodic lines in measures 12-16, you can generally identify the melodic notes by looking for the accents.

When interpreting these accents, consider the mood discussed earlier: harsh, strong accents would not fit this character. These accents ask for emphasis through a longer lean on a note and a bit more vibrato. These tenutos highlight the melody notes while the harmony cascades around them.

Dynamics The dynamics range from ppp to fortissimo, giving you the chance to display your control. Maintain constant support throughout the lower dynamics, keeping the energy flowing and the pitch consistent no matter how quiet the moment. On the other hand, relax on the fortes: resonate and let your sound flow without forcing. Recall the character of the piece as you determine just how loud or quiet to be to ensure you are conveying the emotion you want. Getting Faster Beginning at too fast of a tempo can lead to learning mistakes, uneven playing, and lack of control. Slower tempos to start lead to faster tempos in the end due to the comfort and complete understanding gained during slow practice.

Once you feel you have mastered the piece at a slow tempo (something in the 30s, for instance), begin raising the tempo by a small amount (3-4 clicks).

Each new tempo must be performed comfortably and cleanly before moving up by another 3-4 clicks.

With the detailed and slow practice you started with, this process should not take too long and should be relatively pain free. But remember, if you reach a tempo that causes you problems, stay there and work with it! You don’t have to make it to your goal tempo in one day. Be patient and you will enjoy performing these in the audition rather than dreading your turn.

Etude 2 Eb Major, Op. 80/3, measures 1-42 (no repeats, take second ending)

Anton Bernhard Fürstenau (1792-1852) This is your chance to tell a story. There are many different moods in this piece. Explore them all and captivate your audience with the variety in your tone and approach. Markings Adagio: at ease con espressione: with expression

Fürstenau’s music has a lot to say, and this is your chance to help him express it.

dolce: sweet

Begin in a sweet character from which the drama and pathos can grow. Tempo Range: 48-60 per quarter note

Take your time, especially at the beginning. The longer notes and simpler rhythms at the start can accidently move too quickly, making the upcoming 32nds sound and feel frantic. Use the slower tempo and the long notes to show off your sound and musicality as you spin the air and vibrato through the ties.

Subdivisions Turn on the 8th note setting at whatever tempo you have chosen.

If your metronome does not have such a setting, simply double the tempo you have chosen: 40 would become 80, 50 would become 100, and so on.

In a slow piece you can use the subdivision to help you vary the sound in your long notes. In addition, sections like measure 15 are easier to divide up accurately and evenly with the subdivision on.

Rhythm Leave out the trills and grace notes until you learn the rhythm on its own.

The ornaments are important to the line, but they need stable rhythm underneath them to be convincing and comfortable. This is especially important in measures like 24. See the trills section for more information.

Measure 15 needs attention in the movement from duple to triple (32nds to sextuplets).

Subdividing with the 8th note (making this measure 4 per beat for the 32nds and 6 per beat for the sextuplets) will keep this measure even and organized.

Mark your beats (both quarters and 8ths if you like), turn on your subdividing metronome, and jump from rhythm to rhythm, working out each in turn. Sing and/or clap the rhythms with and without the recording to become comfortable with their shape and direction without the added worry of the fingerings. Grace Notes Once adding the grace notes, consider ways to include them rhythmically so they don’t get out of control. In measure 14, once you are sure where you quarters belong, add them in as 32nds by shortening the G by one 8th note. This gives you a very solid understanding of where they belong and keeps you under control and is a fine place to stop.

If you wish to go further, once you feel good about their placement, you can experiment with taking them slightly out of rhythm to find the almost improvisatory, ornamental feel you want from these notes. But remember, the most important notes are the two quarters. The grace notes just serve to make them more interesting and more beautiful so keep them under control.

In measure 24, the first grace notes include a C and a D. To aid in coordination, you can use the first trill key while playing C to get to D. This means for way less finger movement in such a quick amount of time. Key and Scales Key: Eb Major

While the other works are filled with arpeggios, this piece contains only a few. Use the knowledge and experience with these patterns from the Andersen and the Donjon to help you when the arpeggios appear here. Accidentals Be prepared for Cb’s (or B natural) especially the Cb at the beginning of the line in measure 20. It has a surprising sound and can sneak up on you if you are not looking ahead.

The last section of the piece includes Gb’s and Fb’s (or E naturals). These continue throughout the measure so take a moment to mark any as reminders, especially the Gb on the last beat of measure 40. Bb Thumb Options While your Bb thumb key can be used for much of this piece, the appearance of B naturals and Cb’s make it impossible to use the entire time. B natural in measure 6:

plan ahead at the C in measure 5 by taking the Bb key off and using 1-and-1 for that Bb, thus being ready for the coming B natural.

or

you can slide your thumb off the Bb key during the long Eb. B natural in measure 14:

This presents the same music as measure 6 one octave higher so whatever you choose for one, apply to the other. This time, however, the music afterward includes B naturals so leave the Bb key off.

Cb in measure 20

Have the Bb thumb off ahead of time, perhaps during the rest at the end of 19. Gb in measures 26 and 30

The Bb key cannot be used on the high Gb. Sliding off the Bb key before you reach the high note is an option, although it is risky. A safer option could be to experiment with 1-and-1 or lever, but again, whatever you decide, make it habit long before the tryouts.

Patterns and Melodies The melody in this Adagio is clear and beautiful. It is presented simply in the beginning, and as we venture further into the piece, the line becomes more ornamented with scalar figures and afterthoughts to the main melodic notes. Measure 15 looks more complicated than it is. Divided up, it is simply an Eb Major scale and a chromatic scale. The recording demonstrates an approach to practicing this measure.

The first four 32nds are based on the Eb Major scale.

The second four 32nds and the sextuplets that follow all the way up to the high Ab is a chromatic scale.

The rest of the measure is an Eb scale with an added B natural in the middle. Breaths There are many long phrases in this work. In the chances for breaths, especially the rests, take advantage of the opportunity to breathe deeply and really fill up to be ready for the longer lines. That said, there are a few spots we can sneak in a breath.

Measure 7

Measures 5-8 can be a long phrase for some of us at this tempo. Break the tie on the Eb at the beginning of measure 7 before heading up the Eb Major arpeggio if you need a little fill up to get to the end of 8.

Measures 13-16 have several options if needed. Not all need to be taken and they each have their advantages and disadvantages. You, as the performer, would need to weigh your options and choose the one that is right for you.

You could break the Eb tie in the middle of measure 14. This can diminish the drama of the hairpin crescendo and decrescendo, but can be an option if needed.

A breath could be snuck in after the first note Eb in measure 15, completing the melodic idea and then continuing into the scalar figure.

After the high Ab, a quick breath could work before finishing out the phrase through measure 16. Measure 23

If needed, you can break the tied D before you walk down the Bb scale. Measure 31

A breath can be added at the end of the measure. Measures 35 and 39 have two options. Because they are so similar, it is probably best to make the breath marks match.

You can either breathe after the E natural (measure 35) and the Fb (measure 39).

or

You can breathe after the first note Ab of measures 36 and 40.

Either way, the breath needs to be short and carefully worked into the music to keep it from being a jarring interruption. I think I prefer the first option, but try both and decide which sounds best to you.

Articulation and Slurs The slurs show off your beautiful sound and how coordinated your fingers are. It only takes a moment to raise your awareness around such coordination but it makes a huge difference in your performance. Make sure your fingers work together! While you’re thinking about broadening your sound and sending the air spinning through the slurs, don’t forget to pay attention to where you should be articulating. The placement of slurs vs tongued notes make a big difference in what the music conveys. A tongued note, for instance, sounds clearly with a little added emphasis. Consider the articulations as important as the notes because they intensify the meaning behind the melodic line. Trills The trills included in this piece are small ornaments that simply embellish the melodic line.

In measure 12, practice the trill separately to get used to moving your middle finger on your left hand by itself so that the trill can sound easy and light. In measure 23, one turn is plenty for each trill. Too many and the scale downward sounds quite wild. The accompanying recording offers ideas on how to approach this section.

Practice the scale itself without the trills. Next, add in one turn each. And finally try it in rhythm. Musical Interpretation Give all long notes direction: grow or diminish the sound towards the note’s end, speed up or slow down the vibrato through each subdivision, giving each one a different purpose – 1 2 3 4! Soon, the long notes won’t seem long enough for you to do all the musical things you want to do. And while thinking about all the options you have for that long note, you have now solved a rhythm problem by making sure they are the right length. Within all the moving notes, there are melodies which can mostly be found by aiming for the main beats. Give your music purpose towards these melodic notes, with a broad, sweeping sound through the moving notes to keep the ideas flowing forward. Dynamics Dynamics are all about contrast – be as obvious as possible so that your audience has no doubt about your intentions, but don’t sacrifice your sound. As you did with practicing the different rhythms, divide this up into sections to work on the different levels of dynamics, especially in sections like measure 17 where the marked dynamics are opposite to the tendencies of the flute.

We tend to be softer in the low register and louder at the top. Work to control that tendency so your low register is full and your high register floats above it. The approach to both involves air support and air direction.

Aim more into the flute for a louder sound, aim a little higher for the softer sound. The more you experiment with it and push yourself, the further you will be able to go.

Form This piece definitely benefits from an awareness around the sections and their relationships to each other.

Section A: measures 1-8 Section A1: measures 9-16 (very similar to A, up an octave and with a different ending) Section B: measures 17-25 Section C: measures 26-33 Section D: measures 34-42

As you listen to the recording and practice this piece, be aware of how these sections relate to each other and how you can connect them musically. The sections get more active as you go until you reach Section D which begins to relax and head back to the calmer character of Section A.

Etude 3 B Major, Opus 30/11 (all, no repeats – take the second ending)

Joachim Andersen (1847- 1909) This piece is clearly an exercise in articulation and arpeggios. The Donjon got us started with the idea of arpeggios so we are ready to tackle Andersen’s approach. Rhythmically, it is much simpler than the Fürstenau so we can relax on that aspect and focus on clear, crisp tonguing.

For ease and clarity, we will be using the measures as marked in the piece, even though the second ending is marked as its own measure.

Markings Moderato: a moderate or medium tempo ben staccato: well detached

Keep the notes all the same length: nice and light, bouncy, and separated. Too short and the music will sound pecky and your tongue will become fatigued more quickly. Too long and the patterns become harder to play cleanly. Aim for the middle – light staccato.

Tempo Range: 54-72 per dotted quarter note, with six 16th notes sounding for each beat Subdivision To subdivide in this meter, we need to include three 8ths for each larger beat.

If your metronome has subdivisions, turn the triplet setting on at whatever tempo you choose (preferably a slow tempo to start).

For those without that setting, multiply your tempo marking by 3 to get the subdivided eighth notes (40 would be 120, 50 would be 150, and so on).

With the subdivision included, the notes become 2 per click, which is a little easier to keep track of to start. Like the Donjon, we are aiming for a broader movement towards the dotted quarters (or beats 1 and 4 if you are subdividing). Use the inner subdivision to help move you forward in the music. Key and Scales B Major

Accidentals E# (or F natural) appears in all three octaves

You are already quite familiar with this note, even if you hardly ever use this name for it. E# is the enharmonic equivalent to F (the sharp raises the E by a half step and since F is a half step above E, they are just two names for the same note).

B# is similar: it is the same as C.

While a good idea to connect these new names to the notes you already know, begin getting used to thinking of them as B# and E# (not just C and F) so that reading them becomes easier now and later.

Measure 27 and 28: Those little X’s next to the C and F are double sharps, and they mean exactly what that sounds like. If a sharp raises a note by one half step, a double sharp raises it by two.

CX (or double sharp) is a D (C to C# to D, two half steps)

FX (or double sharp) is a G (F to F# to G) At the end of each of those measures there is a C and F with both a natural and a sharp next to them – this cancels out one part of the double sharp, making those notes just go back to their normal C# and F#.

Why on earth would Andersen do this to you? Because once you get used to reading them (which isn’t a big deal since they’re just notes you already use all the time), they are actually easier to read in the music than having a bunch of other naturals and sharps to cancel out the key signature and then bring it back when trying to use these notes. It simplifies the act of reading. Don’t worry, you’ll believe me once you get used to seeing them!

Bb Thumb Options A#s are everywhere. If necessary, mark or highlight them before diving in so you have one less thing to remember. As before, decide now which fingering you want to use.

You can make this decision by seeing what notes surround your A#s. If your first finger on your right hand is already down, it might be a good chance to use the 1-and-1 fingering since coordination of that finger is already taken care of for you.

Measure 27

E#-A#-E natural (4th through 6th notes )- your first finger is already down on the E#, keep it there for the A#, and again leave it there for the E natural.

Measure 4

B-A#-B (3rd through 5th notes) – using lever could be an option since it involves simply leaning on the key.

The following A#, in the E-A#-G# set a few notes later, could be back to 1-and-1 since the E includes the first finger already. But be careful – be sure the first finger comes up in time for the G#!

As you can see, there are several options for the approaches to A# in this piece and they don’t all need to be the same. Take the time to decide which ones fit under your own fingers and mark

them so that you can be practicing that way from the start. You’ll be glad you did when you get into the audition room! Patterns and Melodies Because the whole piece is built on arpeggios in the key of B Major, work with arpeggios for each note of your B Major scale – they’re all in there in some form or another. A few recurring arpeggios that don’t belong in the key are also included.

Once you have these under your fingers, glance through the piece and pick out the collections of notes you recognize. You’ll see how quickly this piece becomes one big pattern rather than 417 separate notes. Notice also how many patterns repeat. B Major comes back a lot, as does E Major and F# Major. (For those of you who like theory, that’s the I, IV, and V chords.) Hidden Melodic Lines Measures 27 and 28 combine 2 melodic lines and can be divided into four parts which lowers the amount of information being thrown at you at one time. The following approach is demonstrated on the recording. First off, the melody. Work with these lines to hear their contour and give your practice purpose.

The lower notes create their own line: F#-G#-A#-B-E#-FX-G#-C#-D#-E-A#-B#-C#.

The top line presents its own: F#-E#-E natural-D#-CX-C#-B-A#-A natural-G#-FX-F#. This is simply a chromatic scale with the exception of the whole step move in the middle from C# to B.

Now divide these measures into 4 bits to simplify your practice and make reading easier. The dividing points follow the leaps downward in the lower melodic line.

Section 1: F# to D# (8 notes) Section 2: E# to B (6 notes) Section 3: C# to G# (6 notes) Section 4: A# to C# (5 notes – this includes the first note of measure 29 to finish out the pattern)

By dividing it into sections, the amount of notes we are working on at a time becomes less which is simply easier for us to process. Besides making it easier for you to play, this division clearly shows the melodic line’s contour and becomes a musical tool as well. Music and technique solved in one exercise!

Breaths There aren’t many breaths marked, but there are musical places to add some if we need them. Generally, we can wait until the end of a phrase and then breathe after the first note of the start of the next. Measure 5: if needed, a breath could be placed after the first note B

Placing the breath on the barline in this case would interrupt the flow and keep the two phrases from feeling connected. Taking it after the B allows one thought to finish and the next to pick up easily where the other left off.

Measure 13: after the first note F# Measure 22: after the first note B Measure 26: after the first note C# Measure 34: after the first note B As always, not all these need to be taken in addition to the ones Andersen already has marked, but they make good options for those that need a breath and those that want a safety net. Articulation One thing to consider first is sound. Ask yourself - Is every note I am playing as resonant as it can be? Take advantage of the scale and simplified arpeggios included here to make sure you are reaching the center of every note.

Slur: slur everything very slowly and out of tempo and rhythm, with long notes designed to transfer the beautiful core you found in your prep work to the piece at large.

HA: work with the notes on “HA” by leaving out the tongue and sending a strong puff of air into the flute. Keep your embouchure set and ready just like it was with the long tones as you shorten the notes and bounce the air off them.

Tongue: add a light tongue to the start of each note, either single or double tongued (or try variations of both to get some exercise!) and let it form a beautiful and refined beginning

Musical Interpretation Musicality can be expressed through harmony – whenever the harmony changes, consider that a new thought or comment and aim for the next time the harmony changes. This creates harmonic rhythm, or the rhythm created by the space between the changes in harmony.

Measure 1 has a harmonic rhythm of dotted quarter notes because the first arpeggio, B Major, lasts for the first dotted quarter and then changes to E Major on the second.

In measure 2, the entire measure is the harmonic rhythm because it is based on B Major throughout.

In short, aim for the changes because the harmonic movement and how you get there are what make this piece fun to play and hear. Need more than the harmony to give you purpose? Consider what this music sounds like to you. Perhaps like a harp or guitar? I tend to think of falling raindrops when I perform this piece. While giving me musical purpose, it also helps my articulation.

Dynamics Your range for dynamics in this work involves piano to forte. Piano sections played lighter sound quieter to the ear while forte sections with a little more length or heaviness to the notes sound louder. Push yourself to find your dynamic extremes, but maintain control of the sound and fingers. Without those to ground you, your dynamics can’t be clearly conveyed. Form Use the form to help organize your plan of attack as well as show you what you already know. Listen for the differences and similarities between sections.

Section A: measures 1-8 Section B: measures 9-17 Section A: (again, with a slightly different ending): measures 18-25 Section C: measures 26-33 Coda: measures 34-37

There is a fair amount of repetition in this piece, both in the use of specific arpeggios and in whole sections. Awareness around the form will keep you organized and will help bring your focus around to the music rather than the technique. Speeding up the tempo As with the Donjon, working slowly and carefully with subdivisions is the best and fastest way to approach learning this piece. You will definitely be able to play this faster in the end if you start slow in the beginning. Follow the same approach as before: pick a slow tempo at which you can play it comfortably and cleanly and then begin the process of raising the tempo by just a couple clicks at a time. Break it into sections so you aren’t playing the whole thing at once. Stamina can also play a factor in raising the tempo so don’t exhaust yourself by trying to play the entire piece. Try using the form to work with tempo – pick one section at a time to work with. It is easier to maintain your focus on smaller bits.

You’re Done!

These ideas are meant to help you develop your own by giving you the tools to organize your practice. In the end, the most important factor is you: your interpretation, your sense of musicality. Enjoy working with the techniques we have presented here and then use that basis to find your own musical way. And above all, have fun with this music! Please feel free to contact me with any questions you might have at meg@meggriffith.com.