tracy l. harris · 2019. 9. 4. · hand position for piccolo is critical, especially since the...

“MUSIC FOR ALL”

Flute and Piccolo Worksheets

Provided by:

Tracy L. HarrisYamaha Performing Artist and Clinician

Professor of Flute/Piccolo/LowFlutes

College of the Sequoias

June 24-June 30, 2018

Ball State University – Muncie, Indiana

6/11/2018 COPYRIGHT TRACY L. HARRIS 2018 1

FLUTE AND PICCOLO BASICS WE

WILL BE COVERING THIS WEEK ☺

1. Proper Assembly of the Flute and PiccoloParallel assembly with Barrel, Clockwise/Counterclockwise, Music Stand Alignment

Method for flute, proper alignment of Piccolo.

2. Proper Hand/Body Position for Flute and Piccolo2 C’s Rule, the Fulcrum Concept, Marionette position, Standing/Sitting Position in front

of stand in a 45 degree angle, Head Tilt matching Flute Tilt, Piccolo Position “always at

attention”.

3. Breathing – The Essential Techniques for Flute and PiccoloBreath Builder, Gut in when its out and out when its in, exhale before inhale, Tracy’s

“Santa Method”, Consistency is key for both flute and piccolo.

4. Tone – Secrets to Producing Amazing Tone Fast on Flute and

Piccolo

Tracy’s PIP Test and Frowny Embouchure, Headjoint work is Key, Aiming air INTO tone

hole, flexible embouchure and jaw for best tonal control.

5. Properly Tuning a Flute and Piccolo – Techniques for Tuning Metronome -Tuner/Tuner Pickup, Tuning in context – their Bb is terrific so what’s

wrong?, tuning in 3rds, 5ths and octaves. Knowing important alternate fingerings.

6. Vibrato Production for Flute and Piccolo – Learn in Under 5

MinutesThe ”Owl” Method, the “European Ambulance” technique, easy exercise for vibrato

control (speed and Intensity of vibrato wave).

7. Articulation - Single and Double Tonguing for Flute and PiccoloSingle tongue exercises and double tongue exercises for clean and precise articulation.

8. Care and Maintenance of the Flute and PiccoloA Handout of Do’s and Don'ts to keep flutes and piccolos properly serviced and playing

their best.

9. Flute and Piccolo Fingering/Trill Charts with Alternate FingeringsFingering Charts that can be in folders at all times, the Value of alternate fingerings.

10. Efficient Practice Routines and Mental Strategies for CompetitionTimed practice element by element, dispelling the adrenaline response, the empowering

effect of Mock Auditions, memorization of audition material, “Friendly” competition.


#1 Proper Assembly of the Flute and Piccolo

6/11/2018COPYRIGHT TRACY L. HARRIS 2018 3

Proper hand position, technique, intonation, and the best tone quality can only be achieved when

your flute is properly assembled. Once correctly assembled, and properly held the flute’s keys

will remain parallel to the floor.

Always keep the flute parallel to the floor during its assembly. Twist clockwise when

assembling vs. counter clockwise when disassembling the flute. Never grab the flute’s keys

to assemble or disassemble a flute. When properly assembled, a flute’s keyboard will be

parallel to the floor with the keys upright optimizing hand position and technical control.

Once properly aligned, mark with a Sharpie pen & cover with clear tape to provide an everyday reference point.

Proper Flute assembly ensures that the tenon is protected from damage.

It also prevents air leaks which can produce a fuzzy tone.

Headjoint tenon Foojoint tenon


A piccolo is half the size of a flute, and shares many characteristics of its big sister,

including the method of its proper assembly. Align the Center of the headjoint’s

Embouchure Hole with the Center of the first un-depressed key on the body similarly

to the flute. Additionally, when holding the piccolo, be sure that the keys stay parallel

to the floor to provide the optimal hand position.

When Assembling the piccolo hold the sections as shown below.

Always assemble the Piccolo parallel to the floor and always be sure to twist clockwise whenassembling and counter clockwise when disassembling the sections. Never grab the piccolo’skeys when assembling or disassembling. When properly assembled, the piccolo’s keyboardwill be parallel to the floor with the keys upright. Like the flute, this provides for anoptimal hand position and the best technical control.

Where to mark proper alignment on a piccolo

Apply grease to cork as

shown at right. Do not put

grease on the silver section

shown left.

Headjoint tenonApply Grease to entire cork

Left hand grips

right below tenonRight hand grips bottom of

headjoint firmly

#1 Proper Assembly of the PiccoloCritical to Sounding Your Best

6/11/2018 COPYRIGHT TRACY L. HARRIS 2018` 5

#2 Proper Hand/Body Position

For Flute & Piccolo


#2 Proper Hand/Body Position for FluteEasy to follow guidelines to maximize the

consistency of Your tone/technique

Left Hand Right Hand

The 2 C’s RuleDeveloping a good technique requires the use of precise and consistently correct Hand position.

“Hover Mode “– Magnets to Metal Keeping the fingers low to the keys is essential to clean, quick technique.

Right Hand From Performer’s Perspective

Both Hands From Performer’s Perspective

Left Hand From Performer’s Perspective

Both Hands From Conductor’s Perspective


#2 Proper Hand/Body Position for PiccoloEasy to follow guidelines to maximize consistency of tone/technique

The Modified 2 C’s Rule for PiccoloHand position for piccolo is critical, especially since the fingers are much closer together than on the

flute. Position the right hand in the shape of a collapsed C (similar to a vertical U) and the Left Hand up

and positioned horizontally ‘straight-on’ to the piccolo body. Center each finger carefully over each key.

This keeps the fingers properly separated and away from the mechanism. It also reduces overall

tension, a frequent byproduct of incorrect hand position.

“Hover Mode” – Magnets to MetalJust like the flute, keeping the fingers low to the keys is essential to clean,

quick technique for the piccolo.

Left Hand Right Hand

Both Hands From Performer’s Perspective Both Hands From Conductor’s Perspective


#2 Proper Hand/Body Position for Flute & PiccoloEasy to follow guidelines to maximize consistency of tone/technique

Body Position for both Standing and Sitting Angle of Flute and Piccolo should match the Angle of the Head

This ensures that the airstream will hit the embouchure hole evenly and at the proper angle.

Everyday practice in front of a mirror is essential to ensure consistency.

Tracy’s Pencil Rule applied to right hand

The Pencil Rule helps to promote

good hand position

Tracy’s “Pencil Rule” for the Right HandCheck to see that you are not touching the mechanism/Hinge tubing of their flutes or piccolos.

Use the left hand, in concert with pressure applied with the left arm against the chin.

45 Degree angle standing in front of stand 45 Degree angle sitting in front of stand

Positioning yourself at a 45

Degree angle to your stand

will optimize field of vision

while reading music. your

breathing will also be more

open and free.


#3 Breathing – The Essential

Techniques for Flute and Piccolo


#3 Breathing – The Essential Techniques for PiccoloEasy to follow guidelines to maximize consistency of tone/technique

It is essential that you know how to breathe correctly for optimal control and projection. I

use the following description when working with flute/piccolo players and it always seems

to resonate with students:

Think of your lungs like two big balloons. Filling a balloon increases its size and letting air

escape decreases its size. Breathing in inflates your lungs, and exhaling deflates them.

Because your gut should relax and go out when breathing in, and goes in when breathing

out, a proper breathing fundamental can be summed up as:

“GUT’S OUT WHEN AIR’S IN"

The Gut goes OUT when breathing IN

If you get dizzy and/or feel tingling or

numbness while breathing deeply

you may be HYPERVENTILATING. To

relieve these symptoms hold your

breath or breathe into a paper bag

until the symptoms pass. This is

normal and will get better as you

learn to breathe more deeply on a

regular basis!

IT’S OUT WHEN IT’S IN and IT’S IN WHEN IT’S OUT

“GUT’S IN WHEN AIR’S OUT"

The Gut goes IN when breathing Out

Lack of Back Pressure and the Need for Constant AirspeedThere is little or no back pressure when producing a tone on the Flute, although the piccolo is

less extreme than the flute. When the air exits the lips there is no reed or mouthpiece to slow it

down – the airstream is basically unencumbered. Overall a large lung capacity must be

maintained to generate and control a sufficiently fast airstream (the piccolo to a lesser extent).


#4 Tone – Secrets to Producing Amazing

Tone Fast on Flute and Piccolo


#4 Tone – Secrets to Producing Amazing

Tone Fast on Flute and Piccolo

The “Harris PIP Method”

1. Place your index finger's PIP Joint (proximal interphalangeal - PIP for short) on the

bottom of your chin (not under).

2. Form your best "Frowny"" embouchure, then relax your jaw and let it lower down and

back a bit. Using your first finger, push against the chin with significant pressure while

aiming your airstream straight down and centered on the PIP Joint.

3. Two ways to Confirm the Direction of the Airstream:

A. You will feel the airstream clearly hitting your PIP Joint

B. When placing your opposite hand in close proximity to your face, you should feel

NO AIR hitting the palm of your hand while blowing down towards your PIP Joint

6/11/2018COPYRIGHT TRACY L. HARRIS 2018

13

#4 Tone – Secrets to Producing

Amazing Tone on Flute/Piccolo

Smiley vs. Frowny Embouchure - Keep your smile on the inside!

Correct “Frowny” Shaped Embouchure1. Is more flexible, & produces stronger overtones fostering a rich sound & better intonation.

2. Maintains a rounder-shaped embouchure hole - its smaller size facilitates playability

as notes ascend into the flute/piccolo's 2nd and 3rd registers.

3. More effectively directs the airstream INTO the flute/piccolo thus increasing the volume of

air driven though the flute. This improves projection and improves the sound quality.

4. Increases scope of Dynamic palette and makes controlled Tapering of notes easier.

Keep the embouchure plate pressed against the chin with significant pressure at all times

when playing – Improperly "floating the headjoint“ by barely pressing the lip plate against

the lower lip allows the insufficiently compressed lip tissue to impede the proper aim of the

airstream and thus producing a fuzzy tone.

Incorrect “Smiley” Shaped Embouchure1. Causes the corners of the mouth to turn upward, and pulls the lower lip away from and off of

the embouchure plate.

2. Tenses the lips producing a very inflexible embouchure controlled mostly from the corners

of the mouth.

3. Is usually too large and misshapen - does not readily change as needed for register shifts.

4. Misdirects the airstream focusing it improperly OVER the embouchure hole rather than INTO

it, ‘fuzzes’ the tone quality, weakens projection & worsens intonation throughout the registers.

5. Makes tapering and dynamic control much more difficult.


#5 Properly Tuning a Flute

and Piccolo


#5 Properly Tuning a Flute & Piccolo

Techniques for Tuning

Intonation Challenges for Today’s Flute/Piccolo Player

When played in tune, the modern Flute/Piccolo sounds its most resonant and produces the

clearest tone. Proper Intonation often demands alternate fingerings, the proper application

of airspeed, correct headjoint placement, and use of the correct embouchure.

If the intonation is consistently off, the head joint cork position and integrity should be

checked prior to forcing an alternate fingering to correct the problem. The cork is integral

to achieving good and proper intonation.

Check for Correct Cork Position Inside Headjoint

Check your headjoint cork placement every few months for best intonation. Good

intonation requires ensuring that the cork located in the top of each flute/piccolo headjoint

is properly positioned.

Often the flute/piccolo crown can become loose so players tend to "over tighten" the

crown. This movement of the cork steadily into the headjoint, towards the crown,

produces a problem I call "Cork Creep.” This cork migration too close towards the crown

causes an extreme lowering of the produced pitch.

Have your headjoint cork inspected professionally at least once a year to check whether

the cork requires replacement.

Flute Headjoint cork assembly

1. The 'crown'.2. The cork 3. The front plate.4. The back plate.5. The threaded rod.

Piccolo Headjoint cork assembly


Checking cork placement in Flute headjoint with cleaning rod

Checking cork placement in Piccolo headjoint with cleaning rod

The cork’s position can be easily verified by inserting the end of the flute/piccolo cleaning

rod into the headjoint. If the tick mark shows up exactly in the middle of the

embouchure hole the cork is properly placed.

#5 Techniques for Properly Tuning a Flute & Piccolo

Having a flexible jaw and embouchure is a must when it comes to playing in tune.

TRIO DEMO – “Set it and forget it” – “Flexible and Fabulous”

Trio Music Practice


#5 Properly Tuning a Flute

Techniques for Tuning

Pitch is effected by the Temperature of your playing environment. Molecules move more

slowly in a cold environment, driving down the pitch, while molecules in a warmer

environment move more quickly through the tubing, driving the pitch up.

Pitch Tendencies of the Flute by Register & Dynamic

Regardless of a note’s register or dynamic, every flutist tends to sound sharp or flat to varying

degrees. Knowing the pitch tendencies of the flute and piccolo throughout all the registers and

dynamics is a mustand can be quickly learned. We can summarize these differences according

to octave as follows:

First/Low Register: To help prevent notes in this register from sounding flat, maintain

a steady, robust airspeed. Remember that notes played with a louder dynamic such as a forte

(ff) will tend to sound sharp and notes that are piano (p-pp) can be very flat.

Second/Middle Register: Notes in this register will tend to flatten in softer dynamics

and tend to sharpen when played using mezzo forte (mf) and forte (f to ff) dynamics.

Third/High Register: Maintaining a fast and consistent airspeed will prevent notes in

this register from sounding flat when played using very soft dynamics. Please note when

playing a louder dynamic such as a mezzo forte and forte, notes tend to go sharp. 3rd register D

is notoriously flat especially when played using softer dynamics. The use of alternates is

essential in this register.

You should tune with a tuner, using a pickup if possible. The tuner pickup/audio

input jack makes it possible to tune without any interference from the other

instruments in the rehearsal room. A common complaint from flute players is

they cannot hear themselves over all the other instruments when tuning. Flute

Choir Music Here.

Tuner Pick up with metronome


#5 Properly Tuning a Piccolo

Conical or Cylindrical bore – which one are you playing on?

Cylindrical: Many student piccolos are made with a Cylindrical bore which means the

body is the same diameter from one end to the other with straight parallel sides and the

interior is shaped like a cylinder. It is often made of metal or composite materials and has a

conical headjoint (tapers in diameter at the crown).

Cylindrical - same diameter from end to end

Conical: More expensive/professional piccolos are made with a Conical Bore, meaning that

the body tapers in diameter from top to bottom reflecting the interior’s conical shape, and

attaches to a cylindrical headjoint. The Conical design, while a bit more difficult to play in

the higher registers, often delivers a richer sound, a greater range of tone colors, and a

superior intonation.

Conical - tapers in diameter from top to bottom

Piccolo Bore - Cylindrical Tubing vs. Conical Tubing: The exterior shape of the

piccolo’s body tube reflects the shape of its interior or bore. The bore determines the path of

the flow of air through the piccolo which in turn affects the nature and quality of a piccolo’s

tuning tendencies. Piccolos are available with one of two different bore types:


#6 Vibrato Production for Flute and Piccolo-

Learn in Under 5 Minutes


#6 Vibrato Production for Flute and Piccolo-

Learn in Under 5 Minutes

Practice the vibrato exercise below utilizing different dynamics from pp to ff making sure

the quieter the dynamic, the narrower the vibrato (amplitude of the wave), and, conversely,

the louder the dynamic, the wider the vibrato (amplitude of the wave).

"Hoot" your way to a terrific vibrato in 5 Steps!1. Turn on your metronome to quarter note = 50 and say out loud “who”“who””who” to each

beat while moving as much air as possible with each “who”.

2. Next, try taking out the "w" and just say "ooh" "ooh" "ooh" in time with the metronome.

3. Once you feel comfortable with steps 1 & 2, try connecting the "ooh" "ooh" "ooh's"

together into one fluid line, and sing them with the metronome..

4. Play a 2nd register D, and waver two times per beat blowing “ooh” “ooh” into your

piccolo. Once you have mastered two “ooh’s” per beat at quarter note=50, try wavering

3, then 4 then 5 wavers per beat,. The wavers should be evenly spaced throughout the beat.

5. Increase the tempo on your metronome one click at a time, mastering 2, 3, 4, 5 wavers per

beat, until you reach quarter note = 60. Strive to achieve 5 “ooh’s” or wavers per beat at

quarter note = 60-66.

The lovely embellishment that Vibrato adds to a Flute/Piccolo’s tone can be easily mastered

using simple techniques. Properly practicing and applying these techniques will broaden the

dimension of your flute/piccolo’s sound and will increase your overall projection.

Diagram of Amplitude of Wave for ff and for ppVibrato Exercise


#7 Articulation - Single and Double

Tonguing for Flute and Piccolo


#7 Articulation - Single and Double Tonguing

for Flute and Piccolo

There are many kinds of articulation and each type should be played distinctly and with

clarity. For many flute/piccolo players this is a challenge. Many students don’t articulate at

all or they use a “breath” articulation. When first attempting articulation, notes tend to

crack and feel unstable, so many flute/piccolo players shy away from articulation in general.

I have found the following techniques help with teaching the basics of articulation and they

remove the mystery and fear that often comes with learning how to articulate:

1. How to achieve a Lively and Energetic Single Tongue Articulation

Proper single tonguing technique needs a great deal of air speed to achieve balanced, clean

articulation. To achieve this play a simple scale with “breath” articulation only, using the syllable

"Hoo" "Hoo" "Hoo”. It helps to flex the abdominal muscles as they play. Once they can play a

simple scale with just breath articulation then have them try using their tongue with the same

amount of airspeed behind each articulation using the syllable “two”. This will help you feel

what it’s like to play with the proper airspeed and how it feels to combine airspeed with an

articulation. Play the exercise below and it will help you to have a much greater appreciation for

the many kinds of articulations that exist.

2. Proper Embouchure is Essential to Maintaining a Quality Tone When Articulating

The shape, tension and integrity of the embouchure determine tone quality while tonguing. Be

sure you are not tonguing too softly or not at all, often a result of trying to achieve perfectly

clean tone. And of course avoid the dreaded "Smiley" embouchure which will result in the tone

cracking when tonguing.


4. Practice your scales with an “articulation” of the day - this is quite

effective in helping players be more musically communicative.

5. Have students use earplugs when practicing articulation – let them "feel“

how the tongue actually works inside of the mouth.

3. Check to make sure your players are not falling into the habit of

improperly STOPPING a note with the tongue. A note’s release should be

facilitated with the embouchure by either breaking the embouchure

entirely or tapering/lifting off the note in conjunction with the proper

airspeed/embouchure control.

6. Too Koo and Doo Goo your way to a fantastic Double Tongue.

A wonderful way to improve your double tonguing is t practice a Bb scale

double tonguing each note 4 times – ‘too koo- too koo” at mm = 60 to start.

This will result in easier and cleaner articulation in tongued fast passages.

(DEMO)

7. To strengthen double tonguing in a balanced way, sometimes reverse the

syllables, and practice "Koo Too" or "Goo Doo" to strengthen the normally

weaker "Koo" or "Goo" syllable.

8. When single or double tonguing let the airspeed do the work. Use plenty of

airspeed to help the tongue sound crisp, clean and light. Ask them to lean

back in their seats until they feel their abdominals flexing and then try some

single and double tonguing. They will hear and feel a difference right away.

#7 Articulation - Single and Double Tonguing

for Flute and Piccolo


#8 Care and Maintenance of the

Flute and Piccolo


#8 Care and Maintenance of the Flute & PiccoloClear Do’s and Do-Not’s to keep Flutes and Piccolos

properly Serviced and playing their best.

Flutes and Piccolos are delicate instruments, despite the fact that they feel like cold,

indestructible metal (or wood). Both must be handled with the utmost care in order for

them to perform at their best.

Care and Maintenance DO’SDO - Always handle the instrument with great care, never grab or hold it by the keys

when cleaning, assembling or disassembling it.

DO - Always wash hands before playing the instrument. Dirty hands foster material deterioration.

DO - Always brush the teeth before playing – this prevents food sugars and acids from seeping

into the instrument’s mechanisms and pads. Such seepage ruins the pads and causes leaks.

DO - Always have the instrument serviced by a professional repairperson at least two times a year

to check the headjoint cork, as well as the pads to correct for wear and tear which may

cause leaks.

DO - Always swab out the instrument after every practice with a 100% cotton handkerchief – use

either a plastic or wooden cleaning rod. Don’t use metal - this may scratch the instrument.

DO – Always insure instruments against theft or damage. Instrument insurance is available

through companies which specialize in insuring musical instruments.

DO - Always polish the parts that are not delicate including the main body tubing, headjoint,

and keys with a silver polish cloth

DO - Invest in a good piccolo or flute stand to rest the instrument upon when practicing

field shows or any time the flute or piccolo is left unattended even for a brief period of time.

Care and Maintenance – DO NOT’sDO NOT - Leave a flute or piccolo in a very hot or cold car.

DO NOT -Travel with the instrument in the trunk. Instead buckle it into the seat. In an accident, a

seatbelt may save the instrument’s life and possibly someone else’s life as well.

DO NOT- Store the instrument’s cleaning swab inside the case along with the instrument – the pads

will re-absorb all of the moisture just swabbed out of the instrument with that very cloth.

DO NOT - Handle the instrument with dirty hands or play after just having eaten a meal/sugary

substance.

DO NOT - Leave the assembled instrument unattended where people can “accidentally” bump into it

and cause potentially expensive damage.

DO NOT - Leave the instrument out overnight or for any extended period of time outside of practice.

DO NOT - Wash the instrument with any type of liquid or submerse any of its parts in water.6/11/2018 COPYRIGHT TRACY L. HARRIS 2018 26

#8 Care and Maintenance of the Piccolo

A few words about Piccolo maintenance

and preserving your hearing

Wooden Piccolo Care and Maintenance

➢Have students Oil wooden headjoints with either "Tung" or Almond

oils - apply a very small amount (2 drops or so) on a towel and rub

the inside and outside. Let the oil soak into the wood over the span

of an hour and then wipe off the excess oil. Leave the oiled headjoint

out of its case overnight to dry. DO NOT get any of the oil on the

pads of the piccolo. If you feel you cannot do this safely then take the

instrument to your band’s local piccolo technician.

➢Never leave a wooden piccolo out on a peg overnight. Always keep it

stored in its case when not in use.

➢Never store a wooden piccolo in extreme temperatures.

Prevent permanent hearing damage by having students always protecting

the ears with some form of hearing protection. Hearing damage is a clear

and present danger to any piccolo player and their directors.

I recommend the use of some form of hearing protection whenever

playing the piccolo. There are very effective products now available that

protect hearing while at the same time allowing the student to hear what

they are playing quite clearly. Standard foam earplugs are helpful but

often very hard to hear through.

Piccolo Player Healthcare


#9 Flute and Piccolo Fingering/Trill

Charts with Alternate Fingerings

1

11


#9 Flute and Piccolo Fingering/Trill Charts

with Alternate FingeringsEasy to learn fingerings that will ensure consistent

intonation throughout your registers.

Some important recommendations regarding flute/piccolo fingerings:

► Good intonation is always a challenge, but there is a quick way to improve

intonation through the utilization of a few, select alternate fingerings.

► The challenge regarding alternate fingerings has always been which one to

use. For the band flute or piccolo player this can be overwhelming.

Learning just a few alternate fingerings will alleviate the stress and

confusion that often accompanies the use of alternates for better intonation.

► The following custom fingering charts I designed with the band/wind

ensemble flute/piccolo player in mind. These fingerings were bench tested in

hundreds of clinics with both plateau and French model flutes with both C

and B foots to help distill down just one or two alternates where possible and

very necessary.

► The sooner you get acquainted with the concept of alternate fingerings the

faster you will see ear training progress and the more in tune you

will play in your section. It is important to recognize that intonation is not

just effected by register, but also by dynamic, test the few critical

alternates at home with your chromatic tuner to see what works best for

you.

► Some of the most problematic notes to play in tune in a section are unison

pitches and especially unison pitches in the 3rd register. I recommend that

you teach just a few important alternates to start - perhaps one a week as

follows: C# in 2nd and 3rd Register then 3rd register E, F, F#,G#, A, A#,

and C 4th Register


122122 122

#9 Sample Flute Fingering Chart

with Alternate Fingerings

Easy to learn fingerings that will ensure consistent

intonation throughout your flute/piccolo registers.

6/11/2018 COPYRIGHT TRACY L. HARRIS 201830

122122

#9 Sample Flute Trill Chart



intonation throughout your flute registers.

It is important that you take the time to learn the correct trill fingerings for all trills you will be

called upon to play. More often than not the fingerings are often “approximated” simply

because students are unfamiliar with them and are sometimes too embarrassed to ask for

assistance or clarification. I created simple to read charts with only one or two options for any

particular trill to help remedy this problem. Your section will sound its best when everyone

utilizes the right fingerings for each specified trill.


#9 Sample Piccolo Fingering Chart



intonation throughout your piccolo registers.

122


#9 Sample Piccolo Trill Chart



intonation throughout your piccolo registers.

122

It is important that you take the time to learn the correct trill fingerings for all the trills you

will be called upon to play. Just as with the flute, the trill fingerings are often “approximated”

simply because students are unfamiliar with these fingerings, and are sometimes too

embarrassed to ask for assistance or clarification. I created simple to read piccolo charts with

only one or two options for any particular trill to help remedy this problem. Just as it is with

your flute, your Piccolo and your section will sound their best when everyone utilizes the same

trill fingerings for each specified trill.


9A – A Great Example of Music That Uses Alternates:

Sousa’s “Stars & Stripes Forever” For PiccolosA fun and beneficial way for you to

practice this iconic piccolo solo


#10 Efficient Practice Routines and

Mental Strategies for Competition




Top 4 Tips for a successful competition or chair test:

•BE TECHNICALLY PREPARED - Memorization

•BE MENTALLY TOUGH – Mock Auditions

•BE FULLY WARMED-UP BEFORE THE AUDITION–Run Though Your Practice Routine

•CONSULT A FLUTE PROFESSIONAL - Take lessons – even one is beneficial

A good practice routine should be structured as follows :

•TECHNIQUE 40% - Scales, arpeggios, and technical studies

•TONE 20% - Tonal Studies

•INTONATION 10% - Octave studies, Perfect Fourths, Fifths, Arpeggios, Harmonic studies

•ARTUCLATION 10% - Single and Double tonguing with changes in articulation

•REPERTOIRE 20% - Solo Music/Band and Wind Ensemble Literature




Addressing “The Adrenaline Factor”

“ Adrenaline Factor” warning signs •Shaking hands, legs, lips…

•Shortness of breath

•Excessive sweating

•Difficulty concentrating

•Racing heartbeat

•Hyperventilation

Reducing the "Adrenaline Factor“ –

Preparation is EVERYTHING!

•Practice in a way that builds confidence – practice slowly and methodically

•Seek out opportunities to perform in public

•Never let an imperfect performance cause long standing anxiety or doubt

•Don’t converse with competitors during the audition process

•Try to minimize students’ physical over-exertion and undue stress before they

audition to maintain normalized blood pressure and pulse

Qualities of Successful Performers:

•GENUINE LOVE and TECHNICAL COMMAND of your instrument.

•UNDERSTANDING that being a “Performing Artist" means the emphasis

must be on “Performing.”

•COURAGE to stand up and perform as musically and artistically as possible.

•DETERMINATION to be as prepared as possible for every performance.


Flute Resources by Tracy Harris

Available at www.JWPepper.com


Flute Boot Camp Manual-Covers

all Essential Flute Techniques Fingering Charts for Wall including selected

alternate fingerings for better intonaion

Picc Perfect Manual-Covers all Essential Piccolo

Techniques for the Band Picc Player

q = 76

Todd Allan Harris


Flute 2 mf

5

Fl 2 ff

8

Fl 2 f

mf

11

Fl 2 f

mf

14

rit.

Fl 2 f

mf

f

17

Fl 2 mf

p

q = 76

Todd Allan Harris


Flute 3 mf

5

Fl 3 ff

8

Fl 3 f

mf

11

Fl 3 f

mf

14

rit.

Fl 3 f

mf

f

17

Fl 3 mf

p

q = 76

Todd Allan Harris


Piccolo 1 mf

5

Picc.1

ff

8

Picc.1 f

mf

11

Picc.1

f

mf

14

rit.

Picc.1

f

mf

f

17

Picc.1 mf

p

q = 76

Todd Allan Harris


Piccolo 2 mf

5

Picc. 2 ff

8

Picc. 2 f

mf

11

Picc. 2 f

mf

14

rit.

Picc. 2 f

mf

f

17

Picc. 2 mf

p

Arranged for Tracy Harris by Todd Harris (c) 2018Easy - A Folk Song

q = 601

Piccolo

Flute I

Flute II

Flute III

5

Picc.

Fl. I

Fl. II

Fl. III

10

Picc.

Fl. I

Fl. II

Fl. III

q = 60 - 84

Folk Song In The RoundArrangement Created for Tracy Harris by Todd Harris (c) 2018

1 2 3Piccolo 1or Flute 1

mf

45 6

Picc. 1 orFl. 1

7 89

Picc. 1 orFl. 1

10 11 12 13

Picc. 1 orFl. 1

14 15Picc. 1 or

Fl. 1

16 17 18Picc. 1 or

Fl. 1 p

q = 60 - 84


1 2 3

Flute 2 mf

45 6

Fl. 2

7 89

Fl. 2

10 11 12 13

Fl. 2

14 15

Fl. 2

16 17 18

Fl. 2 p

q = 60 - 84


1 2 3

Flute 3 mf

45 6

Fl. 3

7 89

Fl. 3

10 11 12 13

Fl. 3

14 15

Fl. 3

16 17 18

Fl. 3 p

q = 60 - 84


1 2 3

Flute 4

45 6

Fl. 4 mf

7 89

Fl. 4

10 11 12 13

Fl. 4

14 15

Fl. 4

16 17 18

Fl. 4 p



1

Flute 2

5

Fl.2 mf

10

Fl.2

15

Fl.2

20

Fl.2

25

rit. Fl.2



1

Piccolo 1 mfmf

5

Picc. 1

10

Picc. 1

15

Picc. 1

20

Picc. 1

25

rit.

it

Picc. 1



1

Piccolo 2 mf

5

Picc. 2

10

Picc. 2

15

Picc. 2

20

Picc. 2

25

rit. Picc. 2

tracy l. harris · 2019. 9. 4. · hand position for piccolo is critical, especially since the...

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