Table Of Contenty{ffi
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John O'Nleill
Declicated to Richard Rowland,
in memoty cf good times spent
listening to music togetber.
scHorf
A CKNOWLED GEMENTS
)Iany of the ideas in this book were inspired
br- four great teachers: Don Rendell, who took
me under his wing when I was just beginning;
Peier Ind, wlro introduced me to the concepts
of Lennie Tristano and told me to listen to pat
I{etheny; Lee Konitz, who gave me a new
direction and discipline for my improvisation;
and the late \il7arne Marsh.
I would also like to rhank the foiiowing
people:
Phil Lee, Jeff Clyne, Paul Clarvis and Ancly
Panayi for their superb rnusicianship, profes,
sionalism, patience and creative contribution
during the recording of the CD.
The staff at Schort & Co. Ltd.
All the musicians who gave permission for
their compositions to be included in this
book.
A11 my students, who playecl such an
important part in shaping the book.
Nick Taylor of Irorcupine Studio for his
engineering and mixing.
Henry Binns for his photographs.
John Minnion for his line drawings.
Bob Glass of Ray's Jazz Shop for his help in
compiling the discography.
Y/illie Garnett for looking after rny insrru-
n tenls.
My lamily and friends for their unwavering
suppoft and belief.
:^-'- :-r:n'Cataloguing-in-Pultlication Data. A catalogue recorcl for this
-, . , ,- .r:iiable frorn the British Libraw
-a-'. : --.-<-r< l+ g
;
.'..= .-:- :: .\ Co. Ltd. I-ondon
*.i -l-:,- ::<i..rri. Printed in England. \o part of this publication mar I-e
r:-:r. ,- - -:, -: ,rtJ in e retriet'al s\-stem. or transmitted, in any form or :..
*rLT 1r-!:r- ---.tionic. mechanical. photocopying, recording or othersl<
u,(:".,- --r= :::.r s'rifien permission of Schott & Co. Ltd, +8 G_-<r-
t1,apf-r r ,,.t \:-:
Loncion \\'1\'lB\.
- o::ul:e-- i-"i r. :N: :i GeotTrer \\'adslev
, s :- :r:*-,E iL::: ;i-r:.'rr.rereph br- Dar id Redfern) O RedFerns. Lond. r-
How to Use this Book
Some Thoughts About Practice
About the Flute
P.{RT ONE: THE FOUNDATION TECHNIQTIES
Breathing Exercises
First Principles
ISlowing on the Head Joint
Assernbling ancl Disassembling tl-re
Instrument
Hand Position and Posture
Fingering
Tone Development
Tr-rning Position
Tone Quality
Tonguing
The Attack
P.\RT TWO: PIAYING THE MUSIC
:repter 1 The Staff; Leger Lines; Clefs; Ilars ancl
Bar-Lines; Time Signatures; Note
Durations; Pulse ancl Rh1.tl-rm; Taking a
Rreath; N4etronome Markings; Rests;
Repelts.
6
6
8
8
o
10
72
72
74
74
t6
77
18
18
Riffs; Crotchets; The'Pick-Up'; Slr-rrs. 21
Low F ancl E; Dynamic Markings;
23
The Pause; Crotchet Rests; Ties;
Syncopation.
C$ancl Ff; Sharps, Semitones ancl
26
Accidentalsr Dotted Notes; The
Natural Sign.
R[; Flats; Key Signatr-rres; Enharmonic 27
Notes; First ancl Second Time Bars;
Accents; Crescendo and Decrescendo.
Middle D ancl E; The Break.
30
Midcile F and G; hnprovisation.
32
Sczrles; Chords; Arpeggios.
31
Low Gfi/AI, Middle D+/Et, Ff and A;
35
3/4 Tine; Transposition; Use of Space;
Tlrc Chromatic Scalc.
Ear Training; Intervals; Inversions; 39
Playing by Ear.
Middle Ail/Ilt, Gf/At and R, Low Dg/El, ,13
and High C; Even Quavers; Beams;
D. C. al Fine;Rallentando; Scale and
Arpeggio Practice: C Major and A
Minor.
High C{; Triplet Quavers; Scale and
Arpeggio Practice: G Major and E
Minor.
Swing Quavers; To Swing or Not To
49
Swing?; D.S. al Coda;Anticipation; The
tslues Scale/Passing Notes; Repetition.
High D and Dil/Eb; Off-Beat Phrases. 53
The Dotted Crotchet Followed try a
55
Quaver; Modes.
@w
Chapter 16 Low C ancl C{/Df; 2/2 or Cut Time.
Chapter 17 Construction and Interreiationship of
Major and Minor Scales; Enhermonit:
Scales; Practising the Scales; Scale
Variations.
Chapter 18 The On-Beat Quaver Followecl by
63
Two Off-Beats; Ascending Melodic
Minor Scale.
Chapter 19 Consecutive Off-lleats.
Chapter 20 Triplet Crotchets.
Chapter 21 6/8 Tirne; 5/4Time; Irregular
Phrasing.
Chapter 22 Harmony; Diatonic Chords; Chord
78
Symbols; II-V-I Progression; Chord
Iloots; Voice-Leading.
Chapter 23 High E, F, F{ and G;
82
Hlrmon ir's,/Overl ()ncs.
Chapter 24 Semiquavers and Semiqlraver Rests; 86
Grace Notes.
PART THREE: APPENDICES
90
1 Bibliography
90
2 Discography
97
3 Useful Accessories
93
4 Fingering Chart
94
5 Chord Progressions for the Tunes Insert
58
60
4
1
5
0o
7o
74
-rrepter 2
:rapter J
lepter 4
rrepter 5
-:rlrptcr 6
:rrpter 7
rrapter 8
:rapter !
:rpter 10
.--rpter 11
rpter 12
rpter 1J
46
l'he publishers worLld like to thank thc lblkrwing for allowrng the
lrse of their naterial in this publication:
.loltn Vinrti, rn for lhr' illrr.trrrtiunr.
I{enry L}inns fbr the technical photographs.
Ted Gioia, Lce K()nitz. Andreu' Panayi encl Don Rcnclell for thetr
compositions.
Bocu N,lusic Ltd, BMG Nlusic PlLblishing l-td,.Nlarrcla Nlusic Ltcl ancl
Prestige l'lusic Ltd for their copyright rnusic.
'l'he author and ptrblishers also wish to acknoileclgc, n,ith thanks.
Redferns N{usic Picture Lilrrary,/Photographers: I)avid Reclie rrr
(ltoland Kirk. p. 15: Lerl'Tabackin. p. 15r Rucl Shenk. p. 15: -J:uncs
Nloocly, p. 15: Irrank Iirster rvith the Courrt Basie Rand. p. 21: Stan
Getz, p. 27: Nlilcs Davis, p. J9l Jol'rn Coltr:rne, p. 50: llorace Sihtr.
p. 73; Davc llnrbeck Quartet. p. 7,1; Charles Lloycl, p. 92). V illialtr
Gottlictr (l-ouis Armstror-rg, p. ,i2; -fheloniolts X{onk. p. :17; Ch.trii<
Parker. p. 67). Charles Stenart (llric Dolplrr', p. 93).
O Itedf-erns. Lonclon
:1pter
:Lpter
t4
r5
Mastery of the founclation techniques presenteci in Part One is the key to playing the
flute well, so please ensure you are comfortable n'ith the exercises in this section of the
book before attempting the pieces in pzrrt Two.
Many of the chapters finish with suggestions for further listening, reacling or practice.
Ytlu are advised to aclopt as m2rny of these suggestions as possible in order to gain
maximum benefit from the method.
If your speakers are connectecl properly the rhy,thm section will be hearcl frorl the left
speaker and the flute frorn the right speaker. By using the 'Lralance' controls on yoLlr
music system you n'ill therefore be able to adjust the 'mix' between flure ancl rl-rythrl
section, or indeed to filter out the flurte completely. This means yolr can choose to play
u'ith or without the flr-rte for guiclance. There are also several pieces which give you the
further option of playing a dr-ret part.
You should n()t eKpecrt to be able to play every piece immecliately w-ith the CD. It may
require several hours of practice to n'ork some of the music up to speecl. If the music is
too fast cio not struggle to play rvith tl-re recordecl accompanimcnt-such practice is
fruitless and frustrating. It is f'ar better to practise slowly-at half-speed or even
slslvsl-2ncl graclr.rally br,rilcl up to the cl-rallenge of playing witl-r the cD.
It is particularly important tilat you develop your e21r as well as your technique anci
ability to read. \Xritl-r this in rdncl tn, to pla.v by ear as mtrch as possible, for example by
memorizing the tunes zrftcr vou har-e learnt to reacl thent or bv transposing them into
otl-ier keys or different registers oi the insrn-unenr.
This book is not a rigicl clrssicll nrethorl. One r r r--Lr hrrle learnt to play r.vhat is
rvritten r-oli shoulcl feei i'cc i,, .11:rr i:tvrh::ts. irlir(irr<it o:'irtrprovise, -\lany of the tunes
nill benefit fr'orl bclrtg l1'c-i:c,: -:r .:-,:. -...,,,
Above all E\TO\ \ OL R.i-':
-:- .,)r:iblc. The room shoulcl
:-: Ii iir clttttered-if there is a
-.: .L)L1ilcl will be cleadenecl.
- -.-,.:.r- mr,rffling effect. On the
tion techniques in panrc---",: ---
l
encounter the 'plateeu c- -. - .
r -
-
progressing zrt all. Do noi l-- . - -
dramatic leap forwarcl.
Avoid practising n-hen i -- -.-r --
r:
ning or middle of the dar. ::---. - .
- :
'
:-r-
Do not practise in a h:r-,-:--=,,--.-
l
olein about the noise!
. :- ::iltle. 20 minutes a day is
-
_
- -t
'
'-r
'\fcl\.
- . r- ettectirre to play for short
:r' ::rr thlrn to play for hours at a
:r-,i5ter. Very often you will
-, . ng tirle that you are not
-,:- rearly always followed by a
-,ir:ctive to practise at the begin-
. trrrmits.
,-Iing vour tirne.
Do not expect to proerc.. -,-
:
,
: :r ---,rrl \-olr pr2rctise. The founda-
