Debost scale game

Frances Lapp Averitt, D. Her major teachers were Albert Tipton and Marcel Moyse. Chart PDF Taffanel-Gaubert Daily Exercise 4 Carefully define the transitions between the scales by always slurring them with a singing tone at a moderate or slow tempo.

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If you have any questions, please email [email protected] gazine. Articles September The scale format devised by Debost consists of playing twice through all keys of the Taffanel-Gaubert Daily Exercises, No. Subscriber Login. Already a subscriber but don't have login details? Register Here Not a subsriber and want full access? After completing C Major through E Minor on Styles , and then again on , you'll re-start on the next day with C Major 8va the second key on the left in the style of No.

Rather than playing the articulations in the same order and rotating through the keys as above, you can keep the keys in the same order and rotate the articulations. Once you finish all sixty styles playing all 30 keys 2x each , begin again on C Major the following day, beginning on Style. One of my biggest issues with attempting to rotate through the full Scale Game over 60 days is keeping track of where I am. I have yet to successfully complete a full rotation, because at some point, despite writing down notes, I get lost and start over.

To remedy this, I've created a Scale Game Tracker to list out the full Day rotation following the Rotating Styles method , so I can simply check off each day without having to question where I'll need to start.

Plus, it's motivating to keep track in one place, seeing a clear visual of my progress! YouTube Channel. He was 60 years old at that time but very entertaining, nice, and quite adorable. The record company decided that Poulenc would be the pianist on the record, so I rehearsed with him at his little flat above the Palais du Luxembourg on the Left Bank in Paris.

We also performed a tour of three or four concerts. However, early in , Poulenc died suddenly, and his friend Jacques Fevrier played the piano in my recording.

After the usual amiabilities, we began to play, but Poulenc stopped and protested, 'It's way too fast, way too fast', to which I replied with metronome in hand, 'It is your tempo. Don't worry about it.

Don't play so fast. I sent a recital invitation to Poulenc, and he sent the following telegram: 'Do not play me after Prokofiev, because it will dwarf my music. He is so much stronger than I am. At age 25 I loved every piece because I was discovering the masterpieces for the first time. He added a dimension to everything he did. It bothers some musicians when conductors are a little off the wall, but I always thought Bernstein was fascinating.

Rafael Kubelik was wonderful with Mahler, Bruckner, and of course Dvorak. He was basically a classical conductor. I liked Bernard Haitink very much. The best Beethoven I ever played was with Joseph Kripps, and his conducting of the Leonore Overture 3 was just breathtaking. Munch had an almost mystical approach to conducting.

Andre Cluytens was a Belgian conductor who was highly regarded as a fine interpreter of French music. I didn't like Karajan as a person, not only because of his Nazi past, but because he was such a prima donna conductor. We gathered on a Tuesday morning and started recording as soon as the red light came on.

The only thing that you will never do again is a concert, but if you are not happy with a recording session, you can do it again tomorrow. I auditioned for what I thought would be a one-year sabbatical and wound up staying for 15 years. Everybody told me that I would be bored to death in rural Ohio after living in Paris, but Kathy and I fell in love with the place, probably because the contrast was so great. After all, I am from peasant stock in Burgundy. When I get homesick for Paris, I just get on a plane and go; it is only a hour trip, unlike the big undertaking that it was when I was a child.

Students often come to Oberlin to look at the college, and when I ask them to play a scale, they play a two-octave band scale. These are all vital to good flute playing. Oberlin students play all assigned literature, including scales, in front of me, just as it was at the Conservatory, where the level is unbelievably higher. The only difference is that in Paris students play scales and arpeggios in front of a class of students instead of just the teacher.

On the other hand, players should have a musical goal for the technical skill they want to develop. The two are closely related. America flutists like a mushier articulation, and perhaps they are right.

French is a dental language, and very forward, while English is a mouth language. English speakers roll their vowels around, while French vowels are more crisp.

These little romantic pieces are easier and more understandable than music by Handel, Blavet, and Bach. Many people think Baroque pieces are easier than music from the French book, but I think they are terribly difficult. The Six Pieces for flute and alto flute by Boehm are tuneful and contain very few style problems. I believe that Baroque music should wait until high school or college, but perhaps I learned that from Crunelle, who thought Bach was too difficult for conservatory students. However, we were a group of strong players, and perhaps he didn't teach Baroque repertoire because it is ambiguous, subjective in nature, and allows for various interpretations.

He assigned Baroque music and Classical concertos, not conservatory pieces. Although I loved Rampal, I thought that he was wrong to do what he did, because it destroyed the commission system that gave us some of the best 20th-century pieces, including Sonatine by Dutilleux, Le Merle Noire by Messiaen, the Ibert Concerto, etc.

Debost admits to being puzzled why this happens. Carpal tunnel is popular at present. When a hand rests on a table, there is no stress until one, then two or three fingers are raised.