Piccolo Excerpts Pdf
Vespasiano Jilg
3. High G#. This is another terrifying note on both the flute and piccolo and some may even go as far as to claim that this is the worst note in terms intonation and response. I have not had as much bad experience with this note as the high F# because I do not often see the note written as a sustained pitch on the piccolo but as the leading tone to an A, the G# certainly crops up from time to time in orchestral works. I favor the below fingering to bring the pitch down and provide the sound with a stronger center. With more control over the pitch I find that I can color the note easier using variations in vibrato speed. I do not have a memorable moment with this note as I have not struggled as much with the high G# on the piccolo but if you have your own memorable moment, please comment below!
There are of course many other trick fingerings for the piccolo. An added G# key to a middle A, for example, will help to sustain the sound and adding any of the keys on the right hand will bring a middle or low C or C# lower in pitch but these fingerings will also work on the flute. The above fingerings have become my most used, and most loved, fingerings over the years and have helped pull me out of some shockingly out of tune and squeaky musical moments.
What is your favorite trick fingering on the piccolo? Do you have your own memories using one of these trick fingerings to save an otherwise dying note or passage? Do you have other trick fingerings for the piccolo that you use and love? Please comment below!
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Picc Ninja Editions presents Flute & Piccolo Excerpts for Wind Band selected and annotated by Megan Ensor. This collection of 35+ popular flute and piccolo excerpts for wind band also includes helpful practice tips, motivational quotes, and a suggested reading resource list!
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We are very lucky to have great flute (and piccolo) excerpts by Rossini that require from us the control of an extremely light, clear and short articulation. Very common types of articulations he uses are the couples of 1/8th notes slurred and triplet with the 2 first notes slurred and the third note in staccato. Here are 2 examples of me playing excerpts with the Geneva Camerata:
You can as well practice your daily scales in the same manner: Turn each scale you are playing into a Rossini style articulation. That will allow you to play with great articulation in whatever passage you might encounter in the repertoire you play.
Ory Schneor is a principal flutist with the Munich Chamber Orchestra, Tongyeong Festival Orchestra and member of the Geneva Camerata. He is teaching masterclasses around the world and he is the founder and instructor at FLUTEinWIEN
A generous volume of orchestral excerpts and extracts for practice, compiled by Trevor Wye and Patricia Morris. This is a methodical approach to piccolo technique, designed to help the flautist transfer the playing techniques of the flute to the piccolo.
K: You are quite an amazing piccolo player. How did you get started on the piccolo? Do you have a favorite piece for piccolo that you just love or think should be performed more often?
K: Much of your career has focused on the piccolo and you recently published a great book of piccolo excerpts. What inspired this project and why did you feel it was important to pursue?
M: Flute & Piccolo Excerpts for Wind Band was published back in 2021 to fill in a major gap in our repertoire. The inspiration came to me one day at work while I was proctoring a clarinet audition. As the day went on, I witnessed one musician after another come into the room, nail the orchestral excerpts, but fall flat on the band ones. It got much worse when they were asked to sight-read a march! I was amazed at how many conservatory-level musicians showed up to win a band job with, literally, little-to-no knowledge of the repertoire. It got me thinking about our own instrument. I started researching available resources, and came up empty-handed. Thus, my goal was set!
K: Thank you again for sharing your experiences with our Flute Examiner readers. You have truly accomplished a lot in your career and your sage advice truly resonated with me. I am so appreciative of your friendship and I look forward to many shenanigans at NFA in August!
Committed to education and mentoring, she has been a featured artist at multiple colleges and universities across the country. She is nationally sought-after as an expert on pedagogy and audition preparation. Her students have received multiple awards, honors and fellowships. She is a graduate of Youngstown State University & Wright State University, and has completed 2 years of Doctoral work at George Mason University. Her teachers include Wendy Kumer, George Pope, Nancy Andrew, Katherine Thomas-Umble and Christopher Chaffee.
Other than that, I recorded basically everything I played when it came to the excerpts during my practice. There was a lot of listening. I would play the excerpt, stop, listen. Repeat until my practice time ran out.
Note: E-flat and bass clarinet excerpts will NOT be heard at the audition, but clarinetists chosen to participate in NOI will be asked to play E-flat and bass clarinet. Instruments will be provided if needed.
Simply put, this is the first piccolo trumpet method ever written. Includes basic information needed to familiarize students with piccolo trumpets, and piccolo playing, and includes etudes, duets, and orchestral excerpts. David Hickman writes in his foreword:
In recent years, the piccolo trumpet has come into its own as a solo instrument. This popularity is due partially to the increased supply of recordings utilizing the piccolo trumpet, and partially due to greater high register demands placed upon the modern professional trumpeter by many composers. In addition, several manufacturers now make piccolo trumpets that are capable of being played in tune and with a full, rich sound. Thus, it is not surprising that the piccolo trumpet has become an invaluable recital and orchestral instrument.
qPress is dedicated to making quality music for trumpet available as pdf downloads. We work with the best publishers in the world to bring classic literature to your computer, and nurture relationships with composers to help them bring new trumpet repertoire to market.
However, the piccolo is one of those rare instruments that really project in their higher register, and given that the piccolo is also the highest instrument in the orchestra, this means that the piccolo can push out a sheer volume of sound like no other instrument.
The keywork is based on the Boehm system, a system developed by inventor/flutist Theobald Boehm in the mid 1850s. It was a system designed to optimize the location of the tone holes for acoustics, which was originally created for the standard C flute but was also applied to the piccolo, the alto flute, and other auxiliary flutes.
The role of the piccolo in the orchestra evolved greatly over the romantic era, as composers such as Wagner and Richard Strauss started using the piccolo to thicken the violin lines and add colorful textures to the orchestra.
Stomvi piccolo trumpet straight mutes are a quality product built to last for many years. They are essential for the piccolo excerpts where the mute is needed, guaranteeing the intonation. The copper bottom makes the sound a bit warmer, and the extra weight produces a bigger sound.
A collection of piccolo excerpts with piano accompaniment. This book has been compiled by Jack Wellbaum (Cincinnati Symphony Piccolo Player) and contains the most frequently asked-for excerpts in auditions.
The expert piano reductions enable students to understand how the solo relates to the rest of the orchestra. This fantastic volume of excerpts by Jack Wellbaum and Martha Rearick is a must for any aspiring orchestral piccolo player, professional or amateur alike!
Piccolos are made of various materials, including wood (professional models), plastic or metal. Most piccolos are conical bore. Cylindrical piccolos are best for beginners (metal Emersons and Jupiters). Keep a lookout for old Haynes cylindrical piccolos. Burkart, Keefe, Haynes, and Powell are fine professional brands. Gemeinhart, Weisman and Yamaha make fine student level piccolos.
Pitch is a sensitive issue for piccolo players. Every instrument has different tendencies which usually are different for those of the flute. Experiment with alternate fingerings. There are many fine piccolo fingering charts available (Burkart, Krell, Tanzer).
Use slow movements of baroque sonatas, the Maquarre Daily Studies, Drouet Etudes, and adapt other fine flute methods for the piccolo. Check out the Tulou Piccolo Method and Learning to Play the Piccolo by Clement Barone. Use the Wellbaum Orchestral Excerpts and the Patricia Morris Piccolo Excerpts books.
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