Flute

The

Andrew Scott Flute Method

Book 1

An enjoyable and thorough series of exercises, songs and explanations.

Provides the beginning student with a firm foundation for study of the
flute.

Book and
Audio Set

The
Andrew Scott
Flute
Method

by
Andrew Scott
Visit us on the web:
[Link]

Contents
Lesson 1
Parts of the Flute ........................... 3
Making a Sound on the Headjoint .... 3
Exercises with the Headjoint ......... 4
Tonguing ....................................... 4
Assembling the Flute ................. 4-5
The Note A ................................... 5
Playing a Note ............................... 6
Carrying the Flute ......................... 6

Lesson 2
The Staff, Treble Clef ..................... 7
The Half Note (or Minim)& Rest ... 7
Bars & Bar Lines, .......................... 8
The Quarter Note (Crotchet) ......... 8
The Time Signature ....................... 9
Quarter Rest, Final Bar Line .......... 9
7 Exercises with the A note ....... 8-9

Lesson 3
How to Tune the Flute ................. 10
Tuning Exercise ......................... 10

Lesson 4
The Note B ................................. 11
Note Stems ................................. 11
Repeat Sign, Bar Numbers .......... 12
7 Exercises and Songs including
Basic Blues (duet) * ............. 11-13

Lesson 5
The Note G ................................. 14
The Note C ................................. 15
13 Exercises and Songs including
Hot Cross Buns, Yankee Doodle,
Merrily & ABC Exercise ........ 14-16

Lesson 6
Breathing and Blowing ................ 17
2 Breathing Exercises .................. 18

Lesson 7
The Dotted Half Note (Dotted
Minim) ................................. 19
The Common Time Signature ..... 20
7 Exercises and Songs including
Satellite Song ...................19-20

Lesson 9

Lesson 16

The Note B Flat (B ) .................. 23

Flat Signs After a Clef .................. 24
7 Exercises and Songs including
Love Me Tender, Jingle Bells, &
Ode to Joy ............................ 23-25

Lesson 10
The Lead In ................................ 26
3 Exercise and Songs including
The Banks of the Ohio and When
the Saints Go Marchin In ..........

............................................ 26-27

Lesson 11
The Natural Sign ......................... 28

The Right Hand B .................... 28

The Three Four Time Signature ... 29
The Tie ....................................... 30
1st and 2nd Endings .................... 31
9 Exercises and Songs including
Barcarolle and Roses from the
South ..................................... 28-31

Lesson 12
The Whole Note (Semibreve) ..... 32
The Note E ................................. 33
11 Exercises and Songs including
Good Evening Friends &
Mary Ann ............................ 32-35

Lesson 13
The Eighth Note (Quaver) .......... 36
12 Exercises and Songs including
Shave and a Haircut ............. 36-38

Beam Me Up ........................ 21-22

Lesson 17
The Dotted Quarter Note (Dotted
Crotchet) ................................. 48
8 Exercises and Songs including
Ode to Joy (advanced version) .

............................................. 48-50

Lesson 18
The Note E (Middle Register) ...... 51
15 Exercises and Songs including
Takeda, My Bonnie Lies over the
Ocean & O Susanna .......... 51-55

Lesson 19
Staccato ..................................... 56
7 Exercises and Songs including
The Mexican Hat Dance and
Shortnin Bread ................ 56-57

Lesson 20
The Note F Sharp ....................... 58
13 Exercises and Songs including
Jingle Bells (complete), We Wish
You a Merry Christmas, Hark! The
Herald Angels Sing and Good
King Wenceslas ................ 58-62

Lesson 21
Lesson 14
The Note D ................................ 39
8 Exercises and Songs including
Big Ben, The Volga Boatman,
Harem Dance &
La Spagnola ...................... 39-41

Lesson 15
The Note D (on the 4th Line) ..... 42
The Three Flute Registers ........... 43
Changing Registers ..................... 43
12 Exercises and Songs ........ 42-44

Lesson 8
The Note F .................................. 21
The Slur ...................................... 22
7 Exercises and Songs including

Songs with D ............................. 45

6 Songs including For Hes a Jolly
Good Fellow, When Johnny Comes
Marching Home and Twinkle,
Twinkle, Little Star ........... 45-47

* Bold type denotes duet

The Note F (Middle Register) ....... 63

14 Exercises and Songs including
Pick a Bale o Cotton, Camptown
Races, & The First Noel ..... 63-67

Fingering Chart .................. 68

Glossary .............................. 69
Preview of Book 2 ............. 70
Other Publications from
Andrew Scott ...................... 71
Order Form ........................ 72

Lesson 1
Parts of the Flute
A flute is made up of three pieces - the head joint, the middle joint and the foot joint.
Headjoint

Foot joint

Tone hole

Middle joint

Lip plate

Barrel

Making a Sound on the Head Joint

Hold the head joint with both hands as shown on the illustration below. Place the lip plate
against your lower lip so that it covers about a quarter of the hole.

Blow gently across the

hole towards the opposite
edge. The head joint
should make a sound.
If you cant make a sound,
try moving the head joint
a little to the left or the
right, or rolling it in
towards you or out
away from you.

Tip
Be very, very patient
with this process.
Some people take
days before they
can get anywhere.
Blow smoothly, and
avoid huffing and
puffing.
It is not necessary to
swell
up
your
cheeks.

Jungle Sounds
When you can make a sound, vary it by covering the open end of the head joint with your
right palm. You can hear this on Track 2 of the CD.

Jungle Sounds

Track 2

This track contains the sound of the open head joint, then the head joint with the palm placed
over the end, then some twittering and fluttering as the hand is moved on and off the barrel.

Tonguing
Use your tongue to start and stop the sounds. As you blow across the mouth hole, whisper
the word too, or doo, several times.
Let the tip of your tongue rest at the back of your top teeth as you start to blow, so that
it blocks the air. When you whisper too, the air rushes into your flute and the note starts.
When you replace your tongue against your teeth the sound will stop.
This technique is called tonguing. Flute players use it all the time to make notes start and
stop cleanly.
Listen to Track 3 on the CD.

Tongued Notes

Track 3

First you will hear four notes on the head joint without tonguing. Then
follow four notes with tonguing. You can hear the difference. Without
tonguing, the attack on the note sounds more like a foo or a hoo than
a too or a doo.

Putting the Flute Together

When you pick up the middle joint, make sure you
hold it by the barrel. Try not to grip the keys
because too much pressure can bend them.
As you insert the head joint into the middle
joint, twist it back and forth to help it
slip in more smoothly.
Line up the mouth hole with the
key on the middle joint.

Line up these two

points

5
Attach the foot joint to the middle joint, then line them up as shown.

Middle joint
Foot joint

Line up the post on the middle joint with the middle of the lever on the foot joint.

The alignment of the joints shown above is an average position. You can adjust them later
to make them more comfortable.

The Note A
Refer to the fingering diagram and the position of the person in the illustrations below and
on the next page.
Place your fingers on the keys shown for the note A.
Left Hand Fingers

Right Hand Fingers

4
T
1

Left Hand

Right Hand

Playing Position
Make sure the flute extends to your right, not your left. Turn your left hand so that its palm
faces toward you, and your right hand so that its palm faces away.

Playing a Note
Play the note A. Vary your attack - try it with
tonguing and without.
It requires much more skill to play your A note on
the flute than it does on the piano or guitar. To
produce a beautiful tone you need to strengthen
and refine the muscles around your mouth. This
is a long term process.

Support the flute in 4 places:

1. your right thumb;
2. the first finger of your left hand,
between the hand and your first
knuckle;
3. your lower lip, and
4. the fourth finger of your right hand.

The right hand fourth finger is not strictly necessary for the sound of some notes, but it does
help you to balance and control the flute. Get in the habit of following the fingering diagrams
exactly. They will help you achieve maximum effect.

Carrying the Flute

When you carry your
flute,
grip
it
around the barrel
on the middle
joint. Dont carry
it by the head
joint
alone,
because some head joints are
loose, and can fall out of the
middle joint.

Tips
Try to keep the little finger of your right
hand curved as it holds open its key.
This will help prevent cramps, and
allow your right hand to be more
flexible.
Perform exercises to stretch and
strengthen your shoulders and arms if
they become painful from supporting
the flute.
If you become dizzy or light-headed
from blowing, fast forward to the lesson
on breathing on page 17.

Lesson 2
The Staff
A staff (plural: staves) is a set of five lines and four spaces upon which music can be
written. The lines and spaces are numbered from the bottom.
5th line

4th space

4th line

3rd space

3rd line

2nd space

2nd line

1st space

1st line

The Treble Clef

The symbol at the left end of the staff is called a treble clef. Every line of flute music
has these clefs to show you how notes are named. There are other clefs, such as bass
and alto clefs, but for flute playing you only need to know this one.

The Half Note

The Half Note A

(or Minim)

The position of a note in

the staff tells us its name.

The symbol below is called

a half note (or minim in
some countries). A half
note has a value of two
beats.

2nd space

Count:

Rests mean that you dont

play any note.
The
following symbol drawn on
the middle line of the staff
is a half rest (or minim
rest). Play nothing for two
beats, but keep counting.

The note above, written in

the second space of the
staff, is the A note you
learned on page 5.
Count:

The Half Rest

(or Minim Rest)

Count:

Exercise 1

Track 4

This exercise contains three A notes, each to be held for two beats. On the CD there are
another two beats on the tamborine after the third A, then the exercise is repeated three
times. The second and third repeats contain only the tamborine.
Play the three notes below, tonguing each one.

Think:

The Bar Line

Notes can be grouped in bars or measures. Bar lines divide groups of notes into equal
numbers of beats.
bar line
bar line

2 beats

Exercise 2

2 beats = 4

2 beats

2 beats = 4

Track 5

Played four times on the CD, as above.

Think:

All the following exercises on the CD are played twice - once with the flute and
tamborine or other instruments (the accompaniment), and once with just the
accompaniment.

The Quarter Note (or Crotchet)

Whereas the half note symbol is a half-hollowed out egg shape
with a stick on one side, the quarter note symbol is a solid
egg shape with a stick. The quarter note has a value of one
beat.

Exercise 3

Think:

Track 6

The Time Signature

A time signature is a symbol that tells you how many beats
should be played in each bar, and what kind of beats they are.
The pair of fours at left are known as the four four time signature,
which means that each bar contains four beats. These beats can
be any combination of quarter and half notes or rests, or other
notes that you will learn later.

Exercise 4

Track 7

Take breaths where and whenever you can. The most important thing at this stage is to
keep in time with the CD.

Think:

The Quarter Rest (or Crotchet Rest)

The quarter rest is a squiggly device meandering between the 1st and
4th spaces of the staff. Its value is one beat of silence.

Exercise 5

Track 8

The Final Bar Line

The thick and thin lines at the end of the next exercise are a final bar line. They indicate
the end of a piece of music.

Exercise 6

Track 9

Exercise 7

Track 10

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Lesson 3
How to Tune the Flute
You must be able to tune your flute to make
it sound at its best when you play with other
instruments or recordings.

Step 2

You can do this by playing your note and

then comparing it to a tuning note.

Step 3

Start Track 1 again. Play your As, then listen

to the notes on the CD.

Step 1

Were your As at exactly the same pitch, or

were they higher or lower?

Listen to Track 1 on the CD, following the

music on the chart below.

Step 4

Tuning

Track 1

If your notes sound the same as the CD

notes, your flute is already in tune. Go to
Step 7.

Step 5
If your notes sound lower than the CD, your
flute is said to be flat. Raise its pitch by
pushing the headjoint further into the body,
then repeat Steps 2 and 3.

Pushing the
headjoint in
raises the
pitch.

Step 6
If your notes sound higher than the CD, your
flute is said to be sharp. Lower its pitch by
pulling the headjoint out from the body, then
repeat Steps 2 and 3.

Pulling the
headjoint out
lowers the
pitch.

Step 7
As a final check, play your As at the same
time as the notes on the CD. If the two notes
are in tune they will sound like one
instrument. If not, there will be a harsh,
irritating beating sound, somewhat like two
blowflies sparring. Begin tuning again.

Tuning Tips
1. Dont be too concerned if you cant
tell whether you are sharp or flat. It can
take a long time before you hear the
difference.
2. Hot weather makes the flute sharp.

Cold weather will make it flat. You will need to adjust your headjoint more on hot or cold days.

11

Lesson 4
The Note B

4
T
Note Stems
Notes on the Staff
The location of a note on the staff tells us
its name. The note B is written on the
middle line of the staff.

T below the middle line have

Notes written
their stems on the right of the note head
going up. Notes written above the middle line
usually have their stems on the left going
down. Notes on the middle line can have
their stems in either direction.

Middle

Note head

or 3rd line
Stem

Chord Symbols
The letters and numbers above the staves in the following songs are chord symbols. A
guitarist or keyboard player can use them to accompany you.

B Exercise 1

Track 11

Charlie Byrd Style

B Exercise 2

Track 12

Perro Style

12

The Repeat Sign

The two dots before the final
barline are a repeat sign. They
mean: play the piece again
from the start.

B & A Swing

Track 13

Cocktail Style

Bar Numbers
(or Measure Numbers)
Bar numbers (also called measure numbers) can be used to help you quickly find your place
in a piece of music.

Two Note Samba

Track 14

Samba Style

Bar number

Two Note Rock

Two Note Sonata

Track 15

Track 16

Bee Gees Style

Serene Latin Style

13

Basic Blues

Track 17

Shuffle Rock Style

A piece of music for two instruments is called a duet.

Tip
To remember the names of notes on the staff, think of the following words:

A C

Elephants Great

Big

Dirty

Feet

Every

Boy

Deserves

Fruit

Good

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Lesson 5
The Note G
3

4
T
2nd line

G Exercise 1

Track 18

Hot Cross Buns

In the Light of the Moon

Merrily

Afro Style

Track 19

Yankee Doodle (first four bars)

Track 22

The note G is written

on the second line of the
staff.

Ethnic Style

Track 20

Track 21

Dixieland Style

Soft Shoe Shuffle Style

Afro Style

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The Note C
1

3rd space

Easy to C

It may be very hard to balance the flute when you play

this note. Although the little finger of your right hand
has no effect on the sound of this note, it serves as one
of the 4 balance points, the other 3 being your right
thumb, the first joint of the first finger of your left hand
and your lower lip.

Track 23

Bayou Stomp

Fast Latin Style

Track 24

Rockabilly Style

Low Speed Lambada

Track 25

Lambada Style

Three Note Exercise 1

Track 26

Raindrops Style

Three Note Exercise 2

Track 27

Jazz Swing Style

Tip
It is normal to feel dizzy from all the blowing. You may also get pains in your arms and
little finger. The flute may seem unbearably heavy. Dont worry, you will get over it.

16

ABC Exercise

Track 28

Fast Latin Style

G Exercise 2

Track 29

Madonna Style

4 Note Blues

Track 30

Smooth Jazz Swing Style

Are you still tonguing each note?

17

Lesson 6
Breathing and Blowing
When it comes to taking deep breaths, many people think that it is necessary to make a lot
effort. This is not always so. After you have mastered the technique shown in this lesson,
you will understand how deep breaths can be given to you, without you making any effort
at all.
There are two stages of breathing - the in-breath and the out-breath.

Breathing Begins with Blowing

Without your flute, slowly blow out as much air as you can. When your lungs are empty,
hold your abdominal muscles tightly so that no new air enters your body. Hold your
muscles tight for as long as you can, until you are almost desperate for air, then let go
suddenly.
If you are still reading, you must have breathed! Did you notice how easy it was to take
your breath compared to the effort you made to blow out?
Repeat this procedure a few times until you can feel that the energy used to breathe in is
far less than the energy you use to blow out.

Push to blow out.

18

Nature Helps You Breathe

When you empty your lungs, you
create a low pressure system inside
your body. Outside the body is a
high pressure system. Nature tries to
equalise these two systems by
helping you to take a breath. The
quickest way to get more air into
your lungs is to relax and let Nature
work for you.

Relax to breathe in.

Breath Marker
The following symbol appears at certain places in the music to tell you the best moment
to take a breath:

Breathtaking

Second Wind

Track 31

Track 32

Tip
Dont try to suck air when you are breathing in. Just relax. Allow Nature to fill your
lungs. Save your energy for blowing the flute.

19

Lesson 7
The Dotted Half Note
(Dotted Minim)
A dot written after a note lengthens it by half of its value. A half note, with a dot after it,
is played for three beats instead of two.

quarter note
(or crotchet)
1 beat

Boomerang

Think: 1

dotted half note

(or dotted minim)
3 beats

half note
(or minim)
2 beats

Track 33

Half Measure

Jethro Style

2 rest

rest

2 rest

Track 34

Track 35

rest

rest

Merengue Style

Country Modes

John Denver Style

20

Satellite Song

Cool Dude

Track 36

Track 37

Bogey Style

Goodnight Style

The Common Time Signature

This symbol is known as the common time signature. It is
frequently used instead of the four four time signature, and
has the same meaning - four beats per bar (or measure).

4 Note Wonder

All Too Common

Track 38

Track 39

Country Style

Medium Rock Style

21

Lesson 8
The Note F

4
T
1st space

F Exercise

Track 40

Fine Old Time

Flying High

Earl Klugh Style

Track 41

Bayou Stomp with F

Track 42

Track 43

The note F is
written in the first
space of the staff.

Rockabilly Style

Country Jethro Style

Pop Ballad Style

22

Beam Me Up

Track 44

Scott Joplin Style

The Slur
A slur is a curved line written over or below several notes. When a slur is applied to notes
it means that you play them smoothly. To do this, keep blowing as you change the
fingering for the different notes. Only tongue the first note of the group enclosed by the
slur.
Another word for playing smoothly, often used in music, is legato.

Slur Exercise 1

Track 45

Slur

Legato Lullaby

Track 46

Alberti Style

23

Lesson 9

The Note B Flat (B )

This note is lower than B, but not as low as A. Its pitch is halfway between B and A.

4
T

The sign in music notation is pronounced flat. A flat

sign lowers the pitch of a note by one semitone (see
glossary).

The flat sign is written after the note in text, (e.g. B )but
before it on the staff.

You can keep your thumb on the B key when you play A, G and F.

Flat to the Boards

Track 47

Reggae Style

Flat signs apply to all Bs in the bar. Bars 1 and 5 of this song each contain only one flat
sign, but two B

notes.

Love Me Tender

Track 48

Blueberry Hill Style

24

Flat Signs after a Clef

Flat signs are often written on the staff, after a clef. When this happens, as in Ode to Joy,

you play every note on the middle line as B . The presence of flat or other signs after a
clef is known as a key signature.
One flat after the clef indicates the
key of F major or D minor.
A key is the tonal centre of a piece of music. It is the note and chord to which the melody
tends to gravitate. In simpler terms, the key is the home note to which the tune wants to return.
The key signature of a piece of music is the indication that a particular key is used in the
bars that follow.

Ode to Joy

Track 49

Ludwig van Beethoven

Classical Style
Ludwig van Beethoven lived in Germany and Austria from 1770 to 1827. This piece is an
excerpt from his 9th Symphony.

Jingle Bells

Track 50

Pop Style

25

A Tale of 2 Bs

Track 51

Cool Swing Style

This tune uses both Bs - the B you first learned (called B natural) - and B .

Thumb B b Exercise

Track 52

Brassy Latin Style

Place your thumb on the B key when you change from C to F. Then you will be ready
for the B

when it comes a few notes later.

Batucada Blues

Track 53

Batucada Style

26

Lesson 10
Rhythm Review

Track 54

Medium Rock Style

The Lead-In (or Pick-up)

Songs do not always begin on the first beat of a bar. A lead-in is a group of notes that
occurs before the first complete bar of a song, as in the next song.

The Banks of the Ohio

Track 55

On the CD there are 5 beats to introduce this song. Count: 1

Lead-in

Country Style
2

1, then play.

27

When the Saints Go Marchin In

Track 56

On the CD there are 5 beats to introduce this song. Count: 1

Trad. Jazz Style

2

1, then play.

The final bar of a song that begins with a lead-in contains the beats that were left out at the start.

28

Lesson 11

The Natural Sign

This symbol is a natural sign. Natural signs are used to distinguish

flat notes (like B ) from plain, everyday, ordinary notes like B

natural (the first B you learned).

Natural Exercise 1

Track 57

Solo Guitar Style

Flat signs written before a note, (not after the clef as part of a key signature) only last for

one bar. Thus the notes in bars 2 and 4 are B , not B .

Sometimes the natural sign is written in brackets to remind you.

The Right Hand B b

4
T

This fingering is easier to use when you need to move between B and B (B natural), as
in the exercise above. Go back and play the exercise above using this new right hand
fingering.

Natural Sign Rules

1. A natural sign cancels the effect of a flat sign after a clef, but only until the end of the
bar.

Natural Exercise 2

Track 58

Funk Style

In the second and fourth bars of this exercise you play B natural (B ), not B . In the
first and third bars, play B .

29

Natural Sign Rules (continued)

2. A natural or flat sign lasts all the way through a bar, but expires at the end of that bar.

Natural Exercise 3

Track 59

Bossa Guitar Style

Play 2 B notes in bars 1 and 3, and B natural (B )in bar 2.

The Three Four Time Signature

The numbers and after a clef are called the three four
time signature. They mean that there are only three beats
in each bar, instead of four.

Three for One

Track 60

Gospel Waltz Style

A waltz is a piece of music written in three four time.

On the CD there are two bars of three beats to introduce songs in three four time (6 beats in total).

Three to the Bar

Track 61

Country Waltz Style

30

The Tie
At first glance a tie seems identical to a slur. The difference is that the tie connects two
notes of the same pitch, whereas a slur connects two or more notes of different pitches.
To play a tied note, keep counting as you blow, but dont tongue the second note.

The Tie

Track 62
Play this A note for five beats.

Think:

Barcarolle

Track 63

Jacques Offenbach
Parisian Waltz Style

Jacques Offenbach (1819-1880) began his musical career as a cello player. His most famous
composition is the Can-Can.

Tied Down

Track 64

Bogey Style

31

Tied Down (continued)

1st and 2nd Endings

The following piece contains a line and the numeral 1 above bar 13. This instruction is
a first ending. It means that you play the piece to the end of bar 16, then repeat from
the beginning. On the 2nd time through, skip bars 13 to 16 and play bars 17 to 20
instead (the 2nd ending).
Then repeat the whole piece from the start.

Roses from the South

Track 65

Johann Strauss
Parisian Waltz Style

Johann Strauss (1825-1899) lived in Vienna for most of his life and composed some of the
most popular waltzes of all time, including The Blue Danube. He came from a family of
composers who also produced waltzes.

32

Lesson 12
.

The Whole Note (or Semibreve)

In the song, Tied Down on pages 30 and 31, you created a
note with a value of four beats by joining two half notes
together (bars 1-2, 5-6, etc). There is another way to write
a four beat note, called a whole note (or semibreve)

2 3 4

Good Evening Friends

Track 66

Play B natural in this exercise, not B .

Big Breaths

Track 67

Classical Harpsichord Style

Relax to breathe in, exert to blow out.

Rhythm Review 2

Track 68

Achy Breaky Style

33

The Note E

4
T
The position of the mouth when playing the flute is
called the embouchure. The embouchure is slightly
different for every note. You will notice this more as
you play the lower notes of the flutes register - like this
1st line note, E. Try to make the lower notes sound as crisp
as the higher ones. Blow into the tone hole a little
more, rather than across it. Also allow the mouthpiece
to move downwards.

E Exercise 1

Track 69

James Taylor Latin Style

E Exercise 2

Track 70

Funk Style

E Exercise 3

Track 71

Organ Trio Style

E Exercise 4

Track 72

Mandolin Latin Style

34

Waltz of the Flutes

10 Bar Blues

Soothing

Track 73

Track 74

Chopin Style

Jug Band Style

Track 75

Piano & Orchestra Style

Jokes
How many heavy-metal musicians does it take to change a light bulb?
Two: One to screw in the bulb and the other to smash the old one on
his forehead.
How many alto saxophone players does it take to change a light bulb?
Five. One to handle the bulb and four to tell him how much better they
could have done it.

35

Mary Ann

Track 76

Bossa Nova Style

36

Lesson 13
The Eighth Note (or Quaver)
An eighth note (or quaver) is equal to half a quarter note.
Tail

Eighth Note Exercise 1

Track 77

rest

Think:

Beam

When two or more

eighth notes are
joined together their
tails become a
beam.

rest

rest

rest

rest

one and two three rest

Eighth Note Exercise 2

Track 78

rest

rest

Think: one two three four and

Eighth Note Exercise 3

Shave and a Haircut

Track 79

Track 80

Hip Hop Style

In bar 2, will you be playing B natural or B flat?

rest

rest

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Eighth Note Exercise 4

Track 81

Eighth Note Exercise 5

Track 82

Eighth Note Exercise 6

Track 83

Micks Mexican Mix

5 beats introduction.

Track 84

Music Box Style

38

Eight Enough

Track 85

Fingerpicking Folk Style

Exercises with Flat and Natural Signs

Natural Exercise 4

Track 86

Natural Exercise 5

Track 87

Natural Exercise 6

Track 88

Funk Style

39

Lesson 14
The Note D (Low D)

Although it is more difficult to make this note sound as

crisp as other notes, it can be done. Experiment, listen,
practise, be patient and enjoy.
1st space
below the
staff

There is no clip-on attachment that you can buy that will

make every note you play on the flute sound beautiful.
If there were, would you still appreciate the skill of a fine
player?

D Exercise 1

Track 89

D Exercise 2

Track 90

Bossa Nova Style

D Exercise 3

Track 91

Fast Latin Style

It is easier to play D when you slur down to it from a higher note.

40

Two Note Rock with Low D & E

Big Ben

Track 93

The Volga Boatman

Harem Dance

Bee Gees Style

Bell Style

2 - Track 1

2 - Track 2

6 beats introduction on the CD.

Track 92

Vodka Style

Ethnic Style

41

La Spagnola

2 - Track 3

Piano & Strings Style

42

Lesson 15
The Note D (on the 4th Line)

T
4th line

Middle D Exercise

This note is quite easy to blow, but is

awkward to reach when you first learn to
move to it from another note.

2 - Track 4

Middle and Low D Exercise

2 - Track 5

James Taylor Latin Style

Bossa Nova Style

To play smoothly, you must be able to make the change from C to D and back again as
seamless as the change from A to B. The first target is to avoid dropping the flute in the
process!

Middle D & C Exercise

C to D Exercise

2 - Track 6

2 - Track 7

Jazz Swing Style

Hosanna Style

43

The Three Flute Registers

A range of notes that have similar tone qualities is called a register. All the notes below the
D in this lesson are in the low register. This D (on the 4th line) is the first note you have
learned from the middle register.

Low Register

Middle Register

Low C to C

Middle D to High C

High Register
High D to Altissimo C

1 octave higher

Dark, chocolate,
warm, creamy,
mellow, hard.

Light, juicy, sweet,

gleaming, supple,
soft.

Brilliant, pungent,
glassy, piercing,
dominating, brilliant.

Changing Registers
The following exercises are designed to help you change smoothly between the low and
middle registers.

Middle D & B Exercise

2 - Track 8

Guitar Duo Style

Middle D & A Exercise

2 - Track 9

Fiesta Style

Middle D & G Exercise

2 - Track 10

Two Note Rock with C & D

2 - Track 11

Piano & Strings Style

Rock Style

44

G, B, & D Exercise

2 - Track 12

2 - Track 13

Beat the Batucada

Slow Jazz Style

Batucada Style

You can place your thumb on the B key when you play D. You may like to have it

there to remind you to play B a few notes later.

Now that you have completed all the exercises with D, you can reap your reward with
melodies from this and the next lesson.

D Song

2 - Track 14

D Note Waltz

2 - Track 15

Harpsichord Style

Country Guitar Style

This tune features a new key signature - two flats, which in this case indicates the key of B
major. You do not need to learn any new notes. You may notice how naturally the piece
finishes on B

b.

45

Lesson 16
Songs with D
The Carnival of Venice

2 - Track 16

Slow Waltz Style

On the CD there are 5 beats to introduce this song.

For Hes a Jolly Good Fellow

2 - Track 17

Old Style Waltz

Above bar 24 is the instruction D. C. al Fine (pronounced fee-nay). This is an

abbreviation of Da Capo al Fine, which means that you play the song again from the start
until you reach the word Fine (bar 16).
5 beats introduction.

46

Theres a Hole in the Bucket

2 - Track 18

Slow Waltz Style

On the CD there are 5 beats to introduce this song.

Twinkle, Twinkle, Little Star

2 - Track 19

Wolfgang Mozart
Music Box Style

Wolfgang Mozart (1756 - 1791) composed more than 600 pieces of music during his short
life. He was a virtuoso pianist and also an excellent violinist. This melody is the foundation
for a brilliant piano sonata that contains many dazzling variations of the original theme.

47

Blues in G

2 - Track 20

Rhythm n Blues Style

There is another new key signature here - G Major, one sharp sign after the treble clef.

When Johnny Comes Marching Home

On the CD there are 5 beats to introduce this song.

2 - Track 21

March Style

48

Lesson 17
The Dotted Quarter Note
(or Dotted Crotchet)
Adding a dot after a quarter note increases its length to one and half beats.

quarter note
(or crotchet)
1 beat

Dotted Quarter Note Exercise 1

2 - Track 22

2 3 4

rest

2 - Track 24

Dotted Quarter Note Exercise 4

2 3 4

rest

Dotted Quarter Note Exercise 3

2 - Track 23

Dotted Quarter Note Exercise 2

dotted half note

(or dotted minim)
3 beats

half note
(or minim)
2 beats

dotted quarter note

(or dotted crotchet)
1 beats

2 - Track 25

49

Ode to Joy (advanced version)

2 - Track 26

Piano & Bass Style

This version of Ode to Joy contains more of the original theme than the one on page
24. It is also in a different key - G major.

50

Cornpicking

Dotted Ballad

2 - Track 27

Chet Atkins Style

2 - Track 28

Country Ballad Style

While Shepherds Watched their Flocks

2 - Track 29 Church Style

7 beats introduction on the CD.

Tip
Clean your flute often - ideally after every practice session. To clean the inside, twist the end of a
tissue or soft cloth through the gap in the end of the cleaning rod that came with your flute. Then
insert the tissue and rod into each joint and wipe them dry. Pay special attention to the inside of the
tone hole in the headjoint.
Wipe any perspiration or tarnish off the outside with a clean tissue or cloth. Use a cotton bud for
the areas around the springs and keys.

51

Lesson 18
The Note E (in the Middle Register)

4th space

This E has the same fingering as the E on the first

line. Blow a little harder than for the lower E.
Dont turn the flute in towards you because that
will muffle your tone.

Middle E Exercise 1

2 - Track 30

Bossa Nova Style

Middle E Exercise 2

2 - Track 31

Bossa Nova Style

D to E Exercise 1

2 - Track 32

Blueberry Hill Style

D to E Exercise 2

2 - Track 33

Gentle Rock Style

52

D to E Exercise 3

2 - Track 34

2 Note Sonata with D & E

Little Brown Jug

Takeda

2 - Track 35

2 - Track 36

2 - Track 37

Soft Funky Style

Serene Latin Style

Bluegrass Style

Ancient Oriental Style

53

God Save the Queen

2 - Track 38

My Bonnie Lies over the Ocean

2 - Track 39

Anthem Style

Country Waltz Style

5 beats introduction on the CD.

Reveille

2 - Track 40

7 beats introduction on the CD.

Military Style

54

O Susanna

2 - Track 41

Stephen Foster
Fingerpicking Guitar Style

Stephen Foster (born 1826 in Pittsburgh, USA, died 1864 in New York) composed more
than 170 humorous and sentimental songs depicting life in southern USA in the 19th
century. Many of his songs were often used on the soundtrack of the Bugs Bunny Show.
7 beats introduction on the CD.

55

Home Sweet Home

Theme from Finlandia

2 - Track 42

2 - Track 43

Campfire Style

Antonin Dvork (1841 -1904)

Bossa Guitar Trio Style

Born near Prague, Czechoslovakia, Dvork worked as a butcher while studying music in his
spare time. Among his works are 9 operas, 9 symphonies and many other pieces.

Sonata Theme

2 - Track 44

Wolfgang Mozart
Alberti Style

56

Lesson 19
Staccato
You have seen that a dot written after a note lengthens the
note (page 19).
A dot written above or below a note means that you play
the note short and detached from other notes. This
method of playing is called staccato. It is the complete
opposite of playing legato, or smoothly.
To play notes staccato, think of the letter d when you tongue the note, instead of the
syllable doo.

Staccato Exercise 1

2 - Track 45

Staccato Exercise 2

2 - Track 46

Acoustic Band Style

Staccato Exercise 3

2 - Track 47

Bossa Nova Style

Staccato Waltz

2 - Track 48

Jazz Waltz Style

57

Shortnin Bread

2 - Track 49

2 - Track 50

The Mexican Hat Dance

Jugband Style

Mexican Waltz Style

5 beats introduction on the CD.

Staccato Blues

2 - Track 51

Funk Style

58

Lesson 20
The Note F Sharp

4
T

The sign in music notation is pronounced sharp.

The sharp sign is written after the note in text, (e.g. F ) but before
it on the staff.

F # Exercise 1

2 - Track 52

Cha Cha Style

When a sharp sign is written after the clef on the top line of a staff, it applies to all the
F notes in the piece.

F # Exercise 2

2 - Track 53

Chopin Piano Waltz Style

An individual sharp sign (not written after a clef) is cancelled by a bar line. The F notes in
bars 3 and 5 are natural.

F # Exercise 3

2 - Track 54

Solo Guitar Style

The first note of bars 1, 3 and 4 is F natural.

F # Exercise 4

2 - Track 55

Funk Style

59

F # Exercise 5

2 - Track 56

Latin Rock Style

The two sharp signs in this key signature indicate the key of D major.

The natural sign in bar 3 only lasts for one bar. Play all the other Fs as F .

The Galway Piper

2 - Track 57

Irish Style

The sharp sign after the clef means that you play all the notes in the 1st space as F#.

Aloha Oe

2 - Track 58

7 beats introduction on the CD.

Calypso Style

60

Minka

2 - Track 59

Gypsy Style

The key of this tune is G minor. Its key signature contains two flats - B and E .

Hark! The Herald Angels Sing

2 - Track 60

Hymn Style

61

Happy Birthday (Key of G Major)

2 - Track 61 Country Waltz Style

5 beats introduction on the CD.

Jingle Bells (complete)

2 - Track 62

Cocktail Style

This arrangement of Jingle Bells is in the key of G major. It contains extra bars that you
couldnt play when you were first learning (p 24). In addition, the rhythm in several bars
(eg bar 3) is more accurate.

62

We Wish You a Merry Christmas

2 - Track 63

Santa Lucia Style

5 beats introduction on the CD.

Good King Wenceslas

2 - Track 64

Halleluja Style

63

Lesson 21
The Note F in the Middle Register
5th or
top line

The fingering for this note is the same as

for the F in the first space.

same fingering

Middle F Exercise 1

2 - Track 65

Bossa Nova Style

Middle F Exercise 2

2 - Track 66

Bossa Guitar Trio Style

Middle F Exercise 3

2 - Track 67

Fingerpicking Guitar Style

DEF Song

2 - Track 68

Fast Latin Style

64

Half Measure with D, E and F

The William Tell Overture

2 - Track 69

2 - Track 70

Merengue Style

Gioacchino Rossini
Pizzicato Strings Style

Gioacchino Rossini (1792 - 1868) trained at the Conservatory of Bologna, Italy. He played
the cello and composed 36 operas. This extract is from his most famous work.
7 beats introduction on the CD.

The F Major Scale

2 - Track 71

Bossa Guitar Trio Style

A major scale is a sequence of notes that produces the well-known pattern: Do Re Mi Fa

So La Ti Do. You will probably recognise the pattern when you play this exercise.

The F Major Arpeggio

2 - Track 72

Alberti Piano Style

An arpeggio is created when the notes of a chord are played one at a time. The F major
arpeggio contains the 1st, 3rd and 5th notes of the F major scale - F, A and C.

65

Dance of the Hours

2 - Track 73

Amilcare Ponchielli
Polka Style

Ponchielli (born 1834, Paderno, died 1886, Milan, Italy) wrote many operas, the most
famous of which was La Gioconda. He was also a music professor at Milan Conservatory.

The First Noel

2 - Track 74

Slow Waltz Style

66

Extra Songs (not on CD)

Camptown Races

Pick a Bale o Cotton

Wooden Heart

Stephen Foster

67

The Daring Young Man on the Flying Trapeze

This piece is arranged for a trio - a group of three instruments.

68

Fingering Chart
233 3

233 3

3
4

C or D
233 3

233 3

3
4

D
233 3

233 3

or E

F
233 3

233 3

F or G

G
4

233 3

233

1
4

G or A

A
33

A or B

b
33

33

1
4

33

1
4

B
233 3

C or D

D
233 3

233 3

D or E

69

Glossary
accidental - a flat, natural or sharp sign indicating a note from outside a particular key. E.g.,

the natural sign in bar 3 of F Exercise 5 on page 59, is an accidental because the F natural
does not belong to the key of D major, in which the exercise is written.
arpeggio - the notes of a chord played one at a time.
chord - a group of two or more different notes played together.
dissonant - clashing, not harmonious.

D. S. al Coda - short for Dal segno al coda - go back to the sign

far as the Coda sign

, play again as

, then jump to the second Coda sign, and play to the end.

embouchure - the position of the lips and mouth when playing a wind or brass
instrument.
harmonize - to combine notes to produce a pleasant sounding blend.
key - a pitch that forms the tonal centre, or home sound of a piece of music.
lick - a short musical phrase.
measure - same as bar.
octave - the interval between two notes where the
frequency of one is either half or double that of
the other. E.g., the two A notes on the staff at
right are one octave apart. Notes that are one
octave apart usually have the same letter name.
phrase - a group of notes that form the musical equivalent of a sentence.
register - a range of notes on a particular instrument.
riff - a short musical phrase, usually repeated or varied several times within a song.
semitone - the smallest interval of pitch used in most Western music. Eg, the interval
between E and F, or between B and C, is one semitone. The interval between A and B, or
between C and D, is one whole tone.
sustain - to hold a note or chord for its full value.
syncopation - emphasis given to a normally unaccented beat.
transpose - to change music from one pitch or key to another.
vibrato - a pulse or throbbing in the sound of a note. On the flute, this is achieved by
tightening and loosening the muscles of the throat, as when saying the word who, or when
clearing the throat.

70

The
Andrew Scott
Flute Method, Book 2
A Preview
The Note G in the Middle Register
The fingering for this note is the same as
for the G on the second line.
same fingering

The G Major Scale

Bossa Guitar Trio Style

The Note Low C

4
T
This is the lowest note on the flute, and thus requires more
breath than any other notes. Remember to support the
airstream from your abdomen, not your chest. Review
Lesson 6 of Book 1 to refresh your understanding of this
technique.

Lots of Great Pieces

Toreadors March

Georges Bizet

71

Other Publications from Andrew Scott

Hear Andrew Scott play flute, tenor saxophone and sing on this collection of six songs in
an easy-listening jazz style. Andrew is ably accompanied by Garry Stocks on acoustic and
electric guitars. The album features 25 minutes of music that flows, bounces, swings and
soothes, offering the listener a pleasant distraction from everyday cares that is both relaxing
and entertaining.

The 6 songs are: The Pink Panther, Summertime, All of Me, A Nightingale Sang in
Berkley Square, Won't You Come Home, Jill Bailey? and Tico Tico.

The rhythm section featured on this CD is a virtual band - an electronic ensemble of the
finest samples available to the music industry. Carefully arranged and sequenced by Andrew
and Garry, you wont believe theyre not live!

72

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