Andersen continued...
No.9a. Afabile; sweetly: gracefully. Some say: practice double tonguing slowly. Wrong!  Practice it fast in short bursts of 8 notes at a time. You can’t learn to run fast slowly!   No.9b. Practice a) TKTK   b) TKTT   c) KTKT.   Then practice example 9b in Examples.  Why? The more variations of tonguing you practice the more even it will be. There are some works which start on the 2nd note of a group of 4, for example. By practising these ‘variations’, you won’t be caught out.
No.10. Con calore:  with warmth and passion. Moyse said, ‘Always the bell!’ C# for 2 beats then G#. Play up to the   upper notes softly. The first note and the 8th note should dominate. Don’t play it too slowly…
No.11. Con agilita: with agility. Try playing the first, second and fourth notes as a chord on the piano. It is a beautiful sequence and demonstrates that the third note is an appoggiatura. Crescendo to the third, and diminish a little to the f    fourth. Of course, the form changes later.
No.12. Adirato: Angrily.  Fast. The first note is short: the second note crushed to the third note. This will show the   character of this rhythm.
No.13. Sempre con disparazione: always with desperation. Even, fast, brilliant and fluent.
No.14. Con sentimento: with feeling. Practice the first bar with a dark colour, the second bar with a softer, paler colour   as well as following the nuances.
No.15. Con allegrezza: with liveliness. Treat the upper Fs as pedal notes: the tune is in the first of each pair. A slur is a   diminuendo…
No.16.  Con tristeza: Sadly, expressively.  It is difficult to maintain the correct rhythm. Begin by practicing the first   three notes, making a diminuendo the third. The next two notes are then played softly and staccato. Take care not to play the first two notes unevenly.
No.17. The second note should be as short as possible with a little life on the first and third notes. Keep that rhythm in the 9th line.
No.18. Bizzaro: bizarre, whimsical. ‘You must feel the dark colour of this piece’. (MM)  Crescendo to the 8th bar (forte). The melody of the F major section must be shown, but only staccato and piano.  The 16ths in that section?   Tongue: TKTT - (Moyse)!
No.19. Con leggerezza: Lightly and briskly. Sing through all the intervals.
No.20. Con fermezza: In a firm and decided style. Practice single tonguing at a good pace.
No.21. Carrezzando: Caressingly. For fluency and evenness.
No 22. Con fretta: hastily, hurriedly. This is a good study for both single and double tonguing. A slur is a diminuendo.   For single tonguing practice, take out one slur in each bar and every few days, remove another. If your tongue gets tired, put them back in for a few bars. Try to play the whole study like this non-stop.
No.23. Softly and evenly, with three slurred pairs at the end of each bar.
No.24. Con impeto: Impetuously.  A final summing up study. The most useful parts of this are the 6th line (D minor) and, over the page, the D major section. It is not easy, but so much of our early  flute repertoire is in D major.
 Some teachers suggest practicing a few studies an octave higher for third octave practice.

With my students from Manchester, we visited Raymond Guiot’s ‘Etudes’ class at the Paris Conservatoire in the 1980’s. A Conservatoire student played No.24. Afterwards, I asked one of my students what she thought of the last student? She remarked, ‘He was OK, though he did make two or three mistakes’.  I reminded her that he was transposing the study up a semitone!  She looked at me for a moment and then her jaw dropped.

  The piano accompaniments are here:-     

                                                                                                                      Trevor Wye   June, 2020

  For  music examples Click Here