Technical Flexibility for Flutists – A Book of Organized Daily Practice Routines
By Geoffrey Gilbert
Published by Southern Music Co.
Geoffrey Gilbert (1914-1989)
Upon his death in 1989, Geoffrey Gilbert was proclaimed “the most influential British flutist of the 20th century” by the London Times. Gilbert was a flutist with The Royal Philharmonic Orchestra and The London Philharmonic Orchestra under Sir Thomas Beecham; a flutist with the BBC Symphony Orchestra under Sir Malcolm Sargent, and a flutist with the Halle Orchestra directed by Sir Hamilton Harty. Mr. Gilbert performed the English premieres of the Ibert, Nielsen, Jolivet and Rivier flute concertos.livet and His teaching appointments included Trinity College, the Guildhall School of Music, and Royal Manchester College of Music.
In 1969, Gilbert accepted a position as Director of Instrumental Studies at Stetson University in DeLand, Florida. Stetson had attempted to entice him several times, but when his wife, Marjorie, was offered a position teaching speech and drama, the two decided to settle in America. While living in the United States (1969 to 1989) and lecturing throughout the world, Geoffrey Winzer Gilbert achieved world-wide recognition and high acclaim as a teacher of American flutists.
It is customary to ascribe the origin of a book of this kind to some impetus or motivating factor provided by the advice of a dear friend or family member. In this case nothing could be farther from the truth! It owes its origin solely to the disasterous summer in England in 1986.
Incarcerated for a few weeks in an Elizabethan cottage in an isolated village in the Cotswolds and tiring of alternately reading books, watching the weather forecasts and listening to the constant patter of the rain from the eaves, I was forced to search for some interesting way to employ my time during an almost endless succession of depressing days. Had the weather been a little kinder, it is doubtful if this collection of scales and exercises would ever have seen the light of day. However I am sure it would have benefited my golf game.
The scale sections can be used in many different ways to suit the individual needs of the student or teacher, perhaps on the basis of one page per day or if that is too much, one page per week. I have used them in my own flute classes at the rate of one per week and this seemed to bring satisfactory results.
The exercises on page 53 are based on passages from well-known pieces in the orchestral repertoire and I hope they will be found to be useful preparatory studies.
– Geoffrey Gilbert