Robert Langevin’s indispensable scale patterns and exercises are now available to all flutists for the first time! These studies in tone, technique, and artistry, have previously been known mostly to his students through his concise sketches. Langevin’s iconic 15 Extended Scale Patterns, and the 6 chapters leading to it, customize exercises to work on several skills simultaneously, making practice sessions most efficient. Amanda Blaikie of the Detroit Symphony Orchestra, a former student of Langevin, has collated and written out the complete exercises and contributed to the commentary. This annotated collection was prepared alongside Langevin who also contributed advice on practicing, artistry, and auditioning. Chapter 1: Advanced Long Tones Long Tone exercises with variations to incorporate dynamics, tone, intonation, and breath control, as well as a variety of attacks, releases, and vibratos. Chapter 2: Tone Colors Melodic excerpts from the flute repertory are used with varied dynamics and transpositions as a means to control the spectrum of tone, from round to edgy, across the entire instrument. Chapter 3: Tongued Intervals Double-tonguing practice from small to large pitch intervals, in all registers and dynamic levels. This can also be practiced slurred. Chapter 4: Low Register Articulation A progression of articulation exercises in the lowest register as preparation for excerpts such as the 3rd Flute part from Tchaikovsky’s Dance of the Mirlitons, offered in several keys for extra facility. Chapter 5: Low Register Pinky Exercise Preparation for many passages in the repertoire through work in patterns built around low B. Chapter 6: Exercises for the Extreme High Register These exercises began as practice solutions for arpeggiated high notes in the last movement of Prokofiev’s Classical Symphony. They cover the entire top range of the flute, improving one’s ability in the trickiest 3rd octave technique. Chapter 7: The 15 Extended Scale Patterns The heart of The Langevin Method providing a compendium of patterns with transpositions to every key, involving the complete range from Low B to D4, along with three sets of practice regimens for flutists of varying experience and proficiency. Chapter 8: Advice for Practicing, Artistry, and Auditioning Invaluable advice from the Principal Flute of the New York Philharmonic through his experience performing in orchestras and teaching students at the highest level. “Necessity is the mother of invention, and when I was faced with difficulties for which I didn’t know any solution, I had to make up exercises to solve these problems. I encourage you to do the same if faced with a similar situation and to feel free to adapt any of these exercises for your needs. Technique is necessary but only as a means of expression. Learning an instrument is a life-long endeavor.” — Robert Langevin
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