Practice Blueprints - Faure Fantasie

The Faure Fantasie has a very special place in my heart. As a fierce and fiery high school flutist, I was determined to learn this piece inside and out in order to snag a place at the annual Idaho All-State Solo Competition. I practiced the ever-changing accidentals until they became etched into my fingers. I planned out my rubato carefully so the introduction sang like an operatic aria. During my year of Faure, I picked up numerous practice tips for the piece that helped me not only earn my way to All-State, but eventually take home the 1st place trophy. In today’s blog, I am sharing some of these practice tips in another signature Practice Blueprints blog. I hope these tidbits help you slay your next performance of the piece or help your students achieve a 1st place trophy of their own.

Think of the opening melody like a large beach ball bouncing through a crowd. The melody starts on a high B and floats gracefully down through the staff and back up again. Recreate this floating motion by imagining a ball being pushed around a crowd at a summer concert. It has no direction or momentum other than getting from point A to point B on nothing but a gentle push and a light breeze. 

As this is a dramatic French Flute School work, turn up the dynamics one level for that little something extra. We are not in Kansas anymore. As flutes were gaining more keys and transitioning to the metal versions we know today during the Romantic era, dynamics became more powerful. Strut that powerful, soloistic style with a bit more volume.

When in France, do as the French do - Use. A. Lot. Of. Vibrato. Keep your vibrato wide, dramatic, and plentiful as if you are an opera singer singing your spotlight aria. The Faure Fantasie was a competition piece at the culminating annual concourse at the Paris Conservatory. Students were required to strut their stuff to prove that they earned their diploma from the Conservatory. Pretend that your college career depended on how awesome you can sound on this piece! Vibrato required.


Make sure to practice your harmonics to successfully land that jump in the melody in measure 18 from a high B to the low D#. This jump requires a super flexible embouchure. Harmonics will help you strengthen those lip muscles.

In measure 26, linger a bit on the first note of each slurred figure. These notes outline the descending scale from the primary melody. The beach ball is making its way back to the adoring crowd.


Measures 29-32 feature a notated accelerando and a climbing chromatic scale. Although not written, a gradual crescendo to a mezzo forte will heighten the drama of the ascending scale. Adding breath kicks on the first note in each slurred figure will also keep you on the beat and enhance the intensity of the passage. Be careful, however, to keep the breath kicks subtle to avoid making the scale sound pedantic. A smattering of rubato in this passage will also help increase the drama. And speaking of rubato…

Rubato is your best friend in the opening slow section. Rubato is the art of speeding up in certain sections and slowing down in others to fit the dramatic intensity of the melody. In the Faure Fantasie, this can often be accomplished by speeding up to approach the ends of phrases and slowing down right before the conclusion of the line. Remember, however, there is no “right” or “wrong” when it comes to rubato. Be creative! 


The C octave jump is a little tricky in measure 35. Anchor your pinky on the low C key while you are trilling the middle C to prep for the jump. You may also gently tap the G key while fingering the low C to help that note pop.


If possible, avoid taking a breath after the high E in measure 36. The phrase has yet to reach a final conclusion. Instead, take a breath after the low C in the previous measure.


The fast section begins with explosive scales. Remember to use your intense vibrato on the sustained notes and avoid rushing the scales by utilizing breath kicks on the notes falling on down beats. Also, remember to keep your fingers close to the keys so they don’t have to work so hard to play quickly.

Although the music moves a bit quickly in the fast section, make sure to pay attention to the changing dynamics in measures 80-87. These offer opportunities to add unexpected shades of tone colors to the mix. Be creative!


French Flute School works such as the Faure Fantasie often hide the opening melody from the slower introduction in the faster section. We see the return of the beach ball melody in measure 88 and again in measure 97. Add a gradual crescendo to the sustained tones to keep the forward momentum going into the descending triplet scale. Don’t forget that dramatic vibrato!


Whenever you see the word “espressivo” in the score (measure 118 is a great example), this is your ticket to turn the vibrato dial up and sing out the melody loud and proud. If it helps, make up your own words to the melody so you can imagine actually singing it out into the world.


Practice the repetitive sixteenth note figures beginning in measure 151 using a “coo” articulation to strengthen the back of your tongue. This will help even out your double tonguing.


The scale beginning in measure 176 can easily get heavy and buried under the harmonic texture of the piano part. Add a few deliberate accents on the notes falling on the downbeats to maintain the integrity of the beat with the piano.


The real challenge of this piece is in the technical olympics found between measures 192 and 206. Lift each slurred passage by cutting the last note of each figure slightly short. Also, practice each figure in chunks by playing each slur, resting, playing the next slur, and repeating. This is like connecting legos. You’ve got to understand how each of the smaller legos work to connect them properly together. Finally, although it is difficult to see, there is a tenuto mark on the first sixteenth note of measure 206. Make sure to bring this out of the texture when you conclude this phrase.


The phrases between measures 216 (above) and 227 are based on chord progressions (for example, we have a passage in e minor in measure 216 followed by a passage in D major in 217). An easy way to remember the notes in these phrases is to write the name of the broken notes above each measure. Make it easy for your brain.

In the conclusion of the piece, take note of the tenutos in measure 237. These are not a joke! Make sure to bring these out with some strong emphasis.

Finally, remember your vibrato on the final note and let it sing slightly longer than the notes surrounding it.

If I could summarize all of these tips, I would say that drama rules! Keep the Faure Fantasie singing always with tons of vibrato, thoughtful rubato, and unique tone colors to add sparkle and surprise. 

Happy fluting!

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About the Author, Rachel Taylor Geier:

Rachel Taylor Geier holds a DMA in Flute Performance from the University of Minnesota-Twin Cities, an MM in Flute Performance from San Francisco State University, and a BM in Music Performance from DePauw University. Former applied instructors include Immanuel Davis, Linda Lukas, Anne Reynolds, and Rhonda Bradetich. Dr. Geier currently teaches and freelances in Davis, California and hosts a popular Flute Friday Blog Series.