Jean-Pierre Rampal emphasized the essential importance of long tones in building a solid technique and a refined tone quality for any flutist. According to Rampal, regular practice of this basic exercise was indispensable:

“Young flutists must practice long tones. Start on low G, play one octave higher, then return to the low G. Perform this sequence chromatically, which will take at least ten minutes. Anyone who wants to play well must do this and must play from the diaphragm—as when singing—not just blow.” — Jean-Pierre Rampal

Following Rampal’s same teaching principles, we have created a series of exercises based on his foundational concepts. Additionally, we include instructions from Rampal himself on tone production and embouchure.

The study of sound aims to refine our sound, making it more beautiful. Traditionally, tone development is based on long tones played in chromatic scale form, with gradually progressing intervals. In the early 19th century, the great flutist and inventor Theobald Boehm presented this effective approach in his book "The Flute and Flute-playing in Acoustical, Technical, and Artistic Aspects".

Decades later, the French flutist Marcel Moyse wrote his masterpiece "De La Sonorité – Art et Technique", based on the same concept Boehm originally developed. Even today, centuries later, this approach remains the most effective method for tone development — and it is the foundation of this method, as well as many others written on the subject.

In our method, in addition to long tone exercises, we include the study of harmonics, which significantly help to develop embouchure strength and control. We also incorporate slow melodies, which are essential for building musical phrasing alongside beautiful tone, and articulation studies, since articulation is how the sound begins.

In this New Tone Method, you will find detailed instructions and exercises designed to help you achieve a beautiful tone on the flute. After an introduction on how to study and pursue quality sound, the book presents four areas of focus:

• Harmonic Exercises

• Long Tone Exercises

• Slow Melody Exercises

• Articulation Exercises

Sound quality is one of the main concerns for those studying music, as elements such as tone color, brightness, projection, volume, intonation, and sound purity are essential to performance quality.

To improve each of these aspects, it is essential to dedicate time to long tone exercises. To make practice more pleasant and musical, these exercises should be performed with light melodies, played with the same sensitivity and expression as a slow movement from a beautiful concerto or sonata.

This book will address a fundamental technical element in flute performance: technical-motor development. The book is based on scales and intervals, with the study of these elements being the fundamental basis in learning the flute.

This method aims to be progressive. Take each study one by one, and you will experience excellent progress.

For a flutist, studying scales is like learning the essential foundations of music. It's akin to practicing the fundamental movements of a sport before stepping onto the field. Scales help strengthen our skills, from finger dexterity to a deep understanding of notes and the spaces between them.

These studies guide us on a musical journey, training our ears to recognize patterns, allowing us to tune our instruments precisely, and preparing us to approach new songs with greater confidence. Scales aren't just sequences of notes; they're like the primary colors on a painter's palette, enabling us to create beautiful melodies filled with expression and feeling.

Always keep in mind that practice should be conscious and engaging. Adopt a controlled approach to pressing and releasing the keys to increase agility, paying meticulous attention to details such as tone quality and finger movement. Focus on tone variations, legatos, and articulations to enhance sound quality and musical expression.

Melodic studies for flute consist of melodies designed to develop technique, tone quality, and musicality. It is important to play them as musical pieces, respecting dynamics, tempos, and striving for the best possible sound and expressiveness.  

When discussing Boehm’s melodic studies, Sir James Galway gave us valuable advice on how to approach them: "Try not to distinguish between concert music and melodic studies. These little studies are delightful and enjoyable to play."

The Flute Duets Method for Beginners is designed to teach the flute from the very beginning. The entire method is written in duet form — that is, for two flutes — and can be played by a teacher and student or by two developing flutists. That is why we call it the Duo Method for Beginner Flutists.

This method will guide you step by step, note by note, through the process of learning this wonderful instrument. Each lesson was developed progressively, taking into account the natural challenges of the flute. By following all the theoretical instructions and practicing daily with focus, you will achieve excellent results.

This method was developed by Nilson Mascolo Filho and Cinthia Mascolo. The purpose of this method of ours is to teach from the beginning how to play the Transverse Flute, that's why we call it Initiation in Transverse Flute. This method will take you, step by step, note by note, to learn this wonderful instrument. We develop each lesson progressively analyzing the intrinsic difficulties of the instrument. Follow all the instructions step by step and you will have an excellent learning experience. 

This Method is easy to learn and excellent especially for people who have a natural difficulty or little time to study.

François Devienne (1 January 1759 – 5 September 1803) was a French flute composer and professor at the Conservatoire de Paris. Devienne write 300 instrumental works that are mostly written for wind instruments. Many of Devienne's compositions for flute became better known from the 1960s onwards when the famous flutist Jean-Pierre Rampal made many recordings and concerts. Until the 18th century, Devienne's Complete Flute Method was the most used method.

Devienne wrote Méthode de Fléte Théorique et Pratique (1793), which was reprinted several times and made a major contribution to the growth and development of French cork oak music in the late 18th century.

Joseph-Henri Altes (18 January 1826 in Rouen – 24 July 1895 in Paris) was a French flutist and composer. Altes was the first flutist at the Paris Opera and in 1868 he became professor of flute at the Paris Conservatoire, where he remained until 1893. Among his pupils were Georges Barrère and Paul Taffanel.s,

Here is the 3 part method:

Giuseppe Gariboldi (17 March 1833, Macerata - 12 April 1905, Castelraimondo) was an Italian virtuoso flutist and composer. After studying with Giuseppe D'Aloe, Gariboldi moved to Paris, where he worked as a virtuoso flutist and composer. A few years he also taught at the Paris Conservatoire. His work includes numerous compositions for flute, among them the Méthode élémentaire pour la flûte, melodic studies that are used around the world in many Conservatories.