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Stefan Stanciu

I started to play the panflute at the age of seven and released my first album already at the age of eight with a Finnish publishing and broadcasting company. I released my first four albums with the same company and was invited to perform in many TV programs as panflute soloist. As time passed, I came to be known as “Stefan – the little panflutist”. I became famous partly because I performed as a guest star in TV programs and concerts and partly because of my albums. I published six albums during my school years and performed in hundreds of concerts. As explained in the prologue of this book, accompaniments and rhythmic synthesizers were important in my pedagogical training, which is why I felt it was important to add chords to most of the works in this book.

Nowadays me and my music are known not only among the people who love schlagers and popular tunes but also by the classical audience. My repertoire is very wide. I play in ensembles and bands every now and then, but also as soloist for example in symphony orchestras both in Finland and abroad. My performances have taken me to France, Romania, Spain, Austria, Singapore and Holland, to mention but a few.

Traditionally, the panflute has not been included in the official educational program of music in Finland. I began my education as a flautist and oboist. I majored in the oboe at the Helsinki Conservatory, the panflute being accepted as my additional soloistic subject. In 2003, I passed the soloistic examination in panflute. It was the first time the panflute was accepted as an instrument for professional studies exam in Finland.

In 2007, I graduated from Stadia (nowadays Metropolia), the college of music at Helsinki Polytechnics, as oboe and panflute pedagogue. I was simultaneously concluding my studies at the University of Jyväskylä. My master thesis focused on determining which parts of the classical repertoire composed for other instruments are technically and musically possible to play with the panflute. In 2008, I graduated from the University of Jyväskylä, Department of Musicology as Master of Arts (filosofian maisteri).

In 2012, I enrolled to a Master’s Degree Program at Sibelius Academy, the Department of Folk Music. My ambition is to learn to play archaic instruments, improve my knowledge in the roots of Nordic archaic music and do research on whether the panflute works as an instrument to perform and interpret Finnish and Scandinavic folk music. I was, and still am, particularly interested in combining folk music with modern electronic music. I graduated from Sibelius Academy in December 2014 as Master of Arts (musiikin maisteri).

In addition to teaching the panflute and working as freelance musician, I have been working since 2009 as Oboe and English horn player at the Helsinki Police Band, a professional wind orchestra, where I occasionally have the pleasure of playing as the panflute soloist.

Besides all this, I am continuously extending my classical, electronical and folk music repertoire and performing regularly with various folk and classical music ensembles.

Find out more about me and my music at WWW.STEFAN.FI

Dear Students and Teachers

Thank you for choosing this book as a tool to learn panflute and to play works that are composed particularly for panflute.

This panflute book contains plenty of small works which are suitable (all the way) from the beginner level to advanced players. Each work improves a certain technical area in panflute playing. Since panflute differs a lot from other wind instruments, it is important that there is music composed particularly for panflute; music which is playable and natural for this instrument. Because panflute is so different from other instruments, many works are not suitable for it. Playing unsuitable works may even cause neck damages to the player. It is therefore essential that the player and especially the teacher knows the mechanisms of possible neck damages in order to avoid problems. Playing a work that is too difficult creates extra muscle tension and the player cannot perform it safely. The best prevention is to ensure that the tasks assigned to the student have an appropriate level of difficulty.

I have designed this book to be as ergonomic as possible, yet challenging for the panflute player. My intention was to reduce the health risks but still give the player the feeling that playing can be easy and pleasurable, the music sounding more challenging that it actually is. In other words, playing a work which corresponds well with the technical potential of the instrument can easily sound virtuoso. I have composed a wide range of works to this book, each of which has to solve a certain technical problem characteristic to panflute.

The musical styles vary widely and I have added chords in almost every work so that these can also be accompanied. Playing with accompaniment played a big part in my pedagogic program as a child and it was the most important element as I progressed in my studies. It was my teacher-father Constantin Stanciu's method to rehearse music which could be accompanied by a piano as often as possible. In addition, he would typically use synthesizers with a rhythm machine. I believe that, especially for the novice and young players, it is more pleasant, fun and pedagogically rewarding to play easy works with accompaniment. Playing the melody on your own might be boring because it is not associated with anything in a small child's mind. When you have a friend along, rehearsing does not feel like tough training. It is always more fun to play with somebody "in the same team". As you play either with accompaniment or with another panflutist, you improve your sense of intonation and rhythmic elements. That is why I have included many duos especially for the novice players in the book.

Instructions to the performer

For panflute the real legato is impossible. However, it is possible to create a sense of legato, in the same way as with piano and trombone, for instance. To achieve legato-style playing, the panflutist needs to switch from one pipe to another as seamlessly as possible. At the same time, the player should play the tones as long as possible, tenuto. In consequence, in this book, I have marked with tenuto-lines all the notes that should be played as legato as possible. I use legato-ties in the notation to indicate that the transition from one pipe to other should be done without tonguing.

You might have already noticed that I have not marked any dynamics in this book. I want to give the performer a free hand in implementing nuances in all my works. In my opinion, these works can be interpreted in several ways, and nuances are a part of the interpretation. Moreover, it can be considered as part of the pedagogic process that the teacher and the student debate on the suitable nuances for each moment.

Some of the works have a wide tempo marking. In these cases, that particular work is suitable to be played at different speeds. The variable tempo might also change the interpretation, so that the work may challenge the performer in different ways. Actually, sometimes even the playing technique must be changed when the tempo is altered.

The most common panflute size is alto panflute where the lowest pipe is g1, which can also produce f#1 by tilting the flute. The top pipe is g4. This alto panflute therefore has a range of three octaves. Panflutes are tuned in most cases in the G major scale. For the aforementioned reasons, this book is designed for this particular panflute model. Nonetheless, it is possible to play the works in the book with other types of panflute by, for instance, switching the octave to a lower one.

Panflute music, especially when written to this "small panflute" i.e. alto panflute, is usually written an octave lower than it actually sounds. Accordingly, I wrote the notes so that the lowest pipe of the panflute is equal to the G-note with two added ledger lines at the stave. Some composers use loco to express the same thing in the panflute sheet music.

These works may also be played in a different octave than how they have been written. In fact, by rehearsing the same work in different octaves, it is pedagogically more challenging and brings additional colours to the composition.

This panflute book is partly progressive. The Panflute has a lot of characteristic challenges. For some, the jumps between pipes are more difficult than mastering the legatos; for others, tilting the flute is more challenging than the implementation of vibrato. Therefore, the teacher can choose the order of works which is the most fruitful for a student's development.

I wish you nice and enjoyable moments with this panflute book.

Stefan Stanciu

Adventure Suite for Little Panflutist

This suite consists of five small pieces for panflute and accompaniment. These pieces are made for beginners. Hope you have an adventurous time with this suite!

Tenner Etudes

Ten etudes for novice players. Learn to make little jumps between pipes, some different rhythms, how to play staccato, frullato and glissando. Learn even a few numbers in different languages!

Duos for Two Panflutes

56 duos in progressive order. The difficulty level of this collection varies from the beginner to the advanced panflutist. The works represent many different styles of music: classical, swing, folk, light, and film music. Every work has its pedagogic purpose: each of them develops a certain technical area in panflute playing. It is also possible to play these works with only one panflute and accompaniment. The second panflute is usually more demanding.

7 Moods for Two Panflutes

This work is composed for advanced panflutists. It has several kinds of mood all made in the style of contemporary classical music. After composing all seven parts I felt that something is missing, a happy end, or should I say a happy encore. As well as the other duos, these also have a specific pedagogical perspective in every part.

SiKaMus Folk Suite

I composed this suite during my studies at Sibelius Academy. The suite is composed in Finnish folk music style especially for the panflute. Each work of this five-part suite represents a different genre in Finnish traditional music, for instance waltz, maanitus (temptation) and sottiisi (schottische).

Alphabet Etudes

Most countries like Italy, Romania, France, Greece, and Latin American countries use the naming concention Do...Re...Mi... etc. which is also called the solmization system. However, within the English and Germanic-language speaking countries, the pitch classes are represented by the first seven letters of the Latin alphabet (A, B, C, D, E, F, G,) which is also known as the alphabetic system. Some European countries like Germany and Finland share an almost identical notation in which H substitutes for B.
Well, as half Finn I made a series of etudes: A...B...C...D...E...F...G...H. My purpose is that each etude focuses on that particular note that is mentioned in the title. The difficulty level in these etudes are from average to advanced.

50 Etudes for Panflute

For average or advanced players alike, here is a large collection of etudes that could also be called "concertante etudes". Every etude has chords as well as earlier etudes so you can be accompanied for instance by a piano or guitar. Though these etudes have been made for pedagogical purposes, they are still composed so that you can perform them as single songs. You can also gather a miscellaneous amount of works together and present them as a suite for panflute.
These etudes represent a wide range of different music styles and time signatures: for instance waltzes, tangos, schlagers, classical, folk, and world music. I have also wanted to gather as much as possible of the different effects and features which are characterized by panflute and that is possible to play with the panflute.

Quattro Formaggi

This cheesy four-part trio for three panflutes (bass panflute & 2 smaller panflutes) is made for advanced and professional players. I love cheese and I love the panflute! Buon appetito!