tag:blogger.com,1999:blog-90313500428453042162024-03-13T06:09:25.046-07:00Leonard Garrison Flute StudioLeonard Garrisonhttp://www.blogger.com/profile/13061884461331124836noreply@blogger.comBlogger13125tag:blogger.com,1999:blog-9031350042845304216.post-35864596938760029612014-08-03T19:46:00.004-07:002014-08-03T19:46:47.294-07:00Performance Guide to Arthur Honegger’s Romance
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<br />
<div align="center" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: center;">
by Leonard Garrison, Associate Professor of Flute, The
University of Idaho</div>
<div align="center" class="MsoNormal" style="text-align: center;">
Copyright<b style="mso-bidi-font-weight: normal;"><span style="color: black; font-family: "Lucida Grande";">©</span></b><span style="color: black; mso-ascii-font-family: Cambria; mso-bidi-font-family: "Lucida Grande"; mso-hansi-font-family: Cambria;">2014 by Leonard
Garrison</span></div>
<div class="MsoNormal">
To view my teaching video of this piece, please visit my <a href="https://www.youtube.com/user/leonardgarr">YouTube Channel</a>.</div>
<div class="MsoNormal">
Arthur Honegger (1903-1990) was a Swiss composer who spent
most of his life in Paris. He studied composition with Charles-Marie Widor
(1844-1937) and Vincent d’Indy (1851-1931) at the Paris Conservatory. He was
one of <i style="mso-bidi-font-style: normal;">Les Six</i>, a loosely affiliated
group of French composers (the others were Georges Auric, Louis Durey, Darius
Milhaud, Francis Poulenc, and Germaine Tailleferre), although his works are
generally more serious and complex than those of his confreres. He is most
famous for <i style="mso-bidi-font-style: normal;">Pacific 231</i>, an orchestral
work that imitates the sound of a train. His flute works include the <i style="mso-bidi-font-style: normal;">Concerto da camera</i> for flute, English
horn, and strings (1948), a masterpiece of the first rank, and <i style="mso-bidi-font-style: normal;">Danse de la chèvre</i> for solo flute
(1921), in the repertoire of every flutist.</div>
<div class="MsoNormal">
Honegger’s <i style="mso-bidi-font-style: normal;">Romance</i>
is not as well known. Written in 1952-1953, it is available in <i style="mso-bidi-font-style: normal;">Contemporary French Recital Pieces, Vol. 1 </i>published
by the International Music Company:</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-H7WM7Vx0c2c/U97wiumvXNI/AAAAAAAAAJ4/CnxQ5-3relc/s1600/Contemporary+French+Recital+Pieces_cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-H7WM7Vx0c2c/U97wiumvXNI/AAAAAAAAAJ4/CnxQ5-3relc/s1600/Contemporary+French+Recital+Pieces_cover.jpg" height="320" width="226" /></a></div>
<div class="MsoNormal">
Rated Level D by the National Flute
Association, it requires flexible timing, close coordination between the
contrapuntal lines and flute and piano, and sensitivity to harmonic changes.</div>
<div class="MsoNormal">
The tempo marking <i style="mso-bidi-font-style: normal;">Andantino</i>
is slightly faster than Andante or walking; an appropriate metronome mark is
quarter=63. Each phrase can start with hesitancy and then pick up momentum. An
expressive figure is the two sixteenths and eighth in meas. 4, 8, 12, etc. Lean
on the first sixteenth. </div>
<div class="MsoNormal">
The piece is in ternary or ABA form with the reprise of A at
meas. 38 abbreviated. To bring out the structure of the piece, play a little
faster, about quarter=80, in the middle section, meas. 22-37. The ending is
inconclusive; a slower tempo from meas. 43 to the end enhances the sense of
mystery.</div>
<div class="MsoNormal">
Good luck, or <i style="mso-bidi-font-style: normal;">bonne
chance!</i></div>
Leonard Garrisonhttp://www.blogger.com/profile/13061884461331124836noreply@blogger.com1tag:blogger.com,1999:blog-9031350042845304216.post-31790231436097667262014-08-03T19:44:00.002-07:002014-08-03T19:47:23.805-07:00Performance Guide to Henri Gagnebin’s March of the Jolly Fellows<style>
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<br />
<div align="center" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: center;">
by Leonard Garrison, Associate Professor of Flute, The
University of Idaho</div>
<div align="center" class="MsoNormal" style="text-align: center;">
Copyright<b style="mso-bidi-font-weight: normal;"><span style="color: black; font-family: "Lucida Grande";">©</span></b><span style="color: black; mso-ascii-font-family: Cambria; mso-bidi-font-family: "Lucida Grande"; mso-hansi-font-family: Cambria;">2014 by Leonard
Garrison</span><br />
</div>
<div class="MsoNormal">
To view my teaching video of this piece, please visit my <a href="https://www.youtube.com/user/leonardgarr">YouTube Channel</a>.<br />
<br />
Organist and composer Henri Gagnebin (1886-1977) spent most
of his life in the French-speaking areas of Switzerland. He was director of the
Conservatory of Geneva from 1925-1957 and wrote chamber music, symphonies, and
many works for organ.</div>
<div class="MsoNormal">
Gagnebin’s <i style="mso-bidi-font-style: normal;">March of
the Jolly Fellows</i> is available in the collection <i style="mso-bidi-font-style: normal;">Contemporary French Recital Pieces, Vol. 1 </i>published by the
International Music Company:</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-J1drB4aRGZo/U97zdifzevI/AAAAAAAAAKI/_B3iW1TqhBc/s1600/Contemporary+French+Recital+Pieces_cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-J1drB4aRGZo/U97zdifzevI/AAAAAAAAAKI/_B3iW1TqhBc/s1600/Contemporary+French+Recital+Pieces_cover.jpg" height="320" width="226" /></a></div>
<div class="MsoNormal">
This March is one of the most popular works for intermediate
flutists and is rated Level F by the National Flute Association. These Fellows
are rather heavy, and the composer’s suggestion of quarter=76 is surprisingly
slow. <i style="mso-bidi-font-style: normal;">Allegretto </i>is not as fast as <i style="mso-bidi-font-style: normal;">Allegro</i>, and <i style="mso-bidi-font-style: normal;">commodo </i>(sometimes spelled <i style="mso-bidi-font-style: normal;">comodo</i>)
means “comfortable” or “at an easy pace.”</div>
<div class="MsoNormal">
The excitement is in varied articulation, dynamics, and
unpredictable phrasing. Follow the slurs as marked, and use a clear single
tongue (doo)—double tonguing would encourage rushing. Highlight the dynamic
contrasts while adjusting for good intonation. Use a large lip opening for <i style="mso-bidi-font-style: normal;">forte</i> and smaller opening for <i style="mso-bidi-font-style: normal;">piano. </i>When playing loudly in the high
register, remove the right-hand pinky (R4) for E and substitute the middle
finger (R2) for the ring finger (R3) for F-sharp. </div>
<div class="MsoNormal">
In meas. 9-10, emphasize the B-flats, which make a tritone
with E-natural. This dissonant interval is known as <i style="mso-bidi-font-style: normal;">diabolus in musica </i>or “the Devil in music.”</div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;">Cédez légèrement</i>
means hold back a little.</div>
<div class="MsoNormal">
Save your energy for the last two lines, which provide a
grandiose conclusion.</div>
<div class="MsoNormal">
Good luck, or <i style="mso-bidi-font-style: normal;">bonne
chance!</i></div>
Leonard Garrisonhttp://www.blogger.com/profile/13061884461331124836noreply@blogger.com0tag:blogger.com,1999:blog-9031350042845304216.post-31827161673422849682014-08-03T19:42:00.000-07:002014-08-03T19:42:13.709-07:00Performance Guide to Henri Büsser’s Petite suite, Op. 12
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<div align="center" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: center;">
<span style="mso-ascii-font-family: Cambria; mso-hansi-font-family: Cambria;">by Leonard Garrison, Associate Professor of Flute, The University of
Idaho</span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="mso-ascii-font-family: Cambria; mso-hansi-font-family: Cambria;">Copyright</span><b style="mso-bidi-font-weight: normal;"><span style="color: black; mso-ascii-font-family: Cambria; mso-bidi-font-family: "Lucida Grande"; mso-hansi-font-family: Cambria;">©</span></b><span style="color: black; mso-ascii-font-family: Cambria; mso-bidi-font-family: "Lucida Grande"; mso-hansi-font-family: Cambria;">2014 by Leonard Garrison</span><span style="mso-ascii-font-family: Cambria; mso-hansi-font-family: Cambria;"></span></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="mso-ascii-font-family: Cambria; mso-hansi-font-family: Cambria;">Introduction</span></b></div>
<div class="MsoNormal">
<span style="mso-ascii-font-family: Cambria; mso-hansi-font-family: Cambria;">To view my teaching video of this piece, please visit my <a href="https://www.youtube.com/user/leonardgarr">YouTube Channel</a>.</span></div>
<div class="MsoNormal">
<span style="mso-ascii-font-family: Cambria; mso-hansi-font-family: Cambria;">Henri Büsser (1872-1973) was a long-lived French composer, organist,
and conductor with important connections to the nineteenth century. He studied
organ with César Franck, was friends with Jules Massenet, and was chosen by
Claude Debussy to conduct numerous performances of the latter’s opera <i style="mso-bidi-font-style: normal;">Pelléas et Mélisdande. </i>His orchestration
of Debussy’s <i style="mso-bidi-font-style: normal;">Petite Suite</i> is widely
performed. For most of his career, he taught composition at the Paris
Conservatory.</span></div>
<div class="MsoNormal">
<span style="mso-ascii-font-family: Cambria; mso-hansi-font-family: Cambria;">He wrote many operas and much chamber music, fortunately including
several delightful works for flute. Best known is his <i style="mso-bidi-font-style: normal;">Prélude et Scherzo</i>, a<i style="mso-bidi-font-style: normal;"> </i>1908
Paris Conservatory contest piece included in Louis Moyse’s popular collection
of <i style="mso-bidi-font-style: normal;">Flute Music by French Composers</i>. His
flute works include another contest piece for the Conservatory, </span><i style="mso-bidi-font-style: normal;"><span style="color: #1c1c1c; mso-ascii-font-family: Cambria; mso-bidi-font-family: Helvetica; mso-hansi-font-family: Cambria;">Andalucia
sur des thèmes Andalous, Op.86</span></i><span style="color: #1c1c1c; mso-ascii-font-family: Cambria; mso-bidi-font-family: Helvetica; mso-hansi-font-family: Cambria;"> in 1933, and beautiful intermediate-level pieces, <i style="mso-bidi-font-style: normal;">Deux morceaux:</i> </span><i style="mso-bidi-font-style: normal;"><span style="mso-ascii-font-family: Cambria; mso-hansi-font-family: Cambria;">Les Cygnes et Les Écureuils</span></i><span style="mso-ascii-font-family: Cambria; mso-hansi-font-family: Cambria;"> (“The
Swans and the Squirrels”) and </span><span style="color: #1c1c1c; mso-ascii-font-family: Cambria; mso-bidi-font-family: Helvetica; mso-hansi-font-family: Cambria;">the
<i style="mso-bidi-font-style: normal;">Petite suite, Op. 12 </i>for flute and
piano (not the same as Debussy’s <i style="mso-bidi-font-style: normal;">Petite suite</i>)</span><span style="mso-ascii-font-family: Cambria; mso-hansi-font-family: Cambria;">.</span></div>
<div class="MsoNormal">
<span style="mso-ascii-font-family: Cambria; mso-hansi-font-family: Cambria;">The <i style="mso-bidi-font-style: normal;">Petite suite, </i>originally
published by Durand in 1924, functions as a useful stepping stone on a
student’s path to the famous French contest solos, as this little piece introduces
the challenges encountered in more advanced works: beauty and flexibility of
tone in all registers, clarity of articulation, and coordination between tongue
and fingers. The National Flute Association difficulty rating is G. </span></div>
<div class="MsoNormal">
<span style="mso-ascii-font-family: Cambria; mso-hansi-font-family: Cambria;">The work is also available in a version for piano four hands. Its
subtitle is <i style="mso-bidi-font-style: normal;">Divertissement Watteau</i>, a
“divertissement” being a lighter and less serious piece. The French painter
Jean-Antoine Watteau (1684-1721) set scenes of <i style="mso-bidi-font-style: normal;">Fêtes galantes</i> or courtship parties; his paintings depict idyllic
scenes of the nobility at play in the countryside. Büsser’s <i style="mso-bidi-font-style: normal;">Suite</i> captures this charming atmosphere.</span></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="mso-ascii-font-family: Cambria; mso-hansi-font-family: Cambria;">A.
En Sourdine </span></i></b><b style="mso-bidi-font-weight: normal;"><span style="mso-ascii-font-family: Cambria; mso-hansi-font-family: Cambria;">(“Muted”)</span></b></div>
<div class="MsoNormal">
<span style="mso-ascii-font-family: Cambria; mso-hansi-font-family: Cambria;">The first movement moves at a relaxed pace: <i style="mso-bidi-font-style: normal;">Andante poco adagio</i> (“Walking, a little slow”); a pulse of 63 to
the beat is appropriate. While the flute alternates between common time and
12/8, the piano is consistently in 12/8, so the beat is the same, and the flute
plays in contrast to the piano’s triplets. For instance, in meas. 3, the
flute’s second note (sixteenth-note B) should strike a little later than the
piano’s third triplet. In the second half of meas. 3, the flute plays two notes
against the piano’s three. To prepare for rehearsals with the pianist, practice
with a metronome set on triplet subdivisions.</span></div>
<div class="MsoNormal">
<span style="mso-ascii-font-family: Cambria; mso-hansi-font-family: Cambria;">Büsser intended the piece also for violin and piano, and the violin
puts a mute on for the entire first movement. Thus, the flute should play with
a delicate sound imitating a muted violin, with less vibrato than normal. </span></div>
<div class="MsoNormal">
<span style="mso-ascii-font-family: Cambria; mso-hansi-font-family: Cambria;">Play a bit slower at the <i style="mso-bidi-font-style: normal;">tranquillo</i>,
and emphasize the first note of each two-note group. Then, hasten at <i style="mso-bidi-font-style: normal;">serrez un peu</i> (“quicken a little”).
Stretch the beat at the next <i style="mso-bidi-font-style: normal;">tranquillo </i>and
sing out with a full sound, <i style="mso-bidi-font-style: normal;">bien chanté</i>.
To prevent sharpness, add the right-hand ring finger (R3) to the high E-sharps
in the first measure. Finger the G-sharp-to-A-sharp trill by depressing the
lever and moving the left-hand middle and ring fingers (L2 and L3). The second
bar of the <i style="mso-bidi-font-style: normal;">tranquillo</i> is an echo, so
do not add R3 on the high E-sharps here. Please very expressively on the
E-naturals in the third bar, as these require a different color than the
previous E-sharps. The courtesy accidental in this third bar leads to
confusion. The trill is actually E-natural to F-sharp; finger E and move the
right-hand middle finger.</span></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="mso-ascii-font-family: Cambria; mso-hansi-font-family: Cambria;">Sans
presser</span></i><span style="mso-ascii-font-family: Cambria; mso-hansi-font-family: Cambria;"> means “without hurrying,” so play a little slower, about 56 to the
beat. Subdivide for accurate rhythm. Plan breathing carefully; I breathe after
the E on beat four of the first measure and after the A on beat four of the
second measure. </span></div>
<div class="MsoNormal">
<span style="mso-ascii-font-family: Cambria; mso-hansi-font-family: Cambria;">The most difficult part of this first movement is the high B with a
taper. Start this note <i style="mso-bidi-font-style: normal;">mezzoforte</i> to
set up the <i style="mso-bidi-font-style: normal;">diminuendo</i>. Maintain
airspeed throughout the B, feel the lower lip supporting the air like a shelf,
keep the lips relaxed. </span></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="mso-ascii-font-family: Cambria; mso-hansi-font-family: Cambria;">Enchaînez</span></i><span style="mso-ascii-font-family: Cambria; mso-hansi-font-family: Cambria;"> is the
French equivalent to the more common Italian word <i style="mso-bidi-font-style: normal;">attacca. </i>Avoid a large break between movements the first and second
movements and the third and fourth movements. </span></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="mso-ascii-font-family: Cambria; mso-hansi-font-family: Cambria;">B.
Valse lente</span></i></b><b style="mso-bidi-font-weight: normal;"><span style="mso-ascii-font-family: Cambria; mso-hansi-font-family: Cambria;"> (“Slow
Waltz”)</span></b></div>
<div class="MsoNormal">
<span style="mso-ascii-font-family: Cambria; mso-hansi-font-family: Cambria;">A good tempo for this movement is 54 to the measure. Follow all of the
subtle dynamic shadings. Büsser uses his favorite directive, <i style="mso-bidi-font-style: normal;">bien chanté </i>or “well sung,” three times
here. Note that after the <i style="mso-bidi-font-style: normal;">poco
accelerando</i>, <i style="mso-bidi-font-style: normal;">a tempo</i> slows down
to the main tempo. <span style="mso-spacerun: yes;"> </span>Take a little time at
<i style="mso-bidi-font-style: normal;">ritenuto poco</i> and even more at <i style="mso-bidi-font-style: normal;">cédez un peu</i>.</span></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="mso-ascii-font-family: Cambria; mso-hansi-font-family: Cambria;">C.
Vielle Chanson</span></i></b><b style="mso-bidi-font-weight: normal;"><span style="mso-ascii-font-family: Cambria; mso-hansi-font-family: Cambria;"> (Old Song)</span></b></div>
<div class="MsoNormal">
<span style="mso-ascii-font-family: Cambria; mso-hansi-font-family: Cambria;">Büsser has masterfully manipulated simple material to provide a world
of color and contrast, so the perform needs reflect harmonic changes with tone
color, vibrato, and dynamics. As <i style="mso-bidi-font-style: normal;">très expressif</i>
is “very expressive,” use a more intense vibrato here. Pace yourself so that
your loudest point is the <i style="mso-bidi-font-style: normal;">più forte</i>
four before the <i style="mso-bidi-font-style: normal;">Andante poco adagio. </i></span></div>
<div class="MsoNormal">
<span style="mso-ascii-font-family: Cambria; mso-hansi-font-family: Cambria;">A perfect setting for <i style="mso-bidi-font-style: normal;">Andante </i>is
quarter=72. Listen to the piano’s thirty-second notes at <i style="mso-bidi-font-style: normal;">Andante poco adagio</i>; the tempo is a little slower here than in the
opening. </span></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="mso-ascii-font-family: Cambria; mso-hansi-font-family: Cambria;">D.
Scherzetto </span></i></b></div>
<div class="MsoNormal">
<span style="mso-ascii-font-family: Cambria; mso-hansi-font-family: Cambria;">A <i style="mso-bidi-font-style: normal;">scherzo</i> is a light and
playful piece, and <i style="mso-bidi-font-style: normal;">scherzetto</i> means
“little scherzo.” The tempo should be as brisk as possible without inaccurate
or sloppy playing; I play at 84 to the bar. <i style="mso-bidi-font-style: normal;">Même
movement</i> means “the same tempo,” so although the style become more <i style="mso-bidi-font-style: normal;">legato</i>, avoid slowing down. <i style="mso-bidi-font-style: normal;">Cédez</i> <i style="mso-bidi-font-style: normal;">un peu </i>is a little slower, and <i style="mso-bidi-font-style: normal;">retenez
un peu</i> requires a little <i style="mso-bidi-font-style: normal;">ritardando. </i>At
the end, push the tempo a little more to provide a brilliant finish.</span></div>
<div class="MsoNormal">
<span style="mso-ascii-font-family: Cambria; mso-hansi-font-family: Cambria;">Practice slowly to master the various keys the Büsser explores,
especially on the last page, where the addition of G-sharp, D-sharp, and
A-sharp signals B major, and the further addition of E-sharp signals F-sharp
major. </span></div>
<div class="MsoNormal">
<span style="mso-ascii-font-family: Cambria; mso-hansi-font-family: Cambria;">Good luck, or <i style="mso-bidi-font-style: normal;">bonne chance!</i></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
Leonard Garrisonhttp://www.blogger.com/profile/13061884461331124836noreply@blogger.com0tag:blogger.com,1999:blog-9031350042845304216.post-73036634830862174992014-08-03T19:35:00.001-07:002014-08-03T19:48:15.970-07:00Performance Guide to Henri Büsser’s Deux morceaux: Les Cygnes et Les Écureuils<style>
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<br />
<div align="center" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: center;">
<span style="mso-ascii-font-family: Cambria; mso-hansi-font-family: Cambria;">by Leonard Garrison, Associate Professor of Flute, The University of
Idaho</span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="mso-ascii-font-family: Cambria; mso-hansi-font-family: Cambria;">Copyright</span><b style="mso-bidi-font-weight: normal;"><span style="color: black; mso-ascii-font-family: Cambria; mso-bidi-font-family: "Lucida Grande"; mso-hansi-font-family: Cambria;">©</span></b><span style="color: black; mso-ascii-font-family: Cambria; mso-bidi-font-family: "Lucida Grande"; mso-hansi-font-family: Cambria;">2014 by Leonard Garrison</span><span style="mso-ascii-font-family: Cambria; mso-hansi-font-family: Cambria;"></span></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="mso-ascii-font-family: Cambria; mso-hansi-font-family: Cambria;">Introduction</span></b></div>
<div class="MsoNormal">
<br />
To view my teaching video of this piece, please visit my <a href="https://www.youtube.com/user/leonardgarr">YouTube Channel</a>.<br />
<br />
<span style="mso-ascii-font-family: Cambria; mso-hansi-font-family: Cambria;">Henri Büsser (1872-1973) was a long-lived French composer, organist,
and conductor with important connections to the nineteenth century. He studied
organ with César Franck, was friends with Jules Massenet, and was chosen by
Claude Debussy to conduct numerous performances of the latter’s opera <i style="mso-bidi-font-style: normal;">Pelléas et Mélisdande. </i>His orchestration
of Debussy’s <i style="mso-bidi-font-style: normal;">Petite Suite</i> is widely
performed. For most of his career, he taught composition at the Paris
Conservatory.</span></div>
<div class="MsoNormal">
<span style="mso-ascii-font-family: Cambria; mso-hansi-font-family: Cambria;">He wrote many operas and much chamber music, fortunately including
several delightful works for flute. Best known is his <i style="mso-bidi-font-style: normal;">Prélude et Scherzo</i>, a<i style="mso-bidi-font-style: normal;"> </i>1908
Paris Conservatory contest piece included in Louis Moyse’s popular collection
of <i style="mso-bidi-font-style: normal;">Flute Music by French Composers</i>. His
flute works include another contest piece for the Conservatory, </span><i style="mso-bidi-font-style: normal;"><span style="color: #1c1c1c; mso-ascii-font-family: Cambria; mso-bidi-font-family: Helvetica; mso-hansi-font-family: Cambria;">Andalucia
sur des thèmes Andalous, Op.86</span></i><span style="color: #1c1c1c; mso-ascii-font-family: Cambria; mso-bidi-font-family: Helvetica; mso-hansi-font-family: Cambria;"> in 1933, and beautiful intermediate-level pieces, the <i style="mso-bidi-font-style: normal;">Petite Suite, Op. 12 </i>for flute and piano
(not the same as Debussy’s <i style="mso-bidi-font-style: normal;">Petite Suite</i>)
and <i style="mso-bidi-font-style: normal;">Deux morceaux:</i> </span><i style="mso-bidi-font-style: normal;"><span style="mso-ascii-font-family: Cambria; mso-hansi-font-family: Cambria;">Les Cygnes et Les Écureuils</span></i><span style="mso-ascii-font-family: Cambria; mso-hansi-font-family: Cambria;"> (“The
Swans and the Squirrels”), published by Leduc in 1927 that one must purchase individually.</span></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="mso-ascii-font-family: Cambria; mso-hansi-font-family: Cambria;">Les Cygnes
et Les Écureuils</span></i><span style="mso-ascii-font-family: Cambria; mso-hansi-font-family: Cambria;"> function as useful stepping stones on a
student’s path to the famous French contest solos, as this little pair of pieces
introduces the challenges encountered in more advanced works: beauty and
flexibility of tone in all registers in <i style="mso-bidi-font-style: normal;">Les
Cygnes</i>, and clarity of articulation and coordination between tongue and
fingers in <i style="mso-bidi-font-style: normal;">Les Écureuils</i>. The
National Flute Association difficulty rating is G. </span></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="mso-ascii-font-family: Cambria; mso-hansi-font-family: Cambria;">Les
Cygnes</span></i></b><b style="mso-bidi-font-weight: normal;"><span style="mso-ascii-font-family: Cambria; mso-hansi-font-family: Cambria;"> (The
Swans)</span></b></div>
<div class="MsoNormal">
<span style="mso-ascii-font-family: Cambria; mso-hansi-font-family: Cambria;">Most of <i style="mso-bidi-font-style: normal;">Les Cygnes</i> is in A
major, a key unfamiliar to many young flutists, so start by practicing this
scale in two octaves. Use the right-hand ring finger (R3) for F-sharp, not the
middle finger (R2). Practice not only for technical command but also for
intonation. The C-sharp in the staff tends to be sharp, the E at the top of the
staff flat, and the high E, F-sharp, G-sharp, and A, sharp. Avoid raising the
air or pulling the corners of the lips back as you ascend. Practice also the A
major arpeggio (A, C-sharp and E) in all octaves, concentrating on tuning.</span></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="mso-ascii-font-family: Cambria; mso-hansi-font-family: Cambria;">Andantino</span></i><span style="mso-ascii-font-family: Cambria; mso-hansi-font-family: Cambria;"> is
slightly faster than <i style="mso-bidi-font-style: normal;">Andante </i>or
walking, and of course <i style="mso-bidi-font-style: normal;">moderato </i>is
moderate speed; the composer’s suggestion of quarter=100 is a perfect tempo. There
is no printed flute dynamic at the beginning, but <i style="mso-bidi-font-style: normal;">dolce espressivo</i> (“sweet and expressive”) suggests not too loud but
with some intensity of vibrato, shaping each four-measure phrase according to
the line. </span></div>
<div class="MsoNormal">
<span style="mso-ascii-font-family: Cambria; mso-hansi-font-family: Cambria;">Swans glide elegantly across the water, so play with a beautiful <i style="mso-bidi-font-style: normal;">legato</i> or connected style. The fingers
must synchronize perfectly, and each finger movement should be quick and light.
Another aspect of <i style="mso-bidi-font-style: normal;">legato</i> is direction
in the airstream. Blow <i style="mso-bidi-font-style: normal;">between</i> the
notes, making sure the air never stops or slackens. Think and move horizontally,
not vertically. In music like this, one never needs to beat time. Yet another
component of <i style="mso-bidi-font-style: normal;">legato</i> is how one uses
vibrato, which needs to be continuous, independent of the individual notes. Take
care not to restart the vibrato at each note change.</span></div>
<div class="MsoNormal">
<span style="mso-ascii-font-family: Cambria; mso-hansi-font-family: Cambria;">Follow all of the many detailed dynamic shadings. The phrase after letter
A is particularly difficult because of the <i style="mso-bidi-font-style: normal;">diminuendo</i>
to the end. Start by practicing a long-tone high A-flat at a medium dynamic.
Then try this note starting <i style="mso-bidi-font-style: normal;">forte </i>and
tapering <i style="mso-bidi-font-style: normal;">al niente</i> (to nothing). As
you taper, keep the air fast, bring the lips together without tensing, and move
the lips out and up. Once you develop control of A-flat, you can put this
phrase together. <span style="mso-spacerun: yes;"> </span>Do not <i style="mso-bidi-font-style: normal;">diminuendo</i> too early; in fact start your
<i style="mso-bidi-font-style: normal;">diminuendo</i> one measure after it is
written.</span></div>
<div class="MsoNormal">
<span style="mso-ascii-font-family: Cambria; mso-hansi-font-family: Cambria;">In the next phrase, there is an A-double-flat three and five measures
before letter B. A-double-flat is enharmonically equivalent to G natural. While
this note might sound odd to you, it is not a misprint. It is a deliberately
exotic note, so lean into or color it.</span></div>
<div class="MsoNormal">
<span style="mso-ascii-font-family: Cambria; mso-hansi-font-family: Cambria;">At letter B, the tempo is a little faster, about quarter=108. At the
sixth bar of this section, <i style="mso-bidi-font-style: normal;">à l’aise</i>
means “at ease” or “relax,” and <i style="mso-bidi-font-style: normal;">en
retenant peu à peu</i> means “gradually slow down.” In the measure before letter
C, start with a full tone in the low register to make room for a lovely <i style="mso-bidi-font-style: normal;">diminuendo </i>as you ascend while slowing. </span></div>
<div class="MsoNormal">
<span style="mso-ascii-font-family: Cambria; mso-hansi-font-family: Cambria;">The main theme returns at letter C, this time in the high register.
Try to match your dynamic and color from the beginning, in other words, not too
loud or strident. A good vowel to use is U as in “truth.”</span></div>
<div class="MsoNormal">
<span style="mso-ascii-font-family: Cambria; mso-hansi-font-family: Cambria;">The ending features another difficult taper on a high note. Although
the flute’s last four bars are marked an octave higher at one’s choice (<i style="mso-bidi-font-style: normal;">ad libitum</i>), it really is more effective
in the higher octave. Take a good breath before the <i style="mso-bidi-font-style: normal;">pianissimo </i>trilled E. Take your time on the two pickups to the last
note. When playing a soft high A, put your right-hand pinky on the C-sharp key
rather than the D-sharp key; the tone is clearer and easier to control. </span></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="mso-ascii-font-family: Cambria; mso-hansi-font-family: Cambria;">Les
Écureuils</span></i></b><b style="mso-bidi-font-weight: normal;"><span style="mso-ascii-font-family: Cambria; mso-hansi-font-family: Cambria;"> (The Squirrels)</span></b></div>
<div class="MsoNormal">
<span style="mso-ascii-font-family: Cambria; mso-hansi-font-family: Cambria;">The mood changes completely in this companion piece. To achieve the
desired playfulness, perform close to the indicated tempo of 128 to the beat. This
piece is in ternary or ABA form, with the <i style="mso-bidi-font-style: normal;">staccato</i>
outer sections in D major and the legato and slower middle section in B-flat
and then A-flat major.</span></div>
<div class="MsoNormal">
<span style="mso-ascii-font-family: Cambria; mso-hansi-font-family: Cambria;">Follow all of the details of articulation and dynamics; thus, practice
slowly at first. Employ a clear but light <i style="mso-bidi-font-style: normal;">staccato</i>
(<i style="mso-bidi-font-style: normal;">leggero</i> means “light”). Tongue with
a D, not a T. Take particular care with the third line, which starts loudly in
the low register and proceeds with softer playing in the high register. </span></div>
<div class="MsoNormal">
<span style="mso-ascii-font-family: Cambria; mso-hansi-font-family: Cambria;">In this style, grace notes should be played quickly and just before
the beat. In meas. 7, use the trill fingering for F-sharp, the middle finger
(R2). The best fingering for the high G-A-G in meas. 16 is a trill from G; to
play A, add the G-sharp key (L4) and both trill keys simultaneously. Play meas.
17 in the written octave, as the <i style="mso-bidi-font-style: normal;">ottava</i>
marking ends in meas. 16.</span></div>
<div class="MsoNormal">
<span style="mso-ascii-font-family: Cambria; mso-hansi-font-family: Cambria;">At letter A, <i style="mso-bidi-font-style: normal;">Moins vif</i> <i style="mso-bidi-font-style: normal;"><span style="mso-spacerun: yes;"> </span></i>means
“less brilliant” or slower. The printed tempo of 120 to the beat is not
sufficiently relaxed; a more effective tempo is 104 to the beat. Play as <i style="mso-bidi-font-style: normal;">legato</i> as possible to contrast with the
style of the first section. Since the first measure of letter A is in the low
register, start a little louder than <i style="mso-bidi-font-style: normal;">mezzoforte</i>
to set up the <i style="mso-bidi-font-style: normal;">piano </i>contrast in the
second bar. In the fifth bar of this section, add the right hand ring finger
(R3) on the final high F to correct pitch, and in the tenth bar, add the right
hand middle and ring fingers (R2 and R3) to high A-flat. <i style="mso-bidi-font-style: normal;">Cédez</i> literally means “yield” or slow down, so <i style="mso-bidi-font-style: normal;">ritardando </i>gradually in the four bars before letter B.</span></div>
<div class="MsoNormal">
<span style="mso-ascii-font-family: Cambria; mso-hansi-font-family: Cambria;">At letter B, the original theme returns. The most difficult part of
this reprise is the penultimate measure, a rapid D major scale. In beats one and
two, practice in four-note groups, and subdivide beat 3 into three groups of
three. For the final high F-sharp, substitute the right hand middle finger (R2)
for the ring finger (R3). Practice the last two measures with the metronome,
starting very slowly and only progressing to a faster tempo when consistently
even and clear. My favorite method for practicing this type of passage is “beat
to beat” as follows:</span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-G3_3jrSPQz0/U97xbnmdlcI/AAAAAAAAAJ8/0Q4HB-nSdCw/s1600/Busser_Les+Ecureuils.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-G3_3jrSPQz0/U97xbnmdlcI/AAAAAAAAAJ8/0Q4HB-nSdCw/s1600/Busser_Les+Ecureuils.jpg" height="118" width="640" /></a></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-ascii-font-family: Cambria; mso-fareast-language: EN-US; mso-hansi-font-family: Cambria; mso-no-proof: yes;"></span><span style="mso-ascii-font-family: Cambria; mso-hansi-font-family: Cambria;"></span></div>
<div class="MsoNormal">
<span style="mso-ascii-font-family: Cambria; mso-hansi-font-family: Cambria;">Good luck, or <i style="mso-bidi-font-style: normal;">bonne chance!</i></span></div>
<div class="MsoNormal">
<br /></div>
Leonard Garrisonhttp://www.blogger.com/profile/13061884461331124836noreply@blogger.com1tag:blogger.com,1999:blog-9031350042845304216.post-53297189067098041012014-08-03T19:32:00.003-07:002014-08-03T19:38:51.654-07:00Performance Guide to Louis Aubert’s Lied<style>
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<br />
<div align="center" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: center;">
by Leonard Garrison, Associate Professor of Flute, The
University of Idaho</div>
<div align="center" class="MsoNormal" style="text-align: center;">
Copyright<b style="mso-bidi-font-weight: normal;"><span style="color: black; font-family: "Lucida Grande";">©</span></b><span style="color: black; mso-ascii-font-family: Cambria; mso-bidi-font-family: "Lucida Grande"; mso-hansi-font-family: Cambria;">2014 by Leonard
Garrison</span></div>
<div class="MsoNormal">
<br />
To view my teaching video of this piece, please visit my <a href="https://www.youtube.com/user/leonardgarr">YouTube Channel</a>.<br />
<br />
French conductor, pianist, singer, critic, and composer Louis
Aubert (1877-1968) studied composition at the Paris Conservatory with Gabriel
Fauré. Maurice Ravel wrote <i style="mso-bidi-font-style: normal;">Valse nobles
et sentimentales </i>for him, and he gave the first performance. He was best
known for his ballets, operas, and film music.</div>
<div class="MsoNormal">
Aubert’s <i style="mso-bidi-font-style: normal;">Lied</i> is available
in the collection <i style="mso-bidi-font-style: normal;">Contemporary French
Recital Pieces, Vol. 1 </i>published by the International Music Company:</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-H7WM7Vx0c2c/U97wiumvXNI/AAAAAAAAAJ0/MMqqNpXoeaQ/s1600/Contemporary+French+Recital+Pieces_cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-H7WM7Vx0c2c/U97wiumvXNI/AAAAAAAAAJ0/MMqqNpXoeaQ/s1600/Contemporary+French+Recital+Pieces_cover.jpg" height="320" width="226" /></a></div>
<div class="MsoNormal">
The piece is rated
Level E by the National Flute Association; its title is the German word for “song,”
so the flutist must spin out long phrases, shape the melody according to
contour and harmony, and use a beautiful, full tone with vibrato. The secret to
playing long phrases is: (1) take plenty of time breathing before a long phrase
rather than a quick breath at the last moment; (2) open your lips, mouth,
throat, and body to inhale; and (3) use an efficient airstream and focus the
tone without wasting air. </div>
<div class="MsoNormal">
By the way, <i style="mso-bidi-font-style: normal;">meno forte</i>
means “softer, so at meas. 28 play <i style="mso-bidi-font-style: normal;">piano</i>
in contrast to the previous <i style="mso-bidi-font-style: normal;">forte.</i></div>
<div class="MsoNormal">
An appropriate tempo is quarter=88, moving forward at <i style="mso-bidi-font-style: normal;">Poco animato</i> to quarter=100, and then
back to the original tempo at <i style="mso-bidi-font-style: normal;">Tempo
primo. </i>No tempo change is marked at the ending, but take time to enjoy the
E-flat and F-natural, which depart from the main key of G major. To prevent a
drop in pitch during the final note, keep the air moving and keep the
embouchure focused but not tense.</div>
<div class="MsoNormal">
Good luck, or <i style="mso-bidi-font-style: normal;">bonne
chance!</i></div>
Leonard Garrisonhttp://www.blogger.com/profile/13061884461331124836noreply@blogger.com1tag:blogger.com,1999:blog-9031350042845304216.post-24147079408895522362014-08-03T19:28:00.002-07:002014-08-03T19:28:58.406-07:00Performance Guide to Gérard Meunier’s Au crépuscule
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<div align="center" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: center;">
by Leonard Garrison, Associate Professor of Flute, The
University of Idaho</div>
<div align="center" class="MsoNormal" style="text-align: center;">
Copyright<b style="mso-bidi-font-weight: normal;"><span style="color: black; font-family: "Lucida Grande";">©</span></b><span style="color: black; mso-ascii-font-family: Cambria; mso-bidi-font-family: "Lucida Grande"; mso-hansi-font-family: Cambria;">2014 by Leonard
Garrison</span></div>
<div class="MsoNormal">
To view my teaching video of this piece, please visit my <a href="https://www.youtube.com/user/leonardgarr">YouTube Channel</a>. </div>
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French teacher, pianist, and composer Gérard Meunier (b.
1928) was director of the Aubervilliers-La Corneuve Conservatory, just
northeast of Paris, for thirty years. He has written much solo piano music and
works for various wind instruments, and many of his works are for younger
musicians.</div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;">Au crepuscule </i>means
“at dusk,” and this short work captures the peaceful atmosphere of that time of
day. The main challenge to the flutist is creating long phrases by minimizing
rests and keeping the tone moving and alive through longer notes. As the piano
accompaniment is simple and unobtrusive, play somewhat freely, lingering on important
or interesting notes, moving ahead to build excitement, and slowing down to
highlight major points of arrival. For instance, <i style="mso-bidi-font-style: normal;">crescendo </i>through the first note and sustain throughout the first
four measures. The next phrase (meas. 6-9) can move ahead a bit and then
stretch going into meas. 10. </div>
<div class="MsoNormal">
Project the lower notes so they match the brilliance of the
high register. For instance, in meas. 28-29, <i style="mso-bidi-font-style: normal;">crescendo</i> in the descending lines and <i style="mso-bidi-font-style: normal;">diminuendo</i> going up. </div>
<div class="MsoNormal">
In meas. 30, <i style="mso-bidi-font-style: normal;">un peu
ralenti</i> means a little slowing down. Although the score does not indicate a
tempo change, stretch the last four measures to achieve a sense of closure. </div>
<div class="MsoNormal">
Good luck, or <i style="mso-bidi-font-style: normal;">bonne
chance!</i></div>
Leonard Garrisonhttp://www.blogger.com/profile/13061884461331124836noreply@blogger.com0tag:blogger.com,1999:blog-9031350042845304216.post-18168992629934384362014-08-02T18:40:00.001-07:002014-08-02T18:48:42.374-07:00Performance Guide to Claude Arrieu's Sonatine for Flute and Piano<style>
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<br />
<div align="center" class="MsoNormal" style="text-align: center;">
by Leonard Garrison, Associate Professor of Flute, The
University of Idaho <br />
Copyright<b style="mso-bidi-font-weight: normal;"><span style="color: black; font-family: "Lucida Grande";">©</span></b><span style="color: black; mso-ascii-font-family: Cambria; mso-bidi-font-family: "Lucida Grande"; mso-hansi-font-family: Cambria;">2014 by Leonard
Garrison</span></div>
<div class="MsoNormal">
To view my teaching video of this piece, please visit my <a href="https://www.youtube.com/user/leonardgarr">YouTube Channel</a>.<br />
<br />
Claude Arrieu (1903-1990) studied composition and at the
Paris Conservatory. She wrote prolifically, particularly vocal music but also
film music, chamber music, and concertos. For many years, she developed
original music for the <span style="color: #1c1c1c; mso-ascii-font-family: Cambria; mso-bidi-font-family: Helvetica; mso-hansi-font-family: Cambria;">French Radio Broadcasting
Program Service</span>.</div>
<div class="MsoNormal">
Her <i style="mso-bidi-font-style: normal;">Sonatine</i> for
flute and piano was first performed to acclaim on French radio by Jean-Pierre
Rampal in 1944. The entire work is rarely performed and has not been recorded
until now, but the charming first movement is widely played as an
intermediate-level solo and is Grade 5 in the British Associated Board of the
Royal Schools of Music, roughly equivalent to the National Flute Association’s
Level E. The second and third movements are more difficult and demand true
virtuosity from both flutist and pianist. </div>
<div class="MsoNormal">
In the first movement, pay particular attention to balance
between flute and piano. The two are true partners, and when the piano has a
melody, it must be equal to the flute. Phrasing is also important; Arrieu
mostly writes in four-measure phrases, so breaths coordinate with these groups.
In the sixth and eight bars of letter A, breathe after the downbeats to make
three-note pickups to the subsequent phrases.</div>
<div class="MsoNormal">
The Andantino flows in one beat to the bar, marked in the
score at dotted quarter=72. The flute sets the tempo, and the piano enters
after the downbeat of the second bar. The piano has a little fermata eight bars
after letter B and then resumes with two sixteenth-note pickups at the <i style="mso-bidi-font-style: normal;">A tempo</i>. At letter C, <i style="mso-bidi-font-style: normal;">en dehors</i> means means “come out,” in
others words, project the tone over the piano. The pianist should <i style="mso-bidi-font-style: normal;">dimuendo</i> in the bar before letter C to
clarify the flute entrance. Four bars before letter E there are double-stemmed
notes showing how the flute line is a variation of the opening melody;
emphasize these notes. To keep the pitch up on the last note, add the left-hand
pinky (L4). </div>
<div class="MsoNormal">
The Presto is a <i style="mso-bidi-font-style: normal;">tour
de force</i> requiring dexterity from both performers. The printed tempo of
quarter=132 is unrealistic for most performers; quarter=120 is sufficiently <i style="mso-bidi-font-style: normal;">presto</i>. The flutist must use double
tonguing for the repeated sixteenth notes (these are extremely difficult for
the pianist). Give direction to repeated notes by making a little <i style="mso-bidi-font-style: normal;">crescendo</i>. Be sure to respect all of the
variations of articulation.</div>
<div class="MsoNormal">
The phrase from one bar before letter A through the downbeat
of the third bar of letter A challenges one’s breath capacity. Prepare for this
by taking multiple small breaths after eighth in the first several bars. Use
your air efficiently during the long phrase, and avoid pulsing or extraneous
physical movement. </div>
<div class="MsoNormal">
The more lyrical material starting one measure after letter
B poses an interpretive puzzle. The tempo is slower here, but where does the
initial tempo resume? Arrieu is ambiguous; the third bar of letter B is <i style="mso-bidi-font-style: normal;">A tempo, </i>meaning “in tempo” but not
necessary <i style="mso-bidi-font-style: normal;">Tempo primo</i>, and the
lyrical material continues. One bar before letter C, she also writes <i style="mso-bidi-font-style: normal;">cedendo</i>, a rare word in Italian but a
cognate of the French <i style="mso-bidi-font-style: normal;">cédez</i>, yielding
or slowing down. The piano continues with the lyrical theme at letter C. A good
solution is to <i style="mso-bidi-font-style: normal;">accelerando </i>in the
fourth bar of letter C to arrive at <i style="mso-bidi-font-style: normal;">Tempo
primo</i> in the fifth bar, where a new jaunty theme appears.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
Good luck, or <i style="mso-bidi-font-style: normal;">bonne
chance!</i></div>
Leonard Garrisonhttp://www.blogger.com/profile/13061884461331124836noreply@blogger.com1tag:blogger.com,1999:blog-9031350042845304216.post-64214370687399967032014-03-17T22:40:00.001-07:002014-08-02T18:46:55.400-07:00Performance Guide to Johannes Donjon’s Offertoire, Op. 12<div align="center" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: center;">
by Leonard Garrison, Associate Professor of Flute, The
University of Idaho</div>
<div align="center" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: center;">
<o:p></o:p></div>
<div align="center" class="MsoNormal" style="text-align: center;">
Copyright<b style="mso-bidi-font-weight: normal;"><span style="color: black; font-family: "Lucida Grande";">©</span></b><span style="color: black; mso-ascii-font-family: Cambria; mso-bidi-font-family: "Lucida Grande"; mso-hansi-font-family: Cambria;">2014 by Leonard
Garrison</span><o:p></o:p></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="color: black; mso-ascii-font-family: Cambria; mso-bidi-font-family: "Lucida Grande"; mso-hansi-font-family: Cambria;"><br /></span></div>
<div class="MsoNormal">
<div class="MsoNormal">
To view my teaching video of this piece, please visit my <a href="https://www.youtube.com/user/leonardgarr">YouTube Channel</a>.<br />
<br />
One can perform the <i style="mso-bidi-font-style: normal;">Offertoire,
Op. 12</i> by Johannes Donjon for a church offertory as its title suggests or a
solo festival. The accompaniment is originally for harmonium, a small organ,
but is usually played on piano. Rated Level G by the National Flute Association
and available in Robert Cavally’s <i style="mso-bidi-font-style: normal;">24
Short Concert Pieces </i>(Southern), it is more advanced than the same
composer’s <i style="mso-bidi-font-style: normal;">Pastorale No. 1: Pan!</i>,
especially in its demands for a full singing tone in the flute’s low register and
for breath control in long phrases.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Johannes Donjon (1839-1912), whose name means the keep or
tower of a castle in French, was principal flutist of the Paris Opera Orchestra
and a student of Jean-Louis Tulou (1786-1865), a long-time professor at the
Paris Conservatory in the days before the modern Boehm flute was adopted. Along
with the popular <i style="mso-bidi-font-style: normal;">Offertoire</i> and <i style="mso-bidi-font-style: normal;">Pan! </i>Donjon wrote eight <i style="mso-bidi-font-style: normal;">Études de salon</i> and many other flute
works that are hardly known today. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
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Throughout this piece, Donjon uses a figure that is standard
in classical music from the baroque to the present, the appoggiatura. This is a
dissonant note (one not in the accompanying harmony) that resolves stepwise to
a chord tone. There is a sense of tension/release or a sigh, and one must
always use more vibrato and play louder on the appoggiatura and then diminuendo
to the next note. Practice this in meas. 4, 8, 10, 12, 14, 15, 16, etc. Avoid
going flat in the taper by raising your head. <o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;">Meas. 1-8: </b>The
metronome indication of quarter=72 is too fast for a contemplative solo; I
prefer quarter=50. Thinking ahead to the last section of the piece, play enough
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crescendo through the pickups into the downbeat. Keep spinning your tone forward
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keep the angle and the speed of the air up. To prepare for the fingering of low
C, play the previous note (F) without the pinky. Use the same technique in
meas. 3 (no pinky on the B-flat before the low C-sharp).<o:p></o:p></div>
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Starting with the pickup to meas. 3, the second phrase has
heightened expression; play freely to show the chromatic inflections. Take a
big breath in meas. 4 after the E, as you must go into the downbeat of meas. 7
before breathing again. Do not breathe after the low C in meas. 6, as there is
a slur here, and the phrase continues; in fact, crescendo through the C and
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<b style="mso-bidi-font-weight: normal;">Meas. 9-16: </b>An
appropriate tempo here is quarter=66. Many flutists go horrendously sharp in
meas. 9 and 13, so practice with a tuner, play the high E’s without the right-hand
pinky, keep the lips relaxed, and be careful not to overblow. Although the line
descends in meas. 9, 11, and 13, all of these bars crescendo into the
appoggiatura in the following bar. In meas. 14-15, play the turns as 32<sup>nd</sup>
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D-natural:<o:p></o:p></div>
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<b>Meas. 17-24: </b>These
bars comprise a return of the main theme, with one difference, meas. 23. It is
neither necessary nor desirable to play the second beat of this measure in
time; the accompanist can wait for you to arrive on beat 3. This flourish is basically
a G minor chord and is easily fingered using thumb B-flat. Organize the fifteen
notes into groups of five, four, and six, stretching the turn around B-flat at
the top. In beat 3, play the turn on the “and” and play D-sharp (carried
through from the previous beat). <o:p></o:p></div>
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<a href="http://3.bp.blogspot.com/-udkAvAzoJlk/UyfQHJRGHKI/AAAAAAAAAJE/BWTk1yWqM1U/s1600/Donjon_Offertoire_meas23.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-udkAvAzoJlk/UyfQHJRGHKI/AAAAAAAAAJE/BWTk1yWqM1U/s1600/Donjon_Offertoire_meas23.jpg" height="128" width="400" /></a></div>
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<b style="mso-bidi-font-weight: normal;">Meas. 24-39: </b>An
effective tempo for the Agitato section is quarter=84. Use a faster vibrato to
reflect the change of mood. Sustain through the descending lines and open the
tone for the low register. Follow the dramatic dynamics as indicated. Carefully
practice the large slurred intervals, coordinating embouchure with finger
changes. Plan breaths so they do not stop the momentum; I take breaths only
after the B-flat in meas. 25, at end of meas. 27, between the A’s in meas. 30,
and after the low D in meas. 31. <o:p></o:p></div>
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<br /></div>
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It is not clear whether the marking <i style="mso-bidi-font-style: normal;">dolce più lento </i>(sweetly, slower) in meas. 31 applies only to this
measure or to the following section. Take time in meas. 31. The B-flat major
section is less agitated then the previous part but needs more motion than the
main tempo, so quarter=76 is appropriate here. In meas. 34, the F-sharp needs a
bright sound, while the G-flat needs a more covered color. There is always a reason
for a composer to write the same enharmonic note in differing ways, so an
interpretation must reflect this difference. Stretch the ends of meas. 35 and
39.<o:p></o:p></div>
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The piece ends with a cadenza, so vary the pacing. Organize
the runs in small groupings of threes, fours, and fives. At first, practice one
group at a time, going into the first note of the next group (for example, play
C-B-flat-A-G, then G-F-E-D, etc.); then put the groups together.<o:p></o:p></div>
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<o:p></o:p><br />
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<div class="MsoNormal">
Use the thumb B-flat fingering. Stretch the beginning of the
first descending F-major scale, and then plummet to the bottom. The upwards run
is a dominant seventh arpeggio on C. <span style="mso-spacerun: yes;"> </span>After the accented notes, start slowly and
gradually accelerando. <o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
In the last line, breathe after the fermata A, not before it
(even though one needs to break a slur). There is a colorful chord in the
middle of the trill, so crescendo to the third beat of that bar before making a
gorgeous diminuendo to the high F.<o:p></o:p></div>
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Leonard Garrisonhttp://www.blogger.com/profile/13061884461331124836noreply@blogger.com3tag:blogger.com,1999:blog-9031350042845304216.post-22777365693404202862014-03-16T16:16:00.000-07:002014-08-02T18:46:14.818-07:00Performance Guide to Johannes Donjon’s Pastorale No. 1: Pan!<div align="center" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: center;">
by Leonard Garrison, Associate Professor of Flute, The
University of Idaho</div>
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<o:p></o:p></div>
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Copyright<b style="mso-bidi-font-weight: normal;"><span style="color: black; font-family: "Lucida Grande";">©</span></b><span style="color: black; mso-ascii-font-family: Cambria; mso-bidi-font-family: "Lucida Grande"; mso-hansi-font-family: Cambria;">2014 by Leonard
Garrison</span><o:p></o:p></div>
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To view my teaching video of this piece, please visit my <a href="https://www.youtube.com/user/leonardgarr">YouTube Channel</a>.<br />
<br />
Much flute music portrays the Greek god and mythical flutist,
Pan. The <i style="mso-bidi-font-style: normal;">Pastorale No. 1</i> by Johannes
Donjon is one of the most widely performed of these pieces. Rated Level F by
the National Flute Association and available in collections such as Robert Cavally’s <i>24 Short Concert Pieces </i>(Southern), Donald Peck's <i>Solos for Flute </i>(Carl Fischer), and Himie
Voxman’s <i>Concert and Contest Collection</i>
(Rubank), it is a good choice for solo festivals.<br />
<o:p></o:p></div>
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<br /></div>
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Johannes Donjon (1839-1912), whose name means the keep or
tower of a castle in French, was principal flutist of the Paris Opera Orchestra
and a student of Jean-Louis Tulou (1786-1865), a long-time professor at the
Paris Conservatory in the days before the modern Boehm flute was adopted. Donjon
wrote a second Pastoral, <i style="mso-bidi-font-style: normal;">Pipeau</i>,
which is rarely performed, a popular <i style="mso-bidi-font-style: normal;">Offertoire</i>,
eight <i style="mso-bidi-font-style: normal;">Études de salon</i>, and many other
flute works that are hardly known today. <o:p></o:p></div>
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<br /></div>
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The original score includes the following poem with no
attribution (possibly an original poem by Donjon):<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;">
Pan n’est pas mort!<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;">
Au fond des bois<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;">
Quand tout s’endort!<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;">
Plus d’une fois<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;">
Il souffle encore<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;">
Un air sonore!<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;">
Quand tout s’endort!<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;">
Pan n’est pas mort!<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;">
Pan is not dead!<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;">
Deep in the woods<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;">
When all are sleeping!<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;">
More than once<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;">
He plays again<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;">
A sonorous air!<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;">
When all are sleeping!<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;">
Pan is not dead!<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;">
[translated by Leonard Garrison]<o:p></o:p></div>
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<br /></div>
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In Greek myth, Pan represented rustic music, as opposed to
Apollo, the God of cultivated beauty in the arts. Thus, this piece has an air
of improvisation, and the little cadenzas are an invitation to play freely in
an appropriate manner. For
the main tempo, I feel the metronome indication of quarter=72 is too hurried
and prefer a pace of quarter=63.<br />
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<a href="http://3.bp.blogspot.com/-Ate58U7A7Xk/UyYHfTq4xzI/AAAAAAAAAGQ/LHDQAhQF4v0/s1600/Form+of+Pan.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img alt="" border="0" src="http://3.bp.blogspot.com/-Ate58U7A7Xk/UyYHfTq4xzI/AAAAAAAAAGQ/LHDQAhQF4v0/s1600/Form+of+Pan.jpg" height="105" title="" width="400" /></a></div>
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<b style="mso-bidi-font-weight: normal;">Meas. 1-8: </b>The
theme requires a large dynamic range. Although the score marks a crescendo only
at the end of meas. 2, it is better to crescendo continuously through the first
phrase (meas. 1-4). If you have the capacity, play this phrase in one breath;
otherwise, a small breath at the end of meas. 2 is possible.<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
Flutists must cue their pianists, so incorporate conducting
into your individual practice. For the opening of the piece, give
an upbeat on an imaginary beat 4 with an ascending motion along with a rhythmic
breath, and then let your flute down at the same time as you play the
downbeat.<span style="mso-spacerun: yes;"> </span><o:p></o:p><br />
<span style="mso-spacerun: yes;"><br /></span></div>
<div class="MsoNormal">
Careful not to use a harsh tongue on this first note. In
fact, for soft attacks, I prefer the syllable “poo,” in which the lips close
and trap the air behind them and then let it out cleanly.<o:p></o:p></div>
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<br /></div>
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You may not have played many thirty-second notes before.
In bars 1-3, count “one-and-two” for the first tied note and then fit the four thirty-seconds within the “and” of beat two. A good exercise is to articulate each
eighth-note subdivision in these measures:<o:p></o:p></div>
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Another challenge is intonation, and if one is not careful,
this first phrase will start flat and end very sharp. When you play softly,
lift the airstream, use of small opening between the lips, and keep the
airspeed fast (just not a big <i style="mso-bidi-font-style: normal;">amount </i>of
air). When you ascend to a loud high G, blow down, use a large lip opening and
relaxed embouchure, and try to slow the air down. Check yourself with a tuner.<o:p></o:p><br />
<br /></div>
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The second phrase (meas. 5-8) is similar to the first. I
breathe at the end of meas. 6. Although it is not indicated, a <i style="mso-bidi-font-style: normal;">ritardando </i>into the fermata is
effective. Sustain the fermata C a little longer than two beats, and indicate a
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<b style="mso-bidi-font-weight: normal;">Meas. 9-25: </b>Since
the key changes, vary the tone color; the key of A minor demands a more
covered, tentative quality than C major. Pay attention to details of
articulation. For instance, in the second half of meas. 11, slur four notes and
then two and two. This hastening of the articulation enhances the crescendo. In
meas. 13, <i>en pressant le mouvement</i> means push the tempo forward, and this
goes through the end of meas. 16, where you can relax and start a new phrase,
making another accelerando through meas. 19. For the louder high Es in meas. 15
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Meas. 18 illustrates a common situation. <o:p></o:p></div>
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<a href="http://3.bp.blogspot.com/-dyFR9dZPgbc/UyYpxwJP5-I/AAAAAAAAAHQ/p9CcRe3C86w/s1600/Donjon_Pan-meas18.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-dyFR9dZPgbc/UyYpxwJP5-I/AAAAAAAAAHQ/p9CcRe3C86w/s1600/Donjon_Pan-meas18.jpg" height="117" width="400" /></a></div>
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When breathing after a tied note, sustain the long note
right up to the next beat, but do not actually play the tied note, because that
is where one breathes.<o:p></o:p></div>
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<br /></div>
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Meas. 20-24 pose the greatest technical challenge. Work this
section out one element at a time. First tackle the trills. Each should start and end on the main
note. An ideal number of trill shakes is three, resulting in nine notes to the beat
when combined with the grace-note turn: <o:p></o:p><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-Y-eRzlzd2LU/UyZA6YSiuCI/AAAAAAAAAHs/SfFylwvIn2g/s1600/Donjon_trills.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-Y-eRzlzd2LU/UyZA6YSiuCI/AAAAAAAAAHs/SfFylwvIn2g/s1600/Donjon_trills.jpg" height="75" width="400" /></a></div>
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="MsoNormal">
<div class="MsoNormal">
Add the thumb B-flat for meas. 21-22, and finger the A-flat
to B-flat trill with L2 and L3 moving together (see the fingering chart at <a href="http://www.wfg.woodwind.org/flute/fl_tr2_2.html">http://www.wfg.woodwind.org/flute/fl_tr2_2.html</a>). Play
the trills in even notes, making sure not to pause on the last trilled note before
the turn. Practice with a metronome so that you arrive on the next beat at the
proper time.<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
Next learn the arpeggios. Meas. 20 goes up and down in G
major. Be sure to slur the third beat and tongue the fourth. Meas. 21 is the
same idea up a step, in A-flat major. Remove your left-hand first finger for
the E-flats. Meas. 22 is another step up, in A major, but notice that the
articulation changes. In meas. 23, there are two chords, B-flat major and—be
careful about this—B diminished triad. Again, play the articulation accurately.
<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
Now put this passage together. There should be a continuous
crescendo, and Donjon writes <i style="mso-bidi-font-style: normal;">en pressant</i>
<i style="mso-bidi-font-style: normal;">toujours</i>, or pushing the tempo
throughout. <o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
The climax of the whole passage is the high F in meas. 25.
Play with relaxed lips and slow air so the pitch is not sharp; in fact, because
the F is the seventh of a chord, it will actually sound better a little flat.
Add the right hand ring finger to correct pitch.<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
After the <span style="mso-spacerun: yes;"> </span>fermata,
there is a little cadenza, and Donjon writes <i style="mso-bidi-font-style: normal;">a volonté</i> or freely. Stretch the first couple of notes in the run
(a C major scale) and then gradually speed up towards the bottom. Breathe after
the low G. The composer then writes <i style="mso-bidi-font-style: normal;">en
trainant</i> or dragging. Stretch the A-flats—very expressive notes—then play
the A-naturals a little more brightly. Vary the speed of the repeated Gs. Start the
trill slowly and speed up. Let the low G sustain, and take a leisurely breath
before proceeding.<o:p></o:p></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;">Meas. 26-31:</b> This
is a varied reprise of the opening. In meas. 30, grab a full breath in the
rest, but DO NOT breathe after the fermata A-flat, as it resolves to the
following G. In fact, play from the low A-flat here clear into the downbeat of
meas. 32 in one breath. Use a light, smooth tongue in meas. 31 (this starts as
a C major scale and turns into a chromatic scale). Pause teasingly on the B
trill and relax the tone into the downbeat of meas. 32. <o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Coda, Meas. 32-40: </b><i style="mso-bidi-font-style: normal;">En pressant un peu</i> means a little
faster. Play meas. 33-35 with the thumb B-flat. Use a light tone for meas. 32,
which is harmonized by a C-major chord, but use more vibrato and color in meas.
33, which has an unusual Neapolitan sixth chord (F, A-flat, and D-flat). Same
in the next two measures, but use even more tone in meas. 35, as B-flat does
not fit with the Neapolitan sixth chord.<o:p></o:p></div>
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<br /></div>
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Play the last three bars in one breath. Meas. 39 is <i style="mso-bidi-font-style: normal;">a volonté</i> (freely); start slow,
accelerando, and slow down again. There is a hilarious misprint in the original
edition, where the last note is marked <i style="mso-bidi-font-style: normal;">fortissimo</i>!
Obviously, this should be <i style="mso-bidi-font-style: normal;">pianissimo.</i>
Practice using the embouchure to slur from middle G to high E with a
diminuendo. Move the lips out and up, keep the air fast, and reduce the size of
the lip opening. Taper to nothing!<br />
<br /></div>
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Good luck, or <i style="mso-bidi-font-style: normal;">bonne
chance!<o:p></o:p></i></div>
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Leonard Garrisonhttp://www.blogger.com/profile/13061884461331124836noreply@blogger.com1tag:blogger.com,1999:blog-9031350042845304216.post-80285543972442567522014-03-09T22:11:00.002-07:002014-04-04T06:26:32.640-07:00Performance Guide to Armand Bournonville’s Danse pour Katia<div class="MsoNormal">
Armand Bournonville’s <i style="mso-bidi-font-style: normal;">Danse
pour Katia</i>, or “Dance for Katia,” is a popular selection for flute and
piano. Rated Level F by the National Flute Association, it is appropriate for
intermediate flutists in their second or third year of study. For a video performance guide to this work, please visit <a href="https://www.youtube.com/watch?v=aGDk830HZZE">https://www.youtube.com/watch?v=aGDk830HZZE</a>.<o:p></o:p><br />
<br /></div>
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This little-known composer lived from 1890 to 1957 and also
wrote a <i style="mso-bidi-font-style: normal;">Nocturne</i> for flute or violin
and piano, a <i style="mso-bidi-font-style: normal;">Fantasie-Impromptu</i> for
clarinet and piano, and a book of sight-singing exercises. He composed <i style="mso-bidi-font-style: normal;">Danse pour Katia</i> in 1929 and dedicated it
to Marcel Moyse, an important French flutist and recording artist. During the
1930s, Moyse was the flute professor at the Paris Conservatory and after World
War II moved to the United States, where he influenced an entire generation of
flutists through his classes in Vermont. <o:p></o:p><br />
<br /></div>
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There are two quite different editions of this work, one
edited by Robert Cavally and published by Southern Music Company, and the other
published by the French company Billaudot and adhering to Bournonville’s
original markings.<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-IuOQUh_ll0k/UyYhtCYRbPI/AAAAAAAAAG4/mgqMmyygvkA/s1600/Bournonville_Cavally_Cover.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-IuOQUh_ll0k/UyYhtCYRbPI/AAAAAAAAAG4/mgqMmyygvkA/s1600/Bournonville_Cavally_Cover.jpg" /></a><a href="http://4.bp.blogspot.com/-oMAXIMJTq3M/UyYhY-Bk4aI/AAAAAAAAAGw/2soJfO9rL70/s1600/Bournonville_Billaudot_cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-oMAXIMJTq3M/UyYhY-Bk4aI/AAAAAAAAAGw/2soJfO9rL70/s1600/Bournonville_Billaudot_cover.jpg" /></a></div>
<br />
While some of Cavally’s ideas are good interpretive suggestions,
it is always important to know a composer’s original intensions. I prefer an
“Urtext” edition, or one reflecting original notation, to one marked up by an
editor. There are also numerous wrong notes in the flute line of the piano
score in the Cavally edition. Thus, the slightly higher cost of the Billaudot
edition is worth the investment. <o:p></o:p></div>
<!--EndFragment--><br /></div>
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This piece is a waltz, which determines the style of performance.
The tempo is Allegretto giocoso, not quite as fast as Allegro and in a light,
playful or joking manner (by the way, Cavally changed this to Allegro giocoso).
Bournonville provides the metronome marking of 66 to the measure. One can
perform a little slower to accommodate technical challenges, but still with a
feeling of one beat to the measure, an important characteristic of waltzes. <o:p></o:p><br />
<br /></div>
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Another aspect of the waltz is staccato. The first theme is
originally marked staccato, piano, and <i style="mso-bidi-font-style: normal;">leggiero</i>,
or light. Cavally changes this to staccato dots plus tenuto marks, <i style="mso-bidi-font-style: normal;">mezzoforte</i>, and <i style="mso-bidi-font-style: normal;">leggiero. </i>I prefer the staccato but share Cavally’s concern that some
flutists may perform too dryly. One should always create the staccato mainly with
the air instead of with a hard tongue, and a great exercise is to practice with
no tongue at all, which forces one to organize the air into tight little
packages. When adding the tongue back in, make sure to use a light syllable (D
not T) and keep the end of each note open and resonant. In other words, each
note should end with a vowel (Doo) rather than a consonant (what I call King Tut). <o:p></o:p><br />
<br /></div>
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Play
this first theme strongly enough to project over the piano accompaniment, but
not really <i>mezzoforte</i>, as one has to
leave room for the sound to develop during the course of the piece. Change
color when different chromatic inflections of the same note occur. Meas. 4
features F-sharp and E, straightforward notes. Darken your sound for the
F-natural and E-flat in meas. 6, as these notes are not in the key and
therefore more expressive. Raise the dynamic level in meas. 11 and then really
go for the crescendo in meas. 15-18. The composer writes a dramatic <i>subito piano</i> in meas. 19 (this is
missing from the Cavally edition).<br />
<br /></div>
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There are many little <i style="mso-bidi-font-style: normal;">ritardandi</i>
and <i style="mso-bidi-font-style: normal;">caesure</i> (or “railroad tracks”) in
this music. Do not overdramatize these or come to a complete stop, or else the momentum never gets going. Just
take a little time to breathe.<o:p></o:p><br />
<br /></div>
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I love it when composers inspire us with <i style="mso-bidi-font-style: normal;">ben cantando</i>, or “well sung.” In measure
35, spin your vibrato and sing your heart out. Observe the four-bar crescendo
followed by a <i style="mso-bidi-font-style: normal;">subito piano</i>. In meas.
36 and 40, hold your right-hand ring finger down for the entire measure to facilitate
fingering. <o:p></o:p><br />
<br /></div>
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<!--StartFragment-->In
meas. 43-55, follow the dynamics. At the flute entrance, Cavally changes the
original <i>mezzoforte</i> into a <i>forte</i>, which is OK, but he omits the <i>piano</i> at meas. 47, which is essential. Another
color change is the C-sharp in meas. 45 followed by the C-natural in meas. 49,
which requires a varied inflection. In the crescendo in meas. 52-55, avoid
going sharp by blowing steeply down, keeping the embouchure open and relaxed,
and adding the right-hand ring finger to the final high F. Practice this
passage slowly with a tuner. <!--EndFragment--></div>
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<br /></div>
<div class="MsoNormal">
Meas. 77-78 is an element that French composers favor, the
whole-tone scale. Practice this by memory so the notation does not throw you
off. <o:p></o:p><br />
<br /></div>
<div class="MsoNormal">
After the tiny break in meas. 78, switch to the thumb
B-flat, making a better finger connection between B-flat and G. Keep the thumb
on the B-flat key through meas. 83. I like to switch to the lever fingering in
meas. 84 to prepare for the B-natural in meas. 85. <o:p></o:p><br />
<br /></div>
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Notice the heavy accents in meas. 93-102. This is the most
forceful part of the piece. In meas. 101-102, the accents go against the meter
in a pattern called hemiola. Think of this as 3 bars of 2/4 rather than 2 bars
of 3/4.<o:p></o:p><br />
<br /></div>
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The last two lines are a coda. <i style="mso-bidi-font-style: normal;">Più vivo</i> means more lively or faster. If the tempo before was 66 to
the measure, now one must play at least 72 to the measure. Double tonguing is
extremely useful here. If you have not tried this technique, now is the time! The
syllables are Doo-Goo. Learn double tonguing by improvising various rhythms on
scales, like eighth and two sixteenths (Doo, doo-goo) or two sixteenths and an
eighth (Doo-goo-doo). When you start after a rest as in meas. 103, start on the
Goo, as then you will say Doo on the beat. Note that the last three bars are a
chromatic scale. Any fast passage that is written tongued should first be
practiced slurred so one can even out the fingers; the tongue can be added once
the fingers are smooth.<o:p></o:p><br />
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Good luck, or <i style="mso-bidi-font-style: normal;">bonne
chance!<o:p></o:p></i></div>
Leonard Garrisonhttp://www.blogger.com/profile/13061884461331124836noreply@blogger.com0tag:blogger.com,1999:blog-9031350042845304216.post-70661393503683205492014-02-23T07:27:00.001-08:002014-02-23T07:27:51.991-08:00Leonard Garrison presents Georges Brun's Romance for Flute and Piano<iframe allowfullscreen="" frameborder="0" height="270" src="//www.youtube.com/embed/D5eGTHvmczw" width="480"></iframe>Leonard Garrisonhttp://www.blogger.com/profile/13061884461331124836noreply@blogger.com0tag:blogger.com,1999:blog-9031350042845304216.post-84681711619907167042014-02-08T16:34:00.002-08:002014-02-08T19:55:12.799-08:00Announcing Salon de flûte: French Intermediate Flute Repertoire<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-2Xf6R9rb0mw/UvbLMjMXdoI/AAAAAAAAAGA/4XKxcWWrErw/s1600/IMG_0037+copy.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 2em; margin-right: 2em;"><img border="0" src="http://1.bp.blogspot.com/-2Xf6R9rb0mw/UvbLMjMXdoI/AAAAAAAAAGA/4XKxcWWrErw/s1600/IMG_0037+copy.png" height="320" width="320" /></a></div>
I'm happy to announce a new project: <i>Salon de flûte: French Intermediate Flute Repertoire.</i><br />
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<br /></div>
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Thousands of young flute students worldwide perform annually
in solo and ensemble festivals and competitions. They are eager to find models
of good performances of their chosen repertoire, but in many cases, no
recordings exist. The first place they search is YouTube, often finding
inexpert performances by their peers—some with thousands of hits—but few videos
featuring professional flutists. The present project seeks to remedy this
situation by providing:<o:p></o:p></div>
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<ul>
<li><span style="text-indent: -0.25in;">video performance guides to thirteen charming intermediate-level French solo works on <a href="http://www.youtube.com/user/leonardgarr" target="_blank">my YouTube Channel</a> and written guides available at this blog; and</span></li>
<li><span style="text-indent: -0.25in;">a beautifully recorded album of these works widely distributed at <a href="http://cdbaby.com/">CDBaby.com</a>,
<a href="http://amazon.com/">Amazon.com</a>, <a href="https://play.google.com/store?hl=en" target="_blank">Google Play</a> and on iTunes either as a CD or as digital downloads of
the entire album or affordable separate tracks.</span></li>
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<o:p></o:p></div>
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The videos, although each focused on a specific
work, will address general principles of style and interpretation, flute technique,
articulation, tone, and intonation.<o:p></o:p><br />
<br /></div>
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Our criteria for choosing the pieces:<o:p></o:p></div>
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<br />
<ul>
<li><span style="text-indent: -0.25in;">They are well crafted and musically compelling;</span></li>
<li><span style="text-indent: -0.25in;">They are classified as </span><span style="text-indent: -0.25in;">Levels D through G in</span><span style="text-indent: -0.25in;"> </span><i style="text-indent: -0.25in;">Selected
Flute Repertoire and Studies: A Graded Guide </i><span style="text-indent: -0.25in;">(National
Flute Association, Inc.: 2009), Grades 5-8 in the </span><span style="text-indent: -0.25in;">Royal
Conservatory Music Development Program, or Grades 4-8 in the Associated Board
of the Royal Schools of Music Syllabus.</span></li>
<li><span style="font-family: Symbol; text-indent: -0.25in;"><span style="font-family: 'Times New Roman'; font-size: 7pt;"> </span></span><span style="text-indent: -0.25in;">They prepare students to study Paris
Conservatory </span><i style="text-indent: -0.25in;">morceaux de concours;</i></li>
<li><span style="font-family: Symbol; text-indent: -0.25in;"><span style="font-family: 'Times New Roman'; font-size: 7pt;"> </span></span><span style="text-indent: -0.25in;">They have not been widely recorded by major
artists (or have not been recorded at all).</span></li>
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<!--[if !supportLists]--><o:p></o:p></div>
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Here are the chosen works:<br />
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<span style="font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">Claude Arrieu (1903-1990)<o:p></o:p></span></div>
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<span style="font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">1<sup>st</sup> mvmt: ABRSM Grade 5<o:p></o:p></span></div>
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<span style="font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">Louis Aubert (1877-1968)<o:p></o:p></span></div>
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<span style="font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">In <i>Contemporary French
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<span style="font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">originally ed. Fernand Oubradous, publ. Billaudot, 1953<o:p></o:p></span></div>
</td>
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<span style="font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">NFA Level D<o:p></o:p></span></div>
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<span style="font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">Armand Bournonville<b> </b>(1890-1957)<o:p></o:p></span></div>
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<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 1.5in;" valign="top" width="108"><div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<i><span style="font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">Danse pour Katia<o:p></o:p></span></i></div>
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<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 189.0pt;" valign="top" width="189"><div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">Billaudot, Southern<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">In Robert Cavally, <i>15
Concert Pieces </i>(Southern)<i><o:p></o:p></i></span></div>
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<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 81.0pt;" valign="top" width="81"><div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">NFA Level F<o:p></o:p></span></div>
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<td style="border-top: none; border: solid windowtext 1.0pt; mso-border-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: .95in;" valign="top" width="68"><div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">Georges Brun (1878-1961)<o:p></o:p></span></div>
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<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 1.5in;" valign="top" width="108"><div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<i><span style="font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">Romance, </span></i><span style="font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">Op. 41<o:p></o:p></span></div>
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<span style="font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">In Voxman, <i>Concert and
Contest Collection </i>(Rubank)<o:p></o:p></span></div>
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<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 81.0pt;" valign="top" width="81"><div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">NFA Level G<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">RCM Grade 7<o:p></o:p></span></div>
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<span style="font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">Henri Büsser (1872-1973)<o:p></o:p></span></div>
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<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 1.5in;" valign="top" width="108"><div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<i><span style="font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">Les Cygnes et Les Écureuils<o:p></o:p></span></i></div>
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<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 189.0pt;" valign="top" width="189"><div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">Leduc<o:p></o:p></span></div>
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<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 81.0pt;" valign="top" width="81"><div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">NFA Level G<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">RCM Grade 8<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
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<span style="font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">Henri Büsser (1872-1973)<o:p></o:p></span></div>
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<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 1.5in;" valign="top" width="108"><div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<i><span style="font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">Petite Suite, </span></i><span style="font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">Op.<i> </i>12<o:p></o:p></span></div>
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<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 189.0pt;" valign="top" width="189"><div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">Durand or Masters<o:p></o:p></span></div>
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<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 81.0pt;" valign="top" width="81"><div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">NFA Level G<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">RCM Grade 8<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
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<td style="border-top: none; border: solid windowtext 1.0pt; mso-border-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: .95in;" valign="top" width="68"><div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<span class="A62"><span style="font-family: Cambria; font-size: 10.0pt; mso-ascii-theme-font: minor-latin; mso-bidi-font-weight: bold; mso-hansi-theme-font: minor-latin;">Johannes
Donjon </span></span><span style="font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">(1839-1912)</span><span class="A62"><span style="font-family: Cambria; font-size: 10.0pt; mso-ascii-theme-font: minor-latin; mso-bidi-font-weight: bold; mso-hansi-theme-font: minor-latin;"><o:p></o:p></span></span></div>
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<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 1.5in;" valign="top" width="108"><div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<span class="A62"><i><span style="font-family: Cambria; font-size: 10.0pt; mso-ascii-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Offertoire, </span></i></span><span class="A62"><span style="font-family: Cambria; font-size: 10.0pt; mso-ascii-theme-font: minor-latin; mso-bidi-font-style: italic; mso-hansi-theme-font: minor-latin;">Op.
12<o:p></o:p></span></span></div>
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<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 189.0pt;" valign="top" width="189"><div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">In Cavally, <i>24 Short
Concert Pieces</i><o:p></o:p></span></div>
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<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 81.0pt;" valign="top" width="81"><div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">NFA Level G<o:p></o:p></span></div>
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<td style="border-top: none; border: solid windowtext 1.0pt; mso-border-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: .95in;" valign="top" width="68"><div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<span class="A62"><span style="font-family: Cambria; font-size: 10.0pt; mso-ascii-theme-font: minor-latin; mso-bidi-font-weight: bold; mso-hansi-theme-font: minor-latin;">Johannes
Donjon </span></span><span style="font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">(1839-1912)</span><span class="A62"><span style="font-family: Cambria; font-size: 10.0pt; mso-ascii-theme-font: minor-latin; mso-bidi-font-weight: bold; mso-hansi-theme-font: minor-latin;"><o:p></o:p></span></span></div>
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<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 1.5in;" valign="top" width="108"><div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<span class="A62"><i><span style="font-family: Cambria; font-size: 10.0pt; mso-ascii-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Pan! </span></i></span><span class="A62"><span style="font-family: Cambria; font-size: 10.0pt; mso-ascii-theme-font: minor-latin; mso-bidi-font-style: italic; mso-hansi-theme-font: minor-latin;">(Pastorale
No. 1)<o:p></o:p></span></span></div>
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<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 189.0pt;" valign="top" width="189"><div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">In Cavally, <i>24 Short
Concert Pieces</i><o:p></o:p></span></div>
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<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 81.0pt;" valign="top" width="81"><div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">NFA Level F<o:p></o:p></span></div>
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<td style="border-top: none; border: solid windowtext 1.0pt; mso-border-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: .95in;" valign="top" width="68"><div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<span class="A62"><span style="font-family: Cambria; font-size: 10.0pt; mso-ascii-theme-font: minor-latin; mso-bidi-font-weight: bold; mso-hansi-theme-font: minor-latin;">Victor
Alphonse Duvernoy (1842-1907)<o:p></o:p></span></span></div>
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<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 1.5in;" valign="top" width="108"><div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<span class="A62"><i><span style="font-family: Cambria; font-size: 10.0pt; mso-ascii-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Deux morceaux, Op. 41<o:p></o:p></span></i></span></div>
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<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 189.0pt;" valign="top" width="189"><div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">In Rearick, <i>Flute Solos from
the Paris Conservatory</i><o:p></o:p></span></div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 81.0pt;" valign="top" width="81"><div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">II: RCM Grade 7<o:p></o:p></span></div>
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<td style="border-top: none; border: solid windowtext 1.0pt; mso-border-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: .95in;" valign="top" width="68"><div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">Henri Gagnebin<b> </b>(1886-1977)</span><span class="A62"><span style="font-family: Cambria; font-size: 7.5pt; mso-ascii-theme-font: minor-latin; mso-bidi-font-weight: bold; mso-hansi-theme-font: minor-latin;"><o:p></o:p></span></span></div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 1.5in;" valign="top" width="108"><div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<i><span style="font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">March of the Jolly Fellows</span></i><span class="A62"><i><span style="font-family: Cambria; font-size: 7.5pt; mso-ascii-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><o:p></o:p></span></i></span></div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 189.0pt;" valign="top" width="189"><div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">In <i>Contemporary French
Recital Pieces, Vol. 1</i> (International)<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 81.0pt;" valign="top" width="81"><div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">NFA Level F<o:p></o:p></span></div>
</td>
</tr>
<tr>
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<span style="font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">Arthur Honegger (1892-1955) </span><span class="A62"><span style="font-family: Cambria; font-size: 7.5pt; mso-ascii-theme-font: minor-latin; mso-bidi-font-weight: bold; mso-hansi-theme-font: minor-latin;"><o:p></o:p></span></span></div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 1.5in;" valign="top" width="108"><div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<i><span style="font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">Romance</span></i><span class="A62"><i><span style="font-family: Cambria; font-size: 7.5pt; mso-ascii-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><o:p></o:p></span></i></span></div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 189.0pt;" valign="top" width="189"><div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">In <i>Contemporary French
Recital Pieces, Vol. 1</i> (International)<o:p></o:p></span></div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 81.0pt;" valign="top" width="81"><div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">ABRSM Grade 4<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">NFA Level D<o:p></o:p></span></div>
</td>
</tr>
<tr>
<td style="border-top: none; border: solid windowtext 1.0pt; mso-border-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: .95in;" valign="top" width="68"><div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<span class="A62"><span style="font-family: Cambria; font-size: 10.0pt; mso-ascii-theme-font: minor-latin; mso-bidi-font-weight: bold; mso-hansi-theme-font: minor-latin;">Charles-Édouard
Lefebvre <o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<span class="A62"><span style="font-family: Cambria; font-size: 10.0pt; mso-ascii-theme-font: minor-latin; mso-bidi-font-weight: bold; mso-hansi-theme-font: minor-latin;">(1843-1917)</span></span><span style="font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;"><o:p></o:p></span></div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 1.5in;" valign="top" width="108"><div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<span class="A62"><i><span style="font-family: Cambria; font-size: 10.0pt; mso-ascii-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Deux pièces</span></i></span><span class="A62"><span style="font-family: Cambria; font-size: 10.0pt; mso-ascii-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">, Op. 72</span></span><i><span style="font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;"><o:p></o:p></span></i></div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 189.0pt;" valign="top" width="189"><div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">Zimmermann, <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">no. 2 in Rearick, <i>Flute
Solos from the Paris Conservatory</i> and Cavally, <i>15 Concert Pieces</i><o:p></o:p></span></div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 81.0pt;" valign="top" width="81"><div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">I: RCM Grade 6<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">II: ABRSM Grade 8<o:p></o:p></span></div>
</td>
</tr>
<tr>
<td style="border-top: none; border: solid windowtext 1.0pt; mso-border-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: .95in;" valign="top" width="68"><div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 10.0pt;">Gérard Meunier (b. 1928) </span><span style="font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;"><o:p></o:p></span></div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 1.5in;" valign="top" width="108"><div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<i><span style="font-size: 10.0pt;">Au
Crépuscule</span></i><i><span style="font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;"><o:p></o:p></span></i></div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 189.0pt;" valign="top" width="189"><div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 10.0pt;">Lemoine</span><span style="font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;"><o:p></o:p></span></div>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-left: none; border-right: solid windowtext 1.0pt; border-top: none; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt 0in 5.4pt; width: 81.0pt;" valign="top" width="81"><div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">NFA Level E<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">ABRSM Grade 5<o:p></o:p></span></div>
</td>
</tr>
</tbody></table>
<div class="MsoNormal">
Total Timing: 54:55<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
ABRSM: Associated
Board of the Royal Schools of Music Syllabus, <a href="http://us.abrsm.org/">http://us.abrsm.org</a><o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
NFA:
National Flute Association, <a href="http://www.nfaonline.org/">http://www.nfaonline.org</a><o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
RCM: Royal
Conservatory Music Development Program, <a href="http://www.musicdevelopmentprogram.org/">http://www.musicdevelopmentprogram.org</a><o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
</div>
<div class="MsoNormal">
As a pilot project, we have already released a video
performance guide to Georges Brun’s lovely <i style="mso-bidi-font-style: normal;">Romance,
Op. 41 </i>(1905) [see <a href="http://www.youtube.com/user/leonardgarr">http://www.youtube.com/user/leonardgarr</a>] and an audio
recording of the same work, available for $0.99 at all of the outlets listed
above [see <a href="http://www.cdbaby.com/cd/leonardgarrison2">http://www.cdbaby.com/cd/leonardgarrison2</a>]. Videos will be released individually when they are
completed. The CD and digital audio files will be released before the end of
2014. Watch here for more to come!</div>
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<br />Leonard Garrisonhttp://www.blogger.com/profile/13061884461331124836noreply@blogger.com0tag:blogger.com,1999:blog-9031350042845304216.post-14185003442376565092014-02-08T16:33:00.000-08:002014-03-16T13:55:33.073-07:00Performance Guide to Georges Brun's Romance, Op. 41<div align="center" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: center;">
<b style="mso-bidi-font-weight: normal;">Performance Guide to
Georges Brun’s <i style="mso-bidi-font-style: normal;">Romance, Op. 41<o:p></o:p></i></b></div>
<div align="center" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: center;">
by Leonard Garrison, Associate Professor of Flute, The
University of Idaho<o:p></o:p></div>
<div align="center" class="MsoNormal" style="text-align: center;">
Copyright<b style="mso-bidi-font-weight: normal;"><span style="color: black; font-family: "Lucida Grande";">©</span></b><span style="color: black; mso-ascii-font-family: Cambria; mso-bidi-font-family: "Lucida Grande"; mso-hansi-font-family: Cambria;">2014 by Leonard
Garrison</span><o:p></o:p><br />
<span style="color: black; mso-ascii-font-family: Cambria; mso-bidi-font-family: "Lucida Grande"; mso-hansi-font-family: Cambria;"><br /></span></div>
<div class="MsoNormal">
This beautiful four-minute gem from the early twentieth
century is a favorite at solo and ensemble festivals. Rated Level G by the
National Flute Association, it is a perfect introduction to French repertoire
for intermediate students before they study more difficult pieces such as the <i style="mso-bidi-font-style: normal;">Fantasie</i> by Gabriel Fauré and <i style="mso-bidi-font-style: normal;">Cantabile and Presto</i> by Georges Enesco. It
is published in several collections, including Himie Voxman’s <i style="mso-bidi-font-style: normal;">Concert and Contest Collection, </i>and<i style="mso-bidi-font-style: normal;"> </i>available in several editions and as a
free download at <a href="http://imslp.org/" target="_blank">imslp.org</a>. Please see my <a href="http://www.youtube.com/watch?v=D5eGTHvmczw">video performance guide</a> to the <i>Romance</i>. I have recorded this piece; see <a href="http://www.cdbaby.com/cd/leonardgarrison2">http://www.cdbaby.com/cd/leonardgarrison2</a>, <a href="http://www.amazon.com/Georges-Brun-Romance-Op-41/dp/B00IDJN2BE/ref=sr_1_3?s=dmusic&ie=UTF8&qid=1392353956&sr=1-3&keywords=Leonard+Garrison">amazon.com</a>, <a href="https://play.google.com/store/music/artist/Leonard_Garrison_Roger_McVey?id=Ar2wgyvh4jgsh5ndbsq7tp33b4y&hl=en">Google Play</a>, or iTunes.<o:p></o:p></div>
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<br /></div>
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Little is known about the composer, Georges Brun, whose last
name means “Brown” in French. Born in 1878, he married Antoinette Laute-Brun, a
Parisian opera star, in 1907. He wrote a few songs and a symphony and died in
1961. His <i style="mso-bidi-font-style: normal;">Romance </i>for flute is
dedicated to Georges Barrère, an important French flutist who immigrated to New
York and taught many American flutists, including my teacher, Samuel Baron.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The instrumental Romance, a lyrical or song-like piece,
often in ABA form, became popular in the nineteenth century. Your first
priority in playing Brun’s piece is to develop a beautiful tone that is
flexible enough to encompass a wide range of dynamics, colors, and vibrato in
all registers. Listen to the best professional flutists so you have a model for
how you want to sound. Spend a little time warming up each day with something
slow to give you time to concentrate on tone.<o:p></o:p></div>
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Prepare to play this piece by practicing the scale of its
key, G-major, in two octaves.<o:p></o:p></div>
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<br /></div>
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Also, locate and identify other scales and arpeggios and
practice them separately. Here are some examples:<o:p></o:p></div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>Meas. 7,
beat 2: C major arpeggio (also in meas. 50)<o:p></o:p></div>
<div class="MsoNormal" style="text-indent: .5in;">
Meas. 9, beat 2: dominant seventh
chord on E (also in meas. 52)<o:p></o:p></div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>Meas. 23,
beat 4: augmented triad, A – C-sharp – F-natural<o:p></o:p></div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>Meas. 34:
chromatic scale<o:p></o:p></div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>Meas. 37: G
major arpeggio<o:p></o:p></div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>Meas. 38:
F-sharp minor arpeggio<o:p></o:p></div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>Meas. 42,
beat 4: D major scale<o:p></o:p></div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>Meas. 43,
beat 2: C major scale<o:p></o:p></div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>Meas. 58: D
major arpeggio<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; page-break-after: avoid;">
<b style="mso-bidi-font-weight: normal;">Meas. 1-12<o:p></o:p></b></div>
<div class="MsoNormal" style="page-break-after: avoid;">
Now you are ready to practice
the piece. The tempo is <i style="mso-bidi-font-style: normal;">Modéré, sans
lenteur</i>, or “moderately, but not slow.” I like quarter=80. <o:p></o:p></div>
<div class="MsoNormal" style="page-break-after: avoid;">
<br /></div>
<div class="MsoNormal">
Think in phrases. Bring about all of the dynamic inflections
marked in the score, and breathe between slurs, as French composers, sensitive
to the flute, think carefully about how long their slurs are. Mark breaths in
your music and consistently breathe in the same place each time you play.<o:p></o:p></div>
<div class="MsoNormal">
An important detail of articulation is that when the same
pitch is repeated under slur, it is re-tongued unless an additional tie is
marked. This occurs in meas. 3, 5, 7, 9, and the downbeat of meas. 12. Also, in
French music, when tenuto dashes are marked under a slur, each note is tongued
lightly and smoothly, as in the last three notes of meas. 12. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
You should study the piano score to know what the piano is
playing. In most of this first section the piano has eighth notes, but the
piano holds a chord through meas. 11, and this is an invitation to play a bit
freely (but calmly as written). Finger the double grace note as you would an
E-to-F-sharp trill, moving the right-hand first finger. In meas. 12, <i style="mso-bidi-font-style: normal;">un peu retenu</i> means slow down a bit.
Coordinate carefully with the pianist, who has the same rhythm. The phrase ends
on beat three, so breathe before the three pickups into the next section.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;">Meas. 13-28<o:p></o:p></b></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;">Un peu animé</i> is a little faster (I play
quarter=88); show the increased animation with a faster vibrato and more color
or harmonics in the tone. Be aware of the syncopated rhythm in the piano. <i style="mso-bidi-font-style: normal;">Toujours animé</i> means “always more
animated,” so the tempo pushes ahead until meas. 23. <i style="mso-bidi-font-style: normal;">Chaleureux</i> in meas. 17 means “with warmth.” Although the flute is
marked <i style="mso-bidi-font-style: normal;">mezzoforte</i>, the piano is
marked <i style="mso-bidi-font-style: normal;">pianissimo</i>, and there is a
totally new harmony here, so I like to start a little softer and crescendo with
the ascending line. <o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
The subito <i style="mso-bidi-font-style: normal;">pianissimo</i> in meas. 21 marks a change in
role for the flute, which accompanies the melody in the piano. Finger the grace
note Ds with the first trill key. Practice at first without the grace notes so
you can establish an even flow of sixteenths. When you add the graces, they
must precede the second sixteenth; careful not to rush the sixteenths
themselves. The crescendo is important here, and the phrase ends in meas. 23 on
beat 4 before another three-note pickup (similar to meas. 12). <o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Return to
the original tempo (quarter=80) at <i style="mso-bidi-font-style: normal;">plus
calme</i> (calmer) and employ a more relaxed vibrato. It would also enhance the
sense of calm to play <i style="mso-bidi-font-style: normal;">piano.<o:p></o:p></i></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;">Meas. 29-44<o:p></o:p></b></div>
<div class="MsoNormal">
The middle section of this piece is still in four but <i style="mso-bidi-font-style: normal;">plus lent</i>, slower, about dotted
quarter=60. Be an opera star at <i style="mso-bidi-font-style: normal;">très
expressif et chanté</i> (very expressive and singing); use a rich tone and
crescendo and diminuendo with the shape of the line. Again, the repeated notes
in meas. 30 are re-tongued despite the slur. Careful not to roll the flute in,
or the pitch will be flat in the low register.<o:p></o:p></div>
<div class="MsoNormal">
In meas. 34-38, the line keeps going higher, and each
gesture is louder than the previous one. However, don’t go sharp! Playing <i style="mso-bidi-font-style: normal;">fortissimo </i>in the high register requires
a lot of air, but try to slow the air down and thus bring the pitch down. Open
your throat and the inside of your mouth. Without lowering your head, angle the
air steeply down using the jaw and lips. Keep the sound sweet, not too
strident, by not forcing, keeping the lips relaxed, and blowing on an open
vowel such as u (as in truth), not ee (as in teeth). <o:p></o:p></div>
<div class="MsoNormal">
Another challenge is playing the groups of seven in meas.
37-38. The piano is playing three notes to the beat here, so one can distribute
the seven notes as two-plus-two-plus-three, but not in a mechanical way. This
gives a forward momentum. <o:p></o:p></div>
<div class="MsoNormal">
Let the sound and tempo relax in meas. 39-42 as this section
winds down. You can push forward again (<i style="mso-bidi-font-style: normal;">animé</i>)
for the three ascending scales in meas. 42-43, each one a little louder. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;">Meas. 44-55<o:p></o:p></b></div>
<div class="MsoNormal">
Meas. 44 functions as a transition. The piano has a <i style="mso-bidi-font-style: normal;">rallentando</i> (slows down) for the first
half of the bar, and supposedly one should play <i style="mso-bidi-font-style: normal;">Premier movement, plus vite que le 12/8</i>, or in the original tempo,
faster than 12/8 on beats 3 and 4. Since the theme actually starts on the
downbeat of meas. 45, however, it is appropriate to stretch the upbeat a
bit.<span style="mso-spacerun: yes;"> </span>The piano has <i style="mso-bidi-font-style: normal;">suivre</i>, or “follow the flute,” a clue that the flutist might take
some liberty here. Our remarks about the original theme pertain also to this
section.<b style="mso-bidi-font-weight: normal;"><o:p></o:p></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;">Meas. 56-end<o:p></o:p></b></div>
<div class="MsoNormal">
The last section is called a coda, the final resolution of
the piece. The piano plays triplet eighths in meas. 56. When the flute enters
in meas. 57, the tempo can move ahead, as <i style="mso-bidi-font-style: normal;">Sans
lenteur, avec un peu d’animation</i> means “without slowness, with a little animation,”
about quarter=84. <o:p></o:p></div>
<div class="MsoNormal">
I’ll let you in on a little secret here—I cheat with the
fingering! Leave the right-hand pinky off for the E-naturals in beat one of
meas. 57 and 59. <span style="mso-spacerun: yes;"> </span>In beat three of meas.
57 use the trill fingering or right-hand middle finger for F-sharp. In general,
you should avoid this fingering, which is flat and has a slightly veiled tone
quality, but whenever you alternate quickly between E and F-sharp, the middle
finger is acceptable.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Slow down a bit (<i style="mso-bidi-font-style: normal;">un
peu ralenti</i>) towards the end of meas. 60, and as in parallel spots, breathe
after the C in beat beat, and make a three-note pickup to the next bar,
tonguing smoothly and stretching.<o:p></o:p></div>
<div class="MsoNormal">
Return to the original tempo in meas. 61. Although no
nuances are provided in the score, crescendo into meas. 62 and diminuendo into
meas. 63, showing that the harmony under your F-sharp is the most dissonant and
expressive of this phrase.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In meas. 65-67, the flute has a little cadenza, or free
section. Show that each motive begins on the second sixteenth note, and vary
the speed artistically. Take a big enough breath in the rest of meas. 67, so that
you can go through your last long G without breathing again. In meas. 68,
listen for piano chords on beats 2, 3, and 4 before landing on C-sharp. Observe
the fermata here, teasing your audience by delaying the resolution of the
harmony. Listen to the piano triplets in meas. 69 so you time the gentle
release of your G with their arrival at the highest note.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Many pieces end with a taper on the last note, so this is a challenging
skill you must practice with a tuner. To prevent the note from dropping into a
lower octave or going flat, maintain the same airspeed until the very end. To
reduce the amount of air while maintaining airspeed, gradually bring your lips
together to form a smaller opening. Meanwhile, lift the air by pushing the lips
forward and up; one of my students called this “kissing the note away.” Also,
gradually taper your vibrato so that it hardly makes any wave towards the end.
Try not to slow the vibrato speed, however. By the way, the score specifies
that the piano hold its chord one more beat than the flute’s G.<br />
<br /></div>
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I hope playing this gorgeous piece inspires you to perform
more French flute music, eventually working your way up to advanced contest
pieces. <i style="mso-bidi-font-style: normal;">Bonne chance!</i><o:p></o:p></div>
Leonard Garrisonhttp://www.blogger.com/profile/13061884461331124836noreply@blogger.com0