By Janice Dockendorff Boland
Read or Download Method for the One-Keyed Flute: Baroque and Classical PDF
Similar techniques books
During this contemplative choice of essays, Lisa Knopp strikes out from the prairies of Nebraska and Iowa to surround an absolutely built imaginative and prescient of sunshine, reminiscence, switch, separateness, time, symbols, accountability, and harmony. Knopp charts a stimulating path one of the person, group, and tradition that eliminates the limits among self and different, permitting one to turn into absolutely found in the area.
This necessary guide for present-day gamers of the one-keyed flute is the 1st entire process written nowa days. Janice Dockendorff Boland has compiled a guide which can function a self-guiding educate or as a textual content for a pupil operating with a instructor. Referencing very important eighteenth-century assets whereas additionally incorporating sleek adventure, the publication comprises approximately a hundred pages of tune drawn from early treatises besides solo flute literature and tutorial textual content and fingering charts.
- The Laptop DJ Handbook: Setups and Techniques of the Modern Performer
- Atlas of Surgical Techniques for the Upper GI Tract and Small Bowel: A Volume in the Surgical Techniques Atlas Series
- Blood Pressure Measurements: New Techniques in Automatic and 24-hour Indirect Monitoring
- Techniques of Multivariate Calculation
- Access Surgery: A review of current techniques for vascular access for Haemodialysis, Chemotherapy and Total parenteral nutrition
Extra info for Method for the One-Keyed Flute: Baroque and Classical
First consider the nature of the flute itself. The one-keyed flute is designed with a conical bore which is smaller than that of the modern flute. The holes cut for the embouchure and fingers are also smaller. These characteristics are contributing factors to the one-keyed flute's inherently sweeter, quieter, less brilliant sound. Be prepared for these more delicate sounds. One-keyed flutes are made from a variety of materials, which also affect the tone quality. Quantz (1752, p. 50) tells us that a weak tone results from a flute made from porous and light wood, a narrow interior bore, and thin wood; a "thick and masculine" tone requires the opposite features.
Its dynamic range is more limited than that of the modern flute, but those subtle changes that are available to the player are an important feature of expressive playing. Quantz (1752, p. " The one-keyed flute plays piano easily, but does not have the forte power of a modern Boehm flute. You'll find that a crescendo produced as you would on the modern flute will distort the tone and pitch of the one-keyed flute; the one-keyed flute simply doesn't respond favorably to being pushed by the air stream.
Bruce Haynes's article "Tu ru or Not Tu rn... "Performance Practice Review (1997) looks at tonguing syllables for transverse flute as found in tutors dating 1700-1827. See the annotated bibliography for complete entries. While reading about articulation is valuable, nothing suffices like hearing a good example. Listen to recordings of today's leading traverso players. Find opportunities to work with a qualified teacher and study eighteenthcentury articulation practices with an experienced player.