Traduction Doc Rossi Compositeur : Damiani Andrea Instrumentation : Luth Publication Date: 1999 Series: Teoria e Didattica della Musica (Theoretical and Educational Texts) Pages: pp. 208 CONTENTS * Preface * Introduction * CHAPTER 1. TUNING AND TABLATURE Tuning - Tablature (French tablature - Italian tablature - Rhythm symbols - Fingering and other symbols) - Stringing and doubling - Tuning practice (Practical advice on tuning - Tuning problems) - Strings * CHAPTER 2. BASIC TECHNIQUES Posture and position of the lute - Right-hand position - Right-hand functions - Sound production (Positioning p - Forearm movement - Attack - Positioning i) - Alternating p and i - Finger articulation for polyphonic passages (Positioning p - Positioning i) - Preparatory exercises - Differences from guitar technique - Body control * CHAPTER 3. THE RIGHT HAND Forearm and accentuation - Fingering * CHAPTER 4. THE LEFT HAND General principals - Preparatory exercises - Avoiding stiffness - Differences from guitar technique - Hand coordination * CHAPTER 5. SCALES Right-hand scale technique (Forearm movement - Finger articulation - Integrating the two techniques) * CHAPTER 6. EXERCISES FOR TWO LUTES Exercises on a ground bass - Contrapuntal exercises - Articulation - Dances and ground basses * CHAPTER 7. SHIFTING LEFT-HAND POSITIONS Fundamental principals - Position changes using the same finger - Position changes by substitution - Position changes by jump * CHAPTER 8. EXERCISES FOR TWO LUTES WITH POSITION CHANGES * CHAPTER 9. RIGHT-HAND TECHNIQUE IN POLYPHONIC MUSIC p-i articulation - Positioning m - Rest stroke with p - Left-hand positions and movement - m-i articulation - Combining p, i and m - Easy pieces in two voices - Two-voice scales * CHAPTER 10. COUNTERPOINT Voice progression and intervals - The species - Florid counterpoint - Imitation - Syncopation - Suspension * CHAPTER 11. CONTRAPUNTAL PIECES IN TWO VOICES * CHAPTER 12. THREE VOICES The right hand - Combining chords and single notes - Repeated chords and monophonic passages - Arpeggios - Chords and counterpoint * CHAPTER 13. CONTRAPUNTAL PIECES IN THREE VOICES Technical aspects: three-voice scales, the barre - Contrapuntal pieces in three voices * CHAPTER 14. CHORDS OF FOUR OR MORE NOTES The ring finger (a) - Five- and six-note chords - Chords played with p * CHAPTER 15. IDIOMATIC LUTE COMPOSITIONS Chords and divisions - Characteristics of lute composition * CHAPTER 16. TRANSFORMATION OF LUTE TECHNIQUE DURING THE 16th CENTURY Evolution of right-hand position - Exercises for m-i alternation * CHAPTER 17. TECHNIQUE Scales (Full-length scales in all keys - Scales with divisions) - Speed - Left-hand legato and ornamentation - The barre (Preparatory exercises - Barre exercises) - Scales in two and more voices (Two-voice scales - Three-voice scales) - Polyphonic patterns - Right-hand exercises * CHAPTER 18. RENAISSANCE PERFORMANCE PRACTICE Interpretation (Rhetoric - Sound quality - Rhythmic inequality) - Ornamentation (16th-century sources - The first half of the 16th century - The second half of the 16th century - The first half of the 17th century - The Elizabethans) * CHAPTER 19. TEMPERAMENT Meantone temperament - Equal temperament

Wolfgang Amadeus Mozart's (1756-1791) Flute Concerto In G was written by the composer in 1778. The Concerto remains widely studied and performed on the Flute making it one of the most important Concerti in the instrument's repertoire. Paul Taffanel and Philippe Gaubert's composed cadenzas for the work are essential to all performers of the concerto. Concerto In G is in three movements; 1. Allegro maestoso 2. Adagio ma non troppo and 3. Rondo: Tempo di Menuetto. The first and last movements are in the tonic key whilst the second movement is in the subdominant key of D major. All threemovements contain a cadenza which initially would have been left for the performer to improvise. However cadenzas have since been written including those of Taffanel and Gaubert. Both were prominent flautists of their time and their understanding of the Flute concerto repertoire is second to none making their cadenzas well-informed and essential to performers of the concerto.

Wolfgang Amadeus Mozart's (1756-1791) Flute Concerto in D is an adaptation of the original Oboe Concerto in C which the composer reworked in 1778. The Concerto remains widely studied and performed on both instruments making it one of the more important Concerti in the woodwind repertoire. Concerto in D is in three movements; 1. Allegro aperto 2. Adagio non troppo and 3. Rondo: Allegretto. The first and last movements are in the tonic key whilst the second movement is in the subdominant key of G major. All three movements contain a cadenza which initially would have been left forthe performer to improvise. However cadenzas have since been written including those of Johannes Donjon (1839-1912). Donjon was a prominent flautist of his time and his understanding of Mozart's Flute Concerto in D is second to none making his cadenzas well-informed and essential to performers of the concerto.

Rumors is an unusual and adventurous collection of four pieces composed 1998-2000 for solo Flute player on various instruments. The first movement Trapset is for Alto Flute. The second movement The Heaven of Animals is for C Flute. Focus Group the third movement is for Piccolo. The fourth movement Bel Canto is for Bass Flute. Award-winning composer Harold Meltzer (b. 1966) isartistic director of Sequitor a New York new music ensemble.

The opening cadenza displays virtuosic sweeping melodic gestures followed by a more detached section using more complex polyphony. The third movement is reminiscent of French Impressionist seascapes while the final movement Tarantella is brisk nervous and mysterious.

Music Minus One Flute-This third volume of intermediate contest solos features the choicest repertoire for flute as performed by Donald Peck of the Chicago Symphony and then by you the soloist. Includes additional slow-tempo practice versions of Lane's Sonata Andersen's Scherzino and the Handel Sonata's Allegro movement. Includes a high-quality printed music score annotated with performance suggestions and a digitally remastered compact disc with complete versions (with soloist) followed by piano accompaniments to each piece minus the soloist. Performed by Donald Peck flute Accompaniment: Judith Olson piano

Flute and piano-Vaughan Williams' four movement Ballet suite for Flute with Piano accopaniment arranged by Roy Douglas.

First Part-Also suitable for three violins (or other suitable like-instruments)This unique 18th-century collection of pieces for flute by James Hook has been completely revised and edited for intermediate to advanced levelinstrumentalists. Each is a three-movement work in typical fast-slow-fast Baroque format. Suitable for contest concert or church performance these pieces appear on several state contest lists.

This movement from the Ã?nigma Variations' contains some of the most moving and passionate music that Elgar wrote. This is a marvellous arrangement for flute and piano.

Bach’s Arioso was arranged in many different forms by the composer. First written as a Violin or Oboe Concerto in G minor now lost it was then transposed and re-used as the Sinfonia to the Cantata BWV 156 in F major first performed in 1729. A much embellished version was then used as the middle movement of his Harpsichord Concerto in F minor BWV 1056 published in 1738. It has been arranged here for Flute with Piano accompaniment by George Barrère. J. S. Bach (1685-1750) was a German Baroque composer who is revered for the originality and skill of his contrapuntal and harmonic techniques. He spent most of his life working as an organist andchoirmaster but was also employed as a composer a many different Royal Courts.

Sinuhe the Egyptian is a historical novel written in 1945 by the Finnish author Mika Waltari (* 19. SeptemberHelsinki). He was one of the best known authors in Finland and his works were translated into 30 languages. 1908 in Helsinki, ? 26. August 1979 also in This is the story of the adventures of the doctor SinuheCrete and other regions of the known world at that time. who lived from 1390 to1335 B.C. who was initially the personal physician at the court of the Pharaoh Akhenaten before subsequently visiting Babylon, Waltari was inspired by the Ancient Egyptian text The Story of Sinuhe which is considered to be one of the earliest literary works (20th century B.C.). The author additionally undertook comprehensive historical studies, and the novel with its extensive cultural history and customs of the Orient in pre-Christian times became a worldwide success. The novel also gained recognition among Egyptologists. Sinuhe the Egyptian was in turn an inspiration for the composer Olli Mustonen to create a work for the 'archaic? instrument the oboe. The original version of this two-movement piece additionally fulfilled the composer's wish to dedicate a composition to his wife Sole who is also an oboist.The current version for flute was written for the Danish flutist Janne Thomsen. / Flûte

Michel Blavet the foremost Flautist of the mid eighteenth century wrote several pieces for the instrument. When not performing he was also an accomplished Singer and Bassoonist. This Sonata In D Minor (Op.2 No.2) begins with astately Andante followed by a lively Allegro a tranquillo movement marked 'Les Caquets' (The Crowing/Cawing) a short slow Sarabande and a fast Finale. This edition includes an optionalContinuo part if required for performance.

This 4-movement “church sonata” was commissioned by the American Guild of Organists' 1999 Regional Convention (Knoxville TN Chapter) and premiered at the Knoxville Museum of Art on June 28th by André Lash organist. Total duration ca. 12 minutes.