SKU: BR.EB-8355
ISBN 9790004176627. 9 x 12 inches.
The most important prerequisite for success in studying the instrument is the ability to practise in a meaningful and rational manner - i. e. to aim at a steady progress through regular and purposeful application, with the least possible expenditure of time and energy. One can only be sure of making improvement when one practises daily, and as one improves so confidence grows and there is a proper basis for success. In this connection it should always be noted that the choice and the demands of individual exercises in respect of range and difficulty of technique and musicality should refer to the standard attained at the relevant time. In the whole curriculum the study has a very important place. In that it is by way of being and exercise, it deals with particular problems of playing in different compositional guises, and shows the necessary link between purely technical and mechanical matter and the literature (including that for concert use) of the instrument. When beginning work on a study the first thing to do is to determine the central problem posed by the composer. For this reason the study should first be read through so that the contents may be grasped and the transference of notes into sound as far as possible be accomplished. Breathing marks are to be put in at appropriate places. Then the study can be played through in slow time, with exact control of all the parts of the body involved in order to avoid inexactness.76 etudes for daily practice.
SKU: HL.49045187
ISBN 9790001199902. UPC: 841886022546.
In Impulso Jean Guillou regards the flute as a person who appears and asks a short, yet compelling question in front of the public. This question is followed by a statement. And when the question is asked again, it is again followed by this statement, and the whole development of this work happens through increasingly precise paraphrases to which new ideas are added which are presented like a lyrical development and like a constant amplification.All gestures, all attacks or caresses of breath and lips multiply only with the aim of lending more richness and more substance as well as more reason to this initial question and statement. With the weight given to the more eloquent deductions and developments, the discourse comes to an end, while returning, as if in conclusion, again and again to this short and final statement from the beginning.Thus, the impulse and breath of the flute is expressed - eloquent and passionate - between paraphrase, exposition and clarification.
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