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Interpretation : How to shape a melodic line

Musical interpretation is first and foremost a question of shaping a melody or the melodic line of a setting. Music, like any language, follows its own set of rules and a sufficient knowledge and familiarity with musical 'grammar'is therefore an essential prerequisite of any convincing interpretation. The internationally renowned performer and teacher Peter-Lukas Graf explains in great detail the parameters that have to be taken into account for asuccessful interpretation: rhythm, metre, agogics, articulation, phrasing, ornamentation and implied polyphony, etc. Numerous examples from the flute repertoire of the 17th-20th century serve as models from which he derives the'rules' appropriate for an interpretation in keeping with each period. · These rules are not intended to be dogmatic but instead should stimulate the players to form their own opinion. About 'rules' · Preface · Golden rules forthe interpreter · The structure and analysis of melody · Notes on the execution of ornamentation in the 17th and 18th centuries · Ornamentation in the 19th and 20th centuries · Phrasing · Rhythm · Accents · Dynamics · Tempo ·Metre · Flexibility of rhythm/rubato · Shaping the musical phrase · Conclusion · Bibliography · Index · Musical examples

Tree Line

Etude II : Point and Line

Einheitslieder der deutschen Bistumer : melody line

Sonate

Hindemith's sonatas are part of the repertoire of many instrumentalists. Since Hindemith wrote only a single work for this line-up with the Small Chamber Music for Wind Quintet, it seemed natural to work on one of his sonatas.Paul Leonard Schäffer retains the solo part in his arrangement of the sonata for flute and distributes the piano accompaniment to the remaining instruments.

Easy Concert Pieces Band 2 : 24 Easy Pieces From 5 Centuries Using Half To 3Rd Position

The Easy Concert Pieces series features easy to moderately difficult works for double bass with piano accompaniment. Ordered by difficulty in three volumes, the pieces are suitable for auditions, competitions or exams. Inaddition, the Easy Concert Pieces serve as a motivating complement in class. All pieces are included on the accompanying CD, as a full version and as a piano accompaniment. Volume 1 (ED 22551) contains pieces in the half and 1stposition. It develops light line styles such as portato, staccato and legatoas well as pizzicato, as well as simple dynamic nuances from piano to forte, crescendo and decrescendo and easy phrasing. The selected pieces have variedcharacters with catchy melodies, different meters and different simple rhythms. Volume 2 (ED 22552) in preparation

Classical Music for Children : 25 Easy Pieces for Clarinet and Piano

'Klassik für Kinder' wants to introduce Clarinet pupils to the beauty of Baroque, Classical and Romantic concert literature. Cautiously, not only original Clarinet literature was taken up, but catchy tunesand themes from the opera (e.g. The Magic Flute) and the concert hall (Four Seasons, Capriccio italien, and others) were used as well. The edition starts with a piece from the Renaissance period, followedby the great composers of the Baroque, European Classical and Romantic eras and completed by several discoveries off the common concert programmes (Reinagel, Sullivan). Four centuries of music history whichwillmake the pupils enjoy classical music! The pieces are presented in easy arrangements and can be mastered after about two years of tuition, with the three-line octave being left out.

Variations : on Freu dich sehr, o meine Seele

These variations are based on the choral “Freu dich sehr, o meine Seele”. Variation I, Maestoso, presents a solemn, canonic statement of the theme enveloped by dense, closely-knit harmonies. Variation II, Allegro, is clothed in polyphonic lines reminiscent of Bach’s “Orgelbüchlein” chorales. Variation III, Vivace, is a playful bicinium with the cantus firmus featured in the soprano line, as the bass bounces along in a staccato duet. Variation IV, Adagio, displays rich chromatic harmonies which form a lush backdrop for the pedal solo. Variation V, Vivace, features the chorale in detached left hand notes while the right hand and pedal provide a playful accompaniment. In Variation VI, Andante, the melody vacillates between minor and major keys as syncopated left hand chords and pizzicato bass accompany the cantilena. In the concluding Variation VII, Presto, the left hand proclaims the theme in block chords as the right hand provides an exuberant garland of sixteenth notes while the pedal provides rhythmic drive with tympanic accents.