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Additional resources for Method for the One-Keyed Flute: Baroque and Classical
Example text
8 The writer of an eighteenth-century keyboard tutor, Daniel Gottlob Turk (1789, p. 88-104), explains that the first note of a bar in common time is "good" or strong; it is the longest and loudest. The third note is also good, but not as good as the first. The second and fourth notes are "bad" or weak; they are shorter and softer. Play the following series of quarter notes—the dynamic markings are Turk's way of showing which notes are stronger and louder. The sign pf stands for poco forte, the marking midway between / forte and mf mezzo forte.
Half of the notes are weak notes, and half require considerable adjustment for intonation. Three demand cross-fingerings. The arrows indicate whether the pitch of the note must be raised or lowered. The s indicates a strong note, the w a weak note. s w s w w w s s K K J. S. Bach's Sonata in E flat is a very difficult work for one-keyed flute. The beginner should heed Quantz's warning in the quotation above and avoid the difficult keys for a while. Allegro from Sonata in Eflat J. S. [to achieve it] make the chest firm and strong so that it positively does not shake.
S w s w w w s s K K J. S. Bach's Sonata in E flat is a very difficult work for one-keyed flute. The beginner should heed Quantz's warning in the quotation above and avoid the difficult keys for a while. Allegro from Sonata in Eflat J. S. [to achieve it] make the chest firm and strong so that it positively does not shake. Tromlitz (1791, p. 215) The issue of vibrato is a very important one. Should players of the onekeyed flute use vibrato? If so, how should the vibrato be produced? Today's modern Boehm-system flutist is accustomed to using a throat/diaphragm vibrato as a nearly constant, integral part of the sound.