Solo Flute (1989) Audio Sample mp3: 272 k Hymntunes I: Three Chorale Preludes for Christmas contains "deconstructed" versions of three familiar Christmas hymns. The movements were deconstructed in the same way that much post-modern architecture or visual art is deconstructed. A deconstructivist building will have most of the elements of a traditional building. Some elements will be exaggerated (a window might be many times too large or too small) and some elements will be displaced (a doorway might be several feet from the wall, the roof might appear to float above the building). These preludes use similar techniques. Most of the elements of the original hymntunes are present but some are exaggerated, repeated many times, or used differently from the original. The Chorale Preludes use several unfamiliar techniques: slides between notes, arm vibrato, a doppler portamento, harmonics, and tremolos. Performance Instructions The preludes should be played freely and should sound improvised. The slides which appear throughout the work may be played by simply rolling the flute in or out, or by covering and uncovering the open-holes. The "arm vibrato" in the first prelude is produced by causing the forearm to tremble rapidly. The "Doppler Portamento" is an imitation of the Doppler Shift in pitch that occurs when a vehicle passes at great speed. Begin softly on the given note, crescendo rapidly while turning the flute in drastically, then decrescendo rapidly. The harmonics in the second prelude are all produced by the first octave fingerings for the given pitches with the exception of the harmonics found at the "A Tempo" on the second page of the prelude. The first two harmonics of this set ("G" and "E") should be produced using low "C" fingerings so that a smoother slur between the notes can be accomplished (these harmonics should be played this way each time the passage occurs). In addition, the last two harmonics of the movement ("E" and "B") should be played using a low "E" fingering. Great freedom may be employed in the performance of the breath marks in the final prelude. These markings indicate anything from a significant pause to no pause at all (for those who can circular breath). With the exception of the places marked in the score, the last prelude should maintain a steady rhythmic pulse. It should be played VERY FAST-faster than flutists normally play. I suggest holding the flute with the left hand only (when playing the quasi-tremolo passages), allowing the right thumb and wrist to hang free. This allows arm motion to control the rhythm and therefore allow a faster tempo. Last revision 7/2/2004. This page is maintained by Robert Fruehwald (rfruehwald@semovm.semo.edu) . This Web page is maintained on a Southeast Missouri State University server as a convenience for users. The University does not take responsibility for the content of this site.
Solo Flute (1989) Audio Sample mp3: 272 k
Hymntunes I: Three Chorale Preludes for Christmas contains "deconstructed" versions of three familiar Christmas hymns. The movements were deconstructed in the same way that much post-modern architecture or visual art is deconstructed. A deconstructivist building will have most of the elements of a traditional building. Some elements will be exaggerated (a window might be many times too large or too small) and some elements will be displaced (a doorway might be several feet from the wall, the roof might appear to float above the building). These preludes use similar techniques. Most of the elements of the original hymntunes are present but some are exaggerated, repeated many times, or used differently from the original. The Chorale Preludes use several unfamiliar techniques: slides between notes, arm vibrato, a doppler portamento, harmonics, and tremolos.
The preludes should be played freely and should sound improvised. The slides which appear throughout the work may be played by simply rolling the flute in or out, or by covering and uncovering the open-holes. The "arm vibrato" in the first prelude is produced by causing the forearm to tremble rapidly. The "Doppler Portamento" is an imitation of the Doppler Shift in pitch that occurs when a vehicle passes at great speed. Begin softly on the given note, crescendo rapidly while turning the flute in drastically, then decrescendo rapidly. The harmonics in the second prelude are all produced by the first octave fingerings for the given pitches with the exception of the harmonics found at the "A Tempo" on the second page of the prelude. The first two harmonics of this set ("G" and "E") should be produced using low "C" fingerings so that a smoother slur between the notes can be accomplished (these harmonics should be played this way each time the passage occurs). In addition, the last two harmonics of the movement ("E" and "B") should be played using a low "E" fingering.
Great freedom may be employed in the performance of the breath marks in the final prelude. These markings indicate anything from a significant pause to no pause at all (for those who can circular breath). With the exception of the places marked in the score, the last prelude should maintain a steady rhythmic pulse. It should be played VERY FAST-faster than flutists normally play. I suggest holding the flute with the left hand only (when playing the quasi-tremolo passages), allowing the right thumb and wrist to hang free. This allows arm motion to control the rhythm and therefore allow a faster tempo.
Last revision 7/2/2004. This page is maintained by Robert Fruehwald (rfruehwald@semovm.semo.edu) .
This Web page is maintained on a Southeast Missouri State University server as a convenience for users. The University does not take responsibility for the content of this site.
