However, Telemann prolongs this dissonance throughout measures 6 and 7 without resolving it. Instead, he establishes an ascending motion with the bass D E F , while keeping the other voices A and C sounding like a pedal through these two measures Fig. In measure 8 the bass will resolve up to F, while the A will remain for the next chord. However, the suspension will resolve up to D, instead down. In the first four measures Telemann shows that he knows how to do a proper voice leading.
Then, instead of doing it for the third time what would be obvious and ordinary , he just changes, not only the rhythmical figuration and texture, but also subverting the rules of counterpoint. This is part of the stylus fantasticus, characterized by harmonic surprises and dramatic changes of texture. Actually, the only difference from the iv7 chord from the previous measure to the i64 is the note E in the bass, resolving later to F in measure 8.
As a performer, I would call attention to this ascending bass line, strategically placed by Telemann in the downbeat of these measures. This chord will only resolve to i at the second movement. The function of this movement, like a prelude, is to prepare the second movement and the fugue. As a performance practice suggestion, I would strongly recommend to focus on the bass line, which generally lies on the downbeats.
I would emphasize the movement of these notes, and play the other voices as lightly as possible. However, I would hold the last notes from measures 1, 3 and 5 a little longer, in order to bring up the idea of these prolonged notes more evident, since they will form the suspensions. The idea of changing colors for the bass and the treble line would be even better and welcome.
I could suggest different tonguing for each voice. For the downbeats, to make this line very clear, I would use the syllable tu, and for the other notes, du, lu, or any other the performer would feel produces the effect. I do not see the need for. However, I would use some slurs to connect some neighbor notes and appoggiaturas 51 Fig.
As in the previous Fantasia, this second movement is a fugue. Despite KyuongJoo Mins labeling of this movement as quasi-fugue, I consider it a double fugue, as shown in the analysis that follows52 Fig. All the slurs I added I put in parenthesis.
There are no articulation signs in the original text. All articulation signs here are my suggestions. Telemann uses it stated in A minor, E minor, D minor, and returns to A minor.
However, Telemann uses more modulations during the episodes and links. Besides the revolutionary idea of composing a double fugue for a solo melodic instrument, Telemann uses the material in a very ingenious way. The upper voice has its melody in syncopations, which creates suspensions that will only be resolved in the middle of the next measure. At the same time, the lower voice moves by chromatic passing tones ornamented with lower neighbors Fig. Telemann also uses harmonic sequences which will lead to tonicizations, using melodies in contrary motion Fig.
I found most of the voicing suggestions for the fugue in the original print Fig 32 , where Telemann makes the counterpoint clear by the use of the stems up or down. Study of the facsimile makes it easy to see the different entries of the fugue, as well as to understand it as a double fugue.
I suggest the use of different tonguing and colors to make clear each one of the lines. I play the low voice heavily, and the higher voice very lightly. I give each of the two voices a different tone color through flexibility of the lips and the resonance in the mouth, chest, nasal cavity and head. The arrows indicate the forward motion in small sections. I suggest not rushing it to keep the lines going. Applying a small crescendo in these sections will help the idea of moving forward Fig.
However, this charming slow movement comes already fully ornamented. This is not something unusual, especially for Telemann. However, this Adagio is the only example of an ornamented movement we find in this set of Fantasias. This is a clear example of ornamentation in German style, with rhythmical variety, use of triplet figures and unprepared dissonances. For this analysis, I used the initial basic melody suggestion by KyoungJoo Min.
What would seem strange is actually very characteristic of Telemann and common elements of the style galant as I explained previously for the performance practice suggestions I gave for the first movement. He also used escape tones to ornament the lower voice line with leading tones for the chords that follow Fig.
Telemann with Suggestions for Performances , University of Washington, One can observe these ornaments as unprepared dissonances, one more of Telemanns hallmarks, as defined by Rachel Brown. For the last three measures, Telemann expands the harmony of the V 7 until its resolution in I C major in the last measure.
As a suggestion for performance practice in this movement, I would avoid over ornamenting it. I would use flattements58 on the long notes in the first 2 measures,59 and trills on the dotted 16th notes as pick ups to measures 3 and 4 Fig.
I would also over-dot the dotted figures and play the other 32nd faster, towards its resolution. Of such figures Quantz says: In e and f the notes after the dots are played just as quickly and precipitately as those before the dotted notes in b and d. Finger vibrato. I just pointed out the notes where I would play the flattement. I am not suggesting playing all of these effects. The idea is to choose one or two of these notes to play it, otherwise it would be too much.
The shorter you make the first notes in a , b , c and d , the livelier and bolder is the expression. The longer the dots in e and f are held. On the other hand, the more flattering and pleasing notes of this kind sound. In measure 7 we expect the resolution for the chord V75 to go to a C major chord, and it actually goes there although there is no third E. However, because of the conventional trill, we feel it as a C major.
Therefore, the E natural remains in our ears until we reach the second half of measure 7. There Telemann surprises us by introducing an E-flat instead Fig. As a characteristic of the stylus fantasticus, we find this harmonic surprise of the fully diminished chord at the second half of the third beat. For this part, I would suggest playing the whole passage from measure 6 to 7 without taking a breath, and directing its conclusion towards the deceptive E-flat.
For that, I would not slow it down at the cadential point at all. Since Telemann repeats the same rhythmical pattern twice on a fully diminished chord, I would take some freedom in ornamentation Fig. I suggested some dynamics for the whole movement. However, instead of changing the intensity, I would rather think about changing the tone colors, and playing the p with a darker sound, and the f brighter.
I would also exaggerate the Lombardic rhythm at the end Fig. This is a lively and dance like movement. It is a boure in rounded binary form, in the key of A minor. Bach, a boure is a joyful dance in duple meter. It always has a pick-up, followed by a measure on a single harmony. Its harmonic and contrapuntal structure is very simple, since it is the least complex of the French Baroque dances. However, Telemann deals with it very creatively, using accented dissonances, passing tones, and chromaticism to create a very agile and interesting melodic line Fig.
Bach Bloomington, Indiana University Press, , 35 In general for the Fantasias, and also for other works by Telemann, the last movements are not as contrapuntally elaborate as the previous movements, with some exceptions.
Even rhythmically it is not as bold as the Allegro from the Fantasia 1. Besides, it is a boure, a popular dance, characterized by its rhythmical organization.
Telemann plays with its dactylic rhythm expanding it in 16th note groups and using it backwards Fig. Since this is a fast movement, there is little need for ornamentation. However, as in the Allegro in Fantasia 1, the two parts repeat, what give us space for some variety in dynamics, articulation, and ornamentation.
I added my suggestions in the same fashion Telemann used for his Methodic Sonatas in two staves , and as I did for the previous Fantasia Fig.
The Spirituoso of the Fantasia 6 is one of these exceptions, to speak only of pieces from this set. Long short short. The dance character of a boure requires a brisk64 and lively movement, similar to a rigaudon, or even at the same tempo as a gigue.
The playing style of a boure is simple and light. As Quantz suggests: A boure and a rigaudon are executed gaily, and with a short and light bowstroke. A pulse beat falls on each bar. Such a mixture of characters is part of Telemanns mixed style, found in other fantasies as well. However, I would keep the character of the dance, with its speed and pulse on the downbeat.
I suggest playing the eighth notes a little bit ingale, as according to the bow stroke suggested by Muffat for orchestral playing in French style. I would pay special attention to the chromatic passages, moving them forward. It is also a good idea to make a crescendo for the upward motion, and a decrescendo for the downward motion. For the dynamics, since each part repeats, it is also interesting to play softer for the second time, even if ornamenting.
It is also possible not to ornament it at all and only play it softer the second time. As Quantz says: If in an Allegro the principal subject thema frequently recurs it must always be clearly differentiated in its execution from the auxiliary ideas. Whether majestic or flattering, gay or bold, the subject can always be made sensible to the ear in a different manner by the liveliness or moderation of the movements of the tongue, chest, and lips, and also by the Piano and Forte.
In repetitions generally, the aleternation of Piano and Forte does good service. Then, the dynamics chosen for the repetition will go down a step.
I suggest mp, since it will already make us use pp and ppp on the course of the music. Different authors call the first movement toccata-like,68 or an Italian Toccata. It gives us the idea of a toccata, preparing the listener for the key to be established for the other movements to come.
As in Bachs organ music, the toccatas serve as an introductory piece for what comes next. As Fig. This is the Emblem of the Lament, a descending tetrachord used by many baroque composers. It is also interesting the chromaticism Telemann uses at the two Largo sections. The chromatic move E E F would suggest the use of a glissando, sliding the right hand middle finger over the hole, a technique that was described by Tromlitz in The harmonic rhythm becomes faster, with basically one chord for each beat in the measure, and the style is contrasting with its fugal structure Fig.
This movement is all based on arpeggios, and in many measures there is not one note foreign to the chords. This is easy to observe, but I still marked all passing tones, lower neighbors and anticipations in parenthesis, even in the reduction underneath Telemanns original melody.
In my opinion the most important aspect in performing this movement is to establish a contrast in between the Largo and the Vivace that follows. The Largo sounds serious and heavier72 with its slow harmonic movement.
I suggest lengthening the lower notes of these arpeggios in order to make clear the downward movement from B towards F V in B minor. The middle voice accompanies this movement of the bass in a second progression D C B, going to an implicit A. I would play this line softer than the previous lower notes.
Finally, I would play the higher notes softer than all the other notes. Since the F is too short for a pedal tone, and is longer in length than the others, it is more easily heard. As Rachel Brown suggests,74 since not everyone will play this piece on a baroque traverso, whose open holes allow the glissando in this chromatic passage,75 I would recommend for those who will play this Fantasia on the modern flute to bend the pitch towards the E.
For the fugue that follows, I would think of it as a big contrast not only to the previous tempo, but in the character of the Vivace. I would play it lighter than the previous Largo, reinforcing the faster harmonic rhythm.
I used the slashed ties to make clear this note status as a pedal tone, going to E as a lower neighbor. On the other hand, the modern flute has keys, even for the open hole ones, making this operation not so natural as for its ancestor.
I suggest also slurring the 32nd notes lower neighbors throughout the movement, as well as the appoggiaturas in the lower voice. Telemann suggested some slurs in the original, and I decided to follow his idea. However, I added other some others to give a more clear direction to the lines, as well to give more contrast in articulation. In some 16 th note groups, I slurred the two first notes, to make the first note of the group sound longer than the others.
For the sequences that follow77, it is part of the style to give them some variety. Since the sequence goes down a step from E minor to D, I would play the second statement softer, with a darker sound. For measures 10 and 11, as Amy Porter also suggests, I would play measure 10 f, and measure 11 p. I would play the next Largo in the opposite way, since it repeats the same harmonic sequence,78 but going up from D major to e-minor.
Then, the next entry I would play softer, building it up to measure 27, when finally the theme comes back to its original key towards the Coda.
I added some dynamics and tonguing suggestions to the original text. I did not ornament it at all since this is a fast movement, and to preserve the original voicing. However, I ornamented the second Largo section in E minor. In measures 8 to 9. I V6 IV6 V. Following its function in a suite, the Gigue acts as a closing movement for this Fantasia. Its harmonic rhythm is fast, mostly one chord per beat. However, its harmonic structure, as in the previous movement, is very simple.
Telemann uses basically chord tones, a few passing tones and appoggiaturas. The large intervals make a contrast with step-wise motion, but as in the previous movement, it is mostly composed using arpeggios.
Dissonances play an important role in the piece, especially the appoggiaturas in measures 14 to 16 and 34 to 37 Fig As in the previous movement, the structure is very clear and, if we respect the dance itself, the phrasing and voicing will come out naturally. The notes on the downbeats are. There is almost no accented dissonance,82 which keeps the idea of simplicity and lightness for the piece.
As Quantz suggests: The gigue and the canarie have the same tempo. If they are in six-eight time, there is a pulse beat on each bar.
The gigue is played with a short and light bowstroke, and the canarie, which is always in dotted notes, with a short and sharp one. Observing Telemanns own articulation on gigues in his Methodical Sonatas, I noticed that he chooses the same slurring pattern which is followed from the beginning until the end of the movement Fig. Look at measures 14 17 and 35 37, with the appoggiaturas.
Reilly Boston, Northwestern University Press, , paragraph 58, Max Seiffert, vol 1. Because of these 2 possibilities, I decided to mix both patterns, and use some variety. As in the previous movement, I use slurs to connect neighbor tones and step motion, but not for large intervals, that characterize different voices embedded in the melody.
I also use slurs strategically to lengthen some notes and emphasize a basic melodic progression. As a contrast, I would play the other notes shorter and lighter. I think the variety in articulation brings a fresh and light spirit to the movement Fig. Max Seiffert, vol 2. These are only three examples of what we can expect to find ahead in the Fantasias. This set of short pieces opens the doors to thea vast world of the Baroque period.
Since these pieces are short and condensed, it is possible to travel through the different national styles, understand how varied they were, and how much variety we can incorporate to our own playing.
In a few pages, Telemann was able to expose us to a synthesis of the Baroque traveling through the flute. Although this present document deals just with the first three of Telemanns Fantasias, I will finish by mentioning some interesting issues of the remaining Fantasias of the set.
For example, the second movement of the Fantasia 5 in C major which has variations over a basso ostinato resembling a Passacaglia Fig 53 , and its following movement, a Canary; the second movement of the Fantasia 6 is a Fugue; Fantasia 7, a French Overture; the great syncopated third movement from the Fantasia 8; and the Fantasia 10, a Dance Suite.
The most important aspect of working on these pieces was the opportunity to revisit and learn through them once more. Each piece brings us a new world of discoveries and possibilities.
I think this is the real meaning of the freedom of the Fantasias: pieces to set free our musicality and creativity. However, this is a freedom we achieve through knowledge and understanding.
Bach, Carl Philip Emanuel. Translated by William J. New York: W. Cambridge: Cambridge University Press, Couperin, Francois. LArt de Toucher le Clavecin. Translated by Margery Halford. Cyr, Mary. Performing Baroque Music. Portland: Amadeus Press, DAvila, Raul Costa.
A Articulao na Flatua Transversal Moderna: Uma abordagem histrica, suas transformaes, tcnicas e utilizao. Pelotas: Ed. Harnoncourt, Nikolaus. O Discurso dos Sons. Translated by Marcelo Fagerlande. Baroque Music Today: Music as Speech.
Pauly, PhD. Portland, Oregon: Amadeus Press, Little, Meredith, and Natalie Jenne. Dance and the Music of J. Expanded edition. Bloomington: Indiana University Press, Min, KyoungJoo.
Telemann with Suggestions for Performances. DMA doc, University of Washington, Palmer, Kris. Ornamentation According to C. Bach and J. DVD produced by Mike Wilkinson. Michigan: Duderstadt Media Center, Powell, Ardal. The Flute. Rosand, Elen. Music Quarterly, 65, no. Sculenberg, David.
Music of the Baroque. Second Edition. New York: Oxford University Press, Quantz, Johann Joachim. On Playing the Flute. Translated by Edward R. Boston: Northwestern University Press, Telemann, Georg Philipp. Zwlf Fantasien fr Flte solo. Edited from the earliest printed sources by Peter Reidmeister.
Switzerland: Amadeus Verlag, Edition with Facsimile, ed. Urtext on the Telemann Edition ed. Methodical Sonatas for Violin of Flute and Basso continuo, vols. Urtext of Telemann Edition, ed. Toff, Nancy. The Flute Book. Zohn, Steven. Open navigation menu. Close suggestions Search Search. User Settings. Skip carousel. Carousel Previous. Carousel Next. What is Scribd? Did you find this document useful? Is this content inappropriate?
Report this Document. Flag for inappropriate content. Download now. For Later. Related titles. Carousel Previous Carousel Next. Jump to Page. Search inside document. Moyses Tone Development through Interpretation, page Parenthesis to non-chord tones 6.
Parenthesis to absent voices. Suggestion of tonguing 10 8. Prelude, m. Cadence points. Reductive analysis of the Grave.. Chords in measures 6 and 7. Ascending motion with the bass D E F Second movement Fugue.. Double fugue 48 Facsimile of the Vivace 49 Tonguing and Articulation Third Movement Adagio First two measures of the Adagio 54 Measures 3 7. Adagio m. Over-dotted notes in measures 3 6 57 Surprising resolution in m. Ornamentation in m.
Performance suggestion for the Adagio.. Forth movement Allegro 60 Dactylic figuration and the three beat phrases Largo 68 Largo Vivace. E leading tone to F Articulation and ornamentation Fantasia No. Later, after having read some books, such as Harnoncourts Music as a Speech,1 and having been exposed to a larger amount of the flute repertoire, I found a recording of these Nikolaus Harnoncourt, O Discurso dos Sons, Translated by Marcelo Fagerlande.
I 2 These are exercises for tone placement adopted by Dr. In her article, Rachel Brown says: Undoubtedly these are the flute fantasias mentioned in his autobiography, yet strangely the only surviving copy of the first edition is mistakenly entitled Fantasie per il Violino, 10 Georg Philipp Telemann, 12 Fantasias for Flute, Edition with Facsimile, ed.
See also pages 14, 30 and 31 for further explanation. I would stress the echo effect of playing piano the second two group of triplets in these 40 Finger vibrato commonly used as an ornament during the 18 th century.
The structure of this Fantasy consists of 4 movements: 1st movement Prelude 2nd movement Fugue 3rd movement Adagio fully ornamented 4th movement Allegro Dance - boure As Amy Porter suggests in her study guide,46 this Fantasia has the form of a Sonata da Chiesa, with the movements alternating in slow, fast, slow, fast; and the second movement as a fugue.
Robert Bocognano. Constantin Popescu. Alexis Zenteno. Lorenzo Chiappe. Tabitha Smith. Steve GOop. Franca Daher. Nazareno Zazu Tecladista. Melina Falcon. Leon Evergreen. Greg Sykes. Sati Lall. Popular in Painting. Col Davidson. Stacy Wald. Mariana Necseriu. Sam Khodapanahandeh. Reynold Tanlangit. Sujaan Mukherjee. Rick Sammon. Digital Wedding Photography Secrets. Kashan Shoukat.
Kong Hu Lee. David Christopher Castillo. Black Swan. Airplane pt2. Sweet Night. Feel Special. The Truth Untold. Make It Right. Winter Bear. Facebook Login. Google Login. Musical Lab. Quer se divertir improvisando? Fever Enhypen. Forever Young Blackpink. Wannabe Itzy. Adios Everglow. Scream Dreamcatcher. Black Mamba Aespa. HIP Mamamoo. Sour Candy Blackpink.
Lion G I-dle. Fancy Twice. Shine Pentagon. Crown TXT. What Is Love Twice. Lovesick Girls Blackpink. AYA Mamamoo. How You Like That Blackpink. Psycho Red Velvet. Tempo Exo. Dalla Dalla Itzy. Kill This Love Blackpink. Pporappippam Sunmi. Starry Night Mamamoo. Love Shot Exo. Dance The Night Away Twice.
Say My Name Ateez. Playing With Fire Blackpink. Power Exo.
0コメント