Book contents
- Frontmatter
- Contents
- Translator's note
- Introduction by Eileen Hadidian
- Title in the series
- DETAILED AND THOROUGH TUTOR FOR PLAYING THE FLUTE
- Foreword
- Introduction
- 1 The flute and its character
- 2 Holding the flute, and the embouchure
- 3 Fingering
- 4 The notes and rests, their values and denominations, and the other musical signs
- 5 Time-signatures, and how the notes are divided and counted in them; the beat itself, or counting time according to an appointed tempo
- 6 Tone and pure intonation
- 7 Modern key-signatures
- 8 The articulation proper to this instrument, or the means of governing the wind suitably, as well in slow as in moderately quick movements; also called the single tongue
- 9 The technique for executing fast and very fast passages clearly and roundly; also, though improperly, called the ‘double tongue’
- 10 The ornaments
- 11 The trill
- 12 Fermatas and cadenzas
- 13 The taking of breath in flute-playing
- 14 The discretionary ornaments; or how to vary a simple melody according to the rules of harmony, and to use these variations in a good and suitable way appropriate to the material
- 15 Summary of the whole, together with a few remarks for pupils and masters
- Fingering-chart
- Select bibliography
- Index
12 - Fermatas and cadenzas
Published online by Cambridge University Press: 01 June 2011
- Frontmatter
- Contents
- Translator's note
- Introduction by Eileen Hadidian
- Title in the series
- DETAILED AND THOROUGH TUTOR FOR PLAYING THE FLUTE
- Foreword
- Introduction
- 1 The flute and its character
- 2 Holding the flute, and the embouchure
- 3 Fingering
- 4 The notes and rests, their values and denominations, and the other musical signs
- 5 Time-signatures, and how the notes are divided and counted in them; the beat itself, or counting time according to an appointed tempo
- 6 Tone and pure intonation
- 7 Modern key-signatures
- 8 The articulation proper to this instrument, or the means of governing the wind suitably, as well in slow as in moderately quick movements; also called the single tongue
- 9 The technique for executing fast and very fast passages clearly and roundly; also, though improperly, called the ‘double tongue’
- 10 The ornaments
- 11 The trill
- 12 Fermatas and cadenzas
- 13 The taking of breath in flute-playing
- 14 The discretionary ornaments; or how to vary a simple melody according to the rules of harmony, and to use these variations in a good and suitable way appropriate to the material
- 15 Summary of the whole, together with a few remarks for pupils and masters
- Fingering-chart
- Select bibliography
- Index
Summary
Fermatas and cadenzas are more like discretionary than essential ornaments, and therefore seem to belong in the chapter on discretionary ornaments; but since they are essential in certain respects and are necessary even in a movement that is performed without discretionary ornaments, I wanted to deal with them here. The former occur in the middle of a piece, and the latter at the end. The sign for the fermata will be found in the chapter on the musical signs; when this is located over a rest in all parts of a piece, it is called a general pause, and all the parts are silent for as long as the leader thinks right. If it stands over a rest in a concerto or solo part, the performer is at liberty to be silent for as long as he thinks right; but if it is preceded by a melody that has a caesura with a trill, he can hold the trill longer instead of being silent for a long time on the rest, and make a little embellishment as well; this is also called ad libitum; see the place with the fermata in the example with the discretionary ornaments.
- Type
- Chapter
- Information
- The Virtuoso Flute-Player , pp. 257 - 274Publisher: Cambridge University PressPrint publication year: 1991