by James J. Pellerite

1. Preludio

2. Canto

3. Theme and Variance

4. A Likeness of Telemann

5. The Cricket’s Charge

Composer’s note:

Preludio – This adaptation is from an etude for classical flute (by Wilhelm Popp, 19th century). The expressive phrases of the Romantic period form a perfect setting for the tonal beauty of the Native American flute. The spinning of vibrato through these passages adds to the contemporary treatment of the instrument, and the application of tone coloration enhances the melodic contrast.

Canto – These phrase elements that developed from my initial efforts to improvise on the instrument served as a foundation upon which melodic lines were structured. They include diatonic elements interspersed with the traditional pentatonic flavor.

Theme and Variance – As with Canto, improvisational phrases were restructured and combined to create contrasting melodic lines, mixing the pentatonic scale with diatonic elements. Faster moving passages demand finger dexterity. As well, varied styles of articulations will need to be controlled for a well-balanced musical expression. The rapid sixteenth-note passages are to be double-tongued (as though pronouncing “duh-guh, duh-guh,” etc.). This lighter touch of the tongue, to express a somewhat broader style of articulation, should impart only a slight interruption of the flow of air. The continuity of the melodic line must be preserved.

A Likeness of Telemann – This movement has been arranged from a sonata of Telemann, originally for the classical flute. Ornamentations of the baroque style and valued traditions of Native American flute performance are shared in these phrases. A musical crossover such as this should stir the imagination of the player and hopefully achieve an interesting result.

The Cricket’s Charge – The articulations in the faster passages are to be executed as indicated for Theme and Variance. The groups of sixteenth-notes here will require the stroke of the tongue to be in proper balance with breath inflections so as to preserve the lyricism. Avoid overblowing (splitting the tones) when making heavy accents. (This is an adaptation of selected materials from Twelve Etudes for Alto Recorder by Mario Duschenes, and is presented with permission from Berandol Music Ltd.)