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Written and Recorded Preparation Guides: Selected Repertoire from the University Interscholastic League Prescribed List for Flute and Piano

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Written and Recorded Preparation Guides: Selected Repertoire from the University Interscholastic League Prescribed List for Flute and Piano Written and Recorded Preparation Guides: Selected Repertoire from the University Interscholastic League Prescribed List for Flute and Piano by Maria Payan, M.M., B.M. A Thesis In Music Performance Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts Approved Dr. Lisa Garner Santa Chair of Committee Dr. Keith Dye Dr. David Shea Dominick Casadonte Interim Dean of the Graduate School May 2013 Copyright 2013, Maria Payan Texas Tech University, Maria Payan, May 2013 ACKNOWLEDGEMENTS This project could not have started without the extraordinary help and encouragement of Dr. Lisa Garner Santa. The education, time, and support she gave me during my studies at Texas Tech University convey her devotion to her job. I have no words to express my gratitude towards her. In addition, this project could not have been finished without the immense help and patience of Dr. Keith Dye. For his generosity in helping me organize and edit this project, I thank him greatly. Finally, I would like to give my dearest gratitude to Donna Hogan. Without her endless advice and editing, this project would not have been at the level it is today. ii Texas Tech University, Maria Payan, May 2013 TABLE OF CONTENTS ACKNOWLEDGEMENTS .................................................................................. ii LIST OF FIGURES .............................................................................................. v 1. INTRODUCTION ............................................................................................. 1 Methodology ............................................................................................... 3 2. GIGUE (JEAN-MARIE LECLAIR) .............................................................. 5 History ......................................................................................................... 5 Form ............................................................................................................ 6 Complementary Dynamics .......................................................................... 6 Tempo and Interpretation .......................................................................... 10 Articulation ............................................................................................... 12 Alternate Fingerings .................................................................................. 14 Practice Rhythms ...................................................................................... 14 Phrasing ..................................................................................................... 15 Suggested Breath Marks ........................................................................... 16 3. “LA CHASSE GALOP BRILLANT,” OP. 250, NO. 6 (WILHELM POPP) ...................................................................................... 18 History ....................................................................................................... 18 Form .......................................................................................................... 18 Complementary Dynamics ........................................................................ 20 Tempo and Interpretation .......................................................................... 24 Articulation ............................................................................................... 29 Intonation .................................................................................................. 31 Alternate Fingerings .................................................................................. 32 Vibrato ....................................................................................................... 33 Practice Rhythms ...................................................................................... 34 Suggested Breath Marks ........................................................................... 36 4. “PAPILLON” (ERNESTO KÖHLER) ......................................................... 38 History ....................................................................................................... 38 Form .......................................................................................................... 38 Practice Techniques .................................................................................. 40 Complementary Dynamics ........................................................................ 42 iii Texas Tech University, Maria Payan, May 2013 Tempo and Interpretation .......................................................................... 47 Articulation ............................................................................................... 49 Intonation .................................................................................................. 49 Alternate Fingerings .................................................................................. 50 Vibrato ....................................................................................................... 51 Practice Rhythms ...................................................................................... 52 Suggested Breath Marks ........................................................................... 53 5. SONATA FOR FLUTE AND PIANO (GAETANO DONIZETTI) ........... 54 History ....................................................................................................... 54 Form .......................................................................................................... 55 Practice Techniques .................................................................................. 58 Complementary Dynamics ........................................................................ 58 Tempo and Interpretation .......................................................................... 61 Phrasing ..................................................................................................... 66 Articulation ............................................................................................... 67 Intonation .................................................................................................. 68 Alternate Fingerings .................................................................................. 69 Vibrato ....................................................................................................... 70 Practice Rhythms ...................................................................................... 72 Suggested Breath Marks ........................................................................... 74 BIBLIOGRAPHY ............................................................................................... 75 APPENDIX A – GLOSSARY ............................................................................ 77 APPENDIX B – FIGURES ................................................................................. 78 iv Texas Tech University, Maria Payan, May 2013 LIST OF FIGURES FIGURE 1.1 Gigue, Form ....................................................................................... 6 FIGURE 1.2. Gigue, C–D Trill ............................................................................. 14 FIGURE 1.3. Gigue, C-sharp Alternate Fingering ............................................... 14 FIGURE 2.1. “La Chasse Galop Brillant,” Form .................................................. 19 FIGURE 2.2. “La Chasse Galop Brillant,” Double Tonguing Exercises inspired by Gary Garner ................................................................ 31 FIGURE 2.3. “La Chasse Galop Brillant,” C–D Trill ........................................... 32 FIGURE 2.4. “La Chasse Galop Brillant,” Alternate Fingering for F- sharp .............................................................................................. 32 FIGURE 2.5. “La Chasse Galop Brillant,” Alternate Fingering for E- natural ............................................................................................ 33 FIGURE 2.6. “La Chasse Galop Brillant,” Alternate Fingering for F .................. 33 FIGURE 2.75. “La Chasse Galop Brillant,” Thirds in G Major ........................... 34 FIGURE 2.8. “La Chasse Galop Brillant,” Practice Rhythms from The Flute Theory Workout by Lisa Garner Santa, Matthew Santa, and Thomas Hughes ........................................................... 35 FIGURE 2.9. “La Chasse Galop Brillant,” Dotted Rhythms from The Flute Theory Workout by Lisa Garner Santa, Matthew Santa, and Thomas Hughes ........................................................... 36 FIGURE 3.1. “Papillon,” Section A ...................................................................... 39 FIGURE 3.2. “Papillon,” Section B and A ........................................................... 39 FIGURE 3.3. “Papillon,” Coda ............................................................................. 39 FIGURE 3.4. Excerpt from Practice Book for the Flute: Book 1 Tone, by Trevor Wye .............................................................................. 40 FIGURE 3.5. Harmonics ....................................................................................... 42 v Texas Tech University, Maria Payan, May 2013 FIGURE 3.5. “Papillon,” Fingering B to A-sharp with the lever key .................. 50 FIGURE 3.6. “Papillon,” Alternate fingerings for C-sharp, E, and F- sharp .............................................................................................
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