The post about Keegan reminded me that I have some piano/harpsichord accompagnements, made for my beloved, a true pianist who refused to learn the bodhran, allthough I bought her a Brendan drum.
Allright, so far for keyboard and bodhran stuff, I’d like to share these tunes with those who have friends that play keyboards.
The keyboard parts are simple like ment to be, the written flute parts are very simple as well since we know best how to play them ourselves.
For those who’d like to hear a midi, drop me a PM.
I actually spent the last 18 years of my life behind the piano playing Chopin Nocturnes, Etudes, Bach fugues, Mozart Sonatas, and all the jazz standards one needs to know in a Bill Evans type style.
Then the flute took over. There’s something about the way the flute sings that just does it for me. ITM moves me like no other.
Actually Lee, I’m a poor pianist. I had to take up lessons when I studied the flute at the conservatory. Eventually I learned to ‘play’ a boring Clementy sonatina.
So all pianoparts I write are checked by my wife who is a real pianist.
I’m quite fond of the Clemtenti sonatinas! They’re perfect little mini-sonatas that exhibit perfrect examples of how a much larger sonata devolops and recapitulates.
Did you learn that one in C that everyone learns
4/4 c2ecG2G2Ic2ecG2g2IfedcbcbcIdcbag2I etc ?
I never thought I’d be writing Clementi in ABC notation.
And I never thought I’d learn ABC. But yes, that’s the one!
Actually I agree with you about the value of those pieces, but at that time (grandpa is talking about thirty years ago) I just wanted to play the flute.
Talking about the repertoire in classical music, one is better of as a pianist than a flute-player I think. You can spend your whole live studying Mozart (or Beethove/Brahms, you name them).
That’s why I completely moved over to ITM, the place where the flute is at her best (well, shakuhachi, dizi)…
exactly. me too. It seems there are quite a few former classical musicians turned ITM around these parts.
I tried my hand a shakuhachi and well…not to make excuses but it completely destroys your embouchre for the transverse flute, be it simple or boehm. Also, it only does that one thing, and if your not feeling meditative, or just not into Japanese music, there’s no use. I traded my shakuhachi for a celtic harp and will soon, after I recover from christmas, will be on the market for a better six hole, keyless flute. I think I’m going to get a seery delrin.
I’m a “reformed” classical flutist, too. Among the many things I enjoy about ITM is that when I play alone, I’m not missing any parts–the tune is complete with just one flute. With the exception of harmonic excercises, I was also delighted to ditch the 3rd octave in favor of the much more attractive lower register.
So true! Even when playing the Bach-partita, Kuhlau solo pieces or the Syrinx I felt I was missing something. Never when I play ITM, the challenge of the ‘moto perpetuo’ is there everytime. Session playing is sometimes easier because others help you to make the pace, but a lot of the refinement I (intend to) play is gone.
Yes, I remember being o so proud to reach the upper 4th octave (u.w E4).
Living in an apartment building, it happened I was the only one…
I have a Tipple “speckled-bore” PVC flute with a wedge glued in the headjoint. It’s much better than my dixon polymer flute that I’ve been playing for a couple years.
I also own a gemeinhardt 30shb with a solid silver headjoint. Know anything about that one? It sure plays nice.
Tintin,
I’m totally with you on ditching the third octave for a richer bottom end. well said.
