HARCLf

LEE LIBRARY
BRiGHAM'
NGUMVERSI1.
PROVO, UTAH

/nr

CARL FISCHER EDITION

SOUSSMANN

H.

COMPLETE METHOD
FOR THE

FLUTE
REVISED AND ADAPTED FOR ALL FLUTES
ORDINARY OR BOEHM SYSTEM
BY

W. POPP
AND GERMAN TEXT)

(ENGLISH

PART I
Easy Exercises

The Elements of Music.

PART

Price

*1.00

II

12 Easy Duets for the Formatxu.* of Tone and Progressive Studies Price *1.00

PART

III

Twenty -Four Celebrated Studies

Price *1.00

COMPLETE IN ONE BOOK

Paper *2.50
\

72480
>

it

>

CarlCooperFischer
Inc.,
Square
CHICAGO
Tremont Str.ef NEW YORK30H So Wabash Avo

BOSTON
252

-'

'

iERT

J.

ANDRAUU

WOODWIND MUSIC
2871 ERIE AVE.

R.CAS ADESUS.-op. 35 Concerto for Flute & Ch*

Easy Duets.

12.

These Duets are intended

playing;

it

39 Flute

is

12

Diese Duos bieten ztveckmassigen Stoff im

to give practice in concerted

essential that the Pupil should

learn

the

spieleti;

part as well as the I s} Flute, in order to ob-

tain an equal facility throughout the entire compass

Leichte Duette.

erste

es ist

Stimme

nothwendig, dass
lerne, sondcrn

de.r Schiiler

Zusammen

nicht allein die

auch die zweite,

damit

ein

gleichmdssiger Ansatz in alien -Tb'nen erzielt ivird

of

his instrument.

H.SoUSSMANN.

1.

major. C dur.
Allegretto. (m.m.J

.Revised by Paul de Ville.

=

ios)

l s_t Flute.
Pupil.

la

Schiiler.

257.
Sd Flute.
Teacher.
Lehrer.

"if

<*rr jj

U tfi

rfHnf

rnHr

m
t
^

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e =s

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i

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s a * s* ^

5*

i*

Copyright

MCMV

by Carl Pischer.New York


47

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48
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minor.

moll.

Andante. (M.MJ

s.t

Flute.

^W M

=88)

258.
24 Flute.

si

fe

/*/

si

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10094-29

R.

CAS ADESUS.

op.

35 Concerto for Flute &

50
3.

Rondo. C

major.

Allegretto,

dur.

(m.m. J =128)

24 Flute.

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m
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52

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.

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60
7.

is*

Flute.

263.

2^ Flute.

major. D dur.
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62
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l 8.1 Flute,

264.
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I

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64

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10.

major.

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Allegro.

(M. m. J

126.)

s-

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f marcato

266.

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67

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70

11. Scherzo.

D moll

minor.

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^m

^m

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sis

ist Flute.

267.

2d Flute.

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Is.* Flute.

m
^

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F dur.
-.

100.)

rrf fr rLf

it.

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74

Progressive Etuden.

Progressive Studies.

H.

In the following Studies

dent to

make every

too often.

would advise
avoid taking

effort to

Bei den vorliegenden progressiven

the stu-

breath

zu vermeiden

is

als absolute

well

To acquire ease

in rapid

my

iible

and dabei

Angewohnheit
sehr

stbrend,

Passagen durch Ausbleiben von Noten

leidet.

Gomponisten sind dagegen auf die Idee ge kommen, die Stellen in ihren Gompositionen besonders
zu bezeichnen, wo Athem geholt werden soil. Ich bin
hiermit aber keinesweges einverstanden, weil die Kraft

Menschen

der Brust eines jeden

dass

ist,

man

seiner Luft

man
ab,

die

sehr

verschieden

wie lange

man

mit

unmoglich bestimmen kann,

soil,

breche daher lieber etivas von

und

so

Vbrschriften,

solche

auskommen

hole Athem,

Um

blase gleich

dem Werthe einer Note

im Takt weiter.

Fertigkeit beim schnellen Blasen zu fordern,

so
Griff mit
wenig Finger als moglich zu machen, besonders aber

general

im,

allgemeinen, stets jeden

Klappen zu vermeiden, da in schnellen Passagen die haufige A nwendung

der Klappen, wie sehr natiirlich, nur Undeutlichkeit hervorbringen kann. Bei dem Adagio aber, so wie uberhaupt
bei langsatnen Tempos ist die fleissige Anwendung der
Klappen zur Befbrderung der Meinheit und des vollen
Griffe mit zivei oder noch mehreren

to

such a use of the keys in quick passages being a

want of clearness. In slow movements, however, the
use of as many keys as possible is indispensable to
the acquirement of a pure, full tone.

mehr eine

es ist

Nothivendigke.it,

langen

empfehle ich

playing

bemerke

Einige

employ the simplest fingering possible,

and particularly to avoid any fingering which
requires two or more keys, the natural result
of
is

ist,

Zusammenhang

der

the next note in strict time.

advice

bei

Etuden

Op. 53.

dass das zu haufige Athemholen m'oglichst

ich hiermit,

not a
necessity, but a bad habit, and has a very disagreeable effect; in passages of any length it causes some of the notes to be shortened or omitted altogether, and destroys the continuity.
To prevent this, some composers have adopted the
plan of inserting breathing- marks in their composi tions; with this, however, I can by no means agree.
The lung- power varies so much in each individual
that it is impossible to give any general directions
as to how long one breath ought to last. Rather than exhaust the breath, it is better to curtail the proper
value of a note now and then, and thus gain an opportunity for breathing, always taking care to begin
This too frequent breathing

SOUSSMANN,

Tones

unentbehrlich.

maj

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BRIGHAM YOUNG UNIVERSITY

1197 21284 7476

Date Due
All library items are subject to recall 3
the original date stamped.

MAY

JUN

2 3

n P

2000

nn

Brigham Young University

weeks from

-''"'''

..'
-

'

$!i*|
T4?

vW ^, v
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7 Jf

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