copyright 2003 by Nitin Arora

ca. 1567
for flute and guitar

Giorgione, le Concert champtre, ca. 1510

*This file, the following text and musical composition, and all individual pages within this file
are Copyright 2003 by Nitin Arora.
 copyright 2003 by Nitin Arora

ca. 1567
for flute and guitar

Nitin Arora

This piece is a neo-sonata de chiesa. In other words, four movements: slow-fast-slow-fast. The
pieces, in order, are Prelude, Fugue, Air, and Jig. The individual parts are printed first, followed
by the entire score -which can be used to study the piece. The title refers to scales degrees 1-5-6-
7" which make the central motive of the piece and serve to cipher the name of a friend.

Trills

Avoid the "machine gun" approach. I suspect most of the trills will sound better if you start
slowly and then accelerate. This does not apply to trills that must be done on a short note value or
the pedal trills (guitar: in the fugue, flute: in the jig). Trills will start on the upper (unwritten)
note.

You dont HAVE to trill every time a trill is written above the note. You can experiment with
other forms or embellishment, appropriate to the style.

Movements

1. Prelude - tempo: no faster than 45-50 m.m. Be aware of the hocketing in this piece. Make sure
that the collective rhythm created by the two instruments is clearly articulated.

2. Fugue - tempo: probably no faster than 110 m.m.

guitar solo - This is less cadenza like than the flute solo and although it should be more
rhythmically "measured" than the flute solo the guitarist should by no means sound like a
metronome. Blazing speed is not the issue here; strive for grace and clarity. Bring out the fugue
subject in the arpeggios.

flute solo - The solo must begin while the guitarist's half-note diminished chord is still
sounding. Don't take too much time building to a fast tremolo when your solo starts and don't
tremolo for too long either. Do try to adhere to the slurs here as they help separate the fugue
subject from the "accompanying" lines.
 copyright 2003 by Nitin Arora

3. Air - tempo: no faster than 55 m.m. (and probably even slower than that)

flute - Youll need to start softly and build in regard to the long note values (note a:
measures 9-10; e: measure 23). I am most insecure about my slurs within this movement.
Nevertheless, give what I've written a fair chance.

flute cadenza - The flute has a quick, miniature cadenza-like run in this movement.
Make sure that the guitarist is aware of this so the performers can work this out!

4. Jig - tempo: probably right around 110 m.m. Do something different when you take the repeats
- embellishments, changes in articulation (add slurs, remove slurs) etc. For example: in the repeat
of the B section flute part, try playing measure 40 until the end an octave higher.

General Comments

Keep in mind that Im not a flutist, so you can change slurring if you think it suits the music
better. Guitarists: make changes if you must, but I am a guitarist, so please bear in mind that my
slurring for the guitar part stands on more solid ground.

Remember, this is a neo-baroque piece and you can change things if you want to. I would make
different decisions in regard to articulation, dynamics, etc. depending on what day it was, so I
dont want you to feel that anything has to be done in any one way.

Contact

If you have any questions or comments you can email me at

nitaro74@yahoo.com
http://humaneguitarist.tripod.com

Thanks,
Nitin Arora
 copyright 2003 by Nitin Arora

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