Wm, t,A-e

THEOBALD BOEHM
Twenty-four Capriccios
for solo flute

Editor: Trevor Wye

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If copies are made in breach of copyright, the Publishers will, where
possible, su e for damages.

CHESTER MUSIC
(A division of Music Sales Limited)
8/9 Frith Street, London W1V 5TZ

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 2
TWENTY-FOUR CAPRICCIOS
Theobald Boehm Opus 26
edited by Trevor Wye
No. 1 in C major
For legato playing. Be sure to finger E and E throughout the study with the D key.

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 4

No. 2 in A minor
For evenness and articulation. The articulation should not be allowed to influence the rhythm.

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 No. 3 in F major
For intervals and evenness of fingering. Practise with the 1st finger of the right hand for all Bb s.

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 8

No. 4 in D minor
For R.H. fingering of Bb and for intervals. Avoid unevenness when the articulation changes.

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 lo

No. 5 in, B6 major

An important study. Play through without trills, to understand the melody. All trills should be the same
speed, i.e. trill key trills should not be faster. If the trills are even, they sound faster. Check, too, that the
correct intervals are trilled.

Andante (J =56)

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 11

No. 6 in G minor
Practice both single and double tongtteing. To obtain evenness, also practice slurred.

Presto (.L•=60-80)
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12

No. 7 in ^Eb major

For the practise of `bell notes'. Strive for a clear attack with quick diminuendo.

T ry: for two flutes to create the right effect.

Try then to sound like both flutes!

Allegretto (.1 =92)

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For intervals. Care is required to maintain the pitch of the upper notes in piano and pianissimo.

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Always finger middle B with the 1st finger raised.

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For the study of articulation and legato in the low register. Practise both piano and forte.

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 18
No. 11 in Db major
For the study of legato and intervals, particularly the intonation and quality of Db in the stave.

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20

No. 12 in Bb,.minor
Play the melody first. It will be helpful in understanding this study, to play the groups of three notes as
"Mr
chords on the piano.

Moderato (. .88)
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21

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 22
No. 13 in F# major
Interval studies should not be underestimated. Great care should be taken with the intonation of the upper
and lower notes in piano; they a;e generally too fl at. ^

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 23

No. 14 ip E6 minor
If previous studies have been practised using the R.H. 1st finger for Bb , this study will be found less difficult.

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24
No. 15 in B major
Check the trills for intonation, especially B - C.^

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 25

No. 16 in Ab minor
To study style and tone colour.

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a tempo

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mf ad lib.
26
No. 17 in E major
Don't allow the articulation to upset the rhythm. Comparisons can be made by practising the study with
different slurs.

Allegro ( J =100)
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a tempo .
1
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28

No. 18 in C# minor
for rhythmic legato.

Allegro (.1 .84)

• — _ _—
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 29

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 30

No. 19 in A major
Boehm first visited Switzerland in 1816. His music often contains reminiscences of Switzerland such as this
yodelling study.

Tempo di valse, (.I.132) 4r fr

^^
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 31

No. 20 in F# minor
A study iñ s ty le and rhythm

Andante (J =54)
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 32

No. 21 in D major
For clear and light articulation. Another study with a breath of Switzerland.

Presto (.466)
M ."--'s
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 33

No. 22,in B minor

A most valuable study. Avoid unevenness. All semi-quavers should have the same value. To help achieve
this (1) avoid shortening the secondiote of a slur and (2) practice slurring downwards. i.e. from the second
note to the third etc. Practise both forte and piano.

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 34
No. 23 in G major
As in preceding study, avoid shortening the last note of a slur. Very even.

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 36

No. 24 in E minor
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