PREFACE Lpnusew hese to the lovers of music a method for playing the transverse ute. I have tried to teach cleatly and from the first rudiments everything, requiced for the practice of this insteument. Thave therefore also ventured rather extensively into the precepts of good taste in practical music. And although I have applied them specific- ally only co the transverse flute, they caa be usefut to all those who make a profession of singing ot of the practice of other instruments, and wish to apply themselves to good musical execution. Each person so inclined need only choose and apply that which is suited to his voice or instru- ment. Because the effectiveness of a musical composition does not depend en- titely upon those who play the principal or concertante patts, and because the accompanying instrumentalists must also attend to their patts, I have added a special chapter in which I show how the principal parts must be properly accompanied. In doing this I do not believe I have ventused too far afield. Since Tam ‘endeavouring to train a skilled and intelligent musician, and not just mechanical lute player, I must try not only to educate his lips, tongue, and fingers, but must also try to form his taste, and sharpen his discernment. ‘A knowledge of how to accompany well is particularly necessary, not only because the player may be frequently obliged to perform this function, but also because he is entitled to know his claims upon those who accompany and support him when he performs a solo part. ‘The last chapter proceeded from similar motives, In it I show how a ‘musician and a musical composition must be judged, The first part can serve a beginner in music as a mirror from which he can inquire into him- self, and sec the judgement that just and reasonable connoisseurs might past upon him. The second patt may serve as a guide in the choice of the pieces he wishes to play, and protect him from the danger of taking dross for gold But these were not the only reasons that induced me to add the two final chaptess. I have already said that all musicians who perform prin- cipal parts can profit from this method in some way. I hope that my book will gain still wider general utility if those instrumentalists who apply themselves primarily to accompaniment by preference also find in it instruction 2s to that which they must observe if they wish to accompany well. Beginners in composition will find in the last chapter outlines from which they can trace out the pieces they wish to write, I do not pretend, however, to prescribe rules for those musicians who have acquired genesal approbation either in composition of in perfor-8 mance. On the contrary, T publish thei chose of thei com- Pe sgh the partic guishes them from so many others, thus showing the young people who devote themselves to music how they must proceed if they ‘wish to imitate these celebrated men, and follow in their footsteps. If at times I seem to stray from the material that I treat, and if I make slight digressions, I hope I will be pardoned because of my determination to correct defects still in vogue in music, and because of my desire to make use of this opportunity to communicate vasions remarks which will be of service in the improvement of good taste in practical music, Occasionally T seem to speak sather dictatorially, supporting my tenets only with a simple ‘oar ma?’, without advancing other proofs. Here fone should remember that at times it would take too long, at times it would be impossible, to give demonstrative proofs of matters that neatly always depend upon taste. Anyone who does not wish to trust my taste, which I have diligently endeavoured to putify through long experience and reficetion, is free to try the opposite of that which I teach, and then choose what seems best to him. I do not, however, wish to set myself up as infallible, If someone con- vinees me with teason and moderation of something better than what 1 have said, I will be the first to approve and accept it. I will continue to investigate the materials that I have treated here, and whatever I may find to add may, perhaps, be communicated in supplements printed separ- ately. Then I will either make use of the remarks which [here invite good friends to give me, if I think they are well founded, or I will reply to them. I will not, however, trouble myself to reply to anyone who dwells only on insignificant trifle, or etiticizes me simply for the sake of criticiz- ing. 1am particularly unwilling to enter into disputes about words. Although in this essay I believe I have stated everything, as regards the transverse flute, that is necessary to learn this instrament, I am far from maintaining that somebody can leatn the flute well from it by himself without farther instructions and without having a teacher at hand. And since I have always presumed that one will be assisted by a teacher, I have ‘omitted some of the rudiments of music, and have gone into detail only where I have found some advantages to disclose, or something particular to call to mind. Frequently a treatment of some point that may seem too ample or even superfluous to one person another will find hardly sufficient. For this reason I have preferred to say certain things twice, if they pertain to two different chapters, when it could be done without prolixity, then to tax the patience of some of my readers with the necessity of making fre- ‘quent references for the sake of a trifle. fin this work I make use of some foreign words at times, I do s0 to be more easily understood. German translations of the technical terms of music still have not been introduced everywhere, and thus are not familiar to all musicians. Until they become more customary and general, Preface ’ the usual techafea! tex retained, Since much in this trestise may not be so intelligible if the examples are not at hand, my readers would do well to have the copperplate tables bound separately, so that they are always close by, and may be compared more conveniently with what I tay in the book.t So that my book, which I have written in German, may be useful to other nations, I have had it translated into French; ‘and for the same reason it was necessary to employ two styles of denominating the notes. For the sest, I doubt not a favourable reception for these iy labours, and the accouat that I render of the use Ihave made until now? of my pre- s borrowed from foreign languages must be vious leisure hours Beslia, written in September 1732 Quanre 4 ‘The following paragraph sppenrs only in the French ext. Soba syllables were added afer the pitch letersi the Freach tmelation,oon of tbe Bry rom an enguvng by Gx F. Sein se Bs German and French eons of the Es Pree et Ping te Tronnerse Fle INTRODUCTION Of the Qualities Requited of Those Who Would Dedicate Themselves to Music a Before T begin my instructions for playing the flute, and for becoming a goed musician at the same time, I feel that i is necessary to give these who wish t0 apply themselves to music, and by that means make them. selves useful members of society, some rules by which they may deter. mine whether they are gifted with all the qualities necessary to 2 good ‘musician, In this way they will not err in the choice of this profession, and need fear none of the unhappy consequences that would result from an unwise choice. Sa { speak here only of those who truly wick to make music theit profession and with time to become excellent in it. Less, of course, is required of those who wish to devote themselves to it only as an avocation and for their own enjoyment, but they will acquire so much the miore honour and Pleasure if they ate willing and able to profit from, what is said here and in the following pages. Ss ‘The choice of a profession, and the decision to enter into that of music oF any other, must be made with great circumspection, Very few persons have the good fortune to be dedicated to that science! or profession for which they are best suited by nature. Frequently this misfortune is due to lick of knowledge on the part of parents of superiors. They often force young people into something in which only they, the superiors, have pleasure; of they imagine that this or that science or profession brings ‘more honous, of greater advantages, than another; or they demand that the children learn just the same trade as theie parents, thus forcing them to Enter into 2 way of life for which they, the children, have neither love nor aptitude. Hence it is not surprising that exceptional scholars and particu latly distinguished astists are so rare. IF we paid diligent attention to the inclinations of young people, sought to find out how they spontaneously preferred to occupy themselves, and gave them the freedom to choose for J, Miewmtcht (wens), On te varius meanings of thie tem, see the Preface tothe Trantan