30 Duets For Guitar & Flute (Or Any C Instrument) - The Rosewood Book - PDF Versión 1

strument)
0th centuries transcribed

ng" record is in
•
COMTE:MTS
GUITAR FLUTE
PAGE PAGE
lJI}={]~
MENUET from The Notebook for Anna Magdalena Bach
Johann Sebastian Bach (1685-1750) 7 7
lfh©~~~@[Q)
MENUET 1rom Premier livre de pièces de clavecin
Jean-Philippe Rameau ( 1683 - 1784) 8 7
@@~ ITALIAN AIR from Suite in A Minar for Flute and Strings
Georg Phillip Telemann ( 1681 -1767) 9 8
MUSETTE from The Notebook for Anna Magdalena Bach

Johann Sebastian Bach (1685 -1750) 10 10
30 Duets for
Guitar and Flute
(or any C instrument) SICILIANA from Sonata No. 2 in Eb Major for Flute and Harpsichord
Johann Sebastian Bach (1685 - 1750) 11 10
An anthology of music by major composers

of the 18th, 19th, and 20th ceniuries tran- ALLEGRO from Partita No. 2 /Die Kleine Kammermusik)
scribed by PETER GREENWOOD and Georg Phillip Telemann ( 1681 - 1767) 13 11
JEAN ROSENBLUM. A " Play-along" record
is included.
GAVOTTE from Sonata for Flute in C Major, Op. 1, No. 7
George Frideric Handel (1685 -1759) 14 12
MARCH from The Notebook for Anna Magdalena Bach

Ml NUET from Eight Minuets & Trios for Pianoforte, K315a

Wolfgang Amadeus Mozart (-1756 -1791) 19 16
ANDANTE frorn Sonata in C Maior for Pianoforte. K545

20 16
Wolfgang Amadeus Mozart 11756 - 1791)
. TWO GERMAN DANCES

Ludwig van Beethoven (1770 -1827)
Dance No. 1 23 18
Dance No. 2 24 18
BAGATELLE
Ludwig van Beethoven (1770-1827) 25 19
SRING SONG /Sehnsucht nach dem Frühlinge, Komm, lieber Mai/, K596
Wolfgang Amadeus Mozart (1756 -1791) 26 19
RONDO Theme from Concerto in D Maior Op. 27

Luigi Boccherini { 1743 -1805) 27 20
GUITAR SOLO
~ CARL FISCHER, Inc. GAVOTTE 1411 Clement Street
"
.,,--;t.-;., 62 Cooper Square. New York, NY 10003 François Joseph Gossec ( 1734 - 1829)
San Francisco, CA 94118
(415) 386-7660
28 20
Copyright (Ç) 1 977 by Carl Fische r, Inc., New York
62 Cooper Square, New York. N.Y. 10003
Copying or reproducing this publication in whole or in part POLONAISE
violates the Federal Copyright Law. 29 21
Ali rights reserved inciLtding public performance for profit. Wolfgang Amadeus Mozart ( 1756 - 1791)
/Contents continued!
~©~~~lf~~ GUITAR FLUTE
PAGE PAGE
LITTLE ITALIAN SONG from Album for the Young, Op. 39, No. 15
Peter llyich Tchaikovsky ( 1·840- 1893) 32 24
VALSE SENTIMENTALE
Franz Schubert (1797 - 1828) 33 24
THE SWAN from Carnival of the Animais

Camille Saint-Saëns (1835- 1921) 34 25
SERENADE (Standchen)
No. 4 from Schwanengesang
Franz Schubert ( 1797 - 1828) 36 25
TWO LANDLER, Op.33

Franz Schubert (1797-1828)
Landier No. 1 38 26
Landier No. 2 38 26
MAZURKA, Op. 6 7, No. 3

Frédéric Chopin ( 1810 - 1849) 39 27
~©m ~~~lfUJJ~V
PROMENADE from Children's Suite, Op. 65, No. 2
Serge Prokofiev ( 1891 - 1953) 42 30
LITTLE SONG
Dmitri Kabalevsky (1904 - 43 31
PAVANE POUR UNE INFANTE DËFUNTE

Maurice Ravel (1 875 -1937) 44 31
RÊVERIE
Claude Debussy ( 1862 - 1918) 46 32
: ~-:
GYMNOPÉDIE No. 1
Erik Satie (1866 -1925) 50 34
THE MECHANICAL DOLL

Dmitri Shostakovich (1906 -1975) 51 34
•
TH€
BAROQUE
€RA
Perhaps the most curious thing about Baroque music is that it's notai al! "baroque."
The term Baroque was coined from the Portugese barroco meaning deformed or
irregular and was originally a disparaging reference to theasymmetrical ornamentation
of 17th century architecture. Eventually the term embraced all art forms of the 17th
and early 18th centuries and so music of the utmost regularity and formai perfection
came to be called Baroque_!
The age of the Baroque begins around 1600 and ends shortly after the death of J.
S. Bach in 1750. As the curtain ri ses on this span of approximately 150 years, ail power
in Europe resides in the Catholic church and the aristocracy. As the curtain falls,
Protestantism has successfully challenged the supremacy of Catholicism and the French
and American revolutions signal the end of aristocratie power.
These upheavals were accompanied by great changes in the culture of Western
Europe. New scientific ideas flowed from the minds of Galileo, Newton and Kepler;
new architecture from Bernini and Borromini; new intellectual modes from Descartes,
Spinoza and Milton; heightened expressiveq_ess in painting from Rubens, Vermeer,
Caravaggio and Rembrandt and new concepts of sound in music from an impressive
list of composers such as Monteverdi, Purcell, Vivaldi, Scarlatti, Couperin, Telemann,
Handel and Bach to name but a few.
The predominant musical influence of this period stems initially from ltaly but by
the middle of,the 18th century, the various nations had assimilated the ltalian influence
and asserted their individual characteristics. Of the more notable achievements of
Baroque music, perhaps the elevation of purely instrumental music to an independent
status is the one most strongly tell today. Other achievements of significance are the
birth of opera (which has spawned such diverse forms as the modern symphony and
the pop song), the harmonie and tonal system upon which ail our music since then has
been based and the development of national styles.
Although it's true that no music is ever played exact/y as it is written, the music of
this period g rants the player the g reatest freedom in departi ng from the written music.
This departure is manifested in a number of ways, the most important being orna-
mentation, dynamics, tempo and rhythmic alteration (a detailed explanation of last
• 5
named elements is beyond the scope of this book and the reader is enc ouraged to
refer to Dolmetsch as listed in the bibliograpy).
The ornamentation of certain notes (essentially the main or principal ones and
cadential notes) was considered obligatory. C. P. E. Bach wrote, "lt is not likely that
anybody could question the necessity of ornaments. They are not only useful, but
indispensable. They connect the notes; theY, give them lite." The three most common
ornaments are the trill (tr.). the mord ent ( 1" ) and the inverted mordent ( ,w ).
The tri// is begun on the note one scale step (whole or hait) above the wri tten
(principal) note which is indicated in this edition by the grace note tied to the principal
note. The rhythmic outline of the eritire figu re appears above it in parentheses. This
parenthetical figure appears here for the student's aid but doe~ not normally appear in
Baroque notation. (Ex. 1a). The number of alternations employed will depend on the
duration of the note and the tempo. At slow tempi the ornamental note is held b riefly,
then allowed to fal l to the principal note at which lime the alternations begin slowly,
gradually becoming more rapid. Qûite often the trill will conta in an e xtra note for more
elaborate effect (Ex. 1b).
(J) J )))
Ex. la
Gavotte - Handel
( (mea.no. 11)
Ex. lb
'e written
( hJ
(? ui· ii-~ Il D Il
Ji )
[r Q
plaved
P
5
Gavotte - Handel
g Il r? r Ft-si t-r •f2r Il
(mea. no. 16)
'' a.af·
written played
_The mordent is a rapid alternation from the written note to the note one scale step
1
below (hall or whole) and back to the written note (Ex. 2a). When the decorative note
is other than would ordinarily appear in the scale (as in modulations or minor keys) the
necessary accidentai appears above the symbol (Ex. 2b).
Ex. 2a ~
t:_H
Allegro - Telemann
(mea. no. 24)
@il $ l
Q '
1
Il l Il
written played
Ex. 2b
Gavo tt e - Handel
(mea. no . 31 l
written played
E!F U: 11
The lnverted morden t is played from the written note to the note one scale step
above and back to the written note {Ex. 2c).
Ex. 2c
,,.., ,...,-:--..._
Ga7::,~:_--,, ~a;{jel ' ~ . r f. t r Il

•
1
f fi t f Il
wntten played
Baroque musicians were expected to dress up the bare notes in a fairly elaborate
manner. An example of what might have been done is given in the alterna te flute part
of the ltalian Air by G. P. Telemann. Contrast and variety may be achieved by playing a
pieèe in a fairly straightforward manner the first time while saving the elaborate
ornamentation for the repeat.
Only minimal indications concerning tempo and dynamics appear in the music of
this period. A certain latitude of choice in tempo is understood since a gavotte or
minuet may differ substantially from one composer to another or ! rom one country to
another. Again, one musician's allegro may be another's andan te . The choice of
dynamics was almost always left to the performer.
For additional detailed information on the Baroque period and the perfo rmance
practices of the time. refer to the following sources:
1, Bukofzer, Manfred F. Music in the Ba roque Era. New York;
W. W . Norton & Co .. Inc. 1947.
2. Dart, Thurston. The lnterpretation of Music. New York;
Hutchinson, 1954. New Yo rk: Harper & Row, Inc. (paper)
3. Dolmetsch. Arnold. The lnterpretation of the Music of the XVI/th
and XVII/th Centuries. London: Novello & Co.. Ltd., N.D.
4. Landowska, Wand a. Music of the Past New York: Alfred A. Knopf, Inc., 1924 .
6
•
M€MU€T 7
from The Notebook for Anna Magdalenq B ach
JOHANN S EBASTIAN BACH

( 1685 - 1750)
Grazioso
Flute
4
Guitar
2 U
[fil
'
0 2 4
ITzJ
p
--r =
' .
rill r
'
r rr
Copyright © 1977 by Carl Fischer, Inc., New York

62 Coooer Square. New York. N.Y. 10003
Copying or reproducing t his publication in whole or in part
violates the Federal Copyright Law.
N6028 Ali ~ghts reserved inclu_d ing public performance for profit.
8
ME:MUE:T
from Premier livre de pièces de clavecï n
JEAN-PHILIPPE RAM EAU

Allegretto (1683 -1784)
2r
(.b ~ ri)
A w
u
p~ -
- ---
1 1 1 1 1
-
r,,
..•
• •
., r ,
-., r- l
-
- r- ~ •
"
r
r r r 1
'--" --.._::;
cresc.
rcresc. i
" ~
Copyright © 1 977 by Carl Fischer. Inc.• New York

62 Cooper Square. New York, N.Y. 10003
CoitYing·or reproducing this publication in whole or in part
Ali rights reserved including public performance for profit.
. 10
p cresc.
"1f
r
MUSE:TTE:
from The Notebook for Anna Magdalena Bach
JOHANN SEBASTIAN BACH
Giocoso ( 1685 - 1750)
Flute
JHarm. XII - - - - - - - - - - - - - ·:
Guitar
@in D
[ill
p
Harm. VIl _ _ _ ____ _ _ _ _ _ _ _ _ ____________ .,
rm
J
Harm. XII

• 62 Cooper Square. New York, N.Y. 10003
Copying or reproducing this publication in whole or in part
SICILIANA 11
from Sonata No. 2 in Eb Major for Flute and ~arpsichord

(1685 -1750)
Flute
P-============= r-.
Guitar
ŒJ ~
Il2 - -«.,,-,,
j [V
f
rr r
[ill
1
-
~
1,
p
•~
· ,. .• . .._
- ,
-·~
~
~
,-
-
,-....__
------
,.,
.I
- - - ...- - - - - - 1
,..--... ,,.--._
--- 1, ..J _,1
~-- __,1
~
,, -.., -- --- - . - -.
- n .-1
- '"-'
- -
-
-
3r r
-
v .. '"-
n
-~
pl r· 2r .
2r·
mf
4 i
i
Copyright © 1977 by Carl Fischer, Inc ., New York

62 Cooper Square. New Yor k, N .Y. 10003
Copying or reproducing t his publication in w ho le or in part
violat es the Fed eral Copyright Law.
N6028 A l~rights reserved including public performance for profit.
12
. ~
p f
l m a
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r-
, ·
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(1)
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mf
r (f J 5)
pp
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r
N6028
•
ALLEGRO 13
from Partita No. 2 ( Die K/eine Kammermusik
GEORG PHILLIP TELEMANN

(1681 - 1767)
Flute
Guitar
r sr
. "
,. > ~
.,..
-
..
u
1\ .u.
- -
' 11 1
1
') J - .....
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r 1 f
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-
A ~
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,... 1.1
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1 1 1
.-, _,
1 â
, ~
1
.. -. 1
l'7
.., r, , - _, - -r
- "
...,..
...J
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.,;
--
fi .ri
~-
31 •z r, •
-
~
r
~
1 1
1 1 1 2
r 3
. ~ > ~. r. -
,.
""'.
;:,
,.
"""
t) 1
t, 1.1 1,
. _, 1 1 1 1
-n ..,,
1 2,-;.
- lf-
r.,, .
, -,
-
r.A
...., u
...J
-
"If..,
r r r 1 r ï lr•
Copyright © 1977 by Carl Fischer. Inc .. New York
62 Cooper Square, New York. N .Y. 10003
• violates the Federal Copy right Law.
N6208 Ali rights reserved inclu ding public performance for profit.
14
GAVOTT€
from Sonata for Flute in C Major, Op. 1, N6. 7
GEORGE FR IDERIC HANDEL
(1685-1759)
Tempo di Gavotta
,,.---....
Flute
Guitar
f-P
[fil ...
..
,.---..,., ,.--......_
--
_..--.._
._.,
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- -
-.J
~
f-P
.. -J
_I
...
"
4,-
"
~
-
m
- ...-
r-
l
.,.
..
,
• I■ •
r
...
-
--
1
- 4 ..
..
I""
--
1
-
-
1
-....
1
''--. 1
..._..,
1 1 1
lx f r 1
i 1
r 1 -
r r-
2x P
(.J) j 1>)
r rr
'Ir
r r f
[lm- (1> J
1r
n> :\
r
CopyirJSJ or reproducing t his publication in whole or in part
N6028 Ali rights reserved including public performance for profit.
15
-
@Q]
ÎP i
. ~
p
Gf_Jj
-
r i
r r
-
. .. . .------. - ...........
~
- -- -
1r
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1.:,1
•
N6028
16
MARCH
tram The Notebook for Anna Magdalena Bach
(1685-1750)
Allegro
. .
Flute
mf
Guitar
@in D
Ch
tr
.J h>
4
II---------,
1
f 4
Il--------------: p
©- - - - - - - - - - - - - - - - - - - J
,...., .
urffr
Copyright © 1977 by Carl Fischer, Inc. New York
Cop~ ng or reproducing this publication in w hole or in part
violat es the Federal Copyright Law.
6.11 r-inhtc:. r-P~t:i,.v.ci:rl inr:lurlino n1Jhli~ n?.:rformanc:P. for orofit.
THE
CLASSICAL
d €RA
1 1
c0))
c0)) The incredible marriage of unearthly naiveté and worldly sophistication is perhaps
the most endearing quality of the music of the Classical period. lts innocent spirit,
projected through worldly artfulness, is nowhere more perfectly manifested than iri
the music of Mozart. ln tact, that other master of the age, Josef Haydn, was moved to
say that if music lovers cou Id understand Mozart's music the way he himself did, "nations
would vie with one another to possess such a treasure within their walls."
This périod, beginning about 1750 (with the death of J.S. Bach) and ending about
1827 (with the death of Beethoven), derives its name !rom the renewed interest in
Greek (Classical) architecture and its.elegant display of rigorously controlled form. ln
a similar manner, the qualities of clarity, grace and restraint characterize the music of
Haydn, Mozart and early Beethoven and their guitarist counterparts Fernando Sor
and Mauro Giuliani. Here, as in the Baroque, the style originated in ltaly but was
brought toits zenith in Germany.
Toward the middle of the 18th century, Baroque counterpoint gave way to more
singable (cantabile} melodies supported by harmonie textures of the utmost clarity.
No longer was the music heavily ornamented by the player and only a few of the
• l7
ornaments such as the trill and the mordent were reta ined as symbols. The
ornamentation itself did notdisappear but ratherbecame an integral part of the melody.
Ex. 3 shows how bar no. 11 of Mozarts Andante ( K. 545) would appear had it been:
written by a Baroque composer.
Ex. 3 Andanre - Mozart (K.545)
(mea. no. Il) ·
- :---,..._ 41'
®' 1 crrrtrrrq r fi)q
'4
11 r
Mozart (writtenl Baroque (writtenl
A true expression of this music will be achieved by playing gracefully while striving
for a sense of charm and wit. The tempo ought to be held fairly steady using rubato<
judiciously and infrequently. Dynarnics (p, f, cresc, decresc.) play a very important"
role but must serve to underscore the formai balance. ln other words, dynarnics are
not simply sprinkled randomly, but rather are used so as to bring out the architecture
of the music.
For a more cornplete experience of the Classical spirit one rnight investigate the
marvelously precise drawingsand paintings of Jacques-louis David and Jean-Auguste
Ingres and the architecture of Thomas Jefferson.
The following books may aise be of value for additional information on

the Classical pe riod
1. Einstein, Alfred. Mozart: His Character, His Work. Tr. A. Mendel

and N. Broder. New York: Oxford University Press, 1965.
2. Lang, Paul H. Music in Western Civilization. New York: W. W.
Norton & Co., Inc., 1940.
3. Lang, Paul H. The Creative World of Mozart. New York: W. W.
Norton & Co.. Inc , 1963.
18
•
19
MINU€T
from Eight Minuets & Trios for Pianoforte, K315a
WOLFGANG AMADEUS MOZART

( 1756 - 1791)
(§1 -~
Flute 1 w,q r 1
Guitar
..c----
r
TRIO
p cantabile
--- ----- , 1
r lliQJ
*N c::5 :::::-,
r E[Frt (Turns [ N ] may be omitted. Trill fingering on D facilita tes turn)
Copyright (.Ç) 1977 by Carl Fischer, Inc.. New York

C.,pying or reproducing this publication in w hole or in part
N6028 Ali rig hts reserved including public performance for profit.
20
ANDANTE:
tram Sonata in C Major for Pianoforte, ~545

(1756 -1791)
Andante
Flute
Guitar

62 Cooper Square, New York, N .Y. 10003
21
[gfü
li a tempo
a tempo
~
* ,- ·-= hold 2 throughout

N15028
•
22
a tempo ~
(il
•
N6028
TWO GERMAN DANCES 23
LUDWIG VAN BEETHOVEN

No. 1 (1770- 1827 )
/\ ;j
Vivace
.:. .:.
• .:. ..:. .;. ~ ..,. ~ :---fL • f:. .. • •
Flute -
~
~
- - .. -- --
\ .J .1 ..
- -
-- - -.
;
- .- • : .-
-- 11- -
Guitar ,. •
-- --
.. -
~
'
• • •
~
,t,
. ... ... - ~
n 211
2~ 1 ~
.; .; ~ :----.._ ::; fl-

,_ -,i,:. ~~
j /\ lt • ~
""'
v 1
. mf
-.u .. -- 3•
- -
-"' . -. - ....-
A
:
--
~
:
.- -- . ....
,.
..•
! - - .. -
"" . , •"
u "
...- 11 ..
- • • 2'11
- mf H! •. ~ ':
J /\ ;j .. '
/
• -----. ' -
'V
~
--- - -~ -
.ti .u
i
ï ·, ·, -, ·, ·,
- - -. -- --
1 1
-'V
.-. - ..--
,.
:.:: ;, . ..
•
.
--. -- -- -- -- --
'~ -t -1
[Iz]
◄ ◄
r ï 1
Fine TRIO
/\ ~ .i .. .;.
• .:.. . - ,.._ . --...........
u 1
p
- .
- - - - ..-
1~
..
- -
i..
...
I\ 1 1 1
..... ...
1 1
1 1
,.
_,-
- ....
-- - ,.,. - -- -• ---
; "
...•
~
,. ,
u "
- 31 • • ...!
i
r r· r
1
l p
D. C. al Fine
.,,i f
Copyright (C) 1977 by Carl Fischer. Inc., N ew Yor k

• violates the Faderai Copyright Law.
N6028 Ali rights reserved including p ublic performance for pro fit.
24
No. 2
Allegro
Flute
p
Guitar
Fine
i r 2ttr 3r
/
V
A
TRIO uz] f
-- .-
p
m m
--- -
~ l 1 1 1 r 1 1 1 1
..• -... -...
1 1 1
.,
■ • '7
....
- r
..J ..
4f rr r p r·
ur i r
p p
D.C al Fine
~ ~
Copyright © 1977 by Ca rl Fischer, Inc., New Yo rk

6 2 Cooper Square, New York, N.Y. 10003
• violates the Federal Copyright Law.
N6028 Ali rights reserved includ ing public performanc e for profit .
BAGATELLE
Flute
Lento
p cantabile
,.~-----
(1770 -1827)
p l p i simile
Guitar
p 3
·==-==--
4
/ A
8·
... ' ~~ -~ "-
~~
~
' ~ ~
------
"' m•------- ---- "!i .. 1
.' ,.
~
~
~
1
V
1
- - -
r ,-
~
1
~
• '
'
- - - -- -- - -- - '
' -...
... 1 - - -
-'li- - 4• .... -
~
mf qi 3 '1 2◄ :. 3 "li
2#•
,.---.___
=--
mf
= dim. e rit.
Copyright (C) 1 977 by Carl Fischer, Inc.. New York

62 Cooper Square. New York. N .Y. 10003
(iopying or reproducing this publication in whole or in part
viola tes the Federa l Copyright Law.
N6028 Ali rights reserved including pu blic performance for profit .
26
SPRIMG SONG
(Sehnsucht nach dem Frühlinge, Komm, lieber Mai) K596

(1756 - 1791)
Allegretto giocoso
Flute
,nf
Guitar
[ill
cresc. dim. e rit.

l
.,
cresc. dim. e rit.
Copyright © 1977 by Carl Fischer, Inc .. New York

62 Cooper Square, New York, N.Y. 10003
Cop\fng or reproducing this publication in whole or in part
v iolates the Federal Copyright Law.
27
Theme from Concerto in D Major, Op~ 27

LUIGI BOCCHERINI
( 1 7 43 - 1805)
Allegretto
Flute
Guitar
[zJ

62 Cooper Square, New York, N Y. 10003
N6028 Ali rights reserved inçluding public performance for profit.
GAVOTT€
FRANÇOIS JOSEPH GOSSEC
( 1734 - 1829)
Animato
Flute
4
Guitar
r r
r r i i
a. tempo
---- -,
4
t
29
D.C. al Fine
3
- 7
: 5,~ F;;
n,-~ 1
1
1)
0 :{= ! :Il
1r i
POLONAISE:
(1756 - 1791)
Andantino
Flute
Guitar
ŒJ ~ ,......-.......
,,.--..._ -------..__
~
p f
"
[1] - ~ ..--......
-
. .-::. -----=----:..
- +-"
~ ~;,_ .....~~ ..~ _,,..--..__
,.
..,
=
p 1
rit. - - -,
-~ T- -
- -- - -.. - -- - - - - ---
- '
..•
1
- .. -- -- - _,
---
~
;
-;
. ,
..
■
; = n•
-~ ~
-
'-- -.-__J
mp ~
Copyr ight © 19 77 by Carl Fischer, Inc., New York
62 Cooper Square. New York. N.Y. 10003
Cu.iying or reproducing this public ation in w hole or in part
N 6028 violates t he Federal Copyr ight Law .
TH€
CLASSICAL
d €RA
1 1
(01)
(01) The incredible marriage of unearthly naiveté and worldly sophistication is perhaps
projected through worldly artful ness, is nowhere more perfectly manifested than in
the music of Mozart. ln tact, that other master of the age, Josef Haydn, was rnoved to
say that if music lovers could understand Mozart's music the way he himself did, ··nations
This period, beginning about 1750 (with the death of J.S. Bach)and ending about
1827 (with the death of Beethoven), derives ils name from the renewed interest in
Greek (Classical) architecture and its elègant display of rigorously controlled form. ln
a sirnilar manner, the qualities of clarity, grace and restraint characterize the music of
and Mauro Giuliani. Here, as i n the Baroque, the style originated in ltaly but was
brought to its zenith in Gerrnany.
singable (cantabile) rnelodies supported by harmonie textures of the utrnost clarity.
No longer was the music heavily ornarnented by the player and only a few of the
•
intense persona! expression employed to capture and describe every imaginable
emotional state. One of the first to explore these hitherto uncharted regions was the
great Spanish painter Francisco de Goya. He greatly influenced the artist who most
perfectly typifies the romantic spirit, Eugene Delacroix, whose sweeping canvasses
are extravagent symphonies of col or. Of no less grandeur were the highly imaginative
flights of such poets as Hugo, Goethe, Lord Byron and the aforementioned Baudelaire.
Although Romantics such as Richard Strauss and Sergei Rachmaninoff lived into
the 1940's, the movement had burned itself out by the beginning of the 20th century.
Nevertheless, its powerful spirit lives on via recordingsand the concert hall where the
larger portion of most programs are drawn from'the Romantic repertoire.
A convincing performance of this music will be characterized by a careful molding
of the melody, a flexible g ive and take in tempo (tempo rubato) and a compassionate
rendering of ils musical and emotional ''meaning." ·
t=or further read ings, refer to the following soorces:
1. Einstein, Alfred. Music in the Roman rie Era. New York:

W. W. Norton & Co., Inc., 1947.
2. Newman, Ernest. Lite of Richard Wagner. 4 vols. New York:
Alfred A. Knopf, Inc .. 1933-46 .
• 31
32
LITTLE ITALIAN SONG
from Album for the Young, Op. 39, No. -15
PETER ILYICH TCHAIKOVSKY
( 1840 -1893)
Grazioso ,,..-..,
~
Flute
f
-------------7
1
Guitar
@in D "-'""!'---~ -,.;-- - - - - - + - - + - - - ~ - + - - - - L _ _ + - - - - - - - - - ' - - - - + - -- -'---+---"-_..:,.-c......,,1---,-------+---+-------'
dim p
Copyright © 1977 by Carl Fischer. Inc., New York

Coitving or reproducing t his publication in whole or in part
violates t he Federal Copyright Law.
N6028 Ali riqhts reserved including public performance for profit.
VALSE SENTIMENTALE 33
FRANZ SCHUBERT
( 1797 - 1828)
Moderato
>
- - 7
----->---7
1
J • u
tJ 3
.. J.I ., Il 1- - - - - - - - - 1 - -
4 1 ,1~.I 1 J
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t.
',
' LI
'
zn
n ..
•
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""'
r·
-'
r
>
- - - Î
Fine
> '
mf , III - - - - - - 7
1
..,_D.C al Fine
3
Il - - 7

, violates the Federal Copyright Law.
N6028 A li rights reserved including public performance for profit.
34
TH€ SWAN
from Carniva! of the Animais
CAMILLE SAINT-SAËNS
(1835 -1921)
Adagio
Flute
p
Guitar

Coijying or reproducing this publication in whole or in part
35
------..____
,. mf
dim.
N6028
•
36
Lento
12sl rit. a tempo - - - - - - - - - - - - - - - - - ~
pp
t;\
SERENADE
(Standchen)
FRANZ SCHUBERT
(1797 -1 828 )
Andante con moto rit
Flute
1 "
~
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..,
1?2 1!I 5 .,
l I - - - ------- '
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41
-1 1 1 1
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Gùitar
'
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ppf" . - - .
2 rit.
[IQ]
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.
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1
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1
. 1
-- 1
-
..... ~ ~ ~ ---ca
•.; - - -
.-
-i
- --- . -
1 '- - F.. r
mf
Copyright © 1977 by Car l Fischer. Inc .. New York
(f:lpying or reproducing this pub lication in whole or in part
N6028 Al i rights reserved includ ing public perfor mance for profit .
37
/ A
- 9
• -..:3
- r ' ~ '
~
- I - -- -- - -- -- -- - - -
, -
- -Î
1
1- - - -- - - - - -- - -"'\
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fi
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-- .•
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a tempo
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N6028
•
38
TWOLANDL€R
Op. 33,
No. 1
FRANZ SCHUBERT
( 1797 -1828)
Flute
,_
J •
Allegretto
.- -
d
- '-
·--~
,,...--....
- ~
-
.-
,--..._ ,, '
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.....
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- -
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...• ,,.=.~ a
M
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-
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r -
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optional
•
mf 4
m
_f ------ rit.
- - - -- --., [Iz] a tempo
p
rit. - 7
1
decresc. ______ _ ________ rit.
- r·
dec-resc. - - - - - - - - - - - - - -
-.-f r
rit.
No. 2
Con grazia
. >
Flute
p
Guitar
Copyright © 197 7 by Carl Fischer. Inc .. New Yor k

1 62 Cooper Square, New Yor k, N.Y. 10003
"" . • . . • . ~- _ ______ _. : - ~1. . .J:- - _, .L-..1;,... - ,... _4-,..,.,....,..,~,.., ,...a, fr,.- n l"'nfit
39
• p
MAZURKA
Op. 67, No. 3
FRÉDÉRIC CHOPIN
Allegretto ( 1810 - 1849)
'li'·
Flute
p rubato
Guitar
r·
- - - ---,,=---
2 - - []]
· Fine I a tempo 11
rit.
....___..., pp
sf pp
* These small no tes are optional· Copyright © 1977 by Carl Fischer. Inc., New York
Copyirfg o r reproducing t hîs p ublication in who!e or in part
violates the Federal Copyright Law .
N6028 Ali riohts rP.servA<i inr.l11rlinn n1 1hli~ norfnr-m::rnro f,...,r n,-nfit
TH€
TW€MTl€TH
CENTURY
If one were to listen to a numberof Minuets by Haydn, Mozart, Bach'ssons, Clementi

and Beethoven one after another, it would be immediately apparent that, white individual
in character in many ways, there are many similarities which create a feeling of
"sameness" among the m. A repetition of this experiment using pieces by Debussy,
Stravinsky, Bartok, Ives, Shoenberg, Prokofiev and Ravel would create quite the
opposite impression. We now have a stylistic diversity from one composer to the next
which is al once very,exciting and highlyconfusing. The pursuit of individuality, begun
in earnest by the Romantics,-has continued unabated to this day and is one of the
trademarks of modern art.
ln the 1890's a departure from the harmonie practice of five centuries occurred
which marked a major turning point in the evolution of modern music. One composer
largely responsible for this revolutionary gesture was Claude Debussy. ln his use of
freely shifting harmonies and organically developed forms, we lind the seeds of the
~
modern approach. At the same tirne (late 1800's, early 1900's) enormous changes
were being wrought upon the visual arts by Van Gogh, Cezanne, Monet and Picasso.
And white Ezra Pound and James Joyce were giving voice to the modern sensibility in
poetry and prose, Sigmund Freud and Albert Einstein were challenging our concepts
•
40
of human psychology and our understanding of time and space.
To give the music of a modern composer, say Ravel, its proper inflection, one
r:--
must acquaint oneself with all the music of Ravel. Only in this way cana thorough
understanding of his musical character be developed. Unfortunately, there is little else
to be said about performance style in the 20th century. However, what can't be said
can be heard si nce there exist both recordings and live performances of the works of
early 20th century composers. 1n many cases the performers may have special insight
as to style owing to acquaintance with the composer himself. Such is the case with the TW:HTl€TH
pianist Robert Casadesus, friend and compatriot of Maurice Ravel. Casadesus has
recorded the Pavane included in this collectioh.
rNTURY1
Further readings which might be helpful in understanding this period are:
1. Austin, William W. Music in the Twentieth Century. New York:

2. Copland, Aaron. Our New Music. New York: McGraw-Hill Book
Co., 1941.
• 41
42
PROME:NADE:
from Children's Suite, Op. 65, No. ·2
SERGE PROKOFIEV
[fil (1891 -1953)
Flute
Allegretto
------
dolce
3
Guitar
p
Ill----------, 1
2
~
-===== mf
m:f
Cop"yright © 1977 by Carl Fischer, Inc., New York

62 Cooper Square, New York. N Y. 10003
Copying o r reproducing t his publication in whole or in part
N6028 : 11 rights reserved including public performance for profit.
43
,,,...-----::,
-
- ------
dim.
dim.
mp dolce
3
mp
pizz. - _ _ _ __ _
.
p1zz. _ _ _ _ _ _ _ _ _ _ _ .,
: nat. ___ J ---
______.... ,,,r·
LITTLE: SONG
DMITRI KABALEVSKY
( 1904 - )
Andante
. [fil~
Flute
mf
Guitar
mp
. ,,...--..____ .
'
ŒJ
mp mena
mp
mena
Copv.ing or reproducing this publication in whole or in part
• vio lates the Federal Copyright Law.
N6028 Ali rights reserved including public performance f or profit
' ,
44
PAVANE POUR UNE INFANTE: DEFUNTE:
·: {·_J
{; :
JL MAURICE RAVEL
( i8 7 5 - 1937 )
Dolce, ma sempre sonoramente
Flute
'-.,_.;
=-
Guitar
3 lr =
poco n·t. r
=------ ======-
largamente
II-----
rrrrrTrr
a
~m
l
Copyright© 1977 by.Carl Fischer, Inc .. New York

62 Coooer Square, New York, N.Y. 10003
Copi ng o r reproducing this publication in whole or in part
vio lates the Federal Copyright Law.
N6028 Ali rights reserved including pùblic performanc e for profit.
45
poco più len to

' -
mf
poco più lento
®
. mp
m-------- -- - ---7
a tempo j m i 1
rit.
' ,· .
mzm
----------
====- f
® Harm. XII
f-
Harm.xu r rit.
~ ' '~
rit.
,I
'
al/arg. ,
' _L_ .
.---.., r.,
.
_l, J! ~
-
u 1
JIP
~
allarg. II---- , imami a
J .
- ,... .- - -
1
11 lt
=
1
. 1 .'l
~
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1
-
n
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- -- = _:
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-"'
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-
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• 11
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~
=2-- • :d
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--4
________,i
----.:::.... -
...-
•
~o
L.
r ï
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N6028
•
46 I\
RE:VE:RIE:
CLAUDE DEBUSSY
(1862 - 1918)
Andantino
Flute
s9stenuto pp
i 1ll a
Guitar
1 ·Ci
1
1'< • ittfTirf . J, <..::....:.:::=1
2 --- - - - - - - - - - - - - -.
I ,,_ :
poco rit.
----------
~ ŒQ] '
i
l
~
pp~
~ .
mp
1
'-----"' l
*Hold B~ throughout the first six measures.

Co~ing or reproducing this publication in whole or in part
47
pp
rit.
p
I -----,
rit. 1 ami m
r i
•
Nfi02R
48
a tempo
,)
.A
-
.._,
I-- ------- - - - - - - - - - - -, a tempo

_j
-J J '
-. -.. .. ....-.
fi 1 ~
-
-
1
~
. ..
., - -M
- -- . ,
--P- ...
~
.. ."
1.. ~
-., n ■ ■ .. M""
, ...' l
-- • - • •
~
~
~~r p
p
lm .
3 l 3 3
r r
N6028 •
49
,,..--...__
[zfil poco rit.
3
pp
poco rit.
' ,,,...-:----; .---3--,
p meno.
meno mosso
p pp
rit. meno massa
f . [ïQQ]
8va optional . - - . • • - - - - - - - - - --,7 __. . . - - - - - -
r i
ppp
I ---------- ,...-...,
--------,, 1
*Hold B ~ throughout measures 76-79 if possible .
N6028 •
50
GYMNOPÉDI€ No.1*
ERIK SATIE
(1866 - 1925)
Lent et douloureux
-~ -
A. ~
-
.
~
Flute ~
._, il
--, pp cresc.
**
. -·" ....,.
II
,, l.l '
Guitar ~
.... • ..
v.
.
-
::
~ ..- .-' • ,,.:: ; - ..• V
,
7
-
@-D " C " '

-
C
,.,..1 - ( (,
- C
- (,
- C
- (,
) . u • 1 -
~ ~
,, . .
._, 1
dim.
~
:,,
- ./ ----... ./
PP
- - ..•
'I ,If
- . - -
. -- -
-.. - --
-
~ ~
::;
·n
-""~ -
r
r ..• ·~
- ~
"
~
<,
7
-
• . -;
--
0
"'- - (,.
--
(.,
- C, (,,
- (,
--
(,
- (..
--
C,
.,) .
tJ
ù
- ~
• --- ...... •
~.
•
~ -----
~
,, j,j
. -
II
.
- ---
,
-- -- -- - - -7
' ----------...-------------- . -- .. d r
-.
li - , .'.'. ,v V .,., -,.,1
• ~
Tl ~
• ,
• " - • ,
• n ,,
-,t "
~, ..
~,
. . <,
..,,. ' .i. n TJ

r
- -- --
- C (..
'>l
,_
'\U
r - .
(., C,
- =21 -- - V
) . 1.------
r·
-
~' 1 ~ - - lr•
----- .. - ·-
If· ?"
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~
,·
~
- ~ ' -
~
tJ ' 1
2
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-·" -·' ..•
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'-" ... . ..• ., ,
,_
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,_
. ,..,
u"
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- -
- l _..[.
-1',
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---15
-- (, -- ~
r· ~r· r· @]] r·• -r·

= 4,' II------- --__ -__--·7 4
r,·D.C al Coda 1 f if ~~d: ·3t·

, . .\
. /
·~ r· r· r· ~
*Gy mnopaidiai were ancient Greek ceremonial dances.

**Arpeggiate Chords with P (thurnb) throughout excepting measures 37 and 47.
Copyright © 1977 by Carl Fischer, Inc ., New Yo rk

62 Cooper Square, New York , N.Y. 10003
Copy ing or reproducing t his publication in w hole o r in part
• v iola tes t he Federal Copyright Law.
N6028 Ali rights reserved including p ublic perfo rmance for profit.
THE MECHANICAL DOLL 51
DMITRI SHOSTAKOVICH
(1906 - 1975)
-
Allegretto
) . u
--- .:. ~ -.:. :. ...~ •
-
~
Flute ~
~~ ~
.., -
p
u
Harm. VH - - - - - - - - - --- - - - - - - - - - - - - - -- - - - - - - - - - - - - - ---
..
- - ...,..-
'I
Guitar ,.
"
't.
~ -- -.,."1-
p ~~~ ""l
~
~
..,
[]]
..:. .~ -. -,,-
mf
-
ri u
----- 1
1
Harm. X[
1
- - ~
,..
n
-- mf - -
[Iill
Harm. VII - - - - - .,1 X[- - - - - - - - - - - - - - - - - -,

'
m:f
[!fil
---------
mj
>
• 1
dim. p
zm
j20[cresc.
' '
p
cresc.
Copyright (ç) 1977 by Carl Fischer. Inc .. New York

Copyi ltg or reprodücing this publication in whole or in pari
JEAN ROSENBLUM
Jean Rosenblum received her first musical training in North
Carolina where she studied with noted flutist and pedagogue,
Charles Delaney and played in the Winston-Salem Symphony
Orchestra. She was graduated from Oberlin College in 1963 with a
B.A. in music.
After five years in New York City as a medical research
technician, Jean and her husband Stephen moved to West Athens,
Maine to try their hand at subsistence farming. From 1968 to the
present time she has been teaching and performing in Maine.
Presently she is on the music staff at Colby Col lege and is principal
flutist with the Bangor Symphony Orchestra.
The flute Jean plays on the recording contained in this collection
was handmade for her by the Verne Q. Powell Flute Company of
Boston, Massachusetts. This instrument employs the new Cooper
sca/e - the first major improvement in tone hole placement
(intonation) since the invention of the modern keyed flute by
Theobald Boehm in 1847.
PETER GREENWOOD
Of his early years with the guitar Peter Greenwood says, "I
began playing when I was 16 years old. 1 had a $12.00 'Stella' with
strings so high off the fingerboard a steam roller couldn 't have
pushed 'em down. My idol was Chet Atkins. Severa! years later 1
heard Andres Segovia and my fate was sealed!" He studied, taught
and performed in New York City from 1960 to 1971 when he moved
to Freedom, Maine where he and his wife Elaine built their home.
He began editorial work in the musical publishing field in 1970
and his own anthol,ogy, Pieces for C/assicaf Guitar was released in
1972. Peter currently performs throughout Maine as soloist, and
with Jean Rosenblum, as a member of the flute and guitar duo,
Rosewood. The guitar he plays on the recording was designed and
built for him by Thomas Humphrey of New York City.
Photos by Elaine Greenwood
•
,.
üD=D~
~©~~~(®[Q)
' ,, @@~
A"fl introduction to the music of Bach, Handel, Mozart,
Beethoven, ·sehubert, Chopin, Ravel, Debussy, Prokofiev
. and ,others. The arrangements found herein ha\le been
worked out so as fo allow the student to make contact with
these masters in a relatively easy and enjoyable setting.
The music is :presented in four historical per.iods; Baroque, ·

Classical, Romantic and 20th-Century with an introduction
to each touching on a few sàlient à$'p ects of our cultural and
musical past. ··
The "Play-along" record inclùded enables the student to

hec;1J a sampling of the pieces as performed by two accom- .
plisnêd musicians as well as playaloj:lg with either instrument
separately, ' ··
,,, ~'
~
2ll ~ -
• CARL FISCHER
CONTENTS
@~~(Q)@QJJ~ t
GUJTAR FLUTE
PAGE PAGE
lf[X]~ MENUET !rom The Notebook for Anna Magdalena Bach

Johann Sebastian Bach (1685- 1750) 7 7
~©~~~@[Q)
MENUET from Premier livre de pièces de clavecin
Jean-Philippe Rameau ( 1683 -1784) 8 7
@@QZ JTALIAN AIR from Suite in A Minor for Flute and Strings
Georg Phillip Telemann (1681 -1767) 9 8

30 Duets for Johann Sebastian Bach (1685 - 1750) 10 10
Guitar and Flute
(or any C instrument) SICI LIANA from Sona ta No. 2 in Eb Major for Flute and Harpsichord
Johann Sebastian Bach ( 1685 - 1750) 11 10
of the 18th, 19th, and 20th centuries t ran- ALLEGRO from Partita No. 2 (Die Kleine Kammermusik)
JEAN ROSENBLUM. A "Play-along" record
is included.
George Frideric Handel ( 1685 - 1759) 14 12


Wolfgang Amadeus Mozart (1756 - 1791) 19 16
ANDANTE from Sonata in C Major for Pianoforte, K545

Wolfgang Amadeus Mozart ( 1756 - 1791 ) 20 16
TWO GERMAN DANCES

Ludwig van Beethoven (1770 - 1827)
Dance No. 1 23 18
Dance No. 2 24 18
BAGATELLE
$RING SONG' (Sehnsucht nach dem Frühlinge, Komm, lieber Mai), K596
RONDO Theme from Concerto in D Major Op. 27

Luigi Boccherini ( 1743 -1805) 27 20
GUITAR SOLO
. ~:.f;· -CARL FISCHER, Inc. GAVOTTE 1411 Clement Street
""'--tl:i;, 62 Cooper Square, New York, NY 10003 San Francisco, CA 94118 28 20
François Joseph Gossec (1734 - 18291
Copyright @ 1977 by Carl Fischer, Inc., New York (415) 386-7660
Copying or reproducing this pu blication i n whole o r i n part POLONAISE
violales the Federal Copyr ight Law.
Ali rights reserved in cl 1J ding pu blic performance for profit Wolfgang Amadeus Mozart (1756 - 17911 29 21
•
~©W\lLh~V~Cç J
GUITAR FLUTE
PAGE PAGE
LITTLE ITALIAN SONG !rom Album for the Young, Op. 39, No. 15
Peter llyich Tchaikovsky ( 1·840 - 1893) 32 24
VALSE SENTIMENTALE
Franz Schubert (1797 -1828) 33 24

• Franz Schubert ( 1797 - 1828) 36 25
TWO LANDLER, Op _33

Franz Schubert ( 1797 - 1828)
Landier No. 1 38 26
Landier No. 2 38 26
MAZURKA, Op. 67, No. 3

Frédéric Chopin (1810 -1849) 39 27
:?2©m Cç~~VU1J~V
Serge Prokofiev ( 1891 - 1953) 42 30
LITTLE SONG
PAVANE POUR UNE INFANTE DÉFUNTE

Maurice Ravel ( 1875 - 193'7 ) 44 31
1,
RÊVERIE
Claude Debussy ( 1862 - 1918) 46 32
GYMNOPÉDIE No.1
-.,.
Er ik Satie (1866 - 1925) 50 34
THE MECHANICAL DOLL

Dmitri Shostakovich { 1906 - 1975) 51 34
2
•
TH€
DAROQU€;,
€RA /J
Perhaps the mostcurious thing about Baroque music is that it's not at al! "baroque."
irregular and was originally a disparaging reference to the asymmetrical ornamentation
of 17th century architecture. Eventuaily the term embraced ail art forms of the 17th
came to be cailed Baroque!
S. Bach in 1750. As the curtain rises on this span of approximately 150 years, ail power
Protestantism has successfully chailenged the supremacy of Catholicism and the French
Europe. New scientific ideas flowed from the mincis of Galileo, Newton and Kepler;
new architectùre from Bernini and Borromini; new intellectual modes from Descartes,
Spinoza and Milton; heightened expressiveness in painting from Rubens, Vermeer,
the middle of the 18th century, the various nations had assimilated the ltalian influence
and asserteçl their individual characteristics. Of the more notable achievements of
Baroque music, perhaps the elevation of purely instrumental music to an inde pendent
status is the one most strongly felt today. Other achievements of significance are the
the pop song), the harmonie and tonal system upon which ail our music sincethen has
Although it's true thàt no music is ever played exact/y as it is written, the music of
this period grants the player the greatest freedom in departing from the written music.
l 5
1
•
,.i
named elements is beyond the scope of this book and the reader is encouraged to
refer to Dotmetsch as listed in the bibliograpy).
cadential notes) was considered obligatory. C. P. E. Bach wrote, '"lt is not likely that
anybody could question the necessity of ornaments. They are not only useful , but
indispensable. They connect the notes; theY. give them lite.'" The three most common
ornaments are the trill (tr.). the mordent ( "fV ) and the inverted mordent ( M' ).
The tri// is begun on the note one scale ste'p (whole or half) above the written
note. The rhythmic outline of the entire figure appears above it in parentheses. This
Baroque notation. (Ex. 1a). The number of alternations ernployed will depend on the
duration of the note and the tempo. At slow tempi the ornamental note is held briefly,
then allowed to fall to the principal note at which time the alternations begin slowly,
gradually becoming more rapid. Quite often the tri li will conta in an extra note for more
elaborate ettect (Ex. 1b ). ])) (J>J
, , C? ei·
Ex. la
c.,svorte - Hande l
( (mea. no. 11) D Il [r Q p75ih Il
Ex. lb
written
( hJ ") p layed 5
Gavotte - Handel,
(mea. no. 16) 6~ n rrf·
w ritten
~ r!~ 1C3
g Il r7
played
:=~1•
1
: :T?t
~ 1·~ Ë:s: Il==
The mordent is a rapid alternation from the written note to the note one scale step
below (half or whole) and back to the written note (Ex. 2a). When the decorative note
is otherthan would ordinarily appear in the scale (as in modulations or minorkeys) the
Ex. 2a
Allegro - Telemann
lmea. no. 24)
Ex. 2b
,
_
•
'!'"I< f
written
t
1
11
1
"f' r
played
,.----:;:.::::,
Il
Gavotte - Handel
lmea. no. 31 l
written played
cE Cl 11
The inverted mordent is played from the written note to the note one scale step
above and back to the written note (Ex. 2c).
Ex. 2c ~
Ga~a,:.~~ -~~a;ldel ' ' r F j r Il r E Pl

written pl ayed
tr Il
Baroque musician's were expected to dress up the bare notes in a fairly elaborate
manner. An example of what might have been done is given in the alternate flute part
piece in a fairly straightforward manner the first l ime while saving the elaborate
minuet may differ substantially from one composer to another or from one country to
another. Again, one m'usician's allegro may be another's andante. The choice of
dynamics was almost alwàys left to the performer.
For additional detailed information on the Baroque period and the performance
1. Bukofzer. Manfred F. Music in the Baroque Era. New York;
W. W. Norton & Co .. Inc. 1947.
2. Dart. Thurston. The lnterpretation of Music. New York;
Hutchinson, 1954. New York: Harper & Row. Inc. (paper )
and XVII/th Centuries. London: Novello & Co .. Ltd .. N.D.
4. Landowska, Wanda. Music ot the Past. New York: Alfred A. Knopf, Inc .. 1924.
6
•
J 7
; MENUET
(1685 - 1750)
Grazioso
MENUET
from Premier livre de pièces de clavecin
JEAN-PHILIPPE RAMEAU
(1683 -1784)
Allegretto

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8
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a~
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ITALIAN AIR
from Suite in A Minor for Flute and Strings
Largo ( J> == 1 beat)
ŒJ i f " t fP t ;1681[167)
4
1 - i ~
f
- t r
1 - =- t.;..t
iï
~ ~ 1

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N6028 Ali riQhts reserved includinçi pub lic performance for profit.
9
ALTERNAT€ VERSION
DEMONSTRATING ORNAMENTATION POSSIBILITIES
! -
mf
rË 11 C:'F sti ffi(Ff i =!f;I

p cresc.
Il
Ca,Jying or reproducing t his publication in whole or in part
N6028 Ali riqhts reserved including public performance fo r profit.
10
MUS€TT€
= - f
- ' - - ~- . .
SICILIANA
from Sonata No. 2 in Eb Major for Flute and Harpsichord
: -, n (1685 -1750)
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ALLE:GRO
from Partita No. 2 ( Die Kleine Kammermusik )
(1681-1767)
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12
GAVOTTE:
. from Sonata for Flute in C Major, Op. 1, No. 7
GEORGE FRIDERIC HANDEL

Tempo di Gavotta ( 1685 - 1759)
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Copyright © 197 7 by Carl Fischer. ·1nc .. New York

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MARCH
Allegro ( 1685 - 1750}
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e;;::.., r,...,..r"'>r-.r- ~ ... , .~,..°' f\l.o.u 1 y..,.'"1, 1\1 V 1 nr,n:1,
THE:
CLASSICAL
d E:RA
1 1
(01)
(01) The incredible n1arriage of unearthly naïveté and worldly sophistication is perhaps
projected through worldly artfulness, is nowhere more perfectly manifested than in
the music of Mozart. ln tact. that other master of the age, Josef Haydn, was moved to
say that if music lovers couId understand Mozart's music the way he himself did, "nations
would vie with one another fo possess such a treasure within their walls."
This period, beginning about 1750 (with the death of J.S. Bach) and ending about
1827 (wlth the death of Beethoven), de rives its name from the renewed interest in
Greek (Classical) architecture and its elegant display of rigorouslycontrolled form. ln
a similar manner, the qualities of clarity, grace and restraintcharacterize the music of
and Mauro Giuliani. Here, as ln the Baroque, the style originated in ltaly but was
brought to its zenith in Germany.
singable (cantabile) melodies supported by harmonie textures of the utmost clarity.
•
14
ornaments such as the tri ll and the mordent were re tained as symbols. The
ornamentation itself did not disappear but rather became an integral part of the melody.
Ex. 3 shows how bar no. 11 of Mozarts Andante ( K. 545) would appear had it been
Ex. 3 Andante - Moza rt I K .545)
lmea. no. Il)
Ir
Mozart (written)
11 r t ·u11
,Baroque (written)
A true expression of t his music w ill be achieved by playing gracefully while striving
for a sense of c harm and w it . The tempo ought to be held fairly steady using rubato
judiciously and infrequently. Dynamics (p, f, cresc, decresc.) play a very important
role but must serve to underscore the formai balance. ln other words, dynamics are
of the music.
For a more complete experience of the Classical spirit one might investigate the
marvelously precise drawings and paintings of.Jacques-Louis David and Jean-Auguste
The following books may also be of value for additional information on

the Classical period:
1. Einstein, Alfred. Mozart: His Character. His Work. Tr. A Mendel

and N. Broder. New York: Oxford University Press. 1965
Norton & Co .. Inc., 1940
3 . Lang, Paul H. The Creative Wor/d of Mozart New York: W. W
Norton & Co .. Inc., 1963.
• 15 .
16
MINUET
' WOLFGANG AMADEUS MOZART
. (1756-1791)
Allegretto con graz10s0 fcl
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f ·- !ici . i' 2, ~
::----._ • ~ \ Fine TRIO @
' r .fCft 1§ t t I r ',111, •p r I t

cantabile
r ê I fè Cr[ FI U t IË ' r 1
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rut
D.C al Fzne
' ' 1:F I rtq t I F I f rr I r

Ê Ër r F I r r I Ê ,11
*~
~ = 1fr5::--,,
EF
C:
(Turns ( .... ) may be omitted. Trill fingering on D facilitates tum)
.
ANDANTE
from Sonata in C Ma;or for Pianoforte, K545
Andante ~ ( 1756 - 1791)
!.
1 @ü ~ F filf 1 0 J 1 1 r· tf Q I Q J 1
1,

• 62 Coooer Square, New York, N.Y. 10003
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17
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N6028
•
18
TWO G€RMAM DAMCE:S
No. 1 LUDWIG VAN BEETHOVEN
(1770 -1827)
No. 2
Copyright © 1977 by Carl Fischer, Inc.. New Yor k

t 62 Cooper Square, New York, N.Y. 10003
DAGAT€LL€ 19

(1770 - 1827)
Lento
~ '
cantabile
1r U1Q l>I
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1
f ••&· C ffü I ê, @r I if@j J[d) I €tuf I q

tf 'J p
m.ç~=== •
dim. e rit.
1 r
.' '3
SPRIMG SONG
~r[
(1756 - 1791)
~
il
Allegretto giocoso
l ff
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.
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...,
.i

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C.,pying or repr oducing t his publication in whole or in part
violates t he Federa l Copyright Law.
N6028 Ali rights reserved including public performance for pro fit.
20
RONDO
Theme from Concerto in D Major, Op. 27
ü [z] 3
•~ 1 r 1- 1 ,
P • mp
1
1
1
l
1
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Î l
GAVOTTE
Animato
1
·t· · · ·
~,er---Y--f Uttlf1t E 11èfé#ftt1t½q 11trfttrtt }Ji_ ·t_·
( 1734 - 1829)
· ·
1
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. '97
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.
1 J. r ~ 1 =11
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'
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C.' opying or reproducing this publication in w hole or in part
viola tes the Federal Copyright Law.
hll -:.-.k-1-.-. -~~~-,, ~..J :~~1. . ....1:_ _ _ ,,l..l:. - - -"- • · - - - - - - - 6.- . . _,,,
21
. , _ · !:.
Jr
ttutttt I f
Fine,
~ ¾ Uèftttt i r rt 4 1rttttrtt Ir r r: j I L r j ,1
f rit. a tempo
[lZl
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p
E I
r. . .
rf f ff t r F E E I 1 ,-@ r Gl r 1
-
1
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.
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POLONAISE:
(1756 - 1791)
Andantino '°' ~ :""\ ~ . . ..,...__ ~
5trr~r· 1
E'f:t trtrci 1
@rfü 1
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p
r r rr
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€RA
1 1
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, / ,/,/,10:1 ,J , //~_1.)1711✓ ,-/ f / / _ ··,./ i J /,. J / /"f{l/u '/ .1.1. j

~, Jt'lf/. ,,.o,/ . /,.~,, w-,,.,,~·, ~- ~ I ,:,;,·,~• { j ,,,Jn , 1;,,,11/,(1,,,.,/1,, 1; 1 '. _
"Romanticism is preéisely situated neither in choice of subjects nor in exact truth,

but in a mode of feel ing ... intimacy, spirituality, color, aspiration towards the infinite!"
Such was the prevailing artistic mood at the middle of the 19th century as stated by
one of the greatest poets of that time, Charles Baudelaire. lt was the 19th century
which saw the artist freed !rom the restraint of social and religious conventions. He
began to look within himself. The idea of an "external self" and an " inner self " was barn
and is still very much al ive to this day.
Musically this meant that the "Classical" concern for the balance of form and
content became subordinated to the expression of persona! emotion. Th us it was
Ludwig Van Beethoven whose late works broke with the formai and emotional restraints
of the Classical style and signaled the entry of the Romantic. The hundred years following
his death in 1827 witnessed a volumi nous outburst of compositions of the most
astonishing diversity. A sampling of this great variety and diversity begins with Schubert,
Chopin, Schumann, and Liszt, continues with Grieg, Tchaikovsky and Dvofak and
ends with Wagner, Mahler, Strauss and Rachmaninoff. Formai considerations were
pushed to such extrernes that Chopin cou Id write a prelude lasting thirty-five seconds
while a Mahler symphony might have six movements, the first being forty-five minutes
longI
Now all was poetry. Painting, sculpture and music were treated as visual and aurai
poetry. Paradoxically, the poets were writing " music." Music became a vehicle for
•
22
emotional state. One of the first to explore these hitnerto uncharted reg ions was the
are extravagent symphonies of col or. Of no Iess grandeurwere the highly imaginative
flights of such poetsas Hugo, Goethe, Lord Byron and the aforementioned Baudelaire.
the 1940's, the movernent had burned itself out by the beginning of the 20th century.
Nevertheless, its powerful spirit lives on via recordings and the concert hall where the
larger portion of most programs are drawn from the Romantic repertoire.
A convincing performance of this mu::;ic will be characterized by a careful molding
of the melody, a flexible give and take in tempo /tempo rubato) and a compassionate
rendering of its musical and emotional "meaning _"
For further readings, refe r to the following soorces:
1. Einstein, Alfred. Music in the Roman tic Era. New York:

Alfred A. Knopf, Inc., 1933-46 .
•
23
24
LITTLE: ITALIAN SONG .
trom Album for the Young, Op. 39, No. 15
. PETER ILYICH TCHAIKOVSKY
( 1840 ~ 1893)
~ ~ ~ ~ t ,,-.i ~ .
u I r t -r1 etJ Ir
Grazioso
i~ ~.
~ ;I g 1 (J 1tt; 1Er r Ir· 1~
VALS€ S€MTIM€NTAL€ FRANZ SCHUBERT

(1797 - 1828)

• 62 Cooper Square, New York. N.Y. 10003
Copying or reproducing this publication i n whole or in part
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25
THE: SWAN
,tt ~Pr r Fr I r1tr

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r;;;i a tempo
~ Lento
i. ~ 2 ~ ' --- ~
3 ,,,,..-....__ .,.....-._
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SE:RE:NAD€
( Stàndchen)
Andante con moto FRANZ SCHUBERT
rit. r.;-i a t empo ( 1797 - 1828)
5
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26 ••
TWOLAMDLE:R
Op. 33,
No. 1 FRANZ SCHUBERT
( 1797 - 1828)
Allegretto
f"nl optional
L.fü 8va ___ _ _ _
[z)
a tempo ~ ~
1 f?? •t I r· ~ EEJ 1
decresc. _ _ _ _ _ _ _ _ _ _ _ _ _ _ rit.
No. 2
Con grazia
-:-~
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Il
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N!;02R Ali rinht~ f"P.~P.rvP.rl int"li 1rlinr, n11hlir- nll).rff'lrm~nr&io fnr- nrnfit
27
MAZURKA
Op. 67, No. 3
FREDERIC CHOPIN
( 1810 - 1849)
Allegretto
%
~ »J Il: r·
p
tê7? j• 1 ~lit r F If
Rubato
œ
~ Ê
-
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1
r· flt l~#f F' f r #r-f Ê
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------=-=- .ef .If rit.
11. 112. ITz]

e
1
a tempo
et;f
/
Fine
'J y~ '=$ 2
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C~ ying or reproducing this publication in whole or in part
Nn028 Ali r ig hts reserved including public performance for profit.
THE:
TWENTIETH
CENTURY
If one were to listen to a number of Minuets by Haydn, Mozart, Bach 's sons, Clementi
and Beethoven one after another, it would be immediately apparent that, while individual
i n character i n many ways, there are ma~y similarities which create a feeling of
"sameness" arn ong them. A repetition of this experiment using pieces by Debussy,
Stravinsky, Bartok, Ives, Shoenberg, Prokofiev and Ravel would c reate quite the
opposite impression. We now have a stylistic diversity from one composer to thr next
which isat once veryexciting and highlyconfusing. The pursuitof individuality, begun
in earnest by the Romantics, has continued unabated to this day and is one of the
ln the 1890's a departure from the harmonie practice of live centuries occurred
which marked a major turning point in the evolution of modern music. One c omposer
~
freely shifting harmonies and organically developed forms, we find the seeds of the
modern approach. At the sarne time (late 1BO0's, early 1900's) enormous changes
And while Ezra Pound and James Joyce were giving voice to the modern sensibility in
poetry and prose, Sigmund Freud ana Albert Einstein were challenging ourconcepts
•
r--
understanding of his musical character be developed. Unfortunately, there is l[ttle else
to be said about performance style in the 20th century. However, what can·t be said
can be heard since there exist both recordings and live performances of the works of
early 20thcenturycomposers. ln manycases the performers may have special insight
as to style owing to acquaintance with the composer himself. Such is the case with the TWEMT1€TH
ICENTURYI
Further readings which rnight be helpful in understanding this period are:

Co., 1941.
•
29
30
PROM€NAD€
from Children's Suite , Op. 65, No. 2
SERGE PROKOFIEV
(ï;""l (1891 -1953)
Allegretto L.fu
J~ »~ -
1
3
-:'I -l #i$.
_1 ~~
dolce
1f 1 E "'C&. '1r Ür F• I J.
1 1
0
1
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mp
11 Il
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• violates t he Federal Copyright Law.
\
LITTLE SONG 31
DMITRI KABALEVSKY
( 1904 - )
Andante
'
p Cantabile
[fil
ŒJ
~~() ' 2
1
.1 t1 cJ r r 1
m.f
2
Il
mena
,
PAVANE POUR UNE INFANTE: D€FUNT€
MAURICE RAVEL
1r7 ( 1875 - 1937)
Dolce, ma sempre sonoramente ~
~u 0
p
QQJ I nnw w
---===c:==== '...._./ =
·1 Ft©
-=====
1J @1 w ·@ID I J ~ 1
poco nt. ·
[IQ]
m r'J a J m
a tempo
~ ' f 1 ====--
r- r=-=r 1
P
I I t_J
= - rit.
1 ( r~
mf largamente
J J- I
~ [§]
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p
r rrrr1 @· ·1 ~Cfèir Ir=~ J ·1 J'ftITt 1
'
mf
sost.
- - - - - p
=====-
poco più lento a tempo
~ ~
r 1rrrrrr
,- ,,..-....... I:'\'
f
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Nfi028 Ali riçihts reserved includinçi oublie performance for profit.
32
, allarg.
1 f)rÎF I f' r r F I -----====

-==== rit.
f'. ' F CT[ -
===--PP
Il
I\
R€V€RI€
CLAUDE DEBUSSY
lcl (1862-1918)
nr ren: f] rTrl
Andantino _ ,,,.-~
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2
11 (
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rêt( fr CI I 1
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poco rit.
~ -i ê):t~
E r r I r ·•fr I r r(If' r r I r r r If' r
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1
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, r -=====~ mp m:f
-
J~ ,f f #f ·1 1 @ Et I t #f •1~ fil
~==== f
Et I r n L@
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d •J
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1
p p · dim. -.....;::::::..
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pp
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pp
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1 62 Cooper Square, New York. N.Y. 10003 •
Copying or reproducing this publication in whOle or in part
violate,s_th 7 F,ederal .~opyri~~t _L~':": _ , _____ ..
33
ffiQ) a ·tempo
1 , a ,1 J n J~J I w JJ 1
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2
1
1
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PP perdendosi =====--PPP
N6028 •
34
TH€ M€CHANICAL DOLL

DMITRI SHOSTAKOVICH
(1906 -1975}
"i_ ~ AU~· ' . ~ . • ~ ,(I] . . f- ~ • *. _,;_
~ 41 ! gj& lt! lf ljllt l t1 i:tl l{itü Ir r IFClÊ.f 1
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' i_ ~ . . . ' ~- . 0 ~- .. ~~' -= . 1~
-@1 EJ t r 1&ibi I E1 èlf IgJf(t I rJ\tf lq$µ.~ty Ictu&i 1

. i_ ,lffi~~~h/ _P ~ . ) . '. . ei :E!"1 '~- _"if_ . . ~a
~ ~n ~w;;_ Er 1 ~El 1 - 1 t! tr ~*1 @ a U El O(ft&!-==-
1 cl 1 I 1 ':;,
.
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p cresc
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~, t.Hf.rnffify 1r1Ur W@1 j?Q I afjVr, t, 1 1 I 11

.,P =ff O
0
cresc. ,,7 *Fingering to facilitate g -J.
Copyright © 1977 by Carl Fischer, Inc., New York - f al high B O

· 62.Cooper Square. New York, N.Y. 10003 op lOn · . g1trl, 2
Copy~ng or reproducing th is publication in whole or in part
N6028 violates the Federal Copyright Law. Dj j,
Ali rights reserved including public perfor mance for profit. .J,
LJ[X]~
~©~~~@ill)[Q;
@00~
An introduction to the music of Bach, Handel, Mozart,
Beethoven. Schubert, Chopin, Ravel, Debussy, Prokofiev
. and others. The arrangements found herein have been
these masters in a relatively easy and enîoyable setting.
The music is presented in four historical periods; Baroque,

Classical, Roinantic and 20th-Centµry with an introduction
to each touching on a few sa lient a$'pects of our cultural and
musical past. ·
The " Play-along" record included enables the student to

hear a sampling of the pieces as performed by two accom-
plished musicians as well as play along with either instrument
separately.
COMTE:MTS
GUITAR FLUTE
PAGE PAGE
lJI}={]~
MENUET from The Notebook for Anna Magdalena Bach
lfh©~~~@[Q)
MENUET 1rom Premier livre de pièces de clavecin
Jean-Philippe Rameau ( 1683 - 1784) 8 7
@@~ ITALIAN AIR from Suite in A Minar for Flute and Strings
Georg Phillip Telemann ( 1681 -1767) 9 8

Johann Sebastian Bach (1685 -1750) 10 10
30 Duets for
Guitar and Flute
(or any C instrument) SICILIANA from Sonata No. 2 in Eb Major for Flute and Harpsichord

of the 18th, 19th, and 20th ceniuries tran- ALLEGRO from Partita No. 2 /Die Kleine Kammermusik)
JEAN ROSENBLUM. A " Play-along" record
is included.
George Frideric Handel (1685 -1759) 14 12


Wolfgang Amadeus Mozart (-1756 -1791) 19 16
ANDANTE frorn Sonata in C Maior for Pianoforte. K545

20 16
Wolfgang Amadeus Mozart 11756 - 1791)
. TWO GERMAN DANCES

Ludwig van Beethoven (1770 -1827)
Dance No. 1 23 18
Dance No. 2 24 18
BAGATELLE
SRING SONG /Sehnsucht nach dem Frühlinge, Komm, lieber Mai/, K596
Wolfgang Amadeus Mozart (1756 -1791) 26 19
RONDO Theme from Concerto in D Maior Op. 27

Luigi Boccherini { 1743 -1805) 27 20
GUITAR SOLO
~ CARL FISCHER, Inc. GAVOTTE 1411 Clement Street
"
.,,--;t.-;., 62 Cooper Square. New York, NY 10003 François Joseph Gossec ( 1734 - 1829)
San Francisco, CA 94118
(415) 386-7660
28 20
Copyright (Ç) 1 977 by Carl Fische r, Inc., New York
Copying or reproducing this publication in whole or in part POLONAISE
violates the Federal Copyright Law. 29 21
Ali rights reserved inciLtding public performance for profit. Wolfgang Amadeus Mozart ( 1756 - 1791)
/Contents continued!
~©~~~lf~~ GUITAR FLUTE
PAGE PAGE
LITTLE ITALIAN SONG from Album for the Young, Op. 39, No. 15
Peter llyich Tchaikovsky ( 1·840- 1893) 32 24
VALSE SENTIMENTALE
Franz Schubert (1797 - 1828) 33 24

Franz Schubert ( 1797 - 1828) 36 25
TWO LANDLER, Op.33

Franz Schubert (1797-1828)
Landier No. 1 38 26
Landier No. 2 38 26
MAZURKA, Op. 6 7, No. 3

Frédéric Chopin ( 1810 - 1849) 39 27
~©m ~~~lfUJJ~V
Serge Prokofiev ( 1891 - 1953) 42 30
LITTLE SONG
PAVANE POUR UNE INFANTE DËFUNTE

Maurice Ravel (1 875 -1937) 44 31
RÊVERIE
Claude Debussy ( 1862 - 1918) 46 32
: ~-:
GYMNOPÉDIE No. 1
Erik Satie (1866 -1925) 50 34
THE MECHANICAL DOLL

Dmitri Shostakovich (1906 -1975) 51 34
•
TH€
BAROQUE
€RA
Perhaps the most curious thing about Baroque music is that it's notai al! "baroque."
irregular and was originally a disparaging reference to theasymmetrical ornamentation
of 17th century architecture. Eventually the term embraced all art forms of the 17th
came to be called Baroque_!
S. Bach in 1750. As the curtain ri ses on this span of approximately 150 years, ail power
Protestantism has successfully challenged the supremacy of Catholicism and the French
Europe. New scientific ideas flowed from the minds of Galileo, Newton and Kepler;
new architecture from Bernini and Borromini; new intellectual modes from Descartes,
Spinoza and Milton; heightened expressiveq_ess in painting from Rubens, Vermeer,
the middle of,the 18th century, the various nations had assimilated the ltalian influence
and asserted their individual characteristics. Of the more notable achievements of
Baroque music, perhaps the elevation of purely instrumental music to an independent
status is the one most strongly tell today. Other achievements of significance are the
the pop song), the harmonie and tonal system upon which ail our music since then has
Although it's true that no music is ever played exact/y as it is written, the music of
this period g rants the player the g reatest freedom in departi ng from the written music.
• 5
named elements is beyond the scope of this book and the reader is enc ouraged to
refer to Dolmetsch as listed in the bibliograpy).
cadential notes) was considered obligatory. C. P. E. Bach wrote, "lt is not likely that
anybody could question the necessity of ornaments. They are not only useful, but
indispensable. They connect the notes; theY, give them lite." The three most common
ornaments are the trill (tr.). the mord ent ( 1" ) and the inverted mordent ( ,w ).
The tri// is begun on the note one scale step (whole or hait) above the wri tten
note. The rhythmic outline of the eritire figu re appears above it in parentheses. This
Baroque notation. (Ex. 1a). The number of alternations employed will depend on the
duration of the note and the tempo. At slow tempi the ornamental note is held b riefly,
then allowed to fal l to the principal note at which lime the alternations begin slowly,
gradually becoming more rapid. Qûite often the trill will conta in an e xtra note for more
elaborate effect (Ex. 1b).
(J) J )))
Ex. la
Gavotte - Handel
( (mea.no. 11)
Ex. lb
'e written
( hJ
(? ui· ii-~ Il D Il
Ji )
[r Q
plaved
P
5
Gavotte - Handel
g Il r? r Ft-si t-r •f2r Il
(mea. no. 16)
'' a.af·
written played
_The mordent is a rapid alternation from the written note to the note one scale step
1
below (hall or whole) and back to the written note (Ex. 2a). When the decorative note
is other than would ordinarily appear in the scale (as in modulations or minor keys) the
Ex. 2a ~
t:_H
Allegro - Telemann
(mea. no. 24)
@il $ l
Q '
1
Il l Il
written played
Ex. 2b
Gavo tt e - Handel
(mea. no . 31 l
written played
E!F U: 11
The lnverted morden t is played from the written note to the note one scale step
above and back to the written note {Ex. 2c).
Ex. 2c
,,.., ,...,-:--..._
Ga7::,~:_--,, ~a;{jel ' ~ . r f. t r Il

•
1
f fi t f Il
wntten played
Baroque musicians were expected to dress up the bare notes in a fairly elaborate
manner. An example of what might have been done is given in the alterna te flute part
pieèe in a fairly straightforward manner the first time while saving the elaborate
minuet may differ substantially from one composer to another or ! rom one country to
another. Again, one musician's allegro may be another's andan te . The choice of
dynamics was almost always left to the performer.
For additional detailed information on the Baroque period and the perfo rmance
1, Bukofzer, Manfred F. Music in the Ba roque Era. New York;
W. W . Norton & Co .. Inc. 1947.
2. Dart, Thurston. The lnterpretation of Music. New York;
Hutchinson, 1954. New Yo rk: Harper & Row, Inc. (paper)
and XVII/th Centuries. London: Novello & Co.. Ltd., N.D.
4. Landowska, Wand a. Music of the Past New York: Alfred A. Knopf, Inc., 1924 .
6
•
M€MU€T 7
from The Notebook for Anna Magdalenq B ach
JOHANN S EBASTIAN BACH

( 1685 - 1750)
Grazioso
Flute
4
Guitar
2 U
[fil
'
0 2 4
ITzJ
p
--r =
' .
rill r
'
r rr

62 Coooer Square. New York. N.Y. 10003
N6028 Ali ~ghts reserved inclu_d ing public performance for profit.
8
ME:MUE:T
from Premier livre de pièces de clavecï n
JEAN-PHILIPPE RAM EAU

Allegretto (1683 -1784)
2r
(.b ~ ri)
A w
u
p~ -
- ---
1 1 1 1 1
-
r,,
..•
• •
., r ,
-., r- l
-
- r- ~ •
"
r
r r r 1
'--" --.._::;
cresc.
rcresc. i
" ~
Copyright © 1 977 by Carl Fischer. Inc.• New York

CoitYing·or reproducing this publication in whole or in part
. 10
p cresc.
"1f
r
MUSE:TTE:
Giocoso ( 1685 - 1750)
Flute
JHarm. XII - - - - - - - - - - - - - ·:
Guitar
@in D
[ill
p
Harm. VIl _ _ _ ____ _ _ _ _ _ _ _ _ ____________ .,
rm
J
Harm. XII

• 62 Cooper Square. New York, N.Y. 10003
SICILIANA 11
from Sonata No. 2 in Eb Major for Flute and ~arpsichord

(1685 -1750)
Flute
P-============= r-.
Guitar
ŒJ ~
Il2 - -«.,,-,,
j [V
f
rr r
[ill
1
-
~
1,
p
•~
· ,. .• . .._
- ,
-·~
~
~
,-
-
,-....__
------
,.,
.I
- - - ...- - - - - - 1
,..--... ,,.--._
--- 1, ..J _,1
~-- __,1
~
,, -.., -- --- - . - -.
- n .-1
- '"-'
- -
-
-
3r r
-
v .. '"-
n
-~
pl r· 2r .
2r·
mf
4 i
i

62 Cooper Square. New Yor k, N .Y. 10003
Copying or reproducing t his publication in w ho le or in part
violat es the Fed eral Copyright Law.
N6028 A l~rights reserved including public performance for profit.
12
. ~
p f
l m a
:.-----
r-
, ·
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..,
p
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1• .J
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-
1 1
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1
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1
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r
N6028
•
ALLEGRO 13
from Partita No. 2 ( Die K/eine Kammermusik

(1681 - 1767)
Flute
Guitar
r sr
. "
,. > ~
.,..
-
..
u
1\ .u.
- -
' 11 1
1
') J - .....
-.,.,~·.
1 1 1 2~•
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u
-.., ""
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._
...J
... .
r 1 f
r r i r lr•
~ >
A 0
.,.. > ... > . ,. •
-
A ~
~
u 1
-...,, ..--
,... 1.1
~ .,_,1 ·~
- .,.-
1 1 1
.-, _,
1 â
, ~
1
.. -. 1
l'7
.., r, , - _, - -r
- "
...,..
...J
-
.,;
--
fi .ri
~-
31 •z r, •
-
~
r
~
1 1
1 1 1 2
r 3
. ~ > ~. r. -
,.
""'.
;:,
,.
"""
t) 1
t, 1.1 1,
. _, 1 1 1 1
-n ..,,
1 2,-;.
- lf-
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, -,
-
r.A
...., u
...J
-
"If..,
r r r 1 r ï lr•
62 Cooper Square, New York. N .Y. 10003
• violates the Federal Copy right Law.
N6208 Ali rights reserved inclu ding public performance for profit.
14
GAVOTT€
from Sonata for Flute in C Major, Op. 1, N6. 7
GEORGE FR IDERIC HANDEL
(1685-1759)
Tempo di Gavotta
,,.---....
Flute
Guitar
f-P
[fil ...
..
,.---..,., ,.--......_
--
_..--.._
._.,
~ .,.,.
- - - . , ~
- -
-.J
~
f-P
.. -J
_I
...
"
4,-
"
~
-
m
- ...-
r-
l
.,.
..
,
• I■ •
r
...
-
--
1
- 4 ..
..
I""
--
1
-
-
1
-....
1
''--. 1
..._..,
1 1 1
lx f r 1
i 1
r 1 -
r r-
2x P
(.J) j 1>)
r rr
'Ir
r r f
[lm- (1> J
1r
n> :\
r
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15
-
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p
Gf_Jj
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r r
-
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~
- -- -
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-
-
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- -
1
-=
1
, -
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---
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l r i r f rr 1 1
r r
1.:,1
•
N6028
16
MARCH
tram The Notebook for Anna Magdalena Bach
(1685-1750)
Allegro
. .
Flute
mf
Guitar
@in D
Ch
tr
.J h>
4
II---------,
1
f 4
Il--------------: p
©- - - - - - - - - - - - - - - - - - - J
,...., .
urffr
Copyright © 1977 by Carl Fischer, Inc. New York
Cop~ ng or reproducing this publication in w hole or in part
6.11 r-inhtc:. r-P~t:i,.v.ci:rl inr:lurlino n1Jhli~ n?.:rformanc:P. for orofit.
THE
CLASSICAL
d €RA
1 1
c0))
c0)) The incredible marriage of unearthly naiveté and worldly sophistication is perhaps
projected through worldly artfulness, is nowhere more perfectly manifested than iri
the music of Mozart. ln tact, that other master of the age, Josef Haydn, was moved to
say that if music lovers cou Id understand Mozart's music the way he himself did, "nations
This périod, beginning about 1750 (with the death of J.S. Bach) and ending about
1827 (with the death of Beethoven), derives its name !rom the renewed interest in
Greek (Classical) architecture and its.elegant display of rigorously controlled form. ln
a similar manner, the qualities of clarity, grace and restraint characterize the music of
and Mauro Giuliani. Here, as in the Baroque, the style originated in ltaly but was
brought toits zenith in Germany.
singable (cantabile} melodies supported by harmonie textures of the utmost clarity.
• l7
ornaments such as the trill and the mordent were reta ined as symbols. The
ornamentation itself did notdisappear but ratherbecame an integral part of the melody.
Ex. 3 shows how bar no. 11 of Mozarts Andante ( K. 545) would appear had it been:
Ex. 3 Andanre - Mozart (K.545)
(mea. no. Il) ·
- :---,..._ 41'
®' 1 crrrtrrrq r fi)q
'4
11 r
Mozart (writtenl Baroque (writtenl
A true expression of this music will be achieved by playing gracefully while striving
for a sense of charm and wit. The tempo ought to be held fairly steady using rubato<
judiciously and infrequently. Dynarnics (p, f, cresc, decresc.) play a very important"
role but must serve to underscore the formai balance. ln other words, dynarnics are
of the music.
For a more cornplete experience of the Classical spirit one rnight investigate the
marvelously precise drawingsand paintings of Jacques-louis David and Jean-Auguste
The following books may aise be of value for additional information on

the Classical pe riod
1. Einstein, Alfred. Mozart: His Character, His Work. Tr. A. Mendel

and N. Broder. New York: Oxford University Press, 1965.
Norton & Co., Inc., 1940.
3. Lang, Paul H. The Creative World of Mozart. New York: W. W.
Norton & Co.. Inc , 1963.
18
•
19
MINU€T

( 1756 - 1791)
(§1 -~
Flute 1 w,q r 1
Guitar
..c----
r
TRIO
p cantabile
--- ----- , 1
r lliQJ
*N c::5 :::::-,
r E[Frt (Turns [ N ] may be omitted. Trill fingering on D facilita tes turn)
Copyright (.Ç) 1977 by Carl Fischer, Inc.. New York

C.,pying or reproducing this publication in w hole or in part
20
ANDANTE:
tram Sonata in C Major for Pianoforte, ~545

(1756 -1791)
Andante
Flute
Guitar

21
[gfü
li a tempo
a tempo
~
* ,- ·-= hold 2 throughout

N15028
•
22
a tempo ~
(il
•
N6028
TWO GERMAN DANCES 23

No. 1 (1770- 1827 )
/\ ;j
Vivace
.:. .:.
• .:. ..:. .;. ~ ..,. ~ :---fL • f:. .. • •
Flute -
~
~
- - .. -- --
\ .J .1 ..
- -
-- - -.
;
- .- • : .-
-- 11- -
Guitar ,. •
-- --
.. -
~
'
• • •
~
,t,
. ... ... - ~
n 211
2~ 1 ~
.; .; ~ :----.._ ::; fl-

,_ -,i,:. ~~
j /\ lt • ~
""'
v 1
. mf
-.u .. -- 3•
- -
-"' . -. - ....-
A
:
--
~
:
.- -- . ....
,.
..•
! - - .. -
"" . , •"
u "
...- 11 ..
- • • 2'11
- mf H! •. ~ ':
J /\ ;j .. '
/
• -----. ' -
'V
~
--- - -~ -
.ti .u
i
ï ·, ·, -, ·, ·,
- - -. -- --
1 1
-'V
.-. - ..--
,.
:.:: ;, . ..
•
.
--. -- -- -- -- --
'~ -t -1
[Iz]
◄ ◄
r ï 1
Fine TRIO
/\ ~ .i .. .;.
• .:.. . - ,.._ . --...........
u 1
p
- .
- - - - ..-
1~
..
- -
i..
...
I\ 1 1 1
..... ...
1 1
1 1
,.
_,-
- ....
-- - ,.,. - -- -• ---
; "
...•
~
,. ,
u "
- 31 • • ...!
i
r r· r
1
l p
D. C. al Fine
.,,i f
Copyright (C) 1977 by Carl Fischer. Inc., N ew Yor k

• violates the Faderai Copyright Law.
N6028 Ali rights reserved including p ublic performance for pro fit.
24
No. 2
Allegro
Flute
p
Guitar
Fine
i r 2ttr 3r
/
V
A
TRIO uz] f
-- .-
p
m m
--- -
~ l 1 1 1 r 1 1 1 1
..• -... -...
1 1 1
.,
■ • '7
....
- r
..J ..
4f rr r p r·
ur i r
p p
D.C al Fine
~ ~
Copyright © 1977 by Ca rl Fischer, Inc., New Yo rk

6 2 Cooper Square, New York, N.Y. 10003
N6028 Ali rights reserved includ ing public performanc e for profit .
BAGATELLE
Flute
Lento
p cantabile
,.~-----
(1770 -1827)
p l p i simile
Guitar
p 3
·==-==--
4
/ A
8·
... ' ~~ -~ "-
~~
~
' ~ ~
------
"' m•------- ---- "!i .. 1
.' ,.
~
~
~
1
V
1
- - -
r ,-
~
1
~
• '
'
- - - -- -- - -- - '
' -...
... 1 - - -
-'li- - 4• .... -
~
mf qi 3 '1 2◄ :. 3 "li
2#•
,.---.___
=--
mf
= dim. e rit.
Copyright (C) 1 977 by Carl Fischer, Inc.. New York

62 Cooper Square. New York. N .Y. 10003
(iopying or reproducing this publication in whole or in part
viola tes the Federa l Copyright Law.
N6028 Ali rights reserved including pu blic performance for profit .
26
SPRIMG SONG

(1756 - 1791)
Allegretto giocoso
Flute
,nf
Guitar
[ill
cresc. dim. e rit.

l
.,
cresc. dim. e rit.

Cop\fng or reproducing this publication in whole or in part
27
Theme from Concerto in D Major, Op~ 27

LUIGI BOCCHERINI
( 1 7 43 - 1805)
Allegretto
Flute
Guitar
[zJ

62 Cooper Square, New York, N Y. 10003
N6028 Ali rights reserved inçluding public performance for profit.
GAVOTT€
( 1734 - 1829)
Animato
Flute
4
Guitar
r r
r r i i
a. tempo
---- -,
4
t
29
D.C. al Fine
3
- 7
: 5,~ F;;
n,-~ 1
1
1)
0 :{= ! :Il
1r i
POLONAISE:
(1756 - 1791)
Andantino
Flute
Guitar
ŒJ ~ ,......-.......
,,.--..._ -------..__
~
p f
"
[1] - ~ ..--......
-
. .-::. -----=----:..
- +-"
~ ~;,_ .....~~ ..~ _,,..--..__
,.
..,
=
p 1
rit. - - -,
-~ T- -
- -- - -.. - -- - - - - ---
- '
..•
1
- .. -- -- - _,
---
~
;
-;
. ,
..
■
; = n•
-~ ~
-
'-- -.-__J
mp ~
Copyr ight © 19 77 by Carl Fischer, Inc., New York
62 Cooper Square. New York. N.Y. 10003
Cu.iying or reproducing this public ation in w hole or in part
N 6028 violates t he Federal Copyr ight Law .
perfectly typifies the rornantic spirit, Eugene Delacroix, whose sweeping canvasses
are extravagent symphonies of color. Of no less grandèur were the highly imaginative
flights of such poets as Hugo, Goethe, Lord Byron and the aforementioned Baùdelaire.
Although Rornantics such as Richard Strauss and Sergei Rachmaninoff lived into
Nevertheless, ils powerful spirit lives on via record ingsand the concert hall where the
A convincing performance of this mus,ic will be characterized by a careful molding
of the melody, a flexib le give and take in tempo (tempo rubato) and a corr1.Passionate
rendering of its musical and emotional "meaning."
~or further readings, refer to the following soarces:
1. Einstein, Alfred. Music in the Romantic Era. New York:

2. Newman. Ernest. Lite of Richard Wagner. 4 vols. New York:
•
31
are extravagent symphonies of col or. Of no less grandeur were the highly imaginative
flights of such poets as Hugo, Goethe, Lord Byron and the aforementioned Baudelaire.
Nevertheless, its powerful spirit lives on via recordingsand the concert hall where the
A convincing performance of this music will be characterized by a careful molding
of the melody, a flexible g ive and take in tempo (tempo rubato) and a compassionate
rendering of ils musical and emotional ''meaning." ·
t=or further read ings, refer to the following soorces:
1. Einstein, Alfred. Music in the Roman rie Era. New York:

Alfred A. Knopf, Inc .. 1933-46 .
• 31
32
LITTLE ITALIAN SONG
from Album for the Young, Op. 39, No. -15
PETER ILYICH TCHAIKOVSKY
( 1840 -1893)
Grazioso ,,..-..,
~
Flute
f
-------------7
1
Guitar
@in D "-'""!'---~ -,.;-- - - - - - + - - + - - - ~ - + - - - - L _ _ + - - - - - - - - - ' - - - - + - -- -'---+---"-_..:,.-c......,,1---,-------+---+-------'
dim p

Coitving or reproducing t his publication in whole or in part
violates t he Federal Copyright Law.
N6028 Ali riqhts reserved including public performance for profit.
VALSE SENTIMENTALE 33
FRANZ SCHUBERT
( 1797 - 1828)
Moderato
>
- - 7
----->---7
1
J • u
tJ 3
.. J.I ., Il 1- - - - - - - - - 1 - -
4 1 ,1~.I 1 J
- - --J- - - iJ-
.. .. 1
...,
t.
',
' LI
'
zn
n ..
•
- - ...,
""'
r·
-'
r
>
- - - Î
Fine
> '
mf , III - - - - - - 7
1
..,_D.C al Fine
3
Il - - 7

, violates the Federal Copyright Law.
34
TH€ SWAN
from Carniva! of the Animais
CAMILLE SAINT-SAËNS
(1835 -1921)
Adagio
Flute
p
Guitar

Coijying or reproducing this publication in whole or in part
35
------..____
,. mf
dim.
N6028
•
36
Lento
12sl rit. a tempo - - - - - - - - - - - - - - - - - ~
pp
t;\
SERENADE
(Standchen)
FRANZ SCHUBERT
(1797 -1 828 )
Andante con moto rit
Flute
1 "
~
"
.. -
..,
1?2 1!I 5 .,
l I - - - ------- '
-- -- -
J _,1 '
'I
~ ..•. ~--- ~--J 1
- -
.,
_J ...J
-
1
.....
-i ,_,., ..,_,
1 J 1 ..,
.. ..- -.. - --
_J
1
.,
-
~ ~
1 1 1
------' -..
- ...
~
1
-..,-
--
.,.,
.,.
41
-1 1 1 1
~
Gùitar
'
'~
-
ppf" . - - .
2 rit.
[IQ]
J ,.,
.
.,,.. •,, .~ ' --- -
3 3 c.,)
.
u
C
mj 3
p
-- - "
-
,'\
-., ...
4~
- .. - --
.1 1
......,
- - --
J
.., 1
--J _,1
-
J
- -
1 1
....J .,
1
...
1
. 1
-- 1
-
..... ~ ~ ~ ---ca
•.; - - -
.-
-i
- --- . -
1 '- - F.. r
mf
Copyright © 1977 by Car l Fischer. Inc .. New York
(f:lpying or reproducing this pub lication in whole or in part
N6028 Al i rights reserved includ ing public perfor mance for profit .
37
/ A
- 9
• -..:3
- r ' ~ '
~
- I - -- -- - -- -- -- - - -
, -
- -Î
1
1- - - -- - - - - -- - -"'\
.J ''
fi
.. 1
-- -- --
1 .J J
- -- - - J
-- .•
1
-,
- _._- - --• -
- ---
.....
~ -
·- -.. - - ---
, q
-
■
■ ■
,, V
• ■ ■ •
- --
1
a a - -
~
--
--
"IU -
3
m m
l
f
l
) I\ ~
" ,-
<•>
. --3
...,
~
rnj - .. - _J
I
~
'
- - - - - - - - --- -- -- - - - - - - - - - - - - - - --
'\
\J
..
V
.
.-
1
,. ~ - 1
•
-
-- 1
-
~
■
,J
-
:a,
-• -,.,J •-.
-
A
•• ::Ili
-
..,
-
1
-J- --- --J ---
1 1
- -• .
■
.
-
■
--
■
• -•
■
\4
- ï --
■
mf
j A
._,
·~- ,..--...___
V "
.. f- ' •
rit.
" '
a tempo
-·
._..-:i
~
·- .
--
(' )
•
pp I - --- ---- - - - "'Ja tempo
. - - - - ï
-..., ..--
1
rit. .J J 1-~.J ..1
--
- -- -- -- --- - ---
1
-
'\ 1 1
-,
- -
-
-- -- - u
1 1 1 1
n
- -
1 1
·-
-
,,,,
k
-
- - - ,
■ ■
••
.-
■
n -
- -
■
''- - -
1l
-
mf
1
~ rit. diln
N6028
•
38
TWOLANDL€R
Op. 33,
No. 1
FRANZ SCHUBERT
( 1797 -1828)
Flute
,_
J •
Allegretto
.- -
d
- '-
·--~
,,...--....
- ~
-
.-
,--..._ ,, '
1
- .,-6,
.-~-
~
1'P
I -- - - - -
,.
.,, . .... ..• .. -• ..•
1
...-- -- -
1 1
.. ..
Guitar r.
.....
.• -• -•
- -
..• ••
- --- - -~- .=
• -
~
...• ,,.=.~ a
M
··- -
-
r r - -
r -
u
''-- 4 --- ---
ppf f · 8va _ ___ _
optional
•
mf 4
m
_f ------ rit.
- - - -- --., [Iz] a tempo
p
rit. - 7
1
decresc. ______ _ ________ rit.
- r·
dec-resc. - - - - - - - - - - - - - -
-.-f r
rit.
No. 2
Con grazia
. >
Flute
p
Guitar
Copyright © 197 7 by Carl Fischer. Inc .. New Yor k

1 62 Cooper Square, New Yor k, N.Y. 10003
"" . • . . • . ~- _ ______ _. : - ~1. . .J:- - _, .L-..1;,... - ,... _4-,..,.,....,..,~,.., ,...a, fr,.- n l"'nfit
39
• p
MAZURKA
Op. 67, No. 3
FRÉDÉRIC CHOPIN
Allegretto ( 1810 - 1849)
'li'·
Flute
p rubato
Guitar
r·
- - - ---,,=---
2 - - []]
· Fine I a tempo 11
rit.
....___..., pp
sf pp
* These small no tes are optional· Copyright © 1977 by Carl Fischer. Inc., New York
Copyirfg o r reproducing t hîs p ublication in who!e or in part
violates the Federal Copyright Law .
N6028 Ali riohts rP.servA<i inr.l11rlinn n1 1hli~ norfnr-m::rnro f,...,r n,-nfit
TH€
TW€MTl€TH
CENTURY
If one were to listen to a numberof Minuets by Haydn, Mozart, Bach'ssons, Clementi

and Beethoven one after another, it would be immediately apparent that, white individual
in character in many ways, there are many similarities which create a feeling of
"sameness" among the m. A repetition of this experiment using pieces by Debussy,
Stravinsky, Bartok, Ives, Shoenberg, Prokofiev and Ravel would create quite the
opposite impression. We now have a stylistic diversity from one composer to the next
which is al once very,exciting and highlyconfusing. The pursuit of individuality, begun
in earnest by the Romantics,-has continued unabated to this day and is one of the
ln the 1890's a departure from the harmonie practice of five centuries occurred
which marked a major turning point in the evolution of modern music. One composer
freely shifting harmonies and organically developed forms, we lind the seeds of the
~
modern approach. At the same tirne (late 1800's, early 1900's) enormous changes
And white Ezra Pound and James Joyce were giving voice to the modern sensibility in
poetry and prose, Sigmund Freud and Albert Einstein were challenging our concepts
•
40
r:--
understanding of his musical character be developed. Unfortunately, there is little else
to be said about performance style in the 20th century. However, what can't be said
can be heard si nce there exist both recordings and live performances of the works of
early 20th century composers. 1n many cases the performers may have special insight
as to style owing to acquaintance with the composer himself. Such is the case with the TW:HTl€TH
rNTURY1
Further readings which might be helpful in understanding this period are:

Co., 1941.
• 41
42
PROME:NADE:
from Children's Suite, Op. 65, No. ·2
SERGE PROKOFIEV
[fil (1891 -1953)
Flute
Allegretto
------
dolce
3
Guitar
p
Ill----------, 1
2
~
-===== mf
m:f
Cop"yright © 1977 by Carl Fischer, Inc., New York

62 Cooper Square, New York. N Y. 10003
Copying o r reproducing t his publication in whole or in part
N6028 : 11 rights reserved including public performance for profit.
43
,,,...-----::,
-
- ------
dim.
dim.
mp dolce
3
mp
pizz. - _ _ _ __ _
.
p1zz. _ _ _ _ _ _ _ _ _ _ _ .,
: nat. ___ J ---
______.... ,,,r·
LITTLE: SONG
DMITRI KABALEVSKY
( 1904 - )
Andante
. [fil~
Flute
mf
Guitar
mp
. ,,...--..____ .
'
ŒJ
mp mena
mp
mena
Copv.ing or reproducing this publication in whole or in part
• vio lates the Federal Copyright Law.
N6028 Ali rights reserved including public performance f or profit
' ,
44
PAVANE POUR UNE INFANTE: DEFUNTE:
·: {·_J
{; :
JL MAURICE RAVEL
( i8 7 5 - 1937 )
Dolce, ma sempre sonoramente
Flute
'-.,_.;
=-
Guitar
3 lr =
poco n·t. r
=------ ======-
largamente
II-----
rrrrrTrr
a
~m
l
Copyright© 1977 by.Carl Fischer, Inc .. New York

62 Coooer Square, New York, N.Y. 10003
Copi ng o r reproducing this publication in whole or in part
N6028 Ali rights reserved including pùblic performanc e for profit.
45
poco più len to

' -
mf
poco più lento
®
. mp
m-------- -- - ---7
a tempo j m i 1
rit.
' ,· .
mzm
----------
====- f
® Harm. XII
f-
Harm.xu r rit.
~ ' '~
rit.
,I
'
al/arg. ,
' _L_ .
.---.., r.,
.
_l, J! ~
-
u 1
JIP
~
allarg. II---- , imami a
J .
- ,... .- - -
1
11 lt
=
1
. 1 .'l
~
--
- - :.
1
-
n
>Ât
- ■
- .
- -- = _:
..
-"'
-"' n
-
•
• 11
-,- ■ Il - _.
'
~
=2-- • :d
2trf 2
--4
________,i
----.:::.... -
...-
•
~o
L.
r ï
3 p ·pp
N6028
•
46 I\
RE:VE:RIE:
CLAUDE DEBUSSY
(1862 - 1918)
Andantino
Flute
s9stenuto pp
i 1ll a
Guitar
1 ·Ci
1
1'< • ittfTirf . J, <..::....:.:::=1
2 --- - - - - - - - - - - - - -.
I ,,_ :
poco rit.
----------
~ ŒQ] '
i
l
~
pp~
~ .
mp
1
'-----"' l
*Hold B~ throughout the first six measures.

Co~ing or reproducing this publication in whole or in part
47
pp
rit.
p
I -----,
rit. 1 ami m
r i
•
Nfi02R
48
a tempo
,)
.A
-
.._,
I-- ------- - - - - - - - - - - -, a tempo

_j
-J J '
-. -.. .. ....-.
fi 1 ~
-
-
1
~
. ..
., - -M
- -- . ,
--P- ...
~
.. ."
1.. ~
-., n ■ ■ .. M""
, ...' l
-- • - • •
~
~
~~r p
p
lm .
3 l 3 3
r r
N6028 •
49
,,..--...__
[zfil poco rit.
3
pp
poco rit.
' ,,,...-:----; .---3--,
p meno.
meno mosso
p pp
rit. meno massa
f . [ïQQ]
8va optional . - - . • • - - - - - - - - - --,7 __. . . - - - - - -
r i
ppp
I ---------- ,...-...,
--------,, 1
*Hold B ~ throughout measures 76-79 if possible .
N6028 •
50
GYMNOPÉDI€ No.1*
ERIK SATIE
(1866 - 1925)
Lent et douloureux
-~ -
A. ~
-
.
~
Flute ~
._, il
--, pp cresc.
**
. -·" ....,.
II
,, l.l '
Guitar ~
.... • ..
v.
.
-
::
~ ..- .-' • ,,.:: ; - ..• V
,
7
-
@-D " C " '

-
C
,.,..1 - ( (,
- C
- (,
- C
- (,
) . u • 1 -
~ ~
,, . .
._, 1
dim.
~
:,,
- ./ ----... ./
PP
- - ..•
'I ,If
- . - -
. -- -
-.. - --
-
~ ~
::;
·n
-""~ -
r
r ..• ·~
- ~
"
~
<,
7
-
• . -;
--
0
"'- - (,.
--
(.,
- C, (,,
- (,
--
(,
- (..
--
C,
.,) .
tJ
ù
- ~
• --- ...... •
~.
•
~ -----
~
,, j,j
. -
II
.
- ---
,
-- -- -- - - -7
' ----------...-------------- . -- .. d r
-.
li - , .'.'. ,v V .,., -,.,1
• ~
Tl ~
• ,
• " - • ,
• n ,,
-,t "
~, ..
~,
. . <,
..,,. ' .i. n TJ

r
- -- --
- C (..
'>l
,_
'\U
r - .
(., C,
- =21 -- - V
) . 1.------
r·
-
~' 1 ~ - - lr•
----- .. - ·-
If· ?"
@--~..- \. )
~
,·
~
- ~ ' -
~
tJ ' 1
2
~ l.l I - - - -,
-·" -·' ..•
,.1 ~ - r
- •J
'-" ... . ..• ., ,
,_
•
,_
. ,..,
u"
.,' , • - . ..,• r
,_
,u YO
~
-,
'
-- - --
(, _3(.
- -
- l _..[.
-1',
_.[.
---15
-- (, -- ~
r· ~r· r· @]] r·• -r·

= 4,' II------- --__ -__--·7 4
r,·D.C al Coda 1 f if ~~d: ·3t·

, . .\
. /
·~ r· r· r· ~
*Gy mnopaidiai were ancient Greek ceremonial dances.

**Arpeggiate Chords with P (thurnb) throughout excepting measures 37 and 47.
Copyright © 1977 by Carl Fischer, Inc ., New Yo rk

62 Cooper Square, New York , N.Y. 10003
Copy ing or reproducing t his publication in w hole o r in part
• v iola tes t he Federal Copyright Law.
N6028 Ali rights reserved including p ublic perfo rmance for profit.
THE MECHANICAL DOLL 51
DMITRI SHOSTAKOVICH
(1906 - 1975)
-
Allegretto
) . u
--- .:. ~ -.:. :. ...~ •
-
~
Flute ~
~~ ~
.., -
p
u
Harm. VH - - - - - - - - - --- - - - - - - - - - - - - - -- - - - - - - - - - - - - - ---
..
- - ...,..-
'I
Guitar ,.
"
't.
~ -- -.,."1-
p ~~~ ""l
~
~
..,
[]]
..:. .~ -. -,,-
mf
-
ri u
----- 1
1
Harm. X[
1
- - ~
,..
n
-- mf - -
[Iill
Harm. VII - - - - - .,1 X[- - - - - - - - - - - - - - - - - -,

'
m:f
[!fil
---------
mj
>
• 1
dim. p
zm
j20[cresc.
' '
p
cresc.
Copyright (ç) 1977 by Carl Fischer. Inc .. New York

Copyi ltg or reprodücing this publication in whole or in pari
JEAN ROSENBLUM
Jean Rosenblum received her first musical training in North
Carolina where she studied with noted flutist and pedagogue,
Charles Delaney and played in the Winston-Salem Symphony
Orchestra. She was graduated from Oberlin College in 1963 with a
B.A. in music.
After five years in New York City as a medical research
technician, Jean and her husband Stephen moved to West Athens,
Maine to try their hand at subsistence farming. From 1968 to the
present time she has been teaching and performing in Maine.
Presently she is on the music staff at Colby Col lege and is principal
flutist with the Bangor Symphony Orchestra.
The flute Jean plays on the recording contained in this collection
was handmade for her by the Verne Q. Powell Flute Company of
Boston, Massachusetts. This instrument employs the new Cooper
sca/e - the first major improvement in tone hole placement
(intonation) since the invention of the modern keyed flute by
Theobald Boehm in 1847.
PETER GREENWOOD
Of his early years with the guitar Peter Greenwood says, "I
began playing when I was 16 years old. 1 had a $12.00 'Stella' with
strings so high off the fingerboard a steam roller couldn 't have
pushed 'em down. My idol was Chet Atkins. Severa! years later 1
heard Andres Segovia and my fate was sealed!" He studied, taught
and performed in New York City from 1960 to 1971 when he moved
to Freedom, Maine where he and his wife Elaine built their home.
He began editorial work in the musical publishing field in 1970
and his own anthol,ogy, Pieces for C/assicaf Guitar was released in
1972. Peter currently performs throughout Maine as soloist, and
with Jean Rosenblum, as a member of the flute and guitar duo,
Rosewood. The guitar he plays on the recording was designed and
built for him by Thomas Humphrey of New York City.
Photos by Elaine Greenwood
•
,.
üD=D~
~©~~~(®[Q)
' ,, @@~
A"fl introduction to the music of Bach, Handel, Mozart,
Beethoven, ·sehubert, Chopin, Ravel, Debussy, Prokofiev
. and ,others. The arrangements found herein ha\le been
these masters in a relatively easy and enjoyable setting.
The music is :presented in four historical per.iods; Baroque, ·

Classical, Romantic and 20th-Century with an introduction
to each touching on a few sàlient à$'p ects of our cultural and
musical past. ··
The "Play-along" record inclùded enables the student to

hec;1J a sampling of the pieces as performed by two accom- .
plisnêd musicians as well as playaloj:lg with either instrument
separately, ' ··
,,, ~'
~
2ll ~ -
• CARL FISCHER
CONTENTS
@~~(Q)@QJJ~ t
GUJTAR FLUTE
PAGE PAGE
lf[X]~ MENUET !rom The Notebook for Anna Magdalena Bach

Johann Sebastian Bach (1685- 1750) 7 7
~©~~~@[Q)
MENUET from Premier livre de pièces de clavecin
Jean-Philippe Rameau ( 1683 -1784) 8 7
@@QZ JTALIAN AIR from Suite in A Minor for Flute and Strings
Georg Phillip Telemann (1681 -1767) 9 8

30 Duets for Johann Sebastian Bach (1685 - 1750) 10 10
Guitar and Flute
(or any C instrument) SICI LIANA from Sona ta No. 2 in Eb Major for Flute and Harpsichord
Johann Sebastian Bach ( 1685 - 1750) 11 10
of the 18th, 19th, and 20th centuries t ran- ALLEGRO from Partita No. 2 (Die Kleine Kammermusik)
JEAN ROSENBLUM. A "Play-along" record
is included.
George Frideric Handel ( 1685 - 1759) 14 12


Wolfgang Amadeus Mozart (1756 - 1791) 19 16
ANDANTE from Sonata in C Major for Pianoforte, K545

TWO GERMAN DANCES

Ludwig van Beethoven (1770 - 1827)
Dance No. 1 23 18
Dance No. 2 24 18
BAGATELLE
$RING SONG' (Sehnsucht nach dem Frühlinge, Komm, lieber Mai), K596
RONDO Theme from Concerto in D Major Op. 27

Luigi Boccherini ( 1743 -1805) 27 20
GUITAR SOLO
. ~:.f;· -CARL FISCHER, Inc. GAVOTTE 1411 Clement Street
""'--tl:i;, 62 Cooper Square, New York, NY 10003 San Francisco, CA 94118 28 20
François Joseph Gossec (1734 - 18291
Copyright @ 1977 by Carl Fischer, Inc., New York (415) 386-7660
Copying or reproducing this pu blication i n whole o r i n part POLONAISE
violales the Federal Copyr ight Law.
Ali rights reserved in cl 1J ding pu blic performance for profit Wolfgang Amadeus Mozart (1756 - 17911 29 21
•
~©W\lLh~V~Cç J
GUITAR FLUTE
PAGE PAGE
LITTLE ITALIAN SONG !rom Album for the Young, Op. 39, No. 15
Peter llyich Tchaikovsky ( 1·840 - 1893) 32 24
VALSE SENTIMENTALE
Franz Schubert (1797 -1828) 33 24

• Franz Schubert ( 1797 - 1828) 36 25
TWO LANDLER, Op _33

Franz Schubert ( 1797 - 1828)
Landier No. 1 38 26
Landier No. 2 38 26
MAZURKA, Op. 67, No. 3

Frédéric Chopin (1810 -1849) 39 27
:?2©m Cç~~VU1J~V
Serge Prokofiev ( 1891 - 1953) 42 30
LITTLE SONG
PAVANE POUR UNE INFANTE DÉFUNTE

Maurice Ravel ( 1875 - 193'7 ) 44 31
1,
RÊVERIE
Claude Debussy ( 1862 - 1918) 46 32
GYMNOPÉDIE No.1
-.,.
Er ik Satie (1866 - 1925) 50 34
THE MECHANICAL DOLL

Dmitri Shostakovich { 1906 - 1975) 51 34
2
•
TH€
DAROQU€;,
€RA /J
Perhaps the mostcurious thing about Baroque music is that it's not at al! "baroque."
irregular and was originally a disparaging reference to the asymmetrical ornamentation
of 17th century architecture. Eventuaily the term embraced ail art forms of the 17th
came to be cailed Baroque!
S. Bach in 1750. As the curtain rises on this span of approximately 150 years, ail power
Protestantism has successfully chailenged the supremacy of Catholicism and the French
Europe. New scientific ideas flowed from the mincis of Galileo, Newton and Kepler;
new architectùre from Bernini and Borromini; new intellectual modes from Descartes,
Spinoza and Milton; heightened expressiveness in painting from Rubens, Vermeer,
the middle of the 18th century, the various nations had assimilated the ltalian influence
and asserteçl their individual characteristics. Of the more notable achievements of
Baroque music, perhaps the elevation of purely instrumental music to an inde pendent
status is the one most strongly felt today. Other achievements of significance are the
the pop song), the harmonie and tonal system upon which ail our music sincethen has
Although it's true thàt no music is ever played exact/y as it is written, the music of
this period grants the player the greatest freedom in departing from the written music.
l 5
1
•
,.i
named elements is beyond the scope of this book and the reader is encouraged to
refer to Dotmetsch as listed in the bibliograpy).
cadential notes) was considered obligatory. C. P. E. Bach wrote, '"lt is not likely that
anybody could question the necessity of ornaments. They are not only useful , but
indispensable. They connect the notes; theY. give them lite.'" The three most common
ornaments are the trill (tr.). the mordent ( "fV ) and the inverted mordent ( M' ).
The tri// is begun on the note one scale ste'p (whole or half) above the written
note. The rhythmic outline of the entire figure appears above it in parentheses. This
Baroque notation. (Ex. 1a). The number of alternations ernployed will depend on the
duration of the note and the tempo. At slow tempi the ornamental note is held briefly,
then allowed to fall to the principal note at which time the alternations begin slowly,
gradually becoming more rapid. Quite often the tri li will conta in an extra note for more
elaborate ettect (Ex. 1b ). ])) (J>J
, , C? ei·
Ex. la
c.,svorte - Hande l
( (mea. no. 11) D Il [r Q p75ih Il
Ex. lb
written
( hJ ") p layed 5
Gavotte - Handel,
(mea. no. 16) 6~ n rrf·
w ritten
~ r!~ 1C3
g Il r7
played
:=~1•
1
: :T?t
~ 1·~ Ë:s: Il==
The mordent is a rapid alternation from the written note to the note one scale step
below (half or whole) and back to the written note (Ex. 2a). When the decorative note
is otherthan would ordinarily appear in the scale (as in modulations or minorkeys) the
Ex. 2a
Allegro - Telemann
lmea. no. 24)
Ex. 2b
,
_
•
'!'"I< f
written
t
1
11
1
"f' r
played
,.----:;:.::::,
Il
Gavotte - Handel
lmea. no. 31 l
written played
cE Cl 11
The inverted mordent is played from the written note to the note one scale step
above and back to the written note (Ex. 2c).
Ex. 2c ~
Ga~a,:.~~ -~~a;ldel ' ' r F j r Il r E Pl

written pl ayed
tr Il
Baroque musician's were expected to dress up the bare notes in a fairly elaborate
manner. An example of what might have been done is given in the alternate flute part
piece in a fairly straightforward manner the first l ime while saving the elaborate
minuet may differ substantially from one composer to another or from one country to
another. Again, one m'usician's allegro may be another's andante. The choice of
dynamics was almost alwàys left to the performer.
For additional detailed information on the Baroque period and the performance
1. Bukofzer. Manfred F. Music in the Baroque Era. New York;
W. W. Norton & Co .. Inc. 1947.
2. Dart. Thurston. The lnterpretation of Music. New York;
Hutchinson, 1954. New York: Harper & Row. Inc. (paper )
and XVII/th Centuries. London: Novello & Co .. Ltd .. N.D.
4. Landowska, Wanda. Music ot the Past. New York: Alfred A. Knopf, Inc .. 1924.
6
•
J 7
; MENUET
(1685 - 1750)
Grazioso
MENUET
from Premier livre de pièces de clavecin
JEAN-PHILIPPE RAMEAU
(1683 -1784)
Allegretto

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ITALIAN AIR
from Suite in A Minor for Flute and Strings
Largo ( J> == 1 beat)
ŒJ i f " t fP t ;1681[167)
4
1 - i ~
f
- t r
1 - =- t.;..t
iï
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9
ALTERNAT€ VERSION
DEMONSTRATING ORNAMENTATION POSSIBILITIES
! -
mf
rË 11 C:'F sti ffi(Ff i =!f;I

p cresc.
Il
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N6028 Ali riqhts reserved including public performance fo r profit.
10
MUS€TT€
= - f
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SICILIANA
from Sonata No. 2 in Eb Major for Flute and Harpsichord
: -, n (1685 -1750)
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ALLE:GRO
from Partita No. 2 ( Die Kleine Kammermusik )
(1681-1767)
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GAVOTTE:
. from Sonata for Flute in C Major, Op. 1, No. 7
GEORGE FRIDERIC HANDEL

Tempo di Gavotta ( 1685 - 1759)
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Copyright © 197 7 by Carl Fischer. ·1nc .. New York

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MARCH
Allegro ( 1685 - 1750}
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e;;::.., r,...,..r"'>r-.r- ~ ... , .~,..°' f\l.o.u 1 y..,.'"1, 1\1 V 1 nr,n:1,
THE:
CLASSICAL
d E:RA
1 1
(01)
(01) The incredible n1arriage of unearthly naïveté and worldly sophistication is perhaps
projected through worldly artfulness, is nowhere more perfectly manifested than in
the music of Mozart. ln tact. that other master of the age, Josef Haydn, was moved to
say that if music lovers couId understand Mozart's music the way he himself did, "nations
would vie with one another fo possess such a treasure within their walls."
This period, beginning about 1750 (with the death of J.S. Bach) and ending about
1827 (wlth the death of Beethoven), de rives its name from the renewed interest in
Greek (Classical) architecture and its elegant display of rigorouslycontrolled form. ln
a similar manner, the qualities of clarity, grace and restraintcharacterize the music of
and Mauro Giuliani. Here, as ln the Baroque, the style originated in ltaly but was
brought to its zenith in Germany.
singable (cantabile) melodies supported by harmonie textures of the utmost clarity.
•
14
ornaments such as the tri ll and the mordent were re tained as symbols. The
ornamentation itself did not disappear but rather became an integral part of the melody.
Ex. 3 shows how bar no. 11 of Mozarts Andante ( K. 545) would appear had it been
Ex. 3 Andante - Moza rt I K .545)
lmea. no. Il)
Ir
Mozart (written)
11 r t ·u11
,Baroque (written)
A true expression of t his music w ill be achieved by playing gracefully while striving
for a sense of c harm and w it . The tempo ought to be held fairly steady using rubato
judiciously and infrequently. Dynamics (p, f, cresc, decresc.) play a very important
role but must serve to underscore the formai balance. ln other words, dynamics are
of the music.
For a more complete experience of the Classical spirit one might investigate the
marvelously precise drawings and paintings of.Jacques-Louis David and Jean-Auguste
The following books may also be of value for additional information on

the Classical period:
1. Einstein, Alfred. Mozart: His Character. His Work. Tr. A Mendel

and N. Broder. New York: Oxford University Press. 1965
Norton & Co .. Inc., 1940
3 . Lang, Paul H. The Creative Wor/d of Mozart New York: W. W
Norton & Co .. Inc., 1963.
• 15 .
16
MINUET
' WOLFGANG AMADEUS MOZART
. (1756-1791)
Allegretto con graz10s0 fcl
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::----._ • ~ \ Fine TRIO @
' r .fCft 1§ t t I r ',111, •p r I t

cantabile
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rut
D.C al Fzne
' ' 1:F I rtq t I F I f rr I r

Ê Ër r F I r r I Ê ,11
*~
~ = 1fr5::--,,
EF
C:
(Turns ( .... ) may be omitted. Trill fingering on D facilitates tum)
.
ANDANTE
from Sonata in C Ma;or for Pianoforte, K545
Andante ~ ( 1756 - 1791)
!.
1 @ü ~ F filf 1 0 J 1 1 r· tf Q I Q J 1
1,

• 62 Coooer Square, New York, N.Y. 10003
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17
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N6028
•
18
TWO G€RMAM DAMCE:S
No. 1 LUDWIG VAN BEETHOVEN
(1770 -1827)
No. 2
Copyright © 1977 by Carl Fischer, Inc.. New Yor k

t 62 Cooper Square, New York, N.Y. 10003
DAGAT€LL€ 19

(1770 - 1827)
Lento
~ '
cantabile
1r U1Q l>I
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1
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tf 'J p
m.ç~=== •
dim. e rit.
1 r
.' '3
SPRIMG SONG
~r[
(1756 - 1791)
~
il
Allegretto giocoso
l ff
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C.,pying or repr oducing t his publication in whole or in part
violates t he Federa l Copyright Law.
N6028 Ali rights reserved including public performance for pro fit.
20
RONDO
Theme from Concerto in D Major, Op. 27
ü [z] 3
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1
1
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GAVOTTE
Animato
1
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( 1734 - 1829)
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'
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viola tes the Federal Copyright Law.
hll -:.-.k-1-.-. -~~~-,, ~..J :~~1. . ....1:_ _ _ ,,l..l:. - - -"- • · - - - - - - - 6.- . . _,,,
21
. , _ · !:.
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ttutttt I f
Fine,
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f rit. a tempo
[lZl
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.
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POLONAISE:
(1756 - 1791)
Andantino '°' ~ :""\ ~ . . ..,...__ ~
5trr~r· 1
E'f:t trtrci 1
@rfü 1
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r r rr
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€RA
1 1
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~, Jt'lf/. ,,.o,/ . /,.~,, w-,,.,,~·, ~- ~ I ,:,;,·,~• { j ,,,Jn , 1;,,,11/,(1,,,.,/1,, 1; 1 '. _
"Romanticism is preéisely situated neither in choice of subjects nor in exact truth,

but in a mode of feel ing ... intimacy, spirituality, color, aspiration towards the infinite!"
Such was the prevailing artistic mood at the middle of the 19th century as stated by
one of the greatest poets of that time, Charles Baudelaire. lt was the 19th century
which saw the artist freed !rom the restraint of social and religious conventions. He
began to look within himself. The idea of an "external self" and an " inner self " was barn
and is still very much al ive to this day.
Musically this meant that the "Classical" concern for the balance of form and
content became subordinated to the expression of persona! emotion. Th us it was
Ludwig Van Beethoven whose late works broke with the formai and emotional restraints
of the Classical style and signaled the entry of the Romantic. The hundred years following
his death in 1827 witnessed a volumi nous outburst of compositions of the most
astonishing diversity. A sampling of this great variety and diversity begins with Schubert,
Chopin, Schumann, and Liszt, continues with Grieg, Tchaikovsky and Dvofak and
ends with Wagner, Mahler, Strauss and Rachmaninoff. Formai considerations were
pushed to such extrernes that Chopin cou Id write a prelude lasting thirty-five seconds
while a Mahler symphony might have six movements, the first being forty-five minutes
longI
Now all was poetry. Painting, sculpture and music were treated as visual and aurai
poetry. Paradoxically, the poets were writing " music." Music became a vehicle for
•
22
emotional state. One of the first to explore these hitnerto uncharted reg ions was the
are extravagent symphonies of col or. Of no Iess grandeurwere the highly imaginative
flights of such poetsas Hugo, Goethe, Lord Byron and the aforementioned Baudelaire.
the 1940's, the movernent had burned itself out by the beginning of the 20th century.
Nevertheless, its powerful spirit lives on via recordings and the concert hall where the
larger portion of most programs are drawn from the Romantic repertoire.
A convincing performance of this mu::;ic will be characterized by a careful molding
of the melody, a flexible give and take in tempo /tempo rubato) and a compassionate
rendering of its musical and emotional "meaning _"
For further readings, refe r to the following soorces:
1. Einstein, Alfred. Music in the Roman tic Era. New York:

•
23
24
LITTLE: ITALIAN SONG .
trom Album for the Young, Op. 39, No. 15
. PETER ILYICH TCHAIKOVSKY
( 1840 ~ 1893)
~ ~ ~ ~ t ,,-.i ~ .
u I r t -r1 etJ Ir
Grazioso
i~ ~.
~ ;I g 1 (J 1tt; 1Er r Ir· 1~
VALS€ S€MTIM€NTAL€ FRANZ SCHUBERT

(1797 - 1828)

• 62 Cooper Square, New York. N.Y. 10003
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25
THE: SWAN
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SE:RE:NAD€
( Stàndchen)
Andante con moto FRANZ SCHUBERT
rit. r.;-i a t empo ( 1797 - 1828)
5
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26 ••
TWOLAMDLE:R
Op. 33,
No. 1 FRANZ SCHUBERT
( 1797 - 1828)
Allegretto
f"nl optional
L.fü 8va ___ _ _ _
[z)
a tempo ~ ~
1 f?? •t I r· ~ EEJ 1
decresc. _ _ _ _ _ _ _ _ _ _ _ _ _ _ rit.
No. 2
Con grazia
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27
MAZURKA
Op. 67, No. 3
FREDERIC CHOPIN
( 1810 - 1849)
Allegretto
%
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Rubato
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C~ ying or reproducing this publication in whole or in part
Nn028 Ali r ig hts reserved including public performance for profit.
THE:
TWENTIETH
CENTURY
If one were to listen to a number of Minuets by Haydn, Mozart, Bach 's sons, Clementi
and Beethoven one after another, it would be immediately apparent that, while individual
i n character i n many ways, there are ma~y similarities which create a feeling of
"sameness" arn ong them. A repetition of this experiment using pieces by Debussy,
Stravinsky, Bartok, Ives, Shoenberg, Prokofiev and Ravel would c reate quite the
opposite impression. We now have a stylistic diversity from one composer to thr next
which isat once veryexciting and highlyconfusing. The pursuitof individuality, begun
in earnest by the Romantics, has continued unabated to this day and is one of the
ln the 1890's a departure from the harmonie practice of live centuries occurred
which marked a major turning point in the evolution of modern music. One c omposer
~
freely shifting harmonies and organically developed forms, we find the seeds of the
modern approach. At the sarne time (late 1BO0's, early 1900's) enormous changes
And while Ezra Pound and James Joyce were giving voice to the modern sensibility in
poetry and prose, Sigmund Freud ana Albert Einstein were challenging ourconcepts
•
r--
understanding of his musical character be developed. Unfortunately, there is l[ttle else
to be said about performance style in the 20th century. However, what can·t be said
can be heard since there exist both recordings and live performances of the works of
early 20thcenturycomposers. ln manycases the performers may have special insight
as to style owing to acquaintance with the composer himself. Such is the case with the TWEMT1€TH
ICENTURYI
Further readings which rnight be helpful in understanding this period are:

Co., 1941.
•
29
30
PROM€NAD€
from Children's Suite , Op. 65, No. 2
SERGE PROKOFIEV
(ï;""l (1891 -1953)
Allegretto L.fu
J~ »~ -
1
3
-:'I -l #i$.
_1 ~~
dolce
1f 1 E "'C&. '1r Ür F• I J.
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0
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mf
@fü
r§ r r D 'r ·rs~,tD , y@r I ri r d p
2
l 1 ,
dim.
-
do lce
mp
11 Il
62 Cooper Sciuare, New York, N.Y. 10003
Copying or reproduc,ng this publication in whole or in part
• violates t he Federal Copyright Law.
\
LITTLE SONG 31
DMITRI KABALEVSKY
( 1904 - )
Andante
'
p Cantabile
[fil
ŒJ
~~() ' 2
1
.1 t1 cJ r r 1
m.f
2
Il
mena
,
PAVANE POUR UNE INFANTE: D€FUNT€
MAURICE RAVEL
1r7 ( 1875 - 1937)
Dolce, ma sempre sonoramente ~
~u 0
p
QQJ I nnw w
---===c:==== '...._./ =
·1 Ft©
-=====
1J @1 w ·@ID I J ~ 1
poco nt. ·
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mf largamente
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p
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'
mf
sost.
- - - - - p
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poco più lento a tempo
~ ~
r 1rrrrrr
,- ,,..-....... I:'\'
f
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wp
c Gr1
mf -

€ opying or reproaucing this publication in whole or in part
Nfi028 Ali riçihts reserved includinçi oublie performance for profit.
32
, allarg.
1 f)rÎF I f' r r F I -----====

-==== rit.
f'. ' F CT[ -
===--PP
Il
I\
R€V€RI€
CLAUDE DEBUSSY
lcl (1862-1918)
nr ren: f] rTrl
Andantino _ ,,,.-~
~ 'C 1
2
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Sostenuto pp
rêt( fr CI I 1
~ &_] 'lJ 0 s2& '1 r ~ ER lJ (Çftr'ITT D 1

mf
1
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' ' f?tt .ê.It &U t:_/fl l J J '1 f~ , éff rfi ---......__.,,, p
poco rit.
~ -i ê):t~
E r r I r ·•fr I r r(If' r r I r r r If' r
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1
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-
J~ ,f f #f ·1 1 @ Et I t #f •1~ fil
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Et I r n L@
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1
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F 1 -
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1
pp
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pp
(n J2J
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9.c
sf mf

1 62 Cooper Square, New York. N.Y. 10003 •
Copying or reproducing this publication in whOle or in part
violate,s_th 7 F,ederal .~opyri~~t _L~':": _ , _____ ..
33
ffiQ) a ·tempo
1 , a ,1 J n J~J I w JJ 1
~üb Û f:f ·1 fff't

m.f
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pp 3
PP perdendosi =====--PPP
N6028 •
34
TH€ M€CHANICAL DOLL

DMITRI SHOSTAKOVICH
(1906 -1975}
"i_ ~ AU~· ' . ~ . • ~ ,(I] . . f- ~ • *. _,;_
~ 41 ! gj& lt! lf ljllt l t1 i:tl l{itü Ir r IFClÊ.f 1
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~, t.Hf.rnffify 1r1Ur W@1 j?Q I afjVr, t, 1 1 I 11

.,P =ff O
0
cresc. ,,7 *Fingering to facilitate g -J.
Copyright © 1977 by Carl Fischer, Inc., New York - f al high B O

· 62.Cooper Square. New York, N.Y. 10003 op lOn · . g1trl, 2
Copy~ng or reproducing th is publication in whole or in part
N6028 violates the Federal Copyright Law. Dj j,
Ali rights reserved including public perfor mance for profit. .J,
LJ[X]~
~©~~~@ill)[Q;
@00~
An introduction to the music of Bach, Handel, Mozart,
Beethoven. Schubert, Chopin, Ravel, Debussy, Prokofiev
. and others. The arrangements found herein have been
these masters in a relatively easy and enîoyable setting.
The music is presented in four historical periods; Baroque,

Classical, Roinantic and 20th-Centµry with an introduction
to each touching on a few sa lient a$'pects of our cultural and
musical past. ·
The " Play-along" record included enables the student to

hear a sampling of the pieces as performed by two accom-
plished musicians as well as play along with either instrument
separately.

30 Duets For Guitar & Flute (Or Any C Instrument) - The Rosewood Book - PDF Versión 1

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30 Duets For Guitar & Flute (Or Any C Instrument) - The Rosewood Book - PDF Versión 1

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strument)

0th centuries transcribed

MUSETTE from The Notebook for Anna Magdalena Bach

An anthology of music by major composers

MARCH from The Notebook for Anna Magdalena Bach

Ml NUET from Eight Minuets & Trios for Pianoforte, K315a

ANDANTE frorn Sonata in C Maior for Pianoforte. K545

. TWO GERMAN DANCES

RONDO Theme from Concerto in D Maior Op. 27

THE SWAN from Carnival of the Animais

TWO LANDLER, Op.33

MAZURKA, Op. 6 7, No. 3

PAVANE POUR UNE INFANTE DËFUNTE

THE MECHANICAL DOLL

Ga7::,~:_--,, ~a;{jel ' ~ . r f. t r Il

from The Notebook for Anna Magdalenq B ach

JOHANN S EBASTIAN BACH

Copyright © 1977 by Carl Fischer, Inc., New York

JEAN-PHILIPPE RAM EAU

Copyright © 1 977 by Carl Fischer. Inc.• New York

Copyright © 1977 by Carl Fischer, Inc., New York

from Sonata No. 2 in Eb Major for Flute and ~arpsichord

Copyright © 1977 by Carl Fischer, Inc ., New York

from Partita No. 2 ( Die K/eine Kammermusik

GEORG PHILLIP TELEMANN

The following books may aise be of value for additional information on

1. Einstein, Alfred. Mozart: His Character, His Work. Tr. A. Mendel

WOLFGANG AMADEUS MOZART

Copyright (.Ç) 1977 by Carl Fischer, Inc.. New York

WOLFGANG AMADEUS MOZART

Copyright © 1977 by Carl Fischer, Inc., New York

* ,- ·-= hold 2 throughout

LUDWIG VAN BEETHOVEN

.; .; ~ :----.._ ::; fl-

Copyright (C) 1977 by Carl Fischer. Inc., N ew Yor k

Copyright © 1977 by Ca rl Fischer, Inc., New Yo rk

"' m•------- ---- "!i .. 1

Copyright (C) 1 977 by Carl Fischer, Inc.. New York

WOLFGANG AMADEUS MOZART

cresc. dim. e rit.

Copyright © 1977 by Carl Fischer, Inc .. New York

Theme from Concerto in D Major, Op~ 27

Copyright © 1977 by Carl Fischer, Inc ., New York

t=or further read ings, refer to the following soorces:

1. Einstein, Alfred. Music in the Roman rie Era. New York:

Copyright © 1977 by Carl Fischer. Inc., New York

Copyright © 1977 by Carl Fischer, Inc., New York

Copyright © 1977 by Carl Fischer, Inc., New York

decresc. ______ _ ________ rit.

Copyright © 197 7 by Carl Fischer. Inc .. New Yor k

If one were to listen to a numberof Minuets by Haydn, Mozart, Bach'ssons, Clementi

1. Austin, William W. Music in the Twentieth Century. New York:

Cop"yright © 1977 by Carl Fischer, Inc., New York

Copyright© 1977 by.Carl Fischer, Inc .. New York

poco più len to

Copyright © 1977 by Carl Fischer, Inc., New York

I-- ------- - - - - - - - - - - -, a tempo

' ,,,...-:----; .---3--,

*Hold B ~ throughout measures 76-79 if possible .

@-D " C " '

..,,. ' .i. n TJ

r· ~r· r· @]] r·• -r·

r,·D.C al Coda 1 f if ~~d: ·3t·

Ga~a,:. -a;ldel ' ' r F j r Il r E Pl