Nevermorealone Piano Accompaniments to the most famous educational line works for flute J. Andersen 18 Studies Op. 41 24 Studies Op. 33 A. B. Furstenau 26 Übungen Op. 107, Book 1 R. Galli 30 Exercises Op. 100 G. Garibioldi 20 Ètudes Mignonnes 58 Exercises L. Hugues 20 Duets Op. 51, Book 1 20 Duets Op. 51, Book 2 20 Duets Op. 51, Book 3 20 Duets Op. 51, Book 4 E. Kohler 15 Übungen Op. 33, Book 1 12 Übungen Op. 33, Book 2 8 Übungen Op. 33, Book 3 Romantische Etüden Nevermorealone project: …edited by Riccardo Rinaldi Hugues, Kohler, Furstenau, Briccialdi, Galli, Andersen, Gariboldi, are all names of musicians of the past that can evoke in the flutist a sense of coldness and dryness. The time spent on studying music texts containing difficult technical passages with the need to come out on top for the lesson, often does not leave a good mark in the memory. And surely it is questionable ourselves if the technical steps that we are called to learn have a meaning, if they are placed in a wider context, and if a certain harmony can justify them Despite the piano accompaniment is too elementary I think, we can conclude that, approximately, has been realized that the original author had in his mind. In some songs there are recognizable popular themes or folk, others one show a jazz vein, or they seem to come out from the Italian operetta of the first ‘900. No shortage themes apparently taken from the opera, or clear or austere themes as if they were “asolo” orchestra. In some cases there is a need for a much richer accompaniment: a true “all” orchestral; in other cases, such as in lenses themes, for the rapid succession of harmonies, one might intuit the contribution in section of woodwind instruments such as the oboe, clarinet and bassoon. Various authors have created serious or playful themes, slow or virtuosic, humorous or dramatic, but in any case the harmonies of the piano part enhance the melody of the flute and boosting its expressiveness. Moreover, the mere fact of playing with a second instrument as a moment of verification after a long and painstaking work performed in front of the pages of a book, often gives the player fulfillment that repays the earlier efforts. We point out that the piano accompaniment was not recorded in the recording studio, but in a simple house with no professional equipment. There are audio noises, hisses, and different “domestic” noises. The various exercises were recorded in average speed taking into account the level of preparation of the students and proposed as study. For a different interpretation of the phrases sometimes the position of breaths has been changed compared to the one proposed in the texts on the market. In relation with the most important breaths, that is to say those that delimit the phrases, the piano accompaniment allows a quick stop. The final reprise of the main theme is highlighted by an evident slowing down. It is not required, except for rare cases, a dynamic alternation. In this respect, within the texts, one can express freely according to their sensitivity. In many cases it will be noted, however, that close to the end, one is keen to perform an accelerating since, both the speed and the intensity of the sound of the accompaniment, tend to increase. Choruses are not considered. If, however, at the bottom of the exercise is the call to come back again, you will use this mode in order to have a proper ending. The composers will find, by listening, several inaccuracies both stylistically and technically also because the harmonization of the song was not transcribed on the staff. The piano accompaniment, above all composed by chords, was played freely using simple acronyms such as those used in light music, pinned on the same flute score. The aim was not to create a perfect product from the stylistics point of view. but only to provide the students with a possible key about the interpretation and to allow the solo instrument (too often alone) to adjust itself about the intonation with a reference instrument such as the piano.