The well tempered flute

Volume 1

Volume 2

 

 

The flutists write about the following opera:

 

 

19th January 2017

 

Hello Riccardo,

Thank you so much for the lovely books. Very impressive.

I think they are both very good and am sure they will find a place in the teaching world. 

They are great and beautifully produced and all you need is to get lots of people buying them and using them.

I would be happy to recommend them.

James Galway

 

 

“First of all I appreciate the commitment necessary to improve the libraries of us flutists with a product ALL Italian. Very clear in the objectives to be achieved, I believe that the book is really exhaustive and that manages to bridge the gaps in similar technical texts currently on the market.

To decide to use, since the first years of study, the full text in its entirety, definitely allows a “trend” uniform, so as to create the basis for a real flute-playing.

The drafting of the volumes worth, absolutely, the most widely publicized.”

Antonio Amenduni,

winner of numerous competitions, he worked with prestigious orchestras including: E.C.Y.O. , Wiener , Opera ” of Rome , the Berlin Philharmonic , Maggio Musicale Fiorentino, Teatro alla Scala in Milan. He is teacher of Flute at the Conservatory of Music of Foggia

 

“One of the things I do study more to my students are the scales and arpeggios, over the years on the sound. I find this method characterized by ideas to face this study often considered boring, so imaginative, fun and productive.

I find it a valid and complete handbook to accompany the existing texts relating to the daily study. I recommend a careful study. “

 Andrea Oliva,

first solo flute of the Accademia Nazionale di Santa Cecilia Orchestra in Rome,he collaborated with the Berliner Philharmoniker and with the Bayerische Rundfunk Orchestras and with the Chamber Orchestra of Monaco , he worked also with the Bamberg Symphony Orchestra, the Mahler Chamber Orchestra and the Chamber Orchestra of Europe. Flute principal teacher at the Conservatory of Italian Switzerland, Lugano.

 

“This text is a valid support for the technical study, is simple to use and well structured. Copes with innovative technical difficulties encountered in daily study of the flute. Years of experience of Maestro Riccardo Rinaldi and his compositional skills have resulted in a text that care not only the technical aspect but also melodic, making these exercises – divided by ambito- pleasant and never repetitive, a cure-in ‘ scope of studies daily. “

 Roberta Zorino,

graduated with honors at the age of 15, student of Sir James Galway, awarded inseveral national and international competitions, she worked with the following orchestras: Maggio Musicale Fiorentino, Haydn of Bolzano, Regionale Toscana, Pomeriggi Musicali in Milan, Teatro Comunale in Bologna, Filarmonica Toscanini and Cherubini.

 

 

Description and opera goals:

 

The book begins by noting that, still, many tonalities, especially those one with many key segnatures, are almost completely ignored. It is sufficient as an example a brief statistic: adding exercises of only two didactic works in use for over a century in italian conservatories as 4 Hugues duets op. 51 and 3 Kohler op. 33, only 3 of them have 5 or most key segnatures than 115 total exercises: less than 3%, compared to 40% to equal treatment.

And the situation, except for the master studies of the old scolastic system, is not so different to the other books adopted in the whole course.

This teaching decision produced in generations of flutists an insecurity in dealing with these tonalities a bit ‘”mysterious” and unpleasant.

 Some technical passages, in fact, although fragments of diatonic scales or arpeggios, are somewhat unmanageable even to professional flutist, just because they belong to an unusual tone.

To reverse this trend, I decided to propose a collection of exercises that devotes the same space in all tones to acquire, with practice, the same technical safety and comfort in all of them.

From here, as a tribute to the great german composer, the title of this book.

“The well-tempered flute” is not a method; inside it is not respected any gradation in difficulty of the exercises.

Inside specific elements regarding the emission of sound are missing. The breathing technique are not mentioned. For all of these points is asked to look for in other texts and by the teacher trainer.

This collection of exercises, divided into short chapters and in two books, aimed essentially at two objectives: to enable the student, through practice of the following exercises, to play without fear in the third octave, and make it easier to read music in any tone.

The first book is divided in a very brief introductory part concerning the preparation of sound followed by a proposal for the muscle reactivation of each individual finger. A later part, wider, is dedicated to the study of scales and arpeggios.

The second book in the central part is devoted to ornaments; but short chapters are devoted to the study of intervals, chromatism, triple tonguing, sound flexibility and to the harmonics.

In the book there are no cold patterns on which to apply the various alterations and even melodic studies. It is considered, instead, small musical forms, easy to remember, to be transposed in all tones and, often, to the extreme weaving of the instrument.

The benefit that can be obtained from these short exercises is that, remembered the first short element, not being required to read every note (because to transpose the same celli is needed), the player can focus on aspects such as an accuracy technique, the homogeneity in the sound, the balance of the sentence, correctness in posture, muscle relaxation, or other. To study in this way represent an excellent opportunity to initiate a process of self-listening. Analyzing themselves in the act of playing, through the acquisition of greater awareness, can improve our general approach to the instrument and to the musical score.

 I would like, finally, to point out that the text, since its inception, has a note of originality. Every exercise, in fact, begins from the impromptu and not from a scientific treatment.

Myself, in the absence of books available, in order to correct some of their technical inaccuracies, found himself to spontaneously inventing some sequences of notes, scales and arpeggios of all kinds, sentence fragments adorned with ornaments and small modules consisting of a few bars easily transponable in different tones. Verifying some use to himself and to his students, he decided to write them down and rework.

By the reorganization and the skimming of this material was born this book.

Donein in over several years, also pinned in filling loose sheet, this music,, has recently been rearranged to form a unitary collection ..

Many of them are simply rhythmic-melodic cells transposed in all tones, but in some of them still sees the freshness of impromptu.

There is no denying that long notes, scales, chromatism and ornaments evoke a sense of heaviness and boredom, and often represent only a daily burden.

Even myself, as probably every player, studied on the known methods, with scales, and technical exercises. He never would have thought that the subject could become so interesting and almost amusing.

And yet … ..