2024 TMEA FLUTE ETUDE 3 Karg Elert Op. 107/28 Bb Minor

FREE ACCOMPANIMENT TRACKS
1) Flute & Piccolo (Practice speed; Dotted Eighth = 30):
https://drive.google.com/file/d/1G92A...

2) Flute & Piccolo (Performance speed; Dotted Eighth = 52):
https://drive.google.com/file/d/1QPCl...

FREE PDF: Duo Part to play along with Etude #3
1) https://drive.google.com/file/d/1XkP_...

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Flute and Piccolo Selection 3
Etude Title: Op. 107 / 28
Page(s): 58
Tempo: Dotted eighth note 50–72
Play from Beginning to End.
Errata:
Clarifications: All slurs that end with a staccato note under a slur, should be slurred into and released as a short note.
Play the last notes of all slurs this way, with or without the staccato release.
Piccolo: play as written

m. 2 – 14th note should be B-flat.
m. 2 - last note should be a sixteenth note.
m. 4 – 11th note is A-flat. (The accidental does not carry across the octave.)
m. 6 – 21st note should be G-flat.
m. 8 - 17th note should be C-natural.
m. 12 – The third slur of this measure should begin one note earlier (on high E-flat) and continue to A-flat as written.
m. 16 - The last note is B-flat.
m. 16 - Add a sixteenth rest after the last note.

Performance Guide:
This challenging etude is fun to play and should sound easy and fluent (“Sciolto”) throughout. Start very slowly using a metronome with a triplet subdivision (4/8) rather than 12 sixteenth notes per bar (12/16). Be very careful of the rhythmic relationship between 16th notes and 32nd notes. As you approach the recommended tempi, this piece should have a feeling of a waltz. Remember, it's always better to choose a slightly slower tempo and play clean and controlled, than to play too fast and sloppy; play the fastest tempo you can play WELL!

As in all Karg-Elert compositions, it is crucial to analyze and understand the harmonic structure of this caprice. To quote Karg-Elert: "The instrumentalist who does not intend to be led blindfold from one note to another, but wishes to conceive the figure as a logically and organically constructed whole, must first of all recognize the harmonic function of a series of notes. Without knowledge of harmony, the instrumentalist will not succeed in grasping the correlation between different single notes."

Initial preparation for this piece should have a strong emphasis on the chromatic scale, dominant 7th arpeggios, fully diminished 7th arpeggios, and augmented harmonies. Look for patterns throughout the etude: chromatic scale, arpeggios, seventh chord arpeggios, and sequences. For the greatest technical fluency, spend some time deciding which of the 3 fingerings for B-flat is most efficient in each passage.

Strive to maintain a consistent tone in all registers. Keep the airflow steady and use a flexible embouchure to attain smooth, connected slur, especially through the large intervals. (Think of blowing between the notes.) Be sure you are not moving your head, rolling your flute in & out, or using your throat to “help” with the large intervals, but rather, make slight adjustments to your air direction.

Dynamics may be added to enhance the forward movement and to add shape to the line throughout the piece. Tempo should be steady throughout this etude with absolutely no ritard or rubato until m. 16 where a slight increase in tempo (“precipitando”) is indicated by the composer.

Terms:
Sciolto – Easy, unrestrained, fluent
Elegante - Elegant
Rapido – Rapid, swift
Brillante - Brilliant
Appassionato - Ardent, impassioned, heated
Precipitando – Rushing ahead, impetuous, to hasten

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