Practice with Me Cantabile et Presto Part 1 Cantabile
Today's practice with me is practicing that fabulously fantastic and beautiful flute solo,
Cantabile et Presto, by George Enesco.
We're going to start off with the Cantabile of this piece.
It would be way too long to talk about the whole thing all in one video, so let's just
talk about this Cantabile.
If you have the music, go get it.
Get it out, and either play along, and bring a pencil, and mark things, or listen, and
then buy the music, and then come back and do it again, and look at the music.
Hopefully, you're familiar with it.
It's a great solo.
It's very well known.
Almost everybody in high school and in college plays this piece somewhere in their life,
and it's well worth your time.
So, let's begin by looking at the first few measures, which is what I played in the intro.
So this would be the beginning through the beginning part of measure six, and let's talk
about it a little bit.
So it begins with this nice, it says to make it very Cantabile, very singing style.
It starts off with those first four notes.
Okay, now there are two options for you, and a lot of times we think of long notes is that
we have to build them, and move them into the next note, which would mean the F moving
into the A♭, the F dotted half note.
So, I really pushed that F into the A♭, but I
think in this piece, because of its really subtle opening, that you don't want to do
that.
It's not as if you want to play those beginning notes just totally separate,
Because that would be equally destroying the beautiful line, but I think letting each two-note
motive here, just drop a little bit and then come back in with the next one before you
get into your triplets, is a really beautiful thing.
So, let me try that.
So, I think that the way that I bring in those two notes, and they just set the stage for
what's coming later.
I'm not giving too much away, I'm not starting off too big, but I'm just giving this little,
beautiful two-note motive here.
Alright, next come the eighth notes and the triplet, and what you want to make sure you
do is take the breath that's marked.
It's marked in here.
This is from a time period where composers wrote those in, and you want to do them.
Sometimes, they're very dramatic, and they're part of the music.
Other times, it's just good breathing.
So let's take that breath.
We're going to start at the beginning, and then I'll play through the triplet section,
and then we'll talk a little bit more about that.
So, there is a "tah" at the beginning of each, little motive here, after your low
C, so you're tying an eighth note to the next eighth note, the beginning of the next measure.
Make sure you put a tah on those: tah, da da de dah, tah, da da de dah, tah, da da de…
Also, that low C can sometimes be hard to get to, so any chance you get, you stretch
your finger down there ready.
So, after I play the E♭, D, F, A♭, and I'm going back down to the C, you can see
that my finger is ready to go down.
I'll do that again, so if I'm playing E♭, D, F, A♭, and on the A♭, I'm stretching,
ready to go, because if I don't, I'm not going to make it in time, or I'll be leaking some
of these keys.
I really need to set that up to make sure I'm covering all the holes in my keys.
The next little tricky thing happens right at the beginning of six, where you have a
little bit of a breath accent.
You're still slurring into measure six.
You have a breath accent on a dotted eighth note, then a little diminuendo, so you want
to sound something like this.
So, I'm just breathing.
I'm not tah-ing it.
And then, I'm just closing my embouchure hole a little bit, so that that sound just tapers
off.
I don't want to end…
Because it's kind of ugly, so if I just close off that embouchure a little bit, then I will
end that first opening phrase beautifully.
So, I'm going to start back where the eighth note into the triplet begins, right after
the breath mark.
So, that's what I'd want to do.
I really want to get that breath accent, but not make it too disruptive of the opening,
beautiful, melodic line.
Alright, now I'm not going to read the French words, because I do not have a good French
accent when I do, but it says to play them a little bit with a hesitation.
They have tenuto marks under them, and a teacher of mine said, "Make them sticky," so we're
not going to play these, starting the second half of measure six, we're not going to play
them short or accented Alright?
That doesn't add this beautiful line.
We want to keep this really thick and beautiful line going, so I'm going to make them a little
bit sticky…
And then I end on that D. When I get to the D, it has to be soft.
I'm not starting it terribly soft, so I am going to make sure that by the time I get
to the D, where there's a little bit of a crescendo, that I have a soft tone, so I have
somewhere to go with that.
So, let's go back to the sticky part of measure six.
Now, what I've just found out is I didn't take a really good, big breath, and when you
start that hesitate section, the second half of measure six, you need to get a big breath
if you're going to make it to the next breath mark, which you really should, okay?
But sometimes, that's hard to do, and I have many students in high school that can't make
it.
So, let me tell you, a good place to snatch a little breath, and it's at a place where
you don't necessarily need it just yet, but if you're going to make it to the next breath
mark, which is right where I stopped, you should take it.
So, you want to take it in measure seven, right after beat four, so right before you
play the and of beat four, you're going to take a breath, if you need it.
If you don't, then take a big breath right before you start that second half of measure
six, and make it all the way to the next one.
Okay, so this part, you want to keep it just smooth and beautiful.
The tricky part here is because you need to diminuendo up to measure nine.
You have to diminuendo all the way up into there, but you know what?
I think if you just play measure nine delicately and beautifully, it'll sound soft.
So, if I just play…
And I think, "That's the sound I want when I get there," then I'm not going to worry
so much about diminuendoing but thinking about the sound I want once I'm there.
So, let's start at measure six, and I'm going to go all the way to 10.
And you definitely have to take that breath there, but most likely, you'll need it, okay?
So, you're going to take that breath, and don't let the B♭ die in-between the two,
so when you take the breath in between, you have to come back in at the same level that
you left off when you took your breath, so if I do...
I'm maintaining the same intensity and the same excitement there, not doing...
It's a little lackluster.
So, I'm going to keep that excitement.
I'm going to go on a little bit, starting in measure nine…
Alright, so that's a really beautiful section in this melody.
Let's talk about measure 10.
You have that crescendo.
That's okay to do.
I like to do crescendos by opening up my teeth a little bit, opening up my cavity.
So, if I open up here, measure 10…
I opened it quite wide, and I think you could see my jaw lowering as I did that.
That helps me to get that crescendo without blowing too hard, which of course, then, would
make me sharp.
Make sure you take that breath and come in…
And here's two of our tenuto notes.
Make them sticky…
Now here, it's diminuendoing, and you take this breath, so you want to close your jaw
a little bit, and let that sound diminuendo there.
Let's I'll just go back to the pickup into measure 12, so...
And there's a crescendo again on those low notes, and I just did it by opening my jaw.
I'm going to pick up into measure 13…
So that part's a little intense.
You want to let that intensity build, and let it be a good vibrato, nice and fast, and
let that tension build, because all of a sudden here, you just break it off…
As if you were having a really intense conversation, and it's getting more and more intense, but
wait, oh, you're going to back off, because it's not a relationship you want to kill.
So, you're just going to back off and let go of that.
Okay.
Now we're moving on.
So now we have the triplets.
That would be measure 17, after the hold.
These, again, we're not going to push them forward.
We're just going to play them, just make them nice.
I think of them, just, it's a summer day.
Just make them nice.
You're just strolling along…
And if you can, put a little heaviness, a little leaning on those tenuto notes that
are beginning…
It's a little tricky, rhythmically speaking, right through there, so you want to just get
that rhythm, and make sure you're aiming for that low C. Oh, so many students I've had
just, you know, missed that low C, because their fingers aren't ready to get it.
Okay, now here's the tricky part.
When we get to the groups of five, they are always, almost always, played too fast.
So, here's what you want to do.
If you're counting, so we're going one (singing) one, two.
I want you just to count to five.
One, two, three, four, five, one.
One, two, three, four, five, one.
When I have students count it, it ceases to feel so fast, so if you're just thinking,
"I'm just going one, two, three, four, five, one.
Then I have another.
One, two, three, four, five, one," And then it's a six.
One, two, three, four, five, six, one.
It's just slightly faster than the five.
Don't rush it.
Just say those numbers, and you say, "I can say them pretty easily and smoothly."
That means you can play them easily and smoothly.
So, let's go back to where the triplets start, in what would that be?
Measure 19, after the hold, and…
Take this breath…
And you want to end forte, so you've got to take your breath where it says to, and then,
don't use it all up, so that you've got a ways to go for that crescendo.
Now, if you need to, there's some other good places to take a breath, and I've certainly
had students do, and every once in a while, when I haven't planned it carefully, I've
snuck a little breath in there.
It doesn't ruin it.
So, you can take a breath after these dotted C's.
Take a breath after the C's, in-between the C and the E♭.
It works very nicely, just to sneak a little one in there, so that you have somewhere to
go when you come up with this…
Because you have to come in still forte after that.
Let's keep going, tenuto again, make them sticky…
Now, I didn't take the breath, so I had to sneak one in elsewhere, so take the breath
as I just demonstrated.
I'm not going to make it if I don't take that breath where it says to.
And then you have sixes, and then it's a diminuendo after your groups of six.
So again, say: One, two, three, four, five, six.
One, two, three, four, five, six.
One, two, three, four, five, six.
They're not that fast, and you can come up them.
Let's begin after the breath, in measure 25.
So, it's a little bit strange, because it's on the 4/16 note of beat one…
So, as I come up that run, I'm going to close up a
little bit, so that my sound gets softer, and I end on that high B♭…
My teeth are much closer together, my embouchure hole is small, but I'm not pinching in here.
I'm not doing it because I'm making it very tight.
I'm doing it just because inside, I feel like it's really big, but I'm just closing the
opening so less air can come out.
Let's just go up the run, on beat four of measure 25, and diminuendo on the way up to
the B♭...
So, I feel like that's sort of delicate, like the opening, when we have that delicate section,
and that was also on a B♭, and it's a little variation of that opening theme.
So, let's just play it really delicately.
I like to think delicate rather than soft.
Let's just start on that measure, which is measure 26…
Crescendo there…
So, you want to just play that.
It's not a hard little passage right in there, but diminuendo as you do it.
Let's start right on that…
And then again, take that breath.
Even though we started there, we don't need it, you will need it later on.
Take the breath there.
Start on the B♭, and you're crescendoing…
So, I tapered the F. I closed up this embouchure hole, letting that tone taper off.
Next, beat four, pick up into the next measure…
And I'll stop before that next run.
So here is the climax.
This is the highest part.
You're heading towards this big run coming down, and then we'll start, you know, there's
some more runs, but nothing's as fast or as intense as this little section.
So, when you get up to that high B♭, you just let that sound come out, make it nice
and strong.
Don't over-blow, and then, when you start coming down, lighten up a little bit, and
bring out that delicacy again, because you're not playing this heavy, monstrous piece.
Let it get more delicate as you go along here.
And then, you get prepared for this high G and the run going down.
Now, if you look at it, it's just a scale, so don't get afraid of it.
Let's just go down…
You're playing your E♭ scale.
You're just putting an A natural in there, so just think of it as a scale.
Don't think about this hard run as you're going down.
Now, we want to play it with a little bit more style, so let's give that forte.
It's a little bit of a shocking forte, because it's a sforzando there…
And I'm going to keep it forte all the way down.
I'm not going to speed up.
I'm not going to slow down or do anything different.
I'm just going to play it all the way down, but keep it forte, because we're still forte
here.
Let's do it again…
And then these are fun.
You want to make sure that you're giving the dotted eighth a nice forte sound and then
backing off.
Don't try to do them extreme.
Just, if you give a nice forte to the dotted eighth, then back off a little bit on the
16th, you're going to have the effect…
And you can think of this a little bit cadenza-like.
So, just play those as you see fit, and then this little grace note is not...
It's…
Give it a little bit of time.
Don't rush through that little grace note section.
Okay, now this cadenza area, just a little tiny one here, we're going to play around
with it a little bit.
So, when you get it in your fingers, feel free to say, "I'm going to start a little
slower, then I'm going to get a little faster, and I'm going to get slower again," as you
go along.
That's what cadenzas, they're for your own personal style.
So, let's take the C and try to do this crescendo diminuendo…
That is one of the hardest things to do, end on a ppp, on a high G.
So, when I'm coming up this last run…
Don't be too soft or else you have nowhere to go.
So, you're trilling…
And make sure when you're trilling, yes, it's kind of awkward fingers to trill, but you
then put your first finger down.
You can't do that.
So, keep it down…
And I'm playing it not too fast.
You don't just rush up that run.
You can phrase it a little bit.
As I get up higher, again, my teeth are closing, so that my opening and my teeth are small,
but I'm still relaxed.
I don't think you see this getting all nice and tight through there…
Now, in order to do that, too, I have to have a lot of air pressure.
There's a lot of pressure coming up, holding that G, so that I can just taper it off, just
bringing my lips together and out, tapering that G, and I don't go flat, or the sound,
which often happens, will drop down to the lower octave.
Alright.
That's the Cantabile.
It's beautiful.
Get to work on it.
Enjoy the process of learning it, but break it into little sections.
If you break it into sections, and just look at it like this, then come back here after
you've practiced it and go through this video again, it can help you.
Enjoy working on the Cantabile.
Practice with Me Cantabile et Presto Part 1 Cantabile
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