Skip to product information
1 of 4

James J. Pellerite, Native American Flute Collection

Portrayals by James J. Pellerite

Portrayals by James J. Pellerite

Solo Native American Flute

by James J. Pellerite

1. Preludio
2. Canto
3. Theme and Variance
4. A Likeness of Telemann
5. The Cricket's Charge

Composer's note:

Preludio - This adaptation is from an etude for classical flute (by Wilhelm Popp, 19th century). The expressive phrases of the Romantic period form a perfect setting for the tonal beauty of the Native American flute. The spinning of vibrato through these passages adds to the contemporary treatment of the instrument, and the application of tone coloration enhances the melodic contrast.

Canto - These phrase elements that developed from my initial efforts to improvise on the instrument served as a foundation upon which melodic lines were structured. They include diatonic elements interspersed with the traditional pentatonic flavor.
Theme and Variance - As with Canto, improvisational phrases were restructured and combined to create contrasting melodic lines, mixing the pentatonic scale with diatonic elements. Faster moving passages demand finger dexterity. As well, varied styles of articulations will need to be controlled for a well-balanced musical expression. The rapid sixteenth-note passages are to be double-tongued (as though pronouncing "duh-guh, duh-guh," etc.). This lighter touch of the tongue, to express a somewhat broader style of articulation, should impart only a slight interruption of the flow of air. The continuity of the melodic line must be preserved.

A Likeness of Telemann - This movement has been arranged from a sonata of Telemann, originally for the classical flute. Ornamentations of the baroque style and valued traditions of Native American flute performance are shared in these phrases. A musical crossover such as this should stir the imagination of the player and hopefully achieve an interesting result.

The Cricket's Charge - The articulations in the faster passages are to be executed as indicated for Theme and Variance. The groups of sixteenth-notes here will require the stroke of the tongue to be in proper balance with breath inflections so as to preserve the lyricism. Avoid overblowing (splitting the tones) when making heavy accents. (This is an adaptation of selected materials from Twelve Etudes for Alto Recorder by Mario Duschenes, and is presented with permission from Berandol Music Ltd.)


Authored (or revised): 1995


SKU

ACA-ZALO-007
Regular price $13.00
Sale price $13.00 Regular price
Sale Sold out
Format
View full details

by James J. Pellerite

1. Preludio
2. Canto
3. Theme and Variance
4. A Likeness of Telemann
5. The Cricket's Charge

Composer's note:

Preludio - This adaptation is from an etude for classical flute (by Wilhelm Popp, 19th century). The expressive phrases of the Romantic period form a perfect setting for the tonal beauty of the Native American flute. The spinning of vibrato through these passages adds to the contemporary treatment of the instrument, and the application of tone coloration enhances the melodic contrast.

Canto - These phrase elements that developed from my initial efforts to improvise on the instrument served as a foundation upon which melodic lines were structured. They include diatonic elements interspersed with the traditional pentatonic flavor.
Theme and Variance - As with Canto, improvisational phrases were restructured and combined to create contrasting melodic lines, mixing the pentatonic scale with diatonic elements. Faster moving passages demand finger dexterity. As well, varied styles of articulations will need to be controlled for a well-balanced musical expression. The rapid sixteenth-note passages are to be double-tongued (as though pronouncing "duh-guh, duh-guh," etc.). This lighter touch of the tongue, to express a somewhat broader style of articulation, should impart only a slight interruption of the flow of air. The continuity of the melodic line must be preserved.

A Likeness of Telemann - This movement has been arranged from a sonata of Telemann, originally for the classical flute. Ornamentations of the baroque style and valued traditions of Native American flute performance are shared in these phrases. A musical crossover such as this should stir the imagination of the player and hopefully achieve an interesting result.

The Cricket's Charge - The articulations in the faster passages are to be executed as indicated for Theme and Variance. The groups of sixteenth-notes here will require the stroke of the tongue to be in proper balance with breath inflections so as to preserve the lyricism. Avoid overblowing (splitting the tones) when making heavy accents. (This is an adaptation of selected materials from Twelve Etudes for Alto Recorder by Mario Duschenes, and is presented with permission from Berandol Music Ltd.)

Shipping

We ship world-wide using US International Postal Mail - Priority, First Class International Mail, or UPS Global. In the US, we usually use US Priority Mail or Media Mail or UPS Ground services.

Return Policy

Orders received damaged will be replaced immediately at no additional charge. Refunds requested will be issued back to the original payment
method. 

PDF files are not refundable and are considered permanent loan rentals licensed to the customer who purchased.

Purchasing any digital PDFs from American Composers Alliance grants you an unlimited license for your personal use only. ACA grants permission for you to duplicate the score and files as needed for performance.

Any other use of the PDF files may require additional permission from ACA. Purchase and download of PDFs does not automatically include performing and recording rights.

PDF files are not refundable and are considered permanent loan rentals licensed to the customer who purchased.

Contact us / inquire about this work