D’Amore si Muore. Ennio Morricone – Eileen Gilligan and Alex Raineri
There are many reasons why I chose this.
It is an excellent way to practice words, expression and phrasing. In this case variations on “love you ” all the way through.
Relates brilliantly to Melodious Studies number 11, 13, 14 and also 8.
I am a big fan of playing slowly and having absolute control of everything I do down to the last detail and a melody like this is a great tool to practice this. I don’t believe one can play fast before control over slow playing and expression is mastered.
Our most natural instrument is our voice . Singing and playing this melody is a terrific way to bridge the gap between the metal flute and one’s voice. The outcome is an amazing resonance ,musical quality in the tone and natural phrasing.
Moyse was asked what he thought the French School of flute playing was and he answered” being able to sound like other instruments”. We have to start with the first port of call – our voice.
The words you can use for phrasing are ” love you , love you , love you , love you, love you so.” “I really love you so much” ” I really love you so” etc all the way through . You can make up your own.
It is worth singing and playing this through. By that I mean play 2 notes, sing 2 and play 2 all the way through without interrupting the musical flow, resonance and tone quality. Great for practising going between singing and playing quickly.
Love was a favourite word of Moyse and Wibb. I see why!. It innately has so much expression, warmth, opens up the mouth and in Moyse’s words “scoops the last spoonful of mayonnaise from the jar. ” You definitely can’t say it with “an ugly nasal voice”- Moyse quote.
The tone has to have life and expression. I hear so often soft playing as the player blowing softly but that gives such a dull lifeless outcome.
ALL the foundation tools section deals with this ability.
The harmonics have to be in tune. The airstream under control. The ability to blow through and hold a musical line and expression is essential and really is the basis in various shapes and forms of the 24 Little Melodious Studies.
This, and my other vocalisations are not a replacement to the Tone Development Through Interpretation. For me they work as a warm up to other tone work as it can be intense and extremely detailed. These open me up every day musically for what is to come in my practice session. I find it works wonders for me personally.
This is just an example of what a player can use. It can be anything that tugs at the heart. The more melodies the better.
Orchestral original soundtrack. This is what first grabbed at my musical soul and I had to play it.
Vocal version with words , so warm , spine chilling , would love to sound like this, maybe a bit more open in the climaxes but loved this.
I have attached the music. It was transcribed from the orchestral version by me and as usual slurring is inconsistent . Just mark them in .
I think I will forever be stretching myself for a better tone, expression, more control, more versatility. A better everything!!!!! It is immense fun, the pursuit of an unattainable goal.
Some French School to listen to: Rene le Roy , born not long after Marcel Moyse and died a year later. A contemporary of Moyse. Mozart is to die for.
https://youtu.be/T7GfElbuJW8 Rene le Roy
Rene le Roy Honneger Danse de la Chevre.
Rene le Roy J.S Bach E flat Major -Allegro Moderato
Have fun and I hope it brings a new depth to your tone production and musical expression.