North Bridge Flute Academy


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Fauré – Berceuse
Oginski – Polonaise
Fauré – Sicilienne
Telemann – Sonata in F
Marais – Le Basque
Quantz – Sonata in E minor – Vivace
Delibes – Morceau de Concours


Telemann Air a l'Italien
Donjon – Pan
Fauré – Morceau de Concours
Hoffmeister – Sonata in G – 1st Mvt, Allegro Assai
Gaubert – Madrigal
Rabboni - Sonata (No. 3) in E
CPE Bach - Allegro from Sonata in E Minor
Rabboni – Sonata (No. 8) in C
Gossec – Tambourin


Rabboni – Sonata (No. 7) in F
Roussel – Mr. de la Pejaudie


Roussel – Pan



GRADE 7, Lesson #2
Performance Video: Roussel – Joueurs de Flute - Mr. De La Péjaudie

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GRADE 7, Lesson #2
Teaching Notes Video: Roussel – Joueurs de Flute - Mr. De La Péjaudie

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This is the final piece of four from Joueurs de Flûte, by Roussel and in many ways is the most quirky, thus making it quite possibly also the most intriguing.

Based on fictional and mythical characters, these four pieces were dedicated to four of the foremost flute players of the day. Marcel Moyse was matched (or even likened) to Pan and in this case, Mr. de la Péjaudie was dedicated to Philippe Gaubert.

Albert Roussel was clearly having a lot of fun composing pieces that he felt mirrored the very different characters of these fictional and non-fictional beings!

Unlike Pan, Krishna and Tityre, Mr. de la Péjaudie was a character from French literature of the early part of the 20th century (from the novel The Sinful Woman, by Henri de Régnier). If we take a look at old photographs of Gaubert, we can tell that he was a very smart dresser, who exuded great confidence and charm and at least to the outside world didn’t appear to have too many worries. It is easy to imagine this elegantly suited man taking a promenade, perhaps with a splendid hat and an elegant and finely engraved walking stick!

Roussel brilliantly packs all of these characteristics into a piece, which on its own is remarkably short.

Firstly, it is important to try to produce a sound that conveys elements of the above. Perhaps this could be quite a pure tone without too much intensity? The opening ‘P’ would certainly seem to point us in this direction.

Another indication of character, is Roussel’s use of the interval of a semitone or half-step throughout the piece. This interval is potentially one of the most evocative in music and is chosen with phenomenal dramatic success by many good composers to express a wide range of emotions (from the penultimate note of Bach’s Matthew Passion to the spine chilling opening of Strauss’s Also Sprach Zarathustra).

In this instance, it is used in a seemingly suave, sophisticated or even sometimes seductive manner, implying a character who is happy with his lot and might perhaps have an alluring glint in his eyes! With the ‘cool’ semiquavers (16th notes) in Bar 5, the music is most definitely not to be hurried.

Bar 8. For the first time we are confronted with demisemiquavers (32nd notes). Visually, we are looking at a lot of black ink on the paper and this in turn pushes us towards panicking and rushing, two of music makings worst enemies! Take time. Whenever I see these blocks of black, I tell myself to go slower.

Of course, we shouldn’t get behind, but equally we don’t want to push and convey anxiety in a piece that otherwise is all about charm. The first beat of Bar 8 should come across more like a gentle sigh, rather than a hurricane passing through!

Bar 9. The second beat with its sextuplet can be quite awkward to play. Again, take time and try different groupings of the six notes. Two groups of three might be more fluid than three groups of two.

Bar 10. Coming at the end of a crescendo, be very careful of the D flat at the start of the bar. It really is a C sharp in heavy disguise and unless care is taken there is a high chance that it will sound sharp and thin. Make sure to have an open throat and to aim your air stream gently downwards, to compensate for the imperfections of this ‘rogue’ note on the flute.

Bar 13. Although similar in look to Bar 5, by taking away the semitone interval in the second beat of the bar, the character of the theme changes and becomes perhaps more innocent or carefree.

Bar 15. Again, here is a very distinct character change. There is an increasing air of confidence, implied by dynamic growth and in Bar 18 there is a flurry of chromatic activity, before the joyous climax of Bar 19. The top A is potentially dangerous. At this altitude, it is more than easy to make a thin, sharp and therefore an ugly sound. Lips and face muscles should be relaxed, throat open and air speed sufficient, but not over fast. I would also urge caution in use of a wide vibrato here. If over utilised, the emanating sound will not be that dissimilar to the vocal reaction of someone suffering an electric shock!

Bar 21. Another change of personality here. The music is in the bottom octave, is still at least forte in dynamic and with tenuto lines. Perhaps this implies a more thoughtful, deep or moody outlook?

This continues through to Bar 30, where the more exuberant character starts to return.

Bar 33. As for the earlier demisemiquavers (32nd notes), don’t either force or over push the hemidemisemiquavers (64th notes…so much easier!) here. Just take time.

Bar 34. From here on to the end of the piece we see Mr. de la Péjaudie elegantly disappearing down the avenue, until out of sight.

Bar 39. The final note of the piece is best played as a harmonic on F, not C.

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