Urc20 d1f instructions for playing

Attempting an instruction to traverse the flute

[I.]

Johann Joachim Quantzens,
Royal Prussian chamber musician,
Attempting an instruction to traverse the flute;
with different,
to promote good taste
useful notes in practical music
accompanied and explained with examples.

Along with XXIV. Copper plates.


BERLIN
by Johann Friedrich Voss. 1752.

[II] [Blank page]

Table of Contents
page
prefaceVII
Introduction: Of the qualities required of one who wants to devote himself to music.1
The I. main part. Brief history and description of the flute traversiere.23
The II. Main part. On the position of the flute and the positioning of the fingers.30
The III. Main piece. From the finger order or application, and the scale or scale of the flute.32
The IV. Main piece. From the approach, (Embouchure.)40
The V. main piece. About the notes, their validity, the measure, the rests, and the other musical symbols.52
The VI. Main piece. On the use of the tongue when blowing the flute.61
The VII. Main part. From taking breath while practicing the flute.73
The VIII. Main part. From the suggestions and the small essential manners that go with them.77
The IX. Main piece. From the trills.83
The X. main piece. What a beginner has to observe in his particular practice.89
The XI. Main piece. About good performance in singing and playing in general.100
The XII. Main piece. The way of playing the Allegro.111
The XIII. Main piece. From the arbitrary changes to the simple intervals.118
The XIV. Main part. The way of playing the adagio.136
The XV. Main piece. From the cadenzas.151
The XVI. Main piece. What a flutist observes when he plays in public music.165
The XVII. Main piece. Of the duties of those who accompany ...175
The XVIII. Main piece. How to judge a musician and a piece of music.275
register of the finest things. (not transcribed)335
example on XXIV copper plates.355
[III]

The
Most serene
Most powerful
Princes and lords,
MR
Friederich,
Kings in Prussia;
Margraves of Brandenburg;
The Arch-Chamberlain of the Holy Roman Empire
and electors;
Sovereigns and Supreme Dukes
of Silesia;
Sovereign Princes of Orange, Neufchatel and
Valengin, as well as County Glaz;
In Geldern, Magdeburg, Cleve, Jülich, Berg, Stettin, Pomerania,
of the Cassuben and Wenden, in Mecklenburg, also in Crossen
Dukes;
Burgrave of Nuremberg;
Princes of Halberstadt, Minden, Camin, Wenden, Schwerin,
Ratzeburg, East Frisia and Moeurs;
Counts of Hohenzollern, Ruppin, the Mark, Ravensberg, Hohenstein,
Tecklenburg, Lingen, Schwerin, Bühren and Lehrdam;
Mr. zu Ravenstein, the state of Rostock, Stargard, Lauenburg,
Bütow, Arlay and Breda.

To my most gracious King and Lord.

[IV] [Blank page]

[V.]

Most serene
Most powerful king
Most gracious king and lord,

I may herewith dedicate, in deep submission, the present pages to Your Royal Majesty; whether, in part, they only contain the beginnings of an instrument which it has brought to such a special perfection.

The protection and the high grace which Your Royal Majesty has bestowed on science in general, and on music in particular, give me hope that [VI] Your Royal Majesty do not deny the same protection to my endeavors, but rather what I have designed for the service of music, according to my limited strength, will find a gracious eye in this regard.

This is the most humble request, which connects with the most faithful wish for the preservation of the sanctified person,

Most serene
Most powerful king
Most gracious king and lord,
Your Royal Majesty,

most submissive, most obedient servant,
Johann Joachim Quantz.