Podcasts about selected duets

Selected Duets for Trumpet, Page 45 Number 11, Allemande, performed by David Summer. This third duet in the series by Joseph Boismortier is an Allemande. An allemande is a moderate tempo dance form that was popular during the baroque. An allemande is generally the first or second part of a suite, with a "suite" being a collection of dances. Again there are several "question and answer" sections, as we’ve seen in previous duets. But this time the "answers" start before the end of the "questions". This may prove to be a rhythmic challenge for a student along with the 16th note runs in the second half of the duet. The metronome setting for this performance is quarter note = 84.

Selected Duets for Trumpet, Page 44 Number 10, Gigue, performed by David Summer. This second duet in the series of duets by Boismortier is another Gigue and again it's in 6/8 time at a fast tempo, played "in 2". The student may be challenged by the tied over dotted quarter notes in the last part of the piece. Once more, the student has to be able to hear continuous eighth notes in order to place all the eighths correctly. In this case, that's helped by the fact that the second trumpet part is playing eighths under the first trumpet dotted quarter notes. There are also several "question and answer" sections, as we've seen in previous duets. The duet is in the key of G with a brief foray in a minor in the middle and g minor at the end. The metronome setting for this performance is dotted quarter note = 88.

Selected Duets for Trumpet, Page 43 Number 9, Allegretto, performed by David Summer. Joseph Bodin de Boismortier was a French composer active in the first half of the 1700s. Boismortier was one of the first composers to make an income from publishing his compositions rather than writing for a patron. Up until that time, financially successful composers wrote compositions, often on demand, for wealthy patrons. These patrons were usually royalty. Boismortier was the first French composer to use the Italian concerto form, in his six concertos for five flutes op. 15. For this performance, only the first repeat is taken and the metronome setting is eigth note = 112.

Selected Duets for Trumpet, Page 42 Number 8, Maestoso, performed by David Summer. Maestoso, the defacto title of this duet, again means "march-like". Other synonyms include majestic, stately and dignified. This duet is also in 3/8 and includes some dotted 16th - 32nd note figures that are usually played with a slight detachment between the two notes. The range in the 32nd note runs may prove an insurmountable challenge for an inexperienced student. If that’s the case, the teacher may want to assign the trumpet two part, instead of the usual trumpet one part, for practice. The trumpet two part is actually a bit more rhythmically interesting in the second half of the duet than the trumpet one part is. The metronome setting for this performance is eigth note = 80.

Selected Duets for Trumpet, Page 41 Number 7, Allegretto, performed by David Summer. This is another good duet for studying 6/8 played in 2. The student has to be able to hear continuous eigth notes in order to place all the eigths correctly. To help with this, the teacher might try playing the trumpet one part with all eigth notes for a line or 2 at the same time the student plays the part as written. This should help the student to understand how to subdivide 6/8 played "in 2". For this performance, the Poco meno (meaning "less motion" or to slow down) is ignored for the sake of students playing along with the trumpet 2 parts posted on the summersong.net website. The metronome setting for this performance is dotted quarter note = 92.

Selected Duets for Trumpet, Page 40 Number 6, Andantino, performed by David Summer. This duet is in a time signature that may be unfamiliar to a student, 3/8. It may take some time for a student to get used to seeing and playing the 32nd notes. The teacher should point out that the 32nd notes are grouped into groups of 4 notes, as a visual affordance for 4 16th notes being contained within one beat. Andantino, the simple title of this duet, is a tempo that is slightly faster than Andante but slower than Moderato, Andantino being the diminutive of the word Andante. The beginning of the duet is marked pianissimo and melodioso. The melodioso marking indicating that the piece should be played melodically, with much expression. The metronome setting for this performance is eigth note = 84.

Selected Duets for Trumpet, Page 39 Number 5, Tamburin, performed by David Summer. Nicolas Chédeville was an 18 century French composer who wrote many pieces for the musette or hurdy-gurdy. This duet, with its many scale passages, was probably well suited to the amateur hurdy gurdy players who were the target audience of Chédeville. Many passages in this duet are musical echoes. Repeating one or two measures, with the repeated passage being played at a softer dynamic, manifests the echo quality. The title, Tamburin, probably refers to a tambourine. The tambourine is a percussion instrument that has been used for hundreds of years. It was probably last commonly used in western music in the 1960’s as part of pop-rock. The metronome setting for this performance is quarter note = 92.

Selected Duets for Trumpet, Page 38 Number 4, Rondo, performed by David Summer. Michel de la Barre, the composer of this duet, was also a famous flutist. He is credited with being the first composer to publish music for solo flute. This duet does have a somewhat delicate, flute-like quality to it. The duet is in the key of F# minor, with a brief foray into C# minor, and contains several E sharps and B sharps that should be pointed out to the student. This is a good opportunity for the teacher to review the concept of enharmonic notes. The held-over notes in lines 3 and 6 may also present a rhythmic challenge for a student. The teacher may want to assign both parts of this duet to a student since both parts are generally of equal melodic importance. The metronome setting for this performance is quarter note = 108.

Selected Duets for Trumpet, Page 34 Number 1, Rondinetto, performed by David Summer. The composer of this duet, Louis A. Saint-Jacome, was also a solo cornetist and musical arranger. Originally from Paris France, Saint-Jacome moved to London, England where he worked as a musical arranger for the Messieurs La Fleur Publishing Company. While there, Saint-Jacome wrote his famous Grand Method For Trumpet Or Cornet in 1870. This comprehensive trumpet or cornet method book is still in wide use today, having been edited by another famous trumpeter, Claude Gordon. Later in his life Saint-Jacome became cornet tuner and tester for the Besson brass instrument company in London. This duet begins in the key of Bb and then changes to Bb minor in the Trio section. Usually this section is played a bit slower than the rest of the piece, but while making this recording I've kept the tempo consistent for the sake of the play along track that accompanies this podcast. In this recording, there are no repeats taken except for the DS and the metronome setting for this performance is quarter note = 84.

Selected Duets for Trumpet, Page 30 Number 5, Allegretto, performed by David Summer. This is the last duet in the series of 5 duets by French composer Pierre François Clodomir. The teacher should take the opportunity to point out the various scales and arpeggios that are clearly present here. The student may need to be cautioned not to let the tempo run away on the 16th note runs and to watch the key change on the second page. Again, a light tongue is helpful here. The metronome setting for this performance is dotted quarter note = 80.

Selected Duets for Trumpet, Page 28 Number 4, Allegretto, performed by David Summer. This duet, by Clodomir, should be played with a light tongue and strict observance of the staccato markings. These carry through almost the entire duet with only brief respites. These are marked dolce (sweetly) and grazioso (gracefully). There are also several key changes present. The piece starts in the key of g minor. Then, at the first “dolce” marking the key changes to the relative major, Bb major. On the second line of the second page of the duet, the key changes back to g minor with a descending figure that leads back into a restatement of the initial melody. The third page of the duet changes the key again, from g minor to the parallel major, G major. (This time the key change is marked) The second line of the 3rd page has another key change, from G major to the relative minor, e minor. This is short lived as the key goes back to G major before the Da Capo. An inexperienced student may find that the duet taxes his or her endurance, as it is relatively long. The teacher should allow rests as needed, but at the same time may point out that the student should try to increase his or her endurance so that they can play pieces of this length with out a rest, if needed. The metronome setting for this performance is dotted quarter note = 96.

Selected Duets for Trumpet, Page 27 Number 3, Allegretto, performed by David Summer. This next duet by French composer Pierre Clodomir consists of 6 short sections, with a key change in the middle of the duet. The second to last line also changes key, to D major, although the change is not noted in the key signature. An inexperienced student may be challenged by the Trumpet One rhythms in the second half of the duet being different from those in the Trumpet Two part. The metronome setting for this performance is quarter note = 120.

Selected Duets for Trumpet, Page 26 Number 2, Moderato, performed by David Summer. This is the second duet in the series of 5 duets by French composer Pierre François Clodomir. When presenting this duet to a student, the teacher should point out the G arpeggio in the 1st and 3rd measures of the 2nd trumpet part. In both cases, these arpeggios are "answered" by a D7 arpeggio in the trumpet one part. The duet also features several scale sections, which briefly take the piece out of the key of G and into the key of Eb. The metronome setting for this performance is quarter note = 100.

Selected Duets for Trumpet, Page 25 Number 1, Moderato, performed by David Summer. This duet begins a section of 5 duets by Pierre François Clodomir. Clodomir, a 19th century French composer, wrote a brass method book, published in 1870 entitled "Méthode élémetaire de cornet à pistons". In this first duet in the series, special attention should be paid to the syncopated 2nd trumpet part in the 4th line. Also, right before the daCapo, this duet contains a brief “question and answer” section, as we've seen in several of the previous duets. The metronome setting for this performance is quarter note = 100.

Selected Duets for Trumpet, Page 24 Number 22, Giga, performed by David Summer. A Giga like the previously titled duet "Gigue" is a lively baroque dance originating from the British jig. Again, this is 6/8 time at a fast tempo, played "in 2". That is, heavily accenting the first and the fourth beats of the measure. The first section of the duet features some canonic, or imitative musical phrases. The metronome setting for this performance is dotted quarter note = 88.

Selected Duets for Trumpet, Page 24 Number 21, Musette, performed by David Summer. A Musette is probably best known as the name of an instrument that is similar to a bagpipe. It was popular in the 1700's and used in a wide variety of music including chamber music and operas. The piccolo oboe, also known as the piccoloboe, the smallest and highest pitched member of the oboe family, pitched in E-flat or F above the regular oboe, is also historically known as an oboe musette. Finally, Bal-musette is a style of French music and dance that first became popular in Paris in the 1880s. Since this Musette duet is labeled as being from the 18th Century, it's probably named "Musette" because a Musette (the instrument similar to a bagpipe) was the instrument the composer intended the duet to be performed on. This is a good duet for students to practice counting and performing 6/8 meter "in 6" rather than the more common 6/8 "in 2". The metronome setting for this performance is eigth note = 96.

Selected Duets for Trumpet, Page 23 Number 20, Minuet, performed by David Summer. This minuet, by Haag, is evocative of summer concerts in the park, especially in the trio section of the duet. Recall that a "trio section" is the third section of a piece and generally changes key, adding flats. "Trio" sections are especially prevalent in marches. The metronome setting for this performance is quarter note = 96.

Selected Duets for Trumpet, Page 22 Number 19, Jumping Dance, performed by David Summer. This duet is reminiscent of the previous duets that were imitative of a hunting horn, except this time the image is meant to be of a dance that includes jumping in the air. There are some back and forth sections where, at times, the student will be playing alone. The metronome setting for this performance is dotted quarter note = 76.

Selected Duets for Trumpet, Page 21 Number 18, Time Study, performed by David Summer. This is a rhythmically interesting duet because of all the meter changes. These are indicated in the unusual time signature. The almost constant meter changes can prove a real challenge for a student, but the duet makes an interesting study. This is an especially good duet to have the student practice both parts of. The metronome setting for this performance is quarter note = 100.

Selected Duets for Trumpet, Page 20 Number 17, Andante, performed by David Summer. This duet is simply entitled Andante, which translates roughly to "at a walking pace". The second part of the piece makes use of a simple, but effective descending line in the Trumpet 2 part, which nicely offsets the Trumpet 1 melody line. The metronome setting for this performance is quarter note = 92.

Selected Duets for Flute, Page 69 Number 2, Waltz, performed by David Summer. A waltz is a ballroom dance in triple meter (usually 3/4 time). Couples dance close together, with the man's right hand on the woman's back or around her waist. The tempo marking for this duet, "Allegro vivace", indicates a tempo that's faster than an Allegro. This fast tempo is commonly found in waltzes originating in Vienna. Austrian composer, Johann Nepomuk Hummel, was also a virtuoso pianist. His style of writing bridges the classical and romantic musical periods, with most of his pieces being, naturally enough, for piano. He wrote several pieces for multiple pianos, also operas, masses and more. Hummel's Trumpet Concerto in Eb, is part of the standard performance literature for trumpet. It's a very melodic piece, well worth searching out. The metronome setting for this performance is half note = 144.

Selected Duets for Trumpet, Page 20 Number 16, Processional, performed by David Summer. A processional is generally a slow march tune. Think of the "Bridal March" or "Pomp and Circumstance". The tempo marking "maestoso", meaning march-like, reflects this. A processional is also thought of as stately, dignified and majestic. This processional has two sections and, with the second repeat omitted, follows an AABA musical pattern. The metronome setting for this performance is quarter note = 92.

Selected Duets for Flute, Page 68 Number 1e, Rigodon II from Sonata VI, Op.5, performed by David Summer. This second Rigodon presents a good opportunity for the teacher to talk about arpeggios, since the second flute part is littered with them. For both of these rigadoon duets, the student should practice both flute parts. Teacher and student might even exchange parts on the repeats. The metronome setting for this performance is half note = 80.

Selected Duets for Trumpet, Page 18 Number 15, Lustily, performed by David Summer. This is another duet with an interesting tempo marking, open to interpretation. I'm taking this one to mean "with exuberance". Call and response sections are another feature, along with a poco allargando tempo marking at the end. "Poco allargando" generally means to get a bit slower and broader. The metronome setting for this performance is quarter note = 126.

Selected Duets for Flute, Page 68 Number 1d, Rigodon I from Sonata VI, Op.5, performed by David Summer. The title of this duet, "Rigodon" is a variant on the spelling of rigadoon. A rigadoon is a dance for two couples in quick double time. The rigadoon originated in Provence, France, in the 15th-century and is named after a dancing master from Marseilles. It became popular at the court of Louis XIV from the 1670s and spread to most of the courts of Europe. Couples dance side by side without holding hands and at certain moments make a springing step called the pas de rigaudon. The metronome setting for this performance is half note = 88.

Selected Duets for Trumpet, Page 18 Number 14, Allegretto, performed by David Summer. Here is another duet that changes time signature midway through the piece. This time the composer is Walrad Guericke and the duet is probably from his collection of duets for two recorders. The 2/4 section of the duet is written in a style that is in marked contrast to the first section (in 3/4). The 2/4 section has a jagged sound that is amplified by the use of an ascending grace note in the first and third measures as well as several measures of staccato eight notes. The metronome setting for this performance is quarter note = 100.

Selected Duets for Flute, Page 67 Number 1c, Adagio from Sonata VI, Op.5, performed by David Summer. This third movement from Sonata VI, Op.5, by Johann Quantz changes to the key of G major (the relative major to e minor). It's slow enough so that performers are advised to count eight notes as getting one beat, as I do for this performance. Quantz was not only a prolific composer of music for the flute, as well as the author of the afore mentioned book "On Playing the Flute", he also made flutes of his own design. Probably the most famous recipient of these instruments was King Frederick the Great. Quantz built many flutes for Frederick while serving the King. To modern western musicians, Quantz's most interesting addition to his flute is a key for D# even though the enharmonic Eb key was already present on the flute, as it is today. This was to satisfy the desire to play using a system called "just intonation", which was prevalent until about the middle of the 19th century, before the widespread adoption of the "equal temperament" system most widely used in western music today. The metronome setting for this performance is eigth note = 88.

Selected Duets for Trumpet, Page 17 Number 13, Allegro, performed by David Summer. This third, and last, duet by Metger is fairly complex rhythmically when both trumpet parts are played together. It’s rare to see the rhythm pattern "dotted-eighth, sixteenth, eighth" played against 3 eighth notes for example, as occurs more than once here. The duet also changes meter from 6/8 to 4/4, with the quarter note in the new meter equal to the dotted quarter in the previous meter. All of this can prove challenging to the student, but provides the teacher with a good opportunity to introduce changing meters and to show how the time change is marked to make the transition smooth. This type of meter change happens frequently in musicals, especially in dance sections. The metronome setting for this performance is dotted quarter note = 96.

Selected Duets for Flute, Page 66 Number 1b, Allegro from Sonata VI, Op.5, performed by David Summer. This second movement from Sonata VI, Op.5, by Johann Quantz retains the key of e minor from the first movement but this movement is a lively Allegro. In addition to numerous musical compositions for flute, Quantz is also the author of a seminal musical treatise for the instrument entitled "On Playing the Flute". "On Playing the Flute" belies its title by containing not only a wealth of information on flute playing, but also by covering a wide range of subjects including breath control and musical accompaniment as well as more general musical topics such as performance anxiety. The book was used by his students as the basis for a "school of flute playing" and remains relevant today. It is still in print and makes a worthy addition to any flutist's library. There are no repeats in this performance and the metronome setting is dotted quarter note = 66.

Selected Duets for Trumpet, Page 16 Number 12, Merrily, performed by David Summer. This second duet by Metger, while not strictly a cannon, contains many imitative passages. It's a happy sounding duet, clearly living up to it's tempo marking, "Merrily". Again, since the second trumpet part is rhythmically different from the first trumpet and is often "just behind" the first trumpet, a student can find this duet a special challenge to play with the teacher. But, that's partly what this podcast is about. If you're seeing this description on iTunes, or another podcast reader, check out the trumpet podcast page on the summersong website, www.summersong.net, for second trumpet play along parts to all of these deuts. The metronome setting for this performance is quarter note = 126.

Selected Duets for Flute, Page 66 Number 1a, Adagio from Sonata VI, Op.5, performed by David Summer. Johann Joachim Quantz is a name that is well known by professional flutists as well as advanced flute students. Quantz wrote over 300 concertos and many flute sonatas. This duet is from one of his early efforts, Sonata VI, Op.5. He also wrote many collections of flute duets, probably the most popular today being his "Six Duets For Two Flutes Op.2". Although he traveled widely, studying music in the first half of his life, Quantz spent his last 30 years, from 1741 to his death in 1773, in Dresden under the service of King Frederick the Great of Prussia. This recording is the first of 5 movements of the Sonata. The other 4 movements will be presented over the next 4 podcast episodes. The metronome setting for this performance is quarter note = 69.

Selected Duets for Trumpet, Page 15 Number 11, Allegro non troppo, performed by David Summer. Like a previous duet this is a "cannon", a musical imitation. It's titled simply Allegro non troppo, meaning fast, but not too fast. The metronome setting for this performance is quarter note = 120.

Selected Duets for Flute, Page 65 Number 20, Minuet from Duettino, Op.42,No.8, performed by David Summer. This Minuet, by James Hook, is from his collection of short flute duets entitled "12 Duettinos, Op. 42". (Duettino meaning a short or concise duet.) James Hook was a prolific English baroque composer, composing what may have been the first clarinet concerto written by an English composer. Like many baroque composers, he was a church organist and used the instrument as a compositional aid. James Hook was an extremely popular and successful composer. Hook became wealthy from his compositions, he encouraged young musicians and he was noted as a generous and jovial family man. The second repeat is omitted from this performance and the metronome setting is quarter note = 100.

Selected Duets for Trumpet, Page 14 Number 9, Larghetto, performed by David Summer. Wolfgang Amadeus Mozart is not a name you often see associated with the trumpet. Mozart's works for wind instruments concentrated on the flute and clarinet. This duet was likely originally a duet for one of those instruments. Of course Mozart, firmly in the classical period, is probably most famous for his operas. Larghetto, the de facto title of this duet, is a tempo marking meaning a bit faster than Largo. It's often a challenge for a student to maintain a steady, slow tempo. I've found that generally students will have a tendency to start to speed up, particularly when reaching the second half of the duet, where the second trumpet's rhythm is much different from that of the first trumpet. The metronome setting for this performance is quarter note = 76.

Selected Duets for Flute, Page 64 Number 19, Allegretto, performed by David Summer. This piece is an Allegretto, which again is a moderately fast tempo between Allegro and Moderato. Like many of the previous duets, this one also has some imitative characteristics. This duet is either by Henry Eccles or his brother John Eccles, both of whom were English baroque composers. The metronome setting for this performance is half note = 76.

Selected Duets for Trumpet, Page 13 Number 8, Chorus from Preciosa, performed by David Summer. Carl Maria von Weber was a German composer, conductor, pianist, guitarist and critic. He was one of the first composers of the Romantic school of music. Von Weber is probably best known for his operas and his works for Clarinet. This duet is taken from the Chorus section of Preciosa Op. 78, an Overture for soloist, chorus and orchestra. The metronome setting for this performance is quarter note = 100.

Selected Duets for Flute, Page 62 Number 18, Fugato, performed by David Summer. A fugue is an imitative piece, similar to a cannon. A main difference between a fugue and a cannon is that in a fugue, the second voice part comes in a fifth away from the first voice part. This duet is a fugato, which is not strictly a fugue, but retains much of the style of a fugue. The composer of this duet, Johann Wenzel Anton Stamitz, was a Czech composer and violinist. Johann Stamitz, like Telemann, contributed to the transition of the baroque period to the classical era. Many members of the Stamitz familiy were composers, including Johann’s two sons Carl and Anton. Johann Stamitz was a founder of the Mannheim school. This style of music composition introduced many of the musical concepts that help to distinguish the baroque from the classical period, including dynamic innovations such as the crescendo. The metronome setting for this performance is half note = 100.

Selected Duets for Trumpet, Page 12 Number 7, Gigue, performed by David Summer. A Gigue is an energetic dance, in a fast 6/8. This is a lively baroque dance form that originated from the British jig. It was imported into France in the mid-17th century and usually appears at the end of a suite. Like many of the previous duets in 6/8, this one is played "in 2" by playing at a fast tempo and accenting the first and fourth beats of each measure. The metronome setting for this performance is dotted quarter note = 92.

Selected Duets for Flute, Page 60 Number 17, Menuett, performed by David Summer. The title of this duet, "Menuett", is yet another spelling variation on the word "Minuet". The two flute parts are largely independent rhythmically. By the time a student gets to this part of the book, they should be getting fairly comfortable with rhythmically independent parts though. The tempo marking, Allegro molto, means very fast. But the duet should still be played in the context of a "Minuet" dance. There are no repeats taken and the metronome setting for this performance is quarter note = 132.

Selected Duets for Trumpet, Page 12 Number 6, Adagio, performed by David Summer. Simply entitled Adagio, this 18th Century duet can prove a challenge for students in a several areas. First is keeping a steady tempo at this slow tempo. Students are prone to rush, especially when playing the 1st trumpet solo passages. Next are the 32nd notes that occur in the 3rd beat in several measures. I sometimes instruct my students to think of these are if they were grace notes, which they may well have been in the original version of this piece. Also slurring these 32nd notes may challenge the student, particularly as they occur in an ascending passage. The advice I give here is to make a slight "flick" of the tongue, while making sure to maintain the air stream, when you get to these notes. The metronome setting for this performance is quarter note = 72.

Selected Duets for Flute, Page 59 Number 16, Menuet Italian, performed by David Summer. This is the third, and last, duet by composer and musette virtuoso, Nicolas Chédeville. It's from the same sonata, Sonata Number 6, Opus 8, as the previous duet. The meter is 3/8 and it's played with a feeling of being "in 1". This is much the same as 6/8 played "in 2" as many of the previous duets have been. The metronome setting for this performance is eigth note = 126.

Selected Duets for Trumpet, Page 12 Number 5, Menuet, performed by David Summer. This duet is entitled "Menuet". It's a spelling variation on the word "Minuet". As previously noted, a minuet is a social dance of French origin, for two people, in 3/4 time. This minuet follows the classic early form, with two sections of eight bars each. The metronome setting for this performance is quarter note = 96.

Selected Duets for Flute, Page 58 Number 15, From Sonata No.6, Op.8 (The Italian), performed by David Summer. This second of the 3 duets by Chedeville is from a series of sonatas entitled "Il pastor fido". These sonatas have a curious history, in that Chedeville made a secret agreement with Jean-Noël Marchand to publish the collection as if they were written by Antonio Vivaldi. This was probably to make use of the more famous composer’s name recognition in order to increase sales. The duet has a somewhat jagged melodic line and the slightly unusual tempo marking of Vivement, meaning quick or lively. For this performance, only the first repeat is taken and the metronome setting is quarter note = 96.

Selected Duets for Trumpet, Page 11 Number 4, Hunting Song, performed by David Summer. This duet continues the hunting theme but this time in 2/4 instead of 6/8. A challenge for the student here is that the second trumpet is generally playing different rhythms than the first trumpet. Again, because it's a short duet, I've repeated the entire duet and metronome setting for this performance is quarter note = 104.

Selected Duets for Flute, Page 57 Number 14, German Gavotte, performed by David Summer. The composer of this duet, Nicolas Chédeville, was a French Baroque composer who was well known for his proficiently on an instrument called the musette. The musette (also known as a musette de cour or baroque musette) is an instrument that is similar to a bagpipe. It was popular in the 1700’s and used in a wide variety of music including chamber music and operas. This German Gavotte contains several notations resembling a + (plus) sign. This is a notation that was used during the Baroque period to indicate a short trill. The metronome setting for this performance is quarter note = 76.

Selected Duets for Trumpet, Page 11 Number 3, There Rode Three Horsemen, performed by David Summer. Similar in style to the duet entitled Hunting Scene and also played as 6/8 "in 2". It can be a challenge for a student to properly subdivide the rhythms in this duet. Particularly the 5 beats represented in the dotted quarter tied to a quarter note. Because it's a short duet, I've repeated the entire duet and the metronome setting for this performance is dotted quarter note = 76.

Selected Duets for Flute, Page 56 Number 13, Gavotte, performed by David Summer. This Gavotte is by the Italian Baroque composer Arcangelo Corelli. Corelli was also an accomplished violinist and this may very well have been originally written for 2 violins. Corelli also composed many works for brass ensemble. This duet can prove challenging for a student because the rhythm in the second flute part is so different from that in the first flute part and because of the closely repeated echo sections in the second half of the duet. The metronome setting for this performance is quarter note = 92.

Selected Duets for Trumpet, Page 10 Number 2, Christmas Song, performed by David Summer. This is another simple duet with an interesting tempo marking. Little clue is giving to the origin of this duet. Perhaps it celebrates Sinterklaas, the Dutch figure that formed the basis for the North American figure of Santa Claus. Because it's a short duet, I've repeated the entire duet and the metronome setting for this performance is quarter note = 132.

Selected Duets for Flute, Page 55 Number 11, Giga, performed by David Summer. This Giga is a fairly simple duet by George Frideric Handel. Handel composed a series of flute sonatas that are used often in performance. I use them often when performing in churches. My favorites are the g minor, the G major and the F major. One of the things that makes these flute sonatas particularly good for performance is that the keyboard parts are not unusually difficult, but they are interesting. They were written to really be an equal partner with the solo instrument, the flute. The metronome setting for this performance is dotted quarter note = 84.

Selected Duets for Trumpet, Page 10 Number 1, Old German Song, performed by David Summer. The composer of this duet, Valentin Rathgeber, was a versatile and prolific baroque composer. He was one of the most popular and respected composers from southern Germany. His works for trumpet include a "Concerto for 2 trumpets, 2 violins & continuo in D major". This simple, but effective, duet is reminiscent of a cannon at the beginning and contains an interesting tempo marking, open to interpretation. The trumpet 2 part of the duet stays down in the lower register of the trumpet, or "down in the mud" as brass players like to say, through most of the piece. The metronome setting for this performance is quarter note = 112.