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tonebase Flute Course

Telemann

12 Fantasias for Solo Flute without Bass

Taught by renowned flutist

Telemann was a pioneer in creating the illusion of polyphony with a single voice. For this course, Brown explores each of his twelve fantasias, delves into the dances that inspired them, and performs exquisitely on her baroque flute.

  • checkmark icon
    Category: 
    repertoire
  • checkmark icon
    Difficulty: 
    intermediate-advanced
  • checkmark icon
    Duration: 
    1
     hours
     hour

Course Syllabus

Introduction

These fantasies are designed to be played without bass accompaniment, which was quite uncommon at the time. Brown discusses what we know about the pieces' history and how she approaches them on a baroque flute.

1. Fantasia in A major

The bright & merry first fantasy often relies on strong, dissonant notes to create emotion. Brown also shares how to play the fugal theme.

2. Fantasia in A minor

In the parallel minor of the first, the second fantasy takes on a somber and serious tone.

3. Fantasia in B minor

The key of B minor is often associated with melancholy and snake-like chromaticism, which Brown highlights in the opening Largo – two bars that should be played like a lute.

4. Fantasia in B-flat major

Returning to brightness, the fourth fantasy is one of the slower movements in the suite. Brown shares how to handle cross fingerings, and where slight improvisation might be helpful.

5. Fantasia in C major

Complete with a Shakespeare analogy, Brown describes how this fantasy reminds her of cheery laughter. There are multiple characters coming in and out, a challenging yet powerful dynamic.

6. Fantasia in D minor

In one of the most extreme keys in classical music, the sixth fantasy allows us to explore nuanced colors on the flute, which Brown always grounds in visual imagery and the unique nature of her baroque instrument.

7. Fantasia in D major

Written in a French style reminiscent of Lully, the 7th fantasy is a remarkable display of Telemann's contrapuntal writing. Brown shares how we can over-dot the rhythms to add character and bring a sense of orchestral grandness to a solo performance.

8. Fantasia in E minor

Full of uneasy chromaticism and sorrowful symbolism, the 8th fantasy requires deliberate articulation techniques and careful analysis of mood.

9. Fantasia in E major

Bach used the key of E major when he wanted to be luminous – on the one-keyed flute, it has a special color. Brown discusses how we capture this essence and combine disparate elements to achieve a compelling performance.

Click here to download the course workbook PDF and see the full syllabus →
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