Jose Luis, here's another way of looking at it that may work for you. It's kind of like an old WW=II code system.

Go through your pre-transposed part and put a number above each note. The number should correspond to this following key:
E1 F2 F#3 G4 G#5 A6 A#7 B8 C9 C#10 D11 D#12

in other words,
make each E natural the number 1.

every F the number 2.
Every F# will have the number 3

and so on for every note to become it's own number.

Now go through and make each number that you wrote down correspond to these new notes:

1 becomes A
2 becomes A#
3 becomes B
4 becomes C
5 becomes C#
6 becomes D
7 becomes D#
8 becomes E
9 becomes F
10 becomes F#
11 becomes G
12 becomes G#

To recap., every #1 that you wrote down above the note E is going to transpose to be an A,

every #2 that you wrote above an F natural is going to transpose to be an A# (but also don't forget that the F# is in your original key signature) ,
every #3 that you wrote above an F# is going to transpose to be a B

and so forth.

I have not done the whole piece to check the exceptions that you mention but your exceptions are probably going to be the "enharmonic equivalents". Db = C# and so forth.

<Added>

Of course, it's also important that your original note input is correct.

Thanks. This war code is a nice idea. Only that I will have to do it by hand. The exceptions I was referring to, could be my errors while changing octaves, because the original notes have been checked by my teacher and I do not enter them by hand, I use the finale file I work on. Finale looses the accidentals when pushing notes up or down individually and they have to be rewritten, a method prone to errors.

I played the resulting score in midi and some measures sound strange. Anyway I'll see tomorrow, right now it's getting late here.

This afternoon I made the first recordings of myself with Audacity... and I don't like it! I hear every imperfection, out of place breaths, any minor hesitation, poor tuning of some notes, everything, much more than I imagined. Kind of disaster. I have waited until now to record myself because I suspected this was going to be the result.

Tomorrow I will record the duet and decide if it is not my Audacity to go to the coming audition. Right now I think it is.

So much still to go! But I think I'm playing better than last year. So, poor public then, what they had to suffer in my previous audition

One problem is that I do advance, but the pieces are always more an more difficult so the average impression remains the same (still so much to go!)

Alieannie makes some great points.

but Jose, maybe think of it this way, Audacity IS pointing our your errors. Maybe by hearing the recording, then you can hear them better as you make them live. Work on them in your practice so that you iron them out. Play small sections of the piece, find your issues and practice in a way to remove the errors and then try another recording. You may find that this method can increase your improvement curve dramatically. Remember work on small sections. Like in that Bach Adagio as an example, making that high G sound pretty and in a closer volume as your surrounding notes.
It's really all about paying attention, doing some gracious self-judgement and then taking the steps to fix the issues.

Then when it sounds "pretty good", then you can add some Gverb (Reverberation) effect to the recording so that you sound like it was recorded in a big concert hall.

Thanks for the suggestions.

I agree with both Alieanny and Bilbo; I do not like my own recorded sound (to hate it would be too much) but I think I have reached a level where listening to my errors in fine detail can help me in improving my playing. It is a big step for me to be capable of listening and supporting my own recording (truly).

First I must defeat the initial disappointment and sort of frustration I feel, but sure I will.

Now, yesterday lesson was not a good day; First I made a recording of my teacher playing the second C flute (Adagio 1034) for my practice. It sounds beautiful, even recorded. But then we played and recorded the duet and I failed miserably. I missed the high G (ms 21) and then stumbled horribly for the rest of that measure.

At a time I decided I could not continue playing crazy notes anywhere and jumped to the C in measure 22. My teacher could catch the jump (she is genial in that and she knows me enough to be expecting it. I d not know how she can do it, so unnoticeable as if nothing happened).

I could finish the piece but it was very embarrassing, even in a lesson.

So we could no try the Alto transposition and I will leave it for another opportunity. I have not decided yet whether to go to the audition with the Adagio (it's not so much mandatory and anyway we will play a 4 flutes Carrol). As it looks like for now, I would be the only student daring a duet like this in this first audition. All the others have quit... So more of a challenge.

This high G thing is a problem when I play in duet or with the pressure of a metronome; most of the times I can do it, only a little too loud, because I force it so I do not fail the note.

However, it is not a particularly difficult note in my flute. The problem seems to be that I have to make a fast embouchure change in the octave jump (the previous note is a lower G). Maybe I am only doing it with the embouchure and mouth cavity (I hollow it so it sounds sweeter)and I should increase the air pressure with muscles instead, I have to see it carefully.

I will give a try to the 1034 Andante, it is less difficult (in a way) and a nicer melody, very Bachean sounding if you allow me an invented word.

I wish I could "arrange" it so that the 2nd flute plays the bass clef of the Continuo (the score it is already done) but the first flute helps with some adornments and trills out of the treble clef, before reaching the long D in ms 7.

Sorry I am so loquacious today...

We'll see what comes out of all it

"This high G thing is a problem when I play in duet or with the pressure of a metronome; most of the times I can do it, only a little too loud, because I force it so I do not fail the note.

However, it is not a particularly difficult note in my flute. The problem seems to be that I have to make a fast embouchure change in the octave jump (the previous note is a lower G). Maybe I am only doing it with the embouchure and mouth cavity (I hollow it so it sounds sweeter)and I should increase the air pressure with muscles instead, I have to see it carefully."

________________________
If you were a person named Marcel Moyse, you would write a study book on this issue.
It would include long tones where you would practice with much repetition the playing of good tone on each and every possible note. It would of course involve practicing octaves on those G notes BUT also on every other possible octave combination that you can have on the instrument.... slurring Up and down the octave. It may also involve practicing every other interval that is possible from every possible tone.

For most of us though, we may simply practice that G octave jump many times for improving quality and consistency. Maybe even hundreds of times slow and eventually faster.

The nice thing about your G octave leap is that it actually is a good place for a breath but if you open your lips too much then closing them not quite happen 100% exactly the same way to meet the higher G3.

Bottom line, I'd practice these two notes. I'd play a G2, inhale a bit of air and then the G3 working for the tone and dynamics. Start slow and then faster. Add some other surrounding notes and repeat many times until I am always consistent. The old masters often would use a term referring to the quality of the embouchure and airstream called, supple.

Thanks.

"......your lips too much then closing them not quite happen 100% exactly the same way to meet the higher G3.
"
This part of your sentence above, seems to me to be important for my problem, but I do not understand it perfectly well. I tried rewording it, is this what you mean?:

"...your lips too much and then, when closing them, sometimes it does not happen 100% exactly in the right way to meet the higher G3"


I have a breath mark there, but I am not sure whether I always breath or not, too stressed because of the "there it comes" effect. Also there is the contradictory effort of making it sing clean but not too loud or a shrill.

I practise long notes (unfortunately not every day, I'm too much anxious) but you are right that I should practise those leaps and work more on scales and other combinations. I have degraded my tone on the third octave because I do not work enough on it. The F#3 is very difficult now.

I have a different question, as I am also working on the Andante now:

Do you know what notes are being played by the harpsichord in the record by Nicolet? I would like to put some of them (with the trills) on the 1st flute part, because the bass clef left alone is too simple for these 6 initial measures.

i.e, with just one flute for acc. we are replacing two hands keyboard... too much for a flute, perhaps even for my teacher!.

I think the player is improvising a little on the right hand or at least it seems different for what I have on the Bärenreiter score.

The harpsich. right hand seems to be giving a kind of reply to the left hand/cello and it makes a delicious introduction to the theme on ms 7. I love it!

"...your lips too much and then, when closing them, sometimes it does not happen 100% exactly in the right way to meet the higher G3"


I have a breath mark there, but I am not sure whether I always breath or not, too stressed because of the "there it comes" effect. Also there is the contradictory effort of making it sing clean but not too loud or a shrill.

You have the idea. But always remember that every aspect of what you are doing can be rehearsed with the final goal of what the sound is doing. We are wind players and as a result we are imitating a vocalist.

"Do you know what notes are being played by the harpsichord in the record by Nicolet? I would like to put some of them (with the trills) on the 1st flute part, because the bass clef left alone is too simple for these 6 initial measures.

i.e, with just one flute for acc. we are replacing two hands keyboard... too much for a flute, perhaps even for my teacher!.

I think the player is improvising a little on the right hand or at least it seems different for what I have on the Bärenreiter score.

The harpsich. right hand seems to be giving a kind of reply to the left hand/cello and it makes a delicious introduction to the theme on ms 7. I love it!"

First, I have the C.F. Peters edition and not Bärenreiter's ed..

Second, I believe that the right hand is realized (a harmonized realization of the Thorough-Bass) part by a more recent individual. In the Peters ed. it is a person named Waldemar Woehl who did this work before 1939. So, the notes are improvised as you say, but it's from the figured bass that he gets the direction. This improvisation used to be done on the spot by the accompanist. Few players can read this figured-bass today.

So then, the Nicolet version is realized (maybe by the accompanist) in the recording and as you can hear, every time the phrase begins again it may be a different improvisation of the idea.

The beginning kbd right hand is just beautiful arpeggios and embellishments.
As an example in the first measure, the notes can include the G major chord notes G-B-D for the first beat in any octave above the bass and the same notes are implied also for the 2nd beat.(With the number 6 written below the b in the bass, it means to use the note 6 scale degrees above the bass(the note G) AND 3 scale degrees above (the note D) if you wish. So, this is still a G maj. chord. On the third beat the 6 below the F# means to add the note 6 scale degrees above the F#(note D) and 3 scale degrees above the F# (note A) to create the D-F#-A (Dominant V chord in G major). If this sounds complicated, it is. It is in-depth music theory-somewhat AND to top off the icing on the cake, one can also add neighboring tones, passing tones, or embellishments galore to the basic framework of the chord structure because we are playing music from the baroque period. The question is, what is tasteful? and this can be answered in many ways depending on your angle of perspective.

I'm sorry that I don't have time for a complete dictation of the piece but that first measure beat 3 kbd. right hand: ascending arpeggio -DF#AD 16th notes/ resolving to a B in the next measure. Dominant arpeggio V to the third of the Tonic chord in Ms. 2. It all fits into the figured bass resolution very neatly at that point.

I sincerely hope that this isn't too complicated but it IS J.S. Bach.

<Added>

"The harpsich. right hand seems to be giving a kind of reply to the left hand/cello and it makes a delicious introduction to the theme on ms 7. I love it!"

Yeah!!! now you are getting it. At the same time the flute is laying down this incredibly beautiful obligato improvisational idea floating above the keyboard.

Just for other readers, Jose_Luis and I are talking about a recording of J.S. Bach Sonata BWV 1034 (No. 5) mvt. 3 -Andante as recorded by Aurèle Nicolet on flute, Karl Richter on cembalo and Johannes Fink on viola da gamba. Recording was from Vinyl record: Archiv Produktion 2727 020
The album includes BWV 1030-1035 and 1013.
I believe that Karl Richter did the Thorough-bass realization.
I'm pretty sure that it's out of print but I had seen that some of it has been re-issued in CD.

The figured bass once again, kind of a nightmare.

I'll see what I can do following your indications. After all there just 6 measures I would like to complete; starting on ms 7 the first flute is pretty busy...

"I'll see what I can do following your indications. After all there just 6 measures I would like to complete; starting on ms 7 the first flute is pretty busy..."

If I may also make another suggestion, If you know what chords are being used, you may just try to arpeggiate the chords where the inclination for more note movement is wanted.

I'll work on it this afternoon. I would like to have it ready for Friday (for an extra lesson).

The Bärenreiter edition has little figured bass notation; just a "6" on the ms1 beat 2 and 3, then a "6" in ms2 beat 2, then the same schema as ms1 for measures 3, 4 and 5. Measure 6 has a 6/4 on beat 2 and a 5/3 on beat 3. But K. Richter did much more beautiful things in the recording than this....

I will try to arpegiate the chord, but mostly I will try a "write and test" method based in what I hear.

"The Bärenreiter edition has little figured bass notation; just a "6" on the ms1 beat 2 and 3, then a "6" in ms2 beat 2, then the same schema as ms1 for measures 3, 4 and 5. Measure 6 has a 6/4 on beat 2 and a 5/3 on beat 3. But K. Richter did much more beautiful things in the recording than this....'

I would suspect that everything in the bass is going to be the same between different versions. This hopefully includes the figures below the bass notes.

So a translation:
ms 1. beat 1= G maj. chord (GBD is a I chord root position) and beat 2( 1st inversion of I chord). beat 3= D maj chord (DF#A -V chord in 1st inversion).

Ms.2 beat 1= G maj. chord (Root position) and beat 2=(1st inversion). then beat 3 is b minor chord. (bdF# the iii chord in 1st inversion)

Ms. 3 beat 1=C maj. chord (root position IV chord) and beat 2=(1st inversion IV chord) then beat 3= a minor (ace)chord (1st inversion of ii Chord).

Ms. 4 Beat 1= D major V Chord in Root position (DF#A) Beat 2= same D maj. V chord in 1st inversion. Beat 3 is G major I chord in 1st inversion (GBD).

Ms. 5 Beat 1= C major IV CEG chord root position. Beat 2= C major IV chord in 1st inversion. Beat 3= f# dim vii chord in 1st inversion f#ac.

Ms. 6 Beat 1= G maj. I chord in Root position (GBD). Beat 2= G maj I chord in 2nd inversion. Beat 3= D maj. V chord in root position. The I-6/4 is very unsettled sound. The V-5/3 is very solid "dominant" that must precede the I-5/3 chord. So this beat 2 I-6/4 to V-5/3 is setting up the cadence to root position I in next measure beginning the next phrase which is also the repeat of beginning of the Andante.
ms. 7 (same as Ms. 1)

So I believe that the basic chord progression in a 3/4 meter with a rhythm pattern of half note/ quarter note is basically:
I -V/I -iii/IV -ii/V -I/IV -vii/I -V/I

Hope that this helps some.

I tried to develop the arpegios and finally I have a few mesures with so many notes that the difficulty of the piece is much greater... May be I will pass these additions to the second flute, so she doesn't get bored while the first flute (me) plays the easier second flute part for ms 1 to 6...

Unfortunately I did all the writing by ear and I acknowledge there are some errors in the harmony. But I can't do better with my reduced knowledge. It could be that my teacher helps in correcting them. But we'll see what she thinks of this crazy idea I had. I post the midi of ms 1 to 7. here: http://www.maderkraft.com/circuitos/parc_andante.MID, just in case

Well Jose, I'd say that it's not so bad. You've even got some cool syncopated things going on from what I hear.
It may sound a bit busy but this may be because the tempo is more upbeat like your teacher is expecting.

BTW, I think that if one wanted to actually write music, one should try to do a bit daily. Even if it isn't up to what the writer thinks it should be. It's something and it's always going to be a learning experience.