JETHRO TULL FLUTE SOLOS As Performed by Ian Anderson Transcribed Jeff Rona SPARTITI FLAUTO

JETHRO TULL, FLUTE SOLOS.

As Performed by Ian Anderson
Series: Artist Books
Artist: Ian Anderson
Artist: Jethro Tull

Flute solos from 18 Jethro Tull songs have been transcribed for this collection. Songs include:

Baker St. Muse
Big Dipper
Bouree
Bungle In The Jungle
Chequered Flag (Dead Or Alive)
Cross-Eyed Mary
Cup Of Wonder
Fire At Midnight
From Later
Living In The Past
Look Into The Sun
My God
Nothing Is Easy
Passion Play Edit #8
Thick As A Brick
Third Hurrah
The Whistler
The Witch's Promise

These solos are transcribed from the albums on which the songs may be found and, as such, are difficult to play (in true Ian Anderson intense, dynamic fashion). As the solos are excerpts from the complete pieces, they are often improvisational passages, containing different melodic ideas and voicings, and may not always include the original melody.

EXPLANATION OF THE FLUTE SYMBOLS

To achieve some of the techniques Ian Anderson employs on his flute

we've added the following notations to the arrangements:

01 = first harmonic

02 = second harmonic

sing = sing into the flute

ord. = stop sing

fl. = flutter tongue

sing S = sing in the shape of the line

0/ = increasing harmonics

The harmonics are achieved merely by overblowing until the next higher note (overtone) sounds. For the second harmonic, blow until the second higher note sounds. The increasing harmonics are achieved by gradually blowing harder and harder to get as many harmonics as possible.

Singing into the flute may be awkward at first. It is recommended that you learn the pieces first without the singing, then add the effect later. Sing the written note in the octave most comfortable for your voice. It is important to keep the airstream moving fast so there will be a good balance between flute and voice. Ian Anderson has a distinct "dark" sound. In playing these pieces you may wish to play with the blow hole of your flute a little more covered than normal, and blow down into it more. The "dirty" passages should be played with a heavy tongue and almost overblown. You should, however, be careful not to let these techniques become habit.

48 pages