Contrasti - Flute

In contrast, a 'complete' method sometimes in multiple volumes is meant to accompany the student until he or she becomes an advanced player. Methods of certain authors or editors have achieved the status of standard works reflecting regional and cultural differences and are published or reissued by different publishing companies and often in new layouts or arrangements. The Suzuki Method is one of the most well known examples of this. From Wikipedia, the free encyclopedia. This article does not cite any sources. Please help improve this article by adding citations to reliable sources.

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Berlioz on the Flute in the Orchestra

The purity of their tones remained far from perfect as long as the holes were placed according to the natural distance of the fingers instead of the rational division of the sound-tube, i. They felt sure that the difficulties thus created would be resolved in the course of time through some new contrivances. After the instruments had been bored in this fashion and thus tuned to correct pitch, they invented a mechanism of keys and rings which could easily be reached by the fingers of the player. This device opened or closed the holes which otherwise would not be accessible to the fingers.

This necessitated a complete change in fingering; but the difficulty was soon conquered. In view of the compensations offered by the new instruments built according to Gordon's and Boehm's system, we have no doubt that they will displace the old wood-wind instruments within a few years. Unfortunately, this is still not so in Germany. Some of Boehm's flutes as well as the old flutes have the b below middle c', but flutes without this low B are said to have a better intonation.

The b''' b and b''' can still be produced in piano, the c'''' only with caution. In forte c'''' and d'''' can also be played. Wooden flutes have a finer tone than metal ones silver or gold , but the latter respond more easily. Though a footnote remarks "In France, there are also Boehm clarinets, bassoons and oboes in use", the full Boehm system instruments, other than the flute, never became standard—because the loss of "character" entailed by that system was judged too great. And even for the flute, it was more than "a few years" before the Boehm flute displaced all others outside of France, as Strauss' remark of shows.

Just a few years ago the flute had a range of only two octaves and a fifth: Two semitones below and three above were gradually added to this scale; this increased the range to three complete octaves: However, not all flutists having instruments with the device necessary for producing the lowest C and C , it is usually better not to use these tones in the orchestra. This restriction is no longer valid.

The smooth sounds of flute and piano in Contrast

I must not fail to warn the composer against using the high C as in my "Heldenleben. The end of Act 2 of "Meistersinger" is also extremely difficult for the flutes, especially in staccato; in legato the figure b -c' -d' -e' is easier. Compare also the end of "Goetterdaemmerung", which is very difficult for the flute. The trill a''' with b''' etc.

The smooth sounds of flute and piano in Contrast | Goulburn Post

The quick alteration of a''' with b''' is also extremely difficult on the old flute. The two highest tones, b''' and c'''', are rather difficult to produce and sound somewhat shrill; they should not be employed in pianissimo. High b''' b , however, can be sounded easily and sustained in the softest piano without any danger. The number of tones permitting trills was rather limited on the old flute. Thanks to the keys added to the new flute, major and minor trills are practicable over the greater portion of its range:.

I find the former much easier, as long as one has a low C key. Both are easy with Schwedler's first trill key. On the flute built according to Boehm's system all trills are practicable up to the extreme high range i. The flute is the most agile of all wind instruments. It is just as suitable for fast diatonic or chromatic passages—slurred or detached—as for arpeggios and figures with wide jumps, e.