Posted in For Project 7 Examples

Example 3 Research, Part 3a: Overlapping of the Words: Flute, Whistle and Pipe; and the Primitive Reedless Woodwind Aerophones

For my third example, using the previously explained nonatonic scale, I decided to write a piece for the flute. This is the first part of the research about the instrument, focusing on the earliest period of its emergence.

In the broadest sense, flute is a reedless woodwind aerophone – a hollow tube (or sometimes a globe and other shapes), which produces a tone when a stream of air is projected against the sharp edge of its opening. (Fig. 1) Under this loose definition, the term flute is a general name for a very large and varied family of wind instruments, but this denotation overlaps with the terms pipe and whistle.


Fig. 1. The mechanics of reedless woodwind instruments

Pipe can refer to not only the specific instrument – the three-holed pipe played with tabor (Fig. 3), which is classified under the flute family, but it can also have a very broad meaning – any instrument in the form of tube, or any aerophone in general, with or without reed. In this sense, pipe can be categorized as the generic term, with the flute being its subcategory.


Fig. 3. The tabor pipe Continue reading “Example 3 Research, Part 3a: Overlapping of the Words: Flute, Whistle and Pipe; and the Primitive Reedless Woodwind Aerophones”

Posted in Woodwind Repertoire

Flute Pieces

In this post, I will write about the flute compositions I’ve listen to, which include my brief thoughts about each piece. While I did concentrate on the solo items, I also listened to pieces that include orchestral or piano accompaniment, and I even added some orchestral/ensemble/chamber pieces, but only because they contain fragments with interesting flute parts. Also, read my research about the instrument itself here.

Unaccompanied Solo Flute

Friedrich Kuhlau – 3 Fantaisies for Solo Flute, Op.38

I heard a movement from one of the fantasies on a concert few years ago. Kuhlau, who is often called “the Beethoven of the flute”, is a composer from the Classic and Romantic era, so I generally knew what to expect in terms of melodic and harmonic motion. Still, these fantasies didn’t fail to surprise me in a few places, and I feel that they presented a nice introduction to phrasing and expression of the flute, as well as showing me its virtuosic possibilities. I certainly learned a lot from the way the pieces are notated, especially in regards to utilizing the range of the instrument. I really enjoyed the dramatic adagios, and I instantly recognized the melody of the theme-and-variation finale of the first fantasy – Mozart’s aria from Don Giovanni. Take a look at my analysis here. Continue reading “Flute Pieces”