Printed music for flute and violin are the same - except that music that is well written for each instrument will generally be a bit different to take advantage of what falls more easily "under the fingers." AO- if you find the same solo for flute and for violin, you may find it has been transposed into a different key for each for this reason.
I don't agree that it is easier to play high notes on a flute than on a violin. Flutes don't have the disadvantage of changing positions but you are putting down different combinations of fingers for each note - rather than one finger at a time. Also there are breath control issues, and directing the air, and intonation that we have to worry about especially way up top.
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I also play the flute. But I disagree with fatcat about high notes not being easier. I think that they are easier on flute(not that they are easy) simply becuse that you know, if you have resonsble control of your air, that as long as you have the right fingers down you at leat have the right note (intonation can still be hard though). But on violin your finger has to be in the exact fraction of an inch in the right place to even have the right note.
As far as music is concerned much of the music can be played on both violin and flute. But it usually sound better and is easier to play on the one it's written for. My advice to fellow violinists never perform anything written for "Flute or violin" it usually sounds better on flute.
In concert band, we were all taught to tongue all notes not connected by slurs and play all notes under the same slur between two tonguings. This tip applied regardless of wind instrument - including flute.
My personal rule of thumb, as someone who played clarinet but never flute, is to put the slurs so they reflect how I sing the (melody, countermelody, or accompaniment) line. I connect with slurs all notes I sing smoothly into each other and do not break apart (whether by breath control or with my tongue/other mouth parts).
The beginning of a slur will have a different 'attack' from a note anywhere else in that slur. It's, as you say, the tonguing of that note. The others are simply blown, in the same breath, so there's no attack apeart from the start note.
Often, the music itself will tell the player how to slur, but that's maybe a different interpretation from that of the composer. So, that composer needs to envisage how phrases are played, and phrase, or slur, accordingly.
What better reason to at least have a foray into flute playing? It's the same for any instrument that's being composed for - each has its own foibles - subtle ways to produce sounds - and without knowledge of those, the composer is the poorer for it.
But using the tongue is largely orthogonal to other aspects of flute play, so the composer does not really need to know flute technique for writing slurs but can place them as the music rather than the instrument calls for (naturally limited by the amount of breath expected to be available for one phrase, with lower notes consuming more breath).
That's different from placing trills or fast runs in various keys where the resulting difficulty depends a lot on the details of the flute. However, modern flutes (and to some degree other woodwinds) tend to defuse the worst problems with special trill and octavation keys, so a non-playing composer is less likely to create awful difficulties by accident than in times where flutes mainly had holes instead of more sophisticated mechanics.
Hi @TimLau - thank you! Yes, the sheet music is there to show flute players the standard of the music, so they can decide whether to download it (for themselves or for their students) or not. The trick was to find a way of giving them just a taster of the music but not to give the complete score away!
If the music is written in bass clef (for low instruments), then you 100% cannot play it on the flute. Unless of course you are able to read bass clef. In which case just play the music up an octave or two (or three!).
Also, music written for low instruments is in a totally different style to music written for flute. There will be less notes written (because fast notes down low sound muddy), and it will rarely be the melody. So in a nutshell, not very exciting to play alone on the flute!
Every instrument has a particular range that it is capable of. Plus, in reality, not all players can yet play the whole range of notes, so they will have their own "range" that they are comfortable playing.
If the music goes lower than the flute can play, it will be impossible to play (or even read) those notes. Unless you play those low notes up the octave, in which case, it will work, but will just sound a bit weird.
If two instruments in different keys both play an A, they will sound as different notes. Crazy I know! If you've never encountered this concept, it's super weird at first to wrap your head around. (There is a reason behind this craziness. Basically it keeps fingerings similar across instruments.)
Ok, now we're getting into some (good) details! Articulation is basically the TONGUING and SLURRING in the piece. There are finer details too, like how delicate or smooth or robust the style of playing should be...
Because it's basically flute music. It has almost the same range as the flute. It's in the same key. The articulation is identical in style. The downside is that you won't really find much piccolo music out there!
Yes, there is lots of it around. And it totally fits the bill in all the categories I talked about above. Recorder music won't have a great range of dynamics (because the recorder can't vary its volume very much), but I think most flute players can live with that!
If you have Piano music lying around, you can play the top line (the right hand) on the flute. Just take into account what I said about piano above. You can even play it with someone playing the bottom line (the left hand) on the piano at the same time. So an easy-made duet.
If you happen to have some Clarinet, Trumpet, Saxophone music around, this will mostly work fine on the flute. Just don't try playing it with anyone else on a different instrument because it will sound very strange indeed, since those instruments are in a different key to the flute.
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At the end of the Fall 2021 semester, I encouraged my college flute students to consider learning a piece by an underrepresented composer (female and/or a person of color). Previously, works by these composers were not frequently included in traditional concert programming. Happily, this is changing. I provided a few resources for finding repertoire and was pleasantly surprised when several students learned music by these composers. Taking this idea one step further, in the spring of 2022, three of my students and I learned pieces and did some research on each of our composers. Our plan to share this project with our campus community did not work out due to some communication issues, so we feel fortunate to be able to share our findings with a larger flute community. We hope you will be encouraged to learn these pieces, find out about new ones, and allow these voices to flourish in our repertoire.
Born Marie-Juliette Olga Boulange, Lili had numerous health issues throughout her life. Both of her parents were musicians who encouraged her musical endeavors. Despite their five-year age difference, Lili and her sister Nadia attended classes together at the Paris Conservatory. Nadia became an important composition teacher whose students included Aaron Copland, Elliott Carter, Virgil Thompson, and Jean Francaix, to name a few.
Nocturne was composed in 1911 and was originally written for violin and piano. It has a Debussy-like feel with flowing lines that are filled with chromaticism. The piano and flute lines can be divergent and the final expected cadence does not arrive until the final measure. Although written in the key of F major, the piece never settles on a tonic resolution until the final chord.
Ulysses Kay was born into a musically-gifted lineage on January 7, 1917, in Tucson, Arizona. His mother, Elizabeth, was a church pianist and his maternal uncle was acclaimed jazz musician King Oliver. While this originally inspired Kay to learn jazz saxophone in his youth, he later learned keyboard and violin as he grew to proselytize the neoclassical movement.
Claude Arrieu is the pseudonym for Anne Marie Simon (other sources list her given name as Louise Marie Simon). She studied at the Paris Conservatory, where she won a premier Prix in composition in 1932. One of her teachers at the conservatory was Paul Dukas.
She was a prolific composer for French radio, where she was a producer and assistant head of sound effects. She also wrote operas and other theatrical works, 30 film scores, and chamber music. Her style is often compared to Les Six, the group of composers focused on creating a unique French sound.
My research did not indicate why she used a pseudonym and some sources do not list her given name at all. One possibility could be that a male name would be given more serious consideration at that time.
The Sonatine is an example of Gebrachmusik, music that is intended for talented amateurs rather than virtuosos. Pieces like this were written as a reaction against the intellectual and complex styles of 20th-century modernism. The piece is a noted work of the composer in several sources. Three brief movements reflect her talent for melody with a little bit of humor and spice. The radio premiere was given by Jean-Pierre Rampal accompanied by Herman Moyens in 1944 to great acclaim.
At the same time, three solo violins are playing three different sets of harmonic notes, simultaneously, which simulate the sound of a single bird whose tone includes multiphonics (more than one pitch sounding at a time). 152ee80cbc
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