The performers of Sombre. Left to right: Paul Ellison (string bass), Matthew Strauss (percussion), Kaija Saariaho (composer), Camilla Hoitenga (flute), Bridget Kibbey (harp), and Daniel Belcher (baritone). Courtesy Camilla Hoitenga.

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.

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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).

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!

Heard in the full orchestral context, the birds are harder to pick out individually, being just one in a chorus of nature sounds, including a bubbling brook effect. In the orchestral version linked below, the three violins begin their harmonics at 39 seconds, the piccolo bird can be heard at 43 seconds, and the flute bird begins at 53 seconds, with the flutter-tongue notes at 57 seconds.

In further posts in this series, I will look at music inspired by composers who had really listened to the songs of individual birds and created music based on recognisable features, albeit stylised, of actual bird songs, rather than using generic birdsong effects. But before that, I will be taking the musical devices discussed above (such as trills and grace notes), and comparing instrumental audio renditions with audio examples of birds tweeting, trilling and whistling that might have inspired the devices, as a direct comparison.

This year marks the 70th anniversary of the birth of Reza Vali, a renowned Iranian-American composer, professor of composition at the School of Music, Carnegie Mellon University. In this article, Australian flutist Laura Chislett talks about his flute music.

Reza Vali was born in Ghazvin, Iran, in 1952. He began his music studies at the Conservatory of Music in Tehran. In 1972 he went to Austria and studied music education and composition at the Academy of Music in Vienna. After graduating from the Academy of Music, he moved to the United States and continued his studies at the University of Pittsburgh, receiving his Ph.D. in music theory and composition in 1985. Mr. Vali has been a faculty member of the School of Music at Carnegie Mellon University since 1988.

Australian flute player Laura Chislett has established herself on the international stage as a performer, educator and recording artist across a wide range of musical styles. Her recordings, on ten different labels and multiple streaming platforms, range from Bach and Boulanger, to Ferneyhough and Dench.

Any flute list would not be complete without the Andersen Etudes. There are so many of them , and they start at the beginning of high school level all the way through professional level. You can download them all for free here or buy them here.

Flute Music by French Composers is considered some of the most advanced solo music available for the flute. Anything beyond that would be orchestral excerpts. I love the Chaminade and the Faure pieces from here and I play them very often.

Background:  Musical artwork using Balinese flutes made from bamboo (timing buluh) by Agus Teja Sentosa, S.Sn is a combination of music played with flute as the main instrument which contains certain components resembling music therapy such as in western classical music by Antonio Lucio Vivaldi.

Method:  The current study allocated 18 subjects in the control group listened to western classical music by Antonio Lucio Vivaldi, while 18 subjects in the intervention group listened to western classical music and music from Balinese flute as the main instrument by Agus Teja Sentosa, S.Sn. MoCA-Ina assessment and examination of serum dopamine levels were carried out initially and 21 days after listening to music intervention.

Conclusion:  There was a significant relationship between listening to the main instrumental Balinese flute music and the improvement of cognitive function, especially in the memory domain in all study subjects, but the mean increase in cognitive function and serum dopamine level did not reach statistical significance.

The last ornament we are going to look at is the appoggiatura. In music especially from the Baroque and Classic Periods, there are frequently small notes that look remarkably like grace notes with one distinguishing difference. There is no slash through the stem. Especially common in the music of Mozart and Haydn, you also occasionally run across appoggiaturas in music from the 19th century. The main thing that distinguishes appoggiaturas from regular grace notes is that the appoggiatura subtracts value from the note it ornaments. In this example from the Mozart Concerto in G major, this passage is played as straight 16ths, slur two, tongue two.

If you find these entries useful, please subscribe, share with your colleagues and come back regularly for more flute tips. Feel free to comment. If you have a topic you would like to see explored more fully, you can contact me via IM/Messenger on Facebook or email me at dr_cate@sbcglobal.net. For information about clinics and workshops click here.

I am writing a music score for a flute part, but the first 4 bars is a Piano Introduction, but I only need a Piano double stave for the first 4 bars only and the rest of the score to be the flute part, is there any way in musescore that I can do this???? My only option is to put a 4 bar rest which is not how the composer has done it. Any suggestion would be fab

No that doesn't work either as the 3 staves still appear when I only want the 2 staves for the piano intro which is 4 bars followed by a single stave of flute music for 36 bars. I haven't completed the score yet as I have been messing with the settings trying to get it to the way I want.

Harry Seavey's reverence for hawks, considered the messengers of the Sky Spirit, inspired him to name this album after them. Meditative and soulful, the songs on this native flute album reminds us of the inner calm and serenity that connects us to our hearts when we listen.

Harry Seavey was introduced to the Native Flute in 1998, and since then he has dedicated his life to performing and spreading the joy of Native Flute music. Our long-time friend, Harry Seavey passed away in December 2021 - he is missed.

Album length: approximately 60 minutes.

Four innovative teachers and virtuosic performing artists present a 4-day, high-energy Passion Flute 2023. Enhance your individual skills and explore your artistic personality through creative foundations and fundamentals, masterclasses, morning warm-ups, workshops, meditation, flute orchestra, and chamber ensembles. Rediscover your PASSION for music and the flute!

Advanced high school to college undergraduate and graduate, professional, and flutists of all ages who are ready to be inspired, challenged, and move to the next level of musicianship and artistry. (Audition recording required for performer and participant categories; see registration form)

Three SIU Carbondale faculty members are part of the event, which features seven local organists, a piano duet and a flute choir. The program has 10 separate numbers. The audience is encouraged to come in costume.

Marianne Webb came to SIU Carbondale in 1965 as a music faculty member, teaching organ and piano and serving as the university organist. Under her direction, the School of Music initiated an annual organ festival, the first of its kind in the country.

The haunting melody of the handmade flute has been the backdrop to Indigenous life and ceremony spanning the Americas for more generations than is known. Many tribes and bands had their own version and their own music, though much of it was lost with the arrival of Europeans.

Today, the melodies are slowly, haltingly resurfacing with a new generation. Thanks to a special grant from Sisters United, a nonprofit founded by Candice English that supports Indigenous education programming, all middle school students have the opportunity to experience the Native American style flute and its rich heritage.

The students start learning with PVC pipes modified to mimic flutes which provides an affordable and accessible introduction for new learners. Those who choose to keep playing will eventually get the opportunity to use more traditional wood flutes. 0852c4b9a8

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