Contemporary flute repertoire free#

When the imitatio maiorum does not lead to the desired improvements, the teacher integrates his indications focusing on explanations and exercises aimed at the body awareness of certain aspects closely related to sound production and control, such as (in the case of wind instruments and singing): alterations of the oral cavity, position of tongue, chin and lips, air velocity, support, resonance points etc. Normally an instrument teacher educates the students to listen and imitate a reference sound, (his own and / or that of famous colleagues, live or in recording), to bring them closer to the canons of 'beauty' 3 defined by his own school of thought.

As methodological foundation of our research we have used two programs for the analysis of acoustic sound parameters: Spectra-Pro and an Algorithm for the measurement of vibrato fluctuations developed by VIEIRA and SILVA, of the Physics and Electronics Departments of UFMG, Belo Horizonte, Brazil 2. In what form does the vibrato affect the sound and timbre of the flute? We sought an answer in the scientific literature on the subject, trying to give our contribution to obtain a more complete model of representation of vibrato. There has been a constant historical evolution trying to describe the flute vibrato in its uses and functions 1, but both in the ancient treatises and in the most current research works, the emphasis has been placed on aesthetic and stylistic issues at the expense of a more objective analysis of vibrato production and its effects.

INTRODUCTION Among the fundamental elements that allow us to recognize a flautist without seeing him are sound quality, vibrato, and the way he uses them: these elements are a bit like a digital fingerprint that differentiates and characterizes him as an unique interpreter.

Contemporary flute repertoire free#

Furthermore, the post-modernist composers' tendency and need to distance themselves from the strict rules of post-serialism and free their voices from any orthodox approach to music seem to find in the traverso sound and its Baroque legacy the best way of reconnecting contemporary 'effects' with the perennial 'affects' that this instrument is able to evoke. Composers such as Jukka Tiensuu, Hans-Martin Linde, Jacqueline Fontyn, Masahiro Arita, Jean-Marie Rens and Doja Cojocaru (to name but a few) have proved able to revive the sound possibilities of the traverso and exploit multiple sonorities, multiphonics, microtones, percussive sounds, whisper tones, jet whistles and singing and playing simultaneously, without forcing the one-keyed flute to become a caricature of the modern flute. Over the last four decades, a number of these techniques initially thought and conceived for the Boehm flute have gradually been adapted to the one-keyed flute as well, producing a brand-new set of sonic 'effects'.

The so-called 'extended techniques' have become an essential resource at the disposal of composers wishing to enlarge the possibilities of the flute's sound palette.