Lucy


 * Flute Ensemble Music (Duets, Trios and Flute Choirs)**

Flute ensembles can range from two players (duet), three players (trio), four players (quartet), or may feature several flutists which is referred to as a flute choir.

A flute choir is an instrumental chamber ensemble consisting of range extensions of the flute family. Although a flute quartet can, in some cases depending on instrumentation, be considered a flute choir, most flute choirs extend the melodic range of the group in either direction with the addition of "melody" flutes. Most flute ensembles of five or more people can be considered a flute choir, although this is not a fixed number. The following instruments, listed by descending range, can be included in a flute choir: Other options that exist are E♭ flute (a minor third higher than the concert flute) and the B♭ flute (sounding a major second lower than the concert flute). The most common instrumentation for a "standard" flute choir can be seen in much of the literature: As some groups do not have access to the larger flutes, some alterations are usually provided. Alto flute parts are usually accompanied by a transposed part for the concert flute (usually including certain octave changes because of the extended range of the alto).
 * Piccolo (octave above the concert flute)
 * Concert Flute
 * Alto Flute (a fourth below the concert flute)
 * Bass Flute (octave below the concert flute)
 * Contra-alto Flute (octave below the alto flute)
 * Contrabass Flute (octave below the bass flute)
 * Piccolo
 * 3-4 Concert Flute
 * Alto Flute
 * Bass Flute

media type="custom" key="26178796" (0:00-3:56) - This piece is composed for 7 flutes (4 C flutes, 1 piccolo, alto flute and bass flute) - Begins with solo flute playing a melody of slurred octave leaps (monophonic). - Lip-bending is a technique used throughout this piece, causing the pitch to go flat (lower) by rolling the head joint inwards. - Melody plays descending microtones by using alternate fingering patterns by utilising the trill keys. - Accompanying flutists blow air through the flutes creating residual tone, dynamically piano to provide an airy, windy tone colour (homophonic). - Overblowing is featured in Section B to provide a raspy tone colour. - Section A features a sparse texture, however in Section B, the flutes blow air faster through the flute creating a more strident tone colour as the air whistles through the keys. - In Section A, the solo flute determines the expression of rubato. However, the tempo in Section B is consistently kept by the bass flute playing an even quaver beat, alternating between two notes. - The melody in Section C creates contrast as it is passed between piccolo (highest pitch) and bass flute (lowest pitch). - In Section C, the range of pitch is broadened, as one two of the flutes alternate to playing piccolo (highest in pitch) which carries the melody, and is doubles by bass flute. - Meanwhile, the flutes play an ascending and decending scale-like pattern, a ritardando utilised to slow the tempo at the end of the section, making each note of the scale clearer. - The repetitions of the notes get faster through the progression of sections. The melody in Section A consists of sustained notes, often linked by semi-quavers. In Section B and C, the notes are consistently of lesser value (quavers and semi-quavers), creating variety and interest.

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(0:00-6:48) - Adagio (Tempo) - The piece employs a major tonality, which then modulates into the relative minor mid-way through section A which is carried into section B. - In the first part of section A, the piano changes chords each crotchet beat of the 3/4 bar. - The melody alternates between the two flutes. The part that is not playing the melody, plays sustained notes, first low in pitch, an then in the upper octave. - However, towards the end of the section, the flutes begin to play in similar motion, divided into melody and harmony, meaning that the accompanying flute role is removed. - Hence, the piano takes over the role of sustained bass notes, so the chords are held for a longer duration. - As the pitch gradually ascends at the end of section A, the dynamics crescendo. - The range of dynamics is limited (general mezzo piano), slight crescendos and decrescendos throughout many of the phrases. - The melody is generally lower in pitch than the accompanying flute. - As the melody ascends and descend, the dynamics crescendo and decrescendo, respectively.
 * First Movement**

- Allegro ma non presto (tempo) - Textural layers remain the same, however, the texture appear to be more dense as each of the layers features scale-like passages, played - During some phrases, the piano doubles the melody - Ornamentation in the form of trills and turns create interest which are often played in question and answer phrases - The contour is smooth throughout the scale-like passages, however this is contrasted to the octave jumps throughout the major tonality, and also the phrases which modualte into the relative minor, the contour becomes more jagged.
 * Second Movement**

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Begins at 1:20 - Rondo form (ABACA - with a coda) - Homophonic with melody passed between the two flutes. - The piano begins the phrases with ascending chords, which is followed by solo flute, then the additional flute provides harmony, playing in similar motion a third below the melody. - Rubato is heavily featured throughout section A, the flutes ensuring that their communication is open, as they must expressively ‘rob’ the time in unison. This is achieved by both flutists facing each other and utilising the flute as a conductor’s baton to bring each of the flutes in at the same time. - The flutes play an ascending sequence in question and answer phrases, which leads to the climax of the tonic. - Section B is more lively, the flutes playing in similar motion for the majority of the time. - Section C features fast, scale-like passages which ascend and descend, as well as octave leaps, modulating from major to minor. - The coda is much faster, requiring the flutists to double-tongue the ascending and descending passages.

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- This piece is composed for two flutes, cello and piano. - Allegro (tempo) - Piano accompaniment begins by playing an ascending and descending scale-like chord progression. - As the texture builds with the two flutes playing in harmony, the piano begins to play dissonant chords which change each beat. - The cello is used to play a walking bass-line (pizzicato). - The two flutes move in similar motion. - In Section B, the melody is swung, and the tempo is decreased. - In Section B, the piano alternates between playing accompanying chords, playing in unison with the flutes, and call and response patterns. - The melody is not legato, but rather is stacatto accented. - Melody is frequently syncopated. - Cello has an improvised solo which is pizzicato. The celloist does not use the bow throughout the entire piece.

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- This toccata features rapid passages, demonstrating the abilty of the flutes to stay in time with each other while utilising rubato. - The opening section features a melodic ostinato, the first time being played all four instruments (piccolo, flute, alto flute and bass flute), the second time down an octave excluding the piccolo which creates interest due to wide range of pitch and repetition of the phrase. - An ascending sequence is then played with all of the instruments in unison utilising the extensive melodic range. - A descending sequence features the same structure, down to the tonic which is held as a sustained note by the bass flute - The piccolo then plays an ascending then descending sequence as a solo, which the flute, then alto flute are added upon the descent to add depth. - A rapid scale-like passage is played as a solo by the concert flute. - Question and answer is featured, the question in unison and the answer in harmony.