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During the past quarter century, contemporary music has added to its available vocabulary by expanding its concept of acceptable musical sound. Many sounds dismissed by composers in the past as “unmusical” are now being used effectively in the compositions of serious contemporary composers. Some composers have investigated new instruments in their search for additional sounds; others, however, have explored the special effects which can be produced by traditional orchestral instruments.
In this book, we describe such special effects which can be achieved on the flute and suggest a standard notation for them. Since many of the terms are new or unfamiliar, they are defined as they occur. We have not bothered to treat such well-known effects as the conventional trill or tremolo, because they are well covered in standard books on flute technique.