Prout | Chapter VI | Figures
Chapter 6: Wind Instruments: The Flutes
Citation: Prout, 1899 (vol.I), p. 92
Summary of Figure: An example showing the appearance of the wooden flute.
Exemplification of: Flute illustration
Prout, 1899 (vol.I), p. 92 [Note: An example showing the appearance of the wooden flute.]
Chapter 6: Wind Instruments: The Flutes
Citation: Prout, 1899 (vol.I), p. 94
Summary of Figure: An example showing the appearance of the "Boehm" model flute.
Exemplification of: Flute illustration
Prout, 1899 (vol.I), p. 94 [Note: An example showing the appearance of the "Boehm" model flute.]
Chapter 6: Wind Instruments: The Flutes
Citation: Prout, 1899 (vol.I), p. 93
Summary of Figure: The note C4, which is the lower limit of the flute's low register.
Exemplification of: Flute low register, range
Prout, 1899 (vol.I), p. 93 [Note: The note C4, which is the lower limit of the flute's low register.]
Chapter 6: Wind Instruments: The Flutes
Citation: Prout, 1899 (vol.I), p. 93
Summary of Figure: The note C#5, which is the upper limit of the flute's low register.
Exemplification of: Flute low register, range
Prout, 1899 (vol.I), p. 93 [Note: The note C#5, which is the upper limit of the flute's low register.]
Chapter 6: Wind Instruments: The Flutes
Citation: Prout, 1899 (vol.I), p. 93
Summary of Figure: The note D5, which is the lower limit of the flute's middle register.
Exemplification of: Flute middle register, range
Prout, 1899 (vol.I), p. 93 [Note: The note D5, which is the lower limit of the flute's middle register.]
Chapter 6: Wind Instruments: The Flutes
Citation: Prout, 1899 (vol.I), p. 93
Summary of Figure: The note C#6, which is the upper limit of the flute's middle register.
Exemplification of: Flute middle register, range
Prout, 1899 (vol.I), p. 93 [Note: The note C#6, which is the upper limit of the flute's middle register.]
Chapter 6: Wind Instruments: The Flutes
Citation: Prout, 1899 (vol.I), p. 93
Summary of Figure: The note D6, which is the lower limit of the flute's high register.
Exemplification of: Flute high register
Prout, 1899 (vol.I), p. 93 [Note: The note D6, which is the lower limit of the flute's high register.]
Chapter 6: Wind Instruments: The Flutes
Citation: Prout, 1899 (vol.I), p. 93
Summary of Figure: The note C7, which is the upper limit of the flute's high register.
Exemplification of: Flute high register
Prout, 1899 (vol.I), p. 93 [Note: The note C7, which is the upper limit of the flute's high register.]
Chapter 6: Wind Instruments: The Flutes
Citation: Prout, 1899 (vol.I), p. 96
Summary of Figure: An example from Auber's "L'Enfant Prodigue" demonstrating a dolce melody in the low and middle registers of the flute. This example highlights the quality of this register Prout describes as "sweet" and "slightly reedy." The violins and violas provide a soft and sparse pizzicato accompaniment that doesn't overpower the flute.
Exemplification of: flute low and middle registers, tone quality
Composer and Work: Auber, Daniel-François-Esprit | L’enfant prodigue <1850>
Prout, 1899 (vol.I), p. 96 [Note: (1/2) An example from Auber's "L'Enfant Prodigue" demonstrating a dolce melody in the low and middle registers of the flute. This example highlights the quality of this register Prout describes as "sweet" and "slightly reedy." The violins and violas provide a soft and sparse pizzicato accompaniment that doesn't overpower the flute.]
Chapter 6: Wind Instruments: The Flutes
Citation: Prout, 1899 (vol.I), p. 97
Summary of Figure: An example from Auber's "L'Enfant Prodigue" demonstrating a dolce melody in the low and middle registers of the flute. This example highlights the quality of this register Prout describes as "sweet" and "slightly reedy." The violins and violas provide a soft and sparse pizzicato accompaniment that doesn't overpower the flute.
Exemplification of: flute low and middle registers, tone quality
Composer and Work: Auber, Daniel-François-Esprit | L’enfant prodigue <1850>
Prout, 1899 (vol.I), p. 97 [Note: (2/2) An example from Auber's "L'Enfant Prodigue" demonstrating a dolce melody in the low and middle registers of the flute. This example highlights the quality of this register Prout describes as "sweet" and "slightly reedy." The violins and violas provide a soft and sparse pizzicato accompaniment that doesn't overpower the flute.]
Chapter 6: Wind Instruments: The Flutes
Citation: Prout, 1899 (vol.I), p. 97
Summary of Figure: An example from the Scherzo of Dvořák's Symphony No. 7 demonstrating a melody in the low register of the flute accompanied by soft sustained strings and timpani. Editor: The treatise identifies this work as "2nd Symphony" but it is now known as No. 7.
Exemplification of: Flute low register, cello double stops
Composer and Work: Dvořák, Antonín | Symphony No.7, op.70, B.141, D minor <1884–1885>
Prout, 1899 (vol.I), p. 97 [Note: An example from the Scherzo of Dvořák's Symphony No. 7 demonstrating a melody in the low register of the flute accompanied by soft sustained strings and timpani. Editor: The treatise identifies this work as "2nd Symphony" but it is now known as No. 7.]
Chapter 6: Wind Instruments: The Flutes
Citation: Prout, 1899 (vol.I), p. 98
Summary of Figure: An example from Gluck's "Alceste" demonstrating a simple flute melody in the middle register. The texture of the accompaniment is comprised of sustained oboe and horn notes, pizzicato first violins, cellos, and double basses, and an arpeggiated figure doubled at the unison by second violins and violas.
Exemplification of: flute middle register
Composer and Work: Gluck, Christoph Willibald | Alceste <1767; rev 1776>
Prout, 1899 (vol.I), p. 98 [Note: (1/2) An example from Gluck's "Alceste" demonstrating a simple flute melody in the middle register. The texture of the accompaniment is comprised of sustained oboe and horn notes, pizzicato first violins, cellos, and double basses, and an arpeggiated figure doubled at the unison by second violins and violas.]
Chapter 6: Wind Instruments: The Flutes
Citation: Prout, 1899 (vol.I), p. 99
Summary of Figure: An example from Gluck's "Alceste" demonstrating a simple flute melody in the middle register. The texture of the accompaniment is comprised of sustained oboe and horn notes, pizzicato first violins, cellos, and double basses, and an arpeggiated figure doubled at the unison by second violins and violas.
Exemplification of: Flute middle register
Composer and Work: Gluck, Christoph Willibald | Alceste <1767; rev 1776>
Prout, 1899 (vol.I), p. 99 [Note: (2/2) An example from Gluck's "Alceste" demonstrating a simple flute melody in the middle register. The texture of the accompaniment is comprised of sustained oboe and horn notes, pizzicato first violins, cellos, and double basses, and an arpeggiated figure doubled at the unison by second violins and violas.]
Chapter 6: Wind Instruments: The Flutes
Citation: Prout, 1899 (vol.I), p. 94
Summary of Figure: An example from Rossini's "William Tell" Overture demonstrating the agility of the flute in a fast passage containing large leaps.
Exemplification of: Flute agility, arpeggios, leaps
Prout, 1899 (vol.I), p. 94 [Note: An example from Rossini's "William Tell" Overture demonstrating the agility of the flute in a fast passage containing large leaps.]
Chapter 6: Wind Instruments: The Flutes
Citation: Prout, 1899 (vol.I), p. 99
Summary of Figure: An example from Cherubini's "Médée" demonstrating the kind of fast flute passage Prout describes as "florid," containing many scales and arpeggios. The string accompaniment is soft and sparse, and the cellos and double basses play pizzicato.
Exemplification of: Flute agility, arpeggios, scales
Composer and Work: Cherubini, Luigi | Médée (Medea) <1797>
Prout, 1899 (vol.I), p. 99 [Note: (1/2) An example from Cherubini's "Médée" demonstrating the kind of fast flute passage Prout describes as "florid," containing many scales and arpeggios. The string accompaniment is soft and sparse, and the cellos and double basses play pizzicato.]
Chapter 6: Wind Instruments: The Flutes
Citation: Prout, 1899 (vol.I), p. 100
Summary of Figure: An example from Cherubini's "Médée" demonstrating the kind of fast flute passage Prout describes as "florid," containing many scales and arpeggios. The string accompaniment is soft and sparse, and the cellos and double basses play pizzicato
Exemplification of: Flute agility, arpeggios, scales
Composer and Work: Cherubini, Luigi | Médée (Medea) <1797>
Prout, 1899 (vol.I), p. 100 [Note: (2/2) An example from Cherubini's "Médée" demonstrating the kind of fast flute passage Prout describes as "florid," containing many scales and arpeggios. The string accompaniment is soft and sparse, and the cellos and double basses play pizzicato.]
Chapter 6: Wind Instruments: The Flutes
Citation: Prout, 1899 (vol.I), p. 94
Summary of Figure: An example showing the specific trills on the flute that Prout suggests "should be avoided.
Exemplification of: Flute trills
Prout, 1899 (vol.I), p. 94 [Note: An example showing the specific trills on the flute that Prout suggests "should be avoided."]
Chapter 6: Wind Instruments: The Flutes
Citation: Prout, 1899 (vol.I), p. 94
Summary of Figure: An example from Raff's Symphony No. 3 demonstrating the use of double tonguing in a fast passage for flutes with repeated notes. In this example, strings accompany with pizzicato
Exemplification of: Flute double tonguing, repeated notes
Composer and Work: Raff, Joachim | Symphony No.3, op.153, F major (Im Walde; In the Forest) <1869>
Prout, 1899 (vol.I), p. 94 [Note: An example from Raff's Symphony No. 3 demonstrating the use of double tounging in a fast passage for flutes with repeated notes. In this example, strings accompany with pizzicato.]
Chapter 6: Wind Instruments: The Flutes
Citation: Prout, 1899 (vol.I), p. 100
Summary of Figure: An example from Haydn's Symphony No. 90 demonstrating an ornamented flute melody, accompanied only by both violin sections in unison. The accompaniment is staccato and pianissimo throughout this excerpt. Editor: The treatise identifies this work as "Symphony in C, No. 60," but it is now known as No. 90.
Exemplification of: Flute melody, violins unison accompaniment
Composer and work: Haydn, Franz Joseph | Symphony No.90, C major <1788>
Prout, 1899 (vol.I), p. 100 [Note: An example from Haydn's Symphony No. 90 demonstrating an ornamented flute melody, accompanied only by both violin sections in unison. The accompaniment is staccato and pianissimo throughout this excerpt. Editor: The treatise identifies this work as "Symphony in C, No. 60," but it is now known as No. 90.]
Chapter 6: Wind Instruments: The Flutes
Citation: Prout, 1899 (vol.I), p. 101
Summary of Figure: An example from Mozart's "Così fan tutte" demonstrating third doubling between two flutes. This example also demonstrates an "echo" effect when the bassoons repeat the end of each flute phrase an octave below.
Exemplification of: Flutes thirds doubling, bassoon "echo" effect
Composer and Work: Mozart, Wolfgang Amadeus | Così fan tutte, K.588 <1790>
Prout, 1899 (vol.I), p. 101 [Note: An example from Mozart's "Così fan tutte" demonstrating third doubling between two flutes. This example also demonstrates an "echo" effect when the bassoons repeat the end of each flute phrase an octave below.]
Chapter 6: Wind Instruments: The Flutes
Citation: Prout, 1899 (vol.I), p. 101
Summary of Figure: An example from Auber's "Fra Diavolo" demonstrating the combination of staccato flutes and pizzicato strings. The two flute lines alternate between movement in parallel thirds and sixths.
Exemplification of: flute staccato
Composer and Work: Auber, Daniel-François-Esprit | Fra Diavolo <1830>
Prout, 1899 (vol.I), p. 101 [Note: (1/2) An example from Auber's "Fra Diavolo" demonstrating the combination of staccato flutes and pizzicato strings. The two flute lines alternate between movement in parallel thirds and sixths.]
Chapter 6: Wind Instruments: The Flutes
Citation: Prout, 1899 (vol.I), p. 102
Summary of Figure: n example from Auber's "Fra Diavolo" demonstrating the combination of staccato flutes and pizzicato strings. The two flute lines alternate between movement in parallel thirds and sixths.
Exemplification of: flute staccato
Composer and Work: Auber, Daniel-François-Esprit | Fra Diavolo <1830>
Prout, 1899 (vol.I), p. 102 [Note: (2/2) An example from Auber's "Fra Diavolo" demonstrating the combination of staccato flutes and pizzicato strings. The two flute lines alternate between movement in parallel thirds and sixths.]
Chapter 6: Wind Instruments: The Flutes
Citation: Prout, 1899 (vol.I), p. 102
Summary of Figure: An example from Mendelssohn's "Heimkehr aus der Fremde," or "Son and Stranger" demonstrating the combination of flutes with pizzicato violins and violas. The flutes play mostly in the low register, and the dynamic of the whole passage is pianissimo
Exemplification of: flute and strings dynamics, pianissimo, flute low register
Composer and Work: Mendelssohn, Felix | Heimkehr aus der Fremde, op.89 (Son and Stranger) <1829>
Prout, 1899 (vol.I), p. 102 [Note: An example from Mendelssohn's "Heimkehr aus der Fremde," or "Son and Stranger" demonstrating the combination of flutes with pizzicato violins and violas. The flutes play mostly in the low register, and the dynamic of the whole passage is pianissimo.]
Chapter 6: Wind Instruments: The Flutes
Citation: Prout, 1899 (vol.I), p. 103
Summary of Figure: An example from Mendelssohn's "Italian" Symphony (No. 4) demonstrating the use of two flutes as middle voices, providing a contrapuntal harmonic support to a melody doubled in octaves between the violin sections.
Exemplification of: violins octave doubling, flutes middle voice harmonies, counterpoint
Composer and Work: Mendelssohn, Felix | Symphony No.4, op.90, A major (Italian) <1833>
Prout, 1899 (vol.I), p. 103 [Note: An example from Mendelssohn's "Italian" Symphony (No. 4) demonstrating the use of two flutes as middle voices, providing a contrapuntal harmonic support to a melody doubled in octaves between the violin sections.]
Chapter 6: Wind Instruments: The Flutes
Citation: Prout, 1899 (vol.I), p. 104
Summary of Figure: An example from Verdi's Requiem demonstrating the use of three flutes to accompany solo voices. The melody is doubled at the octave between the solo soprano and mezzo-soprano singers.
Exemplification of: voice octave doubling, three-flute accompaniment
Composer and Work: Verdi, Giuseppe | Messa da requiem (Manzoni requiem) <1874; rev 1875>
Prout, 1899 (vol.I), p. 104 [Note: An example from Verdi's Requiem demonstrating the use of three flutes to accompany solo voices. The melody is doubled at the octave between the solo soprano and mezzo-soprano singers.]
Chapter 6: Wind Instruments: The Flutes
Citation: Prout, 1899 (vol.I), p. 105
Summary of Figure: The note D5 in treble clef.
Exemplification of: transposing flutes
Prout, 1899 (vol.I), p. 105 [Note: The note D5 in treble clef.]
Chapter 6: Wind Instruments: The Flutes
Citation:Prout, 1899 (vol.I), p. 106
Summary of Figure: The note Db5. This is the note that would have to be fingered on a transposing flute in Db in order to produce a concert pitch of D5.
Exemplification of: transposing flutes (Db)
Prout, 1899 (vol.I), p. 106 [Note: The note Db5. This is the note that would have to be fingered on a transposing flute in Db in order to produce a concert pitch of D5.]
Chapter 6: Wind Instruments: The Flutes
Citation: Prout, 1899 (vol.I), p. 106
Summary of Figure: he note B4. This is the note that would have to be fingered on a transposing flute in Eb in order to produce a concert pitch of D5.
Exemplification of: transposing flutes (Eb)
Prout, 1899 (vol.I), p. 106 [Note: The note B4. This is the note that would have to be fingered on a transposing flute in Eb in order to produce a concert pitch of D5.]
Chapter 6: Wind Instruments: The Piccolo
Citation: Prout, 1899 (vol.I), p. 107
Summary of Figure: An example showing the range of the piccolo, as notated an octave below sounding pitch, and at sounding pitch.
Exemplification of: piccolo range
Prout, 1899 (vol.I), p. 107 [Note: An example showing the range of the piccolo, as notated an octave below sounding pitch, and at sounding pitch.]
Chapter 6: Wind Instruments: The Flutes
Citation: Prout, 1899 (vol.I), p. 108
Summary of Figure: An example from the end of Beethoven's "Egmont" Overture demonstrating a full orchestral tutti texture with prominent interjections of piccolo and brass.
Exemplification of: piccolo and brass combination, tutti texture
Prout, 1899 (vol.I), p. 108 [Note: An example from the end of Beethoven's "Egmont" Overture demonstrating a full orchestral tutti texture with prominent interjections of piccolo and brass.]
Chapter 6: Wind Instruments: The Piccolo
Citation: Prout, 1899 (vol.I), p. 109
Summary of Figure: An example from Auber's "La Muette de Portici" demonstrating a piccolo melody containing a variety of rhythms. The close voicing of the middle harmonies for four horns produces a quality Prout describes as "richness."
Exemplification of: piccolo rhythms, clarinet arpeggios
Composer and Work: Auber, Daniel-François-Esprit | La muette de Portici <1828>
Prout, 1899 (vol.I), p. 109 [Note: An example from Auber's "La Muette de Portici" demonstrating a piccolo melody containing a variety of rhythms. The close voicing of the middle harmonies for four horns produces a quality Prout describes as "richness."]
Chapter 6: Wind Instruments: The Piccolo
Citation: Prout, 1899 (vol.I), p. 110
Summary of Figure: An example from Auber's "Le cheval de Bronze" demonstrating a melody in the clarinet doubled two octaves above by the piccolo. This produces an effect Prout terms "piquant." The strings provide a simple accompaniment.
Exemplification of: piccolo-clarinet two-octave doubling
Composer and Work: Auber, Daniel-François-Esprit | Le cheval de bronze (The Bronze Horseman) <1835>
Prout, 1899 (vol.I), p. 110 [Note: An example from Auber's "Le cheval de Bronze" demonstrating a melody in the clarinet doubled two octaves above by the piccolo. This produces an effect Prout terms "piquant." The strings provide a simple accompaniment.]
Chapter 6: Wind Instruments: The Piccolo
Citation: Prout, 1899 (vol.I), p. 110
Summary of Figure: An example from Auber's "Le cheval de Bronze" demonstrating a melody in the clarinet doubled two octaves above by the piccolo. This produces an effect Prout terms "piquant." The strings provide a simple accompaniment.
Exemplification of: piccolo-clarinet two-octave doubling
Composer and Work: Dvořák, Antonín | Symphony No.9, op.95, B.178, E minor (From the New World; Z nového světa; Aus der Neuen Welt; Le nouveau monde) <1893>
Prout, 1899 (vol.I), p. 110 [Note: An example from Auber's "Le cheval de Bronze" demonstrating a melody in the clarinet doubled two octaves above by the piccolo. This produces an effect Prout terms "piquant." The strings provide a simple accompaniment.]