Flute Sound Effects

SKU: HL.48188359

UPC: 888680861360. 9x12 inches.

?Ruffling feathers by Michaël Levinas is a piece for Flute in which the player reproduces the sound of ruffling feathers. With no degree of difficulty given, the player still requires the mastery of some techniques learnt in the intermediate level and above. Quite challenging, it differentiates itself from classical pieces due to the presence of many effects: trills, glissandos, fast rhythms, sound of the tongue. A guide of all the effects present in this piece appears at the end of the book. Michaël Levinas (born in 1949) was the student of the Olivier Messiaen.andrdquo.

SKU: PR.164001780

UPC: 680160037056.

The American imagist poet Amy Lowell (1874-1925) provided both the title and the substance for this brief descriptive work in her poem Night Clouds. I had been commissioned by the flute/harp duo Chaski to write a piece that had a different sound than most flute and harp pieces. The image of these elusive beasts cavorting through the night, before the appearance of the tiger sun, seemed to me perfectly suited for the flute and harp and would give me the chance to write a work for that combination that did NOT have overtones of nymphs and shepherds. I wanted to make much use of the harp's more violent sounds (beating the strings and the soundboard, for instance) as well as its unusual and idiomatic effects, such as pedal glissandi. For the flute, there are jet-whistle effects, extremes of register, pitch-bending and other decidedly non-pastoral gestures. The work was composed in 1986.   --Dan Welcher.

SKU: HL.14023200

ISBN 9788759869086. English.

Illuminations - Capriccio For Flute And Orchestra was composed by Erik Norby in 1977.

Programme Note:

The title should rightly be pronounced in French (same spelling), as the piece was composed for and is dedicated to French flute virtuoso Jean-Pierre Rampal, who premiered ILLUMINATIONS in connection withhimreceiving the Danish Sonnings Musikpris in 1978.
The title reflects my endeavour to create different illuminative effects in sound, for which the flute is an excellent medium, with its apparent ability to transform light
phenomena into musical shapes. Tue music in ILLUMINATIONS sometimes sounds like glitteringreflections, sometimes like a roaring bonfire. The absence of ordinary flutes in the orchestra further enables the soloist to shine above a darker orchestral background. Several motives and shapes are illuminated along the way, and the music progresses
in kaleidoscopic pattems of prismatic refractions.
Erik Norby.

SKU: CF.PPS52

ISBN 9781491151969. UPC: 680160909469.

Ballet of the Dinosaur Hatchlings is an imaginative and fun selection for a beginning band with less than one year of instruction. Wind parts use only five pitches and only the percussion parts use eighth notes. Two sound effects are required in the piece. First, the hatching eggs are portrayed by a ratchet, and second, the snapping dinosaurs jaws are represented by  a slapstick. Ballet of the Dinosaur Hatchlings is an intriguing piece that beginning students are sure to love.
Ballet of the Dinosaur Hatchlings is a descriptive novelty selection for a beginning band with less than one year of instruction. Wind parts use only five pitches. Only percussion parts use eighth notes. Two sound effects are required. First, the hatching eggs are portrayed by the ratchet beginning at m. 2, and second, the snapping dinosaurs jaws, which are first heard at m. 14, are represented by an accented note augmented by a slapstick. Directors are encouraged to use more elaborate sound effects if they are inclined to do so. The story described by the music is as follows:• Dinosaur eggs begin to hatch (the ratchet, mm. 1-8).• The parent dinosaurs guard the nest (Low Brass and Woodwinds mm. 9-12).• The hatchlings begin walking (m. 13).• The hatchlings snap their jaws as they learn to eat (m. 14, Xylophone and Slapstick).• Thunder (Timpani, m. 29).• The parent dinosaurs seek shelter for all (m. 33, Low Brass and Woodwinds).• The hatchlings follow while they continue snapping their jaws (m. 41).• More thunder (mm. 53-54).• All the dinosaurs roar loudly at the clouds (m. 55) as the thunder becomes louder.

SKU: IS.CC6294EM

ISBN 9790365062942.

A 'hayashi' is a group of performers who provide musical accompaniment for Japanese Noh or kabuki theatre. In Noh, they are purely instrumentalists; the type of instruments featured and the order in which they sit on stage follow established practices. The leftmost performer plays a small taiko, set on a stand before him, with two drumsticks. To his right is the ōtsuzumi hip drum, followed by the kotsuzumi shoulder drum, and the Noh flute. In kabuki, a number of shamisen players are added, along with, depending on the play, taiko drums of various sizes, various types of flutes, and other instruments, including a myriad of devices for sound effects. This composition for clarinet choir includes Eb clarinet, 3 Bb clarinets, alto clarinet, bass clarinet, contra alto and contrabass clarinets and optional percussion.

SKU: CF.FPS78

ISBN 9780825870101. UPC: 798408070106. Key: F major.

This fun piece for the young band will be a favorite of students and parents alike. Full of frog sound effects and bluesy style harmonies and rhythms, it is the tune your students will ask to play every single day.

SKU: AP.47510S

UPC: 038081547213. English.

A very clever chart for a younger band featuring a few sound effects. An easy swing played around 132 BPM with written solos cued for all saxes and trumpets. Trumpet 1 range is to written E-flat top space, optional flute, clarinet, and vibes parts too. This title available in MakeMusic Cloud.

SKU: CF.CAS123F

ISBN 9781491154762. UPC: 680160913312. 9 x 12 inches. Key: D minor.

It was at a flute convention, of all places, where the composer learned how to beatbox. Greg Pattillo, the flutist of the ensemble Project Trio, taught a roomful of (mostly) flute players how to make a few sounds, and she couldn't believe how easy, and effective, it was! She figured, if a random bunch of adult flute players can do this, it should be a piece of cake for students. Inspired by this new-found knowledge, she composed 7th Street Beat, writing beatbox percussion into the parts of all the instruments. The sounds imitate percussive effects normally made by a drum set. The beatbox vocal lines are optional - they are reinforcements for the beatbox sounds in the string parts. Also optional (but highly recommended!) is the improvisation section starting at m. 49. Don't tell the students any rules about what notes to play or not play - simply offer them the opportunity to make up whatever they like, to show off their abilities and musical personalities!.
It was at a flute convention, of all places, where the composer learned how to beatbox. Greg Pattillo, the flutist of the ensemble Project Trio, taught a roomful of (mostly) flute players how to make a few sounds, and she couldn’t believe how easy, and effective, it was! She figured, if a random bunch of adult flute players can do this, it should be a piece of cake for students.Inspired by this new-found knowledge, she composed 7th Street Beat, writing beatbox percussion into the parts of all the instruments. The sounds imitate percussive effects normally made by a drum set.The beatbox vocal lines are optional – they are reinforcements for the beatbox sounds in the string parts. Also optional (but highly recommended!) is the improvisation section starting at m. 49. Don’t tell the students any rules about what notes to play or not play – simply offer them the opportunity to make up whatever they like, to show off their abilities and musical personalities!

About Carl Fischer Concert String Orchestra Series

This series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by:

• Expanded use of rhythms, ranges and keys but technical demands are still carefully considered
• More comprehensive bowing techniques
• Viola T.C. included
• Careful selection of keys and degree of difficulty for advancing musicians

SKU: PR.11440719S

UPC: 680160011087. 8.5 x 11 inches.

Sambuca, which most people know today as a licorice-flavored liqueur, was the name the Greeks gave to a kind of sharp, shrill-sounding harp, of Eastern, possibly Jewish origin. The Greeks then gave this same name to a wooden flute made from the elder bush, and in the middle ages it was also associated with the viol, at least to the extent that the Hurdy-gurdy, an instrument shaped like a viol and played by means of a rotating wheel, was sometimes called a Sambuca rotata. Thus, the word Sambuca is tied up with the ancestors - in each case, ancestors of ow birth, as it were - of the modern harp, flute, and viola. Somehow, the present-day association with alcohol seems very meet, in that a certain objectionable quality seems to have gone with the name - in 1545 one George Ascham wrote, This I am sure... all maner of pypes, barbitons, sambukes... be condemned of Aristotle. The word Sambucistria - for a female Sambuca player - was used by Plutarch and others to evoke a feeling of foreign-inspired decadence [Grove's Dictionary of Musical Instruments, 1984]. Currier's work is truly a Sambuca sonata. Written for the three Sambuca instruments, Currier has first of all seemingly endeavoured to make the harp part particularly Sambuca-like (i.e., sharp and shrill) with its many nail and xylophonic effects, but more importantly, has used musical material that corresponds to the low-brow, somewhat Dionysian, indeed, today even Bacchanalian implication of the name - thus, rock music seems to inspire a great deal Currier's work [the Samba, an appropriately Bacchanalian Brazilian Carnival dance, in duple meter with syncopations, while apparently having no etymological connection to Sambuca, might seem to be musically involved, too]. The Sambuca which lies behind this rather drunken piece is probably the only musical instrument which became a model for an instrument of war; one Craxton wrote in 1489 that Sambuce is an engyn whiche is made in manere of a harpe able to perce a walle. But whether talking of the modern liqueur or the ancient instrument condemned of Aristotle and mentioned four times in the Book of Daniel, it is a shame that Debussy - inspired by the Dionysian side of classical culture (as in Prelude a l'apres-midi d'un faune) - seems to have remained ignorant Sambuca, a word which to some extent must lie behind all works for this wonderful instrumentation which he invented, and which I might seem to have striven unconsciously, equally ignorant, to make the sole basis of Currier's work - until, having completed this piece, written for harpist Marie-Pierre Langlamet, and rummaging around for a title, I chanced upon it in an old dictionary.

SKU: HL.4002866

UPC: 884088352998. 9.0x12.0x0.071 inches.

Written entirely in one tempo, but with the meter alternating between 4/4 and 6/8 throughout, Richard Saucedo creates an ingenious effect of pulsating motion along with layers of textures and sounds. Starting with a soloistic dialogue between flute and clarinet the work progresses to thicker sonorities and percussive effects including clapping and shouting. Definitely an enjoyable work that is off the beaten path! Dur: 2:35 (Grade 2-1/2).