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Flute ensemble

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A flute ensemble is an instrumental chamber ensemble consisting of members of the flute family .

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39-537: In a more traditional sense, a flute quartet consists of a flute and a string trio (i.e., a violin, viola, and cello). This arrangement flourished in the eighteenth century, particularly through composers such as Wolfgang Amadeus Mozart , Carl Friedrich Abel , and Ferdinand Ries , among others. However, as of the twentieth century, a modern flute quartet typically refers to an arrangement of four flautists. The flute quartet does not have any set arrangement, but common configurations include: The modern definition of

78-423: A balanced binary, the basic idea need not return. There is some room for debate concerning how much material must return preceding the cadence; it is a subjective decision upon which theorists may differ. Thus, it is not always clear how the concept of balanced binary should apply if the A section is a period . However, if the A section is a sentence , the balanced binary may bring back the entire second half of

117-408: A couple of developments occurred in the genre. The changes included the absence of a figured bass , the equal treatment of all voices (as opposed to the top voice dominating the musical texture), and the use of sonata form in the first movement. These early developments paved the way for the genre to further expand into four specific types: the grand trio, the concertant trio, the brilliant trio, and

156-447: A flute choir is a recent development; likewise, the abundance of literature specifically written for the ensemble has grown alongside the ensemble itself. In the 1960s, flute choirs began to surface within colleges and communities. As there was very little music available for the instrumentation, directors of the individual groups arranged and composed music for the group. Over time, these groups learned of each other. The performers' love of

195-482: A number of characteristics: Occasionally, the B section will end with a "return" of the opening material from the A section. This is referred to as rounded binary , and is labeled as ABA ′. In rounded binary, the beginning of the B section is sometimes referred to as the "bridge", and will usually conclude with a half cadence in the original key. Rounded binary is not to be confused with ternary form , also labeled ABA —the difference being that, in ternary form,

234-411: A piece in binary form has two large sections of roughly equal duration. The first will begin in a certain key , which will often, (but not always), modulate to a closely related key . Pieces in a major key will usually modulate to the dominant , (the fifth scale degree above the tonic ). Pieces in a minor key will generally modulate to the relative major key , (the key of the third scale degree above

273-463: A relatively new ensemble in the history of music, much of the established repertoire is available at many music stores worldwide, in addition to sites focused solely on the ensemble, such as ALRY Publications and Flute World String trio A string trio is a group of three string instruments or a piece written for such a group. From at least the 19th century on, the term "string trio" with otherwise unspecified instrumentation normally refers to

312-441: A ternary form, and may have a rounded binary , though not all theorist would accept this terminology (and there is some overlap here with the notion of balanced binary -- see above). If we have a digression, but also have the entire A section returning, then it might be called either rounded binary or incipient ternary (meaning, "approaching ternary"), depending on the theorist. If the intermediate material stands on its own as

351-424: A tré to name their trios. The early classical string trio generally consisted of three movements, although four, five and six movement trios were later written. Most movements were in binary form , although some of Joseph Haydn 's trios were written as theme and variations. The violins shared the important thematic material, while the cello maintained an accompanimental role. During the mid to late 18th century,

390-490: Is also a structure used to choreograph dance . In music this is usually performed as A-A-B-B. Binary form was popular during the Baroque period , often used to structure movements of keyboard sonatas . It was also used for short, one-movement works. Around the middle of the 18th century, the form largely fell from use as the principal design of entire movements as sonata form and organic development gained prominence. When it

429-421: Is also occasionally seen in flute choirs. The G treble flute is used predominantly in the modern flute choirs of Scotland and Northern Ireland. The most common instrumentation for a "standard" flute choir can be seen in much of the literature: By the mid-2010s, many of the well-established community and professional-level ensembles have acquired at least one contrabass flute. As some groups do not have access to

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468-461: Is found in later works, it usually takes the form of the theme in a set of variations , or the Minuet , Scherzo , or Trio sections of a "minuet and trio" or "scherzo and trio" movement in a sonata , symphony , etc. Many larger forms incorporate binary structures, and many more complicated forms (such as the 18th-century sonata form ) share certain characteristics with binary form. A typical example of

507-412: Is some disagreement about the use of the term rounded binary . The disagreements concern two issues: whether the names rounded binary , incipient ternary , or small ternary is more appropriate to describe the form; and how much of the A section must return at the end of the B section to be considered rounded. The principal difference between rounded binary and small ternary forms is the nature of

546-421: Is to arise in a continuous binary form ( i.e., one in which the first section ends off tonic), where the two sections end with "rhyming cadences", in which the same cadential material occurs in both sections, appropriately transposed for their keys. This differs from Rounded Binary, since in a Rounded Binary form, thematic material from the A section must return at the end of the B section (which usually occurs at

585-447: The A section ends with any other kind of cadence, the design is referred to as a continuous binary . This refers to the fact that the B section will "continue on" with the new key established by the cadence at the end of A . If the A and B sections are roughly equal in length, the design is referred to as symmetrical . If the A and B sections are of unequal length, the design is referred to as asymmetrical . In such cases,

624-405: The B section contrasts completely with the A material as in, for example, a minuet and trio . Another important difference between the rounded and ternary form is that in rounded binary, when the "A" section returns, it will typically contain only half of the full "A" section, whereas ternary form will end with the full "A" section. Sometimes, as in the keyboard sonatas of Domenico Scarlatti ,

663-486: The B section is usually substantially longer than the A section. The asymmetrical binary form becomes more common than the symmetrical type from about the time of Beethoven, and is almost routine in the main sections of Minuet and Trio or Scherzo and Trio movements in works from this period. In such cases, occasionally only the first section of the binary structure is marked to be repeated. Although most of Chopin's nocturnes are in an overall ternary form , quite often

702-400: The A and B sections are separated by double bars with repeat signs, meaning both sections were to be repeated. Binary form is usually characterized as having the form AB , though since both sections repeat, a more accurate description would be AABB . Others, however, prefer to use the label AA′ . This second designation points to the fact that there is no great change in character between

741-447: The A section (transposed if appropriate) without ever bringing back the basic idea . There is also some room for debate concerning how the concept of balanced binary should relate to sectional binary forms. In principle, there is no intrinsic reason why a sectional binary form in which the second half of the A section (whether sentence or period ) returns at the end of the B section should not be considered balanced since they end with

780-415: The A section must return to be considered rounded binary is subjective. Either the entire A section must return or only the thematic material of the A section (specifically, the basic idea ) and the cadence. Putting these ideas together, if the material between the A section and the return of the thematic material does not stand alone (a digression) and only a part of the A section returns, we do not have

819-406: The A section was a sentence , typically the beginning of the sentence returns, potentially abridged, followed by the cadence; if a period , the same is true, but since the antecedent and the consequent of a period both begin the same way, it is generally simpler to say that the entire consequent phrase returns. However, in either case, it is the basic idea that returns, followed by the cadence. In

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858-616: The Hausmusik trio. The grand trio was a product of South Germany and Austria. It was modeled after the mid to late 18th century serenade and nocturne . One of the best-known examples that legitimized the grand trio is Mozart’s Divertimento in E-flat , K. 563. Inspired by the piece, Beethoven set out to write String Trio in E-flat, Op. 3. The concertant trio was created in France, consists of two movements, and all three voices are used equally in

897-425: The beginnings of phrases), whereas in a balanced binary, it is sufficient for a meaningful portion of the end of the final phrase to return. For example, if the A section is a period (using Caplin's naming conventions; elsewhere called a parallel period ), the first ("antecedent") phrase of the A section will begin with a basic idea (generally for one half of the phrase) and end with a relatively weak cadence, and

936-506: The church sonatas of Vivaldi including his Sonata No. 1 for Cello and Continuo, First Movement, while certain Baroque composers such as Bach and Handel used the form rarely. If the A section ends with an authentic (or perfect) cadence in the original tonic key of the piece, the design is referred to as a sectional binary . This refers to the fact that the piece is in different tonal sections, each beginning in their own respective keys. If

975-402: The combination violin , viola and cello . The classical string trio emerged during the mid-18th century and later expanded into four subgenres: the grand trio, the concertant trio, the brilliant trio, and the Hausmusik trio. The earliest string trio, found during the mid 18th century, consisted of two violins and a cello , a grouping which had grown out of the Baroque trio sonata . Over

1014-438: The course of the late 18th century, the string trio scored for violin, viola , and cello came to be the predominant type. String trios scored for two violins and viola were also used, although much less frequently. The term "string trio" was not used until the late 19th century. The genre was previously referred to as divertimento a tre , sonate a tre , and terzetto . French composers sometimes used Trietti or Conversazioni

1053-413: The first violin part. The trio consists of three movements, organized in a fast-slow-fast pattern, and the first movement is written in sonata form. The first composer to use "brilliant" in the genre was Rudolph Kreutzer in his pieces 3 Trios brillants , Op. 15 and Op. 16. The Hausmusik trio was intended for amateurs and student musicians. It was regarded as a pedagogical tool intended as preparation for

1092-496: The flute family eventually led to the formation of the National Flute Association . In turn, this led to an increase not only in music written for the flute and flute choir, but also to an increase in flute choirs. As the literature for the ensemble expanded, more flute choirs began to form. The following instruments, listed by descending range, can be included in a flute choir: The flûte d'amour in B ♭ or A

1131-520: The grand trio, the brilliant trio, and the string quartet . Some examples of the Hausmusik trio include 6 Trios progressives , Op. 28 by Franz Anton Hoffmeister and 3 Trios faciles et progressives , Op. 43 by Franz Alexander Pössinger. Zebra Trio (2010) String Trio in G Major Six variations op. 4 String Trio in A-major Op. 12 Binary form Binary form is a musical form in 2 related sections, both of which are usually repeated. Binary

1170-484: The individual sections (either the A, the B, or both) are in binary form, most often of the asymmetrical variety. If a section of this binary structure is repeated, in this case it is written out again in full, usually considerably varied, rather than enclosed between repeat signs. Balanced binary is when the end of the first section and the end of the second section have analogous cadential material (and arguably pre-cadential material). The usual pattern for balanced binary

1209-413: 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). The sheer cost and limited availability of flutes lower than the bass flute usually prevent most community-based flute choirs from performing these works. However, many flute choirs use

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1248-506: The lower voices of the string section ( such as the cello or double bass ) to cover these lower parts. While most of the initial music arranged for flute choir included little more than transcriptions of classical pieces for orchestra and chamber ensembles, in recent years many new compositions have been created by such active composers as Ian Clarke , Sophie Lacaze , Phyllis Louke, Catherine McMichael, Ron Korb, and Judy Nishimura, Doina Rotaru , among others. Although flute choirs are still

1287-436: The material between the A section and the return of the thematic material from the A section at the end of the form. In rounded binary , this additional material is called a digression , and does not stand alone as a satisfying musical section, whereas in ternary, this material constitutes a complete musical section unto itself (albeit potentially ending off tonic if part of a continuous form). The issue concerning how much of

1326-455: The minor tonic), or to the dominant minor. A piece in minor may also stay in the original key at the end of the first section, closing with an imperfect cadence . The second section of the piece begins in the newly established key, where it remains for an indefinite period of time. After some harmonic activity, the piece will eventually modulate back to its original key before ending. More often than not, especially in 18th-century compositions,

1365-477: The return of the A theme may include much of the original A section in the tonic key, so much so that some of his sonatas can be regarded as precursors of sonata form. Rounded binary form is sometimes referred to as small ternary form. Rounded binary or minuet form : If the B section lacks such a return of the opening A material, the piece is said to be in simple binary . Simple: Slow-movement form: Many examples of rounded binary are found among

1404-573: The same cadences. From this point of view, many rounded binary forms are also balanced (especially those in which the A section is a period ), but the fact that they would be balanced would be effectively uninteresting because the fact that they are rounded supersedes this characteristic. However, if one considers rhyming cadences in different keys to be a defining characteristic of balanced binary, then balanced and rounded binaries are mutually exclusive but analogous structures belonging, respectively, to continuous and sectional forms. As noted above, there

1443-409: The second ("consequent") phrase will begin with the same basic idea and end with a stronger cadence; alternatively, if the A section is a sentence , the first half of the section will consist of two repetitions of the basic idea (with the second possibly transposed or slightly altered), and the rest of the phrase will drive towards a cadence. In a rounded binary form, at the end of the B section, if

1482-407: The texture. The first movement is usually in binary or sonata form. Giuseppe Cambini was the leading composer of the genre. Some of his works include 3 trios concertants pour violon alto et violoncelle , Op. 2 and 6 trios concertants pour Deux Violons et Basse , Op. 18. The brilliant trio became the most popular string trio in France in the 19th century due to its virtuosic passages featured in

1521-424: The two sections. The rhythms and melodic material used will generally be closely related in each section, and if the piece is written for a musical ensemble , the instrumentation will generally be the same. This is in contrast to the use of verse-chorus form in popular music —the contrast between the two sections is primarily one of the keys used. A piece in binary form can be further classified according to

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