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flute family

St. Petersburg

History of the development of the flute

Flute- the general name of wind musical instruments in which the column of air begins to oscillate under the influence of a blown air jet, cut through the sharp edge of the barrel wall.

In the narrow sense of the word flute- the most common representative of the flute family in modern Western music - the transverse flute. Most flutes are cylindrical tubes with a thin air passage.

Judging by the various stages in the development of the flute, which can be observed in the instruments of primitive peoples, the most ancient form of the flute is the whistle. Whistles of various kinds exist throughout the world, including toys, signaling instruments, devices for magic, and primitive musical instruments.

Among the American Indians, bone, clay and wooden whistles of various shapes and sizes played an important role in religious rites and daily life. In the process of civilization development, finger holes were cut in the whistle tubes, turning a simple whistle into a whistle flute, on which musical works can be performed.

Such instruments were made double or even triple, as, for example, in Tibet; in such cases, the performer would play two or three pipes at the same time. In the islands of the southwestern Pacific and in India, there are single or double nose flutes in which the air is blown not by the mouth, but by the nose; there is a conscious connection between the flute and the soul associated with magical nasal breathing.

The oldest type of flute attested in historical documents is the longitudinal flute. It was known in Egypt five or more thousand years ago and remains the main wind instrument throughout the Middle East. The longitudinal flute, which has 5-6 finger holes and is capable of octave blowing, provides a complete musical scale, individual intervals within which can change, forming different frets by crossing the fingers, closing the holes halfway, as well as changing the direction and strength of breathing.

The transverse flute, in which air is blown into a hole a few centimeters from the end, represents a higher stage in the history of the flute. A transverse flute with 5-6 finger holes, and sometimes with a hole covered with a thin membrane, which gives the sound some nasality, was known in China at least three thousand years ago, and in India and Japan - more than two thousand years ago.

The earliest depiction of a transverse flute was found on an Etruscan relief that dates back to 100 or 200 BC. At that time, the transverse flute was held to the left side, only an illustration to a poem from the 11th century AD for the first time depicts the manner of holding the instrument to the right side.

The first archaeological finds of transverse flutes in Europe date back to the 12th-14th centuries AD. One of the earliest images of that time is contained in the encyclopedia Hortus Deliciarum. Apart from the one aforementioned 11th-century illustration, all medieval European and Asian depictions show players holding the transverse flute to the left, while antique European depictions show flute players holding the instrument to the right.

Therefore, it is assumed that the transverse flute fell out of use in Europe temporarily, and then returned there from Asia through the Byzantine Empire. In Europe during the Middle Ages, mainly simple instruments of the whistle type (predecessors of the recorder and harmonic) were distributed, as well as the transverse flute, which penetrated into Central Europe from the East through the Balkans, where it still remains the most common folk instrument. In the Middle Ages, the transverse flute consisted of one part, sometimes two for "bass" flutes in G (now the range of the alto flute). The tool had a cylindrical shape and 6 holes of the same diameter.

During the Renaissance, the design of the transverse flute changed little. The instrument had a range of two and a half octaves or more, which exceeded the range of most recorders of the time by an octave. The instrument made it possible to play all the notes of the chromatic scale, subject to good command of the fingering, which was quite complex. The middle register sounded the best. Famous original transverse flutes from the Renaissance era are kept in the Castel Vecchio Museum in Verona.

By the end of the XVII century. The transverse flute was improved by French artisans who increased its size, made the channel slightly tapering from the head, and added valves to the six finger holes to play the full chromatic scale.

The first major changes to the design of the transverse flute were made by the Otteter family. Jacques Martin Otetter divided the instrument into three parts: the head, the body (with holes that closed directly with the fingers) and the knee (which usually had one valve, sometimes more). Subsequently, most transverse flutes of the 18th century consisted of four parts - the body of the instrument was divided in half. The otteter also changed the instrument's drilling to be tapered to improve intonation between octaves.

Possessing a more expressive sound, more accurate intonation and high technical capabilities, the transverse flute soon replaced the longitudinal (recorder) and by the end of the 18th century. took a strong place in the symphony orchestra and instrumental ensembles.

In the last decades of the 18th century, more and more valves were added to the transverse flute - usually from 4 to 6, or more. On some instruments it becomes possible to take c 1 (up to the first octave) with the help of an extended knee and two additional valves.

Important innovations in the design of the transverse flute of that time were made by Johann Joachim Quantz and Johann Georg Tromlitz. Nevertheless, the instrument had many shortcomings, and meanwhile, the technical requirements placed on it by composers grew every decade. flute mouthpiece sound piccolo

Numerous experimenters tried to achieve stable intonation in all keys, but only the German flutist and composer Theobald Böhm (1794-1881) managed to create a modern type of flute. Between 1832 and 1847 Böhm improved the instrument, which has changed little since then, although the experiments did not end there. His innovations differed from numerous others in that he prioritized acoustic research and objective sound parameters, rather than the convenience of the performer.

He introduced the following most important innovations:

1) positioned the thumb holes according to acoustic principles rather than performance convenience;

2) provided the tool with a system of valves and rings to help close all openings;

3) used the cylindrical channel of the old times, but with a parabolic head, which improved intonation and evened out the sound in different registers, although it deprived it of the softness of the timbre characteristic of the conical channel;

4) switched to the use of metal for the manufacture of the instrument, which, in comparison with a wooden instrument, increased the brilliance of the sound due to softness and sincerity.

The flute of the Boehm system did not immediately find a response among the performers - in order to switch to a new system, it was necessary to completely relearn the fingering and not everyone was ready for such a sacrifice. Many criticized the sound of the instrument.

In France, the instrument gained popularity faster than other countries, mainly due to the fact that Louis Dorus, a professor at the Paris Conservatoire, became a devoted popularizer and taught it at the conservatory. In Germany and Austria, Boehm's system did not take root for a very long time. Flutists passionately defended their predilections to one or another system, there were numerous discussions and disputes about the disadvantages and advantages.

At the beginning of the 20th century, most flute players switched to the Boehm system, although other systems were occasionally encountered until the 1930s. Most flutes were still made from wood, but metal instruments began to gain in popularity.

In the second half of the 20th century, there was a renewed interest in baroque transverse flutes, and many performers began to specialize in the authentic performance of baroque music on original instruments.

Attempts have been made to improve Boehm's system in order to create the possibility of playing a pure quarter-tone scale and thereby expand the instrument's capabilities when playing modern music. Six additional valves were added to the standard Boehm flute, and such a system was named after the creator of the Kingma system. Flutists Robert Dick and Matthias Ziegler, who specialize in performing modern music, use such instruments.

The transverse flute is an elongated cylindrical tube with a valve system, closed at one end, near which there is a special side hole for applying lips and blowing air. The modern flute is divided into three parts: head, body and knee.

The great flute has a straight head, but there are also curved heads - on children's instruments, as well as on bass flutes, so that the instrument is more comfortable to hold. The head can be made from various materials and their combinations - nickel, wood, silver, gold, platinum. The head of a modern flute, unlike the body of the instrument, is not cylindrical, but conical-parabolic in shape.

At the left end inside the head there is a plug, the position of which affects the overall action of the instrument and should be checked regularly (usually using the back end of the tool cleaning stick - ramrod). The shape of the head hole, the shape and curve of the jaws have a great influence on the sound of the entire instrument. Often performers use heads from a different manufacturer than the main instrument manufacturer.

The structure of the body of the flute can be of two types: "inline" ("in line") - when all the valves form one line, and "offset" - when the salt valve protrudes.

There are also two types of valves - closed (without resonators) and open (with resonators). Open valves are the most widely used, as they have several advantages compared to closed ones: a flutist can feel the speed of a jet of air and the resonance of sound under his fingers, with the help of open valves you can correct intonation, and when playing modern music, they are practically indispensable. For children's or small hands, there are plastic plugs that, if necessary, can temporarily close all or some of the valves on the instrument.

Two types of knee can be used on the great flute: the C knee or the B knee. On a flute with a knee to the lower sound is up to the first octave, on flutes with a knee of si - si of a small octave, respectively. Knee si affects the sound of the third octave of the instrument, and also makes the instrument somewhat heavier in weight. There is a “gizmo” lever on the B knee, which should be additionally used in fingering up to the fourth octave

Many flutes have the so-called mi-mechanics. Mi-mechanics was invented at the beginning of the 20th century simultaneously, independently of each other, by the German master Emil von Rittershausen and the French master Jalma Julio in order to make it easier to take and improve the intonation of the note mi of the third octave.

Many professional flutists do not use E-mechanics, as good instrumental skills allow easy picking of this sound without its help. There are also alternatives to mi-mechanics - a plate covering half of the inner hole of the (second pair) salt valve, developed by Powell, as well as a reduced size pair valve salt, developed by Sankyo (not widely used mainly due to aesthetic considerations). On flutes of the German system, mi-mechanics is not functionally required (pair valves G are separated initially).

Varieties of flutes

The family of flutes includes a huge number of different types of flutes, which can be conditionally divided into two groups, differing in the way the instrument is held when playing - longitudinal (straight, held in a position close to vertical) and transverse (oblique, held horizontally).

Of the longitudinal flutes, the recorder is the most common. The design of the head of this flute uses an insert (block). In German, the recorder is called “Blockflote” (“flute with a block”), in French - “flute a bec” (“flute with a mouthpiece”), in Italian - “flauto dolce” (“delicate flute”), in English - "recorder" » (from record - "learn by heart, learn").

Related instruments: flute, sopilka, whistle. The recorder differs from other similar instruments by the presence of 7 finger holes on the front side and one on the back - the so-called octave valve.

The two lower holes are often made double. 8 fingers are used to close the holes when playing. To take notes, the so-called. fork fingerings (when the holes are closed not in turn, but in a complex combination).

The sound in the recorder is formed in the beak-shaped mouthpiece located at the end of the instrument. In the mouthpiece there is a wooden cork (from it. Block), covering the hole for blowing air (leaving only a narrow gap).

Nowadays, recorders are made not only from wood, but also from plastic. High-quality plastic instruments have good musical capabilities. The advantage of such tools is also their cheapness, strength - they are not as susceptible to the risk of cracking as wood, precision manufacturing by hot pressing followed by fine-tuning with high precision, hygiene (they are not afraid of moisture and tolerate "bathing" well).

Nevertheless, according to most performers, it is wooden flutes that sound best. Boxwood or fruit trees (pear, plum) are traditionally used for manufacturing, maple is usually used for budget models, and professional instruments are often made from mahogany.

The recorder has a full chromatic scale. This allows you to play music in different keys. A recorder is usually tuned in F or C, meaning it is the lowest pitch that can be played on it. The most common types of recorder in terms of pitch: sopranino, soprano, alto, tenor, bass. The sopranino is in F, the soprano is in C, the alto is one octave below the sopranino, the tenor is one octave below the soprano, and the bass is one octave below the alto.

Recorders are also classified by fingering systems. There are two types of recorder fingering systems: "Germanic" and "Baroque" (or "English"). The "Germanic" fingering system is a little easier for the initial development, but most of the really good professional instruments are made with the "Baroque" fingering.

The recorder was popular in the Middle Ages in Europe, but by the 18th century. its popularity waned as orchestral wind instruments such as the transverse flute were favored for their wider range and louder sound. In the music of the eras of classical and romanticism, the recorder did not take its rightful place.

Recognizing the decrease in the importance of the recorder, we can also recall that the name Flauto - "flute" before 1750 referred to the recorder; the transverse flute was called Flauto Traverso or simply Traversa. After 1750 and until today, the name "flute" (Flauto) refers to a transverse flute.

In the early twentieth century, the recorder was such a rarity that Stravinsky, when he saw the recorder for the first time, mistook it for a type of clarinet. It wasn't until the 20th century that the recorder was rediscovered primarily as an instrument for school and home music making. The recorder is also used for authentic reproduction of early music.

The list of literature for the recorder in the 20th century has grown to enormous proportions and, thanks to numerous new compositions, continues to grow continuously in the 21st century. The recorder is sometimes used in popular music. The recorder also occupies a certain place in folk music.

Among orchestral flutes, 4 main types of flute can be identified: the flute itself (or large flute), the small flute (piccolo flute), the alto flute and the bass flute.

Also in existence, but much less commonly used, are the E flat grand flute (Cuban music, Latin American jazz), the octobass flute (contemporary music and flute orchestra), and the hyperbass flute. Flutes of a lower range also exist as prototypes.

The great flute (or simply the flute) is a soprano register instrument. The pitch on the flute changes by blowing (extracting harmonic consonances with the lips), as well as by opening and closing holes with valves.

Modern flutes are usually made of metal (nickel, silver, gold, platinum). The flute is characterized by a range from the first to the fourth octave; the lower register is soft and deaf, the highest sounds, on the contrary, are piercing and whistling, and the middle and partly upper registers have a timbre that is described as gentle and melodious.

The piccolo flute is the highest-sounding wind instrument. It has a brilliant, in the forte - a piercing and whistling timbre. A small flute is half as long as an ordinary one and sounds an octave higher, and it is impossible to extract a number of low sounds on it.

Piccolo range - from d? before c5 (re of the second octave - up to the fifth octave), there are also instruments that have the ability to take c? and cis?. Notes for ease of reading are written an octave lower. Mechanically, the piccolo flute is arranged in the same way as the usual one (except for the absence of the “D-flat” and “C” of the first octave) and, therefore, is characterized by the same performance features in general.

Initially, within the framework of the orchestra (starting from the second half of the 18th century), the small flute was intended to amplify and extend upward the extreme octaves of the grand flute, and it was recommended to use it more in opera or ballet than in symphonic works. This was due to the fact that in the early stages of its existence, due to insufficient improvement, the small flute was characterized by a rather sharp and somewhat rough sound, as well as a low degree of flexibility.

It should also be noted that this type of flute is quite successfully combined with ringing percussion instruments and drums; in addition, the piccolo can be combined in an octave with the oboe, which also generates an expressive sound

The alto flute is similar in structure and playing technique to a regular flute, but has a longer and wider tube and a slightly different structure of the valve system.

The breath on the alto flute is consumed faster. Used most often in G(in salt order), less often in F(in the F order). Range? from g(salt of a small octave) to d? (re third octave). Theoretically, it is possible to extract higher sounds, but in practice they are almost never used.

The sound of the instrument in the lower register is bright, thicker than that of a great flute, however, it is achievable only in dynamics no stronger than mezzo-forte. Medium register? flexible in nuance, full-sounding; upper? sharp, less timbre colored than the flute, the highest sounds are difficult to extract on the piano. It occurs in a few scores, but in the works of Stravinsky, such as, for example, Daphnis and Chloe and The Rite of Spring, it acquires a certain weight and significance.

The bass flute has a curved knee, which makes it possible to increase the length of the air column without significantly changing the dimensions of the instrument. It sounds an octave lower than the main instrument, but requires a significantly larger volume of air (breathing).

As for the folk (or ethnic) types of flutes, there are a huge variety of them.

They can be conditionally divided into longitudinal, transverse, whistling (an improved version of the longitudinal flute), Pan flutes, vessel-shaped, nasal and compound flutes.

To ena - used in the music of the Andean region of Latin America. Usually made from cane. It has six upper and one lower finger hole, usually made in G tuning.

whistle(from English. tin whistle, literally translated "tin whistle, pipe", pronunciation options (Russian): whistle, whistle, the first is more common) is a folk longitudinal flute with six holes on the front side, widely used in the folk music of Ireland, Scotland, England and some other countries.

Svirel- Russian wind instrument, a kind of longitudinal flute. Sometimes it can be double-barreled, with one of the barrels usually having a length of 300-350 mm, the second - 450-470 mm. At the upper end of the barrel there is a whistle device, at the bottom there are 3 side holes for changing the pitch of sounds. The barrels are tuned to each other in a quart and generally give a diatonic scale in the volume of a seventh.

Pyzhatka-- Russian folk musical instrument, wooden flute, traditional for the Kursk region of Russia. It is a wooden tube with a diameter of 15-25 mm and a length of 40-70 cm, at one end of which a wooden cork ("wad") with an oblique cut is inserted, directing the blown air to the pointed edge of a small square hole ("whistles").

The term "pyzhatka" can also be considered as a synonym for the concept snot- a variety of longitudinal whistle flute, which is also a traditional Russian folk wind instrument, the most ancient of those that were in circulation among the Eastern Slavs.

This variety was characterized by a diatonic scale and a range of up to two octaves; by changing the strength of the air flow and using special fingering, a chromatic scale was also achievable. It is actively used by amateur groups both as a solo and as an ensemble instrument.

Di-- An ancient Chinese wind instrument, a transverse flute with 6 playing holes. In most cases, the di stem is made of bamboo or reed, but there are di made from other types of wood and even from stone, most often jade.

Di is one of the most common wind instruments in China. The hole for blowing air is located near the closed end of the barrel; in the immediate vicinity of the latter there is another hole, which is covered with a thin film of reeds or reeds.

Bansuri- Indian wind musical instrument, a type of transverse flute. Especially common in Northern India. Bansuri is made from a single hollow bamboo stem with six or seven holes. There are two types of instrument: transverse and longitudinal. Longitudinal is usually used in folk music and is held with the lips like a whistle when played. The transverse variety is the most used in Indian classical music.

Pan flute- a multi-barreled flute, consisting of several (2 or more) hollow tubes of various lengths. The lower ends of the tubes are closed, the upper ones are open. The name is due to the fact that in the era of antiquity the invention of this type of flute was mythologically attributed to the deity of forests and fields, Pan. When playing, the musician directs the flow of air from one end of the tubes to the other, as a result of which the air columns enclosed inside begin to oscillate, and the instrument produces a whistle of a certain height; each of the tubes emits one basic sound, the acoustic characteristics of which depend on its length and diameter. Accordingly, the number and size of the pipes determine the range of the panflute. The tool may have a movable or fixed stopper; depending on this, various ways of fine-tuning it are used.

Ocarina -- an ancient wind musical instrument, a vessel-shaped clay whistle flute. It is a small egg-shaped chamber with four to thirteen finger holes. Multi-chambered ocarinas may have more holes (depending on the number of chambers).

Usually made in ceramic, but sometimes also made of plastic, wood, glass or metal.

AT nasal flute the sound is produced by air from the nostrils. Despite the fact that the air from the nose comes out with less force than from the mouth, many primitive peoples of the Pacific region prefer to play this way, because they endow nasal breathing with some special energy. Such flutes are especially common in Polynesia, where they have become a national instrument. The most common are transverse nasal flutes, but the natives of Borneo play longitudinal ones.

Compound flutes consist of several simple flutes connected together. At the same time, whistle holes can be different for each barrel, then a simple set of different flutes is obtained, or they can be connected to one common mouthpiece, in which case all these flutes sound simultaneously and harmonic intervals and even chords can be played on them.

All of the above types of flutes are only a small part of the huge flute family. All of them differ greatly in appearance, timbre, size. They are united by the way of sound production - unlike other wind instruments, the flute sounds are formed as a result of cutting the air flow on the edge, instead of using the tongue. The flute is one of the most ancient musical instruments.

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(It. - flauto, Fr. - flute, German - Flote, English - flute)

The flute is one of the most ancient wind instruments. Its predecessors appeared in the period of primitive society. Tools were made from shells, bone or reed pipes. There were both longitudinal and transverse (oblique) flutes.

In longitudinal flutes, air was sent directly to the open part of the barrel, while transverse ones had a special hole for sending air, which was located on the side, which determined the horizontal position of the instrument during performance.

An important step in the evolution of the flute was the invention of playing holes. At first, holes appeared in the lower part of the instrument, near the bell, then, as their number increased, they were located upwards along the tube. Among the oldest instruments there were already flutes with 4 and even 5 playing holes. Gradually improved and the mechanism of sound extraction. A pointed edge of the barrel appeared on longitudinal flutes, then a whistle device appeared. The beak-shaped tip greatly facilitated the extraction of sound: more convenient for the lips, it at the same time formed a narrow gap, which made it possible to accurately direct air to the edge of the transverse cut of the outer side of the instrument.

The flute was most widely used in Europe in the Middle Ages. The longitudinal straight flute with a beak-shaped tip was the predecessor of the German Schnabelflote (Blockflote), Schwegel (Schwegel) and Ruspfeif (Ruspfeif). The double longitudinal flute (Doppel-Blockflote) was also popular, consisting of two parallel trunks with a single sound extraction mechanism - a whistle device. Pan's flute was used in folk music practice.

Germany became the European homeland of the flute, thanks to which it received the name German. The instrument was a cylindrical tube made of beech with a hole for sending air on the upper side and 6 playing holes. Narrow drilling of the bore made it easier to produce sound and brightened the timbre of the instrument. The transverse flute was used in folk music making, and later became one of the favorite instruments of the minnesingers (German medieval poets and singers) and military musicians.

At the end of the XVI century. the barrel of the transverse flute was given a conical shape to achieve a cleaner intonation and ease of sound production. The head of the flute began to be made movable, which made it possible to adjust the instrument's tuning.

In the second half of the XVII century. the barrel bore of the transverse flute received an inversely conical shape, which significantly improved the timbre of the instrument. The barrel of the flute began to be made up of three parts. This made it possible to adjust the component parts when adjusting the system.

Due to improvements, the transverse flute at the end of the 17th century. began to displace and at the end of the XVIII century. finally ousted the longitudinal from the orchestra. The advantage of the transverse flute was also due to the fact that it had a different character of sound in different registers. The longitudinal flute had a gentle, but monotonous sound.

At the beginning of the XVIII century. the constructive improvement of the transverse flute continues. To achieve the accuracy of adjustment, as well as for the convenience of drilling the channel, the middle knee of the tool was divided into two parts. By the middle of the century, the F, G-sharp, B-flat and C valves were introduced, which made it possible to extract a full chromatic scale on the instrument without the use of complex fingering combinations. The range of the flute was two and a half octaves (re first - la third). By the same time, the invention of an annular device dates back, which made it possible, together with the ring, to close an additional adjusting hole. This concludes the development of the simple (German) flute.

Since 1847, the flute designed by the German virtuoso flutist and composer Theobald Böhm, who began to make instruments from metal (often from silver), became widespread in Europe. The flute of his design has a cylindrical bore and a more elongated head compared to a simple flute. Precise definition of the scale of the instrument and a significant expansion of the playing holes led to the emergence of a unique system of valves located under the fingers so conveniently that the player could easily cope with the most difficult technical passages. These improvements made it possible to produce a strong and intonationally clear sound on the flute, as well as to freely reproduce the sounds of the third octave. In this form, the flute exists at the present time.

big flute, or simply - a flute is a cylindrical tube about 700 mm long, about 15-20 mm in diameter, made of metal or ebony. The tool consists of three parts - head, middle and lower part, or two parts - head and body. There is an embouchure hole in the head, in the lower part there is a screw with a plug for adjusting the instrument. Sound extraction on the flute occurs by sending a jet of air to the edge of the embouchure hole.

The sounds of B small, C and D flat of the first octave are extracted by turning on additional valves. The chromatic scale from D of the first to C-sharp of the second octave is reproduced by alternately opening the playing holes, starting from the mouth. The chromatic scale from D second to C sharp third octave is obtained by octave blowing. Sounds above C-sharp of the third octave are extracted using complex fingering. The flute is a non-transposing instrument. Range and characteristic of registers (see example).

In terms of technical capabilities, the flute surpasses all other woodwind instruments. Diatonic and chromatic scales, arpeggios, jumps and trills, various passages in different strokes are easily performed on it. On the flute, fine staccato technique, double and triple attack of sound can be easily performed. A specific reception of frullato is also possible. Somewhat limit the fluency of fingers of tonality with a large number of key signs. Trills are difficult to perform on the highest sounds, and on the three extreme sounds of the lower register they are generally unperformable.

Flute types.

Piccolo(flute-piccolo, it. - flauto piccolo, fr. - petite fluto, it. - Kleine Flote, eng. - piccolo). It became popular in the second half of the 18th century. Its size is half the size of the big one. Consists of two parts - head and body. In terms of sound, this is the highest wind instrument. The small flute is notated in the treble clef, sounds an octave higher than written. Range and characteristics of registers (according to the letter, see example).

The technical data of a small flute are the same as those of a large one, but in terms of artistic possibilities it is inferior to the main instrument. In the orchestra, the piccolo flute is most often used to extend the scale of other woodwind instruments upwards and add brilliance to the overall sonority. Often it is also used as a solo instrument.

Alto flute(It. - flauto contralto, French - fluto alto, German - Altflote, English - alto flute). It differs from the main tool only by a slightly larger length and diameter of the tube. The fingering of the alto flute is identical to the grand flute. The alto flute is a transposing instrument (in the G system), it sounds a pure fourth below the written one. Occasionally there is an alto flute in F, which sounds a pure fifth below the written one. Range and characteristics of registers (according to the letter, see example).

The alto flute has a full, wide sound. The most beautiful and valuable is the lower register of the instrument, which, in comparison with the same register of a great flute, has a denser color. The technical possibilities are the same as those of the great flute.

Flute d'amore building la. It sounded as a small third below the big flute and differed from the latter only in a slightly larger size. It was very popular from the middle of the 18th to the beginning of the 19th century.

bass flute(Albiziphone, Italian - flauto basso, French - flute basse, German - Bassflote, English - Basso flute). Invented at the beginning of the 20th century, but to date it has hardly been used. The instrument was designed in two forms - a longitudinal and a transverse flute. The bass flute tube is twice as long as the big tube. According to the method of sound extraction and fingering, the instrument is similar to a large flute. It is notated in the treble clef, sounds an octave lower than written (see example).

The flute finally wins the hearts of major composers of different countries and styles, masterpieces of the flute repertoire appear one after another: sonatas for flute and piano by Sergei Prokofiev and Paul Hindemith, concertos for flute and orchestra by Carl Nielsen and Jacques Iber, as well as other works by composers Bohuslav Martinou, Frank Martin, Olivier Messiaen. Several works for flute were written by Russian composers Edison Denisov and Sofia Gubaidulina.

Flutes of the East

Di(from the old Chinese hengchui, handi - transverse flute) - an old Chinese wind instrument, a transverse flute with 6 playing holes.

In most cases, the di stem is made of bamboo or reed, but there are di made from other types of wood and even from stone, most often jade. Near the closed end of the barrel there is a hole for blowing air, next to it is a hole covered with the thinnest reed or reed film; 4 additional holes located near the open end of the barrel are used for adjustment. The barrel of the flute is usually tied with black lacquered thread rings. The way of playing is the same as on the transverse flute.

At first it was believed that the flute was brought to China from Central Asia between 140 and 87 BC. e. However, during recent archaeological excavations, bone transverse flutes dating back about 8,000 years, very similar in design to modern di (although without a characteristic sealed hole), have been found, which testifies in favor of the hypothesis of a Chinese origin of di. Legend has it that the Yellow Emperor ordered his dignitaries to make the first bamboo flute.

There are two kinds of di: qudi (in the kongqu musical drama orchestra) and bandi (in the bangzi musical drama orchestra in the northern provinces). A variation of the flute without a sealed hole is called a mandi.

Shakuhachi(Chinese chi-ba) - a longitudinal bamboo flute that came to Japan from China during the Nara period (710-784). There are about 20 varieties of shakuhachi. The standard length - 1.8 Japanese feet (54.5 cm) - determined the very name of the instrument, since "shaku" means "foot" and "hachi" means "eight". According to some researchers, the shakuhachi originates from the Egyptian instrument sabi, which made a long journey to China through the Middle East and India. Initially, the tool had 6 holes (5 in front and 1 behind). Later, apparently on the model of the longitudinal xiao flute, which also came from China during the Muromachi period, modified in Japan and became known as hitoyogiri (literally - “one knee of bamboo”), it took on a modern look with 5 finger holes. Shakuhachi is made from the butt of madake bamboo (Phyllostachys bambusoides). The average diameter of the tube is 4–5 cm, and the inside of the tube is nearly cylindrical. The length varies depending on the tuning of the ensemble of koto and shamisen. A difference of 3 cm gives a difference in pitch by a semitone. The standard length of 54.5 cm is used for shakuhachi playing solo compositions. To improve the sound quality, craftsmen carefully coat the inside of the bamboo pipe with lacquer, just like the flute used in gagaku, in the Noh theater. The plays of the honkyoku style of the Fuke sect (30-40 pieces have survived) carry the ideas of Zen Buddhism. The honkyoku of the Kinko school uses the repertoire of the fuke shakuhachi, but gives more artistry to the manner in which they are performed.

P almost simultaneously with the appearance of the shakuhachi in Japan, the idea of ​​the sacredness of music played on the flute was born. Tradition links her miraculous power with the name of Prince Shotoku Taishi (548-622). An outstanding statesman, heir to the throne, an active preacher of Buddhism, the author of historical writings and the first commentaries on Buddhist sutras, he became one of the most authoritative figures in Japanese history. So, in the written sources of the early Middle Ages, it was said that when Prince Shotoku played the shakuhachi on the way to the temple on the mountainside, heavenly fairies descended to the sounds of the flute and danced. Shakuhachi from the Horyuji Temple, now on permanent display at the Tokyo National Museum, is considered the unique instrument of Prince Shotoku, which began the path of the sacred flute in Japan. Shakuhachi is also mentioned in connection with the name of the Buddhist priest Ennin (794-864), who studied Buddhism in Tang China. He introduced the accompaniment of the shakuhachi during the recitations of the Amida Buddha sutra. In his opinion, the voice of the flute not only adorned the prayer, but expressed its essence with greater penetration and purity. Zhukoai. Flute fairy in red

A new stage in the formation of the sacred flute tradition is associated with one of the most prominent personalities of the Muromachi period, Ikkyu Sojun (1394-1481). A poet, painter, calligrapher, religious reformer, eccentric philosopher and preacher, at the end of his life the abbot of the largest Daitokuji temple in the capital, he influenced almost all areas of the cultural life of his time: from the tea ceremony and the Zen garden to the No theater and shakuhachi music. Sound, in his opinion, played a big role in the tea ceremony: the noise of boiling water in a pot, the tapping of a whisk when whisking tea, the gurgling of water - everything was designed to create a feeling of harmony, purity, respect, silence. The same atmosphere accompanied the playing of the shakuhachi, when the human breath from the depths of the soul, passing through a simple bamboo pipe, became the breath of life itself. In a collection of poems written in the classical Chinese style "Kyounshu" ("Crazy Clouds Gathering"), permeated with images of the sound and music of the shakuhachi, the philosophy of sound as a means of awakening consciousness, Ikkyu writes about the shakuhachi as the pure voice of the universe: "Playing the shakuhachi, you see invisible spheres, there is only one song in the whole universe."

Around the beginning of the 17th century. various stories about Reverend Ikkyu and the shakuhachi flute were circulating. One of them told how Ikkyu, along with another monk, Ichiroso, left Kyoto and settled in a hut in Uji. There they cut bamboo, made shakuhachi and played. According to another version, a certain monk named Roan lived in seclusion, but was friends and communicated with Ikkyu. Worshiping shakuhachi, extracting sound with one breath, he achieved enlightenment and appropriated the name Fukedosya or Fuketsudosha (following the path of wind and holes) and was the first komuso (lit. "monk of nothingness and emptiness"). The flute, which, according to legend, was played by a master, has become a national relic and is located in the Hosun'in Temple in Kyoto. The first information about wandering monks playing flutes dates back to the first half of the 16th century. They were called the monks of komo (komoso), that is, "the monks of the straw mat." In the poetic work of the XVI century. the melodies of the wanderer inseparable from the flute were likened to the wind among the spring flowers, recalling the frailty of life, and the nickname komoso began to be written in hieroglyphs "ko" - emptiness, non-existence, "mo" - an illusion, "co" - a monk. 17th century in the history of Japanese culture became a new stage in the history of the sacred flute. The daily activities of the komuso monks centered around playing the shakuhachi. In the morning, the abbot used to play the tune "Kakureisei". It was an awakening play that started the day. The monks gathered around the altar and sang the melody "Teka" ("Morning Song"), after which their daily services began. During the day, they alternated playing the shakuhachi, sitting zazen meditation, martial arts, and begging schema. In the evening, before starting zazen again, the play "Banka" ("Evening Song") was played. Every monk was required to go begging at least three days a month. During the last of these obediences - wandering for alms - such melodies as "Tori" ("Passage"), "Kadozuke" ("Crossroads") and "Hachigaeshi" ("Return of the bowl" - here meant the begging bowl) were played. ). When two komusô met along the way, they had to play "Yobitake". It was a kind of call performed on the shakuhachi, which meant "Call of Bamboo". In response to the greeting, one had to play "Uketake", the meaning of which is "to accept and pick up the bamboo." On the way, wanting to stop at one of the temples of their order, scattered throughout the country, they played the play "Hirakimon" ("Opening the Gates") in order to let them in for the night. All ritual plays, almsgiving performed on the shakuhachi, even those pieces that seemed to be more like the entertainment of monks, were part of the Zen practice called suizen (sui - "to blow, play a wind instrument").

Among the major phenomena of Japanese music that influenced the formation of the honkyoku tone system, one should name the theory and musical practice of Buddhist chants shomyo, the theory and practice of gagaku, and later the traditions of ji-uta, sokyoku. XVII-XVIII centuries - the time of increasing popularity of shakuhachi in the urban environment. The development of gaming technology made it possible to play music of almost any genre on the shakuhachi. It began to be used for performing folk songs (minyo), in secular ensemble music-making, by the 19th century, finally displacing the bowed instrument kokyu from the most common sankyoku ensemble of that time (koto, shamisen, shakuhachi). Shakuhachi has varieties:

Gagaku shakuhachi is the earliest type of instrument. Tempuku - from the classic shakuhachi it is distinguished by a slightly different shape of the mouth opening. Hitoyogiri shakuhachi (or just hitoyogiri) - as its name indicates, it is made from one knee of bamboo (hito - one, yo - knee, giri - voiced kiri, cut). The Fuke shakuhachi is the immediate predecessor of the modern shakuhachi. Bansuri, bansri (Bansuri) - Indian wind instrument, there are 2 types: classical transverse and longitudinal flute, used in North India. Made from bamboo or cane. Usually has six holes, but there has been a tendency to use seven holes - to increase flexibility and correct intonation in high registers. Previously, bansuri was found only in folk music, but today it has become widespread in the classical music of India. A similar instrument common in South India is the Venu. W
my flute(Serpent Flut) - Indian reed instrument of two pipes (one - bourdon, the other - with 5-6 playing holes) with a resonator made of wood or dried gourd.

The snake flute is played in India by wandering fakirs and snake charmers. When playing, continuous, so-called permanent (chain) breathing is used.

Blairor Gambu- Indonesian longitudinal flute with a whistle device. It is usually made of ebony, decorated with carvings (in this case in the form of a dragon), and has 6 playing holes. Used as a solo and ensemble instrument.

Malaysian flute- a longitudinal flute in the form of a dragon, with a whistle device. Made from redwood. It is used in religious ceremonies, to pacify the spirit of the dragon - a sacred creature revered in Malaysia.

FLUTE

Flute- a wind musical instrument from the wooden group (since these instruments were originally made of wood). Unlike other wind instruments, the flute sounds are formed as a result of cutting the air flow against the edge, instead of using the reed. A musician who plays the flute is commonly referred to as a flutist.

D
the most ancient form of the flute seems to be whistle. Gradually, finger holes began to be cut in the whistle tubes, turning a simple whistle into a whistle flute, on which it was already possible to perform musical works.

Longitudinal flute was known in Egypt five thousand years ago, and it remains the main wind instrument throughout the Middle East. The longitudinal flute, which has 5-6 finger holes and is capable of octave blowing, provides a complete musical scale, individual intervals within which can change, forming different frets by crossing the fingers, closing the holes halfway, as well as changing the direction and strength of breathing.

transverse flute(often just a flute; Italian flauto from Latin flatus - “wind, breath”; French flûte, English flute, German Flöte) - a soprano woodwind musical instrument with 5-6 finger holes was known in China at least least 3 thousand years ago, and in India and Japan - more than two thousand years ago. In Europe during the Middle Ages, mainly simple instruments of the whistle type (predecessors of the recorder and harmonette) were distributed, as well as the transverse flute, which penetrated into Central Europe from the East through the Balkans, where it still remains the most common folk instrument. The pitch on the flute changes by blowing (extracting harmonic consonances with the lips), as well as by opening and closing holes with valves. In Greek mythology, the inventor of the flute is the son of Hephaestus, Ardal. The oldest form of the flute seems to be the whistle. Gradually, finger holes began to be cut in the whistle tubes, turning a simple whistle into a whistle flute, on which it was already possible to perform musical works. The earliest depiction of a transverse flute was found on an Etruscan relief that dates back to 100 or 200 BC. At that time, the transverse flute was held to the left side, only an illustration of a poem from the 11th century AD, for the first time depicting the manner of holding the instrument to the right side. The first archaeological finds of transverse flutes of the Occident date back to the 12th-14th centuries AD. One of the earliest images of that time is contained in the encyclopedia Hortus Deliciarum. Except for the one aforementioned 11th-century illustration, all medieval European and Asian depictions show players holding the transverse flute to the left, while antique European depictions show flute players holding the instrument to the right. Therefore, it is assumed that the transverse flute temporarily fell into disuse in Europe, and then returned there from Asia through the Byzantine Empire. In the Middle Ages, the transverse flute consisted of one part, sometimes two for "bass" flutes. The tool had a cylindrical shape and had 6 holes of the same diameter.

As for the longitudinal or just a flute, the syringa and aulos were also common among the wind instruments of Ancient Greece.

Avlos- an ancient Greek reed wind instrument. It was a pair of separate cylindrical or conical tubes made of reed, wood, bone later made of metal with 3-5 (later more) finger holes.

The length of the aulos is different, usually about 50 cm. It was used by professional performers to accompany solo and choral singing, dances, during funeral and wedding ceremonies, religious, military and other rituals, as well as in the theater. The right aulos made high sounds, and the left - low. This instrument was equipped with a mouthpiece and vaguely resembled an oboe. It was not easy to play it, because both aulos had to be blown at the same time. Avlos was considered an instrument whose sound and viscous melos excites a person more than others, arouses passionate feelings in him. Various types of aulos are known (bombiks, borim, kalam, gingr, niglar, elim), syringa (single, double and multi-tubular) and pipes (salpinga, keras and others).

Syringa or syrinx (Greek συριγξ) has two meanings - the general name of the ancient Greek wind instruments (reed, wood, flute type (longitudinal), as well as the ancient Greek shepherd's multi-barreled flute or Pan flute.

F Leita Pan This is a multi-barreled flute. The tool consists of a set of reed, bamboo and other tubes of different lengths open at the upper end, fastened with reed strips and a tourniquet. Each tube emits 1 main sound, the pitch of which depends on its length and diameter. consisting of several (3 or more) bamboo, reed, bone or metal pipes. Pipes are from 10 to 120 cm long. Large panflutes, as well as double-row ones, are played together. The name of the Pan flute comes from the name of the ancient Greek god Pan, the patron saint of shepherds, who is usually depicted playing a multi-barreled flute. Pan is known for his passion for wine and fun. He is full of passionate love and pursues the nymphs. Once the goat-legged Pan fell in love with a nymph named Syringa (literally "pipe").

Pan chased after her in order to take possession,

Arthur Wardle Pan Flute a can just confess his love. The nymph Syringa fled in fear of Pan and rushed to the river Ladon. Syringa turned to her father, the river god, with a request to save her from encroachment, and her father turned her into a reed, which made a mournful sound from the breath of the wind. Pan cut that reed and made himself a flute from it, bearing the name of a nymph, and the instrument was later called a flute. Pan connoisseur and judge of shepherd competitions in playing the flute. Pan even challenged Apollo to a contest, but was defeated by him, and King Midas, the judge of this contest, who did not appreciate Apollo, grew donkey ears as a punishment. True, the rival of Apollo, according to another legend, had a different name. There is also a legend about Marsyas, a satyr who picked up a flute invented and abandoned by Athena. In playing the flute, Marsyas achieved extraordinary skill and, puffed up, challenged Apollo himself to a contest. The daring rivalry ended with the fact that Apollo, playing the cithara, not only defeated Marsyas, but also tore off the unfortunate skin.

R There are many varieties of panflute: sampona (samponyo, it is also samponi, Indian flute - single-row or double-row); Moldavian ney (nay, muskal); Russian kugikly (from "kuga" - reeds), they are also kuvikly, kuvichki; Georgian larchemi (soinari); Lithuanian boring; chipsan and polyanyas of the Komi people, in Great Britain - panpipes or pan-flute, etc. Some call Pan's flute a flute. The popularization of the Pan flute in modern European musical culture was mainly promoted by Romanian musicians - first of all, widely touring since the mid-1970s. George Zamfir.

Kuvikly(coogicles)- Russian variety of "Pan's flute". The Russians were the first to pay attention to the flute of Pan Gasri, who gave a very inaccurate description of it under the name of a pipe or a flute. Dmitryukov wrote about kuvikls in the Moscow Telegraph magazine in 1831. Throughout the 19th century in the literature from time to time there is evidence of playing the kuvikla, especially in the territory of the Kursk province. The area of ​​\u200b\u200bdistribution of kuvikl in Russia is located within the modern Bryansk, Kursk and Kaluga regions. Kuvikly is a set of 3-5 hollow tubes of various lengths (from 100 to 160 mm) and diameters with an open upper end and a closed lower one. This tool was usually made from stalks of kugi (reed), reed, bamboo, etc., the trunk knot served as the bottom. In Russian kuvikla, each pipe has its own name. In the Kursk region, pipes, starting from the large one, are called "buzz", "podguden", "medium", "pyatushka" and the smallest "pyatushka", in other areas the names may differ. Such names allow performers to exchange remarks in the process of playing, suggesting how to play.

The repertoire is usually limited to dance tunes. When playing, someone sings from time to time, or more often sentences the text. Kugikly are good in combination with other folk instruments: pitiful, flute, folk violin. Pan's flutes are of different peoples and arranged in different ways. Most often, the individual tubes of the flute are firmly fastened together. But in samponyo, they are simply connected in two rows, and any tube that is out of order is easy to replace.

Earliest depiction of a transverse flute was found on an Etruscan relief that dates back to a hundred or two hundred years BC. At that time, the transverse flute was held to the left side, only an illustration of a poem from the 11th century AD, for the first time depicting the manner of holding the instrument to the right side. The first archaeological finds of transverse flutes of the Occident date back to the 12th-14th centuries AD. One of the earliest images of that time is contained in the encyclopedia Hortus Deliciarum. Except for the one aforementioned 11th-century illustration, all medieval European and Asian depictions show players holding the transverse flute to the left, while antique European depictions show flute players holding the instrument to the right. Therefore, it is assumed that the transverse flute in Europe temporarily fell into disuse, and then returned there from Asia through the Byzantine Empire. In the Middle Ages, the transverse flute consisted of one part, sometimes two for "bass" flutes. The tool had a cylindrical shape and had 6 holes of the same diameter.

François Boucher Bacchante playing the flute 1760

During the Renaissance, the design of the flute changed little. The instrument had a range of two and a half octaves or more, which exceeded the range of most recorders of the time by an octave. Famous original flutes from the Renaissance era are kept in the Castel Vecchio Museum in Verona.

Joseph Marie Wien. Allegory of Music.

The transverse flute was used mainly in ensemble playing - flute quartets, trios for voice, flute and lute, in consorts, ricercars and other music by composers Aurelio Virgiliano, Claudio Monteverdi, Jerome Pretorius and others. At the end of the 17th century, the transverse flute began to be used at the French court, mainly in the opera orchestra (the first use was in Lully's opera Isis, 1667), and it took some time until the transverse flute gained more popularity. At the beginning of the XVIII century in Germany, England, Italy, more and more performers on wind instruments appeared, at first mainly oboists, then flutists. In 1718 - 1719 the famous flutist and composer Joachim Quantz complained about the scarcity of the repertoire for the transverse flute. Since 1700, collections of suites and pieces for flute solo and with basso continuo accompaniment by composers Jacques Otetter, Michel de la Barra, Michel de Monteclair and others have been published in France. Beginning in 1725, sonatas and trio sonatas, and other works for flute by French composers Joseph Boismortier, Michel Blavet, Jean-Marie Leclerc, and others appeared. Representatives of the Italian baroque style of this period, such as Arcangelo Corelli, Francesco Veracini, Pietro Locatelli, Giovanni Platti, wrote sonatas where the transverse flute could be replaced by a violin or recorder. In 1728, Antonio Vivaldi became the first composer to publish concertos for the transverse flute, followed by G. F. Telemann, D. Tartini, and later Pierre-Gabriel Buffardin, Michel Blavet, André Grétry, C. F. E. Bach. The first major changes to the design of the flute were made by the Otteter family at the end of the 17th century. Jacques Martin Otteter divided the instrument into three parts: the head, the body (with holes that closed directly with the fingers) and the knee, on which, as a rule, one or more valves were located.

Subsequently, most transverse flutes of the 18th century consisted of four parts - the body of the instrument was divided in half. The otteter also changed the instrument's drilling to be tapered to improve intonation between octaves. Possessing a more expressive sound and high technical capabilities, the transverse flute soon replaced the longitudinal (recorder) and by the end of the 18th century took a firm place in the symphony orchestra and instrumental ensembles. At the end of the 18th century, more and more valves were added to the transverse flute - usually from 4 to 6, or more. Important innovations in the design of the transverse flute of that time were made by Johann Joachim Quantz and Johann Georg Tromlitz. In Mozart's time, the single-valve transverse flute was still the most common instrument design.

Adolph von Menzel Flute Concerto performed by Frederick the Great at Sanssouci 1852

Berlin became an important center for the development of the flute school of that time, where at the court of Frederick II, who himself was a flutist and an outstanding composer, the transverse flute acquired special significance. Thanks to the undying interest of the monarch in his favorite instrument, many works for the transverse flute were born by Joachim Quantz (the court composer and teacher of Friedrich), C. F. E. Bach (the court harpsichordist), Franz and his son Friedrich Benda, Carl Friedrich Fasch and other.

In the second half of the 18th century, Johann Christian Bach, Ignaz Pleyel, Francois Devien, Johann Stamitz, Leopold Hofmann, Franz Hofmeister wrote for the flute in the post-baroque and early classicism styles. The masterpieces of this period include works by W. A. ​​Mozart, who wrote Concertos in G and D major for flute, a concerto for flute and harp in C major, 4 quartets and several early sonatas, as well as a Serenade for flute, violin and viola by Ludwig Beethoven.

At the beginning of the 19th century, more and more valves were added to the design of the transverse flute, as the music for the instrument became more virtuosic and additional valves made it easier to play difficult passages. In France, the transverse flute with 5 valves was the most popular, in England with 7 or 8 valves, in Germany, Austria and Italy there was the largest number of different systems at the same time, where the number of valves could reach 14 or more, and the systems were called by the names of their inventors: "Meyer", "Schwedler flute", "Ziegler system" and others.

Flutist Theobald Böhm gave the transverse flute a modern look. His innovations differed from numerous others in that he prioritized acoustic research and objective sound parameters, rather than the convenience of the performer. The flute of the Boehm system did not immediately find a response among the performers - in order to switch to a new system, it was necessary to completely relearn the fingering and not everyone was ready for such a sacrifice. Many criticized the sound of the instrument. Between 1832 and 1847 Böhm improved the instrument, which has changed relatively little since then. He introduced the following most important innovations: 1) positioned thumbholes according to acoustic principles, not performance convenience; 2) provided the tool with a system of valves and rings to help close all openings; 3) used the cylindrical channel of the old days, but with a parabolic head, which improved intonation and evened out the sound in different registers; 4) switched to the use of metal for the manufacture of the instrument, which increased the brilliance of the sound compared to the wooden instrument. In France, the instrument gained popularity faster than other countries, mainly due to the fact that Louis Dorus, a professor at the Paris Conservatoire, became a devoted popularizer and taught it at the conservatory. In Germany and Austria, Boehm's system did not take root for a very long time. Flutists passionately defended their predilections to one or another system, there were numerous discussions and disputes about the disadvantages and advantages.

At the beginning of the 19th century, the repertoire of the transverse flute was replenished with the works of Karl Czerny, Johann Hummel, Ignaz Moscheles. A special place in the repertoire of this time belongs to the numerous works of Friedrich Kuhlau, who was called the flute Beethoven.

The masterpieces of the romantic style in the flute repertoire include Franz Schubert's Variations on a Theme "Dried Flowers", the Sonata "Ondine" by Carl Reinecke, as well as his concerto for flute and orchestra (written by the composer at the beginning of the 20th century at an advanced age). Also known are early works for flute by Frederic Chopin and Richard Strauss.

The flute repertoire of the 19th century is dominated by virtuoso salon works by flute composers - Jean-Louis Tulu, Giulio Bricchaldi, Wilhelm Popp, Jules Demerssmann, Franz Doppler, Cesare Ciardi, Anton Furstenau, Theobald Böhm, Joachim Andersen, Ernesto Köhler and others - written by authors mainly for your own performances. There are more and more virtuoso concertos for flute and orchestra - by Willem Blodek, Saverio Mercadante, Bernard Romberg, Franz Danzi, Bernard Molik and others.

Robert Sternl Flutist in Peterhof 1908

In the 20th century, the flute became one of the most sought after instruments in music. Most flute players switched to the Boehm system, although other systems were occasionally encountered until the 1930s. Most flutes were still made from wood, but metal instruments began to gain in popularity.

Willie was Different

The high level of players of the French flute school, such as Paul Taffanel, Philippe Gaubert, Marcel Moise and later Jean-Pierre Rampal, makes France a flute center and forge masterpieces of the flute repertoire. In the first half of the 20th century, works for the flute were written by composers, representatives of French impressionism in music and their followers - Edgar Varèse, Claude Debussy, Gabriel Fauré, Henri Dutilleux, Albert Roussel, Francis Poulenc, Darius Milhaud, Jacques Ibert, Arthur Honegger, Cecile Chaminade, Lily Boulanger, Georges Yu, Eugene Bozza, Jules Mouquet, George Enescu and others.

In the second half of the 20th century, there was a renewed interest in baroque transverse flutes, and many performers began to specialize in the authentic performance of baroque music on original instruments.

The flute is one of the most ancient musical instruments. The oldest flute was invented about 35 thousand years ago. This musical instrument has gone through a certain stage of evolution, and during this time it has changed quite significantly. The look, the sound, the form changed. To date, there are about 12 types of flutes, the most popular of which we will consider.

The most popular types of flutes

Today we will consider the types of the most popular flutes, which are in high demand today:

• Syringa;
• transverse flute;
• Flute-Piccolo;
• Block flute.

Let's take a closer look at each of the above views.

Syringa is a type of flute that comes from ancient Greece. This view is a more longitudinal view. Coming from the era of antiquity, most often this instrument was well owned by shepherds and peasants. A little later, the flute began to be used in various theatrical productions. Gradually, it began to gain popularity, and spread throughout the population.

The transverse flute is a musical instrument made of wood. The flute is called transverse due to the fact that it is used horizontally, and not as in the standard version. Due to blowing, there is a change in the pitch of the sounds, and of course, closing the holes with the fingers plays an important role. Today, transverse flutes are made not only from wood, but also from various metals.

The Piccolo flute is a musical instrument of the woodwind type. This flute is also used only horizontally. A feature of the Piccolo flute is that it holds the highest note among all varieties. Also, this flute is the most melodic and piercing of all. The Piccolo flute is small in size, and was most often used to amplify the octave sound of large flutes.

The recorder is one of those flutes that scientists consider one of the founders of the flute. The recorder refers to longitudinal flutes that were made of wood and looked like a whistle. The recorder consisted not only of seven valves, but also valves on the reverse side, which are called octave valves.

All the types of flutes listed above take their original outcome from ancient times, and as a rule, they were able to play more attendants.