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The standard concert flute, also called C flute, Boehm flute, silver flute, or simply flute, is pitched in C and has a potential range of three and a half octaves starting from the note C 4 . The flute's highest pitch is usually given as C 7 or (in more modern flute literature) D 7.
The 'best' or most comfortable pitch range, generally used to identify the most prominent / common vocal range within a piece of music tierce de Picardie (Fr.) See Picardy third timbre The quality of a musical tone that distinguishes one tone from another time
This broad definition is often interpreted to refer specifically to the pitch range that most frequently occurs within a given part of a musical piece. Hence, in musical notation , tessitura is the ambitus , or a narrower part of it, in which that particular vocal (or less often instrumental) part lies—whether high or low, etc.
British music that uses this instrument often refers to it as a bass flute, which can be confusing since there is a distinct instrument known by that name. This naming confusion originated in the fact that the modern flute in C is pitched in the same range as the Renaissance tenor flute; therefore, a lower pitched instrument would be called a bass.
The flute is a member of a family of musical instruments in the woodwind group. Like all woodwinds, flutes are aerophones, producing sound with a vibrating column of air.. Flutes produce sound when the player's air flows across an ope
The designated range is thus the range in which a player is expected to have comfortable control of all aspects. The duration range is the difference between the shortest and longest rhythm used. Dynamic range is the difference between the quietest and loudest volume of an instrument, part or piece of music.
The alto flute is characterized by its distinct, mellow tone in the lower portion of its range. The tube of the alto flute is considerably thicker and longer than a C flute and requires more breath from the player. However, this gives it a greater dynamic presence in the bottom octave and a half of its range.
Others attribute the decline of the recorder in part to the flute innovators of the time, such as Grenser, and Tromlitz, who extended the transverse flute's range and evened out its tonal consistency through the addition of keys, or to the supposedly greater dynamic range and volume of the flute. [89]