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| About the Companion Website | p. xi |
| Figures | p. xii |
| Plates | p. xiii |
| Terminology Used in This Book | p. xiv |
| Preface | p. xvii |
| Acknowledgments | p. xix |
| The Instrument | |
| The Flute Today | p. 3 |
| What Is a Flute? | |
| Manufacturing: The State of the Art | |
| How to Choose An Instrument | p. 15 |
| To Rent or to Buy | |
| Setting Priorities | |
| Materials | |
| Open or Closed Holes | |
| C or B Footjoint | |
| Mechanical Options | |
| Testing an Instrument | |
| Care and Maintenance of the Flute | p. 31 |
| Preventive Maintenance: Assembling the Instrument | |
| Daily Cleaning | |
| Storage | |
| Polishing | |
| Replacing | |
| Lubrication | |
| The Headjoint Cork | |
| Mechanical Problems | |
| A Brief History of the Flute | p. 41 |
| Old-System Flutes | |
| The Boehm Flute | |
| Other Nineteenth-Century Flutes | |
| Minor Modifications to the Boehm System | |
| The Flute Family | p. 61 |
| The Piccolo | |
| The Alto Flute | |
| The Bass Flute | |
| The Contr'alto, Contrabass, and Subcontrabass Flutes | |
| The Flute Choir | |
| Performance | |
| Breathing | p. 84 |
| Posture | |
| Inhalation | |
| Suspension | |
| Exhalation | |
| The Diaphragm | |
| Exercises | |
| Breathing and Phrasing | |
| Circular Breathing | |
| Tone | p. 92 |
| The Acoustical Basis | |
| Tone Production | |
| Focus and Projection | |
| Homogeneity of Sound | |
| Interpretation through Tone Development | |
| Intonation | |
| National Styles of Flute Playing | |
| Vibrato | p. 108 |
| What Is Vibrato? | |
| The History of Vibrato | |
| The Uses of Vibrato | |
| Articulation | p. 117 |
| The Bowing Analogy | |
| Single-Tonguing | |
| Double-Tonguing | |
| Triple-Tonguing | |
| Flutter-Tonguing | |
| Tongueless Attack | |
| Legato | |
| Note Endings | |
| Practice | |
| Technique | p. 125 |
| Position | |
| Practice | |
| Fingering | |
| Harmonics | |
| The Bb Thumb Key | |
| Three Fingering Tricks | |
| Style | p. 140 |
| Virtuosity and Interpretation | |
| The Theoretical Background: Basic Musicianship | |
| Analysis | |
| Phrasing | |
| Performance Practice | |
| The Early Music Movement and Questions of Authenticity | |
| Performance | p. 158 |
| Opportunities for Performance | |
| Planning a Recital Program | |
| Choosing a Recital Hall | |
| The Printed Program | |
| Publicity | |
| Preparation and Rehearsal | |
| Stage Protocol | |
| The Entrance | |
| Playing the Program | |
| Memorization | |
| Breaks between Pieces | |
| Encores | |
| Recordings | p. 175 |
| Building a Recording Collection | |
| How to Listen | |
| Playing Along | |
| Making Your Own Recordings | |
| The Music | |
| The Baroque Era | p. 183 |
| Flute versus Recorder | |
| Musical Forms | |
| France | |
| Italy | |
| England | |
| Germany | |
| The Classic Era | p. 211 |
| Musical Forms | |
| Paris | |
| Germany | |
| Spain | |
| England | |
| Vienna | |
| The Romantic Era | p. 235 |
| Music by Nonflutists | |
| Music by Flutists | |
| The Modern Era | p. 248 |
| France | |
| Great Britain | |
| Elsewhere in Western Europe | |
| Eastern Europe | |
| The United States | |
| The Avant-Garde | |
| The Flute and Electronics | |
| Repertoire Catalog | |
| Introduction | p. 277 |
| The Baroque Era | p. 281 |
| The Classic Era | p. 327 |
| The Romantic Era | p. 361 |
| The Modern Era | p. 383 |
| Study Materials | p. 449 |
| Appendices | |
| Fingering Chart for the Boehm Flute | p. 461 |
| Flute Manufacturers | p. 468 |
| Repair Shops | p. 476 |
| Sources for Instruments and Accessories | p. 480 |
| Sources for Music and Books | p. 483 |
| Journals, Societies, and Service Organizations | p. 487 |
| Flute Clubs and Societies | p. 491 |
| Notes | p. 497 |
| Selected Bibliography | p. 507 |
| Index | p. 521 |
| Table of Contents provided by Ingram. All Rights Reserved. |