. Orchestration . IB t p !? p^ pus?. We must now return to the purely technical consideration of theFlute. But before dealing with the Shakes and Tremolos it must besaid that, for the sake of simplicity and economy of space, the bottomnotes only of the tremolos are in most cases given. This appliesthroughout the Wood-Wind and String sections. A tremolo, whenevermentioned as being on a particular note, is regarded as being up-ward from that note. In performance, of course, a tremolo is just aspracticable or impracticable upwards or downwards. The way ofwriting it—whether upwards or downwards—ma
. Orchestration . IB t p !? p^ pus?. We must now return to the purely technical consideration of theFlute. But before dealing with the Shakes and Tremolos it must besaid that, for the sake of simplicity and economy of space, the bottomnotes only of the tremolos are in most cases given. This appliesthroughout the Wood-Wind and String sections. A tremolo, whenevermentioned as being on a particular note, is regarded as being up-ward from that note. In performance, of course, a tremolo is just aspracticable or impracticable upwards or downwards. The way ofwriting it—whether upwards or downwards—makes no difference toits technique. Nearly all shakes and tremolos are possible on theFlute. However, avoid these :
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Keywords: ., bookcentury1900, bookdecade1910, booksubjectinstrumentationandor
