Megido Music Publications

Flute World owns Megido Music Publications which is known for its serious Flute Orchestra repertoire. As a part of the National Flute Association, schools can benefit from Megido Music Publications. There are many ways in which you can benefit from this large selection.

Texture through Voices

Musical textures are also sometimes described as being the ways in which the various voices are combined to create a harmony. A string quartet, for instance, has a particular texture to its sound that is derived from the way the various instruments combine and contrast. This also applies to the way that the various voices are combined in vocal ensembles and any other ensemble performance. A woodwind quartet, for instance, may have a very smooth and light texture, while a brass band would have a forceful, brassy texture.

Expression, Dynamics, Style, Tempo and Phrasing

Expression is not just an important part of music, it’s oftentimes the entire point of performing or composing piece. The expressiveness of the musicians in an orchestra, the members of a band or any other group of performers does depend on them having a general structure from which to work. Improvisation is an important element in jazz, rock, blues and many other forms of music, but expression can also be defined and communicated to musicians in ensembles by describing the elements of music that are most conducive to expression.


Listen to your song in performance. Remember that, as Stravinsky said, art is never really finished, it’s just abandoned at some point. That being said, hearing your song for the first time doesn’t mean that you’re done with it. You have to do some critical listening and, if you can, lean on friends or your teachers to give you feedback.

Listen to see if the song really matches with the genre. In some cases, you may hear mistakes that you didn’t know were there. In other cases, you may notice that mistakes you were aware of sound great. Keep an open mind and try to listen to the song as if you’ve never heard it before. Concentrating on your mistakes will not help you refine the song; it will discourage you.


Mozart, according to legend, wrote in pen and never scratched off one note on his manuscripts. In short, the man never made a mistake when composing. Hardly anyone is like that, however, and most artists do a lot of refining.

After you’ve listened to your piece, concentrate on what you might want to change or leave the same about it. You may want to further develop some themes and you may want to completely abandon others. You may want to transpose the entire melody to a more accessible or agreeable key or you may want to entirely restructure the rhythmic elements of the song. Your song should be thought of as being made out of wet clay, not out of stone. You can refine it as much as you want and, as is the case with all writing, a good portion of writing music is actually rewriting music.

No matter where you are, great music comes in all shapes and sizes. However, for Haynes piccolo or Haynes flute accessories in Michigan, West Bloomfield, or Farmington, look to

Musicology and Culture

Musicology was once a comparative pursuit. Western musicologists used to essentially compare the music of other cultures to their own and, quite often, tried to portray one as advanced and one as primitive. This has changed over the years and musicologists now travel the world collecting samples of the unique musical expressions of the world’s peoples. You can learn a lot about music by listening to it as performed by other cultures.

Understanding Ear Fatigue

While you’re listening to music from other cultures, you’ll experience your own cultural predispositions as you’ve likely never experienced them before. One of the most common manifestations of this is called ear fatigue.

A great deal of the music you’ll hear from other cultures will seem out of key to you, if you’re accustomed to Western music. It’s important to give yourself a break now and then. If you find yourself not taking in the music because the contrasts with what you’re accustomed to are becoming all that you can hear, take a break. World music deserves to be appreciated and, like cuisines from other cultures, it’s sometimes an acquired taste. The old adage “the appetite comes with eating” sometimes applies in this regard. As you hear more and more exotic music, you will develop a feel and an appreciation for its unique qualities.

Time and Distance are the Same

Musicology doesn’t just address the differences in music relative to culture. It also addresses differences in music relative to time. For example, madrigals, Gregorian chants, fugues and many other forms are all European in their origins, but are vastly different due to the separations in time that exist between them.

Studying historic forms of music is another way to explore the music of different cultures. The cultures that produced the grand symphonies of Mozart and the elegant waltzes of Strauss were very different ones than exist today, and deserve to be explored and understood based on their own merits.

Analyzing without Bias:

When you compose a piece of music, much of the work is dedicated toward providing the right balance between comparison and contrast. The same holds true when you’re listening to music from other cultures or time periods. Start by comparing it with what you do know. You’ll use the same skills you’ve used to develop your skills as a musician thus far. Ask some basic questions about the music as you listen.

Remember that listening to music and enjoying music can be two separate things. While you’re exploring the music of any given culture, remember to listen to it from an objective standpoint. In some cases, you may not enjoy some music from other cultures that much. This is fine, but you should still be able to listen to and speak about it intelligently and in terms that go beyond your opinion of it. This is called appreciation and it’s a fundamental component of any serious musical study.

In order to appreciate music, you must study it. If you need sales, repairs, flutes, piccolos, recorders, new instruments, or used instruments, you can easily find a solution to your needs.

Music Stress, Melody and Harmony

Flute World sets standards in the industry and serves thousands of customers world-wide. The professionals at flute world can help you better understand concepts such as stress, melody, and pitch.


Stress gives music its rhythmic feel. There are plenty of slang terms used to describe the feel of music, but the experience is generally very hard to describe and very easy to understand. A 3/4 waltz from the Baroque era, for instance, will have a hard first beat and two less-emphasized beats in every measure. A piece of modern dance music, particularly electronic dance music, will usually have 4 beats in every measure and, most often, those beats will have the same stress, which lends to the music a stomping, driving feel.

In traditional usages, the first beat of a measure is stressed. In 2/4 time, for instance, the traditional method of playing the beat would be strong, weak/strong, weak.

In three quarters time, the beat would traditionally be strong, weak, weak/strong, weak, weak. Syncopation refers to obscuring the beat by emphasizing notes that are normally stressed less. Some music, such as gospel, creates a very energetic feel by emphasizing the second and fourth notes in a 4/4 measure rather than by emphasizing the first and third notes.


Melody and harmony are staple elements of Western music. A series of pitches that are arranged in a deliberate way to get a specific effect is called a melody. There are rules to melody and mathematical notation is used to varying degrees to describe it in more coherent terms when the language of aesthetics is insufficient to quantify a melody. Melodies, like sentences, have coherent structures, use modifiers to clarify statements, reiterate important themes and, on the whole, constitute a form of language that can express what words sometimes cannot.

Understanding Pitch

Pitch is the quality of sound that is described as being high or low. The pitch of any given note can be understood in both scientific terms and in subjective terms. The various notes of the scale are called degrees and are separated by whole or half-step intervals, which refers to the amount of change in pitch between one and the next. The pitch of a tone can also be described as its resonating frequency. The standard, concert A4 pitch, for example, is officially defined in most places as being exactly 440Hz.

Pitches are also relative, however. In practice, following a very low tone with a very high tone has the effect of making both sound more extreme. Most melodies stay within an octave or two and most of them try to avoid jarring shifts in pitch. When there are significant changes in pitch, the jarring nature of it is usually offset by the creative use of rhythmic devices. In some cases, pitch and rhythm can be used quite creatively. Cartoons, for instance, oftentimes use ascending pitches and the appropriate rhythms to create a soundscape for a character ascending stairs.

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Flute Repairs

Anyone who is in need of repairs, flutes, piccolos, recorders, new instruments, used instruments, new flutes, used flutes, new head joints, used head joints can always rely upon the most reliable services. With flute world, you are given access to one of the best repair departments managed by experienced, expert staff. Being flute players ourselves, they are able to repair a flute to the highest standards. With proper repairs, you can better practice all scales.

How Pitch is Divided

In Western music, there are 12 notes in the chromatic scale. These notes are grouped together in systems of scales and modes, which offer composers a palate from which to work. Each scale and each mode has its own particular flavor. Today, there are two scales that are in use more than any others: major and minor. Modes are antiquated, but the Dorian, Phrygian, Lydian and Mixolydian modes are still used, to some extent, with the Dorian and Phrygian modes being popular in some Spanish and Latin American music. Most often, however, you’ll only deal with major and minor, which correspond to the Ionian and Aeolian modes, respectively.

In the modal system, each mode is defined by the note on which it starts and its particular feel derives from the arrangement of whole and half-steps between the notes. The Ionian mode—or the C major scale—for instance, has a bright feel. The Dorian mode, which starts and ends on D, has a somewhat darker feel and sounds more exotic. Modes are not particularly important in modern music, though some contemporary musicians use them extensively, as they provide a rarified palate of tones. The modes are as follows.

  • Ionian (C Major): C, D, E, F, G, A, B
  • Dorian: D, E, F, G, A, B, C
  • Phrygian: E, F, G, A, B, C, D
  • Lydian: F, G, A, B, C, D, E
  • Mixolydian: G, A, B, C, D, E, F
  • Aeolian (A Minor): A, B, C, D, E, F, G
  • Locrian: B, C, D, E, F, G, A

The modes you need to most concern yourself with, however, are the Ionian and Aeolian modes, as they are the only two in common usage. There were other systems for naming the modes, but most of them have fallen by the wayside over the course of the years.

Major and Minor

For most people, major and minor modes are the equivalent of light and dark themes in music. This is not necessarily the case, and only using one or the other for such narrow purposes diminishes their flexibility. For your first melody, however, these definitions are adequate. If you want a lighter sounding melody, use the major scale; for a darker sound, use the minor scale. Use C Major or A minor, as neither requires sharps or flats.

The C Major scale is:

C, D, E, F, G, A, B,

The A Minor scale is:

A, B, C, D, E, F, G

When you’re writing, you can use a system of numbers to help you understand which pitches in which combinations will create particular effects. This system is very easy to use and understand. You start by assigning numbers to all of the notes in your scale, and they’re always assigned in the same way.

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Classical Performances

With flute world, they hold flute events around schools to educate students on selecting their new instruments, locally and nationally. There are different performance types and venues, each with different requirements.

The Formal Performance:

A famous classical guitarist once went on stage and sat down to begin his performance. Before he struck the first note, someone in the audience coughed. He stood up and informed the audience that, when they were ready to listen, he was ready to play. An exaggerated example of formality—and, perhaps, ego—to be sure, but formal performances require certain types of behavior on the part of the audience. There are some general rules that you have to follow at any classical or other formal music performance.

  • Always turn off cell phones
  • Never use any electronic device that produces light or sound
  • Do not speak during the performance

Most often, the musicians you see perform in formal settings will be accustomed to an audience that follows these rules of etiquette. Most musicians will not storm off the stage in the fashion of our offended guitarist, but they will become distracted by noise and a noisy, unappreciative crowd makes it impossible for them to perform up to their highest standards.

Formal music performances sometimes have dress requirements, as well. This is looser in some areas. For example, if you go to an opera in Europe or New York, you have to dress the part, in some cases. This means tuxes for men and gowns for ladies. If you go to an opera in Santa Fe, New Mexico, it’s fine to show up in jeans and it’s fine to tailgate before the performance. You have to know ahead of time what’s expected of you before the performance. Etiquette in performance settings is far more than a formality.

Classical musicians—and other fine arts players—invest a great deal of their lives into perfecting their renditions of very complex pieces. Following the rules of etiquette is a way that the audience shows respect for the musician and respect for what they do. Be sure that you take the time to show performers your appreciation by adhering to the conventions of the venue.

Important: In classical performances, there are traditionally long pauses between the movements of a symphony or the various parts of long form compositions. When it’s time for you to applaud, the conductor will turn to face the crowd. If the conductor doesn’t turn around, they’re still conducting and the ensemble is still playing. Stay quiet.

If you have to get up to use the restroom, do it quickly and don’t ask anyone to get out of your way. They’ll move to accommodate you if you just start walking through the aisle. Some performances do not allow people to come or go while they’re ongoing, so be sure to get refreshments, use the restroom and take care of all other needs before the first note is struck.

Informal Performances:

Informal performances are much looser in their requirements, but can be just as rich in their offerings. Be sure, however, that you do pay attention to what the musicians need from the audience. For example, if you have a friend giving an informal violin recital, make sure that you stay quiet while they’re playing and that you show some class after they’re done by giving them loud applause.

In most settings other than the most formal settings, the rules are very lax. Remember, however, that some informal performances are designed to be participatory and it’s considered poor etiquette to sit out during these elements. If you’re attending a performance by a gospel group, for instance, there may well be call-and-response passages that the audience is expected to participate in. This can be a lot of fun and, if you don’t participate, you haven’t really experienced the music at all.

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