Synchronisms No. 1 Cover Image

Synchronisms No. 1: Flute Book

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Synchronisms No. 1 Cover Image

Synchronisms No. 1: Flute Book

By Mario Davidovsky

Item: 98-MGM2050

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Additional Details
Series: McGinnis & Marx
Publisher: Edition Peters
Page Count: 6
ISBN10: 0-300-76342-5
ISBN13: 979-0-300-76342-2
SKU: 98-MGM2050

More about this title

About the Composer: Mario Davidovsky

Mario Davidovsky is an Argentine-American composer whose career has centered on the intersection of acoustic instruments and electronic music. His Synchronisms series, begun in the 1960s, represents a major contribution to the repertoire for soloists working with tape or electronic accompaniment, establishing new possibilities for concert performance and studio collaboration.

Why we love this

Davidovsky writes with genuine understanding of what the flute can express in isolation, yet the addition of electronic elements transforms the instrument into something that feels both contemporary and deeply expressive. This piece introduces students to a major twentieth-century compositional voice without requiring extensive preparation of difficult technical passages.

What to expect

The piece sits at the crossroads of the acoustic and the electronic, with the flute's warmth playing against processed sounds that feel both familiar and otherworldly. Moments of crystalline clarity give way to passages where the soloist floats within layers of texture, creating a sense of intimate dialogue with an unseen partner.

Who it's for

Intermediate to advanced flute students seeking exposure to twentieth-century concert music and electronic collaboration. Teachers can use this to expand students beyond traditional repertoire while building confidence in unconventional performance contexts.

How to get the most out of it

  • Balance against the electronic track requires careful microphone placement; position the flute slightly closer than you would for chamber music to ensure clarity without overwhelming the tape part.
  • Study the tape part independently first to understand the harmonic and textural context; this prevents the soloist from playing in isolation and helps shape phrasing decisions.
  • Treat rhythmic coordination with the recorded accompaniment as you would ensemble work. Mark cues in your part well in advance and mentally conduct through passages where visual connection isn't possible.
  • The flute's tone quality becomes especially important when paired with electronic sounds. Experiment with different registers and vibrato choices to find what cuts through without sounding aggressive.

How to use it

Feature this in a contemporary music recital or a showcase dedicated to the history of electronic and instrumental collaboration. It pairs well alongside other mid-twentieth-century flute works to demonstrate how composers of that era were expanding the instrument's expressive range.

Skills your students will build

  • Coordinating with recorded accompaniment without losing musical independence
  • Navigating twentieth-century harmonic language and phrasing
  • Adapting tone quality and articulation to blend with electronic textures
  • Managing performance anxiety in unconventional performance scenarios

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