Balance--Timbre (flue solo)
If timbre is to be the main means of contrast, some contrast can still be achieved by staying within the realm of flue stops. Contrast increases when pitches are added, but when using only flues for both solo and accompaniment, and if their volume is similar, the solo should usually contain the highest pitch. A few possible combinations follow, in order from little to moderate contrast in timbre:
Solos drawn from octave-sounding stops only:
- 8' solo flute, 8' stopped flute accompaniment
- 8' string or hybrid solo, 8' flute accompaniment
- 8' principal solo, 8' flue accompaniment (Example 1)
- 8' & 4' flutes solo, 8' flute accompaniment
- 8' & 2' flutes solo, 8' & 4' flute accompaniment (Example 2)
Solos that include mutations:
- 8' & 2 2/3' flute solo, 8' flute accompaniment
- 8' 4' 2 2/3' flute solo, 8' 4' flute accompaniment (Example 3)
- 8' 2 2/3' 1 3/5' solo, 8' 4' accompaniment (Example 4)
- 8' 4' 1 1/3' solo, 8' 4' 2' accompaniment
- Cornet solo, 8' 4' principal/flute accompaniment (Example 5)