Six minutes into the work, as its mood grows darker, angrier, more dissonant, a skirling piccolo introduces a scherzo section.
They found that the most feminine instrument was harp, followed by flute, piccolo and glockenspiel.
Transition to the fragment is achieved through the imitation of melodic gestures of piccolo by flute and soprano.
Its tone sounds high, bright and dramatic, like a cross between a piccolo and a whistle.
Yung's (1997) textbook shows females playing -ute, piccolo, oboe, clarinet and cello.
One pair chose a harp for snow-akes and high -ute and piccolo for dazzling whiteness.
Yet the ending does leave one satisfied: over soft sustained string chords the piccolo trumpet repeats its plaintive cry while the clocklike percussion cut remorselessly in.
Emerging from this confusion are the xylorimba, piccolo, flute, oboe and clarinet.
