Richard Felciano: Masking Techniques in Music Composition

While the discussion of masking is not quite finished (Pierce), enough is known about the conditions necessary to produce it to allow the composer (at least, this composer) to attempt to use masking as a component of his musical language. Flute and trumpet would seem to be instruments the sounds of which can be easily separated and distinguished. Yet, through careful intervallic and range positioning, careful selection of mutes, eliminating vibrato, etc., the two instruments move along a trajectory which ranges from complete separation of the two sounds through passages where one cannot tell which instrument is playing which note, to others where complete masking occurs, one instrument "covering" the other. A partial of the trumpet mute is literally excised and played as a separate melody after the trumpet stops playing (!)