Carter writes in a personal musical language. His second etude for winds consists of a rapid passage that is played over and over by each of the four winds. However, each starts on a different note, leading to dissonant combinations; and the voices are out-of-phase, leading to weak rhetorical reinforcement.

Silence does not play a role. The flute begins alone, establishing an expository statement. Each instrumental part consists only of literal repetition–so these three choices are less accurate.

All are true.