Download Digital Sheet Music of Summer's End for Flute and Piano

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Summer's End
Not classified 12

Piano & keyboards
Piano solo 7
Piano Quartet: piano, violin, viola, cello 1
Piano, Voice 1

Guitars
Guitar 2

Voice
Choral SATB 3
Choral 3-part 1
Choral TTBB 1
High voice 1

Woodwind
Flute and Piano 2

Woodwind Quintet: flute, oboe, bassoon, clarinet, horn 2
Saxophone Quartet: 4 saxophones 1
Flute, Oboe, Clarinet, Bassoon 1
Clarinet Quartet: 4 clarinets 1

Woodbrass
Brass Quintet: 2 trumpets, horn, trombone, tuba 2
Trombone and Piano 1
Bass Trombone and Piano 1

Strings
String Quartet: 2 violins, viola, cello 2
Harp, Flute (duet) 1
Violin 1

Percussion & orchestra
String Orchestra 6
Orchestra 5
Brass ensemble 2
Chamber Orchestra 1
Jazz Ensemble 1

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Summer's End

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Flute and Piano

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2 sheet music found

Breeze for Flute and Piano (2023)

Breeze for Flute and Piano (2023) #Flute and Piano #ADVANCED #Iva Ugrcic, flute and Satoko H #Breeze for Flute and Piano #Mary Ellen Haupert #SheetMusicPlus

Flute,Piano - Level 5 - Digital Download SKU: A0.1316351 By Iva Ugrcic, flute and Satoko Hayami, piano. By Mary Ellen Haupert (b. 1960). 21st Century,Cha...(+)

Flute,Piano - Level 5 - Digital Download SKU: A0.1316351 By Iva Ugrcic, flute and Satoko Hayami, piano. By Mary Ellen Haupert (b. 1960). 21st Century,Chamber,Classical. Score and part. 8 pages. Mary Ellen Haupert #905092. Published by Mary Ellen Haupert (A0.1316351). â€œBreezeâ€ for Flute and Piano (2023) by Mary Ellen Haupert (b.1960)â€œBreezeâ€ was written for flutist Iva UgrÄiÄ‡ and pianist Satoko Hayami for the Out of Our Minds Chamber Music performance of music by women composers on November 4, 2023.Â The work was inspired by the sounds of lapping water, loon calls, and wind carried off the shores of Minnesotaâ€™s Lake Pokegama, where our family has a summer cabin. Loons are social migratory birds that communicate with each other via wails (calls to one another), tremolos (warnings to others about impending danger), yodels (territorial demonstrations), and coo-ing (quiet contentment). The opening of â€œBreezeâ€ is a yodel in D Major that dissolves into a lapping piano accompaniment â€“ the backdrop for a measured loon soliloquy. The piano restates the loon tune with the flute echoing in canon.The loon echoes dissipate in an undulating transition to a B section featuring the traditional Irish tune, St. Columba, first published by George Petrie in 1855. The tune is presented in D Mixolydian over a repeated bass line that is meant to evoke the rhythmic paddling of a canoe. As the tune ends, the â€œloonsâ€ pick up their own improvisation over the bass line, again in canon. There are only slight alterations in the closing section, casting â€œBreezeâ€ in a balanced ABAâ€™ form.

$10.00 ≈ 9.24€

Friction

Friction #Flute and Piano #ADVANCED #Contemporary #Panayiotis Kokoras #Friction #Panayiotis Kokoras #SheetMusicPlus

Small Ensemble Cello,Clarinet,Flute,Piano - Level 5 - Digital Download SKU: A0.1002844 Composed by Panayiotis Kokoras. Contemporary. Score and parts. Wit...(+)

Small Ensemble Cello,Clarinet,Flute,Piano - Level 5 - Digital Download SKU: A0.1002844 Composed by Panayiotis Kokoras. Contemporary. Score and parts. With Moreover, electroacoustic techniques are modeled using acoustic instrumental means. To achieve that I make use conventional musical instruments, utilizing extended performance techniques (which I could call timbral techniques). As well, instruments couple. 37 pages. Panayiotis Kokoras #431113. Published by Panayiotis Kokoras (A0.1002844). Friction was composed at the beginning for the 8th International Academy for New Composition and Audio Art Avantgarde Schwaz 2000 (Tirol/ Austria), during the Summer 2000. The initial line up adjusted to the Academieâ€™s ensemble in residence Het trio (Flute, Bass Clarinet, Piano) plus Alto Saxophone. Almost One year later I revised the piece and slightly changed the instrumentation, using Violoncello instead of Alto Sax. That gave to the piece more timbral variety with better balance as well as expressed better the workâ€™s musical idea. The starting point of the work is the characteristics of Friction a real world sounding event, which then is abstracted and applied to form the idea for the compositional process. The work has three main sections. The first section is quite homophonic and harmonic; the middle one is inharmonic and energetic and works as crossfade to the last section, which is characterized as a more linear with repeated patterns. The transformation from one section to another is the most important and long part of the composition. It is a kind of transformation of the sound itself, a timbral exploration of the characteristics of the initial idea. Moreover, electroacoustic techniques are modeled using acoustic instrumental means. To achieve that I make use conventional musical instruments, utilizing extended performance techniques (which I could call timbral techniques). As well, instruments coupled with the use of unconventional objects treated as musical instruments or extensions of them (boxes, plastic or metal cards etc). That allows a better development, control and transformation of the sound. Friction was awarded the Second Prize at The Second Seoul International Competition for Composers in Seoul/ Korea and was Finalist at The Ensemble Eleven Young Composers Competition 2002 in Manchester/ United Kingdom. - Panayiotis Kokoras, York 2001-.

$20.00 ≈ 18.48€