Noten $24.00

Im Original

Trio for Flute, Marimba, & Piano. Flute sheet music. Marimba sheet music. Intermediate.

Übersetzung

Trio for Flute, Marimba, & Piano. Flöte Noten. Marimba Noten. Zwischen-.

Im Original

Trio for Flute, Marimba, & Piano composed by Jason DeCristofaro. Chamber Ensemble. For Flute, Marimba & Piano. flute, marimba. 4.5-octave. piano. Medium. Score and parts. Duration 5. 50. Published by C. Alan Publications. CN.17090. Elements of minimalism and impressionism create a colorful palette that evoke primitive textures in a modern chamber setting. The melodies are very simple, reminiscent of folk melodies, but it is through the use of quartal-quintal harmony, chordal extensions, counterpoint, and sharp contrasts in dissonance and consonance that transform the otherwise repetitive figures into organic sounding lines where all three instruments are engaging in what sounds like a spontaneous, improvised dialogue. This trio was written based around a pentatonic ostinato centered on B. As I wrote the piece, I incorporated elements of minimalism and impressionism to create a colorful palette that would evoke primitive textures in a modern chamber setting. The melodies are very simple, reminiscent of folk melodies, but it is through the use of quartal-quintal harmony, chordal extensions, counterpoint, and sharp contrasts in dissonance and consonance that transform the otherwise repetitive figures into organic sounding lines where are all three instruments are engaging in what sounds like a spontaneous, improvised dialogue.

Übersetzung

Trio for Flute, Marimba, & Piano composed by Jason DeCristofaro. Kammerensemble. For Flute, Marimba & Piano. Flöte, Marimba. 4,5-Oktaven-. Plan. Medium. Partitur und Stimmen. Dauer 5. 50. Veröffentlicht von C. Alan Veröffentlichungen. CN.17090. Elements of minimalism and impressionism create a colorful palette that evoke primitive textures in a modern chamber setting. The melodies are very simple, reminiscent of folk melodies, but it is through the use of quartal-quintal harmony, chordal extensions, counterpoint, and sharp contrasts in dissonance and consonance that transform the otherwise repetitive figures into organic sounding lines where all three instruments are engaging in what sounds like a spontaneous, improvised dialogue. This trio was written based around a pentatonic ostinato centered on B. As I wrote the piece, I incorporated elements of minimalism and impressionism to create a colorful palette that would evoke primitive textures in a modern chamber setting. The melodies are very simple, reminiscent of folk melodies, but it is through the use of quartal-quintal harmony, chordal extensions, counterpoint, and sharp contrasts in dissonance and consonance that transform the otherwise repetitive figures into organic sounding lines where are all three instruments are engaging in what sounds like a spontaneous, improvised dialogue.