SKU: A0.1117351

A modern piece for Alto Flute and piano. A mixture of swing and straight playing. A jazzy number in an up-to-date style.

SKU: F2.FM617

ISBN 9790570485161.

Abigail's Jig, op. 10 no. 2a, This lively piece for flute and piano was composed in 1980 to celebrate the birth of Abby, the composer's daughter. The piece attempts to capture the atmosphere of an Irish jig as played by a piper, with a harmonically straightforward piano part, which uses a mixture of 'vamping' and melodic imitation of the flute part. The introduction is intended to be humorous and rather musically misleading, openly parodying the 'cowboy' music of Aaron Copland. Modal harmony helps to create the mood of pseudo-folk music. Cantilena, Op. 11b, Cantilena tries to capture a popular flavour, borrowing freely from pop and jazz styles: primary and secondary chords are used in arpeggiated piano figures, as mainstream ballads might do; pedal notes are a feature, especially on the tonic note; and a 'bluesy' style emerges in the third main theme. A pseudo-rock style is twice used in the climax section, which acts as a song-like chorus. Cantilena is in the key of D major overall, but even the introduction uses 'wrong note' harmony (notably flattened sevenths) to produce ambiguous tonality. The piece demonstrates a range of tone colour for the flute across a wide melodic range. Written originally for alto sax in 1987, the piece was arranged for flute in 1994. Five Short Pieces, Op. 9a, This set of movements for flute and piano was originally arranged in 1985, and revised in 2008. The five pieces are elaborate transcriptions of To One, five songs to poems by Christina Rees, which convey the countless moods associated with a relationship.

SKU: A0.1031877

Sonata No.1 for Flute and Piano - General Piano Score.
Contents: 1. Allegro giocoso; 2. Andante; 3. Allegro con brio.
Duration: Approx. 6 minutes.

The Flute Sonata No.1 is the first of 5 pieces for Flute and Piano written by Alejandro Diaz, colombian contemporary composer. The musical language used in this piece is a mixture of classical and contemporary harmony. The piece counts with the classical sonata form, composed in 3 movements, each one with its own random cadenza. The piece has been written in 2015, under the influence of Hindemith compositive language and from his Sonata for Flute and Piano.

This sonata represents 2 kids playing around on a hill. Both characters must be performed with energy and in a playful way. For more details, the complete Piano Score has information you would like to know about the composer and his suggestions of how you must play this piece.

The composer recommends to play this sonata with a fluent flute and piano technique, because it is considered as a high-level piece. If you want to record and upload a video or MP3 to any social and musical media, please consider to contact the composer for any legal or copyright questions and requests. Any shared publication or copy of this material can be consider as a crime, and it could have legal consequences.

To contact the composer, do not hesitate to write an e-mail to: diaz.alejo12@gmail.com
Facebook: adgiraldo1

SKU: A0.960822

Great for an advanced student recital, both in flute or in piano. A beautiful and melodic dialogue between the flute and piano in three movements. Each movement has a different challenge to it for the player. For a midi recording -1 to practice with, please contact the composer AyalaAsherov@mac.com.

SKU: A0.1316351

“Breeze� for Flute and Piano (2023) by Mary Ellen Haupert (b.1960)

“Breeze� was written for flutist Iva Ugr�ić and pianist Satoko Hayami for the Out of Our Minds Chamber Music performance of music by women composers on November 4, 2023. 

The work was inspired by the sounds of lapping water, loon calls, and wind carried off the shores of Minnesota’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 “Breeze� is a yodel in D Major that dissolves into a lapping piano accompaniment – 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 “loons� pick up their own improvisation over the bass line, again in canon. There are only slight alterations in the closing section, casting “Breeze� in a balanced ABA’ form.

SKU: A0.1316354

“Breeze� for Flute and Piano (2023) by Mary Ellen Haupert (b.1960)

“Breeze� was written for flutist Iva Ugr�ić and pianist Satoko Hayami for the Out of Our Minds Chamber Music performance of music by women composers on November 4, 2023. 

The work was inspired by the sounds of lapping water, loon calls, and wind carried off the shores of Minnesota’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 “Breeze� is a yodel in D Major that dissolves into a lapping piano accompaniment – 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 “loons� pick up their own improvisation over the bass line, again in canon. There are only slight alterations in the closing section, casting “Breeze� in a balanced ABA’ form.