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Flying: Piccolo
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You've selected:
Flying: Piccolo
Sheetmusic to print
16 sheet music found
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1
Icarus Also Flew: A Pairing with Beethoven's Symphony #5 - Piccolo
Icarus Also Flew: A Pairing with Beethoven's Symphony #5 - Piccolo
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Piccolo
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ADVANCED
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Benjamin Harry Sajo
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Icarus Also Flew: A Pairing wi
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Benjamin Sajo
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SheetMusicPlus
Instrumental Solo,Piccolo - Level 5 - Digital Download SKU: A0.1018873 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Individual part. 3 pag...
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Instrumental Solo,Piccolo - Level 5 - Digital Download SKU: A0.1018873 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Individual part. 3 pages. Benjamin Sajo #6056053. Published by Benjamin Sajo (A0.1018873). Programme Notes: Icarus Also Flew takes its title from the first line of the poem Failing and Flying by Jack Gilbert. He is referring to the classical myth of Daedalus and Icarus, an inventive father and son who bravely escape from their imprisonment in a tower by collecting the disposed feathers of seabirds, then fashion wings out of them and fly away. While the story is often treated as a morality tale--listen to your elders, don’t get cocky like the young man, Icarus, who, in such an understandable state of elation, ascended too close to the sun thus causing the wings to melt and his tumbling to his Mediterranean death--what Jack Gilbert reminds us is how regardless of one’s failure, the sheer transcendental experience of mortal flight remains glorious and unforgettable. Icarus’s fall was not into a legacy of disdain and oblivion, but in truth, he had come to the end of his triumph. This piece was the first of a series I composed during the Covid-19 quarantine conditions of 2020, to serve as potential contemporary preludes for each of Ludwig van Beethoven’s nine symphonies--his two hundred and fiftieth anniversary was this year!--though they can all stand on their own on any program. The connection, in this case, is with his celebrated fifth symphony in C minor--the Fate symphony, as it is commonly known. I’ll let the listener find their own connections.About the Composer:Benjamin Sajo (b. 1988) is a Canadian composer of contemporary classical music, as well as an educator. Since developing a fiercely independent creative voice upon the completion of his studies at Western (2010) and McGill Universities (2013), he continues to find inspiration from the intersection of mythology, art, and nature upon the contemporary human experience. In 2019, he released his premiere album of original music, The Great War Sextet: Canadian War Poetry with Trombone & Strings, with support from the Ontario Arts Council. He is a member of SOCAN and the League of Canadian Composers.
$3.50 ≈
3.27€
Christmas Eve 10PM for piccolo and chamber group
Christmas Eve 10PM for piccolo and chamber group
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Chamber Orchestra
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INTERMEDIATE/ADVANCED
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Nancy Shafer Rohar
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Christmas Eve 10PM for piccolo
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Nancy Shafer Rohar
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SheetMusicPlus
Chamber Orchestra - Level 4 - Digital Download SKU: A0.957971 Composed by Nancy Shafer Rohar. Christmas,Contemporary. Score and parts. 77 pages. Nancy Sh...
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.957971 Composed by Nancy Shafer Rohar. Christmas,Contemporary. Score and parts. 77 pages. Nancy Shafer Rohar #3860767. Published by Nancy Shafer Rohar (A0.957971). Piccolo is prominent in this piece that was inspired by the joy and anticipation felt by children on Christmas Eve. The piece tells the story of children that are trying to stay awake to watch for Santa, and they also can't sleep because it's getting close to Christmas morning. They start out full of energy and try to sneak down the stairs to peek at packages under the tree. They run back up to their rooms and look out the window just in time to see the snow start to fall. Just before they nod off they think they DO hear Santa on the roof, and they try again to keep their eyes open but they can't, and they drift off to sleep. In the final bars you can imagine them dreaming of Santa flying on to the next house, while they are snug and warm in their beds.
$10.00 ≈
9.36€
The Flying Trapeze (The
The Flying Trapeze (The
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Gaston Lyle
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Robert Whitehead
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The Flying Trapeze
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Gazebo Music
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SheetMusicPlus
Brass Ensemble Trumpet - Level 4 - Digital Download SKU: A0.944883 Composed by Gaston Lyle. Arranged by Robert Whitehead. Folk,Traditional. Score and par...
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Brass Ensemble Trumpet - Level 4 - Digital Download SKU: A0.944883 Composed by Gaston Lyle. Arranged by Robert Whitehead. Folk,Traditional. Score and parts. 11 pages. Gazebo Music #5778693. Published by Gazebo Music (A0.944883). Challenging arrangement for trumpet trio of an old American favorite (with piccolo trpt. part.).
$9.95 ≈
9.31€
The Blue Bird for piccolo and flute quintet
The Blue Bird for piccolo and flute quintet
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Flute
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EASY
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Classical
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Charles Villiers Stanford
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David Warin Solomons
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The Blue Bird for piccolo and
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David Warin Solomons
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SheetMusicPlus
Flute Solo - Level 2 - Digital Download SKU: A0.579927 Composed by Charles Villiers Stanford. Arranged by David Warin Solomons. Classical,Romantic Period...
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Flute Solo - Level 2 - Digital Download SKU: A0.579927 Composed by Charles Villiers Stanford. Arranged by David Warin Solomons. Classical,Romantic Period. Individual part. 7 pages. David Warin Solomons #3464593. Published by David Warin Solomons (A0.579927). Instrumental arrangement of Stanford's choral piece about seeing a blue bird flying across a lake.
$8.00 ≈
7.49€
Flying: Piccolo
Flying: Piccolo
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Piccolo
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Instructional
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Reynard Burns
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Flying: Piccolo
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Alfred Music. Digital Sheet Music
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SheetMusicPlus
By Reynard Burns. For Full Orchestra. Instructional. Part. 2 pages. Published by Alfred Music. Digital Sheet Music...
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By Reynard Burns. For Full Orchestra. Instructional. Part. 2 pages. Published by Alfred Music. Digital Sheet Music
$3.00 ≈
2.81€
Richard L. Saucedo: Journey of Man, part 2 (flying) - marching band (flute/piccolo)
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Flute (band part)
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INTERMEDIATE
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Film/TV
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Richard L. Saucedo
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Virtualsheetmusic
Instantly printable sheet music by Richard L. Saucedo for marching band (flute/piccolo) of MEDIUM skill level. / film/tv,movies
Instantly printable sheet music by Richard L. Saucedo for marching band (flute/piccolo) of MEDIUM skill level. / film/tv,movies
$10.99 ≈
10.28€
Colibri (Hummingbird)
Colibri (Hummingbird)
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Eugene Magalif
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Colibri
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Forton Music - Digital
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SheetMusicPlus
Fl/picc. 3fl. Afl. Bfl. - Intermediate-Advanced - Digital Download SKU: F2.FM377 Composed by Eugene Magalif. For Flute/Piccolo with Flute Ensemble Accomp...
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Fl/picc. 3fl. Afl. Bfl. - Intermediate-Advanced - Digital Download SKU: F2.FM377 Composed by Eugene Magalif. For Flute/Piccolo with Flute Ensemble Accompaniment. Score and Parts. 46 pages. Forton Music - Digital #FM377. Published by Forton Music - Digital (F2.FM377). ISBN 9790570482764.Solo Flute or Piccolo and Flute Ensemble (3 flutes, alto flute, bass flute) - Inspired by watching hummingbirds flying and drinking nectar on his balcony, this work has been arranged by the composer for a number of instrumental combinations. It has become a firm favorite among flautists, with numerous performances worldwide. A charming piece for the more advanced player.
$12.95 ≈
12.12€
Colibri (Hummingbird)
Colibri (Hummingbird)
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Eugene Magalif
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Colibri
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Forton Music - Digital
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SheetMusicPlus
Picc.pft - Intermediate - Digital Download SKU: F2.FM382 Composed by Eugene Magalif. Piccolo and Piano. Score and Parts. 19 pages. Forton Music - Digital...
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Picc.pft - Intermediate - Digital Download SKU: F2.FM382 Composed by Eugene Magalif. Piccolo and Piano. Score and Parts. 19 pages. Forton Music - Digital #FM382. Published by Forton Music - Digital (F2.FM382). ISBN 9790570482818.Piccolo and Piano - Inspired by watching hummingbirds flying and drinking nectar on his balcony, this work has been arranged by the composer for a number of instrumental combinations. It has become a firm favorite among flautists, with numerous performances worldwide. A charming piece for the more advanced player.
$9.95 ≈
9.31€
Walking In The Air
Walking In The Air
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Flute ensemble
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INTERMEDIATE
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Howard Blake
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James-Michael Sellers
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Walking In The Air
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JMS Composer
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SheetMusicPlus
Flute Choir,Woodwind Ensemble Alto Flute,Bass Flute,Piccolo - Level 3 - Digital Download SKU: A0.1309253 Composed by Howard Blake. Arranged by James-Mich...
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Flute Choir,Woodwind Ensemble Alto Flute,Bass Flute,Piccolo - Level 3 - Digital Download SKU: A0.1309253 Composed by Howard Blake. Arranged by James-Michael Sellers. Christmas,Holiday. 21 pages. JMS Composer #898434. Published by JMS Composer (A0.1309253). Written by Howard Blake for the 1982 animated film The Snowman, Walking in the Air is one of the most beloved seasonal themes. Musically relating the journey flying to the North Pole, the work contains many flowing countermelodies. This Flute Choir rendition, playable with or without Piccolo, will be a new favorite for your group in the Winter Holidays.
$12.99 ≈
12.15€
Liz Und Ein Blauer Vogel The First Movement "arifureta Hibi"
Liz Und Ein Blauer Vogel The First Movement "arifureta Hibi"
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Film/TV
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Akito Matsuda
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Ernesto F
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Liz Und Ein Blauer Vogel The F
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T&R Music
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SheetMusicPlus
Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Bass Clarinet,Bass Saxophone,Contra Alto Clarinet,Contrabassoon,E-Flat Clarinet,English Horn,Flute,Oboe,Picc...
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Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Bass Clarinet,Bass Saxophone,Contra Alto Clarinet,Contrabassoon,E-Flat Clarinet,English Horn,Flute,Oboe,Piccolo,Tenor Saxophone - Level 4 - Digital Download SKU: A0.1320238 Composed by Akito Matsuda. Arranged by Ernesto F. Herrera A. Film/TV. 111 pages. T&R Music #908749. Published by T&R Music (A0.1320238). The first out of four movement of the work Liz And The Blue Bird arranged for woodwind ensemble.Liz And The Blue Bird is a four-movement work based on a fictional German fairytale from a movie, both of the same name. Liz is the name of a lonely girl who sells bread at a bakery and socializes with the forest animals. After a big thunderstorm, she finds an unnamed blue-haired girl lying outside. She quickly takes her into her home and, the two become close friends. After a while, Liz started noticing the girl sneaking out at night and coming back before dawn. Liz noticed how the girl would look at the birds freely flying in the sky when they fed the animals. Liz becomes conflicted with her emotions but eventually decides to release her from the cage that is her home. Liz confronts the girl and tells her that she needs to be free and spread her wings. Although distraught by Liz's decision, the girl comes to respect it. The girl then transforms into a blue bird and flies away, spreading her wings.Instrumentation-C Piccolo Flute-C Flute 1&2-Oboe 1&2-F Alto Oboe (English Horn)-Bassoon 1&2-B flat Clarinet 1,2,3-E flat Tenor Clarinet (Alto Clarinet)-B flat Bass Clarinet-E flat Alto Saxophone 1&2-B flat Tenor Saxophone-E flat Baritone Saxophone-Contrabass Woodwind (Contrabassoon/Contrabass Clarinet/Bass Saxophone).
$35.00 ≈
32.75€
Symphony No. 6 "Pastorale" Mvt 3 for Flute Choir
Symphony No. 6 "Pastorale" Mvt 3 for Flute Choir
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Flute ensemble
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ADVANCED
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Classical
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Ludwig van Beethoven
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Adrian Dee
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Symphony No. 6 "Pastorale" Mvt
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Adrian Dee
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SheetMusicPlus
Flute Choir,Woodwind Ensemble Alto Flute,Bass Flute,Piccolo - Level 5 - Digital Download SKU: A0.817932 Composed by Ludwig van Beethoven. Arranged by Adr...
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Flute Choir,Woodwind Ensemble Alto Flute,Bass Flute,Piccolo - Level 5 - Digital Download SKU: A0.817932 Composed by Ludwig van Beethoven. Arranged by Adrian Dee. Romantic Period. 43 pages. Adrian Dee #3131217. Published by Adrian Dee (A0.817932). Many of us have visions of flying horses and satyrs frolicking in the meadows when we hear this piece, thanks to Disney's Fantasia. This is the scherzo movement, the country dance and festivities. It runs about 6 minutes. The movement ends abruptly in ms 264 and continues immediately to movement 4, the storm, without missing a beat. However, here I have taken the liberty to suggest an alternate ending in case you want to play this movement by itself. The other movements are also available. Arranged for Flute Choir: picc, 4-C, 2 alto, 2 bass, contra.
$10.95 ≈
10.25€
It Don't Mean A Thing (if It Ain't Got That Swing)
It Don't Mean A Thing (if It Ain't Got That Swing)
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Jazz
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Duke Ellington
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David Heywood
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It Don't Mean A Thing
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David Heywood
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SheetMusicPlus
Woodwind Ensemble Flute - Level 5 - Digital Download SKU: A0.910433 By Duke Ellington. By Duke Ellington and Irving Mills. Arranged by David Heywood. Jaz...
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Woodwind Ensemble Flute - Level 5 - Digital Download SKU: A0.910433 By Duke Ellington. By Duke Ellington and Irving Mills. Arranged by David Heywood. Jazz. 61 pages. David Heywood #6437245. Published by David Heywood (A0.910433). Looking for something different? How about some thing VERY different? Here is the 1931 Duke Ellington classic It Don't Mean a Thing (if It Ain't Got that Swing) done as a drum feature, with a very modern harmonic approach and aggressive melodic ideas. This fast swinging chart starts with energetic solo drum time, then the entire flute ensemble trades eights (as a soli based on motives from the melody) with the drums for two choruses before a brief statement of the melody. This is followed by open solos over the original changes, and an open drum solo. The chart then transitions to a half-time swing free-for-all with fragments of the melody flying in all directions, capped of by a brief return of the opening section. Not for the faint of heart, and definitely not the same old jazz flute choir experience! Scored for piccolo, five C flutes, alto and bass flutes, piano, bass, and drums, with optional guitar.
$19.99 ≈
18.70€
Wachet auf, ruft uns die Stimme (BWV 645) - All Parts
Wachet auf, ruft uns die Stimme (BWV 645) - All Parts
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Classical
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Johann Sebastian Bach
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David A
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Wachet auf, ruft uns die Stimm
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David A. Riethmiller
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SheetMusicPlus
Brass Ensemble Euphonium,Horn,Trombone,Trumpet - Level 2 - Digital Download SKU: A0.504500 Composed by Johann Sebastian Bach. Arranged by David A. Riethm...
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Brass Ensemble Euphonium,Horn,Trombone,Trumpet - Level 2 - Digital Download SKU: A0.504500 Composed by Johann Sebastian Bach. Arranged by David A. Riethmiller. Baroque,Classical,Praise & Worship,Sacred. Score and parts. 21 pages. David A. Riethmiller #116291. Published by David A. Riethmiller (A0.504500). This is the complete set of parts for a brass quintet arrangement of J.S. Bach’s chorale Wachet auf, ruft uns die Stimme. The chorale was a 3-voice prelude modeled on part of Bach's earlier cantata by the same name, first performed in November 1731. The cantata was in turn is based on the hymn Wake, Awake, for Night is Flying, written by the German Lutheran pastor, composer, and lyricist Philipp Nicolai in 1598, which is typically used during the end-of-year or Advent season. This arrangement is intended for a brass quintet of varying skill level; the Trumpet 1 part does not exceed a brief high G, but an optional Piccolo Trumpet is available. The three voices of the chorale are purposely divided among the five brass parts, to avoid fatigue in any one part. The bass part is taken by the Euphonium player, assumed to have a four-valve instrument accommodating several lower notes, but a Tuba may also be substituted, one octave below written.
$30.00 ≈
28.07€
Journey of Man - Part 2 (Flying) - Flute/Piccolo
Journey of Man - Part 2 (Flying) - Flute/Piccolo
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Flute (band part)
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Film/TV
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Benoit Jutras
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Richard L
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Journey of Man - Part 2
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Hal Leonard - Digital Sheet Music
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SheetMusicPlus
By Benoit Jutras. Arranged by Richard L. Saucedo. Marching band. For Flute/Piccolo. Film/TV. Individual instrument part. 1 pages. Published by Hal Leonard - Dig...
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By Benoit Jutras. Arranged by Richard L. Saucedo. Marching band. For Flute/Piccolo. Film/TV. Individual instrument part. 1 pages. Published by Hal Leonard - Digital Sheet Music
$6.00 ≈
5.61€
Concerto
Concerto
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Piano and Orchestra
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ADVANCED
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Contemporary
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Gyorgy Ligeti
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Concerto
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Schott Music - Digital
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SheetMusicPlus
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. D...
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. .
The markings of the movements are the following: .
1. Vivace molto ritmico e preciso .
2. Lento e deserto .
3. Vivace cantabile .
4. Allegro risoluto .
5. Presto luminoso.
The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. .
The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. .
In the Piano Concerto I realized new concepts of harmony and rhythm. .
The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. .
In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. .
The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. .
In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. .
Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). .
The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). .
Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. .
These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. .
The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). .
The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. .
Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. .
Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. .
This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. .
The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. .
I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. .
(Gyorgy Ligeti)
$23.99 ≈
22.45€
Flying Colors - Piccolo
Flying Colors - Piccolo
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Flute (band part)
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Robert Buckley
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Festival
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Flying Colors - Piccolo
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Hal Leonard - Digital Sheet Music
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SheetMusicPlus
Composed by Robert Buckley. Concert Band. Concert; Festival. Concert Band. 2 pages. Duration 3:10. Published by Hal Leonard - Digital Sheet Music ...
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Composed by Robert Buckley. Concert Band. Concert; Festival. Concert Band. 2 pages. Duration 3:10. Published by Hal Leonard - Digital Sheet Music
$6.00 ≈
5.61€
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Flying: Piccolo
