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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
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BASSON
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BOUZOUKI
CHORALE - CHAN…
CITHARE
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The Musical Box
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96
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27
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19
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19
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12
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12
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5
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2
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1
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9
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65
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41
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40
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33
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31
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25
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22
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22
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21
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11
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11
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11
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11
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11
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11
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11
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10
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9
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7
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21
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11
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10
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--INSTRUMENTS--
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Vous avez sélectionné:
The Musical Box
Flûte traversière et Piano
Partitions à imprimer
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The Musical Box
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Flûte traversière et Piano
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INTERMÉDIAIRE/AVANCÉ
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Behr, Franz
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Nick Lacanski
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The Musical Box
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theupperstaff
#
SheetMusicPlus
Flute,Piano - Level 4 - SKU: A0.650833 Composed by Behr, Franz. Arranged by Nick Lacanski. Instructional,Romantic Period,Standards. Score and part. 13 p...
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Flute,Piano - Level 4 - SKU: A0.650833 Composed by Behr, Franz. Arranged by Nick Lacanski. Instructional,Romantic Period,Standards. Score and part. 13 pages. Theupperstaff #6713419. Published by theupperstaff (A0.650833).
$4.99
Friction
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Flûte traversière et Piano
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AVANCÉ
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Contemporain
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Panayiotis Kokoras
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Friction
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Panayiotis Kokoras
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SheetMusicPlus
Small Ensemble Cello,Clarinet,Flute,Piano - Level 5 - SKU: A0.1002844 Composed by Panayiotis Kokoras. Contemporary. Score and parts. With Moreover, elec...
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Small Ensemble Cello,Clarinet,Flute,Piano - Level 5 - 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 Academie’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 work’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
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