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Ancient Airs (2004)
Klassische Musik/Musikstück • 2005
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For solo soprano saxophone
Titel nach Uploader: Carson Cooman: Ancient Airs (2004) for solo soprano saxophone
Instrumentierung |
Sopransaxophone |
Partitur für |
Solo |
Art der Partitur |
Für einen Interpreten |
Satz, Nr. |
1 bis 2 von 2 |
Verleger |
Musik Fabrik |
Schwierigkeitsgrad |
Fortgeschritten |
Länge |
8'0 |
Ancient Airs (2004) for solo soprano saxophone was written for and is dedicated to saxophonist Paul Wehage. It is in two movements, each with a spirit of "ancient airs" re-imagined in a modern context. The ancestry of most woodwind instruments as folk instruments is the inspiration for the work's concept. The piece should always be played with a lyrical, singing approach.
Beyond the Mountain uses as its basic musical material a simple transformation of a modal melody in D minor. Gradually tones are added borrowed from other modalities. The opening section is slow and lyrical. The middle section is more
active -- contrasting the D minor chord tones with the added diminished tones of the first section. The final section recalls the material of the opening with a wider transformation.
Forgotten Incantation uses a wider modal language than the first movement.
Although still generally slow and song-like, it is more energetic. Energetic gesturesinterrupt and drive the song narrative forwards.
For solo flute
Titel nach Uploader: Carson Cooman: Ancient Airs (2004) for solo flute
Instrumentierung |
Flöte |
Partitur für |
Solo |
Art der Partitur |
Für einen Interpreten |
Satz, Nr. |
1 bis 2 von 2 |
Verleger |
Musik Fabrik |
Schwierigkeitsgrad |
Fortgeschritten |
Länge |
8'0 |
Ancient Airs (2004) for solo flute was written for and is dedicated to flutist Sandra Ragusa. It is in two movements, each with a spirit of "ancient airs" re-imagined in a modern context. The ancestry of the modern flute as a folk instrument is the inspiration for the work's concept. They should always be played with a lyrical, singing approach.
Beyond the Mountain uses as its basic musical material a simple transformation of a modal melody in D minor. Gradually tones are added borrowed from other modalities. The opening section is slow and lyrical. The middle section is more active -- contrasting the D minor chord tones with the added diminished tones of the first section. The final section recalls the material of the opening with a wider transformation.
Forgotten Incantation uses a wider modal language than the first movement. Although still generally slow and song-like, it is more energetic. Energetic gestures interrupt and drive the song narrative forwards.
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