20517951
Mot pour Laura
20517951
20517951
20517951
Copyright Material for Preview Only - Sheet Music Plus
Chamber Music 2 flutes
SKU: PR.FH0162
Composed by Sergio Roberto de Oliveira. This edition: saddle-wire stitch. Sws. Performance Score. With Standard notation. 24 pages. Falls House Press #FH0162. Published by Falls House Press (PR.FH0162).
ISBN 9781491104392. UPC: 680160558889. 9 x 12 inches.
The principal idea for the piece is a mirrored form, the title, the individual movements and even the piece as a whole. The first movement presents three blocks of notes, which are also mirrored, producing 6. Each one of these groups has its notes mirrored internally, and there is a large-scale mirror in the movement as a whole with respect to the intervals between the flutes. The second movement (Mot) is a song which pays homage, at the center of the piece, to the flutist Laura Ronai. At the same time, if one remembers the mirror, the song also is called Tom, paying homage thus to the flutist Tom Moore. The third movement uses a rather penetrating rhythmic schema. Although it is not mirrored internally, it continues the large mirror which runs through the entire piece.
Chamber Music 2 flutes
SKU: PR.FH0162
Composed by Sergio Roberto de Oliveira. This edition: saddle-wire stitch. Sws. Performance Score. With Standard notation. 24 pages. Falls House Press #FH0162. Published by Falls House Press (PR.FH0162).
ISBN 9781491104392. UPC: 680160558889. 9 x 12 inches.
The principal idea for the piece is a mirrored form, the title, the individual movements and even the piece as a whole. The first movement presents three blocks of notes, which are also mirrored, producing 6. Each one of these groups has its notes mirrored internally, and there is a large-scale mirror in the movement as a whole with respect to the intervals between the flutes. The second movement (Mot) is a song which pays homage, at the center of the piece, to the flutist Laura Ronai. At the same time, if one remembers the mirror, the song also is called Tom, paying homage thus to the flutist Tom Moore. The third movement uses a rather penetrating rhythmic schema. Although it is not mirrored internally, it continues the large mirror which runs through the entire piece.
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