Sonata for Flute and Piano
Sonata for Flute and Piano
Flute and Piano
The Sonata for Flute and Piano was written in 1959, during the time Consuela Lee attended Northwestern University for her master's degree in composition and theory. It was written in the same year as Lee's Dance Suite for small orchestra, which was modeled after suites by Bach and Handel and formed the subject of her dissertation.
The Sonata packs a great deal into the four minutes of its single movement, and holds to aspects of the traditional sonata form-exposition, development, and recapitulation. An opening theme wanders between playful and quietly Romantic, climaxing before returning to the opening dynamic. A second, driving theme, with repeated notes and triplet flourishes, begins in the piano and migrates to the flute, then develops. The final third of the piece returns to the opening material, transformed by the second theme's ideas; after the final climax of the work, it ends in a quiet, contemplative restatement of the opening theme.
Lee's particular underlying harmonic progressions and back-and-forth chromatic movements in the Sonata are found throughout her works, and are based on bepop harmonic forms. She frequently uses fourths and fifths as passing tones in her melodies in addition to octave displacements of otherwise neighboring tones; both techniques are particularly common to composers of the mid-twentieth- century United States.
Authored (or revised): 1959
Duration (minutes): 4
Book format: Score + part
SKU
ACA-LEEC-001Couldn't load pickup availability
Description
Shipping and Returns
PDF Download Policy
The Sonata for Flute and Piano was written in 1959, during the time Consuela Lee attended Northwestern University for her master's degree in composition and theory. It was written in the same year as Lee's Dance Suite for small orchestra, which was modeled after suites by Bach and Handel and formed the subject of her dissertation.
The Sonata packs a great deal into the four minutes of its single movement, and holds to aspects of the traditional sonata form-exposition, development, and recapitulation. An opening theme wanders between playful and quietly Romantic, climaxing before returning to the opening dynamic. A second, driving theme, with repeated notes and triplet flourishes, begins in the piano and migrates to the flute, then develops. The final third of the piece returns to the opening material, transformed by the second theme's ideas; after the final climax of the work, it ends in a quiet, contemplative restatement of the opening theme.
Lee's particular underlying harmonic progressions and back-and-forth chromatic movements in the Sonata are found throughout her works, and are based on bepop harmonic forms. She frequently uses fourths and fifths as passing tones in her melodies in addition to octave displacements of otherwise neighboring tones; both techniques are particularly common to composers of the mid-twentieth- century United States.
Shipping
We ship world-wide using US International Postal Mail - Priority, First Class International Mail, or UPS Global. In the US, we usually use US Priority Mail or Media Mail or UPS Ground services.
Return Policy
Orders received damaged will be replaced immediately at no additional charge. Refunds requested will be issued back to the original payment
method.Â
PDF files are not refundable and are considered permanent loan rentals licensed to the customer who purchased.
Purchasing any digital PDFs from American Composers Alliance grants you an unlimited license for your personal use only. ACA grants permission for you to duplicate the score and files as needed for performance.
Any other use of the PDF files may require additional permission from ACA. Purchase and download of PDFs does not automatically include performing and recording rights.
PDF files are not refundable and are considered permanent loan rentals licensed to the customer who purchased.