| Movements/SectionsMov'ts/Sec's | 3 |
|---|---|
| Composition Year | 2012 |
| Genre Categories | Pieces; For flute, clarinet, bassoon; Scores featuring the flute; |
Complete score (concert pitch)
*#258313 - 0.17MB, 10 pp. - (-) - !N/!N/!N - 2519×⇩ - Dudalarson
PDF typeset by composer
Dudalarson (2012/11/12)
Flute Part
*#400061 - 0.08MB, 5 pp. - (-) - !N/!N/!N - 364×⇩ - Dudalarson
PDF typeset by composer
Dudalarson (2015/11/18)
Clarinet part (B♭)
*#400062 - 0.07MB, 5 pp. - (-) - !N/!N/!N - 420×⇩ - Dudalarson
PDF typeset by composer
Dudalarson (2015/11/18)
Bassoon part
*#400063 - 0.08MB, 5 pp. - (-) - !N/!N/!N - 315×⇩ - Dudalarson
PDF typeset by composer
Dudalarson (2015/11/18)
|  |
| Work Title | Nordestinas |
|---|---|
| Alternative. Title | |
| Composer | Larson, Eduardo |
| I-Catalogue NumberI-Cat. No. | IEL 2 |
| Movements/SectionsMov'ts/Sec's | 3 |
| Year/Date of CompositionY/D of Comp. | 2012 |
| First Publication. | 2012 |
| Average DurationAvg. Duration | 5 minutes |
| Composer Time PeriodComp. Period | Modern |
| Piece Style | Modern |
| Instrumentation | flute, clarinet, bassoon |
“Nordestinas” is a piece for woodwind trio in three movements based on traditional musical and dance forms from Brazil’s northeast region. In addition to the use of idiosyncratic rhythmic patterns, this composition is freely built upon a scale that merges the Mixolydian with augmented forth and the Dorian modes, the most common configurations for major and minor tonalities in that cultural context. The first movement stands for a musical genre that is often performed as a “call and response” singing with a repetitive musical beat and a modal accompaniment. "Côco" (coconut) is a Brazilian slang for “head” and this type of music has this name because the lyrics are normally improvised. The second movement “Toada” stands for a broader musical form generally more melodic and with fixed lyrics. It is often used to narrate sad stories about the hard life of the cowboys in the "sertão" (the semi-arid backlands in Northeastern Brazil). The last movement refers to “Maracatu”. Despite its various manifestations, it can be broadly defined as a vibrant dance or performance genre with an afro-indigenous origin and distinctive musical rhythms.
