Flutist Thomas Nyfenger
The piece began with a compound duple feel due to the bass rhythm of quarter with thirty seconds leaning into the next beat. The soprano line is similar with ascending and descending scales inbetween the interval leaps. The bass line, in addition to emphasizing one and two with thirty seconds, applies heavy metric accents. The two parts together creating a stepping-down feeling. The flute has a cadenza ending with a PAC into a section with less chromaticism, and soft triplets in the bass. The creates a more soothing feel, with less leaps in the soprano and more half and whole steps. The phrase ends in an IAC. The next phrase ends with a direct modulation to the dominant, maybe an elision. The cadences were less clear to me in this piece, they seemed not much different. The next section begins the same way, to emphasize the sudden change in the base to a faster tempo, with several fast scalar patterns in the flute. The phrase ends with a complete change in style to an even faster, up beat tempo, reflected in the bass part especially with staccato sixteenths with many leaping intervals. Meanwhile, the flute has several grace notes, and the bass and soprano enter together back into a swing-like compound duple feel. This theme sort of switches off with a more melodic theme. The entire piece ends with a accelerando in both parts and a sol-do at the end. I didn't spend that much time on this piece because all in all, it was more bland. The cadences seemed rushed and unclear, and although the piano part fit with the flutes, it didn't highlight anything. I got no feelings of great emotion in this piece, although it did establish a lite pulse. Anytime there were fast parts it just felt like a lot of scales. The melody was pleasent, but monotonous after awhile. There were not very many dynamic contrasts either. The whole piece just seemed the same. Too many parallel periods.