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Forrás

Journey for Marimba, Piano, & Percussion Ensemble. Marimba sheet music. Percussion sheet music. Piano sheet music. Timpani sheet music. Vibraphone sheet music. Xylophone sheet music.

Fordítás

Journey for Marimba, Piano, & Percussion Ensemble. Marimba kotta. Percussion kotta. Piano kotta. Timpani kotta. Vibraphone kotta. Xilofon kotta.

Forrás

Journey for Marimba, Piano, & Percussion Ensemble composed by Matthew Coley. Marimba Solo with Percussion Ensemble. For solo marimba, piano, & percussion ensemble. marimba low c, piano, marimba 4 oct, timpani, bells, crotales, xylophone, vibraphone, chimes, bass drum, 4 tom-toms, tambourine, vibraphone, 3 triangles, 4 woodblocks, snare drum, field drum, tam-tam, 2 sus. cymbals, hi-hat, bell tree, wind chimes. Level 4. Score and set of parts. Duration 10 minutes, 30 seconds. Published by Innovative Percussion. IP.E-MC-JOU. Composer's notes. Journey for Solo Marimba, Piano, and Percussion Ensemble. Journey for Marimba and Piano, 2005. was composed in 2004 with several ideas in mind. First, I wanted a work of which a competent marimba player could be featured with ensembles of varietal skill levels. The work was written so that an advanced high school group could perform it with sufficient preparation time, and all college and professional groups could easily prepare the ensemble parts. The instrumentation is such that most high school groups would be able to gather everything needed, and the technical concerns in the work keep in mind that a high school will have a wide range of skill level in their players, so through the ensemble parts there should be enough variety to meet this range. Due to the instrumentation being chosen for practicality and limitations to the technical level of the ensemble parts the piano was added not only because it always gives a great color to the percussion ensemble, but to support the ensemble with lower voicing and sustain. Secondly, I had come up with two chord progressions that I wanted to base this work on. The first being the progression heard in the first four measures, and the second being the one that is spread throughout the B section. Thirdly, I was looking to expound on these non-traditional chord progressions in a more traditional way. Thinking closely in terms of a standard tertiary form. ABA. with typical concerto features, the work begins with an ensemble tutti that is then joined by the soloist. This does not occur in the duo version. , there is a short cadenza that leads back to the A section, and then the work closes with a rousing CODA. Both the chordal and structural elements of the piece were also important pedagogically, and I tried to keep them clear throughout the work for that reason. Finally, I am continually searching to write marimba music that would be more akin to what would be written for the piano. I try to steer clear of the main impetus of the marimba writing, i. chordal and thematic material, being sprung from idiomatic combinations. That is not to say that some of those idiomatic vignettes didn-t make their way into the work, they are just combated with polyphonic and "pianistic" type material. Journey is challenging for the soloist, but can provide an exciting voyage for all involved. "This ten-minute work features a solo marimbist accompanied by a nine-member percussion ensemble. It is rhythmically and harmonically straight-forward and can be performance-ready in a limited time frame. The piece was designed to feature a guest artist accompanied by high school performers. The instrumentation includes five timpani, bells, crotales, xylophone, vibraphone, marimba, chimes, an array of battery. accessory instruments, and piano. Although mentioned in the title, the piano part serves more as accompaniment than as a soloist. "Journey" has an ABA-coda structure with two primary themes in the accompaniment that evolve through re-orchestrations and rhythmic augmentation and diminution. The A section has a driving feel at a tempo of quarter note 108 while the B section is lighter with keyboard ostinato patterns and long metallic sounds. After a final repeat of the A section, the piece has a flourishing coda and strong ending. The solo part is challenging from a stamina standpoint but is technically filled with different ostinato patterns that merely change chords with the ensemble. The color choices in the ensemble complement the soloist and carry the melodic content well. " - Brian Zator, Percussive Notes September 2010.

Fordítás

Journey for Marimba, Piano, & Percussion Ensemble composed by Matthew Coley. Marimba Solo Ütőegyüttes. For solo marimba, piano, & percussion ensemble. marimba low c, piano, marimba 4 oct, timpani, bells, crotales, xylophone, vibraphone, chimes, bass drum, 4 tom-toms, tambourine, vibraphone, 3 triangles, 4 woodblocks, snare drum, field drum, tam-tam, 2 sus. cymbals, hi-hat, bell tree, wind chimes. 4. szint. Pontszám és állítsa alkatrészek. Időtartam 10 perc, 30 másodperc. Megjelent az innovatív Percussion. IP.E-MC-JOU. Composer jegyzetei. Utazás Solo Marimba, zongora, és Ütőegyüttes. Utazás a Marimba és zongorára, 2005. állt 2004-ben több elképzeléseit szem előtt tartva. Először is, szerettem volna egy munka, amely az illetékes marimba játékos lehet, hogy szerepelt az együttesek a fajták képzettségi szint. A munka úgy van megírva, hogy egy fejlett középiskolai csoport is elvégezni, hogy megfelelő felkészülési idő, és az összes főiskolai és szakmai csoportok könnyen készíteni az együttes alkatrészek. A műszereket olyan, hogy a legtöbb középiskolás csoportok képesek lesznek összegyűjteni minden szükséges, és a technikai problémák a munkában ne feledje, hogy a középiskolában lesz egy széles képzettségi szint a játékosok, így a zenekar részeit kellene elég változatos, hogy megfeleljen a tartományban. Miatt a műszerek is választott praktikum és korlátozások a technikai szinten az együttes részek a zongora volt hozzá nem csak azért, mert mindig ad egy nagy színes a ütős együttes, hanem, hogy támogassa az együttest alacsonyabb hangot és fenntartani. Másodszor, jött ki két akkordok, hogy meg akartam alapozni ezt a munkát. Az első, hogy a progresszió hallotta az első négy intézkedés, és a második, hogy az egyik, hogy elterjedt az egész B rész. Harmadszor, kerestem kifejteni ezeket a nem hagyományos akkordokat a hagyományos módon. Gondolkodás szorosan a szabványos felsőfokú űrlap. ABA. tipikus concerto funkciók, a munka kezdődik zenekar tutti, amelyet aztán csatlakozott a szólista. Ez nem fordul elő a duó változat. , Van egy rövid kadencia vezet vissza az A részt, majd a munka zárul a lelkesítő CODA. Mind a akkordikus és szerkezeti elemek a darab is fontos pedagógiai, és megpróbáltam tartani őket tiszta az egész munkát ezért. Végül, én folyamatosan keresi írni, marimba zenét lenne rokon ami ki lesz írva a zongora. Megpróbálom elkerül a fő hajtóerő a marimba írás, i. akkordikus és tematikus anyag, hogy ívelt a nyelvi kombinációk. Ez nem jelenti azt, hogy néhány ilyen köznyelvi matrica didn-t, hogy az utat a munka, ők csak küzdeni a polifonikus és "pianistic" típusú anyag. Journey kihívást a szólista, de egy izgalmas utazás minden érintett számára. "This ten-minute work features a solo marimbist accompanied by a nine-member percussion ensemble. It is rhythmically and harmonically straight-forward and can be performance-ready in a limited time frame. The piece was designed to feature a guest artist accompanied by high school performers. The instrumentation includes five timpani, bells, crotales, xylophone, vibraphone, marimba, chimes, an array of battery. accessory instruments, and piano. Although mentioned in the title, the piano part serves more as accompaniment than as a soloist. "Journey" has an ABA-coda structure with two primary themes in the accompaniment that evolve through re-orchestrations and rhythmic augmentation and diminution. The A section has a driving feel at a tempo of quarter note 108 while the B section is lighter with keyboard ostinato patterns and long metallic sounds. After a final repeat of the A section, the piece has a flourishing coda and strong ending. The solo part is challenging from a stamina standpoint but is technically filled with different ostinato patterns that merely change chords with the ensemble. The color choices in the ensemble complement the soloist and carry the melodic content well. " - Brian Zator, Percussive Notes September 2010.