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Originale

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

Traduzione

Journey for Marimba, Piano, & Percussion Ensemble. Foglio di marimba musica. Foglio di musica Percussion. Spartiti pianoforte. Timpani spartiti. Vibrafono spartiti. Foglio di xilofono musica.

Originale

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.

Traduzione

Journey for Marimba, Piano, & Percussion Ensemble composed by Matthew Coley. Marimba Solo con 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. Livello 4. Punteggio e set di parti. Durata 10 minuti, 30 secondi. Pubblicato da Innovative Percussion. IP.E-MC-JOU. Note del compositore. Journey for Solo Marimba, pianoforte, e Percussion Ensemble. Viaggio per Marimba e Pianoforte 2005. fu composta nel 2004 con diverse idee in mente. In primo luogo, volevo un lavoro di cui un giocatore marimba competente può essere descritto con ensemble di livelli di abilità varietali. Il lavoro è stato scritto in modo che un gruppo di liceo avanzata potrebbe eseguire con il tempo di preparazione sufficiente, e tutti i gruppi universitari e professionali potrebbe facilmente preparare le parti orchestrali. La strumentazione è tale che la maggior parte dei gruppi delle scuole superiori sarebbero in grado di raccogliere tutto il necessario, e le preoccupazioni tecnici nel lavoro di tenere a mente che un liceo avrà una vasta gamma di livello di abilità nei loro giocatori, quindi attraverso le parti orchestrali non ci dovrebbero essere sufficiente varietà per soddisfare questa gamma. Grazie alla strumentazione di essere scelto per praticità e limitazioni al livello tecnico delle parti orchestrali del pianoforte è stato aggiunto, non solo perché dà sempre un grande colore alla ensemble di percussioni, ma per sostenere l'ensemble con una minore voicing e sostenere. In secondo luogo, ero venuto con due progressioni di accordi che ho voluto basare questo lavoro su. Il primo è la progressione sentito nei primi quattro misure, e la seconda è quella che si sviluppa per tutta la sezione B. In terzo luogo, stavo cercando di esporre su queste progressioni di accordi non tradizionali in un modo più tradizionale. Pensare strettamente in termini di forma terziaria standard di. ABA. con le caratteristiche tipiche concerto, l'opera inizia con una Tutti ensemble che viene poi affiancato da solista. Ciò non si verifica nella versione duo. , C'è un breve cadenza, che riconduce alla sezione A, e quindi il lavoro si chiude con una coda travolgente. Sia il cordale e gli elementi strutturali del pezzo erano anche importanti pedagogicamente, e ho cercato di tenerli chiaro tutto il lavoro per questo motivo. Infine, sto continuamente cercando di scrivere musica marimba che sarebbe più simile a quello che sarebbe stato scritto per pianoforte. Cerco di evitare di l'impulso principale della scrittura marimba, i. cordale e materiale tematico, essendo sorti da combinazioni idiomatiche. Questo non vuol dire che alcune di quelle vignette idiomatiche didn t fanno strada nel lavoro, sono solo combattuti con suonerie polifoniche e materiale di tipo "pianistico". Journey è una sfida per il solista, ma in grado di fornire un viaggio emozionante per tutti i soggetti coinvolti. "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.