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Original tekst

Double Image. piano reduction. Saxophone sheet music. Advanced.

Oversættelse

Dobbelt billede. klaver reduktion. Saxofon noder. Avanceret.

Original tekst

Double Image. piano reduction. Double Concerto for 2 Saxophonists. Composed by David R. Gillingham. Chamber Ensemble. For 2 Saxophones & Piano. 2, solo saxophones. soprano, alto, tenor & baritone. piano. Medium difficult. Piano reduction. Duration 30. 00. Published by C. Alan Publications. CN.17062. Opening with a dark and somber set of variations, Double Image exploits the four instruments of the saxophone family. Beautiful, lyrical melodies glide through the second movement as the saxes begin their interplay. The third movement is an exciting romp from beginning to end. Truly a must for the advanced saxophone duo. Double Image was commissioned by Jeff Heisler and Shawn Teichmer, two former saxophone alumni from Central Michigan University. The work is a concerto in three movements that exploits four of the common instruments of the saxophone family as performed by two players. The first movement features the tenor and baritone saxophone, the second, the alto and the tenor saxophone and the third, soprano saxophones. The movements of the concerto are starkly contrasting. The first movement, Passacaglia Lamento, is a dark, somber and mysterious set of variations on a bass line consisting of chromatic mediant relationships and angular leaps. The solo baritone saxophone begins the thematic bass line and is then joined by the solo tenor saxophone. Variation I begins with keyboard percussion accompanying the horns on the theme with the solo tenor saxophone on cascading scale passages. The solo baritone saxophone joins the tenor on the tail of the theme with added chimes. Preceded by a short transition in the wind ensemble, Variation II is abbreviated and features a dance-like interplay between the two solo saxophones in asymmetrical meter. 16. Variation III ensues in which the solo saxophones alternate a skeletonized version of the theme in augmentation accompanied by ascending scales in the upper woodwinds. A heavy, ponderous interlude in the brass leads to Variation IV. Variation IV is perhaps the most dark and mysterious section of the movement that features a ghosted half-tone ostinato in the solo saxophones over only the harmony of the passacaglia. The tail of the variation is then played by low brass and woodwinds accompanied by piano and keyboard percussion. A brief brass fanfare leads to Variation V, which is a spirited duet by the solo saxophones alternating between 4. 4 and 7. 8 meter, with the wind ensemble accompanying on short articulations of the harmonic background. Horns, flutes and eventually trumpets, enter playing the tail of the theme culminating dramatically on four strongly articulated sonorities by the full ensemble with an underlying timpani solo diminishing into a coda using the head of the passacaglia and ending on an unresolved sonority. Movement II, Reveries, takes advantage of the two most expressive saxophones. in my opinion. , the alto and the tenor. The movement is dreamy consisting of beautiful, lyrical melodic lines, extended tertian harmonies and an array of shifting tonality. The movement is in free form and begins with a sort of 'sighing' melodic line that cascades downward and scale-wise. Both saxophones freely exchange this motive over shifting tone color. A variation of sorts follows with the solo saxophones exchanging the motive over a static F# minor tonality. An interlude follows in Bb Major, with an interplay between solo oboe and flute utilizing the motive which leads into a new section in A Major beginning with sweeping harp-like passages in the piano. The solo saxophones begin interplay amongst themselves on a contrasting motive consisting of rising and falling scale-based passages. The texture and dynamic of the section increase and rise to a dramatic moment which brings back the original descending motive in E Major. The passage diminishes in volume and segues into E Minor with the solo saxophones engaging in free development accompanied by the marimba and the piano. The development continues with a bubbly, staccato pattern in the clarinets and marimba and a return of the original motive in imitation between the solo saxophones in C Minor. A transition precipitates a change of mode into C Major and the movement concludes in dreamy fashion with the return of the descending motive and a coda beginning in A Major and coming to rest in Gb Major.

Oversættelse

Dobbelt billede. klaver reduktion. Double Concerto for 2 Saxofonister. Komponeret af David R. Gillingham. Chamber Ensemble. For 2 Saxofoner. 2, solo saxofoner. sopran, alt, tenor. plan. Medium svært. Piano reduktion. Varighed 30. 00. Udgivet af C. Alan Publications. CN.17062. Åbning med en mørk og dyster sæt af variationer, dobbelt billede udnytter de fire instrumenter saxofon familien. Smukke, lyriske melodier glide gennem den anden bevægelse som saxes begynder deres samspil. Den tredje bevægelse er en spændende boltre fra start til slut. Virkelig et must for den avancerede saxofon duo. Dobbelt Image blev bestilt af Jeff Heisler og Shawn Teichmer, to tidligere saxofon alumner fra Central Michigan University. Værket er en koncert i tre satser, der udnytter fire af de fælles instrumenter saxofon familien som udføres af to spillere. Den første bevægelse er udstyret med den tenor og baryton saxofon, den anden, Alto og tenor saxofon og den tredje, sopran saxofoner. Bevægelserne af koncerten er skarp kontrast. Den første bevægelse, Passacaglia Lamento, er en mørk, dyster og mystisk sæt af variationer på en bas linje bestående af kromatisk mediant relationer og kantede spring. Solo baryton saxofon begynder den tematiske bas linje og derefter følgeskab af solo tenor saxofon. Variation I begynder med tastatur slagtøj ledsager hornene på temaet med den solo tenor saxofon på cascading skala passager. Solo baryton saxofon tiltræder tenor på halen af ​​temaet med tilsat klokkespil. Indledes med en kort overgang i vinden ensemble, er Variation II forkortet og har en dans-lignende samspil mellem de to solo saxofoner i asymmetrisk meter. 16. Variation III ensues hvor solo saxofoner veksle en skeletonized version af temaet i augmentation ledsaget af stigende orden skalaer i de øvre træblæsere. En tung, tung mellemspil i messing fører til Variation IV. Variation IV er måske den mest mørke og mystiske del af bevægelsen, der er udstyret med en ghost-halv-tone ostinat i solo saxofoner kun over harmoni i passacaglia. Halen af ​​variationen afspilles derefter ved lav messing og træblæsere ledsaget af klaver og keyboard slagtøj. En kort messing fanfare fører til Variation V, som er en livlig duet fra solo saxofoner vekslende mellem 4. 4 og 7,. 8 meter, med vinden ensemble ledsager på korte artikulationer af den harmoniske baggrund. Horn, fløjter og i sidste ende trompeter, indtast spille halen af ​​temaet kulminerer dramatisk på fire stærkt formuleret klanglige af den fulde ensemble med en underliggende pauker solo aftagende i et coda hjælp lederen af ​​passacaglia og slutter på en uløst klang. Movement II Reveries tager fordel af de to mest udtryksfulde saxofoner. i min udtalelse. , Alto og tenor. Bevægelsen er drømmende består af smukke, lyriske melodilinjer, udvidede tertian harmonier og en vifte af skiftende tonalitet. Bevægelsen er i fri form og begynder med en slags 'sukke' melodiske linje, kaskader nedad og skala-wise. Begge saxofoner frit at udveksle dette motiv løbet skiftende tone farve. Разновидностью рода следует с соло саксофоны обмена мотив над статической F. Et mellemspil følger i Bb Major, med et samspil mellem solo obo og fløjte udnytte motiv, som fører ind i et nyt afsnit i en større start med fejende harpe-lignende passager i klaver. Solo saxofoner begynder samspil imellem sig på en kontrasterende motiv bestående af stigende og faldende skala-baserede passager. Tekstur og dynamik af sektionen stigningen og anledning til en dramatisk øjeblik, der bringer tilbage den oprindelige faldende motiv i E-dur. Passagen bliver mindre i volumen og segues E Minor med solo saxofoner udøver frie udvikling ledsaget af marimba og klaver. Udviklingen fortsætter med en boblende, staccato mønster i klarinetter og marimba og en tilbagevenden af ​​den oprindelige motiv i efterligning mellem solo saxofoner i C Minor. En overgang udfældes en ændring i tilstanden i C-dur og bevægelsen konkluderer i drømmende mode med tilbagelevering af den nedadgående motiv og en coda begyndelse i en større og kommer til hvile i Gb Major.