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Original tekst

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

Oversættelse

Journey for Marimba, Piano, & Percussion Ensemble. Marimba noder. Percussion noder. Klaver Noder. Timpani noder. Vibrafon noder. Xylofon noder.

Original tekst

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.

Oversættelse

Journey for Marimba, Piano, & Percussion Ensemble composed by Matthew Coley. Marimba Solo med 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. Niveau 4. Score og sæt dele. Varighed 10 minutter, 30 sekunder. Udgivet af Innovative Percussion. IP.E-MC-JOU. Komponists noter. Rejse til Solo Marimba, klaver, og Percussion Ensemble. Rejse for marimba og klaver 2005. blev komponeret i 2004 med flere ideer i tankerne. Først ønskede jeg et arbejde, som en kompetent marimba spiller kunne blive præsenteret med ensembler af planteforædling niveauer. Arbejdet blev skrevet, så en avanceret high school gruppe kunne udføre det med tilstrækkelig forberedelse tid, og alle college og faggrupper kunne nemt forberede ensemble dele. Instrumenteringen er sådan, at de fleste high school-grupper ville være i stand til at samle alt det nødvendige, og de tekniske problemer i arbejdet huske på, at en high school vil have en bred vifte af færdighedsniveau i deres spillere, så gennem ensemblet dele bør der være tilstrækkelig lang til at opfylde dette interval. På grund af den instrumentering blive valgt til funktionalitet og begrænsninger til det tekniske niveau af ensemblet dele klaveret blev tilsat ikke kun fordi det altid giver en stor farve til percussion ensemble, men at støtte ensemblet med lavere fakturering og opretholde. For det andet, jeg var kommet op med to akkord progressioner, som jeg ønskede at basere arbejdet på. Den første er progressionen høres i de første fire foranstaltninger, og den anden er den ene, der er spredt over hele B-del. For det tredje blev jeg søger at forklare om disse ikke-traditionelle akkord progressioner i en mere traditionel måde. Tænker nøje i form af en standard tertiær formular. ABA. med typiske koncert funktioner, begynder arbejdet med et ensemble tutti, der derefter følgeskab af solisten. Det forekommer ikke i duoen udgave. , Der er en kort kadence, der fører tilbage til A sektionen, og derefter arbejde lukker med en inciterende CODA. Både chordal og strukturelle elementer i det stykke var også vigtigt pædagogisk, og jeg forsøgte at holde dem klar i hele arbejdet for den grund. Endelig er jeg hele tiden søger at skrive marimba musik, der ville være mere beslægtet med hvad der ville blive skrevet for klaver. Jeg prøver at styre fri af de vigtigste drivkraft for marimba skrive, jeg. chordal og tematiske materiale, bliver sprunget fra idiomatiske kombinationer. Det er ikke til at sige, at nogle af disse idiomatiske vignetter didn-t gøre deres vej ind i arbejdet, er de bare bekæmpes med polyfonisk og "pianistiske" type materiale. Journey er udfordrende for solisten, men kan give en spændende rejse for alle involverede. "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.