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Original tekst

Abiquiu. B-Flat Trumpet sheet music. Grade 5.

Oversættelse

Abiquiu. B-Flat Trumpet noder. Grade 5.

Original tekst

Abiquiu composed by David R. Gillingham. For concert band. Piccolo, Flute 1, Flute 2, Oboe 1, Oboe 2, Bassoon 1. 2, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Bb Bass Clarinet, Eb Contralto Clarinet, Eb Alto Saxophone 1, Eb Alto Saxophone 2, Bb Tenor Saxophone, Eb Baritone Saxophone, Bb Trumpet 1, Bb Trumpet 2,. Grade 5. Score and parts. Duration 9. 00. Published by C. Alan Publications. CN.16830. A glorious programatic work that challenges performer and listener alike. With the support of a full percussion section, you will travel from the driving rhythms of the city, to the swell of the desert canyon, to the open skies. Hold on for the ride. Abiquiu was inspired by a provocative poem by the same name written by Mesa State College Professor and Colorado poet, L. Luis Lopez. Take this city-filled soul, pour it out, place it in soil beneath your high desert vista. Fill it with canyon, sky, mesa, mountain, smell of rain and song of bird. Tint each with time of day. let each settle into a painting of sand. so that when I-m away I can close my eyes and gaze upon and breathe your sacred strands. The ideas set forth by each short stanza of the poem are set somewhat programmatically to music. At the onset of the piece the music suggests the 'city-filled soul' with disjunct themes, driving rhythms and harmonic confusion. Envisioning one's self amidst the rush hour of a big city and the ensuing mental frustration. The section features 'calls for help' in the horns and trumpets using large intervals, mostly of 7ths and octaves. One last 'call' culminates the section as the 'city-filled soul' is finally poured out in the soil beneath the 'desert vista. ' The pulse of the city can still be heard with the constant heartbeat of the timpani and remnants of the 'call' motive in the horns. The music dramatically swells and segues with the next section beginning with a backdrop of keyboard percussion, piano and a fluttering of flutes. Arising from the texture is a theme in Db major, beginning in the horns, evoking the spaciousness of the canyon and the vastness of the open air and sky as so eloquently written in the second stanza of the poem. The theme grows in volume and texture and eventually the entire ensemble is singing the beauty of this picturesque scene and the music modulates to F major and finally to D major and then subsides. A mysterious ostinato in the piano, bells and vibraphone provides backdrop for short phrases of a chorale melody played by the clarinets as if in the distance signifying how each element settles 'into a painting of sand. ' Soon, however, the busyness and frustration of the 'city-filled soul' begin to infiltrate the section until it all returns with all of the fury heard in the beginning of the piece. -so that when I-m away-. But soon, as if closing one's eyes to the madness, the beauty of the canyon, sky, mesa, mountain, smell of rain and song of bird burst forth out of the texture and the majesty of the spacious 'canyon' theme returns. -I can close my eyes and gaze upon and breathe your sacred strands. The music 'climbs' to the top of the mountain and ends joyously in Eb major. The texture then thins leaving only the piano, bells and vibraphone and decays into a single Bb on the vibraphone, much like the pure voice of a child. Under this sustained voice, the clarinets quote the opening notes of the 'canyon' theme, followed by the distant, 'sacred strands' of the chorale in the piano and bells. The sequence repeats and the piece ends quietly with the warm sound of the marimba, bells and vibraphone. With the generous support of Stephen Boelter and Karen Combs, Abiquiu was commissioned by the Mesa State College Wind Symphony, for the 2009 Best of the West Music Festival. During the compositional process, Calvin Hofer, conductor, was informed that Stephen developed a recurrence of melanoma, which was terminal. This was devastating news to the Best of the West family. Through my correspondence with Calvin, I discovered how important Best of the West was to Stephen. His vision was simple. to help provide a rich musical experience for all involved - performer, audience, or music educator. Stephen's wife, Karen, continues their visionary work with her financial support of Best of the West. To honor Stephen Boelter, Calvin requested that, if possible, I include a small quote in the piece from Stephen's Alma Mater, the University of Wisconsin-Whitewater. Two phrases from the University of Wisconsin-Whitewater Alma Mater. adapted from Beethoven, Op. 81b. can be found in the clarinets in measures 93-101 and in measures 153-159 in the piano and orchestra bells. Stephen played clarinet in the Mesa State Wind Symphony.

Oversættelse

Abiquiu komponeret af David R. Gillingham. For Harmoniorkester. Piccolo, Fløjte 1, Fløjte 2 Obo 1, Obo 2, Fagot 1. 2, Bb Klarinet 1, Bb klarinet 2, Bb Klarinet 3, Bb Basklarinet, Eb kontraalt Klarinet, Eb Alto Saxophone 1, Eb Alto Saxophone 2, Bb Tenor Saxophone, Eb Baryton Saxofon, Bb Trompet 1, Bb Trumpet 2,. Grade 5. Partitur og stemmer. Varighed 9. 00. Udgivet af C. Alan Publications. CN.16830. En herlig programatic arbejde, der udfordrer performer og lytteren både. Med støtte fra en fuld percussion sektion vil du rejse fra de drivende rytmer i byen, til svulme af ørkenen canyon, til den åbne himmel. Hold på til turen. Abiquiu var inspireret af en provokerende digt af samme navn skrevet af Mesa State College Professor og Colorado digter, L. Luis Lopez. Tag denne by fyldt sjæl, hæld det ud, som anbringes i jorden under din høje ørken vista. Fyld den med canyon, himmel, mesa, bjerg, duften af ​​regn og sang fugl. Tint hver med tidspunktet på dagen. lad hver bosætte sig i et maleri af sand. så når Im væk kan jeg lukker øjnene og stirre på og ånder dine hellige tråde. Ideerne fastsat af hver kort strofe af digtet er sat noget programmatisk til musik. Ved starten af ​​stykket musikken antyder "byen fyldt sjæl" med disjunct temaer, kørsel rytmer og harmonisk forvirring. Forestille sig selv midt i myldretiden i en storby og den efterfølgende mentale frustration. De sektion indeholder 'råb om hjælp' i hornene og trompeter ved hjælp store intervaller, for det meste af 7ths og oktaver. En sidste opfordring «kulminerer sektionen som" city-fyldte sjæl "er endelig udøst i jorden under 'ørken vista. »Den byens puls kan stadig høres med den konstante hjerteslag af pauker og resterne af 'opkald' motiv i hornene. Musikken dramatisk svulmer og segues med det næste afsnit, der begynder med en kulisse af tastatur slagtøj, klaver og en flagrende af fløjter. Foranlediget af teksturen er et tema i dB større, begynder i hornene, fremmane rummeligheden i canyon og den enorme mængde af fri luft og himmel som så velskrevne i anden strofe af digtet. Temaet vokser i volumen og tekstur og i sidste ende hele ensemblet synger skønheden i denne maleriske scene og musikken modulerer til F-dur og endelig til D-dur og derefter aftager. En mystisk ostinat i klaver, klokker og vibrafon giver baggrund for korte sætninger af en koral melodi fra klarinetter spillede, som om i det fjerne der betyder, hvordan hvert element afregner 'i et maleri af sand. "Men snart travlheden og frustration af" city-fyldte sjæl "begynder at infiltrere afsnittet, indtil det hele vender tilbage med alle de raseri hørte i begyndelsen af ​​stykket. -så at når I-m væk-. Men snart, som om at lukke øjnene for det vanvid, skønheden i canyon, himmel, mesa, bjerg, duften af ​​regn og sang fugl bryde frem af tekstur og majestæt af de rummelige 'canyon' tema afkast. -Jeg Kan lukke mine øjne og stirre på og ånder dine hellige tråde. Musikken "klatrer" til toppen af ​​bjerget og slutter joyously i Eb større. Teksturen så tynder så kun klaver, klokker og vibrafon og henfalder til en enkelt Bb på vibrafon, ligesom den rene stemme af et barn. I henhold til denne vedvarende stemme, klarinetter citere de indledende noter af "canyon" tema, efterfulgt af de fjerne, "hellige tråde« af koral i klaver og klokker. Sekvensen gentages og endestykker stille og roligt med den varme lyd af marimba, klokker og vibrafon. Med den generøse støtte fra Stephen BOELTER samlet og Karen Combs blev Abiquiu bestilt af Mesa State College Wind Symphony, for 2009 Bedste af West Music Festival. Under den kompositoriske proces, Calvin Hofer, dirigent, blev informeret om, at Stephen udviklet en gentagelse af melanom, som var terminal. Dette var ødelæggende nyheder til de bedste af Vesten familien. Gennem min korrespondance med Calvin, opdagede jeg, hvor vigtigt Best of Vesten var til Stephen. Hans vision var enkel. at bidrage til at give en rig musikalsk oplevelse for alle involverede - performer, publikum eller musik pædagog. Stephens kone, Karen, fortsætter deres visionære arbejde med sin økonomiske støtte til Best of the West. For at ære Stephen BOELTER samlet, Calvin anmodede om muligt jeg omfatter en lille citat i stykket fra Stephens Alma Mater, University of Wisconsin-Whitewater. To sætninger fra University of Wisconsin-Whitewater Alma Mater. tilpasset fra Beethoven, Op. 81b. kan findes i de klarinetter i foranstaltningerne 93-101 og i foranstaltninger 153-159 i klaver og orkester klokker. Stephen spillede klarinet i Mesa State Wind Symphony.