Partituras $50.00

Original

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

Traducción

Journey for Marimba, Piano, & Percussion Ensemble. Partituras Marimba. Partituras de percussão. Partituras de piano. Partituras Tímpanos. Partituras Vibrafone. Partituras xilofone.

Original

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.

Traducción

Journey for Marimba, Piano, & Percussion Ensemble composed by Matthew Coley. Marimba Solo com 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. Nível 4. Pontuação e um conjunto de peças. Duração 10 minutos, 30 segundos. Publicado por percussão inovadora. IP.E-MC-JOU. Notas do compositor. Journey for Solo Marimba, Piano e Percussão. Journey para Marimba e Piano de 2005. foi composta em 2004, com várias idéias em mente. Em primeiro lugar, eu queria um trabalho de que um jogador marimba competente poderia ser caracterizado com conjuntos de níveis de habilidade varietais. O trabalho foi escrito para que um grupo de alto escola avançada poderia realizá-lo com o tempo de preparação suficiente, e todos os grupos de universitários e profissionais podem facilmente preparar as peças do conjunto. A instrumentação é tal que a maioria dos grupos do ensino médio seria capaz de reunir tudo o necessário, e as preocupações técnicas no trabalho, tenha em mente que uma escola terá uma ampla gama de níveis de habilidade em seus jogadores, por isso através das partes do conjunto não deve ser bastante variedade para atender a essa faixa de. Devido à instrumentação a ser escolhido para a praticidade e as limitações ao nível técnico das partes do conjunto o piano foi introduzido, não só porque ele sempre dá uma cor ótima para o grupo de percussão, mas para apoiar o conjunto com menor sonorização e sustentar. Em segundo lugar, eu tinha vindo acima com duas progressões de acordes que eu queria basear este trabalho em. O primeiro é a progressão ouvido nos primeiros quatro medidas, eo segundo é o único que está espalhada por toda a seção B. Em terceiro lugar, eu estava olhando para expor essas progressões de acordes não-tradicionais de uma forma mais tradicional. Pensando de perto em termos de uma forma terciária padrão. ABA. com características típicas concerto, o trabalho começa com um tutti conjunto que é, então, juntou-se o solista. Isto não ocorre na versão duo. , Há um curto cadência que leva de volta para a seção A, e, em seguida, o trabalho se encerra com uma CODA despertando. Tanto o acordes e elementos estruturais da peça também foram pedagogicamente importante, e eu tentei mantê-las claras ao longo do trabalho, por essa razão. Finalmente, eu estou procurando continuamente a escrever música marimba que seria mais parecido com o que seria escrito para o piano. Eu tento ficar longe de o principal impulso da escrita marimba, i. acordes e material temático, sendo suspensa a partir de combinações idiomáticas. Isso não quer dizer que algumas dessas vinhetas idiomáticas didn-t fazer o seu caminho para o trabalho, eles estão apenas combatida com polifônicos e "pianística" tipo de material. Journey é um desafio para o solista, mas pode oferecer uma viagem emocionante para todos os envolvidos. "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.