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.

Tradução

Journey for Marimba, Piano, & Percussion Ensemble. Partituras Marimba. Partituras de percusión. Partituras para piano. Partituras Timbales. Partituras Vibráfono. Partituras xilófono.

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.

Tradução

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. Nivel 4. Puntuación y un conjunto de piezas. Duración 10 minutos, 30 segundos. Publicado por percusión innovadora. IP.E-MC-JOU. Notas del compositor. Viaje para Solo Marimba, Piano y Percusión Ensemble. Jornada por la marimba y piano, 2005. fue compuesta en 2004 con varias ideas en mente. En primer lugar, quería una obra de la que un jugador marimba competente podría ser presentado con conjuntos de niveles de habilidad varietales. La obra fue escrita para que un grupo de la escuela secundaria avanzada podría realizar con suficiente tiempo de preparación, y todos los grupos universitarios y profesionales podría preparar fácilmente las partes del conjunto. La instrumentación es tal que la mayoría de los grupos de secundaria serían capaces de reunir todo lo necesario, y los problemas técnicos en el trabajo tenga en cuenta que una escuela secundaria tendrá una amplia gama de niveles de habilidad en sus jugadores, por lo que a través de las piezas del conjunto no debe ser suficiente variedad para satisfacer esta gama. Debido a la instrumentación de ser elegido para el sentido práctico y limitaciones para el nivel técnico de las piezas del conjunto del piano ha sido incorporado no sólo porque siempre da un buen color para el conjunto de percusión, sino apoyar el conjunto con menor sonoridad y sostener. En segundo lugar, yo había llegado con dos progresiones de acordes que quería basar este trabajo sobre. La primera es la progresión escuchado en las cuatro primeras medidas, y el segundo es el que se extiende a lo largo de la sección B. En tercer lugar, yo estaba buscando para exponer estas progresiones de acordes no tradicionales de una manera más tradicional. Pensando estrechamente en términos de una forma terciaria estándar. ABA. con las características típicas de concierto, la obra comienza con un tutti conjunto que luego se unió por el solista. Esto no ocurre en la versión dúo. , Hay una breve cadencia que conduce de nuevo a la sección A, y entonces el trabajo se cierra con un CODA despertar. Tanto el cordal y elementos estructurales de la pieza también eran importantes pedagógicamente, y yo tratamos de mantenerlas limpias durante todo el trabajo por esa razón. Por último, estoy constantemente buscando para escribir música de marimba que sería más parecido a lo que sería escrita para el piano. Yo trato de mantenerse al margen de la principal impulso de la escritura marimba, i. cuerdas y material temático, siendo surgieron a partir de combinaciones idiomáticas. Esto no quiere decir que algunas de esas viñetas idiomáticas dejase-t hacer su camino en el trabajo, no son más que combatir con polifónicos y material de tipo "pianística". Viaje es un reto para el solista, pero puede ofrecer un viaje emocionante para todos los involucrados. "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.