Bladmusiek $20.00

Oorspronklik

Paschal Dances. David Gillingham. Voice sheet music. Percussion sheet music. Timpani sheet music. Advanced.

Vertaling

Paschalis Dances. David Gillingham. Voice bladmusiek. Perkussie bladmusiek. Timpani bladmusiek. Gevorderde.

Oorspronklik

Paschal Dances composed by David Gillingham. Percussion Ensemble. For Percussion Ensemble. Percussion 1. 4 small concert toms, 4 congas, crash cymbals, voice. , Percussion 2. 4 large concert toms, 4 bongos, voice. , Percussion 3. 5 timpani, tambourine. , Percussion 4. crotales, snare drum, voice. , Percussion 5. bells, temple blocks, voice. , Percus. Medium difficult. Score only. Duration 10. 00. Published by C. Alan Publications. CN.01851. Paschal Dances is based on the first two lines of the famous Gregorian Easter sequence, Victim paschali laudes. Praises to the Paschal Victim. Motives and phrases of the chant are used to unify the work which comprises an Invocation, 4 Dances, 2 Interludes, and a Benediction. Unmistakable Gillingham, so you know it's great music. Dedicated to Robert Hohner and the Central Michigan University Percussion Ensemble, Paschal Dances is based on the first two lines of the famous Gregorian Easter sequence, Victim paschali laudes. Praises to the Paschal Victim. Motives and phrases of the chant are used to unify the work which comprises an Invocation, 4 Dances, 2 Interludes, and a Benediction. In the opening Invocation, the first phrase of the chant tune is played by the orchestra bells and consequently, the first five notes are harmonized by the marimba. The orchestra bells play both phrases of the first line of the chant at the close of the section. Dance I, in fast tempo, is dominated by membrane instruments with interjections of the second line of the chant tune being played by keyboard instruments. The section segues into the first Interlude, characterized by bowed vibraphone and a dirge-like presentation of the first five notes of the chant in the piano. Following, in the same slow tempo, is Dance II, which features chanting of male voices in canon on each of the three phrases comprising the second line of the chant. The first phrase of the chant undergoes metamorphosis in Dance III, becoming a whole-tone configuration. The dance is set in a lively 6. 8 meter with periodic episodes of duplets against the triplet division. At midpoint, the dance breaks into quadruple meter with the first phrase of the chant played by the vibraphone moving in triplets. The dance returns to 6. 8 meter and elides with the second Interlude, in slow tempo, where fragments of the chant are heard in the bells, chimes and marimba. Following a brief silence, Dance IV ensues with the marimbas elaborating on the whole-tone motive used in Dance III. In very fast tempo, the movement climaxes on a glorious G-flat major chord, which also articulates the beginning of the Benediction. Accompanied by all mallet instruments playing the motive of the first phrase of the chant in different rhythms, the piano, along with voices, state a haunting motive derived from the second line of the chant. The work ends with three tolls of a questioning chord, with each articulation followed by an arpeggiated version of the chord in the upper register of the piano.

Vertaling

Paschalis Dances saamgestel deur David Gillingham. Perkussie Ensemble. Vir Percussion Ensemble. Perkussie 1. 4 klein konsert toms, 4 congas, crash simbale, stem. , Percussion 2. 4 groot konsert toms, 4 bongos, stem. , Percussion 3. 5 timpani, tamboeryn. , Percussion 4. crotales, snaartrom, stem. , Percussion 5. klokke, tempel blokke, stem. , Percus. Medium moeilik. Telling net. Duur 10. 00. Gepubliseer deur C. Alan Publications. CN.01851. Paschalis Dances is gebaseer op die eerste twee reëls van die beroemde Gregoriaanse Easter volgorde, Slagoffer paschali laudes. Tot eer van die Paschalis Slagoffer. Motiewe en frases van die chant word gebruik om die werk wat bestaan ​​uit 'n aanroeping, 4 Dances, 2 Tussenspele, en 'n Benediction te verenig. Onmiskenbaar Gillingham, so jy weet dit is 'n groot musiek. Toegewy aan Robert Höhner en die Sentraal-Michigan Universiteit Percussion Ensemble, is Paschalis danse wat op die eerste twee reëls van die beroemde Gregoriaanse Easter volgorde, Slagoffer paschali laudes. Tot eer van die Paschalis Slagoffer. Motiewe en frases van die chant word gebruik om die werk wat bestaan ​​uit 'n aanroeping, 4 Dances, 2 Tussenspele, en 'n Benediction te verenig. In die opening aanroeping is die eerste sin van die chant deuntjie gespeel deur die orkes klokke en gevolglik is die eerste vyf note geharmoniseerde deur die marimba. Die orkes klokke speel beide frases van die eerste reël van die chant aan die einde van die artikel. Dans ek, in 'n vinnige tempo, word oorheers deur membraan instrumente met tussenwerpsels van die tweede lyn van die chant deuntjie gespeel deur klawerbordinstrumente. Die artikel segues in die eerste Interlude, wat gekenmerk word deur gebuig vibrafoon en 'n klaaglied-agtige aanbieding van die eerste vyf note van die chant in die klavier. Volgende, in dieselfde stadige tempo, is Dance II, wat beskik oor sing van manlike stemme in kanon op elk van die drie frases uit die tweede lyn van die chant. Die eerste sin van die chant ondergaan metamorfose in Dans III, besig om 'n hele-toon opset. Die dans is in 'n lewendige 6. 8 meter met periodieke episodes van duplette teen die drieling afdeling. Op middelpunt, die dans breek in vierslagmaat met die eerste sin van die chant gespeel deur die vibrafoon beweeg in 'n drieling. Die dans opbrengste tot 6. 8 meter en elides met die tweede Interlude, in stadige tempo, waar fragmente van die chant is in die klokke hoor, speelwerk en marimba. Na 'n kort stilte, Dans IV breek met die marimbas om uit te brei op die heeltoon-motief gebruik word in Dans III. In 'n baie vinnige tempo, die beweging klimakse op 'n heerlike G-majeur koord, wat ook verwoord die begin van die Benediction. Vergesel deur alle hamer instrumente speel die motief van die eerste frase van die chant in verskillende ritmes, die klavier, saam met stemme, meld 'n spook motief afgelei van die tweede lyn van die chant. Die werk eindig met drie tol van 'n ondervraging koord, met elke artikulasie gevolg deur 'n arpeggiated weergawe van die koord in die boonste register van die klavier.