Bladmusiek $11.00

Oorspronklik

Bushido. The Way of the Warrior. Percussion sheet music. Timpani sheet music.

Vertaling

Bushido. Die Weg van die Warrior. Perkussie bladmusiek. Timpani bladmusiek.

Oorspronklik

Bushido. The Way of the Warrior composed by John Willmarth. Timpani Solo. For timpani solo. timpani. Book. Duration 9 minutes. Published by Innovative Percussion. IP.T-JW-BUS. Composer's notes. The samurai of Japan were not merely trained assasins but lived by a strict ethical code known as Bushido. literally meaning "the way of the warrior". This code influenced all aspects of life and is comparable to the Western concept of chivalry. The samurai were, of course, fierce warriors but also strongly believed in honor, kindness, frugal living, and above all, loyalty to their lord. The ultimate honor was to die in service to one's master. In fact, the samurai considered suicide, called seppuku, a brave and admirable alternative to being defeated in battle. As the samurai began their decline and eventual abolishment in 1871, Bushido became the moral standard of the Japanese culture. There are seven principals that embody the spirit of Bushido including. Gi. recitude. , Rei. respect. , Makoto. honesty. , and Chugi. loyalty. The three movements of this piece represent the Bushido principals of Jin. benevolance. , Meiyo. honor and glory. and Yu. courage. Each movement is intended to emphasize a different facet of the timpani and aspect of Japanese music. Jin is a soundscape and therefore deals primarily with color and timbre. It should convey a meditative and reflective mood as well as the kind and wise nature of the samurai. Meiyo focuses on the melodic potential of the timpani and utilizes pedaling to create an "eastern" tonality. It is song-like in character and should exemplify the proud tradition and history of the samurai. Yu explores the rhythmic potential of the timpani and is strongly influenced by the Taiko drumming tradition. It is intended to depict the fierce nature of the samurai in battle. "This nine-minute, four-drum composition represents the final three principles in its three movements. Each movement is intended to emphasize a different facet of the timpani and a different aspect of Japanese music. Movement 1. -Jin-. is a soundscape and therefore deals primarily with color and timbre. It conveys a meditative and reflective mood with its many caesuras, fermatas, and graphic and spatial notation. Numerous special effects are employed in this movement, such as use of fingers as well as mallets, finger trills, finger grace notes, playing in the center of the heads, glissandi, and pitch bends. achieved by depressing the head in the center with the heel of the hand. Movement 2. -Meiyo-. focuses on the melodic potential of the timpani and utilizes pedaling to create an "eastern" scale of six tones. F, G-flat, B-flat, C, D-flat, F. among the four drums. The movement is song-like in character and reflects the proud tradition and history of the Samurai. Although the movement begins rubato, it soon becomes dance-like and stays primarily in duple meter thereafter. Numerous special percussive effects are employed, such as stick clicks, rim clicks, striking the timpani struts, and rimshots. stick on stick. Movement 3. -Yu-. uses the same four starting pitches and basic tonality as both previous movements. It explores the rhythmic potential of the timpani and is strongly influenced by the Taiko drumming tradition. It is intended to depict the fierce nature of the Samurai in battle. The movement is aggressive, rhythmic, accented, and has many changes of meter. Mutes are eventually added to the drums for rhythmic clarity as the music turns "ferocious" and highly technical. The timpanist is often required to play passages of fast double stops and in the center of the heads. " - Mario Gaetano Percussive Notes, October 2006.

Vertaling

Bushido. Die Weg van die Warrior gekomponeer deur John Willmarth. Timpani Solo. Vir timpani solo. timpani. Book. Duur 9 minute. Gepubliseer deur Innoverende Percussion. IP.T-JW-BUS. Komponis se notas. Die Samurai van Japan is nie net opgelei dader maar het deur 'n streng etiese kode bekend as Bushido. beteken letterlik "die weg van die vegter". Hierdie kode beïnvloed alle aspekte van die lewe en is vergelykbaar met die Wes-konsep van ridders. Die Samurai was, natuurlik, kwaai krygers, maar ook sterk geglo in eer, vriendelikheid, sober leef, en bo alles, lojaliteit aan hulle heer. Die uiteindelike eer was om te sterf in diens 'n mens se meester. Trouens, die Samurai selfmoord oorweeg, genoem seppuku, 'n dapper en prysenswaardig alternatief vir wat verslaan in die stryd. As die Samurai begin hul agteruitgang en uiteindelike afskaffing in 1871, Bushido het die morele standaard van die Japannese kultuur. Daar is sewe beginsels wat beliggaam die gees van Bushido insluitend. GI. recitude. , Rei. opsigte. , Makoto. eerlikheid. En Chugi. lojaliteit. Die drie bewegings van hierdie stuk verteenwoordig die Bushido skoolhoofde van Jin. benevolance. , Meiyo. eer en heerlikheid. en Yu. moed. Elke beweging is bedoel om 'n ander faset van die timpani en aspek van die Japannese musiek te beklemtoon. Jin is 'n sound en daarom handel hoofsaaklik met kleur en timbre. Dit moet 'n meditatiewe en reflektiewe bui sowel dra as die soort en wyse aard van die Samurai. Meiyo fokus op die melodiese potensiaal van die timpani en maak gebruik van 'n trap "Oos" tonaliteit te skep. Dit is die lied soos in karakter en moet die trotse tradisie en geskiedenis van die Samurai voorbeeld. Yu verken die ritmiese potensiaal van die timpani en word sterk beïnvloed deur die Taiko dromme tradisie. Dit is bedoel om die strawwe aard van die Samurai in 'n geveg uit te beeld. "Dit nege-minuut, vier-drom samestelling verteenwoordig die finale drie beginsels in die drie bewegings. Elke beweging is bedoel om 'n ander faset van die timpani en 'n ander aspek van die Japannese musiek te beklemtoon. Beweging 1. -Jin-. is 'n sound en daarom handel hoofsaaklik met kleur en timbre. Dit dra 'n meditatiewe en reflektiewe bui met sy baie caesuras, fermatas en grafiese en ruimtelike notasie. Talle spesiale effekte word gebruik in hierdie beweging, soos die gebruik van vingers sowel as hamers, vinger trillers, vinger genade notas, speel in die middel van die koppe, sinusglissandi, en steek draaie. bereik deur depressiewe die kop in die sentrum met die hak van die hand. Beweging 2. -Meiyo-. fokus op die melodiese potensiaal van die timpani en maak gebruik van 'n trap "Oos" skaal van ses tone te skep. F, G-plat, B-mol, C, D-mol, F. tussen die vier tromme. Die beweging is die lied soos in karakter en weerspieël die trotse tradisie en geskiedenis van die Samurai. Hoewel die beweging begin rubato, word dit gou dans-agtige en bly hoofsaaklik in tweeledige meter daarna. Talle spesiale perkussie-effekte in diens is, soos stok kliek, rand druk, slaan die timpani stutte, en rimshots. stok op stok. Beweging 3. -Yu-. gebruik dieselfde vier begin plekke en basiese tonaliteit as beide vorige bewegings. Dit ondersoek die ritmiese potensiaal van die timpani en word sterk beïnvloed deur die Taiko dromme tradisie. Dit is bedoel om die strawwe aard van die Samurai in 'n geveg uit te beeld. Die beweging is aggressief, ritmies en, en het baie veranderinge van meter. Mutes uiteindelik by die dromme vir ritmiese duidelikheid die musiek draai "kwaai" en hoogs tegniese. Die paukenist is dikwels nodig gange van 'n vinnige dubbel tot stilstand kom om te speel en in die middel van die hoofde. - Mario Gaetano perkussie Notes, Oktober 2006.