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8 Pieces for 4 Timpani. Elliott Carter. Percussion sheet music. Timpani sheet music.

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8 stukke vir 4 Timpani. Elliott Carter. Perkussie bladmusiek. Timpani bladmusiek.

Oorspronklik

8 Pieces for 4 Timpani. With Program notes. Composed by Elliott Carter. 1908-. For Timpani. One Player. Percussion Works. Includes Recitative and Improvisation. 24 pages. G. Schirmer #AMP6820. Published by G. Schirmer. HL.50234240. ISBN 0793548489. 9x12 inches. These Eight Pieces For Four Timpani are great fun to play for the advanced percussionist. Detailed performance notes are included by Elliot Carter regarding the size of timpani, sticks and stick strokes, special effects and articulation. Programme Note. The Canto and Adagio of this set of Eight Pieces for Four Timpani. One Player. were written in 1966, while the other six were composed in 1949. In those days, these six were found difficult, if not impossible to play effectively, but, as time passed interest in them and performing skills grew, so I decided to publish the set complete, as four of them had been widely circulated in manuscript, in 1966. At that time, they were revised with the help of the percussionist, Jan Williams, of the New York State University at Buffalo. In gratitude for his advice, the Canto and Adagio were composed for him and included the set. Unlike the other, each of which is a four-note piece based on different tunings of the drums, these two employ the possibilities of the pedal-tuned chromatic timpani. The six from 1949, besides being virtuoso solos for the instrumentalist, are studies in the controlled, interrelated changes of speed now called Òmetric modulation,Ó and generated ideas carried further in my First String Quartet begun at the same time and completed shortly afterwards. Each piece is dedicated to a performer who showed an interest in the works in their early days. I. Saeta. 1949. 1966. Ð Al Howard Ð An Andalusian song of improvisatory character sung during an outdoor religious procession, usually at Easter. said to be the descendent of a rain ceremony during which an arrow. saeta. was shot into the clouds to release the rain. II. Moto Perpetuo. 1949. 1966. Ð Paul Price Ð A rapid patter of notes of equal length, broken up into phrases of constantly changing accentuation, played with special, small, light drum sticks. III. Adagio. 1966. Ð Jan Williams Ð Uses pedal tuned timpani to produce vibratos, harmonics and glissandos in dramatic outburst. IV. Recitative. 1949. 1966. Ð Morris Lang Ð Short contrasting phrases, one of which is condensed into the irregularly repeated major third in the latter part and punctuated by another phrase that disintegrates. V. Improvisation. 1949. 1966. Ð Paul Price Ð The opening phrase furnishes materials for numerous variations with constant changes of speed. VI. Canto. 1966. Ð Jan Williams Ð Uses pedal tuned timpani played by snare drum sticks in a line that slides from one pitch to another. VII. Canaries. 1949. 1966. Ð Raymond DesRoches Ð A dance of the XVI and XVII centuries, ancestor of the gigue, supposedly imported from the Òwild menÓ of the Canary Islands. in 6. 8 time with dotted rhythms-here fragmented and developed. VIII. March. 1949. 1966. Ð Saul Goodman Ð Two march rhythms of different speeds are superimposed, one played with the butts, the other with the heads of the drum sticks. These produce musical ideas expanded in the middle section. --Elliott Carter.

Vertaling

8 stukke vir 4 Timpani. Met Program notas. Saamgestel deur Elliott Carter. 1908 -. Vir Timpani. Een speler. Perkussie Werke. Sluit Resitatief en improvisasie. 24 bladsye. Г. Ширмер. Gepubliseer deur G. Schirmer. HL.50234240. ISBN 0793548489. 9x12 duim. Hierdie agt stukke vir Vier Timpani is groot pret vir die gevorderde perkussiespeler te speel. Gedetailleerde prestasie notas is ingesluit by Elliot Carter ten opsigte van die grootte van die timpani, stokke en stok beroertes, spesiale effekte en artikulasie. Program Nota. Die Canto en Adagio van hierdie reeks van agt stukke vir Vier Timpani. Een speler. is in 1966 geskryf, terwyl die ander ses is gekomponeer in 1949. In daardie dae het hierdie ses gevind moeilik, indien nie onmoontlik om effektief te speel nie, maar, soos die tyd verby belangstelling in hulle en die uitvoering van vaardighede het nie, so ek het besluit om die stel kompleet te publiseer, soos vier van hulle is wyd versprei in manuskrip, in 1966. Op daardie tyd, was hulle met die hulp van die perkussiespeler, Jan Williams, van die New York Staat Universiteit van Buffalo hersien. In dankbaarheid vir sy advies, is die Canto en Adagio saamgestel vir hom en sluit die stel. In teenstelling met die ander, elkeen is 'n vier-noot stuk grond van verskillende tunings van die dromme, hierdie twee in diens van die moontlikhede van die pedaal-ingeskakel chromatiese timpani. Die ses van 1949, behalwe dat virtuose solo's vir die instrumentalis, is 'n studie in die beheer, interafhanklik veranderinge van spoed nou genoem Òmetric modulasie, O en gegenereer idees verder gevoer in my eerste String Quartet begin op dieselfde tyd en voltooi het kort daarna. Elke stuk word gewy aan 'n kunstenaar wat 'n belang in die werke het in hul vroeë dae. I. Saeta. 1949. 1966. Ð Al Howard D 'n Andalusische lied van improvisatoriese karakter gesing tydens 'n buitelug-godsdienstige optog, gewoonlik met Paasfees. het gesê die afstammeling van 'n reën seremonie te wees waartydens 'n pyl. arrow. geskiet is in die wolke die reën te laat. II. Moto Perpetuo. 1949. 1966. Ð Paul Price D 'n vinnige getrippel van note van gelyke lengte, opgebreek in frases van voortdurend veranderende aksentuering, wat gespeel word met spesiale, klein, lig drom stokke. III. Adagio. 1966. Ð Jan Williams Ð Gebruik trap gestem timpani vibratos, harmonie en glissandos te produseer in dramatiese uitbarsting. IV. Resitatief. 1949. 1966. Ð Ð Morris Lang Kort kontrasterende frases, waarvan een is verkorte in die so nou en dan herhaal groot derde in die laaste deel en onderbreek deur 'n ander frase wat desintegreert. V. Improvisasie. 1949. 1966. Ð Paul Price D om die opening frase verskaf materiaal vir talle variasies met 'n konstante veranderinge van spoed. VI. Canto. 1966. Ð Jan Williams Ð Gebruik trap gestem timpani gespeel deur snaartrom stokke in 'n lyn wat gly van een veld na 'n ander. VII. Kanariese Eilande. 1949. 1966. Ð Raymond Desroches D 'n dans van die XVI en Sewentien eeu, voorloper van die Gigue, vermoedelik uit die Òwild Meno van die Kanariese Eilande. in 6. 8 keer met gepunteerde ritmes-hier gefragmenteerde en ontwikkel. VIII. Maart. 1949. 1966. Ð Saul Goodman Ð Twee Maart ritmes van verskillende snelhede is bo, een gespeel met die butts, die ander met die hoofde van die drom stokke. Hierdie produseer musikale idees uitgebrei in die middel. --Elliott Carter.