Bladmusiek $18.00

Oorspronklik

Taxim I, op. 14. Marimba sheet music. Percussion sheet music. Advanced.

Vertaling

Taxim ek, op. 14. Marimba bladmusiek. Perkussie bladmusiek. Gevorderde.

Oorspronklik

Taxim I, op. 14 composed by Dimitris Papadimitriou. Percussion Ensemble. For Marimba. 4-mallet. marimba. 5-octave. Percussion Music. Medium difficult. Score and set of parts. Duration 10. 00. Published by C. Alan Publications. CN.12110. The composer characterizes this piece as learned ethnic. As in all of his previous works, this one is tonal, using ancient modes or their variation that leads to the use of peculiar key signatures. In Persian, Taxim is the ramp where musicians would play. taquasim. In Turkish, it means crossroad. taksim. Traditional Greek musicians, in place of the word key or mode, use the word road. The same word in Latin is used as the title of the present work. Traditional musicians use this word to mean improvisation. hence, the derivation of this expression. the crossing of the roads. This type of improvisation occurs with a solo instrument either before the main body of a song or a dance, as an introductory prelude, or between it. The composer characterizes the piece as learned ethnic. As in all of his previous works, this one is tonal, using ancient modes or their variation that leads to the use of peculiar key signatures. The 'non-familiar' performer needs to be very attentive to these key signatures, as well as the accidentals, because their use is not random. The words in the parentheses are the names that folk instrumentalists give each mode. From the beginning of this work. rehearsal letter A. , the music material is exposed with chords that will be used and processed later. A written improvisation follows. rehearsal letter B. that leads to an Allegro. rehearsal letter C. full of transpositions and variations of the Phrygian and Aeolian mode, using the basic themes of the piece. An Andante. rehearsal letter G. follows with four improvisations for the soloist with musical bridges, which connect the improvisational parts each time, and a finale. rehearsal letter H. with the basic themes of this work. Wherever there are trills in double notes, it is better if the first mallet hits the initial note. In ethnic or oriental style of improvisation, the interval of a second in a trill sounds better than that of a third. Wherever an augmented second is formed - especially in the 2nd and 3rd degrees of the scale - it is appropriate if they are resolved in the following pitches higher or lower, due to a sense of attraction being formed. specifically, the motion from the 2nd to the 1st degree functions as the 7th leading tone in the major mode. In general terms, any of the given notes of the modes will sound correct. but one should be aware that, as in the major mode, the principle degrees are the 1st, 4th, or 5th. When playing one should make a reference to them very often by beginning or ending the phrases with them. In this style, the simpler rhythmic formulas sound much nicer than formulas with syncopations and rests in strong beats. The given time frames for the improvisations are only indicative, and they can be both decreased and increased - though not too much, in order that the coherence of the piece not be lost.

Vertaling

Taxim ek, op. 14 gekomponeer deur Dimitris Papadimitriou. Perkussie Ensemble. Vir Marimba. 4-hamer. marimba. 5-oktaaf. Perkussie Musiek. Medium moeilik. Score en stel dele. Duur 10. 00. Gepubliseer deur C. Alan Publications. CN.12110. Die komponis kenmerk hierdie stuk as geleer etniese. Soos in al sy vorige werke, hierdie een is tonaal, met behulp van die antieke modes of hul variasie wat lei tot die gebruik van eienaardige toonsoorttekens. In Persiese, Taxim is die oprit waar musikante sou speel. taquasim. In Turkse, beteken dit kruispad. Taksim. Tradisionele Griekse musici, in die plek van die woord sleutel of af, gebruik die woord pad. Dieselfde woord in Latyns gebruik word as die titel van die huidige werk. Tradisionele musikante gebruik hierdie woord improvisasie te beteken. Vandaar die afleiding van hierdie uitdrukking. die kruising van die paaie. Hierdie tipe improvisasie kom met 'n solo-instrument óf vóór die hoof van 'n lied of 'n dans, as 'n inleidende voorspel, of tussen dit. Die komponis kenmerkend van die stuk as geleer etniese. Soos in al sy vorige werke, hierdie een is tonaal, met behulp van die antieke modes of hul variasie wat lei tot die gebruik van eienaardige toonsoorttekens. Die "nie-bekende 'performer moet baie aandag aan hierdie belangrike handtekeninge, sowel as die toevallige, want hulle gebruik is nie toevallig nie. Die woorde in die hakies is die name wat folk instrumentaliste gee vir elke modus. Van die begin van hierdie werk. repetisie letter A. , Die musiek materiaal blootgestel word met akkoorde wat gebruik sal word en verwerk later. 'N Skriftelike improvisasie volg. repetisie letter B. wat lei tot 'n Allegro. repetisie letter C. vol van verplasings en variasies van die Frigiese en Eolische af, met behulp van die basiese temas van die stuk. 'N Andante. repetisie brief G. volg met vier improvisasies vir die solis saam met musikale brûe wat verbind die improvisasie dele elke keer, en 'n finale. repetisie brief H. met die basiese temas van hierdie werk. Waar daar trillers in dubbel notas, is dit beter as die eerste hamer tref die aanvanklike noot. In etniese of die Oosterse styl van improvisasie, die interval van 'n sekonde in 'n trill klink beter as dié van 'n derde. Waar 'n vergrote tweede gevorm word - veral in die 2 en 3 grade van die skaal - dit is gepas as hulle besluit om in die volgende plekke hoër of laer, as gevolg van 'n gevoel van aantrekking gevorm. spesifiek, die beweging van die 2de tot die 1ste graad funksies as die 7 voorste tone in die groot mode. In die algemeen, sal enige van die gegewe aantekeninge van die modes klink korrekte. maar 'n mens moet bewus wees dat, soos in die groot mode, die beginsel grade is die 1, 4, 5 of wees. Wanneer 'n mens speel, moet 'n verwysing na hulle baie dikwels deur te begin of eindig die sinne met hulle. In hierdie styl, die eenvoudiger ritmiese formules klink baie lekkerder as formules met sinkoperings en rus in 'n sterk slae. Die gegewe tyd rame vir die improvisasies is slegs 'n aanduiding, en hulle kan beide afgeneem word en verhoogde - maar nie te veel nie, sodat die samehang van die stuk nie verlore gaan.