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Bladmusiek $20.00

Oorspronklik

Keep Silence. David Gillingham. B-Flat Trumpet sheet music. Bass Trombone sheet music. Horn sheet music. Grade 4.

Vertaling

Swyg. David Gillingham. B-Flat Trumpet bladmusiek. Bastrombone bladmusiek. Horn bladmusiek. Graad 4.

Oorspronklik

Keep Silence composed by David Gillingham. For concert band. Piccolo, Flute 1. 2, Oboe 1. 2, Bassoon 1. 2, Bb Clarinet 1, Bb Clarinet 2. 3, Bass Clarinet, Eb Alto Saxophone 1. 2, Bb Tenor Saxophone, Eb Baritone Saxophone, Bb Trumpet 1, Bb Trumpet 2. 3, F Horn 1. 2, F Horn 3. 4, Trombone 1, Trombone 2, Bass Trombone, Euphon. Maestro Band Series. Grade 4. Score only. Duration 8. 00. Published by C. Alan Publications. CN.09631. Keep Silence is a fantasy for band celebrating a broad range of moods ranging from wonder and mysteriousness to awe and celebration. Based on the French carol melody known as Picardy, the fluctuation between minor and major tonality enhances the broad range of emotions. Keep Silence is a fantasy for band to the tune known as Picardy, a French carol melody. The tune is found in most Protestant hymnals with the words taken from the 4th century liturgy of St. James. The fluctuation between minor and major tonality and the fluctuation between awe and wonder reflected by the words make this hymn particularly attractive. The fantasy attempts to show a broad range of mood from wonder and mysteriousness to awe and celebration. The work begins mysteriously with ascending and descending D-Aeolian. natural minor. lines in the clarinet which give way to the hymn tune presented by solo flute, solo muted trumpet, and bells. The modal passages eventually lead to a transition leading to a presentation of the hymn by the trombone choir accompanied by anxious sixteenths in the flutes, clarinets and keyboard percussion which are based on motivic material from the hymn tune. The timpani interjects some dramatic statements between phrases. This leads to a rather aggressive statement by the brass which doubles each note of the opening motive of the hymn and diminishes the note values to sixteenths. This leads joyously to G-flat major. The volume dramatically decreases and steady sixteenths in the bells and vibraphone accompany the hymn tune played by solo flute with an obligato by solo oboe. The harmony of the hymn tune changes significantly in this presentation, creating a sort of heavenly atmosphere. The aggressive sixteenth notes of the previous transitional section return quite suddenly and grow into fanfare-like majesty and segue into a presentation of the hymn that is predominantly in C-major. The section grows to a pinnacle, modulates to F-minor, and returns to mysteriousness. Muted trumpets present the aggressive transition material in ethereal fashion along with the vibraphone while the low brass and woodwinds play the hymn tune in plaintive somberness. At the end of the tune, the remaining brass burst forth with the transition material and lead to one final statement of the penultimate phrase of the hymn in F-major. A coda follows with brass and woodwinds playing the first and second phrases of the hymn. The brass then begin a sort of benediction loosely based on the penultimate phrase of the hymn followed by euphonium solo on the final phrase, followed by muted trumpet on the second phrase and ending with alto saxophone on the first phrase--the reverse order signifying a return to the reverence of the beginning.

Vertaling

Swyg saamgestel deur David Gillingham. Vir konsert orkes. Piccolo, Fluit 1. 2, Oboe 1. 2, fagot 1. 2, BB klarinet 1, BB klarinet 2. 3, basklarinet, Eb saxofoon 1. 2, BB saxofoon, Eb bariton saxofoon, BB trompet 1, BB Trumpet 2. 3, F Horn 1. 2, F Horn 3. 4, tromboon 1, tromboon 2, Bastrombone, Euphon. Maestro Band Reeks. Graad 4. Telling net. Duur 8. 00. Gepubliseer deur C. Alan Publications. CN.09631. Swyg is 'n fantasie vir orkes viering van 'n wye verskeidenheid van buie wat wissel van wonder en geheimsinnigheid te ontsag en viering. Gebaseer op die Franse lied melodie bekend as Picardie, is die wisseling tussen klein en groot tonaliteit verhoog die wye verskeidenheid van emosies. Swyg is 'n fantasie vir orkes op die wysie bekend as Picardie, 'n Franse lied melodie. Die deuntjie is in die meeste Protestantse gesangeboeke met die woorde uit die 4de eeu liturgie van St James. Die wisseling tussen klein en groot toon en die wisseling tussen verwondering weerspieƫl deur die woorde van hierdie lied besonder aantreklik. Die fantasie poog om 'n wye verskeidenheid van bui te wys van wonder en geheimsinnigheid te ontsag en viering. Die werk begin geheimsinnig met stygende en dalende D-Eolische. natuurlike minderjarige. lyne in die klarinet wat gee pad na die lied deuntjie deur solo fluit, solo gedempte trompet, en klokke. Die modale gedeeltes uiteindelik lei tot 'n oorgang wat lei tot 'n aanbieding van die lied deur die trombone koor vergesel deur angstig sestiendes in die fluit, klarinet en klavier perkussie wat gebaseer is op motiefiese materiaal van die lied deuntjie. Die timpani interjects paar dramatiese stellings tussen frases. Dit lei tot 'n redelik aggressiewe verklaring deur die koper wat elke noot van die motief opening van die lied verdubbel en verminder die nootwaarde te sestiendes. Dit lei tot vreugde G-majeur. Die volume drasties verminder en bestendige sestiendes in die klokke en vibrafoon vergesel die lied deuntjie gespeel deur solo fluit met 'n obligaat deur solo hobo. Die harmonie van die gesang deuntjie aansienlik verander in die aanbieding, die skep van 'n soort van die hemelse atmosfeer. Die aggressiewe sestiende note van die vorige oorgang artikel terugkeer baie skielik en groei in die fanfare-agtige majesteit en segue in 'n aanbieding van die lied wat oorwegend in C-majeur. Die artikel groei tot 'n hoogtepunt, moduleer om F-mineur, en keer terug na geheimsinnigheid. Gedempte trompette voor die aggressiewe oorgang materiaal in eteriese mode saam met die vibrafoon, terwyl die lae koper en houtblasers speel die lied inskakel klagend somberness. Aan die einde van die tune, die oorblywende koper bars saam met die oorgang materiaal en lei tot 'n finale verklaring van die voorlaaste sin van die lied in F-majeur. 'N koda volg met koper en houtblasers speel van die eerste en tweede frases van die lied. Die koper dan begin 'n soort van seƫnbede losweg gebaseer op die voorlaaste sin van die lied, gevolg deur euphonium solo op die laaste frase, gevolg deur gedempte trompet op die tweede frase en eindig met altsaxofoon op die eerste frase - die omgekeerde volgorde aan te dui 'n terug te keer na die eerbied van die begin af.