Bladmusiek $48.00

Oorspronklik

Two Antiphonal Portraits. Dan Adams. Marimba sheet music. Percussion sheet music. Vibraphone sheet music. Intermediate.

Vertaling

Twee antifonale Portraits. Dan Adams. Marimba bladmusiek. Perkussie bladmusiek. Vibrafoon bladmusiek. Intermediêre.

Oorspronklik

Two Antiphonal Portraits composed by Dan Adams. Percussion Ensemble. For Percussion Ensemble. Player 1. 4-octave marimba, cowbell. , Player 2. 4-octave marimba, agogo bells. , Player 3. 4.3-octave marimba, maracas. , Player 4. 4.3-octave marimba, guiro. , Player 5. 3-octave vibraphone, 3 suspended cymbals. , Player 6. 3-octave vibraphone, large tam-tam. Medium. Score and parts. Duration 12. 00. Published by C. Alan Publications. CN.05870. An excellent study in polyrhythms, pitting quintuplets against triplets against syncopated sixteenth note patterns. Requires independence among all players. All keyboard parts require 4-mallet technique. Great challenge. Two Antiphonal Portraits was composed in 2000 for the University of South Florida Percussion Ensemble. Stylistically, it reflects influences of late twentieth century sound mass composition, Latin-American percussion, and the concerto grosso procedures found in many Baroque instrumental compositions. The title refers to the division of the twelve performers into three groups of four, with two groups placed on opposite sides of the stage and the marimbas in the center. Although it is scored mostly for melodic. keyboard. instruments, all performers also play indefinitely-pitched wood, metal and membrane instruments. Most of the antiphonal passages occur in the parts for the vibraphones, xylophones, chimes, orchestra bells and crotales, all scored in pairs. The four marimbas function mostly as an independent sub-ensemble, occasionally interacting with the other instrumental groups. Throughout both movements, there is interplay between ideas introduced by definitely and indefinitely-pitched instruments. Overlapping textures of long sustained sonorities, counterpoint and repeated percussive passages are also essential structural materials in both movements. Thematic ideas introduced in a tentative and restrained manner in the contemplative first movement are developed more aggressively in the more complex, aggressive and rhythmically driven second movement. Melodic and harmonic materials in both movements are based on short segments of the chromatic scale. The rhythmic motives in the indefinitely-pitched instruments parallel the melodic contour of those introduced in the pitched instruments. Although the pitched instruments dominate much of the piece, the coda of the second movement consists of repeated cross-rhythms played entirely on indefinitely-pitched instrument.

Vertaling

Twee antifonale Portraits saamgestel deur Dan Adams. Perkussie Ensemble. Vir Percussion Ensemble. Player 1. 4-oktaaf ​​marimba, Harzer. , Player 2. 4-oktaaf ​​marimba, Agogo klokke. , Player 3. 4.3-oktaaf ​​marimba, maracas. , Player 4. 4.3-oktaaf ​​marimba, guiro. , Player 5. 3-oktaaf ​​vibrafoon, 3 opgeskort simbale. , Player 6. 3-oktaaf ​​vibrafoon, groot tam-tam. Medium. Telling en dele. Duur 12. 00. Gepubliseer deur C. Alan Publications. CN.05870. 'N uitstekende studie in poliritmes, beit vyfling teen drieling teen gesinkopeerde sestiende noot patrone. Vereis onafhanklikheid onder alle rolspelers. Alle sleutelbord dele 4-hamer tegniek. Groot uitdaging. Twee antifonale Portraits is gekomponeer in 2000 vir die Universiteit van Suid-Florida Percussion Ensemble. Stilisties, dit weerspieël invloede van die laat twintigste eeu klank massa samestelling, Latyns-Amerikaanse perkussie, en die concerto grosso prosedures in baie barok instrumenteel komposisies. Die titel verwys na die verdeling van die twaalf kunstenaars in drie groepe van vier, met twee groepe geplaas op die teenoorgestelde kante van die verhoog en die marimbas in die sentrum. Hoewel dit hoofsaaklik behaal vir melodiese. sleutelbord. instrumente, al die kunstenaars speel ook onbepaald-frekwensie hout, metaal en membraan instrumente. Die meeste van die antifonale gedeeltes voorkom in die onderdele vir die vibrafoons, xilofone, chimes, orkes klokke en crotales, al aangeteken in pare. Die vier marimbas funksie meestal as 'n onafhanklike sub-ensemble, soms interaksie met die ander instrumentale groepe. Dwarsdeur beide bewegings, daar is wisselwerking tussen idees wat deur beslis en onbepaald-frekwensie instrumente. Oorvleueling teksture van 'n lang volgehoue ​​sonorities, kontrapunt en herhaal perkussie gedeeltes is ook noodsaaklik strukturele materiaal in albei bewegings. Tematiese idees wat in 'n tentatiewe en opgehou wyse in die kontemplatiewe eerste beweging is meer aggressief ontwikkel in die meer komplekse, aggressief en ritmies aangedryf tweede beweging. Melodiese en harmoniese materiaal in albei bewegings is gebaseer op kort segmente van die chromatiese toonleer. Die ritmiese motiewe in die onbepaald-frekwensie instrumente parallel die melodiese kontoer van diegene wat in die laer opgeslaan instrumente. Hoewel die laer opgeslaan instrumente oorheers baie van die stuk, die koda van die tweede beweging bestaan ​​uit herhaalde kruis-ritmes heeltemal gespeel onbepaald-frekwensie instrument.