Bladmusiek $21.50

Oorspronklik

Studies in Copper. Percussion sheet music. Timpani sheet music. Advanced.

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Studies in Copper. Perkussie bladmusiek. Timpani bladmusiek. Gevorderde.

Oorspronklik

Studies in Copper composed by Alex Orfaly. Percussion Ensemble. For Timpani. 4 timpani. Percussion Music. Medium to medium difficult. Solo part. Published by C. Alan Publications. CN.15020. This collection of etudes focus on the following five issues on the timpani. Sound Quality, Articulation. and evenness between the hands. , Rolls, Intonation, Rhythm and Time. These etudes focus on the following five issues on the timpani. Sound Quality, Articulation. and evenness between the hands. , Rolls, Intonation, Rhythm and Time. Sound Quality. No matter the technical challenge the player should always strive for the best sound quality possible. Always paying particular attention to where each drum is being struck. the playing spot. will help in achieving this goal. There are many opinions as to what an ideal sound can be, for myself it is an open and ringing sound that is produced by using a relaxed technique. Articulation. Clear articulation is always a concern for the timpanist. Using harder mallets should not always be the solution. In fact, the timpanist might find it more rewarding to use softer mallets, achieve a fine timpani sound, and use their touch and technique to produce the required articulation. The timpanist should pay particular attention to the evenness of sound between the hands, especially when there are repeated notes on one drum. Rolls. Rolling is the timpanist's equivalent of a long tone. Rolls will emphasize the ringing nature of the timpani and not the percussive qualities. In passages with slurs marked above rolls, these rolls should be as connected as possible between the drums and not broken. Intonation. Precise intonation is very important. Hearing proper intervallic relationships is essential to the development of any timpani player. If a note is out of tune, the player should fix it. while playing. and not allow it to remain false. Rhythm and Time. Keeping time while tuning during rests is a skill required by the timpanist. If the player needs more time in these etudes, it is acceptable to change the amount of time given. The player should then adhere to this change. Players should make sure to subdivide mentally to ensure proper rhythmic spacing and placement. Muffling is encouraged at the discretion of the player. Sometimes articulations are marked to indicate whether they should be long or short. In any event, muffle as quietly as possible. The terms General sound, Classical sound, etc. starting p. 18. are intentionally vague. These terms are only meant to act as a general guideline for the sound of each etude. This may indicate a stick choice or may indicate how a stick should be used. In any case, it is up to the performer to explore the many possibilities and come up with a sound that is musically fitting. Finally, all of the aforementioned technical issues aside, it is very important that these etudes should be approached musically. Each performer should find his or her personal interpretation of these studies. A timpanist should strive to always be a listening and adjusting musician. These etudes are dedicated to Paul Yancich. - Alex A. Orfaly.

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Studies in Copper composed by Alex Orfaly. Perkussie Ensemble. Vir Timpani. 4 timpani. Perkussie Musiek. Medium tot medium moeilik. Slegs 'n gedeelte. Gepubliseer deur C. Alan Publications. CN.15020. Hierdie versameling van etudes fokus op die volgende vyf kwessies op die timpani. Klank kwaliteit, Artikulasie. en egaligheid tussen die hande. , Rolls, intonasie, ritme en Tyd. Hierdie etudes fokus op die volgende vyf kwessies op die timpani. Klank kwaliteit, Artikulasie. en egaligheid tussen die hande. , Rolls, intonasie, ritme en Tyd. Sound Kwaliteit. Maak nie saak van die tegniese uitdaging om die speler moet altyd daarna streef om die beste klank kwaliteit moontlik. Altyd met besondere aandag aan waar elke drom word getref. die spel spot. sal help in die bereiking van hierdie doelwit. Daar is baie menings oor wat 'n ideale klank kan wees, vir myself dit is 'n oop en lui klank wat geproduseer word deur die gebruik van 'n ontspanne tegniek. Artikulasie. Duidelik artikulasie is altyd 'n bekommernis vir die keteltromspeler. Die gebruik van harder hamers moet nie altyd die oplossing wees. In werklikheid is, kan die keteltromspeler vind dit meer lonend sagter hamers te gebruik, bereik 'n boete timpani klank, en gebruik om hulle te raak en tegniek die vereiste artikulasie te produseer. Die keteltromspeler moet veral aandag skenk aan die egaligheid van klank tussen die hande, veral wanneer daar herhaalde note op een drom. Rolls. Rolling is die keteltromspeler se ekwivalent van 'n lang tone. Rolls sal die lui aard van die timpani en nie die perkussie eienskappe beklemtoon. In gange met bogies bo rolle gemerk, moet hierdie rolle word as gekoppel as moontlik tussen die dromme en nie gebreek. Intonasie. Presiese intonasie is baie belangrik. Hoor behoorlike intervallic verhoudings is noodsaaklik vir die ontwikkeling van 'n timpani speler. As 'n nota is uit tune, moet die speler dit regmaak. terwyl speel. en nie toelaat dat dit vals bly. Ritme en Tyd. Die behoud van die tyd terwyl tuning tydens rus is 'n vaardigheid wat vereis word deur die keteltromspeler. As die speler moet meer tyd in hierdie etudes, is dit aanvaarbaar om die bedrag van die tyd gegee om te verander. Die speler moet dan by hierdie verandering. Spelers moet seker maak om geestelik onderverdeel behoorlike ritmiese spasiëring en plasing te verseker. Muffling is aangemoedig om by die diskresie van die speler. Soms artikulasies gemerk om aan te dui of hulle lang of kort moet wees. In elk geval, en gedemp so stil as moontlik. Die terme Algemene klank, Klassieke klank, ens. begin p. 18. is doelbewus vaag. Hierdie terme word slegs bedoel as 'n algemene riglyn vir die klank van elke etude te tree. Dit kan dui op 'n stok keuse of kan aandui hoe 'n stok moet gebruik word. In elk geval, dit is aan die performer die vele moontlikhede te verken en kom met 'n klank wat is musikaal pas. Ten slotte, al die genoemde tegniese kwessies opsy, is dit baie belangrik dat hierdie etudes moet musikaal genader word. Elke kunstenaar moet vind om sy of haar persoonlike interpretasie van hierdie studies. A keteltromspeler moet daarna streef om altyd 'n luister en aanpassing musikant wees. Hierdie etudes is toegewyd aan Paul Yancich. - Alex A. Orfaly.