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Sonhando em Salvador. Percussion sheet music.

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Sonhando em Salvador. Perkussie bladmusiek.

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Sonhando em Salvador composed by Julie Hill. Percussion Ensemble. For Brazilian percussion ensemble for 12 or more players. timbau, repique, tarol. snare drum. , small surdo, medium surdo, large surdo. Level 5. Score and set of parts. Published by Innovative Percussion. IP.E-JH-SON. Composer's Notes. Sonhando em Salvador. Dreaming of Salvador. is based on the Samba Reggae rhythms performed throughout the Pelourinho District of Salvador da Bahia, Brazil. Samba reggae, developed in the 1970's, is a result of the fusion between Brazilian samba and the music of reggae artists such as Bob Marley and Jimmy Cliff, and is evidenced by the inherent swing in the style. Salvador da Bahia has the largest black population in Brazil. eighty percent. , and the development of samba reggae is just one of the ways in which the local culture has embraced black awareness. The rhythms in Sonhando em Salvador are derived from the composer's experience with Escola Dida, a fine arts academy in the Pelourinho District of Salvador dedicated to social reform for "at-risk" women and children through percussion. The founder of Escola Dida, Neguinho do Samba, is the former maestro of Olodum. Neguinho do Samba has developed his own style of samba reggae, including innovations in the surdo patterns and the introduction of the timbau drum into the percussion ensemble instrumentation. These adaptations create an infectious groove and are the "trade marks" of the Escola Dida style. Sonhando em Salvador is a tribute to Escola Dida, celebrating the music of samba reggae and their social contributions to the women and children of Brazil. It is common practice for Brazilian percussion ensembles to be choreographed. Performers commonly add dance steps, stick twirls and other visual motions. Sonhando em Salvador should begin with the performers off stage. The solo timbau player walks out alone and begins to play. His solo drumming serves to call the other performers to the stage. In the spirit of this festive music, performers should interact with the audience and each other as they enter the performance area and continue until their cue to begin playing. Singing in Sonhando em Salvador should be rhythmically accurate, but is not restricted to exact pitches, but rather, should fall in a comfortable range of each performer. Those who attended the University of Kentucky's Showcase Concert at PASIC 2004 heard the world premiere of Julie Hill's "Sonhando em Salvador". -Dreaming of Salvador-. for a Brazilian percussion ensemble of six percussionists playing timbau, repique, tarol. snare drum. , small surdo, medium surdo and large surdo. The music, Hill explains, "is based on the samba reggae rhythms performed throughout the Pelourinho District of Salvador da Bahia, Brazil. " Thanks to Hill's interest and expertise in Brazilian percussion, her extensive and informative program notes will greatly benefit all performances of the work, and her attention to detail should ensure a rendition that approaches the authenticity of performances by an indigenous ensemble. Program notes cover the opening of the work. all performers begin off stage. , the entrance of the timbau player, who walks out alone and begins a solo, the entrances of the other performers, who "interact with the audience and each other," the addition of "dance steps, stick twirls and other visual motions," and the proper manner to handle the singing required in all except the timbau player's part. And, in a final, generous gesture, Hill includes her e-mail address so "questions regarding performance practice can be directed to the composer. " This publication provides a unique showcase for the exciting and infectious music that serves as a tribute to Escola Dida, which is a fine arts academy in the Pelourinho District of Salvador and is also the name given to a particular style of samba reggae, here celebrated. Students not only get a hands-on experience performing this music, but also become knowledgeable about its history, current status, and authentic performance practices. - John R. Raush Percussive Notes, April 2006.

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Sonhando em Salvador composed by Julie Hill. Perkussie Ensemble. Vir Brasiliaanse perkussie ensemble vir 12 of meer spelers. timbau, repique, tarol. snaartrom. , Klein Surdo, medium Surdo, groot Surdo. Vlak 5. Score en stel dele. Gepubliseer deur Innoverende Percussion. IP.E-JH-seun-. Komponis se Notes. Sonhando em Salvador. Droom van Salvador. is gebaseer op die Samba Reggae ritmes uitgevoer oor die hele Pelourinho Distrik van Salvador da Bahia, Brasilië. Samba reggae, ontwikkel in die 1970's, is 'n gevolg van die samesmelting tussen die Brasiliaanse Samba en die musiek van reggae kunstenaars soos Bob Marley en Jimmy Cliff en is bewys deur die inherente swing in die styl. Salvador da Bahia het die grootste swart bevolking in Brasilië. tagtig persent. , En die ontwikkeling van Samba reggae is net een van die maniere waarop die plaaslike kultuur het swart bewussyn omhels. Die ritmes in Sonhando em Salvador is afgelei van die komponis se ervaring met Escola Dida, 'n boete van kunste-akademie in die Pelourinho Distrik van Salvador gewy aan sosiale hervorming vir "risiko" vroue en kinders deur perkussie. Die stigter van die Escola Dida, Neguinho nie Samba, is die voormalige maestro van Olodum. Neguinho doen Samba ontwikkel sy eie styl van die Samba reggae, insluitend innovasies in die Surdo patrone en die bekendstelling van die timbau drom in die perkussie ensemble instrumentasie. Hierdie aanpassings skep 'n aansteeklike groef en is die "handelsmerke" van die Escola Dida styl. Sonhando em Salvador is 'n huldeblyk aan Escola Dida, die viering van die musiek van Samba reggae en hul sosiale bydraes tot die vroue en kinders van Brasilië. Dit is algemene praktyk vir die Brasiliaanse perkussie ensembles te gechoreografeer word. Kunstenaars algemeen voeg danspassies, stok krullen en ander visuele ontwerp. Sonhando em Salvador moet begin met die kunstenaars af stadium. Die solo timbau speler loop uit alleen en begin om te speel. Sy solo dromme dien die ander kunstenaars te roep na die verhoog. In die gees van hierdie feestelike musiek, moet presteerders interaksie met die gehoor en mekaar as hulle in die prestasie-area en voortgaan totdat hulle cue speel om te begin. Sing in Sonhando em Salvador moet ritmies akkuraat, maar is nie beperk tot die presiese plekke nie, maar eerder om te val in 'n gemaklike omvang van elke kunstenaar. Diegene wat die Universiteit van Kentucky se Showcase Concert by PASIC 2004 bygewoon het die wêreld première van Julie Hill se "Sonhando em Salvador". -Dreaming van Salvador-. vir 'n Brasiliaanse perkussie ensemble van ses perkussiespelers speel timbau, repique, tarol. snaartrom. , Klein Surdo, medium en groot Surdo Surdo. Die musiek, Hill verduidelik, "is gebaseer op die Samba reggae-ritmes uitgevoer oor die hele Pelourinho Distrik van Salvador da Bahia, Brasilië. "Danksy Hill se belangstelling en kundigheid in Brasilië perkussie, haar uitgebreide en leersame program notas sal grootliks tot voordeel van al uitvoerings van die werk, en haar aandag aan detail moet 'n weergawe wat nader aan die egtheid van optredes deur 'n inheemse ensemble verseker. Program notas dek die opening van die werk. al die kunstenaars begin af stadium. , Die ingang van die timbau speler wat loop uit alleen en begin 'n solo, die ingange van die ander kunstenaars wat "interaksie met die gehoor, en elke ander," het die toevoeging van "danspassies, hou krullen en ander visuele ontwerp," en die behoorlike wyse die sang vereis almal behalwe die timbau speler se deel te hanteer. En, in 'n finale, groothartige gebaar, Hill sluit haar e-pos adres, sodat "vrae oor die prestasie praktyk kan gerig word aan die komponis. "Hierdie publikasie bied 'n unieke vertoonvenster vir die opwindende en aansteeklike musiek wat dien as 'n huldeblyk aan Escola Dida, wat 'n fyn kuns akademie in die Pelourinho Distrik van Salvador en is ook die naam gegee aan 'n spesifieke styl van Samba reggae, hier gevier. Studente wat nie net 'n praktiese ervaring die uitvoering van hierdie musiek nie, maar ook 'n kundige oor die geskiedenis, huidige status, en outentieke prestasie praktyke. - John R. Raush perkussie Notes, April 2006.