Bladmusiek $47.00

Oorspronklik

ExitIX Novum. Marimba sheet music. Percussion sheet music. Vibraphone sheet music. Xylophone sheet music.

Vertaling

ExitIX Novum. Marimba bladmusiek. Perkussie bladmusiek. Vibrafoon bladmusiek. Xylophone bladmusiek.

Oorspronklik

ExitIX Novum composed by Peter Saleh. Percussion Ensemble. For percussion quintet. vibraphone, 4 marimba, xylophone, finger cymbals, bass drum, djembe, wood block, triangles, cymbals, tenor drum, chinese tom. Score and set of parts. Published by Innovative Percussion. IP.E-PS-EXI. Composer's Notes. ExitIX Novum is a percussion quintet created from a few distinct sources with its genesis being in one of the counter lines composed for an arrangement for percussion ensemble of Dajeong Choi's "Lift Up My Hands to You-, Another source is the percussion music of Bob Becker, in particular, his invention of the "prepared tenor drum-, as an attempt to approximate the aesthetic of tabla for the snare drummer. A primary source of pitch material is the three chameleon-like octatonic scales. The tertian and other chordal relationships of the scale, specifically using traditional voice leading to slide between major and minor triads are explored. Also, the appreciation for and fascination with the rhythmic processes of South Indian music provided a rhythmic "hook" that helped the composer find real creative purpose with the piece. ExitIX Novum received the second place award in the 2007 PAS "Medium Percussion Ensemble" competition contest. "-ExitIX Novum" is scored for solo percussionist with percussion quartet. The soloist plays a prepared tenor drum, vibraphone, and a pedal-mounted Chinese tomtom. A bass drum may be substituted for the Chinese tom-tom, which is used mostly for occasional rhythmic punctuations. Originally designed by percussionist Bob Becker, the prepared tenor drum is actually a tightly-tuned snare drum fitted with a foam muffling ring under the batter head and devoid of snares. The prepared tenor drum is intended to imitate a tabla. In addition to Indian percussion, the composer also acknowledges Ragtime xylophone, rudimental drumming, and second-line New Orleans jazz rhythms as inspirations for "ExitIX Novum. " Pitch organization is based on a combination of three octatonic scale structures, which renders an effect similar to tonal modulation. There are frequent meter changes and all parts demand considerable technical skills. The percussion quartet includes a part for xylophone and finger cymbals, a multiple percussion part that includes a jembe, bass drum, woodblock, three suspended cymbals, three triangles, and two marimba parts, each written on a single staff line as Marimba I and Marimba II, respectively. Both marimba parts begin in bass clef, and the first part switches between bass and treble clef later in the piece. The marimba parts could conceivably be played using two mallets, but each would be better facilitated using two mallets in each hand. Although frequently played in rhythmic unison, the two parts also demonstrate considerable rhythmic independence. The four-octave xylophone part includes ossia passages for a three and one-half octave instrument. The xylophone and multiple percussion parts also include a few passages played on an "alto marimba" or "auxiliary marimba. " The jembe is the most prominent indefinitely-pitched ensemble part. "ExitIX Novum" begins with a vibraphone solo consisting of both chords and melody. The soloist is accompanied by marimba, finger cymbals, bass drum, and suspended cymbal. A second, similar accompanied vibraphone solo occurs later in the piece. However, the solo part is dominated by the relentless rhythmic drive of the tenor drum, introduced in measure 23. Sticking patterns are indicated in some passages, and the part includes numerous accented and unaccented single strokes, rebound strokes, and flams. For the first half of the piece the tempo increases incrementally and the ensemble accompaniment is texturally dense. The second vibraphone solo brings a brief repose. As the tenor drum returns there is an effect of acceleration through the rhythmic diminution of rapidly alternating duple, triple, quintuple, and sextuple rhythmic subdivisions. The accompaniment remains sparse, consisting of mostly marimba rolls. The sparseness of this section provides an impressive contrast to the increase in tempo and rhythmic activity in all parts as the piece is propelled to its frantic conclusion. " - Daniel Adams Percussive Notes, October 2007.

Vertaling

ExitIX Novum composed by Peter Saleh. Perkussie Ensemble. Vir perkussie kwintet. vibrafoon, 4 marimba, xilofoon, vinger simbale, bastrom, djembe, hout blok, driehoeke, simbale, tenoor drom, Chinese Tom. Score en stel dele. Gepubliseer deur Innoverende Percussion. IP.E-PS-Exi. Komponis se Notes. ExitIX Novum is 'n slag kwintet geskep uit 'n paar verskillende bronne met sy ontstaan ​​om in een van die toonbank lyne bestaan ​​vir 'n reëling vir perkussie ensemble van Dajeong Choi se "my hande ophef na U-, Nog 'n bron is van die perkussie-musiek van Bob Becker , in die besonder, sy uitvinding van die "bereid tenoor drom-, as 'n poging om die estetiese van tabla te benader vir die strik tromspeler. 'N primêre bron van blad materiaal is die drie verkleurmannetjie-agtige octatonic skale. Die derde daagse koors en ander akkoordbasis verhoudings van die skaal, spesifiek die gebruik van tradisionele stem voorste gly tussen groot en klein drieklanke word ondersoek. Ook, die waardering vir en bekoring met die ritmiese prosesse van Suid-Indiese musiek verskaf 'n ritmiese "haak" wat gehelp het om die komponis vind ware kreatiewe doel met die stuk. ExitIX Novum het die tweede plek toekenning in die 2007 PAS "Medium Percussion Ensemble" kompetisie wedstryd. "-ExitIX Novum" is behaal vir 'n solo perkussiespeler met perkussie kwartet. Die solis speel 'n voorbereide tenoor drom, vibrafoon, en 'n trap-gemonteer Chinese tomtom. 'N bas drom kan vervang word vir die Chinese Tom-Tom, wat hoofsaaklik gebruik word vir die Sosiale ritmiese punctuations. Oorspronklik ontwerp deur perkussiespeler Bob Becker, die voorbereide tenoor drom is eintlik 'n styf-ingeskakel snaartrom toegerus met 'n skuim muffling ring onder die beslag kop en beroof van strikke. Die voorberei tenoor drom is bedoel om 'n tabla na te boots. In bykomend tot die Indiese perkussie, die komponis erken ook Ragtime xilofoon, rudimental dromme en tweede lyn New Orleans jazz-ritmes as inspirasie vir "ExitIX Novum. "Pitch organisasie is gebaseer op 'n kombinasie van drie octatonic skaal strukture, wat maak 'n effek soortgelyk aan tonale modulasie. Daar is 'n gereelde meter veranderinge en alle dele eis aansienlike tegniese vaardighede. Die perkussie kwartet sluit 'n deel vir die xilofoon en vinger simbale, 'n veelvuldige perkussie deel wat sluit 'n djembe, bastrom, houtblok, drie opgeskort simbale, drie driehoeke, en twee marimba dele, elk geskryf op 'n enkele personeel lyn as Marimba Ek en Marimba II, onderskeidelik. Beide marimba dele begin in bassleutel, en die eerste deel skakel tussen bas en sopraan sleutel later in die stuk. Die marimba dele verstaanbaar kan gespeel word met behulp van twee hamers, maar elkeen sou beter gefasiliteer word met behulp van twee hamers in elke hand. Alhoewel daar dikwels gespeel in ritmiese eenheid, die twee dele ook demonstreer aansienlike ritmiese onafhanklikheid. Die vier-oktaaf ​​xilofoon deel sluit ossia gedeeltes vir 'n drie en 'n half oktaaf ​​instrument. Die xilofoon en verskeie perkussie dele sluit ook 'n paar gedeeltes gespeel op 'n "alt marimba" of "hulp marimba. "Die djembe is die mees prominente onbepaald-opgeslaan ensemble deel. "ExitIX Novum" begin met 'n vibrafoon solo bestaan ​​van beide akkoorde en melodie. Die solis is vergesel deur marimba, vinger simbale, bas drom, en geskors simbaal. 'N soortgelyke vergesel vibrafoon solo kom later in die stuk. Tog is die solo deel oorheers deur die meedoënlose ritmiese dryfkrag van die tenoor drom, wat in maatreël 23. Steek patrone in sommige gedeeltes aangedui, en die deel sluit talle aksent en onbeklemtoonde enkele beroertes, herstel beroertes, en flams. Vir die eerste helfte van die stuk die tempo verhoog geleidelik en die ensemble-begeleiding is texturally digte. Die tweede vibrafoon solo bring 'n kort rus. As die tenoor drom terug is daar 'n effek van versnelling deur die ritmiese vermindering van vinnig wisselende tweeslag-, drieslag, vyf voudig, en zesvoud ritmiese onderafdelings. Die begeleiding bly yl, bestaande uit meestal marimba rolle. Die schaarsheideis van hierdie artikel bied 'n indrukwekkende teenstelling met die toename in tempo en ritmiese aktiwiteit in alle dele as die stuk is aangedryf sy woes gevolgtrekking. "- Daniel Adams perkussie Notes, Oktober 2007.