Bladmusiek $65.00

Oorspronklik

Concerto for Drumset and Percussion Ensemble. score & parts. Glockenspiel sheet music. Marimba sheet music. Percussion sheet music. Vibraphone sheet music. Xylophone sheet music. Advanced.

Vertaling

Concerto vir Drumset en Perkussie Ensemble. telling. Glockenspiel bladmusiek. Marimba bladmusiek. Perkussie bladmusiek. Vibrafoon bladmusiek. Xylophone bladmusiek. Gevorderde.

Oorspronklik

Concerto for Drumset and Percussion Ensemble. score & parts. composed by Jamie Whitmarsh. Soloist. with Percussion Ensemble. For soloist. with percussion ensemble. Solo Drumset. Snare Drum, 2 Rack Toms, Floor Tom, Kick Drum, Hi-Hat, Ride Cymbal, Crash Cymbal, 2 Assorted Cymbals. Crash, Splash, China. Player 1. Glockenspiel, Bowed Vibraphone. Player 2. Vibraphone. Player 3. 4-octave Marimba, Xylophone. Player 4. 4.3. Medium difficult. Score & parts. Duration 12. 00. Published by C. Alan Publications. CN.19820. Written to explore the multiple roles of the drumset, Concerto for Drumset and Percussion Ensemble divides into three sections, each treating the drumset in a unique way. The first treats the instrument as a classical multi-percussion set-up. The second treats the instrument much more melodically by utilizing the differences in pitch between the drums and cumbals. The third and final section allows the drumset to do what it specializes in - GROOVE. I wrote this piece as a way to explore the multiple roles of the drumset. Although it is typically considered a member of the rhythm section, I believe that the multitude of timbres available allows for more depth than simply keeping time or setting a groove. Despite this intent to explore, I intentionally refrained from attempting to encompass everything that is possible on this instrument. For instance, I did not utilize brushes or rods. Ultimately, the drumset has a lot to offer, and this piece is intended to give one interpretation of some of the possibilities. Concerto for Drumset and Percussion Ensemble is written in three sections. The first section treats the drumset as a collection of instruments and sounds - essentially as a multiple-percussion instrument. The focus of the writing is less on coordination of different limbs, and more in creating cohesive thematic material using the various sounds available. The second section uses the drumset to create and develop melodic material. While the snare drum. with snares off. is the central instrument, the differences in pitch between the different drums and cymbals allow for melodic contour to be suggested and absorbed. The final section allows the drumset to do what the drumset typically is used for - groove. This section alternates between soloistic fills and different grooves. The 9. 4 meter is divided as 5. 32. , 5. 32. , 5. 32. , 3. Although cadenza material is provided, the soloist should feel free to use that time to allow his or her own voice to emerge. The written cadenza may be followed literally, used as inspiration, or thrown out entirely. Additionally, from measures 410-419, the soloist may improvise different sound effects on various drums and cymbals, so long as an overall effect of decay is felt. Generally, rim shots are not intended to be loud, unless accented. Also, unless marked otherwise, cymbals and triangles should ring freely. - Jamie Whitmarsh.

Vertaling

Concerto vir Drumset en Perkussie Ensemble. telling. saamgestel deur Jamie Whitmarsh. Solis. met Percussion Ensemble. Vir solis. met perkussie ensemble. Solo Drumset. Snare Drum, 2 Rack Toms, Vloer Tom, Kick Drum, Hi-hoed, Ride simbaal, Crash simbaal, 2 Verwerking Simbale. Ongeluk, Splash, China. Player 1. Glockenspiel, vibrafoon gebuig. Speler 2. Vibrafoon. Speler 3. 4-oktaaf ​​Marimba, Xylophone. Player 4. 4.3. Medium moeilik. Telling. Duur 12. 00. Gepubliseer deur C. Alan Publications. CN.19820. Skriftelike die verskeie rolle van die drumset te verken, Concerto vir Drumset en Perkussie Ensemble verdeel in drie afdelings, elk die behandeling van die drumset in 'n unieke manier. Die eerste lekkernye die instrument as 'n klassieke multi-perkussie set-up. Die tweede lekkernye die instrument baie meer melodies deur gebruik te maak van die verskille in toonhoogte tussen die dromme en cumbals. Die derde en finale artikel laat die drumset om te doen wat dit spesialiseer in - GROOVE. Ek het hierdie stuk as 'n manier om die verskeie rolle van die drumset te verken. Alhoewel dit tipies beskou as 'n lid van die ritme afdeling, glo ek dat die menigte van timbres beskikbaar maak voorsiening vir meer diepte as net die behoud van die tyd of die opstel van 'n groef. Ten spyte van hierdie voorneme te verken, ek doelbewus weerhou probeer alles wat moontlik is op hierdie instrument te sluit. Byvoorbeeld, ek het nie borsels of stokke gebruik. Uiteindelik, die drumset het 'n baie om te bied, en hierdie stuk is bedoel een interpretasie van sommige van die moontlikhede te gee. Concerto vir Drumset en Perkussie Ensemble is in drie afdelings geskryf. Die eerste afdeling behandel die drumset as 'n versameling van instrumente en klanke - hoofsaaklik as 'n multiple-perkussie instrument. Die fokus van die skrif is minder op koördinering van verskillende ledemate, en meer in die skep van samehangende tematiese materiaal met behulp van die verskillende klanke beskikbaar. Die tweede afdeling gebruik die drumset te skep en te ontwikkel melodiese materiaal. Terwyl die snaartrom. met strikke af. is die sentrale instrument, die verskille in toonhoogte tussen die verskillende dromme en simbale toelaat vir melodiese kontoer te voorgestel word en geabsorbeer. Die finale afdeling kan die drumset om te doen wat die drumset tipies gebruik word vir - groef. Hierdie afdeling wissel tussen solist vul en verskillende groewe. Die 9. 4 meter is verdeel as 5. 32. 5. 32. 5. 32. , 3. Hoewel cadenza materiaal verskaf word, moet die solis voel vry om daardie tyd te gebruik om toe te laat om sy of haar eie stem te voorskyn kom. Die skriftelike cadenza kan letterlik gevolg word, gebruik as inspirasie, of uitgegooi heeltemal. Daarbenewens, van maatreëls 410-419, die solis kan verskillende klankeffekte op verskeie dromme en simbale improviseer, so lank as wat 'n algehele effek van verval gevoel. Oor die algemeen, is die rand skote nie bedoel om hard te wees nie, tensy beklemtoonde. Ook, tensy anders aangedui, simbale en driehoeke moet vrylik ring. - Jamie Whitmarsh.