Bladmusiek $80.00

Oorspronklik

Concerto No. 2 for Marimba and Percussion Orchestra. Marimba sheet music. Percussion sheet music. Piano sheet music. Timpani sheet music. Vibraphone sheet music. Xylophone sheet music. Advanced.

Vertaling

Concerto No 2 vir Marimba-orkes en Perkussie. Marimba bladmusiek. Perkussie bladmusiek. Piano bladmusiek. Timpani bladmusiek. Vibrafoon bladmusiek. Xylophone bladmusiek. Gevorderde.

Oorspronklik

Concerto No. 2 for Marimba and Percussion Orchestra. Marimba Feature. Composed by Gillingham. Arranged by Nathan Daughtrey. Solo with Percussion Ensemble. For Solo with Percussion Ensemble. Solo Marimba. 5-octave. , Bells. Crotales, Xylophone. Chimes, Vibraphone 1. 3-octave. , Vibraphone 2. 3-octave. , Marimba 1. 4-octave. , Marimba 2. 4-octave. , Marimba 3. 4.3-octave. , Marimba 4. 5-octave. , Piano, Timpani, Percussion 1. brake drum, tambourine, su. Percussion Music. Difficult. Score and parts. Duration 23. 00. Published by C. Alan Publications. CN.11855. An intriguing, engaging, and challenging piece. Gillingham's "Concerto No. 2 for Marimba" is a must-try for all marimbists. The breakneck first movement sets a rapid pace for the turbulent musical passages throughout. Musical themes return in the second movement, but much slower with a delicate ensemble accompaniment. The lively third movement flirts with meter changes and mixed meter to create a sprightly feel to the movement leading to the solo cadenza and finale. The "Concerto No. 2 for Marimba" is a commission by a consortium of schools and performers headed by Professor Marc Wooldridge of Northwestern College, Orange City, Iowa. The work exploits the full range of the technical and expressive ability of the five-octave concert grand marimba. It is cast in the standard three-movement format. The first movement uses sonata-rondo form and begins with a slow introduction and quasi-cadenza by the marimba. An animated first theme follows in G-minor accompanied by clarinets and tambourine. A contrasting second theme area follows featuring chromatic mediant progressions and descending chromatic lines. The return of the first theme utilizes a slightly different accompaniment. The development section reworks all the thematic material in different guises. The recapitulation presents the first theme, verbatim, as it was in the exposition. The second theme, however, changes the mode to major. The return alternates the marimba on the theme with the winds playing the theme in augmentation. The marimba quietly ends the movement with an ascending and descending arpeggiated passage. The second movement is a chaconne with eight variations. The marimba states a rather haunting chorale-like melody in Bb minor. The first variation features the low brass on the chaconne theme with the marimba on the variation. Variation II uses marimba, clarinet, bells, and vibraphone and Variation III uses marimba, oboe, and horns. Cascading muted brass against the augmented chaconne theme in the flutes and clarinets are indicative of Variation IV. Variation V changes the slow pace to fast using marimba, brass, timpani, and bells. A haunting Variation VI utilizes bowed marimba on the chaconne theme accompanied by piano and bells. Variation VII features the low brass on the chaconne theme against triplets in the upper brass. Rolled arpeggiated chords highlight Variation VIII along with a solo alto saxophone on the second half of the variation. A somber coda brings the movement to a close. The third movement, like the first, is in sonata-rondo design and is cyclic, bringing back and combining the thematic material of the first and second movements. The first theme, in D-minor, is angular and spirited, accompanied by clarinets and tambourine. reminiscent of Mvt. I. The second theme brings back the second theme of the first movement followed by the return of the first theme, now accompanied by saxophones and tambourine. The development combines and works thematic material from all three movements of the concerto. The recapitulation begins with the bassoons on the first theme, followed by the horns. trumpets and finally, the marimba. The second theme brings back the chaconne of the second movement, this time in major with the marimba accompanying using rhythmic material taken from the first theme of the third movement. There is no formal return of the first theme. Instead, the marimba plays a cadenza in which the first theme material and the second movement chaconne are developed. A galloping presto. coda. follows, ending the movement in D major. - David R. Gillingham PRAISE FOR THE CONCERTO "The new Concerto for Marimba by David Gillingham is an intriguing, engaging, and challenging piece. I had so much fun playing it and I am planning to perform it everywhere. It is a "must-try" for all marimbists. " She-e Wu world-renowned solo marimba artist "Nathan Daughtry's percussion ensemble transcription of my Concerto for Marimba is absolutely masterful. Mr. Daughtrey has used a multitude of percussion colors to faithfully emulate the colors of the wind ensemble in a wonderful version of the concerto that will be accessible to fine percussion ensembles throughout the world. " David R. Gillingham composer.

Vertaling

Concerto No 2 vir Marimba-orkes en Perkussie. Marimba Kenmerk. Saamgestel deur Gillingham. Gereël deur Nathan Daughtrey. Solo met Percussion Ensemble. Vir Solo met Percussion Ensemble. Solo Marimba. 5-oktaaf. , Klokke. Crotales, Xylophone. Chimes, Vibrafoon 1. 3-oktaaf. , Vibrafoon 2. 3-oktaaf. , Marimba 1. 4-oktaaf. Marimba 2. 4-oktaaf. Marimba 3. 4.3-oktaaf. Marimba 4. 5-oktaaf. , Klavier, Timpani, Percussion 1. rem drom, tamboeryn, US. Perkussie Musiek. Moeilik. Telling en dele. Duur 23. 00. Gepubliseer deur C. Alan Publications. CN.11855. 'N intrige, innemende, en uitdagende stuk. Gillingham se "Concerto No 2 vir Marimba" is 'n moet-probeer om al marimbists. Die razend eerste beweging stel 'n vinnige tempo vir die onstuimige musikale gedeeltes regdeur. Musikale temas terug in die tweede beweging, maar veel stadiger met 'n delikate ensemble-begeleiding. Die lewendige derde beweging flirt met meter veranderinge en gemengde meter 'n sprankelende gevoel aan die beweging wat lei tot die solo cadenza en finale te skep. Die "Concerto No 2 vir Marimba" is 'n kommissie deur 'n konsortium van skole en kunstenaars onder leiding van Professor Marc Wooldridge van Noordwes College, Orange City, Iowa. Die werk wedervaringe die volle omvang van die tegniese en ekspressiewe vermoë van die vyf-oktaaf ​​Concert Grand marimba. Dit is in die standaard drie-beweging formaat gooi. Die eerste beweging gebruik sonata-rondovorm en begin met 'n stadige inleiding en kwasi-cadenza deur die marimba. 'N geanimeerde eerste tema volg in G-mineur vergesel deur klarinette en tamboeryn. 'N kontrasterende tweede tema gebied volg met chromatiese mediantnoot progressies en dalende chromatiese lyne. Die terugkeer van die eerste tema maak gebruik van 'n effens verskillende begeleiding. Die ontwikkeling artikel vuurwerke al die tematiese materiaal in verskillende gedaantes. Die samevatting bied die eerste tema, woordeliks, soos dit was in die uiteensetting. Die tweede tema, maar verander die modus te groot. Die opbrengs afgewissel die marimba op die tema met die winde die tema in aanvulling speel. Die marimba rustig eindig die beweging met 'n stygende en dalende arpeggiated gedeelte. Die tweede beweging is 'n Chaconne met agt variasies. Die marimba state 'n taamlik spook koraal-agtige melodie in Bb minderjarige. Die eerste variasie funksies van die lae koper op die Chaconne tema met die marimba op die variasie. Variasie II gebruik marimba, klarinet, klokke, en vibrafoon en variasie III gebruik marimba, hobo, en horings. Waterval gedempte koper teen die aangevul Chaconne tema in die fluit en klarinet is 'n aanduiding van variasie IV. Variasie V verander die stadige tempo te vinnig met behulp van marimba, koper, timpani, en klokke. 'N spook Variasie VI gebruik gebuig marimba op die Chaconne tema vergesel deur klavier en klokke. Variasie VII funksies van die lae koper op die Chaconne tema teen drieling in die boonste koper. Gerol arpeggiated akkoorde beklemtoon Variasie VIII saam met 'n solo altsaxofoon op die tweede helfte van die variasie. 'N somber koda bring die beweging na 'n beslote. Die derde beweging, soos die eerste, is in sonata-rondo ontwerp en is siklies, terug te bring en die kombinasie van die tematiese materiaal van die eerste en tweede bewegings. Die eerste tema, in D-mineur, is hoekig en begeesterde, vergesel deur klarinette en tamboeryn. herinner aan MVT. Ek. Die tweede tema bring terug die tweede tema van die eerste beweging gevolg deur die terugkeer van die eerste tema, vergesel van saxofoon en tamboeryn. Die ontwikkeling kombineer en werk tematiese materiaal van al drie bewegings van die concerto. Die herhaling begin met die fagotte op die eerste tema, gevolg deur die horings. trompette en uiteindelik, die marimba. Die tweede tema bring terug die Chaconne van die tweede beweging, hierdie keer in die groot met die marimba gepaardgaande gebruik van ritmiese materiaal uit die eerste tema van die derde beweging. Daar is geen formele terugkeer van die eerste tema. In plaas daarvan, die marimba speel 'n cadenza in wat die eerste tema materiaal en die tweede beweging Chaconne ontwikkel. 'N galop presto. stert. volg, die beëindiging van die beweging in D majeur. - David R. Gillingham lof vir die concerto "Die nuwe Concerto vir Marimba deur David Gillingham is 'n intrige, innemende, en uitdagende stuk. Ek het so baie pret te speel en ek is van plan om dit te doen oral. Dit is 'n "moet-probeer" vir alle marimbists. "Sy-e Wu wêreldbekende solo marimba artist" Nathan Daughtry se perkussie ensemble transkripsie van my Concerto vir Marimba is absoluut meesterlike. Mnr Daughtrey gebruik 'n menigte van perkussie kleure aan die kleure van die wind ensemble getrou navolg in 'n wonderlike weergawe van die concerto wat toeganklik is vir fyn perkussie ensembles oor die hele wêreld sal wees. David R. Gillingham komponis.