Bladmusiek $110.00

Oorspronklik

Abiquiu. B-Flat Trumpet sheet music. Grade 5.

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Abiquiu. B-Flat Trumpet bladmusiek. Graad 5.

Oorspronklik

Abiquiu composed by David R. Gillingham. For concert band. Piccolo, Flute 1, Flute 2, Oboe 1, Oboe 2, Bassoon 1. 2, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Bb Bass Clarinet, Eb Contralto Clarinet, Eb Alto Saxophone 1, Eb Alto Saxophone 2, Bb Tenor Saxophone, Eb Baritone Saxophone, Bb Trumpet 1, Bb Trumpet 2,. Grade 5. Score and parts. Duration 9. 00. Published by C. Alan Publications. CN.16830. A glorious programatic work that challenges performer and listener alike. With the support of a full percussion section, you will travel from the driving rhythms of the city, to the swell of the desert canyon, to the open skies. Hold on for the ride. Abiquiu was inspired by a provocative poem by the same name written by Mesa State College Professor and Colorado poet, L. Luis Lopez. Take this city-filled soul, pour it out, place it in soil beneath your high desert vista. Fill it with canyon, sky, mesa, mountain, smell of rain and song of bird. Tint each with time of day. let each settle into a painting of sand. so that when I-m away I can close my eyes and gaze upon and breathe your sacred strands. The ideas set forth by each short stanza of the poem are set somewhat programmatically to music. At the onset of the piece the music suggests the 'city-filled soul' with disjunct themes, driving rhythms and harmonic confusion. Envisioning one's self amidst the rush hour of a big city and the ensuing mental frustration. The section features 'calls for help' in the horns and trumpets using large intervals, mostly of 7ths and octaves. One last 'call' culminates the section as the 'city-filled soul' is finally poured out in the soil beneath the 'desert vista. ' The pulse of the city can still be heard with the constant heartbeat of the timpani and remnants of the 'call' motive in the horns. The music dramatically swells and segues with the next section beginning with a backdrop of keyboard percussion, piano and a fluttering of flutes. Arising from the texture is a theme in Db major, beginning in the horns, evoking the spaciousness of the canyon and the vastness of the open air and sky as so eloquently written in the second stanza of the poem. The theme grows in volume and texture and eventually the entire ensemble is singing the beauty of this picturesque scene and the music modulates to F major and finally to D major and then subsides. A mysterious ostinato in the piano, bells and vibraphone provides backdrop for short phrases of a chorale melody played by the clarinets as if in the distance signifying how each element settles 'into a painting of sand. ' Soon, however, the busyness and frustration of the 'city-filled soul' begin to infiltrate the section until it all returns with all of the fury heard in the beginning of the piece. -so that when I-m away-. But soon, as if closing one's eyes to the madness, the beauty of the canyon, sky, mesa, mountain, smell of rain and song of bird burst forth out of the texture and the majesty of the spacious 'canyon' theme returns. -I can close my eyes and gaze upon and breathe your sacred strands. The music 'climbs' to the top of the mountain and ends joyously in Eb major. The texture then thins leaving only the piano, bells and vibraphone and decays into a single Bb on the vibraphone, much like the pure voice of a child. Under this sustained voice, the clarinets quote the opening notes of the 'canyon' theme, followed by the distant, 'sacred strands' of the chorale in the piano and bells. The sequence repeats and the piece ends quietly with the warm sound of the marimba, bells and vibraphone. With the generous support of Stephen Boelter and Karen Combs, Abiquiu was commissioned by the Mesa State College Wind Symphony, for the 2009 Best of the West Music Festival. During the compositional process, Calvin Hofer, conductor, was informed that Stephen developed a recurrence of melanoma, which was terminal. This was devastating news to the Best of the West family. Through my correspondence with Calvin, I discovered how important Best of the West was to Stephen. His vision was simple. to help provide a rich musical experience for all involved - performer, audience, or music educator. Stephen's wife, Karen, continues their visionary work with her financial support of Best of the West. To honor Stephen Boelter, Calvin requested that, if possible, I include a small quote in the piece from Stephen's Alma Mater, the University of Wisconsin-Whitewater. Two phrases from the University of Wisconsin-Whitewater Alma Mater. adapted from Beethoven, Op. 81b. can be found in the clarinets in measures 93-101 and in measures 153-159 in the piano and orchestra bells. Stephen played clarinet in the Mesa State Wind Symphony.

Vertaling

Abiquiu saamgestel deur David R. Gillingham. Vir konsert orkes. Piccolo, Fluit 1, 2 fluit, hobo 1, 2 hobo, fagot 1. 2, Bb Klarinet 1, Bb Klarinet 2, Bb Klarinet 3, Bb basklarinet, Eb Contralto klarinet, Eb altsaxofoon 1, Eb altsaxofoon 2, Bb saxofoon, Eb Bariton saxofoon, Bb Trumpet 1, Bb Trumpet 2,. Graad 5. Telling en dele. Duur 9. 00. Gepubliseer deur C. Alan Publications. CN.16830. 'N Wonderlike programatic werk wat uitdagings performer en luisteraar gelyk. Met die ondersteuning van 'n volledige perkussie artikel, sal jy reis van die ry ritmes van die stad, aan die deining van die woestyn canyon, na die oop lug. Hou op om die rit. Abiquiu is geïnspireer deur 'n uitdagende gedig deur dieselfde naam geskryf deur Mesa State College Professor en Colorado digter, L. Luis Lopez. Neem hierdie stad vol siel, gooi dit uit, plaas dit in die grond onder jou hoë woestyn vista. Vul dit met canyon, die lug, mesa, berg, reuk van reën en die lied van voëls. Tint elk met tyd van die dag. Laat elkeen vestig in 'n skildery van sand. sodat wanneer Im weg Ek kan my oë toemaak en aanskou en asemhaal jou heilige stringe. Die idees uiteengesit deur elke kort strofe van die gedig is ietwat stel programmaties na musiek. Aan die begin van die stuk van die musiek daarop dui dat die "stad-gevul siel met disjunct temas, ry ritmes en harmoniese verwarring. Behels met 'n mens se self te midde van die spitsverkeer van 'n groot stad en die daaropvolgende geestelike frustrasie. Die artikel funksies se oproepe vir hulp 'in die horings en trompette met 'n groot tussenposes, meestal van 7ths en oktawe. Een laaste oproep 'loop die artikel as die "stad-gevul siel' is uiteindelik uitgestort in die grond onder die 'woestyn vista. Oproep 'n motief in die horings 'Die pols van die stad kan nog steeds met die konstante hartklop van die timpani en die oorblyfsels van die gehoor word'. Die musiek dramaties swel en segues met die volgende afdeling begin met 'n agtergrond van die sleutelbord perkussie, klavier en 'n fladdering van fluite. Wat voortspruit uit die tekstuur is 'n tema in Db majeur begin in die horings, sodat dit die ruimte van die canyon en die uitgestrektheid van die oop lug en lug as so welsprekend in die tweede strofe van die gedig geskryf. Die tema groei in volume en tekstuur en uiteindelik die hele ensemble sing die skoonheid van hierdie skilderagtige toneel en die musiek moduleer om F majeur en uiteindelik na D majeur en dan bedaar. 'N geheimsinnige ostinato in die klavier, klokke en vibrafoon bied agtergrond vir 'n kort frases van 'n koraal melodie gespeel deur die klarinette asof in die verte aan te dui hoe elke element vestig' in 'n skildery van sand. 'Binnekort egter die besigwees en frustrasie van die' stad-gevul siel begin om die artikel te infiltreer totdat dit alle opgawes met al die woede gehoor in die begin van die stuk. -So dat wanneer ek-m away-. Maar gou, asof die sluiting van 'n mens se oë na die waansin, die skoonheid van die canyon, die lug, mesa, berg, reuk van reën en die lied van voëls bars uit van die tekstuur en die majesteit van die ruim 'canyon' tema opbrengste. -Ek Kan my oë toemaak en aanskou en asemhaal jou heilige stringe. Die musiek klim 'na die top van die berg en eindig met vreugde in Eb majeur. Die tekstuur verdunt dan sodat net die klavier, klokke en vibrafoon en verval in 'n enkele Bb op die vibrafoon, baie soos die suiwer stem van 'n kind. Onder hierdie volgehoue ​​stem, die klarinette haal die opening van notas van die 'canyon 'n tema, gevolg deur die verre, "heilige stringe' van die koraal in die klavier en klokke. Die volgorde herhaal en die stuk eindig rustig met die warm klank van die marimba, klokke en vibrafoon. Met die ruim ondersteuning van Stephen Boelter en Karen Combs, was Abiquiu in opdrag van die Mesa State College Wind Symphony, vir die 2009 Beste van die Wes-Musiekfees. Gedurende die komposisionele proses, Calvin Hofer, dirigent, is ingelig dat Stephen 'n herhaling van melanoom, wat terminaal is ontwikkel. Dit was verwoestend nuus na die beste van die Wes-familie. Deur my korrespondensie met Calvyn, het ek ontdek hoe belangrik die beste van die Weste was Stephen. Sy visie was eenvoudig. om te help om 'n ryk musikale ervaring vir almal wat betrokke is - performer, gehoor, of musiek opvoeder. Stephen se vrou, Karen, gaan voort om hul visioenêre werk met haar finansiële ondersteuning van die beste van die Wes-. Te eer Stephen Boelter, Calvin versoek dat, indien moontlik, ek sluit 'n klein aanhaling in die stuk van Stephen se alma mater, die Universiteit van Wisconsin-Whitewater. Twee frases van die Universiteit van Wisconsin-Whitewater Alma Mater. aangepas uit Beethoven, Op. 81B. kan gevind word in die klarinette in maatreëls 93-101 en in maatreëls 153-159 in die klavier en orkes klokke. Stephen gespeel klarinet in die Mesa Staat Wind Symphony.