Notna sveska $50.00
Izvornik
Double Image. piano reduction. Saxophone sheet music. Advanced.
Prijevod
S dvije slike. Smanjenje piano. Saksofon note. Napredan.
Izvornik
Double Image. piano reduction. Double Concerto for 2 Saxophonists. Composed by David R. Gillingham. Chamber Ensemble. For 2 Saxophones & Piano. 2, solo saxophones. soprano, alto, tenor & baritone. piano. Medium difficult. Piano reduction. Duration 30. 00. Published by C. Alan Publications. CN.17062. Opening with a dark and somber set of variations, Double Image exploits the four instruments of the saxophone family. Beautiful, lyrical melodies glide through the second movement as the saxes begin their interplay. The third movement is an exciting romp from beginning to end. Truly a must for the advanced saxophone duo. Double Image was commissioned by Jeff Heisler and Shawn Teichmer, two former saxophone alumni from Central Michigan University. The work is a concerto in three movements that exploits four of the common instruments of the saxophone family as performed by two players. The first movement features the tenor and baritone saxophone, the second, the alto and the tenor saxophone and the third, soprano saxophones. The movements of the concerto are starkly contrasting. The first movement, Passacaglia Lamento, is a dark, somber and mysterious set of variations on a bass line consisting of chromatic mediant relationships and angular leaps. The solo baritone saxophone begins the thematic bass line and is then joined by the solo tenor saxophone. Variation I begins with keyboard percussion accompanying the horns on the theme with the solo tenor saxophone on cascading scale passages. The solo baritone saxophone joins the tenor on the tail of the theme with added chimes. Preceded by a short transition in the wind ensemble, Variation II is abbreviated and features a dance-like interplay between the two solo saxophones in asymmetrical meter. 16. Variation III ensues in which the solo saxophones alternate a skeletonized version of the theme in augmentation accompanied by ascending scales in the upper woodwinds. A heavy, ponderous interlude in the brass leads to Variation IV. Variation IV is perhaps the most dark and mysterious section of the movement that features a ghosted half-tone ostinato in the solo saxophones over only the harmony of the passacaglia. The tail of the variation is then played by low brass and woodwinds accompanied by piano and keyboard percussion. A brief brass fanfare leads to Variation V, which is a spirited duet by the solo saxophones alternating between 4. 4 and 7. 8 meter, with the wind ensemble accompanying on short articulations of the harmonic background. Horns, flutes and eventually trumpets, enter playing the tail of the theme culminating dramatically on four strongly articulated sonorities by the full ensemble with an underlying timpani solo diminishing into a coda using the head of the passacaglia and ending on an unresolved sonority. Movement II, Reveries, takes advantage of the two most expressive saxophones. in my opinion. , the alto and the tenor. The movement is dreamy consisting of beautiful, lyrical melodic lines, extended tertian harmonies and an array of shifting tonality. The movement is in free form and begins with a sort of 'sighing' melodic line that cascades downward and scale-wise. Both saxophones freely exchange this motive over shifting tone color. A variation of sorts follows with the solo saxophones exchanging the motive over a static F# minor tonality. An interlude follows in Bb Major, with an interplay between solo oboe and flute utilizing the motive which leads into a new section in A Major beginning with sweeping harp-like passages in the piano. The solo saxophones begin interplay amongst themselves on a contrasting motive consisting of rising and falling scale-based passages. The texture and dynamic of the section increase and rise to a dramatic moment which brings back the original descending motive in E Major. The passage diminishes in volume and segues into E Minor with the solo saxophones engaging in free development accompanied by the marimba and the piano. The development continues with a bubbly, staccato pattern in the clarinets and marimba and a return of the original motive in imitation between the solo saxophones in C Minor. A transition precipitates a change of mode into C Major and the movement concludes in dreamy fashion with the return of the descending motive and a coda beginning in A Major and coming to rest in Gb Major.
Prijevod
S dvije slike. Smanjenje piano. Double Koncert za 2 saksofonista. Sastoji David R. Gillingham. Komorni ansambl. Za 2 saksofona. 2, solo saksofoni. sopran, alt, tenor. plan. Srednje teško. Smanjenje Piano. Trajanje 30. 00. Objavljeno C. Alan Publikacije. CN.17062. Otvaranje s tamnom i tmuran set varijacija, s dvije slike iskorištava četiri instrumente saksofon obitelji. Lijepe, lirske melodije klize kroz drugi pokret kao saxes počinju svoje Interplay. Treći je stavak uzbudljivo nered od početka do kraja. Doista potrebno za napredne saksofon duo. Dvostruka slika je naručio Jeff Heisler i Shawn Teichmer, dva bivša saksofon bivših iz Srednje Michigan University. Rad je o koncertu u tri stavka koji iskorištava četiri od uobičajenih instrumenata saksofon obitelji kao obavljaju dva igrača. Prvi stavak ima tenor i bariton saksofon, drugi, na alt i tenor saksofon, a treća, sopran saksofona. Pokreti koncerta oštro su kontrastne. Prvi stavak, Passacaglia Lamento, je tamno, tmuran i tajanstveni niz varijacija na bas liniju koja se sastoji od kromatske mediant odnosa i kutnih skokovi. Solo bariton saksofon počinje tematsku bas liniju, a zatim se pridružio i solo tenor saksofon. Varijacija sam počinje s tipkovnicom udaraljke prateće rogove na temu sa solo tenor saksofon na kaskadno razmjera prolaza. Solo bariton saksofon pridružuje tenor na repu temu s dodanim otkucaji. Prethodi kratko tranzicije u vjetar ansambla, Varijacija II je skraćeno i ima plesni poput interakciju između dviju samostalnih saksofona u asimetričnoj metru. 16. Varijacija III proizlazi u kojoj su solo saksofoni izmjenjivati s skeletonized verziju temu u povećanje pratnji min. vaga u gornjim woodwinds. Težak, težak interludij u mjedi dovodi do varijaciju IV. Varijacija IV je možda najviše tamna i tajanstvena dio pokreta koji ima prividnim pola tone ostinantni u solo saksofona nad samo harmoniji passacaglije. Rep od varijacija onda glumi niske mesinga i puhačke instrumente uz pratnju klavira i tipkovnice udaraljke. Kratak brass fanfare dovodi do varijaciju V, što je duhovit duet strane solo saksofona naizmjence 4. 4 i 7.. 8 metara, s vjetrom u pratnji ansambla na kratkim artikulacija harmonijske pratnje. Horns, flaute i na kraju trube, unesite igrati rep temu kulminirala dramatično na četiri čvrsto artikuliranim sonornosti po punoj ansambla s kojima se temelji Timpani solo smanjuju u kodom pomoću glavu passacaglije a završava na neriješenog zvučnosti. Pokret II, Maštanja, uzima prednost od dva najizrazitije saksofona. po mom mišljenju. , Alt i tenor. Pokret je sanjive čine lijepim, lirski melodijskim linijama, produžen trodnevni harmonija i niz prebacuje tonalitet. Pokret je u slobodnom obliku i počinje s nekom vrstom 'uzdišući' melodijske linije koja kaskadama dolje i scale-mudar. Oba saksofoni slobodno razmjenjivati ovaj motiv više prebacuje ton boje. Разновидностью рода следует с соло саксофоны обмена мотив над статической F. Interludij slijedi u Bb duru, s međuigri solo oboe i flaute koji koristi motiv koji vodi u novi odjeljak u glavni početku s brišući harfu poput prolaza u klavir. U solo saksofoni početi interakciju između sebe na kontrastnoj motiva koja se sastoji od raste i pada prolaza scale-based. Tekstura i dinamika povećanja presjeka i uspon na dramatičnom trenutku koji donosi vratiti izvorni silaznu motiv u E-duru. Prolaz smanjuje volumen i segues u E-molu sa solo saksofona uključenje u slobodnom razvoju pratnji marimbu i glasovir. Razvoj se nastavlja s šampanjac, staccato uzorak u klarineta i marimbu i vrati izvorni motiv u imitaciji između solo saksofona u c-molu. Prijelaz taloži promjenu načina rada u C-duru i pokret završava u sanjivom modi s povratkom u silaznoj motiva i kodom početkom u A-duru, a dolazi na odmor u GB-duru.
