Notna sveska $120.00
Izvornik
Keep Silence. David Gillingham. B-Flat Trumpet sheet music. Bass Trombone sheet music. Horn sheet music. Grade 4.
Prijevod
Šuti. David Gillingham. B-Stan Truba note. Bas Trombon note. Horn note. Grade 4.
Izvornik
Keep Silence composed by David Gillingham. For concert band. Piccolo, Flute 1. 2, Oboe 1. 2, Bassoon 1. 2, Bb Clarinet 1, Bb Clarinet 2. 3, Bass Clarinet, Eb Alto Saxophone 1. 2, Bb Tenor Saxophone, Eb Baritone Saxophone, Bb Trumpet 1, Bb Trumpet 2. 3, F Horn 1. 2, F Horn 3. 4, Trombone 1, Trombone 2, Bass Trombone, Euphon. Grade 4. Score and parts. Duration 8. 00. Published by C. Alan Publications. CN.09630. Keep Silence is a fantasy for band celebrating a broad range of moods ranging from wonder and mysteriousness to awe and celebration. Based on the French carol melody known as Picardy, the fluctuation between minor and major tonality enhances the broad range of emotions. Keep Silence is a fantasy for band to the tune known as Picardy, a French carol melody. The tune is found in most Protestant hymnals with the words taken from the 4th century liturgy of St. James. The fluctuation between minor and major tonality and the fluctuation between awe and wonder reflected by the words make this hymn particularly attractive. The fantasy attempts to show a broad range of mood from wonder and mysteriousness to awe and celebration. The work begins mysteriously with ascending and descending D-Aeolian. natural minor. lines in the clarinet which give way to the hymn tune presented by solo flute, solo muted trumpet, and bells. The modal passages eventually lead to a transition leading to a presentation of the hymn by the trombone choir accompanied by anxious sixteenths in the flutes, clarinets and keyboard percussion which are based on motivic material from the hymn tune. The timpani interjects some dramatic statements between phrases. This leads to a rather aggressive statement by the brass which doubles each note of the opening motive of the hymn and diminishes the note values to sixteenths. This leads joyously to G-flat major. The volume dramatically decreases and steady sixteenths in the bells and vibraphone accompany the hymn tune played by solo flute with an obligato by solo oboe. The harmony of the hymn tune changes significantly in this presentation, creating a sort of heavenly atmosphere. The aggressive sixteenth notes of the previous transitional section return quite suddenly and grow into fanfare-like majesty and segue into a presentation of the hymn that is predominantly in C-major. The section grows to a pinnacle, modulates to F-minor, and returns to mysteriousness. Muted trumpets present the aggressive transition material in ethereal fashion along with the vibraphone while the low brass and woodwinds play the hymn tune in plaintive somberness. At the end of the tune, the remaining brass burst forth with the transition material and lead to one final statement of the penultimate phrase of the hymn in F-major. A coda follows with brass and woodwinds playing the first and second phrases of the hymn. The brass then begin a sort of benediction loosely based on the penultimate phrase of the hymn followed by euphonium solo on the final phrase, followed by muted trumpet on the second phrase and ending with alto saxophone on the first phrase--the reverse order signifying a return to the reverence of the beginning.
Prijevod
Šuti sastoji David Gillingham. Za koncertni bend. Piccolo, frula 1. 2, obou 1. 2, fagot 1. 2, Bb klarinet 1, Bb klarinet 2. 3, bas klarinet, Eb alt saksofon 1. 2, BB tenor saksofon, Eb Bariton saksofon, Bb Truba 1, Bb Truba 2. 3, F Horn 1. 2, F Horn 3. 4, Trombon 1, Trombon 2, Bas Trombon, Euphon. Grade 4. Rezultat i dijelovi. Trajanje 8. 00. Objavljeno C. Alan Publikacije. CN.09630. Držite Šutnja je fantazija za bend slavi širok raspon raspoloženja u rasponu od čuđenja i tajanstvenosti da divljenja i slavlja. Na temelju francuskog Carol melodijom poznat kao Pikardije, fluktuacija između većih i manjih tonalitet poboljšava široki raspon emocija. Držite Šutnja je fantazija za bend u iznosu poznat kao Pikardije, francuski Carol melodije. Pjesma se nalazi u većini protestantskih hymnals s riječima uzetim iz 4. stoljeća liturgiju sv Jakova. Fluktuacija između manjeg i većeg tonalitet i kretanju tečaja između divljenja i čuđenja ogleda se riječima bi se ova himna posebno atraktivan. Fantazija pokušava pokazati širok raspon raspoloženja od čuđenja i tajanstvenosti da divljenja i slavlja. Počinje raditi misteriozno s uzlaznim i silaznim D-eolski. prirodni maloljetna. linije na klarinetu koji ustupaju hvalospjevu napjev predstavio solo flautu, solo prigušen trube i zvona. Modalni prolaza na kraju dovesti do prijelaza vodeći na predstavljanju himnu koju trombon zbor u pratnji tjeskobnim Sixteenths u flaute, klarineta i tipkovnice udaraljke koje se temelje na motivičku materijala iz himnu tune. Timpani interjects neke dramatične izjave između fraza. To dovodi do vrlo agresivnog izjavu mjedi koji služi i svaku notu otvaranja motiv himnu i smanjuje na umu vrijednosti Sixteenths. To dovodi radosno se G-duru. Volumen dramatično smanjuje i odmjeren Sixteenths u zvona i vibrafon pratiti himnu melodiju koju je odigrao solo flautu s obveznog solo oboe. Sklad hvalospjevu iznosu značajno mijenja u ovoj prezentaciji, stvarajući neku vrstu nebeskog atmosferi. Agresivna šesnaesti bilješke o prethodnom prijelaznom dijelu vratiti sasvim iznenada i preraste u fanfare poput veličanstva i Segue u predstavljanju himne koje je pretežno u C-duru. Dionica raste na vrhuncu, modulira se f-molu, te se vraća u tajanstvenosti. Prigušenih trube predstaviti agresivnu prijelazni materijal u eteričnom mode zajedno s vibrafon, dok niska mesinga i woodwinds igrati himnu ugodite tužan somberness. Na kraju napjev, preostalo brass praska naprijed s prijelaznom materijal i dovesti do jedne završne izjave o pretposljednjoj frazi himne u F-duru. Coda slijedi s mjedi i puhačke instrumente igraju prvu i drugu fraze himna. Brass zatim početi neku vrstu blagoslova labavo temelji se na predzadnjem frazi himne, nakon čega slijedi euphonium solo na završnom izrazu, nakon čega slijedi prigušene trube na drugog izraza, a završava s alt saksofon na prvom izrazu - obrnuti redoslijed označava povratak na poštovanje od početka.
