Notna sveska $60.00
Izvornik
Paschal Dances. David Gillingham. Voice sheet music. Percussion sheet music. Timpani sheet music. Advanced.
Prijevod
Pashalno Plesovi. David Gillingham. Glas note. Udaraljke note. Timpani note. Napredan.
Izvornik
Paschal Dances composed by David Gillingham. Percussion Ensemble. For Percussion Ensemble. Percussion 1. 4 small concert toms, 4 congas, crash cymbals, voice. , Percussion 2. 4 large concert toms, 4 bongos, voice. , Percussion 3. 5 timpani, tambourine. , Percussion 4. crotales, snare drum, voice. , Percussion 5. bells, temple blocks, voice. , Percus. Medium difficult. Score and parts. Duration 10. 00. Published by C. Alan Publications. CN.01850. Paschal Dances is based on the first two lines of the famous Gregorian Easter sequence, Victim paschali laudes. Praises to the Paschal Victim. Motives and phrases of the chant are used to unify the work which comprises an Invocation, 4 Dances, 2 Interludes, and a Benediction. Unmistakable Gillingham, so you know it's great music. Dedicated to Robert Hohner and the Central Michigan University Percussion Ensemble, Paschal Dances is based on the first two lines of the famous Gregorian Easter sequence, Victim paschali laudes. Praises to the Paschal Victim. Motives and phrases of the chant are used to unify the work which comprises an Invocation, 4 Dances, 2 Interludes, and a Benediction. In the opening Invocation, the first phrase of the chant tune is played by the orchestra bells and consequently, the first five notes are harmonized by the marimba. The orchestra bells play both phrases of the first line of the chant at the close of the section. Dance I, in fast tempo, is dominated by membrane instruments with interjections of the second line of the chant tune being played by keyboard instruments. The section segues into the first Interlude, characterized by bowed vibraphone and a dirge-like presentation of the first five notes of the chant in the piano. Following, in the same slow tempo, is Dance II, which features chanting of male voices in canon on each of the three phrases comprising the second line of the chant. The first phrase of the chant undergoes metamorphosis in Dance III, becoming a whole-tone configuration. The dance is set in a lively 6. 8 meter with periodic episodes of duplets against the triplet division. At midpoint, the dance breaks into quadruple meter with the first phrase of the chant played by the vibraphone moving in triplets. The dance returns to 6. 8 meter and elides with the second Interlude, in slow tempo, where fragments of the chant are heard in the bells, chimes and marimba. Following a brief silence, Dance IV ensues with the marimbas elaborating on the whole-tone motive used in Dance III. In very fast tempo, the movement climaxes on a glorious G-flat major chord, which also articulates the beginning of the Benediction. Accompanied by all mallet instruments playing the motive of the first phrase of the chant in different rhythms, the piano, along with voices, state a haunting motive derived from the second line of the chant. The work ends with three tolls of a questioning chord, with each articulation followed by an arpeggiated version of the chord in the upper register of the piano.
Prijevod
Pashalno Plesovi skladao David Gillingham. Udaraljkaški ansambl. Za udaraljke ansambla. Udaraljke 1. 4 male koncertne Toms, 4 congas, crash činele, glas. , Udaraljke 2. 4 velike koncertne Toms, 4 bongosi, glas. , Udaraljke 3. 5 timpani, bubnjevi. , Udaraljke 4. crotales, bubanj, glas. , Udaraljke 5. zvona, hram blokovi, glas. , Percus. Srednje teško. Rezultat i dijelovi. Trajanje 10. 00. Objavljeno C. Alan Publikacije. CN.01850. Pashalno Plesovi se temelji na prve dvije linije slavnog Gregorian uskrsne slijedu, žrtva paschali laudes. Pohvale na uskrsnoj žrtve. Motivi i fraze i pjevati koriste ujediniti rad koji sadrži pozivanje, 4 plesovi, 2 pauzama, i blagoslov. Nepogrešivo Gillingham, tako da znate da je veliki glazbeni. Posvećeno Robert Hohner i Središnja Michigan University udaraljkaškog ansambla, vazmeno Plesovi se temelji na prve dvije linije slavnog Gregorian uskrsne slijedu, žrtva paschali laudes. Pohvale na uskrsnoj žrtve. Motivi i fraze i pjevati koriste ujediniti rad koji sadrži pozivanje, 4 plesovi, 2 pauzama, i blagoslov. U uvodnom zazivom, prva rečenica na pjevati melodiju svira orkestar zvona i time, prvih pet note su usklađeni uz marimbu. Orkestar zvona igrati obje fraze prvoj crti pjevati na kraju odjeljka. Ples mi, u brzom tempu, dominira membranskih instrumenata s uzvicima drugog liniji pjevati iznosu odigrala tipkovnici instrumenata. Poglavlje segues u prvom međuigre, karakterizira pognute vibrafon i tužaljku poput predstavljanja prvih pet note pjevati u klavir. Nakon, u istom ritmu spore, je Dance II, koji ima pjevanje muških glasova u kanon na svakom od tri izraza koje čine drugu liniju pjevati. Prvi izraz za pjevanje prolazi metamorfozu u plesnom III, postaje konfiguracije cijelog ton. Ples je u živo 6. 8 metara s povremenim epizodama duplets protiv podjele tripletnih. Na središnjoj točki, ples provali u četverostrukom metar s prvim izrazom na pjevati igrao od vibrafon kreće u trojke. Plesne vraća na 6. 8 metara i izostavlja s drugom međuigre, u sporom tempu, gdje fragmenti pjevati čuju zvona, zvona i marimba. Nakon kratkog tišini, Dance IV proizlazi Uz marimbas razrade na cijelo-ton motiv koristi u plesnom III. U vrlo brzim tempom, pokret vrhunaca na slavne G-duru akord, koji artikulira početak blagoslov. U pratnji svih malj instrumentima svira motiv prve fraze o pjevati u različitim ritmovima, klavir, zajedno s glasovima, stanje nezaboravna motiv potječe iz druge linije pjevati. Rad završava s tri cestarina u upitnim akord, sa svakim artikulacije nakon čega slijedi arpeggiran verziju akord u gornji registar klavir.
