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Izvornik

8 Pieces for 4 Timpani. Elliott Carter. Percussion sheet music. Timpani sheet music.

Prijevod

8 komada za 4 timpana. Elliott Carter. Udaraljke note. Timpani note.

Izvornik

8 Pieces for 4 Timpani. With Program notes. Composed by Elliott Carter. 1908-. For Timpani. One Player. Percussion Works. Includes Recitative and Improvisation. 24 pages. G. Schirmer #AMP6820. Published by G. Schirmer. HL.50234240. ISBN 0793548489. 9x12 inches. These Eight Pieces For Four Timpani are great fun to play for the advanced percussionist. Detailed performance notes are included by Elliot Carter regarding the size of timpani, sticks and stick strokes, special effects and articulation. Programme Note. The Canto and Adagio of this set of Eight Pieces for Four Timpani. One Player. were written in 1966, while the other six were composed in 1949. In those days, these six were found difficult, if not impossible to play effectively, but, as time passed interest in them and performing skills grew, so I decided to publish the set complete, as four of them had been widely circulated in manuscript, in 1966. At that time, they were revised with the help of the percussionist, Jan Williams, of the New York State University at Buffalo. In gratitude for his advice, the Canto and Adagio were composed for him and included the set. Unlike the other, each of which is a four-note piece based on different tunings of the drums, these two employ the possibilities of the pedal-tuned chromatic timpani. The six from 1949, besides being virtuoso solos for the instrumentalist, are studies in the controlled, interrelated changes of speed now called Òmetric modulation,Ó and generated ideas carried further in my First String Quartet begun at the same time and completed shortly afterwards. Each piece is dedicated to a performer who showed an interest in the works in their early days. I. Saeta. 1949. 1966. Ð Al Howard Ð An Andalusian song of improvisatory character sung during an outdoor religious procession, usually at Easter. said to be the descendent of a rain ceremony during which an arrow. saeta. was shot into the clouds to release the rain. II. Moto Perpetuo. 1949. 1966. Ð Paul Price Ð A rapid patter of notes of equal length, broken up into phrases of constantly changing accentuation, played with special, small, light drum sticks. III. Adagio. 1966. Ð Jan Williams Ð Uses pedal tuned timpani to produce vibratos, harmonics and glissandos in dramatic outburst. IV. Recitative. 1949. 1966. Ð Morris Lang Ð Short contrasting phrases, one of which is condensed into the irregularly repeated major third in the latter part and punctuated by another phrase that disintegrates. V. Improvisation. 1949. 1966. Ð Paul Price Ð The opening phrase furnishes materials for numerous variations with constant changes of speed. VI. Canto. 1966. Ð Jan Williams Ð Uses pedal tuned timpani played by snare drum sticks in a line that slides from one pitch to another. VII. Canaries. 1949. 1966. Ð Raymond DesRoches Ð A dance of the XVI and XVII centuries, ancestor of the gigue, supposedly imported from the Òwild menÓ of the Canary Islands. in 6. 8 time with dotted rhythms-here fragmented and developed. VIII. March. 1949. 1966. Ð Saul Goodman Ð Two march rhythms of different speeds are superimposed, one played with the butts, the other with the heads of the drum sticks. These produce musical ideas expanded in the middle section. --Elliott Carter.

Prijevod

8 komada za 4 timpana. S programa bilješke. Sastavljen Elliott Carter. 1908 -. Za timpana. Jedan igrača. Udaraljke Works. Uključuje Recitativ i improvizaciji. 24 stranica. Г. Ширмер. Objavljeno G. Schirmer. HL.50234240. ISBN 0793548489. 9x12 inča. Ovih osam komada za četiri timpana su zabavno igrati za napredne perkusionist. Detaljne bilješke performanse su uključeni Elliot Carter s obzirom na veličinu timpana palicama i strijele potezima, specijalne efekte i artikulacije. Program Note. Canto i Adagio ovog skupa osam komada za četiri timpana. Jedan igrača. napisane su u 1966, dok je ostalih šest su sastavljeni u 1949. U tim danima, tih šest pronađeni su teško, ako ne i nemoguće igrati učinkovito, ali, kako je vrijeme prolazilo, zanimanje za njih i obavljanje vještine rasla, pa sam odlučio objaviti set završi, što je četiri od njih su naširoko cirkulira u rukopisu, 1966. U to vrijeme, oni su revidirani uz pomoć u perkusionist, Jan Williams, Državnog sveučilišta New York u Buffalu. U znak zahvalnosti za njegov savjet, Canto i Adagio su sastavljeni za njega i uključeni u set. Za razliku od ostalih, od kojih je svaka četiri note komad na temelju različitih tunings bubnjeva, ove dvije zaposliti mogućnosti pedala-tuned kromatske timpana. Šest od 1949, osim što virtuoznih solo za instrumentalista, studije u kontroliranim, međusobno povezanih promjena brzine sada zove Òmetric modulacija, Ó i generira ideje prenose dalje u moj prvi gudački kvartet započeo u isto vrijeme, a ubrzo nakon toga završili. Svaki komad je posvećen izvođač koji je pokazao interes za radove u svojim ranim danima. I. saeta. 1949. 1966. Ð Al Howard Ð andaluzijske pjesma improvizatorska karaktera pjevali na otvorenom vjerske procesije, obično na Uskrs. , rekao je da je potomak svečanosti kiše tijekom kojeg strelica. strijela. ubijen je u oblacima objaviti kišu. II. Moto perpetuo. 1949. 1966. Ð Paul Cijena Ð brzo brbljati notama jednake duljine, razbijena u frazama stalno mijenja isticanje, igrao s posebnim, malih, laganih bubanj palicama. III. Adađo. 1966. Ð Jan Williams Ð Koristi pedaline tuned timpana proizvoditi vibratos, harmonike i glissandos u dramatičnoj ispade. IV. Govorna pjesma. 1949. 1966. Ð Morris Lang Ð Kratak kontrastne fraze, od kojih je jedan kondenzirati u neredovito ponovljenog glavni treći u drugom dijelu i naglašene drugom frazom koja se raspada. V. Improvizacija. 1949. 1966. Ð Paul Cijena Ð otvaranja izraz furnishes materijale za brojne varijacije, uz stalne promjene brzine. VI. Spjev. 1966. Ð Jan Williams Ð Koristi pedaline tuned timpana igrali bubanj palicama na liniji koja slajdova s ​​jednog terena na drugi. VII. Kanarinci. 1949. 1966. Ð Raymond Desroches Ð ples od XVI i XVII stoljeća, predak gigue, navodno uvozi iz Òwild Meno od Kanarskih otoka. u 6. 8 put s isprekidane ritmove-ovdje rascjepkana i razvio. VIII. Ožujak. 1949. 1966. Ð Saul Goodman Ð Dva ožujak ritmovi različitim brzinama se preklapaju, jedan je igrao s guzicama, a drugi s čelnicima bubanj palicama. Te proizvode glazbene ideje proširio u srednjem dijelu. --Elliott Carter.