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Izvornik

Two Antiphonal Portraits. score only. Dan Adams. Marimba sheet music. Percussion sheet music. Vibraphone sheet music. Intermediate.

Prijevod

Dva Antiphonal Portreti. postići samo. Dan Adams. Marimbu note. Udaraljke note. U Bjelovaru note. Srednji.

Izvornik

Two Antiphonal Portraits. score only. composed by Dan Adams. Percussion Ensemble. For Percussion Ensemble. Player 1. 4-octave marimba, cowbell. Player 2. 4-octave marimba, agogo bells. Player 3. 4.3-octave marimba, maracas. Player 4. 4.3-octave marimba, guiro. Player 5. 3-octave vibraphone, 3 suspended cymbals. Player 6. 3-octave vibraphone, large tam-tam. Pla. Medium. Score only. Duration 12. 00. Published by C. Alan Publications. CN.05871. An excellent study in polyrhythms, pitting quintuplets against triplets against syncopated sixteenth note patterns. Requires independence among all players. All keyboard parts require 4-mallet technique. Great challenge. Two Antiphonal Portraits was composed in 2000 for the University of South Florida Percussion Ensemble. Stylistically, it reflects influences of late twentieth century sound mass composition, Latin-American percussion, and the concerto grosso procedures found in many Baroque instrumental compositions. The title refers to the division of the twelve performers into three groups of four, with two groups placed on opposite sides of the stage and the marimbas in the center. Although it is scored mostly for melodic. keyboard. instruments, all performers also play indefinitely-pitched wood, metal and membrane instruments. Most of the antiphonal passages occur in the parts for the vibraphones, xylophones, chimes, orchestra bells and crotales, all scored in pairs. The four marimbas function mostly as an independent sub-ensemble, occasionally interacting with the other instrumental groups. Throughout both movements, there is interplay between ideas introduced by definitely and indefinitely-pitched instruments. Overlapping textures of long sustained sonorities, counterpoint and repeated percussive passages are also essential structural materials in both movements. Thematic ideas introduced in a tentative and restrained manner in the contemplative first movement are developed more aggressively in the more complex, aggressive and rhythmically driven second movement. Melodic and harmonic materials in both movements are based on short segments of the chromatic scale. The rhythmic motives in the indefinitely-pitched instruments parallel the melodic contour of those introduced in the pitched instruments. Although the pitched instruments dominate much of the piece, the coda of the second movement consists of repeated cross-rhythms played entirely on indefinitely-pitched instrument.

Prijevod

Dva Antiphonal Portreti. postići samo. sastoji Dan Adams. Udaraljkaški ansambl. Za udaraljke ansambla. Igrač 1. 4-oktave marimba, cowbell. Igrač 2. 4-oktave marimba, Agogo zvona. Player 3. 4,3 oktave marimbu, maracas. Igrač 4. 4.3-oktave marimba, güiro. Player 5. 3 oktave vibrafon, 3 suspendirani činele. Igrač 6. 3-oktave vibrafon, velika TAM-TAM. Pla. Medium. Postići samo. Trajanje 12. 00. Objavljeno C. Alan Publikacije. CN.05871. Izvrsna studija u poliritmovi, pitting petorke protiv trojke protiv syncopated XVI bilješku uzoraka. Zahtijeva neovisnost među svim igračima. Svi tipkovnica dijelovi zahtijevaju 4-Mallet tehniku. Veliki izazov. Dva Antiphonal Portreti je skladao 2000. godine na Sveučilištu u Južnoj Floridi udaraljkaškog ansambla. Stilski, to odražava utjecaje krajem dvadesetog stoljeća zvuka masovno sastava, latinskoamerički udaraljke, te postupke koncert Grosso naći u mnogim baroknih instrumentalnih skladbi. Naslov se odnosi na podjelu dvanaest izvođača u tri skupine po četiri, s dvije skupine postavljene na suprotnim stranama pozornice i marimbas u centru. Iako je postigao najviše za melodijski. Tipkovnica. instrumenti, svi izvođači i igrati na neodređeno vrijeme tonova drva, metala i membrane instrumente. Većina antiphonal prolaza javljaju u dijelovima za vibraphones, xylophones, otkucaji, orkestar zvona i crotales, sve postignuto u parovima. Četiri marimbas funkcija govore kao samostalni pod-ansambla, ponekad u interakciji s drugim instrumentalnih skupina. Tijekom oba pokreta, postoji međuigra između ideja uveo svakako i na neodređeno vrijeme tonova instrumenata. Preklapanje teksture dugo održao sonornosti, kontrapunkt i ponovio udarno prolaza su također bitni strukturni materijal u oba pokreta. Tematski ideje uvedene u provizorno i suzdržan način kontemplativnog prvi pokret se razvio agresivnije u složenije, agresivno i ritmički potaknut drugom pokretu. Meloharmonijska materijali u oba pokreta temelji se na kratkim segmentima kromatske ljestvice. Ritmički motivi u nedogled tonova instrumenata paralelno s melodijskim obrisima onih uveo u kosim instrumente. Iako je razapeo instrumenti dominiraju mnogo djela, koda drugog pokreta sastoji od ponovljenih poprečnih ritmovima igrao isključivo na neodređeno vrijeme tonova instrumenta.