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Izvornik

Concerto No. 2 for Marimba and Orchestra. B-Flat Trumpet sheet music. Bass Trombone sheet music. Horn sheet music. Marimba sheet music. Percussion sheet music. Piano sheet music. Timpani sheet music. Tuba sheet music. Vibraphone sheet music.

Prijevod

Koncert broj 2 za marimbu i orkestar. B-Stan Truba note. Bas Trombon note. Horn note. Marimbu note. Udaraljke note. Piano note. Timpani note. Tuba note. U Bjelovaru note.

Izvornik

Concerto No. 2 for Marimba and Orchestra composed by Gillingham. Arranged by N. Daughrey. For Soloist. with Full Orchestra. Piccolo, Flute 1. 2, Oboe 1. 2, Clarinet 1. 2 in Bb, Bassoon 1. 2, Trumpet 1. 2 in C, Trumpet 3 in C, Horn 1. 3, Horn 2. 4, Trombone 1. 2, Trombone 3, Bass Trombone, Tuba, Solo Marimba, Piano, Timpani, Percussion 1. Bells, Brake Drum. , Percussion 2. Vibraphone, S. Orchestra Music. Grade 5. Score only. Duration 23. 00. Published by C. Alan Publications. CN.11854. An intriguing, engaging, and challenging piece. Gillingham's Concerto is a must-try for all marimbists. The breakneck first movement sets a rapid pace for the turbulent musical passages throughout. Musical themes return in the second movement, but much slower with a delicate ensemble accompaniment. The lively third movement flirts with meter changes and mixed meter to create a spritely feel to the movement leading to the solo cadenza and finale. The Concerto for Marimba and Orchestra is a commission by a consortium of schools and performers headed by Professor Marc Wooldridge of Northwestern College, Orange City, Iowa. The work exploits the full range of the technical and expressive ability of the five-octave concert grand marimba. It is cast in the standard three-movement format. The first movement uses sonata-rondo form and begins with a slow introduction and quasi-cadenza by the marimba. An animated first theme follows in G-minor accompanied by clarinets and tambourine. A contrasting second theme area follows featuring chromatic mediant progressions and descending chromatic lines. The return of the first theme utilizes a slightly different accompaniment. The development section reworks all the thematic material in different guises. The recapitulation presents the first theme, verbatim, as it was in the exposition. The second theme, however, changes the mode to major. The return alternates the marimba on theme with the orchestra playing the theme in augmentation. The marimba quietly ends the movement with an ascending and descending arpeggiated passage. The second movement is a chaconne with eight variations. The marimba states a rather haunting chorale-like melody in Bb minor. The first variation features the horns and low strings on the chaconne theme with the marimba on the variation. Variation II uses marimba, oboe, and horns and Variation III uses marimba, vibraphone, and strings. Cascading muted brass against the augmented chaconne theme in the flutes and clarinets are indicative of Variation IV. Variation V changes the slow pace to fast using marimba, strings, timpani and bells. A haunting Variation VI utilizes bowed marimba on the chaconne theme accompanied by piano, bells, and vibraphone. Variation VII features the strings and low winds on the chaconne theme against triplets in the upper brass. Rolled arpeggiated chords highlight Variation VIII along with solo cello and solo violin on the second half of the variation. A somber coda brings the movement to a close. The third movement, like the first, is in sonata-rondo design and is cyclic, bringing back and combining the thematic material of the first and second movements. The first theme, in D-minor, is angular and spirited, accompanied by strings and tambourine. reminiscent of Mvt. I. The second theme brings back the second theme of the first movement followed by the return of the first theme, now accompanied by horns, strings, and tambourine. The development combines and works thematic material from all three movements of the concerto. The recapitulation begins with the cellos on the first theme, followed by the horns and trumpets and finally, the marimba. The second theme brings back the chaconne of the second movement, this time in major with the marimba accompanying using rhythmic material taken from the first theme of the third movement. There is no formal return of the first theme. Instead, the marimba plays a cadenza in which the first theme material and the 2nd movement chaconne are developed. A galloping presto. coda. follows bringing the movement to a close in D major. - David R. Gillingham PRAISE FOR THE CONCERTO "The new Concerto for Marimba by David Gillingham is an intriguing, engaging, and challenging piece. I had so much fun playing it and I am planning to perform it everywhere. It is a "must-try" for all marimbists. " She-e Wu world-renowned solo marimba artist.

Prijevod

Koncert br 2 za marimbu i orkestar sastavljen od Gillingham. Raspored po N. Daughrey. Za solist. Full orkestar. Piccolo, frula 1. 2, obou 1. 2, Klarinet 1. 2 u BB, fagot 1. 2, Truba 1. 2 u C, truba 3 u C, Horn 1. 3, Horn 2. 4, Trombon 1. 2, 3 Trombon, Bas Trombon, tuba, Solo marimbu, klavir, Timpani, udaraljke 1. Zvona, Brake Drum. , Udaraljke 2. U Bjelovaru, S. Orkestar Glazba. Grade 5. Postići samo. Trajanje 23. 00. Objavljeno C. Alan Publikacije. CN.11854. Intrigantan, zanimljiv i izazovan komad. Gillingham Koncert je must-probati za sve marimbists. Opasan prvi stavak postavlja brzi tempo za turbulentnih glazbenih odlomaka u cijeloj. Glazbene teme vratili u drugom stavku, ali znatno sporije s osjetljivom ansambla pratnju. Živo treći stavak koketira s promjenama metar i mješoviti metra da se stvori dojam kako spritely pokreta koji vodi u solističkoj kadenci i finale. Koncert za marimbu i orkestar je povjerenstvo od strane konzorcija školama i izvođača na čelu s prof Marc Wooldridge Northwestern College, Orange City, Iowa. Rad eksploatira cijeli niz tehničkih i izražajnom sposobnošću pet oktava koncertnog grand marimbu. Ona se baci u standardnom formatu tri pokreta. Prvi stavak koristi sonata-oblik ronda i počinje sa sporim uvođenjem i kvazi-kadenci uz marimbu. Animirani prva tema slijedi u g-molu pratnji klarineta i tamburin. Kontrastne druga tema područje slijedi s kromatske mediant progresije i spuštanje kromatske linije. Povratak prve teme koristi malo drugačiju pratnju. Poglavlje razvoja prerađuje sve tematski materijal u različitim oblicima. Rekapitulacija predstavlja prvu temu, od riječi do riječi, kao što je bio u izlaganju. Druga tema, međutim, mijenja način na glavna. Povratak izmjenjuje se marimbu na temu s orkestrom svira temu na povećanje. Marimbu tiho završava kretanje s uzlaznim i silaznim arpeggiran prolaz. Drugi stavak je chaconne s osam varijacija. U marimbu države, a nezaboravna koral poput melodija u Bb-molu. Prva varijanta ima rogove i niske žice na Ciacconi temu s marimbu na varijacije. Varijacija II koristi marimbu, obou i rogove i Varijacija III koristi marimbu, vibrafon i žice. Kaskadno prigušen mjedi protiv prošireni Ciacconi temu u flaute i klarineta su indikativne varijacije IV. Varijacija V mijenja sporosti postiti pomoću marimbu, žice, timpana i zvona. Nezaboravna Varijacija VI koristi povijene marimbu na Ciacconi temu pratnji klavira, zvona, i vibrafon. Varijacija VII ima konce i niske vjetrova na ciaccone temu protiv trojke na gornjoj mjedi. Valjane arpeggiran akorde istaknuti Variation VIII, uz solo violončelo i violinu solo na drugoj polovici varijacije. Tmuran coda donosi pokret se kraju. Treći pokreta, kao što su prvi, u Sonata-rondoidne dizajn te je ciklički, vraćaju i kombiniranje tematski materijal od prve i druge pokrete. Prva tema, u D-molu, je kutni i duhovit, u pratnji gudača i tamburin. podsjeća MVT. Ja. Druga tema vraća na drugu temu prvog stavka, nakon čega slijedi povratak u prvu temu, sada u pratnji rogovima, žice, i tamburin. Razvoj kombinira i radi tematski materijal iz svih triju pokreta koncerta. Rekapitulacija počinje s violončela na prvu temu, a potom i rogovima i trubama i konačno, marimbu. Druga tema vraća chaconne drugog pokreta, ovaj put u glavni s pripadajućim marimbu pomoću ritmičku materijal uzet iz prve teme trećega. Ne postoji formalni povratak prve teme. Umjesto toga, marimba igra kadencu u kojem se razvila prva tema materijal i drugi pokret chaconne. Galopirajući Presto. rep. slijedi dovođenje pokret na kraju u D-duru. - David R. Gillingham pohvale za Concerto "novi Koncert za marimbu David Gillingham je intrigantan, zanimljiv i izazovan komad. Imao sam toliko zabavno to igrati, a ja sam ga planira izvesti posvuda. To je "must-try" za sve marimbists. "Ona-e Wu svjetski poznati umjetnik solo marimbu.