活页乐谱 $50.00

原文

Double Image. piano reduction. Saxophone sheet music. Advanced.

译文

双图像. 钢琴减少. 萨克斯乐谱. 先进.

原文

Double Image. piano reduction. Double Concerto for 2 Saxophonists. Composed by David R. Gillingham. Chamber Ensemble. For 2 Saxophones & Piano. 2, solo saxophones. soprano, alto, tenor & baritone. piano. Medium difficult. Piano reduction. Duration 30. 00. Published by C. Alan Publications. CN.17062. Opening with a dark and somber set of variations, Double Image exploits the four instruments of the saxophone family. Beautiful, lyrical melodies glide through the second movement as the saxes begin their interplay. The third movement is an exciting romp from beginning to end. Truly a must for the advanced saxophone duo. Double Image was commissioned by Jeff Heisler and Shawn Teichmer, two former saxophone alumni from Central Michigan University. The work is a concerto in three movements that exploits four of the common instruments of the saxophone family as performed by two players. The first movement features the tenor and baritone saxophone, the second, the alto and the tenor saxophone and the third, soprano saxophones. The movements of the concerto are starkly contrasting. The first movement, Passacaglia Lamento, is a dark, somber and mysterious set of variations on a bass line consisting of chromatic mediant relationships and angular leaps. The solo baritone saxophone begins the thematic bass line and is then joined by the solo tenor saxophone. Variation I begins with keyboard percussion accompanying the horns on the theme with the solo tenor saxophone on cascading scale passages. The solo baritone saxophone joins the tenor on the tail of the theme with added chimes. Preceded by a short transition in the wind ensemble, Variation II is abbreviated and features a dance-like interplay between the two solo saxophones in asymmetrical meter. 16. Variation III ensues in which the solo saxophones alternate a skeletonized version of the theme in augmentation accompanied by ascending scales in the upper woodwinds. A heavy, ponderous interlude in the brass leads to Variation IV. Variation IV is perhaps the most dark and mysterious section of the movement that features a ghosted half-tone ostinato in the solo saxophones over only the harmony of the passacaglia. The tail of the variation is then played by low brass and woodwinds accompanied by piano and keyboard percussion. A brief brass fanfare leads to Variation V, which is a spirited duet by the solo saxophones alternating between 4. 4 and 7. 8 meter, with the wind ensemble accompanying on short articulations of the harmonic background. Horns, flutes and eventually trumpets, enter playing the tail of the theme culminating dramatically on four strongly articulated sonorities by the full ensemble with an underlying timpani solo diminishing into a coda using the head of the passacaglia and ending on an unresolved sonority. Movement II, Reveries, takes advantage of the two most expressive saxophones. in my opinion. , the alto and the tenor. The movement is dreamy consisting of beautiful, lyrical melodic lines, extended tertian harmonies and an array of shifting tonality. The movement is in free form and begins with a sort of 'sighing' melodic line that cascades downward and scale-wise. Both saxophones freely exchange this motive over shifting tone color. A variation of sorts follows with the solo saxophones exchanging the motive over a static F# minor tonality. An interlude follows in Bb Major, with an interplay between solo oboe and flute utilizing the motive which leads into a new section in A Major beginning with sweeping harp-like passages in the piano. The solo saxophones begin interplay amongst themselves on a contrasting motive consisting of rising and falling scale-based passages. The texture and dynamic of the section increase and rise to a dramatic moment which brings back the original descending motive in E Major. The passage diminishes in volume and segues into E Minor with the solo saxophones engaging in free development accompanied by the marimba and the piano. The development continues with a bubbly, staccato pattern in the clarinets and marimba and a return of the original motive in imitation between the solo saxophones in C Minor. A transition precipitates a change of mode into C Major and the movement concludes in dreamy fashion with the return of the descending motive and a coda beginning in A Major and coming to rest in Gb Major.

译文

双图像. 钢琴减少. 双协奏曲2萨克斯. 由David R.吉林汉姆组成. 室内乐团. 2萨克斯. 2，萨克斯独奏. 女高音，女低音，男高音. 计划. 中等难度. 钢琴减少. 时间30. 00. 发布时间由C.艾伦出版物. CN.17062. 打开与黑暗和阴沉组的变化，双图像利用了四种乐器萨克斯管家族. 优美，抒情的旋律通过第二滑翔运动的萨克斯开始他们的相互作用. 第三乐章是从开始一个令人兴奋的欢蹦乱跳结束. 确实是一个必须为先进萨克斯二重奏. 双图像委托杰夫·海斯勒和肖恩Teichmer，从中央密歇根大学的两名前校友萨克斯. 这项工作是在三个乐章由两个球员进行，它利用四个萨克斯家族的共同文书的协奏曲. 第一乐章采用了男高音和男中音萨克斯管，第二，奥拓和次中音萨克斯和第三，女高音萨克斯管. 该协奏曲的变动赤裸裸的对比. 第一乐章，帕萨卡利亚Lamento，是一个低音线由色中音关系和角跨越式的黑暗，阴郁和神秘的集合变化. 独唱男中音萨克斯开始专题低音线，然后由独奏中音萨克斯加盟. 变化我开始敲击键盘的陪同角上的主题与规模级联通道的独奏中音萨克斯. 独唱男中音萨克斯加入男高音的主题添加了风铃的尾巴. 通过在风合奏一个短暂的过渡之前，变体II的简称，并设有非对称仪表两个萨克斯独奏之间的舞蹈般的相互作用. 16. 变化三，随之而来，其中萨克斯独奏交替的主题，在增强的镂空版本，加上其在上木管乐器升秤. 在黄铜沉重，沉重的插曲导致变异四。变化四，也许是运动最黑暗和神秘的部分，具有一个幻影半色调固定音型的萨克斯独奏在帕萨卡利亚只有和谐. 变化的尾部，然后由低黄铜和木管乐器伴随着钢琴和键盘敲击演奏. 一个简短的黄铜大张旗鼓导致变异V，这是间4一个充满活力的二重奏由独奏萨克斯管交替. 4和7. 8米，与风合奏伴随的谐波背景的关节短. 喇叭，长笛，最终小号，进入游戏，主题由全合奏与相关定音鼓独奏减少到结尾使用帕萨卡利亚的头部和一个未解决的响度结束四个大力阐述的sonorities最终大大的尾巴. 运动二，遐思，需要两个最传神的萨克斯管的优势. 在我看来，. ，奥拓和男高音. 该运动是由梦幻般的美丽，抒情的旋律线，延长隔日的和声及调性转移的数组. 运动是游离形式，并开始用一种'叹息'旋律线是向下级联和规模明智. 这两个萨克斯管在自由转移色调交流这方面的动机. Разновидностью рода следует с соло саксофоны обмена мотив над статической F. 一个插曲如下的降B大调，利用与通向A大开始一个新节与席卷竖琴状的通道，在钢琴的动机独奏双簧管和长笛之间的相互作用. 独奏萨克斯开始对比动机组成的上升沿和下降沿规模为基础的通道相互作用彼此之间. 纹理和动态的部分增加，并引起了戏剧性的时刻它带回原动机降E大. 通过减小体积和继续入E小调与萨克斯独奏从事自由发展伴随着木琴和钢琴. 发展仍然有气泡，断续模式在单簧管和马林巴琴和C小调独奏萨克斯之间在模仿返回原动机. 过渡沉淀的模式改变为C大调与运动的结束梦幻般的时尚与降动机和一个尾声开始在A大的回报，来休息千兆主要.