活页乐谱 $20.00

原文

Paschal Dances. David Gillingham. Voice sheet music. Percussion sheet music. Timpani sheet music. Advanced.

译文

复活节舞蹈. 大卫·吉灵厄姆. 声音的乐谱. 锣鼓乐谱. 定音鼓乐谱. 先进.

原文

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 only. Duration 10. 00. Published by C. Alan Publications. CN.01851. 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.

译文

复活节舞蹈由大卫吉林汉姆组成. 打击乐合奏. 对于打击乐团. 打击乐1. 4小型演唱会汤姆斯，4康加鼓，钹，声音. ，打击乐2. 4大型演唱会汤姆斯，4手鼓，声音. ，打击乐3. 5定音鼓，手鼓. ，打击乐4. 铙钹，小鼓，声音. ，打击乐5. 钟声，寺庙块，声音. ，打击乐器. 中等难度. 分数只. 持续时间10. 00. 发布时间由C.艾伦出版物. CN.01851. 逾越舞蹈是基于前两行著名阳历复活节序列，受害者paschali laudes. 赞美的逾越节受害者. 咏的动机和短语是用来统一包括一个Invocation，4舞蹈，2插曲和祝福的工作. 吉林汉姆无误，所以你知道它的伟大的音乐. 致力于罗伯特·霍纳和中央密歇根大学打击乐合奏，舞蹈逾越节是基于前两行著名的格里高利复活节序列，受害者paschali laudes. 赞美的逾越节受害者. 咏的动机和短语是用来统一包括一个Invocation，4舞蹈，2插曲和祝福的工作. 在开幕调用，咏调的前半句是由编钟乐团的演奏木琴，因此，前五个音符协调. 乐团的钟声在那节打呗第一线的两个短语. 舞蹈我，快节奏，与咏叹调第二行的感叹词占主导地位的膜乐器所扮演的键盘乐器. 本节继续入第一个插曲，其特点是鞠躬电颤琴和咏唱的前五个音符在钢琴挽歌般的演讲. 下面，在相同的慢节奏，是舞蹈II，其特点的男性声音吟诵佳能在这三个短语包括呗的第二行. 咏的第一阶段经历蜕变的舞蹈III，成为一个全音配置. 这个舞蹈是在一个热闹的6集. 8米与小芯片对三重分裂周期性发作. 在中点，舞蹈闯入四节拍与咏叹的第一阶段的电颤琴朝着三胞胎发挥. 舞蹈返回6. 8米和elides与第二插曲，在慢节奏，其中呗片段听到钟声，钟声和木琴. 经过短暂的沉默，舞蹈IV随之而来的木琴阐述舞蹈III使用的全音动机。在非常快的速度，运动高潮的光荣降G大调弦，这也阐明了祝福的开始. 所有槌乐器演奏不同的节奏，钢琴咏的前半句的动机，再加上声音，国家从呗的第二行派生令人难以忘怀的动机陪同. 用问话和弦3收费的工作结束时，与每个关节随后由和弦的琶音版本在钢琴的上部寄存器.