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原文

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

译文

两个对歌肖像. 只有得分. 丹·亚当斯. 马林巴琴乐谱. 锣鼓乐谱. 电颤琴乐谱. 中间.

原文

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.

译文

两个对歌肖像. 只有得分. 由丹·亚当斯组成. 打击乐合奏. 对于打击乐团. 播放器1. 4倍频木琴，牛铃. 玩家2. 4倍频木琴，Agogo钟声. 球员3. 4.3倍频木琴，槌. 播放器4. 4.3倍频木琴，吉罗. 选手5. 3倍频电颤琴，3暂停钹. 球员6. 3倍频电颤琴，大担，担. 解放军. 中. 分数只. 持续时间12. 00. 发布时间由C.艾伦出版物. CN.05871. 一个优秀的研究似的多旋律编排，蚀五胞胎反对对切分音十六分音符模式三胞胎. 要求所有参与者之间的独立性. 所有的键盘部分需要4槌技术. 巨大的挑战. 两个对歌肖像于2000年组成的南佛罗里达打击乐合奏大学. 文体上，它反映了二十世纪后期的声音质量组成，拉丁美洲打击乐，以及协奏曲程序的影响，在许多巴洛克器乐作品中. 标题是指在12表演者的划分为三组的4，两组安置在舞台上的相对侧和木琴在中心. 虽然是得分多为旋律. 键盘. 仪器，所有的演员也玩下去音调木材，金属和膜仪器. 大多数对歌通道发生的电颤琴，木琴，编钟，编钟乐团和铙钹的部分，全部得分上双. 四木琴功能主要是作为一个独立的子合奏，偶尔与其他器乐团体互动. 纵观这两个动作，还有就是肯定和无限尖锐仪器推出概念之间的相互影响. 长期持续的sonorities，对位，反复敲击通道重叠的纹理也是不可或缺的结构材料，在这两个运动. 在试探性的，克制的态度，在沉思的第一乐章推出专题的想法是在比较复杂的，积极的和有节奏地推动第二运动发展更加积极. 旋律和谐波材料在两种运行都基于所述半音音阶的短片段. 在无限期尖锐器械的节奏动机平行那些在投仪器推出的旋律轮廓. 虽然投仪器主宰大部分一块，第二乐章的结尾是由反复交叉的节奏进行下去高亢的仪器完全发挥.