活页乐谱 $25.00

原文

Sonhando em Salvador. Percussion sheet music.

译文

Sonhando EM萨尔瓦多. 锣鼓乐谱.

原文

Sonhando em Salvador composed by Julie Hill. Percussion Ensemble. For Brazilian percussion ensemble for 12 or more players. timbau, repique, tarol. snare drum. , small surdo, medium surdo, large surdo. Level 5. Score and set of parts. Published by Innovative Percussion. IP.E-JH-SON. Composer's Notes. Sonhando em Salvador. Dreaming of Salvador. is based on the Samba Reggae rhythms performed throughout the Pelourinho District of Salvador da Bahia, Brazil. Samba reggae, developed in the 1970's, is a result of the fusion between Brazilian samba and the music of reggae artists such as Bob Marley and Jimmy Cliff, and is evidenced by the inherent swing in the style. Salvador da Bahia has the largest black population in Brazil. eighty percent. , and the development of samba reggae is just one of the ways in which the local culture has embraced black awareness. The rhythms in Sonhando em Salvador are derived from the composer's experience with Escola Dida, a fine arts academy in the Pelourinho District of Salvador dedicated to social reform for "at-risk" women and children through percussion. The founder of Escola Dida, Neguinho do Samba, is the former maestro of Olodum. Neguinho do Samba has developed his own style of samba reggae, including innovations in the surdo patterns and the introduction of the timbau drum into the percussion ensemble instrumentation. These adaptations create an infectious groove and are the "trade marks" of the Escola Dida style. Sonhando em Salvador is a tribute to Escola Dida, celebrating the music of samba reggae and their social contributions to the women and children of Brazil. It is common practice for Brazilian percussion ensembles to be choreographed. Performers commonly add dance steps, stick twirls and other visual motions. Sonhando em Salvador should begin with the performers off stage. The solo timbau player walks out alone and begins to play. His solo drumming serves to call the other performers to the stage. In the spirit of this festive music, performers should interact with the audience and each other as they enter the performance area and continue until their cue to begin playing. Singing in Sonhando em Salvador should be rhythmically accurate, but is not restricted to exact pitches, but rather, should fall in a comfortable range of each performer. Those who attended the University of Kentucky's Showcase Concert at PASIC 2004 heard the world premiere of Julie Hill's "Sonhando em Salvador". -Dreaming of Salvador-. for a Brazilian percussion ensemble of six percussionists playing timbau, repique, tarol. snare drum. , small surdo, medium surdo and large surdo. The music, Hill explains, "is based on the samba reggae rhythms performed throughout the Pelourinho District of Salvador da Bahia, Brazil. " Thanks to Hill's interest and expertise in Brazilian percussion, her extensive and informative program notes will greatly benefit all performances of the work, and her attention to detail should ensure a rendition that approaches the authenticity of performances by an indigenous ensemble. Program notes cover the opening of the work. all performers begin off stage. , the entrance of the timbau player, who walks out alone and begins a solo, the entrances of the other performers, who "interact with the audience and each other," the addition of "dance steps, stick twirls and other visual motions," and the proper manner to handle the singing required in all except the timbau player's part. And, in a final, generous gesture, Hill includes her e-mail address so "questions regarding performance practice can be directed to the composer. " This publication provides a unique showcase for the exciting and infectious music that serves as a tribute to Escola Dida, which is a fine arts academy in the Pelourinho District of Salvador and is also the name given to a particular style of samba reggae, here celebrated. Students not only get a hands-on experience performing this music, but also become knowledgeable about its history, current status, and authentic performance practices. - John R. Raush Percussive Notes, April 2006.

译文

Sonhando em Salvador composed by Julie Hill. 打击乐合奏. 巴西打击乐合奏为12级以上的玩家. timbau，repique，TAROL. 军鼓. ，小surdo，中surdo，大surdo. 5级. 分数并设置部分. 出版创新的打击乐. IP.E-JH-SON. 作曲家的注意事项. Sonhando EM萨尔瓦多. 做梦萨尔瓦多. 是基于整个Pelourinho区有巴伊亚萨尔瓦多，巴西进行的桑巴节奏雷鬼. 桑巴雷鬼，在1970年的发展，是巴西的桑巴舞和雷鬼艺术家如鲍勃·马利和吉米·克里夫的音乐之间的融合的结果，并通过在样式固有的摆动证明. 巴伊亚萨尔瓦多拥有最大的黑人人口在巴西. 八成. 和桑巴雷鬼的发展仅仅是其中的本土文化已经接受了黑色意识的途径之一. 在Sonhando EM萨尔瓦多的节奏从与Escola的迪达，在Pelourinho区有萨尔瓦多的美术学院通过敲击致力于社会改革为“高风险”妇女和儿童的作曲家的经验得出. Escola的迪达，Neguinho的创始人也桑巴，是Olodum前大师. Neguinho做Samba已经形成了自己的风格桑巴雷鬼，包括在surdo模式创新和引进timbau鼓入打击乐合奏仪器仪表. 这些适应建立一种传染性槽，并且是Escola的迪达风格的“商标”. Sonhando EM萨尔瓦多是一个赞扬Escola的迪达，庆祝桑巴雷鬼的音乐和他们的巴西妇女和儿童的社会贡献. 常见的做法是巴西打击乐合奏被编排. 表演者通常添加的舞步，棒萦绕和其他视觉运动. Sonhando EM萨尔瓦多应该开始与演员台前幕后. 独奏timbau球员走出孤独，并开始发挥. 他的独奏击鼓用来调用其他表演者的舞台. 在这个喜庆的音乐精神，表演者应该与观众互相交流，因为他们进入表演区，并一直持续到他们的线索开始播放. 演唱Sonhando EM萨尔瓦多应该是有节奏准确，但不局限于具体的球场，而是应该落在一个舒适的范围内的每个表演者. 这些谁参加了肯塔基州的橱窗音乐会大学于2004年PASIC听到朱莉希尔的“Sonhando EM萨尔瓦多”的世界首演. 萨尔瓦多 - 的 - 梦. 对于六打击乐手打timbau，repique，TAROL巴西打击乐合奏. 军鼓. ，小surdo，中surdo和大型surdo. 音乐，希尔解释说，“是基于整个Pelourinho区有巴伊亚萨尔瓦多，巴西进行的桑巴节奏雷鬼. “由于希尔的巴西打击乐的兴趣和专长，她广泛和翔实的程序注释将大大有利于工作的所有演出，她注重细节，应确保移交了由土著合奏接近演出的真实性. 程序注释覆盖工作的开. 所有表演开始起飞阶段. ，该timbau播放器的入口，谁走出孤独，并开始独奏，其他的演员，谁“与观众互动，互相”增加“的舞步，坚持萦绕和其他视觉运动”的入口并以正确的方式来处理，除了timbau玩家的一部分，在所有需要的歌唱. 而且，在最后的，慷慨的姿态，希尔包括她的电子邮件地址，以便“关于表演实践的问题，可向作曲家. “本出版物提供了令人兴奋的和传染性的音乐，作为贡品Escola的迪达，这是在Pelourinho区有萨尔瓦多的美术学院，也是考虑到桑巴雷鬼的特定样式的名称一个独特的展示，在这里庆祝. 学生不仅得到执行此音乐的实践经验，同时也成为熟悉它的历史，现状和真实的表现手法. - 约翰R. Raush撞击注意，2006年4月.