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原文

Concerto for Drumset and Percussion Ensemble. score & parts. Glockenspiel sheet music. Marimba sheet music. Percussion sheet music. Vibraphone sheet music. Xylophone sheet music. Advanced.

译文

协奏曲和套鼓打击乐艺术团. 得分. 钟琴乐谱. 马林巴琴乐谱. 锣鼓乐谱. 电颤琴乐谱. 木琴乐谱. 先进.

原文

Concerto for Drumset and Percussion Ensemble. score & parts. composed by Jamie Whitmarsh. Soloist. with Percussion Ensemble. For soloist. with percussion ensemble. Solo Drumset. Snare Drum, 2 Rack Toms, Floor Tom, Kick Drum, Hi-Hat, Ride Cymbal, Crash Cymbal, 2 Assorted Cymbals. Crash, Splash, China. Player 1. Glockenspiel, Bowed Vibraphone. Player 2. Vibraphone. Player 3. 4-octave Marimba, Xylophone. Player 4. 4.3. Medium difficult. Score & parts. Duration 12. 00. Published by C. Alan Publications. CN.19820. Written to explore the multiple roles of the drumset, Concerto for Drumset and Percussion Ensemble divides into three sections, each treating the drumset in a unique way. The first treats the instrument as a classical multi-percussion set-up. The second treats the instrument much more melodically by utilizing the differences in pitch between the drums and cumbals. The third and final section allows the drumset to do what it specializes in - GROOVE. I wrote this piece as a way to explore the multiple roles of the drumset. Although it is typically considered a member of the rhythm section, I believe that the multitude of timbres available allows for more depth than simply keeping time or setting a groove. Despite this intent to explore, I intentionally refrained from attempting to encompass everything that is possible on this instrument. For instance, I did not utilize brushes or rods. Ultimately, the drumset has a lot to offer, and this piece is intended to give one interpretation of some of the possibilities. Concerto for Drumset and Percussion Ensemble is written in three sections. The first section treats the drumset as a collection of instruments and sounds - essentially as a multiple-percussion instrument. The focus of the writing is less on coordination of different limbs, and more in creating cohesive thematic material using the various sounds available. The second section uses the drumset to create and develop melodic material. While the snare drum. with snares off. is the central instrument, the differences in pitch between the different drums and cymbals allow for melodic contour to be suggested and absorbed. The final section allows the drumset to do what the drumset typically is used for - groove. This section alternates between soloistic fills and different grooves. The 9. 4 meter is divided as 5. 32. , 5. 32. , 5. 32. , 3. Although cadenza material is provided, the soloist should feel free to use that time to allow his or her own voice to emerge. The written cadenza may be followed literally, used as inspiration, or thrown out entirely. Additionally, from measures 410-419, the soloist may improvise different sound effects on various drums and cymbals, so long as an overall effect of decay is felt. Generally, rim shots are not intended to be loud, unless accented. Also, unless marked otherwise, cymbals and triangles should ring freely. - Jamie Whitmarsh.

译文

协奏曲和套鼓打击乐艺术团. 得分. 由杰米·惠特马什组成. 独奏者. 与打击乐合奏. 对于独奏. 与打击乐合奏. 套鼓独奏. 小鼓，2架汤姆斯，楼汤姆，踢鼓，踩镲，钹平顺，崩溃钹，2什锦钹. 碰撞，飞溅，中国. 播放器1. 钟琴，颤音琴弓形. 玩家2. 电颤琴. 球员3. 4倍频马林巴，木琴. 播放器4. 4.3. 中等难度. 得分. 持续时间12. 00. 发布时间由C.艾伦出版物. CN.19820. 写到探索套鼓的多重角色，协奏曲和套鼓打击乐艺术团分为三节，每节的治疗套鼓以独特的方式. 第一次治疗仪器作为一个经典的多打击乐的建立. 所述第二治疗仪器通过利用鼓和cumbals之间的差异在音调多旋律. 第三和最后部分允许以套鼓做它擅长 - GROOVE. 我写这一块，以此来探索套鼓的多重角色. 虽然通常被认为节奏部分的一员，我相信许多可用的音色允许更多的深度不是简单地保持时间或设置一个凹槽. 尽管这个意图探索，我故意从试图涵盖一切，有可能在本仪器忍住. 举例来说，我没有利用刷子或棒. 最终，该套鼓有很多提供，并且这块是为了给一些的可能性一种解释. 协奏曲和套鼓打击乐艺术团是写在三节. 第一部分把该套鼓作为乐器的集合和声音 - 基本上如多打击乐器. 写入的焦点是少于协调不同肢体，并且更在创造凝聚力主题材料使用可用的各种声音. 第二部分使用套鼓的创造和发展旋律材料. 而小鼓. 与陷阱关闭. 是中央仪器，不同的鼓和钹允许旋律轮廓之间的差别在间距被建议和吸收. 最后一节让套鼓做的一般套鼓用于 - 凹槽. soloistic填充和不同凹槽之间本节交替. 9. 4米被划分为5. 32. ，5. 32. ，5. 32. ，3. 虽然华彩乐段材料提供，独奏应该随意使用时间，让他或她自己的声音出现. 书面华彩乐段，可以从字面上其次，作为灵感，或者抛出全部. 此外，从措施410-419，独奏会即兴各种鼓和钹不同的声音效果，只要腐烂的整体效果感觉. 一般情况下，边击不打算要响亮，除非重音. 此外，除非另有标明，钹和三角形应该自由地响. - 杰米惠特马什.