活页乐谱 $23.00

原文

Journey for Marimba & Piano. Marimba sheet music. Piano Accompaniment sheet music.

译文

旅程马林巴. 马林巴琴乐谱. 钢琴伴奏乐谱.

原文

Journey for Marimba & Piano composed by Matthew Coley. Marimba & Piano Duet. For marimba and piano duet. marimba. low c. , piano. Level 5. Score and set of parts. Duration 10 minutes, 30 seconds. Published by Innovative Percussion. IP.D-MC-JOU. Composer's notes. Journey for Solo Marimba, Piano, and Percussion Ensemble. Journey for Marimba and Piano, 2005. was composed in 2004 with several ideas in mind. First, I wanted a work of which a competent marimba player could be featured with ensembles of varietal skill levels. The work was written so that an advanced high school group could perform it with sufficient preparation time, and all college and professional groups could easily prepare the ensemble parts. The instrumentation is such that most high school groups would be able to gather everything needed, and the technical concerns in the work keep in mind that a high school will have a wide range of skill level in their players, so through the ensemble parts there should be enough variety to meet this range. Due to the instrumentation being chosen for practicality and limitations to the technical level of the ensemble parts the piano was added not only because it always gives a great color to the percussion ensemble, but to support the ensemble with lower voicing and sustain. Secondly, I had come up with two chord progressions that I wanted to base this work on. The first being the progression heard in the first four measures, and the second being the one that is spread throughout the B section. Thirdly, I was looking to expound on these non-traditional chord progressions in a more traditional way. Thinking closely in terms of a standard tertiary form. ABA. with typical concerto features, the work begins with an ensemble tutti that is then joined by the soloist. This does not occur in the duo version. , there is a short cadenza that leads back to the A section, and then the work closes with a rousing CODA. Both the chordal and structural elements of the piece were also important pedagogically, and I tried to keep them clear throughout the work for that reason. Finally, I am continually searching to write marimba music that would be more akin to what would be written for the piano. I try to steer clear of the main impetus of the marimba writing, i. chordal and thematic material, being sprung from idiomatic combinations. That is not to say that some of those idiomatic vignettes didn-t make their way into the work, they are just combated with polyphonic and "pianistic" type material. Journey is challenging for the soloist, but can provide an exciting voyage for all involved. "-Journey for Marimba and Piano" is an advanced duo for marimba. 5.0 octave required. and piano. Coley writes that he was "searching to write marimba music that would be more akin to what would be written for the piano," when generating ideas for this piece. Scored in an A B A" form, the A sections are characterized by flourishing, sixteenth-note arpeggiated figures alternating with octave figures in a 4. 3 polyrhythm. In the A sections, the pianist provides the majority of the melodic and rhythmic variety, a change of roles for the traditional piano part. The B section is more subdued in character than its surroundings. Here, the pianist provides long, cantabile phrases in dotted quarter notes while the marimbist plays an active hocket that requires the flow of an advanced performer. After a brief marimba cadenza, a da capo progresses to an aggressive ending that culminates in a unison, ascending sixteenth-note run. "Journey for Marimba and Piano" is a virtuosic composition for an advanced marimbist. While the marimba part is difficult, the writing is idiomatic and the combination of voices creates an inviting appeal to marimbists and pianists alike. " - Eric Willie, Percussive Notes September 2010.

译文

旅程马林巴. 马林巴. 对于马林巴琴和钢琴二重奏. 马林巴. 低C. ，计划. 5级. 分数并设置部分. 持续10分钟30秒. 出版创新的打击乐. IP.D-MC-洲. 作曲家的音符. 旅程木琴独奏，钢琴和打击乐合奏. 旅程木琴和钢琴，2005. 创作于2004年，拥有几个想法在心中. 首先，我想工作，其中一个称职的马林巴球员可能与品种的技能水平进行合奏功能. 这项工作是这么写的，一个先进的高中组可以有足够的准备时间执行它，所有大学及专业团体可以很容易地准备合奏部分. 该仪器是这样的：大多数高中组将能够收集到所需的一切，并在工作中的技术问题要记住，一所高中将有广泛的在他们的球员的技术水平，所以通过合奏部分，应该有足够的品种，以满足这个范围. 由于被选择的实用性和局限性钢琴加入，不仅合奏部分的技术水平，因为它总是给人一种很大的颜色的打击乐合奏，但支持合奏较低清浊并维持仪器仪表. 其次，我想出了，我想这个基础工作在两个和弦进行. 第一个是听到了前四个措施的进展，第二个是被传遍了整个B节之一. 第三，我一直在寻找，阐释这些非传统的和弦进行更传统的方式. 在一个标准的三级形式方面密切思考. ABA. 与典型的协奏曲特征，工作开始合奏合奏，然后由独奏加入. 这不会发生在二人版本. ，有一个短暂的华彩乐段，导致后面的A部分，然后用扶正祛邪CODA的工作结束。无论是弦和一块结构要素也是重要的教学法，我试图让他们清楚整个工作的原因. 最后，我不断寻找写马林巴音乐，这将是更类似于什么会为钢琴写. 我试图避开木琴写作的主要动力，我. 弦和专题材料，正在从惯用的组合如雨后春笋般涌现. 这并不是说，其中一些惯用的护身符没-T做他们的方式投入到工作中，他们只是打击与和弦和“钢琴家”型材料. 旅途是具有挑战性的独奏者，但可以为所有参与提供了一个令人兴奋的旅程. “ - 旅程的木琴和钢琴”是一种先进的双核的木琴. 需要5.0倍频程. 和钢琴. 科莱写道，他“寻找写马林巴音乐，这将是更类似于什么会为钢琴写的，”产生想法这块时. 进球在ABA“的形式，在A段的特点是百花齐放，十六分音符琶音数字与4倍频的数字交替. 3 polyrhythm. 在A部分，钢琴家提供了广大的旋律和节奏不同，角色的传统钢琴部分的变化. B部分是较为平静的性格比其周围. 在这里，钢琴家提供点四分音符长，如歌的短语而marimbist活跃hocket，需要一个先进的表演流程. 一个简短的马林巴华彩乐段后，初音岛发展到了高潮在一个统一的积极的结局，升十六分音符运行. “西游记为马林巴琴和钢琴”是一种先进的marimbist名家组成. 而马林巴部分是困难的，写的是地道和声音的结合创造一个温馨的呼吁marimbists和钢琴家一样. “ - 埃里克·威利，2010年撞击月票据.