活页乐谱 $80.00

原文

Concerto No. 2 for Marimba and Percussion Orchestra. Marimba sheet music. Percussion sheet music. Piano sheet music. Timpani sheet music. Vibraphone sheet music. Xylophone sheet music. Advanced.

译文

为马林巴打击乐和管弦乐团协奏曲2号. 马林巴琴乐谱. 锣鼓乐谱. 钢琴乐谱. 定音鼓乐谱. 电颤琴乐谱. 木琴乐谱. 先进.

原文

Concerto No. 2 for Marimba and Percussion Orchestra. Marimba Feature. Composed by Gillingham. Arranged by Nathan Daughtrey. Solo with Percussion Ensemble. For Solo with Percussion Ensemble. Solo Marimba. 5-octave. , Bells. Crotales, Xylophone. Chimes, Vibraphone 1. 3-octave. , Vibraphone 2. 3-octave. , Marimba 1. 4-octave. , Marimba 2. 4-octave. , Marimba 3. 4.3-octave. , Marimba 4. 5-octave. , Piano, Timpani, Percussion 1. brake drum, tambourine, su. Percussion Music. Difficult. Score and parts. Duration 23. 00. Published by C. Alan Publications. CN.11855. An intriguing, engaging, and challenging piece. Gillingham's "Concerto No. 2 for Marimba" is a must-try for all marimbists. The breakneck first movement sets a rapid pace for the turbulent musical passages throughout. Musical themes return in the second movement, but much slower with a delicate ensemble accompaniment. The lively third movement flirts with meter changes and mixed meter to create a sprightly feel to the movement leading to the solo cadenza and finale. The "Concerto No. 2 for Marimba" is a commission by a consortium of schools and performers headed by Professor Marc Wooldridge of Northwestern College, Orange City, Iowa. The work exploits the full range of the technical and expressive ability of the five-octave concert grand marimba. It is cast in the standard three-movement format. The first movement uses sonata-rondo form and begins with a slow introduction and quasi-cadenza by the marimba. An animated first theme follows in G-minor accompanied by clarinets and tambourine. A contrasting second theme area follows featuring chromatic mediant progressions and descending chromatic lines. The return of the first theme utilizes a slightly different accompaniment. The development section reworks all the thematic material in different guises. The recapitulation presents the first theme, verbatim, as it was in the exposition. The second theme, however, changes the mode to major. The return alternates the marimba on the theme with the winds playing the theme in augmentation. The marimba quietly ends the movement with an ascending and descending arpeggiated passage. The second movement is a chaconne with eight variations. The marimba states a rather haunting chorale-like melody in Bb minor. The first variation features the low brass on the chaconne theme with the marimba on the variation. Variation II uses marimba, clarinet, bells, and vibraphone and Variation III uses marimba, oboe, and horns. Cascading muted brass against the augmented chaconne theme in the flutes and clarinets are indicative of Variation IV. Variation V changes the slow pace to fast using marimba, brass, timpani, and bells. A haunting Variation VI utilizes bowed marimba on the chaconne theme accompanied by piano and bells. Variation VII features the low brass on the chaconne theme against triplets in the upper brass. Rolled arpeggiated chords highlight Variation VIII along with a solo alto saxophone on the second half of the variation. A somber coda brings the movement to a close. The third movement, like the first, is in sonata-rondo design and is cyclic, bringing back and combining the thematic material of the first and second movements. The first theme, in D-minor, is angular and spirited, accompanied by clarinets and tambourine. reminiscent of Mvt. I. The second theme brings back the second theme of the first movement followed by the return of the first theme, now accompanied by saxophones and tambourine. The development combines and works thematic material from all three movements of the concerto. The recapitulation begins with the bassoons on the first theme, followed by the horns. trumpets and finally, the marimba. The second theme brings back the chaconne of the second movement, this time in major with the marimba accompanying using rhythmic material taken from the first theme of the third movement. There is no formal return of the first theme. Instead, the marimba plays a cadenza in which the first theme material and the second movement chaconne are developed. A galloping presto. coda. follows, ending the movement in D major. - David R. Gillingham PRAISE FOR THE CONCERTO "The new Concerto for Marimba by David Gillingham is an intriguing, engaging, and challenging piece. I had so much fun playing it and I am planning to perform it everywhere. It is a "must-try" for all marimbists. " She-e Wu world-renowned solo marimba artist "Nathan Daughtry's percussion ensemble transcription of my Concerto for Marimba is absolutely masterful. Mr. Daughtrey has used a multitude of percussion colors to faithfully emulate the colors of the wind ensemble in a wonderful version of the concerto that will be accessible to fine percussion ensembles throughout the world. " David R. Gillingham composer.

译文

为马林巴打击乐和管弦乐团协奏曲2号. 马林巴功能. 由吉林汉姆组成. 由Nathan Daughtrey安排. 独奏与敲击乐合奏. 对于与独奏打击乐合奏. 马林巴独奏. 5倍频程. ，钟声. Crotales，木琴. 编钟，电颤琴1. 3倍频程. ，电颤琴2. 3倍频程. ，马林巴1. 4倍频. 马林巴2. 4倍频. 马林巴3. 4.3倍频程. 4马林巴. 5倍频程. ，钢琴，定音鼓，打击乐1. 制动鼓，手鼓，苏. 打击乐音乐. 难. 得分和零件. 持续时间23. 00. 发布时间由C.艾伦出版物. CN.11855. 一个有趣的，吸引人的，和具有挑战性的作品. 吉林汉姆的“协奏曲2马林巴琴”是一个必须尝试所有marimbists. 极快的第一乐章设置在整个快速发展的动荡音乐段落. 音乐主题返回在第二乐章，但有一个微妙的乐团伴奏慢得多. 用米变化和混合米热闹的第三乐章调情创建一个明快的感觉，导致独奏华彩乐段和压轴的运动. 在“协奏曲2马林巴”的佣金由学校和演员马克伍尔德里奇西北大学的教授，橙市，爱荷华州为首的一个财团. 这项工作利用了全系列的五个八度的音乐会三角木琴的技术和表达能力. 这是投在标准的三乐章形式. 第一乐章采用奏鸣曲，回旋曲式，并开始了缓慢的介绍和准华彩乐段由马林巴. 在G-小调伴随着单簧管和手鼓动画第一主题如下. 一个对比鲜明的第二个主题区域如下特色色中音级数和降半音的线. 第一个主题的返回采用了稍微不同的伴奏. 发展部分返工的所有主题材料在不同的伪装. 再演提出了第一个主题，逐字，因为它是在博览会. 第二个主题，但是，改变模式主要. 返回交替木琴的主题与风演奏主题增强. 马林巴默默跟在升序和降序琶音通道结束运动. 第二乐章是有八个变化一个夏康舞曲. 马林巴州降B小调一个相当困扰的诗歌般的旋律. 第一个变化特征的夏康舞曲主题与变化的马林巴低黄铜. 变异II使用木琴，单簧管，铃铛，电颤琴和变异III使用木琴，双簧管，和喇叭. 级联对增强夏康舞曲主题在长笛和单簧管静音黄铜是指示变化四。变动量V的变化速度缓慢使用木琴，黄铜，定音鼓和钟声快. 令人难以忘怀的变化VI采用鞠躬木琴上的夏康舞曲主题伴随着钢琴和铃铛. 变化七，功能上对上部铜管三胞胎的夏康舞曲主题的黄铜低. 热轧琶音和弦突出第八变化以及独奏中音萨克斯管上的变化下半年. 一个阴暗的结尾带来的运动结束. 第三运动，类似于第一，是在奏鸣曲回旋曲设计，并且是环状的，带回和组合第一和第二运动的主题材料. 第一个主题，在d小调，是棱角分明，意气风发，伴随着单簧管和手鼓. 让人想起乐章的。我. 第二个主题带回来的第一乐章之后的第一个主题的返回的第二个主题，现在伴随着萨克斯和铃鼓. 发展结合和作品专题材料从协奏曲的三个动作. 再现部开始的第一个主题巴松管，其次是角. 小号最后，马林巴. 第二个主题带回第二乐章的夏康舞曲，这次主要使用从第三乐章的第一主题，采取有节奏的材料木琴随行. 还有就是第一个主题还没有正式返回. 相反，马林巴起着其中第一主题的材料和所述第二移动恰空都开发了华彩. 一个奔腾急. 尾. 如下，结束在D大运动. - 大卫·R·吉林汉姆赞为协奏曲“的马林巴新的协奏曲由大卫吉林汉姆是一个迷人的，有魅力，和具有挑战性的作品. 我有这么多的乐趣，玩它，我打算无处不在执行它. 这是一个“不可不试”的所有marimbists. “她-E武世界著名的马林巴独奏艺术家”我协奏曲马林巴弥敦道道奇的打击乐团转录绝对是大师级. Daughtrey先生曾用多种打击乐器颜色忠实地模仿风合奏的颜色在一个美妙的版本的协奏曲，这将是可访问的罚款敲击乐团在世界各地的. 大卫·R·吉林厄姆作曲家.