活页乐谱 $225.00

原文

Symphony No. 2. Genesis. David Gillingham. B-Flat Trumpet sheet music. English Horn sheet music. Grade 5.

译文

第2交响曲. 创世纪. 大卫·吉灵厄姆. 降B大调小号乐谱. 英语角乐谱. 五年级.

原文

Symphony No. 2. Genesis composed by David Gillingham. For concert band. Piccolo, Flute 1, Flute 2, Oboe 1. 2, English Horn, Bassoon 1. 2, Eb Soprano Clarinet, Clarinet in Bb 1, Clarinet in Bb 2, Clarinet in Bb 3, Bass Clarinet, Contrabassoon, Alto Saxophone 1. 2, Tenor Saxophone, Baritone Saxophone, Trumpet in Bb 1, Trumpet in B. Band Music. Grade 5. Score and parts. Duration 20. 00. Published by C. Alan Publications. CN.14760. Another major contribution to advanced band repertoire. Epic in proportion, this symphony displays the creative scoring and brilliant compositional technique we have associated with this esteemed composer. Upper-level musicians and conductors will enjoy the challenges presented in preparing and performing this outstanding work. Like Symphony No.1. Apocalyptic Dreams. , Symphony No. 2. "Genesis". is programmatic and based on Biblical scripture. Symphony No. 2 is inspired by the first nine chapters of Genesis and is divided into five movements. I. In the beginning. II. Eden and the forbidden fruit. III. Noah and the Ark. IV. The floodgates of heaven. and V. The sign of the covenant. Movement I. In the beginning, opens mysteriously with the whirring of flexible plastic hoses in the percussion and a pedal G in the vibraphone which signify chapter 1, verse 2, "Now the earth was formless and empty, darkness was over the surface of the deep, and the Spirit of God was hovering over the waters. " God's presence and voice are represented by repeated notes leading to a note a half step above and then back down,. the "God motive". first heard by the horns in the thirteenth measure. Following are ascending passages in the Eb clarinet over harp-like passages in the piano indicative of chapter 1, verse 3, "And God said 'Let there be light', and God saw that the light was good, and he separated the light from the darkness. " An accumulation of texture follows building into an expansive tone cluster which breaks into G major with a soaring melodic line in the horns. The section represents chapter 1, verse 6, "And God said, 'Let there be an expanse between the waters to separate water from water. '" Ensuing is the essence of chapter 1, verse 11, "Then God said, - Let the land produce vegetation. seed-bearing plants and trees on the land that bear fruit with seed in it, according to their various kinds. '", and chapter 1, verse 14-15, "And God said, 'Let there be lights in the expanse of the sky to separate the day from the night, and let them serve as signs to mark seasons and days and years, and let there be lights in the expanse of the sky to give light on the earth. '" Strident articulations of chords along with the brake drum begin this section, likened to lightening, followed by rustling in the clarinets over clusters in the brass followed again by a soaring horn melody emulating the voice of God. Trills and ascending passages in the woodwinds and piano over low brass chords characterize the next section which expresses the creation of living creatures expressed by chapter 1, verse 20 and 24, "And God said, 'Let the water teem with living creatures, and let birds fly above the earth across the expanse of the sky'". "And God said, 'Let the land produce living creatures according to their kinds. livestock, creatures that move along the ground, and wild animals, each according to its kind. '" A quiet and most reverent section ensues which expresses the voice of God. the "God motive". as He creates his most prized possession, Man, as written in chapter 1, verse 26, "Then God said, 'Let us make man in our image, in our likeness and let them rule over the fish of the sea and the birds of the air, over the livestock, over all the earth, and over all the creatures that move along the ground'". The movement ends with a sort of benediction which utilizes the "God motive" and ends quite peacefully in G major, all inspired by chapter 2, verse 2, "By the seventh day God had finished the work he had been doing. so on the seventh day He rested from all His work. '" Movement II. Eden and the Forbidden Fruit, seeks to exploit both the beauty and the wrath of God. The first part of the movement is devoted to the Garden of Eden, the creation of the woman. Eve. and The Tree of Knowledge of Good and Evil. Verses 8-9, 16-17, and 21-22, from the 2nd chapter of Genesis provide the inspiration for this part of the movement. "Now the Lord God had planted a garden in the east, in Eden. and there He put the man He had formed. And the Lord God made all kinds of trees grow out of the ground--trees that were pleasing to the eye and good for food. In the middle of the garden were the tree of life and the tree of the knowledge of good and evil. " 'And the Lord God commanded the man, 'You are free to eat from any tree in the garden. but you must not eat from the tree of the knowledge of good and evil, for when you eat of it you will surely die. '" "So the Lord God caused the man to fall into a deep sleep. and while he was sleeping, He took one of the man's ribs and closed up the place with flesh. Then the Lord God made a woman from the rib He had taken out of the man, and He brought her to the man. " The mood begins to change when the euphonium plays the first two phrases of the hymn O God Our Help in Ages Past. Tune by William Croft 1708. "St. Anne". Tempted by a most crafty serpent, Adam and Eve eat the forbidden fruit from the tree of knowledge of good and evil. "When the woman saw that the fruit of the tree was good for food and pleasing to the eye, and also desirable for gaining wisdom, she took some and ate it. She also gave some to her husband, who was with her, and he ate it". chapter 3, vs. The hymn abruptly ends articulated by stopped horns. Following, is a section filled with angry and evil motives and dissonant textures which allude to the consequences of eating the forbidden fruit. "To the woman he said, 'I will greatly increase your pains in childbearing. with pain you will give birth to children. Your desire will be for your husband, and he will rule over you'". chapter 3, vs. 16. And to Adam he said, "Cursed is the ground because of you. through painful toil you will eat of it all the days of your life. It will produce thorns and thistles for you, and you will eat the plants of the field. By the sweat of your brow you will eat your food until you return to the ground, since from it you were taken. for dust you are and to dust you will return". chapter 3, vs. 17-19. The movement ends in woeful reflection of the curse that God bestowed upon mankind. Movement III. Noah and the Ark, is in a scherzo-trio structure. The scherzo section is set in compound duple meter and reflects Noah's overwhelming job to build a most expansive ark as described in chapter 6 of Genesis. The trio is almost child-like in mood and quotes the hymn All Things Bright and Beautiful. Words by Cecil F. Alexander, 1848, 17th century English melody. All things bright and beautiful, All creatures great and small, All things wise and wonderful, The Lord God made them all. The hymn serves to create the image of boarding all the "creatures" on the ark. "You are to bring into the ark two of all living creatures, male and female, to keep them alive with you. Two of every kind of bird, or every kind of animal and of every kind of creature that moves along the ground will come to you to be kept alive. Chapter 6, vs. 16-20. The recapitulation of the trio is interrupted by a dissonant textural crescendo leading to movement IV. Movement IV. The Floodgates of Heaven, begins with falling rain. closed hi-hats. over a pedal Eb. After several strikes of lightning, tutti chords, the heavens open up and it begins to pour. cascading woodwind passages. As described in Chapter 7, vs. 11-12. "In the six hundredth year of Noah's life, on the seventeenth day of the second month--on that day all the springs of the great deep burst forth, and the floodgates of the heavens were opened. And rain fell on the earth forty days and forty nights. " Under the cascading woodwinds the horns and trumpets sing a theme of destruction. The intensity grows and reaches its height in C major and becomes quiet with a repeated eighth note pedal on C in the trumpets. Then, motives from the death chant, Dies Irae, appear in the woodwinds and piano representative of Chapter 7, vs. 23. "Every living thing on the face of the earth was wiped out. men and animals and the creatures that move along the ground and the birds of the air were wiped from the earth. Only Noah was left, and those with him in the ark. " The section builds to a partial statement of the chant by the full ensemble ending with a pedal on G by the timpani. Movement V. The Sign of the Covenant is the fifth and final movement of the symphony. The first part of the movement reflects the dove sent by Noah to find land. The piccolo solo aptly alludes to the bird as it flies toward land and brings back the olive branch. "He waited seven more days and again sent out the dove from the ark. When the dove returned to him in the evening, there in its beak was a freshly plucked olive leaf. Then Noah knew that the water had receded from the earth". chapter 8, vs. 10-12. Below the continuing song of the piccolo. the dove. , the horns sing a theme of celebration as Noah and the animals step off the ark onto dry land. A prayer follows with a series of overlapping cadences alluding to Noah building an altar and God vowing not to ever again destroy the living things on earth. chapter 8, vs. 20. "Then Noah built an altar to the Lord. Chapter 8, vs. 21-22. "Never again will I curse the ground because of man, even though every inclination of his heart is evil from childhood. And never again will I destroy all living creatures, as I have done. The symphony ends in fanfare modulating dramatically to E major and then fading away to a single E major chord in the marimba which then fades to silence. Chapter 9, vs. 12-13. "This is the sign of the covenant I am making between men and you and every living creature with you, a covenant for all generations to come. I have set My rainbow in the clouds, and it will be the sign of the covenant between Me and the earth. Dedicated to Dr. Mallory B. Thompson in celebration of her first decade as Director of Bands at Northwestern University.

译文

第2交响曲. 创世纪由大卫吉林汉姆. 对于乐队演唱会. 短笛，长笛1，2长笛，双簧管1. 2，英国管，大管1. 2，降E高音单簧管，单簧管降B 1，单簧管降B 2，单簧管降B 3，低音单簧管，Contrabassoon，中音萨克斯1. 2，次中音萨克斯，上低音萨克斯，小号降B 1，小号B中. 乐队音乐. 五年级. 得分和零件. 持续20. 00. 发布时间由C.艾伦出版物. CN.14760. 以先进的乐队曲目又一重大贡献. 史诗中的比例，这显示交响乐创作的得分和辉煌的作曲技巧，我们已与这个尊敬的作曲家关联. 上层的音乐家和指挥将享受在编制和执行这项出色工作所带来的挑战. 像第一交响曲. 世界末日的梦. ，第2交响曲. “创世纪”. 是方案和基于圣经经文. 第2交响曲是由创世纪的前九章灵感，分为五个乐章. 一开始的时候. 二。伊甸园和禁果. 三。诺亚和方舟. 四。天上的窗户. 和五立约的记号. 运动一开始的时候，用的柔性塑料软管在敲击呼呼并在其中表示第1章，第2节，“地是空虚混沌的电颤琴踏板G打开神秘，黑暗结束的表面深，上帝的灵运行在水面上. “上帝的存在和声音是由重复音导致笔记半步上方，然后回落为代表，. “神的动机”. 第一次听说在第十三措施的角. 以下是上升通道中的Eb单簧管在竖琴状的通道，在指示第1章，第3节钢琴​​，“神说：'要有光'，而且神看光是好的，就把分离的光黑暗. “质地的积累下建设纳入其中闯入G大调与角一飞冲天的旋律线一个广阔的音群. 该部分代表第1章，第6节，“神说：”要有水之间的宽阔水从水中分离. '“接踵而来的是第1章，第11节的精髓，”神说， - 地要发生植被. 种子息的见效种子在它的土地上的一草一木，根据自己的各种. '“，和第1章14-15节，”神说：“要有在天空，普照灯白天从黑夜中分离出来，并让他们作为记号，定节令，日子，年岁，并让有灯光在天空，普照让光在地球上. '“和弦以及制动鼓刺耳的关节开始本节，比喻为闪电，其次是沙沙的单簧管在集群中的黄铜跟着又是一只翱翔的号角旋律模仿上帝的声音。颤音和上升通道，在木管乐器和钢琴在低黄铜和弦表征下一节它体现了创造者第1章，第20节和24表示众生，“上帝说，”水要多多滋生有生命的物，要有雀鸟飞在地面以上的对面无垠的天空'的“. “神说，'让我们根据自己种的土地生出活物来. 牲畜，昆虫沿地面移动，和野生动物，各从其样. “”安静，最虔诚的部分随之而来它表达神的声音. “神的动机”. 因为他创造了他最珍视的财富，文，写在第1章，第26节，“神说：'我们要照着我们的形象，在我们的相似，让他们管理海里的鱼和鸟空中，地上的牲畜，和全地，并在所有沿地面移动“生物”. 有一种祝福的，它利用了“神的动机”，并在G大调，所有的灵感来自第2章，第2节，“到第七日，上帝已经完成的工作，他一直在做结束相当和平运动结束. 就在第七日，他从他的所有工作休息. '“运动二，伊甸园和禁果，旨在利用双方的美丽和神的忿怒。运动的第一部分是专门伊甸园，创造的女人. 前夕. 与知识善恶树. 诗句8-9，16-17，21-22和从创世记第二章提供灵感这部分的运动. “现在主神已经立了一个园子在东方的伊甸. 在那里，他就把他的人已经形成. 耶和华神使各样的树长出地面 - 这是令人高兴的眼睛和果子好作食物. 在花园当中又有生命树和知识树的善恶. “”耶和华神吩咐他说，'你可以随意在园中所有树上吃. 但你不能从善恶的知识之树吃，因为当你吃的日子必定死. '“”于是耶和华神使他陷入深度睡眠. 而他正在睡觉，他把男人的肋骨之一，并关闭了肉的地方. 耶和华神就用他取出男人的肋骨造成一个女人，领她到那人跟前. “情绪开始时，上低音号演奏赞美诗的前两句神啊我们帮助历朝历代改变. 调整由威廉·克罗夫特1708. “圣安妮”. 由最狡猾的蛇引诱亚当和夏娃吃了禁果从树的知识善恶. “于是女人见那棵树的果子好作食物和悦目，也能使人有智慧，就摘下果子来吃了. 她还介绍了一些她的丈夫，谁是她的，他吃了“. 第三章，对. 赞美诗突然结束阐明的停止角. 下面，是一个充满生气和邪恶的动机和不和谐的纹理影射偷吃禁果的后果节. “要对女人说，”我必多多加增你怀胎的苦楚. 痛苦你会生出小孩. 你必恋慕你丈夫，他将统治你'“. 第三章，对. 16. 又对亚当说，“诅咒是因为你在地上. 经过痛苦的辛劳你会吃的日子生活中的每一天. 它会产生长出荆棘和蒺藜为你，你也要吃田间的菜蔬. 由你的汗水你会吃你的食物，直到你归了土，因为从它，你采取了. 尘你和灰尘将返回“. 第三章，对. 17-19. 人类在上帝赐予的诅咒可悲的反射动作结束. 运动三。诺亚和方舟，是一个诙谐曲，三人结构. 谐谑曲部分被设置在复合二拍子，反映了诺亚铺天盖地工作作为创世纪中的第6章描述构建一个最广阔的方舟. 三人几乎是孩子般的心情和引用了赞美诗所有光明美好的事物. 字由塞西尔楼亚历山大，1848年，17世纪英国的旋律. 万物光明和美好，所有的生物无论大小，所有的东西聪明和美好的，耶和华神使他们所有的. 赞美诗有助于创造登上方舟所有的“生灵”的形象. “你要带进方舟2众生，男性和女性，让他们活着带你. 两个每一种鸟，或每一种每一种生物沿地面移动的动物和的必到你们这里来维持生命. 第6章，对. 16-20. 三人的重演是由一个不和谐的质地渐强导致运动四中断。动作四。天上的窗户，开始落雨. 闭踩镲. 在踏板的Eb。之后的闪电，合奏的和弦数罢工，天开了，它开始倒. 木管级联通道. 如第7章，与描述. 11-12. “在诺亚的生活六百岁，在第二个月的第十七天 - 那一天，大渊迸发的所有泉源，和天上的闸门被打开. 和雨水落在地上四十天四十夜. “在层叠木管乐器的喇叭和喇叭唱毁灭的主题. 强度增长和达到其在C高度大，并与中的C喇叭重复八分音符踏板变得安静. 然后，从死呗动机，模具IRAE，出现在木管乐器和第7章的钢琴代表，与. 23. “在地球上每一个活着的东西被一扫而光. 人和动物与动物，沿地面和空中的飞鸟移动从地球上被消灭. 只留下挪亚和那些与他同在方舟. “一节建立的呗的部分声明的全部合奏与G上踏板的定音鼓结束. 动作五，立约的记号是交响乐的第五和最后一个乐章. 运动的第一部分反映了诺亚派人找土地鸽子. 短笛独奏恰当地暗示鸟，因为它飞向土地和带回的橄榄枝. “他又等了七天，再次发出了鸽子从方舟. 当鸽子回到他在晚上，还有在其嘴是一个新鲜采摘的橄榄叶. 诺亚就知道，水已经从地球上退去“. 第8章，对. 10-12. 下面的短笛的持续歌. 鸽子. ，牛角唱歌庆祝活动的主题为诺亚和动物走下方舟在旱地上. 祷告如下一系列重叠的节奏暗指诺亚建造了一座坛，神发誓不要以后再破坏地球上的生物的. 第8章，对. 20. “挪亚筑了一座坛给神. 第8章，对. 21-22. “我再也不会骂，因为人的理由，尽管他的心脏的每一个倾向是从小恶. 而我再也不会毁灭众生，因为我已经做. 在大张旗鼓大幅度调节至E交响乐结束大，然后逐渐消失在马林巴一个E大调的和弦，然后淡出沉默. 第9章，对. 12-13. “这是约我的人，你的各样活物之间作出与你，立约的所有子孙后代的符号. 我把虹放在云彩中，这就可作我与地立约的记号. 致力于马洛里B.汤普森博士在庆祝她的第一个十年的乐队在西北大学主任.