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Originalno

Paschal Dances. David Gillingham. Voice sheet music. Percussion sheet music. Timpani sheet music. Advanced.

Prevod

Velikonočni Dances. David Gillingham. Voice note. Tolkala note. Timpani note. Napredno.

Originalno

Paschal Dances composed by David Gillingham. Percussion Ensemble. For Percussion Ensemble. Percussion 1. 4 small concert toms, 4 congas, crash cymbals, voice. , Percussion 2. 4 large concert toms, 4 bongos, voice. , Percussion 3. 5 timpani, tambourine. , Percussion 4. crotales, snare drum, voice. , Percussion 5. bells, temple blocks, voice. , Percus. Medium difficult. Score and parts. Duration 10. 00. Published by C. Alan Publications. CN.01850. Paschal Dances is based on the first two lines of the famous Gregorian Easter sequence, Victim paschali laudes. Praises to the Paschal Victim. Motives and phrases of the chant are used to unify the work which comprises an Invocation, 4 Dances, 2 Interludes, and a Benediction. Unmistakable Gillingham, so you know it's great music. Dedicated to Robert Hohner and the Central Michigan University Percussion Ensemble, Paschal Dances is based on the first two lines of the famous Gregorian Easter sequence, Victim paschali laudes. Praises to the Paschal Victim. Motives and phrases of the chant are used to unify the work which comprises an Invocation, 4 Dances, 2 Interludes, and a Benediction. In the opening Invocation, the first phrase of the chant tune is played by the orchestra bells and consequently, the first five notes are harmonized by the marimba. The orchestra bells play both phrases of the first line of the chant at the close of the section. Dance I, in fast tempo, is dominated by membrane instruments with interjections of the second line of the chant tune being played by keyboard instruments. The section segues into the first Interlude, characterized by bowed vibraphone and a dirge-like presentation of the first five notes of the chant in the piano. Following, in the same slow tempo, is Dance II, which features chanting of male voices in canon on each of the three phrases comprising the second line of the chant. The first phrase of the chant undergoes metamorphosis in Dance III, becoming a whole-tone configuration. The dance is set in a lively 6. 8 meter with periodic episodes of duplets against the triplet division. At midpoint, the dance breaks into quadruple meter with the first phrase of the chant played by the vibraphone moving in triplets. The dance returns to 6. 8 meter and elides with the second Interlude, in slow tempo, where fragments of the chant are heard in the bells, chimes and marimba. Following a brief silence, Dance IV ensues with the marimbas elaborating on the whole-tone motive used in Dance III. In very fast tempo, the movement climaxes on a glorious G-flat major chord, which also articulates the beginning of the Benediction. Accompanied by all mallet instruments playing the motive of the first phrase of the chant in different rhythms, the piano, along with voices, state a haunting motive derived from the second line of the chant. The work ends with three tolls of a questioning chord, with each articulation followed by an arpeggiated version of the chord in the upper register of the piano.

Prevod

Velikonočna plesi, ki jih sestavlja David Gillingham. Percussion Ensemble. Za tolkalni ansambel. Tolkala 1. 4 manjših koncertnih toms, 4 Kongi, crash činele, glas. , Tolkala 2. 4 velike koncertne toms, 4 Bongos, glas. , Tolkala 3. 5 timpani, tamburin. , Tolkala 4. crotales, snare boben, glas. , Tolkala 5. zvonci, temple blokov, glas. , Tolkala. Srednje težko. Rezultat in deli. Trajanje 10. 00. Izdala C. Alan publikacije. CN.01850. Velikonočna plesi temelji na prvih dveh vrsticah slavnega Gregorian velikonočni zaporedju, Victim paschali laudes. Pohvale za velikonočne žrtvam. Motive in fraze iz korala se uporabljajo za poenotenje dela, ki obsega invokacija, 4 plesi, 2 interludes in blagoslovitev. Nezmotljivi Gillingham, tako da boste vedeli, da je super, glasba. Posvečen Robertu Hohner in tolkalni ansambel Central Michigan University, ki je velikonočne plesi, ki temelji na prvih dveh vrsticah slavnega Gregorian velikonočni zaporedju, Victim paschali laudes. Pohvale za velikonočne žrtvam. Motive in fraze iz korala se uporabljajo za poenotenje dela, ki obsega invokacija, 4 plesi, 2 interludes in blagoslovitev. Pri uveljavitvi otvoritveni se prvi stavek petje melodijo igral orkester zvonovi in ​​posledično so v prvih petih pojasnila usklajeni z marimbo. Orkester zvonovi igrajo obe izrazov v prvi vrstici petje ob koncu odseka. Dance I, v hitrem tempu, prevladujejo membranskih instrumentov z interjections v drugi vrstici petje melodijo, ki se predvaja z instrumenti s tipkami. Oddelek segues v prvi medigra, označen z priklonil vibrafon in-Parastos kot predstavitvi prvih petih opomb petje v klavir. Po, v istem počasnem tempu, je Dance II, ki ima skandiranje moških glasovih v kanonu na vsakem od treh stavkov, ki sestavljajo drugo linijo petja. Prvi stavek korala opravi metamorfozo v Plesnem III, ki je postala konfiguracija celotnega tone. Ples je postavljena v živahno 6. 8 meter z občasnimi epizodami duplets proti delitvi trodelno. Na središčno točko, ples odmori v štirikratnega meter s prvim stavkom od petja, ki ga vibrafon, ki se giblje v trojkah igral. Plesne vrne 6. 8 meter in elides z drugim medigra, v počasnem tempu, kjer so fragmenti petja slišal v zvonovi, zvončki in marimba. Po kratkem molku, Dance IV izhajajočega z marimbas za pripravo na celih tonov motivom, ki se uporablja v Plesnem III. V zelo hitrem tempu, gibanje vrhuncev na slavno G-duru struna, ki v kateri so opredeljeni tudi začetek blagoslovitev. Skupaj z vsemi melodična instrumenti igrajo motiv prvem stavku petje v različnih ritmih, klavir, skupaj z glasovi, stanje tesnobna gibalno izvira iz druge linije petje. Delo konča s tremi cestnine za spraševanje tetive, vsak zgib sledila arpeggiated različico tetive v zgornjem registru klavir.