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Originalno

Bushido. The Way of the Warrior. Percussion sheet music. Timpani sheet music.

Prevod

Bushido. Way of Warrior. Tolkala note. Timpani note.

Originalno

Bushido. The Way of the Warrior composed by John Willmarth. Timpani Solo. For timpani solo. timpani. Book. Duration 9 minutes. Published by Innovative Percussion. IP.T-JW-BUS. Composer's notes. The samurai of Japan were not merely trained assasins but lived by a strict ethical code known as Bushido. literally meaning "the way of the warrior". This code influenced all aspects of life and is comparable to the Western concept of chivalry. The samurai were, of course, fierce warriors but also strongly believed in honor, kindness, frugal living, and above all, loyalty to their lord. The ultimate honor was to die in service to one's master. In fact, the samurai considered suicide, called seppuku, a brave and admirable alternative to being defeated in battle. As the samurai began their decline and eventual abolishment in 1871, Bushido became the moral standard of the Japanese culture. There are seven principals that embody the spirit of Bushido including. Gi. recitude. , Rei. respect. , Makoto. honesty. , and Chugi. loyalty. The three movements of this piece represent the Bushido principals of Jin. benevolance. , Meiyo. honor and glory. and Yu. courage. Each movement is intended to emphasize a different facet of the timpani and aspect of Japanese music. Jin is a soundscape and therefore deals primarily with color and timbre. It should convey a meditative and reflective mood as well as the kind and wise nature of the samurai. Meiyo focuses on the melodic potential of the timpani and utilizes pedaling to create an "eastern" tonality. It is song-like in character and should exemplify the proud tradition and history of the samurai. Yu explores the rhythmic potential of the timpani and is strongly influenced by the Taiko drumming tradition. It is intended to depict the fierce nature of the samurai in battle. "This nine-minute, four-drum composition represents the final three principles in its three movements. Each movement is intended to emphasize a different facet of the timpani and a different aspect of Japanese music. Movement 1. -Jin-. is a soundscape and therefore deals primarily with color and timbre. It conveys a meditative and reflective mood with its many caesuras, fermatas, and graphic and spatial notation. Numerous special effects are employed in this movement, such as use of fingers as well as mallets, finger trills, finger grace notes, playing in the center of the heads, glissandi, and pitch bends. achieved by depressing the head in the center with the heel of the hand. Movement 2. -Meiyo-. focuses on the melodic potential of the timpani and utilizes pedaling to create an "eastern" scale of six tones. F, G-flat, B-flat, C, D-flat, F. among the four drums. The movement is song-like in character and reflects the proud tradition and history of the Samurai. Although the movement begins rubato, it soon becomes dance-like and stays primarily in duple meter thereafter. Numerous special percussive effects are employed, such as stick clicks, rim clicks, striking the timpani struts, and rimshots. stick on stick. Movement 3. -Yu-. uses the same four starting pitches and basic tonality as both previous movements. It explores the rhythmic potential of the timpani and is strongly influenced by the Taiko drumming tradition. It is intended to depict the fierce nature of the Samurai in battle. The movement is aggressive, rhythmic, accented, and has many changes of meter. Mutes are eventually added to the drums for rhythmic clarity as the music turns "ferocious" and highly technical. The timpanist is often required to play passages of fast double stops and in the center of the heads. " - Mario Gaetano Percussive Notes, October 2006.

Prevod

Bushido. Pot bojevnika sestavljajo John Willmarth. Timpani Solo. Za timpane solo. timpani. Knjiga. Trajanje 9 minut. Izdala inovativna tolkala. IP.T-JW-BUS. Pojasnila skladateljevega. Samuraj Japonske niso bili le usposobljeni Assasins vendar sta živela s strogim etičnim kodeksom, znan kot Bushido. dobesedno pomeni "pot bojevnika". Ta koda vplival na vse vidike življenja in je primerljiv z zahodne pojma viteštva. Samuraji so bili, seveda, ostre bojevniki, temveč tudi močno verjel v čast, prijaznost, skromen način življenja, predvsem pa zvestoba svojemu gospodarju. Končni čast je bila, da umre v službi lastnega mojstra. Dejstvo je, samuraj šteje samomor, imenovano seppuku, pogumno in občudovanja vredno alternativo da bomo poraženi v bitki. Kot samuraj začel svoj padec in morebitno ukinitev leta 1871, Bushido postala moralna standard v japonski kulturi. Obstaja sedem ravnateljev, ki poosebljajo duh Bushido, vključno. Gi. recitude. , Rei. spoštovanje. , Makoto. poštenost. In Chugi. lojalnost. Trije gibanje tega dela predstavljajo Bushido principov Jin. benevolance. , Meiyo. čast in slava. Yu. pogum. Vsako gibanje je namenjena poudariti drugačen vidik na pavke in vidik japonske glasbe. Jin je zvočna slika, zato se ukvarja predvsem z barvo in zvenom. Javnosti naj bi sporočala meditativno in odsevni razpoloženja, kot tudi vrste in pametno narave samurajev. Meiyo osredotoča na melodični potencial za pavke in izkorišča poganjati ustvariti "vzhodni" tonalitete. To je pesem, tako kot po značaju in bi ponazarjajo bogato tradicijo in zgodovino samurajev. Yu raziskuje ritmično potencial pavke in se jih je Taiko bobnanje tradiciji močno vplivali. Namenjen je upodobljen ostre narave samurajev v bitki. "To je devet minut, štiri-boben sestavi predstavlja zadnjih treh načel v svojih treh stavkih. Vsako gibanje je namenjena poudariti drugačen vidik na pavke in drugačen vidik japonske glasbe. Gibanje 1. -Jin-. je zvočna slika, zato se ukvarja predvsem z barvo in zvenom. Vzbuja meditativno in premišljen razpoloženje s številnimi caesuras, fermatas in grafični in prostorski zapis. Številni posebni učinki so zaposleni v tem gibanju, kot so uporaba prstov, kot tudi mallets, prst trills, prst podaljšanih opombe, igral na sredini glave, glissandi in naklonom ovinkov. doseže s pritiskom na glavo v centru s peto roke. Gibanje 2. -Meiyo-. Osredotoča se na melodični potencialu pavke in izkorišča poganjati ustvariti "vzhodni" obsega šest tonov. F, G-stanovanje, B-stanovanje, C, D-stanovanje, F. Med štirimi bobnov. Gibanje je, pesem kot v značaju in odraža bogato tradicijo in zgodovino samurajev. Čeprav se gibanje začne Rubato, kmalu postane-dance, kot je in ostane predvsem v duple meter zatem. Številni posebni perkusijskih učinki so zaposleni, kot prekla klikov, platišča klikov, iskanje timpane opornike in rimshots. nalepite na palico. Gibanje 3. -Yu-. uporablja iste štiri parcele, ki se začnejo in osnovne tonalitete kot obeh prejšnjih premikih. Raziskuje ritmično potencial pavke in se jih je Taiko bobnanje tradiciji močno vplivali. Namenjen je upodobljen ostre narave samurajev v bitki. Gibanje je agresiven, ritmično, naglašene, in ima veliko sprememb meter. Izklopi se na koncu doda posod za ritmično jasnosti, glasba postane "divji" in zelo tehničnem. Timpanist je pogosto potrebno za predvajanje odlomkov hitro dvojno zavoro in v sredini glave. - Mario Gaetano udarnega ugotavlja, oktober 2006.