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Originalno
8 Pieces for 4 Timpani. Elliott Carter. Percussion sheet music. Timpani sheet music.
Prevod
8 skladb za 4 timpane. Elliott Carter. Tolkala note. Timpani note.
Originalno
8 Pieces for 4 Timpani. With Program notes. Composed by Elliott Carter. 1908-. For Timpani. One Player. Percussion Works. Includes Recitative and Improvisation. 24 pages. G. Schirmer #AMP6820. Published by G. Schirmer. HL.50234240. ISBN 0793548489. 9x12 inches. These Eight Pieces For Four Timpani are great fun to play for the advanced percussionist. Detailed performance notes are included by Elliot Carter regarding the size of timpani, sticks and stick strokes, special effects and articulation. Programme Note. The Canto and Adagio of this set of Eight Pieces for Four Timpani. One Player. were written in 1966, while the other six were composed in 1949. In those days, these six were found difficult, if not impossible to play effectively, but, as time passed interest in them and performing skills grew, so I decided to publish the set complete, as four of them had been widely circulated in manuscript, in 1966. At that time, they were revised with the help of the percussionist, Jan Williams, of the New York State University at Buffalo. In gratitude for his advice, the Canto and Adagio were composed for him and included the set. Unlike the other, each of which is a four-note piece based on different tunings of the drums, these two employ the possibilities of the pedal-tuned chromatic timpani. The six from 1949, besides being virtuoso solos for the instrumentalist, are studies in the controlled, interrelated changes of speed now called Òmetric modulation,Ó and generated ideas carried further in my First String Quartet begun at the same time and completed shortly afterwards. Each piece is dedicated to a performer who showed an interest in the works in their early days. I. Saeta. 1949. 1966. Ð Al Howard Ð An Andalusian song of improvisatory character sung during an outdoor religious procession, usually at Easter. said to be the descendent of a rain ceremony during which an arrow. saeta. was shot into the clouds to release the rain. II. Moto Perpetuo. 1949. 1966. Ð Paul Price Ð A rapid patter of notes of equal length, broken up into phrases of constantly changing accentuation, played with special, small, light drum sticks. III. Adagio. 1966. Ð Jan Williams Ð Uses pedal tuned timpani to produce vibratos, harmonics and glissandos in dramatic outburst. IV. Recitative. 1949. 1966. Ð Morris Lang Ð Short contrasting phrases, one of which is condensed into the irregularly repeated major third in the latter part and punctuated by another phrase that disintegrates. V. Improvisation. 1949. 1966. Ð Paul Price Ð The opening phrase furnishes materials for numerous variations with constant changes of speed. VI. Canto. 1966. Ð Jan Williams Ð Uses pedal tuned timpani played by snare drum sticks in a line that slides from one pitch to another. VII. Canaries. 1949. 1966. Ð Raymond DesRoches Ð A dance of the XVI and XVII centuries, ancestor of the gigue, supposedly imported from the Òwild menÓ of the Canary Islands. in 6. 8 time with dotted rhythms-here fragmented and developed. VIII. March. 1949. 1966. Ð Saul Goodman Ð Two march rhythms of different speeds are superimposed, one played with the butts, the other with the heads of the drum sticks. These produce musical ideas expanded in the middle section. --Elliott Carter.
Prevod
8 skladb za 4 timpane. S pojasnili programa. Ki ga sestavljajo Elliott Carter. 1908 -. Za timpane. Eden od igralcev. Tolkala dela. Vključuje recitativ in improvizaciji. 24 strani. Г. Ширмер. Izdala G. Schirmer. HL.50234240. ISBN 0793548489. 9x12 cm. Te Osem Pieces za štiri timpane so super zabavna za napredno tolkalca. Podrobnejša pojasnila uspešnosti so vključeni Elliot Carter glede na velikost pavke, palicami in držijo kapi, posebnih učinkov in artikulacije. Program Note. Canto in Adagio s tem nizom osmih kosov za štiri timpane. Eden od igralcev. so bili napisani leta 1966, medtem ko so bili drugi šest sestavljena leta 1949. V teh dneh, teh šest je bilo ugotovljeno težko, če ne nemogoče, da dejansko igrati, vendar, kot je minilo zanimanje za njih in opravljanju spretnosti rasla, zato sem se odločila, da objavi niz končan, saj je bil štiri od njih so splošno razširjene v rokopisu, v letu 1966. V tistem času so bili revidirani s pomočjo tolkalca, Jan Williams, na Državni univerzi New York v Buffalu. V zahvalo za njegov nasvet, so Canto in Adagio sestavi za njega in vključiti niz. Za razliko od drugih, od katerih je vsak štiri bankovec kosov, ki temelji na različnih tunings bobnov, ti dve zaposlujejo možnosti za pedalo uglašen kromatično timpane. Šest letu 1949, poleg tega pa Virtuozni solaže za instrumentalist, so študije v kontroliranih, med seboj povezanimi spremembami hitrosti zdaj imenovanih Òmetric modulacija, Ó in ustvarjene ideje še naprej prevažajo v mojem prve godalnega kvarteta začela ob istem času in dodelana kmalu zatem. Vsak del je namenjen izvajalcem, ki so pokazali zanimanje za dela v svojih zgodnjih dni. I. Saeta. 1949. 1966. Ð Al Howard Ð Andaluzijski pesem improvizatorski značaja pela v prostem versko procesijo, običajno na veliko noč. dejal, da je potomec dež slovesnosti v katerem puščica. arrow. je bil posnet v oblakih, da se sprosti dež. II. Moto Perpetuo. 1949. 1966. Ð Paul Cena Ð hitro Rožljanje bankovcev enake dolžine, razdeljena v fraz nenehno spreminja naglaševanja, igral s posebnimi, majhen, lahek boben palice. III. Adagio. 1966. Ð Jan Williams Ð Uporabe pedala uglašen timpane za proizvodnjo vibratos, harmonike in glissandos v dramatični izbruh. IV. Recitativ. 1949. 1966. Ð Morris Lang Ð Kratek kontrastni stavki, od katerih se kondenzira v ohlapno ponavljajoči za tretjino, v zadnjem delu in prekinjala z drugo besedno zvezo, ki razpade. V. Improvizacija. 1949. 1966. Ð Paul Cena Ð stavek odprtju predloži gradivo za številne variacije s konstantnimi spremembami hitrosti. VI. Canto. 1966. Ð Jan Williams Ð Uporabe pedala uglašen pavke s snare boben palice igrali v liniji, ki drsijo iz ene na drugo igrišče. VII. Kanarski otoki. 1949. 1966. Ð Raymond Desroches Ð Ples XVI in XVII stoletja, prednik Gigue, domnevno uvaža iz Òwild Meno Kanarskih otokih. V 6.. 8. čas z pikčaste ritmi-tukaj razdrobljena in razvili. VIII. Marec. 1949. 1966. Ð Saul Goodman Ð Dve marec ritmi različnih hitrostih se prekrivajo, eden igral z riti, druga z vodji bobna palice. Te proizvajajo glasbene ideje razširjena v srednjem delu. --Elliott Carter.
