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Originalno

Studies in Copper. Percussion sheet music. Timpani sheet music. Advanced.

Prevod

Študije na baker. Tolkala note. Timpani note. Napredno.

Originalno

Studies in Copper composed by Alex Orfaly. Percussion Ensemble. For Timpani. 4 timpani. Percussion Music. Medium to medium difficult. Solo part. Published by C. Alan Publications. CN.15020. This collection of etudes focus on the following five issues on the timpani. Sound Quality, Articulation. and evenness between the hands. , Rolls, Intonation, Rhythm and Time. These etudes focus on the following five issues on the timpani. Sound Quality, Articulation. and evenness between the hands. , Rolls, Intonation, Rhythm and Time. Sound Quality. No matter the technical challenge the player should always strive for the best sound quality possible. Always paying particular attention to where each drum is being struck. the playing spot. will help in achieving this goal. There are many opinions as to what an ideal sound can be, for myself it is an open and ringing sound that is produced by using a relaxed technique. Articulation. Clear articulation is always a concern for the timpanist. Using harder mallets should not always be the solution. In fact, the timpanist might find it more rewarding to use softer mallets, achieve a fine timpani sound, and use their touch and technique to produce the required articulation. The timpanist should pay particular attention to the evenness of sound between the hands, especially when there are repeated notes on one drum. Rolls. Rolling is the timpanist's equivalent of a long tone. Rolls will emphasize the ringing nature of the timpani and not the percussive qualities. In passages with slurs marked above rolls, these rolls should be as connected as possible between the drums and not broken. Intonation. Precise intonation is very important. Hearing proper intervallic relationships is essential to the development of any timpani player. If a note is out of tune, the player should fix it. while playing. and not allow it to remain false. Rhythm and Time. Keeping time while tuning during rests is a skill required by the timpanist. If the player needs more time in these etudes, it is acceptable to change the amount of time given. The player should then adhere to this change. Players should make sure to subdivide mentally to ensure proper rhythmic spacing and placement. Muffling is encouraged at the discretion of the player. Sometimes articulations are marked to indicate whether they should be long or short. In any event, muffle as quietly as possible. The terms General sound, Classical sound, etc. starting p. 18. are intentionally vague. These terms are only meant to act as a general guideline for the sound of each etude. This may indicate a stick choice or may indicate how a stick should be used. In any case, it is up to the performer to explore the many possibilities and come up with a sound that is musically fitting. Finally, all of the aforementioned technical issues aside, it is very important that these etudes should be approached musically. Each performer should find his or her personal interpretation of these studies. A timpanist should strive to always be a listening and adjusting musician. These etudes are dedicated to Paul Yancich. - Alex A. Orfaly.

Prevod

Studies in Copper composed by Alex Orfaly. Percussion Ensemble. Za timpane. 4 timpani. Tolkala Glasba. Srednje do srednje težko. Le del. Izdala C. Alan publikacije. CN.15020. Ta zbirka etude osredotočiti na naslednjih pet vprašanj na pavke. Kakovost zvoka, Artikulacija. in ravnost med rokah. , Rolls, intonacija, ritem in čas. Te etude osredotočiti na naslednjih pet vprašanj na pavke. Kakovost zvoka, Artikulacija. in ravnost med rokah. , Rolls, intonacija, ritem in čas. Kakovost zvoka. Ne glede na tehnični izziv igralec mora vedno prizadevati za najboljšo možno kakovost zvoka. Vedno posebno pozornost posvečati kjer je vsak boben udarci. igranje mesto. bodo v pomoč pri doseganju tega cilja. Obstaja veliko mnenj o tem, kaj idealen zvok je lahko, sam pa je odprt in zvonjenje, ki se proizvaja z uporabo sproščeno tehniko. Artikulacija. Jasna artikulacija je vedno skrb za timpanist. Uporaba trših mallets ne sme biti vedno rešitev. Dejansko bi lahko timpanist zdi bolj koristno uporabljati mehkejše mallets, dosegli lep pavke zvok, in uporabite svoj pridih in tehnike za izdelavo zahtevane artikulacijo. Timpanist je treba posebno pozornost nameniti ravnosti zvoka med rokami, še posebej, če se ponovi zapiske na enem bobnu. Rolls. Rolling ustreznik timpanist v dolgih tona. Rolls bo poudaril zvonjenja naravo pavke in ne na udarnega kvalitete. Prehodih z slurs označenih zgoraj zvitkih, bi morali biti ti zvitki, kakor je to mogoče povezano med bobni in lomljeno. Intonacija. Natančna intonacija je zelo pomembno,. Zaslišanje ustreznih intervallic odnosov je ključnega pomena za razvoj katere koli pavke igralca. Če nota je iz tune, bi igralec popravim. Med predvajanjem. in ne dovolite, da bi ostala false. Ritem in čas. Vodenje časa, medtem ko tuning času počitkov je veščina, ki jo je potrebno timpanist. Če igralec potrebuje več časa v teh etude, je sprejemljivo, da spremenite količino časa, določenega. Igralec mora potem držati te spremembe. Igralci se morajo prepričati, da duševno razdeliti, da se zagotovi pravilno ritmično razmik in umestitve. Muffling Spodbuja se po presoji igralca. Včasih so artikulacije označena, ali naj bodo dolgi ali kratki. V vsakem primeru, žarilna kot tiho kot je mogoče. Splošni pogoji zvoka, Classical zvoka, itd. začenši p. 18. so namerno nejasen. Ti pogoji so namenjeni le, da delujejo kot splošne smernice za zvok vsakega etude. To lahko pomeni izbiro palico ali lahko pove, kako naj se palica uporablja. V vsakem primeru pa je do izvajalca raziskati številne možnosti in prišli gor z zvokom, ki je glasbeno opremljanje. Končno, vse od omenjenih tehničnih vprašanj na stran, je zelo pomembno, da je treba te etude približal glasbeno. Vsak izvajalec naj bi našli njegov osebni razlaga teh študij. Timpanist bi si morali prizadevati, da vedno posluša in prilagajanje glasbenik. Te etude posvečena Paul Yancich. - Alex A. Orfaly.