Partiture $45.00

Originalno

RAUK. Marimba sheet music. Percussion sheet music. Vibraphone sheet music. Xylophone sheet music.

Prevod

RAUK. Marimba note. Tolkala note. Vibrafon note. Ksilofon note.

Originalno

RAUK composed by Anders Astrand. Percussion Ensemble. For solo vibraphone & percussion trio. vibraphone, cymbal, xylophone, crotales, 3 sets of. cymbal, japanese gong, 4 tom-toms, bass drum. , 2 marimba. 1 to 5 octaves. Level 5. Score and set of parts. Duration 18-20 minutes. Published by Innovative Percussion. IP.E-AA-RAU. Composer's notes. In 1999, Amores Grup de PercussiA3 in Valencia, Spain, commissioned me to compose a piece for solo vibraphone and three percussionists. I performed the piece on vibraphone with the group later that year. The piece is named after the tall limestone formations in Gotland, Sweden called Rauk. Solo part contains large sections of improvisation. "Commissioned in 1999 by the Amores Percussion Group, "Rauk". the name refers to tall limestone formations found in Gotland, Sweden. is scored for solo vibraphone and three percussionists playing xylophone, crotales and two marimbas. Each percussionist also performs with a setup of cymbal, Japanese gong, four toms and bass drum. Although identical in terms of the type of instruments, each setup is differentiated by pitch. The first percussionist's instruments are high pitched, the second percussion part requires instruments of medium pitch, and the third part stipulates low-pitched instruments. Several features of this work are of interest. One is a lengthy passage that may be unique in percussion ensemble literature. The three percussionists, using their high, medium, and low-pitched setups, must play rhythmically complex, technically challenging parts that are identical in all respects. To do so requires performing in unison, in an extraordinary display of ensemble precision. The results should be stunning, considering the pitch differential, which should have an effect similar to playing simultaneously in several octaves. The piece exploits a wide dynamic range, from the tutti passage described above to contrasting sections that follow, in which the texture thins. at one point down to a single marimba playing repeated eighth-note chords. and the legato, lyric qualities of the vibraphone are tapped. This section also capitalizes on the soloist's improvisational skills, a most important factor in the overall musical merits of the piece. One final feature that gives the vibist a substantial solo opportunity is a lengthy cadenza, which, printed separately, fills two pages. This ensemble is as much a showcase for the three percussionists as for the vibraphonist, although it affords an excellent opportunity to display the talents of a mature college mallet player. However, that individual must be proficient in improvisation with some familiarity with modal theory. the solo part does not include a realization for those who can-t improvise. A final "plus" for the piece is that there need be no concern that those playing the percussion parts will become bored. " "John R. Raush Percussive Notes, February 2005.

Prevod

RAUK composed by Anders Astrand. Percussion Ensemble. Za solo vibrafon. vibrafon, činele, ksilofon, crotales, 3 nize. činele, japonski gong, 4 tom-toms, bas boben. 2 marimba. 1 do 5 oktav. Stopnja 5. Rezultat in nastavite delov. Trajanje 18-20 minut. Izdala inovativna tolkala. IP.E-AA-RAU. Pojasnila skladateljevega. Leta 1999 je Amores Grup de PercussiA3 v Valenciji v Španiji, mi je naročil, da bo sestavil kos za solo vibrafon in tri tolkalce. Sem opravil kos na vibrafon s skupino pozneje v tem letu. Kos je poimenovana po visokih apnenčastih tvorb v Gotland, Švedska imenovana Rauk. Solo del vsebuje velike dele improvizacije. "Naročeno leta 1999 Percussion Group Amores," Rauk ". Ime se nanaša na ugotovljene v Gotland na Švedskem visok apnenca formacije. je dosegel za solo vibrafon in tri tolkalce, ki igrajo ksilofon, crotales in dve marimbas. Vsak tolkalec opravlja tudi z nastavitvijo činele, japonski Gong štiri Toms in bas boben. Čeprav je identična glede na vrsto instrumentov, je vsaka nastavitev razlikujejo po igrišču. Instrumenti prvega tolkalec so visoke glasom, druga tolkala del zahteva instrumente srednje igrišče in tretji del določa nizko Piskav instrumente. Številne značilnosti tega dela, so zanimivi. Eden od njih je dolg odlomek, ki je lahko edinstvena v tolkalni ansambel literature. Vse tri tolkalce, s pomočjo svoje visoke, srednje in nizke glasom postavitve, mora imeti ritmično zapletene in tehnično zahtevne dele, ki so enaki v vseh pogledih. To storite tako zahteva, ki v sozvočju, v izrednem prikazu ansambel natančnosti. Rezultati bi morali biti omamljanje, če upoštevamo razliko smola, ki bi morala imeti podoben učinek predvajati hkrati v več oktavah. Kos izkorišča širok dinamični spekter, od prehoda tutti zgoraj opisali, da kontrastnih odseke, ki sledijo, v kateri teksturi Thins. na eni točki vse do samega marimbo igral večkratnim akordov osme note. in muz, posreduj besedilo kvalitet vibrafon so potrkal. Ta oddelek se izkorišča tudi na improvizacijskih sposobnosti solist je, je najpomembnejši dejavnik v skupnem glasbenih utemeljenosti kos. Še zadnja funkcija, ki daje vibist znatno solo priložnost je dolgotrajen kadenco, ki je natisnjena ločeno, polni dve strani. Ta ansambel je toliko izložba za tri tolkalce kot za vibraphonist, čeprav daje odlično priložnost za prikaz talente zrelo kolegij Mallet predvajalnik. Vendar pa je treba, da je posameznik obvladati improvizacijo z nekaj poznavanja modalne teorije. solo del ne vključuje realizacijo za tiste, ki znajo-t improviziraj. Končno "plus" za kos, je, da ni potrebe zaskrbljenost, da bodo tisti, ki igrajo dele tolkalske postane dolgčas. "" John R. Raush udarnega ugotavlja, februar 2005.