Partiture $180.00

Originalno

Concerto No. 2 for Marimba & Wind Ensemble. David Gillingham. B-Flat Trumpet sheet music. Bass Trombone sheet music. Horn sheet music. Marimba sheet music. Grade 5.

Prevod

Koncert številka 2 za Marimba. David Gillingham. Trobenta notno B-Flat. Bass pozavna note. Horn note. Marimba note. Stopnje 5.

Originalno

Concerto No. 2 for Marimba & Wind Ensemble. Marimba Feature. Composed by David Gillingham. For Soloist. with Concert Band. Piccolo, Flute 1. 2, Oboe 1. 2 , Bassoon 1. 2, Clarinet in Bb 1. 2, Clarinet in Bb 3, Bass Clarinet, Alto Saxophone 1. 2, Tenor Saxophone, Baritone Saxophone, Trumpet in Bb 1, Trumpet in Bb 2. 3, Horn in F 1. 3, Horn in F 2. 4, Trombone 1. 2, Bass Trombone, Euphon. Band Music. Grade 5. Score and parts. Duration 23. 00. Published by C. Alan Publications. CN.11850. An intriguing, engaging, and challenging piece. Gillingham's Concerto is a must-try for all marimbists. The breakneck first movement sets a rapid pace for the turbulent musical passages throughout. Musical themes return in the second movement, but much slower with a delicate ensemble accompaniment. The lively third movement flirts with meter changes and mixed meter to create a spritely feel to the movement leading to the solo cadenza and finale. The Concerto No. 2 for Marimba is a commission by a consortium of schools and performers headed by Professor Marc Wooldridge of Northwestern College, Orange City, Iowa. The work exploits the full range of the technical and expressive ability of the five-octave concert grand marimba. It is cast in the standard three-movement format. The first movement uses sonata-rondo form and begins with a slow introduction and quasi-cadenza by the marimba. An animated first theme follows in G-minor accompanied by clarinets and tambourine. A contrasting second theme area follows featuring chromatic mediant progressions and descending chromatic lines. The return of the first theme utilizes a slightly different accompaniment. The development section reworks all the thematic material in different guises. The recapitulation presents the first theme, verbatim, as it was in the exposition. The second theme, however, changes the mode to major. The return alternates the marimba on the theme with the winds playing the theme in augmentation. The marimba quietly ends the movement with an ascending and descending arpeggiated passage. The second movement is a chaconne with eight variations. The marimba states a rather haunting chorale-like melody in Bb minor. The first variation features the low brass on the chaconne theme with the marimba on the variation. Variation II uses marimba, clarinet, bells, and vibraphone and Variation III uses marimba, oboe, and horns. Cascading muted brass against the augmented chaconne theme in the flutes and clarinets are indicative of Variation IV. Variation V changes the slow pace to fast using marimba, brass, timpani, and bells. A haunting Variation VI utilizes bowed marimba on the chaconne theme accompanied by piano and bells. Variation VII features the low brass on the chaconne theme against triplets in the upper brass. Rolled arpeggiated chords highlight Variation VIII along with a solo alto saxophone on the second half of the variation. A somber coda brings the movement to a close. The third movement, like the first, is in sonata-rondo design and is cyclic, bringing back and combining the thematic material of the first and second movements. The first theme, in D-minor, is angular and spirited, accompanied by clarinets and tambourine. reminiscent of Mvt. I. The second theme brings back the second theme of the first movement followed by the return of the first theme, now accompanied by saxophones and tambourine. The development combines and works thematic material from all three movements of the concerto. The recapitulation begins with the bassoons on the first theme, followed by the horns. trumpets and finally, the marimba. The second theme brings back the chaconne of the second movement, this time in major with the marimba accompanying using rhythmic material taken from the first theme of the third movement. There is no formal return of the first theme. Instead, the marimba plays a cadenza in which the first theme material and the second movement chaconne are developed. A galloping presto. coda. follows, ending the movement in D major. - David R. Gillingham.

Prevod

Koncert številka 2 za Marimba. Marimba Feature. Ki ga sestavljajo David Gillingham. Za Solist. s Concert Band. Pikolo, flavta 1. 2, oboa 1. 2, fagot 1. 2, klarinet v Bb 1. 2, klarinet v Bb 3, bas klarinet, alt saksofon 1. 2, tenor saksofon, bariton saksofon, trobento v Bb 1, trobento v Bb 2. 3, Horn v F-1. 3, Horn v F-2. 4, pozavna 1. 2, Bass pozavna, Euphon. Band Glasba. Stopnje 5. Rezultat in deli. Trajanje 23. 00. Izdala C. Alan publikacije. CN.11850. Zanimiv, privlačen in zahtevna kos. Gillingham Koncert je must-poskusite za vse marimbists. Vratolomnimi prvi stavek določa hiter tempo za burnih glasbenih prehodov v celotnem. Glasbene teme se vrnete v drugem stavku, vendar veliko počasneje, z nežnim ansambel spremljavo. Živahno Tretji stavek se spogleduje z merilcem sprememb in mešani meter za ustvarjanje spritely občutek za gibanje, ki vodi k solo kadenco in finale. Koncert številka 2 za Marimba je komisija, ki jo konzorcij šol in izvajalcev profesor Marc Wooldridge z Northwestern College, Orange City, Iowa čelu. Delo izkorišča celotno paleto tehničnih in ekspresivne zmožnosti pet oktave koncert grand marimbo. To se meče v standardni obliki treh gibanja. Prvi stavek uporablja sonata-Rondo obliko in se začne s počasnim uvajanjem in kvazi-kadenco, ki ga je marimbo. Animirani prva tema sledi v G-molu, ki ga spremlja klarineta in tamburinu. Kontrastne Druga tema območje sledi ponaša kromatične mediant napredovanja in padajoče kromatične linije. Vrnitev na prvi temi uporablja nekoliko drugačno spremljavo. Oddelek za razvoj reworks vseh tematskih gradivo v različnih preoblekah. Rekapitulacija predstavlja prvo temo, dobesedno, saj je bil v priročniku. Druga tema pa spreminja način, da glavni. Donosnost izmenjuje marimba na temo z vetrovi, ki igrajo teme v bogatenja. Marimba tiho konča pretok z naraščajočim in padajočim arpeggiated prehoda. Drugi gibanje je Chaconne z osmimi sprememb. Marimba države, ne preganja, koralno kot melodijo Bb molu. Prva varianta ima nizko medenino na temo Chaconne z marimbo na spremembo. Variacija II uporablja marimba, klarinet, zvonovi in ​​vibrafon in Variacija III uporablja marimba, oboo in rog. Kaskadno utišan bron proti razširjene Chaconne teme v flavte in klarineta so okvirne variacije IV. Variacija V spreminja zelo počasi, da hitro uporabo marimba, medenina, timpani in zvonove. Preganja Sprememba VI izkorišča priklonil marimbo na temo Chaconne ob spremljavi klavirja in zvonove. Sprememba VII ima nizko medenino na temo Chaconne proti trojkah v zgornjem medenine. Valjane arpeggiated akordi poudarjajo variacije VIII skupaj s solo alt saksofon v drugi polovici variacije. Mračni CODA prinaša gibanje na blizu. Tretji gibanje, kot prvo, je v zasnovi sonata-Rondo in je cikličen, tako nazaj in kombiniranje vsebinski material prvega in drugega gibanja. Prva tema, v D molu, je kotni in živahen, skupaj s klarineti in tamburinu. spominja na DMV. I. Druga tema je prineslo drugo temo prvega stavka sledi vrnitev v prvo temo, zdaj ga spremlja saksofonov in tamburinu. Razvoj združuje in dela tematsko gradivo iz vseh treh gibanj koncerta. Rekapitulacija začne z fagota na prvo temo, sledijo roge. trobente in končno, marimba. Druga tema vrača Chaconne drugega gibanja, tokrat v glavni z marimba, ki spremlja uporabo ritmično material, vzet iz prvega temo tretjega gibanja. Ni formalne donos prvega teme. Namesto, marimba ima kadenco, v katerem se je razvil prvo tema materiala in druga Chaconne pretok. Galloping presto. rep. sledi, ki se konča gibanje v D-duru. - David R. Gillingham.