Bladmuziek $50.00

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Journey for Marimba, Piano, & Percussion Ensemble. Marimba sheet music. Percussion sheet music. Piano sheet music. Timpani sheet music. Vibraphone sheet music. Xylophone sheet music.

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Journey for Marimba, Piano, & Percussion Ensemble. Marimba bladmuziek. Percussie bladmuziek. Piano bladmuziek. Pauken bladmuziek. Vibrafoon bladmuziek. Xylofoon bladmuziek.

Oorspronkelijk

Journey for Marimba, Piano, & Percussion Ensemble composed by Matthew Coley. Marimba Solo with Percussion Ensemble. For solo marimba, piano, & percussion ensemble. marimba low c, piano, marimba 4 oct, timpani, bells, crotales, xylophone, vibraphone, chimes, bass drum, 4 tom-toms, tambourine, vibraphone, 3 triangles, 4 woodblocks, snare drum, field drum, tam-tam, 2 sus. cymbals, hi-hat, bell tree, wind chimes. Level 4. Score and set of parts. Duration 10 minutes, 30 seconds. Published by Innovative Percussion. IP.E-MC-JOU. Composer's notes. Journey for Solo Marimba, Piano, and Percussion Ensemble. Journey for Marimba and Piano, 2005. was composed in 2004 with several ideas in mind. First, I wanted a work of which a competent marimba player could be featured with ensembles of varietal skill levels. The work was written so that an advanced high school group could perform it with sufficient preparation time, and all college and professional groups could easily prepare the ensemble parts. The instrumentation is such that most high school groups would be able to gather everything needed, and the technical concerns in the work keep in mind that a high school will have a wide range of skill level in their players, so through the ensemble parts there should be enough variety to meet this range. Due to the instrumentation being chosen for practicality and limitations to the technical level of the ensemble parts the piano was added not only because it always gives a great color to the percussion ensemble, but to support the ensemble with lower voicing and sustain. Secondly, I had come up with two chord progressions that I wanted to base this work on. The first being the progression heard in the first four measures, and the second being the one that is spread throughout the B section. Thirdly, I was looking to expound on these non-traditional chord progressions in a more traditional way. Thinking closely in terms of a standard tertiary form. ABA. with typical concerto features, the work begins with an ensemble tutti that is then joined by the soloist. This does not occur in the duo version. , there is a short cadenza that leads back to the A section, and then the work closes with a rousing CODA. Both the chordal and structural elements of the piece were also important pedagogically, and I tried to keep them clear throughout the work for that reason. Finally, I am continually searching to write marimba music that would be more akin to what would be written for the piano. I try to steer clear of the main impetus of the marimba writing, i. chordal and thematic material, being sprung from idiomatic combinations. That is not to say that some of those idiomatic vignettes didn-t make their way into the work, they are just combated with polyphonic and "pianistic" type material. Journey is challenging for the soloist, but can provide an exciting voyage for all involved. "This ten-minute work features a solo marimbist accompanied by a nine-member percussion ensemble. It is rhythmically and harmonically straight-forward and can be performance-ready in a limited time frame. The piece was designed to feature a guest artist accompanied by high school performers. The instrumentation includes five timpani, bells, crotales, xylophone, vibraphone, marimba, chimes, an array of battery. accessory instruments, and piano. Although mentioned in the title, the piano part serves more as accompaniment than as a soloist. "Journey" has an ABA-coda structure with two primary themes in the accompaniment that evolve through re-orchestrations and rhythmic augmentation and diminution. The A section has a driving feel at a tempo of quarter note 108 while the B section is lighter with keyboard ostinato patterns and long metallic sounds. After a final repeat of the A section, the piece has a flourishing coda and strong ending. The solo part is challenging from a stamina standpoint but is technically filled with different ostinato patterns that merely change chords with the ensemble. The color choices in the ensemble complement the soloist and carry the melodic content well. " - Brian Zator, Percussive Notes September 2010.

Vertaling

Journey for Marimba, Piano, & Percussion Ensemble composed by Matthew Coley. Marimba Solo met Percussion Ensemble. For solo marimba, piano, & percussion ensemble. marimba low c, piano, marimba 4 oct, timpani, bells, crotales, xylophone, vibraphone, chimes, bass drum, 4 tom-toms, tambourine, vibraphone, 3 triangles, 4 woodblocks, snare drum, field drum, tam-tam, 2 sus. cymbals, hi-hat, bell tree, wind chimes. Niveau 4. Score en set van onderdelen. Duur 10 minuten, 30 seconden. Gepubliceerd door Innovative Percussion. IP.E-MC-JOU. Notities Composer's. Journey for Solo Marimba, Piano en Percussion Ensemble. Journey for Marimba en piano, 2005. werd gecomponeerd in 2004 met een aantal ideeën in het achterhoofd. Ten eerste, ik wilde een werk waarvan een bevoegde marimba speler met ensembles van rassen vaardigheidsniveaus kunnen worden gekenmerkt. Het werk werd geschreven, zodat een geavanceerde middelbare school groep kon voeren met voldoende voorbereidingstijd en alle college en professionele groepen kunnen gemakkelijk bereiden het ensemble delen. De instrumentatie is zodanig dat de meeste middelbare school groepen kunnen verzamelen alles wat nodig zou zijn, en de technische problemen bij de werkzaamheden rekening mee houden dat een middelbare school een breed scala aan opleidingsniveau van hun spelers zal hebben, dus door het ensemble onderdelen er moeten genoeg variatie om dit bereik te ontmoeten. Vanwege de instrumentatie wordt gekozen voor functionaliteit en beperkingen aan het technische niveau van het ensemble delen de piano werd niet alleen toegevoegd omdat het geeft altijd een geweldige kleur om het percussie-ensemble, maar om het ensemble te ondersteunen met een lagere stem en ondersteunen. Ten tweede, ik had met twee akkoordenschema dat ik wilde dit werk op te baseren komen. De eerste is de progressie horen in de eerste vier maatregelen, en de tweede is degene die is verspreid over de sectie B. Ten derde, was ik op zoek voor toelichting op deze niet-traditionele akkoordenschema's op een meer traditionele manier. Nauw denken in termen van een standaard tertiaire vorm. ABA. met typische concerto functies, begint het werk met een ensemble tutti die vervolgens wordt vergezeld door de solist. Dit gebeurt niet in de duo-versie. , Is er een korte cadens die terug naar het A-gedeelte leidt, en dan is het werk wordt afgesloten met een spetterende CODA. Zowel Chordal en structurele elementen van het stuk waren ook belangrijk pedagogisch, en ik probeerde ze duidelijk te houden gedurende het werk om die reden. Tot slot ben ik voortdurend op zoek naar marimba muziek te schrijven die meer verwant is aan wat zou worden geschreven voor de piano zou zijn. Ik probeer uit de buurt van de belangrijkste impuls van de marimba schrijven te sturen, i. chordal en thematisch materiaal, wordt voortgekomen uit idiomatische combinaties. Dat wil niet zeggen dat sommige van die idiomatische vignetten heb-t te maken hun weg naar het werk, zijn ze gewoon bestreden met polyfone en "pianistische" soort materiaal. Journey is een uitdaging voor de solist, maar kan een spannende reis te bieden voor alle betrokkenen. "This ten-minute work features a solo marimbist accompanied by a nine-member percussion ensemble. It is rhythmically and harmonically straight-forward and can be performance-ready in a limited time frame. The piece was designed to feature a guest artist accompanied by high school performers. The instrumentation includes five timpani, bells, crotales, xylophone, vibraphone, marimba, chimes, an array of battery. accessory instruments, and piano. Although mentioned in the title, the piano part serves more as accompaniment than as a soloist. "Journey" has an ABA-coda structure with two primary themes in the accompaniment that evolve through re-orchestrations and rhythmic augmentation and diminution. The A section has a driving feel at a tempo of quarter note 108 while the B section is lighter with keyboard ostinato patterns and long metallic sounds. After a final repeat of the A section, the piece has a flourishing coda and strong ending. The solo part is challenging from a stamina standpoint but is technically filled with different ostinato patterns that merely change chords with the ensemble. The color choices in the ensemble complement the soloist and carry the melodic content well. " - Brian Zator, Percussive Notes September 2010.