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Original

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

Traduction

Journey for Marimba, Piano, & Percussion Ensemble. feuille de musique Marimba. feuille de musique Percussion. Partition pour piano. Partition Timpani. Partition Vibraphone. feuille de musique Xylophone.

Original

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.

Traduction

Journey for Marimba, Piano, & Percussion Ensemble composed by Matthew Coley. Marimba Solo avec 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. Note et un ensemble de pièces. Durée 10 minutes, 30 secondes. Publié par Innovative Percussion. IP.E-MC-JOU. Les notes du compositeur. Journey for Solo Marimba, Piano et Percussion Ensemble. Journey for Marimba et Piano 2005. a été composé en 2004 avec plusieurs idées en tête. Tout d'abord, je voulais un travail dont un joueur de marimba compétent pourrait être sélectionnée avec des ensembles de niveaux de compétence variétales. Le travail a été rédigé de telle sorte que un groupe de lycée avancée pourrait effectuer avec un temps de préparation suffisant, et tous les groupes d'études collégiales et professionnelles pourrait facilement préparer les pièces d'ensemble. L'instrumentation est telle que la plupart des groupes du secondaire seraient en mesure de rassembler tout le nécessaire, et les préoccupations techniques dans le travail garder à l'esprit que le lycée aura une large gamme de niveau de compétence dans leurs joueurs, donc à travers les parties d'ensemble il devrait y être assez de variété pour répondre à cette gamme. En raison de l'instrumentation étant choisi pour des raisons pratiques et limitations au niveau technique des pièces d'ensemble du piano a été ajouté non seulement parce qu'il donne toujours une belle couleur à l'ensemble de percussions, mais de soutenir l'ensemble avec sonorité inférieure et soutenir. Deuxièmement, je suis venu avec deux progressions d'accords que je voulais fonder ce travail sur. La première étant la progression entendu au cours des quatre premières mesures, et la deuxième étant celle qui se propage dans toute la section de B. Troisièmement, je cherchais à expliquer sur ces progressions d'accords non-traditionnels d'une manière plus traditionnelle. Penser étroitement en termes de forme tertiaire norme. ABA. avec des caractéristiques typiques de concerto, le travail commence par un tutti ensemble qui est ensuite rejoint par le soliste. Cela ne se produit pas dans la version duo. , Il ya une courte cadence qui ramène à la section A, puis le travail se termine par une coda réveiller. Tant la corde et les éléments structurels de la pièce étaient également pédagogique importante, et j'ai essayé de garder les effacer l'ensemble des travaux pour cette raison. Enfin, je suis toujours cherche à écrire de la musique de marimba qui serait plus proche de ce que l'on écrit pour le piano. J'essaie d'orienter clairement de l'impulsion principale de l'écriture de marimba, i. corde et le matériel thématique, étant sortis des combinaisons idiomatiques. Cela ne veut pas dire que certaines de ces vignettes idiomatiques didn t-font leur chemin dans le travail, ils sont juste combattues avec polyphonique et matériau de type "pianistique". Journey est un défi pour le soliste, mais peut fournir un passionnant voyage pour tous les participants. "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.