악보 $100.00

원본

Orchestra Piece No 3. Parts. Percussion sheet music. Timpani sheet music.

번역

오케스트라 조각 없음 3. 부품. 타악기 악보. 팀파니 악보.

원본

Orchestra Piece No 3. Parts. composed by Jack Curtis Dubowsky. For Orchestra. 2222. 2221. timpani. percussion. strings. Orchestra. Contemporary. Set of parts. Composed 2004. Duration 10. 00. Published by De Stijl Music. D1.SM-04-0004X. I initially composed Orchestra Piece No.3 over a period of eight months, from June 2002 to January 2003, in New York City. I have revised it substantially since then. I endeavored to create a piece with tremendous unity in a contemporary vocabulary, which would be solid and recognizable to an audience. I wanted one movement in one marked tempo, which a conductor could push and pull at will, following the energy of the music itself. Orchestra Piece No.3 begins with an 11-note motive introduced in the violins. All subsequent material in the piece is spun from that 11-note motive. The signature chords which reoccur throughout the piece. first in measure 8. a major 6th interval exploding chromatically to major 7th then to minor 9th. are based on the chromatic rise in the motive. These chords are filled out in the final climax by the superimposition of other fragments of the motive. see especially mm 177-180. Certain sections of the piece. mm 62-68 and mm 89-96 for instance. were created by recording and notating free improvisations that follow patterns already established in the piece. The piece ends in a rousing tutti, a tonal harmonization of the motive in the manner of a fanfare. mm 156-172. , with quite a few bright open fifths. The marked tempo of "Andante sostenuto" quarter76 allows for both slow sections and an allegro eighth note152, giving the feeling of doubletime, in this section as well as in the section mm 38-57.

번역

오케스트라 조각 없음 3. 부품. 잭 커티스 Dubowsky에 의해 구성. 오케스트라를위한. 2222. 2221. 팀파니. 충격. 문자열. 오케스트라. 현대의. 부품의 집합. 2004 구성. 소요 시간 10. 00. 드 Stijl 음악에 의해 게시. D1.SM-04-0004X. I initially composed Orchestra Piece No.3 over a period of eight months, from June 2002 to January 2003, in New York City. I have revised it substantially since then. I endeavored to create a piece with tremendous unity in a contemporary vocabulary, which would be solid and recognizable to an audience. I wanted one movement in one marked tempo, which a conductor could push and pull at will, following the energy of the music itself. Orchestra Piece No.3 begins with an 11-note motive introduced in the violins. All subsequent material in the piece is spun from that 11-note motive. The signature chords which reoccur throughout the piece. first in measure 8. a major 6th interval exploding chromatically to major 7th then to minor 9th. are based on the chromatic rise in the motive. These chords are filled out in the final climax by the superimposition of other fragments of the motive. see especially mm 177-180. Certain sections of the piece. mm 62-68 and mm 89-96 for instance. were created by recording and notating free improvisations that follow patterns already established in the piece. The piece ends in a rousing tutti, a tonal harmonization of the motive in the manner of a fanfare. mm 156-172. , with quite a few bright open fifths. The marked tempo of "Andante sostenuto" quarter76 allows for both slow sections and an allegro eighth note152, giving the feeling of doubletime, in this section as well as in the section mm 38-57.