Three Sams. percussion (1 player). Partition d'exécution.
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- Nombre de pages24
- Poids0.126 kg
- Dimensions23,1 cm × 30,3 cm × 0,0 cm
- ISBN978-1-5400-2833-4
- EAN9781540028334
- Date de parution10/10/2018
- ÉditeurBOOSEY
Résumé
Composer's note : "Each of the Three Sams explores a different challenge. In (- - -)-I-Am, a perpetual motion figure in the vibraphone is redistributed among the other instruments of the set-up. Melodic pitches are replaced with their closest non-pitched equivalent - i. e. the cowbell, sounding an approximate F, replaces an F on the vibraphone. Similar substitutions occur in the crotales, which create a second melodic line that is derived entirely form the original perpetual motion material.
By the end of the movement, the single melodic line has been re-orchestrated into melody and accompaniment. Son of (- - -) is about rhythm. Intentionally disjunct, a large part of the challenge of the movement - aside from the inherent complexity of the rhythmic counterpoint - is in maintaining a convincing musical line through its many sections. This frustration is built into the form, starting very strict, but ending with a cathartic burst of near-improvisation.
The third and final Sam, Wicked Uncle (- - -), asks the performer to navigate a complex musical field in which each mallet of a four-mallet configuration - plus the feet - was conceived as a relatively independent voice. It is as if the performer now has more active limbs than most mere mortals, spread almost too thin". - David T. Little, September 11, 2008 - Instrumentation : percussion (1 player)
By the end of the movement, the single melodic line has been re-orchestrated into melody and accompaniment. Son of (- - -) is about rhythm. Intentionally disjunct, a large part of the challenge of the movement - aside from the inherent complexity of the rhythmic counterpoint - is in maintaining a convincing musical line through its many sections. This frustration is built into the form, starting very strict, but ending with a cathartic burst of near-improvisation.
The third and final Sam, Wicked Uncle (- - -), asks the performer to navigate a complex musical field in which each mallet of a four-mallet configuration - plus the feet - was conceived as a relatively independent voice. It is as if the performer now has more active limbs than most mere mortals, spread almost too thin". - David T. Little, September 11, 2008 - Instrumentation : percussion (1 player)
Composer's note : "Each of the Three Sams explores a different challenge. In (- - -)-I-Am, a perpetual motion figure in the vibraphone is redistributed among the other instruments of the set-up. Melodic pitches are replaced with their closest non-pitched equivalent - i. e. the cowbell, sounding an approximate F, replaces an F on the vibraphone. Similar substitutions occur in the crotales, which create a second melodic line that is derived entirely form the original perpetual motion material.
By the end of the movement, the single melodic line has been re-orchestrated into melody and accompaniment. Son of (- - -) is about rhythm. Intentionally disjunct, a large part of the challenge of the movement - aside from the inherent complexity of the rhythmic counterpoint - is in maintaining a convincing musical line through its many sections. This frustration is built into the form, starting very strict, but ending with a cathartic burst of near-improvisation.
The third and final Sam, Wicked Uncle (- - -), asks the performer to navigate a complex musical field in which each mallet of a four-mallet configuration - plus the feet - was conceived as a relatively independent voice. It is as if the performer now has more active limbs than most mere mortals, spread almost too thin". - David T. Little, September 11, 2008 - Instrumentation : percussion (1 player)
By the end of the movement, the single melodic line has been re-orchestrated into melody and accompaniment. Son of (- - -) is about rhythm. Intentionally disjunct, a large part of the challenge of the movement - aside from the inherent complexity of the rhythmic counterpoint - is in maintaining a convincing musical line through its many sections. This frustration is built into the form, starting very strict, but ending with a cathartic burst of near-improvisation.
The third and final Sam, Wicked Uncle (- - -), asks the performer to navigate a complex musical field in which each mallet of a four-mallet configuration - plus the feet - was conceived as a relatively independent voice. It is as if the performer now has more active limbs than most mere mortals, spread almost too thin". - David T. Little, September 11, 2008 - Instrumentation : percussion (1 player)
