Partitions Numériques de Pendulum

Pendulum

Of Maker and Movement - percussion quartet

Mixed Percussion,Percussion Quartet Djembe,Glockenspiel,Mallet Percussion,Marimba,Multi-Pe…(+)

Mixed Percussion,Percussion Quartet Djembe,Glockenspiel,Mallet Percussion,Marimba,Multi-Percussion,Triangle,Vibraphone,Xylophone - Level 5 - Digital Download SKU: A0.1245976 Composed by Jennifer Bellor. 21st Century,Chamber,Classical,Contemporary. 94 pages. Bellor #840807. Published by Bellor (A0.1245976). Of Maker and Movement (2019)Â Duration: 16 minutesI. Pendulum Surround (4'30)https://youtu.be/0AD6UCc9MHsII. Quartz Revolution (8')https://youtu.be/mLq-CfM8SBkIII. Dance of Hands (3'30)https://youtu.be/Y7HfGIOAqoEAll of these movements have motivic connections to each other, but can also be stand alone pieces. Additionally, the movements can be presented in any order, although the most common order is indicated in the score.Â FLEXIBLE INSTRUMENTATION:Â The Galvitone are tuned pipes Clocks created for their ensemble. A combination of glockenspiel and crotales can be used in place of this instrument. The Aquarion is a glass marimba built for this piece. Another instrument, such as the MalletKAT, keyboard, or combination of marimba and vibraphone can be used in instead.Â Of Make and Movement was commissioned by the Clocks in Motion percussion quartet. This is the first percussion quartet I wrote for them as their resident Clock Shop composer. Growing up surrounded by manyÂ antique clocks in my childhood home, I was inspired to create a piece that, for me, encapsulates some of the ways these clocks show the passing of time: the swinging of a pendulum, aging crystals in a quartz clock, and how the continuous movement of the hands could represent how we are in this continuous dance with time.
$69.99 63.99 € #Jennifer Bellor #Of Maker and Movement - percussion quartet #Bellor #SheetMusicPlus

String Ensemble,String Quintet Cello - Level 5 - Digital Download SKU: A0.809059 Composed by Kim Diehnelt. Baroque,Concert,Contemporary. Score and parts. 10 pages. Kim Diehnelt #4350647. Published by Kim Diehnelt (A0.809059). Stile Antico: On a theme of Palestrina (2012) for 5-voice cello ensemble The title Stile Antico refers a style of musical composition from the 16th century which was often employed in church music, because it allowed the words (sacred text) of each singer to be clearly heard. This pre-classical polyphony was many-voiced and without instrumental accompaniment. Inspired by a theme from a mass by Giovanni Pierluigi da Palestrina (c. 1525 â€“ 1594) â€˜Praestet hoc nati genitor, I present a modern cello ensemble rendition of this â€˜ancient style.â€™ Most conspicuous of the workâ€™s attributes is the use of time. Rather than moving the musical ideas and themes towards a goal or through structural development and a sense of progress, the music (and time) unfolds perhaps as the natural swing of a pendulum; neither clinging to a past, nor anticipating a future. The listener beholds one moment continuously being reshaped through sound. Also, the concepts of melody and harmony as we assume them today are blurred. Of the five players, no one has the melody, no one has the harmony, yet together the ensemble combines to create a continuous flux of melodic-harmony (or harmonic-melody). This idea is of another type of â€˜stile antico.â€™ Within the ideas of alchemy, which richly influenced the music of the 16th century and beyond, exists the concept that one plus one equals three. That is, two objects also create a â€˜between-ness.â€™ So too with musical voices; the combination of two voices creates a new between-ness. Through out this work the individual cellists create a continuously shifting canvas of â€˜between-ness.â€™ The music and the performers ask for a renewed perception of the many between-nesses of our present moment. www.kimdiehnelt.com(c) 2012 (ASCAP)

4 Tr. (od. 4 Sopranblockfl.) Â· 2 Pos. (od. Gamben od. Bratschen) Â· Fg. ad lib. â€“ 4 P. S. (Glsp. [Sopr., Alt, mehrfach besetzt]) Â· Trgl. Â· Beck. [Cymb.] Â· gr. Tr. Â· Schellentr. (10 Spieler) â€“ 2 Git. (mehrfach besetzt) â€“ Violoncelli Â· KontrabÃ¤sse mixed choir (STBar) and instruments - easy - Digital Download SKU: S9.Q2721 Sumer is icumen in. Composed by Carl Orff. This edition: score. Downloadable, Score. Duration 4 minutes. Schott Music - Digital #Q2721. Published by Schott Music - Digital (S9.Q2721). Old English.The first known canon of European art music, now in the British Museum in London, is preserved in a thirteenth-century manusript from the English abbey in Reading: This is the so-called summer canon, whose verses greet the advent of summer. An accompanying note elucidates the artistic layer-like construction of the sound structure: a two-voice foundation of bell-like, swinging pendulum tones supports an upper structure of four voices which enter at equal time intervals. The note terms the canon rota - round -, which makes reference to the turning, circling movement of the constantly pulsating sound. The circular figure originates in a vital, ages-old moving force in music-making, and it demands a dance-like execution. But the canon is also, through the interaction of the strictly ordered voice entries, convivially bound musical form. Carl Orff was able to choose no better fitting musical form for the Greetings to Youth at the Olympic Games 1972 in Munich than the medieval rota. In the connexion of the singing voices with the Orff instruments, today in world-wide use, a testimony of European tradition sounds in a living present.

4 Tr. (od. 4 Sopranblockfl.) Â· 2 Pos. (od. Gamben od. Bratschen) Â· Fg. ad lib. â€“ 4 P. S. (Glsp. [Sopr., Alt, mehrfach besetzt]) Â· Trgl. Â· Beck. [Cymb.] Â· gr. Tr. Â· Schellentr. (10 Spieler) â€“ 2 Git. (mehrfach besetzt) â€“ Violoncelli Â· KontrabÃ¤sse mixed choir (STBar) and instruments - easy - Digital Download SKU: S9.Q9193 Sumer is icumen in. Composed by Carl Orff. This edition: choral score. Downloadable, Choral score. Duration 4 minutes. Schott Music - Digital #Q9193. Published by Schott Music - Digital (S9.Q9193). Old English.The first known canon of European art music, now in the British Museum in London, is preserved in a thirteenth-century manusript from the English abbey in Reading: This is the so-called summer canon, whose verses greet the advent of summer. An accompanying note elucidates the artistic layer-like construction of the sound structure: a two-voice foundation of bell-like, swinging pendulum tones supports an upper structure of four voices which enter at equal time intervals. The note terms the canon rota - round -, which makes reference to the turning, circling movement of the constantly pulsating sound. The circular figure originates in a vital, ages-old moving force in music-making, and it demands a dance-like execution. But the canon is also, through the interaction of the strictly ordered voice entries, convivially bound musical form. Carl Orff was able to choose no better fitting musical form for the Greetings to Youth at the Olympic Games 1972 in Munich than the medieval rota. In the connexion of the singing voices with the Orff instruments, today in world-wide use, a testimony of European tradition sounds in a living present.