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[Jacobs] On Balance
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[Jacobs] On Balance
Partitions à imprimer
2 partitions trouvées
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[Jacobs] On Balance
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2 Violons (duo)
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Contemporain
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Edward Jacobs
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[Jacobs] On Balance
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American Composers Alliance Inc.
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SheetMusicPlus
Violin Duet Violin - SKU: A0.952413 Composed by Edward Jacobs. Contemporary. 17 pages. American Composers Alliance Inc. #4601641. Published by American ...
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Violin Duet Violin - SKU: A0.952413 Composed by Edward Jacobs. Contemporary. 17 pages. American Composers Alliance Inc. #4601641. Published by American Composers Alliance Inc. (A0.952413). Scored for two violins - PDF download includes score and parts.
$11.95
Concerto for Trumpet with Piano Reduction
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Trompette, Piano
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AVANCÉ
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Contemporain
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Graeme Culpepper
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Concerto for Trumpet with Pian
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Graeme Culpepper
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SheetMusicPlus
Piano,Trumpet - Level 5 - SKU: A0.1028166 Composed by Graeme Culpepper. Contemporary. Score and part. 47 pages. Graeme Culpepper #6866343. Published by ...
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Piano,Trumpet - Level 5 - SKU: A0.1028166 Composed by Graeme Culpepper. Contemporary. Score and part. 47 pages. Graeme Culpepper #6866343. Published by Graeme Culpepper (A0.1028166). Concerto for Trumpet and Orchestra Composer: Graeme Culpepper Year: 2022 Program Notes: I feel that there is a time in every composer's life when they decide to write a concerto. Writing a concerto is as intriguing as it is difficult, as finding a balance between soloist and ensemble can prove to be a tricky task. What’s more, is deciding upon said ensemble. In today’s musical climate, the supporting ensemble can be a variety of different instrumental groups ranging from a chamber ensemble consisting of just a few musicians to a full symphony orchestra. In my humble opinion, with a genre as grand as a concerto, especially one involving the trumpet, I find it fitting to use the orchestra to accompany the trumpet. However, I opted to use an orchestra without a trumpet section to better support the soloist. This concerto’s first movement is built upon a couple of form-defining motifs. One in the form of an ostinato that is constantly changing meter, and another that is a simple short rhythmic cell that is able to fit in a variety of different textures throughout the movement. This movement also introduces the main motif throughout the entire concerto: a melodic sequence consisting of a minor third, a perfect fifth, followed by another minor third which resolves down by half step. This is the unifying motif of the entire concerto. I often ponder as to where the material in the second movement came from. After a long time of reflection, I have come to the conclusion that it is a subconscious expression of myself that comes from deep within. The second movement is perhaps the most vulnerable I have ever been with any of the music I have written, and the experience I personally have when listening to it is one that is very intimate. The third movement is a thrilling romp that is entirely built on the unifying motif mentioned earlier. The whole movement is essentially one big variation of itself. This movement is arguably the most technical and gives the trumpet soloist a great opportunity to show off their skill. This movement is also built upon a one-bar rhythmic ostinato so that the tension in this movement is never fully resolved until the very last bar, in hopes that this will keep the listener on their toes at all times. Performed live in Recital Hall at Indiana University Jacobs School of Music on March 1st, 2022Purchase includes Full Score + Solo Trumpet Part.
$19.99
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[Jacobs] On Balance