ALLELUIA ERIC WHITACRE PDF

He studied piano intermittently as a child and joined a junior high marching band under band leader Jim Burnett. Later Whitacre played synthesizer in a techno-pop band, dreaming of being a rock star. Whitacre credits Weiller with the inspiration that put the young composer on the musical path. Tom Leslie contributed to his interest in writing for wind ensembles. He lived in the State of Nevada until he was He graduated in and moved to Los Angeles and following the success of "Ghost Train", he decided to become a full-time professional composer.

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The most usual pattern is for a small group of woodwinds to play, then the whole ensemble, and then a small group of woodwinds once more. This progression will create the serene and expressive mood that Whitacre aims for and will allow individuals, as well as the ensemble, to play with emotion.

Form and structure[ edit ] October has an introduction , four main themes, a short interlude and a final coda. After the second theme, the first theme returns briefly, this time in tutti.

The clarinets and horns play an alternating rhythm, and the bassoon and the trombone create a hocket as they play the transition to the next section. The section grows as more instruments enter, and the phrase reaches its climax with a metric modulation. Measures 72—89 present the fourth and final theme in the key of G major, again with the upper woodwinds playing first and then growing until all the instruments have entered.

The first theme returns in measures 73—97, played by the entire ensemble. The piece concludes with a coda from measure 98 to the end m. A six-measure melodic hocket is played by the horn, trombone, euphonium and trumpets, ending with a climax in G major. October concludes with the low brass and woodwinds playing a long diminuendo into silence. The melody of theme two, played by the upper woodwinds, also uses eighth and quarter notes III.

The motion of this melody is more stepwise than the previous one. The next new melody, for solo euphonium, mixes many leaps with stepwise motion and repeated notes IV. The melody of the interlude is a restatement of the opening melody in a different key. The final theme presents a new melody played by the flutes, clarinets and alto saxophones; it is rhythmically simpler than previous material V. The melody in the coda is distributed among the saxophones, trombones, euphonium, and trumpet VI.

The remaining clarinets join the chimes to support the oboe melody. Proceeding to the first theme, the texture becomes thicker, and the bass clarinet, bassoons, euphoniums and tubas now play the accompaniment.

In theme two, the whole brass section accompanies the melody of the upper woodwinds. In this new key and new theme, the accompaniment returns to the clarinets, which play trills. The effect depends not so much on the notes as on the contrast between the sonority of the trills and the euphonium solo. All of the brass play the harmony during the fourth theme, now in G Major. In the coda, all the woodwinds play trills above the melodic brass.

The piece concludes with the brass quietly playing a final G major chord. Form and structure chart[ edit ] Introduction.

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ALLELUIA ERIC WHITACRE PDF

The most usual pattern is for a small group of woodwinds to play, then the whole ensemble, and then a small group of woodwinds once more. This progression will create the serene and expressive mood that Whitacre aims for and will allow individuals, as well as the ensemble, to play with emotion. Form and structure[ edit ] October has an introduction , four main themes, a short interlude and a final coda. After the second theme, the first theme returns briefly, this time in tutti. The clarinets and horns play an alternating rhythm, and the bassoon and the trombone create a hocket as they play the transition to the next section. The section grows as more instruments enter, and the phrase reaches its climax with a metric modulation.

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Alleluia [Eric Whitacre]

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