Mohamed Abdelwahab Abdelfattah

El-Muled Ostinato for Orchestra and Choir, Op.71a

World / Ethnic • 2018 • Alternative Title: 'Wahda wi Nos' Ostinato

El-Muled Ostinato for Orchestra and Choir

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El-Muled Ostinato for Orchestra and Choir, Op.71a: El-Muled Ostinato for Orchestra and Choir by Mohamed Abdelwahab Abdelfattah

Sheet music file
100.00 USD

Sheet music file including a license for a limited number of performances, limited to one year. Read license
1000.00 USD

Sheet music file including a license for an unlimited number of performances, limited to one year. Read license
1500.00 USD

Seller Mohamed Abdelwahab Abdelfattah

PDF, 7.03 Mb ID: SM-000347906 Upload date: 23 Feb 2019

Instrumentation	Flute, Clarinet, Bassoon, Oboe, Trombone basso, Horn, Trumpet, Tuba, Violin, Viola, Cello, Double bass, Marimba, Timpani, Mixed choir, Bass Clarinet, Drum set
Scored for	Choir, Symphonic orchestra
Type of score	Full score, Parts
Key	A minor
Movement(s)	1 to 1 from 1
Publisher	Mohamed Abdelwahab Abdelfattah
Difficulty	Difficult
Duration	14'5

Ostinato
(El- Muled)

Op. 71 a
For
composition by Mohamed Abdelwahab Abdelfttah for Orchestra and Choir (SATB)
The work is written based on an Egyptian dance rhythm ostinato called pattern "Wahda wi Nos" which means in Arabic "One and Half". In this Arabic rhythmic ostinato, there is a strong beat (also dark tone color) called "Dum" and the weak beat (also bright tone color) called "Tak" . Tuba, contrabass, bassoon and un-pitched percussion (Req and drum set), are mostly played to provide accents and to maintain the Arabic rhythmic ostinato. Req and drum set are written in just skeleton lines of the Egyptian Ostinato. This means the percussionists should play in such a way as to add and create some rhythmic ornamental details. The choral singers sing always in Vocalize tones. The composition is written in three parts (ternary form). The middle section (m. 280, letter (G), till measure 333, measure before letter (H), has to be played in somewhat free ad libitum to achieve an effect typical of Arabic music. Also, the musicians should enrich the melody with exaggerating their use of vibrato and the articulation of legato and portamento as in traditional Arabic music performing.

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