Showing 241–260 of 384 results
Showing 241–260 of 384 results
An interesting four-mallet study/concert work that begins with a simple statement of the passacaglia theme in octaves and builds in rhythmic and harmonic complexity to four mallet figuration as it progresses through its variations.
An interesting four-mallet study/concert work that begins with a simple statement of the passacaglia theme in octaves and builds in rhythmic and harmonic complexity to four mallet figuration as it progresses through its variations.
Arranged and adapted from Maurice Ravel’s Pavane pour une infante défunte (Pavane for a dead princess), Bockman combines elements from both the original piano and the orchestral versions of the piece, along with a few personal touches. Appropriate for both intermediate and professional players.
Arranged and adapted from Maurice Ravel’s Pavane pour une infante défunte (Pavane for a dead princess), Bockman combines elements from both the original piano and the orchestral versions of the piece, along with a few personal touches. Appropriate for both intermediate and professional players.
Part of “The Naoko Takada Series – Music Composed For and Performed By Naoko Takada”
Part of “The Naoko Takada Series – Music Composed For and Performed By Naoko Takada”
Phantasmagoria is a technically demanding marimba piece in one movement. The framework consists of a couple of motifs: objects with variation, sometimes grasping persistently. The conclusion is a question mark. The title could be described as “a constantly changing medley of real or imagined images, as in a dream”. Duration 8-9 min.
Phantasmagoria is a technically demanding marimba piece in one movement. The framework consists of a couple of motifs: objects with variation, sometimes grasping persistently. The conclusion is a question mark. The title could be described as “a constantly changing medley of real or imagined images, as in a dream”. Duration 8-9 min.
Based on music from George Gershwin’s Opera Porgy and Bess.
This work was commissioned by Leigh Howard Stevens to be a full-fledged concert work in its own right – not merely a medley of tunes from the opera.
Based on music from George Gershwin’s Opera Porgy and Bess.
This work was commissioned by Leigh Howard Stevens to be a full-fledged concert work in its own right – not merely a medley of tunes from the opera.
Arranged for 5.0 marimba by Naoko Takada.
Arranged for 5.0 marimba by Naoko Takada.
A classic addition to any marimbist’s repertoire. The prelude is a virtuosic showpiece, and the three-voiced fugue highlights the separation of each voice by using different mallet types.
A classic addition to any marimbist’s repertoire. The prelude is a virtuosic showpiece, and the three-voiced fugue highlights the separation of each voice by using different mallet types.
J.S. Bach’s Prelude in C (from “The Well-Tempered Clavichord”), arranged for marimba by Naoko Takada.
J.S. Bach’s Prelude in C (from “The Well-Tempered Clavichord”), arranged for marimba by Naoko Takada.
It is assumed that each numbered opus from Clair Omar Musser consisted of 20 pieces, but there is no surviving evidence of them now. The version of Opus 11, Number 3, published in 1948, had some issues with the chords and expression markings. I made some corrections and consistencies in this new edition, but I tried to keep Musser’s notation intact as much as possible. -Yurika Kimura
It is assumed that each numbered opus from Clair Omar Musser consisted of 20 pieces, but there is no surviving evidence of them now. The version of Opus 11, Number 3, published in 1948, had some issues with the chords and expression markings. I made some corrections and consistencies in this new edition, but I tried to keep Musser’s notation intact as much as possible. -Yurika Kimura
A four-mallet prelude containing all the athleticism for which Musser is known. Can be performed with or without the included piano accompaniment.
A four-mallet prelude containing all the athleticism for which Musser is known. Can be performed with or without the included piano accompaniment.
A dramatic and technically challenging work for unaccompanied four-mallet marimba. The study and mastery of Clair Omar Musser’s preludes is considered to be a “right of passage” into technical competence.
A dramatic and technically challenging work for unaccompanied four-mallet marimba. The study and mastery of Clair Omar Musser’s preludes is considered to be a “right of passage” into technical competence.
An alternate version of the Prelude in C# minor from the second volume of Preludes, Op. 3. This version has been registrally expanded to be performed on a 5-octave marimba. As in previous editions, this Prelude exemplifies a style of composition that forges a link from the piano-oriented keyboard works of the nineteenth century to the modern age of marimba performance. The Prelude makes significant technical demands and requires the highest degree of artistry from the player.
An alternate version of the Prelude in C# minor from the second volume of Preludes, Op. 3. This version has been registrally expanded to be performed on a 5-octave marimba. As in previous editions, this Prelude exemplifies a style of composition that forges a link from the piano-oriented keyboard works of the nineteenth century to the modern age of marimba performance. The Prelude makes significant technical demands and requires the highest degree of artistry from the player.
These pieces exemplify various styles of keyboard composition, forging a link from the pianism of the nineteenth century to the modern age of marimba performance. The Preludes make significant technical demands and require the highest degree of artistry from the player.
These pieces exemplify various styles of keyboard composition, forging a link from the pianism of the nineteenth century to the modern age of marimba performance. The Preludes make significant technical demands and require the highest degree of artistry from the player.
These much anticipated pieces appeal to players and audiences alike. They encompass a wide variety of stylistic writing, as Burritt exploits the technical and lyrical capabilities of the instrument.
These much anticipated pieces appeal to players and audiences alike. They encompass a wide variety of stylistic writing, as Burritt exploits the technical and lyrical capabilities of the instrument.
Helble’s marimba output spans more than 25 years. The harmonic material has become more stable, tonal and conservative as the years have passed, but there is always that harmonic twist that sets his tonal language apart.
Helble’s marimba output spans more than 25 years. The harmonic material has become more stable, tonal and conservative as the years have passed, but there is always that harmonic twist that sets his tonal language apart.
