Showing 261–280 of 384 results
Showing 261–280 of 384 results
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.
Prelude No.7 is a highly chromatic toccata-like piece with a Baroque-like motor rhythm. No.8 is a short but lugubrious treatment of a short, sharp, rhythmic motive. No.9 is a mysterious march that approaches and disappears into the distance.
Prelude No.7 is a highly chromatic toccata-like piece with a Baroque-like motor rhythm. No.8 is a short but lugubrious treatment of a short, sharp, rhythmic motive. No.9 is a mysterious march that approaches and disappears into the distance.
This simple but beautiful work is based on a three note descending bass line and right hand triad arpeggiations. It can be performed as a three or four mallet piece.
This simple but beautiful work is based on a three note descending bass line and right hand triad arpeggiations. It can be performed as a three or four mallet piece.
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”
Solo marimba piece written for Evelyn Glennie.
Solo marimba piece written for Evelyn Glennie.
The title, which essentially means “reflections on things from the past” doesn’t have much to do with the composition itself, Stout has said. Quondam Reflections is a tonal, multi-textural, polyphonic and multi-sectional work.
The title, which essentially means “reflections on things from the past” doesn’t have much to do with the composition itself, Stout has said. Quondam Reflections is a tonal, multi-textural, polyphonic and multi-sectional work.
A triple homage to Jacob Druckman, Johann Sebastian Bach, and James Preiss, Reflexions is a substantial work for solo marimba comprised of 12 short studies.
A triple homage to Jacob Druckman, Johann Sebastian Bach, and James Preiss, Reflexions is a substantial work for solo marimba comprised of 12 short studies.
A great introduction to many of the modern marimba techniques such as double lateral strokes. A short, sweet, and high quality “groove” piece influenced by minimalism.
A great introduction to many of the modern marimba techniques such as double lateral strokes. A short, sweet, and high quality “groove” piece influenced by minimalism.
The popular worship song originally recorded by Kari Jobe, now arranged for solo marimba.
The popular worship song originally recorded by Kari Jobe, now arranged for solo marimba.
For marimba quartet on two instruments
For marimba quartet on two instruments
Elements of African, Latin, Gamelan, and Jazz Fusion. Can be performed as an unaccompanied solo or with any number of doublings in unison or at the octaves. Great for marimbistic get-togethers when several players know the work.
Elements of African, Latin, Gamelan, and Jazz Fusion. Can be performed as an unaccompanied solo or with any number of doublings in unison or at the octaves. Great for marimbistic get-togethers when several players know the work.
Perhaps this is the ultimate virtuostic show piece for a solo marimbist. Seven minutes of rhythmic momentum, colored with three “col legno” (with wood) effects.
Perhaps this is the ultimate virtuostic show piece for a solo marimbist. Seven minutes of rhythmic momentum, colored with three “col legno” (with wood) effects.
Rhythmically sophisticated and harmonically interesting, Rhythmic Jambalaya, one of Bobo’s earlier works, demands a variety of different techniques, including some extended reaches in the left-hand.
Rhythmically sophisticated and harmonically interesting, Rhythmic Jambalaya, one of Bobo’s earlier works, demands a variety of different techniques, including some extended reaches in the left-hand.
For two marimbas, marimba one: 4 1/3 octaves, marimba two 5 octavesThe title is based on the concept that new experience and events always replicate patterns rooted in an unconscious past. The over-lapping rolls in the opening section develop into the thematic interplay that traverses the entire range of the two marimbas.
For two marimbas, marimba one: 4 1/3 octaves, marimba two 5 octavesThe title is based on the concept that new experience and events always replicate patterns rooted in an unconscious past. The over-lapping rolls in the opening section develop into the thematic interplay that traverses the entire range of the two marimbas.
Rosewood Dreaming was composed for a marimba soloist with a number of performance options intended.
Rosewood Dreaming was composed for a marimba soloist with a number of performance options intended.
These pieces have all the attributes of crowd pleasers” catchy rhythms, memorable memories, a bit of swing and even some jazzy harmonies. One or more of these Rotations makes for a perfect end of an advanced recital. OK for 4.3 range marimba.
These pieces have all the attributes of crowd pleasers” catchy rhythms, memorable memories, a bit of swing and even some jazzy harmonies. One or more of these Rotations makes for a perfect end of an advanced recital. OK for 4.3 range marimba.
