Showing 225–240 of 255 results
Showing 225–240 of 255 results
This is a beautiful and innovative depiction of Xinjiang, a folk song from western China. Fluid four-mallet technique and a 5.0 octave marimba are required.
This is a beautiful and innovative depiction of Xinjiang, a folk song from western China. Fluid four-mallet technique and a 5.0 octave marimba are required.
One of Raymond Helble’s many compositional talents is the ability to imitate the style of almost any famous composer. Not only is this set of variations a great way to study the performance style of these composers, the set is also a delightful and slightly humorous treat for the audience. The compositional “slight of hand” is totally convincing.
One of Raymond Helble’s many compositional talents is the ability to imitate the style of almost any famous composer. Not only is this set of variations a great way to study the performance style of these composers, the set is also a delightful and slightly humorous treat for the audience. The compositional “slight of hand” is totally convincing.
Great for the intermediate marimbist, ‘Theme and Variations’ uses a variety of styles and present a variety of problems, for both two and four mallets, making the piece pedagogically useful, as well as great fun to play and delightful to hear.
Great for the intermediate marimbist, ‘Theme and Variations’ uses a variety of styles and present a variety of problems, for both two and four mallets, making the piece pedagogically useful, as well as great fun to play and delightful to hear.
A more complicated companion piece to two Short Dances contains similar treatment of thematic cells. Tritones and triplet figures permeate the texture. Can be played on a 4.3 marimba.
A more complicated companion piece to two Short Dances contains similar treatment of thematic cells. Tritones and triplet figures permeate the texture. Can be played on a 4.3 marimba.
Not a Sonata’ is highly worthwhile to perform in recitals, with interesting harmonic and rhythmic concepts and a variety of technical and musical challenges.
Not a Sonata’ is highly worthwhile to perform in recitals, with interesting harmonic and rhythmic concepts and a variety of technical and musical challenges.
Sure to add variety to any player’s repertoire. The idiomatic writing results in a lush, rhythmically complex texture. Can be performed on a 4.3 octave marimba.
Sure to add variety to any player’s repertoire. The idiomatic writing results in a lush, rhythmically complex texture. Can be performed on a 4.3 octave marimba.
Transcribed for solo marimba.
Transcribed for solo marimba.
These three short pieces can be played individually, or as a set. The first is a kind of endearing introduction, the second is more rhythmic and the third is in a “liberate” style.
These three short pieces can be played individually, or as a set. The first is a kind of endearing introduction, the second is more rhythmic and the third is in a “liberate” style.
The master marimba composer (Preludes, Grand Fantasy, etc.) has written a massive sounding, very difficult tonal solo piece. Toccata Fantasy is full of great tunes, exciting chromatic key changes and clever textures.
The master marimba composer (Preludes, Grand Fantasy, etc.) has written a massive sounding, very difficult tonal solo piece. Toccata Fantasy is full of great tunes, exciting chromatic key changes and clever textures.
An unusually lyrical work with a minimalistic influence. Based on Irish folk themes, “Tune for Mary O.” is a fine recital work that uses a blend of lateral sticking techniques to create melodic and accompanimental patterns.
An unusually lyrical work with a minimalistic influence. Based on Irish folk themes, “Tune for Mary O.” is a fine recital work that uses a blend of lateral sticking techniques to create melodic and accompanimental patterns.
Composed by Mozart, arranged for marimba duet by Naoko Takada
Composed by Mozart, arranged for marimba duet by Naoko Takada
A standard in the percussion community. This work has been recorded and performed in recital many time over. Both movements may be played in conjunction or independently.
A standard in the percussion community. This work has been recorded and performed in recital many time over. Both movements may be played in conjunction or independently.
