Showing 17–32 of 233 results
Showing 17–32 of 233 results
Dedicated to Paul Smadbeck. A perfect piece for those players wishing to show-off their single-alternating endurance and phrasing abilities. Can be performed on a 4.6 octave marimba.
Dedicated to Paul Smadbeck. A perfect piece for those players wishing to show-off their single-alternating endurance and phrasing abilities. Can be performed on a 4.6 octave marimba.
Stout’s composition for solo marimba is a beautiful tapestry of tonal sounds for five-octave marimba. Its level of difficulty is comparable to Stout’s Astral Dance.
Stout’s composition for solo marimba is a beautiful tapestry of tonal sounds for five-octave marimba. Its level of difficulty is comparable to Stout’s Astral Dance.
The 1st-place winner in the 1998 PAS composition contest for solo marimba.
The 1st-place winner in the 1998 PAS composition contest for solo marimba.
Writing for marimba virtuoso Nancy Zeltsman, well-known composer Murray Houllif has translated elements of bluegrass style into music that is completely idiomatic for the marimba.
Writing for marimba virtuoso Nancy Zeltsman, well-known composer Murray Houllif has translated elements of bluegrass style into music that is completely idiomatic for the marimba.
This 12-bar blues in C takes advantage of the mysteriously hip, subtle and “backstreet” quality of the marimba’s low range.
This 12-bar blues in C takes advantage of the mysteriously hip, subtle and “backstreet” quality of the marimba’s low range.
Caméléon is a longer, more ambitious work, with more serious harmonic and melodic content, but it still has Eric’s hints of jazz overtones.
Caméléon is a longer, more ambitious work, with more serious harmonic and melodic content, but it still has Eric’s hints of jazz overtones.
A delightfully familiar work from the Renaissance Era. Willis’ transcription makes the adaptation to marimba effortless. Can be played on a 4.3 instrument.
A delightfully familiar work from the Renaissance Era. Willis’ transcription makes the adaptation to marimba effortless. Can be played on a 4.3 instrument.
Caritas is a three-movement piece that employs a traditional harmonic language throughout. It is a real crowd-pleaser for the educated as well as the uneducated audience.
Caritas is a three-movement piece that employs a traditional harmonic language throughout. It is a real crowd-pleaser for the educated as well as the uneducated audience.
Eric Sammut has arranged three charming movement’s from Bizet’s famous opera. Each movement has its own character but with a hint of Sammut’s well known style.
Eric Sammut has arranged three charming movement’s from Bizet’s famous opera. Each movement has its own character but with a hint of Sammut’s well known style.
The name Castle Valse refers to the dance team Vernon and Irene Castle, who were exceedingly popular performers and teachers of all the ballroom dance styles in vogue in the United States during the 1910s and 20s. They appeared with Earl Fuller’s Rector Novelty Orchestra at Rector’s Restaurant in NYC in 1917, a time when Fuller also featured George Hamilton Green in his ensemble.
The name Castle Valse refers to the dance team Vernon and Irene Castle, who were exceedingly popular performers and teachers of all the ballroom dance styles in vogue in the United States during the 1910s and 20s. They appeared with Earl Fuller’s Rector Novelty Orchestra at Rector’s Restaurant in NYC in 1917, a time when Fuller also featured George Hamilton Green in his ensemble.
The name Castle Valse Classique refers to the dance team of Vernon and Irene Castle, who were exceedingly popular performers and teachers of all the ballroom dance styles in vogue in the United States during the 1910s and 20s. The Castles’ “hesitation waltz” treatment of Dvorak’s Humoresque became one of their signature numbers, and Green’s spectacular obbligato xylophone performance made the music persuasive enough to stand alone on records.
The name Castle Valse Classique refers to the dance team of Vernon and Irene Castle, who were exceedingly popular performers and teachers of all the ballroom dance styles in vogue in the United States during the 1910s and 20s. The Castles’ “hesitation waltz” treatment of Dvorak’s Humoresque became one of their signature numbers, and Green’s spectacular obbligato xylophone performance made the music persuasive enough to stand alone on records.
A blues for solo marimba. Berg got the idea for this piece from the novels of Stieg Trenter, a Swedish journalist and crime novelist. Short and clever, this piece is a perfect addition to any recital program.
A blues for solo marimba. Berg got the idea for this piece from the novels of Stieg Trenter, a Swedish journalist and crime novelist. Short and clever, this piece is a perfect addition to any recital program.
Centipede was the first substantial work written by Christopher Swist. In Centipede, Swist explores the key of F# minor in a quasi-improvistory style, inviting the more confident player to feel free to expand upon the written ideas.
Centipede was the first substantial work written by Christopher Swist. In Centipede, Swist explores the key of F# minor in a quasi-improvistory style, inviting the more confident player to feel free to expand upon the written ideas.
