Showing 33–48 of 290 results
Showing 33–48 of 290 results
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.
Cerulean Landscape was written for solo marimba (5.0) in 2013 for Japanese marimbist Kana Omori. It is a moderately difficult work of 5’40” in length, in a freely composed style and form, progressing through various beautiful and lyrical landscapes. This is an excellent work to showcase the versatility and expressiveness of your musicality, and is highly recommend for a college level recital.
Cerulean Landscape was written for solo marimba (5.0) in 2013 for Japanese marimbist Kana Omori. It is a moderately difficult work of 5’40” in length, in a freely composed style and form, progressing through various beautiful and lyrical landscapes. This is an excellent work to showcase the versatility and expressiveness of your musicality, and is highly recommend for a college level recital.
A much-needed resource of seven single-page etudes for the beginning 4-mallet player. By isolating stroke types and focusing on aspects of shifting and interval change, this collection makes developing technique easy for young players.
A much-needed resource of seven single-page etudes for the beginning 4-mallet player. By isolating stroke types and focusing on aspects of shifting and interval change, this collection makes developing technique easy for young players.
Although the marimba’s tone is colorful and evocative, there has been a long standing lack of serious transcriptions of impressionistic music. This faithful transcription will fill that niche and surely become a standard repertoire item.
Although the marimba’s tone is colorful and evocative, there has been a long standing lack of serious transcriptions of impressionistic music. This faithful transcription will fill that niche and surely become a standard repertoire item.
Music originally for guitar in Brazilian folk style, written by Augusto Marcellino. These much anticipated pieces adapt wonderfully to the marimba.
Music originally for guitar in Brazilian folk style, written by Augusto Marcellino. These much anticipated pieces adapt wonderfully to the marimba.
Music originally for guitar in Brazilian folk style, written by Augusto Marcellino. These much anticipated pieces adapt wonderfully to the marimba.
Music originally for guitar in Brazilian folk style, written by Augusto Marcellino. These much anticipated pieces adapt wonderfully to the marimba.
Music originally for guitar in Brazilian folk style, written by Augusto Marcellino.
Music originally for guitar in Brazilian folk style, written by Augusto Marcellino.
Music originally for guitar in Brazilian folk style, written by Augusto Marcellino. These much anticipated pieces adapt wonderfully to the marimba.
Music originally for guitar in Brazilian folk style, written by Augusto Marcellino. These much anticipated pieces adapt wonderfully to the marimba.
This highly chromatic chorale is transcribed for low ‘A’ marimba. One of Bach’s great 371 Chorales.
This highly chromatic chorale is transcribed for low ‘A’ marimba. One of Bach’s great 371 Chorales.
