Showing 421–440 of 634 results
Showing 421–440 of 634 results
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.
Transcribed for solo vibraphone.
Transcribed for solo vibraphone.
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.
The Rivers Music School in Boston commissioned this piece for the 22nd Annual Seminar on Contemporary Music for the Young. It was composed with an advanced young player in mind, but is musically sophisticated enough to be performed by college level players also.
The Rivers Music School in Boston commissioned this piece for the 22nd Annual Seminar on Contemporary Music for the Young. It was composed with an advanced young player in mind, but is musically sophisticated enough to be performed by college level players also.
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.
For rehearsal, this piece provides the solo and piano accompaniment of Rosewood Dreaming, composed between October 1996 and December 1997 for Leigh Howard Stevens.
For rehearsal, this piece provides the solo and piano accompaniment of Rosewood Dreaming, composed between October 1996 and December 1997 for Leigh Howard Stevens.
This arrangement of Eric Sammut’s Rotation 1 by Andrea Venet is for a percussion ensemble of 10-14 players. The arrangement is a fun, relatively short work for large percussion ensemble that would fit well in any percussion ensemble concert and could be performed by advanced high school and college percussion programs.
This arrangement of Eric Sammut’s Rotation 1 by Andrea Venet is for a percussion ensemble of 10-14 players. The arrangement is a fun, relatively short work for large percussion ensemble that would fit well in any percussion ensemble concert and could be performed by advanced high school and college percussion programs.
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.
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.
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.
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.
Commissioned by the 2009 Paris International Marimba Competition and its director, Frederic Macarez, Rounders uses sudden meter change and rhythmic syncopation to mimic the sensation of “rounding” the corners of […]
What does arithmetic have to do with snare drum rudiments and rhythm? At a fundamental level, the answer is: everything. Includes over 30 pages of exercises and 8 very challenging solo etudes.
What does arithmetic have to do with snare drum rudiments and rhythm? At a fundamental level, the answer is: everything. Includes over 30 pages of exercises and 8 very challenging solo etudes.
Rudimental Rascals, dedicated “to Solo and Ensemble Festival Adjudicators Everywhere,” includes some great musical jokes. The tempo marking is “a shaky 108”; the piece begins with an audible count-off in the wrong rhythm; the players strike themselves and each other; a stick is dropped. But it’s not just fun! The piece is also challenging technically and musically.
Rudimental Rascals, dedicated “to Solo and Ensemble Festival Adjudicators Everywhere,” includes some great musical jokes. The tempo marking is “a shaky 108”; the piece begins with an audible count-off in the wrong rhythm; the players strike themselves and each other; a stick is dropped. But it’s not just fun! The piece is also challenging technically and musically.
As the title suggests, it is a musical depiction of the warning bumps or grooves often found on roadways. With its two-movement format of slow-fast, it could serve as an alternative program selection to Merlin.
As the title suggests, it is a musical depiction of the warning bumps or grooves often found on roadways. With its two-movement format of slow-fast, it could serve as an alternative program selection to Merlin.