Showing 81–100 of 213 results
Showing 81–100 of 213 results
Four new and wonderfully contrasting pieces by Gordon Stout, carrying on in the same variety of musical styles as the first four Episodes for Marimba.Episodes 5-8.
Four new and wonderfully contrasting pieces by Gordon Stout, carrying on in the same variety of musical styles as the first four Episodes for Marimba.Episodes 5-8.
Anthem: To Catch a Glimpse, for 5.0 marimba, is dedicated to the beautiful music and playing of Nancy Zeltsman, and influenced by the marimba music of Dan Levitan.
Anthem: To Catch a Glimpse, for 5.0 marimba, is dedicated to the beautiful music and playing of Nancy Zeltsman, and influenced by the marimba music of Dan Levitan.
Morphic Resonance is a difficult work for solo 5.0 marimba. As it morphs through many different styles and sections it will challenge the most advanced marimbist, while providing a rewarding musical experience.
Morphic Resonance is a difficult work for solo 5.0 marimba. As it morphs through many different styles and sections it will challenge the most advanced marimbist, while providing a rewarding musical experience.
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.
This work for four concert toms will challenge a percussionist’s rhythmic accuracy and expressive capabilities. The more I study this piece, the more fascinated I become with it. It is engimatic in that this lyrical, sorrowful music (as can be deduced from the title) must be expressed through rather unconventional instrumentation. Clearly, the performer must internalize the music to the point where he or she is capable of making four tom-toms sing in a manner in which the emotional content of the music is unquestionable to the listener. -Jason Baker, Percussive Notes
This work for four concert toms will challenge a percussionist’s rhythmic accuracy and expressive capabilities. The more I study this piece, the more fascinated I become with it. It is engimatic in that this lyrical, sorrowful music (as can be deduced from the title) must be expressed through rather unconventional instrumentation. Clearly, the performer must internalize the music to the point where he or she is capable of making four tom-toms sing in a manner in which the emotional content of the music is unquestionable to the listener. -Jason Baker, Percussive Notes
Rich O’Meara’s new piece for marimba consists almost exclusively of double lateral and single alternating strokes, has many tempo fluctuations and is improvisatory in nature. However, it looks a little more difficult and is a little longer than the typical O’Meara solo marimba piece you may be used to.
– Julia Gaines, Percussive Notes
Rich O’Meara’s new piece for marimba consists almost exclusively of double lateral and single alternating strokes, has many tempo fluctuations and is improvisatory in nature. However, it looks a little more difficult and is a little longer than the typical O’Meara solo marimba piece you may be used to.
– Julia Gaines, Percussive Notes
“One of the best new pieces of marimba solo literature to come along in years, this piece has the musical credentials to stand next to the best tonally-oriented works for solo instruments.” – Percussive Notes
“One of the best new pieces of marimba solo literature to come along in years, this piece has the musical credentials to stand next to the best tonally-oriented works for solo instruments.” – Percussive Notes
A beautiful to berserk theme and variations, Variations is a large scale work in four sections that has advanced technical challenges, but is within the reach of a good four mallet player. Lyrical use of the one-handed roll in octaves for a principal melody.
A beautiful to berserk theme and variations, Variations is a large scale work in four sections that has advanced technical challenges, but is within the reach of a good four mallet player. Lyrical use of the one-handed roll in octaves for a principal melody.
Music originally for guitar in Brazilian folk style, written by Augusto Marcellino.
Music originally for guitar in Brazilian folk style, written by Augusto Marcellino.
The classic song from “The Sound Of Music” given a unique arrangement only fit for the Escape X Percussion Duo.
The classic song from “The Sound Of Music” given a unique arrangement only fit for the Escape X Percussion Duo.
Written on a flight while traveling to Asia, Miceli wanted to compose a difficult yet lyrical piece for solo vibraphone. The resulting “Water Marks” is so named because it is reminiscent of drops of rain splashing as they fall into a puddle.
Written on a flight while traveling to Asia, Miceli wanted to compose a difficult yet lyrical piece for solo vibraphone. The resulting “Water Marks” is so named because it is reminiscent of drops of rain splashing as they fall into a puddle.
One of Hatch’s most popular pieces, now arranged for four-mallet solo marimba.
One of Hatch’s most popular pieces, now arranged for four-mallet solo marimba.
This piece features a medley of popular songs from George and Ira Gershwin’s “Porgy and Bess.”
This piece features a medley of popular songs from George and Ira Gershwin’s “Porgy and Bess.”
It is assumed that each numbered opus from Clair Omar Musser consisted of 20 pieces, but there is no surviving evidence of them now. The version of Opus 11, Number 3, published in 1948, had some issues with the chords and expression markings. I made some corrections and consistencies in this new edition, but I tried to keep Musser’s notation intact as much as possible. -Yurika Kimura
It is assumed that each numbered opus from Clair Omar Musser consisted of 20 pieces, but there is no surviving evidence of them now. The version of Opus 11, Number 3, published in 1948, had some issues with the chords and expression markings. I made some corrections and consistencies in this new edition, but I tried to keep Musser’s notation intact as much as possible. -Yurika Kimura
Afternoon Footprints was written for solo marimba (5.0) in 2014. One of Stout’s most recent compositions for solo marimba, it is approximately 7’40” in length. It was composed with the thought of watching someone walk around the streets of Paris, going through different neighborhoods and viewing some of the many and varied sites that make up the beautiful city of Paris. Highly suitable for the advanced marimba recital, this work will be appreciated by non marimbists, the general public, as well as marimbists who want a work that concentrates on musical virtuosity.
Afternoon Footprints was written for solo marimba (5.0) in 2014. One of Stout’s most recent compositions for solo marimba, it is approximately 7’40” in length. It was composed with the thought of watching someone walk around the streets of Paris, going through different neighborhoods and viewing some of the many and varied sites that make up the beautiful city of Paris. Highly suitable for the advanced marimba recital, this work will be appreciated by non marimbists, the general public, as well as marimbists who want a work that concentrates on musical virtuosity.
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.
Uninhabited Admittance is a many faceted composition for solo 5.0 marimba. It is lyrical, jazzy, rhythmically varied, and a great deal of fun to play. Highly recommend for the advanced marimba recital.
Uninhabited Admittance is a many faceted composition for solo 5.0 marimba. It is lyrical, jazzy, rhythmically varied, and a great deal of fun to play. Highly recommend for the advanced marimba recital.
Abe’s first marimba solo; a classic in solo marimba repertoire
Abe’s first marimba solo; a classic in solo marimba repertoire
Composed by Carl Philipp Emanuel Bach, transcribed for marimba by Naoko Takada
Composed by Carl Philipp Emanuel Bach, transcribed for marimba by Naoko Takada
