$12.00
A Salute to George Hamilton Green, featuring Bob Becker on xylophone and Yurika Kimura on marimba. You can’t imagine how fantastic these marimba and xylophone duos sound. The happiness of this highly syncopated music is as infectious as any ever written.”After a fantastic performance by Bob and Yurika at PASIC 2013 where several of these pieces were played, I’m sure ‘Alabama Moon’ is already on the music stands of many ragtime enthusiasts.”-Percussive Notes
Clear Things May Not Be Seen was composed during 2017 and 2018. It is scored for two soprano soloists, string quartet, clarinet, bass clarinet, marimba and vibraphone. The lyrics are drawn from three poems by the American author Conrad Aiken (1889 – 1973): Miracles; and poems XCII and LXXXIX from his epic cycle Time in the Rock.
Clear Things May Not Be Seen was composed during 2017 and 2018. It is scored for two soprano soloists, string quartet, clarinet, bass clarinet, marimba and vibraphone. The lyrics are drawn from three poems by the American author Conrad Aiken (1889 – 1973): Miracles; and poems XCII and LXXXIX from his epic cycle Time in the Rock.
Comprised of five sections, Sevenly Reward is a multi percussion solo piece for drum-kit.
Comprised of five sections, Sevenly Reward is a multi percussion solo piece for drum-kit.
Single recording of Becker’s 1920s style composition, Cottontail Capers.
Single recording of Becker’s 1920s style composition, Cottontail Capers.
“Inspired by the Nymphéas series of paintings by French impressionist Claude Monet… [Water Lilies] is a beautifully complex and satisfying work for five percussionists and a pianist… it is recommended for professional ensembles and upper-level graduate students.” —Danielle Moreau, Percussive Notes
“Inspired by the Nymphéas series of paintings by French impressionist Claude Monet… [Water Lilies] is a beautifully complex and satisfying work for five percussionists and a pianist… it is recommended for professional ensembles and upper-level graduate students.” —Danielle Moreau, Percussive Notes
The eight etudes from Becker’s snare drum text Rudimental Arithmetic are now available in its own collection. Includes original program and performance notes, with translations in German, French, and Japanese.
The eight etudes from Becker’s snare drum text Rudimental Arithmetic are now available in its own collection. Includes original program and performance notes, with translations in German, French, and Japanese.
Written in 1982, the seven-player ensemble consists of 4 marimbas (one doubling rattle), double bell, high African drum (may substitute bongo) and low African drum (may substitute conga). Based on Ghanaian melodies.
Written in 1982, the seven-player ensemble consists of 4 marimbas (one doubling rattle), double bell, high African drum (may substitute bongo) and low African drum (may substitute conga). Based on Ghanaian melodies.
Kimura’s first composition for solo marimba mimics the behavior and movement of a small groundhog.
Kimura’s first composition for solo marimba mimics the behavior and movement of a small groundhog.
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.
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
Clair Omar Musser wrote numerous etudes as many marimbists know. It is assumed that each numbered opus consisted of 20 pieces, but there is no surviving evidence of them now. The version of Opus 6, Number 2 published in 1948 had some issues with the chords, as well as with expression markings like accents, staccatos, dynamics, etc. I made some corrections and consistencies in this new edition, but I tried to keep Musser’s notation intact as much as possible. Examining several of the original manuscripts helped clarify his personal approach to notation. – Yurika Kimura
Clair Omar Musser wrote numerous etudes as many marimbists know. It is assumed that each numbered opus consisted of 20 pieces, but there is no surviving evidence of them now. The version of Opus 6, Number 2 published in 1948 had some issues with the chords, as well as with expression markings like accents, staccatos, dynamics, etc. I made some corrections and consistencies in this new edition, but I tried to keep Musser’s notation intact as much as possible. Examining several of the original manuscripts helped clarify his personal approach to notation. – Yurika Kimura
“Green’s unique bluesy style is evident in this fun, challenging xylophone solo. The marimba accompaniment is equally challenging (if not more so) and requires a player who is comfortable with large leaps in the bass line while playing busy syncopated patterns in the right hand.”-Percussive Notes
“Green’s unique bluesy style is evident in this fun, challenging xylophone solo. The marimba accompaniment is equally challenging (if not more so) and requires a player who is comfortable with large leaps in the bass line while playing busy syncopated patterns in the right hand.”-Percussive Notes
Watermelon Whispers was composed in 1918 by George Hamilton Green, and was published the same year as a piano solo by the Ted Browne Music Company.This transcription arrangement is based on the piano sheet music, and on Green’s xylophone performance on the Edison cylinder.
Watermelon Whispers was composed in 1918 by George Hamilton Green, and was published the same year as a piano solo by the Ted Browne Music Company.This transcription arrangement is based on the piano sheet music, and on Green’s xylophone performance on the Edison cylinder.
You can’t imagine how fantastic these marimba and xylophone duos sound. The happiness of this highly syncopated music is as infectious as any ever written. Happy listening. Happy playing.
Featuring Bob Becker, xylophone
and Yurika Kimura, marimba
Track Listing:
| Difficulty | Advanced |
|---|
Dottie Dimples is a track featured on the CD, “NEXUS Plays the Novelty Music of George Hamilton Green”.
Dottie Dimples is a track featured on the CD, “NEXUS Plays the Novelty Music of George Hamilton Green”.
Kebjar-Bali is a track featured on the CD, “Voices”.
Kebjar-Bali is a track featured on the CD, “Voices”.
Recorded by Leigh Howard Stevens on the album Marimba When. (Duration 11:14) Available as sheet music.
Recorded by Leigh Howard Stevens on the album Marimba When. (Duration 11:14) Available as sheet music.
In Ancient Temple Gardens is a track featured on the CD, “The Solo Percussionist”.
In Ancient Temple Gardens is a track featured on the CD, “The Solo Percussionist”.
A CD by NEXUS with marimbist Leigh Howard Stevens
A CD by NEXUS with marimbist Leigh Howard Stevens
The music on ‘WINGS’ is a tribute to Toru Takemitsu, who was a friend and mentor to NEXUS from the late 1960s until his death in 1996. The music featured on the CD includes original arrangements by NEXUS members of popular songs written by the distinguished Japanese composer, Toru Takemitsu.
The music on ‘WINGS’ is a tribute to Toru Takemitsu, who was a friend and mentor to NEXUS from the late 1960s until his death in 1996. The music featured on the CD includes original arrangements by NEXUS members of popular songs written by the distinguished Japanese composer, Toru Takemitsu.
Janissary March is a track featured on the CD, “The Story of Percussion in the Orchestra”.
Janissary March is a track featured on the CD, “The Story of Percussion in the Orchestra”.
Raga No. 1 is a track featured on the CD, “The Solo Percussionist”.
Raga No. 1 is a track featured on the CD, “The Solo Percussionist”.
Voices is a track featured on the CD, “Voices”.
Voices is a track featured on the CD, “Voices”.
Shadow on Mist was composed for flautist Kim McCormick and the University of South Florida Percussion Ensemble under the direction of Robert McCormick. It was inspired by the pictorial imagery of South Florida.
Shadow on Mist was composed for flautist Kim McCormick and the University of South Florida Percussion Ensemble under the direction of Robert McCormick. It was inspired by the pictorial imagery of South Florida.
