One of Hatch's most popular pieces, now arranged for marimba/vibraphone trio.

The sequel to Rhythmic Etude No. 1, Muzquiz gives percussionists more of the style, challenge and excitement that made its predecessor so successful.

An exciting work that will challenged the most advanced percussion ensembles.

A short but exciting piece for multi-percussion quartet.

Written in tribute to percussion retail giant Steve Weiss, this mixed percussion ensemble piece for 12 players combines minimalism, quartal harmonies, improvisation and Afro-Cuban drumming.

The inaugural work of “The Jonathan Singer Historical Xylophone Publication Series”, Singer transcribes a 1920’s recording of Billy Gladstone playing this medley with the Capitol Theatre Orchestra and arranges it for solo xylophone with marimba band accompaniment.

A percussion septet with bells, crotales, vibraphones and marimbas.

Serenade is in six movements with contrasting styles.

Multum in Parvis differs from Helble's other percussion orchestra works in that most of the material is introduced and developed by membranophones rather than keyboards.

Mirages is an original piece with four movements written for vibraphone, marimba, double bass, drums and clarinet/bass clarinet. The composition expresses four different musical moods and personalities.

This marimba part to this version is exactly the same as the original for solo marimba (2010). There are now additional string parts (two violins, viola, and cello) to accompany this solo. An even more beautiful version of one of Stout's most beautiful compositions.

A very effective, exuberant and joyful marimba quartet with echoes of Reich and Zimbabwe.

"Players with a strong sense of rhythm and two-mallet technique are necessary for a performance of this piece. While the piece is not overly fast and choppy, note accuracy could be tricky in certain passages. A strong sense of already existing ensemble cohesion will make a performance of this piece especially successful."
-- Percussive Notes

Overkill is scored for four players, each utilizing multiple drums around a centered cymbal set-up. Classic rock fans will recognize the main rhythmic theme, which is played over and over, hence the title of the piece.

Four Faces is scored for 5.0 marimba soloist, four percussionists, and electric bass. Rhythmically extremely interesting, and not at all like any other music for marimba solo and percussion quartet. Check it out!

Digital Dances is a difficult work for marimba quartet heavily inspired by electronic dance music. Its dance-like rhythms, unyielding intensity, and heavy bass keep the players and listeners moving throughout the five sections.

Home is dedicated to and commissioned by the internationally renowned percussion group Nexus. The piece is in three distinct movements and spans approximately 20 minutes.

White Pines was inspired by the energy, crispness and majesty of these snow-covered trees in the winter months near my home in New York. It is scored for solo marimba with both keyboard and battery percussion. White Pines is originally the 2nd movement to a larger 3 movement work titled Home and is dedicated to and commissioned by the internationally renowned percussion group Nexus.

The Blue Flame Quintet was written for the Lassiter High School Percussion Ensemble in 2005 and premiered at the Midwest International Band and Orchestra Convention in Chicago. The quintet is scored for solo marimba (5 octave), and four accompanying multiple percussionists.

"The work is roughly six minutes in duration and is sure to be a crowd pleaser. From a student ensemble perspective, it might be one of the most accessible of Burritt's "marimba plus ensmeble" compositions."

--Percussive News

Outgoing (original version 2011) is scored for piano, marimba (5.0), timpani and two percussionists, and is approximately 9'30" in length. In instrumentation only, I had in mind the Sonata for Two Pianists and Two Percussionists by Bartok. The marimba part is the second piano part. There is a highly chromatic timpani part as in the Sonata. The percussion parts are really in effect a drum set part split into two parts, one playing the drums and one playing cymbals, thus completing the similarity in instrumentation to the Bartok Sonata. This is a broad and expansive work, encompassing a number of different styles of music and expressive capabilities of the exciting chamber group.

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.