(1994) Soprano solo and three players – marimba, vibraphone, and piano. Instrumental parts are moderately difficult. Soprano part is challenging and requires a high B-flat. 9 minutes
(1994) Soprano solo and three players – marimba, vibraphone, and piano. Instrumental parts are moderately difficult. Soprano part is challenging and requires a high B-flat. 9 minutes
Dex moves through a myriad of textures, colors, and metric modulations to create a sort of “drumming fanfare” that is both fun to play and experience as a listener.
Dex moves through a myriad of textures, colors, and metric modulations to create a sort of “drumming fanfare” that is both fun to play and experience as a listener.
For vibraphone solo and three percussionists, this
piece, through its four movements, serves to both
fulfill the expectation of dynamic yet transparent
writing and set new ones with its textural and
compositional methods. The energy in this music
allows it to fit into many concert and recital
settings while the unique instrumentation serves as a
palette cleanser next to many solo keyboard settings.
For vibraphone solo and three percussionists, this
piece, through its four movements, serves to both
fulfill the expectation of dynamic yet transparent
writing and set new ones with its textural and
compositional methods. The energy in this music
allows it to fit into many concert and recital
settings while the unique instrumentation serves as a
palette cleanser next to many solo keyboard settings.
A multi-percussion trio inspired by three of the greatest rock and fusion drum set players.
A multi-percussion trio inspired by three of the greatest rock and fusion drum set players.
Scored for “four percussionists and tableware,” inspired by John Cage’s ‘Living Room Music’. As the composer explains, “Dining Room Music” uses Cage’s rhythmic structures, but in reverse order….
Scored for “four percussionists and tableware,” inspired by John Cage’s ‘Living Room Music’. As the composer explains, “Dining Room Music” uses Cage’s rhythmic structures, but in reverse order….
This is the third Duo (Dance-Song) written by Gordon Stout for marimba and wind instrument. Both parts are virtuosic and exciting. The two instruments compliment each other beautifully.
This is the third Duo (Dance-Song) written by Gordon Stout for marimba and wind instrument. Both parts are virtuosic and exciting. The two instruments compliment each other beautifully.
This is the second of Stout’s Duo Dance-Songs. It was written for Steve Mauk at the Ithaca College of Music. Like the others, both performers have virtuosic roles.
This is the second of Stout’s Duo Dance-Songs. It was written for Steve Mauk at the Ithaca College of Music. Like the others, both performers have virtuosic roles.
It is rare that the instrumental combination of two-mallet marimba and piano sounds like a serious piece of chamber music, but this new work by Rick Orpen belies the stereotype. This work is also substantial in length, filling almost ten minutes with interesting and challenging music.
It is rare that the instrumental combination of two-mallet marimba and piano sounds like a serious piece of chamber music, but this new work by Rick Orpen belies the stereotype. This work is also substantial in length, filling almost ten minutes with interesting and challenging music.
Although written for a 5.0 octave marimba, Orpen offers suggestions to accommodate a 4.3 octave instrument. This piece is 6:20 in length and requires an ability to execute strong octaves in both hands.
Although written for a 5.0 octave marimba, Orpen offers suggestions to accommodate a 4.3 octave instrument. This piece is 6:20 in length and requires an ability to execute strong octaves in both hands.
