Showing 145–160 of 174 results
Showing 145–160 of 174 results
Composed in 1950, Fissinger’s “Suite” is the first polyphonic work for unaccompanied marimba, combining both traditional tertian and quartal/quintal harmonies to evoke introspection, anticipation, panic, and serenity.
Composed in 1950, Fissinger’s “Suite” is the first polyphonic work for unaccompanied marimba, combining both traditional tertian and quartal/quintal harmonies to evoke introspection, anticipation, panic, and serenity.
This solo for the advanced marimbist is in four movements. It contains the famous “Piece for Marimba” (mvt. 2), as recorded by Gordon Stout (“Music for Solo Marimba”). Each movement is in a contrasting style, making this an ideal recital work. 4.3 marimba is required.
This solo for the advanced marimbist is in four movements. It contains the famous “Piece for Marimba” (mvt. 2), as recorded by Gordon Stout (“Music for Solo Marimba”). Each movement is in a contrasting style, making this an ideal recital work. 4.3 marimba is required.
This energetic piece gives marimbists the opportunity to show off their octaves, as they permeate the wild and sometimes “raucous” texture. There are also plenty of opportunities to exercise musical expression, especially during the chorale.
This energetic piece gives marimbists the opportunity to show off their octaves, as they permeate the wild and sometimes “raucous” texture. There are also plenty of opportunities to exercise musical expression, especially during the chorale.
An evocative short, somewhat virtuositic work which is great as a change of pace in a recital program or as an encore. Programmatically depicts the flight and demise of a butterfly. Very effective.
An evocative short, somewhat virtuositic work which is great as a change of pace in a recital program or as an encore. Programmatically depicts the flight and demise of a butterfly. Very effective.
This single-movement programmatic work for solo marimba is a depiction of “the daily activities in the precarious life of the kudu”, a type of antelope which dwells on the plains of Africa. From serene rubatos to panicked obligatos and running ostinatos, this piece promises adventure.
This single-movement programmatic work for solo marimba is a depiction of “the daily activities in the precarious life of the kudu”, a type of antelope which dwells on the plains of Africa. From serene rubatos to panicked obligatos and running ostinatos, this piece promises adventure.
A short, yet solemn work. This piece offers a perfect opportunity for the player to experiment with tone color and rubato while showing-off the resonance of the instrument.
A short, yet solemn work. This piece offers a perfect opportunity for the player to experiment with tone color and rubato while showing-off the resonance of the instrument.
The Other Side (of Silence) is a beautiful new composition for 5.0 marimba. It winds its way through a variety of sections in different styles, moods and textures, but always returns to a place of happiness and joy!
The Other Side (of Silence) is a beautiful new composition for 5.0 marimba. It winds its way through a variety of sections in different styles, moods and textures, but always returns to a place of happiness and joy!
This is a beautiful and innovative depiction of Xinjiang, a folk song from western China. Fluid four-mallet technique and a 5.0 octave marimba are required.
This is a beautiful and innovative depiction of Xinjiang, a folk song from western China. Fluid four-mallet technique and a 5.0 octave marimba are required.
One of Raymond Helble’s many compositional talents is the ability to imitate the style of almost any famous composer. Not only is this set of variations a great way to study the performance style of these composers, the set is also a delightful and slightly humorous treat for the audience. The compositional “slight of hand” is totally convincing.
One of Raymond Helble’s many compositional talents is the ability to imitate the style of almost any famous composer. Not only is this set of variations a great way to study the performance style of these composers, the set is also a delightful and slightly humorous treat for the audience. The compositional “slight of hand” is totally convincing.
Great for the intermediate marimbist, ‘Theme and Variations’ uses a variety of styles and present a variety of problems, for both two and four mallets, making the piece pedagogically useful, as well as great fun to play and delightful to hear.
Great for the intermediate marimbist, ‘Theme and Variations’ uses a variety of styles and present a variety of problems, for both two and four mallets, making the piece pedagogically useful, as well as great fun to play and delightful to hear.
A more complicated companion piece to two Short Dances contains similar treatment of thematic cells. Tritones and triplet figures permeate the texture. Can be played on a 4.3 marimba.
A more complicated companion piece to two Short Dances contains similar treatment of thematic cells. Tritones and triplet figures permeate the texture. Can be played on a 4.3 marimba.
Not a Sonata’ is highly worthwhile to perform in recitals, with interesting harmonic and rhythmic concepts and a variety of technical and musical challenges.
Not a Sonata’ is highly worthwhile to perform in recitals, with interesting harmonic and rhythmic concepts and a variety of technical and musical challenges.
Sure to add variety to any player’s repertoire. The idiomatic writing results in a lush, rhythmically complex texture. Can be performed on a 4.3 octave marimba.
Sure to add variety to any player’s repertoire. The idiomatic writing results in a lush, rhythmically complex texture. Can be performed on a 4.3 octave marimba.
