Showing 241–250 of 250 results
Showing 241–250 of 250 results
Plenty of musical challenges await the player in the guise of an intermediate level work. Six variations follow the theme. The variety of textures makes this work a great study piece as well as a delight for the audience.
Plenty of musical challenges await the player in the guise of an intermediate level work. Six variations follow the theme. The variety of textures makes this work a great study piece as well as a delight for the audience.
The metrical and stylistic treatment Chen gives this traditional Chinese melody is sure to captivate any audience. Independent rolls and great overall coordination required. Can be played on a 4.6 octave instrument.
The metrical and stylistic treatment Chen gives this traditional Chinese melody is sure to captivate any audience. Independent rolls and great overall coordination required. Can be played on a 4.6 octave instrument.
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.
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.”
For keyboard percussion soloist with piano accompaniment
For keyboard percussion soloist with piano accompaniment
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.
It’s called the “Well-Tempered Marimbist”, because each of the pieces is in a different key, like Bach’s “Well-Tempered Clavier”. Each piece was written with specific musical and technical challenges in mind.
It’s called the “Well-Tempered Marimbist”, because each of the pieces is in a different key, like Bach’s “Well-Tempered Clavier”. Each piece was written with specific musical and technical challenges in mind.
This 5.0-octave marimba solo, while not full of Stout’s customary intricacies and technical challenges, is intensely poetic and passionate – a performance challenge in and of itself. The nature of the piece is that of a lullaby. With a quarter-note pulse that is woven throughout, the music has a lilting and rocking quality.
This 5.0-octave marimba solo, while not full of Stout’s customary intricacies and technical challenges, is intensely poetic and passionate – a performance challenge in and of itself. The nature of the piece is that of a lullaby. With a quarter-note pulse that is woven throughout, the music has a lilting and rocking quality.
