Marimba

Castle Valse Classique, Xylo & Mar. Quartet (A. Dvorak/arr. Yurika Kimura)

$24.00

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.

Children’s Corner (Debussy/arr. Leigh Howard Stevens)

$17.00$20.00

Although the marimba’s tone is colorful and evocative, there has been a long standing lack of serious transcriptions of impressionistic music. This faithful transcription will fill that niche and surely become a standard repertoire item.

Although the marimba’s tone is colorful and evocative, there has been a long standing lack of serious transcriptions of impressionistic music. This faithful transcription will fill that niche and surely become a standard repertoire item.

Concerto for Marimba & Orch. Piano Reduction

$38.00$44.00

Winner of what may have been the earliest marimba composition contest ever held, the Sarmientos was premiered by Vida Chenoweth in 1957. A three-movement work of great vitality with Guatemalan-influenced rhythms and melodies, it is performable by any good collegiate marimbist.

Winner of what may have been the earliest marimba composition contest ever held, the Sarmientos was premiered by Vida Chenoweth in 1957. A three-movement work of great vitality with Guatemalan-influenced rhythms and melodies, it is performable by any good collegiate marimbist.

Concerto for Marimba and String Orch.—Piano Red.

$50.00

Juilliard composition and theory faculty member Eric Ewazen has written what many consider to be “The Great American Marimba Concerto”. Only time will tell if these appraisals are correct, but everyone who hears it agrees that it is a work of great beauty and excitement.

Juilliard composition and theory faculty member Eric Ewazen has written what many consider to be “The Great American Marimba Concerto”. Only time will tell if these appraisals are correct, but everyone who hears it agrees that it is a work of great beauty and excitement.

Danse

$10.00

A delightful piece for a beginning to intermediate four-mallet player. The marimba creates a smooth texture of triplets and 8ths throughout a 4.3 range.

A delightful piece for a beginning to intermediate four-mallet player. The marimba creates a smooth texture of triplets and 8ths throughout a 4.3 range.

Etude in Ab Major for Two Marimbas (C.O. Musser/arr. Yurika Kimura)

$18.00

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

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