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Czardas for Xylophone by Vittorio Monti (1868-1922). Arranged by Jan Rypens. Fanfare. Grade 2/5. Full score. Duration 0:04:47. Published by Beriato Music (BT.0204-6-138). The Flemish percussionist Patrick De Smet became famous with Cirkus Rens, which he plays (blindfolded!) like no one else can at the Night of the Proms. We recorded another virtuoso song with him, namely the world famous Czardas by Monti. It fit him perfectly. Can your percussionist perhaps play this blindfolded?
$28.95

Instruments: Percussion, Xylophone
Czardas for Xylophone by Vittorio Monti (1868-1922). Arranged by Jan Rypens. For Concert band. Grade 2/5. Full score. Duration 0:04:47. Published by Beriato Music (BT.0204-5-138).
$28.95

Instruments: Percussion, Xylophone
Czardas for Xylophone by Vittorio Monti (1868-1922). Arranged by Jan Rypens. For Marching Band. Solo Music. Grade 2/5. Score and set of parts. Duration 0:04:47. Published by Beriato Music (BT.0204-2-138). The Flemish percussionist Patrick De Smet became famous with Cirkus Rens, which he plays (blindfolded!) like no one else can at the Night of the Proms. We recorded another virtuoso song with him, namely the world famous Czardas by Monti. It fit him perfectly. Can your percussionist perhaps play this blindfolded?
$122.95

Instruments: Percussion, Xylophone
Czardas for Xylophone by Vittorio Monti (1868-1922). Arranged by Jan Rypens. For Concert band. Solo Music. Grade 2/5. Score and set of parts. Duration 0:04:47. Published by Beriato Music (BT.0204-1-138). The Flemish percussionist Patrick De Smet became famous with Cirkus Rens, which he plays (blindfolded!) like no one else can at the Night of the Proms. We recorded another virtuoso song with him, namely the world famous Czardas by Monti. It fit him perfectly. Can your percussionist perhaps play this blindfolded?
$122.95

Instruments: Percussion, Xylophone
The river runs across the page... by Vivienne Olive (1950-). For chamber ensemble: 2 flutes (advanced), 2 clarinets (medium and medium-easy), Strings: 2 Violins, Violas, Celli, Double Bass (medium), Glockenspiel and Xylophone (easy). Bigger Scorings (Ensemble). Work premiere: Shoalhaven Youth Orchestra. Chamber Music. Beginning. Full score. Composed 2004. Published by Furore Verlag (FV.FUE-2552). ISBN M-50012-265-4. Chamber Music. An important aspect of this piece is the age old musical technique of 'mirroring' - turning musical material around, either upside down or backwards. The river, with its reflections and tides can be seen, and sensed, from many aspects.
$14.95

Instruments: Flute, Clarinet, Violin, Viola, Double Bass, Percussion, Xylophone, Glockenspiel, Woodwinds, Strings
Concert Selections for Winds and Percussion (Grades II-IV) - Bells/Xylophone/Piano edited by Christopher Azzara. For Bells, Xylophone, Piano. Band Method. Instructional. Text language: English. 14 pages. Published by GIA Publications (GI.G-J196). With Text language: English. Instructional.
$4.50

Pages: 14
Instruments: Percussion, Xylophone
Eucharistic Prayer for Children II (Instrumental Parts) by Richard Proulx. For Flute, Handbells, Orff Xylophone, Orff Glockenspiel, Finger Cymbals, Tambourine, Chinese bells. Sacred. Instrumental Part. 28 pages. Published by GIA Publications (GI.G-2516INST).
$24.00

Pages: 28
Instruments: Flute, Percussion, Handbell, Xylophone, Glockenspiel, Woodwinds
Equinox by Michael Tompkins. For Percussion Ensemble (Timpani, Crotales (+ Field Drum, Mounted Tambourine), Chimes (+ Impact Drum), Bells (+ 4 Concert Toms), Xylophone (+ Shaker), Vibraphone 1 (+ Vibraslap), Vibraphone 2 (+ Suspended Crash Cymbal), Marimba 1 (4-octave, 4-mallet), Marimba 2 (5-octave, 2 malle). Percussion Music. Medium. Score and parts. Duration 4:20. Published by C. Alan Publications (CN.14260). The piece opens with a mood setting "in-your-face" statement that is sure to excite the audiences inner-musician and as the piece progresses, a constant ostinato in the first marimba takes over and pushes the piece forward. The Vibraphone 1 line is made as a "solo" and creates some unique melodies and moving lines, that give us a sense of direction. These solo passages become increasingly dark and complex and as we add performers to these solos, they become more open to interpretation, style and expression.This is a desired effect and should be communicated to the performers. The piece should be played very intensely. It is not meant to be a "pretty" piece. It is about power, and volume and it should be performed as such. The moving lines (vibraphone and other solos) should be played with musical expression and good sound quality, but not lose intensity. During the drum solos, the piece turns to a dark and powerful creation and, in a sense, evil.
$42.00

Instruments: Percussion, Timpani, Marimba, Vibraphone, Xylophone
Concerto No. 2 for Marimba and Percussion Orchestra (Marimba Feature). By Gillingham. Arranged by Nathan Daughtrey. For Solo with Percussion Ensemble (Solo Marimba (5-octave), Bells/Crotales, Xylophone/Chimes, Vibraphone 1 (3-octave), Vibraphone 2 (3-octave), Marimba 1 (4-octave), Marimba 2 (4-octave), Marimba 3 (4.3-octave), Marimba 4 (5-octave), Piano, Timpani, Percussion 1 (brake drum, tambourine, su). Percussion Music. Difficult. Score and parts. Duration 23:00. Published by C. Alan Publications (CN.11855). The "Concerto No. 2 for Marimba" is a commission by a consortium of schools and performers headed by Professor Marc Wooldridge of Northwestern College, Orange City, Iowa. The chamber ensemble version, arranged for a double quintet (woodwind and brass) with three percussion and piano, was premiered on April 6, 2008 by Andrew Dancy.The work exploits the full range of the technical and expressive ability of the five-octave concert grand marimba. It is cast in the standard three-movement format. The first movement uses sonata-rondo form and begins with a slow introduction and quasi-cadenza by the marimba. An animated first theme follows in G-minor accompanied by clarinets and tambourine. A contrasting second theme area follows featuring chromatic mediant progressions and descending chromatic lines. The return of the first theme utilizes a slightly different accompaniment. The development section reworks all the thematic material in different guises. The recapitulation presents the first theme, verbatim, as it was in the exposition. The second theme, however, changes the mode to major. The return alternates the marimba on the theme with the winds playing the theme in augmentation. The marimba quietly ends the movement with an ascending and descending arpeggiated passage.The second movement is a chaconne with eight variations. The marimba states a rather haunting chorale-like melody in Bb minor. The first variation features the low brass on the chaconne theme with the marimba on the variation. Variation II uses marimba, clarinet, bells, and vibraphone and Variation III uses marimba, oboe, and horns. Cascading muted brass against the augmented chaconne theme in the flutes and clarinets are indicative of Variation IV. Variation V changes the slow pace to fast using marimba, brass, timpani, and bells. A haunting Variation VI utilizes bowed marimba on the chaconne theme accompanied by piano and bells. Variation VII features the low brass on the chaconne theme against triplets in the upper brass. Rolled arpeggiated chords highlight Variation VIII along with a solo alto saxophone on the second half of the variation. A somber coda brings the movement to a close.The third movement, like the first, is in sonata-rondo design and is cyclic, bringing back and combining the thematic material of the first and second movements. The first theme, in D-minor, is angular and spirited, accompanied by clarinets and tambourine (reminiscent of Mvt. I). The second theme brings back the second theme of the first movement followed by the return of the first theme, now accompanied by saxophones and tambourine. The development combines and works thematic material from all three movements of the concerto. The recapitulation begins with the bassoons on the first theme, followed by the horns/trumpets and finally, the marimba. The second theme brings back the chaconne of the second movement, this time in major with the marimba accompanying using rhythmic material taken from the first theme of the third movement. There is no formal return of the first theme. Instead, the marimba plays a cadenza in which the first theme material and the second movement chaconne are developed. A galloping presto (coda) follows, ending the movement in D major.- David R. GillinghamPRAISE FOR THE CONCERTO"The new Concerto for Marimba by David Gillingham is an intriguing, engaging, and challenging piece. I had so much fun playing it and I am planning to perform it everywhere!! It is a "must-try" for all marimbists!"She-e Wuworld-renowned solo marimba artist"Nathan Daughtry's percussion ensemble transcription of my Concerto for Marimba is absolutely masterful! Mr. Daughtrey has used a multitude of percussion colors to faithfully emulate the colors of the wind ensemble in a wonderful version of the concerto that will be accessible to fine percussion ensembles throughout the world."David R. Gillingham composer.
$80.00

Instruments: Piano, Percussion, Timpani, Marimba, Vibraphone, Xylophone, Piano and Keyboard
Genres: Classical
Accidental Migration. (Marimba Feature). By Kenneth Froelich. For Solo with Percussion Ensemble (Solo Marimba (4.3-octave), Percussion 1 (bells, xylophone), Percussion 2 (3-octave vibraphone, crotales), Percussion 3 (4-octave marimba, almglocken (F2 to A3), Percussion 4 (whip, temple blocks, timbales), Percussion 5 (chimes, suspended cymbal, large ta). Percussion Music. Medium difficult. Score and parts. Duration 12:00. Published by C. Alan Publications (CN.12250). 1st Place Winner of the 2007 PAS Composition ContestCommissioned by Matthew Darling and the Fresno State Percussion Ensemble, Accidental Migration was the 1st Place Winner of the 2007 Percussive Arts Society Composition Contest. This single movement work for solo marimba and percussion ensemble is inspired by the excitement, stress, and fear brought forth from unanticipated change. Musically speaking, this is heard as seemingly consistent patterns make decidedly unexpected transformations. These occur either through changes in pulse, in melodic inflection, or in the overall stylistic feel of the work. The title Accidental Migration is a play on words, meaning both the unintentional arrival at a new location, as well as the constant movement of altered pitches - accidentals.
$54.00

Instruments: Percussion, Marimba, Vibraphone, Xylophone
Danse Macabre by Josh Gottry. For Percussion Ensemble (bells, chimes, xylophone, vibraphone (3-octave), marimba (4-octave), marimba (4-octave), marimba (4.3-octave), marimba (4.5 or 4.3-octave), timpani, triangle, cymbals, bass drum). Percussion Music. Medium. Score and parts. Duration 7:45. Published by C. Alan Publications (CN.13170). A direct transcription from the original orchestra score by Camille Saint-Saens, this landmark work is the first piece to incorporate xylophone in the symphony orchestra.
$42.00

Instruments: Percussion, Timpani, Marimba, Vibraphone, Xylophone
Wild Stallions by Gary P. Gilroy. For Percussion Ensemble (Bells 1, Bells 2, Xylophone, Timpani, Percussion 1 (finger cymbals, triangle, tambourine, snare drum), Percussion 2 (suspended cymbal, shaker, crash cymbals), Percussion 3 (bass drum, sleigh bells), Percussion 4 (suspended cymbal, 2 woodblocks, triangle),). Percussion Music. Medium easy. Score and parts. Duration 4:00. Published by C. Alan Publications (CN.13160). Commissioned by the William Saroyan Elementary School Percussion Ensemble, AnnaMarie Schielbelhut, ConductorComposed with four clear sections, with the quarter note at either 84 or 144, each part is linked together very musically. A complete spectrum of dynamic ranges are explored throughout, with softer moments at the beginning and a driving section to end the composition. Great for any level of ensemble.
$29.00

Instruments: Percussion, Timpani, Xylophone
Taco Suave by Mario Gaetano. For Percussion Ensemble (Player 1 (4-octave marimba, suspended cymbal, shaker), Player 2 (4-octave marimba, maracas), Player 3 (timbales, chimes), Player 4 (xylophone), Player 5 (3-octave vibraphone, snare drum), Player 6 (maracas, claves), Player 7 (vibraslap, bongos, mark tree,). Percussion Music. Edge Series. Medium. Score and parts. Duration 4:30. Published by C. Alan Publications (CN.13150). A festive ensemble piece with a Latin flair. Developing ensembles will enjoy performing this on your next concert.The EDGE Series is a collection of percussion ensembles featuring many popular musical styles - from funk to calypso to techno. It was developed to excite a wider range of ensembles, directors, and audiences while retaining the level of integrity you have grown to expect from C. Alan Publications.
$32.00

Instruments: Percussion, Marimba, Vibraphone, Xylophone
Creepy Little Wiggly Things by Gary P. Gilroy. For Percussion Ensemble (Timpani, Bells, Xylophone 1 (share with Xylophone 2), Xylophone 2 (share with Xylophone 1), Vibraphone (3-octave), Marimba 1 (4-octave), Marimba 2 (5-octave), Chimes, Percussion 1 (Bongos, Congas, Small Egg Shaker, Cymbal upside down on Timpano, Suspended). Percussion Music. Medium. Score and parts. Duration 5:15. Published by C. Alan Publications (CN.13130). "Creepy Little Wiggly Things" was composed for South Pointe Middle School's Percussion Program in Walnut, California. The Director of Bands at South Pointe Middle School is Mr. Steve Acciani and the Percussion Director is Mr. Ray Llewellyn. The band program at South Pointe Middle School is easily one of the largest in the state of California. As a result, the number of percussionists in this program is also very high. Mr. Acciani commissioned Gary P. Gilroy to compose a work specifically for Percussion Ensemble that would challenge his most talented percussionists, many of whom have been members of the California Band Directors Association Junior High School All State Honor Band. It was requested that the work would be written for a large number of percussionists requiring a variety of instruments both common and a little more unique.Gilroy took advantage of this opportunity to expose terrific mallet players along with an assortment of percussive colors that are meant to explore sounds that might be associated with creepy little wiggly things. The flexatone used by both the Chimes player and Percussion Five will help establish an eerie feeling throughout the work. Other fun sounds include the Water Gong, Vibraslap, and the Whip! Performing groups should be sure to use a large whip made from two pieces of wood (30"x5"x.75") hinged together at one end.
$40.00

Instruments: Percussion, Timpani, Marimba, Vibraphone, Xylophone
Time Worn by Michael Aukofer. For Percussion Ensemble (Player 1 (Snare Drum, Xylophone*), Player 2 (Guiro, Cowbell, Xylophone*), Player 3 (Timbales), Player 4 (Suspended Cymbal, Bongos, Xylophone*), Player 5 (Bass Drum, Egg Shaker, Xylophone*), * Players 1, 2, 4 & 5 play on the same xylophone, ** Any of the x). Percussion Music. Edge Series. Medium. Score and parts. Duration 3:15. Published by C. Alan Publications (CN.14160). "Time Worn" is a Latin based ensemble that has many interesting feels and textures. Players play on the same xylophone at one time through the piece. Only one Xylophone is required to perform this piece. Part of The EDGE Series.The EDGE Series is a collection of percussion ensembles featuring many popular musical styles - from funk to calypso to techno. It was developed to excite a wider range of ensembles, directors, and audiences while retaining the level of integrity you have grown to expect from C. Alan Publications.
$36.00

Instruments: Percussion, Xylophone
Soca-ing Wet by Josh Gottry. For Percussion Ensemble (bells, marimba 1 (4-octave), marimba 2 (4.3-octave), temple blocks, bongos, congas, snare drum, timpani, bells (may be doubled on vibraphone) marimba 1 (may be doubled on xylophone)). Percussion Music. Edge Series. Medium. Score and parts. Duration 2:00. Published by C. Alan Publications (CN.12230). A Soca is a song and dance genre directly related to Calypso. Singer Lord Shorty's 'Soul Calypso' (abbreviated to 'So-Ca') described the sound which mixed elements of soul and disco drum features with funk, mid-tempo ska and traditional calypso.The EDGE Series is a collection of percussion ensembles featuring many popular musical styles - from funk to calypso to techno. It was developed to excite a wider range of ensembles, directors, and audiences while retaining the level of integrity you have grown to expect from C. Alan Publications.
$32.00

Instruments: Percussion, Timpani, Marimba, Vibraphone, Xylophone
Funk Infusion by Scott Ward. For Percussion Ensemble (bells, xylophone, vibraphone, marimba 1, *, marimba 2, *, bass guitar (optional), drum set, percussion 1 (congas), percussion 2 (cowbell, shaker, tambourine, triangle), * The two marimba, parts may be performed on one low-A instrument). Percussion Music. Medium. Score and parts. Duration 3:30. Published by C. Alan Publications (CN.12220). The word "funk" has been applied to many different types of music. Funk music often de-emphasizes melody and harmony by bringing rhythm to the foreground, where intricate rhythmic patterns are layered together to create an intense, hard-driving groove. However, the "funk" label has also been applied to music with a more relaxing, mellow groove. Funk Infusion takes both of these contrasting styles and "fuses" them together, creating a piece which has the best of both worlds. The beginning section provides a straight-ahead groove while the contrasting middle section has a more relaxed 12/8 "half-time" feel. The mellow groove slowly builds to a climax, then transitions back into the original groove. Whether you prefer your funk hard-driving or laid back, this composition will have the players and the audience "feelin' the funk" in no time.
$36.00

Instruments: Bass Guitar, Electric Guitar, Percussion, Drum Set, Marimba, Vibraphone, Xylophone, Guitar, Drums
Soul-ar Eclipse by Tom Morgan. For Percussion Ensemble (bells, xylophone, vibraphone, marimba 1*, marimba 2*, timpani, electric bass (optional marimba 3), drum set, *marimba 1 and 2, may be performed on the same 4-1/3 octave instrument). Percussion Music. Edge Series. Medium. Score and parts. Duration 4:30. Published by C. Alan Publications (CN.12210). A keyboard-based percussion ensemble work from the EDGE Series features a jazz feel that you come to expect from Tom Morgan. Don't miss this one.
$36.00

Instruments: Percussion, Timpani, Drum Set, Marimba, Vibraphone, Xylophone, Drums
Redemption of a Fallen Angel by David Gillingham. For Full Orchestra (Piccolo, Flute 1,2, Oboe 1,2, Bb Clarinet 1,2, Bass Clarinet, Bassoon 1,2, Bb Trumpet 1, 2, 3, F Horn 1, 2, 3, 4, Trombone 1, 2, Bass Trombone, Tuba, Piano, Timpani, Percussion 1 (bells, xylophone, suspended cymbal, tam-tam), Percussion 2 (hi-hat, snare d). Orchestra Music. Score only. Published by C. Alan Publications (CN.13091). Redemption of a Fallen Angel was commissioned by the Metropolitan Youth Symphony (Detroit, Michigan) conducted by Alan MacNair.The work is cast as a tone poem in which "good" ultimately triumphs over "evil". My lifelong interest in heavenly beings and life after death peeked my imagination and has rendered a rather sinister story about a angel who has succumbed to the Devil and has decided to reek havoc on the whole world. The work opens with this so-called "fallen angel" involved in sinister and wicked mischief represented by some angular and angry melodic lines stated by horns and trumpets with the strings playing a turbulent ostinato. His destruction, however, is interrupted by a choir of angels (oboe accompanied by strings) who pray for forgiveness and redemption. But the fallen angel is not to be swayed and leaves to continue his plight upon the world. More choirs of angels are then brought in to form a circle around the wicked angel. They sing their prayers and plead to God to forgive and redeem the fallen angel. The music of this section reflects angelic singing and prayerful melodic lines. The calmness is interrupted by the angry music of the beginning as the fallen angel tries, once again, to escape. But the redeeming power of God is not to be avoided and the choir of angels enfold the fallen angel and carry him upward to the heavens. The angelic theme returns in full splendor and the work drives to a glorious conclusion.-DRG.
$40.00

Instruments: Piano, Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Bassoon, Horn, B-Flat Trumpet, Bass Trombone, Percussion, Timpani, Xylophone, Tuba, Piano and Keyboard, Woodwinds, Clarinet, Brass, Trumpet, Trombone
Genres: Classical
The Whole Toy Laid Down by Dave Hollinden. Percussion Ensemble. For Percussion Quartet (Percussion 1 (vibraphone, triangle, splash cymbal, ride cymbal, piccolo snare drum), Percussion 2 (marimba, xylophone, glockenspiel, chimes, hi-hat, snare drum), Percussion 3 (8 tom-toms, field drum, 2 crotales, tambourine, bongos, low log drum, 2 pitched). Medium difficult. Score only. Duration 12:45. Published by C. Alan Publications (CN.01981). Very challenging quartet which showcases the versatility of percussion instruments. Like most of Hollinden's works, Whole Toy travels through many metric modulations and styles.
$18.00

Instruments: Percussion, Marimba, Vibraphone, Xylophone, Glockenspiel
Boy, Oh Boy by Josh Gottry. For Percussion Ensemble (vibraphone (3-octave), xylophone, marimba 1 (4-octave), marimba 2 (4.3-octave), timpani, 3 woodblocks, snare drum, bongos, congas). Percussion Music. Medium. Score and parts. Duration 4:30. Published by C. Alan Publications (CN.13080). Written for my one-year-old son Caleb, this piece opens with a simple lullaby setting of a Swedish folk melody from the hymn Children of the Heavenly Father. At the presto, a day begins with the woodblock part signifying the continual progression of time. The texture gradually thickens as toys are strewn around the house. The chord progression beginning five bars after letter A, spells out Caleb's name (Cmin, Abmin, Fmin7 substitute for "L" Eb, Bb). The progression is then restated with a slightly busier ostinato. The hymn melody returns over new ideas in the mallet instruments, while the snare, woodblocks, and hand drums continue the 5/4 patterns into the 4/4 time signature. A final statement of the chord progression is made at letter F followed by the gradual thinning of the texture as the day winds down. A short lullaby recap closes the piece and the woodblock begins again to serve as a reminder that the next day is coming soon.- Josh Gottry.
$32.00

Instruments: Percussion, Timpani, Marimba, Vibraphone, Xylophone
The Juggler by Moritz Moszkowski (1854-1925). Arranged by J. Gottry. For Percussion Ensemble (xylophone, marimba 1, marimba 2, vibraphone, marimba 3, marimba 4, percussion 1 (triangle, tambourine), percussion 2 (crash cymbals, bass drum)). Percussion Music. Medium. Score and parts. Duration 2:20. Published by C. Alan Publications (CN.13070). An entertaining work originally for piano, this arrangement maintains the same form as the original in its scoring for percussion ensemble. Written for xylophone, vibraphone, 4 marimbas (playable on 2 instruments), triangle, tambourine, bass drum, and crash cymbals, it is an excellent piece for an intermediate to advanced high school percussion ensemble.
$32.00

Instruments: Percussion, Marimba, Vibraphone, Xylophone
Concerto for Percussion Solo & Percussion Ensemble. (Solo Percussion feature). By Gary Ziek. For Solo with Percussion Ensemble (Percussion Solo, Player 1 - Bells. Crotales, Player 2 - Xylophone, Chimes (shared with Player 4), Player 3 - Vibraphone 1, Player 4 - Vibraphone 2, Chimes (shared with Player 2), Player 5 - Marimba 1 (4 oct.), Player 6 - Marimba 2 (4 oct.), Player 7 - Mar). Medium difficult. Score and parts. Duration 14:20. Published by C. Alan Publications (CN.05383). Concerto for Percussion Solo was composed in January of 2001 as a showcase for the talents of percussionist Scott Herring. The concerto is in three connected movements and features the soloist on a variety of instruments, including marimba, vibraphone, bells, and crotales. A large percussion battery with two snare drums, multiple toms, brake drums, and bass drum is also used. The first movement, March, utilizes a quasi five-part rondo form. The movement starts with a solo snare drum, with the ensemble providing melodic interjections. The introduction builds to the first solo marimba entrance. A left hand ostinato leads to a melodic figure which alternates between six-eight and common time. A short snare drum solo sets up the middle section, in which the soloist and ensemble trade musical ideas. The multi-meter passage returns, with the soloist embellishing ensemble melodic figures. An abrupt modulation leads to the final section, which echoes the opening ideas of the movement. March ends with the soloist back on the snare drum, as it comes quietly to its conclusion. The concerto immediately segues into the second movement, Meditation, which begins with the ethereal sound of multiple sets of wind chimes. As the movement progresses, the soloist plays long, reflective lines over a simple accompaniment, on various combinations of keyboard percussion instruments. The movement builds to a moment of triumph, before returning to its initial contemplative state. Fantasia (a free flight of fantasy) immediately shatters the previous mood. A loud, cacophonous accompaniment provides a charged atmosphere for the soloist to utilize the percussion battery. A short melodic section, noble in character, leads to the initial climax of the final movement. The atmosphere abruptly changes again, as the ensemble and soloist embark upon a fast, violent new section. Musical lines are furiously exchanged, leading up to a thunderous percussive display. The mood is suddenly tinged with blues and jazz influences, letting the soloist function in a manner reminiscent of a drum set player. The final section of Fantasia begins with a unaccompanied marimba solo, played at breakneck speed. The ensemble begins to gradually join the soloist, as the movement builds to a final, fortissimo climax.
$75.00

Instruments: Percussion, Marimba, Vibraphone, Xylophone
Genres: Classical
Tailspin by Pete Zambito. For Percussion Ensemble (bells, xylophone, vibraphone, marimba, marimba (4.3-octave), electric bass, drum set). Percussion Music. Medium. Score and parts. Duration 3:00. Published by C. Alan Publications (CN.13030). Written with two solo sections for any soloist throughout the ensemble, and with one eight bar section at the beginning and the other open ended vamp section half way through, this relaxed work lends itself to both ensemble and solo performers. In addition, there are two contrasting musical sections which blend well. Written for five mallet players on bells, xylophone, vibraphone, marimba (treble) and marimba (bass) along with an electric bass and drum set player. Multiple opportunities for solo performers to shine.
$36.00

Instruments: Percussion, Drum Set, Marimba, Vibraphone, Xylophone, Drums