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Multi-Percussion Duet - Gyro Composed By Tomer Yariv
I) BRASILIANA (marimba, 5 temple blocks, 3 wood blocks and wood chimes).
II) ELDORADO (vibraphone, 4 susp.cymbals, cow bell, triangle and 1 crotale).
Based on themes from South American Indians, these pieces offer the soloist an opportunity to make great music using just a few instruments. Although the instrumentation differs between the two parts, Brasiliana and Eldorado share a common harmonic and melodic basis.
Duet for Drumset and Multiple-PercussionSynergetic Simpatico Composed by Brian S. Mason
Instrumentation: Drumset (snare, kick, 4 toms), 4 octabons, timbales, 14" hihat, 13" hihat, low crash cymbal, 2 splash cymbals, high crash cymbal, 2 ride cymbals, sizzle cymbal, China cymbal, high and low jam blocks (each w/pedal), cowbell (w/pedal), bongos, 3 roto toms, concert bass drum, piccolo snare drum, 3 brake drums, 2 cowbells, log drums (4 pitches), mark tree, temple blocks
Synergetic Simpatico is an exploration of the musical possibilities of two percussion instruments with two very different stereotypes in the percussion world. The drumset is often construed as a groove-oriented instrument, playing repeating patterns that create an ostinato for other instruments to play along to. The multiple-percussion setup is often looked at in a more contemporary view. The idea of putting together multiple percussion instruments played by one player has been embraced by the contemporary concert realm in the form of modern percussion ensemble pieces and solos, notably pioneered by Stravinsky's L'Histoire du Soldat.
This piece will attempt to break these stereotypes by utilizing the drumset as a contemporary percussion instrument and showing off the multiple-percussion setup as a groove-oriented instrument. The piece begins with an explosive introduction leading into a more contemporary writing approach to the drumset. The second section contains a fugue-like passage featuring five voices that eventually play all at once. With a metric modulation to signify the end of the fugal section, the piece then picks up speed, driving until the end. This last section demonstrates the groove possibilities of the multiple-percussion setups.
The name of the piece is derived from the way each instrument assists the other in breaking out of their stereotypical mold. This is done through the playing of like instruments and the use of musical motives and phrasing throughout the piece.
For ambitious players, Synergetic Simpatico will offer a challenging and rewarding performance opportunity while providing audiences with an unforgettable experience of percussive artistry in its most intricate and modern form.
This piece comes with a full, bound score and includes all individual parts available for printing on the included CD-Rom.
Multi-Percussion Duet Double Take Composed by Jamieson Carr
Written for two multi-percussion stations configured in mirror image and split by a shared bass drum, Double Take launches at a blistering speed for nearly 7 minutes of exciting counterpoint. Each player rides a steady, aggressive ostinato on the rim of the snare drum. Sparse interjections occur on bongos, woodblocks, cowbells, splash cymbals, and ascending opera gongs. These gradually increase in frequency while a steady groove ensues.
From the urgent downbeat through the final climax, Double Take will capture an audience's excitement while providing a perfect vehicle to feature a pair of aggressive percussionists.
This piece comes with a full, bound score and includes a CD-Rom containing an audio recording and all individual parts available for printing.
Marimba Solo Two Days Composed by Robert Lopez
Two Days uses a melodic theme as the common thread through various forms of ostinato patterns. 4-mallet proficiency will be required for much of the ostinato work. A variety of techniques are used, including playing rims and blocks with the mallet shafts, and playing the wind chimes as a melodic component.
Two Days was awarded First Prize at the 1998 DCI Individual and Ensemble "Multiple Percussion" solo competition.
This piece is published as a grand staff, and is saddle-stitch bound, with a color glossy cover!
Multi-Percussion Solo Mare Tranquillitatis Composed by Mark Berry
Instrumentation:Solo for Amplified Steelpan, Crotales, Digital Delay, Pitch Shifter
Mare Tranquillitatis (Sea of Tranquility) is a progressively written soundscape from the mind of steelpan virtuoso Mark Berry (Western Kentucky University). The title refers to a large basin on the northern hemisphere of the moon (one of the nineteen major lunar maria) where humans first set foot. This innovative work loosely depicts a journey to this place, either physically or through one's imagination.
Written for the advanced player in recital, the piece explores rhythmic and harmonic counterpoint with the player's own echo which is achieved using two basic electronically produced effects—digital delay and pitch shifting. Any effects unit, synthesizer workstation, or even guitar pedal effects could be used to perform the piece. Over ten minutes long, this work is performed completely in real time—there are no sequences or pre-recorded sections. Control of tempo and rhythmic accuracy through mixed-meter passages is essential. The performer must be able to play rhythmically and expressively, while controlling steelpan tone quality.
Mare Tranquillitatis would be an ideal choice for university percussion students and steelpan aficionados searching for new age treatment of this instrument with a technological flavor.
Multi-Percussion Solo Psalm 104 Composed by Brian Blume
Psalm 104 is a vigorous new multi-percussion solo by composer Brian Blume. Using a tight configuration of only drums and cymbals, the soloist navigates a series of complex melodic lines requiring rhythmic dexterity between hands and feet. Demanding power, sensitivity, precision, and restraint, Psalm 104 will draw audiences in while the soloist expresses both reverence and intensity.
This piece comes as a professionally bound folio. It is not currently being offered as downloadable merchandise.
Multi-Percussion Solo Integrated Elements No. 2 - "Not a Haiku" Composed by Robert McClure
Robert McClure's "Integrated Elements" series aims to use sounds created by instruments, digital audio, and sounds made by the human voice or mouth to create an integrated sound world. Integrated Elements No. 2 - "Not a Haiku" is constructed in three large sections, breaking down into a five-part arch form. The ratio 5:7:5 devises the length of the three large sections as well as the metric scheme of 5/8, 7/8, and 5/8. Despite the 5-7-5 structure, McClure states that the piece was not inspired by the Japanese "haiku" form of poetry and is, as such, not a haiku.
The setup includes unpitched percussion instruments such as toms, mini timbales, kick drum, and wooden instruments, while the accompanying audio track contains a unique sound design via metallic percussion effects, reverse effects, static, and gongs. The piece also calls for a constructed wooden headed tom which creates a singularly unique sound. Simple instructions are included on how to turn a regular tom into a wooden headed drum.
This piece comes with a full, bound score and includes a CD-Rom containing the full-quality audio file for the pre-recorded sound, as well as an audio recording of a live performance to use as reference.
Multi-Percussion Solo Prime Ordinals Composed by Jim Casella
Instrumentation:djembe (with digital delay), prayer bowl, and audio soundscape
Prime Ordinals is a unique solo by Jim Casella for amplified djembe with a prayer bowl and audio soundscape. The piece is formed through an ordered sequence of prime numbers in which the ordinals occur as note groupings, meters, phrasings, or the number of semitones spanned by the portamento in the soundscape accompaniment.
The soloist is called on to create a variety of timbres from the djembe through different striking or muting techniques. The sound from the djembe is also being sent through a digital delay effect at a rate of 333.33 milliseconds. The delay effect plays a critical role in the rhythmic outcome when combined with the sounds originated by the player. The resulting whole represents a unique interplay that is deliberate—even chaotic at times—but always greater than the sum of its parts.
Prime Ordinals comes with a customized software player (compatible with Mac or PC) that serves as an interface for audio inputs, built-in delay effect, soundscape playback and mixing, as well as giving the performer the ability to monitor the soundscape with a click track to ensure a synchronized performance.
This piece comes with a full, bound score and includes a CD-Rom containing the software player in Mac and PC formats, a printable notation key, a reference recording of the full piece, and source audio files for those wishing not to use the software player.
Composed by William Kraft, French Suite for Percussion Solo is a collection of four dances. Allemande, Courante, Saraband and Gigue. Instrumentation includes 2 suspended cymbals, bongos, 2 snare drums, field and tenor drum. A classic multi-percussion solo which has become a standard repertoire piece.
Multi-Percussion Solo Points for Consistency MEDIUM ADVANCED Multi-Percussion Solo Instrumentation: Bass drum, toms (4), snare, splash (3), crotales (D, Eb, G, Ab, C - low octave) 5 Minutes 40 Seconds
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