Beat It (Percussion Ensemble)

The Editio Bärenreiter Praha publishing house has been putting together its Complete Critical Edition of Works by Miloslav Kabeláč (1. 8. 1908 – 17. 9. 1979) since 1999. To mark the 100th anniversary of the composer’s birth, two titles have been published, now established repertoire works both in the Czech Republic and chiefly abroad, which will complete the 4th series of the critical edition – Eight Inventions for Percussion Instruments and Otto ricercari for percussion instruments. Kabeláč had a lifelong and profound interest in percussion instruments. “These are instruments,” he would say, “which are played, not just struck or beaten. They may be entrusted with music.” The cycle EIGHT INVENTIONS, one of Kabeláč’s most famous works, was written in 1962 for the French ensemble Les Percussions de Strasbourg. The inventions were sometimes combined with a ballet performance, which was the case for the Strasbourg premiere. However, Kabeláč clearly favoured a purely instrumental, concert performance of the work, which was subsequently undertaken by numerous ensembles, presently including the Prague Percussion Ensemble and another Czech ensemble, Dama-Dama. The piece was written for six players and a large group of percussion instruments – the instruments required vary from one movement to the next. Here, Kabeláč uses new proportional notation in a form which is essentially his own invention. The eight parts treat different intellectual, formal, sound and rhythmic-metric issues; the cycle as a whole reflects musical inspiration from outside Europe. For the sake of clarity, the inventions are always performed from the score. Its new critical edition, with detailed commentary from the editor, corresponds to the autograph with the exception of isolated minor deviations which the composer wrote into the score for the Panton edition (1966, 2nd edition, 1971) after the work’s premiere.

This Billboard number one hit by Sheryl Crow is off of her 2002 album C'mon, C'mon, and was nominated for a Grammy award for Best Female Pop Vocal Performance in 2003. This fun, upbeat tune evokes images of the sun, surf, and sand. It is arranged for lead, double tenor, double second, cello/guitar, bass pans, bass guitar (optional), drumset, and percussion. Whether playing it at your next concert or gig, it is sure to be a crowd favorite! / Steel Drum

Exercices rythmiques et morceaux de musique d'ensemble à réaliser à l'aide du corps (Body Percussions) ou à l'aide d'instruments divers et variés.

Les principales valeurs de durée (Quarta/Ottavi/sedicesimi) sont effectuées de façon simple et ludique grâce à des exercices rythmiques utilisant le corps comme instrument à percussion et grâce à des exercices rythmiques effectués à l?aide de divers instruments tels que des bâtons ou des ventouses.

Les accompagnements rythmiques proposés sont adaptés à des morceaux de répertoire tel que La Famille Adams ou la Cucaracha et ils constituent le point de départ pour les activités de musique d?ensemble.

Les photos et le CD explicatif font de ce texte une aide didactique indispensable pour tous ceux qui désirent développer leur coordination motrice, leur mémoire rythmique et leur créativité. / [Body Beat et Percussion Alternative] / Méthodes

In the nineties the Cuban-American singer Gloria Estefan recorded a sparkling version of Vicki Sue Robinson?s disco classic Turn the Beat Around. She gave the song a catchy Latin beat and with this new impulse it was a worldwide hit. With the sentence from the song text ?Love to hear percussion? in mind Peter Kleine Schaars incorporated a compelling percussion solo in his arrangement. The result is a dynamic piece of music full of pace and passion.

Per Nørgård's En Lys Time / A Light Hour (2009) for a variable Percussion Ensemble (min. 10 players). In A Light Hour everything - rhythms and motifs – is based on Nørgård´s special infinity series. Parts available: WH30964A Programme note A Light Hour is for ‘any number of percussion musicians’ (but a minimum of ten). The duration is about 60 minutes. The instrumentation is in principle open as long as percussion is used within the three types specified in the score: skin metal and wood. Each musician uses two soundsources with two different sounds one of which is bright (or light) and the other dark. Certain passages also include tuned percussion instruments – vibraphone xylophone marimba gamelan glockenspiel steel drums crotales and the like. The work integrates and combines a number of rhythms that Nørgård has used in percussion works since the 1970s for example in Early Spring Dance (for choir and percussion) and percussion works like I Ching Easy Beats Whirls Zigzag Nemo Dynamo and Echo Zone I-II-III. Special “tone-feasts” (the composer’s term) – followed by a rest – are an recognizable melodic feature of the work.: the first minute end with a short tone-feast (and a rest) the first four minutes end with a tone-feast lasting a minute (and a rest) the first quarter of an hour ends with a tone-feast of four minutes (and a rest) – and the work ends with a tone-feast lasting quarter of an hour (and a rest when the work is over ...). The first 15 minutes have a bright light character throughout and alternate between rhythms and melodic play. The following 15 minutes are more insistent and decidedly percussion-based Afro-Cuban whereas the third quarter of A Light Hour moves in the

Classic Mozart with a new twist for young musicians! This clever arrangement introduces one of Mozart's most popular works. Written within a rock beat framework the piece will transport your audience everywhere from classical to tango while exposing your students to some of the world's greatest classical music. Highly entertaining. Includes CD with performance example. This is arranged for Flute Oboe Bassoon Bb Clt 1&2 Eb Alto Sax 1&2 Bb Tenor Sax Eb Bari Sax Bb Trumpet 1&2 F Horn Trombone 1&2 Baritone/Euphonium Tuba 3 percussion.

Kaleidoscope will save you time! Do you spend hours arranging music for odd assortments of instruments? Kaleidoscope is specially arranged to suit almost any instrumental combination and these varied ensembles are easy andenjoyable too. So much scope for virtually any combination of instruments!The series is successful with recorders guitars percussion and keyboard as well as with orchestral groupings. Whether there are five or fiftyplayers every Kaleidoscope title will work! Just make sure that melody and keyboard parts are included - all other parts are optional. Kaleidoscope is superb value for money - each set contains a score plus around 50 parts eachone carefully written to suit the needs of each instrument. For example easy string parts are in first position only whilst easy clarinet parts take care to avoid the break. There are more demanding parts too for experiencedplayers. To help you choose the right pieces for your players we have given the key of each Kaleidoscope in brackets. The complete performance option! These super-flexible arrangements of well-known titles are a must forevery school. Why not choose a theme for your concert and perform a selection of Kaleidoscope show titles and film themes or have an evening of classical favourites? In G. Edited by Nicholas Hare.