Percussion parts for Ouverture for Percussion Quartet and Brass Quintet by Ander...(+)
Percussion parts for Ouverture for Percussion Quartet and Brass Quintet by Anders Koppel. Commissioned as set piece for the finals of'The International Percussion Competition Luxembourg 2015' for Percussion Quartet.
This is the Percussion solo part for Le Quattro Stagioni - Concerto Grosso for A...(+)
This is the Percussion solo part for Le Quattro Stagioni - Concerto Grosso for Alpha (Recorder Saxophone Percussion) and Strings by Peter Navarro-Alonso.
The Arhus Etuder (Etudes for snare drums) are written for percussion ensembles ...(+)
The Arhus Etuder (Etudes for snare drums) are written for percussion ensembles ranging from 3 to 6 musicians. Etude No.9 however is a solo for snare drum. Bent Lylloff has based these Etudes on the experience he has gained from playing orchestral and chamber music and from teaching. Again and again the problems which the percussionist meet with in his daily work are put forward in the Etudes; problems such as the balance of the instruments the change of tempo the change of sticks and mallets shadings and the change to other instruments.
Dansen Mellem Stjerner-Sol Møder Måne - Dansen Mellem Stjerner for Percussion ...(+)
Dansen Mellem Stjerner-Sol Møder Måne - Dansen Mellem Stjerner for Percussion af Per Nørgård (2005). Fra børneteaterforestillingen Dans og Månespil af Maria Lalander og Corona La Balance. For 1-3 årige. Manuskopi.
Programme Note In REJANG for solo percussion I have linked elements from t...(+)
Programme Note In REJANG for solo percussion I have linked elements from the music of the Far East to a more Western way of thinking. The title can be understood partly as a description of the instruments played yielding local associations and partly as having an undefined ritual flavour inasmuch asit contains a particular idea. To the almost aggressive character of this work I have added a sound from nature conveyed by a set of genuine Balinese Wind Mills (surely used here for the first time in a Western work) which endow the work with a more conciliatory transition between two areas which however remain what they are: tendencies pushing in opposite directions. The work is divided into five movements according to considerations of timbre. Some kind of order or limitation if you like had to be imposed on the almost chaotic events and ideas which lie behind at least some parts of REJANG. Ole Buck