SKU: TA.TSPB-40
Ralph Hicks and Eric Rath, co-authors of the popular Five Minute Drill, Nine Minute Drill, and Beyond Basic Percussion are partners in crime yet again bringing this charming collection of xylophone solos to the world of percussion. The Golden Age of Ragtime features some of the most quintessential pieces of American music like Maple Leaf Rag by Scott Joplin and Funny Folks by W.C. Powell. These authentic ragtime xylophone solos can be played with piano accompaniment, four-part marimba ensemble, or both! Going one step further, Hicks and Rath have provided supplemental content in an effort to give an educational experience to performers. They've provided a brief history of ragtime, a full page of tips for more unique performances, suggested mallets for performance, and each solo is accompanied with a list of historical facts pertaining to the year the solo was written. This book is a must for any percussion educator! Included in this collection: 1. Funny Folks by W.C. Powell (Med-easy - 3'15) 2. The Nonpareil by Scott Joplin (Medium - 3'10) 3. Colonial Glide by Paul Pratt (Medium - 2'50) 4. Eugenia by Scott Joplin (Med-Advanced - 3'00) 5. Maple Leaf Rag by Scott Joplin (Med-Advanced - 3'00) The Golden Age of Ragtime ships as a fully-bound book with a sleek cover design by Jaime Crowley. It also comes with recordings of each solo, practice tracks, parts for printing or tablet viewing, and assignment charts.Soloist:/ xylophone/ Accompaniment:/ 2 marimbas* -- low A/ Piano -- can be used with soloist only, or optionally in conjunction w/ marimba quartet accompaniment./ * One of the low A marimbas can be swapped with a low F marimba (4.5 octave) allowing extended range parts to be performed if a larger instrument is available.
SKU: GI.G-317014
ISBN 9781574631265. UPC: 073999628838.
The greatest tunes ever written for xylophone. Solo xylophone with 3 marimbas and piano accompaniment (can be played as a quartet or solo with piano). A virtuoso piece for the advanced performer.
SKU: GI.G-317101
ISBN 9781574630718. UPC: 073999171013.
Premi ered by Randy Eyles and The United States Air Force Band, this ragtime novelty xylophone solo with band accompaniment has been performed around the world. In 1987 it was performed during a live radio broadcast in China to an estimated audience of 60 million! Golden Age is a medley of eight tunes that were favorites of the 1900's. A true Show Stopper, The Golden Age of the Xylophone is sure to become a popular favorite with bands around the world. Standard instrumentation, medium (band), difficult (solo).
SKU: PR.11641963S
UPC: 680160684472.
The violin concerto is commissioned by Friends of Dresden Music Foundation for American soloist Mira Wang and the New York Philharmonic and Staatskapelle Dresden as an American commemoration of the reconstruction of the Dresden Frauenkirche, 60 years after its destruction in World War II by American and British Forces. The world premiere is given at the Semperoper in Dresden, Germany, on October 9, 10 & 11, 2005, conducted by Ivan Fischer. Full of excitement and inner power, the musical image is vivid, energetic, sometimes lyrical and sometimes dramatic. The major angular thematic material (a three note motive) consists of big leaps in interval (a perfect fourth downward and then a minor seventh upward, first introduced by the violin solo in measures 27-29). Except for the cadenzas which stand at the middle (Rehearsal E, measure 127) and the two ends of the piece as a frame, the virtuosic violin solo line is always accompanied by the ever moving and growing textures in the background. The rests between long and short phrases symbolize the space in Chinese paintings. The Beijing Opera reciting tune, and the fingerings to produce sliding tones in the performance of the Chinese fiddle erhu are also borrowed in the writing and the performing of the western instruments. The musical imagination of the violin concerto came from an ancient Chinese poem with the same title, written by Du Fu (712-770) in Tang Dynasty. Happy Rain on a Spring Night by Du Fu (712-770 in Tang Dynasty) Happy rain comes in time, When spring is in its prime. With night breeze it will fall, And quietly moisten all. Clouds darken wild roads, Light brightens a little boat. Saturated at dawn, With flowers blooming the town. (English translation by Chen Yi from the original poem in Chinese) The following is the poem in its original Chinese form, and the detailed introduction on the structural plan of the violin concerto Spring in Dresden. It's like the welcome rain on a quiet spring night that nurtures the budding seeds, our new society is pushing us forward to the new future. The music reflects the scenes and the expression according to the meaning of the poem when it's being unfolded line by line. Although the tempo is set 63 quarter notes per minute throughout (played vividly, never slow down), the tension is being built up from the quiet background in the beginning, to the sustained climax towards the end. The musical image in Rehearsal A and B (measures 39-80) represents the first four lines of the poem. The wind instruments response to the rustling of fast moving notes on muted string triplets, decorated by occasional strokes produced by metallic string sound and high woodwind gestures. The music in Rehearsal C and D (measures 81-126) represents the next two lines of the poem. It's so dark, a little light in the boat is shimmering on the lake... The breathy sound and key slaps on the flutes create a mysterious atmosphere, in a dialogue with other instruments. The cello glissandi recite the poem in the tone of Mandarin, echoed by the string harmonics. The music in Rehearsal F, G and H (m 129-202) is a toccata, starting in the orchestra (led by the marimba), which builds up a big shape, to reach the climax in m. 157 (Rehearsal G, the location of the Golden Section, according to the length of the music without cadenzas), and keeps the vivid scene towards the coda (from Rehearsal I, m. 203), which stands on the energetic peak until the clear cutoff on measure 239, followed by the short, yet powerful solo conclusion with the lingering echo produced by the high string harmonics. On the top, there is a recall of the three note motive in the sound of wonderland, touched by the motor-on vibraphone meaningfully. The music is written for 2 flutes, 2 oboes, 2 clarinets (in Bb), 2 bassoons, 4 French horns (in F), 2 trumpets (in Bb), 3 trombones, tuba, harp, 3 percussion players (Perc. 1: xylophone; Perc. 2: suspended cymbal, Japanese high woodblock, snare drum, bass drum and vibraphone; Perc. 3: marimba and tam-tam), solo violin, and strings. Duration is about 20 minutes.The violin concerto is commissioned by Friends of Dresden Music Foundation for American soloist Mira Wang and the New York Philharmonic and Staatskapelle Dresden as an American commemoration of the reconstruction of the Dresden Frauenkirche, 60 years after its destruction in World War II by American and British Forces. The world premiere is given at the Semperoper in Dresden, Germany, on October 9, 10 & 11, 2005, conducted by Ivan Fischer.Full of excitement and inner power, the musical image is vivid, energetic, sometimeslyrical and sometimes dramatic. The major angular thematic material (a three notemotive) consists of big leaps in interval (a perfect fourth downward and then a minorseventh upward, first introduced by the violin solo in measures 27-29). Except for thecadenzas which stand at the middle (Rehearsal E, measure 127) and the two ends of the piece as a frame, the virtuosic violin solo line is always accompanied by the ever moving and growing textures in the background. The rests between long and short phrases symbolize the space in Chinese paintings. The Beijing Opera reciting tune, and the fingerings to produce sliding tones in the performance of the Chinese fiddle erhu are also borrowed in the writing and the performing of the western instruments.The musical imagination of the violin concerto came from an ancient Chinese poem with the same title, written by Du Fu (712-770) in Tang Dynasty.Happy Rain on a Spring Nightby Du Fu (712-770 in Tang Dynasty)Happy rain comes in time,When spring is in its prime.With night breeze it will fall,And quietly moisten all.Clouds darken wild roads,Light brightens a little boat.Saturated at dawn,With flowers blooming the town.(English translation by Chen Yi from the original poem in Chinese)The following is the poem in its original Chinese form, and the detailed introduction onthe structural plan of the violin concerto Spring in Dresden.It’s like the welcome rain on a quiet spring night that nurtures the budding seeds, our newsociety is pushing us forward to the new future. The music reflects the scenes and theexpression according to the meaning of the poem when it’s being unfolded line by line.Although the tempo is set 63 quarter notes per minute throughout (played vividly, neverslow down), the tension is being built up from the quiet background in the beginning, tothe sustained climax towards the end. The musical image in Rehearsal A and B (measures39-80) represents the first four lines of the poem. The wind instruments response to therustling of fast moving notes on muted string triplets, decorated by occasional strokesproduced by metallic string sound and high woodwind gestures. The music in RehearsalC and D (measures 81-126) represents the next two lines of the poem. It's so dark, a littlelight in the boat is shimmering on the lake... The breathy sound and key slaps on theflutes create a mysterious atmosphere, in a dialogue with other instruments. The celloglissandi recite the poem in the tone of Mandarin, echoed by the string harmonics. Themusic in Rehearsal F, G and H (m 129-202) is a toccata, starting in the orchestra (led bythe marimba), which builds up a big shape, to reach the climax in m. 157 (Rehearsal G,the location of the Golden Section, according to the length of the music withoutcadenzas), and keeps the vivid scene towards the coda (from Rehearsal I, m. 203), whichstands on the energetic peak until the clear cutoff on measure 239, followed by the short,yet powerful solo conclusion with the lingering echo produced by the high stringharmonics. On the top, there is a recall of the three note motive in the sound ofwonderland, touched by the motor-on vibraphone meaningfully.The music is written for 2 flutes, 2 oboes, 2 clarinets (in Bb), 2 bassoons, 4 French horns (in F), 2 trumpets (in Bb), 3 trombones, tuba, harp, 3 percussion players (Perc. 1:xylophone; Perc. 2: suspended cymbal, Japanese high woodblock, snare drum, bass drum and vibraphone; Perc. 3: marimba and tam-tam), solo violin, and strings.Duration is about 20 minutes.
SKU: PR.11641963SP
UPC: 680160684496.
SKU: PR.11641963L
UPC: 680160684489.
SKU: HL.14019091
ISBN 9788759856420. Danish.
Norgard writes of his work: Lila is a Sanskrit word for playing with the elements, and I chose it as the title of the chamber work I composed in 1972 because its coolly systematic play (with overtones and undertones in the infinity sequences and a spectrum of Golden Sections in the rhythms) is characteristic of the period just before I wrote my Third Symphony (1973-75).The work was given its first performance in Venice, in the Teatro La Fenice on 9th September 1972, alongside Kagel's Anagram, from which Lila borrowed its instrumentation, since it was commissioned for a first performance by the Prisma Ensemble along with Anagram, with Tamas Veto, to whom it is dedicated, conducting. Ensemble: 4 percussionists (gong, 3 tam-tams, crotales, glockenspiel, tubular bells, celesta, vibraphone, xylophone), 2 pianos, 2 harps, flute (as well as flute in G and piccolo), B flat clarinet (and bass clarinet).