Percussion Music Compositions

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Solo Percussion

ACOUSTIC COMPOSITION #1

(1 – 6 perc. + stereo cassette tape) [13 Minutes] Difficulty: V – VI
Logical instructions provided to assist in the interpretation of graphic, spatial and proportional notations, specific instructions presented to encourage the design of new sound sources, the use of found objects and/or the use of standard percussion instruments; ideal for a professional concert or degree recital. Premiered by the Blackearth Percussion Group.

Acoustic Composition Booklet
Acoustic Composition Score

$38.05

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ACOUSTIC STUDY # 1

(suggested 8 – 10 minutes) Solo Percussion Difficulty: III – V
Logical instructions provided to assist in the interpretation of graphic and spatial notations, specific instructions presented to encourage the design of new sound sources, the use of found objects and/or the use of standard percussion instruments; ideal for an introduction to these notational forms and concepts while also appropriate for a professional concert or degree recital. Premiered by Michael Udow.

Acoustic Study Booklet Print
Acoustic Study Score Print

$22.05

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AFRICAN WELCOME PIECE

Published by UMMP, distributed by Alfred Music.


APPARITION for Timpani & Percussion Ensemble

Soloist + 6
[11 minutes] (EQ81 Footprints CD)   Difficulty: VI
You Tube – Dan Karas, Soloist.
You Tube – Brian Jones (excerpts)
Instrumentation: 5 Timpani, Glockenspiel, 2 Vibraphones, Marimba, Bongos, Chimes Tenor Drum, Bass Drum, Wooden Box, Tam Tam
While the composer prefers the implied harmonic clarity when 5 or 6 timpani are employed with extensive inside drum pedaling, it is possible to use as many as 8 drums and as such the virtuosity shifts to extended physical arm reaches. This work, was commissioned by Jonathan Haas for his Peabody Conservatory Percussion Ensemble with Ed Zaryky, soloist, who successfully performed the work with 8 drums. Apparition begins with a five note theme based on Dimitri Shostakovich’s Symphony No. 11. The work also pays homage to Johann Sebastian Bach’s contrapuntal genius, quoting four successive intervals from The Art of the Fugue. These two thematic motives are intertwined throughout the work. This composition would work well on a percussion ensemble concert featuring a guest artist or on a student recital. My university colleague and timpanist of the Detroit Symphony Orchestra, Brian Jones, who incorporated five drums for his performance, brilliantly realized the first performance of this work in Michigan.

Apparition PE Final Score

$38.05

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APPARITION for Timpani and Orchestra

Study Score 8.5 x 14 & Solo Part

Apparition – Orchestra Sample Score

$38.05

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APPARITION for Timpani and Wind Ensemble

Study Score 8.5 x 14 & Solo Part

$38.05

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APPARITION for Timpani and Orchestra

[11 x 17 Score & Rental Parts]
Rental – Please Call or Email


APPARITION for Timpani and Wind Ensemble

[11 x 17 Score & Rental Parts]
Rental – Please Call or Email


APPARITION – Recital/Chamber

Version: (Timp, pno, 2 perc) Difficulty: VI

Apparition – Piano Reduction Sample Score

$38.05

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BARN BURNER

Bass Trombone, Piano, Percussion
[1:55 Minutes]   Difficulty: IV
[Randall Hawes 001-Randall Hawes-bass trombone, Kathryn Goodson-piano, Brian Jones-percussion]

This high energy fortissimo work focuses on cross-rhythmic hemiola 3/4 – 6/8 metrics within each solo part and between the parts if performed as an ensemble; utilizes a small percussion setup: 2 tom-toms and foot-pedal bass drum or foot-pedal woodblock. The percussion part may also be played as a solo.

Barn Burner Sample Score

$17.85

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BLACK SHOGUN II

solo perc + 3 perc. & CD-R playback
[15:47 minutes] [Includes performance CD-R] Difficulty: V
(EQ 90 Timelines CD)

You Tube – David Alcorn, Soloist
You Tube excerpts – Ian Ding, Soloist

This work was expressly composed for my university colleague, Ian Ding, Associate Principal Percussionist of the Detroit Symphony Orchestra. The solo part includes Chinese Cloud Gongs, 5 Korean Tam Tam, 5 Chinese Paiku Drums (substitue bongos and congas), and a Frame Drum (with suggestions for substitute instruments as necessary) and integrates the instruments into a logical instrumentarium in both the physical configuration as well as the notation of the part.

This work grew out of my reflections about both the Samurai and Shoguns during the Edo Period in Japan and the people of Africa who were enslaved and brought to the Americas to work the plantations. There is no attempt to equate the two cultures in a direct way. It is the observations during the journey on the pathway of life, the michi – the path, that takes on personal meaning as one allows an attempt at making connections and sense out of ones life and history. Black Shogun II would be an appropriate feature work on a professional chamber music concert, a student recital or a percussion ensemble concert.

Black Shogun II Sample Score

$44.52

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BOG MUSIC

Solo Percussionist and 3 Percussionists
[15 Minutes]   Difficulty: V – VI
(EQ 01 Shattered Mirror CD)

You Tube
Three movement work; soloist:
Mvt. I: vibraphone,
Mvt. II: timbrepad of 12 standard idiophones,
Mvt. III: 12 tom toms;
The other 3 percussion parts consist of small multiple percussion set-ups and are also challenging; changing meters, intricate rhythmic interlocking of weaving timbres between the performers; appropriate for a professional concert or degree recital; this work won the Percussive Arts Society’s 1st Prize Award for composition for percussion ens. Premiered by Karen Ervin & Tintabulum.

Bog Music Sample Score

$35.60

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CHARM, THE

Solo Perc. + 6 perc. & optional Actor
[7 Minutes] Difficulty: V
(EQ 81 Footprints CD)

You Tube
The Charm was commissioned by Jonathan Haas for his unique seventy-four inch Monster timpano, (substitute: – O-Daiko, Large Chinese Bass Drum, huge Bass Drum, etc.), speaking voices and 6 chime tubes, each played by an individual performer.
The first time I saw a picture of Jonathan’s monster drum, ‘Scene I’ in ‘Act IV’ of William Shakespeare’s Macbeth, came to mind. This famous scene, set in a cavern where in the middle stands a boiling cauldron with three witches hovering over it, seemed to be a logical springboard. The English art of church bell ringing includes a practice known as change ringing and requires a bell ringer for each bell. Change Ringing has its origins in the late 16th and early 17th century. Shakespeare, ringing changes, tubular bells, a cauldron, but this time with a velum stretched over the top. I recently performed this work in Korea with the Akademie Percussion Ensemble with the cast costumed and staged in theatrical lighting. A professional actress who delivered the text was miked with voice processing through a phase-shifter, which was quite dramatic.

The Charm Sample Score

$35.60

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CONCERTO FOR A PERCUSSIONIST & STRINGS

Solo Perc. & String Quartet or String Ensemble
[11 Minutes]   Difficulty: IV – V
Mvt. I: chimes, glock., 3 dobaci (rin), 2 brake drums, large tam tam,
Mvt. II: marimba, bass drum, bamboo wind chimes,
Mvt. III: Vibraphone, pair of finger cymbals, “d3″ crotale, snare drum

Concerto for Percussionist with String Ensemble Sample Score

$46.73

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COYOTE DREAMS

For Marimba and 3 Percussionists
[18 Minutes]   Difficulty: VI
(EQ 25 Christopher Froh, EQ33 Mayumi Hama, EQ78 Linda Maxey CDs)

You Tube
Commissioned by Ron Samuels, President, Marimba One, for Katarzina Mycka, 1996 winner of the World Marimba Competition-Stuttgart, and 1995 winner of the Luxembourg International Marimba Competition. The premiere will take place at the 1997 Percussive Arts Society International Convention, Aneheim, CA the third week of November. Instruments include 5 octave marimba, shimedaiko (bongos), taiko (congas), O-daiko (bass drum), musical saw, cymbal on timpano, amplified cymbal, idiophones which may include log drums, piccolo wood blocks, metals, etc., wooden box. This is a powerhouse tonal high energy work with mix meters and cross-rhythmic interlocking rhythms. The middle section has a lyrical choral which develops into a highly contrapuntal extended harmonic “Bachian Invention” Not for the faint of heart!

Coyote Dreams Sample Score

$68.25

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CYCLE, RETRACE, PROGRESS, BE STILL

Solo Marimba, Vibraphone or Piano
[2 minutes]     Difficulty: IIId
Originally written for piano with dancer, this fugue can also be performed on vibraphone (with a few minor transpositions); stick dampening along with pedal dampening adds a further technical dimension towards a musical end; with a concert context this could be a nice cameo transition piece after an intense or extended work. Premiered by Michael Udow, piano; Nancy Udow, dancer/choreographer.

Cycle, Retrace, Progress, Be Still Sample Score

$9.55

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DINOSAUR DANCE

Solo Timpanist and Percussion Quartet
[6 minutes]     Difficulty: IV – V
(EQ 81 Footprints CD)

This work for solo timpanist and percussion quartet (4 or 5 timpani, vibraphone, glock, chimes, metals) demands a high level of interlocking inner pulse skills with across the bar-line phrasing. Timpani tuning is reasonable and logical; appropriate for public performance and recital repertory. The percussion quartet parts are equally challenging. Premiered by Jonathan Haas and Drumfire with Benjamin Herman, timpanist.

Dinosaur Dance
Dinosaur Dance Sample Score
Dinosaur Dance Sample Score

$38.05

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DUET

Percussionist & Dancer
[4 minutes]   (EQ 05 Verederos CD) Difficulty: IV
The percussion part is written for 2 maracas and a bass drum foot pedal with a wood beater playing a wood block; the choreography (by Nancy Udow) for the dancer is in instructional text form, both performers must be able to read simple shifting meter changes, and memorization is required of the dancer.

$21.00

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FRACTURE

Solo Percussion
[7 minutes]     Difficulty: IV
This is intended as a piece for one hand & two feet though two hands can also be used, the percussionist sits on a stool with one foot on the vibe damper pedal and the other foot on a bass drum pedal; the hand(s) play vibraphone, crotales (c – b), glass & bamboo wind chimes, sizzle cymbal and tam tam. The work, though relatively easy for an undergraduate percussionist, does utilize at times three staves; employs mixed meters, vibraphone harmonics & clusters, as well as smooth mallet changes Premiered by Stacy Bowers.

Fracture Sample
Fracture Sample Score
Fracture Sample Score

$13.34

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INSIDE OUT WITH A SECRET P.S.

Solo Snare Drum
Smith Publications


MOON SHADOWS

Solo Percussion & Orchestra
[26 Minutes] Study Score 8.5 x 14 &smp; Solo Part   Difficulty: VI
You Tube
A series of main melodic themes based on ten Japanese haiku about the moon are unveiled throughout the composition. Contrapuntal lyrical lines were then superimposed over those initial melodies. The overall orchestration is intentionally transparent, reflecting the clarity of the haiku form. Subtle shifts in timbre further “reflect” and “amplify” the meaning of these “Pierrotesque” images. Yet, the depth within the orchestration is, at times, rather cloudy an ominous.

The essence of Japanese haiku seems to have a parallel sensibility with many of the smaller gardens I have visited while touring throughout Japan over the past three decades. In particular, the tiny gardens within the very small Daisenin Temple located in Kyoto remind me of the purity of this poetic form. The orchestration in Moon Shadows is intended to reflect this sensibility in ways similar to that of a graceful branch of a Yew on a moonlit night, reflecting upon a pond, then further transformed with shifts in the direction and intensity of the evening breeze as Koi, unaware of “the pure essence of the moment” unabashedly swim by. Premiered by the composer with the University of Michigan Symphony Band, Michael Haithcock, conductor.

Moon Shadows – Orchestral Version Sample Score
Moon Shadows – Orchestral Version Sample Score
Moon Shadows – Orchestral Version Sample Score
Moon Shadows – Orchestral Version Sample Score

$49.80

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MOON SHADOWS

Solo Percussion and Wind Ensemble
[26 Minutes] Study Score 8.5 x 14 & Solo Part   Difficulty: VI

Moon Shadows Wind Ensemble Sample Score
Moon Shadows Wind Ensemble Sample Score
Moon Shadows Wind Ensemble Sample Score

$49.80


MOON SHADOWS

Solo Percussion and Orchestra or Wind Ensemble
[26 Minutes] Piano Reduction & Solo Part   Difficulty: VI

$44.00

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MOON SHADOWS

Solo Percussion and Orchestra Rental
[11 x 17 Score & Rental Parts]
Rental – Please Call or Email


MOON SHADOWS

Solo Percussion and Wind Ensemble Rental
[11 x 17 Score & Rental Parts]
Rental – Please Call or Email


MUSIC FOR CARILLON

Marimba, Vibraphone, Piano, Organ, Synth etc.

Music for Carillon Sample Score
Music for Carillon Sample Score
Music for Carillon Sample Score
Music for Carillon Sample Score

$19.00

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REMEMBRANCE

Solo Percussion and Wind Ensemble
[12 Minutes] Study Score 8.5 x 14 & Solo Part
Soloist Instrumentation: 13 Drums, Vibraphone, 5 Gongs, Musical Saw, Variety of Bells.
Ensemble: Pic, 2 Fl, Ob, Eng. Hrn, 3 Cl., B. Cl., 2 Bn, 5 Sax, 4 Hrn, 6 Tpt., 3 Trb, B. Trb., 2 Euph, 2 Tuba, Double Bass, 1 perc.
The Woodwinds begin with a reflective melodic contrapuntal quasi ‘subject’ and ‘counter-subject’ with the soloist mournfully improvising with a musical saw. As the brass take up this theme the percussionist shifts to a wide variety of bells and then vibes and gongs, the materials transition into a highly energetic mixed-metered melodic section played in octaves on the vibraphone, doubled by various instruments in the ensemble at different times. The percussionist shifts to another virtuosic passage, this time on drums with harmonic metric punctuations provided by the ensemble. A spirited section occurs for the soloist, section percussionist and the woodwinds in a twisted setting; while not quoting anything specific, there is a sensibility in the orchestration that perhaps Percy Grainger might have appreciated. The finale features the soloist playing a large drum with overlapping transformations of the previously introduced melodic materials.

Remembrance – Wind Ensemble – Sample Score
Remembrance – Wind Ensemble – Sample Score
Remembrance – Wind Ensemble – Sample Score

$35.00

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REMEMBRANCE

Solo Percussion and Orchestra
[12 Minutes] Study Score 8.5 x 14 & Solo Part
Soloist Instrumentation: 13 Drums, Vibraphone, 5 Gongs, Musical Saw, variety of Bells.
Ensemble: Pic, 2 Fl, Ob, Eng. Hrn, 2 Cl., B. Cl., 2 Bn, 4 Hrn, 1 perc. 3 Tpt., 2 Trb, B. Trb., 1 Tuba, Strings: Vns I., Vns II, Vas, Vcs, CBs
The strings and woodwinds begin with a reflective melodic contrapuntal quasi ‘subject’ and ‘counter-subject’ with the soloist mournfully improvising with a musical saw. As the brass take up this theme the percussionist shifts to a wide variety of bells and then vibes and gongs, the materials transition into a highly energetic mixed-metered melodic section played in octaves on the vibraphone, doubled by various instruments in the ensemble at different times. The percussionist shifts to another virtuosic passage, this time on drums with harmonic metric punctuations provided by the ensemble. A spirited section occurs for the soloist, section percussionist and the woodwinds in a twisted setting; while not quoting anything specific, there is a sensibility in the orchestration that perhaps Percy Grainger might have appreciated. The finale features the soloist playing a large drum with overlapping transformations of the previously introduced melodic materials.

Remembrance – Sample Score
Remembrance – Sample Score
Remembrance – Sample Score
Remembrance – Sample Score

$35.00

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REMEMBRANCE

Solo Percussion and Orchestra or Wind Ensemble
[12 Minutes] Piano Reduction & Solo Part

 

$30.00

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REMEMBRANCE

Solo Percussion and Wind Ensemble
[12 Minutes] [11 x 17 Score & Rental Parts]
Rental – Please Call or Email


REMEMBRANCE

Solo Percussion and Orchestra
[12 Minutes] [11 x 17 Score & Rental Parts]
Rental – Please Call or Email


SANDSTEPS I-a

2 Perc.

Sandsteps I Sample Score

$11.00

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6 X 6 SCANNING

[1 – 3 minutes]     Difficulty: I – VI
This work for 6 unspecified percussion timbres explores the visual systems of a work by visual artist and co-composer, Chris Watts; it may be utilized as an introduction to reading music or as an introduction to the relationship of visual cues to musical systems, but it also may be interpreted by an advanced performer (in a Webern meets Mighty Mouse scenario or as Morton Feldman embraces The Bhuda). Premiered by Michael Udow.

$11.71

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TENNEI-JI

Solo Marimba

Tennei-Ji Sample Score
Tennei-Ji Sample Score
Tennei-Ji Sample Score
Tennei-Ji Sample Score

$19.00

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THRENODY

Solo Perc. & CD-R   [In Preparation]
[8 minutes]     Difficulty: VI
Utilizing a vibe, 4 toms, bongos, pedal bass drum, 3 woodblocks and other assorted idiophones, this composition is an adaptation from the dance and percussion duos “Oh My Ears and Whiskers” and “Over the Moon”; it opens with aggressive solo drumming winding down into a lyrical vibraphone solo, and ending with a wild bass drum woodblook duet for one player in 22/8 time. Premiered by Michael Udow.


TIMELINES

Solo Perc. & 14 Perc.
[15 minutes]   (EQ 90 Timelines CD) Difficulty: V
You Tube – Alan Abel, Soloist.
Timelines was commissioned for Alan Abel, one of my dearest mentors, and the Florida Percussion Summit at the request of John Evans. With due respect and homage to the great masters of the art of composition, melodic motives go intentionally awry with hints of Beethoven’s Fifth and Ninth Symphonies, Ravel’s Bolero, Rimsky-Korsikov’s Scherazade, Leoncavallo’s Il Pagliachi, to Stravinsky’s Petrouschka, etc. Juxtaposing Beethoven’s Fifth Symphony with a type of “Cubist” angular warping of the rhythmic snare drum motive from Ravel’s Bolero is but the tip of the iceberg. The snare drummer’s art is further articulated in the style from the American Revolutionary War drumming in a work entitled The 3 Camps, but again the motive is distorted and juxtaposed with faint and not-so-faint poly-rhythms from West African and Afro-Cuban cultures. I am particularly fond of reworking a wonderful 16th Century Swedish melody, Gaudete, gaudete!!! Christus ist na!!! The compound, dual meter, section that ends the work is in a loose sense, my impressions of one of the many styles of Japanese taiko drumming melded with my impressions of Irish folk rhythms.

Timelines – Sample Score
Timelines – Sample Score
Timelines – Sample Score
Timelines – Sample Score

$66.73

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TSUKE KAGE

Chamber version #2 of Moon Shadows: [Solo Perc. + 8 – Fl, Bb Cl /Bass Cl, A. Sax, Hrn, Tromb, Ens. Perc., Vn, Vc]
[26 Minutes] Difficulty: VI
A chamber version of the multiple percussion Concerto, Moon Shadows. All players have engaging parts that make this collaborative effort worthwhile for the performers and creates an equally engaging experience for the audience. Based on Bosho Haiku, the melodies were set syllabically and the harmonic structure was then superimposed over those lines while at times, thicker textures of active contrapuntal melodic materials were created. This works is intended for advanced players.

$44.10

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TSUKE KAGE

Study Score & Solo Part

Chamber version #2 of Moon Shadows: [Solo Perc. + 8 – Fl, Bb Cl /Bass Cl, A. Sax, Hrn, Tromb, Ens. Perc., Vn, Vc]

$37.50

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YU YING

Chamber version #1 of Moon Shadows: Solo Perc. + Fl, A. Sax, Hrn, Tromb, Pno, Vn, Vc
[26 Minutes] Difficulty: VI
A chamber version of the multiple percussion Concerto, Moon Shadows. Created for the piano and percussion duo, Sole Nero, – Jessica Johnson and Anthony Di Sanza. All players have engaging parts that make this collaborative effort worthwhile for the performers and creates an equally engaging experience for the audience. Based on Bosho Haiku, the melodies were set syllabically and the harmonic structure was then superimposed over those lines while at times, thicker textures of active contrapuntal melodic materials were created. This works is intended for advanced players.

$44.10

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YU YING

Study Score & Solo Part
Chamber version #1 of Moon Shadows: Solo Perc. + Fl, A. Sax, Hrn, Tromb, Pno, Vn, Vc

$37.50

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Percussion Ensemble

AFRICAN WELCOME PIECE

Published by UMMP, distributed by Alfred Music.


A BIRD WHISPERED, “Your Children Are Dying”

5 Players
[11 Minutes]   Difficulty: IV
You Tube
This quintet instrumentation includes marimba (4 or 4 1/3), chimes, 4 slapsticks, 4 crotales (substitute glock bars), and hand clapping; four performers playing crotales encircle the audience accompanying the opening marimba solo which then moves into a melodic cross-rhythmic section for chimes and four hand clappers/slapsticks; this dissolves into the final section where the quintet shares one marimba playing in the style of an African Mbira, (thumb piano) commissioned and premiered by the late Pat Hanley and the Webster Groves High School.

A Bird Whispered, Your Children Are Dying Sample Score
A Bird Whispered, Your Children Are Dying Sample Score

$35.59

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ACOUSTIC COMPOSITION # 1

(1 – 6 perc. + stereo cassette tape) [13 Minutes] Difficulty: V – VI
Logical instructions provided to assist in the interpretation of graphic, spatial and proportional notations, specific instructions presented to encourage the design of new sound sources, the use of found objects and/or the use of standard percussion instruments; ideal for a professional concert or degree recital. Premiered by the Blackearth Percussion Group.

Acoustic Composition Booklet
Acoustic Composition Score

$38.05

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APPARITION for Solo Timpani, Piano and Two Percussion

Timpanist 5 – 8 drums
[11 minutes]   Difficulty: VI
You Tube – Ya–Chi Cheng (excerpts)
Instrumentation: 5 Timpani, Piano, Bongos, Chimes, Tenor Drum, Concert Bass Drum, Large Tam Tam, Vibraphone, Wooden Box x 12″

This version of Apparition was arranged at the request of Ya-Chi Cheng, at the time a MM and DMA student at the University of Michigan. Kindly view the compositional description in the percussion ensemble version of the work for more details. This version of the composition would work well on a student recital or community concert series presentation.

Apparition – Piano Reduction Sample Score
Apparition – Piano Reduction Sample Score
Apparition – Piano Reduction Sample Score

$38.05

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APPARITION for Timpani & Percussion Ensemble

Soloist + 6
[11 minutes] (EQ81 Footprints CD)   Difficulty: VI
You Tube – Dan Karas, Soloist.
You Tube – Brian Jones (excerpts)
Instrumentation: 5 Timpani, Glockenspiel, 2 Vibraphones, Marimba, Bongos, Chimes Tenor Drum, Bass Drum, Wooden Box, Tam Tam

While the composer prefers the implied harmonic clarity when 5 or 6 timpani are employed with extensive inside drum pedaling, it is possible to use as many as 8 drums and as such the virtuosity shifts to extended physical arm reaches. This work, was commissioned by Jonathan Haas for his Peabody Conservatory Percussion Ensemble with Ed Zaryky, soloist, who successfully performed the work with 8 drums. Apparition begins with a five note theme based on Dimitri Shostakovich’s Symphony No. 11. The work also pays homage to Johann Sebastian Bach’s contrapuntal genius, quoting four successive intervals from The Art of the Fugue. These two thematic motives are intertwined throughout the work. This composition would work well on a percussion ensemble concert featuring a guest artist or on a student recital. My university colleague and timpanist of the Detroit Symphony Orchestra, Brian Jones, who incorporated five drums for his performance, brilliantly realized the first performance of this work in Michigan.

Apparition Sample Score
Apparition Sample Score

$38.05

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AS THE WIND COLORS

Outdoor Theatrical Work
[30 minutes]   Difficulty: IV
This THEATER/MUSIC composition was commissioned and premiered by The Random Aesthetic Ranch in Minneapolis and is composed for 4 gong players each in a canoe paddled by two canoeists in each of four boats; detailed costume and canoe art designs are given; with the continuing need to allow cultural diversity with greater global communication, this work of new mythology has it’s creative roots in First Nation rituals.

$19.60

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BLACK SHOGUN

tap dancer + 3 perc. & CD-R playback
Includes performance CD-R [16 minutes]   Difficulty: V
You Tube
Black Shogun was commissioned by Michael Eisenberg, who was a percussionist, tap dancer and a music technology major at the University of Michigan who, during his demanding technology degree. Michael premiered the work at the 2003 Percussive Arts Society International Convention on the Focus Day – collaborations for dance and percussion. This theatrical work is scored for tap dancer, three percussionists, and a background sound track of work-songs, which appears twice in the performance. The score provides a scenario with basic staging directions for the performers and rhythms for the tap dancer. The work is intended to be fully staged with costumes and lighting.

This work grew out of my reflections about both the Samurai and Shoguns during the Edo Period in Japan and the people of Africa who were enslaved and brought to the Americas to work the plantations. There is no attempt to equate the two cultures in a direct way. It is the observations during the journey on the pathway of life, the michi – the path, that takes on personal meaning as one allows an attempt at making connections and sense out of ones life and history. This is the meaning, for me, of Black Shogun and Black Shogun II, a later reworking of the composition for solo multi-percussionist and 3 percussion (see below).

$44.52

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BLACK SHOGUN II

solo perc + 3 perc. & CD-R playback
[Includes performance CD-R] Difficulty: V
(EQ 90 Timelines CD)

You Tube – David Alcorn, Soloist
You Tube excerpts – Ian Ding, Soloist
This work was expressly composed for my university colleague, Ian Ding, Associate Principal Percussionist of the Detroit Symphony Orchestra. The solo part includes Chinese Cloud Gongs, 5 Korean Tam Tam, 5 Chinese Paiku Drums (substitue bongos and congas), and a Frame Drum (with suggestions for substitute instruments as necessary) and integrates the instruments into a logical instrumentarium in both the physical configuration as well as the notation of the part.

This work grew out of my reflections about both the Samurai and Shoguns during the Edo Period in Japan and the people of Africa who were enslaved and brought to the Americas to work the plantations. There is no attempt to equate the two cultures in a direct way. It is the observations during the journey on the pathway of life, the michi – the path, that takes on personal meaning as one allows an attempt at making connections and sense out of ones life and history. Black Shogun II would be an appropriate feature work on a professional chamber music concert, a student recital or a percussion ensemble concert.

Black Shogun II Sample Score

$44.52

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BOG MUSIC

Solo Percussionist and 3 Percussionists
[15 Minutes]   Difficulty: V – VI
(EQ 01 Shattered Mirror CD)

You Tube
Three movement work; soloist:
Mvt. I: vibraphone,
Mvt. II: timbrepad of 12 standard idiophones,
Mvt. III: 12 tom toms;
The other 3 percussion parts consist of small multiple percussion set-ups and are also challenging; changing meters, intricate rhythmic interlocking of weaving timbres between the performers; appropriate for a professional concert or degree recital; this work won the Percussive Arts Society’s 1st Prize Award for composition for percussion ens. Premiered by Karen Ervin & Tintabulum.

Bog Music Sample Score

$35.60

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COYOTE DREAMS

For Marimba and 3 Percussionists
[18 Minutes]   Difficulty: VI
(EQ 25 Christopher Froh, EQ33 Mayumi Hama, EQ78 Linda Maxey CDs)

You Tube
Commissioned by Ron Samuels, President, Marimba One, for Katarzina Mycka, 1996 winner of the World Marimba Competition-Stuttgart, and 1995 winner of the Luxembourg International Marimba Competition. The premiere will take place at the 1997 Percussive Arts Society International Convention, Aneheim, CA the third week of November. Instruments include 5 octave marimba, shimedaiko (bongos), taiko (congas), O-daiko (bass drum), musical saw, cymbal on timpano, amplified cymbal, idiophones which may include log drums, piccolo wood blocks, metals, etc., wooden box. This is a powerhouse tonal high energy work with mix meters and cross-rhythmic interlocking rhythms. The middle section has a lyrical choral which develops into a highly contrapuntal extended harmonic “Bachian Invention” Not for the faint of heart!

Coyote Dreams Sample Score

$68.25

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DANCE for J.P.C.

4 or 8 Percussion
[1 – 4 minutes]   Difficulty: II – IV
(EQ 81 Footprints CD)

This quartet (doubling of any of the parts is permissible) was composed in Tokyo in June of 1988 when the composer was asked by Akira Komaki, to whom the work is dedicated, to write a short piece for young percussionists at a master class in the Japan Percussion Center (J.P.C.); composed in 7/8 time with, at first, similar sub-groupings of 3+2+2 and then shifting to overlapping sub-groupings, each part is written for one unspecified sound source; the performance tempo is flexible – (to be determined by the timbres selected and performance level of the ensemble), and at a sprightly tempo, the composite rhythms moving at sub-divisions of the quarter note can be challenging for an advanced high school level ensemble.

Dance for J.P.C – Sample Score
Dance for J.P.C – Sample Score
Dance for J.P.C – Sample Score

$16.70

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DINOSAUR DANCE

Solo Timpanist and Percussion Quartet
[6 minutes]     Difficulty: IV – V
(EQ 81 Footprints CD)

This work for solo timpanist and percussion quartet (4 or 5 timpani, vibraphone, glock, chimes, metals) demands a high level of interlocking inner pulse skills with across the bar-line phrasing. Timpani tuning is reasonable and logical; appropriate for public performance and recital repertory. The percussion quartet parts are equally challenging. Premiered by Jonathan Haas and Drumfire with Benjamin Herman, timpanist.

Dinosaur Dance
Dinosaur Dance Sample Score
Dinosaur Dance Sample Score

$38.05

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FLASHBACK

Percussion Quartet & optional CD-R Playback
Includes performance CD-R [13 minutes]     Difficulty: VI
(EQ 02 Border Crossing CD and EQ 95 Timelines CD)

A percussion quartet for vibraphone, 2 marimbas, and a fourth player with glock, 2 hi hats, 7 toms and 5 Peking opera gongs is a virtuoso ensemble work which demands the highest level of interlocking inner pulse with a solid grasp and comfort in playing in 7/8, 11/8, 12/8 and 4/4 meters while at times playing melodic material over the bar lines for extended periods of time; this is a composition which will only work if performed by four superb players; the concept and impetus for this work comes from the composer’s admiration for the transcendental energy of master musicians, Alan Abel, Gary Burton, and Percy “Mr. Bones” Danforth. Commissioned by the Atmos Percussion Group and premiered by them at the 1990 Percussive Arts Society International Convention, Philadelphia.

Flashback Sample Score
Flashback Sample Score
Flashback Sample Score

$44.52

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FOUR CONSTRUCTIONS

Percussion Quartet
[19 minutes]     Difficulty: III
(EQ 81 Footprints CD)

I composed, this, my first composition, when I was in Junior High School. Thus, I was compelled to debate with myself if it would be viable to bring this work out of moth balls.

There have been a few recent performances of Four Constructions both in the USA and abroad with High School and young undergraduate college students. In coaching the performances, I found that the performers enjoyed working on the details of precise rhythmic playing, care in selecting and realizing subtle timbre relationships within the four movements, Skin, Metal, Wood and Mixtures of the three. I can recommend this work for a strong junior high school, decent high school and a small, inexperienced college ensemble, as there are viable concepts worth exploring in detailed rehearsals. Aside from the standard instruments found in a typical school band room, the score also includes steel pipes, brake drums and a galvanized washtub.

Four Constructions – Sample Score
Four Constructions – Sample Score
Four Constructions – Sample Score
Four Constructions – Sample Score

$26.73

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FOUR MOVEMENTS

Perc. Quartet
[8 minutes]     Difficulty: V
(EQ 81 Footprints CD)

The Movements, “Shake, Scrape, Rub and Strike” utilize maracas, guiros, sandpaper blocks and hand clapping (+ one bottle player), respectively; ALL INSTRUMENTS FIT INTO ONE SMALL SUITCASE! ideally a certain subtle theatrical performance posture and attitude will develop as the players, seated in the traditional string quartet configuration, perform each movement. Premiered at Chicago’s Mooing Theater as part of an Equilibrium Concert.

Four Movements for Percussion Quartet – Score
Four Movements for Percussion Quartet – Score
Four Movements for Percussion Quartet – Score
Four Movements for Percussion Quartet – Score

$35.60

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INSIDE OUT WITH A SECRET P.S.

Solo Snare Drum
Smith Publications


LIMITS

3 actors, dancers, and/or musicians
[8 minutes]     Difficulty: V

This time/space score for a trio of actors, dancers, mimes, and/or musicians gives explicit instructions for interpreting a series of Pictograms which constantly mutate related, yet distinct, materials selected and/or created by the interpreter/performers. Premiered by The New Verbal Workshop.

Pages from Limits
Pages from Limits
Pages from Limits

$29.00

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MUSIC FOR CROSS-CULTURES NO. 1

Multiple Percussionists
[8 minutes]     Difficulty: IV – V
(EQ81 Footprints CD)

This work for twelve percussionists uses ham boning (body slapping) along with 2 marimbas (4 octave) 2 vibes, 10 toms, 10 roto toms, 5 timbales, 5 bongos, 2 bass drums, 4 suspended steel plates, 2 gliss gongs; aside from the fact that the music is presented in text rather than through verbal instructions the work is learned not unlike the way gamelan musicians would learn a new work; this piece is quite appropriate for a university ensemble in which developing skills of memorization, strong inner pulse, understanding of shifting cross-rhythms and performance bravura are goals. Commissioned and premiered by George Frock & The University of Texas Percussion Ensemble.

Music for Cross-Cultures Sample
Music for Cross-Cultures Sample
Music for Cross-Cultures Sample
Music for Cross-Cultures Sample

$21.20

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POLE WRAPPING

[20 minutes]     Difficulty: II
This minimalist performance art work for one dancer and tape (to be recorded by four performers) was a collaboration between the composer and visual artist, Karen Watts; the sound notation for stones, voice, dripping water, camera shutter, 2 desk bells and sandpaper blocks is graphic, proportional, and can be performed by non-percussionists; specific instructions for making fabric objects which cover a wooden tree limb are given as well as movement instructions indicating how these objects are to be manipulated during the performance. Commissioned & premiered by Mary Fulkerson, Dartington, England.

$17.00

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REALITY & ILLUSION

[2 minutes]     Difficulty: III – IV
These are two separate works for 5 perc. & non-optional conductor which should be programmed together on the same concert; in Reality I the conductor conducts the five clave players; in Illusion I, the conductor plays claves and the 5 performers conduct individual metric patterns with distinct flare and panache; Reality I & Illusion I may be programmed consecutively, opening up each concert half or opening and closing a concert. Premiered by UMKC Percussion Ensemble.

Reality & Illusion Sample Score
Reality & Illusion Sample Score
Reality & Illusion Sample Score

$26.00

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RIO GRANDE RIFFS – Steel Band

Pan Ensemble, Drumset and Congas & Engine Room
[5 minutes]     Difficulty: V
(EQ 81 Footprints CD)

This original steel band version, was composed at the request of Jim Royle for his student pan ensemble in Connecticut. The work “grooves” in quirky mixed meter that performers and audiences alike appreciate and enjoy. Rio Grande Riffs, might conjure up an imaginary meeting of Stravinsky and Mozart drinking Pina Coladas in Trinidad or Tobago. You can’t miss the hick-ups! There is now a percussion ensemble version of the work (kindly see above) that may also be combined for a joint performance.

Rio Grande Riffs – Pan Version Sample Score
Rio Grande Riffs – Pan Version Sample Score
Rio Grande Riffs – Pan Version Sample Score

$21.26

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RIO GRANDE RIFFS – Percussion Ensemble Version

Octet – Standard Mallet Keyboards, Drumset and Congas
[5 minutes]     Difficulty: IV
(EQ 81 Footprints CD)

You Tube
The original steel band version, was composed at the request of Jim Royle for his student pan ensemble in Connecticut. As I was composing the work, I also heard a percussion ensemble orchestration in my “mind’s ear”. So in January 2005, I orchestrated that version of the work. The work “grooves” in quirky mixed meter that performers and audiences alike appreciate and enjoy. Rio Grande Riffs, might conjure up an imaginary meeting of Stravinsky and Mozart drinking Pina Coladas in Trinidad or Tobago. You can’t miss the hick-ups! The pan and percussion ensemble versions may also be combined in a joint performance.

Rio Grande Riffs – Mallet Ensemble – Sample Score
Rio Grande Riffs – Mallet Ensemble – Sample Score
Rio Grande Riffs – Mallet Ensemble – Sample Score
Rio Grande Riffs – Mallet Ensemble – Sample Score
Rio Grande Riffs – Mallet Ensemble – Sample Score

$21.26

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ROCK ETUDE NO. 7

Perc. Quintet
Difficulty: IV
Pubished by Music for Percussion, distributed by Colla Voce.


SANDSTEPS I-b

Var. 1 for Alto Sax & 1 Percussion
[Variable length ca. 7 – 12 minutes] (EQ 81 Footprints CD performed by Bill & Ruth Cahn)   Difficulty: IV – V
This percussion duo begins with both players performing a slow lyrical contrapuntal melody at a 4 1/3 octave “low A” marimba which melds into a second section completely improvised with free instrumentation; the third section for marimba and auxiliary instruments (as determined by the performers) is a folk music-like, mixed metered melody which begins slowly, and ends fast and allows for improvisation. Commissioned and premiered by SANDSTEPS (Alison Shaw & Craig Wigley).

$11.00

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SCHIZOID

5 or 4.5 Octave Marimba & Vibraphone Duo
[16 minutes] (EQ 90, Timelines CD)   Difficulty: VI
Schizoid was written for and premiered and recorded by two wonderful former students, Mayumi Hama and Chris Froh. The motivic materials have their roots in scenes from my opera, Twelve Years a Slave. This is also the case in the work, Dreams From a Bayou – Long Ago But Not Forgotten, composed for percussionist, Payton MacDonald and flutist, Jessica Johnson’s duo ensemble, Verederos, and appears on their EQ05 CD. I am pleased that each duo work is quite distinct from the other, yet both have clear traces that connect back to the source. This is a non-stop virtuoso work (with smooth page turns) and is not intended for “the faint of heart” – performers and audiences alike.

A smile comes to me as I think about the wonderfully fresh and creative energy of composer, William Albright, who, in his music, was usually gleefully full of shocking surprises.

Schizoid Sample Score
Schizoid Sample Score
Schizoid Sample Score

$27.30

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SHADOW SONGS I

21 perc.
[9 minutes] (EQ 81 Footprints CD)   Difficulty: III – IV
You Tube
This work is for twenty-one performers playing 6 timp., xylo, 3 marimbas (4o C – C), 1 marimba(4 1/3), 2 glocks. chimes, bongos, timbales, 4 toms, bass dr., 2 susp. cyms., 2 tams.; the melodic material is derived from the work, Over the Moon, (composed from images of Japanese Haiku), as well as from West African and North Indian drumming; for a director who conducts several groups, the 9 keyboard players can be rehearsed as one group while the remaining 12 players can form another ensemble with both groups coming together for final rehearsals. Commissioned and premiered by Joan Wenzel and New Philadelphia High School at the Mid-West Band & Orchestra Association Convention.

$38.05

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SHADOW SONGS IV

Solo Marimba + 3 to 8 Perc.
[8 minutes]   Difficulty: V
You Tube
Composed for Ms. Keiko Abe, this work, for solo marimba and 3 – 8 percussionists, is appropriate for a recital or professional concert; the melodic material, composed from images of Japanese Haiku, is derived from the work, Over the Moon, as well as from concepts of West African and North Indian drumming.

Shadow Songs IV – Sample Score
Shadow Songs IV – Sample Score

$38.05

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SUITE FOR JAZZ DRUMS & 4 HAND CLAPPERS

Drum Set Soloist + any multiple of 4 handclappers
[5 minutes]   (EQ 81 Footprints CD) Difficulty: II
A bassa nova, a waltz, and a 5/4 jazz section comprise the three movements for this, the earliest work in the catalogue; the hand clapping, in the style of Warren Benson and Jack McKenzie, requires low to high pitch inflections; the drum set chart allows for extensive improvisation. Premiered by junior high school students at the National Music Camp, Interlochen 1965.

Suite for Jazz Drums & Handclappers Sample Score
 Suite for Jazz Drums & Handclappers Sample Score

$15.00

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THE CHARM

Solo Perc. + 6 perc. & optional Actor
[7 Minutes]   Difficulty: V
(EQ 81 Footprints CD)

You Tube
The Charm was commissioned by Jonathan Haas for his unique seventy-four inch Monster timpano, (substitute: – O-Daiko, Large Chinese Bass Drum, huge Bass Drum, etc.), speaking voices and 6 chime tubes, each played by an individual performer.

The first time I saw a picture of Jonathan’s monster drum, ‘Scene I’ in ‘Act IV’ of William Shakespeare’s Macbeth, came to mind. This famous scene, set in a cavern where in the middle stands a boiling cauldron with three witches hovering over it, seemed to be a logical springboard. The English art of church bell ringing includes a practice known as change ringing and requires a bell ringer for each bell. Change Ringing has its origins in the late 16th and early 17th century. Shakespeare, ringing changes, tubular bells, a cauldron, but this time with a velum stretched over the top. I recently performed this work in Korea with the Akademie Percussion Ensemble with the cast costumed and staged in theatrical lighting. A professional actress who delivered the text was miked with voice processing through a phase-shifter, which was quite dramatic.

The Charm Sample Score
The Charm Sample Score
The Charm Sample Score

$35.60

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THE SHATTERED MIRROR – Opera (Percussion Ensemble Version)

Soprano, Tenor, Baritone, Chorus SATB (minimum 8), Dancers, Piano, Synthesizer, 9 Percussionists
[1:20 minutes]   Difficulty: V
The premiere of the opera took place at the Percussive Arts Society International Convention in Orlando, Florida in November of 1999. The American Record Guide critic, John Fleming, worte of the premiere: “In The Shattered Mirror, Udow deployed percussion to invent a new kind of sound world, and to enter it was a memorable experience. Musically, it was a fantastic creation, expertly orchestra and dominated by a swirling, ethereal sound suggesting what might result if a Far Eastern gamelan orchestra were crossed with an opera by Puccini”.

Global mythology based on the writings of Dr. Joseph Campbell’s work, The Meaning of Myth, serves as the basis of the work. The protagonist character, Sun, is searching for the meaning of life. Moon, a wizard, with the elusive character, Wind, and the chorus help Sun on his quest as he searches for The Meaning of Life. Moon, looking at Sun comments: “The rugged tree, wedged within the cliff, seems to fight for rugged strength.” Triumphantly, Sun and the chorus sing of the wild hawk, “the great bird circles above the ascending clouds”. Through the characters poetic singing, members of the audience are engaged in the interpretation of the poems and in the process we all ascend as our spirits soar like the wild hawk. Please contact the composer for details regarding Grand Rights rental.

Rental – Please Call or Email


THE SHATTERED MIRROR SUITE – (Percussion Ensemble Version)

Soprano, Tenor, Baritone, Chorus SATB (minimum 8), Dancers, Piano, Synthesizer, 9 Percussionists
[25:00 minutes]   Difficulty: V
This Percussion Ensemble Suite is based on the opera (see above listing).

$98.00

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THOUGHTS FROM ALMOST NEAR SOMEWHERE

[12 minutes]   Difficulty: V – VI
You Tube
This suite, for a variable number of performers above six, combines materials from the percussion drama, The Shattered Mirror, with new musical materials; the precise sonic and visual energy, both delicate and bombastic, makes this work a must for any good college or professional ensemble.

$56.00

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TIMBRACK QUARTET

Percussion Quartet
[4:30 minutes]   (EQ 01 Shattered Mirror CD) Difficulty: IV – V
You Tube
Each performer has a like set-up of twelve idiophones, arranged on foam pads in a keyboard configuration; the keyboard notation thus specifies location of timbres rather than frequency; “call and response” and flamenco-like sixteenth note inner-weaving of the voices (including a section for claves sounding like a gathering crickets) is the operative style for this work which ends in a lively, syncopated, unison crescendo.

Timbrack Quartet – Sample Score
Timbrack Quartet – Sample Score
Timbrack Quartet – Sample Score

$23.10

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TIMELINES

Snare Drum Solo with 14 Percussionists
[15 minutes]   (EQ 90 Timelines CD) Difficulty: V
You Tube – Alan Abel, Soloist.
Timelines was commissioned for Alan Abel, one of my dearest mentors, and the Florida Percussion Summit at the request of John Evans. With due respect and homage to the great masters of the art of composition, melodic motives go intentionally awry with hints of Beethoven’s Fifth and Ninth Symphonies, Ravel’s Bolero, Rimsky-Korsikov’s Scherazade, Leoncavallo’s Il Pagliachi, to Stravinsky’s Petrouschka, etc. Juxtaposing Beethoven’s Fifth Symphony with a type of “Cubist” angular warping of the rhythmic snare drum motive from Ravel’s Bolero is but the tip of the iceberg. The snare drummer’s art is further articulated in the style from the American Revolutionary War drumming in a work entitled The 3 Camps, but again the motive is distorted and juxtaposed with faint and not-so-faint poly-rhythms from West African and Afro-Cuban cultures. I am particularly fond of reworking a wonderful 16th Century Swedish melody, Gaudete, gaudete!!! Christus ist na!!! The compound, dual meter, section that ends the work is in a loose sense, my impressions of one of the many styles of Japanese taiko drumming melded with my impressions of Irish folk rhythms.

Timeliines – Sample Score
Timeliines – Sample Score
Timeliines – Sample Score
Timeliines – Sample Score

$66.73

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TOPSY–TURVY

Quartet – 4 Small Setups
[8 minutes]   Difficulty: V – VI
You Tube (Total instrumentation: Chinese Opera Cymbals, 5 high Piccolo Woodblocks, 5 Woodblocks, 8 Drums, 12 Almglocken, 5 small gongs)

Topsy-Turvy was commissioned by Professor Gang-ku Lee, for the Akademie Percussion Ensemble of Seoul, Korea. Professor Lee requested an exciting drumming work to close the percussion ensemble’s Spring 2008 concert touring program. One goal I had was to compose a rhythmically energized work that continually subverted the comfort zone common in most of the world’s popular dance musics, while captivating, rather than losing the interest of the sophisticatedly listener.

(Grouped into five beats of 3,3,4,3,3 sixteen) and a 9/8 measure (grouped into six beats of 3,3,4,3,3,2 sixteen). The result is a Middle-Eastern or Bulgarian type of rhythmic groove. Counterpoint occurs by overlaying other beat-groupings of the basic sixteenth note pulse. This composition will most likely be felt and heard by the performers and the audiences as an American work because, although there is a sense of interdependence within the community of the ensemble, there also is a strong sense of independent confidence that is needed to achieve a performance that “cooks”.

The “B Section” of this work is the “tipping of my hat” to the influential American composer, Henry Cowell whose students, among others, included John Cage and Lou Harrison.

Later in the second “A Section”, a 2/4 metered seemingly stereotypical “rock” groove begins, but the listener is caught off balance by the use of odd numbered beat groupings that circumvent one’s sense of proportional balance. Put simply, if a couple danced the Foxtrot, Samba, Waltz or Mambo to this work, they might fall over.

$35.70

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TOYAMA

Multiples of 2 Percussion
[3-4 minutes]   (EQ 81 Footprints CD large ens. And EQ 90 Timelines CD duo version) Difficulty: IV
Composed for the 1993 Toyama, Japan Percussion Festival, this work combines additive rhythmic compositional concepts utilized in the music of Frederick Rzewski and cycling rhythmic concepts familiar in the music of Steve Reich. Toyama is easily memorizable, yet develops high levels of concentration and attention to a strong sense of inner-pulse. Premiered by The Toho Gakuen Percussion Ensemble and The University of Michigan Percussion Ensemble.

$13.34

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TWO TRANSPARENT STRUCTURES

Solo Marimba & 4 Perc.
[8 minutes]   (EQ 81 Footprints CD) Difficulty: III – IV
For solo marimba & perc. quartet tom tom, tam tam, “E” crotale; chimes, 2 tri., 2 timp.; 5 coffee cans, log drum; tri., susp. cym., bass dr.; both movements are lyrical & modal in the “October Mountain” tradition; sensitive timbre balancing and solid inner pulse with shifting meters makes this early work valuable for the high school or average freshman level perc. group.

$33.60

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UNDERSTANDING

Theatrical Percussion Ensemble Work
Difficulty: IV
Published by Media Press


WHITE DWARF

Mezzo-Soprano, Tuba, 4 Percussion – glockenspiel, high-c crotale, vibraphone, marimba, bass drum, gong, sound effects
[8 minutes]   (EQ 90, Timelines CD) Difficulty: IV – V
White Dwarf (referencing a newly discovered star) is a setting of whimsical and at times, sardonic poems by the late, John Updike. The work, originally composed for Mezzo-Soprano, Tuba, Piano and off-stage sound effects, was re-orchestrated in this version at the request of Don Liuzzi for a concert at The Curtis Institute of Music. Having observed a number of performances of this work, I can safely say that audiences have enjoyed this work immensely.

$31.19

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ZIG ZAG

2 Percussion
[10 minutes]   (EQ 50, Over the Moon CD) Difficulty: IV
Zig Zag was premiere by percussionists and former students, Daniel DeSena and David Tolen, while on a tour in Japan with marimbist, Mayumi Hama. Mayumi who requested the work, used it to give herself a breather in the midst of a huge concert program. There is an introduction, which gives improvisatory instructions conjures up images of forest creatures. The major portion of the work is an additive system based with high energy interlocking contrapuntal drumming that can be memorized.

$19.60

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Mixed Chamber Music featuring Percussion

BARN BURNER

Bass Trombone, Piano, Percussion
[1:55 Minutes]   Difficulty: IV
[Randall Hawes 001-Randall Hawes-bass trombone, Kathryn Goodson-piano, Brian Jones-percussion]

This high energy fortissimo work focuses on cross-rhythmic hemiola 3/4 – 6/8 metrics within each solo part and between the parts if performed as an ensemble; utilizes a small percussion setup: 2 tomtoms and foot-pedal bass drum or foot-pedal woodblock. The percussion part may also be played as a solo.

Barn Burner Sample Score

$17.85

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DREAMS OF A BAYOU, LONG AGO BUT NOT FORGOTTEN

Flute and Percussion Duo
[18 Minutes]   (EQ 05 Verederos CD) Difficulty: V
You Tube – Garrett Menedlow, Vibes & Kat Standeferm, Flute.
This work was commissioned by Payton MacDonald and Jessica Johnson who have released a superb recording of it on their CD, Verederos. The work is lyrical and often highly contrapuntal and utilizes melodic materials in unique ways based on Michael Udow’s second opera, Twelve Years a Slave. In one 12/8-6/4 cross-rhyhmic section the flutist and percussionist each wearing ankle rattles tap their feet while playing. Flute and percussion duos should not miss this major new addition to this long established instrumental combination. Check out the fabulous recording by Payton and Jessica as well!

Dreams of a Bayou – Sample Score
Dreams of a Bayou – Sample Score
Dreams of a Bayou – Sample Score
Dreams of a Bayou – Sample Score
Dreams of a Bayou – Sample Score

$40.95

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DUET

Percussionist & Dancer
[4 Minutes]   (EQ 05 Verederos CD) Difficulty: IV
The percussion part is written for 2 maracas and a bass drum foot pedal with a wood beater playing a wood block; the choreography (by Nancy Udow) for the dancer is in instructional text form, both performers must be able to read simple shifting meter changes, and memorization is required of the dancer.

$21.00

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LIGHTNING

Marimba, Ob, A. Sax, 2 Perc, CD-R Playback
Includes performance CD-R   Difficulty: VI
[In Preparation]


LIMITS

3 Actors, Dancers, and/or Musicians
[8 minutes]     Difficulty: V
This time/space score for a trio of actors, dancers, mimes, and/or musicians gives explicit instructions for interpreting a series of Pictograms which constantly mutate related, yet distinct, materials selected and/or created by the interpreter/performers. Premiered by The New Verbal Workshop.

$29.00

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OLD NEWS

Trumpet & 1 Percussion
[3:00 Minutes]   Difficulty: IV – V
Originally composed for piccolo trumpet, this work has its historical roots in the military traditions of the “Ruffles & Flourishes” from the American Revolutionary War 201 years earlier; the work juxtaposes traditional march-like rhythms with twelve tone lyrical melodies; the optional percussion part calls for: low med. & high pitched sn. drs. & chimes; ideal for a percussionist or trumpeter who, in recital, wishes to put together repertory showing the “demilitarization of the trumpet and drum”. Commissioned by Chandler Goetting, the work was premiered by Ken Anderson and Michael Udow in Santa Fe, N.M.

Old News – Sample Score
Old News – Sample Score
Old News – Sample Score

$21.00

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SANDSTEPS I-B

Var. 1 for Alto Sax & 1 Percussion
[Variable length ca. 7 – 12 minutes] (EQ 81 Footprints CD performed by Bill & Ruth Cahn)   Difficulty: IV – V
This percussion duo begins with both players performing a slow lyrical contrapuntal melody at a 4 1/3 octave “low A” marimba which melds into a second section completely improvised with free instrumentation; the third section for marimba and auxiliary instruments (as determined by the performers) is a folk music-like, mixed metered melody which begins slowly, and ends fast and allows for improvisation. Commissioned and premiered by SANDSTEPS (Alison Shaw & Craig Wigley).

Sandsteps I Sample Score

$11.00

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SANDSTEPS II

Fl, CL, Tpt, 2 Tromb., 1 Perc.
[13 minutes] (EQ 81 Footprints CD performed by Bill & Ruth Cahn)   Difficulty: V
Composed for the Tone Road Ramblers, this work is for fl & alto fl., cl. & bass cl., flugelhorn, tromb., bass tromb. and one percussionist (vibraphone & 5 toms, wood block); free and tonal improvisation skills are required; melodic material is adapted from Sandsteps I and includes an additional Eastern European, folk-like melody.

Sandsteps II – Conductors Score
Sandsteps II – Conductors Score
Sandsteps II – Conductors Score

$26.00

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SHADOW SONGS III

[ca.12 minutes] (EQ 81 Footprints CD performed by Bill & Ruth Cahn)   Difficulty: IV
Composed for the Tone Road Ramblers, this work is for fl & alto fl., cl. & bass cl., flugelhorn, tromb., bass tromb. and one percussionist (vibraphone & cloud gongs, saw); Free and tonal improvisation skills are required; melodic material is adapted from Shadow Songs I.

$69.95

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THE ENCHANTED LAND

Oboe & 2 Percussion   3 Scores
[14 minutes] Difficulty: IV
A lyrical work featuring the oboist enhanced by the colors and rhythmic energy of the percussionists.

$35.60

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THRENODY II

Fl, Cl, Tpt, 2 Tromb, Perc.
[In Preparation]


TSUKE KAGE

Chamber version #2 of Moon Shadows: [Solo Perc. + 8 – Fl, Bb Cl /Bass Cl, A. Sax, Hrn, Tromb, Ens. Perc., Vn, Vc]
[26 minutes] Difficulty: VI
A chamber version of the multiple percussion Concerto, Moon Shadows. All players have engaging parts that make this collaborative effort worthwhile for the performers and creates an equally engaging experience for the audience. Based on Bosho Haiku, the melodies were set syllabically and the harmonic structure was then superimposed over those lines while at times, thicker textures of active contrapuntal melodic materials were created. This works is intended for advanced players.

$44.10

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TSUKE KAGE

Study Score & Solo Part
Chamber version #2 of Moon Shadows: [Solo Perc. + 8 – Fl, Bb Cl /Bass Cl, A. Sax, Hrn, Tromb, Ens. Perc., Vn, Vc]

$37.50

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VISTAS

Bass Cl & 1 Perc.
[10 minutes]     Difficulty: V
[In Preparation]


WHITE DWARF

Mezzo Soprano, Cameo Tuba Solo, 4 Percussion
[8:00 Minutes]   Difficulty: IV – V
Within a Tuba Recital, this whimsical work based on John Updike poems, offers the tubist a breather as the Mezzo-Soprano is featured until the finale when the poem written by John Updike about Roger Bobo’s New York Recital is sung and the tubist then appears on stage to play the “solo”. Percussion instrumentation includes: glockenspiel, high-c crotale, vibraphone, marimba, bass drum, cymbal, gong, & sound effects). Recorded by Fritz Kaenzig (EQ 90, Timelines CD)

$31.19

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YU YING

Chamber version #1 of Moon Shadows: Solo Perc. + Fl, A. Sax, Hrn, Tromb, Pno, Vn, Vc
[26 Minutes] Difficulty: VI
A chamber version of the multiple percussion Concerto, Moon Shadows. Created for the piano and percussion duo, Sole Nero, – Jessica Johnson and Anthony Di Sanza. All players have engaging parts that make this collaborative effort worthwhile for the performers and creates an equally engaging experience for the audience. Based on Bosho Haiku, the melodies were set syllabically and the harmonic structure was then superimposed over those lines while at times, thicker textures of active contrapuntal melodic materials were created. This works is intended for advanced players.

$44.10

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YU YING

Study Score & Solo Part
Chamber version #1 of Moon Shadows: Solo Perc. + Fl, A. Sax, Hrn, Tromb, Pno, Vn, Vc

$37.50

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