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164
PERCUSSION
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LARGE PERCUSSION ENSEMBLES medium-advanced & advanced
Large Percussion
Ensembles
Medium-Advanced
and Advanced
Altered Gates—Jim Casella. Quintet for unpitched
percussion instruments. It features a large array
of concert and marching drums and auxiliary
percussion instruments. The piece is set up in such
a way that the performers face inward toward each
other, adding a compelling element of spectacle
and choreography to the piece. With nuanced
cooperation, ten hands interweave to create multiple
rhythmic layers, split melodies, and an energetic,
groove-based current of perpetual motion.
11171465 Percussion Quintet
with Online Media . . . . . . . A 45.00
Arrival Platform Humlet—Percy Aldridge
Grainger/arr. Chalon L. Ragsdale. Grainger tells us
that Arrival Platform Humlet conveys the sense of
"awaiting the arrival of a belated train bringing one's
sweetheart from foreign parts; great fun! The sort of
thing one hums to oneself as an accompaniment to
one's tramping feet as one happily, excitedly, paces
up and down the arrival platform."
11130124 Percussion Ensemble . . .MA 60.00
l Blur—Cesar Gonzalez. Blur is a med-advanced
percussion ensemble piece, featuring a large sound
palette and an exciting, driving rhythmic force. As
the title suggests, the texture of the piece moves
from thin and transparent to thick and blurred,
with many different instruments playing their
independent lines simultaneously. In addition to
standard percussion instruments and techniques,
Blur calls for an array of auxiliary instruments and
extended techniques.
11324479 Percussion Ensemble . . .MA 40.00
N E W F O R 2 0 2 1
E D I T O R S ' C H O I C E
l Brainstorm—John R. Hearnes. Mixed meter,
intense rhythms, and striking timbres combine to
form this work of sheer drumming power! This one
will get anyone's attention!
11315831 Percussion Ensemble . . .MA 40.00
l Celebration II—Daiki Kato. A colorful, exciting
opener or closer for five players on one five-octave
marimba. It is also available for three players on one
four-octave marimba under the title Celebration III.
11319107 Keyboard Percussion
Quintet . . . . . . . . . . . . . .MA 40.00
Classical Music Mashup—Grant Woolard/arr.
Brian Blume. Originally arranged for six hands
on piano but here adapted into an ingenious
arrangement for a mallet sextet. The full range
of mallet percussion keyboards gives this
arrangement a wide spectrum of colors and allows
for a full-sounding ensemble. In total, 57 works by
31 different composers are represented.
11167675 Keyboard Percussion Sextet
w/ CD-ROM . . . . . . . . . .MA 40.00
l Cosmic Whirlwind—Matthew Curley. Crisp
timbres and passages of hypnotic rhythm underpin
this ethereal journey through time and space. The
piece is through-composed in several different but
cohesive sections. The parts are evenly distributed
making the piece a true team effort. This one shines
like the stars!
11315833 Percussion Ensemble . . .MA 45.00
H Encore in Jazz—Vic Firth. Here is a tried-and-
true old-school classic! Scored for seven players,
Encore in Jazz has catchy melodies, a smooth
swing feel with sets and kicks in all the right places,
and solo sections that give you the opportunity to
showcase your lead players. Wonderfully written
and accessible to the developing ensemble!
4786588 Percussion Ensemble
7 Players. . . . . . . . . . . . .MA 17.99
l Enigmatic Journey—Dan Moore. Here is
a virtuosic solo for marimba with percussion
ensemble accompaniment. It has a Latin flavor
with an addictive, heavy groove throughout. Every
member of the accompanying ensemble will have
as much fun playing this piece as the soloist!
11315834 Percussion Ensemble
with Marimba Solo . . . . . . A 65.00
l False Awakening—Andrew Patzig. Also known
as a double dream, a dream within a dream, or
nested dream, false awakenings are usually vivid
dreams in which you mistakenly feel like you've
woken up, to only realize this too was a dream once
you are fully awake. This quintet for 4 keyboards
and percussion is meant to be an individualistic
experience, leaving the listener to decide what this
dream entails, and what it may mean. Throughout
False Awakening, we experience a healthy balance
of secure and uncertain emotions. Like a dream,
the piece begins with no preparation. There is no
recollection of how we arrived, we are just there.
Slowly more instruments join, giving more clues
as to our surroundings, until all instruments are
playing, solidifying our place in the dream.
11319106 Percussion Quintet . . . . .MA 36.00
Images of Water—Doug Rosener. A through-
composed, programmatic work in three movements
for large percussion ensemble. This challenging
composition combines melody, harmony, rhythm,
and texture to aurally describe the essence of three
different bodies of water.
11130084 Percussion Ensemble . . .MA 60.00
H Linus and Lucy—Vince Guaraldi/arr. Crockarell.
This classic holiday favorite provides the perfect
setting for the upbeat percussion ensemble. Scored
for the developing student, this arrangement shares
the familiar theme along with a nice jazz riff section
in the middle. Put this on your holiday program and
watch your audience's eyes light up!
10083709 Percussion Ensemble 7 Players
plus Bass Guitar . . . . . . .MA 35.00
Lucid Mantra—Dustin Schulze. This piece is
centered around a continuous jazz/funk-inspired
sixteenth-note groove started by the marimbas
and subsequently carried throughout the
ensemble. The feel is achieved brilliantly through
an intriguingly syncopated melody, played by the
crotales, glockenspiel, and vibraphones. In addition
to rhythm section elements of bass and piano, the
drum set part stands out as a featured voice.
11123085 Percussion Ensemble with parts
and audio recording
on CD-ROM . . . . . . . . . .MA 45.00
l Nalu—Francisco Perez.
11319168 Percussion Ensemble . . .MA 50.00
l Norrskens Dans—Jacob Remington. After a
slow and ominous introduction, Norrskens Dans
establishes itself as tour-de-force work not for
the feint of heart. Driven by a large assortment of
keyboard instruments and four multiple-percussion
stations, this piece grabs hold and doesn't let you
go until the final note.
11318657 Percussion Ensemble . . . . A 80.00
One Minute to Midnight—Jesus J. Martinez.
Based on the term "minutes to midnight" associated
with the Doomsday Clock that has represented
probability of the threat of global catastrophe since
the late 1940s. It is a fun yet unnerving work for
percussion orchestra that portrays a series of
events that evoke a combination of emotions such
as fear, calmness, and intense exhilaration.
11130107 Percussion Ensemble . . .MA 40.00
The REM Cycle—Dustin Schulze. Rapid eye
movement or REM is a stage of sleep characterized
by the rapid and random movement of the eyes. It is
also the part of sleep where the most vivid dreaming
occurs. Part programmatic, part cinematic, part
minimalist, yet wholly original, composer Dustin
Schulze provides another fun yet challenging work
for percussion ensemble. Wow!
10497320 Percussion Ensemble
12 Players . . . . . . . . . . .MA 40.00
Rhapsody in Blue—George Gershwin/arr.
Stephen Primatic. Rhapsody in Blue is one of the
most recognizable pieces of orchestral music
in the world. Its melodies have been used in
countless films, commercials, cartoons, and have
been adapted and arranged for a large number of
instrumentations and ensembles. In this brilliant
and ambitious arrangement for large percussion
ensemble, this timeless pieces is captured in its full
and complete format. Melodies are passed around
between players and themes are craftily colored, all
via percussion orchestration. The piece also includes
a small rhythm section. Because of its block-like
structure, there is flexibility in length of performance.
11208515 Percussion Ensemble . . . . A 59.00
Shades of Glass—Dustin Schulze. An elaborate
piece for large percussion ensemble designed
to create a hypnotic sense of euphoria by way of
layered, repetitive figures and colorful textures. The
piano plays a substantial role in adding to the overall
landscape, and the piece will require all players to
have a keen sensitivity for how the whole ensemble
is greater than the sum of its parts. This piece is
unique and challenging, and also quite accessible
for a wide variety of audiences.
10346200 Percussion Ensemble
14 Players . . . . . . . . . . .MA 48.00
H Three Brothers—Michael Colgrass. Here is a
piece for percussion nonet that has stood the test
of time. As the title states, Three Brothers is a
three-player feature for snare drum, bongos, and
timpani. The other six players have more supportive
roles, but also get to shine. The piece is high energy
with wonderfully crafted layering and interaction
throughout. A classic!
5074216 Percussion Ensemble
9 Players. . . . . . . . . . . . .MA 10.00
H
Toccata—Carlos Chavez. A beautifully written,
classically oriented multi-movement work for six
players. The parts are woven well, and, while each
percussionists plays multiple instruments, the set
ups are relatively small making for an impressive
yet manageable piece.
1006972 Percussion Sextet . . . . . .MA 24.95
Trackin'—Tim Perry. Originally written for The
United States Army Band, Trackin' is a rudimental
percussion ensemble piece for six players. It calls
for four snare drums and two bass drums of any
style. The title refers to a military phrase taken from
the word "tracking", which means being on the
same page and understanding the present situation
to the fullest. In this piece, all six performers will
need to be on the same page to execute effectively.
11316533 Percussion Ensemble . . .MA 30.00
Treehouses—Clif Walker. Utilizing a large array
for percussion orchestra, piano, and synthesizer,
various natural sounds such as bird calls, organic
wooden effects, and leafy bundle rods are used to
embellish the modern sonorities. Six performers
serve as a focal point throughout this piece in pod
configurations, each with three drums, stacked
cymbals, and wood textures throughout serving as
highlighted branches to the foundation of the piece.
These pods use advanced, deliberate stickings,
emphasizing that they are to be enjoyed visually as
well as musically.
11175653 Percussion Ensemble
w/ Online Media . . . . . . . . A 48.00
NEW
PERCUSSION ENSEMBLES
EASY to ADVANCED
Beware the Jabberwock—John Willmarth. Lewis Carroll's famous nonsense
poem, Jabberwocky is considered a classic in English literature. This musical
setting of the same poem titled Beware the Jabberwock is an exciting and
accessible treatment of the original. The poem tells the tale of an epic battle
between a boy and the vicious creature known as the Jabberwock, with the boy
being triumphant in the end. To tell this tale and to match Carroll's innovative use
of nonsense words like "chortled" and "galumphing," the piece is arranged with
an assortment of quirky percussion accessories as well as dissonant harmonies.
These compositional techniques help provide the perfect sonic underpinning for
Carroll's poem. An optional narration is included.
11316531 Percussion Ensemble with opt. Narration . . . . . . . . . . . . . . .ME 36.00
Crazy Dance—Josh Walker. Crazy Dance is a fun and crowd-pleasing piece,
geared toward younger players. The overall feel of the piece resembles circus
march with a catchy melody and simple harmonic structure. The mallet parts can
be played on any combination of two instruments, or on one shared marimba.
One of the parts introduces the young players to simple three-mallet playing
techniques. Need some levity in your program? Here it is!
11316526 Percussion Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . E 30.00
In the Sky—Patrick Speranza. The title of this piece is taken from the famous
lyric, "like a diamond in the sky" from the children's song Twinkle, Twinkle Little
Star. The use of metallic instruments throughout conjures the image of bright,
shining stars. The parts are written at varying skill levels to involve players of
differing experience and requires simple setups. If desired, the vibraphone and
marimba parts can be doubled to accommodate larger ensembles.
11316530 Percussion Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . M 38.00
Spiral—Alex Stopa. An exploration of rhythmic relationships within odd time
meters, with a fusion of the harmonic languages of jazz and pop music. At its
core, this piece is made up of an omnipresent, spiraling rhythmic five pattern or
"musical double helix." There are also passages that accommodate improvised
solos. Written-out mallet solos are included for performers uncomfortable with
improvising. A soundscape that cannot be missed!
11340764 Percussion Quartet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A 40.00
A L L N E W F O R 2 0 21
E D I T O R S ' C H O I C E
