(Op. 2, No. 1 arranged for mallet duet by Brian Slawson). By Alexander Scriabin (1872-1915). Arranged by Brian Slawson. For mallet duet (vibraphone, 5-octave marimba). Medium-advanced. Folio and parts on CD-ROM. 4 pages. Duration 3'00 . Published by Tapsp

Scherzo Brilliante by Unknown Russian Composer. Edited by Harold Jones. Keyboard Solo with Piano. For marimba or xylophone solo with piano accompaniment (marimba or xylophone and piano). Level 4. Score and set of parts. Published by Innovative Percussion

Mallet. Arranged by Various. Instrumental Series; Play-Along. Pop Instrumental Solo Series. Radio; Rock. Book; CD. 24 pages. Alfred Music #00-42234. Published by Alfred Music (AP.42234).

For solo marimba. Composed by Jamieson Carr. Solos: Marimba and Xylophone. Printed Folio. Tapspace Publications #TSPCS20-004. Published by Tapspace Publications

Arranged for marimba duet. Composed by Claude Debussy (1862-1918). Arranged by Daniel Lesieur. Percussion Duets. Folio and Parts on CD-ROM. 8 pages. Duration 4 minutes, 40 seconds. Published by Tapspace Publications (TA.TSPCD-19).

Composed by Winton Yuichiro White. Percussion Ensemble. For marimba duet (marimba (5-octave)). Medium. 2 scores. Duration 4:10. Published by C. Alan Publications

By Harald Mommsen. For marimba. Intermediate-advanced. Solo part. Published by HoneyRock Publishing

Composed by Johann Sebastian Bach (1685-1750). Edited by Mika Stoltzman. Southern Music. Classical. Softcover. 16 pages. Hal Leonard #SU826. Published by Hal Leonard

Trumpet, trombone and chamber ensemble (Score & Parts) - difficult

SKU: HL.49045226

Concerto grosso for trumpet, tenor trombone and chamber ensemble. Composed by Enjott Schneider. This edition: Saddle stitching. Sheet music. Ensemble. Softcover. Composed 2010. 88 pages. Duration 25'. Schott Music #ED22465. Published by Schott Music (HL.49045226).

ISBN 9790001159555. 9.0x12.0x0.237 inches.

The concerto takes the historical figure of the brutal impaler Vlad Tzepesch (1431-1476) as its starting point and subsequently develops the myth into an overwrought and gruesome piece of work: 1: 'Oderint dum metuant' is a raving Allegro with a Baroque ritornello structure and modern 'Draculisms'. 2: 'Luna su Tirgoviste' is a memoriam for the thousands of impaled victims who came to a violent end in today's Targoviste. 3: 'Il ballo transilvano' confronts a naive waltz rhythm with aggressive polyrhythmic reinterpretations - in the manner of the stick and the carrot. 4: 'Bacio di sangue' is Neo-Baroque horror music which has got out of hand, demanding extreme virtuosity from both soloists and ensemble. Enjott Schneider

Bassklar. * Fg. (auch Kfg.) - S. (Crot. * Vibr. * Marimba * Rohrengl. * Trgl. * 2 Beck. * Tamt. * kl. Tr. * 2 Tomt. * gr. Tr. * Chimes* Tempelbl. * Woodbl.) (2 Spieler) - Cemb. - Str. (6 Vl. * 4 Va. I * 4 Va. II * 3 Vc. I * 3 Vc. II * 3 Kb. [Die Streicher konnen auch solistisch besetzt werden.]).

Orchestra

SKU: FG.55011-315-2

Composed by Kalevi Aho. Study score. Fennica Gehrman #55011-315-2. Published by Fennica Gehrman (FG.55011-315-2).

ISBN 9790550113152.

The Sieidi concerto is in one movement but divided into several sections both faster and slower, wildly rhythmic, lyrical and more static. For the soloist it is extremely demanding because he is constantly having to switch from one technique to another - for djembe and darabuka playing with the hands differs radically from that of tom-tom or drumstick technique or the playing of pitched percussion instruments such as the marimba and vibraphone.

Normally, in a percussion concerto, the soloist has to play surrounded by a huge battery of instruments, often behind the orchestra. In Sieidi he uses only nine instruments, and he is in front of the orchestra the whole time. The instruments are in a row in front of the platform, starting with the djembe on the far right (as viewed by the audience) and ending with the tam-tam on the far left. The soloist plays only one instrument at a time.

The title of the concerto, Sieidi, is Sami - a language spoken in the northern region of Finland, Sweden and Norway known as Lapland. It denotes an ancient cult place such as an unusually-shaped rock, sometimes also a special rock face or even a whole mountain fell.

The Sieidi concerto is in one movement but divided into several sections both faster and slower, wildly rhythmic, lyrical and more static. For the soloist it is extremely demanding because he is constantly having to switch from one technique to another - for djembe and darabuka playing with the hands differs radically from that of tom-tom or drumstick technique or the playing of pitched percussion instruments such as the marimba and vibraphone.

Normally, in a percussion concerto, the soloist has to play surrounded by a huge battery of instruments, often behind the orchestra. In Sieidi he uses only nine instruments, and he is in front of the orchestra the whole time. The instruments are in a row in front of the platform, starting with the djembe on the far right (as viewed by the audience) and ending with the tam-tam on the far left. The soloist plays only one instrument at a time.

The title of the concerto, Sieidi, is Sami - a language spoken in the northern region of Finland, Sweden and Norway known as Lapland. It denotes an ancient cult place such as an unusually-shaped rock, sometimes also a special rock face or even a whole mountain fell.

The Sieidi concerto is in one movement but divided into several sections both faster and slower, wildly rhythmic, lyrical and more static. For the soloist it is extremely demanding because he is constantly having to switch from one technique to another - for djembe and darabuka playing with the hands differs radically from that of tom-tom or drumstick technique or the playing of pitched percussion instruments such as the marimba and vibraphone.

Normally, in a percussion concerto, the soloist has to play surrounded by a huge battery of instruments, often behind the orchestra. In Sieidi he uses only nine instruments, and he is in front of the orchestra the whole time. The instruments are in a row in front of the platform, starting with the djembe on the far right (as viewed by the audience) and ending with the tam-tam on the far left. The soloist plays only one instrument at a time.

The title of the concerto, Sieidi, is Sami - a language spoken in the northern region of Finland, Sweden and Norway known as Lapland. It denotes an ancient cult place such as an unusually-shaped rock, sometimes also a special rock face or even a whole mountain fell.

The Sieidi concerto is in one movement but divided into several sections both faster and slower, wildly rhythmic, lyrical and more static. For the soloist it is extremely demanding because he is constantly having to switch from one technique to another - for djembe and darabuka playing with the hands differs radically from that of tom-tom or drumstick technique or the playing of pitched percussion instruments such as the marimba and vibraphone.

Normally, in a percussion concerto, the soloist has to play surrounded by a huge battery of instruments, often behind the orchestra. In Sieidi he uses only nine instruments, and he is in front of the orchestra the whole time. The instruments are in a row in front of the platform, starting with the djembe on the far right (as viewed by the audience) and ending with the tam-tam on the far left. The soloist plays only one instrument at a time.

The title of the concerto, Sieidi, is Sami - a language spoken in the northern region of Finland, Sweden and Norway known as Lapland. It denotes an ancient cult place such as an unusually-shaped rock, sometimes also a special rock face or even a whole mountain fell.

(Percussion Trio Feature). Composed by Gregory Danner. For Soloist(s) with Concert Band (Piccolo, Flute 1, Flute 2, Oboe 1, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Bb Bass Clarinet, Bassoon, Eb Alto Saxophone 1, Eb Alto Saxophone 2, Bb Tenor Saxophone, Eb Baritone Saxophone, Bb Trumpet 1, Bb Trumpet 2, Bb Trumpet 3, F Horn 1/2, F Horn 3/). Band Music. Grade 4. Score and parts. Duration 14:50. Published by C. Alan Publications