Polaris by Mark Ford. Marimba Solo - Unaccompanied. For marimba solo (marimba low F). Level 5. Book. Duration 9 minutes, 30 seconds. Published by Innovative Percussion

(Concerto for Marimba and Orchestra). By Michael Torke (1961-). For marimba and piano reduction. This edition: saddle stitch. Solo part and piano reduction. 44/24 pages. Duration 16 minutes. Published by Bill Holab Music

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

Banafrit by Jonathan Anderson. Marimba Solo - Unaccompanied. For marimba solo (marimba (low A)). Level 4. Book. Duration 4 minutes, 30 seconds. Published by Innovative Percussion

Rhapsodic Fantasie (based on Hungarian Rhapsody No. 2) (Marimba Solo with Piano - Grade 4). By Franz Liszt (1811-1886). Arranged by M. Edwards. For Xylophone, Marimba. Rubank Solo/Ensemble Sheet. Grade 4. 12 pages. Rubank Publications #RUBX304. Published by Rubank Publications

(8 Festive Holiday Arrangements for 2 or 4-Mallet Marimba and CD). By Kandis Taylor. For marimba (2 or 4-mallet) and CD (Marimba (4.3-octave) CD accompaniment *Optional Vibraphone, Bells, and/or Xylophone). Medium easy to medium. Duration 17:30. Published b

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

SKU: GI.G-10291

Composed by Anthony J Cirone & Tammy Chen. Music Education. 48 pages. GIA Publications #10291. Published by GIA Publications (GI.G-10291).

ISBN 9781574635317.

Although many of the greatest composers from the Baroque, Classical, and Romantic periods did not write for marimba, their works are still available and are perfectly suited for this instrument. Many of these works were written for violin and contain bowings and fingerings that assist in the stylistic interpretation for violin but do not apply to marimba. To that end, Tammy Chen has arranged a collection of outstanding pieces that work perfectly for marimba. To aid the performer in developing a musical interpretation of these master works, she added stylistic markings including phrasing, articulations and musical directives. Below are the compositions included from the Violin Sonatas and Partitas by one of the world’s greatest composers, Johann Sebastian Bach. Giga from Partita No. 3 Double #1 from Partita No. 1 Giga from Partita No. 2 Presto from Sonata No. 1 Allegro from Sonata No. 2 Allemanda from Partita No. 2 Preludio from Partita No. 3 Allegro Assai from Sonata No. 3 Menuetto I. from Partita No. 3 Menuetto II. From Partita No. 3 Corrente from Partita No. 1 Bourrѐe from Partita No. 3 Bourrѐe from Partita No. 1 Gavotte en Rondeau from Partita No. 3 Corrente from Partita No. 2 Largo from Sonata No. 3 Double #2 from Partita No. 1 Double #4 from Partita No. 1 Sarabanda from Partita No. 2 Double #3 from Partita No. 1 Fuga from Sonata No. 1 Andante from Sonata No. 2 Cantabile from Sonata No. 1 Siciliano from Sonata No. 1 Ciaccona from Partita No. 2 Learn more about this new resource from the authors in this short video below:  .