Composed by Claude Debussy (1862-1918). Arranged by Gene Fambrough. Score and set of parts. Duration 4 minutes, 10 seconds. Published by Innovative Percussion (IP.E-GF-CAT).

Composed by Mark Ford and Ed Smith. For marimba and vibraphone duet. Published by Innovative Percussion

By Susan Powell. Percussion Ensemble. For concert tom quintet (5 concert toms of varying pitch). Level 5. Score and set of parts. Composed 2005. Published by Innovative Percussion

By Tomer Yariv. For multi-percussion duet (2 sets of the following instrumentation: 22 bass drum, 4 toms (8 , 10 , 13 , 14 ), bongos, hi-hat, splash cymbal, cow bell, wood block). Level 5. Score and set of parts. Composed 2009. Published by Innovative Percussion

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

Hymns of the Church by Various. Arranged by Blaine Locheed. Marimba Solo - Unaccompanied. For marimba solo (1 marimba low A (optional low F and c parts)). Level 3. Book. Duration various time durations. Published by Innovative Percussion

November Evening by Christopher Norton. Marimba Solo - Unaccompanied. For marimba solo (marimba (low F)). Level 5. Book. Duration 8 minutes, 15 seconds. Published by Innovative Percussion

Composed by Mark Ford & Ewelina Bernacka Ford. For coffee cup quintet. Published by Innovative Percussion

By Mark Ford. Mixed Ensemble. For marimba and alto saxophone duet (5 octave marimba and alto saxophone). Score and set of parts. Published by Innovative Percussion

Composed by James Campbell. Percussion Ensemble. For multi-percussion solo with percussion ensemble (FOR SOLOIST: Horizontal bass drum (20'-24'), medium-low tom, medium-high tom, snare drum, bongos, small suspended cymbal (splash or trash), resonant trashy metal (opera gong), crotales (low octave preferred), a bass bow, dry cowbell. FOR ENSEMBLE: small). Score and set of parts. Duration 7 minutes, 16 seconds. Published by Innovative Percussion

Composed by Franz Liszt (1811-1886). Arranged by Tomer Yariv. Marimba and Vibraphone Duet. For marimba and vibraphone duet (marimba low c and vibraphone). Level 5. Score and set of parts. Published by Innovative Percussion

Composed by Kevin Erickson. Timpani Solo. For timpani solo (timpani). Level 5. Book. Published by Innovative Percussion

By John Willmarth. Timpani Solo. For timpani solo (timpani). Book. Duration 8 minutes, 50 seconds. Published by Innovative Percussion

Remembrance by Juan Almo. Marimba solo. For marimba solo (marimba (5 octave)). Level 5. Book. Published by Innovative Percussion

Elegy for Alpha by Steve Riley. Marimba Solo - Unaccompanied. For marimba solo (1 marimba (low A)). Level 3. Book. Published by Innovative Percussion

Song for my Mother by Juan Almo. Marimba solo. For marimba solo (marimba (5 octave)). Level 5. Book. Published by Innovative Percussion

Multi-Percussion Solo w/ CD Accompaniment Multi-percussion Solo with CD Accompaniment (marimba (low e), vibraphone (pedal fixed down), crotales (low octave - DO NOT use high octave), large (22) and medium (18) chinese cymbals china splash (8) or similar effect cymbal, large and small log drums (multiple pitches), 2 mark trees (double row) - Level 5

SKU: IP.S-GF-THI

Composed by Gene Fambrough. Book and CD. Duration 13 minutes. Innovative Percussion #S-GF-THI. Published by Innovative Percussion (IP.S-GF-THI).

8.5x11 inches.

Composer's notes: The concept behind this work is for the performer to accompany him / herself on marimba through the use of sustaining metal instruments, sounding like multiple performers within a solo work. When multiple vibraphones are available, choose the instrument with the longest sustain. It is necessary to use the low octave of crotales for best sustain.

This is a multiple percussion work with a brief section of CD accompaniment. The work is scored for marimba (low E), vibraphone, crotales, cymbals, log drums, and multiple sets of wind chimes. The composer states that the general premise of the work is the ability of the marimbist to accompany himself with longer resonating metallic instruments. It begins with a free section emphasizing mark tree, cymbals and crotales. The marimba emerges from this texture with sixteenth-note triplets that suggest the primary theme of the work. After a brief interlude of cymbals, crotales and vibraphone, the sixteenth-note figures return in the marimba, with punctuating, long tones on the crotales. This section continues for a while, finally yielding to a transitional segment of linear figures in the marimba, culminating in an explosive run to the top of the instrument. The tension it creates is quickly released in the ensuing chorale section. Here again, the performer is asked to sustain notes in the marimba via independent roll, while the other hand plays figures on the vibes and crotales. The CD accompaniment begins at the end of this section. The performer begins to improvise in the style of the opening of the work over the gong, cymbal and drum sounds on the recording. The marimba re-enters with groovy sixteenth notes over the recorded drum sounds. The rhythms in the marimba part become increasingly syncopated as the intensity builds, then gradually wind down into a short, improvised section on log drums. As the CD fades away, the performer is left playing sparse figures on the resonant metal sounds. The work ends with three, very soft rolled chords in the marimba with a single, introspective note on the crotales as a finale. The mixture of coloristic and rhythmic devices used in this work make is interesting for the performer and the listener. - Scott Herring Percussive Notes, April 2006.