Three Pieces for Three Mallets


Book Description

Three contrasting pieces for developing the use of two mallets in the left hand. Unaccompanied, medium.




Fundamental Method for Mallets, Book 2


Book Description

This comprehensive new method by Mitchell Peters (principal percussionist of the Los Angeles Philharmonic) helps percussionists at any level develop solid skills. The method contains an abundance of essential exercises and etudes for both 2- and 4-mallet technique in two convenient volumes! Covers the grip, stroke, playing position, reading and technical studies, and more!




Fundamental Solos for Mallets


Book Description

These expertly written, early- to late-intermediate solos were written as a companion to Fundamental Method for Mallets, but can act as supplementary material to any method book. Each solo is suitable for contests or juries and features a challenging variety of musical styles and contexts.




Solos for Marimba, Xylophone or Vibes


Book Description

First year pieces for marimba, xylophone, or vibes arranged for two, three, and four mallets.




First 50 Songs You Should Play on Vibraphone


Book Description

(Percussion). If you've been playing vibes for a little while, you are probably eager to learn some familiar songs. This book includes a wide variety of favorite songs, from pop hits and movie themes to classical melodies and folk songs. Songs include: All of Me * Birdland * Clair De Lune * Desafinado * Friend like Me * Havana * Misty * On Green Dolphin Street * The Pink Panther * Sway (Quien Sera) * Sweet Caroline * Walkin' on the Sun * and more.




Four-Mallet Marimba Playing


Book Description

(Percussion). This book contains a lot of music, from musical etudes designed for beginning and intermediate players, to recital material appropriate for intermediate and advanced marimbists. It includes: examples taken from contemporary solo and chamber works, with commentary and performance tips; 50 studies to develop four-mallet technique in a musical way; 18 classic and contemporary solos for recitals, auditions or juries, written by Beethoven, Handel, Chopin, Debussy, Leonard Bernstein, Duke Ellington and others; and helpful guidelines for mallet selection, grip, strokes, tone production, rolls, stickings, phrasing and other important topics.




Canon in D


Book Description

An intermediate Marimba solo by Johan Pachellbel and arranged by Nicholas Papador.




Modern School for Xylophone, Marimba, Vibraphone


Book Description

The "Goldenberg book" has been used by generations of orchestral mallet players to develop their skills. As well as studies and etudes, this book includes excerpts of major orchestral repertoire for keyboard percussion instruments. This edition, edited by Tony Cirone, includes phrasings that were inherent in the music but not specifically written out. Stickings are also addressed: the original stickings are in uppercase letters, and the added stickings are in lowercase. This book is the primary source for keyboard percussion players to learn technique and orchestral repertoire.




Zen Wanderer


Book Description

Unaccompanied, four mallets, medium. A slow and progressive study in using four mallets and can be played on a four octave marimba.




Performance Practice in the Music of Steve Reich


Book Description

Performance Practice in the Music of Steve Reich provides a performer's perspective on Steve Reich's compositions from his iconic minimalist work, Drumming, to his masterpiece, Music for 18 Musicians. It addresses performance issues encountered by the musicians in Reich's original ensemble and the techniques they developed to bring his compositions to life. Drawing comparisons with West African drumming and other non-Western music, the book highlights ideas that are helpful in the understanding and performance of rhythm in all pulse-based music. Through conversations and interviews with the author, Reich discusses his percussion background and his thoughts about rhythm in relation to the music of Ghana, Bali, India, and jazz. He explains how he used rhythm in his early compositions, the time feel he wants in his music, the kind of performer who seems to be drawn to his music, and the way perceptual and metrical ambiguity create interest in repetitive music.