Marimba Solo - Digital Download SKU: A0.499204 By Pat Metheny. By Pat Metheny. Arranged by Gregory Beyer. Folk,Jazz,Standards. Individual part. 9 pages. Published by Gregory Beyer (A0.499204). This is a 5.0 marimba arrangement of Pat Metheny's solo baritone guitar rendition of Last Train Home as recorded on the album, One Quiet Night. It is transposed up a minor third (to the key of Ab major from F major) in order to accommodate the lowest notes of the baritone guitar (A1) on the 5.0 marimba (C2). Perhaps someday someone will make a 5.3 octave version of this in Metheny's original key. During the pandemic, I have deliberately chosen to take a deeper look at some of the music that moves me deeply. When I was a kid my next neighbor, Bob Holt, happened to be the local college music professor. He introduced me to a lot of wonderful music, including Pat Metheny’s album “Still Life Talking,� which features the song, “Last Train Home.� In 2003, Metheny released a solo baritone guitar album, “One Quiet Night,� on which “Last Train Home� makes a re-appearance. I’ve always thought that this version of the tune would make a great marimba project.

Marimba Solo - Level 3 - Digital Download SKU: A0.935391 Arranged by Dan Heslink. Christian,Christmas. Individual part. 13 pages. Pharaoh Publications #6194993. Published by Pharaoh Publications (A0.935391). Christmas Medley for Marimba Trio . . . . . . . . . . . . . . arr. Dan HeslinkThis medley combines three of the most favored Carols celebrating the miracle of Christ’s birth. Angels We Have Heard On High encapsulates the birth of Jesus Christ as narrated in the Gospel of Luke. The flowing second part of this carol portrays the shepherds’ wonder as they encounter a multitude of angels singing and praising.  The spiritual renewal brought about by the birth of the Christ child is given in What Child Is This? Sung to the tune of the traditional English song Greensleeves, its haunting quality has made it one of the most popular of Christmas carols. And focusing on the immediacy of the Child’s entrance into the world, Away in a Manger has become the most loved of all American Christmas carols.  The medley opens with an eight-measure introduction that immediately establishes the Christmas spirit, and then moves on to Angels We Have Heard on High. The binary form of this section should suggest to the performers two contrasting manners of execution, one involving brisk, rhythmic strokes and the other more legato in nature. At the second indicated rehearsal number What Child Is This? introduces a new key and new meter for new melodic content. The score shapes these phrases with dynamic changes, which should be observed with care. The dynamic arches and divided eighth note passages will enhance the impetus of a rolling ternary meter  The medley’s final selection, Away in a Manger, begins at measure sixty-seven. A light and delicate approach to execution should create an innocent, child-like characterization. The final cadence of this selection is expanded to a bolder conclusion. Players and conductor may wish to experiment with a dead stroke on the last soft note, to artistically suggest that the music may be experienced for a moment even after it is concluded.  This medley will be especially effective programmed on a winter holiday concert. Duration is 2:21. The arranger, Dan Heslink, assigned a difficulty level of medium, and can be contacted at dan@dheslink.com.  

Marimba Solo - Level 2 - Digital Download SKU: A0.981381 Composed by Johann Sebastian Bach. Arranged by Bruno Cavalcante. Baroque,Concert,Instructional,World. Individual part. 6 pages. Bruno Cavalcante #5748937. Published by Bruno Cavalcante (A0.981381). In Baroque music, the key of B minor had a melancholy quality. Bach reserved it for a few of his most impressive works, such as the Kyrie in the Mass in B minor. Bach composed his ‘French’ suites as a young man of thirty, when he was working at the court of Köthen. However, the suites have nothing to do with the court. Bach wrote them for teaching purposes in his own private circle. The first five appear in their original form in the little music book he compiled in 1722 for his second wife Anna Magdalena, possibly as a wedding present. But Bach continued to rework the pieces. The later versions, with the addition of a sixth suite, have survived thanks to the many copies made by his pupils. They are rewarding practice pieces that despite a certain compositional complexity (it is Bach, after all), do not make extreme demands on the player.