Percussion Ensemble - Level 3 - Digital Download

SKU: A0.899162

By Bobby McFerrin. By Bobby McFerrin. Arranged by Ricardo Matosinhos. Jazz. Score and parts. 32 pages. Ricardo Matosinhos #5723941. Published by Ricardo Matosinhos (A0.899162).

This is a well known piece by Bobby McFerrin. Here presented on a music arrangement for unconventional music instruments. The arrangement allows flexibility, so this piece can be performed using tuned bottles (25cl, 33cl and 75cl), lip whistle, finger snaps, complemented with xylophones and optionally with voices to sing the lyrics too. This arrangement was made during the 2020 quarantine, when the world was shutdown due to a world virus pandemic. Some of the music students didn’t have their music instruments at home, so this arrangement came up to fill that gap and it is perfect to keep doing music with the available option of instruments.

On each rehearsal letter, you can play optional improvisations, while keeping the voices 5-8. These improvisations can be easily done using the C major pentatonic scale or the note ranges presented on the right, that even include Eâ™­ and Bâ™­. If played using lip whistle, bendings will be possible too. This arrangement presents 8 voices and an alternative solution for voice 8, that makes it easier to be performed as it is the place where bottles are divided between the players. There is also an optional bass line to complement voice eight one octave bellow. In order to keep it simple, neither dynamics or articulations were included and the notes were represented always in the middle octave in G clef. The correct pitch ranges are presented in the performance notes.

The amount of water will change the pitch differently depending if you are blowing or doing percussion on a bottle. When blowing, the more water you use, the higher the pitch will be, but while doing percussions more water means lower pitch. A good option, in order to save time during rehearsals, is to fill the bottles with water, marking the level with a pen, and then filling the bottle with the desired amount of hot wax instead of water. This way, when the wax cools down you can have a tuned bottle without requiring to tune it again every single rehearsal. Please note that the bottles should be made of glass and that different aspects change the performance. For percussion, straight bottles are better to tune as the curves in the bottles tend to produce unstable pitches. The extreme notes of the range might not be available in every single bottle, so you might need to try some alternatives. For example the high A is available in some beer bottles, while the low G is available in larger 75cl bottles of champaign. Last but not least, this piece should always be played according to Bobby’s motto: dont worry, be happy!

I had lots of fun while doing this arrangement, now it’s your time to have fun while performing it!

Ricardo Matosinhos

http://www.ricardomatosinhos.com

Percussion Ensemble - Level 1 - Digital Download

SKU: A0.1016556

By Men At Work. By Colin Hay. Arranged by Stephen Lawhorne. Contemporary. Score and parts. 23 pages. StevoPanMan #5829319. Published by StevoPanMan (A0.1016556).

This classic 80's tune by Men At Work is certain to be a crowd pleaser! BONUS: There is a part for Jumbie Jam if your ensemble includes those instruments. Also great for combined concerts with elementary groups. Arranged for: Tenor Saxophone, Jumbie Jam, Lead 1, Lead 2, Doubles, Guitar/Cello, Bass Pans, Electric Bass and Drum Set. Two additional parts included: TAB electric bass and a Jumbie MAP that is excellent for visual learners that may be confused by musical repeats, D.S., Coda, etc.

Percussion Ensemble - Level 1 - Digital Download

SKU: A0.767905

Composed by Traditional. Arranged by Yvonne Johnson. Children,Folk,Instructional,Standards. Score and parts. 20 pages. Yvonne Johnson #2893165. Published by Yvonne Johnson (A0.767905).

Full Score and Set of 8 Parts

An easy arrangement of this well known folk tune using basic note values. The only eighth note (quaver) rhythms are in the Woodblock part. The lively tempo is a suggested one only and teachers should feel free to adjust it to suit the performers. Marimba could be substituted for the Bass Xyl.

Percussion Ensemble - Level 2 - Digital Download

SKU: A0.935383

Composed by Franz Xaver Gruber. Arranged by Dan Heslink. Christian,Christmas. Score and parts. 20 pages. Pharaoh Publications #5363007. Published by Pharaoh Publications (A0.935383).

Silent Night Prelude for Percussion Octet                      arr. by Dan Heslink

This work is based on the well-loved Christmas carol, composed in 1818 by Franz Xaver Gruber. This theme is so popular that it was declared an intangible cultural heritage by UNESCO in 2011. And the version sung by Bing Crosby in 1935 is the fourth best-selling single recording of all-time. It’s sure to motivate your audience close to Christmas.

The Prelude begins with a brisk tempo. Although notated in 3, as is customary in more modern renditions (the original theme was notated in 6), the tempo must be fast enough that two measures of 3 create a binary pairing (like 6/4 in two). It may be necessary to slightly slow down the roll speed to avoid a frenetic sound.  The difficulty level is easy. There are no changes of key, and the timpani part requires only two drums (Bb, F) with no tuning changes. The vibe part could be played with two mallets, but might execute more comfortably with three. The other keyboard parts use only two mallets each.

The expression of this beautiful tune will be greatly enhanced by exaggerating the contrasts of dynamics. Accompaniment and ornamental figures must at all times be sublimated to the familiar theme. At the last strain, players should sing the well-known words in order to lead the audience or congregation in group singing. It would be helpful for the conductor to turn and face the audience at this point. This closing passage may be repeated for any number of sung verses.

Use a smooth, relaxed stroke to elicit as much legato as possible. At points a continuous arpeggio accompaniment is divided among the instruments. Care must be taken to keep the sixteenth note speed consistent. The opening runs should be performed half-pedal on the vibes for clarity.

Prelude on Silent Night would serve equally well in recital or in a church service. Duration is 3:10. The arranger, Dan Heslink, can be contacted at dan@dheslink.com

 

Percussion Ensemble African Percussion,Bass Marimba,Bongos,Boomwhackers,Conga Drum,Drum Set,Snare Drum,Vibraphone - Level 4 - Digital Download

SKU: A0.1416844

By JC Croyle. By JC Croyle. Classical,Halloween,Multicultural,World. 75 pages. JC Croyle #998440. Published by JC Croyle (A0.1416844).

This is One of Four Percussion suites (Part II) that can either be played with the other three portions or by itself or even each part inside this portion of the suite for performance.  Included with the score and each instrument part are the entire instrumentation, storyboards, and a character Bio Page.  Why is there a character Bio page and storyboard you ask?  This suite combined with the others can also be performed as a contemporary dance piece following the story of the short story (which is in the public domain) written by Bram Stroker as a prelude to Dracula entitled Dracula's Curse.  Instrumentation for each portion can range from Orchestral Bass Drum, Snare Drum, and Marimba Parts to drum-set to Boom Whackers.  

Note: Most of the Marimba parts and some of the Vibeâ??s parts are written for Grand Marimba, these could also be played on a piano if need be.  Same with the Vibes.  Each mallet part could also be split so that 2-3 people play it instead of a more advanced player playing with 4 mallets.  This would be the same for the Boom Whacker sections as well.

Percussion Ensemble - Level 5 - Digital Download

SKU: A0.811252

Composed by Antonio J. Garcia. Contemporary,Jazz,Latin,World. Score and parts. 119 pages. Gordon Cherry #6549777. Published by Gordon Cherry (A0.811252).

Two Dreams for Trombone and Percussion Ensemble

Dr. Justin Alexander (Director, VCU Percussion Ensemble) invited me to create a piece for trombone and percussion ensemble that had roles for more- and less-experienced players so that they could mix within the performance. I so enjoyed composing and performing this work. He estimates the overall difficulty grade of Movement I to be a three on a five-point scale and Movement II to be a four, with a grade four for the overall piece; but some players’ parts (within the eight total in the percussion ensemble) are indeed easier.

The two Movements are approximately five minutes each.

The first Movement  Bilita Mpash (An Amazing Dream) calls for (1) shekeré/guiro; (2) 5-octave marimba (shared with...); (3) 5-octave marimba (shared with previous); (4) claves/drum set with mounted cowbell; (5) bell/mounted cowbell/congas; (6) hi-hat/suspended cymbal; (7) bass drum; and (8) four toms/maracas.

The Second Movement (Running with the Tigers) calls for (1) xylophone; (2) vibraphone/glockenspiel; (3) 5-octave marimba; (4) drum set; (5) shaker/samba whistle/congas (opt. voice); (6) triangle/bell tree/hanging bells/agogo bells (opt. voice); (7) bass drum (opt. voice); and (8) Timpani (opt. voice). Pending difficulty levels, the conga and drum set parts can optionally be split among additional percussionists. The score notes offer a stage plot and many rehearsal tips.

Bilita Mpash (An Amazing Dream)

The 3-2 Rumba Clave anchors this movement, launched by the shekeré. Rhythmic vamps of multiple bars form the landscape over which the trombone’s melody emerges, followed by a move to double-time 2-3 Rumba Clave (with montuno) and back. The trombone soloist improvises without chordal accompaniment for a while so could reflect on the preceding harmonies or instead freely improvise with no concern as to chord changes, while a later section requires improv over chord changes. After the recap, a surprise tag of the ending phrase in Cha Cha sets up the rubato finish. Bilita Mpash (BILL-it-uh m-POSH) is a Bantu term for an amazing dream, a dream so good that it is the polar opposite of a nightmare-a dream in a blissful state where all is forgiven and forgotten

2. Running with the Tigers

The opening, written-out marimba solo is somewhat of a nod to vibist Gary Burton’s influence in bringing mallets towards the expression of modern jazz. A 9/8 samba-groove (5+4) transforms to 4/4. None of the percussionists have to have a jazz background, though the drum set player would be more challenged if not already exposed to Latin drumming. The improvised solo section could be all solo trombone or could be divided among various performers, including trading. The recap of the tune begins over 5/8 samba (3+2, later 2+3). The closing arrhythmic drum-set solo crescendos as the optional surprise of percussionists’ (or additional) voices sing at the end. The title of this movement refers to a recurring dream my dad would have, as well as to the active movements of my grandson when sleeping in his earliest years.

-Antonio J. García

Instrumentation is for:

Solo Trombone and 8-part Percussion Ensemble:

shekeré/guiro, 2 5-octave marimbas, claves/drumset with cowbell, bell, congas, hi-hat, suspended cymbal, bass drum, toms, maracas, xylophone, vibraphone, glockenspiel, shaker, samba whistle, congas, triangle, bell tree, hanging bells, agogo bells, bass drum and timpani.

This rhythmic and dramatic work includes improvisation by the Trombonist. 

Listen to the brilliant live performance featuring Mr. Garcia and the Virginia Commonwealth University Percussion Ensemble directed by Dr. Justin Alexander.

Percussion Ensemble - Level 2 - Digital Download

SKU: A0.935380

Arranged by Pharaoh Publications. Christian,Christmas,Contemporary,Spiritual. Score and parts. 14 pages. Pharaoh Publications #5212781. Published by Pharaoh Publications (A0.935380).

Holiday Bolero for keyboard percussion                          arr. by Dan Heslink 

This arrangement is available in two versions, a quintet for xylophone and four marimbas, and a percussion ensemble octet for orchestra bells, vibes, 3 marimbas, snare drum, timpani and multiple percussion. These comments refer to the mallet quintet arrangement.

While the term Bolero can be applied to a variety of slow-tempo Latin dances, for most orchestral performers the title will evoke the stirring rhythms of Ravel’s famous Bolero. Similarities include the driving 3/4 bolero rhythm, the building of tension over one long-range crescendo, and the climactic conclusion. The pitch content is based on O Holy Night, the well-known Christmas carol composed by Adolphe Adam in 1847.

The difficulty level in terms of executing notes and rhythms is medium-easy. At the same time, the dynamic planning and control of the crescendo requires considerable musical judgment.

All of the keyboard parts require only two mallets; some passages unfold as double stops. Mallets for the marimbas should be chosen to maximize the blend of individual parts into a unified chord. There are no key changes, or mallet and hand independence.

 Holiday Bolero is sure to be an audience pleaser during a winter concert, especially close to Christmas. It would serve equally well in a percussion recital or a church service. In church this work would be appropriate as special music or as an offertory. Duration is 2:52. The arranger, Dan Heslink, can be contacted at dan@dheslink.com.

Percussion Ensemble - Level 1 - Digital Download

SKU: A0.870527

By Post Malone. By Austin Richard Post, Billy Walsh, Carl Austin Rosen, Carl Rosen, Carter Lang, Khalif Brown, Louis Bell, and William Thomas Walsh. Arranged by Ryan Jonker. Pop. Score and parts. 21 pages. Ryan Jonker #6017207. Published by Ryan Jonker (A0.870527).

Watch the video to see and hear the score!  https://youtu.be/OvMowzDntBc

Fun and simple percussion ensemble arrangement of Sunflower by Post Malone and Swae Lee, featured in the movie Spiderman: Into the Spiderverse. It's all 2-mallet, and can be performed by beginners. The following instrumentation can be doubled as necessary:
- 1 glockenspiel (or more)
- 2 vibraphones (or more)
- 2 marimbas (or more), 4.3 octave (standard)
- Bass Guitar (could be played on any low-register instrument)
- Drumset (this part could be split into three or more auxiliary parts)

Hope you enjoy it! Visit www.RyanJonkerMusic.com for more like this.  Send me an email with questions or comments at ryanjonkermusic@gmail.com

Percussion Ensemble - Digital Download

SKU: A0.935382

Arranged by Dan Heslink. Christian,Christmas,Contemporary. Score and parts. 27 pages. Pharaoh Publications #5212785. Published by Pharaoh Publications (A0.935382).

Holiday Bolero for percussion ensemble                                                       arr. by Dan Heslink

This arrangement is available in two versions, a quintet for xylophone and four marimbas and a percussion ensemble octet for orchestra bells, vibes, 3 marimbas, snare drum, timpani and multiple percussion. These comments refer to the percussion ensemble arrangement.

While the term Bolero can be applied to a variety of slow-tempo Latin dances, for most orchestral performers the title will evoke the stirring rhythms of Ravel’s famous Bolero. Similarities include the driving 3/4 bolero rhythm, the building of tension over one long-range crescendo, and the climactic conclusion. The pitch content is based on O Holy Night, the well-known Christmas carol composed by Adolphe Adam in 1847.

The difficulty level in terms of executing notes and rhythms is medium-easy. At the same time, the dynamic planning and control of the crescendo requires considerable musical judgment, particularly in the snare drum part. All of the keyboard parts require only two mallets per player, with the exception of the vibe part’s necessity of 3 or 4 mallets. There are no key changes, or mallet and hand independence. Pedaling on the vibes for the most part is suggested by the harmonic rhythm and is not notated. Setup of the general percussion part in the manner of a multiple percussion solo, where all playing surfaces are comfortably accessible.

Holiday Bolero is sure to be an audience pleaser during a winter concert, especially close to Christmas. It would serve equally well in a percussion recital or a church service. In church this work would be appropriate as special music or as an offertory. Duration is 2:52. The arranger, Dan Heslink, can be contacted at dan@dheslink.com.

Percussion Ensemble - Level 4 - Digital Download

SKU: A0.972638

Composed by James Siddons. 20th Century,Concert,Contemporary. Score and parts. 14 pages. James Siddons Music and Writings #3025013. Published by James Siddons Music and Writings (A0.972638).

Dance of the Wind-Up Toys is for one clarinet in Bb, one cello, percussionist(s), and mime dancer(s). This work may be performed by instruments only; the percussion part being performed by one, two, or three performers.If a mime performer, or one or more dancers, also perform, the instrumental ensemble must be on the stage with them. The mime or dancer(s) enter the stage at measure 20 and either 1) perform until the end (m. 91), or 2) perform from m. 20 to m. 41, then leave the stage, and then return at m. 67. Costumes: the instrumentalists may be in costume as well as the performers, if desired. See the title page for suggestions. This piece is meant to be energetic, theatrical, and fun to perform as well as to watch.
Program Note Dance of the Wind-Up Toys was composed in April-May 1968, when composer James Siddons was 19 years old. It was inspired by mime performers as well as the mechanical toys common in the early twentieth century.

Percussion Ensemble - Level 1 - Digital Download

SKU: A0.862019

Composed by Jayne Groves, Matt Moore. Contemporary. Score and parts. 18 pages. M Moore & J Groves #6018647. Published by M Moore & J Groves (A0.862019).

Players: 4-20 | Duration: 2:50

For some time our students have been requesting that we write a second chair piece. Finally, we have obliged with Splashed Out, a follow up piece to Double Stacked (2011).

This splashy performance piece, inspired by the genre and rhythms of Reggaeton can be played by ensembles of 4-20 players and is also suitable as a whole class item.

Requirements

Chair 1 – two plastic chairs per player

Chair 2 – two plastic chairs per player

Low Drum – one low drum per player (floor tom or bass drum)

Splash cymbals – 3 contrasting splash cymbals for one player

 

Doubling:

Chairs 1 & 2 may be doubled multiple times.

The low drum may be doubled at a proportion of 1 low drum to 4 chairs

The splash part is a solo part and should not be doubled.

Percussion Ensemble - Level 5 - Digital Download

SKU: A0.937755

Composed by Dan Heslink. Contemporary,World. Score and parts. 128 pages. Pharaoh Publications #5983475. Published by Pharaoh Publications (A0.937755).

Alexandriana for percussion ensemble (12 performers)            by Dan Heslink

 

The term Alexandriana is popularly used to reference the Great Library of antiquity in Alexandria, Egypt. Rooted in Alexander the Great’s global military and exploratory exploits (334 - 323 BCE), the library symbolizes the ancient Greek ever expanding worldview, especially under the influence of Alexander and his tutor, Aristotle. Alexander died long before construction of the Ancient Museum and Library of Alexandria, but the concept of a universal library was uniquely his.

 The mixing of Hellenistic columns with Egyptian architecture and the housing of thousands of scrolls in Greek, Turkish, Babylonian, Egyptian and Hebrew, intensify the division of the library broadly into two large sections, one for eastern knowledge and one for western knowledge. In this musical score, typically western is the thematic concept (expressed most clearly in the chimes), the tonal, triadic-based harmony and sectional concept of form.

 The music’s sectional nature parallels the library’s different rooms, each containing their own genre of knowledge (history, mathematics, poetry, etc.) Evocative of eastern musical practices are the simultaneous layers of different rhythmic subdivisions, oriental modes, and florid lines in the xylophone and vibe parts. In this score, eastern musical procedures are expressed with instruments commonly found in the Western orchestra or wind band.

 The performers are encouraged to always emphasize the score’s contrasts. Passages for indefinitely pitched percussion featuring the song within the drums contrast with other passages of purely quantitative rhythm. Complexity in the interaction of parts contrast with simple rhythmic unison. Passages of thick harmony contrast with modal monophonic melodies accompanied only by indefinitely pitched sounds. Overall, there is a wide dynamic range.

 During long passages of gradually accruing energy, take care to not build dynamics too quickly, and during fortissimo passages, drums should be stroked in a manner that avoids excessive aggression. The rhythmic background of 16th notes must be consistent among all players so that interlocking rhythmic motifs are consistent. Often the tom-toms have melodic passages that imitate the shape of mallet or timpani melodies. Tune the drums for a warm, round sound and select mallets accordingly. Bar percussion players should apply a flowing legato to their passage work. Soft sections are intended to sound mysterious: be sure to use mallets that match that character.

 The composer assigns a performance level of difficult to this work. Performance time is 9:15. The composer, Dan Heslink, can be reached at dan@dheslink.com.

Percussion Ensemble - Level 3 - Digital Download

SKU: A0.927008

By Dave Koz & Kelly Sweet. By Irving Berlin. Arranged by Michael Rennaker. Jazz. Score and parts. 22 pages. Rennaker Music #3864925. Published by Rennaker Music (A0.927008).

This arrangement of the popular Christmas tune is designed to facilitate a large range of skill sets to be accessible for middle/high school groups with a wide range of abilities. The timpani and percussion parts are optional additions to involve more players, but the piece works equally well with only the mallet parts. The auxiliary parts may also be augmented to add more color as seen fit by the director/performers. 4-mallet marimba parts can be covered by a single player, or split between to younger performers. At 3 minutes in duration it's the perfect addition to the Winter Concert to showcase the special talents of the percussion section. .

Percussion Ensemble - Level 3 - Digital Download

SKU: A0.935392

Composed by Dan Heslink. Contemporary. Score and parts. 23 pages. Pharaoh Publications #6203899. Published by Pharaoh Publications (A0.935392).

Sharks’ Teeth, a Game for any Number of Percussionists. . . . . . . . . . . . . . . Dan Heslink

Sharks’ Teeth is a musical game, or contest, between two or more percussionists. It is based on rhythm, and can therefore be executed on any combination of indefinitely-pitched percussion instruments. Its execution relies on guided improvisation governed by preconceived thematic material and manners of elaboration. In addition to the two or more contestants, another musician functions as a Game Meister (GM) who controls that game’s progress and evaluation.

Enclosed are the game instructions for a contest of guided improvisation, and a notated example for two percussionists and Game Meister, Shark’s Tooth. This score can also be played on recital. After reading the contest instructions, the composer recommends that contestants next play the notated example before attempting the game through improvisation.

 Besides being fun to play, this game is also an excellent tool for fostering concentration, musicality, memory and an understanding of musical structure. The composer, Dan Heslink, assigned a difficulty level of medium, and can be contacted at dan@dheslink.com.

Percussion Ensemble - Level 5 - Digital Download

SKU: A0.962405

Composed by Salvador Rojo Gamón. Concert,Contemporary,Instructional,Standards. Score and parts. 255 pages. Salvador Rojo-Gamon #5801921. Published by Salvador Rojo-Gamon (A0.962405).

Four Forces

Reviews

Scherzo

https://scherzo.es/badajoz-vanguardias-lugarenas/

Periodico Extremadura

https://www.elperiodicoextremadura.com/noticias/badajoz/fuerzas_1214372.html

 

Notes

This work was commissioned by Extremadura Orchestra for Percussion and Chamber orchestra.
It has two movements. The first one has been done for mallets and the second one was built on a base of a drums work (GEA).
The duration of those movements is 26 minutes, being around 11 minutes the first and 15 minutes the second one.
The chamber music is formed by:
Woodwind quintet (Flute, Oboe, Clarinet, Horn & Bassoon)
Brasswind quintet (Trumpet 1, Trumpet 2, Horn, Trombone & Tuba)
Strings orchestra
Three firsts violins
Three seconds violins
Three violas
Two cellos

For the second movement is high recommendable to enlarge the strings, a good number of musician could be doubling.

I. Strong Forces

The work is inspired by the four fundamental forces of nature. These forces explain any phenomena which can be produced in the universe.

Throughout all composition, it is latent the mathematic construction based in the series Fibonacci. In the first of the movements, Fibonacci's series is present in the notes' sequence that forms the series of 16 sounds and it is going to be present throughout the whole work. This series is taking form along the movement and it is getting melody and harmony.

Although it is far away from the sonata form, as we know it in its period of highest glory, it takes elements of it and updates to our days. In this movement, we can find sonata form elements as the exposition, development, transitions or coda.

The central part of the first movement becomes in the slow movement, being more intimate and lyrical, free of the serials ties although it uses resources before cited -now called common practice-.

The movement finish with a short re-exposition that concludes with the virtuosic of the soloist doubling the series and adding more tension until conforming the series in its full whole.

II. Weak Forces

It is the most tribal of both movements. Its structure is more complex and in it, we also can find clear reminiscences to the sonata form.

We can divide the movement into two big blocks. The first one is formed for the introduction and sections one and two.

Introducción

It is based in one ostinato of three notes where the accent is changing provoking unsymmetric, this ostinato represents the nucleus of our existence. The piccolo and the trombone introduce us to the human element representing the two elements that form the development of the whole movement.

The two elements of thematics are taken from the series, the first one is easily recognizable because it appears in his primary form.

First section & cadenza

In this movement, the rhythm, the melody, and the harmony are based on the sequence of Fibonacci. As the theme ostinato of the soloist as the melody is formed under the rhythm of 1, 2, 3 and 5. This section leads us to the second section with a clear mode of cadence. In the cadenza, the elements of the rhythm are varied freely with an accompaniment of the Spring Drum.

Development

It is formed by two Rondo sub-sections in which the solo part has been created through the mirror technique.

Both sections have the next form:

Intro-A-B-A-B-(B(minor)+A)

Intro-A-B-A-B-(B(major)+A)

First section & Coda

The movement ends with the repetition of the first section and the final code.