SKU: B0.PDF-BAND127

8.5 x 11 inches.

Eli's Walk is written in a style reminiscent of the big band swing music of the 1940's. Inspired by the antics of the composer's two year-old grandson, this piece should delight audiences and performers alike.

SKU: A0.798268

Little Boy is a gentle ballad that describes the end of a day for a busy little boy - about age 3 - who is just beginning to explore the world. It was written for my grandson when he was 3 years old. It has a message of family love and faith. .

SKU: A0.965165

Here is a birth inspired tune that I wrote long before the arrival of my 2nd grandson Zephyr.

SKU: A0.1500225

A thoughtful and expressive Solo Piano arrangement of this intimate hymn, written by Samuel Sebastian Wesley, the grandson of Charles Wesley. (Please contact marilyn@mtmusicministries.com for further information.) ASCAP.

SKU: A0.965241

Written in anticipation of the arrival of a 7th grandson.

SKU: A0.798266

Little Boy - is an original composition written for my grandson when he was 2 1/2 and beginning to enjoy the world around him with bike rides (tricycle), swings and of joy of sitting on his daddies lap at the end of the day. It is gentle, and stresses family love and faith. .

SKU: 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.

SKU: A0.787366

This instrumental arrangement is an adaptation of Greg Bartholomew's setting for men's chorus of the poem To a Friend by James Fenimore Cooper, Jr. (1892-1918), the great-grandson of the famous novelist.  Available for trombone quartet, trumpet quartet, horn quartet, sax quartet, clarinet quartet and string quartet.  Duration ca. 5 minutes.

Here's a video of the piece played on euphonium:  https://www.youtube.com/watch?v=v7JO-QL_DCs  
Watch a score video of the choral arrangement:  https://youtu.be/ihIwlFzps0M

SKU: A0.581838

A #1 hit in 1965, Hang on Sloopy has had a long life and is still heard frequently, especially in Ohio where it is featured at the Ohio State University sports events. This arrangement by John Gibson is for clarinet duet. The music is appropriate for a young (or less experienced) player and a more experienced musician....such as a student and teacher. I wrote this so my grandson and I could play a fun duet together. The cover art was done by O. Ramiriz and is used by permission. 2016 Arranging Contest Entry.

SKU: A0.742828

A stirring march from the early 1900's. The composer, Christopher Philip Winkler, was a prominent musician in the city of Memphis, Tennessee. This arrangement was written by the great-great-grandson of the composer.

Note that a version of this march for concert band (basically the orchestra version minusl strings) is also available through Sheet Music Plus