Solos Duets Ensembles BOOK: Rhythm & Body Percussion
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Another
New Riq
$8.00
B. Michael Williams
Lively frame drum
solo for one
player - that will appeal to players and audiences alike!
Extensive performance notes included. adv. high school/college.
Rhythmic solo for one player on Bodhran. A unique addition to any recital! adv. high school/college.
Four Solos for Frame
Drums
$17.95
B. Michael Williams
Sound sample - Quatrinity
Sound sample - . . . Arabic Rhythms
Collection
of rhythmically challenging
solos
for Bendir, Tar, Bodhran, Kanjira or Riq. The only collection of it's
type available - applicable for pedagogical purposes as well as
performance! Titles:
Quatrinity, Cyclic Invention On 8/9/92, Variations On A
South Indian Theme, & Etude In Arabic Rhythms.
adv. high school/college.
"
. . . . provide(s) the performer with well-written musical compositions.
. . The pieces are intended to explore the musical potential of frame
drums in a soloistic context. . . Bravo and thank you,
B. Michael
Williams!" (Percussive
Notes)
[Quatrinity
is recorded on Hand to Hand - HRCD010]
N. Scott
Robinson
Sound sample
A unique
solo
scored for Bendir with an added foot maraca part - duration ca. 3-5'.
The piece makes use of multiple simultaneous layers of 3 beat cycles
(3/2, 3/4 & 2:3), fast Indian style rhythmic subdivisions, and a section
with a Brazilian samba feel. In addition, a section which can be
improvised is also included. adv. high school/college.
N. Scott
Robinson
Sound sample
A unique and exciting
solo
scored for Tamburello
(southern Italian tambourine) - any tunable, plastic-headed tambourine
could substitute. To perform this solo the player should be familiar
with or be developing standard Riq techniques ("soft position," shaking
and playing on jingles) and Kanjira techniques as well hand drum
techniques specific to the area of Puglia, Italy (extensive notes which
are included address these particular performance techniques).
A challenging piece in 7 beats at
a fast tempo, performers will engage audiences with a multitude of
expressive tambourine techniques including pitch bending, triple
strokes, fast Indian fingerings, playing on the jingles, spinning the
jingles, and different types of shaking. Duration: 2:20.
adv. high school/college.
Recital Suite for Djembe
$15.00
B. Michael Williams
A suite in three movements, for
solo
djembe, based on
traditional African rhythms,
utilizing a variety of techniques - could be played on conga or other
hand drum as well. adv. high school/college.
Robert J. Damm
Sound sample
This is a
challenging solo for three congas with CD accompaniment. The work
includes patterns and riffs in eight distinct Cuban and Brazilian
musical styles; Cha-cha-cha, Mambo, African 6/8, Mozambique, Songo,
Rumba Guaguanco, Afoxe, and Samba. The accompaniment CD was created
using multi-track recording to capture the many traditional instruments
and rhythms unique to each style. The CD also includes numerous "loops"
for practice so that the performer can really master the styles required
in the solo! high school/college.
[Recorded on
Hand to Hand - HRCD010]
N.
Scott Robinson
Sound sample
A unique
offering for the recital hall, scored for
solo
Riq (Arabic tambourine) -
duration ca. 3-4". This solo makes use of different grips and
playing positions: shaking, "soft" position, jingle strokes, and
challenging cross-rhythms. Great up-tempo piece to end a recital
or concert! adv. high school/college.
Tiriba Kan
$12.95
B. Michael Williams Sound sample
This title is a single movement work for solo djembe, based on traditional African rhythms. This solo, which would make a unique contribution to any recital program, makes use of a variety of performance techniques, and includes a section that can be opened up for soloing. [duration ca. 646”] adv. high school/college. [Recorded on Hand to Hand - HRCD010]
Robert J. Damm
Sound samples:
mv't.
1
mv't.
2
mv't. 3
This
suite in three movements was written to showcase the udu as a
solo instrument in the recital hall setting
(the work could also be readily adapted to a hand drum such as doumbek,
conga or djembe). The udu is a traditional fired clay instrument
with origins in West Africa. Each movement of this suite owes its
inspiration to a different area of the world music community: Movement
I/Latin America, Movement II/Middle East & Movement III/West Africa.
This is truly a unique addition to the current repertoire for hand
percussion - in this case, clay pots! adv. high school/college.
[Recorded on
Hand to Hand - HRCD010]
Arabic Dances
$22.95
Scott R. Meister
Scored for
tuba and
one multi-percussionist,
this is a challenging and unique work in three movements, inspired by
elements of the music of the Middle East (modal references, frame drums,
ostinatos, etc.). A "busy" percussion part makes use of a variety of
performance techniques. Both tuba and percussion get a great work-out,
great for either brass or percussion recitals. Percussion
instrumentation: triangle, TAMBOURINES (2), toms (4), bass drum, tam
tam, finger cymbals, Chinese cymbal, LARGE FRAME DRUM (no jingles) and
marimba. college/professional.
Bear Talk
Score w/CD: $14.95
N. Scott
Robinson
Sound
sample
Interesting recital
duo
- scored for Pandeiro players (Brazilian
tambourines)- duration ca. 3-4'. This piece utilizes both the
"turning" playing styles of samba and the "lifting"
playing style of capoeira and features interlocking
rhythms in 2, 5, & 9 beat groupings. A unique addition to any
recital! adv. high school/college.
N. Scott Robinson
Sound sample
Challenging and lively recital
duo
- scored for Riqs (or 2 tamborines with
plastic heads tuned approx. a 5th apart). Performers utilize both
"cabaret" and "soft position" techniques.
adv. high school/college.
Prelude and Episode for Percussion Duo
$15.95
Ken Shorley
Sound samples:
1
2
Honorable Mention
- Quey Percussion
Duo Composiition Contest - 2005. At times subtle, at times
highly rhythmic, this is a unique and challenging duo in two movements:
Prelude, for Frame Drum (Bodhran, played lap-style) and Gong; and
Episode, for Frame Drum and Darabuka. This piece calls for a variety of
performance techniques and some prior familiarity with basic hand drum
performance practice would be an asset, when approaching this piece -
although all strokes/techniques are explained in the accompanying
descriptive notes. A unique addition to any advanced level recital!
college.
[Recorded on
Hand to Hand - HRCD010]
You're
Makin' Me Dizzy
$11.50
Rich Holly
Sound Sample
Feature for
two
conga players - intricate
ensemble passages as well as solo space for both players - crowd
pleaser! adv. high school/college.
[Recorded on
Hand to Hand - HRCD010]
Beat Ballet
$25.00
Richard K. LeVan
Sound samples: 1
2
3
Up-tempo, groove piece for four players with lots of possibilities to
open it up in the solo sections. Based on a number of
West African
rhythmic patterns, this piece requires intricate coordination between
the parts. Although no one part is particularly difficult,
concentration is required so as to realize the interlocking rhythmic
patterns in a fashion that seems relaxed, yet grooves. No mallet
instruments required, scored for bass drums (2), snare drums (2), tom
toms (4) and a number of cymbals, vibra-slap, bells (double or cowbells)
and other HAND DRUMS at the soloists’ discretion - djembe, ashiko,
congas, etc. Would work well as a opening or closing number -
performers should have fun with this one! adv. high
school/college.
[Recorded on
Hand to Hand - HRCD010]
Concerto for Darabukka and Percussion Quartet
$30.00
Anthony DiSanza Sound samples: 1 2 3
Concerto for Darabukka and Percussion Quartet, explores three traditional Middle Eastern Iqa’at (rhythmic cycles): Masmudi Kabir (8/4 time signature), Jourjunah (10/8), and Karachi (2/4), as well as one original cycle set in 12/8. Structured in a modified rondo form and requiring extensive improvisation by the soloist, the work combines traditional Middle Eastern percussion instruments with instruments from Eastern Asia, South America, and the Caribbean.
In addition to Middle Eastern musical inspiration, the work draws on monadic chant and Japanese festival drumming, as well as the lovely and exciting music of Japanese composers, Akira Nishimura and Kaoru Wada. The Concerto’s opening measures are directly related to the closing section of Wada’s composition, Rakuichi-Nanaza for Shinobue; Japanese percussion; and Western Percussion. college/professional. Duration ca. 13'40" [Recorded on Hand to Hand - HRCD010]
Fanfarra
$25.00
Joel Smales
Sound sample
This is a great opener for
your next percussion concert - highlighting the street style of South
American Carnival music! Using authentic South American drums or easy
variations, this tune will surprise your audience as your ensemble
marches and grooves in from the back of the performance hall, setting up
quickly as a close pack of drummers grooving hard for all to see. A
quick call and answer and a few solo breaks along with some eye-catching
movement will have your audience wrapped around your finger! Easily
accessible for high school/college ensembles.
Fantasia: African Dreams for Percussion
$30.00
Bruce Salyers
Sound
samples: 1
2
3
FANTASIA - Generally,
a piece where “free flight of fancy” prevails over contemporary
conventions of form, style, etc. - the piece usually has an
improvisatory character. The term can also imply a dream-like mood
or fanciful whim.
"WRITTEN as a result of many of my life experiences Fantasia - African Dreams for Percussion, began as a percussion ensemble with a percussion soloist (intended to be myself). The soloist was to explore the tambourine and marimba. Shortly after beginning the composition, I began to study African percussion. The piece was already making use of improvisation, so I decided to add the accompanying HAND DRUM ENSEMBLE, and give the soloist a true opportunity to be a creator of music. I wrote the music to be something that I would enjoy playing. I hope you find it both challenging and fun." . . . . BRUCE SALYERS
INSTRUMENTATION:1. Soloist - Tambourine, Marimba, Djembe, 2. Vibraphone, 3. Marimba, 4. Marimba, Crotales, 5. 4 Toms, Anvil, Triangle, Suspended Cymbal, Djembe, 6. Bass Drum, Djun Djun, 7. Snare Drum, Suspended Cymbal, Temple Blocks, Congas, Djun Djun, 8. Turkish Crescent, Suspended Cymbal, Crash Cymbal, Bell (Cowbell or Double-bell), 9. Timpani, Chimes, Suspended Cymbal. adv. high school/college.
$20.00
Henri Vieuxtemps/Clair Omar Musser, adapted by Richard K. LeVan
Sound samples: 1 2
This is a crowd-pleasing feature for a marimba soloist - scored for marimba trio and BODHRAN (tom tom, or other drum could substitute). Great if you have at least one 5-octave instrument, but can be easily adapted to 4 1/3 octave instruments. adv. high school/college.
Joel Smales
Sound sample
This title is a
hand drumming ensemble piece written for six or more players. It is
written with an
African
flavor using CONGAS, DJEMBES, shakers, bells and more. This piece is a great
way to introduce some younger or novice hand drummers to hand drumming,
while keeping a high standard of integrity in sound quality and style.
An audience favorite since it makes such a nice contrast to other
percussion ensemble music, Hand Jam is very playable for high
school and college level ensembles. A driving 4/4 groove is broken up
with a 6/8 mid-section before returning to a high energy ending in 4/4.
Hand Jam would work very well either as a piece for dance
accompaniment or as an ensemble piece performed by itself.
[Recorded on
Hand to Hand - HRCD010]
Jane
Boxall
Sound sample
Intended as an introduction to 5/4, many younger ensembles will find
this piece an interesting challenge. Scored for claves, TAMBOURINE,
guiro, BONGOS and FRAME DRUM - the parts for claves, tambourine and
guiro are suitable for inexperienced players, while the parts for bongos
and frame drum are a bit more difficult. The frame drum part calls for
the player to squeeze the drum head to produce pitch bends. All the
rhythms however are very straightforward, yet the piece moves at a brisk
tempo. jr. high/college.
Rhythm and Body Percussion
$41.95 w/CD - 91 pp.
Dietrich Wöhrlin Book samples
This text is full of explanations and exercises that will enhance the teaching of rhythmic ideas and concepts in an accessible and enjoyable manner. Body percussion is a practical way to learn and maintain rhythmic security. It allows the exploration of different rhythms without the need for instruments or written music. The body is the instrument. So, body percussion uses drumming on the body, stamping, rhythmic speech, singing and snapping fingers. Thus rhythm becomes an all-encompassing experience, for body, senses, soul and intellect.
This is why body percussion is perfect for:
• basic and advanced rhythmic training,
• experiencing and understanding poly-rhythms, as an individual or in groups, thus expanding one’s “rhythmic horizons”, and,
• as a tool for learning and perfecting rhythmic ensemble playing for groups.
