$30 - # 0616 - Beall, Andrew: Seduction for solo marimba and percussion ensemble [10-13 min.] (includes solo marimba part, 5 percussion parts, and full score)
"The marimba player’s right hand plays a haunting dance-like melody, often in
octaves, reflective of Indian music." - PAS News
Seduction was originally written as the 3rd movement of Andrew Beall's symphony, “Testament”: Symphony for Marimba and Orchestra. Due to its nature, it is able to stand apart from the symphony as a standard ensemble piece for percussion. The piece is structured around a marimba soloist and percussion groove accompaniment. Midway through the piece the marimba halts, allowing a percussion feature to take over, followed by improvised solos by each player. After this barrage of solos, other instruments (percussive or non-percussive) are called to trade off improvised solos with the marimba. It is left up to the discretion of the ensemble to choose which instruments will take solos. At the premiere of my symphony, the concertmaster was featured dueling with the marimba. When the concerto version of “Testament” was developed, this movement had to be removed for time restraints.
The following clips feature Andrew Beall on marimba and Richard Grimes, Rob Kelly, Jeb Kulevich, Greg Jukes, Bill Shaltis on percussion, Kiku Enomoto on violin, and Jody Redhage on cello:
Seduction sample 1 (Click Arrow to Play)
Seduction sample 2 (Click Arrow to Play)
Seduction sample 3 (Click Arrow to Play)
$30 - # 0695 - Beall, Andrew: Glass Jungle for solo percussion and percussion quartet [6-8 min.] (includes 5 percussion parts and score)
Glass Jungle is the first piece I wrote after moving to the upper-upper west side of Manhattan. The title refers to the plethora of skyscrapers and apartment buildings combined with the frenzy of New York City life. The majority was composed while staring out the window and listening to the sounds that my new neighborhood had to offer. Being in a highly Dominican area, I tried to catch the “spirit of the street” with many grooves from car stereos passing by to distant apartment stereos. Several instances reflect this, where the “feel” changes abruptly through the use of himiola and metric modulation. Besides standard percussion instruments, Glass Jungle calls for eight glass bottles (all with separate pitches, blown to create a melody), glass chimes, bamboo chimes, rain stick, and frogs (wood blocks with ridges). Being the first piece I’ve written without a single instrument in front of me proved to be the biggest challenge of the composition process. Glass Jungle was commissioned by Lonny Benoit for the 2008 PAS Southwest Louisiana Day of Percussion.
Sample 1 (Click Arrow to Play)
S
ample 2 (Click Arrow to Play)
$30 - # 0689 - Clarke, Axel: Bombasticus Cacophonosaurus for percussion ensemble [8 min.] (includes 10 parts and score)
Bombasticus Cachophonosaurus was written at the request of Dr. Dave Gerhart and the California State University Long Beach Percussion Ensemble. It was intended to fill the need for an intermediate level work that incorporates a large number of players with a fairly simple instrument set-up. The work utilizes a four measure theme that is traded between players and is supported with antiphonal patterns. The B section has a thinner texture that allows the antiphonal accompaniment to become the focus. This section builds through several motives (including quotes of songs by the Beatles and the White Stripes) until the motives come together into a full statement of the “B” theme. The four measure “A” theme then returns with variations. The title is a playful name for any large ensemble of drummers.
Sample (Click Arrow to Play)
$30 - # 0662 - Mason, Brian: Horizons for percussion ensemble [5 min.] (includes 11 parts and score)
$45 - # 0618 - Metheny/A. Beall: Pat Metheny Suite for percussion ensemble [13-14 min.] (includes 10 percussion parts and full score)
"When one hears the finale, there will be no question why the original arrangement won the DCI competition." - PAS News
In 1974 Pat Metheny introduced a new voice into the jazz world by replacing the traditional “jazz guitar” sound with rock chords and layering quick, synchronized passages over smooth synthesizer lines and mellow grooves. For these reasons, Beall found Metheny’s compositions a natural fit for percussion arranging and decided to arrange one of his songs for a Drum and Bugle Corps competition. Therefore, the Pat Metheny Suite found its beginnings in 2003 with an arrangement based on The Heat of the Day, which the Carolina Crown Percussion Ensemble performed and went on to win the D.C.I. percussion ensemble competition. It then seemed natural to expand the idea of Metheny for percussion ensemble, so Beall picked two of his favorite Metheny tunes, First Circle and Letter from Home, and created a 3-movement suite for an ensemble of 10 percussionists. First Circle and Letter from Home are more traditionally arranged, whereas The Heat of the Day features several original passages in addition to his arrangement of Metheny’s piece.
The following clips feature Keith Carrick, Greg Jukes, Chi-Ching Lin, Jeb Kulevich, Matt Smallcomb, Yi Wei, Rob Kelly on percussion and Jeremy Levine on timpani:
Pat Metheny Suite Mvt. I (First Circle)(Click Arrow to Play)
Pat Metheny Suite Mvt. II (Letter from Home)(Click Arrow to Play)
Pat Metheny Suite Mvt. III (The Heat of the Day)(Click Arrow to Play)
$35 - # 0680 - Morales-Matos, Rolando: Experimenting with Latin Percussion – quintet for marimba, vibraphone, and 3 percussion [12-20 min.] (includes 5 parts and score)
"Experimenting with Latin Percussion will give accomplished Latin percussionists the opportunity to shine on a percussion ensemble concert" - Scott Herring, University of South Carolina, review in PAS News
Sample 01 (Click Arrow to Play)
Sample 01 (Click Arrow to Play)
$40 - # 0690 - Pastor, Joseph: Sonata for Percussion for percussion ensemble [20 min.] (includes 10 parts and score)
Composed in 2004, Sonata For Percussion is a large scale work for large percussion ensemble. The three movements of the piece require approximately twenty minutes to perform in total. The movements are capable of standing alone as well. The first movement is built on a 12/8 quartal motif, loosely resembling a march. The form is traditional but the content is more contemporary, with a lively melody set against dark colors. The second movement is the adagio and features a lyrical melody in shifting meters over a chorus of suspended cymbals playing soft rolls. The third movement is a high energy finale with a chromatic theme that darts, swoops and dives high above an accompaniment that boils over the stage. The ending is one that won't soon be forgotten. Scored for four mallet players, timpanist, four auxiliary percussionists and piano, Sonata is very harmonic as far as percussion ensemble literature is concerned. It is intended for professional or college ensembles and top tier high school programs.
Movement I(Click Arrow to Play)
Movement II (Click Arrow to Play)
Movement III (Click Arrow to Play)
$10 - # 0667 - Spivack, Larry: The Cymbal Guy - a brief rapperetta for 8 cymbalist/actors and 3 inventors [5 min.] (includes 1 score; contact us for rental of 11 scores and “The Cymbal Guy” accessory (new invention which the piece is based upon))
Every time I tell someone about my co-invention, The Cymbal Guy, they say, Oh, so you're trying to put a cymbal player out of work?
I imagined as a musical theatre piece an angry meeting of the Cymbalists Guild. Its members feel threatened by this invention and describe how they will sabotage my performances and torture me using cymbals:
Let's tie Larry to a post
And fling some Zildjians where it'll hurt him most.
There's some K's I'd like to try
On the maker of The Cymbal Guy.
It's a kind of operetta done in rap, so I call it a rapperetta. It's scored for eight cymbalists, each with a pair, and three actors playing the inventors. The piece was premiered in December 2006 by the New York University Percussion Ensemble in an evening of works by percussionist/composers, and is dedicated to Seth Watkins, our brilliant patent attorney.
And for the record, we're not trying to cost cymbalists jobs. We're trying to enhance what one player can do.
- Larry Spivack
Sample (Click Arrow to Play)
$75 - # 0626 - Zappa/J. Haas: The Black Page arranged for 7 percussionists (Parts 1 and 2) [12 min.] (includes 7 percussion parts – individual parts for sale at $12/each: email to make payment arrangements and order specific parts to orders@bachovich.com)
$50 - # 0633 - Zappa/D. Wallace: G Spot Tornado for percussion ensemble [4-5 min.] (includes 8 percussion parts and full score)
Advanced Percussion Ensemble for 8 Percussionists or 7 Percussionists and Electric Bass Guitar (4-5 min) / 2006 / Score & Parts
Frank Zappa will always be remembered as a true musical visionary and American icon. A self-taught guitarist and composer, Zappa began his career in the late 1960's joining the Mothers, a California band known for combining creative pop and jazz melodies with witty, satirical lyrics. In a very short time, Zappa became famous for a20compositional style that included avant-garde, rock, jazz fusion, and contemporary classical. In 1986, he released the album Jazz From Hell, composed and performed by Zappa primarily on a digital synclavier. At this point in his career, Zappa felt that human beings were incapable of executing the complex and virtuosic music that he wished to compose. This piece, G-Spot Tornado, is from the album Jazz From Hell. In the early 1990's, Frank Zappa was diagnosed with prostate cancer, and died on December 4, 1993. He has proved=2 0to be one of the most prolific musicians ever, releasing over 60 albums during his lifetime.
$40 - # 0691 - Zappa/T. Trapp: Idiot Bastard Son for percussion ensemble [3 min.] (includes 5 percussion parts, vocal part, and score)
