Instrument Categories
Current Search: Instrument Category -> Pitched percussion
Invitación by I. Cervantes is a short attractive work. This intermediate level arrangement from PlentyMusic for 3 marimba players is in the key of Am Read More...
Invitación by I. Cervantes is a short attractive work. This intermediate level arrangement from PlentyMusic for 3 marimba players is in the key of Am and features the Cuban habanera pattern. The music has been transposed from the original key of E minor to A minor with Individual parts for the players are appended to the full music score. It is an excellent piece for developing ensemble playing encouraging players to listen to both their own playing and the playing of others. The chromatic notes and modal shifts also make it challenging to play absolutely together. The music editor suggests that it is the ideal competition or test piece. The rhythmic patterns need to be secure and possibly learnt by clapping and tapping drills particularly in the context of an ensemble performance. There is surprising intensity in the music of Cervantes created by the tonal/modal ambivalence and by the many accidentals in the strong contrapuntal lines. Where appropriate some octave transpositions have been made in the lines to keep to the best and most appropriate range of the instruments. Most of Cervantes movements are very short and benefit from being played through twice. The music editor has not actually made use of repeat signs in the music scores that have been prepared. but they are in place in the sheet music score. The tempo of the score is marked Moderato with the movement able to be played at a range of tempi from around 64 to 76 quarter note (crotchet) beats to the minute. In this arrangement the realisation plays back at 68 quarter note beats to the minute. The performance practice of the music of Cervantes varies particularly with regard to tempo and the use of rubato (speeding up and slowing down) and does not benefit from the same tradition of playing as movements by more mainstream composers. The advice is simply to listen and learn from the recordings that are available. Whilst there is the scope for more flexibility in performance than demonstrated by the realisations the music editor suggests the avoidance of any exaggerated playing. Ignacio Cervantes was born in Havana, Cuba and composed many short pieces for the piano most of which are imbued with the rhythms and colour of his homeland. The habanera rhythmic pattern features strongly in his music. Should some re-scoring for a different combination of pitched percussion instruments be required please advise the PlentyMusic Office with details of the instruments and their ranges. Please do let us hear and share your live performances which can be forwarded as mp3 and mp4 files to the PlentyMusic Office. Just advise us by email that you have a recording to share. Close
Added: 16th October, 2021 09:10 AM |
Views : 105 |
Downloads : 0
Los Tres Golpes (The Three Knocks) by the Cuban composer Ignacio Cervntes is a movement that explores the habanera pattern. The arrangement for 4 pitc Read More...
Los Tres Golpes (The Three Knocks) by the Cuban composer Ignacio Cervntes is a movement that explores the habanera pattern. The arrangement for 4 pitched percussion players is a great performance piece enabling marimba players to explore much about the performance of music. The realisation for Los Tres Golpes (The Three Knocks) is presented with a repeat played which is common when Cervantes music is performed. The playback tempo is 84 bpm. The sheet music scores has a repeat in place although this is an editorial addition. The music has been transposed from the original key of E minor to A minor. Some of the articulation markings are a little ambiguous considering the percussive nature of the marimba but have been nevertheless retained. If two marimba are being used then Players 1 and 3 should play on one instrument and Players 2 and 4 on the other. The movement can be played at a variety of tempo although the music editor suggests that it is easier to decide when the movement is being played too slowly rather than too quickly! The choice of tempo is dependent on the instrument combination, the performance context and the acoustic of the recording or performance venue. There is scope to explore tempo rubato in a performance. These miniatures provide excellent playing material for players because they provide so many of the musical elements that feature in Cuban music. whether in art music, folk or a popular music context. Cervantes was a composer and musician who assimilated the music elements of his home country in all his work. As he studied music formally in Cuba and in Europe his music is generally presented in a way that lends itself to being arranged in the traditions of the Western music tradition. The contrapuntal element in his music is very strong and whereas formally Cervantes always has clear melodic and harmonic direction musical ideas are presented in a sectional context which are generally repeated. The suggestion is of a very quick and inventive mind particularly regarding his use of the habanera pattern. The melodic line in its original form for piano has a broad range (more than 3 octaves) and for many of the arrangements it is necessary to utilise octave transpositions to enable the most appropriate range of the featured solo instrument to be explored. For those interested in the voicing of the composer’s original score download the piano version which is available as a free score. The original PlentyMusic context for this movement was in the Ragtime and Relations Area of Study in which the focus was exploring syncopated rhythms including the habanera pattern. In 2021, the scores have been reviewed and a number of additional arrangements have been added to the PlentyMusic website. Do feedback to PlentyMusic comments about the scores and particularly the octave transpositions that could possibly be re-considered in the light of performances. The music editor is quite happy to re-score the music for different pitched percussion instruments. Please advise the PlentyMusic Office of the percussion instruments that are available and their ranges. Close
Added: 3rd October, 2021 12:10 PM |
Views : 135 |
Downloads : 0
Adiós A Cuba (Farewell to Cuba) is one of Ignacio Cervantes most popular works. This arrangement from PlentyMusic is an ensemble of 3 pitched percus Read More...
Adiós A Cuba (Farewell to Cuba) is one of Ignacio Cervantes most popular works. This arrangement from PlentyMusic is an ensemble of 3 pitched percussion instruments with the marimba being featured in the realization and music score. It features many of the rhythmic patterns characteristic of Cuban music. It is an excellent movement to encourage rhythmic accuracy and developing a sense and awareness of pulse in ensemble music making. The rhythmic shapes need to be possibly learnt and made secure by being clapped/tapped. In the opening section with the strong repetitive element players should be aiming at tonal and dynamic contrast in their playing of the repeating motif. There are some idiomatic rhythmic shapes in the writing whilst the musical texture lends itself to being very suitable for arrangement as an ensemble piece. This is music that features modal shifts and elements of chromaticism. The realisation plays back at 60 quarter note beats to the minute. This is music that allows for subtle tempo changes in performance whether it be speeding up, slowing down or returning to an “a tempo” marking. Whilst rits. or slowing down feature in the realisation the accelerando though marked is ignored. There is an opportunity to perhaps to included pauses in the music at bars 17 and 33 although they are not indicated in the scores. In the video score the instrument parts are notated at written pitch. Octave transpositions have been explored in the lines to keep to the most appropriate ranges of instruments. Players may well want to explore octave ranges of the instrument they are playing. The music editor suggests downloading the free piano sheet music score from the website to understand the relative pitch elements of the music score. Ignacio Cervantes was born in Havana, Cuba and this is one of his most popular pieces and melancholy in character. The habanera rhythmic pattern features strongly in the music of the composer who mostly composed for the piano. His piano pieces tend to be quite short but are idiomatic and imbued with the colours and rhythms of his home country. If the arrangement requires some re-scoring for different percussion instruments please advise the PlentyMusic office with your requirements. Instrumental parts are appended to the full music score which can be downloaded as a pdf. Close
Added: 28th August, 2021 08:08 AM |
Views : 96 |
Downloads : 0
The aria or song is taken from the opera Rinaldo which first appeared in 1711 and was revised in 1733.
It is in ABA form and based on the sarabande rh Read More...
The aria or song is taken from the opera Rinaldo which first appeared in 1711 and was revised in 1733.
It is in ABA form and based on the sarabande rhythm which has the stress on the second beat of the three beats in the bar. When sung the Da Capo section would be an opportunity for the soloist to improvise and ornament the melody and this is option available to the organists although it is important to keep to the style and mood of the piece. This is very appropriate music for a solemn processional in an organ playing context. The use of three registrations is suggested and are indicated in the score. Rests have been indicated in all parts so that players have a clear understanding of the voicing. It is also a movement that invites interpretation and playing in different contexts. The arrangement is in the original key of F major although the tempo for the organ solo is more Larghetto than Largo which was the tempo indication in the opera. The video score plays back at a tempo of 66 half note or minim beats to the minute. Rests are indicated in the score enabling players to have a clear understanding of the voicing of the musical lines.
Moskowski has also arranged the aria for piano. Close
Added: 24th June, 2020 17:06 PM |
Views : 7975 |
Downloads : 0
It's A Date is a beginner level piano/keyboard piece based on a 12 bar blues. As a beginner score the letter names of the notes appear in the note hea Read More...
It's A Date is a beginner level piano/keyboard piece based on a 12 bar blues. As a beginner score the letter names of the notes appear in the note heads and suggested fingering is in place. The tempo of the playback on the video score is 84 half note or minim beats to the minute.Players need to take notice of the accent signs marked in the score and keep their hands as light as possible. Playing a blues structured piece of music does encourage fluent playing and the development of musical memory. The 12 bar blues forms the basis of much popular music of the 20th century. Close
Added: 8th June, 2020 13:06 PM |
Views : 7782 |
Downloads : 0
Juventino Rosas was a Mexican composer and violinist who began his career as a street musician. After a visit to Cuba in 1894 he became very poorly an Read More...
Juventino Rosas was a Mexican composer and violinist who began his career as a street musician. After a visit to Cuba in 1894 he became very poorly and sadly died at the young age of 26. "Over the Waves" (Sobre las Olas) was published in Mexico in 1888 and is one of the most well known Latin American pieces. The waltz melody is nowadays played by many stylistically differing types of performing groups. The melody is very much associated with the music of funfairs, trapeze artists and fairground organs and was used for the song "The Loveliest Night of the Year" from the MGM film "The Great Caruso." This improver level (second year players) movement in ternary ABA form is an ideal ensemble piece. The realisation which features two marimbas playsback at 60 dotted half note (minim) beats to the minute and pitched percussion players need to communicate a one to the bar feel in their playing. Piano accompaniments are available as an mp3 download at tempi of (1) 60 (2) 58 and (3) 56 dotted half note (minim) beats to the minute. Close
Added: 7th January, 2020 19:01 PM |
Views : 658 |
Downloads : 0
In this arrangement conceived for 4 marimba players with two instruments available. Marimba parts 1 and 2 are scored in the treble clef and parts 3 an Read More...
In this arrangement conceived for 4 marimba players with two instruments available. Marimba parts 1 and 2 are scored in the treble clef and parts 3 and 4 in the bass clef. The score is formatted as a one document pdf file with individual parts for the marimba players appended to the full score. Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling to Paris to further his music studies with Charles Valentin Alkan amongst others. This piece originates as a piano solo in the key of Eb whilst this realisation sounds in the key of D it plays at a tempo of 84 quarter note (crotchet) beats to the minute. Many performers play through the piece twice although no repeat signs are indicated in the score. Much of Cervantes piano music is well suited to being played by a variety of instrument combinations as they are well crafted and have great musical appeal. The habanera rhythmic shape also features strongly. Close
Added: 27th January, 2019 07:01 AM |
Views : 717 |
Downloads : 0
The hornpipe is found in the folk music of England, Scotland and Ireland and has a traditional association with sailors in that dancing was used on lo Read More...
The hornpipe is found in the folk music of England, Scotland and Ireland and has a traditional association with sailors in that dancing was used on long sea journeys to encourage fitness. Hornpipes are usually associated with other hornpipes in a performance context in what is described as a dance set. Most folk music is played from memory and both memory and ensemble playing should be encouraged in any performance situation. The realisation plays at 132 quarter note (crotchet) beats to the minute and the hornpipe is in AB (Binary) form. The music needs to be played with a triplet feel as demonstrated in the realisation. The repeats are not played and there is no ornamentation of the melodic line in this two part version. The playback sounds are of a marimba but there may be other instrument options available to the percussionists to try. Understand that folk music scores are generally presented with minimal score detail. The playing of ornaments whilst relevant in repetitive music of this kind requires a special study and is governed by the instrument being played, the music tradition being represented and sometimes geography/locality. A study of ornamentation in folk music the music editor suggests is not for the faint hearted! There are also examples of hornpipes in baroque music including Handel’s Water Music.
Three accompaniments are available, with repeats, with the violoncello playing the bass line at tempi of (1)132 (2) 120 and (3) 110 quarter note (crotchet) beats to the minute. There is two bar click track introduction before the music starts to play. Close
Added: 17th December, 2018 18:12 PM |
Views : 951 |
Downloads : 0
A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly an Read More...
A very exciting and dramatic piece of music for audience and performers alike. Technically proficient players play the faster sections more quickly and the slower sections more slowly than in the realisation often with great rhythmic expression. Vittorio Monti was a musician and composer from Naples although this piece is often described as having its origins as Hungarian folk music. The piece has a sectional structure and repetition is a strong element although the repeats are not played in the realisation. Marimba players may wish to share the part playing when the repeats are played. Tempo considerations are quite important and the Allegro vivace sections initially played at 120 quarter notes to the minute. A piacere means at “one’s pleasure, at one’s will,” whilst stentato is a musical expression meaning “laboured, heavy in a dragging manner” and stringendo means progressively quickening in tempo. Rallentandos shouldn’t begin too soon at the ends of phrases. The realisation is rather tame compared to many of the performances available but it is clearly a piece where players can learn much about performing music to an audience and Czardas often features as an encore piece in concerts. The small ornamental notes are probably best omitted in the early stages of learning the piece. The music editor has indicated all tempo text in bold above the staves. There is actually no definitive arrangement of this piece and often the sections between bar 70 to 85 are omitted in performance. Performers may wish to also omit the rallentando indicated in the score at bar 98. Some music performances also have the music starting slowly at bar 86 to soon quicken to an Allegro vivace tempo. The simple advice is to make your performance your own! There are marimba accompaniments available (1) with repeats and (2) without repeats. Close
Added: 3rd October, 2018 12:10 PM |
Views : 769 |
Downloads : 0
Borodin was clearly quite an exceptional person known as a doctor and chemist as well as being a member of the Russian group of composers known and po Read More...
Borodin was clearly quite an exceptional person known as a doctor and chemist as well as being a member of the Russian group of composers known and popularized as the “Mighty Handful.” His interest in music was essentially as a hobby but he was very well connected in Russian musical circles and his “Serenade” from the “Petite Suite” was published in 1896. The ostinato pattern that features in the work is an excellent unifying element in the composition and well suited to being played on the marimba. There is also a strong melodic element in this miniature and a tempo of 60 dotted quarter note (crotchet) beats to the minute is used in the realization. The music editor’s conception is that the playing is shared between thee players ideally on two marimbas or other similar ranged pitched percussion instruments. The marimba sound features on the realisation. Close
Added: 13th December, 2017 20:12 PM |
Views : 824 |
Downloads : 0
This very familiar character piece dating from 1907 was originally composed in standard march form but the musical content been rearranged. In this ar Read More...
This very familiar character piece dating from 1907 was originally composed in standard march form but the musical content been rearranged. In this arrangement for pitched percussion instruments (such as marimba and vibraphone) in the key of C a tempo of 96 dotted quarter notes is used in the realisation. Players can chose to play a shortened form ending on the first eighth note (quaver) of bar 88. There isn't too much score detail in the arrangement and as the music originates as a march understandably in a performance there is not much variation of the tempo. The two marimba players parts are shown in full score and these instruments are also used in the realisation. There is one pitched percussion 2 accompaniment available playing at a tempo of 96 dotted quarter note beats (crotchet) to the minute. Close
Added: 27th July, 2017 11:07 AM |
Views : 778 |
Downloads : 0
This intermediate version features the only first minuet of Boccherini's Minuet and Trio from his String Quintet Opus 11 No.5. In this two part arrang Read More...
This intermediate version features the only first minuet of Boccherini's Minuet and Trio from his String Quintet Opus 11 No.5. In this two part arrangement for marimba the musical texture has been simplified into melody and accompaniment. The ornaments have been written out in full to assist players although I would suggest that they are perhaps omitted in the early stages of learning the piece. This movement needs a very consistent approach which will be a challenge to players inexperienced in performing music from this era. A tempo of 100 quarter note (crotchet) beats to the minute is recommended. It is suggested that one instrumentalist plays the melody whilst the other plays the accompaniment. Close
Added: 27th July, 2017 11:07 AM |
Views : 641 |
Downloads : 0
This is easy to play two part ragtime piece exploring the waltz rhythm. A tempo of 100-110 quarter note (crotchet) beats to the minute is suggested. Read More...
This is easy to play two part ragtime piece exploring the waltz rhythm. A tempo of 100-110 quarter note (crotchet) beats to the minute is suggested. As a beginner score the letter names of the notes are written inside the extra large noteheads. In this arrangement for pitched percussion several instruments could be utilised including glockenspiel, metallaphone and xylophone.The realisation features the sounds of the marimba. Close
Added: 27th July, 2017 11:07 AM |
Views : 700 |
Downloads : 0
This improver level two part arrangement is for pitched percussion (glockenspiel, marimba, xylophone) in the key of D and in intended to be played as Read More...
This improver level two part arrangement is for pitched percussion (glockenspiel, marimba, xylophone) in the key of D and in intended to be played as a duet. A tempo of around 60 quarter note (crotchet) beats to the minute is suggested. The melody needs to be played legato whilst the accompanying bass figuration should be played staccato or certainly in a detached manner. There are many different versions of this piece and the triplet figuration provides various options on how the music can be both notated and played. Sebastian Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habanera rhythm, La Paloma (The Dove) was written after the composer visited Cuba around 1860 and became very popular world wide. Close
Added: 27th July, 2017 11:07 AM |
Views : 643 |
Downloads : 1