PERCUSSION ENSEMBLE
TEPPA (New)
Concerto for solo maracas and eight percussionists.
REFLECTIONS IN THREE MOVEMENTS for six percussionists (New)
BUTCHEMISH RAGTIME for xylophone solo and percussion quartet.
What happens when you mix George Hamilton Green with Bulgarian folk music? You get "Butchemish - Ragtime!" This quirky, three-minute quintet is a xylophone solo with marimba, vibraphone, bass marimba, and percussion accompaniment. The percussion part states that either drums, tupan, or hand drums can be played, so ensemble directors can customize this part to their ensemble's strengths. This mixed-metered, fasttempo xylophone showcase should be a crowd pleaser.
(Percussive Notes)
FOLK MEDLEY, BULGARIAN TRADITIONAL DANCES for 5 players.
This keyboard percussion quartet (with percussion accompaniment) was commissioned by the Polyrhythmia Percussion Ensemble. The piece contains four different sections in odd time signatures (7/8, 11/16, 13/16, 25/16). The two-mallet bass line in the marimba part requires a low-C (five-octave) instrument and is mostly octaves. The vibraphone part is limited to chordal accompaniment and requires four mallets. The top two voices are alternating two-mallet xylophone lines for most of the piece. The percussion part is written for three different pitches and is broadly labeled as hand drums, tupan or drumset. The piece begins with a moderate tempo of 126 and gets progressively faster by the end. It's a fairly short piece of only 105 bars. The main difficulty in the piece is the odd time signatures; however, the beaming of the beats is very clear and the rhythms are not as difficult to count as it may seem. An ensemble that has a clear understanding of beat subdivision in twos and threes will not have a problem performing this piece. The instrumentation (low-C marimbas) may keep the piece out of the typical high school situation, but any college ensemble will find this piece a good
exercise in counting odd meters. It looks like an excellent and exciting opener or closer to a college concert. (Percussive Notes)
RHYTHMIC NUANCES for two players.
This piece is an excellent addition to the concert percussion duo repertoire. The instrumentation is accessible to most school situations, including high school, and requires four timpani, cowbell and maracas for Player 1, and bongos, two congas, claves, guiro, hi-hat, shaker, small crash cymbal and pedal bass drum for Player 2. The work is divided into three movements; however, it appears they should be played attaca. The first movement is short and improvisational with Player 1 on timpani and Player 2 on accessory instruments. The second movement is fast, primarily in common time, and contains a solo section for Player 1 with the handles of the timpani mallets on the heads of the drums. The third movement continually shifts between mixed meters and is the most difficult of the three. Player 1 begins with a maraca ostinato while Player 2 takes a solo on bongos played with hands. Toward the end of the composition, the timpani and bongos/congas have a fast and difficult, unison 5/8 passage at pianissimo that is repeated. The tempo is fast overall and ends with an aggressive accelerando and crescendo. The three movements contain a total of 170 measures. This piece would work well on an undergraduate recital but is also accessible to two hard-working high school students. (Percussive Notes)
RAGTIME IN GANKINO for xylophone solo and percussion quartet.
This percussion ensemble for five players uses xylophone, marimba vibraphone, and tupan. The two marimba parts can be played on one five octave marimba, depending on instrument availability. The tupan is a double headed, wooden drum common to Bulgaria. The composer suggests any hand drum as a substitute for the tupan. The vibraphone player must employ three mallet technique throughout. The work is in 11/16 meter, which will be a challenge for the ensemble to count at first. The xylophone part features a solo cadenza, and verbal cues are part of the piece for all players. Additionally, all keyboard players will play with mallet handles on the edge of the bars. This unusual pairing of ragtime and Bulgarian rhythms creates a fun, fast-paced performance experience. (Percussive Notes)
SOLO MARIMBA
SCISSORS
This etude-like work emphases single alternate strokes simultaneously in both hands. The main motif expands into a rhythmically complex yet pleasing melody, characteristic for Mr. Tanchev's unique compositional approach. Influenced by Bulgarian folk music, the motif switches rhythmically between 5/8 and 9/8 time signatures and changing accents, which many times creates the effect of one long phrase crossing over the bar line. This work gives a performer the opportunity to exercise his technique and at the same time to exhibit a sense of rhythm and musicality. "Scissors" makes a great recital or audition work and will add a little spice to any concert. (Percussive Notes)
CHILD'S PLAY
Child's Play is influenced by rich textures, odd meters, and skillfully interpolated motives of Bulgarian folk music. The work begins with a majestic slow moving introduction, then launches into a furious pace demanding speed, accuracy, and some dexterous hand maneuvering. Uses various techniques, such as one handed rolls. For solo marimba. Level IV. (Percussive Notes)
INTRO AND BLUES IN 11
This solo marimba work uses the blues form in metric contexts of 11/8, 5/8, and 7/8. The work is written for the advanced intermediate marimbist who needs to be proficient with the following stroke types at various intervallic distances: double vertical, single independent and single alternating. This piece will become a favorite of performers and listeners alike.(Percussive Notes)
MARIMBA AND PIANO
BULGARIAN COCKTAIL
This four mallet solo for marimba and piano is scored for a low-A marimba. A variety of techniques are required, including playing with the handles, the use of dead strokes and one-handed rolls. The pianist has passages that require holding the strings with one hand while playing with the keyboard with the other. The solo opens with a four mallet roll, but no tempo is given. The only tempo suggestion made in the entire solo is "slowly, heavy" at rehearsal 1. The rhythmic material going into rehearsal 3 suggests a faster section with repeated motives and patterns. The solo is tonal, and rhythmic content provides a dance-like spirit. The solo comes with two piano scores to assist with preparation, but it requires quick memorization because of page turns. The extensive use of ostinato material will put this solo within reach of an undergraduate marimba student.(Percussive Notes)
DRUM SET METHODS
JAM SESSION IN BULGARIAN BEATS (CD)
This book and play along CD set will help you to play and improvise in odd time signatures as if you were a native Bulgarian. The four examples are written in odd time signatures: 7/8, 5/8, 11/8, and 9/8. The drumset parts are meant to be only a guideline for the drummer. The main challenge will be to create your own 32 bar improvisation. Although written with the drummer in mind, the author encourages practicing and performing with other percussion instruments. (Percussive Notes)
BULGARIAN RHYTHMS FOR DRUM SET PART 1
The Bulgarian rhythms presented in this book are combinations of simple duple and triple meters as they appear in the Bulgarian folk music, and other folk based musical traditions. This volume goes in depth with studies in 7/8 and 5/8.
RHYTHMS FOR DRUM SET PART 2
The Bulgarian rhythms presented in this book are combinations of simple duple and triple meters as they appear in the Bulgarian folk music, and other folk based musical traditions. This volume goes in depth with studies in 11/8 and 9/8.
BULGARIAN RHYTHMS FOR DRUM SET PART 3
The Bulgarian rhythms presented in this book are combinations of simple duple and triple meters as they appear in the Bulgarian folk music, and other folk based musical traditions. This volume goes in depth with studies in 7/8 and 5/8.
BULGARIAN RHYTHMS FOR DRUM SET PART 4
The Bulgarian rhythms presented in this book are combinations of simple duple and triple meters as they appear in the Bulgarian folk music, and other folk based musical traditions. This volume goes in depth with studies in 11/8 and 9/8.
PLAYING DRUMSET 1
"Playing Drum Set I" is a basic drum set technique study that covers the following topics: Etudes for Snare and Bass Drum, Common Rock Grooves, 3/4, 5/4, 7/4, Fills, Fills with Triplets, Solo No. 1
PLAYING DRUMSET 2
"Playing Drum Set II" is a basic style study including excerpts from the following styles: Rock Beats, Shuffle, Swing, Bossa Nova, Samba, Mambo, Rock-Blues, Soul, Funk, Paradiddle Exercises.
SNARE DRUM METHODS
BEGINNING SNARE DRUM VOL. 1
Basic snare drum method covering the following topics: Includes etudes for application of the main concepts - Quarter Notes and Rests, Half Notes and Rests, Whole Notes and Rests, Eighth Notes and Rests, Sixteenth Notes and Rests.
BEGINNING SNARE DRUM VOL. 2
Basic snare drum method covering the following topics: Includes etudes for application of the main concepts - Sixteenths Notes and Rests, Dotted Half Notes, Dotted Quarter Notes, Dotted Eight Notes, Eight Note Triplets, Sixteenth note Triplets, Quarter Note Triplets.
BEGINNING SNARE DRUM VOL. 3
Basic snare drum method covering the following topics: Includes etudes for application of the main concepts - Accents, Flams, Drags, Ruffs, Open Roll.
SOLO VIBRAPHONE
FOLK BALLAD
XYLOPHONE SOLOS WITH ACCOMPANIMENT
INTRODUCTION AND TARANTELLA, Op. 43 for Xylophone and Strings
Sarasate/Tantchev