COMPOSITIONS
STEVE WEISS MUSIC (www.steveweissmusic.com). Percussion Instrument and Percussion Sheet Music.
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.
RAGTIME IN GANKINO -
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.
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.
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.
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.
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.
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.
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.
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.
FOLK MEDLEY, BULGARIAN TRADITIONAL
DANCES -
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.
RHYTHMIC NUANCES -
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.
FOLK BALLAD
PERCUSSION SPECIALIST (www.percussionspecialist.com). Music for Whatever you play
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If you are looking for a book or piece not listed on the website don't hesitate to contact us.
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satisfaction. Please feel free to contact me ( Scott Davidson) at any time if you need help deciding
which CD, book, or video to buy. I am a drummer/percussionist and I have studied drumset, congas,
tabla, frame drums, and many other percussion instruments.
If you have any suggestions or comments please email me at scodavdrum@aol.com.
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Click here for George Tantchev's: (keyword: Tantchev)
Click here for George Tantchev's:
BULGARIAN COCKTAIL
INTRODUCTION AND TARANTELLA, Op. 43 for Xylophone and Strings -
Sarasate/Tantchev
RAGTIME IN GANKINO
SCISSORS
Click here for George Tantchev's:
BULGARIAN COCKTAIL
CHILD'S PLAY
SCISSORS
Click here for George Tanchev's: (keyword: Tanchev)
Mallet Solos with Accompaniment - BULGARIAN COCKTAIL
Percussion Ensembles - RAGTIME IN GANKINO
Transcription and Play - along Books: - JAM SESSION IN BULGARIAN BEATS FOR DRUMSET
Unaccompanied Marimba Solos: - SCISSORS; CHILD'S PLAY; INTRO AND BLUES in 11
Unaccompanied Vibraphone Solos: - FOLK BALLAD
What's New in Drumset Studies!: - BULGARIAN RHYTHMS FOR DRUMSET
Click here for George Tantchev's: (keyword: Tantchev)
BUTCHEMISH RAGTIME - OU Percussion Press -
For xylophone solo and percussion quartet. First Printing. Score (comb, 7 p.) & parts.
Norman, Oklahoma: OU Percussion Press ©2006
