A concert work written for solo multipercussionist with an optional assistant who serves as the echo, Echo song was inspired by a madrigal for antiphonal choirs by Renaissance composer Orlando di Lasso. Gene Koshinski’s further interest in the Ritmica method, which focuses in part on the simultaneous performance of unrelated meters và ostinati as well as contradictory melodic material, informs the bulk of this medium-advanced work. There are contradictions lớn be found within the timbres, too, as the soloist plays bongos, 4 octobans, kick drum with pedal, và splash cymbal. Another mix of bongos & kick drum comprise the echo part. The result is an engaging work that also allows for some performer discretion as to the length of repeats.This piece ships as a printed, professionally bound folio with a full-color cover.NOTE: If utilizing the optional assistant percussionist "echo," a streamlined part (facilitating fewer page turns) may bedownloaded from the link below.Optional Player 2 (Echo Accompaniment) Part(PDF Format)
Bongos4 octobansKick drum(with pedal)Splash cymbalNote: Optional second player would require 1 phối of bongos và 1 kick drum with pedal.
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As indicated in the composer’s preface, “Echo Song” is an unaccompanied multiple percussion solo inspired by Renaissance composer Orlando di Lasso & his antiphonal choral composition of the same title. Within the selected timbres (basically all membranic with one splash cymbal), there are seven graduated, arbitrary pitches, which initially focus on the upper pitch of the bongos with groupings of rhythms (such as 5:4 và 6:4) as well as ample improvisational opportunities for the soloist.
After viewing the video performance of this work located on the publisher’s website, this composition took on a more approachable and frankly enjoyable impression—also lending itself to the conclusion that the “optional percussionist” is quite necessary for an optimal performance. The overall structure of this seven-minute work is through composed with numerous rhythmic and cadential pauses. This composition would be quite appropriate for a solo percussion recital at either the undergraduate or graduate level.
—Jim Lambert Percussive Notes Vol. 53, No. 1, March 2015
A concert work written for solo multipercussionist with an optional assistant who serves as the echo, Echo tuy nhiên was inspired by a madrigal for antiphonal choirs by Renaissance composer Orlando di Lasso. Gene Koshinski’s further interest in the Ritmica method, which focuses in part on the simultaneous performance of unrelated meters and ostinati as well as contradictory melodic material, informs the bulk of this medium-advanced work. There are contradictions to lớn be found within the timbres, too, as the soloist plays bongos, 4 octobans, kick drum with pedal, & splash cymbal. Another mix of bongos và kick drum comprise the echo part. The result is an engaging work that also allows for some performer discretion as khổng lồ the length of repeats.This piece ships as a printed, professionally bound folio with a full-color cover.NOTE: If utilizing the optional assistant percussionist "echo," a streamlined part (facilitating fewer page turns) may bedownloaded from the liên kết below.Optional Player 2 (Echo Accompaniment) Part(PDF Format)
Bongos4 octobansKick drum(with pedal)Splash cymbalNote: Optional second player would require 1 set of bongos and 1 kick drum with pedal.
As indicated in the composer’s preface, “Echo Song” is an unaccompanied multiple percussion solo inspired by Renaissance composer Orlando di Lasso and his antiphonal choral composition of the same title. Within the selected timbres (basically all membranic with one splash cymbal), there are seven graduated, arbitrary pitches, which initially focus on the upper pitch of the bongos with groupings of rhythms (such as 5:4 & 6:4) as well as ample improvisational opportunities for the soloist.
After viewing the video performance of this work located on the publisher’s website, this composition took on a more approachable and frankly enjoyable impression—also lending itself to lớn the conclusion that the “optional percussionist” is quite necessary for an optimal performance. The overall structure of this seven-minute work is through composed with numerous rhythmic & cadential pauses. This composition would be quite appropriate for a solo percussion recital at either the undergraduate or graduate level.
—Jim Lambert Percussive Notes Vol. 53, No. 1, March 2015
This is solo also utilizes a multipercussion setup of concert toms, woodblock, sizzle cymbal, & wind gong. It is an ideal selection for percussionists looking for a dramatic & virtuosic timpani solo.
Duration: 6:20 | Level: Med-Advanced
Price: $15.00
Two Days for solo multipercussionBy Bobby Lopez
Utilizing a variety of colorful timbres, "Two Days" allows the multi-percussion soloist to make a musical statement with melody laid over single-handed ostinato patterns.
Duration: 4:30 | Level: Medium
Price: $14.00
Psalm 104 for solo multipercussionBy Brian Blume
Using a configuration of only drums and cymbals, this multi-percussion solo by Indiana-based composer Brian Blume expresses both reverence & intensity.
Duration: 8:00 | Level: Advanced
Price: $15.00
From the Manor to lớn the Heights (Download) solo for snare and bass drumBy Jason Baker
Composed for one player and utilizing snare drum and bass drum, this is like an old-school rudimental duet, but not.
Duration: 2:05 | Level: Med-Advanced
Price: $15.00
Simply Four (Download) 4-mallet technique as easy as 1-2-3…4By Gifford Howarth
4-mallet proficiency is an expected skill for all percussionists these days. In this popular method book by Gifford Howarth, learning khổng lồ play with four mallets has never been so simple!
