Solo for Marimba with additional Percussion (low dobaci, high crotale, large tom-tom,
bongos, temple blocks, sizzle cymb., china crash, splash med., splash picc.& wood chimes).

Leoson, Markus: Metalliana
Solo for Vibraphone with additional Percussion
(hi-hat, tambourine, metal pipes, china crash & small crash).

Dur.: ca. 9’.

Printed in large format B4.

MalleTechno for Marimba and Multiple Percussion - 7'15 Min.; Marimba (Playing range B-B"), Bass Drum, Thai Gong (d"), Tamburin, HiHat, Thunder Sheet (or Tam-Tam); advanced

Video

Written in the typical style of techno music, “MalleTechno” translates techno features into an acoustic piece scored for marimba with additional drumset and percussion instruments. Besides “experimental” striking techniques (striking with the opposite end of the mallet, open and muted strokes) and a moderately difficult 4-mallet technique, the piece challenges the student/player to keep up sustained rhythmic patterns and a coordination that in part is fairly complex, integrating components of setup playing (bass drum with foot pedal, additional percussion instruments).

Woodpeckers Chant for Percussion Solo - 8'30 Min.; 2 WBl., 4 Log drums, Ch.Bck., Vibraslap, Donnerblech, 2 Toms, Gr.Tr., Tam-Tam

Soundcloud

Three Sams for Percussion Solo - 13 Min.; 3 Movements; Vibraphon, Crotales, Tam-Tam, Bass Drum, Tom-Tom, Snare Drum, Bongos, Tria., Brake Drums, Cowb., 2 WBl., Guiro, cymbals, Hi-Hat; advanced

Video performed by Samuel Z. Solomon

Program Note:
"Each of the Three Sams explores a different challenge.
In (- - - )-I-Am, a perpetual motion figure in the vibraphone is redistributed among the other instruments of the set-up. Melodic pitches are placed with their closet non-pitched equivalent - i.e. the cowbell, sounding an approximate F replacesan F on the vibraphone. Similar substitutions occur in the crotales, which create a secons melodic line that is derived enterly from the original perpetual motion material. By the end of the movement, the single melodic line has been re-orchestrated in to melodic and accompaniment.
Son of (- - -) is about rhythm. Intentionally disjunct, a large part of the challenge of the movement - aside from the inherent complexity of the rhythm counterpoint - is in mantaining a convincing musical line through its many sections. This frustration is built into the form, starting very strict, but ending with a cathartic burst of near-improvisation.
The third and final Sam, Wicked Uncle (- - -), asks the performer to navigate a complex musical field in which each mallet of a four-mallet configuration - plus the feet - was conceived as a relatively independent voice. It is as if the perfomer now has more active limbs than most mere mortals, spread almost too thin.“

Three Sams was premiered by Samuel Z. Solomon on May 6th, 2007 at Boston Conservatory's Seully Hall. It lasts appriximately 13 minutes, and it dedicated to Sam with endless respect and gratitude.
- David T. Little, September 11, 2008 -

Rain the Blind Monk for Multi Percussion Solo - 6 Min.; Bass Drum, 5 Wood Blocks, 2 Bongos, 2 Tom-toms, 2 Chinese Cymbals, Kick Bass Drumw/pedal, Glockenspiel; advanced

Rain the Blind Monk is a Multi-Percussion solo piece. For the title, Blind Monk is a Chinese way to call Lee Sin who is a character in a PC game called League of Legend. In this piece, there are 5 parts named by the skill of Lee Sin, who cultivate himself in the rain. 

Recital Pieces Vol. 1 for Solo Percussion - 5 kurze Solostücke für versch. Set-Ups, gewidmet P.Prommel u. J.Pustjens; Marimba (Solostück), 2 Bck., Kl.Tr., 3 Toms, Gr.Tr., Tria., Vibra, Cowb., 2 Bongos, 2 Timb., WBl., 5 TBl.; schwer

Phenix pour percussion - Neue Musik; Vibra, 9 Fellinstr.; advanced

"Lalangan" gehört zu einer frühen Serie von kammermusikalischen Werken (meist Duette) in der mich im weitesten Sinne als rituell zu bezeichnende Erlebnissituationen interessierten. Diese Orientierung spiegelt sich sowohl in einer bestimmten notwendigen Spielhaltung als auch in der Art der komponierten Textur selbst wider. Beides ist bis heute von zentraler Bedeutung in meiner Arbeit und war zu Beginn der 1980er Jahre vor allem durch eine Reduktion des musikalischen Materials gekennzeichnet. Es war der Versuch, durch äußerste Reduktion die musikalischen Elemente so zu "entkleiden", dass sie möglichst bar jeglicher Imitation beziehungsweise bar jegliches Programmhaften sind.

Das Ziel waren musikalische Elemente, an denen quasi "nichts" ist, die aber gerade dadurch, und auf Grund einer bestimmten zeitlichen Strukturierung, über sich hinausweisen.

Snells Beach for Metal Percussion Solo - 10 Min.; New Music; Vibra, 1 Okt. Crotales, , 5 chin. Tam-Tams/Gongs, Nicophone; advanced

**new print edition by Verlag Neue Musik Berlin