gordon stout - marimbist, composer, educator

Story

During the semester break between fall 2016 and spring 2017 I finally composed my first "symphony" for orchestra!  It is yet untitled, and consists of three movements of about 26 minutes in length for full orchestra.  I hope to finish all necessary editing during the summer of 2017, after which I will generate a full score to shop around for possible a premiere performance.

It is scored for one each of piccolo, flute, oboe, english horn, e-flat clarinet, b-flat clarinet, bass clarinet, bassoon, contra-bassoon, 2 horns, 2 trumpets, trombone, bass trombone, tuba, percussion (timpani, percussion, chimes, bells, xylophone), celeste, piano, harp, and strings.  This is likely not for a high school orchestra, unless it is a really, really, good one (with harp and celeste).  It should be playable by a good/excellent college orchestra, and certainly by a good professional group.

gordon stout - marimbist, composer, educator

Story

Written in December of 2016 for the Ithaca College Graduate Percussion Quartet, and premiered during the spring of 2017.  This work is scored for xylophone, two marimbas and drum set.  The first marimba part needs a 4.3 marimba, and the second a 5.0 instrument.  This is a fun and lively work of just over 5 minutes in length, perhaps best suited as a program opener or closer.

It is not yet scheduled for publication by KPP, so write me if you are interested in a possible performance.

gordon stout - marimbist, composer, educator

Story

This fun and exciting work for 5.0 solo marimba was written for Lindsey Eastham in December of 2016.  She premiered on a MM recital at Ithaca College in the spring of 2017.  The recording contained herein in from an informal session with Lindsey, and although beautiful in capturing the true spirit of this music, there is one nbo great edit (badly done on my parts with Sound Studio).  This should become a very popular piece for marimbists!!

It is not yet schedule for publication by KPP, and so please write to me if you are interested in a performance of this new and exciting composition!!

gordon stout - marimbist, composer, educator

Story

This beautiful composition for 5.0 marimba was written for Larissa Venzie, my good friend and colleague.  It emphasizes the expressive and lyrical aspects of marimba performance and sound, and Larissa's recording contined herein is beeautiful in every way.  She performs on a Concert model marimba made by Doug DeMorrow, which has an amazing sound (listen with head phones).

It is not yet scheduled for publication by KPP, so please write me if you are interested in arranging for a performance of this composition.

gordon stout - marimbist, composer, educator

Story

The work for solo 5.0 was composed while I was teaching at the Domaine Forget summer percussion workshop north of Montreal, Quebec during the summer of 2016.  It has not yet been premiered, and is likely about the level of difficult of Quondom Relections.  It is not yet scheduled for publication by KPP, so write me if you are interested in arranging for a performance of this fun and interesting composition.

gordon stout - marimbist, composer, educator

Story

The is for marimba solo (5.) and five percussion, and was written for the UT Austin Percussion Studio, Thomas Burritt, director, and Andrew Sickmeier, marimbist.  They premiered on the UT Austin Showcase Concert at PASIC 2016 in November of 2016, and will release a recording of it on CD sometime in 2017.

It is a work of about 6 1/2 minutes, and would serve well as the opener of closer to a percussion concert.  Similar to my work Four Faces, this work is scored in such a way in an attempt to not over balance the sound of the marimba.  Instruments include: 3 cymbals, Venezualan maracas, bongos, and high and low drum.

gordon stout
2016-01-17

Story

The work was commissioned by the Hawaii Youth Percussion Ensemble and was premiered at the 2016 National Conference on Percussion Pedagogy.  It is score for six percussionists: 1-bells and chimes, 2-vibraphone, 3- 4.3 marimba, 4-5.0 marimba, 5-5.0 marimba, 6-5.0 marimba, and is around six and a half minutes in length.  It is a work which emphasizes musicianship and musicality from the ensemble.  The second part of the work is a beautiful chorale.

The recording contained herein is an mp3 from the Sibelius file, using Sibelius 6 Essential sounds.  I apologize for the awful sounding rolls in the chorale part of this piece.  Sibelius doesn't enable them to sound real.  You will get the idea for now.

gordon stout
2016-01-13

Story

Finished on December 30, 2015, this is a tone poem for marimba, two oboes, two horns, three violins and two percussion.  This work was premiered at Ithaca College in February of 2017,

The recording contained herein is, for the moment,  an mp3 of the Sibelius file, using Sibelius 6 Essential sounds. 

gordon stout
2016-01-13

Story

My first composition of 2016, this short marimba solo (5.0) over just over four minutes has not yet been premiered.  I have dedicated it to my former student, Andrew Thomson who will play it later in 2016 (I hope).  It is translated from the French to English as Short Dance.

The recording contained herein is an mp3 from the Sibelius file, using Sibelius 6 Essential sounds.

gordon stout
2016-01-13

Story

This is my third work for marimba orchestra, and was written for the Celebrate Musser Festival at Kutztown Univerisity, PA in November of 2015.  It is a kind of concerto grosso style composition, featuring two marimba soloists with marimba orchestra.  The soloists for the premiere performance were Bob Becker and Yurika Kimura.  The orchestra was conducted by Gordon Stout.  The orchestra are written such that there are tutti and soli sections.  Bob and Yurika really like the composition, and I hope it receives lots of performances in the future (of course).

The recording contained herein is an mp3 from the Sibelius file, using Sibelius 6 Essential sounds.  For sonic clarity, the two marimba soloists in this file sound like a concert piano.

gordon stout
2016-01-13

Story

This is a beautiful work for solo 5.0 marimba, dedicated to Nancy Zeltsman.   It was premiered by Gordon Stout at Ithaca College in 2016, and shortly afterwards by Ayami Okamura in Boston.  It is an Anthem which depicts the silence that be peronsally achieved when the marimba is played with a singing, lyrical style, concerned more about tone quality than virtuosity.  It is in a small way paying homage to the music of Daniel Levitan.

gordon stout
2016-01-13

Story

The composition was written for The Tchiki Duo from Lausanne, Switzerland.  They are Nicolas Suter and Jacques Hostettler.  The premiere performance was at KALIMA 2016 in Lausanne.  It was an amazing experience for me, as their playing in magnificent is all respects.  This is a very difficult piece, for two 5.0 marimbas.  I absolutely love this music!!!

The recording contained herein in an mp3 from the Sibelius file, using Sibelius 6 Essential sounds.

gordon stout
2015-11-11

Story

Uninhabited Admittance is a many faceted composition for solo 5.0 marimba.  It is lyrical, jazzy, rhythmically varied, and a great deal of fun to play.  This should be an audience favorite, being in a largely tonal harmonic style, but with Stout’s unique vocabulary.  Highly recommend for the advanced marimba recital. It is published by Keyboard Percussion Publications (www.mostlymarimba.com).

The recording contained herein is from a Faculty Recital at Ithaca College that I gave on 10/4/15.  Pretty good performance.  Not perfect, but good enough to get the idea of the music.  Enjoy!!

gordon stout
2016-01-13

Story

This is a virtuoso work for marimba and drum set.  It was written for Marco Schirripa (marimba) and Anthony DiBartolo (drum set)m who premiered it at ZMF2015 at Rutgers University in New Jersey.  

I consider it the logical extension of Incoming (drum set and marimba - 2002) and Outgoing (marimba, piano, timpani and two percussion - 2011).  A belly button can be either an  "inny" or an "outy" which is therefore the title of this work.  There is a quote from the music from the  Woody Woodpecker cartoons, if you can catch it!

The recording contained herein is an mp3 from the Sibelius file, using Sibelius 6 Essential sounds.

gordon stout
2016-01-13

Story

This beautiful work for 5.0 marimba was premiered by Alice (Yun-Ju) Pan t Michigan State University in April of 2017.  Alice will also record it on her debut CD in October of 2017.  It is dedicated to my friends Colleen Clark and Nani Marquez.

The recording contained herein is an mp3 file from the premiere by Alice Pan at Michigan State University in April of 2017.  Thanks, Alice!!

gordon stout
2016-01-13

Story

For flute and marimba (5.0), this work is dedicated to the students of Vale Venito in Brazil, after the first summer I taught there in 2013.  It is a virtuoso work for the two instruments, and has not yet been premiered.  Only the most advanced musicians should consider this work.  I think it is some of the most beautiful music I have composed.

The recording contained herein in an mp3 from the Sibelius file, using Sibelius 6 Essential sounds.

gordon stout
2015-08-14

Story

Afternoon Footprints was written for solo marimba (5.0) in 2014. One of Stout’s most recent compositions for solo marimba, it is approximately 7’40” in length. It was composed with the thought of watching someone walk around the streets of Paris, going through different neighborhoods and viewing some of the many and varied sites that make up the beautiful city of Paris. Highly suitable for the advanced marimba recital, this work will be appreciated by non marimbists, the general public, as well as marimbists who want a work that concentrates on musical virtuosity.  It is published by Keyboard Percussion Publications (www.mostlymarimba.com).

The recording contained herein in an mp3 from the Sibelius file, using Sibelius 6 Essential sounds.  Enjoy!!

gordon stout
2015-11-11

Story

Four Faces is score for 5.0 marimba soloist, four percussionists, and electric bass.  The percussion parts are written for all small, hand-held instruments (except for the cajon), with no drums, cymbals, tam tams, and other large and loud sounding percussion instruments.  This was done so the marimbist wouldn’t have to play with excessive force to balance the quartet and bass.  Rhythmically extremely interesting, and not at all like any other music for marimba solo and percussion quartet.  Check it out!  It is published by Keyboard Percussion Publications (www.mostlymarimba.com).

The recording contained herein, is from a performance a couple of years ago at ZMF, when it was held at Rutgers University!

gordon stout
2016-01-13

Story

An extremely difficult work for solo 5.0 marimba, this work was premiered by Marco Schirripa in the spring of 2017 at Tennessee Tech Univeristy.  It is only for the most advanced player, but has many musical rewards, as a multi-sectional piece with lots of different moods and feelings in the music.   

gordon stout
2015-11-11

Story

Something To Do With Grace is for a 5.0  solo marimbist and eight percussionists.  Written for James Armstrong, and his All-Star High School Percussion Ensemble in Lancaster, PA, and soloist Grace Asuncion.  With a good advanced level high school marimbist and percussion ensemble, this should be a very programable work, that audiences will find interesting and accessible. It is published by Keyboard Percussion Publications (www.mostlymarimba.com).

The partial recording here is from a concert on April 16, 2016 at Ithaca College, with Grace Asuncion on marimba, and the New Jersey Youth Symphony Percussion Ensemble, Dr. Ken Paiscik conducting.

gordon stout
2016-01-13

Story

Written for my student Taylor Katanick, and premiered by Taylor and myself in 2014 at Ithaca College.  Published by KPP (www.mostlymarimba.com).  A really fun duo, requiring two 5.0 marimbas.

The recording contained herein is an mp3 of the Sibelius file, using Sibelius 6 Essential sounds.

gordon stout
2016-01-13

Story

For marimba duo (two 5.0's), this is a cross between a Bossa and a Toccata.  A difficult work, as yet it has not been premiered.  Any takers?  Scheduled for publication by KPP (www.mostlymarimba.com) sometime in 2016.

The recording contained herein is an mp3 from the Sibelius file, using Sibelius 6 Essential sounds.

 

gordon stout
2016-01-13

Story

My very first composition employing vibes in a solo context.  This duo is for EASTHAMA, the mallet duo consisting of Lindsey Eastham and Hiromu Nagahama, who were winners of the Duo Category at the last Southern California International Marimba Compeition in 2013.  Published by KPP (www.mostlymarimba.com), spring 2016.

The recording is from a graduate recital with EASTHAMA (Hiro Nagahama and Lindsey Eastham) at Ithaca College on April 17, 2016.

gordon stout
2015-08-14

Story

Cerulian Landscape was written for solo marimba (5.0) in 2013 for Japanese marimbist Kana Omori. It is a moderately difficult work of 6'24” in length, in a freely composed style and form, progressing through various beautiful, and lyrical landscapes. This is an excellent work to showcase the versatility, and expressiveness of your musicality, and is highly recommended for a college level recital. It is published by Keyboard Percussion Publications (www.mostlymarimba.com).

The recording contained herein is from the Capriccio Grazioso CD by Kana Omori.  It is available from www.steveweissmusic.com and is a very wonderful performance of this piece.  Thanks, Kana!!

gordon stout
0000-00-00

Story

Written in 2012 for two marimbas, both needing a 5.0 instrument.  Premiered at Ithaca College in 2014 with Gordon Stout and Kate Burns (Vorel).

The recording contained herein is an mp3 from the Sibelius file, using Sibelius 6 Essential sounds.

gordon stout
2015-11-11

Story

Outgoing 2 is for a difficult work for a large percussion ensemble of 12 players.  It is an orchestration of the original version of Outgoing (for piano, marimba, timpani, and two percussion).  This is, however, a very exciting composition, with lots of groove, intensity, and fun sections.  Highly recommended for the advanced college percussion ensemble. It is published by Keyboard Percussion Publications (www.mostlymarimba.com).

gordon stout
2015-08-14

Story

Outgoing (original version 2011) is scored for piano, marimba (5.0), timpani, and two percussionists, and is approximately 9’30” in length. In instrumentation only, I had in mind the Sonata for two pianists and two percussionists by Bartok. The marimba part is the second piano part. There is a highly chromatic timpani part as in the Sonata. The percussion parts are really in effect a drum set part split into two parts, one playing drums and one playing cymbals, thus completing the similarity in instrumentation to the Bartok Sonata. This is a broad and expansive work, encompassing a number of different styles of music and expressive capabilities of this exciting chamber group. I also think of this work an expansion of Incoming (2002) for drum set and marimba. Both compositions are published by Keyboard Percussion Publications (www.mostlymarimba.com).

gordon stout
2012-05-31

Story

For solo marimba. This was commissioned by the James Madison University percussion studio. Premiered by Michael Overman at JMU.  For 5.0 marimba.  An example of my more tonal works of the last few years. Published by Keyboard Percussion Publications (www.mostlymarimba.com).

gordon stout
2012-07-15

Story

 This is the quartet version of the original composition for marimba orchestra. It requires four 5.0 marimbas.  In stead of having marimba 1 and 2 each divided into three parts at times, in the Quartet version marimba 1 and 2 play all of the notes in those sections.  There is no difference in the marimba 3 and 4 parts. Published by Keyboard Percussion Publications (www.mostlymarimba.com).

The recording contained herein is by the Heartland Marimba Quartet, led by the incomparable Matthew Coley!  This is a wonderful performance of this piece, with the right tempos, dynamics, musicality, style and spirit!  Looking forward to their professional recording in the future.  5/29/17

gordon stout
2012-07-31
For marimba orchestra

Story

Commissioned and composed for the Percussive Arts Society and it's 50th anniversary celebration in 2011. Premiered at PASIC 2011 in Indianapolis, by 50 great marimbist and friends of mine. Principal marimba1 and concertmaster: bob Becker. Principal marimba2: Kevin Bobo. Principal marimba 3: Michael Burritt. Principal marimba 4: She-e Wu.  Published by Keyboard Percussion Publications (www.mostlymarimba.com).  Since the premiere, NYT has also been performed in Croatia, Switzerland, at Temple University, and most recently at the UNT Keyboard Percussion Symposium 2015

gordon stout
0000-00-00

Story

For marimba, two flutes, and percussion. Movements are: Dance(2010), Bossa(2010), March(2011), and Song(2011). Written for Elayne Harris, and premiered at Ithaca College.  These works take many of the stylistic elements from my Choros 1-7.  The two flutes take on the same kinds of melodic/hamonic ideas that were developed in Choros 6 & 7, particularly.  The drum in March should be a Becker/Mudra drum.  Published by Keyboard Percussion Publications (www.mostlymarimba.com).

The recordings are from a recital that Marco Schirripa gave at Indiana University.  The piece is in four movements:  Dance, Bossa, March, Song, and is almost 20 minutes in length total.  These are some of my most favorite compositions.  Please check them out and consider performing them.  Great fun!!

gordon stout
0000-00-00

Story

For two marimbas, both 5.0.  This is an exciting and virtuosic work, written for Marco Schirripa and SeanGill, who gave the premiere performance and recorded it on Stout’s most recent CD Welcome to Stoutland (www.gordonstout.net). The “whirlwind” portion of the title refers to the fast passage work in the marimba one part. The “Africa” portion of the title refers to the rhythm of the marimba two part, which is in large part based on the African double bell pattern. This work requires mature performers who posses excellent technique and advanced ensemble skills.

 Published by Keyboard Percussion Publications (www.mostlymarimba.com).

The recording contained herein, is from my Welcome To Stoutland CD, which is available from this website, iTunes, CD Baby, Facebook, and www.mostlymarimba.com.

gordon stout
2016-01-13

Story

This marimba part to this version is exactly the same as the original for solo marimba (2010).  There are now additional string parts  (two violins, viola, and cello) to accompany this solo.  Very easy string parts, thought it would take five mature musicians to make this come alive.  An even more beautiful version of one of my most beautiful compositions.  The recording contained herein is by Adam Blackstock, who is the Professor of Percussion at Troy University in Alabama.  I am not sure of the location of the performance, or who the string players are.

gordon stout
2010-11-15

Story

Written for Joshua Oxford, former student, who was in a terrible car accident in the summer of 2010. All royalties from the sale of this work go directly to Josh. It's a very beautiful composition! For five octave marimba solo.  Published by Keyboard Percussion Publications (www.mostlymarimba.com).

gordon stout
0000-00-00

Story

For marimba, percussion, violin, soprano saxophone, classical guitar, and upright bass. The last in the series of Choros that I wrote.  Published by Keyboard Percussion Publications (www.mostlymarimba.com).

The recording contained herein is an mp3 file from the Sibelius file, using Sibelius 6 Essential sounds.  Not too bad.  Will definitely give you an idea of the piece.

gordon stout
0000-00-00

Story

For marimba, percussion, violin, soprano saxophone, classical guitar, and upright bass. The companion work with Choro No. 7, this fun and engaging composition. Published by Keyboard Percussion Publications (www.mostlymarimba.com).

The recording contained herein is an mp3 file, from the Sibelius file, using Sibelius 6 Essential sounds.  Not too band.  It will give a good idea of the piece.

Gordon Stout
0000-00-00

Story

A not too difficult four mallet solo for 5.0 marimba, this fun work is dedicated to Tony McCutchen and the UGA percussion studio.  Should be very playable by most high school students and all younger college students.  Published by Keyboard Percussion Publications (www.mostlymarimba.com).

Recording contained herein is an mp3 from the Sibelius file, using Sibelius 6 Essential sounds.

gordon stout
0000-00-00

Story

For percussion quintet. Commissioned by Ruth Underwood. Written for Nexus. Dedicated to Robin Engelman and Warren Benson. Premiered by Nexus in Toronto,2008.  Published by Keyboard Percussion Publications (www.mostlymarimba.com).

5/29/17. Wow!  I just listened to an amazing and beautiful performance of my Prelude: A Winter Song by the Pawrence University Percussion Ensembe, directed by Dane Richeson.  It was performed on their end of the year percussion ensemble concert yesterday (5/28/17) to open the concert.  It was truly a wonderful performance, bringing out the song like atmospere of the composition, and with direction and intensity as well.  Please check out this performance!!

The sound file is now posted in the Compositions part of this website.

You can also see the archived live stream at:  https://www.lawrence.edu/conservatory/webcasts

The rest of the concert is quite excellent as well!  You will enjoy the entire show if you have the time!!

gordon stout
0000-00-00

Story

For two marimbas and cajon/percussion. Originally written for marimba, violin and percussion - the same combination of instruments as Choros 2, 3, and 4.  I changed it to two marimbas and percussion because I felt it better fit the nature of the music.  Published by Keyboard Percussion Publications (www.mostlymarimba.com).

The recording contained herein is an mp3 file from the Sibelius file, using Sibelius 6 Essential sounds.  Not too bad.  Should give you a good idea of the piece.  As of January 12, 2016, this work has not yet been performed.  Any takers???

gordon stout
0000-00-00

Story

For marimba, cajon/percussion, and violin. Written for Gordon, Dane, and Susan.  The third Choro for this instrumentation, the others being Choro 2 and 3.  It is the most complicated of three, but with some great percussion grooves!  Published by Keyboard Percussion Publications (www.mostlymarimba.com).

The recording contained herein is an mp3 from the Sibelius file, using Sibelius 6 Essential sounds.  Not too bad.  It should give you a good idea of the music.

gordon stout
0000-00-00

Story

For marimba, cajon/percussion , and violin. Written for Gordon, Dane, and Susan.  This is really fun to play for the marimbist and percussionist, and I hope for the violinist too!!  Published by Keyboard Percussion Publications (www.mostlymarimba.com).

The recording contained herein, if from my Welcome To Stoutland CD, which is available from this website, iTunes, CD Baby, Facebook and www.mostlymarimba.com.

gordon stout
0000-00-00

Story

For marimba, cajon, and violin. Written for gordon, Dane Richeson, and Susan Waterbury.  The first of three Choros for this instrumentation (Choros 2, 3, and 4).  The marimbist needs to be able to effectively play tenths in the low register of the 5.0 marimba.  I had originally thought to write the violin part for bandoneon, but since I didn't know anyone that played that, I "settled" for violin, and the great musicianship of Susan Waterbury.  Published by Keyboard Percussion Publications (www.mostlymarimba.com).

The recording contained herein, is from my Welcome To Stoutland CD, which is available from this website, iTunes, Cd Baby, Facebook and www.mostlarmarimba.com

 

gordon stout
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For marimba and pandeiro. Written for Dane Richeson and Gordon.  Dane is an incredible percussionist, and plays a wonderful pandeiro.  The notation for the pandeiro is taken from "Pandeiro Brasileiro, Volume 1" by Luiz Roberto Sampaio and Victor Camargo Bub.  It is available from Steve Weiss Music, and comes with a DVD.

The recording contained herein, comes from my Welcome To Stoutland CD, which is available from this website, iTunes, CD Baby, Facebook, and www.mostlymarimba.com (KPP publishes the music as well).

This is the first in a series of seven Choros that I have composed.  I have tried to take one aspect or another, not in any formal way, of some of the Choros that I know (Marcellino in particular), and incorporate that into my own music.  

Choros 2-4 are for marimba, violin, and cajon/percussion.

Choro 5 is for two marimbas and cajon.

The Choros are all published by Keyboard Percussion Publications (www.mostlymarimba.com)

Choros 6 & 7 are for marimba, violin, soprano saxophone, classical guitar, upright bass, and percussion.

for marimba orchestra
2012-07-15

Story

This work wascompleted in the fall of 2005. It was composed expressly for the Taiwan International Percussion Convention 2005, and is dedicated to Tzong-ching Ju for his tireless devotion to the development of percussion and the marimba in Taiwan. I tried to capture the breadth, scope and magnificance of the sound of the marimba orchestra in this music, and the image of large and beautiful mountains came to my mind.. There is an “endless” rhythm which goes throughout almost all of the piece. And, of course, the most important part of the marimba is the wood that makes the keys (Honduras Rosewood). I have always been fascinated in the marimba as a lyrical and vocal instrument - “the wood that sings” - and therefore have some of the marimbists singing throughout the composition. It is my hope that this music will successfully enable the spirit and sound of the marimba orchestra to entice your ears, and touch your heart.  Published by Keyboard Percussion Publications (www.mostlymarimba.com).

The recording contained herein is an mp3 for the Sibelius file, using Sibelius 6 Essential sounds.

gordon stout
0000-00-00

Story

So called the "Seminar Etudes". The first three  were written in 2003 for my first trip to Hungary, where I taught at the Bartok Academy. I had no idea what the students would be like, or what their abilities would be.  So these three Etudes are all based on the same material, like a theme and two variations.  There are two that were written for the Zeltsman Festival in Boston, and one the  Stevens seminar. For intermediate level marimba, these should be playable by almost any college level marimbist or younger.  Published by Keyboard Percussion Publications (www.mostlymarimba.com).

The recording contained herein is an mp3 from the Sibelius file, using Sibelius 6 Essential sounds, of the Stevens Seminar etude - No.5 of this collection.

for two marimbas
0000-00-00

Story

2004. This work is dedicated to the wonderful Japanese marimba virtuoso, Momoko Kamiya. The music is very dance like in quality, going over and over through mostly the same sequence of harmonies while melodic variations are developed. The melodic ideas become more and more like a bird (or flute) singing as the work progresses. A “skylark” is a bird (lark) that sings as it rises skyward. I sometimes see colors for certain pieces of music, and this music always struck me as having the color of orange associated with it. Therefore, as the music continually dances in a circular and joyful fashion, the “skylark” sings in the orange sky.  Published by Keyboard Percussion Publications (www.mostlymarimba.com).

The recording is from:  Welcome to Stout (available from a variety of sources, including this website, with Gordon and Erikao Daimo).

for xylophone solo and percussion quntet
0000-00-00

Story

2005. Migratory Systems is dedicated to the great xylophone virtuoso Bob Becker. The idea for the composition came after completing Route 666 (2004) for marimba solo and percussion quartet. In the last ten years or so, there has been an explosion of new works in the genre of marimba with percussion, but almost none featuring the xylophone as a solo instrument. The success of the xylophone as a solo instrument is well established through the ragtime and novelty music of such great composers as George Hamilton Green and many others. It was curious to me that very few, if any, have thought to continue that tradition through the composition of new works that go beyond that style from years ago. That was the impetus to write Migratory Systems. It is a multi movement composition, that seeks to explore the possibilities of the xylophone in new settings, while at the same time paying homage to great composers of xylophone music of the past. The Introduction, Dance 1 and Interlude 1 present and develop the basic material of the composition. In Dance 2, I was thinking of the wonderful and challenging xylophone part in Cowell’s work for percussion ensemble, Ostinato Pianissimo. In Interlude 2, I use the xylophone to orchestrate the harmonics of the marimba. And in Dance 3 I have tried to tie together the basic material of the composition while transforming the “ragtime xylophone” style of the past in to a new kind of setting.  Unpublished and unperformed as of April, 2015.  To be published in the future by Keyboard Percussion Publications (www.mostlymarimba.com).

The recording contained herein is an mp3 of the newly edited version of this piece.  It was premiered at Ithaca College in April of 2017, and subsequently edited with many changes and improvements.  I believe this piece is now ready for performance by any good college percussion ensemble with a great xylophonist.  It is not yet scheduled for publication by KPP, so write to me if you are interested in a possible performance.

solo marimba
0000-00-00
Sound Clip - complete. The premiere performance, by Larissa Venzie at Ithaca Colleg, spring 2007.

Story

A great set of recital pieces, for the advanced high school or college student. Not as difficult as some of my music, and very enjoyable musically. Dedicated to Larissa Venzie, who did the premiere performance in the spring of 2007. That performance is included here in its entirety. Enjoy!!! 1. A Lullaby Dancing (for Vicky Lau-a present for her birthday!) 2. Song 3. Waltz (for Doug Johnson-great jazz pianist, who introduced me to the music of Brad Mehldau) 4. Dance-Finale.  Published by Keyboard Percussion Publications (www.mostlymarimba.com).

You should also most certainly check out Tom Burritt's performance of these pieces on his most recent CD: Groundlines, available at iTunes or www,mostlymarimba.com.  A stunning performance of my music!!!  The rest of the CD is amazing as well.  Check it out for sure.

solo marimba
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Story

Four new and wonderfully contrasting pieces, carrying on in the same variety of musical styles as the first four Episodes. 5. Sweetly and languorous 6. Tango 7. Expansively, very expressive 8. Moderately.  Published by Keyboard Percussion Publications (www.mostlymarimba.com).

for marimba solo and percussion quartet
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Story

2004. This work was commissioned by my friend and colleague Leigh Howard Stevens. The idea for the music initially came from some music that I heard on the radio that captivated my attention. It consisted of simple harmonies in simple rhythms, over which there were faster and rhythmically active melodic ideas. I used that textural situation to start the ideas for this composition. Three minor triads each a minor third apart form the basic harmonic and melodic language of Route 666. A compositional technique which is new to me, and is used prominently in this composition, is what I call “tiled retrograde”. A series of measures is put in retrograde fashion, however this retrograde process each individual measure is kept in its original order. It is only the bars themselves that are put in retrograde fashion, as if one was picking up a moving a set of tiles in “leapfrog” fashion. One of the most famous and historical roads in America is Route 66. There is a certain mystique associated with that road, which I have tried to capture in the music of this piece. I have added an extra “6” to 66, making “666”. This number sometimes signifies the devil, and is appropriate to this piece, which is devilishly difficult! I have also used a sonic concept that was introduced to me by Robin Engleman of the Nexus percussion group. That group has collected thousands of wonderful percussion instruments from around the world, with many unique and individual sonic properties. Robin commented to me once that he felt composers who wrote music for Nexus should let the individual members of the group choose their own instruments, from amongst their own individual and collective collections of instruments. I felt the same way when I learned that Amadinda was to premiere Route 666. Who am I to tell them what instruments to choose to play my composition? They have also collected instruments from around the world, with many totally unique and individual sonic properties. I determined the general category of instruments for each part, but have let each member of Amadinda determine what actual instruments to play. I am excited by the fact that as a result I will not have any idea what my music will sound like until the very first rehearsal! Some guidelines are given, as follow: Percussion 1 - The sound I have in mind is that of an LP Cabassa. It may be more practical, however, to play this part with sticks, in which case a different instrument would be chosen, possibly small closed hi-hat, or Engleheart ribbon crashers. Try to find some instrument that approximates the sound of a cabassa, yet produces enough volume to balance with the overall volume level of the other four players. If the part is played with sticks, then choose some kind of wooden percussion instrument for m.s 36-40. Otherwise remain on the same instrument throughout. Percussion 2 - Instrumentation (notation key provided with the part): -three low drums (preferable double headed, and sounding like low tom toms. traditional concert ton toms are acceptable as a last resort) -two medium drums (conga drums are the right kind of sounds) -two high drums (timbale and bongo are the right kind of sounds) -two wooden instruments (wood block or temple blocks are the right kind of sounds. Generally higher, not lower, such as logdrums) -four cymbals or metal instruments (one china, small and large crash - they must not have along sustain, but rather get out of the way quickly - and one ride cymbal (flat top ride is the right kind of sound). Other metal instruments might be chosen. Keyboard 1 & 2 - It is possible to select many different mallet instruments. The written pitches will sometimes dictate which mallet instruments to play. Other times there may be a choice. Piano is also possible, as is synthesizer, malletkat, etc. Solo Marimba - A five octave marimba is required. If necessary, don’t be afraid to amplify the marimba for balance reasons.  Published by Keyboard Percussion Publications (www.mostlymarimba.com)

solo marimba
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2004. One of Stout's most recent compositions for solo marimba, Beads of Glass is a beautiful tapestry of tonal sounds for a five octave marimba. It's level of difficulty is comparable to Stout's Astral Dance. The work is about 8 minutes long, and provides the marimbist the chance to showcase the beautiful sounds of the marimba, mostly in the middle and low registers. It is dedicated to Leigh Howard Stevens, because the music was initially considered as material for a commission from Leigh for marimba solo and percussion quartet. As the work progressed however, it became claer that adding percussion was not appropriate for the nature of the music, and that it would be better suited for marimba alone. This beautiful piece should become a favorite for marimbists who want to showcase the sound of the marimba and their musical artistry. Published by Keyboard Percussion Publications (www.mostlymarimba.com).

solo marimba
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Story

2003. Wood That Sings was written for, and premiered, at PASIC-Columbus in November of 2002 by the composer. The original title that I had in mind was Marimba D'Amore. However, out of respect and admiration for Keiko Abe (who already had a piece by that title) I decided to rename this work. The idea that the marimba is the wood that sings, has always been a very important concept to me, so that is how I arrived at the title. I also had in mind some of the very beautiful and lyrical works for solo guitar by composers such as Villa Lobos, Granados, and many others. The piece is dedicated to my wife, Christy. Published by Keyboard Percussion Publications (www.mostlymarimba.com).

marimba duet
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Sound Clip - complete

Story

2002. The first word of the title combines the two first names of students of mine at the time - Larissa plus Luci equals Laruci. It was premiered by Gordon Stout and Thomas Burritt at the University of Texas-Austin in April of 2002, and subsequently performed by Leigh Howard Stevens and She-e Wu in Taipei, Taiwan that summer. This is a very difficult work of some 7-8 minutes in length. The music is based on the kind of musical marimba game idea that was prominently used in Rumble Strips (2000), by Gordon Stout. It is fun, happy, crazy, and exciting all at the same time. Laruci In The Sky will be a great showcase for two really good marimbists who like to work together. Published by Keyboard Percussion Publications (www.mostlymarimba.com).

marimba and drum kit
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Sound Clip - partial

Story

2002. This exciting composition was written for Steve Houghton and Gordon Stout, after we taught together at the 2002 Ju Percussion Group Summer Percussion Camp in Taipei, Taiwan. While eating lunch with the 250 students one day, someone gave me a drink, which turned out to be pearl milk tea, a local favorite. It is made from tea with milk and tapioca balls, and comes with a large enough straw so that the tapioca balls can be sucked up with the milk tea. Steve noticed that he could see the tapioca balls passing through the clear straw, and with each drink would declare incoming! Everyone thought that was really funny. I told Steve it would a great title for a composition, and that I would write a piece for the two of us with that title, and here it is. Incoming was premiered at PASIC-2002 in Columbus, Ohio during a clinic/performance by Gordon Stout. His popular solo composition Wood That Sings was also premiered at that session. Incoming is a virtuostic composition for the two players, using the drumkit as a multiple percussion instrument. The drummer has the opportunity to improvise in different sections of the work, and requires the ability to solo in different and changing meters. It requires a five octave marimba and is about 8 minutes in length. Published by Keyboard Percussion Publications (www.mostlymarimba.com).

solo marimba
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Sound Clip - Mvnt.2(partial)

Story

2000. Completed in September of 2000, this is one of my more recent works for solo marimba. It was composed specifically for my solo marimba CD Astral Projections (Rosewood Records). The title refers to the warning bumps or grooves that are often encountered on our roadways, which produce a sudden and unexpected rumbling when driven over. These rumble strips are depicted musically throughout the composition. Rumble Strips was premiered by She-e Wu at PASIC-2000 in Dallas, TX.  Recorded: "Astral Projections", Resonator Records (www.mostlymarimba.com) 00042. Also recorded by She-e Wu: "Snapshots", Resonator Records.  Music published by Keyboard Percussion Publications (www.mostlymarimba.com).

marimba and piano
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Sound Clip - complete

Story

1999. This work was commissioned by the Rivers Music School (Boston, MA) for the 22nd Annual Seminar on Contemporary Music for the Young. It is dedicated to Sarah Tenney and her 13 year old student Eugene Lee. The most important challenge for me was to write music for the marimba that could be well played by a young student, as this is not something I have not done a great deal of. This task did not change the basic way in which I compose, however. I worked out a few bits of material while playing the piano. I then began to explore that material in many different ways, until I decided on the basic nature of the music to be written. Everything was then organically derived from those first few bits of material. The title of the piece is a combination of rivers from the Rivers Music School and wood, the material of the marimba bars. Perhaps the rivers portion of the title may also refer to the organic and flowing nature of the music, and the way that the same material keeps flowing throughout the entire work. This work was premiered in April of 2000, with Eugene Lee (13 years old) as soloist.This work is about 8 minutes in length. It was originaly for marimba solo and chamber orchestra. I hope to make that version available soon. It is currently for sale in the marimba and piano version.   Recorded: "Astral Projections", Resonator Records (www.mostlymarimba.com) 00042. Publshed by Keyboard Percussion Publications (www.mostlymarimba.com).

solo marimba
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Sound Clip - partial

Story

1998. This piece was commissioned by and composed for marimbist Robert VanSice. It is structured in four main sections. Each section is based to a degree on the material contained in the very first measure. Sometimes material is derived through a variety of structural manipulations, and other times through a more loosely organized process of transformation. The piece seemed to have an organic or earthy quality, and therefore the use of the word sedimental in the title. Recorded: "Astral Projections", Resonator Records (www.mostlymarimba.com) 00042. Published by Keyboard Percussion Publications (www.mostlymarimba.com).

large percussion ensemble
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Sound Clip - complete. This is the premiere performance of this work, given on May 12, 1998 at Northwestern University, Michael Burritt conducting.

Story

Check out this wonderful and amazing performance by the TCU Percussion Ensemble, Brian West conducting, from 2016.  This is the best performance to date of this piece.  I love it!!

https://www.youtube.com/watch?v=9goupyinaLE

Posted:  1/24/ 2017

 

1998. This is a difficult work of about 13 minutes in length for large a percussion ensemble of 11 players (one 5.0 oct. mba. required). All percussion instruments are traditional, except for one player on lead steel drum, one player on djembe, and one player with eight tunable tom toms (or roto toms). This piece was commissioned by Michael Burritt and the Northwestern University percussion ensemble, and was premiered in May of 1998, Michael Burritt directing. The original musical ideas for the composition were created the day after the death of Princess Diana. The title refers to attitudes which cause many negative and unnecessary things to happen. There seems to be a great appetite for these kinds of things in our society today. The music bears no resemblance to the original ideas that I composed on that dark day. Instead, as the music progressed, it took on a more happy, vital, and dance like spirit . Published by Keyboard Percussion Publications (www.mostlymarimba.com).

bassoon and marimba
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Sound Clip - complete

Story

1997. The third work in this genre that I have composed, it is an exciting and virtuosic composition for these two instruments. It requires mature performers. The premiere performance was at The International Double Reed Society Conference, June 1997, Northwestern University, Evanston, Illinois, with Lee Goodhew on bassoon. Published by Keyboard Percussion Publications (www.mostlymarimba.com).

solo marimba
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Sound Clip - Episode No.1 (complete)

Story

1994-95. Each episode represents a different musical style. The first one is a reworking of an earlier composition. The second one is my way of paying homage to Smadbeck's Rhythm Song, and the third to Chick Corea's Children's Songs. The fourth episode doesn't really have a story, but is still fun to play.  Recorded: "Astra Projections", Resonator Records 00042 (www.mostlymarimba.com).  Published by Keyboard Percussion Publications (www.mostlymarimba.com).

two marimba soloists and wind ensemble
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Sound Clip - complete. This is the recording with the Lawrence University Wind Ensemble, Dane Richeson and Gordon Stout, marimbas, on Mark Custom Recording Service, Inc.

Story

1994. This is a difficult work of some 19 minutes, consisting of a theme and five variations. It explores different musical and textural relationships between the two marimbists and the wind ensemble. The premiere performance was at Ithaca College in April of 1996, with the composer and Ted Rounds, marimba, conducted by Rodney Winther. This piece should provide a welcome addition to the concerto repertoire, allowing two advanced marimbists to be featured, and requires an excellent wind ensemble.  Recording: With Dane Richeson on "Air Mosaic", and the Lawrence University Wind Ensemble, Robert Levy, Conductor. Mark Custom Recording Service, Inc. 5341-MCD (www.markcustom.com).  Published by Keyboard Percussion Publications (www.mostlymarimba.com).

marimba and percussion duet
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Sound Clip - partial. Here's a taste of this work from a performance at Ithaca College right before we played at PASIC-Columbus in 1993. Leigh on marimba, Gordon on percussion.

Story

1992. This work was written for marimbist Leigh Howard Stevens, and premiered by Leigh (marimba) and Gordon (percussion) at PASIC-Columbus in 1993. It is a difficult work for the marimba, that again follows the diptych formula of fast-slow. The multiple percussion set up does not require too many instruments: vibes, bells, chimes, cowbells, temple blocks, splash cymbal,tom toms(2), bongos, and timpani. Published by  Keyboard Percussion Publications (www.mostlymarimba.com).

solo marimba
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Story

1990. A collection of 10 pieces for four mallet marimba, ranging in difficulty from moderate to difficult. My idea with these pieces was to write music for the intermediate marimbist, by limiting myself to two hours to start and finish a composition, thus forcing myself not to write music that was too difficult. I accomplished that goal with the first four Nocturnes before becoming more involved in the compositional process starting with the fifth Nocturne, thus ending up with more difficult compositions. They are mostly based on musical ideas, and thus weren't etudes to develop a specific technique. I didn't want to title them "preludes" (like the Helble compositions), and therefore the use of the word "nocturne" in the title. Timing: from 2-6 minutes each. Published by Keyboard Percussion Publications (www.mostlymarimba.com).

soprano saxophone and marimba
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Sound Clip - complete. This is a pretty intense and serious work, but I think it holds together quite well. Steve Mauk is an incredible saxophonist, and you will all enjoy his great playing.

Story

1990. Written for Steve Mauk, saxophonist, Ithaca College School of Music. An exciting and virtuosic work for soprano sax and marimba. There are three works in the Duo(Dance Song) series. The first was with trumpet, and the third is with bassoon. Performed w/Stout & Mauk at PASIC-1993, Columbus. Published by Keyboard Percussion Publications (www.mostlymarimba.com).

method book for marimba
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1990. Actually written in the 1970's, these exercises were developed on marimba from ideas I became aware of from my study of the piano. They will help the marimbist develop a sense of muscle memory for where the notes on the keyboard are, and how far the distance between notes is. Therefore, when reading music and playing, the marimbist will feel more confident of where the notes are, while looking at the music. Also included are some of my ideas for how to practice creatively. There is a section for two and four mallets, as well as some interesting exercises that are not so much related to ideo-kinetic concepts. A must for every serious mallet percussionist. Published by Keyboard Percussion Publications (www.mostlymarimba.com).

two marimbas
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Sound Clip - complete. This is from Michael Burritt's first recording, "Perpetual", from 1991. Michael and Gordon, marimbas.

Story

1989. This is again a two movement composition, the first being largely fast and the second slow. Both movements are based entirely on a single series of chords and the interval of a descending third. I had the distinct pleasure of recording this work with Michael Burritt on his first CD "Perpetual". Publisher: Ludwig Music.

marimba duet
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Story

A work of only moderate difficulty, 1980. The marimba 1 part is for two mallets, and the marimba 2 part for four mallets. This is a lively and fun work, which was derived from sketches of three short solo pieces that I had written. It is excellent for introducing younger marimbists to changing meter rhythms. Published by Keyboard Percussion Publications (www.mostlymarimba.com).

solo marimba
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Sound Clip - partial

Story

1979. This is a difficult work for four mallet marimba solo, based on a single theme and its variations. Most frequently, I perform this work with the Two Mexican Dances as a set titled "Three Dances for Marimba". It is a marimba dance in my mind because it combines melody and harmony through the rhythmic alternation of the two hands. I couldn't determine a nationality for the piece, as Warren Benson did with the Two Mexican Dances, so the "astral" in the title implies of a different world. Recorded: Astral Projections CD. Resonator Records (www.mostlymarimba.com).  Published by Keyboard Percussion Publications (www.mostlymarimba.com) 

marimba solo with percussion ensemble
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Story

1979. For eight players (one is piano and celeste) and solo marimba. Written for John Beck and the Eastman School of Music Percussion Ensemble, and commissioned by Richard Gipson and the University of Oklahoma Commissioning Series. My second composition for percussion ensemble, it again follows the musical plan of having the fast movement first, and the slow movement second. The primary rhythmic ideas were taken from some odd meter snare drum etudes that I had written, but never finished. This is a difficult work forpercussion ensemble, requiring a good pianist, and a marimbist who has a strong technique and sound. The percussionists are required to sing during one section of the slower movement. Publisher: OU Percussion Press

solo marimba
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Sound Clip - No.12 (complete)

Story

1976. Exclusively for two mallet marimba. Moderately difficult to difficult, including the popular Basically Broke Blues. These etudes came as a result of my rediscovering two mallet playing. I had been so consumed with writing for four mallet marimba that I almost forgot about playing with two mallets. So these pieces provided me with a way to return to my roots as a player.  Recorded: Etude No.s 11 & 12 on "Gordon Stout: Music for Solo Marimba (temporarily out of print).  Published by Keyboard Percussion Publications (www.mostlymarimba.com).

trumpet and marimba
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Sound Clip - complete. This recording is an "oldie but a goodie", from 3/2/87 at the University of Wisconsin-Whitewater. Performance by Gordon Stout and Robert Levy - The Wilder Duo. It's not perfect, but it has great feel to it, and will give you a very good idea of how the piece goes. Check out the great jazz licks by Levy!!!!!

Lyrics

1976. Written for Robert Levy and Gordon Stout (The Wilder Duo). This work was commissioned by The Society for Commissioning New Music. It is an exciting and virtuosic work for these two instruments, and one of my favorite compositions. Many of the ideas for this piece came from experimenting with rhythmic games that Bob Becker created in two of his early compositions, "Clave Pairings" and "Marimba Pairings". Published by Keyboard Percussion Publications (www.mostlymarimba.com).

solo marimba
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Sound Clip - No.9 (complete)

Lyrics

1975. Exclusively for four mallet marimba. These pieces are more lengthy and difficult than those of Book 1. In composing these etudes, I was more concerned with developing formal structures that a specific technique for each etude. The sixth etude is in a choral style. The seventh etude explores the use of glissandi. The eighth etudes is dedicated to Keiko Abe, and is in a variations form, and is probably one of the most difficult pieces I have composed. The ninth etude is one of my most favorite pieces to perform, and is influenced by jazz rhythms and figures. The tenth etude is a twelve-tone composition. Recorded: "Gordon Stout: Music for Solo Marimba"(temporarily out of print).  Published by Keyboard Percussion Publications (www.mostlymarimba.com). 

solo marimba
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Story

1975. A work of moderate length and some difficulty, employing four mallets throughout, and utilizing rudimental snare drum sticking patterns in a complex rhythmic style. Publisher: Music for Percussion/Colla Voce.

chamber percussion ensemble
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Sound Clip - complete. The recording here is probably the premiere performance at Eisenhower College. As I recall, Dave Mancini and I on marimba, John Serry on drums, Ted Moore on triangel, and Steve Kujala (?) on flute. I don't remember who the violist was. Enjoy!

Story

1974. The percussion battery consists of two marimbas, two hand drums, and triangle. This is my first composition for percussion ensemble, and was composed for John Serry, and a concert that he produced at Eisenhower College in New York state. It is based on rhythms that I heard on a recording of Bulgarian folk music. A really fun piece! Published by Keyboard Percussion Publications (www.mostlymarimba.com).

solo marimba
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Sound Clip - No.2 (complete)

Story

1974. The first Mexican Dance was originally the ninth etude from Etudes for Marimba, Book 2. Warren Benson thought that the character of the music of the first dance was very different from the rest of the etudes of Book 2. He suggested that I remove it from that collection, write a second piece in a similar style, and call them Two Mexican Dances. Thus the dedication of the two pieces to Warren Benson.So I didn't think of the first dance as being Mexican. I had never been to Mexico at that point in my life. Warren Benson however, heard something that made him think that. The first dance was composed in one day, with no revisions or changes. The second dance was begun on vibes, and took much longer to compose.  Recorded: "Gordon Stout: Music for Solo Marimba" (temporarily out of print). "Astral Projections", Resonator Records (www.mostlymarimba.com) 00042. And many others, including Evelyn Glennie, David Hall, Jasmin Kolberg, etc.  Published by Keyboard Percussion Publications (www.mostlymarimba.com).

solo marimba
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Sound Clip - No.3 (complete)

Story

1973. Difficult and short pieces for marimba. Each etude is based on a specific technical problem. The first etude will help you to develop interval changing technique with the inside mallets of each hand. The second etude is for two mallets, and is based on my Ideo-Kinetic Exercises for Marimba. The third etude was primarily written to develop the playing of octaves, and combines atonal harmonies with diminished scale passages. The fourth etude is a contemporary two-part invention, and was written as an assignment for a counterpoint class. The fifth etudes further explores octave technique, and has a middle section in which the player must quickly go from one style to another. Recorded: Etudes 1-3 are on "Gordon Stout: Music for Solo Marimba" (temporarily out of print).  Publisher: Music for Percussion/Colla Voce.

marimba with percussion solo
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Story

1973. Written while studying composition with Warren Benson at Eastman. The word diptych is taken from the word triptych, which is a three paneled painting. A diptych is therefore a two movement composition. I was interested in the idea of writing a two movement composition in which the fast movement was first, followed by a slower second movement. All of my diptych compositions follow that same movement order. It is scored for marimba, vibraphone, bass drum, 2 tom toms, conga drum, and two sets of bongos. It consists of a quick moving interplay between all the instruments in the predominantly fast first movement and features the marimba as a lyrical instrument in the slow second movement. Published by Keyboard Percussion Publications (www.mostlymarimba.com).

marimba and piano
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Story

1970. For marimba and piano, and written as a freshman at the Eastman School of Music, while studying composition with Joseph Schwantner. Though not a frequently played composition, it does provide both chordal and linear passages for the young four mallet marimbist, and is in an atonal style harmonically. The piano part is not terribly difficult. This work would be an excellent choice for the advanced high school marimbist, or the younger college percussion major looking to challenge their intermediate four mallet technique. Published by Keyboard Percussion Publications (www.mostlymarimba.com).

solo marimba
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Story

1969. This is the second piece that I composed for marimba, and was also written during my senior year of high school. It is in the same style as Elegy.  Recorded: "Gordon Stout II", Studio 4 Productions S4P-R102 (out of print).  Published by Keyboard Percussion PUblications(www.mostlymarimba.com).

solo marimba
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Story

1969. This is the first piece that I ever composed for marimba. It was written during my senior year of high school, and consists of moderately difficult four mallet writing in a legato, rolled style. The composition is influenced in style and harmony by Alfred Fissinger's Suite for Marimba. The Fissinger Suite was a very important piece to me as a young marimbist, because of Vida Chenoweth's recording of the piece, which very much inspired me. Published by Keyboard Percussion Publications (www.mostlymarimba.com).

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gordon stout

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