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Recording performed live by Andrew Anderson.
Two Days by Bobby Lopez uses a melodic theme as the common thread through various forms of ostinato patterns. Four-mallet proficiency will be required for much of the ostinato work. A variety of techniques are used, including playing rims and blocks with the mallet shafts and playing the wind chimes as a melodic component. Two Days was awarded First Prize at the 1998 DCI Individual and Ensemble "Multiple Percussion" solo competition.
Use of this product is governed by the license terms outlined here.
Performed live by Andrew Anderson.
This solo, awarded first place at the 1998 DCI Individual and Ensemble Competition, is written for a multi-percussionist playing a setup featuring an assortment of metalic timbres produced by vibes, crotales, pitched wind chimes, cymbals (Chimes, sizzle, crash, and splash) and a sizzle strip, plus temple blocks and five concert tom-toms. Challenges, such as maintaining an incessant ostinato pattern on the five toms with one hand while playing a melody using a contingent of metallophones with the other, makes this solo an ideal vehicle for developing the technique of the college multi-percussionist.
–John R. Raush
Percussive Notes
Vol. 38, No. 4, August 2000
Two Days by Bobby Lopez uses a melodic theme as the common thread through various forms of ostinato patterns. Four-mallet proficiency will be required for much of the ostinato work. A variety of techniques are used, including playing rims and blocks with the mallet shafts and playing the wind chimes as a melodic component. Two Days was awarded First Prize at the 1998 DCI Individual and Ensemble "Multiple Percussion" solo competition.
Use of this product is governed by the license terms outlined here.
Performed live by Andrew Anderson.
This solo, awarded first place at the 1998 DCI Individual and Ensemble Competition, is written for a multi-percussionist playing a setup featuring an assortment of metalic timbres produced by vibes, crotales, pitched wind chimes, cymbals (Chimes, sizzle, crash, and splash) and a sizzle strip, plus temple blocks and five concert tom-toms. Challenges, such as maintaining an incessant ostinato pattern on the five toms with one hand while playing a melody using a contingent of metallophones with the other, makes this solo an ideal vehicle for developing the technique of the college multi-percussionist.
–John R. Raush
Percussive Notes
Vol. 38, No. 4, August 2000
