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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.
This piece ships as a printed, professionally bound folio with a full-color cover.
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.
This piece ships as a printed, professionally bound folio with a full-color cover.
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
