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"These five pieces will definitely be enjoyed by all who come in contact with them. For the player of marimba and vibraphone, they will provide valuable insight into different styles and kinds of music, as well as prove to be excellent for developing four mallets technique and improvisation. For the mallet or percussion recital, these pieces can be played as solos or creatively arranged into various kinds and sizes of groups for programming variety and excitement. These pieces are simply great deal of fun to play and listen to! If you want to involve your audience in your performance and make them move and dance to the music, these pieces are the answer. I know you will enjoy them as much as I do."Reviewed by Gordon Stout: provided to my website courtesy of Bart Quartier.

For the eclectic and adventerous marimbist. I'm sorry to say that I haven't experienced this piece yet -- I'd like to.

This piece is clearly the standard four-mallet marimba rite of passage for all students in university percussion courses.Nearly every percussionist and their dog has studied this piece (or its close cousin, "Sea Refractions"). One could write volumes about how Yellow After The Rain has been played, should be played, its history, its impact -- and indeed many percussionists have. One could write volumes about four-mallet technique and how it applies to Yellow After The Rain -- and indeed many percussionists have.

This is one of my favourite works for solo marimba. It's a beautiful piece; it's enjoyable for the developing student and virtuoso alike; and it's effective and pleasing to any audience.

This book is one of the most comprehensive pedagogical resources to date in the field of percussion. It is intended as a guide or reference for use by percussion instructors; but is just also valuable to students of percussion as it is to teachers. It is used in many universities in percussion techniques or methods classes. However, it's discussions of percussion's history, bibliography, and pedagogy make this an essential resource for anybody involved in academic percussion study.

I think that sounds effect us in various ways depending on circumstance and environment. A single sound in two different places, or two sounds at the same place in time but in two different contexts may have drastically different effects. Sounds, in and of themselves, are relative.

Of all the timpani method books I own, this is the one I have uses most often with my students -- I'm not sure why exactly because the others I own are also magnificent.I suppose this book's greatest asset is it's simplicity -- the notation is very clear, it's well organized and simply filled from cover to cover with useful exercises and etudes.

Mr. Quartier wrote in the score:"The purpose of 'Image' is to present a collection of music. I have written them for solo marimba. The first song was composed at the time when my daughter Elke was born, a wonder which inspired me to complete the 20 Children's Songs.It is my sincere hope the 'Image' will provide an enjoyable approach to marimba playing."

This booklet is an outgrowth of the Friese -Lepak Timpani Method, which has a specific focus on both timpani technique and ear training; hence, each solo is preceded by a solfege exercise (tuning exercise) and focus on similar pitch and rhythmic ideas/problems. This book also utilizes contemporary notation and compositional techniques such as a-rhythmic structures (i.e. no prescribed meter or barlines), graphic notation, and advanced syncopation and/or poly-rhythm.

This is one of the most popular compositions for the marimba. It is studies, performed, and enjoyed frequently by marimbists everywhere. In my opinion, every percussionist should experience this piece...either to study it, perform it, or just to know that it exists and understand its importance in the marimba's history.