Percussion Ensemble Collection, Level II: Percussion Ensemble Book

These four pieces arrive fully formed as musical statements, not as exercises masquerading as music. Farberman writes for six percussionists with genuine compositional voice; each piece has distinct character and style demands, so your ensemble learns through stylistic variety rather than repetition. The mallet writing sits naturally under young hands while the percussion assignment offers real ensemble responsibility.

Four distinct worlds in forty pages. One piece glides through a waltz's triple-meter elegance; another fragments rhythm into puzzle-like patterns. A Latin section breathes with syncopation and groove, while a tarantella charges forward with driving energy. The collection rewards listeners with recognizable forms and playful orchestration that keeps young performers engaged across all four movements.

Elementary plus (Grade 2) percussion ensembles with six players and mixed percussion access. These pieces work well for school groups rotating through mallet and non-mallet instruments, or for ensembles where players have distinct instrumental strengths. The variety of four contrasting pieces makes this collection ideal for introducing students to different rhythmic feels and compositional approaches.

• Map the mallet parts onto your strongest readers first. Farberman writes clear independence between mallet players, and secure mallet parts anchor the ensemble's balance.
• Establish consistent stick heights and grip across your six players before running full pieces. This ensemble's success depends on unified touch more than individual technical flashiness.
• Let the style of each piece shape your rehearsal priorities. The Waltz Rondo calls for rhythmic precision in its accompanimental sections; Tarantella demands rhythmic drive; Latin Ostinato requires groove lock between the players.

Use these pieces across a concert season rather than in a single program. A Waltz Rondo opens a concert with accessible elegance; a Latin Ostinato pairs well with other world music or early jazz repertoire; Tarantella provides an energetic closer. The four-piece structure also works well for chamber performances in educational settings, where each piece can stand alone during a multi-ensemble concert.

• Reading and executing two-part mallet writing with independence from non-mallet parts
• Rhythmic precision in accompanying figures (ostinatos, waltz patterns, tango rhythms)
• Stylistic understanding across European dance forms (waltz, tarantella) and Latin percussion traditions
• Ensemble balance and clarity when managing multiple percussion instrument sounds simultaneously
• Tempo maintenance and groove awareness, particularly in syncopated or dance-driven contexts