"Maunakea" is a challenging solo marimba work that is an examination the nature of protests in Hawai'i over construction on sacred ground, but it is also a reflection of this beautiful location and the long history of conflict between native Hawaiians and United States citizens.

Maunakea (Solo 5-octave Marimba) - Lucas Garner

Hope You Like F#

S u N D a Z e is a warm and dreamy track at 128 BPM that invites you to drift into a sweet, nostalgic soundscape. It creates a gentle and happy atmosphere perfect for relaxing or daydreaming. The mellow synth rhythm and carefully blended drumkits add depth and subtle groove without overpowering the soothing melody. Whether as a calming background or a moment of sonic bliss, S u N D a Z e is your soundtrack to a sunny, hazy afternoon.

S u N D a Z e

TOOTHFUL GENTILITIES by Gary Lloyd Noland. For more information on the composer, please visit his website at: garynolandcomposer.com

TOOTHFUL GENTILITIES

Title : MORI HETO IROHA
Music & Artwork : Shiokojin

Let's go back to the forest.

TuneCore

MORI HETO IROHA

Lucia

"Get a Clew!" is a delightful showpiece for solo xylophone and marimba trio that was inspired by a sailing trip through the English Channel (a "clew" is the bottom/aft corner of the mainsail, nearest the person steering in most boats).

Get a Clew! (Solo Xylophone + Marimba Trio) - Andrew Thomson

Written during the composer's Latin 101 class in college, "Latin Class" Rag" is a fun romp for solo xylophone & marimba trio.

Latin Class Rag (Solo Xylophone + Marimba Trio) - Andrew Thomson

Written while working on a sunburn & sipping caipirinhas in Hawaii, the musical inspiration for "Dana's Mai Tai" is the Brazilian choro. While the piece was written for unaccompanied marimba, the addition of percussion is encouraged.

Dana's Mai Tai (Solo 4.3-octave Marimba) - Andrew Thomson

cube

I'm Japanese. I was a comedian. But, I'm a composer now. I make a lot of bizarre music. Welcome to the "Shiokojin world".

元お笑い芸人という珍しい肩書きを持つ、ボカロP & DTMerの「4O5人」。「気持ち悪いが、気持ち良い」という矛盾した美を追求し、十二音技法、ホールトーンスケール等の実験音楽や現代音楽的要素を扱う楽曲制作を得意とする。


＊注）4O5人（しおこじん）

【4O5のOは数字の0ではなく、ローマ字のO】

Amateur producer, professional enthusiast.

Resides in Portland, Oregon. Grew up in Berkeley, CA. Born in Seattle.  PhD, Harvard. “Gary Noland is one of the great composers of the 21st century.”—JACK RUMMEL, KGNU 88.5 FM, Boulder CO, “...iconoclastic, stylistic potpourri standards of giddy humor, no holds barred soup to nuts and high spirits.”—ROBERT LEVIN, pianist, musicologist, composer, "...a fleet-fingered, ebullient performer ... bright, witty and engaging.”—CHRISTIAN CAREY, SPLENDID MAGAZINE, “...distinctive, inventive ... subversive ... You can hardly be indifferent to Noland’s music and so I would urge you to try it.” —ROGER BLACKBURN, MUSICWEB INTERNATIONAL, “...set in a dizzying harmonic language that loops uncontrollably through a wide-ranging gamut of possible and impossible tonalities ... The general effect is like watching wet paintings of 19th Century musical memorabilia drip into frazzled 21st Century oblivion...” —ALLEN GIMBEL, AMERICAN RECORD GUIDE, “Mr. Noland writes as a ‘time traveler’ in styles long abandoned by most composers as well as styles so new as to not have been imagined but by him. This he accomplishes naturally, convincingly, with originality and true passion. His command of all musical languages and his ability to traverse musical time is nothing less than remarkable. Listen!”—DONALD MARTINO, Pulitzer Prize winning composer, “...mind-bending spiraling of focus which is truly breathtaking ... spectacular...”—CHARLES AMIRKHANIAN, composer, sound poet & radio producer, “I'm amazed at your harmonic skill. Haven't seen or heard anything like it from any one else—except yours truly—certainly not from your generation. It falls somewhere between Strauss and Mahler. Especially like how you are able to slip in and out from the tonal to the atonal—or near atonal...”—GEORGE ROCHBERG, American composer, Pulitzer Prize finalist, “...court jester to the classical establishment...”—PAYTON MACDONALD, AMERICAN RECORD GUIDE, “...florid and juicy...” —RICHARD BUELL, THE BOSTON GLOBE, “...an incredible aural web ... a great ostinato of American kitsch. Sul pont never sounded so good.”—RUSSELL STEINBERG, composer, conductor of the LOS ANGELES YOUTH ORCHESTRA, “...I am bowled over by the expertise of your music: you use certain elements from the 19th century and from jazz, etc., and just at the moment when I am about to say, OK, what else is new?, you do a number of things, such as speeding up, becoming wildly dissonant, modulating to a distant continent, stopping completely and throwing some kind of total surprise ... you seem to know exactly when to do what and how much. I don’t know anybody else who can do it!” —ANDREW IMBRIE, American composer, Pulitzer Prize finalist, “... remarkable stuff...”
—MAX MORATH, American ragtime pianist, composer, actor & author, “...a loony composer from Oregon...” —MAX SHEA, WMUA 91.1FM, Amherst, MA, “Gary Noland is one of those 21st Century composers seeking to forge a new aesthetic based on older models that do not traffic in serialism or minimalism ... Zany waltzes, ragtime riffs, chorales, toccatas, and much else romp and tear through these depictions of superheroes and villains from his ‘chamber novels’; other pieces spoof serial music ... to grand operas ... and Jewish guilt.” —JACK SULLIVAN, AMERICAN RECORD GUIDE, “...Paranoid Ravel...”—ALEX DUNN, KZSU FM90.3, Stanford, CA, “...It’s a romantic romp, rhythmically robust yet melodically flirting with the nostalgia of cabaret, minus the sleazy diminution of spilled drinks and smelly ashtrays. Its elegance recalls Elgar, and the serious sides, a synthesis of those strange bedfellows Schubert and Ives. Composers hate it when their music reminds you of someone else’s, but writing within a tradition, Noland has incorporated divergent styles that, woven together, work. Cosmopolitan without snobbery, it’s intelligent, pleasurable and convincing.” —ROCKY LEPLIN, THE BERKELEY VOICE

Conceptual artist who happens to make noise.

Hello and welcome!

I’ve been creating music for the past six years, learning and evolving with each track.
My instrumentals are deeply personal—each one shaped by emotion and often named after the feeling that inspired it.

I try to sculpt sounds and melodies in a way that expresses what words sometimes can’t—like trying to describe a color with language. Everyone hears and feels differently, and that’s part of the beauty.

What you hear here on SoundCloud is just a glimpse—there’s a much broader journey waiting on my YouTube channel, where you’ll find many more tracks and visual experiences.

Thanks for listening.
Enjoy the journey.

New tracks tagged #Marimba