” Music is everywhere, you just have to have the ears to hear it”

                                       John Cage

In 1952, composer John Cage shook the classical music scene when he composed

4 ' 33' '. The work, in three movements contained only pauses…

Daniel Berg has, with inspiration from Cage, composed the piece 3 '44' for speech choir that contains the word silence in all European languages and all got their unique rhythm.

The low-key work ends with the choir blinding and without conductor creates a long diminuendo with exhale and exhale.

Duration: 3’ 44’’

 The famous percussion group, Rhythm Art Duo (Daniel Berg and Fredrik Duvling) encourage young people to start playing classical percussion and they have written a lot of education material.

   In 5 funny pieces Rhythm Art Duo uses a lot of humor for the young choir. Bosh and Tosh for speech choir, Song for christmas carol with tuned bottles, Body Rhythm for body percussion, A piece of Paper for a choir who makes sounds with papers and Let it Bee! for a speech choir with kazoos…

   Enjoy 

During the years, I had the opportunity to work together with many excellent flute players and I really think the combination of Flute and Percussion is a perfect match. A lot of great composers have written for the instruments and through them, I got the inspiration to compose for flute and percussion. 

After composing Dark Shadows, Kinkaku-ji and Second Concerto for Flute & Percussion, all published by Edition Svitzer, I’ve got a question and wish from many flute players to also write something for piccolo and percussion. They are right, there are not so many pieces composed for that combination of instruments. 

Working close to the young virtuous performers, Laura Michelin & Filip Korošec, I had the opportunity to write them Bird of Prey. In the pulsing rhythms, we hear the bird hunting its prey and the harmonies enhance the wildlife, to always be on its guard. In the middle of the piece, the listener is getting a high-flying journey to the lamenting song of a Bird of Prey.

Some memories are easy to tell - others are more like a feeling, difficult to put into words. This piece is an attempt to describe this feeling in music.

The harmonic tension between G major and F sharp minor, creates a melancholy mood - a kind of nostalgia - Blue Memories.

Stieg Trenter (1914-1967) var en journalist och författare som skrev några av Sveriges bästa deckare. Hans skildrade också Stockholm ur ett fantastiskt perspektiv. Huvudpersonen i Trenters böcker var fotografen Harry Friberg till vilken detta stycke är tillägnat.

In the movie Rebel Without a Cause from 1955, James Dean competing against Corey Allen in a life-threatening car race: They drive against a dive, and the last one to jump out is a coward, chicken.

The chicken race, or chickie run as it is called in the movie, quickly became a trope and was used by several moviemakers. Chicken race is also a term used to handle a conflict. The term is used for duels between two opposing poles, for example in politics, where the one who loses loses, but both lose more if no one folds.

In the composition Chicken Race by Daniel Berg, two violins are competing about who is the fastest. Let us hope that the Last Duel, in the end of the piece, does not get a deadly end…

With Componi för mixed choir (placed in the chancel) and organ or marimba (placed on the gunner), Daniel Berg wants to embrace the listener. He got the inspiration from the artwork Via sacra, recessed into the floor of Linköping Cathedral, which like Componi embraces the soul.

The Swedish composer Lars-Erik Larsson wrote in the late 40’s 12 Concertini – twelve smaller solo concerts for various instruments accompanied by string orchestra, all composed to be performed by amateur orchestras while the solo parts made higher demands on the instrumentalists’ skill.

With inspiration from Lars-Erik Larsson, Daniel Berg has written a piece in two movements for a virtuoso solo ma- rimba in combination with a soft string timbre – in classical style, but with clear elements of jazz harmonics. Daniel has, along with experienced string teachers, written parts that can be played by amateur orchestras along with a skilled marimba soloist.

In his Concertino for Marimba and Strings, Daniel wants to highlight the marimba as a melodic percussion instrument, and at the same time inspire young musicians to discover classical percussion.

“The perfect opener for any recital! The writing is wonderfully idiomatic and a joy to play”

Keyboard Percussion Publications

Vintern är den bästa årstiden på året - snö, tomtar och julefrid. Harmoniken i stycket är ett försök att beskriva den stämning som finns strax innan och under julen. Rytmen i ”December” är en lek med talet fem.

 Detta stycke är kanske det mest uppskattade av Daniels soloverk och har blivit en klassiker i repertoaren för marimba.

Easy Duets Volume 1 contains five easy duets for any combination of 2 mallet instruments such as the vibraphone, xylophone or marimba. All five duets use a 3-octave range from F to F. The duets can be played on the same instruments however, it is preferable for part 1 to be played on vibraphone and for part 2 to be played on marimba. 

The duets can also be played as ensemble pieces. Double each parts depending on the number of players and instruments available. Pieces such as Crusin', Blues brotherS and Happy Shoes is very well suited with the addition of bass and/or drums (bass part can be found at the end of the booklet).

Easy Duets Volume 2 contains five easy duets for any combination of 2 mallet instruments such as the vibraphone, xylophone or marimba. All five duets use a 3-octave range from F to F. The duets can be played on the same instruments however, it is preferable for part 1 to be played on vibraphone and for part 2 to be played on marimba. 

The duets can also be played as ensemble pieces. Double each parts depending on the number of players and instruments available. Pieces such as Flyin’, Saturday Morning and Hope to see you again is very well suited with the addition of bass and/or drums (bass part can be found at the end of the booklet).

Easy Duets Volume 3 contains five easy duets for any combination of mallet instruments such as the vibraphone, xylophone or marimba. All five duets use a 3- octave range from F to F. The duets can be played on the same instruments however, it is preferable for part 1 to be played on vibraphone and for part 2 to be played on marimba.  

The duets can also be played as ensemble pieces. Double each parts depending on the number of players and instruments available. Pieces such as Groovin’, Soul Mallets and I Think it’s love are very well suited with the addition of bass and/or drums (bass part can be found at the end of the booklet).  

Easy Duets vol. 1 and 2 are previously published by Edition Svitzer. The books have been very well received among young students and teachers around the world.

Easy Duets Volume 4 contains five easy duets for any combination of mallet instruments such as the vibraphone, xylophone or marimba. All five duets use a 3-octave range from F to F. The duets can be played on the same instruments however, it is preferable for part 1 to be played on vibraphone and for part 2 to be played on marimba.  

The duets can also be played as ensemble pieces. Double each parts depending on the number of players and instruments available. Pieces such as Rockin’, Cosmos and Song in my heart are very well suited with the addition of bass and/or drums (bass part can be found at the end of the booklet).  

Easy Duets Vol. 1, 2 and 3 are previously published by Edition Svitzer. The books have been very well received among young students and teachers around the world.  

With Vol. 4, I now choose to finish the series Easy Duets.  Many thanks for all the inspiration from students and teachers.  Hope to see you again at the mallet stage round the world!

"In the early 1970s the legendary percussionist  Mitchell Peters composed unforgettable works for the young marimba player such as Sea Reflections and Yellow after the Rain. Now Daniel Berg continues Peters pedagogical idea of ​​a repertoire that is idiomatic while musically challenging for the young percussionist.  

This booklet contains five solo pieces with four mallets for vibraphone, xylophone or marimba. All works have the range F-F and can therefore be played on any mallet instrument." 

Easy Duets with duets for mallet instruments by Daniel Berg are previously published by Edition Svitzer. The books have been very well received among young students and teachers around the world.

"In the early 1970s the legendary percussionist  Mitchell Peters composed unforgettable works for the young marimba player such as Sea Reflections and Yellow after the Rain. Now Daniel Berg continues Peters pedagogical idea of ​​a repertoire that is idiomatic while musically challenging for the young percussionist.  

This booklet contains five solo pieces with four mallets for vibraphone, xylophone or marimba. All works have the range F-F and can therefore be played on any mallet instrument." 

Easy Duets with duets for mallet instruments by Daniel Berg are previously published by Edition Svitzer. The books have been very well received among young students and teachers around the world.

"In the early 1970s the legendary percussionist  Mitchell Peters composed unforgettable works for the young marimba player such as Sea Reflections and Yellow after the Rain. Now Daniel Berg continues Peters pedagogical idea of ​​a repertoire that is idiomatic while musically challenging for the young percussionist.  

This booklet contains five solo pieces with four mallets for vibraphone, xylophone or marimba. All works have the range F-F and can therefore be played on any mallet instrument." 

Easy Duets with duets for mallet instruments by Daniel Berg are previously published by Edition Svitzer. The books have been very well received among young students and teachers around the world.

In the early 1970s the legendary percussionist Mitchell Peters composed unforgettable works for the young marimba player such as Sea Reflections and Yellow after the Rain. Now Daniel Berg continues Peters pedagogical idea of a repertoire that is idiomatic while musically challenging for the young percussionist.   

With this final booklet in the series Easy Solos, I want to salute five people who all contributed greatly to increase the interest in the marimba.  

Vol. 4 contains:• Opus and Numero (dedicated to Clair Omar Musser)• Zen Refractions after the Rain (to Mitchell Peters)• Une Petite Prière (to Evelyn Glennie) • Etude #4 (to Paul Smadbeck)• Variations on Swedish Folk Songs (to Keiko Abe)  

Easy Solos Vol. 1, 2 and 3 are previously published by Edition Svitzer. The books have been very well received among young students and teachers around the world.  

With these five works my hope is to approach the classical standard repertoire for marimba, in the degree of difficulty, and therefore the technical level is a little higher than in the previous parts. As before, all the works in this booklet have the range F-F and can therefore be played on any mallet instruments.

As a young percussionist I played timpani with S:t. Matteus Symfoniorkester (SMSO) in Stockholm. During a production we played among others Gloria by Francis Poulenc, for choir and orchestra. The music, and above all the harmony, had a big impact on me. I was immediately inspired to study more music from Poulenc together with other French composers like Oliver Messiaen. Fantasia and Toccata is strongly inspired by the harmonies of both Poulenc and Messiaen which I have tried to adapt through the marimba.

Five piece by: 

Heimer Sjöblom - Imagination (1977)

Miklós Maros - Marimbacapriccio (1996)

Sergei Dmitriev - Min barndoms snö... (2001)

Ole Lützow-Holm - Rhyme and Pairs (2003)

Staffan Storm - En viskning av intet (2007)

My passion for chamber music started when I played my first pieces for percussion duo. To create something of its own together and find a personal means of expression has since led me to new ways and new combinations of instruments. I hope these four duets may inspire you to play more chamber music focusing on percussion. 

Presently, I give about 100 concerts a year with any of my chamber music formations. Organ and percussion with Johannes Landgren, guitar and marimba with Christer Brodén, violin and marimba with Tobias Granmo, and percussion duo with Fredrik Duvling (www.rhythmartduo.com).

For many years I have, together with Christer Brodén, ordered new music for guitar and marimba. From the many fine pieces we have received from composers, I find that it is often the case that one of the instruments has a solo part that is accompanied by the other instrument. In Fusion, I have therefore written two parts that seem to be on equal terms. The finger technique on guitar and playing with four mallets on marimba also have their similarities and therefore the two parts are very similar to each other. 

I wanted to write a virtuoso piece that express the joy of playing and borrowed trait from progressive jazz. The guitar and the marimba are thus united in this Fusion. 

Helios was, according to Greek mythology, the sun god, but also the guardian of the seas and the god of gift of being able to see. Every morning he went across the sky with his golden chariot drawn by fiery stallions. When he reached the Hesperides (country of evening) in the west, he went back over Okeanos water by boat and the sunset was created. 

When I wrote Blue Memories a couple of years ago, I chose an enamel painting by Swedish artist, Bengt Berglund from late 60's as cover for the work. This painting I chose is part of a series of other enamel paintings by Berglund. For a few years now, I have been thinking of writing music for the remaining paintings in the series. 

Helios, Twilight Garden and Blue Memories are related to each other in terms of harmony, rhythm and character. The three pieces are written as standalone pieces, however the three pieces works well together as one substantial piece with several movements in it.

Varför är vissa ord så roliga att säga?Varför ligger andra ord så skönt i munnen?I detta verk är det rytmiken i ord och fraser som står i centrum. Balansen mellan det exakt perfekta och en gnutta humor för måhända tankarna till John Cage.Ett udda och muntert inslag i konsertprogrammet!

In 1992, I started with Fredrik Duvling at the Academy of Music and Dram in Gothenburg, Sweden to study percussion for Bo Holmstrand and Einar Nielsen. Already the first week we started playing duo with each other and as a great inspiration we had the Danish percussion duo Safri. We studied several works our Danish role models had in their repertoire such as the arrangement of Ravel's Alborada del gracioso, Re-Percussion by Per Nörgård and Miinoru Miki's Marimba Spiritual in a version for two percussionists.

Today, almost 30 years later, Fredrik and I have worked closely with composers who written a fantastic personal repertoire for us who have followed us on numerous tours and recordings. When we talked about the future after this summer's tour, Fredrik suggested:

- Why don’t you write something for us?

Musicians who have played together for a long time often become a mirror image of the other player, perhaps it is most clearly seen among percussionists? When timing, phrasing, nuances and movements work in the interplay, the musicians become shadows of each other.

With the first movement of IMAGES, I want to create a dreamlike atmosphere where the musicians become a shadow, an echo of each other. The second movement is very rhythmic where the percussionists become a mirror image of each other with unison rhythms that energetically drive the music to the virtuoso ending.

Music is just technique – etude for Marimba: This works interval changes in both hands from 3rds to 10ths.

The Right Way to Perfect Control: Double lateral/narrow interval etude.

John – Watch your left hand! – etude for Marimba: This etude uses 4 over 3 polyrhythms and interval changes from 4ths to 10ths.

Anton Bruckner with 4 Mallets: Independent roll study that overlaps between the hands.

 1. Dragonfly: • Focuses on the development of precise interval changes, primarily with the outer mallets. Interval ranges include M2 up to an octave, but the shifts move mostly in stepwise motion. 

2. The Dark Side of Marimba Playing • Intended to practice long jumps and fast interval shifts in a smooth and controlled manner. • Inner voices maintain a roll on dissonant cluster chords while outer voices jump for single notes. • Uses octave intervals. 

3. Marimba Etude for Octaves • RH plays double verticals in larger intervals (up to a 10th), while LH outlines the harmony with arpeggios. • Works on developing the interval switch from 6th to octave 

4. Hochzeitsmarsch • Arranged to help develop one-handed rolls in both hands. • May also help develop fast, relaxed motion on double verticals and quick shifting around the instrument.

Varför är vissa ord så roliga att säga? Varför ligger andra ord så skönt i munnen? I detta verk är det rytmiken i ord och fraser som står i centrum. Balansen mellan det exakt perfekta och en gnutta humor med en nonsenstext som ingen förstår! Ett udda och muntert inslag i konsertprogrammet!

In the late 1990s I visited Japan. Something that made a strong impression on me was the Japanese gardens who breathed meditation and inner peace. 

The original Japanese religion, Shinto, is based on the worship of nature spirits and therefore everything in a Japanese garden - plants, rocks and water – has a spiritual meaning and represent something beyond their physical shape.

Growing up in the 80s, my biggest inspiration was the Swedish Percussion Ensemble KROUMATA; six musicians who made a living playing chamber music with percussion. I attended several of their concerts and their interplay, virtuosity and common crescendo and accelerando made a strong impression on me as a young drummer. My first CD with classical percussion was the Kroumata and Keiko Abe. Fantastic recordings of Rain Tree by Tôru Takemitsu and Marimba Spritual by Minoru Miki inspired me to play both pieces myself some years later. A clear proof of how big KROUMATA were in Sweden during this time was when the Swedish His Majesty King Carl XVI Gustaf turned 50 in 1996. As a birthday present, he wanted a concert with Stevie Wonder AND KROUMATA. Today, when I received the commission from Odense Percussion and their artistic leader Søren Monrad, I would like to pay tribute to my childhood idols KROUMATA. In my piece, there are a few quotes from the repertoire that was so strongly associated with KROUMATA, but also contains the energy that was so magical around the concerts with the ensemble.

I wanted to write a work where the rhythm is in focus and the harmony, so to speak, plays the second violin. With a portion of great humor, I have chosen to vary the time signature (towards the end, the instruments play different time signature at the same time) and let the guitar both dance and play a chamber musical "cat and rat game" with the marimba. When I would then set harmonics to these rhythms, I have used 12-tone technique, full-tone scales and one of the few chords I can play on guitar myself. 

With Christer Brodén, I not only share the passion for music but also the joy of life and a great interest for food and beverage. That's why our collaboration is gilded with most from The Good Life - La Buena Vida!

Daniel Berg has a great passion for teaching and a dream that more children and young people will find the melodic percussion instruments. In Mallet Ensembles the level is a little more difficult compared to his earlier booklets for Youth - Easy Solos, Easy Duets and Easy Marching Percussion. The hope with these scores is to awaken a curiosity and a bridge to the classical repertoire for mallet instruments, but also an encouragement to play music with each other!

These three songs are orchestrated for a couple of mallet instruments – to get a rich and ”fat sound”, please double each part on both marimba and vibraphone in several octaves.

As many kids, I started to play drums and later in the teens I got in contact with the melodic percussion… and I was stucked!  With the songs in Mallet Ensembles I have an attempt to  awaken a young drummers curiosity for marimba and  vibrophone. Therefore I use repeated technical patterns in the  chord parts, quite easy to learn, but a little bit tricky and fun  for a drummer to play. 

These three songs are orchestrated for a couple of mallet  instruments – to get a rich and ”fat sound”, please double each  part on both marimba and vibraphone in several octaves.  The glockenspiel part is grade as easy, melody part is a little bit  harder and chord parts intermediate.

Daniel Berg has a great passion for teaching and a dream that more children and young people will find the melodic percussion instruments. In Mallet Ensembles the level is a little more difficult compared to his earlier booklets for Youth - Easy Solos, Easy Duets and Easy Marching Percussion. The hope with these scores is to awaken a curiosity and a bridge to the classical repertoire for mallet instruments, but also an encouragement to play music with each other!

These three songs are orchestrated for a couple of mallet instruments – to get a rich and ”fat sound”, please double each part on both marimba and vibraphone in several octaves.

As many kids, I started to play drums and later in the teens I got in contact with the melodic percussion… and I was stucked! With the songs in Mallet Ensembles I have an attempt to awaken a young drummers curiosity for marimba and vibraphone. Therefore, I use repeated technical patterns in the chord parts, quite easy to learn, but a little bit tricky and fun for a drummer to play. These three songs are orchestrated for a couple of mallet instruments – to get a rich and ”fat sound”, please double all parts in different octaves. The glockenspiel part is grade as easy, melody part is a little bit harder and chord parts intermediate. Index: Concorde Somethin' You Can Do About It? Oh Yeah!

What’s the best thing about marching drumming? Leader of the Gothenburg Drum Corps in Sweden, Per Björkqvist, asked me this question some years ago. I gave it some thought and answered, “everybody can join!”. And yes, if you have fun pieces to play, you can arrange them for all levels so everybody can join.   

In this booklet, Per Björkqvist has written drum parts for three of my pieces from Easy Duets (previously published by Edition Svitzer). These parts have their roots in “warm up exercises” often used in the world of drum corps. Per and I hope that these pieces can get everyone to play together and further strengthen their interest in playing percussion ensemble music. 

Daniel Berg 

As a percussion teacher, you need to inspire your students to play different instruments, musical styles and concepts. We need to work on lots of layers to get the students to groove and learn new things, often inspired by their friends in a social community. There are three important roles for having a successful climate to grooving: 1. you need to play together with others; 2. you need to understand what it’s about and; 3. you have to learn new things every time.   

Often, there is too little time to rehearse everything that you want to work on in a rehearsal; warm ups, time keeping, period playing, rudimental drumming, new tunes and so on. In these three tunes, we tried to combine a lot of these ideas. Our first goal is to let the students play a lot and have fun, (it’s much more fun to play then to count rests). You can add one or more of the percussion parts to the great pieces that Daniel has written, depending on the setting of your ensemble and level of your students. Good luck and have fun!  

Per Björkqvist

What’s the best thing about marching drumming? Leader of the Gothenburg Drum Corps in Sweden, Per Björkqvist, asked me this question some years ago. I gave it some thought and answered, “everybody can join!”. And yes, if you have fun pieces to play, you can arrange them for all levels so everybody can join.   

In this booklet, Per Björkqvist has written drum parts for three of my pieces from Easy Duets (previously published by Edition Svitzer). These parts have their roots in “warm up exercises” often used in the world of drum corps. Per and I hope that these pieces can get everyone to play together and further strengthen their interest in playing percussion ensemble music. 

Daniel Berg 

As a percussion teacher, you need to inspire your students to play different instruments, musical styles and concepts. We need to work on lots of layers to get the students to groove and learn new things, often inspired by their friends in a social community. There are three important roles for having a successful climate to grooving: 1. you need to play together with others; 2. you need to understand what it’s about and; 3. you have to learn new things every time.   

Often, there is too little time to rehearse everything that you want to work on in a rehearsal; warm ups, time keeping, period playing, rudimental drumming, new tunes and so on. In these three tunes, we tried to combine a lot of these ideas. Our first goal is to let the students play a lot and have fun, (it’s much more fun to play then to count rests). You can add one or more of the percussion parts to the great pieces that Daniel has written, depending on the setting of your ensemble and level of your students. Good luck and have fun!  

Per Björkqvist

In the early 2000s, I had the pleasure to teach and perform together with the American marimba legend Michael Burritt at a couple of summer courses. In one concert, I remember he present his new solo piece Scirocco with fast-moving and swirling melodic lines – inspired by one of the eight desert winds across the Mediterranean Sea. The year after, Michael played the first performance of his lyric the Offering and both pieces are now standard works for marimba.

Almost twenty years later, I got the opportunity to write a solo piece for Michael Burritt and I want to catch the positive energy from his personality and from his strong virtuoso and lyric playing. And, as a greeting to Michael and with a little humor, the piece gets name after another desert wind across the Mediterranean Sea.

The Harmonies in Mistral is chosen by overtones from the low octaves of a marimba. Together, the notes in the chords form a tone color unique to the instrument.

Montecristo är beställt av marimbasolisten och stämledaren vid Kgl Hovkapellet i Stockholm, Olle Petterson. Hans önskan var ett virtuost verk i stil med Daniels tidigare stycken för marimba, Over the Moon och December. 

Rytmen i det här verket är inspirerat av "Two Mexican Dances" av Gordon Stout. Harmoniken beskriver aromen från en av Cubas mest välkända produkter - gissa vilken?

”This three-minute solo marimba piece for the advanced player is written in a fluid, impressionist style reminiscent of Debussy.

Over the Moon would make an excellent recital encore piece or a short solo work in a concert setting”                                           

Terry O’Mahoney, Percussive Notes 

Half gold and half red phoenix is reborn after every 500 years. This mysterious bird has different meanings in different cultures. In Greek mythology, the Phoenix built a nest of aromatic twigs and set herself on fire. Three days after the death, she resurrected from the ashes. The Chinese empress was the only person who could carry the symbol of the Phoenix, and therefore associated with the feminine energy, while the dragon represented the male - the union of yin and yang. In the Japanese culture is the bird Phoenix along with the rising sun symbol of the immortal and is called "Ho-o" - the immortal bird.    

When I wrote Blue Memories a couple of years ago, I chose an enamel painting by Swedish artist, Bengt Berglund from late 60's as cover for the work. This painting I chose is part of a series of other enamel paintings by Berglund. For a few years now, I have been thinking of writing music for the remaining paintings in the series. Phoenix, Helios, Twilight Garden and Blue Memories are related to each other in terms of harmony, rhythm and character. The four pieces are written as standalone pieces, however the four pieces works well together as one substantial piece with several movements in it.   

Daniel Berg studied with the marimba virtuoso Robert van Sice at the Rotterdams Conservatorium, Holland (Europe’s first diploma program for solo marimba), 1993-1997. As a big thank Daniel dedicates this piece to his professor!

When the American poet Emily Dickinson died in 1886, only a few of her poems were published. She had sent her poems to a local critic, who tried to dissuade her from publishing and considered that her poetry was too dirty and odd and therefore only a handful of her poems were published during her lifetime. After Emily's death, her sister was responsible for the publication of the 1700 poems and has since been praised by people all over the world. Dickinson was a very original poet, glorified and like to talk in the same breath. She wrote about conventional poetic subjects such as nature, love, death and God.

The combination of the sound from a vibraphone, together with a soprano, fits so well together. When Thai-American percussionist Yun Ju Pan asked me for a piece for soprano with percussion, I suggested the vibraphone. To get as much contrast as possible in the composition, I choosed texts by Emily Dickinson with very different character for the four first movements. The fifth one is written more like a jazz ballad and some sort of reflection of the poems by Dickinson - a final poem without words.

To me, the northern part of Sweden breathes something enigmatic. It is above all nature, but also architecture, that has something magnificent about it - as it is created by mother earth. Point North is written to Johan Bodin Eriksson and the Härnösand Percussion Ensemble for their 30th anniversary in 2021. The three movements are inspired by three of the four seasons, but also from architecture and nature in the north part of Sweden. 1st movement - Autumn (the Library) The Sambiblioteket was inaugurated in February 2000 and was a joint collaboration between several libraries and the vision was to create a link between the university and the city center, a meeting place and an active knowledge center for all people in Härnösand. The architect Hans Tirsén and his staff focused in their competition proposal "the beech forest" on the character of Härnösand by solitaires surrounded by vegetation. The interior is played out against the greenery of the ground through the thin membrane of the window wall. During dark autumn evenings, the library shines like a lantern of knowledge in high-tech. 2nd movement - Winter (the Mountain) - Get a culinary experience with a breathtaking view of Härnösand. Eating should be an experience! The restaurant at the top of Vårdkasen has taken this quote to heart and offers the art of Swedish home cooking together with a magnificent view through the dining room window. At the top of the mountain is also a lookout tower that was completed in 2007. The architect Björn Westin has been inspired by both space rockets and a vårdkase (Phryctoriae) that previously existed on the mountain, a fire that warned for war and other danger. The lookout tower with its three levels is reached by a large open staircase that can also serve as a stage, but also as a starting point for slalom competitions during the winter. 3rd movement - Spring (the Waterfall) With a drop of a total 90 meters, the Västanåfallet is one of the highest waterfall in Sweden. It’s water from the 4 km upstream lake Eksjön, which via a river forms a waterfall when the water flows down the steep mountainside. Västanåfallet is particularly powerful when snow and ice are melting and the high tide of spring forms a white, rushing wall down the cliffs. The fall height has previously been used for hydropower and contributed to several mills being built in region during the 17th, 18h and 19th centuries. Today the area is a nature reserve and a place for recreation and reflection, especially when the spring flood comes - nature´s musical primordial power!

In 1939 the American Lou Harrison composed his First Concerto – a classical and fantastic work for flute and two percussion players. Influenced by this piece, Daniel Berg now wants to continue in the same atmosphere with a second concerto. The first movement is very much inspired by the groove and swinging syncopated rhythms from the concerto by Lou Harrison.

In the four other movements Daniel Berg enters a world of different techniques for the flute like air tones, tongue pizzicato and Tongue Ram. Every moment is dedicated to a fantastic flute player Daniel worked with during the years – for example Björn J:son Lindh who was an excellent composer and a master in playing singing and percussive flute.

For the percussion part Daniel uses traditional instruments like drums and wood blocks, but also toy electric bell, marimba, vibraphone and a tuned bottle. The Concerto is written for two percussionists, however it’s possible to be played by one player (both parts in first movement and only the marimba in the last) – just like the First Concerto for Flute and Percussion by Lou Harrison.

Spectrum" is an attractive four-mallet marimba solo by marimbist Daniel Berg. Similar to his popular composition, "Over the Moon," "Spectrum" creates a collage of uneven rhythms and shifting harmonies that slowly envelop the listener. According to the composer, "Specturm" is similar to a prism. Berg hopes that the audience will hear "different sources of inspiration" in this prsim such as "rhythms from the Japanese marimba virtuoso Keiko Abe and harmony from the music of genius Quincy Jones."While no meter is indicated for "Spectrum," Berg writes in 7/8 or 5/8 much of the time. The glue that holds the music together is a left-hand ostinato that primarily shifts by half-steps or whole steps. Meanwhile, the right hand performs a pleasant melody that gradually increases the tension both harmonically and rhythmically. The six-minute composition eventually returns to a variation of the original theme before concluding softly. "Spectrum" would be a fine choice for any intermediate- to advanced-level marimbist. The music is charming and suitable for any recital or concert.--

Mark Ford, Percussive Notes -- April 2009 

Nova, Polaris, Mimosa… In STARS, the choir and the marimba create a heaven full of stars and form a sublime sound world that shines over us. The choir leader can, if desired, replace the marimba with a genuine FenderRhodes Electric Piano from the sweet 60's.

This booklet is addressed primary to students who are beginning to learn the basic Vibraphone techniques. Each song focus on something that is characteristic for the vibraphone - e.g. dampening, pedaling. My wish is that these songs will create a continues interest for the Vibraphone and create a bridge to the other solo and chamber music literature for this instrument.

Stella Polaris (also called the North or Pole Star), is the brightest star in the constellation Ursa Minor and located at a distance of approximately 430 light years from Earth. Polaris shows the north direction by its location only one degree from the north celestial pole.

Denna bok innehåller övningar och etyder för marimbaspel med fyra klubbor. 

 Svårighetsgraden sträcker sig från grund- till avancerade övningar. Boken vänder sig både till nybörjaren (med grundkunskaper i notläsning) och till den professionella slagverkaren (som vill förbättra sin teknik). 

Varje kapitel i boken innehåller en typ av teknisk uppgift – t.ex. kapitel 1 innehåller tremoloövningar. När jag undervisar använder jag ofta exempel från flera kapitel samtidigt. Indelningen av kapitel är fr.a. gjord för att lätt kunna hitta den typ av övning eller etyd man söker.