Original compositions and arrangements are available through www.honeyrock.net and www.bachovich.com.
To purchase these scores online please visit these websites for additional details or select a work in the list below.
- Another New Riq
“Anyone interested in the riq will find this well-written solo worth the learning experience and appropriate for a feature at a percussion recital.” Reviewed by John Beck: Percussive Notes Dec 2001
“Originally written in the early 1890s, “Preludio” is the opening piece of a three-movement work. This adaptation is especially well-done!” Reviewed by F. Michael Combs: Percussive Notes August 2006
- Bodhran Dance
“This is an excellent NEW solo recital piece for an old instrument.” Reviewed by Terry O’Mahoney: Percussive Notes December 2001
- Four Solos For Frame Drums
“Personally, I am totally enthralled with this collection of frame drum solos. I have several students currently preparing them for undergraduate and graduate recitals. Bravo and thank you, B. Michael Williams!” Reviewed by Lisa Rogers: Percussive Notes February 1997
- Learning Mbira . . .
“Learning Mbira–A Beginning is a well-written instruction book on the art of playing the mbira. It also serves as a history book and thus has a two-fold educational interest.” Reviewed by John Beck: Percussive Notes June 2002
- Recital Suite For Djembe
“I, along with several of my students, have performed this work for various concerts and degree recitals. Each time, the audience has been amazed, and we all wish there were more pieces like this one to perform.” Reviewed by Lisa Rogers: Percussive Notes December 2001
- Three Shona Songs
“The songs are cyclic and allow for much improvisation by the performers. Also, they should be memorized for better visual effect as well as allowing the performers to really listen and create. Williams has provided excellent performance notes. I highly recommend that you program these songs on your next program.” Reviewed by Lisa Rogers: Percussive Notes August 2002
- Tiriba Kan
“This seven-minute jembe solo draws from the traditional tiriba rhythm from Guinea, West Africa. At 120 bpm, the sixteenth-note and sextuplet rhythms require solid technique and familiarity with the many jembe strokes and sounds.” Reviewed by: Terry O’Mahoney: Percussive Notes April 2006
- Rhythmic Journey No. 1: Conakry to Harare
“The middle section offers the opportunity to improvise. With a suggested tempo of 108, the player must possess mastery of tar technique, be comfortable with mixed meters, and capable of fast double tak sounds with the fingers.” Reviewed by Terry O’Mahoney, Percussive Notes June 2009
- Rhythmic Journey No. 2: The Cage Sieve
Rhythmic Journey No. 2: The Cage Sieve, for bodhran, explores the rhythms of John Cage’s early percussion works, including First Construction (In Metal), Amores, 2nd Construction, Living Room Music, and Third Construction. The spirit of Cage’s seminal 4’33” even makes a brief appearance in a 10” – 15” silence.
- Rhythmic Journey No. 3: Post Minimal
Rhythmic Journey No. 3: Post-Minimal was inspired by the motoric rhythms of such composers as David Lang, Paul Lansky, and John Luther Adams. I had been interested in writing a work for Egyptian riq that would explore the sounds of these so-called “post-minimalist” composers.
- Merck’s Tattoo
“Written for one of his students, this is a four minute riq (tambourine) solo. Williams says the piece is “loosely based on funk-style drumset rhythms, with brief references to the bell pattern used in the West African Ewe dance ‘Gahu’.” Reviewed by Terry O’Mahoney: Percussive Notes June 2009
In the spirit of Steve Reich’s Music for Pieces of Wood, Maqsumed for frame drum quartet employs a system of building up fragments of permuted rhythms derived from the traditional Arabic rhythm Maqsum. It may be performed using any frame drum (tar, bendir, bodhran, riq, etc.) or any combinations of drums.
- Kirina Dreams
“High school or college players with good hand drum technique would be able to give this piece a solid performance, as the bulk of the work contains sixteenth-notes with occasional sixteenth-note triplets and thirty-second notes.” Reviewed by Terry O’Mahoney: Percussive Notes June 2009
- Shona Spirit
“While the individual parts are not difficult, the interlocking of voices will require some ensemble work. These pieces are meant to be fun and enjoyable for performers and audiences alike.” Reviewed by Brian Zator: Percussive Notes June 2009
- Funeral March
“The arrangement has nice balance of assignments that toss the melodic materials to different members of the ensemble. The arrangement is well-written, cleanly-edited and has numerous dynamic changes for interest and expression.” Reviewed by George Frock: Percussive Notes June 2009
- Danse Macabre
“Scored for ten performers, B. Michael Williams’ arrangement of “Danse Macabre” captures the intrinsic beauty of this classic composition. This arrangement would be suitable for the intermediate to advanced level keyboard percussion ensemble.” Reviewed by Jim Lambert: Percussive Notes June 2009
- MbiraTab Volume 1
Volume 1 includes Baya Wabaya (eight variations), Kariga Mombe yeKare (“the older version of Kariga Mombe” – four variations), Nyamamusango (seven variations, including a kutsinhira part), and Shumba (five variations, including a kutsinhira part). Background information is provided for each tune, including source material on recordings from various artists. Proceeds go to Erica Azim’s non-profit organization, MBIRA, supporting Zimbabwean musicians and instrument makers.
- MbiraTab Volume 2
Volume 2 includes four previously unreleased transcriptions: Hangaiwa, Shumba yaNgwasha, Chipindura, and Bukatiende.
- MbiraTab Volume 3
Volume 3 includes four previously unreleased transcriptions: Chakwi I, Nyuchi, Chakwi II, and Dangurangu.
- MbiraTab Volume 4
Volume 4 includes four previously unreleased transcriptions in gandanga/mavembe tuning: Marenje, Dangurangu, Mbavarira, and Vasina Katura. Mbiras played on the recordings accompanying this volume are in gandanga/mavembe tuning (approximately Bb).