A Repertoire Guide Including Annotations of High School Level Keyboard Percussion Works
for Four Mallets
D.M.A. Document
Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University
By
Ashley Nicole Summerlin, M.M., B.M.
Graduate Program in Music
The Ohio State University
2019
Committee:
Dr. Susan K. Powell, Advisor
Dr. Anna Gawboy
Dr. Russell Mikkelson
Dr. Karen Pierson
Copyright by
Ashley Nicole Summerlin
2019
Abstract
Four-mallet keyboard playing has blossomed in the last five decades, transforming the pedagogy of mallet keyboard performance. During this time solo compositions requiring performers to hold two mallets in each hand grew at a rate such that percussionists could not keep up with all of the new material. Mallet keyboard technique and literature grew more during this time than it had since the introduction of the strohfiedel, a sixteenth-century xylophone, into
Western classical music. This growth in repertoire makes it difficult for music educators to know information about all of the solo literature available to the high school-level mallet keyboard percussionist. This document provides band directors, orchestra directors, percussion directors, and instructors a resource with technical and musical information on over 130 four-mallet mallet keyboard solo compositions and will serve as a guide to provide appropriate solo literature to supplement the growth of fundamental skill sets.
The second chapter provides a brief history of four-mallet technique and the repertoire associated with it along with explanations of the three primary four-mallet grips. The third chapter discusses the importance of selecting appropriate repertoire for students, highlighting the music educator’s role in the process and offering advice for non-percussionist educators tasked with assigning solo literature. The final chapter outlines how to use the repertoire guide. The fifteen pedagogical techniques used to rate the solo literature are outlined and difficulty levels are explained in this chapter.
The repertoire guide includes over 130 selections that can be found by composer, title, overall difficulty, difficulty of specific techniques, and instrument. Each solo has a chart with all of the included techniques at their rated difficulty and a brief analysis by the author. iii
Acknowledgements
There are many people to which I owe thanks for helping me complete this paper and my doctoral degree.
To my husband, Lane: I could not have done this without your support and encouragement. Thank you for being my sounding board throughout this entire process. I love you and cannot imagine how I could have done this without you.
To my parents, Jack and Wendy: Your support from the time I said I wanted to start music lessons in elementary school has been unwavering. I would never be the person I am today without your encouragement to go for my dreams. I will never be able to repay you for all of the time and money spent on music lessons and mallets and crazy instruments, but I hope that it was all worth it for you. Thank you for always pushing me to be the best I can be.
To Susan Powell and Joseph Krygier: You have been and always will be an inspiration to me. I see you in my playing and teaching every day and I hope that I can pass on even half of the knowledge to my students that you have passed on to me. Thank you for everything you have done for me over the past ten years.
To my first percussion teacher, Darin Good: Thank you for pushing me and helping me get to college with a solid foundation. The more I teach, the more I appreciate everything you did for me.
To my committee: Thank you for your willingness to serve and to help me with this document. The time commitment you made means the world to me.
To my studio colleagues: Thank you for inspiring me to be a better musician and a better teacher every day. I hope our friendships continue for years to come. iv
And to my friends and family: Without the encouragement from these people I would not have come back to school to finish this degree nor would I have started with music in the first place. Thank you.
v
Vita
MM in Percussion Performance The Ohio State University, Columbus, OH……………………………………………..May 2015
BM in Percussion Performance The Ohio State University, Columbus, OH……………………………………………..May 2013
Honors Diploma Perry High School, Massillon, OH……………………………………………………...June 2009
Fields of Study
Major Field: Music
vi
Table of Contents
Abstract ...... iii
Acknowledgements ...... iv
Vita ...... vi
Table of Contents ...... vii
Chapter 1 ...... 1 Introduction ...... 1 Purpose of the Document and Need for Study ...... 6 Procedures and Methods Used ...... 8 Review of Literature ...... 10 Parameters and Scope of Study ...... 13 Organization of Document ...... 13 Glossary of Terms ...... 14
Chapter 2 ...... 17 Origins of Four-Mallet Keyboard Technique ...... 17 Four-Mallet Grips ...... 23 Traditional Grip ...... 24 Burton Grip ...... 26 Independent Grip ...... 27 History of Four-Mallet Repertoire ...... 30
Chapter 3 ...... 35 Selecting Appropriate Literature ...... 35 The Role of the Music Educator in Selecting Repertoire ...... 39 Advice for Non-Percussionist Educators ...... 42 Sample Sequencing ...... 45
Chapter 4 ...... 51 How to Use this Guide ...... 51 Difficulty Rating Levels ...... 51 Four-Mallet Techniques ...... 52 Chorale ...... 53 Double Lateral Strokes ...... 57 vii
Double Vertical Strokes ...... 59 Independent Rolls ...... 62 Intervals ...... 64 Lateral Rolls ...... 68 Metric Modulations ...... 70 Multi-Lateral Strokes ...... 71 Playing Logistics ...... 73 Polyrhythms ...... 76 Single Alternating Strokes ...... 78 Single Independent Strokes ...... 79 Span ...... 82 Speed ...... 83 Triple/Double/Tuplet Changes ...... 84 Page Layout ...... 86 Snapshot ...... 88 Instrument Type ...... 90 Mallet Suggestions ...... 90 Duration ...... 90 Clef Information ...... 91 Tempo Markings ...... 91
Conclusion ...... 92 Conclusions in Solo Data ...... 92 Summary ...... 92 Need for Further Research ...... 93
Bibliography ...... 95
Appendix A: Repertoire Guide ...... 100
Appendix B: Index by Title ...... 233
Appendix C: Index by Overall Difficulty ...... 238
Appendix D: Index by Technique Difficulty ...... 242
Appendix E: Index by Instrument and Size ...... 274
viii
Chapter 1
Introduction
Four-mallet keyboard playing has blossomed in the last five decades, transforming the pedagogy of mallet keyboard performance.1 During this time solo compositions requiring performers to hold two mallets in each hand grew at a rate such that percussionists could not keep up with all of the new material.2 Mallet keyboard technique and literature grew more during this time than it had since the introduction of the strohfiedel, a sixteenth-century xylophone, into
Western classical music.3 This growth in repertoire makes it difficult for music educators to know information about all of the solo literature available to the high school-level mallet keyboard percussionist. This document provides band directors, orchestra directors, percussion directors, and instructors a resource with technical and musical information on over 130 four- mallet mallet keyboard solo compositions and will serve as a guide to provide appropriate solo literature to supplement the growth of fundamental skill sets.
In her dissertation, One Hundred Years of the Concert Marimba: American and Japanese
Innovation and Convergence, 1925 to 2014, author Megumi Ochi writes: “In the early 2000s,
Akiko Suzuki, a well-known and respected marimba pedagogue in Japan, lamented the fact that she could no longer keep track of all the new compositions written for marimba.”4 The marimba in particular has seen a growth in not only the amount of repertoire, but also technical
1 M. Christine Conklin, “An Annotated Catalog of Published Marimba Concertos in the United States from 1940- 2000,” (DMA document, University of Oklahoma, 2004), 4. 2 Megumi Ochi, “One Hundred Years of the Concert Marimba: American and Japanese Innovation and Convergence, 1925 to 2014” (DMA diss., University of Washington, 2016), 109. 3 James Moyer, “Applications of Four-Mallet Technique for the Beginning Marimba Student,” Percussive Notes 29, No. 5 (June 1991): 1. 4 Ochi, “One Hundred Years,” 109. 1
advancements in the performance techniques and instruments themselves.5 These advancements in four-mallet playing techniques transfer to all other mallet keyboard instruments and, therefore, will be discussed in this document. Due to the increased amount of solo repertoire composed and performed during the last quarter of the twentieth century, the marimba and vibraphone have become central instruments in percussion education and performance.6 In the course of researching for this paper, the 2018 lists for high school solo and ensemble contest mallet keyboard solos were compiled from the states that utilize required lists. The compiled master list was overwhelming, numbering over 1600 solos, more than half of which require the performer to use more than two mallets.
Due to this growth in four-mallet literature, some students are forced to play four-mallet parts that are more difficult than they are technically ready to execute. As early as 1979, the popularity and developments in four-mallet keyboard performance inspired novice keyboard players to attempt technical maneuvers and musical subtleties that most players would have never thought possible a few years prior.7 In his article, What Your Adjudicator Really Thinks:
Solo and Ensemble Contests from a Judge’s Perspective, David Littrell writes, “It really is the teacher’s responsibility to choose repertoire that is appropriate to the student’s technical and musical level. I’ve felt sorry for several students through the years as they attempted to play repertoire far beyond their technical and emotional grasp.”8
5 Michael Burritt, “Four-Mallet Traditional Rolling,” Percussive Notes 29, No. 4 (April 1991): 64. 6 Ruo-Ying Ke, “Differences in Physical Movement Between the Techniques Used on the Marimba and the Vibraphone” (DMA essay, University of Miami, 2014), 3. 7 Gary D. Cook, “Four-Mallet Keyboard Performance: A Concept for Beginning Independent Roll Development.” Percussive Notes 17, No. 3 (Spring/Summer 1979): 56. 8 David Littrell, “What Your Adjudicator Really Thinks: Solo and Ensemble Contests from a Judge’s Perspective,” American String Teacher 58, No. 1 (February 2008): 99. 2
In the author’s experience, collegiate percussion methods courses often fail to prepare non-percussionist music educators with the tools needed to teach students to play four-mallet keyboard literature. Most universities only offer one semester of percussion methods to music education majors.9 When one considers the number of percussion instruments that must be covered in a one semester class, there is likely little to no time to focus on advanced techniques like four-mallet keyboard performance. Four-mallet keyboard parts have become common in band and orchestra repertoire and require students of younger ages to become acquainted with the technique. The technique that was previously limited to a small number of professional level works, is not unusual to see in high school or even junior high school large ensemble compositions.10 With band and orchestra directors having to help students with four-mallet keyboard techniques at young ages, this document can be used as a tool to guide students through logical pedagogical sequencing to build fundamental four-mallet skills. Vibraphone innovator, Gary Burton stated: “I very much believe that four-mallet techniques should be taught from the beginning of a student’s development, and that if this is done, then this area of technique will be as natural and as flexible as any other. The problems occur when the fairly advanced student is suddenly exposed to this more demanding technique and consequently never attains the same ease with it that they have with their beginning approach to the instrument.”11
Percussion specialists find themselves assigning the same solo repertoire repeatedly because it is easier to use the material they already know.12 This can be detrimental to students if they do not learn in the same way as each other, not to mention it can be draining as a teacher to
9 Steve Hemphill, “The Future of the University Percussion Methods Class,” Percussive Notes 54, No. 1 (March 2016): 56. 10 Allen Brown, “Practical Four-Mallet Percussion Performance,” NACWPI Journal 27, No. 1 (Fall 1978): 4. 11 Gary Burton, Four Mallet Studies (Glenview: Creative Music, 1968), 2. 12 Mark Ford, “Marimba: The Intermediate Step,” Percussive Notes 43, No. 5 (October 2005): 62. 3
hear the same music over and over. Shirley Strohm Mullins writes: “Selecting solo literature for students is a time-consuming task that requires careful consideration. Because each person is different, a teacher cannot use the same solos for each student.”13
In an article titled, 4 Mallet Mastery, Joseph D’Alicandro Jr. writes: “Four-mallet playing is one of the most important techniques percussionists learn. It increases the available range of literature.”14 It is in the best interest of the music educator and their program for their students to be able to execute four-mallet keyboard techniques. With percussion specialists not readily available at all levels and in all school systems, the music educator is left with the daunting task of teaching the technique and selecting literature appropriate to their student’s technical and musical ability. The selected literature should accentuate the student’s strengths to encourage confidence while challenging their weaknesses to foster technical and musical growth.15
The task of selecting appropriate four-mallet solo literature is particularly important for two specific occurrences in a high school percussionist’s career; solo and ensemble contest and auditions for scholarships or entrance into collegiate-level music programs. Solo and ensemble contest is an opportunity presented to school-aged students, usually middle school and older, to perform solo, duet, and/or chamber ensemble music for an adjudicator. High school percussionists wishing to continue music at the collegiate level or audition for scholarships will also be required to perform four-mallet literature.
The Wisconsin School Music Association describes the benefits of solo and ensemble festivals: “Through the solo and ensemble experience, students learn the discipline of rehearsal,
13 Shirley Strohm Mullins, “A Common Sense Approach to Solo Selection,” Instrumentalist 36, (February 1982): 48. 14 Joseph P. D’Alicandro Jr., “4 Mallet Mastery,” Instrumentalist 62, No. 9 (April 2007): 44. 15 Mullins, “A Common Sense,” 48. 4
are challenged to advance their musical skills, perform in front of an audience and adjudicator, and receive feedback on their performance.”16 The presence of solo and ensemble performance is incredibly valuable, even to the students that do not plan to continue on a career path in music.
Solo and ensemble festival participation creates an outlet for students to experience genres of quality music from different musical styles and periods that may not be available in their large ensemble literature.17
Collegiate and scholarship auditions often require a four-mallet keyboard selection as compared to four decades ago where this would have been appropriate for a culminating doctoral recital.18 In his DMA research paper, Joseph Millea states: “From a pedagogical standpoint, four- mallet playing is considered an intermediate to advanced technique, with most percussionists learning this in their high school years or as a freshman in college.”19 Percussionist and composer, Mario Gaetano described the current trend in four-mallet education: “If a young percussion student wants to pursue a career in music and study at the university level they must be well prepared in all areas of percussion. One area that calls for extra preparation is mallet keyboard performance.”20 For this reason, it is crucial for students to have appropriate solo literature selected for them in order to properly build fundamental techniques and musical skills.
Each solo included in this document is annotated with information on the publisher, instrument size, duration, and techniques required to execute the composition. Each is analyzed
16 “About Solo & Ensemble,” Wisconsin School Music Association, accessed March 15, 2019, https://wsmamusic.org/festivals/. 17 “The Value of Solo and Ensemble Festivals within a Total Music Program,” National Federation of State High School Associations, accessed March 15, 2019, https://www.nfhs.org/articles/the-value-of-solo-and-ensemble- festivals-within-a-total-music-program/. 18 Joseph Millea, “Composing for the Marimba: Tools and Techniques for Composers” (DMA research paper, Arizona State University, 2015), xii. 19 Ibid., 44. 20 Mario A. Gaetano, “Beginning Four-Mallet Playing,” Instrumentalist 35, (January 1981): 66. 5
for technical difficulty as well as musical techniques and advice from the author is provided based on years of four-mallet keyboard experience. This document will give direction to anyone looking to choose four-mallet literature for their students or themselves.
The author draws upon over eighteen years of performing and teaching experience that allow the discussion of current four-mallet trends and technical issues. Solo repertoire is rated using finite definitions and playing ability levels based on the author’s experience with students of the assigned levels as well as rating systems created in a research project presented by Dr.
Julia Gaines.21
Purpose of the Document and Need for Study
The purpose of this document is to provide a resource for music educators to help organize and select solos at appropriate levels for their students. Appropriate repertoire selection will properly build students’ technique and develop new skill sets in a healthy, efficient manner.
Thoughtful, sequential development of strength, flexibility, and dexterity opens opportunities to play modern ensemble parts and solo repertoire successfully.22 Dr. Hilary Apfelstadt posed the idea to music educators: “The key question is whether or not our students will learn something significant from the music and whether they will be better musicians having learned it.”23
In the author’s experience, the current trend in mallet keyboard playing is to select the most challenging piece that is close to achievable technically, then spending a long time practicing that one piece. A more beneficial approach would be to select a piece within the
21 Julia Gaines, “An Objective Grading System for Four-Mallet Marimba Literature: The Creation of Performance Levels” (research presentation, Percussive Arts Society International Convention, Austin, TX, November 7, 2008). 22 Nathan Buonviri, “Four-Mallet Tips,” Instrumentalist 71, No. 9 (April 2017): 31. 23 Hilary Apfelstadt, “First Things First: Selecting Repertoire,” Music Educators Journal 87, No. 1 (July 2000): 20 6
playing abilities of the student and stretching their abilities on one or two specific techniques.24
Percussionist and pedagogue, Mark Ford writes: “Why would a beginning four-mallet marimbist go from learning exercises and easy solos and immediately move to advanced works by such composers as Eric Sammut, Michael Burritt, and Christopher Deane? Is it because there is a lack of sophisticated intermediate-level music? Is it because the teachers have a stronger musical connection to advanced marimba literature?”25 This document seeks to prove that the lack of beginning mallet solo literature is partially to blame for this disconnect in the pedagogical sequence. The analysis of techniques provided in Appendix A and indexed in Appendices C and
D highlight these deficiencies in the repertoire.
This document outlines the difficulty of all techniques in each composition, so educators and performers can select appropriate repertoire. In a May 2018 article, Dr. Julia Gaines wrote:
“I came to realize that there was no good source of information about four-mallet marimba literature that would help me guide multiple students through a good, pedagogical sequence.”26 It is the author’s hope that this document will provide that resource of information not only for marimba, but all mallet keyboard instruments and will also expose holes in the repertoire, particularly in the beginner and intermediate difficulties, so composers may consider writing repertoire for these developing performers.
In the United States, solo and ensemble contests are recommended for students in middle school through high school as an opportunity to be judged on their ability to play their solo instrument.27 In some states, a list of pieces exists from which students must select their solo. In
24 Mullins, “A Common Sense,” 48. 25 Ford, “Marimba,” 62. 26 Julia Gaines, “Marimba Levels, Part 1,” Percussive Notes 56, No. 2 (May 2018): 51. 27 “About Solo and Ensemble.” 7
states that don’t have lists, selecting appropriate solo literature is included on the adjudication sheet.28 This places even more pressure on the music educator to select a solo that will enhance the student’s abilities. The increased nationwide percussion activity related to public schools alone might be the strongest argument for improving music educator training in percussion.29
The average music educator needs more knowledge on percussion than they did even five years ago, let alone those who have been teaching for decades. Music educators can use this document to supplement their knowledge of four-mallet literature to better serve their students.
While grading systems exist for solo mallet literature, there are no clear rubrics provided as to how these grades were reached and no further breakdown of the difficulty of the techniques involved in each composition. Sources of graded databases include publisher websites, music catalogues, steveweissmusic.com, and the Percussive Arts Society. None of these sources are all- inclusive nor do they rate pieces into the same categories between databases. On several publisher lists, four-mallet literature is not categorized until “Grade 3,” so finding a beginning four-mallet piece using this grading system is very difficult.30 The grading system used in this document provides a large picture of everything involved in each piece, from musical aspects to technical building blocks.
Procedures and Methods Used
The procedures used to complete this document include the compilation of four-mallet solo and ensemble lists from the 2017-2018 academic year, creation of a comprehensive list of
28 Matthew Boiteau, email correspondence with author, March 5, 2018. 29 Hemphill, “The Future,” 56. 30 Gaines, “Marimba Levels,” 51. 8
four-mallet techniques, and survey of selected solos for use in the repertoire guide. A total of twenty-one states and one region (New England) have solo and ensemble lists available that were compiled into one master list. Fifteen techniques were used to create a table that was used to rate all selected solos in the manual.
Two documents have been published in a similar format for horn and trumpet repertoire and were therefore not included in the review of literature, but instead consulted to develop the format for the repertoire guide. Ross Ahlhorn in his research project, The Creation of a Skills-
Based Grading System for Solo Trumpet Repertoire, defines a grading system with five levels from the beginner to the professional.31 This grading system was used as a spring board to create the rating system for the four-mallet techniques in this document. Sarah Schouten’s, An
Annotated Guide and Interactive Database for Solo Horn Repertoire was used as a guide for formatting.32
Each solo was analyzed for the fifteen listed techniques and placed into one of four categories of difficulty. Once completed, an overall difficulty rating was given. Also included are publisher information, duration, tempo markings, instrument information, and mallet suggestions. Each solo annotation also includes a paragraph outlining specific information about the composition. Information might include form, how stroke types are used in the composition, and areas of special attention for the performer. As much information as possible in each annotation is measured on an objective scale which will be discussed in a later section of this document. Some information cannot be objectively graded and in these situations the author used
31 Ross Ahlhorn, “The Creation of a Skills-Based Grading System for Solo Trumpet Repertoire” (DMA research project, James Madison University, 2016), 2-4. 32 Sarah Schouten, “An Annotated Guide and Interactive Database for Solo Horn Repertoire” (DMA treatise, Florida State University, 2012), 10-109. 9
the knowledge of years of teaching and performing experience to make decisions and provide advice to the reader.
Review of Literature
There are currently six resources that provide similar information on mallet keyboard literature however, none are as extensive as this document and many include literature that falls outside the scope of this study. Each of these resources will be briefly discussed as to not duplicate information.
An Annotated Bibliography of Solo Marimba Music by Canadian Composers, 1981-2006 by
Jeffery Donkergoed33
• Written in 2007
• This document includes only marimba music written specifically by Canadian
composers.
• Two-mallet solos, four-mallet solos, and concerti.
• There are a total of seventy compositions annotated, but Donkersgoed does not go into
depth about the techniques required to perform each work.
• None of the compositions included fall within the scope of this document.
33 Jeffrey Jerry Donkersgoed, “An Annotated Bibliography of Solo Marimba Music by Canadian Composers, 1981- 2006” (MA thesis, University of Victoria, 2007). 10
An Annotated Catalog of Published Marimba Concertos in the United States from 1940-2000 by
M. Christine Conklin34
• Published in 2004
• Includes only marimba concerti published in the United States between 1940 and 2000.
• Because many concerti require the performer to use two-mallet technique as well as four-
mallet technique, they fall outside the scope of this document.
An Annotated Bibliography of Works for Solo Marimba and Electronics Published from 1978-
2012 by Michael Ptacin35
• Published in 2013
• Although all of the pieces include electronics and are therefore out of the scope of this
document, the annotation layout was helpful and influenced the formatting of this
document.
New Music Marimba Repertoire Guide: Volume I by William Moersch36
• Published in 1990.
• Total of eleven marimba solos and two marimba concerti
• It does not include any technical information on the works, but does have program notes,
composer biographies, and publisher information.
34 Conklin, “An Annotated Catalog.” 35 Michael Joseph Ptacin, “An Annotated Bibliography of Works for Solo Marimba and Electronics Published from 1978-2012” (DMA diss., University of North Carolina at Greensboro, 2013). 36 William Moersch, ed., New Music Marimba Repertoire Guide: Volume I (New York: New Music Marimba Inc., 1990). 11
• One marimba solo included also falls within the scope of this document.
An Objective Grading System for Four-Mallet Marimba Literature: The Creation of
Performance Levels by Dr. Julia Gaines37
• Pilot project began in 2007
• Some of this research was presented at the Percussive Arts Society International
Convention in 2008 but was never published.
• Said to contain over 200 pieces, many of which are from books or collections, and
therefore are not included in the scope of this document.
• The author attempted to contact Dr. Gaines for more information on the study, but never
received a response.
• Works included are only composed for marimba and annotations only include technical
information. Gaines uses a ten-level system to rate the literature.
• Some definitions of techniques and grading scales in Gaines’s presentation helped to
shape the levels used in this document.
The Objective Grading of Original Unaccompanied Four-Mallet Solo Vibraphone Literature by
Jeffrey Hewitt38
• Research completed in 2014 based on the Gaines model, but applied to solo vibraphone
literature.
37 Gaines, “An Objective,” (Presentation at Percussive Arts Society International Convention, 2008). 38 Jeffrey Allen Hewitt, “The Objective Grading of Original Unaccompanied Four-Mallet Solo Vibraphone Literature” (DMA document, University of Arizona, 2014). 12
• Only annotated three pieces for each level and did not provide a clear format, but rather
wrote about those thirty pieces in prose.
• Many of the included works are from books and collections of solos.
• Five of the analyzed solos also fall within the scope of this study, however, Hewitt only
analyzes a single movement of two of the works.
Parameters and Scope of Study
After compiling all mallet solos on the twenty-two available high school solo and ensemble lists from the 2017-2018 school year, it was clear that annotating all 1600 solos would not be realistic. The scope was reduced to only four-mallet solos that appeared on five or more individual lists. Furthermore, any solo that was listed from a larger book of solos or compositions was omitted, as were compositions where only one movement of the entire work was listed. Some solos that met these requirements are out of print and were therefore omitted.
Some exceptions were made for standards of repertoire as seen fit by the author.
Organization of Document
This document comprises four chapters leading up to a repertoire guide. The first chapter outlines the need for this study and the scope of the document. Chapter two provides the reader with a brief overview of the history of four-mallet keyboard techniques and the development of the four-mallet repertoire as well as descriptions of the three primary four-mallet grips. The third chapter discusses the selection of appropriate repertoire and the music educator’s role in the selection process. There is also a brief section of advice for non-percussionist music educators on
13
the selection of four-mallet literature in particular. This is followed by a sample pedagogical sequence of solo repertoire through the overall advanced difficulty level. Chapter four is the explanation of how to utilize the repertoire guide. It explains the rating system that was used and the techniques that were analyzed. There is an explanation of the layout of the annotation format and the information provided for each piece. The conclusion is a report of trends found in the annotations after they were completed. This is followed by a need for further research.
The resource guide is found in Appendix A and Appendices B through E are indexes by title, overall difficulty, technique, and instrument size, respectively.
Glossary of Terms
The following terms are specific to four-mallet keyboard performance and will be used throughout this document.
Collegiate Methods Course: A course specifically on percussion techniques that is required of all Music Education majors.
Dead Strokes: Achieved when the player pushes the mallet into the bar or holds the mallet down immediately after striking it.39
Inside Mallet: The mallet in each hand in which the mallet head sits closest to the players torso.
Keyboard Percussion Instruments: Those instruments with a horizontal, piano-type keyboard arrangement of bars which are struck with mallets held by the performer.40
39 Millea, “Composing,” 59. 40 Lynn Glassock, “A Study of Four-Mallet Grips Used in Playing Keyboard Percussion Instruments” (MM thesis, North Texas State University, 1971), 4. 14
Leaps: Intervals larger than a third. This is used to describe the motion of the music. Ex: The right hand must move with occasional leaps up the keyboard.
Mallet Crossing: This is the act of the hands crossing over one another to execute a passage.
Mallet Dampening: Quite common in jazz vibraphone literature and can also be applied to marimba playing. The concept is to use a mallet as a dampening device on a bar after it is initially struck. In doing so, the bar’s resonance is cut off before its natural decay takes place.41
Mallet Numbering: A way of labeling and discussing which mallet should be used. Most commonly, and in this document, mallets are numbered one through four, left to right.42
Mandolin Roll: A tremolo effect that involves two mallets on either side of a marimba bar. With two mallets in one hand, the roll is produced by placing one mallet on top and the other mallet on the bottom of the open end of a single note. With a quick up and down motion, a single note tremolo is created.43
Node: The node is the area of the bar through which the string runs. This playing area does not ring and gives a very thin quality of sound. It is avoided unless specifically notated.
Octave Position: A specific hand position that locks the interval in the hand to an octave. This technique can cause physical problems for players if their hands are too small or they do not have enough strength in the ring and pinky fingers to support the weight of a mallet while outstretched.
Ostinato: A repeating figure, usually underneath the texture of the melody.
41 Millea, “Composing,” 61. 42 Justin Matthew Bunting, “Music Theory on Marimba: Bringing the Classroom into the Practice Room” (DMA diss., University of North Carolina at Greensboro, 2015), 5. 43 Millea, “Composing,” 70. 15
Outside Mallet: The mallet in each hand in which the mallet head sits farthest from the players torso.
Percussion Specialist: An instructor at a school, oftentimes not a full-time employee, that works specifically with the percussionists. This instructor is most commonly hired in the context of marching band but can also be involved with the instruction of private teaching, large ensembles, and percussion ensemble.
Skips: The interval of a third. This is used to describe the motion of the music on the instrument.
Ex: The mallet must play skips up the keyboard.
Solo and Ensemble Contest/Festival: An event which students of all instruments can attend to play a solo or chamber ensemble work for an adjudicator and receive feedback.
Steps: The interval of a second. This is used to describe the motion of music. Ex: The music moves with steps and skips.
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Chapter 2 Overview of Four-Mallet Keyboard History and Techniques
Four-mallet technique can be defined as a composite of many individual techniques or skills, having as its ultimate goal a musical performance in which all four mallets are thoroughly integrated in the playing process.1 This chapter serves as a brief overview on the history of four- mallet keyboard technique and repertoire including its documented origins, pedagogical texts, and historically important performers and educators. The three primary four-mallet grips from which performers can choose are discussed and followed by a short history of the evolution of four-mallet keyboard repertoire.
Origins of Four-Mallet Keyboard Technique
Although this document is not focused on the history of four-mallet keyboard technique specifically, it is important for educators and performers to have a contextual background on the style of music which they are teaching and performing. John Raush claims: “Four-mallet performance is the most significant development in the recent evolution of the marimba technique and is absolutely indispensable in the performance of contemporary solo literature.”2
This section discusses the earliest documented four-mallet techniques, the beginnings of four- mallet technique and its current status in the United States.
Four-mallet keyboard technique has been around for hundreds of years in traditional folk music contexts but has grown in Western classical music only in recent decades.3 Four-mallet technique can be traced to origins in Africa, Bali, and Guatemala. The Vendu tribe in Africa,
1 John Richard Raush, “Four-Mallet Technique and Its Use in Selected Examples of Training and Performance Literature for Solo Marimba” (DMA treatise, University of Texas at Austin, 1977), 119. 2 Raush, “Four-Mallet Technique,” 5. 3 Ronald G. Gard, “A Description of Three Percussion Keyboard Techniques Relative to the Use of Four Mallets,” Percussionist 15, No. 1 (Fall 1977): 7. 17
some of the earliest performers of the marimba, were known to use three or four mallets to make long reaches easier and Guatemalans used multiple mallets for harmonic purposes.4
In Bali, gambang (gamelan) players used forked or double mallets as early as 1375 A.D.5
A forked mallet has one handle that splits into two with two separate mallet heads. The keyboard was configured in such a way that bars were paired in a specified interval to facilitate forked mallet performance. While this is not technically a four-mallet technique, it is a predecessor to these techniques and therefore noteworthy.
There are European reliefs from the fourteenth century that show keyboard instruments in an ensemble setting where the performer appears to be holding four mallets. It is unknown whether or not the performer actually held four mallets or if the mallets are forked.6 As clearly documented in percussion history, four-mallet techniques were not invented in North America, although it has been the source of much of the recent growth in technical mastery.7
Guatemalan marimba virtuosi first introduced four-mallet technique to the United States in the late nineteenth century. However, likely because of a primarily two-mallet repertoire, four- mallet technique was regarded as an advanced technique and teachers were often reluctant to teach it.8 As the construction of the modern marimba improved with Clair Omar Musser and the
Deagan Company around the turn of the twentieth century, the technical ability of players increased and marimbists began playing intricate solos with four mallets.9
4 Linda L. Pimentel, “Evolving Solo Technics for the Marimba: Part 3,” Percussionist 11, No. 3 (Spring 1974): 98. 5 Raush, “Four-Mallet Technique,” 45-46. 6 Gordon Peters, The Drummer Man (Wilmette: Kemper-Peters Publications, 1975), 150. 7 Raush, “Four-Mallet Technique,” 172. 8 Ibid., 116. 9 James Moore, “The Marimba: Instrument of Singing Wood,” Percussive Notes 1, No. 1 (February 1963): 4. 18
Four-mallet keyboard techniques were first discussed in pedagogical percussion texts in the early part of the twentieth century. The National School of Vibracussion published a home tutor course of fourteen lessons copyrighted in 1922. The thirteenth lesson was titled Special
Lesson on Four-Mallet Playing and included a brief description of traditional cross grip techniques.10 Around 1930, Howard A. Green published a book entitled, Marimba Method, which discussed four-mallet playing techniques.11 This is the first pedagogical text that includes photos of Clair Omar Musser’s grip. Other pedagogical texts of the time were all focused on traditional cross grip. Some of these texts include: Instructor for Vibra-Celeste, Vibraphone, and
Vibrapharp by Harry C. Thompson (1931), Peterson’s Xylophone and Marimba Studies by
Howard M. Peterson (1937), and Method for Vibraharp, Xylophone, and Marimba by Lionel
Hampton and edited by David Gornston (1939, rev. 1967).12
Clair Omar Musser is a name that percussionists know from his many solo marimba compositions and his work with the marimba orchestras of the early twentieth century. A middle school-aged Musser saw the Earl Fuller Big Band play in Lancaster, Pennsylvania featuring
Abraham Hildebrand (later known as Teddy Brown) playing four-mallet xylophone arrangements. This performance inspired Musser to pursue Hildebrand’s teacher and focus on his study of mallet keyboard instruments.13 Musser is credited with creating the first four-mallet independent grip.14 In this grip, the two mallets do not touch one another inside the hand and therefore can be moved independently. Musser’s grip served as a precursor to one of the most
10 Dean Gronemeier, “An Evolution of Keyboard Percussion Pedagogy,” Percussive Notes 31, No. 2 (December 1992): 20. 11 Ibid., 20-21. 12 Ibid., 21. 13 Marg Holmgren, “Clair Omar Musser and the Marimba Symphony Orchestra,” Percussive Notes 16, No. 3 (Spring/Summer 1978): 20. 14 Ibid., 20. 19
popular grips in the United States today, the Stevens Grip, which will be discussed in detail later in this chapter.
Keiko Abe grew as a popular concert marimbist in Japan, playing with the traditional cross grip technique and promoting the grip as early as 1968.15 She became a name known around the world as one of the most virtuosic marimbists and the leading performer of traditional cross grip technique, giving recitals, clinics, and masterclasses.16 She was also a leading proponent of new solo literature for the marimba with over fifty compositions written for her between the years of 1964 and 1986.17
In 1968, noted jazz vibraphonist Gary Burton, wrote Four Mallet Studies.18 This book is considered by many to be the first significant text that examines the study of four-mallet keyboard percussion technique.19 Unlike earlier pedagogical materials, the book contains extensive explanations and pictures of the four-mallet grip followed by a series of exercises to work on specific techniques involved with the grip. When this material was released, Burton advocated that the adoption of a four-mallet technique as the normal and practical approach would be beneficial to jazz vibraphonists.20
Paul Creston composed the first concerto for marimba and orchestra in 1940. The second movement of Concertino for Marimba and Orchestra, Op. 21 requires the performer to hold four mallets to play a four-voice chorale in the opening and closing sections of the movement.21 This
15 Kathleen Sherry Kastner, “The Emergence and Evolution of a Generalized Marimba Technique” (DMA thesis, University of Illinois at Urbana-Champaign, 1989), 65. 16 Ibid., 56. 17 Ibid., 56. 18 Burton, Four Mallet Studies. 19 Gronemeier, “Evolution of Keyboard,” 21. 20 Raush, “Four-Mallet Technique,” 116. 21 Paul Creston, Concertino for Marimba and Orchestra 20
concerto opened the world of four-mallet works to professional percussionists. At this time, most percussionists had a limited amount of experience with four-mallet keyboard techniques, mostly through transcriptions of other instrumental music or the few original compositions by marimbists such as Musser.22
At the first Percussive Art Society International Convention (PASIC) on October 15-17,
1976 in Rochester, New York, Leigh Howard Stevens and Gordon Stout both presented clinics on four-mallet marimba technique and music.23 Stevens presented on his new technique, which was an updated version on the Musser grip. In 1979 Stevens published his book, Method of
Movement for Marimba, which is a method book with exercises to build the technical aspects of four-mallet playing with the Stevens independent grip.24 Many college percussion programs in the United States were heavily influenced by Leigh Howard Stevens’s new four-mallet technique and switched to this new independent grip, while a younger generation of students learned to play four mallets with Stevens grip from the beginning of their education.25 The author was exposed to this pedagogical text at a very young age, as are many percussionists in the United
States today. This book serves as the “textbook” for modern marimba playing. Gronemeier claims: To date, Method of Movement for Marimba is the most complete technical approach to the study of four-mallet playing.26
Method of Movement for Marimba created a movement in four-mallet keyboard playing.
Monte Cristo Coulter claims in his doctoral document: “Stevens’ treatise influenced an entire
22 Conklin, “An Annotated Catalog,” 1. 23 Rebecca Kite, Keiko Abe: A Virtuosic Life (Van Nuys: Alfred Music, 2014), 239. 24 Leigh Howard Stevens, Method of Movement for Marimba, rev. ed. (1979; repr. Asbury Park: Keyboard Percussion Publications, 2005). 25 Ochi, “One Hundred Years,” 99, 101. 26 Gronemeier, “Evolution of,” 21. 21
generation of aspiring marimbists, as pedagogical developments in marimba playing once considered dispensable, specifically the use of four mallets, became fundamental for all percussionists to acquire.”27
While in the process of researching for this document, many articles cited the Stevens and Stout clinics from the first PASIC as a source of excitement for young percussionists at the time. Gary Cook wrote in 1979: “Due greatly to Percussive Arts Society Activities and to
Deagan’s and Musser’s (both marimba manufacturers) increase in promotional clinics using
Stevens, Stout, and Abe, more young (and old) players than ever before have been exposed to the boundless parameters of multiple mallet performance.”28 This trend had begun a few years prior to the first PASIC, as Linda Pimentel wrote in 1974: “Presently marimbists are becoming aware of the potentials for playing contrapuntally with four mallets, by using each mallet as the pianist uses separate fingers.29 Previous to this, most four-mallet literature was chordal in nature. With the contrapuntal compositional techniques on the rise, marimbists used four mallets to solve problems such as large leaps and simultaneous performance of two separate lines.30
All of these four-mallet advancements were not only held to marimba, although that is the most researched genre of four-mallet keyboard literature. Many jazz vibraphonists played regularly with four mallets before the revolution in marimba techniques.31 This could be attributed to Gary Burton’s method book published in 1968 or to the nature of jazz vibraphone literature. Vibraphonists regularly comp on the chordal structure of the chart they are playing,
27 Monte Cristo Coulter, “Performance Problems Associated with Marimba Etudes 1, 2, and 3 by Paul Smadbeck” (DMA document, University of Memphis, 1994), 1. 28 Cook, “Four-Mallet Keyboard,” 56. 29 Pimentel, “Evolving Solo,” 98. 30 Raush, “Four-Mallet Technique,” 117-118. 31 Ibid., 116. 22
which is much more easily executed with four mallets than two. Gradually, the advantages of extra mallets became obvious. The ability to manipulate four mallets was of great practical value.32
The percussion family has become a force in orchestral scoring only in the last two centuries and taken seriously as solo instruments for an even shorter time.33 By the end of the twentieth century most colleges and universities who offered a major in percussion required entering freshmen to demonstrate four-mallet technique in the audition.34 Today, students as young as middle school-aged are required to use four-mallet technique for large ensemble parts and solo and ensemble contests.35 Four-mallet technique continues to influence younger percussionists and will continue on this same trajectory for the foreseeable future.
Four-Mallet Grips
It is crucial for students to be exposed to four-mallet keyboard techniques, but in appropriate scenarios that will set them up for successful musical growth. The following sections dive deeper into the three primary grips that have emerged in the recent history of four-mallet technique. Each four-mallet grip requires a different physicality that can be beneficial for different styles and instruments, but no commonly used technique should be inaccessible to any four-mallet grip.36 Nancy Zeltsman, marimbist and advocate for traditional cross grip, states:
“The most important considerations for which grip you choose are; (1) you can meet basic
32 Ibid., 116. 33 Clifford K. Chapman, “The Development of Mallet Keyboard Percussion from the Late 18th through the Early 20th Centuries (Landmarks in Mallet Repertoire Development),” Percussionist 12, No. 2 (Winter 1975): 54. 34 Ibid., 114. 35 Brown, “Practical Four-Mallet,” 4. 36 Nicholas Papador, “Singles, Doubles, Triples: Rudimental Building Blocks as Applied to Four-Mallet Keyboard Technique,” Percussive Notes 42, No. 4 (August 2004): 54. 23
technical challenges with it, (2) the grip feels good to you; and (3) you can achieve every conceivable musical and tonal nuance with it.”37 Each grip has its benefits. It is not entirely uncommon for percussionists to learn multiple of these grips throughout their career and even choose to use different grips in different situations.
Vida Chenoweth, a student of Clair Omar Musser and the first professional solo marimbist, gave advice to percussionists choosing their grips: “The cross-stick method seems to be the most easily handled at first, but the Musser grip affords the most technical proficiency.”38
Arguments such as these as to which grip is “best” can be found regularly in pedagogical texts and Percussive Notes, the scholarly journal of the Percussive Arts Society. Ultimately, the teacher and student must come to an agreement on which grip would be best for that particular student’s anatomy and the teacher’s skill sets.
Traditional Grip
The traditional cross grip is the earliest grip found in pedagogical literature.39 In Method of Movement for Marimba, Leigh Howard Stevens defines the traditional grip as: “The shafts of the mallets are crossed in the palm of the hand with the outside mallet shaft under (further from the palm) the inside. The grip operates on a spring-tension principle with fingers three and four supplying interval closing energy, and the thumb and finger one supplying the interval opening energy.”40 Gronemeier further explains: “One mallet, commonly called the inside mallet, is held
37 Nancy Zeltsman, “Traditional Four-Mallet Grip,” Percussive Notes 33, No. 4 (August 1995): 50. 38 Vida Chenoweth, “4-Mallet Technique,” Percussionist 1, No. 3 (December 1963): 6. 39 Gronemeier, “Evolution of,” 19. 40 Stevens, Method of Movement, 8. 24
between the thumb and index finger while a second mallet, commonly called the outside mallet, is inserted between the index finger and the middle finger.”41
There are two primary advantages to the traditional cross grip. In 1974, Pimentel claimed that the traditional grip seemed to be the most used because it was easier to pick up quickly.42 In the authors experience, this is because the motions are similar to the two-mallet playing that percussionists begin with, and therefore is the primary reason that young players gravitate to traditional grip when given the chance. It was also historically promoted by jazz players because of the ability to play rapid two-mallet passages while holding four mallets.43
Students of Clair Omar Musser were quick to point out the disadvantages of this technique. Vida Chenoweth can be quoted saying: “The disadvantages of the cross grip method are several: the mallet handles click together; interval changes are made slow and awkward; and intervals over an octave are hardly possible.”44 To combat the mallet handles clicking together many performers that use traditional grip also use mallet grips or specialty tapes that soften the mallets and virtually eliminate the clicking sound. Interval changes, while difficult for percussionists that are not well-versed in the technique, can still be changed quickly by players that study this technique in depth. Intervals over an octave are possible, but difficult. This problem can be made even worse depending on the brand of instrument with which the player performs. Different manufacturers utilize different bar widths, and the wider the bars of the instrument, the harder it is to reach large intervals.
41 Gronemeier, “Evolution of,” 19. 42 Pimentel, “Evolving Solo,” 98. 43 James A. Moyer, “Applications of Four-Mallet Technique for the Beginning Marimba Student” (DMA document, University of Oklahoma, 1989), 3. 44 Chenoweth, “4 Mallet,” 5. 25
In 2003, Nancy Zeltsman published Four-Mallet Marimba Playing: A Musical Approach for All Levels. In this publication, Zeltsman details how to play traditional cross grip as well as its advantages. This would be a worthwhile investment for any performer wishing to learn more about traditional grip.
Burton Grip
The Burton grip was created by famed jazz vibraphonist, Gary Burton. It is not documented when exactly he created the grip, but he published a technique book, Four Mallet
Studies, in 1968.45 Like the traditional cross grip, the Burton grip requires the mallets to be crossed in the center of the hand. The primary difference is that the inside mallet crosses under the weaker outside mallet. The crossing of the mallets in this way adds additional support and strength to the outside mallet.46 Leigh Howard Stevens offers more information on the mechanics of the grip, saying: “The grip operates on an axle-type pivot principle with fingers three and four supplying most of the interval opening and closing energy by pushing and pulling on the shaft of the inner mallet.”47
In Four Mallet Studies, Burton gives his reasoning for changing the traditional grip: (1)
The outside right hand mallet will always function in the melody role and not be changing functions constantly, (2) the striking motion is up-and-down whether with two or four mallets,
(3) with proper positioning of the idle mallets there is no excess movement of the unused mallet in the playing of two-mallet passages, (4) the second mallet is in a position where it can easily be
45 Burton, Four Mallet Studies. 46 Gronemeier, “Evolution of,” 20. 47 Stevens, Method of Movement, 8. 26
used as additional harmonic support of the melody line as might be desired without causing the upper mallet to change its function, and (5) this grip offers a sureness and control of the mallets with the fingers.”48 Each of Burton’s five reasonings were specific to aspects of the traditional grip that he found to be detrimental to properly playing jazz vibraphone.
The Burton grip has many of the same disadvantages as traditional cross grip. The mallets cause a clicking sound and cannot be moved independently of one another. The interval limitation of an octave in one hand still applies.49 Despite these limitations, many vibraphonists employ this grip.
Independent Grip
There are two styles of four-mallet independent grip. The first was developed by Clair
Omar Musser and the second by Leigh Howard Stevens. The concept of the independent grip is that the mallet shafts do not touch or cross in the middle of the hand which allows the performer to move the two mallets independently of one another.
The genesis of the Musser grip is unclear and undocumented.50 It is known that Clair
Omar Musser was using this grip in the early twentieth century at the same time he was organizing and arranging for his famous marimba orchestras.51 In the Musser grip, the shafts of the mallets are held in different sections of the hand. The inside mallet is controlled by the thumb, index, and middle fingers. The outside mallet is held by the ring and pinky fingers. The grip operates on a horizontal pendulum principle with the interval opening and closing energy
48 Burton, Four Mallet Studies, 4. 49 Millea, “Composing,” 46. 50 Kastner, “The Emergence,” 43. 51 Bunting, “Music Theory,” 4. 27
being supplied in a number of different ways.52 Since less of the mallet shaft is inside the hand, the Musser grip allows a greater interval and range potential between the mallet heads as compared to the previously discussed techniques.53
The Musser grip spread through the United States primarily through Musser’s students from Northwestern University who acted as advocates for the independent grip. Many percussionists that first tried the Musser grip found it much more difficult to learn than the traditional cross grip. Vida Chenoweth, a student of Musser, wrote an article in Percussionist about Musser’s technique: “The Musser grip is at first uncomfortable, even at times painful. It should be emphasized that neither proficiency nor comfort should be expected for a year or more.”54 This remains true of the Stevens independent grip and is one of the disadvantages that keeps performers from choosing independent technique.
The Musser grip was adapted by Leigh Howard Stevens in the early 1970s to facilitate easier movement around the keyboard.55 Stevens states: “The chief differences lie in the areas of hand position (posture), mechanical operation, and area and method of grasping the mallet shaft.”56 The modifications made by Stevens allowed for even greater individual mallet control, one-handed rolls, several variations in four-mallet rolls, greater intervallic capabilities, and overall expansion of technical facility.57 In 1979, Stevens released Method of Movement for
Marimba, a pedagogical text with 590 accompanying exercises.58 The combination of this text along with the presentations at the Percussive Arts Society International Convention and clinics
52 Stevens, Method of Movement, 8. 53 Moyer, “Applications,” 6. 54 Chenoweth, “4 Mallet,” 5. 55 Bunting, “Music Theory,” 3-4. 56 Stevens, Method of Movement, 8. 57 Moyer, “Applications,” 6-7. 58 Stevens, Method of Movement. 28
and masterclasses presented by Stevens resulted in a mass adoption of this technique. Today it has become the most popular grip in North America.59
The advantages of Stevens grip are particularly applicable to marimba repertoire where techniques like one-handed and lateral rolls, large intervals within each hand, and greater individual mallet control are more prevalent. That is not to say that modern repertoire for the vibraphone, xylophone, and glockenspiel are not incorporating these techniques occasionally as well.
The disadvantages of this grip primarily apply to the learning process and the physical endurance that must be developed to properly use the grip. One such disadvantage is a blister that sometimes forms on the outside of the middle finger. Gifford Howarth give some insight on this, saying: “Blisters in this location are somewhat inevitable. With time, they develop into calluses. The problem is that most young players develop blisters too quickly and too often. This is most likely due to one of two reasons: over-squeezing the outside mallet or not enough control of the outside mallets.”60 Another common problem occurs with endurance. This grip uses small muscles in the hand and arm that quickly grow tired. This is normal and frequent breaks are necessary until the proper muscles develop.61
The introduction of the Stevens technique and the innovations associated with it inspired a new breed of solo marimba literature that involves a variety of new skills thought only plausible with this new technique.62 Since this time, players of all grips have figured out their
59 Gifford Howarth, “Introducing Stevens Grip to Young Percussionists,” Percussive Notes 41, No. 6 (December 2003): 40. 60 Ibid., 40. 61 D’Alicandro, “4 Mallet,” 45. 62 Moyer, “Applications,” 10. 29
own ways to execute these skills, although it may be more difficult using traditional or Burton grip.
Because four-mallet marimba repertoire is most common on the compiled solo and ensemble lists used in this document, it is the author’s recommendation for the performer to at least experiment with Stevens grip, if not with all three techniques discussed previously.
History of Four-Mallet Repertoire
Four-mallet keyboard solo repertoire in Western music did not begin to appear until the early twentieth century, at which time, the repertoire consisted primarily of transcriptions.63 The purpose of this section is to showcase a brief history of the development of four-mallet repertoire. While there is a large contingency of four-mallet usage in the jazz idiom, this will not be discussed, as most of it is not written down for players to later perform as a solo or concerto.
Four-mallet solo repertoire has grown primarily on the marimba. As the instrument grew in popularity from 1930-1950, serious performers on this instrument were faced with a virtual absence of a significant repertoire.64 Clair Omar Musser, in addition to his numerous transcriptions for solo performer and marimba ensemble, contributed to a slowly growing list of original compositions for the marimba with his etudes and preludes composed in the first half of the twentieth century.65 The first marimba concerto was composed in 1940 by Paul Creston.
Christine Conklin writes: “The marimba concerto traces its short history to the year 1940, when
Paul Creston wrote Concertino for Marimba. Marimba concertos were among the earliest known
63 Luke Dull, “Effective Transcriptions: A Discussion Regarding Technical, Musical, and Practical Approaches for the Modern Marimba” (DMA diss., University of Kansas, 2014), iii. 64 Raush, “Four-Mallet Technique,” 111. 65 Ibid., 111. 30
works composed for marimba and thus played an important role in the development of original literature composed for the marimba.”66 The second movement of the concertino requires the performer to hold four mallets to play chorales at the beginning and end of the movement.
Within the next two decades, two more mallet keyboard concertos were composed:
Concerto for Marimba, Vibraphone, and Orchestra by Darius Milhaud, written in 1947 and premiered in 194967 and Concerto for Marimba and Orchestra by Robert Kurka, written in 1956 and premiered in 1959.68 All three of the previously mentioned concertos require the performer to use four-mallet technique in portions of the work. The Milhaud concerto was the first piece that required the mastery of four-mallet technique throughout.69Although they were all written in a short span of time relative to one another, the considerable expansion of performance technique is apparent. Most notably, a technique characterized by an increasing dependence on the use of four mallets had emerged.70
After the premier of the Creston Concertino, composers began to take interest in composing for the marimba. Some such composers knew that four-mallet technique was possible but did not know the standards for how to write for the technique. Therefore, they wrote for the four voices as separate lines, creating the idea of four-mallet independence. The earliest manifestation of this technique occurred in Alfred Fissinger’s four movement work, Suite for
Marimba, composed in 1950.71 The first and third movements of the piece require the performer
66 Conklin, “An Annotated Catalog,” vii. 67 Darius Milhaud, Concerto for Marimba, Vibraphone, and Orchestra (Paris: Enoch, 1947). 68 Robert Kurka, Concerto for Marimba and Orchestra (New York: Weintraub Music, 1956). 69 Dull, “Effective Transcriptions,” 5. 70 Raush, “Four-Mallet Technique,” 115-116. 71 Kastner, “The Emergence,” 63. 31
to negotiate the individual voices with an understanding of their independent, polyphonic function, as if executing a fugal passage.72
As recently as 1963, James Moore, professor of percussion and founder of Percussive
Notes, wrote: “Until very recently, the marimba repertory consisted mainly of transcriptions of classical works, folk songs, and popular song arrangements.”73 And even still in 1974, Linda
Pimentel stated: “Publishers are hesitant to publish method books dealing with new techniques, few advanced solo works by well-known composers are published, and even fewer are performed.”74
In the 1960s and 1970s, percussionists began taking repertoire matters into their own hands, possibly due to the lack of original marimba compositions.75 Marimbist Keiko Abe was an advocate for the marimba and commissioned many new works. Between the years of 1964 and 1986 there were 54 new pieces written for her by 32 different composers.76 In the 1970s the number of four-mallet compositions began to increase at a greater rate, with more written in those ten years than the previous three decades combined. This rate of growth continued throughout the 1980s and 1990s to the present, and it may be assumed that this growth in the genre will continue.77 Fourteen marimba concerti were written between 1976 and 1986, with an additional twenty were written between 1986 and 2004.78 This does not include concerti for other mallet keyboard instruments, which also saw a growth in repertoire during this time.
72 Ibid., 63. 73 Moore, “The Marimba,” 3. 74 Pimentel, “Evolving Solo,” 101. 75 Ochi, “One Hundred Years,” 66. 76 Keiko Abe, “The History and Future of the Marimba in Japan,” Percussive Notes 22, No. 2 (January 1984): 42. 77 Conklin, “An Annotated Catalog,” 4. 78 Ibid. 32
In 1971, Mitchell Peters composed Yellow After the Rain79 and Sea Refractions.80 These compositions have become iconic in the world of four-mallet keyboard pedagogy. Ochi writes:
“Given the nascent state of marimba technique at the time, Peters’ compositions presented a significant challenge for even professional percussionists and marimbists, a fact that may surprise many younger players, who are likely to have first encountered these four-mallet pieces as beginners.”81
As college percussionists became more technically proficient with four-mallet techniques, the demand for unaccompanied solo pieces increased.82 In the late 1980s and early
1990s, non-profit organizations such as New Music Marimba in the United States also played a role in expanding the repertoire as they promoted and encouraged new compositions for the marimba and fostered public knowledge and awareness of the instrument and its repertoire.83
With this rapid growth in repertoire and an increase in ability level of performers, a void has developed in the literature available for beginning students. Moyer writes: “In addition to the lack of methods for the beginning four-mallet student, there are few examples of serious literature for this developmental level. A large portion of marimba music involves techniques far beyond the first-year student.”84
The rate at which four-mallet repertoire has grown in the last five decades has made for an overwhelming list of compositions and no clear pedagogical sequence to lead a performer
79 Mitchell Peters, Yellow After the Rain (Los Angeles: Mitchell Peters, 1971). 80 Mitchell Peters, Sea Refractions (Los Angeles: Mitchell Peters, 1971). 81 Ochi, “One Hundred Years,” 66-67. 82 Ibid., 117. 83 Moersch, New Music Marimba, 2. 84 Moyer, “Applications,” 11. 33
through the levels of repertoire. This document will serve as a tool to help music educators create a logical pedagogical sequence for their students.
34
Chapter 3 The Importance of Appropriate Repertoire
Selecting Appropriate Literature
Selecting literature, whether an educator is selecting for a student or a performer is programming for themselves, can be the hardest part of a performance. This is especially true with younger performers that have less ability and need repertoire that will encourage growth in their skills. This section gives insight to those selecting repertoire on how to select appropriate music, both in general terms and applied specifically to four-mallet keyboard literature.
Dr. Hilary Apfelstadt wrote an article giving advice to choral directors on selecting appropriate music for their students however, the concepts apply to musicians of all instruments.
She uses three principles of music selection: Select music of good quality, select music that is teachable, and select music that is appropriate to the context.1 She continues by saying: “Whether learning musical elements of duration, pitch, form, dynamics, and texture or exploring how phrase shape can heighten expression in a performance, students need adequate musical content to accomplish these things.”2 Not only should music meet these standards, but the music should be fit to the soloist’s or ensemble’s skills. Diane Persellin warns music educators: “Not all music worthy of performance is useable for every ensemble. What works well for one ensemble may not be as successful for another due to different skills and experiences.”3 Shirley Strohm Mullins has a different set of guidelines that she uses to select appropriate solos for her students: The student must like the solo, the solo should enhance a student’s playing ability, and the piece
1 Apfelstadt, “First Things,” 19. 2 Ibid., 20. 3 Diane Persellin, “The Importance of High-Quality Literature,” Music Educators Journal 87, No. 1 (July 2000): 17. 35
should be a good teaching tool.4 When considering if the student likes the solo, the educator should work to make sure that the student is still receiving a well-rounded selection of repertoire.
It is more important for young musicians to like the music they are assigned so that they are encouraged to practice. An older, more mature musician has the ability to respect a piece of music and understand the importance of learning it even if they do not care for the piece. No matter the set of guidelines an educator follows when selecting repertoire, one common thread remains: the music should be teachable.
The most important aspect of repertoire selection, especially when it comes to teachers selecting repertoire for their students, is that there should be a thought process behind what the student will learn from the piece they are assigned. Repertoire selection has a major impact on what students will and will not learn, and it should help their musical understanding and appreciation.5 This further solidifies the importance of a planned pedagogical approach to solo literature.
In his article, Repertoire is the Curriculum, Robert Reynolds tells educators: “In order to focus the greatest amount of energy on the musical aspects of the repertoire, most selections should be well within the technical limits of the members of the ensemble. While some music should be selected that stretches the technical limits of the ensemble members, the musical aspects must be given the highest priority.”6 Playing music and only focusing on the technical aspects without thought to the musical concepts is of no good to the performer however, the performer must also possess the technical ability to perform their selected work. Leigh Howard
4 Mullins, “A Common Sense,” 48. 5 Robert H. Reynolds, “Repertoire is the Curriculum,” Music Educators Journal 87, No. 1 (July 2000): 31. 6 Ibid., 32. 36
Stevens tells percussionists: “Technique without musical expression is a possibility to be guarded against, but artistic musical expression without a substantial technique is an impossibility, for musical expression can never be more than commensurate with technique.”7
Multiple articles have been written by solo and ensemble adjudicators and collegiate professors about the selection of solos they have witnessed at festivals and auditions. Andrew
Gowan gave advice specific to selection for the solo and ensemble contest: “The music selected should be technically challenging, but within the grasp of the player, and the piece should have expressive potential, so performers can show their ability to interpret music. Having judged solo and ensemble festivals, I know that an alarming percent of students do not perform appropriate music.”8 Adjudicators agree that the most frequent and egregious problem they encounter in auditions is musicians presenting repertoire that is too difficult.9
Gowan tells educators to select music appropriate for the student in terms of range, technique, articulation, and overall difficulty.10 While it may seem like this statement should be obvious, it is clear that appropriate solo selection is still a problem. One wonders if part of the problem is not due to educators not having resources like this document to help them know what an appropriate next step looks like. Just because a student can play all of the notes on the page or
“get through it” does not mean the piece is right for them or their current level of technical and musical development.11
7 Stevens, Method of Movement, 23. 8 Andrew Gowan, “Preparing for Music Festivals,” Instrumentalist 45, No. 8 (March 1991): 72. 9 Kathie Kelton, “Ten Steps to Selecting a Winning Audition Program,” Classical Singer 22, No. 9 (September 2009): 65. 10 Gowan, “Preparing for Music,” 72. 11 Kelton, “Ten Steps,” 65. 37
When it comes to selecting repertoire, students, and likely the educators helping them select their literature, tend to select solos that are on the edge of unplayable at the beginning of the rehearsal process. Mark Ford suggests a differing approach: “Instead of having a student dive into a ten-minute composition that may take weeks (or even the entire semester) to learn, the teacher can give the student several shorter works. These shorter selections will give the student a stronger sense of accomplishment and more performing opportunities.”12 When it comes to festivals and auditions, simpler is always better. Kathie Kelton states: “Difficult repertoire usually makes the performer’s weaknesses stand out rather than their strengths. Therefore, no person listening to a performer will be offended when the piece is less demanding if it is performed beautifully, with sensitive attention to detail.”13 Ralph Zitterbart wrote an article speaking directly toward students looking to audition for collegiate studios, saying: “It is a mistake for students to select pieces beyond the limits of their ability and hope to impress an audition committee.”14 Not only is performing literature that is too difficult detrimental to the results of the performance, but to the four-mallet keyboard player, it can cause physical problems as well.
Mark Ford speaks specifically to the most common mistakes in repertoire selection for four-mallet repertoire: “Most teachers agree on the beginning stages of four-mallet keyboard instruction with basic theory, grip, and stroke exercises. They also have a keen awareness of higher musical goals for the advanced student. However, the connecting link or the intermediate level can often be elusive.”15 As referenced earlier in this document, Ford is an advocate for
12 Ford, “Marimba,” 62. 13 Kelton, “Ten Steps,” 64-65. 14 Ralph Zitterbart, “College Piano Auditions,” Clavier 45, No. 8 (October 2006): 24. 15 Ford, “Marimba,” 62. 38
students playing many shorter, less difficult solos rather than fewer, more difficult works. As the student’s skills gradually increase with each solo performed, more advanced literature can be attempted.16
With so much importance lying in the selection of repertoire, the educator must have knowledge and reasoning behind each solo selected. This, in combination with adjudication sheets that have an entire section devoted to the appropriateness of the repertoire, puts a tremendous amount of pressure on the teacher to know more about the available literature and the technical and musical aspects of each solo. This is the primary focus of this document.
The Role of the Music Educator in Selecting Repertoire
In the article, The Importance of High-Quality Literature, author Diane Persellin states,
“Selecting repertoire can be one of our most enjoyable tasks as music educators. It can also be one of the most daunting. High-quality music lays the foundation for a sound music education.”17
Music educators are tasked to know and select not only repertoire for their large ensembles, but all of the solo and chamber ensembles formed by their students. It is unrealistic to expect a person to have such a vast knowledge of so many genres of music, and yet it is required of them to meet the curricular standards of their students’ music educations. Persellin continues, “In fact, the careful selection of high-quality literature may be one of the most important things we do as music educators. When selecting fine repertoire, we must choose music that is appropriate for
16 Ibid., 62. 17Persellin, “The Importance,” 17. 39
our ensembles’ ages and abilities. The music should not only reinforce our ensembles’ strengths, but also stretch them in some way.”18
Solo and ensemble contest is one such instance that requires educators to select appropriate, but challenging music for their students. This can be particularly difficult if the educator is not familiar with the genre of literature or the literature list from which the student is permitted to perform. Rather than arbitrarily picking solo literature, the educator must know where the student is musically and where they would like the student to be after the performance.19
“We music educators can make no more important decision than the selection of the material with which we teach our students,” says Robert Reynolds, “As music educators, our primary purpose is to help individual students receive a music education through experiences and information. In order to achieve this lofty goal, we must strive to select the finest repertoire.”20
Dr. Hilary Apfelstadt asks teachers to not only push their students through the repertoire, but themselves as well: “We must challenge our students and ourselves to learn musics that embrace a wide span of time, a range of cultures and traditions, and a variety of styles. It is a tall order, perhaps, but one essential to musical growth and understanding.”21 Almost every teacher at one point or another has found themselves gravitating toward the same music over and over, be it because of their knowledge about those compositions, a lack of effort to find new music, or a myriad of other reasons. However, if a teacher does not strive to incorporate new and different music into their sequence, they are not keeping up with current compositional trends and not
18 Ibid. 19 Margaret Jordan, “Music Matters: Repertoire Selection,” Southwestern Musician 80, No. 2 (September 2011): 15. 20 Reynolds, “Repertoire is,” 31, 33. 21 Apfelstadt, “First Things,” 23. 40
giving their students the well-rounded music education they deserve. Apfelstadt continues by saying: “Through the repertoire we choose, we not only teach curricular content to our students, but we also convey our philosophy in terms of what we believe students need to learn to achieve musical growth.”22
When it comes to analyzing specific pieces, the main question the music educator needs to ask themselves is whether or not the student will learn something significant from the music and whether they will be a better musician for having learned it.23 John Nix, in his article
Criteria for Selecting Repertoire, says: “It is the teacher’s task to carefully choose repertoire that ensures success and progress while it challenges, but does not defeat the student.”24 This is why a student cannot be left to their own devices when selecting repertoire, especially at the high school level and younger. They do not yet understand the importance of a pedagogical sequence.
There are great teachers who also lose sight of appropriate repertoire selection. A star student, despite being technically capable of performing a piece of music, might not be musically mature enough to handle that particular piece. Many musicians have witnessed students of great talent perform the notes, but not “make music.” Nix forewarns the educator: “No matter how talented and knowledgeable the teacher is in assisting the student to establish technical foundation through exercises, the same teacher, by assigning inappropriate literature, can hamper the student’s rate of development or even undermine the technique he or she helped the student acquire.”25 Apfelstadt gives the advice: “Often state solo and ensemble lists are helpful in the selection process, but we must still judge the appropriateness of the music for our own students.
22 Ibid., 19. 23 Ibid., 20. 24 John Nix, “Criteria for Selecting Repertoire,” Journal of Singing 58, No. 3 (February 2002): 217. 25 Ibid., 217. 41
Repertoire choice must accommodate the student’s technical readiness, maturity, and expressive capabilities. Stylistic variety is essential to provide a well-balanced musical diet.”26
Sometimes assurance that they are doing the right thing by not giving their students the hardest music they can play is all an educator needs. Kathie Kelton assures: “The majority of teachers choose repertoire with the intention of creating the perfect next step on each student’s path to full technical and musical development. Teachers who advise students to wait several years before approaching certain literature are not trying to hold back their students’ development.”27
Speaking specifically to non-percussionist educators, Allen Brown discusses the need to know four-mallet keyboard literature: “Many directors have not had to seriously cope with four- mallet playing. However, recent scores often require such expertise, not only on marimba and vibraphone, but also on xylophone and bells.”28 These skills are found in solo literature as well as large ensemble repertoire. The modern-day band or orchestra director must have a base knowledge of four-mallet techniques in order to select repertoire that sets their students up for success in all their performances.
Advice for Non-Percussionist Educators
As a non-percussionist, an educator can feel lost when it comes to helping their students with four-mallet technique. It is important to remember that this is an advanced technique and the educator should not feel inadequate. Charles Morey, a percussionist and professor from
26 Apfelstadt, “First Things,” 21. 27 Kelton, “Ten Steps,” 64. 28 Brown, “Practical Four-Mallet,” 4. 42
Rochester, NY, speaks for all percussionists when he says “Private study with a percussion specialist is extremely important whenever possible. This is sometimes difficult, but its importance cannot be emphasized enough.”29 However, it is not always possible for students to take private lessons and in this case, it is left to the band director or the occasional school percussion specialist to fill in these gaps.
Linda Pimentel stresses that technical experience must be applied and further developed with actual music, preferably solo or small ensemble literature.30 These are the genres that can intimidate the non-percussionist the most. This section includes basic guidelines that should help with the selection process.
For the student, it is best if the selected music focuses on one or two specific techniques.31 While this makes sense to focus on fewer things and do them well, the sequence of which techniques to learn in what order is highly debated. One suggested order is by James
Moyer in his dissertation: Double vertical strokes, double vertical rolls, single alternating strokes, lateral rolls, ending with single independent strokes.32 Mark Ford recommends: Single independent strokes, single alternating strokes, double lateral strokes, double vertical strokes, and lastly chorales.33 A more up-to-date sequence can be found in a dissertation by Justin
Bunting in which he studied the sequence of learning four-mallet marimba techniques and linked them with music theory concepts. He recommends the following order: Double vertical strokes, interval changes, rolls, single independent strokes, single alternating strokes, double lateral
29 Charles Morey, “The Challenge of Percussion,” Percussive Notes 6, No. 3 (Spring 1968): 9. 30 Linda Pimentel, “Multiple Mallet Marimba Techniques,” Percussionist 14, No. 1 (Fall 1976): 6. 31 Ford, “Marimba,” 62. 32 Moyer, “Applications of,” 15-16. 33 Mark Ford, Marimba: Technique Through Music (Nashville: Innovative Percussion, Inc, 2005), 1. 43
strokes, multi-lateral strokes, independent/one-handed rolls, double lateral rolls.34 This is by far the most in-depth sequencing found specifically for four-mallet technique and is the influence for the sample sequencing found at the end of this chapter.
One common question from music educators is about the appropriate age to begin four- mallet technique. This very much depends on the student and not only their musical, but also their physical maturity. Four-mallet technique, particularly Stevens grip, requires use of unique hand muscles and beginning a student who is not yet physically big enough can lead to technique problems or worse, physical issues such as tendinitis. Mark Andreas Giesecke and Wessela
Kostowa run a music academy for young students in Germany. They begin students with two- mallet music at age six and add four-mallet technique using traditional grip at age seven or eight.35 In the United States, where students usually start in school music programs at an older age and Stevens grip is more prominent, students can begin on four-mallet technique as early as the second or third year of study.36 As with any suggestion on when to begin techniques, there will always be exceptions to these rules, but the main focus should be on mastering the current technique, be it with two mallets or four, before moving on to the next step prematurely.
While it cannot be expected of the non-percussionist educator to know all of the inner workings of four-mallet techniques, there are two common issues that they can easily spot and correct that affect almost every aspect of the technique. Nicholas Papador speaks to both common problems in his article, Singles, Doubles, Triples: Rudimental Blocks Applied to Four-
Mallet Keyboard Technique. He first says: “The most frequent problem I encounter with students
34 Bunting, “Music Theory,” 9. 35 Mark Andreas Giesecke and Wessela Kostowa, “Teaching Mallet Keyboard Technique,” Percussive Notes 37, No. 1 (February 1999): 36. 36 D'Alicandro, “4 Mallet,” 46. 44
is when the four-mallet grip is held too tightly because the player does not feel in control of the sticks. The tightened grip can often “slice” the natural up-and-down motion of the stroke and/or inadvertently change the interval of the mallets.”37 Some of the signs to watch for are tense forearms, flesh of the fingers turning white around the area of the mallet shafts, and the stroke path coming at the instrument from a horizontal or diagonal direction. Papador continues:
“Another common problem is that students often will play Stevens grip with the wrists pointing up instead of the thumbs. This alteration inhibits the outside mallets’ striking independence.”38
For this, the author recommends that the teacher watch that the back of the hand sits perpendicular to the instrument and the mallets sit on an even plane in doing so. Players that do not have the strength in the back fingers tend to role the hand over to create an “equal plane” for the mallets rather than work the muscles in the back of the hand to pull the mallet up. The author uses the phrase “scratch the palm with the ring and pinky fingers” to remind young students of the motion required to pull up the outside mallet to an even height.
With these few, but important guidelines and the sample sequencing provided in the following section, the non-percussionist educator can feel confident in selecting repertoire for their percussionists and giving basic constructive feedback.
Sample Sequencing
The following is only one example of a logical pedagogical sequence to repertoire selection from the beginning through the overall advanced difficulty rating. The techniques that are being developed by each new work are presented in italics below the title of the composition.
37 Papador, “Singles,” 49. 38 Ibid., 49. 45
Students should be assigned technical exercises in combination with the literature to best develop their abilities. This sequence would last many years. If a student struggles with a particular technique an additional solo could be inserted in the sequence to further develop that skill set.
Beginner
Waves by Mitchell Peters
• Double Verticals, Single Alternating
Ghost Garden by Adam Hopper
• Intervals, Single Independents
Beginner/Intermediate
Prayer by Richard Gipson
• Intervals, Chorale
Crystal Light by Steve Kastuck
• Single Independents, Speed
• First Vibraphone Solo, Basic Pedaling
Sea Refractions by Mitchell Peters
• Chorale, Single Alternating, Triple/Double/Tuplets
Mbira Song by Alice Gomez and Marilyn Rife
• Double Verticals, Playing Logistics, Single Alternating, Single Independents
46
Intermediate
Colors by Todd Ukena
• Chorale, Playing Logistics
…like a burden too heavy by Brian Blume
• Double Verticals, Intervals, Single Independents
Wistful Thoughts
• Double Verticals, Intervals
• Vibraphone pedaling
Ghost River by Steven Crawford
• Double Laterals
• First Advanced-Level Technique: Chorale
Suite Mexicana by Keith Larson
• Double Verticals, Double Laterals
Chorale and Variations by George Frock
• Chorale, Double Vertical, Double Lateral, Single Alternating, Single Independent
• Each variation focuses on one stroke type: Check in point on the status of each stroke
type, can give insight on which need more focus
In the Stillness of Twilight by David Steinquest
• Single Alternating, Span
• Vibraphone Pedaling
Yellow after the Rain by Mitchell Peters
• Double Verticals, Single Alternating
47
Intermediate/Advanced
Mexican Murals by Thomas Brown
• Chorale, Intervals, Metric Modulations
Marimba Flamenca by Alice Gomez
• Double Laterals, Single Independents
The True Lover’s Farewell by Steven Gwin
• Double Laterals, Single Independents
Greensleeves arranged by Thomas Brown
• Intervals, Playing Logistics
• Vibraphone Pedaling, Introduction to Mallet Dampening
Rosewood Blues by Charles DeLancey
• Double Verticals, Single Alternating, Polyrhythms
• Swinging Eighth Notes
Suite: Three Songs of the South by Murray Houllif
• Chorale, Double Laterals
The Little Things by Michael Aukofer
• Single Alternating, Multi-Laterals
Autumn Portrait by Nicholas Papador
• Double Verticals, Single Alternating, Speed
Advanced
Gitano by Alice Gomez
• Double Laterals, Triple/Double/Tuplets 48
Strive to be Happy by Ivan Trevino
• Double Laterals, Single Alternating, Single Independents
Solfegietto by C.P.E. Bach, arr. Chandler
• Multi-laterals, Speed, Intervals
• Vibraphone Pedaling
Restless by Rich O’Meara
• Double Laterals, Single Independents
Parody by Jesse Monkman
• Double Verticals, Multi-Laterals
Cattelin by Daniel Berg
• Independent Rolls, Single Alternating
Fantasy for Vibraphone by Jesse Monkman
• Intervals, Single Independents, Polyrhythms
• Vibraphone Pedaling
Lauren’s Lullaby
• All techniques at the advanced level: Check in point for which techniques need more
work
Rain Dance by Alice Gomez and Marilyn Rife
• Double Verticals, Intervals, Single Independents
A cricket sang and set the sun by Blake Tyson
• Playing Logistics, Double Laterals, Single Independents
Tune for Mary O. by Rich O’Meara
• Double Laterals, Double Verticals 49
Memories of a Seashore by Keiko Abe
• Double Verticals, Single Independents
• Introduction to Japanese Marimba Music
Mist by Murray Houllif
• Intervals, Single Independents
• Vibraphone Pedaling
Four Rotations for Marimba No. 2 by Eric Sammut
• Double Laterals, Single Alternating
Trilogy by Tim Huesgen
• Metric Modulations, Multi-Laterals
• Vibraphone Pedaling, Mallet Dampening
Variations on Dowland’s Lachrimae Pavana by Keiko Abe
• Double Verticals, Single Alternating, Triple/Double/Tuplets
Battle of the Rising Spirits by Gus Burghdorf
• Double Lateral, Single Alternating
50
Chapter 4 Explanation on Using This Repertoire Guide
How to Use this Guide
This repertoire guide is designed to help the selection process go more smoothly when trying to find new repertoire or selecting from a predetermined list. The information provided is primarily objective and therefore discusses pedagogical techniques and their difficulty levels which were decided upon through use of the Gaines model and experience teaching students of these levels. On certain pieces where the author deemed it appropriate, there are suggestions for how to learn the work or problematic passages.
Appendices B, C, D, and E are indexes organized by title, overall difficulty, difficulty of specific techniques, and instrument, respectively. Appendices B and C are most useful when picking repertoire from a predetermined list. Appendix D best serves the educator who is looking for an appropriate piece to fill the next spot in the pedagogical sequence. Appendix E allows the reader to look up repertoire by the instrument type and size available.
Difficulty Rating Levels
All included compositions were analyzed against a total of fifteen different techniques at four difficulty levels. The difficulty levels are each equated to specific definitions relative to that technique. They have also been assigned an approximate time frame of how long the student has been playing that technique. It is important to remember that these time frames were based on the time the performer has been playing the given four-mallet technique, not percussion or even four-mallet technique in general. These time frames are just a general reference for educators that may not know the techniques in depth. There are always exceptions to the rules. The author 51
has encountered plenty of students that have been playing a technique for multiple years and are still in the beginner level and students that have been playing less than a year that are well beyond the beginner level. Ultimately, the educator must use their best judgement and keep a realistic perspective as to what difficulty level is appropriate for their students. Remember the advice of Kathie Kelton, “Simpler is always better.” The four time frames for experience levels are as follows:
Beginner – Less than one year of experience,
Intermediate – two to four years of experience,
Advanced – five to seven years of experience,
Collegiate – eight or more years of experience.
Each technique is described in the following section. Included in the description is a definition of the technique at each difficulty level. All techniques ultimately affect one another, but as much as possible these affects were taken into account in deciding the difficulty rating levels.
The overall difficulty was decided by the summation of the fifteen technical ratings. If the ratings came out evenly between two levels, both were named in the overall difficulty rating and the piece can be considered transitional between the two difficulties.
Four-Mallet Techniques
Each of the following sections will have a brief description of each of the fifteen techniques, listed alphabetically. The author stresses the importance of recognizing that the
52
sequential order of learning the techniques is variable depending on the student and teacher. A definition of that technique in each of the four difficulty levels will then be provided.
Chorale
The term “chorale” refers to any two to four-note harmonized composition or extended passage which is performed by rolling all or the majority of the notes.1 Chorales are most often encountered on marimba and occasionally xylophone. Because of the ringing nature of the vibraphone, there is not a need to roll for sustain. Luke Dull explains the need for the chorale:
“Generally speaking the marimba does not sustain sound by itself for a long period of time. To solve this problem, performers and composers use rolls to create the illusion of sustain. The roll on the marimba is simply to play single strokes in rapid succession to make the bar, or bars, vibrate continuously.”2
The chorale can be made up of many roll types, two of which have their own technical categories in this document, the lateral roll and the independent roll. Primarily however, chorales are composed of the traditional hand-to-hand roll. The hand-to-hand roll is the simplest to understand and develop. The hands are alternated rapidly and without a suggestion of definable meter.3 It is important however, that roll speed is taken into account to foster good technique.
Bunting suggests: “Young marimba players often have trouble rolling four-note chords. Many beginning students play four-mallet rolls as if they must play hand-to-hand as fast as possible, whereas thinking of them as a quick succession of proper double vertical strokes produces a
1 Kendra McLean, “Improving Note Accuracy and Tone Consistency on Marimba Through the Practice of Four- Mallet Chorales” (DMA document, University of Arizona, 2015), 10. 2 Dull, “Effective Transcriptions,” 10-11. 3 Gard, “A Description,” 9. 53
better effect.”4 Roll speed can also be used in chorales to create a sense of tension and release.
Players of all ages should be encouraged to experiment with roll speed to foster musicality.
One of the common problems encountered in this type of marimba playing is making clean shifts from one chord to the next.5 Raush informs percussionists: “The continuum of strokes should remain smooth, unbroken, and without an accent on the initial stroke of each new chord.”6 This is one of the most difficult components of the chorale. Fast interval changes in combination with the rapid strokes make it difficult to avoid an unintentional accent on the front of a new chord. This should be one of the main focuses of the student when beginning work on chorales. Gronemeier states: “Large interval changes are much more difficult in chorale playing than in single struck tone playing due to the speed of rearticulations between changes. All technical aspects of chorale playing require good facility. Only when the techniques involved with playing this style are mastered and executed properly will the marimbist have control over the desired smooth, legato style.”7
Michael Burritt, famed percussionist and educator, wrote about one of the common mistakes made by percussionists when playing chorales: “Because chorales are usually slow, we often forget that they need a sense of pulse just like any other piece. It is easy when rolling to forget a sense of tempo and take liberties where it may be convenient idiomatically, but incorrect musically.”8 Because of this tendency, many teachers encourage their students to begin their learning process by playing chords struck in time as an outline or in sixteenth notes. This helps
4 Bunting, “Music Theory,” 19. 5 Burritt, “Four-Mallet Traditional,” 64. 6 John Raush, “Developing Four-Mallet Percussion Rolls,” Instrumentalist 50, No. 10 (May 1996): 36. 7 Dean Warren Gronemeier, “Advanced Marimba Techniques: An Analysis with Musical Approaches to Performance Problems in West Side Suite” (DMA document, University of Arizona, 1991), 102. 8 Burritt, “Four-Mallet Traditional,” 65. 54
not only with timing, but also with accuracy. In her dissertation on the marimba chorale, Kendra
McLean states: “Chorales can be used to improve a marimbist’s accuracy in interval spacing.
Chorales have a distinct advantage over technical exercises because they are more apt to engage the mind of the marimbist by providing musical interest and variety to his or her practice session.”9
Musically, the performer must be aware of the important lines within the chorale. The best place to begin is to bring out the moving lines. Gronemeier suggests: “A musical consideration for playing in a chorale style is to emphasize the voice movements. With this understanding, certain musical decisions must be made. If the soprano voice is prominent, a harder mallet might be chosen to help project the voice.”10 A harder (or softer) mallet may not always be possible if a chorale is in the middle of a longer work, or voices change roles within the chorale. For this reason, Gronemeier suggests another option: “Another way of highlighting a particular voice in chorale-style playing is through a technique best referred to as ‘leaning’. This involves a combination of adding physical force to a given pitch and mentally focusing upon it.”11 This technique, along with roll speed changes can help a performer take a chorale to a new level of musical maturity.
A passage does not qualify as a chorale just because there is a roll. For the purpose of the annotations in this document, a passage is only considered a chorale if it is two or more phrases in length. The aspects of the chorale that were considered in the difficulty ratings are as follows:
9 McLean, “Improving Note Accuracy,” 25. 10 Gronemeier, “Advanced Marimba Techniques,” 102. 11 Ibid., 103. 55
Endurance/length of chorale, interval size and rate at which the intervals change, and rhythmic content. Below are the definitions of each difficulty level.
Beginner
• Chorale is approximately thirty seconds or less of intense rolling.
• The intervals are perfect fifths or smaller. Intervals do not change more than a leap of a
major third at a time.
• Rhythmic changes happen primarily as half notes or slower with occasional quarter notes.
Intermediate
• Chorale is between thirty seconds and two minutes of intense rolling.
• The intervals are primarily perfect fifths or smaller with occasional intervals up to an
octave. Intervals do not change more than a leap of a perfect fourth at a time.
• Rhythmic changes happen primarily with quarter notes or slower with occasional eighth
notes.
Advanced
• Chorale is between two and three minutes of intense rolling.
• The intervals are primarily an octave or smaller with occasional intervals up to a major
ninth. Intervals do not change more than a leap of a perfect fifth at a time.
• Rhythmic changes happen primarily with eighth notes or slower with occasional
sixteenth notes and triplets.
Collegiate
• Chorale is over three minutes of intense rolling.
• The intervals change quickly and often. 56
• The rhythms change quickly and with much variety.
Double Lateral Strokes
Double lateral strokes are one of the four stroke types Leigh Howard Stevens created with his new grip. This term has become accepted as a universal concept for the defined stroke type regardless of the grip the performer uses. Stevens defines the double lateral stroke as:
“Similar to the single alternating stroke, but at a faster tempo. This stroke occurs when the tempo is too fast to play each stroke separately, so a single motion by one hand is used to produce both strokes.”12 Bunting gives a more concise definition that might be easier for a young student to understand: “Double lateral strokes are a combination of double vertical and single alternating strokes, allowing for a quick succession of two notes in each hand.”13 Students can think of a double lateral stroke as a vertical motion of the wrist with a quick rotation as the wrist drops.
Double lateral strokes are by far the most complicated strokes to teach to beginning students. They are also some of the most useful strokes when it comes to playing.14 Nicholas
Papador relates double lateral strokes to diddles, or two strokes with one motion, on the snare drum: “The biggest difficulty in developing consistent diddles on the snare drum is getting the second note to match the first in volume and intensity. At faster speeds the finger muscles are needed to fortify the second note when there is not time to complete two wrist strokes. The same principle is in effect with double lateral strokes, except that a wrist motion is used rather than
12 Stevens, Method of Movement, 35. 13 Bunting, “Music Theory,” 5. 14 Michael Overman, “Double Lateral Stroke Timing,” Percussive Notes 54, No. 1 (March 2016): 34. 57
finger motion.”15 Using this analogy may help young students that have more experience with snare drum understand the sound for which they should be striving.
Double lateral strokes can be performed in two directions; in and out. A double lateral stroke moving in begins with the outside mallet and ends with the inside mallet. The double lateral stroke moving out begins with the inside mallet and ends with the outside mallet.
The difficulty levels for double lateral strokes are defined by the portion of the work made up by double lateral strokes, the speed at which the double lateral strokes must be played, and the consistency of the direction of the double lateral strokes.
Beginner
• Double lateral strokes make up less than one quarter of the composition.
• The double lateral strokes are slow in tempo and allow the performer time to think about
the motion.
• The direction of the double lateral strokes stays the same or allows a break of at least one
beat before changing direction.
Intermediate
• Double lateral strokes make up between one quarter and one half of the composition.
• The double lateral strokes are medium in tempo.
• The direction of the double lateral strokes primarily stays the same or allows a break of
some length before changing direction.
15 Papador, “Singles,” 52. 58
Advanced
• Double lateral strokes make up between half and three quarters of the composition.
• The double lateral strokes are fast in tempo.
• The direction of the double lateral strokes changes occasionally with or without a break
between the change in direction.
Collegiate
• Double Lateral Strokes make up between three quarters and the entirety of the
composition.
• The double lateral strokes are very fast in tempo.
• The double lateral strokes change direction often and without breaks between the changes
in direction.
Double Vertical Strokes
Double vertical strokes are one of the four stroke types associated with the Stevens grip.
The name has been universally accepted for the stroke where both mallets in one hand hit the keyboard at the same time.16 This stroke is considered the simplest stroke to play, no matter which four-mallet grip the performer uses because the entire hand moves with the mallets as a whole.17 Double vertical strokes are the most relatable of the four main stroke types (Double lateral, double vertical, single alternating, single independent) to other aspects of percussion. The motion used for double vertical strokes when using Stevens grip can be compared to the timpani
16 Stevens, Method of Movement, 32 17 Overman, “Four-Mallet Marimba Pedagogy: A Part Practice Approach” (DMA diss., Northwestern University, 2002), 70. 59
stroke with the French grip. This motion can also be related to the motion of shaking someone’s hand. When using the traditional cross grip or Burton grip the motion will be like that of a snare drum stroke. The mallet path should be purely vertical.
One version of the double vertical stroke is called the piston stroke. Bunting defines this stroke as: “A method of playing two notes in the same hand at the same time. The mallets and wrist begin in an up position, move down to strike the bars, then immediately return to an up position. There is no preparatory stroke. This is the primary method of playing double vertical strokes.”18 The piston stroke should be how students practice their double vertical strokes in order to build endurance. One sign of a good piston stroke is the “wrist pop”. This is created when the center of the palm is below the wrist at the bottom of the stroke and higher than the wrist at the top of the stroke.
One of the concerns about double vertical strokes is endurance and interval changes.
Millea states: “Dexterity becomes a concern with multiple double vertical strokes in a row. Large interval changes in the same hand should be used with caution.”19 These two elements heavily influence the difficulty levels for this technique along with the speed at which the double vertical strokes must be executed. The following are the criteria for the difficulty levels:
Beginner
• Double vertical strokes make up less than one quarter of the piece.
• The intervals of the double vertical strokes do not change often and never more than a
major third at a time.
18 Bunting, “Music Theory,” 4. 19 Millea, “Composing,” 47. 60
• The double vertical strokes are executed at sixty strokes per minute or less within each
hand.
Intermediate
• Double vertical strokes make up between one quarter and half of the piece.
• The intervals of the double vertical strokes change occasionally, but never more than a
perfect fourth at a time.
• The double vertical strokes are executed at 100 strokes per minute or less within each
hand.
Advanced
• Double vertical strokes make up between half and three quarters of the piece.
• The intervals of the double vertical strokes change regularly, but never more than a major
sixth at a time.
• The double vertical strokes are executed at 200 strokes per minute or less within each
hand.
Collegiate
• Double vertical strokes make up between three quarters and the entirety of the piece.
• The intervals of the double vertical strokes change often and at large distances.
• The double vertical strokes executed are 200 strokes per minute or more.
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Independent Rolls
The independent roll, also called the one-handed roll, is a roll that oscillates between two mallets in a single hand, leaving the other hand free to do something else.20 This technique is found primarily in repertoire for the marimba. Mark Boseman even claims that it has become one of the most prominent techniques in the modern marimba repertoire.21 In an article written specifically about this technique, Michael Burritt says: “The independent roll, once considered a specialized technique, is becoming more and more an essential part of marimba performance.”22
One of the most common issues with the independent roll is the control of the motion it takes to execute it properly. Burritt defines the motion for the independent roll as: “The motion used for the roll is best defined as a controlled reflexive rotation of the wrist; controlled in that you have command of various speeds; reflexive in that it is not a contrived motion, but one that is relaxed and becomes almost ‘second nature.”23 Scott Herring speaks on a common mistake made by young percussionists: “Many young marimbists get caught up in the idea that an independent roll must be really fast. Control is, without a doubt, the most important aspect of the independent roll.”24 This control must be developed with slow and deliberate practice.
Marimbist, Janis Potter recommends one way of thinking through the motions: “The most important fact to remember about one-handed rolls is that they are nothing more than a series of single strokes. This will help avoid the common mistake of ‘shaking’ or ‘twitching’ through the roll.”25
20 Ibid., 54. 21 Mark Boseman, “Controlling the Independent Roll,” Rhythm! Scene 2, No. 1 (February 2015): 64. 22 Michael Burritt, “The Independent Roll,” Percussive Notes 30, No. 3 (February 1992): 54. 23 Ibid., 54. 24 Scott Herring, “Developing the Independent Roll on Marimba,” Percussive Notes 39, No. 4 (August 2001): 46. 25 Janis Potter, “Building a Strong One-Handed Roll,” Percussive Notes 42, No. 3 (June 2004): 38. 62
The one-handed roll was first used in Keiko Abe’s composition, Frogs, written in 1958.
However, the technique is associated with Leigh Howard Stevens as one of his technical innovations with his new four-mallet grip.26 The independent roll is still considered an advanced technique, although an advanced player should have no difficulty with the technique.
Intermediate players should also able to play this technique in limited amounts.27
The concepts analyzed for difficultly levels for independent rolls include the quantity and duration of independent rolls, the interval at which the roll must be played, and the continuous, connected movement of independent rolls. It is important for this technique in particular to remember that the levels are for beginners on this technique only, not beginners to four-mallet keyboard technique.
Beginner
• No more than two independent rolls are included in the composition.
• The rolls are three seconds or less in length.
• The interval is a perfect fourth or perfect fifth.
• There is no continuous movement between independent rolls.
Intermediate
• No more than five independent rolls are included in the composition.
• The rolls are five seconds or less in length.
• The interval is between a major third and perfect fifth.
26 Ochi, “One Hundred Years,” 94-95. 27 Millea, “Composing,” 54. 63
• There are no more than two independent rolls connected continuously and the intervals
do not change between the connected rolls.
Advanced
• There are no more than ten independent rolls included in the composition.
• The rolls are ten seconds or less in length.
• The interval is between a major third and an octave.
• There are no more than five independent rolls connected continuously and the intervals
do not change more than a whole step between the connected rolls.
Collegiate
• There are an unlimited number of independent rolls in the composition.
• The rolls are of any length.
• The intervals can be as small as on the same note and as large as a major tenth.
• There are many connected rolls and they change intervals between.
Intervals
There are three types of interval spacing relationships in four-mallet keyboard technique: intervals between two mallets held in separate hands, intervals between two mallets in the same hand, and intervals created as each individual mallet moves horizontally across the keyboard from one note to the next.28 For this document, the term interval changes and the intervals technique refers to the interval spacing between two mallets in the same hand changing. The interval between two mallets in separate hands will be address later under “span.”
28 McLean, “Improving Note Accuracy,” 14. 64
Leigh Howard Stevens forewarns percussionists: “Problems related to interval changes can plague the first few years of study. To prevent these physical hindrances, it is essential that from the inception of holding mallets, the student learn to move them correctly.”29 Nicholas
Papador wrote an article for Percussive Notes titled, Perfect 10s: Observations and Development of Extended Interval Usage in Four-Mallet Keyboard Percussion, in which he primarily discusses intervals larger than an octave. He does, however, discuss interval changes for young players: “For many beginning and intermediate four-mallet players, achieving wide mallet spreads can be difficult. Even those who can comfortably make the reaches have difficulty projecting sound with the same integrity as with comfortable intervals of thirds to sixths.”30
These problems with sound projection also affect advanced and professional players. Papador continues: “Even some professional players, when commissioning new works for the instrument
(marimba), may specify that passages of active playing should contain no intervals wider than a sixth unless the texture is sparse enough to allow adequate time to prepare intervals such as sevenths and octaves.”31
Interval changes relate directly to the accuracy of the performer. Issues with accuracy can be amplified not only by the difficulty of interval changes, but also by the dimensions of the instrument. Most mallet instruments have graduated bars, meaning the bars get wider as the pitches get lower. Overman points out the problems this can cause: “The player must be able to move the mallet heads many different distances – four inches, eight inches, and numerous distances in between – just to play the interval of a third. If the intervals from a second to an
29 Stevens, Method of Movement, 12. 30 Nicholas Papador, “Perfect 10s: Observations and Development of Extended Interval Usage in Four-Mallet Keyboard Percussion,” Percussive Notes 48, No. 6 (November 2010): 34.` 31 Ibid., 34. 65
octave are considered, the variables become huge in number.”32 This is more prevalent with instruments that have larger ranges. The graduation on a five-octave marimba is much more than a three-octave vibraphone. This also varies between manufacturers. The low C on a five-octave
Malletech marimba is almost one and a half times as wide as the lowest note on a five-octave
Adams marimba. Millea claims: “Most marimba players will be limited to an interval of approximately a ninth or tenth on the low end of the instrument and approximately a twelfth or thirteenth in the upper register within each hand.”33 This is very much an approximation depending on the anatomy of the performers hand, the grip they choose, and the instrument on which they are performing. Intervals of this size also take many years of practice to be able to accurately achieve.
An extended section of octaves in either hand might require a specific technique sometimes referred to as octave position. With Stevens grip, the octave can be locked into place by placing the base of the inside mallet near the base of the ring finger in the hand. This technique can be difficult to transition into and out of, so it is not appropriate for beginners or even many intermediate players.
The difficulty levels for interval changes are based on the size of the intervals in the composition, how frequently they change, and the distance of that change. Since the bars are graduated on most modern instruments, the placement/range of the instrument was also taken into account when determining difficulty.
32 Overman, “Four-Mallet,” 67. 33 Millea, “Composing,” 54. 66
Beginner
• Intervals all fall within a major third to a perfect fifth.
• Intervals do not change regularly and never condense or expand more than two whole
steps at a time.
• Intervals below F3 are no bigger than a perfect fourth.
Intermediate
• Intervals mostly fall within a major second to a major sixth. There is occasional use of
octaves, but not for an extended period of time.
• Intervals change somewhat regularly, but never expand or condense more than two whole
steps at a time.
• Intervals below F3 are no bigger than a perfect fifth.
Advanced
• Intervals are mostly smaller than a major sixth. Sections that include octaves do not
change in and out of octaves regularly.
• Intervals change regularly, but usually do not expand or condense more than 3 whole
steps at a time.
• Intervals below F3 are no bigger than a major sixth with fewer than five exceptions.
Collegiate
• Intervals are all sizes.
• Intervals change often and expand and condense at many different sizes.
67
Lateral Rolls
The lateral roll is a unique rolling style that was initially introduced with the Musser grip and deemed the “ripple roll”.34 It was further developed with the Stevens grip and renamed the lateral roll. Bunting defines it as: “A quick succession of double lateral strokes between hands, which creates a sustained sound.”35 Leigh Howard Stevens wrote an article outlining the rolls and notation that have become associated with his grip. In this article he says: “The sticking order 4-3-1-2 or 1-2-4-3 is preferred in most musical settings as it emphasizes the soprano and bass voice leading.”36
The lateral roll is not a technique that should be attempted by a beginning marimbist. The double lateral stroke itself is the most difficult of the four main stroke types and playing it in succession as is necessary for this technique can be problematic if attempted too soon. Ronald
Gard warns: “The lateral roll is one of the most difficult of the percussion styles. It involves striking the keyboard in such a way that each mallet is independent of the others.”37
When it comes to notation, the use of a “z” or “s” over the stem, while not standard, is a very common way to notate the lateral roll in marimba repertoire.38 Lateral rolls can also be decided upon by the performer, especially with music written before the introduction of the lateral roll notation by Leigh Howard Stevens in the late 1970s. These are a specialty technique and can lose their effect if used too much, so the performer should be cautious when deciding to add lateral rolls on their own.
34 Pimentel, “Multiple Mallet,” 21. 35 Bunting, “Music Theory,” 5. 36 Leigh Howard Stevens, “Rolls and Notation,” Percussive Notes 19, No. 1 (Fall 1980):61. 37 Gard, “A Description of,” 9. 38 Millea, “Composing,” 58. 68
It must again be stressed that the difficulty levels for lateral rolls are for this technique only and not based on the experience with four-mallet keyboards in general. The criteria for the difficulty levels include quantity of lateral rolls, duration, and intervals used in the roll.
Beginner
• No more than two lateral rolls are included in the composition.
• The rolls are three seconds or less in length.
• The interval in each hand is a perfect fourth or perfect fifth.
• There is no continuous movement between lateral rolls.
Intermediate
• No more than five lateral rolls are included in the composition.
• The rolls are five seconds or less in length.
• The interval in each hand is between a major third and perfect fifth.
• There are no more than two lateral rolls connected continuously and the intervals do not
change between the connected rolls.
Advanced
• There are no more than ten lateral rolls included in the composition.
• The rolls are ten seconds or less in length.
• The interval in each hand is between a major third and an octave.
• There are no more than five lateral rolls connected continuously and the intervals do not
change more than a whole step between the connected rolls.
Collegiate
• There are an unlimited number of lateral rolls in the composition. 69
• The rolls are of any length.
• The intervals in each hand can be as small as on the same note and as large as a major
tenth.
• There are many connected rolls and they change intervals between.
Metric Modulations
Metric modulations have become a common occurrence in percussion literature. In an article titled Making Sense of Metric Modulations, Meredith Vanbenschoten writes: “A metric modulation makes a note value from the first tempo equivalent in speed to a different note value in the second tempo.”39 This can be as simple as quarter note in 4/4 being equivalent to the dotted quarter note in 6/8. It can also be incredibly complex, for example, the eighth note triplet becomes the half note.
Vanbenschoten gives two reasons that composers use metric modulations: “First, when the original and new tempos have something in common, the tempo change feels smoother and more natural. Second, metric modulations allow for a precision that cannot be achieved with a typical tempo change.”40
The difficulty levels for metric modulations are based on the complexity of the conversion.
39 Meredith Laing Vanbenschoten, “Making Sense of Metric Modulations,” Making Music 10, No. 4 (July/August 2014): 46. 40 Ibid., 46. 70
Beginner
• The metric modulation occurs where the big beat, or main pulse, stays the same between
changing time signatures (duple and compound).
Intermediate
• The metric modulation occurs where the new tempo is outlined in the old meter first,
usually with subdivisions being filled in and accented.
Advanced
• The metric modulation occurs where the new tempo is loosely outlined in the old meter
first, but the performer still has to feel a lot of the subdivisions in their head.
Collegiate
• The metric modulation is not outlined in the first meter. The performer must complete
difficult calculations in their head to complete the modulation.
Multi-Lateral Strokes
A multi-lateral stroke, sometimes referred to as a triple lateral stroke, is closely related to the double lateral stroke. This is an advanced technique involving rotating from the first mallet to the second and back to the first, producing three notes in one stroke.41 This stroke should not be attempted by percussionists at the beginner level and only occasionally and at slow tempi by the intermediate player.
Multi-lateral strokes can begin with either the inside or the outside mallet. It is important that the student practices starting these strokes in both ways. Most often, the strokes start with
41 Bunting, “Music Theory,” 5. 71
the inside mallet. They are commonly found in passages where the hands alternate multi-lateral strokes or in passages that contain streams of notes that make the most sense to choose multi- lateral sticking.
The difficulty levels for multi-lateral strokes were decided based upon the quantity, endurance, tempo, and intervals involved.
Beginner
• There are fewer than five multi-lateral strokes in the composition.
• There are no more than two multi-lateral strokes in a row.
• The multi-lateral strokes occur at a slow tempo.
• The interval is either a perfect fourth or perfect fifth.
Intermediate
• There are fewer than ten multi-lateral strokes in the composition.
• There are no more than six multi-lateral strokes in a row.
• The multi-lateral strokes occur at a slow to moderate tempo.
• The interval is between a perfect fourth and a major sixth.
Advanced
• There are fewer than thirty multi-lateral strokes in the composition.
• There are no more than fifteen multi-lateral strokes in a row.
• The multi-lateral strokes occur at a moderate to fast tempo.
• The interval is between a major third and a major sixth.
Collegiate
• There are unlimited multi-lateral strokes in the composition. 72
• There are unlimited multi-lateral strokes in a row.
• The multi-lateral strokes occur at a very fast tempo.
• Any interval can be used for the multi-lateral strokes.
Playing Logistics
Playing logistics is a broad category that includes techniques such as shifting and body position. Stevens defines shifting as: “the business of moving from one note to another. There are basically only two types of shifts: a shift that is connected to the stroke it precedes and a shift connected to the stroke that it follows. Although it is sometimes unnecessary to connect the shift with the recovery of the previous stroke for the sake of speed, it is always highly advantageous for the sake of accuracy.”42 Body position relates to the movement of the body in order to play chords in the correct striking zones. Raush states: “Perhaps one of the most important factors in adjusting the playing apparatus to the keyboard in the performance of four-note chords is body position. Without correct body position, it is difficult to avoid hitting a node of a bar rather than the middle or edge.”43
Shifting and body position often go hand-in-hand and this is obvious based on the number of articles that speak of the two in combination. Millea states: “Because the accidentals are raised approximately one and a half inches, quick shifts from manual to manual should be played hand-to-hand if possible. Other manual limitations can be related to awkward chord voicing.”44 Some shifts that involve the usage of both the accidental and natural manuals cause
42 Stevens, Method of Movement, 19. 43 Raush, “Four-Mallet Technique,” 134. 44 Millea, “Composing,” 41. 73
issues. Millea forewarns composers: “Consideration of each manual (white and black keys), especially when writing for four mallets, is essential. From a physical stand point, combining manuals can be problematic.”45 Large angle adjustments must occur quickly and often while the mallets are in the air between chords. This requires muscular control and kinesthetic memory to hit the correct notes.46
There are three main positions in which the body must shift based on the manuals in use.
Overman refers to these as neutral, inside, and outside. Neutral is where the mallets are both on the same manual and the body can face straight to the instrument. Inside is where the inside mallet is on the accidental manual and the outside mallet is on the natural manual. Outside position is where the outside mallet is on the accidental manual and the inside mallet is on the natural manual. When discussing how to execute these positions, Overman says: “The physical factor which sets inside and outside positions apart from neutral position is the elbow. To accommodate outside positions, the elbow must move away from the body, and for inside positions the elbow comes in close to, or even in front of the body.”47
Sometimes a movement of the elbow will not be enough, and the entire body will have to shift. In these instances, the performer must think about the number and size of steps the shift will require, which foot to start with, and when to take that step. There is a large amount of thought that must go into the choreography required to play four-mallet mallet keyboard instruments. While this does become more natural as the student gains experience, the practice of deciding on body shifts and choreography should never go away entirely.
45 Ibid., 40. 46 Raush, “Four-Mallet Technique,” 36. 47 Overman, “Four-Mallet,” 73. 74
Another aspect of playing logistics is opposing motion between the hands. Opposing motion, for the purpose of this document, is when the hands simultaneously move in opposite directions on the keyboard. This is problematic for accuracy, especially when the hands are playing lines that spread from one another rather than converge. The farther the hands spread, the harder it is for the performer to see both hands to strike correct notes.
The difficulty levels for playing logistics are decided based on the amount of opposing motion, the number of large shifts (more than a perfect fourth), number of shifts that require a change in body position, and tempo of shifts.
Beginner
• The composition contains no more than one quarter opposing motion.
• There are no large shifts in the composition.
• There are no more than two shifts that require a change in body position.
• The shifts are all slow.
Intermediate
• The composition contains no more than half opposing motion.
• There are less than five large shifts in the composition.
• There are no more than six shifts that require a change in body position.
• The shifts are all slow to moderate.
Advanced
• The composition contains no more than three quarters opposing motion.
• There are less than fifteen large shifts in the composition.
• There are no more than twelve shifts that require a change in body position. 75
• The shifts are all moderate to fast.
Collegiate
• The composition contains a significant amount of opposing motion.
• There are a lot of large shifts in the composition.
• There are many shifts that require a change in body position.
• The shifts are fast.
Polyrhythms
A polyrhythm is the layering of one or more rhythms played simultaneously, each implying their own pulse center.48 Common examples of polyrhythm are 3:2 and 4:3. Jeffrey
Moore writes in his article, A System for Understanding Polyrhythms: “A popular but often misunderstood rhythmic compositional device in many percussion works involves the use of polyrhythms.”49
The use of polyrhythms in composition has grown significantly in recent decades. Payton
MacDonald writes: “Sixty years ago, a percussionist could get by in Western culture without knowing how to play polyrhythms. These days, if you cannot play polyrhythms many things are impossible.”50 He goes on to give suggestions on how to practice polyrhythms: “The first step toward mastering polyrhythmic lines is attaining familiarity with different tuplet groupings. Most
48 Jeffrey M. Moore, “A System for Understanding Polyrhythms,” Percussive Notes 34, No. 3 (June 1996): 48. 49 Ibid., 48. 50 Payton MacDonald, “A Method of Pedagogy for Tuplets and Polyrhythms,” Percussive Notes 40, No. 4 (August 2002): 34. 76
musicians are comfortable playing duple and triple subdivisions, but few are comfortable with subdivisions of five or seven.”51
The difficulty levels for polyrhythms were decided based on the quantity of polyrhythms in the piece and the difficulty of the polyrhythmic combination.
Beginner
• There are less than two polyrhythms in the composition.
• The polyrhythms are some variation of a tuplet against two. (3:2, 5:2)
Intermediate
• There are less than five polyrhythms in the composition.
• The polyrhythms are some variation of a tuplet against two or three. (3:2, 4:3, 5:2)
Advanced
• There are less than ten polyrhythms in the composition.
• The polyrhythms are some variation of a tuplet against two, three, or four. (3:2, 4:3, 5:2,
5:4)
Collegiate
• There are many polyrhythms in the composition.
• The polyrhythms are in any combination.
51 Ibid., 34. 77
Single Alternating Strokes
Single Alternating Strokes are one of the four main stroke types introduced by Leigh
Howard Stevens. He defines the stroke as: “A stroke in which single note patterns are played by the same hand, alternating inside and outside mallets.”52 Mark Ford gives a definition that is slightly easier to understand: “Single alternating strokes are similar to single independent strokes without the concern of isolating the unused mallet. These strokes can become double lateral strokes at faster tempos.”53
Single alternating strokes are some of the first strokes that a young mallet player learns.
Papador claims: “Single alternating strokes are usually the first type of four-mallet permutations a student encounters. Although these sticking patterns are the most accessible to beginning four- mallet players, they can be technically more difficult than ‘advanced’ strokes.”54 The single alternating stroke can become complicated as it pushes tempo to the brink of what would be considered a one-handed roll.
The criteria analyzed for the difficulty levels of single alternating strokes are duration, speed, and interval.
Beginner
• The single alternating strokes do not last for more than 20 seconds without a break.
• The notes are not played faster than 120 strokes per minute.
52 Stevens, Method of Movement, 30 53 Ford, Marimba: Technique, 14. 54 Papador, “Singles,” 51. 78
• The interval is a perfect fourth or perfect fifth and does not change interval without a
break.
Intermediate
• The single alternating strokes do not last more than 45 seconds without a break.
• The notes are not played faster than 180 strokes per minute.
• The interval is between a perfect fourth and major sixth and does not change more than a
whole step without a break.
Advanced
• The single alternating strokes do not last more than 90 seconds without a break.
• The notes are not played faster than 280 strokes per minute.
• The interval is between a major third and major sixth and does not change more than two
whole steps without a break.
Collegiate
• The single alternating strokes can last a long duration without break.
• The notes are played at any tempo.
• All intervals are used.
Single Independent Strokes
The single independent stroke is one of the four stroke types introduced by Leigh Howard
Stevens and is the most common of all stroke types in four-mallet repertoire. Stevens defines the single independent stroke as: “A stroke in which in one hand, a mallet strikes the instrument
79
while the other mallet remains stationary.”55 Single Independent strokes are used to execute runs with two of the four mallets or play a single-note melody over the accompaniment of the opposite hand.
In the Stevens technique, the single independent stroke is produced by turning the wrist and forearm. In Method of Movement for Marimba it is equated to the motion used to screw in a lightbulb very quickly.56 When practicing the Stevens grip and working on mallet independence, the single independent stroke is of utmost importance. Stevens states: “One of the most crucial steps in the quest for mallet independence is the development of a single independent stroke – the ability to strike single strokes without moving the unused mallet in that hand. The relaxation of the fingers holding the unused mallet is essential to keeping it still. Relaxed fingers act as shock absorbers.”57 He continues by giving advice on how to practice keeping the unused mallet stationary: “In the initial stages of studying the single independent strokes, the student should lightly rest the unused mallet head in the free hand. This practice method allows one to feel as well as see any dysfunctional motion in the unused mallet.”58
Two common issues that affect the single independent stroke with beginning mallet players are the volume and tempo. Stevens says: “Many students find it easier to execute the single independent strokes softly and a bit faster than would ordinarily be wise for working on a new technique. Those students should work at gradually slowing down and achieving more volume while retaining the same feel.”59 Bunting touches on the issue that arises with tempo: “A young player will often sacrifice proper single independent stroke technique when he or she has
55 Stevens, Method of Movement, 26. 56 Ibid., 26. 57 Ibid., 26. 58 Ibid., 27. 59 Ibid., 27. 80
to play two or more in quick succession with the same mallet.”60 These sticking options should be avoided if at all possible to facilitate better technique.
The aspects of single independent strokes that are analyzed for difficulty are speed, contour, and duration.
Beginner
• The strokes do not exceed 132 strokes per minute in each hand.
• The single independent strokes move mostly stepwise with occasional skips.
• Each hand does not play single independent strokes more than twenty seconds without a
break.
Intermediate
• The strokes do not exceed 200 strokes per minute in each hand.
• The single independent strokes move mostly with steps and skips with occasional leaps.
• Each hand does not play single independent strokes more than thirty-five seconds without
a break.
Advanced
• The strokes do not exceed 300 strokes per minute in each hand.
• The single independent strokes move mostly with steps and skips with many leaps.
• Each hand does not play single independent strokes more than sixty seconds without a
break.
60 Bunting, “Music Theory,” 21. 81
Collegiate
• The strokes can exceed 300 strokes per minute in each hand.
• The single independent strokes move with many steps, skips, and leaps.
• Each hand can play for long durations without a break.
Span
Span is the term used in this document to define the interval between the hands, specifically the interval between the outside mallet of both hands. This technique is primarily related to accuracy and physical limitations of the performer. Samuel Solomon’s book on writing for percussion discusses the correlation of span and accuracy: “When each hand is playing a large interval apart from the other, accuracy becomes an issue.”61 Millea states: “Because of the length of the marimba, approximately eight feet, simultaneous, extreme registral differences should be brief and not require a high degree of technical prowess. While playing the highest and lowest notes on a marimba simultaneously is possible, it requires most performers to bend or squat toward the instrument, limiting essentially all technique.”62
The distance between the outside mallets was the only consideration in the difficulty levels for span.
Beginner
• Span is one and a half octaves or less.
61 Samuel Solomon, How to Write for Percussion (New York: SZSolomon, 2002), 80. 62 Millea, “Composing,” 36. 82
Intermediate
• Span is between one and a half octaves and two and a half octaves.
Advanced
• Span is between two and a half octaves and three and a half octaves.
Collegiate
• Span is more than three and a half octaves.
Speed
Millea tells composers: “Speed and dexterity are considerations that must be made for any instrumentalist, but this is an especially poignant aspect of mallet keyboard playing.”63 He also claims that most professional percussionists can perform sixteenth notes in each hand between 100 and 120 beats per minute.64 While this may be the case with a stationary stream of notes, this number drastically reduces as soon as the music moves around the keyboard.
For the purpose of the rating system, speed is analyzed in stationary and moving positions.
Beginner
• Stationary speed is no more than 120 strokes per minute per hand.
• Moving speed is no more than 100 strokes per minute per hand.
Intermediate
• Stationary speed is between 120 and 200 strokes per minute per hand.
63 Ibid., 39. 64 Ibid., 40. 83
• Moving speed is between 100 and 180 strokes per minute per hand.
Advanced
• Stationary speed is between 200 and 320 strokes per minute per hand.
• Moving speed is between 180 and 300 strokes per minute per hand.
Collegiate
• Stationary speed is more than 320 strokes per minute per hand.
• Moving speed is more than 300 strokes per minute per hand.
Triple/Double/Tuplet Changes
The New Grove Dictionary of Music and Musicians defines tuplet as: “A temporary increase or decrease in the number of notes subdividing a beat from what is standard for a given time signature. Tuplets are usually notated with a numeral or ration that indicates the number of notes to be performed within the beat. Ex. Duplet, triplet, sextuplet, septuplet.”65 The change between all of these rhythms can be incredibly difficult depending on the combination of tuplets used.
Most often, musicians must switch between duple and triple rhythms. Even with these more simplistic rhythms, if the big beat pulse is not kept, the integrity of the music is jeopardized. In his article, A Method of Pedagogy for Tuplets and Polyrhythms, Payton
MacDonald says: “The change in rhythmic profile should be immediate and total, without hesitation or anticipation.”66 He continues on to discuss the most common problem when
65 The New Grove Dictionary of Music and Musicians, 2nd ed. 29 vols. Edited by Stanley Sadie. New York: Grove, 2001.
66 MacDonald, “A Method,” 34. 84
switching between tuplet rhythms: “The challenge is not to ‘cheat’ a new tuplet when you first begin playing it. In other words, when one shifts from a triplet to a quintuplet there is often a moment of hesitation – a fraction of time in which the quintuplet is not really a quintuplet, but an acceleration or deceleration from the triplet. Even though there are five notes within the beat, they are not played as an even quintuplet.”67
The difficulty levels for tuplet changes are determined based on the rhythms included and quantity of switches.
Beginner
• The piece only involves duple and triple based rhythms.
• There are no more than five changes.
Intermediate
• The piece only involves duple and triple based rhythms.
• There are no more than fifteen changes.
Advanced
• The piece mostly involves duple and triple based rhythms with occasional more complex
rhythms.
• There are no more than thirty changes.
Collegiate
• The piece involves all rhythms.
• There are unlimited changes.
67 Ibid., 35. 85
Page Layout
The following page is an example of the page layout for each annotation. The sections are all discussed following the example layout.
86
Name of Composition by Composer/Arranger Book Title, if Solo is from a Collection Publishing Company
Snapshot
Paragraph including information that may not be covered in the table of techniques provided below.
• Instrument Type and Size • Clef Information • Mallet Suggestion • Tempos • Duration • Overall Rating
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE
DOUBLE LATERALS
DOUBLE VERTICALS INDEPENDENT ROLLS
INTERVALS
LATERAL ROLLS
METRIC MODULATIONS MULTI-LATERALS
PLAYING LOGISTICS
POLYRHYTHMS
SINGLE ALTERNATING
SINGLE INDEPENDENTS SPAN
SPEED
TRIPLE, DOUBLE, TUPLETS
87
Snapshot
The snapshot is a brief description of information not covered in the table of techniques.
This can include, but is not limited to, information on form, difficult passages that may need special attention, sticking, and information pertinent to the performance of the piece.
Form is discussed primarily in the terms of which techniques are involved in each section. This can be helpful, especially if a student is slow to learn notes. A form that repeats sections might be best for them at first rather than a through-composed solo.
Sticking is incredibly important to the success of the performance of a piece of music. In his article Four-Mallet Sticking Options for Marimba Part I: Basics, Nathan Daughtrey expresses this sentiment by saying: “The importance of selecting an effective sticking for a given passage cannot be overemphasized. Effective sticking has the power to increase note and rhythm accuracy, make the performer look and feel physically more comfortable, and facilitate musical interpretation and phrasing.”233 For the snapshot, the author avoided giving specific sticking options because this is such a personal decision. Rather, if a sticking is provided that may not work for some performers, it is mentioned to analyze the sticking rather than just blindly follow what is published. Daughtrey gives nine guidelines for deciding four-mallet sticking which are provided below for the use of the teacher and performer.
1. Identify which grip you are most comfortable with. This has a great impact on the
functionality of some sticking options.
233 Nathan Daughtrey, “Four-Mallet Sticking Options for Marimba Part I: Basics.” Percussive Notes, 45, No. 6 (December 2007): 36. 88
2. Identify the basic musical elements (tempo, dynamics, rolls, overall mood/style, etc.)
of the piece you are working on. All of these elements impact your sticking choices.
3. Choose which mallets you will be using. If you are using graduated mallets (different
hardness/articulation in each mallet position) instead of uniform mallets (four of the
same hardness/articulation), you will need to adjust your sticking to create the most
musical interpretation. If you decide to switch to different mallets while working on a
piece, be sure to consider the impact on your chosen sticking.
4. Use the composer’s/performer’s sticking suggestions as a starting point. Remember
that these stickings are likely based on their technical ability and facility and,
therefore, might not be appropriate for you.
5. Approach one musical phrase or figure at a time. It is very easy to get overwhelmed
when determining sticking for an entire piece of music.
6. Identify important notes in each musical phrase or figure. These notes should not be
played in the middle of a double-sticking (two notes by the same hand) or a double
lateral stroke. In other words, it is important to lead into important notes with some
form of alternating sticking.
7. Look for patterns and note groupings throughout the piece.
8. Use double sticking as a last resort. Unlike two-mallet playing, double sticking is not
as necessary since you have more mallets from which to choose.
9. Try as many stickings as possible. If you constantly try to think outside the box and
try new things, it will become easier to identify and assign stickings.234
234 Ibid., 38-39. 89
Other aspects of the music that might require special attention are also discussed in the snapshot. This could include occasions of mallet crossing, where the hands have to cross over one another to execute a passage, tonality concepts, or passages that are particularly difficult to learn that should not be neglected by the performer.
Instrument Type
Instrument type includes the mallet instrument on which the solo is to be played. This can be marimba, vibraphone, xylophone, glockenspiel, or in some cases, the choice between multiple of these. This information also includes the size of instrument that is needed.
Mallet Suggestions
Mallet suggestions are made by the composer or the author when the composer has not provided a mallet suggestion. These are very generic and only meant to give the performer a sense of a starting point on the spectrum of hardness. If there are multiple movements in a solo, a mallet suggestion is given for each movement.
Duration
Duration gives an approximate length based on the tempo markings in the piece and performance practice. Reputable recordings were referenced when possible to create an average duration estimate.
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Clef Information
Clef information tells the performer if they must be able to read treble clef, bass clef, or both. In some cases, there are multiple staves written with the same clef, but separated to notate hands. This is also noted here.
Tempo Markings
Tempo markings are provided as a means to give the performer a general sense of the sections of the composition. Although tempo relates to the big pulse, there can be many fast notes in a slow tempo or many slow notes in a fast tempo. If there are many tempo changes in a piece, they may not be listed and instead notated in the snapshot that there are many tempos in the composition.
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Conclusion
Conclusions in Solo Data
After analyzing over 130 four-mallet keyboard solos and categorizing by overall difficulty and difficulty of techniques, it is clear that there is a severe lack of material for beginners. There are only two pieces that fall into the overall beginner category. This is disturbing considering that the solos were selected based on the solo and ensemble lists provided for students. With such a lack of quality repertoire, it is not surprising that students develop bad technical habits by trying to perform music beyond their abilities.
Not only is there a lack of overall beginner level works, but some of the techniques have no solos that fall into the lowest difficulty. Independent rolls, for example, only have solos in the intermediate through collegiate categories. This is problematic to a student that has never played an independent roll in a context other than an exercise before. These holes are scattered throughout the results of the repertoire analysis.
It is the hope of the author that composers might use this analysis to see where there is a need in the repertoire. It is important to provide solo literature for all levels of performers, not just the ones who have mastered all of the techniques already.
Summary
The four-mallet keyboard repertoire has expanded exponentially in the last five decades.
It is a daunting task for music educators and percussion specialists to select appropriate solo repertoire for students. This document serves as a resource for educators to help select solo repertoire or the four-mallet keyboard player, specifically with solo and ensemble contests and
92
college and scholarship auditions in mind. However, this document can also prove helpful in solo selection for weekly music lessons.
This document stands as a resource on the history of four-mallet technique, repertoire and grips. The importance of the selection of quality, appropriate literature is discussed with a special focus on the music educator’s role and advice for non-percussionist educators. This is followed by an extensive sample pedagogical sequence through the overall advanced difficulty level. In the fourth chapter, it is explained how to best use the repertoire guide found in Appendix A. The fifteen pedagogical techniques are explained along with the definitions of the difficulty levels associated with each technique.
The repertoire guide provides information on the fifteen techniques measured as well as a short description of the piece and a suggestion for the type of student for which each composition would be appropriate. Indexes are provided in Appendices B through E.
After categorizing all of the solos that fit within the scope of this study, it is clear that there is a lack of quality repertoire for the beginning four-mallet player. It is the author’s hope that this will alert composers to the need for more repertoire of this level.
Need for Further Research
There is a need for research on proper pedagogy for four-mallet keyboard instruments.
Because the use of four-mallet keyboards in Western music is still in its infancy, research to unify the approach to the instrument is warranted. This resource would prove helpful for music educators and composers alike.
In addition to research on the pedagogy, more research should be completed on solo repertoire that is not currently on solo and ensemble lists. The literature has expanded so much in 93
the last five decades that many states have lists that share little to no repertoire. A study that compiles all four-mallet solo literature regardless of its presence on state lists is necessary. This could help to unify the literature available for students.
Statistics on the solos performed at solo and ensemble contests and auditions should also be collected. If solos are not regularly performed, they should be removed from suggested repertoire lists. This would also lend insight to the educators compiling the lists on what is needed to supplement the current selections.
Additional research should be completed to further expand the four-mallet keyboard repertoire analyzed in this document. Solos appearing in books or single movements of larger works can be analyzed. Additionally, solos included on any state list should be annotated.
The author hopes to continue updating this guide as more repertoire becomes available as well as creating guides for the other solo percussion instruments and chamber ensembles.
Examples of this include snare drum, two-mallet keyboard, timpani, multiple percussion, and percussion ensemble. The middle school, collegiate, and professional levels should also be explored.
In addition to the text provided in this document, the author plans to add a multimedia component that music educators could use to remind themselves and their students of the techniques discussed in this guide. There will be a short explanation of the technique along with suggestions for technical exercises to practice each technique.
The author also plans to present this research at music educator conferences around the country to provide educators with the tools they need to create a successful percussion program.
94
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Appendix A: Repertoire Guide
The following annotations are in alphabetical order by composer. Please see Appendixes
B, C, D, and E to search via indexes.
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Alone by Keiko Abe Works for Solo Marimba Vol. II Xebec Publishing Co. Ltd.
Snapshot
Alone by Keiko Abe is approachable for an advanced high school or early college student. The rhythms in the A section, including tuplet rhythms with up to thirteen notes, can present a challenge for students that do not have a confident sense of pulse. The difficulty of most techniques is amplified by the large spread of the hands and jumps up and down the instrument in the B section. Octave position is used in the left hand in combination with single alternating strokes that require a firm grasp of four-mallet technique and significant endurance in the left hand.
• Marimba (4.6 octave) • Grand Staff • Medium Hard to Hard Mallets • Overall Rating- Advanced • Duration- 3 minutes
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X 5:3, 5:4
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 3 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
101
Ancient Vase by Keiko Abe Works for Marimba Schott Japan
Snapshot
Ancient Vase by Keiko Abe is accessible rhythmically for an advanced high school or early college student. It does require significant endurance and highly advanced double vertical and single independent technique. The piece is made up of four distinct sections with a recap of the first two sections at the end. The first section utilizes space and jumps up and down the instrument. The second is a stream of eighth notes with opposing motion between the two hands. The third section is triplet based and utilizes the octave position in the right hand with the left bringing out a melody. The fourth section is 32nd notes where the left hand has chromatic lines of sixteenths and the right hand fills in with double vertical strokes. The piece ends with a short recap of the second section followed by the first.
• Marimba (5.0 octave, 4.3 optional) • Tempo • Medium Hard to Hard Mallets o Pesante � = 84 • Duration- 5 minutes 40 seconds • Overall Rating- Advanced • Grand Staff
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 2.5 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
102
Dream of the Cherry Blossoms by Keiko Abe Musikverlag Zimmermann
Snapshot
Dream of the Cherry Blossoms by Keiko Abe is highly advanced. It requires significant endurance and collegiate-level facility around the instrument. Throughout the work the left hand has an ostinato that requires constant 16th notes to be played with just mallets one and two. There are seven gestures in the middle of the work where the performer must play constant sixteenth notes with the left hand and play an accelerando that is loosely related with the right hand. The piece requires the performer to be very comfortable with advanced movement around the instrument with hands playing gestures that are sometimes unrelated to one another and require fast movements and superior accuracy.
• Marimba (5.0 octave, 4.3 optional) • Tempos • Medium to Medium Hard Mallets o � =144 • Duration- 5 minutes 30 seconds o Adagio � =58 • Grand Staff • Overall Rating- Collegiate
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 3.3 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
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Frogs by Keiko Abe Studio 4 Music
Snapshot
Frogs by Keiko Abe is a great introduction to the Japanese marimba genre for the advanced high school student. Although the tempo marked is incredibly fast, many students choose to take the piece slightly under tempo in order to achieve the technical facility that is required. The skill sets in the intermediate category on the chart below are there because the techniques do not appear frequently in the work. The primary stroke types needed are double lateral and double vertical. The performer must be comfortable with quick changes between manuals and registers. The A section of the work is triplet based with the performer playing almost all double vertical strokes. The B section is in duple time and requires the performer to use octave position and independent rolls. There is a D.S. to the A section before skipping to the coda which is again in triplets and requires the performer to move quickly around the instrument playing double vertical strokes.
• Marimba (4.0 octave) • Tempo • Medium Hard to Hard Mallets o Vivace � =176 • Duration- 3 minutes 15 seconds • Overall Rating- Advanced • Grand Staff
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X
SPEED X
TRIPLE, DOUBLE, X TUPLETS
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Little Windows by Keiko Abe Works for Marimba Schott Japan
Snapshot
Little Windows by Keiko Abe is appropriate for an advanced high school or collegiate student. The performer must have high endurance to execute the almost four minutes of thirty-second notes. The left hand plays either single independent or single alternating strokes throughout while the right hand plays mostly double verticals. At times the right hand must stretch a major ninth. As is typical of this style of music, there are many jumps between very loud and very quiet dynamics that require the performer to have great control.
• Marimba (4.0 octave) • Tempo • Medium Hard to Hard Mallets o Lesto � =126 • Duration- 4 minutes • Overall Rating- Advanced/Collegiate • Grand Staff
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 2.5 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
105
Memories of the Seashore by Keiko Abe Works for Marimba Schott Japan
Snapshot
Memories of the Seashore by Keiko Abe is appropriate for a performer who is not highly familiar with Japanese marimba. While it does require the endurance to play constant 32nd notes, the work never stays loud for a long period of time which makes it approachable for an advanced student. While it is written on a grand staff, a lot of the piece has both staves in bass clef. This can be confusing to read, so the performer must be vigilant about clef changes. For the majority of the work the right hand plays double vertical strokes that change in parallel motion while the left hand plays a scalular line of single independent strokes. There is a short independent roll that requires the player to smoothly transition between a hand-to-hand roll to the independent roll and back again.
• Marimba (5.0 octave) • Tempo • Medium Soft to Medium Mallets o Con fantasia � = 72 • Duration- 6 minutes • Overall Rating- Advanced • Grand Staff
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 2.3 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
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Michi by Keiko Abe Colla Voce Music
Snapshot
Michi by Keiko Abe provides advanced performers the opportunity to improvise the beginning of the solo. Abe notes that the performer has the option of playing the notated music or improvising an opening section in the style of the piece. Like much of Abe’s music, the piece relies on a constant stream of 32nd notes where the left hand plays scalular figures and the right hand plays melodic lines with single alternating and double vertical strokes. The Risoluto section of the work utilizes right hand independent rolls and block chords that require fast shifting. Abe also introduces time signatures such as 9/16 and 7/16 in this section. The performer must be able to seamlessly change between these time signatures. The piece ends in a similar style as it starts and fades away to nothing.
• Marimba (4.3 octave) • Tempo • Medium Hard to Hard Mallets o Vivace � = ca. 160 • Duration- 5 minutes 30 seconds • Overall Rating- Advanced/Collegiate • Grand Staff
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 3.0 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
107
Tambourin Paraphrase by Keiko Abe Works for Solo Marimba Xebec Publishing Co. Ltd.
Snapshot
Tambourin Paraphrase by Keiko Abe includes extended techniques such as dead strokes, hitting the bars with the shafts of the mallets, and playing buzz strokes with the mallets together in the air. There is a notation key provided on the first page and all five included extended techniques have different note heads and stems associated with them. The piece requires a high level of dexterity and endurance. Logistically, the performer must navigate between not only the shift between two manuals, but the angle changes of the mallets to create dead strokes and hit the edges of the bars with the handles of the mallets. Hocketing rhythms throughout the entire piece require the performer to have a high level of coordination. Independent rolls occur throughout the work on singular notes which require the performer to contort to fit both mallets of one hand on one bar while the other hand continues to play rhythmic figures. Unlike many of Abe’s other marimba works, this piece relies heavily on a sense of groove and must be played strictly in time for many of the phrases to be effective.
• Marimba (5.0 octave, 4.3 optional) • Tempo • Medium Hard to Hard Mallets o Pastral � = ca. 72 • Duration- 4 minutes 30 seconds • Overall Rating- Collegiate • Grand Staff
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 3.5 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
108
Variations on Dowland’s Lachrimae Pavana by Keiko Abe Works for Solo Marimba Vol. II Xebec Publishing Co. Ltd.
Snapshot
Variations on Dowland’s Lachrimae Pavana by Keiko Abe is a theme and variations that utilizes multiple styles and techniques. The theme is introduced using rippled chords and an outline of the four-part harmony. The first and third variations are streams of 32nd notes alternating between hands. The second variation uses many rippled chords and hocketing rhythms that jump up and down the instrument. The Rubato a piacere variation utilizes extreme rubato and requires the performer to have a refined sense of touch on the low end of the instrument as the melody is played loudly in the bottom octave of the keyboard. The performer must be accurate and logistically-minded to successfully execute this work.
• Marimba (5.0 octave) • Grand Staff • Medium Hard to Hard Mallets • Overall Rating- Advanced • Duration- 5 minutes
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 3 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
109
Variations on Japanese Children’s Songs by Keiko Abe Works for Marimba Schott Japan
Snapshot
Variations on Japanese Children’s Songs by Keiko Abe requires the performer to execute multiple techniques at the collegiate level. In the opening theme, the left hand plays a bass line of 16th notes and the right hand plays double stops on top to create the melody. Double vertical strokes are integral to this composition and the performer must have a firm grasp and high endurance with this technique. In the cadenza the left hand plays independent rolls while the right hand makes gestures in rhythms to be decided by the performer. There is a unique notation that uses dashes to show an accelerando in each hand in a given length of time. The interval changes and shifting around the keyboard make this piece incredibly difficult even for advanced performers.
• Marimba (5.0 octave, 4.3 optional) • Grand Staff • Medium Hard to Hard Mallets • Overall Rating- Collegiate • Duration- 7 minutes
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 3 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
110
Wind Across Mountains by Keiko Abe Works for Solo Marimba Xebec Publishing Co. Ltd.
Snapshot
Wind Across Mountains by Keiko Abe includes large sections of chorale. The hands move largely in parallel motion throughout the chorales. The middle of the piece consists of primarily double vertical strokes. These double verticals often move in opposing motion on the natural manual of the instrument and can be difficult for younger performers. The work is composed primarily of eighth notes at slow to moderate tempos which makes it more approachable to performers that do not have the endurance to execute many of Abe’s other compositions.
• Marimba (4.6 octave) • Grand Staff • Medium Hard to Hard Mallets • Overall Rating- Advanced • Duration- 6 minutes 30 seconds
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 2 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
111
Wind in the Bamboo Grove by Keiko Abe Works for Marimba Schott Japan
Snapshot
Wind in the Bamboo Grove by Keiko Abe utilizes extended techniques to create the textural sound of bamboo. Mallet shafts are to be used on the edges of the bars and portions of the chorale are played completely with the mallet shafts. The logistics of moving between playing regularly on the bars and the mallet shafts on the edges make this piece difficult for even advanced performers. The Con energia sections are very fast with constant 16th notes moving around the keyboard. There are also phrases of block chords moving chromatically around the keyboard.
• Marimba (5.0 octave) • Tempos • Medium Hard to Hard Mallets o Largo andante • Duration- 6 minutes 20 seconds o Con energia �. = 96 • Grand Staff o �. = 112 • Overall Rating- Collegiate
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 3.3 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
112
Wind Sketch by Keiko Abe Works for Solo Marimba Xebec Publishing Co. Ltd.
Snapshot
Wind Sketch by Keiko Abe is built on quiet, fast, double vertical strokes. The hands play the same rhythms over and over, changing chords to create motion. The double vertical sections alternate with chorales that require the performer to execute normal strokes with the inside mallets amidst the rolls. The piece only requires the performer to play at forte or above for a short time. If the performer has the ability to create that dynamic with a softer mallet, that would be beneficial for the rest of the piece which occurs mostly in the mezzo piano and below dynamic range.
• Marimba (4.5 octave, 4.3 optional) • Tempos • Medium to Medium Hard Mallets o Grandioso �. = ca. 88 • Duration- 5 minutes 45 seconds o Melodioso � = ca. 54 • Grand Staff o �. = ca. 92 • Overall Rating- Advanced/Collegiate
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 2 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
113
Asturias (Leyenda) by Isaac Albeniz Transcribed by Leigh Howard Stevens Keyboard Percussion Publications
Snapshot
Asturias (Leyenda) by Isaac Albeniz and transcribed by Leigh Howard Stevens was prepared from the original piano version. The work includes two major ideas. The first is a bass line of eighth notes filled in by the right hand. Every time the idea comes back, the right hand plays a different variation. It begins by filling in with a repeated D, then adds the octave, and later in the work, splits the octave up to create triplets. This theme is alternated with chorales that implement difficult roll techniques. Rather than playing the rolls in a traditional had-to-hand manner, Stevens requests the performer to use double independent (both hands playing separate independent rolls) and lateral rolls. This is suggested in the performance notes to “improve contrapuntal clarity of lines and facilitate dynamic emphasis of melodic notes, but, the traditional rolling techniques may be substituted when the performer finds it necessary.”
• Marimba (4.5 octave) • Tempos • Medium Hard Mallets o Allegro • Duration- 7 minutes o Più lento • Grand Staff • Overall Rating- Collegiate
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 4 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
114
Over the Rainbow by Harold Arlen Arranged by Robert Oetomo Tapspace Publications
Snapshot
Over the Rainbow by Harold Arlen and arranged by Robert Oetomo gives the impression to the listener that the whole piece is improvised. This is done through the use of tuplet rhythms ranging all the way up to 20. The performer plays these tuplet rhythms with arpeggiations of the chords of the melody. The performer must have a strong sense of rhythm and be comfortable with the use of rubato. There are many chords that have a large spread between hands and require the performer to be accurate without being able to watch both hands. Oetomo also utilizes rippled chords and grace notes to add to the improvised quality of the work.
• Marimba (5.0 octave) o � = ca. 78 • Medium Soft to Medium Mallets o � = ca. 84 • Duration- 4 minutes 10 seconds o � = ca. 52 • Grand Staff • Overall Rating- Collegiate • Tempos o � = ca. 60
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 3.5 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
115
Marimba Music by Daniel Asia Merion Music, Inc.
Snapshot
Marimba Music by Daniel Asia is a theme with nine variations divided into three larger movements. For some state solo and ensemble lists, only one movement is required. The piece is atonal and uses complex rhythms and ornamentation to create gestures. The performer is asked to play advanced tuplet rhythms that are all marked with a unique notation where the number of notes and the amount of space in which they fit are shown underneath the grouping of notes. For example, if five notes are to be played in the space of an eighth note, the notation under the note grouping would be 5 = ♪. Due to the atonality of the piece, the accidentals marked apply only to the note that follows them and not through the bar, which can pose a steep learning curve to players not experienced with this notation. The logistics of moving around the keyboard in this work combined with the advanced techniques would make it better suited for a collegiate level performer.
• Marimba (4.6 octave, 4.3 optional) o Mvt. 2- 5 minutes 15 seconds • Medium Hard to Hard Mallets o Mvt. 3- 6 minutes • Duration- 18 minutes • Grand Staff o Mvt. 1- 6 minutes 45 seconds • Overall Rating- Collegiate
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 3.3 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
116
A Good Friday by Michael Aukofer RowLoff Productions/Drop6 Media
Snapshot
A Good Friday by Michael Aukofer can be played on either vibraphone or marimba but was intended for vibraphone based on the notation of pedaling and mallet dampening throughout the piece. The mallet dampening adds to the difficulty of the piece, sometimes with single notes being dampened and other times with multiple notes in a chord being dampened. Almost halfway through the piece crotales are introduced. The performer has to play them with the mallet shaft, which poses a logistical issue of figuring out how to flip a mallet over or how to get a good sound on the crotales without flipping the mallet. The time signatures constantly change back and forth between duple and triple time bases with the eighth note always staying the same.
• Vibraphone or Marimba (3.0 octave) and crotales • Tempos • Medium to Medium Hard Mallets o Reflective � = 45-55 • Duration- 5 minutes o Flowing � = 120-135 • Treble Clef • Overall Rating- Advanced
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 2.3 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
117
The Little Things by Michael Aukofer RowLoff Productions/Drop6 Media
Snapshot
The Little Things by Michael Aukofer relies on the left hand to keep a rhythmic ostinato over changing chords, while the right hand plays a melody. At times the hands play in rhythmic unison, but more often they offset to create unique compound rhythms. This does require coordination that could be out of reach for some intermediate performers. There is also a section of the piece that requires the performer to have a solid understanding of octave position in the right hand. The work is played in strict time with the exception of five measures. In those five bars the performer executes rippled chords and grace note figures, that are not performed anywhere else in the piece.
• Vibraphone or Marimba (3.0 octave) o Reflective with motion � = 90- • LH- Medium Mallets 100 • RH- Medium Hard Mallets o Expressively � = 50 • Duration- 2 minutes 30 seconds o A Little Quicker � = 105 • Treble Clef o Freely � = 75 • Tempos • Overall Rating- Intermediate/Advanced
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 2.3 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
118
Solfegietto by C.P.E. Bach Arranged by Eric Chandler Pioneer Percussion
Snapshot
Solfegietto by C.P.E. Bach and arranged by Eric Chandler has no marked tempo, however the original is marked Prestissimo. If this arrangement is to be taken at the same tempo, it proves to be very difficult. If taken at a significantly slower tempo, this could be appropriate for an intermediate player. There are no stickings provided which leaves the performer to decide how to play the flowing eighth notes and accompanimental quarter and half notes. For this reason, it is important that the performer has had some experience in deciding their own stickings. Some pedaling information is provided, but again the performer will have to make decisions on additional pedaling.
• Vibraphone (3.0 octave) • Treble Clef • Medium to Medium Hard Mallets • Overall Rating- Advanced • Duration- 2 minutes
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 2.3 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
119
Prelude in G minor by J.S. Bach Transcribed by Leigh Howard Stevens Keyboard Percussion Publications
Snapshot
Prelude in G Minor by J.S. Bach and transcribed by Leigh Howard Stevens utilizes the same sticking for all measures throughout the entire piece. Stevens provides two different options for the performer, one that uses mallet four for multiple notes in and row and the other that alternates hands but requires mallet crossing. The piece is constant sixteenth notes and changes chords generally on the downbeat of measures. The work is slow enough that performers can use only single alternating and single independent strokes.
• Marimba (4.3 octave) • Grand Staff • Medium Mallets • Overall Rating- Advanced • Duration- 2 minutes
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 3 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
120
Suite No. 1 in E minor by J.S. Bach Transcribed by Todd Ukena Southern Music Company
Snapshot
Suite No. 1 in E Minor by J.S. Bach and transcribed by Todd Ukena is written in six movements. If the performer only plans to perform a selection from the suite it could lower the difficulty based on the movements selected. I. Praeludium utilizes trills and flourishes on chords. There is no provided sticking. This does allow the performer to choose stickings that play into their strengths or weaknesses depending on what skills they are trying to work on. II. Allemande is a stream of sixteenth notes with some double stops occasionally. III. Courante allows the performer to make more musical decisions as far as rippled chords or embellishment appropriate to the style of music. Of the six movements, this would be the most approachable for a less experienced player. The movement is based on moving quarter note chords with embellishments added. IV. Sarabande is a chorale where all eighth notes and larger are rolled. This chorale requires a lot of interval changes, and the left hand Is occasionally required to play intervals larger than an octave. V. Bourée is fast and requires the hands to execute lines in almost constant opposing motion. VI. Gigue is very fast. The performer must have highly developed single independent and single alternating techniques. Of all six movements, Praeludium and Gigue are the most difficult.
• Marimba (4.3 octave) • Grand Staff • Medium to Medium Hard Mallets • Overall Rating- Collegiate • Duration- 15 minutes (all movements)
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X Mvt. IV
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 2.6 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
121
Yorkshire Ballad by James Barnes Arranged by Linda Maxey Southern Music Company
Snapshot
Yorkshire Ballad by James Barnes and arranged by Linda Maxey is a marimba chorale with piano accompaniment. The performer will need significant double vertical endurance and confidence in interval changes to properly execute this piece. The player must smoothly execute interval changes in the hands, especially in the opening section. The piece is written in four-part harmony with each mallet representing a voice in the SATB style for the first section. The second and third sections are with three-note chords and two-note octaves, respectively. The closing section utilizes two, three, and four-note chords. This piece would work well for a student that needs to work on voicing chords.
• Marimba (4.0 octave) with piano • Grand Staff accompaniment • Tempo • Medium Soft to Medium Mallets o � = 66 • Duration- 4 minutes 30 seconds • Overall Rating- Intermediate
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 1.6 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
122
Cattelin by Daniel Berg Keyboard Percussion Publications
Snapshot
Cattelin by Daniel Berg uses two distinct motives based on blues scales. The A theme is quarter notes where the right hand has the melody and the left hand has accompaniment that fills in the spaces in the melody. The second repeat of this theme adds the octave in the right hand. In the B theme, the hands play straight sixteenth notes. The right hand plays a pattern of three notes and the left hand plays a pattern of two notes. As this section develops the left hand switches to four note groupings and eventually both hands switch back to three note groupings before the A theme returns to conclude the work.
• Marimba (4.3 octave) • Tempos • Medium to Medium Hard Mallets o � = 108 • Duration- 2 minutes 30 seconds o � = 126 • Grand Staff • Overall Rating- Advanced
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 3.0 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
123
…like a burden too heavy by Brian Blume Tapspace Publications
Snapshot
…like a burden too heavy by Brian Blume is composed for a 4.3 octave marimba but has optional 4.6 octave notes in parenthesis if the performer has a bigger instrument available. The work is composed of single independent, single alternating, and double vertical strokes. The slower tempo makes this work approachable for intermediate players. The middle section is four-note chords where the inner mallets remain on the same notes and the outer mallets move in opposing motion, creating larger intervals throughout the measure. While the use of octave position and limited to a small amount in the right hand, the opposing motion with the left hand makes the accuracy difficult for that phrase. This piece would work well as a solo and ensemble selection for an intermediate performer.
• Marimba (4.3 octave, 4.6 optional) o With heaviness, molto rubato • Medium to Medium Hard Mallets � = 72 • Duration- 3 minutes 30 seconds o Slightly faster � = 82 • Grand Staff o More agitated � = 92 • Tempos • Overall Rating- Intermediate o Reflective � = 96
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 3 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
124
Jubilee by Michael Boo Ludwig Music Publishing Co.
Snapshot
Jubilee by Michael Boo requires the performer to execute independent rolls in both hands. At times these rolls may line up and could create a lateral roll rather than two independent rolls if the performer so chooses. Much of the interval changing within hands is fast and makes the transitions into and out of wider intervals, especially octaves, difficult. Although the tempo marking is: As fast as possible, the performer must make sure to check that they can accurately execute all of these interval changes before deciding on the performance tempo. The piece is written in 6/8, but alternates the feel with 3/4. The player must be able to keep a steady tempo through the changing feels.
• Marimba (4.0 octave) • Grand Staff • Hard Yarn or Medium Hard Rubber • Tempo Mallets o With spirit, As fast as possible • Duration- 2 minutes • Overall Rating- Advanced
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 3 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
125
Theme from the Polovetsian Dances by Alexander Borodin Arranged by Perry Chappell Western International Music
Snapshot
Theme from the Polovetsian Dances by Alexander Borodin and arranged by Perry Chappell is appropriate for intermediate performers that are ready to work on a few advanced techniques. The chordal accompaniment makes the logistics of moving around the keyboard difficult. The performer must be able to make quick interval shifts to execute the accompanimental chords. If taken at the tempo of the original work, the movement around the keyboard will take the most practice from the performer. If taken at a slightly slower tempo, a less experienced player would be able to approach the work. There are rhythmic mistakes printed in the music that leave measures without enough beats. These measures can be easily reconciled by adjusting the rhythms to match the other repeats of the theme.
• Vibraphone (3.0 octave) • Treble Clef • Medium Hard Mallets • Overall Rating- • Duration- 2 minutes Intermediate/Advanced
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 1.5 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
126
Pastoral Music by Thomas Briggs Studio 4 Music
Snapshot
Pastoral Music by Thomas Briggs is written in three movements; I. Melange, II. Lyrical, and III. Allegro con Spirito. The performer should be aware that the provided stickings are for Traditional or Burton grips. If the performer uses Stevens grip the sticking should be altered. The variety between the three movements allows the performer to focus on different techniques in each movement. The first movement addresses syncopation and time signature changes. The second movement is a chorale in the opening and closing sections and uses multi-lateral strokes in the middle section. The third movement is fast-paced and double vertical strokes interject the continuous stream of single independent strokes.
• Marimba (4.3 octave) • Duration- 7 minutes 30 seconds • I. Melange – Medium Soft Mallets • Grand Staff • II. Lyrical – Soft Mallets • Overall Rating- Intermediate • III. Allegro con Spirito – Hard Mallets
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X Mvt II.
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 2 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
127
Dahoon by Thomas Brown Kendor Music
Snapshot
Dahoon by Thomas Brown is a chorale that acts as the second movement in his “Suite for Percussion”. There are sections where two treble clef staves are beamed together to show the performer which notes are to be played with each hand. Because the tempo is marked Moderately there is room to slow down the tempo to fit the performer’s needs. With the entire work being rolled, the performer must have a high endurance for double vertical strokes. This can be a great opportunity for an intermediate player to build up that endurance before the performance. In the middle of the work there is a unique notation where one chord is rolled and then a glissando is marked up to the next chord. This is likely meant for the performer to roll all of the notes in between the chords, creating a rolled glissando up the instrument.
• Marimba (4.0 octave) with piano • Duration- 4 minutes 15 seconds accompaniment • Treble Clef • Medium Mallets • Overall Rating- Intermediate
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 1 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
128
Essence by Thomas Brown Southern Music Company
Snapshot
Essence by Thomas Brown is written with mallets numbered in the opposite direction of standard practice. This can be confusing to students learning the music if they are not aware. The work is in compound time with one hand playing the melody and the other playing double laterals to fill in the spaces. The melody is made of a combination of single notes and double stops. As the work develops there are more double stops and three and four note chords that the performer has to navigate. This can lead to the same mallet playing multiple notes in a row with quick interval changes. This solo would help an intermediate player looking to work on different permutations and keeping double lateral strokes even.
• Vibraphone (3.0 octave) • Tempo • Medium Mallets o �. = 88-96 • Duration- 3 minutes • Overall Rating- Intermediate • Treble Clef
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 2.6 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
129
Greensleeves (traditional) Arranged by Thomas Brown Kendor Music
Snapshot
Greensleeves arranged by Thomas Brown is an appropriate piece for an intermediate performer ready to move onto more advanced music. This piece can be used to introduce a student to mallet dampening. The use of mallet dampening is limited and always occurs in the same place in repeating patterns of the introduction and coda. The main theme has the chord structure outlined in three and four-note chords alongside the melody in the A section. This requires the performer to maneuver through awkward chord changes without hitting nodes. The B section embellishes on the theme with triplets and more full chords. The C section puts the theme in the right hand with double vertical strokes and the left hand fills in eighth notes with single independent strokes.
• Vibraphone (3.0 octave) • Tempo • Medium to Medium Hard Mallets o Andante � = 76 • Duration- 3 minutes 30 seconds • Overall Rating- • Treble Clef Intermediate/Advanced
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 3 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
130
Mexican Murals by Thomas Brown Belwin Music
Snapshot
Mexican Murals by Thomas Brown is written in three movements. The stickings provided are with the mallets numbered from right to left rather than left to right which can be confusing for performers that are used to modern sticking. I. Village Festival requires the performer to have a collegiate level endurance of double verticals in the right hand. The tempo is marked at ♩= 120 and the right hand has to play constant sixteenth notes while the left plays arpeggiated figures. This movement also utilizes syncopation in duple and compound time signatures. II. Soliloquy is a chorale with a lot of chromatic motion. This requires the performer to shift their body around the keyboard to avoid hitting nodes. III. Dance is in compound time, but sometimes feels like it is in duple. The performer must count through these changing feels in order to keep the time steady. This movement is fast and again uses a lot of double vertical strokes in the right hand.
• Marimba (4.0 octave) • Duration- 8 minutes • I. and III.- Medium Hard Mallets • Treble Clef and Bass Clef • II.- Soft Mallets • Overall Rating- Intermediate/Advanced
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X Mvt. II
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 2 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
131
Battle of the Rising Spirits by Gus Burghdorf C. Alan Publications
Snapshot
Battle of Rising Spirits by Gus Burghdorf is advanced, but almost collegiate in many aspects. There are no time signatures in the entire piece even though the number of counts in the bars do change. The performer must be highly aware of this as they learn the piece in order to avoid rhythmic errors. The speed at which the performer must execute double lateral strokes up and down should be one of the deciding factors for if this solo is appropriate. The intervals do not change within the hands, but the arpeggios up the keyboard change the intervals at which they jump between chords. There are multiple short chorales in the piece. The middle chorale employs independent rolls in the right hand while the left hand plays rhythms on a single note. There are grace notes and glissandi used throughout the work to add ornamentation. The middle of the piece requires the performer to play an extended passage of single alternating strokes and double vertical strokes quickly with the left hand while the right hand plays a melody.
• Marimba (4.6 octave) • Grand Staff • Medium Hard Mallets • Overall Rating- Advanced • Duration- 6 minutes 30 seconds
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 2.5 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
132
Caritas by Michael Burritt Keyboard Percussion Publications
Snapshot
Caritas by Michael Burritt is written in three movements. The piece includes performance notes explaining the meanings of different notations. There are traditional hand-to-hand rolls, independent rolls, and lateral rolls employed in the chorales that need to be adhered to strictly. I. Mystic is primarily double lateral strokes in small intervals playing the permutation 4-3-1-2-3-4-2-1 in thirty-second notes. II. Solemn is a short chorale. There are five measures that use independent rolls in both hands at the same time. These should not relate between hands at any point as they are acting as separate lines. III. Majestic has a short introduction of cascading thirty-second note gestures. The main theme is a moving line in the left hand composed of eighth notes and dotted eighth notes. The right hand fills in the sixteenths with double vertical strokes. The second theme is sixteenth notes grouped into four, five, and six notes. It is important that the time stay steady as the performer plays through this section to give the asymmetrical feeling Burritt is creating. The movement closes out with a recap of the main theme into a closing chorale.
• Marimba (4.6 octave) • Duration- 13 minutes • I. Mystic - Medium Hard Mallets • Grand Staff • II. Solemn – Soft Mallets • Overall Rating- Collegiate • III. Majestic – Medium Hard to Hard Mallets
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 3.3 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
133
October Night by Michael Burritt Ludwig Music Publishing Co.
Snapshot
October Night by Michael Burritt is written in two movements. The first movement is a chorale. It utilizes traditional, independent, and lateral rolls. Most of the movement is traditional rolls with four voice harmonies that often move chromatically. The performer must take care to avoid the nodes while working through some of the awkward chord shapes. There are independent rolls alternating between hands that move up the keyboard. The second movement is primarily double lateral and multi-lateral strokes. In the With energy section, the performer plays sixteenth notes and sextuplets with an interruptive motive of double vertical chords. There is a chorale that is reminiscent of the first movement before a D.S. back to the With energy section and a coda. The piece ends with a chorale diminishing to nothing.
• Marimba (4.3 octave) • Grand Staff • Graduated Mallets • Overall Rating- Collegiate • Duration- 10 minutes
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 3.3 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
134
Sara’s Song by Michael Burritt Keyboard Percussion Publications
Snapshot
Sara’s Song by Michael Burritt is composed of phrases of sixteenth notes with extensive use of rubato. Through the majority of the work, these sixteenth notes are all double lateral stokes in the 4-1-2-3 permutation. In the Majestically with rubato section, Burritt adds double vertical strokes on the downbeats. This makes the transition from the “a” of each beat to the downbeat technically difficult. The transition from the single independent stroke with mallet three to a double vertical with mallets three and four needs to be focused on in order to create smooth sounds without causing issues with the performer’s technique or the time.
• Marimba (5.0 octave) • Tempos • Medium to Medium Hard Mallets o Lyrically with rubato � = 112 • Duration- 2 minutes 15 seconds o Majestically with rubato � = 100 • Grand Staff • Overall Rating- Advanced
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 3.3 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
135
The Offering by Michael Burritt Keyboard Percussion Publications
Snapshot
The Offering by Michael Burritt is four-note block chords played in sixteenth notes to create a similar sound to a chorale without using rolls. The performer has the opportunity to add rubato and their own musical voice to the phrases. This can be a great opportunity for an intermediate level player to make these musical decisions for themselves and discuss how this affects the music. The performer will need endurance for the double vertical strokes, although they do not have to be able to play very fast. With the exception of a few chords, no large intervals are needed within the hands. The biggest technical challenge for a young performer is small interval changes.
• Marimba (5.0 octave) • Tempo • Medium Soft Mallets o Molto Rubato � = approx. 96 • Duration- 3 minutes • Overall Rating- Intermediate • Grand Staff
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 2.3 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
136
Quartiles by Sterling Cossaboom HoneyRock
Snapshot
Quartiles by Sterling Cossaboom is composed of many gestural phrases of varying length. Cossaboom utilizes many unique notations. One such reoccurring notation uses gradually increasing beams to show accelerandos. He also regularly employs glissandi and dead strokes. Independent rolls are a key element of this work. These independent rolls commonly alternate between hands creating connected, rolled phrases. Because these rolls are on single notes, the performer must figure out the logistics to create smooth shifts in their body position to accurately place both mallets in the hand on a single note. Some independent rolls have a duration of a few measures while the opposing hand plays single notes around the roll. These can cause difficult mallet crossing phrases. The performer has to memorize many different tempi as many of the phrases change speed. The technical difficulty, along with the musical maturity required to play a gestural piece like this make it a collegiate level piece.
• Marimba (4.3 octave) • Grand Staff • Medium to Medium Hard Mallets • Overall Rating- Collegiate • Duration- 8 minutes 30 seconds
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X 3:2
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 4 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
137
From the Edge of the Frame by Steven Crawford HoneyRock
Snapshot
From the Edge of the Frame by Steven Crawford is written in constantly changing time signatures in a rondo form. The A theme is written with alternating measures of 3/4 and 5/8. Crawford often takes a rhythmic motive and displaces it by a sixteenth note or eighth note to create a syncopated pattern. In the B section of the work, the left hand plays a rhythmic ostinato while the right hand plays a melody. The repeat of the melody is in octaves with a long independent roll to close. After another iteration of the A theme, the C section involves the left hand playing constant sixteenth notes with single alternating strokes while the right hand again plays a melody. These single alternating strokes in the left hand are made more difficult by the performer having to switch between the natural and accidental manuals. The work closes with the A, B, and A sections.
• Marimba (4.3 octave) • Tempo • Medium Hard Mallets o Frenzied � = 112 - 120 • Duration- 4 minutes 45 seconds • Overall Rating- • Grand Staff Intermediate/Advanced
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 2.5 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
138
Ghost River by Steven Crawford HoneyRock
Snapshot
Ghost River by Steven Crawford is written in ABA form. The opening theme is introduced in fragments before being played in its entirety. The performer must be able to keep constant tempo between changing 5/4, 3/4, and 5/8 time signatures. The B section is a chorale in common time. The use of moving eighth notes in the outside mallets while the inner mallets remain on the same note in multiple phrases adds difficulty to an otherwise intermediate chorale. A short transition in 6/8 leads back to the A theme to close the work.
• Marimba (4.3 octave) • Tempo • Medium Mallets o Allegro Mysteriouso � = 120 • Duration- 5 minutes • Overall Rating- Intermediate • Grand Staff
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 2.5 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
139
Etude for a Quiet Hall by Christopher Deane Innovative Percussion
Snapshot
Etude for a Quiet Hall by Christopher Deane is in ABA form. The A section is a chorale with the inner mallets rolling on one note while the outer mallets play melodic and countermelodic lines in single struck notes. The B section is a constant stream of thirty-second notes with some intermittent rolls. The stream of notes is divided into groupings ranging from two to twelve notes. Deane provides stickings for the first portion of this section and a similar sticking is to be used throughout the section based on the groupings. The piece ends with the A section and then dies away to nothing.
• Marimba (4.3 octave) • Grand Staff • Medium Soft to Medium Mallets • Overall Rating- Advanced • Duration- 9 minutes
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 2 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
140
The Apocryphal Still Life by Christopher Deane Innovative Percussion
Snapshot
The Apocryphal Still Life by Christopher Deane requires the performer to play on a “prepared” vibraphone. The E and D are propped up, so they ring even when the dampening bar is up. The piece is written on a total of three staves. The third staff is often used to show notes that ring for a long duration and the two other staves are used to notate more complex gestures during the sustain. Deane uses harmonics that are difficult to execute. The player must take one mallet and press it on the center of the bar while the other mallet hits the bar on the nodal point. It is important to work on placing the mallet on the bar without creating noise in order to produce the harmonic without ruining the effect. At times the performer must take both mallets and move them forward on the bar to change the sound from the harmonic to the fundamental tone of the bar. The player must also perform an independent roll on the low F on the keyboard for a long duration. Deane suggests that the performer use a mandolin roll for this.
• Vibraphone with motor (3.0 octave) • Grand Staff and Treble Clef (3 • Medium to Medium Hard Mallets staves) • Duration- 8 minutes • Overall Rating- Collegiate
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 3 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
141
Rosewood Blues by Charles DeLancey TRY Publishing
Snapshot
Rosewood Blues by Charles DeLancey is written in a swung “jazz” style. The left hand plays the outline of the chordal structure, usually in quarter notes while the right hand plays a melody and harmony with double vertical strokes. The right hand part can be difficult for intermediate level performers due to the changing intervals. A short, optionally slower section in the middle, is reminiscent of a soloist improvising over the chord changes and leads into a chorale. After a short accelerando back to the opening tempo, a recap of the opening occurs to conclude the work.
• Marimba (4.0 octave) • Tempo • Medium to Medium Hard Mallets o � = 116-120 • Duration- 4 minutes • Overall Rating- • Grand Staff Intermediate/Advanced
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X 3:2
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 2 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
142
Evergreen by Benjamin Finley Tapspace Publications
Snapshot
Evergreen by Benjamin Finley alternates chorale and rubato sections with strict time sections. While there are no lateral rolls marked in the piece, there are multiple opportunities where independent rolls lead into four-note chords that can be played as lateral rolls. Finley utilizes grace note figures that have as many as fifteen notes. The middle of the work includes driving sixteenth notes that alternate between hands. Because the patterns are constantly changing, all four stroke types are used in this section. The next rubato section has independent rolls in the right hand with the left playing melodic lines underneath. The performer must have great control over changing stroke types and a good sense of time. This piece is very difficult, and teachers should be wary of giving this to a high school student.
• Marimba (5.0 octave) • Grand Staff • Medium to Medium Hard Mallets • Overall Rating- Collegiate • Duration- 6 minutes 45 seconds
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 2.5 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
143
Moon Chasers by Mark Ford Innovative Percussion
Snapshot
Moon Chasers by Mark Ford is a flowing, lyrical work. Ford uses primarily double lateral strokes to create a constant flowing line. Melodic lines in the right hand are filled in with double lateral strokes to continue the constant rhythms. The opening uses independent rolls in the left hand. The performer must be comfortable switching between sixteenth notes, triplets, sextuplets, and thirty-second notes without altering the pulse. Both hands must switch in and out of octave position easily and often, usually to intervals of a fifth or sixth.
• Marimba (5.0 octave) • Tempo • Medium Hard Mallets o Expressivo - freely � = ca. 76 • Duration- 6 minutes o Poco rubato � = 102-106 • Grand Staff • Overall Rating- Advanced/Collegiate
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 4 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
144
Polaris by Mark Ford Innovative Percussion
Snapshot
Polaris by Mark Ford opens with a rubato, chorale-like section marked freely. Sixteenth notes and grace notes lead into phrases of three and four-part harmony. The piece then transitions into strict time. Ford uses ostinato figures in one hand while the other hand plays arpeggiated figures changing chords for much of the piece. Ford uses odd time signatures such as 7/8, 15/16, and 21/16 among others. Even when phrases are written in common time, the sixteenth note figures are often in seven or nine note groupings. Independent rolls are used in both hands at varying dynamics. The performer must have a strong sense of time even in constantly changing meters and a strong sense of coordination to execute this work. Errata: Bar 168 should have B-flats.
• Marimba (4.5 octave) • Tempo • Medium to Medium Hard Mallets o Freely • Duration- 9 minutes 30 seconds o Allegro • Grand Staff • Overall Rating- Collegiate
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 4 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
145
Ransom by Mark Ford Innovative Percussion
Snapshot
Ransom by Mark Ford opens with a short chorale that utilizes left hand independent rolls and rippled chords. The following section uses combinations of sixteenth notes and sixteenth note triplets to create long, flowing phrases. The sixteenth note triplets are played as multi-lateral strokes with the permutation 3-4-3. The work then proceeds into a section of the hands playing separate, syncopated rhythms that interlock before a recap of the previous material. In the lyrical section, the left hand plays syncopated rhythms in the interval of a fifth while the right hand plays melodic lines with single independent strokes. The performer must have a strong understanding of double lateral strokes and the ability to change between duple and triple rhythms without affecting the time.
• Marimba (4.5 octave, 5.0 optional) • Tempo • Medium to Medium Hard Mallets o � = 92 • Duration- 7 minutes 30 seconds • Overall Rating- Advanced/Collegiate • Grand Staff
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 4 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
146
Chorale and Variations by George Frock C. Alan Publications
Snapshot
Chorale and Variations by George Frock is a chorale with five variations. Each variation focuses on one or two stroke types. The chorale is written in four-part harmony. Variation I focuses on single alternating and double vertical strokes. Four-note chords outline the harmonic structure as single alternating strokes play eighth note arpeggiations. Variation II is double vertical strokes. The hands combine to be straight sixteenth notes, but are written on two separate staves to notate which hand performs the notes. Variation III is composed using double lateral strokes. The entire movement is sixteenth notes written in a recitative style where each phrase uses rubato. Variation IV uses single alternating strokes in the 4-1-3-2 permutation. Variation V is written using double vertical strokes and single independent strokes. When using double vertical strokes, the hands are in rhythmic unison. Single independent strokes are used to play scalular figures. This is an appropriate piece for an intermediate student that needs work on all stroke types.
• Marimba (4.3 octave) • Variation 5- Hard Mallets • Chorale- Soft Mallets • Duration- 5 minutes • Variations I and II- Medium Mallets • Grand Staff • Variation III- Medium Soft Mallets • Overall Rating- Intermediate • Variation IV- Medium Hard Mallets
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 2.5 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
147
Mexican Variations by George Frock Southern Music Company
Snapshot
Mexican Variations by George Frock is a theme and three variations. The theme is primarily written with double vertical strokes. There is a short cadenza before a repeat of the theme. The first variation is in an improvised style with syncopated lines in opposing motion in the hands. This variation is short with a total of twenty measures. The second variation is a chorale in 3/2 time. The four-part harmony is quiet and slow moving. The third variation is fast, composed of double vertical strokes in rhythmic unison. The measures alternate between 4/4 and 7/8 time in the opening section. The middle section is in 6/8 time with the occasional measure in 4/8. This is followed by a cadenza before a repeat to the beginning of the variation before a coda.
• Marimba (4.0 octave) • Tempos • Medium to Medium Hard Mallets o Lyrically � = 66 • Duration- 8 minutes o Dancelike � = 76 • Grand Staff o Fast and lively � = 144 • Overall Rating- Intermediate
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 2.5 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
148
Fantasy for El Salvador by Mario Gaetano Pioneer Percussion
Snapshot
Fantasy for El Salvador by Mario Gaetano has three distinct sections. The first section is the largest and is triplet-based. The right hand plays melodic material in quarter notes while the left hand plays double lateral strokes to fill in the triplets. This section is very fast; the performer must have a strong handle on the double lateral technique. The second section is in duple feel and alternates between a singular melodic line and a melody with the right hand accompanied by quarter notes in the left hand. The third section uses double lateral strokes in the left hand as grace notes to the right hand double vertical strokes. The performer must be careful to not let these grace notes affect the time. The piece concludes with a short recap of each of these sections before a crescendo to the end.
• Marimba (4.3 octave) • Grand Staff • Medium Hard Mallets • Overall Rating- Advanced • Duration- 8 minutes 30 seconds
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 1.3 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
149
Song of the Libra by Mario Gaetano Music for Percussion
Snapshot
Song of the Libra by Mario Gaetano opens with arpeggiated chords played in eighth notes and rippled chords. The Allegro section includes constant single alternating eighth notes in the left hand and a syncopated melody in the right hand. The Presto section is composed of double vertical strokes and chromatic runs. This is followed by a short cadenza-like section. The Adagio portion of the piece has arpeggiated chords executed by the lower three mallets and melodic long tones played in the highest mallet. The work concludes with a repeat of the Allegro section. All tempo changes transition with accelerandos and ritardandos. This work is appropriate for an advanced student that needs work on vibraphone. Some pedaling is provided, but the performer will have to make some pedaling on their own.
• Vibraphone (3.0 octave) • Tempos • Medium Hard Mallets o Slow � = 72 • Duration- 6 minutes 30 seconds o Allegro � = 152 • Treble Clef o Presto � = 200 o Adagio � = 69 • Overall Rating- Advanced
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X 3:2
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 2.5 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
150
Two Movements for Marimba by Mario Gaetano Pioneer Percussion
Snapshot
Two Movements for Marimba by Mario Gaetano is appropriate for an intermediate performer ready to start playing advanced literature. The first movement is a chorale. While none of the interval changes or shifts are above the skill set of an intermediate player, the use of octave position for extended phrases requires the technical ability and endurance of a performer with more experience. The second movement is marked Allegro, dance-like. This movement utilizes a large amount of chromaticism. Gaetano writes many chromatic lines that move in opposite directions, sometimes played as double stops, and other times offset as sixteenth notes. In the suddenly faster section, the left hand plays a constant stream of single independent strokes while the right hand plays a series of motivic themes over the top. The movement ends with a recap of the opening and an accelerando and crescendo to the final measure.
• Marimba (4.0 octave) • Duration- 7 minutes 30 seconds • Movement 1 – Soft Mallets • Grand Staff • Movement 2 – Medium Hard to Hard • Overall Rating- Mallets Intermediate/Advanced
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE CHORALE X Mvt. 1
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 2.3 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
151
Monograph IV by Richard Gipson Studio 4 Productions
Snapshot
Monograph IV by Richard Gipson has three thematic sections. The first section is in mixed meter, primarily 7/8, and alternates between melodic lines of single independent strokes and four-note chords. Later in this section Gipson writes and extensive over-the-bar phrase. Four-note groupings of eighth notes are written over the 6/8 time signature. The second section is in 5/8 time. The left hand plays constant single alternating strokes while the right hand plays a melody over the top. The third section is a chorale. The opening and closing measures build chords up one note at a time. The remainder of the chorale moves primarily in fifths chromatically. All three sections are briefly recapped before the piece concludes. The performer must be comfortable playing in mixed meter with the eighth notes remaining constant and moving around the keyboard fluently between manuals. This piece would be an appropriate choice for a college audition.
• Marimba (4.0 octave) • Tempos • Medium to Medium Hard Mallets o Fast � = 152-176 • Duration- 7 minutes o Slowly � = 50 • Grand Staff • Overall Rating- Advanced
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 2.6 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
152
Prayer by Richard Gipson Southern Music Company
Snapshot
Prayer by Richard Gipson is a chorale and requires the performer to have moderate endurance for double vertical strokes. Intervals are never larger than a sixth in each hand. The opening and closing sections are in four-part harmony while the middle section has only two voices. The performer will need to make decisions about roll speed, so this would be a great piece for an intermediate player who needs more experience with rolls and chorales.
• Marimba (4.0 octave) • Tempos • Soft Mallets o Slowly � = 56 • Duration- 5 minutes o Slightly Faster � = 66 • Grand Staff • Overall Rating- Beginner/Intermediate
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 1.6 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
153
Gitano by Alice Gomez Southern Music Company
Snapshot
Gitano by Alice Gomez is written in two movements. There is only one note that requires a 4.5 octave marimba, so the piece can be easily transposed up the octave if a 4.3 octave marimba is all that is available. The first movement opens at a fast tempo feeling the 3/4 measure in one. The performer must play eighth note triplets at this tempo which requires great control of the double lateral technique. A chorale follows with both hands moving in parallel motion. The next section is in 5/4. The right hands plays eighth notes in octaves outlining a chordal structure while the left hand plays a syncopated ostinato. The opening section repeats, and the movement concludes with a short phrase from the chorale. The second movement is constant sixteenth notes composed of primarily double vertical and single independent strokes. The permutation stays the same while the notes change, and the occasional “fill” measure is inserted. This movement grooves along until the very end of the work that slows to a cadenza-like final phrase.
• Marimba (4.5 octave) • Grand Staff • Medium Hard Mallets • Overall Rating- Advanced • Duration- 7 minutes 30 seconds
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 2.5 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
154
Marimba Flamenca by Alice Gomez Southern Music Company
Snapshot
Marimba Flamenca by Alice Gomez is in ABA form with the A section in 3/4 time. The right hand plays a melodic line in thirds and sixths, while the left hand plays a bass line and fills in some of the rhythms. The B section is a chorale in four-part harmony. The work concludes with a repeat of the A section. This piece is appropriate for an intermediate performer that is ready to begin work on advanced pieces. It is also a great introduction to Latin rhythms and style. This piece is great for solo and ensemble festivals because it showcases a variety of techniques.
• Marimba (4.0 octave) • Tempo • Medium Hard Mallets o � = 80 • Duration- 5 minutes • Overall Rating- • Grand Staff Intermediate/Advanced
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 2.3 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
155
Mbira Song by Alice Gomez and Marilyn Rife Southern Music Company
Snapshot
Mbira Song by Alice Gomez and Marilyn Rife is an appropriate piece for a student that has just begun intermediate level repertoire. Written in 3/4, the left hand plays a two-measure ostinato with downbeats in the first measure and upbeats in the second measure. The right hand plays a melody that fills in the eighth notes of the left hand. In the middle of the piece, Gomez and Rife use a 3:2 polyrhythm. The left hand keeps the same ostinato while the right hand plays dotted quarter notes over the top. The repetitive nature of this work makes it approachable for younger players. This piece can help performers with their coordination without being overwhelming with constantly changing patterns.
• Marimba (4.0 octave) • Tempo • Medium to Medium Hard Mallets o � = 144 • Duration- 4 minutes • Overall Rating- • Grand Staff Beginner/Intermediate
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 1.5 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
156
Rain Dance by Alice Gomez and Marilyn Rife Southern Music Company
Snapshot
Rain Dance by Alice Gomez and Marilyn Rife has three distinct sections. The first section is in 2/4 and has a syncopated melodic line in the right hand with double vertical strokes. The left hand plays single independent strokes on D to fill in the sixteenths of the melody. The left hand eventually plays single alternating strokes in the octave position to accompany the melody. Possibly the most challenging measures of the entire piece are with the hands in unison playing a syncopated descending line. The performer can use either single independent or single alternating strokes to execute these measures, but both options present a challenge technically. The next section is in 6/8, but keeps the hands in the same roles as the opening section. The third section is a chorale. The chorale is not overly difficult for an intermediate performer except that the right hand has to reach intervals up to a ninth. The piece ends with a recap of the first section before decaying away to nothing. This piece works well for solo and ensemble contest and collegiate auditions because it presents a variety of skills.
• Marimba (4.0 octave) • Tempos • Medium to Medium Hard Mallets o � = 92 • Duration- 5 minutes 30 seconds o � = 58 • Grand Staff • Overall Rating- Advanced
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 2 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS 157
Irrelevant by Josh Gottry C. Alan Publications
Snapshot
Irrelevant by Josh Gottry is an appropriate piece for an advanced student looking to build speed and endurance with double laterals and single independents. There are three distinct ideas in this work. The first is built on a five-note left hand ostinato. The right hand plays a 2:3 polyrhythm against the left hand. The next idea is a singular line of arpeggiated eighth notes executed with double lateral and single independent strokes. Following this is a chorale in which both hands are required to play octaves. The first idea then returns, but with the right hand filling in triplets with double lateral strokes rather than playing polyrhythms. The performer must be comfortable performing in 5/4 and keep the eighth notes steady even through meter changes.
• Marimba (4.3 octave) • Tempos • Medium to Medium Hard Mallets o Unyielding, strict time � = 240 • Duration- 5 minutes o Con fantasia � = ca. 60 • Grand Staff • Overall Rating- Advanced
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X 3:2
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 2.5 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
158
Quintessence by Ian Grom Innovative Percussion
Snapshot
Quintessence by Ian Grom is written in five movements. Performers should be cautious of the sticking as the mallets are not numbered in the conventional direction. Emerge is primarily a chorale. The opening is a roll where Grom asks the performer to roll in the air for several seconds before actually sneaking in from nothing. II. Remembering Mandeng requires the left hand to play single alternating strokes in a six note ostinato. The right hand plays a 2:3 polyrhythm against the left hand and uses independent rolls. III.Plight of the Birdies opens with gestural phrases using grace notes and accelerandos leading into rolls. The end of the movement has quintuplets that require the performer to cross the left hand over the right quickly and in large intervals. IV. The Savage Beast Unsoothed opens with the right hand playing quarter notes and the left hand pattern being offset by an extra sixteenth note every beat. The second section switches the left hand part to being reduced by one sixteenth note every beat. As the movement continues, the left hand pattern continues to change the number of sixteenths in the groupings. V. Eventuality is a chorale with slow moving phrases that eventually decays to nothing.
• Marimba (4.3 octave) • Duration- 10 minutes • Movements I, II, V- Medium Soft • Grand Staff Mallets • Overall Rating- Collegiate • Movements III, IV- Medium Hard Mallets
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 3 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
159
The True Lover’s Farewell by Steven Gwin Southern Music Company
Snapshot
The True Lover’s Farewell by Steven Gwin opens with a chorale in common time. This is followed by a much longer section in 12/8. The left hand plays double lateral strokes and the right hand plays a melody with single independent strokes on the upbeats. This is followed by a section where the hands have to interlock with one another. This requires the performer to cross mallets in an uncomfortable position for twelve measures. The opening theme of the 12/8 section returns with the right hand in octaves to close out the work. This is an appropriate solo for an intermediate student beginning work in the advanced repertoire.
• Marimba (4.3 octave) o Legato � = 60 • Medium Soft Mallets o �. = 100 • Duration- 4 minutes o �. = 120 • Grand Staff • Overall Rating- • Tempos Intermediate/Advanced
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 3 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
160
Little Brave by Earl Hatch Drop6 Media
Snapshot
Little Brave by Earl Hatch is written in four movements. 1. Sunrise in the Forest is a four-part chorale. The majority of the movement is at mezzo piano or below. The performer must work on quick shifts in order to create smooth phrases. 2. On the Trail begins in compound time. The left hand plays a bass line of dotted quarter notes to accompany the melody in the right hand. The movement then changes to duple time with the eighth note staying the same. This section is composed of single lines of sixteenth notes that alternate with syncopated double stops. The movement ends with a repeat of the opening section. 3. Lullaby is another chorale. This chorale is again in four-part harmony, but has many more single independent passing tones than the first movement. 4. Dance is composed of a stream of eighth notes. The left hand has a motor of double vertical strokes while the right hand plays an arpeggiated melodic line. The movement ends with an extensive amount of mallet crossing. This piece is appropriate for an intermediate performer beginning advanced repertoire.
• Marimba (4.0 octave) • Duration- 6 minutes 30 seconds • Movements 1, 3- Soft Mallets • Grand Staff • Movements 2, 4- Medium to • Overall Rating- Medium Hard Mallets Intermediate/Advanced
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X Mvt. 1, 3 DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 2 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
161
Ghost Garden by Adam Hopper C. Alan Publications
Snapshot
Ghost Garden by Adam Hopper is an appropriate solo for a young performer. The piece opens with constant eighth notes using single alternating strokes. Mallets one, two, and three, act as a constant murmur under the texture of the melody that is executed in mallet four. The following section is similar in nature with double vertical strokes in the right hand as a melody, and the left hand filling in accompanimental material. The melody is written over the bar line, so the performer must take care to keep track of where the downbeats fall. The piece continues with a flowing, arpeggiated section of eighth notes and occasional eighth note triplets. This material transitions into a pattern-oriented 7/8 section before a short chorale and recap of the first three sections. This piece works primarily on single alternating strokes and over the bar line melodies.
• Marimba (4.3 octave) • Tempos • Medium Mallets o � = 176 • Duration- 4 minutes 45 seconds o � = 180 • Grand Staff o Very open and free♩= ca. 76 • Overall Rating- Beginner
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 2 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
162
Appalachian Fiddle Tune Medley by Murray Houllif PerMus Publications
Snapshot
Appalachian Fiddle Tune Medley by Murray Houllif requires the performer to decide all of their own stickings. Much of the piece is in cut time and moves very quickly, so the performer can adapt the sticking to their strengths or the technique they are trying to improve. The entire work is in a swung, jazz style. The melody of “Red-Haired Boy” is first introduced with the right hand performing the melody and the left hand comping chords. The melody is then played in double time. This section moves by very quickly with scalular and syncopated phrases. “Flowers of Edinburgh” is a two-voice passage with one hand playing the melody and the other playing a singular accompanying line. The hands switch roles half way through the section before transitional material into “St. Anne’s Reel.” This tune is first introduced at a faster tempo as a single line, before a repeat of the melody adds accompanimental double stops. New melodic material is introduced as arpeggiated eighth notes crescendo to the end of the work. This piece can be deceivingly hard if taken at the marked tempos, so performers must have experience deciding sticking for themselves and be comfortable playing fast single independent strokes.
• Marimba (4.0 octave) • Grand Staff • Medium to Medium Hard Mallets • Overall Rating- Advanced • Duration- 4 minutes
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 1.5 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
163
Casper’s Dance by Murray Houllif Kendor Music
Snapshot
Casper’s Dance by Murray Houllif is in ABCA’ form. It begins in 6/8 with both hands playing hocketing chromatic lines of single independent and double vertical strokes. The tempo and interval changes in this opening section are very difficult. After a short transition, the B section remains in compound time with the left hand playing sixteenth notes in single alternating strokes. The right hand plays double verticals and independent rolls moving chromatically in fourths. The performer must be prepared to navigate quick changes between manuals, sometimes at awkward angles. In addition to writing standard independent rolls, Houllif writes for mandolin rolls where the mallets are placed on either side of the bar and the performer uses a vertical motion to roll. The C section is in duple time with the left hand playing leaping double vertical strokes in eighth notes while the right hand plays a melody over the top. When A’ returns the hands play in octaves.
• Marimba (4.0 octave) • Grand Staff • Medium Mallets • Overall Rating- Collegiate • Duration- 4 minutes
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 3 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
164
Contemplation by Murray Houllif PerMus Publications
Snapshot
Contemplation by Murray Houllif uses chords in a comping style with passing lines in between the harmonic structure. The performer must accurately execute chromatic movement and awkward logistics to play this work. Houllif provides very little information with regard to pedaling and even tells the performer to “pedal freely except where specifically indicated.” There is significant use of mallet dampening. In the middle of the piece, Houllif writes a ripple of thirty-second notes and then muffles a selection of those notes. The performer will likely need to memorize much of the work in order to watch the keyboard for accuracy.
• Vibraphone (3.0 octave) • Tempos • Medium Hard Mallets o � = 104 • Duration- 5 minutes 30 seconds o � = 88 • Treble Clef o � = 52 - 56 • Overall Rating- Collegiate
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 3 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
165
Estudio No. 1 para Marimba by Murray Houllif PerMus Publications
Snapshot
Estudio No. 1 para Marimba by Murray Houllif is the first in a series of six pieces for marimba. Houllif switches between measures of eighth notes and triplets regularly in the work. The hands are both in octave position for much of the composition, playing double vertical and double lateral strokes. There are two distinct ideas in this piece. The first is a constant motor of eighth notes and triplets where one of the three or four voices is moving to create melodic interest. The second idea is in the slower sections where Houllif plays with space and keeps the left hand in a more accompanimental role. The performer must have great speed and endurance for the faster sections of this work.
• Marimba (4.0 octave) • Tempos • Medium to Medium Hard Mallets o Fast � = 160+ • Duration- 4 minutes 30 seconds o Slower � = 144 • Grand Staff o Slower, Quasi rubato � = 116 • Overall Rating- Advanced/Collegiate
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 3.3 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
166
Estudio No. 2 para Marimba by Murray Houllif PerMus Publications
Snapshot
Estudio No. 2 para Marimba by Murray Houllif is the second in a set of six works for marimba that are inspired by Spanish classical guitar. The work is written in many short sections with most ideas only lasting a phrase. The opening four bars are composed of four-note chords reminiscent of a guitar strumming. The next phrase is a short chorale that leads into the first extended section. The left hand plays a moving line of single independent strokes while the right hand fills in with stagnant single independent and double vertical strokes. A second moving line is then added to the right hand. The following phrases use rippled chords to imitate strumming and sixteenth note triplet arpeggios. The second extended section is the same as the first, but in sextuplets instead of sixteenths. The piece ends with strumming like it began and arpeggiated chords moving up the instrument. This piece includes a large variety of techniques, so a performer looking to work on many different aspects of their playing could benefit from it.
• Marimba (4.5 octave, 4.0 optional) • Tempo • Medium Mallets o Moderato � = 88 • Duration- 4 minutes 45 seconds o Pesante - slower � = 66 • Grand Staff • Overall Rating- Advanced
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 3 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
167
Estudio No. 3 para Marimba by Murray Houllif PerMus Publications
Snapshot
Estudio No. 3 para Marimba by Murray Houllif is the third in a series of six works for marimba based on contemporary Spanish guitar music. The work opens with a short, four measure chorale. The Habanera section requires the performer to play a bass line in the left hand and melody and counter melody in the right hand that often move in opposing motion on the keyboard. The next section is in double time and includes many more double vertical strokes than the previous section. After a transitional phrase of double lateral sixteenth note chords, the piece repeats the Habanera and goes to the coda. The melody of the coda is in half time while the bass line continues in regular time. The piece ends with a diminuendo to nothing. This piece would be appropriate for a performer looking to work on coordination and opposing motion between hands.
• Marimba (4.5 octave) • Grand Staff • Medium Hard Mallets • Overall Rating- Advanced/Collegiate • Duration- 4 minutes
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 3 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
168
Estudio No. 4 para Marimba by Murray Houllif PerMus Publications
Snapshot
Estudio No. 4 para Marimba by Murray Houllif is the fourth in a series of six works for marimba based on contemporary Spanish guitar literature. The work begins with a motor of sixteenth notes and sixteenth note triplets with double lateral and multi-lateral strokes in 2/4 time. The performer must be comfortable playing double lateral strokes both starting from the inside mallet and from the outside mallet. After a short transitional chromatic phrase, the work moves to 6/8 time with hocketing lines between the hands. The piece then transitions back to 2/4 time and is composed in a similar style as the opening section to close out the work. This piece is appropriate for a performer working on double lateral and multi-lateral stroke types.
• Marimba (4.0 octave) • Tempos • Medium Mallets o Moderato � = 72-80 • Duration- 2 minutes 15 seconds o �. = 72-80 • Grand Staff • Overall Rating- Advanced/ Collegiate
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 3 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
169
Estudio No. 5 para Marimba by Murray Houllif PerMus Publications
Snapshot
Estudio No. 5 para Marimba by Murray Houllif is the fifth in a series of six works for marimba influenced by contemporary classical Spanish guitar literature. The opening of this work is in two measure phrases in 6/8 time. The first measure consists of eighth note chords and the second measure is a scalular run of sixteenth notes. This transitions into the second, slower section, that is not as pattern oriented. It requires both hands to carry separate but equal lines before a short phrase of the right hand playing sixteenth note runs and the left hand playing an accompanimental bass line. All of the previous material is recapped before the piece ends with an accelerando of eighth note chords. This piece is short and a quick learn for an advanced player that can be beneficial to build strength with single independents and interval changes.
• Marimba (4.3 octave) • Tempos • Medium to Medium Hard Mallets o �. = 72+ • Duration- 2 minutes o Slower �. = 56 • Grand Staff • Overall Rating- Advanced/Collegiate
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 3 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
170
Estudio No. 6 para Marimba by Murray Houllif PerMus Publications
Snapshot
Estudio No. 6 para Marimba by Murray Houllif is the last in a series of marimba works influenced by contemporary Spanish guitar. This work is written in 3/4 in a waltz style. This waltz feeling continues through the next phrase where it becomes double vertical strokes in the right hand on beats one and two and arpeggiated eighth note line in the left hand. The roles of the hands continue to switch throughout the rest of the work with one hand always playing an eighth note line, except for the recap of the opening phrase. There is a short chorale in the middle of the work that is made difficult by the eighth note moving line that is still present in the left hand. This piece would be appropriate for a performer looking to work on coordination between hands and accuracy control with single independent running lines.
• Marimba (4.3 octave) • Tempo • Medium Soft Mallets o � = 88 • Duration- 3 minutes 30 seconds • Overall Rating- Advanced • Grand Staff
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 2.5 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
171
Mist by Murray Houllif Kendor Music
Snapshot
Mist by Murray Houllif is built on a slightly syncopated rhythm in common time that is present the entire piece. The opening section uses the rhythm with the pedal down to build chords. The rest of the work has separate lines in the two hands. The melodic line is constantly changing between the hands. Houllif uses double vertical strokes most commonly in the right hand to fill in the harmonic structure of the solo. This piece would be appropriate for a performer that needs work on coordination and syncopation. The performer must be comfortable with fast and sometimes awkward interval changes.
• Vibraphone (3.0 octave) • Tempo • Medium Soft to Medium Mallets o � = 144+ • Duration- 4 minutes • Overall Rating- Advanced • Treble Clef
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 2.3 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
172
Samba by Murray Houllif C. Alan Publications
Snapshot
Samba by Murray Houllif opens with a left hand ostinato that continues through the entirety of the work. The right hand opens with a melody of double vertical strokes at the interval of an octave and a fourth. This is a very large interval even for professional performers. To a certain extent, the size of a performers hand could inhibit their ability to execute this interval. The player is required to perform a large number of independent rolls in the right hand. Tuplet rhythms up to ten are included in this work, although most of the work is composed with duple and triple rhythms. This piece will challenge a performer to choreograph movements and shifts to properly execute all of the chord changes.
• Marimba (4.3 octave) • Tempos • Medium Mallets o Bouncy - Latin � = 88 • Duration- 2 minutes 30 seconds o � = 60-66 • Grand Staff • Overall Rating- Collegiate
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 3.3 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
173
Suite: Three Songs of the South by Murray Houllif Ludwig Music
Snapshot
Suite: Three Songs of the South by Murray Houllif is composed of three movements. 1. Country Waltz uses the left hand as the bass and inner lines of the waltz with single independent and double vertical strokes. The right hand plays the melody with mostly single independent strokes. There are grace note embellishments that require the performer to play very fast double lateral strokes. 2. Hymn is a chorale. Houllif utilizes a large number of interval changes and chromatic movement. The performer will have to focus on shifting quickly and accurately to play this movement. 3. Four Mallet Rag uses single alternating strokes in the left hand to imitate the bass line of ragtime piano. The right hand plays a melody and countermelody in a swung, jazz style. This piece is appropriate for an intermediate student that is ready to begin playing advanced literature.
• Marimba (4.3 octave) • Duration- 5 minutes • Movements 1, 3- Medium to • Grand Staff Medium Hard Mallets • Overall Rating- • Movement 2- Soft Mallets Intermediate/Advanced
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X 2.Hymn
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 2.5 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
174
Three Pieces for Marimba by Murray Houllif Plymouth Music Co.
Snapshot
Three Pieces for Marimba by Murray Houllif is written in three movements. The first movement opens with an Adagio section in mixed meter. There is no time signature, so Houllif changes the number of beats in every measure throughout the entire movement. The performer must be cautious to correctly count each bar. In this opening section the left hand outlines chords with double vertical strokes while the right hand plays a melody and counter melody. A second allegro section uses singular lines moving quickly up and down the keyboard as contrast before a repeat of the Adagio section to conclude the movement. The second movement is in common time, but goes back and forth between duple, triple, and quintuplet-based rhythms, many times with the hands playing completely unrelated lines. The performer must have a great deal of experience with polyrhythms to execute this movement. The third movement is written with mostly triplet-based rhythms and occasional sixteenth notes interjecting. Houllif utilizes both the shaft and the yarn ends of the mallets to create differing textures as well as dead strokes.
• Marimba (4.3 octave) • Duration- 5 minutes 30 seconds • Movement 1- Medium Soft to Medium • Grand Staff Mallets • Overall Rating- Collegiate • Movement 2, 3-Medium Hard Mallets
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X 3:2, 4:3, 5:3, 5:4 SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 2.3 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
175
Tranquility by Murray Houllif Ludwig Music Publishing
Snapshot
Tranquility by Murray Houllif is written in three main sections. The opening section uses four- note chords to accompany a simple melody with occasional countermelodic lines. The section never gets louder than mezzo piano therefore, the performer will have to hone their sense of touch and control of the low end of the dynamic range. The second section has a moving quarter note melody with a slow-moving chordal harmony. The third section uses arpeggiated chords in sixteenth note triplets and eighth notes. There are occasional measures where the hands play separate lines in opposing directions. This will require the performer to work on accuracy without being able to watch both hands. The first section then repeats to close out the work.
• Vibraphone (3.0 octave) • Tempos • Medium Mallets o � = 60 • Duration- 4 minutes o � . = 36 • Treble Clef o � = 66 • Overall Rating- Intermediate
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 2 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
176
Trilogy by Tim Huesgen Meredith Music Publications
Snapshot
Trilogy by Time Huesgen is written in three movements. Huesgen notes that all tempo markings are open to interpretation of the performer based on their technical abilities. He also provides limited stickings, pedaling, and mallet dampening directions. The performer is left with many decisions, so they should have previous experience with vibraphone literature before selecting this piece. The first movement, A Vision in a Dream, involves a lot of rubato in the opening section before an extended section in strict time. The left hand acts primarily as accompaniment, filling in the spaces in the melody of the right hand. The second movement, A Fragment, is a slow, expressive ballad. The right hand uses primarily double vertical strokes to execute a melody and countermelody while the left hand plays only accompaniment figures. The third movement, With a Mazy Motion, changes time signatures often between duple and compound time. Much like the first movement, the right hand is the melodic material and the left is accompanimental.
• Vibraphone (3.0 octave) • Grand Staff • Medium to Medium Hard Mallets • Overall Rating- Advanced • Duration- 7 minutes 30 seconds
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 2.3 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
177
Canzona IV by John Immerso Pioneer Percussion
Snapshot
Canzona IV by John Immerso is a chorale in duple time. While written in four-part harmony, usually only one or two voices move at a time. This chorale would be appropriate for an intermediate student looking to work on varying roll speeds and double vertical endurance. The interval changes most often occur when the soprano voice moves while the alto voice remains the same. The right hand regularly moves in the interval of a sixth while the left hand is mostly in fourths and fifths.
• Marimba (4.0 octave, 4.5 optional) • Tempo • Soft to Medium Soft Mallets o Slow, legato • Duration- 2 minutes 45 seconds • Overall Rating- Intermediate • Grand Staff
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 3 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
178
Canzona VI by John Immerso Pioneer Percussion
Snapshot
Canzona IV by John Immerso could serve as an appropriate four-mallet piece for a beginning performer that has played one or two solos previously. The first measure does use an independent roll, but it can be performed as a mandolin roll if necessary. The left hand plays only single alternating strokes in intervals of a perfect fifth until the last six bars. The right hand plays a single melodic line with single independent strokes for the majority of the piece. Two phrases add a second note to the right hand, the first phrase using only sixths and the second with only thirds. Until the last six measures only eighth and quarter notes are used. At this point, sixteenth notes are introduced and there is a short use of octave position in the right hand. This piece includes some of every stroke type in good balance for a student without much four-mallet experience.
• Marimba or Vibraphone (4.0 octave) • Tempo • Medium Mallets o Slow, legato • Duration- 2 minutes • Overall Rating- • Grand Staff Beginner/Intermediate
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 2.6 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS 179
Compassion by Lorraine Goodrich Irvin PerMus Publications
Snapshot
Compassion by Lorraine Goodrich Irvin is a four-part chorale. Performers should have great control of octave position in the right hand. Irvin uses a melodic motive that requires the right hand to switch out of octave position, but only for one beat every two bars. The right hand is locked into octave position the rest of the work. The left hand has many more interval changes, some of which are difficult because the intervals are so small. The left hand spans intervals from a half step to a sixth. This piece will help a performer to gain more endurance with double vertical strokes and to work on roll speed variations and phrasing in chorales.
• Marimba (4.0 octave) • Tempo • Medium Soft to Medium Mallets o Expressively • Duration- 6 minutes • Overall Rating- Advanced • Grand Staff
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 2.6 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
180
Crystal Light by Steve Kastuck Ludwig Music
Snapshot
Crystal Light by Steve Kastuck can be played with three or four mallets. The right hand can execute the part with only one mallet, so the performer can choose whether to hold one or two mallets based on the techniques on which they are focusing. The left hand plays almost solely whole notes on C and G. Occasionally, Kastuck writes a suspension at the end of phrases. This can be a good exercise for a young performer who needs work on reading ledger lines. To add difficulty, the performer has the option of adding rolls and eighth notes to the left hand. Kastuck does not provide pedal markings and leaves the dynamics of the melody up to the performer.
• Vibraphone with optional motor (3.0 • Tempo octave) o Allegro � = 144 • Medium Mallets • Overall Rating- • Duration- 3 minutes Beginner/Intermediate • Treble Clef
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 2.3 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
181
Wistful Thoughts by Steve Kastuck Ludwig Music
Snapshot
Wistful Thoughts by Steve Kastuck is a vibraphone solo composed of only four-note chords. This piece moves slowly and would be appropriate for an intermediate performer who needs work on double vertical strokes. There are minimal interval changes, but most occur in the left hand. The right hand is primarily in sixths. This piece can help a performer with accuracy and musical phrasing without having to focus on many techniques.
• Vibraphone with motor (3.0 octave) • Tempo • Medium Mallets o Rubato � = 69-80 • Duration- 3 minutes 15 seconds • Overall Rating- Intermediate • Treble Clef
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 1.6 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
182
Fantasy on a Shona Theme by Glenn Kotche Alfred Music
Snapshot
Fantasy on a Shona Theme by Glenn Kotche is composed using repeated patterns in the left hand and syncopated melodies in the right hand. The opening section of the work is in three and has an ostinato composed of quarter notes alternating between F major and G major arpeggios. The right hand plays only upbeats with over the bar line melodic phrases. Transitional material follows adding some eighth note single alternating strokes in the left hand. The second section uses an ostinato in the left hand reminiscent of the son clave pattern and the right hand plays a highly syncopated melody over the top. Halfway through this section the right hand switches to a rubber mallet or “tack” mallet to change the texture of the piece. The closing section is similar to the opening, but written in common time. While this piece is not technically difficult, the syncopated and over the bar line material can be difficult to navigate for performers without a solid sense of pulse.
• Vibraphone or Marimba (3.0 octave) • Treble Clef • Medium Yarn and Medium Hard • Tempo Rubber Mallets o Allegretto • Duration- 4 minutes • Overall Rating- Intermediate
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 2.5 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
183
Just Flippin’ by Phil Kraus Belwin
Snapshot
Just Flippin' by Phil Kraus is a jazz vibraphone solo with piano accompaniment. It can also be played on marimba or xylophone. The piece goes by very quickly and is made to sound like an improvised jazz solo. There are very few double vertical strokes or chords, but the ones that are written are difficult to play accurately. The hardest section is arguably the chorus where the player must comp chords for the piano solo. These chords are very fast and require the performer to make some very difficult shifts around the keyboard and between the two manuals. This piece would be appropriate for a performer looking into playing jazz vibraphone that may not yet be comfortable enough to improvise their own solo over chords.
• Vibraphone, Xylophone, or Marimba • Treble Clef (3.0 octave) with piano • Tempo accompaniment o Moderate Swing � = 184 • Medium Hard to Hard Mallets • Overall Rating- Advanced • Duration- 2 minutes 30 seconds
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 1.5 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
184
The Case of Nietzsche by Michael LaRosa HaMaR Percussion Publications, Inc.
Snapshot
The Case of Nietzsche by Michael LaRosa is a vibraphone solo written on two separate treble clef staves for the first half of the work. The different staves separate hands and then later condense to a singular treble clef staff where the performer is left to decide stickings. The notation separating hands can be difficult to read, so the performer should allot extra time to get used to reading the notation. No sticking or pedaling is provided. LaRosa goes back and forth between duple and triplet-based rhythms throughout the entire work.
• Vibraphone with motor (3.0 octave) • Tempo • Medium Hard Mallets o Slow Rubato • Duration- 4 minutes 30 seconds • Overall Rating- Advanced/Collegiate • Treble Clef
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X 3:2
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 2.6 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
185
Marie by Geary Larrick PerMus Publications
Snapshot
Marie by Geary Larrick is a four-mallet rag written for marimba or vibraphone. This piece is written much like a ragtime piano solo, with the left hand jumping around the keyboard and the right hand playing a melodic and countermelodic line. The performer must be incredibly accurate and execute many fast shifts around the keyboard. The performer must also be able to bring out the moving lines amongst the accompaniment. This can be a difficult task if the player has not had previous experience dense music that has many different lines going on at the same time.
• Marimba or Vibraphone (3.0 octave) • Tempo • Medium Hard to Hard Mallets o Ragtime • Duration- 3 minutes • Overall Rating- Advanced/Collegiate • Treble Clef
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 2.3 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
186
Suite Mexicana by Keith Larson Southern Music Company
Snapshot
Suite Mexicana by Keith Larson is written in three movements. The first and third movements are fast and combine primarily double lateral and double vertical strokes. The second movement is a chorale. In the first movement, Larson plays with writing eighth notes in groupings of three creating the feeling of playing in another time signature. Two phrases in the middle of the movement use double vertical strokes in both hands to contrast the material of the rest of the movement. The second movement is a chorale in four-part harmony. The hands often move in parallel motion, but accidentals can make for some awkward shifts that will need special attention from the performer. The third movement is composed of mostly double vertical strokes. The right hand plays a C major scale in thirds up the keyboard. The accuracy in these phrases is difficult. This piece is appropriate for an intermediate performer looking to build their repertoire.
• Marimba (4.0 octave) • Duration- 4 minutes 30 seconds • Movements 1, 30 Medium Hard • Grand Staff Mallets • Overall Rating- Intermediate • Movement 2- Soft Mallets
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X Mvt. 2
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 1.5 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
187
Suite for Solo Vibraphone by Alexander Lepak Windsor
Snapshot
Suite for Solo Vibraphone by Alexander Lepak is written in three movements, all of which are atonal in nature. The first movement is through composed and requires the performer to comfortably maneuver between compound and duple time signatures. The constantly changing accidentals in the singular moving line will require the performer to pay close attention when learning the notes to ensure accuracy. The second movement requires the motor and is slower with many four-note chords to create a chorale-like effect. Streams of lyrical thirty second notes in the middle of the movement require the performer to execute fast arpeggiations up and down the instrument. The final movement is in ABA’ form with the A sections being very fast streams of syncopated eighth note phrases and the B section in a slow, rubato style. This piece is appropriate for an intermediate player with substantial vibraphone experience or and advanced player looking to build on their vibraphone technique.
• Vibraphone with motor (3.0 octave) • Treble Clef • Medium to Medium Hard Mallets • Overall Rating- Advanced • Duration- 6 minutes
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 2 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
188
Spiral Passages by Jon Metzger C. Alan Publications
Snapshot
Spiral Passages by Jon Metzger is a lengthy marimba solo that requires the performer to have significant double vertical endurance before they begin work on the piece. The solo is through composed with the exception of a D.S. al Coda that repeats about fifty measures worth of material. Metzger uses dead strokes and glissandi in the middle of the work, building tension up to the extensive chorale. The performer must have a good sense of pulse to navigate complex rhythmic changes.
• Marimba (4.5 octave) o � =88 • Medium Hard to Hard Mallets o � =108 • Duration – 9 minutes 15 seconds o � =96 • Grand Staff o � =50 • Tempos • Overall Rating- Advanced/Collegiate o � =72
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 2.3 oct.
SPEED X
TRIPLE, DOUBLE, X TUPLETS
189
Kleine Albstadt by Bill Molenhof Penn Oak Press
Snapshot
Kleine Albstadt by Bill Molenhof is a jazz-influenced marimba solo filled with chromaticism and chordal motion. There is no marked key signature, so the player must be comfortable reading many accidentals. The performer is asked to jump around the keyboard with double vertical strokes, often in the left hand. Though there are only two metronome markings, Molenhof gives the performer many tempo instructions, such as: faster, broadly, and moving. The performer must navigate shifts that regularly use both manuals in the same hand and require large body shifts.
• Marimba (4.3 octave) • Tempos • Medium Mallets o � =c. 126 • Duration – 4 minutes 10 seconds o � =c. 80 • Grand Staff • Overall Rating- Intermediate/Advanced
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X 4:3
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 2.5 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
190
Fantasy for Vibraphone by Jesse Monkman Tapspace Publications, LLC
Snapshot
Fantasy for Vibraphone by Jesse Monkman is an appropriate work for an experienced vibraphonist. The pedaling is left up to the performer after the opening sixteen bars. Monkman states that the piece is written in the style of a film score and has three distinct themes. The performer must be cautious to decide upon sticking that will bring out the thematic material. The polyrhythms included are all based on the 2:3 polyrhythm, but some are embellished with sixteenth notes to create an 8:3 polyrhythm.
• Vibraphone (3.0) • Tempos • Medium Hard Mallets o � =116 • Duration – 6 minutes o � . =63 • Treble Clef o � =150 • Overall Rating- Advanced
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X 2:3, 8:3
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 3 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
191
Nocturnal Dance by Jesse Monkman Tapspace Publications, LLC
Snapshot
Nocturnal Dance by Jesse Monkman is a marimba solo that showcases many different techniques on the marimba. It could function as a college audition piece if the student has a handle on all of the presented techniques but can showcase flaws as well if they do not. The chorale is broken up by placing a phrase between each of the major sections of the work. Much of the piece is written in odd meter time signatures. There is extensive use of octaves, especially in the right hand. Little to no sticking information is provided, although much of the piece lays idiomatically on the instrument.
• Marimba (4.5 octave) • Grand Staff • Medium Mallets • Overall Rating- Advanced/Collegiate • Duration – 6 minutes 30 seconds
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 3 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
192
Parody by Jesse Monkman Tapspace Publications, LLC
Snapshot
Parody by Jesse Monkman is a groove-oriented marimba solo divided into four sections. The opening section uses double lateral and double vertical strokes to create a groove with “fills” of running melodic lines. Monkman then takes the thematic material and manipulates it in odd meters. The second section is less dense and uses the left hand as a string bass-like accompaniment to the right hand melody. The third section is a lengthy chorale with the right hand moving quickly through chords while the left hand outlines harmonies. The closing section brings back thematic material from the first to close the work with energy.
• Marimba (4.3 octave) o � =104-112 • Medium Hard Mallets o � =52 • Duration – 5 minutes o � =65-72 • Grand Staff o � =165-170 • Tempos • Overall Rating- Advanced o � =160-170
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 2.5 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
193
Almost Calypso by Daniel Moore RowLoff Productions
Snapshot
Almost Calypso by Daniel Moore has the feel of island music. The left hand plays a bass line of dotted eighth notes while the right hand fills in the sixteenths with double verticals and double laterals. While the musical content is not overly difficult for even an intermediate player, the speed at which the right hand must play makes this a deceivingly difficult composition. Occasionally, Moore uses combinations of sextuplets and sixteenth notes to create melodic lines that allude to improvisation.
• Marimba (4.3 octave) • Tempo • Medium Mallets o � =100-110 • Duration – 4 minutes 15 seconds • Overall Rating- Advanced • Grand Staff
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 2.3 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
194
Etude Op. 6 No. 8 by Clair Omar Musser Studio 4 Music
Snapshot
Etude Op. 6 No. 8 by Clair Omar Musser is written based on the whole tone scale. This etude is very expressive and leaves a lot of room for the performer to use rubato in the opening and closing sections. There are difficult rhythms in this work including septuplets stretched over one beat and stretched over entire measures. This piece is appropriate for a student trying to fill in repertoire on double verticals that is not uncomfortable with odd rhythms.
• Marimba (4.0 octave) • Treble Clef • Medium Mallets • Overall Rating- Advanced • Duration- 3 minutes 45 seconds
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 2.5 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
195
Etude Op. 6 No. 9 by Clair Omar Musser Marimba Productions, Inc.
Snapshot
Etude Op. 6 No. 9 by Clair Omar Musser, also called Etude in B Major, was one of the first four-mallet solos written in Western classical literature, but not published until long after it was written. It is still a standard in marimba repertoire and is often used as a college audition piece. The performer must be aware of the written tempo. Most young performers that play this work cannot take it at the written tempo. It is also unique in that it only uses two of the four common stroke types. While it does not include many techniques, those few must be done very well. The performer must have strong double vertical technique and clean shifts.
• Marimba (4 octave) • Tempo • Medium Hard to Hard Mallets o � =132 • Duration – 1 minute 30 seconds • Overall Rating- Collegiate • Treble Clef
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 1.6 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
196
Etude in C Major Op. 6 No. 10 by Clair Omar Musser Marimba Productions, Inc.
Snapshot
Etude in C Major Op. 6 No. 10 by Clair Omar Musser was originally copyrighted in 1948, making it one of the earliest four-mallet compositions in Western classical literature. It is a standard in marimba literature and is regularly used as a college audition piece. It is written in 3/8 with constant eighth and sixteenth notes. Much of the work requires the performer to play eighth notes of four-note chords with quick shifts between manuals. While this work is short and does not include a large variety of techniques, the performer will feel tired by the end of the piece, especially if they do not have the proper endurance for double vertical strokes.
• Marimba (4 octave) • Tempo • Medium Hard to Hard Mallets o �.=112 • Duration – 1 minute 30 seconds • Overall Rating- Collegiate • Treble Clef
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 1.5 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
197
November Evening by Christopher Norton Innovative Percussion
Snapshot
November Evening by Christopher Norton is a classical marimba solo with many jazz influences. As is common in Norton’s writing, passages of groove are interrupted by choruses of lines that give the impression to the listener that the performer is improvising. The shifting, interval changes, and chromatic opposing motion in this work make it very difficult for even advanced players. The chorale should be looked at in the beginning of the learning process, as the endurance and accuracy needed will take time to develop.
• Marimba (4.5 octave) • Tempo • Medium to Medium Hard Mallets o � =112 • Duration – 8 minutes o � =88 • Grand Staff • Overall Rating- Collegiate
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X 2:3, 4:3
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 3.6 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
198
Restless by Rich O’Meara Keyboard Percussion Publications
Snapshot
Restless by Rich O’Meara is an appropriate solo for an advanced student to learn fairly quickly. The piece is pattern-oriented with a lot of repeated material. The performer should pay special attention to the accents that the composer wrote as these are often missed in performance. If performed correctly, the accents will give the solo a groove that propels it forward. The piece is a sea of eighth notes in cut time usually with one line with occasional double vertical strokes added in to create coutermelodic lines.
• Marimba (4.3 octave) • Tempo • Medium Hard Mallets o � =ca. 112 • Duration- 3 minutes 30 seconds • Overall Rating- Advanced • Grand Staff
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 2.3 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
199
Tune for Mary O. by Rich O’Meara Keyboard Percussion Publications
Snapshot
Tune for Mary O. by Rich O’Meara could work as an appropriate marimba solo for a college audition. It contains many different techniques that could show off a player’s abilities if they are well-rounded. There are five-note rippled chords that require the performer to cross the left hand over the right. These can pose some difficulty in keeping the ornamentation in time. The Lightly section is primarily double lateral strokes at a very fast tempo. This section should not be neglected.
• Marimba (4.3 octave) • Tempos • Medium to Medium Hard Mallets o �.=ca. 108 • Duration- 5 minutes o �.=ca. 84 • Grand Staff o � = ca. 80 • Overall Rating- Advanced
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 2.6 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
200
Autumn Portrait by Nicholas Papador House Panther Press
Snapshot
Autumn Portrait by Nicholas Papador was composed in 1997 as a purely pedagogical work. It focuses on single alternating strokes, double vertical strokes, and chorale phrasing. The piece has four distinct sections. The first and last are based on the single alternating permutation, 4-1-3-2. The second section is the chorale which is not technically difficult. This makes it ideal for talking about musical phrasing without the worry of difficult technique getting in the way. The third section is double vertical strokes played with both hands in unison in syncopated rhythms. This piece would be a good filler for lesson material working on these three main techniques.
• Marimba (4.3 octave) • Tempos • Medium Hard Mallets o Allegro � =ca. 132 • Duration- 6 minutes o Meno mosso • Grand Staff • Overall Rating- Intermediate/Advanced
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 3 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
201
Sea Refractions by Mitchell Peters TRY Publishing Co.
Snapshot
Sea Refractions by Mitchell Peters is appropriate for a student who is toward the beginning stages of four-mallet work, but has some previous musical experience. The changes between eighth notes and triplets are set up well, but can be difficult for students that do not fully understand those rhythms. The chorale and single alternating strokes are in the intermediate categories simply from an endurance standpoint and the teacher should use their best judgement if that is out of reach of their beginner students. The work has an ABA form with the A section being a chorale and the B section based on single alternating strokes.
• Marimba (4 octave) • Tempos • Medium Mallets o � = 48 • Duration- 5 minutes 15 seconds o � =112 • Treble Clef • Overall Rating- Beginner/Intermediate
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 1.5 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
202
Waves by Mitchell Peters TRY Publishing Co.
Snapshot
Waves by Mitchell Peters is a great work for a beginner marimbist that has a little bit of experience. At the marked tempo, the performer can choose to use either single alternating or double lateral strokes for most of the piece. Peters writes in changing time signatures including 2/2, 6/8, 2/4, and 10/8 where the eighth note stays the same. The hands are locked in at a perfect fifth through the entirety of the work.
• Marimba (4 octave) • Tempo • Medium Mallets o � = 100-108 • Duration- 2 minutes • Overall Rating- Beginner • Treble Clef
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 2.5 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
203
Yellow After the Rain by Mitchell Peters TRY Publishing Co.
Snapshot
Yellow After the Rain by Mitchell Peters is one of, if not the, most commonly played solo for students beginning four-mallet technique. Though many students play this as their first solo, it is not appropriate. The last section in particular takes the opening melody and moves it in four-note chords modally. This is incredibly difficult to be accurate for a beginner. This solo would be more appropriate for a student that has played one or two solos previously and has built up some comfort with double vertical and single alternating strokes.
• Marimba (4 octave) • Tempo • Medium Hard Mallets o � =126 • Duration- 3 minutes 15 seconds • Overall Rating- Intermediate • Treble and Bass Clefs
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 1.5 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
204
Graffito by Marta Ptaszyńska Theodore Presser Co.
Snapshot
Graffito by Marta Ptaszyńska is an incredibly difficult marimba solo. The composer self- proclaims it as a “tour de force for a marimbist”. The piece is written gesturally and goes in and out of atonal and quasi-tonal writing. The performer is asked to jump around the keyboard quickly. There are many large intervals in both hands in all registers of the instrument. Independent rolls are used regularly, but not marked with a different notation than a traditional roll, so the performer will have to figure out which kind of roll is needed.
• Marimba (4.5 octave, 4.3 optional) • Grand Staff • Medium Mallets • Overall Rating- Collegiate • Duration- 12 minutes
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 3.5 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
205
Fantasie in A for Marimba by Dwayne Rice C. Alan Publications
Snapshot
Fantasie in A for Marimba by Dwayne Rice is a substantial composition for marimba that works through all four of the major stroke types in different sections of the piece. The performer must have total control of all techniques before beginning work on this piece. Rice uses a unique transition out of the two chorales where the sixteenth notes that begin the next section morph out of the rolls. The last roll of the chorale changes roll speed to seamlessly connect to the next measure. The left hand is worked particularly hard in this piece with single independent, single alternating, and double lateral strokes.
• Marimba (5.0 octave) o � =160 • Medium Hard Mallets o � =170 • Duration- 5 minutes 30 seconds o � =150 • Grand Staff o �.=200 • Tempos o �.=140 • Overall Rating- Collegiate o � =80
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 3.5 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
206
Elegy for Alpha by Steve Riley Innovative Percussion
Snapshot
Elegy for Alpha by Steve Riley is appropriate for an intermediate student beginning to look at advanced repertoire. The piece opens and closes with chorales. These are marked advanced because of the endurance it takes to play multiple chorales of this length. The middle sections require the left hand to play an accompaniment of single alternating strokes followed by double verticals while the right hand plays a melody and countermelody with double vertical strokes.
• Marimba (4 octave) • Grand Staff • Medium Mallets • Overall Rating- • Duration- 5 minutes Intermediate/Advanced
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 3 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
207
Four Rotations for Marimba No. 1 by Eric Sammut Keyboard Percussion Publications
Snapshot
Four Rotations for Marimba No. 1 by Eric Sammut is the first in a set of four compositions. Sammut’s music uses jazz-influenced harmonic structures. This work is built primarily on double lateral and multi-lateral strokes. The opening measure presents a motive of single alternating strokes that Sammut continues to bring back amidst streams of sixteenth notes. In the second section, the left hand plays an ostinato of eighth and quarter notes with multi-lateral strokes. The right hand transitions from eighth and quarter notes to triplets and quintuplets to create some unique and difficult polyrhythms.
• Marimba (4.3 octave) • Tempos • Medium Hard Mallets o � =100 • Duration- 3 minutes o � = 92 • Grand Staff • Overall Rating- Advanced
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X 8:3, 8:5
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 3 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
208
Four Rotations for Marimba No. 2 by Eric Sammut Keyboard Percussion Publications
Snapshot
Four Rotation for Marimba No. 2 by Eric Sammut is the second in a set of four compositions. This piece is a constant stream of sixteenth notes that create a murmuring texture. Once this is established, the right hand begins playing a melodic line amidst the sixteenths. There are many key signature changes between B major, D-flat major, and C major and time signature changes between 4/4 and 10/16. If an advanced performer is very comfortable with double lateral strokes and changing intervals this piece would be appropriate.
• Marimba (4.3 octave) • Tempo • Medium Mallets o � =96 • Duration- 4 minutes • Overall Rating- Advanced • Grand Staff
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 3 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
209
Four Rotations for Marimba No. 3 by Eric Sammut Keyboard Percussion Publications
Snapshot
Four Rotations for Marimba No. 3 by Eric Sammut is the third in a series of four compositions. This piece changes odd meter time signatures almost every bar and is a constant stream of sixteenth notes. At the end of the work double vertical strokes are introduced as Sammut doubles the left hand in octaves. The performer must be confident in reading accidentals as there are no key signatures and the work modulates often. This piece could be an appropriate selection for an advanced student looking for a shorter composition.
• Marimba (4.3 octave) • Tempo • Medium Hard Mallets o � =120 • Duration- 1 minute 45 seconds • Overall Rating- Advanced • Grand Staff
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 3 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
210
Four Rotations for Marimba No. 4 by Eric Sammut Keyboard Percussion Publications
Snapshot
Four Rotations for Marimba No. 4 by Eric Sammut is the final composition in a set of four. This work uses jazz harmonies in a stream of sixteenth notes with some ornamentation. The sticking is provided for the performer and notated using different stems for the right and left hands. This can make it somewhat difficult to read, so the performer must be diligent to make sure the notes are played at the correct times. This work is appropriate for an advanced student beginning to work on collegiate level techniques.
• Marimba (4.3 octave) • Tempo • Medium Mallets o � =88 • Duration- 2 minutes 30 seconds • Overall Rating- Advanced/Collegiate • Grand Staff
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 4 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
211
Libertango Variations for Marimba by Eric Sammut Keyboard Percussion Publications
Snapshot
Libertango Variations for Marimba by Eric Sammut is only three and a half minutes long but has eight pages of notes fit into that time. This piece is very fast and requires the performer to have great interval changes and shifts to play it accurately. Sammut also uses dead strokes and dampening certain notes with the body. The rhythms are primarily sixteenths notes with some sixteenth note triplets interjecting. This piece should not be attempted by a performer that is any less than collegiate level in all pedagogical techniques.
• Marimba (5.0 octave) • Tempos • Medium Hard Mallets o � =100 • Duration- 3 minutes 30 seconds o � =152 • Grand Staff • Overall Rating- Collegiate
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 3.3 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
212
Gymnopédie No. 1 by Eric Satie Arranged by Jim Casella Tapspace Publications, LLC
Snapshot
Gymnopédie No. 1 by Eric Satie and arranged by Jim Casella is an appropriate solo for an intermediate player with some previous vibraphone experience. The piece moves slowly, so the accuracy is not an issue, but there is a lot of mallet dampening that will take practice. Some performers choose to use unconventional sticking to better facilitate the mallet dampening. The nature of the piece warrants some rubato, but the performer should be cautious not to use so much that the written rhythms lose their integrity.
• Vibraphone (3.0 octave) • Tempos • Medium Soft Mallets o Slow and Tender � =ca. 72 • Duration- 3 minutes 30 seconds • Overall Rating- Intermediate • Treble Clef
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 2.5 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
213
Etude No. 1 for Marimba by Paul Smadbeck Studio 4 Music
Snapshot
Etude No. 1 for Marimba by Paul Smadbeck is the first in a series of three etudes for marimba. It is built primarily of double lateral and double vertical strokes written in streams of sixteenth notes. Many of the double laterals occur at the interval of a major second which is difficult to execute, especially at louder dynamics. There is a short chorale in the middle of the work before a closing section reminiscent of the texture of the opening.
• Marimba (4.3 octave) • Tempos • Medium Hard Mallets o Prestissimo � =144 • Duration- 2 minutes o � =140 • Grand Staff o Slowly mysterioso � =56-58 o � =140 • Overall Rating- Advanced
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 2 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
214
Etude No. 2 for Marimba by Paul Smadbeck Studio 4 Music
Snapshot
Etude No. 2 for Marimba by Paul Smadbeck is the second in a series of three etudes. This etude is almost completely composed of sixteenth note triplets played with multi-lateral strokes between the hands. For most of the work the hands are also both locked in octaves. This is not something that should be attempted by a young player that does not have a lot of experience with octaves and multi-lateral strokes previously. This can cause physical damage if they do not have the correct muscles developed. There is a short chorale in the last third of the piece that still requires the performer to hold octaves.
• Marimba (4.3 octave) • Tempos • Medium Hard Mallets o Sharply � =112-120 • Duration – 3 minutes o Molto espressivo � =c. 60 • Grand Staff • Overall Rating- Advanced/Collegiate
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 3.3 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
215
Etude No. 3 for Marimba by Paul Smadbeck Studio 4 Music
Snapshot
Etude No. 3 for Marimba by Paul Smadbeck is the final composition in a set of three etudes. This piece focuses on the development of the one-handed roll in both the right and left hands. There are also traditional and lateral rolls included. Much of the work includes one-handed rolls metered out into sixteenth notes in the right hand while the left hand plays an eighth note ostinato. This piece would be appropriate for a student that has experience with one-handed rolls, but is looking to gain more control.
• Marimba (4.0 octave) • Tempos • Medium Soft to Medium Mallets o � =ca. 126-132 • Duration- 4 minutes 45 seconds o Slowly and Freely • Grand Staff • Overall Rating- Collegiate
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 3 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
216
Rhythm Song by Paul Smadbeck Keyboard Percussion Publication
Snapshot
Rhythm Song by Paul Smadbeck is a substantial work for marimba that was written to be played by one or more marimbists. Smadbeck takes one sticking permutation that is a measure long and manipulates it in every way imaginable for nine and a half minutes. This piece is groove-oriented and requires the performer to work on bringing out certain notes to create a melody. Often, these notes are with mallets three and/or four. This piece is appropriate for an advanced student looking to work on endurance.
• Marimba (4.3 octave) • Tempo • Medium Hard Mallets o With Energy � =194-198 • Duration- 9 minutes 30 seconds • Overall Rating- Advanced • Grand Staff
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 2.3 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
217
Virginia Tate by Paul Smadbeck Keyboard Percussion Publications
Snapshot
Virginia Tate by Paul Smadbeck is an appropriate work for an advanced student looking towards playing music in college. While it could work for an audition piece, a different composition might show off the student’s skill sets better as this piece focuses on double laterals and single independents primarily. A constant stream of sixteenth notes generally arpeggiate up and down the instrument with mallet four adding a melodic line over the top. The end of the work does incorporate quintuplets, sextuplets, and thirty second notes, so the performer should have a strong sense of pulse.
• Marimba (4.5 octave) • Grand Staff • Medium to Medium Hard Mallets • Overall Rating- Advanced/Collegiate • Duration- 6 minutes 45 seconds
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 2.5 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
218
In the Stillness of Twilight by David Steinquest RowLoff Productions
Snapshot
In the Stillness of Twilight by David Steinquest is an appropriate solo for an intermediate player with little to no vibraphone experience. There is no mallet dampening and while the pedaling isn’t marked, once per bar would be appropriate for the majority of the work. Sticking is provided and the tempo is slow enough that the performer has time to think about every note before they play. The hands play an arpeggiated eighth note figure under a floating long tone melody for the entire piece.
• Vibraphone (3.0 octave) • Tempo • Medium Cord Mallets o � = 80 • Duration- 4 minutes • Overall Rating- Intermediate • Treble Clef
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 3 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
219
Radford Rag by David Steinquest Pioneer Percussion
Snapshot
Radford Rag by David Steinquest is a four-mallet solo written in the style of novelty ragtime xylophone music. The left hand often acts as an accompaniment by comping chords. The right hand plays a lot of syncopated or “ragged” rhythms using double lateral strokes. There is a lot of chromaticism which makes for some awkward body shifts. The last third of the piece should not be neglected as it is the most difficult part to play accurately.
• Marimba (4.3 octave) • Tempos • Medium Hard Mallets o � = 80 • Duration- 2 minutes • Overall Rating- • Grand Staff Intermediate/Advanced
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 2 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
220
Uncommon Times by David Steinquest RowLoff Productions
Snapshot
Uncommon Times by David Steinquest is an appropriate piece for an advanced player to take to solo and ensemble contest and possibly use for a college audition. It displays all of the different techniques necessary for an audition piece. There are three distinct sections with the first and last being written in 7/8 with a pedal tone of C in the left hand while the right hand plays a melody outlining the time signature. The middle section is sextuplets that break the hands apart into a melody and counter melody in A minor and then bring them back to steady sextuplets on A.
• Marimba (4.5 octave, 4.3 optional) • Tempo • Medium to Medium Hard Mallets o � =176 • Duration- 4 minutes • Overall Rating- Advanced • Grand Staff
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 3 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
221
Andante and Allegro by Gordon Stout Keyboard Percussion Publications
Snapshot
Andante and Allegro by Gordon Stout is not a commonly played work, but does pose a challenge to an advanced level player. The piece has a piano accompaniment which is a rarity for four-mallet works of this level. The solo is atonal, but not overly dissonant. It opens with a chorale that requires the performer to use intervals of up to a ninth in the right hand. Following the chorale, Stout writes cascading figures down the instrument that lead into the Allegro section. A portion of this could be played with two mallets if the performer so chooses.
• Marimba (4.0 octave) with piano accompaniment • Tempos • Medium Mallets o Andante � = 69 • Duration- 4 minutes o Allegro � = 120-144 • Treble Clef • Overall Rating- Advanced
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 2 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
222
Astral Dance by Gordon Stout Keyboard Percussion Publications
Snapshot
Astral Dance by Gordon Stout is an atonal marimba solo appropriate for a collegiate level player. It is not written in any time signature, but instead is a sea of sixteenth notes in different groupings. The left hand begins on a second treble clef staff, but it changes back and forth between treble and bass clefs often, so the performer should be extra cautious when learning the notes. Stout does use complex rhythms such as quintuplets and thirty-second note triplets. The performer must have strong fundamental technique in order to accurately perform this work.
• Marimba (4.3 octave) • Tempos • Medium Hard to Hard Mallets o �.=160 • Duration- 5 minutes 15 seconds o � = 60 • Grand Staff • Overall Rating- Collegiate
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 3.5 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
223
Beads of Glass by Gordon Stout Keyboard Percussion Publications
Snapshot
Beads of Glass by Gordon Stout is a lengthy marimba solo that is built primarily of double lateral strokes and single independent strokes. This piece is appropriate for an advanced student that has great double lateral technique. The performer must be careful to keep the piece at the marked tempo as it is easy to rush.
• Marimba (5.0 octave) • Tempo • Medium Mallets o � = 160 • Duration- 7 minutes 30 seconds • Overall Rating- Advanced/Collegiate • Grand Staff
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 2.6 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
224
Elegy (1969) by Gordon Stout Keyboard Percussion Publications
Snapshot
Elegy (1969) by Gordon Stout is a marimba chorale. Because of the length of the work, the performer must have significant endurance for double vertical strokes. For the majority of the composition the intervals stay between a perfect fourth and perfect fifth in both hands. Stout uses a unique notation to tell the performer when occasional notes are not to be rolled. He puts and X above the stem of the note that should just be struck.
• Marimba (4.0 octave) • Tempo • Soft Mallets o Slowly and expressively � = 60 • Duration- 8 minutes 30 seconds • Overall Rating- Advanced • Treble Clef (2 staves)
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 2.3 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
225
Reverie (1969) by Gordon Stout Keyboard Percussion Publications
Snapshot
Reverie (1969) by Gordon Stout is a marimba chorale. The performer must make quick interval shifts usually with one mallet remaining on a note and the other mallet contracting and expanding. This can be difficult to keep the stationary mallet on the correct note. When Stout wants the performer to just strike a note rather than rolling it toward the end of the piece, he marks an X over the stem. This chorale is appropriate for an advanced student to build endurance for double vertical strokes.
• Marimba (4.0 octave) • Tempo • Soft Mallets o Slowly and Expressively • Duration- 5 minutes 30 seconds � =c. 86 • Treble Clef (2 Staves) • Overall Rating- Advanced
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 2 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
226
Strive to Be Happy by Ivan Trevino Ivan Trevino
Snapshot
Strive to Be Happy by Ivan Trevino begins with what feels like written, metered out rolls. The hands are both playing double vertical strokes in sixteenth notes, but combined with the tempo and the resonance of the instrument it almost sounds like a chorale. This section alternates with one that is composed of a single line of sixteenth notes with double lateral, single alternating, and single independent strokes. This solo would be appropriate for an advanced student looking for a piece that would be relatively easy to learn.
• Marimba (4.3 octave) • Tempo • Medium Soft to Medium Mallets o � = 108 • Duration- 4 minutes • Overall Rating- Advanced • Grand Staff
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 2.5 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
227
A cricket sang and set the sun by Blake Tyson Blake Tyson
Snapshot
A cricket sang and set the sun by Blake Tyson would be an appropriate college audition piece because it shows off all of the different techniques a student possesses. This is a lyrical piece written with many scalular figures. This challenges the performer to make the phrases feel long and connected rather than technical even though there are some difficult techniques. The player is asked to play double laterals at the interval of a second. The sticking of these passages are often changed to be played with the inside mallets at the discretion of the performer.
• Marimba (4.3 octave) • Tempos • Medium to Medium Hard Mallets o Flowing � = 110 • Duration- 5 minutes 45 seconds o Gently, with kindness � = 70 • Grand Staff • Overall Rating- Advanced
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 2.3 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
228
Blue Wood by Todd Ukena Southern Music Company
Snapshot
Blue Wood by Todd Ukena is a jazz-influenced solo where the left hand keeps a steady bass line of double vertical quarter notes throughout the entire work while the right hand plays a complex melody over the top. This solo should only be attempted by performers who have a strong single independent stroke with the right hand. The melodic line is at times very fast and skips around. There are many independent rolls in both the right and the left hand. The left hand rolls for an extended time on one note, so this may be an appropriate instance to use a mandolin roll if it is more comfortable for the performer.
• Marimba (4.3 octave) • Tempo • Medium to Medium Hard Mallets o � = 80-92 (Swung) • Duration- 4 minutes 30 seconds • Overall Rating- Advanced/Collegiate • Grand Staff
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X 3:2
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 3.3 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
229
Colors by Todd Ukena Southern Music Company
Snapshot
Colors by Todd Ukena is a short marimba chorale. It could be played by a beginner student if they are comfortable with some awkward body positions. This piece is great for building endurance on double vertical strokes. Most of the piece has both hands written within an octave. The last two chords have the player roll between them hitting all of the different notes as they ascend the keyboard.
• Marimba (4 octave) • Tempo • Medium Soft Mallets o Slowly, with feeling � = 48-56 • Duration- 2 minutes 30 seconds • Overall Rating- Intermediate • Grand Staff
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN
SPEED X 2 oct
TRIPLE, DOUBLE, X TUPLETS
230
Lauren’s Lullaby by Todd Ukena Southern Music Company
Snapshot
Lauren’s Lullaby by Todd Ukena is based on the lullaby tune he sang to his daughter when she was little. It goes through multiple variations, mostly changing the accompaniment that the left hand provides. The most difficult variation is a chromatic scale in eighth notes played by mallet two while the right hand plays the lullaby melody. In the chorale variation it is important that the performer notice which notes are half notes and which ones are dotted half notes so that the proper chord tones sustain longer.
• Marimba (4.3 octave) • Grand Staff • Medium Mallets • Overall Rating- Advanced • Duration- 5 minutes
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 2.5 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
231
Tears of Long Lost Love by Todd Ukena Southern Music Company
Snapshot
Tears of Long Lost Love by Todd Ukena is an appropriate solo for an advanced player that has only a little vibraphone experience. The pedaling is provided and there are no extended techniques or mallet dampening. This solo also helps build the multi-lateral technique. The two distinct ideas alternate throughout the work. The first idea uses arpeggiated eighth notes to show the harmonic progression while the right hand plays a melody in single independent and double vertical strokes over the top. The second idea is a stream of arpeggiations played with multi- lateral strokes.
• Vibraphone (3.0 octave) • Treble Clef • Medium Cord Mallets • Overall Rating- Advanced • Duration- 6 minutes 30 seconds
PEDAGOGICAL BEGINNER INTERMEDIATE ADVANCED COLLEGIATE N/A NOTES TECHNIQUE
CHORALE X
DOUBLE LATERALS X
DOUBLE VERTICALS X INDEPENDENT ROLLS X
INTERVALS X
LATERAL ROLLS X
METRIC MODULATIONS X MULTI-LATERALS X
PLAYING LOGISTICS X
POLYRHYTHMS X
SINGLE ALTERNATING X
SINGLE INDEPENDENTS X SPAN X 2.5 oct
SPEED X
TRIPLE, DOUBLE, X TUPLETS
232
Appendix B: Index by Title
… …like a burden too heavy by Brian Blume ...... 124 A A cricket sang and set the sun by Blake Tyson ...... 228 A Good Friday by Michael Aukofer ...... 117 Almost Calypso by Daniel Moore ...... 194 Alone by Keiko Abe ...... 101 Ancient Vase by Keiko Abe ...... 102 Andante and Allegro by Gordon Stout ...... 222 Appalachian Fiddle Tune Medley by Murray Houllif ...... 163 Astral Dance by Gordon Stout ...... 223 Asturias (Leyenda) by Isaac Albeniz, trans. Stevens ...... 114 Autumn Portrait by Nicholas Papador ...... 201 B Battle of the Rising Spirits by Gus Burghdorf ...... 132 Beads of Glass by Gordon Stout ...... 224 Blue Wood by Todd Ukena ...... 229 C Canzona IV by John Immerso ...... 178 Canzona VI by John Immerso ...... 179 Caritas by Michael Burritt ...... 133 Casper’s Dance by Murray Houllif ...... 164 Cattelin by Daniel Berg ...... 123 Chorale and Variations by George Frock ...... 147 Colors by Todd Ukena ...... 230 Compassion by Lorraine Goodrich Irvin ...... 180 Contemplation by Murray Houllif ...... 165 Crystal Light by Steve Kastuck ...... 181 D Dahoon by Thomas Brown ...... 128 Dream of the Cherry Blossoms by Keiko Abe ...... 103 E Elegy (1969) by Gordon Stout ...... 225 Elegy for Alpha by Steve Riley ...... 207 Essence by Thomas Brown ...... 129
233
Estudio No. 1 para Marimba by Murray Houllif ...... 166 Estudio No. 2 para Marimba by Muray Houllif ...... 167 Estudio No. 3 para Marimba by Murray Houllif ...... 168 Estudio No. 4 para Marimba by Murray Houllif ...... 169 Estudio No. 5 para Marimba by Murray Houllif ...... 170 Estudio No. 6 para Marimba by Murray Houllif ...... 171 Etude for a Quiet Hall by Christopher Deane ...... 140 Etude in C Major Op. 6 No. 10 by Clair Omar Musser ...... 197 Etude No. 1 for Marimba by Paul Smadbeck ...... 214 Etude No. 2 for Marimba by Paul Smadbeck ...... 215 Etude No. 3 for Marimba by Paul Smadbeck ...... 216 Etude Op. 6 No. 8 by Clair Omar Musser ...... 195 Etude Op. 6 No. 9 by Clair Omar Musser ...... 196 Evergreen by Benjamin Finley ...... 143 F Fantasie in A for Marimba by Dwayne Rice ...... 206 Fantasy for El Salvador by Mario Gaetano ...... 149 Fantasy for Vibraphone by Jesse Monkman ...... 191 Fantasy on a Shona Theme by Glenn Kotche ...... 183 Four Rotations for Marimba No. 1 by Eric Sammut ...... 208 Four Rotations for Marimba No. 2 by Eric Sammut ...... 209 Four Rotations for Marimba No. 3 by Eric Sammut ...... 210 Four Rotations for Marimba No. 4 by Eric Sammut ...... 211 Frogs by Keiko Abe ...... 104 From the Edge of the Frame by Steven Crawford ...... 138 G Ghost Garden by Adam Hopper ...... 162 Ghost River by Steven Crawford ...... 139 Gitano by Alice Gomez ...... 154 Graffito by Marta Ptaszyńska ...... 205 Greensleeves (traditional), arr. Brown ...... 130 Gymnopédie No. 1 by Eric Satie, arr. Casella ...... 213 I In the Stillness of Twilight by David Steinquest ...... 219 Irrelevant by Josh Gottry ...... 158 J Jubilee by Michael Boo ...... 125 Just Flippin’ by Phil Kraus ...... 184 K Kleine Albstadt by Bill Molenhof ...... 190
234
L Lauren’s Lullaby by Todd Ukena ...... 231 Libertango Variations for Marimba by Eric Sammut ...... 212 Little Brave by Earl Hatch ...... 161 Little Windows by Keiko Abe ...... 105 M Marie by Geary Larrick ...... 186 Marimba Flamenca by Alice Gomez ...... 155 Marimba Music by Daniel Asia ...... 116 Mbira Song by Alice Gomez and Marilyn Rife ...... 156 Memories of the Seashore by Keiko Abe ...... 106 Mexican Murals by Thomas Brown ...... 131 Mexican Variations by George Frock ...... 148 Michi by Keiko Abe ...... 107 Mist by Murray Houllif ...... 172 Monograph IV by Richard Gipson ...... 152 Moon Chasers by Mark Ford ...... 144 N Nocturnal Dance by Jesse Monkman ...... 192 November Evening by Christopher Norton ...... 198 O October Night by Michael Burritt ...... 134 Over the Rainbow by Harold Arlen, arr. Oetomo ...... 115 P Parody by Jesse Monkman ...... 193 Pastoral Music by Thomas Briggs ...... 127 Polaris by Mark Ford ...... 145 Prayer by Richard Gipson ...... 153 Prelude in G minor by J.S. Bach, arr. Stevens ...... 120 Q Quartiles by Sterling Cossaboom ...... 137 Quintessence by Ian Grom ...... 159 R Radford Rag by David Steinquest ...... 220 Rain Dance by Alice Gomez and Marilyn Rife ...... 157 Ransom by Mark Ford ...... 146 Restless by Rich O’Meara ...... 199 Reverie (1969) by Gordon Stout ...... 226
235
Rhythm Song by Paul Smadbeck ...... 217 Rosewood Blues by Charles DeLancey ...... 142 S Samba by Murray Houlliff ...... 173 Sara’s Song by Michael Burritt ...... 135 Sea Refractions by Mitchell Peters ...... 202 Solfegietto by C.P.E. Bach, arr. Chandler ...... 119 Song of the Libra by Mario Gaetano ...... 150 Spiral Passages by Jon Metzger ...... 189 Strive to Be Happy by Ivan Trevino ...... 227 Suite for Solo Vibraphone by Alexander Lepak ...... 188 Suite Mexicana by Keith Larson ...... 187 Suite No. 1 in E minor by J.S. Bach, trans. Ukena ...... 121 Suite: Three Songs of the South by Murray Houllif ...... 174 T Tambourin Paraphrase by Keiko Abe ...... 108 Tears of Long Lost Love by Todd Ukena ...... 232 The Apocryphal Still Life by Christoper Deane ...... 141 The Case of Nietzsche by Michael LaRosa ...... 185 The Little Things by Michael Aukofer ...... 118 The Offering by Michael Burritt ...... 136 The True Lover’s Farewell by Steven Gwin ...... 160 Theme from the Polovetsian Dances by Alexander Borodin, arr. Chappell ...... 126 Three Pieces for Marimba by Murray Houllif ...... 175 Tranquility by Murray Houllif ...... 176 Trilogy by Tim Huesgen ...... 177 Tune for Mary O. by Rich O’Meara ...... 200 Two Movements for Marimba by Mario Gaetano ...... 151 U Uncommon Times by David Steinquest ...... 221 V Variations on Dowland’s Lachrimae Pavana by Keiko Abe ...... 109 Variations on Japanese Children’s Songs by Keiko Abe ...... 110 Virginia Tate by Paul Smadbeck ...... 218 W Waves by Mitchell Peters ...... 203 Wind Across Mountains by Keiko Abe ...... 111 Wind in the Bamboo Grove by Keiko Abe ...... 112 Wind Sketch by Keiko Abe ...... 113 Wistful Thoughts by Steve Kastuck ...... 182
236
Y Yellow After the Rain by Mitchell Peters ...... 204 Yorkshire Ballad by James Barnes, arr. Maxey ...... 122
237
Appendix C: Index by Overall Difficulty
Beginner Ghost Garden by Adam Hopper ...... 162 Waves by Mitchell Peters ...... 203
Beginner/Intermediate Canzona VI by John Immerso ...... 179 Crystal Light by Steve Kastuck ...... 181 Mbira Song by Alice Gomez and Marilyn Rife ...... 156 Prayer by Richard Gipson ...... 153 Sea Refractions by Mitchell Peters ...... 202
Intermediate …like a burden too heavy by Brian Blume ...... 124 Canzona IV by John Immerso ...... 178 Chorale and Variations by George Frock ...... 147 Colors by Todd Ukena ...... 230 Dahoon by Thomas Brown ...... 128 Essence by Thomas Brown ...... 129 Fantasy on a Shona Theme by Glenn Kotche ...... 183 Ghost River by Steven Crawford ...... 139 Gymnopédie No. 1 by Eric Satie, arr. Casella ...... 213 In the Stillness of Twilight by David Steinquest ...... 219 Mexican Variations by George Frock ...... 148 Pastoral Music by Thomas Briggs ...... 127 Suite Mexicana by Keith Larson ...... 187 The Offering by Michael Burritt ...... 136 Tranquility by Murray Houllif ...... 176 Wistful Thoughts by Steve Kastuck ...... 182 Yellow After the Rain by Mitchell Peters ...... 204 Yorkshire Ballad by James Barnes, arr. Maxey ...... 122
Intermediate/Advanced Autumn Portrait by Nicholas Papador ...... 201 Elegy for Alpha by Steve Riley ...... 207 From the Edge of the Frame by Steven Crawford ...... 138 Greensleeves (traditional), arr. Brown ...... 130 Kleine Albstadt by Bill Molenhof ...... 190 Little Brave by Earl Hatch ...... 161 Marimba Flamenca by Alice Gomez ...... 155 Mexican Murals by Thomas Brown ...... 131 Radford Rag by David Steinquest ...... 220 Rosewood Blues by Charles DeLancey ...... 142
238
Suite: Three Songs of the South by Murray Houllif ...... 174 The Little Things by Michael Aukofer ...... 118 The True Lover’s Farewell by Steven Gwin ...... 160 Theme from the Polovetsian Dances by Alexander Borodin, arr. Chappell ...... 126 Two Movements for Marimba by Mario Gaetano ...... 151
Advanced A cricket sang and set the sun by Blake Tyson ...... 228 A Good Friday by Michael Aukofer ...... 117 Almost Calypso by Daniel Moore ...... 194 Alone by Keiko Abe ...... 101 Ancient Vase by Keiko Abe ...... 102 Andante and Allegro by Gordon Stout ...... 222 Appalachian Fiddle Tune Medley by Murray Houllif ...... 163 Battle of the Rising Spirits by Gus Burghdorf ...... 132 Cattelin by Daniel Berg ...... 123 Compassion by Lorraine Goodrich Irvin ...... 180 Elegy (1969) by Gordon Stout ...... 225 Estudio No. 2 para Marimba by Muray Houllif ...... 167 Estudio No. 6 para Marimba by Murray Houllif ...... 171 Etude for a Quiet Hall by Christopher Deane ...... 140 Etude No. 1 for Marimba by Paul Smadbeck ...... 214 Etude Op. 6 No. 8 by Clair Omar Musser ...... 195 Fantasy for El Salvador by Mario Gaetano ...... 149 Fantasy for Vibraphone by Jesse Monkman ...... 191 Four Rotations for Marimba No. 1 by Eric Sammut ...... 208 Four Rotations for Marimba No. 2 by Eric Sammut ...... 209 Four Rotations for Marimba No. 3 by Eric Sammut ...... 210 Frogs by Keiko Abe ...... 104 Gitano by Alice Gomez ...... 154 Irrelevant by Josh Gottry ...... 158 Jubilee by Michael Boo ...... 125 Just Flippin’ by Phil Kraus ...... 184 Lauren’s Lullaby by Todd Ukena ...... 231 Memories of the Seashore by Keiko Abe ...... 106 Mist by Murray Houllif ...... 172 Monograph IV by Richard Gipson ...... 152 Parody by Jesse Monkman ...... 193 Prelude in G minor by J.S. Bach, arr. Stevens ...... 120 Rain Dance by Alice Gomez and Marilyn Rife ...... 157 Restless by Rich O’Meara ...... 199 Reverie (1969) by Gordon Stout ...... 226 Rhythm Song by Paul Smadbeck ...... 217 Sara’s Song by Michael Burritt ...... 135
239
Solfegietto by C.P.E. Bach, arr. Chandler ...... 119 Song of the Libra by Mario Gaetano ...... 150 Strive to Be Happy by Ivan Trevino ...... 227 Suite for Solo Vibraphone by Alexander Lepak ...... 188 Tears of Long Lost Love by Todd Ukena ...... 232 Trilogy by Tim Huesgen ...... 177 Tune for Mary O. by Rich O’Meara ...... 200 Uncommon Times by David Steinquest ...... 221 Variations on Dowland’s Lachrimae Pavana by Keiko Abe ...... 109 Wind Across Mountains by Keiko Abe ...... 111
Advanced/Collegiate Beads of Glass by Gordon Stout ...... 224 Blue Wood by Todd Ukena ...... 229 Estudio No. 1 para Marimba by Murray Houllif ...... 166 Estudio No. 3 para Marimba by Murray Houllif ...... 168 Estudio No. 4 para Marimba by Murray Houllif ...... 169 Estudio No. 5 para Marimba by Murray Houllif ...... 170 Etude No. 2 for Marimba by Paul Smadbeck ...... 215 Four Rotations for Marimba No. 4 by Eric Sammut ...... 211 Little Windows by Keiko Abe ...... 105 Marie by Geary Larrick ...... 186 Michi by Keiko Abe ...... 107 Moon Chasers by Mark Ford ...... 144 Nocturnal Dance by Jesse Monkman ...... 192 Ransom by Mark Ford ...... 146 Spiral Passages by Jon Metzger ...... 189 The Case of Nietzsche by Michael LaRosa ...... 185 Virginia Tate by Paul Smadbeck ...... 218 Wind Sketch by Keiko Abe ...... 113
Collegiate Astral Dance by Gordon Stout ...... 223 Asturias (Leyenda) by Isaac Albeniz, trans. Stevens ...... 114 Caritas by Michael Burritt ...... 133 Casper’s Dance by Murray Houllif ...... 164 Contemplation by Murray Houllif ...... 165 Dream of the Cherry Blossoms by Keiko Abe ...... 103 Etude in C Major Op. 6 No. 10 by Clair Omar Musser ...... 197 Etude No. 3 for Marimba by Paul Smadbeck ...... 216 Etude Op. 6 No. 9 by Clair Omar Musser ...... 196 Evergreen by Benjamin Finley ...... 143 Fantasie in A for Marimba by Dwayne Rice ...... 206 Graffito by Marta Ptaszyńska ...... 205
240
Libertango Variations for Marimba by Eric Sammut ...... 212 Marimba Music by Daniel Asia ...... 116 November Evening by Christopher Norton ...... 198 October Night by Michael Burritt ...... 134 Over the Rainbow by Harold Arlen, arr. Oetomo ...... 115 Polaris by Mark Ford ...... 145 Quartiles by Sterling Cossaboom ...... 137 Quintessence by Ian Grom ...... 159 Samba by Murray Houlliff ...... 173 Suite No. 1 in E minor by J.S. Bach, trans. Ukena ...... 121 Tambourin Paraphrase by Keiko Abe ...... 108 The Apocryphal Still Life by Christoper Deane ...... 141 Three Pieces for Marimba by Murray Houllif ...... 175 Variations on Japanese Children’s Songs by Keiko Abe ...... 110 Wind in the Bamboo Grove by Keiko Abe ...... 112
241
Appendix D: Index by Technique Difficulty
Chorale Beginner Ghost Garden by Adam Hopper ...... 162 Suite Mexicana by Keith Larson ...... 187
Intermediate Autumn Portrait by Nicholas Papador ...... 201 Colors by Todd Ukena ...... 230 Dream of the Cherry Blossoms by Keiko Abe ...... 103 Estudio No. 3 para Marimba by Murray Houllif ...... 168 Etude No. 1 for Marimba by Paul Smadbeck ...... 214 Frogs by Keiko Abe ...... 104 Gitano by Alice Gomez ...... 154 Irrelevant by Josh Gottry ...... 158 Mexican Variations by George Frock ...... 148 Monograph IV by Richard Gipson ...... 152 Pastoral Music by Thomas Briggs ...... 127 Prayer by Richard Gipson ...... 153 Rosewood Blues by Charles DeLancey ...... 142 Sea Refractions by Mitchell Peters ...... 202 The True Lover’s Farewell by Steven Gwin ...... 160
Advanced A cricket sang and set the sun by Blake Tyson ...... 228 Andante and Allegro by Gordon Stout ...... 222 Astral Dance by Gordon Stout ...... 223 Battle of the Rising Spirits by Gus Burghdorf ...... 132 Blue Wood by Todd Ukena ...... 229 Canzona IV by John Immerso ...... 178 Chorale and Variations by George Frock ...... 147 Dahoon by Thomas Brown ...... 128 Elegy for Alpha by Steve Riley ...... 207 Estudio No. 6 para Marimba by Murray Houllif ...... 171 Etude No. 2 for Marimba by Paul Smadbeck ...... 215 Etude Op. 6 No. 8 by Clair Omar Musser ...... 195 Evergreen by Benjamin Finley ...... 143 Fantasie in A for Marimba by Dwayne Rice ...... 206 Ghost River by Steven Crawford ...... 139 Kleine Albstadt by Bill Molenhof ...... 190 Lauren’s Lullaby by Todd Ukena ...... 231 Little Brave by Earl Hatch ...... 161 Marimba Flamenca by Alice Gomez ...... 155
242
Marimba Music by Daniel Asia ...... 116 Mexican Murals by Thomas Brown ...... 131 Nocturnal Dance by Jesse Monkman ...... 192 Over the Rainbow by Harold Arlen, arr. Oetomo ...... 115 Parody by Jesse Monkman ...... 193 Quintessence by Ian Grom ...... 159 Rain Dance by Alice Gomez and Marilyn Rife ...... 157 Ransom by Mark Ford ...... 146 Suite: Three Songs of the South by Murray Houllif ...... 174 Two Movements for Marimba by Mario Gaetano ...... 151 Wind Across Mountains by Keiko Abe ...... 111 Yorkshire Ballad by James Barnes, arr. Maxey ...... 122
Collegiate Asturias (Leyenda) by Isaac Albeniz, trans. Stevens ...... 114 Caritas by Michael Burritt ...... 133 Compassion by Lorraine Goodrich Irvin ...... 180 Elegy (1969) by Gordon Stout ...... 225 Etude for a Quiet Hall by Christopher Deane ...... 140 Etude No. 3 for Marimba by Paul Smadbeck ...... 216 Graffito by Marta Ptaszyńska ...... 205 November Evening by Christopher Norton ...... 198 October Night by Michael Burritt ...... 135 Polaris by Mark Ford ...... 145 Quartiles by Sterling Cossaboom ...... 137 Reverie (1969) by Gordon Stout ...... 226 Spiral Passages by Jon Metzger ...... 189 Suite No. 1 in E minor by J.S. Bach, trans. Ukena ...... 121 Wind in the Bamboo Grove by Keiko Abe ...... 112 Wind Sketch by Keiko Abe ...... 113
Double Laterals Beginner Canzona VI by John Immerso ...... 179 Wind in the Bamboo Grove by Keiko Abe ...... 112 Wind Sketch by Keiko Abe ...... 113 Mexican Variations by George Frock ...... 148 Rosewood Blues by Charles DeLancey ...... 142 Waves by Mitchell Peters ...... 203
Intermediate A Good Friday by Michael Aukofer ...... 117 Ancient Vase by Keiko Abe ...... 102 Andante and Allegro by Gordon Stout ...... 222
243
Appalachian Fiddle Tune Medley by Murray Houllif ...... 163 Cattelin by Daniel Berg ...... 123 Chorale and Variations by George Frock ...... 147 Essence by Thomas Brown ...... 129 Estudio No. 3 para Marimba by Murray Houllif ...... 168 Fantasy for Vibraphone by Jesse Monkman ...... 191 Fantasy on a Shona Theme by Glenn Kotche ...... 183 From the Edge of the Frame by Steven Crawford ...... 138 Ghost River by Steven Crawford ...... 139 Greensleeves (traditional), arr. Brown ...... 130 Just Flippin’ by Phil Kraus ...... 184 Kleine Albstadt by Bill Molenhof ...... 190 Little Brave by Earl Hatch ...... 161 Marie by Geary Larrick ...... 186 Mexican Murals by Thomas Brown ...... 131 Mist by Murray Houllif ...... 172 Rain Dance by Alice Gomez and Marilyn Rife ...... 157 Song of the Libra by Mario Gaetano ...... 150 Spiral Passages by Jon Metzger ...... 189 Suite Mexicana by Keith Larson ...... 187 The Little Things by Michael Aukofer ...... 118 Tranquility by Murray Houllif ...... 176 Two Movements for Marimba by Mario Gaetano ...... 151 Uncommon Times by David Steinquest ...... 221
Advanced A cricket sang and set the sun by Blake Tyson ...... 228 Almost Calypso by Daniel Moore ...... 194 Blue Wood by Todd Ukena ...... 229 Casper’s Dance by Murray Houllif ...... 164 Contemplation by Murray Houllif ...... 165 Estudio No. 2 para Marimba by Muray Houllif ...... 167 Estudio No. 6 para Marimba by Murray Houllif ...... 171 Four Rotations for Marimba No. 3 by Eric Sammut ...... 210 Frogs by Keiko Abe ...... 104 Jubilee by Michael Boo ...... 125 Marimba Flamenca by Alice Gomez ...... 155 Monograph IV by Richard Gipson ...... 152 Parody by Jesse Monkman ...... 193 Pastoral Music by Thomas Briggs ...... 127 Radford Rag by David Steinquest ...... 220 Restless by Rich O’Meara ...... 199 Rhythm Song by Paul Smadbeck ...... 217 Solfegietto by C.P.E. Bach, arr. Chandler ...... 119
244
Strive to Be Happy by Ivan Trevino ...... 227 Suite for Solo Vibraphone by Alexander Lepak ...... 188 Suite: Three Songs of the South by Murray Houllif ...... 174 Tears of Long Lost Love by Todd Ukena ...... 232 The Case of Nietzsche by Michael LaRosa ...... 185 The True Lover’s Farewell by Steven Gwin ...... 160 Trilogy by Tim Huesgen ...... 177 Variations on Dowland’s Lachrimae Pavana by Keiko Abe ...... 109
Collegiate Astral Dance by Gordon Stout ...... 223 Asturias (Leyenda) by Isaac Albeniz, trans. Stevens ...... 114 Battle of the Rising Spirits by Gus Burghdorf ...... 132 Beads of Glass by Gordon Stout ...... 224 Caritas by Michael Burritt ...... 133 Dream of the Cherry Blossoms by Keiko Abe ...... 103 Estudio No. 1 para Marimba by Murray Houllif ...... 166 Estudio No. 4 para Marimba by Murray Houllif ...... 169 Estudio No. 5 para Marimba by Murray Houllif ...... 170 Etude for a Quiet Hall by Christopher Deane ...... 140 Etude No. 1 for Marimba by Paul Smadbeck ...... 214 Evergreen by Benjamin Finley ...... 143 Fantasie in A for Marimba by Dwayne Rice ...... 206 Fantasy for El Salvador by Mario Gaetano ...... 149 Four Rotations for Marimba No. 1 by Eric Sammut ...... 208 Four Rotations for Marimba No. 2 by Eric Sammut ...... 209 Four Rotations for Marimba No. 4 by Eric Sammut ...... 211 Gitano by Alice Gomez ...... 154 Graffito by Marta Ptaszyńska ...... 205 Irrelevant by Josh Gottry ...... 158 Libertango Variations for Marimba by Eric Sammut ...... 212 Marimba Music by Daniel Asia ...... 116 Moon Chasers by Mark Ford ...... 144 Nocturnal Dance by Jesse Monkman ...... 192 November Evening by Christopher Norton ...... 198 October Night by Michael Burritt ...... 134 Over the Rainbow by Harold Arlen, arr. Oetomo ...... 115 Polaris by Mark Ford ...... 145 Quartiles by Sterling Cossaboom ...... 137 Quintessence by Ian Grom ...... 159 Ransom by Mark Ford ...... 146 Samba by Murray Houlliff ...... 173 Sara’s Song by Michael Burritt ...... 135 Suite No. 1 in E minor by J.S. Bach, trans. Ukena ...... 121
245
Tambourin Paraphrase by Keiko Abe ...... 108 The Apocryphal Still Life by Christoper Deane ...... 141 Three Pieces for Marimba by Murray Houllif ...... 175 Tune for Mary O. by Rich O’Meara ...... 200 Virginia Tate by Paul Smadbeck ...... 218
Double Verticals Beginner Crystal Light by Steve Kastuck ...... 181 Ghost Garden by Adam Hopper ...... 162 Sea Refractions by Mitchell Peters ...... 202
Intermediate …like a burden too heavy by Brian Blume ...... 124 Andante and Allegro by Gordon Stout ...... 222 Beads of Glass by Gordon Stout ...... 224 Canzona VI by John Immerso ...... 179 Essence by Thomas Brown ...... 129 Ghost Garden by Adam Hopper ...... 162 Greensleeves (traditional), arr. Brown ...... 130 Gymnopédie No. 1 by Eric Satie, arr. Casella ...... 213 In the Stillness of Twilight by David Steinquest ...... 219 Mbira Song by Alice Gomez and Marilyn Rife ...... 156 Pastoral Music by Thomas Briggs ...... 127 Radford Rag by David Steinquest ...... 220 Restless by Rich O’Meara ...... 199 Solfegietto by C.P.E. Bach, arr. Chandler ...... 119 Suite: Three Songs of the South by Murray Houllif ...... 174 The True Lover’s Farewell by Steven Gwin ...... 160 Tranquility by Murray Houllif ...... 176 Virginia Tate by Paul Smadbeck ...... 218 Waves by Mitchell Peters ...... 203 Wistful Thoughts by Steve Kastuck ...... 182
Advanced A Good Friday by Michael Aukofer ...... 117 Appalachian Fiddle Tune Medley by Murray Houllif ...... 163 Autumn Portrait by Nicholas Papador ...... 201 Battle of the Rising Spirits by Gus Burghdorf ...... 132 Cattelin by Daniel Berg ...... 123 Chorale and Variations by George Frock ...... 147 Dream of the Cherry Blossoms by Keiko Abe ...... 103 Elegy (1969) by Gordon Stout ...... 225 Elegy for Alpha by Steve Riley ...... 207
246
Estudio No. 5 para Marimba by Murray Houllif ...... 170 Etude for a Quiet Hall by Christopher Deane ...... 140 Fantasy for El Salvador by Mario Gaetano ...... 149 Fantasy for Vibraphone by Jesse Monkman ...... 191 Four Rotations for Marimba No. 1 by Eric Sammut ...... 208 Four Rotations for Marimba No. 2 by Eric Sammut ...... 209 Four Rotations for Marimba No. 3 by Eric Sammut ...... 210 Four Rotations for Marimba No. 4 by Eric Sammut ...... 211 From the Edge of the Frame by Steven Crawford ...... 138 Gitano by Alice Gomez ...... 154 Irrelevant by Josh Gottry ...... 158 Jubilee by Michael Boo ...... 125 Kleine Albstadt by Bill Molenhof ...... 190 Lauren’s Lullaby by Todd Ukena ...... 231 Little Brave by Earl Hatch ...... 161 Marimba Flamenca by Alice Gomez ...... 155 Mexican Variations by George Frock ...... 148 Mist by Murray Houllif ...... 172 Monograph IV by Richard Gipson ...... 152 October Night by Michael Burritt ...... 134 Rain Dance by Alice Gomez and Marilyn Rife ...... 157 Reverie (1969) by Gordon Stout ...... 226 Rhythm Song by Paul Smadbeck ...... 217 Rosewood Blues by Charles DeLancey ...... 142 Sara’s Song by Michael Burritt ...... 135 Strive to Be Happy by Ivan Trevino ...... 227 Suite for Solo Vibraphone by Alexander Lepak ...... 188 Suite Mexicana by Keith Larson ...... 187 Tears of Long Lost Love by Todd Ukena ...... 232 The Little Things by Michael Aukofer ...... 118 The Offering by Michael Burritt ...... 136 Theme from the Polovetsian Dances by Alexander Borodin, arr. Chappell ...... 126 Trilogy by Tim Huesgen ...... 177 Tune for Mary O. by Rich O’Meara ...... 200 Two Movements for Marimba by Mario Gaetano ...... 151 Uncommon Times by David Steinquest ...... 221 Yellow After the Rain by Mitchell Peters ...... 204
Collegiate Almost Calypso by Daniel Moore ...... 194 Alone by Keiko Abe ...... 101 Ancient Vase by Keiko Abe ...... 102 Astral Dance by Gordon Stout ...... 223 Asturias (Leyenda) by Isaac Albeniz, trans. Stevens ...... 114
247
Blue Wood by Todd Ukena ...... 229 Caritas by Michael Burritt ...... 133 Casper’s Dance by Murray Houllif ...... 164 Contemplation by Murray Houllif ...... 165 Estudio No. 1 para Marimba by Murray Houllif ...... 166 Estudio No. 2 para Marimba by Muray Houllif ...... 167 Estudio No. 3 para Marimba by Murray Houllif ...... 168 Estudio No. 6 para Marimba by Murray Houllif ...... 171 Etude in C Major Op. 6 No. 10 by Clair Omar Musser ...... 197 Etude No. 1 for Marimba by Paul Smadbeck ...... 214 Etude Op. 6 No. 8 by Clair Omar Musser ...... 195 Etude Op. 6 No. 9 by Clair Omar Musser ...... 196 Evergreen by Benjamin Finley ...... 143 Fantasie in A for Marimba by Dwayne Rice ...... 206 Frogs by Keiko Abe ...... 104 Graffito by Marta Ptaszyńska ...... 205 Just Flippin’ by Phil Kraus ...... 184 Libertango Variations for Marimba by Eric Sammut ...... 212 Little Windows by Keiko Abe ...... 105 Marie by Geary Larrick ...... 186 Marimba Music by Daniel Asia ...... 116 Memories of the Seashore by Keiko Abe ...... 106 Mexican Murals by Thomas Brown ...... 131 Michi by Keiko Abe ...... 107 Moon Chasers by Mark Ford ...... 144 Nocturnal Dance by Jesse Monkman ...... 192 November Evening by Christopher Norton ...... 198 Over the Rainbow by Harold Arlen, arr. Oetomo ...... 115 Parody by Jesse Monkman ...... 193 Polaris by Mark Ford ...... 145 Quartiles by Sterling Cossaboom ...... 137 Quintessence by Ian Grom ...... 159 Ransom by Mark Ford ...... 146 Samba by Murray Houlliff ...... 173 Song of the Libra by Mario Gaetano ...... 150 Spiral Passages by Jon Metzger ...... 189 Suite No. 1 in E minor by J.S. Bach, trans. Ukena ...... 121 Tambourin Paraphrase by Keiko Abe ...... 108 The Apocryphal Still Life by Christoper Deane ...... 141 The Case of Nietzsche by Michael LaRosa ...... 185 Three Pieces for Marimba by Murray Houllif ...... 175 Variations on Dowland’s Lachrimae Pavana by Keiko Abe ...... 109 Variations on Japanese Children’s Songs by Keiko Abe ...... 110 Wind Across Mountains by Keiko Abe ...... 111
248
Wind in the Bamboo Grove by Keiko Abe ...... 112 Wind Sketch by Keiko Abe ...... 113
Independent Rolls Beginner
Intermediate Ancient Vase by Keiko Abe ...... 102 Canzona VI by John Immerso ...... 179 Cattelin by Daniel Berg ...... 123 Estudio No. 6 para Marimba by Murray Houllif ...... 171 From the Edge of the Frame by Steven Crawford ...... 138 Ransom by Mark Ford ...... 146 Spiral Passages by Jon Metzger ...... 189 The Little Things by Michael Aukofer ...... 118 Variations on Dowland’s Lachrimae Pavana by Keiko Abe ...... 109
Advanced Battle of the Rising Spirits by Gus Burghdorf ...... 132 Etude for a Quiet Hall by Christopher Deane ...... 140 Etude No. 2 for Marimba by Paul Smadbeck ...... 215 Fantasie in A for Marimba by Dwayne Rice ...... 206 Four Rotations for Marimba No. 1 by Eric Sammut ...... 208 Frogs by Keiko Abe ...... 104 Jubilee by Michael Boo ...... 125 Marimba Music by Daniel Asia ...... 116 Memories of the Seashore by Keiko Abe ...... 106 Michi by Keiko Abe ...... 107 Moon Chasers by Mark Ford ...... 144 November Evening by Christopher Norton ...... 198 Polaris by Mark Ford ...... 145 Quintessence by Ian Grom ...... 159 Samba by Murray Houlliff ...... 173 Variations on Japanese Children’s Songs by Keiko Abe ...... 110
Collegiate Asturias (Leyenda) by Isaac Albeniz, trans. Stevens ...... 114 Blue Wood by Todd Ukena ...... 229 Caritas by Michael Burritt ...... 133 Casper’s Dance by Murray Houllif ...... 164 Etude No. 3 for Marimba by Paul Smadbeck ...... 216 Evergreen by Benjamin Finley ...... 143 Graffito by Marta Ptaszyńska ...... 205 October Night by Michael Burritt ...... 134
249
Quartiles by Sterling Cossaboom ...... 137 Tambourin Paraphrase by Keiko Abe ...... 108 The Apocryphal Still Life by Christoper Deane ...... 141
Intervals Beginner Canzona VI by John Immerso ...... 179 Colors by Todd Ukena ...... 230 Crystal Light by Steve Kastuck ...... 181 Mbira Song by Alice Gomez and Marilyn Rife ...... 156 Sea Refractions by Mitchell Peters ...... 202 Waves by Mitchell Peters ...... 203 Yellow After the Rain by Mitchell Peters ...... 204
Intermediate …like a burden too heavy by Brian Blume ...... 124 Almost Calypso by Daniel Moore ...... 194 Alone by Keiko Abe ...... 101 Appalachian Fiddle Tune Medley by Murray Houllif ...... 163 Autumn Portrait by Nicholas Papador ...... 201 Canzona IV by John Immerso ...... 178 Chorale and Variations by George Frock ...... 147 Dahoon by Thomas Brown ...... 128 Elegy for Alpha by Steve Riley ...... 207 Estudio No. 4 para Marimba by Murray Houllif ...... 169 Fantasy on a Shona Theme by Glenn Kotche ...... 183 Frogs by Keiko Abe ...... 104 From the Edge of the Frame by Steven Crawford ...... 138 Ghost Garden by Adam Hopper ...... 162 Ghost River by Steven Crawford ...... 139 Gymnopédie No. 1 by Eric Satie, arr. Casella ...... 213 In the Stillness of Twilight by David Steinquest ...... 219 Irrelevant by Josh Gottry ...... 158 Kleine Albstadt by Bill Molenhof ...... 190 Little Brave by Earl Hatch ...... 161 Marimba Flamenca by Alice Gomez ...... 155 Memories of the Seashore by Keiko Abe ...... 106 Mexican Variations by George Frock ...... 148 Monograph IV by Richard Gipson ...... 152 Pastoral Music by Thomas Briggs ...... 127 Prayer by Richard Gipson ...... 153 Prelude in G minor by J.S. Bach, arr. Stevens ...... 120 Radford Rag by David Steinquest ...... 220 Strive to Be Happy by Ivan Trevino ...... 227
250
Suite Mexicana by Keith Larson ...... 187 Tears of Long Lost Love by Todd Ukena ...... 232 The Offering by Michael Burritt ...... 136 The True Lover’s Farewell by Steven Gwin ...... 160 Tune for Mary O. by Rich O’Meara ...... 200 Wistful Thoughts by Steve Kastuck ...... 182
Advanced A cricket sang and set the sun by Blake Tyson ...... 228 A Good Friday by Michael Aukofer ...... 117 Ancient Vase by Keiko Abe ...... 102 Andante and Allegro by Gordon Stout ...... 222 Asturias (Leyenda) by Isaac Albeniz, trans. Stevens ...... 114 Battle of the Rising Spirits by Gus Burghdorf ...... 132 Cattelin by Daniel Berg ...... 123 Compassion by Lorraine Goodrich Irvin ...... 180 Elegy (1969) by Gordon Stout ...... 225 Essence by Thomas Brown ...... 129 Estudio No. 1 para Marimba by Murray Houllif ...... 166 Estudio No. 2 para Marimba by Muray Houllif ...... 167 Estudio No. 6 para Marimba by Murray Houllif ...... 171 Etude for a Quiet Hall by Christopher Deane ...... 140 Etude in C Major Op. 6 No. 10 by Clair Omar Musser ...... 197 Etude No. 1 for Marimba by Paul Smadbeck ...... 214 Etude No. 3 for Marimba by Paul Smadbeck ...... 216 Etude Op. 6 No. 8 by Clair Omar Musser ...... 195 Etude Op. 6 No. 9 by Clair Omar Musser ...... 196 Fantasy for El Salvador by Mario Gaetano ...... 149 Four Rotations for Marimba No. 1 by Eric Sammut ...... 208 Four Rotations for Marimba No. 2 by Eric Sammut ...... 209 Four Rotations for Marimba No. 4 by Eric Sammut ...... 211 Greensleeves (traditional), arr. Brown ...... 130 Just Flippin’ by Phil Kraus ...... 184 Lauren’s Lullaby by Todd Ukena ...... 231 Little Windows by Keiko Abe ...... 105 Marie by Geary Larrick ...... 186 Mexican Murals by Thomas Brown ...... 131 Nocturnal Dance by Jesse Monkman ...... 192 Over the Rainbow by Harold Arlen, arr. Oetomo ...... 115 Parody by Jesse Monkman ...... 193 Rain Dance by Alice Gomez and Marilyn Rife ...... 157 Ransom by Mark Ford ...... 146 Restless by Rich O’Meara ...... 199 Rhythm Song by Paul Smadbeck ...... 217
251
Rosewood Blues by Charles DeLancey ...... 142 Sara’s Song by Michael Burritt ...... 135 Solfegietto by C.P.E. Bach, arr. Chandler ...... 119 Song of the Libra by Mario Gaetano ...... 150 Spiral Passages by Jon Metzger ...... 189 Suite for Solo Vibraphone by Alexander Lepak ...... 188 Suite: Three Songs of the South by Murray Houllif ...... 174 The Little Things by Michael Aukofer ...... 118 The True Lover’s Farewell by Steven Gwin ...... 160 Theme from the Polovetsian Dances by Alexander Borodin, arr. Chappell ...... 126 Three Pieces for Marimba by Murray Houllif ...... 175 Tranquility by Murray Houllif ...... 176 Trilogy by Tim Huesgen ...... 177 Two Movements for Marimba by Mario Gaetano ...... 151 Uncommon Times by David Steinquest ...... 221 Virginia Tate by Paul Smadbeck ...... 218 Wind Across Mountains by Keiko Abe ...... 111 Wind Sketch by Keiko Abe ...... 113 Yorkshire Ballad by James Barnes, arr. Maxey ...... 122
Collegiate Astral Dance by Gordon Stout ...... 223 Beads of Glass by Gordon Stout ...... 224 Blue Wood by Todd Ukena ...... 229 Caritas by Michael Burritt ...... 133 Casper’s Dance by Murray Houllif ...... 164 Contemplation by Murray Houllif ...... 165 Dream of the Cherry Blossoms by Keiko Abe ...... 103 Estudio No. 3 para Marimba by Murray Houllif ...... 168 Estudio No. 4 para Marimba by Murray Houllif ...... 169 Estudio No. 5 para Marimba by Murray Houllif ...... 170 Etude No. 2 for Marimba by Paul Smadbeck ...... 215 Evergreen by Benjamin Finley ...... 143 Fantasie in A for Marimba by Dwayne Rice ...... 206 Fantasy for Vibraphone by Jesse Monkman ...... 191 Four Rotations for Marimba No. 3 by Eric Sammut ...... 210 Graffito by Marta Ptaszyńska ...... 205 Jubilee by Michael Boo ...... 125 Libertango Variations for Marimba by Eric Sammut ...... 212 Marimba Music by Daniel Asia ...... 116 Michi by Keiko Abe ...... 107 Mist by Murray Houllif ...... 172 Moon Chasers by Mark Ford ...... 144
252
November Evening by Christopher Norton ...... 198 October Night by Michael Burritt ...... 134 Polaris by Mark Ford ...... 145 Quartiles by Sterling Cossaboom ...... 137 Quintessence by Ian Grom ...... 159 Reverie (1969) by Gordon Stout ...... 226 Samba by Murray Houlliff ...... 173 Suite No. 1 in E minor by J.S. Bach, trans. Ukena ...... 121 Tambourin Paraphrase by Keiko Abe ...... 108 The Apocryphal Still Life by Christoper Deane ...... 141 The Case of Nietzsche by Michael LaRosa ...... 185 Variations on Dowland’s Lachrimae Pavana by Keiko Abe ...... 109 Variations on Japanese Children’s Songs by Keiko Abe ...... 110 Wind in the Bamboo Grove by Keiko Abe ...... 112
Lateral Rolls Beginner
Intermediate
Advanced Caritas by Michael Burritt ...... 133 Casper’s Dance by Murray Houllif ...... 164 Jubilee by Michael Boo ...... 125 October Night by Michael Burritt ...... 134
Collegiate Asturias (Leyenda) by Isaac Albeniz, trans. Stevens ...... 114 Etude No. 3 for Marimba by Paul Smadbeck ...... 216 Over the Rainbow by Harold Arlen, arr. Oetomo ...... 115
Metric Modulations Beginner Little Brave by Earl Hatch ...... 161
Intermediate Estudio No. 1 para Marimba by Murray Houllif ...... 166 Estudio No. 2 para Marimba by Muray Houllif ...... 167 Estudio No. 4 para Marimba by Murray Houllif ...... 169 Etude No. 1 for Marimba by Paul Smadbeck ...... 214 Jubilee by Michael Boo ...... 125 Mexican Murals by Thomas Brown ...... 131 The True Lover’s Farewell by Steven Gwin ...... 160 Tranquility by Murray Houllif ...... 176
253
Trilogy by Tim Huesgen ...... 177 Wind in the Bamboo Grove by Keiko Abe ...... 112
Advanced Evergreen by Benjamin Finley ...... 143 Four Rotations for Marimba No. 1 by Eric Sammut ...... 208
Collegiate The Apocryphal Still Life by Christoper Deane ...... 141
Multi-Laterals Beginner
Intermediate Cattelin by Daniel Berg ...... 123 Over the Rainbow by Harold Arlen, arr. Oetomo ...... 115 Pastoral Music by Thomas Briggs ...... 127 Radford Rag by David Steinquest ...... 220 The Little Things by Michael Aukofer ...... 118 Tranquility by Murray Houllif ...... 176 Trilogy by Tim Huesgen ...... 177
Advanced Blue Wood by Todd Ukena ...... 229 Estudio No. 6 para Marimba by Murray Houllif ...... 171 Evergreen by Benjamin Finley ...... 143 Four Rotations for Marimba No. 3 by Eric Sammut ...... 210 Four Rotations for Marimba No. 4 by Eric Sammut ...... 211 Graffito by Marta Ptaszyńska ...... 205 Parody by Jesse Monkman ...... 193 Quartiles by Sterling Cossaboom ...... 137 Samba by Murray Houlliff ...... 173 Solfegietto by C.P.E. Bach, arr. Chandler ...... 119 Tears of Long Lost Love by Todd Ukena ...... 232
Collegiate Estudio No. 4 para Marimba by Murray Houllif ...... 169 Etude No. 2 for Marimba by Paul Smadbeck ...... 215 Four Rotations for Marimba No. 1 by Eric Sammut ...... 208 Marimba Music by Daniel Asia ...... 116 October Night by Michael Burritt ...... 134 Ransom by Mark Ford ...... 146 Suite No. 1 in E minor by J.S. Bach, trans. Ukena ...... 121 Virginia Tate by Paul Smadbeck ...... 218
254
Playing Logistics Beginner Crystal Light by Steve Kastuck ...... 181 Ghost Garden by Adam Hopper ...... 162 Prayer by Richard Gipson ...... 153 Sea Refractions by Mitchell Peters ...... 202 Waves by Mitchell Peters ...... 203 Wistful Thoughts by Steve Kastuck ...... 182
Intermediate …like a burden too heavy by Brian Blume ...... 124 Autumn Portrait by Nicholas Papador ...... 201 Canzona IV by John Immerso ...... 178 Canzona VI by John Immerso ...... 179 Chorale and Variations by George Frock ...... 147 Colors by Todd Ukena ...... 230 Dahoon by Thomas Brown ...... 128 Elegy for Alpha by Steve Riley ...... 207 Essence by Thomas Brown ...... 129 Fantasy on a Shona Theme by Glenn Kotche ...... 183 Ghost River by Steven Crawford ...... 139 In the Stillness of Twilight by David Steinquest ...... 219 Little Brave by Earl Hatch ...... 161 Mbira Song by Alice Gomez and Marilyn Rife ...... 156 Mexican Variations by George Frock ...... 148 Pastoral Music by Thomas Briggs ...... 127 Strive to Be Happy by Ivan Trevino ...... 227 Suite Mexicana by Keith Larson ...... 187 Suite: Three Songs of the South by Murray Houllif ...... 174 The Offering by Michael Burritt ...... 136 Tranquility by Murray Houllif ...... 176 Yellow After the Rain by Mitchell Peters ...... 204 Yorkshire Ballad by James Barnes, arr. Maxey ...... 122
Advanced A Good Friday by Michael Aukofer ...... 117 Almost Calypso by Daniel Moore ...... 194 Alone by Keiko Abe ...... 101 Andante and Allegro by Gordon Stout ...... 222 Appalachian Fiddle Tune Medley by Murray Houllif ...... 163 Asturias (Leyenda) by Isaac Albeniz, trans. Stevens ...... 114 Cattelin by Daniel Berg ...... 123 Compassion by Lorraine Goodrich Irvin ...... 180
255
Elegy (1969) by Gordon Stout ...... 225 Estudio No. 1 para Marimba by Murray Houllif ...... 166 Estudio No. 2 para Marimba by Muray Houllif ...... 167 Estudio No. 4 para Marimba by Murray Houllif ...... 169 Estudio No. 5 para Marimba by Murray Houllif ...... 170 Estudio No. 6 para Marimba by Murray Houllif ...... 171 Etude Op. 6 No. 8 by Clair Omar Musser ...... 195 Fantasy for El Salvador by Mario Gaetano ...... 149 Four Rotations for Marimba No. 1 by Eric Sammut ...... 208 Four Rotations for Marimba No. 3 by Eric Sammut ...... 210 Frogs by Keiko Abe ...... 104 From the Edge of the Frame by Steven Crawford ...... 138 Gitano by Alice Gomez ...... 154 Greensleeves (traditional), arr. Brown ...... 130 Gymnopédie No. 1 by Eric Satie, arr. Casella ...... 213 Irrelevant by Josh Gottry ...... 158 Just Flippin’ by Phil Kraus ...... 184 Kleine Albstadt by Bill Molenhof ...... 190 Lauren’s Lullaby by Todd Ukena ...... 231 Marimba Flamenca by Alice Gomez ...... 155 Memories of the Seashore by Keiko Abe ...... 106 Mexican Murals by Thomas Brown ...... 131 Michi by Keiko Abe ...... 107 Mist by Murray Houllif ...... 172 Monograph IV by Richard Gipson ...... 152 Parody by Jesse Monkman ...... 193 Radford Rag by David Steinquest ...... 220 Rain Dance by Alice Gomez and Marilyn Rife ...... 157 Ransom by Mark Ford ...... 146 Restless by Rich O’Meara ...... 199 Reverie (1969) by Gordon Stout ...... 226 Rosewood Blues by Charles DeLancey ...... 142 Sara’s Song by Michael Burritt ...... 135 Solfegietto by C.P.E. Bach, arr. Chandler ...... 119 Song of the Libra by Mario Gaetano ...... 150 Suite for Solo Vibraphone by Alexander Lepak ...... 188 Tears of Long Lost Love by Todd Ukena ...... 232 The Little Things by Michael Aukofer ...... 118 The True Lover’s Farewell by Steven Gwin ...... 160 Theme from the Polovetsian Dances by Alexander Borodin, arr. Chappell ...... 126 Trilogy by Tim Huesgen ...... 177 Tune for Mary O. by Rich O’Meara ...... 200 Two Movements for Marimba by Mario Gaetano ...... 151 Uncommon Times by David Steinquest ...... 221
256
Variations on Dowland’s Lachrimae Pavana by Keiko Abe ...... 109
Collegiate A cricket sang and set the sun by Blake Tyson ...... 228 Ancient Vase by Keiko Abe ...... 102 Astral Dance by Gordon Stout ...... 223 Battle of the Rising Spirits by Gus Burghdorf ...... 132 Beads of Glass by Gordon Stout ...... 224 Blue Wood by Todd Ukena ...... 229 Caritas by Michael Burritt ...... 133 Casper’s Dance by Murray Houllif ...... 164 Contemplation by Murray Houllif ...... 165 Dream of the Cherry Blossoms by Keiko Abe ...... 103 Estudio No. 3 para Marimba by Murray Houllif ...... 168 Etude for a Quiet Hall by Christopher Deane ...... 140 Etude in C Major Op. 6 No. 10 by Clair Omar Musser ...... 197 Etude No. 1 for Marimba by Paul Smadbeck ...... 214 Etude No. 2 for Marimba by Paul Smadbeck ...... 215 Etude No. 3 for Marimba by Paul Smadbeck ...... 216 Etude Op. 6 No. 9 by Clair Omar Musser ...... 196 Evergreen by Benjamin Finley ...... 143 Fantasie in A for Marimba by Dwayne Rice ...... 206 Fantasy for Vibraphone by Jesse Monkman ...... 191 Four Rotations for Marimba No. 2 by Eric Sammut ...... 209 Four Rotations for Marimba No. 4 by Eric Sammut ...... 211 Graffito by Marta Ptaszyńska ...... 205 Jubilee by Michael Boo ...... 125 Libertango Variations for Marimba by Eric Sammut ...... 212 Little Windows by Keiko Abe ...... 105 Marie by Geary Larrick ...... 186 Marimba Music by Daniel Asia ...... 116 Moon Chasers by Mark Ford ...... 144 Nocturnal Dance by Jesse Monkman ...... 192 November Evening by Christopher Norton ...... 198 October Night by Michael Burritt ...... 134 Over the Rainbow by Harold Arlen, arr. Oetomo ...... 115 Polaris by Mark Ford ...... 145 Prelude in G minor by J.S. Bach, arr. Stevens ...... 120 Quartiles by Sterling Cossaboom ...... 137 Quintessence by Ian Grom ...... 159 Rhythm Song by Paul Smadbeck ...... 217 Samba by Murray Houlliff ...... 173 Spiral Passages by Jon Metzger ...... 189 Suite No. 1 in E minor by J.S. Bach, trans. Ukena ...... 121
257
Tambourin Paraphrase by Keiko Abe ...... 108 The Apocryphal Still Life by Christoper Deane ...... 141 The Case of Nietzsche by Michael LaRosa ...... 185 Three Pieces for Marimba by Murray Houllif ...... 175 Variations on Japanese Children’s Songs by Keiko Abe ...... 110 Virginia Tate by Paul Smadbeck ...... 218 Wind Across Mountains by Keiko Abe ...... 111 Wind in the Bamboo Grove by Keiko Abe ...... 112 Wind Sketch by Keiko Abe ...... 113
Polyrhythms Beginner Blue Wood by Todd Ukena ...... 229
Intermediate Fantasy for Vibraphone by Jesse Monkman ...... 191 Kleine Albstadt by Bill Molenhof ...... 190 Rosewood Blues by Charles DeLancey ...... 142 Song of the Libra by Mario Gaetano ...... 150 The Case of Nietzsche by Michael LaRosa ...... 185
Advanced Alone by Keiko Abe ...... 101 Irrelevant by Josh Gottry ...... 158 Quartiles by Sterling Cossaboom ...... 137 Quintessence by Ian Grom ...... 159
Collegiate Four Rotations for Marimba No. 1 by Eric Sammut ...... 208 Marimba Music by Daniel Asia ...... 116 November Evening by Christopher Norton ...... 198 Tambourin Paraphrase by Keiko Abe ...... 108 Three Pieces for Marimba by Murray Houllif ...... 175
Single Alternating Beginner Kleine Albstadt by Bill Molenhof ...... 190
Intermediate …like a burden too heavy by Brian Blume ...... 124 Almost Calypso by Daniel Moore ...... 194 Andante and Allegro by Gordon Stout ...... 222
258
Asturias (Leyenda) by Isaac Albeniz, trans. Stevens ...... 114 Canzona VI by John Immerso ...... 179 Chorale and Variations by George Frock ...... 147 Essence by Thomas Brown ...... 129 Fantasy for El Salvador by Mario Gaetano ...... 149 Fantasy for Vibraphone by Jesse Monkman ...... 191 Fantasy on a Shona Theme by Glenn Kotche ...... 183 Ghost Garden by Adam Hopper ...... 162 Ghost River by Steven Crawford ...... 139 Gitano by Alice Gomez ...... 154 Greensleeves (traditional), arr. Brown ...... 130 Little Brave by Earl Hatch ...... 161 Marimba Flamenca by Alice Gomez ...... 155 Mbira Song by Alice Gomez and Marilyn Rife ...... 156 Mexican Variations by George Frock ...... 148 Pastoral Music by Thomas Briggs ...... 127 Radford Rag by David Steinquest ...... 220 Restless by Rich O’Meara ...... 199 Sea Refractions by Mitchell Peters ...... 202 Suite for Solo Vibraphone by Alexander Lepak ...... 188 Suite Mexicana by Keith Larson ...... 187 The True Lover’s Farewell by Steven Gwin ...... 160 Theme from the Polovetsian Dances by Alexander Borodin, arr. Chappell ...... 126 Tranquility by Murray Houllif ...... 176 Tune for Mary O. by Rich O’Meara ...... 200 Two Movements for Marimba by Mario Gaetano ...... 151 Waves by Mitchell Peters ...... 203 Yellow After the Rain by Mitchell Peters ...... 204
Advanced A cricket sang and set the sun by Blake Tyson ...... 228 A Good Friday by Michael Aukofer ...... 117 Alone by Keiko Abe ...... 101 Appalachian Fiddle Tune Medley by Murray Houllif ...... 163 Autumn Portrait by Nicholas Papador ...... 201 Blue Wood by Todd Ukena ...... 229 Cattelin by Daniel Berg ...... 123 Contemplation by Murray Houllif ...... 165 Elegy for Alpha by Steve Riley ...... 207 Estudio No. 2 para Marimba by Muray Houllif ...... 167 Estudio No. 3 para Marimba by Murray Houllif ...... 168 Estudio No. 4 para Marimba by Murray Houllif ...... 169 Estudio No. 6 para Marimba by Murray Houllif ...... 171 Etude for a Quiet Hall by Christopher Deane ...... 140
259
Etude No. 1 for Marimba by Paul Smadbeck ...... 214 Frogs by Keiko Abe ...... 104 From the Edge of the Frame by Steven Crawford ...... 138 In the Stillness of Twilight by David Steinquest ...... 219 Irrelevant by Josh Gottry ...... 158 Jubilee by Michael Boo ...... 125 Just Flippin’ by Phil Kraus ...... 184 Lauren’s Lullaby by Todd Ukena ...... 231 Marie by Geary Larrick ...... 186 Memories of the Seashore by Keiko Abe ...... 106 Mexican Murals by Thomas Brown ...... 131 Mist by Murray Houllif ...... 172 Monograph IV by Richard Gipson ...... 152 Moon Chasers by Mark Ford ...... 144 Nocturnal Dance by Jesse Monkman ...... 192 Over the Rainbow by Harold Arlen, arr. Oetomo ...... 115 Parody by Jesse Monkman ...... 193 Rain Dance by Alice Gomez and Marilyn Rife ...... 157 Ransom by Mark Ford ...... 146 Rhythm Song by Paul Smadbeck ...... 217 Rosewood Blues by Charles DeLancey ...... 142 Solfegietto by C.P.E. Bach, arr. Chandler ...... 119 Spiral Passages by Jon Metzger ...... 189 Strive to Be Happy by Ivan Trevino ...... 227 Suite: Three Songs of the South by Murray Houllif ...... 174 Tears of Long Lost Love by Todd Ukena ...... 232 The Case of Nietzsche by Michael LaRosa ...... 185 The Little Things by Michael Aukofer ...... 118 Trilogy by Tim Huesgen ...... 177 Uncommon Times by David Steinquest ...... 221 Virginia Tate by Paul Smadbeck ...... 218 Wind Across Mountains by Keiko Abe ...... 111
Collegiate Ancient Vase by Keiko Abe ...... 102 Astral Dance by Gordon Stout ...... 223 Battle of the Rising Spirits by Gus Burghdorf ...... 132 Beads of Glass by Gordon Stout ...... 224 Caritas by Michael Burritt ...... 133 Casper’s Dance by Murray Houllif ...... 164 Dream of the Cherry Blossoms by Keiko Abe ...... 103 Estudio No. 1 para Marimba by Murray Houllif ...... 166 Estudio No. 5 para Marimba by Murray Houllif ...... 170 Etude No. 3 for Marimba by Paul Smadbeck ...... 216
260
Evergreen by Benjamin Finley ...... 143 Fantasie in A for Marimba by Dwayne Rice ...... 206 Four Rotations for Marimba No. 1 by Eric Sammut ...... 207 Four Rotations for Marimba No. 2 by Eric Sammut ...... 209 Four Rotations for Marimba No. 3 by Eric Sammut ...... 210 Four Rotations for Marimba No. 4 by Eric Sammut ...... 211 Graffito by Marta Ptaszyńska ...... 205 Libertango Variations for Marimba by Eric Sammut ...... 212 Little Windows by Keiko Abe ...... 105 Marimba Music by Daniel Asia ...... 116 Michi by Keiko Abe ...... 107 November Evening by Christopher Norton ...... 198 October Night by Michael Burritt ...... 134 Polaris by Mark Ford ...... 145 Prelude in G minor by J.S. Bach, arr. Stevens ...... 120 Quartiles by Sterling Cossaboom ...... 137 Quintessence by Ian Grom ...... 159 Samba by Murray Houlliff ...... 173 Song of the Libra by Mario Gaetano ...... 150 Suite No. 1 in E minor by J.S. Bach, trans. Ukena ...... 121 Tambourin Paraphrase by Keiko Abe ...... 108 The Apocryphal Still Life by Christoper Deane ...... 141 Three Pieces for Marimba by Murray Houllif ...... 175 Variations on Dowland’s Lachrimae Pavana by Keiko Abe ...... 109 Wind in the Bamboo Grove by Keiko Abe ...... 112
Single Independent Beginner Waves by Mitchell Peters ...... 203
Intermediate …like a burden too heavy by Brian Blume ...... 124 Autumn Portrait by Nicholas Papador ...... 201 Canzona VI by John Immerso ...... 179 Chorale and Variations by George Frock ...... 147 Crystal Light by Steve Kastuck ...... 181 Elegy for Alpha by Steve Riley ...... 207 Essence by Thomas Brown ...... 129 Etude No. 2 for Marimba by Paul Smadbeck ...... 215 Four Rotations for Marimba No. 1 by Eric Sammut ...... 208 From the Edge of the Frame by Steven Crawford ...... 138 Ghost Garden by Adam Hopper ...... 162 Ghost River by Steven Crawford ...... 139 Gymnopédie No. 1 by Eric Satie, arr. Casella ...... 213
261
In the Stillness of Twilight by David Steinquest ...... 219 Kleine Albstadt by Bill Molenhof ...... 190 Mbira Song by Alice Gomez and Marilyn Rife ...... 156 Mexican Murals by Thomas Brown ...... 131 Mexican Variations by George Frock ...... 148 Rosewood Blues by Charles DeLancey ...... 142 Suite Mexicana by Keith Larson ...... 187 Suite: Three Songs of the South by Murray Houllif ...... 174 The Offering by Michael Burritt ...... 136 Theme from the Polovetsian Dances by Alexander Borodin, arr. Chappell ...... 126 Yellow After the Rain by Mitchell Peters ...... 104 Yorkshire Ballad by James Barnes, arr. Maxey ...... 122
Advanced A cricket sang and set the sun by Blake Tyson ...... 228 A Good Friday by Michael Aukofer ...... 117 Almost Calypso by Daniel Moore ...... 194 Andante and Allegro by Gordon Stout ...... 222 Appalachian Fiddle Tune Medley by Murray Houllif ...... 163 Battle of the Rising Spirits by Gus Burghdorf ...... 132 Beads of Glass by Gordon Stout ...... 224 Cattelin by Daniel Berg ...... 123 Estudio No. 1 para Marimba by Murray Houllif ...... 166 Estudio No. 6 para Marimba by Murray Houllif ...... 171 Etude for a Quiet Hall by Christopher Deane ...... 140 Etude No. 1 for Marimba by Paul Smadbeck ...... 214 Etude Op. 6 No. 8 by Clair Omar Musser ...... 195 Fantasy for El Salvador by Mario Gaetano ...... 149 Fantasy on a Shona Theme by Glenn Kotche ...... 183 Four Rotations for Marimba No. 2 by Eric Sammut ...... 209 Four Rotations for Marimba No. 4 by Eric Sammut ...... 211 Frogs by Keiko Abe ...... 104 Gitano by Alice Gomez ...... 154 Greensleeves (traditional), arr. Brown ...... 130 Jubilee by Michael Boo ...... 125 Just Flippin’ by Phil Kraus ...... 184 Lauren’s Lullaby by Todd Ukena ...... 231 Libertango Variations for Marimba by Eric Sammut ...... 212 Little Brave by Earl Hatch ...... 161 Little Windows by Keiko Abe ...... 105 Marie by Geary Larrick ...... 186 Marimba Flamenca by Alice Gomez ...... 155 Mist by Murray Houllif ...... 172 Monograph IV by Richard Gipson ...... 152
262
Parody by Jesse Monkman ...... 193 Pastoral Music by Thomas Briggs ...... 127 Prelude in G minor by J.S. Bach, arr. Stevens ...... 120 Radford Rag by David Steinquest ...... 220 Rain Dance by Alice Gomez and Marilyn Rife ...... 157 Restless by Rich O’Meara ...... 199 Samba by Murray Houlliff ...... 173 Sara’s Song by Michael Burritt ...... 135 Solfegietto by C.P.E. Bach, arr. Chandler ...... 119 Strive to Be Happy by Ivan Trevino ...... 227 Suite for Solo Vibraphone by Alexander Lepak ...... 188 Tears of Long Lost Love by Todd Ukena ...... 232 The Little Things by Michael Aukofer ...... 118 The True Lover’s Farewell by Steven Gwin ...... 160 Tranquility by Murray Houllif ...... 176 Trilogy by Tim Huesgen ...... 177 Tune for Mary O. by Rich O’Meara ...... 200 Two Movements for Marimba by Mario Gaetano ...... 151 Uncommon Times by David Steinquest ...... 221 Virginia Tate by Paul Smadbeck ...... 218 Wind Sketch by Keiko Abe ...... 113
Collegiate Alone by Keiko Abe ...... 101 Ancient Vase by Keiko Abe ...... 102 Astral Dance by Gordon Stout ...... 223 Asturias (Leyenda) by Isaac Albeniz, trans. Stevens ...... 114 Blue Wood by Todd Ukena ...... 229 Caritas by Michael Burritt ...... 133 Casper’s Dance by Murray Houllif ...... 164 Contemplation by Murray Houllif ...... 165 Dream of the Cherry Blossoms by Keiko Abe ...... 103 Estudio No. 2 para Marimba by Muray Houllif ...... 167 Estudio No. 3 para Marimba by Murray Houllif ...... 168 Estudio No. 4 para Marimba by Murray Houllif ...... 169 Estudio No. 5 para Marimba by Murray Houllif ...... 170 Etude in C Major Op. 6 No. 10 by Clair Omar Musser ...... 197 Etude No. 3 for Marimba by Paul Smadbeck ...... 216 Etude Op. 6 No. 9 by Clair Omar Musser ...... 196 Evergreen by Benjamin Finley ...... 143 Fantasie in A for Marimba by Dwayne Rice ...... 206 Fantasy for Vibraphone by Jesse Monkman ...... 191 Four Rotations for Marimba No. 3 by Eric Sammut ...... 210
263
Graffito by Marta Ptaszyńska ...... 205 Irrelevant by Josh Gottry ...... 158 Marimba Music by Daniel Asia ...... 116 Memories of the Seashore by Keiko Abe ...... 106 Michi by Keiko Abe ...... 107 Moon Chasers by Mark Ford ...... 144 Nocturnal Dance by Jesse Monkman ...... 192 November Evening by Christopher Norton ...... 198 October Night by Michael Burritt ...... 134 Over the Rainbow by Harold Arlen, arr. Oetomo ...... 115 Polaris by Mark Ford ...... 145 Quartiles by Sterling Cossaboom ...... 137 Quintessence by Ian Grom ...... 159 Ransom by Mark Ford ...... 146 Rhythm Song by Paul Smadbeck ...... 217 Song of the Libra by Mario Gaetano ...... 150 Spiral Passages by Jon Metzger ...... 189 Suite No. 1 in E minor by J.S. Bach, trans. Ukena ...... 121 Tambourin Paraphrase by Keiko Abe ...... 108 The Apocryphal Still Life by Christoper Deane ...... 141 The Case of Nietzsche by Michael LaRosa ...... 185 Three Pieces for Marimba by Murray Houllif ...... 175 Variations on Dowland’s Lachrimae Pavana by Keiko Abe ...... 109 Variations on Japanese Children’s Songs by Keiko Abe ...... 110 Wind in the Bamboo Grove by Keiko Abe ...... 112
Span Beginner Appalachian Fiddle Tune Medley by Murray Houllif ...... 163 Dahoon by Thomas Brown ...... 128 Fantasy for El Salvador by Mario Gaetano ...... 149 Just Flippin’ by Phil Kraus ...... 184 Mbira Song by Alice Gomez and Marilyn Rife ...... 156 Sea Refractions by Mitchell Peters ...... 202 Suite Mexicana by Keith Larson ...... 187 Yellow After the Rain by Mitchell Peters ...... 204
Intermediate A cricket sang and set the sun by Blake Tyson ...... 228 A Good Friday by Michael Aukofer ...... 117 Almost Calypso by Daniel Moore ...... 194 Andante and Allegro by Gordon Stout ...... 222 Battle of the Rising Spirits by Gus Burghdorf ...... 132 Chorale and Variations by George Frock ...... 147
264
Crystal Light by Steve Kastuck ...... 181 Elegy (1969) by Gordon Stout ...... 225 Essence by Thomas Brown ...... 129 Etude for a Quiet Hall by Christopher Deane ...... 140 Etude in C Major Op. 6 No. 10 by Clair Omar Musser ...... 197 Etude No. 1 for Marimba by Paul Smadbeck ...... 214 Etude Op. 6 No. 8 by Clair Omar Musser ...... 195 Etude Op. 6 No. 9 by Clair Omar Musser ...... 196 Evergreen by Benjamin Finley ...... 143 Fantasy on a Shona Theme by Glenn Kotche ...... 183 From the Edge of the Frame by Steven Crawford ...... 138 Ghost Garden by Adam Hopper ...... 162 Ghost River by Steven Crawford ...... 139 Gitano by Alice Gomez ...... 154 Lauren’s Lullaby by Todd Ukena ...... 231 Little Brave by Earl Hatch ...... 161 Marie by Geary Larrick ...... 186 Marimba Flamenca by Alice Gomez ...... 155 Memories of the Seashore by Keiko Abe ...... 106 Mexican Murals by Thomas Brown ...... 131 Mexican Variations by George Frock ...... 148 Mist by Murray Houllif ...... 172 Pastoral Music by Thomas Briggs ...... 127 Prayer by Richard Gipson ...... 153 Radford Rag by David Steinquest ...... 220 Rain Dance by Alice Gomez and Marilyn Rife ...... 157 Restless by Rich O’Meara ...... 199 Reverie (1969) by Gordon Stout ...... 226 Rhythm Song by Paul Smadbeck ...... 217 Rosewood Blues by Charles DeLancey ...... 142 Solfegietto by C.P.E. Bach, arr. Chandler ...... 119 Song of the Libra by Mario Gaetano ...... 150 Spiral Passages by Jon Metzger ...... 189 Strive to Be Happy by Ivan Trevino ...... 227 Suite for Solo Vibraphone by Alexander Lepak ...... 188 Tears of Long Lost Love by Todd Ukena ...... 232 The Little Things by Michael Aukofer ...... 118 The Offering by Michael Burritt ...... 136 Theme from the Polovetsian Dances by Alexander Borodin, arr. Chappell ...... 126 Three Pieces for Marimba by Murray Houllif ...... 175 Tranquility by Murray Houllif ...... 176 Trilogy by Tim Huesgen ...... 177 Two Movements for Marimba by Mario Gaetano ...... 151 Waves by Mitchell Peters ...... 203
265
Wind Across Mountains by Keiko Abe ...... 111 Wind Sketch by Keiko Abe ...... 113 Wistful Thoughts by Steve Kastuck ...... 182 Yorkshire Ballad by James Barnes, arr. Maxey ...... 122
Advanced …like a burden too heavy by Brian Blume ...... 124 Alone by Keiko Abe ...... 101 Ancient Vase by Keiko Abe ...... 102 Autumn Portrait by Nicholas Papador ...... 201 Beads of Glass by Gordon Stout ...... 224 Blue Wood by Todd Ukena ...... 229 Canzona IV by John Immerso ...... 178 Canzona VI by John Immerso ...... 179 Caritas by Michael Burritt ...... 133 Casper’s Dance by Murray Houllif ...... 164 Cattelin by Daniel Berg ...... 123 Compassion by Lorraine Goodrich Irvin ...... 180 Contemplation by Murray Houllif ...... 165 Dream of the Cherry Blossoms by Keiko Abe ...... 103 Elegy for Alpha by Steve Riley ...... 207 Estudio No. 1 para Marimba by Murray Houllif ...... 166 Estudio No. 2 para Marimba by Muray Houllif ...... 167 Estudio No. 3 para Marimba by Murray Houllif ...... 168 Estudio No. 4 para Marimba by Murray Houllif ...... 169 Estudio No. 5 para Marimba by Murray Houllif ...... 170 Estudio No. 6 para Marimba by Murray Houllif ...... 171 Etude No. 2 for Marimba by Paul Smadbeck ...... 215 Etude No. 3 for Marimba by Paul Smadbeck ...... 216 Fantasy for Vibraphone by Jesse Monkman ...... 191 Four Rotations for Marimba No. 1 by Eric Sammut ...... 208 Four Rotations for Marimba No. 2 by Eric Sammut ...... 209 Four Rotations for Marimba No. 3 by Eric Sammut ...... 210 Frogs by Keiko Abe ...... 104 Gitano by Alice Gomez ...... 154 Greensleeves (traditional), arr. Brown ...... 130 Gymnopédie No. 1 by Eric Satie, arr. Casella ...... 213 In the Stillness of Twilight by David Steinquest ...... 219 Irrelevant by Josh Gottry ...... 158 Jubilee by Michael Boo ...... 125 Kleine Albstadt by Bill Molenhof ...... 190 Libertango Variations for Marimba by Eric Sammut ...... 212 Little Windows by Keiko Abe ...... 105 Marimba Music by Daniel Asia ...... 116
266
Michi by Keiko Abe ...... 107 Monograph IV by Richard Gipson ...... 152 Nocturnal Dance by Jesse Monkman ...... 192 October Night by Michael Burritt ...... 134 Parody by Jesse Monkman ...... 193 Prelude in G minor by J.S. Bach, arr. Stevens ...... 120 Quintessence by Ian Grom ...... 159 Samba by Murray Houlliff ...... 173 Sara’s Song by Michael Burritt ...... 135 Suite No. 1 in E minor by J.S. Bach, trans. Ukena ...... 121 Suite: Three Songs of the South by Murray Houllif ...... 174 The Apocryphal Still Life by Christoper Deane ...... 141 The Case of Nietzsche by Michael LaRosa ...... 185 The True Lover’s Farewell by Steven Gwin ...... 160 Tune for Mary O. by Rich O’Meara ...... 200 Uncommon Times by David Steinquest ...... 221 Variations on Dowland’s Lachrimae Pavana by Keiko Abe ...... 109 Variations on Japanese Children’s Songs by Keiko Abe ...... 110 Virginia Tate by Paul Smadbeck ...... 218 Wind in the Bamboo Grove by Keiko Abe ...... 112
Collegiate Astral Dance by Gordon Stout ...... 223 Asturias (Leyenda) by Isaac Albeniz, trans. Stevens ...... 114 Fantasie in A for Marimba by Dwayne Rice ...... 206 Four Rotations for Marimba No. 4 by Eric Sammut ...... 211 Graffito by Marta Ptaszyńska ...... 205 Moon Chasers by Mark Ford ...... 144 November Evening by Christopher Norton ...... 198 Over the Rainbow by Harold Arlen, arr. Oetomo ...... 115 Polaris by Mark Ford ...... 145 Quartiles by Sterling Cossaboom ...... 137 Ransom by Mark Ford ...... 146 Tambourin Paraphrase by Keiko Abe ...... 108
Speed Beginner Canzona VI by John Immerso ...... 179 Ghost Garden by Adam Hopper ...... 162 Mbira Song by Alice Gomez and Marilyn Rife ...... 156 Prayer by Richard Gipson ...... 153 Waves by Mitchell Peters ...... 203
267
Intermediate …like a burden too heavy by Brian Blume ...... 124 A Good Friday by Michael Aukofer ...... 117 Alone by Keiko Abe ...... 101 Canzona IV by John Immerso ...... 178 Cattelin by Daniel Berg ...... 123 Chorale and Variations by George Frock ...... 147 Colors by Todd Ukena ...... 230 Compassion by Lorraine Goodrich Irvin ...... 180 Crystal Light by Steve Kastuck ...... 181 Dahoon by Thomas Brown ...... 128 Elegy (1969) by Gordon Stout ...... 225 Elegy for Alpha by Steve Riley ...... 207 Essence by Thomas Brown ...... 129 Fantasy on a Shona Theme by Glenn Kotche ...... 183 From the Edge of the Frame by Steven Crawford ...... 138 Ghost River by Steven Crawford ...... 139 Greensleeves (traditional), arr. Brown ...... 130 Gymnopédie No. 1 by Eric Satie, arr. Casella ...... 213 In the Stillness of Twilight by David Steinquest ...... 219 Lauren’s Lullaby by Todd Ukena ...... 231 Marimba Flamenca by Alice Gomez ...... 155 Memories of the Seashore by Keiko Abe ...... 106 Mexican Variations by George Frock ...... 148 Pastoral Music by Thomas Briggs ...... 127 Prelude in G minor by J.S. Bach, arr. Stevens ...... 120 Radford Rag by David Steinquest ...... 220 Reverie (1969) by Gordon Stout ...... 226 Rosewood Blues by Charles DeLancey ...... 142 Sea Refractions by Mitchell Peters ...... 202 Suite Mexicana by Keith Larson ...... 187 Suite: Three Songs of the South by Murray Houllif ...... 174 The Little Things by Michael Aukofer ...... 118 The Offering by Michael Burritt ...... 136 The True Lover’s Farewell by Steven Gwin ...... 160 Theme from the Polovetsian Dances by Alexander Borodin, arr. Chappell ...... 126 Tranquility by Murray Houllif ...... 176 Wind Across Mountains by Keiko Abe ...... 111 Wistful Thoughts by Steve Kastuck ...... 182 Yellow After the Rain by Mitchell Peters ...... 204 Yorkshire Ballad by James Barnes, arr. Maxey ...... 122
Advanced A cricket sang and set the sun by Blake Tyson ...... 228
268
Ancient Vase by Keiko Abe ...... 102 Andante and Allegro by Gordon Stout ...... 222 Appalachian Fiddle Tune Medley by Murray Houllif ...... 163 Asturias (Leyenda) by Isaac Albeniz, trans. Stevens ...... 114 Autumn Portrait by Nicholas Papador ...... 201 Battle of the Rising Spirits by Gus Burghdorf ...... 132 Beads of Glass by Gordon Stout ...... 224 Estudio No. 2 para Marimba by Muray Houllif ...... 167 Estudio No. 3 para Marimba by Murray Houllif ...... 168 Estudio No. 4 para Marimba by Murray Houllif ...... 169 Estudio No. 5 para Marimba by Murray Houllif ...... 170 Estudio No. 6 para Marimba by Murray Houllif ...... 171 Etude for a Quiet Hall by Christopher Deane ...... 140 Etude No. 1 for Marimba by Paul Smadbeck ...... 214 Etude No. 3 for Marimba by Paul Smadbeck ...... 216 Etude Op. 6 No. 8 by Clair Omar Musser ...... 195 Fantasy for El Salvador by Mario Gaetano ...... 149 Fantasy for Vibraphone by Jesse Monkman ...... 191 Four Rotations for Marimba No. 1 by Eric Sammut ...... 208 Four Rotations for Marimba No. 2 by Eric Sammut ...... 209 Four Rotations for Marimba No. 3 by Eric Sammut ...... 210 Four Rotations for Marimba No. 4 by Eric Sammut ...... 211 Gitano by Alice Gomez ...... 154 Irrelevant by Josh Gottry ...... 158 Just Flippin’ by Phil Kraus ...... 184 Kleine Albstadt by Bill Molenhof ...... 190 Little Brave by Earl Hatch ...... 161 Little Windows by Keiko Abe ...... 105 Marimba Music by Daniel Asia ...... 116 Mexican Murals by Thomas Brown ...... 131 Michi by Keiko Abe ...... 107 Mist by Murray Houllif ...... 172 Monograph IV by Richard Gipson ...... 152 Moon Chasers by Mark Ford ...... 144 Nocturnal Dance by Jesse Monkman ...... 192 Over the Rainbow by Harold Arlen, arr. Oetomo ...... 115 Parody by Jesse Monkman ...... 193 Polaris by Mark Ford ...... 145 Quartiles by Sterling Cossaboom ...... 137 Rain Dance by Alice Gomez and Marilyn Rife ...... 157 Ransom by Mark Ford ...... 146 Restless by Rich O’Meara ...... 199 Rhythm Song by Paul Smadbeck ...... 217 Sara’s Song by Michael Burritt ...... 135
269
Solfegietto by C.P.E. Bach, arr. Chandler ...... 119 Song of the Libra by Mario Gaetano ...... 150 Spiral Passages by Jon Metzger ...... 189 Strive to Be Happy by Ivan Trevino ...... 227 Suite for Solo Vibraphone by Alexander Lepak ...... 188 Tears of Long Lost Love by Todd Ukena ...... 232 The Case of Nietzsche by Michael LaRosa ...... 185 Three Pieces for Marimba by Murray Houllif ...... 175 Trilogy by Tim Huesgen ...... 177 Tune for Mary O. by Rich O’Meara ...... 200 Two Movements for Marimba by Mario Gaetano ...... 151 Uncommon Times by David Steinquest ...... 221 Variations on Dowland’s Lachrimae Pavana by Keiko Abe ...... 109 Virginia Tate by Paul Smadbeck ...... 218 Wind Sketch by Keiko Abe ...... 113
Collegiate Almost Calypso by Daniel Moore ...... 194 Astral Dance by Gordon Stout ...... 223 Blue Wood by Todd Ukena ...... 229 Caritas by Michael Burritt ...... 133 Casper’s Dance by Murray Houllif ...... 164 Contemplation by Murray Houllif ...... 165 Dream of the Cherry Blossoms by Keiko Abe ...... 103 Etude in C Major Op. 6 No. 10 by Clair Omar Musser ...... 197 Etude No. 1 for Marimba by Paul Smadbeck ...... 214 Etude No. 2 for Marimba by Paul Smadbeck ...... 215 Etude Op. 6 No. 9 by Clair Omar Musser ...... 196 Evergreen by Benjamin Finley ...... 143 Fantasie in A for Marimba by Dwayne Rice ...... 206 Frogs by Keiko Abe ...... 104 Graffito by Marta Ptaszyńska ...... 205 Jubilee by Michael Boo ...... 125 Libertango Variations for Marimba by Eric Sammut ...... 212 Marie by Geary Larrick ...... 186 November Evening by Christopher Norton ...... 198 October Night by Michael Burritt ...... 134 Quintessence by Ian Grom ...... 159 Samba by Murray Houlliff ...... 173 Suite No. 1 in E minor by J.S. Bach, trans. Ukena ...... 121 Tambourin Paraphrase by Keiko Abe ...... 108 The Apocryphal Still Life by Christoper Deane ...... 141 Variations on Japanese Children’s Songs by Keiko Abe ...... 110 Wind in the Bamboo Grove by Keiko Abe ...... 112
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Triple, Double, Tuplets Beginner Appalachian Fiddle Tune Medley by Murray Houllif ...... 163 Chorale and Variations by George Frock ...... 147 Ghost Garden by Adam Hopper ...... 162 Little Brave by Earl Hatch ...... 161 Mbira Song by Alice Gomez and Marilyn Rife ...... 156 Mexican Variations by George Frock ...... 148 Suite: Three Songs of the South by Murray Houllif ...... 174 Waves by Mitchell Peters ...... 203 Yellow After the Rain by Mitchell Peters ...... 204
Intermediate Almost Calypso by Daniel Moore ...... 194 Ancient Vase by Keiko Abe ...... 102 Canzona IV by John Immerso ...... 178 Casper’s Dance by Murray Houllif ...... 164 Dahoon by Thomas Brown ...... 128 Etude for a Quiet Hall by Christopher Deane ...... 140 Etude in C Major Op. 6 No. 10 by Clair Omar Musser ...... 197 Etude Op. 6 No. 9 by Clair Omar Musser ...... 196 Fantasy for El Salvador by Mario Gaetano ...... 149 Fantasy for Vibraphone by Jesse Monkman ...... 191 Frogs by Keiko Abe ...... 104 From the Edge of the Frame by Steven Crawford ...... 138 Greensleeves (traditional), arr. Brown ...... 130 Jubilee by Michael Boo ...... 125 Kleine Albstadt by Bill Molenhof ...... 190 Little Windows by Keiko Abe ...... 105 Mexican Murals by Thomas Brown ...... 131 Monograph IV by Richard Gipson ...... 152 Nocturnal Dance by Jesse Monkman ...... 192 Parody by Jesse Monkman ...... 193 Polaris by Mark Ford ...... 145 Rain Dance by Alice Gomez and Marilyn Rife ...... 157 Reverie (1969) by Gordon Stout ...... 226 Rosewood Blues by Charles DeLancey ...... 142 Sea Refractions by Mitchell Peters ...... 202 Song of the Libra by Mario Gaetano ...... 150 Suite for Solo Vibraphone by Alexander Lepak ...... 188 The True Lover’s Farewell by Steven Gwin ...... 160 Theme from the Polovetsian Dances by Alexander Borodin, arr. Chappell ...... 126 Tranquility by Murray Houllif ...... 176
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Trilogy by Tim Huesgen ...... 177 Tune for Mary O. by Rich O’Meara ...... 200 Two Movements for Marimba by Mario Gaetano ...... 151 Uncommon Times by David Steinquest ...... 221
Advanced Andante and Allegro by Gordon Stout ...... 222 Astral Dance by Gordon Stout ...... 223 Battle of the Rising Spirits by Gus Burghdorf ...... 132 Estudio No. 2 para Marimba by Muray Houllif ...... 167 Estudio No. 3 para Marimba by Murray Houllif ...... 168 Etude Op. 6 No. 8 by Clair Omar Musser ...... 195 Four Rotations for Marimba No. 1 by Eric Sammut ...... 208 Gitano by Alice Gomez ...... 154 Irrelevant by Josh Gottry ...... 158 Just Flippin’ by Phil Kraus ...... 184 Marie by Geary Larrick ...... 186 Moon Chasers by Mark Ford ...... 144 October Night by Michael Burritt ...... 134 Radford Rag by David Steinquest ...... 220 Variations on Dowland’s Lachrimae Pavana by Keiko Abe ...... 109 Variations on Japanese Children’s Songs by Keiko Abe ...... 110 Wind Sketch by Keiko Abe ...... 113
Collegiate Alone by Keiko Abe ...... 101 Contemplation by Murray Houllif ...... 165 Estudio No. 1 para Marimba by Murray Houllif ...... 166 Estudio No. 4 para Marimba by Murray Houllif ...... 169 Evergreen by Benjamin Finley ...... 143 Graffito by Marta Ptaszyńska ...... 205 Libertango Variations for Marimba by Eric Sammut ...... 212 Marimba Music by Daniel Asia ...... 116 November Evening by Christopher Norton ...... 198 Over the Rainbow by Harold Arlen, arr. Oetomo ...... 115 Quartiles by Sterling Cossaboom ...... 137 Quintessence by Ian Grom ...... 159 Ransom by Mark Ford ...... 146 Samba by Murray Houlliff ...... 173 Spiral Passages by Jon Metzger ...... 189 Suite No. 1 in E minor by J.S. Bach, trans. Ukena ...... 121 The Apocryphal Still Life by Christoper Deane ...... 141 The Case of Nietzsche by Michael LaRosa ...... 185 Three Pieces for Marimba by Murray Houllif ...... 175
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Virginia Tate by Paul Smadbeck ...... 218
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Appendix E: Index by Instrument and Size
Marimba 4.0 Octave A Good Friday by Michael Aukofer ...... 117 Andante and Allegro by Gordon Stout ...... 222 Appalachian Fiddle Tune Medley by Murray Houllif ...... 163 Canzona IV by John Immerso ...... 178 Canzona VI by John Immerso ...... 179 Casper’s Dance by Murray Houllif ...... 164 Colors by Todd Ukena ...... 230 Compassion by Lorraine Goodrich Irvin ...... 180 Dahoon by Thomas Brown ...... 128 Elegy (1969) by Gordon Stout ...... 225 Elegy for Alpha by Steve Riley ...... 207 Estudio No. 1 para Marimba by Murray Houllif ...... 166 Estudio No. 4 para Marimba by Murray Houllif ...... 169 Etude in C Major Op. 6 No. 10 by Clair Omar Musser ...... 197 Etude No. 3 for Marimba by Paul Smadbeck ...... 216 Etude Op. 6 No. 8 by Clair Omar Musser ...... 195 Etude Op. 6 No. 9 by Clair Omar Musser ...... 196 Fantasy on a Shona Theme by Glenn Kotche ...... 183 Frogs by Keiko Abe ...... 104 Jubilee by Michael Boo ...... 125 Just Flippin’ by Phil Kraus ...... 184 Little Brave by Earl Hatch ...... 161 Little Windows by Keiko Abe ...... 105 Marie by Geary Larrick ...... 186 Marimba Flamenca by Alice Gomez ...... 155 Mbira Song by Alice Gomez and Marilyn Rife ...... 156 Mexican Murals by Thomas Brown ...... 131 Mexican Variations by George Frock ...... 148 Monograph IV by Richard Gipson ...... 152 Prayer by Richard Gipson ...... 153 Rain Dance by Alice Gomez and Marilyn Rife ...... 157 Reverie (1969) by Gordon Stout ...... 226 Rosewood Blues by Charles DeLancey ...... 142 Sea Refractions by Mitchell Peters ...... 202 Suite Mexicana by Keith Larson ...... 187 The Little Things by Michael Aukofer ...... 118 Two Movements for Marimba by Mario Gaetano ...... 151 Waves by Mitchell Peters ...... 203 Yellow After the Rain by Mitchell Peters ...... 204 Yorkshire Ballad by James Barnes, arr. Maxey ...... 122
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4.3 Octave …like a burden too heavy by Brian Blume ...... 124 A cricket sang and set the sun by Blake Tyson ...... 228 Almost Calypso by Daniel Moore ...... 194 Astral Dance by Gordon Stout ...... 223 Autumn Portrait by Nicholas Papador ...... 201 Blue Wood by Todd Ukena ...... 229 Cattelin by Daniel Berg ...... 123 Chorale and Variations by George Frock ...... 147 Estudio No. 5 para Marimba by Murray Houllif ...... 170 Estudio No. 6 para Marimba by Murray Houllif ...... 171 Etude for a Quiet Hall by Christopher Deane ...... 140 Etude No. 1 for Marimba by Paul Smadbeck ...... 214 Etude No. 2 for Marimba by Paul Smadbeck ...... 215 Fantasy for El Salvador by Mario Gaetano ...... 149 Four Rotations for Marimba No. 1 by Eric Sammut ...... 208 Four Rotations for Marimba No. 2 by Eric Sammut ...... 209 Four Rotations for Marimba No. 3 by Eric Sammut ...... 210 Four Rotations for Marimba No. 4 by Eric Sammut ...... 211 From the Edge of the Frame by Steven Crawford ...... 138 Ghost Garden by Adam Hopper ...... 162 Ghost River by Steven Crawford ...... 139 Irrelevant by Josh Gottry ...... 158 Kleine Albstadt by Bill Molenhof ...... 190 Lauren’s Lullaby by Todd Ukena ...... 231 Michi by Keiko Abe ...... 107 October Night by Michael Burritt ...... 134 Parody by Jesse Monkman ...... 193 Pastoral Music by Thomas Briggs ...... 127 Prelude in G minor by J.S. Bach, arr. Stevens ...... 120 Quartiles by Sterling Cossaboom ...... 137 Quintessence by Ian Grom ...... 159 Radford Rag by David Steinquest ...... 220 Restless by Rich O’Meara ...... 199 Rhythm Song by Paul Smadbeck ...... 217 Samba by Murray Houlliff ...... 173 Strive to Be Happy by Ivan Trevino ...... 227 Suite No. 1 in E minor by J.S. Bach, trans. Ukena ...... 121 Suite: Three Songs of the South by Murray Houllif ...... 174 The True Lover’s Farewell by Steven Gwin ...... 160 Three Pieces for Marimba by Murray Houllif ...... 175 Tune for Mary O. by Rich O’Meara ...... 200
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4.5 Octave Asturias (Leyenda) by Isaac Albeniz, trans. Stevens ...... 114 Estudio No. 2 para Marimba by Muray Houllif ...... 167 Estudio No. 3 para Marimba by Murray Houllif ...... 168 Gitano by Alice Gomez ...... 154 Graffito by Marta Ptaszyńska ...... 205 Nocturnal Dance by Jesse Monkman ...... 192 November Evening by Christopher Norton ...... 198 Polaris by Mark Ford ...... 145 Ransom by Mark Ford ...... 146 Spiral Passages by Jon Metzger ...... 189 Uncommon Times by David Steinquest ...... 221 Virginia Tate by Paul Smadbeck ...... 218 Wind Sketch by Keiko Abe ...... 113
4.6 Octave Alone by Keiko Abe ...... 101 Battle of the Rising Spirits by Gus Burghdorf ...... 132 Caritas by Michael Burritt ...... 133 Marimba Music by Daniel Asia ...... 116 Wind Across Mountains by Keiko Abe ...... 111
5.0 Octave Ancient Vase by Keiko Abe ...... 102 Beads of Glass by Gordon Stout ...... 224 Dream of the Cherry Blossoms by Keiko Abe ...... 103 Evergreen by Benjamin Finley ...... 143 Fantasie in A for Marimba by Dwayne Rice ...... 206 Libertango Variations for Marimba by Eric Sammut ...... 212 Memories of the Seashore by Keiko Abe ...... 106 Moon Chasers by Mark Ford ...... 144 Over the Rainbow by Harold Arlen, arr. Oetomo ...... 115 Sara’s Song by Michael Burritt ...... 135 Tambourin Paraphrase by Keiko Abe ...... 108 The Offering by Michael Burritt ...... 136 Variations on Dowland’s Lachrimae Pavana by Keiko Abe ...... 109 Variations on Japanese Children’s Songs by Keiko Abe ...... 110 Wind in the Bamboo Grove by Keiko Abe ...... 112
Vibraphone 3.0 Octave A Good Friday by Michael Aukofer ...... 117 Contemplation by Murray Houllif ...... 165 Crystal Light by Steve Kastuck ...... 181
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Essence by Thomas Brown ...... 129 Fantasy for Vibraphone by Jesse Monkman ...... 191 Fantasy on a Shona Theme by Glenn Kotche ...... 190 Greensleeves (traditional), arr. Brown ...... 130 Gymnopédie No. 1 by Eric Satie, arr. Casella ...... 213 In the Stillness of Twilight by David Steinquest ...... 219 Just Flippin’ by Phil Kraus ...... 184 Marie by Geary Larrick ...... 186 Mist by Murray Houllif ...... 172 Solfegietto by C.P.E. Bach, arr. Chandler ...... 119 Song of the Libra by Mario Gaetano ...... 150 Suite for Solo Vibraphone by Alexander Lepak ...... 188 Tears of Long Lost Love by Todd Ukena ...... 232 The Apocryphal Still Life by Christoper Deane ...... 141 The Case of Nietzsche by Michael LaRosa ...... 185 The Little Things by Michael Aukofer ...... 118 Theme from the Polovetsian Dances by Alexander Borodin, arr. Chappell ...... 126 Tranquility by Murray Houllif ...... 176 Trilogy by Tim Huesgen ...... 177 Wistful Thoughts by Steve Kastuck ...... 182
4.0 Octave Canzona VI by John Immerso ...... 179
Xylophone Just Flippin’ by Phil Kraus ...... 185
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