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A Repertoire Guide Including Annotations of High School Level Keyboard Percussion Works

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A Repertoire Guide Including Annotations of High School Level Keyboard Percussion Works 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
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