MARIMBA DUO TRANSCRIPTIONS: EXPANDING THE WESTERN ART MUSIC TRADITION FOR PERCUSSIONISTS by Joshua Kyle Armstrong _____________________ A Document Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2013 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Joshua Kyle Armstrong entitled “Marimba Duo Transcriptions: Expanding the Western Art Music Tradition for Percussionists” and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts _______________________________________________________________________ Date: 08/19/2013 Norman Weinberg _______________________________________________________________________ Date: 08/19/2013 Kelland Thomas _______________________________________________________________________ Date: 08/19/2013 Jay Rees Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the document requirement. ________________________________________________ Date: 08/19/2013 Document Director: Norman Weinberg 3 STATEMENT BY AUTHOR This document has been submitted in partial fulfillment of requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this document are allowable without special permission, provided that an accurate acknowledgement of the source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his or her judgment the proposed use of the material is in the interests of scholarship. In all other instances, however, permission must be obtained from the author. SIGNED: Joshua Kyle Armstrong 4 ACKNOWLEDGEMENTS I would like to thank Dr. Norman Weinberg, Dr. Kelland Thomas, and Professor Jay Rees for all of your help through this process. Your time, feedback, and knowledge on this project are greatly appreciated. Also, thanks to Professors Gregg Hanson and Gary Cook for their help along this journey. I am most thankful to my parents for their unwavering support for me through these times. Their emotional, physical, and financial help have helped me to get to this point. 5 TABLE OF CONTENTS LIST OF MUSICAL EXAMPLES ......................................................................................6 ABSTRACT .........................................................................................................................9 CHAPTER 1: INTRODUCTION ......................................................................................10 Similarities Between the Marimba and Piano ........................................................12 CHAPTER 2: RELATED LITERATURE ........................................................................15 CHAPTER 3: BACH’S “PRELUDE NO. 2 IN C-MINOR” FROM THE WELL TEMPERED CLAVIER, BWV 847 .....................................................................................20 CHAPTER 4: BACH’S “FUGUE NO. 2 IN C-MINOR” FROM THE WELL TEMPERED CLAVIER BOOK 1, BWV 847 ......................................................................26 CHAPTER 5: TELEMANN’S “VIVACE” FROM “FUGUE NO. 3” IN EASY FUGUES AND LITTLE PIECES........................................................................................................32 CHAPTER 6: ALLEGRO FROM BEETHOVEN’S “SONATINA IN C-MAJOR,” WOO. 51 ............................................................................................................................35 CHAPTER 7: “ALLEGRO” FROM MENDELSSOHN’S SONATA IN G-MINOR, Op. 105 ...............................................................................................................................40 CHAPTER 8: CHOPIN’S WALTZ IN Db MAJOR “MINUTE,” OP. 64 NO. 1 ...............48 CHAPTER 9: CONCLUSION ..........................................................................................52 APPENDIX: SCORES.......................................................................................................53 REFERENCES ................................................................................................................100 6 LIST OF MUSICAL EXAMPLES Musical Example 3.1: Opening Measure of Bach’s Prelude No. 2 from The Well Tempered Clavier as Realized by the Right Hand .............................................................21 Musical Example 3.2: Opening Measure of Bach’s Prelude No. 2 from The Well Tempered Clavier as Realized by Both Hands ..................................................................21 Musical Example 3.3: Measures 25 through 28 of Bach’s Prelude No. 2 from The Well Tempered Clavier...............................................................................................................23 Musical Example 3.4: Measure 34 of Bach’s Prelude No. 2 from The Well Tempered Clavier................................................................................................................................24 Musical Example 3.5: Final Two Measures of Bach’s Prelude No. 2 from The Well Tempered Clavier...............................................................................................................25 Musical Example 4.1: Measures 9 and 10 of Bach’s Fugue No. 2 from The Well Tempered Clavier...............................................................................................................27 Musical Example 4.2: Measure 15 of Bach’s Fugue No. 2 from The Well Tempered Clavier................................................................................................................................28 Musical Example 4.3: Measures 16 through 19 of Bach’s Fugue No. 2 from The Well Tempered Clavier...............................................................................................................29 Musical Example 4.4: Measure 24 of Bach’s Fugue No. 2 from The Well Tempered Clavier as originally notated ..............................................................................................30 Musical Example 4.5: Measure 24 of Bach’s Fugue No. 2 from The Well Tempered Clavier with changed notation for marimba duo arrangement ..........................................30 Musical Example 4.6: Measure 29 to the end of Bach’s Fugue No. 2 from The Well Tempered Clavier. The octave C’s on beat three were originally sustained to the end .....31 Musical Example 5.1: Measures 8 and 9 in the Vivace from Telemann’s “Fugue No. 3” ................................................................................................................................ 33 Musical Example 5.2: Measures 30 and 31 in the Vivace from Telemann’s “Fugue No. 3” ................................................................................................................................ 33 7 LIST OF MUSICAL EXAMPLES - Continued Musical Example 6.1: Measures 1 and 2 from Beethoven’s “Sonatina in C-major,” WoO. 51 .............................................................................................................................35 Musical Example 6.2: Measure 4 from Beethoven’s “Sonatina in C-major,” WoO. 51 .............................................................................................................................36 Musical Example 6.3: Measures 9 and 10 from Beethoven’s “Sonatina in C-major,” WoO. 51 .............................................................................................................................37 Musical Example 6.4: Measures 27 and 28 from Beethoven’s “Sonatina in C-major,” WoO. 51 .............................................................................................................................38 Musical Example 6.5: Measures 51 and 51 from Beethoven’s “Sonatina in C-major,” WoO. 51 .............................................................................................................................38 Musical Example 7.1: Measures 18 and 19 from Mendelssohn’s Sonata in G-minor ......42 Musical Example 7.2: Measure 18 through 30 from Mendelssohn’s Sonata in G-minor .43 Musical Example 7.3: Measure 36 through 39 of Mendelssohn’s Sonata in G-minor ......44 Musical Example 7.4: Measures 54 and 55 from Mendelssohn’s Sonata in G-minor ......45 Musical Example 7.5: Measure 72 and 73 from Mendelssohn’s Sonata in G-minor ........46 Musical Example 7.6: Measure 95 from Mendelssohn’s Sonata in G-minor ....................47 Musical Example 7.7: Measures 171 and 172 from Mendelssohn’s Sonata in G-minor ..47 Musical Example 8.1: Measures 29 through 31 from Chopin’s Waltz in Db Major, Op. 64 No. 1 .......................................................................................................................49 Musical Example 8.2: Measures 45 through 47 from Chopin’s Waltz in Db Major, Op. 64 No. 1 .......................................................................................................................50 Musical Example 8.3: Measures 70 through 74 from Chopin’s Waltz in Db Major, Op. 64 No. 1 .......................................................................................................................50