MODERN SCHOOL FOR XYLODPHONE MARIMBA VIBRAPHONE by MORRIS GOLDENBERG Dedicated to My Wife ISABELLA Musical Interpretations and Editing by Anthony J. Cirone Project Manager: Ray Brych With the addition of excerpts for these instruments from renowned orchestral works. HOOL FOR XYLOPHONE i CHAPPELL 8 CO. a 2 CHAPPELL 8 CO. ‘eluding Pus PerformanceGenerations of percussionists have affectionately known Morris Goldenberg's Modern Schoo! for Xylophone, Marimba, Vibraphone as “The Goldenberg Book.” It has served us well in developing our skills as orchestral mallet players, Although I never studied with “Moe” during my Juilliard years, I remember listening to him playing duets with his students, training them in musical performance skills, His genius in writing this book not only covered the many studies and etudes, but he also had the foresight to include the major orchestral repertoire for keyboard percussion instruments. In the days when copy machines ‘were nonexistent and orchestral parts were difficult to obtain, this book became a valuable resource for students who strove to prepare themselves for orchestral auditions. Even today, we continue to turn to “The Goldenberg Book" as our primary resource for learning this repertoire. Thave always enjoyed playing and teaching from Moe’s book because the etudes are very musical. It has given me, as an instructor, a wealth of music for teaching students phrasing and how to play musical lines. I was delighted ‘when Warner Bros. Publications approached me in January 2001 with the idea of editing the book for its re-release. As editor, I added phrasings that were inherent in the music but not specifically written. Granted, there are a num- ber of ways in which a musical line can be phrased, and I hope students and teachers will constantly add and delete existing phrases to fit their personal musical tastes. The goal is to play with passion and a feel for the ‘music—always striving to create a beautiful phrase. As editor, [also addressed the stickings. This, again, takes on a personal preference, and players constantly need to adjust them to their own needs. Left-handed players, especially, may find it necessary to reverse stickings in order to lead with the left hand, Many of Moe's stickings remain in uppercase letters; my additions are reflected in lowercase letters. es Anthony J. irone In,my many years of teaching, both privately and as a member of the faculty of the Juilliard School of Music, I have felt the great need for a complete and modern method for xylophone, marimba, and vibraphone. Since no such'method was available, I spent much of my time writing numerous exercises and melodic studies for my many students, With the publication of this book, these exercises and studies are made available to the general public for the first time in the only complete method for xylophone, marimba, and vibraphone. The greatest of care has been exercised in preparing and editing this material, and itis my hope that xylophonists, marimbaists, and vibraphonists everywhere will benefit from it. The book may be used for sef-instruction by persons having en elementary knowledge of music. To students without any knowledge of music whatsoever, any primer in the theory of musie may be used to aid in the understanding of rote values, key signatures, time signatures, and so on. However, I wish to make it clearly understood that for the Dest results, there is no substitute for a competent teacher. Morris Goldenberg NSTRUCTOR OF PERCUSSION INSTRUMENTS ‘ullard Schoo! of Music STAFF PERCUSSIONIST Radio Station WOR-Mutual NetworkMODERN SCHOOL FOR XYLOPHONE Mie forthe nlophone and marimba is writon inthe tebe Q cet. ee ll ult ki