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 PerformanceGenerations 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 NetworkMODERN SCHOOL FOR XYLOPHONE
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