Allegro (4/4) from Sonata in F Major Allegro (6/8) from Sonata in F Major Allegro Allegro ‘American Patrol ‘Aragonaise (from El Cid) Bourees [and It Caprice No. 2 Caprice No. 3 Caprice No. 6 Caprice No. 24 Caprice No. 24 Caprice, Op. 4, No. 5 Chromatic Polka El Choclo Elite Syncopations Etude in C Major Etude No. 1 Etude No. 2 Enude No. 7 Etude No.9 Etude No. 10 Btude No. 14 Etude No. 20 Etude No. 25 Etude No. 33 Etude No. 42 Etude, Op. 20, No. Etude, Op. 36, No Ende, Op. 36, No. Etude, Op. 36, No. Etude, Op. 36, No. Etude, Op. 36, No. Etude, Op. 36, No. 39 (Variation) Etude, Op. 36, No. 42 Btude, Op. 36, No. St Etude, Op. 37, No. 1 Etude, Op. 45, No. 1 Etude, Op. 45, No. 4 Etude, Op. 45, No. 16 Etude, Op. 45, No. 21 Etude, Op. 45, No. 22 Btude, Op. 74, No. 25 Etude, Op 74, No. 28 Enude, Op 74, No. 34 Etude, Op. 74, No. 47 Fantasia XI INDEX Tile _______ Composer _____ Page G.F. Handel G. F. Handel J. Haydn M. Clementi FW. Meacham J. Massenet J.8. Bach P. Rode P. Rode ‘V. Gambaro N. Paganini P. Rode E. Cavallini L. Kobler A.G. Villoldo 8. Joplin M. Johnson D. Gatti R Kreutzer R. Kreutzer D. Gatti D. Gatti H. Klose C. Rose D. Gatti R Kreutzer R Kreutzer F, F F, F. Mazas F. Mazas F. Mazas 1. Dont F. Wohlfahrt F. Wohlfahrt F. Wohlfahrt F. Wohifahrt F. Wohifahrt F. Wohifahrt F. Wohlfahrt F, Wohlfahrt F. Wohlfahre G.P. Telemann, 60 88 10 64 16 38 2 129 123 136 132 126 44 30 108 nN 28 4 37 40 14 110 16 8 137138 Index (continued) Title ____________Composer______Page N. Rimsky-Korsakov Fight ofthe Bumblebee Fur Elise Gavotte and Double Giga from Sonata Op. 5, No. 3 Gigue en Rondeau Gigue en Rondeau Hungarian Rhapsody No.2 In The Country La Folia Variations (Sonata Op. , No. 12) La Joyeuse Londonderry Air Menuet Menuet en Rondeau Mexican Hat Dance Musette © Sole Mio Pomp and Circumstance Prelude in C Major Ride, Ride Rigaudons I and It Rondo Rondo from Sonatina Op. 20, No. 1 Rondo Rondo Rondo Rondo alla Turea Rondo from Sonata Op. 26, No. 3 Sonatina Study No. 10 Swanee River Tambourin ‘The Entertainer ‘The Strenvous Life ‘Tyrolese Waltz Waltz, Op. 64, No. 1 Wilder Reiter ‘Vivace from Sonata Op. 5, No. 2 L. v. Beethoven G.F, Handel A. Corelli Blavet J-P, Rameau F. Liszt D. Kabalevsky A. Corelli J-P. Rameau ‘Traditional Irish J-P. Rameau J-P. Rameau ‘Traditional Mexigan J.8. Bach ‘Traditional Italia E. Elgar 1.8. Bach, D. Kabalevsky J-P. Rameau Blavet F. Kuhlau J. Haydn M, Clementi W. A. Mozart W. A. Mozart M. Clementi M, Clementi Miramont S. Foster J-P. Rameau S. Joplin S. Joplin C. Baermann F. Chopin R. Schumann A. Corelli 66 19 29 80 36 92 48 "7 97 18 1 4 8 9 2FOREWORD The pieces in this book are primarily drawn from music originally written for piano, harpsichord, violin, flute, clarinet or saxophone. The initial selection process considered over 2000 pieces. These were eventually reduced to about 250 and finally to the 85 included in this volume. Three criteria were used in the selection process: 1. The pieces would sound effective on the marimba. 2. They had a high level of musical interest relative to level of difficulty. 3. They focused on some important aspect of 2-mallet marimba technique. Some of the pieces have been shortened to avoid redundancy or transposed to create a more balanced selection of keys. All of the pieces in this collection can be played on a standard 4-octave marimba. ‘Most can also be played on vibraphone or xylophone (sounding 8va). The pieces range in difficulty from Grades 2-5 and are arranged in order of difficulty. This collection can be used as a supplement to any method book. It could also serve as a primary method book for students with some previous reading and/or percussion experience, The written sticking suggestions are the ones I believe are best for technical or musical reasons, Where no stickings are shown it is either because the best sticking is ‘obvious, there are two or more equally workable alternatives, or a sticking shown earlier for the same--or a similar--passage should be repeated. Most of the 'Etudes' have no dynamic markings and only very general tempo indications. The generic ‘Allegro’ is used for most of the etudes to indicate that they should be played as fast as the player can maintain accuracy, control and continuity. Many of the etudes can be played in either strict tempo or with a degree of rubato. Dynamics can be varied according to the player's level of skill and musicianship. ‘The ‘solos’ have more specific tempo and dynamic indications, although good players will find the additional nuances that real music-making involves. Several of the solos can be played with piano accompaniment and have been kept in original keys to make this possible. The violin pieces by Handel and Corelli and the keyboard music by Rameau, Mozart and Joplin will work with standard published versions. Mark Johnson Professor of Percussion Michigan State UniverLONDONDERRY AIR J ‘Traditional Irish Andante =56 e aE 5 — Copyright ©1997 HoneyRock ‘AI Rights Reserved under International and Pan-American Copyright Conventions,| POMP AND CIRCUMSTANCE E. Elgar a Andante. ee an = to Legato roll, all notesSWANEE RIVER | | I S. Foster | Andante | : ——==—OTT ll f = Legato roll, all notesO SOLE MIO Andante 1 Se , i Trad. Italian ~~ ———— mf Legato roll, all notesRIDE, RIDE D. Kabalevsky Fi Allegro J.120 L mf dim.WILDER REITER Wild Rider R. Schumann Allegro é =128 ; Lie ; mf RLL ETL CeJoseph Haydn RONDO8 | | 1 MENUET EN RONDEAU i 7 Moderato WO i J.-P. Rameau { rb : = (Ite Gees I eo 7S —— a 1 t I i I I 1 1 a I I 1 !MEXICAN HAT DANCE Allegro d = 128 SR R Trad. Mexican10 | \ F.J. Haydn , — Alllegro eaul ETUDE IN C MAJOR | 1 Allegro #=154 M. Johnson ro R mf Le _ 4 = = 2 == I= = = i12 | MUSETTE J.S. Bach Allegretto J. 100 f R |R RRETUDE OP.45 NO.1 Moderato Js 92 Tl F. Wohlfahrt| 14 | MENUET , Moderato i. 108 | J.-P. Rameau1 3 EL CHOCLO Moderato ee % LLUR RLL etc, 15 A. G. Villoldo D.S.al Fine16 F. W. Meacham March tempo 3 1 re — pat re ateIN THE COUNTRY Allegro J = 144 D. Kabelevsky18 Moderato d =84 f ‘3 FINE ™p LA JOYEUSE | J.-P, Rameau rate ge = : h+ 2 ee = i = Spe 6 = R® RR 7 DAL SEGNO AL FINEAndante ea FUR ELISE 19 L. v. Beethoven20 Allegro ¢=12 f LURRLL LRR L M. Clementi we ~~ eet © cresc. 2 = vtege aedd21 G. P. Telemann FANTASIA XI =76 Allegro d.2 BOUREES I and II Bouree I J.S. Bach 1 Moderato #=s88 RRL Bouree II 3023 Bouree I 5424 a Allegro ETUDE OP.74 NO.47 F, Wohlfahrt Repel tree f £ ¥ 6"25 ETUDE OP.20 NO.20 H. E. Kayser Moderato J =92 mf Freely‘| M. Clementi RONDO 120 Allegro J 2627 R mp R 8 3 5 5 a 2 > &4 I 3 R. Kreutzer eee Ss Allegro. 9 28 429 GAVOTTE AND DOUBLE G. F. Handel 1 Moderato J. 96 z 2 —— 2 fief + oes CAP te Sas ote oe =aier e t'¢ ™MrRRLLR REL RURR R i Cian Petetetitrt eters: =a 3 R ot Ree30 Allegretto ¢ = 108 CHROMATIC poLKA L. Kohler R D.C. al Fine31 ETUDE NO.1 D. Gatti A Allegro, with rubato32 Allegro Blavet f— ft—?—o9 e990 9 Se ott ee ee ee ree Spe fee te ree + ee * Da Capo al FineETUDE OP.36, NO.17 3 F. Mazas 1 Moderato Rep ey34 J. Dont ETUDE OP.37, NO.1 Allegro 435 F. Wohlfahrt ETUDE OP.45 NO.16 Presto 136 | GIGUE EN RONDEAU Moderato Jer | Blavet LRRLRR etc. LRL RLRERR D.C. al Fine37 D. Gatti ETUDE NO. 9 =80 Moderato d38 29 ARAGONAISE from EL CID Moderato J =88 diminuendo J. Massenet39 f crescendo poco a poco J = 104 3 8 8 8 45 4940 ETUDE NO. 14 Allegro H. Klose RR LLRR LL RLR41 lI & a g Se Re & BeJ.-P. Rameau R R ULL Rigaudon II LL 92 RIGAUDONS | and II Rigaudon I d 1 a2iy q Hi i: } Tre) | 3 e TT} & + eA 2 | a * th ‘ q . iN 7 | MN ay x 2 ° « 4 alll Bat, y as a ‘ iz a 3 mT * 3/9 | ioe | me a ee a hee ee M4 age & g 8CAPRICE, OP; Allegretto # = 100 4, NOS E. Cavallini45 Miramont D.S. al Coda So = S Z > Qa ~ & n Allegro %j t : k i i o + = Ot : IH El + ali} — Zz Q « a 4 ~ a Q a ‘ a e « all S « < « S 7 « calle48 HUNGARIAN RHAPSODY NO. 2 Moderato F. Liszt 6 + — : et ee SS So oe49 cresc. > a tempo Ff RRL etc. a Bch 8. 5 8 8 oyF. Wohifahrt ma Bz a mS 2 2 Zz 5051 53 8J.-P. Rameau 52 TAMBOURIN 96 Allegretto d 4 PL ~ 8 2553*“ ETUDE opt NO.37 F. Wohlfahrt Allegro ee % L 8 D.S. al Fine55 F. Wohifahrt ETUDE OP. 45, NO. 456 Allegro ETUDE OP.45 NO.22 F, Wohlfahrt57 LL 7 me 2 °Allegro ETUDE OP.74, NO.25 F. Woblfahrt59 ETUDE OP.74 NO.28 F. Wohifahrt 7 Allegro “RRLL etc. 21 b,60 ALLEGRO from SONATA IN F MAJOR G. F. Handel ; Allegro er61Allegro LRR etc. ETUDE OP.3 6 NO.12 F. MazasALLEGRO F Allegro Je 128 | M. Clementi mp FE thteetes . » siete n costiiee : cf 12 |65 a £ fe RRL feFLIGHT OF THE BUMBLEBEE | J from THE TSAR SULTAN Presto #=160 ice = N. Rimsky-Korsakov67 ! i. [PtaitebsierialPiaieebs ttm ee i » AS 8 a & &68ETUDE OP.36, NO.39 ° 1 Allegro := 108 F. Mazas ae o Lo * rrr -Z LO == is fe} Hi| 7 ETUDE OP.36, NO.39 (Variation) Allegro Je uz F. Mazas 6 oa Eggs sage7 RONDO from SONATA, OP.26, NO.3 J M. Clementi Allegro ¢= 1163{ 74 | ETUDE NO. 7 R. Kreutzer ; Allegro576 RONDO From SONATINA, Op.20, No.1 Allegretto Jes F. Kuhlau L R mp L LRb ] \ i a el Ny a k a st | / ey oe ee 1 a = T 5 Tey ¢ a a a | ell | \ “ k + a a ee A I 1 | «| 4 z a % : C4 tl e a a + 2. & & ty a B Bq & B &q78 5 PRELUDE IN C MAJOR The Well-Tempered Clavier (Book 1) Moderato d = 80 LLRLRTRR etc. J.S. Bach7980 GIGA from Sonata Op.5, No.3 Allegro J. =120 A. Corelli 4 f Dee cer | 2 ent cresc. LRRERR be Pt cto t trode tot 2 ape SS81ETUDE OP.36, NO.42 F. Mazas Allegro 1 LIR RRL etc. |83 f ff eeeet sestepe ese aaa t oer £ fer re 2 ane eae pee See Se BS LL ee 2 We digas, sre_eer Se Eeeee ene 2 aaa feeds eeee-teee ae 25 & 28 p DY) 3 4 Be eS SSS Efe a 3gA. Corelli VIVACE from SONATA OP.5, NO.2 Vivace us 126 8485 L_cresc. LRL86 RONDO ALLA' TURCA Allegretto Eien W. A. Mozart p : | ftterteer Ce ee 6. i87 mf D.S. al Fine ft 2. ge 8 8.88 ALLEGRO from SONATA IN F MAJOR G. F. Handel Allegro d-=108 | RRLRR f R RLRRLRW. A. Mozart RONDO 104 Allegretto d. 1 9091 rs —# S: parce # pie leas ——_s—— i a dim. ose te i ther tealgse L 81 * SS92 GIGUE EN RONDEAU Allegretto ie J.-P. Rameau93 coo Set ee ed ere Seite te Woo Se ee : ' & oeETUDE OP. * NO. 21 94 F. Mazas Allegro a9596 ETUDE OP.36 NO.21 Variation Play notes of Op.36, No.21 in triple rhythm 4 F. Mazas RLL ete.LA FOLIA VARIATIONS from SONATA OP.5, NO.12 Moderato J. 92 Roll longer notes ad lib. 97 A. Corelli98 RR_U3 C313 4fe RR RR RR wo CSIs ad 3813 38 gl RR RR99 retfese tear te: = = == Cl qe fp100101 SS SS SS ofe = tort By = ote ait PERRIRL sree eet het ot ‘__ ore 621 —# et 130 USPS 433 6102 | ETUDE, OP.36. NO.51 J F. Mazas Allegro #=132 1 | Ss SRST Re ar103 Sa eee rit.104 WALTZ, OP.64, NO.1 Allegro deen F. Chopin105 DS. al Fine cresc. meno mosso @ tempo Fine 53106 THE STRENUOUS LIFE Moderato 4=100 S. Joplin107 B108 Not Fast ELITE SYNCOPATIONS S. Joplin109 mf =110 ETUDE NO.25 D. Gatti Moderato ~ ft ee . e eas reef ee ee Shi ; t R RLLRR etc,lll 2 oe a u fr + out + oe Eereettres JoTHE ENTERTAINER | S. Joplin 112 Moderato #=92 te. ) pete ee = IA 55, a fe! SSS FR etd gb3114 Allegro ETUDE NO.20 C. RoseLis iE ; | : 4 a op re 5 j116 ETUDE NO.33 R. Kreutzer 4 Very slow--Moderate rN Roll some/all notes depending on tempo am : LS SSS SS 13 FS orSpiee e N 16 oat trey ttl Dette] } = | 19 rt al a id * if7 i Coot, ialR. Kreutzer ETUDE NO.42 11819 p120 Waltz tempo 1 TYROLESE WALTZ Etude Op.64, No.10 * - C. Baermannpoco rit. @ tempo 121D.S. al FineCAPRICE NO.3 BS P. Rode Moderato k LPs fife yh my iy Wl i . t ie al | ne 1 CE E | “| . T =i wees pcearies Pee we LL fe 124 2 52 OD)125 wie # an mi 97126 CAPRICE N Freely, not too fast 24 P. Rode127Freely, not too fast CAPRICE NO.2 129 P. RodeM A os131 trpetettet sinstoreltsrstorett ore oeelt $2CAPRICE NO.24 F i " N. Paganini N ee N % = Allegro 132133 [eA —S FA = a fe Nz 3 5 z “Te ER = we abe‘ : j == 134136 Allegro CAPRICE NO.6 V. Gambaro