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‘The notes of the xylophone and marimba are sounded by striking the bars with mallets either in single strokes or ina roll. ‘Aroll is indicated with three stating lines above or below a note Where no roll is indicated, the single stroke is used. THE ROLLWHOLE NOTE ROLLSHALF NOTE ROLLS ty eS ee eeQUARTER NOTE ROLLS8 A COMBINATION OF WHOLE, HALF, AND QUARTER NOTE ROLLS R LOR LR RL 5 Sea tee SS SS S66 be SS 5 a a a aPRESENTING SCALES IN ALL KEYS (Followed by Simple Melodies) C Major Seale Melody ee Gad Bb Major Scale0 Eb Major Scale I Sa Sa ‘Ab Major Scale z Ss SS appt fotos aS ies Melody —— ug eI a SS é SE Sa ijt Db Major ScaleGb Major Scale 0 : _ a ge eB Sl E Major Scale Melody2 A Major Scale ee = Sea SeELEVEN SHORT MELODIES (Utilizing the Roll) Andante oe east pF $7 $241 Moderato ue Se Se es eae ae er eer ee ose Moderato om 1 ? oS ee erLargo Moderato —S Ss SSS eee reer eee ene = SSS SS SSS ee ea eee rsCHORDAL STUDIES AND MELODIES IN ALL oa (Utilizing 1st and 2nd Inversions) KEYS ts 7 et =: £ tf sane 2 Sass F Major L Bb Major rf Eb Major L Andante Vivace mg RAb Major Gb Major 7 . Getta seth Etre tes | u! ‘ a RR B Major ee SSSS= 6 es aa i Moderato Melodies _ ores gk hig fk r + Sat = RouR Leo Bae SS = L —— Moderato a ere - t af eR Le # - — SS eRe tansE Major e A Major G Major pit J ae f =SCALE STUDIES AND MELODIES IN ALL MINOR KEYS C Minor F Minor Bb Minor nN gr ae S rep ig 7 R Eb Minor ® Moderato fe cLAb Minor nl C# Minor F# Minor -t, ea2% E Minor ® A Minor D Minor ® G Minor Ge R Melodies ‘Moderato Moderato an ft SS SSeS ModeratoADDITIONAL CHORDAL STUDIES IN ALL MINOR KEYS * C Minor Gerk o Set fens) = : F Minor » * Bb Minor Eb Minor t RR Mea Melodies Moderato mn _ uggs s Fer ee Sooo ee oe mg Le — 7 — ; PoE fate ae Moderato2 ‘Ab Minor $e C# Minor L F¥ Minor ROR MelodiesE Minor SS A Minor D Minor G Minor a TTR R L Allegro Melodies =p SS Allegro ite cy P= ‘Moderato 10 ry 7 zz , Sa i r rCHROMATIC SCALESMELODIC STUDIES BASED ON CHROMATIC SCALES Allegro2 THREE SHORT MELODIES =AllegroPREPARATION FOR DOUBLE STOPSSTUDIES IN DOUBLE STOPS Utilizing 3rds, ths, and 6ths 0sSTUDIES IN OCTAVES 7SEQUENTIAL STUDIES SSeS = SSS SS YANKEE DOODLE Moderato Arranged by M. Goldenberg % ea= eee S a eaae == SSS Gi =STUDIES IN SUCCESSIVE THIRDS (in all Major Keys) — : pote sie fExercises Moderato 4s Ss aS SSS "g = Ss & aaa a is 2 Ss | el ae re —— f “sOExercises ET er T £ eae Melodies r = pl ror P vt ? PREP yg, Moderato ee SSS = ? pe ‘Moderato ML oe 4, + a (Sa Se PeExercises tet SPE eS es Melodies in 6/8 Time a sie. oyCHORDAL STUDIES IN ALL MAJOR KEYS =< ees fet ppeet FEEF ee ee ee __--— pepetece Fefteete one, — Melodies With Dotted Eighth and Sixteenths p —— SS Allegro con brio aos pa pomp Pet taps foo Sa Rg Moderato SSExercises ==: fet. at Sept tt pte cere MelodiesSIX MELODIES Moderato gee ee fi ne Ss SeSTUDIES IN DOTTED EIGHTH AND SIXTEENTHS IN 2/4 METER ae errs LIRR tend ‘TRIPLET STUDIESHAMMER STUDIES Chordal Studies in all Major Keys SSS SS Ss i SSS = —3— =—t = =— : sa” ee a ee2 nr TRR ERR TRER RIRRLRRLR RLRLERLRERCHORDAL STUDIES IN ALL MINOR KEYS Minor F Minor * Bb Minor Eb Minor ‘Ab Minor C# Minor 2, E Minor o A Minor D Minor O17e G MinorRHYTHMIC STUDIES Dotted 8ths, 16ths and Triplets Combined45 2 Seapets 3 = ; : ‘ me SS Ss adaeoeer res R Lie RS St fe ae Pay cee a eas4% CHORDAL EXERCISES cMapr With Lower Neighbor —— wie p f E 2 3 F Major ee He be. ft faa SS es ‘Ab Major Db Major Gb Major D Major G Major » v t. rritte = eos te eSMELODIES IN 6/8 RHYTHM With Lower Neighbor Allegro = 144 ss fR RLRER LR a8 ARPEGGIATED CHORDS. ‘On the Augmented Triad D.C. al Fine 4. FineFIVE HAMMER STUDIES Using Repeated Notes Moderato30 ae LERERREL sosSEVEN MELODIC STUDIES Moderato ‘Combining Double-Stops with Single Notes R I t =x SF of Moderato Moderato RR wg yy a9 Ese ? 3 ES £- ‘Moderato Paaa Moderato poy a : . mp UL wets Fe = aes : (as San SS ° = UL oy Moderato wre 7 VL “i rth | olf tt i “ty ——— — > = = : : qa = = See a SaModerato DERE pL Re ARPEGGIATED CHORDS ‘On the Diminished TriadMELODIES COMBINING DOUBLE-STOPS AND ROLLS Adagio Moderato ; mgs £ Fe = == mp Allegrofete ne viii pate f= ——= Ge56 EXERCISES ON THE DIMINISHED SEVENTH CHORD sp oeitctt Eri tenet. eee be > b thease . =f $5 Gul: ps Ee eee ba ta otee ett te Ethie te = eine eS ae A art a PE re bre - . bis ae even ttt eet . = eters eI oo = == MELODY Andante = Ss = = $ Se, SaEXERCISES ov age a bert tt ELE Pitino MELODY eee ES a aoe eee * f- SSS z OAS ag ere —— sear - Giese ea ae Spe Es]EXERCISES ON THE DOMINANT SEVENTH CHORD =. fetes = je eee tS = ee ee te nega achat at oft eee we a potatt EtEteete, _ 4E5o- sees tS 0 oo ete eS os0s8MELODIES Moderato ‘Swing time. SYNCOPATED STUDY —_—_ > ——— Sheet Sle mg oe ae al abe aes f a v Se oS ee g weatatas—S =MELODIC STUDIES IN SIXTEENTHS Allegro tear tns 7 eee SRR TRE OL = Sep tee Pe yee il a al ft Sas ee tog 4 sesAllegro pe Ae ae es as x : —— £ ——=. eee R6 39 ETUDES Allegro 7b P eeemf Allegro — _——— pitee oVI Allegro asst d = 112 : = ZI 4 nf R ea Sas66 Vilvol pele NSAllegro = mfUR RL LRR LERRE LRER LRRL TRRLUERRL RURLUERRLURRL ER TR bef og tf phe fe tet. f-2 = = Gee ae SS Se SSS ea ee o— p= (eee R Tere ees PT RR ee Rik . Taga ot a : Ge fe = a tee ee PRUE PEP Ere RS = sa seaeae t SS SS LEget LeerVivoXII Presto x of +xm Andante ) = 132 So RRDTRR URERRLRTR ERE ® rir RITEELE (SEE: CRRTRLR wrxIV Allegro con brio ft ee Pe ee Sas lame _——— = Oe teeter ae a eee x —=———~ —_—. = eee 7 pe = R 098Moderato J = 88 ee SS SS ee: Ti - € Se ae aaa encore ng ® R E RRL : : : — SS Sp oe PP R —— = RYU RR eC REL RR cee ee R” Allegretto J = 88 ——— LR RR R LRER LELLRLR cue UR LER LR Tk oe T rer osXVII Alllegro vivace J = 160 fon le > 6 ele Ey 4XVII Moderato =72, — aAllegro d = 126" Vivace — RLR LRL RRLModerato d = 80 RRLURRLL = on per B —— RUURRELR RRLRRRER RLLRRLER RE ProrieXXII Andante d = 66 FL RERL Sees ae ee a x RRURL RXXIVXXV Allegro af R ee SS = a — oS ee o oe te oP a Ka pie pie fcr, a 7 ro Tt ——- —<— te cho geet fee ep ett frit Erie = ao eR — pe £ —— >=. ees = as eS) XXVI 7 Moderato : — _, == = aieXXVIII Lieva rlorrire Moderato _—————_ PF role ' Se eee 2p tte 4Alege =cy XXXV Allegretto J = 86 See ae eee == er aaa oo ae) Moderato—— QS XXXVI = a aeModerato ABACH'S VIOLIN CONCERTO IN A MINOR Adapted for xylophone by M. Goldenberg Allegro moderato =e SSS 3 — eeeaAllegro assai98 aetna pute ELE A ot te ott —SS ES =. Le. ==EXCERPTS FROM THE PAGANINI VIOLIN CONCERTO Adapted for xylophone by M. Goldenberg mf con espress.t olla sinstra102 EXCERPTS FOR XYLOPHONE, BELLS, VIBRAPHONE, ETC. FROM RENOWNED ORCHESTRAL WORKS THE MAGIC FLUTE BEUS Finale of Act 1 By Wolfgang Amadeus Mozart Allegro (264% measure) 28 BEUS SECOND HUNGARIAN RHAPSODY Andante By Fronz Liszt103 WALDWEBEN (Forest Murmurs) From The Opera SIEGFRIED BEUS By Richord Wagner Massig (imodgyato) 23 18. —F SIEGFRIED'S RHINE JOURNEY BEUS From The Opera DIE GOTTERDAMMERUNG. By Richard Wagner 84 sempre Oe aa MA MERE L'OYE (Mother Goose Suite) ‘XYLOPHONE 3rd Movement: Laideronette 4.8, y Mouvement de Marche (@ By Maurice Rovel PP DANCE OF THE CAMORRISTS STLOPHOFE From The Opera JEWELS OF THE MADONNA By Ermanne Welf-Ferrari Vivacg angus, © AORRLR Raitan £ XYLOPHONE MUCH ADO: ABOUT NOTHING Allegro + By Erich Korngold = Wnt "LaLa LALAL RALRLERL ®PETROUCHKA BELIS (Xylophone) Ballet Suite By Igor Stravinsky Meno mosso (¢=100) 1&7 Ry @®e-s» of @y_ FL : rs? Lento (d=0) », 32 7 2 o be Allegrotd-ne @& a3 ? 2 Xylophone eS108 Fits mosso (4. 3 272) ff Xylophone (4-100) tetas LES NOCES 2nd Tableau Oru, XYLOPHONE By Igor Stravinsky107 LES NOCES—cont. XYLOPHONE 3rd Tableau By Igor Stravinsky @ 4 me RRR EF ope XYLOPHONE LES NOCES 4th Tableau By Igor Stravinsky 2 so zLES NOCES—cont. ®SCYTHIAN SUITE XYLOPHONE By Serge Prokofieff 1stMovement Om vo Feroce Setter tare se? SSS = So eae @ 2% Movement BP pe = @ . 4 ‘e beep ‘pl eee to lente —110 SCYTHIAN SUITE—cont. ® Third Movement- Balls(Sole) 3 aA e Fourth Movement llegro Beis Z pinion Afra 2 Xylophone P f a " @ 7 mt z = Sp Oren \ ¥ Bal Andante sostenuto A8aut ALEXANDER NEVSKY Cantata XYLOPHONE Arise, Ye Russian People! By Serge Prokofietf 0 Fisoluto (d= 72) Solo - z 3 BELLS AND XYLOPHONE Alexander's Entry Into Pskov Allegro ma non troppo (2 = 84) Soli Bens f Ayo. P crese,a2 ALEXANDER NEVSKY—cont. me & =XYLOPHONE Presto (én one) ee XYLOPHONE Allegretto (d= 84) 113 COLAS BREUGNON Suite From The Opera OVERTURE By Dmitri Kabalevsky POLKA From The GOLDEN AGE ballet By Dmitri Shostakovich = —=ae SYMPHONY NO. 5 (Opus 47) XYLOPHONE 2nd Movement 7 : By Dmitri Shostakovich ey lege eto (d= 138) y 7 ®s5 ® tt = XYLOPHONE 3rd Movement Large (4:50) * yrLoPHONE SYMPHONY NO. & (Opus 53) ) at @ Tresto (d= 152) COLE By Dmitri Shostakovich b. bet Tanned hve by purminon othe cnyig ove115, SYMPHONY NO. 7 (Opus 60) ‘Ist Movement XYLOPHONE By Dmitri Shostakovich Allegretto (d=126) 2). SYMPHONY NO. 7—cont. 2nd Movement xfLOPHONE ©) Moderate, poco allegretto Le 8 XYLOPHONE 4th Movement @ Allegro a non troppo 23 & ;GAYNE BALLET cu XYLOPHONE Dance of the Rose Maidens Allegro (¢=1200 ® By Aram Khachaturian = | orese. tf Tented hare by permiin af the coPrah Sema.es GAYNE BALLET—cont. XYLOPHONE Sabre Dance Presto @:y) DQ) sew epiaia hore by potion ote pp oonXYLOPHONE IRISH WASHERWOMAN 119 Allegro giocoso By Leo Sowerby ae ame ieee eR EE ; 24 ® io a LLRLH L LALA LLRLA LOR Hing es ty the tovon mace Compony SHEPHERD'S HEY ® XYLOPHONE (Bells) 4 By Perey Grainger esto (d-Belw 968 18) Presto(¢-Bety ® 5. 15) @,®@ _ inte @ ca y, Bells ®@ Pe Xylophone120 SHEPHERD'S HEY—cont. P Xylophone xt @1 ® ze Timp % 22 EN nn 1@,5 @, oe 2 Orn of @: AR LL ARR bb RR L LRRLL \ els Fr Lf 2, Prestissimo @ gets. | rub glissarde up a era, te121 SPOON RIVER MARIMBA (Xylophone, Bells) By Percy Grainger Allegro non troppo ma molto energieo (J =88) vio Wooden Marimba, soft Mattets 3 PB Bryony, et nas "2 on ah 1990, by Petey Gre122 SPOON RIVER—cont. (poco ereac, = Hettte-De. PORGY AND BESS XYLOPHONE Overture By George Gershwin Allegro. eon brio zs EE z z= = = = opto c tanta t, phe = SS es @ LAR LARALARLAL RRL bp fio Fos tes Fant pp te = = 2 Ss e HLAL HRLR ALAR ORL ® aS £ zs ee hte oot peFaetsti fee, pete a tee Fer, wt ee, FORLRFLRRLAL A F #2 Ep ste e #2 Fy SSS © FLRLALRLPORGY AND BESS—cont. fee Juvegro animata (= 120) Sambi Fg E == ee Se SSS # roltiptecrae pte! tae e = = RRL ® WL ARLARLR after Freee, * Mon ante : ae Eopite = LLRLALALLA LARL &124 XYLOPHONE TUBBY THE TUBA By George Kleinsir olto Allegro iy George Kleinsinger ined by perminion ot George Resign, Pot Yep . Schirmer, PEEWEE THE PICCOLO \ XYLOPHONE (Bells) r__ Allegro aytptenePEEWEE THE PICCOLO—cont. = @ 2 2 Tey, 7 ace. —<———= © a Allegro RRA Mode yk @s ®screremdo ff Bells © rye ae ae Cle RIES ts“ PEEWEE THE PICCOLO—cont. To Xylophone be 5) All a's @ Aggro mo =PRELUDE IN G MAJOR Suggested by Chopin's Etude, Opus 25, No. 1, for Piano XYLOPHONE (Marimba) Slow and Free ge : | : i 4. = = = Ja ==128 PRELUDE IN G MAJOR—cont.LATIN-AMERICAN SYMPHONETTE ae 3rd Movement XYLOPHONE GUARACHA j= By Morton Got Moderately ast (de ae @ ty Morton Gould earache id Movement tom “Laacnsicon Sy Copyright 194, te Mai In, Used by pe HARVEST ViRAPHONE By Morton Go Brisk Dance Tempo (= 108) eae vans, 2VY (Go Petonance)— rdal of i by © 4 C Mae Corporation, Naw Tok, HEYDRUM TUNE NO. 7 VIBRAPHONE By Robert Russell Bennett opyiaht 190 by Coappet Cos ae Mew YorksBELLS 4d, 4, Tempo tf (Animate) BELL SONG From The Opera LAKME Ph ag gf lus anime PLTRR LR IRR tioaa in len T have attempted to encompass as much varied material with an eye toward a well-rounded pedagogical approach within the limitations of a publication of this sort. No doubt, further research would unearth other exaniples of orchestral parts for these instruments or perhaps, another etude inserted for more specialized development of the player. However, it is my feeling that personal itiative from here on in will produce the well-prepared in- strumentalist. MORRIS GOLDENBERG 3 13 By Leo Delibe‘Turonzzican Chart) Tue Rout Waoue Nore Rous. Har Nor. Rous. Qoanren Nore Rous A Cowarsatios or Wnoue, Haur & Quanrer Nore Rous Feoamestare (Keyboard Scatzs avo Snerue Mruoptes Iv Aut Exevex Suont Mezooirs (Utilizing The Roll) lORDAr, Stores aND Mexootes Iv Aut Kev (st & Gnd Tnversions) Seats Sruptes ano Metopies Is Ata. Miwon ‘Keva Avorriowat, CHosoat, Stvoies In Att Mixon Keve Cunowaric Seauzs. Srepies Basso Ow Mezonie Cunonate ‘Taner Soxr Metoorrs Paeranation ror Doueie Srors. Srepies i Dovwte Store (Utilizing Srds, ‘ths & ths) seems w Oona 9) Inn Wosnznvouan Six Mixootes mS Merce \ Hwan Sven Choose Steoies Is Att Mivon Kevs Ruyrusic Stunts (Dotted Bighths, teenths & Triplets combined) CxonoaL Exencises (With Lower Neighbor) ‘Mrotes 18 6/8 Russa (With Lower Neigh- ber) Six. Anreooiare Cuonos (On the Augmented ‘Triad) Five Hascen Srooris (Using Repeated Notes) Seve Mstovic Srepies (Combining Double Stop With Single Notes) sarep Cuonos (On The Diminished iad) Ani INDEX 26 7 2 30 3 3 38 37 80 a 48 “ 6 a 4 ° 31 Fy Exencien my 9/8 Raven ES Mezovies Counrsime Dovate Stops ap Rous O Exencrrs ON Tur Dawwisuen Seveyra ‘CuoRo 56 Exencisrs Ox Tae Dosixaxr Seventit ‘Coro 38 Srwcorarrp Srupy. 30 Mexontc Stuoies Ix Sixreentus © 89, Erunes (Based On All Previous Problems) 62 Bacu’s Vrouy Coxcerro ax A Mixon... 9% Excenrts rao THe Pagaxist Vioux Con= ‘ceero 100 EXCERPTS FROM FAMOUS ORCHESTRAL WORKS ‘Tar Macic Fact (Finale of Act I—Mozart Steono Hesoanos Tarsors ine f 18 Watowenen (Siegtricd)—Wagner Sizcrmceo’s Ruive Jounser (Gotterdar ‘merung)—Waguer Moruen Goose Scite—Rorel Davee or tHe 108 Mec Avo Avocr Noriso—Korngold Pernovenxa—Stravinsky 105, Les Noces—Stravinaky 108 Sermtan Serre—Protofe. 109 Atexaxoen Nevsxy—Prokofe. m Cotas Bre caxox Ovrnruns—Kabalevsky) } ns Pouxa (Golden Age Ballet)—Shosiakovich) Sraupnoxr No, 5~Shonakorich Srumnonr No. @Shovatonc jue Stsiruony No. 1—Shortatovich us Gavwe Batter—Kiachaturian nz Ins Wassrerwosas—Sonwerby Sterieao's Hoy—Gininger } mo Sroox River—Grainger 221 Ponoy axo Brss—Gershiein me Tespy Tar Teaa—Kleinsinger Peewee Tue PiccouoRleiminger.....f * Pastvoe 1x G Mason—Chopin-Levin 17 Gvanacta (Latin-American Symphonette)— Genta 19 Ducat Tes No, 7—~Bennett 130 Bett Soxe (Lakme)—Delibes 131