‘A Collection of Etudes Designed to Develop Technique arg SUM eu eefl ae a eee ee ee Table of Contents Introduction... Stroke Concepts. Getting Started. Chordat Applications. Single Independent Strokes. Fy 2 Oakland Single Alternating Strokes... Manbattan Bonnie Brae. Double Lateral Strokes. Whitby White Hollow Groen Run Double Vertical Stroke. Kain, Tucker Montecristo, Chorale Wellington ‘Azalea Coventry ‘Combined Strokes Birchbrook ‘West Oak Stoneman Listening and Educational Resources oor 0 B sol 16 19 oD ey 26 30 36 38 aed a ll ~~ el ll ~~ Si al alld i > 4 } : : : I Introduction Marimba: Technique Through Music is a collection of 16 etudes that designed to help the intermediate four-mallet marimbist focus on specific stroke techniques. Students have the best chance for building technique and musicality by working on short selections in a variety of different musical styles. This text guides the student through several etudes that focus on different musical applications of one specific technique. Each section of the book begins with a brief introduction to a specific stroke followed by graduated etudes that utilize that stroke. In this manner, the student will become confident with these basic strokes and their application to musical expression. The guidance of an experienced teacher will be invaluable to the student during the study of these etudes. All of these etudes are original compositions written for this book. The titles come from the names of streets where I have lived during my life, Thave ‘composed these etudes to fit on alow-A marimba with only the final etude, ‘Stoneman, requiring a five-octave marimba, Thope you enjoy Marimba: Technique Through Music. aiek 7 Acknowledgments ‘Many thanks to: my students at the University of North Texas who played through many versions of these etudes, especially I-Jen Fang, Akiko Tino- Goto, John Roberts, Peter Saleh and Akie Takada; UNT Percussion faculty ‘members Christopher Deane, Paul Rennick and Ed Soph for their support and advice; Sandi Rennick for her assistance; Mark Schafer and Al Murray at Dynasty Inc. for their support; Erik Johnson, George Barrett and all my friends at Innovative Percussion for helping to make this book possible; and for my wife, Laura, and sons, Austin and Kevin, who make it all worthwhile.Stroke Concepts ‘The exercises and etudes inthis text were written with the Musser/Stevens four- mallet grip in mind. However, these stroke concepts can easly be applied with other four-mallet grips. The strokes and terms utilized inthis text were developed from. Leigh Howard Stevens’ book Method of Movement. For those players using the ‘Musser/Stevens grip, itis recommended to review Stevens’ text for an in-depth study ofthis technique, ‘Shoulders, hips and fect should remain square to the Keyboard when playing the ‘marimba. ‘Give equal weight to both feet, ‘The student should strive to create the best tone possible at all times. Play slightly ‘ff center ofthe bars fora ful rich tone. The edges of the accidental bars are acceptable when necessary. Utilize the wrist for aMuid stroke. Avoid excessive motion in the elbow, ‘Stoke height and stroke velocity should be consistent when practicing the exercises, in this book. Controlling stroke height and velocity will help create a multi-dynamic approach that enhances balance and blend when applied to music. Keep the hands low to the keyboard. In general, the hands should be lower than the mallets ater striking the bars (see picture) Alter te sok the mallets eu to thei oh playing eight Thebans shouldbe lomer than the malta spat. ‘The mallet sticking in this texts read from left to sight, The left hand holds mallets ‘Land 2. The right hand holds mallets 3 and 4, Once a sticking pattern is indicated, continue to use that pattern, Be consistent with sticking applications \P ON? Experiment to find the best marimbe height for you. The forearms should be angled Poe eet emp sume height. Be consistent 4~ ek ~ ca Shel Sled ~ led ~ all adr ~ adi ali “el~ Sed ikl Utilize the concept of chordal applications with each stroke type in this book. Fh sre 1 Guide Tons in ight Hand Permutations ~ Apply’ these sticking permutations to the above exercises. 1 2 3 4Single Independent Strokes Single Independent Strokes aze used when only one mallet in each hand is playing. ‘The objects to isolate the unused mallet by staying relaxed and not holding the mallets too tightly 1. Practice these exercises onthe floor (see page five) before applying them on the marimba, Selecta playing height. Use a metronome and start slowly. Gradually increase the tempo. 3. The playing height should remain constant. 4 The unused mallet in each hand should remain as sill as possible, Keep the mallets above their designated notes at all times. 3. 6. Allo the strokes should produce a full sound without accents. 7 [Experiment with different intervals and apply these exercises tothe chordal progression on page seven.(AR SI ld le a lal iil dl ll al a” al ll d= idl Single Independent Strokes Fry Oakland ry requires the performer to utilize vo different dynamic levels while performing single independent strokes. Bring out the melody beginning in bar wo in the right hand \hile the let hand softy plays the accompaniment, Ten reverse this process in bar four as the left hand takes over the melody. Stzive to follow the melodic line (or moving line) bby gradually increasing the dynamics a the melodic pitches rise. Decrease the dynamics slighily when the melody descends in pitch, This is often refered to as “follow the lve.” Although there are many ways to interpret a melody, “follow the line is always a good lace to star. At bar 20, focus on the malleis tat are not playing. Make sute thatthe on-playing mallets stay above the notes they will play and that they remain relatively still. Be sure to check mallets I and 4 during the scale passages starting at bar 26 Oakland takes the concepts in Fry to slightly more advanced level. Bring out the ‘moving lines and allow the repeated notes to stay in the background. Work fo create a strong dynamic contrast throughout the etude. Especially nurture the softer dynamic ‘markings. Experiment to see how sofly you can play with control and musical direction A stronger dynamic contrast at sofer levels will allow the louder dynamics to have more impact. Bars 14-20 feature groupings of two and three eighth notes inthe left hand, Place a slight accent at the beginning of each grouping for rhythmic clarity. ‘There are a few bars on the second page that contain double vertical strokes. As stated in the introduction, these ctudes focus primarily on one stvake (single independent strokes in this ease), However, for musical concems, it was necessary to add different strokes on ‘occasion. Skip abead to the section on Double Vertical Sikes if you need help.Mark Ford le mp, Fry Single Independent Strokes eS of ——— |» 120 Paienty Waiing [ator]AEMark Ford Oakland Single Independent Stokes deters wysteiowiyPp NAA OeSingle Alternating Strokes Single Alternating Strokes are similar to Single Independent Strokes without the concern of isolating the unused mallet, Mallets in each hand alternate independently. ‘These strokes can become double lateral strokes at faster tempos. Practice these exercises on the floor (see page five) before applying them on the marimba. 2, Selecta playing height, Play slowly with a metronome. Gradually increase the tempo. 3. Keep the mallets above their designated notes atall times. When changing intervals, make sure the mallets move tothe full interval before playing. 4. The playing height of the mallets should remain constant. Keep your hands low to the keyboard. '5. Alllf the strokes should produce a full sound without accents, 6. Experiment with diferent intervals. Apply these exereises to the chordal progression on page seven.Saeed eae aes Single Alternating Strokes Manhattan Bonnie Brae ‘Manhattan is, n essence, a perpetual motion etude. There are afew moments when the steady cighth notes resolve into quarter notes, but maialy the player i required to sustain flow of single alternating strokes throughout the work (with the exception of single independent strokes inthe theme and isolated double vertical strokes). In bars 3-28 the ‘melody resides in the right hand while the lelt hand accompanies. Create a sense of tlow ‘and direction in the melody by “following the line” (see page nine). Listen to the ‘marimba. Make sure that vou are creating the best tone possible by checking your playing spots (slightly of center of the bars oron the edge ofthe accidentals). At bar 29 both hands become equal asthe etude develops a dialogue between accented forte notes ‘and linear applications ofthe single alternating stroke, Baar 43 brings the high point of the work with the statement of a diminished triad in the bass combined with a slo ritard ‘The ending winds up with an accelerated statement of the main theme Bonnie Brae mixes single alternating strokes with single independent stokes in the frst bar. The first four eighth notes are single alternating strokes. ‘The following eighth notes should be played as a dramatic deerescendo, Bar thee interrupts with a forte statement of the main motive and the process stats again. This etude uses several meters. Make sure to playin the “pocket” or “groove” by emphasizing the strong and weak beats ofthe ‘meter (68 = strong, weak, weak, strong, weak, weak). How the notes ae grouped. indicate these strong and weak beats. Bring out the first note of exch grouping of two, three or four eighth notes. In bars 31-33 a metric modulation takes place asthe eighth ‘ove triplet turns into the sixteenth note ofthe 3/4-meter. Isolate this shsthie transition With a metronome for confidence. In bar 33 the music takes on a classic application of single alternating strokes similar to Mitchell Peters’ Yellow Affer The Rain. Focas on the ddynamics offered inthis section and strive to bring out the lyrical aspects of the music. In bar 46 the left hand initiates a gradual rtard with a series of single independent strokes. The original tempo retums in bar S3 with a variation of the main theme. As the ‘etude concludes, make sufe the tempo remains steady.Manhattan Single Alternating Strokes [iaeorvea]eeManhattan(ad ale ale alll al a a ak a> [en areas) Bonnie Brae a Single Aerating Srotes nn rorsded Boonie BraeBonnie Brae L | tempo 105-012 ton nome Me d FARE REE OOa Double Lateral Strokes Double Lateral Strokes ae single motions that produce two sounds, Played as twostrokes pet hand, these strokes create the double lateral roll when played (quickly, Additional double lateral exercises ae presented in the chordal ‘xercises and permulations on page seven. 1. Practice these exercises on the floor (see page five) before applying thern on the marimba Select a playing height. Start slowly and use metronome regularly. Keep the mallets above thir designated note at al times. 3 4. Use a quick wrist rotation and then return tothe beginning postion. Keep your hands fow tothe Keyboard 5, The playing eight should remain constant. In exercises #1 and #2, use the rests to make sire your mallets return to the proper height. 6, Experiment with different intervals and stickings. Apply these exercises to the ‘chordal progression on page seven, iabe eee eA Double Lateral Strokes Whitby White Hollow Green Run Whitby offers the player the opportunity fo focus on a quick double lateral stoke through the use of the grace note or flam. The wrist should rotate quekly’ and then retum to the original playing height as the flam is performed. Practice slowly’ and isolate each section ofthe accompanying grace note pattern in both hands. As always, make sure the moving line (melody) is heard clearly over the accompaniment. The coda at bar 96 demands that ‘both hands play the grace note pattern independently with the melody in the right hand {In bar 4 the left hand should set the interval of an octave during this rest in preparation forthe tinal four bars, Omit the low Fin the last bar if you are playing on alow A marimba. Try playing the final two beats as dead strokes (the mallets will tay onthe bars anu dampen the noes), White Hollow features descending 4-3-2-1 double lateral pattern. Notice the tenuto ‘markings (dashes) in the main theme of the etude. Traditionally tenuto marking indicates that a sustained note should receive is full rhythmic Value. In many’ marimba ‘compositions this marking can also mean that these beats should receive slightly more ‘weight (but not as much as an accented note). In this instance, bring these notes out of the lexture as they outline the melody. [n bar 21 the direction of the double laterals is reversed (1-2-3-4) and the hands are set wider apart. Staying in time and avoiding rushing will help make this section easier, Practice slowly with a metronome. ‘The coda at bar 35 marks a steady relaxation of tempo and dynamies until the end, Green Run is divided into two sections a thythmie 414-groove section and a flowing 12/8 Iyricl section. hint of the groove section reluras inthe final three bars to give the Work closure. Carefully observe all ofthe dynamics, Make a real difference between ‘mezzo-piano and piano dynamics for clarity. While you practice this etude, focus on the playing height of your mallets. The height should be consistent in each hand, but the hand that plays the melody may play ata sightly igher height. When possible, pay in the center ofthe accidental bars for a full tone (ie. bars 9-13 in the right hand and bars 39-46 inthe left hand). The 12/8-section beginning at bar 31 offers another use of tenuto ‘markings. Let these notes sing out. There is uo sitard a the end of this etude. Move {quickly to set your mallets For the final wo bea,Mark Ford DS.atCoda Whitby Double Literal Srokes e120 Blganty NeronsMt] g «lll, Hl ip oH HL | ~P : i “fT fips e 3 a atts a Is a tt | ~ i An I a | i oe s ° ° pi ge Ww ee oeWhite Hollow Double Lateral Srokes J-190-192 cacadng Waeratt (Po 413)White Hollow Pp EAWhite Hollow| [fr , H | xa ® im Lik Mark Ford i Green Run Double Laterat Strokes SS = = Wale det92 Thechase st rc 30TReR Re RRR RRRGroen RunSRR RR RRR RRR eeeDouble Vertical Strokes Double Vertical Strokes play wo nots atthe same time withthe same hand. “The two notes shouldbe stck exaedly at he samme time. Alter playing, the ‘vist “snaps” back upto the orginal playing hel ght. 1, Practice these exercises on the loor (seepage five) before applying them on the marimba, ‘Selecta playing height. The playing height should remain constant. Imagine {hat your mallets "rebound" baek tothe original position. 3. Keep the mallets above their designated notes ata times 4, Avoid wsing your elbow: Keep your hands low tothe keyboard ‘Alo the strokes should produce a full sound 5, Practice each hand separately. Bogin slowly and use a metronome, 66, Experiment with diferent intervals, Apply these exercises to the chordal progression on page seveneee eee Double Vertical Strokes Kain Tucker Montecristo ‘Kain demands that the player balance double Vertical strokes in order to hear the moving lines. Keep your body square (straight forward) tothe marimba and practice slowly Slow practice will allow you the opportunity to preset the double vertical stokes above the notes to be played, Primarily the interval ofa fifth is used so that the player ean Focus on preparing the stroke and not changing the interval. The repeat from bar 12 back to bar tvo can be awkward, as both hands must reset, For practice, repeat back to bar one luni! your right hand makes the adjustment asily. Notice that the sticking For the legato, ‘melody starting in bar 15 wilizes one mallet. Its important for the player o keep a Imelodie line in one mallet when possible. This allows better control over the tone and ‘dynamics ofthe melody. Create a dramatic rtard before the “a tempo” at bar 35. Exaggerate your musical ideas and expressions, Tucker challenges the student to play quick double vertical strokes asthe interval changes. Playing softly will make these changes easier. Allow the louder dynamiis to have impact and then decrescendo back to the softer dynamics as marked. Strive to have clanty in dynamie contrast, Make sure that mezzo-fore is clearly different than mezzo piano, etc. Tn bar 21 the character of the music changes with offset double vertical ‘rokes, Practice these strokes on the floor as described on page five. Then apply them ‘othe marimba. Allow the moving lines to be heard above the accompaniment, ‘Montecristo combines all ofthe technical elements of the previous two etudes into an ‘animated selection in 7/8-meter. Bring out te strong beats of the rhythmic groupings to make this etude energetic. For more infomation on strong and weak beats, see the instructions for Bonnie Brae on page 15. In bar eight the sticking indicates thatthe right hand should cross over the left hand. Follow the stickings carefully. ‘Then from bars 9-14 the hands will be overlapped. This may be uncomfortable at firs. Experiment with dierent playing spots on the bars to make this easier. Keep the left hand fow and gradually build the dynamic erescendo. This section repeas in bars 44-49. The left hand fas a slow moving line in bars 32-42. The right hand should be slighty soter inthis section 35[Retr arate 4126 Grove Intense ube p Kain Double Vetcal Srokes 364 x é | t ; td t f f i ] th t ‘ SEER EEE RE x 87 oem a Mark Fora Tucker Double Vertical Strokes 4.96400 atican Soaglixe [eta aP > SEAR ERTuckerMark Ford, Montecristo Dowdle Vertical Strokes de1ap-ta2yavaea Sek ei Hara3 i ik aT Montecristo 6 SRE RAE EE EEE eeChorales Wellington Azalea Coventry ‘A marimba chorale isa four-mallet selection that connects notes and chords smoothly fnd evenly by rolling. Welliagion and Azalea offer single line melodies that gradually add voiees in the texture of the music, Coventry features a pedal tone to connect the work's ABA structure. Here ate some points to consider in preparing these chorale: 1. Use soft to medium-soft mallets. 2. Pay attention to the phrase and breath markings in the music. The mallets should lift from the bars stopping the sound at these points. Imagine that you are taking a breath for the next entrance at these points. 3. Practice the single line melodies separately. Eliminate any breaks between the notes fora smooth fluid approach. Utilize a steady rll speed. Do not accent notes when shifting from one note to another. Avoid swelling (crescendo and cc. Musser, Ripple or Flop Roll - This roll permutation is the same as the double lateral roll (1-2-4-3). The difference i the initial stroke. ‘The double lateral uilizes a wrist rotation while the Musser uses a drop-stroke that allows the mallets to “flop” or “ripple.” The inside mallets (#2 and 48) drop after the outside mallets (#1 and #4). This rll is best used at softer volumes. 4. Single Independent Roll - each hand rolls independently (one-handed roll). In general, students change roll speed too often. While shifting the roll speed can be effective a times, these choraes should be played with a steady roll speed to help the student percussionist develop a strong sense of musical line and phrase direction Mastering the traditional roll First will be your best chance For initial success, Listening: Listen tothe following examples to develop your concept af musical phrasing in chorale, Focus on hows the music flows from one harmony to the nest always in support of the melodic line. Notice when the performers breathe and how the teadence of each phrase is delivered, How ean you adapt these concepts into your performance? Vo Livre De Chorates Ein Choralbuch Fir Johann Sebastian (& Book of Chorale-Settings for Johann Sebastian, ‘German Mass’): Hanssler Classic 1999, CD92081 BWY 325 Hellig, Heilig, Heilig - Johann Sebastian Bach BWY 401 O Lamm Gottes, unschuldig - Johann Sebastian Bach BWV 437 Wir glauben all an einen Gott - Johann Sebastian Bach Other chorale selections by Bach may be found in 371 Four-Part Chorales (New York Associated Music Publisher). Orchestral Examples of chorale-style compositions: Adagio fr Sirings ~Sanvuel Barber ‘Serenade jor Sirings (Second Movement, Larghetto) ~ Edward Elgar Fifth Symphony (First Movement, Andante, opening section) ~ Piotr Tchaikovsky ‘Wind Ensemble: ‘The below wind ensemble recordings are by The University of North Texas Wind 'ymphony, Eugene Migliaro Corporon, Three Choral Pretudes ~ Johannes Brahms, arranged by John Boyd: GIA Recordings Volume V, Grade 4, CD 638 Variations on a Bach Chorale — Jack Stamp: GIA Recondings Volume il, Grade 4, cpsio Three Choral Preludes ~ William Latham: GIA Recordings Volume Il, Grade 4, CD $51 43puter of Chereles ? y senth ad t A Veg fet # . carn Wellington Chorate #1 Roll all Notes ya vet 1-20 stjeie oe = EE Lite an echoWellington CChorales are often performed differently than they appear on the writen page. Composers usually assume that the player undestanus bow to connect aes and phases nd when 0 wal. Below isan excerpe from Helingron from bars 18-23. The frst examples the written musi in the etude, The second indicates how the payer might interpret this muse +. a ee ee ee a (od ~~ a ~~ deMark Ford 48 Azalea Choral Tapall staccato woes | 99-6 Longing ions Roll all nvesTECoventry Chorale #3 Roll Al Nolet 468-70 With Hono and Respect ‘Mark Ford‘eee ea oe ee hl ad he a a a ‘Broadly Coventry Stowty contemplatingCombined Strokes Birchbrook West Oak Stoneman ‘These three etudes feature combinations of the strokes presented in this text, Birchibrook is primacily designed to focus on right hand interval changes while keeping the let hand in intervals of fourths and fifths. The trst section is primatiy legato and the player should focus on performing ina fluid connected manner. The staccato markings (dots) in the frst section do not indicate “dead stokes” (see page 73). Traditionally a staceato marking reduces the normal length of a note creating a detached articulation, ‘The staccato marking is used often in marimba music even though marimbists do not hhave control ofthe duration of an individual stoke. Imagine a detached tone on these notes and let the mallet(s) snap back to postion. For further understanding, listen to how ‘other instrumentalists interpret staccato markings. The etude changes character in bar 33 withan energetic groove in SI8 meter withthe right hand eventually moving to octaves. West Oak presents the opposite with attention given to left hand interval changes. The Jeft hand melody, beginning at bar five, should be heard clearly over the right hand ostinato. Always stive to bring out the moving line For musical diction and intrest. In bars 31 and 32, the left hand should play in octaves if the lower register is available. At bar 45 the work concludes with a slower metered chorale. The player is instructed to perform the notated rolls as 32% notes withthe left hand on the beat (playing 16° notes). The right hand fills in the remaining 32% notes. Even though this section is metered, try ‘to make the music smooth and connected. Be careful to observe the rests in bars 52 and '56, The final bar should be tapped sofily and not rolled, Written fora five-octave marimba, Stoneman gives the player an opportunity to develop the ability to blend and balance melodic and harmonic material, Strive to play the ‘melody at measure nine ina soft delicate manner while Keeping the left hand ‘accompaniment quietly supportive. Always be sensitive 1 the direction of the melodic line. Pay attention to the cadence of each phrase. Most phrase endings in this etude end with a diminvende. ‘Stoneman is dedicated to my uncle Bill MeClintock who, along with his wife Hilda, lived ‘next door to me where I grew up on Stoneman Road in Richmond, Virginia. Bll passed away atthe age of 84 on August 31,2004. This etude was written that morning, 3Birchbrook Combined Srotes ight Hand Inverval Changes ‘| 45108 Forestio the Sea Than NaBirchbrookBitehbrook[Bio] West Oak ~ Combined Srokes Left Hond nero Changes 4120 cing Reon > rr rrpWest Onk Slower Broader J =70 Pyar Bud nous Cif Hon el Contig rling ‘oboeGrashard ates Seams edn deme potee Stoneman In memory of Bill MeClintock Combined Strokes Mark Ford oLyrically Stoneman, pocortand dim. De.atcotaStoneman tempo A Slowly tempo