Asymmetrical Rhythms for Marimba.pdf

IJNTVIütSrrYCFCMCLyJiCMVUlGRADUATE COLLEGE A Document sijBAÆrrrEi)T%]TnHEGüiAiyu/LrE]^tc%JLTir in partial fulfillment of the requirements for the degree of [kxAorofhdnsk#i/uts By GEORGE H. TANTCHEV Norman, Oklahoma 2003 UMI Number: 3109063 INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. UMI UMI Microform 3109063 Copyright 2004 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Ml 48106-1346 I George H. Tantchev 2003 A ll Rights Reserved. Eugene Enrico Curtis McKmgbt . Roland Barrett Lance Drege Dr. William \^êGeld Dr.ASYMMETRICAL RHYTHMS FOR MARIMBA A Document APPROVED FOR THE SCHOOL OF MUSIC BY 6k? Dr. To Desi. Boyan and George IV . 22 ............. 16 5/8 (3+2) Clapping Exercises................ 20 7/8 (3+2+2) Clapping Exercises... 15 5/8 (2+3) Drumming Exercises........ 19 7/8 (2+2+3) Drumming Exercises................................. 19 7/8 (2+2+3) Oral Exercises....... TABLE OF CONTENTS PART ONE CHAPTER Page 1........................... 18 7/8 (2+2+3) Clapping Exercises.................................................. PRACTICAL EXERCISES FOR THE MOST COMMONLY APPLIED ASYMMETRICAL RHYTHMS............. 21 7/8 (3+2+2) Oral Exercises............. 21 7/8 (3+2+2) Drumming Exercises.............................................................................. 17 5/8 (3+2) Drumming Exercises............................................................................................................................................................. APPLICATION OF ASYMMETRICAL RHYTHMS IN THE MARIMBA REPERTOIRE...................... 1 PART TWO EXERCISES 2....... 17 5/8 (3+2) Oral Exercises............................................... 13 5/8 (2+3) Clapping Exercises................................................... 15 5/8 (2+3) Oral Exercises......... ............................... 35 7/8 (2+2+3) Advanced...... 23 9/8 (2+2+2+3) Drumming Exercises.................. 24 11/8 (2+2+3+2+2) Clapping Exercises................................................................................................. 36 7/8 (3+2+2) Beginning............................... 26 PART THREE ETUDES 3............................ 32 7/8 (2+2+3) Beginning............. 25 11/8 (2+2+3+2+2) Drumming Exercises..... 34 7/8 (2+2+3) Intermediate....................................................CHAPTER 9/8 (2+2+Z+3) Clapping Exercises........................................... 28 5/8 (2+3) Advanced...... 27 5/8 (2+3) Intermediate....... 38 7/8 (3+2+2) Intermediate...................................................................................................... ETUDES FOR MARIMBA IN ASYMMETRICAL RHYTHMS................ 27 5/8 (2+3) Beginning................................. 25 11/8 (2+2+3+2+2) Oral Exercises... 23 9/8 (2+2+2+3) Oral Exercises.............................................................................. 29 5/8 (3+2) Beginning............................................................................................ 30 5/8 (3+2) Intermediate............................................................................................ 39 vi .............................. 31 5/8 (3+2) Advanced.................... ........................... 47 11/8 (2+2+3+2+2) Intermediate..................................... 49 4... 45 11/8 (2+2+3+2+2) Beginning............. 48 11/8 (2+2+3+2+2) Advanced......................................................................................................................................................................................................CHAPTER Page 7/8 (3+2+2) Advanced............. 40 9/8 (2+2+2+S) Beginning........................................................................................... 53 BIBLIOGRAPHY.................................................... 57 vu . 44 9/8 (2+2+2+3) Advanced... CONCLUSIONS.. 43 9/8 (2+2+2+3) Intermediate................................... .^ Particularly challenging and innovative was his scoring for keyboard percussion instruments. launched a new phase in the use of percussion instruments..^ Pierre Boulez. a composer vôse name became synonymous with percussion. Concerfo/o r OreAeffra and other works. (London: Faber and Faber Limited. more and more composers have utilized such rhythms. has unquestionably been a source of inspiration to subsequent compxrsers. Îbid. f ercwrfion Lwrrumen/f o/zd Hw/ory. 1984). his S' owar aTwo and Eercwsaion is considered a milestone in the development of multi-percussion and as such. and also by the predominance of rhythm in folk music of the Balkans. 414.. Boulez employed xylophone and vibraphone in Le TMarreaw ma/rre and two Eve-octave xylorimbas. " Ibid. Bartok's use of asymmetrical rhythms became a strong influence for composers. ' James Blades. Le &rcre de f nnrerr^f."' He also states: It is possible that Bartok's enthusiasm for percussion was inspired by the employment of these instruments by his Central European predecessors. 435. dif&action and various accent possibilities.. CHAPTER ONE APPLICATION OF ASYMMETRICAL RHYTHMS IN THE MARIMBA REPERTOIRE Ever since Igor Stravinsky and Bela Bartok used asymmetrical rhythms in jPemtyAAo. . These ihythins give the music tension.. James Blades believes the percussion writing in the Sbnafa ". In particular. a) Discuss each asymmetrical rhythm as it appears in a contemporary marimba composition and stress the importance of accenting the longer beat. i. These four steps w ill provide a cohesive package for studying and understanding asymmetrical rhythms. the various grouping of short and long beats.e. two octaves of tubular bells and two octaves of bell plates in f /. glockenspiel. a series of large cowbells. d) Perform and practice the three levels of musically based etudes suitable for beginning. The purpose of the study is to identi^ the different asymmetrical rhythms present in selected contemporary marimba compositions and serve as a performance practice method for marimbists. b) Analyze the configurations of the rhythm. which often include challenging asymmetrical rhythmic combinations. c) Study and internalize the most commonly applied asymmetrical rhythms following the pedagogical suggestions of Bela Bartok. intermediate and advanced marimbists. Marimbists are constantly being challenged technically and musically by new compositions. Won The discovery of the vast potential of the marimba in recent decades fostered the creation of an unprecedented volume of literature written specifically for the instrument. 5/8 may be articulated as 2+3 or 3+2. This w ill include clapping. After careful consideration the following procedures were selected for use in this project. For example. drumming and chanting oral exercises. A considerable part of the interpretation of today's marimba repertoire depends .two vibraphones. Once these goals are achieved in one piece they typically proceed to the next. It w ill facilitate the process of learning and enable a better understanding of the various accent possibilities embodied in these rhythms.org) indicate that asymmetrical rhythms are largely present even in the first 6ve compositions marimbists encounter. Although many compositions for marimba make use of asymmetrical rhythms there is limited amount of available bterature to develop performance of these techniques.on the performer's sensitivity to the rhythmic structure of a particular work. ^PN. yfugust 2001.8. A study in asymmetrical rhythms w ill fill a gap in the marimba and percussion pedagogy materials. There is a need for systematic discussion o f the various existing natural* asymmetrical rhythms and need for a pedagogical text. Studying the rhythmic structure of a composition is just as important as understanding the form. melody and harmony. Since asymmetrical rhythms are found in the standard marimba repertoire. An awareness of asymmetrical rhythms w ill help marimbists to become sensitive to them and phrase the music in accordance with the natural accent embodied in them." f ercussh/e IVbtes. 43. 3 . Excerpts from a series of postings in the Members Only Conference Center at the Percussive Arts society web site (www.pas. It is important in this early stage for the young marimbists to also * Bartok.^ In the initial stages young marimbists focus more on tone qual% and proper technical execution. marimbists should be familiar with them as a prerequisite when performing contemporary compositions. "First Five Marimba Pieces. "The So-Ca/W Ba/garian jRhyThm" in &faya'. 40-49. if the rhythm of 5/8 is articulated as one short (duple) and one long (triple) meter the combination 2+3 beats requires accenting the triple meter. the nucleus of rhythm.this extension of the note value is no other than translation of a dynamic stress in terms of duration. around which the unaccented beats are grouped. 48.develop a clear concept for the natural pulsation of the various asymmetrical rhythms encountered. this triple accent creates a keling of rhythmic instability to performers. In essence. . is essential 6)r conveying the asymmetrical structure of the rhythm."^ For instance. According to Bartok the most common asymmetrical rhythms are natural ones. 6-7. It is important to mention that ".the accented beat is the focal point. Beryamin Suchoff (New York: St. ^ Crosvenor Cooper and Leonard Meyer.^ In order to project for the listener the feel of duple and triple meters. Bela Bartok.. Martin's Press. The T(hyrh/»rc 6'rrwcrwe q/'A ^rc... Accenting the longer beat stronger than the preceding duple. but can be overcome by practicing... Ibid. (Chicago: University o f Chicago Press. 1976). which vhen combined form different asymmetric combinations. 1960). the performer has to interpret some of the notes as accented and leave others as unaccented. asymmetrical rhythms are combinations of simple duple and triple meters.^ Initially. ^Bartok. ed. Bartok comments on the importance of stressing the longer beat stating: . they have not been laboriously thought up by composers. Bartok suggests: It would be advisable to take such rhythmic problems from the very beginning of musical study. '"Bartok. Numerous beginning level compositions mentioned in the Frrft Frvg AjbrrmAa f recef make extensive use of asymmetrical rhythms. The middle section of the piece (letters D through G) is almost entirely written in 5/8 rhythm and grouped 2+3 (Example No.. . while also exploring asymmetrical rhythms... Gordon Stout and Toshimitsu Tanaka. perhaps only in clapping. 48.. The introduction and the main m otif are written in 7/8 and articulated 2+2+3 (Example No. AAwogrqpA /F b y Richard Gipson is a wort that presents a number of diËerent technical and musical challenges for the young marimbist. Richard Gipson. Among them are works by Keiko Abe. . and above all singing of simpler works in these rhythms. Ibid. Ibid. 43.these rhythmic types caused great difRculties to trained musicians (though not to peasants). 11First Five Marimba Pieces. . drumming and conducting. At first.2). Paul Smadbeck. 1).. but have come into being in village music making. Then later on should come the playing. when the pupil's technical ability is still elementary. ^ Bartok. 8. by the most natural development.^ Another challenge is that the metrical unit in many compositions with asymmetrical rhythms is not the quarter note but a quite fast eiîth or sixteenth note To be able to perform fluently in fast tempi marimbists should spend time studying and internalizing the various asymmetrical rhythms hom the very beginning of their musical careers.. Instead of accenting the longer (triple) beat the môrity of marimbists accent the downbeat of each measure in the 7/8 (2+2+3). The interpretation of the middle section (Example No. 1 /F b y Richard Gipson (measures 14-16).2) requires that marimbists convey the 5/8 (2+3) feel clearly indicated in the rigbt hand melody. Example No. : : & m # # Quite often students fail to interpret the &el of the rhythm correctly due to very little or no previous experience with asymmetrical rhythms. Once again students tend to place the accent on the down beat stronger than the elongated second pulse of the . m » : a » sub. negating the asymmetrical feel.2 AfoMograpA /F b y Richard Gipson (four measures after D). m p Example No. 3). In most cases marimbists place the accent at the down beat of each measure. 7 by Paul Smadbeck there is no indication of a time signature for the Grst thir(y-6ve measures. The main challenge seems to be phrasing in 7/4. creates a challenge for the beginning marimbists. 12/16 (4+3+2+3) and 14/16 which could be broken down to two groups of 7/16 grouped (2+2+3). who has to consistently perform the two-measure phrasing while beginning to play on the nodes and gradually move to the center of the bars. Another composition by Smadbeck written in irregular pulsation is TMyfAm Sb»g. The tempo marking is posing yet another challenge for the beginning marimbist. In E W e TVb.measure. A different interpretation and flow of the piece . Counting the various asymmetrical rhythms along with the aforementioned requirements in the piece. 7 by Paul Smadbeck (measures 9-10). m A careful count of the sixteenth notes contained in the first page of the ErWk reveals phrases in 10/16 grouped (4+3+3). The quantity of the sixteenth notes is not the same in each measure and they are not grouped symmetrically (see Example No. 13/16 (4+3+3+3). Example No.3 TVb. ..a_gL ..^ = 1 J.. by Keiko Abe (Gfteen measures before the end). which conveys to the listener that the composition is written in irregular rhythm... The following asymmetrical rhythms are found in Two /o r ÀAzrfTnAa by Toshimitsu Tanaka. Example No..5 FariaTionf on J^gTonare CAi/ü&'en^y Song... This w ill require accenting the triple beat.. 5) appears consistently in the final section of the piece. They are:5/8 grouped (2+3) and (3+2). 7/8 grouped (3+2+2) and (2+2+3). ^ ^ --.. m "~ J. 4) Example No. .+ E ■ ïlF .4 Two AAzvemgnTfybr by Toshimitsu Tanaka (measures 57-58). F & In Keiko Abe's Forwrfong on a Song the rhythm of 3/16+3/32 (Example No. Following Bartok's performance suggestions..could be achieved if die rhythm is articulated as (2+2+3). the marimbist should accent the B-flat in the first measure and the G in the second (Example No. 7/16 (2+2+3) or (3+2+2). An analysis o f the rhythms employed by Stout shows the application of 5/16 grouped (2+3) or (3+2). 8/16 (3+2+3). Another composer whose works have become standards in the keyboard marimba literature is Gordon Stout.6) despite the Sequent alternations of duple and triple groupings of notes in a single measure. 11/16 (2+2+3+2+2) and even 13/16 (2+3+3+3+2). In the entire collection of his fourteen EWear/br Stout rarely gives any indication of a time signature (Example No. It is important in such cases to mentally regroup the various long and short groupings and make them work in a familiar asymmetric time signature. Previous experience and understanding of asymmetrical rhythms are necessary in order to successfully interpret the ErWef. Example No. 7 by Smadbeck and E/Wbfybr M m W a by Stout there is no indication of a time signature.7). . A good example is the second movement of by Andrew Thomas (Example No. 7 by Gordon Stout (measures 7-11 ).6 EW g JVo. In other occasions providing a time signature serves as an indication of the quantity of notes in one measure but gives no indication of note groupings. Encountering asymmetrical rhythms could be as challenging to the advanced marimba player as well. In some compositions such as JVo. If unfamiliar with such rhythms. the articulation in the second measure suggests asymmetrical subdivision of 7/16 (2+2+3) + 5/16 (3+2) and 5/16 (3+2) + 7/16 (3+2+2) in the third. Instead. Among the marimba compositions making use of asymmetrical rhythms is o/r TWbra by Dobri Paliev (Example No. performers w ill have to arduously count each short and long beat which w ill result in disruption of the musical flow and more difficult memorization.7 by Andrew Thomas (measures 107-108). If already familiar with asymmetrical rhythms. 8). Example No. :?Fr g The beginning time signature 6/8 could not be more misleading in terms of phrasing for the marimbist expecting to phrase the rhythm in the usual articulation of (2+2+2) or (3+3). The common grouping of (3+3) transforms as early as in the second measure where the groupings of sixteenth notes clearly reveal the composer's intention to break away 6om the conventional articulation of 6/8. Each variation is 10 . The unusual articulation of 6/8 remains throughout the second movement and marimbists could greatly benefit by combining the short and long beats into common asymmetrical rhythms such as 5/16 and 7/16 even across the bar line. marimbists can easily arûst mentally and reshape the 12 sixteenths asymmetrically. 9) and could also serve as a pedagogical tool for teaching the applied 5/8 (2+3). measures 10-13). 10). 9/8 (2+2+2+3) and 11/8 (2+2+3+2+2) rhythms. measures 1-3). 13/16 (2+2+2+3+2+2) even 15/16 (2+2+2+2+3+2+2).9 (variation n. Example No. In the final section of the composition marimbists are required to play in 11/16 (2+2+3+2+2).written in a different rhythm (Example No. Example No. 8 Tur/or/oMf o» TWora by Dobri Paliev (variation V. The variations are short and allow for a full concentration on a particular rhythm. 11 . 100 An interesting use of asymmetrical rhythms is seen in f receybr by Tsenko Minkin (Example No. 7/8 (7/16). 12 . The entire first movement of A&rrfmAa girarfer by Daniel Levitan is written in 7/8 with occasional measures either in 7/16 or 4/4. In recent reviews of a selected keyboard percussion ensemble music. An awareness of the structure of these rhythms w ill enable marimbists to better understand and perform existing and new marimba compositions. 10 CoMcerf f/ece/ô r Mzr. the composer Scott Johnson has written sections that alternate between 7/8 and 4/4 and in Dwzceh&y .m6a by Tsenko Minkin (six measures before the end). The former analysis indicates that it would be advisable for marimbists to spend time studying the most commonly used asymmetrical rhythms in the contemporary repertoire such as 5/8 (5/16). three of the five selected for review compositions make use of asymmetrical rhythms. Selected Reviews of Solo and Ensemble Percussion Literature. Example No.75.'^ In a composition scored for marimba quartet titled ThcoywwreMr Jr/n. August 2003. 9/8 (9/16) and 11/8 (1 1/16). i Ï Marimbists continue to encounter asymmetrical rhythms in new compositions as well.2 by Didie Benetti the contrasting themes are in 6/8 and 7/8. ^^N. The exercises are divided in three groups: 1) clapping exercises representing the basic subdivision of short and long beats in 13 .7/16.9/16. They will help marimbists to feel and internalize the most commonly used asymmetrical rhythms before encountering them in the marimba literature. The following exercises were developed following Bartok's suggestions and w ill enable the student to develop an understanding of the articulation of each rhythm. The analysis of the asymmetrical Aythms applied in the marimba literature in the first chapter revealed that the most frequently employed rhythms are 5//8 articulated (2+3) or (3+2). CHAPTER TWO PRACTICAL EXERCISES FOR THE MOST COMMONLY APPLIED ASYMMETRICAL RHYTHMS IN THE MARIMBA REPERTOIRE The exercises contained in the present chapter were developed following the pedagogical suggestions of Bela Bartok for introducing asymmetrical rhythms to beginning musicians. 7/8 grouped (2+2+3) or (3+2+2). Marimbists can also benefit by practicing them after encountering a particular rhythm in a composition. 9/8 as (2+2+2+3) and 11/8 articulated (2+2+3+2+2) in slow and moderately fast tempi and 5/16.11/16 in &st tempi articulated in the same way. The present chapter provides practical exercises for the initial introduction and practicing of each of the previously discussed rhythms. Most importantly they provide an opportunity to practice the pulsation of short and long beats in each rhythm. TI-R I-R I. Two different groups of syllables are used: M-TA. 48. A slow and a moderately fast exercise illustrates how the rhythm transforms its pulsation depending on the tempo. 2) d rumming exercises offering sticking patterns to further internalizing each rhythm. 14 .a particular rhythm. It is advisable that all exercises be practiced periodically until the counting is completely eliminated and each rhythm has been strongly established in the performers mind.'^ These exercises give an opportunity for initially practicing the feel of each rhythm without an instrument or even outside the practice room. M -TA-TA as suggested by Bartok and TI-R I. '%artok. These exercises w ill introduce and mentally establish the basic feel of each rhythm. This w ill provide a way to practice common sticking permutations encountered in the marimba literature. 3) oral exercises that offer syllables with no literal meaning comprise the third group of exercises. suggested by folklorist Raina Katzarova and also recommended for practicing by Bartok. Three possible sdckings are suggested for each separate rhythm. L R L R L L R LR L L R L R L R L R L R L R L R L R L R L R L .2 J-120 CLAPPING 4m J--. -J—------- 1 2 COUNTING DRUM M ING EXERCISES EX. 5/8 (2+3) CLAPPING EXERCISES J=60 CLAPPING J ' )]—».-■>j ■ )<—[-J J 1 2 1 2 3 1 2 1 2 3 1 2 1 2 3 1 2 1 2 3 COUNTING EX.1 4m J=1 JZL L R L R R L R L R R L R L R R L R L R R R L R L L R L R L. 2 J=120 4* L L R L L R L L R L L' R R R L R R L R R L R R L R L R L R L R L R L R L ORAL EXERCISES EX... EX.J73.1 M TA M TA TA n ...OT .. I7 2 .J Z n T I R I T I R I R I T I R I T I R I R I TIR IT IR IR I T IR IT IR IR I 16 .n M TA M TA TA M TA M TA TA M TA M TA TA EX...2 jiBiiMummin jm iiim ium miji. 0 -# 0 # 77] . 1 jd L R R L R L R R L R L R R L R L R R L R R L L R L R L L R L R L L R L R L L R L R L R L R L R L R L R L R L R L R L R L 17 . -Ml 1 2 COUNTING D RU M M IN G EXERCISES EX.1 CLAPPING X I X I 12 3 12 1 2 3 1 2 1 2 3 1 2 1 2 3 1 2 COUNTING EX.2 J=120 CLAPPING J . 5/8 (3+2) CLAPPING EXERCISES J=60 EX. .2 T I R I R I T I R I t I R I R I T I R I TIRIRITIRI TIRIRITIRI 18 .— I—#1— —#i-— I—^ — ^l— 4H R L R R L R R L R R L R L R L L R L L R L L R L R L R L R L R L R L R L ORAL EXERCISES EX. EX.TA TA M TA M TA TA M TA M TA TA M TA M TA TA M TA EX.2 ^ — #I— — I— ......1 M .. . #1 #L 1 2 3 1 2 3' COUNTING DRUM M ING EXERCISES EX..1 CLAPPING 4HM . --------------------. — .. 1 R L R L R L L RLRL RLL R L R L R L L RL RL RL L L R L R L R R L R L R L R R L R L R L R R L R L R L R R RL R L R L R L R LR LR L R L R L R LR L R L R L R L 19 . — . Ij ------------.J #1" -----------. 7/8 (2+2+3) CLAPPING EXERCISES J=60 EX.. 1 J.— Ü J ----------------.2 J=120 CLAPPING J 1 --------------------. n n m# J U l 1 2 1 2 1 2 3 1 2 1 2 1 2 3 1 2 1 2 1 2 3 1 2 1 2 1 2 3 COUNT&Kr EX. T/L R^TAM -TAM -TA-TA M -TAM -TAM -TA-TA EX.L&&l:]VV.1 4HK .j I «I"!] .j"i] JT"] «I .2 R L R R L R L L R L R R L R L L L R L R L R L R L R L R L R L r R L R L R L R L R L R L R L R L EX.2 TI-RI TI-RI TI-RI-RI TI-RI TI-RI TI-RI-RI TI-RI TI-RI TI-RI-RI TI-RI TI-RI TI-RI-RI 20 .j""] I «["I] * * H# ]\i/r/LÎd::IVV]kf/rVl/rjLAfJIVl]VB. EX.j .j «j I «f". 1 CLAPPING s n n n ^n i n n n. n n n 1 2 3 1 2 1 2 1 2 3 1 2 1 2 1 2 3 1 2 1 2 1 2 3 1 2 1 2 COUNTING E X. 7/8 (3+2+2) CLAPPING EXERCISES ^0 EX.2 J=120 CLAPPING 1 2 3 2 3 1 2 3 1 2 3 COUNTING EX 1 L R R L R L R L R R L R L R L R R L R L R L R R L R L R R L L R L R L R L L R L R L R L L R L R L R L L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L 21 . >- L R L R L R L R L R L R L R L R R L R L R L R L R L R L R L R L R R L R L L R L R R L R L L R L ORAL EXERCISES EX. E X .ninn M-TA-TA M -TA M -TA M-TA-TA M-TA M-TA M-TA-TA M-TA M-TA M-TA-TA M-TA M-TA EX2 T LR TK linjU TTRI THÜTÜ TLRITT4Ü TFRTÜI'THÜTT&I TL&LEITnüü TLRI 22 .nn.2 J j) j j J> J J 1 J J J 1 J J> J J >. 1 .mn n nn. 2 CLAPPING 4HH 1 2 COUNTING EX 1 mnammman 4 1 II: J — 4P--. 9/8 (2+2+2+S) CLAPPING EXERCISES J=60 EX.10— L R L R L R L R R L R L R L R L R R R L R L R L R L L R L R L R L R L L R L R L R L R L R L R L R L R L R L 23 . 1 CLAPPING 1 2 1 2 1 2 1 2 3 1 2 1 2 1 2 1 2 3 ()CHJNTING J=120 E X .~-W— — 4#---. ÿj ^ — — .Ri .III ri .lü 24 .TA M .TA M .RI . 1 M .lü Tï .TA EX2 T[ .— -0^ — I^ — ----------------------------------------.]&I TI . jj ^1 -------------------------.B1 ri -R I ri .TA . #i — — L R L R R L R L R R R L R L L R L R L L R L R L R L R L R L EX.^ 1 ^— — .TA M .TA M .TA M .TA M .TA M .TA .2 ..RI TI .— jsi . E X . ïü TI . .... 3 1 2 ajW riN G EX 1 M mmim ww m mwm miaiim mii» m inm w—ini im im mim mw. ■J 1 ... fm—mimni.. ....^— igg jp—4#— ^— W——W— W— W— I—W— ^— W— dp— ^ JH 1 2 1 2 1 .. 11/8 (2+24-3+2+2) CLAPPING EXERCISES J=60 EX.. 1 CLAPPING II in ■iiiiiiiiiiMiiiii. J — i i....1 J ---------------------... 2 3 1 2 1 2 1 2 1 2 1 2 3 1 2 1 2 (DOLMTING EX2 CLAPPING J — j .iiiiiim * | " i» w i| « œssmh * .«iminwpm .0---1—gL-........ J~3 LR L R L R R L R L R L R L R L R R L R L R RL R L R L L R L R L RL R L R L L R L R L RL R L R L R L R L R L R L R L R L R L R L 25 .. ... .HS^—— #---#---#---#--. ......... dP*-....... -4^—jgp ■..324:'......1.#---#---^ ^ ..|mi'" .. —^#1"" '— —'— '——#i — ■"■#j— R L R R L R L R L L R X L R L R L R L R L R L R R L R L R L R L R L R L EX.1 J 3 -J C 1 M -TA M -TA M -TA -TA M -TA M -TA M -TA M-TA M -T A -T A M -T A M -TA EX2 — 1|—tJ-— «J—3 0 #■■ "#1 X I TI-RI TI-RI T I -R IR i TI-RI TI -R I TI-RI TI-RI TI-R IR I TI-RI TI-RI 26 . E X .#1---.1 J---.2 — ^ ^ -----. Following the introduction is a simple melody. which repeats and is followed by a concluding four measures that restates the introduction. / 27 . The exercise can serve as a preparation for the feel in the middle section of Richard Gipson's Monograph IV (D-E). The accent should be placed on the longer beat throughout the etude. Moderato sun. CHAPTER THREE ETUDES FOR MARIMBA IN ASYMMETRICAL RHYTHMS Etude 5/8 (2+3) BEGINNING This beginning level two-mallet exercise has a four measure introduction that establishes the feel of 5/8 rhythm (articulated 2+3). 1-120 Moderato L R L R L R L R L R s i m . A tempo a TT "W "W Hr IT poco rail. Etude 5/8 (2+3 INTERMEDIATE S im ilar in structure to the beginning level 2+ 3. . Hr 16^ ______ I^ ^ T ^ aJ ? # ii 28 . Accenting the longer beat is required from the performer. this interm ediate tvm -m allet etude is a bit more challenging in the use of accidentals. This is a good way to exercise the feel o f 5/8 (2 + 3 ) and prepare m arim bists fo r m ore challenging works such as the marimba Etudes by Gordon Stout. tempo changes and a Gershwin-like feel. / 12 J -T _ w" >. Moderato R LLR R L R R L ^ R R L R L f i t . Etude 5/8 (2+3) ADVANCED This advanced level etude requires fluent four mallet playing skills and helps to internalize the feel of 2+3 before encountering the pattern in more difficult compositions such as Two Movements fo r Marimba and Merlin. t f j ' -ng i # 29 . it requires accuracy as well as accenting stronger the longer beat. Written in the spirit of Kuhlau and Clementi sonatinas. A short two measure introduction is followed by the main melody...f .i . -------- J... .4 ----.z < ..T ---------. ®" -J 11 I .^ >.. A crescendo in the last four measures reconfirms the feel of the 3+2 rhythm.^ 3. i — — ----..f — l .. r ... Etude 5/8 (3+2) BEGINNING Placing the accent at the beginning of each measure w ill provide a proper feel in this two-mallet etude. W-... fk .E ...y — y --------.J-----.._-------....." J——J-----..ji % ..i 4 igy I (Iff (ilji ilP llf ----. — = 4 = ^ .^ "^' | — j J s ---..1 — — 1------ — j — J— . ♦ J.I .J . ^ ^ .— S ----.J....J —. --------. . S» J..* -----.... >* J — 1— — 1— = 1 -1 .-------------------......:....J -------------J -------------..^----. .J------1->. Moderato R L R L R L R L R sim.z: ----.-----------------------------------------------.. j." ------.f 30 .J — >■ 8 t. . >- 15 m 1 ■ ■■ ■ ^ ^ gÿ _ g! J ^ -3 J ! 21 -M : f . 1=120 w = — > r — - 5 iL.iim i ^ -# --------.---- 9 — tkJ ...__z^— lit: p ^ L . The performer should not prolong or shorten the dotted quarter rest in the last measure.. Etude 5/8 (3+2) INTERMEDIATE The tenuto markings distinguish the 3+2 feel of the rhythm throughout this two-mallet etude.^ 9 — S.n - .lii. I 1' L ' :: -----.■- '^ 1 r -i jn — J J Jl.t .# 1 >..nil#.p— ==+ V '^ ' L T j J ^ 3 z j= ::= >> -3—3—3— a— : w 5 >- # E É ^ I / 31 . It should be performed with a hint of jazz and folk idioms. f m 1 2 3 2 Sim. The reestablishes the initial feel and is followed by a short two measure mini codetta that leads the etude to an ending. Playing this etude wül prepare marimbists to recognize the rhythm in works such as Merlin. #trA r tt i m b it m 32 . J. M. . After establishing the feel of the rhythm in the first four measures the performer takes a break and continues emphasizing the melody at the down beat of each measure. Etude 5/8 (3+2) ADVANCED This advanced level etude requires four mallet technique. Following the ntwabndb. M. M.yArmggwib and a/ZargaWo markings the etude leads to measure twenty seven where for a few measures it resembles an opera arioso with acf marking Immediately following are a few measures written in Beethoven-like trills in the spirit of his piano concertos. ... ... ■^...' I l 1 f s u b ito ff . ..f '--------------------------------------.. 33 ..r r |— j- # u m L%.. k W T l [ ----0— = F ^ --. ..* f f » F .... ... p- *=eaee ^ r .... _..# « .. . f —- --.W p--~J--- r 0 1 g.y.. ay .___r---. : 2.. >- b^bbosi f4 h = # # # : „ ad üb...a T t ï f .....q1 rrn ..------. = 1 f --------------------------------------------.# -------..$ . r it . .n fjh...r . . - e W a (f— — 1^ .. _ .-2 :--------... stringendo . > _ aUar gando r f .....i_..f ..„ . 35 marcato >. /T\ r\ . fr ^ 6- .J ' ... Etude 7/8 (3+2+2) BEGINNING The tenuto markings in the melody help convey the 3+2+2 pulse of the rhythm in this two-mallet etude. 7 10 34 . The same rhythm is found in compositions such as Two À&irimha and MerZin. appropriate for the beginning marimbist. The range is limited to a fifth. Moderato Sim. A short two measure introduction leads to a melody written in a question-answer mode. which ends unanswered. Etude 7/8 (3+2+2) INTERMEDIATE An avantgard jazz feel is predominant for this two-mallet etude. This etude w ill prepare marimbists for Gordon Stoufs ErWgf. Lively R L R L R L R L R L R L RL L R L R L R L R / 35 . a brief transition leads towards gradual disappearance of the tune. Accents and tenuto markings have been inserted fbUowing the melodic line. the pulse calms down to prepare the song-like character of this etude. which establishes the (3+2+2) feel encountered in Andrew Thomas' and Toshimitsu Tanaka's TVo Afbvg/nen/f Moderato..gg---------...L p— 0 ----i --.ÿ_^ ■ f T l h r 1M J : '■' ' Jf î F l H i ___% 3 *5 ^ F f ^ .. After the repetition of the main motif in a lower register.« # 4 2 3 2 3 1 m----kg 1# im-'/m----.... . Cantabile _ np —— ----------..:.— -.J 4 2 3 4 2 3 4 sim. _ _ -fl ^ ^ ^SL —— <^ 1) 1 f rFfêf-Ff+ -y z rk k ---------. which establishes the 3+2+2 feel. 5 f— I-— f= = i— i— ( -----f-—( -1— 1— rh izaiz— "22"' J"'" J "' i L r t. - W ÿ " •• ^ ■■ -4 36 .h 0 = - SL-SK----i _ p > s.... - . A ^p . ----. — # 5 t— L-'f' k kP---------. f # f f - IX T 'C J g ' LL-T .------------------- J:. Four-mallet technique is required for this etude. ' Æ J r i f r r f b f# rn H d '= + A t..... ~ 17 pw«p« -%zJz------. .... Etude 7/8 (3+2+2) ADVANCED After the Êrst six measures..J----. repeat ad lib... I 37 ... ......... dim... poco.a l m 7 SP W = B poco. Two-mallet technique is required. I 38 . — J I# __J. R L R L R L R L R L L m / L icrtrr" R L R L ^ p . A short two measure phrase establishes the feel in the beginning and at the end of the etude. Etude 7/8 (2+2+3) BEGINNING In an almost march-like melody the beginning marimbist has an opportunity to concentrate on accenting the longer beat in this 2+2+3 articulation. rolls and a slight temp variation at the end. n m=i poco rit^ .ifff j-i>. J=144 s r r r 1. 39 . Etude 7/8 (2+2+3) INTERMEDIATE In this two-mallet etude the marimbists performs the 7/8 in a more sophisticated manner encountering accidentals. The main goal is to help with the further internalization of the rhythm. A nfwdkzWo precedes the reappearance of first idea. e acceler indo § * g (J=172) sun. The main melody is introduced in measure 15 and subsequently repeated in different octaves with a few transitional phrases. Etude 7/8 (2+2+3) ADVANCED The begmning should be played with a misterioso mood leading to the establishment of the 2+2+3 feel encountered in pieces like AAr/m. Misterioso Sim. poco cresc. [ f v ttir + — ^ 4— *5— j*:- f-C 40 . Four-mallet technique is required. .14 J=144 T .. -r«—kf--.....»--- subito p p A tempo --r K s -V ritL JO (Æ Lr -T K P r ' W 4 a 41 . te f JRP 39 i / %'EF:cfT' T# ,# I^ i'r f l y Y : r v i M F#j if e B«bJ--- rM ^ accel. molto.......... sa«»«so«a«a«a9aaoaaaaaaaasaooB«asa«a 47 <T\ £ f-r J I r ‘I # repeat ad lib 42 Etude 9/8 (2+2+2+S) BEGINNING The descending melody, limited to the range of a fifth, gives an opportunity to practice the 9/8 2+2+2+3 rhythm. Accenting the longer beat is essential. The etude is written for two-mallets. J=120 R L R L R L R L A {^ lÆ U Ü J Ï- J j'l j" j J2 j J J J’i j- J J I j. J~] J I 43 Etude 9/8 (2+2+2+S) INTERMEDIATE After establishing the feel of 1+2+2+3 in the first two measures, marimbists can concentrate on the arioso-like feel of this etude. A few stops, /-ztarc&Wcw and ^ rg/zyof could be inserted at the discretion of the performer. Practicing this etude w ill help with the performance of Dobri PalieVs second variation of TTzirfee/z PbrW ow on TWom, which is written in the same rhythm. Two-mallet techmque is required. J=126 Lightly / Tp ; J’ >- r.. . i ' j L»__ — >- —12""1— p""'F— — -# riC n . this 6)ur-mallet etude should be entertaining for both the perharmer and listener.. J=132-1S2 m.. m.. Marimbists can create their own 12 measure improvisation(s) and insert it after measure fourteen. Etude 9/8 (2+2+2+3) ADVANCED Written in a twelve measure blues style. 5E a ^ .r a ....^ a I 45 . The same rhythm is found in Thirteen Variations on Tudora by Dobri Paliev and in Variations on Japanese (represented as 3/16+3/32). 13 B 1 w {3T r e m 15 # A A r\ à / I y allargando 46 . J-112 A L XVR L R L R L L. Etude 11/8 (24-2+3+2+2) BEGINNING Marimbists should attempt this etude aAer becoming familiar with the previous two-mallet beginning etudes in the study.• y J J J i Z-J j J J mm 11 i i # 47 . R XV L JL si m S im .-^-^1—^ #7 .. ^ -it -J...."""^ “. . The simple melody requires accenting the longer beat. ÿ1 m.. -J . which is surrounded by two short beats... 1 . tf. J = S p Ilf. Minkin's CoMcerr ffgce/br and in Paliev's Eariorioyw on TWora.. i=(^ { f e j f ' . LL R K Lu R sun. Accidentals and grace notes should be properly executed while creating the feel of an asymmetric Take Five by Brubeck. L R L R L R L R L R L sim.!>. ^ Ilf. » . The rhythm is found in Stout's Etudes. Moderato R L R L R R L K. ___ ______ __ n n \n ^ .:i I Ü " li repeat ad lib. I" 48 .» Ï 1 k. I>ï b» Ilf. Etude 11/8 (2+2+3+2+2) INTERMEDIATE The two introductoiy measures establish the jazz feel of this two-mallet etude. f: tf. J=160 £ m ÎTrbwwlr LiT'GAgf m $ & — -------- a # 4"'4 j 41 10 Sim. Discovering and projecting the turnarounds in the etude is needed &om the performer. The etude will help establish the feel of 11/8 (2+2+3+2+2) encountered in Stout’s Etudes. Etude 11/8 (2+2+3 +2+2) ADVANCED Sharp dynamic contrasts and virtuosic four mallet playing is required in this etude. 49 . Minkin's CoMcerf P i e c e a n d in Paliev's TTzi/feen Pariario/w o» TWora. The ending should be well built. Proper accenting of the longer beat is the main requirement for conveying the 2+2+S+2+2 rhythm. anticipated and furious. 15 subito liF /7 -# 2 = ^ 3 j/ A tempo $ g Æ __ a a 26 50 . . ... # d i m ... ™ ®j Apro A :K^:i -# N — .f .. # f i= = d -F = = = 4 M ---------- m F---------...-j)-3— — W -------.....-f .... ii----- f f = - ...- #1.. JO J2 : •cea..'r|)a .R -#--- r jr pi6 mow 0 [j^ •3' 5 5 ./ (»-3 : —3 — -4 — 3^... # a ^ ^ 51 . L %n: 3! L. km fa jp "' ' .' stringendo a%L^ ... ■|?3—. J J fl. -# \ r W . . -« -#. \ A A Au A *#• A A A b ....q —------ -U» r *N F - rnmmy = = 0..... g " M . —^ I » I" ■■■'■ ■■ 1)0 - cres.....3 - .. do h^3ËÜ A ^ -p -J:...#_. m m # m J p H '"tr — # — # — # — # ----- p — -I L # # 3 ■ 3 : 5 ë = J A A Resonators 52 . g #- Ê: À A A A 'f y : A ^ :K K » :K ^ :K ' m # . Often these new pieces present yet another challenge for the maiimbist in the form of asymmetric rhythmic combinations.^* This requires accenting the longer beat(s) in a given asymmetrical rhythm stronger that the duple meter(s). 53 . Gordon Stout. the elongation of the note value is a translation of a dynamic stress. Such rhythms are found in various levels of marimba compositions in works by Keiko Abe. Bartok suggests a series of exercises to be presented to students from the very beginning of their musical studies. four and even six mallet technique. Dobri Paliev. In order to achieve an awareness for the pulsation of strong and weak beats. Students often have to perform pieces containing asymmetrical rhythms and it is important to analyze short and long beats to determine which beats should be accented more than others. Following his pedagogical "*Bartok.. According to Bela Bartok. Paul Smadbeck. Richard Gipson. Tsenko Minkin and other prominent marimba composers. Ibid. 48. Andrew Thomas. Toshimitsu Tanaka. Modem composers constantly challenge marimbists technically and musically by exploring the possibilities of two. For this reason it is important for marimbists to develop a feel for the most often used asymmetrical rhythms. These challenging rhythms are present even in the very first pieces marimbists typically play. CHAPTER FOUR CONCLUSIONS The exploration of the potential of the marimba as a solo instrument in recent decades fostered the creation of an unprecedented volume of works written speciGcally for the instrument. To further research and discuss the nature of the asymmetrical rhythms students could benefit by listening to different genres of music containing such rhythms. intermediate and advanced asymmetric etudes. Also of benefit for the understanding of these rhythms would be listening to Igor Stravinsky's Petrushka and Le Sacre de Printemps. 54 . Practicing these exercises w ill assist marimbists in internalizing the natural flow of each rhythm. Dave Brubeck's Blue Rondo A la Turk and the albums Tears qy2qy and Bu/gartan Bu/ge by Don Ellis. 9/8 (articulated 2+2+2+3). such as 5/8 (articulated 2+3 and 3+2). Alla bulgarese) and from AAhroAos/nof Bu/gar. After repeatedly practicing these exercises marimbists w ill be able to more fluently perform the beginning. / ane/ 2.5 (Scherzo. Appropriate listening could include recordings of Bela Bartolds ybr TVo f/an o f and fgrcwszon.an Æhythnt Abf.. and 11/8 (articulated 2+2+3+2+2). Students are also encouraged to select and perform the etudes in a given level as a suite. the third movement of String Quartet iVb. Recordings of various folk cultures rich in asymmetrical rhythms such as Be A ^tere dies Pbnr Bulgares are^/rtAer recommended^ It would be invaluable to compare the use of asymmetrical rhythms in difierent ethnic traditions. Ibid. 186. drumming and oral exercises for the most commonly applied asymmetrical rhythms in the marimba repertoire.suggestions the present study oSers clapping. Such studies were done by Bartok who examined the presence of asymmetrical rhythms in various countries. Concerto_/or Orchestra. " Further research on the topic exists by ^%artok. 7/8 (articulated 2+2+3 and 3+2+2). 84. They also created and developed symbols to notate the different movements and steps. *®Raina Katzarova-Kukudova and K iril Djenev. changing into the new rhythm and dancing with still greater abandon. (Cambridge:Slavica Publishers. (Sofia:Nayka i Izkystvo. It is interesting to note a performance practice o f asymmetrical rhythms by folk dances: In some places the musicians change the rhythm in the middle of the dance to 7/8.folklorists Raima Katzarova-Koukodova. It is the author's hope that the present study w ill lead to further research of the asymmetrical rhythms. 1970). K iiil Djenev amd Stoyan rôudjefF.*® DjourêfF discusses the similarity of asymmetrical rhythms and poetic feet He compares the structure of simple.2/4 or 9/8 beat The dancers greet every change with a shout. This will further advance understanding and knowledge of the various asymmetrical rhythms. Their contributions revealed the close relationship between asymmetrical rhythms and folk dances. For example. the 11/8 rhythm. Bu/garian Fo/AÂhw/c. widely spread in Bulgarian and Macedonian music is compared with Gliconik Tripody. compound and heterometric rows with ancient Greek poetic feet. they identified that in Bulgaria every asymmetrical rhythm has a corresponding dance. 55 . *^Stoyan DjoucêfF. O f particular interest would be to discover if there are cultures that share common asymmetric rhythms. Brr/gorfon Dwzcea." Marimbists who would like to further analyze the existing asymmetrical rhythms could study them in a particular culture and compare them with existing materials on the subject. 1976). 32. For instance. articulated (2+2+3+2+2). further discussion on the subject w ill help for better understanding the nature of these rhythms. A. 56 . Most sincerely the author hopes that the present study w ill fill a gap in Ihe marimba and percussion pedagogy materials. by serving as a source for studying and internalizing asymmetrical rhythms. ” Percwfrve Abfef. Evanston: The Instrumentalist Company. 1976." AA«. 1977. Martin's Press. Zom. "The Miko ModalSystem o f Kiganda Xylophone Music [w ith] Volume II: Transcriptions o f the Amadinda Repertoire. 1994. Djoudjeff.A. Jay.Rg/evonf fo frob/ems. (July 2001): 28-33. Lee. and K." Affayf. " Ph. "Harvard Lectures. 1968...D. “The Metrorhythmic Structure of Bulgarian Folk Music. Bela. and L. 1976. 57 ." D.. Berkeley: University of California Press. 1952. ed.c EalucaroM VbumaZ. Benjamin SuchoS^ 40 . 7%g f grcugj/on v4nrAoZogy. Benjamin SuchoS^ New York: St. Instrumentalist. diss. 1995. 1963. Djenev. Robert. Broff EmambZe Belmont: Wadsworth Publishing Company. New York: St. University of California. BIBLIOGRAPHY Applebaum. Sofia: Izdatelstvo Sofia. C." Efaayf. PMfA Orzgiwif . University of Iowa. Cambridge: Slavica. ed. _________ . Dana "Guidelines for Coaching Student Composers. 1976. Gottlieb. Bartok. Kremenliev. 1978. Kaisarova. Los Angeles. R . The. Munchen-Zalzburg: Muzikverlag Emil Katzbichler. Paliev. 1960." Eayenencmg Chicago: University of Chicago Press. 7%e /rKyzan Thb/a DrzoTZ/Tzmg. Fi/Z SbuZ. Meyer. diss. Chicago: University of Chicago Press. (June 1996): 37-47. "A Comprehensive Performance Project in Percussion Literature With an Essay Comprised o f Multi-Percussion Performance Problems as Found in Selected CoMfempora/y PFbrAa. Wilson. o/'AAja/c. Cooper. Timothy. Bulgarian-Macedonian Folk Music.49. Boris. "The So-Called Bulgarian Rhythm.M. Martin's Press. 1977. Lois. Stoyan. Bulgarian Folk Music. Rice. Dobri. Anderson. Documents Similar To Asymmetrical Rhythms for Marimba.pdfSkip carouselcarousel previouscarousel nextSurvey of Selected Keyboard Music From the Baroque and Classicalpeer teaching 2 lesson plan Music and the BrainSibelius WorksheetsSchumann Revisions03 Rhythmic Vocabulary.pdfNicolo Avila Practice DiaryTeaching Ensemble Fundamentalstheory 1The Dyslexic Reader 2008 - Issue 49Hymn Accompaniment - Choirmaster's Manual - 190816e72cf0-bfd0-45b2-af27-32c26318f401.pdfSneadBerger-Practice Perception Multi-functionality DrummerLatin Jazz Star Michel Camilo on Left Hand IndependenceCarnaval 22nddo 2-16-18christina lucini orff lesson new templateMassnet Poèmes d’Amour.pdfMore From dan2981Skip carouselcarousel previouscarousel nextC Jam BluesBWV1002.pdfABC songEleanor Piano PracticeInformation_for_applicants.pdfIMSLP56075-PMLP115850-Glinka_Zhavoronok.pdfMaple Leaf Rag 1Elementary School Children Vocal RangeShostakovich 15 Intervals P. Child (1993).pdfAge 9 Nov 1938Example Compositiondraw_symbols2.pdfGame_of_Thrones_Easy_piano.pdfApollo Twin MkII Hardware ManualSix Stage Plot StructureIMSLP36267-PMLP80941-Villa-Lobos_-_Trio_for_oboe__clarinet_and_bassoon__score_.pdfIMSLP376954-PMLP603532-Poulenc_-_Sonata_for_Horn__Trumpet__and_Trombone__score_.pdfAperture Priority Cheat SheetInformation for Applicantsgonzales__solo_piano_vol_2.pdfAdagio Cantabile Pathetique Sonata Beethoven Easy PianoTwinkle Twinkle Lilijazz piano voicings mantooth.pdfUnderstanding the Score - Film Music Communicating to and Influencing the AudienceRussian Church Chants.pdfNarrative Film MusicHSC2016-Piano.pdfALL BLUESPOW Training Guide.pdfFooter MenuBack To TopAboutAbout ScribdPressOur blogJoin our team!Contact UsJoin todayInvite FriendsGiftsLegalTermsPrivacyCopyrightSupportHelp / FAQAccessibilityPurchase helpAdChoicesPublishersSocial MediaCopyright © 2018 Scribd Inc. .Browse Books.Site Directory.Site Language: English中文EspañolالعربيةPortuguês日本語DeutschFrançaisTurkceРусский языкTiếng việtJęzyk polskiBahasa indonesiaSign up to vote on this titleUsefulNot usefulYou're Reading a Free PreviewDownloadClose DialogAre you sure?This action might not be possible to undo. Are you sure you want to continue?CANCELOK

Comments

Description