The Objective Grading of Original Unaccompanied Four-Mallet Solo Vibraphone Literature

Transcription

1 The Objective Grading of Original Unaccompanied Four-Mallet Solo Vibraphone Literature Item Type text; Electronic Dissertation Authors Hewitt, Jeffrey Allen Publisher The University of Arizona. Rights Copyright is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 16/04/ :35:57 Link to Item

2 THE OBJECTIVE GRADING OF ORIGINAL UNACCOMPANIED FOUR-MALLET SOLO VIBRAPHONE LITERATURE by Jeffrey Allen Hewitt Copyright Jeffrey Hewitt 2014 A Document Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2014

3 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Jeffrey Allen Hewitt, titled The Objective Grading of Original Unaccompanied Four-Mallet Solo Vibraphone Literature and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts. Date: 11/10/2014 Norman Weinberg Date: 11/10/2014 Edward Reid Date: 11/10/2014 Kelly Thomas Final approval and acceptance of this document is contingent upon the candidate s submission of the final copies of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the document requirement. Date: 11/10/2014 Document Director: Norman Weinberg

4 3 STATEMENT BY AUTHOR This document has been submitted in partial fulfillment of the requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this document are allowable without special permission, provided that an accurate acknowledgement of the source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. SIGNED: Jeffrey Allen Hewitt

5 4 ACKNOWLEDGEMENTS I would like to thank my faculty advisor and document director, Dr. Norman Weinberg, for his continued support and advice throughout this project and degree program. In addition, I am also grateful for the support from Dr. Kelly Thomas and Prof. Edward Reid who served on my major advisory committee throughout my time at the University of Arizona, as well as Prof. Gregg Hanson and Prof. Jay Rees for their participation as members of my minor committee. Without the ideas and methods of Dr. Julia Gaines, I may not have been able to execute this particular research topic. As her former student at the University of Missouri, I would like to thank Dr. Gaines and all of my previous teachers and colleagues that have influenced me along the way. Lastly, I am most thankful to my parents, Allen and Ruth Hewitt, for their incredible support throughout my entire life and education. Their energy and interest in each of my adventures and endeavors will always continue to overwhelm me. Thank you for being my biggest fans

6 5 TABLE OF CONTENTS LIST OF MUSICAL EXAMPLES... 9 ABSTRACT CHAPTER 1: INTRODUCTION OF SUBJECT Limits of Study Four-Mallet Technical Considerations CHAPTER 2: BACKGROUND INFORMATION ON SCHOLARLY LITERATURE. 24 Contradicting Graded Databases Piano and Marimba Literature Leveling Systems CHAPTER 3: METHODOLOGY Vibraphone Solo Analysis Document Musical Considerations Technical Considerations CHAPTER 4: ANNOTATIONS FOR LEVEL 1 LITERATURE X for Abby (from Canções Infantis Book 2), Ricardo A. Coelho de Souza Anna (from Songs For Vibes), Ron Fink Daybreak, Clifford K. Chapman Level 1 Literature CHAPTER 5: ANNOTATIONS FOR LEVEL 2 LITERATURE In The Stillness Of Twilight, David Steinquest Prelude (from Prelude and Blues), Ney Rosauro... 54

7 6 TABLE OF CONTENTS Continued Hickory Trail (from Solo Vibraphone Collection), Marlène & Jerry Tachoir.. 57 Level 2 Literature CHAPTER 6: ANNOTATIONS FOR LEVEL 3 LITERATURE Suite For Solo Vibraphone, II., Alexander Lepak Finale In Five (from All Alone By The Vibraphone), Victor Feldman Lament (from Recital For Vibraharp), Thomas L. Davis Level 3 Literature CHAPTER 7: ANNOTATIONS FOR LEVEL 4 LITERATURE Mist, Murray Houllif Mirror From Another (from Mirror From Another), David Friedman Waltzer/Waltz (from Funny Vibraphone Book I), Nebojša Jovan Živković Level 4 Literature CHAPTER 8: ANNOTATIONS FOR LEVEL 5 LITERATURE Waltz King (from Music Of The Day), Bill Molenhof Two Bass Vibes (from Solo Jazz Vibraphone Etudes), Arthur Lipner II for Johnny (from Canções Infantis Book 2), Ricardo A. Coelho de Souza Level 5 Literature CHAPTER 9: ANNOTATIONS FOR LEVEL 6 LITERATURE abstruser musings (from Six Poems), Robert Stright Absolute Journey Music, Robert Bridge... 94

8 7 TABLE OF CONTENTS Continued Carillon (from Wallflower, Snowbird, Carillon), Gary Gibson Level 6 Literature CHAPTER 10: ANNOTATIONS FOR LEVEL 7 LITERATURE The Apocryphal Still Life, Christopher Deane the wind (from Reflections), Lynn Glassock Encantada, Nathan Daughtrey Level 7 Literature CHAPTER 11: ANNOTATIONS FOR LEVEL 8 LITERATURE Kaleidoscope, Arthur Lipner Blues For Gilbert, Mark Glentworth And The Mountains Remain (from New Works For New Times), Bill Molenhof Level 8 Literature CHAPTER 12: ANNOTATIONS FOR LEVEL 9 LITERATURE Mourning Dove Sonnet, Christopher Deane Song Of The Libra, Mario Gaetano A Glorious Secret (from Imageries), Jon Metzger Level 9 Literature CHAPTER 13: ANNOTATIONS FOR LEVEL 10 LITERATURE a new year s fanfare (from Reflections), Lynn Glassock Sonata Brevis, I., Raymond Helble

9 8 TABLE OF CONTENTS Continued Ajax Men Of Science (from Solo), Gary Burton/Steve Swallow Level 10 Literature CHAPTER 14: CONCLUSION APPENDIX A: LEVELED DATABASE OF ANALYZED PIECES APPENDIX B: LETTERS OF PERMISSION REFERENCES

10 9 LIST OF MUSICAL EXAMPLES Musical Example 4.1: Line 5 of Ricardo A. Coelho de Souza s X for Abby from Canções Infantis, Book Musical Example 4.2: Measures of Ron Fink s Anna from Songs For Vibes Musical Example 4.3: Measures from Clifford K. Chapman s Daybreak Musical Example 5.1: Measures 51 & 52 from David Steinquest s In The Stillness Of Twilight Musical Example 5.2: Measures 59 & 60 from David Steinquest s In The Stillness Of Twilight Musical Example 5.3: Measures 1 4 from Ney Rosauro s Prelude and Blues, I. Prelude Musical Example 5.4: Measures 44 & 45 of Marlène and Jerry Tachoir s Hickory Trail from Solo Vibraphone Collection Musical Example 5.5: Measures 21 & 22 of Marlène and Jerry Tachoir s Hickory Trail from Solo Vibraphone Collection Musical Example 6.1: Measure 16 of Alexander Lepak s Suite For Solo Vibraphone, II Musical Example 6.2: Measures of Victor Feldman s Finale In Five from All Alone By The Vibraphone Musical Example 6.3: Measure 32 of Victor Feldman s Finale In Five from All Alone By The Vibraphone Musical Example 6.4: Measures 7 & 8 of Thomas L. Davis Lament from Recital For Vibraharp Musical Example 6.5: Measures 31 & 32 of Thomas L. Davis Lament from Recital For Vibraharp Musical Example 7.1: Measure 20 from Murray Houllif s Mist Musical Example 7.2: Measures from Murray Houllif s Mist... 73

11 10 LIST OF MUSICAL EXAMPLES Continued Musical Example 7.3: Measures 32 & 33 of David Friedman s Mirror From Another from Mirror From Another Musical Example 7.4: Measures 26 & 27 of Nebojša Jovan Živković s Waltzer/Waltz from Funny Vibraphone Book I Musical Example 8.1: Measure 26 of Bill Molenhof s Waltz King from Music Of The Day Musical Example 8.2: Measures of Bill Molenhof s Waltz King from Music Of The Day Musical Example 8.3: Measure 46 of Arthur Lipner s Two Bass Vibes from Solo Jazz Vibraphone Etudes Musical Example 8.4: Measure 4 of Arthur Lipner s Two Bass Vibes from Solo Jazz Vibraphone Etudes Musical Example 8.5: Measures 21 & 22 of Arthur Lipner s Two Bass Vibes from Solo Jazz Vibraphone Etudes Musical Example 8.6: Measures 1 & 2 of Ricardo A. Coelho de Souza s II for Johnny from Canções Infantis, Book Musical Example 8.7: Measure 6 of Ricardo A. Coelho de Souza s II for Johnny from Canções Infantis, Book Musical Example 9.1: Line 3 from Robert Stright s Six Poems, 3. abstruser musings Musical Example 9.2: Line 2 from Robert Stright s Six Poems, 3. abstruser musings Musical Example 9.3: Measure 12 from Robert Bridge s Absolute Journey Music Musical Example 9.4: Measure 83 from Robert Bridge s Absolute Journey Music Musical Example 9.5: Measures 55 & 56 from Robert Bridge s Absolute Journey Music Musical Example 9.6: Measures from Robert Bridge s Absolute Journey Music. 96

12 11 LIST OF MUSICAL EXAMPLES Continued Musical Example 9.7: Measures 9 & 10 of Gary Gibson s Carillon from Wallflower, Snowbird, Carillon Musical Example 9.8: Measure 27 of Gary Gibson s Carillon from Wallflower, Snowbird, Carillon Musical Example 10.1: Measures 56 & 57 from Christopher Deane s The Apocryphal Still Life Musical Example 10.2: Measures 10 & 11 from Christopher Deane s The Apocryphal Still Life Musical Example 10.3: Measure 68 from Christopher Deane s The Apocryphal Still Life Musical Example 10.4: Measure 31 from Lynn Glassock s Reflections, III. the wind Musical Example 10.5: Measures 32 & 33 from Lynn Glassock s Reflections, III. the wind Musical Example 10.6: Measure 17 from Lynn Glassock s Reflections, III. the wind Musical Example 10.7: Measure 12 from Nathan Daughtrey s Encantada Musical Example 11.1: Measures 32 & 33 from Arthur Lipner s Kaleidoscope Musical Example 11.2: Measure 101 from Arthur Lipner s Kaleidoscope Musical Example 11.3: Measures 27 & 28 from Mark Glentworth s Blues For Gilbert Musical Example 11.4: Measures 69 & 70 from Mark Glentworth s Blues For Gilbert Musical Example 11.5: Measures 1 & 2 of Bill Molenhof s And The Mountains Remain from New Works For New Times Musical Example 11.6: Measure 103 of Bill Molenhof s And The Mountains Remain from New Works For New Times

13 12 LIST OF MUSICAL EXAMPLES Continued Musical Example 12.1: Measures from Christopher Deane s Mourning Dove Sonnet Musical Example 12.2: Measures from Christopher Deane s Mourning Dove Sonnet Musical Example 12.3: Measures from Christopher Deane s Mourning Dove Sonnet Musical Example 12.4: Measure 86 from Mario Gaetano s Song Of The Libra Musical Example 12.5: Measure 88 from Mario Gaetano s Song Of The Libra Musical Example 12.6: Measures 134 & 135 from Mario Gaetano s Song Of The Libra Musical Example 12.7: Measures 14 & 15 from Jon Metzger s Imageries, 3. A Glorious Secret Musical Example 13.1: Measure 30 from Lynn Glassock s Reflections, I. a new year s fanfare Musical Example 13.2: Measures 37 & 38 from Lynn Glassock s Reflections, I. a new year s fanfare Musical Example 13.3: Measures 5 & 6 from Raymond Helble s Sonata Brevis, I Musical Example 13.4: Measure 9 from Raymond Helble s Sonata Brevis, I Musical Example 13.5: Measure 39 of Gary Burton/Steve Swallow s Ajax Men Of Science from Solo Musical Example 13.6: Measure 13 of Gary Burton/Steve Swallow s Ajax Men Of Science from Solo

14 13 ABSTRACT An important resource in many areas of music is the availability of standardized graded databases of literature for solo instruments. These databases provide a progression of technical abilities that help musicians follow a proper path in developing new skills. Currently in the area of percussion, there are no graded databases for solo vibraphone literature. While there are several sources that contain subjective graded music lists, none of these sources have a standardized approach in defining each of their difficulty levels, and this creates contradicting information for particular pieces. The goal of this research is to present the first standardized and systematic approach to grading the difficulty levels of vibraphone literature. Influenced by pianist Jane Magrath s reference guide of piano teaching literature and percussionist Julia Gaines research project on marimba repertoire, this research is modeled on Gaines objective analysis document used to grade marimba literature with ten different levels of difficulty. With the exception of dampening and pedaling, all of the technical aspects required for playing the vibraphone remain the same as the marimba. Because musical considerations are subjective in nature, only the quantifiable technical considerations are used for grading each work in an objective manner. The technical difficulty of original unaccompanied four-mallet solo vibraphone literature is assessed through the analysis of stroke speed, interval size, wrist turns, manual changes, independence, dampening, and pedaling. Each piece s grade will be classified based on the highest level of technical difficulty found in the music. The

15 14 selection of vibraphone literature for this research comes from pieces found on prescribed state music lists and university handbook recommendation lists. Annotations are included to describe the pieces that are particularly mislabeled, and a discussion regarding the performance challenges that each piece presents are offered. Three annotations from each of the ten difficulty levels contain a justification based on the results recorded in the analysis document. With an extensive graded database containing over one hundred seventy vibraphone pieces listed in the appendix, this resource will assist percussion students and educators in selecting appropriate vibraphone literature to study and perform within a proper progression from one work to another.

16 15 CHAPTER 1: INTRODUCTION OF SUBJECT An important resource in many areas of music is the availability of standardized graded databases of literature for specific solo instruments. These databases contain information that benefits performers, educators, students, and scholars in finding the appropriate literature for their particular needs. Most importantly, they provide a progression of technical abilities that help musicians follow a proper path in developing new skills. Currently in the area of percussion, there are no graded databases for solo vibraphone literature. There are several sources that contain subjective graded music lists, and some of those include publisher websites, sheet music catalogues, and instrument organization databases. Unfortunately, none of these sources have a standardized approach in defining each of their difficulty levels, and this creates contradicting information for some particular pieces. The goal of this research is to present the first standardized and systematic approach to grading the difficulty levels of vibraphone literature. Having been influenced by pianist Jane Magrath s reference guide 1 of piano teaching literature, percussionist Julia Gaines pursued a similar research project for the 1 Jane Magrath, The Pianist s Guide to Standard Teaching and Performance Literature (Van Nuys, Calif.: Alfred, 1995).

17 16 marimba. 2 I served as a research assistant to Dr. Gaines at the University of Missouri, and together we were able to create and refine an analysis document that allowed us to objectively place four-mallet marimba solos into different grade levels. With nearly all of the same techniques found in four-mallet vibraphone literature, I will be modeling my analysis document on the one that we used to grade marimba literature. Due to the common skills necessary for playing both instruments, this resource on solo vibraphone literature can serve as a companion to Gaines database of graded solo marimba literature. Percussion students will be able to study simultaneously marimba solos and vibraphone solos found within the same level since the majority of the instruments techniques overlap. With the exception of dampening and pedaling, all of the other technical aspects required for playing the vibraphone remain the same as the marimba. Although both instruments techniques are similar, marimba literature and vibraphone literature are completely separate bodies of repertoire. For example when comparing trumpet literature to tuba literature, it is understood, as brass instruments, they contain similar techniques, but their literature is independent of each other. Composers write specifically for the unique sonic qualities and technical challenges of each of these instruments. While musical considerations and technical considerations are both analyzed throughout each work, only the quantifiable results of the technical considerations are used for the grading of each piece s level of difficulty. Due to the subjective nature of the musical considerations, this research will only be influenced by objective elements. In 2 Julia Gaines, An Objective Grading System for Four-Mallet Marimba Literature: The Creation of Performance Levels (research presented at the Percussive Arts Society International Convention, Austin, Tex., November 7, 2008).

18 17 addition, if a particular passage in the music requires a technique placed at a level greater than the majority of the work s technical considerations, the grade must remain placed in the level of difficulty with the most challenging element. Every individual musician will excel at different technical skills from one to another, but the ordering of each technique presented within the analysis document provides a logical sequence associated with the physical movements that are required to play the vibraphone. Each of the technical terms associated with four-mallet vibraphone performance will be discussed in the technical considerations section. Limits of Study The music that will be analyzed consists of vibraphone literature that requires the use of four mallets with no accompaniment or additional instruments. All of the pieces will contain original music, excluding transcriptions and arrangements. If a work contains a required improvisation section with the absence of any precise notation, it cannot be analyzed properly for this research. Those pieces that contain optional improvisation sections will still be included. In addition, each piece must have been composed with the intention to be played as a solo, excluding any study pieces that may come from a vibraphone method book. Over seven hundred vibraphone solos with these parameters have been published throughout the world as found in literature catalogs, publisher websites, and composer homepages. The selection of vibraphone literature for this research will be based on those pieces found on prescribed state music lists and university percussion handbook recommendation lists. The following states use a prescribed list for their high school music contests: Florida, Indiana, Missouri, Texas, and Wisconsin.

19 18 Having browsed throughout nearly fifty successful percussion studio homepages within the United States, the following university percussion programs include lists available on their public websites of representative pieces for each skill level: University of Arizona, Arizona State University, University of Central Florida, and University of Kentucky. After combining each of these lists and acquiring the printed music of each work, a total of one hundred seventy-two pieces, or individual movements, are included within this research. For those pieces that are found within a collection of works, each piece will be considered its own individual solo. In addition, works with multiple-movements will contain an analysis on each individual movement due to the likely differences in difficulty from one to another. Four-Mallet Technical Considerations There are many factors that are taken into consideration when analyzing fourmallet keyboard percussion literature. One of the most important areas is the common stroke types used to perform the music on the instrument. Similar in technique to the marimba, the vibraphone requires four standard stroke types: double vertical, single independent, single alternating, and double lateral. 3 The terms for each of these strokes were originally described in Leigh Howard Stevens Method of Movement for Marimba, a book that transformed and codified the techniques of four-mallet keyboard playing. Each of these stroke types will be divided into two main categories: non-lateral strokes 3 Leigh Howard Stevens, Method of Movement for Marimba: Revised and Expanded (Asbury Park, N.J.: Keyboard Percussion Publications, 1990), 24 5.

20 19 and lateral strokes. Other specialized strokes and additional four-mallet techniques will be discussed following the four basic stroke types. Of the two non-lateral types, the double vertical stroke is commonly the first stroke that beginners study when learning four-mallet keyboard percussion. It produces two pitches simultaneously with the same hand holding two mallets. Both mallets strike the keyboard bars vertically with a motion from the performer s wrist. The single independent stroke consists of only one mallet striking the bar in a rotated and vertical motion. Because only one mallet is used to play in each hand for this stroke type, the rotation of the stroke will occur for either the inside or the outside mallet. Of the two lateral stroke types, the single alternating stroke is most commonly learned first. Single alternating strokes contain two mallets in each hand that alternate independently. Unlike the single independent stroke, there is not an unused mallet that needs to be isolated with this technique. The double lateral stroke is essentially a single alternating stroke played at a faster speed. It produces two sounds within a very short duration, based on the tempo and notation of the music. Technically, the double lateral stroke is executed with a single motion creating two sounds or attacks, whereas the single alternating stroke contains an independent motion for each note. The other stroke types included within the analysis are triple strokes, combination strokes, and rolls. Introduced in the lateral strokes section of Kevin Bobo s Permutations For the Advanced Marimbist, triple strokes occur when three consecutive notes are played adjacently in a single hand starting with either the inside or outside mallet. 4 In order for this technique to be considered a triple stroke, it must be played at the tempo of 4 Kevin Bobo, Permutations For the Advanced Marimbist (Asbury Park, N.J.: Keyboard Percussion Publications, 2007), 35.

21 20 a double lateral stroke. Another category of strokes found in the analysis document is the inclusion of combination strokes. By combining any two non-lateral and/or lateral strokes, these specialized strokes are based on consecutive strokes of different types within the same hand. The coordination required to execute these combination strokes successfully is extremely challenging. The last group of strokes will consist of different four-mallet roll types: hand-to-hand, 2-mallet, mandolin, double lateral/ripple, and onehanded single independent. Even though rolls are not as commonly found in vibraphone literature due to the nature of the instrument s longer duration of resonance, there are enough pieces that contain the use of rolls that ultimately require this category to be included. Within each stroke type category, the speed of every stroke has to be taken into consideration. As the stroke speed increases, the difficulty of each stroke type becomes greater. The analysis document clearly defines which tempos are based on eighth-note rhythms or sixteenth-note rhythms; many mathematical equations are used to determine stroke speeds based on the note value and its given tempo. For example, the stroke speed of eighth-note triplets must be converted into the speed of regular eighth-notes; this determines its unique speed within the marked tempo of the piece. When a tempo range is given, the analysis will always be based on the lowest tempo marked. If a numerical tempo is not provided in the score, a definitive recording provided by the composer can help determine an approximate tempo range. For each stroke type, except for the single independent stroke, the interval size between the two mallets in a single hand is another major factor used in determining a piece s grade level. For double vertical strokes, easier and comfortable intervals are

22 21 found between a second and a sixth, while it becomes more difficult to play a seventh or greater with the addition of faster tempos. For lateral strokes, easier and more comfortable intervals are found between a third and a sixth, while it becomes increasingly more difficult to play a second and a seventh or greater, due to the nature of its particular motion. In addition to stroke speed and interval sizes, the occurrences of wrist turns and manual changes are quantified for each level. Similar to a piano or marimba, the vibraphone contains two manuals, a lower and an upper manual, and it is necessary to analyze how often these maneuvers occur per bar, per phrase, or per piece. These changes in body position will create more difficulty based on where the notes are found on the keyboard instrument. An additional consideration found within the analysis document is independence between the two hands. Common terms such as alternating, unison, parallel, overlapping, and mirroring are used to describe the motion that is executed between both hands to play particular passages in the music. There are also several instances where a one-handed single independent roll may be occurring with another overlapping stroke type. Other forms of independence commonly found in mallet keyboard literature are various polyrhythms, hand-crossing techniques, and Alberti bass functions. Due to the difficult nature of the many forms of independence, it is not rare for a piece s level to be determined ultimately by its high level of independence. The two technical issues that set the vibraphone apart from the marimba are dampening and pedaling considerations. Vibraphonist Gary Burton states, With these techniques, the flexibility of the instrument, both in phrasing and multi-line playing is greatly improved and, most importantly, the expressive freedom of the player is increased

23 22 tremendously. 5 Dampening occurs after a note is struck when a mallet dampens, or muffles, that note while another mallet strikes the next note. This is typically notated with an X placed on the staff at the point in which the note is to be dampened. In order to allow these notes to sustain, the pedal is depressed throughout. Although dampening is most commonly accomplished with a mallet, the use of the hand or fingers is another implement that can be used for dampening notes. Most composers will not typically specify which dampening technique is to be used. Pedaling is one of the greatest difficulties found with vibraphone technique for most percussionists who have experience playing the marimba or xylophone. Unlike the marimba s and xylophone s wooden bars, the aluminum bars of a vibraphone are capable of sustaining notes for a much longer duration, ultimately requiring a pedal and damper mechanism. Pedaling markings are notated with the common symbol of a piano pedal and/or with brackets and a horizontal line below the staff that indicate when to depress and release the pedal. The sustain of the notes found within the brackets is held throughout the entire duration of the horizontal line. Vibraphone virtuoso David Friedman states, Deft use of the pedal, however, can mean the difference between a smooth legato line and a confused, undefined cluster of notes. 6 When a composer chooses to indicate pedalings, it is common to find pedal notation in the first few measures only, followed by a simile (sim.) marking. 5 Gary Burton, foreword to Vibraphone Technique: Dampening and Pedaling, by David Friedman (Boston: Berklee Press, 1973), v. 6 David Friedman, Vibraphone Technique: Dampening and Pedaling (Boston, Berklee Press, 1973), 21.

24 23 The technical difficulty of original unaccompanied four-mallet solo vibraphone literature can be assessed through the analysis of stroke speed, interval size, wrist turns, manual changes, independence, dampening, and pedaling. Each piece will be assessed with an analytical document used to classify its grade based on the highest level of technical difficulty found in the music.

25 24 CHAPTER 2: BACKGROUND INFORMATION ON SCHOLARLY LITERATURE Contradicting Graded Databases Throughout the field of percussion, there are several resources that are commonly used to find information about literature written for all of the various percussion instruments. One of the most widely used resources is the online catalog for Steve Weiss Music of Willow Grove, PA. Originally, this database was printed on paper, and it contained a grade level for nearly every piece. Since their last printed catalog in , all of the literature has been transferred to their website, and some of their grading scales for certain pieces have changed. Like many databases, there is no description or rubric defining how each piece is graded by level. The Steve Weiss Music (SWM) catalog most commonly selects a number using a scale from 1 6, with the highest number being the most difficult, based on their unsystematic opinion. Grade levels provided by the publisher are occasionally used on newer pieces in their catalog. There are no descriptive criteria specified for each of their six levels. Two other composition databases include the Percussion Music Online network website for repertoire and the literature reviews found in the Percussive Arts Society s journal Percussive Notes. Both of these resources use volunteers to review the compositions, not allowing for a standardized approach to grading percussion music. Percussion Music Online (PMO) uses a scale from 1 5+, with the highest number being the most difficult, and the Percussive Arts Society (PAS) uses terms such as

26 25 elementary, intermediate, advanced, difficult, and mixtures of each description. The only criteria listed in the Percussive Notes for these levels are as follows: Elementary: I II, Intermediate: III IV, Advanced: V VI, and Difficult: VI+. The Percussive Arts Society has used countless reviewers since the inception of their journal, so the opinions on difficulty levels will always vary from one reviewer to another in each issue. Publishing websites are also a great source for finding an approximate level of difficulty. Unfortunately, some publishers may skew their grading system to make their pieces appear to be more or less difficult, catering potentially to a certain clientele. With only a handful of states throughout the country using prescribed music lists for high school students, all of them vary slightly from each other by using a system that tends to group their levels based on three different categories of difficulty. Of the resources listed above, none contain a standardized system of grading this literature. This research will shed light on those pieces that have contradicting grade levels from two or more sources. Annotations will be included to describe the pieces that are particularly mislabeled, and a discussion regarding the performance challenges that each piece presents will be offered. The intention is not to discount the aforementioned databases, but rather to provide a more accurate and standardized grading of vibraphone literature based on ten smaller, yet specific, levels. Piano and Marimba Literature Leveling Systems As stated before, the research of Jane Magrath has given pianists a resource to help make musical and technical advancements on their instrument. While aimed at the piano instructor, The Pianist s Guide to Standard Teaching and Performance Literature

27 26 is also essential to the keyboard student or the amateur performer looking for suitable, exciting, and challenging literature to play. 7 Assigning ten different difficulty levels is a feature that Julia Gaines and I have both shared with Dr. Magrath in our own research topics. Magrath states in the preface of her book: The use of 10 increments is meant to reinforce the point that the even and systematic development of technical and musical growth is an intricate process that requires careful pacing and sequencing of literature. Naturally some individuals may disagree with the levels assigned to specific pieces or movements, but the inclusion of levels allows teachers to gain a sense of the relative difficulty of a particular piece in comparison to standard works from the piano repertoire. One can take exception to individual categorizations, but it is hoped that the leveling will be used in the spirit in which it is intended, as a general reference and comparison rather than a factual grading. 8 Ultimately, Dr. Magrath s research is meant to promote and advance the study and performance of keyboard literature. By using Jane Magrath s research as a model, Julia Gaines began her own objective grading system for four-mallet marimba literature. Gaines interest in percussion pedagogy and years of teaching experience prompted her to recognize the need for more beginning and intermediate keyboard percussion literature. With multiple attempts in determining the appropriate evaluation criteria, Gaines was able to refine an analysis document allowing objective material to be properly categorized and recorded. 9 7 Jane Magrath, The Pianist s Guide to Standard Teaching and Performance Literature (Van Nuys, Calif.: Alfred, 1995), back cover. 8 Ibid., vi. 9 Julia Gaines, An Objective Grading System for Four-Mallet Marimba Literature (research presented at the Percussive Arts Society International Convention, Austin, Tex., November 7, 2008).

28 27 Topics such as musical style, duration of the piece, repetition of notes and strokes, and other technical skills were included in the final analysis document because all of these items are found in four-mallet marimba music. The introduction of her first marimba method book Sequential Studies for Four-Mallet Marimba states: Dr. Gaines has spent four years researching hundreds of four-mallet marimba pieces to uncover what techniques and musical attributes were common at the prescribed beginning, intermediate, and advanced levels. Her Performance Level System separates those broad labels into ten different categories of literature. Each method book is designed to help prepare the student for literature performance at that level. 10 Gaines methods have been widely supported by the Vic Firth Company, the world s largest drumstick and mallet manufacturer. Together they have created a beginner fourmallet marimba lesson series featuring nearly fifty videos that cover all of the concepts, techniques, and skills found in her first book. She has also received much praise throughout the percussion community by giving presentations on her leveling system at the Percussive Arts Society International Convention (PASIC), the National Conference On Percussion Pedagogy (NCPP), various state music education conferences, and several PAS state chapters annual Day of Percussion. Through my experiences as a research assistant to Julia Gaines, her project with marimba literature has allowed me to apply similar technical considerations to my analyses of vibraphone literature, a large body of repertoire that has yet to be studied. 10 Julia Gaines, Sequential Studies for Four-Mallet Marimba: Level 1, Edited by Brian Tate (Columbia, Mo.: Gaines, 2011), 2.

29 28 CHAPTER 3: METHODOLOGY As one of the most important components of this project, the following fourteen pages are the analysis document that contains all of the musical and technical considerations that are used to analyze each vibraphone solo for this research. Although the musical considerations are not a factor in determining the grade level for each piece, they are used as a personal reference for the works that will be annotated in this document. The initial technical considerations, consisting of stroke types, independence, and rolls are modeled from Julia Gaines analysis document used in her research for grading solo marimba literature. These particular techniques are shared between the marimba and vibraphone. After much analysis, some of the specific rolling techniques have been modified to better fit the physical characteristics of the vibraphone. Because one-handed single independent rolls are not quite as demanding on the vibraphone due to its longer resonating durations, many of the single independent roll considerations in the vibraphone analysis document have decreased by one level from Gaines marimba analysis document. Dampening and pedaling techniques are the additional considerations that have been included within the vibraphone analysis document. These two techniques create new elements that are not present in the marimba literature grading system. Quantities of dampening and pedaling notation have been documented through the process of studying the literature, allowing for the technical factors of both considerations to be placed into

30 29 different levels. Even though several vibraphone solos do not contain specific indications for either technique, their use is often implied. It is imperative to analyze each piece with the use of a vibraphone in order to play through the music when determining the difficulty of each technical consideration. Annotations will contain a description of each piece (or a movement from a work) discussing the reasons for its determined grade level of difficulty. Each justification will be completely based on the results recorded in the analysis document. Three annotations from each of the ten difficulty levels will be included following this chapter. The annotated pieces are selected by having at least one of the following special criteria: multiple technical reasons for fitting into a particular level, contradicting difficulty levels listed from other sources, and popular pieces performed regularly throughout the world.

31 30 Vibraphone Solo Analysis Document RecommendedLevel: PrimaryReason: Title: Composer: Publisher: DateofPublication: InstrumentRange: 3.0(lowF) 3.1(lowE) 3.5(lowC) 4.0 Ms.# PublisherGrade: NA SteveWeissGrade: NA PMOGrade: NA PASGrade: Elementary ElementaryTIntermediate Intermediate IntermediateTAdvanced Advanced Difficult NA Review/Description: pas.org PASreviewername: Publisherwebsite Printedscore Other: Duration(range): PublishedRecordings: None Comments:

32 31 Musical Considerations TONALITY( Key: Intervallic: Mode: KeyCenter: MultipleKeyCenters Chromatic Pentatonic Octatonic Atonal Polytonal Other: RHYTHM( Whole Half Quarter Eight Sixteenth 32 nd DottedHalf DottedQuarter DottedEighth DottedSixteenth WholeTnoteTriplet HalfTnoteTriplet QuarterTriplet 8 th Triplet 16 th Triplet 32 nd triplet 16 th quintuplet(5) 16 th septuplet Otherbeatdivisions(tuplets): Syncopation Polyrhythm 2:3 3:4 4:5 Other: METER( Simple(dividebeatby2) Compound(dividebeatby3) MixedSimpleMeter MixedCompoundMeter ComplexMeter OddMeter: Divisionsof16: MixedDivisionsof16: SenzaMisura/Freely Nometer/relyonbeaming Metricmodulation Hemiola Other: FORM( OneTpart AB ABC ABCBA ABA ABAlargescale(intro/coda) Theme&Variations Sectional ThroughTcomposed Rondo Fugue Motivic Thematic Cadenza Other: STYLE( Tonal Atonal NeoTBaroque NeoTClassic NeoTRomantic Minimalist Jazz Pop Improvisatory Chorale Folk African Japanese Spanish Latin Brazilian/Choro Chinese Other:

33 32 NOTATION Beaming( Standardbeatbeaming Impliedphrasebeaming Impliedstickingbeaming Accel/ritbeamingwidths Dynamics( None Standard Extremeshifts sub. sfz fp Vocabulary( None StandardItalian StandardEnglish French German ExpandedItalian(tempo/expressions) ExpandedEnglish AdvancedItalian(tempo/expressions) AdvancedEnglish Otherlanguage: Sticking( Clearstickingoptions Sticking1234 Sticking4321 2malletpossibility 3malletpossibility 3mallets/hand Someinterpretationrequired Muchinterpretationrequired Staff( Grandstaff Trebleclefonly Bassclefonly Alternateclefs: Twotrebleclefs Twobassclefs Clefimpliessticking Clefconnectordash Symbols( None Phrasemarkings Breathmarks Accents Staccato Tenuto Marcato Caesura Fermata D.S.alCoda D.C.alCoda Glissando 8va/loco Gracenotes Doublesharps/flats Arpeggiatedchord Optionalnotes Trill/Mordents Bowing Malletshafts Harmonics Pitchbending Pedaling Dampening(x) Deadstrokes(+) Other: Miscellaneous( Manuscript BassChordChanges ExpandedChordChanges Differentsizenoteheads Graphic/NonTstandard Extendedtechniques Other: Comments/Errata: (

34 33 Technical Considerations Double(Vertical(Strokes:(Stroke(Tempo/Intervals/Wrist(Turns 11 ( Level(1( 2 nd T6 th upto120(8 th ) 0T3wristturns/piece ms.# Level(2( 2 nd T6 th upto120(8 th ) 1T2wristturns/bar ms.# 2 nd T6 th 121T140 0T3wristturns/piece ms.# 7 th T8 th upto120(8 th ) 0T3wristturns/piece ms.# Level(3( 2 nd T6 th upto120(8 th ) 3T4wristturns/bar ms.# 2 nd T6 th 121T140 1T2wristturns/bar ms.# 2 nd T6 th 141T160 2strokes,samenotes ms.# 7 th T8 th upto120(8 th ) 1T2wristturns/bar ms.# 7 th T8 th 121T140 0T3wristturns/piece ms.# Level(4( 2 nd T6 th 121T140 3T4wristturns/bar ms.# 2 nd T6 th 141T160 constant,0t3wristturns/piece ms.# 2 nd T6 th 161T180 2strokes,samenotes ms.# 7 th T8 th upto120(8 th ) 3T4wristturns/bar ms.# 7 th T8 th 121T140 1T2wristturns/bar ms.# 7 th T8 th 141T160 2strokes,samenotes ms.# 8+RH upto120 0T3wristturns/piece ms.# Level(5( 2 nd T6 th 141T160 constant,1t2wristturns/bar ms.# 2 nd T6 th 161T180 2T6strokes,1T3wristturns/phrase ms.# 2 nd T6 th 181T200 2strokes,samenotes ms.# 7 th T8 th 121T140 3T4wristturns/bar ms.# 7 th T8 th 141T160 constant,0t3wristturns/piece ms.# 7 th T8 th 161T180 2strokes,samenotes ms.# 8+RH 121T140 0T3wristturns/piece ms.# Level(6( 2 nd T6 th 141T160 3T4wristturns/bar ms.# 2 nd T6 th 181T200 2T6strokes,1T3wristturns/phrase ms.# 2 nd T6 th 101T120(16 th ) 2strokes,samenotes ms.# 7 th T8 th 141T160 constant,1t2wristturns/bar ms.# 7 th T8 th 161T180 2T6strokes,1T3wristturns/phrase ms.# 7 th T8 th 181T200 2strokes,samenotes ms.# 8+RH 141T160 0T3wristturns/piece ms.# 8+LH upto120 0T3wristturns/piece ms.# Level(7( 2 nd T6 th 161T180(8 th ) constant,0t3wristturns/phrase ms.# 2 nd T6 th 101T120(16 th ) 2T6strokes,1T3wristturns/phrase ms.# 2 nd T6 th 121T140(16 th ) 2strokes,samenotes ms.# 7 th T8 th 141T160 3T4wristturns/bar ms.# 7 th T8 th 181T200 2T6strokes,1T3wristturns/phrase ms.# 7 th T8 th 101T120(16 th ) 2strokes,samenotes ms.# 8+RH 161T180 0T3wristturns/piece ms.# 8+LH 121T140 0T3wristturns/piece ms.# 11 Julia Gaines, The Objective Grading of Four-Mallet Marimba Literature: The Creation of Performance Levels (2011 Update) (research presented at the National Conference on Percussion Pedagogy, Lubbock, Tex., May 24, 2011).

35 34 Level(8( 2 nd T6 th 161T180(8 th ) constant,1t2wristturns/bar ms.# 2 nd T6 th 121T140(16 th ) 2T6strokes,1T3wristturns/phrase ms.# 2 nd T6 th 141T160(16 th ) 2strokes,samenotes ms.# 7 th T8 th 161T180(8 th ) constant,0t2wristturns/phrase ms.# 7 th T8 th 101T120(16 th ) 2T6strokes,1T3wristturns/phrase ms.# 7 th T8 th 121T140(16 th ) 2strokes,samenotes ms.# 8+RH 181T200 0T3wristturns/piece ms.# 8+LH 141T160 0T3wristturns/piece ms.# Level(9( 2 nd T6 th 181T200(8 th ) constant,0t3wristturns/phrase ms.# 2 nd T6 th 141T160(16 th ) 2T6strokes,1T3wristturns/phrase ms.# 2 nd T6 th 161T180(16 th ) 2strokes,samenotes ms.# 7 th T8 th 161T180(8 th ) constant,1t2wristturns/bar ms.# 7 th T8 th 121T140(16 th ) 2T6strokes,1T3wristturns/phrase ms.# 7 th T8 th 141T160(16 th ) 2strokes,samenotes ms.# 8+LH 161T180 0T3wristturns/piece ms.# Level(10( 2 nd T6 th 181T200(8 th ) constant,1t2wristturns/bar ms.# 2 nd T6 th 161T180(16 th ) 2T6strokes,1T3wristturns/phrase ms.# 2 nd T6 th 181T200(16 th ) 2strokes,samenotes ms.# 7 th T8 th 181T200(8 th ) constant,0t3wristturns/phrase ms.# 7 th T8 th 141T160(16 th ) 2T6strokes,1T3wristturns/phrase ms.# 7 th T8 th 161T180(16 th ) 2strokes,samenotes ms.# 8+LH 181T200 0T3wristturns/piece ms.#

36 35 Single(Independent(Strokes:(Stroke(Tempo/Intervals/Manual(Changes 12 ( Level(1( upto120(8 th notes) onehand,0t1manualchanges/bar ms.# Level(2( upto120 onehand,2t4manualchanges/bar ms.# 121T150 onehand,0t1manualchanges/bar ms.# 121T150(16 th ) linearlinew/2mallets 1or2/piece ms.# (alsois2malletroll) Level(3( 121T150(8 th ) onethand,2t4manualchanges/bar ms.# 121T150(16 th ) linearlinew/2mallets 3or4/piece ms.# Level(4( 151T180 onehand,0t1manualchanges/bar ms.# 181T200 2strokes,littlemotion ms.# 121T150(16 th ) linearline 5or6/piece ms.# Level(5( 151T180 onehand,2t4manualchanges/bar ms.# 101T120(16 th ) 2strokes,littlemotion ms.# 151T160(16 th ) linearline 1or2/piece ms.# Level(6( 151T180 onehand,4+manualchanges/bar ms.# 181T200 3T6strokes,1T2manualchanges/bar ms.# 121T140(16 th ) 2strokes,littlemotion ms.# 151T160(16 th ) linearline 3or4/piece ms.# Level(7( 101T120(16 th ) 3T6strokes,1T2manualchanges/bar ms.# 141T160(16 th ) 2strokes,littlemotion ms.# 161T170(16 th ) linearline,1or2/piece ms.# Level(8( 121T140(16 th ) 3T6strokes,1T2manualchanges/bar ms.# 161T180(16 th ) 2strokes,littlemotion ms.# 171T180(16 th ) linearline,1or2/piece ms.# Level(9( 141T160(16 th ) 3T6strokes,1T2manualchanges/bar ms.# 181T200(16 th ) 2strokes,littlemotion ms.# 181T190(16 th ) linearline,1or2/piece ms.# Level(10( 161T180(16 th ) 3T6strokes,1T2manualchanges/bar ms.# 191T200(16 th ) linearline,1or2/piece ms.# 12 Ibid.

37 36 Single(Alternating(Strokes:(Stroke(Tempo/Intervals/Wrist(Turns 13 ( Level(1( None Level(2( 3 rd T6 th 90T120(8 th ) 0T3wristturns/piece ms.# Level(3( 3 rd T6 th 90T120 1T2wristturns/bar ms.# 3 rd T6 th 121T160 0T3wristturns/piece ms.# 2 nd 90T120(8 th ) betweenmanuals ms.# Level(4( 3 rd T6 th 90T120 3T4wristturns/bar ms.# 3 rd T6 th 121T160 1T2wristturns/bar ms.# 3 rd T6 th 161T180 0T3wristturns/piece ms.# 2 nd 90T120(8 th ) samemanual ms.# 2 nd 121T160 betweenmanuals ms.# 7 th T8 th 90T120(8 th ) 0T3wristturns/piece ms.# Level(5( 3 rd T6 th 121T160 3T4wristturns/bar ms.# 3 rd T6 th 161T180 1T2wristturns/bar ms.# 3 rd T6 th 181T200 0T3wristturns/piece ms.# 2 nd 121T160 samemanual ms.# 2 nd /unison 161T180 betweenmanuals ms.# 7 th T8 th 90T120 1T2wristturns/bar ms.# 7 th T8 th 121T140 0T3wristturns/piece ms.# 8+RH 90T120(8 th ) 0T3wristturns/piece ms.# Level(6( 3 rd T6 th 161T180 3T4wristturns/bar ms.# 3 rd T6 th 181T200 1T2wristturns/bar ms.# 3 rd T6 th 101T120(16 th ) 0T3wristturns/piece ms.# 2 nd 161T180 samemanual ms.# 2 nd /unison 181T200 betweenmanuals ms.# 7 th T8 th 90T120 3T4wristturns/bar ms.# 7 th T8 th 121T140 1T2wristturns/bar ms.# 7 th T8 th 141T160 0T3wristturns/piece ms.# 8 th +LH 90T120(8 th ) 0T3wristturns/piece ms.# 8 th +RH 121T160 0T3wristturns/piece ms.# Level(7( 3 rd T6 th 181T200 3T4wristturns/bar ms.# 3 rd T6 th 101T120(16 th ) 1T2wristturns/bar ms.# 2 nd 181T200 samemanual ms.# 2 nd /unison 101T120(16 th ) betweenmanuals ms.# 7 th T8 th 121T140 3T4wristturns/bar ms.# 7 th T8 th 141T160 1T2wristturns/bar ms.# 7 th T8 th 161T180 0T3wristturns/piece ms.# 8 th +LH 121T160 0T3wristturns/piece ms.# 8 th +RH 161T180 0T3wristturns/piece ms.# Level(8( 3 rd T6 th 101T120(16 th ) 3T4wristturns/bar ms.# 2 nd 101T120(16 th ) samemanual ms.# 7 th T8 th 141T160 3T4wristturns/bar ms.# 7 th T8 th 161T180 1T2wristturns/bar ms.# 7 th T8 th 181T200 0T3wristturns/piece ms.# 8 th +LH 161T180 0T3wristturns/piece ms.# 8 th +RH 181T200 0T3wristturns/piece ms.# Level(9( 7 th T8 th 161T180 3T4wristturns/bar ms.# 7 th T8 th 181T200 1T2wristturns/bar ms.# 7 th T8 th 101T120(16 th ) 0T3wristturns/piece ms.# 8 th +LH 181T200 0T3wristturns/piece ms.# 8 th +RH 101T120(16 th ) 0T3wristturns/piece ms.# Level(10( 7 th T8 th 181T200 3T4wristturns/bar ms.# 7 th T8 th 101T120(16 th ) 1T2wristturns/bar ms.# 8 th +LH 101T120(16 th ) 0T3wristturns/piece ms.# 13 Ibid.

38 37 Double(Lateral(Strokes:(Stroke(Tempo/Intervals/Wrist(Turns 14 ( Levels(1U2( None Level(3( 3 rd T6 th 96T120(16 th ) 0T3wristturns/piece ms.# Level(4( 3 rd T6 th 96T120 1T2wristturns/bar ms.# 3 rd T6 th 121T140 0T3wristturns/piece ms.# 2 nd 96T120 betweenmanuals ms.# Level(5( 3 rd T6 th 96T120 3T4wristturns/bar ms.# 3 rd T6 th 121T140 1T2wristturns/bar ms.# 3 rd T6 th 141T160 0T3wristturns/piece ms.# 2 nd 121T140 betweenmanuals ms.# 7 th T8 th 96T120 0T3wristturns/piece ms.# 8 th +RH 96T120 0T3wristturns/piece ms.# Level(6( 3 rd T6 th 121T140 3T4wristturns/bar ms.# 3 rd T6 th 141T160 1T2wristturns/bar ms.# 3 rd T6 th 161T180 0T3wristturns/piece ms.# 2 nd 96T120 samemanual ms.# 2 nd /unison 141T160 betweenmanuals ms.# 7 th T8 th 96T120 1T2wristturns/bar ms.# 7 th T8 th 121T140 0T3wristturns/piece ms.# 8 th +LH 96T120 0T3wristturns/piece ms.# 8 th +RH 121T140 0T3wristturns/piece ms.# Level(7( 3 rd T6 th 141T160 3T4wristturns/bar ms.# 3 rd T6 th 161T180 1T2wristturns/bar ms.# 3 rd T6 th 181T200 0T3wristturns/piece ms.# 2 nd /unison 121T140 samemanual ms.# 2 nd /unison 161T180 betweenmanuals ms.# 7 th T8 th 96T120 3T4wristturns/bar ms.# 7 th T8 th 121T140 1T2wristturns/bar ms.# 7 th T8 th 141T160 0T3wristturns/piece ms.# 8 th +LH 121T140 0T3wristturns/piece ms.# 8 th +RH 141T160 0T3wristturns/piece ms.# Level(8( 3 rd T6 th 161T180 3T4wristturns/bar ms.# 3 rd T6 th 181T200 1T2wristturns/bar ms.# 3 rd T6 th 201T220 0T3wristturns/piece ms.# 2 nd /unison 141T160 samemanual ms.# 2 nd /unison 181T200 betweenmanuals ms.# 7 th T8 th 121T140 3T4wristturns/bar ms.# 7 th T8 th 141T160 1T2wristturns/bar ms.# 7 th T8 th 161T180 0T3wristturns/piece ms.# 8 th +LH 141T160 0T3wristturns/piece ms.# 8 th +RH 161T180 0T3wristturns/piece ms.# Level(9( 3 rd T6 th 181T200 3T4wristturns/bar ms.# 3 rd T6 th 221T240 0T3wristturns/piece ms.# 2 nd /unison 161T180 samemanual ms.# 2 nd /unison 201T220 betweenmanuals ms.# 7 th T8 th 141T160 3T4wristturns/bar ms.# 7 th T8 th 161T180 1T2wristturns/bar ms.# 8 th +LH 161T180 0T3wristturns/piece ms.# 8 th +RH 181T200 0T3wristturns/piece ms.# Level(10( 3 rd T6 th T3wristturns/piece ms.# 2 nd /unison 181T200 samemanual ms.# 2 nd /unison 221+ betweenmanuals ms.# 7 th T8 th 161T180 3T4wristturns/bar ms.# 7 th T8 th 181T200 0T3wristturns/piece ms.# 8 th +LH 181T200 0T3wristturns/piece ms.# 14 Ibid.

39 38 Triple(Strokes:(Stroke(Tempo/Intervals/Wrist(Turns 15 ( Levels(1U3( None Level(4( 3 rd T6 th 96T120(16 th ) 0T3wristturns/piece ms.# Level(5( 3 rd T6 th 96T120 1T2wristturns/bar ms.# 3 rd T6 th 121T140 0T3wristturns/piece ms.# 2 nd 96T120 betweenmanuals ms.# Level(6( 3 rd T6 th 96T120 3T4wristturns/bar ms.# 3 rd T6 th 121T140 1T2wristturns/bar ms.# 3 rd T6 th 141T160 0T3wristturns/piece ms.# 2 nd 96T120 samemanual ms.# 2 nd 121T140 betweenmanuals ms.# 7 th T8 th 96T120 0T3wristturns/piece ms.# 8 th +RH 96T120 0T3wristturns/piece ms.# Level(7( 3 rd T6 th 121T140 3T4wristturns/bar ms.# 3 rd T6 th 141T160 1T2wristturns/bar ms.# 3 rd T6 th 161T180 0T3wristturns/piece ms.# 2 nd 121T140 samemanual ms.# 2 nd 141T160 betweenmanuals ms.# 7 th T8 th 96T120 1T2wristturns/bar ms.# 7 th T8 th 121T140 0T3wristturns/piece ms.# 8 th +LH 96T120 0T3wristturns/piece ms.# 8 th +RH 121T140 0T3wristturns/piece ms.# Level(8( 3 rd T6 th 141T160 3T4wristturns/bar ms.# 3 rd T6 th 161T180 1T2wristturns/bar ms.# 3 rd T6 th 181T200 0T3wristturns/piece ms.# 2 nd 141T160 samemanual ms.# 2 nd 161T180 betweenmanuals ms.# 7 th T8 th 96T120 3T4wristturns/bar ms.# 7 th T8 th 121T140 1T2wristturns/bar ms.# 7 th T8 th 141T160 0T3wristturns/piece ms.# 8 th +LH 121T140 0T3wristturns/piece ms.# 8 th +RH 141T160 0T3wristturns/piece ms.# Level(9( 3 rd T6 th 161T180 3T4wristturns/bar ms.# 3 rd T6 th 181T200 1T2wristturns/bar ms.# 3 rd T6 th 201T220 0T3wristturns/piece ms.# 2 nd 161T180 samemanual ms.# 2 nd 181T200 betweenmanuals ms.# 7 th T8 th 121T140 3T4wristturns/bar ms.# 7 th T8 th 141T160 1T2wristturns/bar ms.# 7 th T8 th 161T180 0T3wristturns/piece ms.# 8 th +LH 141T160 0T3wristturns/piece ms.# 8 th +RH 161T180 0T3wristturns/piece ms.# Level(10( 3 rd T6 th 181T200 3T4wristturns/bar ms.# 3 rd T6 th T3wristturns/piece ms.# 2 nd 181T200 samemanual ms.# 7 th T8 th 141T160 3T4wristturns/bar ms.# 7 th T8 th 161T180 1T2wristturns/bar ms.# 7 th T8 th 181T200 0T3wristturns/piece ms.# 8 th +LH 161T180 0T3wristturns/piece ms.# 15 Ibid.

40 39 Combination(Strokes:(Stroke(Tempo/Intervals 16 ( Levels(1U3( None Level(4( 2 nd /6 th ;96T120linearline SI/DL/TS ms.# NonTlateralstrokes,3 rd T5 th DV/SI;141T160(8 th ) ms.# Lateral/NonTlateral,SI/SA;101T120(8 th ) ms.# Level(5( 2 nd /6 th ;121T140linearline SI/DL/TS ms.# NonTlateralstrokes,3 rd T5 th DV/SI;161T180(8 th ) ms.# NonTlateralstrokes,6 th T8 th DV/SI;101T120(8 th ) ms.# Lateral/NonTlateral,SI/SA;121T140(8 th ) ms.# Lateralstokes,4 th T5 th SA/DL;96T120(16 th ) ms.# Level(6( 2 nd /6 th ;141T160linearline SI/DL/TS ms.# NonTlateralstrokes,3 rd T5 th DV/SI;181T200(8 th ) ms.# NonTlateralstrokes,6 th T8 th DV/SI;121T140(8 th ) ms.# Lateral/NonTlateral,SI/SA;141T160(8 th ) ms.# Lateral/NonTlateral,3 rd T7 th SA/DV;80T90(16 th ) ms.# Level(7( 2 nd /6 th ;161T180linearline SI/DL/TS ms.# NonTlateralstrokes,3 rd T5 th DV/SI;101T120(16 th ) ms.# NonTlateralstrokes,6 th T8 th DV/SI;141T160(8 th ) ms.# Lateral/NonTlateral,SI/SA;161T180(8 th ) ms.# Lateral/NonTlateral,DV/DL;96T120(16 th ) ms.# Level(8( 2 nd /6 th ;181T200linearline SI/DL/TS ms.# NonTlateralstrokes,3 rd T5 th DV/SI;121T140(16 th ) ms.# NonTlateralstrokes,6 th T8 th DV/SI;161T180(8 th ) ms.# Lateral/NonTlateral,SI/SA;181T200(8 th ) ms.# Levels(9U10( None 16 Ibid.

41 40 Independence 17 ( Level(1( Alternatinghands/nonTlateralstrokes ms.# UnisonnonTlateralstrokes(nonparallelmotion) ms.# OverlappingnonTlateralstrokes(melodydominatedhomophony) ms.# Level(2( Alternatinghands/nonTlateral&lateralstrokes ms.# OverlappingnonTlateralstrokes(otherthanLevel1) ms.# Alternatinghands/mirroringnonTlateralstrokes ms.# Level(3( Alternatinghands/lateralstrokes ms.# UnisonparallelnonTlateralstrokes ms.# UnisonmirrornonTlateralstrokes ms.# Albertibass,samenotes ms.# Level(4( Overlapping/mirroringlateralstrokes SA ms.# Unisonmirrorlateralstrokes ms.# OverlappingnonTlateral/lateralstrokes SAorDL/SI ms.# 2:3polyrhythm ms.# EasyhandTcrossing ms.# Level(5( Unisonparallellateralstrokes ms.# Overlapping/parallellateralstrokes SA ms.# Albertibass,somechangingnotes ms.# Level(6( Overlappinglateralstrokes independentrolls,samerollednotes ms.# Overlappinglateralstrokes DL ms.# OverlappingSIroll/nonTlateralstrokes ms.# 3:4polyrhythm ms.# 2:5polyrhythm ms.# Level(7( Overlappinglateralstrokes TS ms.# DifficulthandTcrossing ms.# 3:5polyrhythm ms.# Level(8( OverlappingSA(Albertibass samenotes)/siroll ms.# 4:5polyrhythm ms.# Level(9( OverlappingSA(Albertibass changingnotes)/siroll ms.# Level(10( None 17 Ibid.

42 41 Rolls 18 ( Level(1( None Level(2( 2 nd T6 th handttothand,dv120t140,littlemovement ms.# 2Tmalletroll ms.# Level(3( 7 th T8 th handttothand,dv120t140 ms.# Level(4( Mandolin ms.# Level(5( Doublelateral/ripple,3 rd T6 th,nomovement ms.# Level(6( DL/ripple,3 rd T6 th,moremovement ms.# SIroll RH5 th T8 th,nomovement ms.# SIroll LH5 th T8 th,nomovement Level(7( DL/ripple,7 th T8 th,littlemovement ms.# SIroll RH3 rd T4 th,somemovement ms.# SIroll LH3 rd T4 th,somemovement ms.# SI RH2 nd betweenmanuals/unison ms.# SI LH2 nd betweenmanuals/unison ms.# Level(8( DL/ripple allintervals,moremovement ms.# SI 2 nd samemanual RH ms.# SI 2 nd samemanual LH ms.# Level(9( OverlappingSIrolls ms.# Level(10( None 18 Ibid.

43 42 Dampening( Level(1( None Level(2( upto120(8 th notes) 1T3dampens/phrase ms.# Level(3( upto120 1T2dampens/bar ms.# 121T140 1T3dampens/phrase ms.# Level(4( upto120 3T4dampens/bar ms.# 121T140 1T2dampens/bar ms.# 141T160 1T3dampens/phrase ms.# Level(5( 121T140 3T4dampens/bar ms.# 141T160 1T2dampens/bar ms.# 161T180 1T3dampens/phrase ms.# Level(6( 141T160 3T4dampens/bar ms.# 161T180 1T2dampens/bar ms.# 181T200 1T3dampens/phrase ms.# Level(7( 161T180 3T4dampens/bar ms.# 181T200 1T2dampens/bar ms.# Level(8( 181T200 3T4dampens/bar ms.# Levels(9U10( None(

44 43 Pedaling( Level(1( upto120(quarternotes) 1T4pedals/phrase ms.# Level(2( upto120 2T4pedals/bar ms.# 121T140 1T4pedals/phrase ms.# Level(3( 121T140 2T4pedals/bar ms.# 141T160 1T4pedals/phrase ms.# Level(4( 141T160 2T4pedals/bar ms.# 161T180 1T4pedals/phrase ms.# Level(5( 161T180 2T4pedals/bar ms.# 181T200 1T4pedals/phrase ms.# Level(6( 181T200 2T4pedals/bar ms.# 201T220 1T4pedals/phrase ms.# Level(7( 201T220 2T4pedals/bar ms.# T4pedals/phrase ms.# Level(8( T4pedals/bar ms.# Levels(9U10( None(

45 44 CHAPTER 4: ANNOTATIONS FOR LEVEL 1 LITERATURE The first level introduces the double vertical stroke and the single independent stroke at tempos up to quarter-note = 120 beats per minute (BPM). The double verticals only occur within an interval range of seconds to sixths, and there are very few wrist turns required throughout the piece. The single independent strokes are played as consecutive eighth-notes played in one hand with 0 1 manual changes per measure. Independence techniques found in Level 1 are very basic skills with only non-lateral strokes. These include alternating hands, unison stokes without motion, and overlapping strokes that contain melodic homophony between the hands. Unique to the vibraphone, pedaling is an additional technique found in the first level; only 1 4 pedals per phrase up to 120 BPM occur in this introductory stage. Due to the advancements in the field of four-mallet keyboard percussion, it would be reasonable to begin these techniques and concepts with a strong middle school student or an early high school student. X for Abby (from Canções Infantis Book 2), Ricardo A. Coelho de Souza From the second collection of Children s Songs, Ricardo A. Coelho de Souza s X for Abby (C. Alan Publications, 2010) is the easiest of his twenty-two character pieces found in this series of two books. Because there are eleven pieces in each collection, the grade levels found from other databases does not accurately reflect the difficulties for each individual work. The publisher lists the book as medium difficult,

46 45 and the Steve Weiss Music online catalog also describes it as medium difficult. The Percussive Arts Society (PAS) review lists the collection as intermediate, which lands at III IV on their grading scale with VI+ being the most difficult. Each of these sources rank Souza s Children s Songs, Book 2 in the mid-level categories of their respective grading scales. Another piece from this same collection, titled II for Johnny, is discussed in the Level 5 annotations. Many of the tempo markings found in both Children s Songs collections use descriptive terms without any numerical indications. For X for Abby, words such as grazioso, affrettando, lento, and calmando are used instead of metronomic markings, which create possible discrepancies when determining its slow stroke speed. Fortunately the rhythms in this solo consist of only whole notes, quarter notes without stems, and smaller-size noteheads without stems. There is no indication regarding these different noteheads, but it is perceived that they represent pitches played substantially quieter. The larger note value factor allowed for this piece to be analyzed, because the speed of the stroke would not be a concern in the analysis document. The two Level 1 stroke types (double verticals and single independents) are both found in this piece, and neither one contains a stroke speed or interval greater than this initial level. The double vertical strokes are found in intervals between thirds through sixths in each hand. A simple Level 1 concept of independence occurs throughout the work with unison non-lateral strokes at a slow tempo, as well as basic techniques of pedaling found at 1 4 pedals per phrase. Each of these considerations can be seen in Example 4.1. Although several dampening indications are found in X for Abby, they are marked only when whole notes are played with the pedal depressed and a long phrase

47 46 marking above the melodic line. Because these dampens occur so slowly, this consideration will not be listed at its normal placement of Level 2. Musical Example 4.1: Line 5 of Ricardo A. Coelho de Souza s X for Abby from Canções Infantis, Book C. Alan Publications, used with permission Found in the first level of difficulty, this piece contains several primary reasons for its placement that include techniques of double vertical strokes, single independent strokes, independence, and pedaling. The basic dampening markings would make this piece a fantastic example to be used in learning this important vibraphone technique. Although each of the databases places Souza s entire Children Songs, Book 2 in the middle of their grading scales, this description shows that X for Abby would be an appropriate first piece for a beginning vibraphone player. Because this research places each individual work in its own level, X for Abby is much easier than many of the other pieces found in the collection. Anna (from Songs For Vibes), Ron Fink Ron Fink s Anna (Fink Publishing, 1981) comes from his collection of six solos titled Songs For Vibes. The Steve Weiss Music catalog lists the works as 4+ out of 6, the Percussion Music Online (PMO) database puts its level at 3 out of 5, and PAS describes

48 47 the collection as elementary-intermediate or II out of VI+ in their review. Although some of the other pieces from Songs For Vibes are slightly more difficult than this particular solo, most of these sources do not provide the most precise representations of these works. The Percussive Arts Society review contains the most accurate leveling for this collection of vibraphone solos. Containing only double vertical and single independent strokes, this solo requires the performer to play rhythms no faster than eighth-notes at quarter-note = 69 BPM. The double verticals are found with intervals between seconds through sixths with 0 3 wrist turns per piece, and the single independents played with one hand require 0 1 manual changes per measure; both of these considerations are found at Level 1 techniques with eighth-note rhythms up to 120 BPM. The independence concepts are also Level 1 considerations with slow unison non-lateral strokes and overlapping non-lateral strokes between the two systems. Written with a grand staff, the treble clef system contains the primary melodic material with the bass clef system serving as its accompaniment. The composer includes clear pedaling indications with 1 4 pedals per phrase, also placing this technique at Level 1. All four of these considerations can be seen in Example 4.2. There are two dampening markings found throughout the work, but the tempo is too slow and its occurrence is too minimal for this consideration to be placed at a Level 2.

49 48 Musical Example 4.2: Measures of Ron Fink s Anna from Songs For Vibes 1981 Fink Publishing, used with permission As discussed in the previous Level 1 piece, Anna contains the same considerations that place it within the first difficulty category. These beginning vibraphone techniques include double vertical strokes, single independent strokes, independence, and pedaling. While the other databases place the entire collection higher in difficulty than described in this annotation, beginning vibraphonists will find it most appropriate to start with Anna and then continue through the other five pieces in the set once the Level 1 techniques are mastered. Daybreak, Clifford K. Chapman The majority of Clifford Chapman s Daybreak (Music For Percussion, 1974) requires only two mallets, but a brief section on the first page requires the performer to use at least three mallets, with two mallets placed in the left hand. The basic skills of the four-mallet technique are necessary to execute this solo properly. Although Daybreak is an older standard piece from the Music For Percussion catalog, only one database provides an assessment on its difficulty level; the Steve Weiss Music catalog lists this

50 49 piece as a 5 out of 6 on their grading scale. The following description will explain why this solo requires only the most basic techniques of a four-mallet vibraphone player. Similar to the other two Level 1 pieces, the four-mallet section of Daybreak contains only double vertical and single independent strokes. As seen in Example 4.3, the right hand plays the single independent melodic material, while the left hand provides the accompaniment with quarter-note double verticals found at intervals of thirds through sixths. This section is marked as moderato, so the standard range of this tempo description is between BPM; the stroke speed of both stroke type considerations are found at Level 1. The only concept of independence is found between the two hands with simple overlapping non-lateral strokes, also shown in Example 4.3. While other sections of Daybreak contain two-mallet roll techniques and simple pedaling indications, the four-mallet section of the solo does not require these particular considerations. Musical Example 4.3: Measures from Clifford K. Chapman s Daybreak 1974 Music For Percussion 2001, 2013 Transferred to Colla Voce Music, used with permission Because this research only focuses on four-mallet vibraphone literature, it is not pertinent to analyze the remaining two-mallet sections of the work. Some of those portions might require a more advanced keyboard player, but the sections with fourmallet techniques only need the entry-level facility of double vertical strokes, single independent strokes, and basic independence. If a student shows proficiency with two-

51 50 mallet techniques, then Daybreak would be an excellent work that also incorporates the beginning four-mallet skills. Level 1 Literature 1. Daybreak, Clifford K. Chapman 2. Anna, Ron Fink 3. X for Abby, Ricardo A. Coelho de Souza

52 51 CHAPTER 5: ANNOTATIONS FOR LEVEL 2 LITERATURE In the second level, several new techniques are introduced to the elementary fourmallet keyboard player. The single alternating strokes occur for the first time as eighthnotes between the tempos of quarter-note = BPM, within an interval range of thirds to sixths, and approximately 0 3 wrist turns per piece. Similar strokes that occur slower than 90 BPM are still considered single independent strokes, although they may appear initially as single alternating strokes. Rolls are also introduced that this level; the standard two-mallet roll and the hand-to-hand double vertical roll within an interval range of seconds to sixths are the first types of rolls to learn. Also unique to the vibraphone, dampening is another technique found in the second level. Only 1 3 dampens per phrase up to 120 BPM occur at this stage. Regarding the previous techniques introduced in Level 1, double verticals are played as eighth-notes with 1 2 wrist turns per bar at the same tempo, intervals of sevenths and eighths, or faster tempos between BPM for the smaller intervals. Single independent strokes occur at eighth-notes up to 120 BPM with 2 4 manual changes per bar. They are also played as eighth-notes at a faster tempo between BPM with eighth-notes at 0 1 manual changes per bar or as sixteenth-notes with two mallets playing linear lines. For independence techniques, alternating hands between nonlateral and lateral strokes are introduced. In addition, overlapping non-lateral strokes with more difficulty are found, as well as alternated mirroring non-lateral strokes. Finally, this

53 52 second level includes pedaling up to 120 BPM with 2 4 pedals per bar, and the technique also continues to increase in tempo between BPM with 1 4 pedals per phrase. In The Stillness Of Twilight, David Steinquest Found on three of the five prescribed state music lists discussed above, David Steinquest s In The Stillness Of Twilight (Row-Loff Productions, 2000) has become a very popular piece among high school percussionists. There are only two sources that provide a grade level for this particular work. Listed on the cover of the music as a medium-advanced solo, the publisher defines this level of difficulty as a Grade V, with the highest level listed as Grade VI in their catalog. The Steve Weiss Music online catalog also describes the piece as medium-advanced, but it is unclear if they retrieved that information directly from the publisher. Both of these sources agree on the level of difficulty, but the following discussion will describe the techniques required of only an elementary vibraphone player that are necessary to execute this piece successfully. The tempo is marked at quarter-note = 80 BPM, and it remains at this speed throughout the piece with eighth-notes being the smallest note value. With clear sticking options and many labeled suggestions, the composer has already initiated much interpretation for the performer. At the given tempo, there are only two stroke types that occur throughout the piece: double vertical strokes and single independent strokes. At first glance, many of the eighth-note patterns appear as possible single alternating strokes; these particular strokes remain as single independents due to the slower tempo. The double verticals are found in intervals of seconds, fifths, and sevenths. Because the largest interval is a seventh, this technique is placed at a Level 2 as seen in Example 5.1.

54 53 The single independent strokes remain at a Level 1, because there are approximately 0 1 manual changes per bar. Musical Example 5.1: Measures 51 & 52 from David Steinquest s In The Stillness Of Twilight 2000 Row-Loff Productions, used with permission For the elements of independence, In The Stillness Of Twilight contains only two elementary Level 1 skills as seen in Example 5.1. The piece contains overlapping nonlateral strokes where the upper voice is accompanied by an arpeggiated eighth-note harmonic coloring found between both hands. Another common form of basic independence is found when non-lateral strokes are alternating hands; the passage above shows this alternating motion where mallets 1 and 2 are specified in the left hand and mallets 3 and 4 are specified in the right hand for this score. There are no indications of pedaling, but Steinquest s phrase markings help the performer determine appropriate moments to pedal. The occasional dampening indications occur approximately 1 3 times per phrase; Example 5.2 shows the request with an x for the previous eighth-note to be dampened as the next note is struck.

55 54 Musical Example 5.2: Measures 59 & 60 from David Steinquest s In The Stillness Of Twilight 2000 Row-Loff Productions, used with permission The primary reasons for placing In The Stillness Of Twilight at a Level 2 are found in the double vertical strokes with intervals of a seventh, as well as the dampening considerations that place this technique at its entry level in the analysis document. The assessment on this piece s level of difficulty is much different from the sources listed above, but a piece with such simple rhythms, few required techniques, and basic independence at quarter-note = 80 BPM should be listed as an elementary piece. Beginning vibraphonists can use this piece to develop skills in expanding their intervals and learning new techniques in dampening. Prelude (from Prelude and Blues), Ney Rosauro Ney Rosauro s Prelude (Pró Percussão Brasil, 1994) for vibraphone is the first half of Prelude and Blues, a two-section work that is often performed as two independent solos. This solo has been included on the contest list for several years at the Italy Percussion Competition, as well as the International Percussion Festival Vibraphone Competition in Poland. Because the piece is commonly graded as one entire work, its level of difficulty has contradicting information from many sources. The publisher lists

56 55 the work as intermediate, which appears to be in the middle of their grading scale of beginning, intermediate, and advanced. The Steve Weiss Music catalog gives a grade of 4+ out of 6 in their printed catalog, but nothing is listed on their current website. PAS reviews the piece as advanced, or V VI, placing this work on the higher end of their difficulty rating scale. All three of these sources do not use a systematic or standardized approach to grading their literature. This provides evidence that some of these graded databases are misleading for this particular solo. The second section of Prelude and Blues is substantially more difficult that than first, skewing the difficulty level of the easier Prelude movement. In many of Rosauro s works, the Brazilian composer does not include an exact tempo marking or numerical range. Instead, he uses descriptive terms in this piece such as molto lento e rubato, poco mosso, and poco ritmado. Because tempo markings are so important with the analysis document when studying stroke speeds, the definitive recording of Rosauro performing his own work was consulted to determine the approximate tempo range. There are sections that are found at quarter-note = BPM and quarter-note = BPM. Throughout this relatively short solo, there are only two stroke types employed: double verticals and single independents. The tempo is too slow for any of the strokes to be considered single alternating. Single independent strokes are the most common in Prelude; the piece is composed with mostly eighth-note rhythms and a few quarter-note triplet lines that never exceed BPM. According to the analysis document, the single independent strokes are found at a Level 1. Double vertical strokes are seen in the first measure of the work with the outside mallet in the right hand playing with the rattan

57 56 shaft of the mallet. The intervals of these right-handed double vertical strokes are set at octaves, immediately placing this stroke type at a Level 2. Because the tempo never increases beyond BPM, the level of this stroke type remains at Level 2. An excerpt of these octave double vertical strokes is seen in Example 5.3 at measures one and three. Musical Example 5.3: Measures 1 4 from Ney Rosauro s Prelude and Blues, I. Prelude 1994 Pró Percussão Brasil, used with permission Regarding independence in Rosauro s Prelude, there are some very basic skills that are found throughout the composition. There are moments when both hands alternate with non-lateral strokes, consisting primarily of single independent strokes. There are also occasions with overlapping non-lateral strokes with double vertical and single independents strokes; Example 5.3 shows this independence of overlapping strokes on the downbeat of measure two with the right hand playing an octave double vertical stroke and the left hand starting a single independent eighth-note line. The right hand typically provides the melody that dominates the harmonic support from both hands during these passages. Both of these considerations of independence are found within Level 1. One additional form of independence is seen in 2:3 polyrhythms. Because the tempo and rhythm is substantially too slow for this rubric, the higher level will not be applied. Dampening indications are notated approximately 1 3 dampens per phrase, and pedaling indications are notated approximately 2 4 pedals per bar. The quantities and tempos for

58 57 both of these considerations are found at Level 2. The other primary reason for placing Ney Rosauro s Prelude at Level 2 is due to the octave double vertical strokes found within the piece. This analysis provides a much more accurate assessment of the Prelude movement alone, especially when comparing it to the databases that graded the entire piece as one complete work. Hickory Trail (from Solo Vibraphone Collection), Marlène and Jerry Tachoir Hickory Trail (Riohcat Music, 1992) comes from Marlène and Jerry Tachoir s Solo Vibraphone Collection of six unaccompanied four-mallet solos. Each of the solos from this collection is found in a different grade level from Level 2 through Level 7; Hickory Trail is found to be the easiest in the collection within this research. The publisher describes the works as intermediate-advanced, and the Steve Weiss Music printed catalog lists it as 4 out of 6. These mid-level categories from the above sources are representative of many of the other piece found in the collection, but the following description will address the easier techniques required to execute the less difficult Hickory Trail. With the tempo marked at quarter-note = 96 BPM for the entire piece, this piece employs only three strokes types, and the composer encourages the player to use their own musical direction in determining appropriate dampening and pedaling. While the double verticals are found at the most basic category of Level 1, single independent and single alternating strokes contain parameters in the second level of difficulty. Example 5.4 illustrates the single independent eighth-note strokes that are played an octave apart in unison. Because this section of the music is composed in F-minor, the four flats require

59 58 manual changes for these excerpts. This consideration is found in the Level 2 category of the analysis document, labeled as one handed single independents with 2 4 manual changes per bar. Musical Example 5.4: Measures 44 & 45 of Marlène and Jerry Tachoir s Hickory Trail from Solo Vibraphone Collection 1992 Riohcat Music, used with permission Hickory Trail is one of the first solos to introduce the single alternating stroke. At the given tempo of 96 BPM, the eighth-note patterns with large leaps provide a clear indication that the player must employ basic single alternating strokes with the following sticking permutation: , as suggested by the composer. This consideration is found in the first entry on the analysis document for the single alternating technique with intervals between thirds through sixths and 0 3 wrist turns per piece. However, the largest interval of single alternating strokes in this piece is a fifth. The occurrence of this stroke can be seen in Example 5.5, and this permutation with single alternating strokes continues to be executed several more times throughout the work.

60 59 Musical Example 5.5: Measures 21 & 22 of Marlène and Jerry Tachoir s Hickory Trail from Solo Vibraphone Collection 1992 Riohcat Music, used with permission Containing all three forms of independence from Level 1 with alternating hands, unison non-lateral strokes, and overlapping non-lateral strokes, an additional concept of independence is introduced at a Level 2 consideration. With the introduction of single alternating lateral strokes, independence with alternating non-lateral and lateral strokes between the hands is found in Hickory Trail. The preface describes the importance of clarity, accuracy, and continuous flow throughout the solo, and much emphasis must be placed on the three Level 2 considerations: single independent strokes, single alternating strokes, and independence. As discussed in previous annotations, the difficulty levels of pieces found in collections will vary from each other, and databases will not typically consider each individual solo. While Hickory Trail contains considerations at Level 2, the other five solos in this set are found in every consecutive category up to Level 7. Tachoir s Solo Vibraphone Collection would be an ideal book for a student to learn the techniques of a beginning vibraphonist through the intermediate stages. Level 2 Literature 1. Closer Victor Feldman 2. Trevor s Waltz Victor Feldman

61 60 3. Lori Ron Fink 4. Ruth Ann Ron Fink 5. Trilogy, A Fragment Tim Huesgen 6. Crystal Light Steve Kastuck 7. Suite, II. Michael Lang 8. Suite, IV. Michael Lang 9. Ur Arthur Lipner 10. Imageries, 2. The Sunnier Side Of Doubt Jon Metzger 11. Three Sonorous Pictures, Ernst Elegy Luigi Morleo 12. My Dear Friend Ney Rosauro 13. Prelude and Blues, I. Prelude Ney Rosauro 14. I for Ben Ricardo A. Coelho de Souza 15. III for Adella Ricardo A. Coelho de Souza 16. V for Gabriel Ricardo A. Coelho de Souza 17. VIII for Pedro Ricardo A. Coelho de Souza 18. In The Stillness Of Twilight David Steinquest 19. Six Poems, 5. inaudible as dreams Robert Stright 20. Hickory Trail Marlène and Jerry Tachoir 21. Erinnerungen/Memories Nebojša Jovan Živković

62 61 CHAPTER 6: ANNOTATIONS FOR LEVEL 3 LITERATURE The double lateral stroke is the most important addition to the Level 3 techniques. These strokes are introduced as sixteenth-notes found between the tempos of quarter-note = BPM, within an interval range of thirds to sixths, and approximately 0 3 wrist turns per piece. Similar strokes that occur at a slower tempo are considered to have the single alternating stroke motion, as opposed to the double lateral stroke. If the tempos and note values found on the analysis document overlap between the two strokes types, the most appropriate motion that fits the written music determines the classification of this particular stroke. Double vertical strokes and single independent stokes continue to increase in speed, and the wrist turns or manual changes become greater within each tempo range. The eighth-note single alternating stroke also adds 1 2 wrist turns at the original tempo, faster tempos between BPM, or the interval of a second between manuals at BPM. Regarding independence, non-lateral strokes are played in unison with parallel and mirroring motion; lateral strokes also occur with alternating hands. The concept of Alberti bass figures with the same notes is introduced in Level 3. Rolls that are played with hand-to-hand double vertical strokes can now be found with intervals of sevenths and eighths. Pedaling continues to become more difficult with different quantities of pedals per bar/phrase found within each increasing range of tempo. Finally within the

63 62 third level, dampening occurs with 1 2 dampens per bar up to 120 BPM or at a faster tempo with 1 3 dampens per phrase between BPM. Suite For Solo Vibraphone, II., Alexander Lepak Written by well-known percussionist and timpanist Alexander Lepak, Suite For Solo Vibraphone (Windsor Music Publications, 1976) has become an important work due to the composer s stature as a performer and pedagogue in the field of percussion. The publisher describes the work as difficult, the Steve Weiss Music lists the piece as 4 5, and PAS reviewed the suite as advanced or V VI. While each of these assessments is placed on the higher end of these leveling systems, these grade levels are more appropriate for the first and third movements of the suite. The second movement of Suite For Solo Vibraphone does not contain the same technical challenges that the other two movements possess. All four standard stroke types are found in the second movement of Lepak s vibraphone suite. The double vertical, single independent, and single alternating strokes contain considerations found in standard Level 2 techniques. As the most important addition to Level 3, double laterals are seen for the first time in this piece. While each sticking interpretation may differ, they are analyzed to occur during two measures of thirty-second note runs that incorporate a mixture of alternated single independent and single alternating strokes with double laterals as seen in Example 6.1. If double laterals are not used during this excerpt, some of the stickings will become very awkward if attempted with only single independent and single alternating strokes. Because the tempo is marked at quarter-note = 58 BPM, these thirty-second notes must be converted into

64 63 sixteenth-notes by doubling the speed. In the analysis document, this consideration is found as sixteenth-note double laterals at 116 BPM. The following describes an interpretation where two consecutive double lateral strokes can occur: the left hand plays the last thirty-second note of the fifth grouping of four notes (G-sharp) and the first note in the sixth grouping (C-sharp), and the right hand plays the second and third thirtysecond notes in the sixth grouping of four notes (D-sharp and A-natural). Musical Example 6.1: Measure 16 of Alexander Lepak s Suite For Solo Vibraphone, II Windsor Music Publications, used with permission This movement contains some basic independence concepts such as alternating non-lateral strokes and unison non-lateral strokes, but it introduces the skill of alternating lateral strokes. The same thirty-second note excerpt from Example 6.1 contains moments where single alternating strokes and double lateral strokes are found alternating between the two hands. In the analysis document, this consideration is found at Level 3, adding to the primary reasons for the work s category of difficulty. The composer does not include any dampening indications, but there are pedaling markings that are placed only at Level 2. While the first and third movements are both Level 6 pieces, this second movement proves to be less difficult than the other two. Even though the other databases place this entire suite in the intermediate to advanced levels in their grading systems, their

65 64 assessments are accurate towards the majority of the piece. As described in its Level 3 analysis, Suite For Solo Vibraphone, II. provides a slower, lazy, and less challenging contrast to the outer movements. Finale In Five (from All Alone By The Vibraphone), Victor Feldman Jazz musician Victor Feldman wrote several vibraphone solos that were included in various printed collections, including Finale In Five (Gwyn Publishing Company / Good Vibes Music, 1971) from his All Alone By The Vibraphone book. The PMO database gives the collection its highest level of 5, and the PAS review describes the book as advanced or V VI. Similar to other collections that contain multiple solos, all of the aforementioned databases grade these works as a whole, rather than providing an assessment on each individual solo. While the difficulty levels for each piece in All Alone By The Vibraphone vary between Level 2 to Level 7, the following description will shed light on an easier work from the collection. Both non-lateral strokes types, double verticals and single independents, are found with basic Level 2 considerations since the tempo range is given between quarter-note = BPM. This piece is analyzed at the lowest tempo of 140 BPM. Of the other possible stroke types, Finale In Five does not require any lateral strokes or specialized strokes. However, a Level 3 independence consideration is found between the two hands when playing unison non-lateral strokes in parallel motion. This Level 3 technique can be seen in Example 6.2 where the groupings of four notes travel together in the same direction.

66 65 Musical Example 6.2: Measures of Victor Feldman s Finale In Five from All Alone By The Vibraphone 1971 Good Vibes Music, used with permission For the two considerations that are unique to the vibraphone, both dampening and pedaling technique are found with Level 3 parameters. While the piece is analyzed at 140 BPM, dampening occurs 1 3 per phrase; pedaling is even more frequent with an average of two pedals per bar. Both of these considerations can be seen in Example 6.3. In addition to these technical concepts, it is also important to note the challenges presented in the printed music. The composition contains many tied notes and sustained notes, creating difficulty in determining the differences between tied notes and non-tied notes. Musical Example 6.3: Measure 32 of Victor Feldman s Finale In Five from All Alone By The Vibraphone 1971 Good Vibes Music, used with permission

67 66 While stroke speed, wrist turns, and manual changes are not a factor in the outcome of this piece s level of difficulty, techniques requiring independence, dampening, and pedaling ultimately place Finale In Five at Level 3. The All Alone By The Vibraphone collection is a great book that students can use from the beginning stages to the advanced levels, as shown in this analysis and the assessments of other databases. Several works from All Alone By The Vibraphone can also be found in Feldman s other collection of vibraphone solos titled Mallets In Wonderland. Lament (from Recital For Vibraharp), Thomas L. Davis The majority of Thomas Davis Recital For Vibraphone (C.L. Barnhouse Music Publications, 1975) contains arrangements of Baroque, Romantic, and traditional music, but the composer includes a few original pieces at the end of the book, including Lament. The collection is listed as 4 5 out of 6 in the Steve Weiss Music catalog, and the PMO database gives the entire book 4 out of 5 for its level of difficulty. While many of the arrangements are quite difficult as listed by the above sources, the original compositions by Davis do not require the same amount of technical skills found within the analysis document. Valse Trisque is another original work from this collection that also fits within the same parameters of a Level 3 piece. Because Davis indicates the tempo of this piece with the terms Largo, Rubato, the numerical range most commonly listed for largo is approximately quarter-note = BPM. Lament contains various note values throughout the piece, forcing stroke speed to become a factor even at the slow tempo of 40 BPM. Both types of non-lateral strokes are found throughout the work, but only double verticals require Level 3

68 67 techniques; single independents are only found at Level 2 with strokes up to 120 BPM with 2 4 manual changes per bar. The double vertical strokes also occur only up to 120 BPM with intervals of thirds through fifths, but they require 3 4 wrist turns per bar as seen in Example 6.4. This particular motion of the wrist is a very demanding technique at this tempo, placing it at the highest category of Level 3 for this particular interval range and speed. Musical Example 6.4: Measures 7 & 8 of Thomas L. Davis Lament from Recital For Vibraharp 1975 C. L. Barnhouse Co., used with permission Aside from simple dampening indications found at Level 2, the only other consideration in Lament is found in parameters up to Level 3 for independence. It contains alternating and overlapping non-lateral strokes, but the most difficult form of independence occurs with the unison non-lateral strokes moving in parallel motion. This independence concept was also seen in a previous Level 3 annotation, and it is illustrated in Example 6.5. Since this excerpt contains chords with three notes each, the performer must play two notes with double verticals strokes in one hand and the third note with single independent strokes in the other hand.

69 68 Musical Example 6.5: Measures 31 & 32 of Thomas L. Davis Lament from Recital For Vibraharp 1975 C. L. Barnhouse Co., used with permission If Lament was composed at a faster tempo, there is no doubt that this piece would contain a greater level of difficulty. Since Davis is not specific about the tempo marking, the approximate tempo range for this analysis allows for considerations no higher than Level 3. The quantity of wrist turns required in performing the double vertical strokes and the non-lateral strokes performed in parallel motion place this work within the techniques found in this level. As seen in many previous annotations, pieces such as Lament that are found in collections of vibraphone solos do not always have the most accurate assessments for each individual work as indicated in many of the graded databases discussed above. Thomas Davis Recital For Vibraharp is a fantastic book of vibraphone solos that will introduce students to many composers of the past with arrangements from earlier periods, as well as more modern solos written specifically for this collection.

70 69 Level 3 Literature 1. Lament Thomas L. Davis 2. Valse Trisque Thomas L. Davis 3. Danny Boy Victor Feldman 4. Finale In Five Victor Feldman 5. Manhattan Victor Feldman 6. Max Victor Feldman 7. Christina Ron Fink 8. Jill Anne Ron Fink 9. Linda Gail Ron Fink 10. Bop On The Top Murray Houllif 11. Suite For Solo Vibraphone, II. Alexander Lepak 12. Back Porch Swing Arthur Lipner 13. In The Stars Arthur Lipner 14. A January Snowfall Arthur Lipner 15. Marigolds Arthur Lipner 16. Nocturne Arthur Lipner 17. Etude In Bossa Ney Rosauro 18. I for Willow Ricardo A. Coelho de Souza 19. II for Skylar Ricardo A. Coelho de Souza 20. IV for Pulico Ricardo A. Coelho de Souza 21. Ask Julie Spencer 22. Lost & Found Marlène and Jerry Tachoir

71 70 CHAPTER 7: ANNOTATIONS FOR LEVEL 4 LITERATURE The last two strokes types are introduced in Level 4: triple strokes and combination strokes. Similar to double lateral strokes, the triple stroke also occurs as sixteenth-notes between the tempos of quarter-note = BPM, within the interval range of thirds to sixths, and approximately 0 3 wrist turns per piece. The combination strokes contain three different types of mixing various strokes consecutively in the same hand. These strokes include combining non-lateral strokes together with double verticals (intervals of thirds through sixths) and single independents between BPM, combining lateral and non-lateral strokes together with single independent and single alternating strokes between BPM, and playing sixteenth-note linear lines with a combination of single independents, double laterals, or triple strokes between BPM. In order to keep each of these descriptions about each level from sounding redundant throughout the next several chapters, the remainder of the discussion on single independent strokes, pedaling, and dampening will end here in Level 4. Each of these techniques continues to increase in difficulty based on faster tempos and stroke speeds found in the music. While the tempos continue to increase with the double vertical strokes, the addition of intervals greater than an octave are found up to 120 BPM in the right hand only. The single alternating stroke occurs with an interval of a second within the same manual, as well as intervals of sevenths and eighths, where both considerations

72 71 are played as eighth-notes between BPM. The sixteenth-note double lateral stroke occurs with an interval of a second between manuals at BPM, while the midrange intervals contain 1 2 wrist turns per bar at BPM or increase to BPM with 0 3 wrist turns per piece. There are several new considerations for independence found in the fourth level. For lateral strokes, this includes mirroring single alternating strokes that are overlapping, as well as unison mirroring lateral strokes. Another common form of independence is the overlapping lateral and non-lateral strokes containing single alternating or double lateral strokes with single independent or double vertical strokes. In addition, 2:3 polyrhythms and easy hand-crossing techniques occur for the first time in this level. Although mandolin rolls are not commonly found in vibraphone literature, this special technique is found in Level 4. In the current state of percussion education, many high school seniors or incoming college freshmen students should be able to execute the techniques and literature found at this level. Mist, Murray Houllif Murray Houllif has composed pieces for all mediums of percussion, and Mist (Kendor Music, 1982) is one of his many vibraphone solos that can be found on prescribed state music lists. The publisher lists the work as 4½ out of 6, and the printed Steve Weiss Music catalog also lists the solo as 4+ out of 6. The PAS review describes the work as intermediate, or III-IV, which places the piece in the middle of their rating scale. Each of these sources assessment of level of difficulty is similar to each other, adding to the validity of the analysis in this research.

73 72 Mist requires the use of four different strokes types: double vertical, single independent, single alternating, and one combination stroke. With the tempo marked at quarter-note = 144+ BPM, the levels for many of these stroke types will immediately rise. The highest level is found in the double vertical strokes when two consecutive eighth-notes are played with the same hand in octaves; this is found as a Level 4 consideration on the analysis document and seen in Example 7.1. The single independent strokes contain eighth-notes that occasionally require 2 4 manual changes per bar at 144 BPM, and the single alternating strokes also contain eighth-note rhythms with intervals between thirds and sixths with 0 3 wrist turns per piece. Both of these considerations fall within the Level 3 category. Musical Example 7.1: Measure 20 from Murray Houllif s Mist 1982 Kendor Music, used with permission The combination stroke occurs with a double vertical stroke and a single independent stroke between measures twenty-three and twenty-five. The combination stroke at measure twenty-three can have two different interpretations as seen in Example 7.2. I chose to have the right hand play the double vertical eighth-note on beat one, as well as the eighth-note single independent that follows it, placing this combination stroke at a Level 4. Some players might play the low F-sharp eighth-note and the following

74 73 eighth-note with the left hand, but this would create a single alternating stroke with an interval of a seventh found within the Level 5 category. The combination stroke interpretation is the easier option in the analysis document. Another clear combination stroke occurs between measures twenty-four and twenty-five, also seen in Example 7.2. A three-note grouping of single independent eighth-notes descend into a double vertical stroke with an interval of a fourth. Both of these combination strokes are placed in the Level 4 category under eighth-note non-lateral strokes with double verticals containing intervals of thirds through fifths and single independents between quarter-note = BPM. Musical Example 7.2: Measures from Hurray Houllif s Mist 1982 Kendor Music, used with permission Typical of a Level 4 piece, the independence found in Mist requires the standard skills necessary of an intermediate player. With a mixture of non-lateral and lateral strokes, the independence includes alternating the hands between both stroke types, overlapping non-lateral strokes, and unison non-lateral strokes in parallel and mirroring motion. The highest level of independence is the overlapping strokes of double verticals/single independent strokes and single alternating strokes; a representation of this Level 4 consideration can be seen above in Example 7.1. The primary reasons for placing Mist in the Level 4 category is due to three technical considerations: octave double

75 74 vertical strokes, combination strokes, and independence. Although the Level 4 category is in the lower half of this research s ten-degree leveling scale, it is a close assessment to the graded listings from the above sources, especially with the PAS review containing the most similar level of difficulty. Mirror From Another (from Mirror From Another), David Friedman Vibraphonist David Friedman composed one of today s most popular collections of six solo pieces for vibraphone called Mirror From Another (Alfred Music, 1987); the title piece will be discussed in this annotation. This set of six solos is found on the majority of the prescribed state music lists and university handbooks. The Steve Weiss Music catalog lists the book at 5+ out of 6, the PMO database grades it at 4 out of 5, and the PAS review describes the collection as intermediate-advanced, or IV out of VI+. Each of these assessments of the entire book is slightly above the middle levels or higher. While most of the pieces in Music From Another definitely fit within these databases described grade levels, this particular solo is the easiest of the six works and contains technical considerations of Level 4. The other works from this collection are found between Level 5 through Level 8. The tempo range of this work is marked at half-note = BPM, placing the conversion for the quarter-note tempo at BPM. This piece will be analyzed at 120 BPM, the lowest tempo within the range. The non-lateral strokes are both found with basic Level 1 considerations, dampening occurs at Level 3, and pedaling requires only Level 2 skills. The single alternating strokes occur as eighth-notes at 120 BPM with intervals of thirds through sevenths, so the large interval range places this technique at

76 75 Level 4. This consideration with a single alternating stroke played at an interval of a seventh is illustrated on the fourth beat in the first measure of Example 7.3. Double lateral strokes and triple strokes are not found throughout the solo. Musical Example 7.3: Measures 32 & 33 of David Friedman s Mirror From Another from Mirror From Another MIRROR FROM ANOTHER By DAVID FRIEDMAN 1987 BELWIN-MILLS PUBLISHING CORP. A Division of ALFRED MUSIC All Rights Reserved The other considerations that place Mirror From Another in the Level 4 category are combination strokes and independence concepts. A combination stroke containing a single independent stroke and a single alternating stroke is required with eighth-notes at 120 BPM. This consideration can also be seen in the second measure of Example 7.3; the left hand plays a single alternating strokes with mallets 4 and 3, followed by another eighth-note single independent stroke with mallet 3. Beyond the basic Level 1 independence skills, this solo also contains concepts found in Level 3 and Level 4. Unison non-lateral strokes in mirroring motion are found in Level 3, and overlapping non-lateral and lateral strokes with double vertical strokes and single

77 76 alternating strokes are placed at the work s highest category of Level 4. This independence consideration can be seen in both measures of Example 7.3. With three different considerations found at the same level of difficulty, Mirror From Another proves to be a strong example of a Level 4 piece. The single alternating strokes, combination strokes, and independence issues found in this work are techniques that are appropriate for an early intermediate vibraphone player. Based on this research, it is suggested to start with this solo when studying each of the six pieces found in Friedman s popular collection. The five remaining pieces from this set gradually increase in difficulty as listed in the database of graded vibraphone solos. Waltzer/Waltz (from Funny Vibraphone Book I), Nebojša Jovan Živković Serbian composer and percussionist Nebojša Jovan Živković has contributed many works to the percussion repertoire. His Funny Mallets Series for marimba, vibraphone, and xylophone have become very popular books used by beginning keyboard percussion students; Funny Vibraphone Book I (Gretel Verlag Dinklage, 1994) contains a collection of vibraphone solos requiring two-mallet and four-mallet techniques such as Waltzer/Waltz with Level 4 techniques. The publisher lists the book as easy/intermediate, and the Steve Weiss Music catalog gives it a range of 2 3 out of 6. The PMO database grades it at 2 out of 5, and PAS describes the collection as elementary, or I II out of VI+. Each of these databases has similar grade levels for this collection of solos, and Waltz is found in this range along with the other four four-mallet solos in book.

78 77 The given tempo is marked at dotted half-note = 60 BPM, so it is necessary to convert this tempo to quarter-notes by multiplying the number above by three. The analysis will use quarter-note = 180 BPM in order to find the appropriate levels for each consideration. Similar to other Level 4 pieces, the non-lateral strokes only require Level 1 techniques, but the single alternating strokes are placed at Level 4 with eighth-notes performed at 180 BPM with intervals up to sixths. An example of this single alternating stroke can be seen in the bottom staff of Example 7.4. Musical Example 7.4: Measures 26 & 27 of Nebojša Jovan Živković s Waltzer/Waltz from Funny Vibraphone Book I 1994 Gretel Verlag, used with permission One of the most common concepts of independence at Level 4 is found with overlapping non-lateral and lateral strokes. Waltz contains overlapping single independent strokes on the top staff and single alternating strokes on the bottom staff, also illustrated between both hands in Example 7.4. While the composer does not provide any dampening indications, the pedaling markings are also placed at Level 4 with 1 4 pedals per phrase at 180 BPM. Živković s Funny Vibraphone Book I is a fantastic collection that contains pieces between Level 2 through Level 5. Three of these solos,

79 78 including Waltz, are placed at a difficulty of Level 4, and each of the pieces can be used as pedagogical tools for students transitioning from the elementary to intermediate skill sets. Level 4 Literature 1. Puerto Vallarta Thomas A. Brown 2. Catapult Gary Burton 3. Backwoods Blues Victor Feldman 4. Haunted Ballroom Victor Feldman 5. Mirror From Another David Friedman 6. Olana Kyle Gann 7. Snowbird Gary Gibson 8. Wallflower Gary Gibson 9. Motion Josh Gottry 10. Mist Murray Houllif 11. Tranquility Murray Houllif 12. Trilogy, With A Hazy Motion Tim Huesgen 13. Fantasy On A Shona Theme Glenn Kotche 14. A Beach Scene Arthur Lipner 15. Foreign Intrigue Arthur Lipner 16. Lullaby Patrick Long 17. Imageries, 1. Minister Of Grace Jon Metzger 18. VI for Henrique Ricardo A. Coelho de Souza

80 VII for Brenda Ricardo A. Coelho de Souza 20. Earth Poem Marlène and Jerry Tachoir 21. Ballade Nebojša Jovan Živković 22. Rock-Song Nebojša Jovan Živković 23. Waltzer/Waltz Nebojša Jovan Živković

81 80 CHAPTER 8: ANNOTATIONS FOR LEVEL 5 LITERATURE While each stroke type has already been introduced prior to Level 5, new technical concepts of independence and rolling continue to be found in the necessary skills of an intermediate four-mallet keyboard player. For independence, unison lateral strokes occur in parallel motion, single alternating strokes overlap in parallel motion, and Alberti bass figures contain many changing notes. The double lateral roll, or ripple roll, is introduced in this level with intervals between thirds and sixths that contain no consecutive movement to other notes. Regarding some of the previous stroke types, the single alternating stroke occurs with an interval greater than an octave in the right hand, while the remaining intervals continue to increase in tempo and/or number of wrist turns. The double lateral stroke has a similar addition to this level; intervals of a seventh or greater occur as sixteenth-notes between BPM. Finally, the triple stroke occurs at an interval of a second between manuals, and the combination strokes continue to increase in tempo and interval size. Waltz King (from Music Of The Day), Bill Molenhof Having composed many pieces for keyboard percussion, vibraphone artist Bill Molenhof has written a highly acclaimed collection of six vibraphone solos called Music Of The Day (Kendor Music, 1977). Found on four of the five prescribed state music lists and all four of the university handbooks, this book contains one of Molenhof s most

82 81 popular pieces titled Waltz King. The cover of the music describes the collection as grade 5, provided by the publisher. The Steve Weiss Music catalog lists the book as 5 out of 6 and medium-advanced, and PAS reviewed the collection as advanced or V VI out of VI+. Each of these databases put Music Of The Day within the upper levels of their grading scales. While several of the pieces in this collection contain techniques at Level 6 and Level 7, half of the solos, including Waltz King, fall in the intermediate category of Level 5. The tempo of this work is described with the phrases Ballad style, Rubato and with more motion. Because there is not a numerical indication for tempo, Molenhof s definitive recording of Waltz King is used to determine approximate tempo ranges; an audio CD of each of the solos from Music Of The Day is provided with the book. Based on this recording, the piece is found at quarter-note = BPM and BPM. Of the basic stroke types, many of those found in this piece land in varying levels. The double vertical strokes are performed at Level 3, single alternating strokes are found at Level 4, and the single independent strokes require skills at Level 5. Double lateral strokes and triple strokes are not executed in the work. The single independent strokes are placed at Level 5 where two sixteenth-note strokes are played consecutively in the same hand with little motion at 120 BPM. Example 8.1 provides an illustration of this consideration.

83 82 Example 8.1: Measure 26 of Bill Molenhof s Waltz King from Music Of The Day 1977 Kendor Music, used with permission A lateral/non-lateral combination stroke is also found in Waltz King. With an eighth-note single independent stroke and single alternating stroke played at 140 BPM, this consideration is placed at the difficulty category of Level 5. The combination stroke can be seen in Example 8.2. While there are only basic requirements for dampening and pedaling, a few common independence concepts are observed in the work. With basic Level 1 and Level 2 skills, there are also occasions with overlapping non-lateral and lateral strokes placed at Level 4. The two primary reasons for placing Waltz King at a difficulty of Level 5 is the consecutive sixteenth-note single independent strokes and the combination stroke of single independent and single alternating strokes. The above description should provide a clear suggestion that this work should be placed at a lower level of difficulty than indicated from many of the other literature databases. Because of the popularity and tunefulness of this piece, Bill Molenhof s Waltz King has become a standard vibraphone solo for undergraduate percussionists.

84 83 Musical Example 8.2: Measures of Bill Molenhof s Waltz King from Music Of The Day 1977 Kendor Music, used with permission Two Bass Vibes (from Solo Jazz Vibraphone Etudes), Arthur Lipner Jazz vibraphonist and composer Arthur Lipner has written numerous solos, method books, and percussion ensemble works that are performed throughout the world. Solo Jazz Vibraphone Etudes (Ludwig Masters Publications, 1990) is one of his collections of solos that are geared toward the beginner and intermediate vibraphone player. Of the twelve pieces found in this book, Two Bass Vibes is a Level 5 solo that contains several techniques required of this grade level. The publisher gives the collection a grade level of 3, and the Steve Weiss Music catalog also lists the book as 3 out of 6 in the printed version and medium/intermediate in the online catalog. Each of these assessments is appropriate for the determined levels for the majority of the solos in the collection, including Two Bass Vibes. Because this piece is intended to be performed with a half-time feel, the composer placed the tempo at half-note = BPM, or converted to quarter-note = BPM for this analysis. Only two stroke types are employed in this solo: single

85 84 independents and one occurrence of double verticals. The double vertical stroke contains a hand-to-hand roll at intervals of a fifth, which only require Level 1 techniques for the double vertical consideration and Level 2 techniques for the rolling concept. While the single independent strokes are not the primary reasons for placing Two Bass Vibes at Level 5, these strokes occur at Level 4 with one hand playing at BPM with 0 1 manual changes per bar. The combination stroke of these two stroke types is one major factor that determines its level of difficulty. Example 8.3 illustrates the Level 5 consideration where the consecutive eighth-note single independent and double vertical strokes are performed in the bottom staff at quarter-note = BPM. Musical Example 8.3: Measure 46 of Arthur Lipner s Two Bass Vibes from Solo Jazz Vibraphone Etudes 1990 Ludwig Masters Publications, used with permission There are no elements of independence found greater than Level 3, but Lipner provides many specific indications for dampening and pedaling. At quarter-note = 168, there are approximately 1 3 dampens per phrase and approximately 2 4 pedals per bar. Both of these considerations are placed at Level 5 techniques due to the speed and detail of these indications. Example 8.4 shows an instance with several required dampens in one bar, and Example 8.5 illustrates multiple pedals in consecutive measures. Arthur

86 85 Lipner s Solo Jazz Vibraphone Etudes has become a very popular and accessible book for high school and undergraduate percussionists. Each of these solos found in this collection contain different elements of technicality and difficulty, and Two Bass Vibes is one of the works that fits within the middle range of the set. Musical Example 8.4: Measure 4 of Arthur Lipner s Two Bass Vibes from Solo Jazz Vibraphone Etudes 1990 Ludwig Masters Publications, used with permission Musical Example 8.5: Measures 21 & 22 of Arthur Lipner s Two Bass Vibes from Solo Jazz Vibraphone Etudes 1990 Ludwig Masters Publications, used with permission

87 86 II for Johnny (from Canções Infantis Book 2), Ricardo A. Coelho de Souza As discussed previously in the Level 1 annotations, Ricardo A. Coelho de Souza s Children s Songs are collections of vibraphone solos found within a two-book series, which includes II for Johnny (C. Alan Publications, 2010) in the second book. Because there are eleven pieces in each collection, the grade levels found from other databases do not always accurately reflect the difficulties for each individual work. Fortunately for this particular solo, these databases provide an accurate assessment of its technical difficulty. The publisher lists the book as medium difficult, and the Steve Weiss Music online catalog also describes it as medium difficult. The PAS review lists the collection as intermediate, which lands at III IV on their grading scale with VI+ being the most difficult. Each of these sources rank Souza s Children s Songs, Book 2 in the mid-level categories of their grading scales. Performed at quarter-note = 136 BPM, this piece contains all of the different types of strokes except for single alternating strokes. The highest category of difficulty for these strokes is found at Level 5 with double lateral, triple, and combination strokes. The double vertical and single independent strokes are placed at Level 2. Throughout the piece, double lateral strokes are played with intervals of thirds through sixths at 136 BPM with 1 2 wrist turns per bar. Example 8.6 contains the first two measures of the piece where double laterals are executed for the F-naturals and C-naturals in the first measure and the A-flats and D-flats in the second measure. Similar to double laterals, the triple strokes are also played at the same intervals and speed, but they only require 0 3 wrist turns during the entire piece. An illustration of this triple stroke interpretation can be seen

88 87 in Example 8.7 where the right hand uses the third mallet for the E-flats and the fourth mallet for the upper A-flat. Musical Example 8.6: Measures 1 & 2 of Ricardo A. Coelho de Souza s II for Johnny from Canções Infantis, Book C. Alan Publications, used with permission Musical Example 8.7: Measure 6 of Ricardo A. Coelho de Souza s II for Johnny from Canções Infantis, Book C. Alan Publications, used with permission A new consideration is introduced where a combination stroke consists of single independent strokes performed consecutively with double laterals or triple strokes to create a linear line. Also indicated as a Level 5 consideration, this type of linear passage is listed on the analysis document at BPM, and they are found throughout the entire work at 136 BPM. While forms of independence and pedaling are prevalent in this work, the greatest level of difficulty is found at Level 4. Some of these independence concepts include overlapping non-lateral and lateral strokes, as well as easy handcrossing passages that are not precisely indicated in the score. Souza s sets of Children s

89 88 Songs have become a welcome addition to the vibraphone repertoire with short and musical solos that are appropriate for all levels of vibraphone playing. II for Johnny is a prime example of one of Souza s many intermediate works from his two collections. Level 5 Literature 1. Reminiscence, II. Tonal Succession Thomas Briggs 2. Reminiscence, V. Light and Airy Thomas Briggs 3. Essence Thomas A. Brown 4. Felicidade Victor Feldman 5. Looking Back David Friedman 6. Caribe Vibe Arthur Lipner 7. Crystal Mallet Arthur Lipner 8. Heartsong Arthur Lipner 9. Nightcrawler Arthur Lipner 10. Tranquille Arthur Lipner 11. Two Bass Vibes Arthur Lipner 12. Call Back To Me Jon Metzger 13. Mayflower Bill Molenhof 14. Precision Bill Molenhof 15. Waltz King Bill Molenhof 16. Children Song Ney Rosauro 17. First Steps Ney Rosauro 18. II for Johnny Ricardo A. Coelho de Souza

90 VI for Adelaide Ricardo A. Coelho de Souza 20. X for Zachary Ricardo A. Coelho de Souza 21. Six Poems, 1. brought forth in purple Robert Stright 22. Glass House Marlène and Jerry Tachoir 23. Internal Evidence, III. Justice Martin P. Weir 24. Heinz On Hawaii Nebojša Jovan Živković

91 90 CHAPTER 9: ANNOTATIONS FOR LEVEL 6 LITERATURE The most important addition to Level 6 is the one-handed single independent roll technique. This occurs in either hand with intervals between fifths through octaves that contain no movement to other consecutive notes while rolling. Independence is also found with this technique while playing the roll overlapped with non-lateral or lateral strokes. In addition, independence concepts of overlapping double lateral strokes and polyrhythms defined as 3:4 and 2:5 are added to this level. Level 6 is also the first level to incorporate any form of extended techniques found on the vibraphone. It requires a mature musician to execute convincingly many of the extended technique demands on a vibraphone. Because the physical bars on professional level mallet keyboard instruments get increasingly wider in size on the lower end, the double vertical, single alternating, and double lateral strokes with an interval greater than an octave in the left hand are added to the Level 6 category. The discussion regarding these three stroke types will now come to an end as the level of difficulty for each consideration increases based on higher stroke speeds and more wrist turns. In addition, the techniques found in triple strokes and combination strokes also continue to become more difficult based on their interval size, stroke speed, and wrist turns.

92 91 abstruser musings (from Six Poems), Robert Stright Robert Stright s Six Poems (Ludwig Music, 1991) was the First Place winner of the 1990 Percussive Arts Society Composition Contest for Unaccompanied Vibraphone Solo. abstruser musings is the third movement of this six-movement work, and it is one of the first works, or movements, in this research to include extended techniques for the vibraphone. The publisher does not provide a grade level for the piece, but three other sources have contributed their assessment on its difficulty. Steve Weiss Music describes the piece as advanced in their online catalog and lists it as 5 out of 6 in their printed catalog. PMO gives it a grade 4, and the PAS review describes it as difficult, or VI+. Each of these sources placed this work at the highest or second to highest level in their grading system. Because this piece contains six movements, the difficulty levels for each movement will vary from each other. The following description will explain why the third movement of Six Poems fits into the Level 6 category within this analysis system. The composer does not provide an exact tempo marking for this movement; it states Slowly, Mysteriously (rhythms are approximate) at the beginning of the music. Normally a piece without a precise tempo or definitive recording could not be studied properly with the analysis document, but the slow tempo indication and simple rhythms allow this piece to be analyzed without stroke speed being an issue. abstruser musings contains only two stroke types: double verticals and single independents. Both of these strokes are found with Level 1 considerations because neither type requires eighth-note strokes beyond 120 BPM or contains enough wrist turns and manual changes to constitute any factors at a Level 2 category.

93 92 As stated in the chapter s introduction, one-handed single independent rolls are the most important addition to techniques found in Level 6. This particular type of roll begins in the third line of this movement, and it continues until the end with an interval of a seventh in the right hand. Because independent rolls are easier to execute with larger intervals, this consideration falls into the Level 6 category at its entry stage in the analysis document. An independence issue is also found at this same level; throughout the duration of the single independent roll, overlapping non-lateral strokes occur in the left hand with double vertical strokes and single independent strokes as seen in Example 9.1. Musical Example 9.1: Line 3 from Robert Stright s Six Poems, 3. abstruser musings 1991 Ludwig Music, used with permission Extended techniques can include endless possibilities for percussion instruments. In this particular movement, Stright asks the performer to shuffle pennies in L.H. at the beginning, while soft single independent strokes create a thematic melody in the right hand. In the second line, he has the performer drop penny on node simultaneous with stroke, creating a metallic attack when the implements strike and a buzzing sound as the penny vibrates on the aluminum bar of the instrument. An illustration of this technique is seen in Example 9.2. There are also moments when only the penny is dropped without a

94 93 mallet stroke, and there are many instances when the mallet strikes the bars that contain pennies in order to create another buzzing noise. Vertical wavy lines that follow each note indicate the pitches with buzzing sounds. Lastly, the composer asks the performer to slide pennies off ends of bars to create a faint pitch from the bar and an audible sound of the pennies hitting the floor or carpet. Noteheads replaced with an x indicate which pitches require this action. Musical Example 9.2: Line 2 from Robert Stright s Six Poems, 3. abstruser musings 1991 Ludwig Music, used with permission It takes a mature musician to execute extended techniques such as these found in the third movement of Six Poems. abstruser musings is a perfect example of a Level 6 piece, because of the single independent rolling techniques, the overlapping independence found in relation with the roll, and the extended techniques using pennies to create new timbres. Other movements from this work are found in levels both below and above this movement, but this analysis of abstruser musings provides an accurate description of its individual difficulty level.

95 94 Absolute Journey Music, Robert Bridge Requiring many extended and non-traditional techniques, Robert Bridge s Absolute Journey Music (Kendor Music, 2006) contains multiple Level 6 considerations found in the analysis document. The publisher and the Steve Weiss Music catalog list the piece as 6 out of 6, and the PAS review describes the solo as advanced or V VI out of VI+. However, the PMO database grades the work as 3 out of 5, making their assessment the closest to the results found using this research s grading system. The following discussion will provide evidence for the slightly lower level of difficulty for this piece when compared to the grading of the first three aforementioned sources. Throughout the work, there are two tempos given by the composer: quarter-note = 100 BPM and dotted quarter-note = 124 BPM. The latter tempo is converted to quarternote = 186 BPM for this analysis. While double vertical strokes and single alternating strokes are found with Level 5 considerations, the single independents and combination strokes are some of the techniques that place Absolute Journey Music at a difficulty category of Level 6. There are two considerations within this level for the single independents classification that are found in the piece. At quarter-note = 100 BPM, sixteenth-notes are played with 3 6 strokes and no manual motion. In addition, a passage with sixteenth-notes grouped in fives is written, forcing two consecutive strokes to be performed with little motion at the converted tempo of quarter-note = 125 BPM. Example 9.3 illustrates the sixteenth-notes at 100 BPM, and Example 9.4 exemplifies the sixteenth-note five-lets at 125 BPM.

96 95 Musical Example 9.3: Measure 12 from Robert Bridge s Absolute Journey Music 2006 Kendor Music, used with permission Musical Example 9.4: Measure 83 from Robert Bridge s Absolute Journey Music 2006 Kendor Music, used with permission The Level 6 combination stroke contains consecutive non-lateral strokes with eighth-note double verticals and single independents played at quarter-note = 186 BPM. Another common consideration for this level is the single independent roll played in the right hand at octaves. This occurs as an overlapping single independent roll with nonlateral strokes played simultaneously in the left hand. This concept of independence is also placed at Level 6. Example 9.5 contains the excerpt of these technical considerations. The composer is specific about the indications for dampening and pedaling, but they are only found with Level 4 and Level 5 considerations, respectively.

97 96 Musical Example 9.5: Measures 55 & 56 from Robert Bridge s Absolute Journey Music 2006 Kendor Music, used with permission Finally, Absolute Journey Music contains several extended techniques that are first introduced at Level 6 in this research. Some of these innovative ideas include using mouth vibrato over a sustained note, striking the bar on the node or between the node and the center, and playing the edge of the bar with the shaft of the mallet. Each of these extended techniques is clearly indicated with a brief discussion in the score and symbols created by the composer, and Example 9.6 illustrates one of these instances. The player must be a mature musician in order to execute these extended techniques effectively. Although there is one symbol that is unclear within the notation, Robert Bridge has prepared a specific score that uses unique timbres for the vibraphone. Absolute Journey Music is a fascinating piece that will take an intermediate player on a musical adventure. Musical Example 9.6: Measures from Robert Bridge s Absolute Journey Music 2006 Kendor Music, used with permission

98 97 Carillon (from Wallflower, Snowbird, Carillon), Gary Gibson Found on three of the five prescribed state music lists, half of the university handbooks, and vibraphone competition repertoire lists, Gary Gibson s Wallflower, Snowbird, Carillon (Studio 4 Productions, 1985) has become a standard work in the solo vibraphone repertoire. Performed as a set or as three individual solos, Carillon is found to be the most difficult piece in the collection. The publisher ranks the set as intermediate, and the Steve Weiss Music catalog lists the works as 6 out of 6. The PMO database grades the pieces as 3 out of 5, and PAS reviews the set as advanced or V VI out of VI+. While there is a mixture of intermediate and advanced assessments, the publisher and the PMO database have the most accurate assessment of this set of three pieces. As stated previously, Carillon fits the parameters of Level 6 techniques, and the first two pieces of the work, Wallflower and Snowbird, are found at Level 4. Written with five quarter-notes per bar, the composer places the tempo of this work at quarter-note = 140 BPM. Both non-lateral strokes contain considerations at Level 3, but the single alternating strokes are one of the primary reasons for placing Carillon at Level 6. There are several instances where the right hand is required to play single alternating strokes with an interval of a ninth at 140 BPM. Example 9.7 shows this Level 6 consideration for single alternating strokes when any interval greater than an octave is performed between BPM with 0 3 wrist turns throughout the piece; both of these strokes occur on the fourth beat in the upper staff.

99 98 Musical Example 9.7: Measures 9 & 10 of Gary Gibson s Carillon from Wallflower, Snowbird, Carillon 1985 Studio 4 Music by Marimba Productions Inc., used with permission The most challenging combination stroke occurs between consecutive eight-note double verticals at an interval of a sixth and single independent strokes performed in the same hand at 140 BPM. Both of these instances can be seen on beat five in Example 9.7 and the first two strokes in Example 9.8 where the right hand performs a double vertical stroke immediately followed by a single independent stroke. While there are additional challenges with independence concepts up to Level 4 and dampening indications up to Level 5, the primary reasons for placing Carillon at Level 6 are found in the single alternating strokes and combination strokes. Gary Gibson s Wallflower, Snowbird, Carillon has become a standard vibraphone work that should be ultimately placed in the intermediate category of technical difficulty based on the three analyses of each piece from the set.

100 99 Musical Example 9.8: Measure 27 of Gary Gibson s Carillon from Wallflower, Snowbird, Carillon 1985 Studio 4 Music by Marimba Productions Inc., used with permission Level 6 Literature 1. Absolute Journey Music Robert Bridge 2. Sun Shadows Thomas A. Brown 3. Childhood Gary Burton 4. Three Brothers, Goldengate Park J.C. Combs 5. Trance David Friedman 6. Carillon Gary Gibson 7. Broken Silence Mark Glentworth 8. Sonata Brevis, III. Raymond Helble 9. Paint Me A Sky Jeff Hunter 10. Suite, V. Michael Lang 11. Three Caprices For Vibraphone, II. René Leibowitz 12. Three Caprices For Vibraphone, III. René Leibowitz

101 Suite For Solo Vibraphone, I. Alexander Lepak 14. Suite For Solo Vibraphone, III. Alexander Lepak 15. S a Mambo Arthur Lipner 16. Ever Inward David Macbride 17. Beach Street Years, II. Jungle Talk - Wasted Talk Bill Molenhof 18. Wave Motion Bill Molenhof 19. Three Sonorous Pictures, Frida s Tango Luigi Morleo 20. Ripples In The Water Jessica Muñiz 21. Prelude and Blues, II. Blues Ney Rosauro 22. IV for Izabela Ricardo A. Coelho de Souza 23. IX for Blake Ricardo A. Coelho de Souza 24. Sonata For Solo Vibraphone Gitta Steiner 25. Six Poems, 2. a freshening lustre Robert Stright 26. Six Poems, 3. abstruser musings Robert Stright 27. Spring Hill Marlène and Jerry Tachoir 28. Suomineito Nebojša Jovan Živković

102 101 CHAPTER 10: ANNOTATIONS FOR LEVEL 7 LITERATURE Rolling techniques and independence issues continue to add more difficulty to the higher levels. While the single independent roll was introduced in the previous level with mid-range intervals, Level 7 contains the same type of one-handed roll in either hand with intervals of thirds and fourths, as well as unisons and seconds between manuals. The double lateral roll, or ripple roll, is increased to intervals of sevenths and eighths with little movement. New independence concepts occur with overlapping triple strokes, difficult hand-crossing, and the 3:5 polyrhythm. The Apocryphal Still Life, Christopher Deane The second of Christopher Deane s vibraphone publications, The Apocryphal Still Life (Innovative Percussion, 1996) has become a standard piece found at solo vibraphone competitions throughout the world, including the International Percussion Festival in Poland and Percussive Arts Society Solo Vibraphone Competition. The work contains extended techniques and two prepared pitches, making this an appropriate Level 7 piece. Each of the sources that provide a grade for its level of difficulty clearly shares common assessments with the one found in this research. The Steve Weiss Music catalog lists the solo as 5+ out of 6, the PMO database also ranks the piece as 5, and PAS reviews the work as advanced or V VI out of VI+. The following discussion will describe the considerations and extended techniques found throughout The Apocryphal Still Life.

103 102 Deane s other vibraphone solo Mourning Dove Sonnet is annotated in the Level 9 chapter. The Apocryphal Still Life begins and ends at quarter-note = 56 BPM, and the middle section is performed at the double time tempo of quarter-note = 112 BPM. All four basic stroke types are used throughout this work, as well as two different combination strokes. One of the considerations that place this piece at Level 7 is a single alternating eighth-note triplet performed at an interval of a tenth; the speed of this stroke is converted to 168 BPM. Example 10.1 shows this stroke executed by the right hand in the middle staff while the left hand plays the double vertical strokes in the bottom staff. The large leap at this stroke speed is a difficult passage to execute successfully. The other common stroke types are found with the following considerations: single independents at Level 5, double verticals at Level 6, double laterals at Level 6, and combination strokes up to Level 5. Musical Example 10.1: Measures 56 & 57 from Christopher Deane s The Apocryphal Still Life 1996 Innovative Percussion / Earthshine Publishing, used with permission In addition to many challenging technical stroke types, several concepts of independence are found throughout The Apocryphal Still Life. Deane asks the performer

104 103 to perform a mandolin roll by straddling and striking the top and bottom of a single keyboard bar at the edge with both mallets in the left hand. While executing this onehanded roll, lateral and non-lateral strokes are performed in the right hand as seen in Example In addition, the right hand is simultaneously creating harmonic tones, which will be discussed in the next paragraph regarding extended techniques. These overlapping strokes and roll are placed at Level 6. Another form of independence found as a Level 7 consideration requires difficult hand crossing. Example 10.3 illustrates a moment when the left hand is performing double vertical strokes with pitches much higher on the bottom treble clef staff than the notes played by the right hand in the middle staff. Musical Example 10.2: Measures 10 & 11 from Christopher Deane s The Apocryphal Still Life 1996 Innovative Percussion / Earthshine Publishing, used with permission

105 104 Musical Example 10.3: Measure 68 from Christopher Deane s The Apocryphal Still Life 1996 Innovative Percussion / Earthshine Publishing, used with permission As stated earlier in the annotation, this creative work contains many extended techniques that are commonly found in Christopher Deane s compositions. Each of the following extended techniques contains a clear description within the performance notes of the piece. The work requires two pitches to be prepared by lifting the cord around the hook support of the frame and placing the cord on top of the hook. When the cord is elevated, two specific pitches are allowed to ring when struck, regardless of the position of the damper. Another extended technique includes producing one-handed harmonics. By placing the inside mallet head directly in the center of the bar, the other mallet will strike the node of the bar to create a harmonic tone with a quick stroke. These harmonics are notated with an o placed above the note head as seen previously in the second measure of Example As the harmonic markings turn into dashes within the notation, the player is asked to move both mallets in the same direction to change the note from a harmonic tone to a pure tone of the bar. With Deane s innovative compositional writing, each of these extended techniques, as well as the technical strokes and independence

106 105 concepts, have allowed The Apocryphal Still Life to become an extremely popular solo among college vibraphone players that are entering the advanced stages of their studies. the wind (from Reflections), Lynn Glassock Lynn Glassock s Reflections (Studio 4 Productions, 1992) was one of the performance pieces listed in the upper category for the 2013 Percussive Arts Society Solo Vibraphone Competition. Each of the three sources that provide their own difficulty levels is equivalent to each other. The publisher lists the work as advanced, the Steve Weiss Music catalog lists it at their highest level of 6, and PMO describes the piece at their highest level of 5. Although these assessments rank Reflections as an extremely difficult work, the following description will discuss the technical considerations found in the less difficult third movement, the wind. An annotation for the more challenging first movement, a new year s fanfare, is included in the Level 10 chapter. The tempo range of this movement is marked at dotted quarter-note = BPM, so it must be converted to quarter-note = BPM for this analysis. With constant sixteenth-note rhythms, every stroke type is performed throughout this work, including triple strokes and various combination strokes. Double verticals are placed at Level 7 with two consecutive octave sixteenth-note strokes performed at 114 BPM. Another stroke type found at this level occurs with a combination stroke consisting of consecutive sixteenth-note double laterals and a double vertical stroke performed at the same tempo. Evidence of both Level 7 stroke considerations can be seen in Example 10.4 and Example 10.5, respectively. The combination stroke in Example 10.5 occurs when the left-handed double lateral stroke at the end of the first measure in the lower staff

107 106 immediately shifts to a double vertical stroke on the downbeat of the second measure in the upper staff. The other stroke types are found at the following levels: single independent strokes at Level 5, single alternating strokes at Level 6, double lateral strokes at Level 5, and triple strokes at Level 4. Musical Example 10.4: Measure 31 from Lynn Glassock s Reflections, III. the wind 1992 Studio 4 Music by Marimba Productions Inc., used with permission Musical Example 10.5: Measures 32 & 33 from Lynn Glassock s Reflections, III. the wind 1992 Studio 4 Music by Marimba Productions Inc., used with permission Another factor that places the third movement of Reflections at Level 7 is the independence concept of difficult hand-crossing techniques. The excerpt shown in

108 107 Example 10.6 indicates Mallet 3 in the left hand crossing over the repeated C-sharp notes in the right hand. Also discussed in the following Level 10 annotation on the first movement, the notation in the score presents challenges for the performer. While the composer provides many stickings, this notation forces the player to shift from one staff to the other when some notes are often higher in pitch on the lower staff. This style of notation, as well as the different symbols for pedaling, adds another element of difficulty to Glassock s three-movement work. With the third movement, the wind, placed at Level 7, the second movement also found in the same level, and the first movement placed at the highest level of difficulty, Reflections contains techniques required of an experienced vibraphone player, as agreed upon by all of the databases described above. Musical Example 10.6: Measure 17 from Lynn Glassock s Reflections, III. the wind 1992 Studio 4 Music by Marimba Productions Inc., used with permission Encantada, Nathan Daughtrey A newer piece in the solo vibraphone repertoire, Nathan Daughtrey s Encantada (C. Alan Publications, 2010) is based on material from his Concerto for Vibraphone, and it also calls for an optional 3.5-octave instrument. On the cover of the piece, it is listed as medium difficult, but the publisher website describes its difficulty as only medium. The

109 108 Steve Weiss Music catalog grades the solo as 4 out of 6 and medium, and the PMO database puts the work at 4 out of 5. The PAS review describes the piece as intermediate or III IV out of VI+. The consensus of these sources puts Encantada near the medium level or just slightly above the middle range. In this research, a Level 7 piece is at the peak of the intermediate level, and this description will shed light to the techniques required to execute this beautiful work. There are several tempo markings given throughout this piece, but the one found at the greatest speed is quarter-note = 52 BPM. Although the tempos are slow, many rhythms consisting of thirty-second notes, sixteenth-note triplets, and odd groupings of sixteenth-notes are prominent. Single independent and single alternating strokes require Level 6 techniques at moments in the work, and a combination stroke consisting of consecutive sixteenth-note triplets single independent and single alternating strokes played at quarter-note = 56 BPM is also placed at this level. The composer is also specific about dampening and pedaling indications, but the slower speeds only place these considerations up to Level 3. The primary reason for placing Encantada at a difficulty category of Level 7 is due to the quantity of polyrhythms found throughout the work. Polyrhythms such as 2:3, 3:4, and 2:5 are a few technical items that are placed in the considerations of independence. The most challenging concept of independence is the 3:5 polyrhythm, placed at Level 7 in the analysis document; this polyrhythm can be seen in Example While there are many considerations placed at Level 6, the 3:5 polyrhythm ultimately moves this solo up to the next category. With complex and free rhythms, precise

110 109 articulations, and lyrical passages, Encantada is an appropriate recital piece for a vibraphonist searching for extremely expressive qualities. Example 10.7: Measure 12 from Nathan Daughtrey s Encantada 2010 C. Alan Publications, used with permission Level 7 Literature 1. Reminiscence, III. Fugue Thomas Briggs 2. Enihs Gary Burton 3. Three Brothers, Nashville Vibe J.C. Combs 4. Reflections J.C. Combs 5. Encantada Nathan Daughtrey 6. The Apocryphal Still Life Christopher Deane 7. Rockavibabe Victor Feldman 8. Too Blue Victor Feldman 9. Koda Jan Freicher 10. Vienna David Friedman 11. Wind David Friedman

111 Reflections, II. a spring day Lynn Glassock 13. Reflections, III. the wind Lynn Glassock 14. Trilogy, A Vision In A Dream Tim Huesgen 15. Three Caprices For Vibraphone, I. René Leibowitz 16. Soho Arthur Lipner 17. Solo Accompaniment Arthur Lipner 18. (Almost) The Amazing Spiderman Bill Molenhof 19. Beach Street Years, III. So Far To Go Bill Molenhof 20. Music Of The Day Bill Molenhof 21. Visual Image Bill Molenhof 22. XI for Gavin Ricardo A. Coelho de Souza 23. Circle Blue Marlène and Jerry Tachoir 24. Tears Of Long Lost Love Todd Ukena 25. Interval Evidence, II. In The Shadows Martin P. Weir

112 111 CHAPTER 11: ANNOTATIONS FOR LEVEL 8 LITERATURE Level 8 contains the last addition to the one-handed single independent roll technique; rolling in either hand with a small interval of a second on the same manual is a technique that is required of an advanced four-mallet keyboard player. Regarding independence, an overlapping single independent roll with a single alternating Alberti bass figure is found at this level, as well as the 4:5 polyrhythm. At this point in the leveling system, a strong technical foundation and a high endurance are required for pieces that contain such difficulty at this level and the next two levels that follow. These last three levels contain appropriate techniques and literature for a college senior, graduate student, or professional performer. Kaleidoscope, Arthur Lipner Among Arthur Lipner s most popular solo works, Kaleidoscope (MalletWorks Music, 1995) is found on many solo vibraphone contest lists throughout the world, including the Percussive Arts Society Solo Vibraphone Competition, the Italy Percussion Competition Festival, and the International Percussion Festival Vibraphone Competition in Poland. Each of the four main sources with graded listings provides a level for this work. The publisher lists the piece as advanced on their website and medium/advanced on the cover of the music. Steve Weiss Music describes Kaleidoscope as intermediate/advanced in their online catalog and lists it as 5 out of 6 in their printed

113 112 catalog. There are two entries for this solo in the database on the PMO website, with one being described as a 4 and the other listed at the highest level of 5. The PAS entry reviews the work as advanced, which is in the range of V VI in their leveling system. Interestingly, most of these sources list more than one grade description for this piece, but the majority of the listings place Kaleidoscope in the higher levels of difficulty. There are three different tempo markings throughout the solo listed at quarternote = 96 BPM, 104 BPM, and 112 BPM, but the majority of the work is performed at quarter-note = 104 BPM. Kaleidoscope contains all six different stroke types, many elements of independence, and precise indications for basic dampening and pedaling. Only the most difficult considerations will be discussed in the annotation. The technique that places this piece at a Level 8 is the speed of consecutive sixteenth-note octave double vertical strokes at quarter-note = 104 BPM, illustrated in Example 11.1 and Example One of the parameters at Level 8 in the analysis document describes sixteenth-note double vertical strokes with intervals of sevenths or eighths, played between BPM with 2 6 consecutive strokes in the same hand. There are also many sequences when sixteenth-note octave double verticals are played at the same tempo with two consecutive strokes, placing these passages at a Level 7. Musical Example 11.1: Measures 32 & 33 from Arthur Lipner s Kaleidoscope 1995 MalletWorks Music, used with permission

114 113 Musical Example 11.2: Measure 101 from Arthur Lipner s Kaleidoscope 1995 MalletWorks Music, used with permission The most difficult single independent strokes are found at a Level 7 with 3 6 consecutive sixteenth-note strokes and 1 2 manual changes per bar at BPM. Triple strokes are found at a Level 4 with sixteenth-notes at 104 BPM, single alternating strokes are found at a Level 5 with octave-plus eighth-notes, and double lateral strokes are found at a Level 6 with octave-plus sixteenth-notes. With many constant sixteenthnote patterns throughout Kaleidoscope, double laterals are extremely prominent; the most difficult passages occur with intervals of a second on the same manual and intervals greater than an octave in the left hand at quarter-note = 104 BPM. For combination strokes, the most challenging considerations occur at a Level 7 with an octave double vertical and double lateral sixteenth-notes played consecutively in the right hand at 104 BPM. The elements of independence are standard considerations that occur between non-lateral and lateral strokes. Motions involving both types require alternating hands, unison parallel motion, and overlapping strokes involving double laterals with either double verticals or single independents. Neither dampening nor pedaling indications are necessary to discuss, because their level of difficulty is only found at a Level 2. Lipner

115 114 also includes sections for optional improvisation, and he provides possible chord scale choices in the performance notes. It is clear that Kaleidoscope contains techniques that require considerations from several different level categories. Because of the speed of the octave double vertical strokes shown above, this piece must be placed at the advanced category of Level 8. In addition to the double vertical sequences, the stamina required to play this eight-minute work with constant sixteenth-note rhythms also adds to the difficulty and intricacy. Blues For Gilbert, Mark Glentworth Mark Glentworth s Blues For Gilbert (Musikverlag Zimmermann, 1983) is another work that is performed regularly throughout the world and recorded often by professional artists. This Level 8 piece is also found programmed on various vibraphone competitions, including the Italy Percussion Competition Festival and the Percussive Arts Society Solo Vibraphone Competition. There are several varying assessments on the level of difficulty for this particular work. The printed Steve Weiss Music catalog lists the piece as 5+ out of 6, and the online catalog describes it as medium-advanced. The PMO database grades the work as 4 out of 5, and PAS reviews it as intermediate or III IV out of VI+. This annotation hopes to provide an assessment on the appropriate difficulty level of Blues For Gilbert. There are two tempos given throughout this solo: quarter-note = 50 BPM and quarter-note = 126 BPM. During the slower section, there are several rhythms containing odd groupings of sixteenth-notes and thirty-second notes, but none of them are fast enough to place this piece at its given level. The single independent strokes found during

116 115 the section with quarter-note = 126 BPM contain three consecutive strokes with 1 2 manual changes per bar. This Level 8 consideration can be seen in the right hand sixteenth-notes that lead into the second measure in Example For other stroke types observed in Blues For Gilbert, double verticals and single independents are placed at Level 5, and a combination stroke containing consecutive double verticals and single independents is found at Level 6. Musical Example 11.3: Measures 27 & 28 from Mark Glentworth s Blues For Gilbert 1983 Musikverlag Zimmermann, Germany, used with permission Although there are very few rolls, this work contains the first instance of single independent rolls at an interval of a second played by the left hand. This technical concept that requires much attention due to such a small interval is also placed at Level 8. In addition, this one-handed roll is overlapping with non-lateral strokes, making this element of independence a Level 6 consideration. Example 11.4 illustrates these single independent rolls that overlap with octave double vertical strokes. Other concepts of independence include overlapping parallel lateral strokes and 2:3 polyrhythms. The dampening and pedaling considerations are found at the early stages of Level 4 and Level 3, respectively.

117 116 Musical Example 11.4: Measures 69 & 70 from Mark Glentworth s Blues For Gilbert 1983 Musikverlag Zimmermann, Germany, used with permission The primary reasons for placing Blues For Gilbert at a difficulty category of Level 8 are the speed of the consecutive single independent strokes and the one-handed single independent rolls performed at a small interval. While there are many considerations placed at earlier levels, the previously mentioned techniques are concepts that an early-advanced vibraphonist is able to execute. The solo also requires the player to execute sections that contain styles of swing and rubato with delicate textures and tuneful melodies. Requiring much expression and technicality from the performer, Blues For Gilbert will continue to be a standard recital piece for decades to come. And The Mountains Remain (from New Works For New Times), Bill Molenhof Although less popular than Music Of The Day, Bill Molenhof s New Works For New Times (Kendor Music, 1981) is another collection of well-written vibraphone solos. With six different works included, And The Mountains Remain is one piece in the book that was also found in the second round of the International Percussion Festival Vibraphone Competition in Poland. The grade level listed on the cover of the book is marked as 6, but the printed Steve Weiss Music catalog lists the collection as 4 out of 6.

118 117 However, the PMO database and the PAS review are more similar to the publisher s assessment, describing the pieces as 5 out of 5 and advanced, respectively. Most of the pieces in New Works For New Times are more difficult than those found in Music Of The Day, and this discussion will describe the Level 8 techniques required to perform the collection s most popular work. The entire piece consists of sixteenth-notes played at quarter-note = 92 BPM, and the composer provides a description as very dry with no pedal. While sticking indications would be very helpful in this particular work, the performer is required to use much of their own interpretation for the permutations of each stroke type. While And The Mountains Remain contains double vertical and single independent strokes, it is the single alternating strokes that place the piece at Level 8. For this analysis, there are sixteenth-note single alternating strokes played at an interval range of sevenths and eighths with 0 3 wrist turns at 92 BPM. Example 11.5 provides an interpretation of this consideration where the left hand plays octave single alternating strokes starting with the last note of the first measure and the first note of the following repeated measure. Musical Example 11.5: Measures 1 & 2 of Bill Molenhof s And The Mountains Remain from New Works For New Times 1981 Kendor Music, used with permission

119 118 In addition to the challenging single alternating strokes, a Level 8 combination stroke is also found in the work. It consists of a sixteenth-note single alternating stroke played consecutively with a single independent stroke at 92 BPM. As interpreted in this analysis, Example 11.6 shows the combination stroke where the G-natural and C-sharp are alternating between the mallets, followed by a single independent stroke for the C- natural in the same hand. Even though And The Mountains Remain contains independence and rolling considerations only up to Level 4, this solo has difficult technical concepts that include varying permutations, specific articulations, and countless accidentals shifting between sharps and flats. With pieces found between Level 6 through Level 9, Bill Molenhof s New Works For New Times presents challenges for intermediate and advanced vibraphone players; And The Mountains Remain clearly finds its place as one of the most demanding solos from the collection. Musical Example 11.6: Measure 103 of Bill Molenhof s And The Mountains Remain from New Works For New Times 1981 Kendor Music, used with permission Level 8 Literature 1. Reminiscence, I. Forceful Thomas Briggs 2. Three Brothers, Chi-Town Monk J.C. Combs

120 One For Paquito J.C. Combs 4. Midnight Star David Friedman 5. Blues For Gilbert Mark Glentworth 6. Ilmo Mark Glentworth 7. Sonata Brevis, II. Raymond Helble 8. Contemplation Murray Houllif 9. Kaleidoscope Arthur Lipner 10. Kayak Arthur Lipner 11. And The Mountains Remain Bill Molenhof 12. Beach Street Years, I. Anthem Bill Molenhof 13. Foreign Films Bill Molenhof 14. Internal Evidence, I. Intrigue Martin P. Weir

121 120 CHAPTER 12: ANNOTATIONS FOR LEVEL 9 LITERATURE The last addition to Level 9 contains overlapping single independent rolls found in both hands simultaneously. While all of the other technical considerations continue to increase in difficulty through each level, some stroke types are found up to BPM at this point in the analysis document. The most common reason for many of the Level 9 pieces is due to the speed of the double vertical strokes and the single independents strokes. Even though these strokes were the first two techniques introduced in Level 1, composers have written extremely difficult passages that require a mature and disciplined player that is able to execute their challenging music. Mourning Dove Sonnet, Christopher Deane Christopher Deane s first vibraphone solo, Mourning Dove Sonnet (Earthshine Publishing, 1983), has become one of the most popular vibraphone pieces performed by professionals and graduate students. The work is listed in three of the four university percussion handbooks, and it is included in the upper category repertoire lists for the Percussive Arts Society Solo Vibraphone Competition and the International Percussion Festival Vibraphone Competition in Poland. With traditional and non-traditional performance techniques, the piece contains a transcription of an actual mourning dove song. The publisher and PAS do not provide a grade level for this work, but the Steve Weiss Music catalog lists the solo as 5+ out of 6, and the PMO database gives it their

122 121 highest level of 5. Graded in this system as a Level 9 piece, the above sources place Mourning Dove Sonnet in equivalent levels of difficulty. In addition to the standard techniques found in the analysis document considerations, this discussion will explore the extended techniques of bowing, harmonics, pitch bending, and random improvisation. There are multiple tempo ranges given throughout the work: quarter-note = BPM, quarter-note = BPM, quarter-note = BPM, quarter-note = 140 BPM, quarter-note = BPM, quarter-note = BPM, and half-note = 50 BPM. The only two stroke types analyzed in this solo are single independent and single alternating strokes, placed up to Level 7 and Level 5, respectively. Dampening considerations are only found at Level 4, and pedaling and rolling considerations are analyzed at Level 2. While independence concepts and extended techniques are the primary reasons for placing Mourning Dove Sonnet at the difficulty category of Level 9, many of these unique techniques are not initially found within the analysis document. Each of these considerations has been added to their most representative and appropriate level of difficulty based in this research. The highest consideration of independence requires an overlapping of the right hand bending the pitches of specific notes, while the left hand performs eighth-note single alternating five-let strokes at 136 BPM. Because pitch bending can be one of the most demanding aspects of the piece, it is appropriate to place this extended technique one level higher than the overlapping single alternating Alberti bass passages with a single independent roll found on the analysis document. A discussion about the proper execution of bending notes will be included in the following paragraph about extended techniques. This uncommon independence technique of overlapping pitch bending with

123 122 single alternating strokes played with a 2:5 polyrhythm is ultimately placed at Level 9; an illustration of this passage can be seen in Example Performing an overlapping single alternating Alberti bass passage while bowing notes with the other hand is another independence issue that adds to the extreme difficulty of this work, as seen in Example Musical Example 12.1: Measures from Christopher Deane s Mourning Dove Sonnet 1983 Earthshine Publishing, used with permission Musical Example 12.2: Measures 105 & 106 from Christopher Deane s Mourning Dove Sonnet 1983 Earthshine Publishing, used with permission Deane provides specific descriptions and indications within the performance notes and throughout the score for all of the extended techniques and unique set-up

124 123 recommendations. The implements required for Mourning Dove Sonnet include two double bass bows held as both outside mallets, a standard vibraphone mallet as the inside left mallet, and a hard rubber mallet used for pitch bending as the inside right mallet. A stick tray is also required to allow the performer to make quick mallet and bow changes. Standard bowing indications used by string players are suggested by the composer, and many variables regarding this type of implement affect the response of the sounds produced. These up-bows and down-bows are illustrated in both staves of Example For the pitch bending technique, a hard rubber mallet is placed on the nodal point of the keyboard bar. Once the standard vibraphone mallet strikes the bar, the other mallet should be pressed down at an angle, while moving the mallet head toward the center of the bar. The performer is suggested to experiment with this extended technique by applying moleskin at the top of the rubber mallet to create an arrival point that contains less contact to the bar. Example 12.1 above shows the pitch bending notation that contains a descending arrow for the notes found on the upper staff. Musical Example 12.3: Measures from Christopher Deane s Mourning Dove Sonnet 1983 Earthshine Publishing, used with permission

125 124 Harmonics are an extended technique for vibraphone that was also discussed in the annotation for Christopher Deane s other solo, The Apocryphal Still Life. In this piece, the harmonics are produced with a standard bow stroke and a finger from the other hand lightly touching the center of the keyboard bar. This notation can be seen above in Example 12.3 with parentheses around the given pitch. Also unique to this work, the composer provides groups of given pitches that the performer uses to improvise random patterns centered near the given range of the note grouping. Mourning Dove Sonnet is one of the most distinctive and widely played vibraphone solos found in the instrument s repertoire. With clever and obscure techniques that help create new timbres, as well as independence concepts not found in any other pieces, this work is appropriately placed within one of the most difficult levels found in this research. Performed regularly by professionals and graduate students, Mourning Dove Sonnet will continue to be found on recital programs and contest lists for years to come. Song Of The Libra, Mario Gaetano Mario Gaetano s Song Of The Libra (Music For Percussion, 1984) is a vibraphone solo that contains several different sections and varying tempos. The publisher does not provide a grade level, but the Steve Weiss Music catalog and the PAS review have similar difficulty ratings with 5+ out of 6 and advanced, or V VI out of VI+, respectively. However, the PMO database lists the work as 1 out of 5; the difficulty level from this source is clearly not an accurate assessment. Placed at a Level 9 in this research, this solo contains an equivalent grading from the first two sources discussed.

126 125 Four different tempo markings are found throughout this solo: quarter-note = 69 BPM, 72 BPM, 152 BPM, and 200 BPM. Both of the non-lateral stroke types performed at 200 BPM are the primary reasons for placing Song Of The Libra at the difficulty category of Level 9. The double vertical strokes occur as constant eighth-notes with 0 3 wrist turns per phrase with seconds being the smallest interval, as seen in Example The single independent strokes are played as two consecutive sixteenth-note strokes in the same hand with little motion, as seen in Example Both of these examples performed at quarter-note = 200 BPM are clear indications of the speed required to successfully execute this section of the solo. Musical Example 12.4: Measure 86 from Mario Gaetano s Song Of The Libra 1984 Music For Percussion 2001, 2013 Transferred to Colla Voce Music, used with permission Musical Example 12.5: Measure 88 from Mario Gaetano s Song Of The Libra 1984 Music For Percussion 2001, 2013 Transferred to Colla Voce Music, used with permission

127 126 The other stroke type employed in this piece is the single alternating stroke, which is found at Level 3. There are also techniques of independence and pedaling, but they only require Level 5 skills found in the analysis document. While there is a combination stroke that contains a Level 8 difficulty, it is important to illustrate this challenging passage as seen in Example This combination stroke consists of single alternating strokes played consecutively with a double vertical stroke in the left hand at 200 BPM. In addition to the Level 9 non-lateral strokes performed at extreme tempos, Song Of The Libra is a substantially longer piece when compared to the majority of vibraphone solos in this research. With many contrasting sections and brisk tempos, this work is placed appropriately in one of the most challenging levels for vibraphone literature. Musical Example 12.6: Measures 134 & 135 from Mario Gaetano s Song Of The Libra 1984 Music For Percussion 2001, 2013 Transferred to Colla Voce Music, used with permission

128 127 A Glorious Secret (from Imageries), Jon Metzger Written in three movements, Jon Metzger s Imageries (C. Alan Publications, 2002) is a composition that contains both jazz and classical styles. All four sources have contributed grade levels for this work. The publisher describes the piece as mediumdifficult, and the Steve Weiss Music catalog labels it as medium-advanced. Listed as 4 out of 5 in the PMO database and intermediate, or III IV out of VI+, in the PAS review, each of these sources contain comparable assessments that place the three-movement work near the middle of their grading scales. This annotation will describe the Level 9 considerations found in the third movement, A Glorious Secret. While this last movement is very challenging, the first two movements of Imageries contain techniques at Level 4 and Level 2, respectively. The tempo range for this movement is marked at quarter-note = BPM, and the stroke speed for triplets is converted to 174 BPM. Although this piece is placed in the Level 9 category, there are multiple considerations found with Level 8 parameters, including single independents, double laterals, and pedaling indications. The most challenging single independent strokes occur as a sixteenth-note triplet linear line at 174 BPM. There are also double lateral strokes performed at an interval of a seventh at the same tempo, as well as pedalings that occur approximately 2 4 pedals per measure. The primary reason for placing A Glorious Secret at Level 9 is the speed of the double vertical strokes. With several passages containing this stroke type as sixteenthnote triplets with two consecutive strokes at intervals of fourths and fifths, the stroke speed of these triplets is also found at quarter-note = 174 BPM. These rapid double vertical strokes and considerable quantities of pedalings can be seen Example 12.7.

129 128 Because so many technical considerations for Metzger s third movement are placed in the upper levels of the analysis document, this description provides an appropriate assessment for a portion of the entire work. While Imageries is considered by several databases as an intermediate piece, the technical requirements in the A Glorious Secret movement place the entire work within an advanced level. Musical Example 12.7: Measures 14 & 15 from Jon Metzger s Imageries, 3. A Glorious Secret 2002 C. Alan Publications, used with permission Level 9 Literature 1. Mourning Dove Sonnet Christopher Deane 2. Song Of The Libra Mario Gaetano 3. Imageries, 3. A Glorious Secret Jon Metzger 4. A Family Of Teachers Bill Molenhof 5. Three Sonorous Pictures, Tamara s Tango Luigi Morleo 6. Sonata: Periods Of The Life, 3. Lied - Song Ney Rosauro 7. Six Poems, 4. a dancing shape Robert Stright 8. Six Poems, 6. echo seeking of itself Robert Stright

130 129 CHAPTER 13: ANNOTATIONS FOR LEVEL 10 LITERATURE The tenth and final level contains pieces that have techniques and passages that are the most difficult to play in the vibraphone repertoire. There are no new technical concepts or independence issues introduced at this level. Level 10 is determined strictly by the extreme demands on tempo, stroke speed, wrist turns, manual changes, and stamina. a new year s fanfare (from Reflections), Lynn Glassock As discussed previously in the Level 7 annotations, Lynn Glassock s Reflections (Studio 4 Productions, 1992) was one of the performance pieces listed in the upper category for the 2013 Percussive Arts Society Solo Vibraphone Competition. Each of the three sources that provide their own difficulty levels is equivalent to each other. The publisher lists the work as advanced, the Steve Weiss Music catalog lists it at their highest level of 6, and PMO describes the piece at their highest level of 5. Because Reflections contains three movements, a description of the first movement, a new year s fanfare, will reflect the same assessments from the sources discussed above. This first movement contains all of the stroke types except for triple strokes. In addition to having many complex stickings, the piece also contains several elements of independence and specific dampening indications including the slide dampening technique. The combination stroke is the consideration that has the highest level found on

131 130 the analysis document. This stroke occurs during a passage with single independent sixteenth-note triplets and double vertical eighth-notes as illustrated in Example The tempo is marked at quarter-note = 112 BPM, but the stroke speed of the sixteenthnote triplets is found at 168 BPM (112 X 3/2). This combination stroke consideration typically ends on the analysis document at Level 8, which contains double verticals with intervals of thirds through fifths and sixteenth-note single independent strokes at BPM. Since this particular passage in a new year s fanfare is performed with a stroke speed of 168 BPM, this consideration moved up two additional levels to Level 10. In order to perform this passage, the sixteenth-note triplets are alternated, forcing an extremely quick combination stroke in one of the hands to execute the two-handed double vertical chord that follows in unison. Musical Example 13.1: Measure 30 from Lynn Glassock s Reflections, I. a new year s fanfare 1992 Studio 4 Music by Marimba Productions Inc., used with permission Regarding the other stroke types, double vertical strokes up to an octave are found at Level 2 with simple rhythms played no faster than 112 BPM, double lateral strokes are found at Level 4 with sixteenth-notes patterns, and single independent strokes are found

132 131 at Level 5 with sixteenth-notes requiring two consecutive strokes at 112 BPM. The single alternating considerations are slightly higher at Level 7, which asks the performer to play alternating sixteenth-note triplets with an interval of an octave in the right hand; the stroke speed for this single alternating stroke is at 168 BPM. The elements of independence occur with non-lateral and lateral strokes containing several overlapping motions, as well as overlapping lateral strokes with mirroring motion. The most difficult skill involves overlapping lateral strokes performed in unison with parallel motion, placing this consideration at a Level 5. Pedaling occurs during some sections of the movement at approximately 2 4 times per bar, but the tempo is not fast enough to put this technique beyond Level 2. The composer specifically describes how mallet dampening is an integral part of this first movement of Reflections. Slide dampening is notated with a small s attached under the dampening sign, and it is executed by playing a note and then sliding the same mallet laterally to dampen the previously played adjacent note. Because this form of dampening is not often notated in many pieces, the particular technique was not given additional considerations in the analysis document. According to the quantities listed in the dampening portion of the analysis document, this technique would normally require a Level 3 consideration with 1 2 dampens per bar at 112 BPM. Since slide dampening is suggested in the score, this specific technique will move its dampening consideration to a Level 4. Pieces that fit into the higher levels of this systematic method will always contain certain techniques that may fit better within a lower category. However, the ability to accurately execute the combination stroke that occurs in Example 13.1 is at an extremely

133 132 high level of technical difficulty. Although the printed formatting of the music is not taken into consideration within the analysis document, the score can be difficult to read at certain moments of the piece. Both hands are constantly going back and forth between both staves written in treble clef, and there are many measures where the lower staff contains higher pitches than those found in the upper staff. Example 13.2 illustrates a moment where the performer must become acquainted with this type of notation and often determine which stickings work best between the two staves. By requiring an extreme attention to detail and technique, Glassock s Reflections, I. a new year s fanfare is a remarkably challenging movement in the vibraphone literature. Musical Example 13.2: Measures 37 & 38 from Lynn Glassock s Reflections, I. a new year s fanfare 1992 Studio 4 Music by Marimba Productions Inc., used with permission Sonata Brevis, I., Raymond Helble Listed in three of the four university handbooks suggested repertoire and performed at various vibraphone competitions, Raymond Helble s Sonata Brevis (Studio 4 Productions, 1978) is a standard vibraphone solo for advanced players. Each of the four

134 133 sources that provide a level of difficulty have placed this three-movement work in the highest category of their grading scale. The publisher describes the piece as advanced, and it is listed as 6 out of 6 in the printed Steve Weiss Music catalog. Sonata Brevis is the only vibraphone piece in this research to be marked as 5+ in the PMO database, and it is one of only three works to be reviewed as difficult, or VI+, by the Percussive Arts Society. While the second and third movements are found in earlier levels, the first movement is placed in the Level 10 category due to its highly technical demands. The aforementioned sources have provided accurate assessments on this extremely challenging movement. The composer describes the tempo as allegro ma non troppo, but this does not give a clear indication of the most appropriate tempo. Throughout several measures of the movement, the performer must perform sixteenth-note triplet rhythms with a single hand, making this tempo marking extremely arbitrary. For this research, the numerical tempo for the first movement is placed at quarter-note = 90 BPM, thus allowing these particular one-handed triplet passages to be played as sixteenth-notes at 135 BPM. A two-measure illustration of the sixteenth-note triplets can be seen in Example The analysis document places these single independent strokes as a Level 10 consideration with constant sixteenth-notes at 135 BPM and 4+ manual changes per bar. In addition to the speed of these rhythms in the left hand, the right hand must execute overlapping octave double vertical strokes, including a 4:6 polyrhythm that is shown in the musical example on the second beat of the second measure.

135 134 Musical Example 13.3: Measures 5 & 6 from Raymond Helble s Sonata Brevis, I Studio 4 Music by Marimba Productions Inc., used with permission Other techniques included through the first movement of Sonata Brevis include double vertical strokes at Level 8, single alternating strokes at Level 5, combination strokes at Level 7, independence up to Level 6, and overlapping single independent rolls at Level 9. While the piece contains a grand staff, some interpretation is still required when determining the most appropriate stickings. In addition to the rapid one-handed single independent strokes that ultimately place this movement at a difficulty category of Level 10, there are also moments where both hands are required to perform sixteenthnote triplets in rhythmic unison with different pitches moving in a mirroring motion. This challenging passage can be seen in Example 13.4, as well as sixteenth-note unison rhythms that contain large leaps within a short duration. Helble s popular vibraphone work is without a doubt one of the most challenging pieces in the instrument s repertoire. Although the other two movements are placed at Level 8 and Level 6, respectively, the advanced technical demands found in the first movement place Sonata Brevis in the highest level of difficulty.

136 135 Musical Example 13.4: Measure 9 from Raymond Helble s Sonata Brevis, I Studio 4 Music by Marimba Productions Inc., used with permission Ajax Men Of Science (from Solo), Gary Burton/Steve Swallow Regarded by many as one of the world s best vibraphonists, Gary Burton composed and adapted a collection of six unaccompanied pieces, titled Solo (Creative Music, 1966), early in his professional career. Found on one prescribed state music list and two university handbooks, Burton s works have remained popular due to his stature in the percussion and jazz community. The publisher does not provide a grade level, but the PMO database lists the set as 5 out of 5. The Steve Weiss catalog describes the collection s level of difficulty as 5 out of 5 and ranging from moderately difficult to very advanced. Of the pieces analyzed for this research, the grade levels have varied from one work to another. With this system, Ajax Men Of Science has been graded as the most difficult piece in the collection, containing technical considerations found in the Level 10 category. Because the other sources provide an assessment on the entire book as a whole, this annotation will provide a clear description about the demands found in this specific solo. It is unclear whether Steve Swallow composed Ajax Men Of Science specifically

137 136 for Gary Burton s vibraphone, but the importance of Burton s collection of works allows this work to be included within the parameters of this research. There are two tempo markings that continually shift back and forth throughout this work: half-note = 120 BPM, usually described as double time, and quarter-note = 120 BPM, described as 1/2 time. During the sections that are played at half-note = 120 BPM, the tempo must be converted to quarter-note = 240 BPM for this analysis. Near the end of Ajax Men Of Science, a passage containing a descending line of sixteenth-notes is performed at the double time tempo of 240 BPM; this extreme speed is placed at a Level 10 consideration as seen in Example Of the other stroke types, double vertical and single alternating strokes are found at Level 7, and pedaling techniques are placed at Level 8 due to the frequency of markings required during the fast tempo. Musical Example 13.5: Measure 39 of Gary Burton/Steve Swallow s Ajax Men Of Science from Solo 1966 Creative Music, used with permission The other primary reason for placing this piece at Level 10 is the speed and interval size of a combination stroke containing a single independent stroke followed by a double vertical with an interval of a sixth at 240 BPM. An illustration of this combination

138 137 stroke is seen going into the third beat on the bottom staff in Example While this consideration is not originally found on the analysis document due to the extreme stroke speed, the tempo requires two additional levels added for this particular stroke that places the consideration at Level 10. Similar to the other works found in Burton s Solo collection, Ajax Men Of Science is written primarily with the melody on the top line and double vertical chords providing the harmony on the bottom line. With expanded chord changes and sections for optional improvisation, this collection of pieces is appropriate for an aspiring jazz vibraphonist looking for a great challenge. Solo is the oldest set of works studied in the research, and Ajax Men Of Science is realized as the most challenging piece in Burton s collection and one of the most difficult solos in the entire database. Musical Example 13.6: Measure 13 of Gary Burton/Steve Swallow s Ajax Men Of Science from Solo 1966 Creative Music, used with permission