The Percussion Music of Donald Martino

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1 UNLV Theses/Dissertations/Professional Papers/Capstones The Percussion Music of Donald Martino Glenn Webb University of Nevada, Las Vegas, Follow this and additional works at: Part of the Music Commons Repository Citation Webb, Glenn, "The Percussion Music of Donald Martino" (2014). UNLV Theses/Dissertations/Professional Papers/Capstones. Paper This Dissertation is brought to you for free and open access by Digital It has been accepted for inclusion in UNLV Theses/ Dissertations/Professional Papers/Capstones by an authorized administrator of Digital For more information, please contact

2 THEPERCUSSIONMUSICOF DONALDMARTINO by GlennWebb BachelorofArtsinMusicEducation WeberStateUniversity 1992 MasterofMusicinPercussionPerformance UniversityofUtah 1994 Adoctoraldocumentsubmittedinpartialfulfillment oftherequirementsforthe DoctorofMusicalArtsMMusicalArts DepartmentofMusic CollegeofFineArts TheGraduateCollege UniversityofNevada,LasVegas May2014

3 THE GRADUATE COLLEGE We recommend the dissertation prepared under our supervision by Glenn Webb entitled The Percussion Music of Donald Martino is approved in partial fulfillment of the requirements for the degree of Doctor of Musical Arts Department of Music Dean Gronemeier, D.M.A., Committee Chair Timothy Jones, D.M.A., Committee Member Anthony LaBounty, M.S., Committee Member Ken Hanlon, D.M.A, Committee Member Christopher Hudgins, Ph.D., Graduate College Representative Kathryn Hausbeck Korgan, Ph.D., Interim Dean of the Graduate College May 2014 ii

4 Abstract( ( Webb,GlennDean,D.M.A.2014 DonaldMartino( )madeimportantcontributionstothepercussion repertoirewithhischambermusicandsolopercussionpiecesspanningfromthe 1950stohislastcompositionswrittenjustbeforehisdeathin2005.Manyofhis chambermusicpiecesincludepercussion,andaresomeofthemostsignificant contributionstothecontemporarychambermediumofthelasthalfofthetwentieth century.thecompositionsoftenincludeperformancetechniquesthatrequire additionalinstruction,ordemonstration.someofhischamberworkssuchas Notturno'andFrom'the'Other'Sideincludeseveralpagesofnotes,explanations,and instructionsdetailingnotationaldevicessuchasthevarietyofsymbols,articulation andtempomarkings,andextendedtechniquesfoundinmartino sworks. Martino smusicisverydeliberatelyinfluencedbyjazz,themusicofbelabartók,and twelvemtoneorserialmusic.theseinfluencesalsoreflectdifferentphasesof Martino sdevelopmentasacomposer.thisdocumentexaminespercussionworks representingeachofmartino sprimaryinfluences,andwilldiscussrelevanceto percussionpedagogyandperformance. iii

5 Acknowledgements(( MyappreciationgoestomycommitteemembersDeanGronemeier,TimJones, KennethHanlon,TonyLaBounty,andChrisHudgins.IespeciallywanttothankTim JonesforhisguidanceandcounselandDeanGronemeierforhissupport.Most importantly,ioffermydeepestgratitudetomywife,carrie,whohassupportedme throughoutandmadethispossible. iv

6 TABLE(OF(CONTENTS( Abstract...iii Acknowledgements...iv ListofTables...vii ListofFigures...viii ChapterOne:Introduction...1 ChapterTwo:BiographicalinfoonDonaldMartino...3 ChapterThree:ThreeinfluencesonMartino scompositionalstyleandhis 8 generaluseofpercussion(( ChapterFour:Set'for'Marimba'...'13 ChapterFive:Soliloquy'for'solo'Vibraphone'...'18 ChapterSix:JazzChamberMusic...26 ChapterSeven:Rhapsody''...'33 ChapterEight:Notturno''...'35 ChapterNine:Serenata'Concertante''...'46 ChapterTen:From'the'Other'Side'...'53 ChapterEleven:Conclusions...65 Appendices A. AnalysisofSoliloquy'...'67 B.PerformanceNotes...68 C.MartinoScores...73 D.Otherscores...74 v

7 E.Discography...75 Bibliography...78 CurriculumVitae...83 ( ( vi

8 List(of(Tables( ( ( 1.Martino sworksthatincludepercussion Chartshowingfrequencyofstylisticandexpressivenotation...48 ( ( ( vii

9 List(of(Figures( ( 1. A'Set'for'Marimba,Allegro,movement1,mm A'Set'for'Marimba,'Allegro,movement3,mm A'Set'for'Marimba,'Adagio,movement2,mm A'Set'for'Marimba,'movement3,mm Soliloquy'for'solo'Vibraphone,mm Soliloquy,mm Canon'Ball,'triMtoneintervaluse Cathy,'pianomm Exampleofarticulations Marimbastackedabovevibraphone.PhotobyPedroCaneiro Vibraphonestackedabovemarimba.PhotobyPedroCaneiro Extensionforthevibraphonepedal.PhotobyHiroyaHonda StackedinstrumentsinNotturno'...' Notturno,m.193.2softyarnand2hardplasticmallets Mm.25 30,glockenspiel,topline,vibraphone,bottomline,...43 playedwithwoodenmallets. 15. Pedaledslur,Notturno'notes.'...' mm.77 78,pedalingexample,Notturno mm ,pedalingexample,Notturno Serenata'Concertante,' Notes Serenata'Concertante,'mvt1,mm Articulation Exampleofdetailednotation.Serenata'Concertante Serenata'Concertante,'Unexplainede'notationoncymbalpart DiagramofsetMup,From Notes From'The'Other'Side.'...' SimultaneousvibraphoneandnonMpitchedinstruments Vibraphone,stemsdown;marimba,stemsup.Mm From'the'Other'Side.'Openingmeasureswithmalletchanges Lachenmann spictogramindicatingimplementsneeded Berio spictogramofimplementsusedbythepercussionists...62 ( viii

10 Chapter(One:(Introduction( Percussionmusicinwesternartmusichasdevelopedascomposershave turnedtheirattentiontothepossibilitiesofferedbypercussion.european composersoforchestral,operatic,andincidentalmusicwerethefirsttointroduce percussiontotheconcerthallandorchestrapit.percussioninstrumentswere experimentedwithandusedinnewways,therebygivingopportunitiesfor advancementandacceptanceoftheartinperformance.theseopportunities enhancedthevisibilityofpercussionandencouragedevenmoreadventurousand advanceduse.earlyinthetwentiethcenturycomposersbegantousepercussionin chambermusic.examplesofscoresfromthisperiodthatincludepercussionare IgorStravinsky sl Histoire'du'soldat,'DariusMilhaud sla'création'du'monde'and Concerto'pour'percussion,BélaBartók ssonata'for'two'pianos'and'percussion,'and WilliamWalton sfaçade.claireomarmusser,johncage,karlheinzstockhausen, andiannisxenakisareexamplesofcomposerswhopioneeredsolowritingfor percussion. MorerecentlyDonaldMartino( )madeimportantcontributionstothe percussionrepertoirewithhischambermusicandsolopercussionworks.he composedforawiderangeofvocalandinstrumentalsettings.thispaperlimitsits focusonlyonthesoloandchambermusiccompositionsthatincludepercussion' Martino scontributionstopercussionsoloandchamberliteraturespanfromthe 1950stothelastcompositionshewrotebeforehisdeathin2005.Hischamber musicthatincludespercussionissomeofthemostsignificantofthelasthalfofthe twentiethcenturyandstylisticallycanbegroupedwithmusicthathassimilar 1

11 demandsonthepercussionistbymariodavidovskyandgeorgecrumb.someofthe compositionsincludestandardperformancetechniqueswhileothersaremore pioneeringandmayrequireadditionalexplanationordemonstration.his compositionsthatincludevibraphonearenumberedamongsthisfinalworks.this paperinvestigatesandplacesintohistoricalperspectivemartino swork,thereby exposinghisvibraphone,marimba,andpercussionliterature. 2

12 Chapter(Two:(Biographical(information(of(( Donald(Martino( DonaldMartino( )wasborninPlainfield,NewJerseyonMay16, 1931.HediedDecember8,2013aboardacruiseshipoffthecoastofAntigua.The causeofdeathwascardiacarrestfollowinganattackofhyperglycemia. DonaldMartinoreceiveddegreesfromSyracuse(BM1952)andPrinceton (MFA1954).HiscompositionteachersincludedRogerSessionsandMiltonBabbit. OnaFulbrightscholarship(1954 6)hestudiedwithLuigiDallapiccolainFlorence, Italy. MartinotaughtatPrincetonUniversity(1957 9),andYaleUniversity( ),andfrom1969to1981wasthechairmanofthecompositiondepartmentatthe NewEnglandConservatory.HealsotaughtatBrandeisUniversity( )and lateratharvard( ).UponhisretirementhewasnamedtheWalterBigelow RosenProfessorofMusicEmeritusatHarvardUniversity. MartinowasactiveasaguestlecturerandhasbeenComposerinResidence attanglewood,thecomposer sconference,theyalesummerofmusicandart,the PontinoFestival,MayinMiami,TheAtlanticCenterfortheArts,TheWarebrook Festival,theErnestBlochFestival,TheFestivalInternacionaldeMusicadeMorelia, andhasbeendistinguishedvisitingprofessoratmanyinstitutionsofhigher educationincludingtheuniversityofutahwhereheinteractedwiththeauthor. Martino shonorsincludeawardsfrombroadcastmusic,inc.(1953,1954),the NationalInstituteofArtsandLetters(1967),theNationalEndowmentfortheArts 3

13 (1977,1987,1989),twoFulbrightscholarships,threeGuggenheimfellowships (1967 8,1973 4,1982 3),theClassicalCriticsCitation(1976),theBrandeis CreativeArtsCitationinMusic,theBostonSymphony smarkm.horblitaward,and akennedycenterfriedhamaward(1985).anaumburgawardin1973resultedin thecompositionofnotturno,forwhichhewonapulitzerprizein1974.hewasa memberoftheamericanacademyofartsandletters,andafellowoftheamerican AcademyofArtsandSciences.GrantsincludetheMassachusettsArtsCouncil,the NationalInstituteoftheArtsandLetters,andtheNationalEndowmentfortheArts. In1990heservedaschairofthemusiccommitteeforthePulitzerPrize. Martinowasaskilledclarinetist;hebeganlessonsatagenine,andwrote manyworksthatfeaturetheclarinet.itwasthestudyofclarinetthatbroughthimto SyracuseUniversity.Heplayeditinclassicalandjazzstyles.Hestated Iplayed morejazzinitalywithgreateraudienceappreciationthaneverbefore. Forhisjazz adventureshecreatedastagename:jimmyvincent. Hehadathleticinterestthatengagedinthroughmuchofhislife.Asa teenagerhispassionsweretennisandmusic,whichsoonbecamemusicthen' tennis. 1 In1990hedescribedoneofthehappiestyearsofhislifeas1972whenhe wasonsabbaticalfrombrandeisuniversity.hespenttheyearinbocawest,florida wherehe composedfrom6:00a.m.to2:00p.m.andplayedtennisfrom3:00to5:00 everydayforninegloriousmonths. 2 Asaretiree,tennismatchesweredailyevents 1 Boros,James.Music'of'Donald'Martino, DonaldMartino CRICR693[linernotes], Boros,JamesandDonaldMartino. AConversationwithDonaldMartino, Perspectives'of'New'Music,Vol.29,No.2(Summer,1991):247. 4

14 withhiswifeandatalocalclub. 3 FormerstudentandcomposerStevenMackey recountedthisaboutmartino stennispassion, WhenIheardthatDondied,thefirst thingthatpoppedintomyheadwasplayingtenniswithhimintherain.yes,itwas pouringdownrain,butwewantedtoearnourbeersoweweresmackingsoggy ballsaroundashallowlakewithanet.itwaskindofmiserableandneitherofus saidaworduntil,afterabout45minutesdonshouted, Idon tthinkanygirlsare gonnashowup,sowemightaswellgohome. 4 Attheageoffifty(1981)hereceivedauniquehonor.ThemayorofNewton, MAdeclaredMay16 th tobe DonaldMartinoDay. Atagesixty(1991)thejournal, Perspectives'of'New'MusicdevotedanentireissuetothemusicofMartino.Alinkon Dantaian.com, personalhistorywithphotostitledthe'rogue s'gallery. In1978Martinocreatedhisownpublishingcompany,Dantalian,Inc.This allowedhimtopresenthisscoresasheconceivedthemwithouttheeditingofother publishers.thefirstselfmpublishedcompositionwasparisonatina'al dodecafonia'.' Afterhisdeath,theNewEnglandConservatoryestablishedtheDonaldMartino AwardforExcellenceinComposition.Theaward,givenouttooutstandingstudents incompositionatthenewenglandconservatorycommemoratesmartino s importantachievementsasacomposerandhisimpactonstudentsandcolleaguesat thenewenglandconservatory. 3 Rosenzweig,Morris.Personalinterviewbyauthor,SaltLakeCity,UT,November3, Mackey,Steven. Obituary:DonaldMartino( ). New'Music'Box,' ' 5

15 Prizesandmusicalmeritdonotalwaysgohandinhand. 5 Theverynatureof awardsandrankingsisadangeroussubject.however,martinohasprovenhimself animportantcomposerofworksutilizingpercussionthroughoutthefiftyyears precedinghisdeathin2005.thisdocumentdemonstratestheusefulnessof Martino scompositionsforpercussionistsatseveralskilllevels,regardlessof criticalorpopularacclaim. Martinowroteforawidevarietyofinstrumentsandvoice.Hismusichas receivedperformancesbyprominentensemblesandsoloists,andhasbeenoften recorded.hisdiscographyislistedinappendixe.alistofhisworksinvolving percussionissuppliedintableone. 5 Bates,DouglasJ.The'Pulitzer'Prize.' TheInsideStoryofAmerica smostprestigious Award. NewYork:1991,7. 6

16 Tableone.Martino sworksthatincludepercussion. Title( Year( Instrument(and(comments( A'Set'for'Marimba' 1954 AdaptedfromA'Set'for'Clarinet' Augenmusik:'A'Mixed'Mediocritique' 1972 Actress,Danseuse,orUninhibited FemalePercussionistandTape Canon'Ball' 1957 VibraphoneandPiano;twopart invention Cathy' 1957 Clarinet,Vibraphone,Piano,Bass, anddrums From'The'Other'Side' 1988 ADivertimentoforFlute(flute, piccolo,altoflute),violoncello, Percussion,andPiano Notturno' 1974 Flutes(picc,flute,altoflute), Clarinets(BbandBassClarinet), Violin/Viola,Cello,Percussion, Piano Rhapsody' 2003 ForVioloncellowithVibraphone andpianoaccompaniment Serenata'Concertante' 1999 Flutes(flute,piccolo,altoflute), Clarinets(Bbandbassclarinet), Flugelhorn/Cornet,FrenchHorn, Percussion,Piano,Violin, Violoncello Soliloquy' 2003 Vibraphonesolo Threeway' 2000 Clarinet,Vibraphone,andBass; ossiapiano,vibraphone,andcello ( ( ( 7

17 Chapter(Three:(Three(influences(on(Martino s( compositional(style(and(his(general(use(of(percussion(( InanydiscussionaboutthemusicofDonaldMartinoitcanbetemptingto focusonanalysisofthecompositionalelementsratherthantheperformance aspectsofthemusic.therehasbeenmuchwrittenaboutmartino scompositional practicesincludinganimportantarticlebymartinohimself, TheSourceSetandits AggregateFormations. 6 OntheoccasionofMartino ssixtiethbirthday(1991)the editorialboardofperspectives'of'new'musicdevotedanentireissuetothe discussionofthemusicofmartino.whilemuchofmartino smusicisbuiltupon serialcompositionaltechniques,andhasbeenaccusedofbeing academicmusic, 7 hestatesthatthegoalof allmystudies,allthatihavelearned,andaboveall,all therigorsofmycraft,havehadjustonepurpose:tomake'music. 8 InexaminingMartino'sworksforpiano,DavidBurgesaysthatMartino's styledoesnotchangeoverthecourseofhiscareer. 9 ThatmightbetrueforMartino s pianoworks,butcertainlydoesnotapplytohisworksthatincludepercussion.this paperillustratesseveralwaysinwhichburge sassessmentofmartino sstyle regardingpianocompositionsisnottrueconcerningmartino spercussionwriting. 6 Martino,Donald. TheSourceSetandItsAggregateFormations, Journal'of'Music' ' Theory,'Vol.5,No.2(Winter,1961):pp Dyer,Richard.Donald'Martino,' Roger'Sessions'&'Donald'Martino,'NewWorld Records80546[linernotes], Boros,JamesandDonaldMartino. AConversationwithDonaldMartino, Perspectives'of'New'Music,Vol.29,No.2(Summer,1991): Burge,David.Donald'Martino,[ChaptertwentyMthree],TwentiethMCenturyPiano Music,Lanham,MD:ScarecrowPress,2004,221,227. 8

18 Martino scompositionsareverydeliberatelyinfluencedbyjazz,bela Bartók scompositions,andserialism.theseinfluencesarereflectedindifferent phasesofmartino sdevelopmentasacomposer.thesephaseswereshortperiods, somelastingonlyafewyears. 10 Martinoexplainedhowhisdiverseinfluenceseffect hiscompositionalstylebystating, ThefactthatIcomefromacompletelymixedMup musicalbackground;thefactthatiwasnotnurturedbysomepianoteacherwhofed menothingbutmozartandbeethovenandturnedtheradiooffeverytimeapopular songcameon;thefactthatigrewupinaworldinwhichthereweresomany differentkindsofmusicavailablemallofthesefactsmakemerealizethatitmightbe unreasonableformetodoonlyonekindofmusic. 11 ThesethreeinfluencesMjazz, Bartok,andserialismMareallpresentinMartino swritingforpercussion. Martino sinterestinjazzwasinspiredandnurturedbyhishighschoolmusic teacher,clarencej.andrews(cjtohisinnercircle).martinoandhisclassmates wouldtravelfromnewjerseyintomanhattantolistentolivejazz. 12 Martinolists themodern'jazz'quartetasoneofhisfavoritegroups.theprominenceof vibraphonistmiltjacksoninfluencedmarino schoicetousethevibraphoneinmany ofhisworks. 13 ThecharacteristicsofjazzaresomethingthatMartinoinfusesinallof hiscompositionsingeneralnotonlyinthisperiod. WhatI vereallybeenafterisa 10 Kizas,AndrewJ.The'Music'of'Donald'Martino,'London:VDMVerlag,2009,5. 11 Kyr,Robert. Point/CounterMPoint:DonaldMartino sradicalstatementofmind andsoul, Perspectives'of'New'Music,Vol.29,No.2(Summer,1991):p , Boros, Brody,Martin.Donald'Martino:'A'Jazz'Set, TheJimmieVincentStory NewWorld Records80518[linernotes],

19 kindofhighlystructuredimprovisation.theperformancesofmymusicthatilike bestaretheonesthatgivethatimpression. 14 AsastudentstudyingwithErnstBaconatSyracuseUniversity,Martino becamefamiliarwiththemusicofbelabartók.bartókbecameacompositional model,inparticularwithregardstobartók suseoftheoctatonicscale.martino recognizeditbyadifferentname. IwasmostinfatuatedwithBartók soctatonic scale,knowninjazzasthe diminishedscale. WhenIhearditinBartók,Ithought, Wow,thisislikecominghome. Sonaturally,thefirstmusicIconsciouslyimitated wasbartók s.thatwentonforsometime. 15 Martinomadetheconnectionthat bothbartók sfifth'string'quartetandcharlieparker'sdonna'leerelyheavilyonthe octatonicscale. 16 Inhisearlycompositions,theuseoftheoctatonicscalewasa featureofmartino simitationofbartók smusic.severalofmartino sworksfrom thisperiodbecamepartofthecanonofnewmusic. Iwrotetwosolopieces,theSet' for'clarinetandquodlibets,bothstillverymuchundertheinfluenceofbartók. 17 ItwasasastudentofMiltonBabbittatPrincetonUniversitythatMartinowas exposedtothemethodofcomposingmusicusingtheserialmethodpioneeredby ArnoldSchoenberg.ButitwasnotuntilafterleavingPrincetonandstudyingasa FulbrightscholarinFlorence,Italy,withLuigiDallapiccola,thathebegantouse twelvemtoneorserialtechniques.sincethatperiodofstudywithbabbitt,mostof Martino scompositionaloutputiswrittenusingprincipalsoftheserialmethod. However,Martinodoesnotuse classical orserialtwelvemtonetechniques 14 Boros,p BorosandMartino,p Boros BorosandMartino,p

20 developedbyschoenbergandadvancedbybabbitt.hedoesnotlimitaworkto twelvemtonerowsandtheirderivatives.muchoftheorganizationofhismusicis structuredthroughtheuseofhexachordsthatarefrequentlyreordered.thisisin contrasttothepracticeofusingformsoftonerowintheirprime,ororiginalversion, thatareinverted,inretrograde,orinretrogradeinversion. StevenMackeysummarizedMartino smusicthisway: Thisisnotdrymusic. Inthegenerallyaridlandscapeoflate 70sAmericanacademicserialism,[Martino s] musicwasdrippingwetwithsensuality,color,affect,anddrama schmaltzyeven. BythestandardsoftheselfMreferentialworldofpostMSchoenbergianAmerican serialism,donwasquiteeclectic.heharvestedmajortriadsandariosomelodies fromhisrows,andonegotthefeelingthat,whileheembracedthestructural functionsoftherow,hefoughtwithsomeoftheincumbentsounds.heusedtosay, aftertennisandabeerortwo,thathethoughtrobertschumanwaslookingfora wayoutofthetonalsystem(ithinkiknowwhathemeans)andialwayswondered ifdonwaslookingforawaybackin. 18 Martino'sdevelopmentinwritingforpercussionwasgradual.Whilehehad notincludedpercussioninanyofhischambermusicpriortonotturno'in1973,in threeofhisorchestralworkstherearelargepercussioncontributions.theconcerto' for'piano'and'orchestra,writtenin1965,requiresfivepercussionists.in1967,the UniversityofChicagocommissionedMartinotowriteaworkfortheChicago Symphony.Thatcomposition,Mosaic'for'Grand'Orchestra,includessix percussionists.andin1972,hisconcerto'for'violoncello'and'orchestra'callsforfour 18 Mackey,Obituary. 11

21 percussionists.withlargepercussionsectionsintheseorchestralworks,thelevels oftechnicaldemandmartinorequiresfromtheindividualpercussionists,although modest,arekepttolevelsconsistentwiththeotherinstrumentsoftheorchestra. Soonhowever,Martinowouldwriteforpercussionwitharigoroftechnical difficultyequivalenttothatofsuchinnovatorsasxenakis,berio,boulez, Lachenmann,andStockhausen. InwritingforonepercussionistinhisworkNotturno,'Martinotooka quantumleapforwardinhisexpectationsofthepercussionist.therewasno foreshadowingofthisadvanceduseofpercussioninanyofhisorchestralor chamberworks.thenumberandtypeofinstrumentsrequiredincreased dramatically.technicaldifficultyandextremelyquickchangesofsticksandmallets becamenecessarytomatchthetimbremartinoexpected.additionally,itwouldbe anotherfifteenyearsbeforehewrotefrom'the'other'side,'requiringavirtuoso performancefromthepercussionist. ( ( 12

22 Chapter(Four:(Set$for$Marimba( Martino sfirstsolopercussionworkisset'for'marimba.'itwasconceivedasa soloworkforclarinetthatwaslatertranscribedformarimba.writtenin1954,its harmonyisinfluencedbybartók smusic.itwaspublishedas'set'for'clarinetand hasreceivedmanyperformancesandrecordingsinthatversion.donaldmartino wastrainedasaclarinetist,anditwaslargelythatbackgroundthatledtothe compositionanditscharacteristics.' Setwaswrittenin1954,beforeIreallygotto knowanyschoenbergorwebern. 19 The set referstoadancebandsetthatwouldtypicallyhavethree compositionsplayedwithoutpause.hintsofjazzandpopularmusicarepresentin allthreemovements.thefirstmovement,allegro,'wasoriginallytitledconservatory' Stomp.'Thesecondmovement,Adagio,wasoriginallyBlues'in'Eb.Thethird movementwasoriginally10 th 'Avenue'Shuffle.Eachofthemovementshasan introductionandacoda,whichisalsotypicalofdancebandmusic. 20 Set'for'Marimba'cameoutofcollaborationbetweenMartinoandMichael Parola,percussionistwithTheCoreEnsemble.ThegroupworkedwithMartinoon Jazz'Set,analbumofhismusicexclusivelythatwasreleasedin1996(NEWWORLD CD80518M2).AtthattimeMartinosuggestedtoParolathatheadapttheearlier clarinetworkformarimbaratherthankeepingthegroupwaitinganewsolo percussioncommission.duringtheir season,MartinotouredwithThe CoreEnsemblewhereParolaperformedSet'for'Marimbanumeroustimes.Thereis 19 Boros Ibid. 13

23 noseparatescoreforset'for'marimba thesamescoreastheclarinetcompositionis usedwithnecessaryadjustmentsforthetwoinstrumentdifferences.martino coachedparolaonwhererollsshouldappearinthesecondmovementandhow phraseswouldbeplayed.parolastates, Itwasalwaysaboutjusttryingtomaintain asenseofthespiritandintegritywhiletakingintoaccountthefactthatiwas playingitonthemarimba. 21 Set'for'Marimbacanbeperformedwithtwomallets.Ithaslargeleapsin severalspotsinthefirstandthirdmovements.martinoexplains, Thelargeregister leapsinthatpiecederivedirectlyfrommytrainingasaclarinetist. 22 Theclarinet s registerkeyenablesleapsofatwelfthwithrelativeeasy.measureeightinthe examplebelow(figureone)showsaninstancewheretherighthandplaysfour notesinfourdifferentoctaves.therighthandplaysthesecond,fourth,fifth,and seventhnotesofthebar.thesuggestedmetronomemarkingisquarternoteequals Thetempoaloneisnotanextremechallengebuttheaccuracyoverfour octavescouldbe.theperformerwillhavetopreparefootworksothataccuracycan beaidedbystandingasclosetoaspossiblethenotesbeingplayed.adjustments needtobemadebetweenmm.8 10,astheperformercannotsimultaneouslybeat thetwodesignatedregisters.aninvertedversionofthismelodyappearsatmm.25 27,presentingtheplayerwiththesameproblem,butwiththelefthandinthe oppositedirection. 21 MichaelParola,phoneinterviewbyauthor,St.George,UT,February17, BorosandMartino,p

24 Figure1.A'Set'for'Marimba,Allegro,'movement.1,mm Figuretwoshowsanexamplefromthethirdmovement.Heretheperformer islikelytoutilizethelefthandtoplaythenotesbelowthestaff,andtherighthand toplaythenotesabovethestaff.thedandbbofbeattwoofm.8canbealternated rightmleft. Figure2.A'Set'for'Marimba,'Allegro,'movement3.mm.6 8. ParolamentionedthatheandMartinoconsultedonwhererollsshould appearinthesecondmovement.parola srecordingactuallyincludesrollsinthe firstmovementaswellinthesecondmovement scantabilesection(mm.36 76). Therollsareaddedonnoteslongerthanaquarternote.Apassagethatincludes Parola sadditionsofrollscanbeexaminedinmeasures4 6ofthesecond movement(figurethree).thepracticeofrollingnotesofaquartetnoteandlonger 15

25 canbecontinuedinthesecondmovement,adagio,aswell.parolarollseverynotein thesebarsexceptthegracenotes.theinclusionofarollassistsineffectuatingthe crescendoanddiminuendo'asnotated.withouttherollsthenuancesofthissection wouldbelost.rollingthequarterandeighthnotesallowstheperformertoadd subtlety,andshapethephraselikeaclarinetplayerwouldusethebreathtodoso. Figure3.A'Set'for'Marimba,'Adagio,movement2,mm.4 6. Theinterpretationofrolladditionsandtranslatinganunaccompanied melodiclineintophrasesandgesturesisaverycriticaloneformarimbist. Additionally,Martinoincludestermsindicatinghisintentionsthatareveryrarein percussionmusic,suchasmezzo'voce(sic)anda'piacere.findingawaytorepresent theseabstractideasonakeyboardpercussioninstrumentposeschallenges. InhisrecordingofA'Set'for'MarimbaParolamakesatimbralshiftatthe mezzo'vocesectionofthesecondmovementbyswitchingtosoftmallets,asopposed totheveryhardyarnmalletsusedpreviouslytothissection.inaliveperformance, ifthisapproachisused,themalletswitchneedstobeperformedquickly.martino doesprovideabreathmark,orluftpause,justpriortothischange.martinodoesnot indicateinthescorewhentheperformerwouldstopthemezzo'voceandreturnto theoriginaltone.alogicalchoiceforthisreturntotheoriginaltimbreisatm.39 wheretheasectionreturnsattempo'i.'themezzo'vocewiththeaccompanying malletchangethenrecursatm.55inthebriefcoda.'' 16

26 Parolahandlesthea'piacereinstructioninanotablemannerinm.39 40of thethirdmovement.ashecomestothetopoftheclimbingintervals,heslowsthe temposlightly,andaddsashortrollonthetopnoteofthegesture.(figurefour)the rollsareaddedonthebandthenthedbrespectively. Figure4.A'Set'for'Marimba,'Allegro,'movement3,mm.39. SetestablishespatternsformuchofMartino slatermusic.manyofthe characteristicsofhislatermusic,suchastheimportanceofvirtuosityandthe diverseemotionalstates,havetheirorigininthemusichewroteinthe1950s. 23 Studyofthispiececanhelpthepercussionistdevelopakinestheticsenseof bodypositionrelativetothekeyboard.itwillalsohelpdeveloparelaxed,controlled wristandarmstrokewhilemakinglargeleaps.thesecondmovementconcerns itselfwithsuddendynamicchangesinadditiontosomeoneandtwomoctaveregister changes.set'for'marimbacouldworkwellforalllevelsofrecitals,includingstudent recitalstotheprofessionalstage.itofferstheperformerauniqueoptionamong marimbaliterature. ( 23 Boros

27 Chapter(Five:(Soliloquy$for$solo$Vibraphone Martino sonlyworkwrittenspecificallyforsolopercussionissoliloquy'for' solo'vibraphone(2003),which'iswritteninserialismstyle.healsowrotesoloworks forthepiano,cello,violin,flute,clarinet,bassclarinet,andaltosaxophone.mostof theworksforthesesoloinstrumentsarealsowrittenintheseriallanguage. Asasoliloquy,theformtendstobelessdogmaticthanmanyotherstylesof compositions.theideaofasoliloquyisthatacharacteristalkingtohimself, revealinghisthoughtswithoutaddressingalistener.soliloquy'isanexampleof ritornello,aformthatiscommoninmartino smusic.severalcompositional elementsthatreturnaretempo,hexachordcharacteristics,anddynamicsthat remainunchangedthroughoutasection.(pleaserefertothechartdemonstrating theritornello'aspectandothercompositionalcharacteristicsthatisinappendixc). PercussionistSamuelSolomonwroteofSoliloquy,' Thischaracter sconflictis expressedbyaconstantshiftingbetweenrhythmicmusicandmusicplayeda' piacere.thoughspokenthrougha12mtonevoicetheargumentsonbothsidesofthe debateretainthecharmofajazzimproviser. 24 ' Soliloquyisalatework,writtenin2003,justtwoyearsbeforeMartino s death.parolaexplainedthatheandmartinohaddiscussedasolovibraphonepiece inthe1990s,andthatsoliloquyisaresultofthatdiscussion. 25 However,theCore Ensemble sfocuschangedtopresentingtheatricalchambermusicproductions. ParoladidnotcollaborateonSoliloquy,norhasheperformedit. 24 Solomon,Samuel.MartinoPSoliloquy.TheBostonConservatoryPercussion Database. 25 Parolainterview. 18

28 MartinomakesanunusualrequestoftheperformerinSoliloquy.Muchofthe piecemartinointendstobeplayedwithrubbermallets,implementsthatare typicallyavoidedonthevibraphoneduetotheinnatehighlightingoftheattacks, andalterationsofthecharacteristictonequality.malletandinstrument manufacturers,withoutexception,donotlistrubberasanoptionforusageonthe vibraphone. ChristopherDeane,AssociateProfessorofPercussionattheUniversityof NorthTexas,isquotedassayingthatthetemptationtostrikethevibraphonebars withsomethingotherthanthestandardmalletcomesfromtheverynatureofthe bars. Thebarsthemselvesproduceaverystaticsound;tonallycrystalclear.The choice[s]fordifferentplayingimplementsandtechniquesbecomeparamountwhen thedesireistocomposeavibraphonepiecewithtimbralinterest. 26 Martino srequesttouserubbermalletsisconsistentwithhisquestforcolor andtimbraldistinctiveness.bradlubman,wholedtheensembleinthefirst recordingofnotturno,achamberworkfeaturingpercussion,recalls, whati rememberverywellaboutthefewrehearsalswithhimonnotturno'wasthewayhe sangvariousphrases:itwasveryintense,verymusicallyphrasedwithvarying levelsofcolorinhisvoice.hewantedtheplayingtoreflectthewayhesangsomeof thephrases. 27 ParolaisquotedonDantalian.comstatingthatMartinowas the foremostlivingexponentofthecompositionaluseofrubbermalletsonmallet instruments. Martinobelievedthattheuseofrubbermalletswouldbetheright 26 Smith,JoshuaD.Extended'Performance'Techniques'and'Compositional'Style'in'the' ' Solo'Concert'Vibraphone'Music'of'Christopher'Deane.'Dissertation,University ofnorthtexas,denton,texas:aug.2008, Lubman,Bradley. interviewbyauthor,St.George,UTFebruary27,

29 choicetomaketoachievethetimbresheimagined. Fewpercussionistsarelikelytofollowtheinstructionforrubbermalletson vibraphone.solomon,whohassoliloquyinhisprogramrepertoire,said, Ithought therubbermalletswerealittlerestrictive.there ssomuchineedtodowithmallet dampening 28 anddifferentcolorsfordifferentsectionsthatthearticulationwas goingtobetoonarrowofacolorfield. 29 Solomongoesontosay, Thedecision madeaboutmalletchoiceisaverycomplexonehavingtodowiththingsthe composerdoesn thavecontroloverlikespecificinstrumentsandthehall s acoustics.wheniseeamalletindicationiuseitasindicationforageneralaesthetic butnotanindicationofwhatishoulduse. 30 Theperformermustbalancethecommontrainingandinstructionregarding malletchoicewithmartino sspecificrequirements.thetypeofinstructiongivenby MartinoforSoliloquy'isconsistentwithmusichehaswrittenforothersolo instruments.richarddyermakesanobservationconcerningmartino spiano compositionsthathasapplicationtosoliloquy.'dyerstatesthat,martino sexactness givestheperformerimportantcluesastothecharacterofgestures.italso challengestheperformertorealizespecificmoods. 31 Martinoiscarefultonotatehismusicasclearlyaspossible.Heknowsexactly whathewantsandletstheperformerknowit.inhisarticle NotationinGeneral 28 Malletdampeningisatechniquewherethebarisdampened,orpreventedfrom ringingbytouchingthebarwiththemallethead.itallowsthepercussionist anotherexpressivetoolincontrollingsustainbeyondthepedal. 29 Solomon,Samuel.Phoneinterviewbyauthor,St.George,UT,March16, Ibid. 31 Dyer,Richard.Donald'Martino,' Roger'Sessions'&'Donald'Martino,'NewWorld Records80546[linernotes],

30 ArticulationinParticular hestates, Toallofuswhoseconcernisthatdelicate processbywhichsoundistranslatedintosymbolandbackintosoundagain,the needtoclarifyandstandardizetheexistingsymbolsofournotationsmustsurelybe evident. 32 PianistandauthorDavidBurgefurtherexplains, Asinallhismusic, [Martino]isatgreatpainstoinformtheperformerastotheprecisemannerof playingandfeelingeachpassageinthework. 33 Theperformerhasthechallengeof interpretingthemusicwithcalculatedallegiancetotheprintedscorethatmartino provides. AlthoughtheprintedscoreisvitaltoMartino,hehasstatedthatthe performerisjustasimportanttohim.martinoreliesontheuniquequalitiesofa performer ssoundtoconveyanexpressivemessage. Iwanttoseepeopleplay musicandwhenthey'refinishediwanttoseethemsweating.iwanttosee involvement,iwanttohearinvolvement,andiwanttohearandseeitinthe audience.iwanttohearitgenuinely. 34 Healsoremarked, Inaveryrealway,each ofmypiecesisbornandgrowsoutofasenseofwhattheinstrumentcando,bythe uniquesoundsitmakes;thisdeterminesthesoundworld,eventheformofthepiece muchmorethananythingelse. 35 Atatimeincompositionhistorywhenmanycomposersturnedtoelectronic meansandtapemanipulationtocontrolsound,martinoignoredthatnewgenre. I mfascinatedbytheabsolutelyunendingnumberofpossibilitiesinnuanceand 32 Martino,Donald. NotationinGeneral ArticulationinParticular. Perspectives'in' ' New'Music,Vol.4,No.2(Summer,1966), Burge.TwentiethPCentury'Piano'Music, Kyr,Robert. Point/CounterMPoint, BorosandMartino,p

31 shading.electronicmusichasneverheldtheslightestinterestforme.myonly concernhasbeenwithacousticinstruments. 36 ThoughMartino snotationisoftendidactichedoesrequiretheperformerto approachthemusicwithvirtuosityandexpressiveness.davidnichollsdescribesit thus, atamoreabstractlevel,thefastidiousnessofmartino sscores wherealmost everynotereceivessomekindofindividualarticulation,andalmosteveryphrasein uniquelycharacterizedbymetre,tempo,instrumentationorverbaladmonitions (gradevole;'pieno,'con'ampiezza)' 'revealsfurtherhisintimate(andattimesalmost incestuous)relationshipwiththemusichecreates. Hecontinuesthisidea, Itisprobablythisfeature,morethananyother, whichdistinguishesmartino sscoresfromthoseofthevastmajorityofhis contemporaries.inanageofoftencoldandcalculatedmusicalartifice,hisvery Bergianwillingnesstocombineintellectualismwithpassion,andtoimbuehiswork withdeeplypersonal(yetoftenuniversal)resonances,marksmartinooutasafigure tobepraisedandcherished. 37 ThetwelveMtonelanguageusedbyMartinoinSoliloquy'deemphasizesmuch ofthetraininginidiomatictechniquesthatpercussionistsreceiveonkeyboard instruments.muchoftheworkmovesveryquickandovertheentirerangeofthe standardthreemoctavevibraphone.asaresult,theperformerwilllikelychooseto utilizefourmallets,eventhoughmuchoftheworkusesonlytwo.infact,the majorityofsoliloquy'ismonophonicwithnosimultaneitiesorcounterpointafterm. 36 BorosandMartino,p Nicholls,David. ASurveyofHisRecentMusic, Perspectives'of'New'Music,Vol.29, No.2(Summer,1991),p

32 31.Allthemusicalideasarelinearpresentations,withnoverticalharmony.This lineartechniqueappliesbydefaulttothesoloworksmartinocomposedforflute, clarinet,violin,andcello.however,healsousesthispointillisttechnique periodicallyinhispianoworkssuchastwelve'preludesandfantasies'and' Impromptus.' InSoliloquy'therearemanypossiblestickingvariations,andeachmight impacttheshapingofphrases.theriseofvibraphonetechniqueandinstructionhas ledtoanexpectationofadeptness,witheachofthefourmalletstypicallyutilizedby apercussionist.forexample,inpassagesofsoliloquythatrequirethetechniqueof doublelateralstrokes,itisimportantthattheperformermakeschoicesthatare musicallybased,anddonotmerelyservefortechnicalfacility.equalstrengthand controlassuresthatanymalletcanplayanequalroleinperformance. 38 Pedagogue andauthorjerrytachoirnotesthat, Therearetimeswhenmyfourmallet independenceallowsmetoexecutethemusicalpassagewithmoreeaseandclarity [than]ifiwasonlyholdingtwomallets. 39 Belowisanexampletakenfrommm ofSoliloquy(Figurefive). Wheredoesoneemploydoublingsticking?Usingfourmalletsandmakingdouble lateralstrokes,isabetterdecisionthanusingtwomalletsandcreatinggreater movement. 38 Burton,Gary.Four'Mallet'Studies.'GlenviewIL:CreativeMusic.1995,p Tachoir,Jerry.Contemporary'Mallet'Method:'An'Approach'to'Vibraphone'and' ' Marimba.Henderson,TN:RiohcatMusic.1991,p.6. 23

33 Figure5.Soliloquy'for'solo'Vibraphone,mm Malletsarenumber Martinoadmitsthechallengesheposestoperformers, IknowthatIwrite difficultmusic. 40 Inhisarticlefrom1966onnotationMartinowrites, IfItake greatcarewithnotation,idonotdestroymusicalexpression;irevealtothe performerthekindofmusicalexpressionthatiintend.andif,thereby,the performer sroleastranslatorissomewhatpreempted,theresultneednotbemore mechanistic. 41 Martinointendsthattheperformernotapproachhismusicwithany lessexpressionthaniftherewasnonotationdetail. Burgeoffersthisadvicetotheperformer: InMartino smusicthereisalways aline.sometimethecounterpointoraccompanimentiscomplexenoughthatthe lineisdifficulttodiscern,buttheskillful,sensitiveperformerwillalwaysmakethe projectionandshapingofthislineatoppriority. 42 Anexampleoflinestowhicha performerwillshapeandhighlightthephrasesisseeninfiguresixfrommm HereMartinointendsthattheperformerhighlightthechromaticlineformed bythenotesabovethestafftherebyshapingthephrase. 40 BorosandMartino,p Martino,Articulation,p Burge,p

34 Figure6.Soliloquy,mm Therepeatedchromaticsequenceinthestaff(Dflat,D,Dsharp,E,thenD,D sharp,e,f,fsharp)isthecounterpointthattheperformercanbringtothesurface. Thesectionsmarkeda'piaceredonothavebarlines,ameter,ortime signature.thisinvitestheperformertophrasemorefreelyat'pleasure.'thisisan exampleofmartinorequiringtheperformertoapproachthemusicwithpersonal expressiveness. Soliloquyisagoodperformancechoiceofasoloforgraduateorprofessional recitals.itrepresentscomplexmusicneedingaskillful,sensitiveperformer, possessingtheleveloftechnicalskillandmusicalsensitivityrequiredtomakegood musicalchoices. ItissignificanttonotethatSoliloquy'doesnotusethelevelofdetailed notationcommonlyfoundinothermartinoscores.however,examplesofscores notatedwithmuchgreaterspecificitytowardnotationaldetailarenotturno, Seranata'Concertante,'andFrom'the'Other'Side.Theseworksarediscussedinlater chapters. ( ( 25

35 Chapter(Six:(Jazz(Chamber(Music AnothersignificantareaofcompositionaloutputfromDonaldMartinoisin, whaticall, jazzchambermusic. Vibraphoneisincludedineachofthe compositionsinthisstyle.thepublishedcompositionsinthisgrouparecanon'ball,' Cathy,andThreeway.In1996TheCoreEnsemblerecordedthesethree compositionstogether,withmartino stutelage,asathreemmovementworkunder thetitlea'jazz'set.' Thesepiecesareaformoffusionmusic,combiningjazzandclassical chamberstyles.theyaregoodexamplesofmusicthatguntherschullertermed thirdstreammusic. ItwasuponretirementfromacademiathatMartinoreturned tohisjazzinfluencesandpublishedthesethreejazzchamberpieces,whichhehad composedinthe1950s. Asateenager,MartinoandhisfriendswouldfrequentlytravelfromNew JerseytoNewYorkCitytohearjazz.Martinosaid, MyfirstherowasBenny Goodman,thenalongcameCharlieParker,DizzyGillespie,SonnyStitt,thatwhole gangofbemboppers. 43 BennyGoodmanwasoneofthefirstbandleaderstofeaturethevibraphone. HebroughtLionelHamptonintohisbandin1936.Martinowasalsoanadmirerof themodernjazzquartetthatincludedmiltjacksonplayingvibraphoneasalead instrument.johnlewis,pianistandmusicdirectorofthemodernjazzquartet,wasa proponentofthirdstreammusic,orthecombinationofjazzandclassicalelements. BeforetheirinvolvementinthirdMstreammovement,theModernJazzQuartetbegan 43 BorosandMartino,p

36 astherhythmsectionforoneofmartino sheroes,dizzygillespie.clearly,jazz influencedmartino,asitoccupiedmuchofhispersonalandprofessionaltime duringthe1950s.andtosomeextent,jazz,tohim,requiredtheinclusionofthe vibraphone. PriortohisacademicappointmentatPrincetonin1957,Martinowasheavily involvedinjazzandpopularmusiccompositionandperformance.hisactivityasa performingjazzmusicianincludedaninstanceduringhisstayinbologna,italyin 1956,whenheappearedfrequentlyinconcertleadingaquartetonclarinet.Onone occasionanunscrupulouspromoterbilledthegroupasthemodernjazzquartet, upsettinglocaljazzfansandcausinganearlyendtotheconcertwhenitwas discoveredthatmartinoandhispeerswerenotjackson,lewis,andtheother membersoftheactualmodernjazzquartet. 44 Duringthelate1950s,Martinoinventedadoppelgänger,JimmyVincent,asa personaduringhisjazzpursuits.asjimmyvincent,martinoplayedandrecorded with,amongothers,hisfriendsbillevansandelvinjones,whowouldgoontohave prominentcareersinjazz.martinowaswriting,asvincent,arrangementsforthe GintDexterBigBand,oneofthepopularNewJerseybigbandsoftheday.Martino (Vincent)alsoperformedwithotherfamousjazzfiguressuchasTeddyWilsonand ChetBaker. 45 AcolleagueofMartinoontheYalefaculty,MelPowell,alsosharedsimilar interestsinboththejazzandcontemporaryclassicalmusicgenres.powellwasa fellowcompositionprofessorfrom1959to1969,whenmartinojoinedtheyale 44 BorosandMartino,p Brody

37 faculty.powell spriorassociationaspianistforbennygoodmanandglennmiller certainlywouldhavebeenatopicofconversationamongcolleagues.in1969,when theybothleftyale,powellforthenewcaliforniainstituteofthearts,andmartino forthenewenglandconservatory.itisinterestingtonotethatmartinochairedthe musiccommitteeforthepulitzerprizein1990whenpowellwontheprizeforhis workduplicates:'a'concerto'for'two'pianos'and'orchestra. 46 Powellalsosubmitted anentryinthe1991issueofperspectives'of'new'music'honoringmartino. MiltonBabbitt,oneofMartino sprimaryteachers,wasalsoapractitionerof jazz.hecomposedperhapsthemostwellmknowpiecefusingjazzandcontemporary classicalmusic,all'set,in1957.babbitt sinterestinjazzandactivitiesasajazz pianistmusthavebeenencouragingtomartino. 47 ThefirstpiecethatMartinopublishedfromhisjazzperiodwasCanon'Ball'in 1999.'Canon'Ballisavibraphoneandpianoduet.Martinolabelsitasa TwoMPart InventionforVibraphoneandPiano. Theworkisbrief,lastingjustoveroneminute, andperhapscouldservewellasanencore.thetitlehasadoublemeaning,one beingthecanonicalnatureofatwompartinvention,andthesecondimpliedtitleisa tributetojulian Cannonball Adderley,whowasaprominentjazzmusicianduring the1950sand1960s.themotiveoftheinventionusestheintervalofatrimtoneat theendofphrases,similartophraseendingsperformedbybopmusicianswhom Martinocitedashispersonalheroes(Figureseven).Thedirectionsforthetwo musiciansinthescoreforcanon'ballinstructthemusicianstoplaydriving,'more' legato,'broadly,'andcute.' 46 Batesp Parolainterview. 28

38 Figure7.Canon'Ball,'triMtoneintervaluse. ' ' Cathy'(2005)isaballadwrittenforclarinet,vibraphone,piano,bass,and drums.thesoundofwhichwouldemulatethatofthemodernjazzquartetplus clarinet.intheperformancenotesmartinosanctionstwoeditedversionsaswellas theoriginalcomposition.thedifferentversionsallowforshorterperformances, alternateinstrumentation,andtheexclusionofimprovisation.versioniallowsa cellotosubstitutefortheclarinetpart,asisheardonarecordingbythecore Ensemble.Thedrumsmayalsobeomittedinthissetting.InversionII,acellocan substituteforthebass.versioniiiistheoriginalversion. Cathy'canbedividedintofoursections,thefirstofwhichisslowand melancholic,withindicationstoplaywistfullyandwithagentle'swing.thesecond sectionisfasterandtheclarinetplayeristoornamentthemelodywith embellishmentandfiguration.thethirdsectioniswritteninadoublemtimefeel, wherethepianist,vibraphonist,andclarinetistareencouragedtoperforman improvisedsoloortheoptionalcuesheprovides.followingthelastad'libsolothere isahighlychromaticcontrapuntaltransitiontotheclosingsection,which recapitulatesthewistfulmusicoftheopening.' 29

39 Throughoutthepiecethevibraphonesharestheleadpartwiththeclarinet. Martinoindicatesinthevibraphone,clarinet,anddrumpartswhichinstrument shouldbethemostprominentatcertainpoints.thevibraphonistwillneedto performtheworkwithfourmalletstobeabletoplayperiodicfourmnotechords. However,mostofthepartconsistsofsinglenotelineswithoccasionaloctavesand thirds. Onlytheoriginalversion(labeledversionIIIintheperformancenotes) containsthesectionforimprovisation.themusicianshavetheoptiontoeither improvise,orperformtranscribedsolosthatmartinoprovides,whichhepersonally transcribedfroma1957recording.anotableaspectofthetranscriptionisthepiano solobybillevans.thereisnoossia'orcuedpartforavibraphoneimprovisedsolo. Thevibraphonistsimplyneedstoreadandinterpretthechordsymbols. 48 MartinocreatedasystemtonotatethetouchandstyleofEvans piano playing.thissystemcanalsobeappliedtovibraphoneperformance,althoughthere isnoevidencethatothercomposershaveadoptedthissystemofnotation.instead, studentsofjazzareencouragedtoemulatetheirrolemodelsviaauditoryanalysis andimitation. Martinodesignatesnotationaldifferenceviafourdifferentgradesof articulation. 48 Pedagogicallyspeaking,theseskillscanbelearnedanddevelopedthroughstudy ofvariousmethodbooks.jonmetzger sthe'art'and'language'of'jazz'vibes' ' 'anddavesamuels Contemporary'Vibraphone'Technique:'A'Musical'Approach,' ' 'book'2'areexcellentmethodstointroduceandexpandthefacilityofplaying inajazzsetting. 30

40 Hereismynotationofthebasicfour[gradesofarticulationby Evans].Whenthenoteisunmarked,thetouchis hard (wellm articulatedbutnotshort).theaccentproducesamuchsharperand louderattack.notesconnectedbya squaredmoffslur aretobemore connected,lessbrittle,oftenabitsofterthanothernotes.theslur madeupofdashesisusedtosuggestthatnotesarealmostlegato. Finally,truelegatoismarkedconventionally.Notesinparenthesesare playedassoftlyaspossibleorwhentheyarediamondshapedtheyare fingeredbutnotplayed. 49 Figureeightshowsapassagewhereallexamplesofarticulationareemployed. Figure8.Cathy,'pianomm Exampleofarticulations. ThethirdcompositionisthechamberjazzstyleisThreeway.'Threewayisa threempartinventionforbbclarinet,vibraphone,andstringbasspublishedin2000. Itisthreeminutesinlengthandthestyleis withagentleswing. Itishighly imitativeandresemblescooljazzarrangementsofthemodernjazzquartet featuringmiltjacksononvibraphone.itfeaturesblueselementssuchasflatted 49 Martino,Donald.Cathy,'Newton,MA:Dantalian,Inc.,2005.' 31

41 thirds,fifthsandninths,agreatdealofsyncopationconsistentwith1950sjazz,and counterpointthatfeaturesallthreeplayersequally.thereareverybriefcadenzas forthevibraphoneandclarinetinthecoda.martinoauthorizesthesubstitutionof pianoforclarinetandcelloforbass.thesetofpartsincludespianoandcelloossia' parts.thisistherecordedversionbythecoreensemble. ItisnotnecessarytocarryfourmalletstoperformThreeway.Theentire workispossibletobeplayedwithtwomallets.infact,martino sjazzminfluenced piecesingeneralprovideanexcellentopportunityforpercussioniststoapply specificvibraphonetechniquesthatnotonlyincludesingle lineplayingwhile carryingfourmallets,butalsopedaling,andmalletdampening.clarityinexecuting linesonthevibraphonethroughtheuseofdampeningandpedalingisatechnical skillthatneedstobemastered. Martino sjazzselectionspresentamplepedagogicalchallengesforthe percussioniststudyingwithinachambermusicsetting,bothclassicalandjazz. Infact,theseworkscanbeusedasvehiclesfordevelopingjazzphrasingand articulationonthevibraphone.andsincechambermusicistypicallyarequired standardofstudy,andmanypercussionprogramsemphasizeawellmrounded programthatincludesthestudyofjazzplaying,canon'ball,'cathy,'and'threewayare appropriateforstudyasjazzetudesandperformance. ( ( ( 32

42 Chapter(Seven:(Rhapsody$ ThesingleMmovementworkRhapsody'isatenMminuteworkhighlightedby contrastingsonoritiesandtimbres.itisscoredforvioloncelloinasolorolewith vibraphoneandpianoaccompaniment.rhapsody'usesthestyleandharmonic languageofsoliloquyandischaracteristicofmartino slatermorematurestyle.'it wascomposedin2003andpublishedposthumouslyin2007.itwasalsopremiered in2007.' Thescore,whichisastudyintexturalshifts,usesringingpianoand vibraphonelinestosupportwindingcellothemes.thewritingisverylinearand makesuseofsparsetextures.amajorityofthetimeonlytwoofthethree instrumentsareplayingsimultaneously.thevastmajorityofthechordsand collectionsinthepianoandvibraphonepartscontainonlythreemembers.theonly fourmnotechordinthevibraphonepartoccursatm.20.however,playingtheentire workwithfourmalletsmakesmanyofthepatternseasiertoexecute.aswith Martino sotherchamberworks,tuttiandunisonwritingisusedverysparingly.in Rhapsody,'theonlysectionwhenallthreepartsareplayingtuttiisinmm Theworkdividesneatlyinhalf.Thefirsthalfisanenergeticallegro, precededbyaslowintroduction.thesecondhalfisamolto'adagioofrestraintand measuredbeauty JuilliardSchoolofMusic.Pressrelease. andmpianistmgilbertmkalishmpresentmmusicalm transitions?destination=node/

43 Withinthegeneralallegroandadagioparametersthereareabundanttempi changesbefittingofarhapsody. ThelevelofnotateddetailinRhapsodyissimilartothatofSoliloquy.'Martino doesnotnotateverymucharticulation.pedalingindicationsforthevibraphoneare onlyusedinthefirsteightmeasuresofthework,exceptwhenthemotiffromthe openingreturnsinmm.56and216.martinoemploysabundantslurstoindicatethe phrasingoutlinedbypedaling.theperformerwillconsiderhowtointerprettheslur orphraseindications.willtheysustainthemasinthepianopart,orsimplyphrase themwiththeindicatednotation? Thelackofdetailedinstructionandnotationmightbearesultofthework notbeingfullyeditedbymartinopriortohisdeath.thisisconsistentwithhisjazz chamberselectionsthatwerepublishedtowardtheendofmartino slife,which containmuchlessnotationaldetailinthescoreandparts. ( ( 34

44 Chapter(Eight:(Notturno$$ Notturno'iswrittenfortheinstrumentationofa' pierrot'pluspercussion ensemble (flute,clarinet,violin,cello,piano,andpercussion).thename, pierrot' ensemble, comesfromarnoldschoenberg spierrot'lunaire,'theinstrumentationof whichhasbeenadoptedbymanyothercomposersandhasbecomeastandard chamberensemble.'itwaswrittenuponwinninganaumburgawardin1973 resultedinmartinowinningthepulitzerprizeinmusicin1974. ThepercussioninstrumentationinMartino snotturno'callsforxylophone, marimba,vibraphone,glockenspiel,sixtempleblocks,andthreetamtams.martino givestheoptionforthepercussionparttobedividedbetweentwoplayers.ifthe twomplayeroptionisusedoneplayerplaysonlyglockenspielandvibraphone. Notturno,'writtenin1973,wasoneofthecompositionsthathelpeddefinethe meaningfulexplorationofnewsororitiesasoneofthecentralconcernsofmultiple percussion. Withtheturnawayfromcommonpracticeharmony,bysomecomposers,in thefirstdecadesofthe20 th century,cameaninterestinthepossibilitiespresented bypercussioninstruments.multiplepercussionistandauthorstevenschickwrote, "Composerswerefascinatedbythe'timbralefficiency'ofpercussionMbytheability ofpercussioninstrumentstoproduceanenormousnumberofsoundsinthehands ofrelativelyfewplayers.thisvitalityledlogicallytotheideaofmultiplepercussion, wheresonicdiversitycouldbemultipliedbyaskingasingleplayertoperformon 35

45 twoormorepercussioninstruments." 51 JohnCage'sThird'Construction,'from1941, featuredfourdifferentmultimpercussionists.belabartok ssonata'for'two'pianos' and'percussion'wasofunequalledimportanceforbringingpercussioninstruments outofthenetherworldoftheorchestraandputtingthemonequalfootingwiththe piano. 52 DariusMilhaud'sConcerto'for'marimba'and'vibraphone'(1947)isanearly exampleofoneplayerbeingresponsibletoplayingtwokeyboardinstruments simultaneously.milhaudalsogivesinstructionsforvarioustypesofmalletstobe used,includingyarnandrubber.healsoasksforthebarsoftheinstrumenttobe struckwiththehands.chambermusiccompositionsthatfeaturemultiple percussionincludelucioberio'scircles'(1960)thatrequirestwomultiple percussionists,andpierreboulez'le'marteau'sans'maitre'(1954m7)requiringthree percussionists,onebeingamultimpercussionist.solomultiplepercussion compositionsincludeno.'9'zyklusbykarlheinzstockhausen(1959)and27 ' ' For'A'PercussionistbyJohnCage(1960).IntheIntroductiontoStudies'in'Solo' Percussion'byMorrisGoldenberg,editorRalphSatzstatedthattheseworkstypically pointedtowardthefuture,andseemtohaveagreaterimpactoncurrentpercussion compositionthanonmuchofthemusicthatsurroundedthemwhentheywerefirst published Schick,Steven. MultiplePercussion, inencyclopedia'of'percussion,2 nd ed.,edited byjohnh.beck,newyork:routledge,2007, Ibid Goldenberg,Morris.Studies'in'Solos'Percussion.'edbyRalph'Satz,BrynMawr,PA: ChappellMusicCompany,1968, Introduction. 36

46 MartinowasinaclassofcomposerthatSteveSchickreferencedwhenhe said,"composersbegantorealizethatthecalculusofmultiplepercussion instrumentsdescribedtheneedtobalancesonicdiversitywithcompositional limitation. 54 Thebalancebetweenpossibilityandlimitationaredefiningforcesfor howcomposersviewpercussionandhowtheyhaveaidedinitsdevelopment. Schickcontinues, Eachpercussionpiecebecameanegotiationbetweenthe cosmologyoffinitesonicpossibilitiesononehandand,ontheother,the gravitationalforceoflimitationthatliesatthecoreofanycoherentcompositional syntax." 55 OneofthepossibilitiesofmultiplepercussionsetMupsbecomesamajor featureinnotturno'when'martinowrotefor stackedmarimba. Thissignifiesthat themarimbaandanotherkeyboardinstrumentwillbenestlednexttooneanother sothattheycanbeplayedatthesametimeorinrapidsuccession.theperformer willreachoveronetoplaytheother.theinstrumentonthefarsideofthesetmupis typicallyputuponblockstoelevateitandmakeitalittleeasiertoreach.italso allowstheinstrumentstooverlaptheirbarsslightly,bringingtheinstruments closer,inaverticalstack.figurenineshowsthemostcommonsetupforstacked marimba.figuretenshowsanalternativewiththevibraphonestackedabovethe marimba. 54 Schick,Steven.The'Percussionist s'art:'same'bed,'different'dreams.'rochester,ny: EastmanStudiesinMusic,2006, Ibid

47 Figure9.Marimbastackedabovevibraphone.PhotobyPedroCaneiro. Figure10.Vibraphonestackedabovemarimba.PhotobyPedroCaneiro. 38

48 Intheconfigurationwiththevibraphonestackedabovethemarimba,anextension ofthevibraphonepedalisrequired,asshowninfigureeleven. Figure11.Extensionforthevibraphonepedal.PhotobyHiroyaHonda. StackedmarimbaisanadvancedtechniquedevelopedbyRayDeRochesto performjanissary'music'bycharleswuorinen.(janissary'musicwaswrittenin1967.) Itallowsthecomposerquickaccesstomoretimbralvarietythanotherwisemight beavailable.itisalsoahazardoustechniquewithsomedisadvantages.thesizeof bars,andthereforeoctaves,betweenvibraphone,marimba,andxylophoneisnot consistentinstrumenttoinstrument.itisimpossibletoaligntheinstrumentssothat pitchesinalloctavesarealigned.tallermusicianshaveanadvantagetoreachthe accidentals,orblackkeysrank,onthestackedinstrumenteasier.demandingparts aremagnifiedbythespacebetweentheperformerandthestackedinstrument,with 39

49 theaddedobstacleofanotherinstrumentbetweenthem.additionallythemusic standwillhavetobepositionedonthefarsideofthestackedinstrumentmaking pageturnsverychallenging. InNotturnothexylophoneisstackedabovethemarimbawiththexylophone keyboardoverlappingthemarimbabars.theglockenspielisalsostackedwiththe vibraphone. Figure12.StackedinstrumentsinNotturno.'' OneofthechallengesinperformingNotturnoisthelonglistofsuggested 56 percussionbeaters.itincludestwentymsevenimplements,someofthemusedvery sparingly,andothersforextendedsections.havinganarrayofsticksandmalletsset outforveryquickchangesisasimportantasthepreparationofnotesandrhythms inthismusic.thepercussionistwillhavetomeshmartino ssuggestionsinthe performancenoteswiththepracticalimplicationsofdifferentvenuesand instrumentstoproduceaviablerepresentationofthesonoritiesmartinoexpects. Martinodoesprovidetimeduringbriefrestsforthepercussionisttoexecute malletchanges.however,theprovidedtimeisoftenlessthanasecondtodropone 56 Martino,Donald.Notturno, Notes,Newton,MA:Dantalian,Inc.,

50 setofmallets,pickupanother,andbereadyforthenextentrance.theperformer willhavetospendpreparationtimeonthechoreographyofimplementchangesin additiontobecomingproficientattheusualmusicaldemands.atechniquetosolve manyofthechallengesistocarrymorethanonepairofmallets.figurethirteen showsanexampleoftheapplicationofthisapproachwhereeachhandwillcarrya softyarnmalletsandahardrubbermallet. Figure13.Notturno,m.193.2softyarnand2hardplasticmallets. Notturno'containsseveralrequestsregardingimplementselectionthat requireaddressing.oneistheindicationtoplaythevibraphoneandglockenspiel withtrianglebeaters.duetothepossibledamagetothevibraphonebars,the performerislikelytoselecthardplasticmalletstoachieveasimilartimbre.thiswill providehardattack,butwithouttheriskofdamagetothebars.explainingthe necessityofmakingcompromisesonmalletchoice,pedagogueandauthor,gary Cook,suggeststhat,"Whenwritingformanyinstrumentsitisoftennecessarytouse 41

51 'compromise'malletsoramixtureofactuatorsoverthesetup." 57 Cook scomment appliesequallytoamultiplepercussionperformerasitdoestoacomposer. Anotherunusualcaseofcompromiseinmalletselectionistherequestby Martinotoplayanextendedsection(mm )withwoodenmalletson marimba,vibraphone,xylophone,andglockenspiel.woodenmalletsconstructed fromrosewoodareassociatedmostwiththexylophoneandprovideacharacteristic xylophonetonequality.theyarenottypicallyusedonotherinstruments.this sectionofmusicisveryinvolvedwiththeperformermaneuveringquicklybetween thefourinstruments.withlessthanabeatbetweeneachattack,martinoleavesno timetopickupcharacteristicmalletsforeachoftheinstruments.thewooden malletsprovideaverybrittleyetpenetratingtonequality. The nightmusic ofmartino snotturnousesthebellmlikequalityof vibraphoneandglockenspielplayedwithwoodenmalletstoinvokemoodswith uniquetimbres.mm.24 30(figurefourteen)consistsofadelicateglockenspieland vibraphonesolo,markeddolce,'andplayedwithwoodenmallets.especially challengingisthetremoloontheglockenspielwithwoodenmalletsatapianissimo volume. 57 Cook,Gary.Teaching'Percussion:'with'DVD.Belmont,CA:ThomsonSchirmer, 2006,84. 42

52 Figure14.Mm.25 30,glockenspiel,topline,vibraphone,bottomline,played withwoodenmallets. Thistextureiscalledforagainatm.300butthistimewithhardrubber malletsonglockenspielandvibraphone.similarlyuniqueisafourmnotechordatm. 237thatissplitbetweenglockenspielandvibraphoneandrolledwithwooden mallets. AnotheruniquemalletrequestbyMartinoishiswishforthevibraphoneand marimbatobeplayedwithtimpanimallets.presumablymartinointendsforthe softestavailablemalletstobeused.advancementsinthemanufactureand availabilityofhighqualitymalletswillgivethecurrentperformersuitable substitutionstoachievethedesiredtimbre. Thechoicetousealternativesforthetrianglebeatersandthetimpani malletsonthekeyboardinstrumentswillsimplifysomeofthechallengesposedin Notturno.' Martinousesaratheruniquemethodofphrasemarkingsthatserveas pedalingindicationsinhis1974publicationofnotturno.inhisperformancenotes Martinowritesthat, inthevibraphonepartsdampsignsareseldomused.notes 43

53 lasttheirspecifiedvaluewiththepedalappliedasneeded. 58 Hefurtherexplains andprovideshisownexamples, Thespecificsymbolforapedaledlinear configurationistheslurasin: Figure15.Pedaledslur.Notturno'notes. ExamplesofhowMartinousedthisnotationtoindicatehiswishesfollowin figuressixteenandseventeen.figuresixteenillustratesthatonlythelasttwo pitcheswillbepedaledandthattheywillringorsustaintogether.figureseventeen demonstratesapassagewherethepedalisusedintwombeatdurations. Figure16.mm.77 78,pedalingexample.Notturno. Figure17.mm ,pedalingexample.Notturno.' ' 58 Martino,Donald.Notturno, Notes. 44

54 Notturnoisarewardingchambermusiccomposition.Itisnotforthe developingpercussionist.therequiredtechniqueswillbelearnedonless demandingmusicandinlessstressfulsituationsthanmartino smusic.thereisan abundanceofliteraturetodevelopabilitiesonmultiplepercussionsetmups.mostof theseincludelargelynonmpitchedpercussionandareoftenwrittenwithonesetof sticksormalletsinmind. ( ( ( ( 45

55 Chapter(Nine:(Serenata$Concertante$ Serenata'Concertante'isanoctet:twowoodwinds,twobrass,twostrings, piano,andpercussion.thepercussionpartrequiresfivetempleblocks,snaredrum, twobongos,twotimbales,twotommtoms,twosuspendedcymbals,marimba, vibraphone,andglockenspiel.itwasafinalistforthe2000pulitzerprizeinmusic. ItsfourmovementsaretitledI.Passeggiata,'II.Scherzi'(Intermezzo),'III.Meditazioni,' andiv.scherzo'(intrada).'' ThelargecollectionofinstrumentsusedbythepercussionistinSerenata' ConcertanterequiresacarefullyconceivedsetMup.Unlikehisotherworksinvolving multiplepercussion,martinoprovidesnodiagraminthisscoretohelpassistinthe setmup,ortosuggesthowtobeststackthekeyboardinstruments.inthiscase,itis likelythattheconfigurationwiththevibraphonenexttotheplayerandthemarimba stackedwillworkbest.seefigurenine. Serenata'ConcertanteusesmanyofthetechniquesrequiredinMartino s othermultiplepercussionworks.thesetechniquesincludequickswitchingbetween instruments,quickchangingofimplements,andfrequentlyplayingthekeyboard instrumentswithdrumssimultaneously. Serenata'Concertante'isveryrepresentativeofverydetailednotationby Martino.Thepartsareheavilymarkedwiththreetypesofaccentsandstaccato markings.the Notes intheprefaceofthescoreprovidedetailedexplanationsof tenutoandritenuto.figureeighteenshowsthe Notes withmartino sexplanation. 46

56 Figure18.Serenata'Concertante,' Notes. Measures21 22ofmovementone'(figurenineteen)showanexampleofthe detailmartinoincludesinhisscores.notshowninfigurenineteenisthatpreviously thepartismarkedrigidamente,andthepercussionandpianopartsarelabeledthe' Grand'Procession.Thetoms,timbales,andbongosaretobeplayedsempre'espressivo andincludelegato'andstaccato'markings.thereisadottedlinethatindicatesthe sixteenthnoteentranceofthefluteandpianothatdoesnotlineupwiththe quintupletrhythmofthedrums.thiscomplexpassageisevenmoreraredueto Martino srequestthatthedrumsbeplayedwiththefingersinlieuofsticks. 47

57 48 Figure19.Serenata'Concertante,'mvt1,mm Articulation. TheopeningofmovementtwoofSerenata'Concertantedemonstrates Martino spracticeofgivingtheperformeranideaofhowthemusicisintendedtobe performed.forexample,inbriefcadenzamlikepassagesforflute,keyboard percussion,andcello,martinoattachesastylisticorexpressivemarktonearlyevery measure.tabletwoandfiguretwentyillustrate. Table2.Chartshowingfrequencyofstylisticandexpressivenotation. Measureandinstrument Stylisticorexpressivemark M.1M(Flute(( Giocoso,'ritmo'preciso,The'beat'well'marked' m.3 Esprs.,'crescendo' m.4 Drammatico' m.5 Pesante' m.7 Twotypesofaccentsandstaccato m.9mmarimba( Cantabile' m.10 Espr.'' m.11 Leggiero' m.12mvibraphone Espr.'' m.15 Leggiero' m.16 Cantabile' m.18mmarimba Alla'misura,'Slurred'staccato' m.24mcello Largamente' m.26 Misurato' m.27 Espr.'' m.28 Drammatico,'ben'articolato'' m.29 Sul'tasto,'ligato''

58 Figure20.Exampleofdetailednotation.Serenata'Concertante.''' Priortothekeyboardpercussionentranceinm.9,Martinoincludes,whatfor him,isaveryrareelement.heprovidesapictogramofthemalletsthepercussionist willusetoperformthepassageshowingthatarubberandyarnmalletwillbe carriedineachhand.(seefiguretwentyabove)themarimbaisplayedwiththetwo 49

59 mediumrubbermallets,andthevibraphoneisplayedwiththetwosoftyarn mallets.however,martinorevertsbacktohisstandardpracticeforthemallet changeatm.19whenthemarimbaisplayedwithtwohardrubbermallets.heuses thepictogramonlyonceagaininm.68ofmovementfourtoshowthateachhand willcarryhardrubberandmediumyarnmallets. AnexampleoftheveryquickchangesofimplementsthatMartinorequiresis inapassagefromthefourthmovement.thepercussionistisholdingsticksplaying drumsandtempleblocksinmm Thedownbeatofm.54isplayedonthe marimbawitharubbermallet.thechallengemayforceacompromise.inthis instance,playingthemarimbawithasnaredrumstickisapoorchoice.abetter alternativeistoplaythedrumandtempleblockpartwiththerubbermallets. However,thepresenceofadramatic,crescendorollonthesnaredrumdiscourages thatcompromise.perhapsthebestchoiceistopresetthemarimbamalletduringthe restofmm.42 43,nearthenoteofm54.Measure53willneedtobeplayedbyone handwhilereachingforthemarimbamalletform.54,sincemm.54 56aresparse enoughtoallowthepercussionisttodropthesticksandpickuptwomarimba malletsforthebusierpartstartinginm.57. OneuniqueaspectofSeranataistheinclusionofanossiainthemarimba part.measure80ofmovementthreeprovidesanalternativeparttoavoidtheaat thebottomofthebassclef.itissurprisingthatmartinowouldincludethisasan option,ashehadwrittenthenoteb'inthebassclefinm.82ofmovementone.he alsowroteforthelowaona4.3octavemarimbaadecadeearlierinfrom'the'other' Side.'Hedid,however,avoidthatregisterofthemarimbainNotturno.' 50

60 AuniqueoccurrenceinMartino smusiciswhenheusesthesamelegerline, fortwodifferentinstruments.boththesnaredrumandthehighbongoarenotated onthelegerlineabovethestaff.martinoindicateswhichinstrumentisrequiredin ordertoclarifyhisintent. AnadditionalpointofclarificationinSerenata'Concertanteisinthemarimba notationofm.51inmovementthree.thefirstthreeeighthnotesareinparentheses. Thestringinstrumentsdoublethepart,playingpizzicato.Thepercussionisthasjust onebeattomovefromthevibraphonetothemarimba,butitisnotatafasttempo. Thischangeislessdemandingthanmanyofthoseherequires,includingsome instancesinserenata'concertante.'perhapsmartinoisprovidinganossiaforthe marimba.thereisnoexplanationinthescore. Anothersituationwithnoexplanationisinmm.5 6ofthefourthmovement (figuretwentymone).martinonotatesquarterrollsortremoloonacymbalwitha brushandincludesane'abovethenotes. Figure21.Unexplainede'notationoncymbalpart. ItmaybethatMartinoisrecommendingthattheperformerscrapethebrush acrossthecymbalratherthanaffectanactualtremolo.thereisanactivedrumpart withsticksimmediatelybeforeandaftertherollswithbrushes,leavingverylittle timetoexecuteatraditionaltwomhandedroll. 51

61 Thesparsenessofperformancesofthisispieceislargelyduetothesizeof theensemble.however,whenperformed,thechallengesandrewardsofthe percussionpartinserenata'concertante'aresimilartothoseinnotturno.' ( ( 52

62 Chapter(Ten:(From$the$Other$Side$' 'From'the'Other'Side(A'Divertimento'for'Flute,'Violoncello,'Percussion,'and' Piano)isatwentyMsixminutecompositionwherethepercussionpartrequires marimba,vibraphone,glockenspiel,twocymbals,highhat,twocowbells, woodblock,sixtempleblocks,snaredrum,bassdrumwithpedal,twotommtoms, twotimbales,andtwobongos.'itwaswrittenandpublishedin1988. Martino sassociationwithdrummerelvinjoneshelpedinformhimofthe capabilitiesofoneplayercreatingamultiple percussionsetupforperformance. 59 ParolaexplainshisworkwithMartinoontheconceptualizationofthemultiple percussionsetmups. HewantedtohaveanimpliedtrapMsetforFrom'the'Other'Side, thelastmovementwhenitgoesoffthedeependthewaythatitdoes.andsowe workedtogetheronthebasicideaofgettingthekickdrumandtheconcerttoms, andthetempleblocksandeverythingtosortofbeinamorecompactedway,sothat itcouldworkforoneplayerandgetfromplacetoplaceveryquickly. 60 Thisideais consistentwithotherearlierchamberworkswherethepercussionistplaysan impliedtrapmsetsuchasinigorstravinsky sl Histoire'du'Soldat,'orDariusMilhaud s La'création'du'monde.'ThepercussionsetupandinstrumentationforFrom'the'Other' Side'hassomesimilaritytoMilhaud sconcerto'pour'percussion.'' From'the'Other'Side'alsocontainsamindsetoftheatrics.Oneauthor comparedthefusionofserialcompositionwiththetheatricalconsiderationsthis way. Therewerealsodemonstrationsofwitandironysuchasthatin[movement 59 Brody Parolainterview. 53

63 five]das'magische'kabarett'des'doktor'schoenberg(dr.'schoenberg s'magic'cabaret), achambermusicmovementinwhichheenvisionedarnoldschoenberg,anton Webern,AlbanBerg, andmaybeegonwellesz, forcedtoplayinacabaretquartet foreternity thepitbandinhell. Martino s12mtonesettingsof16poptunes showedhowthatinfernalsoundtrackmighthaveplayedout. 61 Martinoprovidesremarksandinstructionstotheperformersinorderto supplyinsightintothemoodandtheatricalnatureofhismusic.theseremarks appearintheperformancenotes,theprogramnotes,andinthemusic.anexample ofinstructionstoperformersfromtheperformancenotescomesfromthe Noteson Interpretation wheremartinoadvisestheplayersonhowtoexecutethetheatrics ofthework. Keepinmindthatconceptually,atonetimeoranother,Schoenberg playsalltheinstrumentsintheband.hekeepschangingposition.arnoldcando everything;everythingbestwhenyouhaveaflutesolo,youarearnoldwhenyou havea cellosolo,youareveryarnold 62 Inmovementthree DanceoftheReluctantFlamapoo, Martinocoachesthe percussionistatmm , Addingtwosuspendedcymbals,anddrawingfairly equallyfromthe kitchen,improvisewitheleganceandwit.butremember,the Flamapooisareluctant bird. Laterinmovementfive, DasmagischeKabarettdes DoktorSchoenberg, m.63islabeled TheWrathofA.S. withthepianistshouting Nein attheotherperformers.inmm.65 66thepianistrepeatstheyellthree times.themusichereislabeled, Ourleader swrathisexceptionallysevere. Inm. 61 NewEnglandConservatory.Donald'Martino.Facultydirectory, ' 62 Martino,Donald.From'the'Other'Side,Newton,MA:Dantalian,Inc.,

64 74theflautistisaskedto standandshoutangrily: kleinemodernsky. Andagainat m.77,theflautiststandsandshoutstriumphantly: dasistderneuestil (thisisthe newstyle)thefullinstructionstothemusiciansandtheprogramnotesforfrom' the'other'side'areinappendixc,pages Martinocontinuedthispracticeofgivingtheperformerscolloquial instructionsinotherworksthathesubsequentlywrote.inthescoreandclarinet partforcathy,'martinoshareswiththeclarinetist,abovethenotationforabrief cadenza,' ourcathyisalsosomewhatplayful. InthethirdmovementofSerenata' Concertante'Martinorevealsthatitistobeplayed asiftryingtorecallthatbrahms Intermezzo. Measures5 6havetheremarks searching found?searching as thepianistslooselyquotesbrahmsintermezzo'op.'118,'no.'2.'inmm.20 26the violin,cello,andmarimbaplaywiththedirection, afterop.131. Thisisin referencetobeethoven sstringquartetdesignatedop.'131.' Concerningtheexecutionofthepercussionpart,thescoreandpartsforFrom' The'Other'Sidedoesnotmentionthephrase stackedmarimba. However,hedoes includeadiagramimplyingthestackedmarimbapractice.seefiguretwentymtwo below.thestackingofinstrumentsrequiredinfrom'the'other'side'isidenticalto thatofserenata'concertante.'' 55

65 Figure22.DiagramofSetMup,from Notes From'The'Other'Side. Martinoincludespassageswherethepercussionistplaysvibraphoneandthe nonmpitchedinstrumentssimultaneously.figuretwentymthreeshowsanexcerpt frommovementfivewherethistechniqueisemployed.duringthesepassages,the vibraphonepedalisweighteddownwithanobjectallowingthepercussionistto movemorefreelyinfrontofthenonmpitchedinstruments. Figure23.SimultaneousvibraphoneandnonMpitchedinstruments. AlsoseeninfiguretwentyMthreeisthenotationundertheloweststaffwith thenumber12inbrackets.martinoexplainsthisinthe notesoninterpretation. He 56

66 writes, thepercussionpartofmovementvmaybevariedandelaboratedasin popularmusic adlibstyle. Notethemarkingswhere[hespecifiesanumberof attackswithadesignatednumber]standsforanumberofattacks.withineachsuch markedarea,attackpointsmayberedistributed.forexample,rhythmsmaybe reversedorinverted.butifelaborationordeletionistooccur,thenumberofattacks shouldideallybechangedbyincrementsof12.forinstance,36attackscould become24or0,and12attackscouldbecome24,36,[etc.].but,ingeneral,thepart shouldbekeptfairlysimplesoasnottodetractfromthepitchpuns. 63 Thesecondmovement, TangodeiGrulli, containsapassageinfigure24 wherethevibraphoneandmarimbaareplayedsimultaneously.thispassage,more thananyother,highlightsthenecessityofusingthestackedmarimbasetuptobe abletoplaythetwoinstrumentsconcurrently. Figure24.Vibraphone,stemsdown;marimba,stemsup.Mm Thekeyboardswillhavetobepositionedtoensurethattheunisonpitches arealignedascloselyaspossible. AnotherchallengeinMartino smultiplempercussionsetmupshastodowith malletchoice.infrom'the'other'sidemartinosuggeststhefollowingmallets:two 63 Martino.From'the'Other'Side, notesoninterpretation. 57

67 verysoftyarn,foursoftyarn,fourmediumyarn,fourhardyarn,fourveryhardyarn, fourmediumrubber,onehardrubber,threewood,foursoftplastic,andtwo/four hardplastic.atotalof32 34malletsaresuggestedAlsocalledforisapairof brushes,apairofsticks,andapairofswizzlesticks.[swizzlesticksaredrumsticks withamalletheadonthebuttend.]noindicationisgiventothetypeofmallethead expectedonthebuttendoftheswizzlesticks.itisprobablysafetoassumethatthe buttendshouldbeahard,spunmfeltball,sincethisisastandardimplement. Martinoalsoincludespictogramstoindicateinstrumentsandbeaters. Organizingandkeepingtrackofallthemalletsisacriticalpartofperformance. Usingalogicalcombinationofimplementswillhelpreducetheneedofexcessive switching.forexample,intheopeningbarsinmovementone, Introductionand SlowDance, theplayerisinstructedtousetwoverysoftyarnmalletsinm.4, switchtotwoveryhardyarnmalletsinm.5,andreturntotheverysoftyarnfor mm.6 7RefertofiguretwentyMfive.Martino spictogramshowsthatahardandsoft malletisneededinbothhands.thisoptionalsohelpstoavoidthevisualdistraction ofthepercussionistswitchingmalletsthroughoutthesuspensefulopeningofthe work. 58

68 Figure25.From'the'Other'Side.'Openingmeasureswithmalletchanges. Theperformermayalsowanttomakeadditionalmalletchangesthat Martinohasnotincluded.Forexampleinm.24ofmovementI. Introductionand SlowDance andm.20ofmovementii. TangodeiGrulli, Martinowritesisolated notesfortheglockenspielthatwouldgiveamorecharacteristicsoundbybeing playedwithaplasticmalletratherthantheyarnmalletsusedinthesurrounding measures.inbothcasesswitchingtoaplasticmalletislesschallengingthanmanyof theothermalletchangescalledforbymartino. ItisinterestingtocompareMartino scompositionswiththedegreetowhich othercomposersrequireimplementchangesandhowtheynotatetheirintentions. Martinoandmanyothercomposersprovidediagramstoindicatehowtosetupthe 59

69 instruments.martinoalsoindicateswheretomakemalletchanges.however, composersseldom,ifever,indicatehowtomakemalletchanges.martinonever includesinhisdiagramwherestickormallettraysaretobeplaced.ofcourseitis theperformer sresponsibilitytomanipulatethescenariosthatcomposerspresent throughartisticlicense.stevenschick,anauthorityonmultiplepercussion performancehaswritten,"aswithotherinstruments,theexpertiserequiredtoplay multiplepercussionisdefinedbyproblemsposedbycomposersinvariouspieces andbythesolutionsfoundbyperformersoveraperiodoftime." 64 Performerssuch asschickarefindingsolutionsoftenintandemwithcomposers.yettherestill remainsalackofpedagogicalmaterialtofacilitateinstructionforpercussionists. AcomparisonofMartino spracticestoothercomposersoflargemultiple percussionworkswillbeusefulregardingstickandmalletchanges.theworksof Boulez,Lachenmann,Wourinen,Xenakis,Stockhausen,andBeriowillbecompared. PierreBoulezgivesverygeneralinstructionsforeithersoft,mediumhard,or hardmalletstobeusedonthexylorimbaandvibraphoneinle'marteau'sans'maître.' Theseinstructionscomeatthebeginningofeachoftheninepieces.Theplayer alwayshasampletime,aseitheramultiplemeasurerestorafermataprecedeseach malletchange.boulezgivesaninstructionforthekeyboardpercussioniststo usea softorhardmalletasdeterminedbythedynamics. Suchas,Suivant'les'dynamiques,' employer'baguettes'douces'ou'dures. 65 Boulezexpectsthatthepercussionistwill makeachoicethatcoincideswithhistastes. 64 Schick,Steven. MultiplePercussion, inencyclopedia'of'percussion,' Boulez,Pierre.Le'marteau'sans'maître':'pour'voix'd'alto'et'6'instruments,'London: UniversalEdition,

70 InthescoreforInterieur'IHelmutLachenmannusesapictogramthatis usefultoillustratetheimplementsneededforeachsection.figure26showsan exampleoflachenmann smethod. Figure26.Lachenmann spictogramindicatingimplementsneeded. TheindeterminacyofrhythmsinInterieur'Imakesthemalletchanges simplerthaninmartino sworks.lachenmann'ssolodiffersfromnotturno'inthat entirepassagesareplayedwiththesamesetofimplements.changingmalletsat inconvenienttimesisnotrequestedininterier'i.'lachenmanndoesincludeavery importantinstructionthatcanbeappliedineverypieceofpercussionmusic: The practiceofdrumstickchangesisapartoflearningthepiece. 66 TheinstructionswithinthescoreforJanissary'Music'byCharlesWuorinen areforthemetalinstruments(tamstams,cymbals,cowbells,andtriangles)tobe playedwitheithersoftbeatersorhard(preferablymetal)beaters.otherwise,itis lefttotheplayertodeterminetheappropriateimplement.wourinen sworkfor twentymsixinstrumentsishighlyvirtuosic,butchoicesregardingtimbrearethe responsibilityofthepercussionist. 66 Lachenmann,Helmut.Interieur'I,'Berlin:editionmodern,

71 IannisXenakisgivesnoinstructionsregardingsticksormalletsinhisscoreto Psappha.'Hedoesgiveinstructionregardingtimbreandhisdesireforbanalsounds buthedoesnotsupplyandadditionalassistance. InCircles,LucianoBerioprovidesachartwithapictogramofthefivepossible beatersusedbythetwopercussionists(figuretwentymseven).thisappearswitha detaileddiagramoftheplacementofinstrumentswithineachsetmupandthe respectivepositioningofthefourmusicians.berioalsoincludesakeytothe percussionscoresindicatingwhichinstrumentisrepresentedonlinesandspacesof themultiplestaves. Figure27.Berio spictogramofimplementsusedbythepercussionists. SimilartoMartino sworks,themalletsselectedtoperformcircles'willhave tobeabletoproduceavarietyoftimbresandbequicklyadjustedforawiderange ofinstruments,suchasfromtimpanitocongasandtomstomarimbaand woodblocks.atonepointintheforthmovement,berioindicatessticks'ad'libfor bothpercussionists,recognizingthatheisaskingforcompromisestobemadeon stickormalletchoice. 62

72 Methodbooksthatgiveinstructiononmultiplepercussionworkssuchas Reading'Studies'for'Drums'and'Percussion'byRonDelp,The'MultiplePPercussion'Book bynickpetrella,studies'in'solo'percussionbymorrisgoldenberg,the'contemporary' PercussionistbyMichaelUdow,givenoinstructioninhowtochangemallets. Studentsandperformersareexpectedtoacquiretheskillthroughdirectinstruction fromaseasonedperformerorthroughtheirownexperimentations. Onemethodbookthatdoesmentiontheneedtochangeimplementsfor certaininstrumentsaddressesitminimally.the'performing'percussionist,byjames Coffin,containstwobriefmultiplepercussionsoloswheretheperformeris instructedinafootnoteandwithinthemusicwhenandhowtoexchangesnare drumsticks,timpanimallets,andatrianglebeater.bothsolosutilizethesamesetup (snaredrum,tenordrum,suspendedcymbal,andtriangle)andhavesimilar demandsoftheperformer. SamuelSolomonhaswrittenatextintendedasaguideforcomposersonhow towriteidiomaticallyforpercussion.appendixbofhow'to'write'for'percussion:'a' Comprehensive'Guide'to'Percussion'Composition, 67 'providesexamplesofsituations requiringlargesetmups.itbrieflydescribesmalletchangesinthecompositionsthat heusesasexamples.italsogivesgoodexamplesofimplementchoreographyand addressestheissueofbeingforcedintoadecisionaboutplayinganinstrumentwith thewrongmallet/implement.thepurposeofthebookistoeducatecomposersto 67 Solomon,SamuelZ.How'to'Write'for'Percussion:'A'Comprehensive'Guide'to' ' ' Percussion'Composition.'NewYork:SZSolomon,

73 thepossibilitiesofmultiplepercussion,butitcanassistandinstructaperformeras well. WhenpreparingcompositionswrittenformultiplepercussionsetMups,a generalruletofollowisthatmanyinstrumentscanbeplayedusingtheyarnorcord malletstypicallyusedonkeyboardinstruments.thesemalletsworkwellon cymbals,mostdrums,andmostidiophonessuchaswoodblocksandtempleblocks. Someobviousproblemsoccurforinstrumentssuchastriangle,snaredrum,hihat, andchimes,astheseinstrumentstypicallydonotgetplayedwithyarnorcord mallets.thecharacteristicsoundoftheseinstrumentscomesfromusingtheir particularimplements.bassdrumsandtamtamsmayalsorequirelargermallets dependingonthenatureofthepassage,thetonequalitydesired,andthesettingof themusic. RecentcompositionsformultipleMpercussionthatincludekeyboard percussionpromotetheneedofamethodbookonhowtoexecutemanyofthe demandsrequired.surprisingly,thereislittleinstructioninpedagogicalliterature fortheexecutionofmultiplepercussionpassagesthatincludekeyboard instruments,andassuch,percussionistsmayneedtorelyonwordofmouthand trainingbyrotetodevelopapedagogicalfoundation. ThemusicofDonaldMartinogoesbeyondtheexpectationsnotatedbyother composersasevidencedbythesurveyexplainedinthischapter.martinoismore peculiarwhenheasksfordifferenthardnessorsoftnessofmalletsonkeyboard instruments.similarlytonotturno,'from'the'other'sideisaworkrequiringan advancedmusicianandanensembleoflikemmindedmusicians.( 64

74 Chapter(Eleven:(Conclusions( Martino scompositionsincludearangeofworksthatareaccessibleto percussionistsfromalllevels.thechamberworkrhapsody,andthesolosoliloquy' arespecificworksofparticularinteresttoadvancedpercussionists.ahighdegreeof performanceskills,aidedbypropermusicalanalysis,willenableaccurate performancesofsoliloquy,from'the'other'side,'andnotturno.percussionistsatany levelmayenjoyperformingthejazzminspiredchambermusicsuchascathy,three' Way,and'Canon'Ball.'Set'for'Marimbaoffersthepercussionistauniqueaspectof marimbaliterature.' ConsideringthereferencesbyBoros,Brody,andNichollstomanyjazz compositionssuchasmacfugal,pentagone,andmiscellaneousarrangementsfora quintet(clarinet,vibes,piano,bass,anddrums)thatmartinowroteinthe50s,there aremanymoreunpublishedcompositions.martinowroteintheprogramnotesto Canon'Ball'andThreeway,'thathewrotesixcontrapuntaljazzcompositionsand preparedarrangementsoffourstandards.publicationofaserieswashopedto proceedatarateofoneperyear,however,duetohisuntimelydeathhecouldonly publishthree. Todate,nocommercialrecordingexistsofSoliloquy'or'Rhapsody.'Infact, therehasneverbeenabiographywrittenofdonaldmartino.andrewkizashas writtenabookillustratingtheinfluencesonmartino scompositionalstylesbutas yet,noonehasproducedabiography.perhapssomeonewillexaminehisinfluence asateacheratyale,newenglandconservatory,brandeis,andharvard.considering hisprominentcommissionsandawards,hiscompositionaloutput,andhislong 65

75 careerteachinglatergenerationsofcomposers,abiographyofdonaldmartinois mostlikelyinorder,asnotonlycanmartino smusichavevaluetothegroupssuch asthepulitzerandguggenheimboards,buthismusiccanalsobeusefulinthe teachingstudioandtheperformancestage. Anotherprojectwouldbethecreationofamultiplepercussiontextfocusing ontheissuesofmalletchoicesthatachievecharacteristictonequalityondisparate percussioninstruments.modelsofthesefuturemethodbookswouldbestudies'in' Solos'Percussion'byGoldenbergandThe'MultiplePPercussion'Book:'Concepts'For'A' Musical'PerformancebyPetrella,however,thisnewtextwouldincludekeyboard percussion. 66

76 Appendix(A:(Analysis(of(Soliloquy$$ Measure Content Dynamics Articulation M.1 Original pp' Semprelegato M.10 Repeatofopeningrow ' Onlycounterpoint M.31 two12mtonerows ff' Staccato M.42 a'piacere;'two12mtonerows p' lv M.43 two12mtonerows f' Staccato M.51 a'piacere'' pp' lv M.52 Fourrows mp' Legato M.72 a'piacere;oneroww/overlap f' Ped/rest M.73 Overlappingrows f;'p;'cresc'to'f' Pedaling M.84 a'piacere;'overlap,tworows pp'cresc'to'f' lv M.87 Tworows,elision p' Staccato M.96 a'piacere;'tworows p' M.98 Two12Mtonerows ff' Staccato I6ofm.31 M.107 a'piacere'' pp' lv M.108 Tworows,overlap mp' Staccato M.118 a'piacere;'overlap,tworows pp' Pedaling M.119 RelatedtoM.52 ' Legato/staccato M.139 a'piacere'' ' Pedaling M.140 Threerows f' M.158 a'piacere'' ' M.159 RelatedtoM.73 pp'cresc'to'ff' M.177 a'piacere'' ' lv M.178 Tworows p' M.187 a'piacere'' ' M.188 Fourrows Mostly'p;'f'dyads;'f' M.219 a'piacere'tworows f' lv;pedaling M.220 Fourrows p;'ff M.241 Codafourrows pp' lv 67

77 Appendix(B:(Performance(Notes( PerformancenotesforNotturno 68

78 PerformancenotesforFrom'the'Other'Side ' 69

79 70

80 71