Contemporary Marimba: Trends in Composition

By James Peter Millican

North Dakota State University

Abstract: The marimba was introduced to the public of Guatemala in 1874. Soon, this

percussion instrument exploded into the United States as a solo and chamber ensemble

instrument. Since its introduction to North America in 1908, composers in America have been

writing for this instrument using a variety of compositional techniques. It is important for

music educators and composers to know the common techniques used to compose for marimba

in order to write music for the instrument. In this article I will analyze different contemporary

marimba literature to support the common compositional techniques used for the instrument. I

will also discuss the progressing ideas of contemporary composition for the instrument,

marimba technique and electronic enhancement.

Introduction

Composers have been writing for the marimba for over sixty years. Percussionists are

given a wide range of pieces to perform, but there is marimba literature that will never be

forgotten and will continue to be played again and again. There is a wide range of ideas,

themes and colors that are presented in new pieces, but the most popular pieces contain similar

compositional techniques. Every composer wants to create something new and inventive, but

the approach to form, tonality, and skill level all derive from basic compositional techniques.

When considering composition for marimba literature, there are a number of questions

to be answered. What are the different compositional techniques common in today’s

contemporary marimba literature? What is the compositional focus when considering tempo,

rhythm, meter, scales, progressions, tonality, and mood? Do composers favor anything in

particular? To answer these questions, I will analyze the following pieces of music: November

Evening by Christopher Norton, and Two Mexican Dances for Marimba by Gordon Stout.

This music represents a variety of compositional techniques that are common among

contemporary literature for the marimba. In the following, the themes of these pieces will be

observed, dissected and analyzed. Then, the similarities in composition will be compared.

Following this I will discuss the progression of marimba literature and the advanced

techniques that are used for the marimba. I will explore the different composition ideas of

modern composers, mallet grip techniques used for the instrument, and technology

enhancement used for the instrument. Composers and percussionists are continually pushing

the opportunities for the instrument and it is becoming an instrument of high demand. It is

exciting what the marimba has to offer the music world.

November Evening

November Evening was premiered on November 1, 1994 at Western Kentucky

University by Christopher Norton himself. The piece was dedicated to his wife, Leslie. The

piece is one movement and is around eight minutes long. (Innovative Percussion) Even though

November Evening is a Grade 5+ piece, it has many different compositional techniques about it

that are convenient for the percussionist. Christopher Norton writes using jazzy-like

harmonies and melodies that are pleasing to the ear. Since its premiere, November Evening has

been used for recital repertoire and solo competitions.

November Evening begins with two main themes. Norton states, “Two rhythmically

charged themes open the piece and provide the melodic and harmonic material for the

subsequent variations”. (Innovative Percussion) The piece is marked quarter note equals 112,

“With rhythmic vitality”. The first theme begins in 2/4 time and is marked at a Forte dynamic

level. After the introductory passage, this theme begins on measure 5 with an eighth note pick-

up on a dissonant chord of F#2/C#3 in the left hand and G3/D4 in the right hand. The left hand

follows with a bass melody in F supported by a harmonic and rhythmic accompaniment in the

right hand on the notes Ab3 and Eb4 to create an interval of a perfect fifth. This clearly

outlines the jazz-like chord of F minor seven and it creates the first tonal center that is

presented in the piece. Measure 7 follows with the same idea, but shifts chromatically up to F#

minor seven. The exact same rhythm is mimicked in measure 7 and the voicing for the chords

are also the same.

The second theme begins on measure 35 and is marked at a mezzo piano dynamic level.

The rhythm is a dotted eighth note - dotted eighth note - eighth note. The left hand plays G3

and D4, to create a perfect fifth, and the right hand plays A4 and D5, which creates a perfect

fourth. This outlines another jazz-like chord of G add nine. The following measure contains

two eighth note rhythms. The left hand plays F#3 and C#4, and the right hand plays D4 and

A4, which creates a perfect fifth. This outlines the chord of F# minor flat nine. The next two

measures outline the same chords, but contain rhythmic variation.

Two Mexican Dances for Marimba

Two Mexican Dances for Marimba by Gordon Stout was premiered in 1974. The first

dance was originally the ninth etude out of Etudes for Marimba, Book 2. Warren Benson

suggested to Stout that he remove the dance from the etude book and add a second to it. Also,

Benson’s idea was to call them Two Mexican Dances. After writing the second dance, Stout

dedicated the two pieces to Benson. (Gordon Stout, 2012)

I chose this piece was for two reasons: the composer’s background and the pleasing

sound of the piece. Gordon Stout studied with James Salmon, the professor who started the

University of Michigan’s historical percussion program. He also studied with John Beck, the

professor of percussion studies in Rochester at the Eastman School of Music. In Two Mexican

Dances, Stout writes using flowing melodies, tonal intervals and progressions which are very

pleasing to the classical musician’s ear. This piece is also featured in recitals and solo

competitions. It is considered a standard in solo marimba repertoire.

The first dance is marked dotted quarter note equals 112-126. There is no key signature

marking, no time signature and the piece is marked “sempre legato”. The dance begins with a

three measure, eighth note ostinato pattern in the left hand that suggests the tonal center of C

Major. This pattern is made up of octaves, perfect fourths, minor sevenths and major sixths.

Measures 4 through 7 repeat the left hand ostinato pattern, but this time the right hand responds

with sixteenth note syncopation rhythms. These rhythms are notated with major sixth intervals

in the right hand. The A section of the piece contains many variations of this theme. The A

section is repeated twice and is followed by a four measure phrase to conclude the section.

The B section contains a theme that is built using octaves, major tenths, quarter notes

and eighth notes. The theme moves away from the tonal center of C Major, adding five sharps,

suggesting the key of B Major. This theme consists of eighteen measures and is followed by a

repeat of the A theme that is seven measures long. There is a transition measure that is made

up of octave F’s in the left hand, a fourth on D4 and G4 and triplet sixteenth note rhythms.

The A prime section (A’) imitates the ostinato pattern in the A theme, but notates it by

using two eighth notes and a sixteenth note. The tonal center, intervallic figures, and theme

remain the same, but these rhythms suggest odd meters even though there is no time signature

written for this section. The theme is repeated with variation upon variation and ends with a

ritardando and a fermata.

The second piece or dance is marked eighth note equals 132-144. It begins with no

time signature marking and is made up of thirty-second note and triplet sixteenth note figures.

It also contains intervals no larger than a perfect fifth. The tonal focus of the A section is A

mixolydian. The repeated thirty second note melodic figure of A3-E4-B4-E5 occurs

throughout the dance several times.

The dance repeats the A section once, then modulates to the dominate key of E Major

and then to the subdominant key of D Major to make up the B section. The B section is

marked Rubando, quarter note equals 108-112, and consists of mainly eighth note triplet

figures with mallets one and four harmonizing the melody. The C section is marked Maestoso

and contains mostly triplet sixteenth note figures. The left hand plays major/minor sixths and

the right hand plays fourths. The piece then transitions to a variation of the familiar A section.

Composition Similarities

When looking at the two pieces of music I chose as an example of contemporary

marimba literature, I found similar compositional approaches to each piece. The first

technique I observed was the use of popular forms in composition. The most commonly used

form was ABA form. To contrast the melodic material, texture and tonality, the one or two

themes that are stated in each piece are followed by a B section. The A section is then repeated

after each B section. The pieces do contain other sections, whether it is a C section or a

chorale section, but the point is that these solos do use ABA form. The book Tonal Harmony

states that “The idea of statement-contrast-return, symbolized as ABA, is an important one in

musical form. The ABA, or ternary form, is capable of providing the structure for anything

from a short theme to a lengthy movement of a sonata or symphony.”

The second technique I observed was that the composers wrote comfortable and

convenient intervals for the player. These intervals consisted of perfect fourths and perfect

fifths. These are the most common intervals used for the marimba because of the ability of the

percussionist’s 4 mallet grip. When holding the mallets in a relaxed and comfortable position,

they clearly spread the width of a perfect fourth or perfect fifth.

The use of fourths and fifths can be seen in even the most technically challenging

marimba literature. Take for example Reflections on the Nature of Water by Jacob Druckman.

I-Jen Fang states in his doctorate dissertation on the piece, “The second movement, entitled

“Fleet,” starts with the element of an open fifth permutation as its main motivic material.”

(Fang, I-Jen) Fourths and fifths are the most common intervals in marimba music and will

continue to be because of the physics of playing the instrument.

The third technique I observed was that the composers wrote accomplishable music for

the performer. Composers often write incredibly difficult music for the marimba because they

forget the limitations of the instrument. These problems often include writing five or six note

chords for a four mallet compositions, writing large leaps from one side of the marimba to the

other, and writing scales to be played with one hand. Samuel Solomon states, “Composers

often write with a piano and are therefore thinking with ten fingers. A percussionist can hold

up to four mallets comfortably and has quite a bit of freedom, but certainly not as much as a

ten-fingered pianist.” He also quotes, “The composer must keep in mind that mallet

instruments are large and awkward. A five-octave marimba is over eight feet long!” (New

Music) To play a scale with one hand is appropriate for the pianist, but writing a scale for the

percussionist to play with two mallets in one hand is not as easy. It’s harder than playing a

scale with two fingers!

Other contemporary marimba literature that supports this consists of a wide range of

technical ability, but can be presented. Pieces such as Rain Dance by Alice Gomez, Michi by

Keiko Abe, and Three Moves for Marimba by Paul Lansky support the wide range of common

compositional techniques used in marimba literature. Each of these pieces contains different

tempo markings, melodies, and they are even categorized within different playing ability levels.

Though different in these aspects, the techniques listed above are used in each of these pieces.

Marimba and the Future

The techniques used to advance the musical composition for marimba consist of three

things in general: different instrumental combinations for ensembles, mallet grip techniques,

and electronic enhancement. Instrumental combinations like trumpet and marimba, clarinet

and marimba, marimba and string quartet, and marimba and harpsichord are all examples of

combinations used for marimba music.

Raymond Helble is a contemporary composer who writes for percussion. He has written

many unique compositions including Movement for Marimba and Harpsichord, Duo

Concertante for marimba and violin, DarkWood for Clarinet, Violin, Viola, Cello and Marimba,

and Quintetto alla Beethoven for Marimba and string quartet. While being interviewed for an

article in Percussive Notes Helble stated, “Another area I am very interested in is mixed chamber

music with percussion. I feel this is an intriguing combination and one yet to be fully explored

by serious composers.” (Percussive Notes, 2007) The possibilities of percussion are still being

explored and composers are eagerly seeking new combinations involving the marimba.

The most common mallet grips in the past have been for two and four mallet marimba

playing. A more recent addition to mallet grips is the six mallet grip. Marimba players are

adding this new grip and technique to their playing because it offers possibilities for the

instrument that are not available when using two or four mallets. It adds a new realm to

marimba performance and is part of a step in a new direction for the instrument.

The six mallet grip has been around for a good thirty years, but is not in common use.

Kai Stensgaard is a six mallet grip player and he writes literature that uses the technique. In an

interview, he complimented the technique saying that “six mallets only opens up for some new

possibilities that you do not have with four mallets.” In his arrangement of “Gloria” by Ariel

Ramirez, he states “the left hand plays the bass and harmonies in a calypso-like way, and on

top of that you can get great full sound for the melody. That would not be possible with four

mallets. If it were done with four, the harmony would sound very thin.” This technique is

beginning to change the way marimba players and composers write for the marimba.

(Percussive Notes, 2006)

Computers have taken their place in modern day society. Technology is also taking its

place in the music world. Electronic enhancement of the marimba is a new and innovative

technique that is being used by marimba players and composers around the world. Computer-

generated sound projection is being used to enhance the sound of the marimba.

The use of computers, foot pedals, microphones and speakers can bring life to the

marimba sound. Nathaniel Bartlett is a marimba soloist who is using this new technique.

Bartlett explains that through the use of this technology he creates a “sound field” surrounding

the audience. Bartlett states, “The idea is that the sound comes from everywhere creating an

audio sculpture and the audience is at the center of it all.” (Percussive Notes, 2009)

This technology also displays music for the performer to read. “Virtual” page turns allow

the performer to concentrate on the music without worrying about physically turning the pages.

These advancements in music technology are important for music educators and composers.

“Exposing the percussion community to computer-generated sound projection is an important

step in educating the public in the capabilities of the modern computer, especially within the

musical field.” (Percussive Notes, 2009)

Who Cares?

Music educators and composers should be aware of the techniques used for marimba

composition, arranging and performance. This will give them the knowledge to write for the

instrument and please the performing percussionist. Resources to use include instructional

books and websites, marimba composers and percussionists themselves.

A very good book on how to arrange and compose for marimba is Samuel Solomon’s

book How to Write for Percussion. Solomon offers tips on how pitched percussion works for

the composer and most importantly, the player. Marimba artist websites and composer

websites offer excellent instruction. Professional marimba players such as Nancy Zeltsman,

Michael Burrit and local percussionists from your area are excellent sources. Samuel Solomon

states, “it is best to speak with a percussionist about a specific example.” (New Music) David

Maslanka, Frank Ticheli, Raymond Helble and other composers that have experience

composing for the instrument are excellent sources to get instruction from. The point is that

the best instruction comes from the people that have experience with the instrument. Using

these sources will help music educators and composers to be more comfortable with marimba

composition and arranging.

Conclusion

In conclusion, I have analyzed the main themes of two major marimba compositions.

These two musical compositions represent the most common techniques used in marimba

literature today. These techniques are the use of ABA form, writing comfortable intervals for

the percussionist, and writing accomplishable music for the percussionist. I have also provided

information on the new techniques being used for marimba performance. These techniques are

unique instrumental combinations involving the marimba, six mallet grip technique and

electronic enhancement of the marimba.

The marimba is becoming a standard ensemble instrument, a curious instrument for

composers, and a solo instrument with increasing recognition. The instrument’s popularity has

driven it to be considered a standard instrument for percussionists to play and it continues to

grow in innovation in the creation of new sounds and ideas for ensemble literature. Music

Educators and composers need to be aware of the composition techniques and performance

elements of percussion and its newest member, the marimba.

Works Cited

Innovative Percussion Inc. 1 Oct. 2012

<http://www.innovativepercussion.com/pages/products/product_detail.asp?id=302>

Stout, Gordon. Home page. 2012. 27 Nov. 2012

<http://www.gordonstout.net/music-29.html>

Kostka, S. M., S. Kostka, and D. Payne. Tonal harmony. 6th Edition. New York: McGraw-Hill

Humanities/Social Sciences/Languages, 2008. Print.

Dease, Emory. “Nathaniel Bartlett: Solo Marimba + Computer-Generated Sound Projection.”

Percussive Notes 47.4 (2009): 1 pp. 26 Sept. 2012.

Bump, Michael. “A Conversation with Raymond Helble.” Percussive Notes 45.5 (2007): 5 pp.

26 Sept. 2012.

Nandayapa, Javier. “Kai Stensgaard Marimbist and Composer.” Percussive Notes 44.5 (2006):

2 pp. 26 Sept. 2012.

Fang, I-JEN. "The 1986 National Endowment for the Arts Commission: An Introspective

Analysis of Two Marimba Works, 'Reflections on the Nature of Water' by Jacob

Druckman and 'Velocities' by Joseph Schwantner, Together with Three Recitals of

Selected Works by Keiko Abe, Christopher Deane, Peter Klatzow, Wayne Siegel, Gitta

Steiner, and Others (D.M.A., Univ. Of North Texas, 2005)." Dissertation Abstracts

International Section A: Humanities & Social Sciences 66.11 (2006): 3855. Music

Index. Web. 2 Oct. 2012.

New Music. 4 Oct, 2012.

http://newmusic.zmf.us/media/idiomaticWriting.pdf