UNIVERSITY OF MIAMI

NEY ROSAURO’S TWO CONCERTI FOR MARIMBA AND ORCHESTRA:

ANALYSIS, PEDAGOGY AND ARTISTIC CONSIDERATIONS

By

Wan-Chun Liao

A DOCTORAL ESSAY

Submitted to the Faculty

of the University of Miami
in partial fulfillment of the requirements for
the degree of Doctor of Musical Arts

Coral Gables, Florida

June 2005
 UNIVERSITY OF MIAMI

An essay submitted in partial fulfillment of

the requirements for the degree of
Doctor of Musical Arts

NEY ROSAURO’S TWO CONCERTI FOR MARIMBA AND ORCHESTRA:

ANALYSIS, PEDAGOGY AND ARTISTIC CONSIDERATIONS

Wan-Chun Liao

Approved:

_______________________________ ________ ________________________

Ney Rosauro Steven G. Ullmann
Professor of Percussion Dean of the Graduate School

_______________________________ _________________________________
Gary Green Shannon Wood
Professor of Instrumental Performance Adjunct Professor of Percussion

_______________________________
Paul Wilson
Professor of Music Theory and Composition
 DEDICATION

This work is dedicated to my loving parents Wen-Li Liao and Li-Whay Chen.
 AKNOWLEDGEMENTS

I would like to recognize the following individuals who have made the completion of

the degree possible for all their kind support and contributions to this project.

First of all, I would like to express my great thanks to Dr. Ney Rosauro for his

passionate inspiration and artistic guidance throughout the process of writing this essay as

well as the course of my degree program. He has helped me grow musically and

professionally. I will always hold him in the highest esteem as a mentor, colleague, and

friend.

I am grateful to the following members of my committee for their support, guidance,

suggestions, and encouragement: Gary Green, Paul Wilson, Edward Asmus, and Shannon

Wood.

I have been fortunate to have several passionate teachers who have been incredible

inspirations during my development as a young musician. Those teachers are: Ney Rosauro,

Guy Remonko, Gary Green, Paul Wilson, Shannon Wood, Tzong-Ching Ju, and Kuan-Yuan

Kao.

Finally, heartfelt thanks are due to my wonderful family and close friends: Mean-Ling

Liao, Brenton Alston, Yei-Shun Fey, Debbi Welsh-Ibanez, Davis Kassler, Brian Potts, Matt

Koger, Brandie Lane, Rod Squance, and Andrew Maguire.

iii
 TABLE OF CONTENTS

Page

LIST OF EXAMPLES …………………………………………....... vii

LIST OF FIGURES …………………………………………………. xi

Chapter

1 INTRODUCTION …………………………………………… 1

Rationale for the Study ……………………………………………. 5

Data to be Gathered ……………………………………………… 6

Method of Data Organization and Interpretation ……………….. . 6

2 REVIEW OF THE LITERATURE ………………………… 8

Introduction ……………………………………………………… 8

Brief Biography of Ney Rosauro ………………………………… 8

Method Books Written by Rosauro ……………………………… 11

Rosauro’s Compositions …………………………………………… 13

Publications Discussing Rosauro’s Concerto for Marimba and

Orchestra…………………………………………………………… 14

Recordings of Rosauro’s Concerti ………………………………… 15

Rosauro’s Personal Web Site ……………………………………… 16

iv
3 PERFORMANCE ANALYSIS OF CONCERTO FOR MARIMBA

AND ORCHESTRA ………………………………......………. 17

Introduction ……………………………………………………… 17

An overview of Concerto for Marimba and Orchestra ………….. 17

Movement I: Saudação (Greeting) ……………………………… . 18

Movement II: Lamento (Lament) ………………………………… 20

Movement III: Dança (Dance) …………………………………… 22

Movement IV: Despedida (Farewell) ……………………………. 24

4 PERFORMANCE ANALYSIS OF CONCERTO # 2 FOR

MARIMBA AND ORCHESTRA ……………………………….. 27

Introduction ……………………………………………………… 27

An Overview of Concerto #2 for Marimba and Orchestra ……… 27

Movement I: Water Running in High Mountain…………………. 29

Movement II: Reflections and Dreams ………………………….. 34

Movement III: Walking on Clouds ……………………………… 39

5 COMPARISON OF ARTISTIC APPROACH IN ROSAURO’S

TWO MARIMBA CONCERTI……………………………… 44

Introduction ……………………………………………………… 44

Similarities ………………………………………………………. 44

v
 Differences ……………………………………………………….. 55

6 A PERFORMER’S STUDY GUIDE FOR ROSAURO’S

TWO CONCERTI FOR MARIMBA AND ORCHESTRA…. 60

Introduction …………………………………………………… 60

Rosauro’s Modified Four-Mallet Technique …………………… 61

Marimba Techniques Frequently Used in Rosauro’s Concerti …. 64

The Performer’s Study Guide …………………………………… 65

7 CONCLUSION ...…………………………………………… 95

BIBLIOGRAPHY ……………………………………………… …… 97

DISCOGRAPHY ………………………………………………. …… 99

VITA ………………………………………………………………… 100

vi
 LIST OF MUSIC EXAMPLES

Example Page

5.1. Concerto for Marimba and Orchestra, Movement IV, mm. 13-14 …………. 45

5.2. Concerto #2 for Marimba and Orchestra, Movement III, mm. 17-22 ……… 46

5.3. Concerto for Marimba and Orchestra, Movement IV, mm. 16-20 …………. 46

5.4. Concerto #2 for Marimba and Orchestra, Movement I, mm. 12-15 ……….. 47

5.5. Concerto for Marimba and Orchestra, Movement I, mm. 59-62 …………… 47

5.6. Concerto #2 for Marimba and Orchestra, Movement I, mm. 124-131 ……… 48

5.7. Concerto for Marimba and Orchestra, Movement III, mm. 50-55 …………… 48

5.8. Concerto #2 for Marimba and Orchestra, Movement III, mm. 199-214 ……… 49

5.9. Concerto #2 for Marimba and Orchestra, Movement I, mm. 70-71 …………… 49

5.10. Concerto for Marimba and Orchestra, Movement I, mm. 1-4 ……………….. 50

5.11. Concerto #2 for Marimba and Orchestra, Movement I, mm. 12-15 …………. 50

5.12. Concerto #2 for Marimba and Orchestra, Movement I, mm.116-119 ………… 51

5.13. Concerto for Marimba and Orchestra, Movement III, mm. 33-36 …………… 51

5.14. Concerto for Marimba and Orchestra, Movement III, mm. 13-16 …………… 52

5.15. Concerto for Marimba and Orchestra, Movement III, mm. 25-28 …………… 53

5.16. Concerto #2 for Marimba and Orchestra, Movement II, mm. 180-184 ……… 53

vii
5.17. Concerto for Marimba and Orchestra, Movement II, mm. 1-9 ………………. 54

5.18. Concerto #2 for Marimba and Orchestra, Movement II, mm. 13-16 …………. 54

5.19. Concerto for Marimba and Orchestra, Movement I, mm. 83-86 …………… 55

5.20. Concerto #2 for Marimba and Orchestra, Movement I, mm. 140-142 ……….. 55

5.21. Concerto #2 for Marimba and Orchestra, Movement II, mm. 13-16 …………. 57

5.22. Concerto #2 for Marimba and Orchestra, Movement II, mm. 227-230 ………. 57

5.23. Concerto #2 for Marimba and Orchestra, Movement II, mm. 1-4 ……………. 58

5.24. Concerto #2 for Marimba and Orchestra, Movement III, mm. 166-170 ……… 58

6.1. Concerto for Marimba and Orchestra, Movement I, mm. 1-4 …………………. 66

6.2. Concerto for Marimba and Orchestra, Movement I, mm. 9-12 ……………….. .67

6.3. Concerto for Marimba and Orchestra, Movement I, mm. 25-28 ………………..68

6.4. Concerto for Marimba and Orchestra, Movement I, mm. 59-62 ……………..... 68

6.5. Concerto for Marimba and Orchestra, Movement I, mm. 75-78 ……………..... 69

6.6. Concerto for Marimba and Orchestra, Movement I, mm. 83-86 ……………..... 70

6.7. Concerto for Marimba and Orchestra, Movement I, mm. 127-130…………….. 71

6.8. Concerto for Marimba and Orchestra, Movement II, mm. 1-9 ………………….72

6.9. Concerto for Marimba and Orchestra, Movement II, mm. 13-16 ……………… 74

6.10. Concerto for Marimba and Orchestra, Movement II, mm. 22-26……………... 75

6.11. Concerto for Marimba and Orchestra, Movement III, mm. 13-16 ……………. 76

viii
6.12. Concerto for Marimba and Orchestra, Movement III, mm. 25-28 ……………. 77

6.13. Concerto for Marimba and Orchestra, Movement III, mm. 50-55 ……………. 78

6.14. Concerto for Marimba and Orchestra, Movement III, mm. 63-71 …………… 79

6.15. Concerto for Marimba and Orchestra, Movement III, mm. 73-76 …………… 79

6.16. Concerto for Marimba and Orchestra, Movement IV, mm. 13-14…………….. 80

6.17. Concerto for Marimba and Orchestra, Movement IV, mm. 16-20 ………….… 81

6.18. Concerto for Marimba and Orchestra, Movement IV, mm. 144-155 …………. 82

6.19. Concerto for Marimba and Orchestra, Movement IV, Cadenza…………….… 83

6.20. Concerto #2 for Marimba and Orchestra, Movement I, mm. 12-15 ……… 84

6.21. Concerto #2 for Marimba and Orchestra, Movement I, mm. 70-71 ……… 85

6.22. Concerto #2 for Marimba and Orchestra, Movement I, mm. 140-142 ……… 85

6.23. Concerto #2 for Marimba and Orchestra, Movement I, mm. 283-286 ……… 86

6.24. Concerto #2 for Marimba and Orchestra, Movement II, mm. 1-4 ……..………86

6.25. Concerto #2 for Marimba and Orchestra, Movement II, mm. 5-12 ……………88

6.26. Concerto #2 for Marimba and Orchestra, Movement II, mm. 13-16 ………… 88

6.27. Concerto #2 for Marimba and Orchestra, Movement II, mm. 17-21………….. 89

6.28. Concerto #2 for Marimba and Orchestra, Movement II, mm. 22-25 …………..89

6.29. Concerto #2 for Marimba and Orchestra, Movement II, mm. 231-235 ………. 90

6.30. Concerto #2 for Marimba and Orchestra, Movement III, mm. 17-22 ………… 91

ix
6.31. Concerto #2 for Marimba and Orchestra, Movement III, Cadenza (I) ……….. 92

6.32. Concerto #2 for Marimba and Orchestra, Movement III, Cadenza (II) ………. 94

x
 LIST OF FIGURES

Figure Page

3.1. Formal Structure of Movement I (First Concerto)……………………….. 19

3.2. Formal Structure of Movement II (First Concerto)……………………… 21

3.3. Formal Structure of Movement III (First Concerto)……………………… 22

3.4. Formal Structure of Movement IV (First Concerto)……………………… 25

4.1. Formal Structure of Movement I (Second Concerto)…………………… 30

4.2. Formal Structure of Movement II (Second Concerto)……………………. 35

4.3. Formal Structure of Movement III (Second Concerto)…………………... 39

6.1. The Numbering System for the Mallets ………………………………… 61

6.2. The Numbering System for the Fingers ………………………………… 61

6.3. The Natural Hand Position Applied in Rosauro’s Modified Grip ….. 63

6.4. The Ring Finger’s Position for Holding the Outside Mallet ………… 63

6.5. The Space Between the Two Mallets ……………………………… 64

6.6. The Angle Between the Mallets and the Bars for the Dead Stroke ……. 70

6.7. The Hand Position of the One-Handed Roll …………………………… 73

6.8. The Mallet and Hand Positions Suggested in Music Example 6.9 ……. 75

xi
6.9. The Mallet and Hand Positions for Crossing-Over Motion …….…… 75

6.10. The Mallet and Hand Positions Suggested in Music Example 6 .11…… 77

6.11. The Body Position for Playing One-Handed Roll on Single Note …..… 87

6.12. The Hand Position for Playing the Double Outside Lateral Stroke

in Small Intervals …………………………………………………… 91

6.13. The Striking Spot for the Rattan Shaft Playing on the Edge of the Bar….92

6.14. The Tai-Chi Influenced Body Position ……………………………… 93

6.15. The Mallet and Hand Positions for Playing the Roll with Rattan and the

Mallet Heads Together at the End of the Solo Cadenza ………………… 94

xii
 1

CHAPTER 1

INTRODUCTION

The concept of the instrumental concerto entered the musical language of composers in

the late seventeenth century with G. L. Gregorie’s Concerti grossi a piu stromenti (1698) and

Arcangelo Corelli’s Concerti grossi op. 6.1 The solo instruments in these early works were

typically string instruments and harpsichord.2 The percussion concerto is a fairly new

phenomenon in the history of western music. The first significant work, entitled Sinfonia for

Eight Obbligato Timpani with Orchestra (1785), surfaced nearly one hundred years after the

first concertos and was originally attributed to J.W. Hertel. However, in the twenty–first

century Johann Carl Fisher (1752-1807) was given credit as the true composer of this

concerto.3 This pioneering work contains a complete, virtuosic cadenza for a timpanist

demonstrating extraordinary techniques.4

Very few percussion concerti appear in the literature until 1930, when Darius Milhaud

composed his Concerto pour Batterie et Petit Orchestre.5 Milhaud was determined to treat

percussion instruments seriously and experimented with using percussion in methods unique

to the time.6 Like Igor Stravinsky and Béla Bartók, Milhaud drew detailed diagrams of the

1
Arthur Hutchings, “Concerto.” In The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie,
London: Macmillan, 2001, vol. 3, 626-640.
2
Ibid.
3
James Blades, “Timpani.” Grove Dictionary Online, ed. L. Macy (Accessed 3 December 2004),
<http://www.grovemusic.com>.
4
James Blades, Percussion Instruments and their History. Connecticut : The Bold Strummer, 1992, 25.
5
Ibid.
6
James Blades, Percussion Instruments and their History. Connecticut: The Bold Strummer, 1992, 416.
 2

necessary arrangement and configuration of the percussion instruments. He also used an

innovative foot pedal which originated from the early drum set to simultaneously operate the

bass drum and cymbal in his concerto.7 In addition, he suggested using double-headed sticks,

one side wrapped with felt and the other simply wooden to create different colors and

textures.8 As a result of Milhaud’s creative concepts and approach to percussion composition,

this two-movement concerto was well received and regarded as monumental for its time

because of its innovations.9 The techniques present in this work are considered essential to

the contemporary percussionist.10

In 1940, Paul Creston published the first known concerto for marimba and orchestra.11

Creston’s Concertino for Marimba and Orchestra is still popular today and appears frequently

in numerous concert programs as well as ensemble audition repertoire lists.12 His concerto

introduced the idea of a marimba concerto to his contemporaries and many composers to

follow. Soon after its publication, Milhaud wrote his Concerto for Marimba, Vibraphone and

Orchestra (1947), a transcription of his Suite for Piano and Orchestra. This piece is

considered one of his most elaborate percussion works.13 James Basta’s Concerto for

Marimba (1958) and Robert Kurka’s Concerto for Marimba and Orchestra (1959) followed.

These works, in addition to other ensuing compositions, are credited with founding the

7
Ibid.
8
Ibid.
9
Stig Jacobsen. (1983). Program notes for Darius Milhaud’s Concerto for Percussion and Orchestra,
Rainer Kuisma, Percussion; Norkoping Symphony Orchestra; Jorma Panula and Gustaf Sjokvist,conductors, BIS,
CD-149.
10
Ibid.
11
Dometico Equilio Zarro, ”Ney Rosauro: A Comprehensive Instructional Video and Reference Study
Guide on the Composer and His Concerto for Marimba and Orchestra” ( DMA essay, Columbia University
Teachers College, 2000).
12
Mallet Works Music Rental Material Department. ”The Report in Rentals of Scores.” NY: Unpublished
Document, 2004.
13
Ibid.
 3

marimba’s role as a concert instrument and establishing the genre of marimba repertoire.

Works such as these helped bring recognition to the orchestral percussionist.

In 1986, Brazilian percussionist, composer, and educator Ney Rosauro continued this

trend of composing for marimba and orchestra by creating his Concerto for Marimba and

Orchestra. This work was originally written for marimba and string orchestra and was

premiered by Rosauro and the Manitowoc Symphony Orchestra (USA) in November of 1986.

It was later transcribed for marimba with percussion ensemble and piano reduction. While this

work utilizes many techniques evident in solo marimba pieces of the time, Rosauro’s concerto

is the first to place these techniques in an orchestral concerto setting, thus presenting the

marimba’s range of possibilities to a larger audience.

In 1992, Rosauro’s Concerto for Marimba and Orchestra received worldwide

recognition when it was recorded by Evelyn Glennie and the London Symphony Orchestra.14

Since then, it has been performed by more than 800 orchestras all over the world becoming

the most frequently performed marimba concerto.15

Rosauro’s Concerto for Marimba and Orchestra is an important addition to solo

marimba repertoire for several reasons. First, he composed it in response to the lack of true

marimba works requiring the use of extensive four-mallet techniques.16 Most of the early

marimba concerti were written for an “extended xylophone” and focused on two-mallet

technique. In contrast, Rosauro’s concerto not only explores the many possibilities of modern

four-mallet techniques but also represents the most essential aspects of musical expression on

14
Evelyn Glennie in Rio. (1992). Program notes for Ney Rosauro’s Concerto for Marimba and Orchestra,
Evelyn Glennie, percussion; London Symphony Orchestra; Barry Wordworth, conductor, DECCA, CD.
15
Mallet Works Music Rental Material Department. “The Report in Rentals of Scores.” NY: Unpublished
Document, 2004.
16
Ney Rosauro, Personal Interview with Author, April 12, 2004.
 4

the marimba.17 In addition, this is the first marimba concerto written by a performing

percussionist who also composes and educates. He wrote the concerto with the performers

and educators in mind. As the result, this work is very idiomatic and lends itself equally well

as both an educational tool for the teacher and concert/recital piece for the performer; not to

mention, it is quite enjoyable for an audience. This concerto has become the most frequently

performed marimba piece for entrance auditions, concerto competitions, recitals, orchestras,

and courses of study at colleges and universities worldwide.

Though it is occasionally criticized for its simplicity, the music is technically challenging

and weaves its way through beautiful harmonies and melodic themes while conveying

compositional and cultural ideas unique to the composer. This endeavor to create original

concepts and establish a genre brought new creations and styles of marimba writing into the

orchestral and compositional realm.

Sixteen years after the tremendous success of his first marimba concerto, Rosauro wrote

the Concerto #2 for Marimba and Orchestra in 2002, which is dedicated to the famous

Japanese marimbist, composer, and educator Keiko Abe.18 The world premier of the concerto

was held in Japan in 2002 and performed by Rosauro with Abe’s students. In the same year,

the concerto was also performed by Rosauro and the University of Miami Percussion

Ensemble at the Percussive Arts Society International Convention. Transcending the musical

ideas and technical approaches of his first Concerto for Marimba and Orchestra, Rosauro’s

Second Concerto also combines classical, Brazilian, and jazz concepts. The second concerto

displays Rosauro’s growth and maturity as a composer and is written for full orchestra (rather

than simply string orchestra accompaniment). The solo marimba part is more technically

demanding and constantly stretches throughout all five octaves of the instrument. The musical
17
Dometico Equilio Zarro, ”Ney Rosauro: A Comprehensive Instructional Video and Reference Study
Guide on the Composer and His Concerto for Marimba and Orchestra” ( DMA essay, Columbia University
Teachers College, 2000).
18
Ney Rosauro, Personal Interview with Author, April 12, 2004.
 5

ideas are more thoroughly developed and organized, and the structure is more solid even

though he slightly twists with the traditional four-movement idea. As with the first marimba

concerto, this work was later arranged for marimba and percussion ensemble or piano

accompaniment.

Ney Rosauro’s two marimba concerti provide a great opportunity for the marimbist to

explore contemporary marimba repertoire and techniques. Rosauro wrote these two marimba

concerti with extensive appreciation and understanding of the instrument, taking full

advantage of its potential both technically and musically, inspiring and pleasing performers

and listeners alike. It is for these and many other reasons that the concerti have ascended into

the higher realm of legitimate solo marimba repertoire.

Rationale for the Study

Despite the popularity and critical acclaim of Rosauro’s marimba concerti, only one

doctoral dissertation by Domenico Equilio Zarro is currently available for the interested

reader. This dissertation provides a reference study guide and an accompanying instructional

video. However, the performance suggestions are not completely congruent with the

composer’s intentions, and the sound quality of the video is inadequate.19 Given the fact that

this author works closely with Rosauro, it is possible to create a more accurate study guide

and performance analysis. This essay is a complete and comprehensive document detailing

the composer’s intentions and suggestions for the performance and preparation of these works.

The analysis will give a complete overview of the structure, form, style, melodic and rhythmic

motives, harmonies, and influences found in the concerti. A comprehensive study guide can

provide percussion students, teachers, and performers with a lasting reference that details

Rosauro’s compositional and performance intentions. The marimbist will gain a better idea of

19
Ney Rosauro, Personal Interview with Author, April 12, 2004.
 6

the phrasing, interpretation, sticking, techniques, and preparation guidelines that do not appear
in the score.

Data to be Gathered

The data in this study includes source material gathered from Rosauro’s personal

archives, scores and articles from the internet and magazines. Several sections of this

document include personal comments and observations from Rosauro’s students about his

influence upon their lives and careers.

Method of Data Organization and Interpretation

This research covers four major areas of study:

1) Rosauro’s biographical information, musical training, compositions, and

professional publications

2) An extensive performance analysis of each movement that includes overall

form, harmonic progression, tonality, motives, and compositional processes

3) A comparison of artistic approaches to Rosauro’s two marimba concerti

4) A study guide that includes musical excerpts, instructional diagrams, and practice

advice

These two concerti share many similar musical ideas, structures, and concepts, but a

closer inspection reveals several differences. Comparing the similarities and differences of the

concerti will provide insight into Rosauro’s artistic approach and evolution as a composer.

The performer’s study guide provides an in-depth analysis of the varying techniques

required throughout Rosauro’s two marimba concerti by showing musical excerpts followed

by practice advice and instructional diagrams. The author has organized the study guide with

the musical excerpts first in order to provide the reader with an overall view of the section’s

subject. These excerpts are classified and arranged by movement and measure numbers. They

were chosen for their technical difficulty, potential sticking problems, presentation of
 7

important primary themes, and/or use of difficult or unusual techniques. The study guide

presents thirty-two such excerpts, followed by analysis of the problems and practice advice to

overcome them. These suggestions are fundamentally based on this author’s opinions which

were partially influenced by the composer. Thus, the study begins with the performer’s

perspective and later merges with the composer’s intention. The suggested practice routine

and advice are clearly explained in the sections to provide a guideline for the reader/performer

who is interested in preparing both concerti for performance. The instructional diagrams

demonstrate the correct approach for hand positions and sticking patterns. In addition, musical

approach and tone-quality considerations are addressed to keep the interpretation and

articulation of the marimba consistent with the composer’s intentions.

Ney Rosauro created one of the most widely performed marimba concerti. His second

marimba concerto was written sixteen years after the wonderful reception of his first concerto

and received similar appreciation. Through interviews, formal analysis, and the opinions of

both the author and composer, this essay aims to analyze the music and compositional

processes of a contemporary composer, performer, and pedagogue, while also providing a

valuable resource for any percussionist preparing the concerti.

 8

CHAPTER 2

REVIEW OF THE LITERATURE

Introduction

This chapter provides background information on the composer including a brief

biography. It then continues with a discussion of his educational method books, compositions,

publications regarding these pieces, recordings of the works, and Rosauro’s personal website.

Brief Biography of Ney Rosauro

Ney Rosauro is regarded as one of the most original and dynamic classical percussionists

and composers active today.1 He continues to make a positive impact and influence on the

world of percussion through wonderful compositions, solo recitals, orchestral performances,

master classes, and worldwide concert tours.

Rosauro was born in Rio de Janeiro, Brazil, in 1952.2 The guitar served as his gateway

into music because it was the first musical instrument for which he received instruction.3 As

a result, the guitar and its musical techniques and possibilities greatly influenced his

compositional style. For example, Rosauro wrote three preludes for marimba that are strongly

influenced by Villa Lobos’s (Rosauro’s favorite Brazilian composer) guitar music. The first

prelude was originally composed for the guitar. In the second prelude, the ascending and

descending arpeggiated diminished chords comes from Villa Lobos’s first etude for the guitar.

Rosauro entered the Universidade de Brasilia in 1972, where he majored in composition

1
Ney Rosauro, Ney Rosauro-Percussionist, Composer and Educator, 2000 [on-line] available from
http://www.neyrosauro.com; Internet, accessed 22 April 2004.
2
Ibid.
3
Ney Rosauro, Personal Interview with Author, April 12, 2004.
 9

and conducting. At the university, he studied the guitar, violin, oboe, and double bass. This

institution furthered Rosauro’s musical knowledge and allowed him to gain a fundamental

understanding of the artistic aspects of music.

In 1977, Rosauro attended a life-changing concert. He watched Luiz D’Anunciação’s

percussion recital which excited and exposed him to new possibilities in creating innovative

music for percussion, especially keyboard percussion instruments.4 Luiz D’Anunciação is a

renowned solo performer who also became the principal percussionist of the Orquestra

Sinfonica Brasileira in Rio de Janeiro. After being moved by the recital, Rosauro decided to

dedicate his studies from that point on to studying solely percussion.5 At age twenty-four,

Rosauro began studying percussion with Anunciação. His passion and commitment to learn

percussion from such a highly-regarded teacher is evident in the twenty-two hour bus journey

from Brasilia to Rio de Janeiro which he made monthly to receive lessons.6 Professor

Anunciação provided Rosauro with a solid technical foundation in percussion and an

understanding of musical sensitivity.7

In 1980, he received a scholarship from the German government to study at the

Hochschule fur Musik Wurzburg with professor Siegfried Fink.8 Moving to another country

allowed Rosauro to gain independence and explore a new culture. He considers this period in

his life one of his favorites, as his education in Germany unveiled an entirely new percussion

4
Ney Rosauro, Ney Rosauro-Percussionist, Composer and Educator, 2000 [on-line] available from
http://www.neyrosauro.com; Internet, accessed 22 April 2004.
5
Ney Rosauro, Personal Interview with Author, April 12, 2004.
6
Ney Rosauro, Ney Rosauro-Percussionist, Composer and Educator, 2000 [on-line] available from
http://www.neyrosauro.com; Internet, accessed 22 April 2004.
7
Ney Rosauro, Ney Rosauro-Percussionist, Composer and Educator, 2000 [on-line] available from
http://www.neyrosauro.com; Internet, accessed 22 April 2004.
8
Ibid.
 10

world.9 After earning his undergraduate degree in percussion and pedagogy in Germany,

Rosauro returned to Brasilia to play timpani in the Orquestra Sinfonica do Teatro Nacional.

Rosauro returned to Wurzburg again in 1985, and later he wrote the Concerto for Marimba

and Orchestra as the final project for his master’s degree. It was premiered with piano

accompaniment on his Master’s recital in 1986.10

After receiving his master’s degree in 1987, Rosauro entered the worlds of professional

performance and education. Rosauro returned to Brazil to teach at the Escola de Musica de

Brasilia, and once again played timpani in the Teatro Nacional. After being exposed to the

hight-quality musicianship of other places, Rosauro was eager to improve the musical

performance level in Brazil and wrote much-needed method books for the snare drum,

marimba, and multiple percussion instruments.11

In 1987, Rosauro continued to develop his pedagogical craft as a teacher at the

Universidade Federal de Santa Maria (UFSM) in Santa Maria, Brazil. At that time, UFSM

was one of the few universities in Brazil that had percussion instruments available for its

students. Soon after his arrival, Santa Maria quickly transformed into one of the most

important centers in Brazil for classical percussion studies.12

After living in Germany and South America, Rosauro moved to the United States to

pursue his doctoral degree. In 1992, Rosauro enrolled at the University of Miami in Coral

Gables, Florida under the direction of percussion professor Fred Wickstrom. During this

period, he learned a lot about jazz improvisation, music business, and computer techniques,

all of which later affected his compositional style and career development. After earning his

9
Ney Rosauro, Ney Rosauro-Percussionist, Composer and Educator, 2000 [on-line] available from
http://www.neyrosauro.com; Internet, accessed 22 April 2004.
10
Ibid.
11
James Lambert, “An Interview with Brazilian Percussionist and Composer Ney Rosauro,” Percussive
Notes 41 (February 1997):72-74.
12
Ibid.
 11

Doctorate of Musical Arts degree, Rosauro returned to his teaching position at UFSM where

he continued to teach until 2000. At that time he was

invited to return to the University of Miami and replace Wickstrom as director of percussion

studies, a position he currently holds.13

Method Books Written by Rosauro

Rosauro wrote his first method book from 1982-1986, entitled Complete Method for the

Snare Drum. He included 250 exercises ranging from simple technical exercises to

progressively more challenging etudes and duets.14 Few symphonic percussion methods were

available in Brazil when this book was published, thus making it a wonderful addition to

educational programs.15 This was primarily because the music publishing market in Brazil

was based mostly on photocopied material and the country lacked a central distribution point

for such books.16 Rosauro decided to write method books to teach his Brazilian students

technique and musicality in a correct and efficient way. 17 To date, Rosauro has written a total

of five method books covering most of the major percussion areas: Complete Method for the

Snare Drum, Beginning Exercises and Studies for 2 Mallets, 10 Beginning Studies for Multiple

Percussion, Vibes Etudes and Songs, and Studies for Timpani.18

Most of Rosauro’s method books serve a pedagogical purpose, as they are designed to

13
Ney Rosauro, Ney Rosauro-Percussionist, Composer and Educator, 2000 [on-line] available from
http://www.neyrosauro.com; Internet, accessed 22 April 2004.
14
James Lambert, ”An Interview with Brazilian Percussionist and Composer Ney Rosauro,” Percussive
Notes 41, (February 1997):72-74.
15
Ibid.
16
Ibid.
17
Ney Rosauro, Complete Method for Snare Drum. (Brazil: Propercussa, 1989), 4-8.
18
Ney Rosauro, Ney Rosauro-Percussionist, Composer and Educator, 2000 [on-line] available from
http://www.neyrosauro.com; Internet, accessed 22 April 2004.
 12

correspond with each other.19 For instance, he intended his Beginning Exercises and Studies

for 2 Mallets to be used in conjunction with the Complete Method for the Snare Drum,

because the main goal of both methods is to work with equal emphasis on both hands towards

controlling the matched grip.20 The two books are similar in basic technical exercises, such as

beginning ones that focus on the development of the “simultaneous stroke.”21 The

“simultaneous stroke” occurs when both sticks strike the surface, but the result should only be

in a single sound rather than a flam or extra note. This elementary exercise, which proves to

be much harder than it seems, is a way for beginners to work on equal motion in both hands, a

crucial technique in playing percussion.22

Rosauro designed Beginning Exercises and Studies for 2 Mallets for inclusion in daily

practice routines. The book is comprised of two sections. In the first section, Rosauro wrote

twelve short exercises to work on Ideo-Kinetics techniques. The second section contains

twelve etudes composed in twelve different keys.23 Each of these etudes focuses on different

technical issues and the etudes progress in difficulty. The pedagogical purpose is to assist the

student in learning technique and becoming more familiar with the keyboard, as well as

strengthening the percussionist’s ability to sight-read.24 In addition, he wrote seven Brazilian

children’s songs for the beginning level of four-mallet techniques.

Another method book for keyboard, Vibes Etudes and Songs, is divided into three

sections of vibraphone technique and study: the basic concepts of dampening and pedaling,

19
Ney Rosauro, Personal Interview with Author, April 12, 2004.
20
Ney Rosauro, Complete Method for Snare Drum. Brazil: Propercussa, 1989, 4-8.
21
Ney Rosauro, Personal Interview with Author, April 12, 2004.
22
Ney Rosauro, Complete Method for Snare Drum. Brazil: Propercussa, 1989, 4-8.
23
Ney Rosauro, Personal Interview with Author, April 12, 2004.
24
Ibid.
 13

the phrasing of melodies, and the addition of accompaniment to a melodic line.25 While

Rosauro wrote these exercises for his students to build techniques, they also aim to increase

musical vocabulary, ultimately helping the performer to improvise on the vibraphone.26

A successful teacher for more than twenty-five years, Rosauro believes that a teacher’s

mission is to facilitate musical expression and to help each student develop his/her unique

performance style.27

Rosauro’s Compositions

As a composer, Rosauro has published over thirty pieces for percussion solo, duet,

ensemble, and concerto with orchestra. These works have gained worldwide popularity and

have been recorded by internationally acclaimed artists including Evelyn Glennie and

Katarzyna Mycka.28 His most famous work is the Concerto for Marimba and Orchestra

written in 1986. Six years after its worldwide success, Rosauro wrote the Rhapsody for Solo

Percussion and Orchestra which was dedicated to his father, Alcides Coelho Rosauro, who

composed the main melody of the primary theme. This concerto is a thirty-minute,

single-movement symphonic work consisting of three distinct sections played continuously.

In an optional section, Rosauro uses a traditional Brazilian string instrument, the berimbau,

combined with other interesting instruments such as the repinique (Brazilian high-pitched

drum without snare), pitched water glasses, and bird whistles. The musical language used in

the composition is mainly based on modal harmony with some special effects in the opening

and the closing section. In addition, the primary theme appears cyclically throughout the

entire piece. This concerto was also presented as partial fulfillment of the requirements for
25
Ney Rosauro, Vibes Etudes and Songs. (Brazil: Propercussa, 1995), 2-3.
26
Ibid.
27
Ney Rosauro, Personal Interview with Author, April 12, 2004.
28
Ney Rosauro, Ney Rosauro-Percussionist, Composer and Educator, 2000 [on-line] available from
http://www.neyrosauro.com; Internet, accessed 22 April 2004.
 14

Rosauro’s DMA degree from the University of Miami.

Rosauro’s next concerto, Concerto for Vibraphone and Orchestra, was written in 1996

with a dedication to the famous solo percussionist Evelyn Glennie.

Ney Rosauro’s compositional skills simply charm and seduce us. He did it in his
immensely popular Marimba Concerto and now again in his new Vibraphone Concerto.
This piece is sure to be a winner with performers and audiences’ alike world-wide.
(Evelyn Glennie)
This work was premiered by Rosauro at the “Japan Percussion Festival” in 1996, and the

orchestra version was premiered by Rosauro accompanied by the Orquestra Unisinos under

the direction of Maestro Jose Pedro Boessio in 1996. This concerto is conceived in three

movements entitled Recitativo/Allegro, Acalanto, and Vivo/Presto. In addition to the

influence of classical and jazz music, Rosauro applies harmonic languages and rhythmic

elements from northeastern Brazil. Accordingly, the piece uses a Brazilian lullaby as the

primary theme in the second movement.

Rosauro’s most recently completed concerto is the Concerto for Timpani and String

Orchestra, which was premiered by timpanist Shannon Wood accompanied by the UM

percussion ensemble in November 2003. This concerto consists of three movements:

Bachroque, Aria, and Horse Ride. This timpani concerto shows continued evolution utilizing

classical, jazz and Brazilian influences.

Publications Discussing Rosauro’s Concerto for Marimba and Orchestra

Only one doctoral dissertation, entitled “Ney Rosauro: A Comprehensive Instructional

Video and Reference Study Guide on the Composer and His Marimba Concerto” written by

Domenico Equilio Zarro in 2000, and two articles about Ney Rosauro and his Concerto for

Marimba and Orchestra are in existence. In his dissertation, Zarro presented an “instructional

video” and a corresponding “reference study guide.”29 The materials provided by Zarro

29
Dometico Equilio Zarro, ”Ney Rosauro: A Comprehensive Instructional Video and Reference Study
 15

document information about Rosauro and his musical contributions, as well as supplying an

analysis of his Concerto for Marimba and Orchestra.30

The two articles about Rosauro appeared in the journal Percussive Notes. James Lambert

held an interview with Rosauro, which allowed him to produce “An Interview with Brazilian

Percussionist and Composer Ney Rosauro.” Lambert discovered that Rosauro pursued an

interest in percussion in his twenties, began private percussion classes in Brazil, and received

his training in Germany and at the University of Miami. Lambert additionally details how the

aforementioned experiences influenced Rosauro’s teaching and performances in Brazil. He

also describes the state of his composition for percussion and why Evelyn Glennie was

attracted to play and record his Concerto for Marimba and Orchestra with the London

Symphony Orchestra. Another article, Ney Rosauro’s “Concerto for Marimba and Orchestra,”

was written by Domenic Zarro in 1999. This article provided a performance analysis of the

solo marimba part of Rosauro’s Concerto for Marimba and Orchestra and divided each

movement into four sections indicated by movement and measure numbers.31 Zarro made

these divisions by discussing sticking difficulty, phrasing, and the sections’ overall

importance to the movement.32

Recordings of Rosauro’s Concerti

Severin Balzer, a marimbist, made the first recording of Rosauro’s Concerto for

Marimba and Orchestra in 1990. He performed with Kammersolisten Zurich of

Guide on the Composer and His Concerto for Marimba and Orchestra”( DMA essay, Columbia University
Teachers College, 2000).
30
Ibid.
31
Dometico Equilio Zarro, “Ney Rosauro’s Concerto for Marimba and Orchestra,” Percussive Notes 56
(October 1997): 79-82.
32
Ibid.
.
 16

Switzerland.33 Evelyn Glennie recorded a CD and a video with the London Symphony

Orchestra in 1992. This recording greatly added to the popularity of Rosauro’s first concerto.

Since then, it has been recorded by numerous excellent marimbists all over the world.34

In addition to composing, Rosauro performs and records his own works. As a soloist,

Rosauro’s performances include hundreds of concerts performed throughout the world with a

variety of professional symphony orchestras. Rosauro’s CD, Ney Rosauro in Concert,

released in 1998, won him high acclaim from many critics.35

Rosauro’s Personal Web Site

The most thorough discussion of Rosauro’s musical career and compositional output can

be found on his personal web site at www.neyrosauro.com. This site includes biographical

information, a list of works, discography, a photo gallery, and performance reviews.

33
Ney Rosauro, Ney Rosauro-Percussionist, Composer and Educator, 2000 [on-line] available from
http://www.neyrosauro.com; Internet, accessed 22 April 2004.
34
Ibid.
35
Ibid.
 17

CHAPTER 3

PERFORMANCE ANALYSIS OF CONCERTO FOR MARIMBA AND ORCHESTRA

Introduction

This chapter focuses on the performance analysis of Rosauro’s Concerto for Marimba

and Orchestra, touching upon elements such as overall forms, tonality, and harmonic and

rhythmic treatments. An examination of these elements in this marimba concerto reveals how

they combine to produce Rosauro’s identifiable and unique compositional style. A discussion

regarding the performance considerations is found in chapter 6 in the format of a performer’s

study guide. In the study guide, readers can find a more comprehensive description of

performance issues and a step-by-step technical approach to the marimba concerto.

An Overview of Concerto for Marimba and Orchestra

The Concerto for Marimba and Orchestra was composed in 1986 and dedicated to

Rosauro’s son Marcelo, who was born around that time. The concerto was written with the

intention of being performed in the final recital for Rosauro’s master’s degree in music at the

Hochschule für Musik Würzburg in Germany under the direction of Professor Siegfried Fink.

The concerto was originally scored for marimba and string orchestra with the initial title

being conceived as “Serenata.” The eighteen-minute lyrical work utilizes classical, jazz, and

Brazilian motifs and consists of four movements instead of the traditional three-movement

concerto form. The movement titles are as follows: Saudação (Greetings), Lamento (Lament),

Dança (Dance) and Despedida (Farewell). Although no folkloric or popular Brazilian theme is

directly applied in the work, a Brazilian musical atmosphere still permeates the entire piece as

evidenced by the use of syncopated rhythms and charming melodies in its texture. Rosauro’s
 18

intention is to create a concerto in which the marimba is the primary focus and presents most

of the thematic material. Much of the marimba part can also be performed as a solo work

without the orchestral accompaniment. Later, Rosauro wrote the Marimba Concerto Suite for

solo marimba using most of the important themes in the first concerto.

Reviews from Percussive Notes, a periodical of the Percussive Arts Society, state that

“the concerto is superbly written for the unique timbre, virtuosity, and technical qualities of

the marimba.”1 Unlike many of the early marimba concerti that were written for an “extended

xylophone,” Rosauro’s concerto “explores the many possibilities of modern four-mallet

techniques and represents the most essential aspects of musical expression on marimba.”2 He

initially wrote the concerto with the idea of improving his own technique, resulting in one of

the first idiomatically composed concerti for marimba. But while the work showcases the

marimba’s unique qualities and potentials, it is also recognized for its artistic compositional

approach.

Movement I - Saudação (Greeting)

“Saudacao” is a lively movement with highly contrasting characteristics, dynamics, and

rhythms. It has a ternary form with large A, B, and A’ sections. Traditional concertos begin

with a sonata form as first movement. One can see traces for that plan here, since sonata

forms are complex ternary forms anyway. But Rosauro’s movement has all new material in its

B section, place of a standard development section. The movement also has an introduction

and coda. Figure 3.1 is a map of the movement’s form.

1
Ney Rosauro, Ney Rosauro-Percussionist, Composer and Educator, 2000 [on-line] available from
http://www.neyrosauro.com; Internet, accessed 22 April 2004.
2
Dometico Equilio Zarro, ”Ney Rosauro: A Comprehensive Instructional Video and Reference Study
Guide on the Composer and His Concerto for Marimba and Orchestra” ( DMA essay, Columbia University
Teachers College, 2000).
 19

Figure 3.1. Formal Structure of Movement I: Ternary Form ( ABA Form)

Introduction (mm. 1--8)

Theme: Rhythmic Motive
Key: A minor
Measure: 1-8

Section A (mm. 9--54)

Theme: A B A C
Key: A minor Whole-Tone Scale A minor Whole-Tone Scale
Measures: 9-24 25-28 29-44 45–54

Section B (mm. 55--113)

Theme: D E D’
Key: Arpeggios Pentatonic Scale Arpeggios
Measures: 55-82 83-98 99-113

Section A’ (mm. 114--146)

Theme: A C B A
|Key: A minor Whole-Tone Scale Whole-Tone Scale A minor
Measures: 114-121 122-126 127-130 131-146

Coda (mm. 147--153)

Theme: A
Key: Whole-Tone scale/A minor
Measures: 147-153

The opening theme establishes a strong rhythmic ostinato played by the solo marimba

and lower strings. The repetition of the ostinato allows listeners to comprehend the complex

meter changes before the melody is introduced. By alternating the time signatures of 6/8, 5/8,

6/8 and 7/8, Rosauro creates a restless character in the movement. This continuous change of

meter is reinforced by the violins in fourths and fifths. Theme B, mm. 25-28 with ritornello,

based on the whole-tone scale, is introduced by the orchestra in alternating meters of 3/4 and

4/4. The transitional materials feature a dialogue of rhythmic fragments between the soloist

and the orchestra.

 20

Section B (mm. 55-113) is written in a linear style that contrasts with the polyphonic

style presented in the A section. In this section, the marimba imitates an improvisation similar

to a jazz solo as the double bass plays a walking pizzicato line to reinforce the jazz

atmosphere. The part from measure 59 to 62 is an arpeggiated section. The two most

important notes in the ascending arpeggios are the root (A) and fifth (E). The notes in the A

minor arpeggio are root (A), minor third (C), augmented fourth (D#) resolving to the fifth (E),

minor seventh (G), and major seventh (G#) resolving to the tonic (A). The use of this

sequence of notes indicates the presence of the blues scale which gives the jazz flavor to the

passage. Rosauro’s use of jazz concepts in the section is very clear. This is technically the

most difficult section in the movement for the marimbist, because he/she not only needs to

keep the accuracy and musical contour of the phrase, but also needs to keep the tempo in line

with the basic rhythm presented by the orchestra.

At theme E (mm. 83-98), Rosauro creates dialogues between string instruments based on

the pentatonic scale, while the marimba plays an ostinato utilizing the “dead stroke” technique.

This is a stroke where the performer presses the mallets into the bars producing a very dry

staccato sound. There is an optional section (mm. 91-98) written between the “VI-DE”. This

section is difficult for the orchestra, and some orchestras may not be able to perform it at an

acceptable level. To maintain the quality of the performance, this section can be omitted.

At theme A’ (mm. 131-146), the orchestra restates the primary theme with marimba. The

climax of this movement is followed by a small coda containing elements of the transitional

theme, finishing with a unison statement.

Movement II---Lamento (Lament)

The second movement depicts a romantic atmosphere in a typical “lament mood” as the

title suggests. The movement is in ternary form with an expressive and romantic character. It

is mostly in A minor and 6/4 meter. Figure 3.2 presents a diagram of the movement.
 21

Figure 3.2. Formal Structure of Movement II: ABCAB Form

Section A (mm. 1--11) and Section B (mm. 12--21)

Theme: A B
Key: A minor A minor
Measures: 1-11 12-21

Section C (mm. 22--69)

Theme: C C1( Variation of C) Transition
Key: A minor A minor A minor
Measures: 22-45 46-67 68-69

Section A (mm. 70--79) and Section B (mm. 80--90)

Theme: A B
Key: A minor A minor
Measures: 70-79 80-90

The orchestra starts the movement with a sustained pianissimo tremolo to create a pedal

tone throughout the first section (theme A / mm. 1-11). With the orchestra, the marimbist is

required to play a one-handed roll in the left hand while the right hand plays the melodic

theme.

At theme B (mm. 12-21), the soloist’s part consists of constant sextuplets. The lyrical

sixteenth-note melodic line contains frequent altered notes, demanding the utmost accuracy.

The main melodic line is introduced by the soloist’s left hand in the lower register, requiring

some challenging hand-crossing motions while the right hand plays a sextuplet

accompaniment.

Theme C (mm. 22-45) is an Andante Molto Expressivo section. The theme is based on

the symmetrical shape of the diatonic scale on the keyboard. The melody is presented on the

solo marimba by rolling all the notes. The upper and lower voices move in contrary motion

while the inner voices remain on the notes G and A throughout the section.

At theme C1 (mm. 46-67), the orchestra plays the theme from letter C while the marimba
 22

plays a counter-melody in octaves. The accuracy of the octaves is crucial for the marimbist in

this section. In mm. 68-70, the marimba plays a solo descending diatonic scale to serve as a

transition to the return of the first and second themes.

The last three bars of this movement form a coda. The marimba and the orchestra fade

out with the same ostinato pattern and effects used in the first section of the movement. After

the sentimental and relaxed atmosphere created by this movement, the tension rises during the

next two movements, leading the concerto to a powerful finale.

Movement III--- Dança (Dance)

The characteristic of this movement is as the title suggests: Dance is not only an

invitation to dance, but a testament to the beauty of life as well. The melody is lyrical and

beautiful, and an inspiration to the imagination of listeners. Figure 3.3 shows the movement’s

form.

Figure 3.3. Formal Structure of Movement III: Ternary Form (ABA’ Form)

Introduction (mm. 1--12)

Theme: Intro. Material
Key: C Suspended
Measures: 1-12

Section A (mm. 13--41)

Theme: A A1
Key: C Major A minor
Measures: 13-25 26-41

Section B (mm. 42--110)

Theme: B (Canon) Trans. C Trans.
Key: C minor C minor C Dorian Chromatic Scale/ Diminished Chord
Measures: 42-60 57-60 61-72 73-80
 23

Theme: C Trans. B (Canon)

Key: C Dorian Chromatic Scale/ Diminished Chord C minor
Measures: 81-88 89-104 105-110

Section A (mm. 111---141)

Theme: A A1
Key: C Major A minor
Measures: 111-125 126-141

Coda (mm. 142---153)

Theme: Intro. Material
Key: C Suspended
Measures: 142-153

This movement is in ternary form, beginning with an introduction (mm. 1-12) using the

C suspended chord. While the orchestra introduces the opening motive, the solo marimba

plays the outside lateral stroke, one of the stylistic features of Rosauro’s technique. Section A

begins at bar 13 and the marimba continues the use of the outside lateral stroke in playing the

melody. The melodic material of this section is developed starting in bar 18, and the

ascending chord progression serves as a transition to A1 with a deceptive cadence. A1 begins

quietly at bar 26 in A minor, and the right hand changes to double strokes while the left hand

maintains outside lateral strokes. During the next twelve bars, the musical tension keeps

building up and finally resolving back to C major in bar 34. This entire section has technical

issues that need to be addressed such as hand position and mallet placement. This is discussed

later in Chapter 6.

Section B begins at bar 42 immediately after section A and with no transition. In contrast

to section A, the tempo is slightly slower and has a more grounded feel unlike section A’s

light and flowing character. The key is C minor. The orchestra and soloist play the canon

material in a tutti, four-bar statement. The material is passed around the orchestra in canon

while the soloist finally plays the melody in octaves, leading into an ascending sixteenth-note
 24

transition at bar 57 into theme C. Theme C starts at bar 61 in C Dorian and 3/4 time. The

marimba establishes the main melody by playing energetic sixteenth-note passages in octaves

while the strings support with eighth-note and quarter-note patterns over a C Dorian chord.

Following Theme C is a transition section (mm. 73-80), which consists of the marimbist

playing a descending chromatic scale in double strokes while the strings accompany on a

diminished seventh chord. Theme C and its subsequent transition section are repeated again

from mm. 81-104. However, this time theme C’s main melody is presented an octave higher

and the transition section is expanded to include a chromatic scale and a diminished chord. At

bar 93 the marimba plays rising thirds outlining a diminished chord, followed by a descending

sixteenth-note passage very similar to the transition material found at bar 57. This leads to a

brief return of the canon material at bar 105 to function as a transition to the recapitulation of

section A at bar 111. This is followed by a reprise of the introduction material at 142 as a

coda. The movement as a whole with its placement of themes and sections is almost

symmetrical.

Movement IV ---Despedida (Farewell)

The driving fourth movement is in variation form. It features a prestissimo ostinato

pattern which is metrically punctuated by the marimbist’s left hand throughout the whole

movement. The constructive element of this movement is similar to the basso ostinato

variation because the short bass line repeats essentially unchanged in each variation, resulting

in a continuous variation form.3 Figure 3.4 is a map of the movement’s form.

3
Herbert Viecenz, “Concerto.” In The New Harvard Dictionary of Music, ed. Don Michael Randel
(Massachusetts: The Belknap Press of Harvard University Press, 1996), 902-906.
 25

Figure 3.4. Formal Structure of Movement IV: Variation Form

Introduction and Cadenza (mm. 1--15)

Theme: Intro. Cadenza
Key: C minor (Circle of 4th ) Diminished Seventh Chord
Measures: 1-12 13-15

Primary Theme (mm. 16--51)

Theme: A A’ Trans.
Key : C minor C minor
Measures: 16-31 32-47 48-51

Variation 1 (mm. 52--87)

Theme: B Trans.
Key: C minor C minor
Measures: 52- 84 84-87

Variation 2(mm. 88--115)

Theme: C (Ensemble Solo)
Key: C Pedal
Measures: 88-115

Variation 3 (mm. 116--155)

Theme: A (Ensemble Solo) A’ (Closing Material)
Key: C minor C minor
Measures: 116-131 132-155

Cadenza ----------------------------------------------------------------------------------------

Introduction and Primary Theme (mm. 157--200)

Theme: Intro. A A’ (Closing material) G. P.
Key : C minor C minor C minor
Measures: 157-168 169-184 185-199 200

Coda (mm. 201--209)

Theme: Descending C minor scale
Key: C minor
 26

Measures: 201-209
This relentless variation movement is the most rhythmic movement of the concerto, as

well as the most challenging for most marimba players because of the left hand’s fast and

ceaseless ostinato pattern.

The introduction sets up the meter change pattern of 6/8, 2/4, 6/8, 3/4 with the marimba’s

ascending line of quarter notes and dotted quarter notes in rising fourths (the circle of fourths).

A short marimba cadenza follows, based on the diminished scale. The primary theme begins

at bar 16 in C minor. The marimba plays the ostinato and melodic material while the strings

accompany with quarter-note figures to keep time. The marimbist’s left hand plays the

eighth-note pattern, and the right hand plays the melody first in octaves then in fourths at bar

32. Variation 1 begins at bar 52 wherein the left hand continues its pattern while the right

hand plays a syncopated variation of the melody. At bar 84, the marimba melody ends and the

left hand’s pattern continues, transitioning to variation 2. Variation 2 begins at bar 88, and is

an ensemble solo with the marimba keeping the ostinato pattern to accompany. The ensemble

plays the melodic material in the format of a dialogue between the upper and lower strings.

Variation 3 follows at bar 116 and the marimba rests while the ensemble plays the melody in

its original format. The marimba reenters at bar 132 to begin variation 3’s closing material,

playing very fast sixteenth notes that outline a melody similar to the original. The marimba

line descends to a low C, where the sixteenths transform to a roll that fades into the cadenza.

The cadenza is a reprise of the important themes from all the movements of the concerto. It

transitions to the recapitulation with the canon theme from Movement III.

At bar 157, the introduction and primary theme are repeated. The closing material begins

at 185 with the marimba playing another fast, sixteenth-note based, descending melody. A

grand pause precedes the final statement starting at bar 201, which is a sixteenth-note based

descent along the C minor scale. The intensity continues to rise until the marimba plays a

descending chromatic scale ending strongly on the low C to finish the concerto.
27
 27

CHAPTER 4

PERFORMANCE ANALYSIS OF CONCERTO #2 FOR MARIMBA AND ORCHESTRA

Introduction

This chapter focuses on the performance analysis of Rosauro’s Concerto #2 for Marimba

and Orchestra by touching upon elements such as overall forms, tonality, and harmonic and

rhythmic treatments. The examination of these characteristics reveals how they combine to

produce Rosauro’s unique and identifiable compositional style. As mentioned in chapter 3, a

discussion regarding the performance considerations is found in Chapter 6.

An Overview of Concerto # 2 for Marimba and Orchestra

Concerto #2 for Marimba and Orchestra is a composition approximately twenty-five

minute long with three movements. Dedicated to marimba virtuoso Keiko Abe, it was

completed in 2002 and premiered that same year in an arrangement for marimba with

percussion ensemble by Rosauro and Abe’s students in Tokyo, Japan.

Rosauro composed this work in the traditional three-movement concerto form but in a

non-traditional fashion. In his original design, he inserts an additional “movement,” a

completely new and self-contained section with its own internal plan, into movement II and

III. The inserted movement is Rosauro’s plan for changing the movement pattern of the

traditional concerto without significantly undermining that structure. Béla Bartók’s Piano

Concerto No. 2 handles its second movement in a very similar way, and one can find the same

kind of interruption, with reversed tempos (fast-slow-fast) in the finale of Mozart’s Piano

Concerto no.22. In the present essay the inserted “movement” is indicated as a separate

section within the form of Movement II and III. For example, Movement II is in ternary from
 28

(ABA form), and Rosauro inserts the new material as the middle section (Section B). Instead

of calling “Movement IV,” the author indicates it as Section B of the ternary form in Figure

4.2 and the discussion.

The work utilizes classical, jazz, and Brazilian motifs and incorporates jazz elements.

The style of writing shows a resemblance to the first concerto, but the second concerto is

somewhat more solid architecturally in that musical ideas receive more thorough development

than those in the first concerto. In addition, each movement possesses a distinct character

reflected by their unique titles: Water Running in High Mountain (I), Reflections and Dreams

(II), and Walking on Clouds (III).

Rosauro’s second marimba concerto is his first major piece written for five-octave

marimba and full orchestra. The solo marimba part of Concerto # 2 is more technically

demanding than that of the First Concerto because it not only requires more advanced

techniques (such as one-handed rolls on one note and double lateral strokes in octaves), but it

also requires full use of the newly developed five-octave marimba. It also contains more

dialogues between the ensemble and the solo marimba. As with the first marimba concerto,

the work was later arranged for marimba with percussion ensemble and marimba with piano

accompaniment.

The marimba concerto requires the following instruments in the orchestra:

(Numbers of players for each instrument are indicated in parentheses)

Strings Woodwinds Brass Percussion

Violin I Piccolo/ Flute (2) Trumpets (2) Percussion (1)

Violin II Oboes (2) Trombones (2) Timpani (1)

Viola Clarinets (2) French Horns (4)

Cello Bassoons (2) Tuba (1)

Double Bass
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Percussion instruments used include the caxixis (Brazilian shaker instruments), triangle,

tam-tam, suspend cymbal, cowbell, and snare drum played with metal brushes. The wide

array of percussion instruments throughout this concerto not only provides rhythmic pulse and

unique effects, it also enhances the Brazilian sentiment. In addition, the timpani reinforces the

bass line, thus contributing significantly to the harmonic structure and rhythmic elements.

The second marimba concerto brings together many of Rosauro’s compositional features

such as the traditional forms, programmatic titles, syncopated rhythms, ostinato patterns, tonal

and modal melodies, contrapuntal textures, and jazz idioms. The themes used in the

composition tend to be lyrical and tonal. Often these themes are well developed and presented

in various settings. Rosauro frequently uses pentatonic scales, diminished seventh chords,

whole-tone scales, major and minor triads, chords with sharp elevenths and altered dominant

chords. Also, he provides a clear approach to tempo, meter, and syncopated rhythmic

components in the concerto. Throughout the work he uses exact metronomic indications along

with the traditional music terms (i.e. Piu Mosso, Vivo) to describe the pacing of passages. In

addition, Rosauro uses many “cadenza-like” sections to function as bridges between sections,

imparting a spacious and open freedom to the marimba soloist. The next section will take a

more in-depth look at each movement’s structure, rhythmic elements, harmonic treatments,

and the overall compositional approach to this concerto.

Movement I ---Water Running in High Mountain

The first movement is full of energy and vitality, a showcase for both orchestra and

soloist. It is a sonata form consisting of an introduction (mm. 1-11), exposition (mm. 12-141),

development (mm. 142-215), recapitulation (mm. 216-270), and coda (mm. 271-286). Figure

4.1 presents these structural elements.

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Figure 4.1. Formal Structure of Movement I: Sonata Allegro Form

Introduction (mm. 1--11)

Theme: Intro. Trans.
Key: A Altered Dominant Chord Whole Tone Scale
Measure: 1-9 10-11

Exposition (mm. 12--141)

Theme: A Trans. A Trans.
Key: D minor Whole-Tone Scale D minor Whole-Tone Scale
Measures: 12-39 40-41 42-69 70-71

Theme: B Bridge Intro. Material Trans

Key: G Mixolydian A Altered Dominant Chord
Measures: 72-115 116-131 132-139 140-141

Development (mm. 142--215)

Theme: Part I (A1 and C) Part II (A’+B’ and D)
Key: Tonal Centers D minor / G Tonal Centers E minor / C
Measures: 142-157, 158-179 180-195, 196-215

Recapitulation (mm. 216--270)

Theme: B Bridge A
Key: G Mixolydian D minor
Measures: 216-243 244-254 255-270

Coda (mm. 271--286)

Theme: Second Part of Theme A
Key: A Dominant Chord
Measures: 271-286

Although Rosauro calls the first movement a sonata form, the model of sonata form is

applied loosely. It is clear from figure 4.1 that Rosauro retains the sections of sonata form, but

key relationships used are not consistent with the traditional sonata form. Rosauro’s treatment

of harmonic progression does not follow traditional concepts such as modulation to relative

keys or frequent modulations to the dominant. The movement generally is in D minor, but
 31

each musical theme and idea has its own key center to fit its unique character, usually

remaining in its own initial key for its duration. Also the relative balance of these sections

does not reflect the proportions of the typical sonata form. The exposition is 120 measures

long while the development lasts 74 measures, and the recapitulation only spans 54 measures.

Theme A is repeated twice in the exposition and connected by a “cadenza-like” bridge based

on the whole-tone scale. The whole introduction section is repeated again at the end of the

exposition (mm 132-139). In the recapitulation, theme B reappears before theme A, reversing

the order of occurrence in the exposition. In addition, the introductory material is repeated at

the coda.

Introduction and Exposition

The first movement begins with a driving introduction, a pattern in 7/8 time. Rosauro

uses the two-measure bass riff device through the whole introduction section, accentuated by

snare drum with brushes. The whole section is based on the A altered dominant chord

(A-C#-D#-F-G-C). The altered dominant chord has a major and minor third (#9th) together

which creates a very strong tension to the sonority.

The energetic exposition contains two themes, indicated in figure 4.1 as theme A and

theme B. Theme A (mm. 12-39) is in D minor. Theme B (mm. 72-115) is in G mixolydian.

As mentioned previously, theme A is repeated twice in the exposition. The introductory

section is repeated again at the end of the exposition (mm. 132-139), and each theme is

connected by a “cadenza-like” bridge based on the whole-tone scale.

Theme A (mm. 12-39) can be separated into two sections. The first section (mm. 12-27)

is in D minor and has a rhythmically driving pattern alternating between 4/4 and 3/4 meters.

The rhythmic pattern helps create the lively character of the movement. The second section of

theme A (mm. 28-39) contains a three-bar rhythmic tutti by marimba and orchestra and one

bar of the ascending scale played by marimba alone. The tutti repeats again in the higher
 32

octave, ending on the A dominant chord with sharp eleventh (m.39). As stated earlier, theme

A is repeated again in the exposition, but this time the orchestra plays the primary theme

while the marimba assumes the accompaniment role. Meter changes, strong rhythmic motives,

ostinato patterns, and stable tonal centers in theme A are a few of Rosauro’s signature

compositional features.

In theme B (mm. 72-115), Rosauro uses a rhythmic pattern similar to that of movement I

in the first concerto. The theme is in G mixolydian and the marimba plays dead strokes in the

section to highlight the character of the section. The melody line is shared between marimba

and orchestra.

Measure 116 is the beginning of the bridge section. In this section, the chord progression

is strongly reminiscent of jazz harmony. The cello and double bass play a quarter-note

walking bass while the marimba plays a two against three polyrhythm in the upper voice. This

polyrhythm adds another level of interest for the music and creates a nice dialogue between

the marimba and the orchestra. From measure 124 to 131, there is an arpeggiated section

which has the same harmonic concept as Movement I (mm. 59-62) of the first concerto. The

two most important notes in the ascending arpeggios are the tonic and fifth. The notes in the E

minor arpeggios are tonic (E), minor third (G) and augmented fourth (A#) resolving to the

fifth (B), minor seventh (D), and major seventh (D#) resolving to the tonic (E). The use of the

sharp fourth and minor seventh mirrors the blues scale. Rosauro’s use of jazz concepts in the

section is very clear.

The introduction section is repeated in measures 132 to 139, again based on the A

dominant chord with sharp eleventh. Following the section is a short cadenza which features

the soloist’s use of dead strokes. At the end of the two-bar cadenza, Rosauro applies the

glissando to lead into the development section.

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Development

The development consists of two major sections. As seen in Figure 4.1, the first section

is from measure 142 to179 while the second section is from measure 180 to 215. The first

section consists of theme A1 (mm. 142-157) and theme C (mm. 158-179). The theme A1 is a

fragment of the theme A from the exposition. The meter alternates between two bars in 4/4

and two bars in 3/4, and the tonal center is in D minor. The orchestra plays the main statement

of the theme A1 in the two bars of 4/4 (mm. 142-143), which is answered by the marimba

with virtuosic arpeggio figures in the two bars of 3/4 (mm. 144-145). This four-bar phrase

repeats three more times with slight melodic and harmonic changes each time.

Theme C is the extension of theme A. The tonal center of theme C is in G and the meter

is in 3/4. The marimba begins theme C with a syncopated two-bar statement, followed by a

triplet-based, one-bar answer by the orchestra. This three-bar phrase repeats twice more. The

order of occurrence is reversed on the last repeat, as the orchestra plays the statement, and the

marimba answers.

It is clear in Figure 4.1 that the second part of the development (mm. 180-215) consists

of two sections. The first section (mm. 180-195) starts with theme A’+B’ and the second

section consists of theme D from bar 196 to 215. The theme A’ + B’ is a fragment of theme A

and theme B from the exposition and once again features a call and response. However, this

call and response remains only in the orchestra, while the marimba plays a background

chordal accompaniment using outside lateral and double strokes. This four-bar phrase repeats

three more times with melodic harmonic changes in the call and small rhythmic changes in

the response.

Theme D starts at bar 196; it has the same harmonic structure as theme C (mm. 158-179).

Both themes are the extension of the theme A. As mentioned before, the tonal center in theme

C is in G and is in a 3/4 meter. On the other hand, theme D’s tonal center is in C, and the

meter is in 4/4. The marimba doubles the gorgeous melody line with the flutes. The melody
 34

line lasts for eight bars and is followed by a two-bar transition that leads to a restatement of

this melody by the orchestra. Meanwhile, the basses and cellos continue their walking bass

line, as the horns continue a syncopated pattern that they have been playing since the

melody’s inception. These four bars (mm. 212-215) serve as a transition to the recapitulation.

Recapitulation

The recapitulation boldly begins at bar 216 with a recurrence of theme B. The 7/8

rhythmic pattern is established in the first four bars. This time through theme B, the trumpet

and marimba play the initial melodic material starting at bar 220 followed by the woodwinds

and upper strings at bar 228. The marimba plays the melody with the oboes and horns at bar

236. Bar 244 sees a reappearance of the bridge, but this time it lasts only eight bars instead of

the original sixteen. A three-bar accelerando transition (mm. 252-254) emphasizes an A

dominant to set up the reemergence of theme A in D minor at bar 255. Unlike the exposition,

theme A essentially happens twice (once with the soloist, and once without), while in the

recapitulation the sixteen-bar theme A occurs only once. The last four bars form a full

orchestra buildup culminating in the three-bar rhythmic tutti followed by the soloist’s

cadenza-like runs. This four-bar phrase repeats once, and the third time ends on a sustained

chord to propel the music into the marimba’s long and fast three-bar descending line. The

movement ends convincingly with a final unison statement in D between soloist and

orchestra.

Movement II --- Reflections and Dreams

The slow second movement is in ternary form (A-B-A). As mentioned before, Rosauro

hides an additional movement which occupies section B (mm. 48-117). Section A (mm. 1-47)

contains three different musical themes which are slow and lyrical, in regular meters (4/4 or

3/4) and usually in four or eight-bar phrases. The three musical themes in section A are for the
 35

most part divided into two parts, usually in different keys. There are no percussion

instruments used and a reserved use of the brass, with strings dominating the thin texture.

Section B (mm. 48-117) has a totally different character, tonal center, and rhythmic structure.

This section has a faster tempo, energetic character, irregular meters (3/4 + 2/4) and the

important theme of canon. The canon is later presented in various settings, including

Movement III. The instruments used in section B are full orchestra including brass and

percussion. Section A is repeated again (mm. 178-222), but this time the orchestra plays the

main themes while marimba accompanies. The movement finishes with a coda (mm.

223-231). The architecture diagram of the second movement is demonstrated in the following

figure 4.2:
Figure 4.2. Formal Structure of Movement II: Ternary Form (ABA)

Section A (mm. 1--47)

Theme: A A’ Trans. B
Key: D Major D minor A7 -D Major G minor
Measure: 1-5 6-10 10-12 13-16

Theme: B’ Trans C
Key: D Major A7 D minor-G minor-D minor
Measure: 17-20 20-21 22-29 30-37 38-47

Section B (mm. 48--177)

Theme: Thematic Material D/ Theme of Canon E
Key : G minor G minor C minor
Measures: 48-79 80-95 96-111

Theme: D/ Canon E D/ Unison of Canon’s Theme

Key: G minor C minor G minor
Measures: 112-127 128-143 144-151

Theme: F Coda of Section B

Key: G minor G Major
Measures: 152-167 168-177
 36

Section A (mm. 178--222)

Theme: A A’ Trans. B
Key: D Major D minor A7 - D Major G minor
Measure: 178-182 183-187 188-189 190-193

Theme: B’ Trans. C C’
Key: D Major A7 D minor G minor
Measure: 194-197 198 199-206 207-222

Coda (mm. 223--235)

Theme: C
Key: D minor
Measures: 223- 235

Section A

This lyrical movement starts with an unaccompanied marimba solo, reestablishing the

focus on the soloist. It is indicated in figure 4.2 as theme A (mm. 1-5). The marimba solo

contains two voice layers, one in each hand. The lower voice evokes the bass line of J. S.

Bach’s famous work Aria on the G String to accompany the higher voice’s original tune

composed by Rosauro. The original key for the Aria is G major, but Rosauro transposes it to

D major. The melody is introduced in the single stroke on the marimbist’s left hand, reflecting

the pizzicato sound of the strings. Rosauro uses the pizzicato sound to unify the section. The

pizzicato sound continues in the cello part in the second part of the theme A (mm. 6-9),

keeping the same rhythmic structure but in a different key (D minor). The transition is a

rubato section using arpeggiated dominant chords to stretch out the tempo. This allows the

soloist the freedom to express his/her musicianship and connect to the next section.

Theme B (mm. 13-20) also contains two sections in different keys. The first part of

theme B is in G minor, wherein the left hand uses the one-handed roll on the descending

chromatic scale while the right hand introduces a melody. Here, Rosauro slightly twists the
 37

feeling from a very Baroque style to a jazzy feeling, marking another important feature of his

compositional style. The second part of Theme B is in the tempo marking “poco meno

mosso,” signifying a slightly slower tempo than the previous section. The solo marimba is

accompanied by the violins playing sustained chords while the cellos double the descending

line of the marimba’s lower voice. Meanwhile, the violas have a nice interplay with the solo

marimba.

The tempo marking in theme C is “piu mosso” therefore the tempo should be slightly

faster than the previous section. The architecture of theme C (mm.22-47) is similar to the

ternary form (ABA form) which means theme C can be divided into three short sections, it

contains two different musical ideas, and the first section will be recapped again. The first

section of theme C (mm. 22-29) is in D minor. There are two beautiful melodic themes

introduced by the marimba and French horn simultaneously. In the solo marimba part, two

layers of voice form the melodic theme, similar to the echoes or answers of the main melody.

At the same time, the French horn first introduces the important theme in D minor and the

meter is in 3/4. This theme is later presented as an important theme in section B (mm.

152-167/ theme F). But the statement of this theme is augmented in longer note- values in

section B. Also, the key is changed into G minor and the meter is altered between 3/4 and 2/4.

The second section of theme C (mm. 30-37) is in G minor and the musical idea is the

extension of the first section. The flutes and oboes present the new melodic line accompanied

by the strings, bassoon, and marimba. This melodic line just lasts eight bars and smoothly

connected to the next section.

The third section (mm.38-47) uses the theme which is introduced by the French horn in

the first section. But this time, this important theme (theme F) is presented by the violins and

viola through the first repetition (mm 38-41), and the second time is played by the upper

woodwinds (mm. 42-45). As mentioned before, this theme is going to be used in the section B

but in a different key and a different rhythmic structure.

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Section B

Section B begins at bar 48 in G minor. This section sharply contrasts with the section A

material as a strong, vivace section with irregular meters (3/4 + 2/4). The low brass and

trumpet start the section by establishing an ostinato based on dotted quarter notes and quarter

notes. The snare drum played with brushes joins after eight bars, emphasizing the rhythmic

contours. At bar 64, after sixteen bars of the thematic materials, the marimba comes in with a

preface to the imminent melody along with an eighth-note rhythmic accompaniment. Sixteen

bars later, at bar 80, the marimba introduces the first significant melodic material (theme D),

the theme later used in the canon. The violins meanwhile take the eighth-note accompaniment

originally played by the marimba. At bar 96, theme E begins with a more lyrical melody in

the flutes and oboes while the marimba maintains the eighth-note accompaniment. Theme E

lasts sixteen bars and is followed by a canon (mm. 112-127) in G minor. At bar 112, the

marimba plays the melodic material from theme D, and the orchestra enters at bar 120 playing

the canonic imitation. Suddenly at bar 144, the orchestra minus strings plays the melody of

the canon in a tutti phrase with cowbell and woodblock providing the percussive emphasis.

This leads into the climax of section B, theme F (mm.152-167). From bar 152, the strings,

trumpet, and upper woodwinds play the long, bold, and flowing melodic line from section A

(mm. 22-29) accompanied by the rest of the ensemble. Bar 168 sees a gradual decline of

energy over the course of ten bars forming a coda with much rallentando. This end of section

B precedes a return to the original section A of Movement II.

Section A

The recurrence of the A section is an exact replication of the original except theme A is

played by the solo violin and cello in the lento expressive section. The melody of this section

jumps from the strings to the oboe at bar 190, while the marimba plays a chordal
 39

accompaniment in rolls. At bar 194, the orchestra plays theme B’ and the marimba answers,

the opposite of what happened in the first A section. At bar 199, theme B is in the tempo

marking “piu mosso” and duplicates its predecessor only with a slightly different

orchestration. Bar 223 sees the marimba play the theme as a solo in octaves signifying the

imminent close of the movement.

Coda

The marimba maintains a roll between the right hand on D in octaves and an

ascending line in the left hand, also in octaves. The clarinet and viola play a repetitive and

mournful tune against a quarter-note bass line in the cello, thus cadencing in D minor and

allowing the marimba to fade out with its roll on D in octaves.

Movement III --- Walking on Clouds

Much like Movement II, Rosauro inserts an additional section which has its own musical

character and internal plan in Movement III. This movement is the longest of all the

movements. The following figure 4.3, gives a basic outline of form and key centers.

Figure 4.3. Formal Structure of Movement III: Ternary Form (ABA)

Introduction (mm. 1---22)

Theme: Intro. Material Marimba Cadenza
Key: D minor Descending Whole-Tone Scale
Measure: 1-16 17-19

Section A (mm. 23---182)

Theme: A B Variation of A+B
Key: D Major G minor D Major/ G minor
Measures: 23-78 79-110 111-182
 40

Section B (mm. 183---278)

Theme: Trans. C (Canon) D C (Canon)
Key: G minor G minor C minor G minor
Measures: 183-198 199-214 215-230 231-246

Theme: E Coda of Section B

Key: G minor
Measures: 247-262 263-278

Marimba Cadenza m. 279-------------------------------------------------------

Section A (mm. 280---365)

Theme: A B
Key: D Major G minor
Measures: 280-335 336-365

Coda (mm. 366---390)

Theme: Intro. Material Final Cadenza
Key: D minor Whole-Tone Scale
Measures: 366-383 384-390

Introduction and Section A

In the strong and driving introduction, meters alternate between 3/4 and 2/4, in the

four-bar pattern 3/4, 2/4, 3/4, 3/4. The similar rhythmic pattern also can be found in the fourth

movement (introduction section) of Rosauro’s First Concerto. The orchestra presents the forte

chromatic descending line while the marimba has ascending statements in D minor in the final

3/4 bar of every four-bar phrase. Before the theme A is introduced, Rosauro uses a descending

whole tone scale to connect the introduction and A section. This functions as a bridge ending

on an A dominant chord with a sharp eleventh.

Section A begins at bar 23 with sixteen-bar long thematic materials establishing the same

four-bar pattern (3/4, 2/4, 3/4, 3/4) presented in the introduction. The marimba sets up the
 41

recurring bass line in the left hand while the right hand plays a simple chordal accompaniment.

The cellos have an interesting rhythmic pizzicato line that nicely compliments the marimba

part. The entrance of the pizzicato violins at bar 27 reinforces the light atmosphere, as these

first sixteen bars consist only of marimba and pizzicato strings. Theme A starts at bar 39 in D

major, maintaining the metric four-bar pattern. During the first sixteen-bar phrase, the

marimba plays the melody while only the strings accompany. A modulation occurs at the end

of the phrase, and the marimba plays the same line again at bar 55, this time in E major with

the addition of the bassoon. Bar 71 modulates to D minor for a brief eight-bar transition

phrase into theme B in G minor (m. 79). The rhythmic feel changes to a 3/4 + 2/4, essentially

a 5/4 feel, and remains in this metric pattern until the beginning of section B at bar 183. Here

the clarinets and oboes carry the melody against the strings’ bass line while the marimba plays

a technically difficult, sixteenth-note chordal accompaniment. This theme’s melody lasts for

sixteen bars, and repeats at bar 95 with the melody in the flute and upper strings while the

marimba changes to a triplet-based arpeggiated accompaniment. Two of Rosauro’s favorite

techniques are found here: lateral strokes and double strokes (mm. 79-94), followed by the

eighth-note triplets inspired by guitar music.

At bar 111 the variation of the A and B themes begins. The oboe, clarinets, and trumpet

play the D major melody as the strings accompany. Here the caxixis play as well, adding to

the festive sentiment of the section. After sixteen bars the melody shifts to the strings in E

major and the woodwinds accompany. Bar 143 sees a reappearance of the transition phrase in

D minor for eight bars leading to a restatement of theme B at bar 151. This time the marimba

carries the melody in octaves as the horns and strings accompany for the first sixteen-bar

phrase. For the second time through the theme, the oboes and bassoon join in as the marimba

plays the melody with sixteenth-note outside lateral strokes. The marimba takes the last four

bars to modulate to G minor, the key of section B.

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Section B

The B section of Movement II appears in movement III again. A more in-depth analysis

of section B is presented in the section on Movement II, but the canon section is more

technically demanding and contains more voices within Movement III. It is clear from figure

4.3, the marimba introduces theme C (mm. 199-214) in the canon context and executes

difficult passages requiring the soloist’s facility in the areas of coordination and independence.

It requires independence of each hand and in some instances of each of the four mallets. At

bar 247, theme D begins with a more lyrical melody in C minor, followed by a small coda

beginning at 263 which brings about a calming mood as the orchestra becomes quieter, and

the marimba slows down its repeating pattern to begin its cadenza.

Marimba Cadenza

Rosauro applies two unique techniques in the cadenza section. First, he uses the

rattan-mallet shafts against the keys to imitate the sound of the balaphone which is the

ancestor of the marimba from Africa. Second, he slides the rattan-mallet shafts on the edge of

the bar to create the glissando sound to connect phrases. The marimba ends this section by

playing a roll with rattan in the left hand and the mallet head in the right to shift back into the

use of both mallet heads. Also, Rosauro makes a citation from Keiko Abe’s Dream of the

Cherry Blossoms. He then transitions into the beautiful restatement of a theme from

Movement I in double outside lateral strokes. Next, a four-bar passage features one-handed

roll in the right hand and a melody from the first movement (but in different keys) in the left

hand. After this, the marimba plays double lateral strokes within the context of the whole-tone

scale to segue into the original bridge material of the descending whole-tone scale passage.

This moves into the recapitulation of the A section.

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Section A

In the return of the A section, bar 280 sees the original ostinato material for sixteen bars.

However, this goes into a restatement of the A + B theme variation in D major while the

marimba rests for sixteen bars. The soloist comes back in for the second melodic statement at

312 in E major. At 328 the eight-bar transition phrase reappears in D minor to lead into theme

B at 336, where the marimba plays the melody in double strokes along with the flutes and

horns. At bar 352 the marimba rests again as the bulk of the orchestra plays the melody from

theme B. The marimba returns at 366 to play eighth-note arpeggiated figures while the

orchestra increases intensity to transition into the coda.

Coda

The coda begins at bar 371 and functions just like the introduction to Movement III.

However, the third ascending marimba line is a solo in octaves with more rallentando the

higher it goes while it reaches a roll on C# in octaves. A grand pause precedes the marimba’s

pickup quarter note to the glissando from the highest C, shared by the brass and strings. The

piece ends at the bottom of the glissando with two sixteenth notes on D played by the entire

orchestra to finish forcefully.

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CHAPTER 5

COMPARISON OF ARTISTIC APPROACH IN ROSAURO’S TWO

MARIMBA CONCERTI

Introduction

Ney Rosauro’s two marimba concerti are very important additions to the solo marimba

repertoire. These two pieces naturally share many similarities, but a closer inspection reveals

several stark differences. In this chapter, the author will focus on the comparison of the

similarities and differences between the two marimba concerti and their artistic approaches.

Similarities

When one begins to consider the characteristics common to both of Rosauro’s marimba

concerti, the similarities surface one after another. Rosauro frequently uses certain

fundamental techniques and concepts he considers to be essential elements of marimba

performance. Many of the same materials are used in both concerti such as formal

arrangement, thematic ideas, chords, scales, rhythmic patterns, modal harmony, and technical

devices.

Both concerti are designed in four movements. While the first concerto clearly has four,

the second initially appears to have only three parts. As mentioned before, in Concerto #2,

Rosauro has hidden a movement within Movements II and III. The hidden movement is

Rosauro’s unique twist of composition that slightly bends yet does not break the usual

compositional arrangement. In addition, the design of both concerti is almost the same. In

both concerti, the first movement is driving, rhythmic, and contains meter changes. The

second movement is slow, lyrical, and romantic. The third movement is fresh with a
 45

dance-like rhythmic structure that is slightly more relaxed than the first or final movements;

also it often contains a contrapuntal (canon) section. The last movement is energetic, intense,

and always has cadenza sections which feature the most important themes from the previous

movements. Also both concerti utilize classical, jazz, and Brazilian styles to create a distinct

sound. In both concerti, each movement is given a descriptive title that fits its musical

character.

Rosauro employs traditional classical structures such as sonata-allegro, ternary, and

rondo forms in both concerti. For example, he typically repeats primary themes throughout

his movements and often has an entire recapitulation at the end of each movement. Pulsing

energetic introductions, such as the ones in movement IV of the first concerto and movement

III of the second concerto, share the same vigorous spirit. Before introducing the primary

theme of the final movement, both concerti have an intense, driving introduction followed by

a small cadenza (Examples 5.1 and 5.2). The cadenzas are characterized by the use of the

fully diminished seventh chord and whole-tone scale in a masterfully spiraling descent that

increases tension at which point the first subject is introduced with a sigh of satisfaction.

Additionally, the solo cadenza sections in both concerti present all of the important themes

from the previous movements abstractly. This style of writing is one of Rosauro’s important

compositional features.

Example 5. 1. Concerto for Marimba and Orchestra, Movement IV, mm. 13-14
 46

Example 5. 2. Concerto#2 for Marimba and Orchestra, Movement III, mm. 17-22

In the fashion of every work in Rosauro’s catalogues, each concerto consists of beautiful,

lyrical, and enchanting melodic lines. For example, in both marimba concerti the second

movement has wonderfully flowing melodies, making listening a pleasurable experience. The

charming melodies in these movements are all so beautifully warming, romantic, and lyrical

that it is impossible for members of the audience not to be touched.

Many of the thematic materials that are used in the first concerto appear again in the

second. For example, the rhythmic pattern of the left hand used in the first movement of the

first concerto (mm. 1-8) can also be found in movement I of the second concerto (mm. 72-76).

Another common idea used in both concerti is the fast ostinato pattern in the left hand found

in movement IV of the first concerto (mm. 16-31) (Example 5.3) and movement I of the

second concerto (mm. 12-27) (Example 5.4). In these sections, Rosauro asks for the Moeller

technique which utilizes small wrist strokes with large forearm motions to accomplish a

left-hand eighth-note ostinato at a prestissimo tempo. The technique is used in the first

concerto, movement IV and the first movement of the second concerto.

Example 5. 3. Concerto for Marimba and Orchestra, Movement IV, mm. 16-20
 47

Example 5. 4. Concerto #2 for Marimba and Orchestra, Movement I, mm. 12-15

In both concerti, the first movement contains an arpeggiated section. Rosauro designed

those two sections with the same concept in mind and used the same thematic materials in

both sections. The two most important notes in the ascending arpeggios are the tonic and the

fifth. The notes used in the arpeggios are root, minor third, augmented fourth resolving to the

fifth, the dominant, minor seventh, and major seventh resolving to the tonic. It is a great

example to show that Rosauro is strongly influenced by jazz and often used jazz concepts in

his compositions. Rosauro uses the same thematic materials and rhythmic figures in the

descending part of the arpeggiated sections. In the first concerto, movement I (m. 61) an E

minor chord is outlined with grace notes, and a similar element can be found in G major in the

second concerto movement I (m. 127). These elements are demonstrated in Examples 5.5 and

5.6.

Example 5. 5. Concerto for Marimba and Orchestra, Movement I, mm. 59-62

 48

Example 5. 6. Concerto #2 for Marimba and Orchestra, Movement I, mm. 124-127

Both concerti have contrapuntal sections and the style of writing is similar. The

counterpoints in both concerti are canonic. Each voice enters at the same note although in

different octaves. The marimba part not only introduces the theme but also executes difficult

contrapuntal passages (Examples 5.7 and 5.8). Technical dexterity in the areas of coordination

and independence is necessary to play such passages.

Example 5. 7. Concerto for Marimba and Orchestra, Movement III, mm. 50-55
 49

Example 5. 8. Concerto#2 for Marimba and Orchestra, Movement III, mm. 199-214

Rosauro creates color and interest in his melodies by using chromaticism, diminished

and augmented chords, the whole-tone scale, and the pentatonic scale. Both final movements

of the concerti contain introductions that are filled with surprising progressions and harmonies

concluding with cadenzas characterized by diminished, chromatic, and whole-tone colors that

lend themselves to virtuosic runs. Rosauro also uses the whole-tone scale in the bridge

sections of both concerti, seen in the second concerto, movement I (mm. 40-41, and mm.

70-71). It is clear to see in Example 5.9, Rosauro uses the descending whole-tone scale to

function as a bridge that connects two sections.

Example 5. 9. Concerto #2 for Marimba and Orchestra, Movement I, mm. 70-71

Rosauro’s treatment of rhythm strongly echoes his modern compositional training, one

known for odd meters and syncopated rhythms. The opening theme of movement I in the first
 50

concerto (mm. 1-4) has a rhythmic pattern in the left hand that alternates among the meters of

6/8, 5/8, 6/8, and 7/8 (Example 5.10). This difficult ostinato helps create the restless character

of the movement. These continuous meter changes, along with strong rhythmic motives,

ostinato bass lines, and stable tonal centers are a few of Rosauro’s signature features. Similar

ideas can be found throughout the primary theme in movement I of the second concerto (mm.

12-27) by alternating between 4/4 and 3/4 time. This creates a very rhythmically driven and

syncopated feeling by using an ostinato pattern in the left hand (Example 5.11). These

signature features can be seen clearly in the primary theme of the fourth movement in the first

concerto (mm. 16-31) and third movement in second concerto (mm. 39-70) as well.

Example 5. 10. Concerto for Marimba and Orchestra, Movement I, mm. 1-4

Example 5. 11. Concerto #2 for Marimba and Orchestra, Movement I, mm. 12-15

Another interesting rhythmic idea is the use of polyrhythm. His melodic material

frequently involves such compound rhythms as three against two and four against three. In

Example 5.12 the marimba is playing three against two with the orchestra in measure 116.

Though technically and mentally demanding, this polyrhythm adds another level to the
 51

complex arrangement and gives the impression of counter melodies singing in a different

meter than the primary melody. The same concept can be found in the first concerto,

movement III (m.19, 21, 23, 25, 29 and 33). It is clear to see that from Example 5.13, the

violins play the three against two rhythmic pattern to echo and answer the melodic line

presented by the solo marimba at bar 33.

Example 5. 12. Concerto #2 for Marimba and Orchestra, Movement I, mm.116-119

Example 5. 13. Concerto for Marimba and Orchestra, Movement III, mm. 33-36
 52

Most of the second movement of both concerti can be played with or without

accompaniment. As the soloist, the marimba obviously presents the important thematic

materials. At some points, the ensemble rests while the marimbist continues unaccompanied,

for example the opening theme in movement II of the second concerto. The marimba solo can

also be heard at letter C (mm. 22-33) of the second movement of the first concerto. By

presenting material without the presence of an ensemble or accompanist, the composer can

ensure that the themes or rhythms will be grasped and recognized later in the piece.

Additionally, this allows soloists to clearly demonstrate their technical and musical abilities

without being covered by the orchestra.

Rosauro frequently uses certain techniques or patterns in both concerti which he

considers to be essential elements for his marimba works. These signature techniques can be

found not only in the concerti but also in his marimba solo works, such as Preludes No.1 and

3. The most frequently used technique is the outside double lateral stroke. In the third

movement of the first concerto, Rosauro uses the outside double lateral stroke throughout the

introduction and A sections (mm. 1-41) (Example 5.14). The outside lateral stroke is a single

motion that produces two successive notes which is the combination of rotating and twisting

motions in the wrist and forearm. This technique will be discussed in the performer’s study

guide (chapter 6).

Example 5. 14. Concerto for Marimba and Orchestra, Movement III, mm. 13-16
 53

The lateral stokes also can be combined with other techniques such as single or double

strokes. The combination of these techniques is one of Rosauro’s favorite features; it can be

found in both concerti, in various settings. In the third movement of the first concerto,

Rosauro uses the outside lateral stroke in combination with double strokes throughout the

whole introduction and A section (mm. 1-41) (Example 5.15). The same feature can be found

in the second concerto, first movement (mm. 180-205) (Example 5.16), second movement

(mm. 30-41), and third movement (mm. 79-94).

Example 5. 15. Concerto for Marimba and Orchestra, Movement III, mm. 25-28

Example 5. 16. Concerto #2 for Marimba and Orchestra, Movement II, mm. 180-184

Another important technique frequently used by Rosauro is a one-handed roll,

accomplished by rapidly rotating the forearm so the two mallets in one hand repeatedly strike

one or two notes creating the marimba’s sustain sound. In the first concerto, movement II

(mm. 2-11), he uses the left hand to play a one-hand roll and right hand to play the melodic

theme, creating a romantic lament (Example 5.17). A similar feature is also used in the second

concerto, movement II (mm. 13-16) (Example 5.18).

 54

Example 5. 17. Concerto for Marimba and Orchestra, Movement II, mm. 1-9

Example 5. 18. Concerto #2 for Marimba and Orchestra, Movement II, mm. 13-16

Rosauro also uses dead strokes to create a different presentation of his melodic sonority

in both concerti. The dead stroke technique is pressing the mallet into the bar in order to

eliminate sustain. The use of dead-stroke effect can be found in the first movement (mm.

83-86) of the first concerto (Example 5.19) and the first movement (mm. 140-142) of the

second concerto (Example 5.20).

 55

Example 5. 19. Concerto for Marimba and Orchestra, Movement I, mm. 83-86

Example 5. 20. Concerto #2 for Marimba and Orchestra, Movement I, mm. 140-142

Rosauro’s overall treatment of the marimba is also remarkable. He explores its entire

range through arpeggiated figures ranging from the deep, warm bass sounds to short, shrill

high notes. Coordination of both hands is integral to the successful performance of Rosauro’s

works. In certain passages he likes to use a canon, contrapuntal style which requires that the

marimbist have great coordination and independence of both hands to accomplish these

challenging techniques.

Differences

While the similarities between Ney Rosauro’s two marimba concerti are considerable,

the differences provide insight into Rosauro’s evolution as a composer. First, the second

concerto is written for full orchestra, taking advantage of the numerous colors available in a

larger ensemble. However the first concerto was originally written with a string

accompaniment. The larger orchestra not only allows for more colors but more possibilities in

harmony, voicing, and alternation of soloist and ensemble. Lines can weave through more
 56

voices and the work of the soloist can be enhanced by the instrumental varieties of a full

group. Features such as woodwind runs and trills, various brass colors, and percussive

textures are all great additions to the orchestration of Concerto #2. The Second Concerto also

requires a five-octave marimba (low C) which adds deeper and richer bass tones. However,

the first concerto only requires an instrument with a four and one-third octave (low A).

Rosauro’s approach to marimba concerti and solo compositions has always been a

diligent one with a constant desire to improve his playing. Thus, he composed the two

marimba concerti with technical focuses in mind. While writing the first concerto, his right

hand was broken due to an unfortunate slip. He could not use his right hand for two months.

So he decided rather than halt his practice and composition, that the first concerto would be

composed in a way that focuses on strengthening and improving his left hand technique. As a

result, most of the techniques used in the first concerto are quite challenging for the left hand.

One example is the single-handed alternating stroke, designed to improve the left hand’s

independence (Example 5.10). Another is the Moeller stroke to simply strengthen the muscles

of the left arm (Examples 5.3 and 5.4). An essential part of this stroke, and the melody

accompanying it in the right hand is a technique addressed in his beginner-level method book:

the simultaneous stroke. To achieve this, the mallets must strike the bars simultaneously

without creating a flam effect. If the strokes do not occur simultaneously, the melody and

accompanying Moeller stroke will sound choppy and not intentional.

The composition of second concerto includes the idea of improving technical

weaknesses. The second concerto focuses on left-hand octave lines and one-handed rolls. A

musical example is found in movement II (mm. 13-16) when the right hand presents the B

theme, and the left hand is required to play a descending chromatic line by rolling in octaves

(Example 5. 21). Not only does this require the coordination of octave playing and the ability

to keep both mallets in the octave position, but it also demands muscular strength to maintain

the difficult roll.

 57

Example 5. 21. Concerto #2 for Marimba and Orchestra, Movement II, mm. 13-16

Another excellent example is also in movement II (mm. 227-230) when the left hand has

to play the octave one-handed roll in the lower register and also present the theme in a very

musical and accurate manner (Example 5. 22). It is one level to achieve the roll, yet another

entirely to play it musically without sounding uneven.

Example 5. 22 .Concerto #2 for Marimba and Orchestra, Movement II, mm. 227-230

The second concerto’s technical demands on the performer are much greater than those

of the first concerto. For example, the one-handed roll in movement II (m. 1) of the second

concerto needs to be played on the same note (Example 5.23). It is much harder to execute

this roll on a single note rather than when the roll is spread across the keyboard, such as the

one found in the first concerto, movement II (mm. 2-11) which is comfortably played at the

interval of a fifth. Playing a one-handed roll on only one note requires a bigger striking angle,

higher hand position above the keyboard, and a better balance of mallets and as well as

stronger control and coordination between the mallets and hands.

 58

Example 5. 23. Concerto #2 for Marimba and Orchestra, Movement II, mm. 1-4

Another advanced technique used in the second concerto is the outside double lateral

stroke. This rolling technique is extended out to the octave, which is different from and much

harder than the first concerto (movement III, mm. 13-25). In movement III of the second

concerto (mm. 166-181), the outside double lateral stroke is played in octaves on both hands

moving up and down with the melodic line (Example 5. 24). Clearly, accuracy and contour of

the phrase are important in this section.

Example 5. 24. Concerto#2 for Marimba and Orchestra, Movement III, mm. 166-170

The second concerto also develops its musical ideas more than the first. The second

concerto also uses a more sophisticated harmonic structure than the first concerto. The second

concerto does not just use traditional harmonic concepts but adds those of jazz. One colorful

example is Rosauro’s use of the A altered chord in the first movement (mm. 1-9), as well as

the frequent use of such idiomatic jazz tones as the sharp ninth and sharp eleventh. The

second concerto’s melodic material is arguably more palatable than that of the first concerto

and features tributes to other composers’ works. In the second movement, Rosauro borrows
 59

the bass line from the Aria on the G String and transposes it from G major to D major. He

quotes a section of Dream of the Cherry Blossoms during the cadenza of Movement III. He

also borrows an interesting ethnic sound, the rattan mallet shafts against the marimba keys.

He does this during the cadenza to recall ancient ideas of the marimba’s African ancestor, the

balaphone.

This comparison highlights some of Rosauro’s changes and growth as a composer.

During which decade of playing, his experience and education has greatly imparted the

compositional technique of his two brilliant marimba concerti.

 60

CHAPTER 6

A PERFORMER’S STUDY GUIDE FOR NEY ROSAURO’S TWO CONCERTI FOR

MARIMBA AND ORCHESTRA

Introduction

Throughout the last two decades, Rosauro has devoted himself to performing, composing,

and teaching. His two concerti for marimba and orchestra show his appreciation for the varied

idiomatic possibilities of the marimba. He frequently uses certain fundamental techniques and

concepts he considers to be essential in his marimba concerti. The purpose in writing this

chapter is to closely examine these works and their technical features, providing the

marimbist with guidelines for thorough preparation.

In this chapter, a variety of four-mallet techniques, including Rosauro’s modified grip as

they apply to his concerti, will be introduced and discussed. Some explanation and

terminology of marimba techniques used by the author throughout the essay are taken from

the Method of Movement for Marimba by Leigh Howard Stevens.1 After giving an overview

of the technique, the performer’s study guide is organized in the following order: musical

excerpts, practicing advice, and instructional diagrams. By presenting the musical excerpts

first, the reader will have a general concept of each section’s primary focus and technical

problems. The excerpts are followed by practice advice which is fundamentally based on the

author’s opinions, with some influence from the composer. Instructional diagrams are

provided to demonstrate the correct applications of the techniques where necessary.

The numbering system for the mallets and fingers is outlined in Figures 6.1 and 6.2 and

will be used throughout this paper. The numbering system chosen by the author is the system

1
Leigh Howard Stevens, Method of Movement for Marimba. New Jersey: Marimba Productions, 1993.
 61

most widely used by professional marimba performers and pedagogues.

Figure 6. 1. The Numbering System for the Mallets.

Figure 6. 2. The Numbering System for the Fingers.

Rosauro’s Modified Four-Mallet Technique

Through examining his own playing technique, Rosauro encountered certain limitations

when using the traditional Burton grip, most noticeably the constant clicking and rubbing of

the mallet shafts. With this in mind, Rosauro gradually developed a modified version of the

standard grip. His technique draws from both the Burton grip and the Stevens grip2,

combining the most effective aspects of each in order to overcome the following technical

problems:

1. The constant clicking sound produced by the two mallet shafts touching each

other in the palm of the hand

2
Ney Rosauro, “Crossing Grip Extensions,” Percussive Notes 34 (February 1998): 65-67.
 62

2. The lack of wrist torque needed to play one-handed rolls in small intervals (smaller

than a third or even on a single note)

3. The limited expressive rolling possibilities

In his Percussive Notes article “Crossing Grip Extensions,” Rosauro offers advice for

percussionists concerning his opinion of the most effective mallet-holding techniques.

Furthermore, Rosauro notes that these concepts and techniques do not constitute a new grip

but simply serve as extensions of the original Burton grip. The Burton grip was developed in

the 1960s by the great jazz vibraphonist Gary Burton.3 This grip is similar to the traditional

cross-stick grip except that the mallet positions in the palm are inverted. In the Burton grip

when the palm is facing downward, the inside mallets are held under the outside mallets

rather than over as they are in the traditional grip.4 This approach allows for more

independence between the mallets, facilitates playing larger intervals, and provides the

players with more control of the mallets.5

Rosauro’s extensions of the Burton grip allow for more flexible playing and eliminate

the clicking sound.6 There are two major differences between the Burton grip and Rosauro’s

modified grip. First, instead of having the palms facing downward, Rosauro suggests a more

natural hand position with the palms facing inward and the thumbs up ( Figure 6.3) which is

influenced by the Stevens grip. Second, the two mallets in each hand do not touch each other.

To achieve this, Rosauro suggests holding the outer mallet with the first section (tip) of the

fourth (ring) finger. Each joint of the ring finger should form roughly a near 90-degree angle

(Figure 6.4) to create a space between the two mallets (Figure 6.5). This not only prevents the

clicking and rubbing sounds, but also gives the mallets more independence without losing the

3
Leigh Howard Stevens, “Four- Mallet Grip Needed,” Marimba Perspective, (June 1985): 30-31.
4
Ibid.
5
Ibid.
6
Ney Rosauro, “Crossing Grip Extensions,” Percussive Notes 34 (February 1998): 65-67.
 63

power of the original grip.7 Another advantage of this grip is its versatility: it can be applied

to any keyboard percussion instrument as well as the multiple percussion instruments and

even timpani.8 The grip also allows for a greater variety of rolling techniques discussed

throughout the chapter.9

Figure 6. 3. The Natural Hand Position Applied in Rosauro’s Modified Grip.

Figure 6. 4. The Ring Finger’s Position for Holding the Outside Mallet.

7
Ibid.
8
Ibid.
9
Ibid.
 64

Figure 6. 5. The Space between the Two Mallets.

Marimba Techniques Frequently Used in Rosauro’s Concerti

In his concerto writing, Rosauro places a variety of technical demands on the marimba

soloist and utilizes many unique approaches to playing the instrument. One advanced

technique prevalent in both concerti is the double lateral roll. The double lateral strokes are

single motions that produce two successive notes, a controlled flam with the two mallets.10

There are two kinds of double lateral strokes: the inside lateral stroke (starting with inside

mallets: 2-1, 3-4) and the outside lateral stroke (starting with outside mallets: 1-2, 4-3).11

Both lateral strokes require a combination of rotating and twisting motions in the wrist and

forearm. The relative dynamics of the two notes are controlled by the ratio of vertical to rotary

motion of the wrist. The wrist curvature changes slightly while rolling with double lateral

strokes to facilitate the motion and generate more power.

Another rolling technique used often is the one-handed roll. One-handed rolls are

accomplished by rapidly rotating the forearm such that both mallets in one hand repeatedly

strike one or two notes rapidly. This creates a sustaining method for the marimba while the

other hand continues to play independently. A third method of rolling with four mallets is the

traditional hand-to-hand roll. This is played by striking the mallets held in each hand

10
Leigh Howard Stevens, Method of Movement for Marimba. New Jersey: Marimba Productions, 1993,
35-37.
11
Ibid.
 65

simultaneously while both hands alternate rapidly, producing a sustained tone/chord. This is

essentially the standard two-mallet rolling method with an extra mallet in each hand.

Rosauro uses both double strokes (in which each hand rapidly alternates, striking the

instrument twice) and dead strokes (in which the mallet is pressed into the bar in order to

eliminate any sustaining quality) in order to broaden his sound palette and vary the

presentation of his melodic ideas. Yet another technique he requires is the Moeller stroke,

which uses large whipping motions of the forearm for power and articulation of the downbeat,

combined with small wrist strokes for speed and control. This helps to maintain a driving

left-hand ostinato at a prestissimo tempo. Without the technique, the player’s arm muscles

would have a tough time maintaining such intensity. Finally, acute coordination between the

hands is an integral part of successfully performing his concerti, especially in his fugue,

contrapuntal passages. These sections require great coordination, independence, and control

of both hands to successfully play them.

The Performer’s Study Guide

This study guide examines the techniques used throughout Rosauro’s two marimba

concerti with more depth as they appear specifically in the solo. It has been organized such

that the musical excerpts are presented first, providing readers/performers with a general view

and focus of the section. These excerpts are followed by helpful suggestions for practicing the

difficult sections, including instructional diagrams where necessary. This study guide contains

thirty-two excerpts. Each of the musical excerpts is identified by its movement and measure

numbers and is chosen for one or more of the following reasons: technical difficulty, potential

sticking problems, important primary themes, and the use of unique techniques. In cases

where the techniques and ideas are found in both concerti, the author has decided to include

only the excerpt from the first concerto, avoiding unnecessary repetition of the same

suggestions and approach to practicing. At the end of such sections, the movement and
 66

measure numbers where similar musical ideas occur in the second concerto will be included.

Additionally, because the excerpts are just small parts taken from a larger work, it is

important to put the information gathered into context when practicing.

The practice advice, based on the author’s opinion with some influence from Rosauro,

begins with the performer’s initial point of view and later merges with the composer’s

intention, providing different perspectives for players who are interested in preparing both

concerti for performance. The practicing routine and instructional tips are explained clearly,

step-by-step, in the study guide. The accompanying diagrams demonstrate the correct

approach for hand positioning and sticking patterns when necessary. In addition,

considerations of tone quality and artistic approach will be addressed in this chapter to ensure

that the articulation and timbre of the marimba are consistent with the composer’s intentions.

The first excerpt (Example 6.1) begins with the opening measures of the first concerto, a

powerful, driving ostinato in the left hand, changing meter with every bar.

Example 6. 1. Concerto for Marimba and Orchestra, Movement I, mm. 1-4,

Sticking Suggestion.

For the intense opening theme in the bass, Rosauro suggests playing this rhythmic motif

with both hands until measure 9 when the primary theme is introduced by the right hand. In

order to create natural accents and dynamic changes, the better sticking pattern is one such

that the downbeats are played by the left-hand mallet #2 followed by two strokes of the

right-hand mallet #3. Remember not to strike the lowest note (A) in the center of the bar
 67

because doing so will result in undesired overtones and a dark, slapping sound. For this

reason, lower bass notes should always be played slightly off-center. Lastly, it is vital to

practice slowly in the beginning to make sure all of the sticking and striking areas are correct

because fixing such mistakes later can prove to be tedious. The sticking suggestions are

indicated in Example 6.1. It should also be noted that the suggested mallet choice is

medium-hard yarn mallets.

Example 6. 2. Concerto for Marimba and Orchestra, Movement I, mm. 9-12,

Sticking Suggestion and Simultaneous Stroke.

In Example 6.2, the primary theme is presented in the right hand and is accompanied by

ostinato patterns in the left hand. For these bars, the marimbist should consider two things.

First, the right hand’s melodic line must be brought out above the ostinato. Second, the left

hand should stay piano but maintain the natural accent of the meters to create the restless

character of this movement. The difficulty of this section lies in the hands simultaneously

playing different patterns in contrasting dynamics. Therefore, the marimbist not only needs to

have good coordination, but also great independence between each hand. The most common

technical problem faced in this section is perfectly lining up the melody with the rhythm of

the left-hand ostinato. Initially, the marimbist should strive to play “simultaneous strokes” on

downbeats together without the flam effect. The “simultaneous stroke” occurs when both

sticks strike the surface but should only result in a single sound rather than a flam. As

mentioned before in Chapter 2, Rosauro’s Beginning Exercises and Studies for 2 Mallets and
 68

Method Book for Snare Drum both begin by establishing this technique, considered to be the

most fundamental concept and technique of Rosauro’s educational and performance method.

Example 6. 3. Concerto for Marimba and Orchestra, Movement I, mm. 25-28,

Performance Style.

The character of Example 6.3 is light, playful, and slightly mischievous. After the

introduction and powerful primary theme, the playing must be very soft in order to contrast

with the previous theme. Also, the marimbist must be conscious and careful of the counting,

for this section is often prone to miscounting. Maintaining a steady tempo and being familiar

with the orchestra’s melody will help create nice dialogue with the orchestra.

Example 6. 4. Concerto for Marimba and Orchestra, Movement I, mm. 59-62,

Practice Advices to Improve Accuracy.

The most important advice for playing Example 6.4 is to keep the quarter-note value

perfectly constant in order to maintain a solid pulse through the rhythmic changes. Obviously,

accuracy throughout the arpeggiated passage is an important issue. First, practice it slowly

with a metronome, only removing it when the notes are consistently correct and the rhythms
 69

accurately related. It will also help to practice different rhythmic combinations using eighth

notes or triplets. Rather than accenting the downbeat, it is important to focus on the contour of

the entire phrase, shaping the natural flow of the melody using dynamics and intensity of the

line. As the melody descends, the grace notes preceding the eighth notes at bar 61 should be

played as open as possible.

The practice advice and concepts can be used in the second concerto, movement I, mm.

124-131.

Example 6. 5. Concerto for Marimba and Orchestra, Movement I, mm. 75-78,

Sticking Suggestion.

While the sticking suggestion indicated in Example 6.5 is fairly easy and straightforward,

it is easy to distort the rhythm and place emphasis on the downbeat. This should not happen

because the phrase begins on the second eighth note of the triplet and should be played

accordingly. For the ascending line in mm. 77-78, it is more comfortable for the left hand to

play the sharp keys while the right hand stays on the natural keys. Switching the position of

the hands will result in a greater likelihood of wrong notes.

 70

Example 6. 6. Concerto for Marimba and Orchestra, Movement I, mm. 83-86,

Dead Stroke.

Rosauro indicates a dead-stroke technique in Example 6.6. A dead stroke is

accomplished by pressing the mallet into the bar and at the same time to eliminate sustain. It

is as if the mallet has landed in glue and cannot leave the bar until it is time to hit the next

note. The angle between the mallets and the bars should be about 35 to 45 degrees in order to

create the desired sound of a dead stroke (Figure 6.6). Between the two hands and their dead

strokes, the left hand obviously has the melody line. This pentatonic scale in the left hand

should be slightly louder than the right hand’s notes. This is one of many techniques used to

create a broader variety of sounds and present melodic ideas in differing textures. This one

imitates temple blocks and evokes playful impressions of Asian folk songs.

Figure 6. 6. The Angle between the Mallets and the Bars for the Dead Stroke.
 71

Example 6. 7. Concerto for Marimba and Orchestra, Movement I, mm. 127-129,

Left Hand’s Sticking Pattern.

It is imperative that Example 6.7 is played softly to create an effective contrast with the

previous one. While the right hand is playing syncopated chords, the left hand is playing a

pattern based on a whole-tone scale. This combination proves to be difficult for most players

because of the rapid position changes in the left hand, for some of the notes and intervals are

hard to hit and adjust respectively. Thus, the striking spots and hand positions are crucial. To

minimize large, excessive movements, strike the accidental/sharp bars at the bottom edges

and play the natural keys near the top of the bars. Playing in this way shortens the distance

between the natural and sharp bars making the bass line easier to play. Also, to help keep the

left hand fluid and accurate, lower the sticking height closer to the bar and keep the left wrist

loose and flexible. Not only will this make the rapid walking line easier, it will also conserve

strength and endurance for the remaining movements. As far as the right hand goes, it has a

soft, driving melody that should be emphasized musically above the bass line.
 72

Example 6. 8. Concerto for Marimba and Orchestra, Movement II, mm. 1-9,
One-Handed Roll.

The second movement is titled Lament. Therefore Example 6.8 should be played

accordingly with such intent. In order to help create a lamenting mood, the author suggests

combining different soft/warm yarn mallets to bring out the different layers of voices and

expose the beautiful tone quality of the marimba’s lower range to its fullest potential. While

the left hand plays the one-handed roll and the right hand plays the melodic theme, the player

should bring out the right hand’s melody and keep the left hand even and soft. This presents

the technical obstacle of playing a quiet and controlled one-handed roll throughout the

movement. There are two areas on which to focus when rolling with one hand: the striking

angle and the speed of the roll. The author suggests keeping the alignment of the left hand and

forearm straight, so that the mallets are striking at roughly a 45-degree angle with the bars

(Figure 6.7). This is the easiest way to create an even, relaxed roll. Second, keep the hands in

a natural, relaxed position using pendulum-like motion to maintain an even roll. Finally, since

the purpose of the one-handed roll is to sustain pitches, care must be taken with the speed of
 73

the roll because it affects the sound. If the roll is played too fast, it will create a tense, nervous

feeling. On the other hand, if the roll is too slow, the sound will be too striking and not evenly

sustained. Clearly, neither of the preceding sounds is desired. To avoid these problems, the

author suggests playing the one-handed roll at a medium speed using soft yarn mallets with

larger heads. This will remove the contact sound of the mallets against the bars, resulting in a

warm, resonating sound.

Another common problem in this section is the single-handed roll suffering in quality

due to the right hand’s changing angles. In order to fix this problem, the player needs to build

the independence between his/her hands to present different musical material at the same time.

To develop this independence, Stevens suggests the marimbist should begin simply by

removing coins from his/her pocket with one hand while the other hand is playing the

one-handed roll. The player can also manipulate other mallets or even play simple melodies as

long as one hand is continuing to roll uninterrupted. By doing different activities or exercises

while rolling with one hand, the level of independence will increase. It is also important to

remember that this technique will take more time to master than others, so patience is

essential. Additionally, regarding the flam in the right hand’s melody in measure 10, it should

be played as openly as possible, almost sounding like sixteenth notes. Of course, the primary

note (mallet #4) should be emphasized over the grace note (mallet #3).

Figure 6. 7. The Hand Position of the One-Handed Roll.

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Example 6. 9. Concerto for Marimba and Orchestra, Movement II, mm. 13-16,
Mallet Placement and Crossing-Over Motion.

In Example 6.9, the right hand is helping to outline the chords, while the left hand has

the more important melody line. The melody line should always sing above the

accompaniment. The melody is introduced in the lower register and gradually works its way

up through the keyboard crossing over the right hand at some points. Since it is a single,

lyrical phrase, the player should take care not to disrupt the lyric quality of the melody when

crossing the left over the right hand. This crossing motion presents the potential problem of

possible collision between the hands. Such a collision would most likely result in wrong notes

and a loss of melodic contour. The solution to this problem is to slightly turn the right hand’s

wrist (even lifting the elbow away from the torso) to create an angle such that the inside

mallet (mallet #3) plays on the end of the bar and the outside mallet (mallet #4) plays in the

off-center spot. The diagram in Figure 6.8 demonstrates the correct position of the hands and

mallets in relation to the bars. Also, the player should slightly rotate his/her torso to the left

(facing left) in order to accommodate the arm position. This gives more room for the left hand

to cross over with its melodic line (Figure 6.9).

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Figure 6. 8. The Mallet and Hand Positions Suggested in Example 6.9.

Figure 6. 9. The Mallet and Hand Positions for the Crossing-Over Motion.

Example 6. 10. Concerto for Marimba and Orchestra, Movement II, mm. 22-26,
Rolling Styles.
 76

In the first two measures of Example 6.10, leave a small space and breathe between the

first and second chords while keeping the roll even. Although the dynamic marking indicated

in the music is mezzo-piano, the player still can make slight crescendos and decrescendos in

mm. 24-27 to create tasteful phrasing. A single rolling style, such as the traditional

hand-to-hand roll or the double lateral rolls, could be used throughout this section, but a

combination of these is preferred to produce the most musical interpretation. Most

importantly, the soprano and bass voices should have the same emphasis and need to be heard

slightly above the inner voices. Varying the speed of the roll would simply make this section

more beautiful and texturally appealing.

Example 6. 11. Concerto for Marimba and Orchestra, Movement III, mm. 13-16,
Outside Double Lateral Strokes.

Example 6.11 requires only one technique: the outside double lateral stroke. As

mentioned previously, the outside double lateral stroke is the single wrist motion that

produces two successive notes per hand. Because this stroke does not effectively work slowly,

practicing closer to the tempo (a quarter-note equal to 156) with a metronome is more

efficient. Again, like many of the sections, the most important advice beyond the technique is

to bring out the melodic line in the top voice (mallet #4). Also the hand position is important.

Some of the notes played by the inside mallets (mallets #2 and #3) overlap each other, so

slightly turning the wrist such that mallet #3 strikes the end of the bar will solve this problem.

The left hand is positioned in the same manner as in Example 6.9. The precise position for

this excerpt is demonstrated in Figure 6.10.

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Figure 6.10. The Mallet and Hand Positions Suggested in Example 6. 11.

Example 6. 12. Concerto for Marimba and Orchestra, Movement III, mm. 25-28,
The Combination of Double Strokes and Outside Lateral Strokes.

It is clear through Examples 6.11 and 6.12 that the sections leading to letter B have

increased the musical tension to a forte. Playing the subito piano in measure 26 is very

important for two reasons. Musically, it is surprising and draws the attention of the audience

while also giving the performer a break after a tiring section. The following measures should

not crescendo too quickly but be played piano until m.36. The technique here is the

combination of double strokes (right hand) and outside lateral strokes (left hand). This

combination of rolls is one of Rosauro’s favorite techniques and is found in both concerti as

well as with various other works. The main consideration for this roll is the sound of the right

hand’s double stroke. The author suggests emphasizing the natural accent of the downbeat as
 78

the chords change while maintaining the dynamic contour. The left hand should be kept soft

in its accompanying part of the roll.

Example 6. 13. Concerto for Marimba and Orchestra, Movement III, mm. 50-55,
Practice Advices to Improve Coordination and Independence.

Example 6.13 presents a canonic section which is quite difficult because the marimba is

required to play two voices of the canon at the same time. Rosauro suggests using both hands

to play the first subject (mm. 50-51) of the canon rather than play the subject just with the left

hand. Upon using this technique, the performer should find the most comfortable way to

alternate when the response enters. The canon demands great coordination and hand-to-hand

independence because there are challenging spots in which each hand is playing in the

opposite direction with contrasting rhythms. The subject and response should be practiced

independently first, so each hand is comfortable and made aware of the musical line. After

this, the two can be practiced simultaneously as written but very slowly and one beat at a time,

only progressing when the current beat is mastered. The subject’s entrance should be

presented clearly and remain so with the response occurring slightly softer to allow for

appreciation of the full subject line. In order to play different volumes in each hand, the

author suggests an exercise in which the right hand begins playing forte while the left hand

plays piano. Gradually, the right hand decrescendos to piano while the left hand crescendos to
 79

forte and then back in the opposite direction. Players should incorporate this exercise into

their daily routine to improve their hands’ independence.

All these concepts and advice can be applied to another contrapuntal section in the

second concerto, movement III, mm. 199-218.

Example 6. 14. Concerto for Marimba and Orchestra, Movement III, mm. 63-71,
Hand-to-Hand Alternating Strokes.

Example 6.14 is a hand-to-hand alternating section. Although concert percussionist

Evelyn Glennie uses only two mallets to play this section, Rosauro strongly recommends

using four mallets to practice and improve technique, since that was part of his original intent

for this section. The author suggests using mallets #2 and #4 to play this section, taking care

to avoid accenting on the roll in measure 68.

Example 6. 15. Concerto for Marimba and Orchestra, Movement III, mm. 73-76,
Double Strokes.
 80

For Example 6.15, the player should focus on the texture and contour of the soft, rippling

melody. Instead of alternating each sixteenth note, use double strokes because they are easier,

sound more relaxed, and make for better phrasing. The double strokes should create the

illusion that the melodic line is lightly flowing by and can be enhanced by making slight

crescendos and decrescendos as the line allows.

Example 6. 16. Concerto for Marimba and Orchestra, Movement IV, mm. 13-14,
Performance Style.

Example 6.16 presents a short, somewhat virtuosic cadenza which is based around the

fully diminished seventh chord. The players have the freedom to stretch the tempo as they

desire to create tension and release. In the author’s opinion, the most musical approach is to

start the cadenza slowly and accelerate to the middle section. At which point the tempo should

gradually slow through measure 14 (especially the last two beats of the measure), before

connecting to the next phrase in measure 15. Even though there is no indication between

measures 15 and 16, Rosauro suggests taking a longer time between the bars to give the

primary theme a fresh start.

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Example 6. 17. Concerto for Marimba and Orchestra, Movement IV, mm. 16-20,
Moeller Strokes.

Example 6.17 presents the primary theme of the fourth movement. The main melody is

introduced by the right hand. In contrast, the left hand plays driving ostinato patterns

requiring the Moeller stroke. The Moeller technique is a combination of small wrist strokes

and entire forearm “whip-like” motions to help play the fast ostinato pattern while staying

relaxed. The first step is practicing the forearm “whip-like” motions by moving the left arm

up and down in a whip motion. At first, play only the downbeats (skipping notes). The second

step is combining the big “whip-like” motion with small wrist strokes. It is easier to play this

section with crossed-stick grip. Also, the player can get assistance from the rebound of the

mallets by using rattan mallets with rubber core. The third step is playing the written pattern

very slowly, because it takes awhile to build a strong and powerful Moeller stroke in the left

hand. Practicing it too fast will create tension in the arm muscles causing potential physical

problems. Relaxing and practicing it more slowly can prevent such problems. In addition, take

care to rhythmically align the two hands where they match. In other words, make sure the

melody and its accompaniment are playing “simultaneous strokes” and not flamming.

As explained, the main problem in this section is playing too tense which is remedied by

simply relaxing and keeping the flowing feeling throughout. It is important to be conscious of

the phrase and not accent the downbeat because most of Brazilian music is more focused on

the upbeat and syncopation to create brighter and strong rhythmic characters.

All the concepts, suggestions, and practice routine can be applied to another section

which is also using Moeller stroke in the second concerto, movement I, mm. 12-27.
 82

Example 6. 18. Concerto for Marimba and Orchestra, Movement IV, mm. 144-155,
Single Alternating Strokes.

Single alternating strokes must be used throughout the whole section (Example 6. 18) to

maintain the frantic and intense drive to the roll in measure 154. The performer should obey

the subito piano in measure 148 while gradually making a crescendo to add to the intensity to

the music. The accents are crucial to keeping the melody present through the contour of the

rhythm. In mm. 151-153, the subdivision of each quarter note increases by one with each

measure. To ensure smooth transitions between these tricky measures, practice increasing and

decreasing subdivisions with a metronome, always making sure the quarter-note value is

constant. Another important point is from letter E to measure 155 when the alternating strokes

are repeated on the same note (C). The player should slightly turn his/her upper body to

accommodate the change of the direction and to free more space for the hands. Since the

marimba’s bars are too narrow to play with two mallets next to each other, the performer

should strike in different spots, left above right.

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Example 6. 19. Concerto for Marimba and Orchestra, Movement IV, Cadenza,
Performance Style.

The solo cadenza presents most of the important themes from previous movements

abstractly. This style of writing is one of Rosauro’s important compositional features. He

provides many tempo directions throughout these measures to aid in interpretation. The

cadenza should be lyrical and romantic; the author suggests progressively stretching the

tempo. Begin the first phrase of the cadenza in a slow tempo and gradually accelerate. At the

end of the first phrase, let up slightly and then slow down before taking a big breath to lead

into the second phrase. The flexible tempo also applies musically in the following section

marked “Vivo”. The flam in measure 156 is intended to be played very openly as the line

slows.
 84

Example 6. 20. Concerto #2 for Marimba and Orchestra, Movement I, mm. 12-15,
Moeller Technique and Practice Advices.

Two technical issues arise in example 6.20, the first being that the soprano and bass

voices are moving in parallel tenths. In order to bring out these two voices, the marimbist

should put more emphasis on both voices. The left hand’s rhythmic pattern can easily cover

the right hand’s melody line. The player should lower the stroke height of the left hand and

relax the wrist to fix this problem. The other technical issue is executing the quick, precise

interval changes on every quarter note in the midst of pounding double vertical strokes (both

mallets in a hand striking simultaneously, in this case, all four). In order to solve this accuracy

and coordination problem, the author suggests practicing the chord changes in a slow tempo,

building both coordination and muscle memory. To achieve speed comfortably, the practice

routine should follow that of Example 6.17 because the left hand here also requires the

Moeller technique. Remember using the combination of small wrist strokes and forearm

“whip-like” motions to keep the flowing and relaxing feeling throughout the section.
 85

Example 6. 21. Concerto #2 for Marimba and Orchestra, Movement I, mm. 70-71,
Octaves.

In Example 6.21, the bridge between sections consists of two whole-tone scales

descending simultaneously. The scales should be learned and practiced separately first to

engrain the motion of each hand. The right hand’s accuracy is especially important in

maintaining the octave position during the descent. Keep in mind that the interval between the

mallets will need to gradually increase as the bars of the marimba widen down as you descend

the keyboard.

Example 6. 22. Concerto #2 for Marimba and Orchestra, Movement I, mm. 140-142,
Dead Strokes and Glissando.

In Example 6.22, the dead strokes should be approached in the same manner as Example

6.6 from the first concerto. They need to be rhythmically tight between the hands. The tempo

of the glissando down the marimba can be stretched in order to align the downbeat of letter E

with the orchestra. If a tiny break must occur between the end of it and the chord at letter E,

the player should wait and enter with the ensemble. Remember to press into the bars more

when you play the glissando to create a fuller sound from the marimba.
 86

Example 6. 23. Concerto #2 for Marimba and Orchestra, Movement I, mm. 283-286,
Practice Advices for Fast Descending Line.

In Example 6.23, it is acceptable and even recommended that the right hand accent the

downbeat to contour the pulse of the descending line. The pulse of this section should be felt

in 6/8 meter. As far as practicing, separate each hand at first to realize the descending scales

played. Remember to practice slowly because the right hand’s descending line is difficult to

play accurately. While the left hand only plays all of the sharp keys, it is important to practice

slowly and move smoothly with the right hand.

Example 6. 24. Concerto #2 for Marimba and Orchestra, Movement II, mm. 1-4,
The One-Handed Roll on a Single Note.

Example 6.24 presents the opening theme of Movement II. It is a marimba solo section

without orchestral accompaniment. In the left hand, Rosauro transforms J.S. Bach’s

accompaniment from the Aria on the G String to his own original melody in the soprano voice
 87

(right hand). When playing the left hand’s bass line, attempt to imitate the pizzicato (plucked)

sound of a cello: deep, moving, and short, though without sounding too staccato. This line

should resonate with expressive emotion.

The first note in the right hand is a one-handed roll on a single note. Compared with a

roll between intervals of a fourth or fifth, this technique (one-hand roll on a single note) is

harder and requires stronger control and coordination of the hands. To make the right hand’s

position above the keyboard less awkward, the upper body should be turned to the left (facing

left) to accommodate it. The distance between the two mallets in the right hand should be

comfortable enough to make the hand rotate easily and keep in mind that one mallet can play

off-center and the other at the bottom edge of the bar. Additional practice advice for one-hand

rolls in general is discussed in Example 6.8. A demonstration of the body position for playing

a one-handed roll on a single note can be seen in Figure 6.11.

Figure 6. 11. The Body Position for Playing a One-Handed Roll on a Single Note.
 88

Example 6. 25. Concerto #2 for Marimba and Orchestra, Movement II, mm. 5-12,
The One-Handed Roll on an Octave.

In Example 6.25, the right hand presents the second part of theme I (including the

one-handed roll on an octave) while being accompanied by the left hand’s descending line in

octaves. In measures 10 and 11, the arpeggio chords should be rippled (as indicated by the

lines preceding them). In other words, they should be played open from the bottom note to the

top in a flowing succession of mallets 1, 2, 3, and 4. At the end of the section, the left hand

plays an ascending D major scale in octaves, so the wrist and striking height of the mallets

must be kept low and close to the bars. The right hand also plays in octaves, but it is rolling

independently. Again, refer to the practice advice for this technique in Example 6.8.

Example 6. 26. Concerto #2 for Marimba and Orchestra, Movement II, mm. 13-16,
Sticking Choices.
 89

There are two sticking choices for Example 6. 26. The entire melody can be played with

only the outside mallet (4) to keep the line smooth, but better flam will result if they are

played with mallet 3 on the grace note. The grace note should be played as openly as possible.

Example 6. 27. Concerto #2 for Marimba and Orchestra, Movement II, mm. 17-21,
Practice Advices on Octaves.

As directed by the “poco meno mosso,” this section (Example 6.27) should begin

slightly slower than the previous measure. As indicated in the music, maintain crescendo and

accelerando in mm. 18-19, then gradually slow down in measure 19. The practice focus

should be on octaves in both hands simultaneously and the single-handed roll. Remember not

to accent the one-handed roll in the right hand.

Example 6. 28. Concerto #2 for Marimba and Orchestra, Movement II, mm. 22-25,
Performance Styles.
 90

There are three voices in the section (Example 6. 28). The right hand contains two voices.

Throughout the section, Rosauro indicates accents on the principal melody (main voice),

followed by the answer in the rest of the notes. The answering notes should be played more

softly to make the distinct volumes between the question and answer voices. The left hand’s

accompaniment is an outside lateral stroke as mentioned before. Keep the accompaniment soft

enough to support the melody line.

Example 6. 29. Concerto #2 for Marimba and Orchestra, Movement II, mm. 231-235,
Rolling Styles.

In Example 6.29, both hands are rolling in octaves. The double lateral roll (explained in

the previous section) is preferred by Rosauro in the section for its sound quality. If both hands

are playing independent one-handed rolls, it will be too romantic, losing the quiet and

peaceful moods to the end.

 91

Example 6. 30. Concerto#2 for Marimba and Orchestra, Movement III, mm. 18-22,
Outside Lateral Strokes in Small Intervals.

This section is difficult because it requires rapid outside double lateral strokes in small

intervals. Generally speaking, the most comfortable and controllable interval is a fourth or

fifth. Playing at the interval of a second requires stronger control of hands and finer wrist

motions. To practice this, the player should play any four successive notes, such as C, D, E, F,

with mallets 1, 2, 3, and 4, respectively, and slightly turn both hands to the position that is

demonstrated in Figure 6.12. In this position, practice every possible permutation order of the

four mallets (such as 1234, 4312, or 2134).This will gradually improve the technique required

by this section.

Figure 6. 12. The Hand Positions for Playing the Outside Lateral Strokes in
Small Intervals.
 92

Example 6. 31. Concerto #2 for Marimba and Orchestra, Movement III, Cadenza (I),
The Use of the Rattan Shaft Playing on the Edge of the Bar.

The balaphone is the ancestor of the marimba from Africa. Rosauro specifies using the

rattan mallet shafts to play on the edge of the bar to imitate the sound of the balaphone. He

also suggests that this section should be played with a “flam” effect to enhance the balaphone

concept. The best place along the rattan shaft with which to strike the bar is the top, close to

the head of mallet. This area has the most weight and can make the best sound (Figure 6.13).

Figure 6. 13. The Striking Spot for the Rattan Shaft Playing on the edge of the Bar.
 93

Crucial in this section is the position of the body, for playing on the edge of the bars

requires a modified stance. Rosauro suggests a Tai-Chi influenced position to maintain the

most natural and comfortable posture. The key to this posture is keeping the spine as straight

as possible throughout. Begin by stepping and stretching the right leg while bending the left

and putting most of the body’s weight on the left leg. This posture will not only make the

player more comfortable, but also lower the body slightly, which makes playing on the edges

easier (Figure 6.14).

Figure 6. 14. The Tai-Chi Influenced Body Position.

At the end of the cadenza, the soloist plays a roll with rattan in the left hand playing on

the edge, while the right hand shifts back to the use of both mallet heads playing a one-handed

roll on the bar (Figure 6.15). Slightly turn the upper body toward to the left (facing left) in

order to reach this position easier.

 94

Figure 6. 15. The Mallet and Hand Positions for playing a Roll with Rattan and the

Mallet Heads Together.

Example 6. 32. Concerto #2 for Marimba and Orchestra, Movement III, Cadenza (II),
Performance Style.

This section of the cadenza is a nod to Keiko Abe to whom the concerto is dedicated, and

Rosauro quotes one of her works, Dream of the Cherry Blossom. The first two measures

should be approached as a dream evolving into the real world, lightly making a crescendo to

this new reality.

 CHAPTER 7

CONCLUSION

Ney Rosauro has gained worldwide recognition and admiration for his percussion

compositions, especially his contributions to the genre of solo percussion and the percussion

concerto. His two marimba concerti remain among the most popular solo concertos written

for marimba. The first concerto is performed more frequently than any other concerto for

marimba and orchestra, according to its distributor Mallet Works Music.

The concertos succeed in both the professional and educational realms, since they were

written by a renowned performer as a means of developing certain technical and musical

aspects of his own playing. The range of techniques required throughout Rosauro’s concertos

is wide and demanding. Intricate left-hand ostinato, a variety of rolling techniques from

double-lateral rolls to one-handed rolls, Moeller’s stroke sections, polyrhythmic passages,

fugal sections, and virtuosic cadenzas all contribute to the technical difficulty of the two

concertos. This display is one of the reasons the concertos continue to be popular and

frequently played pieces. In this professional realm of performance, Rosauro has helped

identify the marimba as a classical solo instrument within the orchestra and has helped to

further the progress in creating a substantial piece of solo concerto literature for percussionists,

a genre typically dominated by the piano, violin, and other more traditional orchestral

instruments. He has thoroughly explored the possibilities of dialogue between the warm,

resonant marimba and the full orchestra accompaniment.

The musical idioms encountered in the two concerti represent a wonderful array of

cultural and classical influences including: the instrument’s roots in Africa, Rosauro’s

personal musical and rhythmic influences in Brazil, compositional influences of the Baroque

95
and Classical periods, melodic and modal harmonic influences of jazz, and numerous other

sources of inspiration. Rosauro has successfully combined a variety of styles in such a way

that produces rich concertos that can even educate listeners in addition to the performer. Both

can hear elements of multiple cultures from the streets of Brasilia to the jazz clubs of New

Orleans, along with the classical idioms from Western Europe.

The practice guide is perhaps the most useful portion of this paper, for it addresses

many issues students and performers may not understand or may not practice properly. It

provides a step-by-step breakdown of almost thirty sections throughout the two concerti,

describing techniques and problems and how to overcome them and play the music well.

Additionally, some of it represents the composer’s opinions and intents for certain sections, a

vital asset directly from Rosauro himself. In many performances this aspect is lost simply

because it may not be feasible to gather such information. It is the intention of this author that

the study guides accompany the player throughout the process of preparing one or both of the

concerti for performance. Such guidance, paired with the player’s own personal interpretation

when preparing the pieces, will ideally result in a more successful performance.

96
 97

BIBLIOGRAPHY

Blades, James. Percussion Instruments and Their History. Revised edition. London:
Faber and Faber Limited, 1960.

___________. “Timpani.” Grove Dictionary Line, ed. L. Macy (Accessed 3 December

2004), http://www.grovemusic.com..

___________. “The Marimba.” In The New Grove Dictionary of Music and

Musicians, ed. Stanley Sadie, vol.13, 629-631. London: Macmillan, 2001.

Bowles, Edmund. “The Kettledrum.” In Encyclopedia of Percussion, ed. John

H. Beck, 201-226. New York: Garland, 1995.

Cook, Gary. Teaching Percussion. New York: Schirmer Books, 1997.

Hutchings, Arthur. “Concerto.” In The New Grove Dictionary of Music and

Musicians, ed. Stanley Sadie, vol. 3, 626-640. London: Macmillan, 2001.

Jacobsen, Stig. (1983) Program notes for Darius Milhaud’s Concerto for
Percussion and Orchestra. Rainer Kuisma, Percussionist; Norrkopking Symphony
Orchestra; Jorma Panula and Gustaf Sjokvist, conductors. BIS CD-149, 1983.
Compact disc.

Kastner, J. G. Methode de Timbales . Paris: Schlesinger,1845.

Lambert, James. “An Interview with Brazilian Percussionist and Composer Ney
Rosauro.” Percussive Notes 35, no.1 (February 1997): 41-43.

_____. “Selected Reviews of New Percussion Literature and Recordings: Key

Board Percussion Solos-‘Prelude and Blues’ by Ney Rosauro.” Percussive Notes 34,
no.2 (April 1996): 74.
 98

Mallet Works Rental Department. ”Report in Rentals of Scores.” NY: Unpublished

Document, 2004.

Rosauro, Ney. Ney Rosauro: Percussionist, Composer, Educator. 2002. [on-line]

available from http://www.neyrosauro.com; Internet, accessed 22 February 20.

Rosauro, Ney. Complete Method for Snare Drum. Brazil: Propercussa.1989.

______. Beginning Exercises and Studies for 2 Mallets. Brazil: Propercussa.1991.

______. Vibes Etudes and Songs. Brazil: Propercussa.1995.

______. “Crossing Grip Extensions.” Percussive Notes 32, (February 1998): 65-67.

Stevens, Denis. “Fantasia” In The New Harvard Dictionary of Music and Musicians,
ed. Don Michael Randel (Cambridge: The Belknap Press of Harvard University
Press, 1996), 299-301.

Stevens, Leigh Howard. Method of Movement for Marimba. 3rd. ed. New Jersey:
Keyboard Percussion Publications, 1993.

________. “Four-Mallet Grip Needed.” Marimba Perspectives,(June 1985):30-31.

Viecenz, Herbert “Concerto.” In The New Harvard Dictionary of Music, ed. Don
Michael Randel (Cambridge: The Belknap Press of Harvard University
Press, 1996), 902-906.

Weiss, Lauren Vogel. “Ney Rosauro: Composer and Percussionist.” Percussive Notes
37, no.5 (October 1999):59-60.

Zarro, Domenico Equilio. “Ney Rosauro: A Comprehensive Video and Reference

Study Guide on the Composer and His Marimba Concerto.” DMA Dissertation.,
Columbia University Teachers College, 2000.

__________. “Ney Rosauro’s Concerto for Marimba and Orchestra.” Percussive

Notes 56, (October 1999): 79-82.
 99

DISCOGRAPHY

Rosauro, Ney. “Concerto for Marimba and Orchestra,” On Ney Rosauro in Concert. Ney
Rosauro, marimba, Orquestra Unisinos; Jose Pedro Boessio, conductor. Pro Percussão
CD-03, 1998. Compact disc.

Rosauro, Ney. “Concerto for Marimba and String Orchestra,” On Evelyn Glennie in
Rio. Evelyn Glennie, marimba, London Symphony Orchestra; Barry Wordsworth,
conductor. London/ Decca 071 221-1, 1991. Videocassette.

Rosauro, Ney. “Concerto for Marimba and Wind Ensemble,” On Symphony from Ivy
Green. Ney Rosauro, marimba, University of Miami Wind Ensemble; Gary Green,
conductor. Albany Records TROY 524, 2003. Compact disc.

Rosauro, Ney. “Concerto for Marimba and Percussion Ensemble,” On Grupo de

Percussão da Universidade Federal de Santa Maria. Ney Rosauro, marimba,
percussion Ensemble of University of Federal in Santa Maria. Solo Discos CD
11S-009, 1995. Compact disc.
 VITA

Wan-Chun Liao was born in Taiwan and graduated from the National Taiwan

Normal University. She received a Master of Arts in Music degree from the Ohio

University School of Music in 1998 and she is currently pursuing a doctorate as a teaching

assistant under Dr. Ney Rosauro at the University of Miami. Liao’s teachers have included

Ney Rosauro, Guy Remonko, Kuang-Yuan Kao, and Tzong-Chin Ju.

Wan-Chun Liao won the first prize of the 2004 University of Miami Concerto

Competition and performed Keiko Abe’s Marimba concerto “Prism Rhapsody” with the

University of Miami Symphonic Orchestra. In 2004, she has performed David Maslanka’s

Marimba Concerto with the University of Miami Wind Ensemble in February. Also she is

the winner of the 1997 Ohio University Concerto Competition and has performed with the

Ohio University Orchestra.

Liao’s professional performing experience includes work as a percussionist with the

Taipei Ju Percussion Group (JPG), one of Taiwan’s premiere performing ensembles.

During these years with JPG, she has performed in more than 700 concerts in Asia,

Europe and the United States. In addition, she has taught percussion and directed

percussion ensembles at University of Miami, Ohio University, National Taipei University

of Arts, and the Tai-Chung Normal University. In 2002, she was the assistant director of

the University of Miami Percussion Ensemble which performed in the 2002 Percussive

Arts Society International Convention. In 2005, Liao is the assistant director of a new CD

“Reflection and Dreams” which is published by University of Miami and Performed by

Ney Rosauro and UM Percussion Ensemble.

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