Time For Marimba Analyze PDF

ACOMPARATIVEANALYSISOFMINORUMIKISTIMEFORMARIMBAAND
CONCERTOFORMARIMBAANDORCHESTRA
BrianEdwardZator,B.M.E.,M.M.
DissertationPreparedfortheDegreeof
DOCTOROFMUSICALARTS
UNIVERSITYOFNORTHTEXAS

December2008
APPROVED:

MarkFord,MajorProfessor
DarhylRamsey,MinorProfessor
GrahamPhipps,CommitteeMemberandDirector
ofGraduateStudiesintheCollegeof
Music
TerriSundberg,ChairoftheDivisionof
InstrumentalStudies
JamesC.Scott,DeanoftheCollegeofMusic
SandraL.Terrell,DeanoftheRobertB.Toulouse
SchoolofGraduateStudies
Zator,BrianEdward.AComparativeAnalysisofMinoruMikisTimeForMarimbaand
ConcertoforMarimbaandOrchestra.DoctorofMusicalArts(Performance),December2008,
73pp.,70musicalexamples,bibliography,22titles.
MinoruMikisfirsttwomarimbacompositions,TimeforMarimba(1968)andConcerto
forMarimbaandOrchestra(1969)werecomposedatarevolutionarytimeperiodforthe
marimba.Duetouniqueandinnovativecompositionaltechniques,Mikihelpedestablishthe
marimbaasatrueconcertinstrumentcapableofperformingmusicofthehighestquality.Asa
pioneerincomposingformarimbaliterature,Mikiwasabletocapturethetrueessenceofthe
marimba;atimelessqualitythathashelpedTimeforMarimbaremainapartofthestandard
solorepertoireforthepastfortyyears.
ThepurposeofthisstudyistoanalyzeandcompareMinoruMikiscompositions,Time
forMarimbaandConcertoforMarimbaandOrchestra.Composedwithinayearofeachother,
theseworkspossesssimilarcompositionaltechniques,andrhythmicandthematic
relationships.Thisthesisincludesaformalanalysisanddetailedcomparisonsofcompositional
techniquesusedinbothworks.Performanceconsiderations,abriefbiographicalsketchofMiki
andhistoricalsignificanceofTimeforMarimbaandConcertoforMarimbaandOrchestraare
alsoincluded.
Copyright2008
by
BrianEdwardZator
ii
ACKNOWLEDGMENTS
Iwanttoexpressmysincereappreciationandgratitudetomymajorprofessor,Mark
Ford,forhisdirectionandinsightthroughoutthisprojectandmyentiredoctorateprogram.
ThankyoualsotomyotherD.M.A.committeemembers,Dr.DarhylRamseyandDr.Graham
Phipps,fortheiradviceandassistance.
IwanttothankmycolleaguesatTexasA&MUniversityCommercefortheirsupportto
finishthisprojectandmyfriendsfortheirconstantmotivation.
MythanksgotoMinoruMikiforhiscandidthoughtsabouthismusicandthegiftofone
ofhismanuscriptscorestohisConcertoforMarimbaandOrchestra.IwanttothankLeifA.
DramstadatNorskMusikforlagandKuibongHanatOngakuNoTomoShaCorporationfor
permissiontouseexcerptsfromMikisConcertoforMarimbaandOrchestraandTimefor
Marimba.
Mostimportantly,Iwanttothankmyfamilyfortheirendlessloveandsupport.Thank
youtomyparentsfortheircontinuousgenerosityandfinally,Iwanttothankmywife,Trina,for
hersacrificesandencouragementthroughoutmypursuitofthedoctoratedegree.
iii
TABLEOFCONTENTS
Page
ACKNOWLEDGEMENTS...................................................................................................................iii
LISTOFFIGURES..............................................................................................................................vi
Chapter
1. SIGNIFICANCEOFMINORUMIKISTIMEFORMARIMBAAND
CONCERTOFORMARIMBAANDORCHESTRA .............................................................. 1
KeikoAbesEarlyContribution
MinoruMikisEarlyMarimbaWorks
StateofResearch
2.BACKGROUNDOFMINORUMIKISCAREER.................................................................. 6
3.FORMALANALYSISOFTIMEFORMARIMBAAND
CONCERTOFORMARIMBAANDORCHESTRA ............................................................ 10
TimeforMarimba
ConcertoforMarimbaandOrchestra
ConcertoforMarimbaandOrchestra,MovementI
ConcertoforMarimbaandOrchestra,MovementII
4.SIMILARCOMPOSITIONALTECHNIQUES .................................................................... 38
RhythmicRelationships
ThematicRelationships
IntervalExpansion
OctaveDisplacement
MultipleOctaves
5.PERFORMANCECONSIDERATIONS ............................................................................. 52
TimeforMarimba
Stickings
Rolls
Glisses
iv
Repetition
Stickings
6.CONCLUSION ............................................................................................................... 68
Summary
FurtherResearch
BIBLIOGRAPHY .............................................................................................................................. 72
LISTOFFIGURES
Allmusicexamplesarebeingusedbypermissionfromthesecopyrightholders:
*
1969OngakuNoTomoShaCorporation,Tokyo,Japan
1995/2006NorskMusikforlagA/S,Oslo,Norway
1969MinoruMiki,Komaeshi,Tokyo,Japan(manuscriptofthefullorchestrascore)
Page
1*
TimeforMarimba,m.1 .................................................................................................... 11
2*
TimeforMarimba,firstpartofm.3................................................................................. 11
3*
TimeforMarimba,lastpartofm.3 ................................................................................. 11
4*
TimeforMarimba,octavedisplacedportionofm.4....................................................... 12
5*
TimeforMarimba,mm.716............................................................................................ 13
6*
TimeforMarimba,m.22 .................................................................................................. 14
7*
TimeforMarimba,mm.2951(Bsection)formaloutline ............................................... 15
9*
10*
11*
TimeforMarimba,m.3739............................................................................................. 17
12*
TimeforMarimba,mm.4042.......................................................................................... 18
13*
14
ConcertoforMarimbaandOrchestra,Mvt.1formaloutline .......................................... 20
15
ConcertoforMarimbaandOrchestra,Mvt.1,mm.119................................................. 21
16
ConcertoforMarimbaandOrchestra,Mvt.1,portionofm.78...................................... 22
17
ConcertoforMarimbaandOrchestra,Mvt.1,m.7980.................................................. 23
18
ConcertoforMarimbaandOrchestra,Mvt.1,mm.97108............................................. 24
19
ConcertoforMarimbaandOrchestra,Mvt.1,mm.147148........................................... 25
vi
20
21
22
23
24
Miki,ConcertoforMarimbaandOrchestra,Mvt.2formaloutline ................................. 30
25
ConcertoforMarimbaandOrchestra,Mvt.2,mm.14................................................... 30
26
ConcertoforMarimbaandOrchestra,Mvt.2,mm.3237............................................... 31
27
28
29
ConcertoforMarimbaandOrchestra,Mvt.2,mm.123.................................................. 33
30
31
32
33
34*
TimeforMarimba,m.12................................................................................................. 39
35
ConcertoforMarimbaandOrchestra,Mvt.1,mm.78 .................................................... 39
36*
37
ConcertoforMarimbaandOrchestra,Mvt.2,mm.1 ...................................................... 40
38*
39
40*
TimeforMarimba,mm.29............................................................................................... 44
41*
42*
43*
vii
44
45
46
47
48*
49*
TimeforMarimba,m.4 .................................................................................................... 49
50
51*
52
53*
TimeforMarimba,portionofm.6................................................................................... 53
54*
55*
56*
57*
TimeforMarimba,portionofm.54................................................................................. 56
58*
TimeforMarimba,portionofm.6................................................................................... 57
59*
TimeforMarimba,portionofmm.2425 ........................................................................ 58
60*
TimeforMarimba,portionofm.22................................................................................. 58
61*
62
ConcertoforMarimbaandOrchestra,Mvt.1,portionofm.78...................................... 60
63
ConcertoforMarimbaandOrchestra,Mvt.1,mm.98103............................................. 61
64
65
66
ConcertoforMarimbaandOrchestra,Mvt.2,m.5 ......................................................... 63
67
ConcertoforMarimbaandOrchestra,Mvt.2,m.3839.................................................. 63
viii
68
ConcertoforMarimbaandOrchestra,Mvt.2,m.185187.............................................. 64
69
70
ix
CHAPTER1
SIGNIFICANCEOFMINORUMIKISTIMEFORMARIMBAAND
MinoruMikiisknowninthepercussionworldprimarilyfortwopieces,Marimba
SpiritualandTimeforMarimba.Whilebothworkshavebeenperformedaroundtheworldand
releasedonoveradozenalbums,thelatterpiecewaspartofarevolutionarytimeperiodfor
themarimba.TimeforMarimbawascomposedin1968forKeikoAbesfirstgroundbreaking
marimbarecitalandhelpedtoexpandthetechnicalandmusicalgamutofmarimba
performance.Mikissolowasvisionaryinscopeandwasoneofthefirstcontemporary
marimbasolosofitskind.Mikiwrotewithauniquestyleincorporatingrevolutionaryconcepts
thatgavethemarimbaitsownvoice.OverthepastfortyyearssinceTimeforMarimbawas
composed,thisworkremainsapartofthestandardmarimbasololiteratureandisplayed
aroundtheworld.
KeikoAbesEarlyContribution
Inthe1960s,JapanesemarimbistKeikoAbechampionedanewwaveofmarimbamusic
throughhercommissionsandperformances.Fromthe1930stothe1960s,mostsoloand
ensemblemarimbaconcertsincludedtranscriptionsandarrangementsofclassicalmusicas
therewasonlyasmallselectionoforiginalpieceswrittenforthemarimba.Abewasadriving
forcefornewmarimbamusicandcommissionedJapanesecomposerstowritenewworksfor
her.Shealsoorganizedsoloandchamberperformancesthatbroughtexposuretothemarimba
andthesenewlycommissionedworks.In1968,shebecamethefirstpersontoperforma
marimbaconcertconsistingofworkswrittenspecificallyforsolomarimbaorchamberworks
withmarimba.
OnOctober4th,1968,Abeperformedthefirstofthreegroundbreakingmarimba
recitalsentitled,AnEveningofMarimba:InSearchofOriginalWorksforMarimbainIinoHall
inTokyo,Japan.1Thefirstrecitalwonthe1968PrizeforExcellenceawardattheJapanFine
ArtsFestivalcompetition.2Fouroutofthesixworksfromthisconcertremainpartofthe
standardmarimbarepertoire:TimeforMarimbabyMinoruMiki,TorseIIIbyAkiraMiyoshi,
DivertimentoforMarimbaandAltoSaxophonebyAkiraYuyama,andTwoMovementsfor
MarimbabyToshimitsuTanaka.Theseworksexploredthevastsoundcapabilitiesofthe
marimbaandavoidedcharacteristicsofpreviousmarimbaworksthatreliedonxylophone
techniques.Thexylophonecompositionaltechniquesincludedfasttwomalletplayingand
closedchordvoicings.Inaddition,allfouroftheseaboveworksutilizeadvancedfourmallet
techniques,avarietyofchordvoicingsandcolors,andthefullrangeofthemarimba.
KeikoAbesaysthethreecornerstonesofJapanesemarimbamusicincludeTimefor
Marimba(1968),TorseIII(1968)andMirage(1971)byYasuoSueyoshi.3Eachofthesethree
worksisconstructeddifferentlyyetisidiomaticallycomfortableonthemarimba.Theypossess
strongmusicalqualitiesthatmakegreatmusicintermsoforiginality,thematicdevelopment
andstructure.
RebeccaKite,KeikoAbe:AVirtuosic(sic)Life(Leesburg,VA:GPPercussion,2006),57.
Ibid.,58.
KeikoAbe,privatelessonsbyauthor,October1998May1999,Tokyo,Japan.
MinoruMikisEarlyMarimbaWorks
CommissionedbyAbeforherfirstclassicalmarimbarecital,Time4wasoneofthefirst
Japanesemarimbasoloswritteninacontemporarystyle.AberecordedTimeinthelate1960s,
alongwithseveralotherpiecesforColumbiaRecords.Eventually,Timebecame,andstillis,one
ofthemostpopularsolosperformedonstudentandprofessionalmarimbarecitalsaroundthe
world.
ThroughthesuccessofKeikoAbesperformances,Mikismarimbasolo,Timefor
Marimba,andthecloseworkingrelationshipbetweentheperformerandcomposer,Abeand
TheNihonColumbiaRecordCompany(NHK)commissionedMikitowriteamarimbaconcerto.
Atfirstreluctant,MikifinallyagreedandcomposedConcertoforMarimbaandOrchestrain
1969.ThepiecewaspremieredonAugust4th,1969,byAbeandTheJapanPhilharmonic
SymphonyOrchestrainTokyo,Japan,conductedbyHiroshiWakasugi.Theconcertowaslater
recordedandreleasedwithothermarimbaworksperformedbyAbe.Abestriplealbumtitled
SoloMarimbaSelections,wonaPrizeforExcellenceawardinthe1969JapanFineArtsFestival.
WorksonthiscollectionincludedTimeforMarimba,ConcertoforMarimbaandOrchestraand
otherpiecespremieredonAbesclassicalrecitals.5
IncomparisonwithTime,MikisConcertoforMarimbaandOrchestraisrarelyplayed
eventhoughitshowsmanyofthesamecompositionaltraitsandtechnicaldemandsforthe
marimbist.Agoalofthispaperistobringexposuretotheconcertothroughaperformanceand
MinoruMikiswork,TimeforMarimba,isoftenreferredtoasmerelyTime.
Kite,58.
comparativeanalysisofbothworks.Timeandtheconcertohavemanycompositional
similaritiesthathelpbringvalidityanddistinctiontobothpieces.
StateofResearch
TwoseparatearticlesthatincludedescriptionsandananalysisofTimeforMarimba
havebeenpublishedinPercussiveNotesandPercussionist,periodicalspublishedbythe
PercussiveArtsSociety(PAS).Thesearticles,TimeforMarimba:AnAnalysis6byGregMurray,
andMikisTimeforMarimba7byPaulCampiglia,provideatwelvetoneanalysisofTime.
Miki,however,didnotcomposeTimewithatwelvetone,serialistplaninmind.Mikistates,
Eveninthisyear(2008),Ididntthinkofthepiecein12toneseriesmethod.Iamalways
singingwhenIcomposepreciseinstrumentalandorchestraworks.Specially(sic)forthispiece,I
wasveryfreetofindoutnextnote,andneverbindedbythetheory.Alwaysimprovisation.8
SinceneithertheConcertoforMarimbanorTimewaswrittenwithaserialistmethod,the
authorhasincludedaformalanalysisinthispaper.
RebeccaKitehasadescriptionofTimeforMarimbainherbook,KeikoAbe:AVirtuosic
(sic)LifeHerMusicalCareerandtheEvolutionoftheConcertMarimba(2007),publishedby
GPPercussion.Shementionstheimprovisatorystyleoftheworkbutlacksextensiveanalytical
detail.
MinoruMikisConcertoforMarimbaandOrchestrahasreceivedlessattentionthan
Time.M.ChristineConklinbrieflydiscussestheconcertoinherdissertationandKitemerely
GregMurray,TimeforMarimba:AnAnalysisPercussionist16(No.2,1979):6572.
PaulCampiglia,MikisTimeforMarimbaPercussiveNotes(February1996):3538.
MinoruMiki,interviewbyauthor,23April2008,Commerce,TX,electronicmail.
referencesthisworkincontextofthemanyotherpieceswrittenforAbe.Theconcertowas
publishedin1995byNorskMusikforlag,sixteenyearsafteritwascomposed.However,the
pianoaccompanimentwasnotconducivetoperformance.Thepianoaccompanimentscore
wasnotapianoreductionoftheorchestralmusic;rather,everynotefromtheorchestrawas
includedinthepianoscore.Therefore,muchofthemusichadtoomanynotesforthepianist
toplayandthedecisionsofwhichnotestoplaywasuptothepianist.In2006,arevisededition
wasreleasedwithanewpianoreductionwrittenbyHirohisaAkigishiandNatsukoTogawa.
Sincetherehasbeen,todate,verylittleformalresearchonMikisfirsttwolandmark
marimbapieces,theauthorhopestobringnewawarenesstothem.Throughaformalanalysis
ofeachwork,identificationofsimilarthematicandcompositionaltechniques,andhelpful
performanceconsiderations,performersandeducatorswillunderstandandinterpretMinoru
Mikismarimbaworksbetter.
CHAPTER2
BACKGROUNDOFMINORUMIKISCAREER
MinrouMikiwasbornonMarch16,1930intheAkuichodistrictofTokushimaCity,
Japan.Althoughmusicwasnotplayedinhischildhoodhome,Mikieventuallytookupchoirin
highschoolandattendedtheTokyoNationalUniversityofFineArtsandMusic.Hestudiedwith
TomojiroIkenouchiandAkiraIfukubeandgraduatedwithacompositiondegreein1955.While
stillastudent,MikiwonsecondprizeintheNHK(NipponHosoKyokaiorJapanBroadcasting
Corporation)orchestracompositioncontestin1953withhisfirstmajorwork,TrinitaSinfonica.
ThispiecewaspremieredbytheNHKSymphonyOrchestrainTokyo,Japanandconductedby
KurtWessthefollowingyear.9
Aftergraduation,MikicomposedmusicforTV,moviesandchoirstomakealivingforhis
family.HisdesiretocomposeforlargerworksledhimtowriteandrecordKurudando(1963),a
cantatafortraditionalJapaneseinstrumentsandmixedchorus.Theinstrumentalistsfromthis
performanceservedasthenucleusin1964toformanewensemble,ProMusicaNipponia,with
Mikiservingaschairmanandprimarycomposer.KurudandoandProMusicaNipponia
establishedthefoundationforMikisproductivecareer.Mikihassincecomposed33worksfor
ProMusicaNipponiaandorganizedtoursandconcertsaroundtheworldincludingtheUnited
States,Europe,JapanandotherpartsofAsia.OneofMikisproudestmomentswiththis
ensemblewasin1984whentheJapaneseinstrumentalistsofProMusicaNipponiaandthe
GewandhausOrchestra,underthedirectionofKurtMasur,performedKyunoKyoki(Symphony
MinoruMiki,TheWorksofMinoruMiki(Tokyo:Karkusha,1994),67.
forTwoWorlds)inLeipzig,Germany.10TheNewYorkPhilharmonicOrchestra,underMasurs
baton,andProMusicaNipponiagaveKyunoKyokisU.S.premierein1994.11InadditiontoKyu
noKyokiandProMusicaNipponia,MikihasfocusedmuchofhiscareertocombineJapanese
culturewithAsianandwesterninfluencesthroughhisworksandvariousensembleshehas
organized.
MikifoundedandcomposedmusicfortheYuiEnsemblein1990,achambergroup
playingAsianandwesterninstruments.In1993,MikiorganizedOrchestraAsiathatused
traditionalinstrumentsfromJapan,ChinaandKorea.In2003,Mikifoundedasmallchamber
group,theAsiaEnsemble,withinstrumentalistsfromdifferentpartsofAsia.
MinoruMikialsocombinedJapanesecultureandwesternartmusicwithhiseightfull
lengthoperastracing1,500yearsofJapanesehistory.Thefirstoperainthisseries,ShunkinSho
(1975),wontheGiraudOperaPrize.Producedfouryearslaterin1979,AnActorsRevenge
premieredintheEnglishMusicTheatreinLondon.AftertheU.S.premiereinSt.Louis,Missouri
onJune11,1981,FrankPetersfromtheSt.LouisPostDispatchreviewedAnActorsRevenge
saying,
Acompletelysuccessful,engrossinglyricdrama.Itsimpactwasimmediate,its
intelligibilityalmosttotal.Youdon'tneedtoknowanythingaboutJapanesetheater...to
becaughtupimmediatelyinthewonderfulsightsandsoundsof"Revenge,''andtobe
moveddeeplybyit.Everythingworked.Miki'smusicwasakindofsheerbutcolorful
fabric...artfullyvariedinrhythmsandtexture.12
10
Ibid.,2223.
11
JocelynClark,CrossSound(Accessed22April2008);
http://crosssound.com/CS01/people2001/composers2001/redcompdwn.html;Internet.
12
MinoruMiki,MinoruMiki:MarimbaandPercussionMusic(Accessed2January2008);
http://www2u.biglobe.ne.jp/~mmiki/en/publish/Marimba.html;Internet.
TheTaleofGenji(2000)andAien(2006)arethefinaltwooperasintheseriesandwere
premieredbytheOperaTheatreofSt.LouisandNewNationalTheatreofJapan,respectively.13
ManyofMikisworks,includinghisorchestralpieces,focusondifferentmusicalcultures
andlesserknowninstruments.SeveralexamplesincludeSymphonyfromLife,commissionedin
1980bytheKyotoSymphonyOrchestra,AWA(our)Rhapsody,commissionedin1987byThe
JapanPhilharmonicSymphonyOrchestra,BeijingRequiem(1990),andMAIforOrchestra
(1992).Mikiseffortshavealsobroughtexposuretoinstrumentsandtheirvirtuosoperformers.
In1996,MikiwrotehisPipaConcertoforYangJing,ayoungpipaartistfromChina.(Apipais
lutelikeinstrumentwithfourstringsandapearshapedsoundbox.)MikialsohadJingplaya
prominentsoloroleinhisseventhopera,TheTaleofGenji(1999).Jinghassincewonseveral
awardsandpraisesforherperformancesofMikisworks.Thekoto(alongzitherlike
instrumentwith13,20or21strings)gainedsuccessanddevelopmentthroughtheeffortsof
MikiandKeikoNosakabeginningin1969.Originallya13stringedinstrument,MikiandNosaka
designeda20and21stringedinstrumenttofurtherenhancethewarmthofthelowsounds
andclarityoftheuppersection.AthirdvirtuosoperformerMikiworkedwithwasKeikoAbe.
Aspreviouslystated,andpertinenttothispaper,AbeandMikiworkedtogethertobuildthe
repertoireandcapabilitiesofmarimbaperformance.
Mikihasbeensuccessfulinmanydifferentgenresandhasbeenhonoredwithseveral
awardsthroughouthiscareer.In1970,hisalbum,TheMusicofMinoruMikiperformedbyPro
MusicaNipponia,wontheGrandPrizeinJapansNationalArtsFestival.Inthe1979festival,he
wonthePrizeofExcellenceforhisfourrecordalbumMinoruMikiKeikoNosaka:Musicfor20
13
Ibid.
stringKoto.Hisfolkopera,TheMonkeyPoet,wonthe1990JapanGovernmentPrizeandhas
beenperformedonmorethan260stages.Forhisgeneralworkasacomposerandartistic
director,hewasawardedtheCulturalPrizeofTokushimaPrefecturein1991,anhonorable
PurpleRibbonMedalin1994(ahighprofileawardfromthegovernmentinthefieldofarts,
academicsorsports),andtheOrderoftheRisingSunin2000(thesecondhighestawardgiven
bytheJapanesegovernmentforexceptionalcivilormilitarymerit).14
WhileMikihascomposedinmanygenres,percussionhasbeenalargepartofhis
compositionaloutput.InadditiontoTimeforMarimba,ConcertoforMarimbaandOrchestra,
MarimbaSpiritual,andZConcerto(apercussionduetconcerto),Mikihasseveralpercussion
ensemblesandchamberworksthatutilizepercussionandmarimba.Hismostrecent
percussionensemblework,ZConversion(2005),wasgivenitsUnitedStatespremiereatthe
PercussiveArtsSocietyInternationalConventioninAustin,Texasin2006,andlaterrecordedby
theTexasA&MUniversityCommercepercussionensemble.Threeotherworks,Dotoh(1967),
KinchoDaiko(1991),andYoshitsuneDaiko(1991)werealsopremieredandrecordedduringthe
sametimeperiod.OtherchamberworkswithmarimbaincludeSohmonIII(1988)formarimba,
soprano,andpiano,MarimDanDan(2000)formarimbaandtwopercussionists,andEastArc
(2001)formarimba,violin,celloandpipa.
AlthoughthischapterdoesnotlisteveryworkMikihascomposed,itgivesanoverall
portrayalofhisimmenseandvariedoutput.Hehascomposedover200worksinmany
differentgenresandinstrumentcombinationsandhasworkeddiligentlytobringJapanese
culturetopeopleallacrosstheworldthroughhismusic.
14
Ibid.
CHAPTER3
FORMALANALYSISOFTIMEFORMARIMBAAND
MinoruMikisfirsttwomarimbacompositions,Timein1968andConcertoforMarimba
in1969,arethroughcomposedworksthatusethematicmanipulationandseamlessintegration
ofmultipletimbresandcolors.Thischapterwillfocusontheformalstructureofbothworks
regardingtheuseofthemes,tonalareasandform.
TimeforMarimba
MinoruMikismarimbasolo,TimeforMarimba,consistsoftwocontrastingsections
developedthroughtranspositions,repetitionandoctavedisplacement.TimeisorganizedasA
ABcoda.WhiletheAsectionsrelyprimarilyonrhythmicandmotivicmanipulation,the
melodicBsectionisathemeandvariations.Mikistates,Thegeneralatmospherethroughthe
workshouldbeveryfree,almostlikeanimprovisation.15Mikicreatesthisatmosphere
throughconstantrhythmchanges,ritardandos,accelerandos,andvirtuosotechniquesto
capitalizeonthevastsoundcapabilitiesofthemarimba.
TheAsectionsarebasedentirelyonthefirstsixnotesofthepiece,(C,B,Eb,G,E,Ab).
Havingasixnotemotiveplayedinquintupletrhythmicgroupingsobscurestheprimarypulsein
thebeginningofthework.(SeeFigure1.Sixnotemotivedenotedbyverticallines.)
15
Miki,website(Accessed4January2008).
10
Figure1*:TimeforMarimba,m.1.
Thesixnotemotiveisadjustedrhythmicallythroughtheuseofquintupletsand
sextuplets,asseeninFigure1,tocreateafreeandimprovisatoryatmosphere.Measure3has
theoriginalmotivestartingonF#3whichservesasadominantlikearrivalpoint,(seeFigure2).
Figure2*:TimeforMarimba,firstpartofm.3.
Beforethereturnoftheopeningstatementinm.4,Mikiusesbothsixnotesets
(startingonCandF#)simultaneouslywiththemotiveonCplayedbythelefthandandtheF#
motiveplayedbytherighthand.(SeeFigure3.CmotivelabeledabovethestaffandtheF#
motivelabeledbelowthestaff.Bracketsdenotecombined12notemotive.)
Figure3*:TimeforMarimba,lastpartofm.3.
11
Thecombinedtwelvenotemotiveisplayedfivetimesbeforethereleaseinthethirdsystem,
thesamenumberoftimestheprevioussixnotemotiveswereplayed.
InadditiontothemotivebeingtransposedfromCtoF#,Mikiusesoctavedisplacement
ofthesixnotemotiveinm.4toprovidecontrastandanimprovisatorycharacterwithlarge
leapsandawiderplayingrange.Octavedisplacementplacesthemotivenotesindifferent
octaveswhilemaintainingthesameorder(C,B,Eb,G,E,Ab).(SeeFigure4.Sixnotemotive
denotedbybrackets.)
Figure4*:TimeforMarimba,octavedisplacedportionofm.4.
AfterMikirepeatstheF#motivethroughadditionaloctavedisplacements,theclimaxof
theAsectionarrivesinthemiddleofmeasuresixonafffC3.ThentheoriginalmotiveinCis
playedsoftlywithrollsfollowedbythemotiveinDbandF#thatbringstheAsectiontoaclose
(seeFigure5).
12
Figure5*:TimeforMarimba,mm.716.
Measures1720oftheAsectionrepeatthesamenotesfrommm.15oftheAsection
usingdifferentdynamics.Forexample,theAsectionbeginsatpwithasubitomftowards
theendofthem.17.ThebeginningoftheAsection,however,beginsatpppwithasubito
mpdynamictowardstheendofm.1.AkeydifferencebetweentheAandAsectionoccurs
atm.21comparedtotheparallelsectionatm.6.TheAsectionusesmultipletranspositionsof
thesixnotemotivewhiletheAsectionusesthemotiveonF#andC.Additionally,app
dynamicisusedinm.21helpingtheaccelerandoandcrescendoleadtothepeakoftheA
sectionatm.22.Thisapexoccursintheupperregisterofthemarimbawithloudrollsstating
13
thesixnotemotivestartingonC#.ThismomentprovidesaninterestingcontrasttotheA
sectionpeakbecauseofthedifferenttessituraanduseofthe6notemotive.(seeFigure6).
Transitionalmaterialinmm.2328introducesthefirstpartoftheBsectiontheme.The
transitionendswithaninconclusivetritoneresolutiononBandF.Thisgivesthefeelingofa
dominantchordresolvingintothedownbeatofm.29,thestartoftheBsection.
TheBsectionisbasedonnewthematicmaterialbutmaintainsanimprovisatory
character.Eventhoughthissectionutilizessteadierrhythmsandalyricalmelody,theBsection
usescompositionaltechniquessimilartothoseintheAsectionincludingtranspositionsand
octavedisplacementpassages.Themelody,denotedbythemfnotesinFigure7,servesas
thefoundationtotheBsection.
14
AsstatedinPaulCampigliasarticle,theBsectionisathemeandvariations.16Counting
onlyfullstatements,theauthorcontendstheBsectionhastheoriginalthemeandeight
variationsratherthansixvariationsdiscussedbyCampiglia(seeFigure8).
Material
Theme
Variation1
Variation2
Variation3
Variation4
Variation5
Variation6
Incomplete
Variation
Variation7
Transition
Variation8
Meas.#
ThematicVariation
29
Themepresented.Startswitha
minorsecondinterval
30
Themeexpandedtostartwith
amajorsecondinterval
31
aminorthirdinterval
32
amajorthirdinterval
33
Themeinlefthand
34
Themeinuppernoteofright
hand
35
Themepresentedwithoctave
displacementanddifferent
rhythms
35
ThemetransposedtoEband
augmentedrhythm;more
lyricalandconnected
3738 ThemetransposedtoAand
augmentedrhythm;more
lyricalandconnected
39
Materialborrowedfromm.23
4051 Themepresentedinmultiple
octaverolls
Miscellaneous
Bassnote:C
Bassnote:C#
Bassnote:D
Bassnote:Eb
Harmonyinrighthand
Addedperfectfourthinterval
belowtheme,harmonyinlefthand
Onlypartialstatement;Has
underlyingostinatopattern.
Continuesunderlyingostinato
pattern.Meas.38doesnothave
ostinato
Meas.4651completesthemelody
lineintopvoice
Figure8:TimeforMarimba,mm.2951(Bsection)formaloutline.
Aftertheprimarythemeisstatedinm.29,variationsone,twoandthreekeepthesame
rhythms,butuseintervalexpansiontocreatelargerleapsandincreasetheenergy.Ashort
transitionseamlesslyleadsintovariationfourinm.33seeninFigure9.Themelodyisheardin
thelefthandwhiletherightprovidesharmonicaccompaniment.
16
Campiglia,p.37.
15
Variationfivehasthesamerhythmsasvariationfour,butthemelodyand
accompanimentarereversed;themelodyisintherighthandandtheharmonic
accompanimentisinthelefthand.Variationsixpresentsthesamenotesoftheprimarytheme
butinauniqueandvirtuosofashion.ThisonemeasureexemplifiesMikisattempttocreatean
improvisationalcharacter.Eventhoughthenotenamesarerepeatedexactly,thenotesare
displacedinmanydifferentoctaveswithdifferentrhythms(seeFigure10).
Notcountingthelastsixnotesofthismeasure,thethemeispresentednotebynote(F,E,F#,F,
G,F#,F,E,F#,F,G,Eb,etc.).Interestingly,therhythmsinm.35relatetotheprimarythemein
16
regardstophrasingandgroupings.17Whentheprimarythemehasagroupofthreenotes,m.
35hasatripletrhythm.Agroupofmorethanthreenotesinthethemehavesixteenthnotesin
m.35.Additionally,theaccentednotesinm.33areplacedonstrongbeatsorplayedaseighth
notesthroughmostofm.35.Thelastsixnotesofm.35serveasatransitionintotheostinato
accompanimentofvariationseven.
Variationsevencombinesanostinatobasslinewiththethemeemphasizedabove.
Measure36hasanincompletestatementstartingonEbwhilethecompletemelodyisstatedin
mm.3739(seeFigure11).
Theostinatolinestopsattheendofm.37,butthethemeiscompletedinm.38withunison
notesandalternatingoctaves.Asuddendynamicchangeandloudclimaxinm.39leadinto
variationeight,labeledGrave.
17
Thecomparisonbecomesveryclearwhenyoucomparem.35(Figure9)withthelefthandmelodyinm.33
(Figure8).
17
Reminiscentofthesoftrollsinmm.78asshowninFigure5,theprimarythemeis
playedwithconnectedrollsinvariationeight.Thissection,however,hasthemelodyinfour
octavescomparedtoonlytwonotesspreadthreeoctavesapartinmm.78(seeFigure12).
Whentheoctavesareabandonedforafourpartchoraleatm.46,thetopvoicecontinuesto
playtheremainingBsectiontheme.Asatransitionintothecoda,MikiusestheAsectionsix
notemotiveinthebasslineinmm.4651.Measure51hasthelasttwonotesoftheopening
sixnotemotive,EandAb,whichleaddirectlyintothecodabeginningatm.52(seeFigure13).
Thecodaisveryshort;Mikiborrowsmaterialfromm.1andm.4.Aftertwostatements
18
ofm.1intwodifferentoctavesandanexactrepeatofm.4,Mikihastheoriginalsixnote
motiveplayedwithloudrollsandabroadritardandotogivethepieceastrong,definitive
conclusion.
Mikidescribestheconcertoasrepresentingtheuniversaldesireforthebeautyof
eternalandneverendinglife.18WhileMikiwaswritingthispiece,hismotherwasstrugglingto
copewiththedeathofherhusbandandlivingwithMikiandhisfamily.Throughherturmoil,
Mikismotherattemptedsuicide;dealingwiththattragicsituationgreatlyaffectedMikis
music.19Mikisemotionalunrestisechoedintheconcertobytheconstantstrugglebetween
theorchestraandmarimbasolorepresentedbythemusicalideasthemselvesandthe
dichotomousmarimbaandorchestralines.
ConcertoforMarimbaandOrchestra,MovementI
MinoruMikisConcertoforMarimbaandOrchestraisintwocontrastingmovements;
thesetwomovementscannotbelabeledeitherasbinaryorternary.Theauthorconsiders
movementoneascontainingthreemainsectionsandamarimbainterlude(seeFigure14).
TheopeningAsectionsimultaneouslystatestwocontrastingideasthataretransformed
andusedinvariouswaysthroughoutthemovement.Thesetwomusicalstatementsserveas
thefoundationoftheworkandseamlesslyevolveintodifferentkeyareasandvariations.As
18
Miki,website(Accessed4January2008).
19
MinoruMiki,composer,interviewbyauthor,6April1999.Tokyo,Japan.
19
seeninFigure15,thetopviolasplaylong,legatolines;theauthorconsidersthislinetheTheme
A.Thebottomviolasplayshortnotes;theauthorreferstothisastheMotive#1.
Section
A
Meas.#
177
78136
Interlude
137149
150193
Description
OrchestrastatesThemeA(startswithascendingthirdintervals)and
Motive#1simultaneouslyplusvariations.
VariationsoftheThemeincluding:sameintervalsasThemeAbut
descending,ascendingstepwiseintervalswiththesamerhythmas
ThemeA,descendingstepwiseintervalswiththesamerhythmas
ThemeA
VariationsoftheMotiveincluding:movingthesameintervalsand
rhythmasMotive#1butmovingintheoppositedirection
ThemeA,Motive#1anddifferentvariationsareplayedsimultaneously
andincanonform
SolomarimbaplaysrhythmicvariationofThemeA
OrchestrajoinsinwithThemeandMotivevariations.
SolomarimbaplaysThemeandMotivewithvariations
Stringsforeshadowupcomingaccompanimentpattern
StringsplaypatternfrommarimbainterludewithsubduedThemeA
statements
Solomarimbaprovidesconstant16thnoteaccompanimentleadinginto
astatementsimilartotheBsection
OrchestraplaysMotive#1variations
Figure14:ConcertoforMarimbaandOrchestra,Mvt.1formaloutline.
ThereisonlyoneThemeAandoneMotive#1usedthroughouttheentire
movement.However,Mikicreatesinterestandcontrastbycreatingslightvariationsofthese
musicalideas.ThevariationsincorporatethesamerhythmsastheprimaryThemeAand
Motive#1butthenotesaredifferent.Forexample,ThemeAhasascendingintervalchangesof
atwomajorthirdsandtwominorsecondsforthefirstfivenotes.Onevariationusesthese
20
sameintervalsbutmoveinadescendingmotion.Twoothervariationsuseonlystepwise
intervalsthatmoveineitheranascendingordescendingmotion.
Figure15:ConcertoforMarimbaandOrchestra,Mvt.1,mm.119(ThemeandMotive).
Oneofthemostoftenusedmotivicvariationsusesthesamerhythmicpatternasthe
originalMotive#1buttheintervalchangesareinoppositedirections.Insteadofascendinga
minorsecondbetweenthefirstandsecondnotesliketheoriginal,thevariationdescendsa
minorsecond.OtherwaysMikimanipulatesThemeA,Motive#1andtheirrespective
variationsincluderhythmicdiminutionandaugmentation.
Intheopeningsection,theorchestraplaysasoftandetherealintroductionwithmixed
meters(3/2,2.5/2,2/2,and1.5/2)thatcontributetoanobscurepulseandphrasestructure.
AftertheprimaryThemeAandMotive#1arestatedinmm.219,theincessantvariationsand
21
canonicentranceseventuallyobscuretheoriginalmaterialthatcreatestensionleadingtothe
marimbaentrance.ThekeycenterbeginsinG,movesthroughAb,A,Bbandeventuallysettles
onaquartalchord(C,F,Bb)inmm.7377totransitionintothenextsection.
Theorchestralintroductiondiffersfromtheunevensoundsofthemarimbaatm.78,
thebeginningoftheBsection.Contrastingthesteadybutobscurebeatpatterninthe
instrumentalopening,themarimbaparthasirregularrhythmswithconstantoffbeatsixteenths
andtriplets(seeFigure16).
Figure16:ConcertoforMarimbaandOrchestra,Mvt.1,portionofm.78.
Measure78isanextendedbarforthemarimbawrittenwithoutmeterandcontaining
41beats.Althoughthismeasurelooksandsoundsunrelatedtotherestofthemovement,itis
merelyavariationoftheopeningThemeA.StartingonC3,thebottomnoteofthemarimba
linespellsoutThemeA.Thisthematicstatementevenhasthesamenumberofbeatsasthe
originalstatementplayedbytheorchestraseeninFigure15.
Theorchestrajoinsthemarimbainmm.7997withthedoublebassesplayingthe
descendingthematicvariationstartingonFandtheoboeplayingthestepwisedescending
thematicvariationonA.WhilethebasslineinthesolomarimbaplaystheThemestartingon
22
Db,thetripletoffbeatnoteplaysthestaccatoMotive#1startingonthepitchF.(SeeFigure
17.MotivedenotedbyO).
Figure17:ConcertoforMarimbaandOrchestra,Mvt.1,m.7980.
Measures97115areacontinuationofthepreviousphrasewiththeoboethemenowplayed
bytheflutes.Thewindsplayachordalmotivicvariationduringthefluteslongnoteswhilethe
solomarimbaplaysvirtuosoascendingrunsintothesewoodwindstatements.Thestring
sectionsplaycanonicstatementsusingThemeAintheviolasandcellos,thedescendingstep
wisethemevariationinthefirstviolins,theascendingstepwisethemevariationinthesecond
violinsandthedescendingthemevariationinthedoublebasses(seeFigure18).Applying
contrasttodynamicsthroughmm.97115,Mikistartstheorchestraatpianissimowitha
gradualbuildintom.115whilethesolomarimbaplaysawidedynamicspectrum.
Thesolomarimbadoesnotplayinmm.115133.Theorchestracreatesacacophonyof
soundthroughloudvariationsoftheThemeAandMotive#1lines,allcenteredaroundthe
pitchA.Thewoodwindsprovideswirlingmotivicstatementswithgroupsofsevennoteswhile
thestringsplayseveraldifferentthematicvariations.Thebrassplayscattered,diminution
statementsofThemeAandbriefmotivicstatements.Thefourpercussionistsjoininatm.126
withsextupletsaddingapolyrhythmiclayertotheongoingrhythmicgroupsofsevensand
fours.Therhythmicenergyclimaxesinm.133andfadesawayinafourmeasuretransitionto
23
themarimbainterlude.MaintaininganApitchcenter,thestringsplaythefirstfournotesof
theoriginalMotiveinmm.133136:A,Bb,G#,andA.
Figure18:ConcertoforMarimbaandOrchestra,Mvt.1,mm.97108.
Themarimbainterludeconsistsofrolledchordsandvaryingdynamics.Theuppervoice
inmm.137144playsThemeAstartingonthepitchAandthemovinglineinmm.144147is
thedescendingthemevariationstartingonA.Mikiconstantlycreatescontradictingmusical
ideasbothbetweentheorchestraandmarimbaandinthesolomarimbapartitself.An
exampleofthiscontrastoccursinthemarimbainterludeinmm.147148whereThemeAand
24
Motive#1appearsimultaneously.Abovethepedaltone,theuppervoiceplaysthedescending
stepwisethematicvariationwhilethebassvoiceplaysMotive#1withsinglehits(seeFigure
19).
Mikiusesasubtle,butingeniouscompositionaltechniquetobridgethefirsttwo
sectionstothelastsectionusingthemarimbainterlude.Aspreviouslystated,duringmm.137
144,themarimbaplaysfourvoicechordswiththetopvoicestatingThemeA.However,each
chordspellsoutadifferentseventhchord.Theseseventhchordsarealsoplayedineighth
notesbythestringsection(seeFigure20).
TheCsectionoftheworkusesthestringseighthnoteFigureseeninFigure20asthe
backgroundmotionunderneaththecontinualsixteenthsinthemarimba.Thestringsection
accompanimentFiguresandthemarimbapassagesbothspelloutthesameseventhchords
usedatthebeginningofthemarimbainterlude.Additionally,theaccentsmarkedeveryfive
eighthnotesinthestringsspelloutThemeAstartingonthepitchA(seeFigure21).
25
Measures150169userepetitionandcontrastingmusicalideastoarriveataclimaxin
m.169.WhilethestringsandmarimbaplaytheirrepeatingpatternsdiscussedinFigure21,the
windsplayanaugmentedversionoftheoffbeatsixteenth,tripletrhythmfirstplayedbythe
marimbaseeninFigure16.Allvoicescrescendointom.169wherethemarimbatakesthe
primaryrole.
26
Thesolomarimbapartinmm.169191issimilartoitsfirstentranceatm.78.However,
allthesixteenthandtripletnotesareloudlyfilledin.(SeeFigure22.Althoughthenoteschange
throughmm.169191,therhythmicpatternconstant.)
27
Frommeasure169end,thefirstnoteofeachmeasureinthemarimbapartspellsout
thedescendingstepwisethemestartingonA.TheuppernotesspelloutthestaccatoMotive
#1startingonA,Bb,G#.Inadditiontotheaccentedoffbeatsinthesolomarimba,the
rhythmiccontrastsintheorchestrapermeatetheentirefabricofthisfinalsection.The
woodwindsandstringsplayscalessimilartothemarimbapartinFigure21,buttherhythmic
groupingsinclude8,6,5,and4notes.
InadditiontoincludingThemeAandMotive#1material,Mikiaddsanotherlevelof
musicalcontrastthroughhisarticulationsintheCsection.Inmm.169182,thestringsplay
ThemeAusingrepeatedstaccatonotesinsteadofthelong,legatonotesfoundinthe
introduction.Also,Motive#1isplayedwithslurmarkingssoeachnoteisconnected,unlike
beforewheneverythingwasseparated(seeFigure23).
28
Inmovementoneoftheconcerto,MikiutilizestheThemeAandMotive#1materialin
overtandsubtlewaystocreateintrigueandconnectivitythroughouttheentiremovement.In
addition,heiscreatingrhythmicandmusicalcontrastwithpolyrhythmsandvariationsof
ThemeAandMotive#1.
ConcertoforMarimbaandOrchestra,MovementII
ThesecondmovementofMinoruMikisConcertoforMarimbaandOrchestrauses
completelynewmaterial.Dividedintothreelargeparts,twotransitions,acadenzaandacoda,
thethreethemesarealllyricalwiththefirstbringingasenseofrepose,thesecondavigorous
drivingmotionandthethirdadignifiedfinale.TheauthorprovidesaformaloutlineinFigure
24.
ThesecondmovementopenswiththeslowandexpressiveThemeIsetinF#playedfirst
bytheoboe(seeFigure25).AfteranotherThemeIstatementbytheoboe,theviolinsoon
takesoverthemelodystartingonGwhilethewoodwindsprovidesoftechoesintherests.The
laststatementintheAsectioncomesfromthetrumpetandsolomarimbasetinC#.
29
Section
A
Meas.#
139
Description
ThemeIplayedfourtimes(oboe,violin,trumpetandmarimba)
ThemeIislyricalwithrubato
Transition
B
4079
80122
Mainlyaslowtempowithseveralshort,loud,allegrointerjections
betweenThemeIstatements
Allegrotempousingmanymixedmeters
LeadsintoThemeIIthroughtheuseofsixteenthrhythms
ThemeIIplayedbystrings,thenupperwoodwinds,thenstringsand
marimba
Marimba
Cadenza
123136
ThemeIIstartswithsmallintervalmotionbutexpandstheseintervals
asthesectionprogresses
ThemeIwithembellishments
137154
SolomarimbaplaysThemeIfourdifferentways
ShortsectionusingThemeIIatanallegrotempo
SolomarimbaplaysThemeIIvariationwithembellishednotes
155204
WoodwindsandstringsplayThemeII
ThemeIIIplayedbythestringswiththerestoftheorchestraadding
multiplerhythmicandharmoniclayersaboveThemeIII
Tempostartsslowandmethodical
ThemeIIIcontainslong,connectednotes
Coda
205223
Thissectionstartssoftandgraduallyincreasesthedynamicsand
tempotheentiretime
ThemeIreturnsstatedbythemarimba
TheoboeplaysasimplifiedvariationofThemeI
ThissectionreturnstotheThemeItempofromthebeginningand
endssoft
Figure24:Miki,ConcertoforMarimbaandOrchestra,Mvt.2formaloutline.
30
Thisfinalstatementisinterruptedseveraltimeswithfastpolyrhythmicarpeggiosinthe
orchestra,butthesemomentsareusedprimarilyfortimbrepurposes.Thesolomarimbaplays
thelastpartofthethemesetinavirtuosovariationthatleadsintothetransitionbetweenthe
AandBsections(seeFigure26).Measures4077serveasatransitionintotheBsection.
Thesemeasuresincorporatemixedmeters,syncopatedrhythmsandafast,allegrotempo.
AlthoughthesixteenthnoterhythmsforeshadowThemeIImaterial,thelargeintervalskipsand
sparsetextureprovideatimbrecontrasttothesmallintervalsandthicklyscoredThemeII.
(Figure27showsaportionofthetransitionwhileFigure28showsThemeII.)Throughoutthis
transition,thesolomarimbaservesasamemberoftheentireensembleratherthanthe
primaryvoice.ThiseffectislaterusedwithintheBsection.
TheBsectioncontainsThemeII,abrisksixteenthnotemelodiclinewithunderlying
ostinatotripletFigures(seeFigure28).Startingwithsmallhalfstepintervalsandplayedonly
bythecellosinm.84,ThemeIIhasmorestringsaddingingraduallywithlargerintervalsto
increasetheenergyandtension.
31
32
DuringarepeatoftheThemeIIphrase,thewoodwinds,stringsandbrasstradeoffdownbeat
groupingsfortimbrecontrasts.Thepushtotheclimaxinmm.115122involvesthesolo
marimbaandviolinsplayingaduetvariationofThemeII.
ThemeIreturnsinthemarimbacadenzaatm.123labeledLiberamenteLento.The
solomarimbaplaysThemeIfourtimesinthecadenzaandalthoughthetempoisslow,thesolo
marimbahasfastruns,embellishmentsandfournotechordsthataddvarietyandtexture.The
firstcadenzastatementprovidesanexcellentexampleofMikiscompositionalvariations.
Whilethemelodyisclear,gracenotesandrapidscalarpassagesinfusevirtuositywith
compositionalunity(seeFigure29).
33
Thesolomarimbacadenzaendsinm.136withaflurryofrapidsixteenthnotesflyingup
anddownthekeyboard.ThismeasureleadsstraightintotheBsection,avariedrestatement
ofThemeIIplayedbythesoloist,woodwindsandupperstrings.Establishingarelentlessdrive,
thesolomarimbausesoctavedisplacednotesforthethemeanddrasticdynamicshiftsforthe
nonthematicnotes.(SeeFigure30.Solomarimbapart.ThemeIInotesmarkedwithaccents
attheffdynamics.)
Usingathreemeasureritardando,MikiconnectstheBsectiontotheCsectionofthe
work.ThetempooftheCsectionstartsslowlywiththebassesandcellosplayingastately
ThemeIII(seeFigure31).Thisthemeisplayedfivetimesandleadsthesectionthroughan
accelerandoandcrescendointothearrivalatm.194.
34
MikicreatesadditionalenergyintheCsectionbyaddingmoreinstrumentsandlayers
totheongoingThemeIIIrepetitions.WhileThemeIIIfloatsabovethetexture,theunderlying
partsincludetripletostinatohemiolasinthepercussionkeyboards,tripletsyncopationsinthe
woodwinds,eighthnotehairpindynamicshiftsinthebrass,andsixteenthnotetrillsinthe
upperstrings.Themultiplelevelsofcompositionalideasgenerateathickpaletteofsound.The
longlinesofThemeIIIandshortersoundsoftheremainingtexturescreatetensionintothe
climaxpointoftheentiremovementatm.194.Thisreleasepointhasarhythmically
augmentedThemeIIIplayedfortissimobythelowwoodwindsandstringsection.Several
short,butloudorchestralinterjectionsofpreviousCsectionmaterialhelpmaintainahigh
energylevelintothemarimbaentranceatm.202.
WhilethestringsdecrescendotheirfinalnotesoftheCsection,thesolomarimbaplays
astrong,outoftime,variationofThemeII.Thevariationisthefirstthreenotes,(B,CandBb),
ofThemeIIrepeatedwithoctavedisplacement(seeFigure32).
35
ThesolomarimbafadesintothecodathatcontainsareturnofThemeIatm.205.The
marimbaplaysThemeIwithoutvariationspanningfouroctaves(seeFigure33).
MovementIIendswiththeoboeplayingasimplifiedversionofThemeIthatoutlinesthe
melodiccontourandleavesouttheextraembellishments.Thesolomarimbaplaysclosed
voicedchordswiththeuppernotesubtletyspellingoutThemeII.Thepiececoncludesonasoft
andsombertone.
MikicompletedConcertoforMarimbaandOrchestrain1969.However,itdidnot
receiveitsUnitedStatespremiereuntil1988bytheSt.LouisSymphonyOrchestraconductedby
36
LeonardSlatkinwithJohnKasicaperformingthesolopart.20KasicaandSlatkinrequesteda
differentendingthatwaslouderandfasterthantheoriginalandMikiobligedtheirrequest.So,
atmeasurem.201,rightbeforethecoda,Mikiincludestwoendingchoicesinthepublished
editions,AandB.TheAendingistheoriginalendingandtheBendingrepeatstheB
sectionfrommm80122.Duringthisrepeat,thesolomarimbahasmanymorenotesto
provideadditionalcolorandvirtuosity.TheBendinghastwostrongeighthnotestatements
thatbringtheworktoanexcitingconclusion.
20
Miki,website(Accessed20April2008).
37
CHAPTER4
SIMILARCOMPOSITIONALTECHNIQUES
MinoruMikicomposedTimeforMarimbain1968andConcertoforMarimbaand
Orchestrathefollowingyear.DuetotheclosecompositiondatesandMikislackofprevious
experiencewiththemarimba,therearemanysimilaritiesbetweenthetwoworks.Thischapter
discussestherhythmicandthematicrelationshipsaswellassimilarcompositionaltoolsof
intervalexpansion,octavedisplacement,andmultipleoctaverollsinbothworks.
Compositionally,TimeandConcertoforMarimbaarecloselyrelatedthroughtheiruse
ofsimilarrhythmandthematictypes.TheAsectionofTimedirectlycorrelatestothefirst
movementoftheconcertowhiletheBsectionofTimerelatestothesecondmovementofthe
concerto.
RhythmicRelationships
TheAsectionofTimeandthefirstmovementoftheconcertobothuseirregular
rhythmicpatternsthatlackstrongdownbeats.BoththeopeningmeasuresofTimeandfirst
solomarimbaentranceoftheconcertohaveunsettledandrepeatingrhythms(seeFigures34
and35).
ReferringtoFigure34,Timeutilizesasixnotemotivewithinquintupletsixteenthnotes
thatsuggestsadownbeatoneveryC3.However,Mikistatesinthescore,withoutaccent
exceptbespecifiedtoinsistonallnotesbeingplayedevenly.21Thefluctuationbetween
quintupletsandsextupletsfurthererasesanystrongdownbeats.Onlywhentheaccentsarrive
21
MinoruMiki,TimeforMarimba(Tokyo:OngakuNoTomoShaCorp.,1969),1.
38
inthethirdsystemdothedownbeatscomeoutclear.
Similarly,m.78intheconcertoseeninFigure35,hastheoffbeatsixteenthnoteasthehighest
pitchineachFigurewhichcausesthelistenertofeelthisasthedownbeat.Theembellishments
occuronthisnoteaswell,compoundingtheunevennessoftheentirepassage.
TheBsectionthemeofTimeandThemeIfromthesecondmovementintheconcerto
alsohavesimilarrhythmicstructures.Forexample,boththemeshavefourindividual
statements.InTime,eachstatementcanbegroupedaccordingtothestartingnote
immediatelyafterthesoftsixteenthnotes.ThefirstgroupingincludesallpatternsstartingonF,
39
thesecondgroupingincludespatternsstartingonEb,whilethethirdpatternstartsonFandthe
fourthpatternstartsonG(seeFigure36).Thesefourgroupingscorrelatetothefourmeasures
ofThemeIintheconcerto(seeFigure37).
ThematicRelationships
WhileTimeandConcertoforMarimbahaverhythmicrelationships,theseworksalso
havethematicrelationships.AsseeninFigures36and37,theopeningmarimbastatements
havesimilarintervalrangesbetweenthebottomandtopnotes.TherangeofTimessixmotive
isamajorseventh(C3Bb3)whiletheconcertosrangeisaminorseventh(C3B3).
Incontrasttothefirstpartsofeachpiece,theBsectionofTimeandthesecond
movementoftheconcertobothhavelyricalmelodylinesservingasthebasis.Thethemesare
moregracefulwithmorecontourthanthepreviousmaterialinTimesAsectionandthe
concertosfirstmovement.AlthoughTimeusesonlyonemelodyandtheconcertousesthree,
40
allofthesethemeshavealyricalqualitytothem.Mikimarkstheoboesoloatthebeginningof
thesecondmovementespressivotoinsurealyricalapproachtothemelody(seeFigure37).
BoththeBsectioninTimeandtheconcertossecondmovementhaveaninitial
monophonicstatementofthemelodywhichisfollowedbyvariationsandlayeringtothicken
thetextureforbothworks.Oneexampleoccursinmm.3334,variationsfourandfive,inTime
withthemelodyinthelefthandinm.33andthenrighthandwithadditionalnotesaddedtofill
outthechordsinm.34(seeFigure38).
41
Theconcerto,inmm.1522,alsohasadditionalharmoniesandcolorsaddedtothe
primarytheme.Thesolomarimbaaddscolorandmotiontothedownbeatofeachmotivic
statementwhilethewindsprovideunderlyingpolyphony(seeFigure39).
AsintheAsectionandfirstmovementcomparison,theBsectionandsecond
movementthemeshaveverysimilarintervalrelationships.TimesthemerevolvesaroundF
withmanyhalfstepintervalsupanddownfromthisnote.Thereisalsoaskipofamajorthird
inthethirdgroupingfromaGdowntoanEb.Thesameintervalconceptappliestothefirst
themefromtheconcertossecondmovement.BasedonF#,thefirstthreenotesofThemeI
arehalfstepsawayfromeachotherandattheendofm.1thereisaskipofamajorthird(F
42
C#).Similarly,thefirstfourbarsofThemeIIinthesecondmovementoftheconcertoisbased
aroundDbwiththeremainingnotessetahalfstepaboveandbelowthisanchornote.The
themesintheBsectionofTimeandthesecondmovementoftheconcertobothusethesehalf
steprelationshipsregularly.
Inadditiontotherhythmicandthematicsimilarities,Mikiusessimilarcompositional
techniquesofintervalexpansion,octavedisplacementandmultipleoctavesinbothTimeand
ConcertoforMarimbaandOrchestra.
IntervalExpansion
Intervalexpansionisaprocesswheretheintervalsusedinrepeatedstatementsget
widerbuttherhythmsandcontourofeachrepetitionstaythesame.Anexampleofthis
processappearsinmm.2933ofTimewiththeBthemeandvariationsone,twoandthree.
Althoughthesemeasuresusethesameexactrhythms,theintervalrelationshipsbetweenthe
firstthreenotesofeachmeasuregetprogressivelylarger.Thisresultofthisexpansionisa
widerrangeandlargerleapsineachofthethreevariations.
Aspreviouslymentioned,m.29containstheopeningBtheme.Thismeasureisbased
aroundtheanchornote,F3,withthesecondandthirdnotes(E3andF#3)setaminorsecond
downandupfromF3respectively.Theentiremelodyisbasedonthesesmallintervallic
relationships.NotcountingtheostinatoC3inthebass,therangeofthisstatementisaminor
sixth(D3Bb3)(seeFigure40).
Thefirstvariationandexpansionoccursinm.30andhasaB3anchornote.Thenext
twonotes,A3andC#4havetheexpandedintervalofmajorseconds.Thefollowingnotesare
43
adjustedaccordinglytothisexpansioncreatinganexpandedrangeofaninth(G3A4)(see
Figure41).
Thesecondvariation(m.31)hasananchornoteofF4andusesaminorthirdinterval
betweenthefirstthreenotesandawidertwooctaverange(Ab3Ab5)(seeFigure42).
44
Thefinalmeasure(m.32)usesamajorthirdintervalexpansionaroundtheB4anchor
notethatresultsinatwoandahalfoctaverange(B3F6)(seeFigure43).
Similarintervalexpansiontechniquesoccurtwiceintheconcerto.Theorchestraplays
thefirstexampleinmm.8499inthesecondmovement.Atripletostinatorumblesunderneath
thetextureinthedoublebassandpercussionwhilethecellosandhigherstringsplaya
sixteenthnotethemeontop.TheshortsixteenthFiguresinmm.8487arebasedaroundDb4
withthesecondandthirdnotesofeachFigure,D4andC4,setaminorsecondupanddown
fromDb(seeFigure44).
45
Theseminorsecondintervalsandthreenotegroupingsdirectlyrelatetothefirstthreenotesof
theBsectioninTimeseenearlierinFigure40.TheexpansionsseeninTimeareverysimilarto
whatoccursintheseconcertomeasures.Measures8889incorporatethefirstexpansionof
thesegroupingstomajorsecond(Eb4)andminorthird(E4)intervalsbasedofftheDb(see
Figure45).
Thenextexpansionhappensinmm.9091andusesamajorthird(F4)andminorthird(E4)
intervalaboveDb4(seeFigure46).
Thenexteightbars,mm.9299,havetwointervalexpansionpointsbutalsoutilizea
differentstartingpitch.Measure9295startonF4withamajorthirdintervalup(A4)thena
minorthirddownfromthere(F#4).Thegroupingsinmm.9699startonAb4andgoupa
tritone(D5)thendownamajorthird(Bb4).Eventhoughtheintervalsgetwiderthroughmm.
46
8499,theformandrhythmsremainthesamefromstatementtostatement.Withinthese
sixteenbars,therearefourfourbarstatementswitheachstatementhavingtheexactsame
rhythms.Similartomm.2933fromTime,theonlychangebetweenstatementsistheinterval
expansion.
Thesolomarimbapartoftheconcertohasintervalexpansioninmm.134136.22The
threestatementshavethesamenumberofbeats,generalshapingandbasedaroundDb.The
firststatement,m.134,usesprimarilymajorsecondintervalsbetweenaDbandEb.Inm.135,
thesecondstatement,theintervalsexpandtoalternatingtritones(DbGandEbA)inthe
correlatingsectionstom.134.Thethirdstatementhasthelargestexpansionusingalternating
ninthsandleapsofoverthreeoctaves(seeFigure47).
22
AsseeninFigure47,square37ism.134andshouldhaveabarlineattheendofeachsystem.Theoriginal
marimbapartpublishedin1995,whichiscorrect,hasbarlines,buttheneweditionfrom2006doesnothavethese
barlines.BracketshavebeenaddedtothisFigureforclarity.
47
OctaveDisplacement
AnothercompositionaltechniqueMikiusesisoctavedisplacementwithinmelodic
patterns.Octavedisplacementmovesmelodicnotestodifferentoctaveswhileretainingthe
samepitchname.Theresultingeffectisanimprovisationalcharacterandvirtuosomovement
aroundthemarimba.Oneexampleofthistechniqueoccursinm.35ofTime.Althoughthe
notesareoctavesapartfromeachother,thepitchesspellouttheBthememelodyexactly23
(seeFigure48).
AnotherexampleofoctavedisplacementfromTimeusestheprimaryAtheme.Atm.4,
thefirstsixbeatsrepeatthesixnotemotiveanoctavehigherthantheoriginalstatementinm.
1.Theremainingbeatsusethemotiveinoctavedisplacement.(SeeFigure49.Thesixnote
motiveismarkedbythe[.)Measure4isthefirstvirtuosomomentofthesoloandamplifies
thecapabilitiesofsolomarimbiststomovequicklyupanddowntheinstrument.
Thistypeofoctavedisplacementisalsousedintheconcertoinmm.137155.These
measuresprovideavariationofthemeIIpresentedinm.84seeninFigure44.Theoctave
displacedFiguresinthesolomarimbaprovideinterestandtimbresetagainsttheorchestrathat
isplayingthemelodywithoutoctavedisplacement(seeFigure50).
23
TheBthememelodywithoutoctavedisplacementcanbeseeninFigure40.
48
49
TheorchestraplaysminorsecondintervalFigures(B,C,A#)whilethesolomarimba
playsoctavedisplacedFigures(B,Eb,D)inmm.143144andEb,G,Enaturalinmm.145149.
Whilethenotesinthesolomarimbapartspellouttheharmonicaccompaniment,thelarge
intervalleapsachievedthroughoctavedisplacementcreateasenseoffreedomand
improvisationMikiwaslookingtoachieve.
MultipleOctaves
Towardstheendofbothworks,Mikiorchestratestherespectivethemesplayedbythe
marimbainmultipleoctaves.Sincetheseworksbrokenewgroundforsolomarimbaliterature,
Mikiwaslookingtocapitalizeonthevastsoundcapacitiesofthemarimba.Throughmultiple
octaves,hecombinesthebrightupperregisterwiththewarmthofthelowerregistertocreate
amesmerizingsound.
Inmm.4045ofTime,theBthemeisplayedinfouroctaveswithandwithoutrolls(see
Figure51).Mikiputsparenthesesaroundthefirstandlastnoteinthebassvoice.Heisgiving
theperformertheoptionofomittingthebottomvoiceandplayingjusttheupperthreeoctaves
becauseofpossibletechnicaldemands.However,mostperformerschoosetoplaythissection
withallfournotes.
50
Themultipleoctaveorchestrationalsooccursinthemarimbapartattheendofthe
concertoinmm.205211.SimilartoTime,themarimbaparthasafouroctaverangebutthis
partutilizesonlythreenotes(seeFigure52).Theoctaveabovethebassnoteisleftouttoallow
thelowestoctavetoresonateclearlybelowthebrightupperregistergivingahollowtimbre.
51
CHAPTER5
PERFORMANCECONSIDERATIONS
MinoruMikisTimeforMarimbaandConcertoforMarimbaandOrchestraare
technicallychallengingworks.Timeandeachmovementoftheconcertolastapproximatelyten
minuteseach.Thisrequirestechnicalstaminatoperformatahighlevelforthisextended
periodoftime.Thischapterwillfocusontechnicalandmusicalsuggestionstohelpperformers
interpretandperformthesetwoindividualworksbetter.
However,anaspectthatappliestobothpiecesismalletselection.Mikiwritesatthe
topoftheTimescore,softsticks(hardatff);thetopoftheconcertoscorestates,soft(in
piano)hard(inforte)sticks.Mikiisrequestingatwotonemallettobeusedthroughout
bothworks.Thismallethasasoftandwarmsoundwhenplayedsoftbutaverybrightsound
whenplayedloud.ThetwotypesoftwotonemalletsavailablearetheKeikoAbeseriesmallets
madebyYamahaandtheSatobrandmallets.TheYamahamalletsareeasilyavailableinthe
U.S.andabroadbuttheSatomalletsareprimarilyavailableinJapan.Performerswillwantto
useoneofthesetwobrandsofmalletsoracomparabletwotonemallettogettheappropriate
sound.
TimeforMarimba
MinoruMikismarimbasoloworkswellidiomaticallyontheinstrument.However,
thereareseveralsectionsthatrequireadditionalpracticetimetofindwhatworksbestforeach
individualperformer.Threemainaspectstoimprovetheperformanceincludestickings,rolls
52
andglissandos.Whilethestickingsareopinionsbasedonperformanceexperience,therolls
andglissandoswereexplainedtotheauthordirectlyfromMinoruMikiandKeikoAbe.
Stickings
Stickingsareakeyelementformarimbistsandareanalogoustofingeringsonthepiano.
Therearetimeswhenthereisonlyoneoption,buttherearealsotimeswhenmultipleoptions
areavailableandtheperformerexperimentstofindthebestoption.Stickingsareultimately
lefttotheperformer,butthefollowingsuggestionsfromtheauthorareprovidedtocreate
noteconsistencyandmusicalintegrity.
Theendofm.6hasffaccentsonpitchesCandDbfollowedbypprolls(seeFigure
53).
Figure53*:TimeforMarimba,portionofm.6.
TogetafullandevensoundbetweentheCandDb,playtheffnoteswiththerighthandwith
malletthreeontheCandmalletfourontheDb.24ThenplaytheConthesecondnoteofthe
quintupletwithmallettwo.Thiswillshowtheaudiencethattherighthandhastheimportant
notesandprovideanauralbalancebetweentheaccentedCandDb.Therollscanbeplayed
withmalletnumberfourontheDbandtwoontheC.
24
Whenholdingfourmalletsinthehands,themalletsarenumbered14fromlefttoright.Malletthreeisthe
insidemalletoftherighthandwhilemalletfouristheoutsidemalletoftherighthand.
53
ThebeginningoftheBsection,mm.2932,includesthethemeandvariationsone,two
andthree.Sinceeachofthesefourmeasuresusesthesamerhythmsandgeneralcontour,a
consistentstickingshouldbeusedforeachmeasurewithinthisphrase.(SeeFigure54.Onlym.
29ismarkedbecausemm.3032willhavethisidenticalsticking).
Thesamestickingwillcreatesimilarphrasingsandaccentsforeachphrase.Musically,the
accentsarethemostimportantnotesofthephraseandshouldbeheardclearlyatalltimes.
Oneofthechallengesinthismeasureisplayingthesoftsixteenthpnotes.Tocounteractthe
lackofarticulationonthesetwonotes,thesenotesshouldhaveaslightcrescendointothe
accentedrelease.Thiswillkeepthesecondnotestrongandtheentirephrasemovingforward.
Also,byadheringtotheabovesticking,thiswillallowmalletnumberonetobepreparedtoplay
thesixteenthnotes.
Measure35isoneofthemostchallengingmeasuresinthisworkbecauseofthelarge
leapsandwideintervalspanbetweenthehands.Patientpracticeandaspecificstickingare
keystopreparingthismeasure.(SeeFigure55.Theparenthesesdenotesimilarsticking
patternsthatcoordinatewiththesimilarnotepatterns.)
54
Practicesuggestionsincludeplayingonebeatatatimethenaddingtwobeatstogether,then
threebeatstogether,andsoon.Additionally,insteadofplayingtherhythmsonthepage,
practiceplayingeverynoteasaquarternote,eighthnotes,triplets,sixteenthnotes,andfinally
aswrittenwillassistinaccuracy.
Inmm.36and37,variationsevenintheBsectionhasthethemeandanunderlying
ostinatopattern.Overall,theostinatoshouldstaysoftandunderneaththemelodyline.This
willallowtheBsectionmelodytobeheardclearlybytheaudience.Toachievethis,playthe
ostinatowiththemallets1,2and3andthemelodylinewithmallet4(seeFigure56).
55
WhentheostinatoandmelodylineplaytheD2atthesametimeinm.36,playthatnotewith
malletfourtohelpthemelodylineretainitssteadyflow.
Rolls
Mikiusesdifferenttypesofrollstobringouttonalqualitiesofthemarimbaincluding
controlledresonanceandimmediatesustain.Thecontrolledresonancerollsoccurafterthe
primarynoteatasofterdynamic.Figure53showsthepprollsontheCandDbtiedtothe
precedingffquintuplets.Therollshouldnotstartontheloudnote;itshouldwaittostarton
theexactcountnotatedinthescore.Mikinotatestherollstartingonthedownbeatafterthe
loudquintupletnotesoperformerswillknowtosoftlysustaintheprecedingpitchesandmake
theentranceoftherollinaudible.Thisconceptalsoappliestomm.23,26,39,andtheendof
54.
AttheendofTime,rollsareusedtosustainthethemeatalouddynamic.Thelastsix
notesaremarkedwithdottedlinessotheperformerknowstoconnectthesepitches(see
Figure57).
Mikisintentwasfortheperformertoimmediatelyswitchnoteswithoutanybreakintheroll.
56
Theresultingeffectisahighlyenergized,octavedisplacedstatementofthesixnotemotiveto
endthework.
Glissandos
MikiusestwotypesofglissandosinTimeforMarimba.Thefirstisatraditional
glissandowhenonemalletdragsacrossthebarsandhasanendingand/orstartingpitch.The
firstexampleinTimeoccursintheendofm.6withaglissandospecifyingthestartingand
endingpitches(C4downtoC3)(seeFigure58).
Duetothelimitedrangeandothernotesbeingplayedsimultaneouslywiththeglissando,this
glissandoshouldbeplayedfortheentireeighthnotevaluewritten.Thiswillhelpleadthe
FigureintotheCandDbhitattheendoftheglissando.
Anotherexampleoftheuseofglissandosoccursinm.35seenaboveinFigure55.The
firstglissandostartsonEb3andleadstoEb6whilethesecondglissandostartsonAb3andleads
toF6.Althoughbothglissandosstartonapitchlocatedontheuppermanual,thenotesduring
theglissandoshouldbeplayedonthelowermanual.Sincethetempoisveryfast(quarternote
equals138)andtheintervalskipsarequitelarge,theseglissandosshouldlastaslongas
possiblebutwillmostlikelynotreachtheuppernote.Themostimportantaspectofthis
57
measure,however,istokeepasolidtempoandtoplaytherhythmsprecisely.Donotletthe
glissandosaffecttherhythmicdrivenegatively,astheyaremerelyembellishmentstothe
primarymelody.
Inmm.2425,Mikimarksglissandosusingonlyanarrivalpitch(seeFigure59).
Figure59*:TimeforMarimba,portionofmm.2425.
Hecomparestheseglissandostoshortslidesplayedbyatrombone.25Theseglissandosshould
givetheimpressionthatthesoloistisscoopingtheirsounduptoeachreleasenote.The
glissandosandaccelerandoallowthesemeasurestomoveforwardintothearrivalinm.25.
ThesecondtypeofglissandoMikeusesisincidentalcontactduringarollwhilechanging
pitches.Measure22hasthistypeofglissandomarkedbetweenthefirstandsecondnotesof
theC#sixnotemotive(seeFigure60).
Thestartingandendingpitchesareclearlymarkedbuttheglissandonotesarelefttothe
25
MinoruMiki,interviewbyauthor,1999.
58
discretionoftheperformer.InsteadofmovingdirectlyfromtheC#6uptotheC7,Mikiwants
tohearseveralofthenotesonthelowermanualinbetweentheC#andC,asifhittingthemby
accident,creatinganimprovisatoryeffect.
Thesametypeofincidentalcontactglissandooccursinm.51,thelastnotesoftheB
section,withaglissandomarkedbetweentheE3andAb3(seeFigure61).
KeikoAbesuggestsonlyplayingtheFandGbetweenthesetwonotesbecauseaddingtheF#
wouldbringtoomuchattentiontotheglissandoandtakeawayfromtheimportanceofthe
writtenpitches.26
ThemarimbapartinMikisConcertoforMarimbaandOrchestraechoestherestofthe
orchestrathroughitsmanyrepetitionsandvariationsonthematicelements.Bothmovements
utilizetheprimarythemesandmotivestoconstructthemarimbasolo.Performerswillfind
learningthesoloparteasiertoaccomplishafteranalyzingandlabelingthethemesandmotives
withineachmovement.KnowinghowMikivariestheprimarymusicallineshelpsperformers
26
KeikoAbe,interviewbyauthor,October1998May1999,Tokyo,Japan.
59
practiceanddeveloptheentirepiece.Inturn,thetechnicalaspectsarelearnedaccurately
becausethereisahigherlevelofcognitiveawarenessofthemusicalstructure.
Repetition
Asstatedintheanalysischapter,thefirstmovementisbasedonThemeAandMotive
#1.Thesolomarimbapartisnoexception.Beforeplayingthenotesonthemarimba,the
performershouldlabeltherepeatsandhoweachsectionrelatestotheThemeA,Motive#1
andthevariations.Everysectioninthismovementrepeatsrhythmsandnotesora
combinationofthetwo.Thefirstsectionwherethemarimbaentersinmm.7896hasthe
sametwobeatrhythmrepeatedtheentiretime(seeFigure62).
Figure62:ConcertoforMarimbaandOrchestra,Mvt.1,portionofm.78.
Sincetherhythmsstaythesame,performersshouldlabelthenumberoftimeseachgroupingis
repeatedonthesamepitches.Thenumberofrepetitionsisthesamenumberofbeatsusedfor
theopeningThemeAplayedbytheviolasinmm.119.Thiscomparisonandanalysiswillmake
thissectioneasiertomemorize.
Eachmarimbaentranceinmm.96115startsinthelowendofthemarimbaandendsin
theupperregister.Followingthesamecontour,allofthesestatementscanbesplitinhalfwith
60
thesecondhalfrepeatingthesamenotesasthefirsthalf,justanoctavehigher.(SeeFigure63.
Noterepetitionsmarkedby[.)
Forinterpretationpurposes,eventhoughtheserepeatsexist,itisnotnecessarytoaddany
agogicaccentstomarktherepeat.
Measure150isthebeginningoftheCsectionandhascascading16thnotes.Although
seeminglyrandom,everyfiveeighthnotescontainthescaleassociatedwiththeseventhchord
playedinthestrings.(SeeFigure64.Verticallinesdenotechordchanges.)Performersshould
labelthechordsinthemusictounderstandthisperpetualmotionsectionbetter.Thisscale
patternisplayedatotaloffivetimesandshouldbetreatedasaccompaniment.Providinga
61
strongcontrasttothestaccatorhythmsinthestringsandsyncopationsinthewinds,this
sectionshouldflowsmoothlywiththesixteenthnotesstayingperfectlyeven.
Measures169endareavariationofthefirstmarimbaentranceinm.78seeninFigure
62.Thesameconceptsapplytothisrecurringrhythmicpattern:markthepartwherethenotes
62
changeandnotehowmanytimeseachpitchsetisrepeated(seeFigure65).
Mikicontinuestheideaofrepetitionintothesecondmovement.Asthemarimba
entersinm.five,themusicrepeatsthefirsthalfoftherunanoctavelower(seeFigure66).
Also,thelastrunoftheAsectioninm.38containsthesamepitchesrepeatedfourtimesin
ascendingoctaves.(SeeFigure67).
63
AmoresubtleuseofrepeatsoccursattheendoftheCsectioninmm.185194.Miki
usestwodifferentvariationsbasedonThemeIIinthesemeasuresforthesolomarimbapart
witheachvariationplayedsimultaneously.Throughoutmm.185194,thevariationsaremoved
todifferenthandsbutthesamebasicpatternsremainthesame.(SeeFigure68).27
Stickings
Bothmovementsaretechnicallychallengingintheirownways.Asstatedaboveinthe
stickingsectionforTime,therearedifferentstickingoptionsthatworkwellfordifferent
players.Choosingtherightstickingcomesfromexperimentationandfindingwhatworksbest.
Keepingconsistentstickingpatternsforrepeatedphraseswilleasememorization.Sincethere
aremanyrepeatsinbothmovementsoftheconcerto,stickingrepeatedpassagesthesamewill
insureconsistentsounds,controlledphrasingandimprovednoteaccuracy.
27
Measure186:theAb5onthesecondnoteinbeatfourshouldbeanAb6.
64
Thefirstsolomarimbaentranceatm.78(Figure62)inthefirstmovementcanbe
playedusingprimarilymalletsone,two,andthree.Playingthebottomnotewithmallet
numberone,theuppernotewithmalletnumberthreeandthemiddlenotewithmallet
numbertwowillallowthelefthandtomoveupintothehigherregistertoplaythe
embellishments.Thisstickingcanbeappliedtomostofthesectionbetweenmm.7896.
Theendofthemarimbacadenzainmovementtwo,mm.134136,isanexampleof
intervalexpansionusingrepeatingrhythmicphrases.Asimilarintervalexpansionpassage
occursinTimeandisdiscussedinFigure54.Eventhoughthesamestickingpatternwillwork
foreverymeasureintheTimepassage,thesamegeneralstickingpatternwillworkformm.
134135ofthesecondmovementbutnotm.136.Theintervalsgettoowidetoplaym.136
comfortablywiththesamestickingastheprevioustwomeasures;therefore,slightadjustments
shouldbemade(seeFigure69).
65
TheBsectionfindsthesolomarimbaplayingavariationofThemeII.Playing
continuouslyfrommm.137152,thesolomarimbaparthasaccented,fortissimonotesstating
anoctavedisplacedThemeIIvariation.Theothernotesareembellishmentstokeeptheenergy
movingforward.(SeeFigure70.AnexcerptofthissectionisshowninthisFigure,notthe
entiresolomarimbaphrase.)
ToinsurethattheThemeIInotesareheardequallyandclearlyabovetheothernotes,every
attemptshouldbemadetoalternatehandsontheaccentednotes,especiallybetweentwo
sixteenthnotes.Alternatingthehandswillallowperformerstogetagoodmalletrotationand
fullersoundforeachnote.Playingtwosixteenthnotesinarowusingonehand(i.e.mallet3
thenmallet4ortwoconsecutivehitswithmalletnumber3)willnothavethepowerand
intensitythatalternatinghandswillproduce.
Overall,bothTimeandConcertoforMarimbaandOrchestrapresenttechnicaland
musicalchallengestoanyperformer.Aprocesstoachieveandovercomethesechallenges
66
includesslowandmethodicalpracticing.Learningthenotesslowlyandaccuratelyisthekeyto
success.Havingastrongfoundationofthenotes,rhythmsandstickingswillallowthe
musicalityandtempotonaturallyfallintoplacethroughconsistentpractice.
67
CHAPTER6
CONCLUSION
Summary
MinoruMikisfirsttwomarimbaworks,TimeforMarimbaandConcertoforMarimba
andOrchestrasharemanysimilarities.Notonlydothesepiecesusesimilarrhythmicand
thematicelements,thetwohalvesofTimedirectlycorrelatetothetwomovementsofthe
concerto.Mikisdistinctcompositionaltechniquesofintervalexpansion,octavedisplacement
andmultipleoctaverollspermeatebothworksaswell.
TimeisoneofthecornerstonesofmarimbaliteraturebecauseofMinoruMikis
visionarycompositionalstyle.Asapioneerincomposingformarimbaliterature,Mikiwasable
tocapturethetrueessenceofthemarimba;atimelessqualitythathashelpedTimeremaina
partofthestandardsolorepertoireforthepastfortyyears.BothofMikisearlymarimba
workswerewrittenatarevolutionarytimeperiodformarimbacompositions.
Asmentionedinchapterone,previousresearchonTimeforMarimbausedatwelve
tone,serialistcompositionalmethod.ItisinterestingthatMikiscompositionalvocabularycan
beviewedasaserialistprocess;however,hisactualcompositionaltechniqueswerebasedon
improvisatorymethods.TheauthorsinterviewswiththecomposerandKeikoAbeconfirmthis
approach.
MinoruMikihascomposedover200workscoveringmanydifferentgenres.As
mentionedinchaptertwoofthispaper,Mikisoperashavereceivedinternationalacclaim,his
recordingshavewonprestigiousawardsandhisingenuitycreatednewopportunitiesfor
professionalmusicians.Sincethemarimbalackedformidableliteratureinthemid20thcentury,
68
itwasgroundbreakingtohaveamajorcomposerlikeMikicomposeTimeforMarimbaand
ConcertoforMarimbaandOrchestra.Helpingthemarimbatogainmorerecognition,Mikihas
composedadditionalworksfeaturingthemarimbaincludingMarimbaSpiritual,MarimDan
DanandinchambersettingswithSohmonIIIandEastArc.
Priortothelate1960s,whenMikicomposedTimeandtheconcerto,themarimba
literaturewasunderdeveloped.DuetotheeffortsofMiki,otherJapanesecomposersand
JapanesemarimbasoloistslikeKeikoAbe,therewasaburgeoningamountofmarimba
literaturecomingfromJapan.AfterAbessoloandchamberrecitalsinJapan,artistsinthe
UnitedStates,suchasAndrewThomas,EricEwazen,JosephSchwantner,andDanielDruckman,
beganwritingoriginalmarimbaworks.Themarimbawillhavelastingappealifmarimba
performersplaynotonlythecurrentandnewliterature,butalsocelebrateandperformthe
worksfromthepast.Continuedperformancesoforiginalmarimbamusicfromalleras,
includingMikiscontributions,willhelpsolidifythemarimbaasasoloconcertinstrumentand
leadthewaytoadditionalgroundbreakingworksinthefuture.
FurtherResearch
Overthepastthreeyears,theauthorhasworkedcloselywithMinoruMikitopublish
manyofMikismarimbaandpercussionworks.Thisprojecthasprovenquitesuccessfulwith
thepublicationofsixofMikisunpublishedpercussionworks.Throughthesepublicationsand
presentationofMikispercussionmusicatthePercussiveArtsSocietyInternationalConvention
in2006,hismusichasreceivedtherecognitionandattentionitdeserves.Withoutthese
efforts,thismusicwouldhaveremainedhiddenandneverperformedoutsideofJapan.The
69
authorishonoredtohavehadtheopportunitytoworkcloselywithMikionhismusic.Thishas
beenanimportantprojecttocodifythepercussionworksofsuchaninfluentialcomposer.
OneavenueofresearchistoanalyzetheotherJapanesecomposersthatwroteworks
forAbesgroundbreakingrecitals.AlthoughtheauthorhaspublishedanarticleonYasuo
SueyoshisMirage,furtherdetailandanalysisoftheworksofMiyoshi,Tanaka,Yuyama,and
otherswouldbeusefultoperformersandeducators.
Theauthorseesadditionalopportunitiestotalkwithotherprominentandmajor
composerstofindtheirunpublishedmarimbaandpercussionmusic.Althoughthepercussion
fieldisinundatedwithnewmusic,publishingcompaniesandselfpromotedcomposers,thereis
alsoagreatdealofmusicthathasbeenperformedonceandneverheardagain.Further
researchneedstofindthesehiddengemsbymajorcomposerstomaketheseworksavailable.
Performingmarimbaandpercussionworksbycomposersknownoutsideofthepercussion
worldhelpsbringnotorietyandattentiontothesesomewhatunfamiliarinstrumentsforthe
generalpublic.OnlythroughcommunicationandinteractionwithsuchcomposersasJohn
Mackey,JonathanNewman,JenniferHigdonandStevenStuckywillthisoccur.Forexample,
whentheauthoraskedEricEwazenquestionsaboutMosaics,(amarimba,fluteandbassoon
trio)EwazensenttheauthoranunpublishedrecordingofMosaicsandanunpublished
manuscriptcopyofatrumpetandmarimbaduet,Introit,thathecomposedwhilehewasa
studentatJulliard.
RegardingfurtherresearchofMikispercussionworks,thechamberpiecesusing
marimba(SohmonIIIandEastArc)areextremelycreativeandexploreprogrammaticideas.
KnowingMikispenchantforoperaandstorytelling,itwouldbeintriguingtoseeifheuses
70
compositionaltechniquesdiscussedinthispaperandhowmighthisprogrammatic
compositionalstyledifferfromthenonprogrammaticworksofTimeforMarimbaandConcerto
forMarimbaandOrchestra.
71
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