Marimba Etudes

by

Brian Willson
Introduction
In 1998 I was inspired by a series of master classes given by She-e Wu to study the
Steven’s technique for marimba. I soon began the daunting task of learning a new
technique after years of using the Burton grip. While studying exercises in Method of
Movement, I started to write pieces that could be performed after learning the most
basic strokes. My idea is that students need pieces that focus exactly on what they have
just mastered, without introducing new technical problems. Each of these etudes is
limited to a single technical aspect and is a direct response to a particular stroke or
technique.

Though I wrote these while studying the Steven’s technique, these etudes are applicable
for any beginning four-mallet player, regardless of which grip they choose to play with.

I hope the performer will find the study of these etudes to be a musically satisfying
experience.

Brian Willson

Etude No. 1
This etude deals with single alternating strokes and is based upon the pattern found in Ex.
73.* The interval spread is almost exclusively that of a fifth, only in measures 17 &
30 does it expand to a sixth, and in measures 34 to 36 there is a pattern of a seventh,
sixth, and fifth in the right hand over a fourth in the left hand. Watch for the E
natural in measure 37!

Performance note: Bring out the top note throughout this piece, as this is the melody line.

Etude No. 2
This etude is a drill for the double vertical stroke (Ex. 171). The interval spread utilized is
that of the fifth throughout, some shifting must occur to accommodate the different
spread of the fifth in the lower range, and those that contain a natural and an
accidental.

Performance notes:
Notes marked with a tenuto in measures 5 to 8 and 30 to 33 (these are the melody notes)
should be played at one dynamic level greater, but without any of the sharpness that
an accent might imply. The offbeat accents found in measures 9 to 13 and 34 to 38
should be played in a sharp, aggressive manner.

Etude No. 3
This etude is based exclusively on octaves (Ex. 173 and 263); it is designed to strengthen
the grip and position of the octave, normally a very weak position to hold. It does, of
course, require some slight shifting as the octave is played in different ranges.
*Exercise numbers refer to Method of Movement by Leigh Howard Stevens.

Brian Willson is currently on the percussion faculty of the Conservatory of

Music at Brooklyn College where he teaches with Morris Lang. He has toured the world
as percussionist with A Chorus Line and other Broadway shows.