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An Annotated Bibliography of Duets for Soprano Voice and Marimba and/or Vibraphone
By Jeremy David Isley, BME, MM
A Document
In Percussion Performance
Submitted to the Graduate Faculty of Texas Tech University in
Partial Fulfillment of the Requirements for
the Degree of
DOCTOR OF MUSICAL ARTS
Approved
Lisa Rogers Chairperson of the Committee
Alan Shinn
Kevin Wass
Mark Sheridan Dean of the Graduate School
August 2019
Copyright 2019, Jeremy David Isley
Texas Tech University, Jeremy David Isley, August 2019
ii
ACKNOWLEDGMENTS
I would like to take a moment to thank everyone who have supported me
along my doctoral journey. First and foremost, I would like to thank God for
giving me the opportunity, abilities, knowledge, skill, and perseverance to
successfully complete this project. I would like to thank my professors, Dr. Lisa
Rogers and Professor Alan Shinn for their guidance and support. Without them,
my acceptance into and completion of two advanced graduate degrees would not
have been possible.
Thanks to Dr. Kevin Wass for agreeing to be on my committee, attending
my recitals, and being willing to review this document. Thanks goes to Dr. Peter
Martens, Emily Gifford, and Linda Gregston for their knowledge and assistance in
my completion of many academic deadlines.
Thank you to the loving congregations at Forrest Heights United Method
Church and Calvary Baptist Church for their support, especially Kristi Edwards
and Dr. Richard Rush. A special thanks goes to our family friend, Arla Jo, for
allowing me to borrow her marimba and vibraphone.
Finally, I wish to thank Jackson, Noah, and Elijah, my children, and most
importantly my wife Rachel Isley, for their understanding, support, and sacrifice
throughout my schooling. A special thanks goes to Rachel for her preparation
and performance on two of my recitals, and ultimately serving as the inspiration
for this document topic.
Texas Tech University, Jeremy David Isley, August 2019
iii
TABLE OF CONTENTS
Acknowledgments. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .ii
List of Tables . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .v
Abstract . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .vii
I. Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1 Justification for the Study. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2
Limitations of the Study. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3
Review of Relevant Resources. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Methodology. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
II. Duets for Soprano Voice and Marimba and/or Vibraphone. . . . . . . . . . 6
Duets Categorized by Secular Poetry Texts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7
Three Subtropical Vistas. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7
Composer Information. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7
Musical and Performance Considerations. . . . . . . . . . . . . . . . . . . . . . . . . 8
A Waltzer in the House. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9
Composer Information. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9
Musical and Performance Considerations. . . . . . . . . . . . . . . . . . . . . . . . .10
The Firefly Hunt. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Composer Information. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11
Musical and Performance Considerations. . . . . . . . . . . . . . . . . . . . . . . . .12
Morning Star . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12
Composer Information. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13
Musical and Performance Considerations. . . . . . . . . . . . . . . . . . . . . . . . .13
Without a Trail to Lace. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14
Composer Information. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14
Musical and Performance Considerations. . . . . . . . . . . . . . . . . . . . . . . . .15
Lanterns and Candlelight. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16
Composer Information. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16
Musical and Performance Considerations. . . . . . . . . . . . . . . . . . . . . . . . .17
Texas Tech University, Jeremy David Isley, August 2019
iv
Five Songs for Voice and Marimba. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18
Composer Information. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18
Musical and Performance Considerations. . . . . . . . . . . . . . . . . . . . . . . . .19
Journey Past the Unicorn. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20
Composer Information. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20
Musical and Performance Considerations. . . . . . . . . . . . . . . . . . . . . . . . .20
Four Bashō Haiku. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21
Composer Information. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21
Musical and Performance Considerations. . . . . . . . . . . . . . . . . . . . . . . . .22 Duets Categorized by Sacred Texts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23
El Shaddai . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23 Composer Information. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23
Musical and Performance Considerations. . . . . . . . . . . . . . . . . . . . . . . . .23
Song of ‘Almah . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24
Composer Information. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24
Musical and Performance Considerations. . . . . . . . . . . . . . . . . . . . . . . . .25
Two Songs for Voice and Marimba. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26
Composer Information. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26
Musical and Performance Considerations. . . . . . . . . . . . . . . . . . . . . . . . .26
Come Away. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27
Composer Information. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28
Musical and Performance Considerations. . . . . . . . . . . . . . . . . . . . . . . . .28
Missa Brevis. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29
Composer Information. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29
Musical and Performance Considerations. . . . . . . . . . . . . . . . . . . . . . . . .29 Dona Eis Requiem. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .30
Composer Information. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .30
Musical and Performance Considerations. . . . . . . . . . . . . . . . . . . . . . . . .31
Visions of the Glory of God. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32 Composer Information. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32
Texas Tech University, Jeremy David Isley, August 2019
v
Musical and Performance Considerations. . . . . . . . . . . . . . . . . . . . . . . . .32
Three Songs for Voice and Marimba . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34 Composer Information. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34
Musical and Performance Considerations. . . . . . . . . . . . . . . . . . . . . . . . .34 Duets Categorized by Theoretical Qualities. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35
Six Italian Arias Arranged for Marimba and Soprano. . . . . . . . . . . . . . . . . .35
Composer Information. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36
Musical and Performance Considerations. . . . . . . . . . . . . . . . . . . . . . . . .36
Twin Compasses. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37
Composer Information. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37
Musical and Performance Considerations. . . . . . . . . . . . . . . . . . . . . . . . .37
III. Conclusion. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .38
Implications for Further Research. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40
Bibliography. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Appendices. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44
A. List of Published Duets. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44
B. List of Unpublished and Self-Published Duets. . . . . . . . . . . . . . . . . . . . . . . .46
Texas Tech University, Jeremy David Isley, August 2019
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LIST OF TABLES
2.1 Adams, Daniel: Three Subtropical Vistas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7
2.2 Babbitt, Milton: A Waltzer in the House. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9
2.3 Becker, Bob: The Firefly Hunt. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11
2.4 Carlsen, Philip: Morning Star. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
2.5 Chan, Alan: Without a Trail to Lace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14
2.6 Childs, Barney: Lanterns and Candlelight. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16
2.7 Glassock, Lynn: Five Songs for Voice and Marimba . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
2.8 Stamp, Jack: Journey Past the Unicorn. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
2.9 Vidales, Jorge: Four Bashō Haiku . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
2.10 Beall, Andrew: El Shaddai. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23
2.11 Beall, Andrew: Song of ‘Almah . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24
2.12 Bolton, Calvin: Two Songs for Voice and Marimba. . . . . . . . . . . . . . . . . . . . . . . . . . . . .26
2.13 Goodenberger, Mark: Come Away. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27
2.14 Jones, Brett: Missa Brevis. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
2.15 Roberts, Bruce: Dona Eis Requiem . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .30
2.16 Saul, Walter: Visions of the Glory of God. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
2.17 Thomas, Tracy: Three Songs for Voice and Marimba. . . . . . . . . . . . . . . . . . . . . . . . . . 34
2.18 Andreatta, Drew: Six Italian Arias Arranged for Marimba and Soprano . . . . . . . .35
2.19 Joest, Kevin: Twin Compasses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37
Texas Tech University, Jeremy David Isley, August 2019
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ABSTRACT
Choosing literature for voice and percussion duets can be challenging due
to difficulties in finding readily available works that fit the needs and demands of
the performing duo. Quality literature exists, although, finding these pieces takes
a great deal of research. This document will review and catalog duets for
soprano voice and marimba and/or vibraphone that are published by major
publishing companies within the United States. The author will provide
particular information on each duet in a rubric format, as well as present viable
information about each work including the composer, title, publisher, publishing
date, number of movements, instrumentation, vocal range, marimba and/or
vibraphone instrument ranges, duration, recording links if available, premiere
information, and any other unique or particular information. The goal of this
document is to provide a centralized resource of catalogued duets for soprano
voice and marimba and/or vibraphone and to ultimately assist in the search for
pieces within this genre. The document will conclude with lists of published
duets, as well as unpublished and self-published duets for soprano voice and
marimba and/or vibraphone.
Texas Tech University, Jeremy David Isley, August 2019
1
CHAPTER I
INTRODUCTION
Published duets date back as early as the days of Wolfgang Amadeus
Mozart and Maria Anna Mozart,1 when the two siblings performed together on
one harpsichord in London in 1765.2 Since then, the duet as a genre has grown to
include many combinations of instruments. A duet is defined as “a musical
composition for two voices or instruments”3 and over the current span of more
than two-hundred years, most recently within the last fifty of those years, the
genre has expanded to include duets for voice and percussion.4
During the twentieth century, percussion instruments were used with
greater variety within the classical orchestra,5 which inspired the smaller
ensembles to do the same as well. For example, in 1961, Warren Benson
experimented with expanded instrumentation as well as the use of the human
voice as a soundscape in his composition Streams.6 This expansion of
instruments includes the use of marimba and vibraphone.
1Classic Fm, “Was Mozart’s sister actually the most talented musician in the
family?” (March 6, 2018), http://www.classicfm.com/composers/mozart. 2Howard Ferguson, Mozart’s Duets for One Pianoforte, Proceedings of the
Royal Musical Association 73 (1946), accessed June 12, 2019, http://www.jstor.org/stable/766084.
3Dictionary.com, “duet,” accessed June 13, 2019, https://www.dictionary.com/browse/duet.
4Bob Becker, The Firefly Hunt, Bob Becker Publications, 1967. 5John H. Beck, James A. Strain, “Percussion Music” (July 10, 2012),
accessed June 13, 2019, https://doiorg.libe2.lib.ttu.edu/10.1093/gmo. 6Warren Benson, Streams, Hal Leonard Corporation, 1961.
Texas Tech University, Jeremy David Isley, August 2019
2
The marimba is a pitched keyboard percussion instrument with rosewood
or synthetic bars that are arranged similarly to a piano keyboard. The
instrument is an idiophone, where the vibration of its own body creates the
sound. Over the years, the range of a marimba has grown from four octaves to
four and one-third octaves, then four and a half octaves, and finally a five-octave
marimba. The range from a low C2 up to a C7 allows for versatile four-mallet
compositional writing. The wooden or synthetic bars are typically struck with
yarn mallets, and the sound is enhanced through hung resonators directly below
the bars. A vibraphone is similar to the marimba in that it is a keyboard
percussion instrument, however, there are a few differences. The bars are made
out of an aluminum alloy, which allows for a lengthy sustain when struck by cord
mallets and the utilization of a pedal to control the length of the pitch. The
vibraphone also has resonators below the bars to enhance the resonance of the
sound. Additionally, there are paddles that are controlled by a motor that rotate
them to create an idiomatic tremolo during the sustained pitches. The range of
the vibraphone is traditionally a three-octave range from F3-F6. This document
will demonstrate how the duet has expanded to include the combination of
soprano voice and marimba and/or vibraphone.
Justification for the Study
In the author’s search of works for the instrumentation of soprano voice
with marimba and/or vibraphone, difficulties began to arise as there is no
centralized resource available that catalogs the works available through
Texas Tech University, Jeremy David Isley, August 2019
3
publishers and/or distributors. The author began a search for this
instrumentation online using YouTube. The results yielded only a few examples
of works. Upon further research into the websites of several publishing
companies based in the United States, including major percussion and/or vocal
music distributors, the author found several pieces fitting the description. It is
the author’s goal to highlight the duets for soprano and marimba and/or
vibraphone as well as to provide an in-depth resource for those interested in
seeking out this performance idiom as well.
Limitations of the Study
This document is limited to the soprano and mezzo-soprano voice ranges
that are written in a duet instrumentation with either marimba and/or
vibraphone. The instrumentation is limited to a duet or duo setting because the
author of this document is a percussionist who performs on a regular basis with
his wife who is a soprano. In addition to personnel, the instrumentation being
limited to only marimba and/or vibraphone allows for a more streamlined
performance experience. There are some duets with voice and percussion that
are geared towards a multiple percussion instrumentation, creating a logistical
concern that can be avoided by playing either marimba and/or vibraphone.
Furthermore, the duets included in this study are published by United
States publishing companies, making them readily available for consumer access.
While researching duets for this project, the author discovered many pieces were
private commissions, or otherwise self-published works that are only available
Texas Tech University, Jeremy David Isley, August 2019
4
upon special request from the composer. Therefore, these pieces were not
included for review in this annotated bibliography.
Review of Relevant Resources
The process of obtaining the compositions and the information included in
this document began with the research of dissertations and other publications
that were readily available. Searching the Percussive Arts Society Resource
Library led to finding information about existing dissertations. Then, a general
search through an internet search engine was a valuable resource to find similar
dissertation topics on annotated catalogues or annotated bibliographies with
compositions of other instrumentations.
Duets for soprano voice and marimba and/or vibraphone were found by
searching specific percussion publishing company websites such as HoneyRock
Publications, Per-Mus Publications, C. Alan Publications, Bachovich Music
Publications, and Keyboard Percussion Publications. The author then completed
specific searches and identified a large portion of works. The author’s next step
was to double-check available pieces through major distribution company
websites such as Steve Weiss Music and Lonestar Percussion. Finally, the author
completed a search within major vocal and choral publication sites including Carl
Fischer Music, Brixton Publications, and Colla Voce Music.
Methodology
The duets for soprano voice and marimba and/or vibraphone were found
on the specific publishing websites through perusal of duet website pages with
Texas Tech University, Jeremy David Isley, August 2019
5
the intent to find pieces with the instrumentation of soprano voice and any
combination of percussion instruments. When the author searched on the larger
distributor sites, several combinations of keyword searches were used in order
to obtain every composition title possible. Keywords included: soprano, soprano
and percussion, soprano and vibraphone, soprano and vibraphone duets, soprano
and vibraphone duos, soprano and marimba duos. The most successful keyword
was “soprano,” as it pulled up any piece with soprano in the instrumentation.
Once the author obtained each composition title, the specific information
was compiled and organized into a spreadsheet. The author then obtained
original copies through purchasing each piece and then evaluated through a
rubric chart for consistent research. The author developed a rubric that
organized the following items in each work: composer, title, publisher, publishing
date, number of movements, instrumentation, vocal range, marimba and/or
vibraphone instrument ranges, duration, recording links if available, premiere
information if available, and any other unique or particular information.
Texas Tech University, Jeremy David Isley, August 2019
6
CHAPTER II
DUETS FOR SOPRANO VOICE AND MARIMBA AND/OR VIBRAPHONE
Through the research of specific publishing websites and major
distributor websites, the author found over one hundred pieces with the
instrumentation of soprano voice and any combination of percussion. Out of the
one hundred, there were thirty-three published and unpublished pieces, which
are duets for soprano voice and marimba and/or vibraphone. Furthermore,
there were nineteen pieces that fit within the scope of this document, all of which
have been reviewed and arranged within three categories. Within those
categories, pieces were arranged alphabetically by composer.
After researching and focusing on the nineteen duets found, the author
discovered three categories for which each composition fit: secular poetry texts,
sacred texts, and theoretical qualities serving as the primary inspiration for the
composition. These theoretical qualities were based on the analytical form to
which the text was set. Fifteen of the nineteen duets contained texts inspired by
poetry, and of those fifteen, two of them were specifically Japanese Haiku poetry.
Out of the nineteen duets, eight contained sacred texts. Finally, two pieces were
categorized by their theoretical forms: the Italian Aria and a lullaby.
Texas Tech University, Jeremy David Isley, August 2019
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Duets Categorized by Secular Poetry Texts Adams, Daniel: Three Subtropical Vistas
Table 2.1 Adams, Daniel: Three Subtropical Vistas
Composer Adams, Daniel
Title Three Subtropical Vistas
Publisher HoneyRock Publications
Date 1991
# of Movements 3 Movements 1. “Key Vaca” 2. “The Matecumbes” 3. “Tavernier”
Instrumentation Mezzo-Soprano Voice, Marimba, and Vibraphone
Vocal Range C4 - E5
Mallet Instrument Range Required
3 Octave Vibraphone; F3 - F6 4 Octave Marimba; C3 - B6
Duration Mvt 1: 6 min, Mvt 2: 3 min, Mvt 3: 2 min
Composer Information
Composer Daniel Adams was born in 1956 in South Florida. His musical
training began in Louisiana State University with a Bachelor of Music degree,
followed by a Master of Music degree from the University of Miami. Adams
culminated his career with a Doctor of Musical Arts degree from the University of
Illinois at Urbana-Champaign. His current position is Professor of Music at the
Texas Southern University where he has composed and published many different
musical compositions and articles over a wide range of topics related to
Texas Tech University, Jeremy David Isley, August 2019
8
twentieth-century percussion music and percussion pedagogy. Adams has
performed nationally and internationally throughout Spain, Germany, Belgium,
Sweden, Turkey, Costa Rica, Argentina, Finland, Canada, and South Korea. Many
of these performances have been captured on Capstone, Ravello, Summit, Albany,
and Potenza Records.7
Musical and Performance Considerations
Three Subtropical Vistas is a multi-movement work based upon the poetry
of Stephen Cochran Singleton that is compiled in a book called A Song of Years in
Florida. The written words by Singleton capture the beauty, tranquility, and
legacy of the Florida Keys during the early 1900s. Composer Daniel Adams
combines the inspiration from the words and his own anecdotal experiences with
the beauty, mystique, and caprice of these islands during the latter part of the
20th century.8
Three Subtropical Vistas is multi-metered throughout all three movements
and both parts include polyrhythms. The instrumentation specifies “one
percussionist” because the instrumentation calls for vibraphone and marimba,
and the compositional writing blends both marimba and vibraphone melodic
lines into one single line written over three staves simultaneously. The vocalist
carries much of the melodic line while the mallet percussion serves as a
7Daniel Adams, “Biography,” accessed January 17, 2019,
http://www.danieladamscomposer.com/biography.html. 8Daniel Adams, Three Subtropical Vistas for Mezzo Soprano and One
Percussionist, C. Alan Publications, 1991.
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soundscape throughout. The composer calls for the vibraphone pedal to be held
down for the entirety of the piece. A logistical concern is that the musical score
comes from the publisher as a large spiral-bound work with all four staves
written together on pages printed single-sided.
Babbitt, Milton: A Waltzer in the House
Table 2.2 Babbitt, Milton: A Waltzer in the House Composer Babbitt, Milton
Title A Waltzer in the House
Publisher C. F. Peters Corporation
Date 2003
# of Movements 1 Movement
Instrumentation Soprano Voice and Vibraphone
Vocal Range A3 - Ab5
Mallet Instrument Range Required
3 Octaves; F3 - F6
Duration 3 minutes
Particular Information
Poem by Stanley Kunitz
Composer Information
Milton Babbitt was an American composer, pedagogue, and innovator in the
realm of music theory. When Babbitt was studying at New York University under
Marin Bauer and Philip James, he was first introduced to Schoenberg's twelve-
tone method. Milton Babbitt is credited with expanding Schoenberg's method as
a professional while teaching at Princeton and Julliard. Babbitt turned
Schoenberg's twelve-tone method into total serialism by applying the
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methodology to rhythm, dynamics, timbre, as well as other musical concepts.
Babbitt's result came in the form of combinatoriality, partitioning, arrays, pitch
class, pitch set, and the time-point system. Later in his career, Babbitt turned his
interests to analogue recording technology, and therefore, co-founded the
Columbia-Princeton Recording Studio. A large part of his compositional style was
to incorporate the human voice into his concepts. This can be heard in his piece
Philomel, written in 1964, as well as A Waltzer in the House.9
Musical and Performance Considerations
A Waltzer in the House by Milton Babbitt employs twelve-tone technique
and is based on a poem by Stanley Kunitz. The score consists of an original
handwritten manuscript where both the voice and vibraphone share the same
grand staff. The contrapuntal nature of the two melody lines overlap and
intertwine throughout, creating a complexity of rhythm, sparse syncopations, and
large interval jumps. This piece requires four-mallet technique and specifically
utilizes combination stroke types (i.e. double vertical strokes and single
independent strokes at the intervallic distance of a perfect fourth).
9Rovi Staff, “Milton Babbitt Biography and History,” accessed May 22,
2019, http://www.allmusic.com/artist/milton-babbitt-mn0000764225/biography.
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Becker, Bob: The Firefly Hunt
Table 2.3 Becker, Bob: The Firefly Hunt Composer Becker, Bob
Title The Firefly Hunt
Publisher Copyright Bob Becker, readily available through Steve Weiss Music
Date 1967
# of Movements 1 Movement
Instrumentation Soprano Voice and Marimba
Vocal Range Eb4 - B5
Mallet Instrument Range Required
4 Octaves; C3 - F6
Duration 3 minutes
Composer Information
Bob Becker is a performer and composer from Allentown, Pennsylvania.
He earned two degrees from the Eastman School of Music. He studied
performance under William G. Street and John H. Beck, as well as composition
with Warren Benson and Aldo Provenzano. Becker has performed as a member
of multiple prestigious performing ensembles, as well as a soloist for major
symphonies throughout his career. He co-founded the percussion group NEXUS
in 1971 and has consistently played with the ensemble Steve Reich and Musicians
since 1973. Becker has been a soloist with the New York Philharmonic, Boston
Symphony, Chicago Symphony, Philadelphia Orchestra, Cleveland Orchestra, San
Francisco Symphony, and Los Angeles Philharmonic.
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Musical and Performance Considerations
The Firefly Hunt is written in multi-meter with much of the marimba part
written in octave melody, aside from the four-note chords written in stacked
perfect fourth intervals. Four-mallet techniques required include single
independent stroke types that are combined with double vertical strokes. Grace
notes are present in the upper soprano vocal range and are followed by an
interval skip. The tonality of the piece avoids the half-step interval and is based
on the pentatonic scale.
Carlsen, Philip: Morning Star
Table 2.4 Carlsen, Philip: Morning Star Composer Carlsen, Philip
Title Morning Star
Publisher C. Alan Publications
Date 1993
# of Movements 5 Movements 1. “The Morning Star” 2. “Shaman Song” 3. “Pine Tree Tops” 4. “Birds” 5. “The Myth”
Instrumentation Soprano Voice and Vibraphone
Vocal Range A3 - G5
Mallet Instrument Range Required
3 Octaves; F3 - F6
Duration Mvt 1: 3 min Mvt 2: 3 min Mvt 3: 2-3min, Mvt 4: 2-3min Mvt 5: 2-3min
Particular Information
The composition of Morning Star was supported by a composer/librettist fellowship from the National Endowment for the Arts. Dedicated to Elizabeth Arnold and James Preiss.
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Composer Information
Philip Carlsen was born in Washington and currently lives in South Portland,
Maine. He is a Professor Emeritus at the University of Maine at Farmington.
Early in his career, he began studying with Robert Suderburg and Jacob
Druckman and now enjoys composing for groups such as the Portland Symphony
Orchestra, the Bossov Ballet Theatre, the Sebago-Long Lakes Region Chamber
Music Festival, and the Trio Penumbra.10
Musical and Performance Considerations
Morning Star is a five-movement piece based on five poems of Gary
Snyder. The first poem, “Pine Tree Tops,” is from his book, Turtle Island. The
remaining texts are from another Gary Snyder book entitled, Myths and Texts.
This composition was supported by a composer and librettist fellowship from the
National Endowment for the Arts. In movement one, the composer calls for
manual and rhythmic manipulation of the resonator paddles of the vibraphone,
and techniques that include rapid double lateral strokes and fragmented
quintuplets. Movement two includes bowed notes in combination with notes
played with mallets. Movement three includes less fragmented rhythms as seen
in the prior two movements, contains multi-meter time signatures, and includes
occasional four-mallet quartal harmony. Movement four utilizes eighth-note
melodic lines written in the vibraphone part throughout the movement that
10Philip Carlsen, ”Biography,” accessed June 2, 2019,
https://www.composers.com/philip-carlsen.
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require a combination of single independent strokes and single alternating
strokes to achieve the contrary motion between hands. Movement five is
reminiscent of movement one because of the manually manipulated resonator
paddles while playing a melodic line with the opposite hand.
Chan, Alan: Without a Trail to Lace
Table 2.5 Chan, Alan: Without a Trail to Lace Composer Chan, Alan
Title Without a Trail to Lace
Publisher HoneyRock Publications
Date 2009
# of Movements 2 Movements 1. “Mother’s Lament” 2. “Daughter’s Lullaby”
Instrumentation Soprano Voice and Vibraphone
Vocal Range A3 - B5
Mallet Instrument Range Required
3 Octaves; F3 - F6
Duration Circa 8 minutes
Recordings Online Link at https://www.youtube.com/watch?v=MqPiQfL0t1c
Premiere Faculty Recital - Saturday, September 30, 2006. White Hall, Performing Arts Center, University of Missouri - Kansas City Melanie Snell - Soprano; Jim Snell - Percussion.
Particular Information
Text by Nicky Schildkraut. Cover design by Sam Lee. The second movement calls for spoken speech narration.
Composer Information
Composer Alan Chan has lived in America, East Asia, and Europe. His
experiences in each of these places serve as inspiration and influence for his
music. Stylistically, Chan spans from classical to jazz, where he is the bandleader
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for the Alan Chan Jazz Orchestra. His eclectic background spills over into his
compositional style and often blurs the lines of tradition. Chan’s music has been
featured at the Percussive Arts Society International Convention, International
Jazz Composer’s Symposium, and the International Jazz Festival Enschede. His
compositions are published through various publishing companies including
HoneyRock, Keyboard Percussion Publications, Meridian, and Navona.11
Musical and Performance Considerations
Without a Trail to Lace is a two-movement work based on the poetry of
Nicky Schildkraut. The two movements have “shades” of jazz harmony with the
extreme contrapuntal melodic lines. Rarely does the vibraphone serve as an
accompaniment. The first movement is about the anguished search of a mother
for her daughter. From a performance perspective, there are exaggerated vibrato
moments in the soprano part that are specifically aimed at the traditional Korean
style singing, p’ansori. There are specific performance notes to this point, and
there is a specific score marking to denote the technique. The second movement
is about a young girl who has been abandoned by both her mother and father,
and the piece is the representation of the emotional conflict within the girl. The
final note at the end is symbolism of the daughter’s coerced independence.12
11Alan Chan, ”Bio,” accessed May 19, 2019,
http://www.alanchanmusic.com/bio.htm. 12Matthew Thomas, Alan Chan, Without A Trail to Lace, HoneyRock
Publications, 2008.
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Childs, Barney: Lanterns and Candlelight
Table 2.6 Childs, Barney: Lanterns and Candlelight Composer Childs, Barney
Title Lanterns and Candlelight
Publisher Smith Publications
Date 1976
# of Movements 1 Movement
Instrumentation Soprano Voice and Marimba
Vocal Range Bb3 - C5
Mallet Instrument Range Required
4 Octaves: C#3 - Bb6
Duration Circa 8 minutes
Composer Information
Composer and scholar Barney Childs was born in Spokane, Washington in
1926. Childs earned a Bachelor of Arts degree from the University of Nevada, as
well as a Bachelor of Arts degree and a Master of Arts degree in the English
language and literature at Oxford University. His education culminated with a
doctoral degree from Stanford University. His teachers included Carlos Chavez,
Aaron Copland, and Elliott Carter.13 His life and career were intertwined
between the English language and music, which makes this piece the perfect fit
for this study.
13Affiliated Composer, ”Barney Childs Biography,” accessed May 9, 2019,
https://www.composers.com/barney-childs.
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Musical and Performance Considerations
Lanterns and Candlelight is a duet in definition, but in practice the piece is
more of a marimba feature with the soprano voice singing as a textural change.
The marimba part for this piece is written completely in treble clef, and the range
requires multiple ledger lines, making this piece more difficult to read. Also,
much like the title indicates, the marimba part is written to be more important
than the soprano part, and the staves reflect it as well. The marimba part is the
top stave when the two parts appear at the same time in the score. In fact, the
program notes in the beginning clearly state, “Soprano is accompanying
throughout. She sits as shown, behind and stage left of marimba.”14 Also, the
composer is very specific in the mallet selection, more than just listing yarn
mallets at the beginning of the score, he calls for Earl Hatch Green wound mallets
specifically to be played for this piece.15
14Barney Childs, Lanterns and Candlelight, Smith Publications, 1976. 15Barney Childs, Lanterns and Candlelight, Smith Publications, 1976.
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Glassock, Lynn: Five Songs for Voice and Marimba
Table 2.7 Glassock, Lynn: Five Songs for Voice and Marimba Composer Glassock, Lynn
Title Five Songs for Voice and Marimba
Publisher C. Alan Publications
Date 1994
# of Movements 5 Movements 1. ”It sifts from leaden sieves” 2. “A murmur” 3. “The sun kept setting” 4. “Two butterflies” 5. “The summer lapsed away”
Instrumentation Mezzo-Soprano Voice and Marimba
Vocal Range A3 - F5
Mallet Instrument Range Required
4.3 Octave; A2 - E6
Duration 12:07
Recordings Online Link at https://www.youtube.com/watch?v=PTUGUey0ibI https://www.youtube.com/watch?v=gEtSDgcu9Ms https://www.youtube.com/watch?v=BfQj_IPgHCg https://www.youtube.com/watch?v=Az7hwzIvku4 https://www.youtube.com/watch?v=YJ-pMRq9uIA
Particular Information
1st Place Winner of the 1994 PAS Composition Contest
Composer Information
Lynn Glassock is a composer and performer in North Carolina. He holds a
Bachelor of Music degree and a Master of Music degree from the University of
North Texas. His teachers included Ed Soph, Leigh Howard Stevens, and Ron
Fink. Before teaching at the University of North Carolina at Chapel Hill, Glassock
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performed with the Dallas Symphony Orchestra, Fort Worth Symphony, and the
Fresno Philharmonic. His compositions have won many prestigious awards, such
as First Place in the Percussive Arts Society (PAS) Composition Contest and the
Festival of New American Music in 1987.16
Musical and Performance Considerations
Five Songs for Voice and Marimba is a five-movement work based on the
poetry of Emily Dickinson. Dickinson often wrote about life, death, and nature
with many of these themes appearing throughout the entire duet. The marimba
part is written in a very melodic way, requiring the combination of all four
mallets to collaborate for the overall melodic line. Advanced four-mallet
techniques, such as the one-handed roll, are incorporated throughout the entire
work. The composer includes sticking suggestions in selected sections of musical
phrases. Polyrhythms are used throughout.
16Lynn Glassock, Five Songs for Voice and Marimba, C. Alan Publications,
1994.
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Stamp, Jack: Journey Past the Unicorn
Table 2.8 Stamp, Jack: Journey Past the Unicorn Composer Stamp, Jack
Title Journey Past the Unicorn
Publisher Per-Mus Publications
Date 1989
# of Movements 1 Movement
Instrumentation Soprano Voice and Vibraphone
Vocal Range Eb4 - G5
Mallet Instrument Range Required
3 Octave; F3 - F6
Duration 3 minutes
Composer Information
Jack Stamp recently retired from Indiana University at Pennsylvania,
where he held the position of Professor of Music and Conductor of Bands. He
holds a Bachelor of Music degree from Indiana University of Pennsylvania, a
Master of Music degree from East Carolina University, and finally a Doctor of
Musical Arts degree from Michigan State University. One of his teachers included
Eugene Corporon.17
Musical and Performance Considerations
Journey Past the Unicorn is a short piece based upon the text by Denise
Andrews. Performance concerns for the vibraphonist are the parallel chords that
17Jack Stamp, ”Biography,” accessed May 29, 2019,
https://wwwgiamusic.com/bios/stamp_jack.cfm.
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require consistent interval control in the hands with accurate wrist and note
placement. Four-mallet technical stroke types employed include single
alternating, double vertical, and single independent strokes.
Vidales, Jorge: Four Bashō Haiku for Soprano and Vibraphone
Table 2.9 Vidales, Jorge: Four Bashō Haiku Composer Vidales, Jorge
Title Four Bashō Haiku for Soprano and Vibraphone
Publisher HoneyRock Publications
Date 2008
# of Movements 4 Movements 1. ”Winter Garden” 2. “Awake At Night” 3. “Stillness” 4. “Moonlight Slanting”
Instrumentation Soprano Voice and Vibraphone
Vocal Range F4 - A5
Mallet Instrument Range Required
3 octaves F3 - F6
Duration 9:09
Recordings Online Link at https://www.youtube.com/watch?v=Fdb71Qka59U
Premiere 2009 as part of the PAS Composition Rules/Regulations
Particular Information
2nd Place Winner of the 2008 PAS Composition Contest
Composer Information
Jorge Vidales was born in Mexico City in 1969 and has received many
prestigious awards such as the Young Creators Grant. His works have been
premiered in Mexico’s most important venues and festivals including the
University Music Composition Festival, the University Arts and Humanities
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Festival, and Mexico City’s International Festival. Vidales composed and entered
Four Bashō Haiku for Soprano and Vibraphone into the Percussive Arts Society’s
Composition Contest in 2008 and was rewarded as the 2nd Place Winner.
Musical and Performance Considerations
Four Bashō Haiku is a song cycle setting of four haiku of Matsuo Bashō for
soprano and vibraphone. “Haiku’” is an unrhymed verse form of Japanese origin
having three lines containing usually five, seven, and five syllables respectively.
As denoted in the title, bashō, is a fictitious name for the author, Matsuo
Munefusa, who was a Japanese poet and considered to be one of the most
important artistic figures in Japan. Munefusa is thought to be a master of this
style of Japanese poetry, which often portray vivid images and make references
to nature as well as sound objects.
Movement one creates a motive out of the first five vibraphone notes that
is played throughout the movement. Movement two utilizes linear lines in the
vibraphone part and the steady eighth notes are intended as a driving force for
the movement. Movement three uses a combination of bow and mallets, as well
as the only movement that employs the vibraphone motor. Movement four is
written as a theme and variations as the musical ideas are introduced in A-B-A-C-
A-D form.
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Duets Categorized by Sacred Texts Beall, Andrew: El Shaddai
Table 2.10 Beall, Andrew: El Shaddai Arranger Beall, Andrew (Card, Michael)
Title El Shaddai
Publisher Bachovich Music Publications
Date 2006
# of Movements 1 Movement
Instrumentation Soprano Voice and Marimba
Vocal Range E4 - G5
Mallet Instrument Range Required
5 Octave; C2 - D6
Duration 4:42
Recordings Online Link at https://www.youtube.com/watch?v=j4x0DFHhrns
Composer Information
Michael Card, the American Christian singer-songwriter, originally wrote
“El Shaddai” for his album Legacy in 1981.18 Amy Grant is often credited for the
composition of this piece because she recorded it on her album Age to Age in
1982. Andrew Beall adapted the work into a duet for soprano voice and marimba
in 2006.
Musical and Performance Considerations
The term El Shaddai is widely known and translated as “God Almighty,”
serving as one of the names of Yahweh God, “the God of Israel.” The
18Michael Card, “Resources,” accessed May 13, 2019,
https://www.michaelcard.com.
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compositional techniques for marimba alternate between rolled quartal harmony
and arpeggiations over the same chord changes. The ternary form of this piece is
A-B-A with a tag ending.
Beall, Andrew: Song of ‘Almah
Table 2.11 Beall, Andrew: Song of ‘Almah Composer Beall, Andrew
Title Song of ‘Almah
Publisher Bachovich Music Publications
Date 2006
# of Movements 3 Movements 1. “Rose of Sharon” 2. “Yearning For” 3. “Cedar of Lebanon”
Instrumentation Soprano Voice and Marimba
Vocal Range G3 - C5
Mallet Instrument 5 Octaves; C2 - Ab6 Duration Circa 20 minutes
Recordings BMP Records Andrew Beall - Deliverance www.bachovich.com
Composer Information
Andrew Beall is a composer and percussion performer based in New York.
Beall holds one degree from the Manhattan School of Music and one degree New
York University. Furthermore, he is the owner of Bachovich Music Publications.19
His works have been performed by groups such as the Siberian Symphony
Orchestra. Beall has performed multiple shows on Broadway such as The Lion 19Andrew Beall, “Biography,” accessed April 10, 2019, http://www.andewbeall.com/biography.php.
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King and Les Miserables, played with symphonies such as the Greenwich
Symphony and the Philharmonic Orchestra of the Americas, and is the drummer
for the rock group Cordis.
Musical and Performance Considerations
Song of ‘Almah is a three-movement work based on the text taken from the
Old Testament book, Song of Solomon and tells of the story of King Solomon and
his search for true love. ‘Almah is a variation on the Hebrew musical term
‘alamoth, which can be translated as “soprano.” The composer purposefully
chose the scriptures and texts that would be sung from the young ‘Almah’s
perspective. This is an intense musical setting of a powerful story set to the duo
instrumentation of soprano voice and marimba and is recorded on the album
Deliverance by BMP Records.20
Arpeggiated sixteenth notes in the marimba part dominate the texture
throughout the first movement. The composer wrote difficult syncopations with
hocketed rhythms between hands in the marimba part at the end of the first
movement. The second movement is a complete texture and style change to 42
BPM with soft marimba rolls and a lower vocal range for the vocalist. There is a
brief rubato section for the marimba to perform in a soloistic manner, followed
by a transitional section that leads directly to the third movement. The final
movement begins with cascading sixteenth notes in the marimba to set forth the
Molto espressivo e rubato style marking. Much like the “back-n-forth" of the love
20Andrew Beall, Song of ’Almah, Bachovich Music Publications, 2006.
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story being portrayed through the text, the styles change multiple times over the
last few pages of the piece.
Bolton, Calvin: Two Songs for Voice and Marimba
Table 2.12 Bolton, Calvin: Two Songs for Voice and Marimba Composer Bolton, Calvin
Title Two Songs for Voice and Marimba
Publisher Per-Mus Publications
Date 1989
# of Movements 2 Movements 1. “I Love You” (Ludwig van Beethoven) 2. “The Last Rose of Summer” (Irish Air)
Instrumentation Soprano Voice and Marimba
Vocal Range D4 - F5
Mallet Instrument Range Required
4.5 Octave; F2 - G6
Duration 4 - 5 minutes
Composer Information
Calvin Bolton is an American composer. In addition to the above listed
work, his marimba transcription of Robert Schumann’s piano work, Album for the
Young is published by C. Alan Publications. One item to note is that the
composer’s name is misspelled “Calvin Boulton” in two places on the publication
by Per-Mus Publications. When searching for Two Songs for Voice and Marimba
by Calvin Bolton, one might consider searching for both spellings as needed.
Musical and Performance Considerations
Two Songs for Voice and Marimba is a two-song set of arrangements. Song
one is entitled “I Love You” and was originally written by Ludwig van Beethoven.
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This piece was commissioned by and is dedicated to Jackie Henson from Chase
High School in Forest City, North Carolina. The soprano part is light, soft, and
very bouncy while the marimbist plays four-mallet independent passages. The
right-hand marimba part is mainly comprised of sixteenth notes that have rapid
interval changes while playing single alternating strokes in the left hand.
The second song of this set is based off the Old Irish Air, “The Last Rose of
Summer.” The marimba part provides a syncopated accompaniment part that
has rapid chord changes within each measure. This movement is strophic in
nature. In other words, the movement has a total of three verses of different text
that are sung over the same melody.
Goodenberger, Mark: Come Away
Table 2.13 Goodenberger, Mark: Come Away Composer Goodenberger, Mark
Title Come Away
Publisher HoneyRock Publications
Date 1997
# of Movements 1 Movement
Instrumentation Soprano Voice and Vibraphone
Vocal Range C4 - C6
Mallet Instrument Range Required
3 Octaves; F3 - F6
Duration 7 - 9 minutes
Particular Information
Commissioned by Nancy Olsen-Chatalas
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Composer Information
Mark Goodenberger earned a Bachelor of Music Education degree from
Lewis and Clark College and a Master of Music degree from the University of
Michigan. He currently serves as the Director of Percussion Studies at Central
Washington University in Ellensburg, Washington. His performance colleagues
include Steve Reich, Libby Larsen, Chen Yi, George Crumb, Elliot Carter, Lou
Harrison, Chinary Ung. His professional associations include Vic Firth, Yamaha,
and Amy Putnam Mallets. Many of his compositions are premiered by the groups
in which he is also a performer.21
Musical and Performance Considerations
Come Away is based on text from the Song of Solomon, in the Hebrew
scripture. This single-movement work is multi-metered and changes keys
multiple times. The vibraphone part has accented notes that help support the
soprano melodic line, and sometimes play against the soprano melody. The
utmost control of each mallet must be obtained and displayed in order to create
the flowingly sections, as well as bring out the melody notes within the
contrapuntal lines on the vibraphone.
21Mark Goodenberger, ”CWU Bio Page,” accessed April 20, 2019,
https://www.cwu.edu/music/mark-goodenberger.
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Jones, Brett: Missa Brevis
Table 2.14 Jones, Brett: Missa Brevis Composer Jones, Brett
Title Missa Brevis
Publisher HoneyRock Publications
Date 2003
# of Movements 2 Movements 1. “Kyrie” 2. “Gloria”
Instrumentation Mezzo-Soprano Voice and Vibraphone
Vocal Range G3 - G5
Mallet Instrument Range Required
3 Octaves; F3 - F6
Duration 12 - 13 minutes
Composer Information
Brett Jones was born in South Dakota and currently serves as Professor of
Percussion and Department Chair at the University of Wisconsin at Superior. He
earned degrees from the University of Colorado as well as Texas Tech University
where he studied with Alan Shinn, Lisa Rogers, Doug Walter, Don N. Parker, John
R. Beck, and Gene Holter. Jones’ publications range from articles in Percussive
Notes to pieces published by C. Alan Publications, HoneyRock Publications, and
HaMaR Percussion Publications.
Musical and Performance Considerations
Missa Brevis is a two-movement work that is based on the formal structure
of a church mass. The melodic material of the “Kyrie” is very similar to
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plainchant. The “Gloria” is through-composed and encompasses multiple motives
including: “Gloria,” “World,” “Father,” “Son,” and “Holy Spirit.” The last three
motives are interwoven together to form a “Trinity” motive.22 Some performance
notes to include are the use of two bows on the edges of the bars during the
beginning of the first movement, and then four-mallet techniques are employed
for the remainder. The second movement is a contrasting style that requires
four-mallet independence for many of the fast melodic lines written for the
vibraphone.
Roberts, Bruce: Dona Eis Requiem
Table 2.15 Roberts, Bruce: Dona Eis Requiem Composer Roberts, Bruce
Title Dona Eis Requiem
Publisher C. Alan Publications and McClaren Publications
Date 1994
# of Movements 1 Movement
Instrumentation Mezzo-Soprano Voice and Marimba
Vocal Range G3 - Ab5
Mallet Instrument Range Required
4.3 Octaves; A2 - G6
Duration 7 minutes
Composer Information
Bruce Roberts is the Director of Academic Programs for University
Outreach at the University of Oklahoma. He holds a Bachelor of Music Education
22Brett Jones, Missa Brevis, HoneyRock Publications, 2003.
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degree and Master of Music degree from the University of Arkansas as well as a
doctoral degree from the University of Oklahoma.23
Musical and Performance Considerations
Dona Eis Requiem is based on the “Mass of the Requiem” and is the only
piece in this study where the soprano begins the piece. The composer notes are
very thorough and explicit for techniques throughout the work. Topics covered
in the notes include text specifications as well as overall performance practice
considerations as suggested by the composer.
The difficulties of the piece come from the rapid style changes, as well as
Chopin-styled intermotivic lines that take shape in a quintuplet motive that
drives the first main section. The quintuplet is comprised of a combination of
four-mallet lateral strokes, double vertical strokes, and single alternating strokes
for the marimbist. Finally, the two lines of the piece require six-mallet technique
to successfully play the written chords.
23Bruce Roberts, ”Biography,” accessed May 23, 2019, https://www.c-
alanpublications.com/brands/Roberts-Bruce.
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Saul, Walter: Visions of the Glory of God
Table 2.16 Saul, Walter: Visions of the Glory of God Composer Saul, Walter
Title Visions of the Glory of God
Publisher HoneyRock Publications
Date 1997
# of Movements 4 Movements 1. ”God’s Grandeur” 2. “The Windhover: To Christ our Lord” 3. “Easter Communion” 4. “Pied Beauty”
Instrumentation Soprano Voice and Vibraphone
Vocal Range B4 - A5
Mallet Instrument Range Required
3 Octaves; F3 - F6
Duration Mvt 1: 3 min, Mvt 2: 2 min, Mvt 3: 2 min, Mvt 4: 2 min
Particular Information
This collection is dedicated to Doug Walter.
Composer Information
Walter Saul was born in Philadelphia, Pennsylvania. He attended Duke
University, where he won the Henry Schuman Music Prize for composition three
times total, and then proceeded to attend the Eastman School of Music. While
earning his doctoral degree in composition, he was a student of Samuel Adler,
Warren Benson, and Joseph Schwantner.
Musical and Performance Considerations
Visions of the Glory of God is a suite of four word paintings and tone
paintings based on God. The text is drawn from four poems by Gerard Manley
Hopkins. The performance notes suggest that this piece may also be performed
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by tenor solo, and the last two movements can be accompanied by piano.
Movement 1, “God’s Grandeur,” starts softly with rolled vibraphone notes, and
the soprano melody is tonal in nature. There are a set of septuplet lines that are
based upon the diminished scale. Movement two, entitled “The Windhover,” also
requires four-mallet techniques. The movement begins triumphantly and upon
entering, the soprano and vibraphone rhythms interlock to form the entire
melody. Quick wrist rotations are required for many of the parts of the
vibraphone. In movement 3, entitled “Easter Communion,” the composer
maintained tonal melodies for the vocalist, however, the thickness of texture
comes from the three-note chords that travel up the vibraphone rapidly and
require advanced wrist rotation control. Finally, the fourth movement entitled
“Pied Beauty,” is also joyful and majestic with rapid chord changes for the vibist
to execute. Much of this movement has an independent contrapuntal line on top
of chords that outline the note groupings.
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Thomas, Tracy: Three Songs for Voice and Marimba Table 2.17 Thomas, Tracy: Three Songs for Voice and Marimba
Composer Thomas, Tracy
Title Three Songs for Voice and Marimba
Publisher Keyboard Percussion Publications
Date 2010
# of Movements 3 Movements 1. ”We Wear the Mask” 2. “A Litany” 3. “Lead, Kindly Light”
Instrumentation Soprano Voice and Marimba
Vocal Range C4 - Bb5 (Optional D6)
Mallet Instrument Range Required
5 Octave; C2 - C6
Duration 8 - 10 minutes
Particular Information
Text by Paul Laurence Dunbar, Phineas Fletcher, John H. Newman
Composer Information
Tracy Thomas resides in Troy, Missouri. He serves on the music faculty at
Missouri Western State University, where he is an active music educator in Troy.
In 2010, Thomas received his doctoral degree from the University of Kansas.
Musical and Composer Information
Three Songs for Voice and Marimba is a three-movement work which
requires advanced four-mallet techniques. The first movement text was written
by Paul Laurence Dunbar. The marimba parts include polyrhythms as well as
sticking suggestions from the composer. The carefully placed double vertical
strokes shape the emphasis within the musical lines of the marimba. The second
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movement is entitled “Litany” and is based on the text by Phineas Fletcher.
Advanced four-mallet roll techniques and combination stroke types are used
throughout the second movement. The third movement is entitled “Lead, Kindly
Light.” The text is written by John H. Newman. Tenuto markings are present
above the notes on the downbeat for the marimbist, and dictate that those notes
are melody and should have more weight. There are flourishing marimba lines
that push to the end to give a finality to the piece.
Duets Categorized by Theoretical Qualities Andreatta, Drew: Six Italian Arias Arranged for Marimba and Soprano
Table 2.18 Andreatta, Drew: Six Italian Arias Arranged for Marimba and Soprano Composer Andreatta, Drew
Title Six Italian Arias Arranged for Marimba and Soprano
Publisher Per-Mus Publications
Date 2018
# of Movements 6 Movements 1. “Amarilli, mia bella” 2. “Caro mio ben” 3. “Maria, dolce Maria” 4. “Nina” 5. “O del mio dolce ardor” 6. “Come raggio di sol”
Instrumentation Soprano Voice and Marimba
Vocal Range C4 - G5
Mallet Instrument Range Required
5 Octave; C2 - B5
Duration Mvt 1: 2-3min Mvt 2: 2 min Mvt 3: 3 min Mvt 4: 4 min Mvt 5: 2-3min Mvt 6: 2 min
Particular Information
This collection is dedicated to Gary and Kirsten Cook.
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Composer Information
Drew Andreatta serves on the adjunct faculty at Baldwin Wallace
University in Northeast Ohio. He graduated with a Doctor of Musical Arts Degree
from the University of Arizona under Professor Gary Cook. He holds a Master of
Music degree from the University of Nevada at Las Vegas, as well as a Bachelor of
Music degree from the University of Kentucky. Andreatta was a featured
marimba soloist at Scotland’s 2016 “Sound Festival of New Music.”24
Musical and Performance Considerations
Six Italian Arias Arranged for Marimba and Soprano is a collection of pieces
where the original piano accompaniment has been adapted to fit the five-octave
marimba. All six of these arias have been chosen from a collection of vocal
literature entitled 24 Italian Art Songs and Arias from the 17th and 18th Centuries.
Each aria serves as a piece within itself. Furthermore, the difficulty level for each
movement is not sequential or progressive in nature. The compositional style
differs between each movement from multi-textural contrapuntal lines between
the top two mallet voicings to blocked and/or arpeggiated quartal harmony.
24Drew, Andreatta, Six Italian Arias Arranged for Marimba and Soprano,
Per-Mus Publications, 2018.
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Joest, Kevin: Twin Compasses
Table 2.19 Joest, Kevin: Twin Compasses Composer Joest, Kevin
Title Twin Compasses
Publisher C. Alan Publications
Date 2010
# of Movements 1 Movement
Instrumentation Soprano Voice and Vibraphone
Vocal Range C4 - A5
Mallet Instrument Range Required
3 Octaves: F3-E6
Duration 4:09
Recordings Online Link at https://www.youtube.com/watch?v=BDAbGpcCiuo
Composer Information
Composer and performer Kevin Joest resides in New York City. He holds a
Bachelor of Music degree in music theory and composition from Middle
Tennessee State University. He studied with Lalo Davila, Julie Davila, Andy Smith,
Jason Tiemann, Michael Linton, and Paul Osterfield.
Musical and Performance Considerations
Twin Compasses is a lullaby setting of a portion of the text of John Donne’s
poem “A Valediction Forbidding Mourning.” The inspiration of this piece was the
lullaby, and the text was set over the top of the music. Vibraphone pedal
markings are available throughout the entire piece, and special considerations
must be made concerning proper stickings. Combination stroke types are
required to play this piece.
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CHAPTER III
CONCLUSION
The performance of duet works is an opportunity to improve
musicianship within a chamber ensemble setting. The careful entrances and
releases, as well as the crafted musical lines are both the challenge and
inspiration to great duet performances. The pieces researched within this
document are of a wide variety and provide multiple opportunities to challenge
the performer within a chamber music setting. Through the research of specific
publishing websites and major distributor websites, the author found over one
hundred pieces with the instrumentation of soprano voice and any combination
of percussion, and out of those, nineteen are duets for soprano voice and
marimba and/or vibraphone. Each of the nineteen pieces have been reviewed,
alphabetized by composer, and all specific information for each piece has been
notated on individual rubrics designed by the author.
After researching and focusing on the nineteen duets found, the author
discovered three categories for which each piece fit: secular poetry texts, sacred
texts, and theoretical qualities. Fifteen of the nineteen duets contained texts
inspired by poetry, and of those fifteen, two of them were specifically Japanese
Haiku poetry. Out of the nineteen, eight of the duets contain sacred text, and
finally, two pieces were categorized by their theoretical forms: the Italian Aria
and a lullaby.
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Additionally, an unexpected finding while comparing works was the
discovery of a vast spectrum of musical styles within the same genre of duets for
soprano voice and marimba and/or vibraphone. Some pieces were highly
classical with roots in functional harmony that date back to the seventeenth
century. Other pieces were written by late twentieth-century composers, such as
Milton Babbitt, and the musical style was more contemporary and quite different
from Baroque era harmonies. Other compositional techniques resultant of the
author’s research were the roles that each member of the duo played, when
compared from piece to piece. Fifteen of the nineteen duets were of balanced
writing where each member of the duo had substantial parts and these pieces
were considered “true duets.” Four of the nineteen duets feature the soprano
more as a soloist with marimba or vibraphone accompaniment. Finally, Lanterns
and Candlelight by Barney Childs was the only piece to feature the marimbist as a
soloist with soprano voice as accompaniment.
An important factor to note, five of the nineteen duets were the result of
commissions for various reasons, primarily showing a significant interest in the
genre and ultimately adding pieces to a genre that has grown over time. Of the
nineteen duets, one was published in the 1960s, one in the 1970s, two in the
1980s, six in the 1990s, and nine after the year 2000. Finally, of all nineteen
duets, there were nine with soprano and marimba instrumentation, nine with
soprano and vibraphone instrumentation, and one piece that was soprano with
marimba and vibraphone.
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Implications for Further Research
The author believes this study is a snapshot or small footprint of the larger
instrumentation combination of voice and percussion. Of the one hundred pieces
compiled as a result of the author’s initial research, the largest percentage of
pieces consisted of thirty-three pieces with mixed instrumentation (i.e. strings,
winds, piano, and percussion). The second-largest instrumentation was that of
soprano and non-pitched percussion. The author would like to see a complete
annotated bibliography of these instrumentations from the remaining pieces not
included in this document. Other areas of research could expand from soprano
voice into other voice parts such as alto, tenor, or bass. Additionally, a document
written from a vocalist’s perspective would compliment this document well by
adding performance considerations as they pertain to the vocal part for each
duet. Because this genre seems to be growing, reviews and research could
expand into including pieces that were commissioned for this instrument
combination, yet not published by major United States publishers. The author
believes such research, when paired with this document, will provide a valuable
resource for anyone seeking music that combines voice and percussion.
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BIBLIOGRAPHY
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Wilder Duo with Analyses of Three Selected Works by Gordon Stout, Paul Turok, and Alec Wilder.” DMA Dissertation, University of North Texas, 2007. 67531. https://digital.library.unt.edu.
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Jones, Brett. Missa Brevis for Mezzo-Soprano and Vibraphone. Everett,
Pennsylvania: HoneyRock Publications, 2003. Lin, Nan-Yen, “An Annotated Bibliography of Published Duets for Clarinet and
Marimba Available in the United States.” DMA Treatise, Florida State University, 2012. Florida State University Libraries, 182977. https://diginole.lib.fse.edu.
Maltese, Casey N, “A Performance Guide of Selected Works for Horn and Mallet Percussion.” DMA essay, University of Miami, 2011. Open Access Dissertations, 527. https//scholarlyrepository. miami.edu/oa_dissertations/527.
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APPENDIX A
LIST OF PUBLISHED DUETS Instrumentation Title Composer Publisher Date Soprano and Marimba
Three Subtropical Vistas
Adams, Daniel C. Alan Publications
1991
Soprano and Marimba
Six Italian Arias Arranged for Marimba and Soprano
Andreatta, Drew Per-Mus Publications
2018
Soprano and Vibraphone
A Waltzer in the House
Babbitt, Milton Peters Publishing, New York
2003
Soprano and Marimba
El Shaddai Beall, Andrew Bachovich Music Publications
2006
Soprano and Marimba
Song of ‘Almah Beall, Andrew Bachovich Music Publications
2006
Soprano and Marimba
Firefly Hunt Becker, Bob Found on SteveWeiss
1967
Soprano and Marimba
Two Songs for Voice and Marimba
Bolton, Calvin Per-Mus Publications
1989
Soprano and Vibraphone
Morning Star Carlsen, Philip C. Alan Publications
1993
Soprano and Vibraphone
Without a Trail to Lace
Chan, Alan HoneyRock Publications
2008
Soprano and Marimba
Lanterns and Candlelight
Childs, Barney Smith Publications
1976
Mezzo-Soprano and Marimba
Five Songs for Voice and Marimba
Glassock, Lynn C. Alan Publications
1994
Soprano and Vibraphone
Come Away Goodenberger, Mark
HoneyRock Publications
1997
Soprano and Vibraphone
Twin Compasses
Joest, Kevin
C. Alan Publications
2010
Mezzo-Soprano and Vibraphone
Missa Brevis Jones, Brett HoneyRock Publications
2003
Mezzo-Soprano and Marimba
Dona Eis Requiem
Roberts, Bruce C. Alan Publications
1994
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Soprano and Vibraphone
Visions of the Glory of God
Saul, Walter B. HoneyRock Publications
1997
Soprano and Vibraphone
Journey Past the Unicorn
Stamp, Jack Per-Mus Publications
1989
Soprano and Marimba
Three Songs for Voice and Marimba
Thomas, Tracy Keyboard Percussion Publications
2010
Soprano and Vibraphone
Four Bashō Haiku
Vidales, Jorge HoneyRock Publications
2008
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APPENDIX B
LIST OF UNPUBLISHED AND SELF-PUBLISHED DUETS Soprano and Marimba
Da Boo Adolphe, Bruce Self-published
Soprano and Marimba
Song of the Seashore Albert, Ludwig Self-published
Soprano and Marimba
Penseroso Bauer, Rod Commissioned by Aurora Borealis Duo
Soprano and Marimba
Chove en Santiago Fusco, Raphael Commissioned by Aurora Borealis Duo
Soprano and Marimba
Three Songs for Soprano and Marimba
Gianopoulos, George
Commissioned by Aurora Borealis Duo
Soprano and Marimba
...And the Lillies Revived
Harvey, William Commissioned by Aurora Borealis Duo
Soprano and Marimba
Love After Love Leon, Tania Commissioned by Aurora Borealis Duo
Marimba or Vibraphone and Soprano
Memories Rosauro, Ney Ney Rosauro
Marimba and Soprano
A Song (Cobalt Blue) Rosauro, Ney and Abe, Keiko
Ney Rosauro
Soprano and Marimba
Three Songs of Carl Sandburg
Russell, Richard Commissioned by Aurora Borealis Duo
Soprano and Marimba
Songs of the Wildflower
Smith, Paul Commissioned by Aurora Borealis Duo
Soprano and Marimba
Incantation Solook, Stephen Commissioned by Aurora Borealis Duo
Soprano and Vibraphone
Puppy and I Spivack, Larry Self-Published