DEDICATION This work is dedicated to my loving parents Wen-Li Liao and Li-Whay Chen. [627245]

UNIVERSITY OF MIAMI NEY ROSAURO’S TWO CONCERTI FOR MARIMBA AND ORCHESTRA: ANALYSIS, PEDAGOGY AND ARTISTIC CONSIDERATIONS By Wan-Chun Liao A DOCTORAL ESSAY Submitted to the Faculty of the University of Miami in partial fulfillment of the requirements for the degree of Doctor of Musical Arts Coral Gables, Florida June 2005

UNIVERSITY OF MIAMI An essay submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts NEY ROSAURO’S TWO CONCERTI FOR MARIMBA AND ORCHESTRA: ANALYSIS, PEDAGOGY AND ARTISTIC CONSIDERATIONS Wan-Chun Liao Approved: _______________________________ ________ ________________________ Ney Rosauro Steven G. Ullmann Professor of Percussion Dean of the Graduate School _______________________________ _________________________________ Gary Green Shannon Wood Professor of Instrumental Performance Adjunct Professor of Percussion _______________________________ Paul Wilson Professor of Music Theory and Composition

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

iii AKNOWLEDGEMENTS I would like to recognize the following individuals who have made the completion of the degree possible for all their kind suppor t and contributions to this project. First of all, I would like to express my great thanks to Dr. Ney Rosauro for his passionate inspiration and artistic guidance throughout the process of writing this essay as well as the course of my degree program. He has helped me grow musically and professionally. I will always hold him in the highest esteem as a mentor, colleague, and friend. I am grateful to the following members of my committee for their suppor t, guidance, sugge stions, and encouragement: Gary Green, Paul Wilson, Edward Asmus, and Shannon Wood. I have been fortunate to have several passionate teachers who have been incredible inspirations during my development as a young musician. Those teachers are: Ney Rosauro, Guy Remonko, Gary Green, Paul Wilson, Shannon Wood, Tzong-Ching Ju, and Kuan-Yuan Kao. Finally, heartfelt thanks are due to my wonde rful family and close friends: Mean-Ling Liao, Brenton Alston, Yei-Shun Fey, Debbi Welsh-Ibanez, Davis Kassler, Brian Potts, Matt Koger, Brandie Lane, Rod Squance, and Andrew Maguire.

iv TABLE OF CONTENTS Page LIST OF EXAMPLES ……… ……… …… ………… ……… ………. vii LIST OF FIGURES ……… ……… ……… ………… ……… ………. xi Chapter 1 INTRODUCTION …… ……… ……… ………… …………… 1 Rationale for the Study ………………………… …………………. 5 Data to be Gathered ……………………………… ……………… 6 Method of Data Organization and Interpretation ……………….. . 6 2 REVIEW OF THE LITERATURE …………… …………… 8 Introduc tion ……………………………………… ……………… 8 Brief Biography of Ney Rosauro ………………… ……………… 8 Method Books Written by Rosauro ……………………………… 11 Rosauro’s Compositions …………………………………………… 13 Publications Discussing Rosauro’s Concerto for Marimba and Orchestra………………………………………… ………………… 14 Recordings of Rosauro’s Concerti ……………… ………………… 15 Rosauro’s Personal Web Site ……………………………………… 16

v 3 PERFORMANCE ANALYSIS OF CONCERTO FOR MARIMBA AND ORCHESTRA ……… ……… …… ………………………. 17 Introduc tion ……………………………………… ……………… 17 An overview of Concerto for Marimba and Orchestra ………….. 17 Movement I: Saudação (Greeting) ……………… ……………… . 18 Movement II: Lamento (Lament) ……………… ………………… 20 Movement III: Dança (Dance) …………………… ……………… 22 Movement IV: Despedida (Farewell) …………… ………………. 24 4 PERFORMANCE ANALYSIS OF CONCERTO # 2 FOR MARIMBA AND ORCHESTRA ………… …………………….. 27 Introduc tion ……………………………………… ……………… 27 An Overview of Concerto #2 for Marimba and Orchestra ……… 27 Movement I: Water Running in High Mountain…………………. 29 Movement II: Reflections and Dreams ………………………….. 34 Movement III: Walking on Clouds ……………………………… 39 5 COMPARISON OF ARTISTIC APPROACH IN ROSAURO’S TWO MARIMBA CONCERTI……… ………… …………… 44 Introduc tion ……………………………………… ……………… 44 Similarities ……………………………………… ………………. 44

vi Differences ……………………………………… ……………….. 55 6 A PERFORMER’S STUDY GUIDE FOR ROSAURO’S TWO CONCERTI FOR MARIMBA AND ORCHESTRA…. 60 Introduc tion ……………………………………… …………… 60 Rosauro’s Modified Four-Mallet Technique …………………… 61 Marimba Techniques Frequently Used in Rosauro’s Concerti …. 64 The Performer’s Study Guide …………………… ……………… 65 7 CONCLUSION ……………… ……… ………… …………… 95 BIBLIOGRAPHY …… ……… ……… …………… ……… …… …… 97 DISCOGRAPHY ……… ……… ……… …………… ……… …. …… 99 VITA …………… ……… ……… ……… ………… ……… ………… 100

vii LIST OF MUSIC EXAMPLES Example Page 5.1. Concerto for Marimba and Orchestra, Movement IV, mm. 13-14 …………. 45 5.2. Concerto #2 for Marimba and Orchestra, Movement III, mm. 17-22 ……… 46 5.3. Concerto for Marimba and Orchestra, Movement IV, mm. 16-20 …………. 46 5.4. Concerto #2 for Marimba and Orchestra, Movement I, mm. 12-15 ……….. 47 5.5. Concerto for Marimba and Orchestra, Movement I, mm. 59-62 …………… 47 5.6. Concerto #2 for Marimba and Orchestra, Movement I, mm. 124-131 ……… 48 5.7. Concerto for Marimba and Orchestra, Movement III, mm. 50-55 …………… 48 5.8. Concerto #2 for Marimba and Orchestra, Movement III, mm. 199-214 ……… 49 5.9. Concerto #2 for Marimba and Orchestra, Movement I, mm. 70-71 …………… 49 5.10. Concerto for Marimba and Orchestra, Movement I, mm. 1-4 ……………….. 50 5.11. Concerto #2 for Marimba and Orchestra, Movement I, mm. 12-15 …………. 50 5.12. Concerto #2 for Marimba and Orchestra, Movement I, mm.116-119 ………… 51 5.13. Concerto for Marimba and Orchestra, Movement III, mm. 33-36 …………… 51 5.14. Concerto for Marimba and Orchestra, Movement III, mm. 13-16 …………… 52 5.15. Concerto for Marimba and Orchestra, Movement III, mm. 25-28 …………… 53 5.16. Concerto #2 for Marimba and Orchestra, Movement II, mm. 180-184 ……… 53

viii 5.17. Concerto for Marimba and Orchestra, Movement II, mm. 1-9 ………………. 54 5.18. Concerto #2 for Marimba and Orchestra, Movement II, mm. 13-16 …………. 54 5.19. Concerto for Marimba and Orchestra, Movement I, mm. 83-86 …………… 55 5.20. Concerto #2 for Marimba and Orchestra, Movement I, mm. 140-142 ……….. 55 5.21. Concerto #2 for Marimba and Orchestra, Movement II, mm. 13-16 …………. 57 5.22. Concerto #2 for Marimba and Orchestra, Movement II, mm. 227-230 ………. 57 5.23. Concerto #2 for Marimba and Orchestra, Movement II, mm. 1-4 ……………. 58 5.24. Concerto #2 for Marimba and Orchestra, Movement III, mm. 166-170 ……… 58 6.1. Concerto for Marimba and Orchestra, Movement I, mm. 1-4 …………………. 66 6.2. Concerto for Marimba and Orchestra, Movement I, mm. 9-12 ……………….. .67 6.3. Concerto for Marimba and Orchestra, Movement I, mm. 25-28 ………………..68 6.4. Concerto for Marimba and Orchestra, Movement I, mm. 59-62 ……………….. 68 6.5. Concerto for Marimba and Orchestra, Movement I, mm. 75-78 ……………….. 69 6.6. Concerto for Marimba and Orchestra, Movement I, mm. 83-86 ……………….. 70 6.7. Concerto for Marimba and Orchestra, Movement I, mm. 127-130…………….. 71 6.8. Concerto for Marimba and Orchestra, Movement II, mm. 1-9 ………………….72 6.9. Concerto for Marimba and Orchestra, Movement II, mm. 13-16 ……………… 74 6.10. Concerto for Marimba and Orchestra, Movement II, mm. 22-26……………… 75 6.11. Concerto for Marimba and Orchestra, Movement III, mm. 13-16 ……………. 76

ix 6.12. Concerto for Marimba and Orchestra, Movement III, mm. 25-28 ……………. 77 6.13. Concerto for Marimba and Orchestra, Movement III, mm. 50-55 ……………. 78 6.14. Concerto for Marimba and Orchestra, Movement III, mm. 63-71 …………… 79 6.15. Concerto for Marimba and Orchestra, Movement III, mm. 73-76 …………… 79 6.16. Concerto for Marimba and Orchestra, Movement IV, mm. 13-14…………….. 80 6.17. Concerto for Marimba and Orchestra, Movement IV, mm. 16-20 ………….… 81 6.18. Concerto for Marimba and Orchestra, Movement IV, mm. 144-155 …………. 82 6.19. Concerto for Marimba and Orchestra, Movement IV, Cadenza…………….… 83 6.20. Concerto #2 for Marimba and Orchestra, Movement I, mm. 12-15 ……… 84 6.21. Concerto #2 for Marimba and Orchestra, Movement I, mm. 70-71 ……… 85 6.22. Concerto #2 for Marimba and Orchestra, Movement I, mm. 140-142 ……… 85 6.23. Concerto #2 for Marimba and Orchestra, Movement I, mm. 283-286 ……… 86 6.24. Concerto #2 for Marimba and Orchestra, Movement II, mm. 1-4 ……..………86 6.25. Concerto #2 for Marimba and Orchestra, Movement II, mm. 5-12 ……………88 6.26. Concerto #2 for Marimba and Orchestra, Movement II, mm. 13-16 ………… 88 6.27. Concerto #2 for Marimba and Orchestra, Movement II, mm. 17-21………….. 89 6.28. Concerto #2 for Marimba and Orchestra, Movement II, mm. 22-25 …………..89 6.29. Concerto #2 for Marimba and Orchestra, Movement II, mm. 231-235 ………. 90 6.30. Concerto #2 for Marimba and Orchestra, Movement III, mm. 17-22 ………… 91

x 6.31. Concerto #2 for Marimba and Orchestra, Movement III, Cadenza (I) ……….. 92 6.32. Concerto #2 for Marimba and Orchestra, Movement III, Cadenza (II) ………. 94

xi LIST OF FIGURES Figure Page 3.1. Formal Structure of Movement I (First Concerto)……………………….. 19 3.2. Formal Structure of Movement II (First Concerto)……………………… 21 3.3. Formal Structure of Movement III (First Concerto)……………………… 22 3.4. Formal Structure of Movement IV (First Concerto)……………………… 25 4.1. Formal Structure of Movement I (Second Concerto)…………………… 30 4.2. Formal Structure of Movement II (Second Concerto)……………………. 35 4.3. Formal Structure of Movement III (Second Concerto)…………………… 39 6.1. The Numbering System for the Mallets …… …………………………… 61 6.2. The Numbering System for the Fingers …… …………………………… 61 6.3. The Natural Hand Position Applied in Rosauro’s Modified Grip ….. 63 6.4. The Ring Finger’s Position for Holding the Outside Mallet ………… 63 6.5. The Space Between the Two Mallets …… ………………………… 64 6.6. The Angle Between the Mallets and the Bars for the Dead Stroke ……. 70 6.7. The Hand Position of the One-Handed Roll …………………………… 73 6.8. The Mallet and Hand Positions Sugge sted in Music Example 6.9 ……. 75

xii 6.9. The Mallet and Hand Positions for Crossing-Over Motion …….…… 75 6.10. The Mallet and Hand Positions Sugge sted in Music Example 6 .11…… 77 6.11. The Body Position for Playing One-Handed Roll on Single Note …..… 87 6.12. The Hand Position for Playing the Double Outside Lateral Stroke in Small Intervals ……………………………… …………………… 91 6.13. The Striking Spot for the Rattan Shaft Playing on the Edge of the Bar….92 6.14. The Tai-Chi Influenced Body Position ……………………………… 93 6.15. The Mallet and Hand Positions for Playing the Roll with Rattan and the Mallet Heads Together at the End of the Solo Cadenza ………………… 94

1

CHAPTER 1
INTRODUCTION
The concept of the instrumental concerto entered the musical language of composers in
the late seventeenth century with G. L. Gregorie ’s Concerti grossi a piu stromenti (1698) and
Arcangelo Corelli ’s Concerti grossi op. 6.1 The solo instruments in these early works were
typically string instruments and harpsichord.2 The p ercussion concert o is a fairly new
phenomenon in the history of western music. The first significant work, entitled Sinfonia for
Eight Obbligato Timpani with Orchestra (1785) , surfaced nearly one hundred years after the
first concertos and was originally attributed to J.W. Hertel . However , in the twenty –first
century Johann Carl Fisher ( 1752 -1807) was given credit as the true composer of this
concerto.3 This pione ering work contains a complete , virtuosic cadenza for a timpanist
demonstrating extraordinary techniques .4
Very few percussion concerti appear in the literature until 1930, when Darius Milhaud
composed his Concerto pour Batterie et Petit Orchestre .5 Milha ud was determined to treat
percussion instruments seriously and experimented with using percussion in methods unique
to the time.6 Like Igor Stravinsky and B éla Bartók, Milhaud drew detailed diagrams of the

1 Arthur Hutchings, “Concerto. ” In The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie,
London: Mac millan, 2001, vol. 3, 626 -640.

2 Ibid.

3 James Blades, “Timpani. ” Grove Dictionary Online, ed. L. Macy (Accessed 3 December 2004 ),
<http://www.grovemusic.com>.

4 James Blades, Percussion Instruments and their History. Connecticut : The Bold Strummer, 1992, 25.

5 Ibid.

6 James Blades, Percussion Instruments and their History. Connecticut: The Bold Strummer, 1992, 416.

2
necessary arrangement and configuration of the pe rcussion instruments . He also used an
innovative foot pedal which originated from the early drum set to simultaneously operate the
bass drum and cymbal in his concerto.7 In addition, he suggested using double -headed sticks,
one side wrapped with felt and t he other simply wood en to create different colors and
textures .8 As a result of Milhaud ’s creative concepts and approach to percussion composition,
this two-movement concerto was well received and regarded as monumental for its time
because of it s innovat ions.9 The techniques present in this work are considered essential to
the contemporary percussionist.10
In 1940, Paul Creston published the first known concerto for marimba and orchestra.11
Creston ’s Concertino for Marimba and Orchestra is still popular today and appears frequently
in numerous concert programs as well as ensemble audition repertoire lists.12 His concerto
introduced the idea of a marimba concerto to his contemporaries and many composers to
follow. Soon after its publication, Milhaud wrote his Concerto for Marimba, Vibraphone and
Orchestra (1947) , a transcription of his Suite for Piano and Orchestra . This piece is
considered one of his most elaborate percussion works.13 James Basta ’s Concerto for
Marimba (1958) and Robert Kurka ’s Concerto for Mari mba and Orchestra (1959) followed.
These works, in addition to other ensuing compositions, are credited with founding the

7 Ibid.

8 Ibid.

9 Stig Jacobsen. (1983). Program notes for Darius Milhaud ’s Concerto for Percussion and Orchestra ,
Rainer Kuisma, P ercussion; Norkoping Symphony Orchestra; Jorma Panula and Gustaf Sjokvist,conductors, BIS,
CD-149.

10 Ibid.

11 Dometico Equilio Zarro, ”Ney Rosauro: A Comprehensive Instructional Video and Reference Study
Guide on the Composer and His Concerto for Marimba and Orchestra ” ( DMA essay, Columbia University
Teachers College, 2000).

12 Mallet Works Music Rental Material Department. ”The Report in Rentals of Scores. ” NY: Unpublished
Document, 2004.

13 Ibid.

3
marimba’s role as a concert instrument and establishing the genre of marimba repertoire.
Works such as these help ed bring recognition to the orchestral percussionist .
In 1986, Brazilian per cussionist , composer, and educator Ney Rosauro continued this
trend of composing for marimba and orchestra by creating his Concerto for Marimba and
Orchestra. This work was originally written for mari mba and string orchestra and was
premiered by Rosauro and the Manitowoc Symphony Orchestra (USA) in November of 1986.
It was later transcribed for marimba with percussion ensemble and piano reduction. While this
work utilizes many techniques evident in sol o marimba pieces of the time , Rosauro’s concerto
is the first to place these techniques in an orchestral concerto setting, thus presenting the
marimba ’s range of possibilities to a larger audience.
In 1992, Rosauro ’s Concerto for Marimba and Orchestra received worldwide
recognition when it was recorded by Evelyn Glennie and the London Symphony Orchestra.14
Since then, it has been performed by more than 80 0 orchestras all over the world becoming
the most frequently performed marimba concerto.15
Rosauro ’s Conc erto for Marimba and Orchestra is an important addition to solo
marimba repertoire for several reasons. First, he composed it in response to the lack of true
marimba works requiring the use of extensive four -mallet techniques.16 Most of the early
marimba co ncerti were written for an “extended xylophone ” and focused on two -mallet
technique . In contrast, Rosauro ’s concerto not only explores the many possibilities of modern
four-mallet technique s but also represents the most essential aspects of musical express ion on

14 Evelyn Glennie in Rio . (1992). Program notes for Ne y Rosauro ’s Concerto for Marimba and Orches tra,
Evelyn Glennie, percussion; London Symphony Orchestra; Barry Wordworth, conductor, DECCA, CD.

15 Mallet Works Music Rental Material Department. “The Report in Rentals of Scores. ” NY: Unpublished
Document, 200 4.

16 Ney Rosauro, Personal Interview with Author, April 12, 2004.

4
the marimba.17 In addition, this is the first marimba concerto written by a performing
percussionist who also composes and educates . He wrote the concerto with the performer s
and educators in mind. As the result, this work is very idiomatic and lends itself equally well
as both an educational tool for the teacher and concert/recital piece for the performer ; not to
mention , it is quite enjoyable for an audience . This concerto has become the most frequently
performed marimba piece for entrance auditions , concerto competitions, recitals, orchestras,
and courses of study at colleges and universities worldwide.
Though it is occasionally criticized for its simplicity, the music is technically challenging
and weaves its way through beautiful ha rmonies and m elodic themes while conveying
compositional and cultural ideas unique to the composer. This endeavor to create original
concepts and establish a genre brought new creations and styles of marimba writing into the
orchestra l and compositional realm .
Sixteen years after the tremendous success of his first marimba concerto, Rosauro wrote
the Concerto #2 for Marimba and Orchestra in 2002 , which is dedicated to the famous
Japanese marimbist , composer, and educator Keiko Abe.18 The world premier of the concerto
was held in Japan in 2002 and performed by Rosauro with Abe ’s students . In the same year,
the concerto was also performed by Rosauro and the University of Miami Percussion
Ensemble at the Percussive Arts Society International Convention . Transcending the musi cal
ideas and technical approaches of his first Concerto for Marimba and Orchestra, Rosauro ’s
Second Concerto also combines cla ssical , Brazilian, and jazz concepts. The second concerto
displays Rosauro ’s growth and maturity as a composer and is written for full orchestra (rather
than simply string orchestra accompaniment). The solo marimba part is more technically
demanding and constantly stretches throughout all five octaves of the instrument . The musical

17 Dometico Equilio Zarro, ”Ney Rosauro: A Comprehensive Instructional Video and Reference Study
Guide on the Composer and His Concerto for Marimba and Orchestra ” ( DMA essay, Columbia University
Teachers College, 2000).

18 Ney Rosauro, Personal Interview with Author, April 12, 2004.

5
ideas are more thorough ly developed and organized , and the structure is mor e solid even
though he slightly twists with the traditional four -movement idea . As with the first marimba
concerto, this work was later arranged for marimba and percussion ensemble or piano
accompaniment.
Ney Rosauro ’s two marimba c oncerti provide a great opportunity for the marimbist to
explore contemporary marimba repertoire and techniques . Rosauro wrote these two marimba
concerti with extensive appreciation and understanding of the instrument, taking full
advantage of its potentia l both technically and musically , inspiring and pleasing performers
and listeners alike . It is for these and many other reasons that the concerti have ascended into
the higher realm of legitimate solo marimba repertoire.

Rationale for the Study
Despite t he popularity and critical acclaim of Rosauro ’s marimba concerti, only one
doctoral dissertation by Domenico Equilio Zarro is currently available for the interested
reader. This dissertation provides a reference study g uide and an accompanying instructiona l
video. However, the performance suggestions are not completely congruent with the
composer ’s intention s, and the sound quality of the video is inadequate.19 Given the fact that
this author works closely with Rosauro, it is possible to create a more accura te study guide
and performance analysis . This essay is a complete and comprehensive document detailing
the composer ’s intentions and suggestions for the performance and preparation of these works .
The analysis will give a complete overview of the structure , form, style, melodic and rhythmic
motives, harmonies, and influences found in the concerti . A comprehensive study guide can
provide percussion students, teachers , and performers with a lasting reference that details
Rosauro ’s compositional and performanc e intentions. The marimbist will gain a better idea of

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

6
the phrasing, interpretation, sticking, techniques, and preparation guidelines that do not appear
in the score.

Data t o be Gathered
The data in this study include s source material gathered from Ros auro’s personal
archives , scores and articles from the internet and magazines . Several sections of this
document include personal comments and observations from Rosauro ’s students about his
influence upon their lives and careers.

Method of Data Organiza tion and Interpretation
This research cover s four major areas of study:
1) Rosauro ’s biographic al information, musical training , composition s, and
professional publications
2) An extensive performance analysis of each movement that includes overall
form, h armonic progression, tonality, motives, and compositional processes
3) A comparison of artistic approach es to Rosauro ’s two marimba concerti
4) A study guide that includes musical excerpts, instructiona l diagrams, and practice
advice
These two concerti share ma ny similar musical ideas, structures, and concepts, but a
closer inspection reveals several differences. Comparing the similarit ies and differences of the
concerti will provide insight into Rosauro ’s artistic approach and evolution as a composer .
The per former ’s study guide provides an in -depth analysis of the varying techniques
required throughout Rosauro ’s two marimba concerti by showing musical excerpts followed
by practice advice and instructional diagrams. The author has organized the study guide with
the musical excerpts first in order to provide the reader with an overall view of the section’s
subject . These excerpts are classified and arranged by movement and measure number s. They
were chosen for their technical difficulty, potential sticking probl ems, presentation of

7
important primary themes, and /or use of difficult or unusual techniques. The study guide
presents thirty -two such excerpts , followed by analysis of the problems and practice advice to
overcome them . These suggestions are fundamentally based on this author’s opinions which
were partially influenced by the composer . Thus, the study begins with the performer ’s
perspective and later merges with the composer ’s intention. The suggested practice routine
and advice are clearly explained in the section s to provide a guideline for the reader/performer
who is interested in preparing both concerti for performance . The instructional diagrams
demonstrate the correct approach for hand positions and sticking patterns . In addition, musical
approach and tone-quality considerations are addressed to keep the interpretation and
articulation of the marimba consistent with the composer ’s intentions.
Ney Rosauro created one of the most widely performed marimba concerti . His second
marimba concerto was written sixteen years after the wonderful reception of his first concerto
and received similar appreciation . Through interviews, formal analysis , and the opinions of
both the author and composer , this essay aims to analyze the music and compositional
process es of a contemporary composer, performer, and pedagog ue, while also providing a
valuable resource for any percussionist preparing the concerti .

8

CHAPTER 2

REVIEW OF THE LITERATURE

Introduction
This chapter provide s background information on the composer including a brief
biography . It then continue s with a discussion of his educational method books, compositions,
publications regarding these pieces, recordings of the works, and Rosauro’s personal website.

Brief Biography of Ney Rosauro
Ney Rosauro is regarded as one of the most original and dynamic classical percussionists
and composers active today.1 He continues to make a positive impa ct and influence on the
world of percussion through wonderful compositions, solo recitals, orchestral performances,
master classes, and worldwide concert tours.
Rosauro was born in Rio de Janeiro, Brazil, in 1952.2 The guitar served as his gateway
into music because it was the first musical instrument for which he received instruction.3 As
a result , the guitar and its musical techniques and possibilities greatly influenced his
compositional style. For example, Rosauro wrote three preludes for marimba tha t are strongly
influenced by Villa Lobos ’s (Rosauro ’s favorite Brazilian composer) guitar music. T he first
prelude was originally composed for the guitar . In the second prelude , the ascending and
descending arpeggiated diminish ed chords comes from Villa Lobos’s first etude for the guitar .
Rosauro ente red the Universidade de Brasilia in 1972 , where he majored in composition

1 Ney Rosauro, Ney Rosauro -Percussionist, Composer and Educator, 2000 [on -line] availabl e from
http://www.neyrosauro.com ; Internet, accessed 22 April 2004.

2 Ibid.

3 Ney Rosauro, Personal Interview with Author, April 12, 2004.

9

and conducting. At the university, he studied the guitar, violin, oboe, and double bass. This
institution furthered Rosauro ’s musical knowledge and allowed him to gain a fundamental
understanding of the artistic aspects of music .
In 1977, Rosauro attended a life -changing concert . He watched Luiz D ’AnunciaçãP’s
percussion recital which excited and exposed him to new possibilities in creating innovative
music for percussion, especially keyboard percussion instruments .4 Luiz D ’AnunciaçãP is a
renowned solo performer who also became the principal percussionist of the Orquestra
Sinfonica Brasile ira in Rio de Janeiro . After being moved by th e recital, Rosauro decided to
dedicate his studies from that point on to studying solely percussion.5 At age twenty -four,
Rosauro began studying percussion with Anuncia çãP. His passion and commitment to learn
percussion from such a highly -regarded teacher is evident in the twenty -two hour bus journey
from Brasilia to Rio de Janeiro which he made monthly to receive lessons .6 Professor
AnunciaçãP provided Rosauro with a solid technical foundation in percussion and an
understanding of musical sensitivity.7
In 1980, he received a scholarship from the German government to study at the
Hochschule fur Musik Wurzburg with professor Siegfried Fink.8 Moving to another country
allowed Rosauro to gain independen ce and explore a new culture . He considers this period in
his life one of his favorites, a s his education in Germany unveiled an entirely new percussion

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

5 Ney Rosa uro, Personal Interview with Author, April 12, 2004.

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

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

8 Ibid.

10

world .9 After earning his undergraduate degree in p ercussion and pedagogy in Germany,
Rosauro returned to Brasilia to play timpani in the Orquestra Sinfonica d o Teatro Nacional.
Rosauro returned to Wurzburg again in 1985 , and later he wrote the Concerto for Marimba
and Orchestra as the final project for his master ’s degree. It was premier ed with piano
accompaniment on his Master’s recital in 1986 .10
After receiving his m aster ’s degree in 1987, Rosauro entered the worlds of professional
performance and education. Rosauro returned to Brazil to teach at the Escola de Musica de
Brasili a, and once again played timpani in the Teatro Nacional. After being exposed to t he
hight -quality musicianship of other places, Rosauro was eager to improve the musical
performance level in Brazil and wrote much -needed method books for the s nare drum,
marimba, and multiple percussion instruments .11
In 1987, Rosauro continued to deve lop his pedagogical craft as a teacher at the
Universidade Federal de Santa Maria (UFSM) in Santa Maria, Brazil. At that time, UFSM
was one of the few universities in Brazil that had percussion instruments available for its
students. Soon after his arrival , Santa Maria quickly transformed into one of the most
important centers in Brazil for classical percussion studies .12
After living in Germany and South America, Rosauro move d to the United States to
pursue his doctoral d egree. In 1992, Rosauro enrolled a t the University of Miami in Coral
Gables, Florida under the direction of percussion professor Fred Wickstrom. During this
period, he lea rned a lot about jazz improvisation , music business, and computer techniques,
all of which later affected his compositi onal style and career deve lopment . After earning his

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

10 Ibid.

11 James Lambert, “An Interview with Brazilian Percussionist and Composer Ney Rosauro,” Percussive
Notes 41 (February 1997):72 -74.

12 Ibid.

11

Doctorate of Musical Arts degree , Rosauro returned to his teaching position at UFSM where
he continued to teach until 2000. At that time he was
invited to return to the University of Miami and replace W ickstrom as director of percussion
studies, a position he currently holds.13

Method Books Written by Rosauro
Rosauro wrote his first method book from 1982 -1986 , entitled Complete M ethod for the
Snare Drum . He included 250 exercises ranging from simple technical exercises to
progressive ly more challenging etudes and duets.14 Few symphonic percussion methods were
available in Brazil when this book was published, thus making it a wonderful addition to
educational programs .15 This was primarily because the m usic publishing market in Brazil
was based mostly on photocopied material and the country lacked a central distribution point
for such books .16 Rosauro decided to write method books to teach his Brazilian students
technique and musicality in a correct and efficient way.17 To date , Rosauro has written a total
of five method books covering most of the major percussion areas: Complete Method for the
Snare Drum, Beginning Exercises and Studies for 2 Mallets, 10 Beginning Studies for Multiple
Percussion, Vibes Etu des and Songs, and Studies for T impani.18
Most of Rosauro ’s method books serve a pedagogical purpose , as they are designed to

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

14 James Lambert , ”An Interview with Brazilian Percussionist and Composer Ney Rosauro,” Percussive
Notes 41, (February 1997):72 -74.

15 Ibid.

16 Ibid.

17 Ney Rosauro, Complete Method for Snare Drum. ( Brazil: Propercussa, 1989), 4 -8.

18 Ney Rosauro, Ney Rosauro -Percussionist, Composer and Educator, 2000 [on -line] available from
http://www.ne yrosauro.com ; Internet, accessed 22 April 2004 .

12

correspond with each other.19 For instance, he intended his Beginning Exercises and Studies
for 2 Mallets to be used in conjunction with the Complete Method for the Snare Drum ,
because t he main goal of both methods is to work with equal emphasis on both hands towards
control ling the matched grip .20 The two books are similar in basic technical exercises , such as
beginning ones that focu s on the development of the “simultaneous stroke .”21 The
“simultaneous stroke ” occurs when both sticks str ike the surface, but the result should only be
in a single sound rather than a flam or extra note. This elementary exercise , which proves to
be much ha rder than it seems, is a way for beginners to work on equal motion in both hands, a
crucial technique in playing percussion.22
Rosauro designed Beginning Exercises and Studies for 2 Mallets for inclusion in daily
practice routine s. The book is comprised of two sections. In the first section , Rosauro wrote
twelve short exercise s to work on Ideo -Kinetics techniques . The second section contains
twelve etudes composed in twelve different keys.23 Each of these etude s focuse s on different
techni cal issues and the etudes progress in difficulty . The pedagogical purpose is to assist the
student in learning technique and becoming more familiar with the keyboard, as well as
strengthening the percussionist ’s ability to sight -read.24 In addition, he wrote seven Brazilian
children ’s songs for the beginning level of four -mallet techniques .
Another method book for keyboard , Vibes Etudes and Songs , is divided into three
sections of vibraphone technique and study: the basic concepts of dampening and pedaling,

19 Ney Rosa uro, Personal Interview with Author, April 12, 2004.

20 Ney Rosauro, Complete Method for Snare Drum. Brazil: Propercussa, 1989, 4 -8.

21 Ney Rosa uro, Personal Interview with Author, April 12, 2004 .

22 Ney Rosauro, Complete Method for Snare Drum. Brazil : Propercussa, 1989, 4 -8.

23 Ney Rosa uro, Personal Interview with Author, April 12, 2004.

24 Ibid.

13

the phrasing of me lodies, and the addition of accompaniment to a melodic line.25 While
Rosauro wrote these exercises for his students to build techniques , they also aim to increase
musical vocabulary , ultimately helping the performer to improvise on the vibraphone.26
A suc cessful teacher for more than twenty -five years, Rosauro believes that a teacher ’s
mission is to facilitate music al expression and to help each student develop his/her unique
performance style.27

Rosauro ’s Composition s
As a composer, Rosauro has publishe d over thirty pieces for percussion solo, duet,
ensemble, and concerto with orchestra. These works have gained worldwide popularity and
have been recorded by in ternationally acclaimed artists including Evelyn Glennie and
Katarzyna Mycka.28 His most famous w ork is the Concerto for Marimba and Orchestra
written in 1986. Six years after its worldwide success , Rosauro wrote the Rhapsody for Solo
Percussion and Orchestra which was dedicated to his father, Alcides Coelho Rosauro , who
composed the main melody of th e primary theme. This concerto is a thirty -minute ,
single -movement symphonic work consisting of three distinct sections played continuously .
In an optional section, Rosauro uses a traditional Brazilian string instrument, the berimbau ,
combined with other interesting instruments such as the repinique (Brazilian high -pitched
drum without snare), pitched water glasses , and bird whistles. The musical language used in
the composition is mainly based on modal harmony with some special effects in the opening
and t he closing section. In addition, the primary theme appears cyclically throughout the
entire piece. This concerto was also presented as partial fulfillment of the requirements for

25 Ney Rosauro , Vibes Etudes and Songs . (Brazil: Propercussa, 19 95), 2-3.

26 Ibid.

27 Ney Rosa uro, Per sonal Interview with Author, April 12, 2004 .

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

14

Rosauro ’s DMA degree from the University of Miami.
Rosauro ’s next concerto, Concerto for Vibraphone and Orchestra, was written in 1996
with a dedication to the famous solo percussionist Evelyn Glennie.
Ney Rosauro ’s compositional skills simply charm and seduce us. He did it in his
immensely popular Marimba Concerto and now again in his new Vibraphone Concerto.
This piece is sure to be a winner with performers and audiences’ alike world -wide.
(Evelyn Glennie)
This work was premiered by Rosauro at the “Japan Percussion Festival ” in 1996 , and the
orchestra version was premiered by Rosauro accompanied by the Orquestra Unisinos under
the direction of Maestro Jose Pedro Boessio in 1996. This concerto is conceived in t hree
movements entitled Recitativo /Allegro, Acalanto, and Vivo/Presto. In addition to the
influence of classical and jaz z music, Rosauro applies harmonic languages and rhythmic
elements from northeastern Brazil . Accordingly, the piece uses a Brazilian lullaby as the
primary theme in the second movement.
Rosauro ’s most recently completed concerto is the Concerto for Timpa ni and String
Orchestra , which was premiere d by timpanist Shannon Wood accompanied by the UM
percussion ensemble in November 2003. This concerto consist s of three movements:
Bachroque , Aria, and Horse Ride. This timpani concerto shows continued evolution u tilizing
classical, jazz and Brazilian influence s.

Publications Discussing Rosauro ’s Concerto for Marimba and Orchestra
Only one doctoral dissertation, entitled “Ney Rosauro: A Comprehensive Instructional
Video and Reference Study Guide on the Compo ser and His Marimba Concerto ” written by
Domenico Equilio Zarro in 2000, and two articles about Ney Rosauro and his Concerto for
Marimba and Orchestra are in existence. In his dissertation, Zarro presented an “instructional
video” and a corresponding “reference s tudy g uide.”29 The materials provided by Zarro

29 Dometi co Equilio Zarro, ”Ney Rosauro: A Comprehensive Instructional Video and Reference Study

15

document information about Rosauro and his musical contributions , as well as supplying an
analysis of his Concerto for Marimba and Orchestra .30
The two articles about Rosauro appeared in the journal Percussive Notes. James Lambert
held an interview with Rosauro, which allowed him to produce “An Interview with Brazilian
Percussionist and Composer Ney Rosauro. ” Lambert discovered that Rosauro pursued an
interest in percussion in his twenties, began privat e percussion classes in Brazil , and received
his training in Germany and at the U niversity of Miami. Lambert additionally details how the
aforementioned experiences influence d Rosauro ’s teaching and performances in Brazil. He
also describes the state of hi s composition for percussion and why Evelyn Glennie was
attracted to play and record his Concerto for Marimba and Orchestra with the London
Symphony Orchestra . Another article , Ney Rosauro ’s “Concerto for Marimba and Orchestra ,”
was written by Domenic Zarr o in 1999. T his article provided a performance analysis of the
solo marimba part of Rosauro ’s Concerto for Marimba and Orchestra and divided each
movement into four sections indicated by movement and measure numbers.31 Zarro made
these divisions by discussi ng sticking difficulty, phrasing, and the sections’ overall
importance to the movement .32

Recordings of Rosauro ’s Concerti
Severin Balzer , a marimbist, made the first reco rding of Rosauro ’s Concerto for
Marimba and Orchestra in 1990. He performed with Ka mmersolisten Zurich of

Guide on the Composer and His Concerto for Marimba and Orchestra”( DMA essay, Columbia University
Teachers College, 2000).

30 Ibid.

31 Dometico Equilio Zarro, “Ney Rosauro ’s Concerto for Marimba and Orchestra, ” Percussive Notes 56
(October 1997): 79-82.

32 Ibid.
.

16

Switzerland.33 Evelyn Glennie recorded a CD and a video with the London Symphony
Orchestra in 1992. This recordin g greatly added to the popularity of Rosauro ’s first concerto.
Since then, it has b een recorded by numerous excellent mar imbists all over the world.34
In addition to composing, Rosauro performs and records his own works. As a soloist,
Rosauro ’s performances include hundreds of concerts performed throughout the world with a
variety of professional symphony orchestras. Rosauro ’s CD, Ney Rosauro in Concert ,
released in 1998, won him high acclaim from many critics.35

Rosauro ’s Personal Web Site
The most thorough discussion of Rosauro ’s musical ca reer and compositional output can
be found on his personal web site at www.neyrosauro.com . This site includes biographical
information, a list of works, discography, a photo gallery , and performance reviews.

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

34 Ibid.

35 Ibid.

17

CHAPTER 3

PERFORMANCE ANALYSIS OF CONCERTO FOR MARIMBA AND ORCHESTRA

Introduction
This chapter focuses on the performance analysis of Rosauro ’s Concerto for Marimba
and Orchestra , touching upon elements such as overall forms , tonality, and harmoni c and
rhythmic treatment s. An examination of these elements in this marimba concerto reveals how
they combine to produce Rosauro ’s identifiable and unique compositional styl e. A discussion
regarding the performance consider ations is found in chapter 6 in the format of a performer ’s
study guide . In the study guide, readers can find a more comprehensive description of
performance issue s and a step -by-step technical approach to the marimba concerto .

An Overview of Concerto for Marimba and Orchestra
The Concer to for Marimba and Orchestra was composed in 1986 and dedicated to
Rosauro ’s son Marcelo , who was born around that time . The concerto was written with the
intention of being performed in the final recital for Rosauro ’s master’s degree in music at the
Hochs chule für Mu sik Würzburg in German y under the direction of Professor Siegfried Fink.
The concerto was originally scored fo r marimba and stri ng orchestra with the initial title
being conceived as “Serenata .” The eighteen -minute lyrical work utilize s classi cal, jazz , and
Brazilian motifs and consists of four movements instead of the traditional three -movement
concerto form. The movement titles are as fo llows : Saudação (Greetings), Lamento (Lament),
Dança (Dance) and Despedida (Farewell). Although no folklori c or popular Braz ilian theme is
directly applied in the work , a Brazilian musical atmosphere still permeates the en tire piece as
evidenced by the use of syncopated rhythms and charming melodies in its texture. Rosauro ’s

18

intention is to create a concerto in which the marimba is the primary focus and presents most
of the thematic material . Much of the marimba part can also be performed as a solo work
without the orchestra l accompaniment. Later, Rosaur o wrote the Marimba Concerto S uite for
solo marimba using m ost of the important themes in the first concerto .
Reviews f rom Percussive N otes, a periodical of the Percussive Arts Society , state that
“the concerto is superbly written fo r the unique timbre, virtuosity , and technical qualities of
the marimba. ”1 Unlike many of the early marimba concerti that were written for an “extended
xylophone ,” Rosauro ’s concerto “explor es the many possibilities of modern four -mallet
technique s and represents the most essential aspects of musical expression on marimba. ”2 He
initially wrote the concerto with the idea of improving his own technique , resulting in one of
the first idiomatically composed concert i for marimba. But while the work showcases the
marimba ’s unique qualities and potentials , it is also recognized for its artis tic compositional
approach .

Movement I – Saudação (Greeting )
“Saudacao ” is a lively movement with highly contrasting characteristics , dynamics , and
rhythms . It has a ternary for m with large A, B, and A ’ sections. Traditional c oncertos begin
with a son ata for m as first movement. One can see traces for that plan here, since sonata
forms are complex ternary forms anyway. But Rosauro ’s movement has all new material in its
B section, place of a standard development section. The movement also has an introduc tion
and coda. Figure 3.1 is a map of the movement ’s form.

1 Ney Rosauro, Ney Rosauro -Percussionist, Composer and Educator, 2000 [on -line] a vailable from
http://www.neyrosauro.com ; Internet, accessed 22 April 2004.

2 Dometico Equilio Zarro, ”Ney Rosauro: A Comprehensive Instructional Video and Reference Study
Guide on the Composer and His Concerto f or Marimba and Orchestra ” ( DMA essay, Columbia University
Teachers College, 2000).

19

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

Introduction (mm. 1–8)
Theme: Rhythmic Motive
Key: A minor
Measure: 1-8

Section A (mm. 9–54)
Theme: A B A C
Key: A minor Whole -Tone Scale A minor Whole -Tone S cale
Measures : 9-24 25 -28 29-44 45 –54

Section B (mm. 55–113)
Theme: D E D’
Key: Arpeggio s Pentatonic Scale Arpeggio s
Measures : 55-82 83-98 99-113

Section A ’ (mm. 114–146)
Theme: A C B A
|Key: A minor Whole -Tone S cale Whole-Tone Scale A minor
Measures : 114-121 122-126 127-130 131-146

Coda (mm. 147 –153)
Theme: A
Key: Whole -Tone scale/ A minor
Measures: 147-153

The opening theme establishes a strong rhythmic ostinato played by the solo marimba
and lower strings. The repetition of the ostinato allows listene rs to compre hend the complex
meter changes before the melo dy is introduced. By alternati ng the time signatures of 6/8, 5/ 8,
6/8 and 7/8, Rosauro creates a restless character in the movement . This continuous change of
meter is reinforced by the violin s in fourths a nd fifths. Theme B, mm. 25-28 wi th ritornello ,
based on the whole -tone scale , is introduced by the orchestra in alternating meters of 3/4 and
4/4. The transitional materials feature a dialogue of rhythmic fragments between the soloist
and the orchestra.

20

Sectio n B (mm. 55-113) is written in a linear style that contrasts with the polyp honic
style presented in the A section . In this section , the marimba imitates an improvisation similar
to a jazz solo as the double bass p lays a walking pizzicato line to reinforce the jazz
atmosphere . The part f rom measure 59 to 62 is an arpeggia ted section . The two most
important notes in the ascending arpeggi os are the root (A) and fifth (E). The notes in the A
minor arpeggio are root (A), minor third ( C), augmented fourth ( D#) resolving to the fifth (E),
minor seventh ( G), and major seventh ( G#) resolving to the tonic ( A). The use of this
sequence of notes indicates the presence of the blues scale which gives the jazz flavor to the
passage . Rosauro ’s use of jazz concepts in the se ction is very clear. This is technically the
most di fficult section in th e movement for the marimbist , because he/she not only need s to
keep the accuracy and musical contour of the phrase , but also need s to keep the tempo in line
with the basic rhythm presented by the orchestra.
At theme E (mm. 83-98), Rosauro create s dialog ues between string instruments based on
the pentatonic scale , while the marimba plays an ostinato utilizing the “dead stroke ” technique.
This is a stroke where the performer presses the mallets into the bars producing a very dry
staccato sound. There is an optional section (mm. 91-98) written between the “VI-DE”. This
section is difficult for the orchestra , and some orchestras may not be able to perform it at an
acceptable level . To main tain the quality of the performance, this section can be omitted.
At theme A ’ (mm. 131-146), the orchestra restates the primary theme with marimba. T he
climax of this movement is followed by a small coda contain ing elem ents of the transitional
theme , finishing with a unison statement .

Movement II –Lamento (Lament)
The second movement depicts a romantic atmosphere in a typical “lament mood ” as the
title suggests. The movement is in ternary form with an expressive and romantic character . It
is mostly in A minor and 6/4 meter. Figure 3.2 presents a diagram of the movement.

21

Figure 3 .2. Formal Structure of M ovement II : ABCAB Form

Section A (mm. 1–11) and Section B ( mm. 12–21)
Theme: A B
Key : A minor A minor
Measures: 1 -11 12-21

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

Section A (mm. 70 –79) and Section B ( mm. 80–90)
Theme: A B
Key : A minor A minor
Measures: 70-79 80 -90

The orchestra start s the movement with a sustain ed pianissimo tremolo to create a pedal
tone throu ghout the first section (theme A / mm. 1-11). With the orchestra , the m arimbist is
required to play a one-hand ed roll in the left hand while the right hand plays the melodic
theme.
At theme B (mm. 12-21), the soloist ’s part consists of constant sext uplets . The l yrical
sixteenth -note melodic line contain s frequent altered notes , demand ing the utmost accuracy .
The main melodic line is introduced by the soloist ’s left hand in the lower regist er, requir ing
some challenging hand -crossing mot ions while the right hand pla ys a sextuplet
accompaniment .
Theme C (mm. 22-45) is an Andante Molto Expressivo section. The theme is based on
the symmetrical shape of the diatonic scale on the keyboard . The melody is presented on the
solo marimb a by rolling all the notes. T he upper and lower voices move in contrary motion
while the inner voices remain on the notes G and A throughout the section.
At theme C1 (mm. 46-67), the orchestra plays the theme from letter C while the marimba

22

plays a counter -melody in octaves. The accurac y of the octaves is crucial for the marimbist in
this section. In mm. 68-70, the marimba plays a solo descending diatonic scale to serve as a
transition to the retur n of the fi rst and second themes.
The las t three bars of this movement form a coda. The ma rimba and the orchestra fade
out with the same ostinato pattern and effects used in the first sect ion of the movement. After
the sentimental and relax ed atmosphere created by this movement, the tension rises during the
next two movements , leading the conce rto to a powerful finale.

Movement III – Dança (Dance)
The characteristic of this movement is as the ti tle suggests: Dance is not only an
invitation to dance , but a testament to the beauty of life as well . The melody is lyrical and
beautiful , and an inspiration to the imagination of listener s. Figure 3.3 shows the movement ’s
form.

Figure 3.3. Formal Structure of Movement II I: Ternary Form (AB A’ Form )

Introduction (mm. 1–12)
Theme: Intro. Material
Key : C Suspended
Measures: 1-12

Section A (mm. 13–41)
Theme: A A 1
Key : C Major A minor
Measures: 13-25 26 -41

Section B (mm. 42–110)
Theme: B (Canon ) Trans . C Trans.
Key : C minor C minor C Dorian Chromatic Scale / Diminished Chord
Measures: 42-60 57-60 61-72 73-80

23

Theme: C Trans. B (Canon)
Key : C Dorian Chromati c Scale / Diminished Chord C minor
Measures: 81-88 89-104 105-110

Section A (mm. 111–141)
Theme: A A1
Key : C Major A minor
Measures: 111-125 126-141

Coda (mm. 142–153)
Theme: Intro. Material
Key : C Suspended
Measures: 142-153

This movement is in ternary form , beginning with an introduction (mm. 1-12) using the
C suspended chord . While the orchestra introduce s the opening motive, the solo marimb a
plays the outside lateral stroke , one of the stylistic features of Rosauro ’s technique. Section A
begins at bar 13 and the marimba continues the use of the outside lateral stroke in playing the
melody. The melodic material of this section is developed starting in bar 18, and the
ascending chord progress ion serves as a transition to A1 with a deceptive cadence. A1 begins
quietly at bar 26 in A minor, and the right hand changes to double strokes while the left hand
maintains outs ide lateral strokes. D uring the next twelve bars, the musical tension keep s
building up and finally resolving back to C major in bar 34. This entire section has techni cal
issues that need to be addressed such as hand position and mallet placement . This is discuss ed
later in Chapter 6.
Section B begins at bar 42 immediately after section A and with no transition. In contrast
to section A , the tempo is slightly slow er and has a more grounded feel unlike section A ’s
light and flowing charact er. The key is C minor. The orchestra and soloist play the canon
material in a tutti, four -bar statement. The material is passed aro und the orchestra in canon
while the soloist finally plays the melody in octaves, leading into an ascending sixteenth -note

24

transition at bar 57 into theme C. Theme C starts at bar 61 in C Dorian and 3/4 time . The
marimba establishes the main melody by playing energetic sixteenth -note passages in octaves
while the strings support with eighth -note and quarter -note pattern s over a C Dorian chord.
Following Theme C is a transition section (mm. 73 -80), which consists of the marimbist
playing a descending chromatic scale in double strokes while the strings accompany on a
diminished seventh chord. Theme C and its subsequent transition section are rep eated again
from mm. 81 -104. However, this time theme C ’s main melody is presented an octave higher
and the transition section is expanded to include a chromatic scale and a diminished chord . At
bar 93 the marimba plays rising thirds outlini ng a diminished chord, fol lowed by a descending
sixteenth -note passage very similar to the transition material found at bar 57. This leads to a
brief return of the canon materi al at bar 105 to function as a transit ion to the recapitulation of
section A at bar 111 . This is followed by a reprise of the introduction material at 142 as a
coda. The movement as a whole with its placement of themes and sections is almost
symmetrical.

Movement IV –Despedida (Farewell)
The driving fourth movement is in variatio n form. It features a prestissimo ostinato
patter n which is metrically punctuated by the marimbist ’s left hand throughout the whole
movement . The constructive element of this movement is similar to the basso ostinato
variation because the short bass line r epeats essentially unchanged in each variation, resulting
in a continuous variation form .3 Figure 3.4 is a map of the movement ’s form.

3 Herbert Viecenz, “Concerto. ” In The New Harvard Dictionary of Music, ed. Don Michael Ra ndel
(Massachusetts: T he Belknap Press of Harvard Universit y Press, 1996 ), 902-906.

25

Figure 3 .4. Formal Structure of Movement IV: Variation Form

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

Primary Theme (mm. 16 –51)
Theme: A A’ Trans.
Key : C minor C minor
Measures: 16-31 32-47 48 -51

Variation 1 (mm. 52–87)
Theme: B Trans.
Key : C minor C minor
Measures: 52- 84 84-87

Variation 2 (mm. 88 –115)
Theme: C (Ensemble Solo)
Key : C Pedal
Measures: 88-115

Variation 3 (mm. 116 –155)
Theme: A (Ensemble Solo) A’ (Closing Material)
Key : C mino r C minor
Measures: 116-131 132-155

Cadenza –––––––––––––––––––––––––––––-

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

Coda (mm. 201–209)
Theme: Descending C minor scale
Key : C minor

26

Measures: 201-209
This re lentless variation movement is the most rhy thmic movement of the concerto , as
well as the most challeng ing for most marimba player s because of the left hand ’s fast and
ceaseless ostinato pattern.
The introduction sets up the meter change pattern of 6/8, 2/ 4, 6/8 , 3/4 with the marimba ’s
ascending line of quarter notes and dot ted quarter notes in rising fourths (the circle of fourths ).
A short marimba cadenza follows, based on the diminished scale. The primary theme begins
at bar 16 in C minor. The marimba pl ays the ostinato a nd melodic material while the strings
accompany with quarter -note figures to keep time. The marimbis t’s left hand plays the
eighth -note pattern , and the right hand pl ays the melody first in octaves then in fourths at bar
32. Variation 1 b egins at bar 52 wherein the left hand continues its pattern while the right
hand plays a syncopated variation of the melody. At bar 84 , the marimba melody ends and the
left hand ’s pattern continues, transitioning to variation 2. Variation 2 begins at bar 8 8, and is
an ensemble solo with the marimba keeping the ostinato pattern to accompany. The ensemble
plays the melodic material in the format of a dialogue between the upper and lower strings.
Variation 3 follows at bar 116 and the marimba rests while the e nsemble plays the melody in
its original format. The marimba reenters at bar 132 to begin variation 3 ’s closing material,
playing very fast sixteenth notes that outline a melody similar to the original. The marimba
line descends to a low C, where the sixte enths transform to a roll that fades into the cadenza.
The cadenza is a reprise of the important themes from all the movements of the concerto. It
transitions to the recapitulation with the canon theme from Movement III.
At bar 157, the introduction and p rimary theme are repeat ed. The closing material begins
at 185 with the marimba playing another fast, sixteenth -note based , descending melody. A
grand pause precedes the final statement starting at bar 201, which is a sixteenth -note based
descent along the C minor scale. The intensity continues to rise until the marimba pla ys a
descending chromatic scale ending strongly on the low C to finish the concerto.

27

27

CHAPTER 4

PERFORMANCE ANALYSIS OF CONCERTO #2 FOR MARIMBA AND ORCHESTRA

Introduction
This chapter focuses on the performance analysis of Rosauro’s Concerto #2 for Marimba
and Orchestra by touching upon elements such as overall forms, tonality, and harmonic and
rhythmic treatments. The exam ination of these characteristics reveals how they combine to
produce Rosauro’s unique and iden tifiable compositional style. As mentioned in chapter 3, a
discussion regarding the performance cons iderations is found i n Chapter 6.

An Over view of Concerto # 2 for Marimba and Orchestra
Concerto #2 for Marimb a and Orchestra is a composition approximately twenty -five
minute lon g with three movement s. Dedicated to marimba virtuoso Keiko Abe, it was
completed in 2002 and pre miered that same year in an arrangement for marimba with
percussion ensemble by Rosauro and Abe’s students in Tokyo, Japan.
Rosauro composed this work in the traditional three -movement concerto form but in a
non-traditional fashion. In his original design , he inserts an additional “movement ,” a
completely new and self -contained section with its own internal plan, into movement II and
III. T he inserted movement is Rosauro ’s plan for changing the movement pattern of the
traditional concerto without significan tly undermining that structure. B éla Bartók’s Piano
Concerto No. 2 handles its second movement in a very similar way, and one can find the same
kind of interruption, with reversed tempos ( fast-slow-fast) in the finale of Mozart ’s Piano
Concerto no.22. In the present essay the inserted “movement ” is indicated as a separate
section within the form of Movement II and III. For example, Movement II is in ternary from

28

(ABA form), and Rosauro inserts the new material as the middle section (Section B). Instead
of calling “Movement IV, ” the author indicates it as Section B of the ternary form in Figure
4.2 and the discussion .
The work utilizes classical, jazz , and Brazilian motifs and in corporates jazz elements .
The style of writing shows a resemblance to the firs t concerto, but the second concerto is
some what more solid architecturally in that musical ideas receive more thorough development
than those in the first concerto. In addition, each movement possess es a distinct character
reflected by their unique titles : Water Running in High Mountain (I), Reflections and Dreams
(II), and Walking on Clouds (III).
Rosauro’s second marimba concerto is his fir st major piece written for five -octave
marimba and full orchestra. The solo marimba part of Concerto # 2 is more tech nically
demanding than that of the First C oncerto because it not only requires more advanced
techniques (such as one -handed rolls on one note and double lateral strokes in octaves), but it
also requires full use of the newly developed five -octave mari mba. It also contains more
dialogues between the ensemble and the solo marimba. As with the first marimba concerto,
the work was later arranged for marimba with percussion ensemble and marimba with piano
accompaniment.
The marimba concerto requires the followin g instruments in the orchestra:
(Numbers of players for each instrument are indicated in parentheses)
Strings Wood winds Brass Percussion
Violin I Piccolo / Flute (2) Trumpets (2) Percussion (1)
Violin II Oboes (2) Trombones (2 ) Timpani (1)
Viola Clarinets (2) French Horns (4)
Cello Bassoons (2) Tuba (1)
Double Bass

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Percussion instruments used include the caxixis (Brazilian shaker instruments), triangle,
tam-tam, suspend cymbal, cowbell , and snare drum played wi th metal brushes. The wide
array of percussion instruments throughout this concerto not only provides rhythmic pulse and
unique effects, it also enhances the Brazilian sentiment. In addition, the timpani reinforce s the
bass line, thus contributing signifi cantly to the harmonic structure and rhythmic elements.
The second marimba concerto brings together many of Rosauro’s compositional feat ures
such as the traditional f orms, programmatic titles, syncopated rhythms, ostinato patterns, tonal
and modal melod ies, contrapuntal texture s, and jazz idiom s. The themes used in the
composition tend to be lyrical and tonal. Often these themes are well developed and presented
in various settings. Rosauro frequently uses pentatonic scales, diminished seventh chords,
whole -tone sca les, major and minor triads, chords with s harp eleventh s and altered dominant
chords. Also, he provides a clear approach to tempo, meter , and syncopated rhythm ic
components in the concerto. Throughout the work he uses exact metronomic indications a long
with the traditional music terms (i.e. Piu Mosso, Vivo) to de scribe the pacing of passages. In
addition, Rosauro uses many “cadenza -like” sections to function as bridges between sections,
imparting a spacious and open freedom to the marimba soloist. T he next section will take a
more in -depth look at each movement’s structure, rhythmic elements, harmonic treatments,
and the overall compositional approach to this concerto.

Movement I –Water R unning in High Mountain
The first movement is ful l of energy and vitality, a showcase f or both orchestra and
soloist. It is a sonata form con sisting of an introduction (mm. 1-11), exposition (mm. 12-141),
development (mm. 142-215), recapitulation (mm. 216-270), and coda ( mm. 271-286). Figure
4.1 pres ents these structural elements.

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

Intro duction (mm. 1 –11)
Theme: Intro. Trans .
Key: A Altered Dominant Chord Whole Tone Scale
Measure: 1 -9 10-11

Exposition (mm. 12–141)
Theme: A Trans. A Trans.
Key: D minor Whole -Tone Scale D minor Whole -Tone Scale
Measures: 12 -39 40-41 42-69 70-71

Theme: B Bridge Intro. Material Trans
Key: G Mixolydian A Altered Dominant C hord
Measures: 72-115 116-131 132-139 140-141

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

Recapitulation (mm. 216–270)
Theme: B Bridge A
Key: G Mixolydian D minor
Measures: 216-243 244-254 255-270

Coda (mm. 271–286)
Theme: Second Part of Theme A
Key: A Dominant Chord
Measures: 271-286

Although Rosauro calls the first movement a sonata form, the model of sonata form is
applied loosely. It is clear from figure 4.1 that Rosauro retains the sections of sonata form, but
key relationships used are not consistent wit h the traditional sonata form. Rosauro’s treatment
of harmonic progression does not follow traditional concepts such as modulation to relative
keys or freque nt modulation s to the dominant. The movement generally is in D minor, but

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each musical theme and idea has its own key center to f it its unique character, usually
remaining in its own initial key for its duration. Also the relative balance of these sections
does n ot reflect the proportion s of the typical sonata form. The exposition is 120 measures
long while the development lasts 74 measures , and the recapitulation only spans 54 measures.
Theme A is repeated twice in the exposition and connected by a “cadenza -like” bridge base d
on the whole -tone scale. The whole introduction section is repeated again at the end o f the
exposition (mm 1 32-139). In the recapitulation, theme B rea ppears before theme A, reversing
the order of occurren ce in the exposition. In addition, the introductory material is repeated at
the coda.

Introduction and Exposition
The first movement begins with a drivin g introduction, a pattern in 7/8 time. Rosauro
uses the two -measure bass riff device through the whole introduction section , accentuated by
snare drum with brushes . The whole section is based on the A altered dominant chord
(A-C#-D#-F-G-C). The altered dom inant chord has a major and minor third (#9th) together
which creates a ve ry strong tension to the sonority .
The energetic exposition contain s two themes, indicated in figure 4.1 as theme A and
theme B. Theme A (mm. 12-39) is in D mi nor. Theme B (mm. 72-115) is in G mixolydian .
As mentioned previously, theme A is repeated twice in the expos ition. The introductory
section is repeated again at the end of the exposition (mm. 132-139), and each theme is
connected by a “cadenza -like” bridge based on the whole -tone scale.
Theme A (mm. 12-39) can be separated into two sections . The first section (mm. 12-27)
is in D m inor and has a rhythmically driving pattern alternati ng between 4/4 and 3/4 meters.
The rhythmic pattern helps create the li vely character of the mov ement. The second section of
theme A (mm . 28-39) contains a three-bar rhythmic tutti by marimba and orchestra and one
bar of the ascending scale played by marimba alone . The tutti repeats again in the higher

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octave, en ding on the A dominant chord with shar p eleventh (m.39) . As stated earlier, theme
A is repeated again in the exposition , but this time the orchestra plays the primary theme
while the marimba a ssumes the accompaniment role. Meter changes, strong rhythmic motives,
ostinato patterns , and stable t onal centers in theme A are a few of Rosauro’s signature
compositional features.
In theme B (mm. 72-115), Rosauro uses a rhythmic pattern similar to that of mov ement I
in the first concerto. The theme is in G mixolydian and the marimba plays dead strokes i n the
section to highligh t the character of the section. The melody line is shared between marimba
and orchestra .
Measure 116 is the beginning of the bridge section. In this section, the chord progression
is stron gly reminiscent of jazz harmony . The cello and double bass play a quarter -note
walking bass while the marimba plays a tw o against three polyrhythm in the upper voice. This
polyrhythm adds another level of interest for the music and creates a nice dialogue between
the marimba and the orchestra. From measure 124 to 131 , there is an arpeggiated section
which has the same harmonic concept as Movement I (mm. 59-62) of the first concerto. The
two most important notes in the ascending arpeggi os are the tonic and fifth. The notes in the E
minor arpeggio s are tonic (E), minor third ( G) and augme nted fourth ( A#) resolving to the
fifth (B), minor seventh ( D), and major seventh ( D#) resolving to the tonic ( E). The use of the
sharp fourth and m inor seventh mirrors the blues scale. Rosauro ’s use of jazz concepts in the
section is very clear.
The introduction section is repeated in measures 132 to 139, again based on the A
dominant chord with sharp eleventh . Following the section is a short cadenza which features
the soloist’s use of dead strokes. At the end of th e two -bar cadenza, Rosauro applies the
glissando to lead into the development section .

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Development
The development consists of two major se ctions. As seen in Figure 4.1, the first s ection
is from measure 142 to1 79 while the second secti on is from measure 180 to 215. The first
section consists of theme A 1 (mm. 142-157) and theme C (mm. 158 -179). The theme A1 is a
fragment of the theme A from the exposition. The meter alternates between two ba rs in 4/4
and two bars in 3/4 , and the tonal center is in D minor . The orchestra plays the main statement
of the theme A 1 in the two bars of 4/4 (mm. 142 -143), which is answere d by the marimba
with virtuosi c arpeggio f igures in the two bars of 3/4 (mm. 144-145). This four -bar phrase
repeats three more times with slight melodic and harmonic changes each time.
Theme C is the extension of theme A . The tonal center of theme C is in G and the meter
is in 3/4. The marimba begins theme C with a syncopated two -bar statement , followed by a
triplet -based, one -bar answer by the o rchestra. This three -bar phrase repeats twice more. The
order of occurrence is reversed on the last repeat, as the orchestra plays the statement , and the
marimba answers.
It is clear in Figure 4 .1 that the second part of the development (mm. 180 -215) consi sts
of two sections. The first section (mm. 180 -195) starts with theme A ’+B’ and the second
section consists of theme D from bar 196 to 215 . The theme A ’ + B’ is a fragment of theme A
and theme B from the exposition and once again features a call and respo nse. However, this
call and response remains only in the orchestra, while the marimba plays a background
chordal accompaniment using outside lateral and double strokes. This four -bar phrase repeats
three more times with melodic harmonic changes in the call and small rhythmic changes in
the response.
Theme D starts at bar 196; it has the same harmonic structure as theme C (mm. 158 -179).
Both themes are the extension of the theme A. As mention ed before, the tonal center in theme
C is in G and is in a 3/4 met er. On the other hand, theme D ’s tonal center is in C, and the
meter is in 4/4. T he marimba doubles the gorgeous melody line with the flutes. The melody

34

line lasts for eight bars and is followed by a two -bar transition that leads to a restatement of
this m elody by the or chestra. Meanwhile, the basses and cellos continue their walking bass
line, as the horns continue a syncopated pattern that they have been playing since the
melody ’s inception. These four bars (mm. 212 -215) serve as a transition to the recapitulation.

Recapitulation
The recapitulation boldly begins at bar 216 with a recurrence of theme B. The 7/8
rhythmic pattern is established in the first four bars. This time through theme B, the trumpet
and marimba play the initial melod ic material start ing at bar 220 followed by the woodwinds
and upper strings at bar 228. The marimba plays the melody with t he oboes and horns at bar
236. Bar 244 sees a reappearance of the bridge, but this time it lasts only eight bars instead of
the original six teen. A three-bar accelerando transition ( mm. 252-254) emphasizes an A
dominant to set up the reemergence of theme A in D minor at bar 255. U nlike the exposition ,
theme A essentially happens twice (once with the soloist, and once without), while in the
recapitulatio n the sixte en-bar theme A occurs only once. The last four bar s form a full
orchestra buildup culminating in the three -bar rhythmic tutti followed by the soloist ’s
cadenza -like runs. This four -bar phrase repeats once, and the third time ends on a sustained
chord to propel the music into the marimba ’s long and fast three -bar descending line . The
movement ends convincingly with a final unison statement in D between soloist and
orchestra.

Movement II – Reflections and Dreams
The slow second movement is in te rnary form (A -B-A). As mentioned before, Rosauro
hides an additiona l movement which occupies section B (mm. 48-117). Section A (mm. 1-47)
contains three different musical themes which are s low and lyric al, in regular meters ( 4/4 or
3/4) and usually in four or eight -bar phrases. The three musical themes in section A are for the

35

most p art divided into two parts , usually in different keys. There are no percussion
instruments used and a reserved use of the brass, with string s dominating the thin texture.
Sectio n B (mm. 48-117) has a totally different character, tonal center, and rhy thmic structure.
This section has a faster tempo, energetic character, irregular meters (3/4 + 2/4) and the
important theme of canon . The canon is later presented in various settin gs, including
Movement III. The instruments used in section B are full orchestra includ ing brass and
percussion. Section A is repeated again (mm. 178-222), but this time the orchestra plays the
main the mes while marimba accompanies. The moveme nt finishes with a coda (mm.
223-231). The architecture diagram of the second movement is demon strated in the following
figure 4.2:
Figure 4.2. Formal Structure of Movement II: Ternary Form (ABA)

Section A (mm. 1–47)
Theme: A A’ Trans. B
Key: D Major D minor A7 -D Major G minor
Measure: 1 -5 6 -10 10-12 13 -16

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

Section B (mm. 48–177)
Theme: Thematic Material D/ Theme of Canon E
Key : G minor G minor C minor
Measures: 48 -79 80-95 96 -111

Theme: D/ Canon E D/ Unison of Canon ’s Theme
Key: G minor C minor G minor
Measures: 112 -127 128-143 144-151

Theme: F Coda of Section B
Key: G minor G Major
Measu res: 152-167 168-177

36

Section A (mm. 178 –222)
Theme: A A ’ Trans. B
Key: D Major D minor A7 – D Major G minor
Measure: 178-182 183-187 188 -189 190 -193

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

Coda (mm. 223–235)
Theme: C
Key: D minor
Measures: 223 – 235

Section A
This lyrical movement starts with an unaccompanied marimba solo, reestablis hing the
focus on the soloi st. It is indicated in figure 4.2 as theme A (mm. 1-5). The marimba solo
contains two v oice layers, one in each hand. The lower voice evokes the bass line of J. S.
Bach’s famous work Aria on the G String to accompany the higher voice’s original tu ne
compos ed by Rosauro . The original key for the Aria is G major, but Ros auro transposes it to
D major. The melody is introduced in the single stroke on the m arimbist’s left hand, reflecting
the p izzicato sound of the strings. Rosauro uses the pizzica to sound to un ify the section. The
pizzicato sound continues in the cello part in the second part of the theme A (mm. 6-9),
keeping the same rhythmic structure but in a different key (D minor). The transition i s a
rubato section using arpeggiated dominant chord s to stre tch out the tempo . This allows the
soloist the freedom to express his/her musicianship and connect to the next section.
Theme B (mm. 13-20) also contains two sections in different keys. The fir st part of
theme B is in G m inor, wherein the left hand uses t he one -handed roll on the descending
chromatic scale while the right hand introduces a melod y. Here, Rosauro slightly twists the

37

feeling from a very Baroque style to a jazzy feeling, marking another important feature of his
compositional style. The second part of Theme B is in the tempo marking “poco meno
mosso ,” signifying a slightly slower tempo than the previous section . The solo marimba is
accompanied by the violins playing sustaine d chords while the cell os double the des cending
line of the marimba ’s lower voice . Meanwhile, the violas have a nice interplay with the solo
marimba.
The tempo marking in theme C is “piu mosso ” therefore the tempo should be slightly
faster than the previous section. The architecture of theme C (mm.22 -47) is similar to the
ternary form (ABA form) which means theme C can be divided into three short sections , it
contains two different musical idea s, and the first section will be recapped again. The first
section of theme C (mm . 22-29) is in D minor. There are two beautiful melodic themes
introduced by the marimba a nd French horn simultaneously. In the solo marimba part, two
layers of vo ice form the melodic theme, similar to the echoes or answers of the main melody.
At the same time , the French horn first introduces the imp ortant th eme in D minor and the
meter is in 3/4. This theme is later presented as an important theme in section B (mm.
152-167/ theme F ). But the statement of this theme is augmented in longer note – values in
section B . Also, the key is changed into G minor and the meter is altered between 3/4 and 2/4 .
The second section of theme C (mm. 30-37) is in G minor and the musical idea is the
extension of the first section. T he flutes and oboes present the new melodic line accompanied
by the strings, bassoon , and marimba. This melodic line just lasts eight bars and smoothly
connected to the next section .
The third section (mm.38 -47) uses the theme which is introduced by the French horn in
the first section . But this time, this impo rtant theme (theme F) is presented by th e violins and
viola through the first repetition (mm 38 -41), and t he second time is played by the upper
woodwinds (mm. 42-45). As mention ed before, this theme is go ing to be used in the section B
but in a different key and a different rhythmic structure.

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Section B
Section B begins at bar 48 in G minor. This section sharply contrasts with the section A
material as a strong, vivace section with irregular meters (3/4 + 2/4). The low brass and
trumpet start the section by establishing an ostinato based on dot ted quarter notes and quarter
notes. T he snare drum played with brushes joins after eight bars, emph asizing the rhythmic
contours. At bar 64, after sixteen bars of the thematic materials, the marimba comes in with a
preface to the imminent melody along wit h an eight h-note rhythmic accompaniment. Sixteen
bars later, at bar 80, the marimba introduces the first significant melodic material (theme D ),
the theme later used in the c anon . The violins meanwhile take the eighth -note accompaniment
originally played b y the marimba. At bar 96, theme E begins with a more lyrical m elody in
the flutes and oboes while t he marimba maintains the eighth -note accompanim ent. Theme E
lasts sixteen bars and is followed by a canon (mm. 11 2-127) in G minor. At bar 112, the
marimba p lays the melodic material from theme D , and the orchestra enters at bar 120 playing
the canonic imitation . Sudd enly at bar 144, the orchestra minus strings plays the melody of
the canon in a tutti phrase with cowbell and woodblock prov iding the percussive emphasis.
This leads into the climax of section B, theme F (mm.152 -167). From bar 152, the strings,
trumpet , and uppe r woodwinds play the long, bold, and flowing melodic line from section A
(mm. 22 -29) accompanied by the rest of the ensemble. Bar 168 sees a gradual decline of
energy over the course of ten bars forming a coda with much rallentando. This end of section
B precedes a return to the original section A of Movement II.

Section A
The recurrence of the A section is an exact replication of the origi nal except theme A is
played by the solo violin and cello in the lento expressive section . The melody of this section
jumps from the stri ngs to the oboe at bar 190, while the marimba plays a c hordal

39

accompaniment in rolls. At bar 194, the orchestra plays t heme B ’ and the marimba answers,
the opposite of what happened in the first A section. At bar 199, theme B is in the tempo
marking “piu mosso ” and duplicates its predecessor only with a sli ghtly different
orchestration. Bar 223 sees the marimba play the th eme as a solo in octaves signifying the
imminent close of the movement.

Coda
The marimba maintains a roll between the right hand on D in octaves and an
ascending line in t he left hand, also in octaves. The clarinet and viola play a repetitive and
mournfu l tune against a quarter -note bass line in the cello , thus cadencing in D minor and
allowing the marimba to fade out with its roll on D in octaves.

Movement III – Walking on Clouds
Much like Movement II, Rosauro inserts an additional section which has its own musical
character and internal plan in Movement III . This movement is the longest of all the
movements. The following figure 4.3, gives a basic outline of form and key center s.

Figure 4.3. Formal Structure of Movement III: Ternary Form (ABA)

Introduction (mm. 1–22)
Theme: Intro. Material Marimba Cadenza
Key: D minor Descending Whole -Tone Scale
Measure: 1 -16 17-19

Section A (mm. 23–182)
Theme: A B Variation of A+B
Key: D Major G minor D Major / G minor
Measures: 23 -78 79 -110 111-182

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Section B (mm. 183–278)
Theme: Trans. C (Canon) D C (Canon )
Key: G minor G minor C minor G minor
Measures: 183 -198 199-214 215 -230 231 -246

Theme: E Coda of Section B
Key: G minor
Measures: 247 -262 263-278

Marimba Cadenza m. 279 ––––––––––––––––––-

Section A (mm. 280–365)
Theme: A B
Key: D Majo r G minor
Measures: 280 -335 336-365

Coda (mm. 366–390)
Theme: Intro. Material Final Cadenza
Key: D minor Whole -Tone Scale
Measures: 366 -383 384-390

Introduction and Section A
In the strong and driving introduction, meters alternate between 3/4 and 2/4, in the
four-bar pattern 3/4, 2/4, 3/4, 3/4 . The similar rhythmic pattern also can be found in the fourth
movement (introduction section) of Rosauro ’s First C oncerto. The orch estra presents the forte
chromatic descending line while the marimba has as cending statements in D minor in the final
3/4 bar of every four -bar phrase . Before the theme A is introduced, Rosauro uses a descending
whole tone scale to connect the introduction and A section . This functions as a bridge ending
on an A dominant chord with a sharp eleventh .
Section A begins at bar 23 with sixteen -bar long thematic materials establishing the same
four-bar pattern (3/4, 2/4, 3/4, 3/4) presented in the introduction. The marimba sets up the

41

recurring bass line in the left hand while the right hand plays a simple chordal accompaniment.
The cellos have an interesting rhythmic pizzicato line that nicely compliments the marimba
part. The entrance of the pizzicato violins a t bar 27 reinforces the light atmosphere, as t hese
first sixteen bars consist only of marimba and pizzicato strings. Theme A starts at bar 39 in D
major, maintaining the metric four -bar pattern . During the first sixteen -bar phrase , the
marimba plays the me lody while only the strings accompany. A modulation occurs at the end
of the phrase, and the marimba plays the same line again at bar 55, this time in E major with
the addition of the bassoon. Bar 71 modulates to D minor for a brief eight -bar transition
phrase into theme B in G minor (m. 79). The rhythmic feel changes to a 3/4 + 2/4, essentially
a 5/4 feel, and remains in this metric pattern until the beginning of section B at bar 183 . Here
the clarinets and oboes carry the melody against the string s’ bass line while the marimba plays
a technically difficult, sixteenth -note chordal accompaniment. This theme ’s melody lasts for
sixteen bars, and repeats at bar 95 with the melody in the flute and upper strings while the
marimba changes to a triplet -based arpegg iated accompaniment. Two of Rosauro’s favorite
techniques are found here: lateral strokes and double strokes (mm. 79-94), followed by the
eight h-note triplet s inspired by guitar music.
At bar 111 the variation of the A and B themes begins. The oboe, clari nets, and trumpet
play the D major melody as the strings accompany. Here the caxixis play as well, adding to
the festive sentiment of the section . After sixteen bars the melody shifts to the strings in E
major and the woodwinds accompany. Bar 143 sees a re appearance of the transition p hrase in
D minor for eight bars leading to a rest atement of theme B at bar 151. This time the marimba
carries the melody in octaves as the horns and strings accompany for the first sixteen -bar
phrase. For the second time throu gh the theme, the oboes and bassoon join in as the marimba
plays the melody with sixteenth -note outside lateral strokes. The marimba takes the last four
bars to modulate to G minor, t he key of section B.

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Section B
The B section of Movement II appears in movement III again . A more in -depth analysis
of section B is presented in the section on Movement II, but the canon section is more
technical ly demanding and contains more voices within Movement III . It is clear from figure
4.3, the marimba intro duces theme C (mm. 199 -214) in the canon context and executes
difficult passage s requiring the soloist’s facility in the areas of coordination and independence .
It require s independence of each hand and in some instances of each of the four mallets. At
bar 247, the me D begins with a m ore lyrical melody in C minor, followed by a small coda
beginning at 263 which brings about a calming mood as the orchestra becomes quieter , and
the marimba slows down i ts repeating pattern to begin its cadenza .

Marimba Cadenza
Rosaur o applies two unique techniques in the cadenza section. First, he uses the
rattan -mallet shaf ts against the keys to imitate the sound of the balaphone which is the
ancestor of the marimba from Africa. Second, he slides the rattan -mallet shafts on the edge of
the bar to create the glissando sound to connect phrases. The marimba ends this section by
playing a roll with rattan in the left hand and the mallet head in the right to shift back int o the
use of both mallet heads. Also, Rosauro makes a citation from Keiko Abe’s Dream of the
Cherry Blossoms. He then transitions into the beautiful restatement of a theme from
Movement I in double outside lateral strokes . Next, a four -bar passage featur es one -handed
roll in the right hand and a melody from the first movem ent (but in different keys) in the left
hand. A fter this , the marimba plays double lateral strokes with in the context of the whole -tone
scale to segue into the original bridge m aterial of the descending whole -tone scale passage .
This moves into the recapit ulation of the A section.

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Section A
In the return of the A section, bar 280 sees th e original ostinato material for sixteen bars.
However, this goes into a restatement of the A + B theme variation in D major while the
marimba rests for sixteen bars. T he soloist comes back in for the second melodic statement at
312 in E major. At 328 the eight -bar transition phrase reappears in D minor to lead into theme
B at 336 , where the marimba plays the melody in double strokes along with the flutes and
horns. At bar 352 the marimba rests again as the bulk of the orchestra plays the melody from
theme B. The marimba returns at 366 to play eighth -note arpeggiated figures while the
orchestra increases intensity to transition into the coda.

Coda
The coda begins at bar 371 and functions just like the introduction to Movement III.
However, the third ascending marimba lin e is a solo in octaves with more rallentando the
higher it goes while it reaches a roll on C# in octaves. A grand pause precedes the marimba ’s
pickup qua rter note to the glissando from the highest C, shared by the brass and strings. The
piece ends at the bottom of the glissando with two sixteenth notes on D played by the entire
orchestra to finish forcefully.

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CHAPTER 5
COMPARISON OF ARTISTIC APPROACH IN ROSAURO ’S TWO
MARIMBA CONCERTI
Introduction
Ney Rosauro ’s two marimba concerti are very important additions to the solo marimba
repertoire. These two pieces naturally share many similarities, but a closer inspection reveals
several stark differences. In this chapter , the author will focus on the comparison of the
similarities and differences between the two marimba concerti and their artistic approaches .

Similarities
When one begins to consider the chara cteristics common to both of Rosauro ’s marimba
concerti, the similarities surface one after another. Rosauro frequently uses certain
fundamental techniques and concepts he considers to be essential elements of marimba
performance . Many of the same material s are used in both concerti such as formal
arrangement, them atic ideas , chords, scales, rhythmic patterns , modal harmony, and technical
devices .
Both concerti are designed in four movements. While the first concerto clearly has four,
the second initially appears to have only three parts . As mentioned before, in Concerto #2,
Rosauro has hidden a movement within Movement s II and III. The hidden movement is
Rosauro ’s unique twist of composition that slightly bends yet does not brea k the usual
compositional ar rangement . In addition , the design of both concerti is almost the same. In
both concerti, the first movement is driving, rhythmic , and contains meter changes . The
second movement is slow, lyric al, and romantic . The third movement is fresh with a

45

dance -like rhythmic structure that is slightly more relaxed than the firs t or final movements;
also it often contains a contrapuntal (canon) section . The last movement is energetic, intense ,
and always has cadenza sections which feature the most important themes fro m the previous
movements. Also both concerti utilize classical, jazz , and Brazilian styles to create a distinct
sound. In both concerti, each movement is given a descriptive title that fits its musical
character .
Rosauro employs traditional classi cal structures such as sonata -allegro, ternary, and
rondo for ms in both concerti. For example , he typically repeats primary themes throughout
his movements and often has an entire recapitulation at the end of each movement. Pulsing
energetic introduction s, such as the ones in movement IV of the first concerto and movement
III of the second concerto, share the same vigorous spirit. Before introducing the primary
theme of the final movement , both concerti have an intense, driving introduction followed by
a small cadenza (Example s 5.1 and 5 .2). The cadenzas are characterized by the use of the
fully diminished seventh chord and whole -tone scale in a masterfully spiraling descent that
increases tension at which point the first subject is introduced with a sigh of satisfaction.
Additionally, the solo cadenza section s in both concerti present all of the important themes
from the previous movements abstractly. This style of writing is one of Rosauro ’s important
compositional features .

Example 5 . 1. Concerto for M arimba and Orchestra, Movement I V, mm. 13 -14

46

Example 5 . 2. Concerto #2 for Marimba and Orchestra, Movement III, mm. 17 -22

In the fashion of every work in Rosauro ’s catalogues , each concerto consists of beautiful,
lyrical, and enchanting melodic lines . For example , in both marimba concerti the second
movement has wonderfully flowing melodie s, making listening a pleasurable experience. The
charming melod ies in these movements are all so beautiful ly warming , romantic , and lyric al
that it is impossible fo r members of the audience n ot to be touched.
Many of the thematic materials that are used in the first concerto appear again in the
second . For example, the rhythmic pattern of the left hand used in the first movement of the
first c oncerto (mm. 1 -8) can al so be found in movement I of the second concerto (mm. 72 -76).
Another common idea used in both concerti is the fast ostinato pattern in the left hand found
in movement IV of the first concerto (mm. 16-31) (Example 5.3) and movement I of the
second concerto (mm. 12-27) (Example 5 .4). In these sections, Rosauro asks for the Moeller
technique which utilize s small wrist strokes with large forearm motions to accomplish a
left-hand eight h-note ostinato at a prestissimo tempo . The technique is used in the f irst
concerto , movement IV and the first movement of the second concerto .

Example 5 . 3. Concerto for Marimba and Orchestra, Movement IV , mm. 16-20

47

Example 5 . 4. Concerto #2 for Marimba and Orchestra, Movement I, mm. 12-15

In both concerti, the first move ment contains an arpeggi ated section. Rosaur o designed
those two sections with the same concept in mind and used the same thematic materials in
both sections. The two most important notes in the a scending arpeggios are the tonic and the
fifth. The notes us ed in the arpeggio s are root, minor third , augmented fourth resolving to the
fifth, the dominant, minor seventh, and major seventh resolving to the tonic. It is a great
example to show that Rosauro is strongly influenced by jazz and often used jazz concept s in
his composition s. Rosauro uses the same thematic materials and rhythmic figures in the
descending part of the arpeggiated sections. In the first c oncerto, movement I (m. 61) an E
minor chord is outlined with grace notes, and a similar element can be f ound in G major in the
second concerto movem ent I (m. 127). These elements are demonstrated in Examples 5.5 and
5.6.

Example 5 . 5. Concerto for Marimba and Orchestra, Movement I, mm. 59 -62

48

Example 5 . 6. Concerto #2 for Marimba and Orchestra, Movemen t I, mm. 124-127

Both concerti have contrapuntal section s and the style of writing is similar. The
counterpoints in both concerti are canonic. E ach voice enter s at the same note although in
differ ent octav es. The marimba part not only introduce s the th eme but also executes difficult
contrapuntal passages (Example s 5.7 and 5 .8). Technical dexterity in the areas of coordination
and independence is necessary to play such passages.

Example 5 . 7. Concerto for Marimba and Orchestra, Movement III, mm. 50 -55

49

Example 5 . 8. Concerto #2 for Marimba and Orchestra, Movement III, mm. 199 -214

Rosauro creates color and interest in his melodies by using chromatic ism, diminished
and augmented chords, the whole -tone scale , and the pentatonic scale. Both final m ovements
of the concerti contain introductions that are fil led with surprising progressions and harmonies
concluding with cadenzas characterized by d iminished, chromatic, and whole -tone color s that
lend themselves to virtuosic runs. Rosauro also uses the whole-tone scale in the b ridge
sections of bo th concerti, seen in the second concerto , movement I (mm. 40 -41, and mm.
70-71). It is clear to see in Example 5.9, Rosauro uses the descending whole -tone scale to
function as a bridge that connects two sections.

Example 5 . 9. Concerto #2 for Marimba and Orchestra, Movement I, mm. 70-71

Rosauro ’s treatment of rhythm strongly echoes his modern compositional training , one
known for odd meters and syncopated rhythms. The open ing theme of movement I in the f irst

50

concerto (mm. 1 -4) has a rhythmic patter n in the left hand that alter nates among the meter s of
6/8, 5/8, 6/8, and 7/8 (Example 5 .10). This difficult ostinato helps create the restless character
of the movement. These continuous meter changes, along with strong rhythmic motives,
ostinato bass line s, and stable tonal centers are a few of Rosauro ’s signature features . Similar
ideas can be found throughou t the prim ary theme in movement I of the second c oncerto (mm.
12-27) by alternating between 4/4 and 3/4 time . This creates a very rhythmically driven and
synco pated feeling by using an ostinato pattern in the left hand (Example 5 .11). These
signature features can be seen clearly in the primary theme of the fourth movement in the first
concerto (mm. 16-31) and t hird movement in second concerto (mm. 39 -70) as well .

Example 5 . 10. Concerto for Marimba and Orchestra, Movement I, mm. 1 -4

Example 5 . 11. Concerto #2 for Marimba and Orchestra, Movement I, mm. 12-15

Another interesting rhythmic idea is the use of polyrhythm . His melodic material
frequently involves such compound rhythms as three against two and four against three . In
Example 5 .12 the marimba is playing three against two with the orchestra in measure 116 .
Though technically and mentally demanding, this polyrhythm adds another level to the

51

complex arrangement and give s the impression of counter melodies singing in a different
meter than the primary melo dy. The sa me concept can be found in the f irst concerto ,
movement III (m.19, 21, 23, 25, 29 and 33 ). It is clear to see that from Example 5.13, the
violins play the three against two rhythmic pattern to echo and answer the melodic line
presented by the solo marimba at bar 33 .

Example 5 . 12. Concerto #2 for Marimba and Orchestra, Movement I, mm.116 -119

Example 5. 13. Concerto for Marimba and Orchestra, Movement III, mm. 33 -36

52

Most of the second movement of b oth concerti can be played with or without
accompaniment. As the soloist, the marimba obviously presents the important thematic
materials . At some points, the ensemble rests while the marimbist continues unaccompanied,
for example the opening theme in movement II of the second concerto . The marimba solo can
also be heard at letter C (mm. 22 -33) of the second movement of the first c oncerto. By
presenting material without the presence of an ensemble or accompanist, the composer can
ensure that the theme s or rhythm s will be grasped and recognized late r in the piece.
Additionally, this allows soloist s to clearly demonstrate their technical and musica l abilities
without being covered by the orchestra.
Rosauro frequently uses certain techniques or patterns in both concerti which he
consider s to be essential elements for his marimba works. These signature techniques can be
found not only in the concert i but also in his marimba solo works , such as Prelude s No.1 and
3. The most frequently used technique is the outside double lateral stroke. In the third
movement of the first concerto, Rosauro uses the outside double lateral stroke throughout the
introduct ion and A sections (mm. 1-41) (Example 5 .14). The outside lateral stroke is a single
motion that produce s two successive notes which is the combination of rotating and twisting
motions in the wrist and forearm . This technique will be discussed in the perfo rmer ’s study
guide (chapter 6 ).

Example 5 . 14. Concerto for Marimba and Orchestra, Movement I II, mm. 13 -16

53

The lateral stokes also can be comb ined with other techniques such as single or double
strokes . The combination of these techniques is one of R osauro ’s favorite features; it can be
found in both concerti, in various settings. In the third movement of the first concerto,
Rosauro uses the outside lateral stroke in combination with double strokes through out the
whole introduction and A section (mm. 1-41) (Example 5 .15). The sa me featu re can be found
in the second concerto , first movement (mm. 180-205) (Example 5 .16), second movement
(mm. 30-41), and third movement (mm. 79-94).

Example 5 . 15. Concerto for Marimba and Orchestra, Movement III, mm. 25 -28

Example 5 . 16. Concerto #2 for Marimba and Orchestra, Movement II , mm. 180-184

Another important technique frequently used by Rosauro is a one-handed roll,
accomplished by rapidly rotating the forearm so the two mallets in one hand repeatedly strike
one or two notes creat ing the marimba’s sustain sound . In the first c oncerto , move ment II
(mm. 2 -11), he uses the left hand to play a one-hand roll and right hand to play the melodic
them e, creating a romantic lament (Example 5 .17). A similar featur e is also used i n the second
concerto , movement II ( mm. 13 -16) (Example 5 .18).

54

Example 5 . 17. Concerto for Marimba and Orchestra, Movement II, mm. 1 -9

Exam ple 5 . 18. Concerto #2 for Marimba and Orchestra, Movement II , mm. 13-16

Rosauro also u ses dead strokes to create a different presentation of his melodic sono rity
in both concerti. The dead stroke technique is pressing the mallet into the bar in order to
eliminate sustain. The use of dead -stroke effect can be found in the fir st movemen t (mm.
83-86) of the first c oncerto (Example 5.19 ) and the first movement (mm. 140 -142) of the
second concerto (Exampl e 5.20 ).

55

Example 5. 19 . Concerto for Marimba and Orchestra, Movement I, mm. 83 -86

Example 5 . 20. Concerto #2 for Marimba and Orchestra , Movement I , mm. 140-142

Rosauro ’s overall treatment of the marimba is also remarkable. He explores it s entire
range through arpeggi ated figures ranging from the deep, warm bass sounds to short, shrill
high note s. Coordination of both hands is integral to the successful performance of Rosauro ’s
works. I n certain passages he likes to use a canon , contrapuntal style which requires that the
marimbist have great coordination and independence of both hands to accomplish these
challenging techniques.

Differen ces
While the similarities between Ney Rosauro ’s two marimba concerti are considerable,
the differe nces provide insight into Rosauro ’s evolution as a composer. First, the second
concerto is written for full orchestra, taking advantage of the numerous colo rs available in a
larger ensemble . However the first c oncerto was originally written with a string
accompaniment . The larger orchestra not only allows for more colors but more possibilities in
harmony, voicing, and alternation of soloist and ensemble. Line s can weave through more

56

voices and the work of the soloist can be enhanced by the instrumental v arieties of a full
group. Features such as woodwind runs and trills, various brass colors, and percussive
textures are all great additions to the orchestration of Concerto #2. The Second C oncerto also
requires a five -octave marimba (low C) which adds deeper and richer bass tones. However,
the first concerto only requires a n instrument with a four and one -third octave (low A).
Rosauro’s approach to marimba concer ti and solo compositions has always been a
diligent one with a constant desire to improve his playing. Thus, he composed the two
marimba concerti with technical focuses in mind . While writing the first c oncerto, his right
hand was broken due to an unfortun ate slip . He could not use his right hand fo r two months .
So he decided rather than halt his practice and composition , that the first c oncerto would be
composed in a way that focus es on strengthen ing and improving his left hand technique . As a
result, most of the techniques used in the first c oncerto are quite challenging for the left hand.
One example is the single -hand ed alternating stroke , designed to improve the left hand’s
independence (Example 5 .10). Another is the Moeller stroke to simply strengthen the muscles
of the left arm (Example s 5.3 and 5 .4). An essential part of this stroke, and the melody
accompanying it in the right hand is a technique addressed in his beginner -level method book :
the simultaneous stroke. To achieve this, the mallets must st rike the bars simultaneou sly
without creating a flam effect. If the strokes do not occur simultaneously, the melody and
accompanying Moeller stroke will s ound choppy and not intentional .
The composition of second concerto includes the idea of improving technical
weakness es. The second concerto focus es on left -hand octave lines and one-handed rolls . A
music al example is found in movement II (mm. 13-16) when the right hand presents the B
theme , and the left hand is required to play a descending chromatic line by rolling in octaves
(Example 5 . 21). Not only does this require the coordination of octave playing and the ability
to keep both mallets in the octave position, but it also demands muscular streng th to maintain
the difficult roll.

57

Example 5 . 21. Concerto #2 for Marimba and Orchestra, Movement II , mm. 13-16

Another excellent example is also in movemen t II (mm. 227 -230) when the left hand has
to play the octave one -hand ed roll in the lower register and also present the theme in a very
musical and accurat e manner (Exampl e 5. 22). It is one level to achieve the roll, yet another
entirely to play it musica lly without sounding uneven.

Example 5 . 22 .Concerto #2 for Marimba and Orchestra, Movement II, mm. 227 -230

The second concerto ’s technical demands on the performer are much greater than those
of the first concerto . For example, the one-handed roll in movement II (m . 1) of the second
concerto needs to be played on the same note ( Example 5 .23). It is much harder to execute
this roll on a single not e rathe r than when the roll is spread across the keyboard, such as the
one found in the first concerto, movement II (mm. 2 -11) which is comfortably played at the
interval of a fifth . Playing a one-hand ed roll on only one note require s a bigger striking angle,
higher hand position above the keyboard , and a better balance of mallets and as well as
stronger control and coordination between the mallets and hands.

58

Example 5 . 23. Concerto #2 for Marimba and Orchestra, Movement II, mm. 1 -4

Another advance d technique used in the second concerto is the outside double lateral
stroke. This rolling technique is extended out to the octave , which is different from and much
harder than the f irst concerto (movement III, mm. 13-25). In movement III of the second
concerto (mm. 166-181), the outside double lateral stroke is played in octave s on both hands
moving up and down with the melodic line (Example 5. 24 ). Clearly, accuracy and contour of
the phrase are important in this section.

Example 5 . 24. Concerto #2 for Marimba and O rchestra, Movement III, mm. 166-170

The second concerto also develops its musical ideas more than the first. The second
concerto also uses a more sophisticat ed harmonic structure than the first c oncerto. The second
concerto does not just use traditiona l harmonic concept s but adds those of jazz. One colorful
example is Rosauro ’s use of the A altered chord in the first movement (mm. 1-9), as well as
the frequent use of such idiomatic jazz tones as the sharp ninth and sharp eleventh . The
second c oncerto ’s melodic material is arguably more palatable than that of the first concerto
and features tributes to other composers’ works. In the second movement, Rosauro borrows

59

the bass line from the Aria on the G String and transposes it from G major to D major . He
quotes a section of Dream of the Cherry Blossoms during the cadenza of Movement III . He
also borrows an interesting ethnic sound, the rattan mallet shafts against the marimba keys.
He does this during the cadenza to recall ancient ideas of the marimba’s Afr ican ancestor, the
balaphone .
This comparison highlights some of Rosauro’s changes and gr owth as a composer .
During which decade of playing, his experience and education has greatly imparted the
compositional technique of his two brilliant marimba concert i.

60

CHAPTER 6

A PERFORMER ’S STUDY GUIDE FOR NEY ROSAURO ’S TWO CONCERTI FOR
MARIMBA AND ORCHESTRA
Introduction
Throughout the last two decades, Rosauro has devoted himself to performing, composing,
and teaching. His two concerti for marimba and orch estra show his appreciation for the varied
idiomatic possibilities of the marimba. He frequently uses certain fundamental techniques and
concepts he consider s to be essential in his marimba concerti. The purpose in writing this
chapter is to closely examin e these works and their technical features , providing the
marimbist with guidelines for thorough preparation .
In this chapter, a variety of four -mallet technique s, including Rosauro ’s modified grip as
they apply to his concerti, will be introduced and di scussed. Some explanation and
terminology of marimba techniques used by the author throughout the essay are taken from
the Method of Movement for Marimba by Leigh Howard Stevens.1 After giving an overview
of the technique, the performer ’s study guide is organized in the following order: musical
excerpts, practicing advice , and instructional diagrams . By presenting the musical excerpts
first, the reader will have a general concept of each section ’s primary focus and technical
problems. The excerpts are follo wed by practice advice which is fundamentally based on the
author ’s opinions, with some influence from the composer. I nstructional diagrams are
provided to demonstrate the correct applications of the techniques where necessary .
The numbering system for the mallets and fingers is outlined in Figure s 6.1 and 6.2 and
will be used throughout this paper . The numbering system chosen by the author is the system

1 Leigh Howard Stevens, Method of Movement for Marimba . New Jersey: Marimba Productions, 1993.

61

most widely used by professional marimba performer s and pedagogues.

Figure 6. 1. The Numbering System for the Mallets.

Figure 6. 2. The N umbering System for the Fingers.

Rosauro’s Modified Four -Mallet Technique
Through examining his own playing technique, Rosauro encountered certain limitations
when using the traditional Burton grip, most noticea bly the constant clicking and rubbing of
the mallet shafts. With this in mind, Rosaur o gradually develo ped a modified version of the
standard grip. His technique draws from both the Burton grip and the Stevens grip2,
combining the most effective aspects of each in order to overcome the following technical
problems :
1. The constant clicking sound produced by the two mallet shafts touch ing each
other in the palm of the hand

2 Ney Rosauro , “Crossing Grip Extensions ,” Percussive Notes 34 (February 199 8): 65-67.

62

2. The lack of wrist torque needed to play one-handed rolls in small interv als (smaller
than a third or even on a single note)
3. The limited expressive rolling possibilities
In his Percussive Notes article “ Crossing Grip Extensions ,” Rosauro offers advice for
percussionists concerning his opinion of the most effective malle t-holding techniques.
Furthermore, Rosauro notes that these concepts and techniques do not constitute a new grip
but simply serve as extensions of the original Burton grip . The Burton grip was developed in
the 1960s by the great jazz vibraphonist Gary Burton.3 This grip is similar to the traditional
cross -stick grip except that the mallet positions in the palm are inverted. In the Burton grip
when the palm is facing downward, the inside mallets are held under the outside mallets
rather than over as they are in the traditional grip .4 This approach allows for more
independence between the mallets, facilitat es playing larger intervals , and provid es the
players with more control of the mallets .5
Rosauro ’s extensions of the Burton grip allow for more flexible playing and eliminate
the clicking sound .6 There are two major differe nces between the Burton grip and Rosauro ’s
modified grip. First, instead of having the palms facing downward, Rosauro suggests a more
natural hand position with the palms facing inward an d the thumbs up ( Figure 6.3) which is
influenced by the Steven s grip. Second , the two mallets in each hand do not touch each other .
To achieve this, Rosauro suggests holding the outer mallet with the first section (tip) of the
fourth (ring) finger. Each j oint of the ring finger should form roughly a near 90-degree angle
(Figure 6.4) to create a space between the two mallets (Figure 6.5) . This not only prevent s the
clicking and rubbing sound s, but also gives the mallets more independence without losing the

3 Leigh Howard Stevens, “Four – Mallet Grip Neede d,” Marimba Perspective, (June 1985): 30 -31.

4 Ibid.

5 Ibid.

6 Ney Rosauro, “Crossing Grip Extensions ,” Percussive Notes 34 (February 199 8): 65-67.

63

power of the original grip .7 Another advantage of this grip is its versatility : it can be applied
to any keyboard percussion instrument as well as the multiple percussion instruments and
even timpani .8 The grip also allows for a greater variety of rolling techniques discussed
throughout the chapter.9

Figure 6. 3. The Natural Hand Position Applied in Rosauro ’s Modified Grip.

Figure 6. 4. The Ring Finger ’s Position for Holding the Outside Mallet.

7 Ibid.

8 Ibid.

9 Ibid.

64

Figure 6. 5. The Space between the Two Mallets.

Mar imba Techniques Frequently Used in Rosauro ’s Concerti
In his concert o writing , Rosauro places a variety of technical demands on the marimba
soloist and utilizes many unique approaches to playing the instrument . One advanced
technique prevalent in both con certi is the double lateral roll. The double lateral strokes are
single motions that produce two successive notes, a controlled flam with the two mallets.10
There are two kinds of double lateral strokes : the inside lateral stroke (starting with inside
malle ts: 2-1, 3-4) and the outside lateral stroke (starting with outside mallets: 1 -2, 4-3).11
Both lateral strokes require a combination of rotating and twist ing motions in the wrist and
forearm. The relative dynamics of the two notes are controlled by the rati o of vertical to rotary
motion of the wrist. The wrist curvature changes slightly while rolling with double lateral
strokes to facilitate the motion and generate more power.
Another rolling technique used often is the one -handed roll. One-handed rolls are
accomplished by rapidly rotating the forearm such that both mallets in one hand repeatedly
strike one or two notes rapidly . This create s a sustaining method for the marimba while the
other hand continues to play independently. A third method of rolling wi th four mallets is the
traditional hand -to-hand roll. This is play ed by striking the mallets held in each hand

10 Leigh Howard Stevens, Method of Movement for Marimba . New Jersey : Marimba Productions, 1993,
35-37.

11 Ibid.

65

simultaneously while both hands alternate rapidly, producing a sustained tone/chord. This is
essentially the standard two -mallet rolling method w ith an extra mallet in each hand.
Rosauro uses both double strokes ( in which each hand rapidly alternates , striking the
instrument twice) and dead strokes (in which the mallet is pressed into the bar in order to
eliminate any sustaining quality) in orde r to broade n his sound palette and vary the
presentation of his melodic ideas. Yet another technique he require s is the Moeller stroke,
which uses large whipping motions of the forearm for power and articulation of the downbeat,
combined with small wrist s trokes for speed and control . This helps to maintain a driving
left-hand ostinato at a prestissimo tempo. Without the technique, the player’s arm muscles
would have a tough time maintaining such intensity. Finally, acute coordination between the
hands is a n integral part of successfully performing his concerti, especially in his fugue ,
contrapuntal passages . These sections require great coordination , independence , and control
of both hands to successfully play them.

The Performer ’s Study Guide
This stu dy guide examines the techniques used throughout Rosauro ’s two marimba
concerti with more depth as they appear specifically in the solo. It has been organized such
that the musical excerpts are presented first, providing readers /performers with a general view
and focus of the section . These excerpts are followed by helpful suggestions for practicing the
difficult sections, including instructional diagrams where necessary . This study guide contains
thirty -two excerpts. Each of the musical excerpt s is identif ied by it s movement and measure
numbers and is chosen for one or more of the following reasons: technical difficulty, potential
sticking problems, important primary themes, and the use of unique techniques. In cases
where the techniques and ideas are found in both concerti, the author has decided to include
only the excerpt from the first concerto, avoiding unnecessary repetition of the same
suggestions and approach to practicing . At the end of such sections, the movement and

66

measure numbers where similar m usical ideas occur in the second concerto will be included.
Additionally, because the excerpts are just small parts taken from a larger work , it is
important to put the information gathered into context when practicing.
The practi ce advice, based on the a uthor ’s opinion with some influence from Rosauro ,
begins with the performer ’s initial point of view and later merges with the composer ’s
intention , providing different perspectives for players who are interested in preparing both
concerti for performance . The practicing routine and instructional tips are explained clearly,
step-by-step, in the study guide . The accompanying diagrams demonstrate the correct
approach for hand positioning and sticking patterns when necessary. In addition,
considerations of tone quality and artistic approach will be addressed in this chapter to ensure
that the articulation and timbre of the marimba are consistent with the composer ’s intentions .
The first excerpt (Example 6.1) begins with the opening measures of the first concerto , a
powerful, driving ostinato in the left hand, changing meter with every bar.

Example 6. 1. Concerto for Marimba and Orchestra, Movement I, mm. 1 -4,
Sticking Suggestion.

For the intense openin g theme in the bass, Rosauro suggests playing this rhythmic motif
with both hands until measure 9 when the primary theme is introduced by the right hand. In
order to create natural accents and dynamic changes, the better sticking pattern is one such
that the downbeats are played by the left-hand mallet #2 followed by two strokes of the
right -hand mallet #3. Remember not to strike the lowest note (A) in the center of the bar

67

because doing so will result in undesired overtones and a dark, slapping sound . For this
reason, lower bass notes should always be pl ayed slightly off -center. Lastly, it is vital to
practice slowly in the beginning to make sure all of the sticking and striking areas are correct
because fixing such mistakes later can prove to be tedious . The sticking suggestions are
indicated in Example 6.1. It should also be noted that the suggested mallet choice is
medium -hard yarn mallets.

Example 6. 2. Concerto for Marimba and Orchestra, Movement I, mm. 9 -12,
Sticking Suggestion and Simultaneous Stroke.

In Example 6.2, the primary theme is presented in the right hand and is accompanied by
ostinato patterns in the left hand. For these bars, the marimbist should consider two things.
First, the right hand ’s melodic line must be brought out above the ostinato . Second , the left
hand should stay piano but maintain the natural accent of the meters to create the restless
character of this movement . The difficulty of this section lies in the hands simultaneously
playing different patterns in contrasting dynamics. Therefore, the marimbist not only nee ds to
have good coordination, but also great independence between each hand . The most common
technical problem faced in this section is perfectly lining up the melody with the rhythm of
the left -hand ostinato. Initially, the marimbist should strive to play “simultaneous strokes ” on
downbeats together without the flam effect. The “simultaneous stroke ” occurs when both
sticks strike the surface but should only result in a single sound rather than a flam. As
mentioned before in Chapter 2, Rosauro ’s Beginning Exercises and Studies for 2 Mallet s and

68

Method Book for Snare Drum both begin by establishing this technique , considered to be the
most fundamental concept and technique of Rosauro ’s educational and performance method .

Example 6. 3. Concerto for Marimba an d Orchestra, Movement I, mm. 25 -28,
Performance Style.

The character of Example 6.3 is light, playful , and slightly mischievous. After the
introduction and powerful primary theme, the playing must be very soft in order to contrast
with the previous theme. Also, the marimbist must be conscious and careful of the counting,
for this section is often prone to miscounting . Maintaining a steady tempo and being familiar
with the orchestra ’s melody will help create nice dialog ue with the orchestra .

Example 6. 4. Concerto for Marimba and Orchestra, Movement I, mm. 59 -62,
Practice Advices to Improve Accuracy.

The most important advice for playing Example 6.4 is to keep the quarter -note value
perfectly constant in order to maintain a solid p ulse through the rhythmic changes . Obviously,
accuracy throughout the arpeggiated passage is an important issue. First, practice it slowly
with a metronome, only removing it when the notes are consistently correct and the rhythms

69

accurately related . It wil l also help to practice different rhythmic combinations using eighth
notes or triple ts. Rather than accenting the downbeat, it is important to focus on the contour of
the entire phrase, shaping the natural flow of the melody using dynamics and intensity of the
line. As the melody descends, the grace notes preceding the eighth notes at bar 61 should be
played as open as possible.
The practice advice and concepts can be used in the second concerto, movement I, mm.
124-131.

Example 6. 5. Concerto for Marimba and Orchestra, Movement I, mm. 75 -78,
Sticking Suggestion.

While the sticking suggestion indicated in Example 6.5 is fairly easy and straightforward,
it is easy to distort the rhythm and place emphasis on the downbeat. This should not happen
because the phrase begins on the second eighth note of the triplet and should be played
accordingly. For the ascending line in mm. 77 -78, it is more comfortable for the left hand to
play the sharp keys while the right hand stays on the natural key s. Switching the position of
the hands will result in a greater likelihood of wrong notes.

70

Example 6. 6. Concerto for Marimba and Orchestra, Movement I, mm. 83 -86,
Dead Stroke.

Rosauro indicates a dead -stroke technique in Example 6.6 . A dead stroke is
accomplished by pressing the mallet into the bar and at the same time to eliminate sustain. It
is as if the mallet has landed in glue and cannot leave the bar until it is time to hit the next
note. The angle between the mallets and the bars should be about 35 to 45 degree s in order to
create the desired sound of a dead stroke (Figure 6.6). Between the two hands and their dead
strokes, the left hand obviously has the melody line. This pentatonic scale in the left hand
should be slightly louder than the right hand’s notes . This is one of many techniques used to
create a broader variety of sounds and present melodic ideas in differing textures . This one
imitates temple blocks and evokes playful impressions of Asian folk songs.

Figure 6. 6. The Angle between the Mallets and the Bars for the Dead Stroke.

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Example 6. 7. Concerto for Marimba and Orchestra, Movement I, mm. 127 -129,
Left Hand ’s Sticking Pattern.

It is imperative that Example 6.7 is played softly to create an effective contrast with t he
previous one . While the right hand is playing syncopated chords, the left hand is playing a
pattern based on a whole -tone scale. T his combination proves to be difficult for most players
because of the rapid position changes in the left hand , for some of the notes and intervals are
hard to hit and adjust respectively . Thus, the striking spots and hand positions are crucial . To
minimize large, excessive movements, strik e the accidental /sharp bars at the bottom edges
and play the natural keys near the top of the bars. Playing in this way shortens the distance
between the natural and sharp bars making the bass line easier to play. Also , to help keep the
left hand fluid and accurate, lower the sticking height close r to the bar and keep the left wrist
loose and flexible . Not only will this make the rapid walking line easier, it will also conserve
strength and endurance for the remaining movements. As far as the right hand goes, it has a
soft, driving melody that should be emphasized musically above the bass line .

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Example 6. 8. Concerto for Marimba and Orchestra, Movement II, mm. 1 -9,
One-Handed Roll.

The second movement is titled Lament . Therefore Example 6.8 should be played
accordingly with such intent . In order to help create a lamenting mood, the author suggest s
combining different soft/warm yarn mallets to bring out the different layers of voices and
expose the beautiful tone quality of the marimba’s lower range to its fullest potential . While
the left hand play s the one -hand ed roll and the right hand play s the melodic theme, the player
should bring out the right hand ’s melody and keep the left hand even and soft. This presents
the technical obstacle of playing a quiet and controlled one -handed roll throughout the
movement . There are two areas on which to focus when rolling with one hand: the striking
angle and the speed of the roll. T he author suggests keeping the alignment of the left hand and
forearm straight, so that the mallets are striking at roughly a 45-degree angle with the bars
(Figure 6. 7). Th is is the easiest way to create an even, relaxed roll . Second, keep the hands in
a natural, relaxed position using pendulum -like motion to maintain an even roll. Finally, since
the purpose of the one -hand ed roll is to sustain pitches , care must be taken with the speed of

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the roll because it affects the sound. If the roll is played too fast, it will create a tense, nervous
feeling. On the other hand , if the roll is too slow, the sound will be too striking and not evenly
sustain ed. Clearly, neither of t he preceding sounds is desired . To avoid these problems, the
author suggests playing the one -hand ed roll at a medium speed using soft yarn mallets with
larger heads . This will remove the contact sound of the mallets against the bars , result ing in a
warm, r esonati ng sound.
Another common problem in this section is the single -handed roll suffering in quality
due to the right hand’s changing angles. In order to fix this problem, the player need s to build
the independence between his/her hands to present diff erent musical material at the same time .
To develop this independence , Stevens suggests the marimbist should begin simply by
removing coins from his /her pocket with one hand while the other hand is playing the
one-handed roll . The player can also manipulat e other mallets or even play simple melodies as
long as one hand is continuing to roll uninterrupted . By doing different activities or exercises
while rolling with one hand, the level of independence will increase . It is also important to
remember that thi s technique will take more time to master than others, so patience is
essential . Additionally, regarding the flam in the right hand’s melody in measure 10, it should
be played as openly as possible, almost sounding like sixteenth notes. Of course, the prim ary
note (mallet #4) should be emphasized over the grace note (mallet #3).

Figure 6. 7. The Hand Position of the One -Handed Roll.

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Example 6. 9. Concerto for Marimba and Orchestra, Movement II, mm. 13 -16,
Mallet Placement and Crossing -Over Motion.

In Example 6.9 , the right hand is helping to outline the chords, while the left hand has
the more important melody line. The melody line should always sing above the
accompaniment. The melody is introduced in the lower register and gradually works its w ay
up through the keyboard crossing over the right hand at some points. Since it is a single,
lyrical phrase, the player should take care not to disrupt the lyric quality of the melody when
crossing the left over the right hand. This crossing motion presen ts the potential problem of
possible collision between the hands. Such a collision would most likely result in wrong notes
and a loss of melodic contour. The solution to this problem is to slightly turn the right hand ’s
wrist (even lifting the elbow away f rom the torso ) to create an angle such that the inside
mallet (mallet #3) plays on the end of the bar and the outside mallet (mallet #4) plays in the
off-center spot . The diagram in Figure 6.8 demonstrates the correct position of the hands and
mallets in r elation to the bars . Also, t he player should slightly rotate his /her torso to the left
(facing left) in order to accommodate the arm position. This give s more room for the left hand
to cross over with its melodic line (Figure 6.9).

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Figure 6. 8. The Mall et and Hand Positions Suggested in Example 6.9.

Figure 6. 9. The Mallet and Hand Positions for the Crossing -Over Motion.

Example 6. 10. Concerto for Marimba and Orchestra, Movement II, mm. 22 -26,
Rolling Styles.

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In the first two measures o f Example 6.10 , leave a small space and breathe between the
first and second chords while keep ing the roll even. Although the dynamic ma rking indicated
in the music is mezzo-piano , the player still can make slight crescendos and decrescendos in
mm. 24 -27 to create tasteful phrasing . A single rolling style, such as the traditional
hand -to-hand roll or the double lateral rolls, could be used throughout this section, but a
combination of these is preferred to produce the most musical interpretation. Most
impor tantly, the soprano and bass voices should have the same emphasis and need to be heard
slightly above the inner voices. Varying the speed of the roll would simply make this section
more beautiful and texturally appealing.

Example 6. 11. Concerto for Mari mba and Orchestra, Movement III, mm. 13 -16,
Outside Double Lateral Strokes.

Example 6.11 requires only one technique: the outside double lateral stroke. As
mentioned previously , the outside double lateral stroke is the single wrist motion that
produ ces two successive notes per hand . Because this stroke does not effectively work slowly,
practicing closer to the tempo (a quarter -note equal to 156) with a metronome is more
efficient . Again, like many of the sections, the most important advice beyond the technique is
to bring out the melodic line in the top voice (mallet #4) . Also the hand position is important.
Some of the note s played by the inside mallets (mallets #2 and #3) overlap each other , so
slightly turning the wrist such that mallet #3 strikes the end of the bar will solve this problem.
The left hand is positioned in the same manner as in Example 6.9. The precise position for
this excerpt is demonstrated in Figure 6.10.

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Figure 6.10. The Mallet and Hand Positions Suggested in Example 6. 11.

Example 6. 12. Concerto for Marimba and Orchestra, Movement III, mm. 25 -28,
The Combination of Double Strokes and Outside Lateral Strokes.

It is clear through Examples 6.11 and 6.12 that the sections leading to letter B have
increased the musica l tension to a forte . Playing the subito piano in measure 26 is very
important for two reasons . Musically, it is surprising and draws the attention of the audience
while also giving the performer a break after a tiring section. Th e following measures shoul d
not crescendo too quickly but be played piano until m.36 . The technique here is the
combination of double strokes (right hand) and outside lateral stroke s (left hand) . This
combination of rolls is one of Rosauro ’s favorite techniques and is found in both concerti as
well as with various other works. The main consideration for this roll is the sound of the right
hand’s double stroke. The author suggests emphasizing the natural accent of the downbeat as

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the chords change while maintaining the dynamic contou r. The left hand should be kept soft
in its accompanying part of the roll.

Example 6. 13. Concerto for Marimba and Orchestra, Movement III, mm. 50 -55,
Practice Advices to Improve Coordination and Independence.

Example 6.13 presents a canonic section which is quite difficult because the ma rimba is
required to play two voices of the canon at the same time. Rosauro suggests using both hand s
to play the first subject (mm. 50 -51) of the canon rather than play the subject just with the left
hand . Upon u sing this technique, the performer should find the most comfortable way to
alternate when the response enters. The canon demands great coordination and hand -to-hand
independence because there are challenging spots in which each hand is playing in the
oppos ite direction with contrasting rhythm s. The subject and response should be practiced
independently first , so each hand is comfortable and made aware of the musical line . After
this, the two can be practiced simultaneously as written but very slowly and one beat at a time,
only progressing when the current beat is mastered . The subject ’s entrance should be
presented clear ly and remain so with the response occurring slightly softer to allow for
appreciation of the full subject lin e. In order to play different volume s in each hand, the
author suggests an exercise in which the right hand begins playing forte while the left hand
plays piano. G radually , the right hand decrescendo s to piano while the left hand crescendo s to

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forte and then back in the opposite direc tion. Players should incorporate this exercise into
their daily routine to improve their hands ’ independence .
All these concepts and advice can be applied to another contrapuntal section in the
second concerto, movement III, mm. 199-218.

Example 6. 14 . Concerto for Marimba and Orchestra, Movement III, mm. 63 -71,
Hand -to-Hand Alternating Strokes.

Example 6.14 is a hand -to-hand alternating section. Although concert percussionist
Evelyn Glennie uses only two mallets to play this section, Rosauro strongly recommends
using four mallets to practice and improve technique, since that was part of his original intent
for this section. The author suggests using mallets #2 and #4 to play this section, taking care
to avoid accenting on the roll in measure 68.

Example 6. 15. Concerto for Marimba and Orchestra, Movement III, mm. 73 -76,
Double Strokes.

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For Example 6.15, the player should focus on t he texture and contour of the soft, rippling
melody. Instead of alternating each sixteenth note, use double stroke s because they are easier,
sound more relaxed, and make for better phrasing. The double strokes should create the
illusion that the melodic line is lightly flowing by and can be enhanced by making slight
crescendos and decrescendos as the line allow s.

Example 6. 16. Concerto for Marimba and Orchestra, Movement IV, mm. 13 -14,
Performance Style.

Example 6.16 presents a short, somewhat virtuosic cadenza which is based around the
fully diminished seventh chord. The players have the freedom to stretch the tempo as they
desire to create tension and release . In the author’s opinion, the most musical approach is to
start the cadenza slowly and accelerate to the middle section. A t which point the tempo should
gradually slow through measure 14 (espec ially the last two beats of the measure) , before
connecting to the next phrase in measure 15. Even though there is no indication between
measures 15 and 16 , Rosauro suggest s taking a longer time between the bars to give the
primary theme a fresh start.

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Example 6. 17. Concerto for Marimba and Orchestra, Movement IV, mm. 16 -20,
Moeller Strokes.

Example 6.17 presents the primary theme of the fourth movement . The main melody is
introduced by the right hand. In contrast, the left hand plays driving ostinato patterns
requiring the Moeller stroke. The Moeller technique is a combination of small wrist strokes
and entire fore arm “whip -like” motions to help play the fast ostinato pattern while staying
relaxed. The first step is practicing the forearm “whip-like” motions by moving the left arm
up and down in a whip motion. At first, play only the downbeats (skipping notes). The second
step is combining the big “whip -like” motion with small wrist strokes. It is easier to play this
section with crossed -stick grip. Also, t he player can get assistance from the rebound of the
mallets by using rattan mallets with rubber core. The third step is playing the written pattern
very slowly , because it take s awhile to build a strong and powerful Moeller stroke in the lef t
hand . Practicing it too fast will create tension in the arm muscles causing potential physical
problems. Relax ing and practicing it more slowly can prevent such problems . In addition , take
care to rhythmically align the two hands where they match. In oth er words, make sure the
melody and its accompaniment are playing “simultaneous strokes” and not flam ming.
As explained, the main problem in this section is playing too tense which is remedied by
simply relaxing and keeping the flowing feeling throughout . It is important to be conscious of
the phrase and not accent the downbea t because most of Brazilian music is more focus ed on
the upbeat and syncopation to create brighter and strong rhythmic character s.
All the concepts, suggestions, and practice routin e can be applied to another section
which is also using Moeller stroke in the second concerto, movement I, mm. 12 -27.

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Example 6. 18. Concerto for Marimba and Orchestra, Movement IV, mm. 144 -155,
Single Alternating Strokes.

Single alternating strok es must be used throughout the whole section (Example 6. 18) to
maintain the frantic and intense drive to the roll in measure 154. The performer should o bey
the subito piano in measure 148 while gradually making a crescendo to add to the intensity to
the m usic. The accent s are crucial to keeping the melody present through the contour of the
rhythm . In mm. 151-153, the subdivision of each quarter note increases by one with each
measure. To ensure smooth transitions between these tricky measures, practice inc reasing and
decreasing subdivisions with a metronome, always making sure the quarter -note value is
constant . Another important point is from letter E to measure 155 when the alternating strokes
are repeated on the same note (C). T he player should slightly turn his/her upper body to
accommodate the change of the direction and to free more space for the hands. Since the
marimba’s bars are too narrow to play with two mallets next to each other, the performer
should strike in different spots , left above right.

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Example 6. 19. Concerto for Marimba and Orchestra, Movement IV, Cadenza,
Performance Style.

The solo cadenza presents most of the important themes from previous movements
abstractly . This style of writing is one of Rosauro ’s important composit ional features. He
provides many tempo directions throughout these measures to aid in interpretation . The
cadenza should be lyrical and romantic; the author suggests progressive ly stretching the
tempo. Begin the first phrase of the cadenza in a slow tempo and gradually accelerate. At the
end of the first phrase, let up slightly and then slow down before taking a big breath to lead
into the second phrase. The flexible tempo also applies musically in the following section
marked “Vivo” . The flam in measure 15 6 is intended to be played very openly as the line
slows.

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Example 6. 20. Concerto #2 for Marimba and Orchestra, Movement I, mm. 12 -15,
Moeller Technique and Practice Advices.

Two technical issues arise in example 6.20, t he first be ing that the soprano and bass
voices are moving in parallel tenths. In order to bring out these two voices, the marimbist
should put more emphasis on both voices. The left hand’s rhythmic pattern can easily cover
the right hand ’s melody line. The player should lo wer the stroke height of the left hand and
relax the wrist to fix this problem. The other technical issue is executing the quick, precise
interval changes on every quarter note in the midst of pounding double vertical strokes (both
mallets in a hand striki ng simultaneously, in this case, all four) . In order to solve this accuracy
and coordination problem, the author suggests practicing the chord changes in a slow tempo,
building both coordination and muscle memory. To achieve speed comfortably, the practice
routine should follow that of Example 6.17 because the left hand here also requires the
Moeller technique. Remember using the combination of small wrist strokes and forearm
“whip -like” motions to keep the flowing and relaxing feeling throughout the sectio n.

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Example 6. 21. Concerto #2 for Marimba and Orchestra, Movement I, mm. 70 -71,
Octaves.

In Example 6.21, the bridge between sections consists of two whole -tone scales
descending simultaneously. The scales should be learned and practiced separately first to
engrain the motion of each hand . The right hand’s accuracy is especially important in
maintaining the octave position during the descent . Keep in mind that the interval between the
mallets will need to gradually increase as the bars of the marimba widen down as you descend
the keyboard.

Example 6. 22. Concerto #2 for Marimba and Orchestra, Movement I, mm. 140 -142,
Dead Strokes and Glissando.

In Example 6.22, t he dead strokes should be approached in the same manner as Exampl e
6.6 from the first concerto . They need to be rhythmically tight between the hands. The tempo
of the gliss ando down the marimba can be stretched in order to align the downbeat of letter E
with the orchestra . If a tiny break must occur between the end of i t and the chord at letter E,
the player should wait and enter with the ensemble. Remember to press into the bars more
when you play the glissando to create a fuller sound from the marimba.

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Example 6. 23. Concerto #2 for Marimba and Orchestra, Movement I, mm. 283 -286,
Practice Advices for Fast Descending Line.

In Example 6.23, it is acceptable and even recommended that the right hand accent the
downbeat to contour the pulse of the descending line. The pulse of this section should be felt
in 6/8 met er. As far as practicing, separate each hand at first to realize the descending scales
played . Remember to practice slowly because the right hand ’s descending line is difficult to
play accurate ly. While the left ha nd only play s all of the sharp keys , it is important to practice
slowly and move smoothly with the right hand.

Example 6. 24. Concerto #2 for Marimba and Orchestra, Movement II, mm. 1 -4,
The One -Handed Roll on a Single Note.

Example 6.24 presents the opening theme of Movement II . It is a marimba solo section
without orchestral accompaniment . In the left hand, Rosauro transforms J.S. Bach’s
accompaniment from the Aria on the G String to his own original melody in the soprano voice

87

(right hand) . When playing the left hand’s bass line, attem pt to imitate the pizzicato (plucked)
sound of a cello: deep, moving, and short, though without sounding too staccato. This line
should resonate with expressive emotion.
The first note in the right hand is a one-hand ed roll on a single note. Compared with a
roll between intervals of a fourth or fifth , this technique (one -hand roll on a single note) is
harder and requires stronger control and coordination of the hands. To make the right hand ’s
position above the keyboard less awkward, the upper body should be turned to the left (facing
left) to accommodate it . The distance between the two mallets in the right hand should be
comfortable enough to make the hand rotate easily and keep in mind that one mallet can play
off-center and the other at the bottom edge of the bar . Additional practice advice for one -hand
rolls in general is discussed in Example 6.8. A demonstration of the body position for playing
a one -handed roll on a single note can be seen in Figure 6.11.

Figure 6. 11. The Body Position for Playing a One -Handed Roll on a Single Note.

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Example 6. 25. Concerto # 2 for Marimba and Orchestra, Movement II, mm. 5 -12,
The One -Handed Roll on an Octave.

In Example 6.25, the right hand presents the second part of theme I (including the
one-handed roll on an octave ) while being accompanied by the left hand ’s descending line in
octaves . In measures 10 and 11, the arpeggio chords should be rippled (as indicated by the
lines preceding them) . In other words, they should be played open from the bottom n ote to the
top in a flowing succession of mallets 1, 2, 3, and 4. At the end of the section, the left hand
plays an ascending D major scale in octave s, so the wrist and striking height of the mallets
must be kept low and close to the bars. The right hand a lso plays in octaves, but it is rolling
independently . Again, refer to the practice advice for this technique in Example 6.8.

Example 6. 26. Concerto # 2 for Marimba and Orchestra, Movement II, mm. 13 -16,
Sticking Choices.

89

There are two sticking choices for Example 6. 26. The entire melody can be played with
only the outside mallet (4) to keep the line smooth, but better flam will result if they are
played with mallet 3 on the grace note. The grace note should be played as open ly as possible.

Example 6. 27. Concerto # 2 for Marimba and Orchestra, Movement II, mm. 17 -21,
Practice A dvices on Octaves.

As directed by the “poco meno mosso ,” this section (Example 6.27) should begin
slightly slower than the previous measure. As indicated in the mu sic, maintain crescendo and
accelerando in mm. 18 -19, then gradually slow down in measure 19. T he practice focus
should be on octave s in both hands simultaneously and the single -hand ed roll. Remember not
to accent the one -handed roll in the right hand.

Example 6. 28. Concerto #2 for Marimba and Orchestra, Movement II, mm. 22 -25,
Performance Styles.

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There are three voices in the section (Example 6. 28). The right hand contains two voices.
Throughout the section, Rosauro indicates accents on the principal melody (main voice),
followed by the answer in the rest of the notes. The answering notes should be played more
softly to make the distinct volumes between the question and answer voices. The left hand ’s
accompaniment is an outside lateral stroke as mentioned before. Keep the accompaniment soft
enough to support the melody line.

Example 6. 29. Concerto #2 for Marimba and Orchestra, Movement II, mm. 231 -235,
Rolling Styles.

In Example 6.29, both hands are rolling in octaves. The double l ateral roll (explained in
the previous section) is preferred by Rosauro in the section for its sound quality. If both hands
are playing independent one -handed rolls, it will be too romantic , losing the quiet and
peaceful moods to the end.

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Example 6 . 30. Concerto#2 for Marimba and Orchestra, Movement III, mm. 18 -22,
Outside Lateral Strokes in Small Intervals.

This section is difficult because it requires rapid outside double lateral strokes in small
intervals. Generally speaking, the most com fortable and controllable interval is a fourth or
fifth. Playing at the interval of a second requires stronger control of hands and finer wrist
motions. To practice this, the player should play any four successive notes, such as C, D, E, F,
with mallets 1 , 2, 3, and 4, respectively, and slightly turn both hands to the position that is
demonstrated in Figure 6.12. In this position, practice every possible permutation order of the
four mallets (such as 1234, 4312, or 2134).This will gradually improve the tech nique required
by this section.

Figure 6. 12. The Hand Positions for Playing the Outside Lateral Strokes in
Small Intervals.

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Example 6. 31. Concerto #2 for Marimba and Orchestra, Movement III, Cadenza (I),
The Use of the Rattan Shaft Playing on the Edge of the Bar.

The balaphone is the ancestor of the marimba from Africa. Rosauro specifies using the
rattan mallet shafts to play on the edge of the bar to imitate the sound of the balaphone. He
also suggests that this section should be played with a “flam” effect to enhance the balaphone
concept. The best place along the rattan shaft with which to strike the bar is the top, close to
the head of mallet. This area has the most weight and can make the best sound (Figure 6.13).

Figure 6 . 13. The Striking Spot for the Rattan Shaft Playing on the edge of the Bar.

93

Crucial in this section is the position of the body, for playing on the edge of the bars
requires a modified stance. Rosauro suggests a Tai -Chi influenced position to ma intain the
most natural and comfortable posture. The key to this posture is keeping the spine as straight
as possible throughout. Begin by stepping and stretching the right leg while bending the left
and putting most of the body ’s weight on the left leg. T his posture will not only make the
player more comfortable, but also lower the body slightly, which makes playing on the edges
easier (Figure 6.14).

Figure 6. 14. The Tai -Chi I nfluenced Body Position.

At the end of the cadenza, the soloist plays a r oll with rattan in the left hand playing on
the edge, while the right hand shifts back to the use of both mallet heads playing a one -handed
roll on the bar (Figure 6.15). Slightly turn the upper body toward to the left (facing left) in
order to reach this position easier.

94

Figure 6. 15. The Mallet and Hand Positions for playing a Roll with Rattan and the
Mallet Heads Together .

Example 6. 32. Concerto #2 for Marimba and Orchestra, Movement III, Cadenza (II),
Performance Style.

This section of the cadenza is a nod to Keiko Abe to whom the concerto is dedicated , and
Rosauro quotes one of her works, Dream of the Cherry Blossom. The first two measures
should be approached as a dream evolving into the real world, lightly making a crescendo to
this new reality.

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CHAPTER 7
CONCLUSION
Ney Rosauro has gained worldwide recognition and admiration for his percussion
compositions, especially his contributions to the genre of solo percussion and the percussion
concerto. His two marimba concerti remain among the most popular sol o concertos written
for marimba . The first concerto is performed more frequently than any other concerto for
marimba and orchestr a, according to its distributor Mallet Works Music.
The concertos succeed in both the professional and educational realms, since they were
written by a renowned performer as a means of developing certain techn ical and musical
aspects of his own playing. The range of techniques required throughout Rosauro’s concertos
is wid e and demanding. Intricate left -hand ostinato , a variety of rolling techniques fro m
double -lateral rolls to one-handed rolls, Moeller’s stroke sections, polyrhythmic passages,
fugal sections, and virtuosic cadenzas all contribute to the technical difficulty of the two
concertos. This display is one of the reasons the concertos continue to be popular and
freque ntly played pieces . In this professional realm of performance, Rosauro has helped
identify the marimba as a classical solo instrument within the orchestra and has helped to
further the progress in creating a substantial piece of solo concerto literature for percussionists ,
a genre typically dominated by the piano, violin, and other more traditional orchestral
instruments. He has thoroughly explored the possibilities of dialogue between the warm,
resonant marimba and the full orchestra accompaniment.
The musical idioms encountered in the two concerti represent a wonderful array of
cultural and classical influences including: the instrument’s roots in Africa, Rosauro ’s
personal musical and r hythmic in fluences in Brazil, compositional influence s of the Baroque

96
and Classi cal periods, melodic and modal harmonic influence s of jazz , and numerous other
sources of inspiration. Rosauro has successfully combined a variety of styles in such a way
that produces r ich co ncertos that can even educate listeners in addition to the performer. Bot h
can hear elements of multiple culture s from the st reets of Brasilia to the jazz clubs of New
Orleans , along with the classical idio ms from Western Europe.
The practice guide is perhaps the most useful portion of this paper, for it addresses
many issues students and performers may not understand or may not practice properly. It
provides a step-by-step breakdown of almost thirty sections throughout the two concerti,
describing techniques and problems and how to overcome them and play the music well.
Additionally, some of it represents the composer’s opinions and intents for certain sections, a
vital asset directly from Rosauro himself. In many performances this aspect is lost si mply
because it may not be feasible to gather such information. It is the intention of this author that
the study guides accompany the player throughout the process of preparing one or both of the
concerti for performance. Such guidance , paired with the pl ayer’s own pers onal interpretation
when preparing the pieces , will ideally result in a more successful performance.

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BIBLIOGRAPH Y

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___________ . “Timpani .” Grove Dict ionary Line, ed. L. Macy (Accessed 3 December
2004), http://www.grovemusic.com ..

___________ . “The Marimba .” In The New Grove Dict ionary of Music and
Musicians , ed. Stanley S adie, vol.13, 629 -631. London : Macm illan, 2001 .

Bowles, Edmund. “The Kettledrum. ” In Encyclopedia of Percussion , ed. John
H. Beck, 201 -226. New York: Garland, 1995.

Cook, Gary. Teaching Percussion. New York: Schirmer Books , 1997 .

Hutchings, Arthur. “Concerto. ” In The New Grove Dictionary of Music and
Musicians, ed. Stanley Sadie , vol. 3, 626 -640. London: Macmillan, 200 1.

Jacobsen, Stig. (1983) Program notes for Darius Milhaud ’s Concerto for
Percussion and Orchestra. Rainer Kuisma, Percussionist; Norrkopking Sym phony
Orchestra; Jorma Panula an d Gustaf Sjokvist, conductors. BIS CD -149, 1983.
Compact disc .

Kastner, J. G. Methode de Timbales . Paris: Schlesinger,1845 .

Lambert, James. “An Interview with Brazilian Percussionist and Composer Ney
Rosauro. ” Percussive Notes 35, no.1 (February 1997): 41-43.

_____. “Selected Reviews of New Percussion Literature and Recording s: Key
Board Percussion Solos -‘Prelude and Blues ’ by Ney Rosauro. ” Percussive Notes 34,
no.2 (April 1996): 74.

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Mallet Works Rental Department. ”Report in Rentals of Scores. ” NY: U npublished
Document, 2004.

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99

DISCOGRAPHY

Rosauro, Ney. “Concer to for Marimba and Orchestra ,” On Ney Rosauro in Concert . Ney
Rosauro, marimba, Orquestra Unisinos; Jose Pedro Boessio, conductor. Pro Percuss ãP


$%, 1998. Compact disc.

Rosauro, Ney. “Concerto for Marimba and String Orchestra, ” On Evelyn Glennie in
Rio. Evelyn Glennie, marimba, London Symphony Orchestra; Barry Wordsworth,
conductor. London/ Decca 071 221 -1, 1991. Videocassette.

Rosauro, Ney. “Concerto for Marimba and Wind Ensemble, ” On Symphony from Ivy
Green . Ney Rosauro, marimba, University of Miami Wind Ensemble; Gary Green,
conductor. Albany Records TROY 524, 2003. Compact disc.

Rosauro, Ney. “Concerto for Marimba and Percussion Ensemble, ” On Grupo de
Percussão da Universidade Federal de Santa Maria . Ney Rosauro, marimba,
percussion Ensemble of University of Federal in Santa Maria. Solo Discos CD
11S-009, 1995. Compact disc.

100 VITA Wan-Chun Liao was born in Taiwan and graduated from the National Taiwan Normal University. She received a Master of Arts in Music degree from the Ohio University School of Music in 1998 and she is currently pursuing a doctorate as a teaching assistant unde r Dr. Ney Rosauro at the University of Miami. Liao’s teachers have included Ney Rosauro, Guy Remonko, Kuang-Yuan Kao, and Tzong-Chin Ju. Wan-Chun Liao won the first prize of the 2004 University of Miami Concerto Competition and performed Keiko Abe’s Marimba concerto “Prism Rhaps ody” with the University of Miami Symphoni c Orchestra. In 2004, she has performed David Maslanka’s Marimba Concerto with the University of Miami Wind Ensemble in February. Also she is the winner of the 1997 Ohio University Concerto Competition and has performed with the Ohio University Orchestra. Liao’s professional performing experience includes work as a percussionist with the Taipei Ju Percussion Group (JPG), one of Taiwan’s premiere performing ensembles. During these years with JPG, she has performed in more than 700 concerts in Asia, Europe and the United States. In addition, she has taught percussion and directed percussion ensembles at University of Miami, Ohio University, National Taipei University of Arts, and the Tai-Chung Normal University. In 2002, she was the assistant director of the University of Miami Percussion Ensemble which performed in the 2002 Percussive Arts Society International Conve ntion. In 2005, Liao is the assistant director of a new CD “Reflection and Dreams” which is published by University of Miami and Performed by Ney Rosauro and UM Percussion Ensemble.