Arranging/Transcribing for Mallets

DEFINITIONS

Note: The definitions below come from Nancy Zeltsman (Four-Mallet Marimba Playing, p. 76), and she developed these through a conversation with Gunther Schuller. I looked up these definitions in the Grove Music Dictionary and Oxford English Dictionary, and much to Nancy’s thought in her book, the definitions of the three below terms referenced each other quite a bit. (P.S. Definitely buy Nancy’s book if you haven’t already - it’s a MUST-READ!)

Adaptation:
- you are playing another instrument’s music on your own instrument without significant work by you. Essentially you could play off the original music (with only small adjustments).
Transcription:
- You did not see notation of this piece before writing it down yourself. You notated it from a recording.
Arrangement:
- You have altered the original source in some significant way. This could be, but is not limited to:
  - Harmony
  - Form
  - Extra voices, parts, counterpoint
  - (P.S. “Orchestration” is something different!)

WHY?

There could be many reasons to do an arrangement (or adaptation/transcription).

You like the piece and want to play it on your instrument
You feel that the piece will fit into your recital but you don’t want to have a solo clarinet on your percussion recital (probably not allowed anyway), or hire a full orchestra (probably also not in your studio’s recital requirements), if your piece is for those media.
You feel that your instrument can contribute something to the performance history of that work.
You feel that your performance technique could contribute something positive to the performance practice of the piece.

Personally I have chosen all of these for my own transcriptions, etc. (see the button above to listen to the ones I’ve recorded!).

WHO?

There is so much great music in the world. Percussionists have gravitated toward guitar pieces and Bach, which is great! Perhaps check out something that is new and fresh to bring new perspective.

In the European tradition…have you thought about:

Schütz?
Debussy?
Hummel?
Grieg?
Hildegard von Bingen?
Thomas Adés?

Okay, you get my point…I hope

HOW? (aka is the marimba a violin?)

In addition to doing the desk-work of the transcription (etc.), there also should be great care in the performance of your work.

To roll or not to roll…
- Why do we roll?
  - If you answered, “to make noes sound longer” then you should add zero rolls to your piece.
  - If you answered, “there are many reasons: texture, sustain, imitate vibrato, and others”, then probably don’t add rolls to your piece, but you could artistically choose good places, if you think about it for a while.
- What about rippling chords?
  - I believe rippling chords is totally fine if you have a personal reason for it. (FYI: I don’t believe “because Hilary Hahn does it” is an adequate reason)
  - Additionally, if you find yourself rippling in the same direction and speed more than twice in a piece, then you should re-evaluate your decisions.
- Trills?
  - Please be expressive with your trills!
  - This usually means being adaptive with the speed and/or dynamic of the trill!
  - Adding ornamentation to baroque and some early Classical pieces is encouraged!

Should we sound like the original instrument?
- NO! My answer is a resounding no, but if you don’t take the opportunity to learn more about the instrument through this piece, then you are missing a wonderful opportunity to expand your musical understanding.
- Marimba, Vibes, Glock, etc. each have their own beautiful sound envelopes and capabilities, so use those to your advantage!
  - “But the cello breaks up this chord!”
  - My answer: “That’s great! But you don’t have to, marimba person. Use your unique thoughts to create a new vision of that piece!”
- Other instruments’ techniques and tendencies can be helpful in percussionists expanding our musical understanding, knowledge, and technique. LEARNING IS COOL.