A Guide to Composing Works for Voice and

Marimba Intended for a Single Performer

Item Type text; Electronic Dissertation

Authors Smith, Doug A.

Publisher The University of Arizona.

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A GUIDE TO COMPOSING WORKS FOR VOICE AND MARIMBA INTENDED
FOR A SINGLE PERFORMER

by

Doug Smith

_____________________

A Document Submitted to the Faculty of the

SCHOOL OF MUSIC

In Partial Fulfillment of the Requirements

For the Degree of

DOCTOR OF MUSICAL ARTS

In the Graduate College

THE UNIVERSITY OF ARIZONA

2011
 2

THE UNIVERSITY OF ARIZONA

GRADUATE COLLEGE

As members of the Document Committee, we certify that we have read the document
prepared by Doug Smith entitled A Guide to Composing Works for Voice and Marimba
Intended for a Single Performer and recommend that it be accepted as fulfilling the
document requirement for the Degree of Doctor of Musical Arts

_____________________________________________________Date: 5.27.2011
Norman Weinberg

_____________________________________________________Date: 5.27.2011
Grayson Hirst

_____________________________________________________Date: 5.27.2011
Edward Reid

Final approval and acceptance of this document is contingent upon the candidate’s
submission of the final copies of the document to the Graduate College.

I hereby certify that I have read this document prepared under my direction and
recommend that it be accepted as fulfilling the document requirement.

_____________________________________________________ Date: 5.27.2011

Document Director: Norman Weinberg
 3

STATEMENT BY AUTHOR

This document has been submitted in partial fulfillment of requirements for an

advanced degree at the University of Arizona and is deposited in the University Library
to be made available to borrowers under rules of the Library.

Brief quotations from this document are allowable without special permission,
provided that accurate acknowledgment of source is made. Requests for permission for
extended quotation from or reproduction of this manuscript in whole or in part may be
granted by the head of the major department or the Dean of the Graduate College when in
his or her judgment the proposed use of the material is in the interests of scholarship. In
all other instances, however, permission must be obtained from the author.

SIGNED: Doug Smith_______________

 4

TABLE OF CONTENTS

LIST OF MUSICAL EXAMPLES..........................................................................5

ABSTRACT.............................................................................................................7

CHAPTER 1: INTRODUCTION ...........................................................................9

CHAPTER 2: COMPOSERS AND COMMISSIONS .........................................14

CHAPTER 3: MUSICAL AND TECHNICAL CONSIDERATIONS ................25

CHAPTER 4: CONCLUSION .............................................................................77

APPENDIX A: BETH CAUCCI EMAIL CORRESPONDENCE.......................78

APPENDIX B: PHILIP ROTHMAN EMAIL CORRESPONDENCE................79

APPENDIX C: RAYMOND HELBLE EMAIL CORRESPONDENCE ............80

APPENDIX D: ROGER FOREMAN EMAIL CORRESPONDENCE ...............81

REFERENCES ......................................................................................................82
 5

LIST OF MUSICAL EXAMPLES

Musical Example 1: French Songs opening .........................................................26

Musical Example 2: Twelve Haiku opening .........................................................28

Musical Example 3: Twelve Haiku page 2............................................................29

Musical Example 4: Twelve Haiku page 3............................................................31

Musical Example 5: Bread Upon the Waters opening..........................................33

Musical Example 6: Bread Upon the Waters page 2............................................34

Musical Example 7: Bread Upon the Waters page 3............................................36

Musical Example 8: Bread Upon the Waters page 5............................................37

Musical Example 9: Bread Upon the Waters page 6............................................38

Musical Example 10: Bread Upon the Waters page 8..........................................39

Musical Example 11: Bread Upon the Waters page 10........................................41

Musical Example 12: Twelve Haiku mvt 2 ...........................................................42

Musical Example 13: Trobador mvt 1..................................................................43

Musical Example 14: Trobador mvt 5..................................................................45

Musical Example 15: Trobador words .................................................................47

Musical Example 16: Trobador music and sings .................................................49

Musical Example 17: “First snow” .......................................................................51

Musical Example 18: “First snow” page 2 ...........................................................53

Musical Example 19: “The winter storm” ............................................................54

Musical Example 20: “The winter storm” page 2.................................................55

Musical Example 21: “The winter storm” page 3.................................................56

 6

LIST OF MUSICAL EXAMPLES - Continued

Musical Example 22: “Cicada”.............................................................................58

Musical Example 23: “Coming back” ..................................................................60

Musical Example 24: “Coming back” opening ....................................................61

Musical Example 25: French Songs mvt 2 ...........................................................63

Musical Example 26: Four Songs 1......................................................................65

Musical Example 27: Four Songs 2......................................................................66

Musical Example 28: Four Songs 2.1...................................................................69

Musical Example 29: Four Songs 2.2...................................................................70

Musical Example 30: Four Songs 2.3...................................................................72

Musical Example 31: Four Songs 2.4...................................................................73

Musical Example 32: Four Songs 2.5...................................................................74

Musical Example 33: Four Songs 2.6...................................................................75

 7

ABSTRACT

This research identifies successful compositional techniques for voice and

marimba, intended for a single performer, through comparison of commissioned works

composed by Beth Caucci, Philip Rothman, Emmanuel Séjourné, Raymond Helble, and

Roger Foreman. The comparison highlights musical and technical aspects most effective

when writing for this genre.

My first personal experience combining marimba and voice occurred in January,

2003 during a performance of Šta Vidiš by Nebojša Živković. The piece, written in 1990,

involves an ancient Serbian text chanted over a drone following an improvised

introduction on the marimba. The performance’s positive reception inspired further

exploration of this instrument combination.

At the time of the performance, additional pieces for solo voice and marimba

intended for a single performer were not available. Rather than focusing on transcription

possibilities, I commissioned Four Songs by Beth Caucci. The premiere of Four Songs

(October, 2003) resulted in another positive reception and led to inspiration for further

commissions and development of this new genre. During the commissioning process, it

became clear that a practical guide, concerning the possibilities and limitations of singing

while playing the marimba, would aid composers in the creation of effective and playable

works. Composers asked questions regarding technical aspects such as the maximum

arm-span range possible, the difficulty of shifting the body angle to reach chords in

various sharp and flat arrangements, and the feasibility of performing rapid passages on
 8

the marimba while sustaining a vocal line. This document offers an examination of these

and other compositional considerations.

The guide may also be used as a commissioning resource for other marimba and

voice performers, as well as an aid in addressing technical demands of singing while

playing the marimba. Recently, a few other percussionists have been working in the

genre as well, including works performed, commissioned, or written by Brian Calhoon,

Louise Devenish, Michael Neumeyer, and Dr. Lee Hinkle. The work of these musicians,

in addition to my own commissions, is an illustration of how the genre has progressed

during the last eight years and indicates the possibility of continued growth.
 9

CHAPTER 1: INTRODUCTION

This research identifies successful compositional techniques for voice and

marimba, intended for a single performer, through comparison of commissioned works

composed by Beth Caucci, Philip Rothman, Emmanuel Séjourné, Raymond Helble, and

Roger Foreman. The comparison highlights musical and technical aspects most effective

when writing for this genre.

My first personal experience combining marimba and voice occurred in January,

2003 during a performance of Šta Vidiš by Nebojša Živković. The piece, written in 1990,

involves an ancient Serbian text chanted over a drone following an improvised

introduction on the marimba. The performance’s positive reception inspired further

exploration of this instrument combination.

At the time of this performance, additional pieces for solo voice and marimba

intended for a single performer were not available. Rather than focusing on transcription

possibilities, I commissioned Four Songs by Beth Caucci. The premiere of Four Songs

(October, 2003) resulted in another positive reception and led to inspiration for further

commissions and development of this new genre.

Personally, these works provide a platform for the culmination of my musical

education, experiences, and ideals. People often say, “You are what you eat.” I believe

this is true in music as well. As a percussionist, one often strives to be as well-rounded as

possible; however, if one plays extensive orchestral repertoire, one may not develop as

vast a marimba repertoire. If one spends a majority of one’s time playing drum set, one

may not develop as a timpanist. In my early percussion education, though I worked to be

 10

well-rounded, I extensively explored marimba repertoire. As a master’s student at Rice

University, my primary focus was orchestral repertoire; however, I still managed to find

time to perform marimba repertoire. Through all this, one other thing remained constant

and that was singing. As an undergraduate I took voice lessons and sang in concert choir,

show choir, and the Madrigal Singers. At Rice, I again took voice lessons and sang with

an a cappella group. In retrospect, the two consistent things in my musical diet were

marimba and voice. These instruments have consistently allowed for free musical

expression and strong connection with audiences. Combining the two definitely feels

like the right fit.

These new works have also provided a unique and vibrant repertoire, which I

believe to be one essential element of a successful performer. If one thinks of successful

performers on any instrument in any genre, it may be seen that each has an immediately

recognizable musical identity, largely based on personal repertoire. For example, in the

percussion world, Keiko Abe is well known for her dramatic marimba playing and her

incorporation of pieces blending traditional Japanese melodies with modern harmony and

an improvisatory nature. For fans of the English alternative rock band, mention the name

Radiohead and the sound of haunting melodies, inseparably blended with complex

rhythmic and sonic play, comes to mind. I hope to create my own personal musical

identity in performing works for marimba and voice.

One important aspect of this process has been combining art and popular styles to

create music with a broad audience appeal. I am not particularly interested in performing

music that few people want to hear. I often think, “Would people want to buy a CD of
 11

the music I’m playing; and, if they did, would they actually play it in their cars or on their

iPods?” I have not completely reached my goal yet, but by working with composers who

share the ideal of music with a broad appeal, I have been able to commission and perform

music that connects with my own unique musical background and stylistic experience.

Moving from personal to practical matters, during the commissioning process, it

became clear that a guide, concerning the possibilities and limitations of singing while

playing the marimba, would aid composers in the creation of effective and playable

works. This necessity helped focus my final document titled: “A Guide to Composing

Works for Voice and Marimba Intended for a Single Performer.” The research will

demonstrate the care that must be taken in accommodating the technical demands of

simultaneously singing and playing, by comparing the various approaches taken by each

commissioned composer. The comparison will examine compositional devises and

approaches that work well and identify potential problems when combining marimba and

voice. It also illuminates various sonorous possibilities and expressive combinations

including text setting.

The guide may also be used as a commissioning resource for other marimba and

voice performers, as well as, an aid in addressing technical demands of singing while

playing the marimba. Recently, a few other percussionists have begun work in further

developing the genre. Following is a list of extant works performed, commissioned, or

written primarily by Brian Calhoon, Louise Devenish, Michael Neumeyer, and Dr. Lee

Hinkle as well as several additional pieces.

 12

Music arranged and performed by Brian Calhoon

All is Quiet by Bob Mintzer, Kurt Elling, and Lawrence Hobgood
(with vibraphone), 2007
In the Wee Small Hours by David Mann, lyrics by Bob Hilliard, 2008
Songs for Voice & Piano by Charles Ives (with vibraphone), 2009
The Uncertainty of the Poet by Cary John Franklin, 2007
The Waking by Kurt Elling, 2008

Music commissioned and performed by Louise Devenish

Parihaka by e.j. dobson (vibraphone, percussion, and voice), 2010
Run by Graeme Blevins, 2007

Music performed by Dr. Lee Hinkle

The Authors by Stuart Saunders Smith, 2009

Music composed and performed by Michael Neumeyer

Electric Unity, 2005
Flying Dreams, 2006
Freezing Snow, 2004
Night of Mourning, 2004
The Power of Music, 2005
Solemn Solstice by Tyler Ross, 2007
Years of Silence, 2006

Additional works for marimba and voice

Cinnabar Heart by Chinary Ung, 2009
Skipping Beats by Sophie Zamchick, 2010
Šta Vidiš by Nebojša Živković, 1993
Sweet Silence by Shauna Sivey, 2005

These works, in addition to my own commissions, are an illustration of how the genre has

progressed during the last eight years and indicate the possibility of its continued growth.

They also show the potential for attracting additional performers within the genre. This

research is intended to be a starting point in examining the technical and musical

possibilities of the voice and marimba combination as an aid for future composition and

development.
 13

During the commissioning of the works examined here, composers asked

questions regarding technical aspects such as the maximum arm-span range possible, the

difficulty of shifting the body angle to reach chords in various sharp and flat

arrangements, and the feasibility of performing rapid passages on the marimba while

sustaining a vocal line. This document offers an examination of these and other

compositional considerations.

Other than Šta Vidiš by Nebojša Živković, written in 1990, the first example of an

art-music composition intended for a single performer to sing while playing marimba is

Beth Caucci’s Four Songs (2003). The remainder of the extant marimba and voice

repertoire written specifically for a single performer is from 2004 to the present. Due to

this repertoire being so new, a formal examination of these recent compositions and

commissions has not yet been completed. The following text provides specific examples

of musical analysis and the technical and musical guidelines that aim to support future

composition for marimba and voice intended for a single performer.

 14

CHAPTER 2: COMPOSERS AND COMMISSIONS

Beth Caucci grew up in Muncie, Indiana. She began formal music education in

her hometown, at Ball State University, where she earned a bachelor degree in percussion

performance and music education and studied with Dr. Erwin Mueller. Her many

achievements at Ball State include winning the School of Music Young Artist Award,

John W. McMahan Percussion Award, Delores Mueller Memorial Scholarship, and

James L. Lane Percussion Award. She also won the Undergraduate Solo Concerto

Competition, National Federation of Music Clubs Student Audition, was the recipient of

a Distinction Fellowship, and named a Presser Scholar. Caucci is a member of Sigma

Alpha Iota and served as president of the Iota Chi chapter. She received the SAI College

Honor Award, the Sword of Honor, and in 2001 received an SAI Summer Scholarship to

attend the Aspen Music Festival and School.

Afterward, she attended the University of Arizona where she earned a Master of

Music in percussion performance and also studied composition. While there, she

received a Nelson Travel Grant and was named a Medici Scholar. Her primary teachers

were Dr. Norman Weinberg and Gary Cook.

In 2006, Caucci was accepted into the first class of a groundbreaking Master of

Film Music Composition program at Columbia College Chicago where she studied under

Andy Hill. Honors at Columbia include a Follet Fellowship, Getz Scholarship, and

Graduate Opportunity Award.

 15

The following excerpt from Beth’s website offers a look at her current activities:

Beth Caucci is an award-winning composer and percussionist working in Los

Angeles. Her extensive original score for the film “Never” won acclaim at
numerous film festivals across the country, and aired as the season finale episode
of the PBS program “Image Union.” Her music has been performed live by the
International Contemporary Ensemble (ICE), the New Millennium Orchestra, and
musicians from the Civic Orchestra of Chicago and the Tucson Symphony
Orchestra. Beth has composed music for several narrative and documentary
features and short films which have won awards at many film festivals and online
competitions. She often works closely with Academy Award nominated
composer John Powell. Recently she has contributed to the Oscar nominated
score for “How to Train Your Dragon,” and the music for the films “Rio,” “Kung
Fu Panda 2,” “Mars Needs Moms,” “Fair Game,” “Knight & Day,” “Green
Zone,” “Ice Age: Dawn of the Dinosaurs,” and “Bolt.”1

She is currently writing music for the international independent feature film project by

CollabFeature. Caucci and co-founder John Fee also run a music production house in

Los Angeles called Alula Studios.

For Four Songs Caucci chose text by E. E. Cummings and added violin, cello, and

percussion to support the marimba and voice. She knew my voice and musical taste well

from singing together at parties, karaoke, and belting Rufus Wainwright tunes in our cars.

With its blend of popular and art-music styles, the piece fit my aesthetic perfectly. The

premiere in October of 2003 featured friends from the Tucson Symphony including

former concert master Steven Moeckel, percussionist Todd Hammes, and cellist Garrick

Woods. The response to Four Songs was again positive and led to six additional

commissions and the topic of this DMA document.

Philip Rothman was born and raised in Buffalo, New York. His early music

education consisted of one year of Suzuki piano at age 5. Musical exploration continued

1
Beth Caucci, “Bio,” http://www.bethcaucci.com/Beth_Caucci/Bio.html (accessed May
2, 2011).
 16

when he joined the band as a percussionist in grade 5. Percussion study continued

throughout high school and college, and included his being an All-State timpanist in New

York in 1992 and 1993 and attending New York State’s Summer School of the Arts in

1993. After graduating from high school in 1994, Rothman attended Wesleyan

University for one year before transferring to Rice University where he majored in

composition. Upon graduating summa cum laude from Rice in 1998, Rothman earned a

master’s degree in composition as a full scholarship student of Samuel Adler at the

Julliard School in 2000. Rothman also studied composition with Edward Applebaum,

Samuel Jones, and Richard Lavenda.

His early compositional study began, with Williamsville East High School band

director Stephen Shewan, composing Regret for woodwind quintet; The Derivative for

flute, saxophone, marimba, and cello; and Exhibition for orchestra. While a student at

Rice, Rothman received his first performance with a professional orchestra when his

work, Overture for Our City, was performed by the Buffalo Philharmonic Orchestra with

Michael Christie conducting (February 22, 1997). The Buffalo News reviewer said the

piece was “full of pizzazz. . .[with] attractive lyrical themes...I would rather hear this

piece again than many other staple overtures.”2

Recent compositional activities include a premiere with the Green Bay Symphony

(where he was Composer in Residence from 2008-2009) called Arc of Visibility on April

2
Philip Rothman, “Biography,” http://www.philiprothman.com/bio.html (accessed May
1, 2011).
 17

18, 2009. Afterward, he earned a second composer residency through Meet the

Composer with the Buffalo Philharmonic in 2010.

Rothman has also worked as an orchestrator for film and television including Sam

Raimi’s “Drag Me to Hell,” “Taking Chance” starring Kevin Bacon, and

“Hollywoodland” starring Adrien Brody, Ben Affleck, and Diane Lane.

Rothman’s compositions have been performed by orchestras including the Utah

Symphony, Indianapolis Symphony Orchestra, and National Philharmonic of Lithuania,

in venues including Carnegie Hall and Lincoln Center. Honors include “four ASCAP

Foundation Morton Gould Young Composer Awards, a Renée B. Fisher Foundation

Award, the Brian M. Israel Prize, a fellowship from the League of American Orchestras,

a Meet The Composer Fund grant, grants from American Music Center, and annual

ASCAP Special Awards since 1998.”3

Rothman owns NYC Music Services, which provides music preparation services

to clients such as The Metropolitan Opera, Indianapolis Symphony/Symphonic Pops

Consortium, and European American Music Corporation; serves as program advisor to

the Aaron Copland Fund for Music; and was creative advisor and project director for

Ford Made in America (an educational consortium sponsored by Ford Motor Company

Fund and the National Endowment for the Arts).

Rothman and I attended Rice University at the same time and I had the

opportunity to play timpani on his piece, Overture for Our City, with the Shepherd

School Orchestra. The work had similar qualities to Aaron Copland’s music including

3
Rothman, “Biography.”
 18

quartal and quintal harmony along with beautifully crafted melody and driving rhythm

which made a lasting impression. Our university percussion ensemble also performed a

work that he wrote which included quotes from the Creston marimba concerto.

Additionally, I sang with an a cappella group that Rothman formed called the Rice

Philharmonics. We had the good fortune to sing many of his vocal works including a

memorable Mao Tsur. When I began commissioning works for marimba and voice,

Rothman was an obvious composer to approach.

For the commission he chose to set twelve haiku from some of the greatest haiku

poets including Basho and Buson. As haiku often deal with nature and the seasons,

Rothman selected one poem to loosely represent each month of the year. He chose to use

English translations and began with January while observing the traditional Japanese

New Year celebrated prior to 1873 which aligned with the Chinese lunisolar New Year.

The work is very listenable with hints of Copland’s harmony and Bernstein’s musical

theatre writing.

Emmanuel Séjourné was born in Limoges, France and formally studied piano,

violin, music history, and analysis at the Strasbourg Conservatory. He now teaches

advanced level keyboard percussion and pedagogy at the Conservatory. Active as both a

performer and composer, he has premiered over 100 works, has performed with many

orchestras, at major festivals throughout Europe, and has been widely featured on radio

broadcasts.

Séjourné’s compositional output is vast and includes works in diverse genres

including music for dance, television, radio, and stage. He is popular in the percussion
 19

community with commissions and performances by Robert Van Sice, Nancy Zeltsman,

Katarzyna Mycka, and the Amsterdam Percussion Group.

I was first drawn to Séjourné’s music after hearing his marimba solo Nancy in the

percussion studio class at the University of Arizona about seven years ago. I originally

thought the piece was written for marimbist, Nancy Zelstman, but recently learned it was

named for Robert Van Sice's sister Nancy, who passed away shortly before the piece was

written. The melodic and listenable nature of the piece stuck in my mind and was the

point of departure for French Songs. Séjourné was one of the easiest composers to work

with throughout this commissioning process. I literally told him that I had recently heard

his piece Nancy and wanted to commission a piece for voice and marimba for one player.

I sent him a recording of Four Songs and he immediately liked the idea. I told him I

would like to use a French text and informed him of my range. Several months later, the

piece was finished.

Raymond Helble as a self-taught composer, through score study and music theory

textbooks, began writing music at age 10. With no private music lessons he was accepted

to the Juilliard School, the Manhattan School of Music, and the Eastman School of

Music. Helble completed both bachelor and master degrees at the Eastman School of

Music. His teachers include Samuel Adler, Warren Benson, and Joseph Schwantner.

Helble also began conducting at age 12 and later studied conducting with Willis Page and

Walter Hendl.
 20

When I asked Helble about the progression of his compositional output, he

responded as follows:

Compositionally, I have a wide range of production. My early opus numbers tend

to be serial works (the first three Preludes for Marimba, Movement for Marimba
and Harpsichord, Movements for Marimba and String Quartet, etc.) I then
entered what I can only call a quasi-atonal phase...music that had an atonal "feel,"
but harmonically revolved around an anchor pitch or small class of pitches
(Concerto for Marimba and Large Orchestra, Sonata Brevis, Scherzo and Adagio
for Viola and Piano, the first two etudes of Three Etudes for Five Tympani, etc.).
By the mid-80's, I started making the return to my tonal roots, often through a
tonal modal mix (Diabolic Variations and Vigil are the clearest examples.)4

He describes his current output in this manner:

I'm finally back - for the most part - to common practice tonality where I started
as a child, except in works where text or other considerations dictate otherwise.
For example, a recent work, Dark Visions, a marimba concerto for marimba and
large percussion ensemble written for Michael Burritt, is written in quasi-atonal
style in [movement] 1, and tonally (though not common practice) in the second
two movements. I wanted a sound that could express an unsettled dreamy or very
rough, troubled music.5

Helble concluded that his current compositional interest focuses around chamber music

and ecclesiastical music composition.

The Classical Musician’s Database describes Helble’s music as being “recognized

for its technical excellence, distinctive motivic material, contrapuntal dexterity, and

highly polished finish, whether he writes in a tonal, modal, atonal, or serial manner.”6

Thanks in part to a long musical relationship with marimba legend Leigh Howard

Stevens, Helble has written many works for marimba and percussion ensemble that have

become standard repertoire. His work has been performed throughout the world and he

4
Raymond Helble, interview by author, email, February 18, 2011.
5
Ibid.
6
Raymond Helble, “Raymond Helble,” http://www.classical-composers.org/comp/helble
(accessed May 1, 2011).
 21

has received ASCAP awards every year since 1990. Yet Helble remains humble as can

be seen in his final interview statement: “I am fortunate that my work is performed very

widely: it is a humbling experience to have people on Facebook, for example, from

remote countries - not just Europe or large nations like China, but small places in Asia or

Africa - write kind things about my work. That makes the effort worthwhile.”7

I originally approached Helble about writing a piece using poetry written by my

grandmother who happens to live in the same town. (Interestingly, Helble is also married

to my second percussion teacher, Carol Helble.) In the end we decided, for various

reasons, to go with a different text. Being a fan of lute songs, I was happy with Helble’s

idea to use a medieval text in the original language of the Trobadors which is called

Occitan. The language is still in use today by about 1.5 million people, mostly in rural

villages in southern France as well as parts of northern Spain and Italy. The language is

not really French or Spanish and most closely resembles Catalan from the Barcelona

region.

At the time of this commission I already had a few pieces including French Songs

and was able to meet with Helble and talk about the combination prior to the commission.

I performed the first movement of French Songs for him so he could get a feel for my

voice and range and we discussed the idea of audience appeal. The final result is a

difficult sort of lute song suite for marimba consisting of five movements.

Roger Forman was born in Burbank, California and grew up in Tucson, Arizona

from the age of 4. Early musical experiences include singing in church choir beginning

7
Helble, interview.
 22

in grade 3 and playing violin in his school orchestra beginning in grade 4. Both activities

continued through high school along with violin lessons and participation as a member of

the Tucson Philharmonia Youth Orchestra. After completing high school, Foreman

attended the University of Arizona where he earned a bachelor’s degree in music

composition in 2008. His primary teachers were Dr. Pamela Decker and Dr. Craig

Walsh. He is currently pursuing a master’s degree in composition at Florida State

University where he studies with Clifton Callender.

Foreman’s first work in composition began through the Tucson Symphony Young

Composers Project in 2000. He participated in the program for three years and each year

wrote a work for orchestra with performances by the orchestra in a reading session at the

end of each academic year. Foreman’s first work, Streets of Verville, was performed by

the Tucson Pops Orchestra in 2001 and by the Tucson Symphony Orchestra on its Young

Peoples concerts. His second piece, Celtic Festival, was performed on both the TSO

Young Peoples concerts and for the general TSO audience on its annual “Celebrate the

Future” concert in 2006. His final work as part of the TSO Young Composers Project is

titled Golgotha and is a musical depiction of the last hours of Christ.

Over the past few years Foreman’s compositional focus has been writing music

on commission for both solo and chamber musicians, as well as, dance and theatre

groups. He composed an original electronic score involving the digital manipulation of

sounds for the Borderland Theatre’s production of “Our Dad is in Atlantis” by Javier

Malpica in 2009 which received glowing reviews from local papers. His piece, Taborny

Vecher (Evening in the Gypsy Camp), was awarded first place in the Balalaika and
 23

Domra Association of America's 2010 Composition and premiered by Foreman with the

Arizona Balalaika Orchestra in 2009. Trombonist Patrick Lawrence, and the Southern

Arizona Chapter of the American Guild of Organists commissioned Resolution for

trombone and organ, which was premiered by Lawrence and Pamela Decker in 2010.

At FSU, Foreman created an electroacoustic piece titled, Doina No. 1, in

collaboration with Tiffany Mellard from the FSU dance department. Forman’s most

recent activities include working on a String Quartet as part of his Master’s thesis and a

greater interest in Irish music through fiddle playing with the FSU Irish Ensemble and a

band called Cúig.

Foreman’s bio describes his composition in the following manner:

Roger Foreman seeks to evoke imagery and convey emotion in his compositions
through a combination of traditional, modern, and electronic idioms. Pathos and
high jinks, lush romanticism and brutal ferocity, tonality and atonality, all have
their place in Foreman’s portfolio. His influences range from Samuel Barber and
Gustav Mahler to Béla Bartók and George Crumb, and he draws inspiration from
nature and poetry as well as from foreign lands, historical events, and his own life
experience.8

Two examples of these personal experiences include teaching English in Shymkent,

Kazakhstan in 2005 and earning a U.S. Department of State Critical Language

Scholarship to study Russian in St. Petersburg where he experienced a wealth of musical

and cultural opportunities.

My association with Foreman began when I was principal timpanist with the

Tucson Symphony and I had the opportunity to perform his orchestral works as part of

8
Roger Foreman, “Bio,” http://www.myspace.com/rogerforeman (accessed May 1,
2011).
 24

the TSO Young Composer’s project. Additionally, I have performed several times with

his mother Becky Forman (who is a terrific harpist), including a premiere of Sonnet 11

for marimba/voice, harp and flute with text by Pablo Neruda, which I commissioned from

Beth Caucci. I received additional exposure to Foreman’s music when I attended a

concert presented by Becky, Roger, and his brother Brian (who plays the marimba),

which featured several of Foreman’s pieces. This concert, showing the community spirit

of Tucson, also featured an arrangement of Sonnet 11 adapted for soprano. The marimba

part was performed by his brother Brian.

For our commission project I wanted to use text from Ecclesiastes, based on my

interest in the beauty of this biblical book and Foreman’s final work as part of the TSO

Young Composers Project titled Golgotha. We discussed some of the chapters and

verses that interested me and why and he constructed the final version of the text.

Having several commissions behind me, I also made sure to be clear that I was looking

for a piece that audiences would enjoy and shared some of the things that were working

well in the marimba/voice combination and those that were not. I was able to again

perform the first movement of French Songs as an example of what worked really well. I

am very happy with the final piece and enjoyed the recent premiere.
 25

CHAPTER 3: MUSICAL AND TECHNICAL CONSIDERATIONS

To demonstrate the care that must be taken in accommodating the technical

demands of simultaneously singing and playing, the five compositions presented will be

compared in terms of the various approaches taken by each composer. The comparison

will examine compositional devises and approaches that work well and identify potential

problems when combining marimba and voice. It also illuminates various sonorous

possibilities and expressive combinations including text setting.

French Songs opens with an unhurried approach to establish a mood with a

quintuplet pattern repeatedly falling into the smooth low sonority of the marimba (see ex.

1). A brief variation of a simple theme presented in a rolled fashion makes use of the

marimba’s unique ability to crescendo or decrescendo a sustained chord. Thus, the

opening makes use of the expressive qualities of the marimba, and establishes an

interesting invitation for the entrance of the voice.

While this opening makes use of various body angles due to chord variation and

uses the marimba’s full range, the vocal entrance is met with simple sustained chords

which remain in a consistent tessitura. This shows both technical and musical

consideration on the part of Séjourné. The simplicity of the accompaniment allows the

listener to shift attention to the voice while offering the performer ample posture and

poise to present the opening lyrics from the first stanza of “Premierement” by Paul Eluard

as translated by Lloyd Alexander:

 26

Musical Example 1. French Songs opening.

 27

I told it to you for the clouds

I told it to you for the tree of the sea
For every wave for birds in the leaves
For pebbles of sound
For familiar hands
For the eye which becomes face or landscape
And sleep gives back to it the sky of its color
For all the night drunk
For the network of roads
For the open window for a discovered brow
I told it to you for your thoughts your words
And each caress each confidence survives.9

When comparing the opening of French Songs to the first movement of Twelve

Haiku several technical and musical performance considerations are revealed. The

opening text is as follows:

Awake at night—
the sound of the water jar
cracking in the cold.10

This text is introduced in a very different manner than French Songs. Here, the marimba

presents a vibrant fanfare that seems to serve more as an opening to the work as a whole

rather than an attempt to invoke the feeling or mood of a sleepless night (see ex. 2). After

the four bar introduction, there is an accented and syncopated melody in the right hand

accompanied by an alternated eighth note accompaniment in the left. This pattern is

unaltered as the voice enters with its own syncopated rhythm (see ex. 3). From a musical

viewpoint, this is very different from French Songs where each instrument is allowed its

own moment to develop.

9
Paul Eluard. Uninterrupted Poetry: Selected Writings of Paul Eluard, trans.
Lloyd Alexander. (New York: New Directions Publishing, 1975), 13.
10
Robert Hass, ed. and trans., The Essential Haiku: Versions of Bashō, Buson, and Issa,
(Hopewell, NJ: Ecco Press, 1994), 19.
 28

Musical Example 2. Twelve Haiku opening. Used with permission.

 29

Musical Example 3. Twelve Haiku page 2. Used with permission.

 30

From a performance viewpoint, focused coordination must be immediately

executed, particularly in terms of maintaining breath support throughout the duration of

longer notes while continuing the marimba accompaniment. The facility required both in

the marimba and voice parts, alone and together, present a demanding challenge from the

start.

Musically, the close of this brief movement makes excellent use of the marimba’s

range and sonority (see ex. 4). In preparation of the word cracking, Rothman moves

double-stops in contrary motion beginning on a minor second and spreading with a

crescendo to three octaves and a fourth. The last double-stop between the right and left

hand is accented in unison with the word “cracking.”

Several performance considerations were also given to this passage. The difficult

contrary motion double-stop passage is allowed full focus as a marimba solo. The spread

achieved at the climax, again, is written for marimba alone, avoiding a potential singing

posture problem. The vocal part, in the upper portion of a baritone’s range, is then

allowed a moment to shine and the performer is given a chance to concentrate all energy

on delivery. Musically, the vocal line continues to set the mood of the text with a

descending solo line before reintroducing the original accompaniment. Each part is given

a moment of its own and the combined forces create a unified whole making this a fine

example of pairing marimba and voice. The accompaniment of the word “cold” is altered

in that the left hand now maintains one chord compared to the alternation of two chords

in the beginning. The G sharp also resolves to G natural to create a minor quality.
 31

Musical Example 4. Twelve Haiku page 3. Used with permission.

 32

This compositional device allows both an unexpected change of harmony and sets the

mood of the winter cold represented in the text.

Bread upon the Waters by Roger Foreman, by contrast to Twelve Haiku, opens in

an improvised sense serving to set the mood of the opening text and is clearly dictated as

such with Foreman’s marking of “Pensive, rhythmically flexible” (see ex. 5). The

marimba and voice combination is presented in a unique way. After several short

musical statements by the marimba, the voice enters, humming with a crescendo as the

marimba decrescendos. This creates a sort of marimba and voice elision as the beginning

and ending of each part is blurred. The hummed melody foreshadows the coming

melodic presentation of the text which is sung in a chant-like cantor quality with an ABA

form.

The A sections feature an incessant 7/8 ostinato marked “Earnestly” with

primarily static harmony interrupted by brief moments of movement (see ex. 6). The

vocal part floats freely above the propulsive repetition of the marimba and includes

expressive, sometimes melismatic, writing allowing time for the pensive text to be

contemplated:

Send your bread forth upon the waters; for after

many days you will find it. Distribute portions to
seven or even to eight, for you cannot know what
misfortune may occur on earth.11

11
Jewish Publication Society. The JPS Bible Commentary: Ecclesiastes, commentary
Michael V. Fox. (Philadelphia: Jewish Publication Society, 2004), 72-73.
 33

Musical Example 5. Bread Upon the Waters opening. Used with permission.
 34

Musical Example 6. Bread Upon the Waters page 2. Used with permission.
 35

The natural emphasis of the text is given careful consideration in terms of beat placement

and intervallic design which gives additional emphasis and opportunity for increased

expression and communication (see ex. 7).

Again, Foreman clearly indicates, in English, the mood of the B section “With

expressive timing” to echo the improvised nature of the opening (see ex. 8). Here the

list-manner of the text dictates the style:

I have further observed under the sun that

The race is not won by the swift,
Nor the battle by the valiant;
Nor is bread won by the wise,
Nor wealth by the intelligent,
Nor favor by the learned.
For the time of mischance comes to all.12

The combination is treated with voice and marimba alternating short bursts (see ex. 9).

The marimba statements seem to vaguely comment on the preceding text and the voice

clearly states each item in a declamatory, syllabic manner. This change in the B section

shows careful consideration to the change in text style, creates a variation in the marimba

and voice combination, and helps to clearly emphasize the form.

A free and brief transition leads back to the final A section with new text and is

similar in its contemplative nature to the opening A section (see ex. 10):

. . . If one watches
the wind, he will never sow; and if one observes the
clouds, he will never reap. . . .
sow your seed in the morning, and don’t hold back
your hand in the evening, since you don’t know
which is going to succeed, the one or the other, or if
both are equally good.13

12
The JPS Bible Commentary, 64-65.
13
Ibid., 73-74.
 36

Musical Example 7. Bread Upon the Waters page 3. Used with permission.
 37

Musical Example 8. Bread Upon the Waters page 5. Used with permission.
 38

Musical Example 9. Bread Upon the Waters page 6. Used with permission.
 39

Musical Example 10. Bread Upon the Waters page 8. Used with permission.
 40

The piece ends by organically and simply fading into the ether (see ex. 11).

Movement 2 of Twelve Haiku provides another excellent example of unity

between the marimba and vocal lines while offering the performer individual focus for

each line. In musical example 12, it may be seen that while both voices simultaneously

sustain, each part alternates the moving line. For example, in measure 8 the marimba

comes to rest on a sustained chord while the voice enters above. Similarly, the voice

sustains a D pitch on the word “day” in measure 10 while the marimba part again

becomes kinetic. This alternation of kinetic and static motion continues throughout and

is one of my favorite movements.

In contrast, movement 1 of Trobador by Raymond Helble seems to approach the

marimba and vocal lines as two separate entities more suited for performance by a

marimbist and separate vocalist (see ex. 13). The constantly changing pattern,

rhythmically blended sixteenths, eighths, and sextuplets are further complicated by

random interval changes in both hands simultaneously. The moderate technical focus

required to correctly perform this marimba passage while singing the vocal line, complete

with syncopation and quarter and eighth note triplets, requires a focus seemingly beyond

the passage’s musical merit in terms of thematic development, melodic interest, and unity

between lines.
 41

Musical Example 11. Bread Upon the Waters page 10. Used with permission.
 42

Musical Example 12. Twelve Haiku mvt 2. Used with permission.

 43

Musical Example 13. Trobador mvt 1. Used with permission.

 44

A second technical problem with this passage is presented in measure 41. The

distance of spread between the left and right hands, when the right hand is in the upper-

most C# octave, forces the head downward. Being that this change of vocal direction is

unintended and not a musical choice, the right hand needs to be brought down an octave

on the upbeats of beats 2 and 4 in order to maintain consistent vocal direction.

Another specific technical consideration when writing for marimba, with or

without voice, is the distance of spread between hands. As a five-octave marimba is

eight feet long, it is clear that playing in the upper and lower-most parts of the instrument

simultaneously is not practical.14 Add to that the fact that the hands are not in contact

with the bars and you can see that accuracy becomes a challenge as the hands spread

beyond the range of the eyes.15 Although marimbists strive to perfect kinesthetic or

muscle memory, accuracy is certainly improved when the spread between hands is not

extreme for extended periods of time. Movement 5 of Trobador provides an example of

pushing the spread between hands to a difficult level in terms of accuracy (see ex. 14).

In the case of marimba and voice, additional consideration must be given to

ensure that the spread is not so great as to require excessive bending to avoid

compromising singing posture. Having played some lute transcriptions on the marimba

including works by the English composer John Dowland, I am aware that lute parts are

14
Nancy Zeltsman, “Memo to Composers: Brief Guidelines on Composing/Notating for
Marimba,” (January 1989).
http://web.me.com/nzmarimba/Site/Memo_to_Composers.html (accessed January 25,
2011).
15
Samuel Z. Solomon, How to Write for Percussion: A Comprehensive Guide to
Percussion Composition (New York: SZSolomon, 2002), 80.
 45

Musical Example 14. Trobador mvt 5. Used with permission.

 46

not generally spread in such an open manner. I asked Helble about this, wondering if he

were trying to imitate the lute. He replied that he was writing as if the marimba existed

in 1100.

The text by Raimbaut d’Aurenga, as mentioned previously, is presented in the

original Occitan. Through a series of emails over several months time, I was able to find

a linguist in Toulouse, France named Xavièr Bach. Not only does he speak Occitan, but

as a linguist, he has also studied its various changes over time. He recorded the text as

scholars believe it would have been spoken in 1100 and worked with me on the

pronunciation. For the listener, the simple hymn-like quality of the piece matches the

text meaning well.

Since plain style

is so much in vogue,
it'll grieve me if I don't excel in it:
for one would expect
him who writes such words
as never before had been put to music
to be otherwise able, if he wishes, to sing
what people sing and cry every day.16

Helble alters the text by repeating the first three lines at the end to create an ABA form.

He also repeats many lines throughout the piece for emphasis. A particularly beautiful

musical consideration is given to the delineation of the lines that contain the words

“sing,” “music,” and “words.” For the text containing “words,” which begins in measure

13, Helble uses the softest dynamic of the piece to create an intimate spoken quality (see

ex. 15).

16
Raimbaut d'Aurenga, ”Raimbaut d'Aurenga (Raimbaut d'Orange): Complete Works,”
http://www.trobar.org/troubadours/aurenga/aa16.php (accessed May 2, 2011).
 47

Musical Example 15. Trobador words. Used with permission.

 48

The text involving the word “music,” beginning in measure 21, is presented in the fullest

dynamic of the piece and involves the most complicated marimba playing before each of

the two repetitions (see ex. 16). Finally, for the text involving the word “sing,” beginning

in measure 29, the music changes from an A tonal center to a tonal center of F. This

lowers the tessitura of the voice which creates a more intimate feel (see ex. 16). A

focused level of detail helps infuse this short piece with expression and musical interest.

Though this brief piece is presented in a quasi hymn-like fashion, there is enough

separation in the movement of each part to create difficulty. For example, to produce a

lyrical, sustained vocal line requires consistent concentrated breath support. Alternately,

connection on the marimba, which has limited sustaining ability, must be created through

the illusion of dynamics. For example, if each note in a line is played at the same

volume, the result is a detached line. If each note crescendos or diminuendos, the line

will sound connected.

Though the marimba is able to play chords, mallet percussion in general also has

a rich history in monophonic playing. Of the works examined in this document, Rothman

is the only composer to make use of two rather than four-mallet marimba playing. In

three of the Twelve Haiku movements he weaves harmonic progression, interesting and

intense rhythmic play, and a vast range of dynamic and musical expression with a single

marimba line.
 49

Musical Example 16. Trobador music and sings. Used with permission.
 50

Although percussion performers strive to develop monophonic technique while

holding four mallets, there are limitations imposed simply by the added mass of four

rather than two mallets. Additionally, there is a division of muscles available to support

each mallet when there are two mallets in each hand rather than one. Thus, using two

mallets offers dexterity in developing speed as one means of generating excitement and

energy. Rothman’s compositional decision shows an understanding and respect for the

history of percussion literature including pieces like Paul Creston’s Concertino for

Marimba and Orchestra where a mixture of two and four mallet writing is alternated

between movements. It also shows mastery and respect for monophonic writing.

Specific examples of this writing and how the voice and marimba are paired may

be seen in the final two movements of Twelve Haiku. Movement 11, “First snow,”

begins with a simple, repeated descending four note pattern (see ex. 17). Even within this

simple pattern, individual lines subtly present themselves. The last note within the

pattern ascends in bars 1-3, while the primary note of the pattern maintains an Ab before

climbing to a Bb in bar 4. Here too, the simple introduction is an example of word

painting introducing and accompanying the text.

First snow
falling
on the half-finished bridge.17

17
Hass, 32.
 51

Musical Example 17. “First snow.” Used with permission.

 52

As the movement continues, a clear example of a composer using poetic

repetition for musical reasons is presented. In anticipation of the final movement, “The

winter storm,” Rothman sets the word “falling” four times while indicating a crescendo

and accelerando (see ex. 18). The marimba accompaniment moves into a lower tessitura

after the fourth vocal presentation of the word “falling” and continues to build into a

frenzy representing the falling snow in this uniquely crafted transition. The rhythmic

grouping switches from quadruple to triple without slowing the speed of each individual

note creating an instant shift in the speed of the pulse. The accelerando is continued

while a seemingly hectic blur of chromaticism ensues to add a final punctuation and

emphasis to the text painting of the falling snow culminating into a winter storm.

In movement 12, “The winter storm,” Rothman again uses the marimba to depict

the text.

The winter storm

hid in the bamboo grove
and quieted away.18

The movement begins with a rapid passage with random accents and meter changes—all

in the lower register of the marimba (see ex. 19). The first line of text incorporates the

highest vocal note in the piece to add to the climax. At the conclusion of the marimba’s

representation of the storm, the first line of text is presented again before slowing and

fading away with a random pattering on three sets of notes (see exs. 20 and 21).

18
Hass, 33.
 53

Musical Example 18. “First snow” page 2. Used with permission.

 54

Musical Example 19. “The winter storm.” Used with permission.

 55

Musical Example 20. “The winter storm” page 2. Used with permission.
 56

Musical Example 21. “The winter storm” page 3. Used with permission.
 57

Again, this piece seems to pay homage to great marimba writing with its loose link to

Keiko Abe, in terms of her improvised approach to the instrument, and specifically to her

piece Wind in the Bamboo Grove.

Another variation in marimba writing is to consider various mallet choices and

alternate implements such as the shafts of the mallets. In the fifth movement of Twelve

Haiku, Rothman takes word painting to a heightened level by using the ends of the mallet

shafts to create the sound of a cicada or locust to accompany and reinforce the following

text.

A cicada shell;
it sang itself
utterly away.19

The movement is marked “Freely” (each measure 2-3 sec.) and a cluster of five

consecutive natural notes are presented with the instruction to play the notes in a random

order, very fast (see ex. 22). Personally, I grew up in rural Missouri and have a strong

memory of the pulsing buzz of locusts in a giant maple tree in my family’s backyard.

Experimenting with this section, I found that an incessant pattern with a crescendo and

decrescendo on each set of pitches is the most effective way to mimic the sound of the

cicada. I also found that mallet shafts made from rattan, which is similar to bamboo,

have a more insect-like sound than shafts made from birch wood dowels. Working with

composers in the commissioning process allows me to offer suggestions for editing

scores for future performances, as in this example, and has been a rewarding part of the

experience.

19
Hass, 27.
 58

Musical Example 22. “Cicada.” Used with permission.

 59

Another rewarding experience has been studying the various languages present in

these works. When composing for marimba and voice, there are several items to consider

in selecting the language of the poetry or text. It is important to understand what

resources a performer has access to before selecting a text to ensure that the

pronunciation gives an accurate reflection of the character of the language. In my case,

French was a good choice as my voice professor at the University of Arizona, Grayson

Hirst, is an excellent coach in French pronunciation. Past experience with singing in

Hebrew and additional coaching from fluent speakers ensured a quality performance as

well. In terms of Occitan, the language is not widely spoken or formally studied.

Although I was able to study a recording of the text, I believe working with a coach in

person results in a far more accurate representation of the language.

Movement 4 of Twelve Haiku, “Coming back,” presents an interesting

compositional consideration. In this movement, the right hand in the marimba doubles

the melody of the vocal line (see ex. 23). In addition to the duplicated melody, there is a

simple double-stop sounded in the left hand on the first beat of each measure. The sparse

nature of this combination could be seen as an interesting change of texture from the

surrounding movements; however, in this case I believe the marimba could be used to

generate greater interest as seen in the previous examples. When composing for marimba

and voice alone, I believe it is more effective to avoid doubling the marimba and vocal

lines for extended periods. The opening and closing of this movement, however, present

a unique and quirky waltz that alternates between measures of two, three, and four beats

which may be seen to loosely represent the text (see ex. 24):
 60

Musical Example 23. “Coming back.” Used with permission.

 61

Musical Example 24. “Coming back” opening. Used with permission.

 62

Coming back—
so many pathways
through the spring grass.20

Movement 2 of French Songs offers an excellent example of using both hands in

the marimba to establish mood and harmonic progression (see ex. 25). The syncopated

rhythm immediately establishes a Spanish feel after the free form introduction. This

simple accompaniment provides a firm harmonic progression and a vivid rhythmic mood.

Further, it allows space at the end of the bar for the lyrical melody to seamlessly continue

where the marimba ends. The occasional rhythmic elision of the vocal and marimba lines

offers another level of unity and interest in this clever compositional combination. Lloyd

Alexander translates Eluard’s poem titled “Poeme” as follows:

No one can know me

Better than you know me

Your eyes in which we sleep

We two
Have made for my man’s lights
A destiny better than the nights of the world

Your eyes in which I voyage

Have given the movements of the roads
A direction detached from the earth

In your eyes those who reveal to us

Our infinite solitude
Are no longer what they thought themselves to be

No one can know you

Better than I know you.21

20
Hass, 83.
21
Eluard, 27, 29.
 63

Musical Example 25. French Songs mvt 2.

 64

The final compositional consideration to be discussed is adding additional

instruments and/or performers to the marimba and voice combination. Beth Caucci

makes use of this device in Four Songs by adding three additional musicians to expand

her compositional options with violin, cello, and percussion. Caucci is certainly one of

my favorite composers. Her music is immediately listenable and offers layers of depth.

Most importantly, her music creates an emotional response.

The second movement of Four Songs provides a clear view into how she uses the

additional instruments to enhance the marimba and voice combination. Caucci chose text

by E. E. Cummings for this group of songs and each loosely pays homage to a popular

musician that she and I both favor. This movement is loosely representative of Icelandic

popular musician, Björk and her rendition of It’s Oh So Quiet—particularly the play in

contrast between loud and soft. The piece begins with a soft sixteenth note based shuffle

feel in the drums and cello before adding sustained double-stops in the violin and a brief

gesture in the marimba to introduce the voice (see ex. 26). This light, simple groove is

continued throughout most of the piece with the exception of several bursts of highly

syncopated sections presented forte (see ex. 27). Each of these sections is used to accent

the points in the poetry Caucci finds most meaningful. The first line of poetry is

presented in a soft dynamic:

what time is it?it is by every star

a different time, and each most falsely true;22

22
E. E. Cummings, E.E. Cummings Complete Poems 1904-1962, ed. George J.
Firmage (New York: Liveright Publishing, 1994), 817.
 65

Musical Example 26. Four Songs 1. Used with permission.

 66

Musical Example 27. Four Songs 2. Used with permission.

 67

The following line is then presented in the alternately loud syncopated manner:

or so subhuman superminds declare23

Then the music suddenly returns to its soft easy shuffle. The result produces a striking

contrast and one that is greater amplified by using congas, violin, cello, marimba, and

voice; rather than marimba and voice alone. In terms of the marimba and voice pairing,

Caucci allows great freedom in vocal delivery by keeping the marimba part fairly simple

in terms of coordination. She offers the performer interest through the challenge of

putting together the combined syncopated rhythm of the marimba and voice in the louder

sections of the piece.

Movement 4, “i like my body when it is with your,” shows a different use of the

combined forces. This piece is somewhat similar in style to the core of Canadian popular

musician, Rufus Wainwright’s style. I particularly find that Wainwright is able to

maintain a great sense of patience in allowing the emotional intensity of a song to ebb

and flow in an organic, restrained manner that often produces a rare, intensely climactic

point. Caucci achieves this in “i like my body when it is with your.” Again, Caucci is

able to grasp the climax of the poetry by placing the peak of the song on the phrase, “and

eyes big love crumbs”24 which fits into the overall poem as follows:

23
Cummings, 218.
24
Ibid.
 68

i like my body when it is with your

body. It is so quite new a thing.
Muscles better and nerves more.
i like your body. i like what it does,
i like it’s hows. i like to feel the spine
of your body and its bones,and the tremling
-firm-smooth ness and which i will
again and again and again
kiss, i like kissing this and that of you,
i like,slowly stroking the,shocking fuzz
of your electric fur,and what-is-it comes
over parting flesh….And eyes big love-crumbs,

and possibly i like the thrill

of under me you so quite new25

To create this patient climax, Caucci begins with sustained chords in the marimba

deepened and thickened by a low sustained note in the cello (see ex. 28). The only

rhythmic distinction is in the cello with a dotted half note on beat 1 and a quarter note on

beat 4. The rhythm comes directly from the words themselves rather than a combination

of short and long notes and spaces—serving to create a natural impetus to build from

rather than intellectual and man-made. Caucci continues by adding a simple eighth note

pattern in the violin to provide growth, through movement or kinetic energy, as the text

builds slightly to depict the feeling of the spine and bones. This allows the listener to

connect with these deeper, internal vibrations through a greater wall of sound volume

(see ex. 29).

25
Cummings, 218.
 69

Musical Example 28. Four Songs 2.1. Used with permission.

 70

Musical Example 29. Four Songs 2.2. Used with permission.

 71

At the conclusion of this phrase, Caucci repeats the words, “and its bones,”26 not to build

as is often the case with repetition, but to allow the music to breathe before continuing its

gradual build (see ex. 30).

The next phrase contains the line “and the trembling-firm-smooth ness and which

i will again and again and again kiss.”27 Here Caucci practically begins to pulse the

listener’s hips as she places the phrases “will again” and “and again”28 on the backbeats

of the bar, creating a sensual slow groove through the rhythm in the voice alone (see ex.

30). Beginning the final push to the ultimate climax, Caucci continues by resuming the

eighth note motion in the violin—this time based an octave higher while the voice also

reaches its highest point thus far on the phrase, “slowly stroking the, shocking fuzz of

your electric fur” (see ex. 31).29

For the final climax, Caucci brings together several of the previous building

techniques. The backbeat, originally presented in the voice, is now in the cello and

violin; and the voice reaches its highest pitch in the entire song cycle, singing a G on the

word “big” (see exs. 32 and 33). Additionally, the marimba chord opens its voicing and a

high F pitch is sung on the word “eyes.” This phrase, which begins with a rare capital

letter in Cummings’ poetry, is also repeated three times. Each of these devices alone are

common, but the manner in which Caucci combines them allows the patient climax to be

extended and enjoyed as long as possible offering an extended musical peak.

26
Cummings, 218.
27
Ibid.
28
Ibid.
29
Ibid.
 72

Musical Example 30. Four Songs 2.3. Used with permission.

 73

Musical Example 31. Four Songs 2.4. Used with permission.

 74

Musical Example 32. Four Songs 2.5. Used with permission.

 75

Musical Example 33. Four Songs 2.6. Used with permission.

 76

The interest, from the performer’s view, in this movement comes not from a particularly

clever combination of marimba and voice as the marimba part alone consists primarily of

rolled chords. Rather, it comes in the forces of the combined whole and care that must be

taken to guarantee a flexible and connected pulse between each performer.

 77

CHAPTER 4: CONCLUSION

The culmination and intent of this document is to serve as a guide to composers

by highlighting the various considerations discussed. Certain aspects, like the physical

distance the hands are able to reach on a marimba without forcing the head forward and

changing the direction of vocal production, are fairly indisputable. Other items like

doubling the voice and marimba lines are more subjective. I have tried to support the

conclusions drawn with a clear and honest discussion. The intention is not to say that a

certain compositional device should never be used, but rather to point out that in the

works I have commissioned, studied, and performed, some devices seem more effective

than others. Again, my idea of effective composition is music that allows the performer

and audience an initial connection while offering deeper understanding over time. The

ultimate goal of this document is to be a resource in prompting continued development of

the new marimba and voice genre by offering a discussion to help create interesting and

effective new works.

 78

APPENDIX A: BETH CAUCCI EMAIL CORRESPONDENCE

2011.4.27

I extend permission to Doug Smith to use portions of “Four Songs” as illustrations in his
DMA document titled “A Guide to Composing Works for Voice and Marimba Intended
for a Single Performer.” This extends to microfilming and publication by University
Microfilms Incorporated and I am aware that UMI may sell, on demand, single copies of
the document, including the copyrighted materials, for scholarly purposes.

Beth Caucci
Copyright owner
"Four Songs"
 79

APPENDIX B: PHILIP ROTHMAN EMAIL CORRESPONDENCE

2011.4.26

To Whom it May Concern:

I extend permission to Doug Smith to use portions of “Twelve Haiku" as

illustrations in his DMA document titled “A Guide to Composing Works for
Voice and Marimba Intended for a Single Performer.” This extends to
microfilming and publication by University Microfilms Incorporated and I am
aware that UMI may sell, on demand, single copies of the document, including
the copyrighted materials, for scholarly purposes.

Philip Rothman
Copyright owner
Twelve Haiku
 80

APPENDIX C: RAYMOND HELBLE EMAIL CORRESPONDENCE

2011.4.27

Hello, Doug:

As we speak, I am the copyright owner, and I give Douglas Smith permission to use
"Trobodor" for scholarly purposes,
including purposes of illustration, lecture recital, etc. This permission does not extend
to commercial recordings, and Douglas Smith is the only performer with rights to
perform this work at will and at any venue.

Raymond Helble
 81

APPENDIX D: ROGER FOREMAN EMAIL CORRESPONDENCE

2011.5.2

I extend permission to Doug Smith to use portions of “Bread Upon the Waters” as
illustrations in his DMA document titled “A Guide to Composing Works for Voice and
Marimba Intended for a Single Performer.” This extends to microfilming and publication
by University Microfilms Incorporated and I am aware that UMI may sell, on demand,
single copies of the document, including the copyrighted materials, for scholarly
purposes.

Roger Foreman
Composer and copyright owner
“Bread Upon the Waters” for marimba and voice
 82

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2011).

———. “Four Songs.” Score, 2003.

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REFERENCES - Continued

Moersch, William. “Commissioning Marimba Music.” Percussive Notes 37, no. 5

(October 1999): 62-63.

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