a book of Études - kjell samkopf · 2019. 11. 30. · vibraphone etyde 23 ver06.musx 18 Études...

A BOOK OF ÉTUDES

K J E L L S A M K O P F

a workbook forvibraphone and marimba players

part III

Volume 2

© Copyright 2014 by Musikk-Husets Forlag A/S

M-H 3600

M-H 3600

&

&

26

26

˙˙̇˙

##

Andante con moto

f

˙˙̇˙#

# ....wwww

b#n ˙̇

˙

n˙̇

˙

#

P

˙̇

˙

˙̇

˙

# œœ

œ

Œ˙̇˙

# ˙̇˙#

˙̇˙

f

&

&

3 WWW

˙̇˙#

˙̇˙

b

∑P

.

..www

bÓ ˙̇

˙̇

˙̇

˙̇

p˙̇

˙̇

ww

ww

œœ

œœ

Œ ˙

˙

b ˙̇

˙̇b

b

&

&

6

˙̇

˙̇

ww

wwb

bb Œœ. ˙̇̇

˙bb˙̇˙˙##

f

˙̇̇˙bb

....wwww## Œ

œb . ˙̇˙̇n

∑

F

˙̇̇˙#

# ˙̇˙̇b

b ˙̇˙̇n

b ....wwww

∑

&

&

9 ˙̇˙˙

˙̇˙˙b

˙̇˙˙

..

..ww

ww

∑p

Ó jœœœœb .‰ Œ jœœœœn

b# .

‰ Œ jœœœœbn

# .‰ Œ jœœœœ

##.

‰ Œ jœœœœn

.‰ Œ

∑π

&11 jœœœœ

#b#.

‰ Œjœœœœn .

‰ Œjœœœœ#

b.

‰ ŒJ

œœœœ#.

‰ ŒJ

œœœœn.

‰ ŒJ

œœœœ##.

‰ Œ

cresc.

J

œœœœb.

‰ ŒJ

œœœœn#.

‰ ŒJ

œœœœ##.

‰ Œ J

œœœœ#

b .‰ Œ J

œœœœb.

‰ Œ J

œœœœ###

.

‰ Œ

26.11.14Etyde 24 ver05

Etyde 24Vibraphone

&

&

44

44

œ ‰ œ ≈ œ œ ≈ œ ≈ œ œ ≈ œ œ ≈

≈ œ œ ≈ œ ‰ œ ≈ Rœ ‰ œ ‰ œ

Not too fast

œ ‰ œ œ ≈ œ ≈ œ œ ≈ œ œ ≈ œ œ

≈ œ œ ≈ ≈ œ ≈ œ ‰ Rœ ≈ ≈ R

œ ‰

&

&

3

≈ Rœ ‰ œ œ ‰ œ ‰ œ œ ≈ œ ≈

œ ≈ œ œ ‰ œ œ ≈ œ œ ≈ ≈ œ ≈ œ

œ ‰ œ œ ‰ œ œ ≈ œ œ ‰ Rœ ≈

≈ œ œ ≈ ≈ œ œ ≈ ≈ Rœ ‰ œ œ ≈ œ

&

&

5

œ ‰ œ œ ‰ œ œ ≈ œ ≈ œ œ ‰

≈ œ œ ≈ ≈ œ œ ≈ ≈ œ ≈ œ ‰ œ œ

œ œ ‰ œ ‰ œ ‰ œ œ Œ

‰ œ œ ≈ œ œ ≈ œ œ ‰ Œ

&

&

7

≈ œ# œ ≈ œ ‰ œ ≈ rœ ‰ œ ‰ œ

œ# ‰ œ ≈ œ œ ≈ œ ≈ œ œ ≈ œ œ ≈

≈ œ# œ ≈ ≈ œ ≈ œ ‰ rœ ≈ ≈ r

œ ‰

œ# ‰ œ œ ≈ œ ≈ œ œ ≈ œ œ ≈ œ œ

&

&

9

œ# ≈ œ œ ‰ œ œ ≈ œ œ ≈ ≈ œ ≈ œ

≈ rœ# ‰ œ œ ‰ œ ‰ œ œ ≈ œ ≈

≈ œ# œ ≈ ≈ œ œ ≈ ≈ rœ ‰ œ œ ≈ œ

œ# ‰ œ œ ‰ œ œ ≈ œ œ ‰ rœ ≈

19.11.14Etyde 20 ver04

Etyde 20 ver04Vibraphone

& 44 ˙ œ ≈ œ ≈ ‰ Jœ

Ïƒ F

Fast and vigorousq = 160 œ œ ≈ œ .œ

‰Ï

‰ jœ œ jœ ‰ œ#

ƒ fJœ ‰ ‰ ≈ r

œ œ‰

œb‰

ƒ Ï

&5

Œ rœb ≈ ‰ Œ ≈

.j

œƒÏ

œr

œ≈ ‰ ‰ ≈ r

œ œf

.jœ ≈ œb œ ‰ œb .jœ ≈

F ƒ‰

.œbŒ

œFf

&9

rœ

≈ ‰ Œœ .jœ

≈

Ï

Ó Jœb‰ ≈ .

JœÏ F

œ Œ ≈ .jœ#r

œ ≈ ‰Ï

‰ ≈ Rœ œ .

Jœ ≈ jœb ‰f F

&13

≈.

Jœ œ œ ‰ ‰ œ

f Ï

œ .Jœ ≈ Œ ‰ Jœ

f

œ .Jœ ≈ ‰.œb

ƒr

œ≈ ‰ ≈

.Jœ .

Jœ

≈ ≈.j

œbFÏ

&17

œr

œ≈ ‰ Œ œ

F

rœ ≈ ‰ ≈ .

Jœ# .Jœ ≈ Œ

ƒŒ œ

rœ ≈ ‰

œÏƒ

rœ

≈ ‰ Œ ‰ rœ#

≈ .Jœ ≈

f F

&21

Œ ‰ Rœ ≈ Œ ‰ ≈ R

œb

ƒ f

.Jœ

≈ Œ ‰ ≈ Rœb

Rœ ≈ ‰

F‰ ≈ R

œ œÓ

f∑

&25

∑Moving w

espress.P∑

cantabile wwb

wb w w ∑ w ww# w

1 19.11.14 - 09:41Etyde 19 ver03.musx

Etyde 19 ver03.musxVibrafon

& 44œ>

≈œ>

≈œ.

‰ œ œ œ ≈ œ œb ≈ œn .≈

f

Fast and swinging

œ# .‰ œb œ ‰ œ. ‰

Rœb . ≈ ≈ œn œ œb

&3

≈ œ. ≈ œb . ≈ œb œ ≈ œ œn ≈ œ. ‰ œn œ# ‰ Rœ. ≈ œb . ‰ œ. ‰ R

œ# . ≈ ≈ œ œ ≈

&5

≈ œ.≈ œ œ ≈ œb œb ≈ œ œ# ≈

œb . ≈ œb .≈ ≈ R

œN .‰

œb . ‰ œb .≈ R

œ. ‰ œ œ ≈ œ

&7

œ ‰ œb . ‰ rœ. ≈ ≈ œ. ≈ œ. ≈ œ. ≈ œb . ‰ œ œ œ ‰ œb œb ‰ œ œ œ ≈ œ. ‰ œ# œ œ# ≈ œ# œ

≈œ ≈ œ.

‰ œ œn

&10

‰ Rœ. ≈ ≈ R

œ. ‰ œ# œ œb≈

œ. ≈ œ.≈

œb œ ≈ œb œ ≈ œ. ≈ ≈ œ œn ≈ ≈œ. ≈ œb .

&12

‰ Rœ.

≈ ≈ Rœb .

‰œb œ# ‰ œ. ≈ œb œn ≈ œ# œb

≈œn œ ≈ œ# .

≈ Rœ.

‰œb . ‰ œb .

&14

‰ Rœ# .

≈ œ. ‰ œb œb ≈ œ œ‰ R

œ.≈ ≈ R

œ.‰

œb . ≈ œ.≈

œ. ≈ œn .≈ ≈

œ# œ œ‰

œ œ‰

œb œ# ˙

&17

œ> ≈ œ>≈

œb .‰ œb œ œb ≈ œb œ ≈ œ# .

≈ œ. ‰ œ œb ‰ œ. ‰ Rœ. ≈ ≈ œ œb œ

&19

≈ œb . ≈ œ. ≈ œ œb ≈ œ œb ≈ œ. ‰ œn œ ‰ rœb . ≈ œ.

‰ œ. ‰ rœn . ≈ ≈ œ œb ≈

19.11.14Etyde 21 ver04.musx


&

&

43

43.˙

U

.˙#

π

Slowly .U̇

.˙

.˙bU

.˙

œ ‰ jœ .jœ ≈

œ ‰ jœ .j

œ≈

p f

Fast (q = 180)

Œ œ Œ

Œ œ Œ

œb .jœ ≈ Œ

œ .j

œ≈ Œ

‰ Jœ .Jœ ≈ Œ

‰ Jœ.

Jœ ≈ Œ

&

&

8˙

Rœ

≈ ‰

˙Rœ

≈ ‰

Œ Œ œb

Œ Œ œb

p.˙

.˙

.˙

.˙

˙ œb

˙ œb

.˙

.˙

.˙

.˙

˙œb

˙œb

.˙

.˙

&

&

17

‰ Rœ# ≈

œbRœ

≈ ‰

‰ rœ

≈œ

rœ

≈ ‰f

‰ œb ‰ ‰ Jœ

‰œ

‰ ‰ jœ#

.Jœ

≈ Œœ

.jœ ≈ Œœ

Jœ ‰ Œœb

jœ

‰ Œ œ

Rœ

≈ ‰ ‰ jœb .jœ≈

rœ ≈ ‰ ‰ j

œb .jœ

≈

&

&

22

Œ ‰ .œb

Œ ‰.œ

p.˙

.˙

.œ.œ

.œ.œ

˙ œ œ

˙ œœb

.˙

.˙

.œ.œN

.œ .œ#

˙ œ

œN

˙ œœ#

.˙

.˙

&

&

30

jœ ‰.œ

‰

jœ

‰ .œ# ‰f

Œ œ Œ

Œ œ Œ

.œ# ‰ Œ

.œ ‰ Œ

œ≈ œb .

Jœ ≈ Œ

œ ≈ œ .jœ ≈ Œ

œŒ

œb

œbŒ

œb

.Jœ

≈ Œ ‰ Jœ

.Jœ ≈ Œ ‰ jœb


Etyde 23 ver06.musxVibraphone

18 Études for Solo Vibraphone

Contents p. 3

Forord s. 5Innledning s. 7Notasjon s. 9Spilleanvisninger s. 13

Preface p. 16Introduction p. 18Notation p. 20Performimg instructions p. 24

Étude 19 p. 27

Étude 20 p. 31

Étude 21 p. 38

Étude 22 p. 41

Étude 23 p. 44

Étude 24 p. 49

&

&

87

87

Rœ

≈

.œ ˙

‰œ œ œb œ œ# œb

Con moto˙ œ

≈ Rœ

œb œb œb œ œ œ ‰

.œ# ˙

‰ œ œ# œœ œb œb

˙ œ ≈ Rœ#

œ# œ œ œ œ œ ‰

&

&

5 .œ ˙

‰œb œ œ

œb œ œ

˙ œ≈ R

œ

œ œ œ œ œ œ ‰

.œ# ˙

‰ œ# œ# œœ œ œ#

˙ œ ≈ Rœ#

œ# œ œ œ Jœ Œ

&

&

9 .œ# ˙

‰ œœ œ# œ#

œ œ#

˙ œ ≈ Rœ

œ# œ œ œ œ ‰

.œ ˙

‰ œbœb œb œ

œ œ

˙ œ œ# œ

œ œb œb œ œ ‰

&

&

13 .œ# ˙

‰ œœ œ œb

œb œb

˙ œ ≈ Rœ#

œ# œ œ œ œ ‰

œ# œ œ ˙

‰ œb œ œ# œbœ œn

˙ œ≈ R

œ

œb œb œb œ œ ‰

25.11.14Etyde 22 ver10


3

Contents

M-H 3600

& 47 œ œ# œ# œ œb œ œ œb œ œn œ# œ œ œn œb œ œ œ œb œ œ# œ œ œb œn œ# œ œAllegro molto

f

(q = 130)

legato

&2 œb œ œb œb œ œn œb œb œ œ œn œb œ œb œ œ# œb œ œn œ œ œ œ# œ œ œ œ œn

&3 œ œn œ œ œ œ œb œ# œ œ œb œ œb œ œn œb œn œb œ œ œn œn œ œn œb œ œb œb

&4 œ œn œ œn œ œn œ œb œb œ œ œb œ œ œn œn œb œ œb œ œ œn œn œ œb œb œ œb

&5 œ œ œ œn œ œn œ œb œ œb œb œ œn œb œ œb œb œ œ œn œ œn œb œb œ œb œb œ#

&

&

6

Œ ≈ œ œ ‰ . Œ ≈ œbœ

‰ . Ó Œ6

6

œ œ# œ œ œ œ œb œ œb œ œn œb œ œ

(q = 100)Moderato

≈œb

œb ‰ . Ó Œ ≈œ# œ# ‰ . Ó

6 6

œb œ œ# œ# œ œ œ œ# œ œb œ œn œ œb

&

&

8

Œ ≈ œbœ

‰ . Ó ≈œ œ

‰ . Œ ≈œ œ

‰ .6 6 6

œ œ œ œb œ œn œ œ œ œ# œ œ œ œ

Ó Œ ≈ .Jœ> ˙ ≈

œb œn ‰ .6

œb œ œ# œ# œ œb œ œn œb œ œ œn œn œ#



& 161 86 165 84 164 86 167jœ#

Rœ>Fast

ß

.˙œ

œ#

œ#

œ# œf

˙œ#

œ œ#œ .˙

& 167 84 165 84 169 85œ#œ œ# œb

œœ

œ ˙œ

œœ œ

œ ˙

œ œbœ

œ œ# œ œœ

œb

& 85 169 84 164 86 165.œ œ œ# œ#œ# œ

œ œœ#

œnœ# ˙

œ#

œ# œœ# .˙

& 165 85 164 85 161 86 165œ œ#

œ œ#œ .œ œ œ# œb

œœ .œ œ

jœ

Rœ>

ß

.˙

& 165 85 164 84 165 85 166œœ

œ œ

œ .œ œ

œ œbœ

œ ˙ œ# œ œœ

œb .œ œ

& 166 81 165 84 165 85 166œ# œ#œ# œ

œ œ jœœ#

œœ#

œ#

œ# ˙ œœ#

œ œ#œ .œ œ

& 166 84 164 89 165 89œ#œ œ# œb

œœ ˙

œœ

œœ .œ .œ .œ œ

œ

œ œbœ

19.11.14Etyde 26 ver02

Etyde 26ver02Vibraphone 1 staff

&

&

26

26

˙̇ ˙̇##˙̇ ..ww

..WW

f

Lento sonoroRoll all notes

..WW

˙̇ ˙̇b ˙̇ ..ww

˙̇# ˙̇ ˙̇ ..ww

..WW

&

&

4

..WW,

˙̇# ˙̇b ˙̇n# ..ww

Ó˙̇ ˙̇# ˙̇ ww

Ó ww ..ww

F

.

.WW

˙̇b ˙̇b ˙̇ ..ww

&

&

7

˙̇## ˙̇ ˙̇ ˙̇#n ww

WW ˙̇b ˙̇#

WW ˙̇,

Ó

˙̇# ˙̇nb ..ww#n Ó

˙˙ ˙

˙˙˙ .

.ww

.W

p

&

&

10 ..

WW

˙̇ ˙̇b ˙̇bb ˙̇ ww

˙˙#

# ˙˙

˙˙

.

.ww

..WW

P

.

.ww

ww Ó

˙̇b ˙̇# ˙̇ wwÓ

&

&

13

˙̇## ˙̇ ˙̇ ˙̇ ww

..WWb

F

..WW

Œ œ# - œ- œb - œb - œ- .w-

f

26.11.14Etyde 25 ver04

Etyde 25Vibraphone

Étude 25 p. 53

Étude 26 p. 55

Etude 27 p. 58

Étude 28 p. 64

Étude 29 p. 70

Étude 30 p. 76

Étude 31 p. 81

Étude 32 p. 85

Étude 33 p. 88

Étude 35 p. 92

Étude 36 p. 97

Étude 34 p. 90

4

&

&

44

44

41

41

44

44

45

45

œ œ‰ œ ≈

œ œ ‰ Rœ ≈ œ# œ ‰

‰œ œ ≈ r

œ ‰œ# œ# ≈ œ

‰œb œb

Fast {q = c 130}

f

œœb

b>

∑

œb œb ‰ œn ≈ œn œ ‰ Rœ

≈œb œb ‰

‰œb œ ≈ r

œb ‰œ œn ≈ œ ‰

œ# œ#

&

&

45

45

44

44

4 ww> œ

œ

∑

œb œb ‰ œn ≈ œ œ ‰ Rœb ≈

œ œn ‰

‰œ# œ#

≈ rœ ‰

œb œb ≈ œ ‰œb œ

ww>

∑

&

&

47

47

44

44

7 œ œ ‰ œb ≈ œb œ ‰ rœ ≈

œ œn ‰

‰œ œ ≈ r

œ#‰

œ œ ≈ œ ‰œ œ

ww> .

.˙˙

∑

&

&

44

44

45

45

44

44

9 œ œ ‰ œ ≈ œ# œ ‰ Rœb ≈ œ œb ‰

‰œ# œ#

≈ rœ ‰

œ œ ≈ œ‰

œ œ

wwb

b > œœ

∑

&

&

44

44

49

49

11œ œ

‰ œb ≈ œb œ ‰ Rœn ≈ œ# œ ‰

‰œ# œ#

≈ rœ

‰œb œ ≈ œ ‰

œ œ

ww> w

w Œ

∑

20.11.14Etyde 29

Vibraphone Etyde 29 ver04

& œ œ œ œ# Rœ>

ƒ

Fast{ q = c 130}

œ œ œ œb œ œ œ œ œ œb >Rœ

œ œ œ œb œ œ œ œ>œ œ œ œb œ œ œ œb >

Jœ Rœ

&5

œ œb œb œ œ œb œ>r

œr

œ œ> œRœ œ œ œ œb œ œ œ œ œ œ ˙b >

Rœ

&8

œ œb œb œ œ œb œb œ œb œb œ œb œ>

œ œ œ œb œ œ# >Rœ

œ œb œb œ œ œb œb œ œb œb œ œ# >

&11

œ œb œb œ œ œbr

œb >œ œ œ œb œ œ>

Rœ

œ œb œb œ œ œb œb œ>

&14

œ œ œ œb œ œ œ œ œ œ œ# œ>Rœ

œ œ œ œb œ œ œ œ œ œ œ# œ œ>Jœ

œ œb œb œ>r

œ

&17

œ œb œb œ œ œb >r

œ œ œb œb>

jœ œ œb œb œ œ œb œb œ œb œb >œ œ œ œb œ œ œb >

Rœ

&21

œ œ œ œb >œ œb œb œ œ# >

œ œb œb œ œ œb œb œ œb œb œ>j

œœ œ œ œb œ œ œ>

& 4425

œ œb œb œ œ>jœ œ œb œb œ œ œb œb œ œb

rœ>

œ œ œ>Rœ r

œ œ>

20.11.14Etyde 30 ver07notasjon.musx

Etyde 30 ver07(notasjon)Vibraphone

&

&

44

44

œœ œœ œœ œœ œœ œœ œœ œœ œœ

9∏

Quiet and slowly q = 40

Ped. sempre

Rubbingsim.

&

&

2œœ œœ œœ œœ œœ œœ œœ œœ œœ

9π

&

&

3 œœ œœ œœ œœ œœ œœ œœ œœ œœ

9

œ+

pœ+

œ+œ+

&

&


9

œb + œ+ œ+ œ+ œ+ œ+ œ+ œ+ œ+

&

&

5

œb + œ+ œ+ œ+ œ+ œ+ œ+ œ+ œ+ œ+Jœ+

3

œ+ Jœ+

3

œ+ Jœ+

3

20.11.14Etyde 34 ver04


&

&

45

45

44

44

‰œ œ œb œ œ œ œ œ œ œ œ œ œ

Jœ

‰

∑f

Fast and groovy

≈œ œb œ ≈ œb

≈ Jœ ≈ œb ≈ œb

œœ‰ œœ

≈œœ œœ

≈œœ

≈ œœ œœ≈

œœ œœ≈

&

&

3

≈ œ œ# ≈ œ ≈œb œ ≈ œ

≈ Jœ ≈

œœ‰ œœ œœ

≈ œœb≈

œœ œœ≈ œœ œœ

≈ œœ œœ

œb ≈ œ œb œ ≈ œ œ œ œ

œb≈

œ ≈ œ

≈ rœœb

‰œœ œœ

‰œœ

‰ œœn œœ≈ œœ

≈

&

&

5

≈ œ œb ≈ œ œ# ≈ jœ ≈œb œ œb

œœ‰ œœ œœ

‰ œœ œœ≈ œœb œœ

‰ rœœ

≈

≈ œ# œ ≈ œb œ ≈ œ ≈ œb œ ≈œb œ

œœb ‰ œœ œœ‰ œœ œœ

≈ œœ≈

œœn œœ‰

&

&

7 œ ≈ œ œ œ œb œ œ œ ≈ œ ≈ œ

œœ œœ‰

œœ‰ œœ

‰œœ œœ

≈œœ œœ

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1 25.11.14 - 14:52Etyde 28

Etyde 28Vibrafon

M-H 3600

16

Preface

A Workbook for Vibraphone and Marimba Players is a project I have been working on for over 25 years. In the course of this time it has developed into an extensive series consisting of nine volumes aimed first and foremost at university and music academy students. However, the project addresses issues that vibraphone and marimba players will encounter throughout their professional career. Even though these workbooks were written with the classical performer in mind, there is much that is applicable to performers within any genre.

A Workbook for Vibraphone and Marimba Players is divided into three parts:

PART I: A Book of EssaysA collection of essays addressing central issues in the process of becoming a performing musician. Relevant to any academy music student, not just percussionists.

PART II: A Workbook for Vibraphone and Marimba PlayersThis part deals with the most important technical aspects of playing the marimba and vibraphone. Since this is such an extensive subject, this part is divided into five volumes:

Book 1: On Playing the Vibraphone and MarimbaBook 2: On Practicing Scales and ChordsBook 3: Basic Instrumental Technique IBook 4: Basic Instrumental Technique II (tremolo)Book 5: On Improvisation

PART III: A Book of ÉtudesA collection of 45 études of which 18 are for solo marimba, 18 for solo vibraphone, and 9 that can be played on either instrument. In these 45 études the instrumental techniques discussed in Part II are put into a musical context. The studies comprise a theme and set of variations, in which all 45 movements together make up a unified whole. The total performance time for the 45 études is just over three hours.

The études are divided into three volumes:Volume 1: 18 études for solo marimba (études 1 – 18)Volume 2: 18 études for solo vibraphone (études 19 – 36)Volume 3: 9 études for solo marimba or solo vibraphone (études 37 – 45)

The 18 études of Volume 2 cover all central elements of vibraphone performance technique, including lines, intervals, chords, large leaps and polyphony, as well various methods of dampening. As well as comprising Part III of A Workbook for Vibraphone and Marimba Players, A Book of Études is also an independent work in its own right. A performance would normally consist of a selection of some of the movements, although the entire work with all 45 movements can be played.

M-H 3600

17

A Workbook for Vibraphone and Marimba Players is based on more than 25 years’ experience of teaching at college level. Without this experience I would not have been able to write these books. I would therefore like to extend my thanks to all of my students during these years. Without you these books would never have been written.

I would also like to thank the 33 musicians who each took it upon them to learn one or two of the études, who gave the first performance of the work, and who made the first recording of it possible. Your efforts and contribution were vital in clarifying the notation and performance instructions, and in preparing the final version of the études.

A Book of Études could not have been written without financial support. I would like to thank The Composers’ Remuneration Fund, TONO, and Arts Council Norway, who, through the various grants they offer, made the composition of this work possible.

Finally I would like to say a special thank you to my wife Caroline Ho-Bich-Tuyen Dang who helped with the design and layout and otherwise assisted me in every way.

Kjell SamkopfOslo, 2014

M-H 3600

18

Introduction

Études – studies – are not written first and foremost for an audience, but for a performer; they are the music of musicians. An étude is a piece of music that focuses on a particular theme or has a specific purpose, usually related to a technical issue in performance or composition. Études are intended to help the performer develop their skills, both with regard to motor and muscular control, mental ability and intellectual insight. Thereafter an étude should serve as material for general maintenance throughout a performer’s career. An étude demonstrates the possibilities of the instrument, and often pushes boundaries in this respect.

Throughout the history of music many composers such as Clementi, Debussy, Chopin, Bartok, Kreisler, Paganini, Liszt and Ligeti have devoted special attention to the étude. The most famous example is nonetheless Bach’s Inventions – intended just as much as an introduction to composition technique as set of studies in keyboard technique.

Composing études is a challenging task. It requires in-depth knowledge of the instrument, and the composer’s craftsmanship is of particular importance. Similarly, learning an étude is a challenging task for a musician. A well-written étude requires its performer to bring to balance their intellect, emotions and entire motor apparatus in order to give the best possible performance. A good étude will provide a musician with a musical and technical challenge for life. There is always room for improvement.

A Book of ÉtudesA Book of Études consists of 45 études. The pieces do not increase in difficulty (i.e. the collection does not begin with the easiest and end up with the hardest) – each etude addresses a specific technical element such as scales, linear passages, arpeggiated chords and block chords, tremolo, and polyphony.

The études are structured according to the 9 elements of marimba technique. These 9 elements are a way of separating and explaining marimba and vibraphone technique based on musical structure and motor complexity. Different musical structures require different patterns of movement. These can be classified according to which and how many muscle groups are needed in order to execute the various different combinations of strokes. The 9 elements of marimba technique are explained in Book 1 On Playing the Vibraphone and Marimba.

The études are organised according to the 9 elements of marimba technique as follows:

Études for:

Element1

One note

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Scales and lines

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Vibraphone 19 20 21 22 23 24 25 26 2728 29 30 31 32 33 34 35 36

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marimba37 38 39 40 41 42 43 44 45

Each étude concentrates on one of these elements but contains contrasting passages and other elements in order to create a balanced form. Each étude is a complete piece in its own right.

M-H 3600

19

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Set of variationsA Book of Études is a set of variations in 45 movements, in which all the movements together make up an entire work. This is not a set of variations in the sense of a theme with ensuing variations, but a work in which all of the movements are based and constructed on a common fundamental material. This material is twofold, consisting of the sentence Semper idem, sed non eodem modo, and nine rows of 61 or 37 numbers following the pattern of Marcel Duchamp’s Musical Erratum.

The sentence Semper idem, sed non eodem modo translates as “Always the same, but never in the same manner.” Converted into a row of numbers, it looks like this:

S E M P E R I D E M , S E D N O N E O D E M M O D O1 5 4 7 5 9 9 4 5 4 1 5 4 5 6 5 5 6 4 5 4 4 6 4 6

Translated into pitches, it becomes:

The idea for Musical Erratum is borrowed from Marcel Duchamp. While working on his most famous project The Bride stripped bare by her Bachelors, even, in 1913, Duchamp constructed a technical device that produced random pitches. He imagined that this might be the starting point for a new kind of musical alphabet. The device consisted of 89 numbered balls in a vase. There was a hole in the vase beneath which would pass a model train pulling several trucks; as the trucks passed the opening, balls would fall into the trucks. Because the speed of the train varied, there would fall a different number of balls into each truck. When the vase was empty, Duchamp wrote down the result, converting the numbers to pitches on the designated instrument.

I have used this idea to create one of the two the basic sources of material in A Book of Études. I did not use a model train, but instead made a set of 61 cards (corresponding to the number of notes on a five-octave marimba). I placed the cards in a basket and pulled out nine different random sequences of 61 numbers. From these nine rows I derived a new set of nine number rows consisting of 37 numbers (corresponding to the number of notes on a three-octave vibraphone).

This material appears in all the études, in ever-changing variations. The number rows were used to determine fundamental musical parameters such as pitch, note length, dynamics and texture, and other elements including time signature, interval relationships, chords, formal sections, and more. The sentence Semper idem, sed non eodem modo is used motivically, thematically and melodically throughout, and is an audible, structural element of nearly all the études.

PerformanceÉtudes are something a musician usually works on alone in a practice room, and are not first and foremost intended as concert music. A Book of Études can nonetheless be performed on stage.

A usual procedure would be to play an excerpt of the work, selecting a number of études. How many, which ones and in which order is up to the performer. It is however desirable that the work also be performed in its entirety. This can be done with one, two or more performers. When the whole work is performed, the movements can be played in any order.

The total performance time of all 45 études is a little over three hours.

M-H 3600

20

Notation

The notation in A Book of Études alternates between precise and open. Some études do not have tempo indications and also lack dynamics. In other études each single stroke is defined with regard to dynamic, attack point and stroke angle.

In general, however, the notation is relatively open and without too much detail. This is in order to give the performer room for choice in interpretation and style of playing, and to inspire performers to come up with their own solutions to particular challenges. Several of the études can be played in a number of different ways, and thereby present a variety of musical and technical challenges.

Where there are no performance instructions, it is left for the performer to decide.

AccidentalsConventional rules for the use of accidentals apply. This means that an accidental is valid only at the specified octave, and for the duration of the rest of the bar in which it appears. In certain cases natural signs are used to clarify and avoid any possible doubt.

Note lengthsBoth the marimba and the vibraphone are percussion instruments where focus is on the attack rather than the cut off of the note. For the marimba the end of the note is given little attention and is usually left to die out naturally. It is not common to dampen notes on the marimba, and at faster tempi it is not practicable. For the vibraphone the situation is somewhat different since the bars reverberate for longer, and all the bars can be dampened simultaneously with the pedal or individually with the mallets.

The extent to which a note is notated with an eighth- or a sixteenth-note is in many cases more an indication of a suggested way of playing the note than it is an exact indication of the note’s length. In some cases choice of note-length has been determined by general legibility of the music.

DynamicsThe following 8 dynamic indications are used:

ppp and fff define the outer limits of the dynamic range.

Dynamic signs can be interpreted in two ways. In some cases they are simply an indication of volume: ff is louder than f, and softer than fff. This is a style of interpretation we rely on when playing serial music. In other instances dynamic signs can also give an indication of musical expression, usually in relation to the Italian meaning of the words the signs represent: piano indicates quiet, calm, slow, whereas forte is often taken to mean powerful, loud, hard, fast. The context will determine which of these meanings is most appropriate.

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M-H 3600

21

Sound – timbreChoice of mallets and sound/timbre in general is up to the performer.

In certain études the point and angle of attack is specified. The difference in timbre generated by variations in point and angle of attack is, however, dependent on the type of mallet used. Where angle and point of attack are specified it is not the timbre itself that is important, rather that the performer concentrates on an awareness of the resultant timbre. The notation is intended to encourage an extended palette of timbral nuances rather than indicate a specific timbral spectrum.

AccentsWe differentiate between percussive accents and pressure accents .

A percussive accent has a marked attack, the focus is on the attack itself: the start of the note. A pressure accent is softer since the intention is to emphasise the entire duration of the note.

is a strong, marked percussive accent normally used in the context of loud dynamics from f to fff .

is a distinct, percussive accent and is found throughout the whole dynamic range.

is a mild, percussive accent. It is derived from the staccato sign (in other contexts it would mean stacatissimo) and indicates a short, accentuated note. It is used mainly within the softer dynamic range.is a pressure accent normally used with softer dynamics. It is related to the tenuto sign and indicates a sustained, accentuated note.

In addition to the accent signs above, the following indications for accents are also used: sf (sforzando), fz (forzato) and sfz (sforzato).

sf is a frequently encountered accent (equivalent to ) and is used across the entire dynamic range from ppp to f.

fz is a stronger accent (equivalent to ) and is used from F to f.

sfz is a very strong accent (equivalent to ) and is used from F to f.

These accents can be reinforced by adding further fs: sff, sfffz etc.

Accent signs and indications apply for the most part to individual notes and only rarely to groups of notes.

Articulation signsArticulation signs usually refer to groups of notes.

The following articulation signs are used: staccato and tenuto .

Articulation signs can be combined with slurs:

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Artikulasjonstegn

Tremolo

Anslagspunkt

Anslagsvinkel

Rubbing Glissando

œ-

œ-

œ-

œ-∏ π p P

œ-

œ-

œ-

œ

F f ƒ Ï

œ> œ̂ œ œ- œ-̂ Œ Ó


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Œ Ó

œ œ œ ŒS M L

œ œ œ Œc oc n


9œ

œ


Dynamikk

Aksenter

Artikulasjonstegn

Tremolo

Anslagspunkt

Anslagsvinkel

Rubbing Glissando

œ-

œ-

œ-

œ-∏ π p P

œ-

œ-

œ-

œ

F f ƒ Ï

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9œ

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Dynamikk

Aksenter

Artikulasjonstegn

Tremolo

Anslagspunkt

Anslagsvinkel

Rubbing Glissando

œ-

œ-

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œ> œ̂ œ œ- œ-̂ Œ Ó


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œ œ œ Œc oc n


9œ

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Dynamikk

Aksenter

Artikulasjonstegn

Tremolo

Anslagspunkt

Anslagsvinkel

Rubbing Glissando

M-H 3600

22

When slurs are combined with articulation signs, such as staccato signs, the result might seem illogical: the notes are apparently to be played legato and staccato at the same time, which is not possible. However, this particular form of notation can be interpreted as an indication that the notes should be separated, while the slur indicates that the notes belong together as a unity.

When a slur is combined with tenuto signs, it might seem like tautology. However, the tenuto signs can be interpreted as pressure accents indicating that the notes should be played legato, with a certain sustained accentuation.

Slurs and articulation signs can be combined in many different ways to indicate different nuances of texture or timbre rather than a specific style of execution.

The deadstroke is a special type of stroke, indicated with a cross above the note ( ).

Notation of tremoloTremolo is usually notated with three lines through the stem of the note ( ). This does not give any indication of the speed of the tremolo, which is left up to the performer to decide.

For those instances where the speed of the tremolo is specified (for example in études 1 and 7), the following indications are used:

VS very slowS slowM mediumF fastVF very fast

In passages where all notes are to be played tremolo the indication roll all notes is used. This does not usually apply to grace notes, however.

In cases where a mandolin roll is preferred, this is indicated with mandolin roll.

It is left to the discretion of the performer to use tremolo on notes where it is not specified, according to musical and interpretational preference.

Tempo indicationsFor the most part, conventional Italian tempo indications are used. In addition tempo indications of the kind Fast, Very fast, Not too fast etc. are used. In some cases a metronome indication has been suggested in parentheses. For some of the études a specific metronome tempo has been indicated.

Where there is no tempo indication, choice of tempo is up to the performer.

Stroke angleStroke angle is indicated with the following three signs:

S small (0° - 25°)M medium (c. 25° - c. 45°)L large (c. 45° - c. 65°)

See Book 1 for an explanation of stroke angle.

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Œ Ó

œ œ œ ŒS M L

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9œ

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Dynamikk

Aksenter

Artikulasjonstegn

Tremolo

Anslagspunkt

Anslagsvinkel

Rubbing Glissando

œ-

œ-

œ-

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Dynamikk

Aksenter

Artikulasjonstegn

Tremolo

Anslagspunkt

Anslagsvinkel

RubbingGlissando

œ-

œ-

œ-

œ-∏ π p P

œ-

œ-

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F f ƒ Ï

œ> œ̂ œ œ- œ-̂ Œ Ó


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Œ Ó

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Dynamikk

Aksenter

Artikulasjonstegn

Tremolo

Anslagspunkt

Anslagsvinkel

Rubbing Glissando

M-H 3600

23

Attack pointWhere attack point is specified, the following three signs are used:

n nodeoc off centerc center

See Book 1 for an explanation of attack point.

GlissandoA glissando is notated with a thin line from the starting note to the end note:

Brackets around either the starting note or the end note indicate that the note should not be struck.

The speed of the glissando is not specified.

RubbingRubbing is used in étude no. 34 for vibraphone. Rubbing is not used in any of the marimba études.

Rubbing is a variant of glissando whereby the mallet heads do not strike the bars, but are drawn lightly across them in a rhythmic back-and-forth motion. See Book 3 for an explanation of this technique.

Rubbing is notated by indicating the interval at which the mallet heads should be held, and the pitches which should be rubbed between.

The notation should not be taken too literally, and should be taken as an indication of a textural quality.

Mallet numberingThe following mallet numbering is used:

Left and Right are used to indicate left hand and right hand in the music.

Several of the études can be played with either two or four mallets.

Sticking is rarely specified, and is left up to the choice of the performer. Sticking is, however, often indicated in the notation itself. Different kinds of notation are used to clarify musical structure and thematic and motivic material, and to improve legibility. Sticking indications that are suggested in the notation are intended as a guide.

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Dynamikk

Aksenter

Artikulasjonstegn

Tremolo

Anslagspunkt

Anslagsvinkel

Rubbing Glissando

& œ-

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Dynamikk

Aksenter

Artikulasjonstegn

Tremolo

Anslagspunkt

Anslagsvinkel

Rubbing Glissando

& œ-

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Dynamikk

Aksenter

Artikulasjonstegn

Tremolo

Anslagspunkt

Anslagsvinkel

Rubbing Glissando

1234

Left hand Right hand

Innermallett

Innermallett

Outermallett

Outermallett

M-H 3600

24

Performimg instructionsMost of the études in this collection were written for a 3-octave vibraphone with a range from F3 to F6. It is possible to transpose single notes and phrases up or down an octave in order to adapt the music to an instrument with a larger range. This is not suggested in the music, but left to the discretion of the performer.

Pedaling and dampening is an integrated part of your personal sound and your interpretation. Pedal and dampening directions are therefore only occasionally given in the music. I would encourage you to find different ways of using the pedal and mallet dampening. This will help you to develop nuances of tone as well as your musical ear.

Use of the motor is not indicated in the music. The motor can be used with advantage – it does after all make up an important part of the vibraphone’s unique sound. It is left up to the performer to decide whether to use the motor for an étude or part of one.

The performer is strongly encouraged to find several different interpretations and ways of playing each étude. By constantly seeking new and different solutions the études will serve as an inexhaustible source of improvement and musical and technical development.

Étude 19Element 1: One note.In this étude you are to concentrate on one note at a time and the timbral and technical nuances that arise through changes in dynamics, attack point and stroke angle. Try to execute this as precisely as possible by making audible changes in dynamics, precise attack points, and visible stroke angles. At the same time you should focus on producing a good tone on each bar. The notation in the last part should be taken as a recommendation. The groups of notes should overlap where indicated. It is more important to emphasise the number of notes in each group, than focusing on excact rhythmic relationships. in the different groups than emphasise exact rhythmic relationships.

Étude 20Element 2: Groups of 2 – 5 notes.This étude is built around a rhythmic pattern of six measures that is repeated throughout the piece. It starts by alternating between right and left hand, beginning with one note and gradually expanding to include more and more notes. You should maintain a stable tempo throughout the étude and try to create good rhythmic drive. No dynamics have been specified and you are encouraged to find a number of alternative suggestions.

Étude 21Element 3: Scales and linear passages.This étude consists of a split up, rhythmicised linear passage in ascending and descending motion across the entire range of the instrument. This idea is contrasted with legato lines in the centre section. The eighth-notes of the legato line can be played using mallet dampening to clarify the line.

Étude 22Element 4: Chords in arpeggio.The notation in this étude is open to a variety of interpretations. Neither tempo nor dynamics are given, and there are no slurs. You are encouraged to try out various different musical approaches. Choosing to separate the melody line on top from the chord notes beneath is a good exercise in mallet dampening. The piece can also be played by allowing the chord notes to ring, in which case you must make a clear distinction between foreground and background.

M-H 3600

25

Étude 23Element 5: Intervals.This étude focuses on intervals. Be sure to weight each note of the interval so that they are dynamically balanced, especially where there is a large distance between the notes. In the middle section, where the intervals are broken in the left hand and played together in the right, you should take care to find the optimal position of your body to ensure a balanced attack point and even tone in the intervals.

Étude 24Element 6: Chords in block.This étude consists of chords in various forms of open position. A particular challenge lies in making sure all the notes in each chord are balanced with regard to dynamics and tone, while at the same time emphasising the motivic phrases. This is an excellent étude for practicing different types of pedalling. For the middle section it is necessary to use mallet dampening – this is not specified in the music.

Étude 25Element 7: Tremolo.This étude focuses on a nuanced use of tremolo. The piece is structured on thematic material that alternates between right and left hand. Be sure, therefore, to weight the hands so that the leading hand with the thematic material is emphasised. It will be necessary to use both even and odd-numbered subdivisions in your tremolo to ensure a good transition where right and left hand alternate between having the lead. The final section consists of tremolo on a single note interspersed with big leaps and intervals. The challenge here is to connect the big leaps, intervals, and tremolo and non-tremolo elements in order to maintain the melodic line.

Étude 26Element 8: Big leaps.The main challenges in this étude are the big leaps and the fast tempo that requires swift movement across the entire range if the instrument. It is therefore a wise investment to spend time finding the most expedient positions in which to stand. The glissandi in the last part do not need to be too prominent, and might well be played slower as a contrast to the rapid figures. The étude can be played with two or four mallets, which presents quite a different set of challenges to the performer.

Étude 27Element 9: Polyphony.This étude consists of sections of different musical structures, presenting a variety of technical challenges and musical issues to consider. Certain passages require a great degree of independency of the hands. This is a demanding étude that needs a high level of energy throughout.

Étude 28Element 1: One note.The focus once again is on single notes. A repeated F functions as a drone throughout the étude. The repeated note is surrounded by a few intervals and constantly shifting small motifs. Try to give the individual notes and figures a distinctive tonal identity. Be precise with your angle of attack and the way you play. Try to maintain a meditative, subdued calm throughout the étude.

Étude 29Element 2: Groups of 2 – 5 notes.This etude is structured around two sets of mallet combinations. These combinations are repeated with new notes. This is a good exercise for familiarising yourself with double lateral strokes (in the first part) and single alternating strokes (in the second part), and the way in which the inward and outward motion of the strokes is affected by variations in wrist position.

M-H 3600

26

Étude 30Element 3: Scales and linear passages.This is an étude consisting of various kinds of melodic lines. Your choice of sticking – either alternating or combined – will affect the expressivity and feel of the linear passages. The accidentals in the first part, and the sections with long grace notes, apply only to the note that they precede, i.e. they do not apply to the whole line. The middle section can be played with or without mallet dampening.

Étude 31Element 4: Chords in arpeggio.This étude consists of a rhythmicized, chordal melody line played in the right hand. It is accompanied by alternating major and minor thirds in the left hand, played in a complementary rhythmic pattern. This pattern is the same as in Étude 20 and 35. A particular challenge lies in that the arpeggio line is played in one hand only. It is important to achieve a good balance between foreground and background.

Étude 32Element 5: Intervals.This is another étude where the focus is on intervals. The intervals are played together and broken. Try to achieve a good flow between broken and chordal intervals. Be aware of stresses, especially where a chordal interval occurs on an unstressed beat.

Étude 33Element 6: Chords in block.This étude consists of chords in open position with a line inserted, first as single notes and subsequently as intervals. The relationship between the chords and the linear element, paying attention to foreground and background, can be approached in different ways.

Étude 34Element 7: Tremolo.This étude does not in fact contain any tremolo, but uses instead a technique called rubbing to produce a sustained sound. The haze of sound created by rubbing should not be too dominant, it should be a faint mist in the background. It is not necessary to use hard mallets; soft yarn mallets usually produce a good result. Take your time and allow the bars to ring.

Étude 35Element 8: Big leaps.This étude contains rapid figures that alternate between the extremities of the range of the instrument. The rhythmic figure here is the same as in Étude 20. One particular challenge here is that the pedal must be held down throughout the entire section. Be particular about the attack point in the chords in the final section and in the disjointed line in the middle section.

Étude 36Element 9: Polyphony.This étude contains passages that demand considerable independence of the two hands. One particular challenge lies in the sections with repeated notes in the right hand, where the right hand must not be influenced of the sometimes abrupt gestures in the left. The middle section is highly demanding also with rhythmically independent intervals in both hands. Be sure to achieve a good tone on both notes of the intervals, and try to emphasise the thematic material.

M-H 3600

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1 19.11.14 - 09:41Etyde 19 ver03.musx

Etyde 19 ver03.musxVibrafon Étude 19 Vibraphone

27

M-H 3600

&

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44

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≈ rœ# ‰ œ œ ‰ œ ‰ œ œ ≈ œ ≈

≈ œ# œ ≈ ≈ œ œ ≈ ≈ rœ ‰ œ œ ≈ œ

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19.11.14Etyde 20 ver04


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4 19.11.14 - 09:43Etyde 19 ver03.musx

Étude 20 Vibraphone

31

M-H 3600

& 44œ>

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‰ œ œ œ ≈ œ œb ≈ œn .≈

f

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≈ œ. ‰ œb œb ≈ œ œ‰ R

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Etyde 21 ver03Vibraphone Étude 21 Vibraphone

38

M-H 3600

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‰ œœ œ œb

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‰ œb œ œ# œbœ œn

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œ

œb œb œb œ œ ‰

25.11.14Etyde 22 ver10


&56 œb œ> œ œ> œ œ œ œ œ œ œb œb > œn œ œ œ œ> œ# œ œ œ# œ œ œ> œ# > œ œ œ œn > œ œ œ

&58

œ œ œb œ# œ œb œb > œ œ# œ œ œ# > œ œ œ œ œ œb œ> œ> œn œ œ œ œ œ> œ œ œ œb œ œb

& 42 4460 œb œ> œ œb œb œ œ> œ œ œ œ œn œ œ> œ# > œ œb œb œn œ œ œ# œn .

& 4462

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œb .‰ œ œ# ≈ œb

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‰ œ# œ# œ ‰ œ œ ‰ œ œb œb ≈ œ# .‰ œ œ# œ ≈ œ œ#

≈œ.

≈ œ.‰ œ œb

&71

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3 19.11.14Etyde 21 ver04.musx


41

M-H 3600

&

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43

43.˙

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p f

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Etyde 23 ver06.musxVibraphone Étude 23 Vibraphone

44

M-H 3600

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26.11.14Etyde 24 ver05

Etyde 24Vibraphone

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5 19.11.14Etyde 23 ver06.musx


49

M-H 3600

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26.11.14Etyde 25 ver04

Etyde 25Vibraphone Étude 25 Vibraphone

53

M-H 3600

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19.11.14Etyde 26 ver02

Etyde 26ver02Vibraphone 1 staff

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2 19.11.14Etyde 25 ver04


55

M-H 3600

& 47 œ œ# œ# œ œb œ œ œb œ œn œ# œ œ œn œb œ œ œ œb œ œ# œ œ œb œn œ# œ œAllegro molto

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(q = 130)

legato

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&

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6

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6

œ œ# œ œ œ œ œb œ œb œ œn œb œ œ

(q = 100)Moderato

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6 6

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&

&

8

Œ ≈ œbœ

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œb œn ‰ .6

œb œ œ# œ# œ œb œ œn œb œ œ œn œn œ#



58

M-H 3600

&

&

44

44

∑


π Ped. sempre to end

Ascoltare e sensibile q = 72

Quintuplets to be played by left hand only

∑


∑


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˙


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&

5

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≈ œb + œ+ ≈œb + œ+ ≈ œb + œ+ ≈ œb + œ+

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pp

1 25.11.14 - 14:52Etyde 28

Etyde 28Vibrafon Étude 28 Vibraphone

64

M-H 3600

&

&

44

44

41

41

44

44

45

45

œ œ‰ œ ≈

œ œ ‰ Rœ ≈ œ# œ ‰

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œ ‰œ# œ# ≈ œ

‰œb œb

Fast {q = c 130}

f

œœb

b>

∑

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≈œb œb ‰

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&

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45

45

44

44

4 ww> œ

œ

∑

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≈ rœ ‰

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&

47

47

44

44

7 œ œ ‰ œb ≈ œb œ ‰ rœ ≈

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.˙˙

∑

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44

45

45

44

44

9 œ œ ‰ œ ≈ œ# œ ‰ Rœb ≈ œ œb ‰

‰œ# œ#

≈ rœ ‰

œ œ ≈ œ‰

œ œ

wwb

b > œœ

∑

&

&

44

44

49

49

11œ œ

‰ œb ≈ œb œ ‰ Rœn ≈ œ# œ ‰

‰œ# œ#

≈ rœ

‰œb œ ≈ œ ‰

œ œ

ww> w

w Œ

∑

20.11.14Etyde 29

Vibraphone Etyde 29 ver04Étude 29 Vibraphone

70

M-H 3600

& œ œ œ œ# Rœ>

ƒ

Fast{ q = c 130}

œ œ œ œb œ œ œ œ œ œb >Rœ

œ œ œ œb œ œ œ œ>œ œ œ œb œ œ œ œb >

Jœ Rœ

&5

œ œb œb œ œ œb œ>r

œr

œ œ> œRœ œ œ œ œb œ œ œ œ œ œ ˙b >

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&8

œ œb œb œ œ œb œb œ œb œb œ œb œ>

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œ œ œ œb œ œ œ œ œ œ œ# œ œ>Jœ

œ œb œb œ>r

œ

&17

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&21

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& 4425

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20.11.14Etyde 30 ver07notasjon.musx

Etyde 30 ver07(notasjon)Vibraphone Étude 30 Vibraphone

76

M-H 3600

&

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44

44


Jœ

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&

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≈ ≈œœ

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16.01.15Etyde 31 ver04


81

M-H 3600

& 44œ#

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œ œ œœ œ

3 3 3 3p

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25.11.14Etyde 32 ver05

Etyde 32 ver05Vibraphone&

&

37

œ# œ ≈œ œ œ œ œb œ# œ œ ≈

≈œœ

≈ œœ‰ r

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œœb‰

œœ≈ œœ œœ

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≈œœ œœ

≈ ≈œœn ≈ œœ

≈œœ œœ

≈

&

&

39

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œ ≈ œ#

≈œœ œœ

≈ ≈ rœœ

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≈ œœ≈

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œ ≈ œb œb œ# ≈ œ œ ≈ œ œ ≈

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≈ ≈œœ

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&

&

41 œb ≈ œ# œ ≈ œb œ œ œ‰ ‰

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≈œœ œœ

≈œœ œœ

‰ rœœ

≈ ‰ Œf

œb œ œ œ œ œ œ œ œ œ œJœ

‰

∑

&

&

43



∑

≈ œ œ# ≈ œ ≈œb œ ≈ œ

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Etyde 36 ver08.musxVibraphone Étude 36 Vibraphone

97

a book of Études - kjell samkopf · 2019. 11. 30. · vibraphone etyde 23 ver06.musx 18 Études...

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