Four-Mallet Progressive Literature

A companion to Four-Mallet Method for Marimba; 45 solos that focus on double vertical strokes, single alternating strokes, rolls, and single independent strokes.

-MOYER/FMPL , , , ,
James Moyer is chairman of the Department of Fine & Performing Arts and Director of Bands at Texas A&M International University.

Four-Mallet Progressive Literature is designed to be a companion to my Four-Mallet Method for Marimba. The music selected for this text represents guitar and keyboard literature of major composers from the 16th through 19th centuries.

Four-Mallet Progressive Literature includes 45 solos that are categorized into four different four-mallet techniques: double vertical strokes, single alternating strokes, rolls, and single independent strokes. Music is presented in order of difficulty within each section to allow a logical progression of study through each stroke type.

Please note that I have chosen not to include stickings in this volume. This allows both the student and the teacher the freedom to develop their own criteria for sticking for each work. Students should learn this skill as they progress through the vast literature for marimba.

In general, it is recommended that the student complete study of each stroke type first in Four-Mallet Method for Marimba, including etudes and literature in each section. Only after each section is completed should the student begin study of the graded literature in this volume. Great care was taken to include works of major composers at an appropriate level of difficulty for the beginning marimba student. As as result, I suggest that each section be approached in the order it is presented. Please do not skip around.

The rolls section of Four-Mallet Progressive Literature can be played with both double vertical and sequential rolls. Generally, wide intervals in each hand, and between hands, will be smoother using the double vertical roll. Beyond that, I suggest experimenting with roll types to make the best musical decisions for each work.

Finally, much of the music in this volume includes a combination of different stroke types. Selections were grouped based on the predominant stroke type employed in each piece. The music was transcribed to fit within the range of a standard 4.3 octave marimba.

– James Moyer



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