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SIX

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by Ruud

VIBRAPHONE Wiener

RAWI PERCUSSION PUBLICATIONS 1983 All

Explanation of symbols The mallets are numbered:

: stopped notes, so strike and dampen at the same time.

r* LH! : dampening on the second 8th of the beat.

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: following a note indicates dampening the bar with a mallet, without raising the pedal. : play as arpeggio.

As far as possible, pedal markings are exact. Nevertheless, the use of the pedal depends on certain circumstances, such as the timbre of the instrument and the acoustics of the room. The pedal is of course an expressive medium and its usage remains subservient to the musical ideal. These pieces can be played with the motor on, at very slow speed only.

SKYWAY This composition has its roots in the jazz-rock idiom. Play it with regular, taut eighth-notes. Pay great attention to dynamics, especially to the relationship of the two hands. The piece works well with the motor on, at very slow speed. Ruud Wiener 1983

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THE ONE-MINUTE-MALLET-SOLO This piece was written in order to stimulate the development of mallet independence. No matter that the printed music has the appearance of an etude - musical expression is most important. Pay particular attention to the terrace dynamics; the contrasting crescendi and diminuendi must be intra-proportionate. Begin practice very slowly, if desired without pedal. Ruud Wiener 1981

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MYSTERIOUS NIGHTS This piece is based on tone-repetitions. Keep the wrists relaxed and mind the regularity of the sixteenth-notes. The melody becomes ever more important; let it predominate. Observe the staccato and portato indications. Ruud Wiener 1982

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LITTLE LOVE SONG This piece should be played slowly, rubato. The melody should predominate. Keep hand- and arm-movements supple. It may be necessary to practice the double stops in the right hand separately. Ruud Wiener 1981

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At first appearance, this solo consists of melody and accompaniment. There are however several places where the texture becomes polyphonic, e.g. in the third and fourth measure. The notes - in the lower clefshould be rendered as such. In the subsequent episode (change of key signature) the main voice is more predominant; the melody should sound stronger than the accompaniment. Avoid an excessively scholastic interpretation of the eighth-notes. The short improvisations must of course be derived from the musical 3 2 1 material which precede - or succeed - them. Use the tones from the indicated scales.

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