by Jon Madin

Introduction This is a collection of music either composed or adapted for diatonic marimbas and other instruments. In choosing these pieces, simplicity in at least 1 or 2 parts was a priority in order to make the music accessible to groups of mixed musical abil-ity. Most of these pieces have been played successfully in situations ranging from primary and secondary school workshops to community groups and festival sessions. Adaptation is often necessary - a simpler version of a piece, e.g. using only the first half of the melody, or only the ostinatos and some percussion, can still sound great. A few more challenging pieces and variations have been included -there are usually some accomplished musicians in any group. My approach is to use simple music as a vehicle for a successful group musical experience. Struggling with technically demanding pieces is not appropriate for non-musicians or young beginners.

About the Marimba Marimbas are xylophones with a deeper range of notes. The diatonic marimbas for which these arrangements are intended are derived from instruments that Andy Rigby played in Zimbabwe and Botswana. Initially we made a set of marimbas based on the African instruments. I then combined a soprano and tenor xylophone into one 3_ octave marimba (a bit like the long Central American multi-player marimbas) and designed a box resonator system for it. This configuration has proved suitable for construction by amateurs and by school working-bee groups. An illustrated instruction book for making this type of marimba as well as a pipe-resonated version is now available. (Details are in the back of this book).

CONTENTS Catchbottle Grace and Favour Hot Cross Buns / Old Joe Clark Drumcondra Waltz Antigravity Kalendara / Bannielou Lambaol Hurstbridge Kids El Condor Pasa BorisTheBassman Hopscotch Clouds Banuwa Canon by Purcell Charlotte Wimoweh The Rocking Dogs

Learning the pieces This book should be used in conjunction with the CD Marimba Music 1. As well as demonstrating the melodies, basslines etc., you can also gauge appropriate playing styles, moods, arrangements and instrumentation possibilities better than from this book alone. If you read music, use these scores imaginatively. The rhythms and melodies of some pieces, e.g. Boris and Clouds, have been simplified slightly for the book. Keep in mind also that tunes like Boris, Catchbottle and the Drumcondra Waltz make effective pieces with only the first half played repeatedly. The second half could be tackled by more advanced players, resulting in a verse/chorus effect. Chop-sticks sounds good like this at festivals. Everyone can manage the first half- only a few the second! I teach these tunes by playing a short section (sing-ing the note names at the same time) and asking the players to copy me. Add more sections then try the whole line. Mix in the bass, middle and percussion parts and you have the basis of a piece of music. Jon