by Jon Madin

The CD The CD features a version of each tune in the book (except the last one). In many pieces I have included other instruments - especially saxophones and accordion and other melody lines and improvisations. The recording represents one possible way of presenting the pieces. Interpret these arrangements any way you like.

Introduction by Jon Madin This collection of marimba pieces follows on from Marimba Music I which was published in 1994 These are the tunes I have been using in my school and festivals workshops over the last few years. They are suitable for grades 3 and up The arrangements have been tailored for the 3 player, 31/2 octave, diatonic marimba, but are also suitable for ensembles of xylophones, glocks, recorders and keyboards. Many different styles of music are represented. They include reggae, 12 bar blues, gospel, bush dance music, African and Asian influenced pieces, Balkan style tunes as well as a piece for home made parade instruments. This is music for groups of 3-30 (or more) people with the emphasis on the enjoyment of making music together. Listening, feeling the pulse of the music and being aware of the balance of the parts are the priority. When you have the basics of a piece learnt, think of ways of extending the experience either by arranging it, varying the instrumentation or by making it 'useful'. It is useful if it can be used to accompany a dance, a song, a drama item or just as it is in a concert situation. When I have only limited teaching time, a basic version of the tune is taught. For example with Captain Bob, I use a simplified version of the melody and no second part. Repeated patterns of notes, sequences and scale passages are common in these tunes. The rationale is that it makes the tunes easy to teach aurally. There is no need for the students to stare at printed music or charts. I find they become fixated on the written score and don't 'feel' or move with the music.

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Contents Introduction Teaching Hints Captain Bob The Bridge at Mostar The Ocean Kakadu Kolo My Father's House Albatross Rock Street Parade Music Walkin' the Buzz Qucikstep Heel and Toe and Tea at Vees Tomalom Township Taxi Bendigo and Bali Bogalot Road The Lost Dog Waltz The Road to Anakie The Road to Anakie (in G) Temperature's Rising Shepherd's Dance Extracts from Pachebrel's Famous Canon Profile

Jon Madin Jon Madin has been running workshops in marimba playing for 6 years. He has also been involved in designing and making marimbas and other do-it-yourself instruments. His musical background includes playing in bush and old-timey bands, playing in early music consorts and an orchestra, singing in choirs and exploring the sound possibilities of many ethnic and wacky instruments. He has also taught classroom music at all school levels.

Teaching styles vary enormously and different approaches work for different people. Here are a few of my idiosyncrasies. Ask students to practice their music by tapping on the bars with their fingers. Leave the sticks aside until they know their part reasonably well. Don't bother with 'correct' stick technique initially. The whole notion of having to play something 'correctly' or being overly concerned with technique (often for its own sake) gets in the way of having a joyful musical experience. Keep preliminary exercises to a minimum - unless they are fun in themselves. The students want to make music! Being receptive to conducting (in the orchestral sense) doesn't come easily to children. Using a guitar, clapping, singing or a piano accordion can keep everyone in time. After a while they'll keep good time themselves. Don't ask students to memorise complex arrangements of a tune. This is an intellectual rather than a musical or 'fun' exercise. There are too many ways to go wrong. Ask the students for arrangement ideas, lyrics, dance movements and ways to connect pieces with a storyline to construct a musical. It's amazing what they come up with. Don't ask kids to sing and play marimbas at the same time. They find it difficult. Try having a few playing marimbas while most people sing. Then everybody can play for a while. In a concert try to get the audience involved somehow - clapping, moving, chanting, singing, playing and dancing are all possibilities.