Practice Techniques in Gypsy Tonic by Jesse Monkman and Texas Hoedown by David Friedman

Abstract

The research aims to interpret the selected pieces, analyze techniques, and suggest practice methods to increase the capability of the performance. This study focuses on articulation, dynamic, stroke, sticking, mallet position on marimba and vibraphone, pedaling and dampening on vibraphone. The researcher interpreted and interpolated the dynamic from the melodic direction. There were seven types of strokes, including staccato stroke, legato stroke, up stroke, single alternating strokes, single independent strokes, double vertical strokes, and double lateral strokes. Sticking, in most cases, depends on the individual's aptitude, but some points were confused and must be reconsidered. In addition, the striking position was mostly on the center of the bars, but with interpretation and limitations, the researcher also hit the edge of the bars as well. In Texas Hoedown, the researcher employed three pedaling types:rhythmic pedaling, half-pedaling, and after pedaling. In addition, the researcher added dampening at a point that was considered appropriate and used three damping types: opposite hand dampening, slide damping, and dead stroke to make the piece more complete.