A Performance Guide and Theorical Study of Keiko Abe's Marimba d'Amore and Prism Rhapsody for Marimba and Orchestra Page: 48

                                
A slight modification to the grip can be made to avoid any undesired contact with mallets
2-5. By lifting the middle mallet out of the way with the index finger (Fig. 11), it is possible to
play the melodic lines with the outer mallets (1 and 3, 4 and 6 respectively) in each hand without
hitting any undesired note with mallets 2-5.
Figure 11- Six Mallets "Burton" Grip Modification
Performance Consideration in the Cadenza
The cadenza in mm.223 presents several performance issues that must be addressed in
order to play this section in the correct style. Through this section, Abe us es several musical
devices characteristic of her musical style. Among them are the rhythmic patterns, dissonance
harmonies and ostinatos. The cadenza begins with a series of dissonance chords based on the
augmented 4th interval. Those chords at mm.223 must be played with the precise articulation
and rhythmic value. These chords need to have a dramatic "surprise" effect in the piece (Ex. 54).
Example 54- Cadenza- m. 223
Cadenza (.b- 92)" *!,@

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