A Study in Cross-Instrumental Adaptation Arranging Marimba Solo Repertoire to Carillon - Naoko Tsujita

This thesis introduces the marimba instrument and examines the process of adapting well-known marimba solo compositions for performance on the carillon, with a focus on works by Keiko Abe, Emmanuel Séjourné, Michael Burritt, Anna Ignatowicz, and Ludwig Albert. While both the marimba and carillon are keyboard percussion instruments, they differ significantly in their acoustic properties, performance techniques, and physical mechanics. This study addresses the practical and artistic challenges of cross-instrumental transcription by analyzing four key factors: register (octave placement), transposition, tremolo execution, and treatment of arpeggios and scales.

Each case study presents unique challenges due to the carillon’s limited range, heavy key action, and long bell resonance, especially in the lower register. By comparing idiomatic marimba writing with the technical and acoustic constraints of the carillon, this thesis demonstrates how transposition, octave displacement, and revoicing can preserve the musical integrity of the original works. Examples include adjusting tremolo passages to accommodate the carillon’s resonance, inverting melodic and harmonic lines to avoid muddiness in the bass, and revoicing chords for improved clarity and playability.

In addition to transcription strategies, this research contributes to a growing body of knowledge aimed at expanding the repertoire of the carillon. The study offers practical insights for performers and composers interested in arranging percussion works for carillon or writing original music inspired by percussion keyboard idioms. By bridging the gap between these two instruments, this thesis encourages collaboration between marimbists and carillonneurs, opening up new possibilities for chamber music and solo repertoire.