Establishing Your Originality

Nanae Mimura is hailed as one of the most exciting marimba virtuosos of her generation, receiving tremendous praise for both her technical mastery and depth of expression. Winner of the 1999 Concert Artists Guild Competition, she is also the recipient of the prestigious Percussive Arts Society Competition Solo Marimba Prize, the Settimane Musicale di Lugano Solo Competition Prize, and the Japan Percussion Society Award.
She has performed numerous concerts in the USA, Japan, Central America, South America, Europe, and Asia since her debut in 1999. Sony Classical Japan released her debut CD recording, “Marimba Spiritual” in 2000, followed by an extensive Sony “Image” Tour of Japan. Recently, her second CD recording, “Universe” has been released in 2002. She has been featured on radio, television, and in the media throughout Japan. She finished her Master degree in Marimba at The Boston Conservatory in the spring of 2000. Currently, she is a part time faculty at Berklee College of Music in Boston, while she performs concerts in all over the world.

A Way to a Meaningful Performance

People who I admire move me in many ways through their great abilities to communicate. They could be movie stars, authors, musicians, or just close friends around me. After wondering how they affected me, I realized they all have something in common. They all know who they really are, and they all have a deep understanding of what they are trying to convey, each through a unique talent. This probably means that they have already established their identities in their own ways. As a musician, I strive to make my audience feel good about my performance. I do not think it is wrong for me to say that all musicians wish to move audiences with their music. In order to do this, it is most important to really know yourself.

It is essential for you to find out and know what you are good at and what kind of music brings out your best. I teach undergraduate students at the Berklee College of Music. Most of them do not know their abilities as musicians yet. Of course, part of my job is to help them with their technical weakness. It is very important to pay attention to your weakness and overcome that, because you want to give a “high quality performance.” However, that is not the only thing I spend time on. I put a lot of emphasis on helping them find their strong qualities and how to amplify them. I do this so they know and accept their unique qualities, which will lead them to achieve a “meaningful performance.” I believe that meaningful performances (or concerts in which you actually communicate your feelings and thoughts to your audience through music) happen only when you make full use of your best qualities as a musician.

In any setting, when a person wants to communicate with others, one needs to have “confidence” and “persuasive power.” For example, if I want to persuade someone about something about which I have little understanding, I would try to use someone else’s words or surface knowledge that I obtained from a book. Even if I were able to make sense with words, those words might not have enough power to affect anyone. In order to have successful communication, I need to have a deeprooted knowledge. The same thing applies to musical performances. They come from having a deeprooted knowledge of your instrument, as well as carefully chosen repertoire that best reflects your qualities. In addition, much care should be put into phrasing, as well as mallet choice and stroke. You must have a clear vision of what it is that you would like to convey to your audience.

Remember, you need to have a good understanding about yourself. It is when you are confident of your intention that your originality and identity will be established. With that, your music will become more meaningful and you will be able to give a performance that has power to affect your audience. This is why I strongly believe that having an original identity is one of the most important elements of being an artist.

Originally posted as part of Yamaha’s “Tips From the Pros” campaign

Six-Mallet Independence

A New Twist on an Old Idea

Dean Gronemeier serves as the Director of Percussion Studies at the University of Nevada, Las Vegas, where he also serves the College of Fine Arts as the Associate Dean. Dean is the committee chair for designing and implementing a new Master of Marimba degree at UNICACH in Tuxtla Gutierrez, Chiapas, in Mexico. He also served for two years as a member of the percussion faculty at UNAM (La universidad nacional autonoma de México) in Mexico City.
Along with being a percussion educator, Gronemeier is an active clinician for the Yamaha Corporation of America, SABIAN Cymbals, and Mike Balter Mallets. He has soloed extensively throughout the United States and Mexico, as well as making appearances as a soloist in England, France, Switzerland, Austria, Germany, Australia, and Chile.
Dr. Gronemeier received his Doctor of Musical Arts degree and his Masters of Music degree from The University of Arizona where he studied with Gary Cook. He received his Bachelor of Music degree from Northern Illinois University where he studied with Rich Holly, Robert Chappell, and Al O’Connor. In December of 2001 Gronemeier received his Juris Doctorate degree from the William S. Boyd School of Law on the campus of the University of Nevada, Las Vegas.
Dean Gronemeier performs on the YM-4900 marimba, SABIAN cymbals, and the Shadow Series mallets by Mike Balter.

Some time ago I had an idea to develop greater mallet independence by using a six-mallet technique. The basis is a non-crossed Musser grip with a Burton cross-grip superimposed where the inside mallet would normally be on the four-mallet grip (see photograph #1). This grip allows for independence of all six mallets, and always the use of any two mallets in a hand without any employing the third in the same hand. In addition to the basic independence, one has the facility to expand and contract intervals within each hand, along with performing such techniques as a one-handed, three-mallet roll.

The numbering of mallets used in this article is 1-6, from the left hand bass to the right hand soprano respectively. Photograph #1 is of the right hand, mallets 4-6. To obtain the six-mallet, independent grip, begin by holding mallets 5 and 6 with the Musser grip, then cross mallet 4 underneath mallet 5.

Though years of experimentation, I have developed three basic mallet positions along with various embellishments for each position. Let us begin with the most basic, First Position.

First  Position is the most basic position to learn because it is the most natural. Referring to photograph #2, mallets 4 and 5 are on the inside of the hand, spread apart from mallet 6 which is on the outside of the hand. First Position is most  similar to the Musser grip with the exception of the two mallets extending from the thumb and index finger instead of just one. This position is used when there is a relatively large interval between mallets 5 and 6.

Second Position is formed when the thumb is pressed between mallets 4 and 5, therefore expanding the interval between them. As seen in photograph #3, mallets 4 and 5 are not manipulated by the pad of the thumb as they were in First Position. Instead, mallet 5 is controlled by the index finger and the inside of the thumb and mallet 4 is controlled by the index finger and the outside of the thumb. Second Position is generally used when equal intervals between the mallets are needed.

Often in six-mallet playing, tonal passages lend themselves to a voicing consisting of the tonic, fifth, and the octave. This occurs more often in the left hand as it generally plays the harmony of a particular passage. This mallet positioning occurs often enough to warrant its own title of 158 (tonic, fifth, octave) or Expanded Second Position. The 158 is achieved by widening the distance between mallets 4 and 6. First, push mallet 4 with the index finger while maintaining the approximate equal interval with mallet 5 by sliding the thumb up mallet 5 (see photograph #4).

The Third Position is formed when mallet 5 is positioned next to mallet 6. Due to the larger distance between mallets 4 and 5, playing in Third Position requires the least natural hand position. To position these intervals, the index finger and pad of the thumb must control mallet 5 by collapsing the index finger towards mallet 6 (see photograph #5).

 

 

Along with explaining the basic hand positions used for six-mallet independence, it is important to consider some of the more common manipulations performed within the boundaries of the three positions. First, let us consider the hand position locks. The position locks are generally used when the intervals played in any given hand position remain constant for an extended period of time.

 

Of all the position locks, the First Position Squeeze, is the most sensitive due to the minute hand movement used. One may need to employ the First Position Squeeze when playing a consistent interval between mallets 5 and 6 while these mallets are positioned at a sizable intervalic distance away from mallet 4. Basically, the squeeze is realized by pulling the index finger down slightly while applying additional pressure to the thumb via the crossed mallets. This additional pressure helps to secure that the crossed mallets will not slip from their interval. Photograph #6 illustrates a common hand position for which the First Position Squeeze is used.

While playing in closed Second Position it is often necessary to employ the Palm Lock. For example, in the piece “Distinctive Personality,” (M.Baker Publications; 1995) the performer plays a DF#- A# augmented triad in the right hand which serves as the harmony to the left hand melody. Since the triad plays this chord for an extended period of time with a triplet rhythm, it makes good sense to incorporate the Palm Lock. The Palm Lock is achieved by squeezing or contracting the muscles of the hand around the previously established Second Position intervals. Be careful, however, not to change the intervals when squeezing. Otherwise stated, the hand must be locked evenly. Photograph #7 demonstrates the sliding of the fingers and the overall manipulation of the hand to hold the Second Position Palm Lock.

Due to the very unnatural hand positioning used to play in Third Position, it is often necessary to employ the Third Position Lock. This lock is especially called upon when playing a physically demanding passage in the Third Position for an extended period of time. In the piece “Roccata” (M.Baker Publications; 1995), for example, the right and plays nearly the entire piece in Third Position. The part is fast, as it is a toccata tempo and the right hand has the additional demand of controlling the dynamic nuances. This lock is achieved by simply putting the index finger above mallet 5 as opposed to below mallet 5 as would be the case in standard Third Position playing. Compare photograph #8 to photograph #5 to see the alteration. The performer must be aware, however, that when the Third Position Lock is engaged, it is very difficult to change mallet positions rapidly.

Certain intervalic positions on the marimba are extremely difficult to achieve, and sometimes impossible. For example, the major triad in root position Eb-G-Bb does not lend itself to be performed with one hand. Quite simply, the mallets do not shape in the formation necessary to play that chord.

Many difficult triads can be played with some slight alterations of trajectory direction. For example, the root position of D-F#-A can be played by raising the hand and somewhat pulling the mallets toward you. This pulling helps to avoid the nodes on the D and A, and a resonant sound can be obtained. Notice in photograph #10 that by lifting and pulling the hand, the nodes are avoided on the D and the A. I call this motion the Manual Pull.

Let us consider, for example, the major triad root position B-D#-F#. In this case, I suggest a slight pushing motion. This push is no where near the amount of pull one would use for the Manual Pull, but I feel a slight push helps keep the mallets more stable for better accuracy. I call this motion the Manual Push. Photograph #11 illustrates a common mallet position for which the Manual Push would be employed.

In closing this article I would like to mention, that through the explanations of the aforementioned
hand positions and mallet manipulation, I hope the  concept of independence with six mallets becomes clearer to the marimba aficionado. In recent years, there has been a considerable amount of study done pertaining to the idiosyncrasies involved with sixmallet independence, and it is my sincere hope that this article inspires those interested to further analyze and expand the capabilities of this technique.

                     Originally posted as part of Yamaha’s “Tips From the Pros” campaign

The Timpani: Understanding the Mystery

Timpanist, Stanley Leonard, is a noted performing artist, prolific composer and
dedicated percussion teacher and mentor. Leonard achieved prominence in the music world during a 38-year career as principal timpanist of the Pittsburgh Symphony Orchestra and member of the faculties of Duquesne and Carnegie-
Mellon Universities. Leonard is currently an artist in residence at Duquesne University and a Yamaha performing artist. He is the author of Pedal Technique for the Timpani, a well-known method book unique in its field. He conducted,
and can be heard performing his own compositions on the compact disk Canticle, distributed by Ludwig Music.

By:  Stanley Leonard

There is a certain mystery about the percussion instruments called the timpani or kettledrums. These large, imposing instruments add color and drama to band and orchestral music. When played correctly, their voice brings dimension and style to the ensemble sound like no other instrument. Realizing the timpani’s full musical potential, however, is sometimes an elusive goal for the student musician. The focus of this article is to remove the mystery about the timpani, and to help performers and teachers begin the process toward higher levels of musical performance and achievement.

Understanding the musical role of the timpani

Boom, bam, boom is not the musical role of the timpani. The sound of the timpani, with correct intonation and pitch, reinforces the harmonic character of music. It adds depth and increased dimension to the bass line. Its sound affects the character of musical expression in a performance. The timpani can create solidarity in the rhythmic articulation of an ensemble.

The timpani must be performed with a sense of their role in the musical balance of an ensemble. There are times when the timpani must be heard and take a leading role. There are moments in the music when the timpani are to blend and support the music. It is important for the timpanist to listen to the music and create the sound character of the timpani in keeping with the character of the music being performed.

Becoming familiar with the instrument and its mechanical functioning

The single timpano or kettledrum is not a stand-alone instrument. It needs at least a partner to become the console of the timpani. Regardless of the number of additional drums, the console plays as one instrumental voice. Each drum in this console has a specific range of pitches that are determined by the size of the timpano involved. The larger the drum, the lower the pitches that can be played on that drum. The smaller the drum, the higher the pitches possible. Here is a chart that spells out the pitch range of a typical timpani console of four drums: Each timpano in this console has a voice that allows it to “sing” in a particular musical range of pitches. The performer must be aware of the pitch range of each drum in order to play the pitches indicated in the music on the proper drum in the console. Attempting to play a pitch on a drum that cannot sing that note is like trying to fit a square peg in a round hole. It will produce an unsatisfactory musical result and may damage the instrument.

The Drumhead

The drumhead provides the timpano with a voice. Most schools today use plastic heads on their timpani. Some professional performers continue to use traditional calfskin heads. The manmade plastic membrane is very strong and is capable of taking considerable abuse. A drumhead that is protected and performed on correctly will produce a satisfactory musical result for a long time. The trick here is to not abuse it!

Do not play on the head with any implements other than proper timpani sticks. Cover the head with a hard protective disc after playing and do not set objects on top of it. It is not a table. Keep the head clean by wiping it with a damp cloth or paper towel and then drying it afterward. The drumhead must be carefully tuned. The pitch at each tuning screws should sound the same. Listen for the pitch relationship between the tuning screws that are opposite each other on the drumhead.

The Bowl

The bowl of the timpano is made from copper or fiberglass. It is the resonating chamber of the instrument and amplifies the sound of the head after it is struck. A bowl made from copper will dent. A dented bowl looses its amplifying power. Take every precaution to avoid denting the bowl of the timpano. The bearing edge (the peak of the bowl over which the head is stretched) of the bowl should be even and smooth or the drumhead will not vibrate properly. The timpano will be unable to “sing” with its true voice. Be careful when moving the instrument and placing it in a stored position so as not to dent the bowl or damage the bowl’s bearing edge.

The Pedal

The pedal is the most unique part of the timpano’s mechanical parts. It allows the performer to change the tension of the counterhoop on the drumhead, changing its pitch, without adjusting the tuning screws. The pedal mechanism is attached to rods that control the tension of the counterhoop on the drumhead. When the pedal is depressed, the rods pull the counterhoop down, increasing the tension on the head and raising the pitch of the drumhead. Reversing this pedal motion releases the tension on the counterhoop, lowering the pitch. The pedal mechanism includes all the moving parts of a pedal timpano. It is important that all these moving parts are kept clean, and lubricated.

Arrange the drums in the timpani console so that the pedals always face the performer and are within easy reach of both feet. Pedals should be left in a midrange position, keeping tension on the head, when the drums are stored.

Producing a Quality Sound

A singing sound on the kettledrum is produced by the combination of a musical stroke played on the proper beating spot of a correctly-tuned drumhead. A musical stroke is one that attempts to lift the sound out of the drum, not push the sound down into the bowl. This is accomplished by lifting the stick quickly off the drumhead after striking it. The stroke needs to energize the drumhead to vibrate freely. Pushing down on the drumhead hinders the vibrating potential of the head.

The performer must play with a variety of musical tone characteristics. Performance techniques should be developed for playing legato and staccato strokes. In addition to stroke articulation, a variety of timpani sticks are used to produce different tone colors: larger, soft felt sticks, for soft, full sounds; a medium-hard pair of felt sticks for general playing; and a pair of sticks with small, hard heads for loud, rhythmic articulation.

The beating spot (the spot on the drumhead where it is played) of the timpano head is always between the tuning screws facing the performer. Imagine an arc reaching out about three to four inches from the rim of the bowl between the screws. Always play within this arc to produce the best sound. The sticks should utilize a good portion of this area while playing. Strike the beating spot three inches from the bearing edge. Do not keep the heads of the sticks too close together when striking the drumhead. Utilize a large area of the beating spot when producing the sound.

Remember, it is the stroke that articulates the music. Be sure to strike each drumhead in the timpani console in the correct beating spot. The player’s position in relationship to the drums is a key element in doing this. Some timpanists stand while performing, others play from a sitting position. The recommended position is seated on a stool that is high enough to allow the timpanist’s arms, while playing, to be slightly above the edge of the drum. From a seated position, the player is able to maintain a consistent performing relationship to each drum in the timpani console. This consistent physical relationship provides accuracy in striking the beating spot and helps control the motion of the stroke as the player moves from one drum to another in the console.

The mysteries of the timpani are dispelled as the performer begins the process of understanding and applies the fundamentals presented in this article. More detailed musical and technical aspects about the timpani and timpani performance can be addressed as skills progress and the timpanist grows in appreciation of the music created by these wonderful instruments.

Additional sources for study and information:

Fundamental Method for Timpani by Mitchell Peters (Alfred Music)
Pedal Technique for the Timpani by Stanley Leonard (Ludwig Music)
Changing and Tuning Plastic Timpani Heads by Mark Yancich (Video-Collected
Editions, Ltd.)
Concepts for the Timpani by John Beck (Carl Fischer)

Originally posted as part of Yamaha’s “Tips From the Pros” campaign

Developing a Great Sound: The Swing Ride Cymbal Pattern

Michael Gould is an Associate Professor of Music at the University of Michigan. He maintains an active teaching, clinic and performing schedule. Michael is a Yamaha Performing Artist.

by Michael Gould

Sound production on a percussion instrument is often one of the last frontiers a student is faced with before moving on to other, more challenging techniques or another instrument within the percussion family. If one looks at the time a student spends on sound production with other instruments, for example, the trumpet (embouchure, breath support, posture), one quickly realizes that perhaps some more attention should be spent focusing on these issues with percussion. Because a student can achieve an immediate and somewhat recognizable “sound” on any given percussion instrument, especially in comparison with other beginning students on other instruments, sound quality issues usually fall much later in the maturation process of the percussionist. However, the earlier these issues can be addressed in the developing percussionist, the more musical, sensitive and mature he/she will become while performing.

The teacher plays a crucial role in the development of a student’s sound through example. This paradigm has been in existence since the beginning of time–“Hear a great sound, play a great sound!” This is the role of the teacher-student relationship. This can also be achieved through a student’s critical listening of recordings, and watching live and recorded performances. Although the following will detail achieving a great sound on the ride cymbal while playing a swing pattern, the principles of achieving excellent sound production cross-over to every instrument in the percussion family—from beautiful seamless closed rolls, great crashes on cymbals to warm, full-bodied strokes on a timpano.

The following will detail how I develop the ride concept with my students. This process is heavily dependent upon both the student and myself performing each example during the lesson, as well as listening to and playing along with recordings.

Before one even approaches a cymbal or drumset there are three areas that should be addressed in creating a great ride cymbal sound: the stroke, playing area and position of the instrument.

Free-rebound stroke

The stroke is one of the most important components of creating a good tone or sound. The freerebound stroke is well suited for creating a relaxed approach to striking the cymbal, and helps achieve a full, resonant cymbal sound. The following describes the creation of the free-rebound stroke while striking a drum. A similar technique is followed for playing the ride cymbal:

The free-rebound stroke coordinates muscle movements in the fingers and wrist. The two phases of the stroke consist of a down stroke and the contrary upstroke. The down stroke starts with the stick (striking implement), wrist and forearm in a neutral position parallel to the drum. The tip of the stick should reach slightly off center from the middle of the drum. In bending the wrist, the stick should rise about 12 to13 inches above the drum. With a quick whip-like motion of the wrist, similar to casting a fishing rod or bouncing a ball, the stick is propelled to the surface of the drum. The fingers
remain loose, and do not inhibit the motion of the wrist. These are the actions needed to complete the down stroke.

Upon completion of the down stroke, the upstroke begins as the stick rebounds from the tensed surface of the head. The whip-like rebounding action will help bring the stick back to the position it assumed at the beginning
of the down stroke. This type of free-rebound stroke employs the complete range of motion of the wrist and provides the greatest volume. For lower dynamics, the performer begins the downstroke much closer to the striking surface. By decreasing the height of the downstroke, the drum resonates less, which results in decreased dynamics and loss of some sound quality (for a more detailed description of the free-rebound stroke, see Gary Cook’s, Teaching Percussion, Schirmer Books; ISBN: 0028701917).

Playing Area – Position of the Cymbal

Placement of the stick on the ride cymbal dictates the overall tone quality of the instrument. For general ride playing the striking area should be 3~5″ from the edge of the cymbal. As with every cymbal or idiophone, one must experiment to find the best sounding area or “sweet-spot” of each particular instrument. The height, angle and mounting of the cymbal also play a large part in the overall sound of the cymbal. The height of the ride cymbal should be positioned so that the wrist of the percussionist is in a neutral position. This is similar to shaking someone’s hand—the wrist is not bent at a sharp angle. The angle of the cymbal is also critical to sound production. If the angle of the cymbal is too sharp, the cymbal will become choked. It is important to split the difference between getting a great angle for one’s hand position/stroke and not choking the cymbal. The cymbal should remain free-floating on the cymbal stand without being choked by the washer, rubber sleeve or wingnut.

The Breakdown of the Swing Ride Pattern

The Quarter Note Ride Cymbal Pattern

The basis for the swing ride pattern is built off of a four-quarter note pulse in common time (example one). The percussionist should employ the freerebound stroke for each of the four-quarter notes. The grip may be altered from a matched grip to one where the thumb is on top of the stick. This is similar to a French grip used when playing timpani. The hand remains very relaxed.

Example one: Quarter Note Ride Pattern

Two Playing Areas on the Ride Cymbal

Two playing areas are utilized on the cymbal while performing a swing ride pattern. There are several reasons for keeping two distinct areas of attack. First, one wants to differentiate between strong and weak beats. This helps establish an excellent groove and will usually match up very well with the bass player. One does this by alternating beating areas between each quarter note pulse. Second, establishing two striking areas helps keep the cymbal “excited”. If one were to perform in the exact same beating or striking area of the cymbal, one would notice a much drier or dead sound.

It also helps if the student develops a mental-aural concept of a great cymbal sound. The mental-aural concept places an image with the sound of the instrument. It also helps the student hear a great sound before playing one. I like to explain the four-quarter note ride pattern as the sound of someone walking (like a walking bass line) down a very resonant hallway with tap shoes on. This seems to tie together the two areas on the ride cymbal with the gate of someone walking with their left and right feet. During this phase of the pattern, the stick heights should remain at the same height for both playing areas.

Example two: Two Playing Areas

“The Drop”– Stroke and a Bounce

The drop is an integral part of the swing pattern to help relax not only the performer’s approach to playing swing, but to help with the overall “groove.” The “a” of beats two and four lead to beats one and three and can be considered one stroke followed by a bounce (sometimes referred to as a stroke and a bounce). The performer only supplies the upstroke for the last eighth note of the triplet followed by the natural rebound of beat one or three. The stroke height should be the same distance away from the cymbal as beats 2 and 4.

Example three: The Drop—Stroke and a Bounce

Triplet Subdivision or Inner Pulse.

Since swing is generally triplet-based music, one must subdivide the ride pattern in triplets. This will help place each triplet in-time and help with the overall “feel” or “groove” of the style. If the student cannot play the triplets on the snare drum while simultaneously playing the ride cymbal pattern it is important that a metronome or the teacher play triplets with the student.

Example four: Triplet Subdivision or Inner Pulse

Putting It All Together!

The beginning drumset student will have a much better chance of creating a great sounding and grooving cymbal sound and swing pattern by adhering to a relaxed free-rebound stroke with the proper cymbal position and playing area. By critically listening to not only the teacher during lessons, but recordings the student will further develop ideas on sound and ride cymbal patterns. Following these simple steps not only creates a great cymbal sound but a grooving swing pattern. Good Luck.

Overview:

1) Free-rebound stroke
2) Playing Area–Position of the Cymbal
3) The Quarter Note Ride Cymbal Pattern
4) Two Playing Areas on the Ride Cymbal
5) “The Drop”–Stroke and a Bounce
6) Triplet Subdivision or Inner Pulse
7) Now Play!!

Example four: Putting it all Together!

Originally posted as part of Yamaha’s “Tips From the Pros” campaign

Practical Strategies for Teaching Beginning Mallet Instruments

Vicki Peterson Jenks is a Yamaha performing artist. Vicki is also the owner of Jenks Music Studio (Madison), Wisconsin’s largest private percussion studio. Vicki was principal timpanist with the Wisconsin Chamber Orchestra for 21 years.

by Vicki Peterson Jenks

The mallet family includes the xylophone, marimba, orchestra bells, vibraphone and chimes. The xylophone has roots in Africa. Today, bars are made of exotic hardwoods or synthetic materials. Synthetic bars are more durable, seldom need retuning and are cheaper than rosewood. The characteristic “crisp” xylophone sonority is enhanced with medium hard rubber or polyball mallets. Plastic mallets damage bars and must be avoided!

Concert xylophones are three and a half octaves inrange (F45- C88) and sound one octave higher than written. Due to its wide range and tonal warmth, the marimba is the most popular solo mallet instrument. It reinforces lower woodwinds, brass and strings while allowing two to three students to play simultaneously on one instrument. An array of rubber, cord or yarn mallets are utilized.

Marimbas range from two and one half to five octaves with the four and one third octave (A25- C76) most commonly used. Marimbas sound as written.

Today’s tempered steel orchestra bells feature two and one half octave range (F57 or G59- C88), sound two octaves higher than written and are played with rubber, plastic or brass mallets. Bells are soloistic and often double melodic passages.

The vibraphone is the youngest mallet member and was introduced in 1916. Aluminum alloy bars stretch three octaves (F33- F69), sound as written, and are played with cord or yarn mallets. A foot pedal controls tone duration and variable motor speeds provide a subtle musical nuance.

Chimes are vertically-suspended chrome tubes capped at the top. The caps, not the tubes, are struck. A one and one half octave set (C40- F57 or G59) with one and one half inch diameter tubes are most durable and sound best using acrylic (not rawhide) mallets.

The following physical aspects of playing mallet instruments are most efficiently learned by imitating the instructor. Invite student discovery using awareness-learning phrases such as “notice,” “be aware,” “imagine,” “describe,” etc. With the palm facing up, imagine holding a handful of popcorn, and place the mallet shaft between the first joint of index finger and the fleshy pad of the thumb. Curl remaining fingers around the shaft creating a “tube.” Turn your hand over. Notice the thumb resting on the side of the mallet shaft and the index finger which is pointing downward. Also, notice the mallet being held with “relaxed control,” two thirds of the distance from the mallet head.

Center yourself behind the instrument with your feet spread comfortably apart. Shift your lower torso back and forth as though awaiting a tennis serve. This athletic stance delivers the upper torso to the correct basic keyboard area. Relax elbows at your side and adjust your forearms so they are parallel to the floor. Use height adjustable instruments, or two-inch blocks of wood to ensure parallel forearm positioning. Your wrists supply basic motor power to accelerate the mallet heads to the bars. Their primary motion is “down-up” and is called the “piston stroke.” The “piston stroke” doesn’t waste energy as there are no unnecessary stops or directional changes. All motion after contact is in service of the next stroke. The “piston stroke” starts at the correct height for the desired dynamic and recovers only as high as it is necessary for the next dynamic. Keep your wrist and mallet level as close as possible to the keyboard to ensure accuracy! Remember: it is easier to hit a bull’s eye at three inches than at six!

Prior to beginning any formal exercises, it is advisable to get acquainted with the instrument. Here’s an approach – pick out familiar melodies by ear, play just the upper bars using pentatonic improvisation; play thirds and fifths on the lower bars, try a simple C blues walking bass line, etc. Do not use sheet music until the instrument’s “geography” is understood!

Place Preliminary Exercises 1 & 2 and a pencil on the music stand directly in front of the bars to be played with the stand as low as possible. Establish a field of vision where mallets, bars, and music can be seen. After finding “G,” use “hard vision” to play Exercise 1 with one hand. While staring at the pencil, switch hands and play the same exercise. Using “soft vision,” shift your gaze up from the pencil to actual notation and play the next sticking variation. Pretending to look at the conductor, play another sticking. Finally, close your eyes and play the example again.

Preliminary Exercise 2 develops horizontal technique where you feel the distance between bars using kinesthetic and aural senses. To improve reading, I often enlarge music on over-sized paper. Use multicolored hi-lighters to pinpoint identical phrases within the music. I suggest optometric
visits regularly!

Here are some pointers for teaching homogeneous mallet classes:

1. Gather as many keyboards as possible. Include a piano, student bell kit and electronic instruments. Assemble triangles, tambourines, finger cymbals, wrist bells, wind chimes, mark trees, suspended cymbals, temple blocks and rain sticks.
2. Place everything in a circle (with you in the middle), or a 180 degree arc, or in parallel “streets” where “neighbors” (teams) face you on either side. Use a “musical chairs” concept where no one plays the same instrument for the entire class time. Teach holistic, total percussion musicianship from day one.
3. Vary lesson content with a mix of body percussion, dancing, singing, memorization, improvisation and reading. Incorporate TV jingles, pop, seasonal, patriotic, classical and multicultural folk music.
4. Feature your mallet ensemble at concerts by using special costuming, hats and props.
5. Teach pride of ownership by requiring that each student own three pairs of well-labeled mallets and a mallet bag.

Finally, there is a plethora of excellent beginning level mallet literature not limited to, but including these fine composers: Thomas Brown, Anthony Cirone, Randy Eyles, Sandy Feldstein, Murray Houllif, Ruth Jeanne, Arthur Lipner, James Moore, Mitchell Peters, William Schinstine and Garwood Whaley.

“Roll up your shirt sleeves” and dig into the wonderful world of making music with mallets.

Yamaha @ PASIC 2011 – Kirk Gay

Kirk Gay

Saturday, November 12th @ 3:00pm, Room 204

T2 = Tuning and Technique, Timpani FUNdamentals

Follow Kirk on Facebook.  Learn more about Kirk.

Kirk is an Instructor of Percussion at the University of Central Florida.

Yamaha @ PASIC 2011 – Jauvon Gilliam

Jauvon Gilliam

Thursday, November 10th @ 3:00pm, Room 109

Symphonic Clinic (Timpani)

Learn more about Jauvon Gilliam.

Yamaha @ PASIC 2011 – University of Michigan Alumni

University of Michigan Alumni with Roger Braun, Yamaha Artist Patrick Roulet, Alison Shaw and Anthony Di Sanza

Thursday, November. 10th  @ 11:00am, Wabash Ballroom

Timbrack Quartet

These artists are all alumni of the University of Michigan performing a work by their former professor, Michael Udow.

• Roger Braun is Professor of Percussion at Ohio University
• Patrick Roulet is a dedicated percussion artist and educator with 17 years of college teaching and professional performance experience. He currently directs the percussion program at Towson University and teaches at the New England Music Camp.  Follow Towson Percussion on Facebook.  Learn more about Patrick Roulet
• Currently on the faculty of The University of Wisconsin-Oshkosh, Alison Shaw
• Anthony Di Sanza, a recognized international performer and educator

Yamaha @ PASIC 2011 – Brian West/TCU Percussion

Dr. Brian West and the Texas Christian University Percussion Orchestra

Saturday, November 12th @ 10:00am, Sagamore Ballroom

Competition Showcase Concert

Follow TCU Percussion on Facebook.  Learn more about Brian West.

Dr. Brian West is an Associate Professor of Music and the Coordinator of Percussion at Texas Christian University.

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The TCU Percussion Orchestra is honored to have won first place in this years Percussive Arts Society International Percussion Ensemble Competition.  This represents the third win in a row for TCU (2011, 2008, 2005).   The program will include three newly commissioned pieces and two “classics” from the recent past to celebrate the 50^th anniversary of PAS.

Yamaha @ PASIC – Larry Lelli

Larry Lelli

Saturday, November 12th @ 4:00pm, Room 120

Playing in the Pits:  What you need to know about drumming for Broadway Musicals

Drumset Master Class

Follow Larry on Facebook.  Learn more about Larry Lelli.

Larry Lelli is one of top call freelance drummers in NYC.