Marj Holmgren

Developing

Four Mallet Technique

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H^RJII{TROI}UCTION

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This book is a collection of technical exerci-"es designed to developstuengh in the use of four ryelel ard precif6i6Jir-,t..-,*"nts. Theexercises are grouPed into chapters of like-techniques as indicated in t6eTable of Contents. The chapters and exercises are not necessarilv meant to belearned or practiced in the order presenteri. Neither are they dependent onthe perfection of one technique before going to another. A variety ofmaterial

-ay be cc:nbi'rcc in an-y- praciice assignment to keep it interesting.

As performers vary in their approach to music, so do teachers vary in theirapproach to teaching and students vary in their approach to learning. AIIshould approach this book as a resource of four mallet exercises to be usedto their particular advantage. Some observations of successful use of ..hematerials in this book have led to the suggestions which follow.

One is encouraged to apply the parterns presented i" 9lglgf J-q,Ugg$Igd_eg& and Chapter Three: Slisking fatterns to anv

"ftt * p"1t".*

presented in chapter one: Block Interval} ; Chapter Four: .ExpandineIntervals,

""d gigp!9l_fi*=, ."ut[ *

possibilities and .'ariety in the application of a given technique. Since mostmrrsic requires combinations of various techniques, this t1pe of practice canonly enhance the performance possibilities of technical ski1l.

Becau^se of thg difficulties inherent in the techniques presented in Chapter99y9"' -Sgaie tatterns *d QbgpIgtEight,might delav their introduction until one feels secure in holding and usingfour mallets in the earlier chapters and exercises. Horvever, they arenecessary techniques to the full use of four mallets and should be begr:nrvhen the teacher or musical situation dictate the feasibility of their use.

Finallv, all technique should be used in a musical context as soon aspossible. We are fortunate to have literature available that is both technicallydemanding and musical, so use itl A student should simultaneously bervorking on technique and a musical composit ion which dictates theapplication of techniques x'ithin his ability. It cannot be stressed enoughthat the development of a sound technigue is not an end in itself, but rathera means of freeing the performer to express himself through music!

Marj Holmgren 5 i-rtrro il Fn, xv.-Tt oN>Box Ztt N'RTHRTp aF r

O 1978 Studio 4 product ions

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TABTE OF COI{TENTS

Chromatic NlovementDiatonic N'lovement

CHAPTER TWO: iIIEASURED ROLLSForms I - 13

2. X CHAPTER THREE: STICKING PATTERNS FOR FOUR I\IALLETS,,( Sixteenth Note Patterns

. Triplet Patterns',:

; Sixteenth Note and Triplet Patterns

[cHarreR FouR: EXPANDING INTERVALSDiatonic Movement in Common Time and 214 TimeDiatonic lllovement in 6/8 TimeChromatic MovementDitjunct l\{ovementCombination of Disjunct and Scalewise Movements

CHAPTER FIVE: CHORDS AND ARPEGGIOS

'. Chords,-i

{.L'KArpeggios t. i!:5 '

"'r' i.'r:.i 'i

. , .-! CHAPTER SIX: INDEPEI{DENT CONTROL OF MALLETS INjf,

. ; - r . , - l Exercises I throush l I

/ . - / _" 1

' I -T.7 CHAPTER SEVEN: Sq+*E PATTERNS AND STICKINGS.\- ! -orrns I through 8 I : (" ) ' ; ; " { ' : ) , - r , ,* ' . i i ' l

".I !

CHAPTER EIGHT: DEVELOPING ROLLS IN ONE HANDI

Examples 1- through J,8Additional Examples

-, , ' : . . . - ; i .

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A ROLL

a' 7--.cIAPTER oNE: BLocK INTERVALS 3?

5

I6t7

202T23319c'J2

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JJ

21

39A'

A,

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)+55

63646BAO

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-c Chapter OneBlock Intervals

The fol lorv ing ale exercises l tased on harmonic intelvals - tu 'o notes plaSreci s ip-rul taneously.The f i rst g l 'oul) of exer.c ises l t loves in ascertdiD.- and clescending rrrot ion throucl t i l re octar,e ofa c l t ror l lat ic scale. Tl te second gt 'ouP of intelvals nroves diatonical ly in ascendi lg alc l desce'd. ingnrot ion through t l re octave of each tr ta jor ' , natural and harnronic nr inor scale.

In both sect ions, the i r t te lval should f i ls t be played four t imes, t i ten tq,o t i t les, and f inaI l1, ,once oI I each level of the scale. This is done to develol : errdurance ancl accur"acv. I t

' rav be

advisable to plav each hand sel tarate).y and er.entual ly play hands togethel at an.octave ieparat ion.Because of the varyi t rg s izes of the bat 's on the nrar intba, i t rvould be best to get usecl to per. for ' r*i l tg al l intervals and exercises throughout the fange of the r t rar . iprba.

(*, i' '')

GROUP ONE: Cht 'omat ic MovenrentFoIIow the i l lustrated patteln for a l l interr ,a ls given belorv:

4 t iures each

'1|

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t

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M 3rd nr ?th Octavg IvI ?i l r m 3rd M 2ndAa|

f f i l ff i ff ir;:#f f i f f F-FFr{qF-

P Stir P 4th \,1 6th

A I+! .^, , - l - ^^ -1.nr!rruu6lr E4Lt l

recommended

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interval in th is exelc ise is i l lust lated tv i ththat they eventual ly be executed start ing on

C as the lotyest note, i t isany note.

I ) l 6t l r Tl i tone

Perfect 4th

Major 6th

Minor 6th

Major 3rd

Minor 3rd

Minor ?th

Major ?t i r

Major 2nd

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__ffi_

GROUP TWO : Diatonic Movement.

Using the illustrated pattern, play allminor. and harmol_ig minor key.

the intervals given below in each major, nafural

4 t imes each

2 t imes each

3rd 2nd Octave

DIATONIC SCALES:

C major

A majorll ll

-- lt1,t mal or

E majoru{ i

G nat. minor

AI

+---,----75:]\v I I \ .y | |

a )+L.+

B majorJJ Ii

^lup maJor Abmajor

uD maJor F major

C nat. minor D nat. minor

A nat. minor

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E nat. minor B nat. minor

-iiata:i-:i ,-i :: ja. ' :-. r.;"'.:-j-'- -fi'r-.i .JF;--fj:'*i?t *

mrnor

Ebnat. minor

B harm. minor

Bb harm. minor F harm. minor

These scales may be used for reference when performing exercises in other chapters thatdirect the sfudent to play each exercise in a1l the major and minor ke1s.

Each interval on the fol lowing pages is wri t ten in both major and natural minor scales.I t is recommended that the harmonic forrn of the minor scale be pract iced in a simi larmanner by raising the seventh-seale degree of the nafural minor scale (c minor - raise Bbto Bl ; g minor - raise F to Ff i ; etc)

: - . . . .q1D-I l1nn

!M

Ffi nat. minor

Bbnat. minor F nat. minor

C harm. minor G harm. minor D harm. minor

A harm. rninor E harm. minor

F[ harm. minor Cf, harm. minor G[harm. minor

Ebharm. minor

Major Keys

INTERVAL: 5TH Qur' ' ; - c

I.{atural Minor Keys

. s+p--eroo

Major Keys Natural Minor Keys

Major Keys

..1.I I \TERVAL:4TH ' ! ' ' .

I{aturalc

Minor Keys

Major Keys l.{atural Minor Keys

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l0

INTERVAL:3RD 'Major Keys Natural Minor Kevs

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Incerval : 3rd (cont.)

t l

Major Keys Itlatural Minor Keys

-J.nIt. :-!t,

Major KeysINTtrRVAL: 6TH ' , / " '

Natural Minor Keys

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L2

Interval : 6th (cont. )

Major Keys Natural Minor Keys

Major KeysII ' , {TERVAL: ZTH' 5: i '

IVatural Minor Kevs

13.- ierval :?th (cont.)

Major Keys Natural Minor Kevs

Natural Minor Keys

! I frro-r)..?

I i ' ' {TERVAL:2NDMajor Keys

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E-*-r----.. -

L4Interval : 2nd (cont. )

Major Keys It{atural Minor Kevs

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t5'"\1-- , | ^

INTERVAL: OCTAVE -Ji '1e z

Major Keys

.-+t** t

Natural Minor Keys

2-

a

c)

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I6

Chapter TwoMeasured Rolls

On kgyb_oar.{-p_e_r_g_ussion-instruments, a sustained pitch or chord is createdby even, unaccented single strokes. The speed of these single strokes is de-termined by factors such as range, dynamics and intensity. For example, asustained pitch in the lowest octave of the marimba would require slower singiestrokes than the same pitch in the highest octave of that instrument. Therefore,a performer must be able to play even, unaccented single strokes at a variety ofspeeds in order to sustain pitches and chords throughout the entire range of theinstrument.

When a performer plays a specif ic number of strokes per beat on a givenpitch or group of pitches (chord), they are playing a. 'measured ro11'. The fol low-ing exercises are measured rolls designed to develop control of the number ofstrokes per beat at a variety of tempi. Each roll is illustrated as per{ect fi-tthsin both hands an octave apart. Onee a pattern is learned, the student should useother i:rtervals, an octave-apart, following the same pattern. Later these pati-erns should be appiied to triad and seventh chords.

Start each exercice at a slow nretronomic setting and develop more speedgradually. llltimately,speeds throughout the

one should be able to perform each pattern at variougrange of the instrument. Although no dynamic markings

are indicated, ea ch exercise should be perf ormed at a variety of dynamic le.'elsto develop strength and control.

Don't rush the development of speed in the single strokes at the sacri-fice ofeven. unaccented strokes.

THESE PATTERNS CAN AND SHOULD BE APPLIED TO THE EXERCISESPRESENTED iN THE SECTIONS ON BLOCK INTERVALS (CHAFTER ONE) ANDEXPANDING INTERVALS (CHAPTER FOUR), AS WELL AS ANY AND ALL CHORDS.

17

1n-+-Ll!i"i)"

i,$;ip lrr i €"t i"ll? Li; Written

For each of the following patterns, continue the pattern ehromaticallylnro"gi, the octave of the ihromatic scale, then descend through the

"nlotiati" scale (continuing the same pattern) until the starting pitches

are reached. At this point, yot may change the metronomic sett ingand practice the same pattern or go to another pattern'

[y-n (,if L-L.a (,"rt-ft 34Y",9,"t PContinue Pattern

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fnrm

cont.

Continue Pattern cont.

Continue

Continuepattern

Continuepattern

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Continue pattern

Continue

Continue

cont. pattern

pattern

Form 11 *cont.

Indicates a change in the pattern to createand a ieft lead when moving down a scale.s4P-8100 a right lead when moving up a scale

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Continue pattern

Continue Pattern

Form 13 Continue Pattern

Continue Pattern

Addit ionalappl icat ionsofthesemeasuredrol lexercisesare:1. Diatonic movement of each of the intervals through each major and minor scale'

2. Combining intervats to create chords which are then played either chromatically or

diatonicallY.3. Using chords,play as a continuous roll through the circles of fourths and fi-fths'

4. Apply measured rO11 patterns to the sequences presented in the chapter on

expanding intervals '5 'Playchordprogressionsusingoneofthemeasuredroi lpat terns.

20

Chapter ThreeS ticking Pattegs_fo:_Four Mallets--- , - -"- . . - - - - ' - ' - - - ' - - - - -

More and more keyboard percussion l i terature requires the performer to usef our mallet indepgndenc-ejn addition to block movemgpt and rolls. The f oiiowingexercises are.-sti'Cling patterns designeTTo-fiveTf,6 performer the technicalski l l necessary to handle any of those passages or pieces.

Each of the patterns is written for the perfect f iJth in each hand and recom-mended to.be played following the patterns of interval movem-e-ni-(diatonic andchromatic) presented in Chapter One: Block Movement. OnCe--again, for endur-ance and accuracy, these patterns should f irst be played four t imes at eachlevel, then twice, and f inal ly, once at each level. As in the roII exercises,different intervals in each hand should eventually be performed in the samemanner.

It is necessary to develop these patterns moving chromatical ly and diatonically,so that they can later be applied to the skips--necessary in the section on arpeggiosand chords. Similar st icking patterns wilf also be applied to scale pa""agei.

- - - - - -> L1f5c-C4i?i2!4!^1-g\ !1r7, t : ' i t : ; : . . ' : . . " i - r . , i ' r : ) ' ; r {1, ,J: 1 ' .* , " : ' ' , : r - . , - . i ; ,THESE PATTERNS'SHOULD'BE APPLIED TO THE CHAPTERS ON BLOCK - '/- INTER^V.ALS, EXPANDiNG INTERVALS, AND CHORDS AND.ARPEGGIOS.

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4 3 2 r

PREPARATORY EXER CISES:

)l- t . t - I -^ | t -a " . , , i - . . ,

R ighi Hand Alone : 2-1-etc,

.\a\n

L.H. RH.' '-L!- . , -

Lef t Hand Alone : '4-3-etc.

Left Hand Alone : 3-4-etc.Right Hand Al .one : 1-2-etc.

A.

rJ4-++1-

B.

AJ + + + +

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c. D.

+ + GU +

\-I

(^ . " 2l

' \ : '-:,:,:.1 j, ' SIXTEENTH I{OTE PATTERNS

225E2r69;n, Nafi l< oAFi,l )

Sixteenth Note Patterns: cont '

arA23.22.2L.

a) + + + 1-

COMBII.{ATIOI{S2.

OF SIXTEBNTH3.

I{CTE PATTERI{SA

xnt.5 .

eJ 4r t+ +I 4L +, -c lt 4t

-1- .2- --Z- - \ \ - - / \

L2.11.10.o

tr + ' t+ +t4i 1t + + +

7/ ur/ \-71

16.1K14.13.

+ + + t .+

s4F-8100

23

ombinations of Sixteenth Note Patterns : cont.

t7. 18. 19.

I

MF-B1OO

.

-1

-' - -, -.- 4- *r- -.--r- -:--"_i:t_-;i-f =:

. . ,L,EL-- . . . - - . . - - - - - i - - r !+- . : : ; - . . : t=.- . . .

24f

Combinations of Sixteenth Note Patterns: cont.

AA43.42.47.

aJ+t4r 4- '+ + -e + +

\-! 21 \- \-,1 7/

52.51.49.\--

aJJl- 1 '1- 1- <. 4- c

LILI

\

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ffi

251

t TRIPLET PATTERI.{S:

4..) .2.L.

u e, I +12

+,

20.191eL7.

E-----4-,. +, I I +, I

26

Triplet Patterns : cont.

21. 24.23.22.r--7-1\---7

1+ , I -d-, t ie2

COMBINATIOITS OF TRIPLET2. 3.

PATTERI{S

)-;-

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27

Combinations of TriPlet Patterns: cont.

18. 201917

{-(tJ +, +l,. +

2+, 1-G , +12

lv , 1+ ,

32aldIJU29

t l t I 4-, 1 +'2eJ +2

J +, +, I

s4F-8100

Combinations of Triplet Patterns: cont.

J6.

v +L-?I

1-+ ?,L{r- .) {-J +

40.

a) {-2

+ u -t/tt v +_./ 2_/

42.47.

u l\-J, r\9'2 \_-+ \_'+ rJ -G,. +

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29

Combinations of Triplet Patterns: cont.

- s4F-8100

r'!r';i5itu--*-:J-,^*

30

Combinations of Triplet Patterns : cont.

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'ffi

.COMBINATIONS3t

OF SIXTEEI.'{TH I\OTE AND TRIPLET PATTERNS

't

aJ +, I +I

+--

qr^s v. .e. tb

stopping io the pattern shown^- rL^ -^--& l : -^

1L

the orig notes are

a) +lt l w\t- w\t-

scales start ing on any note andto chords, etc.

. \ ,('' f"

These patterns maY Proceedcontinuing to the octave and

s.lP-Br.00

through chromatic and diatonicback. Tirey may also be aPPIied

:r

-

Wy!::Expanding

Fourt'Afiut"

'rha fanhninrra 6f changing the interval between the two mal lets held in one hand is one: ..v rv v^. . . -a5v

cl the most diJficult to develop. it seems to take constant repetition in orderro cievelop accuracy and ease in interpreting musically the melodic and harmonic movementi:ecessary in most keyboard pe4gg-sgion pieces. Therefore, the aim of this chapter is f irst,r:e development of stepwise scale movement of one or both mallets in one hand; and second,::e development of skips in one or both mallets in one hand.

For clarity, the exercises are written for one hand, but they should be'developed in each:and separately, then in both hands simul.taneously with the interval of the octave between::e two hands. Each exercise wil l appear in C major ( in diationic exercises) or with C as the::e start ing point ( in chromatic exercises), but each exercise should be played in al l majorand minor keys or with any start ing note in addit ion to C.

This chapter is divided into f ive sections: 1 ) diatonic movement in Common Time from::e interval of a second through the ninth; 2) diatonic movement in 6/8 Timefrom the second::rrough the octave; 3) chromatic movement f rom the second through the octave;4) disjunct::cvement using skips of thirds through octaves; and 5) combinations of diationic movementand skips.

Don't forget to apply rol i patterns and sticking patterns to these exercises !

S:CTION 1: Diatonic Movement in Common Ti'.,re and 2 /4 f ive

i orm

HF-B1OO

33

nrm

orm 7:

orm 9:

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E! 9.f-7f=ffi.-5T: t-::ffi'|'"._-'

---77-:-'-_.. . ) , t ----

. ! ' . . /4 ' . - .+ : . ' : : . . | ;

a:-4:J-a:;

.H

SECTION 2: Diatonic Movement in 6/8 Time

Form 10: Form 11:

Form 12: Form 13:

FnFm lh.

Form 17:

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'dJ

]ECTION 3 : Chromatic Movement

Form 19:

Form 20:

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36i'.

6{!nrm l l '

slP-8100----

37

Form 23:

E nrrn 24'

Form 25:

_h orm zo:

\t ) Gtrt Ltf,t'SnCtlON 4: Disjunct Movement

4.5eF//iJF/-U IForm 2?: ascending 3rds

hr4a

Form 28: descending Srds

S4P_8100_-_--.-

39

Form 38: octaves

, blr-.r-[,r",-ti .-'rlu-SECTION 5: Combinat ions ofForm 39: ' I ' r iad Structure

!- I,iJ.:,;,u2,-i. lrl;|:.'*-,,-f,' .r .:

Disiunct and Scalewise Movements

:

Cont inue this type ofMP_B1OO

'' :-, i - ; . t - i ;1. : i t , ' I - I

T:T=?]"Y:-' :-rt::l)* ..'l

chord progression in other keys.

r.i*i'i.'.;,.,..: :':,:'. .- -::;:j.a+-;*; -i",-: -

40

Form 40:

Form 41:

Form 42:

-F Orm +J:

-F Orm ++:

Form 45:

s4F-8100

Form 46:

4Li

Form 47:

Form 48:

Form 50:

Form 51:

.-s4P-8100

-- --:::--;:::: ;l':;:=:.:-:i::,=:-ff..:?F5;:

-:Jii*;*a*:-*:*i=: -J:-- -':..

Chapter Five: Chords & ArPeggiosChords

Chords represent combinations of intervals learned in Chapter 1:Block Intervils. Chords appear in music in combination with the techniques pres-ented in Chapters l through 3: i . e., block movement of chords; rol ls or sustainedctoras; and Lroken o" arpeggiated forms of chords. For this reason, the chords inifr ir " i t lpter

wil l be present"a in simple block movement sequences with the direc-i ion to apply the techniques of the f irst three chapters to the chords in each sequence.

Detail of that application follows:

AS WRITTEN:

APPLICATION OF CHAPTER 1: BLOCK INTERVALS

1. Play four t imes on each chord in the sequence'2. PIay two t imes on each chord in the sequence.3. PIay once on each chord in the sequence.

APPLICATION OF CHAPTER 2: MEASURED ROLLS

Apply each rol l pattern (Forms l through 13) to the chords in each sequencein the same way they'were applied to l ike-intervals in each hand.

APPLICATION OF CHAPTER 3: STICKING PATTERNS

Assume the top two notes of each chord in the sequence are assigned to theright hand and the Eottom two notes are assigned to the left hand:

42

1-1; t

31zJ

R.H 6.i a,iI\ ,X\

L'H. L.H. R.H.

Using one of the sticking patterns in Chapter 3. apply the pattern one to f ourt imes to the notes of each chord in the written sequence. Then try another st ickingpattern in the same manner.Any or al l of the sticking patterns in Chapter 3 can beapplied to the chords in any of the following sequences.

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!.aL '-ithqql*'

i .. ., ,_ (Ald +1.)t ;t i( i*'rr tru r\: 'r ' +f "i*

* $'oibh nle*tL r"?Li+, | \

43

FOUR

C

VOICE TRIADS: DIATONIC MOVEMENT IN MAJOR KEYSt,l l l r G4+) | | | t

(root position triads)

.fJ

1 s t Inv-e rs-ign__Tri?_d s :PIay in al l major keys.

2nd Inversion Triads:PIay in al l major keys.

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r i , lnra-- _ . - q: :5-

.1 1

FOTIR VOiCE fnieDS: DIATONIC MOVEMENT IN MINOR KEYS (root position triads)riads.

s4P-8100

1st Inversion Tr iads:play in all minor keys

2nd Inversion Triads:play in all minor keys

45

FCIIR VOICE TRIADS: CHROMATIC MOVEMENT OF MAJOR TRIADS

-. Root Posi t ion Tr iads:

z. 1st Inversion Tr

FOUR VOICE TRIADS: CHROMATIC MOVEMENT OF MINOR TRIADS

1. Root Posi t ion Tr iads:

2. 1st Inversion Tr iadsi

3. 2nd Inversion Triads:

FOUR VOICE TRIADS: CIIROMATIC MC-: EMENT OF DIMINISHED TRIADS

1. Root Posi t ion Tr iads'

2. 1st Inversion Tr iads:

46CIIROMATTC MOVEMENT OF DIMiNISHED TRIADS (cont. )

3. 2nd Inversion Tr iads:

FOTIR VOICE TRIADS: CHROMATIC MOVEMENT oF AUGMENTED TRIADS1. Root Posi t ion Tr iads:

1st Inverdion Triads:

Znd Inversion Tr iads:

FOUR VOICE TRIADS: CIRCLE OF 5ths MOVEMENT

1. Major Tpiads:

Minor Triads:

Difrinished Tria,.ts:

- . i r

i * ;_: ,

47

n: ; 3;.,-i .,-1,.;l

c ircle of Sths Niovemettt (cont'). - . . :^ '*^t2' i - l . i t - t - . -

\ ' . ' * ' -

4 . Augmented Tr iads: hl

,^onlinue ihis exercise by using the tr iads indicated in the four examples above

r 1st and 2nd inversions'

SEVENTH CHORDS: CHROMATIC MOVEMENT

. Dominant Seventh:

Diminished Seventh:

Seventh:

Seventh:

SEVENTH CHORDS: CIRCLE OF 4THS MOVEMENT

1. Dominant SeYenth:

s4P-B100

48

Seventh Chords: Circle of 4ths Movement ( cont. )

2. Diminished Seventh:

3. Major Seventh:

Minor Sev

s4P -8100

r t | , . ' ' 49\ ,1. '1 |

-4 't€Cc !gr: 'qr '> ' ' ' ' ' : ' i " ' -^r- . ' i

( ] i - t r ' ' i ' i ' ' " - " . ' i J" i '

Four Voice Triads: MOVEMENT FROM ROOT POSITION THROUGH ALL THE INVERSIONS.Diminished Augmented

s4P-B100

JU

SEVENTH CHORDS: MOVEMENT FROM ROOT THROUGH ALL THE INVERSIONS

dimll

,,,in7th oimT!! *^r ?thLILA,J /a

Cont inue using one of these three patterns on each note of the chromatic scale.Don't forget to cont inue applying rol ls and st icking patterns to each chord in the sequence.

For further development of chord movement, i t is advisable to go to a book whichconcentrates on chord voicing, progressions, etc. I t ic not the intent of this book to be adefinitive source of chord use, but rather a survey of the possible techniques which maybe applied to chord structure. To this end, the fol lowing arpeggiated chord patterns arepresented with common and alternate stickings.

ArpeggiosAlthough some arpeggiated f igures have resulted from the applicatirn of st icking

patberns to the previous chord sequences, the fol lowing specif ic patterns are presented todemonstrate some alternate uses of st ickings. Each is presented as major chords inclosevoicing, but should be applied to the following:

-1-

1. Major triad on tsnlc2. Minor tr iad on tonic3. Diminished tr iad on4. Augmented tr iad on5. Minor tr iad on each0. Diminished tr iad on7. Augmented tr iad on

of each key in the circle of Sths and 4ths.of each key in the circie of 5ths and 4ths.tonic of each key as above.tonic of each key as above.note of a chromatic scale.each note of a chromatic scale.each note of a chromatic scale.

It atso seems feasible that these patterns could be applied to the various forms of theseventh chord, but some changes in the patterns may be necessary.

s4P-B100

5tRMI

hromatic Movement aLit^6,.**L,*(cont. )

* t z r a (cont.)

Alf prnote cf i nkino'

*r:-F='=t*'*+1ffilii#nqE+ &.?JF, -*l,l$pT,i." ri*#+".fi@r*E+3*'E#"{sl*4iissgl$'{'trr-\i+ri-€FeHF'ffi#*i!i E

52

Form 2Major Arpeggios: Chromatic Movement

Alternate St icking27XtL3

\rp

s4P-B100

s3- l.

^ , - . - . 't. j i " | :_. . ' . : . . ,

MAJOR ARPEGGIOS: ROOT &

Form 3y ' ; ,Jr . - . : ) ' : ' . I ; j . l l , ) : l ; -v 1 i - , ' . l i - : - . l

' : : t :a l1!

INVERSIONS USING THE ENTIFE KEYBOARD.*1

3 2 1 (cont.)

ALTERNATESTICKING

When necessary this pattern is varied at the extremit ies of range due to the l imitations of thekr,yboard instrument. Try this exercise with tr iads of al l types on several diJferent notes.

Form 4 \-. : . : i t7 ' . . Jr t - i -1. : ' j - r - ' i ;v i i r l ' ' ; (a '>t . ; i ' , ; i : ) ,c ' . - l l , : i i . l r - , i ) r t l : r l le i ._N'RPEGGIOS: TFIADSAND THETR INVERSIONS BASED ON EACH NOTE OF THE DIAToNIc sCALE +

'; zQ: il-r-.= .i,jjt5,

Play this exercises4P-8100

-r - ' : : ' - i

-in al i major

; i , i l c : r lgr i l , r t * f . . ) .1; !minor keys. :t ) [ t i t , , ( i

=t

Chapter SixIndependent Control of Mallets in a Roll

A percussionist is often required to sustain one, two,three or four notes whileholding four mallets. The technique of using all four mallets in a full chord hasbeen presented in the chapter on Measured Rolls as well as their application inchapters on chords_ and s:cpanding intervals. This chapter deals wittr t t ie specif icproblem of controlling which maLlets continue sustaining and which mallets mustbe suspended in air w.hen only two.or thrree notes are sustained.

,n 'n ''1 ll--'i[t €s^ '{ t'{e.' ri'-v+ 3I

EXAMPLE:

1. AI l

-e+-+-z---s-4 ':5 * 6 7*

4,321a)alnn\, / - \ ,Px)a,/ \ ,/\

- -

eB"it \I/ ] \

i l

I,

our

{

f

17l

G-1l o tmal lets are in use. 9 - ?t

r \ ' ' '' G-31

' 'YC - 4J ' IJ 'n '

2. MaIIets 1 and 4 continue rol l ing, while mallets 2 and 3 are suspended in air.3. Mallets L,2, and 4 are used in the rol l , while mallet s is suspendeci.

4. Mal lets 1, 3, and 4 are used in the rol l , whi le mal let 2 is suspended.5. Mallets 1,2, and 3 are used in the rol-I, while mallet 4 is suspended.6. Mallets 2,3, and 4 are used in the rol l , while mallet 1 is suspended.

7. Mallets 2 and 3 are used in the rol1, while mallets 1 and 4 are suspended,B. Once again al l four mallets are used in the rol l .

This is just one example of the kind of techinque that is required when al lfour mallets must be held, but only two or three mallets "r"

rrr.d at given moments.Developing this technique wil l strenghthen the grip as well as arm ana / o, t lr i . f - --

movement' In addit ion, this technique wil l develop ttte further independence of themallets beyond that already suggesfed by the exercises in previous chapters.The f irst exercises in this chapter are of relatively short duration in order toconcentrate on the independence of the maliets. Subsequent exercises wil l be longerin order to develop endurance as well as strengthen that independence

Exercise Nos. L & 2 wil l be presented in selected situations, but the generalexample may be applied to any intervals from Chapter 1 on any notes; to any chordsin Chapter 5 in any key; and in any chord prog.e"i ions.

ROLL ALL NOTES IN EXERCISES l THROUGH ?!

gP-B100

.:!.r..'@lr

DD

Exercise I.{o. 1ike-Intervals: t)

fi t ' r ' . - . ' r -t \ r r?f : lLf-

DV

li"'--

. ._-

P"=- v' aJ

7th Chords:BbDominant ?th

Chord Progression:

C$ Diminished ?th

t)

v7C: is4P-8100

@ifftr *riqa€$S.f,iilv*rki45${drtt"4"{F"-"'" "@ i;

56

Exercise No. 2

tike-Intervals:5th

O+ r + -+-2--

{} .- -+-\-+2/\ - +

il

7th Chords:C! oiminished ?th

Chord Progression:

G:Is4P-8100

J(

Exercise

Ihis exercise is in four parts (a,b, c,d) 'repeats; then, connect, sections unti l a1l?th chord in anY keY.a. Mal lets 4&2 cont inue'

3: Seventh Chords-_--.-------___

First, play each Part seParatelYfour are plaYed as one exercise.

withUse any

b. Maliets 1 & 3 continue.

{> -€i

b .o

+ € + <:i <t(:-++ -(} -(} -* +

f,. ,<+ {#

c. Mallets 2 & 3 continue'

This exercise isPtay in all majora. Mal lets 2 &.4

d. Mallets 1 & 4 continue.

Exercise 4: Diatonic Scalesin two parts (a, b). Play each separately, then connect'and minor keys.continue.

-(}. -{}-e + + -e(J

-(+ + +/\-. € +

b. MaIIets 1&3 cont inue.

(J

<' -g- -€'+€ -e € € -€ie -e

()

+ + -;** i

-

s4P-Br.00

Exercise 5: Diatonic ScaleA. NIaI Iets 1&4 cont inue.

B, Mal lets 2&3 cont inue.

t

€ €e € € .@ € € € .€ *@ €/ iI

€ €

Exercise 6: Chromatic ScaleA. Mallets 2 &4 continue.

Ue e e

l"+ l-e-r \\- € e

'1

€ + e G + € -e -e -+

-e\v/ ' -+ + €

t6

+ -+h^

€ -@ e bo"' + -+ e +rl

-e -e

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s9

Exercise 6 (cont. )

B : Mallets 1 & 3 continue.

(continueto Bl and bac"kj

I : Mallets 1 &4 conti. tue.

(continue to

' _1. i : - '_ --

middle C and bacl

D:Mal lets 2&3 continue.

v()

-e€- €9

q"Hh^

€9 {Jt>.-)- <x't -€(}

L-_-{€*

-e(}

(Continue to Db and back)

(Cont inue to Bl and back)

i] - l^^. '\):s. -jJr vDr.(:-lrF.L ,i./.,.J-U

-i.;.;:,. i . 7L:1s;-r! t.,-,. ?*A0-,.L)u(' .-1.,,r.O',: 'Exercise 6 and its variations may be ptayed ln any Key I I i

-e + -+ -€- -+ -e- + -e -e €-

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Exercise I.{o. 7

THIS EXERCISE IS BASED ON A COMMON NOTE HELD THROUGHOUT CHORDCHANGES MALLETS 1 AND 4 CONTINUE TO ROLTL_ON CTS,WHILE THE OTHERMALLETS ARE USED TO CHANGE NOTES TO CFEATE NEW HARMCNIES.ONE VARIATION OF THIS EXERCISE WOULD BE TO KEEP A CONTINUOUS ROLLON-MiDDLE CWITH MALLETS 2 AND 3 WHILE MALLETS 1 AND 4 CHANGE TOTHENmE's TNDTcATED To MAKE cHoRD cHANGES.

THIS EXERCISE MAY ALSO BE PERFORMED ON A COMMON NOTE OTHER THAN C.DYNAMIC VARIATIONS MAY BE ADDED TO THIS, AS WELL AS OTHER EXENCiSESIN THIS CHAPTER:1. l I throughout4. p throughout

2. 17p throughout5. ,,f throughout

3. / throughout6. cresc. - decresc. over

two measures.9. gradual crescendo

throughout7. cresc-decresc. each. 8. fp on each chord

measure10. gradual decrescendo throughout

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, - ::3:r-

61 ' " ', ' ' .

Exercise No.8 : : ,

rsed to play toniJin.".t t key in the circles of Sths and 4ths'Alternate tn" """

--:: : '. ' : - : ' : . , .

of mal lets2&4together, then1&3 ' : :

Alternate the use of mallets 2 &' 4,

Exercise No- 9

followed by 3 & 1 to play each note of a chromatic scale'

ega

t,

AJ

1

o

2

I

1

J rr4

O+2

4

$+,, 1

J

t

4

llvI '1 ,

1

I

o

Legato

l

,

4

I

I

I

aJz

4+

1

t ,4

I

3

I

J

,

4

1

J

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62

Exercise No. 10

of pairs of mallets in diationic scales.major & minor scales.

Alternate useApply to other

Legato

aJ 1€ I2 1 I I , 1 ,

4 tt 3^ 4

aJ

3-e> JG

4 J 4 4 t 4

, 1 ,

4

.U

Al.ternate use of pairs of malletsApply to any chord.

Exercise No. 11to chords

Seventh Chord

u--O-a.€-

t*t

ta

1r .

L3 4

,' l

Jq

II

tA

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t, aqFt-|l

&^3

1,

43

IZ

43

1

u

' t l

o4

r ' l

3J

Ip

Exercise

Octave 1-2 'el

l{o. L2

2*1

Practice this octaveexercise on any n :e

2,/7*2+-/ e e3

J

e-\-2*1+ ,

37

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63

Chapter SevenScale Patterns and Stickings

Most music contains a combination of various techniques, such as chordal rolls,expanding intervals to outl ine melodic and harmonic changes, independence of notesand mallets to convey cqqllapq$al or arpeggiated passages, and melodic movementsimilar to scales. These scale passages often create a problem for the performerwho must be holding lour mallets due to some other requirement of the music.The problems are f irst, to hold two mallets in the air while using the other two toplav (similar to the problem of independence in rol ls) and second, the independentuse of the two mallets in one hand at the interval of a major or minor second.

Play any and al l scales with the two insiC.e mallets (3 & 2) while suspendingmallets 1 & 4 in the air. This would be similar to playing scales with two mallets,but with the added burden of controlling the two outside mallets in the air. Thesescales can be playec. in one, two, or more octaves or fol lowing the patterns presentedin any two mallet playing and controi of the mallets suspended. This can ofteir bepainful and cause bl isters and calluses on and between the f ingers. To someextent this is necessary, but not required - so don't over do i;he physical abuse.

A second approach to this problem can be to play scales in octaves with the twooutside mallets,while holding the two inside mallets suspended in air.Be carefui not to let the two suspended mallets touch each other or wobble unduly.As above,this may be appiied to any scale in any number of octaves or to anytechnique used with two mallets,but played in octaves.

DEVELOPMENT OF INDBPENDENT USE OF TWO MALLETS IN ONE HAND:

The fol lowing exercises are presented to deal with this problem. Each wil l be-,written in the scale of C major, but should be performed in al1 major and minorkeys. Each pattern wil l be presented a number of t imes to show a variety of '- . .stickings. Forms 1 through 5 witl present stickings which use the right handalone, the left hand alone, and combinations of the fwo hands and four mallets.Forms 6 through B require the use of both hands. It may be advisable to reviewthe nr.a-jor.s-etond in Chapter 1 and the appiication of various sticking patterns tothis interval to assure the strength and control necessary to p-ersue scale pas-sages. Strive to remain relaxed and flexible in the hand and wrist.

tr S4P-8100

DEVELOPMENT OF HOLDING TWO MALLETS SUSPENDED WHILE PLAYINGW]TH THE OTHERS:

Form 1

Form 2

:D IT

4.L. H.

Both 3J7234 t szrJ

6s

2 t l12Ll l2 l l

3^r n r g + +

1^zzzz44tL2z2

MP_B1OO

a za)4zjfr*.

/n,-4 ,n\t-'l | '-.

66

Form 4

L L,2 4* t o q 1 qo 1q.,

g- I s-L* 44 3 4 4 3 4 43J- a*

Form 522 12*

Eas--T?rgr 4 !134*

1. _.121'12

, r ( rar z1;1.)* Q 2 2 3 4 DQ z z

l2 4311*

243 2433123L2*

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67

Form 6

7at

a-)

2 . (2_3 4 1)*,{3 2.r3 2 32131231234

3._2134'2134-- : -

*rz-lSl--r-F5'r z I

)- * indicates a change in sticking pattern 'tLti-'"- t-L,,r-, , . , -

' . : , . : . . . - : ' j ' - . : '

111111-

Form 8

. s41L-8100

6B

thapter Eigbltll;;'a ;;i,{ J n;ir *'ir.'o iJ' fi"n*

The ability to continue a roll with one hand while using the other handindependent\1 to p\a1 a bass \ste, rne\o{i.c \trre , ot ot\er ro\\ olLers theperformer the ul t imate in controi l anC musical perforEA4ce_ppssibi l i t ies.i{o*"u"t, this is one of the most difficuttEthniques t5-Ga;;i1-ZonFof.Do not become impatient iJ the development of this technique is slow. Ifyou are one of the forfunate people that have a nafural ability to performthis techmique, don't fail to develop it further by controlling the speedand dynamic leveln of the roll.

The control of the wrist pivot used in this technique and the strengthnecessary to enduranee dictate that the fol lowing exereises be repeateddaiiy f or specified periods of time. Set the metronome to a sl_ow qu4rternote and repeat each of the f irst four exercises for three minutes each.th;ee minutes, lf control begins to be lost, back up the metronomic mark-ing and stay at that setting until control and endurance are firm. Thesefirst four exercises are to be played with the right hand, then the left hand.Once there is some control and speed using the perfect fjJth, other intervalsrfrom Chapter 1 may be used. Although evenfualiy all intervals must bemastered, i t seems reasonable for each student to start with the intervalhe feels most comJortable with and branch out from there. Again, keepthe hand and rvrist relaxed and strive for a smooth, supple pivot of the twomallets.

lI\\\

Repeat for three minutes ata steady metronomic marking.

Repeat for 3 minutes at asteady tempo.

Repeat for 3 minutes at asteady tempo.

Repeat for 3 minutes at asteady tempo.

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1.

212 2 t2\2

69

The following four exercises represent a gradual accererando by movingfrom two notes per beat to three, to four ana Uact.-Each exercise shouldbe practiced with:1"h h?la.".p"rut"ty "na

.i,ouri-te repeated twentv timesor for three minutes - whichever is easiest for ih" ;td;#;;#;';lacr ot.start with a slow !o moderate'metronomic settingarra graauaily increase.Use other intervals.

fr ,l<{..,: s ,)' '^,,|\ ! - -1- ; r - , . - , ]

Because accents tend to cause tension.and-changes in the force of mo'rement, perfornexercises 5 through 8 wi thout accent. str ive to. i i ia, smooth movement. Felax. . . .' Exercises g through 18, which fol low, represent the application of a very measuredroll iI1 one hand tld," tlg-ry.g1- a-cc-ompanimenl tig.r"e in thJttne" hand. once again,theseare best practiced at a cijnfrortable interval at I comrortable speed. Gradually otherintervals and speeds should be attained.

t s4F-8100

i0

w

11

1<

a)

a)

' " | 7 l 7

s4F-8100

-::t7L

The fol lowing exercises represent a few of the possibi l i t ies.

CAUTION: Do not depend on spastic movement of the mallets, but ratherrelaxation with control to produce the rol ls. .

7A

*%.s.te,

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tI

72

The follbwing exercises are designed to begin the development of the roII in a musicalcontext that might require a sustained roII aJter or between melodic movement.Practice these exercises until the movement from eighth notes to sixteenths is smoothand relaxed.

Repeat 20 Times.

Repeat 20 Times.

Repeat 20 Times.

Repeat 20 Times.

j:

When these exercises are secure, change the eighth notes to scale passages :followed by a roll r .

Example: 1 -2-3-4-

ascend c-d-e-f-roU ( g& c)descend g-f-e-d;rol l (c & g)e-d-c-d-e-f - ro11 (e & c)g-f-e-d-c-b-rol l (c & e)

. flltE -