Simply Four by Tapspace

Simply FOUR 4-Mallet Technique as Easy as 1-2-3...4

by Gifford Howarth

Simply Four. ÂŠ 2002 Tapspace Publications, LLC. Portland, OR. All rights reserved. International copyright secured. Printed in USA. www.tapspace.com Cover design by Mike Needham printing no.4 - updated ÂŠ 2015 Notice of Liability: Any duplication, adaptation, or arrangement of any text or composition contained herein requires the written consent of the copyright owner. No part of any composition contained herein may be photocopied or reproduced in any way without permission. Unauthorized uses are an infringement of the U.S. Copyright act and are punishable by law.

TSPB-05

Simply Four

Acknowledgments I would like to thank the following people for their influence and assistance with this book: my wife Sheila for all her help with the photography; my former teachers Ted Rounds and Gordon Stout for all their guidance and teachings; all my friends and family for their continued support; John Wittmann, Joel Tetzlaff, and Troy Wollwage from Yamaha along with Neil Larrivee from Vic Firth for their support of percussion education; those several percussionists (you know who you are) who contributed feedback during the â&#x20AC;&#x153;evolving stagesâ&#x20AC;? of the book; Jim Casella from Tapspace Publications for taking on this project; and finally, to all the young percussionists from the hundreds of high schools, middle schools, colleges, and universities who participated in my hands-on 4-mallet clinics this book is based on.

About the Author Dr. Gifford Howarth is currently Assistant Professor of Percussion at Bloomsburg University located in Bloomsburg, PA. He is also an Instructor of Percussion at Penn State University in State College, PA. His previous teaching duties included teaching at Michigan State University and Nazareth College in Rochester, NY. Dr. Howarth received his DMA degree from Michigan State University, his Masters from Kent State University, and his Bachelors degree from Ithaca College. He has presented clinics and workshops throughout the United States, Canada, Asia, and Europe. These include presenting at The Midwest Clinic in Chicago, several MENC All-State Conferences and PAS Day of Percussion events, along with different universities throughout the world. The focus for most of the workshops focuses on percussion education.

Dr. Gifford Howarth

Dr. Howarth is also heavily involved in various competitive marching activities. He has been on the percussion staff for Drum Corps International ensembles such as The Cadets, and the Rochester Patriots. He has also served with the WGI (Winter Guard International) ensembles Northcoast Academy, and The Project, as well as several high school marching ensembles throughout the country who compete in the Bands of America circuit. He is currently a national adjudicator for DCI, WGI, and BOA along with several statewide marching band and indoor percussion circuits. Dr. Howarth is a National Yamaha Performing Artist, a Signature Artist for the Vic Firth Company, and a clinician for the Zildjian Cymbal Company and Evans Drumheads. He has several works published through Tapspace Publications. For more information about Dr. Howarth, visit his website at www.giffordhowarth.com.

by Gifford Howarth

Introduction The concept behind this book is simple. There are thousands of high school percussionists who are now using “college level” mallet techniques and performing advanced repertoire, and it is important these young players have a solid foundation. This book is that solid foundation. The increasing popularity of 4-mallet percussion at the high school level has been enormous over the past ten years. Today’s high school players are playing literature with techniques that would only be heard at college recitals ten years ago. This is a great benchmark for the growth of this genre. I describe this occurrence as “the bar is being lowered” from an age level standpoint. The techniques have been around for more than 25 years, but the players attempting them are getting younger and younger. “Simply Four” is a result of hundreds of hands-on 4-mallet clinics with thousands of young percussionists and teachers throughout the United States and Canada. I have taken the wonderful technique concepts of Leigh Howard Stevens and Gary Burton and formulated my approach for the high school student. In no way do I attempt to contradict or change anything that the aforementioned artists have accomplished, I simply have come up with my own approach to introducing the techniques to younger students. This book has been laid out in three main sections – TECHNIQUE, EXERCISES, and ETUDES. You will also notice that the technique section has been divided into two sections of its own – Stevens technique, and Burton technique. Students should focus on one of these techniques at a time. Throughout the technique sections, you’ll notice icons directing you to the exercise pages that help to work the specific technique concepts discussed. The layout has been created this way so that students focusing on either technique can benefit from using the same exercises.

Watch

Free Online Video Lessons Throughout this book, you’ll see video icons like this one. This means there’s a corresponding online lesson where you can see Gifford Howarth performing examples of the concepts being discussed.

To find these lessons, simply go to tapspace.com, then navigate to the Simply Four product page where you’ll find the various lessons available to view freely at your convenience. These video lessons were produced by Vic Firth, Inc. and we thank them for their generosity.

Simply Four

Contents Different Categories of Grips

Chapter One â&#x20AC;&#x201C; The Stevens Grip

Chapter Two â&#x20AC;&#x201C; The Burton Grip

The Inside Mallet 8 The Outside Mallet 10 Stevens Grip Checklists 11 Common Bad Grip Habits 12 Making Sure the Mallets are Level 13 Double-Stop Stroke 14 Rolls 15 Changing Intervals 15 Larger Intervals 18 Upper Keyboard/Lower Keyboard 19 Independent Mallet Rotation 20 Fine Tuning the Mallet Rotation 22 Common Bad Rotation Habits 24 Combining the Stevens Strokes 25 Rotation Combinations and Tempo Control 26 Double Rotations - Slow Tempo 26 Fluid Rotations - Medium Tempo 26 Double Lateral - Fast Tempo 27 Sticking Combinations 28 Shifts 29 Advanced Sticking Combinations 32 Ripple Rolls 32 One-Hand Independent Roll 33 Holding the Burton Grip 36 The Inside Mallet 36 The Outside Mallet 37 Burton Grip Checklists 38 The Basic Strokes 39 Double-stops 39 Changing Intervals (smaller) 39 Changing Intervals (larger) 40 Upper/Lower Keyboard 41 Rotations 42

by Gifford Howarth

Chapter Three – Technique Exercises

Chapter Four – Etudes

Appendix I – Suggested Repertoire Appendix II – Mallet Selection

80 82

Double-stop Exercises 46 Wristin’ It 46 Basic Double-Stop Motion 46 Double-Stop Exercise No. 1 47 Double-Stop Smalls 47 Double-Stop Larges 47 Inside Mallet Motion 48 Double-Stop Interval Expansion 49 Double-Stop Inch Worm 50 Double-Stop Exercise No. 2 50 Double-Stop Diddy 51 Double-Stop Leap Frog 51 Rotation Exercises 52 12/8 Three’s Exercise No. 1 52 12/8 Three’s Exercise No. 2 52 Three Groupings 53 Double-Time Three Groupings 54 In’s and Out’s 55 Scales 56 Other Scale Rotation Combinations 57 Wristwist 58 Outer Limits 59 Double Rotations No. 1 59 Double Rotations No. 2 60 Fluid Rotations No. 1 60 Fluid Rotations No. 2 61 Double Laterals No. 1 61 Double Laterals No. 2 62 Sticking Combination Exercises 63 Sticking Combination Variations 63 Ripple Combinations 65 Another Advanced Sticking Combo 66 Independent Roll Strokes Exercise 66

Call and Answer 68 All Rolls 70 Etude d’Linear 72 Caprice No. 1 - Carcassi 73 Little Etude – Schumann 76

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Different Categories of Grips There are several ways to hold two mallets in one hand. Therefore, there are several different 4-mallet grips. All the possible grips can be put into two different categories. Uncrossed grips and Crossed grips.

*In this book, we will be focusing on two of the grips listed below. The uncrossed grip will be the Stevens, and the crossed grip will be the Burton. I have chosen these two grips because I feel these are the most popular in North America today.

Uncrossed Grips Both mallets are completely “independent” from each other. The mallet shafts do not touch.

Musser Grip

Stevens Grip*

Crossed Grips The mallet shafts cross each other in the player’s palm.

Burton Grip*

Stout Grip

Traditional/Scissor Grip

Chapter 1 - The Stevens Grip

Chapter ONE

The Stevens Grip

Watch

Lesson 1

Simply Four

Inside Mallet This section will take you step-by-step on how to correctly hold the mallets with the Stevens grip. If you are right handed, start with your right hand. If you are left handed, start with your left.

1. Palm Reading

Look at your palm. Your lifeline is the line that does a “dog-leg” around the base of your thumb.

Place the tip of the mallet on this lifeline close to the center of your palm.

2. Hand shake position TIP: Notice your thumb; it is facing up. This must stay in this position. THUMBS UP!

Keep the mallet tip in place, but turn your wrist position as if you were going to shake someone’s hand.

3. Fonzi

For you “Happy Days” fans, lets act like the Fonz. Bend all four fingers so they point across your body.

Do not point into your body!

Chapter 1 - The Stevens Grip

4. Tabletop

Notice the knuckle creases on top of the index finger. The first crease from your nail is where the mallet will rest. While keeping the tip in contact with your palm, rotate the mallet around so that it now rests on that knuckle crease.

The first knuckle crease is the “Tabletop”

Let go of the mallet. The mallet should balance itself on the index finger with the tip resting in the flesh under the thumb.

5. Thumb on top

Now simply place your thumb on top of the mallet. There is now a “fulcrum” that happens between your index finger and thumb. This is the main contact point for the inside mallet.

Thumb shouldn’t bend upwards.

Watch

HINT:

The TIP of your thumb, Correct position and the SIDE of your index finger should line up.

Lesson 2

6. Spiderman

Do not extend your index finger past your thumb position.

For all you Spidey fans, now we do the “webmaster’s” move. Your middle finger bends into the middle of your palm and needs to make contact with the mallet shaft. This position is similar to Spiderman shooting his web. The role of the middle finger is to keep that tip of the mallet touching your palm.

Simply Four

Outside Mallet This mallet is easier to put into place, but it is harder to correctly control. Your ring and pinky fingers are solely responsible for this mallet. With many young players,

their ring and pinky fingers are weak and under-developed from a playing standpoint. The muscle development necessary for good control will happen with time.

1. Over the top

While keeping the inside mallet in place, take the outside mallet and bring it over the top of your hand. Take the shaft and place it in-between your middle and ring fingers. Make the contact point on the shaft about 3 inches from the tip.

2. Wrap around

Make sure the shaft is nuzzled down into the connection point of the middle and ring fingers. From this position, simply wrap both ring and pinky fingers all the way around the shaft. Make sure the shaft stays in close between the fingers, snug against the “webbing”. Slide the mallet in or out so that about 1/2 inch is sticking out behind the pinky finger.

At this point, recheck your wrist position. Make sure that the thumb is facing the ceiling. Don’t worry if the mallets are not completely level yet, we’ll fix that next, but make sure the thumb is up! A good beginning interval to start with is either a fourth or fifth. Just get comfortable holding the mallets at this interval. Now that you have both mallets in place, it’s a good time to go through the same steps with your opposite hand. When you get all four mallets up to this point, you are ready to move on.

TIP:

For young players with smaller hands, leave more than 1/2 inch out behind the pinky finger. If the mallet tip rests into the flesh behind the pinky, this will help to relieve some of the mallet weight.

Watch

Lesson 3

Chapter 1 - The Stevens Grip

Checklist for the INSIDE MALLET Palm Reading Hand Shake (thumb facing the ceiling) Fonzi (index always points across the body) Table Top Thumb on Top Spiderman

Checklist for the OUTSIDE MALLET Over the Top Wrap-Around 1/2 inch behind pinky

Simply Four

Common Bad Grip Habits Curled Index Finger Index fingers love to curl around the bottom of the shaft and put extra pressure into the palm. This takes away from the control of the mallet and adds tension.

White Knuckles Many young players squeeze the mallet between their thumb and index finger, thus creating tension. The thumb only needs to put enough pressure down on the â&#x20AC;&#x153;tabletopâ&#x20AC;? to keep the shaft from sliding side to side. Watch out for white knuckles!

Too Much Pressure The tip of the mallet can dig into your palm. This happens when the middle finger pushes into the palm too much. Only use enough pressure to keep the tip controlled.

Chapter 1 - The Stevens Grip

Making Sure the Mallets are Level

Not having the mallets level with the instrument is a very common problem for beginners. Most of the time young players will rotate their wrist over to compensate for this problem. When they do this, they are changing the entire starting position.

1 2

This position is more akin to the “Musser” grip which utilizes some different foundations than we are discussing in this book (see page 6). To correctly fix this early problem, go through the following steps.

Rest the mallets on the keyboard. Relaxing your thumb and all your fingers, make your hand feel like Jello. Don’t drop the mallets, but feel like you are about to. While relaxed, rotate your wrist so the thumb is up. With your hand relaxed and the mallets on the keyboard, you will be able to adjust all your fingers, thumb, wrist, etc. to the correct position.

Watch

Lesson 4

Once you go through all the “checkpoints” and everything looks good, grip onto both mallets very slightly so you feel in control of them. Simply bend your wrist a little, then lift the mallets off the keyboard. Because the mallets were resting on a flat surface, when you pick them up they should now be level as well.

It is very common for the outside mallet to droop a little. This is because you haven’t completely wrapped both pinky and ring fingers around it. Remember, those back fingers are not used to holding that kind of weight. Don’t let it droop! This is a good point to practice several times placing the mallets in your hand and making sure the mallets are level. For some people, this is very easy and comfortable. For others, going back through the previous steps is a good idea.

Remember the ROLES of each finger:

•Index - “Table Top” (a place for the inside mallet to rest on). •Middle - “Spiderman” (keeps the tip of the inside mallet in contact with the palm). •Thumb - Simply keeps the mallet from moving side to side on top of the table. •Ring and Pinky - Wraps around outside mallet and keeps it from “flopping around.”

Simply Four

Double-Stop Stroke A good stroke to start with is the double-stop stroke (also known as the “double vertical” stroke) where both mallets in one hand play at the same time. Let’s first focus on the wrist motion.

Hand shaking motion

This is probably a new feeling for your wrist. It’s not the most natural motion the wrist is designed for. While the amount of flexibility is going to vary from person to person, you should be able to get at least a little vertical motion out of your wrist. This is a very important motion. Take the mallets out of your hands and go to the hand shaking position. Imagine you want to shake hands with someone but your forearm is frozen. You need to shake their hand by bending your wrist vertically.

TIP:

A trick to solidify this concept is to place your hand on the opposite forearm above your wrist to limit the forearm from moving. Be sure to work both wrists.

Now place the mallets back in your hand, make sure they are level, and feel comfortable. Go through the hand shaking motion and play a series of quarter notes (with both mallets simultaneously) at an interval of a 5th. Keep the downstroke and upstroke very fluid and continuous from one to the other – like bouncing a basketball. During normal playing, it’s OK to use some vertical motion from the forearm as long as it isn’t excessive. It is a common bad habit for players to lock their wrist, hinging the stroke from the elbow, which is NOT what we’re going for.

& œ œ

œ œ

Watch

CHECKLIST FOR PRACTICING DOUBLE-STOP STROKES: Lesson 5 Practice these concepts on page:

• Notice your wrist motion. • Notice the position of your thumb. • Check your index finger. • Your wrist position, thumb, and index finger should not change at all.

œ œ

œ .. œ

Chapter 1 - The Stevens Grip

Rolls When you need to roll a chord where all four mallets are involved, the most common roll is the hand-to-hand roll. Do not overthink this roll. This type of roll is simply the combination of the basic double-stop stroke.

ææ ˙˙ ˙˙

Regular hand-to-hand roll Both hands use the same stroke motion.

However, if you are rolling three out of the four mallets, remember the hand that is not playing the double-stop needs to ROTATE. We will begin discussing mallet rotations on page 20.

æ ˙˙æ ˙

ROTATE Right Hand on G DOUBLE STOP STROKE with Left Hand on C and E

Changing Intervals This next topic will build upon the basic double-stop stroke by changing the intervals between mallets.

Remove the mallets from you hands. Let’s take things all the way back to the Fonzi hand position (page 8) and focus on the index finger. What we need to do is flex the index finger and point across your body. Do not point away from your body, but across.

This simple finger flex is all it takes to change your interval. The thumb sits on top of the mallet and just “goes along for the ride” when you flex the index finger. Think of this index finger motion in terms of POINTING and BENDING.

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3 4

Place the mallets back in your hand and set yourself up at the 5th interval with the inside mallet on a C and the outside on a G (assuming you are using your right hand). Play a couple of double-stop quarter notes.

Now “bend“ the index finger so the mallet above the C moves above the D. Keep repeating this step until you bend to an interval of a 2nd (F and G). Watch

Lesson 6 Next, we’ll have the outside mallet change position while the inside mallet stays in place. This is a little more involved then the previous step. The flexibility (range of motion) of the inside mallet is much greater than that of the outside mallet due to the flexibility of the index finger versus the immobility of the ring and pinky fingers. YOU DO NOT FLEX OR CHANGE THE POSITION OF THE OUTSIDE MALLET.

Your forearm moves towards and away from your torso to change this interval. As far as your hand is concerned, the index finger moves the same as it did in the previous exercise. Think of the outside mallet as an extension of your forearm; your forearm moves horizontally which moves the outside mallet from the G down to the D. While this is happening, the index finger is bending to reduce the interval distance between the mallets.

Notice the decreasing distance between the elbow and the body.

Watch

Lesson 7

Chapter 1 - The Stevens Grip

Inside Interval Changing

The inside mallet is changing position, and the outside is staying on the G.

4 & 4 œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœœœœœœœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ Œ .. œœœœ œœœœœ RH only!

Here, the inside mallet is changing position, and the outside is staying on the C.

4 & 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ .. œœœœœœœœ œœœœœœœœ œœœœœœœœ œœœœœ LH only!

Practice these concepts on pages:

46-47

Outside Interval Changing

The outside mallet is changing position, and the inside is staying on the C.

4 & 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ .. œœœœœœœœ œœœœœœœœ œœœœœœœœ œœœœœ RH only!

Here, the outside mallet is changing position, and the inside is staying on the G.

4 & 4 œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœœœœœœœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ Œ .. œœœœ œœœœœ LH only!

Practice these concepts on pages:

46-47

REMEMBER: • Main pivot is from the wrist. • Fluid down and up stroke. • Don’t change the wrist motion when you start changing intervals. • Flex the index finger but keep it pointed across your body. • Move the forearm horizontally to change notes for the outside mallet.

Simply Four

Larger Intervals Now that you are comfortable with the intervals from a 5th to a 2nd, let’s discuss expanding the interval up to an octave. For most players, intervals of a 4th, 5th, and 6th are very comfortable and are reachable by simply pointing the index finger as far as possible across the body. Intervals larger then this however, are a different story. I have seen several approaches to getting the mallets to an interval of a 7th, octave, or higher, and a lot of them simply make things more difficult down the road.

“The Claw”

The most common problem is what I call “the claw” approach. When the thumb comes between the two mallets, it will limit mobility between quick interval changes.

“The Roll-Out” A much better approach is the “roll-out” approach. This is done after you have pointed the index as far as possible but you still need more distance between the mallets. Using your thumb, roll the inside mallet shaft down to the tip of your index finger. When the mallet shaft reaches the tip of the finger, control the mallet by pinching the shaft between your thumb and the index finger.

Comfortable interval.

Index pointed, thumb starts roll-out.

Watch

Weight of mallet is on middle finger.

TIP: Realize while the “roll-out” is happening, the weight of the mallet is transferred from the top of the index finger to the middle finger.

Lesson 8 Practice these concepts on pages:

47-50

As seen from underneath

Chapter 1 - The Stevens Grip

Upper Keyboard/Lower Keyboard The double-stop concepts we have discussed so far have involved only the lower keyboard (a.k.a. the “white notes”). The next step is to combine the upper and lower keyboards. Now we will focus on what happens when you have one mallet on the lower keyboard while the other mallet in your hand is playing the upper keyboard (a.k.a. the “black notes”).

Wrist-IN

& œœ # œœ

Let’s start with good ol’ C and G in your right hand. We now want to shift from C and G, to C# and G. To move the inside mallet from the C to C#, simply “bend” your wrist to your left, closer to your body. You are now using a more natural wrist motion. You’ll notice the inside mallet just slides right up to the upper keyboard.

Elbow-OUT

& œ #œ œ œ

Next, let’s take that C and G and move the G down to F#. To move the outside mallet to the upper keyboard, simply move your elbow AWAY from your body. Notice how that outside mallet just slides right up for you.

There will be times when simply moving your elbow out won’t get the outside mallet to where you want it. The elbow provides the main motion, but you can also bend your wrist at the same time to increase the angle.

Practice these concepts on page:

Simply Four

Independent Mallet Rotation Now that you are very comfortable with the double-stop stroke, let’s explore the situation of playing only one mallet at a time. I like to call this an “independent mallet rotation,” with stress on the word ROTATION.

Let’s try this – Remove the mallets from you hands. Imagine yourself opening a door. You need to twist the doorknob in order for it to open. Make that twisting motion with your wrist. Notice how there is no vertical motion at all as you twist. The wrist does not move up and down, but rotates around itself.

Axis Point

Think about the concept of an axis point. Remember how the earth revolves around an axis point? That same concept is used when we rotate the mallets in our hands. If we are going to lift the inside mallet, the axis for this rotation is the outside mallet. Your wrist and the inside mallet rotate around the outside mallet.

To experience this sensation, go through the following steps:

Put the mallets back in your RIGHT hand and get the mallets set at an interval of a 5th.

Reach under both mallets with your left hand and lightly grasp the mallet head of the outside mallet. Make sure you don’t GRAB the mallet head but instead hold it lightly between your fingers so that the mallet head can rotate.

Chapter 1 - The Stevens Grip

3 4

Remembering the “door knob” motion, twist your wrist slowly so that the inside mallet is raised about 8 to 10 inches up. The outside mallet should not move around but you should feel the mallet head of the outside mallet rotating between your left fingers. When you feel comfortable with this motion, remove your hand from the outside mallet and go through the rotation again – slowly. Focus on the height of the inside mallet while the outside mallet moves as little as possible. The mallets need to move independently of each other. Watch

REMINDER Don’t forget the roles of each finger •Thumb Up! •Point Index Finger •Spiderman (middle finger)

Lesson 9

Now that we have the inside mallet rotating, let’s get the outside mallet caught up.

1 2

Keep the mallets in your right hand and lightly grasp the inside mallet with your left hand as we did before with the outside mallet.

Twist your wrist so that the outside mallet starts to rise up. Your wrist and hand rotates around the shaft of the inside mallet. You’ll notice that as you twist, you will be able to see the flat top of your hand.

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Remove your left hand from the inside mallet and go through the rotation again slowly. Remember the goal is to raise the outside mallet as high as possible while keeping the inside mallet at it’s starting level.

Watch

Lesson 10

Do not adjust your ring and pinky finger. The fingers should not enhance the rotation. Imagine your hand has been dipped in cement and you can’t move your fingers. Remember the stroke and power comes from the wrist, not the fingers.

Fine Tuning the Mallet Rotation Before we start to put the rotations into play, we first need to focus more on the “upstroke.” It is important that while we rotate our wrist around the axis point, we

also need some sense of vertical lift with the mallet. The best way to illustrate this is to focus on the path the mallet head takes during the upstroke.

Inside Mallet

Go ahead and rotate the inside mallet on your right hand. Most likely, the pathway the mallet head is traveling is something like an arc or semi-circle. If you think of a clock and your outside mallet is center point of the clock (where the arms are connected to the clock face), and the inside mallet is starting on 9 o’clock, you probably end up with the mallet at 12 o’clock when the upstroke is finished.

Outside Mallet

Chapter 1 - The Stevens Grip

Lift and Twist While the “twist” motion is vital, you’ll also want to add a little more “lift” in the stroke as well. So, while your wrist is twisting, have the thumb and index lift the mallet at the same time

This concept needs to take place with the rotation of the outside mallets also. Think “lift” and “twist” AT THE SAME TIME.

When this “lift and twist” concept starts to take hold, you’ll notice that the down stroke has more of a straight pathway down to the bars. As a result, you won’t be sideswiping the bars as much. Practice these concepts on pages:

52-57 Watch

Lesson 11

Simply Four

Common Bad Rotation Habits Teeter-Totter Syndrome

During the rotation, when one mallet is coming down, the other mallet pops up. When this happens, the “axis point” has shifted from the mallet shaft to the center of your hand. Don’t let this happen! Focus on the control of the non-playing mallet. Don’t “teeter-totter” on rotation strokes!

Mallet Bounce

Instead of rotating the wrist, players have a tendency to lift from the elbow or turn the wrist over and play the independent strokes as if they were playing with two mallets. When this occurs, the outside mallets will bounce like crazy and blisters will happen very quickly!

Here, the inner mallet is playing. Notice how much undesired motion occurs in the outer mallet. Try to avoid this!

Forceful Thumb

When looking at the rotation taking place, it is very common to think that the thumb is the power source for the stroke. In doing so, players add a lot of unnecessary tension on the thumb by squeezing the mallet shaft between the thumb and index finger. Don’t forget, the only job of the thumb is to keep the mallet from sliding off the index finger. Watch

Lesson 12

The power of the stroke does not come from the thumb, but from the WRIST.

Chapter 1 - The Stevens Grip

Combining the Stevens Strokes Two Motions

So far, we’ve learned two basic strokes: the double-stop and the single mallet rotation. Simple choices: you play both mallets at the same time or one at a time. Physically, you can either bend the wrist or you can rotate the wrist. I like to summarize these two motions as: “wrist-it” vs. “twist-it.” Believe it or not, these are the only two strokes needed to play the instrument! You have learned the foundation to ALL the possible note combinations found with this technique. Of course, it isn’t that cut and dry. We will

be expanding quite a bit on the “twistit” concept but if you realize that all the intermediate and advanced techniques for this grip are ALL based on “wrist-it” and “twist-it” concepts, you are already in great shape!

Analyze the Hands

Let’s look at the following examples and analyze what each hand is doing. Work on both of these small excerpts one hand at a time. Focus on the technique used for each hand separately. When you feel comfortable, put the hands together.

Analysis No. 1

In these two measures, your left hand is playing double stops while the right is playing a single linear line. So while you play this, your left hand needs to focus of the lift of the wrist while your right hand focuses on wrist rotation. LH = “wrist-it” RH = “twist-it.”

{

3 3 3 3 œ 4 4 4 œ œ œ œ 4 œ œ &4

4 &4 œ œ

{

œ œ

œœ..

4 4 4 œ œ œ œ œ œ œ 3

j œœ œœ

œ œ

œœ

œ œ œ œ

Analysis No. 2

In this example, your left hand is playing a single line while the right hand is playing double stops. Focus on the lift of the right wrist while the left hand is focusing on the twist of the wrist. RH = “wrist-it” LH = “twist-it”

˙ ˙ ˙ ˙ & œ œ œ œ œ œ œ œ ? 2

˙ ˙

œ #œ

œ œ œ œ œ 2

œ 1 Practice these concepts on pages:

58-59

Simply Four

Rotation Combinations and Tempo Control To this point in the book, we have intentionally not explored the following mallet combinations; 1-2-1-2 or 3-4-3-4. This mallet combination consists of two rotations in one hand (also known as alternating strokes). It builds upon the basic rotation we learned in the last chapter. It’s important to note however, that these motions are treated differently depending on what speed you are rotating.

DOUBLE ROTATIONS - Slow Tempo (slow velocity) If the tempo is slow enough, I like to think of the double rotation as two separate rotations. If we are playing an example like this:

q = 60-90

4 &4

œ 3

After you rotate mallet 3 to play the C, there is a split second when the two mallets are back at the flat starting position before you begin the rotation of mallet 4. There are two full, but separate rotations present. At this slow tempo, it is NOT the time to use a “teeter-totter” stroke. I like to think of the double rotation as two separate rotations. Practice these concepts on pages:

59-60

FLUID ROTATIONS - Medium Tempo (medium velocity) We can take the same notes as before and play them a little faster as eighth notes.

q = 60-90

4 &4

œ œ œ œ œ œ œ œ 3

.. œ œ œ œ œ œ œ œ 3

As the tempo increases, the concern for control and separation between the mallets is not needed. As one mallet travels down towards the bar, the other is traveling up to the playing height. At this tempo, there is a teeter-totter feel present. For each note there is a wrist rotation, but the rotations flow into one another. I like to think of these as fluid rotations. The wrist is constantly rotating side-to-side. This is also known as the alternating stroke. Practice these concepts on pages:

60-61

Chapter 1 - The Stevens Grip

DOUBLE LATERAL - Fast Tempo (fast velocity) q = 60-90 During very quick passages, there isn’t time for the fluid 4 ‰ ‰ ‰ ‰ &4 œ‰ œ‰ œ‰ œ‰ rotation idea to take place. œ œ œ œ œœ œœ œœ œœ The notes might go by too 3 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 quickly for your wrist to keep When playing double laterals, both inside up. When this happens, we need to introduce and outside mallets are being activated with another concept that is most commonly one wrist motion. There is one quick twist referred to as a “double lateral.” In essence, of the wrist that activates both mallets, but at you are getting two for the price of one – two separate times. With this concept, each hand separate notes with one wrist action. If you’ve has two different options – an OUTSIDE ever played drums, this is very similar to the lateral motion, and an INSIDE lateral motion. stroke change that takes place on a snare drum See the chart below to view these different when you play “stroked” double stroke rolls options. versus “bounced” double stroke rolls.

Left Hand Double Lateral Options Right Hand Double Lateral Options OUTSIDE

2-1, 2-1

1 2 3 4

(going away from your body)

(going toward your body)

3-4, 3-4

(going away from your body)

INSIDE

1-2, 1-2

OUTSIDE

INSIDE L.H. R.H.

Practice these concepts on pages:

61-62

Watch

4-3, 4-3

(going toward your body)

Lesson 13

Simply Four

Sticking Combinations Since you have four mallets, there are 24 different sticking combinations that are available (with each mallet striking once). Some of these combinations are very similar to each other, so I like to focus on six of

Practice these concepts on pages:

63-64

them. Take each of these sticking patterns and practice them in quarter notes, eighth notes and sixteenth notes. Think of how the different speeds are affecting your wrist motions.

Chapter 1 - The Stevens Grip

Shifts There are many ways to dissect what and how you are playing. I like to lump things into two general groups – “big picture” and “little picture.” For example, “little picture” would include the roles of each finger, the “roll-out” move with your thumb, all the rotations discussed earlier, etc. The “big picture” items would include your wrist When repositioning, I like to call it “Shifting.”

motion, arm motion (both vertically and horizontally), and the shifts. The shifts are simply the repositioning of your hands and/or body to play the next chord or series of notes. For example, when we play the following chords, we need to reposition ourselves between each chord.

œ œœ œ

4 & 4 bœœœ bœ

bbœœœ œ

œœ œœ

nœœœ œ

When playing chordal music (chords) the shifts are very easy to comprehend. But when we play linear lines (single note at a time) there are shifts present but they might not be so easily detected. Let’s look at this excerpt from the Carcassi etude found on page 73.

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

3 &4

1 2 3 4 ...

œœ

œ œ œ œ œ œœ œ œ

If we take each beats worth of notes and turn them into a chord, we would have something like this.

3 œœ &4 œ œ œ & œœ œ

œœ œœ

œœ œ œ

œœ œœ

œœ œ œ

œœ œœ

These chords represent the hand and mallet positions needed for each beat when you play the Carcassi etude on page 73.

Œ Practice these concepts in the Carcassi etude on pages:

73-75

Simply Four

Here’s another example of looking at a linear line and breaking it down by its chords or shifts.

{

Original

6 & b 8 Œ.

{

Œ. œ œ œ

1 2 œ 3 4 3 2

? 6œ œ b8

Œ.

œ œ Œ. œ

3 4 3 2 1 2 œ

œ œ

Œ.

œ œ œ Œ.

sim.

œ œ

œ œ œ Œ.

œœ œœ #œ œ œœ ∑ œ Œ. œ œ œ œ œ œ œ œœ œ œ # œ œ œ . Œ. ? œ œ Œ. Œ. ∑ ∑ b & b Œ.

{

Broken down into the shifts used This example breaks down the above line into a chordal approach using only the notes from each beat.

6 & b 8 Œ.

œœ.. œ.

œ. ? 6 œœ.. b8

{

& b Œ.

œ. ? œœ.. b

Œ.

œœ.. œ. Œ.

Œ.

œœ.. œ. Œ.

# œœœ...

œœ.. œ.

Œ.

œœ.. œ.

#œœ.. œ.

Œ.

œœ.. œ.

Œ.

Œ. œ. œœ..

œœ.. œ.

Œ.

œœ.. œ.

Œ.

œœœ...

Œ.

Chapter 1 - The Stevens Grip

Broken down into the overall chord structure

{

We can also get very particular with the mallet placement throughout the exercise by keeping the mallets positioned above the notes they are going to eventually play. This example illustrates this concept by breaking down the shifts even more.

6 & b 8 œ. œœ... ? 6œ b8

{

œ.

œ. ? œœ.. b

œœ.. œ. œ. œœ.. œ. œ.

œ. œœ.. œ. #œ. # œœœ...

œœ.. œ. œ.

œ. œœ.. œ.

œœ... œ

œ. œ. œœ..

œœ.. œ.

œœ.. œ. œ.

œ. œœ.. œ.

œœ.. œ. œ. ∑

œ. œœœ.. .

œœ.. œ. œ. ∑

œ.

The concept of breaking down a musical line into its different shifts is something I use as a learning and practice tool for my students and for myself. This is a very handy way to learn the notes. Practice these concepts in the Schumann etude on pages:

76-78

Simply Four

Advanced Sticking Combinations Ripple Rolls Ripple rolls are another option a player has when rolling. A ripple roll is present when you use a sticking combination very quickly and continuously where each mallet plays separately from each other. Let’s look at our sticking combinations chart again: The first four listed here can all be considered ripple rolls when they are played very quickly. The double lateral rotation approach would be used. The goal is to get a very smooth and fluid sound when going from one mallet to the next. A seamless sound is desired. Try the first four sticking combinations and see which ripple rolls you are most comfortable with and develop all four!

Here is a very common and unique ripple combination. Start very slowly, then gradually increase the tempo. Remind yourself of the different rotation concepts as the tempo increases.

6 &8 œ

œ 4

œ 1

Use this breakdown to practice the above combination one hand at a time.

œ 4

12 œ œ œ Œ. œ œ œ Œ. œ œ œ Œ. œ œ œ Œ. œ œ Œ. œ œ Œ. œ œ Œ. œ œ Œ. .. & 8 œ œ œ œ 343 Practice these concepts on pages:

65-66

212

Chapter 1 - The Stevens Grip

One-Hand Independent Roll This concept is often misunderstood and approached the wrong way. The one hand independent roll is simply a continuous, very quick fluid rotation. The word fluid is very important. The most common “bad” independent roll is the one when a “twitch” takes place in the wrist instead of a fluid motion. This twitch comes from extreme tension and the mallets move quickly from one to the other with no control. Control is the key to a very solid independent roll. I like to use a certain exercise when teaching this roll that

was shown to me by my former teacher, Ted Rounds. The exercise is based on the groupings of 5. Start this very slowly and use the tenuto markings as slight accent points. The tenuto stresses transfer from one mallet to the other. It is essential to use a metronome with this exercise. Practice this exercise with the following variations: 1) Go through exercise with slight emphasis on beat pulse. 2) Go through exercise without pulses. 3) Make up your own sequence. 4) Use three-note or seven-note groupings.

q = 52-104

4 & 4 œ- œ œ œ œ œ- œ œ œ œ œ- œ œ œ œ œ- œ œ œ œ œ- œ œ œ œ œ- œ œ œ œ œ- œ œ œ œ œ- œ œ œ œ 5

4 3 4 3 4 3 4 3 4 3 ... 2 1 2 1 2 1 2 1 2 1 ...

sim. Practice these concepts on page:

This concludes the technical breakdown of the Stevens grip. As mentioned before, there are several variations to the “twist-it” concept as you move into more advanced techniques and literature. If you remember that EVERYTHING can be broken down to “wrist it” and “twist it”, you are well on your way. It is very easy for students to develop long-term physical problems when using this grip INCORRECTLY. A solid, slow warm-up regimen is very, very important. The small muscles and tendons in your hands and arms need to be taken care of. Be sure to use your favorite exercises as warm-ups, and then spend countless hours practicing.

Watch

Lesson 14

Simply Four

Chapter 2 - The Burton Grip

Chapter TWO

The Burton Grip

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Holding the Burton Grip The Burton grip is one of the very popular “crossed” style grips. It was developed by the legendary vibraphonist, Gary Burton. This chapter will show you the basics to the grip and ways to improve your technique. Once you have completed the basics in this chapter, go to page 46 and apply this technique to all the exercises.

The Inside Mallet

Pinch the mallet between your index finger and thumb, creating a “fulcrum.” Leave about 1/2 inch of the shaft sticking out the bottom of your palm.

Wrap the mallet with all your fingers with a solid control of the mallet.

Chapter 2 - The Burton Grip

The Outside Mallet

Slide the tip of the mallet shaft between the index and middle finger. The outside mallet needs to slide under the shaft of the inside mallet (between the inside mallet and your palm). Continue until the tip of the mallet has gone a full inch outside your palm.

At the point where the two mallets cross, bring your middle finger over the top of BOTH mallets to help support the connection point.

A quick test to make sure the outside mallet was properly installed is to get both mallets in your hand, hold the mallets palm down, and let go of the outside mallet. If the outside mallet falls to the ground, go back over the steps again. If the outside mallet is supported by the inside mallet, you are ready to move on.

Side view and top view of completed Burton grip

Simply Four

Checklist for the INSIDE MALLET Fulcrum between Thumb and Index finger 1/2 inch out the back

Checklist for the OUTSIDE MALLET Slide between Index and Middle Slide between shaft and palm One inch out the back

Chapter 2 - The Burton Grip

The Basic Strokes Double-Stops The basic double-stop stroke is simple to apply to this grip. The starting position should have your wrist flat to the instrument, similar to “matched grip” for snare drum.

Use your natural wrist hinge and lift both mallets straight up and down. Think of bouncing a basketball and use a very relaxed stroke with a continuous Practice up-and-down stroke. these concepts on page:

Changing Intervals (smaller intervals) Using the Burton grip, the technique used in changing intervals will vary depending on the size of the interval. When going from a 4th to a 3rd and a 2nd, you need to get your index finger “out of the way.” Use your thumb to slightly push the inside mallet towards the outside mallet. While doing this, slide your

index finger up the shaft away from your hand. Keep the index finger in contact with the inside mallet while you do this. To open the interval back up, push the index mallet back to the “fulcrum” position and allow that inside mallet to slide away from the outside mallet.

Practice these concepts on pages:

46-47

Simply Four

Changing Larger Intervals In order to open the interval up to a larger span, you need to change the grip a little.

Slide your index finger down closer to your palm, and at the same time slide your thumb from the side of the mallet to the top of the mallet. As the interval grows, the index finger continues to move the inside mallet down the outer side of the thumb.

The inside mallet is going to be changing its position while the outside mallet stays stationary.

Practice these concepts on pages:

47-50

Chapter 2 - The Burton Grip

Upper/Lower Keyboard

Oftentimes, you’ll encounter a situation where you need one mallet on the accidental notes (upper keyboard) while the other is on the natural notes (lower keyboard). When this happens, there is only one simple move needed.

Elbow-OUT When the OUTSIDE mallet is moving to the upper keyboard, move your elbow away from your body and that outside mallet will simply slide up for you.

& œ #œ œ œ

Wrist-IN When the INSIDE mallet needs to move to the upper keyboard, flex your wrist in towards your body, pressing your elbow into your waist. By doing this, the inside mallet will slide up for you. Make sure the wrist stays flat.

& œœ # œœ

Practice these concepts on pages:

Simply Four

Rotations Now that you have a handle on the double-stop stroke, next we will tackle the situation of playing one mallet only. I like to call these strokes, ROTATIONS. There are two types of rotations â&#x20AC;&#x201C; inside rotations

and outside rotations. The inside rotation takes place when you wish to play mallet 2 (inside left) or mallet 3 (inside right). An outside rotation takes place when you wish to play mallet 1 or 4 (the outside mallets).

Inside Rotations The Goal: to have a nice upstroke with the inside mallet while controlling the outside mallet.

Starting position

The focus of the stroke needs to be from the fulcrum point â&#x20AC;&#x201C; the thumb and index finger. Rotate your wrist away from your body so that the inside mallet starts to rise. The connection point where the two mallet shafts touch each other should not change. Think of the outside mallet as an axis point for the inside mallet to rotate around. If you are rotating the wrist correctly, the outside mallet will not change position.

Upstroke

Downstroke

Chapter 2 - The Burton Grip

Outside Rotations The outside rotation is a little different then the inside rotation. With the outside rotation you need to set the mallet shafts a little differently. The basic outside rotation calls for the mallet shafts to be perpendicular to each other (at a right angle). You want the inside mallet to go straight across your body while the outside mallet is straight away from you, over the instrument.

Downstroke to upstroke

From this position, the rotation is very simple. All you do is bend your wrist at its natural hinge. You will notice that the inside mallet becomes the axis point for the outside mallet.

Practice these concepts on pages:

52-57

This concludes the technical breakdown of the Burton grip. Understand that the wrist motion for the double-stops and the wrist rotations for the single notes are the foundation for all other techniques involved. Understand the wrist motion connection to regular 2-mallet technique, as well as the axis point concept for the rotations. Please use the exercises on page 58-66 as a developmental stage for combining the basics. If you understand the basics, you are well on your way!

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Chapter 3 - Technique Exercises

Chapter THREE

Technique Exercises

Simply Four

It is a common practice to label each of your four mallets with a certain number. In this book, the mallets are labeled from left to right as shown here.

1 2 3 4

L.H. R.H.

Double-Stop Exercises Wristin’ It

Play each hand separately until this motion feels comfortable. Then try both hands together. It’s OK to use some vertical motion from the forearm. Just be careful not to lock your wrists and hinge your strokes from the elbow. This is a common mistake.

4 &4 œ œ

œ œ

RH alone, LH alone, Both Together

œ œ

& œ œ

Watch

œ œ

œ œ ..

Basic Double-Stop Motion

Lesson 5

Try the following exercise to practice the double-stop stroke. Lock the mallets at the interval of a 4th and move you arm horizontally to change notes.

4 & 4 œ œ œ œ œ œœ œœ œœ œ œ œ œ œ & œœ

œœ

œœ œ œ œ œ œ œ œœ œ œ œ œ œ œ œœ

œœ

REMEMBER: • Main pivot is from the wrist. • Fluid down and up stroke. • Don’t change the wrist motion when you start changing intervals. • Move the forearm horizontally to change notes for the outside mallet.

œœ

Chapter 3 - Technique Exercises

Double-stop Exercise No.1

This exercise is based on the examples from page 17. I use a certain sequence to focus on the intervals of a 5th through a 2nd. The second time through the sequence, we drop the repetitions. Play this exercise one hand at a time. Once you get comfortable with the exercise in each hand, try playing it with both hands at the same time (an octave apart). When doing so, realize the right hand will be moving the inside mallet while the left hand is simultaneously moving the outside mallet.

4 &4 œ œ

œ œ

œœ

œœ œœ œœ

œœ

RH alone, LH alone, Both Together

& œ œ

œœ œœ

œœ

œ œ

œœ

œ œ

œœ

œ œ

œœ

œœ œœ

œœ

œœ œœ œœ

Watch

Double-Stop Smalls

To work the idea of changing between small intervals, try this exercise. Remember to use a fluid upstroke and downstroke.

Lesson 15

4 &4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

œœ œœ œœ œœ œœ œœ œœ œœ

& œ œ

œœ

œœ œœ œœ

œœ

œœ œœ

Double-Stop Larges

This exercise focuses on interval changes with larger intervals from a 4th to an octave. Remember to use a fluid upstroke and downstroke.

4 &4 œ œ & œ œ

œœ œ œ

œ œ

œ œ œ œ œ œ

& œœ œœ œ œœ œœ œ

œ œ

œ œ œ œ œ œ œ œ œ œ

œ œ

œ œ œœ œ œ

œ œ œ œ

œ œ

œœ œ œ œ œ

œ œ œ œ œ œ

œ œ

œ œ œ œ œ œ œœ

Simply Four

Inside Mallet Motion

Now practice going slowly from the interval of a 5th all the way to an octave. For all of these exercises, focus on your wrist motion, index finger motion, and a relaxed stroke.

q = 50 - 160

4 & 4 œœ œœ œœ

œ œ œ œ œ œ

& œœ

œ œ

RH only

œ œ

œ œ œ œ œ œ œ œ

œ œ

q = 50 - 160

4 &4 œ œ œ œ œ œ LH only

& œ œ

œ œ

Watch

Lesson 16

œ œ

œ œ œ œ œ œ

œ œ œ œ œ œ œ œ

œ œ

œ œ œ œ œ œ œ œ

œ œ

œ œ œ œ œ œ

œ œ

œ œ œ œ œ œ œ œ

œ œ

œ œ œ œ œ œ œ œ

œ œ

Chapter 3 - Technique Exercises

Double-Stop Interval Expansion

This double-stop stroke is one of the foundations that other techniques will be built upon and it is important that you feel very comfortable changing intervals while doing this stroke. To help with this, the following are all variations on the Double Stop Exercise #1 from page 47. For all of these exercises, focus on your wrist motion, index finger motion, and a relaxed stroke.

Starting from a 6th

Start very slow then get gradually faster.

4 & 4 œ œ œœ œœ œœ œœ œœ œœ œ œ RH alone, LH alone, Both Together

œœ œ œ œ œ œ œ œ œ œ œ œ œ œœ ..

& œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ œ œ Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Starting from a 7th

Start very slow then get gradually faster.

4 & 4 œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œœ œœœœ œœœœœœœœ RH alone, LH alone, Both Together

& œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ œ œ œ œ Œ œ œ œ œ œ œ œ œ œ œ œ œ

Starting from an Octave

Start very slow then get gradually faster.

4 & 4 œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ RH alone, LH alone, Both Together

& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

œ œ œ œ œœ œœ œœ œœ œ œ œ œ

& œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ œ œ œ œ œ œ œ œ œ œ œ œ œ

Simply Four

Double-Stop Inch Worm 4 & 4 œ œ œœ œœ œœ œœ œœ œœ œ œ

œ œ œœ œœ œœ œœ œœ œœ œ œ

& œœ œœ œœ œœ œœ œœ œœ œœ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

RH alone, LH alone, Both Together

& œ œ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œœ œœ œœ œ œ œ œ œ

Ó ..

Double-Stop Exercise No. 2

We are now going to combine the “wrist-in” and “elbow-out” motions. Notice the sequence present in this exercise. It is important to keep the vertical wrist motion present in the double-stop stroke throughout this exercise. The only thing we are adding is the “elbow-out” and “wrist-in” motion. Be careful you don’t lose the solid foundation you started with from the “Double-Stop Exercise No. 1.”

q = 60-180 "Home base"

4 &4 œ œ

RH-LH

œ #œ

& œ œœ œ bœ œ œ œ

œ #œ œ œ

œ œ

œœ

œ #œœ œ

œ œ

œ œœ œ œ œ #œœ œ b œ œ Œ Ó œ œ œ œ œ œ œ

& œ ? ? ? œ ? ? ? œ œ Maj 6

œœ

Maj 7

œœ

œ ? ? ? œ ? ? ? œ œ 8va

Continue same sequence as above, using these intervals

Maj 9

Chapter 3 - Technique Exercises

Double-Stop Diddy

This exercise combines all the different double stop possibilities described on pages 19 (Stevens) and 41 (Burton). Remember to keep a nice relaxed downstroke and upstroke. Start very slow and one hand at a time.

## 4 œ & 4œ ## œ œ & œ œ œœ &

œ œ

œœ

œ œ

œœ œœ œ œ

œ œ œ œ œ œ

œ œ

œœ œœ œ œ

œ œ

œ œ œœ

œœ œœ

œœ

œ œ

œ œ œ œ œ œ

œ œ

œœ œœ œœ œœ œœ œœ œœ œœ

œ œ

œœ

Double-Stop Leap Frog 4 & 4 œ œœ œœ œœ œœ œ œ œ œ œ œ œ RH alone, LH alone, Both Together

œ bœ œ œœ œœ œ œ œœ œ œ œ œ bœ

& bbœœ œœ œ œ œ œ œ œ bbœœ œœ bœœ œœ bœœ œ œœ œœ bbœœ œœ bœœ œœ nœ Œ .. œ œ œ œ œ œ œ œ

Simply Four

Rotation Exercises 12/8 Three’s Exercise No. 1

Try this exercise very slowly. Concentrate not only on what the rotating mallet is doing, but also on controlling the non-playing mallet in your hand. For example, check to make sure while mallet 1 is rotating, mallet 2 is not bouncing around (and vice-versa for your other hand).

12 & 8

œœœ

œœœœœœ

œœœ

1 1 1 3 3 3 2 2 2 4 4 4

œ œ

œ œ œ œ

œ œ

œ œ œ œ

1 1 3 3 2 2 4 4 2 2 3 3

œœœœœœ

œœœ

2 2 2 3 3 3 1 1 1 4 4 4

œ œ

œ œ œ.. œ

1 1 4 4 2 2 3 1

œ. œ.

4 2

12/8 Three’s Exercise No. 2

12 & 8

œœœ

œœœœœœœœœ œœœœœœ

œœœ

œœœœœœ

111333222444 333222444333 111222444333

œœœ œ œ œ œ œ œ & œœœœœœœœœœœœ œœœ œ œ œ œ.. .. œ œ œ œœœ œ 222333222333

111222333444

2224442223 1

Chapter 3 - Technique Exercises

Three Groupings

This exercise takes it “up a notch” for the basic independent strokes. The accents are very important. When a note is accented, you should use a full wrist rotation focusing on the height of the stroke. The non-accented notes should be played from a two inch height. The main focus is on the accented notes, while the non-accented notes are there to keep things in time. Start this exercise very slowly! As you get more comfortable, increase the speed.

e = 60 - 160

3 &4 œ >

& ..

>œ1

>œ

& .. œ >

> œ

œ >

>œ

œ 3

œ 1

œ > œ >

œ œ

œ œ œ

œ >

> œ

>œ

Watch

REMINDER While you are lifting mallet 2, notice the control of mallet 1 and vise-versa. The same goes for mallet 3 and 4.

Lesson 17

Simply Four

Double-Time Three Groupings

Let’s take the previous exercise and play it in sixteenth notes! We’ll intermix the exercise in eighth notes and sixteenth notes. During this exercise, really focus on the last two sequences. The sequences that go from right to left on the instrument usually cause more problems than the first two. If need be, really slow these down. It is important that all four sequences feel comfortable.

>œ œ 3 œ œ >œ œ œ œ &4 œ œ œ œ > 2 3 4 >œ œ > œ > œ œ œ œ œ & œ œ œ œ & & &

>œ1 >œ >œ

œ œ 2 3

œ œ >

>œ > œ œ œ œ œ œ œ œ

>œ œ > œ > œ œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ > œ > œ œ > œ > œ >œ

œ œ

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4 3 2

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œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ > œ > œ œ œ > œ > œ > > 3 2 1 > œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ Œ œ > œ >œ œ > œ >œ >œ >œ Watch

Lesson 18

Chapter 3 - Technique Exercises

In’s and Out’s

These exercises work on mallet 1/4 and 2/3 combinations. Both outside mallets play together and both inside mallets play together. This is a common motion and needs to be understood.

e = 60 - 90

œ œ œ œ œ œ œ œ œ œ œ œ 4 œ œ œ œ &4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4 1

4 1

3 2

sim.

œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œ œ œœ œœ & œ œ œ œ œ œ œ œ œ œ œœ œœ œ œ œœ œœ œ œ œœ œœ œ œ œœ œœ œ Œ & œ œ œ œ œ œ œ Œ œ œ

Ó .. Ó

e = 60 - 90

œ œ œ œœœœœœ œœœœœœ œ œ œ 4 œ œ œ œ œ œ & 4 œ œ œœ œ œ œœ œ œœ œ œ œ œ œ œ œ œ œ œ œ œœ 4 3 3 4 1 2 2 1

sim.

œ œ œ œ œœ œœ œ œœ œœ œ œœ œœ œœ œœ œ œœ œœ œ œœ œœ œ Œ & œ œ œ œ œ œ œ œ œ Œ

Simply Four

Scales (insert vulgar expression here...!)

Just when you thought you’d escaped - the scales are back! Instead of playing your scales with two mallets like you always have, we are going to strengthen your 4-mallet independence while playing them with the two inner mallets. Use only these two mallets while playing with a single independent mallet rotation. To be sure you are rotating properly, focus on the control of your outside mallets.

4 &4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœ œ 1st time:

2 2nd time: 3

3 2

2 3

3 2

2 3

3 2

& œ œ œ œ œ 2 3

3 3

2 2

3 3

2 2

2 3

3 2

2 3

3 2

2 3

3 2

2 3

3 2

2 3

3 2

sim.

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 2 3

3 2

2 3

3 2

2 3

3 2

2 3

3 2

sim.

& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

Be sure to try this with both indicated stickings. Focus on the rotations and make sure there is a solid upstroke after each note or else the mallets will collide.

Chapter 3 - Technique Exercises

Other Scale Rotation Combinations

Sometimes we can play linear lines (or 2 mallet work) with a combination of one inside mallet and one outside mallet. This is particularly common in jazz vibraphone situations. For example, this scale figure would use the sticking of 3-1-3-1 etc...

œ œ œ œ œ œ 4 œ œ œ œ œ œ œ œ &4 œ œ œ œ œ œ œ œ œ œ 3 1 3 1 3 1 3 1

etc ...

& œ œ œ œ œ œ œ œ &

œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

Experiment with this scale based exercise and try some different sticking possibilities. See which mallet combination you like (2-3-2-3 or 2-4-2-4 or 1-3-1-3).

b4 &b 4

œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b œ œ œ œ œ œ œ &b bœ œ œ b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ

Simply Four

Wristwist

{

This short exercise expands on the analysis section from page 25. Practice this with one hand at a time making sure you are not changing the “wrist-it” or “twist-it” techniques. When each hand feels comfortable, start playing with both hands together. The worst thing to do is to jump into this too quickly which will most likely reinforce bad habits!

q = 55 - 80

4 4 4 œ œ œ 4œ œ œ œ &4 3

4 &4 œ œ

{

œ œ

1 2

œœ..

œ3 œ3 œ3 œ3 œ3 œ3 œ3 œ & ˙˙

˙ & ˙

œ #œ

? œ œ œ œ œ 2

j œœ

˙˙

œ œ œ

œ œ

˙ ˙

˙ ?

œ œ œ œ

œœ 4 ˙3

œ Œ œ

œ œ

œœ

4 4 4 œ œ œ 3 3 œ

œ œ

& ˙ ˙

{

4 4 4 œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ 2 2 2 2 2 2 2 2

˙ ˙ œ œ œ œ

œœ

REMINDER Remember the roles of each hand!

Œ Œ

Chapter 3 - Technique Exercises

Outer Limits

This exercise forces the player to use the “twist-it” concept for the outside mallets (mallets 1 and 4). As we have mentioned before, these are weaker mallets for most beginning players because they are not normally used as often. Inside mallet combinations (i.e. 2-3-2-3-2-3) are found more frequently. This exercise forces you to rotate those outside mallets, so no cheating!

REMINDER Play this one hand at a time while remembering the roles of each hand!

{

q = 55-80

4 & b 4 œœ œ œ œ œ œ œ 4 4 4 4 4 4 œ.. œ ? 4œ œÓ b4 J

œœ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ sim. œ.. œ œ. œ ˙ œ œ œ œ œ. œ Ó ˙ œ œ JÓ J

œœ.. b & œ.

œœ.. œ.

{

œœ J Ó

œ œ1 œ1 œ1 1 1 1 œœœ ? b

œœ Ó J

˙˙

˙˙ ˙

œsim.œ œ œ œœœ

œœœœ œ œ

œ œ Œ Ó œ œ Œ Ó

Double Rotations No. 1

Keep the tempo slow. Your mallets should be at the level/beginning position for a split second between each rotation.

q = 60-80

4œ &4 3

& œ

œ 3

œ 2

œ 1

œ 3

œ 2

œ 1

œ 3

œ 2

œ 1

Simply Four

{

Double Rotations No. 2

q = 60-90

4 &4 œ

{ {

{

?4 4

∑ œ

& Ó

? œ 1

Œ œ

& Ó

? œ 1

œ 3

∑

Fluid Rotations No. 1

Concentrate on the fluid twist from the inside to outside mallet. Remember the “Teeter-totter” feel. q = 100-144

4 &4 œ œ œ œ œ œ œ ?4 4

{

∑

œ œ bœ ? œ œ œ œ 1

œ 1

œ 2

œ 1

œ 2

œ 1

œ œ œ œ œ bœ œ

∑

œ œ œ œ œ œ œ

∑

œ œ œ 3

œ 1

œ 2

œ 1

.. ..

{ { {

Chapter 3 - Technique Exercises

Fluid Rotations No. 2

q = 90-128

4 &4 œ œ œ œ œ œ œ œ 3 4 3 4 3 4 3 4 ?4 ∑ 4

& œ œ œ bœ œ œ œ œ ?

sim.

∑

œ 1

œ 2

∑ œ

œ œ œ œ

∑

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ ? œ œ œ œ œ œ œ œ œ œ

Double Laterals No. 1

This exercise is designed to help you practice the double lateral concept introduced on the page 27. During the eighth notes, the fluid rotations take place but during the sixteenth notes, think one wrist motion. Keep the pulse the same throughout.

q = 120

œ œ œ œ œ œ œ 4 œ . & .4 3

& ..

œ œ œ œ

& ..

...

œ œ œ œ œ œ œ œ ...

& .. œ œ œ œ œ œ œ œ 2

œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ ..

...

œ ‰

œ ‰ ..

œ œ œ œ œ œ œ œ ‰ ‰ ‰ ‰ .. œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ ..

Simply Four

Double Laterals No. 2

It is very important to understand and comprehend the differences between the three separate rotation concepts (double rotations, fluid rotations, double laterals). To help understand the differences, I’ve taken one of the double-stop exercises we already played and slightly changed things so you can work on the rotations. Play this exercise one hand at a time and start very slowly (double rotations) and gradually increase the tempo through the fluid rotation feel and into the double lateral feel.

4 &4

RH alone, LH alone

œ œ œ œ œ

œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

Ó & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

Chapter 3 - Technique Exercises

Sticking Combination Exercises Using the “common sticking combinations” chart (discussed on page 28), you can create some nice variations on these patterns by simply placing the downbeat on different mallets within the pattern. Below you’ll see each of these patterns and their various alterations written out. Practice by spending several minutes on each measure. These are wonderful exercises to ensure you strengthen all four mallets evenly. Have patience with these, and good results will follow!

Variations on Combination A (1-2-3-4)

œ œ

œœ œ

œœ

œœ œ

œœ

œœ œ

œœ

.. ..

œœ œ

œœ

œœ œ

œœ

œœ œ

œœ

œ œ

.. ..

Variations on Combination B (4-3-2-1)

œœ

.. ..

œœ

.. ..

Simply Four

Variations on Combination C (1-2-4-3)

œ œ

Variations on Combination D (2-1-3-4)

œ œ

.. ..

Variations on Combination E (1-3-2-4)

œ œ

œœ œ

œœ

œœ œ

œœ

œœ œ

œœ

.. ..

œœ œ

œœ

œœ œ

œœ

œœ œ

œœ

œ œ

.. ..

Variations on Combination F (4-2-3-1)

œœ

.. ..

œœ

.. ..

Chapter 3 - Technique Exercises

Ripple Combinations

This exercise expands on this unique sticking combination. Notice the use of shifting certain notes to the downbeat while keeping the similar sequence. Again, start very slowly and remind yourself of the different rotation concepts as the tempo increases.

œ œ 6 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ &8 œ œ œ œ œ

1 2 3 4 3 2

& œ

œ œ

sim.

œ œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ & œ

œ œ œ œ œ œ

œ.

Œ.

(continue sequence) œ œ œ 6 œ œ œ œ œ œ œ œ œ œ &8 œ œ œ œ œ œ J ‰ Œ Œ 2 3 4 3 2 1

sim.

(continue sequence) œ œ œ 6œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ Œ Œ &8 œ œ J œ 3 4 3 2 1 2

sim.

(continue sequence) œ œ œ œ 6 œ œ œ œ œ œ œ œ œ œ œ œ J ‰ Œ Œ &8 œ œ œ 4 3 2 1 2 3

sim.

Simply Four

Another Advanced Sticking Combo This is another popular sticking combination.

12 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ . Œ. Ó. & 8 œ œ œ œ œ œ œ œ œ 2 3 4 2 4 3 2 3 4 2 4 3

...

& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. Œ. Ó. 3 2 1 3 1 2 3 2 1 3 1 2

...

Independent Roll Strokes Exercise

After you get comfortable with the overall concept of independent rolls, start changing the notes on the beats as seen here. Gradually increase the tempo and drop the tenuto markings. The goal is a fluid side-to-side motion with your wrist with equal quality of sound from each mallet. When this is perfected, you should be able to change the speed of the rolls! Practice this exercise with the following variations: 1) Go through exercise with slight emphasis on beat pulse. 2) Go through exercise without pulses. 3) Make up your own sequence. 4) Use three-note or seven-note groupings.

q = 52-104

4 & 4 œ- œ œ œ œ œ- œ œ œ œ œ- œ œ œ œ œ- œ œ œ œ œ- œ œ œ œ œ œ œ œ œ œ- œ œ œ œ œ œ œ œ œ RH: 4 3 4 3 4 3 4 3 4 3 4 3 4 3 4 ... 5

sim.

LH: 2 1 2 1 2 1 2 1 2 1 2 1 2 1 2 ... 5

& œ- œ œ œ œ œ œ œ œ œ œ- œ œ œ œ œ- œ œ œ œ œ- œ œ œ œ œ- œ œ œ œ œ- œ œ œ œ œ- œ œ œ œ -œ œ œ œ œ -œ œ œ œ œ -œ œ œ œ œ -œ œ œ œ œ & œ œ œ- œ œ œ œ œ- œ œ œ œ -œ œ œ œ œ -œ œ œ 5

-œ

œ 5

œ-

-œ

œ 5

œ-

-œ

Chapter 4 - Etudes

Chapter FOUR

Etudes

Simply Four

{

Call and Answer

This etude focuses on the exchange between the “wrist-it” and “twist-it” concepts with both hands changing between these two different strokes. Make sure your stroke changes from a double-stop to a rotation and back. Work out one hand at a time, then slowly put both hands together.

& b c œœ

œ œ

œœ..

œœ Œ

œœ..

œ œ œ œ œ œ œ œ

œœ

œ œ œ œ œ œ œ œ œ œ œ œ œ ? c œ b

{

? œœ b

œœ

œ œ œ 2

{

œœ œœ.. J

œœ J

j œ œ ‰ œ ‰ œ Œ J

œœ..

&b œ œ œ œ œ œ œ

j œ j ‰ œœ ‰ œ Œ ‰ œœ J œ œ œ œ œ œ œ

A tempo U æ œ œ œ œæ œ œ œ œ œ œ & b ‰ œJ Œ œ œ œ œ œ œ œ Œ œ œ 3 3 3 4 3 3 3 4 3 3 3 4 4 4 p f mf dim. œ œœ œœ œ œ U œ œ œ ? œ œ œ œ Œ Œ Œ œ œ b ææ 1 mp 2 2 1

{

rall.

& b œœ

œœ

œ œ œ 3

œ ? œ œ œ œ œ œ œ œ œ œ œ œœ.. b p

œ œ œ

j œ œ œ.. 1

œ œ œ

j . œ œœ. 1

j œ 1

{

Chapter 4 - Etudes

& b œ œ œ œ œ œ œ œ œœ 3

{

œ œ œ œ œ

œ œ œ œ œ 2

? œ b 2

œœ

œ œ œ œ œ 2

œ œ œ œ

œ 1

œ œ œ œ œ

œœ..

œ œ œ œ œ

&b œ œ œ œ œ

œ œ œ œ œ 3

œœ..

œœ Œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ

? Ó b

{

œ œ œ J

? œœ.. b &b

œ œ

œ œ œ œ

œ œ œ œ 2

œœ œœ

œ œ

Simply Four

All Rolls

This etude focuses on combining block hand-to-hand (double-stop) rolls, 3-mallet block chords (wrist vs. twist), and different combinations of 2-mallet linear rolls. Focus on the technique of each hand as you move in and out of each roll type. Independent rolls can be explored but not recommended to younger students.

q = 60-80

#### 4 & 4

æ œœæœ.. ‰ œ ..

æ ˙˙æ˙ ˙

æ œœæœ œ

ææ œ œœœ

æ œœæœ œ

rall.

#### ˙ææ & ˙˙

{

ææ ˙˙˙ ˙

#### &

{

˙ ææ

ææ œ ? #### œœ ææ

æ œæ ææ

ææ ææ˙ 2

ææ ææœ

æ 6 ˙æ 4æ æ

˙ ææ

∑ ææ ˙˙ ˙˙ ææ

ææ ˙-

ææ œœ œ ææ 2

ææ œ ææ

æ œæ ææ

ææ ææœ

"3 4

æ wæ

ææ3 w ˙ ? #### ææ

#### &

∑ 3æ #˙˙æ ææ˙

ææ 3 ˙. 4 ææ˙.

∑

ææ œææ œ œ œ espressivo ˙˙.. ææ

A tempo 3

ææ 4 ˙ææ ææœ 4 ææ

ææ œœ œ ææ

2 mf

2 pp

æ œæ œ

æ ˙˙æ˙ ˙

ææ ˙˙˙

ææ ˙ ˙ ææ 1

∑ 3æ #˙æ˙ ææ˙

ææ æ œ #œæ œ #œ ˙˙.. ææ

ææ œ œ

Chapter 4 - Etudes

#### ææ #˙ & #˙ ? #### ˙˙.. ææ

{

#### 4 & 4 ææ ˙˙ p ? #### 44 ˙˙ ææ

{

#### &

{

æ wæ #w f

? #### w wæ æ

ææ œ œ

˙˙.. ææ

æ æ œæ œæ œ œ

ææ ˙˙ ˙˙ ææ

ææ œ œ

˙˙.. ææ

ææ œ œ

˙˙.. ææ

ææ œ œ

ææ w w w wæ æ

ææ ˙˙ ˙˙ ææ

ææ ˙˙ ˙˙ ææ ææ ˙ #˙

ææ n˙˙

U ææ w #w

˙˙ ææ

w w ææ u

˙˙ ææ

ææ ˙. ˙.

˙˙.. ææ

4 4 niente

4 4

Simply Four

Etude d’Linear

Play at a very slow tempo. When that gets more comfortable, play at gradually faster tempos. Think of the three different rotation velocities as tempos increase.

Keep e's Steady

4 2 3 4 2 4 3 2 œ œ œ œ œ œ œ # œ 4 œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ &4 œ œ œ 1

œ œ œ œ œ œ #œ œ œ œ œ œ #œ œ œ œ #œ œ œ œ œ œ œ # œ œ & œ #œ p

œ #œ œ

& #œ #œ 1

œ #œ œ œ œ œ œ œ œ 6 #œ œ œ œ 11 4 #œ 8 1

3 œ #œ œ œ œ œ œ œ œ 11 #œ œ 4 œ œ œ #œ œ œ œ 4œ & 8 #œ 3

œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ 12 œ œ œ œ œ 8 & œ œ œ œ œœœœ œ œ œ œ œ 12 œ œ œ œ œ œ œ œ 5 œ œ œœ 4 œœœœœ Œ 4œ 4œ œ & 8 œ œ œ œ 4

3 4

2 3

2 4

3 2 3

Chapter 4 - Etudes

Caprice No. 1

Transcribed from Carcassi’s “Six Caprices,” Op. 26

Moderato

œ œœ œœ œ œœ œœ 3 œœ œœ œœ œ œ & 4 œ œœ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ 1 2 3 4 1 mf

œœ

œ œ œ œ œ œœ œ œœ œ œ œ œ œ œ b œ œ œ œ œ œœ œ œ œ œ œœ œœ œ

œ œ œœ œœœ œœ œœ œ œ & #œ œ œ 1 2 3 2 4 2 3 2 1

& &

œœ

œ œ œ œ œ œ bœ œ œ

œ œ œ

œ 1

œœ

œ œ œ œœ œœœ œœ œ œ

œœœœœœ 2 3 2 3 2 3

œœ

œ œœ

œœ

œ œ b œ œœœœœœ œ œ œ œ œ œ œ œ œ #œ œœœ œ œ

œ #œ œ 3 4

#œ 1

œ œ œ

#œ 1

œœœ

1 2 3 2 4 2 4 3 1

œœœ œœœ œœœ œ œ2 œ 2 2

Simply Four

œ œ œ œ & œ #œ œ œ œ œ œ œ 2

3 4 3 4 3 4 3 2

œ œ œ œ œ œ œ œ œ œ œ œ

œ #œ œ

#œ

œ œ œ

#œ

œœœ

œ œ œ œ œ œ œ œ œœœ œœœ œœœ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ cresc.

poco

œ œ œ œ & œ œ œ œ œ œ œ œœœ œœœ œ œ œ œ œ œ œ œ œ œ œ œ1 3 4 3 œ1 œ 1 œ

œœœœœœ œœœ œœœœœœœ œœœ œ œ œ & œ œœœ œœœ œ œ œ œ œ 2 2 œ

œ œ œ œœ œœœ œœ œ œ & #œ œœ œ 1 2 3 2 4 2 3 2 1

& &

œœ œ

œœ

œ œ œ œ œ œ bœ œ œ

œœ

œœœœœœ 2 3

œœ

œ œ œ œœ œœœ œœ œ œ

œœ

œ œ œ

œœ

œ œ b œ œœœœœœ œ œ œ œ œ œ œ œ œ #œ œœœ œ œ

4 3 1

Chapter 4 - Etudes

œ œ œ œ œ œ & œ œ œœœœœ œ œ œ œ œ œ œ œœœ œœœ œœ œ œ œ œ œ œ œ 1 2 3 2 4 3 œ 1 2 3 2 4 3 2 3 1 3 1 3 1

œ œ œ œ œ œ œ 4 3

œœ

3 1

4 3

œ œ œ œ œ œ œœœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ mf

œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œœ œœœœ œœœ œœœ œ œ 4 3 œ 4 3 2 3 4 œ 4 3 f

dim.

poco a poco

œ œ œ & œœœ œœœ œœœ œœœ œœœ œœœ œœœœ œœœ œœœ œ œ œ œ œ p U ˙. ææ œ ˙ œ ˙ . . œœ œ ˙˙.. ˙˙.. œœ & ˙˙˙.... ˙.. œ œ ˙ œ œ œ ˙. ˙. ˙ ˙.

This is just one of six Caprices originally written for classical guitar by the classic/romantic composer, Matteo Carcassi (1792-1853). These Caprices act as great etudes for the marimba. The Howarth marimba transcriptions of the full collection is available for instant electronic download at www.tapspace.com, or mail-order through Steve Weiss Music in Pennsylvania.

Simply Four

{

Little Etude

Transcribed from Robert Schumann’s “Album for the Young”

& b Œ.

œœ

œ ? œ œ Œ. b 1

3 4

{

#œ œ

& b Œ.

#œ œ œ ? Œ. b

{

& b Œ.

œœ

mf œ ? œ œ Œ. b

{

œ2

? œ œbœ Œ. b 1

œ2

œ f

3 œœ 2

œœ

œœ 4

Œ.

œœ

œ 2

∑

Œ.

œœ

sim.

œœœ

Œ. œ #œ œ

œ #œ œ Œ.

Œ. œ bœ

Œ.

œœ

œ Œ.

cresc.

œœ

Œ.

œœ

∑

œœ

rall.

& b Œ.

Œ.

œœ Œ.

Œ. œ œœ

œœ Œ.

Œ. œœ

dim.

Œ. œ

œœ

. œ Œ

Œ.

œœ

Œ.

œ œ Œ.

œœ

Œ.

œœ

œ œ œ

Œ.

œœ Œ.

œœ

œ œ œ

Œ.

œœ

œ Œ.

œœ

œ œ Œ.

{

& b Œ.

œœ

? œ œ Œ. b

{

& b Œ. ? œ b

{

Chapter 4 - Etudes

œœ

œœ Œ.

œ #œ œ œ œ Œ. œœ œ œœ œœ œ œ œ œ œ œ œ mf œ dim. œ# œ . œ œ Œ. Œ ∑ ∑

œ Œ.

Œ.

œœ

œ œ œ Œ. dim.

Œ. #œ œ

Œ. œ #œ œ

œœ

Œ.

œœ Œ.

Œ. œ

œ œ Œ.

œœ

& b Œ.

? œ œ œ Œ. b

{

œœ

& b Œ.

Œ.

œ œ œ Œ.

œœ

Œ. œœ

{

œœ

œ Œ. bœ

Œ.

œ# œ

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Œ.

œœ

Œ.

Œ. œ

œœœ

œ œ Œ.

Œ. Œ. œœ œ # œ œœ #œ œœ œœ œœ œ œ œ œ . œ . ? œ œ œ Œ. œ œ . . # œ # œ Œ Œ Œ Œ œ œ œ œ b & b Œ.

Œ.

œœ

∑

œœ

œ Œ. œ

bœ nœ

œœœ ∑

Œ.

œœœ

œ œ œ Œ.

Simply Four

{

& b Œ.

? œœ b

{

& b Œ.

{

œœ

Œ.

Œ. œ

rall.

œœ

Œ.

œœ

œœ œ. 4

œœ

œ œ ? œ Œ. b

œ Œ.

œœ

œœ Œ.

œ 2

œ œ. 4

œœ 3

Œ.

œ1 œ

œœ

cresc.

Œ.

œœ

œœ Œ.

œœ

œœ œ Œ. #œ œ œ œ œ œ œ œ #œ œ dim. to end œ œ œ .Œ .Œ ∑

. œ Œ

Œ. Œ. Œ. œ œ œ #œ & b Œ. œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? œ . . Œ Œ Œ. œ œ Œ. b & b Œ.

rall.

∑ Œ. Œ. Œ. œ œ œ œ œœ œœ œœ œœ œ œ œœ . ? œ œ Œ. œ œ œ . Œ. œ . . Œ Œ Œ œ œ b nœ

by Gifford Howarth

Simply Four

Appendix I - Suggested Repertoire Below is a list of repertoire I use with beginning and intermediate students. This is by no means a complete list. These are simply the pieces that I like to use with my own students. I suggest students work on four or five selections from each category before they move onto the next group. The works are not listed in any specific order. Each involves its own technical demands and focuses on different aspects of playing.

Beginning Title

Composer/Arranger

Publisher

Suggested Howarth mallet

Yellow After the Rain

Mitchell Peters

M. Peters

M163

Sea Refractions

Mitchell Peters

M. Peters

M163

Mbira Song

A. Gomez/Rife

Southern Music

M163

Marimba Flamenca

A. Gomez/Rife

Southern Music

M163

Elegy

Gordon Stout

Studio 4

M162

Bach for Marimba

J.S. Bach/Moore

Kendor Music

M162/163

Six Caprices for Guitar

M. Carcassi/Howarth

Ghowarth Pub.

M162/163

Three Preludes

Ney Rosauro

Southern

M162/163

Cello Suites (selected movements)

J.S. Bach

(numerous)

M161/162

Violin Sonatas and Partitas (selected movements)

J.S. Bach

(numerous)

M162/163

Seven Brazilian Children’s Songs

Ney Rosauro

Propercussa

M162/M163

Title

Composer/Arranger

Publisher

Rain Dance

A. Gomez/Rife

Southern Music

M163

Scenes from Mexico

A. Gomez/Rife

Southern Music

M163

Tune for Mary O.

Rich O’Meara

Keyboard Perc.

M163

Restless

Rich O’Meara

Keyboard Perc.

M162

Frogs

Keiko Abe

Studio 4

M164

Reverie

Gordon Stout

Studio 4

M162

Etude Op. 6 No. 8

C. Omar Musser

Studio 4

M163/164

Etude Op. 6 No. 9

C. Omar Musser

Studio 4

M163/164

Etude Op. 6 No. 10

C. Omar Musser

Studio 4

M163/164

Six Mile Creek

Gus Burghdorf

C. Alan

M163

Hymn for an Angelic Child

Gus Burghdorf

C. Alan

M161/162

Ghanaia

Matthias Schmitt

Zimmerman

M163

Contemporary Marimba Solos

Bill Molenhof

Honeyrock

M162/163

Cello Suites (selected movements)

J.S. Bach

(numerous)

M160/161

Violin Sonatas and Partitas (selected movements)

J.S. Bach

(numerous)

M162/163

Juniper

Kristen Shiner McGuire

Kendor Music

Valencia

Ney Rosauro

Propercussa

Wind Chimes Beneath a Summer Rain

Robert McClure

Tapspace Publications

Beginning + Suggested Howarth mallet

M163/M162 M162 M161/162

Appendix

Intermediate Title

Composer/Arranger

Publisher

Rhythm Song

Paul Smadbeck

Marimba Productions

Suggested Howarth mallet M163

Virginia Tate

Paul Smadbeck

Smadbeck

M162

Footpath

Dave Samuels

Orient Point Music

M162/163

Cavatina

S. Myers/Howarth

Ghowarth Pub.

M161/162

Astral Dance

Gordon Stout

Studio 4

M163

Etude for a Quiet Hall

Christopher Deane

C. Deane

M163

Leyenda

Isaac Albeniz/arr. Howarth

Tapspace Publications

M163/164

Requerdos de la Alhambra

Francisco Tarrega

(numerous)

M161/162

Baroque Suite

Daniel Levitan

M. Baker

M162/163

Estudio #1, 2, 3

Murray Houllif

Permus

M162/163

Four Mvts. for Marimba

Michael Burritt

Ludwig

M162/163

October Night

Michael Burritt

Ludwig

M162/163

Michi for Marimba

Keiko Abe

Music for Perc.

M164

November Evening

Christopher Norton

Innovative Percussion

M163

Suite Popular Brasiliera

Ney Rosauro

Music for Perc.

M162/163

Suite for Marimba

Alfred Fissinger

Percussion Arts

M162/163

Cello Suites (selected movements)

J.S. Bach

(numerous)

M160/161

Violin Sonatas and Partitas (selected movements)

J.S. Bach

(numerous)

M162/163

Variations over “A Little Prayer”

Ney Rosauro

Propercussa

M161/M162/M163

Parody

Jesse Monkman

Tapspace Publications

M163/M162

Nocturnal Dance

Jesse Monkman

Tapspace Publications

M163/M162

Title

Composer/Arranger

Publisher

Polaris

Mark Ford

Innovative Percussion

M163/164

Caritas

Michael Burritt

Marimba Productions

M162/163

Two Mexican Dances

Gordon Stout

Studio 4

M162/163

Gordon’s Bicycle

Kevin Bobo

Studio 4

M163/164

Dream of the Cherry Blossoms

Keiko Abe

Zimmerman

The Kudu

Thom Hasenpflug

M. Baker

M163/164

Four Episodes for Marimba

Gordon Stout

Studio 4

M162/163

Two Movements for Marimba

Toshimitsu Tanaka

Ongaku

M164

Four Rotations

Eric Sammut

Marimba Productions

M162/163

Album for the Young

Tschaikovsky/Stevens

Marimba Productions

M162/163

Dance of Redemption

David Gillingham

C. Alan

Three Shells

Christopher Deane

Innovative Percussion

M162/163

Surge

Tony Steve

M. Baker

M163/164

Cello Suites (selected movements)

(numerous)

M160/161

Violin Sonatas and Partitas (selected movements)

(numerous)

M162/163

Rhythmic Jambalaya

Kevin Bobo

Studio 4

Ostinato

Jesse Monkman

Tapspace Publications

Intermediate + Suggested Howarth mallet

M164

M163

M163 M162/163

Simply Four

Appendix II - Mallet Selection Selecting the right keyboard mallet for your needs.

With most students who have just started learning 4-mallet percussion, the process of deciding what type of keyboard mallets to buy can be overwhelming. There are several companies with hundreds of models to choose from. Each player has his or her preference to what type of mallet they like. Below is a breakdown of the different characteristics for different types of mallets. You choose what direction you want to go.

Birch vs. Rattan Birch Shafts

•Rigid, wood feel. •Doesn’t have a lot of “give” to it. This is something most un-crossed players are looking for. •Ability for players to have total control of the shaft. •Longer shafts ranging from 14 to 15.5 inches. This length helps in playing larger intervals. Note: if you are looking for long shafts, be sure to check the lengths. Some “beginner series” birch mallets have shorter shafts.

Rattan Shafts

• Flexible feel. •Shafts “give” a little when making contact with the bars. This can help take away some of the shock from your hands during contact. This is something most crossed players are looking for. •Shorter shafts ranging in length from 13.5 to 14 inches.

Light vs. Heavy Light Mallets

With these, the core is made out of a lightweight material with very little “wrap” around the core. Lightweight mallets are good for developing beginning players due to less stress on muscles and tendons. Sound quality can be lacking however.

Heavy Mallets

With these models, the core is made out of a denser material, and a latex or secondary wrap may be placed around the central core. Sound quality can be superior since the mass of the mallets has the ability to activate more of the bar. Heavier mallets may be too difficult for beginners, but once the players’ hands are “in shape,” a switch to these mallets might be a good idea.