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The Four Mallet Monster:
Getting Started
by Mickey Ratliff |
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One area of performance that I’ve probably received the
most comments about over the years is that of 4-mallet
technique. When I was asked to contribute to the IPA Education
Zone, I felt that this might be an interesting and worthwhile
topic to address.
The Grip: Go to the Source
I won’t take up a lot of time and space describing the Stevens
grip when there are already excellent resources available. For
a full explanation of the Stevens grip (as well as pictures,
graphics, and TONS of exercises) check out Leigh Howard
Stevens’ “Method of Movement” or Gifford Howarth’s “Simply
Four – 4-mallet Technique as Easy as 1, 2, 3…4”. Anything you
need to know about how to form the grip or perform and develop
the strokes can be found in either one of these books.
"Four on the Floor"
One common problem with beginning 4-mallet players is that
they are so focused on playing the right notes that they
ignore what’s most important at this stage - the technique!
There’s no point in worrying about playing right notes if
they’re holding the mallets wrong or rotating the wrists
incorrectly (that’s probably why they’re missing the notes, in
the first place!).
In the beginning, I simply take the notes out of the equation.
For a student’s first lesson, I teach them the grip, then we
sit on the floor and practice the strokes. No marimba = no
wrong notes to distract them! This is a trick I learned from a
Mark Ford clinic years ago.
Instruct the student to follow these simple steps:
- Sit on the floor with your back against the wall; sit up
straight, with your legs straight out in front of you. See
Photos #1a and #1b below this paragraph to see this demonstrated by Warsaw High
School senior, Chelsy Albertson.
| Photo #1a |
Photo #1b |
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- Place the mallets on the floor at a comfortable interval
– usually about a 4th or 5th. Your hands should be just
barely touching the floor, but not resting on it.
- Pull the wrists back until the mallets are about at a
45-degree angle to the floor. Make sure all mallets are the
same height.
- Practice the strokes, exercises, or sticking patterns
with a metronome. Start slowly, and gradually build up
speed.
It may be two weeks before I let them play on the marimba!
It frustrates them, but for the patient ones, it pays off
BIG-TIME! By the way, if you don’t always have access to a
keyboard, this is can be a great way to practice patterns from
your 4-mallet solo or ensemble part.
Wrist Rotations
As you practice, it’s crucial that you pay attention to how
the wrists are rotating. Make sure that you are using the
proper rotation for each stroke technique. Each stroke has a
different axis:
Vertical (Parallel) Strokes
The wrist bends straight up and down as if you were
shaking hands with someone.
Double Lateral (Rotary) Strokes
The wrist rotates around as if you were turning a
doorknob.
Lateral (Independent) Strokes
The wrist rotates AROUND the shaft of the other mallet in
that same hand. The part of the stick that’s in your hand is
the axis.
These are the most difficult to master, as the point of
rotation is so different from anything the student has ever
done before. A good way to start is by holding two mallets in
one hand. Use the free hand to gently hold one mallet still
while playing lateral strokes with the other mallet. The
non-playing mallet should spin, but not move straight up and
down (ala’ the Vertical Stroke). Do the same with the other
mallet, then with the other hand.
Get in "The Zone"
Whether it’s 4-mallet or 2-mallet playing, I cannot stress
enough the importance of playing in the correct “beating
spots” or “zones” to get the best tone and most resonance out
of the instrument. You must play in the “dead center”
of the bars – directly over the resonators – for the best
possible sound AT ALL TIMES!!! There is only one exception to
this rule. You can play on the edge of the accidental keys –
and I mean RIGHT ON THE EDGE – for one of two reasons:
- In 4-mallet playing, if one mallet is on an accidental
key while the other mallet in that hand is on a natural key.
- In any situation where the pattern you’re playing is so
fast or complicated that you can’t accurately and
consistently reach the center of the bar (or doing so
creates an undue amount of tension in your arms, wrists, and
hands).
If you do find it necessary to play on the edges - and I
mean RIGHT ON THE EDGES!!! GET AWAY FROM THOSE “NODES”!!! –
great care and effort needs to be taken to ensure that you are
getting the best possible tone. See Photos #2a, 2b, and 2c for
examples of how this should look.
| Photo #2a |
Photo #2b |
Photo #2c |
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Photo #’s 3 through 7 have been provided for even more
examples of Chelsy’s excellent 4-mallet grip, hand position,
and playing position. Thank you, Chelsy!
| Photo #3 |
Photo #4 |
Photo #5 |
Photo #6 |
Photo #7 |
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Beginning 4-Mallet Exercises
I have included examples of several of the exercise patterns
that I use with my students when beginning 4-mallets.
Ex. 1 - Floor Exercises The student should be able to
demonstrate the proper grip and perform these exercises on the
floor with some competency before attempting to move to the
keyboard. As I said before, sometimes I make them wait as long
as two weeks, but their eagerness to get to the keyboard – and
their appreciation for the instrument once they DO get to play
on it - gives them an incentive to work harder!
Chromatic 8’s
Ex. 2 - Parallel 5th’s: This should be the first set of
exercises the student attempts on the keyboard. The 5th is the
easiest, most natural-feeling interval for the beginner. Make
sure that you’re playing in the correct “zones”, using the
proper wrist motion, and playing with a quick and consistent
“return” (or “up”) stroke.
Ex. 3 - Parallel 3rd’s: This is the next interval after
the 5th that should be practiced. As you move chromatically,
there will be several “twists and turns” as you split your
mallets between the accidental and natural keys, and quickly
have to switch back and forth. Make sure you’re on the edges
of the accidentals and centers of the naturals! The position
of your body will need to change so that your wrists and arms
can remain relaxed!
Ex. 4 - Parallel Octaves: This will be more difficult
than the 5th’s and 3rd’s by virtue of the distance that must
be kept between the mallets. Make sure that your hands remain
exactly half-way between the mallets (a good rule to follow at
ALL times). Stay as relaxed as you can while still maintaining
a firm grip on the mallets.
Ex. 5 & 6 - Interval Changing Exercises: I am a
proponent of K.I.S.S. (“Keep it simple, stupid.”) I don’t have
the time or the inclination to create and teach complicated
exercises when I can use patterns based on the scales and
arpeggios – which my students should already know. These
exercises should be learned and practiced in the Key of C
Major first (as written), but then practiced in as many keys
as possible.
Some important things to remember:
- You change the interval between the mallets by moving
your thumb and index finger in and out. NEVER MOVE OR ALTER
YOUR RING AND PINKY FINGERS TO CHANGE AN INTERVAL!!!!
- Keep your hands exactly half-way between the mallets at
all times.
- Keep your wrist and lower arm in a straight line.
Imagine that straight line extending past your hand and
bisecting the angle between the two mallets. Maintain this
as the intervals expand and contract. (There will be some
occasions cases where you will need to “break” - or turn -
the wrist slightly, but it should be kept straight most of
the time).
Once the Chromatic 8’s exercises can be performed
with some proficiency as written, apply the sticking patterns
from the Floor Exercises to them. Practice everything
at a variety of tempos and dynamic levels – don’t forget to
practice crescendos and decrescendos! Now create your own
variations. I often have students take a technical passage
from their 4-mallet solo and create a variation of these
exercises based on that pattern. The possibilities are
virtually endless!
Ex. 7 - Independent Rolls: For more advanced students,
I’ve included an example of how to develop the independent
roll technique.
- This is a simple build-up and break-down. Practice this
with a metronome, making sure the rhythmic subdivisions are
accurate and the notes are even in volume and tone quality.
Practice the pattern starting on the lower mallet as well!
- This is an example of how I’ve had students approach an
independent roll in a piece of music. This excerpt is
measures 25 and 26 from “Frogs” by Keiko Abe. The process is
simple. Start by practicing the independent roll in slower
rhythmic subdivisions against the opposite hand –
16th’s for example. Once that is achievable, move on to
faster rhythmic subdivisions – sextuplets or 32nd’s for
example. (Don’t forget to practice starting on the lower
mallet also!)
The goal, inevitably, is to not necessarily play the roll as
a rhythmic subdivision at all, but to perform it at the
speed necessary for a smooth and connected sound. This is a
good way to develop that level of control.
Beginning 4-Mallet Solos
The following is a list of solos that I’ve used as first solos
for novice 4-mallet players. Some are a bit more challenging
than others, but all are accessible to any student who has
developed some facility with the grip and strokes. All of
these solos contain patterns and passages that help develop
the technique and basic strokes as well as musicianship.
“4-mallet Rag” from Three Songs of the South by Murray Houllif
“City Hymn” (vibes) from Vibe Songs by Bill Molenhof
“Mbira Song” by Alice Gomez and Marilyn Rife
“Mexican Murals” by Thomas A. Brown
“Mirror from Another” (vibes) from Mirror from Another by
David Friedman
“Sea Refractions” by Mitchell Peters
“Teardrops” (for 3 mallets) by Mitchell Peters
“The Waltz King” (vibes) from Music of the Day by Bill
Molenhof
IWavesI by Mitchell Peters
”Wind” (vibes) from Mirror from Another by David Friedman
“Yellow After the Rain” by Mitchell Peters
Video Clips
For even more examples of great 4-mallet technique and
musicianship, check out these short video clips of Chelsy
Albertson performing excerpts from Warsaw’s 2004 PSCW program.
Thanks again, Chelsy! You’re the best!
All of my students learn to play with 4-mallets, and I believe
that attention to this skill has opened many musical doors for
them as musicians and for our ensemble.
I sincerely appreciate the opportunity to share some of my
thoughts with you, and I hope that you have found the
information and materials presented helpful and useful. Best
of luck to you all! |
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