Practice Tips For
the
Mallet Percussionist by Amy Davis Percussion
Specialist,
Concord Community Schools
Featured
Artist
It is October, and the marching band season across the state
is in full swing. With the possibility of new show music
coming out, now is a good time to re-evaluate how you, the
mallet percussionist can be more successful in preparing for
each rehearsal and performance. This process includes an
approach to sight-reading, practice tips, rehearsal ideas,
grip and stroke types, and ways to communicate musically and
visually to the audience.
Glance through the new piece of music to find key signatures,
key changes, time signatures, tempo markings, and range on the
keyboard, dynamics, and rhythmic passages. Look for
similarities in phrases. Identifying similar melodies or
motives can decrease the amount of new material you come
across when sight-reading. Notice the motion and direction of
the melodies. Do they move in stepwise motion like scales, or
skips greater than a whole or half step? Often notes that move
from space to space to space or lines consecutively indicate
arpeggios. Accidentals may indicate the use of minor or
chromatic scales. A solid foundation of all scale and arpeggio
types (major, minor, augmented, diminished, chromatic, whole
tone, etc.,) will assist you in locating these patterns during
sight-reading.
Look for long tones. Are they to be rolled? If so, are they
connected by slurs? A slurred roll traveling up the staff is
led by the right hand. A slurred roll traveling down the staff
is led by the left hand. To practice slurred rolls leading up
with the right hand, try starting on a middle C connected to a
D, C to E, C to F, etc., until successfully connecting rolls
up to an octave. To practice slurred rolls leading down with
the left, start on middle C connected to a B, C to A, C to G,
etc., similar to the right hand lead exercise.
Locate passages with smaller note values like eighths,
sixteenths or triplets. Decide which hand should lead the run
or pattern, keeping in mind that an ideal sticking is an
alternated R L R L. Sometimes notes should be doubled to avoid
mallet crossings. When necessary, double notes that are
closest to each other. For example, play consecutive
alternated eighth notes on these scale tones,
5-4-1-5-4-1-5-4-1, etc., (G-F-C-G-F-C…). Alternate sticking
will feel awkward and uncomfortable. Try the same pattern with
this sticking, R-R-L-R-R-L…with the right hand playing G and
F, and the left hand stays over C. This logical pattern works
well for faster tempos.
Place your music on the stand above the playing area to
quickly look between the music and keyboard. Use your
peripheral vision to watch the music and “see” the keyboard
out of the corner of your eyes. Set your metronome to a slower
tempo than indicated. Without mallets, use your right and left
hand first fingers to touch and say the names of the notes
with correct sticking and rhythms for the first phrase or
pattern.
Now that you have familiarized yourself with the new piece,
incorporate the scales, arpeggios, rolls and rhythmic patterns
from the music into your warm-up routine. Remember to grip the
mallets about 4-6 inches from the back end of the mallet with
your thumb in line with the stick and your first finger
wrapped around. Your thumb and first finger create the fulcrum
or pivot point for the mallet. The other fingers make a gentle
fist around the mallet. Fingers never leave the stick, but the
stick may leave the palm when playing faster passages. Face
both palms towards the floor and bring the mallet head up with
the wrist to about a 45degree angle (approximately 9-11 inches
above the keyboard).
Four stroke types are used on the mallet percussion
instruments. The down stroke followed by taps is used for
accented patterns. The up stroke is used to prepare for a down
stroke. But the most common stroke type is the natural stroke.
My students know this as the “spring up” position. Imagine
that you have a spring attached from your shoulder to the back
of your hand that is relaxed when the mallets are positioned
at a 45degree angle from the instrument. When the mallet head
strikes the bar, the imaginary spring is stretched and brings
the mallet back to the starting 45degree angle position;
therefore, the hands are always ready for the next note. This
stroke type will assist you in playing any tempo. Even fast
passages will seem easier as you are not wasting energy on
excessive motion.
You are now ready to work on the new music. Start with a small
section, a few lines or measures. Play slowly and isolate the
problem. Try not to move on until you have achieved five
perfect repetitions. Gradually build the phrase by adding one
measure ahead of the problem, then two, then a whole phrase,
then a section. It is important to put the problem measure
back into context before you move on to a new area. Even after
playing it perfectly, you may find difficulties transitioning
from the previous measures. Each day start on a new phrase
building from the new and adding in the old. When you succeed
in each phrase, complete your practice session by playing from
the beginning to the end.
Finding enough practice time can be difficult if you do not
have an instrument at home. Although it is best to use the
instrument for which the piece was written whenever possible,
(a xylophone, marimba, vibes, bells, crotales, chimes, etc.),
there are ways you can practice at home. Take the following
ideas for example. Say the note names and “play” the notes in
the air. Grab some drumsticks and a pad and play the rhythms
to a metronome or your favorite CD. Find another person to
practice with, even if not a percussionist. Learning a brass
or woodwind player’s music can help you to understand how your
part fits with the band.
Now you have completed the piece and are ready to perform.
Keep in mind that you will most likely perform the way you
practice. So always rehearse with emotion and body movement.
You might be uncomfortable moving to the music, especially if
you have never attempted to, but here are simple things you
can do to get started. Make eye contact with the audience
every chance you get. Don’t forget the judges are usually in
the press box and want to see your face. Mimic dynamics with
your body. How can you show piano or forte dynamics? What does
a legato phrase in a ballad look like? What should people see
when you play a fast passage with lots of rhythmic ideas? It
is to your benefit to observe many different ensembles
performing. Watch other groups in the band shows you attend.
Borrow videotapes from your director of Drum Corps
International, Bands of America, and Winter Guard
International. Attend Winter Drumline shows. Have someone
videotape you during a performance and see if you portray the
music. The visual presentation should not look choreographed,
but can be a good tool to start with. Don’t be afraid to ask
for help. Talk to your band director or percussion instructor.
Take private lessons. Visit the many helpful percussion
education web sites on line. Careful, thoughtful practice can
lead to a rewarding performance, one you may never forget.
Amy Davis is the
Percussion Specialist at Concord Community Schools in Elkhart,
Indiana. She is an educator/endorser for Promark,
Ludwig/Musser, and Zildjian Cymbals.
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