I was a horn major when I first went to college & have marched Mello in DCA. But I started out as a self taught percussionist & have played percussion in my local Pride band. I've struggled with trying to switch from traditional grip to Steven's and the is the best clearest demonstration I've found.
Instead of having positions for each individual interval, is it ok to just focus on two positions? One would be the big position (end of shaft near middle finger) and the other is the small position (end of shift in palm, like normal). I say this because with 6ths and 7ths, I can use the big position, so I thought might as well not shift if I don't have to. This does kinda get hard if you're doing a scale-like figure where each interval gets represented, though, because that shift from the small to big position can feel a bit awkward
Hey Eric-really great question! At the end of the day our interval positioning is completely dependent on the music we're playing. And as you've mentioned it IS possible to get different interval sets from the same position. For example, I can shrink my large interval position (octave position) down to a 7th, 6th, or even 5th if I want to without changing the position of the base of the inside mallet. Does that mean I always play all of these intervals from that position? Well, no-in fact I would rarely play a 6th or 5th from that position bc there is a more ideal position for those particular interval sets. But it really all depends on the context of the passage I'm playing. For me the important part of training each of these positions is to have the ability to execute them when needed, without really thinking about it. That might not be in every piece or within every passage I'm playing. But the tools will be there to draw on if necessary. Once the technique is locked and loaded you won't be deliberately processing which position to use from interval to interval. At that point the changes will be fluid, seamless, and will function specifically to serve the particular passage you're playing in that moment. Hope this helps and thanks for engaging!! Happy practicing.
Liquidrum Thank you for the thoughtful reply! That helps. When I work on stevens exercises I may practice it both ways now, as, like you said, the music determines the technique. Like for me, if a song switches between an octave and a 5th constantly, I find it easier to keep the inner mallet stationed up at the middle finger, rather than constantly moving it back and forth. Or would you recommend getting used to always moving the inner mallet? When I do that, it just feels so clunky; maybe I just need to practice it that way more
One of the things I always stress to my students is the fact that your technique will constantly be evolving as you grow as a player. So really I'd answer your question in two ways: 1) Sure, if the piece you're playing goes back and forth between an octave and a fifth and you feel better about leaving it in the large interval position to achieve the changes (esp if it's fast) then that sounds like a plan (for now). But 2) of course keep practicing to actually achieve the inner mallet movement between all interval positions at all speeds. Meaning, make the best choice you can right now to play your current repertoire given your technical development and level. But realize that your development should be ever-progressing and this particular skill set is one that I would incorporate into every warm up/work out you engage in each time you're at the marimba or vibraphone. Good luck!!
Liquidrum You're totally right. Though the mallet shifting still feels pretty clunky today, it was better than it was before, so I should just keep at it
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I was a horn major when I first went to college & have marched Mello in DCA. But I started out as a self taught percussionist & have played percussion in my local Pride band. I've struggled with trying to switch from traditional grip to Steven's and the is the best clearest demonstration I've found.
absolutely excellent video, just getting into more mallet playing with my students, best video i came across, your a legend, thanks
Thanks so much for checking it out Simon - I really appreciate it!!
Brilliant execution of clarity! The most concise demonstration I have seen. Thank you for the humor and humility very refreshing.
Thanks so much Craig. Really appreciate you saying that!
Thank you for this!
You are very welcome!!
Instead of having positions for each individual interval, is it ok to just focus on two positions? One would be the big position (end of shaft near middle finger) and the other is the small position (end of shift in palm, like normal). I say this because with 6ths and 7ths, I can use the big position, so I thought might as well not shift if I don't have to. This does kinda get hard if you're doing a scale-like figure where each interval gets represented, though, because that shift from the small to big position can feel a bit awkward
Hey Eric-really great question! At the end of the day our interval positioning is completely dependent on the music we're playing. And as you've mentioned it IS possible to get different interval sets from the same position. For example, I can shrink my large interval position (octave position) down to a 7th, 6th, or even 5th if I want to without changing the position of the base of the inside mallet. Does that mean I always play all of these intervals from that position? Well, no-in fact I would rarely play a 6th or 5th from that position bc there is a more ideal position for those particular interval sets. But it really all depends on the context of the passage I'm playing. For me the important part of training each of these positions is to have the ability to execute them when needed, without really thinking about it. That might not be in every piece or within every passage I'm playing. But the tools will be there to draw on if necessary. Once the technique is locked and loaded you won't be deliberately processing which position to use from interval to interval. At that point the changes will be fluid, seamless, and will function specifically to serve the particular passage you're playing in that moment. Hope this helps and thanks for engaging!! Happy practicing.
Liquidrum Thank you for the thoughtful reply! That helps. When I work on stevens exercises I may practice it both ways now, as, like you said, the music determines the technique. Like for me, if a song switches between an octave and a 5th constantly, I find it easier to keep the inner mallet stationed up at the middle finger, rather than constantly moving it back and forth. Or would you recommend getting used to always moving the inner mallet? When I do that, it just feels so clunky; maybe I just need to practice it that way more
One of the things I always stress to my students is the fact that your
technique will constantly be evolving as you grow as a player. So really
I'd answer your question in two ways: 1) Sure, if the piece you're
playing goes back and forth between an octave and a fifth and you feel
better about leaving it in the large interval position to achieve the
changes (esp if it's fast) then that sounds like a plan (for now). But
2) of course keep practicing to actually achieve the inner mallet
movement between all interval positions at all speeds. Meaning, make the
best choice you can right now to play your current repertoire given
your technical development and level. But realize that your development
should be ever-progressing and this particular skill set is one that I
would incorporate into every warm up/work out you engage in each time
you're at the marimba or vibraphone. Good luck!!
Liquidrum You're totally right. Though the mallet shifting still feels pretty clunky today, it was better than it was before, so I should just keep at it