Right-handed people don't realize how much we favor our right hand. The right shows off, leads body language, points, mimes our thought or goes it alone. The left hand doesn't throw frisbees, write, direct our weight transfers, brush teeth or open doors. Let's help it catch up!
The left hand must consciously solve questions the right answers instinctively. For decades, questions came to me via many sources: observing right-hand dominance at work in playing, hearing consistent patterns of physiologically-based phrasing**, caring for repetitive injury to hands or wrists, and simple curiosity while listening. Why do some players hear their phrasing better than others? Why do vibists not notice their right hand is louder & more expressive, or always leads? What makes our right shoulder tighter? Why do we lean more easily to one side? Why are we afraid to trust our left hand and let it move? Why is balancing weight a tough skill? Here, I explore the physical quirks, advantages and challenges right-hand dominance is heir to and suggest solutions to common issues in movement and musical expression.
Skills the left hand pointedly develops thru this book are: leading the right, throwing, doubling, playing and balancing in octaves (or double octaves),"seeing" with the hands far apart, moving independently and choreography. This book is for marimbists who have played at least a year, know basic theory, wish to play with a singing, even poetic approach, and will practice daily (a lot) in physically relaxed, smooth, repetitious, technically correct and smart ways.
George H. Green, the xylophonist, athlete and artist of epochal brilliance, used repetitive exercises for musical sensitivity, harmonic understanding, and creating his electrifying music. His Instruction Course for Xylophone shows that fluid two-mallet technique is essential for musicality and basic to four-mallet work. His concepts transformed generations of malleteers and this book honors his. But, just as marimba differs from xylo: bigger bars and more notes, distinctive tuning, longer ring time, softer mallets, expanded dynamics & unique repertoire--so do we address the unique musicality and new physicality of 21st century marimba performance.
This down-to-earth book promotes freedom of movement and smoothness thru the judicious use of momentum, muscular relaxation, gravity's dependability, smart timing, choreographed weight transfers, a loose grip, and proper form & balance. Discover expressive capabilities thru playing these exercises many times: many times, but always smoothly. Your goal is to transcend technique thru smart persistence. To do so, play these many times--forever smoothly.
The written comments will help. Read them carefully and analyze what you read. Review them at each practice session. Then, analyze the music. Find patterns in the melodies, form, and your body's motions. Be aware of how your limbs use good form, smooth gestures & supple flow from your toes thru your knees all the way up to pinky. Every joint must be free to move!
You must swim in the musical language that forms the foundation for these etudes; hear music in its cultural context. Mr. Green wrote for young-at-hearts gone wild for ragtime in the 1920's. These exercises explore newer music from varied sources as gateways to exploring the greats. Glimmers of Bach, Brahms, Bartòk, Copland, and Gershwin all drop by. Go listen to their music.
I have inserted a few mistakes in the music-- deliberately! Some notes or rhythms will not fit into the music’s established style or patterns. Your job is to listen, find the wrong notes and fix them wisely.
Play the notes your analysis says are correct. To read well you must not always trust the printed page completely; better to trust your musical instincts formed from much listening to great music.
Good taste guides you. AND, although written primarily for righthanders, this book also helps lefties!
These physical exercises are mainly to be memorized & played by heart. They work best if you look at the keyboard or hands while playing. Watch (or “feel” thru internal senses) your arms fingers & wrists for flow. Often, look at each bar-yes, each one--as it goes by, even at fast speed.
To explore the lower range of the marimba, this book focuses on low notes. All this music assumes SOFT YARN MALLETS with latex cores for bounce, and rattan shafts for helpful weight and less shock to the fingers. Medium-soft mallets work best for drills that use the full marimba range.
Some counsels bear repeating in myriad ways. They work; Please use them!
Focus on your musical goals and develop smart techniques to reach them.
Listen well by asking questions about what you hear. Good questions lead to clear thinking.
Play slowly enough to play only the correct notes. Don’t rush; subdivide for solid time.
Always warm up mentally and stretch physically before you start practicing.
Keep the sticks close to the bars as you play fast. Always have a dynamic in mind.
Give yourself time to think about what you are doing as you play; i. e., play slowly, it will help.
Review the score frequently to ensure you know the correct notes and understand their role.
Confidence is knowing what you're doing and doing what you know. Practice confidently.
Repeat each drill many times. (How many?) MANY ! Use a metronome to guide & pace yourself.
Prepare each stroke with a preparatory lift for the desired volume and momentum.
Enjoy repetition's calm. Play exercises for 2 minutes (or more) without stopping.
Don't pound. The quickest way to improve is to play slowly.
Remember God's promise RE: speed in Matthew: LOW, I AM WITH YOU ALWAYS!
These exercises promote FLEXIBILITY--throwing, phrasing, thinking, adapting body positions or angles to the keyboard, etc. Don't be rigid; let the body's gestures flow. All kinds of fun exist; we offer the fun of enthusiastic musical accomplishment! (But it takes a lot of work.)
**Physiologically-based phrasing is popular among some young marimbists. It assumes that smooth motions with a loose grip and resonant sound from a good beating spot are musical because they produce pleasing sounds.
That nice phrasing approach is only a physical starting point for creating intelligent, personalized interpretations.
The left hand must consciously solve questions the right answers instinctively. For decades, questions came to me via many sources: observing right-hand dominance at work in playing, hearing consistent patterns of physiologically-based phrasing**, caring for repetitive injury to hands or wrists, and simple curiosity while listening. Why do some players hear their phrasing better than others? Why do vibists not notice their right hand is louder & more expressive, or always leads? What makes our right shoulder tighter? Why do we lean more easily to one side? Why are we afraid to trust our left hand and let it move? Why is balancing weight a tough skill? Here, I explore the physical quirks, advantages and challenges right-hand dominance is heir to and suggest solutions to common issues in movement and musical expression.
Skills the left hand pointedly develops thru this book are: leading the right, throwing, doubling, playing and balancing in octaves (or double octaves),"seeing" with the hands far apart, moving independently and choreography. This book is for marimbists who have played at least a year, know basic theory, wish to play with a singing, even poetic approach, and will practice daily (a lot) in physically relaxed, smooth, repetitious, technically correct and smart ways.
George H. Green, the xylophonist, athlete and artist of epochal brilliance, used repetitive exercises for musical sensitivity, harmonic understanding, and creating his electrifying music. His Instruction Course for Xylophone shows that fluid two-mallet technique is essential for musicality and basic to four-mallet work. His concepts transformed generations of malleteers and this book honors his. But, just as marimba differs from xylo: bigger bars and more notes, distinctive tuning, longer ring time, softer mallets, expanded dynamics & unique repertoire--so do we address the unique musicality and new physicality of 21st century marimba performance.
This down-to-earth book promotes freedom of movement and smoothness thru the judicious use of momentum, muscular relaxation, gravity's dependability, smart timing, choreographed weight transfers, a loose grip, and proper form & balance. Discover expressive capabilities thru playing these exercises many times: many times, but always smoothly. Your goal is to transcend technique thru smart persistence. To do so, play these many times--forever smoothly.
The written comments will help. Read them carefully and analyze what you read. Review them at each practice session. Then, analyze the music. Find patterns in the melodies, form, and your body's motions. Be aware of how your limbs use good form, smooth gestures & supple flow from your toes thru your knees all the way up to pinky. Every joint must be free to move!
You must swim in the musical language that forms the foundation for these etudes; hear music in its cultural context. Mr. Green wrote for young-at-hearts gone wild for ragtime in the 1920's. These exercises explore newer music from varied sources as gateways to exploring the greats. Glimmers of Bach, Brahms, Bartòk, Copland, and Gershwin all drop by. Go listen to their music.
I have inserted a few mistakes in the music-- deliberately! Some notes or rhythms will not fit into the music’s established style or patterns. Your job is to listen, find the wrong notes and fix them wisely.
Play the notes your analysis says are correct. To read well you must not always trust the printed page completely; better to trust your musical instincts formed from much listening to great music.
Good taste guides you. AND, although written primarily for righthanders, this book also helps lefties!
These physical exercises are mainly to be memorized & played by heart. They work best if you look at the keyboard or hands while playing. Watch (or “feel” thru internal senses) your arms fingers & wrists for flow. Often, look at each bar-yes, each one--as it goes by, even at fast speed.
To explore the lower range of the marimba, this book focuses on low notes. All this music assumes SOFT YARN MALLETS with latex cores for bounce, and rattan shafts for helpful weight and less shock to the fingers. Medium-soft mallets work best for drills that use the full marimba range.
Some counsels bear repeating in myriad ways. They work; Please use them!
Focus on your musical goals and develop smart techniques to reach them.
Listen well by asking questions about what you hear. Good questions lead to clear thinking.
Play slowly enough to play only the correct notes. Don’t rush; subdivide for solid time.
Always warm up mentally and stretch physically before you start practicing.
Keep the sticks close to the bars as you play fast. Always have a dynamic in mind.
Give yourself time to think about what you are doing as you play; i. e., play slowly, it will help.
Review the score frequently to ensure you know the correct notes and understand their role.
Confidence is knowing what you're doing and doing what you know. Practice confidently.
Repeat each drill many times. (How many?) MANY ! Use a metronome to guide & pace yourself.
Prepare each stroke with a preparatory lift for the desired volume and momentum.
Enjoy repetition's calm. Play exercises for 2 minutes (or more) without stopping.
Don't pound. The quickest way to improve is to play slowly.
Remember God's promise RE: speed in Matthew: LOW, I AM WITH YOU ALWAYS!
These exercises promote FLEXIBILITY--throwing, phrasing, thinking, adapting body positions or angles to the keyboard, etc. Don't be rigid; let the body's gestures flow. All kinds of fun exist; we offer the fun of enthusiastic musical accomplishment! (But it takes a lot of work.)
**Physiologically-based phrasing is popular among some young marimbists. It assumes that smooth motions with a loose grip and resonant sound from a good beating spot are musical because they produce pleasing sounds.
That nice phrasing approach is only a physical starting point for creating intelligent, personalized interpretations.