Douglas Walter - No Left Hand Behind
VAP Media is proud to be the publisher of Dr. Douglas Walter's newest book: NO LEFT HAND BEHIND.
Exercises and Ideas to Develop Left Hand Sensitivity, Flow and Expression Emphasizing Thoughtful Interpretation, Smooth Motion and Joyful Artistry
This book is the most comprehensive set of materials ever created to develop the marimba player's left hand. Over 100 pages in length, NLHB contains four main chapters:
THROWING
DOUBLES
OCTAVES,
INDEPENDENCE
This book is sure to become the new "Two-Mallet Standard" for the study of the marimba!
FROM DR. WALTER:
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.