A DESCRIPTION OF THREE PERCUSSION KEYBOARD TECHNIQUES

RELATIVE TO THE USE OF FOUR MALLETS

by
Ronald G. Gard
Instructor of Percussion
University of Wisconsin, Green Bay
With the increase of contemporary composition for band,
orchestra, and miscellaneous ensembles, there has been a correspon-
dingly greater use of percussion. Compare, for instance, the scores of
Beethoven to those of Colgrass, Sousa's to Persichetti's. Since Edgar
Varese's "Ionization," even the percussion ensemble itself has attracted
more and more attention from composers and performers.
With the increased use of percussion, greater demands have been
placed on soloistic percussion techniques and skills. The percussion
student who wishes to master his craft totally must become familiar
with over two hundred instruments found in contemporary repertoire.
One of the most ancient percussion instrument groups, and one
only recently incorporated into pieces for the concert hall, is the family
of percussion keyboards: marimba, vibes, xylophone, and orchestra
bells. The xylophone and the bells have been used for special effect in
orchestra and band scores since the Romantic period (e.g.,
Mussorgsky's "Night on Bald Mountain") as well as in numerous circus
and show tunes. The marimba has been included as a solo instrument
by such composers as Darius Milhaud ("Concerto for Marimba, Vibes
and Orchestra"), Paul Creston ("Concertino for Marimba and
Orchestra"), and Robert Kurka ("Concerto for Marimba and Orchestra,
Op. 34"). The vibes have worked their way into the jazz repertoire as
part of the rhythm section as well as soloistically by performers like
Gary Burton, Lionel Hampton , and Milt Jackson.
Thus there exists a need for understanding the techniques used for
the mallet instruments as they are utilized in new works. Many directors
and private teachers have not themselves mastered those techniques
requiring the use of two, three, and four mallets.
This paper will address those problems involving the use of three
and four mallets.1 A survey of the most frequently performed works in-
volving solo and ensemble percussion reveals that the greatest de-
mands are for percussion keyboard instruments. 2 Although most of the
works cited utilize only two mallets, at least half do incorporate four
mallets in at least one movement. A listing compiled by Neal Fluegel
and his students at Indiana State University further divides the works
into advanced and medium levels.3 Of the fifteen solos classified as ad-
vanced, thirteen require the use of four mallets. Of the eighteen iden-
tified as of medium difficulty, fourteen require three or four mallets.
This article will not discuss those techniques involved in the use of
two mallets only. These skills are easily transferred from those used for
the snare drum. In addition, method books and reading exercises ad-
dressing those problems are readily available. Until recently, most of
the performing repertoire has required only two mallets and it is to be
expected that the serious percussionist has learned to handle them ade-
quately. On the other hand, although there are method books and even
four-mallet solos available for study, the percussion student is rarely, in-
troduced to them in the context of percussion techniques classes. Even
in those cases in which such literature is contacted, fartoo little time is
allowed for full exposure to the techniques required for successful per-
formance.
Since most band, orchestra, and percussion ensemble literature
has called for only two mallets, directors as well as teachers have not
been required to come to serious grips with four-mallet techniques.
However, some recent important scores call for just such skills on
xylophone, vibes, or bells. Among them are Robert Linn's "Propagula",
Carl Orff's "Carmina Burana"~ Michael Cunningham's "Polyphonies';
and Jan Bach's "Woodworks."
This discussion, then, will deal through description and illustration
with the three basic four-mallet techniques and derivations of those. As
a kind of summation, there will be an analysis of Mitchell Peter's
"Yellow After the Rain'~ in which many of the techniques are required. 4
TECHNIQUES
Non-sustained
This is probably the easiest technique to learn and understand. It is
to be used when the composer requests staccato, or when the tempo
does not allow for the use of a roll, the usual sustaining device for p~r-
cussion. The non-sustained approach includes three different aspects:
chordal, hand-to-hand, and melody-harmony.
Example la is an illustration of chordal style in which all four
mallets are struck simultaneously to form a four-note chord.
EXAMPLE l a
Watson's "Marimba Suite" - Movement III
ast aod l i g h t 138 - 144

g~ (continue L.H. doublin~ 8re lower than R.H.) . . . . . . . . . . . I

The hand-to-hand style is a direct alternation between hands

which produces stops with each set of mallets. Example l b illustrates
this device.
EXAMPLE l b
Thomas Pitfield's "Sonata for Xylophone"
Vivacee~iocoso,~138

h
hard rubber
......
II ~
~

8
 Example l c illustrates the use of three mallets in hand-to-hand
style•
EXAMPLE lc
"Introduction" from the Pitfield Sonata
Allegretto grazioso ,/,ca. lOO
R U ~oft t,, m~atum /
• •a. rubber hammers/ t
imile ca)
I
v ~ rn~dmmtohatdf
~• • a• rubher hammer ~ l ~ F 1 1 ~ l ~ [ ~ l ~ l ~ 1 ~

The third non-sustained style is that producing both melody and

harmony. This incorporates the use of one hand (either right or left) in
an accompaniment pattern to the other. Example l d is an illustration of
this.
EXAMPLE ld
"Jesu Joy of Man's Desiring," arr. James Moore

Because of their ease, the non-sustained techniques should be the

first presented to the student. They allow not only for a quick develop-
ment in stretching for intervals but also for considerable control of the
mallets. Without having mastered these basic skills, the student will find
it difficult to work toward the more demanding controls called for in
advanced styles.
Sustained
This technique (also referred to as the "roll") is utilized when the
composer requests legato, or when the musical line demands connec-
tion. This approach includes two aspects: hand-to-hand and ripple.
The hand-to-hand roll is the simplest to understand and develop. It
correlates strongly to the hand-to-hand staccato style discussed above,
but it incorporates alternate strokes in a sustained context as, for in-
stance, in a single stroke snare drum roll. The hands are alternated
rapidly and without a suggestion of definable meter•
The ripple roll is one of the most difficult of the percussion styles. It
involves striking the keyboard in such a way that each mallet is inde-
pendent of the others. It is perhaps best compaired to performing a flare
or grace note using two mallets in one hand. The problem is to create a
smooth, even sound that is often lacking in the relatively disjointed
hand-to-hand style.
Although Example 2a is not notated as rolled chords, it should be
performed in a legato style. Either hand-to-hand or ripple can be used.
 EXAMPLE 2a
Creston's "Concertino" - Movement II

Example 2b illustrates the notation used when a sustained sound is

required.

EXAMPLE 2b
Peters' "Sea Refractions"

The effect of an even roll, especially the ripple, is one of the most
pleasing of those possible on a percussion instrument. When well
blended, the sound is much like that of an organ.

Independent mallet technique

This is the most difficult of the mallet skills. Each mallet is used in a
manner roughly similar to the fingers of a pianist. The mallets may be
utilized for chordal harmony, in parallel linear relationships, or as inde-
pendent contrapuntal lines. The mallets are numbered from either
right-to-left or left-to-right, but with the outside mallets identified as 1.
The three styles used in independent mallet techniques are: two-and-
two (two mallets used chordally and two used linearly or indepen-
dently), movement in a direct line, and contrapuntal (independent)
style.
Example 3a illustrates the two-and-two approach. The mallets in
the left hand (numbered .3 and 4) are used chordally, those in the right
hand (numbered I and 2) are used independently. This relationship, in-
cidentally, is reversed later in the composition.

EXAMPLE 3a
Peters' "Sea Refractions"

In the same composition is found an example of the direct line

style, in which the mallets are used independently but linearly. See Ex-
ample 3b.

10
 EXAMPLE3b
Peters'"Sea Refractions"
hJ=ll:l
,~L _ ~ J I. ; - - I ~ - ~ r ' ~ I . . . . . . . . . . . . . . . . .
~.~pW':"~
~~":
' ~ " J~ -J :"~" : ~;"-:
' ~ - 'a ' : ~ ' " ' ~ ':~ - aJ -~ i ~ ' : ~ Ja "~ ; ~ " I

The contrapuntalor independentstyle involves linear movement

in both hands, often in contrary motion. This demands complete inde-
pendenceof both hands and mallets and is the style that most closely
correlatesto the finger action of pianists.Example3c, taken from a very
recent addition to percussionrepertoire,is an illustration.

EXAMPLE3c
Sifler's "MarimbaSuite" - Scherzetto

dJ = c, 150f'- "

Example 3d shows one of the most difficult passages in the

literature for keyboard percussion. It is not only contrapuntal but
polyrhythmic as well.

EXAMPLE 3d
Sifler's "Marimba Suite" - Carillon

o,..

Example 3e illustrates an almost pianistic approach to the vibes.

EXAMPLE 3e
Gary Burton's "Singing Song"

11
 Considerabletime is requiredto developthe techniquesdescribed
and illustrated above, and this may be dishearteningto some percus-
sionists.On the other hand, masteryof them will lead to greatermallet
control and independenceand this will improve performanceon all
percussioninstruments.

Application of Techniques Within a Single Composition

The following section of this study analyzes a four-mallet marimba

solo that utilizes many of the techniques and styles discussed above.
The composition is Mitchell Peter's"Yellow After the Rain," published
by Mitchell Peters, Los Angeles, 1971. The work incorporates the use of
four mallets in non-sustained, sustained, and independent mallet styles.
It is in multi-meter, using 3•4, 4/4, and 5/4. The tempo is given as ) ~ 126.
The form is ternary (A B A) with an introduction, transitions between
sections, and a coda.
The introduction is six measure long and utilizes the non-sustained
chordal style. Since all mallets are working simultaneously, this is the
easiest of the techniques to master, as noted in the discussion above.
See Example 4a.

EXAMPLE 4a
Introduction
J:126
} -- .

From rehearsal A to rehearsal C,S the style employed should be

non-sustained, melody-harmony, in this case, the left hand provides ac-
c o m p a n i m e n t while the right hand has a melodic role. At rehearsal B,
however, the left and right hand responsibilities are reversed. See Exam-
ple 4b.

EXAMPLE 4b

I !

12
 5

At rehearsal C, the style changes to the non-sustained chordal ap-

proach used in the Introduction but changes four measures before
rehearsal D to sustained roll. Because of tempo as well as technical
problems with the roll itself, the hand-to-hand technique should be
used at this point. See Example 4c.

EXAMPLE 4c

The section from rehearsal D to rehearsal E is a transition into the B

part of the tripartite A B A form. Here the non-chordal style is called for,
and there is a short section that requires only two mallets (numbers 2
and 3). See Example 4d.

EXAMPLE 4d

At rehearsal E, where the B part begins, the use of independent

mallets in linear style is required. This differs from Example 4d quoted
above in that the mallets move in alternation (1 to 3, 2 to 4) rather than
consecutively (4 3 2 1, 1 2 3 4). It is also worth noting that Peters has
numbered the mallets from left to right, thus furnishing understandable

13
performance directions. Without such directions, many performers
might mistakenly.attemptthe section with only t w o mallets,a difficult
as well as tiring approach.See Example4e.

EXAMPLE 4e

" P "m"f:

This linear style is continued to rehearsal F, the Introduction pre-

paring for the return of part A. The two measures immediately before
rehearsal F present a rhythmic problem in the change from sixteenth-
notes to triplets and then to even eighth-notes. Although the same per-
formance techniques are called for as in part B, the rhythmic manipula-
tion poses problems in keeping the mallet formula secure. See Example
4f.

EXAMPLE 4f

~.~- . : ~~ ~ ~ ~~= , ~_~,.

'~-L ~ ~.~ +-i.~==÷=~
~ ' ~ - ' e , _ - ' L---ii~
~ ' ~ " - ' ~, ~: -, ~- - ~ - _ + ~ -++~ |

The section between rehearsal F and rehearsal G requires the same

techniques as those employed in the first statement of part A. At rehear-
sal G however, the beginning of the coda, a chordal approach is de-
manded. One difficulty here is the movement of all mallets in parallel
motion and at a rapid tempo. The final two measures, prepared for by a
ritardando shortly before, utilize the sustained roll technique. Here
either the ripple or the hand-to-hand approach may be employed• See
Example 4g.

EXAMPLE 4g

~e$~, po¢o o, po co

14
 _.0~ ~ ~ ..... ,~ ~ i .~ ~ ~ .:3 J 7 J ,J J i

,_U~-- ~ ~ ;'"'~ , , ~ , . ! , . , , .~ ~ ,
, . .- . . . . . . . . . . . . . . . I ~ ~ I
~..p.~'.~ ~ ~ ~ .~ . . . . . . , ~ . ~ ~ ,..~ . ,

LH RH

~ P P
I • 5 4-

T h i s article has attempted to describe and illustrate some of the in-

creasing technical demands placed upon teachers and performers in
coming to grips with new compositions involving keyboard percussion
instruments. Three techniques and their stylistic derivatives have been
discussed, and only those related to the use of four mallets. These
techniques - non-sustained, sustained, and independent - are called
upon more and more and it is hoped that even this short discussion will
lead to greater efficiency in percussion skills. In the end, however, ex-
perience is the best teacher and reading about styles of performance
can never substitute for actual practice. Because mastery of the tech-
niques is no easy matter, it is suggested that study and practice should
proceed from non-sustained through sustained to independent. In
such a graduated approach, the student will encounter the least prob-
lematical techniques first and will gain some sense of improvement and
resulting satisfaction as he progresses toward the more difficult exer-
cises.
Percussion has moved rapidly beyond bass drum - snare drum
idioms. In an attempt to stay abreast of developments, many high
school and college groups have enlarged their percussion sections. At
the same time, methods of instruction in the newer techniques have
been too little utilized or perhaps even too little known. The instru-
ments themselves as well as performance approaches to them have
often been viewed as principally in the area of special effects. It is time

15
to recognize t h e m as soloistic, placing demands on the performer that
are c o m p a r a b l e to those for pianists or performers on any of the other
" s t a n d a r d " instruments. U n t i l music educators as w e l l as students ac-
cept the fact that there is t i m e as w e l l as effort required in the d e v e l o p -
m e n t o f good performance techniques, these instruments may easily re-
main in use fbr sound effects o n l y rather than for t h e i r v a l u e in serious
performance.

lit should be understood that the use of three mallets and the techniques required are
closely related to those of four mallets•Thus the techniques described for four mallets can
also be performed and taught for three.
2Merrill Brown, "Percussion Solos and EnsemblesMost Often Performed in College
Student Recitals," Percussionist, XII (Fall, 1974), 31.
3This information was compiled from listings of solo and ensemble percussion perfor-
mances given in "Percussive Notes," a periodical issued quarterly by the PercussiveArts
Society•
4No mention will be made of four-mallet grips (holding of mallets), since this would
require a complete paper in itself• The reader is referred to the Spring,1974, publication of
Percussionist, issued by the Per(:ussiveArts Society• In this bulletin may be found an article
by Lynn Glassock titled "Four Mallet Grip"•
SRehearsal letters as given in the score should not be confused with letters used to
identify individual parts of the over-all ternary structure•

BIBLIOGRAPHY

1. Music
Bach, J. S./esu, Joy of Man's Desiring, art. by James Moore. Ohio: Kendor Music, Inc.,
1965.
Burton, Gary. Singing Song. Chicago: Creative Music, 1968.
Creston, Paul. Concertino For Marimba. New York: G. Schirmer, Inc., 1957.
Peters, Mitchell• Sea Refractions• Los Angeles: Mitchell Peters, 1971.
• Yellow After The Rain. Los Angeles: Mitchell Peters,1971.
Pitfield, Thomas. Sonata For Xylophone. New York: C• F. Peters, Inc., 1967.

2. Periodicals
Brown, Merrill• "Percussion Solos and Ensembles Most Often Performed in College Stu-
dent Recitals~"Percussionist, XlI, (Fall, 1973), 31-35.
Burton, Gary. "Evolution of Mallet Techniques, 1973" Percussionist, X (Spring,1973), 74-82.
Glassock, Lynn. "Four Mallet Grips," Percussionist, XI (Fall, 1973), 2-11.
Pimentel, Linda. "Evolving Solo Techniques For The Marimba," Percussionist, X (Summer,
1974), 107-110.
• "Evolving Solo Techniques For The Marimba" XI (Fall, 1974), 19-21.
• "Evolving Solo Techniques For the Marimba," Xl (Winter, 1974), 77-81.
• "Evolving Solo Techniques For The Marimba," XI (Spring, 1974), 97-101.
• "The Solo Percussionists' Performance Limitations," Percussionist,
XII (Summer, 1974), 128-129.

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