METODO Para MARIMBA INTRODUCTION =EL PuLPo This book is a collection of technical exercises designed to develop strength in the use of four mallets on keyboard precission intruments. The exercises are grouped into chapters of like-techniques as indicated in the Table of Contents. The chapters and exercises are not necessarily meant to be learned or practiced in the order presented. Neither are they dependent on the perfection of one technique before going to another. A variety of material may be combined in any practice assignment to keep it interesting. As performers vary in their approach to music, so do teachers vary in the approach to teaching and students vary in their approach to learning, All should approach this book as a resource of four mallet exercises to be used to their particular advantage. Some observations of successful use of the materials in this book have led to the suggestions which follow. One is encouraged to apply the patterns presented in Chapter Two: Meastired Rolls and Chapter Three: Sticking Patterns to any oF the patterns presented in Chapter One: Block Intervals, Chapter Four: Expanding Intervals, and Chapter Five: Chords and Arpeggios. This creates more possibilities and sariety in the application of a given technique. Since most music requires combinations of various techniques. this type of practice cai ‘only enhance the performance possibilities of technical skill. Because of the difficulties inherent in the techniques presented in Chapter ren: Scale Patterns and Chapter Eight: Developing Rolls in One Hand. one might delay their introduction until one feels secure in holding and four mallets in the earlier chapters and exercises. However, they are necessary techniques to the full use of four mallets and should be begun when the teacher or musical situation dictate the feasibility of their use. Finally, all technique should be used in a musical context as soon as possible. We are fortunate to have literature available that is both technically demanding and musieal, so use it! A student should simultaneously be working on technique and a musical composition which dictates the application of techniques within his ability. It cannot be stressed enough that the development of asound technique is not an end in itself, but rather a means of freeing the performer to express himself through music!CHAPTER ONE: BLOCK INTERVALS Chromatic Movement Diatonic Movement CHAPTER TWO: MEASURED ROLLS Forms 1-13 CHAPTER THREE: STICKING PATTERNS FOR FOUR MALLETS Sixteenth Note Patterns Triplet Patterns Sixteenth Note and Triplet Patterns CHAPTER FOUR: EXPANDING INTERVALS Diatonic Movement in Common Time and 2/4 Time Disunct Movement Combination of Disjunct and Scalewise Movements CHAPTER FIVE: CHORDS AND ARPEGGIOS Choras Arpeggios CHAPTER SIX: INDEPENDENT CONTROL OF MALLETS IN A ROLL Exercises 1 through 11 16 17 20. 3 Chapter One Block Intervals ‘The following are exercises based on harmonic intervals - two notes played simultaneously. ‘The first group of exercises moves in ascending and descending motion through the octave of a chromatic scale. The second group of intervals moves diatonically in ascending and descending motion through the,octave of each major, natural and harmonic minor scale, In both sections, the interval should first be played four times, then two times, and finally, once on each level of the scale. This is done to develop endurance and accuracy. It may be advisable to/play each hand separately and eventually play hands together at an octave separation. Because of the varying sizes of the bars on the marimba, it would be best to get used to perform- ing all intervals and exercises throughout the range of the marimba. GROUP ONE: Chromatic Movement Follow the illustrated pattern for all intervals given below: 4 times each P 5th Path M 6th m 6th Tritone “o Although eacitinterval in this exercise is illustrated with C as the lowest note, it is recommended that they eventually be executed starting on any note. 4e—at00 -Major 6th Minor fth u Major 3rd Minor 3rd ci Tritone rf Minor_Tth Major 7th Major 2nd i Octave,GROUP TWO : Diatonic Movement. A 5 Using the illustrated pattern, play all the intervals given below in each major, natural minor. and harmonic minor key. 4 times each 2 times each sth | ia, 6th 3rd 1th 2nd Octaw o a = DIATONIC SCALES: C major G major D major o ot major E major B major C nat. minor G nat. minor _ nat, minor | a . s+ 3 oS E pat. minor Bnat. minor F = LeFf nat. minor Cf nat. minor Gf nat. minor rad ote = -P- S| = ou ~ ov u Y Ebnat. minor Bbnat. minor F nat. minor Gee eee = Gee —— te 9 a as ae eae S eo C harm. minor G harm. minor Dharm. minor : = a ; ee ae AS Sa: 6 = Aa eet ee piaeee aes B harm. minor a oe © Fhharm. minor Ctharm. minor Gtharm. minor 4 ae put. 4 | es i eet co = ov - “T Ebharm. minor Bb harm. minor F harm. minor Bees Sas ae S ® eae § ‘These scales may be used for reference when performing exercises in other chapters that direct the student to play each exercise in all the major and minor keys. Each interval on the following pages is written in both major and natural minor scales. It is recommended that the harmonic form of the minor seale be practiced in a similar manner by raising the seventh scale degree of the natural minor scale (c minor - raise Bb to BY ; g minor - raise F to Ff; etc)INTERVAL: 5TH Major Keys Natural Minor Keysg Interval : 5ths (cont) Major Keys Major Keys INTERVAL: 4TH Natural Minor Keys S4P—-B100Interval : 4th (ccnt.) Major Keys Natural Minor Keys is EEE Cettesapnion Major Keys INTERVAL: 3RD Natural Minor KeysInterval : 3rd (cont.) . 5 Major Keys Natural Minor Keys bb INTERVAL: 6TH Major Keys Natural Minor KeysInterval : 6th (cont.) Major Keys Natural Minor Keys 2 INTERVAL: 7TH Major Keys Natural Minor Keys13 Interval : 7th (cont.) Major Keys Natural Minor Keys : tEte. sf ete INTERVAL: 2ND Natural Minor Keys 4 Major Keys ceuw Interval : 2nd (cont. ) Major Keys Natural Minor Keys S4P-B100INTERVAL: OCTAVE Natural Minor Keys Major Keys16 Chapter Two - Measured Rolls \ On keyboard percussion instruments, a sustained pitch or chord is created by even, unaccented single strokes. The speed of these single strokes is de- termined by factors such as range, dynamics and intensity. For example, a sustained pitch in the lowest octave of the marimba would require slower sing. strokes than the same pitch in the highest octave of that instrument. Therefore, a performer must be able to play even, unaccented single strokes at a variety of speeds in order to sustain pitches and chords throughout the entire range of the instrument. When a performer plays a specific number of strokes per beat on a given pitch or group of pitches (chord), they are playing a measured roll’. The follow- ing exercises are measured rolls designed to develop control of the number of strokes per beat at a variety of tempi. Each roll is illustrated as perfect fifths in both hands an octave apart. Once a pattern is learned, the student should use other intervals, an octave apart, following the same pattern. Later these patt- erns should be applied to triad and seventh chords. Start each exercise at a slow metronomic setting and develop more speed gradually. Ultimately, one should be able to perform each pattern at various speeds throughout the range of the instrument. Although no dynamic markings are indicated, each exercise should be performed at a variety of dynamic levels to develop strength and control. Don't rush the development of speed in the single strokes at the sacrifice of even, unaccented strokes. THESE PATTERNS CAN AND SHOULD BE APPLIED TO THE EXERCISES PRESENTED IN THE SECTIONS ON BLOCK INTERVALS (CHAPTER ONE) AND EXPANDING INTERVALS (CHAPTER FOUR), AS WELL AS ANY AND ALL CHORDS.17 For each of the following patterns, continue the pattern chromatically through the octave of the chromatic scale, then descend through the chromatic scale (continuing the same pattern) until the starting pitches are reached. At this point, you may change the metronomie setting and practice the same pattern or go to another pattern Continue pattern cont. Continue pattern | cont, Continue vattern Continue Form 4: 2 3 3 2 pattern cont. Continue s. 6 6 pattern cont. Form 5: crp—Rtan8 Form 6 6 6 6 Continue pattern cont. Continue £ £ pattern cont. Form 7 Continue pattern cont. pattern -cont. pattern cont. pone 5 patternContinue pattern Continue pattern -orm 13 Continue pattern Continue pattern Additional applications of these measured roll exercises are i a 3. 24, 5. Diatonic movement of each of the intervals through each major and minor scale. Combining intervals to create chords which are then played either chromatically or diatonically.\, Using chords,play as a continuous roll through the circles of fourths and fifths. Apply measured roll patterns to the sequences presented in the chapter on expanding intervals. Play chord progressions using one of the measured roll patterns. *Chapter Three. . ved Sticking Patterns for Four Mallets More and more keyboard percussion literature requires the performer to use four mallet independence in addition to block movement and rolls. The following exercises are sticking patterns designed to give the performer the teciipical skill necessary to handle any of those passages or pieces. Each of the patterns is written for the perfect fifth in each hand and recom- mended to be played following the patterns of interval movement (diatonic and chromatic) presented in Chapter One: Block Movement. Once again, for endur- ance and accuracy, these patterns should first be played four times at each level, then twice, and finally, once at each level. As in the roll exercises, different intervals in each hand should eventually be performed in the same manner. It is necessary to develop these patterns moving chromatically and diatonically, so that they can later’ be applied to the.skips necessary in the section on arpeggios and chords. Similar sticking patterns will also be applied to scale passages. THESE PATTERNS SHOULD BE APPLIED TO THE CHAPTERS ON BLOCK INTERVALS, EXPANDING INTERVALS, AND CHORDS AND ARPEGGIOS. : A3 23 PREPARATORY EXERCISES: x RH Right Hand Alone : 2-I-etc, Left Hand Alone : 4-3-ete. Right Hand Alone : 1-2-etc. Left Hand Alone : 3-4-etc. s-2 \ ~ : SIXTEENTH NOTE PATTERNS Saute mane Chm &2 Sixteenth Note Patterns: cont 24 22. 23 24.Ex avte se dy pay. ohn Jee rr ‘ rr cont. a 1) C18 a 2, a 7 : + 25 26. 21. 28 == = 4 . = 29 3 31 a a J 2 \ . 33. 3 35 36 | * 0 sap-pi00 a .2 Combinations of Sixteenth Note Patterns: cont. 7, 38. sarin pons — :EJ * Triplet Patterns : cont. 2. 22. 23. 24. COMBINATIONS OF TRIPLET PATTERNS fo 2 a 3 4 328 Combinations of Triplet Patterns: cont. ‘S4P—-B100 a29 Combinations of Triplet Patterns: cont + S4p-B100 : . tee a30 © Combinations of Triplet Patterns : cont . or 2 68s 69 es 2 ‘s4P-B100ESE stint The original notes are reached, ‘These patterns may proceed through chromatic and diatonic scales starting on any note and continuing to the octave and back. They-may also be-applied to chords, etc. Chapter Four Expanding Intervals The technique of changing the interval between the two mallets held in oe hand is one of the most difficult to develop. It seems to take constant repetition in order to develop accuracy and ease in interpreting musically the melodic and harmonic movement Te gesary in most keyboard percussion pieces. Therefore, the aim of this chapter is first, the development of stepwise scale movement of one or both mallets in one hand; anxl second, the development of skips in one or both mallets in one hand For clarity, the exercises are written for one hand, but they should be-developed in each hand separately, then in both hands simultaneously with the interval of the octave between the two hands. Each exercise will appear in C major (in diationic exercises) or with C ae the the starting point (in chromatic exercises), but each exercise should be plaved in all major and minor keys or with any starting note in addition to C This chapter is divided into five sections: 1 ) diatonic movement in Common Time from the interval of a second through the ninth; 2) diatonic movement in 6/8 Time from the second through the octave; 3) chromatic movement from the second through the octave;4) disjunct movement using skips of thirds through octaves; and5) combinations of diationic movement and skips. Don't forget to apply roll patterns and sticking patterns to these exercises! SECTION 1: Diatonic Movement in Common Time and 2/4 five Form 1Form 8 uo £ 3 uPoRtnoat SECTION 2: Diatonic Movement in 6/8 Time Form 10: wick it = Form 12 Form 14 Form 15 eee: od —sg8 Se Form 16 Form 17 ettenceee al PS ee Froth 18:35 SECTION 3 : Chromatic Movement Form 19 Das é Form 20: 4P-B10036 Form 21: eap_nton solee Rts ata37 Form 24 Form 25; Form 26: AN SECTION 4:'Disjunct Movement Form 27: ascending 3rds _ ‘Form 28 : descending Srds i AS Form 30: descending 4ths \ 2 =e Form 31: ascending Sths 5 >. EG o Form 32: descending Sths . ee Form 33: ascending 6ths Form 34: descending 6ths Form 36: ascending Ths Form 36: descending 7ths Form 37: octaves ‘S4P—B100 ‘SECTION 5: Combinations of Disjunct and Scalewise Movements Form 39: Triad Structure c c as Abe Et tf 1 Continue this.type of chord progression in other keys40 Form 40: Form 41; Form 42: saP-R 100 .a Form 47: S4P—B10042 Chapter Five: Chords & Arpeggios : Chords Chords represent combinations of intervals learned in Chapter 1 Block Intervals. Chords appear in music in combination with the techniques Pres erted in Chapters 1 through 3: 1. e., block moveruent of chords; rolls or sustained Chords: and broken or arpeggiated forms of chords. For this reason, the chords in this chapter will be presented in simple block movement sequences with thedirec= tion to apply the techniques of the first three chapters to the chords in each sequence Detail of that application follows: AS WRITTEN: APPLICATION OF CHAPTER 1: BLOCK INTERVALS 1. Play four times on each chord in the sequence. 2. Play two times on each chord in the sequence 3. Play once on each chord in the sequence APPLICATION OF CHAPTER 2: MEASURED ROLLS . ‘ ‘Apply each ‘roll pattern (Forms 1 through 13) to the chords in each sequence in the same way they were applied to like-intervals:in each hand. APPLICATIO: JF CHAPTER 3: STICKING PATTERNS Assume the top two notes of each chord in the sequence are assigned to the right hand and the bottom two notes are assigned to the left hand Using one of the sticking patterns in Chapter 3. apply the pattern one to four times to the notes of each'chord in the written sequence. Then try another sticking pattern in the s. me manner. Any or all of the sticking patterns in Chapter 3 can be applied to the cnords in any of the following sequences. s4e-B100eee 2 VOICE TRIADS: DIX TONIC MOVEMENT IN MAJOR KEYS (root position triads) Four \ ist inversion Triads: Play in all major keys. + 2nd Inversion Triads: Play in all major keys. S4P—B10044 ° £OUR VOICE TRIADS: DIATONIC MOVEMENT 11 MINOR KEYS (root position triads)riads.. 1st Inversion Triads: play in all minor keys 2nd Inversion Triads: play in all minor keysFOUR VOICE TRIADS: CHROMATIC 1. Root Position Triads: MOVEMENT OF MAJOR TRIADS 2. Ist Inversion Trjads: a. 3. 2nd Inversion Triads: FOUR VOICE TRIADS: CHROMATIC 1. Root Position Triads: MOVEMENT OF MINOR TRIADS 3. 2nd Inversion Triads | ty {F HT6 CHROMATIC MOVEMENT OF DIMINISHED TEIADS (cont.) 3. 2nd Inversion Triads: RET FOUR VOICE TRIADS:; CHROMATIC MOVEMENT OF AUGMENTED TRIADS 1. Root Position Triads: FOUR V. & TRIADS: CIRCLE OF 5ths MOVEMENT 1, Major Triads: 1 é 2. Minor Triads: 3. Diminished Tria Is:4a Cirele.of 5ths Movement (cont.) . Augmented Triads: a Continue this exercise by using the triads indicated in the four examples above in Ist and 2nd inversions SEVENTH CHORDS: CHROMATIC MOVEMENT 1. Dominant Seventh: 2. Diminished Seventh: i 3. Major Seventh: 4. Minor Seventh: SEVENTH CHORDS: CIRCLE OF 4THS MOVEMENT 1. Dominant Seventh:48 Seventh Chords: Circle of 4ths Movement ( cont.) 2. Diminished Seventh: 3. Major Seventh: 4. “Minor Seventh: ”49 Four Voice Triads; MOVEMENT FROM ROOT POSITION THROUGH ALL THE INVERSIONS. Major Minor Diminished AugmentedFS KBANS » | ; SEVENTH CHORDS: MOVEMENT FROM ROOT THROUGH ALL THE INVERSIONS j 7th maj 1th 7th ane m dim Continue using one of these three patterns on each note of the chromatic scale. Don't forget to continue applying rolls and sticking patterns to each chord in the sequence. For further development of chord movement, it is advisable to go to a book which concentrates on chord voicing, progressions, etc. It is not the intent of this hook to be a definitive source of chord use, but rather a survey of the possible techniques which may be applied to chord structure. To this end, the following arpeggiated chord patterns are presented with common and alternate stickings. Arpeggios Although some arpeggiated figures have resulted from the application of sticking patterns to the previous chord sequences, the following specific patterns are presented to demonstrate sonie alternate uses of stickings. Each is presented as major chords in close voicing, but should be applied to the following: Major triad on tonic of each key in the circle of ths and 4ths. Minor triad on tonic of each key in the circle of 5ths and 4ths. Diminished triad on tonic of each key as above. Augmented triad on tonic of each key as above. Minor triad on each note of a chromatic scale. Diminished triad on each note of a chromatic scale. Augmented triad on each note of a chromatic scale. Rogeeen It also seems feasible that these patterns could be applied to the various forms of the seventh chord, but some changes in the patterns may be necessaryBt FORM I Major Arpeggios: Chromatic iloverient (cont. ) + Reverse sticking.Form 2 Major Arpeggios: Chromatic Movement \ $3 (cont.) £ f~Form 3 MAJOR ARPEGGIOS: ROOT & INVERSIONS USING THE ENTIRE KEYBOARD. .4, _ (cont.) 34 saz 3 (cont.) ALTERNATE, STICKING When necessary this pattern is varied at the extremities of range due to the limitations of the keyboard instrument. Try this exercise with triads of all types on several different notes Form 4 ARPEGGIOS: TRIADS AND THEIR INVERSIONS BASED ON EACH NOTE OF THE DIATONIC SCALE Play this exercise in all major and minor keys34 Chapter Six Independent Controi of Mallets in a Roll A percussionist is often required to sustain one, two,three or four notes while holding four mallets. The technique of using all four mallets in a full chord has been presented in the chapter on Measured Rolls as well as their application in chapters on chords and expanding intervals. This chapter deals with the specific problem of controlling which mallets continue sustaining and which mallets must be suspended in air when only two or three notes are sustained. EXAMPLE: c- 1, All four mallets are in use: G _ 3 2. Mallets 1 and 4 continue rolling, while mallets 2 and 3 are suspended in air. Mallets 1,2, and 4 are used in the roll, while mallet 3 is suspended 4, Mallets 1, 3, and 4 are used in the roll, while mallet 2 is suspended Mallets 1,2, and 3 are used in the roll, while mallet 4 is suspended 6. Mallets 2,3, and 4 are used in the roll, while mallet 1 is suspende 7. Mallets 2 and 3 are used in the roll, while mallets 1 and 4 are suspended. 8. Once again all four mallets are used in the roll ‘This is just one example of the kind of techinque that is required when all four mallets must be held, but only two or three mallets are used at given moments. Developing this technique will strenghthen the grip as well as arm and /or wrist movement. In addition, this technique will develop the further independence of the mallets beyond that already suggested by the exercises in previous chapters The first exercises in this chapter are of relatively short duration in order to concentrate on the independence of the mallets. Subsequent exercises will be longer in order to develop endurance as well as strengthen that independence. Exercise Nos. 1 & 2 will be presented in selected situations, but the general example may be applied to any intervals from Chapter 1 on any notes: to any chords in Chapter 5 in any key; and in any chord progressions. ROLL ALL NOTES IN EXERCISES 1 THROUGH 7! S4P-B100Exercise No.1 eth 7th Chords! Bb Dominant 7th Ct Diminished 7th [Chord Progre:Exercise No. 2 [Like-Intervals: 1 (7th Chords: C¥ Diminished 7th [Chord Progression:|87 Exercise 3: Seventh Chords This exercise is in four parts (a,b,c,d). First, play each part separately with repeats; then, connect. sections until all four are played as one exercise. Use any ‘7th chord in any key. a. Mallets 4 & 2 continue. b. Mallets 1 & 3 continue. c. Mallets 2 & 3 continue d. Mallets 1 & 4 continue. Exercise 4: Diatonic Scales This exercise is in two parts (a, b). Play each separately, then connect Play in all major and minor keys a. Mallets 2 & 4 continue. \ b. Mallets 1 &3 continue.38 A. Mallets 1&4 continue. B. Mallets 2&3 continue. Exercise 6: Chromatic Scale A. Mallets 2&4 continue. |Exercise 6 (cont.) B: Mallets 1&8 continue (continue to Bq and back) C: Mallets 1&4 continue (continue to middle C san - D: Mallets 2&3 continue — (Continue to Db and back) Exercise 6 and its variations may be played im any key!oo Eyere’se No.7 THIS EX =RCISE I$ BASED UN A COMMON NOTE HEI D THROUGHOUT CHORD CHANGEs Mi GLNTS 1 AND 4 CONTINUE TO ROLL ON C's, WHILE THE OTHER MALLETS 47% USED TO CHANGE NOYES TO CREATE NEW HARMONIES. ONE VARIATION OF THIS EXERCISE ‘YOULD BE TO KEEP A CONTINUOUS ROLL ON MIDDLE CWITH MALLETS 2 AND 3 WHILE MALLETS 1 AND 4 CHANGE TO THE NOTES INDICATED TO MAKE CHORD CHANGES. THIS EXERCISE MAY ALSO BE PERFORMED ON A COMMON NOTE OTHER THAN C DYNAMIC VARIATIONS MAY BE ADDED TO THIS, AS WELL AS OTHER EXERCISES IN THIS CHAPTER 1. throughout 2. 2p throughout 3. f throughout 4. p throughout 5. mf throughout 6. cresc. - decresc. over two measures 7. crese-decrese. each 8. f on each chord 9. gradual crescendo measure throughout 10. gradual decrescendo throughout F F f f Pe ae am am Ab Ab Abt Abs a ae c‘two mallets are used to play tonic in each key in the circles of Sths and 4ths. Alternate the use a Exercise No.8 of mallets 2&4 together, then 1 & 3 | | | aw mt Legato Ke 12: Exercise No.9 Alternate the use of mallets 2 & 4, followed by 3 & 1 to play each note of a chromatic scale. Legato a62 Exercise No. 1€ Alternate use of pairs of mallets in diationic scales. Apply to other major & minor scales. Legato Exercise No. 11 Alternate use of pairs of mallets to chords Apply to any chord. (‘Triad iS nth Chord Practice this octave exercise on any note6 Chapter Seven Scale Patterns and Stickings Most music contains a combination of various techniques, such as chordal rolls, expanding intervals to outline melodic and harmonic changes, independence of notes oxpMnallets to convey contrapuntal or arpeggiated passages, and melodic movement Similar to scales. These scale passages often create a problem for the performer Who must be holding four mallets due to some other requirement of the music. ‘The problems are first, to hold two mallets in the air while using the other two to play (similar to the problem of independence in rolls) and second, the independent vee of the two mallets in one hand at the interval of a major or minor second DEVELOPMENT OF HOLDING TWO MALLETS SUSPENDED WHILE PLAYING WITH THE OTHERS: Play any and all scales with the two inside mallets (3 & 2) while suspending mallets 1€4 in the air. This would be similar to playing scales with two mallets, but with the added burden of controlling the two outside mallets in the air. These scales can be played in one, two, or more octaves or following the patterns presented in any two mallet playing and control of the mallets suspended. This can often be painful and cause blisters and calluses on and between the fingers. To some Patent this is necessary, Dut not required ~ so don't over do the physical abuse 'A second approach to this problem can be to play scales in octaves with the two outside mallets.while holding the two inside mallets suspended in alr Be careful not to let the to suspended mallets touch each other or wobble unduly. ‘As above, this may be applied to any scale in any number of octaves or to any technique used with two mallets, but played in octaves. DEVELOPMENT OF INDEPENDENT USE OF TWO MALLETS IN ONE HAND: | ‘The following exercises are presented to deal with this problem. Bach will be written in the scale of C major, but should be performed in all major and minor keys. Each pattern will be presented a number of times to show a variety of stickings. Forms 1 through 5 will present stickings which use the right hand alone, the left hand alone, and combinations of the two hands and four mallets Forms 6 through 8 require the use of both hands. It may be advisable to review the major second in Chapter 1 and the application of various sticking patterns (0 this interval to assure the strength and control necessary to persue scale pas sages. Strive to remain relaxed and flexible in the hand and wrist * smmnnens nine ITE6$3 3453 433 133 et cere Seis a4 2 (ene 4 eer S4P-B100, et> indices ange in sticking pattern Form7 a Bape. goa ee TT Yea eca,< Forms i J a 4+wn Chapter Eight Developing Rolis in One Hand continue a roll with one hand while mucnen lantly to play a bass line. melodie line, or other evil uflars the performer the ultinnte in controil and musical performance jo ssibilitie ss However this is one of the most cifficult techniques to learn and cont Do rot bacom» impattent if the development of this technique is slu ut se ots: of the fortunate people that have a natural ability l perform tis toeniaiane, don't fall to develop it further be controllins tse speed ancl demanie leveln of the roll. ing the other hand The conteol of the wrist pivot used in this techniqne and the shremsth eecary lo exduranee dictate that the following exersises he repented daily fy. specified periods of time. Set the metronume to a siow quarter pote and repeat exch of the first four exercises for three minvtes esh minutes. If control begins to be lost, back up the melronomie mart ine and stuy at tha? setting until control and endurance ave firm. Th fivet jens exercises are to be played with the right n tke nee the me control and speed using the perfect filth. ether inter aplor 1 way be used. Although eventually all intervals must ke mastered, it Seems reasonable for each student to siart with the interval he feels most comfortable with and branch out from there. Again, keep fe hand and wrist relaxed and strive for a smooth. supple pivot of the two mal Repeat tor three minutes at a steady metronomic mari ng. Repeat for 3 minute: steady tempo. ata Repeat for 3 minutes ata steady tempo Repeat for 3 minutes at a steady tempo sony6 ‘The following four exercises represent a gradual accelerando by moving from two notes per beat to three, to four and back. Each exercise shuuld be practiced with each hand separately and should be repeated twenty times or for three minutes - whichever is easiest for the student to keep track of. Start with a slow to moderate metronomic setting and gradually increase. Use other intervals. + Because accents tend to cause tension and changes in the force of movement, perform exercises'5 through 8 without accent. Strive for fluid, sniooth movement. Relax Exercises 9 through 18, which follow, represent the application of a very measured roll in one hand-and-a slower accompaniment figure ir the otter hand--Once agaim,tese are best practiced at a comfortable interval at a comfortable speed. Gradually other intervals and speeds should be attained,Another approach to developing a one-hand roll is similar to that used in ~ developing “finger control" in snare drumming - i.e. gradulally increasing the number of stokes with one hand from short term rolls (2 sounds) to increasingly longer rolls ‘The following exercises represent a few of the possibilities. CAUTION: Do not depend on spastic movement of the mallets, but rather relaxation with control (o produce the rolls. s—-n109‘the following exercises are designed to begin the development of the roll in a musteal tween melodic movement context that might require a sustained roll after or bet Dructice these exercises until the movement from eighth notes to sixteenths is smooth and relaxed rl ; | epeat 20rimes Repeat 20 Times Repeat 20 Times Repeat 20 Times change the eighth notes to scale passages When these exercises are secure, followed by a roll ascend c-d-e-f-roll ( g& ©) descend g-f-e-d-roll (e& ¢) e-d-c-d-e-f-roll (g& c) g-f-e-d-e-b-roll (c&g) Example