4.

KEYBOARD TECHNIQUE
The following is a guide to familiarize you with general topics of our approach to the keyboard
instruments. The differences in energy, sound production, and performance quality necessary to
communicate in NFL stadiums are different from those techniques commonly accepted for the
concert hall. In light of this, recognize that you may be faced with some new ideas. These concepts
are intended for the drum corps environment, and not necessarily applicable to other performance
situations.

POSTURE/APPROACH
• Good posture is essential. Not only is good posture beneficial for health reasons, it portrays a
confident and professional presence.
• Stand roughly 6 inches away from the keyboard .
• Upper arms relaxed at your sides, with your forearm slightly below parallel to the keyboard.
• Feet shoulder width apart, head up, and the shoulders back and relaxed.
• Keep your hips parallel to the keyboard.
• Never cross your feet to facilitate movement behind the keyboard. (Except for playing the upper
register of the vibraphone.)
• Take lateral steps while maintaining a parallel orientation of the hips.
• Play in the center of the bars at all times. (unless instructed to do otherwise based on idiomatic
and sound quality considerations.)

UNIFORMITY
Drum Corps is an activity that is based on uniformity of approach. Different from a symphonic
setting, we routinely ask several people to perform unison or similar parts. Through uniformity we
convey a sense of professionalism and confidence to the audience. Posture, facial expressions,
moving from instrument to instrument, mallet changes, and pulling instruments on the field are all
taken into account Uniformity is essential in producing balanced sounds from player to player, as
well as a unified interpretation of the music we are performing.

PREP STROKES
Prep strokes are small motions from the set position that indicate tempo.
They are initiated by the center musician and followed by the rest of the ensemble. This is a small
and defined motion that initiates from the wrist. As we prepare to play, the prep stroke serves as a
Mcount-oW in lieu of an audible source of timing. The final prep will be an up stroke to your starting
position.

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SET POSITION

This is the preparatory position - prior to initiating a stroke

Mallets over the note you are about to play, about an inch above the keyboard Arms hanging
naturally at your sides - but not touching your body.

"UP" POSITION

This is the recovery position for the mallets while you are in the process of playing. The mallets
should be positioned directly above the notes you intend to strike next. This height will be dictated by
the dynamic of the passage you are performing.

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 5. TWO MALLET APPROACH
GRIP
Place your thumb and index finger about a 1/3rd of the way up the mallet (from the base)

Wrap the back three fingers around the mallet (there should be about 1.5" of the mallet exposed
from the bottom of the hand) Relax the thumb and forefinger - these two fingers act to control the
mallet, but should not be squeezed. Your index finger and thumb should be engaged on the mallet
shaft, Make sure the pointer finger is engaged on the mallet at all times.

Ensure that you don't over-squeeze with the back three fingers. This should be firm, but no white in
the knuckles.

A B C

FULCRUM
The Bluecoats play with a modified back finger fulcrum. This is created with the back two fingers
comfortably holding the shaft of the mallet, yet remaining relaxed and devoid of tension. As opposed
to a true #back finger fulcrum·, we use only our wrist as the actual "fulcrum" or #rotation point" and
do not release the fingers from the grip unless specifically instructed in special cases. Since there is
little to no rebound from the bar, we combine the back finger fulcrum and wrist to create an upstroke
and enhance control over the mallet. Tempo and timbre needs will dictate the velocity and touch of
the stroke. The index finger and thumb should wrap around the mallet shaft, much like you would
hold a drumstick.

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STROKE
The basis for our general stroke is the #piston· stroke. The piston stroke is characterized by an
efficient straight down-up motion. The stroke is intended to produce the fullest quality of sound, as
well as increase accuracy in your performance by making sure that your motions are efficient. It is
also important to note that maximum velocity is always used in order to produce an immediate
activation of the fundamental pitch. The stroke should move with the same velocity whether playing
at pp or ff. Other types of strokes are used as dictated by the musical passage. These techniques are
taught by the staff and are addressed when they are needed. For the audition process, you should
practice the following descriptions of the piston stroke.

• Start with the mallet directly over the key you intend to strike. Initiate the stroke from the wrist.
• A relaxed forearm follows the stroke to provide weight and enhance projection and sound
quality.
• Down stroke directly into the center of the bar.
• Immediately, and in the same motion as the downstroke, upstroke straight up if striking the same
pitch again, or in a direct line to the ·up" position over the next note you are to play.
• Down and up strokes are the same velocity.
Various types of strokes are required based on idiomatic and sound quality considerations. These
variations are explained and implemented by the staff as needed. Concentrate on mastery of the
piston stroke for the audition process.

SHIFT
How we move our mallets from one note to the next during the up stroke. Depending on the amount
of time and distance needed to travel there are several considerations.

• Always strive to make quick shifts. The combination of hand position, elbow position and foot
position all help ensure that you are set up for success.
• A shift is an uninterrupted lateral motion of the upstroke. Never interrupt the momentum generated
by a stroke until the mallets are in position for the next stroke.
• Consider how we move from accidentals to natural notes. This is even more important when
holding 4 mallets and shifting to two notes in one hand while changing our intervals.
• This can also refer to how we position our body. In the same way we talk about moving our mallets
from one note to the next. Take note of how you need to stand, where you need to be positioned to
play that phrase.

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 6. FOUR MALLET APPROACH
GRIP
We use the Stevens grip for all keyboard instruments. This affords uniformity of both sound
characteristics and aesthetic appeal. Below is a general guideline for the grip, but we highly
recommend purchasing "Method of Movement" by Leigh Howard Stevens. "Method of Movement"
provides great detail relative to the mechanics and rationale behind this grip. This is an excellent
resource for all percussionists. The mallets are numbered from left to right - 1,2,3,and 4. You will see
these indicated in both the music and exercises in this packet.

• Start with your hand in a relaxed #hand shaking" position, thumbnail pointed up.

Mallets 1 and 4

• Grip the mallet with your pinky and ring finger.

• There should be no more than a / inch of the shaft extending below the pinky.
• The mallet shaft should be touching just below the middle knuckle of your middle finder.
Mallets 2 and 3

• Place the other mallet against the palm of your hand, just below the base of the thumb.
• The tip of the middle finger retains pressure on the end mallet so that it stays in contact with the
palm.
• The forefinger creates a perch for the mallet on the first knuckle, where the mallet rests.
• The thumb applies slight downward pressure, and control on the perch, with the thumbnail
remaining up.

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4 MALLET STROKE TYPES AND PRACTICE CONSIDERATIONS

Single Independent

• Use of one mallet - acting independently of the unused mallet in the hand.
• Stroke motion pivots around the unused mallet
• Relaxed fingers in the unused mallet to eliminate sympathetic movement, and avoid
unnecessary tension .
• Principles of the piston stroke used, returns to up position.

Single Alternating

• Similar to the single independent, without concern of motion in the unused mallet. While you
move mallet 3 down you'll be moving mallet 4 up and vice versa.
• Pivot point is in between the two mallets, and varies depending on the interval.
• Do not make this motion tense, should be relaxed.

Double Vertical
• Both mallets - same hand - striking the bar at the same time.
• Stroke motion is identical to the 2-mallet approach.
• Keep grip firm but relaxed to control double stop accuracy.
• Principles of the piston stroke used, returns to up position.

Double Lateral

• One motion - two strokes - same hand.

• Achieved by lateral motion from the wrist. Returns to up position.
• Tempo dependant - for our purposes (slower tempo= single independent motion, faster tempo
= double lateral motion)

Application - As you progress into the exercise portion of this packet, please consider the concepts
of approach, grip, and posture that have been detailed to this point. These are the building blocks of
the technique and will be important to incorporate into your practice as you prepare for the audition.
Start slow, have patience, and bring the best of your playing with you to the audition camp.

Best of luck!!

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