Lakewood Ranch HS

Mustang Band
2024-2025 Front Ensemble Technique Packet
KEYBOARDS

Posture

Before you even play the first note of an exercise or show, spectators judge you based on
how you present yourself. Usually, you should have at least 4-6 inches between you and
the board. This prevents you from “crowding” the instrument and also from slouching.
Feet will begin together in most instances with one foot slightly in front of the other.
This will allow for you to be able to open your feet in either direction depending on
where the music is going. To play in a higher or lower position on the keyboards the
students should move by transferring their weight in their hips (small range) or by
stepping out with either foot (large range). For most instances, the torso, hips and
shoulders will stay parallel with the keyboard. Every keyboard should be at an
appropriate playing height for that individual: around where the player's hips are.

Set Position – Mallet heads are aligned parallel to the bars of the keyboard
(approximately 1” above the keys). Distance between mallet heads will change
depending on the interval to be played. Mallet heads should angle in and create a tight
“A” shaped frame that we will maintain as we move around the keyboard, even as we use
large intervals. Keep the wrists low and do not use your arm to raise the mallets.

Vibraphones – Your right toes only will be on the pedal. This is to ensure that you are
not exerting energy pointlessly by using your entire foot and that your right foot/heel
will be providing balance for you as you move behind your keyboard with your left foot.

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2 Mallet Technique – Middle Fulcrum
Divide the mallet shaft into thirds: you will place the bottom third in the palm of
your hand gripping the mallet with your index finger and thumb. You should have
approx. 2” of the mallet sticking out of the back of your hand, depending on the size of
your hand, the length of the mallet shaft, etc. The thumb and index finger should
connect with the mallet at your first knuckle, creating a cross of sorts; a natural space
should occur between the thumb and index fingers.

At most tempos we will encounter (for the exception of very brisk tempos) the front of
your grip should be relatively relaxed, keeping the back fingers a tad more firm to create
a solid foundation for the grip. The purpose of middle fulcrum is to do away with the
concept of keeping your hands in a “static” grip, so to speak. There will be times when
you will be asked to play very heavy passages where the grip will be more localized to the
back of the grip, just as there will be parts when you will be asked to play quick, precise
passages where the front of the grip will be more utilized. By thinking of keeping the
majority of the “pressure” in your hand in the middle, you’ll theoretically be able to
switch between the two types of touch in a quick and efficient manner.

About ninety-five percent of the stroke should come from the wrist, so it is important
that the technique in the hand is solid. The back fingers should remain closed into the
palm and the index finger can be slightly relaxed (but not pointed forward). The other
five percent is residual movement from the arm: this is not an intentional motion, just a
natural movement (like how the arm slightly moves while dribbling a basketball). A
marimba or vibraphone played with mallets does not have rebound like a drum or
another membrane instrument, so it is imperative that you think about the “upstroke”
just as much as the “downstroke”.

• Legato Stroke – This is our general stroke and will be used the most often within the
mallet ensemble. Without overcomplicating things, it’s just a relaxed, smooth, and
connected stroke. When playing with a legato stroke the wrist creates a constant full
range of motion to generate a very natural looking/sounding stroke.

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• Float – When playing longer rhythms that can’t be comfortably connected with one
smooth wrist turn (whole notes, half notes, etc.), we utilize an exaggeratedly slow
legato upstroke, also known as “float”. In the “float”, the initial downstroke is the same
but the recovery to our starting height is slower on the upstroke, creating a
“slow-motion” movement upwards from the note. The movement is lead by the mallet
head (not the wrist!) and should feel like you are slowly pulling every bit of sound
possible out of the bar. The arm is used at times to create a more fluid look and to
generate more sound from the bars in louder passages but should only be used when
instructed to do so. Most “floats” will have either a defined ending beat or continue the
motion until the next note.

Common mistakes include pushing forward with the mallets, using too much arm,
and generally overdoing it. This technique will be used most often in the Vibraphones,
but will be utilized throughout the ensemble for visual effect.

• Piston Stroke – The starting and stopping point of the piston stroke are the same just
like with the legato stroke. The main difference between the two is that while the
legato stroke is smooth and connected, the piston stroke is much quicker and more
disconnected between “full strokes”. The way this is done is by increasing the velocity
at which the wrist moves, creating a more articulate sound and look. This stroke will
be utilized at fast tempos and for effect.

• Shift – When going from one note to another, we will use the upstroke of a piston
stroke to travel to your next destination. We will refer to it as a “checkmark” type of
motion. This is very helpful when moving through 4 mallet chords, or when making
large leaps around the instrument. The main function of the stroke is to get you
where you need to be sooner, which then allows you to play more accurately and
with better sound quality. Make sure that you are not approaching the stroke with
any faster motion than would normally be necessary; the idea is to still remain
relaxed and calm while conserving energy and to turn what would normally be two
motions into one.

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4 Mallet Technique – Stevens Grip
The following process is the same for both hands.

First, grip a mallet with your pinky and ring finger. The pinky is our “anchor” and must
wrap all the way around the mallet providing the foundation for the grip, while the ring
finger serves more as the pivot point. There should be minimal excess mallet protruding
from the bottom of your pinky (around 1⁄4” to 1⁄2”). The outer mallet should go up at
about a 45-degree angle in relationship to the forearm. This will ensure the mallets will
hang evenly when the inner mallet is added to the grip. There is a delicate balance
between gripping too tightly with the pinky and letting your outside mallet droop down
so be wary of your outer fingers.

Next, place the other mallet in the center of the palm of your hand just under the fatty
area under your thumb. Your middle finger is anchored at the bottom of the mallet,
holding it into your palm/thumb muscle with the fingertip. Your index finger now acts
as a perch for the inside mallet, and the mallet should be able to rest without any
pressure in your hand. We will call this the “perch”; the index finger should never curl
into your hand at any time.

As stated earlier, you should stay relaxed at all times and curling your index fingers
inward is a sign of tension. The mallets should be naturally set at an interval of a fourth
to a fifth. Finally, place your thumb on the inside mallet directly over the first knuckle of
your index finger; the combination of your thumb and index finger should look
somewhat like a cross.

The thumb rests on top of the mallet and applies only the minimal amount of pressure
to keep it in place. The thumb contacts the mallet with the fleshy part of the thumb, not
the tip of the thumb; NO BENT THUMBS! This will allow you to freely change intervals
as well as maintain a relaxed grip.

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4 Mallet Stroke Types
There are four basic stroke types that we will use with 4 mallets:

1. Double Vertical strokes

2. Single Independent strokes
3. Single Alternating strokes
4. Double Lateral strokes – 2 versions

1. Double Vertical - As the name implies, this stroke is when you are making both
mallets in a hand play at the same time. The stroke should be played primarily with
the wrist; the addition of using arm should be a byproduct of a relaxed stroke with
correct technique. Do not misinterpret this for using your arm to execute the stroke. The
thumbs will remain oriented on top of the grip at all times. Both mallet heads need to
stay parallel to the keyboard to eliminate flamming of the mallets. The mallets should
travel straight up and down without any side-to-side motion. Make sure to keep your
fingers relaxed and the speed of the stroke fluid and consistent.

2. Single Independent - We will primarily be using this stroke type for the inside
mallets, but you should also get comfortable playing with the outer mallets as well. The
playing position will be achieved by rotating the playing mallet around the unused
mallet (i.e. mallet 3 will rotate around mallet 4 and vice versa). The best way to
execute this technique is by not being tense: relaxed fingers act as shock absorbers
and tension will cause the outer mallets to twitch vertically and/or horizontally.
Make sure that you keep your index finger and thumb firm, but relaxed; this will help
to keep control of the inside mallets.

3. Single Alternating - This stroke type is closely related with the Single Independent
stroke, but with the concept of alternating between the two mallets in each hand. As
one mallet strikes the bar, the other mallet will raise in response much like a when
the beads in Newton's Cradle transferring kinetic energy from one end to the other.
Be sure to not simply rotate the wrist: instead, think of the pivot point as transferring
from one mallet head to the next, much like with Single Independent stroke. This will
allow us to control everything from articulation to dynamics to rhythm.

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4. Double Lateral - Double Lateral strokes refer to two strokes being executed from
both mallets in a hand consecutively as one motion. We will be utilizing two different
types of Double Lateral techniques here:

Ripple Lateral and Controlled Lateral

Ripple Lateral - The goal here is to produce TWO strokes through ONE hand
motion. Firstly, we will be starting the stroke at the same starting point as a Single
Alternating stroke. In the case of the outside stroke (4-3 or 1-2), you first strike
with your outside mallet as normal and then rotate your wrist counter-clockwise
to strike the bar with your inside mallet. This will appear as a scooping motion
that should be smooth and connected. The main thing to remember is to be loose
and relaxed in the wrist when executing this technique; the more rigid and tense
you are, the worse it will sound. This technique will be utilized mostly for ripple
rolls and small note embellishments.

Controlled Lateral - The goal here is training us how to “stroke out” the doubles.
Very similar to a drum set player playing a double stroke roll on toms, the idea to
get both mallets in the hand to speak clearly with exceptional rhythmic accuracy
and a balanced sound between both mallets. As opposed to the Ripple Lateral
motion, this technique requires clear and definitive rhythmic placement of each
mallet and should sound the same as playing with Single Independent strokes.

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Our Height and Dynamic System
• pp - 1”: Set position height. Mallets should be parallel with the keys.

• p - 3”: Prep stroke height. ~10 degrees

• mp - 6”: Midpoint between set and a full wrist extension. ~30 degrees

• mf - 9”: ~45 degrees

• f - 12”: Full wrist extension. ~60 degrees

• ff - 15”: Full wrist extension plus some arm.

*The height and angles are approximate. We will not get a ruler or protractor out during
rehearsal to check these things. All heights will be demonstrated and balanced player to
player by the technical staff.

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RHYTHM SECTION

Drum Set

Being able to play a wide variety of styles and motifs (hip-hop, rock, latin, swing, etc.)
and being able to keep consistent tempo is always more impressive than chops and
playing fills so keep that in mind during the audition process. Ensemble awareness is
the most important thing when auditioning for this position in this ensemble. You must
be able to “bury the met”, follow the battery and front ensemble, and show dynamic
sensitivity.

Auxiliary Percussion

Also known as the “rack” position, the percussionist position is one that requires
musicality as well as technique and playing ability. Percussionists should be comfortable
with symphonic techniques as well as marching techniques. Showmanship, pocket, and
appropriate techniques on a variety of instruments are the things that will set you apart
from the rest in this position. In addition, it is expected that your standard concert
percussion techniques be up to par; this includes bass drum, crash cymbals,
tambourine, concert snare/rudiments, etc. Ensemble awareness is also a huge part of
this position as well!

Electronics

The Electronics section consists of synthesizers (synths), bass guitar and the many
pieces of equipment involved using them. For synth a piano background is highly
recommended but by no means a necessity. Knowing some pop and jazz theory would be
an advantage for you for any of these positions, especially for warmups. Learning and
retaining on the fly is also a must for these positions. Just as with the auxiliary
percussion position, ensemble awareness is of the utmost importance. Tempo control
and timing are also extremely important!

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Rehearsal “Supplies”
There are a few things you MUST have at every rehearsal:

1) Your Music – This might seem obvious but we’ve all been there. All of your music
needs to be in clear plastic sheet protectors in a 3-ring binder, no exceptions.

2) Pencil – the most important tool in any musician’s arsenal. We will constantly be
tweaking, refining, and reworking the show. It is vitally important that you meticulously
notate these changes in your music. A pen is not acceptable.

3) Commitment to Excellence – The excellence you strive for in rehearsal will be the
excellence you achieve in performance. Don’t shortchange yourself or your teammates.

4) Water Jug - You will be outside during a large part of the season and need to be
hydrated. Please have a water jug, at a least half-gallon, on you at all times.

5) Communication Skills - We understand that there is a lot of stress with being a

student during this day and age. As much as we want to be constantly achieving
excellence, there are some days when things just aren’t working out. In the event of such
an occurrence, please talk to your leadership and staff members. We are in this together
as a team and when one member falls out of the circle we must try our best as people to
bring them back in.

Care for Your Health

At no time should anyone play while hurt without us knowing about it. If you suspect a
physical problem due to your playing, you MUST inform us immediately. We are not
doctors, but if something can be done for you we will take care of it. If not, please
understand that we need to avoid creating any lasting injuries such as tendonitis. The
technique program is designed to avoid these problems. Much of the way we designed it
was based on personal experience with tendonitis when performing and adjusting the
technique so that one could play without pain or further injury. Stick to the technique,
work diligently to make adjustments to match the technique and you shouldn’t have any
problems. There is no use in trying to hide a previous or current injury that may hold
you back from playing to your fullest.

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Care for the Group
This is a BIG one. There are many parts of this activity that go way beyond playing. Far
more important is how well you work with the group, how well you interact with others
from different backgrounds, different ability levels, different ages, and different
experience levels. We are all in this together and you have to take care of each other no
matter what. Being able to get along with each other not only helps the ensemble play
together, but also creates an environment where your performance is genuine and real.
Play together and play for each other. Part of your audition will include your ability to
become part of the group and bring others into the group. Even though you are in
competition with each other for spots in the group, you should still help each other
become great! Who knows, that might be the very action that gets you the spot you want.

Care for the Equipment

The instruments are to be treated with the finest care at all times. Nothing is EVER to be
placed on top of the keyboard instruments for any reason short of mallets, sticks, and of
course the instrument covers. Instruments are to be covered at all times when they are
not being played. Use common sense and treat the gear as if it were your own...actually,
treat it better than that!

NO FOOD AND DRINKS BY THE ELECTRONICS.

Please keep/consume it somewhere else. The synth carts are not food storage containers
or trash cans.

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