Arnold IflarSnissen

SLAGWERK
DeVriesstraat15
2593 KG DENHAAG

Vibraphone Technique

David Friedman

B-40
 Introduction

Although there is an abundance of study books for the mallet instru-

ments, there is a conspicuous lack of material dealing with phrasing and
a general musical approach to four mallet playing. This is especially true
for the vibraphone, as this instrument, of all the mallet instruments, pos-
sesses the greatest potential for realizing interesting and exciting tex-
tural and phrasing possibilities. It is with these possibilities that this
book will primarily, deal.
Unlike most mallet study books, this one contains no exercises or
studies based on rigid scale patterns, except as introductory material.
The reason for this is two-fold. First of all, scale patterns are generally
not of a musical nature and as a result are generally dull and tedious.
Practicing dull and tedious music produces a dull and bored musician. If
the exercise offers, aside from the technical challenge, no musical chal-
lenge, it has done only half the job and more than half the damage. Exer-
cises should not be approached mechanically; they should be approached
with the same joy and sense of musical challenge as a piece of music,
which is exactly what a good exercise is; a good piece of music.
Secondly, it is very important for the improvising musician to keep
in mind that the more scale patterns, or any patterns for that matter,
that he practices, the more rigid and 'patterned' his improvisations will
be. If a student must practice scales, he should practice the notes of the
scale in random order. In other words, instead of this:

the student should play something like this.

So, instead of saying: "I'm playing an F major scale," he could say: "I'm
playing in the tonal area of F major." The student can practice the tonal
area of F major as often as he wants, and as fast or as slow as he wants
and play it with great variety and interest. He can and should vary dy-
namics, tempo and phrasing with each playing. This, then, becomes
music.

B-40
 The exercises in this book are in etude form. They are complete
musical thoughts and each one concentrates on one or two problem
areas.
Very little will be said about technique per se: (holding the mallets,
speed, mallet control, etc.) since these topics have been quite success-
fully dealt with in other mallet studies, particularly in the Gary Burton
"Four Mallet Studies" book. Occasionally I will make sticking sugges-
tions when I feel that they can be of some help with a particularly awk-
ward passage.
There are certain markings that I will use with which the student
may not be familiar. The first is a horizontal line below the staff which is
the sign for pedaling.

depress release

The pedal is depressed and held down for the duration of the hori-
zontal line and then, at the point the line terminates, the pedal is re-
leased. This is exactly the same marking used to indicate pedal use in
piano music.
The second marking used in this book is an X between two notes.
This X is used to indicate dampening. After the first note is struck, it is
dampened or 'muffled' (not allowed to ring or sustain) with one mallet
while, at the same time, the next note is struck by another mallet.

dampen

4
JT-O m \ V J
A
ffh A T / , , &tt (P
Vji^L A jfl
1 TT
1

Both pedaling and mallet dampening will be explained in further de-

tail throughout the book.
There is a suggested tempo marking for each etude. The tempo can
naturally be varied according to the student's technical ability, inter-
pretation and taste. However, it should not vary too radically because
the purpose of the etude might then be nullified or obscured.
I will refer to the mallets from this point on in the following order.

B-40
 It is assumed that the student will hold four mallets throughout this
book. Even when executing linear passages, a workable four mallet
technique can be an invaluable aid in bringing off lines with large skips,
by distributing the notes of the line among the four mallets.

I hope these etudes accomplish their intended goals, but most of all,
I hope that they provide for each student some enjoyable playing
material.

David Friedman

B-40
 Section I: Mallet Dampening

Mallet dampening is accomplished by striking a note, and dampen-

ing (pressing the head of the mallet on the bar so as to stop the vibra-
tions) it with the same mallet while another mallet strikes the next note,
and so on. The pedal is sustained (depressed) throughout the process.
Mallet dampening is indicated by an X placed after the note to be
dampened.

m~*t i y / t Y X y 'Y j* j /\ ja "AY flit AY S A

x rr \f at \f P. Au ^ y
ifhJt
V:\JJGL t A- ^ J A A, ... m * * X |r A
A A ^
ji g <*> i j
I

v i
IJ- I/ - . / YJ- .
v 8jt l-r // ~ "" -! Ay , F) m
1 . J/
V/ f YJ1 ' A]\/ m FAy /w y j K w
A FA
<r\ <1 |r A i A<\f | ' 4 ^J l9l *<\
9 A J_l A
K
1 1 ' 1
^ ^

Occasionally, a melodic pattern will move consistently in one direc-

tion. In this case, the notes can be struck with the mallet in one hand,
while the mallet in the other hand sort of trails behind, dampening the
struck "note simultaneously with the attack of the next.

D
R
R R R

R R
R R

In the previous example, the right hand strikes the notes while the
left dampens. It also works the other way around.

L
L L

L L L L

Why use mallet dampening? The technique of dampening is prima-

rily in the service of smooth phrasing. Structurally, the vibraphone is a
rather cold and limited instrument, which makes smooth phrasing quite

B-40
 difficult. The pedal is indeed an asset, but certainly not the whole solu-
tion to the problem. Look at this line.

r r i r r

The first three notes, being a triad, can be played smoothly by sus-
taining the pedal. But what about the four notes that follow? If the
pedal is sustained under these notes, they will all ring together and
sound like this.

If the pedal is depressed on each quarter note, a semi-legato is

achieved. But if dampening is employed, there is a totally legato transi-
tion from note to note.
Playing a line over a sustained chord or tone is virtually impossible
without the aid of dampening.

v
1 V 1 \/ 1
Jf0 <\ W*J * ' ~^f1 nW 1] n
V ' *i
*J9 AJ Y /^ 1
fn^/J * *
O T
i \ g ' i j

Along the same lines, with the use of dampening, one or more notes
within a chord can be altered without raising the pedal, thus changing
the harmonic function or tonality of the chord.

- \f- \r w
ml! o ^. 'l*? e,
}\>Ai
J
6
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r r 7 !? 9
bis
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Jr 4. _^

to-

B-40
 As you can see in the last example, a major quality chord is altered
by dampening the appropriate chord tones to become a dominant quality
chord, which then is resolved to the tonic. This process of changing the
quality of a chord by altering a tone or tones within the chord, becomes
obvious in the following resolution of a suspended 4th chord to the major
tonic (a 4 to 3 suspension).

Csus.4

If a slur effect between two notes is desired, the second note should
be played softer than the first.

B-40
 Dampening.-

1-4

In each one of these first four etudes, the pedal should be sustained through-
out and each note should be dampened.

J . = 52

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B-40
 Dampening: Etudes

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B-40
5
Dampening:

In this etude, I have included pedal markings since the pedal will not be sus-
tained throughout. In the first bar, for instance, the pedal is sustained for
two beats, released and then sustained for another two beats. The second bar
is different, so watch the pedal markings carefully. I have also included the
X between notes that are to be dampened.

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B-40
 Dampening: Etudes

Observe the indicated dynamics and be sure to notice that at letter B, there
are no X's present, therefore do not dampen until the eighth bar of B where
the X's reoccur.

r 54
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B-40 J L
 Dampening.' Etudes 4 3 2 1

X V

As you will notice, the melodic line is the same as No. 6, but I have added a
single bass line. The problem here is dampening over a sustained note or
contrapuntal line. In some cases I find it easier to play the bass note with
the No. 4 mallet, in order to leave the No. 3 mallet free to dampen. (See dia-
gram at top of page.) Otherwise, the No. 3 mallet would be constantly jump-
ing to perform two functionsplaying the bass note and dampening. It is
very important to utilize all four mallets when possible to limit excess move-
ment. This is the real meaning of four-mallet technique. Also, try to play
the melody slightly louder than the accompaniment.

= 54

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B-40
 Dampening-. Etudes

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B-40
 Dampening.* Etudes

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B-40
10
 Dampening.' Etudes

This etude also concentrates on playing a melodic line over a sustained tone
or chord. There is no time signature. I have used the quarter note as the con-
stant here, but have left tempo dynamics and phrasing up to the discretion of
the performer. The apostrophe at the end of each short phrase means there
should be a very slight pause before going on. At letter C, the whole notes
should not be given an exact value of four beats but should be sustained
slightly longer than the quarter notes. In general, the piece should have a
Gregorian chant-like quality. Dampen throughout.

= 176

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B-40
12
 Dampening: Etudes

J J

-J 1_

J L

B-40
13
Dampening.- Etudes

Dynamics are very important here, being especially careful with the fourth
bar. Please notice that I have placed X's only in the first two measures. Since
most music you will be reading will not have dampening indications, you must
learn to "feel" when dampening is necessary. In this etude, dampen each
note in the same manner as the first two measures. Even though it is not
physically indicated, you can easily see that dampening here is a musical
requirement.

J = 1T6

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B-40
14
 Dampening: Etudes

a tem,po
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B-40
15
 Dampening: Etudes

10

Here, the top line and bottom line should be played at equal volume, since
this is not a melody with accompaniment but rather a contrapuntal piece.
The pedal is sustained throughout, and everything is dampened, hence, no
pedal markings. The problem here is remembering which notes have or have
not been dampened when jumping from line to line. This is especially difficult
at letter B, so take it slowly.

fa J p" ]v i 1~0 0*8 ^-

ffr f **Fi
C2
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jo ^J

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04 ,4
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0 1rt- iP 9 1 9i Ci_s 11A

9 19 - 1 S
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B-40
16
 Dampening: Etudes

m i 1 1 i ^
r
1
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C r p op _ _. y

1
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1
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molto rit \ 1
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B-40
17

* *
Dampening; Etudes

This etude is more in the style of the traditional melody and accompaniment.
The melody should be played slightly louder than the accompaniment. In-
teresting sonorities will be achieved in measures 6 and 7 and the second
measure after B, as a result of dampening.

j =116 (i20J

J L

11
r :r~f '-P p . . r- -T7
M = -' f ' \ y' \ .' - "r p ' -'--
r A ?J M
f\ i r A M/ v/ p *^^
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1 r -1. ' LiJ ""liA
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mf etc.- -

I i i i 1
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J L

B-40
18
 Dampening: Etudes

m*

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B-40
19
Dampening: Etudes

12

This etude goes rather fast and requires deft dampening- ability. The whole
effect of the piece, in fact, lies in an observance of good dampening and ex-
aggeration of dynamics. It will probably be necessary to take it slowly at
first, then work up to the indicated tempo. The pedal is sustained throughout.

= 152

mp

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B-40
20
 Section IL* Pedaling

Most mallet players arrive at the Vibraphone by way of the Marimba

and/or the Xylophone. Therefore, one of the first difficulties they encounter with
the vibes is that of knowing what to do with the pedal. The most obvious conclu-
sion is that it is capable of sustaining tones and chords. So, as a result, the pedal
is then limited to performing this simple function alone.
Deft use of the pedal, however, can mean the difference between a smooth
legato line and a confused, undefined cluster of notes.

If this line is pedaled this way, according to beats and phrases, the triplets
will ring into each other, obscuring the clarity of the line.
Below is a more correct way of pedaling the same line, so that the notes do
not obscure and ring into each other.

Try playing tunes or pieces and use the pedal where you see fit. You will be
able to tell if you are phrasing properly by listening to clarity of line. If the notes
consistently ring into one another where you don't want them to, you are doing
something wrong. Let your ear be your guide. Soon, the process of pedaling will
be as unconscious and natural as the ability to operate, without deliberation, the
gear shift and clutch of an automobile.
I would just like to stress that the most important thing to do while playing
these next etudes on pedaling is to listen to the sound you are producing with a
critical ear and adjust it according to your own aesthetic sense.

B-40
21
 Pedaling: Etudes

13

This piece is basically a series of arpeggiated chords. Therefore, if the pedal

markings are not carefully observed, so that the appropriate tones ring to-
gether, the piece will sound senseless.

r
= 52
J.

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1 H ~ I
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J L

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D.C.
al coda

CODA

rit-
B-40
22
 Pedaling: Etudes

14

When it is musically required to pedal on every beat, try using half-pedaling.

See how far you have to depress the pedal for the felt bar to leave the keys.
Then, only depress the pedal that far. This helps avoid undesired ringing.

= 176
J =

0 m Jr~\
i ^J f- .4 1 0
* J
, jj 1 J 1 ; l ^ 1
y
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i i 11 i I jl ii _j 1 1 I i

J L_ J L J L _i !_

i
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B-40
23
Pedaling', Etudes

15

Here again you have to pedal on every beat at a fairly fast tempo. Watch the
pedaling1 on the first and third bars of letter A and second and third bars of
letterB.

J = 200

ii

Lj

D.C.
sub.pp jj*
al c o d a
molto r \ t

CODA IP r e s t o ]

ff L

B-40
24
 Pedaling', Etudes

16

This is also an arpeggiated chord etude. Notice the sixth measure after A;
the pedaling changes on the third beat of the measure. The same thing hap-
pens on the third beat of the eighth measure after A.

J.= 88

1 1/ a i - ---- -r i
it*? ri e> *
im
HyJL jf ' 1 J

PP c r e s c -

^ * ___ -'
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i i iifi 9
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L I i
W. . _.. . 1, , , , 1 1. K 9

cresc-.

B-40
26
 Pedaling: Etudes

i j. Fr j

W T w- y | i
MJ 1 it-.
J

U
sub-/?
i i

, 1 ' H-
i J (* J F ^im
J "
31 * r
j- * ... r rP -

J L

g
i
(Like an echo)

B-40
27
Pedaling: Etudes

17

Note the similarity between this etude and the previous one. The basic dif-
ference is rhythmic and the rhythmic feeling is quite important. This might
present some difficulty with smooth pedaling at a brisk tempo, so practice the
etude slowly at first. The four mallet section at letter A should have the same
rhythmic feeling as the two mallet section and should be played as smoothly
as possible.

= 176

P
PP

3
J I

w
r ' r r J s.1 n
i J' r
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mf

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B-40
28
 Pedaling: Etudes

s.) : . po- " ~

m-
m -
\
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1
T r I iI
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accel

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B-40
29
Pedaling: Etudes

18

Note the similarity between this etude and the previous one. The basic dif-
ference is rhythmic and the rhythmic feeling is quite important. This might
present some difficulty with smooth pedaling at a brisk tempo, so practice the
etude slowly at first. The four mallet section at letter A should have the same
rhythmic feeling as the two mallet section and should be played as smoothly
as possible.

J = 176

ss
i.?- _ _

'r K

1
INnil 11
A J
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n J
a' i
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j w R . c *

C ^^ == f u^-
i

J.

f
J L

I a tempo

B-40
30
 Pedaling: Etudes

r T
-I L

J. . rl
Hf' "Ifrj

j'

_l L

rit

B-40
31
 Pedaling: Etudes

19

In the fifth measure of this etude the notes are to be played extremely stac-
cato. Therefore, do not use any pedal.

J = 144

B-40
32
 Pedaling: Etudes

20

I suggest sticking this etude in the manner notated above the first four
eighth notes in the first measure. (Look at the mallet diagrams at top of
piece.) It cuts hand movement practically in half.

3 2 1

J = 152 /\

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-J

J^
J^ X1 ^
-1-

-I I I L

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33
Pedaling'. Etudes

21

The next three etudes are to be given a jazz feel. That is, the eighth notes
should not be played perfectly rigid but should be played somewhere between
a straight eighth note feel and a triplet feel. With the help of pedaling, these
pieces should be played with the same smoothness of phrase as a horn would
play them, for instance. I have left pedal markings out in order to leave the
pedaling and phrasing to the discretion of the player.

j =176

i
**

p cresc.

mr - ^ *3f
P

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34
 Pedaling: Etudes

B-40
35
Pedal/ngi Etudes

22

The lines in this etude are very 'patterned'. The patterns are varied har-
monically through the use of sequence, i.e. the repetition of the intervallic
shape of a line rather than the repetition of exact notes (see measures 1
and 4 in letter A). Alternating might cause these patterns to sound stiff,
therefore, I have included suggested double stickings which often aid in giv-
ing certain awkward lines the same kind of flow that a wind or brass instru-
ment might achieve. Try to play the triplets smoothly without letting them
all ring together (fifth measure of letter A, for example, and the last two
measures).

J = 208

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36
 Pedaling: Etudes

23

This piece has, perhaps, the most awkward lines of all three of the jazz
pieces. Therefore, it will take careful pedaling and phrasing to make this
etude sound smooth. This is especially true at letter A. Make sure to let the
last measure ring.

J = 116

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37
 Pedaling Dampening*, Etudes

24

In this first etude you should make sure that you play, even exaggerate, the
indicated dynamics. To get the best sound on the lower notes, strike just off
the center of the bar.

= 92

3


^

=#
33

p T m
i
rL J
X I 1
' f iV[J
t- ' \
1
=r=n

, y/ i
i Y iL J.A Ay VX I
i*, ,SS _, 1 1i m i ,i \ & j .

It !

B-40
40
 Pedaling and Dampening: Etudes

a-fl e
- ff r ^er f- f
I I1f A f r r c ._!
ir ip
--. -3
*PA1 '1 *J 1\ ' ' ej
*-* 4i ' 1
v rit ^a tempo

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B-40
41
 Pedaling

25

Be very careful of the pedaling in this etude. It is somewhat complicated at

the beginning.

J =138

4* gJ , fl
gjL f^?1^

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42
 Pedaling and Dampening; Etudes

fcjT

*rr
t J! i

L>'
r T?
T
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r "~~- _
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B-40
43
 Pedaling and Dampening.8 Etudes

n
D.C.
II J alcoda

CODA

PI

B-40
44
 Pedaling and Dampening: itudes

26

This piece has a jazz flavour and has, in fact, a traditional thirty-two bar
structure with a repeat of the A section. It is also a little more contrapuntal
in nature than the other pieces, so watch carefully the pedaling and dampen-
ing markings.

j = 138

3 J

_! L J L

?
decresc. ^

^HH*;
I
3R?

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45
!s
>^"iil" '

Pedaling and Dampening: Etudes

TTf r

j. ,JP
<? *i;* ^
a<pffr
3BF~nfr1 1*1 / " ITK B
T
iBli1! f
**^ LiCTW-^
P P H1 Jrto"
"1 1
"If S/^^^Sa.

i
, K I
1 . LX>. rF;

,1 I L

B-40
46
 f-a

Jriu

m
f f f r
F

j~j5 J ,J?ViLt J
P^-fT *? I |*L?fH^ r
ffF^ ^

I
^ f f
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8
h
tf: f-(
&(

iH
^

^ f 6*

^
 Pedaling and Dampening: Etudes

27

In this etude I have made some sticking suggestions. The beginning passage
will probably present the most difficulty. Practice the pattern slowly,
through the first ending. Do it a few times, then go on. At letter A, there is a
melody and accompaniment section, so play the melody slightly louder.

J= 1 6 8

2. T T
1 <J V T L 1 "* K t\ i 1 N , S,
I sj J - Jh s n J); S J \J
j ^ ' + 1j J
M J
m' J ^ ) "?
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^
4
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4 4
* * * r if

T a T -p *31_
i ^ i
i I 1, 1 . ... . 1 1 1 i. . . i i i .. ,i;; i i.

JL J I

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49
Pedaling and Dampening'. Etudes

Tempo 1

J
- "i i r
r 1 * j

sub./ 0
i 3 - , ,3 -p
i f_u i 1
i
A . \ . J\ -
i aP.3
a ...

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50
 Pedaling and Dampening: Etudes

j ^y *
I 1I

L_ i L I I

B-40
51
 Pedaling and Dampening: itudes

Preto

r ff
i ' J
L_^r Livr
\ 1 1 rL,.ir Jr- -ryrf^
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d
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r
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1i
fm *J
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52