No, 10 ill ia UU im ll met LS Four Mallet Studies by Gary Burton Pa ‘CREATIVE MUSIC GissaAbout the Author GARY BURTON, Is recognized the world over as the premier performer on his instrument, Through his humerous recordings, concart tours, compositions, books, clinic / workshops and leadership at the Berklee College of Music in Boston, Gary has dane more to influence the modem style and technique of playing the vibraphone than anyone. He is truly a “musician's musician with an artistic command of the keyboard ‘hat is uniquely his own {was first introduced to the exceptional talents of Gary Burton by Chot Atkins in the early 1960'S and have had the pleasure of working with him aver the years on mumerous recordings and concert dates with my Percussion Pops Orchestra, 1 taka great pride and pleasure jn presenting this book to the percussion world in hope that it will continue tha pioneering efforts of its author in the advancement of the Reateea ie mene QA thwFour Mallet Studies by Gary Burton CONTENTS. PACE Introduetion i : 2 ‘Holding the Malleta ..j.sssssionnsaisinanane nnn a ‘Other Factors of Four Mallet Technique 8 The Musical Approach .. 6 Exercises: Section I t Exercises: Section IT ‘i 2 Exercises; Section IIT : 28 Voicing Technique © Copyright 1995 by CREATIV IC Glenview, Ilinois International Copyright Secured Printed in U.S.A, Al Rights ReservedFOUR MALLET STUDIES. w Gary Burton Vilraharp is rather new instriiment as in- struments go, and its uses and possibilities (also ‘of related malt instruments) are just lately being ‘iseovered. Until recently, four maltet playing was ‘considered very impractical by most players, and useful only in special sitvations, But, newer ex- perimentation im this aves has produced new re- Sule, ‘The development of any instrument's tech niques is motivated by sn innate desire on the part of the musicien to play as much with his instrument as he possibly can, ‘Therefore, it was ‘only a matter of Uime before mallet players bogan to expand theif playing beyond the basie two mal= Jet approach. A simple analogy might provide a ‘lear explanation, Tt's as if a pianist were playing: with only two fingers while he had tea available. ‘The mallet player is in the same position if he plays only with two while he has three or four Inallets available, Tt would be a waste not to take advantage of the extra mallets whenever a musical ‘ation required it. Dare I say {t, rather than ‘aiming four-mallet playing to be impraetical, T Wwould state that limiting oneself to only two mal- Jeta would be the impractical situation Just what are the musical wses tor four matlet wiaying? The possibilities are Immense, In the fledgling days of mallet playing, four mallet teeh- niques srere very limited in that the harmonics tized were vory plain and basic, and the multi Tinear possibilities of mallet independence were not developed. But, now that knowledge in this area i widening, tnuch in becoming apparent, ‘The in- strument is quite eapable of playing rich, inter ‘esting and varied harmonie structures (either for ‘aecampaniment of other instruments or for unac- ‘cornpanied solos) and the instrument ean be raul linear as is» plano, with several parts existing -simultancously. Just with theso two Droad areas of four-mallet usage, the instrument: (specifically vibraharp) ean earry'a greater role in a group, and ‘i rmuch more varied role in musie In general. With expanded four-mallet teehniques, vibraharp ean serve the funetion of 2 guitar or plano in a janx instrumentation, or offer a great, variety of or- cchestrational possibilities either within an ensem- ble, or aa a solo instrument, With expanded four mallet playing, the mallet instrument ean join the ranks of the very few musical instruments, such tg piano and guitar, which have sufficient possi- bilities for any musical situation from ensemble ‘playing to unaceompanied solos. ‘Most mallet players tend four-mallet playing beeause it 58 resent extensive "too diffienlt to be flexible and practical” Again, a comparison to piano playing“might be helpful. If a person had played piano for ten years using only his index ‘fingers, then it would be both staggering and ex- asperating to suddenly be called upon to play with {he other fingers as well in a variety of differing functions, Not only would the physieal habits be difficult to alter, but the mental process develaned ‘for the controlling of twe fingers and musical parts: “would be totally ill-prepared for guiding ten fingers In their various purposes, Consequently, itis easy 40 understand why. the long-established mallet player finds four-mallet playing only practical for special situations, and those of rather limited pos- Siblities, Howevet, just ae the beginning: piano Student encounters’ no particular difficulty when leurning to coordinate Ue use of all ten fingers to frequently independent uses, so dnes the beginning mallet student find no particular diffiewlty in bearn- jing to play with four mallets instead of two, At Just enough actual seeomplishment at four mallet playing hs provan that it la mot to technically demanding xs to be termed impractical. In fact, ‘the major barrier to its wider usage being fully pecopted before now, la Uhat many ertablished players and teachers find ft too difficult for theme elves (due to thoir solidly established prosesses at playing pre-dominantly with two mallets) to give pattleular emphasis to four mallet playing in oginning studies. My point in eaying all this, is that I very much believe that four mallet tech- niques should be taught from the beginning of a student's development, and that if this is done, then this aren of technique will be as natural and flexible as any other, The problems oteur when the fairly advanced student is suddenly exposed to this more demanding technique and consequently never attains the same ease with if that he has. {with his beginning approach to the instrument. You see hy now, that the greatest problem in adopting this technique. is mental rathor than Physieal, The additional physical prowess re quired can be attained in a short time of reason- ably intense application (perhaps a month or two, depending on the individaal’s level of ability) Bui, the greatest difficulty comes when the mind rast suddenly think of four malleta and their it~ dividual functions instead of only two. This is not ‘80 easily accomplished. It is, however, « simple! Tnatter if the student isa beginner and considers You-mallet technique his initial approach to the instrument.To best achieve the desired results, this study if planned as follows, Pirst, explanations. Ex- planations of the uses of four-mallat techniques, explanations of the musical motivations, and ex- planations of the physical techniques themselves. Secondly, there ia a section of exercises (a word somewhat dislike because it usually connates regi ‘mentation, repetition and limitations) designed to expand the student's four-mallet technique, both physically and mentally, to equip him for the more Hoxible dexterity required, ‘This will also inelude studies in developing independence between both the hands and the mallets te provide further neces- sary freedom on the instrument, And, in genetal, the exercises should give the student an approach to the instrument as a iohole éxstrument . . . an entire keyboard of which he is entirely aware; nothing is more limiting than conceiving of only a small area of the instrument. A final soction of this study is davoted ta the processes and problems involved in choosing harmonic structures or " ings’ for four mallet playing and their va tases within musical frameworks, such as soles, and “comping’™*. HOLDING THE MALLETS ‘There are quite a few accepted ways of hold ing four mallets. Most players swear by their own personal methods, Lam. no exception, So, to best analyse this confusing issue, let us consider the physleal and meshanical details involved, In four ‘mallet playing, the major considerations are free dom of movement in contracting and expanding the mallets, and switching with case from playing with fore mallets (holding the other two mallets loft when using only two mallets for single note lines) to playing with four mallets, Consequen any method of holding the mallets which would result ina minimum of exeess motion either in wrists, arms or mallets, and which would provide the greatest stability in controlling the individual mallets would be desirable. ta term meaning an harmonic accompaniment, such as piano “camping” for a trumpet soto, Among the most commonly used grips are two which I criticize in some ways. One method is grasping the mallets with bwo fingers between. the mallets (one variation of this procedure is termed the "Musser" grip). My eritieism of this method 4a that it is either impossible or extremely difficult to close the mallets entirely, and the playing of one-step and hali-step intervals can only be ac complished with considerable twisting movement in the wrists which eauses a loaa of freadam and dexterity, ‘Another frequently used grip is with one finger ‘between the mallets and the inside mallets on top {seo illustration #1). With this grip, single note ines must be played with the two inside mallets ‘while the outside mallets are held aloft illustration #1[ feol this procedure to be incsnvenient for the following two reasons: (1) When playing a part with four mallets, the ton mallet 1s carrying the melody voice; to awitch to a two mallet part would move the melody line to thesecond mallet. In active passages requiring much ehanging biiek and forth, there is 2 loss in smoothness heenuse the melody voice must keep alternating between these tap two, mallets (very much ay if two saxophonists in a sax section kept rapidly trading parts). ‘The inconsist- ney limits tho flowing quality of the lines, and complicates the mental processes involved. (2) To play a single note line With the right hand inner ‘mallet while holding the outer mallet above the keyboard, the outer mallet becomes excess weight, and motion, und the hand motion itself must change from an up-and-down attacking motion when playing with al four mallets, to a sideways, rolling motion when using only. two. mallets, Again, active passages requiring frequent changes from two to four mallets would cause Inesnsist- nay in the attacking motion which would limit, uniformity of attack and sound My preference i for the following grip, which is not too widely used. ‘My Justifieations for it are as follows: (1) ‘The outside right hand mallet will always function in the melody role and not be shanging functions constantly, (2) the striking motion is up-and-down whether with two or four mallets, (3) with proper positioning of the idle mallets, there iz no excess movernont of the unused mallet in the playing of two mallet passages (this ‘offers greatly incrensed facility), (4) the second ‘mallet iin a position Whate it ean easily be red a additional harmonic support of the melody lene fs might be desired without causing’ the upper alle to change its function, (5) this grip offers & surentss and gontrol of the mallets with the fingers. Inehided hereate a photo and several diagrams ta tlustrate this method of holding the rallets The left hand ig no particular problem as it is similar to the most commonly used methods for holding the mallets (index finger between the two ‘iallets, outside mallet on top of inner mallet). ‘The right hand grip, however, differs some- what from the usual, Again, the outside mallet is erossed over the inner mallet. In the aight hand, i] you will notice that if the mallets are opened te a 0° angle, that the outer mallet ean move up and in ‘the same attacking motion used in all playing (no sideways motion), and that the outer mallet will sort of rell back and forth ever the Inner mallet which will remain almost motionless, (ooo llustration #2) ae IMlustration #2This movement allows the hand to retain the up-and-down strilcing motion whether playing with two or four mallets, bringing nbout a smoothness im the attacking. And, it allows the player to exe tute single note lines witheut having to algo move the idle mallet. Obviously, the dexterity is greatly incressed in this situation, It may feel a bit awkward on the first tries, particularly If you are already familiar with a different procedure. How: illustrati ‘The fourth and fifth flngers then ean pull or nih tha innay niallot alang with the index dinger and thumb to farilitate the desired epening snd closing of the mallets, T can't stress how impor itis Io put these two fingers te work, Their fant i ever, 4 short amount of time spent in practice wil bring assuranee with this method ‘The fingers of the ¥ight hand have an awfully Important sole in the contro! of the mallets and in the attacking. Instead af the task of opening nd closing the mallets falling solely upon the index finger and thumb, the fourth and. ffth fingers should be used. The third finger isto stabilize the outer mallet. (seo illustration #3) Use will mean the difference between 1 minimum of mallet control, and a maximum of mallet somtscly Ono might even aay that the secret to four tnallet control is in using the fourth and fifth fingers (see illustration #4) Mlustration #4, uld suggest spending a couple of weeks just moving the mallets frem open to closed and studying the motions involved to increase the strength and coordination of all the fingers It would not be fair of me to insist that any- one use this holding procedure that I recommend, Twill certainly defend it and expond its virtues, but im the final analysis, each player should devide for himself what he prefers, What with the dif- ferenees in hand structures and musical styles, there isn’t going to be any universal method for this aspect of the technique. I merely offer this procedure as the most successful for me, and as being among the most logical and praeties!,OTHER FACTORS OF FOUR MALLET TECHNIQUE As always, 1 feel it is wise to say something: about relaxation. Total zelaxation is important to all ateas of malfet playing, but especially so to four mallet playing. There is un extra degree of flexi- bility and treadom of movement, necessary for exterous four-mallet technique, So, 1 caution the student to scrutinize his practice habits carefully to avoid even the slightest tension or tightness, no mutter where it might be (wrists, arms, shoulders, chest, stance, ete,}, ‘The entire body must be free From’ tension and free to move abou! Facile four mallet playing also requires that tone play un Use ends of the bars frequently instead of in the eenter of the bars, On some instruments, either old oF inferiow, there is a loss of tone quality when etriking the ends of the bars instead of the center, However, on a good instrument the tone ‘quality is the same if struck on the end of the bar struck in the center, In order to mo iekly and freely With four mallets, « iin n of Wrist movement is desired, making’ it quite necessary to frequently take advantage of playing the ends of the bars. A diagram below clearly it lustrates this (of course, the area of the bar where the string passes through should never be struck) uf advantage of striking the ends of the rally any playing situation can be handled minimum of wrist twisting and excess motion. Remember to keep the wriske as centrally locuted ws possible to avoid wasted movement and 1 loss of Facility. ‘The attacking motion is only slightly differ. ‘ont for four mallets than for two, Tt is desirable to have 4 Tittle Jess ary motion than usual and bo have the attack controlled more by the wriste and fingers, The puepose of this Is to achieve incressed independence and strength in the individual mal Iets, So, one merely has fo concentrate on moving: ° x x oO | | X = Good Striking Areas © = Bad Striking Area bout as little a3 possible, and attemptinir to have the fingers and wrists participate as much as pos: sible in the movements required, The practical application of what I'm talking about Mere. will become apparent when practicing exercises from Sections I and IN for developing hand indepen- lence and mallet independence, THE MUSICAL APPROACH It might be helpful to elearly zoview the musi cel possibilities of four mallet techniques, and just how they are specifically used, With a four-ms appronch to the instrument, the concept becomes very similar to that of another keyboard instru- ment, the plano. For instance, one ean execute concerted passages with all four mallets striking at once (see example #1) example #1 eeOne can also play multiple lines and parts (see example #2) ‘example #2 And, one can also play a melody line with ac- companitent (see example #3) example #3 ‘The possibifities are endless, and new areas of exploration will be constantly appearing. ‘The thing to remember is to strive for freedom and EXERCISES: ‘The exereiges in this seetion are designed to accomplish Unrea things, First, the student will become familiar with playing expanded voicings nd contracted voicings, srhich will destroy the vegimentation of playing oniformly spaced strc tures. Second, the student wll attain a wide kaw! edge of the great variety of structures for any given harmony and be able te play about freely on a given harmony. And, finally, the student will be playing over the entive range of the mallet-ley- board rather than just s amall area at a time, ‘These exercises should each be repeated four times. Also, the exereisos should be played in sue- cession without a patise between them whenever possible, The metro vange of tempos at whi sme markings given represent the fan exercise should be Bexibilily, and to not acknowledge any seeming tations, Invariably, limitations ave set by our solves and not by the instrument. SECTION | practiced. ‘The exeretses should be playble at atl tempos between the slowest and fastest metro nomic markings given, Of course, these markings, are approximate, and any practice at a faster or slower vate of speed thin among those given would not be harmeul, Strive for smoothness, uniformity of attack and fone, and a minimum of oxeess movement of the arms and wrists, Total relaxation at all tirnes fs extremely important. If the exercises fall into a recognizable pattern, do not allow your eyes to stray from the printed page. Read each voicing as you play it €0 a8 to beconie familiar with the Dro- tess of roading. four-note chords, which can be somewhat confusing in comparison with reading, single note lines.8 4. mm. d= 60 10 160 see pes Repeat four times each - play in succesion.mmo, d= 60 w 160 = Ele Eagan eS ERE Everall 6 b. We + iEie pea aa eeono, d= 60 00 160mime = 60 a 140 it49. mim. N= 60 140 : 4 (Speen aa 50, gp hte See eS oFgym = 40 eo 140 b bs Z: 62. ¢ “ b he a me » be é Ps t3, ' bd bd PS obs PS hl be 5 . i hs is as ai = |b 4 bs bee 6 4}. b. 6= = ¥ oS 87. - eRe eee LP bd ob. b y ps a )Mum. d= 0 103 jnappr pee ELE, peeps Le 4. : ha 1,rmcim d= 49 ea 120 —= ———s Various alterations and voicing structures of chords - : a A a: rt pe » pe CCH 10)(238 ALA TT ry a eee SSS SS eon18 108. 7 tg : —— pd y PXELIK $18) ial 108, B79 (1) 107, by sus4 a7 xRLD 109, by 03)mim. dW to 120 qphob Diag LL 14, ' 7 OMI HAom. d= 40 w 190 arbobis 116. 417, pb-7 XE) Dmaj7 X18) 119. 7K1 mom. d = 88 t0 28 EXERCISES: ‘The exercises im this section are for devel lag indepensence in the tndividual hands and ti eardinaliag contrasting rhythms. Exercises 1 through 12 are for strengthening each hand and Increasing the aingle hand's facility for playing alone, They should. be practiced first with one hands and then sith the other. Exareiges 18 through 18 empley both hands playing Independent parts, whieh are sonietimes moving together and Somellmes contrasting, much as typieal four-mal- let playing functions. The metronome markings given for exercises 1 through 12 represent the range of tempos at SECTION II which an exorcise should be practieed. The exer Cises shout be pluyable at all tempos between the Slowart and fastest metronome markings given Strive for smoothness, uniformity of attack sand tone. and x minimum of excess movement of the arms and wrists. Tatal relaxation at all times Is extremely Impoftant. Be eneful to play the vhytlims and notes exectly as written, I aight reading is found too dificult at first, then try Singing the thethme alone, and try playing the paris one at a time before attempting both parts played torether. 21 Use right hand only; repeat with lett band only, Holding two mallets, play with upper mallet. * ase ¢ the mallet most often used for 4 Unless a different grip than T recommend is used, in which case, ust single line playing.22 mm, 4 = 88 to 208 = eerie foo. fe ee ; =e ESS — PS a ae23 mom. J = 7210 120 a 10,25 Right Hand 13. Left Hand m.m.d = 182 Right Hand { ra Lett Hand |26 mim.d 9120 Algae | Lote Hand | 15, mam. J = 144 Right Hand 627 nen e 17. ‘Left Hand | i mem d =ldd Right Hand | = 18,28 EXERCISES: The exercises in the following section serve two purpaace Final, to develop stiength and con ol of each individual mallet, Secomly, ta gain ity with the INAVidUAl hiallets, Phere as fendeney in four mallet playing t limit the dex tery of the malate, and to expectally negtect the hossible uses of all’ four mallets, wx apposed (0 ting primarily two mallets, You will notice 2 wreat variety’ of sticking proceduret although the basic premise of sig Arpeggios ia followed throughout. ‘The idea tp get ench of the mallets into use Independently. Yao will nétice that at Gat, some of tbe mallets will be eauier to deal with than others There object is Le atrive for equal contral and strength in all four mallets, Attempt to attain venmeas and consistency throughout Ure exercises ‘and between each of the malts, SECTION It) LL willbe during, this particular phase of tavslopment that 3p method of hoMling. the mallets wil como dnder the closest serutiny. TT the meBiod gow ave eenploy ing is. inalequate For good mallet independence, (twill become most sbeious at this time, While Chest exercises are ot easy, at the game time Usey are nol espectally dificult. If you find them invurmountalty dl ‘cut, re-examine your nethod af holding the male lets as a possible way for improving the sitsation, Playing these exercises at « fast spsed ix especially Neeeasasy, Most important, 3s Shove, is that uniformity of sound and maintained, and that each mallet be wzcor ‘qual role.” Afost often, a moderate terspo most conducive for attaining raaximum cont Bnd strengtha 4 4 simileaL ES TE38. ie oe ee ee SS=S21 | Mi. vray tour umes each, — 12 2 ee 5 4 a 34 4 stone:‘simile simile Mai eg aes ? ‘simile35, J? 3 ne iyi Bibs 2°91 e2 2 a 4 fa getty Peas ‘simile Fe =P eer = pe a ae oS z el simile Fibs 3 2 gales dye ge simile=F simite Saat 5 4 simile37 SECTION IV VOICING TECHNIQUES ‘ow we come bo the most important part of four mallet playing. I is the proper use of Voie ings and contrasting of them that makes. the music happen and makes all the facility woxth while. ‘This especially applies to improvised music such as jazz, where the fowr-multet vibist may assume the accompaniment role of a guitar or piano. Obviously, the great’ difference between these two instruments and a mallet inatru is that the mallet player ig limited to four mallets while guitar or piano is capable of sounding many more notes, Consequently, one of the first steps is to strive to overcome the limitation of only four mulllets. ‘This is done by keeping the mallets in dependently flexible. ‘The individual mallets shauld be free to play independent lines much Of the time, and in general should be treated as individuel players example * The pedal ean be used to further extend the Sound possibilities in voicings. Voicing ean be ‘stackel” one upon anather, and isolated tones can be added to already ringing voicinge to add size and color exemple #2, ye eek 5 =o ne cr fii) Obviously, it la of the ulmost impartance to fully choose whieh motes one will play in a With only four mallets, there is no room for unnecessary notes. ‘The notes that make up cr (wine & should be care {and lone eolor sary ly limit the posstbilities, Dnnece s 07(13)(9)38 Let us take & closer lock at this approach to sometimes alone, but always with its own sense Playing, thinking of the mallets as individual of melody and execution, Here is un example players! ‘The idea is to be consciously aware of showing each line independently and how they each mallet... consider each mallet a player». would, in effect, be played. sometimes playing eoncerted with the others, example #4 E> ab F ET Eb Contrast. snd variety are immensely impor- help. First, the size of the woicings. This should lant, “Most four-mallet playing in the past has range from very larte, open voicings, to small, suffered from a lack Of variety and contrast re- dense clusters, Also, the way the notes are dis: garding sizes of voieings, colors, etc. There are tributed within the voiding, whether evenly spaced several areas where achieving contrast is of great or unevenly ean hawe 8 noticeable eet, example The colors of the voicings are also in need of ant, while others are simple and consonant, ‘Too variety, Some voicings should be rich and disso- much of one or the other becomes a bore. exemple *6 = SSS ee o oeA third area for variety is to vary the eon cept from lincar to concerted. There's nothing more boring: and mechanical than hearing an en less procession of only four mallet chotds, It's example #7 39 She proper interchange of four mallet chords, and independent lines which add interest and make the music flow. J} eS c You ean observe in the examples in this section, that a constant variety is: maintained. Lack of contrast in four mallet playing is. ike talking in a mouotone. ‘Some of the exereises in the previous eection of the book dealt consider- ably with the variety of inversions possible on a harmonic structure. This ig another eres for contrast. Avoid using the same position tor given harmonic sound eseh time you use if, Try to find as many different ways of playing a xiven chord s you can, and then use whichever one seems to best fit the fesling af the maisest. Don't be limited to playing a certain inversion cf 4 chord because it's the only one you know, 2 =: — SS = ae a G Maj7 of voicing chords. ‘The possibilities are limitless, but they are oftun very elusive, The greatest. imitation ip four-mallet playing in the beginning: stages was the result of inadequate use of richer calore and intervals in the volaings. Strive for start, become familiar with the various nates of color which can be easily used to add. richness, Below is an explanation of these notes of calor, sometimes called “tensions,” and when und how they ere used, example #9 MAFOR CHORDS - can add 7.9, #11, c 7 DOMINANT SEVENTH CHORDS - can add 9, 9 Ho 3} 1S, plus alterations of 13, fu 1s bas 2 be40 ‘Make use of variety in the intervals you For instance, instead of always using choose, thirds, try halfesteps, intervals, fourths, augmented fourths, ete, ninth example #10 Usually, one should try to avoid doubling of however, where the doubling of a nate can add notes within a voicing, because it merely wastes strength’ of make a Voieinye s0uhd. the we of a mallet. "There are some instances, example #11 gt Tg crbs ergo ‘The list, and most difficult aspect of voicing techniques is that of *voiee leading.” ‘This is treating each mallet as_an individual voice and then attempting to have each part move as smooth: ly and logically as possible through the chords Here is an example of the voices flowing smoothly. example #12 aby bi Ifa flowing, united feeling is to be achieved, voice leading is essential. If the parts are leq ing about at random, then the effect of four indi- vidual players working as a section will be lost; ood voice leading requires each part to have @ melodic smoothness and naturalness as if being played by an individual, 1r should only leap lage intervals when he feels the music calle for it, and flow when the music calls for that, Do noi settle for boring forced to either leap or flow because your Inawhedge oF hands are Limited. The play R-7 BP 7b9 ‘The techniques of voice leading are exten- sive, Years are spent in music schools tor study- ing just this. Essentially, what is involved is learning to move the motes in-the voicings the east possible distance to get to the sounds re- quired for the next ehord. Keeping this in mind fas the essential purpose of voice leading, always strive to achieve this flowing quality in four mat let playing. ‘To reiterate, the player should be free to play either amoothly or not, aecording to the hmusies) situation, and not ba affeeted by limita tions of either knowledge or techniaue.[Ee