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The first time you hold four mallets in an attempt to make music on the marimba can be pretty frustrating. The beginning four mallet player has a lot to think about: moving intervals, proper grip, different strokes, and of course, playing the notes! This beginning process can be overwheming. Here are some marimba floor exercises that I have developed for beginners. The idea is to practice the technique of four mallets to gain confidence before playing the instrument.
Hit The Floor
Practicing basic marimba technique on the floor is a good way to introduce students to playing with four mallets. When the grip is taught, double lateral and vertical strokes can be learned in confidence without the anxiety of missed notes. I usually start students on these floor exercises while they are still involved with two mallet exercises and solos. After a week or two, most students are ready to start musical assignments on four mallets with enthusiasm and confidence.
A. Getting Started:
1. Sit on the floor with your back against the wall.
2. Legs should be straight out in front
3. Place mallets on the floor in a comfortable interval (usually a 4th or 5th). With the thumbs up, the hands should lightly touch the floor.
4. Pull the wrist back to raise the mallets to a chosen playing height or level. Do not adjust this playing level by the elbow, use the wrist. Make sure all of the mallets are at the same playing level.
5. Perform the following exercises with a metronome, keeping the performing level consistent. If the levels set in #4 are not consistent, slow down the tempo so you can control the levels. Gradually build up speed. |
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Conclusion
Isolating marimba technique on the floor can help the student build confidence with the grip and different strokes. These floor exercises will not create great musicians, but they can help performers achieve better control of the marimba to allow musical ideas to come through.
Mark Ford
Mark Ford is the coordinator of percussion activities at East Carolina University in Greenville, North Carolina. A marimba specialist, Ford has premiered several new works for solo marimba and his first compact disc, Polaris, was released in 1996. The Instrumentalist has reviewed Polaris as "superb and (Ford's) compositional style is equally outstanding. Polaris is an exemplary recording." Renown marimbist Michael Burritt states that "Mark Fordís performance and the quality of Polarisí repertoire is impressive!" Ford regularly performs as solo marimbist with the Philidor Percussion Group, a quartet based in Durham, North Carolina.
Ford has presented recitals and clinics throughout the country and has performed at several Percussive Arts Society International Conventions. Ford presented a clinic at the 1996 National MENC Conference in Kansas City, Missouri and was one of the Mallet Keyboard Fundamental clinicians for the 1995 Percussive Arts Society International Convention in Phoenix, Arizona. He also served as percussion clinician for the 1997 Southern Division MENC Conference in Nashville, Tennessee.
Mark serves on the Board of Directors for the Percussive Arts Society, as chair of the PAS Education Committee and as an associate editor of the international PAS periodical Percussive Notes. He is a past president of both the North Carolina and Tennessee PAS Chapters and has hosted several "PAS Days of Percussion."
Mark Ford represents the Pearl Corporation of America and Innovative Percussion as performing artist and clinician. Mark is a graduate of East Carolina University and The University of North Texas.
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