There are a few things happening in this blog post today that I am so excited about. In this blog post we talk about what the blog is going to look like going forward, as well as offer some suggestions and insight on keyboard mallet selection and beginning keyboard reading. At this end of this post, we will look ahead and preview some of the upcoming posts planned in the next few weeks.
As you may have noticed there is a beautiful new logo for the blog. I’ve been working with the talented graphic artist Janell Braswell for the past few months to really make this logo something that represents what I want out of this space at a glance. We went through multiple revisions to get this just right, and I’m really happy where we ended up. Janell was patient with me through my busy schedule and really great to work with through this collaborative project. I can’t recommend her enough! Go check out some of her other work at https://www.instagram.com/jb.grafiks/
Mallet Selection
Remember that mallets are like an artist’s paintbrushes. In order for an artist to be effective, they need to have a lot of colors for the piece they are working on. This is also true for percussionists. So, how do you select the correct mallet? Let’s start with some basics on different categories of mallets.
Golden Rule of Mallet Selection: NEVER hit an instrument with something that is harder than the instrument
In addition to different materials, all these categories have differing levels of hardness that change the sound of the mallet. I have stood in many classrooms and heard the phrase, “You’re playing too soft, can you change to a harder mallet?” Sound familiar? I want to take this chance to debunk a common misconception in terms of mallet choice when it comes to keyboard instruments.
Hardness of mallet ≠ dynamics
There are two things a conductor changes when asking a percussionist to change a mallet, and neither of them have to do with dynamics. They are:
· Timbre
· Front of note (articulation)
There are many times when a percussionist can simply play louder instead of switching mallets. It is true that switching to a harder mallet may make the passage more audible, but you are also changing A LOT of how the shape of the note sounds. The mallet influences the way percussionists may phrase a particular passage and dictates what kind of touch is used on the instrument to produce a good sound.
When should I ask for a mallet change?
Many times music educators reach for the mallet change card when simply telling a percussionist to play louder is the answer. So when should a percussionist change mallets? I’ve found that these situations are the most common situations that warrant a mallet change.
Conductor unhappy with the mallet. This implies that the conductor does not like the timbre of the mallet.
The mallet is simply not cutting through the ensemble or reaching the audience. This on some level does have to do with dynamics, but the true reason the mallet isn’t cutting through is because the articulation is not appropriate.
Beginning Keyboard Reading
Why is reading new music so difficult on keyboard instruments?
Keeping track of the music, mallet placement, and the conductor at the same time is difficult (even for professionals!)
Tips
Keep the stand low and over the area the player is about to use. I often ask my students to place their mallets on the highest and lowest note and center their stand between their mallets.
Make sure the stand is between the performer and the conductor. Players should not be facing away from the conductor if possible.
Developing Reading Skills
When working with percussionists who are not great readers, I often employ two techniques in their lessons. This can be helpful even in classroom instruction.
Look at the music on the stand and DO NOT look down. Emphasize not stopping and use a metronome even at a slow tempo.
This allows the student to work on developing their peripheral vision when playing keyboard instruments. Developing this skill is crucial when reading music that is unfamiliar.
Emphasize the contour of the line rather than exact notes. Again, emphasis on not stopping and use a metronome.
This allows the student to focus on the shape of the overall melody, developing fast reaction time, and analyzing whether the next note is up or down quickly. It also emphasizes recognizing patterns in music, precisely the reason we spend time working on scales and arpeggios.
What’s next?
I’ve had a great start to the new year working with all of my students at Stephen F. Austin State University. I have a lot of great things planned for Percussion Talk, and I’m going to give you a little sneak peak of what is coming down the pipe!
February 8th: Interview with a Band Director
I’ll be interviewing Gary Rhoden, Director of Athletic Bands and Instructor of Music Education at North Greenville University in Greenville, SC. Gary has nearly a decade of teaching experience in public schools prior to taking his current position at NGU. We will be talking about specific problems everyday music educators face when dealing with percussionists. With a plethora of stories and experiences ranging from elementary school music to serving as the Associate Director of Bands at James F. Byrnes High School, this will be a fun post you don’t want to miss!
February 22nd: Timpani Basics and Timpani Maintenance (How to fix those pesky pedals)
We dive into all things timpani including gear considerations, maintenance, basic sound production, and tuning!
This has been a meaty post! If you’ve made it this far, thank you so much for the support. Just checking out this blog and information offered means so much to me. As a reward, here is a photo from December of my dog, Pumpkin!
See you on February 8th!