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keyboard percussion
Below is a list of the largest intervals in one hand for each instrument. Slightly larger intervals are
possible but should be used carefully.
marimba and vibraphone - octave
xylophone and glockenspiel - 11th
crotales - major 6th
Percussionists can play any smaller interval down to a unison. Articulating two adjacent notes with
one mallet is not practical.
The composer must keep in mind that mallet instruments are large and awkward. A five-octave
marimba is over eight feet long! The size of a fifth on the low end of a marimba is about equivalent
to two octaves on a piano, so one can take what is known about accuracy problems with large leaps
and runs that quickly span large distances on piano and apply that four-fold to keyboard percussion
instruments.
There is one important limitation that the thumbs and pinkies technique does not address: mallet
instruments are never touched like a piano so the performer has no way of feeling his or her way
around the keyboard. Percussionists rely entirely on being able to see the keyboard to locate the
correct notes. Of course muscle memory is in play which helps with interval sizes and distances
across the keyboard, but this is very abstract. Most percussionists are required to play on many
different instruments - not just marimba, vibraphone, xylophone, and glockenspiel but different
brands of marimbas, vibraphones, xylophones, and glockenspiels where bar size can vary slightly.
This has a considerable effect on ones ability to become truly familiar, as a pianist would, with the
distances between notes and the sizes of intervals. There are some solo marimbists who play nothing
but marimba and always play on the same instrument; for the rest of the percussion community, the
ability to see the instrument is very important.
As a result, if the two hands are playing very far apart from each other, accuracy problems are
created. The reader may try the following exercise: sit at a piano with your eyes focused on middle
C and notice the span of your peripheral vision. Without moving your head, observe the range you
can comfortably move your hands in both directions and still see what notes you are playing; now,
divide that interval by four. This is the range in which a passage could comfortably fit on a mallet
instrument - probably not much more than an octave. The composer can, of course, expand beyond
that but must keep in mind that the player may only be able to look at one hand at a time. For this
reason the composer may want to have difficult large leaps in only one hand at a time while the other
plays tighter passages.
Here are some more specifics that one can discover with the thumb and pinky technique:
Fourths, fifths, and sixths are the most comfortable intervals.
Just as in piano playing, shifting ones whole hand around is difficult while figures that
move each hand smoothly around the keyboard are much easier.
Keeping one hand on each keyboard - naturals or accidentals - at a time is preferable
(like the piano part in Stravinskys Petrouchka).
The reader may try the following passage (Figure 6.8) on piano with thumbs and pinkies to get a
feel for keyboard percussion playing. This passage is very idiomatic. Mallet indications are 1, 2,
3, 4 from left to right (see Figure i.1) - that is, 1 is left pinky, 2 is left thumb, 3 is right thumb, and
4 is right pinky. R and L mean right and left when both mallets (fingers) of the same hand are used
together. (Mallet indications are rarely included in scores.)
[Figure 6.8]
keyboard percussion
[Figure 6.8 continued]
[Matthew Fuerst]