New to Mallet Percussion: Tips to keep engaged

Percussionists are multi-instrumentalists. When a young student joins band, there are misconceptions about what being a percussionist means. Many think “drummer”, but there is a distinction. Percussionists need to learn one by one how to play each instrument. New mallet students tend to get overwhelmed by the key signatures, and should learn first how the instrument works. This article will explore some ideas that will help you keep your students learning, rather than overwhelming.

Playing mallets is a combination of technique, reading, and tracking skills. All of these need time and practice to develop.

1) Mallet players need practice pad time. Having them work on the hand position of palms down, “piece of pie” shape and moving with full strokes from the wrist will help their tone on mallet instruments. Piano players are taught to press down on the keys, so moving to a mallet where you have to be light, hit down and then up right away in a quick motion can be a challenge. Practice pad time learning single stroke rudiments will definitely help.

2) Even if they already have piano experience, finding repertoire/etudes in C Major and from middle C to high F to begin is really helpful. Understanding spacial logistics, using peripheral vision to read and play, and training the full “down-up” stroke are all necessary for mallet players to succeed.

3) If they don’t have keyboard experience, starting with easy studies in C major will help them to develop reading skills and spatial skills on a mallet instrument. Every single year I see students give up on reading for mallet percussion because they lose interest or find it “too hard”. Bb is super confusing when learning where to go on the keyboard, how to play a down-up full stroke, read rhythms AND try to watch the conductor. Can you say “system overload”?!!

4) ALTERNATING STROKES are super important for several reasons. First, learning to start a scale with the Left hand lead, then alternating all the way to the top, teaches the dexterity, but also with learning where you started, where you are next, and where to go next. If you took your fingers off the clarinet every single time you played a note, you would never find the next key hole in time for the next note. People naturally prefer working with only their dominant hand while learning notes, but this hinders them from finding their last, and next note, with the opposite hand.

5) Band ensemble books are to get everyone playing together, and I totally get how wonderful that is! But we know how important getting a “buy in” can be for students’ success musically over longer periods of time. If they don’t yet understand the semi-tone to semi-tone make up of the instrument, don’t feel comfortable alternating their mallets, and can’t find notes as they struggle to read the music, it will be very difficult to keep them trying.

“Modern School for Xylophone, Marimba, Vibraphone” by Morris Goldenberg is a book I highly recommend for band teachers. It has exercises in all keys, so you can choose ones in C Major to begin their journey. Remember, keeping within the range of middle C to high F on the treble clef is important in developing reading skills and understanding the keyboard. Learning the semi-tone nature is helpful, but visually connecting the instrument layout and the staff on the page is the single most important connection for successful beginners. I’ve seen it time and time again in clinics, when the guy who only wants to play snare drum comes over to the keyboard and is walked through a simple reading exercise, and the lightbulb goes off! YES! Win! They CAN do it, and with the right encouragement, space, and exercises, theye WILL do it.

Happy Practicing!

Celene Yohemas is a percussionist, drummer and educator in Calgary, Alberta. If you have any questions, feel free to reach out to Celene here.