Creating Lines of Music on Mallet Keyboard Instruments

In this posting I will discuss how to create lines of music on mallet keyboard instruments.  I consider it to be a crucial building block in the foundation of the modern percussionist.  It is an issue that took me some time to discover in my own playing.  Once I figured it out, I went ahead and applied it to my teaching.  

This posting applies to all mallet keyboard instruments including the marimba, vibraphone, xylophone, bells, and chimes.  However, every mallet keyboard instrument is different and many of the concepts presented here are general.  Obviously there is a lot more to discuss when we explore each instrument individually.  In future postings I hope to come back to this topic and discuss this concept on a much deeper level as it applies to each individual instrument.  For now, I will introduce the concept in a very general way as it applies to all mallet keyboard instruments.  

What Is a Line of Music?

First we must define a line of music.  I consider a line of music to be a melody where the notes relate to each other through a series of intervalic relationships that often but not always create tensions and releases.  It is based purely on listening.  One of the most obvious examples of this is the basic major scale.  

Playing "Even" Doesn't Create Musical Lines

I am going to attempt to provide context by discussing what I view as the most common pitfall that prevents percussionists from creating musical lines.  I offer two words that have in my opinion become extremely problematic.  These two words are "play even."

All too often percussionists are told to "play even" on mallet keyboard instruments.  When we learn our scales we are told to mindlessly play things as evenly as possible. Suggestions like this are well intentioned but they do not take the full picture into consideration.  Mallet keyboard percussion instruments deal with notes.  Notes are about relationships. "Playing even" only for the sake of playing even doesn't address this properly.  

Why Does This Happen?

If notes are about relationships and "playing even" doesn't address these relationships why are so many of us told to do it?  The answer lies in what we as percussionists emphasize in education.  In America the emphasis tends to be on the drums first.  Many American percussionists start with the drums and only later learn how to read musical notes and ultimately play mallet keyboard instruments.  In what many consider to be the bible from which all drumming ideas flow, the masterpiece "Stick Control" by George Lawrence Stone opens up by instructing drummers to learn various sticking patterns and play as evenly as possible.  The main focus is to develop control and to play even.  This theme continues throughout the book.  It works wonders for drumming and hand development.  Not so much for creating musical lines.  

In another example think about the first time you were taught to play a paradiddle. You were probably told to try and make everything sound the same regardless of what hand you were using.  This is a huge focus of learning the drums but it doesn't work well for mallet keyboard playing.  Why?  The problem is that notes do not equal left and right hands. Hands and stickings are physical while notes are musical. 

Notes Are Not Stickings

Stickings are something that we do physically.  While they certainly can be related to musical considerations at times, they are not actual musical ideas.  On the other hand, the notes of a scale are made up of half and whole steps that cause tensions and releases. The same can be said for any melodic line.  Intervals correspond to each other to create relationships and lines of music.  Therefore, "playing even" on a mallet keyboard instrument does not do the actual material you are playing justice.  This is because the relationship between the notes themselves in scales and melodies are NOT even.*  "Playing even" has nothing to do with creating lines and making music!

*Of course in whole tone, chromatic, fully diminished seven chords, augmented chords, quartal, quintal, and other scales of that nature, one could argue that the relationship between notes are in fact "even." However, when these ideas are placed in the context of the overall musical idea they are creating, they become directional, functional, and ultimately gravitational so they cannot be classified as "even."  

How To Create a Line 

Two Parts to Every Note

Let's delve deeper into this concept.  In order to fully understand how to create lines rather than simply "play even" we must dissect the two parts of every note played.  For our purposes I will call these parts the Attack and the Decay, Ring, or Sustain. 

1) Attack

This is the sound made when we strike a note.  It is the initial sound made and not all of of the sound you are responsible for.  It is only half of the sound.  As percussionists we have the luxury of not having to work for our attacks.  Any time we strike one of our instruments an instantaneous sound is created. The exception to this rule is when we use a bow on the vibraphone, suspended cymbal, or any other percussion instrument.  

2) Decay, Ring, or Sustain

This is the sound made after the initial attack.  It is very different depending on the instrument you are using (and the venue you are playing).  In addition to what is initially heard, it contains a whole series of overtones.  The ear can be trained to hear these overtones better over time.  The Decay, Ring or Sustain is controlled differently depending on what mallet keyboard instrument you are using. Sometimes you have little to no control over it.  For example, on the vibraphone, chimes, and some bells the pedal can be used to manipulate the decay, ring, or sustain.  On the marimba or xylophone you have some but limited flexibility.   No matter what the instrument, it is imperative that this sound is perceived to be as important as the attack.  After the attack is created, the ear must stay with this sound.  

Don't Just Listen To What Happens When You Strike The Notes. Listen To What Happens After Striking The Notes!

Now that we understand the two parts of a struck note, I will explain how to create a line of music.  As you read the following, I suggest picturing and hearing the basic major scale as an example.  I suggest this because the major scale is easily heard.  With that said, it goes without saying that the following process is applicable to any form of music making on mallet keyboard instruments where notes are played. The major scale is only a starting point.    

We begin by striking the first note.  In the past we have been told to only listen to this note and then move on.  This is not helpful.  When we only acknowledge the attack, we are only listening to half of what we are playing.  This leads to an over emphasis on accuracy and notes for the sake of being "right or wrong." This is not music making.  We are now going to do things differently.  This time when we strike the first note and create that initial attack we are going to stay with it and listen to the second part of the sound created after the attack. We will listen to the decay, ring, or sustain.  We strike the first note to create the attack and then we allow our ears to stay with that sound and listen to the decay, ring, or sustain.  

This is where it gets interesting.  We then go and strike the following note relative to the sound of the decay, ring, or sustain.  In other words we are always making sure that each new attack is struck in relation to the decay, ring, or sustain before it.  What this does is insure that every note is played in context relative to the note that came before it.  By doing this we are now creating lines that connect and we are making music.  This has nothing to do with "playing even" however, you will "play even" by using this method.  You will just be doing it by leading with your ears instead of physically with your hands.  It is a different way of perceiving the process of playing notes.  When we create lines and focus equally on what happens after we strike notes we create lines of music that are built in context around relationships between notes. 

My suggestion is to start practicing very slowly.  It takes time to train your ears just as it does your hands.  The ears are a muscle like your hands and they must be allowed to develop gradually and properly. Playing a major scale in half notes at around 65 bpm should be a good start.  You will immediately notice that playing truly "in context" is an entirely different thing than "playing even." 

You Are Now in The Habit of Always Making Music

I try and get students in the habit of creating musical lines very early on in their studies.  It is one of the first concepts I introduce on mallet keyboard instruments.  Many times these concepts seem foreign.  They will remain foreign until percussionists accept the fundamental limitations of the currently accepted listening methods.

Always remember to strive and create lines.  Listen not only to what happens when you strike a note but what happens after you strike it. Use these two sounds to play in a relative context at all times.  This will radically change your perception of what you are doing.  It will put you in the habit of listening and making music every time you touch your instrument.   It's something that simply "playing even" alone could never do.  

Performing as a Concerto Soloist

I'll never forget my first concerto appearance as a marimba soloist. When I was 18 years old I was fortunate enough to make it into the final round of the New Jersey Symphony Young Artist Auditions. The final round of the competition had the top 4 contestants playing their chosen concerto with The New Jersey Symphony Orchestra.  As one of the final four I performed the Concertino for Marimba and Orchestra by Paul Creston.

I remember how nervous I was but I was also excited and determined.  Ever since I had started playing the marimba a few years earlier, it had been one of my goals to be a featured soloist with an orchestra.  I considered it to be the ultimate achievement in classical music and had hoped to do it at least once.  I went on to win the competition and the following year I was the featured soloist on a New Jersey Symphony Orchestra Concert Series under the renowned conductor Sergiu Comissiona. Since then I am proud to have had the honor of traveling around the world performing and developing my abilities as a concerto soloist with dozens of orchestras.

There are a wealth of concerti for musicians of all instruments to play.  Some of the older and more established instruments like the violin and piano have concerti in their repertoire that are among some of the most recognized and famous works in all music.  In my case as a percussionist, the repertoire is relatively newer, sometimes more experimental, and avant garde.

No matter what the instrument or musical setting, the concerto repertoire warrants it's own discussion in regards to performance.  Performing a concerto requires more than the typical instrumental challenges of accuracy, phrasing, and general technical ability.  The performance of a concerto requires that you do all of these things while leading and maintaining control of the orchestra.  In many cases you must also play chamber music with the conductor.

The execution of all of this goes way beyond learning the notes.  I will try to shed light on what I believe to be a few helpful ways to improve the process of concerto playing.

The Score is the Music

The first and most important thing is what you perceive "the music" in a concerto to be.  I find many players and students will learn the solo part and then be done with it.  This approach is incorrect.   In a concerto the music is the entire score and the soloist must learn the entire score.  It is a huge undertaking that is well worth the effort.  The solo part does not exist on it's own.  Despite the fact that the solo part is the featured line, it actually exists within the bedding of a full orchestral score.  It is imperative that you learn this score when learning your part.  In a concerto, learning the solo part is useless without the score.  The solo line and the orchestral score are symbiotic.  They have an interdependent relationship. One cannot exist without the other.

Knowing the score means knowing as the soloist what section of the orchestra you are playing with at all times.  You must know the tuttis and when you are solo.  This much is obvious.  You must also know what instruments you are playing with and how they balance with the solo part.  This also means knowing the music vertically.  You need to take a look the dynamics between sections of the orchestra and in relation to your solo part.  What lines are prominent and who is playing them?  Just because you are the soloist and you are playing does not mean your part is prominent 100% of the time.  You'll also need to clearly define tempi for each section.  This is another obvious yet commonly taken for granted aspect of playing a concerto.  Nothing about the music in your mind can be ambiguous.  Ambiguity only leads to poor leadership.  Every tempo interpretation must be rock solid. 

Playing With Other Instruments and Blending When Necessary

Once there has been a thorough examination of the score, blending with other instruments is another element I like to think about.  There are many sound combinations and different things to listen for while performing with other instruments.  It goes way beyond balance.  For example, in one piece I've played, the Marimba Concerto by Jorge Sarmientos, there are several parts where the marimba plays with flute. The flute is a single line monophonic instrument that requires breathing in between the phrases.  When I play this piece, I try and listen to where the flute player breathes and match that.  I also listen to the amount of air they put behind every note. This helps me get in the same pacing mindset as the flutist and allows me to blend better.  This technique is also useful when playing with brass and other woodwind instruments. The amount of air they use is similar to the effect we as percussionists get when we use a faster velocity of stroke. It ultimately effects the intensity and the overall color of the note. 

In a concerto, when the solo line is intertwined with other instruments, you must listen and be able to adjust.  Any serious musician should be able to mimic and blend with the sounds of all orchestral instruments.  This will add a wide variety of style to your playing that comes from the innate contours of the music.

What Capacity of Leadership?

Once you have studied the score and the music in great detail you will want to take note of what capacity of leadership you need to provide for each section.  This is extremely important because it can determine how fast a piece comes together in a rehearsal as well as how comfortable the orchestra ultimately becomes for the performance.   For example, if your part is straight fast 16th notes you may need to mark the beats a little bit in the first rehearsal. This will help everyone follow you and give the players a point of reference. If your part is more open and ambient, you may be able to play freely as long as you give clear cues and entrances to the conductor.  This will build trust and allow for a deeper musical experience. You must have a plan for what capacity of leadership you will need to provide for every section.  Sometimes it may be nothing but you need to know that.  Very often in a professional situation you may only get one rehearsal.  Planning and thinking about the kind of leadership you can provide for each section will alleviate a lot of unnecessary stress.

Your Relationship With The Conductor

We can't have a serious discussion about high quality concerto playing if we don't include the conductor. Think of working with the conductor as if they are a fellow instrumentalist. From time to time when the music requires it, you will be required to play chamber music with them.  In many cases you and the conductor are partners and coordination is key.

Conductors who are competent have responsibilities.  A good conductor will be able to determine what you are doing and help to shape your goals by guiding the orchestra.  It is not merely the conductor's job to "beat time" and follow the soloist.  The conductor is your partner in this experience and you must work together to get the performance you want.  Many things the conductor must do overlap with the soloist.  This especially includes preparing a full knowledge of the score.

If you have the opportunity to do a piano rehearsal with the conductor before a full orchestra rehearsal you may be able to work on a few things together.  Your main focus during this should be to face the conductor and try to play chamber music with them.  You can also set tempi and address interpretation. The greater sense of clarity you have about your ideas and leadership, the easier it will be to work with the conductor.

It's important to reiterate that you will only be a useful partner if you know the score. Otherwise, the conductor will have to try and follow you without any communication whatsoever.  This is unfair and one sided.  It often leads to frantic and ill-defined performances.  Sure...sometimes cool surprises can happen this way but most of the time when a performer is playing on "auto pilot" and expects the conductor to follow blindly, many rich and colorful details in the music get lost.  This is because the music is not being fully represented.

One of my most memorable concerto appearances was when I worked with the conductor/composer Harold Farberman.  He conducted the world premiere of his own Concerto for Violin and Percussion with the Puerto Rican Symphony Orchestra.  The fantastic violinist Guillermo Figueroa and I were the soloists.  Harold knew every note of his piece so he demanded communication with the soloists. This required me to have a much greater knowledge of the music than I had ever been used to before. The results were outstanding. Our ability to play chamber music with each other with a great deal of specificity and communication created a razor sharp focus throughout the orchestra. Each idea was crafted and crystal clear.  It was a difficult process at times but the end result was true magic on stage. The audience loved the performance.

A New Kind of Coordination

When practicing on your own, there are specific things that you can do to greatly improve your ability to communicate effectively.  You will need to work on your coordination. When practicing your solo concerto part it is imperative that you work toward and develop the coordination to look up while playing just like you would in chamber music.  This is for two reasons.  The first is for the benefit of communicating with the conductor. As I've pointed out the two of you will need to have excellent communication during the rehearsals and the performance.  The second reason is your ability to lead the orchestra and in many cases where appropriate, make eye contact with different sections and soloists. Everything discussed in this post is useless without the ability to make eye contact and communicate with the other members of the orchestra.  None of this can be achieved if you are self absorbed with your head down.  This doesn't mean you can't have your moments of depth.  It just means that you must constantly be aware of what's going on around you at all times.  A concerto is a truly interactive experience between the soloist, conductor, orchestra, and audience. You must work to make it that way.

Percussion Repertoire is Often Unfamiliar to The Orchestra

This posting certainly pertains to all instruments but because I have extensive experience as a percussionist, I feel the need to make a few points about the percussion concerto repertoire.

Even though today in our modern time percussion repertoire is commonly played, orchestras are still largely unfamiliar with the music.  Adding to the challenge is the fact that the percussion repertoire is relatively modern music with typically more challenging rhythms, expansive soundscapes, harmonies, and structures.  One must also point out that some (not all) of the percussion concerto repertoire is not music of the highest quality.  Putting that aside, the percussion soloist is even more responsible for the items mentioned in this posting.  Remember, unlike some of the other instruments we are not playing works that have existed for hundreds of years that at this point in time often play themselves.  Many times when performing a percussion concerto, it will be the first time anyone in the orchestra is performing the piece.  This is often true even of the older percussion concerto repertoire written in the 1940's and 1950's.  Therefore, as a percussionist your ability to walk into rehearsal with a thorough knowledge of the score ready to lead on all fronts will only help you to achieve the performance you desire.

Other Factors Pertaining to Leadership and The Audience

I can't express enough how important it is to walk out with confidence and set the mood.  As the soloist in a concerto appearance you bring an army along with you.  This affects the audience before the first note is even played.  Walking out on stage for a concerto is completely different than for a solo recital. When you walk out on stage for a solo recital you represent yourself and perhaps a few composers. Conversely, when you walk out on stage for a concerto appearance you represent the orchestra, conductor, composer, and yourself.  This is important to remember.  Walk out with tremendous confidence and remember that from the moment you walk out on stage you are setting the tone for the other musicians as well.  It's your job as the soloist to inspire everyone on stage.  You are the leader and you set the tone so be sure and set the right one!  When you do it right you will send a powerful message to the audience from the stage.  The hall will truly be ready for a spectacular performance!

As the performance gets underway and the music is played it's important to remember that all of the hard work you did with the music and the score now must translate to the audience.  Assume for a moment that no one in the audience knows anything about what you are playing.  They don't know the music, instrumentation, or phrasing.  They can't sing their favorite parts because they don't know any parts. It's your job not only to play the music for them but to show them the music as it's being played. It's essentially your job to "teach" the music to them.  Your ultimate knowledge of the music will be what aids you here.  If you are truly communicating with the orchestra in the interactive way discussed in this posting, you will be creating an experience for the audience that truly touches them. We sometimes forget that as performers it's our job to "teach" the music we are playing to our audience.  We often mistakenly assume that if we play the music our audience will listen on it's own. This couldn't be further from the truth.  Music must be brought to life and communicated to people. All of the work you have done as a soloist to better play with the orchestra and work with the conductor is for the audience.

Closing

In many ways there is nothing more moving than a concerto with a great soloist and a powerful orchestra.  It can be further enhanced by your understanding as the soloist of what is required to bring the musical experience to full fruition.  Having the honor of being the featured soloist with an orchestra is truly a one of a kind experience that requires a tremendous amount of preparation.  I hope this posting has inspired you to take your concerto playing and preparation to the next level. Good luck!