First, before we get into the main premise of this article I want be absolutely crystal clear about something. The main issue holding back 6 mallet playing is the lack of high quality music. This is the ultimate truth and it should be focused on with razor sharp intensity. As I pointed out in my last post, many excellent musicians have through composition or commissioning made contributions to the 6 mallet literature. Unfortunately, it hasn't been enough to encourage a wider adoption and inspire more composers to write for up to 6 voices. This because 6 mallet playing is widely viewed as a flawed method with too many restrictions. We have to fix some of these restrictions in order to encourage the creation of more music. This is the crux of my article.
Despite feeling sort of backwards in some ways this is actually appropriate. Today in 2016 much of the development of the percussive arts takes place in an academic educational forum through colleges, universities, and band programs. Therefore, one who seeks to expand the world of percussion in 2016 must always have an eye on pedagogy. Personally, I hope this will change one day but relatively speaking concert percussion is still a young art form constantly shifting through ever-changing movements of expression. Like it or not many of these movements begin in academia so it's not too much of a stretch to imagine that academic thought and problem solving would inspire the creation of new and better music.
So let's get into it...
Perception Is Reality - Extended Vs. Evolutionary Technique
If we dig a little deeper beyond the main musical issue, we find that one of the most common issues holding back the mass adoption of 6 mallet playing is the perception that 6 mallet playing is a mere extended technique regulated to niche playing vs. a truly evolutionary technique capable of expanding what is possible on our instrument.
Let's quickly define and examine the differences between the two.
Let's quickly define and examine the differences between the two.
Extended Techniques are techniques that are specialized, niche, and not standard.
Evolutionary Techniques build upon current practices and ultimately become ingrained permanently.
Currently, 6 mallet playing is perceived as an extended technique. This creates a problems because extended techniques are rarely "normally" taught and often considered fringe. Over time the perception becomes the reality and ultimately the information is treated as unnecessary. This can stifle creativity. This is exactly what has happened with 6 mallet playing.
Making The Impossible Possible
Currently, 6 mallet playing probably deserves it's "extended" standing. Technically, there are just too many roadblocks preventing any meaningful music from being made on a wide scale. This has created a whole generation of percussionists who perceive this technique as excessive and unnecessary except in specialized situations. Unfortunately, they have a point. In it's current state, 6 mallet technique is extremely limiting. What good is a technique that can't meet the basic requirements of music making? If a technique is not truly evolutionary, how can we justify adopting it it on a mass scale and teaching it to students worldwide as a part of our standard practice?
In order to clear the air and reset our thinking in regards to 6 mallets, some radical changes must be made to make the impossible possible. We'll have to take what we normally see as common issues and find solutions. In fact, from here on out we'll have to treat the most commonly sighted issues as myths and nothing more. So with that I present to you...
6 Mallet Myths
The Boyar Method addresses several of the most commonly sighted "issues" with 6 mallet playing. Many of these issues have inadvertently designated 6 mallet playing to a mere extended technique. My premise is that 6 mallet playing can be more than an extended technique. I believe that it can be an evolutionary technique.
As I've experimented and solved these common "issues" I've come to call them "6 mallet myths" (say that 6 times fast). My method is essentially built around solving these commonly misunderstood problems.
Let's examine the most common myths preventing 6 mallet playing from becoming an evolutionary technique. Each of these myths constitute pages and pages of information. I hope to write about each further as we explore my method. For now, I will briefly define each and present what I view as the solution.
All the the items on this list are false.
Perhaps one of the most basic reasons that 6 mallet playing is not more widely adopted is the perception that traditional 2 and 4 mallet literature cannot be performed with 6 mallets. This is an understandable perception based on current practice but it is not true.
One of the major developments that solidified 4 mallet playing as a standard technique was when it became common practice when holding 4 mallets to use the two inside mallets to play monophonic lines similar to standard 2 mallet passages. This allowed players to treat 4 mallet playing as an evolutionary technique and build upon what had already taken place with 2 mallets. Of course this doesn't mean that 2 mallet playing was abandoned. It just means that 4 mallet playing became more practical. Today nearly every percussionist is able to (and expected to) play with 4 mallets.
In the same way that nearly everything that can be played with 2 mallets can be played with 4, nearly everything that can be played with 4 (and 2) must be able to be played with 6 for any legitimate 6 mallet method to work. Any technique or method that doesn't fully address this is not a full fledged evolutionary method rather, it is simply an extended technique.
Surely many of us have experimented with picking up 6 mallets only to discover that a lot of things initially don't seem possible. Who wants to play a double vertical stroke with the new "middle" mallet flailing around. It seems in general that the middle mallet creates a number of issues that make the basic application of what has come before with 2 and 4 mallets seem unplayable when holding 6 mallets.
Solution
The solution is in how the weight of the middle mallet is distributed. This insures that there is no needless flailing and/or locking of mallets (more on this later). By using a "System Of Grace" in which weight is redistributed among the mallets, The Boyar Method addresses this fundamental issue. When performing 2 and 4 mallets passages using 6 mallets, this allows all passages to be played without the middle mallet flailing around needlessly. No mallets ever flail and perhaps more importantly, no mallets need to lock into place to prevent this from happening. This system of grace is similar to the Method of Movement developed by Leigh Howard Stevens.
Weight can be redistributed in nuanced different ways and it's not a zero sum game. In fact, the concept of weight redistribution can (and will) take up an entire article. For the purposes of this article, the most important preliminary concept to understand is that when the perception is that the redistribution of weight is the solution to performing complex 2 and 4 mallet passages with 6 mallets, anything is possible. When the perception is anything else, there are severe limitations.
Here are two basic examples of this concept being used in my piece "Summer In Between." You'll notice at 3:16 that my left hand is required to play basic 2 voice double vertical strokes starting at a minor 7th. If I allowed the middle mallet to flail during this passage it would increase the probability of unwanted notes and create a lack of control. At the same time, locking my hand into position to prevent the middle mallet from moving and keep the mallets in place would stifle the sound. The solution? Redistribute the weight and place the middle mallet in the left hand alongside (or close to) the the inside mallet.
Making The Impossible Possible
Currently, 6 mallet playing probably deserves it's "extended" standing. Technically, there are just too many roadblocks preventing any meaningful music from being made on a wide scale. This has created a whole generation of percussionists who perceive this technique as excessive and unnecessary except in specialized situations. Unfortunately, they have a point. In it's current state, 6 mallet technique is extremely limiting. What good is a technique that can't meet the basic requirements of music making? If a technique is not truly evolutionary, how can we justify adopting it it on a mass scale and teaching it to students worldwide as a part of our standard practice?
In order to clear the air and reset our thinking in regards to 6 mallets, some radical changes must be made to make the impossible possible. We'll have to take what we normally see as common issues and find solutions. In fact, from here on out we'll have to treat the most commonly sighted issues as myths and nothing more. So with that I present to you...
6 Mallet Myths
The Boyar Method addresses several of the most commonly sighted "issues" with 6 mallet playing. Many of these issues have inadvertently designated 6 mallet playing to a mere extended technique. My premise is that 6 mallet playing can be more than an extended technique. I believe that it can be an evolutionary technique.
As I've experimented and solved these common "issues" I've come to call them "6 mallet myths" (say that 6 times fast). My method is essentially built around solving these commonly misunderstood problems.
Let's examine the most common myths preventing 6 mallet playing from becoming an evolutionary technique. Each of these myths constitute pages and pages of information. I hope to write about each further as we explore my method. For now, I will briefly define each and present what I view as the solution.
All the the items on this list are false.
Myth #1
"Traditional 2 and 4 mallet playing is impossible with 6 mallets"
Connecting The Dots
Problem
"Traditional 2 and 4 mallet playing is impossible with 6 mallets"
Connecting The Dots
Problem
One of the major developments that solidified 4 mallet playing as a standard technique was when it became common practice when holding 4 mallets to use the two inside mallets to play monophonic lines similar to standard 2 mallet passages. This allowed players to treat 4 mallet playing as an evolutionary technique and build upon what had already taken place with 2 mallets. Of course this doesn't mean that 2 mallet playing was abandoned. It just means that 4 mallet playing became more practical. Today nearly every percussionist is able to (and expected to) play with 4 mallets.
In the same way that nearly everything that can be played with 2 mallets can be played with 4, nearly everything that can be played with 4 (and 2) must be able to be played with 6 for any legitimate 6 mallet method to work. Any technique or method that doesn't fully address this is not a full fledged evolutionary method rather, it is simply an extended technique.
Surely many of us have experimented with picking up 6 mallets only to discover that a lot of things initially don't seem possible. Who wants to play a double vertical stroke with the new "middle" mallet flailing around. It seems in general that the middle mallet creates a number of issues that make the basic application of what has come before with 2 and 4 mallets seem unplayable when holding 6 mallets.
Solution
The solution is in how the weight of the middle mallet is distributed. This insures that there is no needless flailing and/or locking of mallets (more on this later). By using a "System Of Grace" in which weight is redistributed among the mallets, The Boyar Method addresses this fundamental issue. When performing 2 and 4 mallets passages using 6 mallets, this allows all passages to be played without the middle mallet flailing around needlessly. No mallets ever flail and perhaps more importantly, no mallets need to lock into place to prevent this from happening. This system of grace is similar to the Method of Movement developed by Leigh Howard Stevens.
Weight can be redistributed in nuanced different ways and it's not a zero sum game. In fact, the concept of weight redistribution can (and will) take up an entire article. For the purposes of this article, the most important preliminary concept to understand is that when the perception is that the redistribution of weight is the solution to performing complex 2 and 4 mallet passages with 6 mallets, anything is possible. When the perception is anything else, there are severe limitations.
Here are two basic examples of this concept being used in my piece "Summer In Between." You'll notice at 3:16 that my left hand is required to play basic 2 voice double vertical strokes starting at a minor 7th. If I allowed the middle mallet to flail during this passage it would increase the probability of unwanted notes and create a lack of control. At the same time, locking my hand into position to prevent the middle mallet from moving and keep the mallets in place would stifle the sound. The solution? Redistribute the weight and place the middle mallet in the left hand alongside (or close to) the the inside mallet.
The left hand middle mallet is placed next to the inside most left hand mallet to redistribute the weight (3:16)
A more nuanced approach to middle mallet weight redistribution would be what the right hand is doing in the same phrase (3:20)
A more nuanced approach to middle mallet weight redistribution would be what the right hand is doing in the same phrase (3:20)
Redistribution of weight can either take place in a full and aggressive way or in a more nuanced way. An example of this would be what the right hand is doing in the same phrase from Summer In Between at 3:20. Here the right hand is playing some basic melodic passages. Although the middle mallet needs to be controlled, in this case there is only a slight redistribution of weight applied. You'll see that as as result, when the right hand plays this passage at 3:20 the middle mallet does NOT flail.
In some ways, the redistribution of weight is the spiritual successor to the inside or outside mallet rotating "around" the opposite mallet in the Steven's Method during the execution of single independent strokes. Without this innovation the opposite mallet would flail and the player would need to work twice as hard to execute the most basic strokes. In the same way, the redistribution of weight works to insure that the middle mallet doesn't flail in the same direction as the independent mallets from it that are being struck.
If not solved properly, the technical hurdles in "Summer In Between" could easily turn people off from 6 mallet playing. My method systematically examines the redistribution of weight in order to provide ease when playing the most complex 2 and 4 mallet passages with 6 mallets.
In some ways, the redistribution of weight is the spiritual successor to the inside or outside mallet rotating "around" the opposite mallet in the Steven's Method during the execution of single independent strokes. Without this innovation the opposite mallet would flail and the player would need to work twice as hard to execute the most basic strokes. In the same way, the redistribution of weight works to insure that the middle mallet doesn't flail in the same direction as the independent mallets from it that are being struck.
If not solved properly, the technical hurdles in "Summer In Between" could easily turn people off from 6 mallet playing. My method systematically examines the redistribution of weight in order to provide ease when playing the most complex 2 and 4 mallet passages with 6 mallets.
Myth #2
"Chords with 2 black keys on the outside and 1 white key in the middle are impossible to play with 6 mallets"
Making The Impossible Possible
Problem
I'll admit that when devising my method I almost went the same route as previous methods and declared these chords "unplayable." Then I remembered that nothing is impossible. It's only a word. I knew there had to be a way.
I had come to the understanding that one of the main things holding back the widespread adoption of 6 mallet playing was the idea that certain passages were simply unplayable. The root position chords Db, Eb, Ab Major and c#, f#, and g# minor were basically the poster children of this idea. In many ways these chords where a white key rested in between two black keys had essentially set in stone for eternity the idea that 6 mallet playing is merely an extended technique.
Solution
This was a major issue to fix and it was tricky. At the outset I only understood that the solution may at first deceptively appear to be cumbersome and awkward. This would be a red herring for sure. How did I know this?
It was from my prior experience with 4 mallets. So much of it seemed unstable when I started. The delicate balancing act required to play with any variation of an independent Musser/Stevens grip feels nothing short of alien at first...just ask anyone who is starting out. The small muscle groups do not work together well and all too often mallets fall out of the hands and nothing develops properly without proper oversight. Tension is then all too often applied as a way of compensating for these issues and if left unchecked severe frustration and even injury are possible. I see this play out over and over again with inexperienced students. However, with the proper instruction and guidance over time things change and just the opposite happens. Leigh Howard Stevens put it best in The Method Of Movment. "The preliminary instabilities soon blossom into freedom of movement (LHS)." It's true...they do but it takes time and patience.
I thought about Leigh's quote a lot as I looked at what would be necessary to play these unplayable chords with 6 mallets. Clearly, the middle mallet would need to somehow be pulled back. In my work with Stevens grip, I remembered that one of the most initially awkward motions to master was the sort of "throw" that occurred when switching from small/medium to large intervals. While initially awkward and impossible, I now rely on that freedom as a foundation in my playing. Using this tool of Steven's approach as inspiration, I realized that when holding 3 mallets in one hand, a similar "throw" could be possible with the middle mallet. However, when this throw occurred the goal would be to have the mallet head move vertically forward and back between the black and white keys on the marimba rather than horizontally across the marimba to expand the interval. This major innovation in 6 mallet playing radically changes what is possible when holding 6 mallets. I call it "The Vertical Throw." It allows many of the previously deemed "unplayable" chords to be played.
"Chords with 2 black keys on the outside and 1 white key in the middle are impossible to play with 6 mallets"
Making The Impossible Possible
Problem
I'll admit that when devising my method I almost went the same route as previous methods and declared these chords "unplayable." Then I remembered that nothing is impossible. It's only a word. I knew there had to be a way.
I had come to the understanding that one of the main things holding back the widespread adoption of 6 mallet playing was the idea that certain passages were simply unplayable. The root position chords Db, Eb, Ab Major and c#, f#, and g# minor were basically the poster children of this idea. In many ways these chords where a white key rested in between two black keys had essentially set in stone for eternity the idea that 6 mallet playing is merely an extended technique.
Solution
This was a major issue to fix and it was tricky. At the outset I only understood that the solution may at first deceptively appear to be cumbersome and awkward. This would be a red herring for sure. How did I know this?
It was from my prior experience with 4 mallets. So much of it seemed unstable when I started. The delicate balancing act required to play with any variation of an independent Musser/Stevens grip feels nothing short of alien at first...just ask anyone who is starting out. The small muscle groups do not work together well and all too often mallets fall out of the hands and nothing develops properly without proper oversight. Tension is then all too often applied as a way of compensating for these issues and if left unchecked severe frustration and even injury are possible. I see this play out over and over again with inexperienced students. However, with the proper instruction and guidance over time things change and just the opposite happens. Leigh Howard Stevens put it best in The Method Of Movment. "The preliminary instabilities soon blossom into freedom of movement (LHS)." It's true...they do but it takes time and patience.
I thought about Leigh's quote a lot as I looked at what would be necessary to play these unplayable chords with 6 mallets. Clearly, the middle mallet would need to somehow be pulled back. In my work with Stevens grip, I remembered that one of the most initially awkward motions to master was the sort of "throw" that occurred when switching from small/medium to large intervals. While initially awkward and impossible, I now rely on that freedom as a foundation in my playing. Using this tool of Steven's approach as inspiration, I realized that when holding 3 mallets in one hand, a similar "throw" could be possible with the middle mallet. However, when this throw occurred the goal would be to have the mallet head move vertically forward and back between the black and white keys on the marimba rather than horizontally across the marimba to expand the interval. This major innovation in 6 mallet playing radically changes what is possible when holding 6 mallets. I call it "The Vertical Throw." It allows many of the previously deemed "unplayable" chords to be played.
An early example of "The Vertical Throw." It can potentially solve many of the most basic 6 mallet issues.
In my opinion the vertical throw has the potential to solve some of the most basic problems plaguing a wider adoption of 6 mallet use. As predicted, like many things in the early stages of the independent Stevens/Musser grip, it initially seems extremely awkward. The video above was put together when I first started using it. However, as I write this I have now been working with it for 6 months and the results are changing the way I play.
Onward
In my next post I will continue examining some of the most common 6 mallet myths and offering more proposed solutions. The next several myths take on a slightly more generalized tone but the problems are just as relevant and in need of solving. Stay tuned for more useful 6 mallet content.
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