Groove Pursuit Front Ensemble
Technique and Philosophy Packet 2016-2017
Welcome, and thank you for your interest in the Groove Pursuit Front Ensemble! The following information and exercises will prepare you for success during the upcoming audition process and throughout the winter season. This packet is designed to inform you of the qualities we look for in a member of our front ensemble. Herein you will find detailed descriptions of the Groove Front Ensemble technical approach with a particular focus on sound production and musicianship to achieve excellence. The staff is most interested in your learning and development and is prepared to create a professional looking and sounding Groove Pursuit Front Ensemble. It is the intent of your Groove Pursuit staff and organization not only to teach percussion lessons and techniques, but also to relate these philosophies to your everyday lives through an activity that is demanding, intense, but FUN.The most important technique that we will rely on as we meld students of different abilities, ages, and experience levels is communication. We encourage open dialogue as we move forward as the 2016-2017 Groove Pursuit Front Ensemble. Please, do not be afraid to ask questions.
New Members:
You are becoming a member of Groove Pursuit at a very exciting time! You are an integral part of bringing the Groove Pursuit Front Ensemble program to bigger and better things!Remember, every position in the Front Ensemble is an integral part towards bringing great success to our group. Your staff members, as well as veteran members, are committed to assisting you along this journey to improvement.
Veterans:
We have deep respect and admiration for the veteran members who were part of Groove Pursuit’s development and previous successes. As veterans, you will be expected to demonstrate qualities befitting someone of your experience level. You all have experienced the AMAZING feeling of working hard and seeing what we can accomplish as a group. Fortunately for you, this was just the tip of the iceberg! As veterans, we expect you to model great rehearsal techniques but also be open to and willing to help integrate many upcoming changes.
Professionalism
The first step towards producing a successful front ensemble program in terms of student development and competitive success is to adopt a method of professionalism. Your approach to everything you do (attitude, practice time, teamwork, accountability, self-respect, etc.) will define your imageand will shape the groups collective personality. From the time you read this until the last note you play during the season, your professionalism and attitude will define this group and allow it to mature into something very special. As the season approaches, we encourage each of you to do a “self-check” to decide where you want to see this group go; not only from a performance level standpoint, but also from a professionalism standpoint. Groups with positive attitudes that are open to change and focus of team development are successful.
Preparation for rehearsal.—First and foremost, come to rehearsal. If you are absent, you cannot contribute to the group’s improvement. Music will come fast and furious and has purposefully been written to be very challenging. It is your responsibility to learn and memorize your music outside of rehearsal. Rehearsal is spent breaking down the music that you’ve prepared during your own practice time. Manylate-season problems with music execution can be directly relatedto rehearsal time wastedearly in the season learning notes rather than rehearsing music early in the season. Come prepared early and the further we will go late.
Care of equipment.—Our instruments need to be treated with the finest care at all times. The more proactive and responsible we are will result in more hours of productive rehearsal time and reduce the chance for accidents at inopportune times. The instruments are to be treated with the supreme care at all times. Nothing is ever to be placed on top of the instruments for any reason except mallets, sticks, and of course the instrument covers. Doing so will result in damage to the keyboards which are too expensive to replace on a regular basis. Instruments are to be covered at all times when they are not being played. Be proactive and check screws, bolts, and moving parts often. If they are loose or not functioning properly fix it or, if unable, let a staff member know.
Care for your health.—At no time should anyone play while hurt without your staff knowing about it. Take care of yourself by maintaining your body physically, eating smart, staying hydrated, sleeping, and being diligent aboutproperly executing the taught technique.
Care for the group.—There are many parts of this activity that go way beyond playing the instruments. You’ll notice that this packet has hardly mentioned technique yet. That is because reaching the level we want to achieve will require more than just good technique and learning a few new skill-sets. As important as our playing is, it is even more important that you work well with the group. You must understand that there will be varying ability levels; however, everyone will be striving to improve individually and collectively. Remember, we are all in this together! Take care of each other and support each other.
Technical Approach
Figure. Depiction of the qualities valued in indoor front ensemble and relative weights of each.
Technique serves musicianship. Developing your technique will take consistent, concentrated, detail-orientated practice. I highly recommend practice on the floor to improve fundamental approaches. Removing the element of “right notes” will allow you to focus on the manner in which you move the mallets which is the foundation of good sound quality. When you can, practice in front of a mirror. It is really helpful to “see what I see” to interpret and reinforce staff comments. Practice slowly to develop accuracy and technique. Faster tempos should only be used to reveal issues with technique and sound production that can be fixed playing slower. Practicing too fast and skipping fundamental technique will ingrain poor playing habits and produce bad performances later on. Technique serves as a foundation to high quality musicianship from which we can develop a high quality of sound and produce a stellar front ensemble soundscape.
Achievement of Sound
Disclaimer: We are creating a specific sound for an indoor arena to blend with marching percussion instruments that is slightly different than the approach used for concert halls and solo playing. It is not always appropriate for all situations and should be used and modified at your discretion for other percussion playing venues.
Sound quality and the characteristics of the sound produced by front ensemble instruments are determined by the mallet impact. Impact can be manipulated through a combination of velocity (articulation), weight (resonance and warmth), height (dynamics), and space (location of instrument). Sound production will be one of our highest considerations, whether you are playing a pitched instrument or a non-pitched percussion instrument. We will always strive to produce each instruments characteristic sound appropriate to the performance venue. To do this, we will define a high quality sound and develop the awareness necessary to listen to the sounds you create and blend with the sounds that are being produced by the ensemble. We will strive to maintain a consistent sound from note-to-note, hand-to-hand, and player-to-player. Ultimately we will help you to develop the technical skills, dexterity, musicianship, and rhythmic accuracy necessary for consistent sound production and control. Any change in sound production will be a conscious decision and done for the sake of musical expression. Achieving consistency will require focused listening and a heightened awareness of sound being produced not only individually, but also as an ensemble.
Velocity.—Velocity describes the speed in which an implement travels to the playing surface and controlsthe articulation at which our sound resonates. A slow velocity will produce a more legato sound. A faster velocity will immediately activate the bar and produce a more articulate timbre that blends much better with marching percussion instruments. Legato strokes are generally reserved for periods in which the battery is not playing and with notes that are followed by rests. Articulation can also be affected by how loosely or tightly you grip the implement. A tight grip will result in a dry, choked sound by removing the vibration of the implement. A relaxed grip will result in a full, resonant sound.
Dynamics/height.—Dynamics are created through the use of height, not through the manipulation of weight or velocity. This allows us to maintain a consistent sound quality no matter volume. Do not mistake soft dynamic levels for a weak approach to the instrument.
HEIGHT SYSTEM
pp…………………………3”
p…………………………4”
mp…………………………6”
mf…………………………9”
f…………………………12”
ff…………………………Full Wrist Extension
fff+...... Visual (Rare; Full wrist extension + forearm lift)
(“Visual” height is meant to be a full extension sound with extra arm motion for visual effect)
Weight.—Weight determines the depth and warmth of sound by affecting the bar resonance. Generally, weight is manipulated by adding or subtracting forearm strength when activating individual strokes. More weight will produce a full sound. Full, warm sounds are preferred at most times; however, thinner resonance is appropriate in faster sixteenth note passages.
Space.—There are several playable surfaces on many common front ensemble instruments that will be employed to produce ascribed sounds. For our purposes, we will attempt to use the direct center of the keys, deferring to the edge of the keys only when absolutely necessary (due to speed or four mallet voicings). When playing on the edge of the keys you will strike the keyboard with about 50% of the mallet on the bar and 50% off the bar.
Posture
Begin by placing your feet shoulder length apart. Your legs should be relaxed, knees slightly flexed. Keep your back and neck straight and allow your arms to hang naturally at your sides. There should be NO TENSION in your neck or shoulders. Rigidity will greatly inhibit your range of motion, so it’s best to maintain flexibility from the beginning and start forming good habits on even the simplest exercises. Stand with your chin up at all times and look down your nose to see the instrument as opposed to hunching over to see the keys! Always take lateral steps behind your instrument and never cross your feet to facilitate movement. One exception: to comfortably reach the upper vibraphone octaves move your left foot behind your right foot (on pedal). Keep your elbows at your side and away from your body. When in the playing position your mallets should be able to extend to form a triangle. We will start and end reps in the ‘up position.’
Maintain a relaxed physical sensation as you play, this includes your posture, stance, and the way you carry your body. Physical relaxation also pertains to your brain and state of mind as you play, perform, practice, and rehearse. You are setting yourself up for success by having a strong and positive mental approach to your playing. Remember, your posture and physical approach to the instrument will be one of the first indications to the audience exactly what kind of ensemble we are.
Stroke Type
The general premise behind the ‘Piston Stroke’ is that the mallets start up, perform a stroke that is quick in motion (fast velocity), and end where the mallet started. Generally, the only part of the body used to create this stroke is the wrist. Each stroke should be relaxed in nature exerting weight through the keys, yet allowing the mallets to rebound off the keyboard. The rational is simple – conserve energy and prepare for the next stroke. This may be vertical (same notes) or both vertical and horizontal (shifting to new notes). This stroke type allows for a resonant sound and speed towards the next note.
The ‘legato stroke’ is used for slow and sometimes high volume playing. Rather than using only wrist, this stroke also employs the forearms to increase weight and assist with sound production. The head of the mallet will be in constant motion during passages that use the legato stroke. The mallet head will generally move more slowly than when using other strokes.
Technical alterations to achieve legato strokes:
•Relaxed grip pressure
•Rounded off, smooth flowing motions
•Initiated in forearm and ends in forearm to move more fluidly
•Absolutely no tension in the upper body, including arms and hands (although this should not be an alteration from the previous technique!)
Rule #1: If you move together, you play together. There is no exception to this rule. Therefore, technique and uniformity are of the utmost importance. We must strive to look and sound the same at all times.
Two Mallet Technique
The fulcrum is created with the middle, ring and pinky fingers wrapping completely around the mallet. This in contrary to snare drum with the fulcrum placed between the index finger and thumb (to utilize the rebound of the stick). The index finger and thumb merely aim the mallet, and should not squeeze the mallet at any time. Place the stick on the first joint of the index finger, and set the thumb on top lightly. There should be minimal pressure between the index finger and thumb, to prevent tension, which in turn prevents a choked or forced sound. This also reduces the amount of energy that goes into producing a stroke. There should be no tension on the back fingers, yet the fingers should remain on the mallet at all times (picture the tips of the back fingers remaining in constant contact with the palm of the hand). These fingers are the anchor of the grip – they provide gentle contact to the mallet and thus are a large part of the tone and sound production. There is no reason to squeeze the mallet. Squeezing the mallet with your fingers will increase tension, look uncomfortable, and encourage poor (and sometimes damaging) technique to produce sound.
The thumbs should face one another, just like matched snare drum grip. There should be about 1-2” of mallet sticking out of the back of the hand. It should be emphasized that wrist is 90% of the stroke, and arm is added only to complement the wrist and enhance sound projection. Fingers are not used to produce the stroke, merely to lightly grip and aim the mallets at the desired keys.
Preps: Whenever we begin an exercise or musical segment we will establish a common tempo from a single tempo source. When performing in full ensemble, this will come from the battery. Typically, during all other times, the center marimba will begin with 2 prep strokes which will be followed by 2 preps by all members of the front ensemble. The number of preps and the person giving the tempo may vary according to the situation. Preps should be small and precise – moving less than 1”.
Four Mallet Technique
The approach to four mallet playing is very similar to the Stevens method on both marimba and vibraphone. The use of the Stevens method on the vibraphone is meant to attain a more uniform sound and technical approach. The mallets are labeled as 1-2-3-4 from left to right when in the playing position.
Mallets 2 and 3:
Start with your hand in a relaxed “hand shaking” position. Your thumbnail should be pointing up with no angle in your wrist. Curve your index finger inward slightly so that in crosses your thumb (your thumbnail should be above the first knuckle of your index finger). Lift your thumb and place the base of the mallet in the groove on your palm below the base of your thumb. Balance the mallet between the base of your thumb and the first knuckle of your index finger. Rest your thumb on top of the mallet. Your thumb should stay flat and relaxed. Place your middle finger on the base of the mallet where it meets your palm. This finger controls the angle of the mallet as it leaves your hand.
Mallets 1 and 4:
Grip the mallet with your pinky and ring finger. The mallet should rest close to the second knuckle of your middle finger. There should be about ½” of mallet shaft sticking out of the back of your hand.
Things to keep in mind with four mallet technique:
•Keep yourthumb and index fingers relaxed at all times (as well as all other fingers)
•Keep the mallets above the instrument by turning the wrists back not by raising the arms. The mallets should return to this position whenever they are not in motion.