2-Mallet Keyboard Exercise: Double Diminished Double Stops

March 22, 2017 James Christian

Double Diminished Double Stops, page 1 — **Double Diminished Double Stops**
*Click on the images to enlarge…*

Double Diminished Double Stops, page 2 — *…or click here to download in PDF format.*

This exercise for two-mallet keyboard percussion utilizes double stops with a diminished 7th chord (also known as double diminished). Starting with A, the pattern cycles through all 12 keys, going up by a half step each time.

The goal of this exercise is to build fluidity of movement with double stops around the keyboard. You start by playing three repetitions on each interval, then two, then one. These patterns cycle through 18/8, 12/8, and 6/8 time signatures, respectively.

With all double stops, be careful to strike both notes together. As you get faster, I would recommend striking the upper manual bars on the edge, instead of the center. Strive for accuracy and consistent sound. Stay relaxed, and let the stroke come from the wrists.

As you get more comfortable with this exercise, it can be a good endurance builder. Don’t slow down on the 6/8 measures! Keep a steady pulse throughout the exercise. A metronome will be invaluable for keeping tempo. For added endurance, repeat several times.

Have fun with this one!

2-Mallet Keyboard Exercise: Double Stops Builder

March 12, 2017March 13, 2017 James Christian

The term double stops refers to striking two mallets at the same time. They are an incredibly important skill to develop and master, and this exercise is a useful tool for practicing them.

In addition to having good double stop quality, it’s also important to transition smoothly between the upper and lower manuals. In 16 measures, this exercise covers every possible configuration.

The breakdown is as follows:

Measures 1-4: accents with both hands on lower manual
Measures 5-8: accents with both hands on upper manual
Measures 9-12: accents with left hand on upper manual & right hand on lower manual
Measures 13-16: accents with left hand on lower manual & right hand on upper manual

Within each of these four-measure sets, the non-accented notes (the “inner beats”) follow this configuration:

Measure 1: both hands on lower manual
Measure 2: left hand on upper manual, right hand on lower manual
Measure 3: left hand on lower manual, right hand on upper manual
Measure 4: both hands on upper manual

When playing this exercise, focus on distinct accents and clear (but softer) “inner beats.” Make sure the double stops strike at exactly the same time. Each interval should have a clear, blended sound.

Have fun with this exercise!

I also have to point out that this is the 50th post on Rudimental University! Woo hoo!!!

2-Mallet Keyboard Exercise: Singles Speed Builder

February 2, 2017February 1, 2017 James Christian

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This short exercise is a good chop builder for keyboard percussion. It focuses on short spurts (which builds speed), and its length allows for numerous repetitions (which builds endurance). I came up with this exercise several years ago when I was trying to help a student build their two-mallet speed. I didn’t expect it to be so popular, but my students have enjoyed playing it ever since. It’s fairly catchy, and the simplicity of its structure makes it easy to learn. I have seen firsthand that the students who practice it regularly achieve good results.

When first learning this exercise, take it slowly until you can strike each note with 100% accuracy. It is short enough to memorize fairly easily. Remember that the key to speed is staying relaxed! Of course, you have to push your muscles in order to build endurance, but you must push them with good technique. Don’t let the speed create a sense of uncontrolled frenzy. Don’t lock your arms or wrists. Stay relaxed, yet keep your sound intensely focused. Strive for consistent strokes, so that you achieve clean execution and articulation.

Enjoy playing! I hope you notice significant improvement in your singles quality and speed.

2-Mallet Keyboard Exercise: 12 Bucks (two versions!)

January 19, 2017January 22, 2017 James Christian

Doubles Version

*…or click here to download in PDF format.*

Singles Version

Today you get a double dose of exercises! Both versions cycle through the circle of fifths and utilize a thirds pattern, but the first version uses double strokes, and the second version uses single strokes. Both are valuable to learn, and both work important skills.

As mentioned a few days ago, all the exercises this week can be played individually or together as a full drum line. The snare part is similar to the common “Bucks” exercise, and the keyboard part cycles through 12 keys. Thus the exercise is called “12 Bucks.”

If you don’t know your scales and/or the circle of fifths very well, the main challenge on this exercise will be to switch between keys so quickly. I would recommend starting with the doubles version. You can initially learn it without the double strokes, and the technical demands will be slightly easier. It really is a great exercise for helping you know the circle of fifths intimately.

Once you get the notes down, you can add in the doubles. Then you can learn the slightly more challenging singles version. When playing doubles, make sure both notes are of equal volume. (Don’t “drop” the second note of the doubles.) When playing singles, make sure you don’t add accents when they aren’t written. With everything you play, work toward smooth, evenly spaced notes.

For more seasoned players, you may want to take the same exercises and play them with natural minor, harmonic minor, melodic minor, and/or other scale combinations.

Enjoy!

2-Mallet Keyboard Exercise: Interval Focus in Triplets

December 13, 2016December 13, 2016 James Christian

This exercise is great for practicing short and wide interval leaps. It is comprised of three parts:

Measures 1-24: The triplet pattern starts on a B-flat (check the key signature!), descends a half step, returns to B-flat, descends two half steps, returns to B-flat, descends three half steps, etc. I would recommend starting this section on the right hand.
Measures 25-48: This section follows the same pattern as the previous section, except the intervals move ascending instead of descending. I would recommend starting this section on the left hand.
Measures 49-74: Finally, this section also starts on a B-flat, but the intervals both ascend and descend at the same time, ultimately spanning two octaves. I would recommend starting this section on the right hand.

Due to the wide interval, the final two measures are the most difficult to play quickly. I recommend seeing how fast you can play these two measures first. That is your tempo for the entire exercise. While this exercise is good practice for various intervals, another challenge is to maintain a steady tempo. Most people will want to start too quickly and be unable to maintain that tempo throughout the entire exercise. Don’t let that be you!

2-Mallet Keyboard Exercise: Chromatic Singles

December 7, 2016December 9, 2016 James Christian

Chromatic scales are an essential skill to master for any keyboardist. Within an octave range, there are 12 notes. This makes sextuplets work nicely for building chromatic speed (6 + 6 = 12). In this particular exercise, your two “target” notes are F-natural and B-natural. Every sextuplet run begins on one of these two notes. If you can visualize these two aiming spots, your accuracy will greatly increase.

When first starting, practice slowly and ensure that you are striking the correct notes. As you gain more confidence in your accuracy, gradually begin to push the tempo. Once you get to the exercise up to a bright tempo, you may want to repeat the last two measures additional times for added endurance.

For the extra motivated, you can transpose the exercise and learn it in all 12 keys.

4-Mallet Keyboard Exercise: Doublespeak

December 2, 2016November 27, 2016 James Christian

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This is a fun exercise for keyboard percussion that focuses on the “doubles rudiments” of four-mallet playing. I regularly use it with the high school where I teach. During marching season, our front ensemble uses it to work on double vertical strokes (measures 1-4) and double lateral strokes (measures 5-end).

Additional stroke types are used for transitions—single alternating strokes (ex: measure 5, beat 4) and triple lateral strokes (ex: measure 6, beat 4). These short occurrences frequently happen in actual musical situations, so it’s good practice for being able to switch quickly between stroke types.

Take care to achieve a full sound on every note. The double verticals should strike exactly together, and the double laterals should have a clear, consistent sound. Make a clear difference between the accented and non-accented notes at the end. Do not get sloppy on the non-accented notes. Keep the continuous 16th notes precisely in time.

When you can play this entire exercise with great consistency of sound, you will have a pretty solid grasp of the fundamental “doubles” strokes of four-mallet keyboard percussion. Enjoy!

2-Mallet Keyboard Exercise: Ragtime 3 over 2

November 29, 2016January 31, 2017 James Christian

2-mallet-0002-ragtime-3-over-2 — *Click on the image to enlarge or click here to download in PDF format.*

Originally written for xylophone, this fun little exercise comes from George Hamilton Green’s Advanced Instructor for Xylophone. This book is not as well-known as his more famous Instruction Course for Xylophone, but it is still quite good. (Both books are excellent and highly recommended.)

This particular exercise focuses on double stops (both hands playing at the same time), and the harmonic and rhythmic structure come from ragtime xylophone playing. The challenge of this exercise is to play a repeating two-note pattern with the left hand while playing a three-note pattern with the right hand. On the final two beats of measures 2 and 4, the right hand plays a four-note pattern that closely matches the movements of the left hand. The difficulty comes in transitioning back to the three-note pattern in measure 3 (and measure 1 on the repeat).

On the surface, the exercise looks simple, but it can provide an interesting coordinative challenge. Once you get it down, it’s really fun to play. As George Hamilton Green would advise, make sure you take it slowly at first. Keep your mallets close to the keyboard, make sure they both strike at exactly the same time, and make sure you are 100% accurate in all of your notes.

2-Mallet Keyboard Exercise: Shifting Paradiddles

November 22, 2016November 27, 2016 James Christian

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Every week we endeavor to bring you fun and interesting exercises on different percussion instruments. Some weeks we will have instrument-specific exercises that are intended more for individual practice.

This week, however, all of the exercises will be playable by all instruments at the same time. These can serve as fun exercises to play with your drum line or a percussion friend on two (or three or four) different instruments. Yesterday’s snare drum exercise focused on the single paradiddle and the three variations of shifting accents—which I call the inverted paradiddle, single mill, and alternating quad.

This exercise for two-mallet keyboard percussion uses the same sticking with ascending and descending scale patterns. As an added challenge, it quickly cycles through all twelve major keys. (Be careful on the final measure!) Enjoy!

Check back tomorrow! The remaining instruments to be featured this week will be: marching tenors, two-person bass drum splits, and timpani.