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.
I teach at Paris High School in Paris, Texas. This past year, we added a lithophone to our keyboard percussion section. Sometimes called a stonophone, this unique instrument is handmade from slate, and it spans a 3-octave range. There are only a few individual manufacturers online who make such instruments; it is a pretty unique niche. Our lithophone was custom created by Jim Doble at Elemental Designs. He did great work, and his prices are very reasonable.
This video is just a short improvisation to showcase the instrument’s range and timbre. Since this video was recorded, we have had a frame and resonators added. While the instrument has a very rich tone, it is somewhat quieter (and more fragile!) than a marimba or vibraphone. You can’t strike it with the same velocity on the louder dynamic ranges. When using it for concert performances, it works best to have it amplified.
We are primarily going to use it to substitute for bass marimba parts in percussion ensembles. It’s about a tenth the cost of a 5.0-octave marimba, so it’s a very affordable option for schools and organizations on a tight budget.
The lower octave is not quite as resonant as the upper octaves. We discovered that the instrument sounds really good when parts are played in octaves. (This creates some interesting arrangement considerations, but the result has been well worth it.) The higher octave helps to emphasize the fundamental pitch, and the lower octave brings out the rich, bassy tone underneath.
I decided to post this in order to showcase the great workmanship that can be found by custom instrument manufacturers. There are a number of talented people who specialize in custom-made marimbas, xylophones, lithophones, and other instruments. Also, I want to encourage percussion directors and band directors to think outside the box a bit when it comes to instrument purchases. The mainstream manufacturers create some wonderful products, and they are certainly going to be the primary “go to” sources. However, with a little creative thinking, you can also get some very colorful textures in your percussion section by exploring what’s out there.
For the extra adventurous, you might even want to have your students build their own instruments. This could create a deeper sense of ownership among the whole section when they have put their own time into creating the instrument upon which they play.
How about you? Have you had any experience with custom-made instruments? Have you used other instruments not mentioned above? Share your stories and thoughts in the comments section below.
