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    Libro de Catedra Vibrafono III PDF

    Cargado por

    Gustavo Castillo

    Copyright:

    © All Rights Reserved
    Descargue como PDF, TXT o lea en línea desde Scribd

    Libro de Catedra Vibrafono III PDF

    Cargado por

    Gustavo Castillo
    335 vistas156 páginas

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    Libro de Catedra Vibrafono III.pdf

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    335 vistas156 páginas

    Libro de Catedra Vibrafono III PDF

    Cargado por

    Gustavo Castillo

    Copyright:

    © All Rights Reserved
    Descargue como PDF, TXT o lea en línea desde Scribd
    Descargar como pdf o txt
    de 156

    LIBRO

    DE
    CATEDRA
    VIBRAFONO
    III
    ANO: 2020
    LIC
    ENCIATURA EN MÚSICA POPULAR

    PROGRAMA DE VIBRÁFONO III ESTUDIANTES REGULARES Y LIBRES

    CARÁCTER: ANUAL

    DOCENTES A CARGO: MATIAS F. MORELLI Y EMILIANO SÁNCHEZ

    AÑO: 2020
    PRO
    PÓSI
    TOS
    ●
    Formar conceptualmente al alumno en relación con las dimensiones artísticas del instrumento.
    ● Abordar progresivamente el contenido teórico y práctico referido a la simbología, lenguaje,
    patrones básicos y lectura musical.
    ● Promover la producción y el disfrute de procesos creativos propios, a partir de
    técnicas específicas del teclado, resaltando su dimensión estética.
    ● Incorporar el hábito de la escritura musical.
    Contenidos mínimos para aprobación de la materia

    Alumno regular El estudiante regular debe aprobar las dos instancias parciales previstas en la
    cursada. En caso de que algún estudiante desapruebe algún parcial al finalizar el cuatrimestre tendrá
    una instancia de recuperatorio donde se evaluará específicamente el contenido desaprobado con
    anterioridad.

    Contenidos mínimos

    Estudios de Sejourne, un ejercicio a elección entre el 15, 14 y 8. Estudios de Zivkovic,un ejercicio a


    elección entre el 1, 2, 3 o 4. Pieza del libro de Shelly Elías, estudio "Goinout of My head". Pieza a
    elección del libro D. Sisto. Estudio 1 o 2 Milt Jackson. Ejercicios de DaveSamuels Apagado:
    25A,25B,25C,26B,
    Pedalización:17A,17B,17C,18A,18B y 18C Digitación:1D,1E,1F,2A,2B y 2C. Técnica a cuatro
    baquetas: 8G y 8H Ejercicios apagado de David Friedman : 5 y 8 Ejercicios de pedalización David
    Friedman uno a elección entre ; 13, 14 y 15 Ejercicio número 5 de Ted PiltzeckerIdeokinetics
    ejercicios con 4 baquetas, ejercicios 9 a 16 Ron Eschette ̈ChordMelody ̈ , ejercicios 14, 15,19 y 20

    P. Deneff, Jazz chordHanon, ejercicios a elección del estudiante

    Tim Collins, 22 formas de practicar escalas creativamente, ejercicios 1 al 9

    Dos Minuet de Bach en Sol Bartok, en Modo Dórico Pieza a elección entre Recordame, Pedacito de
    Cielo y La Pomeña

    Alumno libre
    El estudiante que rinde en condición libre debe pactar un encuentro previo con los docentes para
    saber cual es el abordaje específico de los contenidos de la materia que se encuentran en la
    planificación anual y se detallan en el cuadernillo.
    Cont
    enido
    s
    míni
    mos

    Estudios de Sejourne, ejercicio 12. Estudios de Zivkovic, ejercicio 5 (Ragtime forJoe) Pieza del
    libro de Shelly Elías, estudio "Goinout of My head". Pieza del libro D. Sisto. Estudio 1 o 2 Milt
    Jackson. Estudio 1 de Bobby Hutcherson. Ejercicios de DaveSamuels Apagado: 25D,25E,26A, 26B
    y 26C
    Pedalización:17C, 17D,17E,18D y 18E Digitación:1G,1H,1I, 2D,2E y 2F Técnica a cuatro
    baquetas: 11A Ejercicios de David Friedman: 8 y 11 Ejercicios de pedalizacion David Friedman dos
    a elección entre 15,16 y 17. Ejercicio número 5 de Ted Piltzecker

    Ron Eschette ̈ChordMelody ̈ , ejercicios 21 y 27

    P. Deneff, Jazz chordHanon, ejercicios a elección de la mesa

    Tim Collins, 22 formas de practicar escalas creativamente, ejercicios 1 al 13.

    Finkel, Fantasía n 7 Telemann

    Dos Minuet de Bach en Sol Bartok, en Modo Dórico Ideokinetics ejercicios con 4 baquetas,
    ejercicios 9 a 19 Pieza a elección entre Recordame, Pedacito de Cielo y La Pomeña

    PROPUESTA METODOLÓGICA
    Para la enseñanza de esta asignatura se desarrollarán diferentes intervenciones didácticas:
    Clases teórico-prácticas de presentación de los contenidos de las unidades temáticas y de discusión
    de la bibliografía.
    Trabajos prácticos individuales y grupales, en los que se trabajarán diferentes contenidos abordados
    en las unidades temáticas a través de actividades orientadas al desarrollo del análisis de obras
    musicales afines y de la elaboración de proyectos de prácticas de conjunto. Cada práctico estará
    acompañado de bibliografía, guías de lectura y los recursos didácticos necesarios para su
    desarrollo.

    Criterios de Evaluación

    Correcta ejecución de los contenidos mínimos planteados, que demuestre el


    trabajo realizado durante y fuera de las clases presenciales.

    Manejo de aspectos básicos en cuanto al lenguaje vibrafonístico, con el nivel técnico mínimo
    sugerido en el programa.
    Crite
    rios
    de Acreditación
    Asistencia, puntualidad y participación activa en cada clase.

    Aprobación de parciales propuestos para cada nivel.

    Obtener el porcentaje de asistencia reglamentario según el régimen de promoción (80%).

    BIBLIOGRAFÍA.
    Séjourné, E. (1989). 19 études musicales de vibraphone 94 baguettes: 19 musical studies
    for the vibraphone (4 mallets). Paris: Alphonse Leduc.
    Samuels, D. (1982) Contemporary vibraphone technique D Samuels/S Feldstein.
    Eschette, R. (1983) melodic chord phrases. Reh publications
    Friedman, D. (1973). Vibraphone technique: dampening and pedaling. Boston:Berklee Press
    Publications.
    Bartók, B. (1940). Mikrokosmos: Nos. 37-66 (Vol. 2). Boosey& Hawkes.
    Stout, G. (2001). Ideo-kinetics: a workbook for marimba technique. G & C Music.
    Covell,J.(1994) Modern method for piano: volume 1- foundations of jazz harmony. .Boston:
    Original Copy Press.
    Deneff, P. (2003) Jazz chord hanon. Victoria: Hal Leonard.
    Sisto, D. ( 2005 ).The jazz vibraphone book: etudes in the style of the masters. Meredith
    Music.
    Delp, R. (1975) Vibraphone technique four mallet chord voicing. Boston: BerkleePress
    Fichas de cátedra sobre los contenidos específicos.

    Sobre las calificaciones:

    La calificación de la modalidad con examen final regular o libre se usará la siguiente


    escala numérico-conceptual:
    Calificaciónnumérica Calificación conceptual

    1 Reprobado

    2 Reprobado
    3 Aplazado

    4 Suficiente

    5 Suficiente

    6 Bueno

    7 Bueno

    8 Distinguido

    9 Distinguido

    10 Sobresaliente

    Esta materia no se promociona promociona

    Aprueba el cursado con

    Sobresaliente: diez (10)

    Distinguido: nueve (9) - ocho (8)

    Bueno: siete (7) - seis (6)

    Suficiente: cinco (5) - cuatro (4)

    (aunque la nota final será la evaluación que resulte de la mesa de examen)


    Desa
    prue
    ba
    con

    Reprobado: tres (3) - dos (2) - uno (1)


    apagado
    o
    I
    5l
    {

    Section ltt

    - Dampening
    J

    -t --;-^, atechniqueforphrasingthatallowsyoutoconr.rol thedu.rationofanote.youcanstopanoteonce


    '----
    '- '!. ----__t:. :,,: pressing a mallet
    :.:'-i.:.-: :" elther into the bar or by pressr4g your hand or finger into the bar.
    -:) -dir oni\ De done with the damper bar down so that the bars are vibiating freely. By These dampening
    playing
    c 'u e: "'-:lrriiu eacn note as it moves into the next you
    )--: .-,^^L a melody
    can create a legato sound. This sound is smoother than
    ar:": ' :; :" pedaling aione. Another benefit deriveá from that
    dampening is the ability to play a chord and then change
    u-r'3 Ciii''re noles of the chord while the others continue to ring.
    This allows you to change the color of a chord while
    s::.^ .:::.nl parr of the original harmony ring.

    A. Mallet Dampening
    \\'hen using mallet dampening, any note can be dampened
    with either the same mallet that strikes the bar or any
    other mallet lt is extremely important that any mallet used lor
    dam'pening should slide onto the bar tr,u, i, u.i"g
    Canpened without making any contact sound. If the dampening
    mallet hits the bar with too much f'orce, it willsound
    as lhough the note is being restruck rather than being oampenea.
    Good dampening tecrrnique allows the player to
    strike a note and then dampen it without hearing the dampening
    mallet strike the bar.
    I Learning to slide the dampening mallet into the bar is the firsr srep in
    dampening. I he dampening malletslides
    irom the nodal point (the point at which the chord goes through the bar away
    from the player)towards thecenteroI
    the har Bv the tirne the mallet reaches the center ol the bar th. nnt.
    shoLrld already he clampened. The amount ol
    Dressure needed for the dampening mallet to stop the bar vibrating
    will vary according to the instrumenr you,re
    nlaring, rhe type of malret you're using, and your own physical strength.

    T11 play'ing the rtote C above middle C with mallet #l and then
    dampening it wirh the same maller. Make sure that
    the oecial is pressed down and that you don't hear the dampening of iir.
    uu"r. oo itis .*;;;;;;r'rr,iir"u
    r,.r,
    gettinq a ieel lor it
    once you feel comlortable choose some other notes and iollow the same procedure
    for mallets
    r\\ü.threc. and lour.

    Each ''ne ol'Ihe rlext lour pieces is written lor a difierent mallet.'lhe
    maller thar srrikbs the bar willalso dampen tlr,e
    bar' The rht thm of these pieces are ctnsistent so that the first
    nore of every measure i,
    a t»o beal rest' The third and fourtli beats of each measure "hl;;;;;..rr',".,Io,io*.. o,
    should be sirent riyou aIE dampening correctly. fhere
    shouid be no rinsLng of the notes from the first two beats into
    the seconci,-" ú*r.ilso, you should not hearrhe
    dampe ninc II d l3t hrt the bar. Each one of these pieces
    should u. ptuy.a ;r;;;; nr,i*., alrvays with rhe pedal
    cio'nn' Record rourserl to make sure that you're áampening
    correctly. "

    ]fallet it # tgA

    u
    É

    l-:,
    X

    E-
    :J
    :J
    ]latlet iZ
    :l
    #198
    lJ
    :J
    e :J
    -J
    :J
    >t
    --6 \-l
    ,
    !
    Mallet fle
    #19C >t
    ,
    ,
    3J
    u
    3

    ]
    t¡
    #19D
    Mallet ila ¡
    __r___-_*r--_
    ___]_--_:-.-_ *
    X X x -r------
    Y f,
    ^ !
    f

    t
    rl
    X
    p
    f

    !
    x X !
    X
    X a
    tl,
    .%

    X
    a
    X X X
    X t
    t]
    tD
    53

    l-=-=r':::3: tt':l::'1:agooddampeningtechnrqueislearninghowro,slur,notestogerher.Thedesiredeflect
    -- .: _:.: ...:;
    a
    -._ ,,t

    .i,:::: : " lnd lnstrument moving from one no,a ,oitre next without taking a breath. rut.
    tr,. rolrowing

    #20A
    ]f allets 1+ J
    !E

    .-
    L
    R t, r)
    I\ L

    I n o¡der to play this


    example correctly, you have
    note oieach measure vou're to coordinate your hands so
    aun.p.ning ti'.1¡r, that while you,re playing the
    second
    the 'A' -rou're damoening
    the c' il;;il;; 1r,i.;;;;;ñ
    tr,. c you,..
    that is au*pán*g'liorra riid.
    ;;;;"irs
    the A and ui yoi,,.. praying
    There are a couple of problems into tr,i ua, wirhour any conracr
    trtu' yo''*ight have *ii¡ irrii-ampre. sound.
    before you strike the second First, you might be dampening
    cau'ing a u.eut i, rhe [irsr nore
    tr,. ,orr,d. wi;;;", would acruary be praying wourd
    rook like this:

    #208

    r------r-------l------
    rc
    It I 6'----r---t-- ?'T-- :__g-
    ú

    "",- Ii,::;;,1Í.xT3l:T#fli ffJ:::::::fiI'jh"rH:;,1:::T,ri: ring,oge,her bv dampening,he


    firs,
    ffi::,

    #20c

    2
    L --r-__71a_:_-

    t:
    É,
    You can eriminate this probrem
    by dampening the first note a
    lirtre sooner.

    .- **il:H.i:li{ili:{::T:
    1-..
    ,¿ Lct us review how to ptay ttris!ási".*u-pr.
    I-.}.,'.i*l;ilijl'ilffJffi:jxiJil1:il,ffi;§ure,ha, you,re dampening

    le rnrll¡1silentlv dampens oirtrr.inf ,lot., to!.tn.r. Ar;;;';.iler strikes


    ti,rotú., uá.iv ,ri¿r"Á trr. mar"iir?;;;. the bar
    ,o;rl o;ir;;"#f, th...nt.. orthe bar.the other
    le ¡o brcat in thesound as
    the ber rathcr than vou go rrom or. ,",. i'i;;;*..^n;;,:::;;"*.,1IilJI,ffi:F
    ;"J;;i;r
    There is
    la hitting i'
    mch pressure as is needed ¡' ot¿tt in. o"l ,*;;;;.
    üi.. ,n. ar*p.riof
    marer srides smoothry onto
    ;;il;
    b -roc'r usius You mav hear a
    to iiop tr* uu. r.om vltiry^. is on the bar you can appry as
    Dependirig on i¡. hardness of the
    marers
    b
    l'r
    .*§¡erfi ro change theamount 'lish;;;;l,orno
    of pressu.Jthat you
    r*'dñ;;,"'Tl[il
    u, ;;"u*,,io;;. úthisiuzzir;;;;;
    ttr. *"iüil;;,i..*,..*. cases, you
    "'r..;;;;; oninstrumenr
    becomes ,.ryr.ir..rbre
    thar
    you

    f
    might even
    ffiHrtffifflH-1:ffT'J"-,;'' that you pra1, rn time, ir w,r not
    be a
    T
    a
    tnvolres ¡he same usase oi siurred notes. lt is firsr ro be plalec *rrh rnaiie:s:
    -. ,_1:^j:t*t,p]t:t
    :]a'13:s =- and -1 \fake sure rhar rhe dampener pedal is down throughout this piece.
    i anc ,l ::.3:..i:_- a
    a
    #20D I
    3
    j

    f
    R R L R L R L
    I
    rD

    e
    ,t-x_ tD

    X !}
    L R t. IT L R L R L t
    I
    !
    vl-
    t
    t "*
    X a
    t. R L li t( L R L R L l}

    a
    1-
    j
    X a
    L IT IT L R L R R L I

    3
    3
    !

    B, Scslar Dampening

    Besides the dampening of individual notes using the same maliet there
    are other types of dampening techniques,
    Take the following example: \D

    #214 I
    a

    t
    3

    t¡. 'r$.:11. i!: ¡..,"r1'

    L.
    n
    E
    E
    b
    55

    la
    r11 ' -
    l-: ' - -r : ":":::
    :r':: :' '::
    j I:
    :::.ai :hls iine. slurring every note, you would have to dampen dilferently than you did in the
    ":"* i:C use ihe same technique oldampening each note with the same mailet you would end up
    -:s::;¡:s;rereachother.Thewaytoplaythislinewouldbetoplaythefirstnote(C)withthelefthandan¿
    l-
    rl¿ -::':::''':j.l'-slr-i<eIhesecondnote(D)withtherighthand.Alltherestol'thenoteswouldbeplayedwiththeright
    -"1:'- :r ": '::: land dampened. In other words,
    when playing a series of consecutive notes up the instrument, the
    :':'-' ' '-':..: :. a'' s : he line w'hile the lelt hand trails behind dampening. The reverse is also true.
    : : '-.::: -::" 3 i rl le S d o w'n the instrument the left hand plays the line while the right
    When playing a series of
    hand trails behind and iJampens. The
    ,4 .r'r-.1:r.'- ;.rrnt In thrs technique is that the mallet doing the dampening slides along the bars, dampening thent
    l- ';-::':-: aeing lifted up off each bar. Therefore, that C major scale would be played with the
    followingsticking:
    1; # B
    É
    l;
    l-:
    a; e,
    LRRRRRRR
    I. R

    l; \f ake sure that you keep a constant pressure with the dampening mallet as you slide it from bar to bar as you go up the
    a; instrument.

    l;
    l) #21C

    l;
    t;' X1,
    ,¿
    r¿
    rl;- RI-LLLLLL
    Here the situation is just the reverse. The first note of the scale is played and dampened with the right hand.
    All
    l). the foliowing notes are played with the left hand and dampened with the right. The right hand trails
    u'irhour being lifted off the insrrumenr.
    báhind the ieft

    t;
    u'
    l;
    Norv try practicing the major and rrrinor scales with this dampening technique.

    t;
    t; C. Hand Dampening
    l-:'
    E Another kind of dampening thar can be used is'hand'dampening. This technique is more limited in its usage than
    mallet dampening. Hand dampenin g is used in situations where it is not convenient or possible to use mallet
    r¿.
    l) dampening' This technrque is only used between the naturals and the accidentals. Take the following example:

    E. #22A
    1).
    E,
    rr:
    Ij:
    l:' In order to play this rneasure w,ith the correct phras ing the top note C should be dampened into the F# while the
    bottom three nores continue ringing. It would be possib le to dampen the G with mallet # i, after striking the chord, and
    I.-t to play the F# with mallet #3. Bur, what if the situat ion was a little different?
    l;-
    J
    J
    #228
    J
    J
    I)
    JJJ
    J
    :

    difficult Lo dampen the F# wi th mallet #3 an(


    with mallet.#4. The problenr would be even
    it would be practical to uss hand- darnpening,
    then move back down to play the low
    more exa ggerated a t a verv fast tq rnpo,
    "\ This is the kind of situation where
    B J
    =I
    =
    H and-dampening is done by pressin the
    first and second joints (another
    ger tips and the knuckl e) oi the way to describe it is the area bet ween
    2nd, 3rd, 4th, and 5th lingers o nto the
    dampen when playing wit h the first and the bar being dam pened. You can only
    fourth mallets. you ilso h ave to make hand_
    keyboard as you sure that mallets #2 and 3 don't
    ng, In the above example, both the hit the
    As you play the F# place your fi ngers on G and F# are pla ye d with rhe same mallet
    the G to dampen it. you should (# l)
    sure, that as you strike the F# and da mpen dampen the G as you strike the F#.
    the G, vour inside mall et(2) is Make
    docsn't llt an extra ltotc ¿rs you plav the F#. high enough ab ove the keyboard -i-

    Practicc going lrorn the G to rhe FH so that it


    smoothly until you can dampcn these notes f
    The following piece is written for o nly the right
    hand and uses hand da mpening. The top
    with mallet #l and the bottom nores sh ould be played notes should be played
    with mallet #2.

    #23A
    1
    1
    1
    I I
    I I

    1 I 1
    I
    t

    ,)
    2
    2
    1
    t I I I
    1

    u
    dx -----:

    I I
    I I

    a
    57

    - '. for the lert hand. The top nores are


    . -,., .= , :;:,;;:?:;i::t;o""lv to be prayed wirh mailet #3 and the botrom

    #238

    3 3
    3 3
    3

    a, -_]---
    X x
    f
    r-f
    4
    r
    ,4 4 4 A

    3
    3
    3 3 3 3

    ¿ J€-
    p;t
    4
    L-_, r
    L1--, 4

    D Slide Dampening

    Another type of dampening is called slide dampening.


    This type ord.ampening is like hanri-crampening in that it is
    ::;:,:iii::'X'Jili;:fffil:;.i""',;i:f::liilm,.il"],,n", ii .* on,i 0.,,.a betweentwo ronsecurive

    #24A

    111 1 lrl 1
    I
    o
    1
    I
    ¿ 2
    T
    0

    l¡:'arrhrsexamplewith.srideilampeningstrikethefirstnotewithmallet#r.Asfoustrikethesecondnotewith
    "-': ::'a ' lel' i ou dampe n the firlt
    noie by sliding the maller tut.ruiiy. i,r.
    i'-.:: '::13 I -l:r- irr'.t l, iú'i, t..trniqre is, in being able to
    in bither direction rast enough ,o auáp.ni,,.lr.rii*
    -.=. .-,-'.;i:iilj'Jl;.I:"" note. This rechnique can be

    E C ctmbining Dampening Te chniques


    l-tE included a number of pieces
    that utilize all three types of dampening
    ñ¡6crtcs ¡hat it should be mattei tecriniq,ues. An X forowing a note
    ¿r*iria
    túa*itudanpeninsr.thaven't ut.a á"/ri.cific tnto the n.*, no,.i un x ,.n.ui, ti,u;;;;;;;
    dampened inro the nexr nore
    notatio h;;;);*p,,,,.,ifi#;:iJ'*i¡ a.p.na on how rasr you,re
    "r,,
    Étrffiffi"I}íi::::t¡;li1lTin[';.,,ffiil:"0"^i;{,:"',:;:;ffiX#;fffi:,:;H:,'liou,¿u.
    *-.¡
    )
    #25A f"

    1
    i
    1
    I 11 :
    t
    1)
    tb-
    1

    ffitsZ-_- f
    !l.
    E
    r
    e t
    4
    4
    E 4
    4 o
    X D IL,
    4

    1
    3.
    1 1
    1 a
    f !}

    1
    1
    1 a
    3 1
    L
    r\ Ih=!_g ..1-XEñ----._._¡- a>l
    tr
    '4
    4 ,
    F ,
    *¡ar
    4
    |
    6 4 , t-
    1)

    -
    4
    }J
    1 f I - 1
    rl---)
    1
    -rl
    ,
    :J
    ,
    \)
    -e-
    4
    2
    4 u 4 , X
    X
    >T
    4
    :)
    >I
    :J
    #258
    :I
    1
    3 1 1 !
    :J
    1
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    ú<;cDnfiN D
    Dompeningr Etudes

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    hr this etr-rtie, r u-t- t*r.,,r.¿ rr*r-r,,.,",:1,i,',,grii sr¡rcc the peclalrvillnol, bc sus-


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    8.40 19

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    B. How To Use T'he Pedal

    - -: : -'c¿ ' cn the Vibraphone is the means by which notes can be sustained. It is the most basic way of phrasing on
    ::: :!::*::'eri I described in the beginning of section I that the pedal is depressed with the right
    foot which is
    :.::':::':'-3rrghtedgeof thepedalsothatonlythetipofyourlootistouchingtirepedal.Thepedalshouldbeabout
    :': I':'-j.r3s a':ore the l'joor. The pedal is attached to a metal rod that is connecteJ to
    a felt dampener bar that sits
    :3:''¿:r :he bars' When the pedal is depressed the dampener bar moves down and the bars are free to vibrate. When
    ::':::jal is released the danlpener bar moves back up under the bars and stops them from vibrating.
    l:: ilrst important point to keep in mind when pedaling is to only press the pedaldown far enough
    so that the
    l¿:s ¿:: abie to ring' Don't get into the habit of pressing the páaldown
    to the floor -- this is a waste of energy and has
    :': :i:ecl or the sound of the bars ringing. The iurthe. yo, pr.r, the pedal
    down, the longer it will take for it to return
    :-' ;anpen the bars' This will increase the possibility áf notes
    ringing or fusing together.
    The second important point is that pedal is used for phrasing
    and noi foi time-keeping. Most drummers
    ra"; a hard time learning how to pedal musically because
    of the leaÁed reflex between.their feet and hands.

    C. After pedaling
    -
    There are a number of different ways of pedaling-the first and mosr obvious
    is pressingthe pedaldown as you
    strike a note' This type of pedaling is used often, but in and oi itself will not ena
    ble you ,o get a consistent clean sound
    u here the notes don't ring together. Even with the dampener
    bar up (pressed against the bars) there is still a certain
    amount oi ring that each ba,r has. If you remember back to some of the pieces earlier
    in this section there was no
    pedal being used' but even s!, each bar had a certain amount of resonance.
    Now play the following chromatic scale.
    I

    # 16A

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    r:oies The reason for this is
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    rett toiiop Lrr.".irging ú;;.
    t h e n otes rr ng togethel ;;;;..r, th. pedar down for the nexr nore.
    .r¡11ae ,o ,iáp rir, .inging b.t*áe., ío,., ,o, have to rcarn to press rhe pedar
    r B.c-uuse oi:ha:.
    Y'OLr STRIKE THE NOTE.
    rrr" i, áij.¿,,uñ.r-"p.out*;;,.;;,, a very.on,*oni..t,niqr. d o*,n ,{ trTE R
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    a note as *til u'-'it., you
    sirike u .ior. *iu enabre you get
    where every note is clear' a crean sound on the insrrum-en¡ l.
    each note' Make sure tnat
    I'ry''playingil..i,.á,nuri. r.ui"ugui¡, uut Io
    ttis íim.'fJ.rrii,. p.aur down after you
    st,ke
    >
    ¡iou ion't tíuiiioo long before p*rr*g the pedar j
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    urnorni'"iii.. tñat youí^ii[.fr.. pressingao*n oii.rwise rhe note v/on,r iing at ail. !}
    rnstrument depending on tlte tire pedal willvary from instrumenr
    crrndition of the felt' ro
    clearly without any ringing
    If ;o; u..ti.auring'.".*.,i, y"írn"r,o hear each nore creaniv and !l
    b_etrveen the notes. T.he symbol , , is used fttr perjaling. )
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    a series of consecutive notes
    where you wanted the rast
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    # 16C

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    :;;3 ll-'at there is no difference in the pedal


    marking (r r)as to whether you should
    serike rt. Let the music and your pedar as you strike the
    "ou ear dictate which sounds best.

    "'\ -.-f
    :r:¡es in"ol'e alter-pedaling. Each ti me the pcdul rs
    .' i,rjicate<r you shruld a['tcr-pcrlal. Most,lrrllct
    - .' :a": to re ad won't have any pedal indications at all. It ,viit ue your judgement
    '-
    (rnusici,nship) to
    ' ¡::':¡:orlin.eaccordi,gtothesituation.Beingablet,pedalinrnrÁb.rárJi,i.,-.",wrrysr.villgiveyou
    ::s a¡cj rleribilitv. play these pieces at a variery of t.mpos and dvnantics-
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    LUL¿rrry (llllerent
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    As you can tell by now, there are a lot of diflerent possible pedaling combinations for any one piece. Take the
    etudes from the beginning part of Section i and play them with different pedalings. You can also take the four mailet
    etudes and practice them with different pedalings.
    {gi{,Df'4A[tJ D,

    Secfiom [[: Pedexling

    i\fos'l, ml11e1, pla¡'els trrrive trl' Lhe \/i1:l'aphorte by tq'a)' of


    lhe l\{alimba
    allcl/ot [he ]r.1,]Qphrnó.'1.']-,.rnl0Le, oue of the lilst clifliculties they enconuter'*'iLl-¡
    pec1aI. TIe t-nost obvior'rs conclu-
    tJre ,ibcs is tli,¿l, oI li]rou,ing u,hal 1,0 c'lo u'ilh the
    al'csltlL, t'he ped:rl
    siotr is t.li¡rt it is capable of sus1,¿inin-u tor,cs alrcl choi'cls. So,:rs
    is tl-ren linlitt:ri Lo 1:er.fon")ling lhis siDrlrie Iurlctiotl ¿r1one.
    Dr¿ft, uSc of l,hc pet1al, l-,o,.,'a.,'n,', cAll lllc:¡lll l'he tliflei'ence
    belit'eeu ¿r smooth
    leg¿l,o lille a:itl :l cottf usecl, tlntlefrltctl r:lttstet' oí llotes'

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    II this lille is pcclalecl lhis r,,,¿t),, ir"ccor"rliiigto beats trt-icl Phlases, the triplets
    l,ili liug- into each otl,*t, o):scr.u'irtg tllc clai'il¡'of the iine' -
    so that bhe lrotes clo
    Ilelc,u, ts li lrror.e coi.rcct i.,¿), oI pecialirig lhe s¿ule line,
    nrl1. oJ:scltrc: ancl t't:rg inlo e¿ich crtiiet"

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    [.¡1; plalling tutres or' ]:ieces alrri ltse the pecial ri,her.e }:o,
    able 1,0 1,cll if ¡,on ,r:.-pl',rriirg 1.,ropc,.l1, 1:y lisie,i.g to cla.ity
    of line' If tlie uotes
    ri'¿tttt ihetl to, )¡ou al'e cloiDg
    corrsjstenLl), I'ing i¡lo one o,-,oi1',.rin,lteLc-)'ott c10n'b
    Solitcl,ili:re \\rt:oltg. Lel, ¡.s¡1¡ e¡l'be l'ou g,.ri,1n. Soon,
    the plocess of peciali:rg q'i11
    be as tt,tlcgttsciorts anil nillq¡'¡r1.its tlic abi-lit¡'to opet'itte,
    rviilioui cleliberatlon' the
    getr" stirilt iulcl cltttcli of ll:r :rr:'tolllol¡iie'
    c1o ri'hiie plaYing
    I *,onlcl jLisl, )ilie i,o stless 1.hat the most itrportant thirig topi'oclucillg u'ith a
    tJrese trext eLlicles on pecl.rlilrg is lo lislen to lhe sortucl
    yoll a1'e
    cr-i.Lic¿rl e¿rr ¿rtrcl trJjusl, it ¡ccolcling tt: ¡,¡¡¡,r' ou'u
    ¿resthelic sense'
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    [Wa]qe up Your Own!
    L '.r:,'
    .1,
    11
    ,

    ,2gt Exercise 19 This is thebasic fum of the four mallet exa'císe (see exacise 6), in each hand, hands alta'natíns. You
    should watch thá gend'al aña of the keyboard between the uppa' and lowerrotation intazals. Thit it
    ??i?? aay dificutt.
    l.h.i r.h. -!
    i{ j*
    IB ali
    Slotu-Fast
    M2 1

    mz 4e
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    4
    § g 5tm" m3 M3

    l______*J--

    2
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    P5 Aug" 4 P4 M3
    -*- H
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    (t,*tffi

    Make Up Your Own!


    -25 -
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    Exercise 20 !,,
    Tltis exetcise uill sbctclt yotn kint.stltclic knouledga of tlrc ku¡ltonrd to n itrll/rotn octnua rnttge. Very dit't'iuLlt! .1.:'

    le {t 4 ¿l ( .,

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    '.: l

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    Make UpYour Own! ,,¡r',


    \f>,-
    -26-
    -
    13
    -

    -:::: -.- :. ...-s:t-,lllirns59,9A, l0& l0A) showthemotionoitheinsicieandoutsiclem¿rllctsstrrkingthebar.


    '. . :: .r:;:::.. :.: Íf,tion oithe malletsandthatthewrististurning, butisneverbroken. Notrcethatthemalletsare
    : .-: :;r.: ::s.i.-'n oi a 45o angle rvhen striking the bar.
    ' 'j^'c"igingthismotionistoplaceabook(asshowninthepictúres)underthemalletthatisnotstriking
    .:.. rr: .is ', ou strike the bar make sure that the maliet above the book just swivels, but does not hit the book. If you
    - ::3 :.:'. ':.9'.rouble q,ith this, check to see that your wrist is straight and that yourforcarm is angled down towards the
    :.:..r,r,:ri ii-.ourarmistoolowtotheinstrumentthemalletabovethebookwill movearounduncontrollablyandhit
    ::.i r-rr( :r.erv time. You should practice this stroke very slowly, watching your hands to make sure that the mallets
    1:3 ::.r'. lne correctly. As this motion becomes more comfortable increase the voiume of each stroke by winding up
    ai,l siappinq vour forearm a little.
    r'\ .ii ¡ur lcit hand practicethe following pieces slowly, alr,rays watchingyour hands to makesure that the mallets
    i
    are ::.c,\. rnu properly. As the inside rnailet strikes the bar the outside mallet should rotate with a minimum of up and
    rl''in i:otion, When the outside mallet strikes the bar the inside mallet should rotate with a minimum ol up and
    :--irn motion. Repeat these pieces until they leel conlfortable and you are playing them musically. Then recorcl
    '. ¡u¡s:ii pla-r,ing these pieces and listen back to them to hear how they sound. Start to listen critically so that you will

    .earn to become your own most valued critic. Make sure that you strike in the center of the bar and concentrate on
    :re that the mallets are moving. lt's not necessary to use the pedal yet, although you should be standing with
    "\a\
    '. our right ioot on the pedal. Keep the mallets at a 45o angle at alltimes forthese pieces. When making large interval
    sklps. rnove )ioLlr arm laterally rather than spreading the mallets. 'f he numbers above each note reler to the mallet
    ::,at rs used. \4 ake sure that your music stand is placed low and tilted back so that you can see them. Learning a piece
    r'. n3mor\ rs a natural process that you don't want to inhibit. ,A,s you memorize, try to hear and understand the piece
    r:i iarger parts than just individualnotes. If the melody outlines a chord or seems to imply a specific harmony, rvrite it
    a:¡"e the notes so that you start thinking of melodies in a broader way. Memorizing will also allow you the
    :, ¡nortunitv ol being able to look at the keyboard and improve your accuracy. Play these pieces at a number of
    ::::i:inr tempos while also varying the di'namics.

    AiYIBA I, BORZOI\B
    " PERCUs IO NISTA]

    #1A

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    *" -,a:':
    :_i:_: l'. S-. l,
    ;
    ;
    ; stay in the basic position -
    ).:',r'i:r'lhese nerr pieces rvith lust the right hand" M,ake sure that the maliets
    ' *frtf.Jso varying the dynamics' Piaytxamples
    5-ar¿,e. Plal rhese F,i..., ¿l a nun-'be, oI different tem p.,
    1-^.- ..-..,.',,h ?i.
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    , #24
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    After you feel comfortable playing through


    these pieces, try writing some of your a
    player is developing the ability io own. part of being a creative
    iruislate yáu. ideas, thoug.trts, and ieelings
    development is by starting to write your into music. one way of aiding this a
    own pieces. Playing other people', .n,lri.
    pieces will develop a whole different is important, but writing your own
    side of you. writing iíu *uy to herp you tD
    your strengths and weaknesses, and start defining your rikes and dislikes,
    learning how to tai rrio own
    exercises that deal with a specific vou. personal creative voice. you should write
    technical problem, bui think of the exercise
    rather than just a coup.ie of measures as a whole piece or musicar thought !
    of patterns that are repeated over
    and over again. you should keep a note
    '' with allyour pieces in it' You may find
    that you won't be uüI, to finish every piecírnlust book tt ;.
    with a good starting phrase, but can't one sitting. If you come up
    finish it, write it d";; i;
    rgur !9ok uná t..p it. It may take awhiie before you
    il,Tll,il :il l"J;:f:,:l:LT:¿J:i j;ia
    The next series of pieces will have you
    "ili;;;;;;;;
    erse writing wi,, ieip you io betrer organize your

    combining both hands. The mallets will


    openiitg and closing will not be a probleÁ. still be at a 450 angle so that
    Again, tt e pJaat is not invorved yet. Make
    so that the mallets are hitting the sure that you watch your hands
    bars wittr ine .igf,t *otion.'- phry examples
    3a through 3d: j

    \.
    ts,kil?,ml B.
    Il,ilT,TiTlff bv eirher pickrns
    XXl"l,'i-l,t'J,examp.re
    nB on a¡d pull,rg -o'" of
    offüe merc,iJy notÁ" each nr,r,E
    the - -
    m¿16fry noIes .r+,h.iJe sustauLing
    üe

    G7
    ¡r1 Dm7 t
    G7
    ,,h
    a Dm7 -l
    1l
    4-
    E1 o
    CmajT
    a Cm¡j7

    fryl" -r
    il,,
    l-
    U
    .,1 =e-
    úl: I
    t¿ .\
    Lf j

    1'his simple II
    V ¡I PIU¿se
    phra
    sou¡ds best ilyou
    notcs on top-- Iet the chords sustarn
    for trieirfulr va-rue
    *.hiJe you pral,Lhe
    merod).
    ü
    N
    o I

    ü -) 1
    Fm7 ,2 -:- l-
    ü FmI I )
    ';t
    Bb7
    :D
    4 '§ Bbls EbmajZ
    /,rmrs

    Po-
    ,l
    I
    t ,U \.
    ¡i b
    ¡l 4 fl

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    tt, ,t¡tr
    l.,*-
    I
    I
    tl

    | '\

    !
    'iÜ

    ctff.rffiÉ"fá=
    ThisphraseisaIlIVIinthekeyofF'Thistimewe'reusingalotmorenotes.whirehordingüeFandAdown.
    8th notes' a¡d we're also using a Lriplet
    ñ,-h;;"^a ,,"rru..-,J'¡lfü.ory*
    ilí;:.ff:flflt the nores
    'r

    ¡
    -l
    t
    a
    I FmajT
    Gm7
    C7
    t FmnjT
    {! Gm
    7b9#ll
    FmajT
    I I n(
    U' t! Fmaj7aft9
    I I
    il d
    { hIl ----_-
    T-v rt r
    ( a¿ L §
    _rlt( L-- t

    t
    D
    L., l.- L";

    t?'^-,-
    r ñ'¡ ¡A

    Clrorrl ['hrase #.!-


    'l'lri:;
    slrr¡,,vs a III VI II V I ur tnJ tey
    of C. I,m using all flat 6ve type
    ¡\lrio rroticc the Cmajg uring rr., opá" chords. Em7b5, A7b.5, Dm7b5
    E ;i;; ¡nd CZb5.

    ,l
    o

    4i
    tim7h5
    0 I'.rn7tr5 A7' Dm7
    t A7b5
    DmTb5 c7
    GTbs
    CmajT
    Cmajg

    .fi
    4
    ?

    4
    Choril Phrase # I4
    Tlris plqase is a I vl Il passing Lhrough the IItr chord.
    It's jusr a nice isolated rick you
    in üe Em chc¡rd because ir's jusr prising, the_,G c¿n get away uiü rlie
    pusses;;i,; il;;h.to A to ub, G#
    Ernajor. Ir's a nice isorared uck in whiü üJ.¡oia;s ,;lii"-uuy .o*,:. Em nor
    r.t rfr io tr,"li.¡o.¿. ;

    7 to
    't0
    a 1t
    I

    CmajT A7
    A:7b9#5
    413b9 Dm7
    rl _. ._. !nraJl.__*
    Dmg

    rf
    -tt
    *+
    ')/

    Chord Phrase # l5
    rhis pi*ase is a Ii v i in *'e D' The Bb courd be considered tlre
    iltrlil.T,Xi§ H:T'#' ri"'
    .k-ey-of
    *" Lie a ]¡ujz.h".J;; ;Jmerody frat.five sub or E, but it,s just
    a h¿.rf srep
    going ro 1r.,. áo*,,,..,17ü (c
    nore)

    Em7 A7
    Em7 tsb7 A9b5 DmajT
    ,n*r¡Z
    D6
    F¡
    #3
    #

    Chord Phrase #19


    This example'is basically all Cmaj7. We're using passing chords; C.rjz,ro Dm7 to
    It's important to use the fingers on the right trand uá.rur"
    D#,7 toEmT (whichis fu¡c_
    ir,.'r*r*á ,l,n no,". r.. .rurr"i
    trHÍ ilr!ffir?.

    Cmai7
    CmajT Dm7
    D#'7 Em7

    '-rl.
    rt ,{t 3\D ¿- ) :IE
    ,^ IT-,-r \ ffct.-

    Clrorrl Phrase #20


    I [i:rc is r lt v t progresson üe kev o[ C m¡ior. The C #? and E?
    'r
    is tlrt: V e hord o[ Dm' This technique chords are suggesring rn
    .r;..;:;., tor of harmoni.-J,ion- C. F;:;;;.,i.,ii,
    ATbg sound which

    ="*., .' , prrring .r,ora *nt¡, .""r¿ rr.;;.r;;; r. , ,j6, whi...h


    The F#m7bs a diaronic subsri_
    ii'lli,':::i""'m7' sers up rhe

    5 6
    6
    6 I

    G7
    Dm7 Dm9/G
    F#m7b*5 G 13b9
    C/?r Dmz E7 FmajT CmajZ
    C619
    ¡- Fl--
    -fro- t
    a-*- L_-_-
    ]I
    E.-
    v t T
    rl

    ia.
    Chr¡rd Phrase #2I
    Here is a ballad stvle I vl ll Y turnar.rund' we're
    usi'g flar ñve subsrituli:lb,
    i
    ln ü¡e'next tu¡o bars we have r r vr Vl wi;;
    ñliilü:Iiiiljr3) r,l:.Dm7, and DbrrLajg for Gm7"
    inr«.¡ a ¡r ci¡ord,
    üen vr ro¡ ro r/ ro r.

    tr

    Dm7 C7
    "a FmajT Abl3 L,m/ c7 * 5i9
    rmEJ / Dbmajg Db6

    st 6
    6

    fit
    *
    FnajT Dm7 Gm7 C7
    Bb13
    p Foajg
    5
    413
    r 3=- D9-
    -- J-
    Gm9 C7b5b9
    FmajT
    -'..
    - J-
    * Fmajg
    *
    +
    t
    {

    f,
    *
    á
    f,
    4
    :fr
    fr
    i

    b ri
    I

    I
    i

    I
    I
    I

    Chord Phrase #27


    I

    Here we have [wo I'u II v l.progre-ssions in the key of C. In the third bar the.CmajT nioves down to Bb7
    serrins
    up üe A7. In üe next bar.the DmTsus moves up a half step to Eb9 for melodic;rrp..;;, ;hl;d;
    chromatically down to the Db7#9 which is the b5 sub for G7.
    il;.:

    ó
    t-f

    CmajT A7
    Cma j9. A7 t9 Dm7 G7
    Gl3
    Dm7 l

    I
    f
    I

    I
    j

    i
    5 a 5 5 I a
    I
    I

    i
    I

    CnrajT A7
    Dm7 G7
    Cr¡r:rj7'.1 Bb7 A7b I A7 #5
    DmTsus Eb9 D7 #9
    J -... --J - ..-J-_:. Db7#9

    §1t ;T

    dtf--
    1

    rl

    CmajT
    Cmaj3,/ I I

    20
    -
    0
    o
    Liilir
    H+H ---
    t3
    ill
    ll
    Lr/ E7
    Db7#5#9 C9 Bm7b5 b¡*sbs
    G7 t9 Gb7
    Brñ7b5-
    Bb7b5*
    E7:b5 ,.:. . i

    ) .

    D7
    AnrT 1 C#mzbs ArmI f Ebl 3
    UorT Cnl¡r j7 AmI l
    A¡rr7 ú14 ,-5r C7
    .:t Á-¿
    , tt
    -D

    r
    1

    I 7
    5
    5

    (;7
    F9/ I I E7
    It 7Ll) Am7 D7
    E 7t¡ I Eb9# 1r
    Bb7b5 A7b9 D7b9 Ab7q5

    qhi-t b¿
    F{r- A

    L-
    a_É_

    (:7

    -o-
    J]
    o
    c.?,

    6 LESSON ONE
    he¡ein are
    Thls lesson ls ]¡,.ritten in the Key of c major, in t tlme, ancl the exercises contained
    in these exercises must be
    composed of eighth notes. It is very important that évery note contained
    correctll'. If
    struck correcily. Keep a steady tempo slorÁ, enough so that every note can be struck to you, coun"
    become easier
    necessary at first count four beats to each measure. As ttre exercises
    tc'o to each measure. Then in order to gain more speed, give one count to each measure'

    Ht'1,¡¿1 tltis erercise tltree r-


    l .' Irt:l;ut''s u;llrnut :to¡1'1¡1¡1
    Kt t'ir slr'atlI tt'tl)l)o.
    " Lli L RL Ltl LnL N,L
    R L
    R I,R I, R L LB I,R R¡ G
    L...R la
    L
    aa
    ¡1 R
    R

    2.
    Re¡,eat tlris exercisc tllrc"
    uriirut,'. rv¡thout stoPP:ug
    -e- 7a
    Stcady tcntpo.
    R L RL
    RI,I1I, R R L
    RLITL It I, ItL N,LRL I} L
    RL I} L ..R ea
    /i ea
    3.
    Iiepcat this exercise
    tir¡rcs withr,,rit sloPIittq.
    twtntl l)
    ,R i, IrLlr i, R LR ¡IiI.,RL IT LN,
    I¿I,RI, LR 7,
    RL R¡ o
    L...R aa
    11
    ¿a
    I(ctre¡t I ltis t'xet,' i-t' trvettty * ¿a
    /tr, t,,r., *'itlrurrt stoirP;rrg.
    RL IIL .s ¿a
    RL
    R L RLRI, RL R
    ilL RL Llr LR,LRL II, L RL L...n
    R
    /i a,
    5.
    Rcpent this exercisc t,vr'lltY
    ti,r"r rvitlrotrt sloprpir.g. +
    U
    + Llt LRI,RL ItI,R L
    RI,RI, It L
    BLRI, L L
    RL Il ¡,
    L...n é
    It
    /ñ é
    $
    Repcat this exercise ten é
    t ; rnr:s lr';tirout stoP¡ing.
    L RL R I,R R I., NL L R,L N,L R,L + é
    R i,R J,III,RL L .R
    é
    llr:pcat this cxcrcise tcn
    /, tirnes rl'lthout str:pping -ré é
    L RL RI,RL ll l, RL RLI}I, RLR RL RL &
    II L
    t1 L RI,RI, L...R é
    /i é
    Ile'peat tltis exercise ten
    E ' tiri¿rs *'ithoul stopping. C
    R
    ¡R L RI,R RI,ITI,R N,L LRI,iTI,RI, R¡ Rl NL R¡ €>
    L.:.R C
    Plav this exercise ten tiI¡tes
    C
    I
    befc,r e going to the lext.
    Reep a stcad]'ternpo. Do tlot
    C
    strife auy ]?rolrg notcs. KecP
    l¡.rmmers LOW. It R R C
    R
    g C
    =:-¡-i' t.¡-ru- C
    lffi -4--- C
    --l I-...n. R
    R Tt
    n R
    /¡ C
    L?_r
    -a-
    *-7- C
    "€>
    p IT R Ir R L.. .It C
    Iicrrcrt tltis cxorcise fi f llcn /a C
    irn'es rvitlroul :to1'Ii1¡q.
    t

    I o . :J ::¿ t','r,"Jt:i"T,'j;':""5 , -tét 1- e


    accordiugly. KeeP a stt'adY iILIi LRI, Itl,iil-IILRL RI, i¿L RL "€i. ¿
    i,R I,II,I.Ri,
    I.( H L
    I,.. .R
    tempo. R
    a
    -I
    t
    ü

    P.a1' thrs exercise throtrgh


    -:-s ilr slrtct t*¡uf¡o.'f]rt n
    11. t¡..rk. a i.lric'l stuP-. Tlrt'u
    piiy it again. cc¡ntiliu¿ tltis €. LR Ln ¡Il.Lr1 I R LRL oLHLR
    r,i':,y for ten tilnes. L...R

    I-..- - 7--

    + +
    z--r-t* *r--l*
    -@-
    L...R IT LIILIi
    ¡R L

    § a
    -;J*l*
    L...R

    +- .-¿-

    I'llry tlús exercise eight tirncs.


    12.
    1'hó doul.¡le notes ntusl Le
    struok PreciselY togetLer.
    -f+
    Keep a steady temPo, uot IrRL
    to<¡ fast.
    RR Itlili s ñ ITR R IT
    L LL L ¡ I R L L
    L
    €-
    -r* t,
    R B R L ItItRlt ittill L R
    LLLLI.,LL L

    /¡
    E
    F_W> ü- +
    L R L R L It I,R
    R L L L L
    L
    Repeat this exercise telr
    /a
    ti¡ncs without stoPPirrg . .*-
    1:l Strike botlr uotes precisely
    together. Keep barhmers
    Low. o
    L

    Pl:,Yllris u-tct'ci¡e ten times


    a" íert as l,ossiblc u'itlrout -i#
    f-1. "tr r)'ir,g arry rvrotrg notes.
    I. L t.
    Keep a steadY tempo.
    R LR LR LIt L L
    L

    * q "a
    - lr t-

    o @o L,..1r R I- li l, lt I. It 1- li It

    1-
    a -e

    f IT
    Á R It
    AIt E
    It n It Ii
    YOU I(E T PI NCJ YOI,II? FIA}I TT},RS I-OI,I'' i
    +
    L-'

    S LESSON ONE._ RAG?IME


    Itagtinie- tiey of c) rnajor- I time' Keep a
    steady tempo. not too fast. ,ote the accents
    If 1'ou arcableto mentorizethÍse different rhythms,byall carefrlly.
    f r tlecessary until
    meansdoso.count fourtoeachmeasure
    the ;tcce¡its and hammering are rÁ,orked
    tu elrch measure. out. l.hen practice by givingtwo counts

    r'1.,r' 1 l¡r - ,,\CrCjsp tell > l> .>


    > \
    l.Il . :; -(,,1,., .r,,r 1..
    ' I:i rr N' l' 11,, ,¡(,,'¡lrl\
    R R
    R L R L R R R
    1, L L L L

    á ,-l-
    ?f -*-+_r -r-

    6 >-- --, =€ -z
    -t-{
    Play this exercise ten > .>
    ?, rr tt¡nes. Stril¡e every notc --7-- ¿Pr- -\
    r orrer I lv. -4 --+-- r
    n --+- -{ *-#
    + :]1ts+-¡ ---€)--
    R L
    R
    R L
    R
    &
    § R R
    L L L L L

    { ---r_{ ---*--- ---a -I


    I

    if ü-' -r¡--4 -€>


    -*l L: Yf
    f._-

    -f
    -{ --#.-{

    I'l¡r. t]tis cxerc:srr tcll


    {l¡¡cs. Gir.e tltc sarne
    , .ritt:t lr) ll:e lneasures .> -\ > >-
    lt. r'oi:tair:rn¡1 tl:o wjr<rle
    :1.
    ll',les a§ r'Ou do to tlre fr
    ll.':,'.r\'.1 (l)s r C¡rtairring ihe
    c lg tlt lr notr_.s . R t, R
    RL R
    R
    €- §
    L L P n.
    L L L

    d -;{
    +.
    *1-t
    á
    -o--- _l!
    I

    -rl---r
    -t-- -a \
    I
    t\
    o4
    i ii l'i.rl il:is uxerois.,e tr:it
    I::ltr -..1ir.r¡lori ze if ¡r1,-5llr1p
    -## --r--
    * R R
    a
    It L It Ir
    R
    R L, L L
    I, L L

    +.J--s
    ffi -.ril
    I
    rá
    ol 1-t

    I
    *1
    : ". 'l';

    t' ' i '.-' LESS.N THIRTY - T\1-o


    ee
    "
    1 is,*. cxeeirent stutly to de'elop thc LBFT tL\ND-
    I(oy o_t E IIat uajor in 4¡Etirnc. Exercisc No.
    rem.,ins the same thr'oughout the entirc e'xe¡cisc-slrilie
    ount four to each mellsure. 'I,e haniruering to play this exercise too f;tst'ltss¡eerl Is
    [1 on the ends o.t tile ¡:rrs' Do not attompt
    shar.ps a¡lü f]ats
    cttrecessaryÍnthisexercise.I(eepasteadytcmpoa¡ldstrilteeverynotegorrectly'I(ceptheLanr-
    rersL0W.Ilemorize,i'tpossible,anüthenpracticewithoutthe¡nusÍc'
    It B. It
    COUNT- L#q>'¿-!L
    Praclico manY times each
    - d¿Y. Alwal's.in tremPo nol'e .-ls-'fr
    iho hammerrng'
    LLRLLL -&LLLRL LL LLLl,',LLLLLLL LLLL
    NL L
    L L L

    -{-
    *Ht-s
    fr---T -

    -a-

    [7
    p!-

    t-, -t
    JJJ -.r#
    -'-EL

    I
    I

    Á- JJ l
    §
    -=--r7-:
    )J
    ) J J J J

    ¡
    j G
    l

    "I r*
    ¿ J

    b J

    ) J S-rP-J I'

    p!-

    I J J ---EI:
    ---* --Ét-¡l -1 =Fr
    =_,_J_

    .\

    )
    t :r'rÍ;F.: . .i...=wlilgt: l::TEEi.:-É''oE.E]:':,' ,. ,'ruimTffii;üF,iÉffiffidffi
    /

    I
    'lA
    f¡* "'
    ,i'Z t,'ll",,r¡.i{, il.r,l..,;,,,,,,,,: ," ' '(: l¡rs^"n't":"¡i:-i" o
    e)
    &,
    \ ffi.§flofime EE'WE progress§@ms t ;ffi @;
    ^,
    ta,
    d 9,i
    \ H
    i 5
    2
    5
    I
    4 B\
    I
    Er\

    a) c r Fq d --;I---.-.---.-.--*-: §
    c) qv
    B
    ;l T
    I

    O'
    1 5 ,)

    6)
    !
    t)
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    s
    \ l¡ e
    .)ü ,,:r
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    \ fr4 4
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    --{L-_-J -------
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    sl
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    el l

    5
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    4 Gj
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    si
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    5 5
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    4
    I

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    aJ g -i!1--- g
    W ,té
    VE

    s2

    J't-

    \_ ffi
    d4
    l------:--

    ü il*-W-- b'& #
    rl-----:-
    ---+.--L--]-
    \
    \-
    d A-
    tH#ng tv-Á,
    b4 il)
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    *--d*-t-H-
    I

    r I _i-
    #F

    -ü
    u 4C 4
    e rf4
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    .dl
    úd bdd
    #d J dtL
    -+
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    d
    e -T------=-
    --
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    1 I
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    V (
    & T

    I
    5 4 4 ii
    I 1 I a
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    §
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    #n* *€+ d
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    1 1

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    F*Í& W e I h,

    .t 5
    2

    ii,:S
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    tri"Q
    r-.
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    d+
    ttr
    _L--+--.{__L=-
    D+ .d.b¿ -F-re
    ''<lt ¿ bd&á t l+S A3 D4- .c"
    t,=t
    4 a.
    --,(§ t" ")
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    --''Q

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    ....,.:a

    t="

    F-:q
    ,.i3 kEf| i --r---T*-----
    oJ +tÚ+€1
    É I,d v4
    t
    Dd
    d--- -B
    ü á gd¿ t»l hd ,d
    ar',:§
    #a +d¿ D.d 4 b¿
    ,..,

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    - \:.¡

    ,.,:Q
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    ,,rs

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    \e* fr iN

    -/'
    (

    - Basic Theory ¡

    Four-Part Ctrords
    The type of chords we will be dealing with in this study will be:
    a) sevenü chords
    b) sixth chords

    Seventh Chords
    Ther of seventh chords
    MAJOR (abbreviate d: M7 or maj. 7)
    of the 1st, 3ld, sth, zth degrees of a mojor scale
    ex.: Cmaj.7 : C,E,G,B

    L*
    €-

    OMINANT SEVENTH (abb.: dom.7 o¡ just 7)


    consists óf the 1st, 3rd, Sth,lower ed (flatted) 7th degreed of a
    -
    major scale ex.: C7 : C,E,G,Bb
    bt
    €-
    {'f}}
    \- /
    r'""'
    !*

    MINOR abb.: mz, min.7 or -7)


    sist the 1st, Iowered ( flatted) 3rd, 5th, lowered
    seventh degrees of a mojor scale ex.: C-7 : C,Eb,G,Bt
    b, i

    €-

    MINOR SEVENTH T FIVE also cal]ed HALF-DIMINISHEI)


    (a¡ or 17)
    consists of the 1st, lowered 3rd, lowered sth, lowe¡ed
    -sevenü degrees of amajor scale ex.: C-7( b5) : C,Eb ,Gb ,Bb ,

    t:...
    I
    I
    ,I
    I

    q:
    I
    I

    I
    I

    l
    f;
    É
    t"(
    DIMII.]ISHED SEVE
    f the ts
    b.: dim.7 or "7J
    d 3rd,Iowered sth, uble flatted
    rf
    7th d egrees of a mojoi scale ex.: C"7 : C,Eb ,Gb ,Bbb Hr
    tñ
    t.(
    bb

    -e- rr
    ?r
    ---bt"

    AUGMENTED S : atg.7 or *7) l' ,(

    7C
    , raised [sharped) Sth, Iowered zth
    degrees of a moj scá-Le ex.: C+7 : C,E,G# ,Bb r,ft
    tG
    bt
    r,t
    L{
    lG
    t€
    Sixth Chords
    sixth chords. rG
    MATOR SIXTH ,b.: maj.6 or just G) -e
    of the 1st, 3rd, sth, 6th degrees of a ma jor
    scale ex C6: C,E,G,A,

    +-

    MINOR SIXTH .: m6, min.6 or -6)


    of the 1st, lowered 3¡d, sth, gth de grees of a mojor
    scale ex.: C-E : C,Eb ,G,A

    <>

    on the following pages you wiil find each of the above chords voiced in
    root position on every possible note. You may be unfamiliar with
    chords built
    on roots that don,t have a traditional major,ád", ie. G# El+
    , , Fb , ete. THESE
    cHoRDS CIo APPEAR IN'pop'HARMONy, so be sure to iearn them!

    2
    l
    q

    j
    I

    Pedaling t
    .
    No pqdaling indications are given in the exe¡cises. In Parts I and iI pedal
    each cho¡d change. In part III, pedal each chord change ar¡.d co¡¡esporrairrj t
    meiody notes according to the natural phrasing of the"melody. r e

    Part I Technique
    -
    Chapter One
    Guide Tones
    of the four notes in a 7th or 6th chord, the thi¡d and the seventh (or sixth,
    asthe clse may be] are the most important. It is these two notes that
    determine
    the quality of the chord. Notice that the 1st
    [root) aird sth of the follor,ring
    chords are the same notes

    C maj 7 ü7 C-7

    Root ot

    )¡¿
    ¿. f¡,J"
    ,h.,rgiore, if you played only the ¡oot and Sth of a chord you wouldn,t
    ,I(nGw whEthe¡'the chord was
    majgr, minor or domi¡ant. The srd and 7th
    [6th)
    of-the chord not only give the chord its quality but aiso gl"" th"-"i.o;á
    proglession the motion that makes the progressián
    understandable.
    Arrangers often call the 3¡d and zth
    [6th) of a cho¡d the ,GUiDE TONES,
    [because they 'guide the orogression') or,coLoR TONES, (because
    the chord its quality, or;color,). thut gi;

    F
    I

    '1

    -g,rii"
    rh"J'blili.o of themoteriat to.fo)Jowjs based on ;;;"r. Yo, *rr.t-
    therefore study a-nd memorize üe guide tones of every possible chord'
    r/
    Fol now, we wiIl be concerned with these chord types only:

    : ¡ a) major 7
    1 b) minor 7

    rj
    c) dom. 7

    root.
    )r
    To help you Iearn the guide tones, here they ale on each possible
    li
    . Play the guide tones with one hond (two mallets) at a time; play them aII
    with thá right hand mallets, then with üe left'

    maj -7 dom 7
    maj 7 6

    C
    ---w

    J+

    t,,e ------------¡f- rt
    D io
    fl

    o'-=- *.t

    E :
    -4:o

    - I
    rra!
    ,
    r
    l-
    'r-.-.=T--.-- lrt (t t^
    F v
    #t'
    -

    t -------.-----.--

    1
    Digitacion
    22 Ways to Practice Scales Creatively
    Note: All exercises to be played with alternate sticking.
    Ascending starts with left. Descending starts with right.
    (F Major) Tim Collins

    œ œ œ œ œ bœ œ
    & 44 œ œ
    1. Normal up and down:

    œ œ œ b œ œœœœ œ
    b œ œ œ œ bœ œ œ ˙
    œœœ
    2. Melodic sequence (1234 up, 4321 down):

    & œ œ œ œ œ œ œ œ œ œœœœœœ
    œ
    œ œ œ bœ œ œ œ œ œ œ œ œ œ

    &œœœœœœœœœœœœœœœ
    bœ œ œ bœ œ œ œ œ œ œ œ œ œ œ

    œœœœœœ œ œ œ œ œ œ œ œ
    3. Ascending 3rds up, descending 3rds down:

    œ
    &œ œ b œ œ œ œ œ œ œ bœ œ œ œ œ œ œ

    œ œœœœ
    4. Alternating ascending and descending 3rds:

    b œ œ œ œ œ œ
    & œ œ œ œ œ œ œ œ œ œ œ œ
    œ œ bœ œ œ œ

    œœœœœœ œœ
    & œ bœ œ œ œ œ œ œ œ œ œ œ
    œ œ bœ œ œ œ œ œ œ œ.
    5. Triad Arpeggios:

    & œ œ œ œ œ œ bœ œ œ œ œ
    œ œ œ
    œ œ œ œ œ œ œ œ œ œ
    œ œ œ œ bœ œ œ

    & œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
    bœ œ œ œ œ œ œ œ

    ©
    22 Ways to Practice Scales Creatively

    œ œ œ œ œ b œ œ œ œ œ œ œ œ œ œ œ
    œ œ œœ œ œ œ
    6. Four note arpeggios, ascending or descending:

    & œ œ œ œ bœ œ œ œ œ

    œ œ œ œ bœ
    œ œ œ œ œ œ œ œ œ œ œ œœœ œœœ œœ
    & bœ œ œœœœœœ

    œ œ œ œ
    7. Triad arpeggios alternating direction:
    œ œ bœ œ œ œ œ
    œ œ œ œ œ
    & œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ

    œ œ œ œ œ bœ œ œ œ œ
    œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ
    & œ œ

    b œ œ œ œ œ œ
    œ œœ œ œ
    œ œœ œ œ œ œ œ œ œ œ
    8. Four note arpeggios alternating up and down:
    œ œ
    &œœ œ bœ œ œ œ œ

    œ œ
    œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œœœ
    & œ b œ œ œ œœœœœœ

    œ œ œ bœ œ œ œ œ
    9. Melodic sequence (1235 up, 5321 down):

    œ œ œ
    œ œ œ œ œ œ œ œ œ
    & œ œ œ œ œ œ bœ œ œ œ œ œ

    œ œ œ bœ œ
    œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ
    & œ œœœœœœ
    22 Ways to Practice Scales Creatively

    10. Combination - Melodic Sequence 1235 + Arpeggios:

    œ œ œ œ œ œ b œ œ œ œ œ œ b œ œ œœœœœœœœœœœœœ
    &œœ œ œ œ

    œ œ œ œ œ œ œ œ œ b œ œ œ œ œ œ œ œ œ œ œ œ
    œ œœ œœœ œ œ
    &œœ œ

    11. Octave Melodic Sequence "Bach Style":

    & œœœœœœœ œœœœœœœ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ


    œ œ œ bœ

    œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœœœ
    & b œ œ œ œ œ œ œ b œ œ
    œ
    12. Octave Melodic Sequence Inverted:
    œ œ œ
    & œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

    & bœ œ œ
    bœ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ
    œ œ œ

    13. 1235 Melodic Sequence with root movement 'Up 4th, down 3rd':

    & œ œ œ œ œ œ œ bœ
    œ œ œ œ œ œ œ œ œ œ œ
    œ œ œ bœ œœœ œ œbœ œ œœ

    & œ œ œ œ œ œ œ b œ œ œ b œ œ œ œœ œœœœ
    œœœ œ œœœ œœ œ
    22 Ways to Practice Scales Creatively
    14. Melodic Sequence 12356865:

    & œ œ œ œ œ œ œœœ œ œ bœ œ œ
    œ œ œ œ œ œ bœ œ œ œ bœ œ œ œ œ
    œ œ œ

    œ b œ œ œ b œ œ œœœ œ œ œœœ
    & œœœœ œ œ œœœœ œ œ œœœ œœ œ

    œœœ
    œ œ œ œ œ œ œ bœ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ
    15. Melodic Sequence 86532123:

    & œ œ œœ œ

    & bœ œ œ œ œ œ œ œ œ œ œ œœœ
    bœ œœœ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ
    16. Pentatonic Melodic Sequence 1235 6536 5323 1:

    & œ œ œ œ œ œ œ œ œ œ œ
    œ œ œ œ œ œ œ œ œ œ œ œ œ b œ œ

    & œ œ œ œ œ œ œ œ œ œ œ
    œ b œ œ œ bœ œ œ œ œ œ œ œ œ œ œ

    & œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ
    œ œ œ œ

    & œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ
    œ œ œ œ œ œ œ œ œ œ œ

    17. Melodic Sequence 1653451:

    & œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ
    œ œ œ œ œ œ
    22 Ways to Practice Scales Creatively

    & œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ
    œ œ œ œ

    œ œ œ œ œ œ
    œ œ bœ œ œ œ œ œ œ œ bœ œ œ œ
    18. Melodic Sequence 8568653

    & œ œ œ œ œ œ œ œ

    & bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
    bœ œ œ œ œ œ œ œ
    19. Combination - 1232 + Four note arpeggios:

    & œ œ œ œ œ œ œ œ œœœ œœœ


    œ œ œ œ œ œ œ œ bœ œ œ œ œ bœ œ œ œ œ

    & œ b œ œ œ œ œ b œ œ œœœ œœœ


    œ œœ œ œœ œ œœ œœ œ œœ œœ œ œ

    œ œ œ œ œ œ œ œ œ œ œ
    20. 2x 8765 + 86531

    œ œ œ œ œ bœ œ œ œ œ œ œ œ
    & œ œ

    œ œ bœ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ
    & œ œ œ œ

    & bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
    œ œ
    bœ

    &œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
    bœ œ œ œ
    22 Ways to Practice Scales Creatively
    21. Pentatonic Runs:

    & œ œ œ œ œ œ œ œ œ œ œ œ
    œ œ œ œ œ œ bœ œ

    & œ œ œ œ œ œ bœ œ œ œ
    œ bœ œ œ œ œ bœ œ œ œ

    & œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ
    œ œ œ œ œ

    œ œ œ œ œ œ œ œ
    &œ œ œ b œ œ œ œ œ œ œ œ œ

    œ
    22. Triad Arpeggios with all inversions:

    œ œ œ œ œ
    & œ
    œ œœ œœ œ œ œ b œ
    œ œœ œœ œ œ œ
    œ b œ œ œ
    œœ œ œ

    œ œ œ œ œ bœ
    œ œ œ
    & œœœœœœœœœœ œœ œ bœ œ œ œ œ œ
    œ bœ œ œ

    œ œ œ œ œ œ
    œ œ œœ œ œ œœ œœœ œ œ
    & œœœœœœœ œœ œœ
    œ œ

    b œ œ œ œ œ œ
    œ œœœœœœ œœ œ
    œ œœ œœ œ œ œ
    &œœ b œ œ œœ œ œ
    I

    2'7

    Section II

    Sticking and Pedaling


    The art of strcking is a technique that deserves careful study. It is one of the lundamental roots underlying
    high
    ;'-al,tr performance. There is a lot of confusion regarding how to choose the best sticking. Most mallet players have
    b:en rngrained rr'it h the rdea of always using alternate stickings (right-left, right-teft, etc.). There is nothin! wiong with
    alt:rna¡e strcking as long as it's not the only alternative that you have. A more, well-rounded upprou.h *ould be to
    have the capabiirt-v" of choosing from a number of different sticking possibilities according to aparticular musical
    setting rather than only having one choice for every situation. Scales are a good starting poini for developing a
    nu n ber o i d ifferent sticking alternatives. M ost of the motion in the mallet and the arm in playing
    scales happens when
    \.or-: move fróm the natural keys to the accidentals or vice versa. An E
    flat major scale is.goá4.*u*pi..
    If ¡ou play this scale (with mallets #l and #3) you'll certainly notice a lot of arm and mailet motion between t.he
    r.a:urais and the flats
    #8A Eb major scale
    *¡ R 1,R LItL R

    3l:tl 31 3i
    *Throughout the book I have included
    both stickings and mallet numbers. In most musicthat you will encounter therewill be
    eilher no stickings indicated or an occasional L or R. By including both stickings (L & R) and mallet numbers you *,ill become
    accuslomed to both systems. An L will always refer to mallet
    fl3 and an R wiil always refer to mallet fl.

    A. Double Sticking
    \o w try the same scale with the following sticking.
    B'. oou bling the F and G plus the C and D with the right hand you've eliminated all the motion between rhe natural
    anC lhe accidentals. Another advantage with this sticking is that it enables you to play in the center of each bar more
    easiil.
    #88
    Eb rnajor scale
    Lll RL Ir ll l_

    á113 31 1lJ
    ,,

    -..:: :re E llat major scale, the A rñajor scale also has a lot of arm motion.
    #BC
    A major scale
    LRLRL II ¡R

    1:J i 3l
    31 3

    Using a different sticking will eliminate this morion

    #8D
    A major scale
    RRLit II i_
    LR
    --*=
    i1 3 3l
    11 3
    ü

    Doubit strctings are eifectire on)¡ il ther"re play'ed ri,ith each srroke sounding even, The doubie
    srroke rn ea;:
    hand ls lust like the "open roll" drum rudiment execpt that there is no bouncing ofit.,e
    stick olf rhe bar. Each stro,.: .s
    a seperate r"'rist motion. You can pracrice plaf ing this double stickrng on any note.
    Begin very slo,,vlr, rhen inc::¡s:
    the tempo. and varl'the dynamics. always making sure that each stroke sounds even.

    #BE
    RRt_t,lrRl, t. Itltt.t_RltLl

    a) 1133r 133 ll:i3 llgs


    Then try:
    #8r
    ITRI-LItRI, L RRI-I.RR LL
    I

    al lt 33 ll 33 II 33 I 33

    You can also cornbine two different scales using a double stroke on
    each note. This example combines a B flat dorian
    mode and a B natural minor (aeolian) mode.

    #8G

    t-L RRL LRR LI,RR LI-RR


    ---lr,
    -k.{0

    I, L R R LI,RII LL RR LLRR

    t,,
    lt t, Í,

    L I
    ItR LL !
    RR LL RRL RR

    L,I,RR
    LI.RR LLR RL

    li
    19

    a
    ::'':::;-"".:¡ sca.e combinations using a double stroke on each note, you can also play two different
    notes in each
    :-":.: ::: ::;:. dOuble StlOke.

    #8H

    Ll, Rlt L t? R
    L
    Ril
    L
    LLRR
    4
    nt
    -_-----.Ea
    t I

    LLRR LLRR LLRR LLRR


    4

    RITL LLRR LLRR


    LLRRLL t- L LR
    _w ._+t_
    R K R

    t I l,-¿

    #94

    L.H. Double Exerci se

    L
    J
    1331 3l

    t
    ts
    1331331

    l- 13313$1

    t- I BB I B B l
    1)
    /
    rl
    -
    t#98) lr-
    a
    ---T- i ---l--:-"¡.-rG--
    I
    L

    3
    I 3 3 t 33 i

    .) l33l 33t 7a-__-


    3

    l=-E
    -l
    ----E4-
    a)
    ,l 1331 3 t I

    3
    13313 3t

    #10A
    R. H. Double Exerciee

    ]-l-+
    ta T 7i.-._.-_-

    I 1 313 I
    3

    -----1E
    J E-
    11 313 1
    1

    --=_ .-
    1 I

    3 11 313 I 1

    ñ___*---
    7---------- =:r_
    I I 313 1
    I
    3

    -----E
    @
    11 313 I I
    3

    __F
    t
    T
    --+-r--T--
    3lB
    1l l1
    3

    t
    I
    I 31
    J
    6)
    :

    -r_
    ----.|--.| i-
    a
    a,
    F 11 313 I 1
    ,]
    J

    -Í
    T 1l 313 t 1
    3

    #10c

    L.H. Double Exerciae

    1331 , 133
    Éts

    t l33t I 133
    t,
    lJ- I

    t, 1331 3
    133
    á
    l
    I

    e 1331 3
    133 l

    l.
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    #t0D I

    t'

    a) 1331 133
    3

    ,i
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    t 1331 133 ;,
    ii
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    t 1331 + 133 ,l

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    Lt?¡11- L
    li t_ R
    !}
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    , /t tD

    .!

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    Y
    á¿ Lu- I
    J T---=-
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    I ',J
    IT

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    lA'
    L ¡R R L l}

    a -ga :l

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    ¡LRLR RLLR
    )-lrvfr:
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    R L LPL l( L R l
    ¡ta , ---T----
    a
    -

    !}
    L p
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    L LR D R
    L
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    L L
    \x-z--fr-- a); t^ *

    It

    R.R L R LRRLRR
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    a) L t
    !l
    +
    R
    p R,,:\
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    3
    É- I
    t

    a
    :
    JJ

    E =.-.'.-.1.;::I]:.':,t"']::;T:':if;x"'o''
    sticking than orhers. E ma1or, E nat
    t: major, A Ma;or, and

    É,
    l: #12A
    É
    á,
    .t
    l.. ------.-.---
    ,J I -----r---::
    l..
    ,'
    t
    R R L L
    t..
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    L
    L, L R R t.
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    L

    t- It L
    ,J R ¡t
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    R L R ll t- R I. R L lt
    L R l, ti t. R L L R L
    L-a R L R L

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    áJ
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    .- f-_- ¿llI
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    _,__L '
    - J .--l--
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    L
    L Ii l{ L, L ll
    L R t- It R t-
    R L R
    -1J R L R L R L
    L L R R i.
    a
    R L R L. R t- R L t- R

    ,'.. 1
    ,^J
    -{J #128
    a
    ¿
    rá
    J la---¡
    -O t
    4J L It R L L R R L R R L L
    L lt R L R L R
    R ti I, R
    L R R L
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    L
    L R R t R L R L
    R
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    t.
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    R L L R L R L R L L R L R L

    + 1t
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    t.
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    R
    lt
    t.
    R i, L L
    L

    T R L R
    R

    L R
    L
    L
    Ii R L I, R

    p L R L R L R
    II
    t,
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    L
    L
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    )
    t
    4
    :I
    #12C :I
    :I
    LI
    :r-+ , u-
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    LLRLLRRL
    RRLRRLLR L
    fi
    It
    L
    L
    R
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    L
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    L
    L R
    ilLT
    LRLRRLRL R L
    RELRRLRL R L a E L R L R LI
    LhIRRLLF L
    L
    R
    R
    L
    !
    L
    L
    D
    at

    fl
    L
    R
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    L
    L
    R
    t-I
    {
    L-l
    I --_ E,I
    {
    {
    D
    al L L R L L R R L L R L L
    L R D L R L
    R L R R L R L
    L R R L L
    R R L R R L R L
    R L L R L L R L
    L
    R R L R L
    R L R L R L L R R L R L

    #12D

    _I----
    - r -T---
    L L R L L R R L L R L L n R L
    R R L R
    R R L L R R L R L
    L n L R L
    R L R L
    R L R L R L L
    L L R L L R L
    R R L R
    L
    R R L R a L R L n
    R L R R L R L L
    R n n L R L R

    v a¡---l I
    úe-^--=
    -:l

    R L I, R L L ;1
    ¡t
    L
    R L L B L L
    R R L R R L L n
    R L L
    R L R L
    R L R L L R L
    L n R L
    R n L
    R R L R L
    L R
    L R L L l}
    R L R L R L R R L R L 3
    t-

    ¡
    REPERTORIO
    -)

    Sé §O VAüÓ C I

    5-.. RITO'URIÑELLE:
    VIBRAPITONE SOLO

    Faites attention aux nuAnces qr.ri peuven[ 0tre diffórentes P ay atte ntio n to the dy namics w ltich moy b e diff er ent in
    h Ia main gauche et h la naln droite. the left and riglú hands.

    ) = fiZ sat¡illant uuree ; )U sec.


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    6. C;ASIT'E,L
    VIBRAPHONB SOLO
    Placluer bie n ensemble les baguertes 1, 2 et les baguettes Be careful to strike mallets 1,2 andmallets 3,4 stmulta-
    3,4. neousl¡,.
    I

    ) = 720 Majestucux DLtrée:Imn5s.

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    ) -17 Durée : I mn
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    1.2" ]VIANSHAR"K
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    Sv,ing J = 96-10,1 Durée : 2 tnn 12 s.

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    5. Ragtime for Joe
    6. trrinnerungen / Memories
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    10. Rock-Song

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    SI\VLLY Ú
    Exercise Five-Group ll
    ..COMPING"
    WITH FOUR NOTE CHORDS

    QUESTION What does !'comping" with four-note chords mean?


    AN5\.VER This exercise is an extension of exercise two. lnstead of using three notes in a chord we ill use
    l'our. If you see that the music indicates a "C" chord, Tlren Dquble The Rsot (bottom note)

    "- IIpot

    QUES-nON What if the chords are 6th, 7th, 9th, etc.?


    ANSWER For all 6th and 7th chords Vgu will be able to play all four notes. For 9th, 11th, 13th chords you
    can leave out any note you want, as long as the chord has the 3rd,7th, (and 9th, 11th, or 13fi).
    The fourth note could be the root of the fifth.

    QUESTION How do you practice this exercise?


    ANSWER First listen to me play it. Then you can play the interprel"ed version, which l playec.l, or you qan
    nrake up your own, reading tlre original version.

    Example from Galn' Out Of My Heod


    I
    \
    Moderate Rock
    _ Pich-ups
    T
    I4r r .¡¡ ,r --T_------T Ll- -
    a rF r& -rhs IF
    trlL Pick-ups Bbm? Bhmaj? Bhm? BbmaJ?
    dt b---+LF Ji - __--]-.--lt
    .u:B-r----_&--_-----t-- r l TrI T 7 7 4 7:1 :::Z-:-:11::7---7

    'l-'-11^,
    -
    er'
    V# "b8 F(J

    Eb6 Eb6 Ebm? AbT DI, Fm


    Ar
    1(Tlr t . . . t r ,!Í
    I -7 m
    --T-

    J¿+J1{4--*-----J1 l.bi L'_ ¡I a ¡ Iñ-r I _-T--r-


    E] VQ
    ll l'- nr# -Fül---

    Ar Db Fm Gb Abr nbmz Bbmaj? Bbmaj? BbmaJ?

    * = Pedal every chord.

    4o1'.t
    IO
    ¡
    :
    t
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    t Exercise Six-Group Il
    i'
    SOLOING
    (Using notes in chords)
    !
    :
    QUESTTON What does 'soloing using notes in chords,
    mean?
    ANSWER Take the chord that belongs to each measure;.use
    the notes in that chord for melodic material.
    Below are the chords used iñthis exercíse
    rrol tr'. soñg,e IME FóR us (Romeo and Juliet):
    Dm. Dm-----r Eb Eb----r Bb Bb----r Cm Cm----r Gm Gm----r
    t--

    QUESTTON How do you solo with these notes?


    ANSWER To solo with these chords just play any notes in
    the chord with any rhythm you want. you
    change their order or make t'hem'go can
    ,p ot" ao*n an octave.
    QUESTTON How should I practice this exercise?
    ANSWER The first time listen to me play the interpreted
    part. Then you can play the same part
    up your own part from the chords. I did or make

    Example from A Ttme For Us (Romeo and


    Juliet)

    81owly
    (Interpreted Sola)
    rEb rBb -l

    a)

    part) Pick-ups
    Dm Eb Bb

    1
    -1
    Pick-ups Drn-- ---T Eb--- -.1

    U V

    Cm Gm Pick-ups
    Dm Eb

    cm-------l
    1 r Gm-----l
    U

    Cm Dm Gm Dm Gm

    40'11

    ll
    3.
    't Gi 1

    C
    f
    ;

    Exercise Seven-Group I II PLAYING THE MELODY


    (W¡th chords underneath) ,c.
    C
    QUESTTON
    ANSWER
    Why should you play the melody with the chords at the same ti
    ln exercise one you played a single note melody with a creative ,ach t.o its phrasing, In exercise ,c'
    1,
    [our ygu played the melody with double stops and octaves to 8r
    it will be possible for you to get a complete soun ding of the
    i it r sou¡d. ln this exercise
    a fulle
    rd § an¿ the melody at the same
    +c
    tinre" This makes the vibes work in the same fashíon as a piano does rv'ith a band. \ C.
    I

    QtlE5TiOi'l \{hat is the basic concept behind this technique? l

    ANSWI R The basic concept l¡ehind this technique is to play the melocly note on lop ancl fill in the rest of tlre
    chord underneath. You can do this two ways. One way is to play a chord with every melody note;
    this is called "Block Style". A second way of cloing this is to play a chord only when a nelv one
    I
    comes up; this is called "Comping Style".

    quESTroN How should I practice this exercise?


    ANSWER There are two examples that I will play. First I will perlorm, in Block 5tyle, the first eight rneasures
    of GOIN'OUT OF MY HEAD. Then I wilt play it in Comping S11,l*. ¡,¡"*r,pracrice both styles as
    they appear on this page, without the record. Then when yáu feel conrfortable with theá play
    along with the orchestra accompaniment provided.
    lf you want to play songs in block or comping style first work thcm out on your own arrr.l then
    pilay them along with the band, On the second side of the recorrl this opporrunity
    will be made
    available to you.

    Moderate Rock f xairple lrom Goin' Out Of ¡'ylt, l.lead


    (Block st¡tl,e ¡ urt*rr,

    a)
    )f I

    * I
    (Ori.ginal music) Bhm? Bbmaj'I i

    i
    {t

    a rhs #. &-# _s
    ¡t* tt
    ¡t * {( *
    B[:n¡? Bbnr:rJ? llL,6 -tI-Drn/ Ab7

    Moderate Rock
    (Comping style uersinn)

    U
    * h
    (Orig'inal music) BbmT Bbmaj?

    1
    I

    a + q

    nbmZ BbmajT nbo Ebm? ebt

    tl§ = Pedel beiore evcry fr¡Il chord


    4077
    t2
    Exercise Eight-Group I I I
    COMPING FOR OTHER SOLOISTS
    ( Using Counter-Melodies)

    QUESTION what is a 'counter-merody?' rf it is a merody


    how can you accompany a merody with a merody?
    ANSWER First' a counter-melody is a very simple melody whi,ch
    is created from the original melody. lf a
    countér-melody is created with good taste it will
    not dltract from ihe main melody but enhance it.
    This way both melodies can be ieard at the same
    time but your attent¡on is mainly on the original
    melody.

    QUESTTON How can you create a counter-melody?


    ANSWER The same concept used. in exercise three applies
    here. Reread the techniques used for that exercise.
    The only difference is that you must keep i tornt.r-r.lody
    very simple and make it blend wirh the
    meiody of the song you are praying. you do not
    have to pray in every measure.
    QUESTTON How should I practice this exercise?
    ANSWER First listen to me play the counter-melody written
    on the top staffs. Then the second qxample in
    this exercise wiil have rhe orchesrra prayiÁg ihe
    is where you can play the one I performá¿
    merody without ,. o,rrir, ;':ffi;.r';:ilay.
    rnis
    ir. maLe up your own.
    Moderate Rock Example from Goln' Out Af My Head
    (Counter Melody)

    (Main Metody) BbmT Bb maJT

    Bbm? B 7 nbo

    AJ I

    EbmT l,bl Db Fm

    +s-

    Ab? Eb? BbmaJ?

    407't
    13
    G
    e
    Exercise Nine-Group III F
    SOLOING
    CF
    (Finding a solo scale)
    g
    QUESTTON
    ANSWER
    What is a solo scale and lrow does it work?
    Every chord in a song belongs to (or comes fronr) a scale. I you are improvising and you do not
    e
    lvant to take your material from the melody or the chords
    use any the noLes in tlre scales lhat belong t.o the chorcls, fo
    we l'ravc [,rcen doing, it is possiLrle to e
    Io ¡¡aterial.
    -oí tr
    QUEsTION f'low do you find the scales that go with the clrords of the song? €
    AN5}VER If the chord is a major chord use that major scale: Ex: Eb maior chorcl---use an Eb major scale
    etc' lf it is a dominant seventh chord then use the tonic chorcl that belongs to it, Example: Ab7
    p
    belorrgs to the key (scale) of Db. You can find the tonic by going up a peÉect tourth from the
    dominant seventh. lf the chord is a minór chord (including sevenths), Example.: Ebm7, then use
    s
    that natural minor scale but, raise the sixth degree a half step, Below is an outline of this é
    information that might be easier to look at.

    MAJOR CHORDS (including 6th, 7rh, 9rh, l1rh, l3rhs) use-irs maior scale
    Exarnple: C, or C6, or Cmajor 9, C11o],l thf or C major 1 3, use-C nrajor scale
    .1
    C MAJOR SCALE

    DOMINANI SEVENT¡J Cl-lOI{DS (i¡rclucling 6th, 7th, 9th, I lth, 13rh) r.¡se-i t-s ronic major
    scal e

    Exanrple: G7, or G9, or G1 I , or G13 use_C major scale

    MINOR Cl-IORDS (including Tths etc.) use-its natural minor scale but raise the sixth clegree a half
    steP.

    Example:
    CM7-use C minor scale with a A natural.

    Belorv are the cl¡ords in this exercise with their corresponding scales. l\oticc that in the interpreted
    version I
    \Yrote out a solo wlricl.r used thcse scales for material. First listen to rne play ¡t ancJ ihen play,the
    version I
    i-rcrf'ortnerJ or m;ike uP \/our o'¿¿tr. You rnight rvant to practice this exercise before
    i,ou play with the recorrl.
    TIJROUGHOUT I FIESE NINE EXERCI5E5 I I-]AVE GIVEN YOU TI-iE CHOICE TO PLAY TI,IE VERSION
    l, t'l-Ri-oRN,lED OR i\,i¡t,l(E LJP'rOUR OVif\" UoPEFULLy you
    Ui:H,l i\4AtítNGl-IAVF owt,l yolrf{
    VEI15]OI\{5 i]ECAi-I5E -TI-II5 W¡LL EVEI\I.UALLY WORI( OUT TO YOUn" ¡\D\¡ITNTAGE IN DEVI-:I-oPING
    YOUR OWi\I: STYL-IJ"
    Cliords [rom Gol¡; ' Oti L Of lvty tlead w\tlt their scales"

    llbrn? Bb minor scale- 1


    Raised Stjr

    BbmaJ? BbmaJorscale- -----.r


    .s

    Eb6 Eb maJor ecale- -----t

    Ebm? '-t
    J!P mrnor 8c8.Ie- I
    Ralsed 6th

    40,t,1
    l4
    Ab7 Db major scale- -_____l

    Fm F minor scale- -1
    , Raised 6tJr

    QUESTTON How should I practice this exercise?


    ANSWER First listen to me play it with the first example; then you play
    part I did or making up your own.
    with the orchestra either using the

    Example from Goin, Out Of My Head

    Moderate Rock
    Solo ,Bb major scale- :-----.1
    with

    a,

    (Original m4sic) Bbm? Bbmaj?

    Bb minor scale- - I Bb major scale- .1 Ebmajorscale- -*-- ------.t


    a

    BbmT Bbma i7 nho

    Eb minor Écale---1 Db maJor scale_


    1 I¡ nrirror scale- - - - - T

    a)

    Ebm? ¡.bt Db Fm

    Dh maJor F minor Gb scale- -1 Db scale


    Bb maJor scale- - - - -1
    scale---1"scale-- '1

    a
    Ab scale
    Db
    Ab7 rbz Bbmaj?

    40,t,1

    15
    ffiuin' ffi¡.¿t ffif f;VIy h§mend
    Simplified Vibraphone pa t Words and Music by
    TEDDY BANDAZZO and
    Moderate Rock BOBBY WEINSTEiN
    Cm7 F7 nl,maj? 'Cm?

    Bhma¡? Cm? ebo rba nb ubo sb nbo

    Bb tr[,6 Bb tL,mb RI,

    ebdim FF7 3
    Edim? T

    ---lH---
    7st time play rnetady
    Bbm? Bbmaj? Bbm? nbmajT

    +
    Znd Í:ime Solo
    rl, e .Llrm,' n|,z nb
    t_
    r:--
    --

    Fm Db Fm Gb ¿l,z Ebrn? B j"/

    B 7 Cm7 F7 Bbmaj? Cm7

    /b ruelody)
    -
    Bbmaj? Cm? Bb6 nbs Bl, E[,6 nb I¡ha
    rf--^t

    Bb El,6 Bb C EbmG Bb
    )-

    ebdim FF7 EdimT F


    .----!J-.]-

    Bbni? BhmaJT Bbm? Bl,malT Bb? Eb6

    --{l.r
    OCopyrlght asstgned 196? ro Vogue Music loc. ZZ24\^¡llshfre Blvd. s¡nta lvtonlca. Cal
    Internsdonal copydghr secu¡ed Made in u. s. A. Au Rrghr§ Reserved used by perml$lon
    407'.t
    22
    Goin' Ouü Of My Head
    Words and Music by
    TEDDY RANDAZZO a¡rd
    BOBBY WEINSTEIN
    Wlth a beat
    Drums Ens i(sb
    i t- tFt '

    Go - in'. out of my head o - ver you out of my

    - -
    Bbmaj? Cm7 CwT/F Bbmaj? Ebo Bbmaj?

    head o - ver you- Out of my head day and nlght,


    -
    ubs Bbmaj7 Eb6 BbmaJ? pbo Bb C/E
    }-
    Night and day and night wrong- or right, I must think of a way

    Ebm6 Bb/D DLO F/C

    in - to your heart,- There's no rea-son ',9hy my be - lng shy-

    2nd time
    Gm7/C C7 F7(sus) to Coda F7

    should keep usa part. WeII I


    1st tlme play melody
    2nd tlme take a so1o.

    E nhmz Bb Bbm?
    *.
    f'o
    think I'm go - ing out of my head Yes I think I'm go - ing out of my head-
    *a thlnk I'm go - lng out of my head 'Cause I can't ex-plain the tears that I shed-
    ,o
    i,
    I

    to Vogue Music Inc. 4 Wilshire Blvd. Santa Monica, Cal


    @ Copyrlght assigned 196?
    +a Internatlonal Copyright Secu¡ed Made in U. §. A. All Rights Rese¡ved Used by Permission
    d 40,11

    23
    {
    Estudios
    al estilo
    de los
    grandes
    maestros
    Dick Sisto
    27

    MiltJackson
    (1e23-1eee)

    Milt Jackson or íBags,,, a nickname he


    was given due to the ever present
    bags under his eyes, was born on Jan.
    7, 7923, in Detroit, Michigan. At an : rf;
    early age he was a guitarist and 't''i i
    vocalist. He found his real uorce on the
    , übraphone and was soon recognized as
    the bebop innovator of üat instrument. t' $f
    :,t¡

    It wasn't Iong before Milt was playing


    !
    I
    il
    ¿,'
    with one of the inventors of bebop, I

    Dizzy Gillespie. After playing with t


    Gillespie, he worked and recorded with
    almost everyone in the bebop world
    including Miles Daüs, Charlie parker,
    Thelonious Monk and John Coltrane.
    William P Gottliebfira and Leonore S. Gershuín Fund
    Collection, Musíc Diuision, Líbrary of Congress
    Milt's style of playing the übraphone
    was uniquely his own. He slowed the übrato motor to match the natural
    übrato
    of his voice. The slower übrato was a unique innovation of Milt's and influenced
    many players of the instrument from that time on. Early in his career he used
    a
    relaüvely ha¡d mallet, but soon changed to a very soft one, which he would
    strike
    with great power, producing a beauüfirl round sound that also had the quality
    of the
    mallet striking the bar. The mallet itself was designed bylulilt emplolng ar"ryl*g"
    head and a relatively short shaft. Milt used two malleti almost oitrci*ry
    treatiñg
    the übraphone as a single-line instrument. His use of a slow übrato,
    ty.itism aná
    strong blues influence, produced brilliant, masterfr:l and pure music.
    Throughout
    most of his career, he was chosen by critics and fans as thá top player in
    numérous
    polls and magazines"

    Milt possessed perfect pitch and a memory for music that bordered on total
    recall. As a member of the legendary Modem Jazz
    euartet (MJe), he was
    required to either read or memorize hundreds of arrangéments written by John
    Lewis. These arrangements incorporated many claslical elements such as
    fugues and longer form compositions. Although he was an excellent reader,
    he
    memorized the entire repertoire of the MJe.

    Milt established recording relationships with many great musicians during his
    career and left an incredible discography. His records with Osca¡ peterson, John
    Coltrane, Ceda¡ Walton and Joe pass are arnong the best.

    Milt Jackson is universally recognized as a definitive interpreter of ballads


    and the
    blues, the combination of which defines the essenó e of jazz. He can be
    considered the Charlie parker of the übraphone.

    He died on Oct. g, lggg, in Newyork City.


    MTLTJACKSON ETUDE #1
    by DICK SISTO
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    29
    I
    MILTJACI§oN ETUDE #1 I
    I
    ro Solo Changes I
    by DICK STSTO (
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    by DICK SISTO
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    32

    l: MTLTJACKSON ETUDE #2
    Solo Changes
    by DICK SISTO
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    JJ

    Aruerysrs oF MTLTJAcKSoN Eruors


    Etude #1
    Milt Jackson was the grand master in the art of playing the blues. lniazz, the use
    of indiüdual notes, patterns and scales that are referred to as b/ue notes, or blues t*
    o- and pentatonic scales, have become a source for establishing a
    'blues'
    vocabulary. Long before these ideas were codified in an educational format the
    great blues players, Iike Milt, were using such devices in a very personal and
    idiomatic style, which captured the spirit of the blues. !
    a The blues, as we know, is a very soulful expression of the African-American
    J t,

    experience of slavery. The music was created to communicate the suffering of


    their slave life and often acted as a catharsis from which they could rise above
    oppression. It goes without saying that the music possessed subtle nuance and a
    L
    very specific frame of reference.

    The great bebop masters like Charlie Parker, Dizzy Gillespie, and of course Milt
    Jackson took the early blues form to a new level. Through their knowledge of
    = modern harmony, combined with their innate ability fo tell o story, and a great
    sense of swinging hard with soul and passion, the blues has become the most
    important and often the most difficult to play jazz style.

    Milt Jackson employed many trademark characteristics when playing the blues.
    The first, and probably most important, is his unique way of using blue notes,
    = combined with a syncopated rhythmic feel fhal is punctuated with the
    combination of eighth to sixteenü-note triplets. The most common pitches that
    can be considered 'blue notes' are the flatted 3rd and flatted 7th. In addiüon,
    i
    I (r
    musicians Iike Milt, would also use the flatted sth, which is the tri-tone of the
    tonic, as well as the flatted 6th (or raised 5th ). The sticking and grace note
    application is best Iearned by listening and imitating the sound and the nuance
    of Milt's technique.

    In measures 5 and 6 of the etude most of ft:re blue notes are used to emphasize
    the four chord. L
    BIue Notes emphasizing the Four Chord
    =
    Gh?

    t+
    a
    I t t-
    In measures 9 and 12 a raised 4th (or flatted Sth) is used in the Eb dominant
    chord, which in the key of Bb would be an Ri. fnis is an example of the more
    progressive be-bop harmony that Milt employed.
    e
    i
    Use of the Lydian (raised 11th) and the altered dominant (raised 9th)
    = l
    l

    lbt
    I
    áb1+}t Aht L
    :

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    ¡

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    \...

    (
    34

    The B chorus of the twelve bar blues begins with a typical Milt phrase employing
    a minor pentatonic, which is a group of five notes.

    Minor pentatonic Blues Phrase


    @ 0b1+l t , t
    -a-
    I

    In the fourth bar of the B chorus we see and hear a classic Milt Jackson deüce.
    Anticipaüng the four chord coming up in measure 5, Milt plays the Dh dominant
    scale with a flatted ninth. This scale is known as the symmetrical diminished
    scale (also Octatonic) beginning with a half step, then whole step, half step, etc.
    (see Scale Syllabus)

    One Chord Dominant 7th,bg scale leading into FourChord

    0h?be
    I

    l
    -+
    l

    In measure 6 of the B chorus, Milt uses the G diminished chord leading into the two
    bar dominants of the 7th and 8th measures. Sixteenth-note phrasing is

    Fully diminished and Descending Dominant Phrasing

    0o 0n c? g1 gh1

    )- zJL -1-

    I t*f i.l
    ,l ;91 ', nt4
    | ,.
    i ', ,,

    As one listens to the many recordings of Milt Jackson plalng the blues, we begin
    to hear the fluent style of this master and realize that, while we may not be able
    to produce the same pristine quality of the blues that he does, there is much we
    can emulate and make our own, using Milt as the source of inspiration.

    Etuoe#2

    Milt Jackson was a great interpreter of many songvwiters' compositions. His long,
    Iyrical 'lines' and phrasing create a logical flow of beautiful melodic ideas, and at
    the same time masterfully outline the harmony of the chord changes.

    i,

    (
    35
    The two bar pickup beginning the etude outlines the G half-diminished chord in
    the first measure and the C7 b9 chord in the second measure, using a full octave
    range and employing a melodic flow.
    t

    Half Diminished (locrian mode) moving to DominantTth,bg a


    6urruq A = LL1)
    e/ c?be
    pr-

    Milt had a unique way in which he played eighth-note lines. Instead of plalng
    the notes in a straighleighth feel, he tended to play more with a dotted-
    eighth-sixteenth feel. Listen to the etude on the CD play-along and, of course,
    to Milt's recordings to hear the swing feel of Milt Jackson. As preüously
    mentioned, sticking is an important issue. The rule of'thumb is to play hand
    to hand as much as possible, emphasizing equal force in each hand.
    Ambidextrous facility is something we should continually work to develop.

    Let's begin with a sticking example in measure 9 on the Bb major seventh chord.
    Please note that in this etude we will begin counting measures after the two bar
    pickup at the double bar. Here are a couple of sücking possibilities for this measure.

    @s,o ,

    tRIRLRRtR
    RLRLRRRTR
    A more difficult sticking issue can be seen in measures 16, 17 and 18. This
    repeütiv,e pattem is a way in which Milt produces climax and forword motion
    golng inioihe next section of the tune. In ihis case it is a repetiüon of the Eh7 to
    F the F7 and back to the Eb7. Here are two possible sticking táchniques.
    Ér1 11 áb1 t
    -1-
    , ,
    LRLRR R RLRRR RLRR RL RLRRR L RLRL
    RLRTR L RLRLRLR LRLR LR LRtRL R LRLR L-

    This etude is a good example of developing longer lines that anticipate chord
    changes. It is very important to develop the ability to hear the phrase move over
    each bar line before plalng it. One way to do that is to sing or hear a pfuase in
    your head and then duplicate it on the instrument. Make sure you are playing the
    notes you are actually hearing in your head and also check to see that they are
    i
    within the chord harmony. This kind of pracüce is an ongoing discipline for the
    jazz musician. The result is a gradual growth of ideas that flow from the mind- \-
    heart to the instrument and come out as a beautiful expression of the individual.
    Remember that the ultimate litmus fesl is the end result sounds ngftf. Sometimes
    the notes may not seem to fit the harmony, but still work musically. We are !
    dealing with an art, not a science.

    Milt Jackson is the ultimate jazz artist and musician. Keep that in mind when
    listening, studying and enjoying his genius. L
    L
    36

    Mrrr Jncrcsou Seuecrro DrscocRApHy

    Please note that not all selections have been reissued on CD. Some may still be
    available on ünyl.

    1.
    l

    Tall

    With The Modern Jazz

    ll
    it:

    (
    43 -F
    \
    Bosay HurcHeRso¡l
    (b.1e41) I
    \-
    When Bobby Hutcherson first heard \-
    Milt Jackson play the vibraphone it I
    filled him with joy and happiness. w
    Just walking down the street with \-
    that sound in his head made him I
    feel so good that he knew he would
    follow the same path.

    Bobby was born in Los Angeles, *


    1:
    L
    f
    I
    \
    \-
    California in 1941. Studying piano :=e I
    I

    with his mother at an early age 'I I


    !
    proüded himwith a foundation in the :

    harmonic elements of music. fu a


    young man, he emerged on the Los
    Angeles jazz scene with an
    extremely sophisticated, modern Photo by Dragan Tasic - wuw.nga.ch
    and personal expression of bop,
    post-bop and avant garde. At the beginning of his career he worked with Charles
    Lloyd and curtis Amy in Los Angeles. He soon found himself in New york
    performing with Herbie Hancock, Grant Green and other great hard and post
    boppers. During this period he also recorded and performed with avant garde
    musicians Andrew Hill, Archie Shepp and Eric Dolphy, among others. His
    discography is prodigious.

    Although Bobby is primarily a two mallet soloist with ferocious technique, he


    also employs three and four mallets to enhance a cerebral and masterful
    expression of modern jazzharmony; jazz harmony at its best. His compositions
    have set an extremely high standard utilizing African influence and complex,
    sophisticated musical concepts that always retain emotional depth and forward
    moüon. Bobby Hutcherson is unquesüonably the John Coltrane of the übraphone.

    Bobby uses a medium-hard mallet that proüdes a bite as well as an overall warm
    sound. He creates an almost natural chorus effect by the way he strikes the
    instrument and his use of harmony to create scintillating melodic passages. He
    has developed an arsenal of patterns and chromatic runs that are played with
    great intensity, which uniquely defines his style. As a great interpreter of songs,
    Bobby's solos are always an expression of the composition he is playing. Like
    Milt Jackson, his improüsations are rooted in the blues.

    Bobby Hutcherson continues to record and perform. Today, he is usually in the


    company of jazz giants Iike McCoy T1,ner, Herbie Hancock and the most gifted
    young jazz musicians.

    (-

    I
    44

    BOBBY HUTCHERSON ETUDE #1


    by DICK SISTO

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    l BOBBY HUTCHERSON ETUDE #1
    Solo Changes
    by DICK SISTO

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    47

    A¡uLys¡s oF Boeev Hurcuensoru Eruoes


    Etude #1
    As menüoned in his bio, Bobby Hutcherson can be considered the Tohn
    Coltrane' of the vibraphone. His post-bop and avant garde style combined with a
    o ürtuoso technique and knowledge of modern iazzharmony is unparalleled.
    \-
    I

    Hutcherson, like all great jazz improvisers, has the ability to recreate composed
    melodies while improvising. Through a combination of a fundamentally melodic
    approach, combined with pattems and phrasing that outline the harmony,
    Hutcherson achieves an extraordinarily exciting forward motion, leaving the
    listener on the edge of their seat.

    In the first etude, the melodic idea is introduced in the first four measures. It
    begins on beat three and emphasizes the and of beat four, which immediately
    creates motion.
    I
    Melodic ldea with OffiBeat Syncopation
    \_-
    (NrÉ{-LuoA gns& L

    I
    =
    In the third measure after Ietter A, we see the first example of a pattem using
    quarter and eighth-notes in sequence

    Patterned Quarter and Eighth-Note Phrase

    Shlr'ilr
    =
    L
    L
    =
    I

    Two measures before letter B, the pattem becomes sixteenth-note combinations


    leading into the next section of the tune.
    I= Two Bar Sixteenth-Note Pattern
    \-
    Abletv"
    h

    fl L

    \-
    L
    48

    At Ietter B, keep the flow in motion by using eighth-notes on every beat.

    More Eighth-Note Parterns

    @Gm
    -t-
    4

    kt measures 13 and 14 after letter B, we hear a favorite Hutcherson deüce for


    ending a phrase with the use of double-stops ending in an over-the-bar-line sustain.

    Double-Stop Scale Movement

    0-1 0? 8b1Ew

    Finally, the etude ends in a flurry of notes in the last four measures that brings the
    improüsation to a climax.

    Co m bi n ation of Triplets and Sixteenth-N ote paftern

    (6b1sut) 11
    t¿

    4
    t ,

    Bobby Hutcherson's plafng is the epitome of intensity and one should Iearn
    from his style by attempting to improüse with a sense of urgency.
    50

    Boeev HurcHeRsoN Sel-rgreo DrscocelpHv

    Bobby Hutcherson recorded a classic duo .record with McCoy. T¡mer called
    Manhatton Moods for Blue Note Records in 1993.

    He also appears on McCoy Tlmer's recent quartet album called Land of Giants on
    Telarc Jazz.
    BACH
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    C maj7 G7 C maj7 D -7 G7 C maj7

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    17

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    29

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