WHS

Mallet Instruments

Marimba, Xylophone, Vibraphone, Bells, Chimes

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Front Ensemble Tool Box

  • Parachute Cord (restring keyboards)
  • Fishing Line for triangle clips
  • Thin Rope to restring gong
  • Rubber or Plastic Cymbal Sleeves
  • Felt Washers
  • Wing Nuts
  • Washers, Screws, and Bolts for stands
  •  Scissors (please don't leave these around)
  • Black permanent markers to touch up carriers/frames
  • Window Cleaner for wiping off instruments
  • Cleaning rags
  • Lighter for burning ends of keyboard cord (locked in Ms. Mitchell's office)
  • Picture hanging wire for restringing chimes
  • Needle Nose Pliers
  • Timpani Key
  • Drum Key
  • Bow rosin for tambourines or special effects bows
  • Electrical tape (white and black)
  • Post insulators
  • WD-40
  • Cymbal Straps

Keyboard Types and Ranges

Xylophones
Rosewood bars sound the best on xylophones, yet synthetic bars are better for out door performances. WHS uses Kelon (synthetic bars) for their xylophones.

Use hard rubber or plastic mallets.
Picture
Range of a standard Xylophone (treble clef)
​Sounds an octave above written pitch
Image, standard Xylophone

Marimbas
Generally notated with a grand staff (both treble and bass clefs). WHS uses a 4.3 octave marimba, though 4.5 and 5 octave marimbas are popular in the collegiate arena. The bars of a marimba are thicker than the xylophone and is made of wood or synthetic material. 

Use yarn, cord, or SOFT rubber mallets when playing the marimba. DO NOT USE PLASTIC MALLETS as they will dimple or crack the bars.
Picture
Range of a standard Marimba, 4.3 octaves
​Sounds as written
Image, standard Marimba

Glockenspiel (AKA Orchestra Bells or Bells)
A member of the metallophone family, the metal bars of the bells are usually made of tempered steel. "Real" bells are are in a wooden box with a removable top. Practice bells are more common in the lower grades coming in rolling backpacks etc. Practice bells are fantastic for practicing at home so make sure you have either bought or rented your own!

Use either hard rubber or plastic mallets. Brass mallets should only be used when written specifically in the music to create a really bright, brilliant sound. Too much use with brass mallets can eventually damage the bars. Change the type of mallet depending on the dynamic of the passage.
Picture
Range of a standard Glockenspiel (in treble clef)
Image, standard Glockenspiel

Vibraphones
The other member of the metallphone family, vibraphones are made of a metal alloy and are suspended over resonators using a petal to dampen or allow resonance on each pitch when the pedal is pressed downwards. Check out the pictures below to see the damper pedal and the pedal post that can adjust the height of the pedal.

Vibraphones also have the use of a motor which produces a vibrato effect when turned on. The motor usually has three speeds, but requires electricity.

If a bar produces a "dead" sound, check to see if the fan is perpendicular to the resonator as it could be dampening the bar unintentionally. 
​
Use yarn or cord wound mallets on Vibraphones preferably with rattan shafts. DO NOT USE RUBBER OR PLASTIC.
Picture
Range of standard Vibraphone (in treble clef)
Sounds as written
Image, damper pedal
Image, standard Vibraphone
​
Image, height adjustable post that fastens to dampening mechanism

Crotales
Crotales are thick, brass plates between 2-5 inches in diameter. WHS do not currently own a set of Crotales, but if you have a lead on a used set, please let me know. Always put crotales back in their cases and be careful when transporting as they can be knocked out of tune pretty easily. 

Use plastic, aluminum, and brass mallets on Crotales- the mallet used will depend on the desired sound; the harder the mallet, the brighter the tone.
Range of standard Crotales 
Sound 2 octaves above written pitch
Sold as separate octaves
Image, mounted Crotales

Chimes (AKA Tubular Bells)
​Like the Vibraphone, Chimes are also made of metal, though they are tubular in nature instead of flat bars. The pedal, usually located on the right side of the instrument, allows the chimes to resonate and hold pitch when depressed. 

Chimes are played on the side of the tube cap, NOT on the tube itself. If you hit the tube itself could knock them out of tune or crack them. To get the best sound, strike the tube caps at a perpendicular angle;straight down or at an acute angle will bury the resonance quality of the tube itself.

Use the rawhide mallets to play on the chimes- if a piece instructs you to use any other type of mallet, confer with Ms. Mitchell to verify accuracy of part.
Picture
Range of standard Chimes (treble clef)
​Sound as written
Image, standard Chimes

Grips and Strokes

Two Mallet Grip:
  • Palm should be facing downwards
  • The thumb and index finger should be located about two-thirds of the distance from the head
  • Wrap the remaining fingers lightly around the shaft
  • Thumbs should be on the side of the shaft
  • Note the position of the mallet heads, as they are angled to one another, not next to one another
  • Keep hands relaxed and parallel to the ground

Four Mallet Grips:

Steven's Grip (common for DCI or field percussionists):
​
To begin, hold the hand out as if shaking hands, thumb pointed up.
Outer mallet:
  • Place the mallet between the ring and middle finger. It should touch right behind the knuckle
  • Wrap the back two fingers around the shaft; only an inch or two should extend past the fingers
  • Hold the mallet up against the middle finger. This will allow the wrist to be used for the stroke
Inner mallet:
  • Hold mallet using matched grip
  • Turn the hand with the thumb pointed up (similar to the French grip I talk about in the Timpani section)
  • Slide the end of the mallet to the base of the thumb
Full grip:
  • Replace the outer mallet
  • Mallets should be close to parallel

Helpful Hints:

  • Both mallets will move to create interval (which is why it is called an "independent grip")
  • The inner mallet will move from the base of the thumb to the inside of the middle finger as intervals get larger
Use a forearm motion like turning a doorknob. Try to use more of a wrist motion versus a forearm motion in order to increase accuracy and speed.
  • Do NOT let the thumb get inside the of the mallet​
Outside mallet rotation (thumb coming parallel to ground while head of mallet rising)
  • Make sure the index finger stays in front of the thumb​
Inside mallet rotation (thumb returning to "French" grip position while outer mallet strikes the bar)

Burton's Grip (common with concert percussionists, this is the grip I was taught):

This grip is called a "cross grip" since the two shafts of the mallets cross each other.
Hold the inside mallet using matched grip
Palm facing down, slide the outside mallet between the index and middle finger and between the inside mallet and palm of the hand
Lay the middle finger across the intersection of the two mallets for support
The hands should be flat with the thumbs facing the side

Stance

Stand in the octave that you usually play with your feet shoulder width apart
When you need to move around the keyboard, shift your weight to the left or right as needed. For larger intervals, side step as needed in the correct direction
Avoid crossing feet to reach for notes or cross sticks. Also stand far enough away from the keyboard to make sure the mallet heads can strike the center of the natural bars or edge of the accidentals

Playing Areas

Center of the bar
Edge of the bar
DO NOT STRIKE THE NODES
For bells and vibraphone always strike the center of the bar as the bars are not graduated.
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Photo used under Creative Commons from Kuba Bożanowski
  • HOME
  • CALENDAR OF EVENTS
  • CONCERT BAND
  • MARCHING BAND
  • MIXED CHOIR
    • Resources Choir
  • ORCHESTRA
  • MUSIC LIBRARY