Vic Firth presents Dr. Matthew McClung giving performance tips on the TMEA 2017 All-State 4-Mallet audition etude. This etude is from Mark Ford's "Marimba: Technique Through Music" - Kain - page 36-37.
Watch this etude at performance tempo -
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Watch the performance at a slow tempo -
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Playlist of all the 2017 TMEA audition material:
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MALLETS:
#vfM113 - Robert van Sice Signature Series
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PERFORMANCE GUIDE:
Kain is a four-mallet etude that primarily utilizes double vertical strokes. The etude is written in an ABA form with the A material creating a right hand groove ostinato while the left hand presents thematic material. Contrastingly the B section (at bar 15) is legato in nature and allows for the right hand to perform a smooth, fluid mysterious melody. This melody transforms at bar 24 as the music transitions back to the A material at bar 35, the cut point for this audition material.
This short solo demands that the player balance double vertical strokes in order to hear the moving lines. Listen carefully and be sure that the ostinato (or repeated material) is not louder than the melody (or the moving line). Keep your body square (straight forward) to the marimba and practice slowly. Slow practice will allow you the opportunity to preset the double vertical strokes above the notes to be played. The repeat from bar 12 back to bar two can be awkward, as both hands must reset. For practice, try repeating back to bar one until your right hand makes the adjustment easily.
Notice that the sticking for the legato melody starting in bar 15 utilizes one mallet. Follow this sticking. It is important for players to keep the melodic line in one mallet. This allows better control over the tone and dynamics of the melody.
The trickiest part of Kain is from bars 24-27. For a strong tone keep your right hand mallets in good playing positions on the bars, especially when playing the g-sharp in the outer mallet. Let these bars grow in intensity to the forte/piano marking at bar 28. Keep the dynamics soft but intense as you approach bar 35 and then create a dramatic ritard before the “a tempo.” Overall, exaggerate your musical ideas and expressions.
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