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DR. MICHAEL VARNER 1

Educator Series

PERCUSSION

Developing the Mallet

Percussion Roll

By Dr. Michael Varner

Dr. Michael Varner is professor of percussion and

ethnomusicology at The University of Texas in

Arlington Texas. He frequently presents solo recitals

of traditional and newly composed works for per-

cussion throughout the United States. Dr. Varner

has presented numerous clinics for the Music

Educators National Convention, various educator

conventions, as well as Percussive Ars Society state

chapters. He is an endorsee for Yamaha Percussion,

Sabian Cymbals and Innovative Percussion. Varner

hosted the 2000 Percussive Arts Society’s

International Convention. A record-setting 7,593

attended making it the largest percussion conven-

tion in history. You may contact him at:

www.uta.edu/mvarner/acover

One of the greatest challenges facing a young percussionist is the development of a smooth roll on

mallet percussion instruments. Students should begin in the low range of the marimba where the large

bar size more easily allows a successful smooth roll with slower roll speeds. Use of a softer yarn

marimba mallet such as Yamaha MR2040 or Innovative Percussion IP200 will help the young player

learn the desired feel and full sound of a good legato roll.

The secret to achieving a great sustained sound is a relaxed even single-stroke roll. Part of every per-

cussionist’s daily practice should be a long series of alternating strokes beginning very slowly and

gradually increasing in speed until any sign of tension begins. Gradually decrease speed returning to

the starting point (Ex. 1). The stroke should be a relaxed “piston” stroke from the wrist with no arm

motion. Keep your palms flat to the floor with your little fingers almost scraping the keyboard to allow

the largest part of the mallet to strike the bar and achieve the fullest sound. The single stroke roll

should be started from a high full-stroke position. As the stroke speed increases, the mallets should

be lowered closer to the bar returning to the full position as the roll slows down.

Ex. 1

Pay particular attention that the grip, stroke, height, and sound quality are exactly the same between

the right and left hands. The mallet head path should travel straight up and down avoiding any oblique

or circular motions. The speed of the roll must vary depending on the register in which you are play-

ing. Lower range marimba notes should be rolled more slowly than higher notes. The most efficient

place to strike the natural bars is off-center close to the acci-

dentals. Position the right mallet closer to the accidental bars

and in front of the left mallet (see illustration). Strike the

accidental bars on the end as close to the edge as possible.

Beginning students should practice legato connected notes

by keeping the roll speed constant when moving from bar to

bar. When playing ascending passages, lead with your right

hand. While many professional mallet players feel legato

Dr. Michael Varner

Summary of content (3 pages)

PAGE 1
PERCUSSION Educator Series Developing the Mallet Percussion Roll By Dr. Michael Varner One of the greatest challenges facing a young percussionist is the development of a smooth roll on mallet percussion instruments. Students should begin in the low range of the marimba where the large bar size more easily allows a successful smooth roll with slower roll speeds.
PAGE 2
Dr. Michael Varner rolled passages should be played with an un-metered roll, younger students need the exact metering of exercises to help build confidence and to smoothly move from note to note without a break. Begin with half-notes moving upward on a C-major scale. Concentrate on smoothly shifting from note to note without accenting or interrupting the flow. Although a fast roll is desirable, make sure you are maintaining a relaxed wrist stroke with no tension or tightness.
PAGE 3
Dr. Michael Varner Exercise #4 helps the student approach passages that move both up and down. When changing directions, increase the roll speed slightly to facilitate sticking. While no single rule covers every situation, these basic concepts will allow the student to gain the dexterity necessary for a smooth legato sound. Ex. 4 Gradually widen the intervals to arpeggios and finally octaves. Observe the path between widely separated notes to make sure the mallets are traveling in a smooth curved line.