User Manual

ManualsBrandsYamaha ManualsMusical InstrumentsMarimbalar

NEBOJSA JOVAN ZIVKOVIC 1

Educator Series

PERCUSSION

General Principles of

Mallet Technique:

Shifting, Accuracy & Power Strokes

By Nebojsa Jovan Zivkovic

Zivkovic completed his master's degrees in

composition, music theory and percussion in

Mannheim and Stuttgart, Germany. He tours

extensively throughout Europe and performs

frequently in the United States, Japan, Taiwan,

Korea and recently in Mexico. He has also made a

number of TV appearances and radio recordings in

Germany and abroad. His creative output is

captured on four compact discs of marimba and

percussion and one CD with Darius Milhaus's

marimba/vibraphone concerto recorded with the

Austrian Chamber Symphony in Vienna. With over

50 published compositions, including several

marimba and percussion concertos, Zivkovic is one

of the best known composers.

Zivkovic's marimba is a one-of-the-kind

instrument, made especially for him by Yamaha

(YM-6000NJZ). Zivkovic also endorses Zildjian

cymbals and his own line of Power-Mallets made

by ABC-Holland. For more information on his

current projects, please visit: www.zivkovic.de

In recent years, the demand on the keyboard percussionist has increased enormously, not only in

solo literature, but also in ensemble settings. Often, even a younger mallet player is required to

perform parts with 4 mallets. Therefore, it is important to have a powerful and controlled stroke and

the ability to hit the correct notes. The following exercises will give you a sense of my power-control-

accuracy concept.

Instrument Height

My “recipe” for determining a proper playing height is as follows: take one mallet in each hand; when

the angle of your upper-arm and elbow is slightly OVER 90°, when your hand wrist (hand back) is

EVEN with your forearm, and when the mallet you are holding is a straight extension of your forearm,

then the natural bars should be about 2 inches below the mallet head. Make sure to use blocks, or

simply adjust a height of the instrument before you start playing.

Movement

Movement is another important issue; do not move more than necessary, and do not constantly walk

left and right behind the instrument. Arm and upper torso movement, with some body shifting are

generally enough to cover most of the keyboard. Steps (walking) are of course necessary, but this

should be minimized.

Mallet Choice

Mallet choice is another very important issue. Be aware that not only the hardness, but also the weight

of the mallet head influences the projection of your sound and its fundamental tone. To really get a

full sound and required dynamic level from your instrument, use slightly heavier mallets; around 38-

46 grams per mallet. Try slightly more larger and harder heads than you would normally use. This will

also help you to remain relaxed while performing, since you will not necessarily try to compensate for

the softness of the mallet by beating harder on the keyboard. This will make it easier for you to get a

softer sound in piano passages as well.

Accuracy and Power Strokes

Controlling a single stroke while holding 4 mallets can be a difficult task. The unused mallet should

not move much while the other strikes. The ability to hit strongly without going too high with your

arm is another very useful technique. “Power-kick” can be described as sudden strong twisting of the

wrist while the mallet shaft is held tightly. This means that even the smallest motion of the hand is

distributed straight to the mallet head without being “softened” at the connection point, mallet shaft

and fingers. Hands should be low over the keyboard with the arms barely moving.

Nebojsa Jovan Zivkovic

Summary of content (3 pages)

PAGE 1
PERCUSSION Educator Series General Principles of Mallet Technique: Shifting, Accuracy & Power Strokes By Nebojsa Jovan Zivkovic In recent years, the demand on the keyboard percussionist has increased enormously, not only in solo literature, but also in ensemble settings. Often, even a younger mallet player is required to perform parts with 4 mallets. Therefore, it is important to have a powerful and controlled stroke and the ability to hit the correct notes.
PAGE 2
Nebojsa Jovan Zivkovic It is like knocking on a door very strongly by holding a hand two inches away and not moving your forearm. I have selected several exercises from my mallet technique book, which you may find useful for improving the techniques mentioned above. Of course, along with these, you should also pick up some pieces for marimba, vibes or xylophone that deal with one or more of these technique issues. I recommend checking out my books Funny Marimba 1 or Funny Vibraphone 2.
PAGE 3
Nebojsa Jovan Zivkovic Ex. 7 “NJZ-ALL-IN” Let us stay for a moment with each hand separately, but use double vertical strokes and changing intervals. The exercise below contains a 5 to 3 change. You should also practice it by replacing the fifth with the octave and by replacing the third with the octave. The rhythm was chosen to always allow you one 16th note break before changing the interval. Play the left hand an octave lower. Start slow and be precise in both notes and Rhythm.