Model
Digital Document
Publisher
Florida Atlantic University
Description
The 20th century has been called the century of percussion instruments thanks to the innovations made by performers and educators specializing in marimba and vibraphone performance. At one time, playing with four mallets, two in each hand, was considered a novelty
undeserving of serious study. The work of musicians like Clair Musser, Leigh Stevens, and Gary Burton demonstrated the functionality and versatility of four mallets in performance practice. While there exists a great deal of literature describing the history, mechanics, and applications of four mallet grips, none have spent time comparing them in how they are learned and utilized. This document considers the following four-mallet grips taught in school music programs in the United States: Musser grip, Stevens grip, cross grip, and Burton grip. Here, the history and mechanics of these grips are described and compared. Conclusions are then drawn addressing how students and educators may select a four-mallet grip to learn with consideration given to the anatomical characteristics of the learner, the demands the chosen music makes on the performer, and the instrument’s setting (e.g., solo, chamber ensemble, large ensemble, marching band, etc.).
undeserving of serious study. The work of musicians like Clair Musser, Leigh Stevens, and Gary Burton demonstrated the functionality and versatility of four mallets in performance practice. While there exists a great deal of literature describing the history, mechanics, and applications of four mallet grips, none have spent time comparing them in how they are learned and utilized. This document considers the following four-mallet grips taught in school music programs in the United States: Musser grip, Stevens grip, cross grip, and Burton grip. Here, the history and mechanics of these grips are described and compared. Conclusions are then drawn addressing how students and educators may select a four-mallet grip to learn with consideration given to the anatomical characteristics of the learner, the demands the chosen music makes on the performer, and the instrument’s setting (e.g., solo, chamber ensemble, large ensemble, marching band, etc.).
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