los

Along with Tris' great advice, check out Gifford Howarth's Book, "Simply Four". I use that book in conjuction with MOM , Zeltsman's book, Buster Bailey's, and other materials I use when I teach. His cyber lessons can be found (and are included with his book) here : http://www.vicfirth.com/education/keyboard/howarth.html

Well, in 2004 I performed Polaris (cutting out the middle section like on the Innovative Percussion site). I thought it was well recieved, but anyways... To add to the suggested rep list. -Variations on Lost Love (Part 2 or 3)- David Maslanka -Chain-Kazunori Miyake: Awesome groove -Source- -Marimbasonic: Markus Halt -2 Movements for Marimba (1st movement): Toshimitsu Tanaka -Three Movements For A Solo Dancer (2nd movement,"Dance On A Shattered Mirror"):Eckhard Kopetzki I don't know where you play at, but if you're playing "Nancy", than you could check out "October Night": Micheal Burritt, "Ghania":Matthias Schmitt, or Asturias (Leyenda) (Albeniz...so many transciptions out there..pick one lol) From what I remember, the DCA crowd respond to gimmicks and fast notes. It's a different vinue and worth jumping into, but make sure you pick something more "audience friendly". If you're playing Nancy well, than stick with it. No need to change now. Check out the marimba compitition by Nancy Zeltsmen. http://www.nancyzeltsman.com/pdfs/0202.06-15.pdf Some good read and will put things in prospective. If you are a member of PAS, also check out Momoko Kamiya's article from 2003 (It was either Sept. or Oct. I believe) My advice to you is what Donna Ernst(former coordinator of DCA I/E) gave to me before she passed away when I meet her/ had dinner with her..."Relax and just have fun!!!" P.S. Good luck with everything this season and Tell Ted Mascari , Carlos for Ky. said "Hi".

http://www.malletjazz.com/database/ Also check out www.malletshop.com If you're a member of Percussive Arts Society, than check out than many post in their forum about the topic. You'll get some great insight there.

http://www.vicfirth.com/education/bassdrum/gauger.html

Hey, I'm from the south and I marched Brigs. Chris & Brigs rocks. 1-2-3-Brigs!!!

Get Well Soon Mark, You'll be in my prayers

Check out the Pas.org forum : Go to "Marimba" and then the topic "Bar Tuning".

Get it, Get it ECJ. Congrats

Cool man, thanks for the insight. I posted those VF clips just for the "young ones" or non-percussionist to have a reference. (You never know who's reading these things. I can't wait to see you finished product. You seem like an awesome educator!!! are you going to Pasic? If so, im me and maybe we could hang out.

Could it be possible that some might possibly not truly understand the mechanics behind French Grip?!? I agree, that these players have great technique but just not applying their knowledge. Here's a sample from J.Cassella and J.Acona's Front Ensemble book UPFRONT : http://www.tapspace.com/music/UpFrontTechnique.pdf and Don Famularo touches all 3 match grips("German", "French", and "American") grips in his drumset cyber lessons... http://www.vicfirth.com/education/drumset/domfamularo.html I don't particularly concider myself a user of the "French Grip". I'm not a closed minded and I think it's important to learn all grips possible but I feel more comfortable using "American grip" for most modern literature and using "French Grip" for peices that require legato strokes and rolls..but that's just me. The strange thing is I play alot of marimba using Steven's grip. I know, I'm strange. Yea, I agree. Especially when the leading Front Ensemble arrangers/instructors are preaching "that 2 secrets to sound projection is Mass and Weight" toward their keyboard mallets , but some other instructors are not doing the same toward timp. mallets. Let's not forget that quote from Jeff Lee's , "Velocity, in an audio sense, dictates attack quality (timbre), while volume dictates dynamic presence." The weight of the stroke is also a factor in procuing sound and projection. Anyways, I'd love to hear more of you oppinion sometime but if you feel this way about drumcorps than I'd hate for you to hear some of the "average" high school music programs lately. Let us know when things get rolling for you

Not to take away from this thread but I stated a thread on www.drumhard.com and I was curious about some of you all's POV's. It's titled : "Do you factor in the front ensemble... total percussion?!?" Sorry if I've taken away from your post , BluePit2K5.

Check out Gifford Howarth's Book : Simply Four. He has a few pics on there. Also, I wouldnt waste anytime trying to learn Stout's grip. It's been stated earlier in the discussion that it was just a miss-guided Musser grip that he developed cause his hands were too small when he began learning marimba. You won't get any "cool points" for learning it. Also, Eggbert I'd have to slightly disagree with you on the whole Steven's idea. I do agree physically due to positioning of the hands that ideally you can/should be able to produce more sound due to gravity and muscles used...but however If you're doing Steven's correctly you should be able to get the sound desired , as well. Problem is that more work is involved with Steven's than most cross grips. Most Steven's users are concerned with technique while cross grips players usually focus on sound and performance. Check out Micheal Burritt and Nebojsa Zivkovic for examples of powerful Steven's performers.

www.steveweissmusic.com I think they ship it using ground UPS meaning it'll be there in at least 3-days. I always get my products in less than a week.

I miss you guys so much :)

This is copied and pasted from one of my old post. it's alist of method books to find some excepts from: .Modern School for Xylophone,Marimba, Vibraphone by Morris Goldenberg 2.Portraits of Rhythm (snare drum) by Anthony Cirone. He has also written versions for timp, keybaord, and muli but the snare version is a must have. 3.Fresh Approach to Snare drum by Mark Wessel. Same with Anthony Cirone's book also available for timp and mallets. 4.Simply Four by Gifford Howarth...good beginning 4 mallet book. 5. Kinestics(spelling??) by Gordon Stout...it'll help you beable to not look at the keyboard so much 6. Any Whaley book. Very good for beginners 7.New Breed...good drumset book. 8.Method of Movement by Leigh Howard Stevens..once you master the Simply 4 book , thiswill be your 4 mallet bible 9. Jazz Mallets : In Session and/or the Vibes Real Book by Authur Lipner...good beinging Vibraphone books. 10. Vic Firth's Timp book 11.Raynor AND Carroll's Exercises, Etudes and Solosor (Timp.) These are just some books many percussionist play out of/ still play out of. Once you get you hand on some of these you'll be takinga big step. Also check out www.pas.org and www.percussionspecialist.com. You can order most of the material mentioned on percussionspecialist.com or go to steve weiss. I hope that kinda helped.All this will help you with ANYTHING you do with percussion. I'll recommend a muli perc. book once I remember one, lol As for 4-mallet marimba peices, I can recommend for days. Feel free to im me and give me some insight on your playing experience.

One of the hottest books out right now is Jeff Queen's new book, "The Next Level". It's got everything one would need from break down excerises , to hybrids, to solo construction and some stick sticks, ("Walk the dog"). This and Quad Logic by Bill Bachman are all that you need. While Jeff is still in the works for finishing his DVD for NEXT LEVEL, you should check out Bill Bachman's REEFED BEATS. http://www.billbachman.net/main.html

Man, it's going to be HOTT this year Check out the staff/arrangers. I can't wait. Brigs always puts out a good product.

Man, it's going to be HOTT:worthy: this year. Check out the staff/arrangers. I can't wait. Brigs always puts out a good product.

Great Post Eggbert. I don't know why all the sudden buzz about Stout's grip. I went to a clinic and thought the story behind it was interesting though. I'm not trying to say , "throw technique out the window" ...I'm just noticing how there are some players out there (young and some old) that seem to be getting away from the basics needed in order to produce music (expressionism, physical placement, phrasing, music theory, sound projection, and sometimes impliments used.) This mainly speaking of solo marimba playing because playing in a front ensemble can be slightly different. There are even more factors concerning ensemble playing. I just never heard many people in an audience of untrained percussionist compliment others on technique alone. Not saying it doesn't but let's not forget about communicating to the audience. For those who are members of PAS, Ludwig Albert did an article/clinic on this. It appears in Percussive Notes Vol.42 No.5 Oct. issue.

I've got an idea, why don't we try learning music and build on reading and performance skills since that's the whole point of playing. I think people are getting a lil' too carried away with the technical side. Yes, it's very important to develop good technique but I believe you should use the music to fine tune technical issues. Before taking on a peice of music , one should study the score and based on the demands of the music choose what grip will accomidate you and develop exerercises to strengthen weaknesses. I wouldn't just stereo-type one grip for one instrument..I.E. Burton grip on Vibes and Steven's on Marimba. These modified grips orginally came from Musser grip with the modifications to suit what they were trying to do with the instrument they are playing, but there's no law that you can't use a cross-grip on Marimba Many japanese marimbist like Keiko Abe and Momoko Kamiya also Ludwig Albert. Ney Rosauro, Nancy Zeltsman, and (don't qoute me on the this last one) and Rebecca Kite, all use cross-grip/ traditional grip. There have been times where I used Steven's on Vibraphone for a better reach. Each grip has it's advantages, but it's up to the performer to figure out what's needed in the situation. One last thought...you can work on different grips/ technique till the cows come home ,but it doesn't mean squat if you're not playing/ performing music. There's more to making music than the technique you use.

Also check out Keiko's mallets if you like the feel of rattan.

I personally like the Ralph Hardimon tenor sticks for a more "beefier" sound and the Vegas for a more articulate sound. Not saying either stick can't do what the other can't ,but from my experience playing with both. Friends commented how the Hardimons seem to make me sound "bigger" during my PAsic tenor solo. I like both , but that's my read from them.

Rhythm Song was by Paul Smadbeck...which I was would suggest: Virginia Tate by Paul Smadbeck Shadow Chasers: Micheal Burritt Caritas: Micheal Burritt Polaris: Mark Ford Ultimatum: Nebojsa Zivkovic Valse Serbe: Nebojsa Zivkovic ( VERY challeging 2 mallet solo w/ piano accompnyment, but can still be done without the pianist) November Evening: Christopher Norton Footpath: Dave Samuels Great Wall: L.H.Stevens Rhythmic Caprice: L.H.Stevens Astral Dance : Gordon Stout Merlin: Thomas Northern Lights: Etude in C Major : Musser (for something short,sweet and to the point) Any of the Keiko Abe works... (Prism is a good solid 2 mallet peice and there's Prism Rhapsody witch features six mallets and is concerto based on the Prism) These are just some suggestions. I hope you find what you are looking for.

I'm thinking they used XL percussion stuff. Check out http://www.xlspec.com/carriers/access.htm

Hey, I'm just trying to help. :) I wished I had the net when I was just being..(even though I'm 22...23 in Sept 1st)