This little tune is titled Tribute. It is arranged here for 4 mallet solo vibes. Beginning students should find this piece an excellent example of how to play a melody with accompaniment on the vibes. It’s not technically difficult, but it is a good sounding piece, suitable for performance. The audio example below includes some improvisation too. It’s important to note that you don’t have to obtain super technique to get a nice full sound.

Check out the clip:

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A pdf of the arrangement can be printed HERE

Work out the written part slowly until you can play it confidently. Then try to improvise your own version using the chord symbols. Try to keep the same full sound that you get when playing the arrangement. You might start out by playing the written voicings and make up your own melody. Listen to the audio clip to get ideas.

This piece is the first movement from Sonata no. 1 of Bach’s Sonatas and Partitas for solo Violin. It fits perfectly on vibes so no adjustments to the arrangement are required. In fact, all of the music in the collection make excellent solo vibe pieces.

There is lots of mallet dampening you can do to create independence within the lines. Because the lines and chords are often widely spaced, your 4 mallets will come in handy to reach for notes at the top and bottom ends of the vibes. Spend time choosing the best sticking possible.

You can download the manuscript HERE. The tempo is very slow, with metronome set at about 50 for the 8th notes. As always, work to get the piece to sound a full and resonant as possible, but make sure the lines sound clean. Don’t let note ring together that shouldn’t.

This is a transcription of Bach’s 2 part invention no. 13. The range has been adjusted to 3 octaves so it can be played on vibes and marimba. The 2 parts are 90% arpeggios, and  using 4 mallets will make it easier to execute the lines. You can download the manuscript [HERE].

The legendary Leigh Howard Stevens once remarked that even easy pieces in piano literature can be difficult for marimbists and vibists. And so it is true here. Bach’s 2 Part Inventions were written for beginning piano students, but make  challenging pieces for mallet players.

I usually practice this piece without using the pedal. I prefer the “dry” sound so I can really hear each note. However, adding the pedal can make the piece sound very full and resonant. Because of all the arpeggios you’ll find that letting the chord tones ring together creates a very satisfying sound.

This new piece for solo vibes is designed to help develop single hand mallet dampening skills. If you’re not sure what single hand mallet dampening is you can check out an earlier post on that topic HERE.
To get started listen to the piece:

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Continue reading 'Mallet Dampening Etude and Exercise'»

Duke’s popular tune “Do Nothing Till You Hear From Me” makes a nice solo piece for vibes. Here’s a short video demonstration:

This is a good example of a basic solo arrangement for vibes. Mallet dampening should be used on the melody to keep the notes from running together. You won’t be able to use the pedal on the melody line because it will be down to allow the chord voicings to ring.
A pdf of the arrangement is available HERE

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This is an effective 4 mallet exercise that I’ve been using for years. I do the exercise at the beginning of my practice time and often before a gig or concert. I think it helps to condition your hands and fingers by building some strength, flexibility, and endurance.

It is a simple repetitive exercise that should be done slowly at first. Gradually speed it up as you gain more control. Make sure all 4 mallets are able to produce clean, strong strokes and that the strokes sound even and smooth. This is very similar to the rudiments that drummers practice. The video explains how to do this.

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Very often a vibraphone student who is working on solo playing will choose to emulate piano players and the basic techniques of solo piano playing, which include right/left hand independence  and a contrapuntal, multi-line approach. Gary Burton was one of the first vibes players to adopt this strategy and it has proved to be an exciting and revolutionary way to play the vibes.

In addition to this you may want to also take a look at  solo  jazz guitar and try to integrate some of that into your solo playing. Listen to the demonstration clip:

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Continue reading 'Solo Vibes, Choosing a Style'»

Playing beautiful 3 and 4 mallet chordal rolls is a goal all vibes and marimba players should work toward. Here is a simple, easy to learn method you can use to play really nice legato rolls for 3 and 4 part chords. Check out the video example: Continue reading 'Special 4-Mallet Skills Part 2'»

4 Mallet vibes and marimba players face a challenge when attempting to play minor 3rds or half steps with one hand. If the 2 notes include both a natural and an accidental, such as a G and a Bb, it can require a lot of twisting of the wrist to make the 2 mallets in your hand play the notes. It only gets worse if you need to play a half step such as a C and a Db.

There are 2 things you can do to improve your ability to play a note combination like this with one hand. Take a look at the short video which describes the 2 solutions: Continue reading 'Special 4-Mallet Skills Part 1'»

By using octaves in your right hand you will be able to utilize a large area of the instrument and  get as big a sound as possible, especially when you are playing in a solo setting. Playing the melody in octaves can really brighten up your sound and provide a distinctive new technique in your solo playing. Take a look at the video clip to see how it’s done. Continue reading 'Using Octaves'»