Method of Movement for Marimba with 590 exercises Revised and Expanded by LEIGH HOWARD STEVENSContents Preface First Part: The Method of Movement 1 How To Use the Method of Movement HN Numeration II Sticking Permutations IV General Principles of Marimba Technique V The Four Mallet Grip VI Holding the Mallets, VII Interval Changes VILL Stroke Height IX Stroke Efficiency and Accuracy X — Shiftand Interval Change Efficiency XI Tone, Lift, Legato, Staccato XIl_ The Fundamental Strokes XII Single Independent Strokes XIV. Single Alternating Strokes XV Double Vertical Strokes XVI_ Double Lateral Strokes XVII Summary Second Part: Exercises 1 Single Independent Strokes Ml Single Alternating Strokes UL Double Vertical Strokes IV Double Lateral Strokes V Mixed Strokes Third Part: Ten Years Later 1 Other ways to use MOM Il Daily Exercise Routines I Table of Repertoire IV Amplifications V ARetrospective VI First Edition Errata 40 47 55 6 100 102, 103 106 109)Preface ‘Through this book the author attempts to shed bright light into one dark comer of the marimbist’s art the mechanical principles of good technique. ‘The technical demands of solo marimba literature have become comples in recent years. Although &-flats and F-naturals (etc) are no more difficult to strike today than they were fen years ago, marimbists are now expected to strike more of them, further apart on the instrument, and in less time. Today's problem then is not so much striking individual notes or groups of notes as itis getting to those notes. The author believes that this is the area in which traditional methodology is inadequate to the demands made of the marimbist by contemporary music: efficiency of movement. This is the area that Method of Movement presumes to enlighten. This book does not deal with the mechanics of pressure strokes, one-handed baroque omamentation, independent roils, or any other sustaining techniques. ‘Some students of marimba playing may be disappointed that the author has not fulfilled his dubious mission as purveyor of insights into “advanced” techniques. But when these recent developments have become ‘commonplace and their attractive sheen has been ‘eclipsed by tomorrow's advanced techniques, the fun~ damentals of efficient movement will have retained their Intrinsic prestige end burnished lustre. In fact, as the marimbist’s art becomes more sophisticated, the player's basic method af movement increases in importance. This text does not discuss every aspect of struck note technique; seme factors have been ignored because of li 3 of space. This book maies no pretense of dealing with the problems of playing other mallet key- board instruments. The author leaves itto others to decide whether the concepts of this method have appli= cation to xylophone, vibes, or other instruments af percussion.