VOLUME If - INTERMEDIATE (ONARDO RAMADORI se OT AACUSSIONISTA Via Pobicciari6 Tel. 075/5002702 06100 PERUGIA Editet © Doug Allan @ Progressive lesson pl..n combining Psst © Copyright 1959 by HENRY ADLER INC., 136 West 46th Street, Now York 36, New York. International Copyright Secured Made in U.S.A, All Rights Reservedt EF'oreword The purpose of this method 1s to provide a course of Progressive lessons for the teacher and student which will Gombine a knowledge of technique and study of Theory and Harmony. This course ts laid out in a progressive lee, son form so that it will be easy to keep pace with each Phase of the method, 7 The author has guccessfully developed this method over a period of years and has produced many of today's out- standing players such as Don Elliott, Joe Venuto, Doug Atlan, Don Lam :d,George Devens, Alvin Stoller and many others. We feel we-ave in this method the most modern and Progressive course of study designed to equip the mallet player for today's requirements. THE PUBLISHER2 > > > > > > > > > > ? » J , ) ) ) TABLE OF CONTENTS Seer ane Scales, Major Seales Diatdaie Thirds (larmoaic) Double Note Rolie jor ‘LESSON I. LESSON 1. Garmonic), Inversions Minor Progression Minor Seventh To Dominant UESSON VIII__Chromatic Scale, Harmonic Minor Seales Diatonie. Thirds @slodio) ‘mented Seventh Chord, Major Sixth Chord Review. ---- a ESSON Ix _Chromatic Scale @ octaves),Melodic Minor Sealer tatonle Thirds (@armonic) Flatted Filth Chord, Major Sixth Chord Review -—---- LESSON x. ‘Scale Form #1, Melodic Minor Scale Chord, Minor Sixth Chord Review -———-ne-annamo—— LESSON XI. Milde sa tz Melodic Minor Scale Diatonio Thirds (Melodic) Dominant Nath Chord ee TaRth Chord Review, Progression Tonio To Minor Seventh To Diminished Secr enth To Tonto Sixth Chord =——-———~ = LESSON XII Seale Form #8, Melodie Minor Scales Diatonlo Thirds (ulodie), Ninth Chord, Augmented Seventh Chord Review, Progr ‘To Diminished Seventh To Tonic Sixth Chord -——--—— LESSON XIT_——_Seale Form #, Whole Tone Scaloa In Diatonle Talrds Glarwoalo), Flanea ‘Ninth Chord, fakmentod Seventh Chord Review, Progression Tonic To Minor Soventh To Diniwnnes Seventh To Augmented Seventh Built On Tonle -~ a Whole Tone Scales In Distonie Thirds (Melodic) Dominant Eleveath Nina aatted Fifth Chord Review, Progression Tonle To Minor Seventh To Doninant Lwct Neiglbee Qual a en MESSON XVIIl__Lower Neighbor (Major Triad), Harmonto Minar Scalve Diatonle Sinko (Harmonic), Half Diminished Seventh and Minor Seventh Flatted Fifth Chords, Chord Review, Double Malletting (Minor Triads) LESSON XIX___Upper Neighbor (Major Trtad),HHarmonie Miner sos {agmented Eleventh Chord Review, Double Malletting (Augmented Triad) one LESSON XX Lower and Upper Nelghbors Combiaed (Major Triad)’ Soren er Scales Diatonic Te anatlodle), Progression Minor To Half-Diminished Seventh To Domine saroeg dog aun Dominant Thirteenth and Thirteenth Flat Ninth Chord Review, Desble tens - ting (Augmented Triad) --—--—-==---———— om LESSON XX1___Upper and Lower Nelghbora Combined (ajor Toladhy Melodie ‘Minor Scales Diatoaie Save Gisrmonic), Progression Minor To Half-Diniatshed Seventh To Dosing wie (Dintainant Rift Te Minor, Dominant Seventh Sharp Nath Chord, Double Maltateg (Diminished Triad) LESSON XX0—_Lower Neighbors (Minor Triad), Melodie Minos Scales Diawuie ‘Stxths (Melodie), Pro Bominant andy {2 Half-Dimintahed Seventh To Dominant Seventh Flatted Fifth Yo Micon Dominant Seventh Sharp Ninth Chord Double Malletting (imintahed Telad) aWw LESSON XXII Upper Neighbors (Minor Triad), Melodic Minor Scales Diatonle Sixths (Melodic), Pro~ sreasion Minor To Half-Diminiahed Seventh To Dominant Seventh Flatted Fifth To Min« Dominant Seventh Chord (Variation), Combining Intervals of Sr 4h, 6, St Gas ‘LESSON 2CXIV___ Lower and Upper Nelghbors Combined (Minor Triads), Major Scales Perfect Prime ‘Progression Minor To Half-Diminished geventh To Dominant Seventh Flatted Fifth To Minor, Minor Seventh Chord (Vartation),Combining Intervals of 3th, 4th, 6th, 6th, (armonte, Mincr) —-——— LESSON XXV____ Upper and Lower Neighbors Combined (Minor Triad), Harmonic Minor Scales Perf ect Primes, Progression Minor Seventh Flatted Fifth To Dominant Seventh, Major Seventh Chord (Variation), Exercise On Perfect Fourths —-—-. LESSON XXVI___Upper Chromatic Neighbor (Major Triad), Melodic Minor Scales Perfect Primes, Pro- ‘gression Minor Sevenths, Dimintahed Seventh Chord (Variation), Exercise On Perfect ‘Fourths —--——— paren LESSON XXVII__Lower and Upper Chromatic Neighbors Combined (Major Triad), Whole Tone Scales Perfect Primes, Exercise On Minor Seventh Progression, Vartation Dominant Niath Or Half Diminished Seventh Chord, Exercise On Perfect Fourths «--—=—-ma-a-a-a-n-r-ne—=o-— LIT ‘LESSON XXVII__Upper and Lower Chromatic Neighbors Combined (Major Triad), Major Scales Ia Oct’ ‘aves (Harmonic), Progression Of Minor Sevenths To Flatted Fifth Chord To Tonle, Min- or Seventh, Diminished Seventh To Tonle Sixth Chord, Variation On Major Sixth Chord, Exercise On Perfect Fourths ~- panna nnnann—— 120 LESSON XOX___ Upper and Lower Chromatic Neighbors Combined (Major Triad)Major Scales in Oot- aves (Melodic),Progression (Reverse Of Lesson XXVIM), Variation On Minor Sixth Chord, Exercise On Perfect Fourths Built On A Diminished Seventh Chord LESSON XXX___Chromatic Mordent (Major Triad), Major Scales Octaves (Melodic), Progression I, VI, WL, V, 1Chords ("We Want Cantor"), Variation On Dominant Seventh Chord, Exercise On Perfect Fourths Bullt On A Diminished Seventh Chord -—- anannn 129 LESSON 20CX1_=:Pontatonio Seale (Major Form), Harmonic Minor Scales Octaves (Harmonic)("We Want Cantor") Progression, Variation On Diminished Seventh Chord, Grace Notes (Single) Lower Neighbors aa LESSON XXXII__Pentatonle Scale (Minor Form), Harmonte Minor Scales Octaves (Melodic), Major ‘Thirds Chromatically, Variation On Déminant Ninth Chord, Grace Notes (Single) Up- per Neighbors =—-=-——--——-—--——- rc) LESSON XCOXMI_Pentatonte Scale (Major Form), Harmonic Minor Scales Octaves (Melodic), Major ‘Thirds Chromatically, Combined Chord Tones and Neighbors (Major Triad),Double Grace Notes --——— pannel ‘LESSON 2OCCV__Pentatontc Scale Qinor Form), Melodic Minor Scales Octaves (Harmonic), Minor ‘Thirds Chromatically, Combined Chord Tones And Neighbors (Major Triad),Double Grace Notes -=—-——-——-—. LESSON 2COXV___Dimintahed Seventh Scale, Melodic Minor Scales Octaves (Melodic) Minor Thirds Chromatcally, Combined Chord Tones and Scales (Major Triad), Triple Grace Notes ~. LESSON XXXVi_ Diminished Seventh Scale, Melodic Minor Scales Octaves (Melodic), Exercise In Con- ‘trary Motion, Combined Chord Tones and Scales (Major Triad),Triple Grace Notes LESSON 200CVII__Combined Diatonic Seventh Chords and Scale Passages, Whole Tone Scale Octaves @larmonic), Diatonic Triads, Combined Chord Tones and Scales (Minor Triad), Trille LESSON 2OCXVII_Combined Diatonte Seventh Chords and Scale Passages, Whole Tone Scales Octaves (Melodic), Diatonfe Triads, Variation On Diminished Seventh Chord, ‘Trills With Add id Turns --—- aan nnennnmn 162 Ds — 101 = eae een nanan nnnnnene 107 —---109 aus IN PREPARATION ----------. - PHIL KRAUS' BOOK mT Contains complete Four Mallet Technique, Modern Progr fons, leas for Improvisation, These works comprise the most complete method written for Mallet Instruments Acclaimed and endor, throughout the country. d by leading teachers and musiciansees ae ervrlc OerelerelleretlUm eremlUhrmhCU!W PHIL KRAUS Phil Kraus was born in New York City. He started playing Xylophone at the age of eight. His first teacher was Milton Schlesinger. Later he began his percussion studies with Al Broemel and Was the recipient of several Philharmonic scholarships. After graduating from the Juilliard School of Music as a scholarship student, he immediately began a professional career which has included radio, televiston, recordings and transcriptions and film sound tracks. A list of shows he has play- ed includes N, B.C. Spectaculars, Martha Raye, Sid Caesar, Producers Showcase, Studio One, Omni- bus, Camera Three, Jackle Gleason, Ed Sullivan, Steve Allen, Perry Como, Rodgers and Hammer- stein's, "Cinderella" and many others. He has been in demand for recording sessions with Percy Faith, Hugo Winterhalter, Ralph Burns, Marty Gold, Dick Jacobs, Benny Goodman, Mitchel Ayres, Morton Gould, Leonard Bernstein and many other bands and recording stars, His list of pupils is prodigious. Mr. Kraus has two L.P. albums to his credit,"The Percussive Phil Kraus'"(CR3004) and "Conflict" (CR 4004) both recorded for the Golden Crest label. At present, Mr. Kraus enjoys the reputation of being known as a "Musictans' Musician" and a truly fine teacher.DOUG ALLAN Doug Allan, born in Byram, Connecticut began his musical studies at the age of twelve, He came to New York in order to study drums privately with Henry Adler. Later he studied Xylophone and Vibraphone with Phil Kraus and Timpani with Alan Lepak. Mr. Allan was a Navy musician while in service. He is a graduate of the Juilliard School of Music where he was a scholarship student. In addition to private teaching, Mr. Allan has done symphony work with both the New York Phil- harmonic and the Symphony of the Air (formerly the N.B.C. Symphony Orchestra) under such con — ductors as Dimitri Mitropoulos, Sir Thomas Beecham, Charles Munch and Pierre Monteux. He has also played Broadway shows, television and recordings for R.C.A. Victor, Capitol and Decca Records. Mr. Allan has written several works for percussion. His latest, "Conflict", a fantasy for six percussion, is the title plece on a recent Golden Crest release (CR 4004) conducted by Phil Kraus.TECHNIQUE The mallets are held between the thumb and forefinger at the first oint of the forefinger. The other fin- gers are then curled around the mal- let so that tt ts held firmly, but not tight. The back of the hand must be held flat facing upward. The mallets should form almost a ninety degree angle on the bar, with the left mallet above the right. This position should be kept at alltimes except for chang- es in chromatic playing. In this way, the mallets will not interfere with each other, Position of Hands: All playing is done with the wrists only. The arms are used only to move the mallets sidewise - never up and down, "Up" positio —=—— Place both mallets on any one bar at the angle indicated inthe ill- ustration. The hands should be two or three inches above the keyboard, Now pick up both mallets with the wrists only,as far back as possible. Do not raise the arms. The mallets should be pointing almost straight up. We will call this the "UP" position. "Downup" Strok —S SS Now the technique can be explained by one simple word - "Downup". From the "Up" position bring the stick down on the bar and back up again in one quick movement—say "Downup" quietly, This is a simple explana- tlon of the required technique. Standing Position: Stand in the middle of the range in which you are playing. If play- ing the scale of Cfor one octave, stand at about G. If playing two octaves, fake one step up as you reach the end of the first octave.Roverse the pro. cedure playing the two octave scale down. Striking the Bars: Sa ee Bares : The naturals should be struck in the center of the bar. The acciden- tals on the tips of the bars. This a necessary in order to play rapid pass r28e8 so that the hands do not have to move in and out too far,thus wast {ng time, Care must be taken not to strike the bars at the poiat at which they are strung. You will find that the result will be a much " thinner © Sound as compared to that produced in the center of the bars. @sup" POSITION From this position the sticks strike the bars and return tmmediately to their original starting position us- ing the "Downup" technique. STRIKING BARS ‘Left Hand on Natural ‘Right Hand on Sharp POSITION OF HANDS WITH STICKS ON BARHi LESSON I @ THE WHOLE TONE SCALE: This scale is a six tone scale composed entirely of whole tones. The octave may be added; no key signatures are used. There are actually only two fundamental seales,one built on C,and the other built on D Flat, All others are derived from these two. THE WHOLE TONE SCALES2 These exercises are to be played in all the whole tone scales start- ing first with the right and then with the left hand and using the "Downup" tedhaique. Play these scales in the Cycle of Fourths. LREL EL B ERER ER @/MAJOR SCALES IN DIATONIC THIRDS (Harmonic): = es (Harmonic): ~ hese exercises are to be played in the six keys shown.Use o¥nup" technique. 73 Double Note Rolls may be played both slurred and broken. Note the follow. ing examples: as SLURRED (BROKEN ] 2] (Written) AJ cwritteny ——__ (Played) | etayed) ESS LELAY_ THESE EXERCISES SLURRED AND BROKEN p) @© THE MAJOR SEVENTH cHOR iF SS SEECE SEVENTH CHORD! This chord is a combination of a major triad and the interval of a Rilor seventh. It is composed of the first,third, fifth and seventh steps of any major scale. Major 7th Eb Major 7th Chord DMajor 7th Chord = Sitaj. Tete 7 Maju 7th Maj. TriadThese exercises are to be played in all major seventh chords starting first with the right and then the left hand. Use the "Downup" technique. Play in the Cycle of Fourths. wth cdc sku! eZ Day 7 9 was ne bs we on we Pr (b) ELRELR ERLRE JF® REVIEW OF THE DOMINANT SEVENTH CHORD PLAYED CHROMATICALLY; ! These exercises are to be played for one octave starting from every = Use the "Downup" technique, and the fingering as indicated. Reeve Bich ErEE &LESSON II @ THE WHOLE TONE SCALE-FORM I: This exercise is to be played in all whole tone scales starting first with the right and then the left hand, and using the "Downup" techaique.Play theses scales in the Cycle of Fourths. ./c\ : al ; a ; : oe @2045612 @216G512 @2165102 on mre Bee ore @ @MAJOR SCALES IN DIATONIC THIRDS (Harmonie): OF SSR SE SER ONG THIRDS (Hermonto): a These exerci the "Downup" technique. gD . — aS tee SS SS == are to be played in the six keys shown. UsePLAY THESE EXERCISES SLURRED AND BROKEN eS@ INVERSIONS OF THE MAJOR SEVENTH CHORD: These exercises are to be played in all major seventh chords start- ing firet with the left and then the right hand, and using the "Downup" technique. Play in the Cycle of Fourths. @ @e LRLE LRLE fg — ») EERE REEL it) @REVIEW OF THE DOMINANT 7th CHORD PLAYED CHROMATICALLY: These exercises are to be played for one octave starting from ev- ery tone. Play first with the right and then with the left hand. Use the "Downup" technique.PLAY THESE EXERCISES IN THE CYCLE OF FOURTHS10 Lesson ut | 5 “Orne WHOLE TONE SCALE - FORM II: aA Mm © This exerciae is to be played in all whole tone scales starting first with the right and then with the left hand and using the "Downup" tech- nique. Play these scales.in the Cycle of Fourtas. o nt eae ty pesto: a0) cers) 45 4 3 46 ok 8 2 1 @® MAJOR SCALES IN DIATONIC THIRDS (Melodic): ee 7 This exercise is to be played in all twelve keys, as shown,using f, the fingering indicated. Use the "Downup™ technique. c LRLRLRULR L éThis chord is a combination of a major,triad and the interval of a major sixth. It is composed of the first, third, fifth, and sixth steps of any major scale. This chord is sometimes referred to as the added sixth chord, and is used mostly in popular music and jazz. ‘Maj. 6th ‘Maj. 6th, F Major 6th Chord Bb Major 6th Chord ‘Maj. Triad eS _ + Maj, Triad These exercises are to be played in all major sixth chorde start- ing from every tone. Play in the Cycle of Fourths. Use the "Downup" technique and the fingering as indicated RL RLE LR LEE @REVIEW OF THE MINOR 7th CHORD PLAYED CHROMATICALLY: These exercises are to be played for one. octave starting from every-tone.Use the "Downup" technique and the fingering as indicated.XERCISE ON PROGRESSIONS: RES EON PROGRESSIONS ' (Tonic to Minor Seventh to Dominant Seventh te Tonio Chord.) This exerci is to be played s rting first with the left and then the right hand, using the "Downup” technique. Play in the Cycle of Fourths. c Dat a715 LESSON IV E WHOLE TONE SCALE - FORM II This exercise 1s to be played“in all whole tone scales starting first with the right and then with the left hand, using the "Downup™ technique. Play these scales in the Cycle of Fourths. 45345604 SELB 6 TEs, 12912942 Troteroae RLRLRLRL R ) LRERLRLR L ) ) sarcaria tie2Teet esso5195 sazsaat AJOR SCALES IN DIATONIC THIRDS (Melodic This exercise is to be played in all twelve keys, as shown, using the fingering indicated. Use the "Downup" technique. RERL RLRL R e