The Vibraphone as a Solo Instrument by Bill Molenhof
Before a student or performer can approach the vibraphone from a player's technical viewpoint, the preliminary essential of opening your mind and ears as a listener must become a concentrated effort
Playing and Listening Ability
Before a student or performer can approach the vibraphone from a player's technical viewpoint, the preliminary essential of opening your mind and ears as a listener must become a concentrated effort. I feel the player's attitude and ability to actively listen has a tremendous bearing on the outcome of his musical involvement with the audience as well as other players in an ensemble. We are constantly exposed to a variety of music, often against our own will. The mallet player must make a conscious decision to actively concentrate on whatever is being musically communicated. In other words, whether casually listening to a recording or attending a live performance- Get involved with your musical taste and listening ability.
Equal Independent Grip
Arrange the mallets (as illustrated below) on the instrument. Place your index finger between mallets #4 and #3 (A). Place your thumb at the side of mallet #3 (B). Wrap your three back fingers around the bottom of the mallet handles.
| The Left Hand Outside mallet #4 on top |
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Inside mallet #3, underneath #4. One mallet handle width space between mallets at cross-over point of #3 and #4 mallets. |
| Left Hand Player Position View | ||
| The Right Hand Mallet #1 crosses over mallet #2. |  |
One mallet handle width space between mallets at cross-over points of #1 and #2 mallets. |
| Right Hand Player Position View |
Begin by placing your index finger between mallets #1 and #2 (A), followed by the thumb at the side of mallet #2 (B). Wrap your three back fingers around the bottom of the mallet handles.
A variation that I will occasionally use is to spread the mallets in one or both hands to a 90 degree angle. This is useful when playing the extreme ends of the instrument with the outside mallets.
The concept of this grip is to provide the player the option of combinations to develop equal ability to perform. The resulting flexibility encourages more independent functioning of hands and mallets while developing a more comprehensive command of the entire mallet instrument.
One of the most important elements in my grip is the space between the mallets at the point of cross-over. When I played "lead' all the time with mallets #1 and #3. I noticed that the #2 and #4 mallets remained weak and were not utilized as efficiently as possible. The solution was to leave this space between mallets to develop stronger finger manipulation and encourage a more equal use of all mallets.
The results of this correction gave me greater lateral movement, increased flexibility and improved control over the entire instrument. This is also less contact sound of the mallets clicking together.
My goal is to have equal ability and independent function of all four mallets so as to be technically unlimited. Maximum communication with the audience can be achieved only when the physical act of playing has reached the point of being effortless. Obviously, an efficient grip is one the key foundations for player development. As control and accuracy increase, the potential for greater musical vibe performance is continually enlarged. These mallet grip procedures are logical, useful and a suitable addition to standard four mallet technique.
Sound
It has been my observation that many players are not truly aware of their sound in performance. For instance, I try to pay particular attention to the stacatto-legato spectrum of tone production. A very quick determination of tone when the damper pad is completely in contact with the bar contrasts the ringing sound of the tone achieved when using the sustain pedal. Flutter pedaling and mallet/hand dampening greatly increase the lyricism of the vibe and should be employed frequently but with good taste. Only allow those notes to sustain which are absolutely appropriate to the music. The instant they are no longer necessary, dampen those bars immediately. Sticking combinations can affect the articulation considerable. Familiarity should be obtained with a wide variety of patterns to permit maximum flexibility and options. The freedom to use any mallet at any time is especially important when improvising. I encourage a wide range of sticking patterns during any playing situation. This will help ensure equal ability with all mallets.
It is important to remember that the listener is not as familiar with the music as you are. The listener needs as much assistance from the player as possible in order to receive full impact of the total musical experience. Strive for the utmost clarity and total awareness of your musical sound, as opposed to the sound you imagine in your mind.
Special affects such as mouth vibrato, glissando, striking the keyboard with mallet handles or use of the variable speed vibrato all add to the variety of tone color available. Used creatively and in good taste, these effects can increase your expression tremendously.
One of my favorite aspects of sound in the vibe solo performance is the available degree of shading with dynamic contour. Every note played should be leading somewhere, either rising or falling as opposed to a monotonous, stagnant lack of melody/harmony motion. This helps the listener to follow the music much more closely and greatly enhances your musicality and communication in performance.
As a vibe soloist, one of the essential factors in successful performance is the ability to play in any area of the instrument at any time. I strongly suggest that the provided examples be used merely for a guide for developing your own exercises. Your areas of ability will increase dramatically in relation to the amount you involve your own creative process.
Psychology of Performance
In any performing situation and particularly as a soloist, the player must transmit as strong a flow of musical communication as possible. Whenever I work my two goals for achieving maximum communication :
1. Perform the most musical rendition possible with less concern for personal ego gratification.
2. Perform your music in the most natural and flowing manner as possible. Be less directed while forcing conscious thinking.
The only way I know to practice communication is to play in front of an audience as often as possible and enjoy yourself!
The vibraphone is entering a new dimension as a solo instrument and has great potential in single line, contrapuntal and choral textures. By incorporating a general awareness to the concepts presented, many of the traditional boundaries for keyboard mallet instruments will be surpassed with more musical performances.
Bill Molenhof
Bill Molenhof is fast becoming a leader in mallet percussion combining the talents of composer, instructor, clinician and artist. As a unique vibe soloist, his five mallet technique has opened new directions for vibraphone and all mallet instruments.
Molenhof's real beginning in the mallet field developed from attending a national stage band camp, which later led to study with Gary Burton and Steve Swallow at Berklee. After touring the Pacific Coast for one year with guitarist Wayne Johnson, Burton asked Molenhof to return to Boston for a teaching position at Berklee. It was during this period that Bill Molenhof composed and recorded the vibe solo collection, Music of the Day and performed with Pat Metheny. Moving from Boston to New York to pursue his performing career, Molenhof became affiliated with Jackie Cain and Roy Kral. As featured soloist and composer for Jackie and Ray, Bill toured the United States extensively, performing with symphony orchestras, in concerts, and on various radio and television broadcasts.
He continues his career today with his own group, freelances in New York and teaches at the Manhattan School of Music. As a composer, Molenhof has embarked on a series of marimba/ vibe duets and piano/vibe duets, as well as the Music of the Day collection. All materials are published by Kendor Music, Inc.
