Effects Processing for Vibraphone
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| "For years, guitarists and synthesizer players have made use of digital effects in creating their sounds. Now, with the availability of good-quality pickups designed specifically for the vibraphone, the sound of this instrument may now be treated with some of the same effects. (And remember, effects can also be used on a mic'd vibraphone, but primarily in a controlled environment, such as a recording studio, where the vibes' sound is isolated from the sounds of other instruments. In fact, the vibraphone tracking for this page's sound files, was done with microphones rather than with pickups.)."... | ||
| Added on the 27/01/2004 |  |
227 Hits |
| Author James Walker | ||
| Jazz Vibraphone - Bossa/Samba Comping Textures
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| "This month's lesson deals with textures common to two popular Brazilian styles of music, Bossa Nova and Samba. Like most musical styles, there is more to them than can be covered in a single lesson; instead, here we will examine some basic elements from the perspective of a vibraphonist."... | ||
| Added on the 27/01/2004 | |
202 Hits |
| Author James Walker | ||
| Jazz Vibraphone - Chordal jazz vibraphone
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| "Most beginning and intermediate vibes players spend much more time working on soloing than on comping. This is a result of either ignorance (not realizing how much work it will take to develop chordal skills), or a choice to focus on soloing instead of comping. In truth, however, even a basic level of competence in chordal playing will allow one to participate in comping, and will augment what one can do as a soloist."... | ||
| Added on the 27/01/2004 | Not Rated | 184 Hits |
| Author James Walker | ||
| Jazz Vibraphone - Classical Techniques for Jazz Mallets
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| "It amazes me that so many jazz mallet players started their studies on classical marimba, but then set aside the benefits of those years of training when performing jazz. One need only look to guitarists to see how effectively classical techniques and textures can be incorporated in an improvised context. Given the limitations on jazz vibraphonists and marimbists (range; inability to vary pitches; limited timbral possibilities, etc.), it would make sense for players to explore every avenue possible to develop a creative style."... | ||
| Added on the 27/01/2004 | Not Rated | 149 Hits |
| Author James Walker | ||
| Jazz Vibraphone - Comping 101
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| "It seems that students spend great amounts of time and energy working on jazz soloing, but expect their comping skills to materialize out of thin air. In truth, the art of accompanying soloists is a skill unto itself, requiring just about as much attention and practice time as does melodic improvisation."... | ||
| Added on the 27/01/2004 | Not Rated | 173 Hits |
| Author James Walker | ||
| Jazz Vibraphone - Constructing Walking Bass Lines
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| "While the traditional three-octave range of the vibraphone doesn't always lend itself well to it, walking bass lines can be a very effective texture for unaccompanied and ensemble vibraphone performance alike; vibraphonists who double on marimba or mallet synthesizer have an even greater opportunity to use walking bass lines in their work. In the practice room, bass lines are a valuable tool in the learning and mastering of new tunes, forcing the player to really get "inside" the changes. This month's lesson addresses some basic building blocks in the construction of walking bass lines."... | ||
| Added on the 27/01/2004 | |
219 Hits |
| Author James Walker | ||
| Jazz Vibraphone - Four-voice Textures for Jazz Mallets
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| "The use of four-mallet techniques in jazz affords the mallet player the opportunity to explore different textures when improvising. While single-line melodic improvising will still be the obvious choice for most situations, the use of different textures can add a new dimension to a player's repertoire."... | ||
| Added on the 27/01/2004 | Not Rated | 180 Hits |
| Author James Walker | ||
| Jazz Vibraphone - Solo and Duo Textures
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| "When performing unaccompanied, or in a duo setting, one does not have a rhythm section available to "keep the time" during the performance. There is no reason, however, that a vibraphonist cannot convey the sense of style and time when playing in a swing feel, using bass lines, interesting comping rhythms, and proper phrasing. What follows in this month's lesson are a series of audio examples demonstrating how a solo vibraphonist can convey a time feel without the benefit of a rhythm section."... | ||
| Added on the 27/01/2004 | |
229 Hits |
| Author James Walker | ||
| Jazz Vibraphone - The ABC's of Chord Voicing
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| "Many beginning and intermediate vibes players, even with strong backgrounds in music theory, are intimidated by the thought of learning chord voicings. While there is a great deal of material to cover when learning how to voice chords, the basic techniques for creating and altering chord voicings are fairly straightforward."... | ||
| Added on the 27/01/2004 | Not Rated | 163 Hits |
| Author James Walker | ||
| Mallet Synths vs. "Real" Instruments
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| "After roughly two decades, mallet synthesizers remain misunderstood by many percussionists. Some players have embraced the new technologies, using these instruments to make wonderful music. Others, however, reject mallet synths out of hand, often after only a brief attempt at playing them. Mallet synthesizers can be fantastic musical instruments, but for their use to be successful the player must approach them on their own terms."... | ||
| Added on the 27/01/2004 | |
162 Hits |
| Author James Walker | ||
| Microphone Techniques for Vibraphone
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| "Because of the size of the vibraphone, two microphones are usually used to amplify or record the instrument; a single microphone usually will not provide even coverage of the entire range of the vibes. Here are some commonly-used stereo microphone setups."... | ||
| Added on the 27/01/2004 | |
198 Hits |
| Author James Walker | ||
| Solo Vibraphone - Myths and Misconceptions
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| "Unaccompanied vibraphone performance is not only valuable in its own right, but even those players who have no wish to perform solo, will reap benefits when performing with a full rhythm section, if they take even a little bit of time to try solo playing (if only in the practice room). A vibraphonist who develops his abilities as a solo performer makes himself a more interesting ensemble player, and creates new performance opportunities for himself, such as working as a duo with a bassist, or solo."... | ||
| Added on the 27/01/2004 | Not Rated | 165 Hits |
| Author James Walker | ||
| Technique - Big Band Vibraphone
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| "Very few of the big band charts used by high school, college, and university big bands, include parts for a vibraphonist. This places a burden on anyone wishing to perform on vibes with their school's band - unlike the other members of the band, a vibraphonist must create his or her own part for each arrangement. This month's lesson will address some of the issues facing these vibraphonists."... | ||
| Added on the 27/01/2004 | Not Rated | 195 Hits |
| Author James Walker | ||
| Technique - Extended Techniques for Vibraphone
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| "At one level, the mechanics of playing the vibraphone are quite obvious and intutive: grab a mallet and hit the bar, and you get a pretty good sound. However, there are other "extended" techniques; some offer sounds unattainable with traditional techniques, and others allow access to notes above the range of the instrument. Please note that the sounds created here were all done acoustically; no signal processing or audio "wizardry" was involved."... | ||
| Added on the 27/01/2004 | |
370 Hits |
| Author James Walker | ||
| Technique - Four-mallet Exercises
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| "Students at all levels know the challenge of finding enough time to practice; the challenge becomes even greater when one leaves school and has to deal with the demands of "real life." The two lessons here are designed to help streamline the time spent practicing basic four-mallet techniques."... | ||
| Added on the 27/01/2004 | |
234 Hits |
| Author James Walker | ||
| Technique - Interval Expansion Exercises
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| "A basic skill of four-mallet technique is the ability to change the interval (distance) between the two mallets in either hand."... | ||
| Added on the 27/01/2004 | Not Rated | 165 Hits |
| Author James Walker | ||
| Technique - Mallet Dampening
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| "Along with pedalling, mallet dampening is the technique (or, group of techniques) which players use to manipulate the sustain of vibraphone bars. Mallet dampening allows a player to stop the vibration of certain bars, while leaving others vibrating simultaneously. This month's lesson will address some basic techniques and applications for mallet dampening on the vibraphone. Most of the techniques addressed here deal with legato phrasing, but it is also possible to use mallet dampening to achieve a variety of articulation in one's playing."... | ||
| Added on the 27/01/2004 | Not Rated | 167 Hits |
| Author James Walker | ||
| Technique - Mallet Selection
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| "One's selection of mallets plays a crucial role in the sound a player produces on any mallet instrument. This month's lesson addresses the options available when selecting mallets, both for specific playing situations, and for one's personal preferences in general. The information presented here is important to all percussionists, but less-experienced players, and music educators, will benefit greatly from this lesson."... | ||
| Added on the 27/01/2004 | Not Rated | 188 Hits |
| Author James Walker | ||
| Technique - Stickings Concepts for Mallet Instruments
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| "Whether one plays mallet instruments with two mallets or four, it is an important but often overlooked issue: what sticking is best for a particular passage? While there usually is more than one solution for a given melodic line, there are factors which one should consider when creating stickings."... | ||
| Added on the 27/01/2004 | Not Rated | 196 Hits |
| Author James Walker | ||
| Technique - Tone Production on Mallet Instruments
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| "It is important that mallet players have a basic understanding of tone production on their instruments. This lesson addresses two important factors: the selection of striking spots, and the basic mechanics of resonators."... | ||
| Added on the 27/01/2004 | Not Rated | 199 Hits |
| Author James Walker | ||
| Technique - Vibraphone Pedaling
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| "With the exception of certain models of orchestra bells, vibraphones are the only mallet instruments which make use of a damper pedal mechanism. Many mallet percussionists come to the vibraphone only after beginning their studies on xylophone or marimba, and as a result, pedal techniques are often misunderstood, if not overlooked entirely. What follows here is a "primer" of sorts, an introduction to the mechanics of, and basic techniques associated with, damper pedal mechanisms."... | ||
| Added on the 27/01/2004 | Not Rated | 219 Hits |
| Author James Walker | ||
