RECENTLY, I WAS QUESTIONED ABOUT STICKING PATTERNS FOR MALLET INSTRUMENTS:
Should I use any particular sticking patterns when playing mallet instruments?
Try them all!!! In fact, for every melodic idea there are 1000s of possibilities, usually. Crossing sticks is generally not recommended, and should be avoided. There are certain times that crossing is used. Either to keep a consistent sticking (usually alternating) or a passage that is so complex, between two different surfaces-you tend to see this on drumset or timpani.
Tell any Indiana University grad: "Page 33" from the Phil Krauss book, and they will immediately turn stark white. It is a simple excersize showing ascending scales, modally (C-C, D-D, E-E, all in the key of C, they other keys.) Start with the L hand-no problem. Start with the R hand and EEK!!! Try it in Db! Students had to practice this excersize until they got it note perfect-usually 6 months, a rite of passage.
Other ideas: Think like a pianist. Keep your R on the right and your L on the left! Remenber, when playing jazz, you might be soloing only with your Right hand, while the L is comping chords.
From Dave Samuels and David Friedman: Try keeping one hand on the sharps/flats, while the other is on the white notes during scales. It's much more efficient. Killer chromatic scales! You also feel the rhythm of the scale, through the sticking patterns (try Eb) This especially works with their 4 mallet techique.
I have a book about sticking patterns* that is ALL of them from groupings of 2s (RR, LL, RL, LR) through 8s (256 permutations). I take all of my students through these patterns-kind of like "phonics". I use them on drums, congas, marimba, vibes, timps, etc. You get all of the syncopations (irregular rhythms) from the sticking patterns, too.
*My book, Ultimate Stick Control is $14.95. A companion resource, Ultimate Syncopation, with all of the syncopations is grouping of 2s through 8s is $14.95.
c2002 Ed Hartman
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