Step Three: Application of Alternation Sticking

In Step Three, the actual stickings are assigned to the selected passage. In the use of alternation sticking, simple alternation between the mallets of each hand will be a solid starting point. This starting point can begin with either mallet, but certain scale shapes favor particular pairings. For instance, when playing any E major/F# dorian-shaped passage, the note pairings are less problematic if (in the right hand) mallet 3 is used for ascending passages on the F#, A

and C#. This consideration might suggest a starting point of the positions shown in Figure 4.50, unless other factors such as turning points in the line, awkward leaps, inconveniently repeated notes or interaction with the left hand were found to interfere. Ideally, any apropos

complications will have been discovered during Step Two. It is important to note that the pairings of Figure 4.50 do not extend (through strict alternation) beyond one octave. If, for instance, this F# dorian scale were to continue into the next octave, mallet 3 would be on the E and mallet 4 would be on the F#, reversing the sticking (from the first octave) and shifting the positions out of the ideal pairings of Figure 4.50. Although these newly created shifted positions are not ideal, a player that has spent adequate time with exercises such as that found in Figure 4.7 (in all twelve major and dorian modes) would have little trouble with the non-ideal pairings. For the starting point of Step Three, however, the player should choose what seems to be the best stickings and deal with any problems as they might occur later in the passage. If an

extraordinary number of problems occur, the player should consider going back to an earlier point and shifting the pairings by means of a repeated mallet (preferably over a long, slower note). The sticking that leads to the fewest exceptions to the alternation rule is probably the most graceful choice.

Figure 4.50: Ideal note pairings when playing a linear passage in the shape of an E major scale.

There are several other factors that might assist the player in the selection of an initial sticking. When possible, negative intervals should be avoided at turning points in the melody.

If, for instance, a melody were to contain, in any key, the notes: Sol, La, Ti, Do, Ti, La, Sol, La, Ti, Do,¹⁶ simple alternation from the left-most mallet in the hand would result in an undulation between two simple positions. (See the left hand part in Figure 4.51 for an illustration in the key of Bb.) If the same passage were started with the right-most mallet of the hand (as in the right hand of Figure 4.51), the result is a single hand position with a negative interval on the bottom and the top—which effectively forces the anchor to continually shift between La and Ti. The right hand position creates a single flat position while the left hand’s two positions are in flat and right-angled orientations. Assuming that this passage is for the right hand, a sticking like the left hand passage of Figure 4.51 (but with mallet 3 and mallet 4) is probably the best choice.

Figure 4.51: Sol, La, Ti, Do in the key of Bb—showing a wise position selection in the left hand and an unwise one in the right.

Complications for this fictional passage could have arisen during Step Two that would argue against a 3434343434 sticking could include a very wide interval between the hands. If a wide interval between the hands exists, reaching even further to the right to play a right-angled

16 Movable “Do” solfeggio will be used throughout this study.

pair on the A and Bb could be impossible. In situations of this nature, a less-than-optimal sticking must be selected.

Figure 4.52: Application of Step Threeto Peters' Yellow After the Rain measures 16-23.

In the final figures of this chapter, alternation stickings have been applied to the two very different passages that were discussed in Step Two above. The left hand part of Figure 4.52 uses negative intervals in both mallets 1 and 2 (measures 16, 17, 19, 22, and 23), sliding anchors (measures 16 and 18), a springing position (count three of measure 20), and strict alternation from the springing position to the end of the passage. The simultaneous unisons of measures 18 and 20 use two different solutions to the problem: measure 18 leaves the C in the left hand line; and measure 20 places the C in the right hand—allowing the left hand an extra moment to prepare for the springing position on count three.

The stickings of the Merlin excerpt are nearly all alternation stickings. The perfectly parallel (octave) lines divide easily into simple positions, with sliding anchor positions used on the three-note groupings. The sliding anchors may easily be found by scanning the stickings for the occasional repeated mallet. Figure 4.53 depicts the note pairings—each three-note grouping

(excepting the high and low turning points of the line) uses one of these sliding anchor positions.

The final ascending line (beginning on the tenth sixteenth note of measure 203) uses strict alternation, within each hand, and simple positions up to the dotted eighth rest of measure 205.

If there were any sticking options necessary for the final three sixteenth notes of the passage, tessitura would be of paramount importance, but the quadruple stops allow no options for a four-mallet player.

Figure 4.53: Application of Step Threeto Andrew Thomas' Merlin measures 201-205.

Figure 4.54: Positional analysis of Figure 4.53.