{"id":654,"date":"2017-05-10T13:41:07","date_gmt":"2017-05-10T17:41:07","guid":{"rendered":"https:\/\/esm4.esm.rochester.edu\/community\/?page_id=654"},"modified":"2025-08-08T13:57:37","modified_gmt":"2025-08-08T17:57:37","slug":"jazz-vibes-marimba","status":"publish","type":"page","link":"https:\/\/esm4.esm.rochester.edu\/community\/faq\/student-curriculum\/jazz-vibes-marimba\/","title":{"rendered":"Jazz Mallets Curriculum"},"content":{"rendered":"<hr \/>\n<h2 align=\"left\"><span style=\"color: #61812a\">Level IV<\/span><\/h2>\n<p>(Note: For levels I \u2013 III follow classical mallet curriculum)<\/p>\n<p><span style=\"text-decoration: underline\"><strong>Methods<\/strong><\/span><\/p>\n<p>Dave Friedman \u2013 <em>Vibraphone Technique, Dampening and Pedaling<br \/>\n<\/em>Gary Burton \u2013 <em>Four Mallet Studies<br \/>\n<\/em>Ron Delp \u2013 <em>Vibraphone Technique \u2013 Four Mallet Chord Voicing<br \/>\n<\/em>Ramon Ricker \u2013 <em>Pentatonic Scales for Jazz Improvisation<br \/>\n<\/em>Ramon Ricker \u2013 <em>Technique Development in Fourths for Jazz Improvisation<br \/>\n<\/em>Dave Samuels \u2013 <em>A Musical Approach to Four-Mallet Technique for Vibraphone Vol. I, II<\/em><\/p>\n<p><span style=\"text-decoration: underline\"><strong>Technique<\/strong><\/span><\/p>\n<p><span style=\"text-decoration: underline\">Vibes<\/span><\/p>\n<p>Introduction to end of the bar playing, mallet dampening and pedaling. Rhythmic improvisation over all major, minor and dominant static key centers. Introduction to the eight 4-mallet \u201crudiments\u201d<\/p>\n<p><span style=\"text-decoration: underline\"><strong>Theory<\/strong><\/span><\/p>\n<p>Understanding of, and regular use of the Circle of 5ths<\/p>\n<ul>\n<li>All major and minor scales (full range)<\/li>\n<li>Diatonic triads and 7th chords in all major and minor keys<\/li>\n<li>Understanding of functional harmony (V I, V i, ii V I, I VI ii V) in all keys<\/li>\n<li>Know various blues scales<\/li>\n<li>Know all pentatonic scales<\/li>\n<\/ul>\n<p><span style=\"text-decoration: underline\"><strong>Improvisation\/Musicianship<\/strong><\/span><\/p>\n<ul>\n<li>Ability to play folk tunes in multiple keys<\/li>\n<li>Ability to play blues heads in multiple keys<\/li>\n<li>Ability to sing solos while playing solos<\/li>\n<li>Ability to sing head while comping chords<\/li>\n<li>Improvise on a particular chord\/scale around the circle of 5ths and chromatically up and down<\/li>\n<li>Improvise over blues in G, C, F and Bb. Ability to hold form and to play in slow and medium tempos.<\/li>\n<li>Improvise accompaniments &#8211; 2 and 3 note rootless voicing on Blues in G, C, F and Bb utilizing smooth voice-leading. Comping without a bass player \u2013 ability to play roots in LH and color tones in RH.<\/li>\n<\/ul>\n<p><span style=\"text-decoration: underline\"><strong>Ear Training<\/strong><\/span><\/p>\n<ul>\n<li>Ability to discern all triad types<\/li>\n<li>Start transcribing favorite artists<\/li>\n<li>Ability to play back notes and note groups<\/li>\n<\/ul>\n<p><span style=\"text-decoration: underline\"><strong>Repertoire<\/strong><\/span><\/p>\n<ul>\n<li><strong>Classical \u2013 <\/strong>Ian Finkel-Solos for the Vibraphone Player, Royal Conservatory Guitar Series \u2013 Albums 2 \u2013 4.<\/li>\n<li><strong>Jazz \u2013<\/strong>\u00a0Various Real Books (focusing on blues, and modal tunes)<\/li>\n<\/ul>\n<p><span style=\"text-decoration: underline\"><strong>Ensembles<\/strong><\/span><\/p>\n<p>Perform in school jazz ensemble and audition for All-County Jazz Ens. Perform regularly in small group setting<\/p>\n<hr \/>\n<h2><span style=\"color: #61812a\">Level V<\/span><\/h2>\n<p><span style=\"text-decoration: underline\"><strong>Methods<\/strong><\/span><\/p>\n<p>Continue with methods from level IV \u2013 Plus:<\/p>\n<p>Dan Haerle \u2013 <em>Jazz\/Rock Voicing for the Contemporary Keyboard Player<br \/>\n<\/em>Mark Levine \u2013 <em>The Jazz Piano Book<br \/>\n<\/em>Jerry Coker \u2013 <em>Patterns for Jazz<\/em><\/p>\n<p><span style=\"text-decoration: underline\"><strong>Technique<\/strong><\/span><\/p>\n<p>Complete understanding and regular development of the eight 4-mallet \u201crudiments\u201d<\/p>\n<p><span style=\"text-decoration: underline\"><strong>Theory<\/strong><\/span><\/p>\n<ul>\n<li>Ability to play ii V I in descending whole steps (all keys) both melodically and harmonically.<\/li>\n<li>Ability to play I VI ii V in all keys both melodically and harmonically.<\/li>\n<li>Ability to play major, dominant, minor, half dim and dim 7th chords in closed and open position and in all inversions.<\/li>\n<li>Ability to play rootless 2, 3 and 4 note upper-structure chords<\/li>\n<\/ul>\n<p><span style=\"text-decoration: underline\"><strong>Improvisation \/ Musicianship<\/strong><\/span><\/p>\n<ul>\n<li>Ability to play major and minor blues changes and rhythm changes in all keys<\/li>\n<li>Ability to sing solos while playing solos<\/li>\n<li>Ability to sing simple folk tunes while playing appropriate chords<\/li>\n<li>Ability to sing head while comping chords<\/li>\n<li>Melodic Solos \u2013 Blues in all major and minor keys and rhythm changes in all keys. Ability to hold form and to play in slow, medium and fast tempos.<\/li>\n<li>Comping \u2013 2, 3 and 4-note rootless voicing on Blues in all major and minor keys.<\/li>\n<li>Comping without a bass player \u2013 ability to play walking bass line in LH and color tones in RH.<\/li>\n<\/ul>\n<p><span style=\"text-decoration: underline\"><strong>Ear Training<\/strong><\/span><\/p>\n<ul>\n<li>Ability to discern all 7th chord types<\/li>\n<li>Transcribe favorite artists<\/li>\n<li>Ability to play back simple pentatonic, major and minor melodies<\/li>\n<\/ul>\n<p><span style=\"text-decoration: underline\"><strong>Repertoire<\/strong><\/span><\/p>\n<ul>\n<li><strong>Classical<\/strong> \u2013 Solos of Ian Finkel, Royal Conservatory Guitar Series \u2013 Albums 5 \u2013 7. J.S. Bach \u2013 Sonatas and Partitas for Violin.<\/li>\n<li><strong>Jazz<\/strong> \u2013 Charlie Parker Omni book, Various Real Books focusing on standards<\/li>\n<\/ul>\n<p><span style=\"text-decoration: underline\"><strong>Ensembles<\/strong><\/span><\/p>\n<p>Perform in school jazz ensemble and All-County Jazz Ens. Perform regularly in small group setting (combo)<\/p>\n<hr \/>\n<h2 align=\"left\"><span style=\"color: #61812a\">Level VI<\/span><\/h2>\n<p><span style=\"text-decoration: underline\"><strong>Methods<\/strong><\/span><\/p>\n<p>Continue with methods from levels IV and V<\/p>\n<p>Mark Levine \u2013 <em>Jazz Theory<\/em><\/p>\n<p><span style=\"text-decoration: underline\"><strong>Technique<\/strong><\/span><\/p>\n<ul>\n<li>Ability to create all possible mallet textures over any set of changes.<\/li>\n<li>Ability to create complete arrangements of pieces from the standard repertoire<\/li>\n<\/ul>\n<p><span style=\"text-decoration: underline\"><strong>Theory<\/strong><\/span><\/p>\n<ul>\n<li>Ability to play wide variety of chord voicings.<\/li>\n<li>Ability to re-harmonize pieces from the standard repertoire.<\/li>\n<\/ul>\n<p><span style=\"text-decoration: underline\"><strong>Improvisation \/ Musicianship<\/strong><\/span><\/p>\n<ul>\n<li>Ability to play in and out of the changes<\/li>\n<li>Utilize multiple textures<\/li>\n<li>Be able to create a variety of textures and solo and comp in\n<ul>\n<li>Large group setting<\/li>\n<li>Combo setting<\/li>\n<li>Trio setting<\/li>\n<li>Duo setting<\/li>\n<li>Solo setting<\/li>\n<\/ul>\n<\/li>\n<li>Relate improvisation to the tune over which you are improvising<\/li>\n<li>Ability to play what is heard in your head \u2013 sing first, copy on instrument second<\/li>\n<li>Comping \u2013 Ability to comp in any groove with a wide array of chord voicings.<\/li>\n<li>Comping without a bass player \u2013 ability to play roots in LH and color tones in RH.<\/li>\n<li>Melodic Solos \u2013 Ability to hold form and to play in slow, medium and fast tempos on any piece from the standard repertoire.<\/li>\n<\/ul>\n<p><span style=\"text-decoration: underline\"><strong>Ear Training<\/strong><\/span><\/p>\n<ul>\n<li>Ability to discern harmonic substitutions<\/li>\n<li>Transcribe favorite artists<\/li>\n<li>Play (solo over) any tune by ear<\/li>\n<li>Ability to play back any chord<\/li>\n<\/ul>\n<p><span style=\"text-decoration: underline\"><strong>Repertoire<\/strong><\/span><\/p>\n<ul>\n<li><strong>Classical<\/strong> \u2013 Solos of Ian Finkel, Royal Conservatory Guitar Series: Albums 7 \u2013 10. JS Bach Sonatas and Partitas and 2-Part Inventions etc\u2026<\/li>\n<li><strong>Jazz<\/strong> \u2013 Pieces with rapidly changing key centers (Coltrane et al).<\/li>\n<\/ul>\n<p><span style=\"text-decoration: underline\"><strong>Ensembles<\/strong><\/span><\/p>\n<p>Perform in school jazz ensemble and for All-County Jazz Ens. All-State etc\u2026 Perform regularly in small group setting (Combo)<\/p>\n<p><strong>Preparation for college auditions<\/strong><\/p>\n<hr \/>\n<p><em>Last updated: 10\/22\/07<\/em><\/p>\n<p><a href=\"https:\/\/esm4.esm.rochester.edu\/community\/handbooks\/student\">Student Handbook Table of Contents<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Level IV (Note: For levels I \u2013 III follow classical mallet curriculum) Methods Dave Friedman \u2013 Vibraphone Technique, Dampening and Pedaling Gary Burton \u2013 Four Mallet Studies Ron Delp \u2013 Vibraphone Technique \u2013 Four Mallet Chord Voicing Ramon Ricker \u2013 Pentatonic Scales for Jazz Improvisation Ramon Ricker \u2013 Technique Development in Fourths for Jazz Improvisation [&hellip;]<\/p>\n","protected":false},"author":42,"featured_media":0,"parent":617,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"advgb_blocks_editor_width":"","advgb_blocks_columns_visual_guide":"","footnotes":"","_links_to":"","_links_to_target":""},"coauthors":[],"class_list":["post-654","page","type-page","status-publish","hentry"],"acf":[],"mb":[],"author_meta":{"author_link":"https:\/\/esm4.esm.rochester.edu\/community\/author\/rita-coulter\/","display_name":"Rita Coulter"},"relative_dates":{"created":"Posted 9 years ago","modified":"Updated 9 months ago"},"absolute_dates":{"created":"Posted on May 10, 2017","modified":"Updated on August 8, 2025"},"absolute_dates_time":{"created":"Posted on May 10, 2017 1:41 PM","modified":"Updated on August 8, 2025 1:57 PM"},"featured_img_caption":"","featured_img":false,"series_order":"","mfb_rest_fields":["title","coauthors","author_meta","relative_dates","absolute_dates","absolute_dates_time","featured_img_caption","featured_img","series_order"],"_links":{"self":[{"href":"https:\/\/esm4.esm.rochester.edu\/community\/wp-json\/wp\/v2\/pages\/654","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/esm4.esm.rochester.edu\/community\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/esm4.esm.rochester.edu\/community\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/esm4.esm.rochester.edu\/community\/wp-json\/wp\/v2\/users\/42"}],"replies":[{"embeddable":true,"href":"https:\/\/esm4.esm.rochester.edu\/community\/wp-json\/wp\/v2\/comments?post=654"}],"version-history":[{"count":4,"href":"https:\/\/esm4.esm.rochester.edu\/community\/wp-json\/wp\/v2\/pages\/654\/revisions"}],"predecessor-version":[{"id":32715,"href":"https:\/\/esm4.esm.rochester.edu\/community\/wp-json\/wp\/v2\/pages\/654\/revisions\/32715"}],"up":[{"embeddable":true,"href":"https:\/\/esm4.esm.rochester.edu\/community\/wp-json\/wp\/v2\/pages\/617"}],"wp:attachment":[{"href":"https:\/\/esm4.esm.rochester.edu\/community\/wp-json\/wp\/v2\/media?parent=654"}],"wp:term":[{"taxonomy":"author","embeddable":true,"href":"https:\/\/esm4.esm.rochester.edu\/community\/wp-json\/wp\/v2\/coauthors?post=654"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}