This is one of my absolute favorite pieces - I learned this first during my violin study, and transferring it to mallets just sits so well.
This improvisation is inspired by some of the grooves I explore on the African balafon (log xylophone) using 4 mallets. It’s all about freedom and energy, flow without measure, and getting to the “no mind.”
Alchemy appears on my 2017 world percussion CD “Crafty Hands”
http://www.rhombuspublishing.com/recordings.html
Just recorded this at home as preparation for our latest duo album. Martina Barta is a dream singer to play with. She listens, waits, takes the lead and sings in tune. Her voice has myriad colors that all fit well with the vibraphone. Accompanying a vocalist is not so easy. What I've learned is not to over play and to leave space.
¡Hola!
Comparto esta adaptación de la Sarabande en Si menor de la Partita para Violín de J.S. Bach (BWV 1002)
En la misma trato de sacar provecho de las distintas técnicas de Dampening para poder respetar la duración planteada en cada una de las voces. El pedaleo mayoritariamente corresponde a un criterio armónico.
Espero que les guste.
Saludos, Tomás Angeloni, desde Argentina
Hello everyone!
I wanted to make a more technique-oriented lesson to give a look inside how I think everyone should practice four mallets. We’ll look at permutations, interval work, and one-handed rudiments in this lesson. By doing these exercises, you’re essentially training your hands to be ready for any combination of notes you’ll ever have to play, in whichever mallets make the most sense to play with. Let me know what you guys think!
