User Manual

JOEL TETZLAFF 1
Educator Series
PERCUSSION
Mallets for the Band Room
Making sure your students have
the proper Keyboard Mallets
By Joel Tetzlaff
Joel has a Bachelors Degree in Music
Management from Minnesota State University,
Mankato. He has played in various performing
groups and has marched in several bands and
corps including the Madison Scouts from
Madison, Wisconsin. He currently performs in
the greater Grand Rapids area and came to
Yamaha in the fall 1997 as an intern. He cur-
rently holds the position of marketing manager
for marching percussion.
Selecting the proper keyboard mallets is the same as a woodwind or brass player choosing the correct
mouthpiece. Utilizing a variety of mallets allow percussionist to explore the various timbre possibili-
ties of each instrument.
Using sound as the priority, the correct tools or mallets enables you to create the desired effect with
out damage to the instrument or using incorrect technique. For instance high volume doesn’t neces-
sarily mean a harder mallet. Two basic sounds of mallet instruments are attack and resonance. Using
too hard of a mallet can distort the bar sound and even cause damage. Using heaver mallets with a
soft attack can create the combination of sounds to increase volume while maintaining the integrity
of the instruments sound. Let mallet selection made with common sense and good musical judgment
be your guide to the desired sound.
Mallets are in two categories wound and unwound. Mallets also come in a variety of shaft materials:
rattan, fiberglass, and birch.
This is a guide for the most common configurations:
Instrument Head Shaft
Marimba yarn wound birch or rattan
Vibes cord wound rattan
Xylo rubber, phenolic, wood. birch or rattan
Bells brass, phenolic, lexan, polyball birch
There are always exceptions, for example the use of cord mallets on marimba will produce more attack,
or for a mellow sounds on a vibe try, yarn mallets. The standards also will vary between brands of
instruments, types of materials for example wood vs. synthetic and so on.
Regarding shaft selection, some like to use fiberglass for younger students because of the durability
but the feel of rattan and birch are preferred by advanced players. The birch shaft has a rigid feel to
the player and transmits some vibrations to the player. Birch shafts are typically used with the Burton
or Stevens grip. The rattan shaft is more flexible and transmits less vibration to the player. Rattan is
typically used with the Musser grip.
Joel Tetzlaff