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Pedro Carneiro
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Dear Bill, dear all,
" Personally, I find that the choice of grip has little or nothing to do with successful playing. "
Re: Totally agree.
"In regard to Marimba Spiritual, I have heard both exceptional and wretched performances, whether they be Stevens, Burton, or traditional grip players. What matters more are the concepts of tone, phrasing, contrast, structure and projection."
Re: Indeed.
Thanks for the compliment, but for the record, I do play with a modified Burton grip, incorporating many of the elements of Stevens: holding the mallets at the very end of the handles, the mallet handles do not touch each other, and the thumb is upward.
Re: Thanks for telling me that - I thought you played with traditional. Curiously, I sometimes vibraphone like that. I good friend of mine in London (when we were studying at the Guildhall) played the hell out of mallets and multi-perc with that modified burton grip and he had one of the most fluid and independent sound I ever hear.
"I seem to recall Zivkovic also using Burton, but I could be mistaken."
Re: Isaw Zivkovic play a couple of times and he played Stevens.
Zeltsman definitely uses traditional. Joe Gramley, to name just one, plays the hell out of Marimba Spiritual using Stevens.
Re: Ok - there are concepts "before" and "after" grip matters, that are equally and (more,,,) important in a way. I have seen players who switched grips and "looked" extremely unconfortable. Maybe it's time we speak of the body as a whole, taking a more holistic approach, instead of thinking of hands exclusively. I once hear Andras Schiff say:
When you play the piano well, you play with your body and the fingers are controlled by superior forces
Poetic and inspiring, I think.
All best wishes, for you all....
Pedro
http://www.pedrocarneiro.com
Remote Host: ce01pc01.netcabo.net
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