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In our exclusive lesson series, world renowned composer and performer Ney Rosauro demonstrates the grip that he uses on both Marimba and Vibraphone. Developed during an extensive performing career, Ney's “Extended Cross Grip” combines the advantages of the Burton grip (power, speed and ease of learning) with the Musser/Stevens grip (independence, flexibility and wide interval range). In addition, the Extended Cross Grip applies instantly to all keyboard and multi-percussion instruments, making it the most effective way to play with four mallets. A native of Rio de Janeiro, Brazil, Ney has developed a successful international career as a percussionist, composer and pedagogue. He is an immensely popular composer of percussion concerti with an average of 150 performances each year by distinguished orchestras and wind ensembles worldwide. His numerous compositions and method books have become standards in the percussion repertoire and his CDs have been hailed by critics, percussionists and general music-lovers alike. As soloist and pedagogue he has presented courses, solo concerts and performances with orchestras in around the world. |
| An Overview of the Extended Cross Grip | |||
| Seven Important Advantages of the Extended Cross Grip | |||
| Lesson One: Gripping the Mallets | |||
| Lesson Two: The Zero Position - The Interval of a 4th – Click here to download the PDF of the exercises – |
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| Lesson Three: Extended Zero Position - Perfect 5th – Click here to download the PDF of the exercises – |
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| Lesson Four: Changing Intervals: 4th to 5th – Click here to download the PDF of the exercises – |
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| Lesson Five: Larger Intervals – 6th to Octave – Click here to download the PDF of the exercises – |
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| Lesson Six: Opening and Closing – 5th to Octave – Click here to download the PDF of the exercise – |
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| Lesson Seven: Exercise #7 – Octaves – Click here to download the PDF of the exercise – |
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| Lesson Eight: Smaller Intervals – 3rd – Click here to download the PDF of the exercise – |
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| Lesson Nine: Smaller Intervals – 2nd – Click here to download the PDF of the exercise – |
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| Lesson Ten: Opening and Closing – 4th to 2nd – Click here to download the PDF of the exercise – |
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| Lesson Eleven: Exercise 11 & 12 – Full Range Intervals – Click here to download the PDF of the exercise – |
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| Lesson Twelve: Extended Topics – 2 Mallet Playing | |||
| Lesson Thirteen: Extended Topics – Musser Rolls |
CHECK OUT NEY’S SIGNATURE LINE VIC FIRTH PRODUCTS:
Ney Rosauro designed this special series of marimba
and vibraphone mallets to reflect the sound he desires
for his award winning
compositions. Rattan shafts and
rubber cores coupled with special yarn and cord choices
assure the player of a pure and natural
sound that
projects the full capabilities of the instrument.
| PRODUCT SPOTLIGHT
VIDEO Ney shares his thoughts behind the design of his signature keyboard mallets! |
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| For Vibraphone: | |||||||
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M225 Soft. Designed specifically for the low register of the extended range vibraphone. L = 15 3/4" |
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M226 Medium. For full and extremely rich sound throughout the keyboard. L = 15 3/4" |
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M227 Hard. A heavier mallet that provides more articulation and is ideal for large halls. L = 15 3/4" |
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| Hybrid: | |||||||
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M228 General. An all purpose mallet for rich, full sound on any keyboard. L = 16 1/4" |
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M229 Very Hard. A very articulate and extremely powerful mallet. L = 16 1/4" |
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Watch Ney perform his compositions!
| "Brazilian Landscape"
from "Two Reflections for Solo Vibraphone" BRAZILIAN LANDSCAPE is a fantasy that depicts a musical journey through Brazil. Starting with a very soft lento motive, the work presents a lyrical melody in the rhythm of baiao with a long development and increasing tension. After reaching its climax the theme returns with to the same very soft lento motive from the beginning. |
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| "Prelude No. 1" from
"Three Preludes for Solo Marimba" PRELUDE No.1 for solo marimba was originally written for guitar, explaining the harmonies from flamenco music, as well as the Spanish mood of the work. The marimba version was completed in 1983 and is dedicated to Rose Braunstein. Throughout its three themes, the spirit of the Spanish music can be felt, and the fingerings of guitar arpeggios are suggested in the third theme. |
