Vic Firth Artist: NEY ROSAURO
EXTENDED CROSS GRIP LESSON SERIES

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
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Lesson Three: Extended Zero Position - Perfect 5th
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Lesson Four: Changing Intervals: 4th to 5th
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Lesson Five: Larger Intervals – 6th to Octave
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Lesson Six: Opening and Closing – 5th to Octave
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Lesson Seven: Exercise #7 – Octaves
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Lesson Eight: Smaller Intervals – 3rd
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Lesson Nine: Smaller Intervals – 2nd
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Lesson Ten: Opening and Closing – 4th to 2nd
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Lesson Eleven: Exercise 11 & 12 – Full Range Intervals
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Lesson Twelve: Extended Topics – 2 Mallet Playing
Lesson Thirteen: Extended Topics – Musser Rolls
Lesson Fourteen: Wide Intervals in Left Hand


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!


  For Marimba:  
M221
Soft. For rich bass and well defined fundamental in the lower register. With rattan shafts.
L = 16 3/4”
M221B
With birch shafts.
L = 16 3/4”
   
M222
Medium Soft. Produces a warm and round sound while maintaining clear articulation. With rattan shafts.
L = 16 3/4"
M222B
With birch shafts.
L = 16 3/4”
   
M223
Medium Hard. A versatile and general mallet that produces full and natural sound throughout the entire keyboard. With rattan shafts.
L = 16 3/4"
M223B
With birch shafts.
L = 16 3/4”
   
M224
Hard. Cuts well, but still maintains a pure fundamental sound. With rattan shafts.
L = 16 3/4"
M224B
With birch shafts.
L = 16 3/4”
  For Vibraphone:  
M225
Soft. Designed specifically for the low register of the extended range vibraphone.
L = 15 3/4"
M226
Medium. For full and extremely rich sound throughout the keyboard.
L = 15 3/4"
M227
Hard. A heavier mallet that provides more articulation and is ideal for large halls.
L = 15 3/4"
  Hybrid:  
M228
General. An all purpose mallet for rich, full sound on any keyboard.
L = 16 1/4"
M229
Very Hard. A very articulate and extremely powerful mallet.
L = 16 1/4"
 
Ney Rosauro Symphonic Signature Stick
A versatile, multi-purpose snare drum stick featuring an elongated tip with increased surface area for enhanced sound quality. A long taper provides excellent rebound, while a slight taper towards the butt enhances the balance. Excellent for concert playing as well as for drum set. In hickory.
L = 16.56"; Dia. = .600';


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.
 "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.


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