Non-Traditional Three-Mallet Grip

Aka: (The Mr. Majestic, Majestic Vibe Grip, {M3MG} - Majied 3Mallet Grip, Majied Grip, MGM3, MMG, and MG)

The more I've studied and sought an in-depth means of melodic expression on the Vibraphone, the more I've found the need to break tradition. The mallet grip that I've found to be most useful involves three mallets in each hand and is explained below.  This mallet technique can be used on Xylophone and Marimba as well; however my continuous investigations revolve around studies in Vibraphone Performance.

The first innovative factor in this technique is that of the mallet length I've designed. In my left hand I'm using 3 mallets at the length of #1-(10¼") ten and a quarter inches, #2-(9¼") nine and  a quarter inches, and #3-(8½") eight and a half inches, to allow for an adequate reach based on the larger size bars and wider distanced striking points.  In the right hand I'm using 3 mallets at the length of #4-(7") seven inches, #5-(8½") eight and a half inches, and #6 an interchanging of two mallet sizes-(7" or 8½"), depending on the speed & distance required on specific pieces of music. These criteria are based on ease of mallet control on the more narrow sized bars and shorter distanced striking points.  These measurements are calculated from the striking point of the mallet ball to the very tip of the rubber stick guard at the base of the mallet handle.  The performer may choose to use the same length mallet in both hands and or interchange individual mallets based on personal preference, finger, and wrist and or hand agility.

The second innovative factor is the placement of the mallets. The Mallets are positioned in the hands (left & right) in the same fashion - from left to right and right to left, and works based on independent/interdependent developmental movement as follows:

Mallet 1 is placed between the pinky and ring finger with independent control from the (pinky). 
Mallet 2 is placed between the thumb and index finger, with independent control predominately from the index finger.
Mallet 3 is placed in an up-side-down position between the ring finger and the middle finger (this is its' hinge point), with independent control emanating from the side and/or base of the thumb.

Figure 1 . The Majestic Vibe Grip (Majied Grip) shown here, is positioned by mallet count 1, 2, 3, 4, 5, 6 with mallet 3 crossing under 2 in the left hand & mallet 4 crossing under mallet 5 in the right hand.  These cross positions are only in the palm of the hand and are pictured in Figure 2.

Figure 2 .  The Majestic Vibe Grip (Majied Grip) shown here, is positioned by reverse count 6, 5, 4, 3, 2, 1 with the right hand on the left of the picture and the left hand on the right of the picture. This allows a clear visual of mallet 3 crossing under mallet 2 in the left hand & mallet 4 crossing under mallet 5 in the right hand, (bear in mind) this is the view from underneath.

The development of this technique will allow the performer to play melodically and harmonically in both the right and/or left hand. 

Figure 3. View from over Left shoulder.	Figure 4. View from over Right shoulder.

The third innovative factor is that The Majestic Vibe Grip (Majied Grip) is obviously not limited to the range pictured.  I have been able to produce chordal progressions in the left and/or right hand, while playing the melodic lines in the opposite hand.  There is also an unswerving need to develop strong wrist stroke and rotation ability to allow true freedom of the independent mallet manipulation.  This grip is sure to be revolutionary.            

Additionally this grip can be used in xylophone and or marimba performance. In xylophone performance my 3 left hand mallets are (9 ¼") inches, to allow for an adequate reach based on the minimally sized bars and striking points.  In the right hand I'm using 3 mallets at the length of (7 ¼") inches, to allow for ease of mallet control on the more narrow sized bars and shorter distanced striking points.  These measurements are calculated from the very tip of the ball of the mallet, to the very bottom of the rubber stick guard at the base of the mallet handle.  The performer may choose to use the same length mallet in both hands and or interchange individual mallets based on personal preference, finger, and wrist and or hand agility.