The Double Stroke in Mallet Technique

   Technique on mallet instruments (xylophone, marimba, vibraphone, and bells) is primarily based on the use of alternating single strokes as the means of manipulating the mallets. This is as it should be, for the single stroke provides the most rhythmic and least complicated method of moving over the instrument. Single-stroke technique must be thoroughly mastered as a basis for performing on the mallet instruments.
   However, the use of the double stroke – or two strokes in a row with the same hand – is also an extremely important technique to mallet players. The use of a double stroke in the logical place can facilitate the execution of a passage that would be awkward if played using alternating strokes exclusively. It minimizes time and motion in getting to the next pitch.
   One should not confuse the term “double stroke” with the expression “rebound stroke.” The double stroke uses two distinctly executed wrist strokes with the same hand, both the first and second strokes identical in attack and in method of execution. The rebound stroke uses one basic wrist motion, with the second stroke being a rebound of the first and not identical with the first in attack or in method of execution. Although the rebound can be controlled with the use of the fingers and can be executed faster than the double stroke, it is of little value to the mallet player because it does not have the clarity and consistency of volume of the double stroke.
   The following example is from a transcription of the Bach Sonata No. VI for Unaccompanied Violin and provides an excellent example of how using only alternated strokes would tie a player’s hands in a knot. Regardless of which hand starts the passage, the player’s hands, if completely alternated, would have to cross each other in such a way as to make the passage unplayable. The only sensible way to play this section is to insert double strokes at key points, as illustrated.

   The example is only one instance, but there are many in which the use of a good double stroke can be employed. To have a good double stroke when needed takes practice. The following are a few possible techniques for developing this stroke.
   The following exercise is to be repeated numerous times. Play first with single strokes, then on the repeat with double strokes. Alternate between single and double strokes each time the exercise is repeated. The benefit of this exercise is that it gives students a chance to match the sound of the single and double strokes. The exercise should be practiced slowly until the strokes match in all respects. Then it should be practiced at faster tempos, but always with the aim of producing strokes that are perfectly matched in sound and height. Accenting the second stroke is another way of strengthening it.

   One of the best ways to develop a good double stroke is to work on a good triple stroke.

   Such exercises are good for developing facility and control with various intervals by use of the double stroke. Again, students should practice for clarity, not speed, and must use a double stroke, not a rebound stroke.
   All these exercises can be transposed into all major and minor keys. Students should use as much variation as possible, practicing at various tempos with various dynamics.

   When using a double stroke, students should select small intervals, they should also avoid using double strokes unnecessarily. Directors should watch to make sure thy are not cheating by using rebound strokes.
   The above examples are only a few exercises that will be useful to students developing a double stroke. Students should also be taught to invent exercises to work on this. The point to remember is that students should always work for clearness and not speed. Students will need to listen carefully for consistency in volume and avoidance of the node of the bar and ought to record their practice to check for such things.