Stevens Technique - The Essential Strokes

The Essential Strokes

The piston stroke is an essential component of Stevens technique. With this stroke, the mallets start in the up position, strike the bars, then return to the up position. The mallets are propelled completely by the wrist, and there is no prep stroke. When changing notes, the piston stroke is modified so that it starts above the first note and ends above the second note, ready to strike.

Strokes are further divided into four categories of motion. Single Independent strokes involve moving the inside or outside mallets singly, pivoting around the shaft of the unused mallet. Single Alternating strokes are used in single note patterns to be played by the same hand, alternating the inside and outside mallets. Double Vertical strokes are used in playing double notes simultaneously by the same hand. Double Lateral strokes are used for fast, rhythmically adjacent notes to be played by the same hand.

This method of striking the bars is designed for accuracy and momentum efficiency, since it attempts to eliminate all wasted motion. The piston stroke consolidates the preparation for each stroke into the recovery of the previous stroke.

Read more about this topic:  Stevens Technique

Famous quotes containing the words essential and/or strokes:

    In order for an individual to partake of the world and contribute to it in a healthy way, he first needs to view that world as a basically kind, friendly, and supportive place. Such an outlook begins to be formed during infancy. It’s essential that the baby establish a fundamental trust in his environment. The infant needs to learn that the world is a nurturing place where his needs will be met.
    Saf Lerman (20th century)

    There are two kinds of fathers in traditional households: the fathers of sons and the fathers of daughters. These two kinds of fathers sometimes co-exist in one and the same man. For instance, Daughter’s Father kisses his little girl goodnight, strokes her hair, hugs her warmly, then goes into the next room where he becomes Son’s Father, who says in a hearty voice, perhaps with a light punch on the boy’s shoulder: “Goodnight, Son, see ya in the morning.”
    Letty Cottin Pogrebin (20th century)