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Tambourine
Christopher Deane

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Over the years, the tambourine has been used by composers as a purely coloristic instrument, as a
rhythmic instrument, and to serve as a folk reference instrument within various musical works (i.e.,
Spanish, Russian, Italian folk-dance music). Genuine performance practices in Middle Eastern
countries place equal importance on both the head sound and the jingle or zil sound. Western concert
music is usually written with the jingle sound being most important. The head on the tambourine is also
very important in that it provides a versatile playing surface to activate jingle sound and provides a
resonating chamber to help project the jingle sound. A tambourine without a head (or with a broken
head) will not give the appropriate sound for most concert music applications. (One exception is
concert band and orchestra arrangements of rock and popular music in which a headless tambourine
is actually preferred.)

Performance
Choose the weaker or less agile of the two hands for holding the instrument. Instrument should be held
at chest height with the plane of the head at a 45-degree angle for most applications. (This gives
the most articulate sound and reduces unwanted jingle sounds.)

One-Hand Rhythms
For soft musical passages, use the fingertips at the extreme edge of the tambourine opposite the hand
that is holding the instrument. As the volume increases, the fingers move away from the edge
towards the center. Loud playing is done with the fist slightly off center.

Two-Hand Rhythmic Passages

Soft musical passages are played by resting the tambourine on the thigh (head up is more stable, head
down is more articulate) and playing with the fingertips on the edge of the instrument.

For fast playing at louder dynamics the “fist and knee” technique is used: Place right hand directly over the
right kneecap. (This may require a chair for the right leg to be stable.) Hold the tambourine upside
down in the left hand and move the instrument up and down between the fist and knee. Always begin
passages with the fist sound rather than the knee; also end pattern with fist sound if possible. (If left
handed, reverse these directions accordingly.) Some players use fingertips bunched together,
supported by the thumb rather than fist, for this technique.

Rolls
Shake rolls are used for most parts. Tambourine quality greatly affects this technique.
Tambourine should be held at shoulder level with the plane of the head at about a 90-degree angle
to the floor. A door-knob twisting motion is usually the preferred motion.

A technique called a thumb roll is often used for soft tambourine rolls. The thumb or fingertip is “scraped”
along the edge of the headed side of the tambourine, producing a vibration. Moisture or some
substance that creates a mild friction (violin rosin, for example) is usually required. The thumb or finger
must vibrate from the connective joint to the hand, which means that the finger or thumb must be rigid.
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Tambourine
Christopher Deane

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Too much pressure of the finger on the head creates an uneven or unpredictable sound. Begin
lighter than needed and increase finger pressure until roll is achieved. Louder rolls using this
technique can be produced by moving the finger inwards slightly from the edge of the tambourine.

It is recommended that percussionists use any beginning to intermediate snare drum method to
provide practice materials for the tambourine. The style of writing most often encountered for the
tambourine is very similar to that called for in basic snare drum playing.

Play here with finger tips Play here with fist or bunched
supported by the thumb for soft fingers for loud rhythmic pas-
rhythmic passages sages

Helpful hints:
1. Hold the tambourine at a 45 degree
angle to the floor for clean articulation.

2. Practice your shake rolls as much as

you practice rhythms.

3. Keep your thumb stiff, not bent

forward, to play good thumb rolls.

Playing opposite the holding hand

makes rhythms more easily
controlled
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Triangle
Christopher Deane

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Fundamental concepts of the triangle

Roll here for the Roll here for soft rolls

loudest rolls or when and for passages that
loud rhythms are need to have the
needed to be played triangle remain steady.
in one hand. The top doesn’t move
the way the lower edges
do.

Rod beater
This type of beater can produce an unwanted sound.
Graduated beater This type of beater produces a more pure triangle sound.

This angle gives

a clearer sound
Playing with this with fewer
angle gives the most overtones.
full and rich sound
with lots of
overtones.

Soft rhythms can be played

here with safety and control.