Triangle & Tambourine: a TERRIFIC TIME! - MICHAEL

PERCUSSION SPECIALISTS ACADEMY

The FOUR T’s: Triangle & Tambourine: a TERRIFIC TIME!

Michael Sammons, D.M.A. www.mikesammons.com

CULTURE OF ARTISTRY - COOL / FUN FACTOR • Quality of Instruments / Beaters

o “You get what you pay for” both in dollars and performance quality from students • Pay Attention to the Orchestral Accessories in PARTICULAR during rehearsal

o Put a sticky note on your stand to remind you o Plan rehearsals where your sole focus is deliberately accessory sounds

§ Instrument choice (mallet and beater), articulation of attacks (AND SILENCE), technique, balance / blend, ensemble role

• Teach to the TOP - Trickle Down Economics o The calculus will help (maybe even take care of some aspects) the algebra. o The ONE Thing by Gary Keller and Jay Papasan

• Comprehensive Experiential Vocabulary o “What type of sound out of _______instrument does this musical moment call for?” o “ ___________sound in _________ musical moment because of ______” o “Would you mind trying out different instruments / beaters / techniques during rehearsal?

Please stop and check in on progress with me during rehearsal. o “What do you / or the group think?” o Experiential / Student Driven does not = inefficient or time consuming.

§ In the end, it is faster to teach to someone to fish then to have to give them a fish every day.

• “STREET CRED” - Be able to play / demonstrate the sound that you want. • Find a piece or moment where you can put your BEST students on these instruments.

o Sets attitude / expectation for this family of instruments o Experience, Opportunity, Responsibility

• Program pieces on your Percussion Ensemble Concert o Drew Worden: Escape for Six Triangles o John Alfieri: Fanfare for Tambourines o Compose / Arrange a piece

§ Use McCormick / Davila resources (listed below) as starting point, then just JAM / work in some IMPROV!

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RESOURCES • Percussive Arts Society (Archives - PASIC FUNdamentals clinics: https://pasic.org/ • Vic Firth 101 Series (includes quizzes) http://vicfirth.com/percussion-101/ • Grover Percussion: https://groverpro.com • Black Swamp: https://www.blackswamp.com/educational-videos • Robert McCormick: Percussion for Musicians

o How to for the Percussion Section / Percussion Course Curriculum o Accessory Ensemble Pieces

§ Larger number of players and variety of instruments § Technique meets Musical Application - students can rotate through the various

instruments on 1 piece. Short, accessible and fun. • Keith Aleo: Complementary Percussion

o Solos focusing on the big 4 orchestral accessory instruments: cymbals, bass drum, triangle and tambourine

• Lalo Davila: Jingle Jamz o Solos and Duets, Non-western influences

• Cirone /Grover / Whaley: The Art of Percussion Playing o More of a resource for directors / conductors

• Use a snare drum method book that you/student might already be using o Peters Intermediate Snare Drum Studies o Delecluse - parlor trick o Keep it to a 1 one handed performance philosophy (no mounting)

• Orchestral Excerpts o For more advanced students o Anyone can be the percussionist with the New York Philharmonic

§ FUN § Multi-layered learning § Listening to professional players and NOT JUST the percussionists

o Time § “I have to PLAY how many instruments proficiently”? § “I have to TEACH how many instruments proficiently”?

o Next level application § University Auditions

• Even if they are not required at auditions, they are going to be playing them in this setting.

• Utah Fall Percussion / Placement Auditions - mock orchestral audition § Professional setting

• Most professional players have been playing them for years / multiple times

• 10,000 hours o Where to get them?

§ NOT Raynor Carrol books: mistakes § Google Auditions lists - REAL part

o Resources for Orchestral Excerpt Study § Genis: Symphonic Repertoire for Percussion Accessories § Cirone: Symphonic Repertoire for Cymbals § Payson: Technique of Playing Bass Dr., Cymbals, and Accessories § Epstein: Cymbalisms

o ME: email or call questions / topics, Skype, send videos, tour / clinic

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SEQUECE OF RESOURCES

• Start with McCormick o Accessible, well rounded, SOCIAL / ensemble / classroom setting o Short, quick to teach / learn / success o Works middle through high school o I use them at my summer percussion camp for accessory classes (MS / HS - all grades)

§ Tailor pieces accordingly • Aleo / Davila

o Individualized curriculum, pass-offs, auditions, use on a concert • Orchestral Excerpts

o Reserved for students interested in youth symphony, all-state, continuing in university setting, music-major, professional musician

o Private lesson setting The REAL FOUR T’s:

• Touch - Beyond just CONTACT o Musical Mindset / Big Ears (articulation, color, ensemble role, articulation)

• Technique o Nuts and bolts of how: instrument / implement choice, beating spot, grip, velocity,

dexterity • Tone - Product of Touch and Technique

o Trial and Learning (NOT Error) / Evaluate and Adjust • Timing

o I could debate that timing comes first. It doesn’t matter how great it is if it is at the wrong time, but....

o If you play at the wrong time, make a great sound.

TRIANGLE RECOMMENDED INSTRUMENTS

o Sabian: Hand hammered § #1 choice - 7” § #2 choice - 9”

o Abel: 6” Symphonic o Triangle Beaters

§ Stoessel Triangle Beaters § Grover (color coated) - great quality / durability (less expensive than below) § Black Swamp Spectrum § Dragonfly - great quality - in between Grover / Black Swamp on expense § Freer - TSSC and TBC - Teardrop shape / brass

• Smooth rolls (brass) / Versatile in dynamic / color (teardrop) • Resonant Shaft (carbon fiber / thin shaft): difference between birth and

rattan mallet shafts o Expensive Triangles

§ Buddy and Thein - THE Triangle § Matt Nolan - Nigel Shipway Signature triangle

• https://www.mattnolancustomcymbals.com/triangle-shop.php § Living Sound - Philharmonic Series (9 or 7)

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• http://www.livingsoundtriangles.com

o Consider: Black Swamp Gig Pouch or equivalent o Clips - Home Depot and some Fishing Line (Double line) o There are cheaper options for everything on this list. Refer to above CULTURE OF

ARTISTRY SOUND - HOME BASE

• Taken from “Tech Talk” - Grover Pro Percussion • Tone / Color

o Instrument Choice o Abel - more pure then

Sabian for instance • Articulation

o Implement Choice § Various styles

o Beating Spot § 90 Degrees has

its place • SAMPLE Performance scenarios

“Soooo which triangle should I use?”

o Rhythmic Passages - Abel

o Rhythmic Passages with some rolls - Abel (rhythm takes precedence) o Mostly Rolled Passages (loud or soft) - Sabian o Isolated notes (soft or loud) - Sabian o Repeated notes (slow rhythmic values - i.e. repeated quarter notes)

§ Abel or Sabian with 90 degree beating spot

GENERAL PERFORMANCE TIPS

• Do not ALWAYS hold the triangle up o The faster the passage (including rolls), the more I move the triangle to a normal snare

drum position • SOMETIMES hold the triangle up

o Sound travel o People see with their eyes o Player needs to see fellow percussionists, ensemble, and conductor (NOTE: conductor is

listed last) • General beating spot

o Bottom of triangle, INSIDE the triangle @ 45 degree angle o * BUT - find the right sound!

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TO STAND OR NOT TO STAND? • NEVER clip triangle to stand! This is maybe 1 of 3-4 examples in percussion when I say never! • “What if I need to perform with 2 beaters?” (fast rhythmic passages)

1. Build your chops. Triangle always sounds better held (completely suspended) 2. Have more control over duration / articulation: muffling with fingers of non-playing hand 3. MAKE (not buy) this: https://freerpercussion.com/product/triangle-station/

ROLLS

• “To Roll or Not to Roll?” 1. Teach Rhythm first: Just like snare drum rolls / rhythmic hand motions 2. THEN roll

• Same distance from corner for both beating spots o Turn TRIANGLE, not body o Focus on natural movement / i.e. “Everything is a Snare Drum”

§ See instrument recommendation list above as well PLAY TIME - See back pages of handout

TAMBOURINE RECOMMENDED INSTRUMENTS

1. Black Swamp 10” German Silver (double row) - TD 3 § Bright, Balance of Resonance / Articulate

2. Black Swamp Chromium 25 (double row) - TD 1 § Very dry. Great for soft / articulate

3. Grover 10" Double Row German Silver / Phosphor Bronze jingles - T2/GSPH § Best tambourine for loud rolls on the list. Wetter then BSTD3

4. Grover 10" Double Row Heat Treated Copper Jingles - T2/HTC § Most delicate of the list (soft / articulate, but silky) and FUNKY!

5. Don’t be afraid of the Weiss Tambourine or the Rock Tambourine § Bizet - Carmen Danse § Theater work, Multi, some repertoire where you have to mount and play tambourine

ROLLS

• Finger - NOT Thumb rolls o Easier to control, smoother, more musical option o Use Middle Finger / Support with thumb o Hold in Vertical position for very soft rolls or crescendos / decrescendos o Hand that is holding the tambourine helps - moves in opposite motion o Practice - don’t put sand paper on tambourine o A little Bee’s Wax goes a long way - just around the edge o Attacks / Releases

§ Always Begin and End Sound with Articulation • Match ensemble

§ Heel, Thumb, Index Finger, Knee/Leg § Flatter the tambourine / Less resonant

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• Shake rolls - - See back pages of handout! o Combination of 2 motions

§ Rotation § Wrist

o Hold Vertically o Attacks / Releases

§ Always Begin and End Sound with Articulation • Match ensemble

§ Fist, Open Hand, Conga Slap, Finger(s) / Touch § Flatter the tambourine / Less resonant

OTHER GENERAL PERFORMANCE TIPS

• It is just like a SNARE DRUM! o Center - dead spot o Home Base Sound

§ 45 degree angle § Beating Spot Halfway between Center and Edge

o Edge / Center for color / dynamics o More fingers = heavier stick

• Prefer Open - hand vs Woodpecker o Teach woodpecker FIRST!

• Really soft and articulate o Turn tambourine over o Play right over the jingle

KNEE / FIST TECHNIQUE

• For Extreme Fast / Loud Passages • Other variations but I follow the KISS rule • Regardless of other variations, I would teach knee/fist FIRST

o Fist is MOST LIKE the knee • Head Down • Important that head strikes BALL of knee

o Parallel up-stroke o More arm / less wrist o Wrist fairly straight

• Play a majority of the passage with the fist (downbeats) / Upbeat notes with the knee. o Snare Drum Sticking (right hand lead)

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A FEW PERFORMANCE SCENARIOS • Slow / Loud

o See general performance tips above • Slow / Soft

o Heel down at center of tambourine head - use finger(s) at edge o Drier - Rest tambourine on open palm / use finger(s) at edge o Extreme soft and articulate

§ Turn tambourine over / Play right over the jingle

• Fast / Soft o Rest Edge of tambourine on leg

• Extreme Fast / Soft o Cradle - use two hands / fingers o Extremely Dry - Cradle with tambourine turned over

• Extreme Fast / Loud Passages o Knee Fist - see above o Last resort

PLAY TIME - See back pages of handout

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TRIANGLE PERFORMANCE

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STICKING:Downstrokes on 8th Notes

MICHAEL SAMMONSwww.mikesammons.com

STICKING:Alternating Downstoke / Upstroke

STICKING:1, Downstrokes on 8th Notes2. Alternating Downstoke / Upstroke

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2 TRIANGLE PERFORMANCE

Excerpt from Peters Intermediate Studies I


PERFORMANCE NOTES:Forte, Piano, Cresendos, DecrescendosSubito Forte, Subito Piano, Slow, Fast

Excerpt from Peters Intermediate Studies II


PERFORMANCE NOTES:Forte, Piano, Cresendos, DecrescendosSubito Forte, Subito Piano, Slow, Fast

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TAMBOURINE PERFORMANCE

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STICKING Alternating Upstroke / DownstrokeStart each exercise with Downstroke and then Upstroke

MICHAEL SAMMONSwww.mikesammons.com

For Shake Roll Development: Play each line through using Wrist and RotationFor Knee / Fist Technique Development: Upstroke = Fist / Downstroke = Knee

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2 TAMBOURINE PERFORMANCEExcerpt from Peters Intermediate Studies I

Excerpt from Peters Intermediate Studies II

PERFORMANCE NOTES:Forte, Piano, Slow Fast, Cresendos, Decrescendos

PERFORMANCE NOTES:Forte, Piano, Slow Fast, Cresendos, Decrescendos

STICKINGAlternating Upstroke / DownstrokeStart each exercise with Downstroke and then Upstroke

STICKINGAlternating Upstroke / DownstrokeStart each exercise with Downstroke and then Upstroke

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Triangle & Tambourine: a TERRIFIC TIME! - MICHAEL