Grover Tech Talk

Video Mini Lessons

Fast Tambourine Passages...(with SFC William Elliott)

Quick Tips For Multiple Bounce Rolls...(with Bob McCormick)

Tambourine Grooves...(with Bob McCormick)

Neil Grover Tambourine Soloist (with NJCU Percussion Ensemble)

If you need Windows Media Player to view, click link to download

Tech-Talk
Percussion Primer / Triangle
Percussion Primer / Tambourine
Percussion Primer / Cymbals
Percussion Primer / Concert Bass Drum
Triangle, The Good Sound / (Español / Spanish PDF)
Creative Tambourine Technique
Changing A Tambourine Head

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Percussion Primers
Percussion Primers cover basic technique on several primary percussion instruments.

Triangle
aka: triangolo

SELECTION
The triangle should be the highest, non-pitched member of the percussion family. Sizes range from 4" to 10", however, the best size for concert playing is between 6" and 9". A larger triangle provides a bigger internal working area for easier execution, however, it is heavier and more difficult to control. Triangles are made from steel, brass or bronze, each producing a different sonority.

SUSPENSION
A triangle needs to be suspended so that it vibrates unencumbered and freely, allowing maximum overtone resonance to be produced. It is very important that the instrument be suspended using a very thin, yet strong, mono-filament line. Fishing line works great and is also inexpensive. The use of string, cable, shoelaces, etc. will effectively dampen the resonance of any triangle. Using a second "catch line" will prevent the triangle from falling to the floor, should the primary line break. A light "triangle clip" will allow the triangle to be mounted on a music stand when not in use.

STROKE
The triangle should never be played when mounted on a music stand. It should always be held at eye level and struck on the bottom leg with a motion that "pushes away" the bottom leg. This method will produce the maximum overtone sonority. A triangle sound full of overtones will blend with other instruments. Remember, a triangle is a non-pitched instrument and should have a very lush array of overtones, it should not sound like a bell!

BEATERS
Beaters are available in a large variety of sizes (diameters), materials and shapes. For general playing, a set of at least three steel beaters in various diameters and a length of 8-9" is recommended. Various size beaters will produce different sonorities. As in all percussion instruments, a smaller beater produces a thinner sound while a heavier beater creates a big sonority. Generally speaking, thinner beaters are used when playing at softer dynamic levels.

Tambourine
aka: tambour de basque, tambourin

SELECTION
The tambourine is available in many sizes and jingle configurations. Most importantly, for concert playing, a tambourine with a quality skin head is essential! Headless "rock" tambourines are not a viable substitute. I suggest a general purpose 10" diameter quality tambourine with a double row of bright sounding jingles. Of course it is always beneficial to have a few instruments with a range of sound characteristics available.

GRIP
Hold the tambourine with a firm, yet flexible grip. Remember, the instrument needs to vibrate when struck. Right handed players should hold the tambourine in the left hand and strike with the right. Maximum clarity and articulation is achieved by holding the tambourine parallel to the floor. Maximum jingle resonance is achieved by holding the tambourine vertically. For general playing, the tambourine should be held at a 45 degree angle.

STROKE
Three fingers = general playing (pp-mf).

Four fingers = strong playing (f).

Closed fist = very aggressive playing (ff-ffff).

Rolls = play by shaking with grip hand or using thumb (friction) roll.

EXTRA SOUND
The tambourine can easily produce unwanted sounds if not handled with care. Be careful not to create unnecessary jingle sound when handling the tambourine during performance!

Cymbals
aka: piatti, becken

SELECTION
Cymbals are instruments of great coloristic expression. While they can add a brilliance of sound unlike any other instrument, they must be played with care and musicality. It is imperative that cymbals be chosen for sound and manageability. For younger students, a pair of 17" medium-light cymbals is recommended. For high school players, addition of medium 19’ cymbals is appropriate. For maximum resonance only soft leather straps should be used! The addition of leather pads can also aid in cymbal handling. Wooden handles or soft "furry" pads are not acceptable in the concert hall!

GRIP
Cymbals should be held in a relaxed, yet controllable manner. The wrists should never be inserted through the strap, rather, the strap should be held between the thumb and pointer finger, with the other fingers supporting the pointer. Imagine turning a key in a car door, ending with the thumb on top. This is exactly the way the cymbal strap is held.

STROKE
Hold both cymbals together with the top edge at eye level. Slowly separate the cymbals, keeping them closer for soft crashes and farther apart for loud crashes. Using a flam motion bring the cymbals together and instantly pull them apart. Very soft crashes are played by lightly "scraping" the cymbals together. Many student have trouble playing soft crashes and resort to touching the edges at a perpendicular angle. This is not acceptable!

MUFFLING
Cymbals commonly have to be muffled, especially for short accent notes. This is accomplished by bringing the cymbals into the chest area after striking together.

Concert Bass Drum
aka: gran cassa, grosse trommel, grosse caisse

TUNING
The bass drum is the lowest sounding, non-pitched member of the drum family. It should sound noticeably lower than any other instrument. Think of it as a non-pitched extension of the timpani. Tune the resonating (ringing) head slightly higher than batter (striking) head. Check for loose tension rods and any other "rattles".

PLAYING AREA
General - half way between edge and center.

Staccato - in center.

Legato - near edge.

STROKE
Pull sound out of drum! Use wrist AND arm motion with upstroke. Marches use short stokes near center using mainly wrist. Rolls use 2 mallets spread apart rolling slowly using wrist only!

MUFFLING
Use the right knee and left hand. For very short strokes leave knee on head while striking. (Lefties use left knee/right hand). Do not dampen the concert bass drum with tape on the head, or any muffling item placed inside the shell. Remember, the concert bass drum should sound very low and resonant!

INSTRUMENT SIZE
Bass drums are available in many different sizes. It is important to choose a drum that is proportionally suitable for the player. For younger students, a 28" diameter drum is suitable. For older players, a 32"-36" diameter drum works best.

TRIANGLE , The Good Sound
by Dr. Stuart Marrs

What is the "good sound?"

When lecturing on the highly underrated idiophone known as the triangle, I start with a survey of opinions regarding preferences of sound production on the instrument. First I produce a sound that is very pure in nature a few tones sounding at the same time. Then I play a sound that is thick and rich with many dissonant tones. Invariably, most listeners in the audience prefer the pure sound. This is understandable. In an isolated environment, why would someone prefer a dissonance to a consonance? The audience always reacts with bewilderment when I reveal that it is the second one, the one that is flush with harmonics, that is the accepted norm among professional players. It is preferred in part because the instrument is usually used in an ensemble context.

As part of an ensemble, the humble triangle becomes integrally involved in an aspect of acoustics known as "summation of amplitudes." This means that the volume of pitches that are in phase (in tune) with other sounding frequencies add their volume on top of the others while the volume of the notes that are "out of tune" remains soft. If a triangle sound has few pitches, it has less chance of being "in tune" with the prevailing harmonic structure. A triangle sound more abundant in pitches will always cut through and sound as if it is in tune with the prevailing harmony. Imagine an instrument that automatically plays in tune! A triangle played with the "good sound" accompanying a series of harmonic changes sounds as if it is changing pitches with the chords.

How to produce the "good sound." For this issue, we are discussing two modes of vibration. The first, the one that produced the purer tone can be thought of as existing in a two dimensional plane. The legs of the triangle that form the open end vibrate back and forth, while the opposite side bows in the middle with the two closed corners being nodal points of no vibration . One creates this mode of vibration by striking the triangle at 90 degrees to its plane, on any of its sides. The second sound breaks out of the two dimensional mold into the third dimension. Here the open legs and closed side not only vibrate back and forth as in the first mode but also vibrate laterally, side to side. Scientifically, this is called "torque" or twisting. To make the triangle enter this twisting mode, we simply strike it at a 45 degree angle (or less) to its plane. This causes the instrument to torque and produce the lush desirable sound.

Now that you know how to produce the different sounds try a little experiment. Have a friend play a series of chord progressions on the piano while you play the triangle (the good sound) in the same rhythm. Listen to the triangle seemingly change its pitches to match the chords! The technique of striking the triangle at an acute angle to its plane extends to roll technique. Instead of rolling with the beater perpendicular to the corner of the triangle, try moving the wrist down and away from the corner while you are rolling. Listen to the dramatic increase in fullness of sound. The beater is striking the triangle at an acute angle to its plane.

Whenever possible the triangle holder should be hand held. This is because energy (sound) is lost when the instrument is hung or clipped to a music stand. Again, a little experiment will show what I am describing. In a quiet environment, clip or hang your triangle to a stand and play it with a heavy beater. Touch the stand and feel the vibrations that should be emanating from the instrument passing through the stand. Now play it hand held. Can you hear the difference? The reason the energy doesn't dissipate through the hand as it did through the stand is that the fleshy fingers are poor conductors and allow most of the energy to be released in the form of audible sound waves caused by the vibrating triangle.

Although all triangles obey the same laws of physics, they are not created equal! The particular design and material of each model has a dramatic effect on the final result. The Grover Super-Overtone (tm) triangle has been designed expressly for a sound rich in partials. It maintains this positive characteristic throughout the dynamic spectrum. Sensitive pianissimos through sparkling fortissimos make this instrument the ideal triangle. Use of proper technique and a superb triangle, like the Grover Super-Overtone (tm) triangle will place the "good sound" in your hands.

Creative Tambourine Technique
by Neil W. Grover

It is surprising to me that so few percussion students take the practice of percussion accessories seriously. I can honestly say that in over fifteen years as a professional I have been required to play tambourine and triangle more often than marimba. Yet most students fail to devote any time to the preparation of accessory playing. Why not spend some time mastering these instruments as well as snare drum, marimba, and timpani? Don't fool yourself into thinking that once given a demanding tambourine part you can just pick up the nearest tambourine and instantly do a credible job. It has been my experience to see more than a few players fumble over standard tambourine parts.

The purpose of this article is to outline some of the unusual techniques I have acquired, developed, and refined over a number of years. I'm writing with the assumption that most percussionists know how to execute a smooth thumb roll. If not, go back to the practice room and master this technique, or if need be find a good teacher and take a lesson or two. You'll be glad you did.

Holding the Tambourine -- Angle of Attack
Most players give no thought to the proper way that a tambourine is held. Unlike other instruments a tambourine is not stationary, in fact, it's sound quality changes depending on how it is held. Try this, hold a tambourine in a horizontal position (parallel to the floor) and tap the head. Now turn it to a vertical orientation (perpendicular to floor) and tap it again. Notice the great change in tonality.

Rule #1: A tambourine sounds most articulate when held in a horizontal orientation.

When holding your tambourine, don't mindlessly hold it at the same angle of attack for every situation! To demonstrate proper use of this concept, let's take the opening of Bizet's Carmen Suite (ex. #1). Start this excerpt holding the instrument almost fully perpendicular to the floor. This will start you off with a big, full sound and since it is at FF dynamic level articulation is no problem. Use a closed fist in the center of the head. In the 9th bar (where indicated) shift to using your fingertips and as you diminuendo move from the center of the head to the edge. At the same time gradually change your angle of attack to a more horizontal position. This should result in a nice articulate sonority all the way down to the softest dynamic level.

Cradling
Another technique I use is called cradling the tambourine. Tchaikovsky's Arabic Dance from the Nutcracker (ex. 2) is a situation where this technique works well. Hold your hand open, palm face up and extend your fingers as though you were holding a basketball. Then place (cradle) the tambourine of top of your fingertips. Lightly tap the edge of the head (it is OK to play directly on top of the rim). Notice how articulate, dry and clear the resultant sound is. Now try playing the Arabic Dance. This should be practiced so that each and every articulation sounds clean and even. By cradling the instrument you help to produce this clear sonority.

Thumb Roll With Heel Release
While every good percussionist can play a thumb roll, few know how to articulate the end of a roll. Any good roll should have an attack, sustain and release, yet most percussionists neglect the latter. Sometimes an articulated release is called for. This achieved by snapping the wrist down into the head as an articulated end to the roll (see ex. #3 with diagrams). If it helps, think about learning to play open stroke rolls on snare drum. You want to produce a clear articulated end to the roll. An excerpt from Stravinsky's Petrushka is a good example for application of heel release. The opening eighth note rolls should end with an accented articulation produced with the heel. This technique may take some time to develop to the point of being able to execute this passage.

Finger Roll
While the thumb roll is an indispensable technique, sometimes a lighter, more delicate roll is required. This is where the finger roll is required. This is where the finger roll has its place. Using the middle finger, (it can actually be executed with any finger), produce a roll similar in style and execution to the thumb roll (see diagram ex. #4). The middle finger, however, has less weight and carries less hand mass behind it than the thumb, thus producing a lighter sonority. Make sure you support the middle finger with the thumb. After practicing this for awhile add the heel release and you'll have a technique which makes the execution of Danse Boheme from Bizet's Carmen (ex. #4) easier to play. Keep in mind, this whole excerpt should be soft and delicate. Play all rolls with the middle finger, release them with the heel (be careful not accent these) and play all other notes with the fingertip of the middle finger. Remember, light and delicate.

Right Handed Shake Roll
Sometimes it is very difficult to produce a long, sustained shake roll. Try this, holding your tambourine with one hand try to play a very long shake roll from p to ff to p. If you can execute this without problem, my hat's off to you! If you're like me, this is very difficult to execute. One solution to this problem is the execution of a R.H. Shake Roll (L. H. Shake Roll for lefties). To execute this roll hold the tambourine in a vertical orientation with the left hand, place the right hand pointer and middle fingers on the bottom (6 o'clock position) edge of the instrument. Using a very slight, rapid, back and forth motion of the right hand allow the tambourine to vibrate back and forth with the right hand fingers. Gradually increase the right hand shaking pressure, getting louder until the left hand takes over the motion. The point of transfer between hands should be inaudible (this will take a lot of practice). The benefits of this technique are found in the ability to play very long, sustained rolls from piano to forte. When you master this and are starting to feel "cocky", try reversing the motion and going from loud to soft. This should return you to reality.

Right Handed Pivot Articulation
This technique is useful for execution of very fast, articulated passages. Before getting into execution we must discuss concept for a moment. Imagine two bananas held together, curved inward toward each other ( ). This should be used as a mental image for proper execution of this technique. Keeping this image in your mind hold the tambourine in the left hand at a 45 degree (or less) angle to perpendicular. Resting the bottom, fleshy part of your right fist on the bottom edge (6 o'clock position) of the instrument, slowly pivot both hands in an arcing motion (think of the bananas), until the top of the fist meets the top of the tambourine (see diagram ex. #5). Now slowly pivot back to the starting position. Practice this pivoting motion using a metronome set at quarter note = 60. Practice playing quarter, then eighth, then eighth triplet, and then sixteenth notes. Once this is mastered go on to the Roman Carnival Overture (ex. #5). Play the first six notes with the right hand fist in the middle of the head, then play the last three notes using Right Hand Pivot Articulation.

Execution of Grace Notes
While not common, grace notes are most difficult to execute accurately on tambourine. The technique I use is a permutation of the technique used by Brazilian pandeiro players. Holding the tambourine stiffly (no wrist motion) in the left hand, snap the left arm (and tambourine up about 1-2 inches. Using a sharp motion, snap it back down to the original position. This should create two equal sounding notes. Practice this motion, getting quicker, so that the two notes sound close together. Then end the phrase with a sharp right hand articulation. While the technique I use is a modification of this, it is based on this motion. Try executing Offenbach's Gaite Parisiane excerpt (ex. #6). The two grace notes are executed by just the up/down motion of the tambourine, while the main note is played with the right hand.

Fist / Knee Articulation
This is a standard technique used by most percussionists to rapidly play articulated passages. Holding the instrument inverted (upside down), alternate strokes between the knee and fist (see diagram ex. #7). It helps to hold the tambourine in a stiff, horizontal manner. Use a chair to elevate your knee (I don't recommend trying this poised on one leg looking like an ostrich). Once you're feeling confident, try the excerpt from Tchaikovsky's Trepak from the Nutcracker. All notes not marked should be played with the right hand fist. Those notes marked with a "K" are played by striking the tambourine against the knee in the aforementioned manner.

Two Hand Articulation
The last technique I want to mention is useful for playing repetitive passages that need to be clearly articulated. Tchaikovsky's Capriccio Italien (ex. #8) is a good example of passages that are suited for the Two Hand Articulation. Before trying this excerpt try this exercise. Place the tambourine inverted on your knee (use a chair to elevate your knee). Make sure the tambourine does not extend beyond the end of your knee. Using the fingertips from both hands try playing the first two measures of this excerpt. You should be able to produce a nice soft, articulate sonority. Now, try playing the same measures at a forte dynamic. Not so good, is it? To accommodate increased dynamics move the tambourine so that half of it is sticking out beyond the end of your knee. You must support the instrument by pushing your forearms down on the back rim. Now play the same measures at forte. You should be able to produce a much bigger sound. Now, the trick is moving the tambourine back and forth on your leg so that you can get from soft to loud to soft again. Once again, use your forearms to push the tambourine forward and if you play all eighth notes with your right hand you can use the left hand to pull it back. Remember, the moving forward (getting louder) is gradual, only a little at a time. This will require practice and patience.

While it is difficult to explain musical concepts and techniques via the written word I hope this attempt has not been in vain. By no means are these ideas proposed as unique solutions, they are merely concepts that work for me. I encourage you to absorb this information, process it and utilize that which works for you. Many of you will go on to discover alternate techniques which extend beyond the scope of this article, and I look forward to learning from you.

Changing a Tambourine Head
1) Soak head in lukewarm water for at least two hours (depending on thickness).

2) While head is soaking, use medium grade sandpaper to sand the top edge (bearing edge) of the tambourine shell until all the old glue is removed.

3) Remove head from water and wipe off excess water.

4) Apply a liberal amount of Elmer’s (or carpenter’s) glue to sanded edge. Use a finger to spread the glue evenly around the rim.

5) Place the wet head on top of the glue coated edge, centering the head so about one inch extends past the edge of the shell.

6) Stretch a large rubber band (included in Grover’s head replacement kit) over the head and rim, attaching the head to the shell.

7) Pull out the slack in the head by pulling the edge of the skin (under the elastic) until tight (use pliers if necessary).

8) Leave the tambourine in a humid place to slowly dry. Do not leave in a very dry place or in direct sunlight. If necessary, cover the head with a damp towel.

9) When dry, remove the rubber band and trim the excess skin with an exacto knife or single edged razor blade. There should be a half inch of skin around the outer edge of the shell. (Be Careful!)

10) Add tacks if so desired (optional).