Triangle, Tambourine, & Castagnets

Techniques and Exercises for Playing TRIANGLE, Only TAMBOURINE, & CASTAGNETS by Paul Price Perusal For Only Perusal CopyrightFor © 1955 and 1967 by Music For Percussion, Inc. Copyright © 2001 Transferred Colla Voce Music, Inc. 4600 Sunset Ave., #83, Indianapolis, IN 46208 www.collavoce.com Preface Techniques and Exercises for Playing Triangle, Tambourine, and Castagnets was written to supply a need for exercises whereby percussion students and instrumental music teachers, might have a method text-book for use in acquiring technical and musical faclity, while performing on these much used instruments. These three instruments are, next to the drums, most important to percussion playing. Only There are set, definite techniques employed for correct interpretation of the music written for these instruments. Facility will best be gained only through ardent, and careful practice of each technique. To believe that technical facility can be gained on percussion instruments without diligent study, is a gross misapprehension. The techniques herein represent all known necessary for correct performance upon the triangle, tambourine, and castagnets. PAUL PRICE Part I Triangle Part II Tambourine Part III CastagnetsPerusal (Text written at Aspen, Co., 1953, rev. 1966) For Only Perusal For Only Perusal For Part 1: Triangle Only Perusal For Fig. 1 - Triangles, Beaters, & Holders The Triangle This percussion instrument, a member of the Plates and Bars group, is a steel rod bent into the shape of a triangle. Its characteristic sound is a delicate, extremely high pitched “tinkle.” Types Of Triangles Fig. 1 illustrates three types of triangles, Only beaters, and holders. The 10-inch triangle is best for concert use. Fig. 2 - Holding the triangle Triangle Beaters Beaters should be at least 10-inches long. Players should have three different sizes of beaters, and have two of each size. The beaters illustrated (Fig. 1) are from 3/16ths, 1/8th, to 1/16th of an inch in diameter. Perusal Holding The Triangle The triangle is held (Fig. 2) with the holder resting on the thumb and index fingers, allowing it to be suspended within the palm of the hand. When not in use, the triangle Fig. 3 - Suspended triangle may be supended from the music rack (Fig. 3) readyFor for use at any time. 7 Holding The Triangle Beater The triangle beater is held between the thumb and index fingers in the palm of the hand, facing downward. The shaft of the beater runs along the first joint of the index finger (Fig. 4). Only Fig. 4 - Holding the triangle beater Position Of The Triangle Player The triangle is held by the player, facing the conductor, and in such a way as to permit striking the base a little away and out from the closed end. It shouldPerusal be noted that the triangle is never struck on the outside, but always on the base. If at all possible, and ample time permits: it should be held by the performer (Fig. 5). For Fig. 5 - Position of the triangle player 8 Performing Slow To Moderately Moving Rhythmic Passages Slow to moderately moving rhythmic passages are played with one beater, on the base, a short distance away from the closed end. Exercises In Slow To Moderate Tempi q = 72 1. mf 2. mf Only 3. mf 4. mf 5. f p f p f Perusalp cresc. mf f mf p pp 6. Forp f 9 mf f p f e = 108 7. ff mf p Only pp f q = 72 8. f Perusal Muffling The Triangle The triangle is muffled by clasping the fingers around the sides, close to the apex (Fig. 2). Care should be taken not to muffle it too soon after striking, or an annoying "clank" sound Forwill result. 10 Exercises In Slow To Moderate Tempi With Rests, Including Muffling h = 100 9. f p f pp p mf f Only q = 92 10. mf sempre q = 92 Perusal 11. f sempre For 11 e = 120 12. p Only Performing Fast Moving Rhythms Fast moving rhythms are played by striking the base and the closest side, alternately. Most "even" rhythm groups will begin on the base (similar to the snare drummer's right hand sticking.) Exercises Employing Fast Moving Rhythms q = 138 13. Perusal f B BSB BBSB BB B BSB BSB ForSB BB SBSB S 12 B BB SSB SS B SSB SS BSB SBS q = 120 14. f B S Only e = 176 15. f Perusal q = 132 16. For f 13 The Triangle Roll The roll, or tremolo, is performed on the triangle by shaking the beater, rapidly, from the base to the closest side. The width of the playing sphere (shake) depending entirely upon level of volume to be played.Only The triangle roll is indicated by symbols: 1. and, 2. Exercises Including Rolls q = 72 17. f mf f p f q = 88 Perusal 18. mf f For mf 14 q = 72 19. f p cresc. f mf ff mf p pp cresc. mf f ff p cresc.Onlyf q. = 80 20. ff f dim. p pp q = 128 21. Perusal ff 3 3 3 3 3 3 For 15 3 3 3 3 3 3 3 3 3 3 e = 152 22. mf Only e = 132 23. pp ff ff pp ff p ff pp pp ff ffPerusal pp cresc. f ff f mf p pp cresc. f h = 108 24. For mf 16 Playing Embellishments Grace notes are played by striking the side before striking the base. Rhythmic mordents are played by striking the base first, the side, and, again, the base. Only Exercises Including Embellishments q = 96 25. S B B S B p f più f Perusal For 17 q = 100 26. f 3 Only h = 104 3 3 27. .

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