Triangle, Tambourine, & Castagnets

Techniques and Exercises for Playing

TRIANGLE, Only TAMBOURINE, & CASTAGNETS

by Paul Price Perusal For Only

Perusal

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

                           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                        

                             

                     

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

                                       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

                                

                                        

                                 

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    

                                  

                                   

                                           

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.                          ff 3 3                                                       

3 3 3                                           

q = 132   Perusal     28.                                 f

                                               

3 3 3 3 3                              For                                  5 5 3                                            18   Using Two Beaters

To use two beaters, the instrument should be suspended either of two ways, (Fig. 6 & 7), and played upon holding one beater in each hand. The roll using two beaters is performed by employing single alternate reiterations.

Only Fig. 6 Using two beaters with one holder

PerusalFig. 7 Using two beaters with two holders

Exercises Using Two Beaters

e = 152    29.                     f For                            

           

                  

e = 152 5 7 5 3 3 7 30.                f 3 3 3                5 7 Only                  ff 

q = 112 31.                                    f 3 3 3 3 3 3  3                                         3 3 Perusal3 3 3 3 3  e = 176 4 8 12 32.                    ff

         For          

20 3 1. 2.                           ff         

Excerpts from "IONISATION" by Edgard Varese q = 80                                         f ff mf 3 tactet                   to               end Copyright © 1934 by Edgard Varese. Used by special permission. Only

Excerpts from "FUGUE" by William Russell w = 44

B 6 in. triangle 3 5 6 7                              mf p pp 4 in. triangle 4 in. triangle 5 5 5 5 5 5                                            ppp 6 in. triangle D 6 in. triangle - - mufﬂe notes marked 'x' with left hand                                  p x x x x x x x x x x 6 in. triangle                                 x x x x Perusalx x x x x x     ff 10 in. triangle   3 3 3 9 7 6                                    pp p sfz f f cresc.       5    3                          For ff mf sfz Copyright © 1933 by New Music Editions. Used by special permission.

21 Excerpts from "INVENTION" by Paul Price q = 65 A 3 B lightly C 7 7                             ff f p mf  precisely

7 5 7 7 7 F 3                pp 

Excerpts from "FIRST QUARTET" by Mervin Britton

q = 60 C                                    mf ff decresc. et ritard. ppp

22 Only

Perusal For Part 2: Tambourine

Only Perusal Perusal

Fig. 1 - a. Large 13” Tambourine with double row of jingles b. Regular 10” Tambourine with double row of jingles For For The Tambourine

This instrument is, in reality, a frame drum with jingles. It is usually classified as a Plates and Bars percussion instrument, the jingles sound taking precedent over that of the membrane. There are instances in symphonic literature where the jingles only are called for, in which case a tambourine hoop with jingles, without a drumhead, is used.

Fig. 2 Holding the tambourineOnly Holding The Tambourine

The Tambourine is held, usually, in the right hand, the palm of the hand over the hoop (Fig. 2).

Slow To Moderately Moving Rhythmic Passages

For performing slow to moderately moving rhythms, the tambourine is held up (at the conductor). Using the Perusalfleshy part of three fingers of one hand (index, middle, and ring) strike the head in the center. Two hands move in striking; the holding hand moves toward the striking hand (Fig. 3). For Fig. 3 Striking the tambourine

25 Exercises With Slow To Moderately Moving Rhythmic Passages

q = 120   1.                                   f mf

                                     f 

q = 120 2.                                        mf p

                                 f mf

        Only                                    f mf                              f ff mf

                      f 

q = 152  3.                             mf   p mf 

        Perusal                    

                                   f

                                      mf  For                     p  26 q = 168 4.                        f mf f

                             p

                                  f  mf

                                       

q. = 96 5.   Only                              mf    

                                         f

                                          mf 

q = 176  6.                    f

           Perusal                   

                                   

e = 152          7.                                     Formf f

                           

                                        mf p 

                    pp    

e = 160 8.                  f mf Only

                            f    

                          

                 mf p   f   

                             Perusal  Performing Fast Moving Rhythms

To play rapidly moving rhythms, the right knee is used (the foot may be propped on a chair). Three ﬁngers strike inside, while the head strikes the knee (Fig 4). For

28 Only

Fig. 4 Performing fast moving rhythms

Exercises With Fast Moving Rhythms

q = 144  9.                                  K KHK K K HKHK f                  Perusal KH

                                     

  For                                

                  

               

q = 132 10.                                      K KHKH f

     Only  

           

e = 176  11.             mf  

            

3 3 3                     3 3 Perusal3 3 3 3 3 3 3              

3 3 For           

30 x = 192 12.         mf    

                  

                    

               Only  

The Roll, or Shake

To sustain sounds the tambourine is shaken from side to side by the holding hand. All rolls however long (or short) are attacked by the free hand, using the ﬂeshy part of the three ﬁngers, on the head, at the beginning of the roll. This starts the roll cleanly. Rolls may, or may not, have a terminating note (striking the head at the roll's end), depending entirely on the written notation.

Roll Exercises With Terminating Note

q = 72 Perusal             13.                                  f For

31                                           ff mf f                               f p f p mf ff f                         

q = 104 14.                                     f Only

                                     p f p f p

                                   p f ff p mf

                               p    pp dim. 

q = 132          15.                             f   p f  Perusal                                                                                   

       For                                        f ff 

32 q = 146 16.                                          mp  

         f                                 mp   

Roll Exercises Without Terminating Note Only

q = 66 17.                                              f 

                                            

q = 72                  18.                        mp        

   Perusal                          

                                             For

33 e = 144   19.                                    f

                                             

q = 60                     20.                             mf                Only         p  f p                                                                    

Roll Exercises With And Without Terminating Note

q = 144    21.                                      f mf f Perusal                                          mf   p

                                     Forf mf

34 e = 144     22.                                              f   

                              

                                             

e = 160             23.                   Only        mf   

                                                                             

e = 160   24.                         

 Perusal                   

                         For 

35 The Thumb Roll

This is a most insecure roll, and in order to insure friction, resin, or similar tacky material, should be applied to the thumb. A gum drop placed in the mouth for wetting the thumb before an entrance often does the trick.

Exercises With Thumb Rolls

q = 66 25.                        mf   

              Only      

                                                     

q = 66 26.                                            f mf f

                                     mf f Perusal                                              For

36 q = 126      27.                                            f                                                                                               mf cresc. f ff

= 120 e      28.                                   f Only

                                        

                                                             

Exercises Combining All Previous Techniques (No Thumb Rolls)

q = 126 3  29.                                    f Perusalpp f mf 3 3 3                            f pp f     

                           Forp

37 3 3 3 3 3 3 3 3 3 3 3                           

3                             f pp f   

q = 96 5 5 5 5 5 5   30.         ff      

3 3 3 3          Only              3 3 3 3 5 3 5 5                                

q = 96 3 31.              f  

3 3    Perusal       3 3 3 3 3 3 3 3 3 3 3 3 3 3                                      

          For                   

38 q. = 96      32.                    ff      p  pp

q. = q 3 3 3           p   f   

3 3 3 3 3 3 3 3 3 3 3                3 3                                          ff mf Onlyp fz

Playing Embellishments

Embellishments are performed by using the hand (three ﬁngers inside tambourine) and knee, alternately.

Exercises With Embellishments

q = 88                  33.                                                    mf Perusal 3 5 5 3 3                                                              

3 3 3 3                      For                                            

                                                      

q. = 88                         34.                             mf 

                                                            

                                          

2 4                                                   Only            

e = 160 4               35.                                                             f  

                                               

                                        

2 4 5                                  Perusal                    

e = 160     36.                                   f    3                                                    For                                                           40 Playing Soft Passages PP, or PPP, With Slow To Moderately Moving Rhythms

To play slow to moderately moving rhythms softly, strike on the hoop with the fingers as in Fig. 5. Only Fig. 5 Performing slow passages softly

Playing Soft Fast Moving Rhythmic Passages

Place the tambourine head side down, on a soft cushion (which, in turn, may be placed on a tray stand, music rack, or table), and use the fleshy part of the fingers of Perusalboth hands as in Fig. 6.

Soft rolls may be played by rapidly moving one (or more) fingers of each hand alternately. For Fig. 6 Performing fast passages softly

41 Exercises For Soft Slowly Moving Passages (No Rolls)

q = 96     37.                                 pp      

3 3                         

3                                          

e = 200 38.                                             Only                                         

                                               

q = 120 3 3     39.                           pp       

4 4                                              Perusal3 3                                                      For

42 e = 140          40.                                        pp

                                     

                                                  

                                                        

Exercises For Soft Slowly Moving Passages With Rolls

e = 120 Only 4 8 41.                          

                                 

4 7                             

e = 120       42.                                             pp Perusal                                             

               For                   

43 h = 66        43.                       pp          

                                             

                                 

h = 66     44.                                                 pp Only

                                            

Exercises With Soft Fast Moving Rhythmic Passages

q = 160 3 3 3 3 3 3 3 3 3 3 45.                    pp

3 3 3 3 3                                

3 3 3 3 3 3 3 3 3 3 3       Perusal                 

3 3 3 3 3 3 3 3 3 3                               For

44 q = 176 46.            pp  

                  

                  

                            Only  q = 120 3 3 3 3 6 6 3 3 3 3 47.               pp  6 6 3 3 3 3 6 6                 

3 3 3 3 3 3 6 3 6 3 3           

3 6 6 6 3 3 3 3 3 3 6 3     Perusal        q = 120         3 3 48.               p For

                                                   7                                        3 3   7                          

= 160 e 49.           p    3 3 3 3 3 3 3 3 3 3     Only                 

3 3 3 3 3 3                 

3 3 3 3 3 3                               

3 3 3                                         

= 138 q 50.           p Perusal    

                                            

3 3 3 3 3 3 3 3 3 For                        3 3                                 46   Muffling The Tambourine

To muffle the tambourine, hold an unfolded handkerchief, fluffly crumpled, in the holding hand. Any of the previously mentioned techniques may be use with muffling. See Fig. 7. Only Fig. 7 Muffling the tambourine

Playing On The Tambourine With Snare Drum Sticks

The tambourine should be placed on a cushion with the head side up. rhythms are played exactly as on the snarePerusal drum. Fig. 8. For Fig. 8 Using snare drum sticks

47 Exercises For Mufﬂed Tambourine = 60 q      51.                                 p sempre 3 3 3 2                   

3 3 3                          

q = 60 52.                                mf Only 3 3 3                                      ffz pp mf

                                        

                             

e = 168    53.                                         mf Perusal

               For

                         

3 3 3 3 3 3 3 3 3 3 3 3                      

3 3 3 3 q = 54 3 3 3 3 3 3 3 3 54.                                                    mp sempre   3 3 3 3 3 3                 3 3 3 3 3 3 3 Only3 3 3 3                                           

3 3 3 3 3 3 3                                   

Exercises For Playing On The Tambourine With Snare Drum Sticks

q = 120     55.                                 p  3 3      Perusal       

                                           fz p  For

49 q. = 144       56.                              ff p f p mf fp pp f

                        p f p subito f p mf                            ff   

e = 104 57.                        f Only 3                      mf p pp p p f

                    

q = 120 3 3 3 3 3         58.             pp        f                mf Perusalp 3 3 3 3 3 3 3 3 3 3                                           pp ppp  For

50 Excerpts from "ONE OVER THREE" by Mervin Britton q = 128 A 3                    p   

3 3 3 3 3    B                f  rit. and decrease a tempo                      pp cresc.  ff   D                           fz mf Copyright © 1953 by Music for Percussion. Used by special permission.Only

Excerpts from "THREE BROTHERS" by Michael Colgrass q = 132                            ff pp fp ff h = 96  14 meas.                                pp rit. ff p     ff

1st, 2nd, 3rd, & 4th ending 3 3 3                               pp Perusalpp fff   3 3      etc.                        fp ff fz fz fz ForCopyright © 1954 by Music for Percussion. Used by special permission.

51 Excerpts from "SEXTET" by Donovan Olson q = 72 3 3 3 3                               p - mp 

A 3 3 3 3 3 3 3 3 B                                       

3 3 3 3 3 C x = x                  cresc.                  ff          D                                 p           

 E                                               ff  Only      F x = x 3                 f                 

3 3 3 3 3 3 3 G              mf               

3 3 3 3 3 H                 mp              

3 3 3

ExcerptsPerusal from "QUINTET IN FIVE" by Truman Shoaff 1 beat per meas. (98) 6 11                ff      pp       

16 21 26        p               

For 31     etc.           Used by special permission. 52 Excerpts from "IONISATION" by Edgard Varese q = 80 5 3 3 3 3 3                                                pouce    p    3 3 3 3 3 3                                               pp      3 3 3                                    pouce  pouce pouce    ff 3 3 3 3                                            pouce  Copyright © 1934 by Edgard Varese. Used by special permission. Only

Excerpts from "INVENTION" by Paul Price

q = 65 3 5 3 E G   etc.                           p mf

53 Only

Perusal For Only

Perusal For Part 3: Castagnets Only

Perusal For

Fig. 1 - Types of castagnets The Castagnets

Castagnets were originally chestnut wood (hence the name) clappers native to, and quickly associated with, all “Latin” countries. For concert performance, these are mounted on a rock-maple sounding board-handle. Two types are in use: 1. two sets (called “doubles”) on a single handle; and 2. one set each (called “singles”) on two separate handles. Fig 1.

Striking The Castagnets

The castagnets (doubles) are held with the right hand and struck, using the fleshy part Only of three fingers of the left hand, as in Fig. 2.

Fig. 2 Striking the castagnets

PerformingPerusal Slow To Moderately Moving Passages

For soft slowly moving passages play as illustrated in Fig. 3, using one set of singles. For

57 Fig. 3 Performing soft slow moving passages Exercises In Slow to Moderate Rhythms at ff , f, mf , Dynamic Levels (No Rolls)

q = 112 1.                                     f 3 3 3 3 3 3                       

3                               

q = 120 3 Only     2.                                   mf 

                                        

3                                         

q = 120      3.                               mf Perusal                                  

     For                          

58 q. = 120         4.                                       mf 

                                  

                               

The Castagnet Roll Using One Set of Doubles The roll is played by shaking the doubles set from side to side using extremely relaxed right wrist and forearm. The roll may be begun with an attack much like the tambourine, and may,Only or may not, have a terminating note.

Exercises In Slow To Moderate Rhythms At Loud Dynamic Levels with Rolls

q = 112

5.                                               mf

                                   

                         Perusal                          For

59 e = 120  6.                                f                        

                                   

e = 120 7.                                           f Only                          

                                               

h = 92 8.                                        mf

               Perusal               

2 4 7                                  For

60 Playing Slow To Moderately Moving Passages At Soft Dynamic Levels

For soft slowly moving passages, play as illustrated (Fig. 3) using one set of singles.

Exercises With Slow To Moderate Rhythms At Soft Dynamic Levels (No Rolls)

q = 92 9.                                               pp

                                                   

q = 92  10.             Only                               pp   

                                         

                                                  

q = 92 3 3 3 3 3 3 11.                                      p   

3 3 3 3 3 3 3 3 3 3 3 3 3           Perusal              

3 3 3 3 3 3 3 3 3                                      For

61 q. = 52 4 2 12.                                            p          

5 5 5 4 5 2 2 5                      

                                        

The Rolls Using A Set Of Singles Only This action is the same as used for the doubles.

Exercises With Rolls Using A Set Of Singles

q = 60       13.                         pp  

                             

                    Perusal                     For

62 q = 60             14.                       pp  

                                            

                                 

e = 92   15.                                            p   Only                                                     

                               

e = 192    16.                            p Perusal                          

4 7              For                  

63 Playing Fast Moving Rhythms Using Two Sets of Singles

For fast moving rhythmic passages, at any dynamic level, two sets of singles are used. These are held in the palm of the hands using thumb and index fingers. The player strikes the lower part of the thigh (slightly above the knee), as in Fig. 4. Only Fig. 4 Performing fast moving rhythmic passages

Exercises At All Dynamic Levels With Fast Moving Rhythms With Two Sets of Singles (No Rolls)

q = 120  17.                  f                         p Perusalmf

        f For

64          

         

q. = 92 18.         mf       Only              p f

   

e = 138    19.                                    f        3 3                         Perusal3 3 3 3 3 3                                          

6 3 3      For                                     

65 q = 128 20.             f  

         

       

                               p                   f p f Only The Roll Using Two Sets Of Singles This roll is played by using a fast alternating reiteration (single stroke roll) from hand to hand.

Exercises At All Dynamic Levels With Fast Moving Rhythms With Rolls

q = 104 21.                            f

                

        Perusal            

                  p cresc. f      For                

66 q = 138 22.            mf   3 3 3 3                   f  3 3 3 3 3 3                                p 

3 3 3 3 3 3 3 3 3 3 3 3 3              

3 3                            Only                                         mf 

e = 176 23.                                                   f     

                            

                  

3 3 Perusal 3 3                                       

                      

For                                             

67 e = 176   24.                        mf f p

                              mf f 3 3                                      3 3 3 3 3 3                             333333333333333333  Only                                           mf

                       p 

Excerpts From "INVENTION" by Paul Price

68 Excerpts From "IONISATION" by Edgard Varese

q = 80 3 3 3 3 3 3 3 3 3                                                 pp    3 3 3 3 3 3  3                                                   ff 3 3 3               etc.   3                p  ff  Copyright © 1934 by Edgard Varese. Used by special permission. Only Excerpts From "QUARTET" by Murl Eddy

q = 120 A 3                                        ff   mf  f 3 B 3 1.                                       ff  2. 3 C D         etc.                    f   Used by special permission.

Excerpts From "SECOND QUARTET" by Mervin Britton q = 104 Perusal                                f mf

 etc.                      For Used by special permission.