Player’s Guide
Percussion Performance Techniques
Track 1: Tambourine
The tambourine is an ancient and nearly universal percussion instrument. Variations of this
classic frame drum with jingles can be found from India (where it is called the Kanjira) to
Brazil (where it is known as the Pandeiro) as well as throughout Europe, the Middle East
and the U.S. Today, tambourines continue to be used in religious and classical music all
over the world and in contemporary styles that include ethnic, R&B, pop and rock.
By developing the original, crescent-shaped Rhythm Tech Tambourine 25 years
ago, Rhythm Tech modernized the tambourine— adding an ergonomic balance and
incorporating the use of modern materials to significantly improve the instrument’s sound
and performance in studio and live situations.
The “Back-And-Forth” Technique
The standard rock tambourine technique produces 8th or 16th notes by holding the
tambourine in the right hand and moving it back and forth from right (A) to left (B). The
left hand is used to accent the main beats by bringing it into contact with the tambourine as
it moves towards the left (C). To accent the off beats, cup the fingers of the left hand so that
they can cross over the center section of the tambourine and make contact with the back
side of the tambourine as it moves back to the right (D).
A
B
C
D
For more complicated patterns, try hitting the tambourine lightly on your chest on one
or more of the main beats. This will allow you to position your left hand to accent the off
beats with much less wrist movement.
The “Door Knob” Technique
This technique produces a similar result to the Back-and-Forth technique, although in a
quite different way. The “Door Knob” playing style creates the basic 8th or 16th note pulse
by rotating the tambourine as though you are turning a door knob down (E) and up (F). The
main beats occur at the top of the tambourine (G) and the off beats are played on the bottom
edge of the frame (H).
E
F
G
Alternate, Classical and World Percussion Techniques
While most drummers and percussionists, as well as the many vocalists and other
musicians, who play tambourine are generally familiar with the basic techniques used in
pop music, some of the traditional techniques used for headed tambourines in classical and
ethnic styles can be adapted for the headless tambourine and pop music styles.
J
K
L
• Classical style (I) - Place tambourine on table or a knee and play it with both hands
or a pair of sticks to achieve complex rhythmic patterns. The tambourine can also be held
under-hand horizontally with the left hand while the right hand plays a rhythm on the edge
of the frame.
• World style (J) – Hold the tambourine horizontally with one or both hands and shake
it up and down to achieve a more flowing straight-eighth, triplet or shuffle feel.
• The back and forth technique can also be employed when holding a cowbell in the left
hand (K) or when playing two tambourines against each other (L) for increased volume and
power.
Tambourine Exercises For Live and Studio Applications
Practice these exercises using the recommended techniques at various tempos.
Experiment with half-time, regular-time and double-time feels.
Tambourine Exercise 1
Tambourine Exercise 2
Tambourine Exercise 3
Tambourine Exercise 4
Tambourine Exercise 5
Tambourine Exercise 6
Tambourine Exercise 8
Tambourine Exercise 9
Tambourine Exercise 10
Tambourine Exercise 11
Tambourine Exercise 12
Track 2: Cowbells, Agogo Bells & Triangles
The family of metallic percussion instruments is quite prolific throughout the world. Today,
a wide variety of bell and triangle sizes, shapes and sounds are available to augment the
sound and feel of contemporary rock, pop, fusion, R&B and country music styles— in both
recorded and live applications.
Cowbell Techniques
Although they are often associated with Afro-Cuban music— where they are played
together with the timbales as well as in a characteristic hand-held style— versions of
cowbells are used in European, Brazilian and African music, too.
For right-handed players, the Cowbell is held in palm of the left hand with the hand
underneath the bell (M). The bell should be positioned so that the open end is facing
downwards with the left hand gripping the middle of the bell firmly for both security and
muffling purposes. By varying the amount of pressure between the gripping hand and the
bell, the duration of the tone (from short to long) can be easily controlled.
M
N
O
P
H
The “Door Knob” style is more conducive to playing triplets and shuffle feels as well
as faster tempos.
I
Tambourine Exercise 7
A large, wooden drumstick is held in the right hand and used to strike the cowbell,
although many players prefer to use a clavé or a special cowbell beater that can be 6-8˝ long
by ¾˝ in diameter for a louder and deeper sound.
Regardless of its size, three distinct sounds or pitches can be produced by hitting the
bell at different locations. The characteristic low sound is made by striking the edge of the
bell at the open (bottom) end (N). A high pitched sound is made by hitting the bell towards
the closed (top) end (O). And, the mid-pitched sound comes from playing on the surface of
the bell half way between the open and closed ends (P). These three basic sounds can be
used individually or in combination with one another depending on the style, situation and
desired effect.
In addition to practicing basic patterns and techniques to develop the skills required
for speed and control, a more advanced technique for playing faster, more complex patterns
with multiple pitches is to slightly rotate the left wrist while playing so that the bottom
(low) and top (high) ends of the bell move back and forth; allowing the beater in the right
hand to make contact with the appropriate part of the bell while using less movement and
effort.
Cowbell Applications
Because of the cowbell’s unique ability to project in even the loudest performance
situations, cowbell players should always keep the old adage that “less is more” in mind.
Like the other accessory percussion instruments, the Cowbell is not a solo instrument
but is intended to support the rest of the group. In most settings— both on stage and in
the studio— straight quarter-notes or simple back beats on the cowbell will be more than
enough to add a fresh sound and greater rhythmic intensity to a groove.
Players are encouraged to experiment with different sized bells to vary the pitch and
presence of the sound and to better fit the music being played. Generally, the smaller bells
(5˝) are recommended for contemporary pop styles and larger bells (7˝) are suggested for
Latin, World and other ethnic situations.
Cowbell Exercises For Live and Studio Applications
These exercises can be played on any standard Cowbell. Low pitches (open end
of the bell) are written below the staff line, middle pitches (center of bell) are on
the line and high pitches (top end) are above the line. Practice these exercises at
different tempos and volumes.
Cowbell Exercise 1
Cowbell Exercise 2
Cowbell Exercise 3
Cowbell Exercise 4
Cowbell Exercise 5
Cowbell Exercise 7
Cowbell Exercise 6
Cowbell Exercise 8
The Agogo Bells
The Agogo bells are a Brazilian cousin of the Cowbell and consist of two or more conically-shaped, high-pitched bells held together by a flexible metal rod or strap. Although the
Agogo is commonly used in the Brazilian samba, its unique sound can also be effectively
applied to other types of music.
The metal rod or strap that connects the small bells used to hold the bells in the lefthand so that they can be struck on the middle, top of each bell using a thin, wooden stick
similar to a timbale stick or, sometimes, a metal triangle beater (Q). The connecting rod
is flexible so that it can also be squeezed in between the struck notes; allowing the bells
to come into contact with each other which not only muffles the bells but produces and
audible, rhythmic “click”.
Q
R
S
T
The Triangle
While its adaptation to non-classical music is indirectly related to its application in
classical styles, today the triangle is commonly used in a wide range of contemporary music
situations. For pop music applications the triangle is either held by inserting the open left
hand into one of the instrument’s two closed corners and balancing it on the top finger (R)
or by simply suspending the triangle in a device such as the Rhythm Tech Trigger system
(S). Either way, right hand plays the desired rhythm using a metal beater while the fingers
of the left hand muffle the triangle by opening and closing around it (T).
Agogo Bell and Triangle Exercises For Live and Studio Applications
These Agogo bell exercises indicate high and low pitches. These triangle exercises
can be played on triangles from as small as 4˝ to 7˝ or larger. Patterns 1-3 are to be
played on the outer edge of the triangle while the repeating sixteenth notes in pattern 4 should be played using fast up and down strokes on an inside corner. The “+”
symbols indicate muffled stroke, which is done by grabbing the triangle with the nonplaying hand, while the “°” symbols indicate an open (unmuffled) tone.
Agogo Bell Exercise 1
Agogo Bell Exercise 2
Triangle Exercise 1
Triangle Exercise 2
Triangle Exercise 3
Triangle Exercise 4
Shakers, Maracas and Cabasas are representative of a large family of percussion instruments generally known as “rattles”. These instruments are among the oldest and most
common of all percussion and appear in many cultures around the world. And, while their
basic designs and construction materials may differ, their earthy, groove-enhancing sound
and relatively simple performance techniques have made them all an important part of the
modern percussionist’s bag of tricks.
The Shaker
Related to Brazilian Ganzas, which are bean-filled metal cans or tubes of different
diameters and lengths, modern Shakers come in a wide variety of sizes, plastic and metal
cylinder materials and fills; from bird-seed and buckshot to beans and beads. Due to the
abundance of types currently available, most percussionists carry an assortment of Shakers
and select the model with a sound that is most appropriate for the mood and texture of each
song.
V
W
Shaker/Maraca Exercise 1
Shaker/Maraca Exercise 2
Shaker/Maraca Exercise 3
Shaker/Maraca Exercise 4
Cabasa Exercise 1
Maraca Exercise 1
The Cabasa
A cross between an African Shekeré, a Cuban Afuché, a Brazilian Reco-Reco and the
hi-hat on a drumset, the Cabasa is a modern, hybrid instrument. The traditional African and
Cuban instruments were hollowed out gourds that were covered by a netting made of beads
or shells. As the gourd was rotated back and forth by one hand the other hand controlled the
pressure of the beads against the outside of the gourd; creating the characteristic scratching
sound (AA).
Y
Track 3: Shakers, Maracas, Cabasa & Clavés
U
Shaker and Maraca Exercises For Live and Studio Applications
Examples 1-4 can be played with shakers (in one or two hands) or maracas, using
alternating (hand-to-hand) or unison strokes, as well as on the Cabasa, using even
back and forth wrist movements. For accents or emphasis use shorter, more forceful motions. Practice at a variety of tempos and dynamics. Cabasa Exercise 1 is a
characteristic pattern that incorporates long and short sounds. The “+” symbols
indicate a short stroke while the “°” symbols indicate a long stroke. Articulate the
rhythm with a series long-short-short-short back and forth motions by the right
hand. Maracas Exercise 1 is a more traditional Afro-Cuban Rumba pattern. Cabasa
Exercise 1 is a characteristic pattern that incorporates long and short sounds. The
“+” symbols indicate a short stroke while the “°” symbols indicate a long stroke.
Articulate the rhythm with a series long-short-short-short back and forth motions
by the right hand. Maraca Exercise 1 is a more traditional Afro-Cuban Rumba pattern.
X
Z
AA
BB
A somewhat similar sound is also produced by scraping a stick across the ridges of the
Reco-Reco from Brazil or Guiro from Cuba. The modern Cabasa duplicates these sounds
by replacing the gourd or ribbed tube with a textured aluminum cylinder and the beads with
several rows of metal ball-bearings strung together. This creates a brighter, more consistent
and easier to play instrument.
For the basic Cabasa playing technique, the handle is held in the right hand with the
left hand cradling the beads/sound cylinder. The rhythms are played by rotating the right
hand quickly back and forth while the left hand applies pressure to the beads. Short and
long strokes create short and long sounds.
The Clavés
Clavé, which means “key” in Spanish, refers to both the traditional two measure pattern
that creates the underlying rhythmic pulse for many authentic Cuban and Brazilian forms
as well as the instrument that plays it. However, the clavé rhythm can be found in a variety
of non-traditional situations and forms, too, for example in the famous rock ’n’ roll pattern
known as the “Bo Diddley”. Rhythm Tech currently offers a wide selection of clavés and
blocks in conventional wood and synthetic versions. These instruments are often used to
simulate and double the sound of a snare drum cross stick and for other percussive effects.
For right handed players, one clavé is cradled loosely in the left hand so that it can
resonate while the other, which is held tightly in the right hand, strikes the first (BB). In
addition to playing the traditional Clavé pattern in both ethnic and contemporary situations,
simple back beats played on the clavés are often effective in many styles; especially slowtempo compositions and ballads.
Clavé Exercises For Live and Studio Applications
The traditional two measure clavé patterns shown below provide the basic rhythmic
pulse for many authentic Cuban and Brazilian styles and can also be used in a
variety of non-traditional situations.
Clavé Exercise 1
Shakers are held in the palm of the right or left hand, from underneath, and played
by moving the hand in a smooth back (U) and forth (V) motion. For accents or emphasis
a sharper wrist movement is used. Shakers can be added to many live and recorded
performances and are also characteristically played using both hands individually (W) or in
pairs (X)— in unison or an alternating, hand-to-hand motion— depending on the situation.
The Maracas
Originally, Maracas were simply sacks made from animal skins or hollowed out gourds
filled with beans, attached to wooden handles and used for indigenous musical styles
throughout Cuba, the Caribbean and North, Central and South America. Today, modern
materials are used both to replicate the original sounds and increase the durability and
consistency of the instruments.
In the authentic method of Maraca playing, one maraca is held by its handle in each
hand using an overhand grip. Rhythms are played by alternating strokes; as though tapping
on a snare drum. In contemporary pop and rock situations, however, two maracas are
often held in one hand and they are played together using a back-and-forth, shaker-style
technique (Y). For increased volume and easier performance, Rhythm Tech’s “Gemini”
Maracas combine two maracas on one handle (Z).
Clavé Exercise 2
Clavé Exercise 3
Performance Note: Accessory percussion instruments can be used to enhance the sound, texture and feel of contemporary music in many ways. They can be played individually to add intensity or in
combination with one another to produce a multi-layered effect. They can be used sparsely to create a rhythmic hook, in specific sections to help establish the form of a song or in a consistent, repeated
pattern throughout an entire track. The key to determining which instruments will be used and when lies in experimenting, keeping an open mind and using your ears to discover what’s right for the
music you’re playing. Among professional percussionists the standard rule of thumb is “When in doubt, leave it out”.
It’s In The Mix Player’s Guides are intended to be used in conjunction with Rhythm Tech’s “In The Mix” tutorial DVD and percussion instruments. • For additional content and further details, go online at www.rhythmtech.com. © Rhythm Tech 2006