Transcript Accessories…odds and ends.

Accessories…odds and
ends.
Norwin Percussion
Instruments to be discussed
 Triangle
 Gong
 Tambourine
 Congas
 Woodblock
 Bongos
 Castanets
 Vibraslap
 Shaker
 Ratchet
 Claves
 Slapstick
 Maracas
 Windchime
 Cowbell
 Bell Tree
 Finger Cymbals
Triangle
A
triangle has over 10,000 frequencies.
 Different parts of the triangle contain
different concentrations of these
frequencies.
 Parallel vs. Perpendicular planes
 Always hold the triangle up past your
music stand.
Where to strike…

When playing with
lower instruments or
full band, the bottom
side is the best
location (L). This
creates the most
overtones. When
playing with upper
winds and when a
more distinct tone is
necessary, strike on
the side without the
opening (H).
H
L
Other possibilities
X

Another possibility for
faster passages is to
hang the triangle with
two clips, opening
pointing down.
X
Tambourine
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Musts A tambourine with a head
 Two rows of jingles
A general rule for dynamics
 P=one finger
 mp=two fingers
 Mf=three fingers
 F=four fingers or fist
 FF and louder=fist
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When picking up the tambourine, no sound must be
produced.
Flat vs. tilted…tilted wins!
Thumb rolls-practice on tables and flat surfaces
Shake rolls-hold tambourine in weaker hand and
develop this roll technique. This is because of harder
rhythmic passages that must be accomplished with
your dominant hand.
Hand to knee technique for faster passages and more
intricate rhythms.
Also, placing the tambourine on your knee and
playing on the edge.
Woodblock
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DO NOT hit with a drumstick or any other wooden
implement…this can crack the woodblock
Do try different rubber and yarn mallets to create
different sounds. Remember, you want tone, not
contact sound.
ALWAYS face the opening of the woodblock
towards the audience. This is where the sound
comes out of the block.
Types
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There are many sizes
of woodblocks
Usually you will use
the medium sized
woodblock unless
specifically notated in
the music.
Castanets
 Can either be played in the air, on your knees, or
with a mounted system.
 Incorporate snare drum sticking whenever
possible.
 Must be played at a position where they are
visible to the audience for volume.
Shaker
• There are many different shapes, sizes,
sounds, and articulate shakers.
• You always want to produce a crisp
“chick” sound when you play shaker.
• Too many people play shaker lazily and
the sound is muddy. Most of the time you
want to use a combination of loose wrist
and locked wrist.
• Dynamics can be produced by placing the
filling in different areas of the cylinder.
Claves
Originally used for latin settings but have
become a popular color used in orchestral
settings.
 Claves range in pitch from very high to very low.
 Always hold the claves to where the higher tone
is produced.
 Clave technique is very important. You must
create a hollow opening in your palm for the
sound to be resonant.

Maracas
Although there are many different
types of maracas, you should always
strive for a crisp, short sound. Long
tones and rolling are also possible.
Are used in many different musical
settings.
Playing-snare style, overhead,
shaker style, tapping, swirling (up
and down).
Cowbell
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Different sizes, different sounds.
Shaft of stick produces a stronger, louder tone.
The tip of the stick on the cowbell is a thinner,
softer tone.
The open end of the cowbell should always face
the audience when possible.
Gong
 Probably the hardest
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percussion instrument to
gauge volume.
Must be warmed up
before
playing….especially a
very loud note.
NEVER hit in the direct
center of the gong.
Different types of muting.
Bowing, scraping,
superball, muffling.
Congas
Three main tones
Bass
Slap
Open
Three drums
standard
(low to high)
Tumba
Conga
Quinto
Bongos
 Can be played with either hands or sticks depending on
the setting.
 Should usually be tuned higher than you would think.
 Played either between your knees or on a bongo stand.
 As with congas, natural wooden hand drums with natural
skin heads should be de-tuned after playing them.
Vibraslap
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Also known as a “jaw bone”
Strictly used for effect
Techniques-palm of hand (down
and up), knee.
Always let the vibraslap hang
after it is struck so it can rattle
effectively.
Ratchet
 Again, mainly used for effect
 Different sizes produce different tones
 The goal is to produce a constant
sound without pulsations
Slapstick (whip)
• #1 rule…WATCH FINGERS…don’t lose a
digit.
• Always hold high for more volume and
clarity of sound
Wind Chimes
 Also known as Mark Tree (NOT BELL TREE)
 Usually played higher pitch to lower pitch
 Don’t try to muffle. You wind up doing more
harm than good.
Bell Tree
 Bell Tree is often
mistaken for the Mark
Tree. Just remember the
Bell Tree has little bell like
cups on it.
 The most important thing
to remember is that the
pitch goes up and you
play downwards.
 Always use a brass
mallet, triangle beater, or
metallic implement for the
desired sound.
Finger cymbals
 NEVER “crash” them together
 Hold one flat and strike with the
other
 Do not move them just after
striking