Accessories…odds and ends.

1. Accessories…odds and ends. Norwin Percussion

2. Triangle Tambourine Woodblock Castanets Shaker Claves Maracas Cowbell Gong Congas Bongos Vibraslap Ratchet Slapstick Windchime Bell Tree Finger Cymbals Instruments to be discussed

3. 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.

4. Where to strike… H • 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). L

5. Other possibilities X X • Another possibility for faster passages is to hang the triangle with two clips, opening pointing down.

6. Tambourine • 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

7. 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.

8. Woodblock • 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.

9. Types • There are many sizes of woodblocks • Usually you will use the medium sized woodblock unless specifically notated in the music.

10. 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.

11. 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.

12. 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.

13. 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).

14. Cowbell • 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.

15. Gong • Probably the hardest 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.

16. Congas • Three main tones • Bass • Slap • Open • Three drums standard (low to high) • Tumba • Conga • Quinto

17. 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.

18. Vibraslap • 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.

19. Ratchet • Again, mainly used for effect • Different sizes produce different tones • The goal is to produce a constant sound without pulsations

20. Slapstick (whip) • #1 rule…WATCH FINGERS…don’t lose a digit. • Always hold high for more volume and clarity of sound

21. 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.

22. 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.

23. Finger cymbals • NEVER “crash” them together • Hold one flat and strike with the other • Do not move them just after striking