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).

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).

The “Door Knob” style is more conducive to playing triplets and shuffle feels as well as faster tempos.

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.

• 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 ApplicationsPractice these exercises using the recommended techniques at various tempos.

Experiment with half-time, regular-time and double-time feels.

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.

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 ApplicationsThese 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.

A B C D

E F G H

I J K L

Tambourine Exercise 1

Tambourine Exercise 3

Tambourine Exercise 5

Tambourine Exercise 2

Tambourine Exercise 4

Tambourine Exercise 6

Tambourine Exercise 7 Tambourine Exercise 8

Tambourine Exercise 9

Tambourine Exercise 11

Tambourine Exercise 10

Tambourine Exercise 12

M N O P

Cowbell Exercise 6

Cowbell Exercise 7

Cowbell Exercise 1

Cowbell Exercise 3

Cowbell Exercise 5

Cowbell Exercise 2

Cowbell Exercise 4

Cowbell Exercise 8

Player’s GuidePercussion Performance Techniques

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

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”.

Track 3: Shakers, Maracas, Cabasa & Clavés Shakers, Maracas and Cabasas are representative of a large family of percussion instru-ments 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.

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).

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).

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 slow-tempo compositions and ballads.

Clavé Exercises For Live and Studio ApplicationsThe 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.

U V W X

Y Z AA BB

The Agogo Bells The Agogo bells are a Brazilian cousin of the Cowbell and consist of two or more coni-cally-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 left-hand 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”.

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 ApplicationsThese 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 pat-tern 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 non-playing hand, while the “°” symbols indicate an open (unmuffled) tone.

Q R S T

Agogo Bell Exercise 1

Triangle Exercise 1

Triangle Exercise 3

Agogo Bell Exercise 2

Triangle Exercise 2

Triangle Exercise 4

Shaker/Maraca Exercise 1

Shaker/Maraca Exercise 3

Cabasa Exercise 1

Shaker/Maraca Exercise 2

Shaker/Maraca Exercise 4

Maraca Exercise 1

Shaker and Maraca Exercises For Live and Studio ApplicationsExamples 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 force-ful 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 pat-tern.

Clavé Exercise 1

Clavé Exercise 2

Clavé Exercise 3