y

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Techniques and Exercises for Playing

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TRIANGLE,
sa
TAMBOURINE,
& CASTAGNETS
u
er

by

Paul Price
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u sa
er
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Copyright 1955 and 1967 by Music For Percussion, Inc.

Copyright 2001 Transferred Colla Voce Music, Inc.
4600 Sunset Ave., #83, Indianapolis, IN 46208
www.collavoce.com
 Preface

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Techniques and Exercises for Playing Triangle, Tambourine, and
Castagnets was written to supply a need for exercises whereby percussion

nl
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.

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These three instruments are, next to the drums, most important to
percussion playing.

There are set, definite techniques employed for correct interpretation

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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
u
for correct performance upon the triangle, tambourine, and castagnets.

PAUL PRICE
er

Part I Triangle
Part II Tambourine
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Part III Castagnets

(Text written at Aspen, Co., 1953, rev. 1966)

Fo
Fo
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er
u sa
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 y
nl
lO
usa
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Fo

Part 1: Triangle
 y
nl
lO
usa
er
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Fo

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.

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Its characteristic sound is a delicate,
extremely high pitched tinkle.

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lO
Types Of Triangles

Fig. 1 illustrates three types of triangles,

beaters, and holders. The 10-inch triangle is
best for concert use. sa Fig. 2 - Holding the triangle

Triangle Beaters
u
Beaters should be at least 10-inches
long. Players should have three different
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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.
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Holding The Triangle

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The triangle is held (Fig. 2) with the

holder resting on the thumb and index fingers,
allowing it to be suspended within the palm
Fig. 3 - Suspended triangle
of the hand. When not in use, the triangle
may be supended from the music rack (Fig.
3) ready for use at any time.

7
 y
Holding The Triangle Beater

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The triangle beater is held between
the thumb and index fingers in the palm of
the hand, facing downward. The shaft of the

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beater runs along the first joint of the index
finger (Fig. 4).

Fig. 4 - Holding the triangle beater

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Position Of The Triangle Player

The triangle is held by the player,

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facing the conductor, and in such a way as

to permit striking the base a little away and
out from the closed end. It should be noted
that the triangle is never struck on the outside,
but always on the base. If at all possible, and
Fo

ample time permits: it should be held by the

performer (Fig. 5).

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

y
1.

nl
mf

lO
2.
mf

3.
mf
sa
4.
u
mf
er

5.
f p f p
rP

f p cresc. mf f

Fo

mf p pp

6.
p f

9

mf f p

y
nl

e = 108

7.

lO
ff mf

sa
pp f
u
q = 72

8.
er

rP

Fo

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
will result.

10
 Exercises In Slow To Moderate Tempi With Rests, Including Muffling

h = 100
9.
f

y
p f

nl

pp

lO
p mf f

q = 92

10.
mf sempre
sa


u


er

rP

q = 92

11.
Fo

f sempre

11


y


e = 120

nl
12.


p

lO

u sa
Performing Fast Moving Rhythms
Fast moving rhythms are played by striking the base and the closest side, alternately. Most
er

"even" rhythm groups will begin on the base (similar to the snare drummer's right hand sticking.)
rP

Exercises Employing Fast Moving Rhythms

q = 138

13.
f B BSB B BSB B B B BSB BS B
Fo

S B B BSBSB S

12

B B BS S BS S

B S S B S S

nl
B S B S B S

q = 120

lO
14.
f BS


sa

u

er

e = 176
15.
rP

Fo

q = 132

16.
f

13


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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.

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The triangle roll is indicated by symbols: 1. and, 2.

Exercises Including Rolls

q = 72
u
17.

f mf

er

f p f
rP

q = 88

18.


mf f

Fo

mf

14



q = 72

19.

p cresc.

mf

f f

ff mf

nl
p

lO
pp cresc. mf f ff p cresc. f

q. = 80

20.
ff f dim.
sa
p pp

u


er

rP

q = 128

21.


ff

3



Fo

3 3 3 3 3

15
 3
3 3 3 3 3 3 3 3 3

y
nl

e = 152

22.

mf

lO

sa

u


er

e = 132

23.


pp ff ff pp ff p ff pp

rP

pp ff ff

Fo

pp cresc. f ff f mf p pp cresc. f

h = 108

24.
mf

16


nl
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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.

sa
Exercises Including Embellishments

q = 96
u
25.








SB BSB
p
er

f pi f

rP

Fo

17
 q = 100
26.

nl


3

lO




sa

h = 104 3 3

27.







u

ff
3 3

er

3 3 3


rP

q = 132
28.



f

Fo

3 3 3 3 3

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.

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nl
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Fig. 6 Using two beaters with one holder
u sa
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Fig. 7 Using two beaters with two holders

Fo

Exercises Using Two Beaters

e = 152

29.




f

19


nl

e = 152 5 3 3
5 7 7

30.


f

lO
3 3 3

5 7

sa ff

q = 112

u


31.

f
er

3 3 3 3 3 3 3

rP

3 3 3 3 3 3 3

e = 176


4

8

12

Fo

32.
ff

20
 3



1. 2.

ff

Excerpts from "IONISATION" by Edgard Varese

y

q = 80

nl

f ff mf

tactet
to

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end

Copyright 1934 by Edgard Varese. Used by special permission.

w = 44
sa
Excerpts from "FUGUE" by William Russell

3 5 6 7
B 6 in. triangle

mf p pp
u
4 in. triangle 4 in. triangle

5 5 5 5 5 5
er

ppp 6 in. triangle

6 in. triangle - - muffle notes marked 'x' with left hand

6 in. triangle
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x x x x x x x x x x

x x x x x x x x x x
ff 10 in. triangle

3

3 3 9 7 6

Fo

pp

p sfz f f

cresc.

5 3

ff mf sfz

Copyright 1933 by New Music Editions. Used by special permission.

21
 Excerpts from "INVENTION" by Paul Price
q = 65

3
lightly
C 7 7

A B

ff f p mf precisely

7 5 7 7 7 3

y
pp

nl
5

lO
Copyright 1950 by Paul Price. Used by special permission.

q = 60

sa
Excerpts from "FIRST QUARTET" by Mervin Britton

C

mf ff decresc. et ritard. ppp
u
Copyright 1954 by Music for Percussion. Used by special permission.
er
rP
Fo

22
 y
nl
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usa
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Fo

Part 2: Tambourine
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sa u
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Fig. 1 - a. Large 13 Tambourine with double row of jingles
b. Regular 10 Tambourine with double row of jingles
Fo
 The Tambourine

This instrument is, in reality, a frame

drum with jingles. It is usually classified as
a Plates and Bars percussion instrument, the

y
jingles sound taking precedent over that of the
membrane. There are instances in symphonic

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literature where the jingles only are called for,
in which case a tambourine hoop with jingles,
without a drumhead, is used.

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Fig. 2 Holding the tambourine

Holding The Tambourine sa

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

Slow To Moderately Moving

Rhythmic Passages
rP

For performing slow to moderately

moving rhythms, the tambourine is held up
(at the conductor). Using the fleshy 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
Fo

toward the striking hand (Fig. 3).

Fig. 3 Striking the tambourine

25
 Exercises With Slow To Moderately Moving Rhythmic Passages

q = 120

1.
f mf

y
nl
q = 120

2.
mf p

lO

f mf

f mf


sa

mf
f ff

u
f
er

q = 152

3.
rP

mf p mf

Fo

mf

p
26
 q = 168

4.


f mf f


p

nl
f mf

lO

q. = 96

5.
mf

sa
f

u
mf
er

q = 176

6.
f
rP

Fo

e = 152

7.
mf f

27


mf p

nl
pp

lO
e = 160
8.
f mf

sa
f

u


er

mf p f

rP

Performing Fast Moving Rhythms

Fo

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).

28
 y
nl
lO
u sa
Fig. 4 Performing fast moving rhythms

Exercises With Fast Moving Rhythms

er

q = 144

9.
K K H K K K H K H K
rP

K H

Fo

29


y
nl
q = 132

10.

lO
K K H K H
f

sa
e = 176

u
11.
mf
er

3 3
rP

3 3 3 3 3 3 3 3 3

Fo

3 3

30
 x = 192

12.


mf

nl

lO
sa 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.
u
Rolls may, or may not, have a terminating note (striking the head at the roll's end),
depending entirely on the written notation.
er
rP

Roll Exercises With Terminating Note

q = 72



13.
Fo

31






ff mf f

y
f p f p mf ff f

nl
lO


q = 104

14.



f

sa

p p p

f f

p p

f ff mf

u

er

p pp dim.

q = 132

rP

15.


p

f f



Fo

f ff

32


q = 146

16.


mp

nl
mp

lO
Roll Exercises Without Terminating Note

17.
q = 66



sa

u
er

q = 72



rP

18.

mp

Fo

33


e = 144

19.


f

y
nl


q = 60

lO
20.
mf

p f p

u

sa

er

Roll Exercises With And Without Terminating Note

q = 144
rP

21.



f mf f

mf p
Fo

f mf

34


e = 144

22.

nl
lO


e = 160

23.

mf

sa







u
er

e = 160

24.
rP

Fo

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.

y
nl
Exercises With Thumb Rolls

q = 66

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25.
mf

u

sa

q = 66

er

26.
f mf f

rP

mf f

Fo

36

q = 126

27.


f

nl
mf cresc. f ff

lO

e = 120

28.

sa

u
er

Exercises Combining All Previous Techniques (No Thumb Rolls)

rP

q = 126

3

29.
f pp f mf

3 3 3



Fo

f pp f

37


3 3 3 3 3 3 3 3 3 3 3

3



f pp f

y
nl

5
q = 96 5
5 5
5 5

lO
30.
ff

3 3

3 3

3


3 3 5
sa 3

u 3 5 5
er

q = 96
31.
f
rP

3 3

3 3 3 3 3 3 3 3 3 3 3 3 3 3

Fo

38



q. = 96
32.
ff p pp

q. = q 3 3 3

p f

y
3 3 3 3
3 3 3

3 3 3 3

nl
3



3

lO
ff mf p fz

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

Exercises With Embellishments

rP

q = 88

33.

mf

3 5 5 3 3




Fo

3 3 3 3

39


q. = 88

34.

y
mf

nl

lO

2 4

35.
e = 160

sa


4




f

er

2 4 5

rP

e = 160


Fo

36.
f
3

40
 Playing Soft Passages PP, or PPP,
With Slow To Moderately

y
Moving Rhythms

To play slow to moderately moving

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rhythms softly, strike on the hoop with the fingers
as in Fig. 5.

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Fig. 5 Performing slow passages softly
u sa
er

Playing Soft Fast Moving

Rhythmic Passages
rP

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 both hands as in
Fig. 6.
Fo

Soft rolls may be played by rapidly moving

one (or more) fingers of each hand alternately.

Fig. 6 Performing fast passages softly

41
 Exercises For Soft Slowly Moving Passages (No Rolls)

q = 96

37.



pp
3 3

y
3

nl
lO
e = 200

38.

u sa


er

q = 120
3 3

39.
pp
rP

4 4

3 3





Fo

42

e = 140

40.




pp

nl

lO
Exercises For Soft Slowly Moving Passages With Rolls

4

e = 120

41.


8

sa

4 7

u

er

e = 120

rP

42.

pp

Fo

43


h = 66



43.

pp

nl

lO

h = 66
44.

pp

sa
u
Exercises With Soft Fast Moving Rhythmic Passages
q = 160 3 3 3 3 3 3 3 3 3 3

er

45.

pp

3 3 3 3 3

rP

3 3 3 3 3 3 3 3 3 3 3

3



3 3
3 3
3 3
3 3 3
Fo

44
 q = 176

46.


pp

nl

lO
q = 120
3 3 3 3 6 6 3 3 3 3

47.
pp
6 6 3
3

sa
3 3 6 6


u
3 3 3 3 3 3 6 3 6 3 3

er

3 6 6 6 3 3 3 3 3 3 6 3

rP

q = 120 3 3


Fo

48.
p

45


y
3 3 7

nl
e = 160

lO
49.

3
p

3 3 3 3 3 3 3 3 3

3
sa 3 3 3

3 3

3 3 3 3 3 3

u

er

3 3 3
rP

q = 138

50.


p

Fo

3 3 3 3 3 3 3 3 3

3 3

46
 Muffling The Tambourine

y
To muffle the tambourine, hold an

nl
unfolded handkerchief, fluffly crumpled, in the
holding hand. Any of the previously mentioned
techniques may be use with muffling.
See Fig. 7.

lO
Fig. 7 Muffling the tambourine
u sa
er

Playing On The Tambourine

With Snare Drum Sticks
rP

The tambourine should be placed on

a cushion with the head side up. rhythms are
played exactly as on the snare drum. Fig. 8.
Fo

Fig. 8 Using snare drum sticks

47
 Exercises For Muffled Tambourine

q = 60

51.

p sempre
3 3 3 2

y
3 3 3

nl

lO

q = 60
52.

mf

3 3 3

sa ffz pp mf

u


er

rP

e = 168

53.

mf

Fo

48


3 3 3 3 3 3 3 3 3 3 3 3

y
3 3 3 3 3 3 3 3 3 3 3 3

nl
q = 54

54.
3 3
mp sempre

lO
3 3 3 3

3 3

3
3 3 3
3 3 3 3 3

3 3

3

u

sa 3 3
3
3

er

Exercises For Playing On The Tambourine With Snare Drum Sticks

q = 120

55.


rP

3 3

Fo

fz p

49



q. = 144

56.


ff p f p mf fp pp f

p p subito f p

f mf

nl
ff

lO


e = 104
57.

f
3




sa mf p pp p p f

u
er

q = 120
3

3 3
3
3

58.


pp f

rP

mf p

3 3 3
3 3
3 3 3
3 3


Fo

pp ppp

50

Excerpts from "ONE OVER THREE" by Mervin Britton

q = 128 3

A

B

3 3 3 3 3


f rit. and decrease

y
a tempo

nl
pp cresc. ff

lO
fz mf

Copyright 1953 by Music for Percussion. Used by special permission.

sa
Excerpts from "THREE BROTHERS" by Michael Colgrass

q = 132

u

ff pp fp ff

h = 96 14 meas.
er

pp rit. ff p ff
rP

1st, 2nd, 3rd, & 4th ending
3 3 3

pp pp fff

3 3

Fo

etc.
fp ff fz fz fz

Copyright 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

y
C x = x

3 3 3 3 3

nl
cresc.
ff

D

p

lO


E

ff

F x=x 3

sa f

3 3 3 3 3 3 3

mf
u
3 3 3 3 3

mp

H
er

3 3 3

p
decresc.
rP

Copyright 1954 by Music for Percussion. Used by special permission.

Excerpts from "QUINTET IN FIVE" by Truman Shoaff

1 beat per meas. (98)


6

11

Fo

ff pp

16

21

26

p

31
etc.
Used by special permission.
52
 Excerpts from "IONISATION" by Edgard Varese

5
3 3
q = 80 3 3 3




pouce

p
3 3 3 3

3 3

pp

y
3 3
3

nl

pouce pouce pouce
ff

3 3 3 3

lO
pouce

Copyright 1934 by Edgard Varese. Used by special permission.

sa
Excerpts from "INVENTION" by Paul Price

q = 65

u
3 5 3

E G

etc.
p mf
er

Copyright 1950 by Paul Price

rP
Fo

53
Fo
rP
er
u sa
lO
nl
y
 y
nl
lO
usa
er
rP
Fo

Part 3: Castagnets
 y
nl
lO
usa
er
rP
Fo

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;

y
and 2. one set each (called singles) on two
separate handles. Fig 1.

nl
lO
Striking The Castagnets

The castagnets (doubles) are held with

the right hand and struck, using the fleshy part
of three fingers of the left hand, as in Fig. 2.
sa
Fig. 2 Striking the castagnets
u
er
rP

Performing Slow To
Moderately Moving Passages
Fo

For soft slowly moving passages play as

illustrated in Fig. 3, using one set of singles.

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

y
3 3 3 3 3 3

nl

3

lO

q = 120 3

2.

mf

sa

u
3

er

q = 120


rP

3.
mf

Fo

58


q. = 120

4.
mf

nl
lO
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, or may not,
have a terminating note.
sa
Exercises In Slow To Moderate Rhythms At Loud Dynamic Levels with Rolls

q = 112

u
5.

mf

er

rP

Fo

59


e = 120

6.

nl

lO

e = 120

7.


f

sa

u
er

h = 92

8.


rP

mf

2 4 7

Fo

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

y

9.
pp

nl

lO
q = 92

10.
pp

sa

u
er

q = 92 3 3 3 3 3 3

11.
rP

3 3 3 3 3 3 3 3 3 3 3
3 3

3 3 3 3 3 3 3 3 3

Fo

61

q. = 52 4 2

12.
p
5 5 5 4 5 2 2 5

nl

4

lO
The Rolls Using A Set Of Singles
This action is the same as used for the doubles.
sa
Exercises With Rolls Using A Set Of Singles

q = 60


u
13.
pp

er

rP
Fo

62


q = 60

14.

pp

nl
lO


e = 92

15.

sa





u
er

e = 192


rP

16.
p

4
7

Fo

63
 Playing Fast Moving Rhythms
Using Two Sets of Singles

For fast moving rhythmic passages, at

y
any dynamic level, two sets of singles are used.
These are held in the palm of the hands using

nl
thumb and index fingers. The player strikes the
lower part of the thigh (slightly above the knee),
as in Fig. 4.

lO
Fig. 4 Performing fast moving rhythmic passages
u sa
er

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

q = 120

17.
rP

f


p mf

Fo

64


y
nl
q. = 92

18.

mf

lO

sa
p f

u
er

e = 138

19.

f
rP

3 3

3 3 3 3 3 3



Fo

6 3 3

65
 q = 128

20.


f

nl

lO
p f p f

The Roll Using Two Sets Of Singles

sa
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
u


q = 104


er

21.

rP

Fo

p cresc. f

66

q = 138

22.


mf

3 3 3 3

y
3 3 3 3 3 3

nl
p
3 3 3 3 3 3 3 3 3 3 3 3 3

lO
3 3

sa
mf
u
e = 176

23.
er

rP

3 3 3 3



Fo

67


e = 176

24.

mf f

mf f

y
3 3

nl



3 3 3 3 3 3

lO
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

sa

mf

p
u
er

Excerpts From "INVENTION" by Paul Price

rP

q = 65

I 3

G J

To BD
& Tam-tam
p
Fo

Copyright 1950 by Paul Price

68
 Excerpts From "IONISATION" by Edgard Varese

3 3 3 3 3
q = 80 3 3 3

3

pp

3 3 3 3 3 3

3

y

ff
3 3 3

nl
3
etc.
p ff

Copyright 1934 by Edgard Varese. Used by special permission.

lO

Excerpts From "QUARTET" by Murl Eddy

q = 120 3


A sa

1.
ff mf f

B 3
3
u
ff

D

3


2. C

er

etc.
f
Used by special permission.
rP

Excerpts From "SECOND QUARTET" by Mervin Britton

q = 104


Fo

f mf

etc.

Used by special permission.

69