Instrument Parts and Selection
    The most common concert tambourines have a diameter of ten inches, two rows of jingles, and either a calfskin or synthetic head. While calfskin heads remain a traditional choice of some professionals, synthetic heads are significantly more durable, require less maintenance, and are not affected by weather and humidity, making them ideal for school groups. A headless tambourine with a plastic shell is typically a handheld pop/rock instrument or mounted on a stand; it should not be used for concert playing.  
    Most tambourine shells are made of solid wood, although composite ply shells are available on less expensive models. In addition to jingle slots, each shell features a holding area without jingles so the player can grasp the shell. There is a hole in this area for mounting the tambourine on a cymbal stand – it is not intended for use while holding the instrument in the player’s hand.
    The jingles are made of three primary metals: silver (high pitch), copper (medium pitch), and bronze (low pitch). In addition to the metal used to construct them, the physical texture of the jingles has a significant effect on the instrument’s tone. Smooth, nickel-plated discs like German silver jingles provide the brightest jingle sound and greatest dynamic projection. Cor­rugated or fluted discs are heavier and duller sounding due to crimping, over hammering, and sometimes even excessive heating. These jingles are best used for delicate, quiet, and articulate playing. Most manufacturers offer tambourines with mixed jingle combinations, and picking the appropriate jingle sounds for your musical situation is an important consideration. If your program only has one tambourine, it is best to consider an instrument with a combination of bright and dark jingles that will complement most performance settings.

Instrument Grip and Playing Positions
    To execute all tambourine techniques with ease it is crucial to hold the instrument properly. With the tambourine head facing up, locate the holding area of the shell. Place the bottom of the shell in your non-dominant hand where the fingers meet the palm.

    Wrap fingers around the bottom of the shell,

and place the thumb above the shell on the drumhead. Do not put any fingers through the mounting hole on the side of the shell.

    In addition to holding the instrument, proper tambourine playing requires a designated playing position, rest position, and a method to transition from one position to another.

Playing Position
    Using the grip described above, lift the instrument so the forearm is parallel to the ground and then rotate the tambourine with your wrist so that it rests at a 45-degree angle.

    The angle of the tambourine affects how much excess jingling there is. Tilting the tambourine 45 degrees allows the jingles to quickly come to a rest after the drum has been activated, which eliminates any unwanted sounds from extraneous vibrations. Holding the tambourine perpendicular to the floor will produce the most extraneous sound. An instrument that is parallel to the floor allows a constricted vibration of the jingles, but there will still be some excess sound.

Rest Position
    Because the tambourine’s jingles are designed to move freely, the tambourine is one of the most challenging instruments to keep quiet when not in use. A resting position that allows the tambourine to be picked up as quietly as possible is essential. As with all accessory percussion instruments, the performer needs a trap table, music stand with a towel, or a padded surface on which to rest the tambourine. Placing the tambourine on a trap table with the holding area facing the player and the drumhead facing up will allow the player to smoothly and quietly pick up the instrument.

Transitioning Between Positions
    The player must also consider how to move silently from rest position to playing position. Using the non-dominant hand, grip the tambourine as described above and lift the instrument while keeping it parallel to the ground. This will help to keep the jingles flat and silent when preparing to play. To avoid extraneous jingling noise, do not switch the instrument from hand to hand.

    When the tambourine is near chest level, the instrument can be shifted to the 45-degree playing position. When returning the instrument to the table, ensure that the tambourine is flat so that there are no extraneous sounds from the shell striking the table multiple times.

Playing Zones and Techniques
    With the instrument in playing position, use the dominant hand to strike the tambourine. Do not move the drum to strike a hand or another surface. The ideal playing zone varies from the center of the tambourine head to directly over a set of jingles, depending on the desired timbre. The area toward the center is best for mezzo forte and louder passages because of the significant volume produced by a combination of head and jingle sounds. Striking on or near the rim provides more precise jingle sounds that are best for delicate, articulate passages at lower volumes.  

General Playing
    For moderately-soft to moderately-loud passages, cluster the thumb and fingers of the dominant hand together and strike the drumhead between the center and edge, directly across from the non-dominant hand holding the instrument in playing position.

Loud Passages
    To adjust for louder volumes and accented notes, form the hand into a loose fist and strike the drum in the center of the head with the flat of the knuckles as if knocking on a door.

Soft Passages
    Use the thumb and fingers to strike the instrument at the edge over a set of jingles. For the softest, most delicate effects, strike on the rim with only one finger.

To increase the dynamic level, strike the instrument with more fingers. To add head sound to the overall timbre, strike the drumhead closer to the center.

Techniques for Rapid
Rhythmic Passages
    Many composers write rhythmically-dense tambourine passages that are difficult, if not impossible, to execute with only one hand striking the tambourine. The following methods allow the player to execute quick rhythmic passages at varying dynamic levels.

Loud Rapid Passages (Knee-Fist Method)
    This advanced method uses the player’s dominant hand and knee to execute quick rhythms. Place one foot on a chair, snare drum case, or lower tripod of a drum stand. Turn the tambourine upside down (or have a second tambourine already resting upside down) and hold it so that the center of the head is a few inches above the propped-up knee. Make a loose fist as if initiating a powerful single stroke with the dominant hand above the center of the head.

     Strike the inside of the drum head with the fist, and then use the non-dominant hand to move the entire instrument and strike the outside of the batter head against the knee. For a consistent sound, ensure that the hand and knee strike the head in the same location. The fist is usually stronger, which can be used for emphasis in accented patterns.

Soft Rapid Passages
    Similar to the technique for loud rapid passages, place one foot on a chair, snare drum case, or lower tripod of a drum stand. Lay the tambourine on the propped-up thigh with the head facing up. Rest forearms or palms on the drumhead to control the sound by varying the pressure and how much of the head is covered or muted. Using the fingertips, strike the rim over top of a set of jingles closest to the knee . Make sure that hands are positioned symmetrically for an even sound.

    As with soft single strokes, adjust dynamic levels by adding or subtracting the number of fingers used by each hand. If searching for an alternative to resting the instrument on a leg, lay the tambourine on a trap table cushioned with a towel or padding. Play near the rim with the fingertips of both hands over the top of a set of jingles. Control the sound of the instrument by varying the pressure and muffling of the head with wrists and forearms as described above.

Stand-Mount Method
    This method is primarily used when the composer specifically requests the use of sticks or mallets. Using the mounting hole in the tambourine, attach the tambourine to a cymbal stand. Use extra cymbal felts if necessary and tighten down the cymbal wing nut to prevent the tambourine from moving or rotating excessively.

    Extra care must be taken when using mallets or sticks to avoid breaking the head. Consider using a mountable plastic pop/rock tambourine to spare the high-quality concert tambourine from being struck with sticks.

Tambourine Rolls
    Tambourine rolls are one of the most frequently misunderstood tambourine techniques. Confusion occurs when determining how to execute the roll itself, attempting to create a sustained sound (as opposed to a rapid succession of rhythmic attacks), and accurately starting and stopping the roll. The first decision facing a performer is choosing between the shake and friction (thumb/finger) rolls.

Shake Rolls
    Shake rolls are best for louder dynamic levels and longer rolls. When initiating a shake roll, hold the tambourine in the standard playing position described above. Begin the roll by striking the instrument with your dominant hand – much like a wind player articulating the beginning of a sustained note with their tongue. The player can envision ‘pushing’ the tambourine into the shake roll with this initial attack. Using the wrist and forearm, rotate the tambourine from left to right as if turning a doorknob back-and-forth.

    To become comfortable and produce a smooth, sustained sound, practice this motion slowly and then speed up to ensure proper execution. Just as the roll began with a clean attack, it must conclude with an attack to define the roll duration. When striking the drum to release the roll, immediately return the tambourine to the standard 45-degree playing position to ensure the jingles stop moving.

Friction Rolls
    Friction (thumb and finger) rolls are best used for softer dynamics and shorter rolls. To achieve this technique, the player will skip the thumb or middle finger around the perimeter of the head. The player should hold the tambourine in playing position, with the finger or thumb of the dominant hand on the edge of the tambourine close to the holding area.

    Friction rolls performed by middle finger (above) and thumb (below).

    The fleshy part of the thumb or finger exerts a light rubbing motion around the rim of the head, causing the jingles to vibrate. Proper execution requires the head to be tacky. Many players apply beeswax or bass bow rosin to the head, while others wear a rubber thumb or finger cover.
    For a soft release, drop your pointer finger  into the head as you lift your friction thumb/finger away from the instrument.
    For an accented release, you can drop the heel of your hand onto the drumhead instead of your finger.


 

Visual Dynamics
    Playing the tambourine is inherently theatrical due to the visual elements produced by the techniques described above – especially when con­sidering dynamic levels. In addition to striking the drum with more force to produce louder sounds, holding the instrument near the player’s waist and raising it higher in the air as the volume increases can emphasize a crescendo. This allows the conductor and audience to view the instrument as the passage becomes louder. The same concept can apply to a decrescendo, only the player will start with the tambourine higher in the air and then lower it as the passage becomes softer. The tambourine can be held near the player’s eye level when executing louder passages and closer to the stomach level for quieter passages to enhance dynamic levels visually.

Additional Considerations
    High-quality concert tambourines require proper care and maintenance. It is essential to take precautions to make sure that the instrument is always in good working order. The tambourine should be stored in a protective case or bag and should not have heavy items stacked on it. Periodically inspect the head and shell to ensure there are no cracks, pulls, or head tears. 

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    Plans were made. Herseth would rehearse with us on the day of the concert. That morning, I was a bundle of nerves anticipating his arrival, praying that our intense rehearsing over many weeks was enough preparation to be worthy of providing the musical accompaniments. He arrived well before the rehearsal and immediately put me at ease with his warm yet business-like manner. The band filed onto the stage, and we warmed up and tuned. You could feel the excitement as well as tension as I introduced Mr. Herseth. The students applauded, he smiled, bowed and said that he was pleased to be with us. He was holding an unlacquered rather shabby-looking rotary valve trumpet on which to play the concerto. He raised it above his head so that everyone could see his horn and cracked, “See? This is what happens when you don’t take care of your instrument.” We all laughed realizing that this was an instrument appropriately chosen to be used for this piece. The rehearsal went well; balance was good and tempos were adjusted. He asked how I thought the concert would be attended and I told him that we were sold out; tickets were gone. With that, we were all set for the concert.
    That evening Herseth entered to thunderous applause, bowed, nodded to me that he was ready, and off we went into the introduction. He made his initial entrance and that’s where the mini drama began – all completely unknown to me or the audience. The concerto ended, we shook hands, and I strode off into the wings following him. He turned to me and said, “That was good!” I was about to faint at the praise when he quickly added, “Now, being a good band director, I’m sure you’ll have a needle and thread in your desk drawer, right?”
    “Why yes, as a matter of fact I do. Follow me.”
    My office was only a few steps from the stage. As we sat down and I searched for the sewing kit, compliments of my dear wife Jane who was known as the uniform lady for the band, Herseth explained what had happened during the performance.
    As the introduction neared the end, he raised his instrument and made his entrance. During the next solo break, he realized that his tux coat had come unbuttoned. He said he reached down to redo it, and the button, which had been hanging by a thread, came off in his hand. Ever so discreetly he slipped it in his side pocket, and no one seemed to notice. We had videoed the concert, and later, we saw it happen. All captured on tape. No drama. Just a display of being calm and cool no matter the circumstance.
    Herseth calmly sewed his tux button back into place as we chatted during the choir performance. What an opportunity! The conversation moved from my love of the CSO to his recent visit to the eye doctor. It seemed that he needed to have a change in his eyeglass prescription. His doctor encouraged him to consider getting trifocals. All the better to see his music and the conductor he explained. With a twinkle in his eye, Herseth said, “Not interested. I don’t look at them anyway!” We chuckled, and with that it was time to return to the stage. Button problem solved.
    The remainder of the concert went wonderfully. Afterwards, Herseth stayed to sign autographs and visit with students and parents. Back in the music office, there were warm goodbyes as Mr. and Mrs. Herseth departed for home. We directors were left with the most fantastic afterglow. Some exceptional music was made that night, and everyone talked about the concert for weeks afterward.
    The lessons I learned were many and long-lasting.

    Dream big. Sum­mon the courage to identify and seek the best possible models for you and your students to emulate. I picked up that telephone months earlier placing the call to invite Mr. Herseth, quaking as I did
so but have thanked my lucky stars ever since.
    Analyze the experiences you have and identify the things that you can learn from them; never be reluc­tant to change plans to best suit specific circumstances. I thought the Haydn concerto would be played on that rather scruffy looking horn, but it wasn’t. Mr. Herseth determined, perhaps based on the acoustics of the packed hall and other reasons, that his regular Bach trumpet would be the better choice. Also, standing right next to him as he played, I never really heard sound coming directly from his horn. Rather, it came from him. As odd as that seems, all I can say is that there was an absence of tongue/attack. His sounds were immediate. From that time forward I tried as much as I could to emphasize the elimination of hearing fixed percussive attacks in my student’s playing.
    Have resources handy to address situations that may not be anticipated before they occur. Who would imagine needing a sewing kit at the ready for use by a guest artist in the middle of a performance? You just never know.
    Provide your students with the best possible music and experiences; the results can have long lasting influence. To this day, many of my former students are patrons of the Chicago Symphony Orchestra, play and sing in community and church groups all over the country, and best of all, have lingering fond memories of an evening when Bud came to play.  

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    College is an exciting time for students to learn, discover, and have new experiences, yet it can also be a period that is quite overwhelming for many. This feeling can often prevent students from having a clear vision of their overall college career. Frequently, they are focused on assignments due for the next day or week and find it challenging to look past the semester let alone what they will be doing after graduation. As a teacher, one of my goals is to help students see the broader picture of their academic journey and to offer advice and insight to direct them on their path. Having been a student myself for many years, I can look back on my experiences with perspective and share what I have learned with my students. My intention is to provide steps they can take while in college that will allow them to transition smoothly into their profession.

Setting Goals
    One of the most important first steps to success is to set a goal. Know what you are working towards and ask yourself what it is you see yourself doing three to five years after graduation. The best way to commit to a plan or goal is to write it down. Having the goal on paper allows you to firmly establish and commit to your aspirations. Be specific and try to detail every aspect of your ideal job including who, what, when, where, why, and how. Once you have a clear idea of your long-term target, assess your timeframe and set short attainable goals that align with your vision. Establish daily, weekly, monthly, semester, yearly, and five year goals. Make sure your objectives are both challenging and achievable. If you find yourself setting goals, but falling short of them, reevaluate and adjust to make the target more manageable.

Organizing Your Time
    Structure your micro and macro goals in a way that works best for you. Utilize calendars, journals, and practice logs to help you stay on track. Write down goals for the day or week and mark off what you accomplished. Be aware and take notes of the annual opportunities within your school, area, and state. This includes competitions, masterclasses, camps, and festivals. Keep these on your radar and write down deadlines in your calendar with enough advance notice that you can plan for them in the coming semester or year.
    Take advantage of the academic breaks and use the time that you have during the winter, spring, and summer to reset goals and plan new projects. You can use this time to research festivals, masterclasses, band camps, or specialized studies that appeal to you. I recommend choosing one or two experiences that interest you the most and work towards making that a reality.  Allow yourself six months to a year to plan for these events so that you have enough time to prepare applications, recordings, letters, save money, and find opportunities for financial support to help cover expenses.

Building Experiences
    Whatever your goal is, find ways to build experiences into your college education that will help you achieve your vision. Look for opportunities to work in your chosen field while in school. This can include work study, working in the library or at a music store, teaching private lessons at local high schools and middle schools, or leading high school marching band sectionals during the summer or fall. These experiences not only allow you to make money while going to school but are great opportunities to build connections and relationships. You can often maintain these jobs even after graduation.
    Be open to as many diverse experiences as possible. This will give you more depth as a person and musician. Get involved and volunteer at your university and in the region by helping out with music camps, festivals, music fraternities and sororities, or regional competitions. This can lead to creating a great mentorship with directors and teachers, a student teaching opportunity, or possible employment.

Networking and Cultivating Relationships
    Get out in the schools and start working with young students while you are still in college.  Inquire about opportunities to teach lessons or provide a free clinic on basic fundamentals such as hand position, fingerings, or embouchure formation. Most directors will appreciate your initiative and be eager to have you come out to work with their beginning students. Not only does this build relationships with area directors, but it is a great teaching opportunity that allows you to develop your teaching skills in a friendly environment. Teaching takes practice, so the more you do it, the better you become.
    Fostering and sustaining good relationships is a big part of creating a thriving career in music. Your professors are one of the most important resources that are available to you. Find mentors and teachers who you admire and look up to and who you want to shape your teaching after. Cultivate a good rapport with your professors for they will be your biggest advocates as you transition to the next step in your career.
    Support your friends.  Go to their performances, exchange ideas, and learn from each other. Find people who you enjoy playing with, who have the same aspirations as you, and who are eager to collaborate. The friends you make in college will become life-long colleagues later in life. They will be your greatest support system not only during college, but throughout your career.

Developing Your Portfolio
    Your musical portfolio is a variety of materials that represents who you are as a teacher and musician. It can include your bio, cover letter, resume, headshots, teaching philosophy, and musical recordings. Work to build a diverse and comprehensive portfolio that includes your education, teaching experience, leadership activities, performances, service, and accolades. As you begin to organize your resume, take note of which sections are sparse and begin to create opportunities and experiences for you to add to these areas.
    Recordings are another important aspect of your musical portfolio. This can contain any performances you have given throughout the year. Strive to record and save your recitals and departmental and studio class performances. Have a variety of both audio and visual recordings. In addition to live performances, take some time throughout the semester to record a solo piece on your own. Ask a friend to record for you and use a space that enhances your playing.  This process allows you to listen back, observe, fix mistakes, and grow as a musician.
    Building your portfolio will take time so do not be overwhelmed with the process.  If possible, begin developing your portfolio during your first year of college and update it each semester. Having these materials ready to go will benefit you if you should ever apply for festivals, competitions, graduate school, or a job.

Establishing Good Habits
    It’s important to establish a strong foundation of good habits at any stage in your life. The habits you establish while in school will ultimately benefit you and help shape your success for the future. Begin developing good communication skills while in high school and college.  This means responding to emails and phone calls from your professors and colleagues in a professional, appropriate, and timely manner. Quick and courteous responses will help you to secure gigs and future jobs and establish yourself as a considerate, responsible and dependable individual. If someone contacts you with an opportunity and you allow too much time to pass, there is always a chance the prospect will go to someone else.
    Be early and prepared for classes and rehearsals. As everyone knows, the golden rule in music is “to be early is to be on time and to be on time is to be late.” Make sure that you are prepared with your materials and music, in your seat, and with your instrument ready to go at least 15 minutes before a rehearsal. This will allow you time to look over difficult sections and get in the right head space for the rehearsal.
    Be careful about how you present yourself. Be courteous, respectful, professional, and kind. These are just a few character traits that will set you apart from others and will draw others to you. A significant part of any job search is for others to recognize that you can work well with other individuals, are a good fit for the position, and can successfully contribute in that position.

Health and Wellness
    Following a career in music can be challenging and demanding so it is vital to listen to your body and give yourself down time. Strive to create balance by allowing yourself to rest, get plenty of sleep, eat well, and exercise. Music often begins as a source of enjoyment when you are young. That hobby can take on a different role as you get further into your musical studies and career, so it is even more important to create balance and find enjoyable interests outside of music.
    You will experience many challenges in your life but know that growth occurs during these difficult times. Just because something is arduous does not mean you are on the wrong path. Do not stop because you are challenged. Instead, dig deeper into the experience. 

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