you can tell the difference between a serious percussionist and a bush leaguer by how they play tambourine.
see...snare drum, marimba, and timpani are the sexy instruments to play. most of our solos are written for those instruments. we play them on recitals, concertos, and chamber music.
they’re the instruments that bring us all the glory.
but think about it.
most percussion music in orchestra starts with bass drum and cymbals, and if you’re lucky it has a triangle. maybe a tambourine or snare drum.
tambourine is on every professional audition.
there’s no glory to tambourine. it has its own weird, unique techniques that aren’t useful on any other instruments.
SHAKE ROLLS ARE HARD.
that’s why it’s the instrument of serious, professional percussionists.
if you want to be employable, you should practice tambourine religiously.
and the earlier you start, the better you’ll eventually be.
today’s video is about how to become a master of tambourine. it’s basically a list of all the techniques you have to develop in order to become an orchestra-ready ~tambourine artist~.
college auditions decide your life, so choosing your repertoire has to be very carefully considered.
i’ve heard lots of marimba players with huge potential shoot themselves in the foot by missing these basic elements of musicality.
can you slam together two trash can lids and make a beautiful sound? welcome to crash cymbals. here’s how to practice cymbals to stop getting air pockets and ugly crashes.
stick control and the rudiments have never fixed my snare drum problems. this is the 60 minute(ish) snare drum warm up that actually works.
it’s so annoying when you’re trying to get a piece ready for your lesson or for an audition and there’s one part of it that seems impossible.
how to play a smooth timpani roll (and 4 reasons your roll sounds like “bligabogldkgavlknlelkeevke” instead of “LLLLLLLLLLLLLLLLLL”.)
so…one thing i’m terrible at (and not really ashamed to admit it) is independent rolls on marimba.