Ten Practical Tambourine Techniques

By Eric Willie
To learn to play an accessory percussion instrument, you have to establish fundamental
techniques like every other percussion instrument. The following ten points were created to
assist you in developing these techniques for tambourine. By employing the following
techniques and representative music examples, one can establish fundamental techniques to
perform orchestral, wind band, and percussion ensemble literature.

I. General Playing
The general playing technique is applicable to musical passages that do not require the
performer to execute rolls, extremely fast rhythms, or extreme loud or soft passages.

To perform the general stroke, combine all of the fingertips into one point and initiate
the stroke with the wrist.

II. Knuckles
The use of knuckles can create sforzando effects or can be used for forte-fortissimo-
fortississimo playing. Although the term “knuckles” is applied, the actual striking area
consists of the area between the second and third knuckles away from the palm.
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III. Knuckles and Knee Caps

The musical application for the Knuckles and Knee Caps is identical to Knuckles;
however, the use of the kneecap can assist the execution of fast, loud rhythms. The
kneecap is used for its similar timbre to the knuckle.

To perform, the tambourine will alternate between the kneecap and knuckles.
Experiment with wrist and elbow initiated strokes for the hand holding the tambourine.

IV. Fingers
By using the tips of the fingers (on the membrane or shell of the drum), the
percussionist can achieve a soft, articulate sound. If fingers continue to be too loud, try
omitting the resonance caused by the head. You can achieve this by placing your palm
on the head or by flipping the tambourine onto your thigh so that the membrane is in
contact with the thigh. You will be able to execute the soft passages by playing on the
shell.

To perform, start with the middle finger (or middle fingers of both hands alternating).
To crescendo add more fingers, to decrescendo use less fingers. After passing a
particular dynamic range, it will only make sense to switch to a different technique.
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V. Thumb Roll
The common misconception with students beginning thumb rolls is to press too hard
into the head. This normally results in no roll or one that is sporadic as the thumb
jumps from point to point.

To execute a proper thumb roll, the thumb needs to remain relaxed so that it will
vibrate in conjunction with the head. This is similar to performing a multiple bounce
roll on snare drum. If the hands grip too tight, the multiple bounce roll will be pressed
and sound detached. The goal is to have a sustained roll sound by allowing the stick
(or thumb) to vibrate in conjunction with the membrane.

To perform, the “fat” part of the thumb (as compared with the tip near the thumbnail)
should make contact with the head and follow a path where the thumb leads around
the perimeter of the head.

VI. Finger Roll

The finger roll technique is used in similar musical passages to thumb rolls, except at a
softer dynamic level. By using the tip of the middle finger, there is less contact area and
thus, a softer sound.

Like the thumb roll technique, the fingertip needs to remain relaxed so that it vibrates
with the tambourine head. The thumb supports the tip, which is in contact with the
middle finger knuckle.
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VII. Shake Roll

The Shake Roll can be used in musical passages that require the performer to execute
loud rolls.

To perform, the holding hand will alternate the tambourine between a “heads up” and
“heads down” position. To facilitate this, the performer will rotate their
forearm. The wrist should not be broken for this application.

VIII. Shimmer Roll

The Shimmer Roll can be used in a variety of situations in which the performer
performs rolls. In contrast to the Shake Roll, the Shimmer Roll has a smoother roll
consistency.

To perform, the holding hand will be at a vertical position to allow optimum vibration
between the jingles. The wrist should be relaxed and will work with the elbow to
perform the desired motion.
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IX. Extended Shake Roll

This technique was taken from one of my teachers, Christopher Deane. The technique
is used primarily for musical phrases that require the performer to execute rolls for an
extended period of time.

To perform, the arm holding the tambourine will be positioned in a manner so that the
tambourine head will be facing the audience. The hand holding the tambourine will
produce a motion similar to the shake roll, except that the tambourine is vertical. The
opposite hand will use its fingers to produce a stroke in contrary motion to the stroke
produced by the hand holding the tambourine.

X. Transitions
(Example A)
It is important to practice smooth transitions between techniques. One never knows
what musical application may arise, so it is always important to readily adapt from one
technique to the next. Remember to plan accordingly so that the next musical passage
is prepared without excess noise.
(Example A)