Tambourine practice connects the beginning, continuity and ending of a sound with its place in a phrase. Compare roll choices, explore transitions in Tambur-ille and prepare the contrasts of Dvořák’s Carnival Overture without confusing energy with constant intensity.
To choose a Grover tambourine, start with the musical need rather than the longest model name. Narrow the choice by jingle material, head construction, diameter and number of rows. Then check whether the instrument is comfortable to hold and whether its response suits the passages you need to play. This is a documented guide to … Read more
The Carnival Overture tambourine part invites an important distinction: musical excitement is not the same as playing at maximum intensity throughout. In Antonín Dvořák’s Carnival, Op. 92, preparing the percussion part also means understanding the orchestral energy around it. Lise Duarte Nuñez’s video offers a starting point for that listening. This article explores the relationship … Read more
Sebastian Schmid’s Tambur-ille asks you to make a musical line out of different kinds of tambourine sound. Short figures, sustained rolls and silence need to belong to the same pulse, even when the physical action changes. Lise Duarte Nuñez’s Instagram excerpt provides a starting point for that work. The question here is not which roll … Read more
A tambourine roll needs a beginning, a continuing sound and an ending that belong to the phrase. Choosing a technique means deciding how to produce those three things in the passage you are preparing. A familiar technique gives you a starting point. To decide whether it serves the music, listen beyond whether the jingles keep … Read more