Maracas Rolls

Check out this short tutorial video on 

Maracas Rolls

Tambourine Energy Boost

You're playing that smokin' sixteenth tambourine pattern on the last part of the song and you know that final chorus  should go up a notch in intensity.  

What can you do?

Here's an idea:
Keep the sixteenths going and toss in some accented upbeats.  Experiment with accents on the upbeat of one and three (similar to hi-hat opens) or on the "and" of all four beats...or some other variations.  
It doesn't work on every song but when it does...POW! 
You can really feel the tambourine give an extra "lift" to the overall groove.

Eric Darken Interview

Eric Darken's percussion has been a part of hundreds of recordings over the last few decades.  The Nashville session great took a few moments recently to answer a few questions:

Mark:  What is your background / training as a percussionist?

Eric:  I started out playing drum set at the age of twelve.  I played timpani and mallets in high school.  I attended Brevard College in North Carolina and studied with Mario Gaetano who was a wonderful orchestral percussionist and educator.  He really got me started into the whole orchestral percussion world.  After a two year degree, I transferred to Oral Roberts University in Tulsa, OK.  There I studied with Roy Smith who was the principal percussionist for the Tulsa Philharmonic.  At ORU, I was asked to be a part of the Richard Roberts "live" TV show which aired five days a week.  This was a great experience because it taught me how to sightread and perform charts very quickly.  We would rehearse a few songs for the show and then tape "live" an hour later.  This was not only a wonderful experience, but quite an education.

How about name dropping some artists with Eric Darken percussion on their recordings?

I have had the opportunity over the years to record for a variety of artists and bands.  Steven Curtis Chapman, Amy Grant, Michael W. Smith, Gaither Vocal Band, Taylor Swift, Bob Seger, Keith Urban, Carrie Underwood, Bon Jovi

You've been involved in a variety of aspects of the music business.  In addition to playing percussion, what else have you done in your career?

I started out years ago copying music for various music arrangers.  It was a lot of hard work and long hours but I learned a lot by doing it.  Over the years, I have composed music for TV and film and continue to do so as time permits.  You can hear some of my music on such television shows as Dateline, 20/20, NFL Films, National Geographic, and Fox Sports.

How has your work as a percussionist changed / evolved over the course of your career?

I'm always trying to learn and grow as a musician and by doing so that includes keeping up with the electronic world as well.  Years ago, I began recording projects of my own in my studio and that has moved into people sending me their tracks to play on .  I'm constantly trying to stay up to date with the latest recording and software gear.  I do the same with my acoustic percussion as well.  My set up incorporates both acoustic and electronic options.  I use samples and can create original loops in the studio as needed.  On any given day or song, I can incorporate all types of percussion, some electronics and even some drum set parts if needed.  By having my own studio, it forced me to not only keep up with things percussion-wise but also recording as well.  There is always something to learn!

I'm sure that there are many times in the studio (or preparing for a live event) when there is no written chart.  What is your method for creating a percussion part?

I don't have a formula per se when there is no written part.  I try to communicate with the artist or producer on what he or she might like or what they want to accomplish with percussion.  A lot of times, a producer will give specific instructions or often times, they will just tell me to "do my thing."  I try to listen to the "big picture" with a track.  If there is a lot of motion going on within the track then I might adjust what I do from a shaker or hand drum part.  I tend to try to blend into what the drums are doing and not stick out in any way...even if there are a bunch of different parts!  Ultimately, I would like to believe that what I bring to a track is inspired by God.

Eric uses Meinl Percussion, Paiste Cymbals, Mike Balter Mallets, Remo Heads, and the Trash Kat Drum from ThunderEcho Drums.

Caxixi

The caxixi is a percussion instrument traditionally made with a woven basket cone attached to a circular piece of gourd.   The gourd functions as the primary striking surface.  Some modern versions use plastic or metal instead of gourd.   The instrument contains some type of "fill" material (beads, seeds, shot, etc...).  Sound is produced by the fill contacting the gourd surface when the instrument is shaken.  There is some ancillary sound from the fill striking the basket.

I dig the earthy and slightly imprecise sound of the attack as the fill strikes the slightly convex surface.

Holding a basket in each hand allows the player to play fairly complicated rhythms.  Playing a simple downbeat pattern along with a drumset "toms groove" can lend a raw ethnic flavor.   Try holding three or four to get a big sound.

Are there some creative ideas that you'd like to share about the caxixi?  Comment below.

Spherical Shaker To The Rescue

Your choice of a shaker is usually guided by the tone that is appropriate to the music.   Sometimes logistics and convenience must have a say in the decision.  A spherical (round ball) shaker can be a handy friend in some tricky settings. 

With prism and cylinder shakers, you have to make sure that the instrument is parallel to the floor for a "straight feel."  With a sphere, it is not so much of an issue. 

Recently I had to play (LIVE) a shaker pattern with my right hand and a cajon bass / slap rhythm with my left.  The shaker in the picture worked great...a good timbre and I could give my attention to the cajon without having to think much about the shaker angle.  

One more thing...in a quick instrument switch, a spherical shaker can be easier to pick up and move into playing position.

I keep this one in my mallet case.  
Whatdayathink?  Comments? 

Rock The Glock

Call it the orchestra bells, glockenspiel, campanelli, or just plain "bells"---- It's an IN sound.  You hear the metal-barred cousin to the xylophone in pop and alt rock (or Pomplamoose) these days...and worship music.  

You might consider investing in a set of bells.   They can come in handy in a variety of musical situations--- choir anthems, cantatas, hymns, and worship songs.

Glockenspiels come in two flavors: Steel and Aluminum
Steel:  Best sound, Heavy, Pricey
Aluminum: Sounds okay until you hear steel, Lightweight, Easier on the budget

Some bands use the bells from beginner percussion kits.  It works.  Mike 'em up and throw on some reverb.  You can get the desired effect.

My "gig glock" has aluminum bars mounted in a case which reflects the sound (like a resonator).

Check out the song, "When I'm With You" from the Great Great God CD from Gateway Worship.   About three minutes into the song, many instruments (guitars, bass, keys) play a melody in octaves.  After a couple of statements of that melody, I bring in the glockenspiel to give the passage that sparkling punch that the bells can deliver.

The Shake Tambourine's Old Testament Cousin

King David and his companions were obviously excited about 

bringing the Ark of the Covenant back to Jerusalem.  In the 

procession, a number of instruments are being played 

according to Scripture:

"And David and all the house of Israel played before the 

LORD on all manner of instruments made of fir wood, even on 

harps, and on psalteries, and on timbrels, and on cornets, 

and on cymbals."                               2 Samuel 6:5 KJV

My research indicates that the band for this event may have

included a distant relative to the shake tambourine.

Some versions of the Bible use the word, castanets instead

of cornets (as the above KJV).

"This word (castanet) is incorrectly translated “cornets” in 

the King James Version.  The castanet was probably about 

the same instrument as the Egyptian sistrum…a loop-shaped 

metal frame through which were passed loose rods at the 

ends of which were rings.  The instrument was held by a 

long handle and was rattled during songs and dances." 

  

Fortune, A.W. "Castanets,"  The International Standard Bible Encyclopedia. 

edited by James Orr.  Grand Rapids, Michigan: by William D. Eerdmans 

Publishing, 1939

The sistrum seems to be a Biblical percussion instrument

with a sound and playing technique that resembles the shake

tambourine.  

Which Backbeat To Play?

...2 or 4?

Doubling the snare drum back beat with a single strike on the tambourine is quite common and can give some variety to the groove. I usually choose one backbeat or the other; seldom do I play both 2 and 4. Less tedium and greater variety occurs when the snare drum is heard alone on one of the beats and the doubled sound on the other. Sometimes my choice is arbitrary but often I make a studied decision based on the lyrics of the song.

Listen to the phrasing of the lyrics and you will often find less vocal activity around either beat 2 or beat 4. Playing on that back beat allows the tambourine’s tone color to do its job without competing with the vocals.

Both lyric and tambourine get their space.

Percussion How To Series

My video series, Percussion How To is on the web.   Check out these short video tutorials at either www.youtube.com/marksheltonmusic or www.percussionhowto.blogspot.com .

Here's a sample:

January Set Up of the Month

Percussion For Worship featured an interview with Len Barnett (percussionist with Daystar Television) back in November 2011.
Check out the arrangement of gear for his work on Celebration.

I want to jump into the photo and start improvising!

Alt Rock Cajon

This Alt Rock Groove for cajon was inspired by the drum set version found on Carl Albrecht's DVD Drum Grooves for Worship.
See Posting December 13, 2011

The notes in parentheses are ghosted (played very lightly).  
Bottom space in cajon staff is the bass tone (center) and top space is the slap tone (corner).

Percussion For Worship Tribe

It's exciting to see how many page views that Percussion For Worship has received since the launch in 2010.   It is my desire that this blog brings you information and inspiration for your ministry (whether you are a percussionist, worship leader, producer, songwriter, or just interested in percussion).

How about your ideas?  What do you want to see in upcoming posts?  Do you want to be a guest writer?  How about sending in a photo of your set up? 

Please send your suggestions to me at markshelton@verizon.net or post in the comments section on the blog.

Be a part of the Percussion For Worship tribe !

December Set Up of the Month: Greg Draper

Check out this set up photo (and comments below) from Greg Draper, a percussionist at Hallmark Baptist Church in Fort Worth, Texas. 

I've attached a photo of my complete gig rig. I don't usually play all these instruments in a service, but have them available if needed. You can see in the photo the pair of mini-timbales and the pair of regular timbales. I play these with my hands to insert a fill, roll, or accent where needed. It's fun to be playing along on the congas and bongos with their warm tones and then insert a quick fill on the metallic-sounding timbales for contrast. Playing seated with the congas gives me easy access to my tambourine, block, and bass drum pedals. I also like to play a bit of  bass drum to fill in the bottom end.

The Many Moods of Christmas

Christmas is coming!   My hands were full this past weekend as I played percussion on The Many Moods of Christmas (Suites 1 & 2) at Plymouth Park United Methodist Church in Irving, TX.   Jason Chavarria conducted the choir and orchestra in these classic settings by Robert Shaw and Robert Russell Bennett.  The percussion part is scored for a section of about four players.  I employed a few tricks of the trade (including playing timpani on the Handsonic) and covered most of the parts.   Challenging...but fun (and musically satisfying) !  

Drum Grooves For Worship / Carl Albrecht

Armed with a degree in composition and arranging (with an emphasis in percussion studies) from Webster University, Carl Albrecht has been playing drum set and percussion for over a quarter of a century.  His playing has accompanied the music of  Paul Baloche, Robin Mark, Lenny LeBlanc, Paul Wilbur, Alvin Slaughter, Darrell Evans, Phil Driscoll, Kim Hill, Paul Overstreet, LeAnn Rimes, and more.

Although much of his playing time is behind the drum kit, Carl sometimes gets an opportunity to step into the percussion spot.  In a recent conversation, Carl commented on things from his perspective as both a drummer and percussionist.

Mark:  When you compose a percussion part for a song, what is your process?

Carl:  The big points are arrangement and playing what is musically proper.  I’m thinking about how my choice of what to play will fit with what else is being played.  Also, the bottom line is playing what the leader wants.

Mark:  Yes. That really speaks to the idea of submitting to authority…playing what the boss desires to hear.

Mark:  What is the most important thing that every percussionist should keep in mind when working with a drum set player?

Carl:  The drummer is leading.  The percussionist’s time and feel is built around the drummer.  The percussionist should always try to line up the time and feel to what the drummer is playing.  The percussion part should complement what the drummer is playing and make the music sound great!

Mark:  What is the most important thing that every drum set player should keep in mind when working with a percussionist?

Carl:  As the drummer leading the time and feel, it’s crucial that the percussionist and I can see and hear each other so that we can groove.  Also, I try to stay aware of what the percussionist is playing so as not to step on the percussion parts.

Check out more of Carl’s thoughts on percussion by going to www.carlalbrecht.com/category/in-the-studio/ and reading the article, “The Art of Percussion.”

After analyzing the top 100 CCLI Worship songs (www.ccli.com ), Carl found that there were only SEVEN basic types of drum patterns used within the songs on the list. These seven beats are covered in great detail in the DVD Drum Grooves For Worship.

Carl breaks down these drum grooves into simple musical terminology as he explains the parts of each pattern.

Even though the teaching is designed for the beginning to intermediate player,  advanced drummers can find helpful information for preparing songs.

Since acquiring the DVD, I have learned all seven grooves AND I keep a copy of the transcribed patterns in my mallet case…You never know when the drummer might get locked in the broom closet right as the service starts.   Get Drum Grooves For Worship and be ready!

For more info on Carl Albrecht and
Drum Grooves For Worship:  www.carlalbrecht.com

Flack Wackers

Wooden dowels, plastic rods, dowels with plastic strips...  There are many bundled rods percussion implements on the market.   Recently, I received a new version called Flack Wackers.  
Made from reeds, the Flack Wackers have a different look than the other "wands" commonly used.   The mottled reeds give the Flack Wackers an organic vibe while the handles feature some cool artwork    I really dig the feel of the plastic coating on the handles.  You can tighten or loosen the reed cluster with the O rings.   There is a pair of Flack Wackers living in my mallet case these days.  
For more info:  www.flackattackpercussion.com

November Set Up of the Month: Chad Whiteley

Primarily a drum set player, Chad Whiteley is sometimes thrust into percussion-ville.   His hybrid concoction is the November Percussion For Worship set up of the month.  Here's some comments from Chad:

     These photos were taken during a series of Kairos services at Gateway Church (Dallas-Ft. Worth area).  We have many services to play over two days. During the prayer ministry times, we chose to play more of an acoustic worship set to make those moments more intimate. 
     I chose this set up because I could blend many more different sounds, feels, and emotions...more than available with just a drum kit or  percussion set up.
     My goal is to mix aspects of both drum set and percussion into one sound. The kick, snare, and cymbals are used to create the drum set feel of the music.   Cool (and live) beat loops can be created with the various tones (especially the lower timbres). Working without toms forces me to concentrate mainly on the fundamentals of the beat. I play with brushes, bundled dowel rods, felt mallets, and my hands.
     There are a few other considerations and ideas with this set up.  Sometimes, I play the shaker as my high hat rhythm.  Accentuating different places on the djembe creates depth and gives interest to the groove. I also take most of  the muffling out of the the kick, turn the felt side of the beater toward the head, and play very lightly.  This produces a more open sound rather then a short thud. The old marching bass drum adds another texture...different from the kick or the djembe. Congas round out the setup for some more variety.  I can blend basic conga beats in with my drum set patterns as well as using congas only for certain sections of songs.

Check out Chad's website: www.whiteleysolutions.com

Interview with Daystar's Len Barnett

Tune into Celebration on the Daystar Network and check out the band.  It’s great to see that the lineup of musicians includes a percussionist.  One of the players sharing the percussion spot is Len Barnett.  Recently, we met for lunch and talked about his musical life and working on the television show.

Mark:  What inspired you to play percussion?

Len:  I had relatives that were musicians including a cousin who played drums for Otis Redding.

Mark:  How did you achieve your position with the Daystar band?

Len:  Joe Ninowsky (Daystar music director) and I had worked together at Covenant Church…and recommendations from Tom Braxton and Dwayne Heggar.

Mark:  Tell me about a typical day on the show.

Len:  Sometimes I’m running across town from my job at Brookhaven College to get to the rehearsal.  We start around 10:00 A.M. and rehearse until app. 10:45. At some point, we run some parts with the vocalists.  The show goes live at 11:00 and we make it happen.

Mark: When a new song comes your way, what do you think about when constructing your part?

Len:  Listening is very important.   What’s the drummer playing?  Which tambourine works best?  What can I play to complement the music?

Mark:  What are some of your other musical activities?

Len:  I play percussion at Covenant Church in Carrollton, TX, accompany dance classes at Brookhaven College, and perform arts-in-education programs for children.  In addition, I work with some jazz groups in the area including Freddie Jones and Tom Braxton.

It's the release of the new Gateway Worship recording, Great Great God.  I'm playing a bunch of percussion on this album!

See if you can find me in the video...and then go add this recording to your collection http://tinyurl.com/3bgcadu !

The Armed Man: A Mass For Peace

Last weekend, I played percussion on The Armed Man: A Mass For Peace by the Welsh composer, Karl Jenkins.   The performance took place at First United Methodist Church in Coppell, TX with Mark Andrew Pope conducting.   This multi-movement work required four percussionists and an array of instruments.   The tambourine part in the final movement required more that a bit of practice.  Here's a photo of the "ruggedly handsome" percussion section:













Left to Right:  Jamey Reed, David Elias, Mark Shelton, and Charles (Chaz) Robitaille

Advice For A Recording Session

Preparation and attitude are certainly key ingredients in the musician world (including the recording world!).
Producer, engineer, and owner of Brilliant Recording (www.brilliantrecording.com ), Aaron Brown offers some suggestions for your first (or any) recording session:

An Engineer's Advice For Your First Studio Session

Having worked in studios for the past 15 years, I have picked up a few things that will help your very first studio session go smoothly.

1. Preparation

Ask the producer if they have a demo of the song(s) you are going to play. Doing some homework ahead of time shows initiative and a willingness to work hard, even if you are not extremely experienced in the studio. Try to get a feel for the style that you will be playing so that you can make the right choices on instruments to bring. In addition to your instruments, add these items to your list of things to bring:

-Pencil and paper

-In-ear monitors

-Tuner

-Metronome

2. Arrive early to set up

This demonstrates a professional attitude to the client from the very beginning of the session. There is nothing like the feeling of running late, having to set up in a hurry and then trying to keep it calm, cool, and collected once the recording begins. Avoid all of that and show up early.

3. Attitude (It's your sound, not mine)

You will start getting callbacks the quicker you realize that you are playing on the project of someone else...and not your own. Attitude is key. No one wants to work with a know-it-all, no matter how talented they are. Be there ready and willing to help them convey THEIR message in the music.

4. Simple is always better

If you have a hard time pulling a lick off while you are practicing on your own, more than likely you will not be able to make it happen when recording it. Stick to things you are comfortable with and if the producer wants the bombastic, he will ask.

5. Have fun

Music is fun.  You should always try to keep the atmosphere laid-back and stress-free.  If you are having fun, more than likely everyone else in the session will as well.

God And King /Zach Neese Album

The new album from Zach Neese has been released.  I'm honored to be playing percussion on this project.
Lots of percussion...AND there's also some drumline work.   Tim Cruz, Caleb Jobe, and I got to flex our rudimental chops and lock in some rolls on the opening track, "We Trust in Jesus."  God and King is available from iTunes.

Featured Set Up September 2011

Percussion For Worship reader, Chuck George recently sent a picture of his set up at Calvary Assembly of God in Orrville, Ohio.  Chuck's arsenal includes 16"  thin crash cymbal, 16" Chinese cymbal, 18"  crash/ride cymbal, bongos, congas, djembe, triangles,  shaker, egg shakers, bar chimes, mounted tambourine, woodblock, cowbells, timbales, cajon, and rainstick.   In addition to his percussion duties, Chuck is also active in an endurance athletics ministry.

Waiting For Beat Two

"Waiting for beat two" is a widely accepted performance practice in drumset playing.  
When the drummer ends a phrase and moves to a new section with a fill (and plays a cymbal crash on beat one), the full drumset groove often does not resume until beat two.   (There are exceptions.)
As a percussionist, you can take advantage of waiting for beat two.   When you encounter  that musical moment when it is a challenge to make that logistical change (a good example: switching from shake tambourine to congas), you might be able to buy yourself another half second or so by waiting for beat two. 
Listen carefully to make sure it works with both the drumset and the overall phrasing.

It's surprising how that extra moment can make the difference between an awkward thrash and a smooth transition between instruments.  

Bring "Ears"

With so many situations that eschew wedges in favor of in-ear monitors and recording sessions taking place in non-conventional settings, I always bring some “ears” to gigs.  You cannot count on every venue to provide some “cans” or “buds.” Have your own set at the ready.
I was hired for a session by an artist that was recording on a laptop studio. Just before I left my home, I noticed my headphone extension cable coiled on a stand. I decided that it would not be needed.
To my dismay, the artist/engineer had brought only one set of headphones to the session.  Good thing that I had my set… but that extension would have sure come in handy.  
Always bring the ears…and maybe an extension.

Stuff That Lives In My Mallet Case

Timpani sticks might stay on a shelf until I get a "kettle call" and the general bass drum mallet only goes into my case when Gran Cassa is on the menu.  

There are some items that are used so frequently that they have made my mallet case their permanent residence.
Here is a baker's dozen of those occupants:

• Concert snare sticks
• Drumset sticks
• Yarn marimba mallets (for suspended cymbal)
• Brushes
• Triangle beaters
• Drum key
• Pencil(s)
• Glockenspiel mallets
• Xylophone mallets
• 1/2 inch wrench (for tuning congas, bongos, & timbales)
• Staff paper
• Notebook
• Djembe tuning wrench

How about it?  What is always in your mallet case?

Did The Tambourine Modulate?

Try this one... Switch tambourines as a song modulates to a higher key.   Moving from a darker to a brighter sounding instrument gives the impression that the tambourine is changing key along with the band!

Listening To A Variety Of Music

Celtic to Latin to Rock to Gospel

Arriving early for a rehearsal (always a good idea), I sat in my van listening to the radio. Hearing the entire Carnival Overture by Dvorak, I was impressed by the great writing for  triangle and tambourine.

Listening to a variety of music to learn styles and gather ideas is so important. In today’s worship music, a set might include some Robin Mark, Salvador, Hillsong, Lincoln Brewster, and a little Andre Crouch for good measure. Do you know which instruments to reach for to handle that variety of music…and what kind of part to play? Make listening to different styles a priority.

See What Ya Got

Triangle beaters, knife, timpani tuning key, pencil sharpener, tape, conga wrench, felt tip pen...

Do you ever have to rummage through your mallet case or stick bag to find those little items?

Get the gallon size "zipper" freezer bags and you can keep that stuff in one place and easily see what you've got at a glance.

Triangle Tips

Small in size Packed with power

Listen to a symphony orchestra playing at full volume. Add just one percussionist playing one note on the triangle and hear the sparkling tone shimmer pleasantly over 70+ musicians. Be careful with that power!

There’s not much that you can do to make a triangle sound better…you can’t change the head, put on better snares, etc... You must invest in a quality instrument. One of the favorites in my collection is the 6” Super-Overtone from Grover Pro Percussion (http://www.groverpro.com/). The instrument is rich in harmonics with a good amount of sustain and a tone that is appropriate in a variety of settings.

• Invest in at least three different sizes of triangle beaters. Each size excites different harmonics thus affecting the tone.
• Experiment with striking various areas on the triangle for different timbres.
• My general striking area is the side without the opening. I play about a third of the way down from the top corner with the beater at app. 45 degrees.
  
  
  This area gives a less definite pitch with lots of harmonics and blends well with the definite pitched instruments being played.
• Always suspend the triangle with TWO separate loops (for safety) of thin string, plastic ties, or fishing line. NEVER use wire or heavy cord that will either buzz or significantly inhibit vibrations. Keep the loops short so that the triangle cannot spin after striking.

Zach Neese: In The Studio

Worship Leader / Songwriter, Zach Neese recently brought me into the studio for several hours of percussion recording for his solo project. Check out this video produced by Corey Jackson:



Zach Neese: In The Studio Part 3 from Corey Jackson on Vimeo.

Featured Setup

Here are a couple of pictures from one of the Percussion For Worship readers.   The photos show some details from the setup of John Homan, percussionist at New Creation Fellowship in Granger, Indiana.  John's generosity in sharing these with the readers gives me the idea to feature some photos from other worship percussionists.   Just send your pix to markshelton@verizon.net and be sure to include the name of your church.

Setup for Great, Great God EP

Wow!  Recording six songs LIVE for the Gateway Worship EP meant bringing in more gear that usual.  Percussion instruments in my setup included snare drum, Chinese bell tree, suspended cymbals, two floor toms, mark tree, shekere, cabasa, shakers, crash cymbals, triangles rack, and tambourines.  Once everything was set up...it was a percussion playground!

Conga Ideas: Random and Useful

Congas are almost always part of my set-up when I am playing Contemporary Worship music but I usually play them sparingly.

• Use the basic conga tones to copy phrasing with the other instruments. If the rhythm section plays hits that are short / long / short / long / long /short…try playing slaps for short and open tones for long. A much tighter sound!
  
• Avoid playing congas on top of a drumset fill. I look for a musically logical spot to stop the conga pattern before the drummer starts the fill.
  
• Muffled slaps played loudly in unison with the snare drum can point up precision problems. Back off on the back beat!
  
• When playing “time” on congas, pick a pattern and stick with it. Do not “improv” while the rest of the rhythm section grooves.
  
• Pick your spots judiciously. Do the congas really enhance that section?
  
• Tune tight for easy response and good projection. Even with amplification, you want to send a solid projecting sound into the microphone.
  
• Simple can be effective! Listen to the congas in “Ain’t Too Proud To Beg” ...The Temptations version. You'll see what I mean.

It's okay to not play

How can they miss you if you never go away?

As percussionists, we have the ability to change the timbral texture of the ensemble with our variety of sounds and instruments but always remember that we can also change the sound by not playing. You can increase your impact by dropping out for a while. Demonstrate your taste and restraint with the confidence that the decision not to play IS a musical decision. Try waiting until the second verse to enter or maybe that intro with piano doesn’t need those triangle notes on top (or fewer). Sometimes…less is more.

Searching for Sounding Metal in the Scriptures

According to Strong’s Exhaustive Concordance of the Bible, cymbals are mentioned sixteen times in the King James Version.  Fifteen of those are found in the Old Testament while the singular form (cymbal) occurs just once in the New Testament.

Check out this passage:

And he appointed certain of the Levites to minister before the ark of the Lord, and to record, and to thank and praise the Lord God of Israel:

Asaph the chief, and next to him Zechariah, Jeiel, and Shemiramoth, and Jehiel, and Mattithiah, and Eliab, and Benaiah, and Obededom: and Jeiel with psaltries and with harps; but Asaph made a sound with cymbals; 

Benaiah also and Jahaziel the priests with trumpets continually before the ark of the covenant of God.

1 Chronicles 16: 4-6 KJV

I get a kick out of reading that Asaph was both the bandleader and percussionist of this large combo.

Tambourine Shuffle

When playing a shuffle or swing feel, hold the tambourine shell parallel to the floor with your palm facing up. The motion of the tambourine will be up and down rather than side to side. Play the strong subdivisions with a DOWN motion and the weaker subdivisions with the UP motion. You will notice how easily the shuffle happens due to this position (and good ole gravity). The tambourine shell strikes the fingers of the free hand for a accent on the DOWN motion and the heel area for UP accents.

Get The Metal Moving

Use a relatively thin cymbal for suspended cymbal parts. Some cymbals are marked "suspended" and specifically designed for easy response.

Although it is sometimes necessary in a quick transition, try to avoid using a timpani mallet on the cymbal. I prefer yarn wrapped marimba mallets for general suspended cymbal playing.

Both rolls and single strikes should be played with the mallets at 3:00 and 9:00 (see photo) for balanced vibrations and quick response.

Priming a cymbal (a gentle inaudible tap with a finger) gets the instrument vibrating for an easier response.

Having an array of implements (sticks, mallets, brushes, dowel rods, triangle beaters. coins) expands the timbral capabilities of the suspended cymbal.