Zachary Fisher MUE 222 03/31/16

Objective: By the end of class my students will be able to successfully identify the various parts
of the tambourine and be able to play said tambourine with basic technique in striking and
rolling.
Goals:
1. Begin class by explaining that today’s lesson will be about the tambourine.
2. Explain that the tambourine can come both with or without a head although a tambourine
with a head is widely used most for concert performance.
• This is largely due to the fact that a tambourine with head allows for more options in
the sound produced.
3. First, make it perfectly clear that until you say so, the students are NOT to touch the
tambourines. Once said, place the tambourines on the students’ music stands.
• For younger students, enforce this by having students place hands behind their backs
or alternatively, wait until completing step #6.
4. Take the tambourine, and exhibit the various parts of the instrument.
• Identify the head and explain that is is often made from the skin of an animal. It should
be treated with bass rosin often to keep it sticky. We’ll explain why it should be sticky
later.
• Identify the shell. There is a hole in the shell which allows for a better grip of the
instrument.
• Identify the jingles. The jingles are what make the noise!
5. Explain that whenever you strike the tambourine, it is important that you strike the
tambourine and not the other way around. Not doing so can lead to a less articulate sound.
• ASSESS: Have students close their eyes and identify the cleaner of the two sounds.
6. Also explain that a 45º angle is best as it catches the jingles promptly leading to stronger
articulation.
• ASSESS: Once again have students close their eyes. Have them identify the clear
distinction between striking at a 45º angle and a 90º angle.
7. Show the three finger technique, stressing the strike be near the edge, and have the students
try it themselves. Remind them of the basic articulation techniques. Look around for obvious
errors.
8. Repeat step 8 for the knuckle and flat palm techniques.
• Explain that the knuckles strike produces a “drier”, slower sound.
• Explain that the flat palm strike produces a more direct sound and is played in the
center of the head.
9. For knowledge’s sake, demonstrate and explain the soft and loud strikes for fast passages.
No student reciprocation necessary today for the sake of time.
10. Demonstrate the shake roll method. Stress that the wrists must be loose, and the tambourine
must be held at an angle so that the jingles “catch”. This is essential for articulation. Have
the students try it.
11. Demonstrate the thumb roll method. This is where our sticky rosin comes back into play. It
allows our thumb to create vibrations on the head producing a very nice roll sound. For a
continuous roll, a figure 8 pattern is used. Have students first attempt this on their music
stand as it has a larger surface area to work with. Then move onto the tambourines.
Zachary Fisher MUE 222 03/31/16

ASSESSMENT: (In this, it is assumed there is a limited number of tambourines.) Have the
students sit their chairs in a circle. Have the tambourines be spread equidistantly amongst the
students. Have students without tambourines create a 4 note beat by clapping. Students with
tambourines should create an eighth note pulse to coincide with the clappers. Once this is done,
cease all playing and explain the following “challenge”. Students will play one bar of this
simultaneous clapping and playing, and then rest for one measure while also passing the
tambourines silently to the person on their right. If done correctly, there should be alternating
measures of rhythm and silence. The rhythm will demonstrate knowledge of proper playing
while the silence will demonstrate knowledge of handling the tambourine in a concert situation
where the element of surprise is essential. The passing off of instruments also allows for all
students to have some playing experience. Repeat this process with sixteenth note pulse-base
rolls for proficiency in roll playing.