Techniques of Playing BASS DRUM, CYMBALS Perth ACCESSORIES (OR merce TC Triangle, Tam-Tam) Ug NG esd PoC Chicago Symphony Orchestra Payson Percussion Products ee edPage? FOREWORD eas been the author’ observation that most parcusion students completely abcd ‘thomsaivee ip the study of the enare drum, tnpeni, and malletheyboard istrunents, relating the bass drum, cymbals, and acemorie, In fc, many students rogurd these later instruments as 20 unimportant and too simple to play to merit any formal study ‘Atusly, the instruments aro extremely important inthe concet percussion section And ‘hough they may not be as dfcl to play the sare drum, tmpan, end xlophons, thay allbavespeic techniques which must be aster, "The parce ofthis bok i ot en to prsent the concert performance techniques of ‘he vais instruments mentioned in thet ba alot dacue the fatrasants hemselve (ayy, le, ete) and wo soquaine che student with excergs from the standard symphonic repertory. Ie acknowledged that Uhre are dierent schools of thought rogarding plying ‘the instruments dicued in this bak, and the author's only claim is hat the chi ‘which are presented herein are ones which be, aswell ab many ater pratsindl pers: lonists, have found tobe aid ‘The pero who suis tls bok sould be at east fairly proiont in reading muse ‘Copyright 1971 by AIPayeon 1704 Sumi ire, Nonroa, I 60062CONTENTS CASTANETS ‘TRIANGLE BASS DRUM covmpas Antique Cymbals Py aTAMBOURINE SELECTING THE INSTRUMENT The taoatine has to dierent sounding parts, the head and {he jingles. Tho sound ofthe Jing is uuelly fr more important than the head sud, There are po ‘ideent typ af ingle smooth capped dine Gemetines eal Mexican jingle) and ed edge oe rorregned? dics fameimes called. Spish jingles. im gnerl, the Msn gles ore uaed for Tondo laying, wha he Spanish iglonare aed for eole, ore lic plang "Theshll ofthe instrument shld ver lightweight tallow een manipulation The heed shouldbe of medium thiknas, tnd sine ie tension on te abel cant adel itshouldbe varnished en bthiden oo that il tay tot ue varying weather condone ‘Tomeet most siphon playing requirement he persion tambourine wih a doubo ow of Mican jingle, «10 Inch tam ingly ad a ar? ingh tambourine with gle ow of Seni jigs bold hav 10h ameter) With a sng row of Spanish {YING TECHNIQUES The method of holing and playing the tambourine depends on the ‘Sane level an the speed ofthe tytn in the pemage te played, Following are the various techniques for diferent ype of hythan paseages 1. For slow, loud pesage the tambourine fe hal fe the ight hand at sbout eye love, ane is stew onthe hoa, ne the le, with the fret res fingers of tho let hand, For ore eco sound {he tambourine bel in thee hab taboo ches level, heb side up, an eruck with the gersPago 6 4, Fu fa yma Un aati i don padded trp abe othe pres kee, imupandieplayd withthe gers bots ban ‘THE TREMOLO or ROLL ic the technique usd for sustaining the soand ofthe ingles Ite dane in ‘itera ero ways 1. Yor the SHAKE ROLL, the ttsourine Se held nthe righthand and shaken sing an ol lating wrist ation Ifthe ein ie ep and well controlled, avery even temo wil role. der to produces “lean” art the tremolo ls always nat with ase by the left hand the {Gemoois edto terminating note the tambourine iru gal, 2. The THUMD ROLL. easeted by sotng the headin vibration by rabing the dhumb along st primatr, Ti tactnigue eed pearly for anole relay short daration. To make hit ‘eahnique soar hare mat be yond fiction between the thumb andthe ben. Tissue this resin can ‘ronplied tthe au oraciip og sandpaper ube glued around ie perimeter [EXTRANEOUS JINGLE SOUNDS Tambourine jingles are very sunltve, and it is cesar to {ive come thought tp the prevention of extraneous toads tfore, daring, and alr the performance ‘repaoege ler are tvee suggestions roparing tn problen keep the tambourine lt ural) ‘wen moving (on the last mate of «pomage try tend up wth te astra fe horzotal ‘tion, on that he ngs ne tla) zt lowly and let on pala eran Polowing ae exercise and symphonic excerpts forthe tambourine.Pago? ‘TAMBOURINE EXERCISE #1 (Siow to moderate iytume, Prati ead then sf) EXERCISE #2 (ast riythme. Practice lod, then sot)EXERCISE #2 Embellchments (Practice oud, thn sat) EXERCISE #4 ‘Shale rll crese. poco 8 poco ff dim PEXERCISE #5 "Thumb olEXERCISE #6 ‘Combining all esas ae Bice 5 : ie zoos § hand Spee 7 > 7 _ CU) Sn Ss SS == (oa [Peden fete fonda a | Alene dane nee a WF tim. poco © poco pase pote * ‘rene, poco ® pore TF Gla. poco a poco bebe] WP cresc, poco & poco—i— tas 1 a pte Ai ayCARMEN (ntracte) Fanbour ne af Tole ? f ‘im ® coe rese Spars eS =Attogeo CARNEVAL ‘Ouverture Tenbu no Page 18 ‘nt. Dvorak, 0-52 Seas rere Sage aaysige CUE 1 Teo Aleve all =‘SCHEHERAZADE Allegro molloe frenetico. Sa |fas] Allegro noatroppoemacstoxo. _X Lento. Reoit. - Allabreve.Tempe come. topoNuronscnsn sums Sno es ep i SS Sa a 4% ce ——vS eS 16. 5) gee = v= 8) banse arabe. sit den ausen a9 z se ® Alesse ‘5 ¥ w Dincworendo 11 resto tacetCASTANETS SELECTING $HE INSTRUMENTS Costanats ace made of tyo materials, hariwod and plastic ardwoodcastanees produce raperir tne that penetrate though the beaviest rceseation, ‘here are to types of atanstcontivanee ued inthe concretion cstion, One i called ‘he aitanet sachin, the oer the handle cstanat Both type ar nesnry to mest te demands ofthe cone repertory. ‘The CASTANET MACHTNG is exelent for playing st artical, fst-oving passages Als, the characteristic sound of hand astanet a played Wy Spanish dancers cam be ceely approximated ‘onthe ntruent. ‘There arthrhandcastanet “rudiments obtainable gn the cestanet machine 1. The Gola ispnformed by striking the castanet with the two middle Sage, uring tik, springog acon. The role econ akin testing aot on 2. The Double Golgi performed simply by playing «righthand and left hand Golpe in unison ‘8. The Cari is erred hy sing the castanet with each ofthe for Singers of the right hand in rapid sonomin, starting with the ile Hager. Tho action fea ques “srtching” mation, Tt sy (Cotes) Following a ong with thir typical castanet sige come ofthe more popular Spanish dances, volesPage at ow, sft parages can be exosted by holding one st fn ane hand and taping te hele, Justinbuck ode caster, wit the Magers of tether bend 4. Fac, loud pesages can ba payed by puting ones fot on a char, holding ast of handle castantsnech had, and string castes again te knee Fast, soft passages ean be performed inthe same manner, except thatthe fringe of ach ana presse te op artnet agai! the pada stately the wo beta artnet nn [ATTREMOLO cn betocted wih handle castanats by shaking them rapidly fromaide tose EXERCISES Por practicing the various han astane! performance tachniguer ute the ners {nthe Tambrurine scion. Al aos rerio canbe layed wth handle cslante, allowing. acatanat nd tambourine det ard exer ram ha symphonic repertory.‘TAMBOURINE AND CASTANET DUET I, pick up pr handle cast.Pogo 24 CARMEN _ ee ntl) co a es Er ESS t. Terr aera] ‘TANNHAUSER Soene 1" HacchanaleTRIANGLE SELECTING THE INSTRUMENT A fne tingle sound Ie » mulpiity of high oeriones ad Slack of ny definite pitch, 0 that cla blends with any tonality. Aconnon see for general psying {520 inchs although sone players prefers weale se. "The welloqippedparussot wl Rave ‘oer hreoties ranging rom 61010 ches. [BEATERS are made of empored sel, the ame atthe angle A wie lation of sas ie mandatory. Several rmtched. sis ranging from U6 inch to Inch Gamster, and 8% 10 inches lone oe ‘acommended. rll rod, btaable at mast largo hareware stor, i exelent material or bastars [THE HOLDER should be type that can be hang from a musi rack. The coc shold be very thin "nylon to minimise sting the tne ofthe instrament. There shold sso bm heave aia loop ‘tachodin coe the Ula oop breaks daring prance \YING TECHNIQUES For paying sowor shyshms tho triangle held ae shown the lowing Illustration at about eye level. A"C" la formed withthe thumb snd frst Finger, andthe holder [dropped nto the "CI is then an cary ator to mise the rangle by equesnng sais the Ihe the hand with tho eter three fingers Care must be taken, however, to never mull the tangle {oo quia, oven fr nce of very short duration IF the vibrations are sifled to quickly, the te ‘tality of the ntrment a destroyedPago 26 "he tingle waually crack near the tp, onthe ose oo he ight se of tho base on ‘he inside. The rerao is exceated between the Bae and adjacent side cr trey andr the top. Grae noes (ams ar layed by striking the, thn habs. Mordents are played by ‘hbase, then thesie, then ban again. For playing rhs tha 8 oft ab exec with ove han, te triangles hungone muse cand wrk ont base wth te mate beatae EXERCISES For pacing tile techniques, ues the exercises in tho Tambo ‘hose eerie can be played or the ane Yoliowing ar excerpts oes the syrphonie repertory.SYMPHONIE Nr. 4 mol) ‘riangel an pnamnte noderato tacdehemes Orabes, 0.58 oy: care gigcoso Ls o oc0 een prsato ero |PIANO CONCERTO #1 “Trango und Beskea Tea ert) 845 9 8 a a 12 a aussi Adssto, p Llstesso tone so vO © center eae. naree cote = == 55 * a =SSaive we ate a ate ca pt hard F SS asses eri = =| nl crese. f \auffier off pee r Note oa Sa ee ee eee f wv eres owPago 96 CYMBALS NOMENCLATURE \ / BOW | EDGE SELECTING THE INSTRUMENTS Exactly what consivtes« “god” cymbal sound i easly @ nti of sabtive opinion, Fee tia vaso it imposible secommend a sorta brad, se nd ‘Weight oven fre earain sven typeof musical organization. However, would probaly nt be re dealt state thatthe qualities that mos prftsinal prcussonats nd ar when mlesting cmbals 1.Inck of ronoaned fundamental ran ales efit pitch. 2 good aimee of overtones throughout the onal spectrum (bo). 8. Pay lng duration of vibration. ‘When solectingepairoferash “han” cymbls these ots igh lio be kept in mind 1. General purpae cymbals wualy ave smdeatly fst eepnse, That ie ea, thy reach ‘maxim vibration fly quickly eer being track. Thay are rally 18-19, medium to medi thinalthoogh te coleat pestle varie al he way fom 16°10 2" 2. Ifa pir ofqymbals have fundarenta pitchae with en interval of «major 2nd or mina Ik part (ss oppued tothe same ish the dual tonal Beno everenes enhances the overall std 3. Thore are two other general classifeations of concert cymbals to complement the ganeeel parpst cymbals: One type hiner, ith a predorsinanenof wer pari, eo arlaive Tiga” ‘umd with fat apenas sd rater fat day ef vibrations The sound it raduce i sometimes noe redtoasa Pron und. “The ohar typ of cymbals heavier than tho general pryeeeymbal-Ithas rather sow reponse ‘and "biiant™ sun, with ow decay af reverberation. The sound peor anmetines eered Fine prfesional symphonic cymbal players have atleast one air of embals of each of the Ae eer gts nin sa a welt pi for cea per of ano opelHOWTO ATTACH THE CYMBAL STRAP CS GG) LD CP Ni 2 OO®THE CRASH, 1. Stance as shown, with fe pres lft alightyin advan of he ight, weg bck on he hse to give masimum suppor. The top ofthe iat eyrbal i Jot at aye leh. he igh abel slighty elow the let, and nc eymbals cre angled approximately ae shown helow. The angle varios ‘epending on the di evel. 2. While the let cymbal eld stationery the rightist aginst It with a glancing low, ‘moving outwatd and slightly pyar. The right cymbal met seke se eat an sagt ssn the soe Siteson, nd on-onsotrelyor ans ack ay rele. 2. Aner the crash both eymbals shoul be rough othe poison shown, withthe mba fcing ‘he audience This provides masimur projection of the sound the iarament DAMPING the crmbels i asomplsied by bringing the eigcefrnly up aginst the chest, midi, ‘orupper arm musclesSPECIAL BEFECISON CRASH CYMBALS Composers ae constantly enrching fr new clare, and they have evred for « gent varity of cymbal sound Te preusianist shuld be sexed with all ene real ound, and ar tht 4 Inudibly plae the eymbals together. ‘They should be positioned a itl center Gus below), terse nails resin te enevtion othe rl 2. Kaping the cymbals lotely in contact with each oat, move them oth in diclar pa, se ehownby the sere in tbeilatraton = ‘Atcha endaf not allie the pba apart, The sie ofthe cices deorited depends an the dynamic level: The sped or “atensiy of the ircolar mation ix Based om oil soiderstions Untally tin Soe ql fat, nse prkope ‘eft dynamiclovel Zoltan Kodely made an intresting us of the two plae rll hie Bary Janae Suite. A rol snuedatly preceded by a rogular foe plate cra (lowing enanple The fll ie bogun Wile the ‘male aot ging om the eres ‘The SWISH, or “Zacher, is very dint olor, aes usally sone at oft dynamic level. Ie is Deformed by pacing the cdo ofthe right cymbal an tho tide fen ofthe at eral, nea Ue al Sod alding t upward neuer the grooves ofthe Inf cyl lle T below), The duration (or dyeamie Teva ofthe sod exn be increased by starting the ge ofthe right cymbal at the beter of helt crmbal and moving upward end ard ned face I, Poge 39Pago 40 ‘Ocdinaiy, the wish tated before the printed note, ands timed eo thatthe cymbal soparate st the vry begining sus) ofthe nts value For example, fhe pet ted hus te} itinarullyplayedsciething ko his The FORTE-PIANO CRASH ie sldo soa in the symphonic repertory, butt qulto active i tho orchestration is imaginative. Ie plied by elahing Ue eal n tho normal mane, but ten ‘hmelataly mfg on of the eye, lting the ober ring Th elle os prominent lash with he HAT or CHOKE RPFECT i actaaly an iatramant saattts, beaut the purpose to imitate {vebuny ee rsibl, wth censeytbals the undo the dance Grammer at al ‘o obtain a tight “sik” coun the cymbals are stent placed togsthr, ina horizontal ystion, with the edge agin the ayers mide The qbela ae Ssh parted ace here they touch the IHL The ave thon clapp gether, asin caping one's handsTHE SUSPENDED CYMBAL SELECTION OF INSTRUMENTS The supended cba hinner and gully mall in dlametor {hana bandeyebel, concer ganoral urpweaspended cymbals asaly16tolSinceein mete thin enough to renond vey quickly even men suck very Uighly with at alle, In addition tthe general parpae cymbal fine players alto have a salar cymbal for very so tiate passages serge a lighly heave net provide oe, ustatned sound where regulrl, SUSPENSION Thercrotwo waysofsuspening a cymbal 4. Astra is attached to the cymbal, sn he strap ts hungon 2 gooseneck” Many professionals refer tts metod oer te following meted, eseuse the epmbal alowed to vibrate a ile ore Eels. 2. The cyl is plaoud on plesype stand, spel made for tie purpce by percussion n- steument manufactrere Many peesslonls por thin tod because the eyel Is allowed no yd [BEATERS The nest common type of ester uaed ox the cymbal in concert music sa oft mallet ‘An slmort without exception, whon a composition cele fer th suspended cymbal tobe auc with ‘ipa mall, poesinals sabeitate yarn wound er cord wound vibe mallets, This isbecaue thee Inllte make the al epornd ore ily and lary Other devon someonly use to srk the eybal are snare drum ticks, wire Boab, tiene eaters al (es common) iting noodle Finger, ingernal. ‘he sound of « wie brah striking # cymbal i dlcts and ito difcl o mae penetrate through a hong rymphonc erdwstraio, For thie reason many profesionals subsite a "akemade of rather hesvy gnug wie frcrtaln passages (lowing ls) I deliver the ne ara the ‘ivebrun, beats thrash lange orem PLAYING TECHNIQUES Unlas otherniceapeifad in Uh sore, the suspended cymbal ia inary struck ner the edge, When playing reole he ebal ean sn emily be controled by pac ng the tlt na seaight Ue opont ech ether, 3 ck and 9 ioc. Anabela tun terete by boing totale sx own nthe allowing iltaten aod onclating the wre ‘pend dows reply. i In ation to striking te cymbal with various beater, «composition nay cll for the age or {he bow othe snl abe SCRAPED or RUBBED. The peeisionit mayb cred to crepe with = ‘ein gern, kr bade, i, hacksaw blade o lo bow. In Ue can ofthe Mla and ack ade sce they era tmade of harder metal than the cymbal som damage might rel Ue Intra ment dopeding cn how fray the sesping ao be doe, Damage a be ied by Hirt Culling ‘hese implements en acarborandum wes‘A SIZELE sound can be obtained by lightly holding «thin rangle beater a similar objet on he cf thea than sting the mba with ante mali Some cumoser speci certain AREAS OF THE CYMBAL, tobe struck Gal aig Bela Bartok, im hi Goncrto #1 for Pano, wrote expt intrusions in the pression part eet dierent pls {ostrke tho eyal and varius boners tobe usd [STRIKING 1WO CYMBALS SIMULTANEOUSLY adée extra volume andlor wider spectrum of ‘reronc tat produce a lint sone that i ery eects fr certain paces, Perde Graf’ od thir elt to svat Iighiing flashes im tho “Cloudbar” mavemest of he Grand Canyon Sito ‘Some profesional symphonic spa players ozsinely ike bro cymbal simaltsneoaly even ‘hough it snot indtated in their par Nena tay, his cannot be Jone naseriminataly. Follow ing are troexarolect where thi lect ight be ud, dependingon the character ofthe mak wit mht pet yok yh ee — ras 24 4 2 2 6 Z 4p ———— ———— jf IMUTING Oseasionaly in onder to clourlyartiulate a ehythmle gure, the suspened gymbsl must Te peril dang aed) hil bong stash canbe doe clply By spying preseure tothe eynkal with one band while playing ith the olhar. Se pamages, however, rqhre Sth hae toplay tho part, euch athe lowing exert fom Schohoraredo, by Tsk) -Korekot ge OS In this cae the cymbal nut be lowe tring tt on the th notes, shen pertily mle while laying the 1h notes, n order to arcane yt, One way to seo tia et ees UP cain the edaeo the cyrbal with cae deiorthe 16h noean (lowing Mus) Te equires us {he lt amuntf peur to paduoeslennariaton without killing to tone Page 42This method of muting can alo be wel when there i sun diminuendo while plying tremelofllwing exami a$$ 46 2 Jy —, “pg ‘Two other ways of muting mba for certin effts ae (1) wing lamp type triangle holder, pudde tpn of contact with te cpmbal with pee of thor sar ear apelying ens [A HARMONIC sound can be obtained on cmbal by rubbing sess the fae ot with the edge of fardbaurd ee (aiowing lus) A tbe tht paper twang wrapped on works wel, and i best torah chalk on both the tbe snd the spel.PLAYING BASS DRUM AND CYMBALS TOGETHER Some compass, ach as Gustav ables, ocssinaly score Sor the bass drum and cymbls to by played by one performer I eda to acomplia eee noveasery To have sepa mba olde ‘whch siacheto te bac dru lowing ia ‘The major problem in laying tows natruments inthis anno ie damping ll hrenstruments sickly, quietly and comply where nowesry 1. draning the ft cpnkal pf against the chest ibaa 2. grbing the caplive cymbal wit height hand 8. pressing the right ne gaint tho hend ofthe drum, \ ] / ollowing are cath nd suspended cymbal execs, ets with bam drum, an extlo fr base Arum aden together, end ecole the ympbonic reperPogo 46Page 47 {BASS DIUM AND CYMBAL DUE > big beater : — tO ~ ere Pp creze o =F erase—_v Netinge to wood A __syishPage 40 2 plate roll SUING HR > VenETUDE FOR SUSPENDED CYMBAL ‘vith Bacs Drum accompaniment Combat Lents J Strib eho of aan j Strike with yarnewound inaliet eer edge Strike with flat of Fositton of Cynbel BeatersSSS ress: SSS eeEXERCISE FOR, BASS DRUM AND CYMBALS TOGETHER (Ons Pye) SYMPHONIE XI "Tambaro gran 20K ow 2If ENTPUHRUNG AUS DEM SERA ‘Tamburo grande 8. 8ge 36 SYMPHONY NO. 4 "Fourth Movement papas | apr eneciapeepae |=f te Se SF =F Hf Papp i pa ANIGHT ON BALD MOUNTAIN Rowo AND JULIET Altea gi sted I a day de dey Dhsdeebs daa. Hepp t tet tee a +4 a 1 ERE pp ep pre ee btPage 8 si Allegro molt Lente. {CHEDERAZADE RinekyKerctow Reet Moe frenetico, GP TGP Gola.Page 8 Piatti a Cassa, ary Alla Weve, Lento-Reg. Sposa,Page 60 OTHER METALLIC DISC INSTRUMENTS FINGER CYMBALS. Finger cymbal are made of trae or bros, are about thes inches in damatr, nd have elastic loop for hoiing ther © for ainchingtham tothe fagers Like the cstents, they wee orginally [ayed by dancers They havea rather defn ptch, ba, lke te antique yma thay a never ‘ined to soci pltck. Thay are payed by erking them together with quick Sringing ation ANTIQUE CYMBALS epende ante pic, bat the largest about sx inches fe dancer Te range the eatromet ie {fom midale"C> apo octaves to igh" ‘They are played by sehing thom near the ege with hard plastic sploghone mallet of by striking te of thee together. When siking two together, the edge ef ene struck agaiet the edge ‘eh ctr arin tha ilstration above. A fury ood subttte fra antique cyl i glckaneil bar held up in thea, suspended by acordthrough te halen thebae"TAM-TAM and GONG ‘The gong one of the worst ancient instruments, Ieomes fom an area ‘ omthens Asia and the South Pasi that includes such unis ag Jeva, Bell, Suara, Horo, FLAT GONGS WITHOUT STROKE-BOSS TIT a) Bornes Philippines, Japan, Korea, Chino, India LIX save, Arinam, Korea, Jopan, China FLAT GONGS WITH STROKE-BOSS <= ===] Philippines, Japan, China cE Chine MEDIUM DEEP GONGS WITH STROKE-BOSS Ex Burma, Tonkin, Annem (Jove, Annam, Tonkin, Malay, Archipelago DEEP GONGS WITH STROKE-BOSS tn the music of Asis high cvilintions, gongs were (and ars) used as orchestral instruments Gong ys of up to 18 noes aro not como, The folining example iusteate to size and wie af fanbodia;Khong Yal, Stam 2. z —— = GongePlay oF Lekebei, Flores (Indonesia) banca First gong is played by hitting edge with @ 7-Fene; Stan, Burm tel stick2 conse Gong-Play of Central Nias (Indonesia) Ta the Wetern Hamiahere lady, the ters tamvtam and gang ave oth used to dnc a are, seep sounding instrament of infinite ch, Ira compocer sores fr gongs f deiite pitch to notes fre usualy specie In the percussionist’ prt Gueh a2 "Gong in Oar thar wl bes treble dt ‘kesirod an instant onde pitch _ BEATERS Tobring out the mesimus tonal quite of theta tm, beaters made epeilly forthe strament are cnet Thess ually have beat metalic shat aoa 2 metal sve. Based starr are no adequat frpaying thinset Ro ret sot Pepin equemene i maser tohaves general purpae beater and male pao mtehed bests fer laying trols. PLAYING TECHNIQUES ‘The caret place to trike Uh tama i the spot which brings ost tho undamonial an lower overtnes wile maiatsining the longer roerberstion. This spot varies Instrument to instrument, adie mocxary fr tho purormer to cxparant.on tama with which ‘hein unfailier This spot x uualy fund ina radiant of te nar Isp cts a dsr, er bratingareascan be wad Priming tamstam athe term std or sting itn vibestion ngudbly by steking it ew ines ‘very say ether with the hestoror with te fingers, ut befor ho entrance. Th profes a quiet ‘renames and enimin the nila crescendo fn le tha tata makes immediate "atc, The performer andlor eandustor most dod when this particular pea altace seppropeets _DAMPINO the tz-tm is accmpished by prstng it etmoen the ef lag and ft hand SPECIAL EFFECTS can bs obtained on the anim, mach the same asthe ebained onthe suspended cymbal. Composers usually spe tem very clearly nth scare at part ‘The following one pace excere fom Auli Tam-Tam Solo, by Rich Donnell, incorporates ordinary feta plas many anata oesPago 68 20g aaa wsseuag ” sameTUe hays eens Shounate “my “oy nang ke * ah se muses 6 aun poem are epiweniae st aa a Jd of ns pons 79U6 29 10 pw IS Soningaise suis 241 308 10 conir bi notanay ony uno ago at sm geciag com sani Ba im omy obo} re duadh mt enous Son Sroses Be Sep micas tn ‘viny ab mess aniirg 99 SN ON GO my saves wn mse amps wos we stow Rye nat seme suction = | Hs aw] int Hm 9 rae { (my, omens ues 2664 gE vexd 78 ems WILLTABLE OF FOREIGN TERMINOLOGY ENGLISH ‘Antique cymbals Buss drum coi ‘Fanbourine Combale Suspended cymbal Sepals lashed Se SEES Ee os dstnpened Saino dampen et oat mutt off ae fn Beat cap pallet (boter) Aimpant mallet (Ga ste ‘ie Ser leather mal Band raft ‘medium: hard medians ITALIAN GERMAN rotate Ane Zimbetn ‘Erotalon Grom oatse Groeee trommel Sestegneite Kestagnetion em fom Tamer Temburo basco Seklierommet Ginets Teller Pigso sorpezo Beaten hengend dee fue eller: ‘rae fe 2) ‘rier (20 2) got Ziochend T'Pleto ulti at Becton an der grocer Gran casee “sommet befertgt DAMPING AND MUFFLING a saree a ae lea” amor See ee wt en stor Scns WHERE To STRIKE ot ere sont EAS Ses TWPE OF MALLET a ins, ‘ial Peete) Rapper ching Selo RE ee & topes rte pele lederchige! Bene tasticn urumiachlaget ae oe EEE an Exons di ferro, ae ‘ee spot = Sar Shen Sa sere Cymbates antiques fotsiee ree eine ‘Tomtom Fombou? de Bosque Combater Cymbule supende Nordinare Soee platen Frolee Frotiee Sifement Cmbate fase « ta stousfe sons oites Sree bord mien ‘et protuberance Iroppes avec rath Bogut) mailocke de timbales Iailoche de bows anne or jer outshone Belg ncataue fe mete) laine our ‘touce seer du fisce motte