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See Accompaniment Role-Guidelines for more general application of these principles to the Accompaniment (i.e., vocals and melodic & harmonic instruments).

Their higher pitch and shorter Articulation contrasts the band’s resonant “lows” for musical clarity, “cutting” through the music so others can “Keep in Time” to them.

Also, these players can walk, dance, and interact with the musicians and audience, adding Visuals for the Show, and synchronizing their body movements to the Beats/Counts, Pulses, Backbeats, or Offbeats to help convey these.

They often play fairly “Steady,” repetitive patterns of 1/4-, 1/8-, and 1/16-Notes that emphasize the Pulse (using lower pitches) and/or Backbeats (using higher pitches), all the Beats/Counts (to stabilize the Tempo), or sometimes “busier” Subdivisions of them (e.g., to Buildup momentum, as a Pickup to the Downbeat “1,” or to create a “busier” Groove). Too many Accented or “Naked” Offbeats become more of Role 5 Advanced Time-Keeping.

Role 2 percussion is categorized based on their composition and natural Articulation (Metal - resonant & Legato vs. Wood/Plastic - dry & Staccato) and the way they are played (struck, shaken or rattled, jingled, scraped, whipped). Each has its own pitch range and timbre, Open & Muted tone techniques, Role-Guidelines, and common rhythmic patterns. You can have 1 from each category in a Show, but some Traditional Styles are more limiting.

Their Tonality (pitch and timbre) contrasts that of the Role 1 “Father” Drum for greater separation within the music, keeping the rhythms of the band “cleaner.” These higher-pitched instruments with their short Articulation and loud Dynamics will “cut” through a band’s sound so that others can follow them to better Keep Time.

Play repetitive 1/4-, 1/8-, and 1/16-Notes (and sometimes mix these into repetitive patterns), depending on how “busy” you want the Time-Keeping to sound (the type of instrument can also limit this). Be careful to not play too much Syncopation - this is for Role 5 Advanced Time-Keepers.

Metal (Cowbells, Ago-ago Bells, Double Bells, metal Claves/pipes, Triangles, etc.): Use louder, lower-pitched, resonant Open tones in the Pulse slots during the forward/rightward body motions, and softer, higher-pitched, Muted tones (using hand, finger, body, and stick Muting) in the Backbeat slots during the backward/leftward body motions.

Wood/Plastic (Jam Blocks, Woodblocks, Claves, pipes, etc.): High-pitched like Metal so they “cut” but have a shorter Articulation and distinct timbre so they tend to stay in the Backbeat “2 & 4” slots, playing 1/4-Notes, or sometimes Offbeat Syncopation (see Role 5). If played along with Metal percussion, make sure the two Counter each other in a Dialogue fashion so they combine to create a Steady Time-Keeping rhythm. Claves are also often used for Role 5 Advanced Time-Keeping.

Shakers/Maracas: They are best for keeping the Beat/Count (stabilizing the Tempo), but adding simple Subdivisions to make the music “busier” (for a thicker Texture), to create a Buildup of momentum toward the end of a Phrase, or to create a pattern that adds to the forward/rightward - backward/leftward “sway” of the music.

Tambourines/Jingles: Louder than Shakers/Maracas for keeping the Beat/Count or to add Subdivisions for “busier” Time-Keeping and Buildups, but especially for adding Accents in the Backbeat “2 & 4” slots in many Styles. Playing “Steady” Offbeats is really more of Role 5 Advanced Time-Keeping because of the Syncopation and difficulty.

Rasps/Guiros: You can play longer Notes (like 1/4-Notes) with longer, slower, down-stroke scrapes and the shorter Notes (like 1/8- and 1/16-Notes) with shorter, quicker, up- and/or down-stroke scrapes. Although they help give it a Latin Feel, I find their versatility helpful in many other Styles.

Special Effects: Odd percussion like Spoons, the Whip, Clap blocks, Vibraslap, etc. to add special effects to the music. Sometimes played Steady, they’re more often not (e.g., only the Downbeat “1,” or just the Backbeats, etc.).

Here, I play standard rhythmic patterns or improvising with little “tunes” (see also GLP3-5). A wooden Rasp can double as a Woodblock (see GLP3-10) - careful not to hit so hard you crack it. The thicker the grooves, the more it sounds like a frog ribbeting. Use a thin wooden or plastic stick (like a baton) that gets down into the grooves for a tighter, louder sound. Hold it near the tip and extend your forefinger so you can more easily apply pressure and to quickly flick the stick.

A Guiro (plastic or wooden) or Dominican Torpedo (metal) should be held so that the opening projects upward and outward toward the audience, requiring you to stand a bit sideways while playing it. Sometimes they will have different-sized grooves - thicker for that lower, “frog” effect or thinner for a higher, “cricket” sound. A washboard, rub-board, or Zydeco chest plate create the same effect in Cajun and Zydeco music.

My “7-in-1” instrument has a metal Rasp sound (using an air vent cover) and a plastic Rasp sound (using a corrugated tube), which can be amplified by pressing it against the head of a hand-drum.

You can stretch out the long scrapes for the Long Notes (1/4-Notes and longer), preferably in a downward motion unless the Tempo is fast, then in both directions. Always think about where you want to be next, so you can move in that direction and keep the motion more continuous and circular. The long scrapes can be played more with the stick’s shoulder for a lower pitch. At a slower Tempo, slide more towards the stick’s tip to add a sharper, higher-pitch bend toward the end of the scrape.

Special Effects: Playing the Spoons on your palm or between it and your leg can create fairly Steady rhythms. The hinged Whip can create the “crack of the whip” effect or possibly simulate clapping on the Backbeats “2 & 4” - though I prefer slapping 2 blocks of wood together for this, since you’re less likely to smash your fingers. The Vibraslap (which used to be called “The jawbone of an ass”) creates the “rattlesnake” Roll effect (so use it sparingly). Be careful to hit the knob with the soft part of your palm while letting the vibrations travel freely through the handle (see also GLP3-19 for a list of videos for other odd percussion).

GLP3-5. Latin Tumbao Rhythm played on the Guiro Video-3197 (see also GLP3-13): See also Guidelines Package #3 GLP3-13, Package #4 GLP4-15, and Package #6 GLP6-8, -16, -17, -18, -27.

Rattles have the seeds, beads, rocks etc. on the outside of the container, whereas Shakers and Maracas have them on the inside. The general technique is to push out on the louder Beats/Counts (1 2 3 4) and pull back toward you for the Offbeats ("+" Subdivisions). Or push out for the 1/8-Notes and pull back on the weaker 1/16-Note Offbeats ("e" and "a").

Rattles: They generally have a louder, thicker Textured, less Articulated, "mushy" sound and can be shaken, twisted, rolled in a circle, and some can be strapped to your leg. Examples are: Shekere or Gourd Rattles, a bundle of cow toenails. Sleighbells or Jingle Bells are also rattled to produce the sound.

The Cabasa or Afuche can be twisted like a Shekere, or rolled across your arm or leg for longer, louder Tones - this is a lot easier on your wrist though!

Shakers: They generally have a softer, thinner Textured, more Articulated, "ticky" sound and can be shaken or rolled/swished in a circle. Examples are: Egg, vegetable, or fruit-shaped plastic shakers (some which are small enough to hold in your hand as your play the drum), softer woven basket shakers (though some have harder leather, wood, or plastic bottoms for contrast), woven/metal/wooden tube or can-shaped (some of which are square-shaped) shakers (which are pushed/pulled with an underhand-palm up grip) and many odd-shaped ones like the "Bash" from LP. My own 5-in-1 instrument has struck metal, plastic, wooden, or Rasp and Shaker sounds.

Maracas: These are Shakers with handles. Some Maracas are delicate, more of an art object than for performance. Some Mexican brands are just worthless. LP has louder, durable ones, that can also be played precisely. For a more precise Articulation, keep them pointed slightly down and use a flick of the wrist. Some Maracas have the beads on the outside, like a Shekere or Gourd rattle, though more precise and quieter.

When using 2 Shakers or Maracas, I've found using 2 different Tones or Articulations allow you to better produce interlocking rhythmic patterns.

Used for Steady Time-Keeping of 1/4-Note Beats/Counts (for more Open-Textured Grooves or faster Tempos) or “busier” 1/8- or 1/16-Note Time-Keeping (used to add more energy to slower Tempos).

Adding more Subdivisions (going to 1/8- or 1/16-Notes) will Buildup tension and momentum toward a climactic Resolution. Decreasing the number of Subdivisions will Release the tension and make it feel like it’s slowing down. Add some Visuals to convey the Buildup, Resolution, and Release.

Round Tambourines come in different sizes, materials (wooden, metal, or plastic rim), and with or without head. There's even Stick-shaped Tambourines for an even more precise side-to-side sound.

Hold it with your strong hand (unless you plan on doing very coordinated or fast "tapping" techniques described below, then hold it with your weaker hand) and brace your elbow against your hip, if there's a hole in the frame, put your middle finger through it and the thumb over the edge of the head (which can be used for changing the pitch or pitch-bending).

Basic side-to-side technique: Hold it vertically. Move toward your other hand on the 1/4-Note Beats/Counts, so when it moves backward it's playing weaker 1/8-Note Offbeats (the "+" Notes) - this is sufficient for medium to faster Tempos. Make sure to move you arm very evenly so the Subdivisions are also even. At slower Tempos, you can add more energy by moving toward your hand on the 1/8-Notes, so when it moves back it's playing the weaker 1/16-Note Offbeats (the "e" and "a" Notes). Whenever you decide to hit the other hand, that becomes an Accent - either on all the Notes (during Buildups) or just on some of them (just the 1/4-Note Beats/Counts to drive the Tempo, or just on the Backbeats "2 & 4" to get the music to "sway"). The same can be done against your hip or leg. If you wiggle, twist, or rattle the Tambourine you can produce a rolling effect.

Basic "tapping" technique: They can be too loud for the music, so you may not want to move it side-to-side at all, but keep it horizontally level (so it won't accidently "jingle") and lightly tap the rim or head (if you want to hear that tone added to the "jingle") with your other hand's fingers, or play over the edge of it with you palm. You can roll on it by rubbing you thumb along the edge of the head (though you may have to wet your thumb). You can even put it on your lap and use both hands on the rim or head - excellent for playing quiter, more intricate rhythms. You can produce a roll this way by playing single strokes (RLRL...) very quickly.

You can combine tapping with side-to-side movements, like with a Buildup, e.g., tap . . . |_ 2 _ 4 |1 2 3 4 | then play side-to-side with |1 + 2 + 3 + 4 + |.

These instruments are high pitched to create a contrast to the lower pitches of the drums. Since they are so “cutting,” you don’t need more than 1 - it’s loud enough by itself and 2 would be annoying!

They help the audience to participate by clapping and/or dancing on the Beat/Count (1 2 3 4), which also drives the Tempo with forward motion. It also can help the audience to participate by clapping and/or dancing to the Pulses and Backbeats for a Rock & Roll “swaying” Feel by using a forward/rightward motion (on the “1 & 3” Pulses) and a backward/leftward motion (on the “2 & 4” Backbeats).

All those hand motions can cause unwanted “jingles” to “clutter” up the rhythm. If you want a tighter rhythm, keep the Tambourine horizontally flat, brace your elbow against your side, and hit the Tambourine with your free hand using the fleshy part of your palm so the fingers hang out over the edge, out of the way from being injured.

However, you can use the extra “jingling” to create a weaker Offbeat by holding it vertically upright and moving the hands apart very evenly: “1 + 2 + 3 + 4 +” or “1e+a2e+a3e+a4e+a.”

These instruments are high pitched and “cutting,” but dryer, earthier, and less resonant than Metal percussion. They can be softer, but also so loud they could hurt a person’s ear if you play too closely to them.

The Jam Block (plastic Woodblock) is more durable and louder than a standard Woodblock (though the one I use here also doubles as a Rasp - see GLP3-4). You can’t really get resonant tones from it, though you can produce a variety of Muting & Dynamic effects by hitting it on top vs. on the edge and with the stick tip vs. shoulder (using a pumping or rocking hand motion). I hold the stick as I would a Rasp or Guiro, so I can further Dead-stick it for even more Muting.

They are great for Steady 1/4-Note Beat/Counts, adding simple Setups (or Pickups) and Echo Embellishment of the “2 & 4” Backbeats (a great Visual to get the audience to clap - see also Role 5 for Advanced Time-Keeping applications in Clave rhythms).

Clave instruments are used a lot in Latin music (see also Role-Guidelines Package #3 GLP3-11 and Package #6 GLP6-19). Cup 1 in your palm with your fingertips to limit contact with them and maximize the resonance chamber between it and your palm, channeling this out to the audience. Hold the striking Clave near the end to keep from Muting it and hit it in the middle and perpendicular to the one in your palm (see also GLP3-11). There’s softer, lower-pitched Claves and louder, more piercing, higher-pitched Claves. African Claves are fatter with a resonance chamber cut into it, potentially louder but lower pitched. Plastic pipes would be even dryer!

My “7-in-1” percussion instrument has wooden, plastic, metal, and Rasp sounds for rhythmic variety in creating a great Groove. You can even take an old wooden drum shell/Paila (like this broken Bongo drum) and use different parts of it for rhythmic variety. Don’t throw anything away!

The Clave means “key” in Spanish, the Rhythmic Key for that Style that the whole band is listening to, and thus helping to: Keep the band to stay together (though it’s not as Steady as most Role 2 Time-Keepers and so less reliable for this), remind the musicians where they are in the music (its unique pattern acting as a Landmark), but more importantly to start or end their Note-Groups on key Notes (Anchors) within the Clave (e.g., the Downbeat “1” or Bombo “+ or 2” or Resolution Backbeat “4”).

Because of its Syncopation, I’ve also included this Cuban Triplet (3 Notes spread out over 4 Beats/Counts: |1 _ _ + _ _ 4 _|) along with other Clave rhythms in Role 5 Advanced Time-Keepers (see Guidelines Package #6 GLP6-7), which is even playable on hand-drums (see Guidelines Package #4 GLP4-7).

Clave instruments (wooden or plastic pipes): Cup 1 in your palm with your fingertips (keep your thumb and knuckles out of the way) to limit contact with them and maximize the resonance chamber between it and your palm - channeling this out to the audience. Hold the striking Clave near the end to keep from Muting it and hit it in the middle and perpendicular to the one in your palm (see also Role-Guidelines Package #3 GLP3-10 and Guidelines Package #6 GLP6-19).

Put some body motion into your strokes, especially the Downbeat “1” (to help the band find the beginning of the Measure) or the Bombo “+” Syncopation (to convey its jerkiness). At slower Tempos, count softly “1 + 2 + 3 + 4 +” and then louder on the Notes of the Clave as you play: “1 _ _ + _ _ 4 _.” This is more accurate but can tongue-tie you and “clutter” your mind at faster Tempos, so simply count the Beats/Counts “1 2 3 4” and then jerk in the “+” Offbeat counting.

They are high-pitched, metal instruments that “cut” through the band’s sound so that everybody can better stay “in Time” (keep the Tempo), thus emphasizing the Beats/Counts (1 2 3 4). They may add Subdivisions (“+” and “+a”) to create a thicker, “busier” Texture, to Buildup momentum to aid with Phrasing (also Pickups leading to the Downbeat “1”), or to simply Setup (or Pickup) or Echo a Beat/Count to Embellish it for rhythmic variety. They can help Support or Embellish the high-pitched Backbeats “2 & 4” in 2-Pulse “swaying” music or the Simple “+” Offbeats in 4-Pulse “pushing” music (played by themselves “Naked” they would be more Role 5 Advanced Time-Keeping). You’ll be walking around and interacting with the musicians and audience, helping the Show to become visually stimulating and thus more entertaining than just the music.

Here, I’m showing Open and Muted (hand, finger, and body) tones, Dynamics, and stick/beater/mallet techniques of playing a Triangle (see also GLP3-15), metal pipes used as Claves (see also GLP3-17), Hand Bell (even if it doesn’t have an internal striker), a broken water meter cover (see also GLP3-19), metal cans (see also GLP3-14), Cowbells (Mambo/Cencerro/Campana/Hand Bell, Timbale Bells, Cha-cha Bells, etc.), Double Bells (Ago-go, Toke, etc.), Frying pan (Sartenes), and Combo percussion (Ago-sha). Notice how I’m singing a Groove in my mouth as I play, often saying the Rests to help feel the Syncopation.

This is a typical Latin Tumbao rhythm (see also Guidelines Package #3 GLP3-5, Guidelines Package #4 GLP4-15, and Guidelines Package #6 GLP6-8, -16, -17, -18, -27) or “Flat” Swing pattern (e.g., in fast Jazz) used in many Styles (see also Role 5 Guidelines Package #6 GLP6-8).

Metal cans and buckets can be played on the sides or bottom with Open tones and Muted with the fingers or body. Don’t throw anything away (see also GLP3-12).

Hold it in a way to keep it from spinning around, Muting with your fingers and palm, and playing in the corners to Roll (dinner time!) - see also GLP3-12.

Mounted Crash Cymbals are thin for a quick or sustaining, explosive sound played sparingly on Resolution points (on the Downbeat “1” of a new Phrase at the end of a Buildup or for Accenting Figures) with the stick’s shoulder glanced across the Cymbal’s edge or bow (as in Jazz) - don’t plow straight through it (that is how you break sticks and Cymbals). Some Latin percussionists (Conga & Bongo players) may hit the Crash with their hands.

Mounted Ride Cymbals are tilted so that you’re more likely to play the Cymbal’s bow with the stick’s tip. If you play on the bell/cup, use the stick’s shoulder or shank for a louder sound, optionally Dead-sticking for Muting. You can glance off the bow (for a splashy sound) or edge (for a gong sound) to Crash it, especially for Accenting (as in Jazz). You can also use hand-Choking (Muting or muffling) to cut off the sound. Accents played on a Ride are more for rhythmic variety or to help bring out the Beat/Count, Pulses, or Backbeats, than for major Resolutions (see Crash Cymbals).

Metal pipes (see also GLP3-12) are very piercing! Here, we’re singing “Smoke on Water” by Deep Purple, which you’ll notice is a very Syncopated rhythm after adding Steady Time-Keeping on the drums. So although this is very repetitive (like Role 2), the Syncopation could easily make them Role 5 Advanced Time-Keepers.

Rhythm Crashers are pieces of thin metal lying against each other, creating a very dry, Articulated sound for intricate rhythms (see also use of a broken water meter in GLP3-12 and GLP3-19).

This |1_2 + _ + 4 _ | rhythm is fairly Steady, though the “3” is missing (so it could also be put in the Role 5 Advanced Time-Keepers). Notice the Echo of the “2” and the Setup of the “4.”

Then during the Buildup, the intricate Time-Keeping patterns should be simplified to playing just the Beats/Counts or their simple Subdivisions to keep from “cluttering” the Buildup.

Even a metal baseball bat can be used - I once saw this mounted in a drum kit! Or try playing a broken water meter cover (see also GLP3-12) using a pumping/rocking hand-motion to get tip vs. shoulder tone variation (see also GLP3-3, -4, -12, -14, -17, and -18 for other odd percussion).

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	Instrument Role 2: Steady Time-Keeper Instruments
	See Accompaniment Role-Guidelines for more general application of these principles to the Accompaniment (i.e., vocals and melodic & harmonic instruments). Steady Time-Keepers Support the Tempo and Style’s Time-Feel - perfect for beginners! Their higher pitch and shorter Articulation contrasts the band’s resonant “lows” for musical clarity, “cutting” through the music so others can “Keep in Time” to them. Also, these players can walk, dance, and interact with the musicians and audience, adding Visuals for the Show, and synchronizing their body movements to the Beats/Counts, Pulses, Backbeats, or Offbeats to help convey these. They often play fairly “Steady,” repetitive patterns of 1/4-, 1/8-, and 1/16-Notes that emphasize the Pulse (using lower pitches) and/or Backbeats (using higher pitches), all the Beats/Counts (to stabilize the Tempo), or sometimes “busier” Subdivisions of them (e.g., to Buildup momentum, as a Pickup to the Downbeat “1,” or to create a “busier” Groove). Too many Accented or “Naked” Offbeats become more of Role 5 Advanced Time-Keeping. Role 2 percussion is categorized based on their composition and natural Articulation (Metal - resonant & Legato vs. Wood/Plastic - dry & Staccato) and the way they are played (struck, shaken or rattled, jingled, scraped, whipped). Each has its own pitch range and timbre, Open & Muted tone techniques, Role-Guidelines, and common rhythmic patterns. You can have 1 from each category in a Show, but some Traditional Styles are more limiting.

	Click here for DVD & ONLINE Video ORDER options of Role-Guidelines Package #3:

	As applied to Drum Circles or Band: GLP3-3. Instruments Intro Video-4307. Their Tonality (pitch and timbre) contrasts that of the Role 1 “Father” Drum for greater separation within the music, keeping the rhythms of the band “cleaner.” These higher-pitched instruments with their short Articulation and loud Dynamics will “cut” through a band’s sound so that others can follow them to better Keep Time. Play repetitive 1/4-, 1/8-, and 1/16-Notes (and sometimes mix these into repetitive patterns), depending on how “busy” you want the Time-Keeping to sound (the type of instrument can also limit this). Be careful to not play too much Syncopation - this is for Role 5 Advanced Time-Keepers. Metal (Cowbells, Ago-ago Bells, Double Bells, metal Claves/pipes, Triangles, etc.): Use louder, lower-pitched, resonant Open tones in the Pulse slots during the forward/rightward body motions, and softer, higher-pitched, Muted tones (using hand, finger, body, and stick Muting) in the Backbeat slots during the backward/leftward body motions. Wood/Plastic (Jam Blocks, Woodblocks, Claves, pipes, etc.): High-pitched like Metal so they “cut” but have a shorter Articulation and distinct timbre so they tend to stay in the Backbeat “2 & 4” slots, playing 1/4-Notes, or sometimes Offbeat Syncopation (see Role 5). If played along with Metal percussion, make sure the two Counter each other in a Dialogue fashion so they combine to create a Steady Time-Keeping rhythm. Claves are also often used for Role 5 Advanced Time-Keeping. Shakers/Maracas: They are best for keeping the Beat/Count (stabilizing the Tempo), but adding simple Subdivisions to make the music “busier” (for a thicker Texture), to create a Buildup of momentum toward the end of a Phrase, or to create a pattern that adds to the forward/rightward - backward/leftward “sway” of the music. Tambourines/Jingles: Louder than Shakers/Maracas for keeping the Beat/Count or to add Subdivisions for “busier” Time-Keeping and Buildups, but especially for adding Accents in the Backbeat “2 & 4” slots in many Styles. Playing “Steady” Offbeats is really more of Role 5 Advanced Time-Keeping because of the Syncopation and difficulty. Rasps/Guiros: You can play longer Notes (like 1/4-Notes) with longer, slower, down-stroke scrapes and the shorter Notes (like 1/8- and 1/16-Notes) with shorter, quicker, up- and/or down-stroke scrapes. Although they help give it a Latin Feel, I find their versatility helpful in many other Styles. Special Effects: Odd percussion like Spoons, the Whip, Clap blocks, Vibraslap, etc. to add special effects to the music. Sometimes played Steady, they’re more often not (e.g., only the Downbeat “1,” or just the Backbeats, etc.).
	Guiros, Rasps, and other instruments that are scraped: GLP3-4. Introduction Video: Here, I play standard rhythmic patterns or improvising with little “tunes” (see also GLP3-5). A wooden Rasp can double as a Woodblock (see GLP3-10) - careful not to hit so hard you crack it. The thicker the grooves, the more it sounds like a frog ribbeting. Use a thin wooden or plastic stick (like a baton) that gets down into the grooves for a tighter, louder sound. Hold it near the tip and extend your forefinger so you can more easily apply pressure and to quickly flick the stick. A Guiro (plastic or wooden) or Dominican Torpedo (metal) should be held so that the opening projects upward and outward toward the audience, requiring you to stand a bit sideways while playing it. Sometimes they will have different-sized grooves - thicker for that lower, “frog” effect or thinner for a higher, “cricket” sound. A washboard, rub-board, or Zydeco chest plate create the same effect in Cajun and Zydeco music. My “7-in-1” instrument has a metal Rasp sound (using an air vent cover) and a plastic Rasp sound (using a corrugated tube), which can be amplified by pressing it against the head of a hand-drum. You can stretch out the long scrapes for the Long Notes (1/4-Notes and longer), preferably in a downward motion unless the Tempo is fast, then in both directions. Always think about where you want to be next, so you can move in that direction and keep the motion more continuous and circular. The long scrapes can be played more with the stick’s shoulder for a lower pitch. At a slower Tempo, slide more towards the stick’s tip to add a sharper, higher-pitch bend toward the end of the scrape. Special Effects: Playing the Spoons on your palm or between it and your leg can create fairly Steady rhythms. The hinged Whip can create the “crack of the whip” effect or possibly simulate clapping on the Backbeats “2 & 4” - though I prefer slapping 2 blocks of wood together for this, since you’re less likely to smash your fingers. The Vibraslap (which used to be called “The jawbone of an ass”) creates the “rattlesnake” Roll effect (so use it sparingly). Be careful to hit the knob with the soft part of your palm while letting the vibrations travel freely through the handle (see also GLP3-19 for a list of videos for other odd percussion). GLP3-5. Latin Tumbao Rhythm played on the Guiro Video-3197 (see also GLP3-13): See also Guidelines Package #3 GLP3-13, Package #4 GLP4-15, and Package #6 GLP6-8, -16, -17, -18, -27. \| 1 + 2 + 3 + 4 + \| 1 + 2 + 3 + 4 + \|1/8-Note Subdivisions \| 1 _ 2 + 3 _ 4 + \| 1 _ 2 + 3 _ 4 + \|Latin Steady Time-Keeping rhythm \| L _ s s L _ s s \| L _ s s L _ s s \| L = Long stroke, s = short stroke \| D _ u u D _ u u \| D _ u u D _ u u \| D = Down stroke, u = up stroke
	Shakers, Rattles, and Maracas: GLP3-6. Introduction Video: Rattles have the seeds, beads, rocks etc. on the outside of the container, whereas Shakers and Maracas have them on the inside. The general technique is to push out on the louder Beats/Counts (1 2 3 4) and pull back toward you for the Offbeats ("+" Subdivisions). Or push out for the 1/8-Notes and pull back on the weaker 1/16-Note Offbeats ("e" and "a"). Rattles: They generally have a louder, thicker Textured, less Articulated, "mushy" sound and can be shaken, twisted, rolled in a circle, and some can be strapped to your leg. Examples are: Shekere or Gourd Rattles, a bundle of cow toenails. Sleighbells or Jingle Bells are also rattled to produce the sound. The Cabasa or Afuche can be twisted like a Shekere, or rolled across your arm or leg for longer, louder Tones - this is a lot easier on your wrist though! Shakers: They generally have a softer, thinner Textured, more Articulated, "ticky" sound and can be shaken or rolled/swished in a circle. Examples are: Egg, vegetable, or fruit-shaped plastic shakers (some which are small enough to hold in your hand as your play the drum), softer woven basket shakers (though some have harder leather, wood, or plastic bottoms for contrast), woven/metal/wooden tube or can-shaped (some of which are square-shaped) shakers (which are pushed/pulled with an underhand-palm up grip) and many odd-shaped ones like the "Bash" from LP. My own 5-in-1 instrument has struck metal, plastic, wooden, or Rasp and Shaker sounds. Maracas: These are Shakers with handles. Some Maracas are delicate, more of an art object than for performance. Some Mexican brands are just worthless. LP has louder, durable ones, that can also be played precisely. For a more precise Articulation, keep them pointed slightly down and use a flick of the wrist. Some Maracas have the beads on the outside, like a Shekere or Gourd rattle, though more precise and quieter. When using 2 Shakers or Maracas, I've found using 2 different Tones or Articulations allow you to better produce interlocking rhythmic patterns. GLP3-7. Time-Keeping, Build-ups, Resolution, Release Video-4237: Used for Steady Time-Keeping of 1/4-Note Beats/Counts (for more Open-Textured Grooves or faster Tempos) or “busier” 1/8- or 1/16-Note Time-Keeping (used to add more energy to slower Tempos). Adding more Subdivisions (going to 1/8- or 1/16-Notes) will Buildup tension and momentum toward a climactic Resolution. Decreasing the number of Subdivisions will Release the tension and make it feel like it’s slowing down. Add some Visuals to convey the Buildup, Resolution, and Release.
	Tambourines: GLP3-8. Introduction Video: Round Tambourines come in different sizes, materials (wooden, metal, or plastic rim), and with or without head. There's even Stick-shaped Tambourines for an even more precise side-to-side sound. Hold it with your strong hand (unless you plan on doing very coordinated or fast "tapping" techniques described below, then hold it with your weaker hand) and brace your elbow against your hip, if there's a hole in the frame, put your middle finger through it and the thumb over the edge of the head (which can be used for changing the pitch or pitch-bending). Basic side-to-side technique: Hold it vertically. Move toward your other hand on the 1/4-Note Beats/Counts, so when it moves backward it's playing weaker 1/8-Note Offbeats (the "+" Notes) - this is sufficient for medium to faster Tempos. Make sure to move you arm very evenly so the Subdivisions are also even. At slower Tempos, you can add more energy by moving toward your hand on the 1/8-Notes, so when it moves back it's playing the weaker 1/16-Note Offbeats (the "e" and "a" Notes). Whenever you decide to hit the other hand, that becomes an Accent - either on all the Notes (during Buildups) or just on some of them (just the 1/4-Note Beats/Counts to drive the Tempo, or just on the Backbeats "2 & 4" to get the music to "sway"). The same can be done against your hip or leg. If you wiggle, twist, or rattle the Tambourine you can produce a rolling effect. Basic "tapping" technique: They can be too loud for the music, so you may not want to move it side-to-side at all, but keep it horizontally level (so it won't accidently "jingle") and lightly tap the rim or head (if you want to hear that tone added to the "jingle") with your other hand's fingers, or play over the edge of it with you palm. You can roll on it by rubbing you thumb along the edge of the head (though you may have to wet your thumb). You can even put it on your lap and use both hands on the rim or head - excellent for playing quiter, more intricate rhythms. You can produce a roll this way by playing single strokes (RLRL...) very quickly. You can combine tapping with side-to-side movements, like with a Buildup, e.g., tap . . . \|_ 2 _ 4 \|1 2 3 4 \| then play side-to-side with \|1 + 2 + 3 + 4 + \|. GLP3-9. Instrument Role-Guidelines Video-357: These instruments are high pitched to create a contrast to the lower pitches of the drums. Since they are so “cutting,” you don’t need more than 1 - it’s loud enough by itself and 2 would be annoying! They help the audience to participate by clapping and/or dancing on the Beat/Count (1 2 3 4), which also drives the Tempo with forward motion. It also can help the audience to participate by clapping and/or dancing to the Pulses and Backbeats for a Rock & Roll “swaying” Feel by using a forward/rightward motion (on the “1 & 3” Pulses) and a backward/leftward motion (on the “2 & 4” Backbeats). All those hand motions can cause unwanted “jingles” to “clutter” up the rhythm. If you want a tighter rhythm, keep the Tambourine horizontally flat, brace your elbow against your side, and hit the Tambourine with your free hand using the fleshy part of your palm so the fingers hang out over the edge, out of the way from being injured. However, you can use the extra “jingling” to create a weaker Offbeat by holding it vertically upright and moving the hands apart very evenly: “1 + 2 + 3 + 4 +” or “1e+a2e+a3e+a4e+a.” Now create a Buildup by adding more Notes: \| 2 4 \| . . . . . \| 1 2 3 4 \| . . . . . \|1 + 2 + 3 + 4 + \| . . . . . . . \|1e+a2e+a3e+a4e+a \| . . . toward a climactic Resolution. Then, you can add a Roll to sustain a sound by “jiggling” it very quickly.
	Wood - Blocks, Claves, and other wood-sounding instruments: GLP3-10. Introduction Video: These instruments are high pitched and “cutting,” but dryer, earthier, and less resonant than Metal percussion. They can be softer, but also so loud they could hurt a person’s ear if you play too closely to them. The Jam Block (plastic Woodblock) is more durable and louder than a standard Woodblock (though the one I use here also doubles as a Rasp - see GLP3-4). You can’t really get resonant tones from it, though you can produce a variety of Muting & Dynamic effects by hitting it on top vs. on the edge and with the stick tip vs. shoulder (using a pumping or rocking hand motion). I hold the stick as I would a Rasp or Guiro, so I can further Dead-stick it for even more Muting. They are great for Steady 1/4-Note Beat/Counts, adding simple Setups (or Pickups) and Echo Embellishment of the “2 & 4” Backbeats (a great Visual to get the audience to clap - see also Role 5 for Advanced Time-Keeping applications in Clave rhythms). Clave instruments are used a lot in Latin music (see also Role-Guidelines Package #3 GLP3-11 and Package #6 GLP6-19). Cup 1 in your palm with your fingertips to limit contact with them and maximize the resonance chamber between it and your palm, channeling this out to the audience. Hold the striking Clave near the end to keep from Muting it and hit it in the middle and perpendicular to the one in your palm (see also GLP3-11). There’s softer, lower-pitched Claves and louder, more piercing, higher-pitched Claves. African Claves are fatter with a resonance chamber cut into it, potentially louder but lower pitched. Plastic pipes would be even dryer! My “7-in-1” percussion instrument has wooden, plastic, metal, and Rasp sounds for rhythmic variety in creating a great Groove. You can even take an old wooden drum shell/Paila (like this broken Bongo drum) and use different parts of it for rhythmic variety. Don’t throw anything away! GLP3-11. 1-Bar Clave Rhythm Video-3267 (See also Styles-Cuban-Tresillo Cubano): The Clave means “key” in Spanish, the Rhythmic Key for that Style that the whole band is listening to, and thus helping to: Keep the band to stay together (though it’s not as Steady as most Role 2 Time-Keepers and so less reliable for this), remind the musicians where they are in the music (its unique pattern acting as a Landmark), but more importantly to start or end their Note-Groups on key Notes (Anchors) within the Clave (e.g., the Downbeat “1” or Bombo “+ or 2” or Resolution Backbeat “4”). Because of its Syncopation, I’ve also included this Cuban Triplet (3 Notes spread out over 4 Beats/Counts: \|1 _ _ + _ _ 4 _\|) along with other Clave rhythms in Role 5 Advanced Time-Keepers (see Guidelines Package #6 GLP6-7), which is even playable on hand-drums (see Guidelines Package #4 GLP4-7). Clave instruments (wooden or plastic pipes): Cup 1 in your palm with your fingertips (keep your thumb and knuckles out of the way) to limit contact with them and maximize the resonance chamber between it and your palm - channeling this out to the audience. Hold the striking Clave near the end to keep from Muting it and hit it in the middle and perpendicular to the one in your palm (see also Role-Guidelines Package #3 GLP3-10 and Guidelines Package #6 GLP6-19). Put some body motion into your strokes, especially the Downbeat “1” (to help the band find the beginning of the Measure) or the Bombo “+” Syncopation (to convey its jerkiness). At slower Tempos, count softly “1 + 2 + 3 + 4 +” and then louder on the Notes of the Clave as you play: “1 _ _ + _ _ 4 _.” This is more accurate but can tongue-tie you and “clutter” your mind at faster Tempos, so simply count the Beats/Counts “1 2 3 4” and then jerk in the “+” Offbeat counting.
	Metal - Cowbells, Cymbals, Triangles, and other metal-sounding instruments: GLP3-12. Introduction Video: They are high-pitched, metal instruments that “cut” through the band’s sound so that everybody can better stay “in Time” (keep the Tempo), thus emphasizing the Beats/Counts (1 2 3 4). They may add Subdivisions (“+” and “+a”) to create a thicker, “busier” Texture, to Buildup momentum to aid with Phrasing (also Pickups leading to the Downbeat “1”), or to simply Setup (or Pickup) or Echo a Beat/Count to Embellish it for rhythmic variety. They can help Support or Embellish the high-pitched Backbeats “2 & 4” in 2-Pulse “swaying” music or the Simple “+” Offbeats in 4-Pulse “pushing” music (played by themselves “Naked” they would be more Role 5 Advanced Time-Keeping). You’ll be walking around and interacting with the musicians and audience, helping the Show to become visually stimulating and thus more entertaining than just the music. Here, I’m showing Open and Muted (hand, finger, and body) tones, Dynamics, and stick/beater/mallet techniques of playing a Triangle (see also GLP3-15), metal pipes used as Claves (see also GLP3-17), Hand Bell (even if it doesn’t have an internal striker), a broken water meter cover (see also GLP3-19), metal cans (see also GLP3-14), Cowbells (Mambo/Cencerro/Campana/Hand Bell, Timbale Bells, Cha-cha Bells, etc.), Double Bells (Ago-go, Toke, etc.), Frying pan (Sartenes), and Combo percussion (Ago-sha). Notice how I’m singing a Groove in my mouth as I play, often saying the Rests to help feel the Syncopation. GLP3-13. Latin Mambo Rhythm Video-3127: This is a typical Latin Tumbao rhythm (see also Guidelines Package #3 GLP3-5, Guidelines Package #4 GLP4-15, and Guidelines Package #6 GLP6-8, -16, -17, -18, -27) or “Flat” Swing pattern (e.g., in fast Jazz) used in many Styles (see also Role 5 Guidelines Package #6 GLP6-8). \| 1 + 2 + 3 + 4 + \| Counting 1/8-Note Subdivisions \| 1 _ 2 + 3 _ 4 + \| Latin Mambo rhythm (also used in the Songo) \| M _ c c M _ c c \| M = Mouth or low-pitched Bell, c = center or high Bell \| O _ mm O _ mm \| O = Open tone, m = muted tone GLP3-14. Cans Video-497: Metal cans and buckets can be played on the sides or bottom with Open tones and Muted with the fingers or body. Don’t throw anything away (see also GLP3-12). GLP3-15. Triangles Video-497: Hold it in a way to keep it from spinning around, Muting with your fingers and palm, and playing in the corners to Roll (dinner time!) - see also GLP3-12. GLP3-16. Cymbals Video-497: Mounted Crash Cymbals are thin for a quick or sustaining, explosive sound played sparingly on Resolution points (on the Downbeat “1” of a new Phrase at the end of a Buildup or for Accenting Figures) with the stick’s shoulder glanced across the Cymbal’s edge or bow (as in Jazz) - don’t plow straight through it (that is how you break sticks and Cymbals). Some Latin percussionists (Conga & Bongo players) may hit the Crash with their hands. Mounted Ride Cymbals are tilted so that you’re more likely to play the Cymbal’s bow with the stick’s tip. If you play on the bell/cup, use the stick’s shoulder or shank for a louder sound, optionally Dead-sticking for Muting. You can glance off the bow (for a splashy sound) or edge (for a gong sound) to Crash it, especially for Accenting (as in Jazz). You can also use hand-Choking (Muting or muffling) to cut off the sound. Accents played on a Ride are more for rhythmic variety or to help bring out the Beat/Count, Pulses, or Backbeats, than for major Resolutions (see Crash Cymbals). GLP3-17. Claves Pipes Video-497: Metal pipes (see also GLP3-12) are very piercing! Here, we’re singing “Smoke on Water” by Deep Purple, which you’ll notice is a very Syncopated rhythm after adding Steady Time-Keeping on the drums. So although this is very repetitive (like Role 2), the Syncopation could easily make them Role 5 Advanced Time-Keepers. GLP3-18. Ribbon Crashers Video-497: Rhythm Crashers are pieces of thin metal lying against each other, creating a very dry, Articulated sound for intricate rhythms (see also use of a broken water meter in GLP3-12 and GLP3-19). This \|1_2 + _ + 4 _ \| rhythm is fairly Steady, though the “3” is missing (so it could also be put in the Role 5 Advanced Time-Keepers). Notice the Echo of the “2” and the Setup of the “4.” Here, we’ll add a Role 3 “Mother” Drum Groove. Then during the Buildup, the intricate Time-Keeping patterns should be simplified to playing just the Beats/Counts or their simple Subdivisions to keep from “cluttering” the Buildup. GLP3-19. Other Percussion Video-497: Even a metal baseball bat can be used - I once saw this mounted in a drum kit! Or try playing a broken water meter cover (see also GLP3-12) using a pumping/rocking hand-motion to get tip vs. shoulder tone variation (see also GLP3-3, -4, -12, -14, -17, and -18 for other odd percussion).



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