Tambourine technique VI. Rolling using riq techniques.

You may remember that, sometime ago, I wrote an article showing various rolling techniques for tambourine. That article was "Tamborine technique V. Rolls".

Ross Antonich, a follower of this blog, has got in touch with me asking about the roll we named "Riq style roll" in that article.

Trying to clarify as many points as possible regarding this rolling technique, I recorded the following video. On it, I explain how to hold the instrument and the motions producing the roll, all of them coming from the riq tradition.

This technique is a very versatile one, allowing us to play very long rolls with total fluidity, at every dynamic level and, if so we wish, articulating its beggining and ending.

I hope this video clarifies all points regarding this technique and you find it useful.

As you already know, I love learning new "tricks" and techniques so I can integrate them into my "musical arsenal". If you know of any you think I should learn, do not hesitate to contact me to tell me about it.

…et in Arcadia ego.

© David Valdés

Tambourine technique V. Rolls.

New article, this time retaking an issue related to tambourine, as asked by one of the followers of Percusize Me!

There are many excerpts requiring differents types of rolls depending on dynamics, musical context...Shake or finger roll: possibilities are allmost endless, and I´m showing you a few of the many options:

The first roll is the traditional shake one, suitable for the majority of the situations. My advice is to practice it very relaxed.

The second one is a variation producing a triplet feeling. You can get the effect using the movement you use when playing single alternating strokes on marimba.

For piano and light passages, the third roll is your best option. Believe or not, I´ve used it quite a few times.

The nightmare every percussionist fears is to play a piano roll and then making a crescendo: the way I´ve found to give the roll a very clear beggining and articulation is to use the previous technique,  and then play the shake. As a result, we get a very clear initial articulation, pianissimo, and the we can do a nice crescendo.

The two handed version allows great volume and a busy roll, also permiting a clear beggining and ending.

Leaning the fingers against the head we can play very long rolls without fatigue, with a very articulate beggining and ending.

But, if we want a very long and piano roll (Shostakovich 2nd Cello Concerto comes to mind) using a riq technique is the best option.

Finally, finger rolls. We should be able to use all of them, depending on dynamics and character we are looking for.

These are just a few of the many possible options. You know I like tambourine, so more techniques will be shown in the near future.

Let me know your techniques and tricks, and I´ll be more than happy to include them in my arsenal.

…et in Arcadia ego.

© David Valdés

Snare drum technique: the roll.

Probably, the roll is the most characteristic and idiomatic of all snare drum techniques. I always tell my students we don´t have a bow or an air column allowing us to play long notes: isolately played, a 64th note lasts the same as a whole note on a snare drum. Thus, the roll  is the only way we can create the ilusion of a sustained sound.

A good rolling technique resulting in a good music making tool is a must. The sad thing is that, despite the roll being a basic technique, there are still wrong ideas and concepts arround it.

Trying to explain my thoughts on the roll, how I analyze it, the way I improved mine, and how I work to control the number of rebounds, I have shot this video:

 

Aplying the concept of the "Triple Stroke Roll" rudiment has been fundamental in order to improve my roll. I hope you find this video helpful.

As always, any comment helping me to become a better musician will be more than welcome. Anxiously waiting for them!

…et in Arcadia ego.

© David Valdés