The Triangle by Cary Nasatir
Taking a look at an instrument that doesn't get the respect it deserves...the triangle
In my clinics, private practice, and writing, I tend to focus on the challenges facing the school percussionist, as well as the private instructors and educators who teach these school-aged drummers. So many instruments, so many techniques, so many questions... Let's start by taking a look at an instrument that doesn't get the respect it deserves...the triangle.
This three sided piece of metal is a delicate piece of equipment, but at the same time it is capable of generating a sizzling opening or finale of a piece of music. Much of the time, however, the sound coming from an inexperienced percussion section can make it sound like a fire bell ringing. A few moments of attention can change that.
First and foremost... what size is the triangle? The skinny four inch models may be okay for elementary school rhythm band classes or in front of a recording microphone, but they lack the volume and sonority to cut through a brass section. Generally, the larger and/or thicker the instrument, the fuller the tone, the richer the overtones, and the better the projection. For most concert work, an instrument in the six- to ten-inch range will do a good job.
The secret to playing with a bigger triangle is that a lighter touch will actually get a penetrating tone without an objectionable clang. To deliver a crisp tone at any dynamic level, all that is needed is a very slight move of the wrist and a little bit of added movement from the middle finger holding the beater. A good quality clamp and an assortment of different sized beaters also help in the process. Replace the nylon cord on the clamp when signs of wear appear. Make sure the clamp has plenty of room for the middle finger and thumb to hold it without touching the instrument. Rubber bands or yarn are not good materials from which to hang a triangle as they mute the sound and cause the triangle to twist in circles.
Unless one is performing a multi-percussion part, I advise that the triangle not be clamped to a music stand but instead be held in the player's weak hand at chest level or above (see photo). Single notes generally should be struck on the outside of the triangle, while rolls are played on an inside corner. Experiment by striking the triangle at the outside top angle or on the bottom bar and notice the tonal changes depending on where the instrument is struck. Muting is achieved by gripping the triangle with the last two fingers of the hand that is holding the clamp. You can also attain a vibrato by rapidly waving those same fingers in front of the triangle while holding the clamp.
When everyone in a school percussion section wants to play the snare drum, it may take a bit of salesmanship to "sell" the triangle part. One can always point to Beethoven, Stravinsky, and Bernstein as composers who thought the instrument important enough to include in their masterpieces. As with any instrument, the triangle player should strive for a musical sound. Duke Ellington said it best..." if it sounds good, it is good ".
Cary Nasatir is the Director of the Nasatir School of Percussion in Castro Valley, Ca; adjunct faculty member at Patten University (Oakland); percussion coach to three San Francisco area schools; and author of "Praise And Worship
Drumming...A Guide To Playing In Church" (Hal Leonard Publishing). His website is: http://www.nsopdrums.com
