1. Use traditional or matched grip. Keep hands low and maximize on the wrist motion. Use a coated batter head and keep it fairly tight. Use a clear snare head, but do not tighten it too much.

2.  Most concert band rolls should be “closed rolls” (3 bounces per stroke).  Occasionally there is a need for “buzz rolls” (4 bounces per stroke) which are usually labeled with a “Z” on the note stems.  Sometimes in marches or other similar literature, there is a need for “open rolls” (diddles/2 bounces per stroke).

3.  Best striking spot on the head is just off center.  You will draw more tone out of the drum by starting the stroke close to the head and pulling it away quickly.  You will draw more of the fundamental pitch out of the drum by using a heavier mallet.  Rolls should be played with hands far apart and alternating in a single stroke manner.

4.  The best striking spot on the head is 3-5 inches from the edge.  Most concert playing will call for the “French grip” (thumbs up). Occasionally there is a need for the “German grip” (similar to the matched grip when playing snare drum).  The grip should be fairly loose so that you can draw more sound out of the drum.

5.  Loud playing requires tightening of the grip so that control of the sound is maximized.  Soft playing require a loosening of the grip so that there is more tone.  Sound can be dampened by “wiping away the sound” with the fingertips.  All rolls must be single stroke rolls (no bouncing!). The higher the pitch, the faster the roll needs to be.

6. When playing staccato passages:  Use harder mallets.  Move the striking spot closer to the center of the head.  Play in a “V” motion so that you are hitting in the same spot with both mallets.

7.  Always strike the bars on the most resonant spots (center or at the edge).  Use a matched grip.  Keep your hands low, so that maximum wrist motion will be achieved and you will draw more sound out of the bars.  Be sure to move your body so that you are centered in the range of notes that you are playing.

8.  Xylophone and Marimba can be played using rubber or wound mallets.  Vibraphone can be played using wound mallets.  Glockenspiel (Orchestra Bell) can be played using brass, acrylic, or hard rubber mallets.  Chimes can be played using rawhide, acrylic, or hard rubber mallets.

9.  Triangles, woodblock, claves, guiro, maracas, shakers,sleigh bells should all be held up so that the audience can see the instrument being played and will be able to hear the true tone color of that instrument.  These instruments should be place on a table when not being played and need to be silent as you pick them up to get ready to play.

10. Experiment to find the best sound from these instruments.  Use a different mallet/beater?  Use a different stroke?  Use a different striking spot?  If one is available, try a different instrument.? There are multiple triangles, woodblocks, etc. available.

11.  The best stroke is one that makes use of a circular motion with a little bit of a “flam action” where you first strike the other cymbal one inch from the edge.  Loud playing requires more energy to be placed into the stroke/ not necessarily more motion.  Soft playing requires you to keep your elbows tight to your body and do not use the flam action.

12. You can change the sound of the cymbals by:  Changing the stroke (more vertical or horizontal).  Displaying more or less “follow through”.  Changing to a different pair of cymbals.

13.  Place it directly in front of you, at waist level and parallel to the ground.  Strike the cymbal at the edge.  For rolls, use wound mallets and play at opposite side of the instrument (3:00 & 9:00).  The speed of the rolls needs to be only fast enough to keep the cymbal vibrating.  Dampen the sound by squeezing between your fingertips.