Eve Tambourine Mp3 Download

A hostess welcomed our party of two, at our exact reservation time, into the dining room and to our table. Before the service song and dance began, I took a second to survey the beautiful interiors. The narrow room, holding just six two-tops and a larger table for six, felt grand. A glass-bricked wall gave off the illusion of additional space and tied in with the many touches of muted gold, navy leather chairs, and sleek wood floors. Above, several overlapping circular light fixtures anchored the space and offered the first of many nods throughout the night to the geometrics of a tambourine.

I made some boots that are basically podalic tamborines. I'm trying to figure out the best way to play them along with a guitar and harmonica. So far, I have been tapping on the 2 and 4 beats (which is also where I tend to strum the guitar). Is this the best way, and is this typically how you would hit a tambourine? (Or would it typically be on the 1 and 3)? Also, just tapping like that through a whole song is redundant. Is there any good rule of thumb for when to incorporate this? I feel like if I just suddenly throw it in, it's jarring. Any thoughts would be appreciated.

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If you are wanting to start a collection of musical instruments for your children what should you start with? And how would you play those instruments if you got hold of them? Where would you find those musical instruments at a reasonable price? I can hopefully try to help you with these questions over time, and I thought I would start with providing a spotlight, if you like, on some of the instruments we have at home for the children to play with. If you have any specific questions, please ask, but for today let us have a look at the tambourine.

We have had a few tabourines over the years. Both of my children, together with pretty much all children who are allowed anywhere near a television I think, discovered the delights of Peppa Pig when they were small. At times they have been bought Peppa Pig magazines, and on one occasion there were free gifts of musical instruments on the cover of the magazine. These were small plastic instruments and I think there was a guitar, a harmonica and a tambourine included. None of these instruments survived all that long, I think the guitar broke within days, but the tambourine lasted for quite a while. It was made entirely out of plastic, and so produced a rather muted sound, but the children enjoyed playing with it.

I found our next tambourine in a charity shop, and this one has stayed with us much longer. I have found many musical instruments in charity shops over the years, and would recommend having a look in there, especially when your children are small and like to either chew or chuck instruments more than try to play them. Obviously, especially in these times, anything you buy from a charity shop needs to be cleaned before your children play with them, especially wind instruments like recorders!

Firstly, it can be hit or banged like a drum using a beater or hands, as long as you have a tambourine with a skin on rather than an open tambourine. For very small children you can either play the tambourine for them, letting them feel the vibrations of the instrument while they listen to the sound it makes, or you can take their hands or feet and gently manipulate them to play the tambourine themselves. Older children can go wild hitting the tambourine and making their own music, if they want to!

Finally, it can be played combining the two above. If you use a clapping action, hitting the tambourine with one hand while holding it in the other, or shaking it then hitting it with one hand like this:

Tambourines have a long, rich history that has roots in a wide variety of music. From classical to folk to rock, tambourines are simplistic yet versatile instruments that can really bring a song to life. Check out any Beatles record to see what I mean.

Tambourines are generally handheld instruments with a round, wooden frame and parchment or skinheads; metal disks or bells (called jingles) are inserted into the wooden rim. By striking the head of the tambourine or by shaking it, you set the jingles in motion. Rubbing your hand briskly across the drumhead will produce a whisking noise.

Though an ancient instrument, its structure has remained virtually unchanged. Tambourines were played in ancient Mesopotamia, Greece, and Rome, especially in religious contexts, and they have long been prominent in Middle Eastern folk and religious use. Crusaders took them to Europe in the 13th century. The ancient Romans used it, and in the Middle Ages traveling musicians and entertainers used it. In the 19th century the tambourine became a military-band instrument, appearing later and very occasionally in the orchestra. The timbrel or tabret of the Bible was probably similar to the tambourine.

In Europe, tambourines are associated with both folk and art music repertoire; Mozart was among the earliest western composers to include the tambourine in his compositions. Since the later eighteenth century it has become a more permanent element of the western orchestral percussion section, often used to suggest an exotic or eastern flavor to western audiences, as in Tchaikovsky's Arabian Dance from The Nutcracker Suite. The tambourine is mentioned often in the Old Testament as an instrument of celebration, as here: "Then Miriam the prophetess, Aaron's sister, took a tambourine in her hand, and all the women followed her, with tambourines and dancing."

Especially the tambourines with changeable jingles are played in the most important orchestras worldwide and are the first choice for percussionists who want to realise their individual sound ideas.

The tambourine has a fascinating history. It can be seen depicted in sculptures from the 2nd Century in Rome, and it remains virtually unchanged for many centuries - even seemingly unchanged until today, in some cultures. Today, it exists in many forms around the world: the rock tambourine, the orchestral tambourine, the Italian 'tamburello', the Middle-Eastern 'riq', the Latin American 'pandeiro', and so on. In Western Europe, at one point, the tambourine was depicted as a heavenly instrument of the angels, seen in artworks (search for 'Fra Angelico musical angels' or 'Montagna three angel musicians'). Later, it was an instrument of the peasants, used in their uncouth dances, as described by Cervantes, Aprosio, and Marino. The turning point? Circa the 15th-16th Century.

I'll spare you the rest of the research paper (feel free to message me if you're interested), but in this Instructable I would like to document my construction of a replica tambourine from this time period based off historic iconography, descriptions, and other research.

I focussed on making the sound-producing elements of the tambourine to be as close to historically accurate as possible, i.e. the skin and the jingles. Hence my plan was to take a cheap tambourine, strip its jingles and skin, and replace them with other materials. I took much advice from the pictured book by the legendary Jeremy Montagu. I used:

By the way, there are obviously no recordings of tambourine playing fom the 1400s, and unfortunately, no intact tambourines from that time and place have ever been found - hence, to best reproduce what it may have sounded like, we rely on making it look close to how it looked.

I began by stripping the tambourine to bits. Jingles came out easily with pliers, the tacks came off with a little prying... and it turned out there were staples under the banding! With a staple remover and a lot of scraping was required to remove the staples and adhesive. I made a point to keep the pins that held the jingles in - I will reuse those later.

The new, large brass jingles (known as 'zils' in riq terminology) would need wider slots than those given in the frame. As I wanted to space my 5 sets of jingles around the tambourine, rather than having 8 sets around the instrument, I would need to cut more slot space, and drill some new holes for the pins that hold the zils.

One part of the tambourine that is never visible in the paintings is what's called the 'bearing edge'. This is the edge of the tambourine on which the skin sits. On the 'long drums' and 'tabors' (larger drums) of the era, inward bevels were found on the bearing edges, so I chose to extend that practice to the tambourine.

Now to work on the skin, or the 'head', of the tambourine. I cut out a circle of rawhide 12" in diameter to overlap the frame 1" all around (see Evaluation). The hide was of uneven thickness, so I carefully sanded down some of the thickest sections to create a more uniform surface. You can see that a sanding attachment like this can gouge out more material than you might want, so take it slowly.

After many days of planning and labour, it was finished! This was the first instrument I had built of this level of detail, complexity, and refinement, and I think it fulfilled its aim well. It is larger than a riq, has larger and thicker jingles than a modern tambourine, is smaller than a tamburello... it has no identical modern equivalent, and hence it taught me a lot about how the instrument from the 1400s could and would have been played.

I was also fortunate enough to meet Matt Stonehouse, a professional frame drum builder and a wicked hand drummer, in Melbourne in 2019. I showed him the tambourine and talked to him about construction, and he demonstrated the difference that using solid tone-woods for the frame makes. It does in fact impact the sound - subtly, but present.

Do you have any idea when the tambourine design shifted from the 5 double zils (as in the Riqq) to the modern oodles-of-zils design? Btw, I have a Remo fake-renaissance tambourine that looks like yours, a little larger, but the design with 5 sets of zils. Not sure if that model is still being made. No matter: kudos on making your own!

SHAKE LOOPS & SAMPLES OF THINGS YOU SHAKE SHAKE is a collection of loops and samples of shakers and tambourines. Add some groove and swing to your productions. SHAKE is also available as part of the FREE and EVRYTHNG bundles. 2351a5e196