TRIANGLE
1. Physical Composition and Construction
Triangles are made of very hard, high-tempered, carbonized steel bent in the shape of a triangle with an opening in one corner. The triangle is suspended by a clasp held in the hand or mounted on a stand and struck with metal beaters.
The sound objective is to produce as many overtones as possible. The sound should be a shimmer of overtones disguising any definite pitch. The tone should not sound like an alarm bell or dinner call unless intended. Triangles, because of the variety of overtones, project tone surprisingly well. It is not unusual to have a triangle sound too soft to the player and too loud to the audience. Experiment with triangles to discover their musical personalities.
Triangle tone depends on the size, diameter, and vibrating qualities of its metallic composition. An assortment of triangle sizes and types should be available for the different musical effects required:
• Small, 4 to 6 inches, for brighter tone
• Medium, 8 inches, for general purpose playing
• Large, 10 inches, for darker tone
Clips or clasps suspend triangles on cords. A thin cat-gut string, a viola string, or a 20-pound test fishing line will prevent muffled tones. Two cords, with one as a back-up, will avoid the catastrophe of a broken support string.
Clips can be homemade from a clothespin by drilling two small holes for the cords. If it is necessary to use a stand, the gripping end of each clip should be wrapped in moleskin to avoid noise from the stand.
Special stands can be made from parts of old cymbal stands to hold as many as three triangles. Its adjustable height makes this type of stand ideal for triangle playing. It also leaves both hands free to play. 2. Striking Implements
Triangle beaters are usually made of the same material as the triangle, and are produced in several sizes. Several companies market triangle beater sets, where several pairs of beaters of varying diameters and weights are packaged together.
Smaller beater diameters produce brighter, lighter tone with less volume. Larger beater diameters produce darker, heavier tone with more volume. At least three pairs of different size beaters must be available to produce the required effects.
Use a small beater to produce high overtones and a more delicate, softer tone. Use a medium beater to produce a good mixture of high and low overtones for general playing. Use a large beater to produce the lower overtones for loud, harsh effects.
In addition, there are several implements you may use for special effects:
• A spike or large nail will make the low overtones predominant and sound loud tones as in a dinner or alarm bell.
• Knitting needles of various sizes are ideal beaters for a wide variety of delicate effects.
• Wooden coat hanger rods produce the most delicate, soft tones.
• Snare drum sticks produce hollow, wooden attack sounds. 3. Playing Area
Because each triangle has its own musical personality, every player must experiment with the triangle to locate its different playing areas. A triangle has more than 10 playing areas, each one sounding differently. The best general striking area is on the base of the triangle, opposite the open corner, with the beater in a generally straight up and down position. This area produces the best pitch cluster of overtones for general purpose playing.
TRIANGLE TC 12-43
4. Grip and Stroke Technique
Rest the clasp across the thumb and middle finger of the non-dominant hand (assuming you will be using your dominant hand for striking the triangle). Place your index finger over the top of the clasp to stabilize the clasp. Your third and fourth fingers are curled and in position to dampen the triangle when necessary. Face the open end of the triangle toward the elbow of the arm holding the clasp. Hold the triangle high enough to see the playing surface, the music, and the conductor. This also allows the audience to visually confirm the sound they will hear, and makes the part more effective.
Grip the beater between the thumb and index finger, approximately 1 inch from the end of the beater. Place the middle finger below the index finger, near the end of the beater. The middle finger provides the main momentum for the stroke. Hold the arms stationary. They are not involved in the stroke. This method allows the player to watch the conductor and music without missing the triangle when making the stroke. It also allows the player to use finger control for stroke technique.
When striking with the beater, use the tip for pianissimo effects. As the dynamic increases, use more of the beater on the triangle until you are about 1/4 inch inside the triangle. Using too much beater will make the triangle sound muffled.
The principal stroke technique rules apply to triangle. Dynamic range and rhythmic complexity will determine the method of stroke. Normal strokes will produce almost no rebound, so adjust attacks and stroke motion accordingly.
5. Rolls
Rolls may be executed in two ways:
• Holding the triangle normally, bounce the beater between the sides near the base, opposite the open end. For the best tone while rolling, use the proper finger action while holding the wrist steady. The closer to the corner the roll is played, the softer the roll will sound. To crescendo, move the beater further from the corner, as required by the length of the crescendo.
• Mount the triangle on a stand using one clip and play a single-stroke roll using two beaters. Two clips are better on loud passages to keep the triangle from moving. Two clips will muffle some tone but in loud passages the loss is unnoticed. Perform fast rhythmic passages in the same manner.
6. Muffling
Triangle is the exception to the general rule for muffling because of its characteristic high overtone ring. When muffled quickly, the result is a choked, clank tone with a high overtone after ring. The general rule on triangle is:
Never muffle a triangle unless you have to, but if necessary, do it slowly and carefully.
Muffle only in obvious parts, such as the end of the piece, on fermatas, or on cut-offs. Muffle triangles with the heel of the hand and the fingers. Muffle with your fingers when the triangle is mounted.
7. Special Effects
For a vibrato effect, after striking the triangle, shake the triangle up and down. Another way is to wave the hand, fingers cupped, over the base of the triangle.
TC 12-43 TAMBOURINE