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GUITAR TECHNIQUE TIP OF THE MONTH Your Personal Guitar Lesson |
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| BE SURE TO VISIT DOUG'S "SECRET VAULT" It contains many of Doug's Previous Guitar Technique Tips of the Month |
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We have a Printer Friendlier (PDF) version of this article that's also easier on the eyes.
It's SO much easier to read a printed article than to read it from the computer screen.
It's SO much easier to read a printed article than to read it from the computer screen.
Tambor
By Douglas Niedt
Copyright Douglas Niedt, All Rights Reserved. This article may be reprinted, but please be
considerate and give credit to Douglas Niedt.
You are on DouglasNiedt.com
The tambor (Spanish) or tambour (French) or tambora (Afro-Caribbean?) is an effect used in
classical and flamenco guitar playing to imitate the sound of a tuned drum. (The tambora is
actually a percussion instrument with a low range that makes a low deep sound--you could
think of it as a bass drum.) Some writers liken the usage of the tambor effect in some pieces to
the sound of the timpani. It can be notated in several ways.
Note that the words Tambor, Tambora, Tambour or the abbreviations T, Tam, and Tamb (and
probably others) may be used. The word or abbreviation can be followed by either a solid or
dashed bracket:
The note-heads may be written normally or as I prefer, with an "x" replacing the note-head:
Sometimes it is more generically indicated as simply "Percussion" or in Spanish, "Percusion,"
again with the options of brackets or altered note-heads:
You are on DouglasNiedt.com
If tambors are inserted between non-tambor notes or chords, it can be notated in several
different ways:
In its most basic function solely as a drum effect, it is usually produced by rapidly rotating the
forearm, wrist, and hand as one unit, thumping the strings with the side of the right-hand
thumb, parallel with and close to the bridge. It is important to rotate the forearm to execute the
movement. Do not lift the arm off the guitar. Do not use the upper arm to make downward
vertical hits or karate chops of the hand onto the strings. That produces extreme tension in the
arm and hand, wreaking havoc with whatever follows the tambor passage. Such excessive
tension also makes the execution of the tambor itself much more difficult than it should be.
You just have to watch this (video clip #1).
The tone quality of the tambor can be altered quite dramatically with two basic adjustments.
The thumb position can be changed from parallel with the bridge to an angled position. We can
also choose to use either more of the hard bony parts of the thumb or the fleshier softer parts
to hit the bridge and strings. These adjustments enable the player to produce more or less
"wood" and varying degrees of percussive attack in the sound.
You are on DouglasNiedt.com
Also, keeping the thumb close to the bridge produces the most drum-like sound. As the hand is
moved away from the bridge and closer to the soundhole, the sound of the deep drum
decreases and the sound of the strings becomes more dominant.
Watch as I demonstrate these variations (video clip #2).
Keeping the thumb close to the bridge also presents the opportunity to mix the tambor effect
with percussive hits on various parts of the soundboard using the other fingers. The effect can
be greatly varied by what the left hand holds (or mutes) as the right hand executes the
percussion.
Check out video clip #3:
Here is how these effects could be notated: (Composers and arrangers/copyists please note it
is an excellent idea to provide a diagram indicating where on the guitar percussive hits are to
be made. Such effects can be very difficult to describe in words.)
This photo shows where each finger is to hit the guitar:
You are on DouglasNiedt.com
Notation for same type of effect but holding chords on left hand:
Instead of using the thumb, the tambor can also be executed by hitting the strings with any of
the other fingers or even the edge (side) of the palm below the little finger. For that matter you
could also use the face of some or all the fingers together as one unit. You can produce very
fast tambor hits or drum roll effects by alternating two individual fingers (usually "im").
Watch as I demonstrate some common techniques in video clip #4:
Playing a Melody with a Simultaneous Tambor
A commonly called for effect in guitar music is to play a melody, chordal accompaniment, and
tambor all at the same time. This is done by fingering the melody (usually on the first and
second strings) and chordal accompaniment with the left hand and simultaneously executing
the tambor with the right-hand thumb.
But there is a key difference in execution that sets this effect apart from other tambor effects.
The melody has to be brought out to sound markedly louder than the accompaniment and
drum effect. To do this, the thumb and arm are kept rotated much more to the left so the thumb
is almost upside down in relation to the top of the soundboard.
You are on DouglasNiedt.com
To thump the strings with the thumb, the player still moves the hand by rotating the forearm.
But now, the back of the thumbnail strikes and bounces off the treble string which results in
accentuating the melody. At the same time, the rear of the thumb hits the strings close to the
bridge or the bridge itself to produce the tambor and to resonate the strings of the held chord.
This is fun. Watch video clip #5:
Here are some notational examples of its use:
From Gran Jota de Concierto by Francisco Tarrega:
Example #7
From Aconquija by Agustin Barrios Mangore:
Example #8
From Chopi by Pablo Escobar in E-major guitar tuning:
You are on DouglasNiedt.com
A Variation on Playing a Melody with Tambor Accompaniment
In a correctly-executed tambor, the rotational movement of the forearm allows the hand to stay
relatively steady. Therefore, should the music require it, one could use the fingers to play a
simple melody at the same time the thumb produces a tambor accompaniment. This technique
enables the execution of independent rhythms between the melody and tambor and more
contrast of volume between the melody and accompaniment than the common simultaneous
melody/tambor explained above. I have rarely seen this technique used, but it is certainly worth
exploring.
Watch this one (video clip #6).
Here is my notation for what you are watching:
The tambor is a very colorful technique. As you can see, it can be executed in a variety of ways
depending on the demands of the music and the sound desired by the performer.
You are on DouglasNiedt.com
By Douglas Niedt
Copyright Douglas Niedt, All Rights Reserved. This article may be reprinted, but please be
considerate and give credit to Douglas Niedt.
You are on DouglasNiedt.com
The tambor (Spanish) or tambour (French) or tambora (Afro-Caribbean?) is an effect used in
classical and flamenco guitar playing to imitate the sound of a tuned drum. (The tambora is
actually a percussion instrument with a low range that makes a low deep sound--you could
think of it as a bass drum.) Some writers liken the usage of the tambor effect in some pieces to
the sound of the timpani. It can be notated in several ways.
Note that the words Tambor, Tambora, Tambour or the abbreviations T, Tam, and Tamb (and
probably others) may be used. The word or abbreviation can be followed by either a solid or
dashed bracket:
The note-heads may be written normally or as I prefer, with an "x" replacing the note-head:
Sometimes it is more generically indicated as simply "Percussion" or in Spanish, "Percusion,"
again with the options of brackets or altered note-heads:
You are on DouglasNiedt.com
If tambors are inserted between non-tambor notes or chords, it can be notated in several
different ways:
In its most basic function solely as a drum effect, it is usually produced by rapidly rotating the
forearm, wrist, and hand as one unit, thumping the strings with the side of the right-hand
thumb, parallel with and close to the bridge. It is important to rotate the forearm to execute the
movement. Do not lift the arm off the guitar. Do not use the upper arm to make downward
vertical hits or karate chops of the hand onto the strings. That produces extreme tension in the
arm and hand, wreaking havoc with whatever follows the tambor passage. Such excessive
tension also makes the execution of the tambor itself much more difficult than it should be.
You just have to watch this (video clip #1).
The tone quality of the tambor can be altered quite dramatically with two basic adjustments.
The thumb position can be changed from parallel with the bridge to an angled position. We can
also choose to use either more of the hard bony parts of the thumb or the fleshier softer parts
to hit the bridge and strings. These adjustments enable the player to produce more or less
"wood" and varying degrees of percussive attack in the sound.
You are on DouglasNiedt.com
Also, keeping the thumb close to the bridge produces the most drum-like sound. As the hand is
moved away from the bridge and closer to the soundhole, the sound of the deep drum
decreases and the sound of the strings becomes more dominant.
Watch as I demonstrate these variations (video clip #2).
Keeping the thumb close to the bridge also presents the opportunity to mix the tambor effect
with percussive hits on various parts of the soundboard using the other fingers. The effect can
be greatly varied by what the left hand holds (or mutes) as the right hand executes the
percussion.
Check out video clip #3:
Here is how these effects could be notated: (Composers and arrangers/copyists please note it
is an excellent idea to provide a diagram indicating where on the guitar percussive hits are to
be made. Such effects can be very difficult to describe in words.)
This photo shows where each finger is to hit the guitar:
You are on DouglasNiedt.com
Notation for same type of effect but holding chords on left hand:
Instead of using the thumb, the tambor can also be executed by hitting the strings with any of
the other fingers or even the edge (side) of the palm below the little finger. For that matter you
could also use the face of some or all the fingers together as one unit. You can produce very
fast tambor hits or drum roll effects by alternating two individual fingers (usually "im").
Watch as I demonstrate some common techniques in video clip #4:
Playing a Melody with a Simultaneous Tambor
A commonly called for effect in guitar music is to play a melody, chordal accompaniment, and
tambor all at the same time. This is done by fingering the melody (usually on the first and
second strings) and chordal accompaniment with the left hand and simultaneously executing
the tambor with the right-hand thumb.
But there is a key difference in execution that sets this effect apart from other tambor effects.
The melody has to be brought out to sound markedly louder than the accompaniment and
drum effect. To do this, the thumb and arm are kept rotated much more to the left so the thumb
is almost upside down in relation to the top of the soundboard.
You are on DouglasNiedt.com
To thump the strings with the thumb, the player still moves the hand by rotating the forearm.
But now, the back of the thumbnail strikes and bounces off the treble string which results in
accentuating the melody. At the same time, the rear of the thumb hits the strings close to the
bridge or the bridge itself to produce the tambor and to resonate the strings of the held chord.
This is fun. Watch video clip #5:
Here are some notational examples of its use:
From Gran Jota de Concierto by Francisco Tarrega:
Example #7
From Aconquija by Agustin Barrios Mangore:
Example #8
From Chopi by Pablo Escobar in E-major guitar tuning:
You are on DouglasNiedt.com
A Variation on Playing a Melody with Tambor Accompaniment
In a correctly-executed tambor, the rotational movement of the forearm allows the hand to stay
relatively steady. Therefore, should the music require it, one could use the fingers to play a
simple melody at the same time the thumb produces a tambor accompaniment. This technique
enables the execution of independent rhythms between the melody and tambor and more
contrast of volume between the melody and accompaniment than the common simultaneous
melody/tambor explained above. I have rarely seen this technique used, but it is certainly worth
exploring.
Watch this one (video clip #6).
Here is my notation for what you are watching:
The tambor is a very colorful technique. As you can see, it can be executed in a variety of ways
depending on the demands of the music and the sound desired by the performer.
You are on DouglasNiedt.com
BE SURE TO VISIT DOUG'S "SECRET VAULT"
It contains many of Doug's Previous
Guitar Technique Tips of the Month
It contains many of Doug's Previous
Guitar Technique Tips of the Month
Have a comment?
Question?
Suggestion for the website?
We would love to hear from you.
Question?
Suggestion for the website?
We would love to hear from you.
We have a Printer Friendlier (PDF) version of this article that's also easier on the eyes.
It's SO much easier to read a printed article than to read it from the computer screen.
It's SO much easier to read a printed article than to read it from the computer screen.
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Internet. No one else's technique articles and videos even come close. Most of the written tips run
over 20 pages. Most of the videos run from 15-30 minutes. The tips are thorough and the
production is excellent. Check out the free tips in Doug's Vault for a sampling.
A one-year subscription (12 tips) is only $24. That is only $2 per tip.
Purchase a ONE-YEAR SUBSCRIPTION to:
DOUGLAS NIEDT'S GUITAR TECHNIQUE TIP OF THE MONTH
Doug's Guitar Technique Tip of the Month will be sent to you monthly. These are the best on the
Internet. No one else's technique articles and videos even come close. Most of the written tips run
over 20 pages. Most of the videos run from 15-30 minutes. The tips are thorough and the
production is excellent. Check out the free tips in Doug's Vault for a sampling.
A one-year subscription (12 tips) is only $24. That is only $2 per tip.
Be a better guitar player or teacher. SUBSCRIBE NOW!
Purchase a ONE-YEAR SUBSCRIPTION to:
DOUGLAS NIEDT'S GUITAR TECHNIQUE TIP OF THE MONTH
Doug's Guitar Technique Tip of the Month will be sent to you monthly. These are the best on
the Internet. No one else's technique articles and videos even come close. Most of the written
tips run over 20 pages. Most of the videos run from 15-30 minutes. The tips are thorough and
the production is excellent. Check out the free tips in Doug's Vault for a sampling.
A one-year subscription (12 tips) is only $24. That is only $2 per tip.
Purchase a ONE-YEAR SUBSCRIPTION to:
DOUGLAS NIEDT'S GUITAR TECHNIQUE TIP OF THE MONTH
Doug's Guitar Technique Tip of the Month will be sent to you monthly. These are the best on
the Internet. No one else's technique articles and videos even come close. Most of the written
tips run over 20 pages. Most of the videos run from 15-30 minutes. The tips are thorough and
the production is excellent. Check out the free tips in Doug's Vault for a sampling.
A one-year subscription (12 tips) is only $24. That is only $2 per tip.