Triangle Technique
by Dave Hagedorn

This article will deal with all of the aspects of playing the triangle, including playing spots for different sounds, beater technique, holding the triangle, and exercises to practice. It seems as though this instrument would be very simple to play, but there are many variables that can make the triangle a challenging instrument. Check out the Nutcracker Ballet by Tchaikovsky for one of the best examples of the triangle in orchestral literature.
     The supplies necessary to begin are a quality triangle, a clip, and beaters. Triangle prices range from $10 to $400, but a triangle with a quality of sound that is acceptable for all purposes will cost around $40. The best triangles have a multitude of overtones so there is no distinct pitch. That way the sound will not conflict with the rest of the group, no matter what key they are playing in. There are many types of beaters available. I personally prefer one with a rubber grip as opposed to a metal handle, but either type will work. It is best to have beaters that are of at least 3 different weights, for different performance situations. This will make various techniques easier to learn and master.
     During performance, the triangle is suspended from a clip. Many specialty percussion manufacturers make clips, or a clip can be made with a spring-loaded clip from a hardware store by drilling holes in it for attaching fishing line to support the triangle. It's important to attach 2 loops of fishing line in case one breaks while performing so the triangle doesn't hit the floor if a loop fails. Use a lighter gauge of fishing line for maximum resonance. Do not merely tie a string or rope around the upper corner of the triangle. This will dampen the vibrations too much and may also cause the triangle to spin when it is being played.
     To hold the triangle, it's best to make a sideways "U" with the left hand (for a right handed person), and place the clip on the thumb and index finger, with the triangle hanging in-between. This allows the performer to stop the ringing sound of the triangle when a rest is needed. Hold it up just below eye level in front of the body so it can be easily heard. There is a very clear diagram of this on page 3 in the Timpani and Auxiliary Percussion part of Standard of Excellence, Book 1. The triangle should be placed in the clip so that the open corner is on the left side (for a right handed person). Play on the lower leg for most applications, with the beater striking the leg on the inside of the triangle. It may be necessary to experiment to find the location of the most resonant "sweet spot" on that lower leg. To roll, you rapidly move the beater in one of the closed corners of the instrument. See page 24 of Book 1 for a diagram of where the spots to roll are on the triangle. I prefer the lower right angle, but many people like to roll in the upper angle, near the clip. Experiment to see what works best. The one roll that is not used is the "come and get it" roll on all three angles of the triangle that is seen in old movies when it's time to eat. It's too hard to control and get a musical sound that way.
     Once these basic techniques are mastered, the next step is to learn how to play rapid rhythms with one hand by modifying the roll technique. We can play pretty much anything up to certain tempos by just playing on the lower leg, but once things really get moving, we have to play on two legs, similar to the roll. This technique is necessary for pieces like the Nutcracker and Scheherazade by Rimsky-Korsakov, and for many contemporary band works. Another solution is to use two clips, one in each corner, so the longest leg is suspended from a stand. It's best not to attach the triangle clip to a music stand, but instead use a rack made for this purpose or use a thin piece of wood with a hole drilled into it to mount the triangle clip on a cymbal stand. This is to avoid extraneous vibrations and noises that can come from music stands. (It's OK to clip the triangle on a music stand when it is not being played, but it will produce a far superior sound if it is held during use). The rhythm studies in the back of Books 1 and 2 of the Timpani and Auxiliary Percussion part of Standard of Excellence are perfect for practicing these triangle techniques. Start with slow tempos and gradually speed them up for more challenges.
     These ideas should help in making better music with the triangle and also realize that playing the triangle has plenty of performance issues just like all of the other instruments.

Dave Hagedorn is a professional percussionist in the Twin Cities of Minneapolis and St. Paul. He is the percussion instructor at St. Olaf College in Northfield, Minnesota.