Don't Think Outside the Box: Think Inside the Triangle
- Nathan Coles
- Jul 31
- 4 min read
How subtle adjustments in stroke direction and placement give percussionists a wider palette of sound.
We often hear the advice to "think outside the box" when solving problems, but when playing triangle, sometimes the best choice is to think of what's going on inside the instrument. Most percussionists learn early on to strike the bottom bar with a downward stroke to produce a full, warm sound. However, when a piece calls for bright articulation or crisp grace notes, changing your angle can open up entirely new possibilities. By exploring strokes inside the frame and playing upward, you can add versatile sound options to your playing without switching instruments.
Table of Contents
Don't miss a post, sign up for the Black Swamp Newsletter!
Meet Your Instructor
This lesson comes from Josh Jones, Sphinx Medal of Excellence recipient and Principal Percussionist of the Grant Park Orchestra. A Black Swamp Artist, Josh has served as Principal Percussionist with the Calgary Philharmonic Orchestra and the Kansas City Symphony, and has performed as a featured soloist at Carnegie Hall and with ensembles like the Sphinx Virtuosi.
Raised on Chicago's South Side, Josh began playing percussion at age two and received foundational training through the Chicago Symphony Orchestra's Percussion Scholarship Program under Patricia Dash and Douglas Waddell. Beyond his orchestral career, Josh is a dedicated educator and advocate for equity in classical music.
Changing the Triangle Beater Angle and Direction
Most practice time on the triangle centers on playing toward the outside of the instrument and striking downward. This fundamental stroke produces a balanced, resonant tone that works well for standard ensemble passages.
In a previous guide on triangle basics, How to Play Triangle Like a Pro: Expert Tips for Percussionists, the focus was on developing a foundational downward stroke on the bottom bar to produce a full-bodied, overtone-rich tone. In this lesson, Josh builds on that foundation by exploring how moving inside the instrument offers expanded choices for different musical contexts.
However, consider what happens when you shift your placement to play inside the triangle and strike upward.
When you play inside the frame with an upward stroke, the sound shifts to highlight higher frequencies. It yields a noticeably brighter pitch profile compared to a downward stroke inside or outside the frame. Frame this as adding another color option to your toolkit rather than replacing your traditional stroke. Knowing how and when to bring out these higher frequencies gives you more options when interpreting a score.
Practical Applications for Inside Triangle Upstrokes
Understanding sound options is only useful if you know where to apply them. Here are two common musical situations where playing inside the triangle creates a cleaner, more expressive result:
1. Staccato Passages in Quick Succession
When playing rapid staccato notes, standard downward strokes on the bottom bar can sometimes sound muffled or heavy as you damp between notes.
By playing inside the instrument with an upward motion, you bring out higher frequencies that naturally emphasize the attack of each note. This gives rapid successions a brighter, clearer sound. You can use this brighter stroke for the light setup notes, then return to a downward stroke into the triangle when you hit the main destination note.
2. Grace Notes and Flurries (e.g., La Mer, Debussy)
In works like La Mer, grace notes require delicacy. A common approach is moving up and down across the bar, but because a grace note should lead into the main note, pitch contrast matters.
Using the higher frequency stroke inside the instrument for the main note—or as part of the grace note motion—creates a bright flurry of sound. The contrast between pitches helps the main note stand out clearly without needing excessive force.
Gear Tour: Tools for the Job
The right equipment helps bring out these nuanced sound choices. For this lesson, Josh uses a specific combination of Black Swamp gear:
Bronze triangles are known for their rich, complex overtone spectrum. The 7-inch size provides ample body while maintaining enough clarity to make high-frequency upward strokes ring clearly.
The teardrop shape creates a dynamic playing surface, making it easy easily control dynamic expression by adjusting the beaters strike zone.
Using a well-crafted instrument and beater ensures that changes in stroke direction immediately translate into clear changes in pitch and tone quality.
Student Action Plan
Here is a straightforward practice routine to help you incorporate these stroke options into your daily practice:
Compare the Strokes Side-by-Side: Play four downward strokes on the bottom bar, followed by four upward strokes inside the triangle. Listen closely to the difference in high-frequency response.
Isolate Grace Notes: Take a grace note passage (such as a selection from La Mer). Practice the grace note with an upward stroke inside the frame and the main note with a standard downward stroke, listening for the bright flurry effect.
Work on Staccato Clarity: Find a passage with repeated staccato notes. Experiment with using the brighter inside stroke to keep the passage articulated without over-damping.
Mark Your Score: Review your current ensemble music and identify sections where a brighter stroke option might help your part cut through or blend better with the woodwinds or brass.
As percussionists, our goal is to make deliberate musical choices rather than playing every note with a default stroke. The next time you pick up a triangle part, ask yourself:
What texture does the ensemble need right now? Does this passage call for a warm foundation, or would a bright, high-frequency accent serve the music better?
By exploring inside the triangle and testing different stroke directions, you give yourself the flexibility to answer those questions with confidence.
Comments