How to Play Tambourine with Power and Precision: Mastering the Knee/Fist Technique
- Nathan Coles
- May 6
- 3 min read
A smart, musical approach to playing fast tambourine passages—straight from the hands (and knees) of a pro.
When the tempo kicks up and the dynamics demand more than one hand can deliver, your tambourine technique needs to evolve. That’s where the knee/fist method comes in—used by top orchestral players to maintain clarity, articulation, and musical shape in high-energy passages. In this post, we’ll break down how to play tambourine using this method, guided by performer and educator Keith Aleo, and offer practical advice for applying it in your own playing.
Table of Contents
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Meet Your Instructor
Keith Aleo is a seasoned performer and educator whose career bridges the worlds of orchestral performance, teaching, and percussion industry leadership. He’s played with top-tier ensembles like the Boston Symphony Orchestra and Chicago Symphony Orchestra, and taught at schools including the University of Michigan, Boston Conservatory at Berklee, and Interlochen Arts Academy, where he now serves as Director of Percussion. Keith is known for his clear, musical approach to technique—and when it comes to learning how to play tambourine with confidence and control, his insights are second to none.
What is the Knee/Fist Tambourine Technique?
(how to play tambourine when the music demands more)
This technique is built for speed, volume, and clarity. When rhythms are too quick or too forceful for traditional one-handed playing, you alternate the tambourine between your knee and your fist, allowing for more power and rhythmic control.
Here’s how it works:
Hold the tambourine so you can strike it alternately on your knee and with your fist.
You can keep the tambourine head-up (horizontal) or flip it upside down
For a stronger accent, the fist strike can create a more percussive attack.
Flipping the tambourine mid-piece can offer tonal variation—but must be timed carefully to stay in rhythm.
NOTE: Keith explains that you have to “time the flip” of the tambourine so that it doesn’t interrupt the flow of your playing. It’s a technique that’s as much about feel and timing as it is about force.
When and Why to Use This Method
The knee/fist approach is all about matching technique to musical intent. It’s not just a louder way to play—it’s a smarter one when the music gets complex.
Use it when:
The tempo is too fast for consistent one-handed articulation
You need sustained loud dynamics without sacrificing clarity
Your part involves repeated rhythmic figures that fatigue your hand
You want rhythmic precision across rapid figures
Avoid it when:
The passage is exposed and calls for nuance or subtlety
You’re playing softly or with a lighter orchestral texture
Physical space (or seating position) makes knee access difficult
Let the music determine the technique—not the other way around.
Student Action Plan
If you want this technique to work under pressure, it needs to be automatic. That takes practice—not just repetition, but intentional musical study.
Try this:
Watch the demonstration closely and take note of hand position, tambourine angle, and motion timing.
Practice the motion slowly, alternating between knee and fist with a metronome.
Play repeated rhythmic patterns on the tambourine using this technique.
Test different positions (flat vs. upside down) to hear the tonal differences.
Use musical excerpts from band or orchestra literature that require fast tambourine work and experiment with the knee/fist approach.
Ask yourself: “Is this the best sound for this moment?”
Final Reflections: Think Musically, Not Just Technically
Learning how to play tambourine goes far beyond hitting the right rhythms. It’s about making musical decisions that reflect the character, dynamics, and role of your part in the ensemble. The knee/fist technique isn’t just a trick for fast notes—it’s a way to remain expressive, articulate, and intentional when the music demands more.
Your next step: Try it. Practice it. Apply it thoughtfully. And remember, the best technique is the one that serves the music.
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