Slapstick 101: Professional Slapstick Fundamentals
- Nathan Coles
- Jan 16
- 4 min read
Achieving Precision, Safety, and Musicality in the Percussion Section
The slapstick—often referred to as the "whip"—is one of the most distinct and high-impact instruments in the percussionist's arsenal. While it may look simple, performing on it effectively requires a blend of rhythmic precision, physical coordination, and a keen sense of theatrical timing. In this guide, we dive deep into the fundamentals of the instrument, from basic safety and mechanics to nuanced musical decisions that separate a student performance from a professional one.
Table of Contents
Don't miss a post! Sign up for the Black Swamp Newsletter to get the latest percussion insights delivered to your inbox.
Meet Your Instructor
Dr. Trevor Barroero is an award-winning percussionist and dedicated educator currently serving as the Principal Percussionist of the Tucson Symphony Orchestra. Trevor has performed as a soloist across the globe, including appearances with the Moscow Symphony and The U.S. Army Band "Pershing's Own." His diverse performance career includes sharing the stage with Andrea Bocelli and appearing on ABC Primetime Specials.
A founding member of the history-making trio Lineage Percussion, Dr. Barroero is passionate about empowering musicians. He holds a Doctor of Musical Arts from the University of Georgia and maintains a private studio of over 40 students. He is proudly endorsed by Black Swamp, Pearl/Adams, Remo, Vic Firth, and Zildjian.
Gear Tour: The Overture Series Slapstick
For this series, Dr. Barroero utilizes the Black Swamp Overture Series Slapstick. The Overture Series is specifically designed to provide high-quality, concert-ready sound at a price point accessible to schools and developing percussionists.
This instrument features 20" by 4" soundboards crafted from 12mm birch plywood. The use of ply construction is a vital design choice, as it ensures the boards stay straight and resist warping over time—a common issue with solid-wood student instruments. Additionally, the oversized solid maple handles are a critical safety feature, keeping the player’s fingers away from the interior "pinch zone" of the boards. The result is a professional "crack" with a heavy-gauge hinge that ensures smooth, consistent action every time you play.
Safety First: Protection and Placement
The slapstick is one of the loudest instruments in the orchestra. Because of the immediate, high-decibel peak of the sound, hearing protection is strongly recommended during practice and performance.
Beyond your own ears, be mindful of your colleagues. Avoid playing the slapstick directly behind a woodwind or string player's head. Be aware of your proximity to others and the direction in which the sound is projected to ensure a professional and respectful stage environment.
Proper Grip and Body Mechanics
To achieve the most control, hold the slapstick in a V-shape in front of your body.
Symmetry: Keep your hands mostly equidistant from the center of your torso.
Flexibility: Experiment with the angle of the instrument. Some players prefer a horizontal orientation, while others find a slight vertical angle more natural for their arm structure.
The "Pinch" Rule: Always utilize the handles. Never wrap your fingers around the boards themselves, as the force of the impact can cause serious injury.
Sound Quality: Damping vs. Resonating
A professional percussionist makes a conscious choice about how the instrument finishes its sound. Dr. Barroero highlights two primary techniques:
Technique | Physical Action | Musical Result | Best For |
Closed (Damped) | Leave the boards together after impact. | A short, dry, "staccato" crack. | Isolated single notes; dry acoustic environments. |
Open (Resonating) | Pull the boards apart immediately (rebound). | Increased resonance and a "fuller" tail. | Faster rhythmic passages; large concert halls. |
The Art of Timing and Visual Anticipation
The slapstick is a highly visual instrument. In iconic pieces like Britten’s Young Person’s Guide to the Orchestra, the "theatrical" motion of opening the instrument can actually help the audience engage with the music.
However, visuals must never compromise timing. Because the boards have to travel a physical distance to meet, you must initiate the "closing" motion slightly before the beat. Think of it like a Mahler hammer stroke: the physical preparation starts early so the sound lands exactly on the conductor's beat.
Technical Exercises for Rhythmic Agility
While you may not practice slapstick for hours a day, building coordination is essential.
The 50/50 Stroke: Move both hands equally toward the center to create the sound. This is your default for power and symmetry.
Stationary Pivot: For faster passages, try keeping your non-dominant hand stationary and moving only your dominant hand (like a lid closing). This can increase speed and rhythmic clarity.
16th Note Timing: Practice simple rhythmic grids (1e&a 2e&a) at a slow tempo, focusing on making every "crack" identical in volume and quality.
Repertoire Study: Musical Decision Making
Professional playing is about making choices that serve the music. Dr. Barroero suggests different approaches for different masterpieces:
Tchaikovsky’s The Nutcracker: While often played as a snare drum rimshot, using the slapstick for the "gunshot" provides a "toy-like" quality that fits the onstage choreography of the toy soldiers.
Mahler’s Symphony No. 6: Focus on the stationary-hand technique for rapid-fire notes to maintain maximum control.
Gershwin’s Piano Concerto in F: In large halls, play on the "front" of the beat to compensate for the distance between the percussion section and the soloist. Use the "Open-Close" method (rebounding the first note and damping the second) to accentuate the rhythm.
Student Action Plan
Safety Check: Acquire a pair of high-quality earplugs and always keep them in your stick bag for slapstick rehearsals.
The "V" Drill: Practice the opening and closing motion in a mirror. Ensure your hands are symmetrical and your shoulders are relaxed.
The Rebound Challenge: Practice 10 hits where you leave the boards closed, then 10 where you pull them apart. Listen closely to the difference in the "tail" of the sound.
Anticipation Practice: Put on a recording of Sleigh Ride. Practice the visual motion of "setting up" the whip so that the sound happens perfectly with the music without rushing the physical movement.
Musicality isn't just for melodic instruments—it lives in every "crack" of the slapstick. Next time you pick up the whip, ask yourself: Am I just making a noise, or am I making a musical statement?
Comments