Editing Tambourine (section)

==Popular music==
[[File:Tamborine detail.jpg|thumb|[[Lucie Skeaping]] playing a tambourine (2012)]]

===Europe===
Various European folk traditions include the tambourine. The [[Romani people]] used the tambourine as a percussion instrument, and it was often passed around the audience to collect money after a performance. In the late 1700s, the tambourine had a surge in popularity in England, with some composers of [[salon music]] writing parts for tambourine, indicating as many as 30 different playing strokes or moves. The tambourines of this era often had a circular hole in the frame for the thumb, as one of the moves was to spin the tambourine on the upright thumb. In the late 19th century, [[The Salvation Army]] codified the tambourine as one of their important rhythm instruments. They preferred the term "[[timbrel]]" which was taken from the Bible. By 1945, Salvation Army performances often entailed elaborate tambourine choreography performed by squads in para-military style, more for visual appeal than for musicality.<ref name=Continuum/>

===African American influence===
[[File:LadyTambourineJazzfest08Howieluvzus.jpg|thumb|left|[[Lady Tambourine]] performs in 2008 at [[New Orleans Jazz & Heritage Festival]] in the gospel tent]]
[[African Americans|African American]] slaves were denied drums which might be used for [[Drums in communication|long-distance communication]]. To supply rhythm in music, they turned to smaller percussion instruments such as the [[Bones (instrument)|bones]] and the tambourine, as well as [[clapping]] and [[body percussion]]. The tambourine could accompany the singing of [[Spiritual (music)|spirituals]], and it was used for celebrations and dancing.<ref>{{cite journal |title=Slave Music in the United States before 1860: A Survey of Sources |author=Dena J. Epstein |date=1963 |volume=20 |number=3 |journal=Notes |publisher=Music Library Association |pages=377–390 |doi = 10.2307/895685|jstor = 895685}}</ref> The tambourine became one of the main instruments of the American [[minstrel show]] in the early 1800s, often performed by whites in [[blackface]] such as [[Edwin Pearce Christy|Ned Christy]], or sometimes by actual black performers. On stage, the tambourine and bones players in minstrelsy stood to the far left and far right of the Interlocutor (master of ceremonies) and were titled Brother Tambo and Brother Bones: because of their position they were called the end men. The tambourine was also used in some [[vaudeville]] acts, including the 1840s dance and musical performances of [[Master Juba]] who was able to elicit a wide range of sounds from the instrument including the chugging of a steam train. Used for [[Pentecostalism|Pentecostal]] praise in [[revival meetings]] in the early 20th century, by the 1920s the tambourine was firmly established as the primary percussion instrument of [[gospel music]]. The tambourine was played by gospel groups and choirs, and carried prominently by singers who did not otherwise play an instrument, notably by [[Bessie Jones (American singer)|Bessie Jones]] and [[Luther Magby]].<ref name=Continuum>{{cite book |editor1=John Shepherd |editor2=David Horn |editor3=Dave Laing |editor4=Paul Oliver |editor5=Peter Wicke |title=Continuum Encyclopedia of Popular Music of the World |publisher=A & C Black |date=2003 |pages=364–367 |volume=2 |isbn=978-1-84714-472-0}}</ref>

At the same time, the tambourine expanded from gospel music to various forms of African American [[popular music]] including [[blues]] and [[jazz]]. For instance, singer and guitarist [[Blind Roosevelt Graves]] was accompanied by his brother Uaroy on tambourine and voice, singing both sacred and secular songs. Singer-songwriter [[Josh White]] got his start as a child performing for handouts in the street with an exuberant tambourine performance, beating the instrument's drumhead on his elbows, knees, and head.<ref>{{cite book |title=Josh White: Society Blues |page=11 |author=Elijah Wald |date=2002 |publisher=Psychology Press |isbn=978-0-415-94204-1}}</ref>

In the 1950s as gospel elements were incorporated into [[rhythm and blues]] by African American singers such as [[Ray Charles]], the tambourine often accompanied the changes. It continued its foray into popular music within the music of [[Motown]]. Motown singers and musicians often grew up with gospel music, and they carried the tambourine into pop performance. [[The Supremes]] performed with two tambourines – more for choreography than percussion – played by [[Florence Ballard]] and [[Mary Wilson (singer)|Mary Wilson]] standing apart from [[Diana Ross]].<ref name="Rock Eras">{{cite book |title=Rock Eras: Interpretations of Music and Society, 1954-1984 |author=Jim Curtis |publisher=Popular Press |date=1987 |pages=96–97 |isbn=978-0-87972-369-9}}</ref> [[Jack Ashford]]'s distinctive tambourine playing was a dominant part of the rhythm section on many Motown records,<ref name=Brinkworth>{{cite web|url=http://www.theblackpage.net/articles/the-almighty-tambourine|title=The Almighty Tambourine|publisher=The Black Page|date=2 March 2010|first=Jayson |last=Brinkworth|access-date=5 November 2012}}</ref> for instance on [[the Miracles]] tune "[[Going to a Go-Go (song)|Going to a Go-Go]]",<ref name="Rock Eras"/> and [[Marvin Gaye]]'s "[[How Sweet It Is (To Be Loved by You)|How Sweet It Is]]".<ref name=Brinkworth/>

[[File:Fleetwood Mac - Stevie Nicks (1980).png|thumb|upright|right|[[Stevie Nicks]] performing in 1980 on a [[headless tambourine]]]]
Inspired by African American examples, musicians of all races have used the tambourine in modern pop music. It was featured in "[[Green Tambourine]]", a [[busking]]-oriented song from [[the Lemon Pipers]], a 1960s [[White Americans|white American]] band.  Similarly, [[the Byrds]] released a hit version of "[[Mr. Tambourine Man]]" in 1965, a [[folk rock]] and [[psychedelic rock]] recording of a song written by [[Bob Dylan]]. The tambourine part of the song serves to drive the beat forward.<ref name=Dean>{{cite book |title=Rock N Roll Gold Rush: A Singles Un-Cyclopedia |author=Maury Dean |page=200 |publisher=Algora |date=2003 |isbn=978-0-87586-207-1}}</ref>

Singers who rarely play an instrument are likely to play the tambourine at concerts:<ref name=Brinkworth/> among the most well-known examples are [[Mick Jagger]] of [[the Rolling Stones]], [[Jim Morrison]] of [[the Doors]],<ref name=Dean/> [[Janis Joplin]] leading [[Big Brother and the Holding Company]], and [[Stevie Nicks]] as part of [[Fleetwood Mac]] and as a solo performer. Very often, the instrument used in pop music is the [[headless tambourine]] or "jingle ring", lacking a drum head. The singer should, however, play the tambourine with the overall song [[arrangement]] in mind; in some cases, band members have purposely hidden the tambourine from an irresponsible lead singer who disregards the interplay of rhythm.<ref name=Brinkworth/> On the other hand, skilled performers such as Jagger have brought a fine sense of timing to their tambourine playing. In the Rolling Stones' 1964 U.S. single of "[[Time Is on My Side]]", the less-known version, Jagger lays the tambourine on the front of the [[Beat (music)|beat]] while [[Charlie Watts]] holds the snare to the back of the beat, which allows the longer decay time of the tambourine to synchronise with the snare at the end. The result is an intentional feeling of running to catch up.<ref>{{cite book |title=Living Through Pop |author=Tim Barnes |chapter=Loosen up: the Rolling Stones ring in the 1960s |page=21 |editor=Andrew Blake |publisher=Routledge |date=2002 |isbn=978-1-134-71761-3}}</ref>

In jazz, the tambourine was used prominently but non-traditionally by percussionist [[Joe Texidor]] who backed [[Rahsaan Roland Kirk]] in 1969 on ''[[Volunteered Slavery]]''.<ref name=Continuum/> In 1960 when [[Nina Simone]] wanted to play the old minstrel song "[[Li'l Liza Jane]]" at the Newport Jazz Festival, she said "Where's my tambourine?", as heard on the album ''[[Nina Simone at Newport]]''. Jazz drummer [[Herlin Riley]] often takes the stage while beating and shaking a tambourine, and he is featured on the tambourine in [[Wynton Marsalis]]'s jazz oratorio ''[[Blood on the Fields]]'', which tells the story of slavery in the US.<ref>{{cite magazine |title=Living a Childhood Dream |author=Geraldine Wyckoff |pages=44–45 |magazine=[[OffBeat (music magazine)|OffBeat]] |edition=The Bible of Jazz Fest |date=2016 }}</ref>

Jazz, pop and rock drummers sometimes mount a headless tambourine in the [[drum kit]]. Some position the tambourine above the toms in the same manner as a cymbal, for instance, Nathan Followill of [[Kings of Leon]], and [[Larry Mullen Jr.|Larry Mullen Jr]] of [[U2 (band)|U2]]. [[Bill Ward (musician)|Bill Ward]] of [[Black Sabbath]] connected a tambourine to a foot pedal, for his left foot to operate like a [[hi-hat]]. [[John Bonham]] of [[Led Zeppelin]] simply mounted a tambourine above the hi-hat for extra sonic colour.<ref name=Brinkworth/> [[The Subdudes]], a [[roots rock]] group from New Orleans, opted for a tambourine player, Steve Amedée, instead of a drummer.<ref>{{Cite web|url=https://www.allmusic.com/artist/the-subdudes-mn0000475511|title=The Subdudes &#124; Biography, Albums, Streaming Links|website=[[AllMusic]]|access-date=19 April 2021}}</ref>