musical moment, while a scrape emulates a gentle sigh. A crescendo roll can lead up to a climax, while a decrescendo roll can assist in reducing the energy level in a song. Transition points such as meter changes, modulations, and shifts between song sections are candidates for a cymbal roll.
( Vid 1)
Triangles Three triangles currently reside in my trap case— each with its unique tone quality. There is a certain musical satisfaction when I choose the appropriate timbre and drop a single shimmering note into a song. But the triangle can also be played as a groove instrument using the open-close technique. The method is demonstrated in this short video tutorial:( Vid 1)
( Vid 2)
Bar Chimes( Mark Tree) It’ s the percussionist’ s sparkle switch— just a touch produces sonic glitter. I use the sound sparingly and generally avoid the rather clichéd glissando sounds in favor of a quick burst at a transition point in a song, or a light brushing of the cylinders to create an atmospheric effect.
Cluster Rattles Rather than a rapid and clear-cut attack, the sound envelope of a cluster rattle opens a bit slower; the attack might be described as fuzzy, ragged, or slushy. Both the chajchas( goat hooves) and seed pod rattles produce sounds with rather rough edges; the tones might be described as earthy or folksy. I often reach for a cluster rattle to accompany a toms groove from the drum set.
Sleigh Bells The sleigh bells need not be confined to the last month of the year. The bright timbre can deliver a ringing ethno-rock vibe to the mix from January through November. The tone combines aspects of both tambourine and shaker and can bring a sonic sheen to a song. I often combine the sleigh bells with tambourine, shaker, or a cluster rattle.
Shekere It might look like a macrame project, but when the network of beads strikes the resonant gourd-shaped chamber, the shekere becomes a percussion powerhouse. The gritty sound is effective when performing either simple downbeats or more rhythmically active patterns.
Caxixi The caxixi sound has a slightly imprecise attack as the fill material strikes the slightly convex floor and the interior of the woven cone. I often use the subtle sound to play simple downbeats in a passage of music. Check out the video for a demonstration of playing hand-to-hand rhythms with caxixi.( Vid 2)
My Go-To Ten is certainly not an exhaustive
listing of instruments I play for all worship events. Glockenspiel, blocks, finger cymbals, and snare drum are among the others I use on occasion— and I will still cart in timbales, bongos, and congas if needed.
What’ s in your core group of instruments for worship? You can email me at markshelton @ verizon. net.
© 2026 Mark Shelton Productions
Mark Shelton Mark Shelton is a freelance musician, educational consultant, and content creator based in Dallas / Fort Worth. Mark’ s percussion work has been heard with North Carolina Symphony, Tin Roof Tango, Daystar Television, Gateway Worship, Stonebriar Church, Wichita Falls Orchestra, Boha Tribe, Victory Channel, Strata Big Band, TALEA, and Dallas Wind Symphony. www. marksheltonmusic. com www. percussionforworship. blogspot. com
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