What do you think, what musical instruments first appeared on our planet? Right, percussion instruments! Even chest man - ancient people beat it for various reasons, extracting a powerful dull sound. But the first real drums appeared at the dawn of mankind - it is known about the existence of drums in ancient Sumer about 3000 years ago. Drums in those ancient times were used to play music during ceremonies and rituals (for example, drums of the American Indians), warning of danger or instructing the army during battles. Rock paintings in Peruvian caves indicate that drums were most often used in religious ceremonies and to raise the spirit during hostilities.
The ancient drum is arranged in much the same way as the one familiar to us today - a hollow body and membranes stretched over it from both sides. To tune the drum, the membranes were pulled together with animal veins, ropes, and later they began to use metal fasteners. Some tribes used the skin from the body of a killed enemy as membranes, but fortunately these fun times have passed without us, and now we use a variety of plastics made from polymer compounds.
Drumsticks also did not appear immediately - initially, the sound from the drum was extracted by hand. Over time, a wide variety of percussion instruments of different peoples and civilizations appeared. How, then, out of all this diversity, so to speak, did a modern drum kit emerge, which is practically universal for music of different styles and directions?
Looking at a standard setup, you might think that tom-toms are the most common drums, but not everything is so simple. Tom-toms appeared in Africa and they were really called tom-toms then. Hollow tree trunks served as the shell of the drum, and animal skins were used as membranes. African residents used them to put their fellow tribesmen on alert. Also, the sound of drums was used to create a special state of trance during the rituals. Interestingly, it is from ritual music that rhythmic patterns originated, which became the basis of some modern styles of music.
Later, the Greeks came to Africa, and, having learned about African drums, they were very surprised by the powerful and strong sound of tom-toms. The Greek soldiers took with them several drums, but they could not find a use for them. Some time later, the Roman Empire led the fight for new lands, and the Catholics went on a crusade. Approximately 200 years BC. e., their troops invaded Greece and North Africa. More practical and quick-witted, the Romans, having learned about African drums, began to use them in military bands.
The bass drum, or as it is now called the bass drum, is the largest, low-sounding drum, which is the basis for all rhythms, one might say the foundation. With its help, rhythm is formed, it is the starting point for the entire orchestra (group), and for all other musicians. Around 1550, the bass drum came to Europe from Turkey, where it was used in military bands. The powerful sound of this instrument captivated many, it became fashionable to use it in musical works, and thus the drum spread throughout Europe.
In the 20th century, more and more people began to get involved in playing percussion instruments, many began to study African rhythms and perform them. Increasingly, cymbals began to be used for playing, their size increased, and the sound changed. Over time, the Chinese toms that were used earlier were replaced with Afro-European drums, hi-hat cymbals increased in size in order to play on them with sticks. Thus, the drums gradually acquired a modern look.
The drum set in its modern form was not invented at any particular moment - for almost the entire 20th century, the drumset was brought to perfection by both musicians and instrument manufacturers. By about the 1890s, drummers were experimenting with using military band drums on stage. By combining different placements for the snare, kick and toms, the drummers tried to find a position where one person could play all the drums at the same time.
To this end, drummers and instrument manufacturers began to develop mechanisms that allow you to control the playing of the bass drum - for example, various levers controlled by hands or feet. The first bass drum pedal, reminiscent of the modern one, was invented by William F. Ludwig in 1909. The invention made it possible to play the barrel more easily and quickly - there was some freedom of hands for concentrating on the snare drum and other instruments.
Soon (around the beginning of the 1920s) the prototype of modern hi-hat'a appeared on the scene - the Charlton pedal - a foot pedal on a rack with small cymbals fixed on top. And a little later, around 1927, the almost modern design of the hi-hat ("high hat") first saw the light - a high stand and larger cymbals allowed drummers to play both with their hand and foot, as well as combine these options.
By the 1930s, a set of drums included a bass drum, a snare drum, one or more tom-toms, Zildjian "Turkish" cymbals (better resonating and more musical than Chinese cymbals), a cowbell, and wood blocks. Of course, many drummers put together their own kits - they used a variety of vibraphones, bells, gongs and many other additions.
Over the years, percussion makers have greatly strengthened and expanded their drum kit to make the kit versatile enough to play a variety of styles of music. Around the 50s, drummers began to use a second kick, and soon the first cardan was invented by DW. At the end of the 50s, a revolution in the drum world finally took place - manufacturers Evans and Remo launched the production of membranes from polymer compounds and freed drummers from calfskins, which are so sensitive to weather changes. This is how the drumset that we use today was formed.
ETHNIC DRUMS OF THE WORLD
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Ethnic drums are a real find for those who want to feel the freedom of self-expression and feel a surge of strength and energy. In addition, the unusualness of ethnic instruments lies in their original memorable sound, and they will also add ethnic flavor to any interior and you will definitely not be left without attention. Most of these drums must be played with the hands, which is why hand drums are also called percussion, from the Latin word perka, which means hand.
Ethnic drums are for those who are looking for new sensations and states. And most importantly, you do not have to be a professional musician, because drums are easy to learn and do not require special musical talent. In addition to skill and boundless desire, nothing more is required of you!
Drums appeared at the dawn of human history. During excavations in Mesopotamia, some of the oldest percussion instruments were found - made in the form of small cylinders, the origin of which dates back to the sixth millennium BC. The age of the drum found in Moravia dates back to the fifth millennium BC. e. In ancient Egypt, drums originated four thousand years BC. e. It is known about the existence of drums in ancient Sumer (about three thousand years BC). Since ancient times, the drum has been used as a signal instrument, as well as to accompany ritual dances, military processions, and religious ceremonies.
The symbolic meaning of the drum is close to the semantics of the heart. Like most musical instruments, he is endowed with the function of mediation between earth and sky. The drum is closely related to the tambourine, which can be either primary in relation to the drum or derived from it. In the mythology of the Mongolian peoples, the tambourine appeared as a result of the division of the drum by Dann Derkhe, a shamanic deity, into two halves. But more often the drum is seen as a fusion of opposite principles: feminine and masculine, lunar and solar, earthly and heavenly, personified by two tambourines. In many cultures, the drum is functionally likened to a sacrificial altar and is associated with the world tree (drums were made from the wood of sacred tree species). An additional meaning within the framework of the general symbolism is due to the shape of the drum. In Shaivism, a double drum is used, which is considered a means of communication with the deity Shiva, as well as an attribute of the latter. This drum, shaped like an hourglass and called damara, symbolizes the opposition and interconnectedness of the heavenly and earthly worlds. Two balls hanging on cords strike the surface of the drum as the drum rotates.
In shamanistic cults, the drum is used as a way to achieve an ecstatic state. In Tibetan Buddhism, one of the rites of passage involves a dance to the accompaniment of a drum made of skulls. The drum of the Sami shamans - kobdas, on which various images of a sacred nature are drawn, is used for divination (under the blows of a hammer, a special triangle placed on the drum moves from one image to another, and its movements are interpreted by the shaman as answers to questions.
Among the ancient Greeks and Romans, the tympanum drum, the forerunner of modern timpani, was used in the cults of Cybele and Bacchus. In Africa, among many nations, the drum also acquired the status of a symbol of royal power.
Today drums are extremely popular all over the world, they are made in a wide variety of forms. Some traditional drums have long been used in pop practice. These are, first of all, all kinds of Latin American instruments: bongos, congas, etc. Relatively recently, in the instruments of pop, ethnic and medieval musical groups the most important oriental drums and drums of Africa appeared - respectively, darbuka (or its bass variety dumbek) and djembe. The peculiarity of these instruments is that they can produce sounds of various timbre colors. This is especially true for darbuki. Masters of the game are able to extract many different sounds from the oriental drum - darbuki and, thus, compete with the whole drum set. Usually, the technique on these instruments is taught by the bearers of the tradition, and mastering material is coming exclusively by ear: the student repeats after the teacher all sorts of rhythmic patterns.
The main functions of ethnic drums:
- Ritual. Since ancient times, drums have been used in various mysteries, since a long monotonous rhythm can lead to a trance state (see article The mysticism of sound.). In some traditions, the drum was used as a palace instrument for special ceremonial occasions.
- Military. Drumming is able to raise morale and intimidate the enemy. The military use of drums is recorded in ancient Egyptian chronicles in the 16th century BC. In Switzerland, and later throughout Europe, war drums were also used to line up troops and parades.
- Medical. For medical purposes, drums were used to exorcise evil spirits. A number of traditions are known in Africa, the Middle East and Europe. To the rapid beat of the drums, the patient had to perform a special dance, resulting in a cure. According to modern research, drumming helps relieve stress and release the hormone of joy (see article Healing rhythms).
- Communication. Talking drums, as well as a number of other drums in Africa, were used to convey messages over long distances.
- Organizational. In Japan, the taiko drum determined the size of the territories belonging to a given village. It is known that among the Tuareg and some other peoples of Africa, the drum was the personification of the power of the leader.
- dance. Drum rhythm is traditionally the basis for many dances of the world. This function is closely related to and stems from ritual as well as medical use. Many dances were originally part of the temple mysteries.
- Musical. IN modern world drumming technique reached a high level, and music was no longer used exclusively for ritual purposes. Ancient drums have firmly entered the arsenal of modern music.
You can read more about the various drumming traditions in the article. Drums of the World .
Middle Eastern, North African and Turkish drums
Listen to rick's solo
Bendir (Bendir)
Bendir- the drum of northern Africa (Maghreb), especially the region of the Eastern Berbers. It is a frame drum made of wood and covered with animal skin on one side. Strings are usually attached to the inner surface of the bendir membrane, which create additional sound vibration when struck. The best sound is obtained on a bendir with a very thin membrane and fairly strong strings. Algerian and Moroccan orchestras performing both modern and traditional musical forms. Unlike dafa, bendir does not have rings on the back of the membrane.
Talking about the rhythms and instruments of North Africa, one cannot fail to mention another curious tradition, namely group clapping. For tourists, this tradition seems, to put it mildly, unusual, and for the inhabitants of the Maghreb themselves, there is nothing more familiar than getting together and starting to clap your hands, creating a certain rhythm. The secret to the correct sound when clapping lies in the position of the palms. It is rather difficult to describe, but the locals themselves say that when you hit, you need to feel how you hold the air with both hands. The very movement of the hands is also important - absolutely free and relaxed. Similar traditions can also be found in Spain, India and Cuba.
Listen to a Moroccan bendir solo
Tarija ( Tarija).
Small ceramic goblet drum with snakeskin and string inside. Known since at least the 19th century, used in Morocco in ensembles Malhun to accompany the vocal part. The singer taps the main rhythm with his palm to control the rhythm and tempo of the orchestra. At the end of the song, it can be used to enhance the energy and rhythmic ending.
Listen to the Moroccan ensemble Malhun with tariji
T oubeleki, toymbeleki
).
A Greek variety of darbuka with an amphora-shaped body. Used to perform Greek melodies in Thrace, Greek Macedonia and the islands of the Aegean Sea. The body is made of clay or metal. You can also buy this type of drum at Savvas Percussion or from Evgeny Strelnikov. Bass toubeleki differs from darbuki in greater boom and softness of sound.
Listen to the sound of toubeleki (Savvas)
Tavlak ( Tavlak).
Tavlak (tavlyak) is a Tajik ceramic cup-shaped drum of small size (20-400 mm). Tavlak is predominantly an ensemble instrument, used in conjunction with doira or daf. The sound of tavlak, in contrast to the darbuka, is more drawn-out, with a wow effect more characteristic of doira or Indian percussion. The tavlyak is especially popular in the Khatol region of Tajikistan, which borders Afghanistan and Uzbekistan, where it can be used as a solo instrument.
Listen to the rhythms of the Tajik tavlyak
Zerbakhali ( Zer-baghali, Zerbaghali, Zir-baghali, Zirbaghali, Zerbalim
).
Zerbakhali is a cup-shaped Afghan drum. The case was made either from wood, like the Iranian tonbak, or from clay. The membrane in the early samples contained an additional overlay, similar to the Indian tabla, which gave the sound of vibrato. The technique of playing on which is somewhat close, on the one hand, to the technique of playing in Persian tonbak(toneback), and on the other hand, the technique of playing the Indian tablet (tabla). From time to time, various techniques borrowed from darbuki. The Indian tabla especially influenced the craftsmen from Kabul. It can be considered that the zerbakhali is an Indo-Persian musical instrument of Persian origin. The rhythms and technique of zerbakhali were influenced by Persia and India, it used sophisticated finger technique and overfilled rhythms before the war, which later became the main feature of Turkish percussion. At the beginning of the 20th century, the instrument was used in Herat, later in the 50s it became widely used in Afghan music, together with the dutar and the Indian rubab. In the 70s, female performers appeared on this drum, before that they played only frame drums.
Listen to zerbakhali performances of the 70s
Kshishba ( Khishba, Kasour (slightly wider), Zahbour or Zenboor).
These drums are used mainly in the countries of the Persian Gulf in the music of Choubi and the dance direction of Kawleeya (Iraq, Basra). A narrow tubular drum with a wooden body and a fish skin membrane. The skin is taut and hydrated for a vibrant sound.
Listen to the sound of kshishba (sometimes darbuka enters)
Tobol
Tobol is the Tuareg drum. The Tuareg are the only people in the world whose men, even in the home circle, are required to cover their faces with a bandage (the self-name is "the people of the bedspread"). They live in Mali, Niger, Burkina Faso, Morocco, Algeria and Libya. The Tuareg retain tribal division and significant elements of the patriarchal system: the people are divided into "drum" groups, each headed by a leader, whose power is symbolized by a drum. And above all the groups stands the leader, Amenokal.
The well-known French researcher A. Lot wrote about the tobol - a drum symbolizing the leader of the Tuareg: “It is the personification of power among the Tuareg, and sometimes the amenokal itself (the title of the leader of a tribal union) is called a tobol, like all tribes under his patronage. Piercing a tobol is the most terrible insult that can be inflicted on a leader, and if the enemy manages to steal it, then irreparable damage will be done to the prestige of the amenocal.
Davul (Davul)
Davul- a drum common among the Kurds, in Armenia, Iran, Turkey, Bulgaria, Macedonia, Romania. On the one hand, it has a goatskin membrane for bass, which is beaten with a special hard one, on the other hand, sheepskin is stretched, which is beaten with a twig, extracting a high biting sound. At present, membranes are made of plastic. Sometimes they hit the wooden case with a stick. In the Balkans and Turkey, the rhythms for davul are quite complex, as are the rules for odd rhythms and with syncopations. In our studio, we use the davul for street performances and to create a sense of rhythm.
Listen to the sound of the davul
Kosh ( Kosh)
In the XV-XVI centuries, there were free lands in Zaporozhye. Risky people have long settled there, wanting freedom from different rulers. So the Zaporizhian Cossacks gradually arose. Initially, these were small gangs of dashing people who hunted for raids and robbery. Moreover, the group-forming factor was a cauldron for cooking, called "kosh". Hence the "koschevoi ataman" - in fact, the most powerful robber distributing rations. How many people could feed from such a cauldron, so many sabers were in the kosh-vatag.
The Cossacks traveled on horseback or boats. Their life was ascetic and minimized. It was not supposed to take extra things with you on a raid. Therefore, poor property was multifunctional. The most interesting thing is that this same kosh-cauldron, after a plentiful dinner, easily and simply turned into a tulumbas drum, a kind of timpani.
With the help of ropes, the skin of the animal that was boiled in it for dinner was stretched onto a cauldron that had been eaten clean. During the night, the tulumbas dried up by the fire, and by morning a war drum was obtained, with the help of which signals were given to the army and communication was made with other cats. On the boats, such a drum ensured the coordinated actions of the rowers. Later, the same tulumbas were used on watchtowers along the Dnieper. With their help, a signal was transmitted over the relay about the approach of the enemy. The appearance and use of the tulumbas-cauldron.
similar drum Kus is a large Persian cauldron-shaped drum. It is a pair of drums made of clay, wood or metal in the form of a hemispherical cauldron with skin stretched over it. The kusa was played with leather or wooden sticks (leather sticks were called daval). Usually the kus was worn on the back of a horse, camel or elephant. It was used during festive events, military marches. He also often performed as an accompaniment to karnay (karnay - Persian pipe). Persian epic poets mentioned kus and karnai when describing the battles of the past. Also on many ancient Persian canvases you can see images of kusa and karnay. The appearance of these musical instruments, scientists attribute to the 6th century. BC.
The Cossacks of the Zaporizhzhya Sich used tulumbas of various sizes to control the army. A small one was tied to a saddle, the sound was produced with a whip handle. The largest of the tulumbas was hit by eight people at the same time. The loud single sounds of the tocsin, together with the rumble of tulumbas and the piercing rattle of tambourines, were used to intimidate. Among the people, this tool has not received significant distribution.
(Krakeb)
or in another way kakabu (kakabu)- Maghreb national musical instrument. Krakeb is a pair of metal spoons with two ends. When playing, a pair of such “spoons” is held in each hand, so that when each pair collides with each other, fast, pulsating sounds are obtained, creating a colorful ornament for rhythm.
Krakebs are the main component of Gnaua rhythmic music. It is used mainly in Algeria and Morocco. There is a legend that the sound of krakebs resembles the clang of metal chains in which slaves from West Africa walked.
Listen to Gnawa music with krakebs
Persian, Caucasian and Central Asian drums
Daph (Daf, Dap)
Daph- one of the oldest frame percussion instruments about which there are many folk tales. The time of its occurrence corresponds to the time of the appearance of poetry. For example, in Tourat it is said that it was Tawil, the son of Lamak, who invented daf. And also, when it comes to the wedding of Solomon with Belkis, it is mentioned that the daf sounded on their wedding night. Imam Mohamad Qazali wrote that the Prophet Mohammad said: "spread the barracks and play the daf loudly." These testimonies speak of the spiritual value of Dafa.
Ahmed bin Mohammad Altavusi writes about the relationship of dafa with the player and the manner of playing dafa: "The circle of dafa is the circle of Akvan (existence, the world, everything that exists, the universe) and the skin that is stretched on it is absolute existence, and the blow into it is the entry of divine inspiration, which from the heart, internal and secret, is transferred to absolute being. And the breath of the player playing the dafa is a reminder of the degree of God, when his appeal to people, their souls will be captivated by love."
In Iran, Sufis used daf for ritual ceremonies ("dhikr"). IN last years Iranian musicians successfully began to use the oriental drum - daf in modern pop Persian music. Nowadays daf is very popular among Iranian women - they play and sing on it. Sometimes the women of the Kurdistan provinces of Iran gather in huge groups to play the daf together, which is analogous to collective prayer with the help of music.
Listen to the sound of Dafa
Dongbak ( Tonbak)
Dongbak(tombak) is an Iranian traditional percussion instrument (drum) in the shape of a goblet. There are various versions of the origin of the name of this instrument. According to the main one - the name is a combination of the names of the main strokes Tom and bak. We will immediately discuss the nuances of spelling and pronunciation. In Persian, the letter combination "nb" is pronounced as "m". From this came the discrepancy between the names "tonbak" and "tonbak". It is interesting that even in Farsi you can find a record equivalent to the pronunciation of "tombak". However, it is considered correct to write "tonbak" and pronounce "tombak". According to another version, tonbak comes from the word tonb, which literally means "belly". Indeed, dongbak has a convex shape similar to the belly. Although, of course, the first version is more generally accepted. The remaining names (tombak/donbak/dombak) are variations of the original. Another name - zarb (zarb) is of Arabic origin (most likely from the word darab, which means the sound of a beat on a drum). The sound of the instrument, thanks to the not too strong tension of the skin and specific form body, rich in timbre shades, filled with incomparable depth and bass density.
The drum is made from a single piece of wood (maple, mulberry or walnut). Tombak is covered with calf, goat or camel skin, fixing it on the drum with glue or special staples. It is advisable to warm up the membrane before starting the game. Depending on which part of the membrane the performer strikes with his fingers, the sound may be deeper and lower, or resemble a dry click. The long duration of the maqams required the rough skin of the fingers. The musicians used different techniques: they soaked them in henna, which Iranian women love to dye their hair so much, they plucked wheat ears on the field with their hands.
In classical music, the tombak was not considered an instrument that required special talent to master. This was the case until the pioneering solo performances of Ostad Hossein Tehrani in the 1950s. Among his students were such prominent musicians as Mohammad Esmaili, Amir Nasser Eftetah and Jamshid Chemirani.
The tonbak is played with fingers. The modern technique of playing the tombak distinguishes it from a huge number of drums of this type: it is very sophisticated and is characterized by a variety of performance techniques and their combinations. They play the tombak with both hands, placing the instrument almost in a horizontal position. Achieving the desired sonic coloration depends, at a minimum, on the area of the instrument being struck and whether the strike is made with the fingers or the brush, flicking or sliding.
Listen to the sound of the tongbak
Doira)
(translated as a circle) - a tambourine, common on the territory of Uzbekistan, Tajikistan, Kazakhstan. It consists of a round shell and a membrane tightly stretched on one side with a diameter of 360-450 mm. Metal rings are attached to the shell, the number of which ranges from 54 to 64, depending on its diameter. Previously, the shell was made from fruit plants - dry vines, walnut or beech trees. Now it is made mainly from acacia. The membrane used to be made from catfish skin, goat skin, sometimes the stomach of an animal, now the membrane is made from thick calfskin. Before playing, the doira is heated in the sun by a fire or lamp to increase the tension of the membrane, which contributes to the purity and sonority of the sound. Metal hoops on the shell contribute to an increase in thermal conductivity when heated. The membrane is so strong that they can withstand a person jumping on it and a knife strike. Initially, the doira was a purely female instrument, women gathered, sat, sang and played the doira, as well as Iranian women gathered and played the daf. At present, the skill of playing the doira has reached an unprecedented level. Such masters of doira as Abos Kasimov from Uzbekistan, Khairullo Dadoboev from Tajikistan are known in the world. The sound is extracted by hitting 4 fingers of both hands (thumbs serve to support the instrument) and palms on the membrane. A blow to the middle of the membrane gives a low and dull sound, a blow near the shell gives a higher and sonorous sound. The ringing of metal pendants joins the main sound. The difference in sound coloration is achieved due to various playing techniques: finger and palm strikes of different strengths, little finger clicks (noukhun), fingers sliding along the membrane, shaking the instrument, etc. Tremolo and grace notes are possible. The range of dynamic shades - from gentle piano to powerful forte. The technique of playing the doira, developed over the centuries, has reached a high level of virtuosity. The doira is played (amateurs and professionals) solo, accompanying singing and dancing, as well as in ensembles. The repertoire of the doira is made up of various rhythmic figures - usuli. Doira is used in the performance of maqoms, mughams. In modern times, doira is often included in folk and sometimes symphony orchestras. Listen to the sound of doira
Gaval ( Gaval)
Gaval- Azerbaijani tambourine, closely associated with traditions, life and ceremonies. Currently, a number of musical genres, folk performances and games are played under the accompaniment of the gaval. Currently, the gaval is a member of ensembles, including folk instrumental and symphony orchestras.
As a rule, the diameter of the round shell of the gaval is 340 - 400 mm, and the width is 40 - 60 mm. The wooden gaval hoop is cut from the trunks of hardwood trees, it is smooth on the outside, and has a conical shape on the inside. The main material for the manufacture of a wooden hoop are grape, mulberry, walnut trees, red oak. An inlaid ornament made of marble, bone and other materials is applied to the surface of the round shell. From the inside of a wooden hoop, from 60 to 70 bronze or copper rings are fixed into small holes with the help of maces. and often four brass bells. On the maces, visible on the outside of the wooden hoop, the skin is carefully glued. IN Lately in Iran, gaval is made from the pistachio tree. This leads to difficulties for the khananda when performing on the gaval.
Typically, the membrane is made from the skin of a lamb, goatling, goitered gazelle or bull bladder. In fact, the membrane must be made from fish skin. Now, during the development of technology, artificial leather and plastic are also used. Fish skin is made using special tanning. Professional performers, it can be said, do not use gaval from the skin of other animals, because fish skin is transparent, thin and very sensitive to temperature changes. Most likely, the performer, by touching the gaval or pressing it to the chest, warms the instrument and as a result, the sound quality of the gaval is significantly improved. When shaking the metal and copper rings hanging from the inside of the instrument, and when hitting, a double sound is produced. The raucous sound coming from the membrane of the instrument and from the rings inside acquires a unique sound.
The technique of playing the gaval has the widest possibilities. Sound extraction is performed using the fingers of the right and left hands and blows reproduced by the inside of the palms. Gaval should be used very carefully, skillfully, with a creative approach, observing certain precautions. When performing the gaval, the soloist should try not to tire the listener with an awkward and unpleasant sound. With the help of a gaval, you can get the desired dynamic shades of sound.
Gaval is an obligatory instrument for performers of traditional Azerbaijani music genres such as tesnif and mugham. Mugham in Azerbaijan is usually performed by a trio of sazandari: tar player, kemanchist and gavalist. The structure of the mugham dastgah is such that a mugham dastgah includes several ryangevs, daramads, tasnifs, diringas, melodies, and folk songs. The khanende (singer) himself is often at the same time a gavalist. Currently, the master who owns the instrument to the fullest is Mahmoud Salah.
Listen to the sound of the hawal
Nagarra, cover ( Nagarra)
There is a wide variety of instruments called nagarra: they are common in Egypt, Azerbaijan, Turkey, Iran, Central Asia and India. In translation, nagara means "tapping", comes from the Arabic verb naqr - to hit, knock. Nagara, which has powerful sound dynamics, allows you to extract a variety of timbre shades from it, and it can also be played on outdoors. The nagarra is usually played with sticks, but can also be played with fingers. Its body is made from walnut, apricot and other types of trees, and the membrane is made from sheepskin. Heights 350-360 mm, diameter 300-310 mm. Depending on their size, they are called kyos nagara, bala nagara (or chure N.) and kichik nagara, that is, a large, medium and snare drum. Gosha-nagara resembles in structure, two cauldron-shaped drums fastened together. Also in Azerbaijan there is a cauldron-shaped drum called "timplipito", which outwardly resembles two small drums fastened together. The gosha-nagar is played with two wooden sticks, which are made mainly from dogwood. The word Gosha-nagara literally translated from the Azerbaijani language means "a pair of drums." The word "gosha" means - couple. Initially, the body of the gosha-naghara was made of clay, then it began to be made of wood and metal. For the manufacture of the membrane, calf, goat, rarely camel skin is used. The membrane is screwed to the body with metal screws, which also serve to adjust the instrument. They play the gosha-nagar, putting it on the floor or on a special table, in some traditions there is a special profession: the holder of the nagarra, which is trusted by short boys. Gosha-nagara is a mandatory attribute of all ensembles and orchestras folk instruments as well as weddings and celebrations.
The poet Nizami Ganjavi described "naghara" as follows: Listen to the sound of the nagarra (also shares) - Caucasian double-sided drum, common in Armenia, Georgia, Azerbaijan. One of the membranes is thicker than the other. The body is made of metal or wood. The sound is extracted with hands or two wooden sticks similar to the Turkish davul - thick and thin. Previously used in military campaigns, currently used in an ensemble with zurns, accompanies dances, processions. Listen to the sound of the dhol Listen to the sound of kayrok performed by Aboss Kasimov There is a legend about the birth of tabla. During the time of Akbar (1556-1605) there were two professional Pakhawaj players. They were bitter rivals and constantly competed with each other. Once, in a heated drumming match, one of the rivals - Sudhar Khan - was defeated and, unable to bear his bitterness, threw his pakhawaj to the ground. The drum broke into two pieces, which became tabla and dagga. The big drum is called bayan, the small one is called daina. The membrane is not made from a single piece of leather; it consists of a round piece that is glued to a leather ring. Thus, in tabla the membrane consists of two pieces of skin. The ring-shaped piece, in turn, is attached to a leather hoop or cord surrounding the membrane, and through this cord are passed straps that attach the membrane (pudi) to the body. A thin layer of paste is applied to the inner membrane, made from a mixture of iron and manganese filings, rice or wheat flour and a sticky substance. This black coating is called syahi. All this technique of attaching and stretching the skin not only affects the quality of the sound, making it less "noisy" and more musical, but also allows you to adjust the pitch. On the tabla, a sound of a certain pitch can be achieved either by vertical movements of small wooden cylinders with significant changes in pitch, or by tapping with special hammers on a leather hoop. There are several gharanas (schools) of tabla, the most famous are six of them: Ajrara gharana, Benares gharana, Delhi gharana, Farukhabad gharana, Lucknow gharana, Punjab gharana. One of the most famous musicians who made this instrument famous all over the world is the legendary Indian musician Zakir Hussain. Listen to the sound of the tabla The body of the mridanga is hollow, hollowed out of precious wood (black, red), shaped like a barrel, the largest part of which, as a rule, is asymmetrically displaced towards a wider membrane. The length of the body varies between 50-70 cm, the diameter of the membranes is 18-20 cm. The membranes are different in size (the left one is larger than the right one) and are leather coverings that are not attached directly to the body of the instrument, but, like all Indian classical drums, through thick leather hoops using a system of straps. Being stretched through both hoops, these straps run along the body and connect both membranes. Unlike such drums as pakhawaj and tabla, the mridanga does not have wooden bars passed through straps and used for tuning; the change in tension in the belt fastening system occurs by knocking directly around the membrane hoop. During the game, the body of the drum over the straps is often covered with an embroidered cloth "clothing". The arrangement of membranes is notable for the complexity characteristic of South Asian drums. They are made up of two superimposed circles of leather, sometimes layered with special reeds to create special sound effects. The upper circle has a hole located in the center or slightly shifted to the side; at the right membrane, it is permanently sealed with a coating of soru made of a dark paste of a special composition, the recipe of which is kept secret by the musicians. Before each performance, a light paste mixed with rice or wheat flour is applied to the left membrane, which is scraped off immediately after the game. The term mridanga denotes not only this type of drum, it also has a specific character. It covers the entire group of barrel-shaped drums, common in the practice of both classical and traditional music making in the region. Already in ancient Indian texts, such varieties of drums of this group as java, gopuchkha, haritaka, etc. are mentioned. In our time, the mridanga group, in addition to the drum with this name, is represented in a variety of ways; this includes both the actual mridangs of various configurations and functional affiliations, as well as, for example, the dholak group drums used in traditional music and music and dance genres, and other drums of a similar form. Mridang itself, like its North Indian counterpart Pakhawaj, occupies a central place among them, being associated with the types of music-making, which most vividly reflect the essence of the musical thinking of South Asia. The complex, technically perfect design of the meter, together with a system that allows you to adjust its tuning, creates special conditions for precise regulation and nuance of its pitch and timbre parameters. With a deep, timbre-rich sound, the mridang is also an instrument with relatively controllable pitch. The membranes are tuned to a fourth (fifth), which in general greatly expands the range of the instrument. The classic mridanga is a drum that has the widest range of expressive and technical possibilities that have evolved over the centuries into a carefully developed and substantiated theoretical system. One of its features, also characteristic of other drums of the region, was the specific practice of bol or konnakol - verbalization ("pronunciation") of metrorhythmic formulas-tala, which is a synthesis of verbal (including to a large extent an element of sound imitation) and physio-motor principles in their combination with expressive the qualities of the tool. Mridang is not only the oldest drum of the subcontinent; it is an instrument that vividly embodies specific regional ideas about sound and sound. It is the drums, among which the mridanga group is the leading one, that have preserved the basic genetic codes of Hindustan culture up to the present day. Listen to the sound of mridanga The membrane of the instrument is made of lizard skin, which is why the instrument has amazing musical properties. It is stretched on one side on a wooden frame made of jackfruit wood, 17-22 cm in diameter and 5-10 cm deep. The other side remains open. There is one pair of metal plates on the frame. The art of playing can reach a high level, the developed technique of the right hand allows you to use the playing techniques on other frame drums. Listen to the sound of the kanjira In terms of sound, the gatam is similar to the African udu drum, but the technique of playing it is much more complex and refined. The main difference between gatam and udu is that metal dust is added to the clay mixture at the production stage, which has a beneficial effect on the acoustic properties of the instrument. Gatam consists of three components. The lower part is called the bottom. This is an optional part of the instrument as some gatams do not have a bottom. Towards the middle, the tool thickens. It is on this part of the instrument that you need to hit in order to extract ringing sounds. The top part is called the neck. Its dimensions may vary. The neck can be wide or narrow. This part also play an important role in the game. By pressing the neck against the body, the performer can also produce various sounds by changing the sound of the gatam. The musician strikes the surface with his hands, holding it on his knee. The uniqueness of the gatam lies in the fact that it is completely self-sufficient. This means that it reproduces sounds using the same materials from which the body is made. Some instruments require additional components to extract sounds. These can be, for example, strings or stretched animal skin. In the case of gatam, everything is much simpler. However, the gatam may change. For example, you can stretch the skin over the neck. The instrument is used as a drum. In this case, it produces sounds due to the vibration of the stretched skin. The pitch also changes in this case. Gatam produces non-uniform sounds. It depends on how, where and with what you hit him. You can hit with your fingers, finger rings, nails, palms or wrist. Musicians who play the gatama can make their performance very effective. Some gatama players throw the instrument into the air at the end of their performance. It turns out that the gatam breaks with the last sounds. Also in India there is a variation of this drum called maja (madga) - it has a more round shape and a narrower neck than the gatam. In addition to metal dust, graphite powder is also added to the maji mixture. In addition to individual acoustic properties, the instrument acquires a pleasant darkish color with a bluish tint. Listen to the sound of the gatam The body of the instrument is made of jackfruit, with leather membranes stretched on both sides. Right side instrument is larger than the left one, and the right membrane is pulled very tightly, and the left one is looser. The tuning of the instrument is carried out with the help of straps passed through two rims made of hemp fiber, in modern versions of fastening metal. The drum is played either seated or suspended from a belt. It is mainly played with the palms, although special sticks or rings worn on the fingers are sometimes used. Listen to the sound of the tavila Typologically related to its South Indian counterpart mridanga. The pakhawaj body is hollowed out from a block of precious wood (black, red, pink). Compared to the configuration of the mridanga body, the pakhawaj body is more cylindrical in shape, with less bulges in the center. Body length 60-75 cm, membrane diameter approx. 30 cm, the right membrane is slightly smaller than the left one. The design of the membranes, as well as the belt system of their connection, is similar to mrdang, but in contrast to it, changing the tension of the belts, and, consequently, the process of adjusting the membranes, is carried out by knocking round wooden blocks laid between the belts closer to the left membrane (as in tabla). On the right membrane, a cake made of dark paste (syahi) is permanently glued and permanently placed, on the left before the game is superimposed, and immediately after it, a cake made of wheat or rice flour mixed with water is removed. Like other classical drums of the region, this contributes to the achievement of a deeper and more differentiated timbre and pitch sounding p. In general, it is distinguished by “solidity”, “seriousness”, timbre depth and richness. When playing, the pakhawaj is positioned horizontally in front of the musician sitting on the floor. It almost never sounds like a solo instrument, being mainly part of ensembles accompanying singing, dancing, playing an instrumentalist or vocalist, where this instrument is entrusted with the presentation of the tala line. P. is especially strongly associated with the dhrupad vocal tradition, which flourished during the reign of Emperor Akbar (16th century), but nowadays occupies a rather limited place in musical culture Hindustani. The sound quality of pakhawaj, the features of his technique are directly related to the aesthetic and emotional aspects of dhrupad: slowness, rigor and sequence of deployment of the sound fabric based on strictly regulated rules. At the same time, pakhawaj has developed virtuosic and technical capabilities, which allows the musician to fill the metro-rhythmic clichés (theka) associated with dhrupad with various rhythmic figurations. Many of the techniques inherent in Pakhawaj became the basis of the tabla technique, the drum, with the tradition of music-making on which he is connected by ties of succession. Listen to pakhawaja solo (tumbaknari, tumbaknaer listen)) is a national Kashmiri goblet drum used for solos, song accompaniment and at weddings in Kashmir. It is similar in shape to the Afghan Zerbakhali, but the body is larger, longer and the Indians can play two tumbaknari at the same time. The word tumbaknari consists of two parts: Tumbak and Nari, where Nari means a clay pot, since, unlike the Iranian tonbak, the body of a tumbaknari is made of clay. This drum is played by both men and women. Other goblet-shaped drums used in India are humate(ghumat) And jamuku(jamuku) (South India). Listen to tumbaknari solo with gotham. Skull damru is called "thöpa" and is usually made from skull caps cut neatly over the ear and joined at the top. Mantras are written inside with gold. The skin is dyed with copper or other mineral salts, as well as special herbal mixtures for two weeks. As a result, it acquires blue or green color. The junction of the damru halves is tied with a knitted cord, to which a handle is attached. Beaters are tied to the same place, whose knitted sheath symbolizes eyeballs. Skulls are selected according to certain requirements for the former owners and methods of obtaining. Now the production of damru in Nepal and export to other countries is prohibited, because the bones are obtained mainly by dishonest means. The "heavenly funeral" ritual is not as traditional as it used to be. First, China considers it not entirely legal. Secondly, it has become easier and less expensive to find firewood or other materials for burning the body. Previously, only rulers and priests of high rank were honored with such an expensive procedure. Third, most Tibetans are now dying in hospitals. Their bodies, impregnated with medicines, the birds do not want to eat, which is necessary before making a tool. Damaru is generally well known throughout the Indian subcontinent. Among Shaivites, he is associated with the form of Shiva called Nataraja, being the symbol of the latter. The four-armed Nataraja holds a damaru at the top right hand when he performs his cosmic tandava dance. It is believed that the damaru is voiced by the first sound itself (nada). There is a legend that all the sounds of Sanskrit originated from the sounds of Shiva playing the damaru. The beat of this drum symbolizes the rhythm of the forces during the creation of the world, and its two halves represent the masculine (lingam) and feminine (yoni) principles. And the connection of these parts is the very place where life is born. Listen to the sound of damaru in a Buddhist ritual. Most likely, these drums were brought from China or Korea between the 3rd and 9th centuries, and after the 9th century they were made by local craftsmen, who gave birth to a unique Japanese instrument. In ancient times, every village had a signal drum. With simple combinations of blows, the taiko signaled impending danger or general work. As a result, the territory of the village was determined by such a distance that his drum sound could reach. By imitating the rumble of thunder with a drum, the peasants called for rain during the dry seasons. Only the most respected and enlightened of the inhabitants could play taiko. With the strengthening of the main religious teachings, this function passed to the ministers of Shinto and Buddhism, and taiko became temple instruments. As a result, the taiko was played only on special occasions and only by drummers who received the blessing of the priests for this. Currently, taiko drummers only play songs with the teacher's permission and learn all songs by ear. Music notation is not maintained and, moreover, is prohibited. Training takes place in special communities, fenced off from the outside world, representing a cross between an army unit and a monastery. Taiko requires great strength to play, so all drummers go through rigorous physical training. It is known that one of the earliest assignments of the Taiko was military. The thunder of the drums during the attacks was used to intimidate the enemy and inspire his troops to battle. Later, by the fifteenth century, drums became a tool for signaling and conveying messages in battle. In addition to military and territorial, taiko have always been used for aesthetic purposes. Music in style gagaku (gagaku) appeared in Japan during the Nara period (697 - 794) along with Buddhism and quickly took root in the imperial court as an official one. The single taiko is part of a group of instruments accompanying theater performances But And kabuki. Japanese drums are collectively known as taiko, and are divided into two major groups by design: byo-daiko, in which the membrane is rigidly fixed with nails without the possibility of tuning, and shime-daiko, which can be tuned with cords or screws. The body of the drum is hollowed out from a single piece of hardwood. Taiko is played with sticks called bati. In our studio there are analogues of taiko, from the Big Drum project, on which you can perform traditional Japanese music. Listen to Japanese drums Japanese ritual tambourine used in Buddhist ceremonies Literally translated as a drum-fan. Despite its small size, it has an impressive sound. It is similar in shape to the Chukchi tambourine. In modern times, drummers often mount several uchidaiko on a stand, which makes it possible to perform more complex rhythmic compositions. Listen to a set from uchiva-daiko Used in the traditional samulnori genre. Traditional drum music is based on the long tradition of Korean peasant music performed during village festivals, religious ceremonies and field work. The Korean words "sa" and "mul" are translated as "4 tools", and "nori" means play and performance. The musical instruments in a samulnori band are called changu, puk, pingari and chin (two drums and two gongs). Listen to Korean drums Nga Chen- a large double-sided drum hanging inside a wooden frame. Its diameter is more than 90 cm. An image of a lotus is also used as decoration. The drum stick has a curved shape, at the end it is covered with fabric for greater softness when struck. The performance on this instrument is distinguished by great virtuosity; there are up to 300 ways to play nga chen (there are drawings and magic symbols on the membrane, arranged according to space zones). This drum is also reminiscent of Chinese imperial drums. Nga-bom- a large double-sided drum, mounted on a handle, which is hit with a bent stick (one or two); nga-shung (nga-shunku) - a small double-sided drum, used mainly during dances; rolmo - plates with a large bulge in the center (they are held horizontally); sil-nuen - plates with a slight bulge in the center (and sometimes without it); "or to Nikolai Lgovsky. As for the Tumba Yumba tribe, it comes from the French "Mumbo Yumbo", which goes back to the English Mumbo Jumbo ("Mambo Jumbo"). This word appeared in the books of European travelers in Africa; it meant an idol (spirit) with which men frightened women. The word "Mumbo-Yumbo" as the name of an African tribe is found in the book "The Twelve Chairs" by I. Ilf and E. Petrov. The sound of drums there The sound of an octagonal Chinese tambourine in the vocal part Features of Dong Son Bronze Drum: Similar drums are now used in Thailand and Laos. Legends of the Ho-Mong people say that the drum saved the lives of their ancestors during great floods. The drum was one of the items that were placed with the deceased in the tomb (Dong Son area, Thanh Hoa province, Vietnam). Listen to the Frog Drama Orchestra Listen to the hedonback sound Listen to the sound of the tone in the dance procession Drums vary in size: Sometimes a drum set is made from drums of different sizes, and one performer can play different drums at the same time. Listen to the sound of a set of Indonesian gendangs There are two types of ipu: Hawaiians usually play it seated by striking the top of the yip with their fingers or palms. To highlight the first beat of each measure, the player strikes the soft burl cloth that lies on the ground in front of the performer, producing a deep, resonant sound. Subsequent strikes are made above the ground on the bottom of the instrument with three or four fingers, producing a high-pitched sound. Listen to Ipu accompaniment for Hawaiian songs Drums with religious significance are called Heiau Pahu(prayer drum). For the prayer drum, stingray skin is usually used, while for the musical drum, shark skin is used. Drum for musical accompaniment is called Hula Pahu. Both drums have an ancient history and are similar in shape. Small drums are usually carved from the trunk of a coconut tree. There are also Pahu drums that resemble a huge table, behind which the musician plays while standing. Listen to Pahu Drum Accompaniment for Hawaiian Hula Dancing The djembe is played with the palms of the hands. Basic hits: Bass (to the center of the membrane), Tone (basic strike on the edge of the membrane), Slap (slap on the edge of the membrane). It gained wide popularity in the 20th century thanks to the group Le Ballet Africains, the National Ensemble of Guinea. The popularity of the djembe also contributed to the fact that it is relatively easy to wear by hand, has a fairly strong bass, and sound production is accessible to beginners. In Africa, djemba players are called djembefola. Dzhembefola must know all the parts of the rhythms performed in the village. Each rhythm corresponds to a certain event. Djembe is both an accompanying and solo instrument that allows you to tell a lot to your listeners and literally make people move! Listen to a djembe solo with dunduns and a shaker The skin of a bull is stretched over these drums. The skin is stretched using special metal rings and ropes. These drums are tuned in tone level accordingly. Sound is produced with a stick. Dunduns are the basis of the traditional ensemble (ballet) in West Africa. Dunduns form an interesting melody and other instruments, including djembe, sound over the top. Initially, one person played each bass drum, hitting the membrane with one stick, and the ringing bell (kenken) with the second. In a more modern version, one person plays three reels at the same time, placed vertically. When playing in an ensemble - bass drums form a basic polyrhythm. Listen to African dunduns The kpanlogo performer must be inventive, conduct a musical dialogue (question-answer) with other instruments. The kpanlogo part includes elements of improvisation, a constant change of pattern according to the movements of the dancer. The kpanlogo is played with the palm of the hand, similar to the conga or djembe. When playing, the drum is clamped with the feet and slightly tilted away from you. This is a very interesting and melodic instrument, which sounds beautiful both in group rhythm and in solo. They often use sets of kpanlogo of different keys, which is very similar to sets of Cuban congas, which, in all likelihood, are descended from kpanlogo. Listen to the sound of the kpanlogo set The Ashanti drummers are called heavenly drummers. Drummers hold a high position in the Ashanti chief's court and are required to see to it that the huts of the chief's wives are in perfect order. In Ashanti lands, women are not allowed to touch the drum, and the drummer is not allowed to move his drum from place to place. It is believed that this can cause him to go insane. Some words cannot be tapped on the drum, they are taboo. It is impossible, for example, to mention the words "blood" and "skull". In ancient times, if a drummer made a serious mistake in conveying the leader's message, his hands could be cut off. Now there is no such custom, and only in the most remote corners can a drummer still lose his ear for negligence. With the help of drums, the Ashanti can drum the entire history of their tribe. This is done during certain festivities, when drummers list the names of deceased leaders and describe significant events in the life of the tribe. Listen to the sound of Ashanti drums The talking drum is one of the oldest instruments used by the West African Griots (in West Africa, the caste member responsible for preserving tribal histories in the form of music, poetry, stories) and their origins can be traced back to the empire of ancient Ghana. These drums spread to Central and South America via the Caribbean during the slave trade. Subsequently, talking drums were banned for African Americans, as slaves used them to communicate with each other. The tool is unique in its own way. Outwardly, it may seem unpretentious, but this impression is deceptive. The talking drum accompanies a person both at work and at rest. There are few tools that can "keep up" with a person. That is why it rightfully occupies a special place in the culture of Africa and is part of the world's cultural heritage. In the Congo and Angola, such drums are called lokole, in Ghana - dondon, in Nigeria - gangan, in Togo - leklevu. Listen to the beat of the talking drum Ashiko is traditionally made from a single piece of hardwood, while modern instruments are made from fastened strips. The membrane is made from the skin of an antelope or goat, sometimes from the skin of a cow. A system of ropes and rings controls the tension of the membrane. Modern types of Ashiko may have plastic membranes. Ashiko have a height of about half a meter to a meter, sometimes a little higher. Unlike the jembe, where only two tones can be played due to its shape, the sound of the ashiko depends on the proximity of the strike to the center of the membrane. In the musical tradition of the Yoruba people, Ashiko almost never accompanies the djembe because they are completely different drums. There is an opinion that ashiko is a “male” and djembe is a “female” drum. Ashiko-shaped drums are called boku in Cuba and are used during carnivals and street parades called comparsa. Listen to the African Ashiko Drum make baht either in the traditional African way of gouging from a whole tree trunk, or in a modern way - by gluing from individual planks. From two sides baht membranes made of thin skin (for example, goat skins) are stretched. In traditional baht they are fastened and stretched with strips of leather, the industrial version of the batt uses an iron fastening system designed for bongs And kong. Enu (enu, "mouth") - a larger membrane, which has a correspondingly lower sound. It plays open (open), muffled (muted) strikes, and touches (touch). Chacha (chacha)- smaller membrane. It plays slaps and touches. play on baht sitting with him on his knees in front of him. The larger membrane is usually played with the right hand, the smaller one with the left. In Cuba, the ensemble uses 3 baht: Okonkolo- a small drum that, as a rule, performs a strictly fixed pattern that performs the function of rhythmic support. In fact, it is a metronome in an ensemble. This drum is usually played by the least experienced drummer. Itotele- the middle drum, its function is to "answer" the big drum Iya. Iya (Iya)- large and, therefore, the lowest, "mother drum". plays on it olubata- leading, most experienced drummer. ia is the soloist of the ensemble. There are many setting options baht; O basic rule - tone chacha each larger drum coincides with enu the next smaller one. Often small bells are hung on the baht. Bata were brought to Cuba from Nigeria along with the African slaves of the Yoruba people, one of whose objects of worship was Chango (Shango, Changa, Jakuta, Obakoso), drum lord. In Cuba baht began to be widely used in ritual music, where the number of drums in the ensemble was reduced to three (in Nigeria there are usually 4–5). Bata play significant role in religious ceremonies santeria in which drumming is the language of communication with the gods, and the sense of rhythm is associated with the ability of a person to "go through life" correctly, that is, to perform the necessary actions at the right time. Drums in santeria are perceived as a family, where everyone has their own voice and their own duties assigned to them, while the patron of each of the types baht is a separate Santerian "god" orisha - the patron of konkolo is Chango, itotele- Ochun, and iya - Iemaya .
In addition, it is believed that each drum has its own "soul" anya, which is “invested” in the newly made bata during a special ritual, “born” from the “souls” of other batas who have already passed the initiation. There are cases when people were specially transported from Nigeria anya, while manufacturing a new "body" of the drum in Cuba. Prior to the socialist revolution of 1959, Bata drumming took place in closed rituals where either initiates or initiates were invited. However, after the revolution, Cuban music was declared a national treasure of Cuba and groups were created (for example, Conjunto Folclorico Nacional de Cuba), which studied traditional (mainly religious) music. This, of course, met with the discontent of the "dedicated" drummers. Although bata music has become public property over time, it is still customary to separate the drums used for religious ceremonies ( foundation (fundamento)) and "worldly" ( abericula (aberikula)). Listen to drums A few decades earlier, the boogarabow was a solo instrument. It was played with one hand and a stick. However, recent generations have begun to assemble tools into installations. Perhaps the influence of the conga instrument on them had an effect: as you know, several of them are always used when playing. For a better sound, the drummer puts on a special metal bracelet that gives color to the sound. Bugarabu looks like a djembe, but the stem is shorter or completely absent, the wood is of a different breed and a little thinner, due to this the sound is more melodic. When playing, the drummer stands on his feet and physically hits the membrane hard. The sound from the instrument turns out to be beautiful on the one hand: bright and deep, and on the other hand practical: it can be heard for miles. The boogaraboos have a characteristic deep rolling sound, from which the drum got its name. Ringing slap and long deep bass - distinguishing feature this drum, which combines a large playing area and a voluminous resonating body. Often used as a backing bass drum to play with djembe and other drums. However, it is also great for solo play. African bougaraboo drum sound Sabar is used for communication between villages, at a distance of up to 15 km. Various rhythms and phrases help convey messages. There are several different sizes of this drum. Sabar is also called the musical style of playing sabar. Listen to African sabar drum A barrel-shaped drum of the Kebero type is mentioned in the text of the song "Semi Hathor", which was performed with instrumental accompaniment and dancing. A record of the text has been preserved in the temple of the goddess Hathor at Dendera (constructed between 30 BC and 14 AD). Subsequently, the barrel-shaped drum passed into the tradition of subsequent eras. A similar cone-shaped drum - cabero used in worship in the Coptic Church, is now preserved in the rituals of the Ethiopian Church. Listen to an Ethiopian service with a kebero It is worth noting that there is simply no traditional school of playing the oud, just as there is no generally accepted name for this instrument. Actually, this is not at all surprising, given that for most of their history, the Yibo lived in fragmented groups. The only basic technique common to all Nigerian musicians is hitting the side hole while opening and closing the neck of the drum with the other hand. At the same time, a hypnotic bass is obtained, for which many people love Oudu so much. The situation is the same with the name of the instrument: it varies not only from region to region, but also from what ceremonies the drum is used for. Most often, the name "abang mbre" is attributed to him, which simply means "pot for playing." Also, a curious detail is that only women originally played the oud. Despite the emergence of fiberglass and wood ouds, clay remains the most popular material for making this instrument. Now most craftsmen make drums on the potter's wheel, but in Nigeria the traditional way of making drums without the use of machines and complex tools is still widespread. There is an interesting technique for playing the fiberglass oud, when the properties of the resonator are changed with the help of water poured into a pot. With water, the drum acquires a truly mystical sound. Udu instruments combine a unique "aqua resonant" sound and warm "earth" vibration, creating a seamless fusion of deep and high enveloping tones. Pleasant to look at and feel, soothing and soothing to the ear, Udu is able to take you into deep meditation, give you a feeling of comfort and tranquility. Listen to the sound of the oud Listen to the sound of the calabash
“Coşdu qurd gönünden olan nağara, Dünyanın beynini getirdi zara” (which, translated from Azerbaijani, literally means “The soot from wolf skin was agitated and exhausted everyone in the world with noise”). A guide to Turkish nagarrams (PDF) In the Russian tradition, such drums were called nakras. The nakry was small in size and had a clay (ceramic) or copper cauldron-shaped body. On top of this body, with the help of strong ropes, a leather membrane was stretched, on which blows were struck with special, weighty and thick wooden sticks. The depth of the instrument was slightly greater than its diameter. In former times, nakry, together with some other percussion and wind instruments, was used as a military musical instrument, leading the enemy into panic confusion and disorderly flight. The main function of military percussion instruments is the rhythmic accompaniment of the troops. The fastening of the nakr was carried out by the following methods: throwing a war horse over the saddle; attachment to the waist belt; fastening to the back of the person in front. Sometimes, the covers were attached to the ground, which led to a gradual increase in size and transformation into modern timpani. Later, nakras began to appear in medieval orchestras. A musician playing the medieval nakra, the so-called "court nakrachi", existed in Russia as early as the 18th century AD.
Kayrok)
. These are two pairs of flat polished stones, a kind of analogue of castanets. It is present for the most part in the inhabitants of Khorezm (Uzbekistan, Afghanistan). Usually accompanied by cat- an instrument made of mulberry, apricot or juniper wood, resembling two pairs of spoons. Today, the koshik has practically fallen into disuse and is used only at national celebrations more as a symbol. Literally, kairok is a grindstone in Uzbek. This is a special, slate rock, black stone. Has a high density. They are found on the banks of rivers. Preferably an elongated shape. Then they wait for one of the neighbors to play a toy (wedding). This means that shurpa will be slowly cooked on fire for three days. The stone is thoroughly washed, wrapped in a snow-white gauze cloth, and actually dipped into shurpa, with the consent of the owner. After three days, the stone acquires the desired properties. Stones in the families of knifemakers are passed down from generation to generation. Indian drums
The name of the Indian tabla drum is very similar to the name of the Egyptian tabla drum, which means "membrane" in Arabic. Although the name “tabla” itself is foreign, this does not refer to the instrument in any way: ancient Indian reliefs depicting such pairs of drums are known, and even in the Natyashastra, a text almost two thousand years ago, river sand of a certain quality is mentioned, which is part of the paste to cover the membrane.mrdanga)
, mrdang, (Sanskrit - mrdanga, Dravidian forms - mrdangam, mridangam) - a South Indian double-membrane barrel-shaped drum. In accordance with the Indian classification of instruments, it belongs to the group of avanaddha vadya (Sanskrit “coated instruments”). Widespread in the practice of music-making of the Karnatic tradition. The North Indian analogue of mridanga is pakhawaj.Kanjira ( canjira)
Kanjira is an Indian tambourine used in South Indian music. Kanjira is an amazing instrument with a very pleasant sound and an amazingly wide range of possibilities. It has a strong bass and a lingering high sound. Known not so long ago, it has been used in classical music since the 1930s. The kanjira is usually played in an ensemble of folk instruments, with the mridanga.Gatam and Maja ( ghatam)
Gatam- a clay pot from southern India, used in the musical style "karnak". Gatam is one of the most ancient instruments of South India. The name of this instrument literally means "water jug". This is not accidental, since its shape resembles exactly a vessel for liquid.Tawil ( thavil)
Tawil- a percussion instrument known in southern India. It is used in traditional ensembles along with the nagswaram reed wind instrument.Pakhawaj ( Pakhavaj)
Pakhawaj (Hindi,"solid, dense sound") - a double-membrane drum in the shape of a barrel, common in the practice of music-making in the Hindustani tradition. In accordance with the Indian classification of instruments, like all other drums, it belongs to the group of avanaddha vadya (“coated instruments”).tumbaknari, tumbaknaer)
Damaru ( damaru)
Damaru- a small double-membrane drum in India and Tibet, shaped like an hourglass. This drum is usually made of wood with leather membranes, but it can also be made entirely of human skulls and a snakeskin membrane. The resonator is made of copper. Damru height is about 15 cm. Weight is about 250-300 gr. The drum is played by rotating it with one hand. Sound is mainly produced by balls that are attached to a string or leather cord wrapped around the narrow part of the damru. When a person shakes the drum using undulating motions of the wrists, the ball(s) are hit on both sides of the damaru. This musical instrument is used by itinerant musicians of all kinds because of its small size. It is also used in the ritual practice of Tibetan Buddhism.Japanese, Korean, Asian and Hawaiian drums
Taiko ( Taiko)
taiko is a family of drums used in Japan. Verbatim taiko translates as a big (pot-bellied) drum.Uchiwa Daiko)
changu).
Canggu is the Korean drum most commonly used in traditional music. It consists of two parts, which are usually made of wood, porcelain or metal, but it is considered that the best material is paulownium or Adamwood, as it is light and soft, which gives it a beautiful sound. These two parts are connected by a tube and covered with leather (usually reindeer) on both sides. In ancient peasant rituals, it symbolized the element of rain.puk).
Bunch- a traditional Korean drum, consisting of a wooden body covered with leather on both sides. Began to be used from 57 BC. and usually for Korean court music. The fart is usually mounted on a wooden stand, but the musician may also hold it on the hip. A stick made of heavy wood is used to strike. Symbolizes the element of thunder.
There are two types of Nga drums. The first, Ra-dang or Dang Chen (hand drum), is used during ritual processions. The drum has a long, single-carved wooden handle, at the end of which is a vajra. Sometimes a silk scarf is tied around the handle as a symbol of reverence for the divine musical instrument.bajiaogu, bafangu).
Bajiogu- Chinese octogonal drum, similar to the Arabic rick. For the membrane, python skin is used. The case has seven holes for metal cymbals. This drum was brought to China by the Mongols, which was popular with them even before our era. The octogonal tambourine was also the national instrument of the Manchus. Apparently, in ancient times this drum was used for ritual dances. During the Qin Dynasty, a similar drum was depicted on the flag. Nowadays, the tambourine is mainly used to accompany traditional vocals or dances.Vietnamese bronze drum frog-drum ( frogdrum).
Frog-drum is one of the oldest drums, the progenitor of metallophones in Southeast Asia. Its bronze culture is a matter of special pride for the Vietnamese. In the era of the so-called Dong Son civilization, the Lak Viet people in 2879 BC. the semi-legendary kingdom of Vanlang was created. Bronze drums with a characteristic geometric pattern, scenes of folk life and images of totem animals have become a symbol of Dong Son culture. Drums performed not only musical, but also ritual functions.gedombak).
Gedomback is a goblet-shaped drum used in Malay folk music. The body of the drum is made of hardwood, mainly jackfruit (East Indian breadfruit) or angsana. The membrane is made from goat skin. Usually two people perform with two instruments, one of which is called Gendang Ibu (Mother), which has a lower sound, and the other is Gendang Anak (Child), which has the same size, but at the same time a higher sound. When performing, the drum lies in a horizontal position, the membrane is beaten with the left hand while the right closes and opens the hole. As a rule, the gendonbak is used in tandem with a double-sided gendang ibu drum (Gendang ibu).Thai Drum Tone (
thon, thab, thap).
In Thailand and Cambodia, a drum very similar to a hedonback and a huge darbuka is called Tone. It is often used in conjunction with a frame drum called ramana (Ramana). These two instruments are often referred to by the same word. thon-ramana. The tone is placed on the knees and beaten with the right hand while the ramana is held in the left hand. Unlike the hedonbuck, the tone is much larger - its body reaches a meter or more in length. The body is made of wood or faience. The palace tones are very beautiful, with mother-of-pearl trim. With such drums, as a rule, they arrange a dance procession and play polyrhythm with metallophones.Gendang).
Gendang(Kendang, Kendhang, Gendang, Gandang, Gandangan) - the drum of the traditional Indonesian gamelan orchestra. Among the peoples of Java, Sudan and the Malays, one side of the drum is larger than the other and gives a lower sound. The Bali and Maranao drums have the same sides on both sides. The performer, as a rule, sits on the floor and plays with his hands or special sticks. In Malaysia, the gendang is used in conjunction with the gedomback drum.Hawaiian Ipu Drum (Ipu)
Ipu- Hawaiian percussion instrument, often used to create accompanying music during the hula dance. Ipu is traditionally made from two gourds.Hawaiian pahu drum (Pahu)
pahu- traditional Polynesian drum (Hawaii, Tahiti, Cook Islands, Samoa, Tokelau). It is cut from a single trunk and covered with shark skin or stingray skin. It is played with the palms or fingers. Pahu is considered a sacred drum and is usually found in a temple (heiau). Serves as an accompaniment to traditional songs and hula dances.
African drumsDjembe (Djembe)
Djembe- a West African goblet-shaped drum (about 60 cm high and a membrane diameter of about 30 cm), hollowed out from a single piece of wood with stretched antelope or goat skin, often with metal plates " kesingkesing used to amplify the sound. Appeared in the Mali Empire in the XII century and was figuratively called Healing Drum (Healing Drum). It is believed that the open shape of the body comes from a conventional grain crusher. Depending on the beat, the djembe produces three basic sounds: bass, tonal and sharp slap - slap. African rhythms are characterized by polyrhythm, when several drum parts create a common rhythm.dunduns
dunduns- three West African bass drums (from smallest to largest: Kenkeni, Sangban, Dudunba). Dunumba - Big drum. Sangban - Medium drum. Kenkeni - snare drum.kpanlogo ( kpanlogo)
Kpanlogo -
traditional peg drum in the western region of Ghana. The body of the drum is made of solid wood, the membrane is made of antelope skin. The skin is fastened and adjusted using special pegs inserted into a hole in the case. It is very similar in shape and sound to the conga, but smaller in size.Ashanti drums ( Ashante)
Ashanti drums -
traditional peg drum set in Ghana. The set is named after Fontomfrom's largest drum ( Fontomfrom). Often a large drum can be higher than a person and you need to climb a ladder attached to the drum. Smaller drums are called Atumpan ( Atumpan), Apantema ( Apentema), Apetia ( Apetia) .talking drum ( Talking Drums)
talking drum- a special type of African drums, originally designed to maintain communication between villages. The sound of the drum could imitate human speech, a complex system of rhythmic phrases was used. As a rule, a talking drum is two-headed, in the shape of an hourglass, the skin on both sides is pulled together by a belt made of animal skin or intestines braided around the body. When playing, the talking drum is held by holding it under the left hand and hitting it with a curved stick. By squeezing the drum (meaning the ropes of the drum), the player changes the pitch of its sound, while different notes are highlighted in its sound. The more you squeeze the drum, the higher its sound will be. All this gives different versions of the "drum language", thanks to which it is possible to transmit various messages and signs to other, neighboring villages. Some examples of drum rhythms are associated with spiritual beings in each tribe. The sounds of prayers and the blessings of talking drums start the day in countless villages across West Africa.Ashiko (Ashiko)
Ashiko(ashiko) -
West African drum in the shape of a truncated cone. The homeland of Ashiko is considered to be West Africa, presumably Nigeria, the Yoruba people. The name is most often translated as "freedom". Ashiko was used for healing, initiation rituals, military rituals, communication with ancestors, for transmitting signals over distances, etc.Bata (Bata)
Bata- these are three membranophones with a wooden case in the shape of an hourglass, having two membranes of different diameters at the ends, which are played by hands.Bugarabu ( bougarabou)
bugarabu(emphasis on U) -
a traditional instrument of Senegal and the Gambia, it is not found in other African countries. As a rule, a musician plays three or four drums at the same time. The body is in the shape of a goblet or something like an inverted cone. Sometimes the body is made of clay.Sabar ( sabar)
Sabar -
traditional instrument of Senegal and Gambia. It is traditionally played with one hand and a stick. The wand is held in the left hand. Like the kpanlogo, the sabar membrane is attached with pegs.Kebero ( kebero)
Kebero -
double-ended conical drum used in the traditional music of Ethiopia, Sudan and Eritrea. The kebero is the only drum used during a Christian church service in Ethiopia. A small version of the kebero is used during civil holidays. The case is made of metal, both sides are covered with a leather membrane.Udu ( Udu)
Udu- an African clay drum-pot, originating from Nigeria (udu - both "vessel" and "world" in the Igbo language). The deep, haunting sounds that the udu produced were considered by many to be the "voices of the ancestors" and were originally used in religious and cultural ceremonies. When hitting the hole, it produces a deep low sound, a ringing ceramic sound on the surface. May have a membrane on the surface.Calabash ( calabash, calebasse)
Calabash -
a large bass drum made from a gourd. In Mali, it was originally used for cooking. It is played with hands, fists or sticks. The diameter of the instrument is about 40 cm. Sometimes the calabash is immersed in a basin of water and beaten with a fist, in which case a very powerful and pumping bass is obtained.Gum dram ( gome drum)
Gom drum - bass drum from Ghana. Made from a wooden box (45x38 cm) and antelope skin. They play it while sitting on the ground, while helping to change the tone with their heels. The style of music is close to Afro-Cuban. The drum was brought to Ghana in the 18th century by Congolese fishermen. Looks like )
The tribal king or diviner uses this drum in ceremonies. The Yoruba decorate their drums richly with different figures.
Chokwe, Angola
(Chokwe)
Chokwe is a two-sided drum, used for distance communication and ritual stories.
Senufo, Ivory Coast
(Senufo)
Senufo is a two-sided drum, used to communicate at a distance and accompany the epic.
Listen to African Yoruba rhythms
Listen to the African rhythms of Chokwe
Listen to the African rhythms of Senufo
Drum Cuba,
Nigeria (Kuba)
Royal drum richly inlaid with shells
Bamileke, Cameroon
(BAMILEKE)
Belongs to the people of the same name in Cameroon.
Yaka, Cameroon
(YAKA )
Wooden drum with slot. This drum is used for accompaniment and is played with two sticks.
Latin American drums
Cajon ( Cajon )
Cajon appeared in Peru early XIX century. According to one version, the slaves used fruit boxes to play music, since African drums were banned by the Spanish colonial authorities. The peak of its popularity came in the middle of the century, until the end of the 19th century, musicians continued to experiment with materials and cajon devices to achieve a better sound. Since that time, it began to spread throughout Latin America and by the twentieth century became an integral part of the Peruvian and Cuban musical culture.
In the 1970s, the Peruvian composer and cajon maker Caitro Soto presented the cajon as a gift to the Spanish guitarist Paco de Lucia, who visited Peru. Paco liked the sound of the cajon so much that the famous guitarist bought another instrument before leaving the country. A little later, Paco de Lucia introduced the cajon to flamenco music, and its sound became strongly associated with this musical direction.
On our site you can find a stewie about flamenco rhythms for darbuka.
Listen to the sound of the cajon
Kongs ( Conga )
Conga is a narrow high Cuban drum with African roots, possibly derived from the Makuta Makuta drums or the Sikulu Sikulu drums common in Mbanza Ngungu, Congo. A person who plays the congas is called a "conguero". In Africa, congas were made from hollow logs; in Cuba, the process of making congas resembles the manufacture of barrels. Actually, initially Cuban congas were made just from barrels. These instruments were common in Afro-Caribbean religious music and the rumba. Now congas are very popular in Latin music, especially in such styles as salsa (salsa), merengue (merengue), regaeton and many others.
Most modern congas have a staved wooden or fiberglass body and a leather (plastic) membrane. When played standing up, the congas are usually approximately 75 cm from the edge of the body to the player's head. The conga can also be played in a seated position.
Although they originated in Cuba, their incorporation into popular and folk music in other countries has led to a diversification of terminology for documentation and performers. Ben Jacobi, in his Introduction to the Conga Drum, suggests that drums are called congas in English but tumbadoras in Spanish. The name of the individual drums, from large to small, as they are called in Cuba:
- Supertumba (supertumba) can reach a diameter of about 14 inches (35.5 cm).
- Cabinet (tumba) usually has a diameter of 12 to 12.5 inches (30.5 to 31.8 cm).
- Conga (conga) usually 11.5 to 12 inches (29.2 to 30.5 cm) in diameter.
- Quinto (quinto) about 11 inches in diameter (about 28 cm).
- Rekinto (requinto) may be less than 10 inches in diameter (24.8 cm).
- Ricardo (ricardo)) is approximately 9 inches (22.9 cm). Since this drum is often strapped to the shoulder, it is usually narrower and shorter than the traditional conga.
The term "conga" was popularized in the 1950s when Latin music swept the United States. Cuban son (son) and New York jazz mixed and gave a new style, later called mambo, and later salsa. In that same period, the popularity of the Conga Line helped to spread this new term. Desi Arnaz also played a role in the popularization of conga drums. The word "conga" comes from the rhythm la conga often played at Cuban carnivals. Drums that played the rhythm la conga had a name tambores de conga, which is translated into English as conga drums.
Listen to solo congas
bongs
Bongo or bongos - an instrument of Cuban origin, consisting of a pair of single-headed, open drums attached to each other. The drum of a larger diameter is called "embra" (hembra - Spanish woman, female), and the smaller one is called "macho" (macho - in Spanish "male"). A smaller bong sounds about a third higher than a wider one.
Apparently, the bongos came to Latin America along with slaves from Africa. Historically, bongos are associated with styles of Cuban music such as salsa, changui and son, which appeared in Eastern Cuba in the second half of the 19th century. However, it should be noted that bongo-like pairs of drums with ceramic bodies and goatskin have been found in Morocco, as well as in Egypt and other Middle Eastern countries.
Listen to solo bongs
(Pandeiro)
- South American tambourine used in Portugal and other countries.
In Brazil, pandeiro is considered a folk musical instrument, the soul of samba. The pandeiro rhythm complements the sound of the atabaque when used in Brazilian capoeira music.
Traditionally, the pandeiro is a wooden rim, on which a skin membrane is stretched. On the sides of the rim are built-in bowl-shaped metal bells (according to port. platinelas). Now often the pandeiro membrane or the whole pandeiro is made of plastic. The sound of the pandeiro can be modulated by stretching and loosening the membrane.
They play the pandeira as follows: the performer holds the pandeira himself in one hand (often in the rim of the pandeira, on one of the gaps between the platinum bells, a hole is made for the index finger to make it easier to hold the instrument), and with the other hand he beats the membrane, which, in fact, and produces sound.
The creation of different rhythms on the pandeira depends on the force of the blow on the membrane, on where the blow falls, and on which part of the palm is struck - the thumb, fingertips, open palm, boat palm, palm edge or bottom of the palm. The pandeiro can also be shaken or run with a finger along the rim of the pandeiro, producing a slightly squeaky sound.
By alternating various strokes on the pandeiro and, thereby, extracting various sounds, the pandeiro rhythms are sonorous, clear, as if even slightly transparent. Pandeiro generally differs in that it can create a sonorous and pronounced tone. It gives clarity to the sound, well accentuates the performance of fast and complex rhythms.
“Tu-tu-pa-tum” is one of the simplest rhythms played on the pandeiro. Two blows with the thumb on the edge of the pandeiro (“tu-tu”), a blow with the whole palm on the center of the pandeiro (“pa”) and again a blow with the thumb on the edge of the panderu (“tum”). At the last blow, the pandeira is shaken a little, making the instrument move from the bottom up, as if “towards” the palm that strikes.
The relative simplicity of this instrument, which, at first glance, is not so difficult (especially in comparison with the berimbau) to learn to play, is deceptive. The technique of playing the pandeira is quite difficult. To become a real pandeira master, you need to practice a lot, as, in principle, in any business in which you want to become a professional.
Listen to the pandeiro solo
- very deep, loud Brazilian double-headed bass drum. Made of metal or thin wood, the heads are covered with goatskin (often plastic these days). Surdo is actively used in Brazilian carnival music. Surdu is played with a stick with a soft tip in the right hand, and left hand, without a stick, dampens the membrane in between. Sometimes the sound is played with two mallets. There are three sizes of surdo:
1. Surdu "(ji) primeira"("de primeira") or "ji marcação" ("de marcação") is the most bass drum with a diameter of 24 inches. Plays the second and fourth beats of the measure - accent beats in samba. This is the basis for the formation of a battery.
2. Surdu "(ji) segunda"("de segunda") or "ji reshposhta" ("de resposta") with a diameter of 22 inches. Plays on the first and third beats of the bar. As its name suggests - "resposta", "answer", - the segunda surdu answers the primeira surdu.
3. Surdu "(ji) terceira"("de terceira") or "ji korchi" ("de corte"), "centrador" ("centrador") have a diameter of approximately 20 inches. Plays the same beats as Surdu Primeira, with the addition various variations. The rhythm of the whole battery is based on the sound of this drum.
Listen to the surdo solo
Cuica (cuica)
Quicka- Brazilian percussion musical instrument from the group of friction drums, most often used in samba. It has a creaky, sharp timbre of a high register.
It is a cylindrical metal (originally wooden) case, with a diameter of 6-10 inches. The skin is stretched on one side of the case, the other side remains open. From the inside, a bamboo stick is attached to the center and perpendicular to the leather membrane. The tool is hung on the side at chest level with a belt. While playing the quick, the musician rubs the stick up and down with a damp cloth held in one hand, pressing the thumb of the other hand against the leather membrane from the outside, in the area where the stick is attached. Rubbing movements generate sound, while the tone changes depending on the degree of pressure on the membrane.
Kuika plays an important rhythmic role in samba music of all directions. Noteworthy is the use of the instrument by groups performing at the carnival in Rio de Janeiro, in the rhythm sections of quick performers. In the absence of such musicians, Brazilian singers can imitate the sound of kuiki.
Listen to the sound of kiuki
Pow-wow drum ( Pow Wow Drum)
Pow-wow drum- a traditional American Indian drum made in the style of Sioux Drums. The drum is assembled with great care from 12 sections of New Mexico's main tree species, one for each month of the year; parts are polished, then covered with raw leather and braided. The instrument was used in rituals of healing, communication with spirits and as an accompaniment to dances. The size of the reels varies greatly; the big drums are played by several performers.
Listen to Native Americans sing to the Pow-Wow drum
Steeldrum ( Steel drum, pan, kettle drum)
Steeldrum or steel drum- invented in the 1930s after the passage of a law in Trinidad and Tobago banning membrane drums and bamboo sticks for playing music. The drum began to be forged from steel barrels (in large numbers left on the beaches after the end of the Second World War), from sheets of steel 0.8 - 1.5 mm thick. The tuning of the instrument consists in forming petal-shaped areas in this steel sheet and giving them the necessary sound with the help of hammers. The instrument may need to be retuned once or twice a year.
Used in Afro-Caribbean music such as calypso and soca. The instrument is also represented in the armed forces of the Republic of Trinidad and Tobago - since 1995 there has been a "steel band" with the defensive troops, which is the only military band in the world using a steel drum. Usually several types of instrument are played in the ensemble: ping-pong leads the melody, tune boom forms the harmonic basis, and bass boom keeps the rhythm.
It is the forerunner of such instruments as the hang-drum and the glucophone.
Listen to the melody of Steel Drama along with cajon and ukulele
European drums
Tamorra ( Tamorra)
tamorra, also called tamborra (etymologically related to the word Tamburo or drum in Italian), is a frame drum with light jingles, typical of the folk music tradition of the Italian province of Campania, but also common in Sicily. It resembles a Basque tambourine, but much heavier and much larger. The technique of the game uses alternating strokes of the thumb and all other fingers. A unique brush rotation technique is also used. For the first time, images of tambourines similar to tamorra appear on ancient Roman frescoes, and the position of the musician's hand is very reminiscent of modern traditional technology.
Apparently, these drums are closely connected with the ancient mysteries. Survivals of these Dionysian mysteries have survived almost to this day in the form of musical traditions associated with the so-called tarantism. Tarantism, according to some researchers, is one of the forms of mass hysteria associated with the ancient belief in a mythical creature, the so-called Taranta, which is sometimes identified with the tarantula spider, although this is not entirely correct. Taranta is rather an evil spirit, a demon that, when possessing victims, usually young women, caused convulsions, clouding of consciousness, up to hysterical seizures. Epidemics of tarantism covered entire regions. This phenomenon has been described in chronicles since the early Middle Ages.
To cure this disease, a tamorra performer was invited, who for a long time performed a rapid rhythm (usually on 6/8), accompanied by singing or a melodic instrument. The patient, over whom this rite was performed, had to move rhythmically and quickly for many hours. The rite could last up to a day or more, causing complete exhaustion. For a complete cure, the procedure was carried out several times a year. The last cases of tarantism were described in the 70s of the last century. The folk dances of the tarantella and its older form, the pizzicaurella, originate from this rite. The convulsive movements of the victim, from which the evil spirit left, were ritualized over time and transformed into various dance movements of these incendiary dances.
In our studio you can hear the sound of tamorra performed by Antonio Gramsci.
Listen to the rhythms of tamorra
Boyran ( bodhran)
Boyran- Irish percussion musical instrument, reminiscent of a tambourine with a diameter of about half a meter (usually 18 inches). Irish word bodhran translated as "thundering", "stunning". They hold the boyran vertically, playing on it in a specific way with a wooden stick resembling a bone. The set of a professional boyran player includes sticks of various shapes and sizes.
The uniqueness of the boyran lies in the use of a stick with two tips when playing, which strikes the membrane first with one end, then the other, which can significantly reduce the interval between blows. This wand has a special name - " kipin". The second hand (usually the left hand) is used to mute the membrane and change the pitch. Sometimes a single-ended stick is also used, but then you have to make more brush movements to perform rhythms of similar speed.
Boyran diameter is usually from 35 to 45 cm (14″-18″). The depth of its sides is 9-20 cm (3.5″-8″). Goat skin is stretched over the tambourine on one side. The other side is open to the performer's hand, which can control the pitch and timbre of the sound. There may be 1-2 crossbars inside, but they are usually not made in professional instruments.
Today, the boyran is used not only in Irish folk music, it has stepped far beyond the borders of this small island, and they play music on the boyran that, it would seem, has nothing to do with the environment in which we are used to seeing and hearing it, but wherever he did not appear, with him there appears a piece of Ireland.
Listen to Boyran's solo
Lambegue, Northern Ireland ( lambeg)
In addition to the boyran, which is usually strongly associated with the folk music of Ireland and with the traditions of the National Liberation Party, there is also another drum in Ireland - the lambeg - which is widespread mainly in Northern Ireland and is associated with the traditions of the Liberal Union Party (parties Conservatives in favor of keeping Northern Ireland within the United Kingdom). Compared to boyran, lambeg is much less popular, although in fact it is no less interesting and unique.
The name of the drum - "lambeg" - is a generic name, like, for example, xerox - that's what we call all copiers, although in fact it is the name of the company. Lambegue is an area near Lisbourne, a few kilometers southwest of Belfast. It is believed that this name was assigned to the drum, because. it was there that they first began to play it with reed sticks.
Lambeg, along with Japanese drums, is one of the loudest drums in the world. Often the volume of its sound reaches 120 decibels, which is comparable to the sound of a small plane taking off or the sound of a pneumatic drill. During street processions, the sound of the lambeg can be heard for several kilometers in the area.
What is this "monster"? The diameter of the lambeg is about 75 cm, and the depth is about 50 cm, weight is 14-18 kg. The body is usually made of oak, and covered with goatskin top and bottom. Previously, the lambeg was made from a single piece of wood, but since Since nowadays such trees no longer grow, it is made of two curved oak plates, fastened from the inside like a barrel. On one side of the drum, a thicker skin is stretched, on the other, a thinner one, depending on whether the owner of the drum is right-handed or left-handed (a stronger hand should hit the thicker skin). But regardless of the thickness of the skin, the pitch of the sound when struck on both membranes should be the same.
As mentioned earlier, the lambegue is played with reed sticks, because the reed has no connecting seams, so it does not refract in the middle. It is split by threads along the entire length of the stick, so gradually the sticks fray at the ends and fail.
As for decorations, the lambeg is either very simple and strict, or completely painted with military, memorial, religious or political symbols.
During rehearsals or performances, the lambeg is mounted on a special stand, but during processions, the performers have to literally carry it on themselves. A strong belt is attached to the drum, which is thrown over the neck. At the same time, one can often observe a picture when one musician walks and several people fuss around, helping him carry the drum, supporting it here and there.
The most reliable version of the origin of the lambeg is that it came to Ireland from Scotland or Northern England in the first half - the middle of the 17th century with immigrants, former military men, or from Holland through William of Holland. In any case, all researchers agree that the progenitor of the lambeg is an ordinary military drum of a much smaller size. And it began to “grow” after a century and a half, somewhere from 1840-1850, due to the usual competition between performers, something like: “My drum is bigger than your drum ...” Before that, lambeg was often accompanied by the sounds of a pipe, but after it had almost doubled in size, the horns were no longer audible, and now a pair of lambeg-horns is the exception rather than the rule.
As mentioned at the beginning of the article, the lambeg is strongly associated with the Liberal Unionist Party, or the Orange Warrant, which organizes processions every year in July, and in August the National Liberation Party marches with a boyran in their hands. As for the rhythms they perform, they are very similar in many respects, because the origins, in any case, regardless of political affiliation, are folk. In addition to such political processions, festivals are held throughout the year in Ireland, where hundreds of performers compete to see who can play the best lambegue. Often such competitions last for several hours in a row, until the performers are completely exhausted. The largest festival of its kind takes place in Markethill, Armagh, on the last Saturday in July.
Listen to the rumbling of the lambeg drum
swiss drum)
The Swiss achieved independence in 1291, and became a model of military prowess. The needs of extended marches and camp life contributed to the development of drum music in the 1400s. The rest of Europe took notice of these military musical forms at the Battle of Marignano (near Milan, Italy) in 1515.
The German principalities adopted this martial music in the 1500s and 1600s. The French used Swiss mercenaries in the 1600s and 1700s who used drum music which influenced the rest of the French army. During the reign of Queen Anne in Britain, the English army became very disorganized and undisciplined. In 1714, the English army was reorganized, tHow drum music was adopted by the British military (with the exception of the Scottish regiments).
Drum rhythms were used to broadcast various signals. The military life of the camp requires a sequence of daily signals: time to get up, breakfast, sick call, packing, dinner, duty calls, supper, evening retreat, curfew. On the march with The signals were used to make various formations, including stopping, expanding, compacting, accelerating, or decelerating. An important use of drums was in the parade before and after the battle. Contrary to popular belief, drums were not used on the battlefield as it was too noisy and confusing.
The history of drum rudiments, closely associated with the Swiss drum, which later transformed into the snare drum (Eng. snare drum), which was previously called side-drum (eng. side drum- that is, "drum worn on the side") or simply - military drum (eng. military- military).
In 1588, the book "Orchestrography" by Tuano Arbeau (Thoinot Arbeau) from Dion (France) was published. In it, Arbeau described the "Swiss Stroke" and the "Swiss Storm Stroke". These strokes were presented in various combinations, however, the fingering for them was not indicated.
By 1778, when drums were already well integrated into the military system, Baron Friedrich von Stuben of Philadelphia wrote a manual for the use of drums, through the signals (rhythms) of which the appropriate orders were to be given.
The first person to use the term "rudiment" was Charles Stewart Ashworth. In 1812 Charles Stuart Ashworth published his tutorial"A new, useful and complete drumming system", where he used the term to classify a group of drum rudiments. He positioned himself (and is rightfully considered as such) as the father of the rudimentary theory.
In 1886, US Navy bandleader John Philip Sousa wrote his didactic work Trumpet and Drum, an instruction book for field pipe and drum. Being a manual for military drummers, it was also widely used among civilians, as it contained a complete set of rudiments for those times.
Since 1933, the National Association of Rudimental Drummers (“The National Association of Rudimental Drummers”, abbr. NARD) has its origins. This organization was created to promote the rudiments and introduce them into the educational system. NARD decided on the positioning of 26 main rudiments, divided into two tables, each of which included 13 rudiments.
Listen to the duel of Swiss drums from the movie "Drumroll"
Timpani ( timpani)
timpani- a percussion musical instrument with a certain pitch. They are a system of two or more (up to seven) metal cauldron-shaped bowls, the open side of which is covered with leather or plastic, and the lower part may have a hole.
The timpani is a very ancient origin. In Europe, timpani, close in form to modern ones, but with a constant system, became known already in the 15th century, and since the 17th century, timpani have been part of orchestras. Subsequently, a tension screw mechanism appeared, which made it possible to rebuild the timpani. In military affairs, they were used in heavy cavalry, where they were used as a transmission of combat control signals, in particular, to control the formation of cavalrymen. Modern timpani can be tuned to a specific pitch using a special pedal.
At the end of 2014, timpani made by Antonio Stradivari were discovered in the vaults of the Vatican. The name Stradivari is associated with the general public, first of all, with violins, however, now we know for certain that there are also Stradivari drums, presented in the image for this note.
The body of the timpani is a cauldron-shaped bowl, most often made of copper, and sometimes of silver, aluminum or even fiberglass. The main tone of the instrument is determined by the size of the body, which varies from 30 to 84 cm (sometimes even less). A higher tone is obtained with smaller instrument sizes.
A membrane made of leather or plastic is stretched over the body. The membrane is held in place by a hoop, which is in turn fastened with screws used to adjust the instrument's pitch. Modern timpani are equipped with pedals, pressing which easily rebuilds the instrument and even allows you to play small melodic parts. Typically, each of the instrument's drums has a range of fifths to octaves.
The timbre of the instrument is determined by the shape of the body. So the hemispherical shape creates more sonorous sounds, and the parabolic one - more deaf. The quality of the body surface also affects the timbre. Sticks for playing the timpani are wooden, reed or metal rods with round tips, usually covered with soft felt. The timpani player can receive various timbres and sound effects using sticks with tips made of different materials: leather, felt or wood.
Timpani playing consists of two main performance techniques: single strokes and tremolo. Any of the most complex rhythmic constructions are made up of single beats, using both one and several timpani. Tremolo, which can reach a huge frequency and resembles thunder, can also be played on one or two instruments. On the timpani, it is possible to achieve huge gradations of sound - from a barely audible pianissimo to a deafening fortissimo. Among the special effects is the muffled sound of the timpani, covered with pieces of soft cloth.
Listen to the timpani concerto
Adufe)
- a large square tambourine in Portugal of Moorish origin with two membranes, inside of which beans or small pebbles are often poured, which rattle during the game. The membrane is made from goatskin and is available in sizes 12 to 22 inches (30 to 56 cm). Traditionally, this tambourine is played by women during religious processions and during regional music festivals.
In 1998, at the World Expo in Lisbon, musician José Salgueiro presented giant adufe with great success.
In Spain, a similar instrument is called pandeiro cuadrado(square pandeiro). Unlike Adufe, they beat him not only with a hand, but also with a stick. More recently, this instrument has almost disappeared - it was played by three village women. It is currently played professionally by Spaniard Ales Tobias and Kirill Rossolimo.
Interestingly, the Cairo Museum has a real rectangular double-sided frame drum from the 14th century BC, which was found in the tomb of a woman named Hatnofer.
Listen to the rhythm for adufe
Listen to an orchestra with square pandeiros
In fact, it represents one rim, while the sounding part of the instrument is metal cymbals or bells fixed directly on it. There is also a version of the tambourine with a membrane.
The tambourine has been known since time immemorial. It can be found in the south of France and in India, in Mexico and Central Africa, on the islands of Polynesia and in Asia - in a word, various peoples paid tribute to this wonderful instrument. But the tambourine originally originates from Provence and the Basque Land, where, as Gevart said, it was used in combination with a homemade pipe
Percussion is the most numerous family of musical instruments today. Sound from instruments of this type is extracted by striking the surface of the sounding body. The sounding body can take various forms and be made of various materials. In addition, instead of hitting, shaking is allowed - in fact, indirect blows with sticks, hammers or mallets on the same sounding body.
The history of the appearance of the first percussion instruments
Percussion instruments are among the most ancient. The first prototype of a percussion instrument appeared when primitive people, striking a stone against a stone, created a kind of rhythm for ritual dances or simply in everyday household chores (crushing nuts, grinding grain, etc.).
In fact, any device that produces measured noises can be called a percussion instrument. Initially, these were stones or sticks, planks. Later, the idea came up to tap out the rhythm on the skin stretched over the hollow body - the first drums.
When excavating the settlement sites of the tribes of Central Africa and the Far East, archaeologists discovered samples that were already more similar to modern ones. Obviously, it was they who at one time served as an example for the creation of European percussion instruments.
Functional features of percussion instruments
The sound produced by percussion instruments originated from primitive rhythmic melodies. Jingling and ringing prototypes of modern percussion musical instruments were used during ritual dances by peoples Ancient Greece And ancient rome, Asian countries.
But representatives of the ancient Arab states used percussion instruments, in particular drums, in military campaigns. This tradition was adopted by European nations much later. Not rich in melodic terms, but loud and rhythmic, the drums became an invariable accompaniment to military marches and hymns.
And in the orchestra, percussion instruments have found quite a wide application. Initially, they were denied access to European academic music. Gradually, drums found their way into dramatic music within opera and ballet orchestras, and only then did they find their way into symphony orchestras. But today it is difficult to imagine an orchestra without drums, timpani, cymbals, tambourine, tambourine or triangle.
Classification of percussion instruments
The group of percussion musical instruments is not only numerous, but also very unstable. Several different ways of classifying them have been developed, so the same instrument can belong to several subgroups at once.
The most common percussion instruments today are timpani, vibraphone, xylophone; various types of drums, tambourines, African drum tam-tam, as well as a triangle, cymbals, and many others.
Each musician should be with his instrument on "you". Drummers are no exception. To be a professional, of course, you need to know what a drum kit consists of.
The composition and appearance of the drum set have changed and evolved over 120+ years.
Let's see what a classic drum set looks like today. Its main components are cymbals and drums.
Skeet Chief…
The variety of plates is very large - there are hundreds of types of plates. They differ in diameter, alloy, shape and other parameters. The main classification of plates includes the following types:
- Hi-hat (hat). Double plate mounted on a single rod. Often the main rhythm is carried out with the help of a hat. The hat is mounted on a special rack equipped with a pedal. As a rule, the length of the hi-hat sound is controlled by the left foot.
- Crash (crash). A cymbal that gives a powerful, rich sound. Used for both leading lines and accents.
- Ride (ride). It has a clear and dry sound. Compared to other cymbals, it tends to have less sustain (duration).
- Splash (splash). A cymbal with a small diameter that gives a juicy, sharp sound.
- China (tea). Curved plate. It has a loud and harsh sound.
What drums are included in a drum kit?
Drums include:
- Bassdrum (bass drum, "barrel"). To play, a pedal with a beater attached to the drum is used. Gives a powerful, dense sound, which, as a rule, is the basis of the part.
- Snaredrum (snare drum, snare drum). One of the main elements that make up a drum set. It has a loud, slightly "rattling" sound.
- Tom-tom (tom-tom). These are hanging or floor drums. The sound of tom-toms depends on the size. Generally, the larger the size, the lower the sound of the drum.
What the drum kit consists of, each drummer determines for himself. Equipment may vary depending on the musical style and playing technique. The minimum set for a drum kit is a bass drum, snare drum, hi-hat.
Additional elements of the drum kit
Of course, a drum kit isn't just made up of cymbals and toms. Equipment is supported by racks and mounts. In addition, some drummers additionally use cowbell and other percussion elements: xylophones, gongs, tambourines etc.
There are also many other interesting elements that are not part of the classic drum set. As a rule, these are ethnic instruments - bongos, shakers, tabla and others. Well, and, perhaps, what a drummer definitely cannot do without is -!
Installation for success
As you can see, the basic equipment of the drum set is not so great. Drummers have a choice of different configuration options. It is possible to purchase a ready-made installation, or a prefabricated version - for example, buying the tools you like from different manufacturers for one set.
Of course, a lot depends on the configuration of your drum kit. The quality of the extracted sound, the possibilities, the variety of sounds. However, no matter what your drum kit consists of, you will not be able to achieve serious success in your business without constant and hard training. Being a drummer is a serious job, and you should not forget about constant growth and development.
For the first time about the use of drums in Russian army mentioned during the siege of Kazan in 1552. Also in the Russian army, nakry (tambourines) were used - copper boilers covered with leather. Such "tambourines" were carried by the heads of small detachments. The napkins were tied in front of the rider, at the saddle. They beat me with the hilt of a whip. According to foreign writers, there were also large "tambourines" in the Russian army - they were transported by four horses, and eight people beat them.
Drum types
The list is being created...
Drum manufacturers
The drums are mostly made in Japan ( Yamaha, Roland) and USA ( Alesis, Drum Workshop), as well as some firms in Europe ( Simmons, SONOR) and in Taiwan ( Taye, WorlMax, mapex).
Video: Video drum + audio
A video with this tool will appear in the encyclopedia very soon!
Sale: where to buy/order?
The encyclopedia does not yet contain information on where to buy or order this instrument. You can change it!
