The history of the appearance of drums in russia. Drum - musical instrument - history, photo, video History of the origin of percussion instruments
Date: 18-11-2015, 21:31
Briefly about history:
Drums existed in the ancient state of Sumer. This was around 2000 BC. During excavations that took place in Mesopotamia, the first percussion instruments were discovered. They were cylindrical in shape. The drum in the ancient world was used to give signals, and it also accompanied dances, ceremonies, military campaigns.The drum came to Europe from the Middle East. Its prototype was borrowed from the Arabs in Palestine and Spain. The drum has a long history. Therefore, there are no drums today! They differ in shape, size, material.
V Russian army the drum was first mentioned during the capture of Kazan. It was 1552. Then, among the Russian military, tambourines, or as they are also called, were popular, were popular. These are leather-covered copper cauldrons. The nakras were always tied at the saddle in front of the rider. They beat these drums not with drumsticks, but with the handle of a whip. The coverings were divided into large and small. Small tambourines were distributed to the chiefs of small detachments, and large ones were transported by horses, eight people beat them.
Drums have their own classification. They are divided into types.
Turkish drum (large). It is mostly two-sided. It is struck with a large soft-tipped mallet. The sound of such a drum is dull, rather low and very strong. Therefore, the kick drum is designed for a single beat. It was first used at military processions, and then moved to the opera orchestra.
Snare drum. It is an instrument with two leather membranes stretched over the lowest cylinder. There are strings along this cylinder. It is they who give the drum a rumbling, rattling shade. Snare drum musicians mostly use rolls. They hit it with wooden sticks with small bulges at the end. It was not immediately introduced to the opera orchestra, around the 19th century. Today the snare drum is the main instrument in jazz bands.
The bass drum is the largest of the drums. It has a very low sound. It is he who sets the rhythm, they adjust to it
The drum kit is one of the oldest musical instruments. The first drums appeared around 6000 BC. The current drum kit is different from those that came before. Each of its elements deserves special attention.
Bass drum
The bass drum cannot be considered without its main element - the pedal. Her invention also went through numerous stages before she became the way we are used to seeing her at the present time. Read about the history of the bass drum pedal.
The bass drum is the largest and lowest sounding element of a drum kit. It was invented by Hindus and Turks. They have long used it in their rituals. In the 1550s, bass drum became known in Europe. He was brought there from Turkey.
Many Turkish military bands used a big drum, which produced a very strong bass sound that knocked out all listeners on the spot. Later, this sound became stylish, and many European musical groups adopted it in their work.
Snare drum and toms
Many people think that toms are the most modern drums, but this is not entirely true. They were created in Africa, they were called differently - "tam-tam". The natives used them to bring their tribe to military readiness. Africans have created many classical rhythmic patterns that are played by contemporary musicians to this day in various styles of music.
The snare drum is very similar to toms, only it is stretched higher, and also has a snare in its structure. Its ancestors can also be considered the Africans and military bands of the 19th century.
Plates
Initially, cymbals were tried to be used in music as an experiment and for fun. This happened in the 20th century, mainly in America, when people began to massively become interested in African rhythms and were looking for a new sound. Later, realizing that cymbals complement any genre of music very well, hardware manufacturers began to create various variations of cymbals, thus hi-hat, ride, crash, tea, splash, etc. appeared.
The oldest percussion instruments were found after archaeological excavations in Mesopotamia. Also in the Peruvian caves, researchers have discovered rock paintings, which depicted drums participating in religious rites. Each civilization used drums for different purposes, some as rituals, others to raise morale during the war.
Initially, the drum was played with hands, and only later they began to use sticks. The drums were tuned by pulling the membranes with ropes.
With the advancement of technology and the advent of electric guitars at the end of the 20th century, the electronic drum kit was invented for the first time.
Summing up, we can conclude that the drum kit was not invented by someone in particular. This musical instrument has been created for centuries.
Today, the drum kit is an indispensable tool for most songs, and drummers are in-demand musicians of any genre.
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 distinctive, 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 need to be played with your hands, so hand drums are also called percussion from the Latin word perka-ruka.
Ethnic drums are for those who are looking for new sensations and states. Most importantly, you don't have to be a professional musician, because drums are easy to learn and don't require any special musical talent. In addition to skill and unlimited desire, nothing else is required from 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 drum found in Moravia dates back to the fifth millennium BC. NS. V Ancient egypt drums appeared in four thousand years BC. NS. 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, it is endowed with the function of mediating 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 Dannom Derkhe, a shamanic deity, into two halves. But more often the drum is seen as a fusion of opposing principles: female and male, lunar and solar, earthly and heavenly, personified by two tambourines. In many cultures, the drum is functionally likened to the sacrificial altar and is associated with the world tree (drums were made from the wood of sacred tree species). Additional meaning within 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 interconnection of the heavenly and earthly worlds. When the drum rotates, two balls hanging on the cords hit its surface.
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 dancing to the accompaniment of a drum made of skulls. The drum of Sami shamans - kobdas, on which various images of a sacred nature are drawn, is used for fortune-telling (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 predecessor of the modern timpani, was used in the cults of Cybele and Bacchus. In Africa, among many peoples, the drum also acquired the status of a symbol of royal power.
Drums are extremely popular all over the world today and come 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, the most important oriental drums and drums of Africa appeared in the instrumentation of pop, ethnic and medieval musical groups - respectively, darbuka (or its bass version of dumback) and djembe. The peculiarity of these instruments is that they can produce sounds of a wide variety of timbre colors. This is especially true for darbuka. The masters of the game are able to extract many different sounds from the oriental drum - darbuks and, thus, compete with the whole drum kit. Usually, the technique on these instruments is taught by the bearers of the tradition, and the mastery of the material is exclusively by ear: the student repeats all kinds of rhythmic patterns after the teacher.
The main functions of ethnic drums:
- Ritual. Since ancient times, drums have been used in various mysteries, since a continuous 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 occasions.
- Military. Drumming is capable of raising morale and intimidating the enemy. The military use of drums is recorded in ancient Egyptian chronicles in the 16th century BC. In Switzerland, and later throughout Europe, military drums were also used to build troops and parades.
- Medical. For medicinal purposes, drums were used to exorcise evil spirits. A number of traditions are known in Africa, the Middle East and Europe. To a fast drumbeat, the patient had to perform a special dance, which resulted in a cure. According to current 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 transmit messages over long distances.
- Organizational. In Japan, the taiko drum determined the size of the territory belonging to a given village. It is known that among the Tuaregs and some other peoples of Africa, the drum was the personification of the power of the leader.
- Dance... Drum rhythm has traditionally been the basis for many of the world's dances. This function is closely related and derives from ritual as well as medical use. Many dances were originally part of the temple mysteries.
- Musical. In the modern world, drumming technique has reached a high level, and music has ceased to be used exclusively for ritual purposes. Ancient drums have become part of 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 Eastern Berber region. It is a frame drum made of wood and covered with animal skin on one side. On the inner surface of the bendir membrane, strings are usually attached, which create additional vibration in the sound when struck. The best sound comes out 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 lacks 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 the group clapping of hands. For tourists, this tradition seems, to put it mildly, unusual, but for the residents of the Maghreb themselves there is nothing more familiar than to get together and start clapping their hands, creating a certain rhythm. The secret to the correct clap sound is the position of the palms. It is rather difficult to describe it, but the locals themselves say that when you hit, you need to feel like you are holding the air with both hands. The movement of the hands itself is also important - absolutely free and relaxed. Similar traditions can also be found in Spain, India and Cuba.
Play a solo in Moroccan bendier
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 plays the main rhythm with his palm to control the rhythm and tempo of the orchestra. The end of the song can be used to enhance the energy and rhythmic ending.
Listen to the Moroccan ensemble Malhoun with tarija
T oubeleki, toymbeleki ).
A Greek variety of darbuka with an amphora-shaped body. Used to perform Greek melodies in Thrace, Greek Macedonia and the Aegean islands. The body is made of clay or metal. You can also buy this type of drum at Savvas Percusion or Evgeny Strelnikov. The bass of the tobeleki from the darbuka is distinguished by a greater boomy and softness of sound.
Listen to the sound of Toubeleki (Savvas)
Tavlak ( Tavlak).
Tavlak (tavlyak) - Tajik ceramic cup-shaped drum not large sizes(20-400 mm). Tavlak is mainly an ensemble instrument, used in conjunction with a doira or daf. The tawlaka sound, in contrast to the darbuka, is more drawn out, with a wah effect more characteristic of doira or Indian percussion. Tavlyak is especially popular in the Khatol region of Tajikistan, bordering 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 goblet Afghan drum. The body was made either of wood, like the Iranian tonbak, or of clay. The membrane in the early samples contained an additional pad, similar to Indian tabs, which gave the vibrato sound. The technique of playing which is something 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 tablé (tabla). From time to time, various techniques are also inserted, borrowed from darbuki... 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, and before the war, it used sophisticated finger technique and over-filled rhythms, 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, women performers appeared on this drum, before that they played only on the frame.
Listen to zerbakhali performances of the 70s
Kshishba ( Khishba, Kasour (slightly wider), Zahbor or Zenboor).
These drums are used mainly in the countries of the Persian Gulf in the music of Choubi and the dance direction Kawleeya (Iraq, Basra). Narrow tubular drum with wooden body and 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 drum of the Tuareg. Tuaregs are the only people in the world whose men, even in a domestic circle, are obliged to cover their faces with a bandage (self-name - "the people of the veil"). They live in Mali, Niger, Burkina Faso, Morocco, Algeria and Libya. Tuaregs preserve 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 is the leader, the amenokal.
The famous French researcher A. Lot wrote about the Tobol - a drum symbolizing the leader among the Tuaregs: “He is the personification of power among the Tuaregs, and sometimes the amenokala itself (the title of the leader of the tribal union) is called Tobol, like all the 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 him, then irreparable damage will be inflicted on the prestige of the amenokal.
Davul (Davul)
Davul- the drum, common among the Kurds, in Armenia, Iran, Turkey, Bulgaria, Macedonia, Romania. On the one hand, it has a membrane made of goatskin for bass, on which they beat with a special hard, on the other side, sheepskin is stretched, on which they beat with a twig, producing a high, whipping sound. Nowadays, membranes are made of plastic. Sometimes they hit the wooden body with a stick. In the Balkans and Turkey, the rhythms for dawul are quite complex, like the rules for odd rhythms and syncopation. In our studio we use davul for street performances and for setting a sense of rhythm.
Listen to the sound of davul
Kosh ( Kosh)
In the XV-XVI centuries, there were free lands in Zaporozhye. There have long been settled risky people who want freedom from different rulers. This is how the Zaporozhye Cossacks gradually arose. Initially, these were small bands of dashing people who hunted for raids and robbery. Moreover, the group-forming factor was the cooking pot, called "kosh". Hence the "koshevoy ataman" - in fact, the most powerful robber, distributing rations. How many people could feed from such a cauldron, so many sabers were in the koshe-band.
Cossacks moved on horses or on ships - boats. Their life was ascetic and minimized. You were not supposed to take unnecessary things with you on a raid. Therefore, the poor property was multifunctional. The most interesting thing: this very kosh-cauldron, after a plentiful supper, easily and simply turned into a drum-tulumbas, a kind of timpani.
On the eaten clean cauldron, the skin of the animal that was cooked in it for dinner was pulled with the help of ropes. During the night by the fire, the tulumbas dried up, and by the morning a battle drum was obtained, with the help of which signals were sent to the army and communication with other koshas was carried out. On boats, such a drum ensured the well-coordinated actions of the rowers. Later, the same tulumbases were used on watchtowers-towers along the Dnieper. With their help, a signal about the approach of the enemy was transmitted over the relay. The appearance and use of a tulumbas-boiler.
Similar drum Kus Is a large Persian cauldron drum. It is a pair of drums made of clay, wood or metal in the shape of a hemispherical cauldron with leather stretched over it. The kus was played with leather or wooden sticks (leather sticks were called daval - gave). Usually the cous 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 trumpet). 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 kus and karnay. Scientists attribute the appearance of these musical instruments to the 6th century. BC.
The Cossacks of the Zaporozhye Sich used tulumbases of various sizes to control the army. A small one was tied to the saddle, the sound was produced by the handle of the whip. The largest of the tulumbas was simultaneously beaten by eight people. Loud single sounds of the alarm together with the rumble of tulumbases and shrill rattles of tambourines were used for intimidation. This tool has not received significant distribution among the people.
(Krakeb)
or in another way 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 with mutual collision of each pair, fast, pulsating sounds are obtained, creating a colorful ornament for the rhythm.
Krakeb are the main component of Gnaua's rhythmic music. It is used mainly in Algeria and Morocco. There is a legend that the sound of crakebs resembles the clang of metal chains in which slaves from West Africa walked.
Listen to the music of Gnava 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 appearance corresponds to the time of the appearance of poetry. For example, in Tourat it is said that it is Tavil - the son of Lamak invented the daf. And also, when it comes to the wedding of Solomon with Belkis, it is mentioned that Daf sounded on their wedding night. Imam Mohamad Kazali wrote that the Prophet Mohammad said: "Spread the barak and play loudly on the dafa." These testimonies speak of the spiritual value of Dafa.
Ahmed bin Mohammad Altavusi writes about the relationship of a Dafa with the player and the manner of playing the Dafa: "The Dafa circle is the Akvan circle (being, the world, everything that exists, the universe) and the skin stretched over it is absolute existence, and a blow into it is the entry of divine inspiration, which is transferred from the heart, inner and innermost, 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 soul in captivity of love, will endear him. "
In Iran, Sufis used daf for ritual ceremonies (dhikr). V last years Iranian musicians successfully began to use the oriental drum - daf in modern Persian pop music. Currently, daf is very popular among Iranian women - they play and sing on it. Sometimes the women of Iran's Kurdistan provinces gather in huge groups to play the dafa together, which is analogous to collective prayer with the help of music.
Listen to the sound of dafa
Tonbak ( Tonbak)
Tonbak(tombak) - Iranian traditional percussion instrument (drum) in the form 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. Let's talk about the nuances of writing and pronunciation right away. In Persian, the combination of letters "nb" is pronounced as "m". Hence the discrepancy in the names "tonbak" and "tombak". It is interesting that even in Farsi one can find a record equivalent to the pronunciation of "tombak". However, it is considered correct to write "tonbak" and to pronounce "tombak". According to another version, tonbak comes from the word tonb, which literally means "belly". Indeed, the tonbak has a convex shape similar to the belly. Although, of course, the first version is more generally accepted. The rest of the 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 drum hit). The sound of the instrument, due to the not too strong tension of the skin and the specific shape of the body, is rich in timbre shades, filled with incomparable depth and density of bass.
The drum is made from a single piece of wood (maple, mulberry or walnut). The tombak is covered with calf, goat or camel skin, fixing it on the drum with glue or special staples. Before starting the game, it is advisable to warm up the membrane. Depending on which part of the membrane the performer hits with his fingers, the sound can be deeper and deeper, or resemble a dry click. The long duration of the macams required the hardened skin of the fingers. The musicians used different techniques: they soaked them in henna, which Iranian women love to dye their hair with, and plucked ears of wheat in the field with their hands.
V classical music The tombak was not considered a tool that required special talent. This was until the start of Ostad Hossein Tehrani's groundbreaking solo performances in the 1950s. Among his students were such prominent musicians as Mohammad Esmaily, Amir Nasser Eftetah and Jamshid Chemirani.
Play tonbake with your fingers. The modern technique of playing 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. Play the tombak with both hands, placing the instrument in an almost horizontal position. Achieving the desired sonic paint depends, at a minimum, on the area of the instrument being hit and whether the hit is made with fingers or a brush, flicking or sliding.
Listen to the sound of tonbak
Doira)
(translated as a circle) - a tambourine, common on the territory of Uzbekistan, Tajikistan, Kazakhstan. Consists of a round shell and a membrane with a diameter of 360-450 mm tightly stretched on one side. 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 of catfish skin, goat skin, sometimes the stomach of an animal, now the membrane is made of thick calf skin. Before playing, the doira is heated in the sun by a fire or a lamp to tighten the membrane, which contributes to the clarity and sonority of the sound. Metal hoops on the shell increase thermal conductivity when heated. The membrane is so strong that it can withstand a person jumping on it and a knife blow. Initially, the doira was a purely female instrument, the women gathered and sat singing and playing the doira, just as Iranian women gathered and played the dafs. Currently, the skill of playing the doira has reached an unprecedented level. Doira masters such as Abos Kasimov from Uzbekistan, Khairullo Dadoboev from Tajikistan are known in the world. The sound is produced by striking 4 fingers of both hands (thumbs are used 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 is higher and more sonorous. The ringing of metal pendants joins the main sound. The difference in the color of the sound is achieved due to various techniques of playing: strikes of fingers and palms of different strengths, clicks of little fingers (nohun), sliding of fingers on the membrane, shaking the instrument, etc. Tremolo, grace notes are possible. Dynamic shades range from gentle piano to powerful forte. The doira playing technique, developed over the centuries, has reached high virtuosity. Doira is played (amateurs and professionals) solo, accompanying singing and dancing, as well as in ensembles. The doira's repertoire is made up of various rhythmic figures - usuli. Doira is used when performing makoms, mugams. V modern times Doira is often a member of folk and sometimes symphony orchestras.Listen to the sound of doira
Gaval ( Gaval)
Gaval- Azerbaijani tambourine, closely related to traditions, everyday life and ceremonies. Currently, a number of musical genres, folk performances and games are played with 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 gaval round shell is 340 - 400 mm, and the width is 40 - 60 mm. The wooden hoop of the gaval is cut from the trunks of hard trees, it is smooth on the outside, and has a conical shape on the inside. The main material for making a wooden hoop is grape, mulberry, walnut, red oak. An inlaid ornament made of marble, bones of other materials is applied to the surface of the round shell. From the inside of the wooden hoop, from 60 to 70 bronze or copper rings are fastened into small holes with the help of clubs and often four copper bells. The clubs, visible on the outside of the wooden hoop, are gently glued with leather. Recently, in Iran, gaval has been made from pistachio wood. This makes it difficult for Hananda to perform in the gaval.
Typically, the membrane is made from lamb, kid, gazelle or bovine bladder skin. In fact, the membrane must be made from fish skin. Now, during the development of technology, artificial leather and plastic are also used. Fish leather is produced using special tanning. Professional performers, one might say, 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, touching the gaval or pressing it to his chest, warms the instrument and as a result, the sound quality of the gaval is significantly improved. Shaking the metal and copper rings hanging from the inside of the instrument and hitting it produces a double sound. The hoarse sound emanating from the membrane of the instrument and from the rings inside takes on a unique sound.
The technique of playing the gaval has the broadest possibilities. Sound production is performed using the fingers of the right and left hands and blows reproduced by the inner side of the palms. Gaval should be used very carefully, skillfully, with a creative approach, observing certain precautions. When performing gaval, the soloist should try not to tire the listener with awkward and unpleasant sound. With the help of gaval, you can get the desired dynamic tone of sound.
Gaval is a must-see instrument for performers of traditional genres of Azerbaijani music such as tesnif and mugam. Mugam in Azerbaijan is usually performed by a trio of sazandars: tarist, kemanchist and gavalist. The structure of the mugham dyastgah is such that the mugham dyastgah includes several ryangvas, daramyads, tasnifs, dirings, melodies, folk songs... The khanende (singer) himself is often a gavalist at the same time. At present, Mahmud Salah is the full master of the instrument.
Hear the sound of the gaval
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 outdoors. Nagarra is usually played with sticks, but you can also play with your fingers. Its body is made of walnut, apricot, and other types of trees, and the membrane is made of sheep skin. Height 350-360 mm, diameter 300-310 mm. Depending on their size, they are called kyos nagara., Bala nagara (or chyure N.) and kichik nagara, that is, large, medium and small drum. Gosha-nagara resembles in structure, two cauldron drums fastened together. Also in Azerbaijan there is a kettle-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 of dogwood. The word Gosha-nagara literally translated from the Azerbaijani language means "a pair of drums". The word "gosha" means - a pair.Initially, the body of gosha-nagara 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 diaphragm is screwed to the body with metal screws, which also serve to adjust the instrument. They play the gosha-nagar, placing it on the floor or on a special table, in some traditions there is a special profession: the holder of the nagar, which is trusted by short boys. Gosha-nagara is an obligatory attribute of all ensembles and orchestras of folk instruments, as well as weddings and celebrations.
The poet Nizami Ganjavi described the "nagara" as follows: Listen to the sound of 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 produced with hands or with two wooden sticks similar to the Turkish davul - thick and thin. Earlier it was used in military campaigns, now it is used in an ensemble with zurnas, it accompanies dances, processions. Hear the sound of dhol Listen to the sound of kairok performed by Aboss Kasimov The name of Indian tabla drums is very similar to the name of the Egyptian Tabla drum, which means "membrane" in Arabic. Although the very name "tabla" is foreign, this does not refer to the instrument in any way: there are ancient Indian reliefs depicting such pairs of drums, and even in "Natyashastra" - a text almost two thousand years ago - it is mentioned about river sand of a certain quality, which is part of the paste to cover the membrane. There is a legend about the birth of the Tabla. During Akbar's time (1556-1605), there were two professional performers in Pakhawaj. They were bitter rivals and constantly competed with each other. Once, in a heated battle of a drumming competition, one of the rivals, Sudhar Khan, was defeated and, unable to bear his bitterness, threw his Pakhawaj down to the ground. The drum shattered into two parts, 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 the 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 straps are threaded through this cord 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 sawdust, rice or wheat flour and a sticky substance. This covering, which is black, is called syahi. All this technique of attaching and stretching the skin not only affects the sound quality, making it less "noisy" and more musical, but also allows you to adjust the pitch. On the scoreboard, a sound of a certain height can be achieved either by vertical movements of small wooden cylinders with significant changes in height, or by tapping with special hammers on a leather hoop. There are several tabla gharana (schools), the most famous of them are six: 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 Hussein. Listen to the sound of the tabla , mrdanga, (Sanskrit - mrdanga, Dravidian forms - mrdangam, mrdangam) - South Indian two-membrane drum in the shape of a barrel. According to the Indian classification of instruments, it belongs to the group of avanaddha vadya (Skt. "Coated instruments"). It is widespread in the practice of making music in the Karnat tradition. The North Indian counterpart of mrdanga is pakhawaj. The body of the mridanga is hollow, carved out of valuable wood (black, red), resembles a barrel in shape, the largest part of which around the circumference is usually asymmetrically displaced towards the wider membrane. The length of the body varies from 50 to 70 cm, the diameter of the membranes is 18 to 20 cm. The membranes are of different sizes (the left one is larger than the right one) and are leather covers 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 belts. When pulled through both hoops, these straps run along the body and connect both membranes. Unlike drums such as pakhawaj and tabla, the construction of the mrdanga lacks wooden bars passed through belts and used for tuning; the change in tension in the belt fastening system occurs by knocking directly the membrane hoop. During the game, the drum body is often covered over the belts with an embroidered cloth “blanket”. The structure of the membranes is characterized by the complexity characteristic of South Asian drums. They are made up of two superimposed circles of leather, sometimes sandwiched with special reeds to create special sound effects. The upper circle has a hole located in the center or slightly offset to the side; at the right membrane, it is constantly covered with a coating of 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 mrdanga means 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, gopuccha, haritaka, etc. are mentioned. In our time, the mrdanga group, in addition to the drum with this name, is represented in various ways; This includes both the actual mrdangas of various configuration and functional belonging, and, for example, the drums of the dholak group, used in traditional music and music-dance genres, and other drums of a similar form. The mrdanga 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 m. In conjunction with a system that allows you to adjust its tuning, creates special conditions for accurate regulation and nuance of its pitch and timbre parameters. Having a deep, rich timbre sound, mrdanga is also an instrument with a relatively controlled pitch. The diaphragms are tuned in the fourth (fifth), which in general significantly expands the range of the instrument. Classical mrdanga is a drum with the widest range of expressive and technical capabilities that have evolved over the centuries into a carefully developed and thoroughly substantiated theoretical system. One of its features, which is also characteristic of other drums in the region, is the specific practice of bol or connacol - verbalization ("pronunciation") of metrhythmic formulas-tal, which is a synthesis of the verbal (including to a large extent the element of sound imitation) and physiomotor principles in their combination with expressive qualities of the instrument. 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 mrdanga group is the leading one, that have preserved the basic genetic codes of the culture of Hindustan to this day. Hear the sound of mrdanga Kanjira- Indian tambourine used in South Indian music. Kanjira is an amazing instrument with a very pleasant sound and an amazingly wide range of possibilities. 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 kanjir is usually played in an ensemble of folk instruments, with mrdanga. The membrane of the instrument is made of lizard skin, which is why the instrument has amazing musical properties. It is stretched from 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 the use of techniques of playing on other frame drums. Hear the sound of the kanjira Gatam- a clay pot from southern India, used in the "karnak" style of music. The gatam is one of the most ancient instruments of southern India. The name of this instrument literally means "water jug". This is not accidental, since its shape resembles a vessel for a liquid. The sound of the gatam is similar to the African udu drum, but the technique of playing it is much more complicated and sophisticated. The main difference between gatama and oudu is that at the production stage, metal dust is added to the clay mixture, which has a beneficial effect on the acoustic properties of the instrument. Gatam consists of three components. The bottom is called the bottom. This is an optional part of the instrument as some gatams have no bottom. The tool thickens towards the middle. It is on this part of the instrument that you must strike in order to produce ringing sounds. The top is called the neck. Its sizes may vary. The neck can be wide or narrow. This part also plays an important role in the game. By pressing the neck against the body, the performer can also produce various sounds, changing the sound of the gatama. The musician strikes the surface with his hands, holding him on his knee. The uniqueness of the gatama 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. This can be, for example, strings or stretched animal skin. In the case of gatam, everything is much simpler. However, gatam can change. For example, you can pull the leather over the neckline. 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 inhomogeneous sounds. It depends on how, in what place and with what you hit it. You can hit with your fingers, finger rings, fingernails, palms, or wrist. Gatama musicians can make their performance very effective. Some gatama performers throw the instrument into the air at the end of the performance. It turns out that the gatam is broken with the last sounds. Also in India there is a version of this drum called madga - it has a more round shape and a narrow neck than gatam. In addition to metal dust, graphite powder is also added to the mixture for maji. In addition to its individual acoustic properties, the instrument acquires a pleasant darkish color with a bluish tint. Listen to the sound of gatama Tawil is a percussion instrument known in southern India. Used in traditional ensembles with the nagswaram reed instrument. The body of the instrument is made of jackfruit; leather membranes are stretched on both sides. The right side of the instrument is larger than the left side, and the right diaphragm is stretched very tightly and the left diaphragm is looser. The tool is set up using belts passed through two hemp fiber rims, in modern versions of fastening metal. The drum is played either sitting or suspended from a belt. Mostly played with the palms, although sometimes special sticks or rings worn on the fingers are used. Listen to the sound of tawil Pakhawaj (Hindi,"Solid, dense sound") - a two-membrane drum in the shape of a barrel, common in the practice of making music in the Hindustani tradition. In accordance with the Indian classification of instruments, like all other drums, it is included in the group of avanaddha vadya ("coated instruments"). Typologically related to its South Indian counterpart mrdanga. The pakhawaja body is hollowed out from a block of precious wood (black, red, pink). Compared to the configuration of the mrdanga body, the Pakhawaja 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 the mrdang, but in contrast to it, the change in the tension of the belts, and, consequently, the process of adjusting the membranes, is carried out by knocking round wooden bars laid between the belts closer to the left membrane (as in tabla). On the right membrane, a cake made of dark paste (syakhi) is glued and permanently, on the left one, before the game, it is applied, 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 sound. In general, it is distinguished by "solidity", "seriousness", timbre depth and richness. When playing, pakhawaj is placed 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. It is especially strongly associated with the vocal tradition of dhrupad, which flourished during the reign of Emperor Akbar (16th century), but nowadays occupies a rather limited place in the musical culture of Hindustani. The sound quality of Pakhawaj, the peculiarities of his technique, are directly related to the aesthetic and emotional aspects of dhrupada: the slowness, severity and sequence of the deployment of the sound fabric on the basis of strictly regulated rules. At the same time, pakhawaj has developed virtuoso-technical capabilities, which allows the musician to fill the metro-rhythmic clichés (theka) correlated with dhrupad with various rhythmic figurations. Many of the techniques inherent in pakhawaj became the basis of the tabla, drum technique, with the tradition of playing music on which it is linked by the bonds of continuity. Listen to Pakhawaj solo (tumbaknari, tumbaknaer) is the national Kashmiri goblet drum used for solos, accompaniment to songs 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 tumbaknari body is made of clay. This drum is played by both men and women. Other goblet drums used in India are humate(ghumat) and jamuku(jamuku) (South India). Listen to a tumbaknari solo with a gotham. Damaru- a small two-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. The height of the damru is about 15 cm. The weight is about 250-300 g. Such a 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 a narrow part of the damru. When a person shakes the drum using wave-like movements of the wrists, the ball (or balls) are struck 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. Skull damru is called "thöpa" and is usually made from skull caps neatly cut above the ear and joined at the tops. Inside, mantras are written in gold. The skin is painted 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 halves of the damru is tied with a knitted cord, to which a handle is attached. Beaters are tied to the same place, whose knitted shell symbolizes the 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 mainly obtained in dishonest ways. The "heavenly burial" ritual is not as traditional as it used to be. First, China considers it not entirely legal. Secondly, finding firewood or other materials to burn the body has become easier and not expensive. 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, soaked in medicines, the birds do not want to eat, which is necessary before making the instrument. Damaru is generally well known throughout the Indian subcontinent. Among the Shaivites, he is associated with the form of Shiva called Nataraja, being a symbol of the latter. The four-armed Nataraja holds the damaru in his upper right hand as he performs his cosmic tandava dance. It is believed that damaru is voiced by the primordial sound itself (nada). There is a legend that all the sounds of Sanskrit originated from the sounds of Shiva playing damaru. The beat of this drum symbolizes the rhythm of forces during the creation of the world, and both of its halves personify the masculine (lingam) and feminine (yoni) principles. And the connection of these parts is the very place where life originates. Hear the sound of damaru in a Buddhist ritual. Taiko is a family of drums used in Japan. Verbatim taiko translated as a big (pot-bellied) drum. 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, there was a signal drum in every village. Simple combinations of blows secretly transmitted signals of impending danger or general work. As a result, the territory of the village was determined by such a distance to which the sound of a drum could reach it. With a drum imitating the rumble of thunder, the peasants called for rain in dry seasons. Only the most respected and enlightened of the inhabitants could play the taiko. With the strengthening of the main religious teachings, this function passed to the ministers of Shinto and Buddhism, and the taiko became temple instruments. As a result, they began to play the taiko only on special occasions, and only drummers who had received the blessing of the priests for this. Currently, taiko drummers play compositions only with the permission of the teacher and learn all compositions exclusively by ear. Music notation is not kept 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 a lot of strength to play, so all drummers undergo rigorous physical training. It is reliably known that one of the earliest taiko appointments was in the military. The thunder of drums during attacks was used to intimidate the enemy and inspire their troops to battle. Later, by the fifteenth century, drums became a tool for signaling and conveying messages during battle. In addition to military and territorial, taiko have always been used for aesthetic purposes. Music in style gagaku appeared in Japan during the Nara period (697 - 794) along with Buddhism and quickly took root at the imperial court as an official one. A single taiko is part of a group of instruments accompanying theater performances But and Kabuki. The drums of Japan are collectively called taiko, and by design they are divided into two large groups: byo-daiko, in which the membrane is rigidly fixed with nails without the possibility of adjustment, and shime-daiko, which can be adjusted using cords or screws. The drum body is hollowed out from a single piece of hardwood. Taiko is played with sticks called bachi. In our studio there are analogs of taiko, from the "Big Drum" project, on which you can perform traditional Japanese music. Listen to the sound of Japanese drums The Japanese ritual tambourine used in Buddhist ceremonies Literally translated as a fan drum. Despite its small size, it has an impressive sound. It is similar in shape to the Chukchi tambourine. Nowadays, drummers often put several uchiva daiko on a stand, which makes it possible to perform more complex rhythmic compositions. Listen to a set from uchiva-daiko Changu Is the Korean drum most commonly used in traditional music. Consists of two parts, which are usually made of wood, porcelain or metal, but it is believed that the best material is Paulownia or Adam's wood, 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 deer) on both sides. In ancient peasant rituals, it symbolized the element of rain. Used in the traditional samulnori genre. Traditional drum music is based on a long tradition of Korean peasant music performed during village festivals, worship and field work. The Korean words "sa" and "mul" translate to "4 instruments" and nori means play and performance. The musical instruments in the samulnori orchestra are called changu, puk, pingari and chin (two drums and two gongs).
Bunch- a traditional Korean drum, consisting of a wooden body covered with leather on both sides. Began to be used since 57 BC. and usually for court Korean music. The bunch is usually mounted on a wooden stand, but the musician can hold it on the hip as well. A stick made of heavy wood is used to strike. Symbolizes the element of thunder. Listen to Korean drums 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 a vajra is depicted. Sometimes a silk scarf is tied on the handle as a symbol of reverence for a divine musical instrument. Nga Chen- a large double-sided drum hanging inside a wooden frame. Its diameter is more than 90 cm. The image of a lotus is also used as a decoration. The drum stick has a curved shape and is covered with fabric at the end for greater softness on impact. The performance on this instrument is distinguished by great virtuosity; there are up to 300 ways to play the ngachen (on the membrane there are drawings and magic symbols arranged according to cosmic zones). This drum also resembles Chinese imperial drums. Nga-bom- a large double-sided drum mounted on a handle, which is struck with a bent stick (one or two); nga-shung (nga-shunku) - a small double-sided drum used mainly during dancing; rolmo - plates with a large bulge in the center (they are held horizontally); strong nyuen - 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 to Africa; it meant the 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-there
Bajiogu- Chinese octagonal drum, similar to Arabic rick. Python skin is used for the membrane. The body 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 octagonal drum 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. Today, the tambourine is mainly used to accompany traditional vocals or dances. The sound of an octagonal Chinese tambourine in the vocal part
Frog-drum is one of the oldest drums, the progenitor of metallophones in Southeast Asia. The Vietnamese are especially proud of their bronze culture. In the era of the so-called Dong Shon civilization, the Laquiet people in 2879 BC. the semi-legendary kingdom of Wanglang was created. Bronze drums with a characteristic geometric pattern, scenes of folk life and images of totem animals have become a symbol of the Dong Son culture. The drums performed not only musical, but also ritual functions. Features of Dong Shon 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 large floods. The drum was one of the items that was placed with the deceased in a tomb (Dong Son area, Thanh Hoa province, Vietnam). Hear the sound of orextra frog drams
Gfoodback Is a goblet-shaped drum used in Malay folk music. The drum body is made of hardwood, mainly jackfruit (East Indian breadfruit) or anngsana. 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. During the performance, the drum lies in a horizontal position, the left hand is pounded on the membrane, while the right hand closes and opens the hole. Typically, the gendonbak is paired with the Gendang ibu double-sided drum. Hear the sound of the hedonback 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 tools are often referred to with the same word thon-ramana... The tone is placed on the knees and is beaten with the right hand, while the Ramana is held in the left hand. Unlike the gedonbaka, 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 polyrhythmy with metallophones. Listen to the sound of the tone in the dance procession
Gendang(Kendang, Kendhang, Gendang, Gandang, Gandangan) - drum of the traditional Indonesian gamelan orchestra. Among the peoples of Java, Sudan and Malays, one side of the drum is larger than the other and produces a lower sound. Bali and Maranao drums have both sides the same. The performer usually sits on the floor and plays with his hands or special sticks. In Malaysia, the gendang is used in conjunction with the gedombek drum. Drums vary in size: Sometimes drums of different sizes are used to make a drum set and one performer can play different drums at the same time. Listen to the sound of a set from Indonesian gendangs Ipu- Hawaiian percussion musical instrument, often used to create accompanying music during the performance of hula dance. Ipu is traditionally made from two pumpkin fruits. There are two types of IPU: Hawaiians usually play it while seated, striking the top of the ipu with their fingers or palms. To emphasize the first beat of each bar, the player strikes the soft tissue of the mouthpiece that lies on the ground in front of the player, producing a deep, resonant sound. Subsequent strikes are made above the ground on the bottom of the instrument with three or four fingers, creating a high-pitched sound. Listen to Ipu accompaniment for Hawaiian songs
Groin- traditional Polynesian drum (Hawaii, Tahiti, Cook Islands, Samoa, Tokelau). It is cut from a solid trunk and covered with shark skin or stingray skin. Play on it with palms or fingers. The groin is considered a sacred drum and is usually found in a temple (heiau). Serves as accompaniment to traditional hula songs and dances. Drums of religious significance are called Heiau pahu(prayer drum). A stingray skin is usually used for a prayer drum, while a shark skin is used for a musical drum. The drum for musical accompaniment is called Hula pahu... Both drums have ancient history and are similar in shape. Small drums are usually cut from the trunk of a coconut tree. There are also Pahu drums resembling a huge table, at which the musician plays while standing. Listen to the groin drum accompaniment for Hawaiian hula dancing Djembe- a cup-shaped West African drum (about 60 cm high and a membrane diameter of about 30 cm), hollowed out of a solid piece of wood with stretched antelope or goat skin, often with metal plates " kesingkesing»Applied to amplify sound. It appeared in the Malian Empire in the XII century and was figuratively called the Healing Drum (Healing Drum). The open body shape is believed to be derived from a conventional grain crusher. Depending on the beat, djembe produces three basic sounds: bass, tonal and sharp slap. African rhythms are characterized by polyrhythm, when several drum parts create a common rhythm. They play the djembe with their palms. Basic hits: Bass (to the center of the head), Tone (main hit on the edge of the head), Slap (slap on the edge of the head). It gained wide popularity in the 20th century thanks to the group Le Ballet Africains, the National Ensemble of Guinea. The popularity of djembe has also contributed to its relatively easy hand-wear, has a fairly strong bass, and is easy to pick up for beginners. In Africa, djembe masters are called djembefola. Djembefall should know all the rhythms played in the village. Each rhythm corresponds to a specific event. Djembe is both an accompanying and a solo instrument that allows you to tell a lot to the listeners and literally make people move! Listen to a djembe solo with dunduns and a shaker Dongdong- Three bass drums of West Africa (from smallest to largest: Kenkeni, Sangban, Dudunba). Dunumba - Big drum. Sangban - Medium drum. Kenkeni is a snare drum. On these drums the skin of a bull is stretched. The leather is stretched using special metal rings and ropes. These drums are tuned in pitch accordingly. The sound is produced with a stick. The Dunduns are the backbone of the traditional ballet in West Africa. The dunduns form an interesting melody and other instruments, including the djembe, are played on top. Initially, one person played each bass drum, striking the membrane with one stick, and the other on the ringing bell (kenken). In a more modern version, one person plays simultaneously on three vertical reels. When playing in an ensemble, the bass drums form a basic polyrhythm. Listen to African Dunduns Kpanlogo -
a traditional peg drum in the western region of Ghana. The body of the drum is made of hard wood, the membrane is made of antelope skin. The leather is attached and adjusted with special pegs inserted into the hole in the case. The shape and sound are very similar to the conga, but smaller in size. The Kpanlogo performer must be inventive, conduct a musical dialogue (question-answer) with the rest of the instruments. The Kpanlogo part includes elements of improvisation, a constant change of the pattern in accordance with the dancer's movements. Kpanlogo is played with the palm of your hand, the techniques are similar to playing the conga or djembe. When playing, the drum is clamped with your feet and slightly tilted away from you. It is a very interesting and melodic instrument that sounds beautiful both in group rhythm and in solo. Sets of different keys of Kpanlogo are often used, which is very similar to the sets of Cuban Kongs, which, in all likelihood, originated from Kpanlogo. Listen to the sound of the set from Kpanloy Drums of Ashanti -
traditional drum set of peg drums in Ghana. The set is named after the biggest drum Fontomfrom ( Fontomfrom). Often, a large drum can be taller than a person and must be climbed up a ladder attached to the drum. The smaller drums are called Atumpan ( Atumpan), Apanthema ( Apentema), Apettia ( Apetia) . Ashanti drummers are called heavenly drummers. The drummers occupy a high position in the court of the Ashanti chief, they are obliged to make sure 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 does not dare to move his drum from place to place. It is believed that while doing this, he can go crazy. Some words cannot be tapped on the drum, they are taboo. You cannot, for example, mention the words "blood" and "skull". In ancient times, a drummer, if he made a serious mistake, passing the message of the leader, could have his hands cut off. Now there is no such custom, and only in the most remote corners a drummer can still lose his ear for negligence. With the help of drums, 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. Hear the sound of Ashanti drums Talking drum- a special type of African drums, originally intended to maintain communication between villages. The drum sound could mimic human speech, and a complex system of rhythmic phrases was used. As a rule, a talking drum is a two-headed, hourglass-shaped, the skin on both sides is pulled together by a strap braided around the body of the skin or intestines of the animal. 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 rope of the drum), the player changes the pitch of its sound, thus highlighting the different notes in its sound. The harder you squeeze the drum, the higher it sounds. All this gives different variants 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. With the sounds of prayers and the blessings of talking drums, a new day begins in countless villages across West Africa. The talking drum is one of the oldest instruments used by West African Griots (in West Africa, a member of the caste responsible for preserving tribal stories 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 across the Caribbean during the slave trade. Talking drums were subsequently banned for African Americans, as slaves used them to communicate with each other. The tool is unique in its own way. Outwardly, he may seem unassuming, but this impression is deceiving. The talking drum accompanies a person both in work and in 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 cultural heritage. In 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(ashiko) -
a West African truncated cone drum. Ashiko is considered the birthplace of West Africa, presumably Nigeria, the Yoruba people. The name is most often translated as "freedom". Ashiko were used for healing, during initiation rituals, military rituals, communicating with ancestors, for transmitting signals over distances, etc. Ashiko is traditionally made from a single piece of hard wood, while modern instruments are made from stitched 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 degree of tension on the membrane. Modern views ashiko may have plastic membranes. Ashiko have a height of about half a meter to a meter, sometimes a little higher. Unlike djembe, where only two tones can be reproduced due to its shape, the ashiko sound 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. It is believed that ashiko is a “male” drum, and djembe is a “female” drum. Ashiko-shaped drums in Cuba are called boku and are used during carnivals and street parades called komparsa. Listen to the African drum ashiko Batá- these are three membranophones with a wooden case in the shape of an hourglass, with two membranes of different diameters at the ends, the play on which is carried out with the hands. Make baht either the traditional African method of hollowing out from a whole tree trunk, or the modern one - by gluing from individual planks. On both sides baht membranes made of thin skin (for example, goat skins) are stretched. In traditional baht they are fastened and tensioned with leather strips, the industrial version of the bat uses an iron fastening system designed for bongos and kong. Enu (enú, "mouth") - a larger membrane, which has a correspondingly lower sound. It plays open (open), muted (muted) beats, and touches (touch). Chacha- the smallest membrane. It plays slaps and touches. Play on baht sitting, putting it on your knees in front of you. Most of the membrane is usually played with the right hand, at least - with the left. In Cuba, the ensemble uses 3 baht: Okónkolo- a small drum, which, as a rule, performs a strictly fixed pattern, which 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. Itótele- the middle drum, its function is to "respond" to the big drum Iya. Iyá- the largest and, therefore, the lowest, "mother drum". Plays on it olubata- the leading, most experienced drummer. Iya is the soloist of the ensemble. There are many customization options baht; O the main rule is tone chacha of each big drum matches enu next smallest. Small bells are often hung on the bata. Bata were brought to Cuba from Nigeria along with African slaves of the Yoruba people, one of whose objects of worship was Chango (Shango, Changa, Jakuta, Obakoso), the lord of the drums. 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 of them). Bata play a 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 a person's ability to "walk through life" correctly, that is, to perform the necessary actions at the right moment. Drums in santeria are perceived as a family, where everyone has their own voice and their own assigned responsibilities, while the patron saint of each of the species baht is a separate Santerian "god" Orisha - the patron saint of concolo is Chango, hotel- Ochun, and iya - Iemaya .
In addition, it is believed that each drum has its own "soul" anya (añá), which is “embedded” in the newly made bata during a special ritual, “born” from the “souls” of other bata that have already passed initiation. There are cases when from Nigeria they were specially transported añá while making a new drum "body" in Cuba. Before the socialist revolution of 1959, the drumming of Bata took place in closed rituals, where either initiates (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), studying traditional (mainly religious) music. This certainly met with the displeasure of the "dedicated" drummers. Despite the fact that over time the bata music became public domain, it is still customary to separate the drums used for religious ceremonies ( fundamento) and "worldly" ( aberikula). Listen to bata drums Bugarabu(accent on U) -
a traditional instrument of Senegal and Gambia, it is not found in other African countries. As a rule, the 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. Several decades earlier, the bowarabou was a solo instrument. They played it with one hand and a stick. However, recent generations have begun to assemble tools into rigs. Perhaps it was the influence of the kong instrument on them: as you know, several are always used when playing. For the best sound, the drummer wears a special metal bracelet that adds flavor to the sound. Bugarabu looks like a djembe, but the leg is shorter or is completely absent, the tree is of a different species and is slightly 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. Bugarabou have a characteristic deep rolling sound, thanks to which the drum got its name. Resounding slap and long-lasting deep bass are the hallmarks of this drum, which combines a large playing area and a spacious resonant body. It is often used as a background bass drum for playing with djembe and other drums. However, it is also great for solo playing. Bugarabou African drum sound Sabar -
traditional instrument of Senegal and Gambia. Traditionally, it is played with one hand and a stick. The wand is held in the left hand. As in the case of the Kpanloi, the sabar membrane is attached with pegs. 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 musical style playing the sabar. Listen to the African sabar drum Kebero -
a double-sided tapered drum used in traditional music in Ethiopia, Sudan and Eritrea. Kebero is the only drum used during services in a Christian church in Ethiopia. A small version of the kebero is used during civil holidays. The body is made of metal, both sides are covered with a leather membrane. The Kebero-type barrel drum is mentioned in the lyrics of the song "Semi Hathor", which was performed with instrumental accompaniment and dances. A recording of the text is preserved in the temple of the goddess Hathor at Dendera (built between 30 BC and 14 AD). Subsequently, the barrel-shaped drum passed into the tradition of subsequent eras. A similar tapered drum - kebero used in divine services in the Coptic Church, is now preserved in the rituals of the Ethiopian Church. Listen to an Ethiopian service with a kebero Udu- African clay drum-pot, originating from Nigeria (udu - both "vessel" and "peace" in the Igbo language). The deep, overtaking sounds that the oudu produced seemed to many to be the "voices of the ancestors" and was originally used in religious and cultural ceremonies. When the hole is struck, it emits a deep low sound, a ceramic ringing sound across the surface. May have a membrane on the surface. It is worth noting that any traditional school of playing the ear simply does not exist, 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, For lived in disunited groups. The only basic technique common to all Nigerian musicians is striking the side hole with the opening and closing of the neck of the drum with the other hand. At the same time, a hypnotic bass is obtained, for which many people love Uda so much. The situation is the same with the name of the instrument: it changes not only from region to region, but also from which ceremonies the drum is used for. Most often, the name "abang mbre" is attributed to him, which simply means "a pot for playing." Also, a curious detail is that initially only women played the oud. Despite the appearance of fiberglass and wood oudu, clay remains the most popular material for making this tool. Nowadays, most craftsmen make drums on a potter's wheel, but in Nigeria, the traditional method of making without the use of machines and complex tools is still widespread. There is an interesting technique of playing with a fiberglass odd, when the properties of the resonator are changed with the help of water poured into a pot. With water, the drum takes on a truly mystical sound. Udu instruments combine a unique "aqua-resonant" sound with a warm "earthy" vibration, creating a seamless fusion of deep and high enveloping tones. Pleasant to the eye and to the touch, calming and pacifying by ear, Udu is able to lead you into deep meditation, give you a feeling of comfort and tranquility. Listen to the sound of oudu Kalabash -
a large bass drum made of pumpkin. In Mali, it was originally used for cooking. They play on it with their hands, fists or sticks. The diameter of the instrument is about 40 cm. Sometimes the kalabash is immersed in a basin of water and pounded on it with a fist, in this case a very powerful and pumping bass is obtained. Listen to the sound of kalabash Gom dram - bass drum from Ghana. Made of 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 introduced to Ghana in the 18th century by Congolese fishermen. It looks like)
“Coşdu qurd gönünden olan nağara, Dünyanın beynini getirdi zara” (which literally means “The soot of wolf skin got agitated by the noise of everyone in the world”). Guide to Turkish nagarras (PDF) In the Russian tradition, such drums were called nakras. The covers were small in size and had a pot-shaped earthen (ceramic) or copper 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 tool was slightly deeper than its diameter. In the old days, nakry, together with some other percussion and wind instruments, were 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. Fastening of the cover was carried out by the following methods: throwing a war horse over the saddle; fastening to the waist belt; attachments to the back of the person in front. Sometimes, the covers were fastened to the ground, which led to a gradual increase in size and transformation into modern timpani. Later, nakra began to appear in medieval orchestras. The musician playing the medieval nakrach - the so-called "court nakrach", existed in Russia as early as the 18th century of the new era.
Kayrok)
... These are two pairs of flat polished stones, a kind of analogue of castanets. Inherent in most of the inhabitants of Khorezm (Uzbekistan, Afghanistan). As a rule, he was accompanied by cat- an instrument made of mulberry, apricot or juniper wood, resembling two pairs of spoons. Today the cat is practically out of use and is used only at national celebrations more as a symbol. Literally kairok is a whetstone in Uzbek. This is a special, slate rock, black stone. Has a high density. They are found on the banks of rivers. It is desirable to have an elongated shape. Then they wait for one of the neighbors to play a toy (wedding). This means that the shurpa will slowly cook over the fire for three days. The stone is thoroughly washed, wrapped in a snow-white gauze cloth, and in the shurpa itself, with the consent of the host, is lowered. After three days, the stone acquires the desired properties. Stones in the families of knifemakers are passed down from generation to generation. Indian drums
mrdanga)
Kanjira ( canjira)
Gatam and Maja ( ghatam)
Tawil ( thavil)
Pakhawaj ( Pakhavaj)
tumbaknari, tumbaknaer)
Damaru ( damaru)
Japanese, Korean, Asian and Hawaiian drums
Taiko ( Taiko)
uchiwa daiko)
changu).
puk).
bajiaogu, bafangu).
Vietnamese bronze drum frog drum ( frogdrum).
gedombak).
Thai drum Ton (
thon, thab, thap).
Gendang).
Hawaiian Ipu Drum (Ipu)
Hawaiian Pahu Drum (Pahu)
African drumsDjembe (Djembe)
Dongdong
Kpanlogo ( kpanlogo)
Drums of Ashanti ( Ashante)
Talking drum ( Talking drums)
Ashiko (ashiko)
Bata (Bata)
Bugarabu ( bougarabou)
Sabar ( sabar)
Kebero ( kebero)
Udu ( Udu)
Kalabash ( calabash, calebasse)
Gom dram ( gome drum)
A tribal king or fortuneteller uses this drum in ceremonies. The Yoruba richly decorates its drums with various figures.
Chokwe, Angola
(Chokwe)
Chokwe is a double-sided drum used for distance communication and ritual stories.
Senufo, Cote d'Ivoire
(Senufo)
Senufo is a double-sided drum used for communication at a distance and to accompany the epic.
Listen to African Yoruba rhythms
Listen to African Chokwe rhythms
Listen to African Senufo rhythms
Drum Cuba,
Nigeria (Kuba)
Royal drum richly encrusted with seashells
Bamileke, Cameroon
(BAMILEKE)
Belongs to the nationality of the same name in Cameroon.
Yaka, Cameroon
(YAKA )
Wooden drum with a slot. This drum is used for accompaniment and is played with two sticks.
Latin American drums
Cajon ( Cajon )
Cajon appeared in Peru in early XIX century. According to one version, the slaves used fruit boxes for playing 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 the device of the cajon to achieve the best sound. From that time on, it began to spread throughout Latin America and by the twentieth century had become an integral part of Peruvian and Cuban musical culture.
In the seventies of the twentieth century, the Peruvian composer and cajon maker Caitro Soto presented the cajon as a gift to the Spanish guitarist Paco de Lucia, who was visiting Peru. Paco liked the sound of the cajon so much that famous guitarist acquired another instrument before leaving the country. A little later, Paco de Lucia introduced the cajon to flamenco music, and its sound became firmly associated with this musical direction.
On our site you can find a flamenco rhythm stew for darbuka.
Listen to the sound of the cajon
Congi ( Conga )
Conga is a narrow tall 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 conga is called a "conguero". In Africa, congas were made from hollow logs; in Cuba, the process of making congas resembles the making of barrels. Actually, originally Cuban congas were made just from barrels. These instruments were common in Afro-Caribbean religious music and rumba. Congas are now very popular in Latin music, especially in styles such as salsa, merengue, regaeton and many others.
Most modern kongs have a staved wood or fiberglass body and a leather (plastic) membrane. When played standing, the kongas are usually about 75 cm from the edge of the body to the head of the performer. You can also play conga while sitting.
Although they originated in Cuba, their incorporation into popular and folk music in other countries has resulted in a diversification of terminology for documentation and performers. Ben Jacobi, in his Introduction to the Conga Drum, thinks the drums are called congas in English, but tumbadoras in Spanish. The names of the individual drums, from large to small, as they are commonly called in Cuba:
- Supertumba can grow to about 14 inches (35.5 cm) in diameter.
- Tumba usually 12 to 12.5 inches (30.5 to 31.8 cm) in diameter.
- Conga (conga) typically 11.5 to 12 inches (29.2 to 30.5 cm) in diameter.
- Quinto about 11 inches in diameter (about 28 cm).
- Rekinto may be less than 10 inches in diameter (24.8 cm).
- Ricardo) approximately 9 inches (22.9 cm). Since this drum is often attached to the shoulder strap, it is usually narrower and shorter than the traditional konga.
The term "conga" was popularized in the 1950s when Latin music swept across 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 "konga" comes from the rhythm la conga often played at Cuban carnivals. The drums on which the rhythm was played la conga had a name tambores de conga, which was translated into English as conga drums.
Listen to the Kong Solo
Bongos
Bongo or bongos - an instrument of Cuban origin, consisting of a pair of single-headed, open drums attached to each other. A drum of a larger diameter is called an embra (hembra - Spanish for a woman, a female), and a smaller one - a "macho" (macho - in Spanish for "male"). The smaller bong sounds about a third higher than the wider one.
Apparently, 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 emerged in eastern Cuba in the second half of the 19th century. It should be noted, however, 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 bong solo
(Pandeiro)
- South American tambourine used in Portugal and other countries.
In Brazil, pandeiro is considered a folk musical instrument, the soul of samba. The rhythm of pandeiro complements the sound of the atabaque when used in the musical accompaniment of Brazilian capoeira.
Traditionally, a pandeiro is a wooden rim over which a skin membrane is stretched. On the sides of the rim are built-in cup-shaped metal bells (along the port. Platinelas). Nowadays, the membrane of a pandeiro or the entire pandeiro is often made of plastic. The sound of the pandeiro can be modulated by pulling 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 pandeiro, a hole is made for the index finger in one of the gaps between the platinelas bells to make it easier to hold the instrument), and with the other hand he hits the membrane, which, in fact, and produces sound.
The creation of different rhythms on a pandeira depends on the force of the impact on the membrane, on where the impact falls and on which part of the palm is hit - with the thumb, fingertips, open palm, boat palm, edge of the palm or lower part of the palm. The pandeiro can also be shaken or swiped along the rim of the pandeiro, producing a slightly squeaky sound.
By alternating various beats on the pandeiro and thus producing different sounds, one obtains sonorous, clear, as if even slightly transparent pandeiro rhythms. Pandeiro generally differs in that it can create a sonorous and pronounced tone. It gives clarity to the sound, well-placed accents when playing fast and complex rhythms.
Tu-tu-pa-tum is one of the simplest pandeira rhythms. 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 pandeiro ("tum"). At the last blow, the pandeira is shaken a little, making the instrument a movement 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 deceiving. The technique of playing the Pandeira is quite complicated. To become a true master of the Pandeira game, you need to practice a lot, as, in principle, and in any business in which you want to become a professional.
Listen to Pandeiro's solo
- very deep, loud Brazilian double-headed bass drum. Made of metal or thin wood, the heads are covered in goatskin (often plastic these days). Surdo is widely used in Brazilian carnival music. Surda is played with a stick with a soft tip in the right hand, and the left hand, without a stick, muffles the membrane in between. Sometimes the sound is produced with two beaters. There are three sizes of surdo:
1. Surdu "(ji) primeira"("De primeira") or "gi marcação" ("de marcação") - this is the most bass drum with a diameter of 24 inches. Plays in the second and fourth counts of the bar - accent beats in samba. This is the basis for the formation of bateria.
2. Surdu "(ji) shogunda"("De segunda") or "ji resposta" ("de resposta") with a diameter of 22 inches. Plays in the first and third counts of the bar. As its name suggests - "resposta", "answer" - surdu shogunda responds to surdu primeira.
3. Surdu "(ji) terceira"("De terceira") or "gi cramps" ("de corte"), "centrador" ("centrador") are approximately 20 inches in diameter. Plays the same beats as the surdu primeira, with the addition of various variations. The rhythm of the whole bateria is based on the sound of this drum.
Listen to solo surdo
Cuica
Kuika- Brazilian percussion musical instrument from the group of friction drums, most often used in samba. Has a squeaky, harsh high-register timbre.
It is a cylindrical metal (originally wooden) body, 6-10 inches in diameter. Leather is pulled on one side of the case, the other side remains open. On the inside, a bamboo stick is attached to the center and perpendicular to the leather membrane. The instrument is hung from the side at chest level with a strap. While playing the kuik, the musician rubs the stick up and down, using a damp cloth held in one hand, pressing with the thumb of the other hand on the leather membrane from the outside, in the area of the stick attachment. 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 styles. It is noteworthy that the instrument was used by groups of performers at the Carnival in Rio de Janeiro, in rhythm sections of performers on the cuic. In the absence of such musicians, Brazilian singers can imitate the sound of kuiki.
Listen to the sound of kyuki
Drum Pow-Wow ( Pow Wow Drum)
Drum Pow-Wow- traditional drum American Indian made in the style of Sioux Drums. The drum is carefully assembled from 12 sections of New Mexico's main tree species, one for each month of the year; the parts are polished, then covered with raw leather and braided. The instrument was used in healing rituals, communicating with spirits and as an accompaniment to dances. The size of the drums varies greatly; several performers play the big drums.
Listen to American Indians singing to a Pow-Wow drum
Stildrum ( Steel drum, pan, kettle drum)
Steel drum or steel drum- invented in the 1930s after Trinidad and Tobago passed a law banning membrane drums and bamboo sticks for music performance. The drum was forged from steel barrels (in large quantities left on the beaches after the end of the Second World War), from steel sheets with a thickness of 0.8 - 1.5 mm. Tuning the instrument consists in shaping petal-shaped areas in this steel sheet and giving them the desired sound with hammers. Instrument readjustments may be required once or twice a year.
Used in Afro-Caribbean music such as calypso and sapa. The instrument is also represented in the armed forces of the Republic of Trinidad and Tobago - since 1995 there has been a "steel band" under the Defense Forces, which is the only military band in the world to use a steel drum. Usually, several types of instrument are played in an ensemble: the melody is ping-pong, the tune boom forms the harmonic base, and the bass boom keeps the rhythm.
It is the forerunner of instruments such as the hang drum and the glucophone.
Listen to a Steel Drama melody along with a cajon and ukulele
European drums
Tamorra ( Tamorra)
Tamorra Also called tamborra (etymologically related to the word Tamburo or drum in Italian), this 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. In the technique of the game, alternating blows of the thumb and all other fingers are used. 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 similar to modern traditional technique.
Apparently, these drums are closely related to the ancient mysteries. Remnants of these Dionysian mysteries have survived almost to our days 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 more of an evil spirit, a demon that possesses victims, usually young women, causing convulsions, clouding of consciousness, and even hysterical fits. Tarantism epidemics covered entire regions. This phenomenon has been documented in chronicles dating back to the early Middle Ages.
To cure this ailment, a tamorra performer was invited, who for a long time performed a rapid rhythm (usually 6/8), accompanied by singing or a melodic instrument. The patient, over whom this ceremony was performed, had to move rhythmically and quickly for many hours. The ceremony 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 tarantella and its older form, pizzicarella, derive from this rite. The convulsive movements of the victim, from which the evil spirit left, over time ritualized and transformed into various dance movements of these incendiary dances.
In our studio you can hear how the tamorra performed by Antonio Gramsci sounds.
Listen to the rhythms of tamorra
Boyran ( bodhrán)
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", "deafening". The boyran is held vertically, playing on it in a specific way with a wooden stick resembling a bone. In the kit of a professional performer on the boirana there are sticks of a wide variety of shapes and sizes.
The uniqueness of the boiran lies in the use of a stick with two tips when playing, which strikes the membrane with one or the other end, which significantly reduces the interval between strikes. This stick has a special name - " kipin "... The second hand (usually the left) is used to muffle the head and change the pitch. Sometimes a single-pointed stick is also used, but then you have to make more movements with the brush to perform rhythms with similar speed.
Borane diameter is usually 35 to 45 cm (14 ″ -18 ″). The depth of its sides is 9-20 cm (3.5 ″ -8 ″). Goat skin is stretched on the tambourine on one side. The other side is open to the performer's hand, who can control the pitch and timbre of the sound. There may be 1-2 bars inside, but they are usually not made in professional tools.
Today, Bohran is used not only in Irish folk music, he has stepped far beyond this small island, and music is played on Bohran, which, it would seem, has nothing to do with the environment in which we are used to seeing and hearing him, but wherever he did not appear, a piece of Ireland appears with him.
Listen to the Boyran solo
Lambeg, Northern Ireland ( lambeg)
In addition to the boirana, which tends to be strongly associated with Irish folk music and the traditions of the National Liberation Party, Ireland also has another drum, the lambeg, which is common mainly in Northern Ireland and is associated with the traditions of the Liberal Union Party (parties Conservatives who want Northern Ireland to remain within the United Kingdom). Compared to boiran, lambeg is much less popular, although in fact it is just as interesting and unique.
The name of the drum - "lambeg" - is a generic name, like, for example, copier - as we call all copiers, although in fact it is the name of the company. Lambeg is an area near Lisbourne, a few kilometers southwest of Belfast. It is believed that this name was stuck with 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 a lambeg can be heard for several kilometers around.
What is this "monster"? The diameter of the lambeg is about 75 cm, the depth is about 50 cm, and the weight is 14-18 kg. The body is usually made of oak, and the top and bottom are covered with goatskin. Previously, lambeg was made from a single piece of wood, but since Nowadays, such trees no longer grow, then it is made from two curved oak plates, fastened from the inside like a barrel. Thicker leather is pulled on one side of the drum, and thinner leather on the other, depending on whether the owner is right-handed or left-handed (the stronger hand should hit the thicker leather). But regardless of the thickness of the skin, the pitch on impact on both membranes should be the same.
As mentioned earlier, the lambeg is played with reed sticks, because the reed has no connecting seams, so it does not break down the middle. It is split by threads along the entire length of the stick, so gradually the sticks wrinkle at the ends and fail.
As for the decorations, the lambeg is either very simple and austere, or is completely painted with combatant, memorial, religious or political symbols.
During rehearsals or performances, the lambeg is installed on a special stand, but during processions the performers have to literally carry it on themselves. A sturdy strap is attached to the drum and slung over the neck. At the same time, quite often you can observe a picture when one musician is walking and several people are scurrying around, helping him to carry the drum, supporting him 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 to the middle of the 17th century with immigrants, former soldiers, 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 pipes were no longer audible, and now a pair of "lambeg-pipes" is more an exception than a rule.
As mentioned at the beginning of the article, lambeg is strongly associated with the Liberal Unionist Party, or the Orange Order, which organizes processions every year in July, and in August the National Liberation Party marches with a boyran in hand. As for the rhythms they perform, they are very similar in many ways, because the origins, in any case, regardless of political affiliation, are folk. In addition to these political processions, festivals are held all year round in Ireland, where hundreds of performers compete to see who plays the lambeg better. 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, Armag County, on the last Saturday of July.
Hear the rumble of a 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 fueled 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 Germanic principalities adopted this war music in the 1500s and 1600s. The French used Swiss mercenaries in the 1600s and 1700s who used drum music that influenced the rest of the French army. During the reign of Queen Anne in Great Britain, the English army became very disorganized and undisciplined. In 1714, the British army was reorganized, i.e.In this way, drum music was adopted by the British military (with the exception of the Scottish regiments).
Drum beats have been used to convey various signals. Military life camp requires a sequence of daily signals: time to get up, breakfast, call the sick, packing, lunch, duty calls, dinner, evening retreat, curfew. On the march with ignals were used to make various formations, including stopping the march, expanding, condensing, speeding up, or slowing down. An important use of the drums was 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 related to the Swiss drum, later transformed into a snare drum (eng. snare drum), which was previously called side-drum (eng. side drum- that is, "a drum worn on the side") or simply - a military drum (eng. military- military).
In 1588 the book Orchestrography by Thoinot Arbeau from Dion (France) was published. In it, Arbaud described the "Swiss Stroke" and the "Swiss Storm Stroke". These beats were presented in various combinations, but the fingering was not specified for them.
By 1778, when drums were already well integrated into the military system, Baron Friedrich von Stuben of Philadelphia wrote a manual on the use of drums, through the signals (rhythms) of which the corresponding orders were to be given.
The first person to use the term "rudiment" was Charles Stewart Ashworth. In 1812, Charles Stuart Ashworth published his textbook 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, the head of the US Naval Orchestra, John Philip Sousa, wrote his didactic work Trumpet and Drum, a book of instructions for the field trumpet and drum. Being a manual for military drummers, it also became widespread among civilians, as it contained a complete set of rudiments at that time.
Since 1933, the National Association of Rudimental Drummers (“The National Association of Rudimental Drummers”, abbreviated as NARD) originates. This organization was created to promote rudiments and integrate them into the education system. NARD decided to position 26 major rudiments, divided into two tables, each containing 13 rudiments.
Listen to a duel of Swiss drums from the movie "drum roll"
Timpani ( timpani)
Litavry- a percussion musical instrument with a certain pitch. They are a system of two or more (up to seven) metal pot-shaped bowls, the open side of which is tightened with leather or plastic, and the lower part may have an opening.
Timpani is a very ancient origin... In Europe, timpani, similar in shape to modern ones, but with a constant pitch, 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 transmission of signals for combat control, in particular, to control the formation of cavalrymen. Modern timpani can be tuned to a specific pitch using a dedicated pedal.
At the end of 2014, timpani made by Antonio Stradivari were discovered in the Vatican vaults. The name of Stradivari is associated with the general public, first of all, with violins, however, now we know for certain that there are Stradivari drums, presented in the image for this note.
The timpani body 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 smaller). A higher pitch is obtained with smaller instrument sizes.
A membrane made of leather or plastic is pulled over the body. The diaphragm is held in place by a hoop, which in turn is secured with screws used to adjust the pitch of the instrument. Modern timpani are equipped with pedals, pressing which easily rearranges the instrument and even allows you to play small melodic parts. Usually, each of the drums of an instrument has a range from a fifth to an octave.
The tone of the instrument is determined by the shape of the body. So the hemispherical shape creates more voiced sounds, and the parabolic shape creates more deaf sounds. The quality of the cabinet surface also affects the timbre. Timpani sticks are wooden, reed or metal rods with round tips, usually covered with a soft felt. Timpani can produce a variety of timbres and sound effects using sticks with tips made of different materials: leather, felt, or wood.
Timpani playing consists of two basic techniques: single beats and tremolo. Any of the most complex rhythmic constructions are formed from single beats, using both one and several timpani. Tremolo, which can reach tremendous frequency and resemble thunderclaps, 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 are the muffled sound of timpani covered with pieces of soft cloth.
Listen to the Timpani Concert
Adufe)
- a large square tambourine in Portugal of Moorish origin with two membranes, inside which beans or small stones are often poured, which rattle during the game. The membrane is made from goatskin and is 12 "to 22" (30 to 56 cm) in size. Traditionally, this tambourine is played by women during religious processions and during regional music festivals.
In 1998, at the World Expo in Lisbon, the musician José Salgueiro presented giant adufes, which were a great success.
In Spain, a similar instrument is called pandeiro cuadrado(square pandeiro). Unlike Adufe, they hit him not only with a hand, but also with a stick. More recently, this instrument almost disappeared - it was played by three village women. Currently, it is played professionally by the Spaniard Ales Tobias and Kirill Rossolimo.
Interestingly, the Cairo Museum contains 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 the orchestra with square pandeiro
In fact, it is one rim, the sounding part of the instrument is metal cymbals or bells fixed directly on it. There is also a type of membrane tambourine.
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 have 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.
What's the easiest way to get sound without using your voice? That's right - to hit something on what is at hand.
The history of percussion instruments goes back centuries. Primitive beat out the rhythm using stones, animal bones, wooden blocks and earthenware jars. In ancient Egypt, they knocked (played with one hand) on special wooden boards, at the festivities in honor of the goddess of music Hathor. Funeral rites, prayers against disasters were accompanied by blows to the sistrum - a rattle-type instrument in the form of a frame with metal rods. In ancient Greece, crotalon or rattle was common; it was used to accompany dances at various festivals dedicated to the god of winemaking.
In Africa, there are "talking" drums, which are used to transmit information over long distances in the language of rhythm and imitate traditional tone speech. Ibid, as well as in Latin America for escort folk dances rattles are now common. Bells and cymbals are also percussion instruments.
The modern drum has a cylindrical wooden body (less often - metal), covered with leather on both sides. You can play the drum with your hands, sticks, or beaters covered with felt or cork. The drums are different in size (the largest reaches 90 cm in diameter) and are used by musicians depending on whether the sound needs to be "knocked out" - low or higher.
The bass drum in the orchestra is necessary to emphasize the important places in the composition - the strong beats of the measure. This is a low sounding instrument. They can imitate thunder, imitate cannon shots. Play it with a foot pedal.
The snare drum comes from combat military and signal drums. Inside, under the skin of a snare drum, metal strings are pulled (4-10 - in concert, up to 18 - in jazz). When played, the strings vibrate, and a specific crackling occurs. They play on it with wooden sticks or a metal whisk. It is used in orchestras for rhythm problems. The snare drum is a constant participant in marches and parades.
RIDDLES
It's easy to go hiking with me
It's fun with me on the way,
And I am a screamer and I am a brawler
I am sonorous, round ... (drum).
Himself is silent,
And they beat him - they grumble ...
Drum- a musical instrument from the percussion family. Widespread among most peoples, used in many musical ensembles. The drummer is the drummer.
A typical example is a membrane drum, consisting of a hollow resonator body of a certain shape or frame, on which a leather or plastic membrane is stretched. Its tension adjusts the relative pitch of the sound. The drum body is made of wood, metal (steel, brass), acrylic plastic or even clay.
The sound is produced by striking the membrane with a soft-tipped wooden mallet, stick, brushes, hands, and sometimes rubbing. To use multiple instruments at the same time, the drums are assembled into a drum kit.
Drum types
A modern orchestra may include the following drums:
Big drum(Turkish drum) - two-sided, less often one-sided. It is played with a massive soft-tipped mallet; its sound is strong, dull and low. In addition to the beater, sticks, brooms, etc. are sometimes used. The main purpose of the bass drum is single beats (from pianissimo to thunder-like fortissimo). The bass drum was first used by European composers in a military band; from the beginning of the 18th century - in the opera house. The predecessor of the big drum is the Turkish drum used in "Janissary music". The bass drum is often used to simulate it. The bass drum has a size slightly smaller than the big (concert) drum - 20-22 "(50-56 cm). It is included in the drum kit, played with your feet using a pedal.
Snare drum- with two diaphragms stretched over a low cylinder. Strings are stretched along the lower membrane (from 10 to 34, depending on the application), which give the sound a dry rumbling, rolling-rattling shade. When the strings are turned off with a special lever, this characteristic crackling disappears. The game is based on rudiments: roll, fast tremolo. It is played with two wooden sticks with bulges at the ends. Beats on the rim (rim shot), other techniques (eg, blast beat, gravity roll, typical for extreme styles of music, or rotation of sticks in marching bands) are also used. A set of snare drums of various sizes is used; when playing, they are placed on stands, in a marching band, they are worn on a belt or a special frame at the level of the belt. To the opera house and Symphony Orchestra the snare drum was introduced in the 19th century; often used in war scenes. Today it is the leading instrument of the jazz rhythm group.
Tom-tom(not to be confused with tam-tam (gong)) - a cylindrical drum without strings. It comes from Native American or Asian peoples, was used by the natives for military, religious purposes. It was made from hollow tree trunks and animal skins. Since the beginning of the 20th century, the tom-tom has been included in the drum kit (from 2 to 4 or more pieces).
Timpani- a system (from two to seven or more) copper boilers, on which the membrane is stretched. They have a certain pitch that can be adjusted while playing. They became famous in the 15th century, and later joined the orchestra. In addition to the orchestra, the predecessors of the timpani - the cover were used in the cavalry to control the formation.
Classification by shape:
- frame;
- in the form of a cup;
- cylindrical;
- cauldrons;
- in the form of an "hourglass";
- in the form of a cone.