Percussion instruments are the most ancient on the planet.

Drums appeared at the dawn of mankind, and the history of their creation is very interesting and too voluminous, so we will pay attention to its most basic aspects.

Various civilizations have used drums or similar instruments to play music, warn of danger, or instruct armies during battle. Therefore, the drum was the best tool for such tasks because it is easy to make, creates a lot of noise and its sound travels well over long distances.

For example, American Indians used drums made from gourds or carved out of wood to perform various ceremonies and rituals or to raise morale during military campaigns. The first drums appeared around six thousand years BC. During excavations in Mesopotamia, some of the oldest percussion instruments, made in the form of small cylinders, and whose origin dates back to the third millennium BC.

Cave paintings discovered in Peruvian caves indicate that drums were used for various aspects of social life, but most often drums were used in religious ceremonies. The drum consists of a hollow body (called a casserole or tub) and membranes stretched on both sides.

To tune the drum, the membranes were tied together with animal tendons, ropes, and later metal fasteners were used. In some tribes, it was customary to use the skin from the body of a killed enemy to make membranes, fortunately these times have passed into oblivion, and now we use a variety of plastics made from polymer compounds.

At first, the sound from the drum was extracted by hand, and later they began to use round-shaped sticks.

Tuning of the drum was done by tightening the membranes, as mentioned above, with veins, ropes and later with the help of metal tension fasteners, which tightened or loosened the membranes, and due to this, the sound of the drum changed its tone. At different times and different peoples there were instruments that were completely different from each other.

And in connection with this, a reasonable question arises: how did it become possible that completely different cultures, with their unique drums, united in one, so to speak, “standard” set that we use today, and which is universally suitable for playing music of different styles and directions ?

Snare Drum & Tom-toms

Looking at a standard kit, many people probably think that tom-toms are just ordinary drums, but it’s not that simple. Tom-toms come from Africa and they were actually called tom-toms. The aborigines used their sound to bring the tribes into combat readiness, to convey an important message, and also to perform ritual music.

Drums were made from hollow tree trunks and animal skins. And the most interesting thing is that Africans created various patterns of rhythmic patterns, many of which became the basis for the various styles of music that we play today.

Later, when the Greeks came to Africa, approximately two thousand years BC. they learned about African drums and were very surprised by the powerful and strong sound of tom-toms. They took some drums with them, but did not find any special use for them; they did not use drums very often.

Some time later, the Roman Empire began to fight for new lands, and the Catholics went on a crusade. Approximately 200 BC. e., their troops invaded Greece and North Africa.

They also learned about African drums and unlike the Greeks, they actually found a use for the drums. They began to be used in military bands.

But at the same time, when using African drums, Europeans did not use their rhythms, since they did not have the same sense of rhythm that Africans developed in their music. Times have changed and bad times came for the Roman Empire, it collapsed, and numerous tribes invaded the Empire.

Bass Drum

This is the largest, low-sounding and vertical drum, which is the basis for all rhythms, one might say the foundation. With its help, rhythm is formed; it is the starting point for the entire orchestra (group), and for all other musicians.

We should be grateful for such a tool to the Hindus and Turks, who have long used it in their practice. Around 1550, the bass drum entered Europe from Turkey.

In those days, the Turks had a large kingdom and their trade routes ran all over the world. Military bands of the Turkish army used a large drum in their music. Its powerful sound captivated many, and it became fashionable to use this sound in musical works, and thus the drum spread throughout Europe and conquered it.

Early drum set What happened next.

Since 1500 AD, most Western European countries have tried to conquer America in order to establish their own settlements there. Many slaves were sent there from their colonies for trade: Indians, Africans, and thus many different peoples were mixed in America, and each had its own drum traditions. A lot of ethnic rhythms and percussion instruments themselves are mixed in this large cauldron.

Black slaves from Africa mixed with the local people, as well as with everyone who came to this country.

But they were not allowed to perform their indigenous music, which is why they had to create some kind of drum set with the addition of their indigenous instruments. And no one could have guessed that these drums were African in origin.

Who needs slave music? No one, and so while no one knew the true origin of the drums and the rhythms that were played on them, black slaves were allowed to use such drum sets. In the 20th century, more and more people began to get involved in playing percussion instruments, many began to study African rhythms and perform them because they are very good and fiery!

Cymbals began to be used more and more often for playing, their size increased, and the sound changed.

Over time, the Chinese toms that were previously used were replaced by Afro-European drums, and the Hi Het cymbals increased in size in order to play them with sticks. Thus, the drums have been transformed and look almost the same as we have now.

With the advent of electric musical instruments, like the electric guitar, electric organ, electric violin, etc., people have also come up with a set of electronic percussion instruments.

Instead of wooden drums with different sets of skins or plastic membranes, flat pads with microphones were made, they were connected to a computer that could reproduce thousands of sounds, simulating any drums.

So you can select from the data bank those sounds that are needed for your style of music. If you combine two sets of drums (acoustic and electronic), you can mix both of these sounds and get unlimited possibilities for creating a sound palette in a piece of music.

From all of the above, we can draw an unambiguous conclusion: the modern drumset was not invented by some individual at a certain time, in some place.

This line developed during the early part of the 20th century, and was perfected by both musicians and instrument makers. By the 1890s, drummers began adapting traditional military band drums for stage play. We experimented with placing the snare drum, kick drum and toms so that one person could play all the drums at the same time.

At the same time, New Orleans musicians were developing a style of playing based on collective improvisation that we now call Jazz.

William Ludwig 1910 Snare Drum Master Ludwig Pedal

In 1909, drummer and percussion maker William F. Ludwig made the true first bass drum pedal. Although other foot- or hand-operated mechanisms had existed for several years, the Ludwig pedal allowed the bass drum to be played with the foot more quickly and easily, freeing the player's hands to concentrate on the snare drum and other instruments.

By the 1920s, New Orleans drummers were using a set consisting of a bass drum with a cymbal attached, a snare drum, Chinese tom-toms, cowbells, and small Chinese cymbals.

Similar sets, often with the addition of sirens, whistles, bird calls, etc., were used by drummers performing in vaudeville, restaurants, circuses, and other theatrical acts.

In the early 1920s, the "Charleston" pedal appeared on the stage. This invention consisted of a foot pedal attached to a stand on which small cymbals were placed.

Another name for a low boy pedal or a toe cymbal. Around 1925, drummers began using the Charleston pedal to play in orchestras, but its design was very low and the cymbals were of small diameter. And since 1927, improved “high hats”, or Hi Hat, have appeared. The hat stand became higher and gave the drummer the opportunity to play with his feet, hands, or a combination of performance options.

By the 1930s, drum kits included a bass drum, a snare drum, one or more tom-toms, Zildjian "Turkish" cymbals (better resonant and more musical than Chinese cymbals), a cowbell, and wooden blocks. Of course, each drummer could put together his own combination. Many used a variety of additions such as vibraphone, bells, gongs and much more.

During the 1930s and 1940s, drum manufacturers more carefully developed and selected drum kit components to meet the needs of popular drummers. The racks became stronger, the suspension equipment became more comfortable, and the pedals worked faster.

In the mid-1940s, with the advent of new musical trends and styles, minor changes were made to the drum set. The bass drum became smaller, the cymbals became slightly larger, but in general, the set remained unchanged. Drumset began to grow again in the early 1950s, with the introduction of a second bass drum.

In the late '50s, Evans and Remo mastered the production of plastic membranes, thereby freeing drummers from the vagaries of weather-sensitive calfskins.

In the 1960s, rock drummers began using deeper, fuller drums to enhance the sound of drums that had become drowned out by guitars plugged into amplifiers.

ETHNIC DRUMS OF THE WORLD

To hear the sound of drums, turn on Flash Player!

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Ethnic drums are a real find for those who want to feel the freedom of self-expression and feel a surge of strength and energy. In addition, the unusualness of ethnic instruments lies in their original, memorable sound, and they will also add an 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 - hand.

Ethnic drums are specifically for those who are looking for new sensations and states. And most importantly, it doesn’t have to be professional musician, because drums are easy to learn and do not require special musical talent. Apart from dexterity and boundless 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 age of the drum found in Moravia dates back to the fifth millennium BC. e. In Ancient Egypt, drums appeared four thousand years BC. e. It is known that drums existed in ancient Sumer (about three thousand years BC). Since ancient times, the drum has been used as a signaling 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 mediation between earth and sky. The drum is closely related to the tambourine, which can be either primary in relation to the drum or derived from it. In the mythology of the Mongolian peoples, the tambourine appeared as a result of the division of the drum by Dann Derhe, a shamanic deity, into two halves. But more often the drum is seen as a fusion of opposite principles: feminine and masculine, lunar and solar, earthly and heavenly, personified by two tambourines. In many cultures, the drum is functionally likened to a sacrificial altar and is associated with the world tree (drums were made from the wood of sacred tree species). Additional meaning within the framework of general symbolism is due to the shape of the drum. In Shaivism, a double drum is used, which is considered a means of communication with the deity Shiva, as well as an attribute of the latter. This drum, shaped like an hourglass and called damara, symbolizes the opposition and interconnectedness of the heavenly and earthly worlds. Two balls hanging on cords hit its surface as the drum rotates.

In shamanistic cults, the drum is used as a way to achieve an ecstatic state. In Tibetan Buddhism, one of the rites of passage involves 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 modern kettledrums, 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.

Today, drums are extremely popular throughout the world and are made in a variety of forms. Some traditional drums have long been used in variety practice. These are, first of all, all kinds of Latin American instruments: bongos, congas, etc. Relatively recently, the most important oriental drums and African drums appeared in the instruments of pop, ethnic and medieval musical groups - respectively, the darbuka (or its bass variety, dumbek) 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. Masters of the game are able to extract many different sounds from the eastern drum - darbuka and, thus, compete with an entire drum set. Typically, the technique of these instruments is taught by the bearers of the tradition, and the mastery of the material occurs solely by ear: the student repeats after the teacher all kinds of rhythmic patterns.

Main functions of ethnic drums:

• Ritual. Since ancient times, drums have been used in various mysteries, since a long monotonous rhythm can induce a trance state (see article Mysticism of sound.). In some traditions, the drum was used as a palace instrument for special ceremonial occasions.
• Military. Drumming can raise morale and intimidate the enemy. The military use of drums is recorded in ancient Egyptian chronicles in the 16th century BC. In Switzerland, and subsequently throughout Europe, military drums were also used to form troops and parades.
• Medical. For medicinal purposes, drums were used to drive away evil spirits. There are a number of traditions in Africa, the Middle East and Europe. The patient had to perform a special dance to the beat of a fast drum, resulting in a cure. According to modern research, drumming helps relieve stress and produce 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 territories 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. The drum rhythm is traditionally the main one for performing many dances around the world. This function is closely related and stems from ritual as well as medical use. Many dances were originally part of the temple mysteries.
• Musical. In the modern world, drumming techniques have reached a high level, and music has ceased to be used exclusively for ritual purposes. Ancient drums have firmly entered the arsenal of modern music.

You can read more about various drum traditions in the article Drums of the World .

Middle Eastern, North African and Turkish drums

Listen to Rick's solo

Bendir (Bendir)

Bendir- a drum from northern Africa (Maghreb), especially the Eastern Berber region. It is a frame drum made of wood and covered on one side with animal skin. Strings are usually attached to the inner surface of the bendir membrane, which create additional sound vibration when struck. The best sound is obtained on a bendir with a very thin membrane and fairly strong strings. Algerian and Moroccan orchestras performing both modern and traditional musical forms. Unlike daf, bendir does not have rings with reverse side membranes.

When talking about the rhythms and instruments of North Africa, one cannot fail to mention another interesting tradition, namely group clapping. For tourists, this tradition seems, to put it mildly, unusual, but for the residents of the Maghreb themselves, there is nothing more familiar than getting everyone together and starting to clap their hands, creating a certain rhythm. The secret to making the right sound when clapping lies in the position of your palms. It’s quite difficult to describe, but the locals themselves say that when you hit, you need to feel like you’re squeezing 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.

Listen to a Moroccan bendir solo

Tarija ( Tarija).

A small ceramic goblet-shaped drum with snake skin and string inside. Known since at least the 19th century, used in Morocco in ensembles Malhoun to accompany the vocal part. The singer taps the main rhythm with his palm to control the rhythm and tempo of the orchestra. At the end of a song it can be used to enhance the energy and rhythmic ending.

Listen to the Moroccan ensemble Malhoun with Tarija

T oubelek, toymbeleki ).

A Greek type 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 from Evgeniy Strelnikov. The toubeleki bass differs from the darbuki bass by a greater boominess and softness of sound.

Listen to the sound of toubeleki (Savvas)

Tavlak ( Tavlak).

Tavlak (tavlyak) is a Tajik ceramic goblet-shaped drum of small sizes (20-400 mm). Tavlak is primarily an ensemble instrument, used in conjunction with doira or daf. The sound of tavlak, unlike darbuka, is more drawn out, with a wow effect, more characteristic of doira or Indian percussion. The tavlyak is especially popular in the Khatol region of Tajikistan, bordering Afghanistan and Uzbekistan, where it can be used as a solo instrument.

Listen to the rhythms of Tajik tavlyak

Zerbakhali ( Zer-baghali, Zerbaghali, Zir-baghali, Zirbaghali, Zerbalim ).

Zerbakhali is a goblet-shaped Afghan drum. The body was made either of wood, like the Iranian tonbak, or of clay. The membrane in early examples contained an additional pad, like Indian tablas, which gave the sound vibrato. The technique of playing which is somewhat close, on the one hand, to the technique of playing Persian tonbak(toneback), and on the other hand, the technique of playing Indian table (tabla). From time to time, various techniques borrowed from darbuki. The Indian tabla particularly influenced the artists from Kabul. It can be considered that the zerbakhali is an Indo-Persian musical instrument of Persian origin. Zerbakhali's rhythms and technique were influenced by Persia and India, and before the war it used sophisticated finger techniques and super-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, female performers appeared on this drum; before that they played only frame drums.

Listen to Zerbakhali performances from the 70s

Krzysba ( Khishba, Kasour (slightly wider), Zahbour or Zenboor).

These drums are used mainly in the Persian Gulf countries in Choubi music and the Kawleeya dance direction (Iraq, Basra). A narrow tube-shaped drum with a wooden body and a fish skin membrane. The skin is taut and moisturized to produce a vibrant sound.

Listen to the sound of the kshishba (sometimes the darbuka comes in)

Tobol

Tobol - Tuareg drum. The Tuaregs are the only people in the world where men, even in the domestic circle, are required to cover their faces with a bandage (their self-name is “the people of the veil”). They live in Mali, Niger, Burkina Faso, Morocco, Algeria and Libya. The Tuaregs retain tribal divisions and significant elements of the patriarchal system: the people are divided into “drum” groups, each headed by a leader, whose power is symbolized by the drum. And above all groups there is a leader, amenokal.

The famous French researcher A. Lot wrote about the tobol - a drum that symbolizes the leader among the Tuaregs: “He is the personification of power among the Tuaregs, and sometimes the amenokal himself (the title of the leader of a tribal union) is called a tobol, like all the tribes under his protection. Piercing a tobol is the most terrible insult that can be inflicted on a leader, and if the enemy manages to steal it, then irreparable damage will be done to the prestige of the amenokal.

Davul (Davul)

Davul- a drum common among the Kurds in Armenia, Iran, Turkey, Bulgaria, Macedonia, Romania. On one side there is a membrane made of goatskin for the bass, which is struck with a special hard one, on the other side there is stretched sheepskin, on which they are struck with a twig, producing a high-pitched sound. Currently, membranes are made of plastic. Sometimes they hit the wooden body with a stick. In the Balkans and Turkey, the rhythms for davul are quite complex, as are the rules for odd rhythms and with syncopations. In our studio we use davul for street performances and for establishing a sense of rhythm.

Listen to the sound of davul

Kosh ( Kosh)

In the XV-XVI centuries, there were free lands in Zaporozhye. Risky people who wanted freedom from various rulers have long settled there. This is how the Zaporozhye Cossacks gradually arose. Initially, these were small bands of dashing people who traded in raids and robbery. Moreover, the group-forming factor was the cooking pot, called the “kosh”. Hence the “koshevoy ataman” - essentially the most powerful robber who distributes rations. How many people could feed from such a cauldron, that was the number of sabers in the kosh-band.

The Cossacks traveled on horses or on boats. Their life was ascetic and minimal. You were not supposed to take extra things with you on a raid. Therefore, the poor property was multifunctional. The most interesting thing: this same kosh-kettle, after a hearty dinner, easily and simply turned into a tulumbas drum, a type of timpani.

The skin of the animal that was cooked in it for dinner was pulled over the boiler that had been eaten clean with the help of ropes. During the night, the tulumbas dried up by the fire, and by the morning a war drum was obtained, with the help of which signals were given to the army and communication was carried out with other koshes. On boats, such a drum ensured coordinated actions of the rowers. Later, the same tulumbas were used on watchtowers along the Dnieper. With their help, a signal was transmitted along the relay race about the approach of the enemy. The appearance and use of the tulumbas-cauldron.

Similar drum Kus- This is a large Persian cauldron-shaped drum. It consists of a pair of drums made of clay, wood or metal in the shape of a hemispherical cauldron with skin stretched over it. Kus was played with leather or wooden sticks (leather sticks were called daval - gave). Usually the kus was worn on the back of a horse, camel or elephant. It was used during festive events and military marches. He also often performed as an accompaniment to the karnay (karnay - Persian trumpet). Persian epic poets mentioned kus and karnai when describing battles of the past. Also on many ancient Persian paintings you can see images of kusa and karnay. Scientists date the appearance of these musical instruments to the 6th century. BC.

The Cossacks of the Zaporozhye Sich used tulumbas of different sizes to control the army. The small one was tied to the saddle, and the sound was produced with the handle of a whip. Eight people hit the largest of the tulumbas at the same time. Loud single sounds of the alarm bell, along with the roar of tulumbas and the piercing crackling of tambourines, were used for intimidation. This instrument has not received significant popularity among the people.

(Krakeb)

or in another way kakabu- Maghreb national musical instrument. A krakeb is a pair of metal spoons with two ends. When playing, a pair of such “spoons” is held in each hand, so that when each pair collides with each other, fast, pulsating sounds are produced, creating a colorful pattern for the rhythm.

Krakeb are the main component of the rhythmic music of Gnaoua. It is used mainly in Algeria and Morocco. There is a legend that the sound of krakebs is reminiscent of the clanging of metal chains in which slaves from West Africa walked.

Listen to Gnawa music with craquebs

Persian, Caucasian and Central Asian drums

Daf (Daf, Dap)

Daf- one of the oldest frame percussion instruments, about which there are many folk tales. The time of its emergence corresponds to the time of the appearance of poetry. For example, in Tourat it is said that it was Tawil, the son of Lamak, who invented daf. And also, when it comes to Solomon’s wedding with Belkis, it is mentioned that daf was sounded on their wedding night. Imam Mohamad Kazali wrote that the Prophet Mohammad said: "spread the barak and play the daf loudly." These testimonies speak to the spiritual value of Dafa.

Ahmed bin Mohammad Altawusi writes about the relationship of the daf with the player playing it and the manner of playing the daf: “the circle of daf is the circle of Akvan (being, the world, everything that exists, the universe) and the skin that is stretched on it is absolute existence, and the blow "into it is the entry of divine inspiration, which from the heart, inner and hidden, is transferred to absolute being. And the breath of the player playing the daffa is a reminder of the degree of God, when his appeal to people, their soul, will place them in captivity of love."

In Iran, Sufis used daf for ritual ceremonies (dhikr). IN last years Iranian musicians began to successfully use the oriental drum - daf - in modern Persian pop music. Currently, daf is very popular among Iranian women - they play and sing it. Sometimes women of the Kurdistan provinces of Iran gather in huge groups to play the daf together, which is an analogue of collective prayer with the help of music.

Listen to the sound of daf

Dongbak ( Tonbak)

Dongbak(tombak) is an Iranian traditional percussion instrument (drum) in the shape of a goblet. There are different 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 attacks Tom and bak. Let’s immediately discuss the nuances of spelling and pronunciation. In Persian, the letter combination “nb” is pronounced “m”. This is where the different interpretations of the names “tonbak” and “tombak” come from. It is interesting that even in Farsi you can find a recording equivalent to the pronunciation “tombak”. However, it is considered correct to write “tonbak” and pronounce “tombak”. According to another version, tonbak comes from the word tonb, which literally means “belly.” Indeed, the tonbak has a convex shape, similar to a belly. Although, of course, the first version is more generally accepted. The remaining names (tombak/donbak/dombak) are variations of the original one. Another name, zarb, is of Arabic origin (most likely from the word darab, which means the sound of beating a drum). The sound of the instrument, thanks 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 the 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, securing it to the drum with glue or special staples. It is advisable to warm up the membrane before starting the game. Depending on which part of the membrane the performer hits with his fingers, the sound may be deeper and lower, or resemble a dry click. The long duration of maqams required hardened finger skin. The musicians used different techniques: soaking them in henna, which Iranian women love to dye their hair with, and plucking ears of wheat from the field with their hands.

In classical music, the tombak was not considered an instrument that required special talent to master. This was the case until the pioneering solo performances of Ostad Hossein Tehrani in the 1950s. Among his students were such prominent musicians as Mohammad Esmaili, Amir Nasser Eftetah and Jamshid Chemirani.

They play the tonbak with their fingers. The modern technique of performing the tombak sets it apart from the huge number of drums of this type: it is very sophisticated and is characterized by a variety of performance techniques and their combinations. The tombak is played with two hands, placing the instrument almost horizontally. Achieving the desired sonic color, at a minimum, depends on the area of ​​the instrument that is struck and how the strike is made - with fingers or a brush, by clicking or sliding.

Listen to the sound of the tonbak

Doira)

Listen to the sound of doira

Gaval ( Gaval)

Gaval- Azerbaijani tambourine, closely associated with traditions, life and ceremonies. Currently, a number of musical genres, folk performances and games are performed with the accompaniment of the gaval. Currently, the gaval is part of ensembles, including folk instrumental and symphony orchestras.

As a rule, the diameter of the round shell of a gaval is 340 - 400 mm, and the width is 40 - 60 mm. The wooden gaval hoop is cut from hard tree trunks; it is smooth on the outside and cone-shaped on the inside. The main materials for making a wooden hoop are grape, mulberry, walnut, and red oak trees. An inlaid ornament made of marble, bone and other materials is applied to the surface of the round shell. On the inside of the wooden hoop, 60 to 70 bronze or copper rings are fixed into small holes using pins. and often four brass bells. Leather is carefully glued onto the clubs visible on the outside of the wooden hoop. Recently, in Iran, ghawal is made from pistachio tree. This leads to difficulties for the khananda when performing the gaval.

Typically the membrane is made from the skin of lamb, kid, goitered gazelle or bull's bladder. In fact, the membrane should be made from fish skin. Nowadays, during the development of technology, artificial leather and plastic are also used. Fish skin is made 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, by 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. When the metal and copper rings hanging from inside the instrument are shaken and struck, a double sound is produced. The hoarse sound emanating from the membrane of the instrument and from the rings located inside acquires a unique sound.

The technique of playing the gaval has the widest possibilities. Sound production is made using the fingers of the right and left hands and blows produced by the inside of the palms. Gaval should be used very carefully, skillfully, creatively, observing certain precautions. When performing a gaval, the soloist should try not to tire the listener with an awkward and unpleasant sound. With the help of gaval you can get the desired dynamic shades of sound.

Gaval is a must-have instrument for performers of traditional genres of Azerbaijani music, such as tesnif and mugham. Mugam in Azerbaijan is usually performed by a trio of sazandari: a tarist, a kemanchist and a gavalist. The structure of a mugham dyasgah is such that a mugham dyasgah includes several ryangs, daramyads, tasnifs, dirings, melodies, folk songs. The khanende (singer) himself is often also a gavalist. Currently, the master who fully masters the instrument is Mahmoud Salah.

Listen to the sound of the gaval

Nagarra, nakry ( Nagarra)

Initially, the body of the gosha nagara was made of clay, then it began to be made of wood and metal. To make the membrane, calf, goat, and rarely camel skin is used. The membrane is screwed to the body using metal screws, which also serve to adjust the instrument. They play the gosha-nagara, placing it on the floor or on a special table; in some traditions there is a special profession: the holder of the nagarra, which is entrusted to short boys. Gosha nagara is a mandatory attribute of all ensembles and orchestras of folk instruments, as well as weddings and celebrations.

The poet Nizami Ganjavi described the “nagara” as follows:
“Coşdu qurd gönünden olan nağara, Dünyanın beynini getirdi zara” (which translated from Azerbaijani literally means “The wolfskin soot got agitated and tormented everyone in the world with noise”). A Guide to Turkish Nagarras (PDF) In the Russian tradition, similar drums were called nakras. The covers were small in size and had a clay (ceramic) or copper cauldron-shaped body. Over this body, with the help of strong ropes, a leather membrane was stretched, onto which blows were applied with special, weighty and thick wooden sticks. The depth of the tool was slightly greater than its diameter. In former times, nakrys, together with some other percussion and wind instruments, were used as a military musical instrument, leading the enemy into panicked confusion and disorderly flight. The main function of military percussion instruments is the rhythmic accompaniment of troops. The fastening of the cover was carried out using the following methods: throwing a war horse over the saddle; attachment to the waist belt; fastening to the back of the person in front. Sometimes, covers were attached to the ground, which led to a gradual increase in size and transformation into modern kettledrums. Later, covers began to appear in medieval orchestras. A musician who plays medieval nakras, the so-called “court nakrachi,” existed in Russia back in the 18th century AD.

Listen to the sound of nagarra

(also doli) - a 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 two wooden sticks, similar to the Turkish davul - thick and thin. Previously used in military campaigns, it is currently used in an ensemble with zurns, accompanies dances and processions.

Listen to the sound of dhol

Kayrok)

. These are two pairs of flat polished stones, a kind of analogue of castanets. Mostly typical for residents of Khorezm (Uzbekistan, Afghanistan). As a rule, he was accompanied cat- an instrument made from mulberry, apricot or juniper wood, resembling two pairs of spoons. Today, the koshik has practically fallen out of use and is used only at national celebrations more as a symbol. Literally kairok is a sharpening stone in Uzbek. This is a special, slate, black stone. Has high density. They are found on river banks. Preferably an elongated shape. Next they wait for one of the neighbors to play the toy (wedding). This means that the shurpa will be slowly cooked over the fire for three days. The stone is thoroughly washed, wrapped in snow-white gauze cloth, and actually lowered into the shurpa, with the consent of the owner. After three days, the stone acquires the desired properties. Stones are passed down from generation to generation in families of knife makers.

Listen to the sound of kairok performed by Aboss Kasimov

Indian drums

The name of the Indian tabla drums is very similar to the name of the Egyptian Tabla drum, which means "membrane" in Arabic. Although the name “tabla” itself is foreign, it in no way relates to the instrument: ancient Indian reliefs depicting such pairs of drums are known, and even the “Natyashastra” - a text almost two thousand years old - mentions river sand of a certain quality included in the paste to cover the membrane.

There is a legend telling about the birth of the tabla. During Akbar's time (1556-1605), there were two professional pakhawaj players. They were bitter rivals and constantly competed with each other. One day, in a heated battle of a drumming competition, one of the competitors - Sudhar Khan - was defeated and, unable to bear his bitterness, threw his pakhawaj to the ground. The drum broke into two parts, which became tabla and dagga.

The large drum is called bayan, the small one is called daina.

The membrane is not made from a single piece of leather; it consists of a round piece that is glued to a leather ring. Thus, in tabla the membrane consists of two pieces of leather. The ring-shaped piece is in turn attached to a leather hoop or cord surrounding the membrane, and straps are passed through this cord to secure the membrane (pudi) to the body. A thin layer of paste is applied to the inner membrane, made from a mixture of iron and manganese filings, rice or wheat flour and an adhesive substance. This covering, which is black in color, is called syahi.

This whole technique of attaching and stretching the skin not only affects the sound quality, making it less "noisy" and more musical, but also makes it possible to adjust the pitch of the sound. On a tabla, a sound of a certain height can be achieved either by vertically moving small wooden cylinders with significant changes in height, or by tapping a leather hoop with special hammers.

There are several tabla gharanas (schools), the most famous of which are six: Ajrara Gharana, Benares Gharana, Delhi Gharana, Farukhabad Gharana, Lucknow Gharana, Punjab Gharana.

One of the most famous musicians who glorified this instrument throughout the world is the legendary Indian musician Zakir Hussain.

Listen to the sound of the tabla

mrdanga)

, mrdang, (Sanskrit - mrdanga, Dravidian-language forms - mrdangam, mridangam) - a South Indian double-membrane drum in the shape of a barrel. According to the Indian classification of instruments, it belongs to the group of avanaddha vadya (Sanskrit “coated instruments”). Widely used in the practice of music-making in the Carnatic tradition. The North Indian analogue of mridanga is pakhawaj.

The body of the mridanga is hollow, hollowed out of valuable wood (black, red), shaped like a barrel, the largest part of which, as a rule, is asymmetrically shifted towards a wider membrane. The length of the body varies between 50-70 cm, the diameter of the membranes is 18-20 cm.

The membranes are of different sizes (the left one is larger than the right one) and are leather coverings, attached not directly to the body of the instrument, but, like all Indian classical drums, through thick leather hoops using a system of belts. Once pulled through both hoops, these straps run along the body and connect both membranes.

Unlike drums such as pakhawaj and tabla, the mridanga design does not have wooden blocks passed through belts and used for tuning; The tension in the belt fastening system is changed by knocking directly on the near-membrane hoop. During playing, the drum body is often covered with an embroidered cloth blanket over the straps.

The structure of the membranes is characterized by the complexity characteristic of South Asian drums. They are composed of two overlapping 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; near the right membrane it is constantly sealed with a coating of sora made of a dark paste of a special composition, the recipe of which is kept secret by the musicians. Before each performance, a light paste mixed with rice or wheat flour is applied to the left membrane, which is scraped off immediately after the game.

The term mridang denotes not only this type of drum, it also has a specific character. It covers the entire group of barrel-shaped drums, common in the practice of both classical and traditional music playing in the region. Already in ancient Indian texts such varieties of drums of this group as java, gopuchcha, haritaka, etc. are mentioned.

Nowadays, the mridanga group, in addition to the drum with this name, is represented in various ways; This includes both the mridangas themselves of various configurations and functionalities, as well as, for example, the dholak drums used in traditional musical and music-dance genres, and other drums of a similar shape.

Mridang itself, like its North Indian counterpart pakhawaj, occupies a central place among them, being associated with types of music-making that most clearly reflect the essence of musical thinking in South Asia. The complex, technically advanced design of the m., together with a system that allows you to adjust its settings, creates special conditions for precise regulation and nuance of its pitch and timbre parameters.

Having a deep, timbre-rich sound, the mridang is also an instrument with a relatively controlled pitch. The membranes are adjusted to quarts (fifths), which generally significantly expands the range of the instrument. The classical mridanga is a drum that has a wide range of expressive and technical capabilities, which have evolved over the centuries into a carefully developed and thoroughly substantiated theoretical system.

One of its features, also characteristic of other drums in the region, was the specific practice of bol or konnakol - verbalization (“pronunciation”) of metrorhythmic formulas-tala, which is a synthesis of verbal (which largely includes an 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 mridanga group is the leading one, that have preserved the basic genetic codes of the culture of Hindustan to this day.

Listen to the sound of mridanga

Kanjira ( canjira)

Kanjira is an Indian tambourine used in South Indian music. The Kanjira is an amazing instrument with a very pleasant sound and an amazingly wide range of possibilities. It has a strong bass and a drawn-out high sound. Known not so long ago, it has been used in classical music since the 1930s. The kanjira is usually played in a folk instrument ensemble, with a mridanga.

The instrument's membrane is made of lizard skin, which is why the instrument has amazing musical properties. It is stretched on one side on a wooden frame made of jackfruit wood, 17-22 cm in diameter and 5-10 cm in depth. The other side remains open. There is one pair of metal plates on the frame. The art of playing can reach a high level; the developed technique of the right hand allows you to use playing techniques on other frame drums.

Listen to the sound of kanjira

Ghatam and maja ( ghatam)

Ghatam- a clay pot from southern India, used in the karnak musical style. Ghatam is one of the most ancient instruments of south India. The name of this instrument literally means “water jug.” This is no coincidence, since its shape resembles a vessel for liquid.

The sound of the gatam is similar to the African udu drum, but the technique of playing it is much more complex and refined. The main difference between gatam and udu is that at the production stage metal dust is added to the clay mixture, which has a beneficial effect on the acoustic properties of the instrument.

Ghatam consists of three components. The lower part is called the bottom. This is an optional part of the instrument, since some ghats do not have a bottom. Towards the middle the instrument thickens. It is this part of the instrument that must be struck in order to produce ringing sounds. The top part 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 to the body, the performer can also produce different sounds, changing the sound of the ghatam. The musician hits the surface with his hands, holding it on his knee.

The uniqueness of the ghatam 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 produce sounds. This could be, for example, strings or stretched animal skin. In the case of ghatam, everything is much simpler. However, the ghatam may change. For example, you can pull the skin over the neckline. The instrument is used as a drum. In this case, it produces sounds due to the vibration of the stretched skin. In this case, the pitch of the sound also changes. Ghatam produces heterogeneous sounds. It depends on how, in what place and with what you strike it. You can hit with your fingers, finger rings, nails, palms or wrist. Musicians who play the ghatam can make their performance very impressive. Some ghatam players throw the instrument into the air at the end of their performance. It turns out that the ghatam breaks with the last sounds.

Also in India there is a variety of this drum called madga - it has a more round shape and a narrow neck than the gatam. In addition to metal dust, graphite powder is also added to the maji mixture. In addition to its individual acoustic properties, the instrument acquires a pleasant darkish color with a bluish tint.

Listen to the sound of the ghatam

Tawil ( Thavil)

Tawil is a percussion instrument known in southern India. Used in traditional ensembles along with the nagswaram reed wind instrument.

The body of the instrument is made of jackfruit, with leather membranes stretched on both sides. The right side of the instrument is larger than the left, and the right membrane is stretched very tightly, while the left one is looser. The instrument is tuned using belts passed through two hemp fiber rims; in modern versions, the fastenings are metal.

The drum is played either while sitting or suspended from a belt. Mostly played with palms, although sometimes special sticks or rings placed on the fingers are used.

Listen to the sound of the tawil

Pakhawaj ( Pakhavaj)

Pakhawaj (Hindi,“solid, dense sound”) is a barrel-shaped double-membrane drum, common in the practice of music-making in the Hindustani tradition. In accordance with the Indian classification of instruments, just like all other drums, they are included in the group of avanaddha vadya (“coated instruments”).

Typologically related to its South Indian counterpart, Mridang. The body of the pakhawaj is hollowed out from a block of valuable wood (black, red, pink). Compared to the configuration of the mridanga body, the pakhawaja body has a more cylindrical shape, with smaller bulges in the center. Body length 60-75 cm, membrane diameter - approx. 30 cm, the right membrane is slightly smaller than the left.

The design of the membranes, as well as the belt system for connecting them, is similar to the mridanga, but unlike it, changing the tension of the belts, and, consequently, the process of adjusting the membranes, is carried out by knocking round wooden blocks placed between the belts closer to the left membrane (like tabla). A cake made of dark paste (syahi) is glued to the right membrane and is permanently placed on it; a cake made of wheat or rice flour mixed with water is placed on the left membrane before the game, and immediately after it is removed.

Like other classical drums of the region, this helps to achieve a deeper and more differentiated timbre and pitch sound. In general, it is distinguished by “solidity,” “seriousness,” timbral depth and richness. When played, the pakhawaj is placed horizontally in front of the musician sitting on the floor.

It almost never sounds like a solo instrument, being part of ensembles that accompany singing, dancing, or playing an instrumentalist or vocalist, where this instrument is tasked with presenting the tala line. The song is especially strongly associated with the dhrupad vocal tradition, which flourished during the reign of Emperor Akbar (16th century), but in our time occupies a rather limited place in musical culture Hindustani.

The sound quality of pakhawaja and the features of its technique are directly related to the aesthetic and emotional aspects of dhrupad: slowness, rigor and consistency in the deployment of sound fabric based on strictly regulated rules.

At the same time, pakhavaj has developed virtuoso-technical capabilities, which allows the musician to fill the metrhythmic clichés (theka) associated with dhrupad with various rhythmic figurations. Many technical techniques characteristic of pakhawaj became the basis of the tabla, drum technique, with the tradition of playing music on which it is connected by ties of continuity.

Listen to Pakhawaj's solo

tumbaknari, tumbaknaer)

(tumbaknari, tumbaknaer) is the national Kashmiri goblet drum used for solos, song accompaniment and at weddings in Kashmir. The shape is similar to the Afghan Zerbakhali, but the body is larger, longer and Indians can play two tumbaknari simultaneously. The word tumbaknari consists of two parts: Tumbak and Nari, where Nari means clay pot, since, unlike the Iranian tonbak, the body of the tumbaknari is made of clay. This drum is played by both men and women. Other goblet shaped drums used in India are humate(ghumat) And Jamuka(jamuku) (South India).

Listen to tumbaknari solo with gotam.

Damaru ( damaru)

Damaru- a small double-membrane drum in India and Tibet, shaped like an hourglass. This drum is usually made of wood with leather membranes, but it can also be made entirely of human skulls and a snake skin membrane. The resonator is made of copper. Damru height is about 15 cm. Weight is about 250-300 g. This type of drum is played by rotating it with one hand. The sound is mainly produced by balls that are attached to a string or leather cord wrapped around the narrow part of the damru. When a person swings the drum using wave-like movements of the wrists, the ball (or balls) hit both sides of the damaru. This musical instrument is used by traveling musicians of all kinds due to its small size. It is also used in the ritual practice of Tibetan Buddhism.

Skull damru is called "thöpa" and is usually made from the tops of the skulls, neatly cut off above the ear and joined at the tops. Mantras are written inside 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 a blue or green color. The junction of the halves of the damru is tied with a knitted cord, to which a handle is attached. Mallets, whose knitted shell symbolizes the eyeballs, are tied to the same place. Skulls are selected according to certain requirements for former owners and methods of obtaining. Currently, the production of damru in Nepal and export to other countries is prohibited because the bones are obtained mainly through dishonest means. The "sky funeral" ritual is not as traditional as it used to be. Firstly, China considers it not entirely legal. Secondly, it has become easier and less expensive to find firewood or other materials to burn a body. Previously, only rulers and priests of high rank were awarded such an expensive procedure. Third, most Tibetans now die in hospitals. The birds do not want to eat their bodies, soaked in medicines, which is necessary before making the tool.

Damaru is generally well known throughout the Indian subcontinent. Among Shaivites, he is associated with the form of Shiva called Nataraja, being a symbol of the latter. The four-armed Nataraja holds a damaru in his upper right hand as he performs his cosmic tandava dance. It is believed that the damaru is voiced by the first sound itself (nada). There is a legend that all the sounds of Sanskrit come from the sounds of Shiva playing the damaru. The beat of this drum symbolizes the rhythm of forces during the creation of the world, and both halves of it personify the male (lingam) and female (yoni) principles. And the connection of these parts is the very place where life begins.

Listen to the sound of damaru in a Buddhist ritual.

Japanese, Korean, Asian and Hawaiian drums

Taiko ( Taiko)

Taiko- a family of drums used in Japan. Verbatim taiko translated as a big (pot-bellied) drum.

Most likely, these drums were imported from China or Korea between the 3rd and 9th centuries, and after the 9th century they were made by local craftsmen, giving rise to a unique Japanese instrument.

In ancient times, every village had a signal drum. Simple combinations of taiko blows transmitted signals about impending danger or general work. As a result, the territory of the village was determined by the distance to which the sound of the drum could reach.

By imitating the roar of thunder with a drum, peasants called for rain during the dry seasons. Only the most respected and enlightened of the inhabitants could play the taiko. With the strengthening of basic religious teachings, this function was transferred to the servants of Shinto and Buddhism, and taiko became temple instruments. As a result, taiko began to be played only on special occasions and only by drummers who had received the blessing of the priests.

Currently, taiko drummers play compositions only with the permission of the teacher and learn all compositions exclusively by ear. Music notation is not maintained and, moreover, is prohibited. Training takes place in special communities, fenced off from the outside world, representing something between an army unit and a monastery. Playing the taiko requires considerable strength, so all drummers undergo rigorous physical training.

It is reliably known that one of the earliest appointments of taiko was military. The thunder of the drums during attacks was used to intimidate the enemy and inspire friendly troops to fight. Later, by the fifteenth century, drums became an instrument for signaling and conveying messages during battle.

In addition to military and territorial purposes, 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 official. The single taiko is part of a group of instruments that accompany theater performances But And Kabuki.

Japanese drums are generally called taiko; according to their design, they are divided into two large groups: bë-daiko, in which the membrane is rigidly fixed with nails without the possibility of tuning, and shime-daiko, which can be tuned using cords or screws. The drum body is hollowed out from a single piece of hardwood. Taiko is played with sticks called bati.

In our studio there are analogues of taiko, from the “Big Drum” project, on which you can perform traditional Japanese music.

Listen to the sound of Japanese drums

uchiwa daiko)

Japanese ritual tambourine used in Buddhist ceremonies. Literally translated as fan drum. Despite its small size, it has an impressive sound. Its shape is similar to the Chukchi tambourine. Nowadays, drummers often place several uchiwa daiko on a stand, which makes it possible to perform more complex rhythmic compositions.

Listen to a set from Uchiwa Daiko

changu).

Canggu is the Korean drum most commonly used in traditional music. Consists of two parts, which are usually made of wood, porcelain or metal, but the best material is considered to be 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 on both sides with leather (usually deer). In ancient peasant rituals it symbolized the element of rain.

Used in the traditional samulnori genre. Traditional drum music is based on the long tradition of Korean peasant music performed during village festivals, religious ceremonies and work in the fields. The Korean words "sa" and "mul" translate to "4 instruments", and "nori" means play and performance. The musical instruments in the orchestra performing samulnori are called changu, puk, pingari and chin (two drums and two gongs).

puk).

Bunch- a traditional Korean drum, consisting of a wooden body covered with leather on both sides. Began to be used from 57 BC. and usually for Korean court music. The puk is usually mounted on a wooden stand, but the musician can also hold it on his hip. 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 wooden handle decorated with single carvings, at the end of which there is an image of a vajra. Sometimes a silk scarf is tied to the handle as a symbol of veneration for the divine musical instrument.

Nga Chen- a large double-sided drum hanging inside a wooden frame. Its diameter is more than 90 cm. An image of a lotus is also used as decoration. The drum stick has a curved shape and is covered with fabric at the end for greater softness when striking. The performance on this instrument is distinguished by great virtuosity; There are up to 300 ways to play Nga Chen (on the membrane there are drawings and magical symbols located 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; rollo - plates with a large bulge in the center (they are held horizontally); sil-nyuen - plates with a small convexity in the center (and sometimes without it); "or to Nikolai Lgovsky.

As for the Tumba-Yumba tribe, it came from the French "Mumbo-Jumbo", which goes back to the English Mumbo Jumbo ("Mumbo-Jumbo"). This word appeared in the books of European travelers to Africa; it meant an idol (spirit) with which men frightened women. The word "Mumbo-Jumbo" as a name African tribe found in the book by I. Ilf and E. Petrov “The Twelve Chairs”.

The sound of drums there and there

bajiaogu, bafangu).

Bajiogu- Chinese octogonal drum, similar to the Arabic riq. Python skin is used for the membrane. The case has seven holes for metal cymbals. This drum was brought to China by the Mongols, which was popular with them even before our era. The octogonal tambourine was also the national instrument of the Manchus. Apparently, in ancient times this drum was used for ritual dances. During the Qin Dynasty, a similar drum was depicted on the flag. Nowadays, the tambourine is used mainly to accompany traditional vocals or dances.

The sound of an octagonal Chinese tambourine in a vocal part

Vietnamese bronze frog drum ( frogdrum).

Frog drum is one of the oldest drums, the progenitor of metallophones in Southeast Asia. The Vietnamese are especially proud of their bronze culture. During the era of the so-called Dong Son civilization, the La Viet 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 became the symbol of Dong Son culture. Drums performed not only musical, but also ritual functions.

Characteristics of Dong Son Bronze Drum:

• In the center of the drum there is a star consisting of 12 rays. These rays alternate in patterns shaped like a triangle or a peacock feather. According to the ancients, the star in the center of the drum is a symbol of faith in the Solar God. The feathers on the drums show that birds were the totems of the inhabitants of that time.
• Around the star are plants, animals and geometric patterns. Many researchers interpret the everyday scenes depicted on the drums as a “funeral” or a “rain-making festival.”
• Boats, heroes, birds, animals or geometric zora are usually painted on the body of the drum.
• The drum has 4 arms.

Similar drums are now used in Thailand and Laos. Legends of the Ho-Mong people say that the drum saved the lives of their ancestors during great floods. The drum was one of the items that was placed with the deceased in the tomb (Dong Son area, Thanh Hoa province, Vietnam).

Listen to the sound of the frog drum orchestra

gedombak).

Gedombek is a goblet-shaped drum used in Malay folk music. The body of the drum is made of hard wood, mainly jackfruit (East Indian breadfruit) or angsana. The membrane is made from goat skin. Usually two people perform with two instruments, one of which is called Gendang Ibu (Mother), which has a lower sound, and the other - Gendang Anak (Child), which has the same size but a higher sound. When performing, the drum lies in a horizontal position, the membrane is struck with the left hand while the right hand closes and opens the hole. Typically, a gendongbak is used in conjunction with a double-sided gendang ibu drum.

Listen to the sound of hedonback

Thai Drum Tone ( thon, thab, thap).

In Thailand and Cambodia, a drum very similar to a gedonbek and a huge darbuka is called Tone. It is often used in conjunction with a frame drum called ramana (ramana). These two instruments are often called by the same word thon-ramana. The tone is placed on the knees and struck with the right hand while the ramana is held in the left hand. Unlike the hedonbak, the tone is much larger - its body reaches a length of a meter or more. The body is made of wood or earthenware. The palace tones are very beautiful with mother of pearl trim. With such drums, they usually organize a dance procession and play polyrhythms with metallophones.

Listen to the sound of the tone in the dance procession

Gendang).

Gendang(Kendang, Kendhang, Gendang, Gandang, Gandangan) - the drum of a traditional Indonesian gamelan orchestra. Among the Javanese, Sudanese and Malay peoples, one side of the drum is larger than the other and produces a lower sound. Both sides of Bali and Maranao drums are the same. The performer, as a rule, sits on the floor and plays with his hands or special sticks. In Malaysia, the gendang is used in conjunction with the gedombak drum.

Drums vary in size:

• Kendhang ageng, kendhang gede or kendhang gendhing is the largest drum with a low tone.
• Kendhang ciblon drum is medium size.
• Kendhang batangan, medium sized kendhang wayang, used for accompaniment.
• Kendhang ketipung is the smallest drum.

Sometimes a drum set is made from drums of different sizes and one performer can play different drums at the same time.

Listen to the sound of a set from Indonesian gendangs

Hawaiian drum Ipu (Ipu)

Ipu is a Hawaiian percussion instrument often used to create accompanying music during hula dances. Ipu is traditionally made from two pumpkin fruits.

There are two types of ipu:

• ipu-heke(ipu heke). Made from two pumpkin fruits connected to each other. Pumpkins are specially grown to achieve the desired shape. When they have reached the appropriate size, the pumpkins are harvested, the tops and pulp are removed, leaving hard, empty shells. The largest fruit is placed in the lower part. A hole is cut out in the small fruit. Pumpkins are glued together using breadfruit sap.
• Ipu-heke-ole(ipu heke ʻole). It is made from one pumpkin fruit, the top of which is cut off. With such instruments, girls can dance while simultaneously beating the rhythm.

Hawaiians typically play it sitting down, striking the top of the ipu with their fingers or palms. To highlight the first beat of each measure, the player strikes a soft burl cloth that lies in front of the player on the ground, 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 the ipu accompaniment for Hawaiian songs

Hawaiian drum Pahu (Pahu)

Pahu– traditional Polynesian drum (Hawaii, Tahiti, Cook Islands, Samoa, Tokelau). It is cut from a single trunk and covered with shark skin or stingray skin. It is played with palms or fingers. The pahu is considered a sacred drum and is usually found in a temple (heiau). Serves as an accompaniment to traditional hula songs and dances.

Drums that have religious significance are called Heiau Pahu(prayer wheel). The prayer drum typically uses stingray skin, while the music drum usually uses shark skin. The drum for musical accompaniment is called Hula Pahu. Both drums have ancient history and similar in shape.

Small drums are usually carved from the trunk of a coconut tree. There are also Pahu drums, which resemble a huge table, at which the musician plays while standing.

Listen to the pahu drum accompaniment for Hawaiian hula dancing

African drums

Djembe (Djembe)

Djembe- a West African goblet-shaped drum (about 60 cm high and a membrane diameter of about 30 cm), hollowed out from a single piece of wood with antelope or goat skin stretched over it, often with metal plates " kesingkesing", used to amplify sound. Appeared in the Mali Empire in the 12th century and was figuratively called Healing Drum. It is believed that the open shape of the body comes from a conventional grain crusher. Depending on the blow, djembe produces three main sounds: bass, tonal and sharp slap. African rhythms are characterized by polyrhythms, when several drum lines create a common rhythm.

The djembe is played with the palms of the hands. Basic hits: Bass (to the center of the head), Tone (the main blow to 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 the djembe was also facilitated by the fact that it is relatively easy to carry by hand, has a fairly strong bass, and sound production is accessible to beginners. In Africa, masters of the djembe are called djembefola. Djembefola must know all the parts of the rhythms performed in the village. Each rhythm corresponds to a specific event. The djembe is both an accompanying and a solo instrument that can tell listeners a lot and literally make people move!

Listen to a solo djembe with dunduns and shaker

Dunduny

Dunduny- three West African bass drums (from smallest to largest: Kenkeni, Sangban, Dudunba). Dunumba - Big drum. Sangban - Middle drum. Kenkeni - snare drum.

These drums have bull skin stretched over them. The skin is stretched using special metal rings and ropes. These drums are tuned accordingly according to their tone level. The sound is made with a stick.

Dunduns are the basis of the traditional ensemble (ballet) in West Africa. The dunduns form an interesting melody and other instruments, including the djembe, sound on top. Initially, each bass drum was played by one person, hitting the head with one stick and a ringing bell (kenken) with the other. In more modern version one person plays simultaneously on three reels installed vertically.

When playing in an ensemble, the bass drums form a basic polyrhythm.

Listen to African dundoons

Kpanlogo ( kpanlogo)

Kpanlogo - traditional peg drum in the western region of Ghana. The drum body is made of hard wood, the membrane is made of antelope skin. The skin is attached and adjusted using special pegs inserted into a hole in the body. The conga is very similar in shape and sound, but smaller in size.

The kpanlogo performer must be inventive and conduct a musical dialogue (question and answer) with other instruments. The kpanlogo part includes elements of improvisation, constantly changing the pattern according to the movements of the dancer. The kpanlogo is played with the palm of the hand, and the techniques are similar to the conga or djembe. When playing, the drum is clamped with your feet and slightly tilted away from you. This is a very interesting and melodic instrument, sounding beautiful both in group rhythm and solo. They often use sets of kpanlogos of different keys, which are very similar to the Cuban conga sets, which, in all likelihood, originated from kpanlogos.

Listen to the sound of the set from kpanlog

Ashanti Drums ( Ashante)

Ashanti drums - traditional peg drum set in Ghana. The set is called after the largest drum, Fontomfrom ( Fontomfrom). Often, a large drum can be taller than a person and you need to climb using a ladder attached to the drum. Smaller drums are called Atumpan ( Atumpan), Apanthem ( Apentema), Apetia ( Apetia) .

The Ashanti call their drummers the heavenly drummers. Drummers occupy a high position in the court of the Ashanti chief, they are responsible for ensuring that the huts of the chief's wives are in perfect order. In Ashanti lands, women do not have the right to touch the drum, and the drummer does not dare move his drum from place to place. It is believed that this could cause him to go crazy. Some words cannot be tapped on a drum, they are taboo. For example, you cannot mention the words “blood” and “skull”. In ancient times, if a drummer made a serious mistake in conveying the leader's message, his hands could be cut off. Nowadays there is no such custom, and only in the most remote corners can a drummer still lose an ear for negligence.

With the help of drums, the Ashanti can drum out the entire history of their tribe. This is done during some festivals, when drummers recite the names of deceased chiefs and describe significant events in the life of the tribe.

Listen to the sound of Ashanti drums

Talking drum ( Talking Drums)

Talking drum- a special type of African drums, originally intended to maintain communication between villages. The sound of the drum could imitate human speech, and a complex system of rhythmic phrases was used. As a rule, a talking drum is two-headed, hourglass-shaped, the skin on both sides is tightened with a belt made of leather or animal intestines braided around the body. When played, the talking drum is held under the left hand and struck with a curved stick. By squeezing the drum (meaning the drum ropes), the player changes the pitch of its sound, while different notes are highlighted in its sound. The more you compress the drum, the higher its sound. All this gives various options“drum language”, thanks to which it is possible to transmit various messages and signs to other neighboring villages. Some examples of drum rhythms are associated with spiritual beings in each tribe. The sounds of prayers and blessings from talking drums begin a new day 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 a 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 through the Caribbean Sea during the slave trade. Talking drums were subsequently banned from African-Americans because 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. A talking drum accompanies a person both in work and in leisure. There are few tools that can “keep pace” with a person. That is why it rightfully occupies a special place in African culture 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 a talking drum

Ashiko (ashiko)

Ashiko(ashiko) - West African drum in the shape of a truncated cone. Ashiko's homeland is considered to be West Africa, presumably Nigeria, and the Yoruba people. The name is most often translated as “freedom”. Ashikos were used for healing, during initiation rituals, military rituals, communication with ancestors, for transmitting signals over distances, etc.

Ashiko is traditionally made from a single piece of hardwood, while modern instruments are made from bonded strips. The membrane is made from the skin of an antelope or goat, sometimes from cow skin. A system of ropes and rings controls the degree of tension of the membrane. Modern views Ashikos may have plastic membranes. Ashikos have a height of about half a meter to a meter, sometimes a little higher.

Unlike the djembe, where due to its shape it can only produce two tones, the sound of an ashiko depends on the proximity of the strike to the center of the head. In the musical tradition of the Yoruba people, the ashiko almost never accompanies the djembe because they are completely different drums. There is an opinion that ashiko is a “male” drum and djembe is a “female” drum.

Ashiko-shaped drums are called bocu in Cuba and are used during carnivals and street parades called comparsa.

Listen to the African Ashiko drum

Bata (Bata)

Bata- these are three membranophones with a wooden body in the shape of an hourglass, having at the ends two membranes of different diameters, which are played by hand.

Manufacture bata either by the traditional African method of hollowing out a whole tree trunk, or by the modern method of gluing together individual planks. On both sides bata membranes made of thin leather (for example, goat skins) are stretched. In traditional bata they are attached and tensioned using strips of leather, the industrial version of the bata uses an iron fastening system designed to bongs And Kong. Enu (enú, “mouth”) is a larger membrane, which has a correspondingly lower sound. It plays open, muted, and touch strokes. Chacha (chachá)- smaller membrane. Slaps and touches are played on it. Play on bata sitting, placing it on your knees in front of you. The larger membrane is usually played with the right hand, and the smaller one with the left.

In Cuba the ensemble uses 3 bata: Okonkolo- a small drum that, as a rule, plays a strictly fixed pattern that serves as rhythmic support. In fact, it is a metronome in an ensemble. This drum is usually played by the least experienced drummer. Itotele- middle drum, its function is to “respond” to the big drum Iya. Iya (Iyá)- large and, therefore, the lowest, the “mother drum”. plays it olubata- leading, most experienced drummer. Iya is the soloist of the ensemble. There are many settings options bata; O the main rule is tone chacha each larger reel coincides with enu next smaller. 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), Lord of the Drums. In Cuba bata began to be widely used in ritual music, where the number of drums in an ensemble was reduced to three (in Nigeria there are usually 4–5).

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 “go through life” correctly, that is, to perform the right 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 of each species bata is a separate Santeria "god" orisha - the patron of concolo is Chango, andotele- Ochun, a iya - Yemaya . In addition, it is believed that each drum has its own “soul” anya (añá), which is “invested” in the newly made bata during a special ritual, “born” from the “souls” of other batas who have already undergone initiation. There are known cases when people were specially transported from Nigeria aña, while manufacturing a new drum “body” in Cuba.

Before the socialist revolution of 1959, Bata drumming took place in closed rituals where either initiates or initiates were invited. However, after the revolution, Cuban music was declared the national treasure of Cuba and groups were created (for example, Conjunto Folclorico Nacional de Cuba) that studied traditional (mainly religious) music. This, of course, met with discontent among the "dedicated" drummers. Although Bata music has become public domain over time, it is still customary to separate drums used for religious ceremonies ( fundamentalo (fundamento)) and "worldly" ( aberikula).

Listen to the bata drums

Bugaraboo ( bougarabou)

Bugaraboo(emphasis on U) - a traditional instrument of Senegal and Gambia, it is not found in other African countries. Typically, a musician plays three or four drums at the same time. The body is shaped like a goblet or something like an inverted cone. Sometimes the body is made of clay.

A few decades earlier, the bougarabou was a solo instrument. They played it with one hand and a stick. However, recent generations have begun to assemble tools into installations. Perhaps they were influenced by the conga instrument: as you know, several are always used when playing. For better sound, the drummer wears a special metal bracelet, which adds color to the sound.

The bugarabu is similar in appearance to a djembe, but the leg is shorter or absent altogether, the wood is of a different species and is a little thinner, due to this the sound is more melodic. When playing, the drummer stands on his feet and physically hits the head hard. The sound from the instrument is beautiful on the one hand: bright and deep, and practical on the other hand: it can be heard for many miles. Bugaraboos have a characteristic deep, rolling sound, which is how the drum got its name. A ringing slap and long-lasting deep bass are the distinctive features of this drum, which combines a large playing area and a voluminous resonating body. Often used as a background bass drum to play with djembe and other drums. However, it is also great for solo play.

African boogaraboo drum sound

Sabar ( sabar)

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. Just like the kpanlogo, the sabar membrane is secured with pegs.

Sabar is used for communication between villages, over distances of up to 15 km. Different rhythms and phrases help convey messages. There are several different sizes of this drum. Sabar is also called the musical style of sabar playing.

Listen to the African drum sabar

Kebero ( kebero)

Kebero - a double-sided conical drum used in the traditional music of Ethiopia, Sudan and Eritrea. The Kebero is the only drum used during Christian church services 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-shaped drum is mentioned in the lyrics of the song "Seven Hathor", which was performed with instrumental accompaniment and dancing. 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 became a tradition of subsequent eras. A similar cone-shaped drum - cabero used during services in the Coptic Church, and is now preserved in the rituals of the Ethiopian Church.

Listen to the Ethiopian service with kebero

Udu ( Udu)

Udu- an African clay drum-pot originating from Nigeria (udu is both “vessel” and “world” in the Igbo language). The deep, haunting sounds that the oud produced seemed to many to be the “voices of the ancestors” and it was originally used in religious and cultural ceremonies. When the hole is struck, it produces a deep, low sound, a ceramic ringing sound across the surface. May have a membrane on the surface.

It is worth noting that there is simply no traditional school of playing the oud, just as there is no generally accepted name for this instrument. Actually, this is not at all surprising, given that for most of their history the Ibo lived in disparate groups. The only basic technique common to all Nigerian musicians is hitting the side hole while opening and closing the neck of the drum with the other hand. This produces a hypnotic bass, which is why 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 the ceremonies for which the drum is used. The name most often attributed to it is “abang mbre,” which simply means “play pot.” Another interesting detail is that initially only women played the udu.

Despite the emergence of udu made from fiberglass and wood, clay remains the most popular material for making this instrument. Nowadays, most craftsmen make drums on a potter's wheel, but in Nigeria the traditional method of making them without the use of machines and complex tools is still widespread. There is an interesting technique for playing a fiberglass oud in which the properties of the resonator are changed by pouring water into a pot. With water, the drum acquires 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 look and feel, soothing and peaceful to the ear, Udu can lead you into deep meditation, giving you a feeling of comfort and tranquility.

Listen to the sound of oud

Calabash ( calabash, calebasse)

Calabash - a large bass drum made from a pumpkin. In Mali it was originally used for cooking. It is played with hands, fists or sticks. The diameter of the instrument is about 40 cm. Sometimes the calabash is immersed in a basin of water and hit with a fist, in this case a very powerful and pumping bass is obtained.

Listen to the sound of the calabash

Gom dram ( gome drum)

Gom dram - bass drum from Ghana. Made from a wooden box (45x38 cm) and antelope skin. They play it while sitting on the ground, while using their heels to help change the tone. The style of music is close to Afro-Cuban. The drum was introduced to Ghana in the 18th century by Congolese fishermen. Looks like)

The tribal king or diviner uses this drum in ceremonies. Yoruba richly decorate their drums with various figures.

Chokwe, Angola
(Chokwe)

Chokwe is a double-sided drum used for long-distance communication and ritual storytelling.

Senufo, Ivory Coast
(Senufo)

Senufo is a double-sided drum used for long-distance communication and epic accompaniment.

Listen to African Yoruba rhythms

Listen to Chokwe's African rhythms

Listen to African Senufo rhythms

Drum Cuba,
Nigeria (Kuba)

The royal drum is richly inlaid with shells

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.