Drum - Musical instrument from the drum family. Most peoples are distributed in many musical ensembles. The performer on the drum - drummer.

A typical representative is a membrane drum, consisting of a hollow corps-resonator of a particular shape or frame, to which a leather or plastic membrane is stretched. Its tension adjusts the relative height of the sound. The hull of the drum is made of wood, metal (steel, brass), acrylic plastic or even clay.

The sound is removed by a blow on the membrane with a wooden beater with a soft tip, a stick, brushes, hands, and sometimes friction. To use multiple tools at the same time, the drums are collected in the shock installation.

Types of drums

The modern orchestra may include the following drums:

Big drum (Turkish drum) - bilateral, less often one-sided. It is played by a massive beater with a soft tip; His sound is strong, deaf and low. In addition to the beater, sometimes used sticks, sweatshops, etc. The main purpose of the Big Drum is single blows (from Pianissimo to such a Fortissimo thunder discharge). European composers have a large drum first applied in the military orchestra; From the beginning of the XVIII century - in the opera. The predecessor of the Big is the Turkish drum used in the "Yanychar Music". A large drum is often used to simulate it. The bass drum has a little smaller size than a large (concert) drum - 20-22 "(50-56 cm). Enters the impact installation, they play legs on it using the pedal.

Small drum - with two membranes stretched to a low cylinder. Along the lower membrane, strings are stretched (from 10 to 34, depending on the application), which give the sound dry roofing, rolling and rattling tint. When the strings are disconnected with a special lever, this characteristic crack disappears. The game is based on rudiments: fraction, fast tremolo. They play on it with two wooden chopsticks with thickening at the ends. Boots on the line (ROMSHOT) are also used, other techniques (eg, blast bits, gravity roll, characteristic of extreme music styles, or rotation of sticks in the marching orchestras). Using a set of small drums of various sizes, when playing - put on the stand, in the Marshav orchestra - are carrying on the belt or a special frame at the belt level. In the opera and symphony orchestra, a small drum is introduced in the XIX century; Often used in military scenes. Today is the leading tool of the rhythmic group of jazz.

Tom Tom (Do not confuse with there - there (gong)) - a cylindrical drum without strings. It comes from indigenous American or Asian peoples, was used by the Aboriginal for the military, religious purposes. Made from hollow trunks of trees and animal skins. From the beginning of the 20th century, the volume is included in the shock installation (from 2 to 4 or more pieces).

Litavra - The system (from two to seven or more) copper boilers, on which the membrane is stretched. Have a specific sound height adjustable during the game. They became known in the XV century, the orchestra entered later. In addition to the orchestra, the predecessors of the Litavre - the chips were used in cavalry, to manage the system.

Classification in shape:

1. framework;
2. in the form of a cup;
3. cylindrical;
4. boil-shaped;
5. in the form of "hourglass";
6. in the form of a cone.

Ethnic drums of the world

To hear the drum sound Turn on Flash Player!

In the region of origin	Cube-shaped drums and in the form of hourglass		Cylindrical drums and cone-shaped
	Bochemy drums		Idiophons (percussion without membrane)

(open the card in full size)

Ethnic drums are a real find for those who want to feel the freedom of self-expression and feel the tide of strength and energy. In addition, the unusualness of ethnic tools is in a distinctive memorable sound, and they will give ethnic flavor to any interior and you will definitely not be ignored. On most such drums, you need to play with your hands, so the hand drums are also called percussion from the Latinski word PERKA-hand.

Ethnic drums precisely for those who are looking for new sensations and conditions. And most importantly, it is not necessary to be a professional musician, because the drums are easy to learn and do not require special musical giftedness. In addition to snorkeling and limitless desire, nothing else is required of you!

The drums appeared at the dawn of the history of mankind. When excavations in Mesopotamia, some of the oldest shock instruments were found - made in the form of small cylinders, the origin of which dates back to the sixth millennium BC. The age of found in Moravia drum dates back to the fifth millennium BC. e. In ancient Egypt, the drums arose four thousand years before. e. It is known about the existence of drums in ancient Sumer (about three thousand years BC. E). Since the most ancient times, the drum was used as a signal tool, as well as to accompany ritual dancing, military processions, religious rites.

The symbolic value of the drum close to the semantics of the heart. Like most musical instruments, it is endowed with the function of mediation between the Earth and the sky. The drum is closely associated with a tambourine, which can be both primary to the drum and derived from it. In the mythology of the Mongolian peoples, Tuben appeared as a result of the separation of the drum by this tree, the Shamansky deity, for two halves. But more often the drum is seen as a merger of opposite began: female and male, lunar and sunny, earthly and heavenly, personified by two tambourines. In many cultures, the drum is functionally likened by the sacrificial altar and is associated with a global tree (the drums were made from the wood of sacred trees). Additional meaning within the framework of the general symbolism is due to the form of the drum. In Schivaism, a double drum is used, which is considered a means of communication with the divine deity, as well as the latter attribute. This drum, in its shape, resembling hourglass and called Damar, symbolizes the opposition and interconnectedness of the heavenly and earthly worlds. Two balls hanging on the cords during the rotation of the drum hit on its surface.

In shaman cults, the drum is used as a method for achieving an ecstatic state. In Tibetan Buddhism, one of the rites of the transition includes a dance for the accompaniment of the drum made from the skulls. The Kobdas Baraban, which draws various images of a sacred character, is applied to fortune telling (under the hammer blows a special triangle placed on the drum moves from one image to another, and its movement is interpreted with shaman as answers to questions.

The ancient Greeks and Romans drum Timpan - the predecessor of modern Litavr, was used in Cults Cybel and Vakha. In Africa, many peoples of the drum also acquired the status of the royal power symbol.

Today, drums are extremely popular all over the world, they are done in a wide variety of forms. Some traditional drums have long been used in pop practices. This is, first of all, all sorts of Latin American tools: Bongs, Kong, etc. Reparatively recently in the instrumental of pop, ethnic and medieval musical groups, the most important Eastern drums and the drums of Africa appeared - respectively, Darbuk (or her bass variety of Dumbeks) and Dubl. The peculiarity of these tools is that they can extract the sounds of the most different rader painting. This is especially true of Darbuka. The masters of the game are able to extract from the eastern drum - Darbuki many different sounds and, thus, compete with a whole shock installation. Typically, the technique on these tools teach media traditions, and the development of the material is exclusively by hearing: the student repeats after the teacher all sorts of rhythmic drawings.

The main functions of ethnic drums:

• Ritual.Since the ancient times, the drums were used in various mysteries, since long-term monotone rhythm is able to enter into a trance state (see article Mysticism sound .). In some traditions, the drum was used as a palace tool for special solemn cases.
• Military.The drum fight is able to raise the morale and frighten the enemy. Military use of the drums is recorded in the ancient Egyptian chronicles in the 16th century. AD. In Switzerland, and later in all of Europe, military drums were also applied to build troops and parades.
• Medical. For medical purposes, the drums were used to expand evil spirits. A number of traditions in Africa, Middle East and Europe are known. Under the fast drum fight, the patient was supposed to perform a special dance, as a result of which the cure took place. According to modern research, the drum rhythm contributes to the removal of stress and the production of joy hormone (see Article Medical rhythms).
• Communication. Talking drums, as well as a number of other drums in Africa, were used to transmit long distances.
• Organizational. In Japan, the drum secretly determined the size of the territories belonging to this village. It is known that the Taways and some other nations of Africa, the drum was the personification of the leader's power.
• Dance. The drum rhythm is traditionally the main for the performance of a multitude of dance of the world. This function is closely connected and follows from ritual, as well as medical use. Many dances were originally part of the temple mysteries.
• Musical. In the modern world, the technique of playing the drums has reached a high level, and the music has ceased to be used exclusively to ritual purposes. Ancient drums firmly entered the arsenal of modern music.

More information about various drum traditions, you can read in the article. Drums of the world .

Middle Eastern, North African and Turkish drums

Listen to Solo Rica

Bendir (Bendir)

Bendir - Drum of the North of Africa (Magryba), especially the region of Eastern Berber. It is a frame drum made of wood and covered animal on one side. The inner surface of the Bendir membrane is usually attached strings that create an additional vibration of sound when hitting. The best sound is obtained on bendire with a very thin membrane and with fairly durable strings. Algerian and Moroccan orchestras performing both modern and traditional musical forms. Unlike Dafa, Bendir has no rings on the reverse side of the membrane.

Talking about the rhythms and tools of North Africa, it is impossible not to mention another curious tradition, but the group slamming in your hands. For tourists, this tradition seems to be mildly, unusual, and for the inhabitants of Maghreb there is nothing familiar with all together and start clairing your hands, creating a certain rhythm. The secret of the correct sound with cotton is in the position of the palms. It is quite difficult to describe it, but the locals themselves say that when you hit you need to feel how you pushed the air with both hands. It is also important to move the movement itself - absolutely free and relaxed. Similar traditions can also be found in Spain, India and Cuba.

Listen to Solo on Moroccan Bendire

Targeting ( Tarija.).

A small ceramic cubic-shaped drum with snake skin and string inside. Known at least from the 19th century, used in Morocco in ensembles Malchun For accompanying the vocal party. The singer beat his palm of the main rhythm to manage the rhythm and the pace of the orchestra. At the end of the song can be used to enhance energy and rhythmic ending.

Listen to the Moroccan ensemble Majun with targeting

T. oubeleki, Toymbeleki. ).

Greek variability with a case in the form of amphora. Used to execute Greek melodies in Thrace, Greek Macedonia and on the islands of the Aegean Sea. The housing is made of clay or metal. Also, this type of drum can be bought in Savvas Percusion or Yevgeny Strelnikov. Bass Torubeki from Darbuka is characterized by greater humility and softness of sound.

Listen to the sound of Tubelki (Savvas)

Tavlak ( Tavlak.).

Tavlak (Tollak) - Tajik ceramic cubic-shaped drum of small sizes (20-400 mm). Tuvlak is a predominantly ensemble tool, used in conjunction with Doyra or Dafom. The sound of the brand, in contrast to Darbuka, more extensive, with a wow effect, more characteristic of the Daire or Indian percussion. Tulk is particularly popular in the Hutful region of Tajikistan, bordering Afghanistan and Uzbekistan, where it can be used as a solo instrument.

Listen to the Rhythms of Tajik Tollak

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

Zerbakhali - Cubic-shaped Afghan drum. The housing was made either from a tree like Iranian thin, or from clay. The membrane in the early samples contained an additional lining, like the Indian tabla, which attached the sound of vibrato. The technique of playing on which is something close, on the one hand, the technique of the game on Persian tonbak(tonbek), and on the other hand, the technique of the game in Indian table (tabla). From time to time, a variety of techniques borrowed from darbuki. The Indian table in particular influenced Masters from Kabul. It can be assumed that the Zerbakhali is an Indo-Persian musical instrument having a Persian origin. Rhythms and technique of the Zerbakhali were influenced by Persia and India, a sophisticated finger technique and super-full rhythms were used before the war, which later became the main chicken of the Turkish percussion. In early 20th century, the tool was used in herata, later in the 50s he began to be widely used in Afghan music together with Dutar and Indian Rubab. In the 70s, the performers of a woman on this drum appeared, before that they played only on the framework.

Listen to the Zerbakhali Performance of the 70s

Kshshba ( Khishba, Kasour (Slightly wider), Zahbour or Zenboor).

These drums are used mainly in the prints of the Persian Gulf in the music of Choubi and the dance direction of Kawleeya (Iraq, Basra). A narrow tube-shaped drum with a wooden housing and a membrane of fish skin. The skin is tight and moisturized to achieve a bright sound.

Listen to the sound of Kshishba (sometimes Darbuka is entering)

Tobol

Tobol - Taways drum. Tuaregi is the only people in the world whose men even in the home circle are obliged to close the face with a bandage, (self-breaking - "people covered"). Live in Mali, Niger, Burkina Faso, Morocco, Algeria and Libya. Tuaregs retain tribal division and significant elements of the patriarchal system: people are divided into "drum" groups, at the head of each one is worth the leader whose power symbolizes the drum. And over all groups is the leader, amenokal.

Famous French researcher A. Lot wrote about Tobol - a drum, symbolizing the leader from Tuaregov: "He is the personification of power from Taways, and sometimes the amenokal himself (the title of leader's tribal union) is called Tobol, like all tribes under its patronage. To pierce Tobol is the worst insult that the leader can be applied, and if the opponent is able to steal it, then the prestige of the amenokal will be inflamed of the damage.

Davul (Davul.)

Davul - Drum, common from Kurds, in Armenia, Iran, Turkey, Bulgaria, Macedonia, Romania. On the one hand, has a goat-skin membrane for bass, on which they beat the special solid, on the other hand sheep tensioned leather on which a twist is beaten, removing a high whisk sound. Currently, the membranes began to be manufactured from plastic. Sometimes a wand beat on a wooden case. In the Balkans and Turkey, the rhythms for Davul are quite complex, as the rules for odd rhythms and with syncopes. In our studio, we use it for street performances and to make a feeling of rhythm.

Listen to the sound of Davula

Kosh ( Kosh.)

In the XV-XVI V.V., in Zaporizhia were free lands. There, risky people who wanted freedoms from different rulers took place. So gradually the Zaporizhia goal appeared. Initially, these were small varieties of dashing people, embaning raids and weakening. Moreover, a group-forming factor was a cooking boiler, referred to as "Kos". Hence the "Koshest Ataman" - in fact, the strongest robber, telling the soldering. How many people could feed from such a boiler, so much was a saber in Koshe Vataga.

The Kozaki has moved horses or on ships - Ladyah. There were ascetic life and minimized. It was not supposed to take extra things with me. Therefore, poor property was multifunctional. The most interesting thing is: this kitty-boiler after a rich dinner is easy and simply turned into a drum-Tulumbas, a type of Litavra.

At the end of the daughter, the boiler was stretched by the skin of the animal, which in him was welded for dinner. During the night, the Koston Tulumbas fucked, and a combat drum was obtained by morning, with the help of the signals of the tack and communicated with other kids. On the rooks such a drum ensured the well-coordinated action of rowers. Later, the same Tulumbasi were used on guard regracks along the Dnieper. With their help, the opposition is transmitted on the relay. The appearance and use of Tulumbas-boiler.

Similar drum Kus (KUS) - This is a big Persian boiler drum. It is a pair of drums made of clay, wood or metal in the form of a hemispheric boiler with a leather stretched on it. They played with leather or wooden chopsticks on Kus (leather sticks were called Daval - gave). Usually Kous was worn on the back of the horse, camel or elephant. It was used during the festive events, military marches. He also performed as an accompaniment to Karnay (Karnay - Persian trumpet). Persian epic poets mentioned Kous and Karnai when describing the battles of the past. Also on many vintage Persian canvases you can see the images of the Kusa and the car. The emergence of these musical instruments scientists belong to 6 V. BC.

Cossacks of Zaporizhia Siftsov used to control the tulumbasses of different sizes. Small tied to the saddle, the sound was mined the handle of the plenty. In the largest of Tulumbasov, there were eight people at the same time. Loud single Sounds of Nabathy Together with the room of Tulumbasov and the piercing buberns were used to intimidate. In the people, this tool did not receive significant distribution.

(Krakeb.)

or differently Kakabu (Kakabu) - Maghreb National Musical Instrument. Krakeff is a pair of metal spoons with two ends. When playing in each hand, they keep in a pair of such "spoons" so that with the mutual collision of each pair, the rapid, pulsating sounds that create a color ornament for rhythm were obtained.

Krakowee are the main component of the rhythmic music of GNAU. It is used mainly in Algeria and Morocco. There is a legend that the sound of KraKebov resembles the clan of metal chains in which slaves from West Africa walked.

Listen to the music of Gnava with Kraklabami

Persian, Caucasian and Central Asian drums

DAF (DAF, Dap)

DAF - one of the oldest frame drum tools which there are many people's legends. The time of its occurrence corresponds to the time of the appearance of poetry. For example, in a tuita it is said that this is Tavil - the son of Liaka invented DAF. And also when it comes to Solomon's wedding with Belkis, it is mentioned that DAF sounded in their wedding night. Imam Mohamad Casali wrote that the Prophet Mohammad said: "Spread the Barack and play a loud on Dafe." These evidence speaks of the spiritual value of Dafa.

Ahmed Ben Mohammad Altavussi so writes about Dafa's relationship with playing on him and player games at Dife: "Dafa Circle is a circle Akvan (Genesis, the world, all the existence, universe) and leather that is stretched on it - this is an absolute existence, and hit It is the entry of the Divine inspiration, which from the heart, internal and intimate, is transferred to absolute being. And the breath of playing Dafa is a reminder of the degree of God, when his appeal to people, they will place their soul in captivity.

In Iran, Sufi used DAF for ritual ceremonies ("ZIKR"). In recent years, Iranian musicians with success began to use the eastern drum - DAF in modern pop Persian music. Currently, Daf is very popular among Iranian women - they play and sing on it. Sometimes women of the Kurdistan provinces of Iran are going to huge teams for a joint game on Dafe, which is an analogue of collective prayer with music.

Listen to Dafa

Faback ( Tonbak)

Thybak (Tombak) - Iranian traditional percussion tool (drum) in the form of the Cup. There are various versions of the origin of the name of this tool. According to the main one - the name is the merging of the names of the main blows of TOM and BAK. Immediately stipulate the nuances of writing and pronunciation. In Persian, the lettering "NB" is pronounced as "M". From here, the difference between the names "Tonbak" and "Tombak". Interestingly, even in Farsi you can meet the record equivalent to the pronunciation of Tombak. However, the right is considered to write "Infantak", but to utter Tombak. According to another version, Tonbak comes from the word Tonb, which literally means "belly". Indeed, the Infantak has a convex shape, such a belly. Although, of course, the first version is more generally accepted. The remaining names (Tombak / Donbak / Dombak) are the variations of the initial one. Another name - ZarB (ZARB) has arabic origin (most likely from the word Darab, which means the sound of the drum). The sound of the tool, due to the not too strong skin tension and the specific form of the body, is rich in timbre shades, filled with incomparable depth and density of bass.

The drum is made of a solid piece of wood (maple, mulberry or walnut). Tombak is tightened by calf, goat or camel skin, fixing it on the drum by glue or special brackets. Before starting the game, the membrane preferably warm up. Depending on which part of the membrane does fingers, the performer can be deeper and low or remind a dry click. The big duration of the Makas required the drove the skin of the fingers. The musicians used different techniques: soaked them in Henna, which Iranian woman's hair loved to paint, druck the wheat ears on the field.

In classical music, Tobak did not consider a tool for which they need a special talent. So it was before the beginning of the innovative solo speeches to the Odea of \u200b\u200bHossaine Technica in the 1950s. Among his students there were such prominent musicians like Mohammad Esmai, Amir Nasser Efthats and Jamshid Chemita.

Play on thin fingers. Modern execution technique on Tombaca highlights it from a huge number of drums of this type: it is very sophisticated and characterized by the manifold of techniques and their combinations. Play on Tobak with two hands, placing the tool almost in a horizontal position. Achieving the desired sound paint, at a minimum, depends on the area of \u200b\u200bthe tool to which the blow is accounted for, and on how the punch is made with fingers or brush, clicking or sliding.

Listen to Tonbak

Doira.)

(Translated a circle) - tambourine distributed in the territory of Uzbekistan, Tajikistan, Kazakhstan. It consists of a circular shell and tightly stretched on one side of the membrane with a diameter of 360-450 mm. Metal rings are attached to the shell, the amount of which ranges from 54 to 64, depending on its diameter. Previously, the shell was made of fruit plants - dry grape vines, nut or beech wood. Now they are made mainly from acacia. The membrane was previously made from the skin of the cattle, goat skin, sometimes the stomach of the animal, now the membrane is made of thick calf leather. Before the game, the militant is heated in the sun at fire or lamps for larger membrane tension, which contributes to the purity and sounding of the sound. Metal hoops on the shell contribute to the increase in thermal conductivity when heated. The membrane is so durable that they are able to withstand the human jumps and a knife strike. Initially, Dair was a purely female tool, women were going to sat and played on the Daire, as well as Iranian women were going and played on Dafah. Currently, the skill of the game at the Dair reached an unprecedented level. In the world, such Masters of Doyrah are known as Abos Casimov from Uzbekistan, Heirullo Dudoboe from Tajikistan. The sound is extracted by blows 4 fingers of both hands (the thumbs are used for the tool support) and the palms of the membrane. Punch in the middle of the membrane gives a low and deaf sound, a blow near the shell is higher and ringing. The main sound is joined by ringing of metallic suspension. The difference in the color of the sound is achieved due to various techniques of the game: blows of fingers and palm of different strength, clicks of the maizins (Nowong), gliding the fingers on the membrane, shaking the tool, etc. Possible tremolo, formslags. The range of dynamic shades is from a gentle Piano to a powerful Forte. The technique of playing the Dair, developed by centuries, has reached high virtuosity. Dair play (lovers and professionals) solo, accompanying singing and dance, as well as in ensembles. The repertoire of the Doyra makes up a variety of rhythmic figures - Used. Dair is used in the performance of Macs, Mugam. In the modern time, Doyra is often part of the folk, and sometimes symphony orchestras.

Listen to Doyra

Havival Gaval.)

Gaval - Azerbaijani tambourine, closely associated with traditions, life and ceremonies. Currently, a number of musical genres, folk ideas and games are reproduced under the maintenance of Havala. Currently, the gallow is included in the ensembles, including folk instrumental and symphony orchestras.

As a rule, the diameter of the circular shell of the Havala is 340 - 400 mm, and the width is 40 - 60 mm. The wooden wrap of the haval is cut out of the trunks of solid varieties trees, outside it is smooth, and from the inside has a cone shape. The main material for the manufacture of a wooden hoop is grape, tute, walnut trees, red oak. Inlaid ornament from marble, bones of other materials are applied to the surface of the circular shell. From the inside of a wooden hoop into small holes with a bolav, from 60 to 70 bronze or copper rings are fixed And often four copper bubber. On the Bulava, visible on the outside of a wooden hoop, leather gently sticks. Recently, in Iran, the haval is made from a pistachio tree. This leads to difficulties for Khananda when performing on Haval.

Usually the membrane is made of a lamb skin, a goat, a jarana or a bull bubble. In fact, the membrane should be made of fish skin. Now in the period of development of equipment, artificial skin and plastic are also used. Skin leather is manufactured using a special tack. Professional performers can be said not to use the skin of other animals, because fish skin is transparent, thin and very sensitive to temperature changes. Or rather, the performer, touching the haval or pressing it to his chest, warms the instrument and as a result of this, the quality of the sound of the Hawlo is significantly improved. When shaking the metal and copper rings hanging from the inside of the tool, and during the work of the blows a double sound is formed. A hoarse sound emanating from the tool membrane and from rings inside acquires a unique sound.

The technique of playing in Gavale has broad opportunities. Speaker is made using the fingers of the right and left hand and shocks reproducible in the inside of the palms. Haval should be used very carefully, skillfully, with a creative campaign, observing certain precautions. The soloist in the performance of Havala should try not to tire the listener awkward and unpleasant sound. With the help of Havala, you can get the desired dynamic shades of sound.

Gavana is a mandatory tool for performers of traditional genres of Azerbaijani music, such as Tesnif and Mugam. Mugam in Azerbaijan is usually performed by the Sazandaryary Trio: Tarist, Komanchist and Golubist. The structure of the Mugamian Distgiana is such that there are several runghuses, Daramenov, Tasnifs, Drainings, Melodies, People's Songs in Mugamny Unstigue. Handeland himself (singer) is often both Gawalist. Currently, the master who owns the instrument fully is Mahmoud Salah.

Listen to the sound of Gavala

Nagar, Nears ( Nagarra.)

There is a wide variety of tools called Nagarra: they are common in Egypt, Azerbaijan, Turkey, Iran, Central Asia and India. In the translation of Nagara means "tapping", comes from the Arabic verb NAQR - hit, knock. A nagar with powerful sound dynamics makes it possible to extract various timbre shades from it, and it can also be played outdoors. On Nagarre play as a rule with chopsticks, but you can play with your fingers. Its housing makes from walnut, apricot and other types of trees, and the membrane is made of sheep skin. Heights 350-360 mm, diameter 300-310 mm. Depending on the size, they are called Kyos Nagara., Bala Nagara (or Chura N.) and Kichik Nagar, i.e. large, medium and small drum. Gosh-Nagara Reminds the structure of the two boiled drums bonded among themselves. Also in Azerbaijan there is a boot drum called "Tipplepito", which externally resembles two bonded small drums. Play on Gosha-Nagar with two wooden chopsticks that are made mainly from the Kizylovaya tree. The word Gosha-Nagar literally translated from Azerbaijani language means "pair of drums". The word "Gosha" means - a couple.

Initially, Gosha-Nagara corps was made from clay, then they began to make it from wood and metal. For the manufacture of the membrane, a calf, goat, rare camel skin. The membrane screws to the body using metal screws that simultaneously serve and to configure the tool. Playing Gosha-Nagar, putting it on the floor or on a special table, in some traditions there is a special profession: the holder of Nagarra, which is trusted by low boys. Gosha-Nagara is a mandatory attribute of all ensembles and orchestras of folk instruments, as well as weddings and celebrations.

The poet Nizami Ganjevi described "Nagaru":
"COşDU QURD GÖNÜNDEN OLAN NAğARA, DÜNYANıN BEYNINI GETIRDI ZARA" (which and the translation from Azerbaijani literally means - "Gripped on the wolf of the skin and the noise of all in the world faced"). Guide to Turkish Nagarm (PDF) In the Russian tradition, such drums were called covers. The chips were small and had a clay (ceramic) or copper housing of the boot-shaped form. On top of this body, with the help of strong ropes, the leather membrane was stretched, according to which there were punches with special, sweaty and thick, wooden chopsticks. The tool depth was slightly larger than its diameter. In former times, the chips, together with some other shock and wind instruments, were used, as a military musical instrument, leading the enemy to panic confusion and disorderly flight. The main function of military shock tools is the rhythmic support of the troops. The fastening of the tip was carried out by methods: throwing out through the saddle of the combat horse; fastening to the belt belt; Fastening to the back in front of a walking person. Sometimes, the chips were attached on Earth, which led to a gradual increase in the size and transformation into modern Litales. Later, the chips began to appear in medieval orchestras. The musician playing on medieval Neighborhoods is the so-called "court-eyed", existed in Russia in the XVIII century a new era.

Listen to Nagarra

(also shares) - Caucasian bilateral drum, distributed in Armenia, Georgia, Azerbaijan. One of the membranes thicker is different. The case is made of metal or wood. The sound is extracted by hand or two wooden sticks similar to Turkish Davul - thick and thin. Earlier was used in military campaigns, it is currently used in an ensemble with Zurenn, accompanies dances, processions.

Listen to dhola

Kayrok.)

. These are two pairs of flat grinded stones, a certain analog of kastannets. Inherent in most parts of Khorezm residents (Uzbekistan, Afghanistan). As a rule, he was accompanied kosik - made of wood pinwood, apricot or Archie tool, reminiscent of two pairs of spoons. Today, the Koshik was practically out of use and is used only at national celebrations more as a symbol. Literally Cairok is a grinding stone in Uzbek. This is a special, shale breed, black stone. High density. Find them on the banks of the rivers. Preferably elongated form. Next are waiting for someone from the neighbors playing that (wedding). This means that three days on the fire will slowly cook shuffle. The stone is carefully wash, wrapped in a snow-white gauze cloth, and actually in the shurpu, with the consent of Hoyazin, lowered. Three days later, the stone acquires the necessary properties. Stones in the families of the masters of knives are transmitted from generation to generation.

Listen to Kainka's sound performed by Aboss Casimov

Indian drums

The name of the Indian boraxes of the tab is very similar to the name of the Egyptian drum of the tabla, which in Arabic means "membrane". Although the name of the "tabla" is alien, but this does not apply to the tool: Indian ancient reliefs are known, depicting such pairs of drums, and even in the "Nathashastra" - the text of almost two thousand years ago, is mentioned about the river sand of a certain quality that is part of the paste For the coating of the membrane.

There is a legend that tells about the birth of the tabla. At the time of Akbar (1556-1605), two professional artist on Pakhawaja lived. They were irreconcilable rivals and constantly competed with each other. Once in the hot fighting of the drum contest, one of the rivals - Sukhhar Khan - suffered a defeat and, unable to bring him bitterness, threw his packhavage lasout. The drum crashed into two parts, which turned into a tabla and Dangga.

A large drum is called Bayan, small - Dane.

The membrane is not made from a solid piece of leather; It consists of a round piece, which is glued to the leather ring. Thus, the membrane table consists of two pieces of skin. The ring-shaped piece, in turn, is attached to the leather hoop around the membrane and the cord, and the belts that attach the membrane (Padi) to the body are used through this cord. A paste is superimposed on the inner membrane with a thin layer, made from a mixture of iron and manganese sawdust, rice or wheat flour and adhesive. This coating having a black color is called Syah.

All this technique attaching and stretching the skin does not only affect the quality of the sound, making it less "noise" and more musical, but also makes it possible to adjust the height of the sound. On the table, the sound of a certain height can be achieved either using vertical movements of small wooden cylinders with significant height changes, or tapping with special hammers on the leather hoop.

There are several Gharan (schools) of the board, the most famous six of them are: Adzhrara Gharana, Benarese Gharan, Delia Gharan, Farukhabad Gharana, Lucknow Gharana, Punjabskaya Gharana.

One of the most famous musicians who glorified this tool to the whole world is the legendary Indian musician Zakir Hussein.

Listen to the sound of the tab

mrDanga.)

, Mrdang, (Sanskr. - Meddang, Dravido-speaking forms - Mrdangam, Mridangam) - South Indian dual-grained drum in the form of a barrel. In accordance with the Indian classification of instruments relates to the group of avanadech Vadya (SanskR. "Tools with a coating"). Widespread in the practice of musitizing the carnage tradition. North Indian analogue of Mridang - Pakhavage.

The murdang housing is pulled out of the tree of valuable rocks (black, red), in shape resembles a barrel, the largest part of which, as a rule, is asymmetrically shifted towards a wider membrane. The length of the case varies in the range of 50-70 cm, the diameter of the membrane is 18-20 cm.

Membranes are broken (left more right) and are leather coatings that are not directly directly to the tool housing, but, like all Indian classical drums, through thick leather hoops using a belt system. Being outstretched through both hoops, these belts pass along the housing and connect both membranes.

Unlike such drums like Pakhavage and the table, there are no wooden bars missing through belts and employees to configure in the design of Mridang; Changing the tension in the belt fastening system occurs by bubbing the indoor hoop directly. During the game, the hull of the drum over the belts is often covered with an embroidered "sponge".

The membrane device is characteristic of the complexity characteristic of South Asian drums. They are composed of two circles superimposed on each other, sometimes abandoned with special string for creating special sound effects. The upper circle has a hole located in the center or several shifted lobby; At the right membrane, it is constantly covered with the coating of the Shed from the dark paste of a special composition, the recipe of which keeps the musicians in secret. On the left membrane, in front of each execution, a bright paste is applied, mixed on rice or wheat flour, which immediately after the game scraped.

The term muridang denotes not only this type of drum, it has a species character. They are covered by the entire group of barrel-shaped drums, common in practice both classical and traditional muscy in the region. Already in the Old Indian texts, such varieties of the drums of this group are mentioned as Java, Hopchchchchchka, Haritaka, etc.

Nowadays, the Mridang group, in addition to the drum with this title, is represented varied; This includes both the murdangi of different configuration and functional accessories and, for example, the drums of the dholak groups, implemented in traditional musical and musical and dance genres, and other drums of such a form.

Mridang himself, like his North Indian analogue of Pakhavage, occupies a central place among them, being associated with type of muscy, in which the essence of musical thinking of South Asia is reflected with the greatest brightness. A complex, technically perfect design of the m. In conjunction with the system that allows you to adjust its setting, creates special conditions for the exact regulation and nuanxation of its sound and timbre parameters.

Having a deep, timburo rich sound, muridang is also a tool with relatively controlled tone height. Membranes are configured in quarts (Quint), which generally significantly expands the tool range. The classic muridang is a drum, which has a wide range of expressive and technical capabilities that have developed over the centuries into a carefully designed and detailed theoretical system.

One of its features, characteristic of other drums of the region, has become the specific practice of Bol or Connoalk - verbalization ("pronalizing") of the metrohymmic formula-thala, which is a synthesis of verbal (comprising a large extent an element of sound impecution) and physiomotor began in their compound with expressive Tool qualities.

Muridang is not only the most ancient drum of the subcontinent; This is a tool in which the specific regional ideas about sound and sound are pronounced. It is the drums, among which the Mridang group is leading, remained up to our days the basic genetic codes of the culture of Industan.

Listen to the sound of Mridan

Kanjira ( canjira.)

Kanjira - Indian tambourine used in South Indian music. Kanger is an amazing tool with a very pleasant sound and a stunningly wide range of features. It has a strong bass and a long high sound. It is known not so long ago, in classical music used since the 1930s. On the kanjire usually play in the ensemble of folk instruments, with muridang.

The tool membrane is made of lizard skins, which is why the tool has amazing musical properties. It is stretched on one side on a wooden frame of jackfruit wood, 17-22 cm. In diameter and 5-10 cm deep. The other party remains open. On the frame there is one pair of metal plates. The art of the game can reach high levels, the developed technique of the right hand allows you to use the receptions of the game on other frame drums.

Listen to the sound of the kanjira

Gate and Maja ( ghatam)

Gatam. - The clay pot from South India is used in the music style "Carnac". Gates are one of the most ancient tools of South India. The name of this tool literally means "water jug". This is not by chance, since its form resembles a vessel for liquid.

According to the sound, Gates are similar to the African drum Udu, but the technique of playing it is much more complicated and exquisitive. The main difference of Gatam from Uduz is that at the stage of production in the mixture of clay, metal dust is added, which has a beneficial effect on the acoustic properties of the instrument.

Gates consist of three components. The lower part is called the bottom. This is an optional part of the tool, since some gates are missing. By the middle tool thickens. It is for this part of the tool to be hit to extract ringing sounds. The upper part is called a neck. Its dimensions can be different. The neck can be wide or narrow. This part also play an important role in the game. Cressing the neck to the body, the performer can also extract different sounds, changing the sound of Gatam. A musician hits his hands on her surface while holding it on his knee.

The uniqueness of Gatam is that it is completely self-sufficient. This means that it reproduces sounds with the same materials from which the case is made. Some tools require additional components to extract sounds. This may be, for example, strings or stretched animal leather. In the case of Gatam, everything is much easier. However, Gates may change. For example, you can pull the skin on top of the neck. The tool is used as a drum. In this case, it produces sounds due to the vibration of the stretched skin. The height of the sound in this case also changes. Gates produce inhomogeneous sounds. It depends on how, in what place and what you apply shock on it. You can hit with your fingers, rings on your fingers, nails, palms or wrist. Musicians playing in Gatam, can make their performance very spectacular. Some performers on Gatam at the end of the performance throws a tool into the air. It turns out that the gates are broken with the last sounds.

Also in India, there is a type of this drum called Maja (Madga) - it has a more round shape and a narrow neck rather than gate. A graphite powder is added to the Maji mixture in addition to metallic dust. In addition to individual acoustic properties, the tool is pleased with a pleasant dark color with a bluish tide.

Listen to Gatama

Tavil ( thavil.)

Tavil - Impact tool known in South India. Used in traditional ensembles together with the Corneal Brass Tool Tolera.

The body of the tool is made of jackfruit, leather membranes are stretched on both sides. The right side of the tool is greater than the left, and the right membrane is stretched very much, and the left is free. Setting up the tool is made using belts missing through two rims from the hemp fiber, in modern metal attachments.

On the drum play or sitting, or hang on the belt. Basically play palms, although sometimes special chopsticks are used or dressed on the rings.

Listen to Tavila

Pakhavaj ( Pakhavaj.)

Pakhavage (hindi,"One-piece, dense sound") - a two-grained drum in the form of a barrel, common in the practice of musitizing the tradition of Hindustani. In accordance with the Indian classification of tools, as well as all other drums, is included in the group of Avanadech Wadya ("coating tools").

It is typologically related to his South Indian analogue of Mridant. The package of Pakhavadzha hollow out from the block of the tree of valuable rocks (black, red, pink). Compared to the configuration of the Mridang case, the Pakhavadzha body has a shape, more comprehensive to cylindrical, with smaller consecursions in the center. Case length 60-75 cm, membrane diameter - approx. 30 cm, the right membrane is somewhat less than the left.

The membranes design is as well as the belt system of their compound, similar to Mridan, but in contrast to change the tension of the belts, and, consequently, the process of setting up the membrane, is carried out by bubbing round wooden bars laid between belts closer to the left membrane (like tabla). On the right membrane is glued and there is constantly pellet from dark paste (kili), it is superimposed on the left before the game, and immediately after it is removed from wheat or rice flour, mixed on the water.

As with other classical drums of the region, it contributes to the achievement of a deeper and differentiated timburovo and sound sounding P. In general, it is "solidity", "seriousness", grain depth and wealth. When playing Pakhavaj is located horizontally in front of the musician sitting on the floor.

It almost never sounds like a soling tool, which is mainly in the ensembles accompanying singing, dancing, the game of a musician instrumentalist or vocalist, where this tool is entrusted with the presentation of the Tala line. Especially firmly associated with the vocal tradition of Dhrupad, bloomed during the reign of Emperor Akbar (XVI century), but in our time it occupies a rather limited place in Hindustani's musical culture.

The quality of the sound of Pakhavadzha, the features of its technique are directly related to the aesthetic-emotional aspects of Dhrupada: slow, the rigor and the sequence of the deployment of sound tissue based on strictly regulated rules.

At the same time, Pakhavage has developed virtuoso-technical capabilities, which allows the musician to fill correlatable metrolamic clichés (Thec) with a dhocupad with a variety of rhythmic figures. Many technical techniques characteristic of PAKHAVADA became the basis of the Tabla technique, the drum, with the tradition of musitizing on which it is connected by the Uza of continuity.

Listen to Solo Pakhavadja

tumbnari, Tumbaknaer.)

(tumbaknari., tumbaknaer.) - The National Kashmir drum in the form of a cup used for solo, accompaniment of songs and at weddings in Kashmir. The form looks like the Afghan zirbakhali, but the body is larger, longer and the Hindus can play at the same time on two tumbacnari. The word Tumbnari consists of two parts: Tumbak and Nari, where Nari means a clay pot, since, unlike Iran's thin, the cabinet the tumbaknari is made of clay. On this drum play both men and women. Other cups in the form of the Cup used in India are gumat (ghumat) and Jamuku(jamuku.) (South India).

Listen to Solo Tumbaknari together with Gotam.

Damaru ( damaru.)

Damaru - Little double-grained drum in India and Tibet having an hourglass form. This drum is usually done from wood with leather membranes, but it can also be fully made of human skulls and snake skin membrane. The resonator is made of copper. The height of the dum is about 15 cm. Weight about 250-300 gr. Play on such a drum rotating it with one hand. The sound is mainly produced by balls that are attached to the string or leather cord, wrapped around the narrow part of the dum. When a man shakes a drum using wave-like wrist movements, the ball (or balls) is hit on both sides of Damar. This musical instrument is used by the wandering musicians of all kinds due to its small size. It is also used in the ritual practice of Tibetan Buddhism.

The dumra from the skulls is called "Thöpa" and is usually done from the coverage covers, neatly cut over the ear and the connected tops. Inside gold is written mantra. 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 location of the halves of the dumer is tied with a knitted cord, to which the handle is attached. To the same place is tied by a beater, whose knitted shell symbolizes eyeballs. Skulls are selected according to certain requirements for the former owners and methods of receipt. Now the production of Damru in Nepal and export to other countries is prohibited, because bones are mostly dishonest. The ritual of "heavenly funeral" is not so traditional as before. First, China considers it not entirely legal. Secondly, finding firewood or other materials to burn body has become easier and not expensive. Previously, only the rulers and priests of High San were honored for such an expensive procedure. Thirdly, now most Tibetans are dying in hospitals. Their bodies impregnated with medicines, birds do not want, which is needed before making the tool.

Damaru is generally known for the entire Indian subcontinent. Among the shivaitis, it is associated with the shape of Shiva called Nataraja, being a symbol of the latter. Quadruple Nataraja holds Damaru in the upper right hand when he makes his Space Dance Tandava. It is believed that Damaru is voiced by Prozvilov (NADA). There is a legend that all sounds of Sanskrit occurred from the sounds of the game Shiva on Damaru. The battle of this drum symbolizes the rhythm of the forces in the creation of the world, and both of its halves personify the male (lingams) and the female (Yoni) began. And the connection of these parts is the very place where life originates.

Listen to the sound of Damar in Buddhist ritual.

Japanese, Korean, Asian and Hawaiian drums

Taiko ( Taiko.)

Taiko - The family of the drums used in Japan. Verbatim taiko Translated as a large (pushed) drum.

Most likely, these drums were delivered from China or Korea between the III and IX centuries, and after the IX century they were made by local masters, which made a unique Japanese tool.

In ancient times in each village there was a signal drum. Signals about impending dangers or general works were transmitted to simple combinations of shocks. As a result, the area of \u200b\u200bthe village was determined by such a remoteness, which could reach his sound of the drum.

Imitating a drum against thunder, the peasants called rain into the arid seasons. Only the most respected and enlightened from the inhabitants could play at Taiko. With the strengthening of basic religious teachings, this function has moved to the ministers of Shito and Buddhism, and Tuko became temple instruments. As a result, playing secretly only in special cases and only drummers who received the blessing of priests on this.

Currently, the drummers secretly play songs only with the Master's permissive and teach all the compositions exclusively for rumors. Notice record is not conducted and, moreover, it is prohibited. Training takes place in special communities fenced off from the outside world, representing something among the army division and monastery. A non-good power is required for the game, so all drummers pass harsh physical training.

It is reliably known that one of the earliest appointments was Taiko was military. Thunder drums during attacks were used to intimidate the enemy and inspiring their troops on the battle. Later, to the fifteenth century, the drums became a tool for feeding signals and transmit messages during the battle.

In addition to military and territorial, Taiko has always been used in aesthetic purposes. Music in style gagaku (Gagaku) Appeared in Japan in the period of Nara (697 - 794) together with Buddhism and quickly intensified under the imperial yard as official. Single Taiko is part of a group of tools accompanying theaters But and Kabuki.

Japan's drums wear the common name Taiko, according to the design, they are divided into two large groups: Bë-DYAKO, from which the membrane is tightly fixed with nails without the ability to configure, and Shime Dikeko, which can be configured using cords or screws. The hull of the drum hollow out from a solid piece of solid wood. Taiko play with chopsticks called Bati.

In our studio there are analogues of Taiko, from the project "Big Drum" on which traditional Japanese music can be performed.

Listen to the sound of Japanese drums

uchiwa daiko.)

Japanese ritual tambourine, used in Buddhist ceremonies literally translates as a drum-fan. Despite the small size, it has an impressive sound. The form similar to Chukotka tambourine. Nowadays, drummers often set several dike-dyako on the stand, which makes it possible to perform more complex rhythmic compositions.

Listen to Seth from Lekhiva Dikeko

changu.).

Changu - This is the Korean drum that is most commonly used in traditional music. It consists of two parts that are usually made of wood, porcelain or metal, but it is believed that the best material is a Pavlonium or Adamovo tree, because it is lightweight and soft, which gives him a beautiful sound. These two parts are connected by the tube and on both sides are covered with skin (usually deer). In the ancient peasant rituals symbolized the element of the rain.

Used in the traditional self-level genre. The traditional drum music is based on the old traditions of the Korean peasant music performed during the village holidays, religious rituals and work in the field. Korean words "SA" and "MES" are translated as "4 tools", and "Nori" means the game and performance. Musical instruments in the orchestra performing self-religion called Changu, Bunch, Pingari and Chin (two drums and two gongs).

puk.).

Bunch - Traditional Korean drum, consisting of a wooden housing covered with two sides of the skin. Began to be used from 57 to AD. And usually for court Korean music. A bunch is usually installed on a wooden rack, but the musician can keep it on the hip. For impact it is used by a heavy wood stick. Symbolizes the element of thunder.

Listen to Korean drums

There are two types of NGA drums. First, Ra Dang or Dang Chen (manual drum), it is used during ritual processions. The drum is a long, decorated with one carving wooden handle, at the end of which vajer is depicted. Sometimes a silk scarf is tied on the handle as a symbol of honoring the divine musical instrument.

Nga Cheng - Large double-sided drum hanging inside a wooden frame. Its diameter is more than 90 cm. As decoration, the lotus image also use. The bars for the drum has a curved shape, on the end it is covered with a cloth for greater softness when hitting. The execution on this tool is characterized by large virtuosity; There are up to 300 ways to play NGA Chene (on the membrane - drawings and magic. Symbols located according to Cosmich. zones). This drum also resembles Chinese imperial drums.

NGA-BOM. - a large bilateral drum, planted on the handle, on which bent a bent stick (one or two); Nga-Shung (NGA Shunka) - a small bilateral drum used mainly during dances; Rolle - plates with a large convexity in the center (they are kept horizontally); Sil-Nuren - plates with a small convexity in the center (and sometimes without it); "Or to Nikolay Lgovsky.

As for the tribe of the Tumba-Yumba, it happened from the French Mumbo-Yumbo, ascending to the English Mumbo Jumbo ("Mambo-Jumbo"). This word appeared in the books of European travelers in Africa; It meant an idol (spirit), which men scared women. The word "Mumbo-Yumbo" as the name of the African tribe is found in the book I. Ilf and E. Petrov "twelve chairs".

The sound of the drums there is there

bajiaogu., bafangu.).

Bagjiogu - Chinese octogonal drum, similar to Arabic Rick. For the membrane, the skin of python is used. There are seven holes for metal tsymbal in the case. This drum was brought to China Mongols, which was painted with them even before our era. Otogonal tambourine was also the national instruments of manzhzhov. Apparently, in antiquity, this drum was used for ritual dances. During the time of the dynasty, a similar drum was depicted on the flag. Currently, tambourine is used mainly to accompany traditional vocals or dances.

Sound of the Soundogonal Chinese Bubne in the Vocal Party

Vietnamese bronze drum frog-drama ( frogdrum).

Frog Dram is one of the oldest drums, the progenitor of Metallofones of Southeast Asia. Its bronze culture is the subject of special pride of Vietnamese. In the epoch of the so-called Dongshonian civilization, nationwide in 2879 BC A semi-minor kingdom of Vanlang was created. The symbol of the Dongshon culture has become bronze drums with a characteristic geometric pattern, scenes of folk life and images of totem animals. The drums performed not only musical, but also ritual functions.

Characteristics of the Dongshon Bronze Drum:

• In the center of the drum is a star consisting of 12 rays. These rays alternate patterns having a triangle shape or peacock feather. According to the ideas of ancient, the star in the center of the drum is a symbol of faith in the sunny God. Feathers on the drums show that the totters of the inhabitants of that time were birds.
• Around the stakes are plants, animals and geometric patterns. Many researchers interpret the household scenes shown on the drums as a "funeral" or "Holiday of rain causing".
• On the body of the drum, boats, warriors, birds, animals or geometrics in Zora are usually drawn.
• The drum has 4 arms.

Such drums are now used in Thailand and Laos. The legends of the people of Ho - Mong say that the drum saved the life of their ancestors during large floods. The drum was one of the items that put with the dead in the tomb (the terrain of Dong Sean, the province of Than Hoa, Vietnam).

Listen to the sound of Orcecstra Frog dram

gedombak).

G.etombek - This is a drum in the form of a cup used in Malay Folklore Music. The body of the drum is made of solid wood, mainly from the Jackfruit (Eastern Indian Bread Tree) or Angsana. The membrane is made of goat skin. We are usually two people with two instruments, one of which is called Gendang IBU (mother), - having a lower sound, and the other - Gendang Anak (child), having the same size, but at the same time a higher sound. When execution, the drum lies in a horizontal position, the left hand hit the membrane while the right closes and opens the hole. As a rule, Gendonbak is used in a pair with a bilateral drum, Gendang IBU (GENDANG IBU).

Listen to the sound of Gedonbek

Thai drum tone ( thon, Thab, Tap).

In Thailand and Cambodia, drum, very similar to hedonback and on a huge Darbuk is called Tone. It is often used in conjunction with the frame drum called ramana (ramana.). These two tools are often called in one word thon-Ramana.. The tone is put on his knees, and they beat right hand, while Ramana is held in his left hand. Unlike Gedonbak, the tone is much larger - its body reaches a meter long or more. The housing is made of wood or from the faience. Palace tones are very beautiful, with pearl trim. With such drums, as a rule, a dance procession is arranged and a polyrhythmium is played with metallophones.

Listen to the sound of tone in dance procession

GENDANG.).

G.endang (Kendang, Kendhang, Gendang, Gandang, Gandangan) - Drum traditional Indonesian Orchestra Gamelan. The peoples of Java, Sudan and Malaysev, one side of the drum is more different and gives a lower sound. Bali and Marana Balubanov both sides are the same. The performer, as a rule, sits on the floor and plays hands or special sticks. In Malaysia, Gendang is used together with the drum of Got Design.

Drums differ in size:

• Kendhang Ageng, Kendhang Gede or Kendhang Gendhing - the largest drum with a low tone.
• Kendhang Ciblon Medium Drum.
• Kendhang Batangan, Kendhang Wayang medium size, is used for accompaniment.
• Kendhang Ketipung The smallest drum.

Sometimes drum sets and one performer can simultaneously play on different drums from the drums of different sizes.

Listen to the sound of the set from Indonesian Gantinge

Hawaiian drum IPU (IPU.)

IPU - Hawaiian percussion musical instrument, often used to create accompanying music while the dance of Hula dance. IPU is traditionally made of two pumpkin fruits.

Two types of IPU are distinguished:

• ipu-Heck (IPU HEKE). Made from two pumpkin fruits connected to each other. Pumpkins are specially grown to obtain the desired form. When they reached the appropriate size, the pumpkins are assembled, the tops and the pulp are removed, leaving hard empty shells.The biggest fruit is placed in the lower part. In the small fruit, the hole is cut. Pumpkin glue with the cereal juice.
• ipu-Heme-Ole (IPU Heke'ole). Made from one pumpkin fetus, which is cut off the top. With such instruments, the girls can dance, while picking up rhythm.

Hawaiians, as a rule, play it while sitting, hitting your fingers or palms along the top of the IPU. To highlight the first share of each clock, the player hits the soft tissue of the kap, which lies in front of the artist on the ground, producing a deep resonant sound. Subsequent strikes are made above the ground at the bottom of the tool in three or four fingers, creating a high sound.

Listen to accompaniment IPU for Hawaiian songs

Hawaiian drum gagha (Pahu.)

Paho - Traditional Polynesian drum (Hawaii, Tahiti, Cook Islands, Samoa, Tokelau). Cut from a solid barrel and covered with sharks of the skin or skin of the skate. Play it with palms or fingers. PAho is considered a sacred drum and is usually located in the temple (Heiau). It serves for accompaniment to traditional songs and dances of Hula.

Drums having religious importance are called Heiau Pahu. (Prayer drum). For prayer drums, the skin of the skate is used as a rule, while the skin of the shark is used for the musical drum. The drum for musical accompaniment is called Hula Pahu.. Both drums have an ancient history and are similar in shape.

Small drums are usually cut from the coconut tree trunk. There are also the drums of groin resembling a huge table, followed by a musician standing.

Listen to the Accompanitor Drum Puhu for Hawaiian Dance Dances

African drums

Jambe (Djembe.)

Jambe - Western African Cup-shaped drum (approximately 60 cm height and diameter of the membrane of about 30 cm), retired from a solid piece of wood with stretched skin of antelope or goat, often with metal plates " kesingkesing."Used to enhance sound. Appeared in the Malian Empire in the XII century and figuratively called Healing Drum (healing drum). It is believed that the open form of the hull comes from the usual grain crusher. Depending on the impact, DJEMBE produces three main sounds: bass, tonal and sharp slap - Sleep. For African rhythms, polyritmia is characterized when several drum parties create a common rhythm.

Play on djembe palms. The main blows: bass (in the center of the membrane), tone (main blow to the edge of the membrane), SLEP (slaps along the edge of the membrane).

Wide popularity acquired in the 20th century due to the Le Ballet Africains group, the National Ensemble of Guinea. Popularity Djembe also contributed that it is relatively simple for manual socks, has a rather strong bass, and the sound survey is available for beginners. In Africa, the Master of Games on Djembe is called Djembefola. Gembefol should know all the parties performed in the village of Rhythms. Each rhythm corresponds to a specific event. Djembe - both accompanying and soling tool, allowing a lot to tell listeners and literally make people move!

Listen to Solo Jambie with Dundunny and Shaker

Donduna

Donduna - Three bass drums of West Africa (from smaller to more: Kenkeni, Sangban, Dudunba). Dunumba is a big drum. Sangban - medium drum. Kenkenya is a small drum.

Skin of bull stretched on these drums. The skin is stretched with special metal rings and ropes. These drums are configured in terms of tone level, respectively. The sound is extracted with a stick.

Dundones are the basis of a traditional ensemble (Ballet) in West Africa. Dundones form an interesting melody and other tools sound over, including Djembe. Initially, one person played on each bass drum, one person hitting the membrane, the second - on the call of the bell (Kenken). In a more modern version, one person plays simultaneously on three drums installed vertically.

During the game in the ensemble - bass drums form the base polyrhythm.

Listen to African Dunduns

Clevel ( kpanlogo.)

Clevel - traditional peasants drum in the western region of Ghana. The hull of the drum is made of solid wood, membrane leather antelope. The skin is attached and adjusted with special pegs inserted into the hole in the case. The form and sound is very close to the Kong, but less than the size.

The performer on the clevel must be inventive, keep a music dialogue (question-answer) with other tools. The punched party includes elements of improvisation, constant shift of the drawing, respectively, the dancer movements. They play a palm on the clevel, the techniques are similar to the convent or djembe. When playing, the drum clamp the legs and slightly tilted from ourselves. This is a very interesting and melodious tool, which is beautifully sounding both in the group rhythm - and in solo. Often use seats from different patches of dumping, which is very similar to the seats of Cuban Cings, which, in all likelihood, occurred from the clevel.

Listen to Skat Ska

Ashanti drums ( Ashante.)

Drums Ashanti - traditional drum set of peasants in Ghana. The set is called by the very large drum by the phontophric ( Fontomfrom.). Often, a large drum can be above a person and it is necessary to climb the stairs attached to the drum. The drums are smaller called Atumpane ( Atumn), Athenatea ( Aptema.), Appetia ( APETIA) .

Ashenti's drummers are called heavenly drummers. Drummers occupy a high position at the court of the leader of Ashanti, they are obliged to ensure that the wives of the leader's wives are in perfect order. On the lands of Ashanti, women do not have the right to touch the drum, and the drummer does not dare to transfer its drum from place to place. It is believed that at the same time he can go crazy. Some words can not tapping on the drum, they are taboo. It is impossible, for example, to mention the words "blood" and "skull". In ancient times, the drummer, if he allowed a serious mistake, transmitting the sentiment of the leader, could cut off his hands. Now there is no such custom, and only in the most remote corners drummer and still can lose their ear for negligence.

With the help of drums, Ashanti can spend the entire history of their tribe on the drum. This is done during some festivities when drummers list the names of the leaders who have revealed leaders and describe significant events from the life of the tribe.

Listen to the sound of the drums of Ashanti

Talking drum ( Talking Drums.)

Talking drum - A special type of African drums originally intended to maintain communication between the villages. The sound of the drum could imitate human speech, a complex system of rhythmic phrases was used. As a rule, Talking Drum is a two-headed, in the shape of an hourglass, the skin on both sides is pulled by a worm around the body with a leather belt or an animal gut. When playing, the speaking drum is kept, cling under the left hand and hitting it with a curved stick. Squeezing the drum (meaning the rope of the drum), which plays changes the height of its sound, and various notes are highlighted in its sound. The stronger to squeeze the drum, the higher its sound is obtained. All this gives various variants of the "drum language", thanks to which you can transmit various messages and signs to other, neighboring villages. Some examples of drum rhythms are associated with spiritual creatures in each tribe. Sounds of prayers and blessings of speaking drums begin a new day in countless villages throughout West Africa.

The speaking drum is one of the oldest tools used by West African Grirts (in West Africa, a member of the caste, which is responsible for the preservation of tribal stories in the form of music, poetry, stories), and their origin can be traced before the empire of the ancient Ghana. These drums spread to Central and South America through the Caribbean Sea during the workmanship. Subsequently, speaking drums were banned for African Americans, since slaves used them to communicate with each other.

The tool is different in its own way. Externally, it may seem unpretentious, but this impression is deceptive. A speaking drum accompanies man and in work, and in vacation. There is little tools capable of "keeping up" with a person. That is why he rightfully occupies a special place in the culture of Africa and is part of the global cultural heritage.

In Congo and Angola, such drums are called Lockol, in Ghana - Dondon, in Nigeria - Gangan, in Togo - Lebleu.

Listen to the fight of the speaker drum

Ashiko. (ashiko.)

Ashiko.(Ashiko) - west African drum in the form of a truncated cone. West Africa, presumably Nigeria, the people of Yoruba are considered to be Motherland. The name is most often translated as "freedom". Ashiko was used to cure, when conducting rituals of initiation, military rituals, communication with ancestors, to transmit signals at distances, etc.

Ashiko is traditionally made from a solid piece of solid wood, and modern tools are made of bonded strips. The membrane is made of antelope or goat skins, sometimes of the skin of the cow. The rope and rings system controls the degree of tension of the membrane. Modern types of Ashiko can have plastic membranes. Ashiko has a height of about half a meter, sometimes a little higher.

Unlike Jambé, where only two tones can be reproduced due to its form, the sound of Ashiko depends on the proximity of the impact to the center of the membrane. In the musical tradition of the people of Joruba, Ashiko almost never accompanies Jambé, because it is completely different drums. There is an opinion that Ashiko - "Male", and Jambé - "female" drum.

The drums in the form of Ashiko on Cuba are called side and are used during carnivals and street parades called a compass.

Listen to African Drum Ashiko

Bata. (Bata.)

Batá. - These are three membranfones with a wooden housing in the shape of an hourglass, having two membranes of different diameters at the ends, the game on which is carried out by hand.

Manufactured bata. Or a traditional African way to hollow out from a whole tree trunk, or modern - gluing from individual planks. From two sides bata. Membranes from thin skin are stretched (for example, goat skins). In traditional bata. They are attached and tensioned with skin strips, in the industrial version of the Bata uses an iron fastening system designed for bongov and cong. Enu, "mouth") - a larger membrane, having, respectively, a lower sound. It is played open on it (Open), muted (mutted) strikes, and touch (TOUCH). Chacha (Chachá) - Meniating membrane. It is played by slap (SLAP) and touch. Play on bata.sitting, putting it on his knees in front of him. For the larger membrane, they usually play with their right hand, at least - left.

In Cuba, the ensemble uses 3 bata.: Okolo (Okónkolo) - A small drum that performs, as a rule, is a strictly fixed pattern that performs the function of rhythmic support. In fact, it is a metronome in the ensemble. At this drum usually plays the least experienced drummer. ITOTELE) - Middle drum, its function - "respond" to a large drum Iya. Iya (IYÁ) - Big and, therefore, the lowest, "maternal drum". It plays on it olubata - Presenter, most experienced drummer. Iyait is a soloist of the ensemble. There are many options for settings. bata; aboutdenial rule - tone chacha Each of the larger drum coincides with en. next men. Often, little bells are hanging on the bat.

Bata. were brought to Cuba from Nigeria together with the African slaves of the nation of Yoruba, one of whose worship objects was Cango (Shango, Changa, Jakuta, Obakoso), Lord of drums. In Cuba bata. They began to use widely in ritual music, where the number of drums in the ensemble decreased to three (in Nigeria they are usually 4-5).

Bata. Play a significant role in religious ceremonies saderia.In which the drum battle is the language of communication with the gods, and the feeling of rhythm is associated with the ability of a person to "go through life" correctly, that is, to make the necessary actions at the right moment. The drums in Sunteria are perceived as a family where everyone has its own voice and their own duties assigned to them, with the patron saint of each of the species bata. is a separate Saderian "God" Orisha - a patron of koncolo is Cango, iTOTEL - Avdun, and Iya - Ieayia . In addition, it is believed that each drum has its own "soul" anna (Añá)which is "invested" in a newly prepared Bat during a special ritual, "born" from the "souls" of other baht, which has already been initiated. There are cases when Nigeria has specially transported specially añá.At the same time, manufacturing a new "body" of a drum in Cuba.

Until the Socialist Revolution of 1959, the Bat's Bahabakhs game occurred in closed rituals, which were invited or dedicated to (initiated) or dedicated. However, after the revolution, Cuban music was declared the national treasure to Cuba and teams were created (for example, Conjunto Folclorico Nacional De Cuba), who studied the traditional (mainly religious) music. This certainly met the discontent "dedicated" drummers. Despite the fact that over time, the Music of Bata has become a public domain, it is still accepted to divide the drums used for religious ceremonies ( foundamento (Fundamento)) and "worldly" ( aBERIKULA (Aberíkula)).

Listen to the drums of Bata.

Bugarabua ( bougarabou.)

Bugarabu(Emphasis on y) - The traditional tool of Senegal and Gambia, in other African countries he is not found. As a rule, the musician simultaneously plays on three or four drums. The housing is the form of a cup or something like an outbound cone. Sometimes the housing is made of clay.

A few decades earlier, the bowguare was a solo tool. They played on it with one hand and stick. However, the last generations began to collect tools in the installation. Perhaps the influence of the Kong tool on them was affected: which, as is known, several are always used when playing. For better sound, the drummer puts on a special metal bracelet, which gives the sound of the flavor.

Bugarabow looks like a jambé, but the leg is shorter or there is no one at all, the tree of another breed and slightly thinner, due to this sound is obtained more melodic. When playing, the drummer stands on the legs and physically hits the membrane. The sound from the tool is obtained beautiful on the one hand: bright and deep, and on the other hand practical: it is heard for many miles. Bugarabow has a characteristic deep rolled sound, thanks to which the drum and got its name. Calling Slemp and a long deep deep bass - a distinctive feature of this drum, combining a large playing area and a bulk resonant body. Often used as a background bass drum for a joint game with a jambier and other drums. However, it is great for a solo game.

Sound of the African Drum Bugarab

Sabar ( sabar)

Sabar - Traditional tool Senegal and Gambia. Traditionally, it is played with one hand and a wand. The wand holds in the left hand. As well as the dumplings, the sabara membrane is attached with the help of pegs.

Sabar is used to communicate between the villages, up to 15 km away. Various rhythms and phrases help pass messages. There are several different sizes of this drum. Sabar is also called a musical style of the game on Sabar.

Listen to African Drum Sabar

Kebero ( kebero.)

Kebero - A bilateral conical drum used in traditional music of Ethiopia, Sudan and Eritrea. Kebero is the only drum that is used during the service in the Christian Church in Ethiopia. The small version of Kebero is used during civil holidays. The hull is made of metal, both sides are closed with a leather membrane.

The keg-shaped drum of the Kebero type is mentioned in the text of the song "Seven Hathor", which was performed with instrumental support and dancing. The entry of the text has been preserved in the temple of the goddess Hathor in Dender (standing between 30 G. BC and 14. AD). Subsequently, the keg-shaped drum switched to the tradition of subsequent era. Similar cone-shaped drum - cebero It was used for worship in the Coptic Church, now remains in the rituals of the Ethiopian Church.

Listen to Ethiopian service with Kebero

Uduge ( UDU)

Udury - African clay drum-pot, originating from Nigeria (UDU - at the same time "vessel" and "world" in the language of igga). Deep, overtaking sounds, which made Uduet, seemed to many "voices of ancestors" and initially used it in religious and cultural ceremonies. When you hit the hole, a deep low sound is published, on the surface of the ringing ceramic sound. May have a membrane on the surface.

It is worth noting that any traditional school of the game in Udule simply does not exist, as there is no generally accepted name of this tool. Actually, it is not surprising at all, given that most of its history, for lived by the broken groups. The only common for all Nigerian musicians the basis of the technicians are blows over the side opening with opening and closing the other hand of the throat of the drum. At the same time, the hypnotic bass is obtained, for which many people love so much. The same situation and with the title of the instrument: it changes not only from the region to the region, but also from what ceremonies are used drum. Most often, he is attributed to the name "ABANG MBRE", which means simply the "pot for the game". Also a curious detail is that only women were playing in Udua.

Despite the appearance of uduge from fiberglass and wood, clay remains the most popular material for the manufacture of this tool. Now most masters make drums on a pottery circle, but in Nigeria, the traditional way of manufacture without using machine tools and complex tools is still widespread. There is an interesting technique for a fiberglass uduge, when the properties of the resonator are changed using a pilt in the pot. With water, the drum acquires truly mystical sound.

Uduge tools combine the unique "aqua-resonant" sound and warm "earthy" vibration, creating a solid alloy of deep and high enveloping tones. Pleasant and to the touch, soothing and pacifying for rumor, Ududen is able to lead you into deep meditation, to give a feeling of comfort and tranquility.

Listen to the sound of uduge

Kalabash ( calabash, Calebasse)

Kalabash - Large bass drum made of pumpkin. In Mali, he was originally used for cooking. Play on it with hands, fists or chopsticks. The diameter of the tool is about 40 cm. Sometimes Kalabash is immersed in a pelvis with water and hit it with a fist, in this case it turns out a very powerful and swing bass.

Listen to Kalabash

Gom dram ( gome Drum.)

Rom Drum - Bass drum from Ghana. Made of wooden box (45x38 cm.) And skin antelope. Play on it sitting on the ground, helping with the heels to change the tone. Music style is close to Afro-Cuban. The drum was brought to Ghana in the 18th century by Congolese fishermen. It looks like)

The king of the tribe or predictor uses this drum on the ceremonies. Yoruba richly decorates his drums with different figures.

Chokwe, Angola.
CHOKWE)

Chokwe is a double-sided drum, used to communicate at a distance and ritual stories.

Saintfo, Côte d'Ivoire
(Senufo.)

Saintfo - double-sided drum, is used to communicate at a distance and escort epic.

Listen to African Rhythms Yoruba

Listen to African Rhythms Chokwe

Listen to African Rhythms Saintfo

Drum Cuba,
Nigeria (Kuba)

Royal drum richly inlaid seashells

Bamilek, Cameroon
(Bamileke.)

Belongs to the people of the same name in Cameroon.

Yaka, Cameroon
(Yaka. )

Rustic drum with a slot. This drum is used for accompaniment and play it with two sticks.

Latin American drums

Cachon ( CajoN. )

Kachon. Appeared in Peru at the beginning of the XIX century. According to one of the versions, the slaves used drawers from fruit for muscy, as the African drums were banned by Spanish colonial authorities. The peak of his popularity fell on the middle of the century, until the end of the XIX century, the musicians continued to experiment with materials and a cake device to achieve a better sound. From this time, he began to spread throughout Latin America and to the twentieth century became an integral part of the Peruvian and Cuban musical culture.

In the seventies of the twentieth century, the Peruvian composer and the Master of Cachona Cachona Caitro Soto (Caitro Soto) was presented as a gift to the Spanish guitarist Paco de Lucia, who visited Peru. Cachon's sound liked Paco, that a famous guitarist acquired another tool before departure from the country. A little later, Paco de Lucia presented Cachon in Flamenko's music, and his sound became firmly associated with this musical direction.

On our site you can find Stewe about Rhythmka Flamenco for Darbuka.

Listen to Cachona

Conga ( Conga. )

Kong - This is a narrow high Cuban drum with African roots, possibly derived from Makuta Makuta Drums or Sikulu Sikulu Barabans, common in Manza Ngungu, Congo (MBANZA NGUNGU, CONGO). A man playing on the kongs is called "Conguero" ("Conguero"). In Africa, conga was made from hollow logs, in Cuba, the process of game music reminds the manufacture of barrels. Actually, the initially Cuban conagi was made just from the barrels. These tools were common to Afro-Caribbean Religious Music and Rumba. Now Coney are very popular in Latin music, especially in such styles like Salsa (Salsa), Meringa (Merengue), Regaeton and many others.

Most modern congries have a staved wooden or fiberglass housing and a membrane of leather (plastic). When playing, the standings are usually located approximately 75 cm from the edge of the case to the head of the executing. Also at the conga you can play in the sitting position.

Although they arose in Cuba, their inclusion in popular and popular music in other countries, led to diversification of terminology for documentation and performers. Ben Jacobi in his work "Introduction to the Conga Drum" believes that the drums are called Congas in English, but Tumbadoras in Spanish. The name of individual drums, from a large to small, as they are called in Cuba:

• SuperTumba (Supertumba) It can achieve the size in diameter of about 14 inches (35.5 cm).
• Tumba (Tumba)it usually has a diameter from 12 to 12.5 inches (30.5 - 31.8 cm).
• Kong (Conga)usually in diameter from 11.5 to 12 inches (29.2 - 30.5 cm).
• Quinto (Quinto) About 11 inches in diameter (about 28 cm).
• Requinto) There may be less than 10 inches in diameter (24.8 cm).
• Ricardo (Ricardo.) Approximately 9 inches (22.9 cm). Since this drum is often fixed on the shoulder belt, then it is usually already the shorter of the traditional kong.

The term "Kong" was popular in the 1950s, when Latin music overwhelmed the United States. Cuban dream (SON) and New York jazz mixed up and gave a new style, called after 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 "Kong" happened from the rhythm la Conga.often played in Cuban carnavals. Drums on which the rhythm was performed la Conga. Featured tamboores de Conga.that translated into English as conga Drums..

Listen to Solo Congues

Bongi.

Bongo Or Bongi - tool of Cuban origin, consisting of a pair of single-headed, open drums attached to each other. The drum of a larger diameter is called "Embra" (Hembra - Isp. Woman, female), and the smaller - "Macho" (Macho - in Spanish "Male"). Little Bong sounds approximately on the policy higher than the wider.

Apparently, Bongi got into Latin America with slaves from Africa. Historically, Bongs are associated with such styles of Cuban music, like Salsa, Changui and Son, which appeared on Eastern Cuba in the second half of the 19th century. However, it should be noted that such a Bongu pairs of drums with ceramic bodies and goat skins were found in Morocco, as well as in Egypt and other Middle Eastern countries.

Listen to Solo Bongov

(Pandeiro.)

- South American tambourine used in Portugal and other countries.

In Brazil, Pantheir is considered a popular musical instrument, soul soul. Rhythm Knetera complements the sound of attack when used in the musical accompaniment of Brazilian capoeira.

Traditionally, the Panderier is a wooden rim, which is stretched by the skin membrane. On the sides of the rim, the cup-shaped metal buboins are built in (along the port. Platinelas). Now often the membrane of the boarder or the entire pander is made of plastic. The sound of the boarder can be modulated by pulling and loosening the membrane.

Play on the board as follows: the executing holds the board himself in one hand (often in the rim of the boarding on one of the gaps between the planets-platintels, the hole is made for the index finger, so that it is more convenient to keep the tool), and the other hand has a membrane that, in fact, And produces sound.

The creation of various rhythms on the boarder depends on the impact force on the membrane, from where the blow and from the one part of the palm is a big finger, the tips of the fingers, an open palm, a palm "boat", the edge of the palm or the bottom of the palm. Kneneer can also be shaken or finger on the rod of the board, producing a slightly creaky sound.

Alternating various blows on the boarding and, thereby removing various sounds, there are ringlets, clear, as if even a little transparent rhythms of the boarder. The boarder is generally different in that it can create a ringing and expressed tone. It gives purity of the sound, the emphasis is well exposed when performing fast and complex rhythms.

"Tu-Tu-Pasy" is one of the simplest rhythms performed on the boarding school. Two impacts with a thumb on the edge of Kneneer ("Tu-TU"), a blow to the whole palm in the center of Kneneer (PA) and again hit with a thumb on the edge of the Pander ("Tum"). With the last strike, the boardera shake a little, making the tool at the bottom up, as if to "meet the palm", which strikes.

The relative ease of this tool, on which, at first glance, is not so difficult (especially in comparison with Berimbau) to learn how to play, deceptive. The technique of playing the board is quite difficult. To become a real Master of Games on the boarding, you need to train a lot, as, in principle, in any case, in which you want to become a professional.

Listen to Solo Pantheir

- Very deep, loud Brazilian bass two-headed drum. Made from metal or thin wood, heads covered with goat skin (in our days - often plastic). Surdo is actively used in Brazilian carnival music. Surdua play a stick with a soft tip in his right hand, and the left hand, without a stick, jammed the membrane in the intervals. Sometimes the sound is removed by two beasts. There are three Surdo sizes:

1. Surdu "(Ji) Primair" ("DE PRIMEIRA") or "Ji Marcasáо" ("De Marcação") is the most bass drum with a diameter of 24 inches. Plays in the second and fourth tact account - accent stakes in the samba. This is the basis of battery formation.

2. Surdu "(Ji) Segunda" ("DEGUNDA") or "Ji Sovposhat" ("De Resposta") with a diameter of 22 inches. Plays the first and third account of the tact. As his name suggests, "Resposta", "Answer," - Surdu Segunda responds to Surda Primaire.

3. Surdu "(Ji) TERSEYR" ("De Terceira") or "Ji Kortchi" ("De Corte"), "Centrador" ("Centrador") have a diameter of about 20 inches. He plays the same fraction as Surda Primaire, with the addition of various variations. On the sound of this drum, the rhythm of the entire batteries is based.

Listen to Solo Surdo

Quica (Cuica)

Quica - Brazilian shock musical instrument from the group of friction drums, most frequently used in the samba. It has a creak, sharp timbre of a high register.

It is a cylindrical metallic (originally wooden) housing, a diameter of 6-10 inches. The skin stretches on one side of the body, the other side remains open. On the inside, to the center and perpendicular leather membrane, a bamboo stick is mounted. The tool is hanging on the side of the chest using the belt. Playing on a quiz, a musician rubbed a wand up and down, with a wet matter, clamped in one hand, putting a thumb of another hand on a leather membrane from the outside, in the rod fastening area. Driving movements generate sound, the tone varies depending on the degree of pressure on the membrane.

Quica plays an important rhythmic role in Samba's music of all directions. It is noteworthy to use the tool by groups of speakers on the carnival in Rio de Janeiro, in the rhythm sections of performers on the quica. In the absence of such musicians, Brazilian singers can imitate the sound of the quicts.

Listen to the sound of Kiuki

Drum Pau-Wow ( Pow Wow Drum)

Baraban Pau-Wow - Traditional American Indian drum made in the style of Sioux Drums. The drum is collected with a large thorough of 12 sections of the main Wood breeds of New Mexico, one for each month of the year; Parts are polished, then covered with unseasonable skin and swell. The tool was used in the rituals of healing, communicating with spirits and as accompanying dance. The size of the drums varies greatly; Several performers play on large drums.

Listen to American Indians singing under the Pau-Wow drum

Styldram ( Steel Drum, Pan, Kettle Drum)

Stildram or steel drum - Invented in the 1930s. After adoption in Trinidad and Tobago law prohibiting membrane drums and bamboo sticks for music. The drum began to block from steel barrels (in a large number of remaining on the beaches after the end of World War II), from the sheets of 0.8 - 1.5 mm thick. The tool setting is to form in this steel sheet of regions, on the form of resembling petals, and give them the necessary sound with the help of hammer. The tool reconfiguration may be required once twice a year.

Used in the Africarbian music of such directions as Calypso and Juice. The tool is also represented in the Armed Forces of the Republic of Trinidad and Tobago - since 1995 there is a "steel orchestra" in defensive troops, which is the only military orchestra in the world using a steel drum. Usually there are several types of tools in the ensemble: ping-pong is leading, the harmonic base forms a Tune Boom, and Bass Boom holds rhythm.

It is the predecessor of such tools such as Hang drama and glucophone.

Listen to the melody of styl-drama along with Cachon and Ukulele

European drums

Tamorra ( Tamorra.)

TamorraThe tambora is also called (etymologically connected with the word Tamburo or the Italian drum), this is a frame drum with light jingles, typical of the people's musical tradition of the Italian campaign province, but is also distributed in Sicily. It resembles a Basque tambourine, but much more severe and much larger sizes. The technique of the game uses alternating blows of large and all other fingers. A unique brush rotation technique is also used. For the first time, the image of the tambourines, similar to Tamorru, appear on the ancient Roman frescoes, and the position of the hand of the musician very much resembles modern traditional technique.

Apparently, these drums are closely connected with ancient mysteries. The remnants of these Dionysian mysteries reached almost 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 an ancient faith in the mythical being, the so-called tarantite, which is sometimes identified with a spider Tarantul, although this is not entirely correct. Taranta is rather evil spirit, a demon who putting in victims, usually young women, caused convulsions, clouding consciousness, up to hysterical seizures. Taranthism epidemics covered entire areas. This phenomenon is described in the chronicles, starting from the early Middle Ages.

To cure from this ailment, an artist was invited to Tamorra, who for a long time performed a rapid rhythm (usually on 6/8), accompanied by singing or melodic tool. The patient, over which this rite was produced, was to rhythmically and move quickly for many hours. The rite could last to day or more, causing complete exhaustion. For complete healing, the procedure was carried out several times a year. The last cases of tarantism were described in the 70s of the last century. Folk dances Tarantella and her more ancient shape of Pizzikarellla occur just from this rite. The convulsive movements of the victim from which the evil spirit left, with time ritualized and transformed into a variety of dance movements of these incendiary dances.

In our studio you can hear how Tororra sounds performed by Antonio Gramshi.

Listen to Rhythms Tamorry

Boist ( bodhrán.)

Boist - Irish shock musical instrument, resembles a tambourine with a diameter of an approximately halfter (usually 18 inches). Irish word bodhran. Translated as "Radiant", "Stunning". Hold a boiler vertically, playing on it in a specific way with a wooden wand resembling a bone. In the set of professional artist on Boiran there are sticks of a wide variety of forms and sizes.

The uniqueness of Boiran is to use when playing a stick with two tips, which hits the membrane by one, then another end, which allows you to significantly reduce the interval between shocks. This wand has a special name - " kipine ". The second hand (usually left) is used to mucify the membrane and change the height of the sound. Sometimes a single chopstick is also used, but then you have to make more movements with a brush for performing similar rhythms.

The diameter of Boiran is usually from 35 to 45 cm (14 "-18"). The depth of its sides is 9-20 cm (3.5 "-8"). On the tambourine on one side tensioning goat leather. The other side is open for the hand of the artist who can control the height and timbre of sound. Inside there may be 1-2 crossbars, but in professional tools they usually do not.

Today, the booran is used not only in Irish folk music, he stepped far beyond this small island, and on Boiran play music, which seemed to have nothing to do with the environment in which we used to see him and hear, but wherever He did not appear, together with him there appears the particle of Ireland.

Listen to Solo Boirana

Lambug, Northern Ireland ( lambeg.)

In addition to Boiran, which, as a rule, is firmly associated with the folk music of Ireland and with the traditions of the National Liberation Party, in Ireland there is also another drum - lambug - common, mainly in Northern Ireland and associated with the traditions of the Liberal Unionist Party (Party Conservatives advocating the preservation of Northern Ireland in the United Kingdom). Compared to Boyran, Lambig is much less popular, although in fact it is no less interesting and unique.

The name of the drum - "Lambug" is a generic name, like, for example, a photocopier - so we call all copying vehicles, although in fact this is the name of the company. Lambug is an area next to Libene, a few kilometers south-west of Belfast. It is believed that this name has been fixed behind the drum, because It was there that first began to play with reed chopsticks.

Lambug, along with Japanese drums, is one of the loudest drums of the world. Often the volume of his sound reaches 120 decibels, which is comparable to sound when take off of a small aircraft or a sound of a pneumatic drill. During street processes, the sound of Lambga is heard a few kilometers in the district.

What is this "monster"? The lambga diameter is about 75 cm, and the depth is about 50 cm, the weight is 14-18 kg. The housing is usually made of oak, and from above and bottom is covered with goat skin. Previously, the Lambug was made from a single piece of wood, but because Currently, such trees are no longer growing, it is made of two curved oak plates bonded from the inside like a barrel. On one side of the drum, thicker skin is stretched, on the other, it is thinner, depending on whether the right-hander or left-hander is a drum holder (a stronger hand should be hit over a thicker skin). But regardless of the skin thickness, the height of the sound when hitting both membranes should be the same.

As mentioned earlier, on the labeff play with reed chopsticks, because The cane does not have connective seams, so it is not refracted in the middle. It is split up the threads along the entire length of the stick, so gradually sticks will be harvested at the ends and fail.

As for the jewelry, the lambug is either completely simple and strict or fully painted by buildings, memorial, religious or political symbols.

During rehearsals or performances, the Lambug is installed on a special stand, but during the processions, performers have to bear it literally on themselves. A durable belt is attached to the drum, which throws out through the neck. At the same time, it is quite often possible to watch the picture when one musician goes and several people are fussing next to, helping him carry the drum, supporting him here, then there.

The most reliable version of Lambga's origin is that he got into Ireland from Scotland or North England in the first half - the middle of the XVII century with immigrants, former military, or from Holland through William Dutch. In any case, all researchers agree that the ancestor of Lambega is a normal military drum of a much smaller size. And he began to "grow" after a half century, somewhere from 1840-1850, because of the usual competition between the performers, something like: "My drum is more than your drum ..." Before this, Lambug was often accompanied by the sounds of a twin, but After it has grown almost twice, the twins stopped being heard, and now the pair of "Lambug-Dudka" is rather an exception than the rule.

As mentioned at the beginning of the article, the Lambug is firmly associated with the Liberal Unionist Party, or with an Orange Orders, which every year organizes the procession in July, and in August, the national liberation party with Boyran is already marching. As for the rhythms executed by them, they are largely very similar, because The origins, in any case, regardless of political affiliation, are folk. In addition to such political processes, festivals are arranged all year round in Ireland, on which hundreds of performers compete in the one who best plays in Lambighe. Often such competitions will last for several hours in a row, until the performers are completely exhausted. The largest festival of this kind goes in Markechille, Armag County, on the last Saturday of July.

Listen to the rumble of drum lambug

swiss Drum.)

Swiss achieved independence in 1291, and became a model of military valve. The needs of extended marches and camp life contributed to the development of drum music in the 1400s. The rest of Europe drew attention to these military musical forms in the battle at Marignano (not far from Milan, Italy) in 1515.

The German principalities accepted this military music in the 1500s and 1600s. The French used Swiss mercenaries in the 1600s and 1700s, which used drum music that had influenced the rest of the French army. During the rule of the Queen Anna in the UK, the British army became very unorganized and undisciplined. In 1714, the British army was reorganized, thow drum music was adopted by the British military (with the exception of Scottish regiments).

Drum rhythms were used to broadcast different signals. The military life of the camp requires a sequence of daily signals: it's time to get up, breakfast, a challenge of the patient, fees, lunch, a duty is called, dinner, evening digression, curfew. On march S. ignala were used to make various constructions, including a march stop, expansion, seal, accelerated or slowing. An important use of the drums was the parade before and after the battle. Contrary to common menosis, the drums were not used on the battlefield, as it was too noisy and confusing.

The history of drum rudiments, closely connected with the Swiss drum, subsequently transformed into a small drum (eng. snare Drum.), which was previously called Side Dram (English. side Drum. - That is, "drum, wearable on side") or just - Militari-drum (English. military. - Military).

In 1588, the book "Orchestraography" of Tuano Arbo (Thoinot Arbeau) from Dion (France) was published. In it, Arbo described the "Swiss Stroke" and "Swiss Stroke" (Swiss Strke). These strikes were presented in various combinations, but the appliqués for them did not indicate.

By 1778, when the drums were already well integrated into the military system, Baron Friedrich von Stuben (Friedrich Von Stuben) from Philadelphia wrote guide to the use of drums, through signals (rhythms) of which the relevant orders were to be given.

The first person who used the term "Rudiment" was Charles Stewart Ashworth. In 1812, Charles Stewart Esworth published his textbook "New, useful and full system of playing on the drums", where it used this term to classify the drum rudiment group. He positioned itself (and according to the right one) as a father of rudimental theory.

In 1886, the head of the US Naval Force orchestra, John Philip Sousa, wrote his didactic work "Trumpet and Drum" - the book of instructions for the field tube and drum. Being a benefit for military drummers, she also received widespread in civilian medium, as it contained a complete set of rudiments.

Since 1933, the National Association of Rudimental Drummers ("The National Association of Rudimental Drummers", Sokr. Nard) originates. This organization was created to promote rudiments and introducing them into the training system. Nard decided to position 26 basic rudiments divided into two tables, each of which was 13 rudiments.

Listen to the duel of Swiss drums from the film "Drum

Litavra ( timpani.)

Litavra - Impact musical instrument with a certain height of sound. There are a system of two or more (up to seven) metal boilers, the open side of which is tightened with leather or plastic, and the lower part may have a hole.

Litavra - a tool of very ancient origin. In Europe, the Litavra, close in their form to modern, but with a constant structure, became known in the XV century, and from the XVII century, Litavra is part of the orchestras. Subsequently, the mechanism of stretch screws appeared, which gave the ability to restructure the Litavr. In military affairs were used in heavy cavalry, where they were used as the transmission of combat control signals, in particular, to control the construction of cavalrymen. Modern Litales can be configured to a certain height of sound with a special pedal.

At the end of 2014, Litavra, manufactured Antonio Stradivari, were found in the Vatican repositories. The name of Stradivari is associated with the general public, first of all, with violins, nevertheless, now we know that there are stradivari drums presented in the image to this note.

The housing of the Litavre is a boot-like bowl, which is most often made of copper, and sometimes of silver, aluminum or even fiberglass. The main tone of the tool is determined by the size of the housing, which varies from 30 to 84 cm (sometimes even less). A higher tone is obtained with smaller tool sizes.

The membrane, made of leather or plastic, stretches on the housing. The membrane is held by the hoop, which, in turn, is attached to the screws used to adjust the height of the tool sound. Modern Litales are equipped with pedals, pressing which easily rebuilds the tool and even allows you to perform small melodic parties. Usually each of the tool drums has a range from the quinta to the octave.

The timbre of the tool is determined by the form of the housing. So the hemispheric form creates more bell sounds, and parabolic is deaf. The timbre also affects the quality of the body of the case. Woods for playing on licenses are wooden, cane or metal rods with round tips, as a rule, covered with soft filler. A liter can receive various timbres and sound effects using wands with tips from different materials: skin, felt or wood.

The game on the licenses consists of two main techniques: single blows and tremolo. From single blows there are any of the most complex rhythmic constructions, using both one and several Litavr. Thremolo, which can achieve a huge frequency and resembles the grinding rollers, can also be executed both on one and two tools. At the film, it is possible to achieve huge gradations of sound - from the barely audible pianissimo to a deafening fortissimo. Among the special effects - the muted sound of a Litavr covered with slices of soft cloth.

Listen to the Concert for Litavr

Adufe)

- Large square tambourine in the Portugal of Moorish origin with two membranes, inside which the beans or minor pebbles often rumble during the game. The membrane is made of goat skin, size from 12 to 22 inches (from 30 to 56 cm). Traditionally, women play on this tambourine during religious processes and during regional music festivals.

In 1998, the Giant Adufe was presented at the Musician José Salgueiro to Lisbon, which had great success.

In Spain, a similar tool is called pandeiro Cuadrado. (Square Pantheido). Unlike Adufe, they are not only hand, but also with a wand. More recently, this tool almost disappeared - three rustic women played on it. Currently, His Spaniard Ales Tobias and Kirill Rossolimo plays professionally.

Interestingly, the Museum of Cairo stores a real rectangular bilateral frame drum from the 14th century, N.E., which was found in the tomb of a woman named Hathertifer.

Listen to Rhythm for Aduf

Listen to the Orchestra with Square Pandyro

In fact, it is one rim, which sounds the same part of the tool are metallic plates or puments, fixed directly on it. There is also a variety of tamburin with a membrane.

Tamburin is known from time immemorial. It can be found in the south of France and in India, in Mexico and Middle Africa, on Islands of Polynesia and Asia, in words, various nations gave tribute to this wonderful tool. But Tambourin initially leads its beginning from Provence and Basque Earth, where, as Gevart said, it was used in combination with a self-made pipe

Sergey Mishchenko, December 2012

The drums in Russia appeared in the XVII century, although numerous sources of the dates of the reality of the drum move the departure of the centuries, assigning the name "drum" to more old tools. This is usually associated with the errors of the translation of ancient sources. They are presented in the form adapted to our time, and the correspondencers, wanting to be understood, mistakenly assign modern names with antique tools.

The appearance of drums on the territory of the state does not mean their entry into the culture and life of the people. The process of recognizing these tools, as we imagine them, stretched out in Russia for a whole century.

To study the history of the emergence and recognition of drums in Russia and is devoted to this work. It addresses the history of only drums, and not all shock membrane tools known by that time. Stories about Tulumbasa, Nabati, Bubnes, Next, etc. It remains behind the brackets of this story.

The history of the drums cannot be considered separately from the history of the development of the Company itself, therefore it is necessary to allocate those areas that could be an impetus and have the greatest impact on their development. And such possible areas of only three: religious life, secular life and military business.

The secular and religious life in Russia until the end of the XVII century, eliminated the possibility of using instrumental music, as the Moscow Orthodox Principality adhered to the views of the forefront. "Domostroy" considered the game on musical instruments of "sin equal to drunkenness", and those who were the admirer of this art, the Orthodox clergy ranked towards the pagans and blasphemers distracting the human souls from God. Only the church polyphony singing was considered music worthy of a Christian, only church music had to listen to him and sing. Peasants and urban people under the threat of fine were forbidden to keep musical instruments, especially to play them. "In order for them (peasants), the demonic games in sniffs and in the hussley and in the beeps and in the domra did not keep in their homes ... And who, forgetting the fear of God and the death hour, will learn to play and hold all sorts of games - to rule the penalty Five ruble per person. " (From the Legal Acts of the XVII century.). Resolutions of the 100-eyed Cathedral of 1551 banned all kinds of playing "in the huslies, and in the bow, and snatch". The fight against musical entertainment was reflected in literary monuments, in which musical instruments act as an idolatry, demonic attribute. So in Zhiuti Isaacia talks about the temptation of his demons, which mood over him, playing on different tools - "Hoak in snacks and in the hussley and in the tambourine." About the boggles Metropolitan Iosaf wrote Ivan Grozny: "God's sake, the sovereign, conducted their lime, there would be no them in your kingdom ...". According to the royal regions of 1648, the scomeros with their "demonic games" and accomplices of their "godmomertatic business", i.e. Spectators were punished with baotogs and reference. Musical instruments, burst masks and all connected with squamous games, royal letters prescribed to break and burn.

The church conditionally divided the musical instruments into two groups: good and demonic. The "good" used in the army "Tulumbasi, employment, chips, pipes (Surns) and others treated in the army. To "Nezsky" - musical instruments (tambourines, snacks, etc.) used in pagan folk festivities and burglaries. Thus, in the ancient Russian textbook literature, the pipe, "collecting warriors", was compared with the prayer collecting the angels of God, and the nozzles and prisoners were considered "guns", "collecting shameless demons."

Comprehending above said, it becomes clear that by the end of the XVII century (the time of the beginning of Petrovsky reforms) could not be a speech about the emergence and development of musical instruments, drums, including in either secular or in the religious life of Russia.

Thus, the only region of the possible appearance and development of drums is a military sphere. It is here that it is necessary to seek the causes and roots of the appearance of drums. Therefore, we consider which signal adaptations were used in the armies of various countries and consider in more detail the history of military development in the West and the East.

The widespread use of gunpowder and firearms stimulated the development of military affairs, starting from the XIV century. The next two centuries of the stubborn interstate struggle and competition led to the discrepancy between the Eastern and European military traditions. If in Western Europe, the rate was made on the development of infantry, the East focused on the irregular horse. This was determined by both the centuries-old military tradition and the peculiarities of the Theater of Military Action.

Russia has experienced the influence of both military schools. However, since in the XV - XVI centuries for her, the main opponents were nomads and the Grand District Lithuanian, then it eventually took the experience of Eastern military tradition. The main idea on which this model is based is dominance in the structure of the armed forces with a light irregular local cavalry, complemented by the controvenesses of infantry with firearms and artillery.

Communication with thousandth horse masses required a wide variety of techniques. The plan of combat was usually discussed by the warlords and heads on the general Council, where the combat order was established, the sequence of actions and conventional signals. Spectatical signals were transmitted to the banners of various kinds. The banner designated the location of the governor and its bets, or the movement of hundreds. With rapid horse maneuvers, the banner helped to follow their hundredth head, which was very important in the steppe war. Also at the beginning of the campaign and immediately before the fight, the warlords agreed on the conventional signals - the so-called "yasaks". In a broad sense, under the yasakov understood the conditional signals submitted as sound and visually (sampled or bunchukov). However, in military practice, the audio signals are called "yasakov".

At the Voivodskaya rate there was a complete set of signal tools required to return signals. He included the Nabat, Chips, Surna. Before the drummers appeared, the signals in the Russian army were submitted by non-confidential persons (smear, packs, etc.). "Painting Yasakov" of the Tsarsky Mill (1655) mentions the special signals given by these tools, for a campaign, for anxiety - "swept", to collect ethorascent heads to the Sovereign Tent, for the performance of regular hundreds for the protection of the royal departure. On the outcome of the XVI century. "Large nobles" could have a small copper "Riding Tulumbas" saddle, "in which they beat, giving orders or rushing on the enemy."

This is what I wrote at the end of the XVI century a foreign mercenary jacket margin: "They don't have pipes and drummers ... In addition, each general (voivode) has its personal, as they say, Nabat. Nabat is copper drums transported on horseback, and each of them is ten or twelve, and as many pipes and several braes. All this sounds only when they are ready to enter into battle, or during some kind of shock, with the exception of one of the natabats, which beat to make hiking or sit on the horses. "

Particularly cost rituals used when watching regiments. In the "Records on the entry of Prince B. A. Repnin on the Sovereign Service" it is said that in Belgorod on the Stone Bridge, when watching a shelf, 11 trumpeters participate in the shepherd column. 2 litwords, 1 faster and 1 surn; Sukina - 6 trumpeters and 2 surn; Mikulin - 5 trumpeters, 1 surn and one litter. Here are personal non-stop signals of military commanders who participate in the look, and among them there is not a single drummer.

All elements of the above-described control system of teams and signals begin to be mentioned in domestic sources in the 1480s - 1550s. The main terms, such as Esaulu and Yasaki, as well as signaling (musical) tools come from Central Asia, more precisely, from the combat and hunting practices of the Timurid states. For that time, they had the most developed system of command of the big masses of the cavalry, and the selection of Moscow military leaders was quite justified.

From the above, we can conclude: the visual and sound system of the alert of Russian troops until the end of the XVI century did not have any drums or drummers in their armament. The drums could be demanded only if there are professionally trained and highly disciplined soldiers and drummers.

It was previously mentioned that Europe was emphasized on the development of infantry. The era of regular European armies began with the defeat of knightly detachments. Professional warriors - individuals defeated properly organized infantry.

The main features of the new type of troops were a steady organizational and staff structure, partial or complete state support, unified weapons and equipment, departure from the class recovery, modern means of military communications. In the book "Art of War", Makiavelli is given: "... the fourth exercise - to teach the soldiers to understand the order of the commander in the sound of music or the movement of the banner ... The orders submitted by the music are especially important ... With the head of battalions ... There are drummers and flutists ... The commander will indicate the sound of the pipe. stand still, go forward or retreat, it is necessary to shoot artillery; The variety of pipe sound will clearly show the soldiers all the necessary movements, and after the pipes the same command repeat the drums ... ".

Fig. 1. Operational detachment management group: Flutist, Znamers, Drummer. The first third of the XVI century engraving.

The main and initial music function is the signal flow. In military music, the story of which is known to us only for about three hundred years old, we see the "first step" of military music - the signal service - which served for the transfer of teams tools with musical instruments. That is, speaking of military music, we mean, above all, the signal service.

Complex rebuildings of the whole system required the rhythm of movements. Rotary orchestras, especially drums, became the main type of operational management of troops on the battlefield. Of course, each national army had its own construction, his troops control signals, but the drums firmly occupied their place in all European armies as the most reliable element of sound communication.

The appearance of firearms, well-organized professional soldiers (mercenaries) led to the emergence of professional drummers. When the role of mercenaries and firearms became a decisive force on the battlefield, then a new form of military music arose. Each detachment or company received their own musical accompaniment - a drummer, chopping rhythm, and "musician" (flutist) (Fig. 1).

The first professional mercenaries were Swiss infantrymen, distinguished by special cruelty in hostilities. They first applied drums for the transfer of orders. The battle for semple in 1386 was the first registered in the history of the precedent of the use of drums in a military campaign. That is why the Swiss claim the championship in the use of drums in military affairs. In 1588, the book "Orchestraography" ARBO was published. In it, he described the "Swiss strike" (Swiss Stroke) and "Swiss Stroke". These strikes were presented in various combinations, but the appliqués for them did not indicate. In the leadership for drum-flute orchestras Dr. Fritz Berger, entitled "Basel's drum art", there are examples from early history, as well as the picture of the drum orchestra depicted on a building belonging to 1525.

The first task of the emergence of drum techniques was to establish a uniformity among drummers using equal amounts of drummers and flutes in military orchestras. Drummers had to play unison. All this was about four hundred years ago. A notebook as we know it today, at that time was not known. Drummers played by heart - by sound, by memory, such as, for example: TRA-DA-DUM, TRA-DA-DUM, TRA-DA-DUM-DUM-DUM. The long fraction then looked like Da-Da-Ma-Ma and started with a left hand, so that weaker hand trained from the very beginning. The main drum signals, for example, "readiness", "Attention", "Attack", "March" was formed only in the XVII century.

By the end of the XVI century, German mercenaries were dominated by the European Theater of Military Activities and, accordingly, dictated to the use of drums. Thus, the number of 400 people, the number of 400 people accounted for a regular orchestra, which included one drummer, although each national army had its own composition.

The forms of clothing drummers were free, but all the mercenaries dressed very richly. All landscapes had one status ("soldier"), had their justice, hierarchy, customs and even folklore. They wore the deadly causing clothes from the drunk, for they were free from the prescriptions of the appearance of the estates. A suit from velvet, brocade or silk with wide sleeves, pants with a gulfik and a mass of incisions, a huge hat with ostrich feathers deliberately shocked others, emphasizing the independence of mercenaries. The emperor Maximilian said: "Their life is short and sad, and magnificent clothes are one of the few joys. Let be worn. "

Fig. 2. Engraving "Five Landsknecht" Daniel Hopper (XVI century).

All the members of the gang are presented on the engravings (so officially called the detachment of mercenaries) of the Landsknecht: Musketer, Fleetist, Drummer, Znamers, Piqiner.
The medieval drum has no definite form or size. Its main characteristics were the cylindrical body and two leather bottoms bonded between themselves with a rope drawing. The drummer could change the skin tension, changing the length of the rope or cord. Initially, the drum was played with one hand (there was often a swirrel or flute in another), later began to use both hands. For the game on the drum used wooden or bone chopsticks. Special techniques of the game (fraction, tremolo, short strikes) were evaluated initially for practical military purposes: to cheer up their own enemy. It is for this purpose that the game on the military drum was often accompanied by shrill sounds of flutes.

Fig. 3. The drum of German mercenaries - Landsknecht Trommel (from him. Military drum).

Russia in the XVI century had its military doctrine, sharply different from the European, and used its sound means of operational communications - work, Tulumbasa, Chips. The drums in hostilities did not participate. And only later, borrowing the newest military technologies of the West led to the appearance of drums and in Russia.

The appearance of drums in the Russian army

The Russian army at the end of the XVI early XVII centuries did not hold the collisions with a modern military machine - reformed on the western model of the army of the Commonwealth. It was in these armies that an important role was assigned a warning system. The age-old historical experience of European armies allowed to create a modern military alert system, which was constantly polished in endless battles. An important place in this system was taken by drums. The Western School of Military Drummers, who already had the theoretical justification, received recognition of contemporaries, and drummers were distinguished among other warriors.

In front of Russia at the beginning of the XVII century stood a difficult task. To combat the prompure, it was necessary to reform the army on the European model, to create its new communication system in the troops, including training drummers, using modern European experience. The drums were considered as the necessary, and an integral element of the new army, and only in this capacity they could enter its composition. Thus, only when carrying out reform in the army, the appearance of drums may have been. This, in fact, continued and confirmed the history of Russia.

The collision of the "sharpened" under opposition to the light irregular horse armies of the Tatars and the Lithuanians of the Russian Army of the XVI century with the reformed army of the Commonwealth ended for Russia is very sad. It was necessary to find an effective remedy against the Military Machine of the Commonwealth. Such a counteraction was found to use the experience of the European Military School of Netherlands. The army began reforms that lasted almost the entire XVII century. Reforms took place in the 3 stages.

The first stage of reforming the Russian army

The first stage of reform began during the Troubles at the beginning of the XVII century. The leading role in the formation of the new Russian army belonged to the famous commander Mikhail Skopin-Shui (Fig. 4). He was appointed a governor, headed by the united army of Russian warriors and mercenaries, to combat invaders.

Fig. 4. "Prince Mikhail Vasilyevich Skopin-Shuisky." Lithography, 1876

By participating in the battle under Ternaya on July 11, 1609, he drew attention to the resistance of the infantry of foreign mercenaries. Unlike a broken at the beginning of the battle of the cavalry of the mercenaries, the infantrymen-mercenaries, being in the center of the battle, once again chosen the attacks of the heavy Polish cavalry, famous volatile hussar, and then organizedly retreated, shorter the initial success of Poles. The coherent action of the detachment, a clear fulfillment of orders-teams by the drum, high military discipline on the battlefield made an impression. The young governor decided to organize the Russian shelves of "Inrogen building". In just two months, the reclined militia peasants armed with urgently purchased with modern weapons were trained by the wisdom of a foreign soldier's business.

Fig. 5. Training of steady people with a peak by the Netherlands Charter in the camp M. V. Skopina-Shuisky under a Klasin Monastery (August 1609). Oleg Fedorov.

The basis of the creation of a new type of troops was taken by the Netherlands model. The administrative unit in the Netherlands infantry became the regiment, small in numbers - 800-1000 people. It consisted of 10-16 mouth. For one company of the Netherlands Army, the number of which did not exceed 100 soldiers, there were two drummers, on the regiment - from 20 to 32 drummers.

Fig. 6. Full Military Orchestra of the Netherlands Army (consisting of drummer, flutist and musician with Bunchuk). Engraving on a tree from the illustrated book of battles, XVII century.

A similar orchestra was to be present in the new army of Skopina-Shuisky governor (Fig. 6). Complex evolution of all we build with long peaks (up to 5 meters) or muskets demanded rhythm, the rate of which the drums were asked.

So, at the beginning of the XVII century, the regiments of an ingenic structure appeared in the Russian troops in the Netherlands, and with them and drummers. New troops showed themselves from the best side. Broke the troops of Tushinsky thief near Moscow. Kolotnikov's troops who captured almost the entire capital from Moscow, and then broke it under Tula and Kaluga, finally suppress the uprising. They removed the blockade with the Sergiev-Trinity Lavra, and, cut the enemy communications, forced the Poles to retreat to Smolensk. The successes of young governor, called the second Alexander Nevsky, called the envy and concerns of the supreme power. As a result of the palace intrigues, he was poisoned at the feast of Malyuts Skuratov. 2 two months after the death of the governor M. Skopina-Shui shelves were dissolved. Reforms suspended. The drums were forgotten, the troops returned to the previous sound system.

So the appearance of the drums at the beginning of the XVII in Russia became simply an episode, and the organization of the regiments of "ingenic building", and, accordingly, reform in the army, moved for several decades. And there are no reforms, no drums and drummers.

Ahead was 1612 ...

The second stage - the organization of the regiments of "Inrogen building"

In the thirties of the XVII century, Russia restored its economy. The truce with Poland ended. The war was for Smolensk. The King Government Mikhail Fedorovich clearly realized that the Russian army, which consisted of the noble cavalry and the Strethie infantry, is not able to fight on equal footing with regular troops. The exit from the position of the Russian government saw in the creation of Russian regiments of the ingenic system and the hiring of regiments of Western mercenaries. Consider the status of the issue of the latest military technologies in the West at this time.

Thirty-year-old war (1618 - 1638), which went in Europe, demonstrated an ever-increasing role of the latest military technologies. The army acquired a new appearance. The use of more rapid rifles increased the fire power of infantry units. The increase in the optimal density of fire made it possible to reduce the numerical composition of the mouth and increase their mobility. Massively began to use a new type of troops - dragoons. Draguns - infantry, planted on horseback, capable of acting in walking. The number of drummers for dragoons was the same as in the infantry. That is, in fact, the co-nutity of the drummers in the army has increased. The role of operational management has increased, which has been reflected in drummers, and on the drums themselves.

The number of drummers in the company, with a decrease in the number of its composition, increased to 2-4 people. And in the shelf to 20-40 people. An increase in the total number of drummers led to the appearance of the position of the regimental senior drummers - a tambourmagezhor, which, first of all, was responsible for the consistency of the actions of subordinate and clarity of the submitted commands.

The increased role of the drummer on the battlefield, as a means of controlling troops, made it an active target. Their death led to the disorganization of the detachment, no less than the death of the commander. The mercenaries, which are the main force of the thirty-year war, and here they found a kind, but cruel exit. They broke in the villages of small boys 8 - 10 years old, (they were harder to kill than large men) and taught the game on the field drum for serving military signals. After two, three weeks of studying them, they were the choice: to stay drummer or go home. During the training, the army went on a large distance from his native places, and many students remained in the army. This is how "Drummer Boy" or regimental young drummers appeared.

Unification of weapons, uniforms, ammunition has become a common phenomenon. Drummers are not less bizarre than officers.

Fig. 7. The drummer of the time of the thirty-year war.

The color of the form, as a rule, correspond to the color of the banner. Sometimes, to emphasize their significance, drummers were reverse. Unification requirements are transferred to drums. The form of them is standardized, while they themselves underwent changes: the diameter becomes smaller, and the height is greater. Drums are also painted in the color of the shelf banner.

National Army of Europe had their own beat combinations for military drum signals. This contributed to raising the military spirit, and disoriented the enemy on the battlefield, which misunderstanding what the opponent would take. In the XVII century, the main used drummer signals were "Attention", "Construction", "willingness", "March", "Attack", "retreat" and others. The manifold and the development of these signals led to qualitative changes in signaling music - the emergence of marching music functions. "Only during the times of the thirty-year war began to manifest the function of military music as a" march "and began to emerge the form of the military march, which did not exist earlier ...". In this case, it is said about the emergence of the Marshash's musical accompaniment, but not about movement under the measuring rhythm of shock tools. We are talking about rhythmic accompanation. This is the invention of German mercenaries in the thirty-year war.

The Russian army lagged in the development of military technologies from the West and the experience of creating modern European armies was in demand in Russia. The thirties became the point of reference at the beginning of the second organization of the regiments of the "Inrogen building". Preparing for war with the Poles, the Russian government spent huge money for the purchase of the latest weapons and with foreign soldiers and officers. Purchased including drums. Their price exceeded the cost of the Musket three times. In the active assistance of foreign specialists, training and formation of armed with the last sample of soldiers, Dragoon and Ratar regiments "New Build" began. By the beginning of the Russian-Polish war, 1632 - 1634 were formed 10 Russian regiments of a new building, up to 17,000 people. The regiment shared for eight mouth. In each company, according to official regimental lists, there were three drummers.

Of interest is the payment of drummers in 1632 - 1634. In wartime: German drummer received 8 rubles. per month, Russian - 5 rubles; In peacetime - 1 rub 50 cop and German, and Russian. For comparison: Capral received 4 rubles in wartime, in peaceful - 1 rub 80 kopecks. This testifies that in wartime, the drummers were valued above the cap.

Smolenskaya company ended for Russian unsuccessfully, despite the heroism of new regiments. There are several reasons. The noble cavalry, deservedly seeing a threat to his existence in a new infantry, left the positions of the Russian army under Smolensky, in fact condemned the army in the defeat. This simply never happened in the Russian army. "Distinguished" and foreign mercenaries. They fully justified two none words that appeared in a thirty-year war. These words: "Banda", which meant a detachment of German landscape and "Marauder" - the name of one of the captains of the mercenaries. The population, where they passed, fell asleep the government complaints about their behavior. In addition, mercenaries often switched to the side of the enemy. The disappointment in the new army after the defeat was so great that all foreigners were sent from Russia and all the shelves of ingenic building were dissolved. Ammunition, weapons and drums (whole, punched and bases from them) are handed over to military warehouses in Tula.

All this led to the stopping of the 2nd stage of reforms and the introduction of drums. But at the same time, the importance of the experience of creating the regiments of an ingenic system is extremely large. The drummer, entered in the lists of the regiment of the ingenic building, first became an official in the Russian army. This is the first step towards his entry into the new operational communication of the Russian army. Veliko was the meaning and signals and signals of drummers received from foreign specialists. Previously, they could only command themselves like that, since they were pagans for Russians and nobody perceived them.

Third stage of military reform

The need for reforms was the most acute, and, taking into account the errors of the first two stages, the third stage of military reform began in 1637. The characteristic feature of the new process of military construction was the combination of traditions and innovations. It went in two ways: the organization of the regiments of an ingenic building and training of the Sagittarius ingoing. At the same time, everything was done in order for the new parts to be replaced by old, and complemented them, which allowed them to organically enter the Russian army.

By the fall of 1638 in the south of the country, the government put 5055 Draguns under guns and 8658 soldiers. In the shelves of "Inrogen-building" during this call, the number of drummers reaches 200 people. From this point on, the drums appear in Sagittarov. They quickly mastered the soldiers' constructions under the team of the drum, a long peak, one-time with the soldiers they had semisms. In February 1655, with the return of Tsar Alexei Mikhailovich from the Polish campaign, hiking hundreds are described from the Polish hiking, before each of which had a large banner accompanied by two drummers and a hundred and secircuits in her hand.

In the military charter of 1647, for the first time, regulation is given, as well as the musical characteristics of military signals for "drummers and tubes": "The beyond the drum is always installed, so that the great and many people who are not heard from each other, and the drum would be The need was noticed by me and on a direct need for the fact that various articles on the drums of Biti, their own article, as a soldier to encourage, when at the goal of ITT, and when on the campaign, other inadvertent time, so that the enemies would come closely with the weapon of meeting; And a different sign ... when something is tight. A number of sign when hurry ... ". This is the first official document in Russia, which regulates the duties of the drummer, as a military personnel of the feeding signals using a drum (beat drum fights). The charter was fixed by the construction of the drummer, introduced by the king Alexei Mikhailovich in all the shooting, dragoons and shelves of ingenic building. Initially, there were 2 drummers on the company, later their number changed repeatedly. In battle drummers were used as messengers and for the removal of the wounded. There were also "soldiers Small drummers" - teenagers, the disciples of the drummer, usually the soldiers' orphans. Having become a student of the drummer, the Syrota Sali Son received 10 times more, which essentially supported the family materially. So in the Butyrsky regiment, in early 1670, 195 "Drummers small robin" were not counting 40 adult drummers. Especially for students were made by "clincling, small hands". They were distinguished by a parade form of clothing - German caftans. Kits "German dresses" for drummers - musicians on parades: Kaftans and red cloth pants with black loops and lace, hats, stockings, shoes. Small drummers were in Russia, and in the West, but their position was different. In Russia, these were disciples, and not soldiers sent to battle (Fig. 8).

Fig. 8. Small appearance and drummer of Moscow elected soldier regiments in the front costumes. From the book "Moscow elected shelves of the soldier system."

Fig. 9. Soldier of the elected Butyrsky regiment. In the background, the drummer is visible, which is no different from the form of a soldier.

Russian drum XVII century. Constructively differed from European. European faces have a whip bent. In Russian - a set of powder (type of bome) and a cloth covered. Three slot hoops are nailed to the skulls from the inside with wooden and metal nails. The drum itself consisted of wooden cadla, or "luxury", and two hoops to pull the leather. The drum "luxury" on the fabric was covered with painting or gilding. In the images of that time, the painting of the drums is represented in the form of an elusive iscessed triangles, or "wedges" painted in the "uniform" colors of the regiments. There were, obviously, other coloring options. Wears drums on leather or silk grinding with metal hooks, buckles and sodes. Judging by the documents of the 2nd half of the XVII century. "Drum bras" were two ARSHIN (144 cm) long, and 1.5 top width (6.75 cm). For the prediction of drums from dampness and other damage, covers or suitcases were used, which is usually made from multi-colored cloth.

An important step was the initial training. It was a difficult moment, as there were no own drummers and other specialists. For training they were attracted by foreign experts who gave a written obligation to teach Russian people. In the second third of the XVII century, large-scale learning centers were not only Moscow, but also frozen, and Sevsk. So in the Zanezhskiy grades sent for "Dragun and Salidatsky teaching" - 2 colonels, 28 captains, 31 sergeant, 10 drummers and one trumpeter. 62 ingenic instructors of different ranks arrived in Sevsk. There is an established system of training in a military case, including a drummer, and a consistency of it. Thus, troops received trained drummers in the required quantity.

Sagittarius - the elite of Russian troops, the estate like no noble, enjoyed tremendous respect in society. The Streetskoy title was transmitted by inheritance and the son became a shooter, in the same order (shelf). It was an active part of society, and the historical data about them is extremely much. So the drummers depicted on historical documents of the XVII century are known mainly to Streletsky.

In Europe, drummers have highlighted their clothing. In Russia, in the XVII century. The drummers of the Streletsian regiments did not have any special differences in color and face clothes from other ranks. In any case, neither the visual nor documentary sources are reported. The same applies to the regiments of the "Inrogen building" (Fig. 10).

Fig. 10. Fragment of watercolor "The drawing of the image in the faces of the holidays of the Archers in the courts of water by refined." "The drummer from younggone" is a genuine portrait of a young drummer of the XVII century.

Reproductions with the image of drummers in Europe appeared at the beginning of the XVI century, in the Moscow State - in the second fillion of the XVII century. This confirms that the drums appeared in Russia later than in Europe. And depicted, as a rule, Sagittarov, Musketeers of the Russian state, and not the soldiers of the regiments of an ingenic system.

Fragment of miniatures manufactured in 1663 and presented in Fig. 11, should not be misled by temporary parameters. The drums at Streltsov at the time of the wedding M. Romanova on June 11, 1613 was not. The artist took as the basis of the Archers of the drummers in the front palace cafts of the times of Alexei Mikhailovich Tishest (Palace Kaftans were issued at the time of reception from royal storage rooms, and then surrendered). They differed from the form of the archers present, as a rule, on palace receivers. The drums of the Sagittarov appeared only by the middle of the XVII century.

Fig. 11. Fragment of the miniatures "Wedding M. Momanova". Strellesky drummers at the reception on the occasion of the wedding of the king.

Traces of drums we find in various events of that time. For example, Streletsky Bunf 1682. Some historians see him as the uprising of the Moscow garrison, which won and dictated their conditions to the government. Two Punta is important to us: the first required that the manufacture of all the drums was transferred to the Streletsky order; The second is to be paid for work on their manufacture. So the Sagittarius was monopolized by the production of drums.

The reform led to an increase in the regiments of "inrogen-building" and the Streetsky troops. Moreover, the number grew, mainly by the Moscow Streletsky orders, which speaks of the higher status of Sagittarov. The shelves of the soldiers building together with the dragoons had a number in 1680 about 100,000 thousand people. This means that the number of drummers in the Russian army exceeded 2,000 people, and the teams of drummers appeared in the shelves, with a number of up to 20 people and more. In addition to the position of the soldier of the drummer, the position of the head of the drummers appeared in the shelves. Different shelves of the army, where foreign specialists were prepared for different drummers, began to create a unified national Russian system of drum signals, in accordance with the requirements of the new army. So the Russian school of military drummers began to emerge.

It is believed that the birth of the new army occurred in 1678 in the battle of Chigirin, where Muscovites defeated Dotol to Ottol's terrible for Moscow. During this battle, the Moscow Regiment, surrounded by the Turks, under the drum fighting with unfolded banners built in Kare and beat the attack of the opponent with fire cannons and rifle volley, applying him defeat. Turkish military leaders recognized that they were surprised by the valiation of Russian infantry. Simultaneously with the victory over the external enemy, another, no less significant victory was obsessed. A new army was created. After Chigirina, the Ottoman Empire has not yet exhausted his forces, but he no longer wanted to fight with Muscovy. This meant only one thing: the reforms are completed, and the new army is ready to dissolve and can protect the interests of their country. The accession of Eastern Ukraine, the return of Smolensk increased the power of the state, and now Europe has had to respect "Muscovites". The shelves of "Inrogen building" stopped exist, from now on, the soldiers' shelves appeared in their place.

As a result of reforms in the Russian army, a modern system of sound operational communication was created in the XVII century, which includes drummers. All drums for the needs of the army were manufactured in Russia. The old system that has been available as sound operational communications, Tulumbasi, Chips, - disappeared by the end of the XVII century. Training of the drum battle began together with the reforms themselves, and first teachers were foreign experts. However, since the 50s of the XVII century, drummers began to prepare in the shelves, including students - small drummers. In the service by the end of the century, more than 2000 construction drummers were at the same time, who were as in the infantry of the infantry: soldiers and shooting regiments and the cavalry: Dragunov, Raitarov, Gusarov. Teams of drummers appeared in the shelves, who obeyed, the so-called "ears of drummers". The amount began to move into quality, spoke about the Russian military school drummers. For the first time in Russia, an official document was introduced in Russia - the Charter, regulating the duties of the drummer, as a military personnel feeding the installed signals using a drum. The charter secured the building of the drummer. Military drummers firmly occupied their place in the army. So the drums appeared and established themselves in the Russian army, and with it in Russia.

Impact installation is one of the oldest musical instruments. The first drums appeared about 6,000 years before our era. The current impact set is different from those that were before. Each it element deserves separate attention.

Bass-drum

Bass-drum can not be viewed without its main element - pedals. Its invention also passed through numerous stages before it became such as we used to see it at the present time. Read about the history of the creation of pedals for bass drum.

Bass Barrel is the largest and low-viscing element of the shock installation. It was invented by Hindus and Turks. They have long used him in their rituals. In April 15, the bass drums found out in Europe. He was brought there from Turkey.

In many Turkish military orchestras, a large drum was used, which published a very strong bass sound, which fits out all listeners. Later, such a sound became stylish, and many European musical teams adopted him into their creativity.

Small drum and volumes

Many believe that volumes are the most modern drums, but it is not quite so. They were created in Africa, they were named otherwise - "there-Tama." The natives used them to bring their tribe to military readiness. The Africans have created many classic rhythmic drawings that modern musicians play and to this day in various styles of music.

The small drum is very similar to the volumes, only it is stretched above, and also has a stroy in its structure. Its progenitors can also be considered Africans and the 19th century military orchestras.

Plates

Initially, the plates tried to apply in music as an experiment and for fun. This happened in the 20th century mainly in America, when people massively began to be interested in African rhythms and searched for a new sound. Later, realizing that the plates are very well complemented by any genre of music, iron producers began to create various variations of the plates, thus the High-Hat, Ride, Crash, Chain, Right, etc. appeared.

The oldest shock tools were found after the excavations of archaeologists in Mesopotamia. Also in Peruvian caves, the researchers discovered the rock paintings on which the drums participating in religious rites were depicted. Each civilization used drums for various purposes: Some - as rituals, others - to raise the combat spirit during the war.

Initially, the drums were played with their hands and later began to use sticks. The tuning of the drums occurred by pulling membranes by ropes.

With the development of technologies and with the advent of the electric guitar at the end of the 20th century, an electronic shock installation was invented.

Summing up, we can conclude that the impact unit was not invented by someone specifically. This musical instrument was created by centuries.

To date, the impact setting is an indispensable tool of most songs, and drummers - in demand by musicians of any genre.

How is the easiest way to get a sound without voice? That's right - hit by something for what is at hand.

The history of the drum tools is conducted from the depths of centuries. Primitive man knocked out rhythm using stones, animal bones, wooden bars and clay jugs. In ancient Egypt, they were knocked (played with one hand) on special wooden boards, at the festivities in honor of the goddess of Hathor music. The funeral rites, prayers against disasters were accompanied by strikes in the system - a tool like rattles in the form of a frame with metal rods. In ancient Greece, a crotone or a rattle was common, it was used to accompany the dances at various festivities dedicated to the God of winemaking.

In Africa, there are "speaking" drums that serve to transfer information over long distances by the language of rhythm and imitation of traditional tone speech. There, as well as in Latin America, rattles are currently common to maintain folk dances. Bells and plates are also drum tools.

The modern drum has a cylindrical wooden case (less often metallic), covered with two sides of the skin. You can play on the drum by hand, chopsticks or beasts 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 what sound you need to "knock out" - low or higher.

The large drum in the orchestra is necessary to underline important places in the work - strong share of tact. This is a low-sound tool. They can imitate thunder, imitate the cannon shots. Play on it with a foot pedal.

A small drum comes from combat troops and signal drums. Inside, under the skin of a small drum, tensioned metal strings (4-10 - in a concert, up to 18 in jazz). When playing strings vibrate, and a specific cracking occurs. Play on it with wooden chopsticks or metal belt. Use it in orchestras for the rhythm task. Small drum is a constant member of marches and parades.

PUZZLES

With me hike easy to go,

With me having fun on the way,

And I'm crying, and I Buyan,

I'm ringing, round ... (drum).

Silent himself

And beat - grumbling ...