From the African djembe to the Brazilian snare – discover with us the diverse soundscapes of percussion and distinctive rhythms from around the world.
Africa is known for its rich and diverse drumming traditions. Over the years, the various African cultures have developed an impressive variety of drums that vary in shape, size, and sound quality.
The djembe is probably one of the best-known African drums and originates from West Africa. It consists of a wooden body covered with animal skin and is traditionally played by hand. Another popular drum is the bougarabou, also known as the "talking drum".
This drum has a slim shape and can produce different pitches by adjusting the tensioning system in order to play complex rhythms.
Although there are many different types of African drums, they all share a common goal: to celebrate rhythm and community with other people.
First of all: Traditional African music is a vague term for music played in sub-Saharan Africa that is considered to have little or no influence from outside the region. The word "traditional" implies historically unchanged African music, distinct from influences since the European colonial period.
However, African music has always been shaped by regional cultural exchange and development, and often cannot be attributed to specific ethnic groups. Such a distinction neglects the strong influence of Arabic music and overemphasizes Western cultural imports from a Eurocentric perspective.
The colonial-era music of Cape Verde was shaped by South American, Caribbean, Portuguese, and West African influences, while the older music of Madagascar was primarily influenced by Southeast Asia. Overall, it is evident that traditional African music has always been, and continues to be, in a state of flux.
African music is fundamentally characterized by repetition, which allows listeners to enter trance-like states and fully understand the music. Music plays a central role in all events, including everyday activities, and a celebration cannot take place without the appropriate musician.
African drums have the amazing ability to "sing" and "speak". The musical patterns theycreate often originate from language.
To be understood and meaningful, the individual beats of a rhythm must vary clearly in pitch and timbre. So-called "talking drums," which often require years of practice to master, can even convey entire words and sentences.
Historical research clearly shows that African musical cultures are subject to continuous change. For this reason, the term "traditional African music" merely a romanticized Western notion and is used today to increase the market value of African music in the West – even though, objectively speaking, this has no basis in fact.
The djembe drum has its roots in ancient West Africa and has been known since the 13th century, when the Kingdom of Mali was founded. This fascinating instrument consists of a hollowed-out bowl covered with animal skin and belongs to the membranophone.
Due to its shape and single-headed design, it is also known as a single-headed goblet drum . Although it is not known when the djembe first appeared, it remains an important part of African music and culture to this day.
The word 'Djembé' is composed of two parts : 'dje', which in the Bamana language of Mali means that people come together, and 'be', meaning agreement. This clarifies the meaning of the name. The djembe instrument brings all people together and unites them.
The Bamana also say: "Anke dje, anke be". This means something like "let's come together to reach a common understanding".
In a broader sense, the name Djembe also refers to gatherings for weddings, funerals, or births, as well as many other occasions where people come together to foster community and understanding. These are the traditional social gatherings in West Africa, which almost always feature Djembe music, dancing, and singing.
The origin of the extremely complex and multifaceted Djembe rhythms is mainly due to the Malinké people , who are mostly based in the countries of Mali and Guinea.
West Africa is often considered the birthplace of rhythmics. The people in this region have a close connection to nature and are deeply embedded in the rhythmic world. Their capacity for rhythm allows them to harmonize with their breathing and movement.
The following video provides a brief overview and shows some sources of inspiration for African djembe rhythms:
The Indian tabla is a fascinating example of the diversity and complexity of hand drum traditions. These drums consist of a pair of different sizes, each played with the fingers and hands.
The larger drum is called the dayan and the smaller one the bayan. Each drum has a different pitch and timbre, allowing for the creation of complex rhythms. The tabla is used in many musical genres, such as classical Indian music and fusion music.
Playing the tabla requires a great deal of practice and skill. A player must be able to execute various strokes on both drums to create a rhythm. Many techniques, such as rolls, flams, and double strokes, can be employed.
Traditionally, tablas were made of wood, but versions with plastic or metal frames are now also available. It is important to ensure you buy high-quality instruments, as inferior materials can negatively affect the sound.
Accessories such as bags or stands are also available and make playing the tabla easier. It is also important to ensure that you pay attention to quality when purchasing accessories.
If you are interested in playing the Indian tabla, there are many training opportunities available: workshops with experienced players or teachers on site, as well as online courses, are just a few examples.
Overall, the Indian tabla is undoubtedly one of the most fascinating hand drums in the world. With its complex rhythms and ability to produce a wide variety of sounds, it is a true highlight in the world of percussion instruments.
The tabla is often considered the queen of drums and percussion instruments and is the most popular rhythm instrument in India. It consists of two drums, the bayan (deep bass drum) and the dayan, which are almost always played together.
The term "Tabla" can refer to the pair of drums or to the Dayan alone, which is sometimes also called Tabla.
Both drums have a body that is closed at the bottom. The upper end is usually covered with a goatskin head. A second skin (kani) is attached to the edge of the main head. In the center of the head is a black area called the GAB, which gives the instrument its characteristic sound and allows for a wide variety of tones and modulations.
It requires a great deal of skill to mix this GAB correctly in order to then apply it in a paste – consisting mainly of rice flour and iron filings – which can be multi-layered (up to 8 layers).
When playing, both drums are placed on rings (Bira) to give them stability.
There are numerous theories about the origin of the tabla. Some believe it originated from the pakhavaj, while others claim that the tabla was introduced into classical Indian music in the 13th century by Amir Khusrau, similar to the sitar and other instruments. This theory also suggests that the tabla came from the far west.
The term "tabla" can be traced back to the Arabic word "tabl" and is a general term for drum. The first scientific description of an instrument closely resembling the modern tabla dates back to 1808.
In the 50 years prior to this date, many Mughal-style paintings depict these pairs of instruments in northwest India: cylindrical wooden pairs in Punjab and hemispherical metal or clay pairs in the Delhi-Rajasthan-Oudh area.
It seems that sometime in the middle or second half of the 18th century, these two variants were combined: the fixed-tuned Punjabi “Tabla” was chosen for the right hand; the variable-tuned Delhi “Duggi” was used for the left hand.
It is believed that several changes were made to the instrument between 1750 and 1850. The tabla used today is probably no more than 70 to 100 years old.
Further information on the Indian tabla:
The tabla is played with the fingers of both hands while resting on fabric rings. It offers a wide range of sounds.
Their music is used primarily in India, Pakistan and Bangladesh, in both folk and religious music.
The bayan is responsible for playing the bass part of the drum duo. The body of the bayan is usually made of chrome-plated copper.
To play the bayan, the index and middle fingers alternate in their function, or both fingers are used simultaneously. The heel of the hand rests lightly on the edge of the drumhead, or gentle pressure is applied to the head to change the pitch.
The Japanese drumming tradition, also known as Taiko, is one of the oldest and most fascinating drumming traditions in the world.
The massive wooden drums are played with great passion and energy by the Taiko groups. The sound of the Taikos is strong and powerful and is often accompanied by other instruments such as flutes or shamisen.
A special technique in playing the taikos involves striking different parts of the drum, such as the bass or the snare. This creates a multifaceted rhythm that captivates the audience.
Another highlight of performances is often the synchronized movements of the players, which add a visual component to the music. Although playing taiko drums was originally reserved for men, women have successfully established themselves in this tradition in recent years.
The size and weight of the drums, however, still pose a challenge – for both men and women. For anyone interested in this fascinating art form, there are now numerous workshops and courses available, as well as accessories such as drumsticks and bags for transporting the drums.
Children, in particular , can unleash their creativity and develop their sense of rhythm by playing the impressive wooden drums . Of all Japanese instruments, the taiko is probably the easiest to learn and the most popular. It can be played at any age and has a stress-relieving effect.
Those who wish to delve deeper into the world of Japanese drumming will find numerous websites on the internet with information on various Taiko groups as well as advertisements for concerts and workshops.
The taiko, a term for the "large drum," is more commonly referred to by the Japanese as wadaiko (where "wa" is the prefix for anything Japanese). Archaeological excavations have shown that it already existed in the Jōmon period (131-131 BC/4 BC).
The oldest drums built in the taiko style originated in China. From there, this type of drum spread to Korea. During the Kofun period, the inhabitants of the Korean peninsula and the Japanese archipelago were not yet separated, and through this extensive exchange of cultures, the taiko also reached the Japanese archipelago.
It was originally probably used in shamanistic rituals to summon various kami, especially Susanoo, the god of storms and life.
Drums were already frequently used in temples in China instead of bells or gongs, and with the import of Buddhism (in the 4th to 6th centuries) its instruments also followed to Japan.
The samurai recognized the effectiveness of the taiko drums and had them played before an attack: this was intended to psychologically wear down the opponent and, on the other hand, to put their own fighters into a blood frenzy – a kind of ecstatic possession – which would lead to their own battlefield being entered by God.
During the Sengoku period (1467-1591), the taiko was used to encourage soldiers during battles and to synchronize their heartbeats with the rhythm of the drum in order to increase their strength.
Even back then, the taiko was not only a military instrument, but also a source of rhythm in everyday life. It signaled the return of the hunters to the village and the approach of typhoons.
Even today, the Taiko can be heard at festivities, sumo tournaments, or as accompaniment to Kabuki or Noh performances.
In recent years, Düsseldorf become the center of a growing community of Japanese residents who uphold their traditions even far away.
Tea ceremonies are regularly held in the Edo House with its temple and Zen garden. The annual Japan Day celebrates Far Eastern culture, from the artful Ikebana flower arrangements to origami , classic kimono fittings and demonstrations in the samurai village, as well as modern manga art.
The performances of the Japanese drummers are particularly popular, and the audience eagerly awaits them.
Latin American percussion is a fascinating subject encompassing a wide variety of instruments. A trio of conga, bongo , and timbales is particularly popular and originates in Cuban music.
These three drums each have their own distinctive sounds and are often used together to create complex rhythms. The conga is the largest of the three and is usually placed on the floor, while the bongos are typically placed in pairs on a stand.
Timbales drums with different pitches, which are usually positioned on a stand.
Together they create a rich and multifaceted sound and can be played individually or in a group. If you are interested in this type of percussion, you should definitely look for accessories online.
There are many online shops that offer a category for Latin American percussion instruments – from drums to matching accessories such as bats or storage bags.
There are special drums for children with low volume and adapted sizes.
Latin American music is inextricably linked to the rhythm and the instruments , especially Latin American percussion, which gives this music its characteristic sound.
The term "Latin percussion" describes a diverse range of musical instruments belonging to the percussion, membrane, lamellophone, and/or idiophone . Musicians who play these percussion instruments are known as percussionistas .
Latin American music varies greatly from region to region, and the Caribbean differs from mainland South and Central America in both mentality and instrumentation. Nevertheless, these countries and their cultures share a common history.
Thus, the culture – including its music – represents a fusion of three fundamentally different base cultures:
Several empires (Spain, England, Holland, France and the USA) have left their mark on Latin America.
Similarly, African nations exerted their influence through the slave trade. Various rhythms from Africa have been passed down to the present day. The convergence of diverse musical structures, playing styles, and ways of thinking resulted in a wealth of forms and a rich variety of sound.
Percussion instruments can be categorized as follows. There are various types of drums, for example bongos (a pair of single-headed drums), timbales (consisting of two equally sized single-headed drums positioned on a three-legged stand), congas (single-headed drums), pandeiros (small hand drums similar to the tambourine), and surdos (drums with a metal body), as well as many others.
The drums vary in size and are usually held between the knees and struck with the fingers. This also includes improvised percussion instruments such as fish boxes, wooden boxes, and even claves (tone sticks).
Shaking rattle idiophones produces a distinctive, penetrating rattling sound, which often forms the basic rhythm of various dances. They differ in both their construction and the materials used, such as bamboo, metal, or plastic. Examples include maracas, tubos (shaking tubes), and chocalhos.
A significant musical instrument originating in Africa and belonging to the family of wooden stick instruments is the marimba. The most common design consists of a frame to which various lengths of wooden bars are attached – similar to a xylophone – the lower ends of which are fitted with wooden resonators.
These small wooden boards are struck with two mallets and rubber balls to produce a percussive sound. The marimba is found in all Latin American countries and is even the national instrument of Guatemala.
Additionally, humming pots (cuíca) and musical bows (birimbao) are also used in Latin American percussion.
The use of percussion instruments is particularly emphasized in dances with multiple rhythms. These dances are mainly played in 2/4 or 4/4 time and can be performed either instrumentally or with vocals.
They are mostly traditional folk dances, consisting of a mixture of Spanish, African and Creole elements, and appear in various regional variations.
An example of a mestizo-Afro-Caribbean folk dance is the Cumbia. This dance can be performed both sung and purely instrumentally. Typical rhythmic accompaniment instruments are maracas and tamborils. Tamboriles are narrow drums with two heads.
Maracas are a type of musical instrument that is widely used and shaken. They consist of two roughly equal-sized spheres filled with stones, sand, or seeds, and have a handle. Rhythmic shaking produces sounds.
The musicians who play maracas are called maraqueros. These instruments are also used in merengue – a very fast folk dance with a pronounced rhythm (syncopated). There are many regional variations of the dance, each with its own name.
A slower version of the dance is common on the Atlantic coast of Colombia and Venezuela. Besides maracas, small drums called cajas used, which can be worn around the body using straps or cords, as well as various scraping idiophones such as guacharacas.
Guacharacas (also known as guiros or "samba cucumbers") are made of bamboo tubes with transverse grooves and produce sounds by rubbing a stick along these grooves. Another scraping instrument used for rhythmic accompaniment is the Brazilian reco-reco.
Salsa combines elements of various musical techniques from the aforementioned dances .
The bodhrán is a frame drum from Irelandthat has gained considerable attention in recent years. With its characteristic bass and snare sound, it has become an integral part of the Irish musical tradition.
The drum consists of a frame made of wood or metal and a membrane, traditionally made of goatskin. Its simple construction and diverse tonal range make the bodhrán suitable for all kinds of musical styles, from traditional Irish tunes to modern fusion sounds.
In addition, there are numerous accessories such as sticks, bags and instruction books to make playing the bodhrán easier.
The bodhrán is a type of frame drum found in various forms around the world. Although its origin is not entirely clear, it is clearly related to the tambourine . However, no evidence has yet been found to prove that it reached Ireland via trade routes from southern Europe
The word "bodhrán" comes from the Irish word "bodhar,"meaning deaf, dull, or muffled. It is also associated with hollow tones and the sound of a drum. Interestingly, since the Middle Ages, the English word "to bother" has been derived from "bodhar." Nowadays, the word bodhar is no longer used.
The earliest evidence of the use of the word bhodhrán comes from a 15th-century medical text, which describes a distended abdomen as being accompanied by the sound of a drum (bhodhrán). Old dictionary entries also confirm that the word bodhrán was in use before 1827.
In illustrations by an Irish painter named Maclise from around 1850, one can see a frame drum in which the player's left hand touches the inside of the drumhead and the right hand appears to perform the typical movement.
Further studies (see Ireland.de – Bodhrán – the unusual frame drum) have shown that several bodhrán manufacturers were already established in some areas of Kerry in the 1920s. At that time, they were produced not only for local musicians but also for tourists, as the bodhrán was already a popular souvenir.
The first known recording dates from 1927, in which a flute and drum can be heard. However, it is unclear whether it is a bodhrán with jingles or a tambourine.
Over the last fifty years, its use as a musical instrument has changed dramatically. This development went hand in hand with the evolution of traditional Irish music. While until the 1950s traditional music was mainly played for dancing, from the 1950s onwards it also developed into an art form on stage.
Sean O'Riada played a key role in this development , bringing traditional Irish music to concert stages and founding the ensemble Ceoltóirí Chualann, the precursor band of the still active ensemble The Chieftains.
The modern style of playing has only developed in recent decades, and this development continues to advance. A lower-tuned drumhead allows the player to produce a much wider range of tones compared to other frame drums.
In a right-handed person, the right hand holds the tipper, also called the cipin , and performs a unique twisting motion to create the rhythm.
Different pitches are produced with the left hand by touching the drumhead in various ways. Combining the right and left hands creates fascinating sounds and rhythmic patterns. This complexity has grown steadily over the last four decades.
In the 1960s, the open sound was simply dampened by placing the hand on the drumhead; then different pitches were added. This made the entire playing more nuanced, and eventually drum rhythms and rhythmic patterns from other cultures were integrated.
Today, the bodhrán can even be heard as a bass instrument in Irish music with played bass lines.
Many see it as a mixture of drums and bass, without losing its characteristic sounds and rhythms. However, there is also the risk of overly varied playing, which distracts from the actual music.
The bodhrán remains an accompanying instrument; it should underline the melody rather than overshadow it – because often less is more.
The drum kit offers a modern fusion of different drumming traditions . This type of percussion instrument is equipped with several drums and percussion instruments, making it possible to produce different sounds.
This often combines elements from African rhythms, Latin American percussion and Japanese Taiko.
The result is a richness of soundthat is unparalleled. Snare and bass drums made of wood, as well as djembe drums and bougarabou, are particularly popular. Accessories such as drumsticks or pedals can also play an important role.
Percussion instruments, from which the drum kit evolved, have an ancient and diverse history. The oldest evidence of cymbals and drums dates back to the 7th century BC . Sculptures and paintings of drums and cymbals, created by both the Romans and the Egyptians, have been found in ancient tombs
The word tambourine comes from the French word tambour , which itself has a multicultural origin. This word, in turn, derives from the Persian word tabῑr and the Arabic word ṭubūl – Moroccan tambourines are made of the same wood as snare drums.
Drums can be found all over the world and in every culture – so the history of these instruments must be really ancient.
Basins were unearthed from the tombs of the ancient Greeks, who believed they could ward off evil spirits. Paintings of basins used as instruments in festivities have also been found among their remains.
The invention of the first bass drum pedal in 1887 by J.R. Olney was crucial for the development of the drum kit. Subsequently, in 1899, the first mass-produced model was manufactured by William F. Ludwig, while in the USA the so-called "No Drumming Laws" were enacted, which prohibited slaves from playing their traditional hand drums.
This led to the cultivation of African rhythmic music with European and oriental percussion instruments.
The first complete drum set was finally released in 1918 by the Ludwig Drum Corporation .
Back then, there was no hi-hat stand , and the bass drum pedal also controlled a small cymbal. Drum sets at that time were "Jazz Drum Sets Saale I to III" . Simplified versions called Piccadilly and Shimmy also existed.
By 1927, they already offered a wide selection of drum sets, including a suitcase drum set.
The origins of the modern hi-hat stand can be attributed to various individuals. Vic Berton, for example, is believed to have been the first to experiment with a raised "low boy ," but he failed to patent it.
All sources agree that Papa Jo Jones is the first master of the hi-hat. He elevated the instrument to a new level and fully exploited its sonic possibilities. Furthermore, he showed other drummers how to use the hi-hat to its full potential.
He shifted the "timekeeping" function from the bass drum to the hi-hat, which has significantly contributed to the hi-hat now occupying a dominant position in drumming.
Further information on the history and playing technique of the drum set:
In a classical orchestra, the timpani the foundation and ensures rhythmic cohesion.
The large kettledrums are usually used in pairs and, with their deep bass tones, provide a solid foundation for the entire orchestra. They are, so to speak, the heartbeat of the orchestra.
The kettledrum, a percussion instrument from the family of skin-sounding instruments, produces sounds by vibrating a membrane.
This timpani is usually hemispherical and often made of copper. The upper end is covered with a plastic skin, while in top-class classical orchestras, goat or calf skins are still used.
There are five different sizes of timpani. A standard configuration typically uses four different sizes, each producing a distinct sound. Each timpani allows for the playing of approximately six different notes by tensioning the membrane (drumhead).
The tonal range is fixed and can be adjusted using screws, pedals or cranks, depending on the type of timpani.
Increasing the tension produces a higher pitch. Furthermore, the pitch can also be changed while playing using a mechanism ( pedal ) in or below the timpani
The mallets used to play timpani are made of wood or tubing. The head of the mallet, for example, is made of wood, felt, or rubber and has a decisive influence on the sound. Timpani played with a felt mallet produce a soft sound; conversely, a wooden mallet creates a hard sound.
The playing takes place in the area near the edge on the player's side and ends just before the center. The closer to the center the playing is made, the louder the sound. Occasionally, a cloth is placed over the center and other areas to dampen the sound.
Timpani are mainly used in classical orchestral music and marching bands; however, they are also occasionally used in pop music and folklore.
Unlike the drum set, whose importance as a solo instrument in the orchestra is still relatively new, the timpani has played a significant role in orchestral music for centuries.
The timpani originated in the military. During campaigns, the timpanist rode alongside the general, giving signals for attack or retreat. This profession enjoyed great prestige in the cavalry. The musical legacy of this historical significance can still be found in all timpani literature today.
From Bach to Beethoven to Strauss , the timpani, together with the trumpet, often symbolizes royal, military and ceremonial aspects – be it in symphonies, oratorios or operas.
Even in Mahler's symphonies, we find the motif of war in the rhythm of the timpani . The basic concept of these historical motifs persists throughout the entire history of music – and that is precisely what makes this instrument so fascinating.
Owner and Managing Director of Kunstplaza . Publicist, editor, and passionate blogger in the fields of art, design, and creativity since 2011. Graduated with a degree in web design from university (2008). Further developed creative techniques through courses in freehand drawing, expressive painting, and theatre/acting. Profound knowledge of the art market gained through years of journalistic research and numerous collaborations with key players and institutions in the arts and culture sector.
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