Bodhrán Online Tutorial Tuning Commercial Tutorials Neo-bodhran I should start this section by saying clearly that I am by no means an expert player on this wonderful wee drum, I am an enthusiast (read nerd) however and because I am driven to know and understand more, my own skills as a player are progressing. The Bodhran sections are a mixture of information that I have been given, that I have uncovered by research whether in literature , online, from commercially available sources, by participating in bodhran specific discussion group s or through my own growing experiences. I hope that you find it useful and I will be delighted to respond to any comments either by e-mail or on the dojo discussion forum . ------------------------------ The bodhrán (pronounced Baw-ron or Bore-on) is regarded in contemporary terms as an indigenous drum of Ireland. It is unique among drums because of its 'one-handed' style of striking the drum using a two headed stick. There is no record of this striking style anywhere else to the best of my knowledge, Rina Schiller makes reference to a french two headed stick, a 'mailloche double' although my small direct research on this has not yet borne any further information.

Basic research will deliver several and varied opinions on the drum's roots. Many claim it as an ancient druidic drum and indeed the frame drum is the oldest form of drum. In the case of the bodhran, a 'potato' road formed by trade could feasibly be traced back over several millennia to Persia where the frame drum is considered to have originated. Others yet believe it to be of African origin, coming to Ireland via or Spain or America where emigration met slavery. Most make the connection to its use in 'winnowing', separating stones or seeds and this would provide the most likely source as it provided the basic drum for most of the other frame drumming cultures. The name bodhran is Irish meaning deafener or deafening. It derives from the word 'bodhr' meaning deaf. If one can imagine stones landing on a taut skin then the connection is not hard to understand. The drum itself is not loud having a playing volume around or slightly above normal conversation levels, melody players at a seishun will beg to differ :) A bodhran was played fairly simply initially and has continuously developing musical sophistication.

The drum is known to have been in use in the earlier part of the 20th Century with flattened-penny or other jingles attached, similar to a tambourine, riqq or muzhar . Jingles were removed or taped over as desired to create the drum we have today. The most significant development of the instrument has taken place in the past 50 years or so, its rise co-inciding with the work of Sean O'Riada who, by developing music from informal gatherings in the pub and the parlour into a performance type on the stage, opened Irish music to new audiences. The many styles of bodhran playing employed now are vastly different and more developed than can have existed previously. Johnny 'Ringo' McDonough is acknowledged as being seminal in the introduction of the left hand ON the skin and thereby opening up the instrument to a whole new world of sound options. The drum continues to evolve and emerging styles abound as do developments in materials and construction. A note on the 'Other' Bodhran more... There is a completely new style of bodhran playing emerging which employs techniques from the middle eastern frame drums .

Percussion maestro Glen Velez Video link is held as being the originator of this style, however it is completely different from traditional bodhran playing. There is a new dojo section for this style of playing on the site thanks to my friend and emerging hand drumming virtuoso David Kuckherman . The section has an introduction , basic instruction and first rhythms with MP3, there are great video / audio links. Striking the drum The bodhrán is usually played with a short two-headed stick called a 'cipin' (ki-peen) or 'tipper' employing a unique playing technique involving both hands in completely different ranges of actions. It is held in the right hand for a right handed person. The size is generally around 9" - 10", many shapes & types are used. A note on styles In the 'Kerry ' style that is most commonly taught, both top and bottom ends of the tipper are used. The right hand strikes the drum and the left 'voice' hand determines the sound that is made by that strike. Another style, the 'Limerick' style uses only one end of the stick or a short bulbous stick, triplets are accomplished with doubling hand speed.

In the 'Roscommon' style the knuckles or finger joints are used instead of the tipper. There are many other styles and variations. Every player will have their own version of a style. An emerging style is the Top End style which comes from Northern Ireland. It is different in that the tipper hangs vertically from the hand and strikes mainly (you guessed it) on the top end of the drum, the left use hand is also different in that it determines the very high poppy sounds that delineate this style. This is a contemporary emergent style providing super-wide tonality and demanding new qualities from drums and drummakers. In my opinion this style has been strongly influenced by the lambeg skinned drums made by Seamus O'Kane from Lower Drum, Dungiven in N Ireland. These drums have super-flexible, soft impact skins that provide easy access to multi-octave playing and extended voicings. Nomenclature A bodhrán player may be called a bodhráni / bodhráness, the plural is bodhránii.

Most people just stick with bodhran player :) The Drum Physical description The bodhrán is a circular frame drum which means that by family definition, the depth of the shell is less than half of the width of the head. There are certainly bodhráns with deeper shells, these would technically fall into the cylindrical drum category because shell resonance and air resonace start to come into the equation. The playing techniques for these longer drums are identical to a regular bodhrán, however the drum shell may require to be physically modified by a cut out or even holed to allow the player's left hand to access the rear of the skin. Many traditionally constructed bodhráns have an arrangement of crossbars on the back, this can be a single bar, a 'T' shape or most commonly, a cross that is centralised or offset. These bars can assist with the bracing of the left hand, allowing greater pressure to be applied to the skin or to allow it to be held when playing unmuted and in an 'open' style.

The bars were added traditionally to help to maintain the circular shape of the drum (riddle / sieve), however with the advent of modern laminate construction techniques, the bar on a drum of any reasonable quality is viewed as an optional extra for playing purposes rather than a key structural element. Generally the head diameter is usually in the range 14" to 20" and shell depth is in the region 3" to 6", there are of course extreme depths and diameters and makers who specialise in these, there are even oval shaped drums but these are relatively uncommon. The most common drums are circular with diameters 15" to 18". Construction materials The wood used in the construction of a bodhrán shell can come from any type of hardwood or other material, the majority of modern shells are constructed from a number of layers of beech or birch ply. Because of the depth of the standard shell, there is no significant shell (or air) resonance to be accounted for and it only needs to be strong and capable of accepting the bending processes and bearing the playing tensions. Aesthetics are much more individual and can vary greatly.

The shell of a bodhrán is generally in the range 4" - 6", however there are makers who make deep shelled drums up to 12" and beyond. The shell tends to be one of the thicker of the frame drum family, 1/4" - 1/2" (7-15 mm-ish) - thicknesses are relatively common. The shell can be made of a single steamed & bent piece of wood or can be constructed as a series of laminated plies, glued around or inside a former. Plies correctly constructed in a 'staggered' manner i.e with joins not placed on top of each other, will usually be mechanically stronger and more stable than a solid piece of wood. In a deeper shelled drum, plies vs solid shell can also have an audible difference as can the choice of material. See the Dojo section on Drum shell construction for more detail. Tuning Drums commonly are available in tunable and untunable variations, a tunable drum will usually have some form of mechanism that lifts up an inner ring to push the skin upwards and apply tension, a second, rare type, pulls down an external flesh ring with the skin attached for the same effect.

The inner ring method (see image) is by far the most common and there are many variations on both types. Visit the bodhran tuning section Drum head / drum skin a bodhran head is generally made of goatskin although any animal hide can potentially be used. It is not uncommon to hear of kangaroo , calfskin, deer and even dog skin being used. It is also becoming common to hear of bodhráns headed with a plastic (mylar) head see... . Both natural and synthetic materials have a range of advantages and disadvantages. I haven't yet come across a synthetic headed bodhrán in Ireland. With the bodhrán, the skin is the most critical element to the sound of the drum, and the skin requires to be 'played in' before the drum achieves its optimum sound. This process of playing in happens through the playing of the drum and breaks up the fibres that keep the skin rigid. A thin skin will require less playing in and will deliver a warm accurate tone, rich in overtones, a thicker skin will be more 'thumpy' and more 'rounded'.

A thin skin will be more flexible with a greater octave range than a thick skin There will always be exceptions with individual skins & the makers' processing has a huge effect. A soft skin will deliver less noise from contact with the tipper than a hard skin and will be 'warmer'. There is a trend nowdays away from thick hard skins toward the use of thinner skins and/or skins that have been scraped super thin. Many hold the Lambeg skin preparation processes as being ideal also for thin bodhran skins. This is in keeping with contemporary and emergent playing styles. In Lambeg processing the skin is scraped down to the absolute thinnest and skins of 0.5mm and less are common. Lambeg skins are only made in N Ireland and there are only maybe a half a dozen Lambeg makers who can produce these. This puts the skins and drums which bear them, at a premium. To prepare a skin for use on a drum it needs to be cleaned so that all fatty and other tissue deposits are removed from the inside of the skin and the hair is removed from the outside. Most bodhran makers have particular methods or substances that they employ but that part of the process is generally somewhat shrouded in secrecy.

Some research shows up a range of methods from burying it in the ground to soaking for days in baths of oak bark or lime to depilate and cure the skin. Although we know certain facts about the processes, there are further skin conditioning processes which are applied but it is rare for a bodhrán maker to share his skin 'recipe' in its entirety. if I can quote second hand from a well known N Irish bodhrán maker "I taught him everything he knows about bodhrán skins, but not everything I know!" There are many myths and countermyths out there be careful what you do with a skin :) Temperature effect. A natural skin head will always seek to equalise with humidity levels, the amount of moisture in the air is the #1 cause of flabby or over-tight drums. Hot and/or dry weather will make the skin tighter and higher in pitch as moisture is taken from the skin, conversely damp moisture laden air will make the skin looser and lower in pitch. Hot and humid weather will lower the pitch most as moisture in the air has a greater effect combined with heat.

As the skin gets 'played in ' over time, it becomes more stable in terms of the width of the range of the fluctuations and more forgiving but it will still be susceptible to ambient effects. On a non-tunable drum, the way tuning... to counteract these variations in pitch is either by warming the skin to raise the pitch or dampening the skin to lower it. Water should be applied sparingly to the skin on the inside of the drum, a plant mister is useful. Please only use water to dampen the skin, there is a romantic notion that using Guinness or beer on the skin is the way to go, don't do it!! using beer will rob the skin of the natural oils that keep it supple and will eventually stink to high heavens. If heating your drum over, or in front of, a naked flame, keep your hand between the flame and the skin to gauge how close you safely want to be. The heat & friction from the players hand when playing is often sufficient to warm up and dry out a skin and a player may need to continually adjust the tuning.

A plastic/mylar head is not susceptible to these variations in ambient temperature or hand-heat, this is by far its biggest selling / purchasing point particularly in arid areas of the world. Any player with a drum headed with an artificial head will most likely tell you that where they had a choice between the two materials, this was their reason for choosing that particular head type. A plastic head will stretch and lower in pitch over time, they gensrally are not replacable. A natural skin tunable head is generally the choice for professional players. The subjective and most important issue of course is the sound of the drum, a mylar head will sound different to a natural one, notice I'm not saying worse or better, just different, they tend to be thinner and livelier with more overtones. I have heard the term 'plasticky' used as a descriptor but have yet to find a suitable definition for this word or the sound it attempts to describe. At the end of the day, the choice of skin is entirely yours based on the factors that you have to consider based on your personal tastes and the conditions in which you intend to play the instrument. The Bodhran is a super instrument capable of almost infinite variation.

I describe it as a chatty wee drum but it is capable of tremendous power when used well. It translates to professional performance superbly, mics beautifully and 'rattles yer windys' Playing the Bodhrán Frame drummer A personal note : In my part of the world (N Ireland) The bodhran unfortunately carries the 'baggage' of being tagged a Nationalist/Republican drum, similarly to the Lambeg which has been tagged a Unionist/Loyalist drum. Both of these drums have been used to varying degrees by both communities for as long as they have had a history in Ireland, the traditional repertoire of tunes and songs is largely shared with the exception of some sectarian or party tunes on each side. Many will of course argue differently and seek to maintain the division, there has been great polarisation over the troubled years, including cultural appropriation and the generation of modern sectarian folklore based on nothing more than the politics of hate. It makes me sad that I feel I have to either play both drums or neither of them. I am proud to play both. Paul Percussion Lessons and Rentals in Buford, Dunwoody and Lilburn GA Rent a School Percussion Kit Did You Know...

A percussion instrument can be any object which produces a sound by being struck with an implement, shaken, rubbed, scraped, or by any other action which sets the object into vibration. The term usually applies to an object used in a rhythmic context and/or with musical intent. The word, "percussion", has evolved from Latin terms: "percussio" (which translates as "to beat, strike" in the musical sense, rather than the violent action), and "percussus" (which is a noun meaning "a beating"). As a noun in contemporary English it is described at Wiktionary as "the collision of two bodies to produce a sound". The usage of the term is not unique to music but has application in medicine and weaponry, as inpercussion cap, but all known and common uses of the word, "percussion", appear to share a similar lineage beginning with the original Latin: "percussus". In a musical context then, the term "percussion instruments" may have been coined originally to describe a family of instruments including drums, rattles, metal plates, or wooden blocks which musicians would beat or strike (as in a collision) to produce sound.

History Anthropologists and historians often explain that percussion instruments were the first musical devices ever created. The first musical instrument used by humans was the voice but percussion instruments such as our hands and feet, then sticks, rocks, and logs were the next steps in the evolution of music. Classifications Percussion instruments can be, and indeed are, classified by various criteria sometimes depending on their construction, ethnic origin, their function within musical theory and orchestration, or their relative prevelance in common knowledge. It is not sufficient to describe percussion instruments as being either "pitched" or "unpitched" which is often a tendency; rather it may be more informative to describe percussion instruments in regards to one or more of the following four paradigms: By methods of sound production Many texts, including Teaching Percussion by Gary Cook of the University of Arizona, begin by studying the physical characteristics of instruments and the methods by which they produce sound. This is perhaps the most scientifically pleasing assignment of nomenclature whereas the other paradigms are more dependent on historical or social circumstances.

Based on observation and experiment, one can determine exactly how an instrument produces sound and then assign the instrument to one of the following five categories: Idiophone "Idiophones produce sound when their bodes are caused to vibrate." (Cook, 2006) Examples of idiophones: Wood block Membranophone Most objects commonly known as "drums" are membranophones. "Membranophones produce sound when the membrane or head is put into motion." (Cook, 2006) Examples of membranophone: Snare drum Timpani Lion's roar: The lion's roar might be, incorrectly, considered a chordophone as rope or string is used to activate the membrane. However, it is the membrane which sounds. Wind machines: A wind machine in this context is not a wind tunnel and therefore not an aerophone. Instead, it is an aparatus (often used in theatre as a sound effect) in which a sheet of canvas (a membrane) is rubbed against a screen orresonator -- this activity produces a sound which resembles the blowing of wind.

Chordophone Most instruments known as "chordophones" are defined as string instruments, but some such as these examples are, arguably, percussion instruments also. Hammered dulcimer Piano Aerophone Most instruments known as "aerophones" are defined as wind instruments such as a saxophone whereby sound is produced by a person or thing blowing air through the object. However, the following example instruments, if played at all in a musical context, are played by the percussionists in an ensemble. Examples of aerophones: Whips Siren Pistols: The explosion of hot expanding gases from the muzzle of a starter pistol produces sound. Electrophone Electrophones are also percussion instruments. In the strictest sense, all electrophones require a loudspeaker (an idiophone or some other means to push air and create sound waves). This, if for no other argument, is sufficient to assign electrophones to the percussion family. Moreover, many composers have used the following example instruments and they are most often performed by percussionists in an ensemble. Examples of electrophones: Computers and MIDI instruments (i.e.

drum machines or zendrums) Radios Typewriter (Although, mechanical typewriter which do not use electricity are strictly idiophones.) By musical function/orchestration It is in this paradigm that it is useful to define percussion instruments as either having definite pitch or indefinite pitch. For example, some instruments such as the marimba and timpani produce an obvious fundamental pitch and can therefore play melody and serve harmonic functions in music while other instruments such as crash cymbals and snare drums produce sounds with such complex overtones and a wide range of prominent frequencies that no pitch is discernable. Definite pitch Instruments in this group are sometimes referred to as "pitched" or "tuned". Examples of percussion instruments with definite pitch: Timpani Air raid sirens By prevalence in common knowledge Although it is difficult to define what is "common knowledge", there are instruments in use by percussionists and composers in contemporary music which are certainly not considered by most to be musical instruments of any kind. Therefore, it is worthwhile to try to make distinction between instruments based on their acceptance or consideration by a general audience.

For example, it is safe to argue that most people would not consider an anvil, a brake drum (the circular hub on modern vehicles which houses the brakes), or a fifty-five gallon oil barrel to be musical instruments, yet these objects are used regularly by composers and percussionists of modern music. One might assign various percussion instruments to one of the following categories: Conventional/Popular clay pots garbage cans John Cage, Harry Partch, Edgard Varèse, all of whom are notable composers, created entire pieces of music using unconventional instruments. Beginning in the early 20th century, perhaps with Ionisation by Edgard Varèse which used air-raid sirens (among other things), composers began to require percussionists to invent or "find" objects to produce the desired sounds and textures. By late-20th century, such instruments had become common in modern percussion ensemble music and popular productions such as the off-broadway show, STOMP. By cultural significance/tradition This topic should be investigated with caution so as to avoid being politically or historically incorrect.

Nevertheless, it is not uncommon to discuss percussion instruments in relation to their cultural origin which has led to a dualism between instruments which are considered "common" or "modern" and those which have a significant history and/or significant purpose within a geographic region or among a specific demographic of the world's population. "World"/"Ethnic"/"Folk" drums This category may contain instruments which have special significance among a specific ethnic group or geographic region. Such as: Taiko Timbal "Common" drums This category may contain instruments which are widely available throughout the world and have experienced popularization among a variety of world populations. Such as: Drum kit Function Percussion instruments play not only rhythm, but also melody and harmony. Percussion is commonly referred to as "the backbone" or "the heartbeat" of a musical ensemble, often working in close collaboration with bass instruments, when present. In jazz and other popular music ensembles, the bassist and the drummer are oftened referred to as the rhythm section. Most classical pieces written for full orchestra since the time of Haydn and Mozart are orchestrated to place emphasis on the strings, woodwinds, and brass. However, often at least one pair of timpani is included, though they rarely play continuously.

Rather, they serve to provide additional accents when needed. In the eighteenth and nineteenth centuries, other percussion instruments (like the triangle or cymbals) have been used, again relatively sparingly in general. The use of percussion instruments became more frequent in the twentieth century classical music. In almost every style of music, percussion plays a pivotal role. In military marching bands and pipes and drums, it is the beat of the bass drum that keeps the soldiers in step and at a regular speed, and it is the snare that provides that crisp, decisive air to the tune of a regiment. In classic jazz, one almost immediately thinks of the distinctive rhythm of the hi-hats or the ride cymbal when the word "swing" is spoken. In more recent popular music culture, it is almost impossible to name three or four rock, hip-hop, rap, funk or even soul charts or songs that do not have some sort of percussive beat keeping the tune in time. Because of the diversity of percussive instruments, it is not uncommon to find large musical ensembles composed entirely of percussion. Rhythm, melody and harmony are all apparent and alive in these musical groups, and in live performance they are quite a sight to see.

Percussion music Music for pitched percussion instruments can be notated on a staff with the same treble and bass clefs used by many non-percussive instruments. Music for percussive instruments without a definite pitch can be notated with a specialist rhythm or percussion-clef; More often a treble clef (or sometimes a bass clef) is substituted for rhythm clef. Names for percussionists The general term for a musician who plays percussion instruments is "percussionist" but the terms listed below are often used to describe a person's specialties: balafonist: a balafon player bongocerro: someone who plays bongos and usually cencerro (a cow bell) congalero, conguero: someone who plays congas cymbalist: someone who plays cymbals drummer: a term usually used to describe someone who plays the drumset or hand drums. marimbist, marimbero: a marimba player timbalero, timbero: someone who plays timbales timpanist: a timpani player Drums | Gandharva Loka: the world music store in Christchurch, New Zealand – musical instruments from around the world.

Drums Presenting the drums that are available from Gandharva Loka: the world music store in Christchurch, New Zealand. Drums Bendir The bendir (also known as erbeni or arbani) is a simple traditional frame drum used throughout northern Africa. Frame drums are the oldest and most common kind of drum and the bendir has been around since prehistoric times with strong evidence of its use in Ancient Egypt and Mesopotamia . It typically has a two or three strand snare (usually made of fine gut and seen faintly in the image on the right) stretched across the inside of its head which, when the drum is struck with the fingers or palm, gives the tone a unique buzzing quality. The bendir has a wooden frame, which is usually between 36 to 41 cm (14 to 16 inches) in diameter, with a membrane that is glued and/or tacked to the frame. Traditionally the bendir is played vertically by inserting the thumb of one hand into a special hole in the frame. It is then played using the fingers of the that hand and with the other hand moving freely across the face of the drum.

Other methods of playing are on the lap and face up wedged between the knees. The bendir is used in the special ceremonies of Sufism which has a strong tradition of using music, rhythm, and dance to reach particular states of consciousness. A sample of the bendir being played can be viewed here . Bodhran The bodhran is an Irish frame drum that ranges in size from 25 to 65 cm (10" to 26") in diameter. Bodhrans generally have a goatskin head attached to one side of the frame. Synthetic heads or other animal skins are sometimes used. The other side of the frame is left open and the players free hand is placed against the inside of the drum head to control the pitch and timbre. As seen in examples to the right, bodhrans often have one or two crossbars inside the frame, but the use of crossbars seems to be declining in modern instruments. Some modern bodhrans integrate mechanical tuning systems (see middle image) that allow the bodhran heads to be tightened or loosened to compensate for atmospheric conditions.

The bodhran is generally played on the lap of the seated player and a wooden beater, known as a tipper or cipin (see bottom image), is used to strike the drum in a technique that often uses both ends of the tipper and requires a great deal of wrist work. As with all Irish music, styles of play can vary from county to county. It is believed that the bodhran dates back several centuries and there is evidence that it was used as a battle drum back as far as the 17th century. The drum provided a cadence for the pipers and warriors to keep to, as well as to announce the arrival of the army. This leads some to think that the bodhran was derived from an old Celtic war drum. Sean Ó Riada declared the bodhran to be the native drum of the Celts, with a musical history that predated Christianity. The bodhran is very similar to the ancient frame drums of African origin. These days the bodhran is solely synonymous with traditional Irish music and, whilst it is not necessarily the backbone of Irish music, a skilled and sensitive bodhran player can certainly add a wonderful percussive element to an Irish music session.

A good example of bodhran playing can be viewed here . Bodhrans and Tippers Gandharva Loka offers a range of quality standard and tunable bodhrans. We also stock locally made and imported tippers. Bodhran Books, DVDs and Bags Gandharva Loka stocks bodhran tuition books and DVDs including "Your Essential Guide to the Bodhran" – an instructional 'how to play the bodhran' DVD produced by Christchurch bodhran player / teacher Argène Montgomery-Hönger. We also stock good quality protective carry bags for bodhrans and frame drums – see: Drum Bags . Congas Congas (also known as tumbadora) are tall, narrow, single-headed drums from Cuba. Typically made from wood (fiberglass is also used) with screw-tensioned drumheads, congas are staved like barrels and classified into three types: quinto (lead drum, highest), tres dos or tres golpes (middle), and tumba or salidor (lowest).

Congas are traditionally used in Afro-Cuban genres such as conga and rumba, although they are now very common in many other forms of Latin music, including descarga, Afro-Cuban jazz, salsa, songo, merengue and Latin rock. Gandharva Loka stocks Rhythm Tech congas which are constructed from select Asian Oak to exact specifications and come with a robust stand (see image right). They feature 10" (25.6 cm) and 11" (28 cm) heads and offer superb quality at an affordable price. Bongos The bongos are a Cuban percussion instrument consisting of a pair of single-headed open-ended drums that are attached to each other. Each drum is a different size: the larger drum is called in Spanish the hembra (female) and the smaller the macho (male). Bongos are usually played by hand. Bongos originated in Africa and, as is the case with many instruments, it was the slave trade that brought the forerunner to the bongos to Cuba. Bongos are typically played on or between the knees but are also free standing with rubber feet so that they can be played on a table or bench.

They can also be adapted to stands so that they can be played in the standing position. Gandharva Loka offers pairs of bongos and bongo stands that are sold separately. The bongos are a very suitable instrument for children and young adults who wish to develop rhythm and drumming capacities. Cajon The cajon (pronounced kah-hon) is a percussion instrument that has its origins in Peru and is considered to be the most popular percussion instrument in Latin America. In colonial times slaves were not permitted to use their traditional instruments so they improvised and started using wooden shipping crates as drums and this gave birth of the cajon. Today's cajon makers use either guitar strings or snare wires inside the drum to give the instrument a great crisp sound. Of all forms of hand percussion they perhaps more than any other give us a real drum set sound. With a nice warm punchy bass and crisp snare sound this instrument has unlimited potentiality. A demonstration of the cajon can be viewed here .

Gandharva Loka stocks a locally made and imported cajons including self-assemble kitset models and cajons and 'cajonitos' (compact laptop cajons) made by Schlagwerk. Cajon Instruction / Tuition Books The Big Instruction Book for the Cajon – by Conny Sommer. (Includes a CD.) Cajon Styles for Drummers – by Martin Rottger. (Includes a CD with over 50 audio examples and play-alongs.) Daf The daf is a large frame drum used to accompany both popular and classical music in many regions of the Middle East and is commonly used in Khangah (temple of dervishes) during the zekr (spiritual chanting) rituals. Its Pahlavi (pre-Islamic Persian language) name is dap and daf is the arabic word for dap. Many Persian poets have alluded to the daf in their works including the renowned theologian and seer-poet Jalaludin Rumi . The daf frame is traditionally made from a thin circular band of hardwood and covered with goatskin on one side.

It can also have small metal rings (often in chains) or small cymbals attached to the inside of the rim which creates a jangling effect when the drum is played. This makes the daf a type of tambourine and quite similar to the bendir. Tones of various depth and colour are obtained by hitting different spots on the skin with the fingers and generally daf have a beautiful low, soft tone with the rings being low pitched as well. In modern times the daf has risen to great popularity and is now integrated into many styles of Middle Eastern music. It is also becoming popular on a global level. A very good demonstration of the daf being played can be viewed here . Damroo The damroo (also known as the 'monkey talking drum') is a two sided Indian percussion instrument that is shaped like an hour glass. Gandharva Loka generally stocks three sizes the smallest if which is 8cm high by 9cm in diameter (a good size for children ) and the largest being 15cm high by 10cm in diameter. Cords control the tautness of the drum skin (usually goat skin) which allows the drum to be tuned.

The player holds the damroo in one hand and, by twisting the wrist back and forth, causes the two knotted strings to swing and beat a rhythm on the heads of the drum. The steady rhythm of the damroo provides an ideal accompaniment to ballads or to catch the attention of passersby. Damroo are often brightly painted and decorated with motifs and ornaments such as bells and shells. The damroo is the drum of Lord Shiva and is considered to be the first instrument to be given to humanity. In India many sadhus (holy men) carry the damroo as do madaris (the peddlers who exhibit bears and monkeys) and pavement vendors. The prayer drum is in the same family of drums as the Damroo. Darbuka, Dahola and Doumbek The darbuka (also known as dahola, doumbek and chalice or goblet drums) is a goblet shaped hand drum of ancient origin that is mostly used in Middle Eastern styles of music. Its thin, responsive drumhead and resonance help it produce a distinctively crisp tone.

Darbukas are played with a much lighter touch and with different strokes than hand drums such as the djembe of Africa. Traditionally darbuka are made of clay, metal or wood but modern versions are also being made of synthetic materials such as fiberglass, aluminum (either cast, spun or from sheet) and copper. Traditional drum heads are animal skin, commonly goat and also fish, but modern drum heads are also being made synthetic materials including mylar and fiberglass. There are two main types of darbuka – the Egyptian style (top image) which has rounded edges around the head and the Turkish style which exposes the edge of the head. The exposed edge allows closer access to the head so finger-snapping techniques can be used, but the hard edge discourages the rapid rolls possible with the Egyptian style. There are two main sounds produced by the darbuka. The first is the 'doum' – the deeper bass sound produced by striking the head near the center with the length of the fingers and palm. The second is 'tek' – the higher-pitched sound produced by hitting near the edge of the head with the fingertips.

Darbuka may be played while held under one arm (usually the non-dominant arm) or by placing the drum sideways upon the lap (with the head towards the player's knees) while seated. Some drums are also made with strap mounts so the drum may be slung over the shoulder, to facilitate playing while standing or dancing. A similar type of drum is the zarb . Dhol The dhol is a drum widely used throughout India but is especially popular in the Punjab region and particularly so among the Sikhs of East Punjab. It was used in war by the Sikhs and later to celebrate successful harvests. The dhol is most commonly associated with Punjabi music and dance and has remained very popular in modern Punjabi music. The dhol dates back to the 15th century and was probably introduced to the Indian subcontinent as the Persian dohol (duhul) which is described as being used in the orchestra of the Mughal emperor Akbar . The Indo-Aryan word 'dhol' appears in print in the early nineteenth. From northern India the dhol spread to other parts of the Indian subcontinent. A demonstration of the dhol can be viewed here .

Dholak The dholak is a very popular folk drum of northern India that is also found in Pakistan and Nepal. It is barrel shaped with a degree of tapering at each end. It has a simple membrane on the right end and a single membrane with a special application (a mixture of tar, clay and sand known as dholak masala) on the inner surface of the left end which lowers the pitch and provides a well defined tone. There are two ways of tightening the drum heads of the dholak. Some models are laced with rope and a series of metal rings are used to adjust the instrument. On other versions metal turnbuckles allow the same effect. The dholak is either played on the player's lap or, while standing, slung from the shoulder or waist or pressed down with one knee while sitting on the floor. Djembe A djembe (pronounced 'jem-bay') is a drum of African origin. The exact beginning of the djembe history and tradition is unclear, but the drum was certainly present in the 13th century when the great Mali Empire was formed.

Similar to the Middle Eastern darbuka , the djembe is shaped like a goblet and is played with the bare hands. The instrument takes its name from a saying of the Bamana people in Mali : 'Anke dje, anke be', which means, 'everyone gather together'. Due to the variations in the material used to construct djembe, there is a broad range of tones that can be produced by the instrument and the design of the body gives the djembe a deep and powerful bass note. The primary notes are generally referred to as 'bass' (low and deep), 'tone' (round and full) and 'slap' (high and sharp) although a variety of other tones can also be produced by advanced players. Gandharva Loka offers a wide range of types and sizes of djembe as well as padded bags (some have shoulder straps that allow the drum to be carried as a backpack) or colourful cloth bags imported from Africa – see: Drum Accessories and Drum Bags . We also stock instructional CDs and DVDs and are able to put our customers in touch with a dynamic drumming circle and excellent drum teachers here in Christchurch.

Djun-Djun The djun-djun (pronounced 'joon-joon' and also known as Djoundjoun, Dun-Dun and Dunun) is the general name for a family of three bass drums that evolved in West Africa . Along with the djembe , the djun-djun originated in the Mali Empire . The three drums that make up a djun-djun set are the dundoumba (literally meaning 'big djun-djun'), which has the lowest tone and is the largest of the three. Next is the mid-tone, medium-sized sangban and the third and smallest high-toned kenkeni. Djun-djun provide the rhythmic foundation for the djembe and are often mounted with bells that are played in conjunction with the drum. Each djun-djun is constructed from the hollowed out base of a tree and then covered on both ends with cow or goat skin that is held in place and tensioned by rope. There are wide variations on how the djun-djun is played throughout West Africa. An example of how the djun-djun and the djembe are played together in a traditional West African drum ensemble can be viewed here .

Drum Accessories DRUM BEATERS AND STRIKERS Gandharva Loka offers a wide range of drum beaters and strikers. We do not stock western style drum sticks but do have sticks that are used for drums such as the Japanese taiko and the African talking drum . We also stock a broad variety of beaters and mallets for gongs . DRUM HARNESSES These adjustable drum harnesses are designed to allow the musician to drum in a standing position. The straps have extra padding in the upper back area for comfort and support and the harness simply clips to the drums rim. DRUM SHOULDER STRAPS These strong and durable drum shoulder straps allow the musician to stand and move about while drumming. They are 4.5 metres long and are made from 50 mm webbing. There is no buckle – the strap simply threads through the ropes of the djembe and is knotted. DRUM HATS Gandharva Loka offers quality padded and waterproof drum hats that provide optimal protection for drum heads. We stock a variety of sizes with elastic bindings that ensure a secure fit.

DRUM WAIST STRAPS These adjustable djembe waist strap have a clip at each end allows the musician to hold djembes and other drums in a secure position while seated. The strong and durable 75 mm webbing can be adjusted to be used with one or two drums. DRUM TUITION CDs AND DVDs Gandharva Loka also stocks instructional CDs and DVDs and we are able to put our customers in touch with a dynamic drumming circle and excellent drum teachers here in Christchurch. ROPE PULLERS Rope pullers (also known as cord pullers) are used to tighten the ropes that tension the heads on African drums such as djembes and djun djuns. Gandharva Loka offers two sizes of aluminium Power Grip rope pullers: One-handed rope puller – 10cm wide (left in image) Two-handed rope puller – 20cm wide (right in image) Drum Bags BODHRAN / FRAME DRUM BAGS High quality water proof padded bodhran / frame drum bags with side pocket, hand straps and shoulder strap.

These frame drum bags come in three sizes: 35.5 cm (14 in) 45.5 cm (18 in) SMALL FRAME DRUM BAGS These quality padded drum bags are for small frame drums such as riq or kanjira . They are made of a washable, water-repellent nylon fabric with a zipper, a shoulder strap and a front pocket for accessories. DARBUKA BAGS These are similar to the djembe bags but smaller in size to fit Darbukas. High quality, waterproof, heavy duty, padded bags with shoulder and support straps, and zippered side pockets. DJEMBE BAGS High quality water proof, heavy duty, padded djembe bags with shoulder and support straps, and zippered side pockets. Three sizes: medium, large, extra-large. MADE-TO-ORDER DRUM BAGS Gandharva Loka can have drum bags made to order. Simply bring in your drum or give us the measurements and we can organise this for you. Drum Heads and Drum Repairs Gandharva Loka has drum heads available for tabla , naal , dholak and djembe .

We also offer a repair service for almost every type of drum. If you require a quote on a drum repair or head replacement, kindly bring your drum into Gandharva Loka (this is preferred) or contact us . We can also organise harmonium tuning and repairs . Ghatam The ghatam is a percussion instrument of South India – an earthenware pot that is played using the fingers, thumbs, palms and heels of the hand to strike the outer surface of the ghatam. It has a huge variety of sounds. An airy low-pitch bass sound, called gumki, is created by hitting the mouth of the pot with an open hand. Musicians sometimes press the mouth of the pot against their bare stomachs which deepens the tone of the bass stroke and is another way to produce the 'gumki' sound. Different tones can be produced by hitting different areas of the pot with different parts of the hands. In Indian classical music, the ghatam usually accompanies the mridanga . Although the ghatam looks very similar to a Indian domestic clay pot, it is made specifically to be played as an instrument. The walls are made to an even thickness to produce even tone.

Some types of ghatam are made with tiny shards of brass mixed into the clay as this produces a sharp metallic ringing sound favored by some musicians. The ghatam is a wonderfully expressive instrument and a lot of fun! Gong Drum A gong drum (also known as 'gong bass drum') is a percussion instrument that has a large single or double sided drumhead in order to create a powerful, resonant sound when struck. The head can be tuned as loose as possible to avoid any sense of pitch in the sound, or tensioned more tightly to produce tympani-like tones. Gong drums vary in size from about 50 cm (20 inches) to enormous sizes. First produced in the late 1970s, gong drums have since been used by a wide variety of musicians and recording artists and also in movie sound tracks. Gong drums are typically suspended in frames made from various materials such as wood, metal and aluminium which sometimes have casters for ease of movement in situations such as stages or recording studios.

Gandharva Loka currently has an 85 cm (33.5 inch) double sided cow hide gong drum that is mounted in a wooden frame similar to the one featured in the image above. Kanjira The kanjira (also known as a ganjira) is a South Indian frame drum – a percussion instrument of the tambourine family. It is used primarily in concerts of Carnatic music (South Indian classical music) as a supporting instrument for the mridanga . Having been used for less than a century, the kanjira is considered to be a comparatively recent innovation. It has been used in Indian classical concerts since the 1930s. Similar to the western tambourine, the kanjira consists of a circular frame made of the wood of the jackfruit tree, between 18 and 23 cm in width and between 5 to 10 cm in depth. The frame is covered on one side with a drum head made of monitor lizard skin while the other side is left open. The frame has a single slit which contain two to three small metal discs that jingle when the kanjira is played.

It is normally played with the palm and fingers of the right hand, while the left hand supports the drum. The fingertips of the left hand can be used to bend the pitch by applying pressure near the outer rim. Generally the kanjira has a very high pitched sound and, unlike the mridanga or the ghatam , is not tuned to any particular pitch. To get a good bass sound, the performer reduces the tension of the drumhead by sprinkling water on the inside of the instrument. Khol The khol is actually a clay mridanga – a two-sided drum used in northern and eastern India as accompaniment to devotional, folk and Indian semi-classical music. The khols origins are considered to be in the West Bengal region of India. One end of the khol is much smaller than the other and both ends are traditionally covered with cow or goat skin. The heads are tensioned with leather straps and the instrument is played with the palms and fingers of both hands. As the popularity of the khol grew in the West, many variations resulted using non-traditional materials for the body, such as metal and fibreglass, and synthetic skins for the drum heads.

Mridanga The mridanga is a percussion instrument from India. Of ancient origin, it is the primary rhythmic accompaniment in the Carnatic music (South Indian classical music) ensembles and is often accompanied by the ghatam , kanjira , and the mouth harp . The word mridanga is derived from the two Sanskrit words 'Mrid' (clay or earth) and 'Ang' (body). Early mridangas were indeed made of hardened clay and, known as the khol , are still available in that form. Over the years the mridanga evolved to be made of different kinds of wood due to its increased durability. In modern times mechanical devices have been added to adjust the tension of the drum heads. It is widely believed that the tabla , the mridangas North Indian musical counterpart, was first constructed by splitting a mridanga in half. Naal The naal (also known as Dholki) is a drum that is very popular with the tamasha tradition (a folk art form which includes singing and dancing) of Maharashtra state in western India.

The naal has a barrel shaped body and the left side resembles the bayan (the large metal drum of the tabla ) except that it uses dholak masala (an oil based application) on the inner surface instead of a syahi (permanent black spot). The right head is unique in its construction. Goat-skin is stitched onto an iron ring and in the centre of this skin is a syahi, similar to tabla except much thinner. Traditional naal are laced with rope and sticks are used to tension the drum heads but today it is more common that naal are made with metal turnbuckles that allow more precise tuning. There is often some confusion concerning the term 'dholki' which literally means 'small dholak'. Dholki is often used for smaller dholak that, structurally speaking, are quite different to the naal. A demonstration of the naal (dholki) can be viewed here . Ocean Drum The ocean drum really allows you to bring the sound of the sea into your music. Using small metal beads inside a double sided frame drum, the ocean drum allows you to create wonderful ocean wave effects as you tilt the drum from one side to the other.

The ocean drum can also be used as an effective drum using either the fingers or a beater. This is a wonderful instrument to use with children, in any sort of music therapy, or simply to create a wonderfully peaceful ocean atmosphere for your next performance. Pakhawaj The pakhawaj (also known as Mardal, Pakhavaj, Pakuaj, Pakhvaj, Pakavaj or Mardala) is an Indian barrel-shaped two-headed drum. The North Indian equivalent to the Southern mridanga , it also has many similarities to the dholak . It is the standard percussion instrument in the dhrupad style and is widely used as an accompaniment for various forms of Indian music and dance. The pakhawaj has a low and mellow tone that is rich in harmonics. Laid horizontally on a cushion in front of the drummer's crossed legs, the larger bass-skin is played with the left hand and the treble skin by the right hand. Pandeiro Like the tambourine , the pandeiro is held in one hand and struck on the head with the other to produce sound.

Typical pandeiro patterns are played by alternating the thumb, fingertips, heel, and palm of the hand. A pandeiro can also be shaken to make sound, or one can run a finger along the head to create a rasping sound. Pandeiro are used in a number of Brazilian music forms such as Samba, Choro, Coco, and Capoeira and the instrument derives from the pandeireta or pandereta of Spain and Portugal. Its ancient origin is considered to be in the Arabian region. Traditionally pandeiro are constructed with wooden frames, animal skin heads and metal cymbals but in modern times they are also produced using synthetic frames and heads. Riq The riq (also spelt riqq or rik) is a type of tambourine that is common to Arabic music and is an important percussion instrument in both folk and classical music. Traditionally the riq has a wooden frame, metal jingles (small cymbals), and a thin head made of fish or goat skin. These days riq frames are also made from metal or synthetic materials and the heads are also often synthetic.

The riq, which descended from the Persian daf , typically measures between 20 and 25 cm in diameter. Riq frames are often decorated on both sides with inlay such as mother-of-pearl, ivory or decorative woods. Generally a riq has ten small cymbals (about 4 cm in diameter), mounted in five pairs. The skin head is glued on and tightened over the frame which is about 6 cm deep. The riq is played in music ensembles throughout the Arabic-speaking world where it has a particularly clearcut role that goes beyond the simple rhythmic requirements of the daf, tar , or mazhar . In Sudan and upper Egypt the riq is also related to worship. Shaman Drum Shaman drums are a type of frame drum which, in general terms, are one of the most ancient types of musical instruments. They have a simple structure and a strong association with spiritual rituals such as in the Shamanism . Frame drums come in a variety of sizes. They are usually round and are traditionally made of wood with an animal skin head and sometimes metal rings or plates incorporated into the frame to provide a jingle effect. Some models are now being constructed from synthetic materials and some have mechanical tuning.

On many the drumhead is stretched and tacked in place. Frame drums are the earliest skin drum known to have existed. Although examples are found in many places and cultures, it is thought that frame drums originated in the ancient Middle East, India, and Rome, and reached medieval Europe through Islamic culture. The similarity of the names of frame drums in these regions shows the common history of these drums. Gandharva Loka currently stocks a line of quality Remo Buffalo Shaman Drums (pictured above). Sound Shapes Sound Shapes are high-quality, affordable percussion instruments that are perfect for the home, classroom or daycare center – children love them! They come in a variety of geometric shapes and cool sounds that are as vibrant as their colors. They range in size, colour, and shape but all have a great sound. Sound shapes can be set up as a mini drum kit using some of the special stands that are available, or can be split up and be used by a group. They are super strong, extremely portable and really easy to use, so they work well with children as well as adults who might need a light-weight, highly portable, practice drum kit.

Tabla The tabla is a popular Indian percussion instrument used in Hindustani classical music and in popular and devotional music of the Indian subcontinent. The instrument consists of a pair of hand drums of contrasting yet complimentary sizes and timbres. The term tabla is derived from an Arabic word tabl which simply means drum. Playing technique involves extensive use of the fingers and palms in various configurations to create a wide variety of sounds and rhythms. The heel of the hand is used to apply pressure or in a sliding motion on the larger drum so that the pitch is changed as the sound diminishes. The history of the tabla has been the subject of sometimes heated debate. It is most likely that the tabla is a hybrid resulting from the experiments with existing drums such as pakhawaj , dholak and naqqara. A common legend credits the 13th century Indian poet Amir Khusrau as the inventor when he split a mridanga into two parts. The tabla is central to Indian music and is used in a variety of genres including the classical music of North India as well as Indian contemporary, pop, folk and film music – and has become very popular in the West as well.

Tabla tones are beautiful and playing tabla combines rhythm, melody and harmony to create music that is soulful and meditative. Two very good examples of tabla playing can be viewed here and here . Tabla Instruction / Tuition Books Learn To Play On Tabla 1 & 2 – from the Pankaj Learn Yourself Music Series. Electronic Digital Tabla Gandharva Loka offers Radel Taalmala Digi-60 Dx electronic digital tabla. These are a state-of-the-art stereo digital musical instruments that have been designed by pioneers in the field of Indian electronic musical instruments who use the latest sampler technology to produce natural tabla sounds along with sophisticated features unmatched by any other model of electronic tabla. Crystal clear stereo sound provides for the natural sounding separation of the tabla (right hand) and the dagga (left hand). There are 60 thekas available in various taals that can be played at any tempo. Power cable and a strapped carry bag are provided. This instrument can also be powered using batteries.

Taiko Japanese taiko drums (taiko in modern times is a general term for 'drum' but historically taiko meant 'great' or 'wide drum' in Japanese) have been developed into a wide range of percussion instruments that are used in both Japanese folk and classical musical traditions. Taiko drumming has been part of Japanese culture for many centuries and taiko drums can be found in the numerous temples and shrines throughout Japan where they are played in religious festivals and ceremonies. Taiko were also used in warfare to bolster the spirits of the warriors and to demoralise the enemy. Taiko are generally stick percussion instruments (although some taiko are played using just the hands) that have heads on both sides of the drum body and a sealed resonating cavity. They are characterised by a high amount of tension on the drums heads with a correspondingly high pitch relative to body size. Since the later part of the twentieth century, Taiko drumming has become a performance art in itself that includes physically demanding and dramatic drumming combined with dance and often humour. A demonstration of taiko in its modern performance role can be viewed here and in its more traditional role here .

Talking Drum Talking drums (known by many names including Dundun, Gangan, Dondo, Odondo, Lunna, Donno, Kalangu, Doodo, Tama, Tamanin and Ekwe) are a member of the hourglass shaped family of pressure drums and are one of the oldest instruments in West Africa . Their history can be traced back to the Ghana Empire . The talking drum is particularly synonymous with the music and culture of the Yoruba people . Various sizes of talking drum exist, with the dimensions of the drum differing between ethnic groups. One of the special features of the talking drum is its ability to closely imitate the rhythms and intonations of spoken language. A skilled drummer can reproduce the sounds of proverbs or songs through a specialised drumming language and this dialogue can easily be understood by knowledgeable listeners which of course varied between ethic groups. Whether accompanying dances or sending messages, the sound of these instruments can carry for miles. Talking drum players sent messages by drumming the recipient's name, followed by the sender's name and the message. The drum heads of the talking drum cover both ends of the drum's wooden body and are traditionally made from animal hide, fish-skin or other membranes which are wrapped around a wooden hoop.

Leather thongs run the length of the drum and are connected to both hoops. When these cords are squeezed under the arm the drum heads tighten and this changes the pitch of the instrument. The talking drum is struck with a slightly hooked stick and with the fingers of the free hand. A contemporary demonstration of the talking drum can be viewed here and a traditional demonstration can be viewed here . Tar A tar is a single sided frame drum which originates from North Africa and the Middle East and dates back thousands of years. The tar is generally held with one hand and played with the free hand although both hands are used in the role of playing and holding depending on the skills of the player. The tar has an open tone and is often either played for accompaniment to other instruments or in tar ensembles. Frame drums are common throughout the world – among the frame drum family are the tar, bendir , bodhran , daf and others. Kanjira , pandeiro and riq and tambourines are also types of frame drum that have small metal cymbals attached to them. Many Native American cultures use frame drums ( shaman drums ) in ceremony and celebration.

These drums seem simple but are capable of great nuance and sophistication in the hands of an experienced or imaginative player. Gandharva Loka offers traditional tars with animal skin heads and also modern Remo tars (pictured above) with synthetic heads. Udu The udu is an African percussion instrument that is generally considered to have originated in Nigeria. Traditionally made of clay, the word udu means 'vessel' in the language of the Igbo people of Nigeria. Being a water jug with an additional hole, it was an instrument often played exclusively by women for ceremonial purposes. Today it is widely used by percussionists in many different music styles. The udu has a side hole which creates a deep reverberating note when struck with the flat palm of the hand. The entire body of the udu can also be played using the fingers. Several variations of the udu have evolved over the years which includes the Utar, the Kim-Kim and the Zarbang-Udu. The udu is an instrument that can add a unique and melodic aspect to the percussion aspect of any ensemble and is easily adapted to most genre of music.

A fantastic demonstration of a variety of udu being played can be viewed here – and a great demonstration of the Udu Utar can be viewed here . Zarb The zarb (also known as tonbak, tombak, donbak or dombak) is a goblet drum that originated during the Persia Empire (ancient Iran). It is considered the principal percussion instrument of Persian music. The Persian frame drum, known as the Daf, was for many centuries the favoured drum of the Persian court while the zarb was played by peasants. It is sometimes referred to as the Persian doumbek due to its origins and chalice shape that is similar to that of the doumbek. The zarb is made with a brass or wooden body and the drum head is typically made from sheep or goats skin. The zarb is normally positioned diagonally across the lap of the player who uses one or more fingers and/or the palms of the hands on the drumhead. Often (for a ringing timbre) the musician will play near the drumhead's edge and some players wear metal finger rings in order to get an accentuated 'click' on the drum's shell.

A lovely example of zarb drumming can be viewed here – traditional Persian classical dastgah music played on ney , kamancheh , santur (aka hammered dulcimer ) and zarb. Page Index

Question: What sort of instruments are Timbal, tabla and bodhran?
Answer: DRUMS