percussion musical instrument with bells
Alternative descriptionsShaman's tool
Percussion membrane musical instrument, (uzb. doira; arm. azerb. taj. def)
Percussion musical instrument: a round wooden shell with a bubble stretched over it, with small metal cymbals and bells
Percussion musical instrument
Esmeralda's musical instrument
What was a Basque drum called in medieval France?
. "drummer" of shamanic labor
Shaman's musical instrument
Rings with a knock
If you knock, it will ring
You hit it - it rings
Rim with membrane and bells
Where does the shaman go when he casts a spell?
. "drummer" of the shaman
Drum of the Chukotka “psychic”
Sysadmin tool
Shamanic instrument
Drum with bells
Shaman attribute
. “and it seemed like centuries were walking nearby, and... an invisible hand was beating”
Ritual drum
A percussion membrane musical instrument in the form of a rim with skin stretched over it (sometimes with bells or metal plates along the edges)
Hoop tied with leather
. ""Downhole"" shaman's tool
. "Drummer" of the shaman
. “and it seemed like centuries were walking nearby, and... an invisible hand was beating”
. "drummer" of shamanic labor
Drum of the Chukchi "psychic"
Where does the shaman go when he casts his spell?
M. or pl. tambourines, a musical instrument, like a drum, timpani: a shell covered with dry leather, with bells, bells; used more when dancing. Card suit, red brick, sib. booby, hard bothy, south zap. calls. Naked man, a man who has squandered everything. Goal like a tambourine. Lost like a tambourine (like a Greek). Glorious are the tambourines beyond the mountains. The sound of tambourines is just around the corner (and they will come to us like a basket). There are tambourines (tambourines) in his head. The tambourine rings, but the abbot is terrible. The tambourines ring well, but the food is bad. I’ll go naked myself, and I’ll let you go like a tambourine. The lawsuit started like a tambourine goal. Diamonds (card suit) people are smart. There is nothing (to walk with), but with a tambourine. Diamonds will fix everything. The tambourines were played like a tambourine, lost. Tambourine m. yarosl., fat lazy person, hanger-on, parasite. Tambourine, pertaining to a tambourine, drum; a diamond belonging to this suit. A diamond, better a diamond, one card of the diamond suit. Bell m. bell fire. balabonchik, gremok, thundertunchik, gormotushka, gromishek, bukhar, bokhar, capercaillie, rattle. Bells are also a plant Iris sibirica, pigtails, cockerel, chistyak, and Trollius europaeus, field hops, koltuski, avdotka, kugolnik, night blindness, yellowhead, erroneous. swimsuit Tambourist m. beating tambourines. Drum lower thief. ring the bells, ring the bells; Psk. perm. beat, beat someone; divulge, spread news. Mumble, chickens. chatter incessantly and to no avail, drum; tul. divulge news; bonfire talk, talk; Psk. gnaw one's head; grumble. Drumming chickens. talking noisily, bawling. Boom, butet orenb. to ring; beat, beat, whip. She mumbled about. tul. annoying chatterbox, messenger. Bubnilka Psk. jowl, lip, talk, mouth, regarding chatter. Pick up your drones, shut up, you've had enough of this nonsense
What was called a Basque drum in medieval France?
They were used in ancient times by the peoples of the Middle East and the African continent to accompany warlike and religious dances and dances. Percussion instruments, the names of which are numerous, as are their types, are very common these days; not a single ensemble can do without them. These include those in which sound is produced by striking.
Classification
According to their musical qualities, that is, the possibility of extracting sounds of a particular pitch, all types of percussion instruments, the names of which are presented in this article, can be divided into 2 groups: with an indefinite pitch (cymbals, drums, etc.) and with a certain pitch ( xylophone, timpani). They are also divided depending on the type of vibrator (sounding body) into self-sounding (castanets, triangles, cymbals, etc.), plate (bells, vibraphones, xylophones, etc.) and membranous (tambourine, drums, timpani, etc.).
Now you know what types of percussion instruments there are. Let's say a few words about what determines the timbre and volume of their sound.
What determines the volume and timbre of sound?
The volume of their sound is determined by the amplitude of vibrations of the sounding body, that is, the force of the impact, as well as the size of the sounding body. Strengthening the sound in some instruments is achieved by adding resonators. The timbre that certain types of percussion instruments have depends on many factors. The main ones are the method of impact, the material from which the instrument is made, and the shape of the sounding body.
Webbed percussion instruments
The sounding body in them is a membrane or a stretched membrane. These include percussion instruments, the names of which are tambourine, drums, timpani, etc.
Timpani
Timpani is an instrument with a certain pitch, which has a metal body in the shape of a cauldron. A membrane made of tanned leather is stretched across the top of this cauldron. A special membrane made of polymer materials is currently used as a membrane. It is secured to the body using tension screws and a hoop. Screws located around the circumference loosen or tighten it. The timpani percussion instrument is tuned as follows: if you pull the membrane, the tuning becomes higher, and if you lower it, it will be lower. In order not to interfere with the membrane vibrating freely, there is a hole at the bottom for air movement. The body of this instrument is made of brass, copper or aluminum. Timpani are mounted on a tripod - a special stand.
This instrument is used in an orchestra in a set of 2, 3, 4 or more cauldrons of different sizes. The diameter of modern timpani ranges from 550 to 700 mm. There are the following types: pedal, mechanical and screw. Pedal instruments are the most common, since you can tune the instrument to the required key without interrupting the game by pressing the pedal. Timpani have a sound volume approximately equal to a fifth. A large timpani is tuned below all the others.
Tulumbas
Tulumbas is an ancient percussion instrument (a type of timpani). It served in the 17th-18th centuries in the army, where it was used to give alarm signals. The shape is a pot-shaped resonator. This ancient percussion instrument (a type of timpani) can be made of metal, clay or wood. The top is covered with leather. This structure is hit with wooden bats. A dull sound is produced, somewhat reminiscent of a cannon shot.
Drums
We continue to describe the percussion instruments whose names were listed at the beginning of the article. Drums have an indefinite pitch. These include various percussion instruments. The names listed below all refer to reels (various varieties). There are large and small orchestral drums, large and small pop drums, as well as bongos, tom bass and tom tenor.
A large orchestral drum has a cylindrical body, covered on both sides with plastic or leather. It is characterized by a dull, low, powerful sound produced by a wooden mallet with a tip in the form of a felt or felt ball. Today, polymer film has begun to be used for drum membranes instead of parchment skin. It has better musical and acoustic properties and higher strength. The membranes of the drums are secured with tension screws and two rims. The body of this instrument is made of sheet steel and lined with artistic celluloid. It has dimensions 680x365 mm. The large stage drum has a design and shape similar to the orchestra drum. Its dimensions are 580x350 mm.
The small orchestral drum is a low cylinder, covered on both sides with plastic or leather. The membranes (membranes) are attached to the body using tightening screws and two rims. To give the instrument a specific sound, special strings or snares (spirals) are stretched over the lower membrane. They are driven by a reset mechanism. The use of synthetic membranes in drums has significantly improved operational reliability, musical and acoustic characteristics, presentation and service life. The small orchestra drum has dimensions of 340x170 mm. It is included in symphony and military brass bands. The small pop drum has a structure similar to the orchestra drum. Its dimensions are 356x118 mm.
Tom-tom-bass and tom-tom-tenor drums are no different in design. They are used in pop drum kits. The tenor tom is attached to the bass drum using a bracket. The tom-tom-bass is installed on a special stand on the floor.
Bongs are small drums with plastic or leather stretched on one side. They are included in the percussion stage set. The bongs are connected to each other by adapters.
As you can see, many percussion instruments are related to drums. The names listed above can be supplemented by including some less popular varieties.
Tambourine
A tambourine is a shell (hoop) with plastic or leather stretched on one side. Special slots are made in the body of the hoop. They are reinforced with brass plates; they look like small orchestra cymbals. Inside the hoop, sometimes small rings and bells are strung on a spiral or on stretched twine. All this tinkles at the slightest touch of the tambourine, creating a special sound. The membrane is struck with the palm of the right hand (its base) or with the fingertips.
Tambourines are used to accompany songs and dances. In the East, the art of playing this instrument has achieved virtuosity. Solo tambourine playing is also common here. Dyaf, def or gaval is an Azerbaijani tambourine, haval or daf is Armenian, dayra is Georgian, doira is Tajik and Uzbek.
Plate percussion instruments
Let's continue to describe percussion musical instruments. Photos and names of plate drums are presented below. Such instruments that have a certain pitch include the xylophone, marimba (marimbaphone), metallophone, bells, bells, and vibraphone.
Xylophone
A xylophone is a set of wooden blocks of different sizes that correspond to sounds of different pitches. The blocks are made from rosewood, spruce, walnut, and maple. They are placed parallel in 4 rows, following the order of the chromatic scale. These blocks are attached to strong laces and are also separated by springs. A cord passes through the holes made in the blocks. The xylophone for playing is laid out on a table on rubber spacers, which are located along the cords of this instrument. It is played with two wooden sticks with a thickening at the end. This instrument is used for playing in an orchestra or for solo playing.
Metallophone and marimba
Metallophone and marimba are also percussion instruments. Do their photos and names mean anything to you? We invite you to get to know them better.
A metallophone is a musical instrument similar to a xylophone, but its sound plates are made of metal (bronze or brass). His photo is presented below.
Marimba (marimbaphone) is an instrument whose sounding elements are wooden plates. It also has metal tubular resonators installed to enhance the sound.
Marimba has a rich, soft timbre. Its sound range is 4 octaves. The playing plates of this instrument are made of rosewood. This ensures good musical and acoustic characteristics of this instrument. The plates are located in 2 rows on the frame. In the first row there are plates of basic tones, and in the second - halftones. Resonators installed in 2 rows on the frame are tuned to the sound frequency of the corresponding plates. A photo of this instrument is presented below.
The main components of the marimba are secured to the support trolley. The frame of this cart is made of aluminum. This ensures sufficient strength and minimal weight. Marimba is used both for educational purposes and for professional playing.
Vibraphone
This instrument is a set of aluminum plates, chromatically tuned, which are arranged in 2 rows, similar to a piano keyboard. The plates are installed on a high table (bed) and secured with laces. In the center under each of them there are cylindrical resonators of a certain size. The upper part of the axis passes through them, on which fan fans (impellers) are attached. This is how vibration is achieved. The damper device has this tool. It is connected under the stand to a pedal so that you can muffle the sound with your foot. The vibraphone is played using 2, 3, 4, and sometimes a large number of long sticks with rubber balls at the ends. This instrument is used in symphony orchestras, but more often in pop orchestras or as a solo instrument. His photo is presented below.
Bells
What percussion instruments can be used to reproduce bell ringing in an orchestra? The correct answer is bells. This is a set of percussion instruments used in symphony and opera orchestras for this purpose. The bells consist of a set (from 12 to 18 pieces) of cylindrical pipes that are tuned chromatically. Typically the pipes are chrome-plated steel or nickel-plated brass. Their diameter ranges from 25 to 38 mm. They are suspended on a special frame-rack, the height of which is about 2 m. Sound is produced by striking the pipes with a wooden hammer. The bells are equipped with a special device (pedal-damper) to dampen the sound.
Bells
This is a percussion instrument consisting of 23-25 metal plates tuned chromatically. They are placed in steps in 2 rows on a flat box. The black piano keys correspond to the top row, and the white keys correspond to the bottom row.
Self-sounding percussion instruments
When talking about what types of percussion instruments there are (names and types), it is impossible not to mention self-sounding percussion instruments. The following instruments belong to this type: cymbals, tam-tams, triangles, rattles, maracas, castanets, etc.
Plates
Plates are metal discs made of nickel silver or brass. A somewhat spherical shape is given to the discs of the plates. Leather straps are attached to the center. A long ringing sound is produced when they hit each other. Sometimes they use one plate. Then the sound is produced by hitting a metal brush or stick. They produce orchestral, gong and Charleston cymbals. They sound ringing and sharp.
Let's talk about what other percussion instruments there are. Photos with names and descriptions will help you get to know them better.
Orchestral triangle
An orchestra triangle (its photo is presented below) is a steel rod of an open triangular shape. When played, this instrument is hung freely and then struck with a metal stick, performing various rhythmic patterns. A triangle has a ringing, bright sound. It is used in various ensembles and orchestras. Triangles are available with two sticks made of steel.
A gong or tam-tam is a bronze disk with curved edges. Using a mallet with a felt tip, strike its center. The result is a dark, thick and deep sound, reaching its full strength gradually, not immediately after the impact.
Castanets and maracas
Castanets (photos of them are presented below) are from Spain. This ancient percussion instrument is shaped like shells tied with a cord. One of them faces the spherical (concave) side towards the other. They are made from plastic or hardwood. Castanets are produced single or double.
Maracas are balls made of plastic or wood, filled with shot (small pieces of metal) and decorated colorfully on the outside. They are equipped with a handle to make them comfortable to hold while playing. Various rhythmic patterns can be produced by shaking the maracas. They are used mainly in pop ensembles, but sometimes also in orchestras.
Rattles are sets of small plates mounted on a wooden plate.
These are the main names of percussion musical instruments. Of course, there are many more of them. We talked about the most famous and popular ones.
The drum kit that the pop ensemble has
In order to have a complete understanding of this group of instruments, it is also necessary to know the composition of percussion kits (sets). The most common composition is the following: a large and small drum, a large and small single cymbal, a paired hi-hat cymbal (Charleston), bongos, tom-tom alto, tom-tom tenor and tom-tom bass.
A large drum is installed on the floor in front of the performer, which has support legs for stability. Tom-tom alto and tom-tom tenor drums can be mounted on the top of the drum using brackets. It also has an additional stand on which the orchestra cymbal is mounted. The brackets that attach the tom-tom alto and tom-tom tenor to the bass drum regulate their height.
The mechanical pedal is an integral part of the bass drum. The performer uses it to extract sound from this musical instrument. A small pop drum must be included in the drum kit. It is secured with three clamps on a special stand: one retractable and two folding. The stand is installed on the floor. This is a stand that is equipped with a locking device for fixing in a certain position, as well as changing the inclination of the snare drum.
The snare drum has a muffler and reset device, which are used to adjust the tone. Also, a drum set sometimes includes several tom-tom tenors, tom-tom altos and tom-tom drums of different sizes.
Also (its photo is presented below) it includes orchestral cymbals with a stand, a chair and a mechanical stand for the Charleston. Maracas, triangles, castanets and other noise instruments are the accompanying instruments of this installation.
Spare parts and accessories
Spare accessories and parts for percussion instruments include: stands for orchestral cymbals, for snare drums, for Charleston cymbals, timpani sticks, a mechanical beater for a drum (large), sticks for a snare drum, pop drumsticks, orchestral brushes, mallets and bass drum leather, straps, cases.
Percussion instruments
It is necessary to distinguish between percussion keyboards and percussion instruments. Percussion keyboards include the piano and grand piano. The strings of a piano are arranged horizontally and are struck by a hammer from bottom to top. The piano is different in that the hammer strikes the strings in a direction away from the player. The strings are tensioned in a vertical plane. Grand piano and piano, due to the richness of sounds in terms of sound strength and height, as well as the great capabilities of these instruments, received a common name. Both instruments can be called in one word - “piano”. The piano is a stringed percussion instrument based on the way it produces sound.
The keyboard mechanism used in it is a system of levers interconnected, which serves to transfer the energy of the pianist's fingers to the strings. It consists of mechanics and is a set of keys, the number of which may vary depending on the sound range of a particular instrument. The keys are usually lined with plastic covers. They are then mounted using pins on the keyboard frame. Each key has a pilot, capsule and overlay. It transmits, as a lever of the first kind, the force of the pianist to the mechanical figure. Mechanics are hammer mechanisms that convert the musician's force when pressing a key into a strike on the strings of the hammers. Hammers are made of hornbeam or maple, and their heads are covered with felt.
| Modern tambourine | |
| Half moon tambourine rhythms | |
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Varieties
- People's or ethnic, wooden rim with a stretched leather membrane. Depending on their purpose, tambourines come in all sorts of sizes. Instruments of this type are used for various ritual purposes, including by shamans. Their design may include small bells tied to a wire stretched under the membrane.
- Orchestral tambourine, the most common option, with a leather or plastic membrane and metal plates fixed in special slots on the rim. The instrument has firmly established itself in professional music, becoming one of the main percussion instruments of a symphony orchestra.
Tambourines of different cultures
Tambourine and tambourine
According to the Music Dictionary:
Tambourine1. in Germany, the Basque drum (hand drum with bells, pandero [see], tambourine), used in Spain and southern Italy (also in the East) during tarantellas and other dances (in the hands of the dancer himself); t-m also means an ancient Provençal dance in a two-beat time signature and moderate movement accompanied by a Basque drum.
2. In France, on the contrary, the word tambourin refers to the type of long narrow drum used in Provence, which is played together with galoubet (a type of harmonic) by the same player. T. also serves as the name of a dance piece, the character of which is borrowed from the just mentioned combination of instruments (cf. Rameau, Suite in E), with an even time signature and a stationary bass - something like the music of bear guides.
Tambourine- It is a hoop several inches wide with calf or donkey skin stretched over it. Thin ringing metal plates are strung into holes cut around the circumference of the hoop, and bells, that is, metal balls with shot, are attached to its edges. To produce sound, they run a finger over the skin or hit it with a hand. B. is used as an accompanying instrument when transmitting folk or military songs, as well as in an orchestra when performing characteristic dances.
The traditional tambourine is included in the instrumentation of ethno-rock groups and other ethno-fusion trends (examples: H-Ural, "Bugotak (group)").
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Notes
Literature
- Solovyov N. F.// Encyclopedic Dictionary of Brockhaus and Efron: in 86 volumes (82 volumes and 4 additional). - St. Petersburg. , 1890-1907.
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An excerpt characterizing Tambourine
“Well, prince, goodbye,” he said to Bagration. - Christ is with you. I bless you for this great feat.Kutuzov's face suddenly softened, and tears appeared in his eyes. He pulled Bagration to him with his left hand, and with his right hand, on which there was a ring, apparently crossed him with a familiar gesture and offered him a plump cheek, instead of which Bagration kissed him on the neck.
- Christ is with you! – Kutuzov repeated and walked up to the carriage. “Sit down with me,” he said to Bolkonsky.
– Your Excellency, I would like to be useful here. Let me stay in the detachment of Prince Bagration.
“Sit down,” said Kutuzov and, noticing that Bolkonsky was hesitating, “I need good officers myself, I need them myself.”
They got into the carriage and drove in silence for several minutes.
“There is still a lot ahead, there will be a lot of things,” he said with an senile expression of insight, as if he understood everything that was happening in Bolkonsky’s soul. “If one tenth of his detachment comes tomorrow, I will thank God,” added Kutuzov, as if speaking to himself.
Prince Andrei looked at Kutuzov, and he involuntarily caught his eye, half an arshin away from him, the cleanly washed assemblies of the scar on Kutuzov’s temple, where the Izmail bullet pierced his head, and his leaking eye. “Yes, he has the right to talk so calmly about the death of these people!” thought Bolkonsky.
“That’s why I ask you to send me to this detachment,” he said.
Kutuzov did not answer. He seemed to have already forgotten what he had said and sat thoughtful. Five minutes later, smoothly rocking on the soft springs of the stroller, Kutuzov turned to Prince Andrei. There was no trace of excitement on his face. With subtle mockery, he asked Prince Andrei about the details of his meeting with the emperor, about the reviews he had heard at court about the Kremlin affair, and about some common women he knew.
Kutuzov, through his spy, received news on November 1 that put the army he commanded in an almost hopeless situation. The scout reported that the French in huge numbers, having crossed the Vienna bridge, headed towards Kutuzov’s route of communication with the troops coming from Russia. If Kutuzov had decided to remain in Krems, then Napoleon’s army of one and a half hundred thousand would have cut him off from all communications, surrounded his exhausted army of forty thousand, and he would have been in Mack’s position near Ulm. If Kutuzov had decided to leave the road that led to communications with troops from Russia, then he would have had to enter without a road into the unknown lands of the Bohemian
mountains, defending themselves from superior enemy forces, and abandoning all hope of communication with Buxhoeveden. If Kutuzov had decided to retreat along the road from Krems to Olmutz to join forces from Russia, then he risked being warned on this road by the French who had crossed the bridge in Vienna, and thus being forced to accept battle on the march, with all the burdens and convoys, and dealing with an enemy three times his size and surrounding him on both sides.
Kutuzov chose this last exit.
The French, as the spy reported, having crossed the bridge in Vienna, were marching in an intensified march towards Znaim, which lay on Kutuzov’s retreat route, more than a hundred miles ahead of him. To reach Znaim before the French meant to have great hope of saving the army; to allow the French to warn themselves in Znaim would probably mean exposing the entire army to a disgrace similar to that of Ulm, or to general destruction. But it was impossible to warn the French with their entire army. The French road from Vienna to Znaim was shorter and better than the Russian road from Krems to Znaim.
On the night of receiving the news, Kutuzov sent Bagration’s four-thousand-strong vanguard to the right over the mountains from the Kremlin-Znaim road to the Vienna-Znaim road. Bagration had to go through this transition without rest, stop facing Vienna and back to Znaim, and if he managed to warn the French, he had to delay them as long as he could. Kutuzov himself, with all his hardships, set out for Znaim.
Having walked with hungry, barefoot soldiers, without a road, through the mountains, on a stormy night forty-five miles, having lost a third part of the stragglers, Bagration went to Gollabrun on the Vienna Znaim road several hours before the French approached Gollabrun from Vienna. Kutuzov had to walk another whole day with his convoys to reach Znaim, and therefore, in order to save the army, Bagration, with four thousand hungry, exhausted soldiers, had to hold off for a day the entire enemy army that met him in Gollabrun, which was obvious , impossible. But a strange fate made the impossible possible. The success of that deception, which gave the Vienna bridge into the hands of the French without a fight, prompted Murat to try to deceive Kutuzov in the same way. Murat, having met Bagration’s weak detachment on the Tsnaim road, thought that it was the entire army of Kutuzov. In order to undoubtedly crush this army, he waited for the troops that had fallen behind on the road from Vienna and for this purpose proposed a truce for three days, with the condition that both troops would not change their positions and would not move. Murat insisted that negotiations for peace were already underway and that, therefore, avoiding useless shedding of blood, he was offering a truce. The Austrian general Count Nostitz, who was stationed at the outposts, believed the words of the envoy Murat and retreated, revealing Bagration’s detachment. Another envoy went to the Russian chain to announce the same news about peace negotiations and offer a truce to the Russian troops for three days. Bagration replied that he could not accept or not accept a truce, and with a report of the proposal made to him, he sent his adjutant to Kutuzov.
The truce for Kutuzov was the only way to gain time, give Bagration’s exhausted detachment a rest and allow convoys and loads to pass through (the movement of which was hidden from the French), although there was one extra march to Znaim. The offer of a truce provided the only and unexpected opportunity to save the army. Having received this news, Kutuzov immediately sent Adjutant General Wintzingerode, who was with him, to the enemy camp. Winzengerode had to not only accept the truce, but also offer terms of surrender, and meanwhile Kutuzov sent his adjutants back to hurry as much as possible the movement of the convoys of the entire army along the Kremlin-Znaim road. The exhausted, hungry detachment of Bagration alone had to, covering this movement of the convoys and the entire army, remain motionless in front of an enemy eight times stronger.
Kutuzov's expectations came true both regarding the fact that the non-binding offers of surrender could give time for some of the convoys to pass through, and regarding the fact that Murat's mistake was to be revealed very soon. As soon as Bonaparte, who was in Schönbrunn, 25 versts from Gollabrun, received Murat’s report and the draft truce and capitulation, he saw the deception and wrote the following letter to Murat:
Au prince Murat. Schoenbrunn, 25 brumaire en 1805 a huit heures du matin.
“II m"est impossible de trouver des termes pour vous exprimer mon mecontentement. Vous ne commandez que mon avant garde et vous n"avez pas le droit de faire d"armistice sans mon ordre. Vous me faites perdre le fruit d"une campagne . Rompez l"armistice sur le champ et Mariechez a l"ennemi. Vous lui ferez declarer, que le general qui a signe cette capitulation, n"avait pas le droit de le faire, qu"il n"y a que l"Empereur de Russie qui ait ce droit.
An attempt to find out how a tambourine differs from a tambourine.
This question arose because many paintings by Western artists are full of titles “Girl with a Tambourine”, “Gypsy with a Tambourine”, etc., and the paintings themselves depict a tambourine.
Many dictionaries and encyclopedias (for example, explanatory dictionaries of the Russian language by Ozhegov, Efremova, etc.) write that tambourine has two meanings:
1. A small drum with an elongated cylindrical body
2. A type of tambourine
Some sources claim that a tambourine differs from a tambourine only in the presence of wires stretched crosswise inside it, studded with bells and trinkets. This idea is undoubtedly the greatest mistake and unfortunate delusion.
The tambourine and tambourine are turned into the same instrument with the same methods of execution. This is literally the same thing as saying that the tom-tom and the castanets are the same instrument, and playing them in the same way. A tambourine in the modern sense is a tambourine or “Provençal drum,” while a tambourine, with all the ensuing consequences, is a tambourine.
John William Godward Girl with a Tambourine 1909
John William Godward Girl with a Tambourine 1906
The greatest absurdity remains the persistent non-recognition of the tambourine’s artistic rights and the obvious reluctance to understand that the tambourine is a completely special type of the family of drums in the broadest sense of the word, and has nothing in common with the tambourine, often called “tambourine”.
All the nonsense of this situation arose, undoubtedly, due to the incorrect translation of this word.
As you know, in France the tambourine is called Tambourin, and the tambourine is called Tambour de Basque. On the contrary, in Italy the tambourine has always been translated by the word Tamburino, and the tambourine by Tamburello, and it is only in very recent times that the necessary distinction has been introduced. Vittorio Ricci in his L "Orchestrazione began to define tambourine - tamburino, the concept of Tamburo Provenzale, and Ettore Panizza, having clarified the name of the tambourine - tamburello, introduced the concept of Tamburo Basco.
The word Tamburino in Italian means “tambourine”, “drum”, and a children’s toy in the form of a drum, but not a tambourine. Consequently, the concept of tamburino - “tambourine”, turned out to be acquired, undoubtedly, outside of Italy.
John William Godward Ionic Dancer 1902
John William Godward Drusilla 1906
Naturally, the question arises: who introduced such ambiguity and to whom does modern science owe such confusion?
The French, for example, use the word Tambour de Basque to name the entire family of this type of instrument, which includes its various representatives from the primitive tambourine tympanum cribi - “sieve drum” and the Hebrew tof to all kinds of Chinese, Brittany, English, Turkestan and Transcaucasian tambourines with trinkets or without them, known as “tambourines”, “camps”, “dayrs” and similar countless and endless names.
William Merritt Chase Girl with Tambourine 1886
William Merritt Chase Girl with a Tambourine. Mrs. Chase as a Spanish Dancer 1886
Jules LeBlanc Stewart The Spanish Girl 1875
It is interesting to note that not a single Frenchman has ever called the tambourine by the Italian name tamburino. Neither Berlioz, nor Gevart, nor Widor on the pages of their works anywhere and never fell into such inaccuracy. They call the tambourine Tambour Basque or Tambour de Basque and, as Widor did, translate it into German Schellentrommel. Gewarth, referring to the German word Taburin, confirms that it is an incorrect translation of this instrument.
The English, who use the word tambourine in their language to define a tambourine, either do not give the Italian name at all - this is what Prout did, or, if they talk about tambourine and tambourine, they do not strive to be particularly precise, although they blame the Germans for the ambiguity of the names.
Americans do not mention the Provençal tambourine at all, but speak of the tambourine as an instrument called Tamburino in Italian. But this is not enough. Arthur-Olaf Andersen even replaces the French name for the tambourine - Tambour de Basque with the English Tambourine, and Arthur-Edward Johnston agrees to the point that he generally considers both Tambourin and Tambour de Basque equivalent and gives them as two different French names for an ordinary tambourine.
Alexey Kharlamov Italian with tambourine
William Etty Bacchante with Tambourine
Christian Bernard Rode Girl with a Tambourine 1785 Hermitage
So, all the confusion comes only from the German word Tamburin, which the Germans use to call both tambourine and tambourine. The difference in names apparently arose quite recently, and now, as is known, the tambourine is sometimes called Kleintrommel, and the tambourine - Schellentrommel.
However, these names are less common among Germans than among foreigners, and only one Sachs, pointing out the inaccuracy of the word Tamburin, refers to its Italian origin.
Adolphe William Bouguereau Gypsy girl with a Basque tambourine 1867
Jean Baptiste Corot Gypsy 1865-70
José de Ribera Girl with a Tambourine 1637
Anselm Feuerbach Girl with a Tambourine 1860-61
The Italians do not at all use the word Tamburino to designate a tambourine and, therefore, there is an obvious misunderstanding somewhere in this whole matter. However, it was the Germans who most of all gave rise to “misunderstandings” in orchestral names and their word tambourine in the meaning of tambourine migrated to the Russian orchestra not from Italy, but only, to our deepest regret, from Germany, along with the semi-literate German conductors who flooded Russia at one time and rather hostile orchestral musicians. This unfortunate circumstance made it impossible for Russian musicians to introduce a special concept in a timely manner, and they unwittingly accepted the definition of Tamburino as the truly Italian meaning of a tambourine, and the German Tamburin as both.
Elizabeth Vigée-Lebrun Emma, Lady Hamilton 1790-91
Alois Hans Schram Gypsy.
Luis Ricardo Falero Gypsy with a tambourine.
Now, what is a tambourine?
The drum, called a tambourine, has been known since time immemorial. It can be found in the south of France and India, in Mexico and Central Africa, on the islands of Polynesia and in Asia - in short, various peoples have paid tribute to this wonderful instrument. But the tambourine originally originated in Provence and the Basque Land, where, as Guevaert says, it was used in combination with a homemade pipe, the galoubet. The instrument itself is usually put on a sling over the shoulder and the tambourine player hits the tambourine with a small stick, which he holds with his right hand, while with his left he plays the galoubet, holding the tambourine at the same time. Sometimes, however, the musicians played a duet, each on their own instrument, as in Durer’s painting.
Albert Durer Flutist and tambourine player 1503-4.
This funny circumstance - playing two instruments at the same time - gave rise to the well-known French proverb - Ce qui vient de la flute, sen va par le tambour, and even before the Middle Ages, the word tabourin or tambourin always evoked the idea of the union of two instruments - a flute and a drum, and the musician who played them was invariably called a “tambourine player.” Therefore, as a result of such a bizarre “fastening” of two dissimilar instruments, the sounds of the flute were always heard accompanied by the tambourine, and as soon as the flute had time to whistle its tune, the drum immediately tapped it after it.
Medieval fresco Angel with tambourine.
Charles-Marie Widor, mentioning this instrument on the pages of his book, says that it “is distinguished from an ordinary drum by its strongly elongated appearance and the absence of a sharp sound,” and Joseph Baggars adds that it is not only longer and narrower than an ordinary drum, but, in its opposite, has strings stretched over the skin, which gives the tambourine its characteristic “somewhat nasal dullness.” On the contrary, the French military conductor of the 19th century M.-A. Suye be careful. He simply combines these positions and states that the tambourine has "a very long body and is often without strings - sans timbre."
W. F. Dawson Christmas minstrel playing pipe and tambourine. 1902
There are more than one variety of tambourine even in the South of France and, depending on the area, it somewhat modifies its design. Thus, a genuine Provençal tambourine has no strings at all and its sound, slightly muffled, apparently depends entirely on the volume of the instrument - its height and width. On the contrary, the tambourine with strings mentioned by Kurt Sachs belongs to the Gascon, or more precisely, to the Béarn tambourines, and has seven bowel strings, secured with pegs and tuned in relation to an arbitrary fifth in such a way that all the odd strings sound the tonic, and the even strings sound the tonic. dominant. Otherwise, its design and use are no different from an ordinary tambourine.
Patricia Brazil Tambourine.
Cecile Forsythe speaks in more detail about the tambourine. He also confirms that the body of this drum is very long in relation to its diameter. It is made from walnut wood, and is carved and decorated with all sorts of intricate designs. Both sections of the tambourine are covered, predominantly, with the finest calfskin. Across the upper cut, over the skin, there is either a string, or a silk cord, or, which is much more accurate, a simple rough hemp rope, tightly in contact with the surface of the skin using pegs. The peculiarity of this circumstance is that this tourniquet does not cross the lower surface of the skin, but rather the upper one, on which the performer hits with a stick. As has already been noted, there are some discrepancies in this regard, the indisputable accuracy of which can hardly be established. Forsythe supports his observations with a description of the instrument that the Scottish composer and musicologist William Wallace (Wallace, 1860-1940) had at his disposal.
Justice requires admitting that the variety of tambourine described by Forsythe is, obviously, the most accurate. But the obvious divergence begins in the ways in which this tool is used. Until now, it was known that the tambourine player hits the tambourine with a stick, which he holds in his right hand, and plays the pipe with his left. Forsythe, and with him Sachs, states that he holds a thick-tipped stick (made of hardwood or ivory) in his left hand, and not a galoubet or chirula, and plays with his right. That's not the point, after all. The Marseille workshop of tambourine players prescribes in its charter the ability to play the tambourine with either hand. It is more important to establish the presence of a genuine tambourine in the orchestra, and not some home-grown fake. After all, the duties of galoubet will still be performed by sworn flutists or clarinetists, and the stick will be played by real drummers, who are equally comfortable hitting with both their left and right hands.
Jacob von Staehlin (1709-1785), a very observant and enlightened foreigner who spent fifty years of his mature and vigorous life in the very heat of the then Russian court and scientific reality, speaks extremely curiously about the Provençal tambourine. He says that “of the instruments that appeared in Russia, but did not become fashionable, it is necessary to note the tambourine, very common in France, - a small timpani fastened to the belt, on which one accompanies with one hand, while with the other one plays a small flute with three holes. , similar in sound to an ordinary transverse one. They dance to this double instrument in France, especially in Provence and Languedoc, at all parties, have fun in rural round dances, and sing at the top of their lungs, but do not drown out the instrument. Count Vicedom, who was in 1745-1747 at the Russian imperial court the minister of the King of Poland and Kursaxon, a gentleman with elegant taste, a good musician, especially on the harpsichord, took this rural French instrument to Dresden and St. Petersburg, where he played it so well, like a true Frenchman."
So, a real tambourine has a very elongated body, one string or a hemp cord; stretched tightly over the skin, and one stick, which the performer handles with sufficient skill. Thanks to these features, the tambourine has a somewhat dull sonority, which is also very characteristic and original. Therefore, it should be used only in cases where it is required either by the music itself or by the special intention of the author, which certainly excludes the participation of an ordinary drum. Under all circumstances, a tambourine cannot be compared either with a modern military drum, or, especially, with a tambourine. It is clear, of course, that this situation arises not from generic or historical circumstances, but from the responsibilities and capabilities of the instrument in a modern symphony orchestra. This must be understood finally, once and for all.
Consisting of a leather membrane stretched over a wooden rim. Some types of tambourines have metal ones attached to them, which begin to ring when the performer hits the membrane of the tambourine, rubs it, or shakes the entire instrument.
The tambourine is common among many peoples: the Uzbek doira; Armenian, Azerbaijani, Tajik def; shamanic drums with a long handle among the peoples of Siberia and the Far East.
Varieties
Currently, there are 2 main types of tambourines:
- Folk or ethnic, wooden rim with a stretched leather membrane. Depending on their purpose, tambourines come in all sorts of sizes. Tools of this type are used for ritual purposes by indigenous shamans. Also considered folk are tambourines with small bells tied to a wire stretched under a membrane.
- Orchestral tambourine, the most common option, with a leather or plastic membrane and metal plates fixed in special slots on the rim. This tool is sometimes mistakenly called . The instrument has firmly established itself in professional music, becoming one of the main percussion instruments of a symphony orchestra.
Among related tools, it should be noted. Unlike a tambourine, there is no skin stretched over it, but 1 or 2 rows of metal plates are reinforced in the body. is constantly used in many types of modern music, such as rock and roll, jazz and pop music.
Origin
The tambourine has been known to the Eastern Slavs since ancient times. They were especially widely used in military affairs and among buffoons. In earlier times, a tambourine was a percussion instrument with skin stretched over it. Perhaps, when the name “tambourine” appears in Russian chronicles, this should mean an instrument that later became known as ““.
One of the descriptions of a tambourine together with trumpets as a military musical instrument dates back to the 10th century. (960s) and included in the description of the campaign of Prince Svyatoslav Igorevich. The number of tambourines in the army determined its strength. The tambourine served as a sign of command dignity; the performers on the tambourines were at the direct disposal of the squad leaders.
The battle tambourine was a cauldron with a stretched leather membrane. In ancient times, the membrane was struck using a wax - a beater in the form of a whip with a braided ball at the end. Military tambourines were used by both infantry and cavalry. There are known varieties of military tambourines: tulumbas and alarm bells.
It is believed that Russian alarm bells were of enormous size; 4 horses were used to transport them. And the sound, or rather the roar, was produced simultaneously by 8 alarm players. With the help of conventional signals of tambourines, sound communication was carried out in the Russian army, and various commands were given. During the battle, percussion instruments were combined with trumpets and surnas and created a roar that frightened the enemy.
In later centuries, the tambourine was widely used by buffoons and bear guides. The buffoon tambourine looks like a modern instrument. It is a narrow round wooden shell with a leather membrane stretched over one side and bells and bells suspended from the inside. They hit the membrane with their fingers or a brush. At that time, tambourine players played in an ensemble with balalaika players or accordionists, and sometimes simply accompanied the singing of dashing songs.
In addition, the tambourine was used as a solo instrument. This is how they described playing this instrument: “When playing the tambourine, folk virtuosos perform various tricks, throwing it up and grabbing it on the fly, hitting their knees with the tambourine, then hitting it on the head, chin, even on the nose, drumming on the tambourine with their hands, with the elbow, fingers, make a tremolo and howl, running the thumb of the right hand over the skin, etc.”
The tambourine was widespread in Ukraine and Belarus, being used more often in dance music. This instrument is occasionally found in the hands of folk musicians even today, but it has found its main application in orchestras of Russian folk instruments.
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