Heartbeat for Worship Celebration

Welcome to the instrument page. Here are some of the instruments that William Johnson and other percussionists use.
For more information please go to William’s blog. http://willjohnsonrythm.blogspot.com/

	The Congas, like many other instruments carry an interesting and somewhat diverse history. According to an article written by Nolan Warden, a graduate from Berklee college of music with a major in hand percussion performance, "Despite it's widespread use, the conga may be one of the most misunderstood percussion instruments". I do agree with Mr. Nolan's comments on such, especially since the congas carry such a pervasive sound in our more recent generations. The congas, while not being the most difficult instrument perhaps to express oneself upon, still have somewhat of an unlimited musical potential. Alllow me first to say while I don't believe we are dictated by tradition alone, the congas are not traditionally called "bongos" as most in the west tend to label them. The more technical regional term (the Caribbean in this text) would be Tumbadoras. Generally there are three different sizes...which are the quinto, conga, and tumba. We usually call them congas collectively. The congas originated from the Congo region of Africa, and evolved to there more recent shape and sound in Cuba. The African slaves where not allowed to practice their religious and many traditional ceremonies therefore they were barred from bringing many instruments to the Caribbean. The ban of such practices resulted in the innovation and creation of instruments based on rythms, and sounds of the countries the slaves represented. The cajon, or "the box" as it is translated is one such example. This is somewhat controversial, however you will find similar history in most research. For more information read Nolan Warden's article on the history of the conga drum. The congas in the photo are from Isla percussion out of Los Angeles California. They are beautiful sounding instruments and custom made. Visit www.islapercussion.com
	The "shekere" consists of a hollow gourd or calabash, and is usually covered on the outside with a net of seeds, beads, shells, or any available material. Although its origins are West African, today it is found in the Americas and Caribbean as well. "Shekere" is a general name to describe the beaded gourd rattle. It comes in many shapes and sizes, is played in a variety of styles, and has many different names. Different language groups in each country all over the world often have their own names, styles, techniques, and traditions associated with the shekere. The shekere is used often in the popular Afro-Cuban music known as Rumba. The shekere on the right is custom made by Zakiyah Melvin of "Shuga Mama's" Shekeres and crafts. Very beautiful and affordable custom made instruments. Visit www.myspace.com/shugamamashekeres
	The following is an excerpt from the instructional book "Learning The Tabla" by David Courtney. No one knows who invented the tabla. No one knows exactly when it was invented. Furthermore, no one knows exactly how it was invented. The only thing that we know for sure is that the tabla showed up on the musical scene about 250 years ago. Here is what we know for sure. The word "tabla" is an Arabic word for "drum". Although the Arabic word is generic, the tabla in India is a very specific instrument. If we are trying to trace the origins of tabla we really have to look at the evolution of three separate things. We need to look at the evolution of the wooden drum, the metal drum, and the music which is played. The wooden drum seems to have derived from the pakhawaj or mridang. These instruments consist of a barrel shaped body with heads on both sides. They are laced with rawhide. The right hand side is very similar to the tabla, however the left hand side is different. Where the left drum of the tabla has a permanent black spot, the left hand side of the pakhawaj is plain. It requires a temporary application of flour and water to give a deep resonant sound. After the drum has been played the flour/ water mixture must be removed before the drum is put away. The pakhawaj was apopular drum in northern India for many centuries. It is only in the 20th century that it has fallen out of common use. The previous words, found in David Courtney’s book on Tablas are very informative. One of the biggest things I have learned as well in my studies on the tabla is the amount of discipline required to master the instrument. The biggest lesson in this however is that the tabla is not the only demanding instrument on the earth, but that anything worth mastering takes discipline, and focus. In other words…it takes work! Anything however that is worth something requires this.
	There are many different styles of Maracas from various countries across the globe. Some of the most popular are the types used in Salsa music such as the ones in the picture above. In Salsa music the back and forth method is more commonly used. In Musica Llaneras in Venezuela and Colombia an up an down approach is the traditional technique. Also in these countries they are also called Capachos. In Bomba music from Puerto Rico one Maraca is used by the vocalist as opposed to two.
	These instruments are traditionaly used in Samba music from Brazil
	The cabasa, similar to the shekere, is a percussion instrument that is constructed with loops of steel ball chain wrapped around a wide cylinder. The cylinder is fixed to a long, narrow wooden or plastic handle. It was originally of African origin, and constructed from dried oval- or pear-shaped gourds with beads strung on the outer surface. Modern manufacturers (LP, or Latin Percussion, Inc.) have built a more durable cabasa that they call an afuche-cabasa (Pictured). It provides a metallic, rattling sound when shaken or twisted, similar to the sound of a rattlesnake. It is often used in Latin jazz, especially in bossa nova pieces. Precise rhythmic effects can be gained by the advanced player. The player places his non-dominant hand on the metal chain, to provide pressure, while holding the wooden handle with the other hand and twisting the instrument back and forth as per the rhythmic pattern desired. In addition to Latin music, many band and orchestra pieces call for the cabasa.
	There are many different styles of shakers. Depending on the style of music and song determines what shaker most musicians will use. You can experiment with pill bottles and household items such as sugar, rice, and salt. This is a trick of many film composers, and professional percussionists.
	Indigenious to Puerto Rico and many other countries. Widely used in Salsa, and pop music as well as other popular genres.
	There are many different types of rainsticks. The sound it projects depends upon the type of shell and the material (which can be small seeds, rocks, etc.) inside of the stick.

	Woodblocks can be used to keep time and play clave such as in Rumba music from Cuba, or just add melody or spice to the music. The red LP woodblock (red is the lower pitched, while blue is higher) is commonly used to play the 3/2 or 2/3 clave rhythm in Rumba or Salsa music.
	The Djembe is an African drum often found in West Africa. This is a popular instrument but not to be confused with a simple one to master. As in all things the Djembe's level of expression depends upon the amount of time in study and practice by the musician. One only need s to see a master Djembe drummer from Africa or anywhere else for that matter to confirm this. It is often used in modern Christian Worship music and it's sound varies with the style and size. It's goblet shape makes it a potentially beautiful instrument to bring Jesus the glory in worship.
	Although the sound of timbales have become pervasive they are an essential part of Salsa and other styles of Latin music. Generally the “Timbalero” will play them with cowbells attached to the stand as well as “cascara” patterns on the shell of the drums.
	Bongo drums are a Latin-American percussion instrument consisting of a pair of single-headed, open-ended drums attached to each other. The drums are of different size: the larger drum is called in Spanish the hembra (female) and the smaller the macho (male). It is most often played by hand in the sitting position between the knees and is especially associated in Cuban music with a steady patter or ostinato of eighth-notes known as the martillo or "hammer". The bongo style drum can be seen however in other countries with a different look and somewhat dofferent sound such as in Morrocco, or Egypt as well. The term “bongo” is often used in the West for every type of hand drum even though the name is specific to the drum in the photo above.
	This instrument has an interesting history and can become quite debatable. It originates from the Middle East and depending upon which country can be called different things. It is often just called the “Tabla” which means drum in Arabic. The drum on the left is a ceramic drum and the shape is used often for faster finger rolls, while the one on the left tends to lend itself to “Finger snapping”, which is a very popular stroke/s used while playing. It is done just like snapping one’s finger but allowing the fingertip to strike the edge of the drum. The drum’s goblet shape, like the Djembe, allows it to carry a deep bass and bright highs.
	This instrument is at it seems… clay pot, but not just any clay pot however. The *ghatam* is a percussion instrument, used in the Carnatic music of South India. It is an earthenware pot; the artist uses the fingers, thumbs, palms, and heels of the hands to strike the outer surface of the ghatam. An airy low-pitch bass sound, called gumki, is created by hitting the mouth of the pot with an open hand. The artist sometimes presses the mouth of the pot against their bare belly, which deepens the tone of the bass stroke, and is another way to produce the "gumki" sound. Different tones can bEproduced by hitting different areas of the pot with different parts of the hands. The ghatam usually accompanies a mridangam. Although the ghatam is the same shape as an ordinary Indian domestic clay pot, it is made specifically to be played as an instrument, the tone of the pot must be good and the walls should be of even thickness all around to produce an even tone. In fact, there are two types of ghatams; Madras and Manamadurai. The Madras ghatam is a light pot which requires less force to play, thus is suited for extended fast patterns. The Manamadurai ghatam is a heavy, thick pot with tiny shards of brass mixed into the clay. This type of ghatam is harder to play but produces a sharp metallic ringing sound which is favored by some players.
	Multiple African goat toes are sewn into a length of fabric for the Afro-Cuban and Latin percussion favorite, the Uñas. Meant to be worn as a bracelet or anklet, or held in the hand as a shaker. When shook the goat toes make a soft, rattle sound. This instrument is also knows as Unas (Spanish for "toenails"), and Chajchas in South America.