Thetambourine is amusical instrument in thepercussion family consisting of a frame, often ofwood orplastic, with pairs of smallmetaljingles, called "zills". Classically the term tambourine denotes an instrument with adrumhead, thoughsome variants may not have a head. Tambourines are often used with regular percussion sets. They can be mounted, for example on a stand as part of adrum kit (and played with drum sticks), or they can be held in the hand and played by tapping, hitting, or shaking the instrument.
The origin of the tambourine is unknown, but it appears in historical writings as early as 1700 BC and was used by ancient musicians first inAncient Egypt, theAncient Near East and eventually toGreece and other places.[1] The tambourine passed to Europe by way of merchants or musicians.[2] Tambourines were used in ancient Egypt, where they were known as thetof to the Hebrews, who mainly used the instrument in religious contexts.[3] The wordtambourine finds its origins in Frenchtambourin, which referred to a long narrow drum used in Provence, the word being a diminutive oftambour "drum," altered by influence of Arabictunbur "drum".[4] from theMiddle Persian wordtambūr "lute, drum".[5]
Woman holding a mirror and a tambourine facing a winged genie with a ribbon and a branch with leaves.Ancient Greekred-figureoinochoe,c. 320 BC, fromMagna Graecia. (Notice the coloured decorative woven stripes hanging on the tambourine, which can still be seen today on thetamburello, the tambourine of Southern Italy.)
Maenad playing atympanum. Detail from the Triumph of Dionysus, on a Roman mosaic from Tunisia (3rd century AD).
The tambourine can be held in the hand or mounted on a stand, and can be played in numerous ways, from stroking or shaking thejingles to striking it sharply with the hand or a stick or using the tambourine to strike the leg or hip.
There are several ways to achieve a tambourine roll. The easiest method is to rapidly rotate the hand holding the tambourine back and forth, pivoting at the wrist.
An advanced playing technique is known as the thumb or finger roll.[6][7] The middle finger or thumb is moved over the skin or rim of the tambourine, producing a fast roll from the jingles on the instrument. The thumb or middle finger of the hand not holding the tambourine is run around the head of the instrument approximately one centimeter from the rim with some pressure applied. If performed correctly, the finger should bounce along the head rapidly, producing the roll. Usually, the end of the roll is articulated using the heel of the hand or another finger. To perform this technique, the percussionist usually lightly licks the tip of their thumb or uses beeswax or rosin. These materials increase friction making it easier to execute. A continuous roll can be achieved by moving the thumb in a "figure of 8" pattern around the head.
Various European folk traditions include the tambourine. TheRomani people used the tambourine as a percussion instrument, and it was often passed around the audience to collect money after a performance. In the late 1700s, the tambourine had a surge in popularity in England, with some composers ofsalon music writing parts for tambourine, indicating as many as 30 different playing strokes or moves. The tambourines of this era often had a circular hole in the frame for the thumb, as one of the moves was to spin the tambourine on the upright thumb. In the late 19th century,The Salvation Army codified the tambourine as one of their important rhythm instruments. They preferred the term "timbrel" which was taken from the Bible. By 1945, Salvation Army performances often entailed elaborate tambourine choreography performed by squads in para-military style, more for visual appeal than for musicality.[8]
African American slaves were denied drums which might be used forlong-distance communication. To supply rhythm in music, they turned to smaller percussion instruments such as thebones and the tambourine, as well asclapping andbody percussion. The tambourine could accompany the singing ofspirituals, and it was used for celebrations and dancing.[9] The tambourine became one of the main instruments of the Americanminstrel show in the early 1800s, often performed by whites inblackface such asNed Christy, or sometimes by actual black performers. On stage, the tambourine and bones players in minstrelsy stood to the far left and far right of the Interlocutor (master of ceremonies) and were titled Brother Tambo and Brother Bones: because of their position they were called the end men. The tambourine was also used in somevaudeville acts, including the 1840s dance and musical performances ofMaster Juba who was able to elicit a wide range of sounds from the instrument including the chugging of a steam train. Used forPentecostal praise inrevival meetings in the early 20th century, by the 1920s the tambourine was firmly established as the primary percussion instrument ofgospel music. The tambourine was played by gospel groups and choirs, and carried prominently by singers who did not otherwise play an instrument, notably byBessie Jones andLuther Magby.[8]
At the same time, the tambourine expanded from gospel music to various forms of African Americanpopular music includingblues andjazz. For instance, singer and guitaristBlind Roosevelt Graves was accompanied by his brother Uaroy on tambourine and voice, singing both sacred and secular songs. Singer-songwriterJosh White got his start as a child performing for handouts in the street with an exuberant tambourine performance, beating the instrument's drumhead on his elbows, knees, and head.[10]
In the 1950s as gospel elements were incorporated intorhythm and blues by African American singers such asRay Charles, the tambourine often accompanied the changes. It continued its foray into popular music within the music ofMotown. Motown singers and musicians often grew up with gospel music, and they carried the tambourine into pop performance.The Supremes performed with two tambourines – more for choreography than percussion – played byFlorence Ballard andMary Wilson standing apart fromDiana Ross.[11]Jack Ashford's distinctive tambourine playing was a dominant part of the rhythm section on many Motown records,[12] for instance onthe Miracles tune "Going to a Go-Go",[11] andMarvin Gaye's "How Sweet It Is".[12]
Singers who rarely play an instrument are likely to play the tambourine at concerts:[12] among the most well-known examples areMick Jagger ofthe Rolling Stones,Jim Morrison ofthe Doors,[13]Janis Joplin leadingBig Brother and the Holding Company, andStevie Nicks as part ofFleetwood Mac and as a solo performer. Very often, the instrument used in pop music is theheadless tambourine or "jingle ring", lacking a drum head. The singer should, however, play the tambourine with the overall songarrangement in mind; in some cases, band members have purposely hidden the tambourine from an irresponsible lead singer who disregards the interplay of rhythm.[12] On the other hand, skilled performers such as Jagger have brought a fine sense of timing to their tambourine playing. In the Rolling Stones' 1964 U.S. single of "Time Is on My Side", the less-known version, Jagger lays the tambourine on the front of thebeat whileCharlie Watts holds the snare to the back of the beat, which allows the longer decay time of the tambourine to synchronise with the snare at the end. The result is an intentional feeling of running to catch up.[14]
Jazz, pop and rock drummers sometimes mount a headless tambourine in thedrum kit. Some position the tambourine above the toms in the same manner as a cymbal, for instance, Nathan Followill ofKings of Leon, andLarry Mullen Jr ofU2.Bill Ward ofBlack Sabbath connected a tambourine to a foot pedal, for his left foot to operate like ahi-hat.John Bonham ofLed Zeppelin simply mounted a tambourine above the hi-hat for extra sonic colour.[12]The Subdudes, aroots rock group from New Orleans, opted for a tambourine player, Steve Amedée, instead of a drummer.[16]
Wolfgang Amadeus Mozart was among the earliest western composers to include the tambourine in his compositions. Since the late eighteenth century it has become more common in western orchestral music, as exemplified in some ofPyotr Ilyich Tchaikovsky's dance pieces from theNutcracker Suite.[17]Gustav Holst's seven-movement orchestral suiteThe Planets also features the tambourine in several places, especially in the "Jupiter" movement.[18]Georges Bizet'sCarmen opera includes the famous "Habanera" aria which has a series of tambourine strikes in each chorus.[19]
Buben (Бубен inRussian,Бубон inUkrainian,boben inSlovenian,buben inCzech,[20]bęben inPolish) is amusical instrument of thepercussion family similar to a tambourine. A buben consists of a wooden or metal hoop with a tight membrane stretched over one of its sides (some bubens have no membrane at all). Certain kinds of bubens are equipped with clanking metal rings, plates,cymbals, or little bells. It is held in the hand and can be played in numerous ways, from stroking or shaking the jingles to striking it sharply with hand. It is used for rhythmicalaccompaniment during dances, soloist or choral singing. Buben is often used by some folk and professional bands, as well as orchestras.
The name is related toGreek languageβόμβος ('low and hollow sound') andβομβύλη ('a breed of bees') and related toIndo-Aryanbambharas ('bee') andEnglishbee. Buben is known to have existed in many countries since time immemorial, especially in theEast. There are many kinds of bubens, includingdef,daf, orqaval (Azerbaijan),daf orkhaval (Armenia),daira (Georgia),doira (Uzbekistan andTajikistan),daire ordef (Iran),bendeir (Arab countries),pandero (Spain). InKievan Rus,drums and militarytimpani were referred to asbuben.
An Iranian woman playing a frame drum, from a painting on the walls ofChehel Sotoun palace,Isfahan, 17th century,Iran
Adaf (دف) is a large-sized tambourine or Perso-Arabic frame drum used to accompany both popular and classical music inIran,Azerbaijan, theArab world,Turkey (where it is calledtef),Uzbekistan (where it is calledchildirma), theIndian subcontinent (where it is known as thedafli) andTurkmenistan. Daf typically indicates the beat and tempo of the music being played, thus acts like the conductor in the monophonic oriental music. The Persian poetRudaki, who widely used names of the musical instruments in his poems, mentions the daf and the tambourine (taboorak) in aRuba'i: A common use of tambourine (Daf) is by Albanians. They are often played by women and bridesmaids in wedding cases to lead the ceremony when bride walks down the aisle.[citation needed]
Originated inGalicia orPortugal, thepandeiro was brought toBrazil by thePortuguese settlers. It is a hand percussion instrument consisting of a single tension-headed drum with jingles in the frame. It is very typical of more traditionalBrazilian music.
TheBasque pandero is a folk instrument currently played along with thetrikitixa (basque diatonic accordion) in a duo most of the time. Sometimes the players, who play in festivities to enliven the atmosphere or less frequently at onstage performances, sing along. At times the pandero accompanies thealboka ortxistu too. Yet these kinds of duos have not always been the case. As attestedin 1923, the youth gathered to dance to the rhythm of the bare pandero, with no other music instrument implicated but the player's (a woman's) voice.
Theriq (also spelledriqq orrik) is a type of tambourine used as a traditional instrument inArabic music. It is an important instrument in both folk and classical music throughout the Arabic-speaking world. The instruments are widely known asshakers.
A traditional Central Asian musician from the 1860s or 1870s, holding up his dayereh
Thekanjira organjira is aSouth Indian frame drum of the tambourine family. It is mostly used inCarnatic music concerts (South Indian classical music) as a supporting instrument for themridangam. The instrument is calleddafli (डफली in the northern Hindi-speaking parts of India and is a common instrument in orchestras and solos. Nepal also has avariety of tambourines, going by the namesdaanf,damphu (Nepali:डम्फू),hring, andkhaijadi (Nepali:खैंजडी).
Ta'r, Egypt, picture p.366 inEdward William Lane (1836).An Account of the Manners and Customs of Modern Egyptians (5th ed.) (published 1860).
Deff - Tambourine, Palestine, picture p. 579 in W. M. Thomson: The Land and the Book; or Biblical Illustrations Drawn from the Manners and Customs, the Scenes and Scenery of the Holy Land. Vol. II. New York, 1859.
Timbrel ortabret (thetof of the ancientHebrews, thedeff ofIslam, theadufe of the Moors ofSpain), the principal musical instrument of percussion of theIsraelites, similar to the modern tambourine.
Redep, a rebana fromPalembang,South Sumatra, with its typical red, black, and gold color
^abcJohn Shepherd; David Horn; Dave Laing; Paul Oliver; Peter Wicke, eds. (2003).Continuum Encyclopedia of Popular Music of the World. Vol. 2. A & C Black. pp. 364–367.ISBN978-1-84714-472-0.
^Dena J. Epstein (1963). "Slave Music in the United States before 1860: A Survey of Sources".Notes.20 (3). Music Library Association:377–390.doi:10.2307/895685.JSTOR895685.
^Elijah Wald (2002).Josh White: Society Blues. Psychology Press. p. 11.ISBN978-0-415-94204-1.
^abJim Curtis (1987).Rock Eras: Interpretations of Music and Society, 1954-1984. Popular Press. pp. 96–97.ISBN978-0-87972-369-9.
^abMaury Dean (2003).Rock N Roll Gold Rush: A Singles Un-Cyclopedia. Algora. p. 200.ISBN978-0-87586-207-1.
^Tim Barnes (2002). "Loosen up: the Rolling Stones ring in the 1960s". In Andrew Blake (ed.).Living Through Pop. Routledge. p. 21.ISBN978-1-134-71761-3.
^Geraldine Wyckoff (2016). "Living a Childhood Dream".OffBeat (The Bible of Jazz Fest ed.). pp. 44–45.
^Georges Bizet. Carmen. Opéra comique en quatre actes. Critical Edition edited by Robert Didion. Ernst Eulenberg Ltd, 1992, 2003 (No. 5 Habanera, p. 99).
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