How to Play Bongos (Class 9) in Tamil / Star Horse Benja
Bongo drummers are known as Bongoseros.
Bongo drums, also called bongos, pair of small single-headed Afro-Cuban drums. The two heads, which are respectively about 5 inches (13 cm) and about 7 inches (18 cm) across, are nailed or rod-tensioned to wooden, open-ended “shells” of the same height. Played with the hands and fingers, the drums are yoked together to help the performer execute lively rhythmic dialogues. Bongo drums were created about 1900 in Cuba for Latin American dance bands. Other Cuban folk drums are also called bongos.
Bongo drums produce relatively high-pitched sounds compared to conga drums and should be held behind the knees with the larger drum on the right when right-handed. It is most often played by hand and is especially associated with Cuban music with a steady pattern or ostinato of eighth-notes known as the Martillo or “hammer”. They are traditionally played by striking the edge of the drumheads with the fingers and palms. The glissando used with bongó de monte is done by rubbing the third finger, supported by the thumb, across the head of the drum.
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“Bongos” redirects here. For the American pop band, see the Bongos. For other uses, see Bongo (disambiguation).
Bongos (Spanish: bongó) are an Afro-Cuban percussion instrument consisting of a pair of small open bottomed drums of different sizes. In Spanish, the larger drum is called the hembra (female) and the smaller the macho (male). Together with the conga or tumbadora, and to a lesser extent the batá drum, bongos are the most widespread Cuban hand drums, being commonly played in genres such as son Cubano, salsa and Afro-Cuban jazz. A bongo drummer is known as a bongos
Bongo drums are about 20 centimetres (8 in) high and have diameters of approximately 20 centimetres (8 in) and 25 centimetres (10 in)
The origin of the bongo is largely unclear. Its use was first documented in the Eastern region of Cuba, the Oriente Province, during the late 19th century, where it was employed in popular music styles such as nengón, changüí, and their descendant, the son Cubano.[1] According to Fernando Ortiz, the word bongó derived from the Bantu words mgombo or Ngoma, meaning drum.[4] He hypothesizes that the word evolved through metathesis and by similarity with another Bantu word, mbongo.[4] In Holguín, certains drums which are considered possible ancestors of the bongó are known as tahona, which might have a been a generic word for drum in Cuba and also refers to an unrelated music genre
The bongo entered Cuban popular music as a key instrument of early son ensembles, quickly becoming—due to the increasing popularity of the son—”the first instrument with an undeniable African past to be accepted in Cuban “society” circles”. This is attested, for example, in poems by Nicolás Guillén. As son evolved and distanced itself from its precursor, the changüí, so did the bongos. The bongos used in changüí, known as bongó de monte, are larger and tuned lower than their modern counterparts, have tack-heads instead of tunable hardware, and play in a manner similar to the lead conga drum (Quinto) and other folkloric lead drum parts. Unlike modern son, changüí never extended its popularity beyond eastern Cuba, and hence its bongos remain a rare sight. It is commonly accepted that the son reached Havana partly as a result of the arrival of musicians members of Cuba’s ejército Permanente (permanent army), which brought music from eastern Cuba with them. Among the first known bongoseros to enlist in the ejército Permanente in Santiago de Cuba was Mariano Mena
Bongo drums produce relatively high-pitched sounds compared to conga drums and should be held behind the knees with the larger drum on the right when right-handed. It is most often played by hand and is especially associated with Cuban music with a steady pattern or ostinato of eighth-notes known as the Martillo or “hammer”.[26] They are traditionally played by striking the edge of the drumheads with the fingers and palms. The glissando used with bongó de monte is done by rubbing the third finger, supported by the thumb, across the head of the drum.
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