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First Lessons Djembe
by; Paulo Mattioli

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Hand Drumming Crash Course: Part One

by Mark Powers

Welcome to the first installment of our Percussion Sessions© Hand Drumming Crash Course! In this issue, we will explore some of the most common hand drum strokes and sounds. Then we’ll combine them to create a few easy rhythms!

Do keep in mind that the strokes we are learning are not culturally specific. They are general techniques to use when approaching many varieties of hand drums. Each drum’s traditional uses may require additional strokes or variations of those presented here. However, delving that deeply and specifically is beyond the scope of this series of lessons. I encourage you to research more about the techniques and rhythms of your particular instrument.

If you are playing an open-bottom drum (such as a djembe or conga), it is important to elevate it off the ground. we want to position it so that the air can freely escape from the body (inside). If you choose to stand while playing, this can be accomplished by the use of a strap, or mounting the drum in a stand. If you are seated, simply lift the drum up with your knees and feet. The air can now freely escape from inside, helping us to produce a full, rich tone.

Start With The Bass-ics

The first stroke we will play is the low-pitched bass tone. Hold your hand flat above the drum, palm down, with your fingers together. Staying relaxed, hit the center of the drum and immediately bounce away. Envision pulling the sound out of the drum, rather than pounding the sound into it. Practice the bass tone with each hand. Remain relaxed and strive to make the right and left hand strokes sound identical.

Open-ing Up Your Drumming Vocabulary

The next stroke to learn is the higher pitched open tone. Your hand should be held in a similar way as with the bass (hand flat; fingers gently together), but this time we will use the fingers as a paddle and strike along the edge of the drum closet to your body. Your hand should make contact with the drum right around the base of your fingers. To ensure the desired ringing, “open” sound, be sure to quickly pull away after hitting the drum. Don’t forget to stay relaxed and make both hands sound consistent.

Slap, Crackle, Pop

To play a slap, the base of your palm should connect with (or near) the rim of your drum, with your fingers falling somewhere near the center of the head. In contrast to our bass and open tones, this time we let our fingers fall apart from each other AND we will not bounce our hand away. When striking the drum, allow your hand to remain on the head and, at the moment of contact, quickly give the head a slight tug (or gripping motion) with your fingertips. Don’t over-exaggerate the fingertip grip. Properly executed, you will create a loud crack or pop sound- very short and high-pitched. The slap is often the most difficult stroke for a player to develop . . . have patience! With regular practice you will master it.

Note that the slap technique described above is very common among djembe drummers, and players of various other thin-headed (ie. goat-skin) drums. As I mentioned at the beginning of this lesson, these strokes may have to be altered to be applicable to some drums. An example that is worth noting here is the slap on a conga. Many conga drummers (or ‘congueros’) utilize an altogether different method for producing a slap stroke. On these thicker [calf-skin] drums, it is often necessary to keep the fingers together and ‘cup’ your hand during the stroke.

Ready, Set . . .

Feeling good about your bass, open and slap tones? Let’s combine them to play four patterns that will start developing our technique while creating some great sounding phrases. Getting comfortable with these easy exercises now will help as our rhythms get more advanced in the future.

I have chosen to present all examples in three ways:

1. on a standard 5-line musical staff (with stroke-types and suggested hand patterns notated below);
2. using ‘boxed’ notation (with stroke-types, hand patterns and counting notated); and
3. in short video clips, available only in this online format.

Practice each exercise slowly and count the rhythm (1 & 2 & . . .) out loud. Our goals are clear, accurate tones and precise rhythms- not speed!

. . . Go!

Notation Key:
B = Bass tone
O = Open tone
S = Slap stroke

Example #1: Bass & Open

Example #2: Bass & Slap

Example#3: Open & Slap

Putting It All Together

Example #4: Bass, Open & Slap

Now that you’ve got a handle on these three basic strokes, try making up your own combinations. Next time we will continue doing the same and discover a number of interesting hand drum grooves. See you then!

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About the Authors

Mark Powers is a percussionist and educator residing in Salem, Oregon. He has studied and performed throughout the US, China, Thailand and Ghana, West Africa. Visit Mark online at www.powerspercussion.com

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