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WOODSON
INSTRUMENT MAKING
MANUAL
© 2013 Percussion Marketing Council • www.rootsofrhythm.net • Contents may be reproduced for non-commercial, educational purposes only.
WOODSON INSTRUMENT
MAKING MANUAL
By Dr. Craig Woodson
Table of Contents
Chapters
Page
Introduction ..................................................................................................3
Volume I
1
2/8
3
4
5/6
7
9
10
Making the Adufe ........................................................................................5
Making the Bongos and Naqqāra .................................................................6
Making the%XKDL .......................................................................................7
Making the Djembé......................................................................................8
Making the Dondo and Kakko .....................................................................9
Making the Lakota Drum ...........................................................................11
Making the Ranāt Ēk .................................................................................12
Making the Sājāt ........................................................................................13
11
12
13
14
15
16
Volume II
Making the Pandeiro ..................................................................................14
Making the Snare Drum .............................................................................15
Making the Steel Drum ..............................................................................16
Making the Tabla .......................................................................................17
Making the Turntable.................................................................................18
Making the Daf ..........................................................................................19
Major Funding & Support for
Roots of Rhythm is provided by:
RoR Training Manual ©2007 ©2013 Second Edition • The Percussion Marketing Council • All rights reserved. www.rootsofrhythm.com
Woodson Instrument Making Manual ©1998 Craig DeVere Woodson • All rights reserved. Ethnomusic, Inc.
1
2
ROOTS OF RHYTHM — WOODSON INSTRUMENT MAKING MANUAL
Introduction
Background
Developed in conjunction with leading educators, Roots of Rhythm is a groundbreaking, handson resource that supports global education goals and state curriculum standards in core academic
subjects while augmenting general classroom activities with a variety of music and art projects.
The Woodson Instrument Making Manual is written by Dr. Craig Woodson, a professional
percussionist, instrument maker, ethnomusicologist and Roots of Rhythm author. It is designed
to help learners gain quick access to musical instruments in order to begin using the Roots of
Rhythm resource.
Using available tools and simple materials RoR teachers can engage students on many levels
including essential developmental skills, creative thinking and problem solving, art and cultural
diversity appreciation, teamwork, self-discipline and positive self-expression to students,
classrooms, schools and communities. As students make and then play simple instruments they
become actively engaged in the learning process.
Learners, both young and old, benefit from Roots of Rhythm’s inter-disciplinary method by:
• Learning about cultural diversity through its similarities and differences
• Working cooperatively and communicating with others
• Analyzing, interpreting and connecting ideas from different academic disciplines
• Practicing academic concepts through hands-on music participation
• Discovering the social, cultural and historical roles of music and rhythm
Using RoR Woodson Instrument Making Manual
In order to begin instrument making projects here are some guidelines regarding tools, materials,
preparation, and collaborations/use.
1. Tools:
• Can opener – one type leaves a sharp edge, another leaves smooth edges on lid and can
• Felt markers – in several colors for decoration
• Hacksaw or a hacksaw blade – with 24 or 32 teeth per inch
(NOTE: the hacksaw blade can be half of a 12-inch blade. You can break the fulllength blade in half, by bending back and forth. The sharp end is taped with duct tape
for a handle)
• Hammer – small to medium weight, with a claw
• Sandpaper - 100 to 120 grit
• Scissors – medium size
2. Materials:
• Bamboo sticks (All drums/ Ranāt Ēk) – from ¼ inch to ½ inch in diameter, found in
gardening stores
• Chopsticks (Drums) – separate sticks if possible not the type you have to break in half
• Embroidery hoops (Dondo/Djembé) – 9 inch diameter
• Feathers (Lakota Drum) – a variety of sizes for decoration
• Furring wood in various lengths (Adufe/Ranāt Ēk) – these are in 8 foot lengths that
lumber stores will often cut to your desired length, the dimensions are 1” thick by 2”
wide (NOTE: the actual with is ¾ inch by 1.5 inches)
3
ROOTS OF RHYTHM — WOODSON INSTRUMENT MAKING MANUAL
•
•
•
•
•
•
•
•
•
•
•
PVC tape (All drums) – 2 inch wide, thinnest possible, clear, tan and if possible in
colors
Hoops (Lakota Drum) – these can be cut from a ‘cement form tube’ available at large
hardware stores
Masking tape (Decoration on all instruments) – ¾ inch wide, in colors if possible
Nails (Adufe) – box or flat head type – 1.25 inches or 1.5 inches in length
Pie tin (Pandeiro) – medium duty, not thin type
Plastic flower pot (Djembé) – 6 to 8 inches diameter
Plastic plate/tray (Turntable) – with textured surface across the surface
Plastic spoons (Sājāt) – heavy duty types are the best, with flat handles
Strapping tape (Dondo/Djembé/Ranāt Ēk)– ¾ inch wide, also called ‘string tape’
Styrofoam cup (Buhai) – 3-5 inch opening
Talcum powder (Lakota Drum) – in a shaker bottle
3. Preparation:
• The amount of time needed to prepare for instrument making will depend on the age of
your learners.
• Some lumber stores such as Home Depot will often cut wood to the desired length at
little or no cost. Also furring wood can be ‘gang cut’ together, that is, one cut actually
makes 10 or 15 parts at one time.
4. Collaboration/Use:
• When a musical instrument is completed, the decoration can begin, and even be
assisted with the guidance of an art teacher.
• Likewise teachers of social studies or science can continue to extend the lesson using
the instrument as a point of departure.
• When the instrument is completed, use the RoR Guide and other resources to bring
the music to life, listening then playing the music.
Invented and developed by Dr. Woodson over many years, these simple instruments are intended
to provide immediate access to music making with the Roots of Rhythm Guide. The projects are
not intended for commercial use and should only be used for educational purposes. For further
information contact Dr. Woodson at 440-725-8767 or [email protected].
Major Funding & Support for
Roots of Rhythm is provided by:
RoR Training Manual ©2007 ©2013 Second Edition • The Percussion Marketing Council • All rights reserved. www.rootsofrhythm.com
Woodson Instrument Making Manual ©1998 Craig DeVere Woodson • All rights reserved. Ethnomusic, Inc.
4
ROOTS OF RHYTHM — WOODSON INSTRUMENT MAKING MANUAL
Making the Adufe – Chapter 1
Materials:
o Wood 1”x 2”x 9” – 4
o Nails 1 ½ “ – 4
o Dowel 3/8” diameter – 1
o PVC tape
o Beads - several
Tools:
o Hammer
o Markers
o Sandpaper
o Hacksaw blade - ½ taped end
o Drill (optional)
o Talcum powder (NOTE: some schools ban talcum)
Make:
1. Lightly sand the wood.
2. Hammer 4 nails in two pieces of wood 3/8” from each end.
3. Tape around the drum frame with straight and angled pieces. Pull the tape very tight in order to have a good
drum sound.
4. Before the last piece is pulled sprinkle talc into the drum and add 5-6 beads.
5. Repeat step 3 but in the opposite direction and pull the tape as tight as possible.
6. Tape around outside of frame to cover nails and decorate.
NOTE: Pre-drill wood for four nails (optional).
Play: The Adufe is played with the hands but this homemade version is best played with a stick. Play on the head
or rim (to get “click” wood sound. Press one stick into the head to dampen the head, so when the other stick hits,
the sound is muffled.
Activity: Tape two or more drums together to make a drum set and add a coffee can for a bell sound. Add the
frame drum to a composition.
Science: If the two drumheads are pulled to the same tension, the heads will reinforce each other in what is
called a “coupled frequency.” This sound is very resonant, but if the heads are not the same tension, they are
mistuned and the sound will be less resonant or more muted.
Culture: The Adufe is used in religious (and popular music) often by women and girls to accompany processional
music.
STEP 2:
Hammer four nails into
end pieces of wood.
STEPS 3-4:
Wrap tape around frame.
Add beads and talc.
1
3
2
STEP 6:
Tape around outside
of frame to decorate.
4
©1998 Craig DeVere Woodson • International Copyright • All Rights Reserved
5
ROOTS OF RHYTHM — WOODSON INSTRUMENT MAKING MANUAL
Making the Bongos and Naqqāra – Chapters 2 & 8
Materials:
o 5” x 7” diameter tube/can
o 4” x 7” diameter tube/can
o 2 – chopsticks
o PVC tape
Tools:
o Hacksaw – ½ taped end
o Can opener
Make:
1. Take off all lids of cans. Wrap an “anchor” piece of tape around the top of the tube.
2. Pull successive pieces, pulling up across and down from one side to the other, beginning and ending on the anchor. Add 3-4 piece of tape in one direction (A), then 3-4 tighter pieces in either star pattern or “tic-tac-toe” shape
(B).
2. When the drums are individually finished, tape them together around the middle.
3. Make a drumbeater by wrapping tape around each chopstick end like a lollipop. The tape should continue down
the shaft of the chopstick like the wrapper.
Play: The Bongos and Naqqāra are played by the fingers and thin sticks respectively. For the bongos finger on
the head near the rim to get a tone; press into the head to get a higher “smack” sound. Usually the high-pitched
drum is on the player’s left.
Activity: Stretch the tape on the smaller drum tighter than the larger drum. Practice the Cuban and Turkish
rhythms below and compose some patterns with the TUBS notation.
Science: The PVC tape is made of molecule chains that “unzip” when the tape is punctured with a sharp object.
The PVC tape breaks with a puncture at 90 degrees to its surface or with a nick to its edge. This can be done with
the shortened hacksaw blade or even a sharpened pencil with a sharp poke, like popping a balloon. The two different diameters of drums and the tightness of the drumhead give the different sounds, high and low.
Culture: The Bongos are used in popular Cuban music to accompany other musicians and for solos. They were
invented around 1900 to be a very high sound in the Cuban ensemble. The Naqqāra was developed from
ancient food technology in the Middle East.
Cuban Martillo Rhythm
R
L
R
L
R
L
Turkish Ayub Rhythm
R
L
R
STEP 1-2:
Wrap tape around shell to make anchor.
Pull tape across drum to make heads.
side view
R
L
R
STEP 3:
Tape drums together
and decorate.
B
A
top view
L
top view
©1998 Craig DeVere Woodson • International Copyright • All Rights Reserved
6
L
R
L
STEP 4:
Make
beaters.
ROOTS OF RHYTHM — WOODSON INSTRUMENT MAKING MANUAL
Making the Buhai – Chapter 3
Materials:
o Can with plastic lid or Styrofoam cup with lid
o Masking tape
Tools:
o Crayons
o Markers
Make:
1. Place two pieces of tape, one six inches long and the other eighteen inches long to opposite sides of the drumhead.
2. Hold drum upside down and pinch the two pieces of tape into a “Y”. Then flatten the “Y” onto the drumhead to
form a “T.” You may need to add two pieces of tape on the drumhead perpendicular to the “Y” for extra stickiness.
NOTE: When a substitute drum is made with a coffee can or Cuica and masking take, over time the sticky side of
the tape becomes matted and ruined. So a new piece might need to be added.
Play: Most often a drum is played by hitting with hands or sticks but certain drums can be played with a friction
sound. The homemade Buhai is a friction drum played by rubbing down the tape while lightly pinching it with the
thumb on the sticky side and the index finger on the other. The Buhai is intended to sound like an animal, specifically an ox.
Activity: Compose some ox sounds with your Buhai, and compose some animal sounds as notated by the various graphic shapes below. Thin for soft and thick for loud.
Science: When you rub down the tape, notice that slow movement makes a low tone, and fast makes a high
tone. This concept can be applied to other instruments.
Culture: The Buhai is found in Romania and is played during a New Year’s festival that celebrates agricultural
success with song, parades, and ox sounds of the friction drum. The traditional instrument is made with a bucket,
goatskin, and horsehair.
STEP 1:
Attach two pieces of tape
to the shell of the drum.
STEP 2:
Form the tape into a “Y”
and then into a “T”.
©1998 Craig DeVere Woodson • International Copyright • All Rights Reserved
7
ROOTS OF RHYTHM — WOODSON INSTRUMENT MAKING MANUAL
Making the Djembé – Chapter 4
Materials:
o Plastic flower pot 6”x 3”
o Plastic tube or can 4” diameter x 8”
o Embroidery hoop 9” diameter
o PVC tape
o Masking tape
o Strapping tape
Tools:
o Hacksaw – ½ tape end
o Scissors
Make:
1. Cut out a hole in the pot’s bottom cutting between the hole vents.
2. Tape tube/can to flowerpot bottom. If using a can flatten any rough edges.
3. Tape PVC tape around hoop’s circumference to make the anchor.
4. Pull PVC tape over the hoop in a tic-tac-toe pattern very tight.
5. Place the head on the large end of the flowerpot and pull pieces of strapping tape from the head to the bottom
tube, pull it as tight as possible each time. Adjust the tension as needed by undoing and re-doing the tape at the
tube end.
Play: Hit the drum with the fingers on the edge for the high sound and with the palm in the center for the low
sound.
Activity: Push one hand into the open end, hit the drumhead and listen to the change in sound as you move your
hand in and out. Play the Aconcon rhythm as follows:
Count
1
2
3
4
5
6
7
8
H
H
•
H
H
•
L
L
Science: The Venturi tube [from G. B. Venturi (1746-1822)] is a short tube with a throat-like passage that increases the velocity and lowers the pressure of a fluid or air conveyed through it. In drums it gives a bass tone by creating a partial vacuum below the drumhead which assists in drawing air upward and downward through the tube.
Cultures: This drum is similar to one from the Middle East including known as the Darabouka that is used in
Chapter 10. The goblet-shaped drum is found worldwide
STEP 1:
Cut out bottom
of flowerpot.
STEP 5:
Attach strapping tape from
top of head to bottom.
bottom view
top view
©1998 Craig DeVere Woodson • International Copyright • All Rights Reserved
8
ROOTS OF RHYTHM — WOODSON INSTRUMENT MAKING MANUAL
Making the Dondo and Kakko – Chapter 5 & 6
Materials:
o #10 cans - 2
o Embroidery hoops – 10” x 2
o PVC tape
o Cardboard box (shoebox size)
o Bamboo stick – 1/4” x 12 “
o Strapping tape
o Dowel 3/8” x 9”
o Talcum powder (NOTE: some schools ban talcum)
Tools:
o Hacksaw blade
o Hammer
Make:
1. Take all the lids off both cans, place one can on top of the other making a long tube, and tape them together
around the middle. Hammer flat any rough edges where the lids were removed and especially on the bearing
edges at the top.
2. Tape a “mouthpiece” around each end and decorate the cans.
3. Wrap PVC tape around each embroidery hoop.
4. Make the drumheads in three steps:
a. For the first two pieces of tape, have a partner hold the hoop below the rim about ½” to position the “collar,”
as you place two pieces of tape from one side of the hoop to the other across the diameter in a plus sign.
b. After positioning the collar, continue in one direction with similarly loose pieces across the drum, making
sure you wrap the tape around the hoop on each side. It is important to keep the collar in position as you add
cross pieces since it is this drop in distance from the bearing edge that gives the drum a bass tone.
c. The second layer is completed the same way but 90 degrees to the first layer.
5. Center the top drumhead on the top can. The sticky side will adhere to the can, so you can leave the drumhead
stuck to the bearing edge as you turn the drum over to do the bottom drumhead. Press talcum on the bearing
edge to free drumhead (optional).
6. With both heads stuck to the drum, have a partner hold the saw blade ready to cut the strapping tape as soon
as you have taped the two heads together. Be sure to stick the tape around 1” onto the surface of each head.
7. Tape these pieces onto opposite sides beginning with the crisscross or plus sign pattern. Eight pieces of strapping tape are the minimum but sixteen pieces would give more even tension to the drumhead.
8. When the strapping tape is in position, pinch the sticky halves of each strip together beginning just below each
hoop and continuing to the other head. It is a pinch and slide motion. The strapping tape will be called the tension
cords.
9. Wrap a ball of masking tape around one of the dowels for a beater.
STEPS 1-2:
Tape cans together.
Tape top and bottom edges.
STEP 4:
Make
drumheads
STEPS 6-7:
Attach strapping tape
from top to bottom.
top view
top view
©1998 Craig DeVere Woodson • International Copyright • All Rights Reserved
9
ROOTS OF RHYTHM — WOODSON INSTRUMENT MAKING MANUAL
Making the Dondo and Kakko – Chapter 5 & 6
Play: For the Japanese playing position place the drum on a cardboard box and hit the drum on both heads with
a thin stick on each end. The drum should be tuned to a high pitch by wrapping a string or a piece of tape around
the tension cords at the middle of the drum. The activity below will compare the Japanese Kakko technique of
playing with that of the Dondo from West Africa.
To play the Dondo, hold the drum in the armpit with your left arm (for right-handed people) with a hug. Your elbow
should go back on the tension cords, your left hand should squeeze and the drum should be pulled up into your
armpit.
Activity: To tighten the drumhead for the Kakko, wrap a string or an additional piece of tape around the middle
of the tension cords; the tension of the Kakko is not meant to be changed while playing. On the other hand, the
Dondo is tightened under the arm as you play it so that the drum will change pitch as you play it.
Science: The traditional Dondo’s hourglass shape gives the sound the Venturi effect, which assists the bass
tone. If the drumheads are about the same tension, the drumheads will act as coupled frequency vibrating together at the same pitch.
Culture: The Dondo originated in the northern part of Ghana, but came to be used in the royal music of the Asantehene in Kumasi. The Kakko dates back to around 700 A.D., and is used today in several types of Japanese
imperial court music.
KAKKO
seated
position
DONDO
standing
position
©1998 Craig DeVere Woodson • International Copyright • All Rights Reserved
10
ROOTS OF RHYTHM — WOODSON INSTRUMENT MAKING MANUAL
MakingtheLakotaDrum–Chapter 7
Materials:
o Cardboard hoop 9” x 2”
o Chopstick
o Feathers
o PVC tape
Tools:
o Hacksaw
Make:
1. Wrap tape around hoop for an anchor.
2. Stretch a piece of tape over the diameter—“bottom of drum”—beginning on the anchor, then over the top and
back over the bottom, giving the bottom piece two layers.
3. Pinch the bottom layer so the sticky sides stick together. This will look like a minus sign across the diameter of
the drum.
4. Follow steps 2 and 3 but in the opposite direction making a plus sign.
5. Wrap a 3-inch piece of tape around the middle of the plus sign to make it a handle.
6. On the top of the drum, add two more pieces going in the same direction on each side of the first piece.
7. To tighten the drumhead, stretch a piece in the opposite direction, again going over the diameter, pulling tape
as tight as possible.
8. Add two more pieces on each side of the diameter piece as done in step 6 again going perpendicular to the first
layer.
9. Wrap a final piece around the hoop to secure these drumhead pieces.
10. Wrap a wad of PVC tape around each end of the chopstick for a beater.
11. Decorate the drum and drumstick; mark four directions; add feathers.
Play: Hold the handle in the middle (of the plus sign) then touch the index finger to the drumhead to mute the
sound and/or get a buzz.
Activity: Tighten the drum with another piece of tape pulled extra tight, or press on the head to loosen it - lowering the pitch. Align the drum with the four directions.
Science: The drumhead is strong because the molecules in the tape are lined up in one direction, but it is necessary to crisscross the pattern to make the drumhead strong enough to be struck. If a star pattern is use to make
the drumhead instead of a crisscross pattern, the center has extra mass and this is called a load which lowers the
pitch of the drum.
Cultures: The frame drum dates back to Greek times and is found in many cultures especially in Europe and the
Middle East. Some stories tell that the frame drum was first a flour sifter that became a drum. Among the Lakota,
it is used in tribal Pow-Wows to accompany songs.
STEPS 1-5:
Start drumhead tape
and make handle.
bottom/side view
STEPS 6-9:
Make drumhead and secure
with final wrap around drum.
STEP 10:
Make
beater
top/side view
©1998 Craig DeVere Woodson • International Copyright • All Rights Reserved
11
STEP 11:
Decorate the drum,
mark the four directions.
ROOTS OF RHYTHM — WOODSON INSTRUMENT MAKING MANUAL
Making the Ranāt Ēk – Chapter 9
Materials:
o Wood 1”x 2’ x 9, 10, 11, 12, 13, 14”
o Dowel 9” x 3/8”
o Sandpaper #80
o Strapping tape
Tools:
o Markers
o Sandpaper block
o Hacksaw – ½ taped
Make:
1. Sand all 6 wood pieces especially the edges and corners.
2. Tune the notes to E, F, A, B, C and D as shown below.
3. Mark a line 1/5 from the ends of each bar, on one side only, all pieces.
4. Lay the bars down with 1½ inches in between each piece.
5. Lay strapping tape down over wood following marked lines.
6. Make a U-turn at the small end, go back to opposite end to close U shape.
7. Press the tape on and into the wood.
8. Gently lift the pieces together, turn the instrument over.
9. Tape the opposite side, pinch the tape together between each piece of wood.
10. Decorate the wood with markers but not tape. Colored masking tape can be used around the handle.
Play: Number the notes E, F, A, B, C, D from the longest to shortest. Use your peripheral vision to see the xylophone as you play it.
Activity: Practice the Sathukan music with the notes below using TUBS.
Count
1
e
an
a
2
e
an
a
1
e
an
a
2
e
an
a
D
C
B
A
B
C
D
E
F
A
B
C
D
C
B
A
Science: The notes can be tuned lower by cutting the bar in the middle. The deeper the cut, the lower the pitch.
To raise the pitch you need to cut off the end of the piece of wood. The bars vibrate with a node (non-vibrating
area) about 1/5 from each end.
Cultures: This type of xylophone is found in Asia and Africa. It is called Ranāt Ēk in Thailand and in Africa it
is called Gyili or Balaphon. The Ranāt Ēk is the lead player in the Thai ensemble called Pi Phat.
STEP 2:
Tune bars
as shown
STEPS 4-9:
Tape bars together with
looped strapping tape.
Raise pitch by cutting end
(top view)
Lower pitch by cutting middle
(bottom view)
E
F
A
B
C
STEP 3:
Mark
nodes
D
node
(side view)
©1998 Craig DeVere Woodson • International Copyright • All Rights Reserved
12
anti-node
ROOTS OF RHYTHM — WOODSON INSTRUMENT MAKING MANUAL
Making the Sājāt – Chapter 10
NOTE: Musical Spoons are used as a substitute for the Sājāt from Egypt.
Materials:
Tools:
o 2 large plastic spoons
o None
o 2 small plastic spoons
o Masking tape
Make:
1. Put a 4” piece of tape at the end of one spoon’s handle making it look like a flag.
2. Join the two large spoons together, back to back.
3. Wrap the tape around the two spoons’ handles.
4. Wad up a “sticky ball” of tape from around 10” of tape or use tape scraps to make a ball the size of a small ball
of chewing gum.
5. Push that ball in between the spoon handles and force it down between the handles to separate them.
6. Repeat steps 1-5 for the small pair of spoons.
Play: Holding the taped end, hit the spoons on your hand to make the clicking sound. Make a “five” with your
fingers spread apart and rub the spoons across your fingers to get a drum roll effect.
Activity: Play the wahed wa nusf rhythm below. Count the rhythm and say the drum sounds. Play the large
spoons for low and the small spoons for high-pitched sounds.
say
count
dum tak
1
2
3
tak dum
4
5
L
H • H L
6
tak
7
8
•
H
•
Culture: Musical spoons are clappers, used in many cultures to accompany other musical instruments. They
have been used by farmers to scare birds away and by night watchmen as a warning. Musical bones (related to
the spoons) were used by captive Africans in the U.S. as substitutes when drums were banned in the 18th century. Here they are a substitute for the Egyptian Sājāt.
STEP 1:
Tape the end
of one spoon.
STEPS 2-3:
Wrap tape
around spoons.
STEPS 4-5:
Wadded tape
between spoons.
©1998 Craig DeVere Woodson • International Copyright • All Rights Reserved
13
ROOTS OF RHYTHM — WOODSON INSTRUMENT MAKING MANUAL
Making the Pandeiro – Chapter 11
Materials:
o Thick pie tin
o Paper fasteners
Tools:
o Hammer
o 2” box nail
Make:
1. Use the nail to tap holes in the rim of the pie pan.
2. Wiggle the nail side to side to widen the hole so that it will accommodate the wings of the paper fastener.
3. Close the wings of the paper fasteners.
4. Push them through the holes.
5. Open the wings so that the fasteners vibrate when the pan is struck.
6. Continue to attach the fasteners around the pan’s rim. Add more holes as needed.
Play: Hold the rim of the pie tin then touch the index finger to the drumhead to mute the sound.
Activity: Play the homemade Pandeiro as you add the paper fasteners and listen to the buzzing sound change
with each addition.
Science: The buzz or sizzle effect is a sound modification like the jingles on the Pandeiro. It is a type of white
noise.
Cultures: While the frame drum dates back to Greek times as noted above, the Pandeiro has its immediate
ancestry from the Adufe of Portugal, being brought over on ships with the early Portuguese colonists in South
America.
STEPS 1-2:
Use nail to make 6-8
holes in edge of pie pan.
STEP 4:
Push paper fasteners
through holes.
side views
bottom view
©1998 Craig DeVere Woodson • International Copyright • All Rights Reserved
14
STEP 5:
Open the wings
on the fasteners.
ROOTS OF RHYTHM — WOODSON INSTRUMENT MAKING MANUAL
Making the Snare Drum – Chapter 12
Materials:
o Coffee can – lids off
o 2 dowels– 10” x 3/8”
o 2 rubber bands #33
o PVC tape
Tools:
o Can opener
Make:
1. Tape a drumhead on both ends of the can as described above beginning with the anchor, a strip around the can
just below each opening. The crisscross pattern is best for this drum not the star shape since it keeps the drumhead at a consistent thickness.
2. Check to make sure that the drumhead is as tight as possible before fixing the rubber bands to the head. Then
stretch the rubber bands over one end of the drum and tape them in the stretched position on the side of the can.
3. Sand each end of the dowels for drumsticks to round off so as not to break the drumhead when hitting.
4. A carrying strap can be made by attaching PVC tape to one end or the other and making a large loop before
attaching it to the other side. It is best to make it a waist strap rather than a neck version for safety reasons.
Play: The drum can be played with the two sticks on either end depending on how the strap was attached.
Activity: Play the drum with rubber bands attached then compare that sound to the un-snared sound by lifting the
snares off of the drumhead as you hit it.
Science: The drumheads form a coupled frequency when the two heads vibrated together. Also the snare sound
is considered a white noise effect that also raises the pitch of the drum. When animal skin heads are used, this
type of drum is often very low pitched.
Cultures: The double headed cylindrical Snare Drum dates back to the Ottoman Empire; specifically the Duval
found in the Mehter or Janissary bands.
STEP 1:
Make anchor and drumhead
at top and bottom.
first layer
STEP 2:
Stretch rubberband snares
and secure with tape.
second layer
top/bottom view
side view
©1998 Craig DeVere Woodson • International Copyright • All Rights Reserved
15
STEP 4:
Make a
strap.
ROOTS OF RHYTHM — WOODSON INSTRUMENT MAKING MANUAL
MakingtheSteelDrum–Chapter 13
Materials:
o Can #10
Tools:
o Hammer
o 3” box Nail
o Dowel
o Propane torch (optional)
o Matches (optional)
Make:
1. “Sink” the bottom of the can about 1” in a parabolic curve. Hammer starting at the edge and moving to the center of the bottom.
2. With a crayon, draw two curved or straight diametric lines.
3. Tap the nail’s head into the line gradually moving along the line and overlapping the head’s circles.
4. From the inside, tap out the area around each outline making a boss or dome on the opposite side.
5. Using the dowel, tune each note by carefully changing the shape of the boss in or out .
6. Optional: Heat each boss area with the torch so that the boss begins to turn red then move on to the next note.
After heating all the notes, immediately drench the pan in water to temper the metal. This gives the notes a more
resonant sound.
Play: Hit each note in the center of the boss with the dowel. Notice that sound leaks from note to note so several
notes in an area interact with the main note that is struck.
Activity: Make several steel drums (cans), and vary the number and shape of notes on each can from the twonote bass (one diametric line) to the five note melody pans.
Science: Sinking the bottom ‘tensions’ the metal helping the ringing sound. Each note vibrates mostly by itself
because of the nail-punched lines. The lines are called nodes (minimum vibration) and the bump or boss is the
anti-node (maximum vibration).
Culture: In the 1850s, freed African slaves would parade during Carnival and play on drums with skin drumheads.
When those were banned, they began to play on bamboo tubes; when those were banned they played on garbage cans. The cans soon became dented resulting in a musical pitches. Winston Spree and Elliot “Ellie” Mannette transferred this idea to large oil drums stored on the island which become the original steel drums.
STEP 1:
Sink the bottom of the can
by hammering from the edge.
STEPS 2-3:
Draw curved lines, then
nail-tap over the outlines.
STEPS 4-5:
Hammer out the domes
using the large dowel.
top view
©1998 Craig DeVere Woodson • International Copyright • All Rights Reserved
16
ROOTS OF RHYTHM — WOODSON INSTRUMENT MAKING MANUAL
Making the Tabla – Chapter 14
Materials:
o 4” x 7” diameter tube/can
o 5” x 7” diameter tube/can with plastic lid
o 2 – chopsticks or dowels
Tools:
o Can opener
o Black permanent marker
Make:
1. Clean the cans thoroughly.
2. Draw a black circle on each can, in the center of the bottom of the small can (Tabla) and off-center in the large
can (Bayan); if available use the rubber lid on the large can.
3. Place the small can upside down (see below).
4. Place the large can right side up with the plastic lid in place and the off-center circle positioned away from the
performer (see diagram below).
Play: The tabla are played with the fingers and palms but thin sticks will work for the homemade drums. On each
drum, there is a high rim tone and a central bass tone. But for beginner purposes the Tabla can provide the high
sound and the Bayan the low sound.
Activity: Have students compose their own rhythms in the TUBS notations as shown below. Experiment with a
piece of chewing gum in the middle of the can to lower the pitch (see science below).
Science: The extra weight at or near the center of the drumhead is called a load. This mass slows the vibration
making it lower than without the paste. Thus these small drums can be low pitched.
Culture: The Tabla are played in North Indian classical music to accompany other instruments such as the
sitar. They were invented around 500 years ago as extensions of other instruments such as the Naqqāra from
Arab invasions.
STEPS 3-4:
Place cans as
described above.
STEP 2:
Draw black circles
on cans.
top view
back view
©1998 Craig DeVere Woodson • International Copyright • All Rights Reserved
17
ROOTS OF RHYTHM — WOODSON INSTRUMENT MAKING MANUAL
Making the Turntable – Chapter 15
Materials:
o Textured plastic tray
o Paper fasteners
Tools:
o None
Make:
1. Simply be sure to clean the tray if using recycled material.
Play: Hold the tray steady with one hand and get various scratching sounds with the other. Try the following techniques:
a. Move the fingers back and forth with finger nails touching the textured surface.
b. Do the same but use just the fingerprint area of the fingers.
c. Move in short straight lines back and forth quick; then slowly.
d. Move the same way with longer straight lines.
e. Move in curved lines slowly then fast, long and short lines.
f. Try all of the above with light then heavy touches.
Activity: Find various types of textured surfaces for experimentation. Almost any surface can be used for a friction sound. These could be categorized into soft, medium and loud types.
Science: Notice that each of the different motions has a different sound. The same way a needle strikes the
surface of a groove at different angles, the finger or fingernail is hitting the texture at specific angles resulting in a
specific sound.
Cultures: Discoveries and inventions in electricity along with America’s growth in population and urbanization led
to the use of the turntable as a musical instrument. Early experiments in electricity around 1600 in England led
to the conductivity of wire, for example, becoming the telegraph. The phonograph of Thomas Edison eventually
became the record player and that became the turntable for Hip-Hop culture. Born in the Bronx in the early 1970s,
this music was one part of four elements of artistic expression that existed in street parties, not in night clubs. Announcers used improvised sound systems to introduce songs and this evolved into rapping; dancers would show
off skills and this became break dancing; flyers advertising events and spraying initials on public walls became
graffiti art; and the playing of non-stop records at these parties between two turntables and moving one of the
records under an amplified needle became scratching or turntablism. Kool Herc, Grand Master Flash and Afrika
Bambaataa are considered the founders of Hip-Hop culture.
Scratching Surface
and
Scratching Techniques
bottom view
side view
©1998 Craig DeVere Woodson • International Copyright • All Rights Reserved
18
ROOTS OF RHYTHM — WOODSON INSTRUMENT MAKING MANUAL
Making the Daf – Chapter 16
Materials:
o Cardboard hoop 9" x 2"
o PVC Tape
o 1 tsp. talcum powder
o 36 large paper clips
o 12 small paper clips
o 1 chopstick (optional)
Tools:
o Sharp pencil (to break tape)
o Hacksaw blade - ½ taped end
Make:
1. Using the hacksaw blade, cut twelve slots 1/8 inch deep, evenly spaced around the hoop like the numbers
on a clock at 12, 1, 2, 3, etc. This will be the drumhead side.
2. Open one 'leg' of a small paperclip into a 'V' shape, then push the clip down into each slot with the open leg
on the outside of the hoop. The coiled part of the paperclip will hang at an angle on the inside of the hoop.
Repeat for all twelve of the small paper clips.
3. Wrap a single piece of PVC tape around hoop to hold the leg in place. This will also provide an anchor for
the drumhead tape because the tape does not stick well to cardboard.
4. Stretch a piece of tape across the hoop beginning on the anchor, then over the top and down the opposite
side. Keep in mind that the first layer of tape does not have to be tight but the second (crisscross) layer will
have to be pulled very tight. For further instruction on making drumheads, please refer to the five-step process
included in the Introduction/Make Your Own Instruments section of the Roots of Rhythm guides.
5. Add a second layer of tape at 90 degrees to the first layer. Begin with the tape on the anchor and be sure to
pull the tape across the drum very tightly.
6. Wrap a final piece around the hoop to secure the drumhead and paperclips.
7. Sprinkle 1 tsp. talcum powder on bottom (sticky side) of drumhead to reduce its stickyness.
8. Pull three large paperclips onto each small paperclip, so that the larger ones hang from the smaller ones.
9. Decorate the drum with tape and markers.
Optional: Make a beater by wrapping a wad of PVC tape around one end of a chopstick:
Play: The daf is traditionally played using the hands and fingers and help with the drumhead facing away from the
performer. The left thumb holds the hoop at the 6 o'clock position and the right hand holds the drum at 3 o'clock.
The Dum (low tone) is played in the center of the drum and the Tak (high tone) is played at the edge.
Activity: Tighten the drum and raise its pitch by adding another piece of tape pulled extra tight on top, or press
firmly on the head to loosen it which will lower the pitch.
Science: The drumhead is strong and the tape difficult to tear because the molecules in the tape are lined up in
one direction or 'chain.' However, these molecule chains break easily or 'unzip' when the tape is punctured. This is
why it is easy to cut the tape with the slightest pointed object, like a sharpened pencil. The criss-cross tape pattern
makes the drumhead strong and resonant. If a star pattern is used to make the drumhead, the center has extra
mass which lowers the pitch of the drum. This is called a 'load' and is further discussed in the Lakota Drum
chapter (#7) of Roots of Rhythm.
To apply geometry, mark the slots in the hoop by using a protractor and dividing a 360° circle into 12 equal parts.
This project can also be done on a computer using a variety of word processing or graphics programs.
Cultures: The daf is similar in shape and use to the Lakota drum, which is also used for spiritual connections.
Among the Kurdish Sufis, the daf is used for the traditional Zekr, or 'remembrance' event in honor of Allah. More
recently the instrument has been used for entertainment and other public events. In Iraq it has traditionally been
played by men but women have begun playing it, as well.
STEP 1:
Cut 12 slots in hoop
using hacksaw blade.
STEPS 2/8:
Open small paperclips, push leg
into slots, add large clips.
19
STEP 3:
Wrap tape around hoop to
hold clips and anchor head.