A pair of bongos
(Sets of single-skin conical drums)
|Developed||19th and early 20th centuries|
|A2 – G4|
Bongos (Spanish: bongó) are an Afro-Cuban percussion instrument. The drums are of different size: the larger drum is called in Spanish the hembra (female) and the smaller the macho (male). They are membranophones, or instruments that create sound by a vibration of a stretched membrane.
The origin of the bongo is unclear. Its use was first documented in the Eastern region of Cuba known as the "Oriente", during the nineteenth century, where it was employed in popular music styles such as Cuban son, Nengon, and Changui. A similar small double drum, called Tbilat or TanTan, has existed in North Africa at least since the 12 century, and so it is possible that the Cuban bongo is of Moorish rather than West African origin. Another indication of North African origin is that the traditional Cuban bongo uses metal tacks to fasten the drum skin to the head. This technique is one that has been common in the Middle East since antiquity. An argument for West African origin is that the ends of the Cuban bongo are open, whereas the ends of the Tbilat are usually closed.
The bongos used in changüí, known as bongó el monte, are larger and tuned lower than their modern counterparts, have tack-heads instead of tunable hardware, and play in a manner similar to rumba quinto and other folkloric lead drum parts. (Hear bongó el monte "Ritmo changüí" with Grupo Exploracion).
The bongo came to western Cuba at the turn of the twentieth century, when son migrated to the capital city of Havana. As son inspired Cuban big band music gained international popularity, the Cuban bongo was exported all over the world. It is today one of the most common hand drums.
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 in Cuban music with a steady pattern or ostinato of eighth-notes known as the martillo or "hammer". (See "The Martillo Pattern" with Manny Oquendo and "Bongo Riffs" with Johnny "Dandy" Rodriguez.) 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. The finger is sometimes moistened with saliva, or sweat before rubbing it across the head. When used in art music compositions they are usually struck with drum sticks. These drums can also be played on a stand, as is the case with concert orchestras and bands.
- Jack Costanzo
- Johnny "Dandy" Rodriguez Jr
- Martillo Pattern
- Count Ossie
- Incredible Bongo Band
- Richard Feynman
- All about bongos: everything you need to know to start playing now!, Kalani, Page 6
- Percussion instruments and their History, James Blades, page 186
- Percussion instruments and their History, James Blades, page 153
- Lapidus, Ben (2008). Origins of Cuan Music and Dance; Changüí p. 21-23. Lanham, MA: Scarecrow Press. ISBN 978-0-8108-6204-3
- "The Martillo Pattern" (Manny Oquendo). Unlocking Clave. Web. Facebook. http://www.facebook.com/video/video.php?v=198532850185375
- Salloum, Trevor. The Bongo Book Mel Bay.