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Instruments commonly used as unpitched and/or untuned percussion. Instruments commonly part of the percussion section of a band or orchestra. These three groups overlap heavily, but inclusion in any one is sufficient for an instrument to be included in this list. However, when only a specific subtype of the instrument qualifies as a percussion ...
Agogo bells; Anvil; Dayereh (doyra); Frame drum; Finger cymbals; Flexatone; Glass harp; Jam blocks; Jordan Slap; Knee Slap; Marching machine; Monkey stick (mendoza or ...
Hand percussion is a percussion instrument that is held in the hand. [1] They can be made from wood, metal or plastic, bottles stops and are usually shaken, scraped, or tapped with fingers or a stick. It includes all instruments that are not drums, or any instrument that is a pitched percussion instrument, such as the marimba or the xylophone.
The pandero or plenera, is a percussion instrument included in the group of frame drums. A set of these hand drums from Puerto Rico is usually performed in plena music. There are three sizes, primo or requinto (for playing solos), segundo or seguidor, and tercero or tumbador (for playing a fixed rhythm).
This is a list of musical instruments, including percussion, wind, stringed, and electronic instruments. Percussion instruments (idiophones and membranophones)
This technique allows for greater control over the instrument and for movements known as "visuals" – flashy maneuvers such as flips and twirls. [6] There has been a trend in recent years to replace the cymbal line with cymbals in the front ensemble, although cymbals still remain a vital instrument in indoor percussion ensembles.
Latin Percussion vibraslap showing metal teeth. The vibraslap is a percussion instrument consisting of a piece of stiff wire (bent into a U-shape) connecting a wooden ball to a hollow box of wood with metal "teeth" inside. The percussionist holds the metal wire in one hand and strikes the ball (usually against the palm of their other hand).
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". [3] This is attested, for example, in poems by Nicolás Guillén. [3]