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Our Instruments: El Bombo
by Luis Rumbaut
In Argentina, as in many parts of America, the principal instruments prior to European colonization were flutes and drums. The bombo, however, now emblematic of Argentine folk music, was not one of the original drums. It derives instead from the old European military drums, and uses a similar arrangement of hoops and leather thongs and loops to tighten the drumheads, which are usually double. It is also called bombo legüero to differentiate it from similar large drums. The body is made of a hollow log, with the inside scraped and chiseled. The drumheads are made of the skins of animals such as cows, sheep, or guanacos. Because the fur is left on the hide, the bombo’s sound is deep and dark.
The bombo is played while hanging to the side of the drummer, who drapes one arm over the drum, to play it from above, while also striking it from the front. The player’s hands hold a soft-headed mallet and a stick, which strike drumhead and wooden rim in alternation. The bombo serves as a combination of bass and percussion, not just maintaining the meter, but evoking an elemental, visceral response.
The bombo is played in Argentina, Bolivia, Chile, and Peru, and, within Argentina, particularly in La Rioja, Tucuman, Santiago del Estero, and Jujuy. Two of the better-known rhythms played with the bombo are the zamba and the chacarera. The zamba has little to do with the neighboring samba of Brazil. Instead, it derives from the region’s zamacueca, from which also come the Chilean cueca and the Peruvian marinera. The zamba, however, is slower and more contemplative than its very danceable cousins. It is found mainly in Salta and Tucuman. The chacarera — and chacarera doble and chacarera trunca — is also from the North, having originated in Santiago del Estero. The bombo pounds out the rhythm’s marked down beat, and the chacarera may be played with more than one bombo.
Whether in Argentina or its Andean neighbors, the sound of the bombo is like the sound of a large, strong heart, communicating through its vibrations with the pulse of the listener. |
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African Instruments in Cuban Music. Rumbaut, Luis. CLAVE Vol.1 No. 3, September 5, 1998.
A Short History of The Colonial Villancico of New Spain. Oetgen, Susan. CLAVE Vol.2 No.4,November/December, 1999
Baião: A Dance Rhythm from Northern Brazil. An Interview with Leonardo Lucini. Berre, Marietta. CLAVE Vol.I, No.2 June 5, 1998. ©
Bolero. Rumbaut, Luis. CLAVE Oct-Dec. 2002. ©
Cantares: Voices of the Costa Rican People. Morera,Sabino. CLAVE Vol.II No. 2, May/June, 1999. ©
Chamber Music a la Cubana Comes to Washington DC. Rumbaut, Luis. CLAVE Vol.I, No.1 April 5, 1998.
Charango (Latin American Instruments Series). Rumbaut, Luis. CLAVE Vol.II No. 1, March 1, 1999.
Charanga: Then and Now. Grossman, Connie. CLAVE Vol.II No. 3, July-August, 1999. ©
Chucho Valdés at the Levine School of Music. Giménez, Carlos. CLAVE Vol.I No. 3, September 5, 1998.
Clave: The African Roots of Salsa. Washbourne, Christopher. Originally published in Kalinda! (Fall):14, 10-13, 1995. CLAVE Vol.I, No.1 April 5, 1998 ©.
Crisis in Latin American Arts. Rumbaut, Luis. CLAVE Vol.3 No.1, Aug/Sep, 2000.
El Salvador: Music and History Rumbaut,Luis. CLAVE Vol.3 No.2 November/ 2000.
Guateque. The Folkloric Ballet of Puerto Rico. Polen, Danielle. CLAVE Vol.I No. 3, September 5, 1998.
Lázaro Batista. Cuban Poeta and Painter. Tobin, Linette. CLAVE Vol.3, No.1 Aug/Sep,2000.
Livid Legends: A Conversation with Richard Egües. Giménez, Carlos. CLAVE Vol.II No. 3, July-August, 1999. ©
Music and History of Venezuela. Rumbaut,Luis. CLAVE Vol.4 No.1 November/ 2002.
Nostalgic Cuba in Washington DC. Rumbaut, Luis. CLAVE Vol.1, No.2 June1998.
Peruvian Folklore Revisited Berre, Marietta. CLAVE Vol.2 No.4, September, 1999.
Reflections On A Dance Workshop in Santiago de Cuba. Lepore, Jim. CLAVE Vol.2 No.4, September, 1999.
Reviving Vallenato--Gustavo Nieto and Sencación Vallenata. Giménez, Carlos. CLAVE Vol.II No. 1, March 1, 1999. ©
Steel Pans: A Brief History. Berre, Maxens. CLAVE Vol.II No. 1, March 1, 1999.
Tango and Milonga: A close relationship. Mauriño, Gabriela. CLAVE Online June, 2001.
The African Components of the Folk Music of Venezuela– A Conversation with Jesús "Chucho"García
Giménez, Carlos. CLAVE Vol.II No. 3, July-August, 1999. ©
The Batá Drums. Corrales, Mark. CLAVE Vol.1, No.3 Aug/Sep 2000.
The Challenging Art of the Bandoneon.Oetgen, Susan.CLAVE Vol.II No. 2, May/June, 1999.
The Marimba. Tobin, Linnete CLAVE Vol.3 No.2, November 2000.
The Peruvian Cajón Giménez, Carlos. CLAVE Vol.2 No.4, September, 1999.
The Songs to the Gods of Santería.Rumbaut, Luis. CLAVE Vol.3, No.1 Aug/Sep,2000
The Value of an Artist. Giménez, Carlos. CLAVE Vol.2 No. 4, September, 1999.
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