LP Latin Percussion Flex-a-Tone Standard LP1-5

Product Information

Subsequently, the history of the flexatone became remarkable after it was patented in New York in the year 1924. In these examples, the Flexatone plays a kind of “counter-rhythm” in the African tradition, though not without atmospheric aspects. Therein too, percussion is – to degrees – quite widely used, but as in other genres of course differing in degree per artist, band, or “sound”. Alfred Schnittke used it in his Faust Cantata (1983), in the Tuba Mirum movement of his Requiem (1975), in his Viola Concerto (1985), [25] and in his score for the ballet Peer Gynt (1987), the flexatone represents the sound of the moaning wind. Musical bows are also found in Central and Southern Africa, with a likewise quivering, glissando sound to degrees, while the talking drum also has a changeable, “gliding” pitch.

Also the newer New Roots artists, besides Chronixx, (Sizzla, Luciano, Bushman, Buju Banton, Anthony B. Such rhythmic and musical knowledge tends to be present among percussionists with some experience, as those active in Reggae music, before and now.

I listened and listen quite some Reggae, and keep quite up to date, so a sensible list that is illustrative is quite possible. The rhythmic/semi-melodic use of the Flexatone in Reggae is an African retention of the sounds of certain African traditional instruments, especially the “musical bow” (or the mouth bow), as found especially in Central and Southern Africa, a musical heritage that came with the enslaved Africans to the West, and an island like Jamaica. In parts with string instrument-traditions in Sahel, West Africa: the Guinee, “Griot”, region, for instance. It is usually employed as an abstract effect, since it is notoriously difficult to play specified pitches with any accuracy—the thumb pressure to sharpen or flatten is extremely subtle and difficult to gauge.

Because of the size, it may be easier when using with children if an adult holds the Flexatone while the child applies the pressure to the blade as their hand will be too small to hold it and play it. I am playing now for several years several percussion instruments, having started with serious lessons first in playing membranophones – or simpler said: hand drums – of Afro-Cuban origin: the well known Bongos and Conga. Like on Burning Spear albums from roughly the same period, a wide variety of percussion (drums and idiophones) tends to be used on several songs, but softer in the mix than in Burning Spear albums: a bit more emphasis on the “driving bass and drum” – somewhat understandable - , requiring therefore closer inspection to distinguish percussion sounds.A tremolo is the normal effect, and thumb pressure on the free end of the plate alone changes the pitch, resulting in a glissando from note to note. In the reggae songs with the Flexatone use, providing a kind of counter-rhythm with a special (glissando, saw-like) sound, is mostly its function. The player then shakes the instrument with a trembling movement which causes the beaters to strike the sides of the metal sheet.