by Brian Melick

The beautiful Udu Drum originates from Nigeria. Surprisingly, it began not as a percussion instrument, but as a common clay pot made for carrying water. When a potter from the ancient Ibo Tribe inadvertently made an opening in the side of one of his vase-shaped water vessels, he discovered the pot's earthy, musical sound. Because some believed its haunting tone to be the "voice of the ancestors," the simple side-hole drum -- sculpted from earth, water, fire and air -- came to be an important part of religious ceremonies in southern and central Nigeria. Though the drum had different names depending on the region in which it was used, "Udu" was the Ibo name, meaning both "pottery" and "peace" in the tribal language.

Today's Udu® Drum has become accessible to percussionists through the efforts of one man - artist, industrial designer, and master ceramist, Frank Giorgini. Some twenty years ago, Giorgini began painstakingly handcrafting the clay drums by traditional pottery techniques and engineering them to acoustic perfection. He created a versatile musical instrument that appealed to percussionists worldwide. They are so beautifully designed that a prominent museum in New York City added them to their permanent collection. As the demand for his handmade drums grew, Giorgini needed to devise a system to produce them in greater quantities. Now Latin Percussion, in partnership with Frank Giorgini, continues the process of producing Udu drums that have "the voice of the ancestors."

The LP Udu® Drums are instruments of the finest quality. They are capable of creating beautiful sounds in the hands of both trained musicians and novice players. Their low, unique vibrations are as pure and spiritual as a heartbeat, and their high pitches can be compared to the Indian Tabla Drums. Their tones are similar to the African Talking Drums, and they have sound qualities that no skin-covered drum can obtain.

Since 1986, Brian Melick, Percussionist has been playing Udu Drums. Brian has adapted many hand playing styles and has also developed new techniques specifically for the Udu Drums. The following are lessons taken from his book, The How To of Udu, A Presentation on Performance.

The Udu Drum is generally played in a seated position with the drum on the player's lap. If you do not have this particular Udu Drum, apply the side hole instruction to the lowest tone and the neck hole instruction to the highest tone.

The tonal qualities of the Udu Drum bring out the melodic possibilities. These sounds can be compared to those of the African Talking Drums of the Indian Tabla Drums.

Use the center of the palm when practicing all tonal techniques; covering and uncovering the holes.

The Udu Drum is generally played in a seated position with the drum on the player's lap. If you do not have this particular Udu Drum, apply the side hole instruction to the lowest tone and the neck hole instruction to the highest tone.

Strike the side hole with your palm. Seal the hole by gently pressing your palm inward as you strike. Leave you palm in this position until the tonal decay has stopped. Remove your palm from the hole.

Strike side hole with your palm. Remove your palm from hole when tonal decay stops.

Please note: For the purpose of demonstration I used the claytone # 4 Udu Drum which is placed in the SoftPawâ„¢ stand for the clearest view of the technique.

The Udu Drum is generally played in a seated position with the drum on the player's lap. If you do not have this particular Udu Drum, apply the side hole instruction to the lowest tone and the neck hole instruction to the highest tone.

Strike the side hole with your palm.

Quickly release your palm from the hole.

The Udu Drum is generally played in a seated position with the drum on the player's lap. If you do not have this particular Udu Drum, apply the side hole instruction to the lowest tone and the neck hole instruction to the highest tone.

As a point of reference, the more you cover the holes, the lower the sound. The more you uncover the holes, the higher the sound.

Strike one hole and vary the opening of the other.

By experimenting with this basic concept, you can create what seems like an endless amount of tones and colors.

The Udu Drum is generally played in a seated position with the drum on the player's lap. If you do not have this particular Udu Drum, apply the side hole instruction to the lowest tone and the neck hole instruction to the highest tone.

By taking advantage of all the different areas that make up the body of the Udu drum, you can create what seems like an endless amount of textural effects by rubbing with the many surfaces of your hand.

View of entire hand.

• A. Tips
• B. 1st Pad
• C. 1st and 2nd Pads
• D. Complete Fingers
• E. Top of Palm
• F. Center of Palm
• G. Heel of Palm

Side view of hand, 1st knuckles.

The Udu Drum is generally played in a seated position with the drum on the player's lap. If you do not have this particular Udu Drum, apply the side hole instruction to the lowest tone and the neck hole instruction to the highest tone.

As you rub the surface of the Udu Drum, you will notice that all the sounds are of a very dry nature. By using different parts of your hand you will notice the different sound qualities.

Entire hand.

Complete fingers

Tips of the fingers