The richness of African musical styles is matched only by the continent’s enormous variety of musical instruments. In Ghana, music plays a vital role in cultural and social life, with instruments serving purposes beyond simple entertainment. From percussion to stringed instruments, each has a unique story and significance.
Map of Ghana showing ethnic groups
The Kete Drum and Bell Ensemble
The kete drum and bell ensemble is associated with the traditional chiefs of the Akan peoples of southern Ghana. The ownership of the kete ensemble is the domain of the Akan chieftains and performance of the ensemble is allowed only with permission of a chief. This type of ensemble is most frequently seen and heard in processions that form part of the elaborate funeral rites for Akan chiefs, but is also performed at funerals for other individuals with permission from a chief.
The drums in kete ensembles are typically decorated in a red-and-black checkerboard pattern, which is either painted directly onto the drum shells or pieced together with patches of dyed cloth tacked onto the shells. Amongst the Akan, the colors of red and black are associated with funerals.
The old kete tradition consists of three sections: drums, pipes, and vocals. However, the introduction of a central government and the accompanying reduction in the power and influence of the Akan chiefs has resulted in a reduction to only the drums in many cases. A notable exception to this change is the Asantehene, the head chief of the Akan region.
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Kete performances, like most court music traditions, are structured and follow a traditional format depending on the occasion of the performance. A typical performance consists of eight pieces that coincide with specific rituals or moments within the funeral or event taking place. Kete also fulfills vital functions in the installment of a new chief.
The origin of the kete tradition and the instruments involved is an open question. The Akan people have three oral histories that explain the origin of the kete in various ways.
- The first story tells of super human creatures encountered on a hunting expedition. These creatures are honored by a piece (Abofoo) during all kete performances.
- The second story tells of a war against the Gyamang in which the piece Adinkra was added to the performance of kete.
- The third story tells of a war with the Akyem. During a battle with this group all of the instruments in their kete ensemble were taken and adopted by the Ashante.
While the kete ensemble remains to this day a component of Akan life and retains its primary association with traditional chiefs, in recent decades new social settings have emerged for this ensemble.
Components of the Kete Set:
- Lead drum: Kwadum
- Support: Akukuadowo, Aburukua, Apentema, Dondo
- Slit Bell
- Shakers/Chekere
The drums of Kete are always wrapped in red and black cloth.
Stringed Instruments of Africa
While most instruments in Africa serve roles that go beyond simple entertainment, stringed instruments in particular have long played a role in maintaining oral traditions, preserving genealogies, and accompanying religious and ritual ceremonies. Although there are hundreds of different types of stringed instruments across the continent, they can broadly be divided into into bowed (fiddles), plucked (harps, lutes, zithers, harp-lutes, harp-zithers) and beaten (musical bows, earth-bows) types.
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The kora, the long-necked harp lute of the Mandinka people, is by far the most well known in the West, and since the 1970s its ethereal sound has conquered the global stage. The instrument’s success is in large part due to Toumani Diabate and Ballake Sissoko’s beautiful album Ancient Strings, which helped the kora break down musical borders and span new territories, whilst at the same time remaining rooted in tradition.
Kora players have always drawn on tradition, but each generation has pushed boundaries and challenged norms, changing the instrument’s style and sound over the years. While this has eroded some of the kora’s more traditional aspects, it has arguably ensured its survival and enduring popularity.
Plucked instruments include the elegant West African kora, which is classified as a harp lute and consists of a sound-box (a large half-calabash over which a skin is stretched), a large bridge, and 21 strings, which are anchored to the bottom of the long neck with a metal ring. It is thought to have originated in around the Gambia River valley, and is currently played in Gambia, Senegal, Mali, Guinea, and Burkina Faso; as far back as the 1300s scholar and explorer Ibn Battuta described seeing a similar instrument in Mali.
Other types of harps are common across certain regions of Africa, especially the belt running from Uganda to Mauritania, just north of the Equator. These include the ennanga of Uganda; the bolon, a large, three-stringed harp from Mali and Guinea that used to be played during military or hunting ceremonies; the kinde harp from the Lake Chad region; and the sacred bwiti harp, played and worshiped by a secret society for the men of the Bahumbu tribe in Gabon.
Lutes are found in many different parts of Africa. It is thought that West African plucked lutes may have originated in ancient Egypt, and the akonting (from Senegal, Gambia, and Guinea-Bissau), the ngoni (from Mali), and khalam or xalam (from Senegal) may be an ancestors of the banjo, transported to the Americas through the slave trade. Like the kora, the ngoni has played an important role in preserving histories in parts of West Africa.
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Despite being related to other West African stringed instruments, the seperewa of Ghana has never received as much attention as the likes of the kora or ngoni. Yet, the small guitar-like harp is integral to the history of Ghanaian highlife and palm wine music, and was their centerpiece before being replaced by the guitar.
Lyres are most typical of northeastern Africa, both as traditional instruments and in their updated, “modernized” versions. The krar (a five-or-six stringed bowl-shaped lyre tuned to the pentatonic scale) for example is still commonly played by traditional storytellers.
Zithers are another instrument with plucked strings but, unlike the lute, they have no neck. Different types of zither can be found in various parts of Africa, but are by far most common in Madagascar, where the valiha tube zither is considered a national instrument.
Many stringed instruments across Africa play specific social roles: some serve ritual or religious purposes, while others can only be played by people of a certain age, sex, or status.
Exploring African Traditional Music: Instruments and Rhythms
The Gome Drum
The Gome is a large frame drum that originates from West Africa, particularly among the Akan and Ewe people of Ghana. It is known for its deep, resonant tones and is used in various traditional and contemporary musical settings. The instrument is often associated with dance music and ceremonies, where its powerful bass sound plays a crucial rhythmic role.
The Gome drum is unique because it is played while seated on it, which contributes to its distinctive tonal production.
Type of Instrument
The Gome is classified as a membranophone, a category of percussion instruments that produce sound through a stretched membrane. More specifically, it is a frame drum, as it consists of a large wooden box with a drumhead stretched over one of its surfaces. This classification places it among other hand-played percussion instruments such as the djembe, talking drum, and conga.
History
The Gome drum has its roots in Africa, particularly in the West African region, where drumming traditions have been deeply embedded in cultural and social life for centuries. Drums like the Gome are essential components of African music, serving both communicative and artistic purposes.
The origins of the Gome can be traced back several centuries, though it became widely recognized in the 18th and 19th centuries. It was developed within the coastal regions of Ghana, influenced by both indigenous African drumming traditions and European wooden box-making techniques. The instrument’s history is closely tied to the cultural exchanges between African and European communities during the colonial era, where wooden structures and frame drums evolved into their current forms.
Construction
The Gome is constructed using a combination of wood, animal skin, and nails. The main body of the drum is a rectangular wooden box, usually made from a lightweight yet durable wood such as cedar or mahogany. A drumhead, typically made from goat or antelope skin, is stretched tightly across one side of the box and secured with nails or wooden pegs. The box is often hollowed out to enhance resonance, allowing the drum to produce deep, bass-heavy sounds when struck. The seated design means that the player must balance their weight on the drum without damaging the stretched skin.
Types of Gome
There are variations of the Gome drum that exist across different regions. The primary differences lie in the size, tuning, and materials used for construction. Some versions are smaller, producing higher-pitched tones, while others are larger, emphasizing the bass resonance. Certain Gome drums are designed with additional reinforcements for professional performance settings, where durability and consistent sound are necessary.
Features of Gome
- Large, rectangular wooden frame - Provides the base structure and resonance.
- Animal skin drumhead - Produces the deep, rich tones characteristic of the instrument.
- Nails or wooden pegs - Used to secure the drumhead tightly.
- Seated playing style - The player sits on the drum while striking it, adding a unique method of sound production.
- Hand-played - Traditionally played with bare hands, allowing for dynamic control of tones.
- Versatile sound range - Can produce bass, mid-range, and higher-pitched tones depending on the striking technique.
Sound Production
The Gome drum produces sound through the vibration of its stretched animal skin membrane, which is attached to a wooden box frame. When struck with the hands, the drumhead vibrates, creating deep, resonant tones. The player can manipulate the pitch by pressing down on the drumhead with one hand while striking it with the other, altering the tension of the membrane.
This technique allows for a wide range of tones, from low, bass-like thumps to sharp, high-pitched slaps. The hollow wooden body of the drum acts as a resonator, amplifying the sound and adding depth. The combination of varied hand techniques, controlled pressure, and the natural acoustics of the wooden frame makes the Gome a uniquely expressive percussion instrument capable of producing both rhythmic and melodic patterns.
Playing Methods
The Gome drum is played using a combination of hand techniques and body weight. The drummer often sits directly on the drum while using their hands to strike the drumhead. This seated posture allows for better control over the sound and resonance of the instrument.
Common playing techniques include:
- Open hand strikes - Used to produce full, resonant tones.
- Slaps and taps - Generate higher-pitched and sharper sounds.
- Damping with feet - The player presses the drumhead with their feet to alter the tone.
- Rhythmic patterns - The Gome is played in complex rhythmic sequences that support dance and ceremonial music.
Roles in Music and Significance
The Gome drum plays a vital role in traditional and contemporary music, particularly in West African and Afro-Caribbean cultures. As a melodic percussion instrument, it serves both rhythmic and tonal functions, making it an essential element in various musical styles.
In traditional Ghanaian music, the Gome is used in religious ceremonies, storytelling, and social gatherings, providing deep, resonant beats that drive the music. Its ability to produce different pitches by adjusting hand pressure on the drumhead makes it more versatile than standard drums.
Beyond traditional settings, the Gome has influenced highlife, Afrobeat, and reggae music, where its unique sound blends with other instruments to create rich, polyrhythmic textures. It is often played in ensembles, complementing other drums and melodic instruments.
Its significance extends beyond music; the Gome is a symbol of cultural heritage and communal identity.
Gome drum performance
Other Akan Drums and Their Significance
Akan drums are used in the Ashanti, Fante and Akyim/Akim Tribes of Central and Southern Ghana. The different families of drums are named after their dances. Adowa and Fontomfrom share mostly the same drums as do Asaadua and Sikyi.
In West Africa; drums are not normally played on their own, but as part of an ensemble or a group, with particular lead drum, support drum, bass drum, melody instruments, shakers and a bell.
Adowa Drums
Adowa, the dance is by far the most widespread and frequently performed social dance of the Akan people of Ghana. It is best described in Akan as a woman's dance because they dominate the performance. This dance is mostly performed at funerals, but can also be seen at yearly festivals, visits of important dignitaries and other celebrations.
Adowa Drums: The lead Atumpan Pair and the Support Drums Apentema, Brenko, Petia and Dondo.
Fontomfrom Drums
Fontomfrom Drums: Fontomfrom Pair, Atumpan Pair and Support Drums Apentema, Brenko, Petia and Dondo.
Asaadua Drums
Asaadua was once a popular recreation musical type among the Akan people of Ghana. Its performance is now limited to some few communities in Ashanti and Brong Ahafo Regions. Like Popular entertainment music, which revolves from the ingenuity of some veteran traditional musicians. Asaadua started as a youth recreational music for the men of the Akan tradition. The name Asaadua evolves from the Asaa tree(Dua) in Akan. This relates to the gay and pleasant nature of the dance. The Asaa is a sweet fruit tree commonly found in the forest region of Ghana. One therefore would conclude that Asaadua is a dance for sheer enjoyment and pleasure.
Ashanti Asaadua Set: Lead Drum Operenten and Support High and Low Tamalin, Dondo, Kpanlogo support Drum, Double Bell, Pod Bell and Gourd Shaker.
Sikyi Drums
Sikyi is a recreational music and dance of the youth of Ashanti. It originated in the 1920s but became very popular around Ghana's Independence in 1957. It is performed in the vein of Kpanlogo of the Ga of Accra and Boborbor of the Northern Ewe of the Volta Region of Ghana. Sikyi is seen principally at social gatherings where the youth solely express themselves in courtship. It is flirtatious in character.
Ghana Vadya: Idiophones of Ghana
Ghana Vadya, similar to idiophones, are musical instruments that produce sound by being vibrated without plucking a string or striking a membrane. The terms "Ghana" and "Vadya" are Sanskrit for "solid" and "instrument," respectively.
These instruments, typically made of ceramic, wood, metal, or glass, generate sounds of short duration through concussion. Ghana Vadya instruments are unique because they do not require tuning and are played by striking parts of the instrument against each other without strings, stretched skins, or air.
Professional musicians must handle them carefully to avoid obstructing the main melody due to their noisy nature. In India, Ghana Vadya instruments serve as timekeepers, soloists, or to emphasize rhythmic passages for dancers.
Examples of Ghana Vadya
- Manjira: Small hand cymbals often used in Hindu devotional music.
- Khartal: A wooden clapper used mainly in devotional and folk songs.
- Chimta: Tongs decorated with brass jingles, used in rural performances and concerts.
- Morchang (Morsing): A plucked instrument used as a secondary rhythmic instrument.
- Jaltarang: Porcelain bowls filled with water, struck to produce definite pitches.
- Ghatam: An earthen pot used as a percussion instrument.
Adzrowo Ensemble
Adzrowo, commonly called Adzro for short, originated among the Ewes around 150 years ago. When traveling through Ghana’s Volta Region, one will often find Adzrowo being played at traditional funerals.
A traditional Adzrowo ensemble is comprised of seven different instrument types, each with a distinct construction, sound, and rhythmic character.
One of three “timekeeper” instruments, the gankogui’s fundamental pattern remains unaltered throughout the entire form of the piece. Also a timekeeper instrument. Third timekeeper part. One of two “response” drums, the kidi’s pattern can change in response to rhythmic cues played by the atsimevu lead drum. One of two response drums, the sogo’s pattern can change in response to rhythmic cues played by the atsimevu lead drum. Whereas in Gahu the boba is played with sticks and functions as the master drum, in Adzrowo that leader role is reserved almost exclusively for the taller, higher-pitched atsimevu drum.
Because Adzrowo is part of an oral tradition, varying renditions and interpretations abound, not merely among neighboring countries and regions, but even neighboring villages.
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