What are different types of drum games?

Just as it seems that all children love rhythm, everyone loves rhythmic games. There are plenty of drum games for teachers working with students from the youngest to the most desired. The applauding games, imitating rhythm and rhythmic challenges are just a few ways to teach rhythm and have fun with it. Finger rupture, slapping palm and grabbing each other's wrist for Shakedowns are part of a rhythmic task. Some of the glittering hands have not changed for generations, but every new group of young people seems to come with some of their own, often including Sissonge, stupid insults and other verbal games that are going into handmade percussion games.

and adults like to get into action. The folk tradition, which is currently called Hambone, which comes from the Haitian djouby, takes drum games to the maximum incorporation of rhythms, Pats, and moves on inflated faces, abdomen and arm. They add to the feet and knocking to the feet. When Hambone players can play, they can create a sectionLeny chorus, in which all percussionists watch the same rhythm, and then each player gives a chance to get off and solo to try others.

A series of drum games helps the smallest ones who learn to count and watch the rhythm simply through a call and reaction. Using hand clapping, bursting fingers or knocking on the tip, the leader creates a simple rhythmic formula. Each player must repeat this formula exactly. The leader can repeat the rhythm so that every player follows, or can be handed over from player to player, the leader plays a rhythm after traveling around the room to see exactly how percussionists could follow.

This game does not have to be performed with a drum body. The hand of this can be used drums, bells, wooden blocks or other percussive music or in addition to body rhythms. Variations on drum games is a rhythmic challenge.

challenge is a game for more sophisticated BDetumes or other percussionists. It begins that Challenger offers a relatively simple rhythm; Challenger repeats the rhythm four times. The respondent repeats the challenge four times, then either adds another rhythm or two, changes the interior rhythm gently or both, and this new construction plays four times. Challenger is now becoming a respondent and has to play the original pattern, a new pattern, and another version that either adds to the new version or changes it, or both. Back and back the challenges continue until one percussionist loses the rhythm.