The pitcher is a self-sound instrument, generally made of ceramic and is being played by fingers’ direct hit. This instrument with its different shapes and ways of playing has been inspected in southern and south eastern provinces of Iran. In Hormoz’gan, the pitcher is known as “Jalleh” and its way of playing is different from the pitcher of Sistan. Pitchers in Sistan have got different manufacturing method as well as a dissimilar soil and is usually played along by the Trey. Unlike the supposition, the pitcher with its simple structure is highly sonorous and capable of playing in different verses and rhythms. Other examples of this instrument is known as the “Udo” in African culture, especially in Nigeria. Udo literary means an earthen vessel and like the Iranian pitcher was used non musically and over times it has entered to certain musical rituals. This instrument is also spiritual and doctrinal in African culture. Its apparent form has got slight differences comparing to the Iranian version and generally it has got a hole on the side. Today, Udos with skins are also produced which are used commonly in the music. Another type of Pitcher named “Gatham” exists in south India. Gatham which is known to be an ancient instrument in Inida is bigger than the Udo and the “Jalleh” and generally doesn’t have a skin or any holes. This instrument has got complicated and beautiful techniques making its sonority different. Other instruments from the same family exist with different names but the three mentioned pitchers are noticed more. Among the famous Pitcher players, ustad Farbod Yadollahi and Ustad Behnam Samani can be named.
The short history of Udu drum:
Abo drum training course:
The pitcher drum training course includes learning methods of playing three instruments of an ilk which differ with each other. First, Ghatam playing method which is a south Indian ancient pitcher and second would be Udu playing method which is an African pitcher from Nigeria and thirdly THE METHOD OF PLAYING Ja’le which is a south Iranian pitcher and Roozbeh Zarei’s pamphlet is used as the teaching source.
Training will begin by Udu playing exercises. Teaching the African practical rhythms will be started after learning the basic movements and the true ecoles. The training continues with pitcher exercises in Iranian method through learning the related rhythms and the rhythmic rounds. Finally through an Indian method, Ghatam related techniques will continue with rhythm reading and the Indian syllabus reading method called Konnakol. Through the advanced course, some completing courses regarding different pitcher forms, playing skin covered pitchers, a survey on the rhythms and complex rhythmic rounds along by solos and duets in different musical styles will be taught as a completion.