The ''tympanon'' (drum)
It was a percussion instrument (like the tambour), with stimulating sound, that was used exclusively by women mainly in religious events and orgiastic cults (e.g. those of the Bacchus).
It usually consisted of one shallow wooden cylindrical frame with stretched leather membranes usually on both sides of the open bases. More seldom, it had an incorporated smaller but wider frame (placed inside) for the production of different sounds. The drummer held it upright in the left hand and struck with the fingertips or knuckles of the right.
SOURCES: "M.L. West, Ancient Greek Music", "Curt Sachs, The History of Musical Instruments", "Plutarch, On Music", "Athenaeus of Naucratis, Deipnosophistai", "Julius Pollux, Onomasticon", "Euclid, "Division of the Canon", "Ptolemy, "Harmonics", "Aristotle, (Musical) Problems", "Aristoxenus of Tarentum, Harmonic Elements", "Aristoxenus, On Instruments", "Theokritos, Bukolika".
The ''kymbala'' (cymbals)
They were percussion instruments, (known since the Minoan culture) which were held and struck rhythmically with the hands, usually accompanying orgiastic rituals (of Cybele and Dionysus).
They consisted of two concave hemispherical discs (5 to 18 cm in diameter) of hammered cast bronze.
The smallest had a leather loop in their centre for a secure hold of the player's thumb and middle finger. The larger ones had the bronze rings in the centre (through which the fingers could be inserted) connected with leather straps or chain.
SOURCES: "M.L. West, Ancient Greek Music", "Solon Michailidis, Encyclopaedia of Ancient Greek Music", "Pollux, Onomasticon".
The ''seistron'' (rattle)
It was an ancient percussion instrument, from wood, metal, clay or their combination, with varied, penetrating and vague sound that accompanied the rhythm in the religious processions.
It usually consisted of a handle and U-shaped frame that had either moving parallel rods (striking in its walls), or constant rods with moving perforated noise-making objects.
The executor held it in vertical position and shook it or rocked it rhythmically.
SOURCES: "M.L. West, Ancient Greek music", "Solon Michailidis, Encyclopaedia of Ancient Greek Music", Pollux, Onomasticon".
The ''kroupezion''
It was a percussion instrument that consisted of a metal clapper incorporated in a special shoe that was worn by the executant. It accompanied the chorus movements with rhythmical beats. It was usually worn by the aulete thus accompanying the piping.
SOURCES: "M.L. West, Ancient Greek Music", "Solon Michailidis, Encyclopaedia of Ancient Music"
The ''psithyra'' (xylophone)
It was a percussion instrument, closely associated with Aphrodite and Eros. It looked like a small ladder. It consisted of a wooden rectangular frame that had a line of vertical rungs of different size (like the xylophone).
The player held it upright by one corner in her left hand while "caressing" the rungs with the tips of her right hand fingers, producing a sensual whisper.
In a different version of the instrument, in the place of the rungs, there were rotating cylindrical rods with incorporated bronze discs in the middle. In this case, with the rapid rotation of the cylinders (via fingers), an extended sound was achieved (similar to that of the rattle ("seistron").
SOURCES: "M.L. West, Ancient Greek Music", "Solon Michailidis, Encyclopaedia of Ancient Greek Music", "Plutarch, Onomasticon".
The ''copper-phone''
It was an amazing melodic percussion instrument that was constructed by Hippasus of Metapontum in 500 B.C. to demonstrate the musical concordant intervals.
It consisted of four copper discs which were struck by a stick. The discs were of the same diameter but of different thicknesses in relation to the ratios 1, 2/3, 3/4 and 2.
Glaukus of Rhegium and Diocles were virtuous of musical themes by hitting tuned discs.
SOURCES: "M.L. West, Ancient Greek Music", "K. Kormiranjos, "Copper-phone", the first melodic percussion instrument (article)"
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