Fact-checked by Grok 2 weeks ago

Vibraslap

The vibraslap is a percussion instrument consisting of a wooden ball attached to a U-shaped metal wire that connects to a hollow wooden box containing loose metal pins or teeth, producing a distinctive rattling or buzzing sound when the ball is struck against the palm or a surface, simulating the vibration of loose teeth in an animal jawbone.^[1] Originating from traditional African quijada instruments made from donkey or zebra jawbones, which were adapted in Latin American music by enslaved people and used to create rhythmic accents in Afro-Latin genres, the modern vibraslap was invented in 1967 by Martin Cohen, founder of Latin Percussion (LP), as a durable, synthetic alternative to the fragile natural jawbone.^[1]^[2] Cohen developed it after percussionist Bobby Rosengarden suggested creating a reliable version of the jawbone for professional use, leading to Cohen's first patent for the design.^[2] Commonly employed in rock, jazz, folk, and Latin music to add texture and percussive accents, as well as in film scores and sound effects for its unique, buzzing timbre, the vibraslap is valued for its simplicity—requiring no special technique beyond striking and optional rotation of the sound chamber to vary pitch—and comes in variants like standard, professional, educational, and even electric models made from wood, metal, or synthetic materials.^[1]

Design and Construction

Components

The vibraslap is composed of a primary wooden frame that functions as both the structural base and a grip for the player, typically shaped to allow secure holding during use.^[1] This frame integrates with the resonator component, forming the instrument's core body.^[3] The slapper mechanism consists of a stiff metal wire or rod, commonly bent into a U-shape, which extends from the frame and connects to a small wooden ball at its free end.^[1] This rod serves as a flexible transmitter of mechanical energy, linking the striking element directly to the resonating structure.^[3] At the heart of the instrument lies the resonator box, a hollow chamber attached to the frame and filled with loose metal elements such as pins, teeth, or rods that enable the rattling effect.^[1] These internal components are loosely contained within the wooden enclosure to maximize vibrational response.^[3] Mechanically, the components interact through vibration propagation: impact on the wooden ball flexes the metal rod, sending shockwaves to the resonator box where the loose metal pieces collide against each other and the chamber walls, producing the signature percussive rattle.^[1] This design ensures efficient energy transfer from the striking point to the sound-generating elements.^[3]

Materials and Variations

The vibraslap is typically constructed using a combination of hardwood for the frame and resonator box, a metal wire or rod for the slapper mechanism, and metal pins or rivets inside the resonator to produce the rattling sound.^[4]^[1] The wooden components, often sourced from durable hardwoods, provide a resonant chamber that amplifies the vibration, while the metal elements ensure a sharp, sustained rattle when activated.^[5] Variations in size allow for adjustments in volume and tone, with standard models measuring approximately 15 inches in length to deliver a balanced, medium-volume sound suitable for most ensemble settings.^[6] Larger deluxe versions, measuring approximately 15 inches in length, produce deeper and fuller tones due to increased resonator size, while enabling performers to select based on acoustic needs, with bigger instruments favoring louder, more resonant projections in live performances.^[7]^[8] Modern adaptations incorporate synthetic materials like LP's proprietary Jenigor, a durable plastic composite originally developed for percussion blocks, to enhance longevity and resistance to wear compared to traditional wood.^[9] This material maintains the instrument's rattling quality while reducing susceptibility to cracking or environmental damage, making it popular for touring musicians.^[10] Some models also feature customizable finishes on wooden frames for aesthetic appeal, though these do not significantly alter the core sound.^[1] Different wood types influence the tonal resonance, with rosewood frames in deluxe models yielding a warmer, deeper timbre that sustains longer than the brighter, crisper sound from standard hardwoods.^[11] In contrast, metal chamber constructions produce a sharper, more piercing rattle with less warmth but greater projection.^[12]^[13] These material choices evolved from earlier jawbone forms using animal bone for the resonator, prioritizing sustainability in contemporary designs.^[4]

Playing Technique

Method of Play

The vibraslap is held by the metal frame in one hand. It is typically played using one hand with a wrist snap. The striking technique consists of striking the wooden ball against the palm of the holding hand using a wrist snap or whip motion, thereby initiating vibration in the internal metal components that results in the instrument's distinctive rattling sound.^[14] To control the intensity and duration of the rattle, players vary the force of the strike; greater force yields louder volume and longer sustain, while lighter contact produces subtler effects with shorter decay. Rotating the sound chamber further adjusts the timbre and resonance for nuanced variations.^[14]

Sound Characteristics

The vibraslap produces a primary sound characterized by a sharp initial slap from the wooden ball striking the palm, followed by a rattling or buzzing decay as the internal metal teeth vibrate within the resonator box.^[1]^[4] Its pitch typically resides in the mid-range, manifesting as an indefinite rattle rather than a tuned note, while the timbre features metallic overtones in versions with metal resonators or woody warmth in wooden models, contributing to a percussive texture often likened to a rattlesnake or mechanical buzz.^[1]^[15] The instrument offers moderate volume projection, ideal for accenting in ensembles, with a quick decay that limits sustain to a few seconds, ensuring the sound fades rapidly after the initial impact.^[1]^[16] Sound variation is influenced by factors such as the number of internal metal teeth, which affects rattle intensity; resonator size, where larger chambers yield louder output; and striking velocity, which adjusts dynamics from soft taps to forceful clatters.^[1]^[14]^[15] The slapper mechanism, consisting of a U-shaped wire connecting the ball to the teeth, efficiently transmits vibrations to trigger the characteristic rattle upon impact.^[1]

History

Origins and Traditional Forms

The vibraslap's conceptual roots lie in traditional African percussion instruments made from animal jawbones, such as those of donkeys or horses, which produced rattling sounds through the vibration of loose teeth. These early forms were utilized in African musical traditions for rhythmic accompaniment, with the jawbone struck or scraped to create a buzzing timbre that mimicked natural or spiritual resonances. Enslaved Africans carried this instrument to the Americas during the transatlantic slave trade, preserving it as a portable and resilient tool for cultural expression amid oppression.^[17]^[1]^[18] In Latin America, particularly in Spanish-speaking regions like Peru, the instrument evolved into the quijada, an Afro-Peruvian adaptation integral to folk percussion ensembles. It became prominent in coastal Peruvian music after the 18th century, when enslaved individuals discovered its sound by chance—such as kicking a deceased donkey's jaw and noting the teeth's vibration—and refined it as a drum substitute after colonial authorities banned African drums. The quijada spread to other areas, including Colombia, Mexico, and Cuba, where it integrated into diverse Afro-Latin traditions, emphasizing its role as a bridge between African heritage and New World innovations.^[19]^[18]^[20] Traditional construction of these instruments relied on natural materials: the lower jawbone of a donkey, horse, or mule was cleaned, boiled or buried to remove flesh, and dried until the teeth loosened sufficiently to rattle against the bony frame when the jaw was struck at the joint or scraped with a stick or rib bone. This simple yet effective design produced a sharp, buzzing rattle that added textural depth to ensemble playing, with the performer holding the jaw by the chin for control. The organic variability in bone size and tooth condition allowed for nuanced tonal effects, distinguishing it from more standardized percussion.^[17]^[18]^[21] Across Africa and Latin America, the jawbone instrument held significant cultural roles in religious ceremonies, where its rattling evoked ancestral spirits or divine communication, especially in Afro-Cuban and Afro-Peruvian rituals following the suppression of drums. It featured prominently in festivals and carnivals, providing rhythmic drive for communal dances like the Peruvian Alcatraz or Colombian cumbia gatherings, fostering social unity and cultural memory among enslaved and free Black communities. These uses underscored its symbolic importance in preserving African-derived practices amid colonial erasure.^[18]^[19]^[20]

Modern Development

The modern vibraslap was invented in 1967 by Martin Cohen, founder of Latin Percussion (LP), as a durable alternative to the traditional jawbone percussion instrument known as the quijada. Cohen developed it after percussionist Bobby Rosengarden suggested creating a reliable version of the jawbone for professional use.^[22]^[23]^[2] The first patent for the vibraslap, US Patent 3,439,572, was granted to Cohen on April 22, 1969, and marked the inaugural patent for LP, describing a device with a wooden sound chamber containing loose metal elements for a controlled rattling effect, attached to a metal U-shaped handle with a wooden striking ball to initiate vibrations.^[22]^[9] Through the 1970s and 1980s, LP expanded production of the vibraslap, integrating it into standard Western percussion setups as Latin rhythms influenced rock, pop, and jazz ensembles, with mass manufacturing enabling widespread availability in drum kits and auxiliary percussion arrays.^[24]^[25] LP's commercialization efforts during this period standardized the vibraslap's design and global distribution, transforming it from a niche Latin American simulator into a staple accessory for professional and amateur percussionists worldwide.^[9]^[24]

Musical Applications

Genres and Styles

The vibraslap is used in Latin American music, particularly Afro-Latin genres, where it delivers sharp rhythmic accents as a durable substitute for the traditional quijada, or animal jawbone.^[26]^[2] In these contexts, the instrument integrates into percussive ensembles to emphasize syncopated beats, often struck sparingly on strong measures to enhance polyrhythmic patterns without overpowering the ensemble. Its rattling timbre particularly suits the idiomatic demands of such groups, adding a buzzing texture reminiscent of folk traditions. In rock and pop music of the 1970s and 1980s, the vibraslap emerged as a novelty effect, frequently appearing in recordings and jazz- or pop-influenced film scores to create distinctive clattering punctuations.^[25] This period marked its broader adoption beyond Latin roots, where producers leveraged its unique sustain for dramatic or quirky rhythmic highlights in action-oriented media. Beyond these core areas, the vibraslap appears in jazz for unique rhythmic accents.^[1] It also features in world music ensembles, contributing idiomatic sound effects that bridge cultural percussion traditions.

Notable Uses

One of the most iconic uses of the vibraslap in popular music occurs in the introduction to Ozzy Osbourne's "Crazy Train," released in 1980 on the album Blizzard of Ozz, where it provides a distinctive rattling accent that sets the track's energetic tone.^[27]^[16] The instrument's sharp, percussive chatter in this heavy metal classic, arranged during Randy Rhoads' tenure as lead guitarist, has made it instantly recognizable to generations of listeners. In rock and pop music of the 1970s, the vibraslap appeared sparingly, often as a novelty accent in funk-influenced tracks and experimental arrangements. Notable examples include Aerosmith's "Sweet Emotion" from 1975's Toys in the Attic, where it adds a quirky rattle during the bridge, and Traffic's "The Low Spark of High Heeled Boys" from the 1971 album of the same name, contributing to the song's improvisational jazz-rock groove.^[28]^[16] These uses highlighted the instrument's ability to inject rhythmic surprise without overpowering the ensemble.^[29] The vibraslap has also found a place in cultural contexts, particularly in film scores for its comedic timing and in Latin American festivals as a nod to traditional percussion. In cinema, its chattering sound frequently underscores humorous or tense moments, evoking cartoonish effects in soundtracks from the mid-20th century onward, such as in blaxploitation and library music cues.^[1]^[30] Derived from the quijada or jawbone instrument prevalent in Latin music traditions, the modern vibraslap appears in festive settings across Mexico, Peru, and other regions, enhancing communal rhythms during celebrations and religious events.^[31] Post-2000, the vibraslap has seen occasional revivals in electronic and experimental music, where its organic rattle contrasts with synthesized elements for textural depth. Bands like Cake prominently featured it in tracks such as "Short Skirt/Long Jacket" from their 2001 album Comfort Eagle, using it as a rhythmic hook in alternative rock with electronic leanings, while My Chemical Romance incorporated it into "Teenagers" from 2004's The Black Parade for punk-infused accents.^[16]^[32]) These instances demonstrate its enduring appeal as a subtle, unconventional sound in contemporary productions, including viral covers and playlists as of 2025.^[33]

References

[1]
Vibraslap - Organology: Musical Instruments Encyclopedia
History and Origin. The origins of the vibraslap can be traced back to traditional African instruments known as “quijadas,” which were made from the lower ...Description and Features · History and Origin · Types of Vibraslaps
[2]
Martin Cohen - Percussive Arts Society
In 1956, when Latin Percussion founder Martin Cohen was 17, he wandered ... So I took that concept and invented the Vibraslap, which was my first patent.
[3]
Vibraslap - BYU Percussion Techniques
The vibraslap can be made of wood, metal and plastic. Inside the resonator are small metal rods that vibrate when the wooden ball is struck at the opposite end ...Missing: components structure
[4]
Vibra-Slap Standard | Latin Percussion - LP® Official
In stock 14-day returnsFeatures: Replicates the Sound of a Quijada, a Rattling Horse Jawbone; LP's First Patent; Warm and Crisp Tones.
[5]
https://www.steveweissmusic.com/product/lp-vibra-slap-standard-wood/hand-percussion
[6]
LP Vibra-Slap, Standard LP208 : Musical Instruments - Amazon.com
Vibra-Slap Standard. Item dimensions L x W x H. 4 x 15 x 6 inches. Item Weight. 0.01 Ounces. Body Material. Wood. Brand: LP Latin Percussion; Model: LP208 ...Missing: size variations
[7]
https://www.target.com/p/lp-lp209-vibra-slap-ii-deluxe/-/A-75472012
[8]
Latin Percussion Vibra Slap II Deluxe - Sweetwater
$$69.99 In stock Rating 5.0 (8) Type, Vibra Slap, Vibra Slap, Afuche/Cabasa, Flex-A-Tone, Clave ; Size, Large, Standard, Standard, Small, 8" x 1.25" ; Material, Wooden Sound Chamber/Ball, Metal ...Missing: variations dimensions
[9]
Vibra-Slap III Jenigore | Latin Percussion - LP® Official
In stock Rating 5.0 1 New "Strike Zone" allows play with hand or drum stick · Constructed of LP proprietary blended Jenigor · Sharp rattling sound · Mount with the LP Vibra-Slap mount ( ...
[10]
https://www.steveweissmusic.com/product/lp-vibraslap-iii/hand-percussion
[11]
https://musiciselementary.com/product/vibra-slap-deluxe/
[12]
https://www.lpmusic.com/products/lp424d-vibra-slap-ii-with-metal-chambers/
[13]
Vibra-Slap II Deluxe | Latin Percussion - LP® Official
In stock 14-day returnsFeatures: Replicates the Sound of a Quijada, a Rattling Horse Jawbone; LP's First Patent; Louder Crisp Tones.
[14]
https://www.lpmusic.com/products/lp209-vibra-slap-ii-deluxe/
[15]
The Case of the Recognizable, Yet Unknown Instrument
Dec 14, 2022 · The vibraslap's origins can be traced back to its roots in African and Latin American music, where it began as more of a “naturally sourced” ...
[16]
The Donkey Jaw - Percussion Instrument - West One Music Group
Dec 6, 2022 · The instrument was carried by slaves to South America where it become known as the Quijada. The Donkey Jaw, the quijada, charrasca, or jawbone ( ...
[17]
Death Rattle - Oxford American
Nov 21, 2017 · The quijada, the jawbone, is one of the great New World instruments. Its area of influence extends all the way from the deep south—the real deep ...
[18]
Perú Expresión - HistoryMiami Museum
The original name of this instrument is cajita rítmica peruana, little Peruvian rhythm box. The quijada (jaw) was discovered by a slave in the 18th century.Missing: latin america
[19]
For Some Young Latinos: Donkey Jaws And Latino Roots - NPR
Apr 28, 2013 · The quijada is an instrument made from animal jawbone. We love hearing stories of how you straddle all the different cultures in your life. ...
[20]
[PDF] The Land Of Misfit Toys: An Introduction To The Second Line Of ...
The vibraslap is the modern take on an instrument known as a quijada. A quijada is literally a donkey's jaw bone (the jaw bone is dried and separate from the ...
[21]
US3439572A - Percussion instrument - Google Patents
More specifically, this invention relates to a novel device for simulating the sound of a jawbone percussion instrument. In the accompaniment of Latin American ...Missing: vibraslap | Show results with:vibraslap
[22]
Word of the week: vibraslap - Song Bar
May 20, 2019 · The vibraslap was invented as late as 1967 by Martin B Cohen who was inspired to create a modern version of what for centuries from Africa to ...
[23]
https://www.song-bar.com/lyric-word-of-the-week/word-of-the-week-vibraslap
[24]
[PDF] Vibraslap
The Vibra-Slap's inventor was Martin Cohen. Cohen was told by percussionist Bob Rosengarden, 'If you want to make some money, make a jawbone that doesn't ...<|control11|><|separator|>
[25]
vibra-slap - OnMusic Dictionary - Term
May 4, 2016 · The vibra-slap consists of a cowbell-shaped hollow box (acting as a resonator) and a wooden ball connected by a steel rod.Missing: parts diagram
[26]
https://dictionary.onmusic.org/terms/3806-vibra-slap
[27]
'You've Got to Have Big Ears' | Local 802 AFM
A donkey's jaw, and in Latin music you had to get that jawbone and take ... Now they call it a Vibraslap. They started making it out of metal because ...
[28]
10 songs to memorialize Ozzy Osbourne, the great Black Sabbath ...
Jul 23, 2025 · 1980: “Crazy Train,” Ozzy Osbourne. Would the world know what a vibraslap sounds like without the immediately recognizable introduction to ...
[29]
Songs with vibraslap - Songfacts
Songs with vibraslap ; A Change Of Seasons - Dream Theater ; A Fifth Of Beethoven - Walter Murphy ; All Along The Watchtower - Jimi Hendrix ; Alligator - Grateful ...Missing: uses | Show results with:uses
[30]
Best uses of a vibraslap in popular music - Hamer Fan Club
Jul 16, 2014 · "Caution--Alligator (Do Not Stop On Tracks)": Grateful Dead"Sweet Emotion": Aerosmith"Low Spark of High-Heeled Boys": TrafficOthers?
[31]
Vibraslap in action - Very Good Plus
Feb 17, 2008 · It's a classic percussion sound for suspense/tension scenes in films and crops up in loads of blaxploitation/library tracks.Missing: notable | Show results with:notable
[32]
https://somuchgreatmusic.com/2018/06/16/cake-short-skirt-long-jacket-2001/
[33]
Jawbone (instrument) - Wikipedia
It is believed that it was first introduced in Peru, making it an Afro-Peruvian instrument.
[34]
Cake “Short Skirt / Long Jacket” (2001) | So Much Great Music
Jun 16, 2018 · The vibraslap is an extremely complex percussion instrument. I'll attempt to explain: It consists of a piece of stiff, heavy wire bent into ...