Castanets: what is that rhythm that grabs you in flamenco?
You’ve heard it. That bright, rapid clatter that locks into the compás and rides alongside the dancing. Those are castanets. Small instruments that, in the right hands, are pure magic.
They aren’t only a flamenco thing, but this is where they really get to show off. If you’re in Madrid trying to get to grips with flamenco, knowing a little about castanets goes a long way. Here are the basics.
Where do these “palillos” come from?
They’re no modern invention. Similar instruments were being played around the Mediterranean thousands of years ago. They reached Spain centuries back and stayed, adapting to the music of each region. In time they made it onto the stage, and flamenco dance took them up to add a fierce rhythmic edge to the footwork and the guitar.
How to hold castanets: the secret is in the pair
Anyone who plays castanets properly wears a pair, one in each hand. And they are not the same.
- The hembra (female). The higher-pitched one, and the one that does the rolls, the so-called “carretilla”. How do you tell? It usually has a mark, one or two lines, on the top. It goes on your right hand if you’re right-handed: pass the cord over your thumb and tighten it so it sits firm without cutting off the circulation.
- The macho (male). Deeper in tone, it keeps the base rhythm. It goes on the left hand, fitted the same way, on the thumb.
That mix of high and low is what gives them their life.
How to play them: the basic strokes
It isn’t just knocking wood together. Playing castanets well takes years and a lot of coordination. These are the basic strokes:
- TA. A dry strike with the middle finger of the left hand on the macho. It marks the beat.
- PI. The same dry strike, but with the middle finger of the right hand on the hembra.
- RIÁ. The famous roll, or carretilla. You get it by striking in sequence with the little, ring, middle and index fingers of the right hand on the hembra. It’s hard at first, especially getting the little and ring fingers to work independently. Be patient: going finger by finger, slowly, helps a lot.
- CHIN or PAM. The sound made when both castanets strike each other.
Good posture helps the sound come out clean too: think of a ballet dancer’s arms. And the music comes from combining these strokes. The classic ta-riá-pi-ta, or the trickier ta-riá-riá-pi-ta, which fits beautifully over three-beat rhythms like sevillanas or malagueñas.
Not all the same: types of castanets
Look closely and you’ll see there are different types. The material and the size change the sound a great deal, and the price with it.
- Wood. The traditional ones. Hard woods such as granadillo — many players’ favourite — ebony or rosewood give a warm sound. They’re also more fragile.
- Fibre or pressed fabric. Very common now, especially among professionals. They take more punishment and sound powerful and bright. Ideal for the stage.
- Others. There are more modern models in acrylic and other plastics.
There are beginner pairs, intermediate ones, and professional ones. The professional models usually have a double chamber, a small resonance box inside, for a fuller sound. Those are what the greats play.
Thinking of buying a pair? Quick tips
If you’re tempted:
- Start simple. Don’t spend a fortune at the beginning.
- Decide what sound you want. Warm wood or punchy fibre?
- Make sure they fit. Size matters: adjust them properly to your thumb.
- Compare prices. There’s everything, from cheap pairs to try out to professional models that are an investment.
In Madrid there are music shops and flamenco specialists where they’ll happily help you choose.
Come and feel the rhythm live
Ready to be spellbound by the rhythm of the castanets? Come to a flamenco show in Madrid and hear them from a metre away, played with the skill and passion of our artists.
And if the compás has got under your skin, take a look at how flamenco palmas work, the other hand percussion of flamenco.
