Most of the following was published in the old Djembe-L Yahoo group in the late 1990's under the moniker of Raymond's Transcriptions.
As usual, not guaranteed 100% accurate. Buyer beware. Notation of music is not music. Consult your teacher.
2/3 INVENTION
Frater Calamari (calamari@nh.ultranet.com)
12/8 |: . . * . . * . . * . . :|
_ _ _ _ _ _
Djembe 1 Sf . B B S . Bo . O O B . or:
Bf . O O B . Ob . B O S .
bell . . . x . x . . . x . x
Junjun 1 O . O . . . O . O . . . >>
O . O . O . O . O . . .
bell x x . . x . x x . . x .
Junjun 2 . . . B . . . . . B . B
Note: "Bo" and "Ob" are bass/tone flams, RH lead.
7/8 INVENTION
7/8 |: . * . * . * . * . * . * . :|
claves x x x x x x x x x
djembe one B o S o O s O o S s O s S o
var B S O s o S s s S
conga o B o S o O s O o S o S o B
var o B o S O s o S o S o B
ABIOUEKA
Aboiueka (Abiweika) is a Sousou-dance for small children. The basic beat of Abioueka seems te be essentially the same as the toto gi (deep drum) part of the Ewe piece Agbekor.
WAP-pages / Paul Nas / Last changed at 03-02-2002
Call with an optional early start for the Sangban
1 . . 2 . . 3 . . 4 . .
T T T T T . T T . T . .
2 r l r l . r l . r . .
S
. . . . . . . . . O O .
Combination Sangban / Dundun
1 . . 2 . . 3 . . 4 . . 5 . . 6 . . 7 . . 8 . .
S
. . . . O O . C . O O . . . . . O O . C . O O .
D
O . O . . . . . . . . . O . O . . . . . . . . .
x . x . x x . x . x x . x . x . x x . x . x x .
Kenkeni (not traditional) or Djabara
1 . . 2 . . 3 . . 4 . . 5 . . 6 . . 7 . . 8 . .
O . . O . . O . . O . . O . . O . . O . . O . .
x x . x x . x x . x x . x x . x x . x x . x x .
x . x x . x x . x x . x x . x x . x x . x x . x
Sangban
1 . . 2 . . 3 . . 4 . . 5 . . 6 . . 7 . . 8 . .
. . . . O O . C . O O . . . . . O O . C . O O .
x . x . x x . x . x x . x . x . x x . x . x x .
Dun Dun
1 . . 2 . . 3 . . 4 . . 5 . . 6 . . 7 . . 8 . .
O . O . . . . . . . . . O . O . . . . . . . . .
x . x . x . x . x . x . x . x . x . x . x . x .
Djembé 1
1 . . 2 . . 3 . . 4 . . 5 . . 6 . . 7 . . 8 . .
B . B . S S . S . T T . B . B . S S . S . T T .
r . r . r l . l . l r . r . r . r l . l . l r .
Djembé 2
1 . . 2 . . 3 . . 4 . . 5 . . 6 . . 7 . . 8 . .
S . S . T T . S . T T . S . S . T T . S . T T .
r . r . r l . l . l r . r . r . r l . l . l r .
Djembé 3
1 . . 2 . . 3 . . 4 . . 5 . . 6 . . 7 . . 8 . .
B . . B T T B . . B T T B . . B T T B . . B T T
r . . l r l r . . l r l r . . l r l r . . l r l
Djembé 4
1 . . 2 . . 3 . . 4 . . 5 . . 6 . . 7 . . 8 . .
S S S . T T S S S . T T S S S . T T S S S . T T
r l r . r l r l r . r l r l r . r l r l r . r l
Variation 1 on Djembé 1
1 . . 2 . . 3 . . 4 . . 5 . . 6 . . 7 . . 8 . .
B . B . S S . S . T T . B . B . S S . S . T T .
r . r . r l . l . l r . r . r . r l . l . l r .
1 . . 2 . . 3 . . 4 . . 5 . . 6 . . 7 . . 8 . .
B . B . S S . S . T T . B T T B T T B T T B T T
r . r . r l . l . l r . r l r l r l r l r l r l
Variation 2 on Djembé 1
1 . . 2 . . 3 . . 4 . . 5 . . 6 . . 7 . . 8 . .
B . B . S S . S . T T . . . B . T T T S . T T T
r . r . r l . l . l r . . . r . r l r l . l r l
1 . . 2 . . 3 . . 4 . . 5 . . 6 . . 7 . . 8 . .
B . B . T T T S . T T T B . B . T T T S . T T T
r . r . r l r l . l r l r . r . r l r l . l r l
1 . . 2 . . 3 . . 4 . . 5 . . 6 . . 7 . . 8 . .
B . B . T T T S . T T T B T T B T T B T T B T T
r . r . r l r l . l r l r l r l r l r l r l r l
ABONDAN
Source: Madou 7/2001
TIME 1 . x . 2 . x . 3 . x . 4 . x .
BREAK S s . s . s . s S . S . S . . .
1 . . . . . 2 . . . . .
Part 1 b . . T . S B . . . S . >>
b T t T t S b . . . S .
^
Dun S . S . B . . . S . S B . . . .
???
s . . s . . b . . . . .
s . . . . s b . . . . .
1 . x . 2 . x . 3 . x .
BREAK S s . s
. s . s S . S . S . . .
Sb..Sb..SB. . . . . S .
^
ABONDON
Mamady showed this to me and friend separately from the classes. We were setting up for the second day's sessions. My friend, Jason Dodson, asked about the rhythm at the end of Tiriba on the Wassolon CD. In the recording, after an extended version of Tiriba, the ensemble rests as Mamady solos (on two drums?), then Mamady calls them back in for a brief rendition of Abondon. Jason sang the part for Mamady and asked what parts went with it. MK said, "Oh, that's Abondon!" and demonstrated it for us. This rhythm was played traditionally for public processions of the king.
legend:
T, t tone on strong hand, weak hand
S,s slap on strong hand, weak hand
B,b base on strong hand, weak hand
O open dunnun note
C closed dunnun note
x bell stroke
. place holder for spot with no note.
| repeat marks
> continuation on next line/from previous line
^ under a note indicates lead in (i.e. the point in the rhythm to
start off the break)
Timeline: 1 . . 2 . . 3 . . 4 . . 1 . . 2 . . 3 . . 4 . .
break S s . S . s . S s . S . . $ . $ . $ . . . . . .
^ (both djembe parts
start here)
Timeline: 4 . . 1 . . 2 . . 3 . . 4 . . 1 . . 2 . . 3 . . 4 . .
Dj #1 . S . B . . t . s B . . . S . B t T t T s B . . . S .
Dj #2 . S . B . . t . s B . T t T t B . . t . s B . T t T t
^ (note: dj#2 only plays this pick-up slap at the entrance)
Timeline: 1 . . 2 . . 3 . . 4 . . 1 . . 2 . . 3 . . 4 . .
Sangba c . . o . o . . c . c . . o . o . o . . c . c .
S. Bell x . x x . x . x x . x . x x . x . x . x x . x .
(Note: this part sounds like: 2 open/2 closed/3 open/3 closed. The bell doubles the drum strikes and adds pickup notes to each group (2/2/3/3). As the part fits into the time scheme, though, the last closed note of the pattern falls on the downbeat. The pattern begins on the downbeat after the break measure.)
Timeline: 1 . . 2 . . 3 . . 4 . .
Dununba o . . o . . o . . o . .
D. Bell x . x x . x x . x x . x
Kenkeni . o o . o o . o o . o o
K. Bell . x x . x x . x x . x x
ACONCON
Nigel Jacobs (jacobs@mcc.com) from Boaz Martin
4/4 |: . * . * . * . | . * . * . * . :|
DJEMBE
_ _ _ _ _
LOW B . O O . S S . B . O O . S S .
_ _ _ _ _ _
HIGH S . . S S . O O S . . S S . O O
_ _ _ _ _
Break O . O O . O O . O . O . O . . .
JUNJUN B . . . . . . . . . B (b) . B . . >>
B . . . . . . . . . . . . . . .
BELL X . X X . X X . X . X X . X X .
ADOWA
(Ghana), Catrin Pieri (pieri@hydromod.de)
( Gazelle dance, possibly Ewe tradition? )
12/8 |: . . * . . * . . * . . :|
BELL X . . . X . . X X . . X
_ _ _ _ _ _
DRUM O O O S O S O O S
Hand Clap S S S
AKIWOWO
(Yoruba), Matt Freedman (mattf@cac.washington.edu) and Art Liestman
(art@cs.sfu.ca) - from Baba Olatunje/Gordy Ryan
Disclaimer: Akiwowo is a Yoruba folksong. This rhythm is one of several
that work well with it, but calling it "Akiwowo" may cause confusion.
4/4 |: . * . * . * . | . * . * . * . :|
CONGA/DJEMBE
_ _ _ _ _ _ _ _ _MID B . S S B . O O B . S S B . O O
_ _ _ _ _
HIGH S . S . O O . S . S . S O O O .
BELL . x x . x x x . x . x x
JUNJUN B b B b
/4
1...2...3...4...
Low
B.OoS.OoB.OoBoOo
Middle
B.SsB.OoB.SsB.Oo
High
S.s.Oo.s.S.sOoO.
Akiwowo, Oloko lle
Akiwowo, Olko lle
Iowo, gbe Mi Dele
Iowo, gbe Mi Dele
Ille Baba Mi
Akiwowo, Oloko Ile
Chorus: O se O
Translation:
Aikiwowo, conductor of the train
Aikiwowo, conductor of the train
Please take me home
Please take me home
To my father's house
Aikwowo, conductor of the train
Chorus: Conductor of the train
Thank You
Here is a really nice pattern that I heard somebody playing in the park a couple weeks ago. It sounds quite interesting by itself on a conga, and even better on a djembe. I have changed John Moore's notation system slightly to match what I am used to....
Matthew Freedman, mattf@cac.washington.edu
LEGEND:
| first beat in the bar
. other whole beats
* half beats
, quarter beats
: repeat
B bass
O tone
S slap
H heel
F finger
t optional light touch to fill grace notes
_ appears under notes that should be played with your strong hand.
UNNAMED COOL ONE DRUM PATTERN
4/4 |: * . * . * . * | * . * . * . * :|
CONGA B t O O S t O O B t O O B O O O
- - - - - - - -
Another pattern with a very similar feel is the middle drum of Babatunde Olatunje's Akiwowo....
MIDDLE DRUM, AKIWOWO
4/4 |: * . * . * . * | * . * . * . * :|
CONGA B t S S B t O O B t S S B t O O
- - - - - - - -
The high drum part to Akiwowo is really nice, very samba-esque. Have one person play this, and the other play either of
the two above patterns.
HIGH DRUM, AKIWOWO
4/4 |: * . * . * . * | * . * . * . * :|
QUINTO S t S t O O t S t S t S O O O t
Akiwowo, Oloko lle
Akiwowo, Olko lle
Iowo, gbe Mi Dele
Iowo, gbe Mi Dele
Ille Baba Mi
Akiwowo, Oloko Ile
Chorus: O se O
Translation:
Aikiwowo, conductor of the train
Aikiwowo, conductor of the train
Please take me home
Please take me home
To my father's house
Aikwowo, conductor of the train
Chorus: Conductor of the train
Thank You
ATSIA
Bell piece
Gangkogui is the Anlo-Ewe name for their double bells. Consider that these are hand made and as such, the sizes are at the
discretion of the blacksmith who makes them. Obviously the large bells produce a low tone but are heavy and beyond a certain limit
would be discarded in favour of a more manageable size. On the other end of the scale, smaller bells produce lower volume and tend
to get lost in the ensemble. The point is, there are no fixed sizes or pitches, just the range between the extremes.
In my experience with Ewe teacher Kobla Ladzekpo the value of a bell is not so much its absolute pitch but clarity of tone. In a
hatsiatsia ensemble bells of various sizes were freely swaped between different parts - producing vastly different resultant
melodies. The melodies produced in this music are subordinate to the rhythms of the parts.
If you dig gangkogui you should also check out atoke bells. Here's the hatsiatsia to the Ewe music Atsia:
Atoke 1 x . x . x x . x . x . x
Atoke 2 x xx. x xx. x xx. x xx.
Gangkogui 1 . h l . h l . h l . h ll
Gangkogui 2 l l h h .h. l l h h .ll
BABA OLATUNJI'S DRUM EXERCISES ( UNCONFIRMED )
Notation notes:
B, b = bass, Strong/weak hand
O, o = tone, Strong/weak hand
S, s = slap, Strong/weak hand
1 . . 2 . . 3 . . 4 . .
B . O o . . B . O o . .
B . O o O o B . . . . .
B . O o O o B . O o . .
B . O o O o B . S . . .
B . O o O o B . S s . .
B . O o O o B s O s O .
______________________________________________
1 . . . 2 . . . 3 . . . 4 . . .
B . O . B . O . B . O . O o . .
B . S s : s S . B . S . O o . .
O o . . O o . . O o . . O o . .
______________________________________________
1 . . 2 . . 3 . . 4 . .
S . B . O o S . . . O o
S . B . O o S . O o . o
S . S s . s S . B . O o
DJUN/BELL
Following can be played with first six phrases:
x . x . x x . x . x . x bell (6/8 "short" bell)
O . . O . . O . . O . . djuns
BABANINKO
(from Mamady Keita)
. . 1 . . . 2 . . . 3 . . . 4 . . . 5 . . . 6 . . . 7 . . . 8 . . .
Krin #1 h . . . . . . . h . . . . . . . h . . . l . l . h . l l . l l . h .
Krin #2 l . h h . . . . l . h h . . . . l . h h . . . . l . h h . . . . l .
Krin #3 . . . . l . h h . . . . l . h h . . . . l . h h . . . . l . h h . .
BACONGA
1 . . . 2 . . . 3 . . . 4 . . .
DJ1 B . . . B . t . B . . . B . t .
DJ2 S . . t T . s . S . s . T . t .
BACOSO
Source: Ubaka Hill
1 . . 2 . . 3 . . 4 . .
Jembe 1 T . SHF M . B . SHF M . SHF = Shuffle
Jembe 2 B . T B M . B . T B M . Basses are muffled
Jembe 3 S S x x S S x x S S x x x = touch
Bell x . x . x x . x . x . x
BADUGU
Played at fast tempo.
1 . . 2 . . 3 . . 4 . .
Break @ . T t . T t . T t . .
Sangba/Dun D D . . . S D D . . . S
^
Kenkeni K . . K . . K . . K . .
Djembe 1 T . S b S s T . S b . .
Djembe 2 $ . . $ . . B . s B . . >>
@ . . $ . . B . s B . .
Djembe 3 T . t T . s S . s S . s
BAHAVENTO
(BRAZIL), Michael Wall (drum@aloha.net) from Menstre Beasola
6/4 |: . . * . . * . . * . . :|
Bell X . X . X X . X . X . X
Shaker X X
Clave X . . X . . X . . X . .
Junjun O . . . O O . . . . . O or:
M . O . O . O O . . . .
Songba O . . O O O O . . O O O
_ _ _ _
Tumba S . O O . S S . O O O S
_ _ _ _ _
Conga O . S S O O O S . S . O
_ _ _(3)_ _ _ _(3)
Snare x x x x x x x x x x x x x x =20
BAKOSO
> 1 2 3 4 5 6 1 2 3 4 5 6
> x x x x x x x bell
>
> b S b O O b s b O O High
>
> b O b S b O b S Middle
>
> O T b B b T b B Low T=touch with right hand (silent)
BALAKULANDYAN
No information about the history of this rhythm
B=Bass
O=Open tone
S=Slap
1st variation
1... 2... 3... 4...
Call
#.OO .O.O O.O. O...
Djembe 1
S..S S.OO S..S S.OO
Djembe 2
B.SS ..SO O.BS ..S.
Djembe 3
..SS ..SS ..O. OOSS
BALAKULANDYAN
Call:
$ . O O . O . O O . O . O . . .
Djembe Acc.:
1
S . . S S . O O S . . S S . O O
2
B . S S . . S O O . B S . . S .
Djembe Solo:
. . S S . . S S . . O . O O S S
Duns:
K
X . . . X . . . X . . . X . . . >
. . O O . . O O . . O O . . O O
S
X . X . X . X . X . X . X . X . >
C . . . C . . . C . O . O . . .
D
X . X X . X X . X . X X . X X . >
O . . . . . O . O . . . . . O .
Echauffement:
O O S S S S S S S S S S S S S S
O O S S S S S S S S S S S . . .
$ . O O . O . O O . O . O . . .
D
X . X X . X . X X . X . X . X . >
O . O O . . . O O . O . O . . .
X . X X . X . X X . X . X . X . >
O . O O . . . O O . O . O . . .
X . X X . X . X X . X . X . X . >
O . O O . . . O O . O . O . O .
S
X . X X . X X . X . X X . X X . >
O . O O . O . . O . O O . O . .
X . X X . X X . X . X X . X X . >
O . O O . O . . O . O O . O . .
X . X X . X . X X . X . X . X . >
O . O O . O . O O . O . O . . .
BALAKULANIA
1 . 2 . 3 . 4 . Djembe 1 S . . s S . T t
Djembe 2 B . T t . . S .
Kenkeni K . . . K . . .
Sangba s . . . s . . . >>
s . S . S . . .
dununba D . . . . . D . >>
D . . . . . D .
BALAKULANYA
Intro:
Tf . T T . T . T T . T . T . . .
Duns:
K
O . . . O . . . O . . . O . . . >
X . X . X . X . X . X . X . X .
S
. . . . . . . . . . O . O . . . >
X . X X . X . X X . X . X X . X
D
O . . . . . O . O . . . . . O . >
X . X X . X X . X . X X . X X .
Djembe Acc.:
1 S . . S S . T T S . . S S . T T
2 B . T T . . S T T . B S . . S .
Djembe Solo:
. . S S . . S S . . T S T T S S
Var. Duns:
S
. . . O . O . . . . O . O . . . >
X . X X . X . X X . X . X X . X
. . . O . O . . . . O . O O . . >
X . X X . X . X X . X . X X . X
. . . O . O . O . . O . O O . . >
X . X X . X . X X . X . X X . X
. . . O . O . O . . O . O . . . >
X . X X . X . X X . X . X X . X
O . . O . . O . . O . . O . . . >
X . X X . X X . X X . X X . X .
O . . O . . O . . . O . O . . . >
X . X X . X X . X . X . X X . X
. . . . . . . . . . O . O O . . >
X . X X . X . X X . X . X X . X
. . O O . . . O O . O . O . . . >
X . X X . X . X X . X . X X . X
C . . O . O . . . . O . O . . . >
X . X X . X . X X . X . X X . X
O . O O . O . O . . O . O . . . >
X . X X . X . X X . X . X X . X
D
O . . . . . . O O . O . O . O . >
X . X X . X . X X . X . X . X .
. O . O . O . O O . O . O . O . >
X X . X . X . X X . X . X . X .
O O . O . . . O O . O . O . O O >
X X . X . X . X X . X . X . X .
O . . . . . . O O . O O . O O . >
X . X X . X . X X . X X . X X .
O O . O O O . O O O . O . O . O >
X X . X X X . X X X . X . X . X
O O . O . O . O O . O . O . O . >
X X . X . X . X X . X . X . X .
O . . . . . . O . . . . . . O . >
X . X X . X . X X . X . X . X .
O O . O . . . O O . O . O . O O >
X X . X . X . X X . X . X . X .
. O . O . O . O O . O . O . O . >
X X . X . X . X X . X . X . X .
. . . . . . . O O . O . O . . . >
X . X X . X . X X . X . X . X .
Echauffement:
S
O . O O . O . O O . O . O O . O >
X . X X . X . X X . X . X X . X
D
O . O O . O . O O . O . O . O . >
X . X X . X . X X . X . X . X .
BALANSONDE
No information about the history of this rhythm
B=Bass
O=Open tone
S=Slap
1st variation
1.. 2.. 3.. 4..
Call
SSO SSS ... ...
Djembe 1
S.O S.. S.O S..
Djembe 2
..S .OS ..S .OS
Djembe 3
S.. SOO S.. SOO
BAMBAFOLI
With some of my students we formed the group called "Kabala"
On the CD we play a new invented rhythm called Bambafoli which means : "rhythm of the crocodile" ( Thats the name we all agreed about) (Thanks for the animal names in Malinke language)
I think the rhythm is cool , but is quite difficult to play ( especially the combination of Sangban/Dununba) The recording itself lasts only one minute, but ok.
Djembe 1 :
-1...2...3...4...
-s.oo..s...oo..sb starts at 4..
Djembe 2 :
-1...2...3...4...
-booob..bb..soo..
Dununba :
-1...2...3...4...
-x.x.x.xx.xx.xx.x
-....d..d..d.dd.. starts at 3..
Sangban :
-1...2...3...4...
-x.xx.x.xx.xx.xx.
-f.ss.s..s..s.... starts at 1
Kenkeni :
-1...2...3...4...
-x.x.x.x.x.x.x.x.
-k...k...k...k...
BARA
Source: Abdoul Doumbia
Starts out slowly and builds.
1 . . . 2 . . . 3 . . . 4 . . .
Break T . T . T . T . T . S S S S . .
Jembe 1 B . . . S S . . M . T T S S . .
Jembe 2 T T B . T T B . T T B . T T B .
Jembe 3 S S T T S S . B S S T T S S . B
Jembe 4 T T S . . S S . T T S . . S S .
Jembe 5 B . S . T T S . B . S . T T S . >>
B B S B T T S . B . S . T T S .
1 . . . 2 . . . 3 . . . 4 . . .
x x x . x x x . x x x . x x x .
Kenkeni B B . . B B . . B B . . B B . .
Sangba . . . . B . B . . . B B . B . . >>
. . . . . . B . . . B . . . . .
Dun Break B . B . B . B . B . B B . B . . into rhythm
Dun x . x . x . x . x . x . x . x . >>
B . . . . . M . . . M . . . . . >>
x . x . x . x . x . x x . x . .
B . B . B . B . B . B B . B . .
Sangba
Variations (per Adam)
1 . . . 2 . . . 3 . . . 4 . . . 1 . . . 2 . . . 3 . . . 4 . . .
. . . . S . S . . . S S . S . . . . . . . . S . . . S . . . S .
. . S . S . . . . . S S . S . . . . . . . . S . . . S . . . . .
. . S . S . . . . . S S . S . . . . . . . . S . . . S . . . S .
. . S . . . S . . . S S . S . . . . . . . . S . . . S . . . . .
. . S . . . S . . . S S . S . . . . . . . . S . . . S . . . S .
. . . . S . S . . . S S . S . . . . . . . . . S . . . S . . . .
. . . . S . S . . . S S . S . . . . . . . . . S . S . S . S . S
{ first half of phrase }{ second half of phrase }
BARANI
> 1...2...3...4...5...6...7...8...
> x.xx.x.xx.x.x.x.x.xx.x.xx.x.x.x.
> f..s....f...s.s.s..s....f...f...
>
> 1...2...3...4...5...6...7...8...
> x.xx.xx.x.x.x.x.x.xx.xx.x.x.x.x.
> ..dd.dd.....d.d.d.dd.dd.........
>
> 1...2...3...4...5...6...7...8...
> x.xx.xx.x.x.xx.x.x.x.xx.x.x.x.x.
> ..dd.dd.....dd.d.d.d.dd.........
I'm no expert but there is a video available on the French market where
Inza Diabate (from Mali I think originally) demonstrates 6 or so rhythms.
The same Sangban pattern is used in a rhythm called Barani, with the
following jembe parts:
1...2...3...4...5...6...7...8...
b.....s.....b.s.b.....s...bsb.s.
b.tt..s.b.tt..s.b.tt..s.b.tt..s.
There is no dunumba part as above, rather the above sangban pattern is
played on a sangban+small dunumba set:
S...S...S..D....S...D.D.D..D....
x.x.x.x.x.xx.xx.x.x.x.x.x.xx.xx.
BASICOLO
No information about the history of this rhythm
B=Bass
O=Open tone
S=Slap
1st variation
1.. 2.. 3.. 4.. 1.. 2.. 3.. 4..
Djembe 1
O.S BS. BS. BOO O.S BS. BS. B.O
Djembe 2
BSO OSS BSO OSS BSO OSS BSO OSS
Djembe 3
B.. OO. B.. OO. B.. OO. B.. OO.
Bell: x.x.x.x.xx.x
Dunun: b..ob.b..o..
BASIKOLO
from Lars Bjornfot:
Djembe 1 - bso.s.bs.os.
Djembe 2 - s.oo..soos..
Djembe 3 - s..soos...oo
Bell: x.x.x.x.xx.x
Dunun: b..ob.b..o..
BATAKATO
(Nigeria), John Feddersen (fedstart@nando.net)
12/8 |: . . * . . * . . * . . :|
_ _ _ _
Djembe 1 O S S O O S O
_ _ _ _ _ _
Djembe 2 O S S B B O O S S B B O
_ _ _ _ _ _
Djembe 3 B S S O O B B S S O O B
_ _ _ _ _ _
Djunjun B O O B O O B O O B O O
OR: _ _ _ _ _ _ _
Upright drum m x x m x x m x x m O
(L=hand, R=stick. x=rim shot or tap)
BAYE
(Congolese), Susan Rapalee (RAPALEE@delphi.com)
12/8 |: . . * . . * . . * . . :|
Bell X . X . X X . X . X . X
_ _ _ _ _
High S . O S . . S S . Sf O O
_ _ _ _
High-mid O O . h S S O O . h S S >>
O O . Sf O O O O . h S S
_ _ _ _ _ _
Low-mid B . O . S . B S O O S .
_ _ _
Low O . B _ t . B . . B . O >>
. . t B . . B . . B . O
BELEDI
A rhythm from the middle east
B=Bass
O=Open tone
S=Slap
1st variation
1... 2... 3... 4...
High
B.B. OMS. B.OM S.OO
Low
B.B. OOOO B.OO O...
Bass
B.B. .O.. B... O...
2nd variation
1... 2... 3... 4...
Djembe 1
B.B. OOS. B.OO S.OO
Djembe 2
OOOO B.OO B.B. S...
BELL PATTERNS
4/4 Bell Patterns
One Bar
4/4 |: . * . * . * . | . * . * . * . :|
BELL X . . X . . X . X . . X . . X .
Son Clave (3-2)
4/4 |: . * . * . * . | . * . * . * . :|
BELL X . . X . . X . . . X . X . . .
Rumba Clave (3-2)
4/4 |: . * . * . * . | . * . * . * . :|
BELL X . . X . . . X . . X . X . . .
Son Clave (2-3)
4/4 |: . * . * . * . | . * . * . * . :|
BELL . . X . X . . . X . . X . . X .
Rumba Clave (2-3)
4/4 |: . * . * . * . | . * . * . * . :|
BELL . . X . X . . . X . . X . . . X
Cuban (rumba) #1
4/4 |: . * . * . * . | . * . * . * . :|
BELL X . . X X . . X . . X . X . . .
Brazil
4/4 |: . * . * . * . | . * . * . * . :|
BELL X . . X . . X . . . X . . X . .
Nigeria (juju)
4/4 |: . * . * . * . | . * . * . * . :|
BELL X . . X . . X X . . X . X . . .
Haiti (Ibo, Congo)
4/4 |: . * . * . * . | . * . * . * . :|
BELL X X . X X . X . X . X . X . X .
Cuban (Yesa)
4/4 |: . * . * . * . | . * . * . * . :|
BELL . X . X . . X X . . X X . . X X
Cascara
4/4 |: . * . * . * . | . * . * . * . :|
AGOGO L . H H . H . H H . H . H H . L
Cascara alternate
4/4 |: . * . * . * . | . * . * . * . :|
BELL X . X X X . X X X . X X X . X XX X . X X
Samba
4/4 |: . * . * . * . | . * . * . * . :|
AGOGO H . H . L L . H . H . H L . L .
Samba
4/4 |: . * . * . * . | . * . * . * . :|
AGOGO
H . L L . H . H . . . L L . H . >>
H . L L L H . H . . . L L . H .
Garden variety ago-go pattern for Samba in 2/3 arrangement
4/4 |: . * . * . * . | . * . * . * . :|
AGOGO L . H . H . L L . H . H H . L .
Extra cool Samba Batucada pattern in 3/2 #1
4/4 |: . * . * . * . | . * . * . * . :|
AGOGO . H . H H . L L L . H H H . L L
Extra cool Samba Batucada pattern in 3/2 #2
4/4 |: . * . * . * . | . * . * . * . :|
AGOGO . H . H H . L . L . H . H . L L
Samba do Morro pattern built around Partido Alto in 2/3
4/4 |: . * . * . * . | . * . * . * . :|
AGOGO L . H . L L . L . H . L L . L .
The very famous Partido Alto that one hears all the time
4/4 |: . * . * . * . | . * . * . * . :|
AGOGO L . H . . L . L . H . . L . L .
Another 2/3 Samba
4/4 |: . * . * . * . | . * . * . * . :|
AGOGO H . L . L L . H H H . L L . H .
Samba da Rua pattern in 2/3
4/4 |: . * . * . * . | . * . * . * . :|
AGOGO L . L . H H . L . L . L . H H .
miscellaneous 2/3 samba #1
4/4 |: . * . * . * . | . * . * . * . :|
AGOGO L . L . . H . H . L . L L . H .
miscellaneous 2/3 samba #2
4/4 |: . * . * . * . | . * . * . * . :|
AGOGO H . H . L . . H . H . L . H . L
miscellaneous 2/3 samba #3
4/4 |: . * . * . * . | . * . * . * . :|
AGOGO L . H . H H . H . H . H H . L .
miscellaneous 2/3 samba #4
4/4 |: . * . * . * . | . * . * . * . :|
AGOGO L . . H H . . L L . H . H . . L
The extra-cool Samba de Roda pattern from Bahia
4/4 |: . * . * . * . | . * . * . * . :|
AGOGO H . H H . H . H . H . H . H H .
unnamed samba #1
4/4 |: . * . * . * . | . * . * . * . :|
AGOGO H H . L L . H H H . L L L . H H
unnamed samba #2
4/4 |: . * . * . * . | . * . * . * . :|
AGOGO H H . H . L L . H . H . L . L .
2-bar samba
4/4 |: . * . * . * . | . * . * . * . :|
AGOGO
H . L L L . H H . L . L L . H H >>
H H . L L . H H . L . L L . H H
Afoxe
4/4 |: . * . * . * . | . * . * . * . :|
AGOGO H H . H . H L . H . H . H . L .
Ijexa
4/4 |: . * . * . * . | . * . * . * . :|
AGOGO H . H . L . L . H H . L . L L .
Ijexa
4/4 |: . * . * . * . | . * . * . * . :|
AGOGO H H . L . L L . H . H . L . L .
Ijexa
4/4 |: . * . * . * . | . * . * . * . :|
AGOGO . . H H H . L L . H . L . L L .
Ijexa variation #1
4/4 |: . * . * . * . | . * . * . * . :|
AGOGO . H . L . L L . H . H . L . L L
Ijexa variation #2
4/4 |: . * . * . * . | . * . * . * . :|
AGOGO . H . L . . L . . . H . L . . L
Ijexa variation #3
4/4 |: . * . * . * . | . * . * . * . :|
AGOGO . H . H . H H . H . L L L . L L
Ijexa variation #4
4/4 |: . * . * . * . | . * . * . * . :|
AGOGO . H L L . L L . H L L L L . L L
Mambo
4/4 |: . * . * . * . | . * . * . * . :|
AGOGO L . H H L . H H L . H . L . H H
Comparsa
4/4 |: . * . * . * . | . * . * . * . :|
AGOGO H . H . L L . . H H . . L . H L
Gahu
4/4 |: . * . * . * . | . * . * . * . :|
BELL X . . X . . X . . . X . . . X .
Haitian
4/4 |: . * . * . * . | . * . * . * . :|
BELL X . . X . . X . X . . . . . . .
Ghana
4/4 |: . * . * . * . | . * . * . * . :|
BELL X . X . X . X . X . . X . X . .
12/8 (6/8) Bell Patterns
6/8 Short Bell
12/8 |: . . * . . * . . * . . :|
BELL X . X . X X . X . X . X
6/8 Long Bell
12/8 |: . . * . . * . . * . . :|
BELL X . X . X . X X . X . X
Abakua
12/8 |: . . * . . * . . * . . :|
BELL X . . . X . X . X . . . >>
X . X . . . X . . . X .
Haiti
12/8 |: . . * . . * . . * . . :|
BELL X . . . X . . . X . . . >>
X . X . . . X . . . X .
Ghana
12/8 |: . . * . . * . . * . . :|
BELL X . . . X . . . X . . . >>
. . X . . . X . . . . .
Cuban (bakoso)
12/8 |: . . * . . * . . * . . :|
BELL X . . . X . . . X . X . >>
. . X . . . X . . . X .
Cuban (rumba)
12/8 |: . . * . . * . . * . . :|
BELL X . . . X . . . . . X . >>
. . X . . . X . . . . .
Cuban (palo)
12/8 |: . . * . . * . . * . . :|
BELL . . X . X . . . X . X . >>
. . X . . . X . . . X .
BELL SONG
Timeline: 1 . 2 . 3 . 4 . 5 . 6
Bell 1 L . H . H . L L . H .
Bell 2 L . L . . . . . L L .
|L L . L . . . H . L L .|
Bell 3 L . . . . . . . . L .
| L . . . . H H . . L .|
Bell 4 . . H H . . . . H H .
BINTIN
A rhythm from Ghana
1st variation
1.. 2.. 3.. 4..
High
B.O SS. OOO SS.
Med
S.B SO. S.B SO.
Low
BSS MSS BSS OSS
Bell
X.X .XX .X. X.X
Bass
OOO OO. BBB BB.
Break
OOO .SS S.O OO.
BINTIN
(Ghana), Richard Darsie (darsie@ece.ucdavis.edu) from
Sean Feder - from Icon Tribe
12/8 |: . . * . . * . . * . . :|
_ _ _ _ _ _
Bottom O O O O O . B B B B B .
_ _ _ _
Second B . . M . . B . . O . .
w/Stick . X X . X X . X X . X X
_ _ _ _
Third . . B . O . . . B . O .
w/Stick X . . X . . X . . X . .
_ _ _ _ _ _
High B . O S S . O O O S S .
_ _ _ _ _ _
Break O O O . S S S . O O O .
Bell X . X . X X . X . X . X
BOB
I've also been working with 5th thru 8th grade kids in an after school drum group. Here is a "simple but fun" rhythm we've been playing around with for the past four weeks. We "invented" it together, so the kids really feel a special attachment to it. We call it "Bob". (We've also come up with others, which we give names to, like hurricanes, "Anne," "Gabi" and so on.) Anyway, I'm sure the kids of the Community Youth Percussion Ensemble, Oxford, Ohio, would be happy to share the "Bob" with you. (Where are you located?)
1 . . . 2 . . . 3 . . . 4 . . . 1 . . . 2 . . . 3 . . . 4 . . .
Djembe 1 b t b t b s s s b t b t b s s s
Djembe 2 t t b . t t b . t t b . s s b .
cont'd. s s b . s s b . (back to beginning)
Djembe 3 b t t b s s b t t b s s b t t etc.
We like to have parts 1 and 2 play, say eight measures or so, then 1 and 3,
then 2 and 3, and finally all three parts together.
The breaks:
Opening and closing:
t t t . t t t . t t t . sf . sf
t t t . t t t . t t t . sf . .
Internal breaks:
Call (played by drummer on the Djembe 2 part)
sf . sf .
Response by all djembes:
t t t . t t t . t t t . sf . sf
after which all djembes return to their parts
Sangban x (x) x (x) x x x x
O O O
this played three times,
followed by another longer phrase that has seven instead of
just the three consecutive open tones. After the seventh O, the bell
stroke on the final 4 count can be doubled, as in x x
Kenkeni x x x x x x x x
O O (o) O
We have a certain amount of free variation between these basic sangban and kenkeni parts as the kids get to feeling comfortable with them. During the internal breaks the kenkeni and sangban stop playing. Hope you have fun with the Bob if you choose to try it. It has its "world premiere" at a Habitat for Humanity fundraiser tomorrow evening!
Pete
BOBADON
Original
legend:
T, t tone on strong hand, weak hand
S,s slap on strong hand, weak hand
B,b base on strong hand, weak hand
O open dunnun note
C closed dunnun note
x bell stroke
. place holder for spot with no note.
| repeat marks
> continuation on next line/from previous line
^ under a note indicates lead in (i.e. the point in the rhythm to
start off the break)
Played with swinging feel
Timeline:
1 . 2 . 3 . 4 .
Dj#1 B t T b T t . .
Dj#2 $ . . T s B . .
Dj#3 TtT t T . . $ .
Djun: BB . . .BB . . . >>
. B . . B . . .
Kekeni: O O C . O O C .
BOLO KONONTON
Duns:
K
| . X X . X X | >
| . . O . O O |
S
| X . X X . X | X . X X . X | X . X X . X | . X X . X . | >
| C . . C . . | C . . C . . | C . . O . O | . . . . O . | 2x
| X . X X . X | . X X . X . | X . X X . X | . X X . X X | >
| . . . O . . | . . O . . . | O . O O . O | . . . . . O |
| . X X . X X | . X X . X . | . . . . . . | . . . . . . | >
| . . . . . O | . . . . O . |
D
| . . . . . . | . . . . . . | . . . . . . | . . . . . . | >
| . . . . . . | . . . . . . | . . . . . . | . . . . . . |
Djembe Acc.:
| . . . . . . |
Break:
| . . . . . . | . . . . . . |
Djembe Solo:
1
| S S O S S S | . . . . S_S S | S S O . . . | . . . . S_S S |
| S S O . . . | . . . . S_S S | S S O . S_S S | S S O . S_S S |
| S S O . S_S S | S S O . . . | . O O S O O | S O O S S . |
| S_S S S S . O | O S O O S . |
2
| S S O S S S | . . . . . S | O_O O S . . . | B . S O_O O S |
| . . . B . S | O_O O S . . . | B . S O_O O S | . . . B . S |
| O_O O S . . . | B . S O_O O S | . O_O O S O_O O | S O_O O S S . |
| B S S . . O_O | O O O . $ . | . . . . . . | . . . . . . |
3
| . . . . . . | . . . . . . | . . . . . . | . . . . . . |
| . . . . . . | . . . . . . | . . . . . . | . . . . . . |
BOLOMBA
A rhythm that is taught by Arafan Touré,
WAP-pages/ Paul Nas / Last changed at 24-04-2000
Intro
@ . T T . T . T T . T . T . . .
f . r l . l . l r . r . r . . .
Kenkeni
. . . . . . O O . . . . . . . .
Sangba
. . O O . . . . . . . . . . . .
Dununba
O . . . . . . . . . O O . O O .
x . x . x . x . x . x . x . x .
Djembé 1
T T B . B . B . T T . S S S . B
r l r . r . r . r l . l r l . l
^ start here
Djembé 2
S . . S S . T T S . . S S . T T
r . . l r . r l r . . l r . r l
***** PREVIOUS POSTING
BOLOMBA
No information about the history of this rhythm
1st variation
1...2...3...4...
Call (Begin)
OO.O.O.OO.O.....
Djembe 1
OO.SSS.BOOB.B.B.
Djembe 2
S..SS.B.S.OOS.B.
Sangban/Keneni
S.SS..KK......KK
BOLON
Intro:
@ . T T . T . T T . T . T . . .
Duns:
K
O O . C . . C . O O . C . . C . >
X X . X . X X . X X . X . X X .
S
. . . . . . . . . . . . . . . . >
. . . . . . . . . . . . . . . .
D
. . . . . . . . . O . O . O . .>
X . X X . X X . X . X . X . X .
Djembe Acc.:
1 S . . S S . T T S . . S S . T T
2 T T . S . . S . T T B . B . B .
3 T T S S . . S B T T S S B . S B
Djembe Solo:
@ . S S @ . S S . . . . @ . S S
@ . S S @ . S S . . . . . . . .
@ T T T S S . . @ T S S S . . .
@ T T T S S . . . . . . . . . .
T T S T T S T T S . . . . . . .
T . S S . S . S S . S . S . . .
$ S S T T S . . . . . . . . . .
$ . T T . $ . T T . $ . T T . .
$ . T T . $ . T T . . . . . . .
$ S S @ T T $ S S . T S T T S .
T T S S . . S . B . T S T T S .
BOULA
A rhythm from the Antilles Islands. From Julien Devergie.
vierer
Djembe Acc.:
1 | B . T T B . T . | B S . S B . T . |
2 | S . . S S . O O |
Break:
| @ . T T . T . T | T . T T T . . . |
Call:
1
| S S T T S S . . | 2x
| B T . T B . $ . | 2x
2
| T T S S T T S . | 2x
| B S . B S S B . | 2x
Djembe Solo:
1 | T S . T S . T S | . Sr S S S . . . |
BOUSHAY
(Congolese), John Feddersen (fedstart@nando.net) '95 from Modibo Keita
(note: this is a "swung" rhythm, notation such as "O- O" indicate an
extended beat, such as a dotted quarter followed by an eighth note.)
2/2 | . * . * . * . | . * . * . * . |
_ _ _ _ _ _ _
(lead-in) O- O >>
Djembe(h) S- . O- O S- . O- O S- . S- S . . O- O
_ _ _ _
Djembe(m) . . O- O . . S . . . O- O . . S .
_ _ _ _
Djembe(l) b . b . O- O . . b . b . O- O . .
or deep drum
Bell x . . . x . . . x . . . x . . .
Songba o o
or, on tall drum, bell as S, songba as B
BRZOZOFOLI - (INVENTION)
|1 . . . 2 . . . 3 . . . 4 . . .|
T t|S . . s S . T t B . t T . . T t|>>
|B . s S t . B b T . t T . . T t|
BUBUNINCA
< I got it as "Buguninca" >
djembe 1
SoO|sSb|SoO|sSb
djembe 2
S.O|s..|S.O|s..
Kenkeni < bass parts are exactly as I learned them >
.O.|.O.|.O.|.O.
xx.|xx.|xx.|xx.
Sangban
O.o|.OO|.o.|o.O
xx.|xx.|xx.|xx.
Dundun
...|OO.|...|OO.
xx.|xx.|xx.|xx.
O = open stroke
o = closed stroke
>> my input <<
O,o = strong, weak hand
O = open
S = slap
CAMBERTO
(Haitian derived), Richard Darsie (darsie@ece.ucdavis.edu)
Timeline: 1 . . 2 . . 3 . . 4 . .
Dj1 t . . B . . b . . B . .
Dj2 B . S b T t B . S b T t
Dj3 b . T . S . b T . S . B
Dj4 T s S t S s T s S t S s
Bell x . x . x . x x . x . x
A dun part from Yenvalou...
Bass D . . . . . S . . S . .
CASCARAS & KATAS
by: James VanDenAkker
"My heritage is the heritage of all humanity. The country of my ancestors is the planet Earth. I ain't no minority. I'm part of the human race." Jim
In the Cuban repertoire, certain rhythms are divided into the classifications claves and cascaras. The Haitians have a further division called katas. The distinguishing difference between these classes of rhythms are their densities.
Classification by density helps by grouping all rhythms of a certain density level together. Once grouped together, they are much easier to explore for similarities and differences.
For instance, there are 65,535 possible 16/8 rhythms, not counting strange accentuations, etc. Clearly too extensive a list to explore if one is just trying to find a new bell line.
Fortunately, these rhythms can be divided into subgroups by their density, what percentage of the measure the notes occupy.
A further filtering out can be accomplished by only including those rhythms that spread themselves evenly across the measure. This is easy to do with a computer, but we don't all have one as part of our "kit".
Here is how the classification scenario works. (This will address the 16/8's only. The definitions fit the 8/8's, 6/8's and 12/8's but there are fewer of them).
CLAVES: 25% to 50% of the measure. No more than one note in a row. No more than 3 rests in a row.
At the 25% level, this would be the minimum of 4 evenly spaced notes, in other words, the typical quadruple 16/8 beat. At the 50% level you would have every other note being played and this is the border of the cascaras.
Rhythms with more than 3 rests in a row would have less continuity than the beat. The use of such rhythms as one hand stick rhythms has not been found in any culture. Rhythms with more than one note in a row do not have the distinctive character of a clave.
CASCARAS: 50% to 75% density. No more than 2 notes in a row. No more than one rest in a row.
The restriction on notes in a row has to do with human dexterity. Rhythms that cover more than half the measure call for speed. If you search the world for cascaras, you will find 99% of them being played with one hand. In most cultures, if a rhythm takes two hands to play, it eventually winds up being played on a drum. (And these classifications are not about drum rhythms).
These rhythms are clearly too fast and dense to be thought of as clave rhythms. The division is for the brisk rhythms that humans play on bells, beer bottles and ride cymbals with one hand. It is not that they cannot be played with two sticks. It's just a special division to encompass what most cultures are really doing.
Whey playing briskly with one hand, two things become evident. People don't count any rests or leave room for more than one at that speed. It's a natural phenomena found in all cultures. The brain gets occupied with powering the rhythm along and just won't pause to include multiple rests. On the other hand, humans cannot execute three strokes in a row with one hand comfortably. One or two strokes is easy. On a third stroke, the muscles of the forearm tense up. Not enough bounce and recovery is left in the stick. One hand rhythms with more than three notes in a row have never been found in any long term human culture.
KATAS: 75% to 100% density. Katas are found in many cultures but it was the Haitians that made them most popular. Therefore, we use the Haitian term. The most popular kata of all is the 100%. This, of course is just like doing a continuous roll. Many Haitian rhythms are made of very few notes. When played alone, they sound fine, but somehow lack in drive. The kata fills in the background with the pulse of the rhythm. Try playing the Haitian glissade Congo without its kata. It will sound kind of bare, like most of its substance is missing. Add the kata and the rhythm leaps with fire.
16/8 Cascaras
Density: 50% to 75%
Notes: 8 to 10; no more than 2 in a row
Rests: 8 to 6; no more than 1 in a row
1. X-X-X-X-X-X-X-X-
2. XX-X-X-XX-X-X-X-
3. XX-X-XX-X-X-X-X-
4. XX-XX-X-X-X-X-X-
5. XX-XX-X-XX-XX-X-
6. XX-XX-XX-X-XX-X-
7. XX-XX-XX-XX-X-X-
16/8 Katas
Density: 75% to 100%
Notes: 12 to 16
Rests: 4 to 0; no more than 1 in a row
1. XXX-XXX-XXX-XXX-
2. XXXX-XX-XXX-XXX-
3. XXXX-XX-XXXX-XX-
4. XXXX-XXX-XX-XXX-
5. XXXX-XXX-XXX-XX-
6. XXXX-XXX-XXXX-X-
7. XXXX-XXXX-X-XXX-
8. XXXX-XXXX-XX-XX-
9. XXXX-XXXX-XXX-X-
10. XXXXX-X-XX-XXXX-
11. XXXXX-X-XXX-XXX-
12. XXXXX-X-XXXX-XX-
13. XXXXX-X-XXXXX-X-
14. XXXXX-XX-X-XXXX-
15. XXXXX-XX-XX-XXX-
16. XXXXX-XX-XXX-XX-
17. XXXXX-XX-XXXX-X-
18. XXXXX-XXX-X-XXX-
19. XXXXX-XXX-XX-XX-
20. XXXXX-XXX-XXX-X-
21. XXXXX-XXXX-X-XX-
22. XXXXX-XXXX-XX-X-
23. XXXXX-XXXX-XXXX-
24. XXXXX-XXXXX-X-X-
25. XXXXX-XXXXX-XXX-
26. XXXXXX-X-X-XXXX-
27. XXXXXX-X-XX-XXX-
28. XXXXXX-X-XXX-XX-
29. XXXXXX-X-XXXX-X-
30. XXXXXX-XX-X-XXX-
31. XXXXXX-XX-XX-XX-
32. XXXXXX-XX-XXX-X-
33. XXXXXX-XX-XXX-X-
34. XXXXXX-XXX-X-XX-
35. XXXXXX-XXX-XX-X-
36. XXXXXX-XXX-XXXX-
37. XXXXXX-XXXX-X-X-
38. XXXXXX-XXXX-XXX-
39. XXXXXX-XXXXX-XX-
40. XXXXXX-XXXXXX-X-
41. XXXXXXX-X-X-XXX-
42. XXXXXXX-X-XX-XX--X-XX-XX-43. XXXXXXX-X-XXX-X-
44. XXXXXXX-X-XXXXX-
45. XXXXXXX-XX-X-XX-
46. XXXXXXX-XX-XX-X-
47. XXXXXXX-XX-XXXX-
48. XXXXXXX-XXX-X-X-
49. XXXXXXX-XXX-XXX-
50. XXXXXXX-XXXX-XX-
51. XXXXXXX-XXXXX-X-
52. XXXXXXX-XXXXXXX-
53. XXXXXXXX-X-X-XX-
54. XXXXXXXX-X-XX-X-
55. XXXXXXXX-X-XXXX-
56. XXXXXXXX-XX-X-X-
57. XXXXXXXX-XX-XXX-
58. XXXXXXXX-XXX-XX-
59. XXXXXXXX-XXXX-X-
60. XXXXXXXX-XXXXXX-
61. XXXXXXXXX-X-X-X-
62. XXXXXXXXX-X-XXX-
63. XXXXXXXXX-XX-XX-
64. XXXXXXXXX-XXX-X-
65. XXXXXXXXX-XXXXX-
66. XXXXXXXXXX-X-XX-
67. XXXXXXXXXX-XX-X-
68. XXXXXXXXXX-XXXX-
69. XXXXXXXXXXX-X-X-
70. XXXXXXXXXXX-XXX-
71. XXXXXXXXXXXX-XX-
72. XXXXXXXXXXXXX-X-
73. XXXXXXXXXXXXXXX-
74. XXXXXXXXXXXXXXXX
CHANGO
One of many rhythms to Chango, orignally a bata guemilere rhythm.
12/8 |: . . * . . * . . * . . :|
_ _ _ _ _ _
Djembe(h) S O . Sf . O S . O S O O
_ _ _ _
Djembe(m) . . O . S M S . . O . S M S
_ _ _ _
Djembe(l) Sf . S . S B Sf . S . S B
Bell X . X . X X . X . X . X
^
Low drum begins the first measure by itself. High and medium drums come in at "^".
COMPARSA
(Cuba), Larry Morris (lam@eng.tridom.com)
4/4 |: . * . * . * . | . * . * . * . :|
_ _ _
Surdo (bass) O . . O . . O . O . . B . . O .
_ _ _ _ _
Tumba: O . . s S . . s S . . s O . O .
_ _ _ _
Conga: . . s s . . O O . . s s . . O O
Quinto: . S S . O O . S . S . . . O . O
lead variations...
Agogo H . . . . X X . . . . . . X . X .
Agogo L X . X . . . . X . X X . . . . .
Clave: . . X . X . . . X . . X . . . X
CONGCOBA
has essentially a 9 subdivision
123456789123456789
bso+s+b++o+sb+o+s+ (djembe bass, open, tone)
s+os++s+os++s+os++
os+++oos+++oos+++o
o+ss+oo+ss+oo+ss+o
s++s++s++s++s+ooo+
o+o++b+b+o+o+bb+b+
d+d++k+k+b+b++k+k+ (doundoun and kenkeni)
CONOULE
Duns:
K
| . . X . X X | >
| . . O . O O |
S
| X . X X . X | X . X . X . | X . X X . X | . X X . X . | >
| O . . . . . | C . C . . . | . . . C . C | . . O . O . |
D
| X X . X . X | X . X . X X | . X . X . X | . X X . X . | >
| O O . O . . | . . . . O O | . O . O . O | . O O . O . |
Var. Duns:
S1
| X . X X . X | X . X . X X | . X X . X X | . X X . X . | >
| O . . . . . | C . C . . O | . . O . . O | . . O . O . |
S2
| X . X X . X | X . X . X X | . X . X . X | . X X . X . | >
| O . . . . . | C . C . . O | . . . C . C | . O O . O . |
S3
| X . X X . X | X . X . X X | . X . X . X | . X X . X . | >
| O . . . . . | C . C . . O | . O . O . O | . . O . O . |
D1
| X X . X . X | X . X . X X | X X . X X X | . X X . X . | >
| O O . O . . | . . . . O O | O O . O O O | . O O . O . |
D2
| X X . X . X | X . X . X X | . X X . X X | . X X . X . | >
| . O . O . . | . . . . O . | . O . . O . | . O . . O . |
Djembe Acc.:
| S . O S . . |
Break:
| . . . . . . | . . . . . . |
Djembe Solo:
1
| S S O S S S | . . . . . . | O_O O S S . . | O_O O S S . . |
| O_O O S S . . | O_O O S . O_O O | S S . S . O | O S O O S . |
2
| S S O S S S | . . . . . . | O_O O S S S . | O_O O S S S . |
| O_O O S S S . | O_O O S S S . | O S O S O S | O S O O S . |
3
| S S O S S S | . . . . . O | S_S S S S . O | S_S S S S S . |
| O O . . . . | . . . . . O | S_S S S S . O | S_S S S S . . |
| O O . S_S S S | O O . S_S S S | O O . S . O_O | O O O . $ . |
4
| S S O S S S | . . . . . . | B S OS . B S | OS . B S OS . |
| B S OS . B S | OS . B S OS . | B S . S . O | O S O O S . |
DALAH
Intro:
@ . T T . T . T T . S S S . . .
K
. . . . . . . . O . . . O . . .
S
. . . . . . . . . . O O . . . .
D
. . . . . . . . . . . . . . O .
Duns:
K
O . . . O . . . O . . . O . . . >
X . X . X . X . X . X . X . X .
S
O . O O . . . . O . O O . . . . >
X . X X . X X . X . X X . X X .
D
O . . . . . O . O . . . . . O . >
X . X X . X X . X . X X . X X .
Djembe Acc.:
1 B . T T . . S S B . T T . . S S
2 S . . S S . T T S . . S S . T T
DAMBA
Damba, a Malinke pre-marriage rhythm, played on the occasion of the bride's ritual bath before the marriage ceremony. This rhythm has the signature "Dununba Family"-kenkeni part, yet is not a "Dununba" rhythm. "Dununba" rhythms are primarily danced by men as a display of strength and beauty. Damba is traditionally played for a young woman preparing for marriage. The break is the garden-variety 12/8 one, not the signature "Dununba" break.
Eh damba n'nya ko la damba leila,
eh damba n'nya ko la damba leila
eh damba n'nya ko la damba leila,
kore kore ji da ko man di,
damba la ko la fisa
Eh the river bank,
I want to wash my face by the river bank (3X)
the wash-water is not sweet,
it's good to wash by the river bank.
Last changed at 04-04-2000
Intro
T . T T . T T . T T . .
f . r l . l r . r l . .
Kenkeni
. . O . O O . . O . O O . . O . O O . . O . O O
. x x . x x . x x . x x . x x . x x . x x . x x
Sangban
C . . . . O . . O . . . C . . . . O . . O . . .
x . x x . x . x x . x . x . x x . x . x x . x .
Dun Dun
. . . . O O . O O . O O . . . . O O . O O . O O
. x x . x x . x x . x x . x x . x x . x x . x x
Djembe 1
S . T S . . S . T S . . S . T S . . S . T S . .
r . r l . . r . r l . . r . r l . . r . r l . .
DANSA
Madou Dembele's Version
Taken from St. Louis workshop, 1999; Fairfield, 1999, and Des Moines, 2000.
Words:
Do-na do-ye-yah
kwa bi do
key muru tea
haroo mai yeh
sue guruni chay ma-ni
dough bay-yah
kah bee-do key siri-siri
Duns (2000)
1 - - - 2 - - - 3 - - - 4 - - -
B . . K S . K . S . K . B B . B
1 - - - 2 - - - 3 - - - 4 - - -
INTRO
Djembes S t T s T t S . B . b . B . . . >>
S . . . S . . . B . b . B . . . >> (repeat)
S t T s T t S . B . b . B . TtT >>
t . . t S . s . B . b . B . TtT >>
t . . t S . s . B . b . B . . . >>
B b . B . b . B b . B . b . . . >> into parts:
Dunuba . . . . . . . . O . O . O . . .
Repeat until last phrase >>
O O . O . O . O O . O . O . . . >>
1 . . . 2 . . . 3 . . . 4 . . .
Djembe #1 bS . S s B t T .bS . S s B . . . (Note: bS played together)
Djembe #2 S . . s S . T t S . . s S . T t
Djembe #3 b . T t . . S . b . T t . . S .
^
Djembe #4 S . . b S . b . S . T t S . b . (Part in St. Louis)
END BREAK @ . T t . T . T t . S s S . . . >>
bT t . S t . S . . . . .bT t . T >>
t T . S t . S . t . T . t . S .
B . . . . . S . B . .
Solo ? b T t S t T s T t S t T s T t SsSs. S . S
variation T t S s S s S . S b . S . b . . S b . S
1 . . . 2 . . . 3 . . . 4 . . .
Dununba Bell x . x . x . x . x . x . x . x .
Dununba O . . O . . O . . C . . . . O .
^
Madou's Bell x . . x . . x . . x . . . . x .
^
************
OLD
Sangban
bell x . x x . x x . x . x . x . x .
drum o . . o . . o . . . i . . . o .
^
Kenkeni
bell x . x x . x x . x . x x . x x .
drum o . . . . o o . o . . . . o o .
^
Dununba
bell x . x x . x x . x . x . x . x .
drum i . . . . . . . i . o . . . . .
bell x . x x . x x x . x x . x . x .
drum i . . . . . o o . o o . . . . .
DANSA
Raymond's Transcription
legend:
T, t tone on strong hand, weak hand
S,s slap on strong hand, weak hand
B,b base on strong hand, weak hand
O open dunnun note
C closed dunnun note
x bell stroke
. place holder for spot with no note.
| repeat marks
> continuation on next line/from previous line
^ under a note indicates lead in (i.e. the point in the rhythm to
start off the break)
1 - - - 2 - - - 3 - - - 4 - - -
Djembe #1 T t S s . s S . T t S . B . S b
Djembe #2 S . . s S . T t S . . s S . T t
Sangban
bell x . x x . x x . x . x . x . x .
drum o . . o . . o . . . i . . . o .
lead-in ^
Kenkeni
bell x . x x . x x . x . x x . x x .
drum o . . . . o o . o . . . . o o .
lead-in ^
Dununba
bell x . x x . x x . x . x . x . x .
drum i . . . . . . . i . o . . . . .
bell x . x x . x x x . x x . x . x .
drum i . . . . . o o . o o . . . . .
DARSIE'S 10/8
(Invention), Richard Darsie (darsie@ece.ucdavis.edu)
"1 2 3 1 2 3 1 2 1 2"
10/8 |: . . * . . * . * . :|
Bottom B . . B . . B . O O
Mid O . S S . S . O . S
"heart" O . S . O O O S . S
High O S S O S S O O S S
Bell 1 X . X . X . X . X .
Bell 2 X X . X X . X X . X
DEMOSONI KELEN
Demosoni Kelen is a Dununba-rhythm: "Demosoni Kelen is translated by "a young girl". The players apostrophise the girls with allusive mockery of decidedely sexual character. The girls pay them back in their own kind, casting doubt frequently on the quality of the percu$ionists' "sticks." " (text in booklet with Mamady Keita's Hamana-CD)
Last changed at 11-01-2000
Intro
S S T S S S . . . . . .
r l r l r l . . . . . .
K
. . . . . . . . O . O O
S
. . . . . . . . O . O .
D
. . . . . . . O O . O .
Kenkeni
. . O . O O . . O . O O . . O . O O . . O . O O
. x x . x x . x x . x x . x x . x x . x x . x x
Sangban
O . . . . . C . C . . . . . . C . C . . O . O .
x . x x . x x . x . x . x . x x . x . x x . x .
Dundun
O . O O . . . . . . . . . . . . . . . O O . O .
x . x x . x x . x . x . x . x x . x . x x . x .
Sangban / Dundun variation
S
O . . O . . C . C . . O . . O . . O . . O . O .
x . x x . x x . x . x x . x x . x x . x x . x .
D
O . O O . . . . . . O O . O O . O O . O O . O .
x . x x . x x . x . x x . x x . x x . x x . x .
DENNADON
This song was used to introduce the Mendiani dancers. The Mendiani girls prepared themselves for a performance in a special hut set apart from the dancing area. When they are ready, they emerge from the house, and are immediately picked up and placed on the shoulders of a man (one girl to each porter). The men then run to the village square (the performance area, where everyone is gathered.) They enter with the girls dancing on their shoulders and heads, and make a tour of the circle, showing the girls to all in attendance. Dennadon is the song played throughout the girls' entrance. After they play this song, the girls descend to the ground, greet the elders and notable personages in attendance, sing the Mendiani song, then dance Mendiani.
Rhythm is from NE Guinea (and also bordering western Mali). It MAY exist in Burkina Faso, But Mamady hasn't seen it.
legend:
T, t tone on strong hand, weak hand
S,s slap on strong hand, weak hand
B,b base on strong hand, weak hand
O open dunnun note
C closed dunnun note
x bell stroke
. place holder for spot with no note.
| repeat marks
> continuation on next line/from previous line
^ under a note indicates lead in (i.e. the point in the rhythm to
start off the break)
Timeline 1 . . . 2 . . . 3 . . . 4 . . . 1 . . . 2 . . . 3 . . . 4 . . .
break tt t t t t t s s s
dj #1 S . . b T . t . S s . b T . t . S s . b T . t . S s . b T . t .
(measure one only at head; measure two repeats)
dj #2 S . . s S . T t S . . s S . T t
Sangba . . . c . . c . . . o o . . o .
S. Bell x . x x . x x . x . x x . x x .
^ (pattern picks up on break measure here)
1 . . . 2 . . . 3 . . . 4 . . .
Kenkeni o . . . o . . . o . . . o . . .
x . x . x . x . x . x . x . x .
Dununba o o . . . . . . o . o . . . . .
x x . x x . x . x . x . x . x .
(these parts begin after the break)
DESMOINESADON
1 . . 2 . . 3 . . 4 . .
Sangba B . B B B . . . M . . B
Dj1 B . S b T t B . S b T t
Dj2 S . T t B . S . T t B .
Dj3 b . T . S . b T . S . B
DIALOG
a dialog between two jembes:
=1 . . . 2 . . . 3 . . . 4 . . .
=f . t . t . t . t . t t s s t t call
=b ~ t-t ~ ~ t-t ~ ~ t t s s t t jembe1
=b s . s b . . . b s . s b . . . jembe2
var:
=b ~ t-t ~ ~ t-t ~ ~ sssss s t t jembe1
=b s . t t . . . b s . t t . tttt jembe2
Notes
call: f is flam of slaps
jembe1: ~ is light touch, t-t are tones close to each other
jembe2: slap and tone (in var.) are muffled, swinged
var: jembe2 answers rolls from jembe1
DIDADI
Jembe Institute from Papus Jobate, transcribed it in two forms: fast (straight 4/4) and slow (swing). The relationship between the two feels is like this (as I hear it):
straight time: 1 . & . 2 . & . 3 . & . 4 . & .
swinging: 1 . . & . . 2 . . & . . 3 . . & . . 4 . . & . .
in other words, each eighth note contains the feel of a sixteenth-note triplet.
Legend:
x=bell strike
L= low dundun
H= high dundun
O,o = R, L open tones
S,s = R, L slaps
B,b = R, L bass
$ = slap flam
T = tone flam
Fast version:
Pulse: 1 . . . 2 . . . 3 . . . 4 . . .
Bell: x . x x . x . x x . x . x . x .
Dunduns: L . H H . H . H H . L . H . H .
Jembe 1*: $ . . . T . T . $ . . . T . T .
Jembe 2*: O o . S . B s . O o S s . B s .
Jembe 3: B . s S . s O o S . s S . s O o
Jembe 4: S . . s S . O o S . . s S . O o
Note: * These parts enter with the break on the last beat as a pickup to the
groove.
1 . . . 2 . . . 3 . . . 4 . . .
Break: T . O o . O . o O . o . O . . .
Jembe 1: . . . . . . . . . . . . T . T . (into groove)
Jembe 2: . . . . . . . . . . . . . b S . (into groove).
Slow version:
Pulse: 1 . . & . . 2 . . & . . 3 . . & . . 4 . . & . .
Bell: x . . x . x . . x . . x x . . x . . x . . x . .
Dunduns: L . . H . H . . H . . H H . . L . . H . . H . .
Jembe 1: $ . . . . . T . . T . . $ . . . . . T . . T . .
Jembe 2: O . o . . S . . B s . . O . o S . s . . B s . .
Jembe 3: B . . s . S . . s O . o S . . s . S . . s O . o
Jembe 4: S . . . . s S . . O . o S . . . . s S . . O . o
DJAAKOUROUSSA
Last changed at 04-10-1999
Intro
T . T T . T T . T T . .
f . r l . r l . r l . .
Kenkeni
O . . O . . O . . O . . O . . O . . O . . O . .
x x . x x . x x . x x . x x . x x . x x . x x .
Sangban
O . . . O . . . . O O . . . . . C . . C . . . .
x . x . x . x x . x x . x . x . x . x x . x . x
Dun Dun
. . O . . . O O . . . O O . . . . . . . . . . O
x . x . x . x x . x . x x . x . x x . x . x . x
Dun Dun variation 1
. . O O . . O O . . . O O . . . . . . . . . . O
x . x x . . x x . x . x x . x . x x . x . x . x
Dun Dun variation 2
. . O . . . O O . . . O O . O O . O O . O O . O O
x . x . x . x x . x . x x . x x . x x . x x . x x
Djembé 1
S . T S . . S . T S . . S . T S . . S . T S . .
r . r l . . r . r l . . r . r l . . r . r l . .
DJABARA
Albert Prak (A.Prak@el.utwente.nl) from Mamady Keita
12/8 |: . . * . . * . . * . . :|
Kenkeni M . . O O . M . . O O .
(bell) x x . x x . x x . x x .
Songba O . M . M . M . O O . O
(bell) x . x . x . x . x x . x
Junjun O . . . . . O . . . . .
(bell) x . x . x . x . x x . x
_ _ _ _
Djembe-1 S . O O . . S . O O . .
_ _ _ _
Djembe-2 O S . B S . O S . B S .
_ _ _ _
Djembe BREAK S S S S . O . O . S S . S >>
_ _ _
S . . . . S S . S S . . (to
(ensemble) . . . . . X X . X X . . main)
DJABARA SOLO
Yves Goulnik
(lower-case = weak-hand)
12/8 |:. . * . . * . . * . . * . . * . . * . . * . .:|
Lead djembe B . . B . . B . b SsS s S . . B . . B . . B . o >>
O . . B . . B . b SsS s S . . B . . B . . B . s >>
S . . B . . B . b SsS s S . . B . . B . . B . o >>
O . . B . . B . b SsS s S . . B . . B . . B . s >>
S . . B . . B . b SsS s S . . B . . B . b SsS s >>
S . . B . . B . b SsS s S . . B . . B . b SsS s >>
S . . B . . B . b SsS s S . . B . . B . b SsS s >>
S . b SsS s S . b SsS s S . b SsS s S . . S . b >>
|>xx<| = |>SoOsOoSsS<| . b SsS s S . . B . . B . . B . b >>
duple time |>SoOsOoSsS<| . b SsS s S . . B . . B . . B . b >>
|>SoOsOoSsS<| . b SsS s S . . B . . B . . B . b >>
|>SoOsOoSsS<| . b SsS s S . . B . . B . . B . b >>
|>SoOsOoSsS<| . . B . b |>SoOsOoSsS>| . . B . b >>
|>SoOsOoSsS<| . . B . b |>SoOsOoSsS>| . . B . b >>
|>SoOsOoS<| |>SoOsOoS<| |>SoOsOoS<| |>SoOsOoS<| >>
(to DJABARA break)
DJAGBE
Raymond Burket (rburket@micron.net) and Adam Moore Rugo
(amrugo@artsci.wustl.edu) from Mamady Keita [unverified]
4/4 |: . * . * . * . | . * . * . * .
:|
_ _ _ _ _ _ _
djembeH S . . S S . O O S . B S S . O O
_ _ _ _ _
djembeL B . O O . . S . . . O O . . S .
dununba . . O O . . . . . . O . . . . .
(adam) . . O . . . . . . . . . . . O O >>
. . O . . . . . . . . . . . O O >>
. . O . . . . . . . . . . . O O >>
. . O . O O . O O . O O . . . .
dBell x . x x . x x . x . x . x . x .
sangban M . . O . O . . O . O . . M . .
sBell x . x x . x . x x . x . x x . x
(adam) x . x . x . x . x . x . x . x .
kenkeni O . . . . . O . O . . . . . O .
kBell
(adam) x . x . x x . x x . x x . x x .
-Larry
*********
Raymond's
legend:
T, t tone on strong hand, weak hand
S,s slap on strong hand, weak hand
B,b base on strong hand, weak hand
O open dunnun note
C closed dunnun note
x bell stroke
. place holder for spot with no note.
| repeat marks
> continuation on next line/from previous line
^ under a note indicates lead in (i.e. the point in the rhythm to
start off the break)
1 - - - 2 - - - 3 - - - 4 - - -
Djembe #1 B . T t . . S . . . T t . . S .
Djembe #2 S . . s S . T t S . B s S . T t
Sangban
bell x . x x . x . x x . x . x x . x
drum i . . o . o . . o . o . . i . .
Kenkeni
bell x . x x . x x . x . x x . x x .
drum o . . . . . o . o . . . . . o .
lead-in ^
Dununba
bell x . x x . x x . x . x . x . x .
drum . . o o . . . . . . o . . . . . follow-in
DJOLE
From Raymond's Transcriptions
legend:
T, t tone on strong hand, weak hand
S,s slap on strong hand, weak hand
B,b base on strong hand, weak hand
O open dunnun note
C closed dunnun note
x bell stroke
. place holder for spot with no note.
| repeat marks
> continuation on next line/from previous line
^ under a note indicates lead in (i.e. the point in the rhythm to
start off the break)
1 - - - 2 - - - 3 - - - 4 - - -
Djembe #1 B . T t B . S s B . T t B . S s
Djembe #2 B . . t T . . . B . . . T t T t
T . . t T . . . B . . . T . . .
Sangban
bell x . x . x . x . x . x . x . x .
drum i . . . o . . . i . . . o . . .
Sangban (alternate)
bell x . x x x . x . x . x . x . x .
drum i . . o o . . . i . . . o . o .
bell x . x x x . x . x . x . x . x .
drum o . . o o . . . i . . . o . . .
Kenkeni (hard)
bell . x x x . x x x . x x x . x x x
drum . . o o . . o o . . o o . . o o
Kenkeni (variation)
bell x . x x x . x x x . x x x . x x
drum . . o o . . o o . . o o . . o o
Kenkeni (easy)
bell x . . . x . . . x . . . x . . .
drum . . o o . . o o . . o o . . o o
Dununba
bell x . x . x . x . x . x . x . x .
drum o . . . . . . . o . o . . . . .
Djole
ANOTHER VERSION:
1 - - - 2 - - - 3 - - - 4 - - - 1 - - - 2 - - - 3 - - - 4 - - -
Djembe 1 B s s B o O B S B o O
Djembe 2 . . T t . . S s . . T t . . S s
Dj Bass B . . t T . . . B . .(b)T t T t T . . t T . . . B . . . T . . .
lead rides O . . O o . B b S b . O o . . . (hot!)
O . . s . . . o O . S . S . . o
S . S s . s O o :|
Kenkeni
bell x . . . x . . . x . . . x . . .
drum . . o o . . o o . . o o . . o o
Sangba
bell x . x . x . x . x . x . x . x . x . x . x . x . x . x . x . x .
drum i . . o o . . . i . . . o . o . o . . o o . . . i . . . o
. . .
Dununba
bell x . x . x . x . x . x . x . x .
drum o . . .(i). .(o)o . o .(i). . .
DJOLE
Aloha!...here's how we play it in Hawaii. The parts come from various
teachers, or African recordings.
Djole
1 - - - 2 - - - 3 - - - 4 - - -
Djembe 1 B s . s B o O . B . S . B o O .
Djembe 2 . . T t . . S s . . T t . . S s
Dj Bass B . . t T . . . B . .(b)T t T t ->
T . . t T . . . B . . . T . . .
lead rides O . . s . . . o O . S . S . . o
S . S s . s O o :|
S . s S . s O o S . s . S s O o
O . . O o . B b S b . O o . . .
1 - - - 2 - - - 3 - - - 4 - - -
bell x . . . x . . . x . . . x . . .
Kenkeni . . o o . . o o . . o o . . o o
______________________________________________________________________________
Sangban (simple version for when it's FAST!)
bell x . x . x . x . x . x . x . x .
drum i . . . o . . . i . . . o . . .
Sangba (for slower tempos, especially if we have no one on bass djembe)
bell x . x . x . x . x . x . x . x . x . x . x . x . x . x . x . x .
drum i . . o o . . . i . . . o . o . o . . o o . . . i . . . o
. . .
______________________________________________________________________________
bell x . x . x . x . x . x . x . x .
Dununba o . . . i . .(o)o . o . i . . .
Djole Breaks
1 . . . 2 . . . 3 . . . 4 . . . 1 . . . 2 . . . 3 . . . 4 . . .
pt 1 B b . B . b . B b . B . b B . b B . . o . O . o S s S s S . . .
pt 2 B b . . . . . B b . . . B b . . |
or
B . B . . . S s S . . . B . B . . . S s S . . . B . B . B . B . ->
B . . . O . S s B . b . B . S . |
****
This is the version we use most consistantly, taught to us by Mohamed DaCosta.
1 . . . 2 . . . 3 . . . 4 . . .
dj1 T t . . T t . . T t . . T t . .
dj2 . . T t . . S s . . T t . . S s
dj3 S . . . T t T t T t . t T . . .
dun1 L . . . H . . . L . L . H . . .
dun2 . . H H . . L . . . H H . . . .
break F . T t F . T t F . T t F . . .
Slap on dj3 is a muted slap, probably on a low djembe
L is low djun, H is high djun
F's in break denote flam slaps (this is a challenge at faster tempos)
Mohamed uses another longer break, which I still haven't been able to
notate, even though I can play it. He has taught a few other parts,
though, like:
1 . . . 2 . . . 3 . . . 4 . . .
Djembe B . . . B . . . B . . T . t T .
Djembe B t . t B . s . B . t . B . s .
DJOLE 4 / JOLI
Candace's Version
Time 1 . . . 2 . . . 3 . . . 4 . . .
Part 1 T t T t T t . t T . . . S . . .
Part 2 T t . . T t . . T t . . T t . .
Part 3 . . T t . . S s . . T t . . S s
DOUNDOUN PRACTICE PATTERNS
Date: Wed, 29 Oct 1997 09:12:37 -1000
From: drum@aloha.net (Michael Wall)
To: Djembe-l@u.washington.edu
Subject: Doundoun Practice Patterns
Message-ID: <v01530502b07d2c905daa@[207.12.1.157]>
Mime-Version: 1.0
Content-Type: text/plain; charset="us-ascii"
This is the handout I've given the group I'm working with for what I think of as the fundamental bell patterns for doundoun. My experience is that once the bell patterns are learned with the resulting speed, flexibility and "time sense" programmed into the "weak" hand, then the drum/stick hand can follow.
I play the patterns I want them to practice at home and ask them to tape record as a audio reference for feel.
Practice at ever increasing tempos...
x = bell
o = open stroke
m = closed of muff stroke
The beginning sequence of patterns to work on in the 4/4 set are:
#1A, bell on the pulses
#1A, doubletime bell
#2A bell as shown
#3A " " "
#6A " " "
Begin with grooving each individually, until each pattern is comfortable at
higher speeds. Then work on practicing them as a series, playing each 8
times and then going on to the next to develop flexibility.
Once this sequence can be played, then they work on reversing the press and
open notes, in this sequence:
#1A, bell on the pulses
#1A, doubletime bell
#1B " "
#2A bell as shown
#2B " " "
#3A " " "
#3B " " "
#6A " " "
#6B " " "
The patterns should be practiced with a metronome or drum machine, with
attention to feeling the 4-pulse on the drum hand working inside the bell
patterns. Also work on the press or muff technique.
4/4 Djun Practice Patterns -
1 . . . 2 . . . 3 . . . 4 . . . :|
Bell x . (x) . x . (x) . x . (x) . x . (x) .
Drum o . . . m . . . o . . . m . . . #1A
Drum m . . . o . . . m . . . o . . . #1B
Drum o o . . o o . . o o . . o o . . #1C
Drum . . o . . . o . . . o . . . o . #1D
Drum . . o o . . o o . . o o . . o o #1E
Bell x x . . x x . . x x . . x x . .
Drum o . . . . . . . o . o . . . . . #1F
__________________________________________________________________________
1 . . . 2 . . . 3 . . . 4 . . . :|
Bell x . . x . . x . x . . x . . x .
Drum o . . . m . . . o . . . m . . . #2A
Drum m . . . o . . . m . . . o . . . #2B
Bell x . . . x . . . x . . . x . . .
Drum o . . o . . o . o . . o . . o . #2C
Drum o . . m . . o . o . . m . . o . #2D
Drum m . . o . . m . m . . o . . m . #2E
__________________________________________________________________________
1 . . . 2 . . . 3 . . . 4 . . . :|
Bell x x x x x x x x x x
Drum o . . . m . . . o . . . m . . . #3A
Drum m . . . o . . . m . . . o . . . #3B
Drum . . o . . . o . . . o . . . o . #3C
Bell x . . . x . . . x . . . x . . .
Drum o . o o . o o . o . o o . o o . #3D
Drum m . o o . o o . m . o o . o o . #3E
__________________________________________________________________________
1 . . . 2 . . . 3 . . . 4 . . . :|
Bell x . x x . x x . x . x x . x x .
Drum m . . o . . o . m . . o . . o . #4A
Drum o . . m . . m . o . . m . . m . #4B
Drum m . o . . o . . m . o . . o . . #4C
Drum o . m . . m . . o . m . . m . . #4D
1 . . . 2 . . . 3 . . . 4 . . . :|
Drum m . . o . o . . m . . o . o . . #4E
Drum o . . m . m . . o . . m . m . . #4F
Drum m . o . . . o . m . o . . . o . #4G
Drum o . m . . . m . o . m . . . m . #4H
__________________________________________________________________________
1 . . . 2 . . . 3 . . . 4 . . . :|
Bell x x . x . x x . x x . x . x x .
Drum o . . . m . . . o . . . m . . . #5A
Drum m . . . o . . . m . . . o . . . #5B
Bell x . . . x . . . x . . . x . . .
Drum o o . o . o o . o o . o . o o . #5C
Drum o o . m . o o . o o . m . o o . #5D
__________________________________________________________________________
1 . . . 2 . . . 3 . . . 4 . . . :|
Bell x x x x x x x x x x
Drum o . . . m . . . o . . . m . . . #6A
Drum m . . . o . . . m . . . o . . . #6B
Bell x . . . x . . . x . . . x . . .
Drum o . o o . o . o o . o . o o . o #6C
Drum o . o o . m . o o . m . o o . o #6D
###############################################################################
12/8 Djun Practice Patterns
In this series, begin with #1A, #1B and #1C as a series. Then move on to #2
series, then #3 series, etc.
1 . . 2 . . 3 . . 4 . .
Bell x . x . x x . x . x . x
Drum m . . o . . m . . o . . #1A
Drum o . . m . . o . . m . . #1B
Bell x . . x . . x . . x . .
Drum o . (o) . (o) (o) . o . o . o #1C
a b c
Once you have mastered #1C, then leave out note "a", then leave out "a +
b", then leave out "a, b + c"
________________________________________________________________________________
1 . . 2 . . 3 . . 4 . .
Bell x . x . x . x x . x . x; xDrum m . . o . . m . . o . . #2A
Drum o . . m . . o . . m . . #2B
Bell x . . x . . x . . x . .
Drum o . (o) . (o) . (o) o . o . o #2C
a b c
(Same as above) OR: choose "a, b or c" and play as press (i) notes
__________________________________________________________________________
1 . . 2 . . 3 . . 4 . .
Bell x . x . x . x . x x . x
Drum m . . o . . m . . o . . #3A
Drum o . . m . . o . . m . . #3B
Bell x . . x . . x . . x . .
Drum o . o . o . o . o o . o #3C
__________________________________________________________________________
1 . . 2 . . 3 . . 4 . .
Bell x . x x . x x . x x . x
Drum m . . o . . m . . o . . #4A
Drum o . . m . . o . . m . . #4B
Bell x . . x . . x . . x . .
Drum o . o o . o o . o o . o #4C
__________________________________________________________________________
1 . . 2 . . 3 . . 4 . .
Bell x x . x x . x x . x x .
Drum m . . o . . m . . o . . #5A
Drum o . . m . . o . . m . . #5B
Bell x . . x . . x . . x . .
Drum o o . o o . o o . o o . #5C
__________________________________________________________________________
1 . . 2 . . 3 . . 4 . .
Bell . x x . x x . x x . x x
Drum m . . o . . m . . o . . #6A
Drum o . . m . . o . . m . . #6B
Bell x . . x . . x . . x . .
Drum . o o . o o . o o . o o #6C
__________________________________________________________________________
1 . . 2 . . 3 . . 4 . .
Bell x . . x . . x . . x . .
Drum . o . o . m . o . o . m #7A
Drum . o o . . m . o o . . m #7B
Drum . . o o . m . . o o . m #7C
Here is Roderic Knight's translation of the liner notes from "Rhythmen Der Malinke." Knight is on the faculty at Oberlin College:
Kassa
"It often happens that a rich villager employs youths to till his fields, paying them with the gift of a goat or cow. Since the fields are often far from the village, the workers often spend an entire week out at the field, constructing simple shelters in the bush. Drummers accompany the workers from dawn till dark, using Kassa, a rhythm specifically dedicated to the common folk of the village. A tradition associated with this remote farm work is a contest: the prettiest girl of the village ties her kerchief on a stick at the far edge of the field. Whoever reaches the kerchief first may take the girl to his hut for the night. It is said that 'nothing happens,' however, for if she were to become pregnant, the man would be publicly flogged."
Words of the song:
My brother, I'm calling you to come work in the fields,
Because that is my job. This is the best work.
Response:
The men of Hamana, the birds of Mande.
------------------------------
DONABA
x = bells
o = open stroke
i = press stroke
1 . . 2 . . 3 . . 4 . . 1 . . 2 . . 3 . . 4 . .
kenkeni x . x . x x x . x . x x :|
. . o . o . . . o . o .
sangba x . x . x x . x . x . x x . x . x . x . x x . x
i . . . . o . o . o . . i . . . . . . . . o . .
x . x . x x . x . x . x x . x . x . x . x x . x
dundun o . . . o o . o . o . o o . . . . . . . o o . o
dj s . o s . . :|
dj . . s . o s :|
bass dj o o . . . . :|
DONBA
Learned from: Various teachers, particularly Dean Buchanan
Description: A popular dance from West Africa. Often [wrongly] called "Mandjani" in the Boston area.
Transcribed By: Jim Salem
1 . . 2 . . 3 . . 4 . .
Djembe 1 s . T s . B s . T s . B
Djembe 1 var S . T s . . S . T s . .
Djembe 2 S . s . T t S . s . T t
Break S s S s S s S s S s S s >>
$ . T t . T t . T t . .
Bell X . X . X . X . X X . X
Dununba B . . . B . B . . B . .
Bell X . X X . X X . X . X .
Sangba O . O . . M . . O . O .
DONBA
(?)
Source: Abdoul Doumbia
Note 100% Sure
1 . . 2 . . 3 . . 4 . .
Jembe 1 S . T S . B S . T S . B
Jembe 2a B S S S T T S S S B S S alternates every few times >>
Jembe 2b T S T S S S T S T S S S solo?
Jembe 3 B T T . M . T T B . S .
Dun B . . . . M . . . B . . Think so...
Sangba B . . . . . B . . . . .
Kenkeni . . B . . . . . B . . .
Kenkeni2 . . B . B B . . B . B B (Dununba kenkeni)
DOUNDOUNBA
(?) Michael Wall (drum@aloha.net) from Mabiba Baegne.
12/8 |:. . * . . * . . * . . * . . * . . * . . * . .:|
Kenkeni . . O . O O . . O . O O . . O . O O . . O . O O
Kbell . x x . x x . x x . x x . x x . x x . x x . x x
Songba . . M . . . O . O O . . . . M . M . O . . . . O
Sbell x . x . x . x . x x . x . x x . x x x . x x . x
Junjun . . . . O O . O O . . . . O O . O O . O O . . .
Jbell . x x . x x . x x . x x . x x . x x . x x . x x
_ _ _ _ _ _ _ _
Djembe-1 S . O S . . S . O S . . S . O S . . S . O S . .
_ _ _ _ _ _ _ _
Djembe-2 S . . S O O S . . S O O S . . S O O S . . S O O
(bougarabou)
DREAM RHYTHM
Basic Parts:
Sangba: B B B B B B B . M .
Jembe 1: S . S . T t
Jembe 2: S t T b . .
Lines up like this:
Sangba: B B B B B B B . M . B B B B B B B . M . B B B B B B B . M .
1 . . 2 . . 1 . . 2 . . 1 . . 2 . . 1 . . 2 . . 1 . . 2 . .
Jembe 1: S . S . T t S . S . T t S . S . T t S . S . T t S . S . T t
Jembe 2: S t T b . . S t T b . . S t T b . . S t T b . . S t T b . .
EXERCISE
Hi, all,
I was looking at Ben Sibson's "Doolicker's" article on the Djembe-L FAQ, and it reminded me of a drumming exercise in Joe Morello's book, "Master Studies" (Modern Drummer Publications, 1995/ distributed by Hal Leonard Books).
Morello's exercise is intended for snare drummers to develop their single stroke rolls. It works great for hand drums, as well.
Ben Sibson's Doolickers assume a steady eighth note pulse in which you change the grouping of pulses to form longer phrases. Morello's exercise assumes a steady quarter note pulse that you progressively subdivide into denser internal phrases.
Start by playing a quarter note pulse through four times:
1 2 3 4
R L R L
then switch (without pause) to quarter note triplets:
quarters: 1...........2...........3...........4...........
hands: R.......L.......R.......L.......R.......L.......
next is eighth notes:
quarters: 1...........2...........3...........4...........
hands: R.....L.....R.....L.....R.....L.....R.....L.....
then eighth note triplets:
quarters: 1...........2...........3...........4...........
hands: R...L...R...L...R...L...R...L...R...L...R...L...
then sixteenths:
quarters: 1...........2...........3...........4...........
hands: R..L..R..L..R..L..R..L..R..L..R..L..R..L..R..L..
Now it gets funky: next play five beats within each quarter:
(the notation changes a little here-sorry!)
quarters: 1 2 3 4
hands: R L R L R L R L R L R L R L R L R L R L
say: 1 2 3 4 5 2 2 3 4 5 3 2 3 4 5 4 2 3 4 5
Next, sextuplets (6 beats per quarter):
quarters: 1...........2...........3...........4...........
hands: R.L.R.L.R.L.R.L.R.L.R.L.R.L.R.L.R.L.R.L.R.L.R.L.
Now sevens:
quarters: 1 2 3 4
hands: R L R L R L R L R L R L R L R L R L R L R L R L R L R L
say: 1 2 3 4 5 6 7 2 2 3 4 5 6 7 3 2 3 4 5 6 7 4 2 3 4 5 6 7
Next, eight beats per quarter (32nd notes). That's the same as counting
four strokes on your right hand and filling in between each number with your
left:
quarter notes: 1 2 (continue on beats 3 & 4)
hands: R L R L R L R L R L R L R L R L
say: 1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 +
Next, a nine stroke roll (three groups of three) :
quarters: 1 2 (etc.)
hands/vox: R L R L R L R L R L R L R L R L R L
say: 1 + a 2 + a 3 + a 1 + a 2 + a 3 + a
Next, a ten stroke roll. Think five strokes with your right hand, filled
with left strokes:
quarter notes: 1 (continue on beats 2,3,4)
hands: R L R L R L R L R L
say: 1 + 2 + 3 + 4 + 5 +
Next, eleven stroke roll. This one is the toughest. You can think of it as
four doubled plus three singles:
quarter notes: 1 2 (Etc.)
hands: R L R L R L R L R L R L R L R L R L R L R L
say: 1 + 2 + 3 + 4 + 1 2 3 1 + 2 + 3 + 4 + 1 2 3
Last is the twelve stroke roll. This one's easy (!) - count six in the right hand and fill with the left:
quarters: 1...........2...........3...........4...........
hands: RLRLRLRLRLRLRLRLRLRLRLRLRLRLRLRLRLRLRLRLRLRLRLRL
Morello suggests playing the strokes that fall on the quarter note beats accented. Try a slap to start each phrase. You'll see that, on the odd number phrases, the slaps switch hands on the beat. Morello says aim for even and steady timing, building towards playing the phrases unaccented. What you want is a steady "purring" sound on the faster rolls (you know, like Mamady Keita sounds!).
Once again, that's:
quarter notes
quarter note triplets
eighth notes
eighth note triplets
sixteenth notes
five stroke rolls
six stroke rolls
seven stroke rolls
eight stroke rolls
nine stroke rolls
ten stroke rolls
eleven stroke rolls
twelve stroke rolls
Play it with a metronome, and take it very slow at first. Try and make the transitions smooth. Build speed slowly.
Now, if you want to try this workout at more realistic African tempos, just do up through six stroke rolls (or eights, if you're really fast!).
Have fun!
Peace,
Adam.
DUNUMBA, DUNUNBA, DOUNUMBA,
NAME OF RHYTHM: Dunumba, Dununba, Dounumba,
COUNTRY: Hamanah (a canton in the Kouroussa Prefecture, Upper Guinea)
OTHER NAMES: The following are names of different rhythms commonly agreed to be part of the family of rhythms known as Dununba:
Bada Balan-sonde
Bando Djei Bandogialli
Bolo Konondo Demosoni Kelen
Dunun Gbe (Doundoumbe) Donaba
Gberedu Gbunkundo
Kadan Konowule(n) (1 and 2)
Koudindoundoun Kuraba Don
Nantalomba Taama
Takosaba Takonani
REGIONAL/ETHNIC GROUPS: Mande
PURPOSE/BACKGROUND:
The word "dunumba" or "doundumba" describes a type of dance that is popular in Upper Guinea in the Kankan, Siguiri and Kourousa regions, but its roots are to be found in Hamanah, a canton of the prefecture of Kourousa. It is also called "the Dance of the Strong Men". The names of its various rhythms, of which there are a good twenty, are taken from their places of origin, from the names of the people they portray or to whom they are dedicated, from the characteristics of their structure or from the way the performers appear during the dance.
The "Dance of the Strong Men" as danced by the Malinke of Hamanah occupies a position that makes it more of a social ritual than an amusement, although this aspect is also not ignored. It takes place in the Bara, the space for dancing that every village possesses and which has a large tree, either a Kapok or Mangrove, planted in the center. The circles of men or boys are formed around the tree, each circle representing a social or age group (kare). The Baranti, the masters of the Bara form the group that assumes responsibility for the smooth running of the festivities. They are the first to dance, and no-one else can use the Bara without their agreement. Although the Dunumba is reserved for men as its name indicates, women could take part by dancing at one side or by coming to the centre to enliven the atmosphere.
The heirarchies between the Kara ar between individuals are given their expression in the dance, with personal conflicts being also regulated in a formalized manner with blows of the Manin Fosson, a riding crop woven from hippopotamus skin, to the sound of the drums. The Baratingi, the eldest youths of the village, demonstrate their courage by provoking their younger colleagues, the Baradogono, to the sound of the dunumba.
The circles that correspond to each of these two groups are laid concentrically around the tree planted in the middle of the Bara. The leader carries a decorated hatchet called Djende and a Manin Fosson. When one of the younger boys wishes to join a group of older boys, he moves out of his own circle and dances backwards. He meets the leader of the other groups who asks him"The way!", to which he answers "It is marked on the back!". A reciprocal flagellation then follows, that leads either to the boy's acceptance or rejection by the older group when the men who are present, appreciating the boy's courage, put a stop to the test.
Certain healers also attributed therapeutic virtues to the dance through its creation of states of trance and hypnosis.
Important collective decisions were taken before or after the great Dunumba, since almost the whole community would be gathered together at such times.
Dunumba is also the name of the largest of the drums, and it is just as indespensable for sustaining the enthusiasm of the dancers as it is of the players. The Dunun are drums whose cylindrical barrel is covered by a skin at each end. A metal bell is fixed above the barrel, which is placed horizontally. The drummer strikes one of the skins with a large stick that is held in one hand while with the other he strikes the bell with a metal strip or bolt. There are always three of these drums in the regions discussed here, and they are, from largest to smallest, Dunumba, Sangban, and Kenkeni.
The ideal ensemble in which the Dunumba can be performed is made up of three dunun, to which two djembes are added for the accompanyment of one or more solo djembes. (Excerpts from Hamanah liner notes, Mamady Keita. This CD is ESSENTIAL for anyone interested in Dunumba.)
Comes from Hamanah (region of Kouroussa). Here the dunun are always played in threes; kenkeni, sangba, dununba. It is the last which leads while the djembe accompanies. The importance of equilibrium between dunun is fundamental here. There are more than fifty rhythms of this family of which the variations play on the length of the phrases and the cycles of measures. The one in this recording has a cycle of two measures. At its origin, a war dance in which boys of different age groups confront each other armed with whips: it is called "dance of the strong men". Today it is practiced more pacifically in all festival occasions, and even women take part. (Wossolon)
Dununba, the "Dance of the Strong Men" is a very old dance, performed, as its name suggests, only by men. There are approximately 20 Dununba rhythms, each with its corresponding dance. Originally this repetoire was known only to the Malinke-Hamanah, but today it has become very popular and is regularly performed by other people, such as the Susu of Guinea and the Wolof of Senegal, although in a greatly modified style.
The different rhythms have some features in common: the tempo is somewhat slow, the rhythmic cycle is 12 pulses and the kenkeni always plays only one rhythm: ( . . o . o o ). The rhythmic figures played by the soloist are all similar, but they must be coordinated nonetheless to the different phrase lengths of the dances, some of which may reach eight cycles, and to the steps of the dancers.
Before the festival, the drummers assemble in front of the house of the djembe-fola (soloist) and announce the beginning of the festival by playing a few moments of the rhythm. After a short pause, they start again. This is a signal for all the unmarried girls in the village to assemble at the village square (Bara) in order to accompany the drummers with their singing and handclapping. As the drummers are playing the third time through the rhythm, they proceed to the square. Once they arrive, they build a small fire and place their instruments in front of it to heat the heads. Any girls who have not arrived by this time are punished by five light lashes on the legs.
Meanwhile, the Barrati-s have arrived. These are thirty to forty men, all big and strong, who determine and control the development of the event. They are masters of the dance square, they have instruments and retain the privilege of the first dance. The title of Barrati may conferred only within certain families. If other men than the present Barranti-s wish to become new Barranti-s, they must organize themselves inta a group at a Dununba festival and advance on the present Barrati-s. A veritable battle follows, using whips of hippopatomous hide. If the provocatuers win, they are pronounced the new Barrati-s.
When the music starts up again (after warming the drum heads), the Barrati-s begin the dance, arranging themselves in two lines. Brandishing a decorated hatchet (Gende) in the right hand, and a hippo-hide whip (Manimfosson) in the left, the dancers advance slowly, in step, towards the drummers. Once they arrive, each Barrati in turn dances solo, showing his best form in order to impress the girls assembled behind the drummers. Afetr this, other men may ask permission to dance as well.
Throughout the entire festival, one strange looking man dressed in a monkey skin dances around the perimeter of the dance square.
Dununba is performed today at all large festivals. (Rhythmen Der Malinke)
This is a rhythm from Guinee which means "dance of the strong men". The dance, which is very acrobatic, gives the men a chance to express their bravery and courage in front of their betrothed as well as the village elders; they strike their bodies with a riding crop made from animal muscle. (Drame)
"We have a dance we call dounouba. It is for people who are threatening each other or are in an intense rivalry. After elders, family members, and friends have tried to counsel the disputants to no avail, the dounouba ceremony is held in the village square. The two men who are at odds each take a stick. The stick is round, about three quarters of an inch in diameter, and reaches from the ground to about the hip in length. The men face each other. The musicians play the drums with very exciting rhythms designed to bring out the stored-up aggressiveness in the feuding parties. The men engage in ritual combat, striking at each other and defending themselves with their sticks. In front of everyone else in the village, they settle their differences. The rest of the village will be left in peace, since not an ounce of their hostility remains unexpressed.
"Some national dance troupes in West Africa have presented thisdance in pantomime fashion to foreign audiences and called it the dance of the strong man. Originally though, it was not a spectacle, but a practical means of bringing real conflicts to a climax and to an end." (Diallo and Hall, The Healing Drum, Destiny Books, Rochester, Vermont 1989, p 111.)
a) social/age groups (men) - there are five but I am missing one: barati (eldest), baradomo, ..., baratingi(youths), baradogono (boys) [source Famoudou Konate]
b) the key parts are the dunumba and kenkeni, the jembe soloist essentially marking the dance transitions. we would call these parts off-beat, which = is why Westerners have such a hard time playing these rhythms, even though t= he beat is strongly marked by the dancers' steps. to complement the kenkeni rhythmic figure, and without going into notation details, the dunumba evolves around a central theme (such as .oo.xx.oo.oo.oo.xx.xx.oo), switching to continuous (.oo.oo.oo.oo) during the =E9chauffement. aside f= rom set parts, there are many individual variations where the dunumba player himself demonstrate his strength. (Yves)
INFORMATION RELATED TO SPECIFIC DUNUMBAS:
Bada my understanding is this is not a rhythm as such, rather a phase (=E9chauffement) or signal the players use to enlarge the cir= cle when it has become to crowded and they can't properly play [source Delmundo Keita] (Yves)
Balan-sonde: is an exception among the Dununba rhythms, for it may be played as part of the circumcision festival, during which the women may also dance. While the men dance the customary Dununba steps, the women dance the steps for Soli. Balan is the name of a village in the region of Kouroussa; sonde means "robbers". The residents of this village are jokingly called robbers. (Rhythmen Der Malinke)
Bando Djei: Amidst all the praises addressed to N'na Dodo, the goddess known as Nakouda or Koudaba is now honored. Worshipped by the people of Hamanah, mother Kouda is particularly invoked during the feast of Boleh pond in Baro, a village situated between Kouroussa and Kankan. This is the occasion to thank her with offerings for wishes granted or to implore her for success in the future. (Mogobalu)
Bandogialli: is the name of a type of monkey with a white tail. For this dance the dancers a white collar with a white tuft, symbolizing the white tail of the monkey. With quick up and down movements of the shoulders, they impart a quick rocking motion to the collar. Bandogialli is danced exclusively by the Barrati-s. (Rhythmen Der Malinke)
Bolo Konondo: The title of this rhythm describes hand movements of the dance. Bolokonondo means "nine hands". (Rhythmen Der Malinke) Literally, nine fingers. This rhythm is called this in reference to the structure and to the movements of the dance. (Hamanah)
Demosoni Kelen: This is translated by "a young girl". The players apostrophise the girls with allusive mockery of a decidely sexual character. The girls pay them back in their own kind, casting doubt frequently on the quality of the percussionist's sticks. (Hamanah)
Dunun Gbe: is the oldest know Dunumba; Famoudou says "that it is the mother of all the Dunumba's variations". (Hamanah)
Donaba: or Great Dancer, was the nickname for Maria Magbwe, a woman of Famodou's village, who was famed for her inventive qualities. A song that is dedicated to her says "Marianna, come out with a new dance for us!" (Hamanah)
Gberedu: Name of a canton of Hamanah (Hamanah)
Gbunkundo: expresses a fight, a blow to the head, with the dancers miming a fight. They strike each other as they dance the tests between the different age groups and often regulate personal problems in the same way; fatal accidents, however, often occured before independence. (Hamanah)
Kadan this is a ballet arrangement, not a traditional dunumba [source Famoudou Konate] (Yves)
Konowule(n) 1 is dedicated to a man who was very rich and strong. The djembefola has ensured that this name will go down in history, as will that of a griot who sang for him that "it is thanks to your mother that you are what you are". (Hamanah)
Konowule(n) 2 a second rhythm dedicated to the powerful man.
Kuraba Don: is a sacred bush that is considered to be a god, and in front of which people come to make requests or vows of all sorts, dealing with family, money, business, the hunt....Sacrifices are carried out. "As soon as you are in it, says Famoudou, your body begins to feel something..." The procession to the bush is carried out to this rhythm. (Hamanah)
Nantalomba: A song of provocation and insults of the Baratingi, the oldest of the young people in the village, toward the Baradogono, or younger ones. The youngest are compared to a spider with it's legs pulled off called Nantalomba to get them to fight. The Baratingi consider themselves to be the true owners of the Bara (space for dancing) and the challenges between the different age groups occur when the dance takes place. (Mogobalu)
Taama: means to walk like the people of from Hamanah and is the name of a rhythm that depicts this. (Hamanah)
Takosaba: goes with the dancers steps as they perform the same movement four times at the start of the dance (Hamanah) The title of this rhythm refers to three significant movements done in the first three repetitions of the 12 pulse rhythm (Rhythmen Der Malinke)
Takonani: literally "take four times". Like Takosaba, this is a reference to the structure of the dance. (Hamanah)
RELATED RHYTHMS:
SONG LYRICS:
For Nantalomba: Nantalomba, eee
I badaban ikoudoula banankou too do woo
Ido wolo kognouma eee
Oh you, Nantalomba
Since you have stuffed yourself with manioc paste
Dance now as you must! (Mogobalu)
For Bando Djei: N'na Dodo nin ne, Bomba la Dodoo
N'na Dodo nin ne, N'na gbadon Dodoo
Ina moyi ni lolo le laa
Baatemah loloh
Djitemah loloh
Ibaa kouma, koule kouma kodjon
Ibi imakoun, koule djanda ni founoukeya Doo
Kouma ye sondja le dij
Makoun kodo te lon
Keren-kononi kassi daa
N'na konda eee
N'na konda ya naa
Hamanah dia daa!
Noulou nani donkan ne ma eee!
Sila yeleni bandan ne la eee!
You, mother Dodo, Dodoo of the great house
You, mother Dodo, cook, Dodo
Your mother gave birth to a star
A star in the midst of the waters
A Star in the depths of the waves
If you speak, they say you talk too much
If you are silent, you who are young, they say you
are pretentious
Words become suffering for you
But the depths of silence cannot be measured
Keren-Kononi* has sung
O mother Kouda
Let mother Kouda come
The living is good in Hamanah
It is for the dancing that we, we came
The path leads to the Kapok** tree
* a small bird famed for its chattering
** the Kapok tree is often planted in the centre of
the Bara or space for dancing (Mogobalu)
(Generic)
He he iyala he he nimba dibee
Berema he he
Aiwuliyo Denbalu
Iye Dennunu Mabarana
Aiwuliyo Denbalu Fabarawuli
Aiwarabasama Iye Molu
Aiwarabasama Samaden Warabaye
Aiwarabasama Warabaye (Nimba)
Ay ay we oh, amana diella bara nan nan dun dun sebego (Mimouna)
DUNUMBÈ
Dumumbè origines from Hamana, Siguiri and Kankan. The Dunumbè is called the "Mother of all dunumba-rhythms" (about 20): the dance of the strong men.
Last changed at 04-12-1998
Intro
S S T S S S . . . . . . . . . . . . . . . . . .
r l r l r l . . . . . . . . . . . . . . . . . .
K
. . . . . . . . O . O O . . O . O O . . O . O O
S
. . . . . . . . O O . . . . O O . . . . O O . .
D
. . . . . . . O O . O O . O O . O O . O O . O O
. . . . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . . . .
K
. . O . O O . . O . O O . . O . O O . . O . O O
S
. . O O . . . . O . . . . O . O . O . . O . . .
D
. O O . O O . O O . O O . . O . O O . . O . O O
These two lines have to be reaeted once. After that the djembe's join.
Kenkeni : Here are three bell-patterns. Beginners use 1 and 2. In a full orchestra the third bell-pattern is appropriate.
K
. . O . O O . . O . O O . . O . O O . . O . O O
1
x . . x . . x . . x . . x . . x . . x . . x . .
2
x . x . x . x . x . x . x . x . x . x . x . x .
3
. x x . x x . x x . x x . x x . x x . x x . x x
Sangban
C . . . . . . . O . . . C . . . . . . . O . . .
x . x x . x . x x . x . x . x x . x . x x . x .
Sangban varaition: to use instead of the first line occasionally
. O . O . O . . O . . . C . . . . . . . O . . .
. x . x . x . x x . x . x . x x . x . x x . x .
Sangban: echauffement (play the closed hit of the normal pattern once only)
c . O O . . . . O O . . . . O O . . . . O O . .
x . x x . x x . x x . x x . x x . x x . x x . x
Sangban : returing to normal rhythm: the Sangban dictates the return to normal rhythm to the other players by making a single stroke instead of the dubble.
. . O O . . . . O . . . . O . O . O . . O . . .
x . x x . x x . x . x . x x . x . x . x x . x .
Dundun
. . . . . . . O O . O O . . . . . . . O O . O O
. x x . x x . x x . x x . x x . x x . x x . x x
Dundun : echauffement
. O O . O O . O O . O O . O O . O O . O O . O O
. x x . x x . x x . x x . x x . x x . x x . x x
Dundun : returning to normal rhythm
. O . O . O . O O . O . . . . . . . . O O . O O
. x . x . x . x x . x . x . x . x x . x x . x x
Djembé 1
S . T S . . S . T S . . S . T S . . S . T S . .
r . r l . . r . r l . . r . r l . . r . r l . .. r l . .
Djembé 2
S . . S T T S . . S T T S . . S T T S . . S T T
r . . l r l r . . l r l r . . l r l r . . l r l
Djembé 3
. . S . T S . . S . T S . . S . T S . . S . T S
. . r . r l . . r . r l . . r . r l . . r . r l
Djembé solo accompagnement
S S S S T T S S S S T T S S S S T T S S S S T T
r l r l r l r l r l r l r l r l r l r l r l r l
Djembé : an example of returning to normal rhythm after a solo
S S S S . T T T T . S . . . . . . . . . . . . .
2 r l r . 2 r l r . f . . . . . . . . . . . . .
Djembé solo 1 ; use these elements
T T S S . . T T S S . . T . . . . . . . . . . .
2 r l r . . 2 r l r . . r . . . . . . . . . . .
T T S S . . T T S S . . T T S S . . T T S S . .
2 r l r . . 2 r l r . . 2 r l r . . 2 r l r . .
S T T S T T S T T S S . . T . . . . . . . . . . .
l 2 r l 2 r l 2 r l r . . r . . . . . . . . . . .
S T T S T T S T T S T T S T T S T T S T T S . . . T
l 2 r l 2 r l 2 r l 2 r l 2 r l 2 r l 2 r l . . . r
S T T S S . S T T S S . . T . . . . . . . . . . .
2 r l r l . 2 r l r l . . r . . . . . . . . . . .
S T T S S . S T T S S . S T T S S . S T T S S . .
2 r l r l . 2 r l r l . 2 r l r l . 2 r l r l . .
S S T S S S . . . . . . S S T S S S . . . . . .
r l r l r l . . . . . . r l r l r l . . . . . .
S S T S S T S S T S S T S S T S S T S S T S S .
r l r l r l r l r l r l r l r l r l r l r l r .
S S S S . T T T T . S . . . . . . . . . . . . .
2 r l r . 2 r l r . f . . . . . . . . . . . . .
Djembé solo 2 ; use these elements:
S T T T S S S T . . . . . . . . . . . . . . . . .
l 2 r l 2 r l r . . . . . . . . . . . . . . . . .
. S . . S . . S . . S . . S . . S . . S . . S .
. f . . f . . f . . f . . f . . f . . f . . f .
. S . . S . . S . . S . . T T T . . . . . . . .
. f . . f . . f . . f . . f r f . . . . . . . .
. S . T T T S . . . . . . S . T T T S . . . . .
. f . 2 r l r . . . . . . f . 2 r l r . . . . .
. S S . T T T . . . . . . . . . . . . . . . . .
. f f . 2 r l . . . . . . . . . . . . . . . . .
. S S S . S S S . S S S . . . . . . . . . . . .
. l r l . l r l . l r l . . . . . . . . . . . .
S S T T S S . . S S T T S S . . S S T T S S . .
r l 2 r l r . . r l 2 r l r . . r l 2 r l r . .
DUNUNGBE
Original Dununba Rhythm
13th Century
Source: Mamady Keita
^ - Begin
1 . . 2 . . 3 . . 4 . .
Intro Break S s T s S s . . . . . .
1 . . 2 . . 3 . . 4 . .
Djembe 1 S . t S . . S . t S . .
Djembe 2 S . . s T t S . . s T t
1 . . 2 . . 3 . . 4 . .
Easy Bell x . . x . . x . . x . .
Real Bell . x x . x x . x x . x x
Kenkeni . . B . B B . . B . B B
1 . . 2 . . 3 . . 4 . .
Easy Bell x . . x . . x . . x . .
Bell . x x . x x . x x . x x
Dununba . B B . . . . . . . B B
^
1 . . 2 . . 3 . . 4 . .
Bell x . x x . x x . x x . x
Sangba M . . . . . . . B . . . >>
^
M . . . . . . . B B . .
1 . . 2 . . 3 . . 4 . .
Break Phrase S s T s S s . . . . . . Begins on either muff
Break Phrase S s T s S s . . . . . . >>
. . . . . . . . . . . . >>
T s S t S s T s S t S s >>
T s S t S s T s S S . . >>
SsS s S . TtT t T . $ . >>
. . . . . . . . . . . . >>
S s T s S s . . . . . .
End Break T s S t S s T s S t S s >>
T s S t S s T s S S . . >>
@ . T t . T t . T t . . >>
$
DUNUNHA
(Guinea), Yves Goulnik (yves.goulniky@roche.com)
from Christian Ehret
12/8 |: . . * . . * . . * . . :|
_ _ _ _
Lead S S S S Of O O O O
(used to call other instruments one after the other)
_ _ _ _ _ _ =20
Djembe1 S . B S O O S . B S O O
_ _ _ _ _ _
Djembe2 B O O O S . B O O O S .
_ _ _ _
Djembe3 . O O . S S . B B . B B
Accelerat.S S S S O O S S S S O O
Lead variations...
Junjun B . . B . . O . O . (B) .
Bell +/- =20
Shekere x x x x x x x
EBO
There is no historical information about this rhythm.
1st variation
12/8
1... 2... 3... 4...
Djembe 1
O.OO .OO. S.SS .SS.
Djembe 2
OO.O B.OO B.OO B.OO
Djembe 3
B.O. B.O. B.O. OO..
Bell
X..X ..X. ..X. X...
EGU
Babatunde Olatunji taught us a rhythm at Omega a few years ago called Egu. He said it was for the unborn child.
1e&a2e&a3e&a4e&a1e&a2e&a3e&a4e&a
gdgd-d-dg-t---t-gdgd-d-dg-D-G-D-
gdgd-d-dg-t-g-t-gdgd-d-dg-D-G-D-
1 . . . 2 . . . 3 . . . 4 . . .
T t T t . t . t T . s . . . s . >>
T t T t . t . t T . b . B . b . >>
T t T t . t . t T . s . T . s . >>
T t T t . t . t T . b . B . b .
I've played this rhythm with Baba many times as a warm-up to the dance portion of his workshops. I've never heard him refer to it as anything other than "Dance of Strength," nor that it was for the unborn child. When he has taught this rhythm in my presence the basic first part was what you have listed as the first line, while the second line was one of several variations that he showed. He also showed several variations of a top ride.
I have heard of it as being to introduce the unborn child to rhythm, as well as to have the mother exercise. The style was always expressed as being very slow, it not being a good idea to get the pregnant woman moving too fast.
Baba has used the rhythm in at least the other context of _Love_Drum_Talk_ as Doug mentioned, where it is played more rapidly. Also, when I played it in performance, people found it so danceable that we speed it up to keep things hot.
ETUMBA NAMBUAKA
(Congo), Richard Darsie (darsie@cs.ucdavis.edu)
Source: Sandor Djabaouez via Sean Feder
Note: Of =3D tone flam, Sf =3D slap flam
12/8 |: . . * . . * . . * . . :|
Bell X . X . X X . X . X . X
_ _ _ _
Tumba B . B . O O . S . S O O
_ _ _ _ _ _
Conga O . S O S S O . S O S S
_ _ _ _ _ _
Quinto O O O . O O O . O O O .
_ _ _ _ _ _
Mid brk: S S S . S S S . Of O O .
_ _ _ _ _ _
End brk: S S S . S S S . S S S . >>
_ _ _ _ _ _ _
S S S . Of O O . O O O . Sf
FAIRFIELD FUNK
Original by Candace Freeland
Intro (varies)
1 . . . 2 . . . 3 . . . 4 . . .
Djembe 1: T t B . . B . . . . . . . . . . (repeat, then into part)
Shaker: . . . . . . . . u d u . u d u . (repeat)
Djembe 2 plays Part 1 for 4 measures, then goes into Part 2.
Djembe 3 plays Part 1 for 8 measures, then goes into Part 3.
Djembe 4 joins after a break later in piece...
Shaker continues throughout.
1 . . . 2 . . . 3 . . . 4 . . .
Djembe 1: T t B . . B . . T t B . B . S .
Djembe 2: T t . b . t . b T t B . T b S .
Djembe 3: T t B b . T . S . T t B b . . .
Djembe 4*: B t T b T t B t T b T t B t T >>
Solo ----> at various points <------
1 . . . 2 . . . 3 . . . 4 . . .
Break All Drums: T t B b . B . b . B b . B . $ .
T t . b . B . b . B b . B . $ .
End All Drums : T t B b . B . b . B b . B . $ .
FANGA
(Liberian), Richard Darsie (darsie@ece.ucdavis.edu) and Larry Morris
(lam@eng.tridom.com) from Stone Montgomery
4/4 |: . * . * . * . | . * . * . * . :|
CONGA/DJEMBE
_ _ _ _ _ _
LOW B . B B . B O O B . . B B . O O
_ _ _ _ _
MID O . . S . S S . O . O . S S . .
_ _ _ _ _
High . . S S . . S S . . S S O O S S
Lead varies.
BELL X X X X X X X X
JUNJUN B B B
FANGA - BABA
Per Published Notation
Credited to Baba
1 . . . 2 . . . 3 . . . 4 . . .
Dj 1 B . . t . t T . B . B . T t . .
Dj 2 B . . b . b T t B . . . B . T t
Dj 3 . . . b . b T t . . . . B . T t
Dj 4 B . T t B . . b . b T t B . B .
Dj 5 B . T t . . . b . b T t B . B .
Dj 6 S s . . S s . . S s . . S s . .
FANKANI
Also a rhythm of greeting, it can be heard during weddings, baptisms as well as any other festival. Mamady improvises here words saying the love he carries for his wife. (Liner notes: Wassolon)
This rhythm is played whan you make a person welcome (when you arrive
somewhere or for a marriage). (Philippe Reunis)
Region:
Ethnic group: ?
Tempo: ?
Source Recording: Mamady Keita, WASSOLON, cut # 3 - Fankani
Contributors to notation: Paul Czerner, Jean-Luc Roussel, Philippe Reunis
Notation:
B, b = bass, right/left hand T, t = tone, right/left hand
S, s = slap, right/left hand $ - Slap Flam
o = open hit on djun-djun
i = (in) closed hit on djun-djun - hold stick against drum
Fankani (Preliminary Version)
-------------------
_____________________________________________________________________________
Call/Break: 1 - - - 2 - - - 3 - - - 4 - - - Jean-Luc
Tt T t t t T S s S
_____________________________________________________________________________
1 - - - 2 - - - 3 - - - 4 - - -
Djembe #1 S . . s S . B . S . T t S . B . Paul, Jean-Luc, Philippe
_____________________________________________________________________________
Djembe #2 S . . s S . T t S . . s S . T t Paul, Jean-Luc, Philippe
_____________________________________________________________________________
1 - - - 2 - - - 3 - - - 4 - - -
Kenkeni bell x x . x x . x . x x . x x . x . Paul
djun o o . . i . . . o o . . i . . .
Kenkeni o o . i . . i . o o . i . . i . Philippe,
Jean-Luc
_____________________________________________________________________________
1 - - - 2 - - - 3 - - - 4 - - -
Samban bell x . x x . x x . x . x . x . x . -> next line Paul
djun i . . o o o . i i . . . . . o . -> next line
x . x x . x x . x . x x . x x . -> first line
o . o o . o i . . . . . . . . . -> first line
Sangban . . . . . . o . o . o o . . . . -> next line Philippe
. . . . . . . . . . o o . . . . -> first line
Sangban bell x . x x . x x . x . x x . x x . Jean-Luc
djun begin: o o i
. . . . . . o . o . o o . . i . -> next line
. . . . . . i . . . o o . . i . -> first line
____________________________________________________________________________
1 - - - 2 - - - 3 - - - 4 - - -
Dudunba bell x . x x . x x . x . x x . x x . Paul
djun o . . . . . . . . . . . . . . . -> next line
o . . . . . . . o . . . . . . . -> first line
DunDunba . . . . . . i . . . . . . . o . -> next line Philippe
. . . . . . o . . . . . . . o . -> first line
DununBa x . x x . x x . x . x x . x x . Jean-Luc
o . . . . . o . o . . . . . o . (variant only - not taught by
^ Mamady but confirmed by M.)
_____________________________________________________________________________
Sangban + Dununba one player,
x . x x . x x . x . x x . x x . Jean-Luc
djun begin: S S D
. . . . . . S . S . S S . . D . -> next line
. . . . . . D . . . S S . . D . -> first line
FIRE
Source: Ubaka Hill
1 . . . 2 . . . 3 . . . 4 . . .
Jembe 1 B T . T B . S . B T . T B . S . Emphasis on S
^
Jembe 2 S S T T S S . . S S T T S S . .
Jembe 2 var S S T T S S . . S S T T S S . . >>
S S T T S S . S . S T T S S . .
Jembe 3 S . . S S . T T S . . S S . T .
1 . . . 2 . . . 3 . . . 4 . . .
. . x x . . x x . . x x . . . . >>
Sangba B . . . B . . . B . . B . . . . >>
x . . . x . x . x . x . . . . .
B . . . B . B . B . . B . . . .
FORA (MADOU'S VERSION)
INTRODUCTION
1 . . . 2 . . . 3 . . . 4 . . .
LEAD @ . T t . T . t T . S s S . . .
ALL PLAY:
1 . . . 2 . . . 3 . . . 4 . . .
1: $ . T t . $ . T t . $ . T t . . >>
$ . T t . . . B b . B . b B . . >>
Repeat >>
Sangba O . . . . O . . . . O . . . . . >>
Dununba . . O O . . . O O . . . O O . . >>
Sangba O . . . . . . . . . . . . . . .
Dununba . . O O . . . O O . O . O O . .
Repeat>>
2: S . S s . s T t S . S s . s T t >>
S . S s . s . B b . B . b B . . >>
Repeat >>
Sangba O . O O . O . . O . O O . O . . >>
Dununba . . . . . . O . . . . . . . O . >>
Sangba O . O O . O O . . . . . . . . . >>
Dununba . . . . . . . O O . O . O O . . >>
Repeat>>
3: $ . T t . . . B b . B . b B . . >>
Repeat >>
Sangba O . O O . . . . . . . . . . . . >>
Dununba . . . . . . . O O . O . O O . . >>
Repeat>>
1 . . . 2 . . . 3 . . . 4 . . .
4: . . . S . S s . . . . T . T t . >>
. . . S . s . B t T b T t B t T >>
b . . S . S s . . . . T . T t . >>
. . . S . s . B t T b T t B t T >>
b . @ . T t . T . t T . S s S . ??
Sangba . . . O . O O . . . . O . O O . >>
Dununba . . . . . . . O . . . . . . . O >>
Sangba . . . O . O . . . O . . O . . O >>
Dununba . . . . . . . O . . O . . O . . >>
Sangba . . . O . O O . . . . O . O O . >>
Dununba O . . . . . . O . . . . . . . O >>
Sangba . . . O . O . . . O . . O . . O >>
Dununba . . . . . . . O . . O . . O . . >>INTO BREAK
Dun Break O . O O . O . O O . O O O . . .
BREAK @ . T t . T . t T . S s S . . . >>
1 . . 2 . . 3 . . 4 . . 1 . . 2 . . 3 . . 4 . .
DJ1 S . t T . s S . . . . b S . . b . . S . . . . b >>
12/8 S . t T . s S . . T . t S . . b . . S . . . . b
^
1 . . . 2 . . . 3 . . . 4 . . .
DJ2 T . T t . . S . . . b S b . S . >>
. . T t . . S . . . b S b . S b
^
DUN S . . . S . . . S . . . S . D .
x . . . x . . . x . . . x . x .
Both parts begin with b pickup.
Additional Parts
1 . . . 2 . . .
DJ3 bS . T t B . . . (bS at same time)
DJ4 S . . s S . T t
DJ5 T t . . S . b .
DJ6 T . T . T T . . >>
S . . . S . . .
DJ7 t . . S . T t . T
^ OR?
1 . . . 2 . . . 3 . . .
t . . S . T t . T . . T
DUN Variations
1 . . . 2 . . . 3 . . . 4 . . .
B . B B B . B B B . B B B . . B
^
B . B . B . . . B . . . B . . B
^
. B B . B . . . B . . . B . B B
Kenkeni . K K . . . . . . . K K . . . .
Sangba . B . B . . . M . . . . . . . .
FORÊT
123456123456
Djembe 1 b-s-ssb-ss-s
Djembe 2 s--sttsssstt
Djembe 3 s-ts--s-ts--
Bass D--D--D---S-
Bell H-HH-HH-H-H-
Signal F-tt-tt-tt--
FORO-BINGÉ
Source: Madou 7/2001
TIME 1 . x . 2 . x . 3 . x . 4 . x .
BREAK
S s S s S . T t T . S s S . . .
Part 1 T t S s T t S s T t S s T t S s
Part 2 T t B . S . . b T t B . S . . b
1 . x . 2 . x . 3 . x . 4 . x .
Duns B . . B . B . B . S S . S . . .
BREAK
S s S s S . T t T . S s S . . .
Sb. . . . . Sb. . . . . Sb. Sb.
Sb. . . . . Sb. . Sb. . Sb. Sb.
Sb
FUME FUME
(?) Jason Hann (brenda@controlroom.com) from Charles Armah
12/8 |: . . * . . * . . * . . :|
Bell x . x . x . . x . x . .
Shekere X . . . . . X . . . . .
_ _ _ _ _ _
Djembe B . O . S . B O O . S .
Hi kpanlogo B . B . O O B . B . O O
Lo kpanlogo B . . O O . B . . O O .
FUNGA
Welcoming song.
legend:
T, t tone on strong hand, weak hand
S,s slap on strong hand, weak hand
B,b base on strong hand, weak hand
O open dunnun note
C closed dunnun note
x bell stroke
. place holder for spot with no note.
| repeat marks
> continuation on next line/from previous line
^ under a note indicates lead in (i.e. the point in the rhythm to
start off the break)
Timeline: 1 . . . 2 . . . 3 . . . 4 . . .
Break: CALL AND RESPONSE
$ . S s . T . t T . s S s . . .
@ . T t . T . t T . s S s . . .
Timeline: 1 . . . 2 . . . 3 . . . 4 . . .
Dj1 B . T t . T t . B . B . T t . .
Dj2 B . B b . T t . B . B b B t T .
Dj3 B . B . T t . . B . T t . . . .
Dj4 T t . . T t . . T t . . T t . . (or)
S s . . S s . . S s . . S s . .
Dj5 solo
End:
Lead: $ . S s . T . t T . s S s . . . B
All parts as usual --> B
1. ) Fanga A Lafiya - Ashe- Ashe (x4)
Ashe-Ashe-Ashe-Ashe
Fanga A Lafiya- Ashe-Ashe
2.) Ikabo A Lafiya - Ashe - Ashe (x4)
Ashe-Ashe-Ashe-Ashe
Ikabo A Lafiya - Ashe-Ashe
3.) Ellugua A Lafiya- Ashe-Ashe (x4)
Ashe-Ashe-Ashe-Ashe
Ellegua A Lafiya- Ashe- Ashe
FUNGA 2
Poseted version
r/l correct?
1 . . . 2 . . . 3 . . . 4 . . .
Djembe 1 B . . T . T t . B . B . T t . .
Djembe 1B T t . . T t . . T t . . T t . .
Djembe 2 B . . B b . T t B . B . B . T t
Djembe 2B B . T t B . . B . B T t B . . .
Break $ . S s . s . s S . S . S . . .
1 . . . 2 . . . 3 . . . 4 . . .
Bell . . X X . . X X . . X X . . X X
Dununba O . . . M . . . O . O . M . . .
FUNGA
Baba Olatunji per list member:
1 . . . 2 . . . 3 . . . 4 . . .
Dj 1 B . . . T t T . B . B . T t . .
Dj 2 B . B . B b T t B . B . B . T t
^
Dj 3 B . T t B . . . B b T T B . . .
Dj 4 S s . . S s . . S s . . S s . .
Fanga alafia, ase, ase(2x)
Ase, ase, Ase, ase
Fanga alafia, ase, ase
Ikabo alafia, ase, ase (2x)
Ase, ase. Ase, ase
Ikabo alafia, ase, ase
Eleba (or Elegua) alafia ase , ase (2X)
Ase, ase. Ase, ase
Eleba alafia, ase, ase
FUNGA 4
I have played this pattern with a dance group. It works well with the jembe. I am not positive of the accuracy but I believe the doun patterns are reasonably authentic from the style.
Here is the full rhythm which I arranged for a dance ensemble in Colorado last summer. I do believe it is authentic although it seems overly simplistic. If there are any errors or misgivings please let me know.
FANGA
H D1 ||: Dn, -, -, go, +, do, go, -, Dn, -, Gn, -, do, go, -, - :||
H D2 ||: Gn, -, Dn , Gn, +, Dn, go, do, Gn, -, -, Dn, Gn, -, go, do :||
H D3 ||: Pa, Ta, -, -, go, do, -, -, go, do, -, go, do, -, - :||
H D4 ||: Pa, Ta, -, -, Pa, Ta, -, -, Pa, Ta, -, go, do, -, - :||
(X = full hit with beater)
(o = Rest on main pulse. This can be used for a muted hit also.)
Bell1 ||: x x . . x x . . x x . . x x . . :||
Dn 1 ||: X . . . o . . . X X . . o . . . :||
Bell2 ||: . . x x . . x x . . x x . . x x :||
Dn 2 ||: X . . . o . . . X . X . o . . . :||
GAHU
There is no historical information about this rhythm.
1st variation
12/8
1... 2... 3... 4...
Djembe 1
..OO ..OO ..OO ..OO
Djembe 2
OOOO .SS. OOOO .SS.
Djembe 3
B.O. B.O. B.O. OB.O
Bell
X..X ..X. ..X. ..X.
GBEGBE
1 . . 2 . . 3 . . 4 . . 5 . . 6 . . 7 . . 8 . .
DJ 1 Simple Part:
B t T b . . B t T b . . B t T b . . B t T b . .
1 . . 2 . . 3 . . 4 . . 5 . . 6 . . 7 . . 8 . .
DUN
L . H H . H . H . H H . H . H H . H . H . H H .
DJ 1 Variation
B t T b . . >>
B t T b . . >>
B t T b . . >>
B t T b S s
GBEREDU
(DOUNDOUNBA) Michael Wall (drum@aloha.net) from Mabiba Baegne.
12/8 |:. . * . . * . . * . . * . . * . . * . . * . .:|
_ _ _
(Call) S S O S S S . . . . . .
Kenkeni . . O . O O . . O . O O . . O . O O . . O . O O
Kbell . x x . x x . x x . x x . x x . x x . x x . x x
Songba O . O O . . . . O . O . M . . . . M . . M . . .
Sbell x . x x . x . x x . x . x . x . x x . x x . x .
Junjun . O O . . . . O O . O O . O O . . . . . . . O O
Jbell . x x . x x . x x . x x . x x . x x . x x . x x
_ _ _ _ _ _ _ _
Djembe-1 S . O S . . S . O S . . S . O S . . S . O S . .
_ _ _ _ _ _ _ _
Djembe-2 S . . S O O S . . S O O S . . S O O S . . S O O
Generic African 6/8 variations, Larry Morris (lam@eng.tridom.com)
12/8 |: . . * . . * . . * . . :|
_ _ _ _ _
TUMBA B . O . O . B . O O . O
_ _ _ _
CONGA B . . B O O B . . B O O (4's driver)
_ _ _ _ _ _
CONGA2 B B O O S S B B O O S S (3's driver)
_ _ _ _ _ _
CONGA3 O S S O B B O O B B O O
_ _ _ _ _ _
CONGA4 B O B O O B O B O B O O (clave variant)
BELL X . X . X X . X . X . X
GIDANBA
legend:
T, t tone on strong hand, weak hand
S,s slap on strong hand, weak hand
B,b base on strong hand, weak hand
O open dunnun note
C closed dunnun note
x bell stroke
. place holder for spot with no note.
| repeat marks
> continuation on next line/from previous line
^ under a note indicates lead in (i.e. the point in the rhythm to
start off the break)
Transcribed from Mamady workshop...
A rhythm by women for birth.
Time 1 . . 2 . . 3 . . 4 . . 1 . . 2 . . 3 . . 4 . . |
Break TtT t T t . T t . T
|x x . x x . x x . x x . |
Sangban |C . . O . . C . . O . . |
|x . x . x . x x . x . x |
Kenkeni |O . O . O . . O . O . . |
|x x . x . x . x x . x . x x . x . x . x x . x . x >
Dununba |O O . O . . . . . . . . O O . O . . . . . . . . O >
>x . x . x x . x . x . x x . x . x . x x . x . |
>O . O . O O . O . O . O O . O . . . . . . . . |
Notice that on the Dununba part the repeat marks start/end on the pickup
note before 1.
Accomp 1 |S . T s . . S . T s . . |
Accomp 2 |S . S s T t S . S s T t |
***********OTHER POSTING RAYMOND
GIDAMBA
1 - - 2 - - 3 - - 4 - -
Djembe #1 S . T s . . S . T s . .
Djembe #2 S . S s T t S . S s T t
Sangban
bell x x . x x . x x . x x .
drum i . . o . . i . . o . .
Kenkeni
bell x . x . x . x x . x x .
drum o . o . o . . o . o . .
Dununba (in four measures)
bell x . x . x . x x . x . x
drum o . o . . . . . . . . o
bell x . x . x . x x . x . x
drum o . o . . . . . . . . o
bell x . x . x x . x . x . x
drum o . o . o o . o . o . o
bell x . x . x . x x . x . x
drum o . o . . . . . . . . o
lead-in ^
GINA FORE
Source: Madou
spelling?
1 . . 2 . . 3 . . 4 . . 5 . . 6 . . 7 . . 8 . .
INTRO SsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsS . . . . .
S . S t . t S . S t . t S . S t . t S . . . . .
B s S b S s B s S b S s B s S b S s B s S b S s
$ . T t . $ . T t . . . S . S . . . BEGIN
1 . . 2 . . 3 . . 4 . .
Jembe 1 S T T S S T T S S T T S
Jembe 2 S . . T t . S . . T t .
Jembe 3 S . . T t . S s . . . . >>
bSb . T t . S S . . . .
1 . . 2 . . 3 . . 4 . .
Dun SS. S . M . SS. S DD. . I think this one is right
need to verify
SS. S . M . SS. S . DD. probably wrong
1 . . 2 . . 3 . . 4 . .
END BREAK T t T . S s S . T t T t >>
. T . t . S s S s . . . >>
bT s . . T s . T s . . T >>
s . . S s S s . B b . .
GIRIAMA SPIRIT DANCE
(Haiti), Richard Darsie (darsie@ece.ucdavis.edu)
from Sean Feder
9/8 |: . . * . . * . . :|
_ _ _
Bottom O . B S . O B . S
_ _ _
Mid O . S S . O S . S
_ _ _ _
Top O O O S S S S . S
Stick/Bell X . . X . . X . . >>
>> X . . X . . . . .
Bell . . . X . . X . .
Kenkeni:
1...2...3...4...
x.x.x.x.x.x.x.x.
k...k...k...k...
Sangban:
1...2...3...4...
x.xx.xx.x.xx.xx.
..ss..f....s..f.
Dununba:
1...2...3...4...
x.xx.xx.x.x.x.x.
......d...d...d.
Djembe 1:
1...2...3...4...
bboo..s...oo..s. slaps closed by left hand
Djembe 2:
1...2...3...4...
s...oo..s.b.oo..
GUINEA FARÉ
(Guinee Faré, Mané, etc)
123456123456
Djembe 1 b-bs-st--s--
Djembe 2 b--s-st--s-s
Djembe 3 s--tt-s--tt-
a basic Gwoka arrangement:
1 . . . 2 . . . 3 . . . 4 . . .
B . S . O s . b B . S . O s . b drum
x . x x x . x x x . x x x . x x shaker
x . x x . x x . x . x x . x x . bell
HIGHLIFE
(W. Africa), Mark Szymanski
Note: S- and M- indicate this stroke is "pulled" back to lead-in to the =
beat.
4/4 |: . * . * . * . | . * . * . * . :|
_ _ _ _ _ _
Low B . . O B . O O B . . O B . O O
_ _ _ _ _ _
Mid O . O . B . B . O . . S- . . O O
_ _ _ _ _ _
Mid2 B . S . S . O O B . . S- . . O O
_ _ _ _
High O . . O O . . O O . . O O S . O
Clave X X X
Junjun B M B M-
bell . . x x . . x x . . x x . . x x
IJEXA
(Brazil,Bahia), John Moore (MOORE@dstos3.dsto.gov.au)
Originally from IJESA people in Yoruba
4/4 |: . * . * . * . | . * . * . * . :|
_ _ _ _ _ _
CONGA S . . b S . O b S . . b S . O b >>
_ _ _ _ _ _
S . . b S . O . O O . b S . O b
_ _ _ _
TUMBA S . . O O . B . S . . O O . B . >>
_ _ _ _ _
S . . O O . B . O O O O O . B .
AGOGO VARIATIONS
AGOGO (I) H . H . . . . H . H H . . . . .
. . . . L L . . . . . . L . L .
AGOGO(II) . . . . H H . . . . . . H . H .
L . L . . . . L . L L . . . . .
AGOGO(III) H H . . . . . . H . H . . . . .
. . . L . L L . . . . . L . L .
AGOGO(IV) . . . H . H H . . . . . H . H .
L L . . . . . . L . L . . . . .
AGOGO(V) H H H . . . . H . H H . . . . .
. . . . L L . . . . . . L . L .
INDIAN SUMMER
Not lined up
No djuns included
Break
1: go do go do go do go do go
2: pa ta pa
1: go do go do go do go do go
2: pa ta pa
1. go do
2: pa ta pa
1. go do
2: pa ta pa
1: go do go do go do go do go
2: pa ta pa
1.
dun gun . do go
dun pa . do go
2. (Walking/5 stop)
gun do go
dun go do
gun do go
dun go do
gun . ta . .
3.
Dunno yet.
INVENTION
1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 .
Low . . S s . . O o B . . b . . O o
Mid S . . s S . O o S . . s S . O o
High . s O o S . O o . s O o S . O o
or perhaps...
O o . s O o S . O o . s O o S .
Bell x . . x x . x . x . . x . x . .
Dundun . . . L L . H H . . . . . . L L
I often have rhythms 'pop' into my head/hands and these are ones I've
used in extended playing, performance and teaching. Note that they are a
little 'out there' but very enjoyable once you have them.
1 . . 2 . . 3 . . 4 . . 5 . . 6 . . 7 . . 8 . . 9 . .
Dj T T . t . . T T . t . . T T . t . . B . t . B . t . .
It's fun to have the second djembe/s play in unison then at a designated
time play the first motif TT.t continuously until the parts line up
again and return to unison playing. The same goes for the second motif
B.t.B.t though it's much more interesting:
1 . . 2 . . 3 . . 4 . . 5 . . 6 . . 7 . . 8 . . 9 . .
Dj T T . t . . T T . t . . T T . t . . B . t . B . t . . >>
Dj 2 T T . t . . T T . t . . T T . t . . B . t . B . t . B >>
. t . B . t . B . t . B . t . B . t . B . t . B . t . >>
B . t . B . t . B . t . B . t . B . t . B . t . B . t >>
- - - - . .
(If Dj 2 continues for another 2 cycles the B.t.B.t figure will line up
exactly as in the first part). And it's great to play this flat out!
----------------------------------------------------------------
The other two part rhythm is:
1 . . 2 . . 3 . . 4 . . 1 . . 2 . . 3 . . 4 . .
dj1 (T)t . B . . t T . b . . T t . B . . t T . b . . T >>
t . B . . t T . b . . T
dj2 T . t . . S s . . T . t . . S s . . T . t . . S >>
s . . T . t . . S s . .
The first rhythm comes from the B t T b T t (triplet figures).
I've been playing these for a few weeks totally out of 'feel' so it's
interesting to now see what they look like on the screen. For those of
you who hate notation I can make sound files of the rhythms and post
them to you individually. BTW please use a monospaced font such as
Courier to have the parts lined up properly.
1 . . 2 . . 3 . . 4 . . 5 . . 6 . . 7 . . 8 . . 9 . .
Dj T . T t . . T . T t . . T . T t . . B . t . B . t . .
NOT...
1 . . 2 . . 3 . . 4 . . 5 . . 6 . . 7 . . 8 . . 9 . .
Dj T T . t . . T T . t . . T T . t . . B . t . B . t . .
INVENTION 3
Kenkeni :
1...2...3...4...
x.x.x.x.x.x.x.x.
k...k...k...k...
Sangban :
1...2...3...4...
x.xx.xx.x.xx.xx.
.ss..f....s..f.
Dununba :
1...2...3...4...
x.xx.xx.x.x.x.x.
.....d...d...d.
Djembe 1 :
1...2...3...4...
bboo..s...oo..s. slaps closed by left hand
Djembe 2 :
1...2...3...4...
s...oo..s.b.oo..
JEMBE
Source: Ubaka Hill
1 . . . 2 . . . 3 . . . 4 . . .
Jembe 1 S . . S S . T T S . . S S . T T
Jembe 2 S . . S S . T T S S . S S . T T
Jembe 3 . . T T . . S S . . T T . . S S
Dun B . . B . . B . . . B . B . . . (Clave 3-2)
JEWE
Mark Szymanski
12/8 |: . . * . . * . . * . . :|
Bell X . X . X X . X . X . X
_ _ _ _
LOW B . O O . . B . O O . . or
B . O O . B B . O O . B
_ _ _ _ _ _
MID B O O B O O B O O B O O
_ _ _ _
Drum/ B . . B . . B . . B . S
Stick X X X X X X
_ _ _ _ _ _ _ _
HIGH S . S S O O S . S S O O or
B . S S O O S . S S O O or
S . S S O O S . S S S S O O
JONDO
(??), Larry Morris (lam@eng.tridom.com)
(note: this is a "swung" rhythm, notation such as "O- O" indicate an
extended beat, such as a dotted quarter followed by an eighth note.)
4/4 |: . * . * . * . | . * . * . * . :|
CONGA/DJEMBE
_ _ _ _ _ _
HIGH O . O . S- S S- S O O . S S- S S- .
_ _ _ _ _ _ _ _
MID O- O S- S B- S S- S O- O S- S B- S S- S
_ _ _ _ _ _ _ _
LOW O . O B S- S . f O O . B S- S . f
BELL (??)
JUNJUN B . B . . . . . B B . . . . . .
+lead djembe variations.
KADAN
From Internet posting:
It's a dununba-type of=20 rhythm.(from Guinea; the Kankan, Kouroussa and Siguiri regions) The dununba's are the dance of the "strong" men. The only dance that is traditionally danced by the Malinke men. There are over 20 different dununba-rhythms. They all orgininate from the Dununb, the mother of all Dununbs.
12/8 |: . . * . . * . . * . . :|
intro S s S s S
dundun . . . . . B B . B B . .
kenkeni . . B . B B . . B . B B
kenbell . x x . x x . x x . x x
simplebell x . . x . . x . . x . .
sangban B . . M . . B . . M . .
sangbell x . x x . x x . x x . x
dundun . . . . B B . B B . .
dunbell x . x x . x x . x x . x
djembe 1 S . O s . . S . O s . .
djembe 2 S . . s O o S . . s O o
Solo accompagnement : plays the solo-player when (s)he is not giving accents to a dance but plays something other then the djembes: an example of possibilities:
solo.acc1 . . S . O s . . S . O s
or (soft played:)
solo.acc2 S s S s O s S s S s O s
Echauffement: playing more intensely ("warming up the rhythm), getting to the climax of a dance-variation:
Djem.echf S s S s S s S s S s S o >>
O s S s S s S s S s S o (3x)
O s S s S o O s S s S o
O s S s S o O s S s S .
Dun.echf . . . . . B B . B . B B >>
bell x . x x . x x . x . x x >>
B B . B B B . B B . B B >>
x x . x x x . x x . x x >>
repeat . B B . B B . B B . B B
till . x x . x x . x x . x x
(Sangban and Kenkeni stay as they are)
Landing : climax, and returning to normal rhitme ; a new dancer or an other dance-variation comes.
dun.land . B . B . B . B B . B .
. x . x . x . x x . x .
djem.land S s S s S . O o O o O . Sf .
KAKILAMBE
Taught by Mamady Keita 21 Sept 1997 College Park MD
Intermediate/Advanced class
Transcribed by Rodger Osgood
Mamady told me that Kaki Lambe is a mask/deity among the Baga people of Guinea. Once a year, the mask is brought out to the assembled villagers to announce what will happen in the coming year. The drummers, priest, and people are in the village center, and the mask is brought from the forest while the drummer's play the slow rhythm. The mask is about 4 feet tall and has raffia all around it. When the mask arrives, it is low to the ground. The people begin singing:
Maimbo, Maimbo imama
Maimbo Kaki Lambe keybou mbe (the "k" in "keybou" sounds gutteral)
Maimbo is a man's name. It was the name of an actual priest, but it is used as the generic name for the priest who officiates at the ceremony. The lyrics mean: "Maimbo, Maimbo we greet you/ Maimbo, greet Kaki Lambe for us."
The people gather around and start praising Kaki Lambe: "Kaki Lambe, we believe in you! Kaki Lambe, we need you!" As they flatter the mask, it mysteriously rises up in the air, eventually to a height of some 15' (no one knows how this happens; Kaki Lambe is kept by a secret society of elder men). There are ropes hanging from the mask, and members of each of the lead families of the village hold onto the ropes. Each family takes a rope: as Mamady said, "one for the Keitas, one for the Camaras, one for the Bangouras," etc.
The special drum break tells the drummers to switch from slow to fast
(roughly double-time). During the fast section, the young men and women come forward and start dancing. The priest moves around the group, leaning in between people to listen to what Kaki Lambe is telling him about the future. At a signal from the priest, the special break is played by the lead drummer, the drummers switch to slow time, and the priest begins announcing Kaki Lambe's information.
Mamady said that this ritual is especially meaningful to the older members of the village, as it has been a yearly event throughout their lives and reminds them of the past and all the people who are no longer alive.
Time 1 . . 2 . . 3 . . 4 . . 1 . . 2 . . 3 . . 4 . . |
Break TtT t T t . T t . T
The Sangban and Kenkeni parts are adaptations. They double the part for
two differently pitched djembes, which both play the first
accompaniment, only the higher one is shifted by a beat to answer the
lower one.
|x x . x x . x x . x x . |
Sangban |C . . O O . C . . O O . |
lead in ^
|x x . x x . x x . x x . |
Kenkeni |O O . C . . O O . C . . |
The Dununba part is an adaptation of the 'Drama'(sp?) part (see Tiriba
above), and Mamady suggested that at higher speeds the Dununba part might be played upright with two sticks, to more closely mimic the hand
pattern of the Drama.
|x . x . x . x x . x . x x . x . x x . x . x . x |
Dununba |O . O . O . . . . . . O O . . . . . . . . . . O |
lead in ^
Accomp 1 |B . . t S . B . . t S . |
Accomp 2 |B . . t S . B t T t S . |
TBD: I will try to notate the break that Mamady played to switch from
the fast part to the slow part.
Question: In Mamady's explaination he said that the drumming built up
faster and faster as the Kakilambe mask rose higher, and then the
drummers played a break and slowed down (and played quieter?) while the
high priest explained to the people what Kakilambe had told him. When
we played the rhythm, Mamady used the break to speed up as well as slow
down. Does anybody know if this is traditional to use the break to
speed up as well? Is there more than one round of the priest
communicating with Kakilambe, then explaining to the people?
******
OTHER POST
as translated by Donna B. to me on a trip with Mamady Keita on his
front porch in Guinea. Jan.? 1997 I presented the following at an
ethnomusicology class at Brandeis U. where I guest lectured and
performed some rhythms one of which was to Kakilambe. We hope it is
accurate!
An oracle-prophet represented in ceremony by a giant mask with many
ropes hanging from it. Once a year the many questions of the
villagers are asked of Kakilambe as to the events of the upcoming
year. Health of the family, prosperity, harvest quality. If someone
is sick, Kakilambe may give advice as how to heal, as in how many
goats or chickens are to be sacrificed.
The ceremony begins with the slow rhythm to Kakilambe and dance.
During this time the village priest, who has already a relationship
with the prophet, is asking the questions and translating the
answers from Kakilambe to the heads of the families holding the ropes
and others that are in the area. From the giant mask hang many ropes
the ends of which are held by one member of a family. In chanting,
they all praise and flatter Kakilambe and show their devotion. The
more praise, the louder it becomes, the longer it sustains, this
giant mask (Kakilambe) begins to levitate, higher and higher.
In celebration of the usually positive news the drumming becomes very
fast and so the dance. A true reason to celebrate!
As to regions of origin, I have been told Kakilambe is sacred to the
Boke people of Guinea. I have read that the prophet also honored by
the Baga also in Guinea. I have also heard that the mask protects
the sacred forests.
Remember as with many of the rhythms we learn, there are often the
traditional version of both the rhythm and dance and the altered or
embellished #ballet# versions.
Hope this adds to our knowledge.
*****
PURPOSE/BACKGROUND:
The Baga People of Lower Guinea call the mask that protects the sacred
forest "Kakilambe" (M'Bemba Bangoura)
An oracle-prophet represented in ceremony by a giant mask with many ropes
hanging from it. Once a year the many questions of the villagers are asked
of Kakilambe as to the events of the upcoming year. Health of the family,
prosperity, harvest quality. If someone is sick, Kakilambe may give advice
as how to heal, as in how many goats or chickens are to be sacrificed.
The ceremony begins with the slow rhythm to Kakilambe and dance. During
this time the village priest, who has already a relationship with the
prophet, is asking the questions and translating the answers from
Kakilambe to the heads of the families holding the ropes and others that
are in the area. From the giant mask hang many ropes the ends of which are
held by one member of a family. In chanting, they all praise and flatter
Kakilambe and show their devotion. The
more praise, the louder it becomes, the longer it sustains, this giant mask
(Kakilambe) begins to levitate, higher and higher.
In celebration of the usually positive news the drumming becomes very fast
and so the dance. A true reason to celebrate!
As to regions of origin, I have been told Kakilambe is sacred to the Boke
people of Guinea. I have read that the prophet also honored by the Baga
also in Guinea. I have also heard that the mask protects the sacred
forests. (Translated by Donna Bladso to Alan Tauber from Mamady Keita in
Guinea. Jan. 1997)
______________________
A very important mask/diety of the Baga people in the Boke region of
western Guinea. Kakilambe comes once a year to give predictions and
information to the people. There is a secret society of men that are the
custodians of Kaki Lambe.
Once a year, the mask is brought out to the assembled villagers to
announce what will happen in the coming year. The drummers, priest, and
people are in the village center, and the mask is brought from the forest
into the middle of the crowd, while the drummer's play the slow Kaki Lambe
rhythm. The mask is about 4 feet tall and has raffia all around it. When
the mask arrives, it is low to the ground.
At this point, the people sing the song. A priest, who is called
Maimbo... (Maimbo was the name of an actual priest, it doesn't mean
"priest". "Maimbo" is used as the generic name for the priest officiating
at the ceremony who takes on the persona of this historical personnage.)
....the priest greets Kaki Lambe and pays hommage to the mask, saying,
"Kaki Lambe, we love you, we believe in you, we need you, please give us
your wisdom."
Maimbo, Maimbo imama
Maimbo, Kaki Lambe kaybou mbe (the "k" in "kaybou" is gutteral, like a
French "r=
").
Maimbo, Maimbo, greetings to you (imama),
Maimbo, give our greetings to Kaki Lambe.
As Maimbo (and the people in attendance) flatter Kaki Lambe, it raises up
off the ground, from an original height of about four feet, to a height of
about fifteen feet. (No one knows how this happens -- it's a secret of the
society of Kaki Lambe. The mask is surrounded by raffia, which drapes down
around it to the ground.)
There are ropes attached to the bottom of the mask, one for each of the
prominent families in the village. Each family has two or three
representatives holding the rope: That is, one rope for the Keitas, one
for the Camaras, etc. They pull on the rope as Kaki Lambe raises into the
air. At this point, the drummers play a break and switch to a fast
version (roughly double time) of the rhythm.
During the fast section, the young men and women come forward and start
dancing. The priest moves around the group, leaning in between people to
listen to what Kaki Lambe is telling him about the future.
At a signal from the priest, the special break is played by the lead
drummer, the drummers switch to back to the slow version, and the priest
begins announcing Kaki Lambe's information. The priest announces the news
(predictions about epidemics, crop yields, etc). The people respond,
and the drummers switch back to the fast version.
Mamady says that there are many versions of the song Kaki Lambe, but we in
America have only heard one part of one of them (that I quote above). The
elders of the village, especially the women, are most moved by this
ceremony, as it is a once-annual marker of their lives. It has been a
yearly event and reminds them of the past and all the people who are no
longer alive. (Adam Rugo from Mamady Keita)
______________________
Mamady emphasized repeatedly and strongly that there is only one Kaki Lambe
rhythm. It is played (and sung and danced) by the Baga people of the Boke
region of Guinea. He has been to that region many times and has witnessed
this event/celebration. So what he teaches about the original/traditional
rhythm is from first-hand knowledge. He claims that there is no other
African country or region with a rhythm called Kaki Lambe. [snip]
He said while the people sing many songs (some rhythms have 20, 50, even
100 songs) throughout a celebration (which lasts many hours, even
throughout the night into the next day) there is only one rhythm played the
whole time (although the tempo can change, as it does in Kaki Lambe). The
"Maimo maimo..." song is the welcome song, but is just one of many songs
that are sung to Kaki Lambe. (Dan Trevino, from a conversation with Mamady
Keita in College Park, Maryland)
______________________
Dr. Frederick Lamp says in "Art of the Baga" (1996) that the word kakilambe
is actually a Susu word (and not a Baga word) meaning "Reaching as high as
the copal tree" (Chapt. 3, p. 58). The Baga call this spirit,
"a-Mantsho-no-Pon" meaning The Great Mantsho. Reproduced on page 59 of this
book is a drawing by a Catholic missionary (pre 1930) of a masquerade
labeled "Kaklembe." The masquerade in this drawing is 40 feet high, using
as a scale the height of people in the drawing. The drawing shows 4
drummers, standing, and playing horizontal dununs (junjuns) that are waist
high, as if they were suspended by straps from the drummers' shoulders (no
drum stands are shown in the drawing). (Dan Trevino)
______________________
Message: 18
Date: Fri, 15 Oct 1999 03:21:38 -0400
From: Chris Johansen <johansen@main.nc.us>
Subject: Re: Basikolo
S Macleod wrote to Aboubacar Camara:
> Thank You for your information about Basikolo. You mentioned that the one
> song your friend knows is played to the Kakilambe rhythm. We also play
> Kakilambe (also pulled off the internet) and it is in 4/4 time whereas the
> Basikolo song we play (yes, it's a song not a singular rhythm) is in 6/8. We
> got the Kakilambe rhythm off the Larry Morris rhythm catalogue.
Glenda, here are transcriptions of fragments recently from the list
and inauthentic arrangements from Dancing Spirit Drummers (DSD) and
others. They are in duple and triple meter--terms I prefer because
4/4 and 6/8 are descriptors for western musical notation (WMN), they
really only have meaning when applied to ink on paper, although we
all commonly understand 4/4 to mean a duple meter and 6/8 to mean a
triple meter.
I am told that the "old" traditional rhythm is triple and that the
duple is a "new" ballet and festival arrangement.
Kakilambe triple Stephan Rigert:
Count: 1 e u 2 e u 3 e u 4 e u
Jembe 1: B . O o S . B o . o S .
Jembe 1: S . O o . . S . O o . .
Mahiri Fadjimba Keita:
Count: 1 e u 2 e u 3 e u 4 e u
Jembe 1: B . . o S . B o O o S .
Jembe 1: B . . o S . B . . o S .
Kakilambe triple DSD:
Count: 1 e u 2 e u 3 e u 4 e u
Bell: x . x . x . x x . x x .
Dunun: o . o . . . o o . . . .
Jembe 1: B . O o S . B o . o S .
Jembe 2: S . O s . . S . O s . .
Jembe 3: & . O o . . & . O o . . & = muted slap
Kakilambe duple DSD:
Count: 1 o & a 2 o & a 3 o & a 4 o & a
Bell: x . x x . x . x x . x . x x . x
Dunun 1: o . . m . . . o o . . . . . . o
Dunun 2: o . o o . . o o o . . . . . . o
o . . m . . . o o . . . . . . .
Jembe 1: B . . o O . s . B . o . O . s .
Jembe 2: O o O . . . . . S . S . . . . .
Jembe 3: . . . . O o O . . . . . S . S .
Kakilambe duple Richard Darsie:
Count: 1 o & a 2 o & a 3 o & a 4 o & a
Jembe L: O o . o O . B . O . o . B . b .
Jembe M: B . . O o . S . B . O . o . S .
Jembe H: B . o O o . S s B . o O o . S s
Bell: . . . x . . x . . . . . x . x .
Dunun: o . . o . . . . o . o . . . . .
Break: S s S s S . S . . . O o O . O .
S . . . . . O o O . O . O . . .
This last is what you found in the Morris catalog. These are
written in a simplified Morris notation:
B,b = bass tone
O,o = open tone (stick drums, too)
S,s = slap tone
& = muted slap tone
m = muted open tone (stick drums, too)
x = bell note
Capital is dominant hand
Lower case is alternate hand, or stick drum
View them using a monospace font.
Here is what our own R Clark has found out about Kakilambe:
Kakilambé 2 [ Baga ]: the Kakilambé is a masked
figure, which protects the forest. It is said
that only the initiated dancer may see the
Kakilambé. The masked figure emerges from the
forest and converses with the initiated one,
telling him what needs to be done for the
survival and safety of the forest and the
village.
See the whole thing at "Cultural Context for Djembé Rhythms"
<http://www.acceleration.net/clark/PaperVu/context.htm>
Regards,
KAKILAMBE (V3)
FIRST
*..*..*..*..
b.ooo.bo.oo.
SOMEONE WROTE:
b.oos.bo.os.
SECOND
*..*..*..*..
b..boob..boo
SECOND VARIATION with fingertips
*..*..*..*..
bttboobttboo
SOLO
*..*..*..*..
ssssoossssoo
djuns
*..*..*..*..*..*..*..*..*..*..*..*..*..*..*..*.. two sticks
d.d.d......dd...sss....dd.d.d.dd.d.dd...sss....d starts at 16..
KAKILAMBÉ
Kakilambé is a mask-dance of the Baga-people that live in the coastal area (Boke-region) of Guinee. Origianally it was played on the Baga-drums that are simalar to the djembe.
"Kakilambé is a very important mask of the Baga people, that appears only once a year. The spirit of the Kakilambé is revered as the protector against evil entities. He appears to make important declarations about the present and the future. A priest of the Kakilambé is like a translator, since the mask doesn't talk directely to the people. It's a big day when the mask appears. Everybody comes to listen. Slowly the mask emerges from thge forest, together with the priests. The people have gathered and are waiting. When all of the people bow, the mask grows to a height of five meters! It holds a string for each individual family of the village, and the other end is held by a member of each family.
When the rhythm gets fast, the priest and some of the older men dance around the mask. The priest receives the information. Then he gives the musicians a sign, they play a break, and then the rhythm is played slower and softer. Afterwards he pa$es on the information given to him by the mask." (Uschi Billmeier: Mamady Keïta, A life for the djembe).
"These days Kakilambé, the terrifying god of the Baga, is nothing more than a memory causing a few shivers in the minds of the elders. But for centuries he ruled the life of Bagatai; he was the lord of the waters, of rain, of wind and of fire.
Every seven years he came out of the sacred forest, his arrival announced by thunder and the calls of the fetish priests, to appear to the terrified people and, speaking through the local soothsayer, addre$ed the a$embled villagers.
First, he showed his anger against those who had behaved contrary to morality and virtue, by making himself small. The people, lying prostrate on the ground to show their repentance, asked for his forgiven$ and swore to obey him.
"Kelyo! Kelyo! Kakilambé! Kelyo!" (Get up, Kakilambé, rise!)
Then Kakilambé, rea$ured that he was still lord of the children of the Bagatai, just as he had been of their fathers and their fathers' fathers, and swelling with joy, grew big again, and predicted seven years of happine$ and prosperity. Then, accompanied by songs and dances of joy and gratitude, he disappeared for another seven years.
So, "for seven years the land will be prosperous and the women fertile" Kakilambé has said so. But, whether the land would in fact be prosperous and the women fertile, depended on the primary power of the men, and of the SENGBE (sacred drums). The man dances, showing his strength, his virility, his confidence and his determination to work with respect for the customs of their people. And, as a start to the favours Kakilambé has promised his people, the godde$ of fertility suddenly appears: Nimba with the enormous breasts. The men shout with joy, the women and the girls soon to be married bring offerings and sing:
"O Nimba ! The belly without child, is like a cinder in the desert wind,
like a leaf in a bush-fire.
O Nimba ! godde$ of fertility, o Nimba ! you who make the sap rise in the dust
Here are my breasts, let them be the same as yours
Here is my belly, that the sap of the Baga may continue to rise"
And, in a vibrant frenzy, the men and the women of the Baga are united in complete communion, certain that they are protected by the gods."
(text and pictures from a leaflet of the Worldtour of the Ballet de Guinée, ('65-'67).
"The Baga are only a very small etnic group and there are no more than about 32.000 Baga living in Guinea. Frederick Lamp, in his book, "The Art of the Baga"(1996), says that Kakilambé is called "a-Mantsho-`no-Pön" by the Baga and is "the supreme male spirit of the Sitemu subgroup" (of the Baga). Dr.Lamp says that the word Kakilambé is actual a word in the Susu-language meaning "Reaching as high as the copal tree".
There are dozens of songs to the Kakilambé-rhythm; this one is the welcoming song: Welcome to the Kakilambé-mask!
Mai'm bo, mai'm bo mama, mai'm bo Kakilambé kekumbe
KAKILAMBÉ / WAP-PAGES / LAST CHANGED AT 02-04-2001
Call 1
T T T T T . T T . T . .
2 r l r l . l r . r . .
Call 2
S S S S S . T T T T T . S . . . . . . . . . . .
2 r l r l . 2 r l r l . f . . . . . . . . . . .
DUNS-COMBINATION 1
Kenkeni
O O . C . . O O . C . . O O . C . . O O . C . .
x x . x x . x x . x x . x x . x x . x x . x x .
Sangban
C . . O O . C . . O O . C . . O O . C . . O O .
x x . x x . x x . x x . x x . x x . x x . x x .
Dun Dun
O . O . O . . . . . . O O . . . . . . . . . . O
x . x . x . x x . x . x x . x . x . x x . x . x
DUNS-COMBINATION 2
Kenkeni
. . . O O . . . . O O . . . . O O . . . . O O .
x x . x x . x x . x x . x x . x x . x x . x x .
Sangban
O . O . O . O O . . . . O . O . O . O O . . . .
x . x . x . x x . x x . x . x . x . x x . x x .
Dun Dun
O . . . . . . . . . . . O . O . O . . . . . . .
x . x . x . x x . x . x x . x . x . x x . x . x
DUNS-COMBINATION 3
S
O . . . . . o o . . . . O . . . . . O O . . . .
D
. . O . . . . . . O . O . . O . . . . . . . . O
x . x . x . x x . x . x x . x . x . x x . x . x
Djembé 1
B . . T S . B . . T S . B . . T S . B . . T S .
r . . l r . r . . l r . r . . l r . r . . l r .
Djembé 2
B . . T S . B T T T S . B . . T S . B T T T S .
r . . l r . r l r l r . r . . l r . r l r l r .
Djembé 3
B . T T S . B T . T S . B . T T S . B T . T S .
r . r l r . r l . l r . r . r l r . r l . l r .
Djembé 4
B . S . S . B T . T S . B . S . S . B T . T S .
r . r . r . r l . l r . r . r . r . r l . l r .
Djembé 5
B . . B S S B . . B S S B . . B S S B . . B S S
r . . l r l r . . l r l r . . l r l r . . l r l
Djembé solo accompagnement (fingertips)
S S S S T T S S S S T T S S S S T T S S S S T T
r l r l r l r l r l r l r l r l r l r l r l r l
Break 1
S . . . S . . T . T T . S . . . S . S S . S . B
f . . . f . . f . r l . f . . . r . r l . l . l
T . T . T . T . T . T . S . . . . . . . . . . .
r . r . r . r . r . r . f . . . . . . . . . . .
KAKILAMBE - NEW
Glenda, here are transcriptions of fragments recently from the list
and inauthentic arrangements from Dancing Spirit Drummers (DSD) and
others. They are in duple and triple meter--terms I prefer because
4/4 and 6/8 are descriptors for western musical notation (WMN), they
really only have meaning when applied to ink on paper, although we
all commonly understand 4/4 to mean a duple meter and 6/8 to mean a
triple meter.
I am told that the "old" traditional rhythm is triple and that the
duple is a "new" ballet and festival arrangement.
Kakilambe triple Stephan Rigert:
Count: 1 e u 2 e u 3 e u 4 e u
Jembe 1: B . O o S . B o . o S .
Jembe 1: S . O o . . S . O o . .
Mahiri Fadjimba Keita:
Count: 1 e u 2 e u 3 e u 4 e u
Jembe 1: B . . o S . B o O o S .
Jembe 1: B . . o S . B . . o S .
Kakilambe triple DSD:
Count: 1 e u 2 e u 3 e u 4 e u
Bell: x . x . x . x x . x x .
Dunun: o . o . . . o o . . . .
Jembe 1: B . O o S . B o . o S .
Jembe 2: S . O s . . S . O s . .
Jembe 3: & . O o . . & . O o . . & = muted slap
Kakilambe duple DSD:
Count: 1 o & a 2 o & a 3 o & a 4 o & a
Bell: x . x x . x . x x . x . x x . x
Dunun 1: o . . m . . . o o . . . . . . o
Dunun 2: o . o o . . o o o . . . . . . o
o . . m . . . o o . . . . . . .
Jembe 1: B . . o O . s . B . o . O . s .
Jembe 2: O o O . . . . . S . S . . . . .
Jembe 3: . . . . O o O . . . . . S . S .
Kakilambe duple Richard Darsie:
Count: 1 o & a 2 o & a 3 o & a 4 o & a
Jembe L: O o . o O . B . O . o . B . b .
Jembe M: B . . O o . S . B . O . o . S .
Jembe H: B . o O o . S s B . o O o . S s
Bell: . . . x . . x . . . . . x . x .
Dunun: o . . o . . . . o . o . . . . .
Break: S s S s S . S . . . O o O . O .
S . . . . . O o O . O . O . . .
This last is what you found in the Morris catalog. These are
written in a simplified Morris notation:
B,b = bass tone
O,o = open tone (stick drums, too)
S,s = slap tone
& = muted slap tone
m = muted open tone (stick drums, too)
x = bell note
Capital is dominant hand
Lower case is alternate hand, or stick drum
KANKANKE
Partial
I wonder if someone is familiar with the following rhytm from Burkina
Faso called Kananke. I'd be glad if someone could give some additional
information on it :
Djembe 1 : Djembe 2 :
1...2...3...4... 1...2...3...4...
b..o..o....o..o. b.......b.ooooo.
b : bas o : open tone
KASSA
This is one of the rhythms which accompanies the harvest. The drummers follow the work from field to field while playing kassa. [transcription by Michael Williams (williamsm@winthrop.edu) from Mamady Keita] Also hear it on track 1, Mamady Keita's 'Wassolon'.
Played with a slightly "swung" feel
|: . . . * . . . * . . . * . . =
=2E :|
Lead dj. S s . s S . T t S s . s S . T t
Djembe1 B . S s T t S s B . S s T t S s
Djembe2 S . . s S . T t S . B s S . T t
Junjun (O) O . O . . . . . . O . O . O .
Songba . . . O . . . . . . . . O . . .
Kenkeni O . . M . . O . O . . M . . O .
Shekere X . . . X . . . X . . . X . . .
Bell X X . X . X X . X . X . X . X . =
SONG:
Illawuli woo konko daba
kondon tilu barana
Illawuli woo konko daba
kondon tilu barana
Illawuli woo konko daba
Kolankoma s=E8nek=E8kelalu barana
Wake up farmer
the meal has arrived
Stand up exemplary farmer
the meal is here
*****
I was taught this song in Gambia, by Guineans, as an accompaniment to Kassa. Michael's post has jogged my interest in finding out what the lyrics mean - I know that the Ningky Nangko is a (mythical?) lizard-like creature, not much more. Can anyone help, please?
Daouda Sanne kouloh boute
Kouloh boute te ben donda
Ningky nangko pino bala
Barri pino bala - timo soulah ha
The spelling is probably inaccurate!
KASSA
Kassa is a harvest-dance During harvest-time the farmers go to the fields, that are sometimes far away from the village. A camp is made for as long as neaded. Some woman come to prepare the meals. During the day the drummers play Kassa to support the workers in the field. When the harvest is completed there is a big party in the village. Another custom (according Famoudou Konate) that is connected with this work is that a girl (the prettiest in the village) hangs her shawl on a stick at the end of the field. The worker who reached this shawl the first (while working) spends the night with the girl. This is not supposed to have a sexual caracter, for if the girl would get pregnant, the man would be beaten in public.
Last changed at 01-07-2000
Intro
1 . . . 2 . . . 3 . . . 4 . . .
T . T T . T . T T . S S S . . .
f . r l . l . l r . r l r . . .
Kenkeni
1 . . . 2 . . . 3 . . . 4 . . .
O O . c . . C . O O . c . . C .
x x . x . x x . x x . x . x x .
Sangban
1 . . . 2 . . . 3 . . . 4 . . .
C . . O . . C . C . . O . . C .
x . x x . x x . x . x x . x x .
Dun Dun
1 . . . 2 . . . 3 . . . 4 . . .
O . O O . . . . . . O O . O O .
x . x x . x x . x . x x . x x .
Dundun variation
1 . . . 2 . . . 3 . . . 4 . . .
O . . . . . . . . . O . O . O .
x . x x . x x . x . x . x . x .
Sangban echauffement
1 . . . 2 . . . 3 . . . 4 . . .
C . . O . . O . . O . . O . . .
x . x x . x x . x x . x x . x .
Dundun echauffement
1 . . . 2 . . . 3 . . . 4 . . .
. O . O . O . O O . O . O . O O
. x . x . x . x x . x . x . x x
Djembe 1
1 . . . 2 . . . 3 . . . 4 . . .
T T S S . . S S T T S S B . S B
r l r l . . r l r l r l r . r l
Djembe 2
1 . . . 2 . . . 3 . . . 4 . . .
S . b S S . T T S . b S S . T T
r . r l r . r l r . r l r . r l
Djembe 3
1 . . . 2 . . . 3 . . . 4 . . .
T . S S . B S S B . S S B B S S
r . r l . l r l r . r l r l r l
Djembe 4
1 . . . 2 . . . 3 . . . 4 . . .
B . B S . S . B B . B . T T . B
r . r l . l . l r . r . r l . l
Djembe 5
1 . . . 2 . . . 3 . . . 4 . . .
S . B S . B S . B . T T T . . .
r . r l . l r . r . r l r . . .
Djembe 6
1 . . . 2 . . . 3 . . . 4 . . .
T T S . . S . S T T S . . S T S
r l r . . l . l r l r . . l r l
Djembe solo 1 ;frases A,B,C and D
A
1 . . . 2 . . . 3 . . . 4 . . .
S . T T . S . T T . S . T T . .
f . r l . f . r l . f . r l . .
K . S . K . S . K . S . K . . .
. . . . . . . . . . . . . . . .
B
1 . . . 2 . . . 3 . . . 4 . . .
S . . S . . S . . . T T B . . .
r . . l . . r . . . r l r . . .
S . . S . . S . T T T T B . . .
r . . l . . r . r l r l r . . .
C
1 . . . 2 . . . 3 . . . 4 . . .
B T T B T T B T T B T T B . B .
r l r l r l r l r l r l r . r .
B . . . S . . . S S S . B . . .
r . . . r . . . r l r . r . . .
D
1 . . . 2 . . . 3 . . . 4 . . .
S . T T . S . T T . S . T T . .
f . r l . f . r l . f . r l . .
S . T T . S . T T . . . . . . .
f . r l . f . r l . . . . . . .
Djembe solo 2;frases A, B, C, D, E and F
A
1 . . . 2 . . . 3 . . . 4 . . .
B . . . S . B . B . S S S . . .
r . . . r . r . r . r l r . . .
B
1 . . . 2 . . . 3 . . . 4 . . .
S T T . . T T B S T T . . T T B
r l r . . l r l r l r . . l r l
C
1 . . . 2 . . . 3 . . . 4 . . .
S . . T T T . B S . . . . . T T
r . . l r l . l r . . . . . r l
D
1 . . . 2 . . . 3 . . . 4 . . .
S . T T S . . B B . . B B . T T
r . r l r . . l r . . l r . r l
E
1 . . . 2 . . . 3 . . . 4 . . .
S . T T S . . . T T S S S . S .
r . r l r . . . 2 2 2 2 2 . f .
S . S . T T S S S . S . S . S .
f . f . 2 2 2 2 2 . f . f . f .
F
1 . . . 2 . . . 3 . . . 4 . . .
S S T S T T S B S . S . S S . .
r l r l r l r l r . r . r l . .
Ending the solo :
1 . . . 2 . . . 3 . . . 4 . . .
S S T S T T S B S . S . S . . .
r l r l r l r l r . r . f . . .
Djembe solo 3; frases A, B, C, D and E.
A
1 . . . 2 . . . 3 . . . 4 . . .
S S S S T T S S S . . . . . . B
r l r l r l r l r . . . . . . l
B
1 . . . 2 . . . 3 . . . 4 . . .
S S . B S . S . . S . B S . T T
r l . l r . r . . l . l r . r l
C
1 . . . 2 . . . 3 . . . 4 . . .
T S . S . S . S T T S . S . . .
r l . l . l . l r l r . r . . .
1 . . . 2 . . . 3 . . . 4 . . .
. . . . . . . . . . . . . . . T
. . . . . . . . . . . . . . . l
D
1 . . . 2 . . . 3 . . . 4 . . .
T S . S . S . S T T S . S . S T
r l . l . l . l r l r . r . r l
T . T T . T T . T T . T T . . T
r . r l . l r . r l . l r . . l
E
1 . . . 2 . . . 3 . . . 4 . . .
T T . B T T . B S S . B S S . B
r l . l r l . l r l . l r l . l
KASSA DJIBO
Last changed at 01-11-1998
Kenkeni 1
O . . . O . . . O . . . O . . .
Kenkeni 2
. . . . . . O . . . . . . . O
. x . x . x . x . x . x . x . x .
Sangban
O O . . . O . O . . C . C . . .
x x . x . x . x . x x . x . x .
. . . . . O . O . . C . C . . .
x . x x . x . x . x x . x . x .
Sangban variation
O O . . . O . O . . C . C . . .
x x . x . x . x . x x . x . x .
O . . O . . O . . O . . O . . .
x . x x . x x . x x . x x . x .
Dun Dun
O O . O O . . . . . . . . . . . .
x x . x x . x . x x . x . x . x .
. O . . . . . . . . . . . . . O
x x . x . x . x x . x . x x . x
Dundun variation
O O . O O . . . . . . . . . . . O
x x . x x . x . x . x x . x . x x
O O . O O O . O O O . O O O . O
x x . x x x . x x x . x x x . x
KASSA SORO
WAP-pages / Paul Nas / Last changed at 25-04-1999
Intro
T . T T . T . T T . S S S . . .
f . r l . l . l r . r l r . . .
Kenkeni
O O . C . . C . O O . C . . C .
x x . x . x x . x x . x . x x .
Sangban
O . . O . . O . . . . . O . O .
x . x x . x x . x . x . x . x .
. . . . . . . . O . O . . . . .
x . x x . x x . x . x . x . x .
Dun Dun
. . O . . O . . O . O O . . O .
. x x . x x . x x . x x . x x .
. . . . . . O O . . O . O . O O
x x . x x . x x . x x . x . x x
Combi Dun Dun / Sangban
S
O . . O . . O . . . . . O . O .
D
. . O . . O . . O . O O
x . x x . x x . x . x x . x x .
Djembé 1
B . T T . . S . B . T T . . S .
r . r l . . r . r . r l . . r .
Djembé 2
S . . S S . T T S . . S S . T T
r . . l r . r l r . . l r . r l
Another intro
S
O . . O . . . . . . . . . . . . 3x
x . x x . x x . x . x x . x x .
S
O . . O . . . . . . . . . . . O 1x
x . x x . x x . x . x x . x . x
S
O . O O . . . O O . O O . . . O 1x
x . x x . x . x x . x x . x . x
S
O . O . O . . . O . . . . . . .
x . x . x . x . x . . . . . , .
Dj
. . . . . . . . . . . S . S . S
S . . . . . . . . . . . . . . . .
Dj
S . . . . . . S . S . S S . . B
S S . . . . . S . S . S S . . .
r l . . . . . l . l . l r . . .
KASSAGBE
legend:
T, t tone on strong hand, weak hand
S,s slap on strong hand, weak hand
B,b base on strong hand, weak hand
O open dunnun note
C closed dunnun note
x bell stroke
. place holder for spot with no note.
| repeat marks
> continuation on next line/from previous line
^ under a note indicates lead in (i.e. the point in the rhythm to
start off the break)
Timeline: 1 . . . 2 . . . 3 . . . 4 . . .
Dj #2 B B s T . T s . B B s . B B s .
Dj #2 T t T t . . S . T t T t . . S .
Bell x . x x . x . x x . x . x x . x
Kekeni x x . x . x . x x . . . . . . .
Sangba . . . . . . . . . . . . x . x .
Kawa
Duns:
K | X . X X . X | >
| O . . . . O |
S | X . X X . X | X . X . X . | X . X . X . | X . X . X . | >
| . . O O . . | O . O . O . | C . . . C . | . . C . O . |
var. Duns:
S1 | X X . X . X | X . X . X . | X . X . X . | X . X . X . |>
| . O . . . . | O . O . O . | C . . . C . | . . C . O . |
S2 | X X . X . X | X . X . X . | X . X . X . | X . X . X . |>
| . O . O . . | O . O . O . | C . . . C . | . . C . O . |
Djembe Acc.:
| S . O S . . |
Break:
| . . . . . . | . . . . . . |
Djembe Solo:
| . . . . . . | . . . . . . | . . . . O_O O | O O S . . . |
| . . . . . . | . . . . . . | . S S . S . | S . S . . S |
1
| S S . S S S | . S S S . S | S . S . O_O O | O S O . . Sb |
| . . . . . . | . . . . . . | O O . O S S | O . S . . . |
| . . . . . . | . . . . . . | . . . . S_S S | S S O . . . |
| . S . S . . | . S . . S . | . S . S . . | . S . . S . |
2
| B B S B B O | B B S B B B | B B S Bb B O | B B S B B B |
3
| S . S . S . | S . S . S . | O O S . S . | S . S . S . |
4
| S S . . S S | . . S S . . | Ob O . . S S | . . S S . . |
5
| S S O_O O S S | S . S S O_O O | S S S . S S | O_O O S S S . |
6
| Or O S S Or O | O S S . Or O | S S Or O S | Or O O O S . |
KEBENDO
The Kebendo-rhythm and -song is one of the women adressing the men and warning them not to take more than one wife. The woman ask themselves what they all shall do to prevent their men to merry more than one wife. It was during the time of dictator Sékou Touré that it was decided that women had to approve if their husband wanted to merry a second wife. The song became popular then . For a long time only the first djembe-pattern was used to accompany the song. Famoudou Konaté added all the rest (Rhythmen und Lieder aus Guinea, by Thomas Ott and Famoudou Konate). Here is a part of the song-lyrics; I hope I can ad some of the music in the soundfile during the coming period. (The red-part is sung by men here, and black by women) The word "fila" (two) is later on repalced by "saba"(three), nani (four), lolu (five) and wörö (six)
E ! Kebendo, oh Laila, Muso fila ta lu, wo ma nyin, wo ma nyin
The men (the gang) ! Now what ! To merry two women, that's not good, that's not good
When finally the men sing about "kelen" (one) wife, the women reply with" wo ka nyin" (that's good!)
Last changed at 29-07-1999
Intro
1 . . . 2 . . . 3 . . . 4 . . .
T . T T . T . T T . S S S . . .
f . r l . l . l r . r l r . . .
Kenkeni
1 . . . 2 . . . 3 . . . 4 . . .
O . . . O . . . O . . . O . . .
x . x . x . x . x . x . x . x .
Sangban / Dundun
1 . . . 2 . . . 3 . . . 4 . . .
S
. . O O . . . . . . O . . . . .
D
. . . . . . O . . . . . . . O .
x . x x . x x . x . x . x . x .
Djembé 1
1 . . . 2 . . . 3 . . . 4 . . .
T T . S B . S . B . . S B . S .
r l . l r . r . r . . l r . r .
Djembé 2
1 . . . 2 . . . 3 . . . 4 . . .
B . S S B . T T B . S S B . T T
r . r l r . r l r . r l r . r l
Solo 1 (repeat first line 4 times
1 . . . 2 . . . 3 . . . 4 . . .
S . S S . S S . S . . . . . . .
f . r l . l r . r . . . . . . .
Play line plus a 4-rest 4 times
1 . . . 2 . . . 3 . . . 4 . . .
S . S S . S S . S . T . S . . .
f . r l . l r . r . r . r . . .
S . S S . S S . S . T . S . B T
f . r l . l r . r . r . r . r l
. S . T . S . B T . S . T . . B
. l . l . l . l r . r . r . . l
S S . . . . . . . . . . . . . .
r l . . . . . . . . . . . . . .
Repeat the 2 following lines
1 . . . 2 . . . 3 . . . 4 . . .
B S . S . S S . B S . S . S S . B
l r . r . r l . l r . r . r l . l
T T . . . . . . . . . . . . . .
r l . . . . . . . . . . . . . .
KENNEFOLI
The Kennefoli is played during circumcision festivities. It is a tribute to the ones that carry out the circumcisions. It's much slower then the Söli, which is often preceded by the Kennefoli.
Nakura bara na kabo dyinda la eeh, Dembati luko ko-i-ni-ke
Greetings to the mothers of the children that return from the bara
Last changed at 04-09-1998
Intro
. . . . . . . . . . . . T . T T . T T . T T . .
. . . . . . . . . . . . f . r l . r l . r l . .
Kenkeni (o = for a second kenkeni)
O . o o . O O . o o . O O . o o . O O . o o . O
x . x x . x x . x x . x x . x x . x x . x x . x
Sangban
O . . . . . O . . . . . O . . . . . O . . . . .
x . x . x . x . x . x . x . x . x . x . x . x .
Dun Dun
. . . . O . . . O . . . . . . . O . . . O . . .
x . x . x . x . x . x . x . x . x . x . x . x .
Djembé 1
S . T S . . S . T S . . S . T S . . S . T S . .
r . r l . . r . r l . . r . r l . . r . r l . .
Changing to the Söli
T . T T . T T . T T . O . H . . . O . H . . .
f . r l . r l . r l . x . x . x . x . x . x .
O . H . . . . . O O . O O . T T T T S . O O . O
x . x . x . x . x x . x x . f r l r l . x x . x
Söli starts right after:
O . T . T . T . O O . O . . . . . . . . . . . .
x . r . r . r . x x . x . . . . . . . . . . . .
KENNEFOLI 2 (Gina-Fole?)
Source: Madou Dembele
Spelling? He prononced it like "gina-foli" with a hard "g."
1 . . 2 . .
Djembe 1 s . T t . S
Djembe 2 @ . . $ . .
Duns 1 . . . 2 . . . 3 . . . 4 . . .
S S . S . K . S S . S . D D . .
KON-KON
Choppy rhythm
1 . & . 2 . & .
INTRO
$ . S s . S s .
@ . T t . T t .
$ . S s . S s .
Dj1 B . T t . S s . B . T t . S s .
Dj2 T . s S t . S s T . s S t . S s
Dj3 T t S s . . S s T t S s . . S s
Dun B . B . B B . . M . . . . . . .
Bell L . L . H H . . L L . . H H . .
KONKOBA DUNDUN
The Konkoba is a rhythm that origianally was played to accompany the farmers during their work on the field. The farmers are working/dancing on this Konkoba-rhythm. The Konkoba Dundun is played when the farmers go back to the villages. Learned from Mamady "Delmundo" Keïta and Ibro Konaté
Last changed at 21-04-2000
Kenkeni
. . O . O O . . O . O O . . O . O O
. x x . x x . x x . x x . x x . x x
Sangban ; basic beats on one and four
O . . . . . . . . O . o o . . . . .
x . x x . x x . x x . x x . x x . x
Variation by Ibro Konate
O . . . . . C . . O . . . . O O . O
x . x x . x x . x x . x . . x x . x
Dun Dun
O . O O . . . . O O . o . O O . O .
x . x x . x x . x x . x . x x . x .
Intro
T . T T . T T . T . . . . . . . . .
f . r l . r l . r . . . . . . . . .
Sangba
. . . . . . . . . . . . . . O . . . >>
. . . . . . . . . . x . x . x . x .
Dununba
. . . . . . . . . . O . O . . . O . >>
. . . . . . . . . . x . x . x . x .
Sangba
. . O . . . . . O . . . . . O . . . >>
x . x . x . x . x x . x . x x . x .
Dununba
O . . . O . O . . O . . . O . . O . >>
x . x . x . x . x x . x . x x . x .
Sangba
O . . . . . . . . . . . . . O . . . >>
x . x x . x x . x . x . x . x . x .
Dununba
O . . . . . . . . . O . O . . . O . >>
x . x x . x x . x . x . x . x . x .
Sangba
. . O . . . . . O . . . . . O . . . >>
x . x . x . x . x x . x . x x . x .
Dununba
D
O . . . O . O . . O . . . O . . O . >>
x . x . x . x . x x . x . x x . x .
Sangba
O . . . . . . . . O . . . . . . . .
x . x x . x x . x x . x x . x x . x
Dununba
O . O O . . . . O O . O . O O . O .
x . x x . x x . x x . x . x x . x .
Kenkeni
. . O . O O . . O . O O . . O . O O
. x x . x x . x x . x x . x x . x x
Djembe 1
S . . S T T S . . S T T S . . S T T
r . . l r l r . . l r l r . . l r l
Djembe 2
. . S . T S . . S . T S . . S . T S
. . r . r l . . r . r l . . r . r l
Djembe 3
S . T S . . S . T S . . S . T S . .
r . r l . . r . r l . . r . r l . .
End
T . T T . T T . T T . . S . . . . .
f . r l . r l . r l . . r . . . . .
Sangba
O . . . . . . . . O . . O . . . . .
x . x x . x x . x x . x x . . . . .
Dununba
O . O O . . . . O O . O O . . . . .
x . x x . x x . x x . x x . . . . .
KONOWULEN I
Notation by Albert Prak
call
|..*..*..*..|
djembe solo ssosss......
kenkeni ........K.KK
|:.*..*..*..*..*..*..*.:|
djembe 1 s.oo..s.oo..s.oo..s.oo..
djembe 2 s..soos..soos..soos..soo
kenkeni ..K.KK..K.KK..K.KK..K.KK
sangban S.....S.SS..s.....s.....
dununba .D.D...DD.D...........DD
KONTEMURU
A Malinke rhythm.
Kontemuru was a famous dancer who invented this rhythm.
Source: Mamady
1 - - 2 - - 3 - - 4 - - 5 - - 6 - - 7 - - 8 - -
Djembe #1 S . T s B s S . T s B s S . T s B s S . T s B s
Djembe #2 S . . s T t S . . s T t S . . s T t S . . s T t
Sangban 1 - - 2 - - 3 - - 4 - - 5 - - 6 - - 7 - - 8 - -
bell x . x . x x . x x . x . x . x . x x . x x . x .
drum M . . . B B . . M . . . B . B . B B . . M . . .
Kenkeni 1 - - 2 - - 3 - - 4 - -
bell x . x x . x x . x x . x
drum . . B . . B . . B . . B
Dununba 1 - - 2 - - 3 - - 4 - -
bell x . x x . x x . x x . x
drum B . . . . B B . . . . B
lead-in ^
KOROBADON
This rhythm is taught by Mamady "Delmundo" Keïta. But can also be found at the YAPP-site by R. Kronberger.
Last changed at 24-04-2000
Kenkeni
. . O . O O . . O . O O . . O . O O . . O . O O
. x x . x x . x x . x x . x x . x x . x x . x x
Sangban
C . . . O . . . . C . C . . O . O . C . . C . .
x . x . x . x . x x . x . x x . x . x . x x . x
C . . . O . . . . C . C . . O . O . C . . C . .
x . x . x . x . x x . x . x x . x . x . x x . x
C . . . O . . . O O . O . . O . O . C . . C . .
x . x . x . x . x x . x . x x . x . x . x x . x
Dundun
. O O . . . . . . C . C . O O . O . O O . O . O
. x x . x . x . x x . x . x x . x . x x . x . x
. O O . . . . . . C . C . O O . O . O O . O . O
. x x . x . x . x x . x . x x . x . x x . x . x
. O O . O . . . . C . C . O O . O . O O . O . O
. x x . x . x . x x . x . x x . x . x x . x . x
Djembé 1
S . S S T T S . S S T T S . S S T T S . S S T T
r . r l r l r . r l r l r . r l r l r . r l r l
KOTEDJUGA
From Mali (some caste members are also in Giunea)
The Kotedjuga caste functions as clowns. Example: during a wedding, when the bride and groom are about to take their vows, the clowns appear and make a scene. People pay them to leave! Similar function as griots. They dress badly and look ridiculous.
Rhythm is in 3.
BREAK 1 . . 2 . . 3 . .
@ . T t . T t . . (Ends with $ for end of rhythm)
1 . . 2 . . 3 . .
Djembe 1 bS . S b T t B s . (Begins with Bass-Slap flam)
Djembe 2 T s T s T s (T on beat; s on upbeat)
Bell x . x . x . x . .
Sangba B . B . m . m . .
Bell? x x x x x x x x x
Kenkeni B . B . m . . . .
1 . . 2 . . 3 . . 4 . . 5 . . 6 . .
Bell? x x . x x . x x . x x . x x . x x .
Dun . . . . . . . . . . . . . . B B B .
KOTEDJUGA SOLOS
Needs confirmation.
1.
1 . . 2 . . 3 . . 1 . . 2 . . 3 . .
B . . B . . B . s S . s B . . B . s
^
Repeats here. 4 times
2.
1 . . 2 . . 3 . . 1 . . 2 . . 3 . .
s S . s S . . B . s
^
Repeats here. 4 times
3.
1 . . 2 . . 3 . . 1 . . 2 . . 3 . .
bSsSs. B . . B . .b
^
Repeats here. 4 times (roll)
4.
1 . . 2 . . 3 . . 1 . . 2 . . 3 . .
bStTsTtSsS . . . .b
^
Repeats here. 4 times (roll)
5. Do 3 TWO times and 4 ONE time: do 4 times total
6. Do 4 EIGHT times.
7. Break Cue
1 . . 2 . . 3 . . 1 . . 2 . . 3 . .
? $ S s $ S s $ S s $
$ S s $ S s S s $
8. End
1 . . 2 . . 3 . .
@ . T t . T t . $
KUKU
legend:
T, t tone on strong hand, weak hand
S,s slap on strong hand, weak hand
B,b base on strong hand, weak hand
O open dunnun note
C closed dunnun note
x bell stroke
. place holder for spot with no note.
| repeat marks
> continuation on next line/from previous line
^ under a note indicates lead in (i.e. the point in the rhythm to
start off the break)
1 - - - 2 - - - 3 - - - 4 - - -
Djembe #1 B . T t . . S . B . T t . . S .
Djembe #2 T t . s T t S . T t . s T t S .
Sangban
bell x . x x . x x . x . x x . x x .
drum o . . i . . o . o . . i . . o .
lead-in ^
Kenkeni
bell (easy) . . . x . . x . . . . x . . x .
bell (hard) x x . . x x . . x x . . x x . .
drum o o . . o o . . o o . . o o . .
Dununba
bell x . x x . x x . x . x . x . x .
drum . . . o . . . . . . . . o . o .
follow-in ^
bell x . x x . x x . x . x . x . x .
drum o . . o . . . . . . . . . . . .
COUNTRY: The forest part of Guinea, in the region of Beyla. (Wassolon, Journey into Rhythm, Numayakayi, Les Ballet Africains liner notes)
The forest region of Beyla and Macenta in Guinee (Mandeng Djeli liner notes)
REGIONAL/ETHNIC GROUPS: Konianka (Abdoulaye Sylla liner notes) Konianke (Master of the Forest liner notes)
PURPOSE/BACKGROUND:
A celebration dance for the fisherman (Michael Marcus liner notes)
Although not part of Mandeng, this region was peopled by Malinke many centuries ago and still today, the languages are rather similar for comprehension to be possible. This piece is played only by the djembe of which two give the accompanying rhythm, while the solo is beaten on a big low djembe. (Wassolon liner notes)
Mandingo dance for children. The children take vigour and physical power from the dance in order to become vigourous children. (Liner notes Les Tambours Goree)
A Sorcerer's dance (Les Ballet Africains liner notes)
A rhythm of rejoicing... often played after harvesting the rice (Mandeng Djeli liner notes)
****
Kuku comes from Beyla, a town in Guinea where Konyaka, a Malinke dialect, is spoken but this rhythm has spread throughout the Malinke region. Today there are many ways of playing Kuku. The rhythm is often played in the evening. Men and women join the musicians and ask them to play Kuku for their enjoyment. While dancing to the music, they forget their troubles and return home content.
According to Famadou Konate, Kuku wasn't originally played with djun djun accompaniment. The first djembe pattern (note by AP: s.oo..s.s.oo..s.) gives Kuku its distinctive musical flavor. This pattern was transposed in a characteristic way to the djun djuns and this arrangement gave rise to the standard, modern way of playing Kuku.
Famoudou Konate found this way of playing Kuku somewhat "corny" and trite and composed his own djun djun melody. He also composed the song sung on this recording. However, the solo patterns are, in his words, from "the real Kuku.
(From the German liner Notes, Rhythmen und Lieder aus Guinea, Professor Thomas Ott Translated by Albert Prak, Johannes Schya and Tom Daddesio)
Kuku is traditionally played on krin (hollowed wood logs also known as Kolokolo) with sticks. Jembes / Dununs are recent additions. (Yves Goulik)
A celebration dance for the fisherman (Michael Marcus liner notes)
Although not part of Mandeng, this region was peopled by Malinke many centuries ago and still today, the languages are rather similar for comprehension to be possible. This piece is played only by the djembe of which two give the accompanying rhythm, while the solo is beaten on a big low djembe. (Wassolon liner notes)
Mandingo dance for children. The children take vigour and physical power from the dance in order to become vigourous children. (Liner notes Les Tambours Goree)
A Sorcerer's dance (Les Ballet Africains liner notes)
A rhythm of rejoicing... often played after harvesting the rice (Mandeng Djeli liner notes)
Liner note: "Coucouba is a rhythm found in several ethnic peoples (the Koyagas, the Dioulas, and the Maoukas) in the Ivory Coast and Burkina, a striking combination of ternary and binary rhythms. (Liner notes, Adama Dra= me)
Kuku is the rhythm of celebration after the harvest. (Liner notes Mabiba Baegne, Dunun Rhythms I)
****
SONG LYRICS:
Call: Ah yey ku wey bo ji yamma doo wey (Abdoulaye Sylla, Guinee)
Response: Ahhh, ku wey bo yamma doo wey
Call: Zio na mayo zio ley ley (Abdoulaye Sylla, Guinee)
Response: Zio, zio ley ley ley
Ah, Ah, Ah Si Sayango
Ah Si Sayango, Ah Si Sayango (Malik Sow, Senegal)
Amana Tage Dabuse Amana
Amana Dabufa Dabuse Amana (Malik Sow, Senegal)
A Ah A, A Djia Molawu (Maimouna Bey Grecia, Guinea)
Djahamu Solada
Ah Djia Molaiay
*****
Kuku
The Kuku comes from Beyla, a town in guinea where they speak Konyaka, a Malinke dialect, but has spread all over the Malinke region. Today,there are multiple styles of playing Kuku. The rhythm is played often in the evening. Men and women are joining the musicians and ask them to play kuku for their delight. Dancing to the music, they forget their anxiety and are leaving happily.
The "original Kuku" didn't had any bass accompaniment. The musical characteristic was determined by the first djembe pattern. This side drum has been transferred in a special way to the bass drums, originating the present-day way of playing Kuku.
----
Song( by Famoudou Konate) :
Oh iya!
I te kuku fe n¥ye.
Oh iya!
I te kuku fe n¥ye.
Oh yes!
Play the Kuku for me.
Oh yes!
Play the Kuku for me.
KUKU - LOCAL VERSION (NOT ALIGNED)
Intro 1 Call
pa dogo dogo dogodo
Intro 2
go tapata
go tapata
go tapata
gun dun gun dun gun dun
Intro 3
REPEAT 2
Intro 4
do patapa tapata
do patapa
do patapa
do patapa
do pa
Intro 5 Call
pa dogo dogo dogo
1.
gun godo ta
1 Variation
gun godo / flam pa ta pa / flone go do go / ta
2 (Cocoa Puffs)
go do . pa do go ta
3.
pa ta . godo (starts with ta)
4.
go do pa / tapata (starts with first pa)
Break 1
flone flone / flone flone flone flone
Lead only: pa ta pa ta / pa ta pa
Break 2 (mimics jun line)
flam flam flam-do
flam / go do go do
Break 3 (simple)
pa ta pa (jun: gun gun)
pa ta pa (jun: gun gun)
pa do pa ta
pa ta pa (jun: gun gun)
pa ta pa (jun: gun gun)
pa do pa ta
Break 4 (each drum in turn)
godogodo
Break 5 (djembes stop)
NA Drum (after 4 jun measures, begins on 2nd kekeni hit)
ba muff muff
ba ba ba muff muff
ba ba ba muff muff
(Then standard break 2x into parts)
End
do tapata
do tapata
do tapata
gun dun gun dun gun dun
flam
VAIRATION PART:
Jembe 1 B.Tt..S.
Jembe 2 Tt..B...B...T.T.
Tt..B...B...B...
KUKU - IVORY COAST
Source: Madou Dembele
Djun parts combined for one person.
legend:
T, t tone on strong hand, weak hand
S,s slap on strong hand, weak hand
B,b base on strong hand, weak hand
O open dunnun note
C closed dunnun note
x bell stroke
. place holder for spot with no note.
| repeat marks
> continuation on next line/from previous line
^ under a note indicates lead in (i.e. the point in the rhythm to
start off the break)
1 - - - 2 - - - 3 - - - 4 - - -
Djembe #1 B . T t . . S . B . T t . . S .
^
Djembe #2 S . . s S . T t S . . s S . T t
1 - - - 2 - - - 3 - - - 4 - - -
Dununba B . . . . . . B B . . . . . . B
^
Sangba . . . . B . . . . . . . B . . .
Kenkeni . . . B . . . . . . B . . . . .
KUKU WITH SOLOS
Originally Kuku (Koukou, Cucu, Coucou) is a circle-dance for the woman, celebrating the return from fishing. To the Beyla-and Nzerekore-area, (situated partly in Guinea partly in the Ivory Coast) there was once a Malinke-migration. The Malinke mixed with the local people here and formed the Konianka (,Konya, Konyagui or Manian, as the Malinke say) who now speak a Malinke-dialect. This was where the rhythm originally comes from. The rhythm was only played by one low-tuned djembe (see djembé-pattern 1) and one very large solo-djembé. Only later, out of this djembé-pattern, the patterns for the bass-drums evolved. Nowadays Kuku is very popular all over West Africa and played on many occasions. Because of this popularity the rhythm is known with lots of varietys in the different areas that it's played. Two songs:
Lauginabee, ee ewontang,
jaga langina bee, o ma la guinee borima
peace for us, peace for the people from Guinea
O ya, itee Kuku foniee
Yes, play the Kuku for me!
WAP-pages / Paul Nas / Last changed at 09-12-2001
Call
1 . . . 2 . . . 3 . . . 4 . . .
T . T T . T . T T . T . T . . .
Bass drum Patterns from Famoudou Konaté
Kenkeni
1 . . . 2 . . . 3 . . . 4 . . .
. . O . . . O . . . O . . . O .
x . x . x . x . x . x . x . x .
Sangban
1 . . . 2 . . . 3 . . . 4 . . .
C . . . . . . . C . . . . . . .
x . x . x . x . x . x . x . x .
Dun Dun
1 . . . 2 . . . 3 . . . 4 . . .
. . . O . . C . . . . O . . C .
x . x x . x x . x . x x . x x .
Bass drum patterns from Mamady Keïta
Kenkeni
1 . . . 2 . . . 3 . . . 4 . . .
O O . . O O . . O O . . O O . .
x x . . x x . . x x . . x x . .
Sangban
1 . . . 2 . . . 3 . . . 4 . . .
O . . c . . O . O . c . . . O .
x . x x . x x . x . x x . x x .
Dun Dun
1 . . . 2 . . . 3 . . . 4 . . . . . . . . O . . . . . . c . . . . .
x . x x . x x . x . x . x . x .
Dun Dun variation
1 . . . 2 . . . 3 . . . 4 . . .
O . . O . . . . . . . . O . O .
x . x x . x x . x . x . x . x .
O . . O . . . . . . . . . . . .
x . x x . x x . x . x x . x x .
Combination for duns
1 . . . 2 . . . 3 . . . 4 . . .
S O . . . . . O . O . . . . . O .
D . . . O . . . . . . . . . . . .
x . x x . x x . x . x . x . x .
S O . . . . O . O . . . . O . . .
D . . . O . . . . . . . . . . . .
x . x x . x x . x . x . x . x .
S O . . . . . O . O . . . O . O .
D . . . O . . . . . . . . . . . .
x . x x . x x . x . x . x . x .
S O . . . . . O . O . . . . . O .
D . . . O . . . . . . . . . . . .
x . x x . x x . x . x . x . x .
Djembé 1
1 . . . 2 . . . 3 . . . 4 . . .
S . T T . . S . S . T T . . S .
r . r l . . r . r . r l . . r .
Djembé 2
1 . . . 2 . . . 3 . . . 4 . . .
B . T T . . S . B . T T . . S .
r . r l . . r . r . r l . . r .
Djembé 3
1 . . . 2 . . . 3 . . . 4 . . .
S . B . T T . . S . B . T T . .
r . r . r l . . r . r . r l . .
Djembé 4
1 . . . 2 . . . 3 . . . 4 . . .
T T . S T T S . T T . S T T S .
r l . l r l r . r l . l r l r .
Djembé 5
1 . . . 2 . . . 3 . . . 4 . . .
T T . B T T B . T T . B T T B .
r l . l r l r . r l . l r l r .
Djembé 6
1 . . . 2 . . . 3 . . . 4 . . .
S . S . T T . B S . S . T T . B
r . r . r l . l r . r . r l . l
Djembé 7
1 . . . 2 . . . 3 . . . 4 . . .
T . T T B S S . T . T T B S S .
r . . l r . r l r . . l r . r l
Djembé Solo 1
frase1
1 . . . 2 . . . 3 . . . 4 . . .
T T T T T T T T S . . . S . . .
r l r l r l r l r . . . r . . .
frase 2
1 . . . 2 . . . 3 . . . 4 . . .
S S S S S S S S T . . . T . . .
r l r l r l r l r . . . r . . .
frase 3
1 . . . 2 . . . 3 . . . 4 . . .
S S . . B . . B S S S S S . . .
r l . . r . . l 2 r l r l . . .
1 . . . 2 . . . 3 . . . 4 . . .
S S . . B . . B S S S S S S S S
r l . . r . . l 2 r l r l r l r
1 . . . 2 . . . 3 . . . 4 . . .
S S . . B . . B S S S S S . . T
l r . . r . . l 2 r l r l . . l
1 . . . 2 . . . 3 . . . 4 . . .
S . T S . T S . T T S . S . . .
r . r l . l r . r l r . f . . .
frase 4
1 . . . 2 . . . 3 . . . 4 . . .
S . T S . T S . T S . T S . S .
r . r l . l r . r l . l r . r .
1 . . . 2 . . . 3 . . . 4 . . .
S . . S S . . S S . S . S . . .
r . . l r . . l r . r . r . . .
frase 5
1 . . . 2 . . . 3 . . . 4 . . .
B T S S S S S S S . . . B T S S
r l r l r l r l r . . . r l r l
1 . . . 2 . . . 3 . . . 4 . . .
S . . . B T S S S S S S S . . .
r . . . r l r l r l r l r . . .
frase 6
1 . . . 2 . . . 3 . . . 4 . . .
S T T S T T S . B . S S S . . .
r l r l r l r . r . r l r . . .
frase 7
1 . . . 2 . . . 3 . . . 4 . . .
B B . . B B . . B B . . B . . .
r l . . r l . . r l . . r . . .
frase 8
1 . . . 2 . . . 3 . . . 4 . . .
S S T S T T S . B . S S S . . .
r l r l r l r . r . r l r . . .
Djembé Solo 2
frase1
1 . . . 2 . . . 3 . . . 4 . . .
S S S T T T S S S T T T S S S S
2 r l 2 r l 2 r l 2 r l 2 r l r
1 . . . 2 . . . 3 . . . 4 . . .
S S S . . . . . . . . . . . . .
r l r . . . . . . . . . . . . .
frase 2
1 . . . 2 . . . 3 . . . 4 . . .
B T T B S S S S T T S S S . . .
r 2 r l 2 r l r l r l r l . . .
frase 3
1 . . . 2 . . . 3 . . . 4 . . .
B T T B S S S S B T T B S S S S
r 2 r l 2 r l r l 2 r l 2 r l r
1 . . . 2 . . . 3 . . . 4 . . .
B S S S S S S S S . . . . . . .
l 2 r l r l r l r . . . . . . .
frase 4
1 . . . 2 . . . 3 . . . 4 . . .
T . T S . . . S . . S . T . T S
r . r l . . . l . . r . r . r l
1 . . . 2 . . . 3 . . . 4 . . .
. . . S . . S . T . T S . S . .
. . . l . . r . r . r l . l . .
frase 5
1 . . . 2 . . . 3 . . . 4 . . .
T . S T . S T . S T . S T . S T
r . r l . l r . r l . l r . r l
1 . . . 2 . . . 3 . . . 4 . . .
T . S T . S T . S S S S T . . .
r . r l . l r . 2 r l r l . . .
Djembé Solo 3
frase1
1 . . . 2 . . . 3 . . . 4 . . .
S . S . S . S . S . S . S . S .
r . r . r . r . r . r . r . r .
1 . . . 2 . . . 3 . . . 4 . . .
B . . . . . S . B . . . . . S .
r . . . . . r . r . . . . . r .
1 . . . 2 . . . 3 . . . 4 . . .
B . T . T . S . B . . . . . . .
r . r . r . r . r . . . . . . .
frase 2
B B T T B B S . B B T T B B S .
r l r l r l r . r l r l r l r .
frase 3
1 . . . 2 . . . 3 . . . 4 . . .
B T . B S . S . B T . B S . S . .
l r . r l . l . l r . r l . l . .
frase 4
1 . . . 2 . . . 3 . . . 4 . . .
T S T S S T S S T S T S S T S . . .
r l r l r l r l r l r l r l r . . .
frase 5
1 . . . 2 . . . 3 . . . 4 . . .
S T T S T T S T T S T T S T T S .
l r l r l r l r l r l r l r l r .
LAFÈ
Last changed at 04-09-1998
Intro ; a short djembe-call, followed by an answer on the dun's
T . T T . T . . O . O . O O . .
f . r l . l . . x . x . x x . .
Sometimes a longer intro is used; the first line is followed by:
O . O . O O . . O . O . O O . .
x . x . x x . . x . x . x x . .
T T T T T . . . O . O . O O . .
2 r l r l . . . x . x . x x . .
Kenkeni
. . O O . . O O . . O O . . O O
x . . . x . . . x . . . x . . .
Sangban
C . . C . C . . O . O . O O . .
x . x x . x . x x . x . x x . x
Sangban echauffement
C . . O . . O . . O . . O . . .
x . x x . x x . x x . x x . x .
Dun Dun
. . . . . . . O O . O . O O . .
x . x x . x . x x . x . x x . x
Dun Dun echauffement
O . O O . O . O O . O . O O . O
x . x x . x . x x . x . x x . x
Djembé 1
S . . S S . T T S . . S S . T T
r . . l r . r l r . . l r . r l
Djembé 2
B . T T . . S . B . T T . . S .
r . r l . . r . r . r l . . r .
LAMBA
MADOU'S VERSION
legend:
T, t tone on strong hand, weak hand
S,s slap on strong hand, weak hand
B,b base on strong hand, weak hand
O open dunnun note
C closed dunnun note
x bell stroke
. place holder for spot with no note.
| repeat marks
> continuation on next line/from previous line
^ under a note indicates lead in (i.e. the point in the rhythm to
start off the break)
1 - - - 2 - - - 3 - - - 4 - - -
INTRO (Repeats for a while)
Dj . . M . M . M . . . M . M . . B >
b . B . b . . B b . B . b . . . >
Dun . . . . . . . . . . . . . . . B >
B . B . b . . B b . B . b . . . >
Bell x . x . x . x . x . x . x . x . >
x . x . x . x . x . x . x . x .
Lead Standard Break Begins on 5th Muff.
1 - - - 2 - - -
Dj1 T t S s B . S s
Dj2 S . . s S . T t
Dun B . B . B . . B
_____________________________________________________________________________
NAME OF RHYTHM: Lamban, Lamba, Lambambaa, Lanbango, Lambango, Lambang, Jali,
Jeli Foli, Jalidon, Dialidon, Diely-Don, Griot
COUNTRY: All Mande countries (Guinea, Mali, Burkina Faso, Ivory Coast,
The Gambia and Senegal)
OTHER NAMES:
REGIONAL/ETHNIC GROUPS: Mande
PURPOSE/BACKGROUND:
Here's my understanding of Lamban (sometimes spelled Lamba or Lambango in
The Gambia), also known as Jeli Don (Dance of the Jelis ) or simply Griot
(a term that originally apeared in French travel writing in the 17th
century referring to jelis or the Wolof or Fula equivalent):
It has origins on the balafon as a piece created by and for jelis (Maninka
hereditary professional musicians), specifically the Kouyate lineage. If
you want to praise a Kouyate, all you need do is play Lamban. How and when
the dundun came along with Lamban is impossible to speculate upon--maybe it
even started out on dundun, but there are no oral traditions about this. At
any rate, it makes the most sense that the jembe is a later accretion to
Lamban. The crux of the problem is: when jembe players played along with
balafon and dundun players, why did they choose a 4/4 generic accompaniment
pattern (albeit played at times with a triplet feel)? I can't see any basis
for an answer to this question yet. (snip)
In Greensboro, Joh had explained that Dansa was played to encourage workers
during agricultural labor and Lamban was played by jelis to celebrate when
the fruits of that labor (the harvest) was shared with them. He may also
have said that Dansa was played to celebrate the harvest. But I wouldn't
pin Joh down to that single explanation; of course he may have simplified
what he knew due to the circumstances. There does seem to be a close
connection between Lamban and Dansa, but the historical explanation is
unclear. On Djimo Kouyate's cassette he has the dundun go into Dansa during
Dialidon (Jelidon), and that is typical. The
bilingual article "Pre-theatre et rituel: National Folk Troupe of Mali" in
African Arts, Spring 1968 vol. 1, no. 3, pages 31-37, written by Jean
Decock, shows a drawing and photo of Dansa dancers indicating it is danced
by girls from Khaso (Xaso) to celebrate the harvest. (Eric Charry)
During Sunjata's time (13th century), there was an occasion when all the
balaphon players gathered together. They said, "We should have our own
tune, which we can dance to ourselves". So it was on that day they
invented "Lambango" for the jalibas to dance to. It became a general tune
for all jalis, which they used to play and dance to, to entertain their
heroes, kings, and patrons.
Although it originated as music for the balaphon, it was also played on the
kontingo (lute). There was a kontingo player named Lamin Dambaketeh who
modified "Lambango" to its present style, changing the tune a bit. Lamin
Dambaketeh was about to marry a very famous jali woman, Bantang Kuyate, who
was an excellent singer and historian. One day, Lamin left his village
to visit Bantang. Unfortunately, before he arrived, she died and was
buried. Upon his arrival, he was told the sad story. He asked the people to
show him Bantang's grave. He went there with his kontingo and played a
special version for his dead fiancee.
"All is possible, Bantang Kuyate (but) Beauty will not prevent death,
Bantang Kuyate"
This modified version of the melody has since become the standard
"Lambango" and the original version is no longer played. (Lynne Jessup)
In past times, Lambambaa was played as a celebration of the culture of the
Jaliyaa. Unlike the vast majority of songs in the traditional repetoire,
which are centered around non-jali figures, Lambambaa is meant for the
members of the jaliyaa in the village in which it is performed, as the men
play the kora and balo, and the women dance and sing. Today this song is
extremely popular in the Mandinka area, and especially in Gambia where it
has been adapted to include lines that call for the populace to pull
together for the good of the country. (Morikeba Kouyate)
This is a dance celebrating the art of the jali. (Ancient Heart)
Lamban is one of only several kora pieces that was created by jalis for
their own entertainment. The piece has not been traced to any other
particular story or legend, and probably originated on the balaphon.
Malian jalis often play this classic piece to relate any event they may
wish. Lamban is also played in Suata tuning (Ed. note - a kora tuning).
Amadu's interweaving of kumbengo and birimintingo illustrates the depth of
his musical prowess. (Much of kora music is based on short cycles of finger
movements called kumbengo. These kumbengo may be continuously developed
within a piece with slight variations in rhythm and melody. Another
important element of kora playing is birimintingo, or downward spiraling
melodic runs, which can be fast and highly ornamental in nature.) (Amadu
Jobarteh)
This is supposed to be one of the oldest tunes in the Manding repertoire.
"The musicians didn't compose this for any patron, they did it for
themselves. They would just sit down with their wives and feel happy, and
their wives would dance and sing.". Lambango is originally a balaphon
tune, in Hardino tuning. (Ed. note - another kora tuning; this recording is
a kora performance) (Jaliology)
A griot song and dance celebrating the Griots themselves, praising God for
giving them the art of music. Griots rejoice in this ancient song that is
played in many villages, especially on moonlit nights. (Jali Kunda)
This song praised the Jali (Oral Historians) who keep alive the tribal
culture of the people of West Africa (Vieux Diop)
This tune is dedivated to griots whenever they host a ceremony (M'Bady Kouyate)
This rhythm is played by the griots, a class of travelling musicians, poets
and story tellers whose duties include the recitation of family and tribal
histories. (Khassonka Dunun)
Lamba is the dance of the Jalis, Keepers of the Oral Tradition. Lamba is a
spiritual dance and rhythm that is used in healing to promote a sound mind
and body. (Nurudafina Abena)
Lamba is a song/dance/ceremony enacted at passages of life and for
spiritual cleansings (Sule Greg Wilson)
This music is played by the Griots for Griots, also known as Djelis. They
say Allah did a good thing in creating the status of Djelli. (Yaya Diallo)
Dialidon is traditionally the special rhythm for only griot families.
Today it is popular and danced by many people in the cities and villages.
However, the song that accompanies the music is specifically to honor griot
members. (Djimo Kouyate)
One of few songs designed to entertain griot clan members, griot families
only play this song when amongst themselves. Lambang is accompanied by the
Jalidon, the griot dance. When the moon is bright the men come out and play
the kora and the balaphone while the women dance and sing the Lambang song.
Music is created by God and God created us to play good music and dance.
(Mandeng Tunya)
In Mali, Lamba is played entirely on dunun; in Guinea and Senegal it is
played by djembe and dunun together. It is a celebration and processional
rhythm, One version is the "Kings Lamba" used by rulers and chiefs,
another is the "Dance of the Griots" which is danced and played for the
Jeli or griots; the traditional oral historians, praise singers,
ambassadors and advisors of West Africa. (Impala)
A Bambara/Manding rhythm (with it's accordant songs, dances, clothes,
talismans, and so forth) played at rituals of major passages in life -
marriage or circumcision for example. A royal court dance of gesture and
protocol where the dancer gives praise to the almightly chiefs, kings,
queeens and so on. The introduction is a series of praises and
salutations. (Christine Reagen Rosales)
The term for a group of dances from the Malinke people of West Africa used
as court dances for kings, and dances of healing and rites of passage.
(Bomidele)
A widely known song about the joys of being a jeli. The lyrics refer to a
familar expression which stresses the importance of the jeli to social
cohesion: "Jeliya, o ye jalla di, ni jalla wulila, kulusi be wuli" (The art
of jeliw is like a belt; if you take it away, the trousers fall down).
(Ana Be Kelen)
That's another very old song. I don't know who composed it. There are lots
of new ideas in this version, to see how it goes with the band. The song
comes from Mali. If a musician, a jali, likes to marry a jali woman, then
the day of the marriage all the jalis come together and play this song, and
dance. It's a song for the jalis. (Dembo Konte)
Song of the Jelis (Mali-Guinee) God himself entrusted the jelis with
their mission just as he created invisible spirits and mortal humans. A
jeli cannot fear telling the truth to men who, one day, will return to the
earth since the jeli's words are immortal. Hear ye, I know a land where men
scrape the hard earth without complaining and women reap immense fields of
sadness. In this land, babies die of hunger and mothers cry softly.
(Cisse)
RELATED RHYTHMS:
SONG LYRICS:
Ye, jaliyaa, Alla le ye ka jaliyaa da
(Ah, jaliyaa, it was God who created jaliyaa)
Alla nung ka mansayaa da, ate le nata bannayaa da
(It was God, too, who created kingship, and then wealth) (Morikeba Kouyate)
Ye, Jaliya-o, Alla le ye ka jaliya da
(Oh music, God created music) (Jali Kunda)
Fugaba sangban kodole tokole fuga mogo lombali milon
Fuga, fugaba mogo lambali milon
Dia dia dia dia dia e dia dia lombali a dimini
Sangban kodo e ate togola fugala
Old field is not barren desert, He who doesn't know you, ignore what you're
worth. Old field, old field. He who doesn't know you, ignore what you're
worth. Oh! How ignorance can hurt! (Kendigo)
Oh Libo Mansanya
Nye Kilebo La Ila
Simbo Mansanya
E ye Djallia (Lasensua)
LAMBA
Nigel Jacobs (jacobs@mcc.com) from Boaz Martin, and Larry Morris
(lam@eng.tridom.ocm) from Stone Montgomery
4/4 |: . * . * . * . | . * . * . * . :|
DJEMBE
_ _ _ _ _ _ _ _
LOW O O S S B (S) S S O O S S B (S) S S
_ _ _ _ _ _ _ _
HIGH S . . S S . O O O O S . . S S . O O O O
_ _ _ _ _ _ _
Ride 1 O O S O O S O O S . . . Of . Of .
_ _ _ _ _ _
Ride 2 O . O . O . t B B . . B B . . .
(break) Sf . S S . S . S S . S . S . . . Sf
Junjun B . B . B . . . B . B . B . . .
(var.) B . B . B . . B . B B . B . . .
Bell H L L L L H H H H L L L L H H H
Songba . . . . . . O . O . O O . . . .
("swung" version of Lamba, dashed notes are extended in length):
DJEMBE
_ _ _ _ _ _ _ _
LOW O- O S- S B- S S- S O- O S- S B- S S- S
_ _ _ _ (lead-in) S
HIGH S- . . S S- . O- O S- . . S S- . O- O
Junjun B . B . B . . . B . B . B . . .
Songba . . . . . . O . O . O O . . . .
Bell X . X . X . X . X . X . X . X .
LAMBAN INTERNET DISCUSSION
> 1 . . . 2 . . . 3 . . . 4 . . .
>
>Kenkeni: O O O O O O O O
>
>Sangpan: O O O O O O O O
>
>Doundoun: O X O X
>
>Djembe: S . . S S . O O S . . S S . O O
This is how I hear the dounoun parts to Lamba in the same amount of space:
Time (12/8): 1 . . 2 . . 3 . . 4 . . 1 . . 2 . . 3 . . 4 . . |
Kenkeni: . . . O . O . . . O . O . . . O . O . . . O . O |
(Auy's Kenkeni) O O O O O O O O
Sangban O . . . . O O . . O . . O . . . . O O . . O . . |
>(Auy's Sangpan) O O O O O O O O
Doundoun: O . . . . M . . . O . . . . . . . . M . . . . O |
(Auy's Doundoun) O X O X
The only part that is fundamentally different is the Kenkeni, which
Auy has starting on his downbeats and I hear on his upbeats. In addition,
I would start the Doundoun part on the second measure, like this:
Doundoun: . . . . . . M . . . . O O . . . . M . . . O . . |
because thats the way the part is phrased, and variations on the
doundoun part always seem to "land" on that last open stroke on 4.
(this point doesn't change how the doundoun part fits with the
other parts)
Beyond that, the real difference is that he has "straightened out"
the rhythm into 4/4, and I hear the "swing" of Lamba in 12/8. When I
learned this rhythm from Mohammed "Joh" Camara, I listened carefully
to the way he plays the bell, because he uses it a lot to fill in the
beats, and it helps show where he feels the time. Here are the dounoun
parts again, with the bell that Joh plays with each:
1 . . 2 . . 3 . . 4 . . 1 . . 2 . . 3 . . 4 . . |
bell: x . . x . x x . . x . x x . . x . x x . . x . x |
Kenkeni: . . . O . O . . . O . O . . . O . O . . . O . O |
bell: x . . x . x x . . x . . x . . x . x x . . x . . |
Sangban O . . . . O O . . O . . O . . . . O O . . O . . |
bell: x . . x . x x . . x . x x . . x . x x . . x . . |
Doundoun: . . . . . . M . . . . O O . . . . M . . . O . . |
As far as the jembe parts go, I have not yet taken the time to try
and re-notate the solo that Auy posted, however in the ensuing
discussion, almost all the notation has been in "straight" time
Michael Williams wrote
> Date: 25-Jun-1997 12:02pm EST
> From: Michael Williams
>
>The accompaniment pattern and break you show are correct to my
understanding,
>and the solo looks typical. I would add that Lamban has one additional jembe
>accompaniment pattern as taught by Abdoul:
>
> 1 . . . 2 . . . 3 . . . 4 . . .
> O o S s B . S s O o S s B . S s
>
>which can also get turned around:
>
> 1 . . . 2 . . . 3 . . . 4 . . .
> B . S s O o S s B . S s O o S s
>
I would line this up as follows:
M. Williams 1 . . . 2 . . . 3 . . . 4 . . .
jembe O o S s B . S s O o S s B . S s
(turned around) B . S s O o S s B . S s O o S s
my 12/8 version 1 . . 2 . . 3 . . 4 . . 1 . . 2 . . 3 . . 4 . . |
jembe O . o S . s B . . S . s O . o S . s B . . S . s
(turned around) B . . S . s O . o S . s B . . S . s O . o S . s
I hear this jembe accompaniment as basically doubling or substituting
the kenkeni part, with the jembe's slaps matching the kenkeni strokes,
and the other notes providing coloration.
Chris Donaldson wrote:
>I've always used: 1-2-3-4 1-2-3-4
> TtSsBtSsTtSsBtss
>
>although Mohamed showed a variation that goes:
>
> 1-2-3-4 1-2-3-4
> TtSsBsSsTtSsBbSs
>The rhythm is, of course, played witha "swing" feel at slower tempos.
>
and Alan Tauber wrote:
ote:
>but I also heard ghost strokes played occasionally between the slaps:
>
> #1 . . . 2 . . . 3 . . . 4 . . .
> * * S s * * S s * * S s * * S s
>
>This is very important to note. The above emphasis on the slaps is
>really the key to playing a good lamban. Lamban, which may be
>danced/played slowly, has plenty of room for the open tones to be
>produced- BUT..., when Lamba takes off, many drummers have difficulty
>keeping the "swing" feel and drag the rhythm back because they try to
>play all the tones in there and people tend to really stiffen up.
>Here is when you may drop the open tones and concentrate on the PA TA
>s, if you will, and play ghost strokes or touches or even "air
>touches" to keep time and most importantly, the feel. (As notated
>above)
>
Both of the above quotes mention the "swing" feel of Lamban, but their
notation does not show it. I think that changing the time signature to
a triplet based form preserves the feel of Lamban much better.
Rodger
***
NAME OF RHYTHM: Lamban, Lamba, Lambambaa, Lanbango, Lambango, Lambang, Jali,
Jeli Foli, Jalidon, Dialidon, Diely-Don, Griot
COUNTRY: All Mande countries (Guinea, Mali, Burkina Faso, Ivory Coast,
The Gambia and Senegal)
OTHER NAMES:
REGIONAL/ETHNIC GROUPS: Mande
PURPOSE/BACKGROUND:
Here's my understanding of Lamban (sometimes spelled Lamba or Lambango in
The Gambia), also known as Jeli Don (Dance of the Jelis ) or simply Griot
(a term that originally apeared in French travel writing in the 17th
century referring to jelis or the Wolof or Fula equivalent):
It has origins on the balafon as a piece created by and for jelis (Maninka
hereditary professional musicians), specifically the Kouyate lineage. If
you want to praise a Kouyate, all you need do is play Lamban. How and when
the dundun came along with Lamban is impossible to speculate upon--maybe it
even started out on dundun, but there are no oral traditions about this. At
any rate, it makes the most sense that the jembe is a later accretion to
Lamban. The crux of the problem is: when jembe players played along with
balafon and dundun players, why did they choose a 4/4 generic accompaniment
pattern (albeit played at times with a triplet feel)? I can't see any basis
for an answer to this question yet. (snip)
In Greensboro, Joh had explained that Dansa was played to encourage workers
during agricultural labor and Lamban was played by jelis to celebrate when
the fruits of that labor (the harvest) was shared with them. He may also
have said that Dansa was played to celebrate the harvest. But I wouldn't
pin Joh down to that single explanation; of course he may have simplified
what he knew due to the circumstances. There does seem to be a close
connection between Lamban and Dansa, but the historical explanation is
unclear. On Djimo Kouyate's cassette he has the dundun go into Dansa during
Dialidon (Jelidon), and that is typical. The
bilingual article "Pre-theatre et rituel: National Folk Troupe of Mali" in
African Arts, Spring 1968 vol. 1, no. 3, pages 31-37, written by Jean
Decock, shows a drawing and photo of Dansa dancers indicating it is danced
by girls from Khaso (Xaso) to celebrate the harvest. (Eric Charry)
During Sunjata's time (13th century), there was an occasion when all the
balaphon players gathered together. They said, "We should have our own
tune, which we can dance to ourselves". So it was on that day they
invented "Lambango" for the jalibas to dance to. It became a general tune
for all jalis, which they used to play and dance to, to entertain their
heroes, kings, and patrons.
Although it originated as music for the balaphon, it was also played on the
kontingo (lute). There was a kontingo player named Lamin Dambaketeh who
modified "Lambango" to its present style, changing the tune a bit. Lamin
Dambaketeh was about to marry a very famous jali woman, Bantang Kuyate, who
was an excellent singer and historian. One day, Lamin left his village
to visit Bantang. Unfortunately, before he arrived, she died and was
buried. Upon his arrival, he was told the sad story. He asked the people to
show him Bantang's grave. He went there with his kontingo and played a
special version for his dead fiancee.
"All is possible, Bantang Kuyate (but) Beauty will not prevent death,
Bantang Kuyate"
This modified version of the melody has since become the standard
"Lambango" and the original version is no longer played. (Lynne Jessup)
In past times, Lambambaa was played as a celebration of the culture of the
Jaliyaa. Unlike the vast majority of songs in the traditional repetoire,
which are centered around non-jali figures, Lambambaa is meant for the
members of the jaliyaa in the village in which it is performed, as the men
play the kora and balo, and the women dance and sing. Today this song is
extremely popular in the Mandinka area, and especially in Gambia where it
has been adapted to include lines that call for the populace to pull
together for the good of the country. (Morikeba Kouyate)
This is a dance celebrating the art of the jali. (Ancient Heart)
Lamban is one of only several kora pieces that was created by jalis for
their own entertainment. The piece has not been traced to any other
particular story or legend, and probably originated on the balaphon.
Malian jalis often play this classic piece to relate any event they may
wish. Lamban is also played in Suata tuning (Ed. note - a kora tuning).
Amadu's interweaving of kumbengo and birimintingo illustrates the depth of
his musical prowess. (Much of kora music is based on short cycles of finger
movements called kumbengo. These kumbengo may be continuously developed
within a piece with slight variations in rhythm and melody. Another
important element of kora playing is birimintingo, or downward spiraling
melodic runs, which can be fast and highly ornamental in nature.) (Amadu
Jobarteh)
This is supposed to be one of the oldest tunes in the Manding repertoire.
"The musicians didn't compose this for any patron, they did it for
themselves. They would just sit down with their wives and feel happy, and
their wives would dance and sing.". Lambango is originally a balaphon
tune, in Hardino tuning. (Ed. note - another kora tuning; this recording is
a kora performance) (Jaliology)
A griot song and dance celebrating the Griots themselves, praising God for
giving them the art of music. Griots rejoice in this ancient song that is
played in many villages, especially on moonlit nights. (Jali Kunda)
This song praised the Jali (Oral Historians) who keep alive the tribal
culture of the people of West Africa (Vieux Diop)
This tune is dedivated to griots whenever they host a ceremony (M'Bady Kouyate)
This rhythm is played by the griots, a class of travelling musicians, poets
and story tellers whose duties include the recitation of family and tribal
histories. (Khassonka Dunun)
Lamba is the dance of the Jalis, Keepers of the Oral Tradition. Lamba is a
spiritual dance and rhythm that is used in healing to promote a sound mind
and body. (Nurudafina Abena)
Lamba is a song/dance/ceremony enacted at passages of life and for
spiritual cleansings (Sule Greg Wilson)
This music is played by the Griots for Griots, also known as Djelis. They
say Allah did a good thing in creating the status of Djelli. (Yaya Diallo)
Dialidon is traditionally the special rhythm for only griot families.
Today it is popular and danced by many people in the cities and villages.
However, the song that accompanies the music is specifically to honor griot
members. (Djimo Kouyate)
One of few songs designed to entertain griot clan members, griot families
only play this song when amongst themselves. Lambang is accompanied by the
Jalidon, the griot dance. When the moon is bright the men come out and play
the kora and the balaphone while the women dance and sing the Lambang song.
Music is created by God and God created us to play good music and dance.
(Mandeng Tunya)
In Mali, Lamba is played entirely on dunun; in Guinea and Senegal it is
played by djembe and dunun together. It is a celebration and processional
rhythm, One version is the "Kings Lamba" used by rulers and chiefs,
another is the "Dance of the Griots" which is danced and played for the
Jeli or griots; the traditional oral historians, praise singers,
ambassadors and advisors of West Africa. (Impala)
A Bambara/Manding rhythm (with it's accordant songs, dances, clothes,
talismans, and so forth) played at rituals of major passages in life -
marriage or circumcision for example. A royal court dance of gesture and
protocol where the dancer gives praise to the almightly chiefs, kings,
queeens and so on. The introduction is a series of praises and
salutations. (Christine Reagen Rosales)
The term for a group of dances from the Malinke people of West Africa used
as court dances for kings, and dances of healing and rites of passage.
(Bomidele)
A widely known song about the joys of being a jeli. The lyrics refer to a
familar expression which stresses the importance of the jeli to social
cohesion: "Jeliya, o ye jalla di, ni jalla wulila, kulusi be wuli" (The art
of jeliw is like a belt; if you take it away, the trousers fall down).
(Ana Be Kelen)
That's another very old song. I don't know who composed it. There are lots
of new ideas in this version, to see how it goes with the band. The song
comes from Mali. If a musician, a jali, likes to marry a jali woman, then
the day of the marriage all the jalis come together and play this song, and
dance. It's a song for the jalis. (Dembo Konte)
Song of the Jelis (Mali-Guinee) God himself entrusted the jelis with
their mission just as he created invisible spirits and mortal humans. A
jeli cannot fear telling the truth to men who, one day, will return to the
earth since the jeli's words are immortal. Hear ye, I know a land where men
scrape the hard earth without complaining and women reap immense fields of
sadness. In this land, babies die of hunger and mothers cry softly.
(Cisse)
RELATED RHYTHMS:
SONG LYRICS:
Ye, jaliyaa, Alla le ye ka jaliyaa da
(Ah, jaliyaa, it was God who created jaliyaa)
Alla nung ka mansayaa da, ate le nata bannayaa da
(It was God, too, who created kingship, and then wealth) (Morikeba Kouyate)
Ye, Jaliya-o, Alla le ye ka jaliya da
(Oh music, God created music) (Jali Kunda)
Fugaba sangban kodole tokole fuga mogo lombali milon
Fuga, fugaba mogo lambali milon
Dia dia dia dia dia e dia dia lombali a dimini
Sangban kodo e ate togola fugala
Old field is not barren desert, He who doesn't know you, ignore what you're
worth. Old field, old field. He who doesn't know you, ignore what you're
worth. Oh! How ignorance can hurt! (Kendigo)
Oh Libo Mansanya
Nye Kilebo La Ila
Simbo Mansanya
E ye Djallia (Lasensua)
***
Call :
|...*...*...*...
#.o.o.o.o.o..o..
# :slap-flam
Reaction :
|...*...*...*...|...*...*...*...|...*...*...*...|...*...*...*...
ss......ssooss..ssooss..ssooss..ssooss..ssooss..ssooss..ssooss..
|...*...*...*...|...*...*...*...|...*...*...*...|...*...*...*...
xx..x.x.x.x.x.x.x.x.x.x.x.x.x.x.x.x.x.x.x.x.x.x.x.x.x.x.x.x.x.x.
kk..k.k.k...k.k.k...k.k.k...k.k.k...k.k.k...k.k.k...k.k.k...k.k.
|...*...*...*...|...*...*...*...|...*...*...*...|...*...*...*...
xx....x.xx.x.x.xx.x.x.x.x.x.x.x.x.x.x.x.xx.x.x.xx.x.x.x.x.x.x.x.
ss....s..s...s......f.f.....f.f.......s..s...s......f.f.....f.f.
|...*...*...*...|...*...*...*...|...*...*...*...|...*...*...*...
xx...............xx.x.xx.xx.xx.xx.x.x.x.x.x.xx.x.xx.x.xx.xx.xx.x
dd...............dd.d.dd.dd..d..dd...............dd.d.dd.dd..d..
I must admit that while the stroke's are where they should be
,I adjusted the bell's so that they fit my way of playing.
The rhythm is very nice but not easy to play
Is someone familiar with this version of Lamban ??
LENJEN
Source: Internet posting
Jeremy asked for interesting Lenjen arrangements. As was previously discussed, it is originally a Kutiro rhythm. Here's the Djembe/Doundoum arrangement we play. The Doundoun line is from Djimo Kouyate as previously shared by (Adam?) Sangba is from a former teacher of mine, Kola Robinson. The Djembe parts from Djimo Kouyate, Kola and Paulo Mattioli. Certainly not traditional, but lots of fun!
1 . . 2 . . 3 . . 4 . . 1 . . 2 . . 3 . . 4 . .
bell x . . x . . x . . x . . :|
Kenkeni . o o . . i . o o . . i :|
bell x . x . x x . x . x . x :|
Sangba o . . . o o . . . . . o :|
bell x . . x . . x . . x . . x . . x . . x . . x . . :|
Doundoum o . o . . . o . o . . . o . o . o . o . o . . . :|
1 . . 2 . . 3 . . 4 . . 1 . . 2 . . 3 . . 4 . .
dj 1 B . B o O o :|
dj 2 O . O . s S . s . S . b :|
(OR)
dj 2 O . O s . b :|
dj 3 . O o . S s :|
LIBERTE
Aloha All!
The Liberte project has resulted in a very cool arrangement (at least I
think so...) - so since many of you contributed to the research, I figured
I'd share it.
My interest in the rhythm was a result of wanting to share the 6/8
reversing hand pattern ( B o O b O o ) with the basics group I play with.
Dj 1 is a interesting example of this that most beginners can tackle. Dj 3
(second handing) gives another, more challenging application of it.
Liberte was evidently composed for a performance by one of the Ballets, to
celebrate the end of the civil war in Sierra Leone (or possibly Liberia).
Numerous sources have indicated it's a modern rhythm and has numerous
arrangements and variations. The commonality between different sources was
in the djembe parts; dj 1 and 2 below showed up in nearly every version.
The other common factor was that the dunun lines, which were usually played
ballet style all came off "short bell".
( x . x . x x . x . x . x)
This is not a "traditional" version (since there isn't one I could find!)
and is a mixture of parts taught by various teachers and from various
sources. The basic dundun structure came from Karamba Diabate, with the
high sangba from Osumane Gallo Soumah. Dj 3 came from Mohammed DaCosta (and
totally reinforces Karamba's sangba). The press notes in the kenkeni and
sangba parts are my variation (I love those melodies!) Hook it up, this
thing swings! If you really get into it, let me know what you think!
call o . o . . o . o . o . .
bell x . x . x x . x . x x .
kenkeni i . . . k k . k . . i .
bell x . x . x x . x . x . x
low s . s . . . . i . s . s
sangba
sangba x . x x . x x . x x . x
hi o . . i . o o . . . . o
sangba
dundun x . x x . x x . x x . x x . x x . x x . x x . x
d d . . . . d d . d d . d d . . . . . . . d d .
(I do want to give major credit to Karamba for this bell/dundun part. I
will always remember the mischief in his eyes when he demonstrated it for
me! Believe me, it has opened many ambidexidoors!)
dj 1 B . . b . . B o O b O o B . . b . . B . . b O o (Bass dj)
dj 2 b S s . O o . S s S . . :| (Hi dj)
dj 3 o . S b O O b S . o . O :| (Mid dj)
(or) O . S b O o B s . O . o
...there are more djembe parts which can be used as lead rides - let me
know privately if you work through this much and I'll send 'em.
Michael
LIBERTE 2
Time 1 . . 2 . . 3 . . 4 . . 5 . . 6 . . 7 . . 8 . .
Part 1: B . . b . . B . . b T t B . . b . . B t T b T t
Part 2: B s S . T t . S s S . . B s S . T t . S s S . .
Part 3: S . T s . . S . T s . . S . T s . . S . T s . .
LIBERTIE
Source: Internet posting
Just thought I'd post the version of Libertie that we use in our Dance Company. It has a real interesting feel, and didn't make much sense until I saw the dance for it.
1 . . 2 . . 3 . . 4 . . 1 . . 2 . . 3 . . 4 . .
Dj1 B S S . T T . S S B . . B S S . T T . S S B . .
Dj2 B . . B . . B . . T T S B . . B . . B . . T T S
Dj3 T . S B T T B S . T . T T . S B T T B S . B . T
Dun L . . . H H . L . L . L L . . . H H . L . L . L
Bell X . X . X X . X . X . X X . X . X X . X . X . X
Break T . T . . T . T . T . .
The main pulse is kept by the 2nd djembe part, giving it a kind of triple feel, which mixes nicely (kind of like two mad pitbulls) with the duple bell. I'm the only dundun player currently, so this is a composite dundun part. I'm not sure, yet, how the individual parts come off of it.
POSTING:
Bell x . x x . x . x . x . x x . x x . x . x . x . x
Dundun . . H H . L . L . L . . . . H H . L . L . L . .
High = Kenkeni Low = Songba
Liberte is a modern rhythm composed for a performance by a ballet, to
celebrate the end of the civil war in Sierra Leone (or possibly Liberia).
Thus you may only find 'ballet style' dundun patterns. It may be that,
as yet, few recordings have been made of it. After the performance, the
rhythm spread throughout the area quickly and became a very popular anthem.
Many new versions appeared, so I'd be interested to see what you've been
taught.
As I recall from our class with Mohamed, Liberte is also known as Yetasote Fare
(Yetasote = Freedom, Fare = Drumming and Dancing). -- "WNTHRP::MRGATE::\"A1::WILLIAMSM\""@winthrop.edu
LOLO
Lolo is a rhythm that was created by Famoudou Konaté. He has taught students different Sangban-patterns at different occasions. It was after that he heard the song Lolo sung by his son that he made the rhythm. The song about Lolo, the Star is of mother Hawa that is consulting the fortune-teller. He says that she's got a good star and that she will live long, that she will be wealthy and have many children.
N'na ghawa Lolo ye san ma, horo ya le bö nin i nye
(Mother Hawa, the Star is in the sky, and the day of freedom has come)
Last changed at 18-06-1999
Intro with all the bass-drums
O O . O O . . . O O . O . O . . .
x x . x x . x . x x . x . x . x .
Repeat line 1 once
H . O O . H . O O . H . O . . .
x . x x . x . x x . x . x . x .
Repeat line 2 once
H . O O . H . O O . H . O O . H
x . x x . x . x x . x . x x . x
. O . H . O O . H . O . H . . .
. x . x . x x . x . x . x . x .
The Djembe's can join by playing closed slaps where the dun's play wood.
Kenkeni
C . . . O O . . C . . . O O . .
x . x . x x . x x . x . x x . x
Sangban A
C . . O . . O . C . . O . . O .
x . x x . x x . x . x x . x x .
Sangban B
O . . O . . C . O . . O . . C .
x . x x . x x . x . x x . x x .
Dun Dun
O . O . . . . . O . O . . . . .
x . x . x . x . x . x . x . x .
O . O . . . . . O . O . . . O O
x . x . x . x . x . x . x . x x
. O . O . O . O O . O . . . . .
. x . x . x . x x . x . x . x .
Dundun echauffement
. O . O . O . O O . O . O . O O
. x . x . x . x x . x . x . x x
Djembé 1
B . T T . . S . . . T T . . S .
r . r l . . r . . . r l . . r .
Djembé 2
S S T T S S . B S S T T S S . B
r l r l r l . l r l r l r l . l
Djembé 3
S . . S S . T T S . . S S . T T
r . . l r . r l r . . l r . r l
Solo 1 Use these elements for a solo; repeat lines a few times
T T . B S . B . S . . B S . B .
r l . l r . r . r . . l r . r .
T T . B S . B . S . T T S S S .
r l . l r . r . r . r l r l r .
Add 4 rests to next line and repeat
T T S T T S T T S T T S T T S .
r l r l r l r l r l r l r l r .
See the next two lines together and take an interval before proceding
S T T S S . S T T S S . S T T S S
l 2 r l r . l 2 r l r . l 2 r l r
. S T T S S . S T T S S . . . .
. l 2 r l r . l 2 r l r . . . .
B T T . B T T . B S S . B S S . .
l r l . l r l . l r l . l r l . .
Close the solo with a climax:
T S S T S S T S S T S S T S S T
r l r l r l r l r l r l r l r l
T S S T S S T S S T S . S . . .
r l r l r l r l r l r . f . . .
Speaking of drums talking here is a conversation break between the boula
and the seconde drums in the Haitian Rhythm Makanda
1.2.3.4.1.2.3.4.1.2.3.4.1.2.3.4.
S Oo bS Oo b boula
bO OhtR b O htR Seconde R means Rim
B tRhtRbB R htRb Maman Basic Rhythm
x xx x x xx x bell
-----------------------------------------------------------------
1.2.3.4.1.2.3.4.1.2.3.4.1.2.3.4.
S Oo bS O boula conversation entrance
bO OheT b O h seconde entrance
hS S S tR R R Mamman call into conversdation break
1.2.3.4.1.2.3.4.1.2.3.4.1.2.3.4.
B B O r O r O r o r O r O r boula
B Oo O b O b O b O b O b O b O second
O B OoOoOoOoOoOoOoOoB Oo boula continued
b Oo O b b R b b R o O b r seconde continued
b Oo O B Oo boula end conversation
o b R o O b R Seconde end conversation
Mamman plays through with basic rhythm after making call
1.2.3.4.1.2.3.4.1.2.3.4.1.2.3.4.1.2.3.4.1.2.3.4.1.2.3.4.1.2.3.4.1.2.3.4.
SoOoOoSoOoOoSoOoSoOoOoSoOoOoS B tRhtRbB R htRbB R htO Mamman call
B B OoOoB OoOoB B Oo
OoOoOoO B OoO B OoOoOoO B Seconde and Boula 2x's
M M M o o M M o o M M o M boula 1x
O O O m m O O m m O O m O seconde 1x
Just thought I'd give the Haitian stuff a little of cyberplay.
This stuff is really cool and makes for a good break in the rhythm
enjoy al you congaheads out there!
Happy and Harmonious Drumming
Barkman Barkman
MAKURU (MACRU)
legend:
T, t tone on strong hand, weak hand
S,s slap on strong hand, weak hand
B,b base on strong hand, weak hand
O open dunnun note
C closed dunnun note
x bell stroke
. place holder for spot with no note.
| repeat marks
> continuation on next line/from previous line
^ under a note indicates lead in (i.e. the point in the rhythm to
start off the break)
Timeline:
1 . . . 2 . . . 3 . . . 4 . . .
Dj#1 B . . s . T t . B . s . . T t .
Dj#2 t . . S . . . T t . S . s . . T
Dj#3 B t . t B . s . B . t . B . s .
Dun Bell x . . x x . x . x . x . x . x .
Dun B . . B B . . . B . B . B . . .
Sangba Bell x . x . x . x . x . x . x . x .
Sangba B . . . . . B . B . . . . . B .
Bell x . . . x x . . x . . . x . . .
Kenkeni . . B B . . B B . . B B . . B B
Break into Yankadi:
Lead Enchouffement, then pause, then:
1 . . . 2 . . . 3 . . . 4 . . .
Dj#1 . . . s S s . . S . s . . . . .
Response B . B . >>
B . . . . . . . . . . .
1 . . . 2 . . . 3 . . . 4 . . .
Dj#1 s S . . . S . S . . . .
Response B . B . >>
B . . . . . .
1 . . . 2 . . . 3 . . . 4 . . .
Dj#1 s S . . . S . S . . . . .
Response B . B . >>
B . . .
1 . . . 2 . . . 3 . . . 4 . . .
Dj#1 s S . . . S . S . . . . .
Response B . B . >>
B . . .
ALL (slaps on jembe)
B . B . B . . . B . B . >>
B . . . B . B . B . . . B . B . >>
B . . . B . . . B . . . B . . . >>
Yankadi
NAME OF RHYTHM: Makuru, (Macuru, Macru)
COUNTRY: Coastal Region of Guinea (Journey Into Rhythm & Master of the
Forest Liner Notes)
OTHER NAMES: Baga Gine (Famoudou Konate)
REGIONAL/ETHNIC GROUPS: Sousou coastal people of Guinea (Liner notes Journey Into Rhythm)
Soussou (Master of the Forest, Bamidele and Abdoulaye Sylla liner notes)
PURPOSE/BACKGROUND:
A celebration and courting dance played at social gatherings (Journey Into Rhythm Liner Notes)
Celebration dance done after the harvest by young men and women when there
is a beautiful full moon (Abdoulaye Sylla Liner Notes)
A dance rhythm (Master of the Forest Liner Notes)
Makru is apparently (source Mamady) one of the few 'native' rythms that
have been played in Conakry for a long time, and probably because of the
Baga living close by. However, there seem to be many versions, those from
Famoudou and Mamady are similar except for speed (slow for Famoudou, neck
breaking for Mamady as it alternates with Yankadi, played slowly (Yves
Goulnik)
A celebration dance (Bamidele liner notes)
RELATED RHYTHMS: Often danced in alternation with Yankadi
SONG LYRICS:
Call: Maya Maya, Maya Boh May
Response: Maya Maya, Maya Boh May
Yalla minifah, Yalla minifah
Dioray khoniyo, birideynah minifah (Abdoulaye Sylla, Guinea)
Aay, aay yu ba lai oh
Ah yu ba la
Aay yu ba lai oh ay (Master of the Forest)
legend:
T, t tone on strong hand, weak hand
S,s slap on strong hand, weak hand
B,b base on strong hand, weak hand
O open dunnun note
C closed dunnun note
x bell stroke
. place holder for spot with no note.
| repeat marks
> continuation on next line/from previous line
^ under a note indicates lead in (i.e. the point in the rhythm to
start off the break)
DALA (DALAH)
a rhythm for fishermen. ( I missed most of the intro for this one)
Taught by Mamady Keita 20 Sept 1997 College Park MD
Beginner/Intermediate class
Transcribed by Rodger Osgood
Time 1 . . . 2 . . . 3 . . . 4 . . . 1 . . . 2 . . . 3 . . . 4 .
. .
Break Tf. T t . T . t T . S s S
|x . x x . x x . x . x . x . x . x . x x . x x . x . x . x .
x . |
Sangban |O . O O . . . . C . . . O . O . O . O O . . . . C . . . C .
. . |
|x . x . x . x . x . x . x . x . |
Kenkeni |O . . . O . . . O . . . O . . . |
|x . x x . x x . x . x x . x x . |
Dunnun |O . . . . . O . O . . . . . O . |
lead in ^
Accomp 1 |S . . s S . T t S . . s S . T t |
Accomp 2 |. . T t . . S s . . T t . . S s |
SENEFOLI
A farming rhythm
Time 1 . . . 2 . . . 3 . . . 4 . . .
Break Tf. T t . T . t T . S s S
|x . x x . x x . x . x x . x x . |
Kenkeni |C . O O . . . . C . O O . . . . |
|x . x x . x x . x x . x x . x . |
Sangban |O . . . . . C . . C . . O . . . |
^
Sangban |x . x . x . x . x . x . x . x . |
variation 1 |O . . . C . C . C . . . O . O . |
^
Sangban |x x . x . x x . x x . x x . x . |
variation 2 |. O . O . . C . . C . . O . O . |
^
Note: the lead in marks (^) for the Sangban parts indicate where in the
rhythm to switch from one variation to the next, however on the opening
break the basic part starts on 1.
|x . x x . x x . x . x x . x x . |
Dunnun |O . . . . . O . O . . . . . O . |
lead in ^
Accomp 1 |S . O o S . S . S . O o S . S . | (first is S or s?)
Accomp 2 |S . . s S . O o S . . s S . O o |
GIDANBA
A rhythm by women for birth.
Time 1 . . 2 . . 3 . . 4 . . 1 . . 2 . . 3 . . 4 . . |
Break TtT t T t . T t . T
|x x . x x . x x . x x . |
Sangban |C . . O . . C . . O . . |
|x . x . x . x x . x . x |
Kenkeni |O . O . O . . O . O . . |
|x x . x . x . x x . x . x x . x . x . x x . x . x >
Dununba |O O . O . . . . . . . . O O . O . . . . . . . . O >
>x . x . x x . x . x . x x . x . x . x x . x . |
>O . O . O O . O . O . O O . O . . . . . . . . |
Notice that on the Dununba part the repeat marks start/end on the pickup
note before 1.
Accomp 1 |S . T s . . S . T s . . |
Accomp 2 |S . S s T t S . S s T t |
SOLI
Taught by Mamady Keita 20 Sept 1997 College Park MD
Intermediate/Advanced class
Transcribed by Rodger Osgood
Time 1 . . 2 . . 3 . . 4 . .
Break Tf. T t . T t . T t
|x . x x . x x . x x . x |
Sangban |O . . . C . C . . O . . |
for Soli General
|x . x x . x x . x x . x |
Sangban |O . O . . . O . O C . . |
for Wassalon Soli
|. x x . x x . x x . x x |
Kenkeni |. . . . O O . . . . O O |
|x . x x . x x . x x . x |
Dununba |O . O . . . . . O O . O |
lead-in ^
Note: the Dununba lead in plays right over the last two notes of the
break.
Accomp 1 |S . T s . . S . T s . . |
Accomp 2 |S . . s T t S . . s T t |
Here is how I hear Mamady playing the traditional solos. Note that each
of these phrases marked Solo 1 - Solo 5 was played 4 times in class, but
Mamady said that in reality they could be played any number of times,
mixed in any order and with your own improvisations. I am VERY unsure
of the hand patterns here, PLEASE, if anyone has a solid idea of the
correct pattern for any of these phrases, let me know. The transition
from Solo 1 to Solo 2 started right after beat 4 (at the point marked
with the lead-in '^') , but the transition from Solo 2 to Solo 3 starts
on beat 1 i.e. play Solo 2 all the way to the end and then start solo 3.
On Solo 5 the rolls can start with either hand, Mamady said that your
teacher does not tell you which hand to start the roll on, only the
place to play it. He also said that although he is right handed, he
starts his rolls on the left hand.
Time 1 . . 2 . . 3 . . 4 . . 1 . . 2 . . 3 . . 4 . .
Solo 1 |T t S . . s . . S b . s |
Solo 2 |T . t . S s . . . b S s |
lead-in ^
Solo 3 |T . t T . S s . t T . S s . B . . S s . B . . s |
Solo 4 |T s S t S s T s S t S s S . B . . S s . B . . s |
Solo 5 |TrrrS TrrrS TrrrS TrrrS s . B . . S s . B . . s |
ending T s S t S s T s S t S s T s S t S s T s S Sf. . >
>Tf. T t . T t . T t . . Sf
SOLI DE MANION???
The tape I currently have starts with the drumming, so I don't have the
name recorded, I think this is Soli de Manion because of a later comment
during Tiriba, but I am not sure.
Taught by Mamady Keita 21 Sept 1997 College Park MD
Beginner/Intermediate class
Transcribed by Rodger Osgood
Time 1 . . 2 . . 3 . . 4 . . 1 . . 2 . . 3 . . 4 . . |
Break TtT t T t . T t . T
|x x . x x . x x . x x . |
Sangban |C . . O . . C . . O . . |
|x . x . x x . x . x . x |
Kenkeni |C . . . O O . O . O . . |
|x . x . x x . x . x . x x . x . x x . x . x . x |
Dununba |. . . . . . . . . . . O O . . . . . . . . . . . |
lead in ^
I asked if there were Dununba variations, and at first Mamdy said no,
then said there was only one variation and played the following
occasionally while demoing the three dunnun
parts:
Dununba O .O. . .O. O . . O . O O . . . . . . . . . . .
variation
Accomp 1 |B t T b S . B t T b S . | (Hand Pattern?)
Accomp 2 |S . T t . . S . T t . . | (Hand Pattern?)
TIRIBA
A rhythm of the Landumon(sp?) people of western coastal Guinea. There are three stages of history to Tiriba. First it was a mask dance and there was only one Tiriba in existance. He would go around and visit different villages after the harvest time with drummers to play and dance. When Tiriba died, the rhythm and dance lived on, and became a dance for the girls after their initiation. They would come together their mothers to honor them: "Thank you mother, now I know what I didn't know before, I am a woman now." Now Tiriba is a general dance of celebration played at all kinds of occasions, weddings, Ramadan, etc.
The instumentation of Tiriba is somewhat different than the Malinke.
There are no dunduns (sangban, kenkeni, or dununba.) Instead there is a single bass drum called a "drama" (sp?) It is a large one headed, open bottom drum with goat skin, that is played by hand, not with a stick. This drum is also used instead of dunduns by the peoples of western Guinea for rhythms Kakilambe, Sorseney, Yankadi/Macru. The jembe is also different, with antelope skin and a single large fan or kachink-kachink (Mamady did not give a name for the fan, just demonstrated with his hands)
Time 1 . . 2 . . 3 . . 4 . . 1 . . 2 . . 3 . . 4 . . |
Break TtT t T t . T t . T
|x x . x x . x x . x x . |
Sangban |C . . O . . C . . O . . |
|x x . x x . x x . x x . |
Kenkeni |O O . C . . O O . C . . |
|x x . x x . x x . x x . |
Dununba |O . . . O . O . . . . . |
Variation|. x x . x x . x x . x x |
Dununba |O O . O . O . O . . . . |
Accomp 1 |B s T . s . B s . B s . |
Accomp 2 |B . . t S . B . . t S . |
Accomp 3 |B . S b T t B s . b T t |
TBD: Mamady showed a variation for Accomp 3 for playing at fast speeds,
I will add this part whan I get the chance.
KAKILAMBE
Taught by Mamady Keita 21 Sept 1997 College Park MD
Intermediate/Advanced class
Transcribed by Rodger Osgood
Mamady told me that Kaki Lambe is a mask/deity among the Baga people of Guinea. Once a year, the mask is brought out to the assembled villagers to announce what will happen in the coming year. The drummers, priest, and people are in the village center, and the mask is brought from the forest while the drummer's play the slow rhythm. The mask is about 4 feet tall and has raffia all around it. When the mask arrives, it is low to the ground. The people begin singing:
Maimbo, Maimbo imama
Maimbo Kaki Lambe keybou mbe (the "k" in "keybou" sounds gutteral)
Maimbo is a man's name. It was the name of an actual priest, but it is used as the generic name for the priest who officiates at the ceremony. The lyrics mean: "Maimbo, Maimbo we greet you/ Maimbo, greet Kaki Lambe for us."
The people gather around and start praising Kaki Lambe: "Kaki Lambe, we believe in you! Kaki Lambe, we need you!" As they flatter the mask, it mysteriously rises up in the air, eventually to a height of some 15' (no one knows how this happens; Kaki Lambe is kept by a secret society of elder men). There are ropes hanging from the mask, and members of each of the lead families of the village hold onto the ropes. Each family takes a rope: as Mamady said, "one for the Keitas, one for the Camaras, one for the Bangouras," etc.
The special drum break tells the drummers to switch from slow to fast
(roughly double-time). During the fast section, the young men and women come forward and start dancing. The priest moves around the group, leaning in between people to listen to what Kaki Lambe is telling him about the future. At a signal from the priest, the special break is played by the lead drummer, the drummers switch to slow time, and the priest begins announcing Kaki Lambe's information.
Mamady said that this ritual is especially meaningful to the older members of the village, as it has been a yearly event throughout their lives and reminds them of the past and all the people who are no longer alive.
Time 1 . . 2 . . 3 . . 4 . . 1 . . 2 . . 3 . . 4 . . |
Break TtT t T t . T t . T
The Sangban and Kenkeni parts are adaptations. They double the part for
two differently pitched djembes, which both play the first
accompaniment, only the higher one is shifted by a beat to answer the
lower one.
|x x . x x . x x . x x . |
Sangban |C . . O O . C . . O O . |
lead in ^
|x x . x x . x x . x x . |
Kenkeni |O O . C . . O O . C . . |
The Dununba part is an adaptation of the 'Drama'(sp?) part (see Tiriba
above), and Mamady suggested that at higher speeds the Dununba part might be played upright with two sticks, to more closely mimic the hand
pattern of the Drama.
|x . x . x . x x . x . x x . x . x x . x . x . x |
Dununba |O . O . O . . . . . . O O . . . . . . . . . . O |
lead in ^
Accomp 1 |B . . t S . B . . t S . | (Hand pattern ?)
Accomp 2 |B . . t S . B t T t S . | (Hand pattern ?)
TBD: I will try to notate the break that Mamady played to switch from
the fast part to the slow part.
Question: In Mamady's explaination he said that the drumming built up
faster and faster as the Kakilambe mask rose higher, and then the
drummers played a break and slowed down (and played quieter?) while the
high priest explained to the people what Kakilambe had told him. When
we played the rhythm, Mamady used the break to speed up as well as slow
down. Does anybody know if this is traditional to use the break to
speed up as well? Is there more than one round of the priest
communicating with Kakilambe, then explaining to the people?
MORIBAYASSA
Mamady said that this dance is especially for women who bear a child after a long period of infertility. Among married Mandeng women, he said that being childless is the greatest sadness and shame. When a woman finds herself at the end of all hope to conceive, she prays to God for a child, and promises that, if God would grant her a child, she will dance Moribayassa.
If the woman succeeds in bearing a child, after the birth, and a period of recuperation, she performs the dance. She dresses as a crazy person. She wears men's pants (normally this is not done). Her clothes are torn up. She ties her shoes to her head and wears other items on her feet, like a basket on one foot and (something else) on the other). She covers herself with stinking garbage. Then she makes a tour of the village, between 3 and 7 times, performing the dance. She is followed by the women of the village, who sing the song to go with the dance, and by a group of drummers.
Time 1 . . . 2 . . . 3 . . . 4 . . .
Break Tf. T t . T . t T . S s S
|x . x . x . x . x . x . x . x . |
Sangban |O . . . C . . . C . O . O . O . |
lead in ^
|x . x . x . x . x . x . x . x . |
Kenkeni |O . . . O . . . O . . . O . . . |
|x . x x . x x . x . x x . x x . |
Dunnun |O . . . . . O . O . . . . . O . |
lead in ^
Djembe 1 |B . T t B . S . B . T t B . S . |
Djembe 2 |S . . s S . T t S . . s S . T t |
TORO
(accent on last syllable)
This song is played during the initiation period for young boys. After they are circumcised, they go into the forest for a 3 month initiation period. During this time they are taught respect and knowledge of life, including plant lore, how to recognize bird songs, and making signs out of rocks and stones to tell others of danger up ahead on forest paths.
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
break Tt T t T t T S s S
1 . . . 2 . . . 3 . . . 4 . . . 1 . . . 2 . . . 3 . . . 4 . . .
Djembe #1 S b S S S b S S T t b S S S b S S
Djembe #2|S . . s S . T t S . . s S . T t |
(First measure occurs only at top of the piece; second measure gets repeated.)
Timeline 1 . . . 2 . . . 3 . . . 4 . . . 1 . . . 2 . . . 3 . . . 4 . . .
Sangba O O . . C . C . C . . . O . O . O O . . C . C . C . . . C . C .
S. Bell x x . x x . x . x . x . x . x . x x . x x . x . x . x . x . x .
Dununba O O . . . . . . . . O O . O O . O O . . . . . . . . . . . . . .
D. Bell x x . x x . x . x . x x . x x . x x . x x . x . x . x . x . x .
The sangban part is mentally challenging. It is important to remember when to play the opens and when to play the closed, otherwise you get off from the dununba.
DENNADON
This song was used to introduce the Mendiani dancers. The Mendiani girls prepared themselves for a performance in a special hut set apart from the dancing area. When they are ready, they emerge from the house, and are immediately picked up and placed on the shoulders of a man (one girl to each porter). The men then run to the village square (the performance area, where everyone is gathered.) They enter with the girls dancing on their shoulders and heads, and make a tour of the circle, showing the girls to all in attendance. Dennadon is the song played throughout the girls' entrance. After they play this song, the girls descend to the ground, greet the elders and notable personages in attendance, sing the Mendiani song, then dance Mendiani.
Timeline 1 . . . 2 . . . 3 . . . 4 . . . 1 . . . 2 . . . 3 . . . 4 . . .
break tt t t t t t s s s
dj #1 S . . b T . T . S s . b T . t . S s . b T . T . S s . b T . T .
(measure one only at head; measure two repeats)
dj #2 S . . s S . T t S . . s S . T t
Sangba . . . c . . c . . . o o . . o .
S. Bell x . x x . x x . x . x x . x x .
^ (pattern picks up on break measure here)
1 . . . 2 . . . 3 . . . 4 . . .
Kenkeni o . . . o . . . o . . . o . . .
x . x . x . x . x . x . x . x .
Dununba o o . . . . . . o . o . . . . .
x x . x x . x . x . x . x . x .
(these parts begin after the break)
MENDIANI
This is the "dance of the Mendiani." "Mendiani" is a title for virgin girls who are specially initiated into a secret society of dancers. The elder women of the society were former Mediani themselves. They watch the young girls dance and select one (or several) to train them in this special dance. The girls must not only be good dancers, but also fearless, for the must perform their dance moves on the shoulders and head of a man.The Mendiani wear a special costume to perform, which they are not allowed to wear after they have lost their virginity. They become elders in the society and train future generations in the dance. The training goes on in secret, from what I understand.The dance is no longer done. I assume that the secret societies have also faded out. This rhythm, however, is still extremely popular.
Mamady said he has heard many non-Africans (and non-Mande Africans) play this song incorrectly. He said, "When I hear this song played wrong, it hurts my heart."
The key to the rhythm is the Sangba part (which, BTW, Joh Camara also
taught at the Jembe Institute this year, but Joh used different Dununba and Kenkeni parts). The Sangba part announces that this is Mendiani, and not any other 12/8 rhythm.
Timeline 1 . . 2 . . 3 . . 4 . .
Sangba o . o . . x . . o . o .
S. Bell x . x . x x . x x . x .
Mamady intentionally demonstrated an incorrect version, to show how he has heard Americans play this song:
Timeline 1 . . 2 . . 3 . . 4 . .
S (wrong) o . . . o . o . . o . .
S.B. x . x . x . x . x x . x
He said, "CA N'EXISTE NULPART!" ("This exists nowhere!" or, Mendiani is played this way nowhere. As it turns out, this is the Sangba line I was
first taught for Mendiani! I'm glad I know the difference now. I've been
working on teaching the correct part to as many people around here as I can. BTW, I believe this second (incorrect Mendiani) Sangba actually belongs in the song Soli Rapide.)
Back to the real version:
Timeline 1 . . 2 . . 3 . . 4 . .
Kenkeni o . . . . o o . . . . o
K. bell x . x x . x x . x x . x
^ (begins here in break measure)
Timeline 1 . . 2 . . 3 . . 4 . .
Dununba* . o o . . . . . . . o o
D. Bell . x x . x x . x x . x x
^ (begins here in break measure)
Note: This is the "simple" dununba part. Mamady also taught a "complex" version:
Timeline 4 . . 1 . . 2 . . 3 . . 4 . . 1 . . 2 . . 3 . . 4 . .
| repeats |
Dununba* . o o . o . o . o . o o . o . o . o o . . . . . . o o
D. Bell . x x . x . x . x . x x . x . x . x x . x . x x . x x
^ (note: the part begins on the last beat of the break measure; the pattern is a two measure phrase)
(Sorry I changed the notation format, but it was easier to delineate the part by starting from beat 4 of the break measure.)
Mendiani Djembe parts
Timeline 1 . . 2 . . 3 . . 4 . .
break Tt. T t . T t . T t . .
dj #1 S . T s . . S . T s . .
dj #2 S . . s T t S . . s T t
Abondon
Mamady showed this to me and friend separately from the classes. We were setting up for the second day's sessions. My friend, Jason Dodson, asked about the rhythm at the end of Tiriba on the Wassolon CD. In the recording, after an extended version of Tiriba, the ensemble rests as Mamady solos (on two drums?), then Mamady calls them back in for a brief rendition of Abondon. Jason sang the part for Mamady and asked what parts went with it. MK said, "Oh, that's Abondon!" and demonstrated it for us. This rhythm was played traditionally for public processions of the king.
Timeline: 1 . . 2 . . 3 . . 4 . . 1 . . 2 . . 3 . . 4 . .
break S s . S . s . S s . S . . $ . $ . $ . . . . . .
^ (both djembe parts
start here)
Timeline: 4 . . 1 . . 2 . . 3 . . 4 . . 1 . . 2 . . 3 . . 4 . .
Dj #1 . S . B . . t . s B . . . S . B t T t T s B . . . S .
Dj #2 . S . B . . t . s B . T t T t B . . t . s B . T t T t
^ (note: dj#2 only plays this pick-up slap at the entrance)
Timeline: 1 . . 2 . . 3 . . 4 . . 1 . . 2 . . 3 . . 4 . .
Sangba c . . o . o . . c . c . . o . o . o . . c . c .
S. Bell x . x x . x . x x . x . x x . x . x . x x . x .
(Note: this part sounds like: 2 open/2 closed/3 open/3 closed. The bell doubles the drum strikes and adds pickup notes to each group (2/2/3/3). As the part fits into the time scheme, though, the last closed note of the pattern falls on the downbeat. The pattern begins on the downbeat after the break measure.)
Timeline: 1 . . 2 . . 3 . . 4 . .
Dununba o . . o . . o . . o . .
D. Bell x . x x . x x . x x . x
Kenkeni . o o . o o . o o . o o
K. Bell . x x . x x . x x . x x
MAMAJA
Duns:
K
| X . X . X . | >
. . O . O . |
S
| X . X X . X | X . X X . X | X . X X . X | X . X X . X | >
| O . . . . . | O . . . . . | O . . . . C | . . C . . . |
OR
| X . X X . X | X . X X . X | X . X X . X | X . X X . X | >
| O . . O . . | . . . O . . | O . . . . C | . . C . . . |
D
| X . X X . X | X . X X . X | X . X X . X | X . X X . X | >
| . . O . . O | . . O . . O | . . C . . . | . . . . . O |
Djembe Acc.:
| S . S S . . |
Break:
| $ . S S . S | S . S S . . |
Djembe Solo:
1
| O O S O O S | O O S O O S | S . . S_S S S | S . S . . . |
2
| O S O O S O | O S O O S . | B Sc . S_S S S | S . S . . O|
3
| O . $ . Bo .| O . $ . Bo .| O . O . . $ | . . $ . Bo .|
4
| O . O O . O | . . $ . Bo .| O . O . . $ | . . $ . Bo .|
BOTSFORD VERSION:
Break StTs.Ss.Ss.. (I think)
Djembe 1 S.Ts..S.Ts.. (I'm sure of this one)
Djembe 2 TtStTs..StTsTtS..S..S..s (I'm sure of this one)
Dundunba (x)x.xx.xx.xx.xx.xx.xx.xx.x
(O)o.Oo....Oo.Oo.O......... (Also sure of this)
Sangba (x)x.xx.xx.xx.x
Kenkeni? (0)o....0o....0 (Maybe?)
MAMAYA
The old Mandingo-dance Mamaya (Mamayah) was very populair in Guinea during the 1940 - 1960 period. Traditionally it was a very stately dance, that was performed in a club or a group where one was part of. Dre$ed in gouba's and embroded shirts, male and female dancers could expre$ their beauty, while dancing in two circles (men in outer circle, women in inner circle). Dance-steps were made in a majestic way and a handkerchief or decorated stick was used as an a@ribute. The rhythm started with the singing of a Griot and/or music made with the Balafon, Bolon or Tama. Mamaya is traditionally without an echauffement. Mamady Keïta and Famoudou Konaté have their own interpretations of Mamaya, but the melody compares.
Last changed at 23-09-2000
Intro
T . T T . T T . T T . .
f . r l . l r . r l.
Pa@erns of Mamady Keïta
Kenkeni
O . . . . O O . . . . O O . . . . O O . . . . O
x . x x . x x . x x . x x . x x . x x . x x . x
Sangban
O . . O . . . . . O . . O . . . . C . . C . . .
x . x x . x x . x x . x x . x x . x x . x x . x
Dun Dun
O . O O . . . . O O . O O . O . . . . . . . . O
x . x x . x x . x x . x x . x x . x x . x x . x
Djembé 1
T T S T T S . . S T T S T T S . . S . . S . . S
r l r l r l . . r l r l r l r . . l . . r . . l
Djembé 2
S . T S . . S . T S . . S . T S . . S . T S . .
r . r l . . r . r l . . r . r l . . r . r l . .
Pa@erns of Famoudou Konaté
Kenkeni
O . . O . . O . . O . . O . . O . . O . . O . .
x . x x . x x . x x . x x . x x . x x . x x . x
Sangban
O . . . . . O . . . . . O . . . . C . . C . . .
x . x x . x x . x x . x x . x x . x x . x x . x
Dun Dun
. . O . . O . . O . . O . . O . . . . . . . . O
x . x x . x x . x x . x x . x x . x x . x x . x
Djembé 1
. . S T T S . . S T T S . . S T T S . . S T T S
. . r l r l . . r l r l . . r l r l . . r l r l
Solo accompagnement
S S . S S . T T . S S . S S . S S . S S . S S .
r l . l r . r l . l r . r l . l r . r l . l r .
Dun Dun variations
O . . O . O O . O . . O O . O . . . . . . . . O
x . x x . x x . x x . x x . x x . x x . x x . x
O . O . . O O . O . . O O . O . . . . . . . . O
x . x x . x x . x x . x x . x x . x x . x x . x
. . . O . . O . O . . O O . O . . . . . . . O O
. x . x . x x . x x . x x . x x . x x . x . x x
O . . O . . O . O . . O O . O . . . . . . . . O
x . x x . x x . x x . x x . x x . x x . x x . x
other variations
Djembé 1
B S B . T B . T T B T . B S B . T B . T T B T .
r l r . r l . l r l r . r l r . r l . l r l r .
Djembé 1
T B . S . T T . B S . T T B B S B T T . B S B T
r l . l . l r . r l . l r l r l r l r . r l r l
another Dun Dun variation
. O . O . O . O O . O O . O . . . . . . . . O O
. x . x . x . x x . x x . x . x . x . x x . x x
Break
T T S T T S T T S T S T T . . S S S S . S . . B
r l r l r l r l r l r l r . . l r l r . r . . l
T . B . B B T . B . B B T . . S S S S . S . . B
r . r . r l r . r . r l r . . l r l r . r . . l
T . B . B B T . B . B B T . . S S S S . S . . .
r . r . r l r . r . r l r . . l r l r . r . . .
D
. . . . . . . . . . . . . . . . . . . . . . . O ^
. . . . . . . . . . . . . . . S S S S . S . . .
O . H . H O O . H . H O O . . . . . . . . . . O
T T S T T S T T . S . . . . . . . . . . . . . .
r l r l r l r l . f . . . . . . . . . . . . . .
Djembé solo ; use these frases:
T T S T T S T T S T T S S . . S S S S . S . . .
r l r l r l r l r l r l r . . 2 r l r . l . . .
T S T T S T T S T T S . B S . S S S S . S . . T
r l r l r l r l r l r . r l . 2 r l r . r . . l
T . S . T . T . S . T . T . T . . S . . S . T .
r . f . f . r . f . f . f . f . . f . . f . f .
T . T T . T . . S . T . T . T . . S . . S . T .
r . r l . l . . f . f . r . r . . f . . f . f .
MARKETPLACE
Original by Ubaka Hill.
1 . . . 2 . . . 3 . . . 4 . . .
Intro T t T t . T . t t . B . B . . . >>
T t T t . T . t t . B . B . . .
T t T t . . B . T t T t . . B .
T t T t . T . t t . B . B . . .
Dun plays the basses.
Jembe 1 B . . t B . t . B . . t B . t .
Jembe 1 B . . t B . t . B . . t B . t . >>
variation B . . t B . t . B t . t B . t .
Jembe 2 B . . s B . s . B . s . T t T t
Jembe 3 S . . s S . T t S . . s S . T t
Jembe 4 T t . t T t B . T t . t T t S .
1 . . . 2 . . . 3 . . . 4 . . .
Dun B . . . B . B . . . . . B B . .
MELODY
3/4 |1 . . . 2 ^. . . 3 . . . |
fT . t S b . T | >>
1. |s . . T . fS . s B . b . | >>
2. |T . . s . fT . t S b . T | >>
3. |s B . t S t . S b . b . | >>
4. |T . . s . fT . t S b . T | >>
5. |s . . T . fS . s B . b . | >>
6. fT . . fT . . fS . . . . sSs| >>
7. |S . t S . s . s T . t . | >>
8. |S . . . . fT . t S b . T | repeat from 1.
MENDIANI
This is the "dance of the Mendiani." "Mendiani" is a title for virgin girls (6-14) who are specially initiated into a secret society of dancers. The elder women of the society were former Mediani themselves. They watch the young girls dance and select one (or several) to train them in this special dance. The girls must not only be good dancers, but also fearless, for the must perform their dance moves on the shoulders and head of a man. (There are 5 girls and 5 men chosen.) The Mendiani wear a special costume to perform, which they are not allowed to wear after they have lost their virginity. They become elders in the society and train future generations in the dance. The training goes on in secret. [The dance is no longer done. I assume that the secret societies have also faded out. This rhythm, however, is still extremely popular.]
Mamady said he has heard many non-Africans (and non-Mande Africans) play this song incorrectly. He said, "When I hear this song played wrong, it hurts my heart."
The key to the rhythm is the Sangba part (which, BTW, Joh Camara also
taught at the Jembe Institute this year, but Joh used different Dununba and Kenkeni parts). The Sangba part announces that this is Mendiani, and not any other 12/8 rhythm.
Timeline 1 . . 2 . . 3 . . 4 . .
Sangba o . o . . x . . o . o .
S. Bell x . x . x x . x x . x .
Mamady intentionally demonstrated an incorrect version, to show how he has heard Americans play this song (This IS the Soli sangba part):
Timeline 1 . . 2 . . 3 . . 4 . .
S (wrong) o . . . o . o . . o . .
S.B. x . x . x . x . x x . x
He said, "CA N'EXISTE NULPART!" ("This exists nowhere!" or, Mendiani is played this way nowhere. As it turns out, this is the Sangba line I was first taught for Mendiani! I'm glad I know the difference now. I've been working on teaching the correct part to as many people around here as I can. BTW, I believe this second (incorrect Mendiani) Sangba actually belongs in the song Soli Rapide.)
Back to the real version:
Timeline 1 . . 2 . . 3 . . 4 . .
Kenkeni o . . . . o o . . . . o
K. bell x . x x . x x . x x . x
^ (begins here in break measure)
Timeline 1 . . 2 . . 3 . . 4 . .
Dununba* . o o . . . . . . . o o
D. Bell . x x . x x . x x . x x
^ (begins here in break measure)
Note: This is the "simple" dununba part. Mamady also taught a "complex" version:
Timeline 4 . . 1 . . 2 . . 3 . . 4 . . 1 . . 2 . . 3 . . 4 . .
| repeats |
Dununba* . o o . o . o . o . o o . o . o . o o . . . . . . o o
D. Bell . x x . x . x . x . x x . x . x . x x . x . x x . x x
^ (note: the part begins on the last beat of the break measure; the pattern is a two measure phrase)
(Sorry I changed the notation format, but it was easier to delineate the part by starting from beat 4 of the break measure.)
Mendiani Djembe parts
Timeline 1 . . 2 . . 3 . . 4 . .
break Tt. T t . T t . T t . .
dj #1 S . T s . . S . T s . .
dj #2 S . . s T t S . . s T t
legend:
T, t tone on strong hand, weak hand
S,s slap on strong hand, weak hand
B,b base on strong hand, weak hand
O open dunnun note
C closed dunnun note
x bell stroke
. place holder for spot with no note.
| repeat marks
> continuation on next line/from previous line
^ under a note indicates lead in (i.e. the point in the rhythm to
start off the break)
NAME OF RHYTHM: Mendiani (Mandiani, Mindiani, Manjani,
Mandjani, Mandyani, Mandiany)
COUNTRY: Guinea (various sources)
Siguiri, Mandiana, Kouroussa and Kankan regions (Mamady Keita)
Upper Guinea (Kemoko Sano)
Kayes region of Mali (Tambours du Mali)
OTHER NAMES: In Guinea this rhythm is also called Denadon (Le Tambour Djembe)
REGIONAL/ETHNIC GROUPS:
Malinke (various sources)
From the Maninka ethnic group, played throughout the Maninka country.
(Le Tambour Djembe)
PURPOSE/BACKGROUND:
Each village has a Mendiani - that is a girl who has mastered the dance
Mendiani. When she becomes older, she must find a young girl to replace
her. She teaches the dance to this girl, at night, outside the village.
During the Mendiani festival, the dancer dances alone in the village
square, while a second girl (Lafe) with a rattle dances around her at a
distance. The Mendiani rhythm may be played on numerous other occasions as
well. (Famoudou Konate)
Dance by young virgin girls between the ages of seven and fourteen who are
dressed in a special costume for this dance. The rhythm is one of
rejoicing and welcome. (Mamady Keita / Nanakama notes)
This is the "dance of the Mendiani. "Mendiani" is a title for virgin girls
who are specially initiated into a secret society of dancers. The elder
women of the society were former Mediani themselves. They watch the young
girls dance and select one (or several) to train them in this special
dance. The girls must not only be good dancers, but also fearless, for
the must perform their dance moves on the shoulders and head of a man. The
Mendiani wear a special costume to perform, which they are not allowed to
wear after they have lost their virginity. They become elders in the
society and train future generations in the dance. The training goes on in
secret, from what I understand. The dance is no longer done. I assume
that the secret societies have also faded out. This rhythm, however, is
still extremely popular. (Mamady Keita, transcribed from workshop notes by
Adam Rugo)
My source for Manjani comes from a French colonial article published in
1924. It was certainly associated with young girl dancers in upper Guinea
(the region of Siguiri especially), primarily with Maninka (known as
Malinke in French colonial writing). This is the region usually cited as
the source for the tradition, just as Kouroussa (not too far from Siguiri)
is cited as the source for Dundunba. Ladji Camara had indicated that one of
the lead dancers in Les Ballets Africains of the 1950s was a Manjani (best
pre-pubescent dancer in her village) when she was young. (Eric Charry)
Played to test the dancing skills of pre-initiated young girls. (Journey
into Rhythm)
This rhythm is played mainly for young pubescent girls to celebrate good
harvests. (Le Tambour Djembe)
A popular dance historically performed by young people after the harvest
season. In contemporary times, Mandyani is performed for different
occasions as marriages, naming ceremonies and rites of passage. (Djimo
Kouyate)
Now recognized as a dance of celebration and often danced by men and women,
this dance was originally called the dance of the panther. It was danced
by young women as they returned home after their period of initiation.
(Mark Sunkett CD liner notes)
A Malinke rhythm from Guinea. It is dance by young virgin children
displaying their happiness at becoming adults in their society. This
lively, joyful rhythm is also played at festive occasions, such as at
harvest time when the dancers strut their stuff with many fancy steps,
acrobatics and incredible grace. (Drum Call)
A celebration dance from the Malinke people performed at the time of the
full moon. (Bamidele)
A dance for circumcision. The villagers sing to welcome the circumcised
after their initiation time. (Drums of Goree)
Performed after Harvest in the Kayes region [of Mali] (Tambours Mali)
<There is extensive information about Mandiani in Mark Sunkett's book
MANDANI DRUM AND DANCE>
RELATED RHYTHMS:
Dennadon (Mamady Keita), Lafe (4/4, source F.Konate) and Dendon (12/8,
not Denadon, source Delmundo Keita, Guinean dununfola based in Holland).
(from Yves Goulnik)
"Dennadon is the name of the rhythm played as a processional for the
Mendiani dancers. Dennadon is track #1 on Mamady Keita's album "Nankama."
The explanation of the purpose for Dennadon is in the notes to the album
(also see the Dennadon Cross Ref page), and has been confirmed by Mamady in
his workshops. (Jim Banks)
SONG LYRICS:
Oun Se, Ya oun se , baradia la
This song is Bambara, used after a day's work in the fields or following
harvest, (Mark Sunkett)
Ina Layila Kobenatoumanale
Dia Ha DIa Donnabenta Dia
Ho Ho Ho Hoho Ho Ho Ho (Nimba)
Subject: Mendiani frustration - HELP!
From: Adam Rugo <amrugo@artsci.wustl.edu>
Date: Wed, 24 Mar 1999 23:11:26 -0600
X-Message-Number: 1
Hi, gang,
I've taken two workshops with Mamady Keita in which he taught Mendiani. He explained very clearly that the sangban part to Mendiani goes like this (with the break):
1 . . 2 . . 3 . . 4 . . 1 . . 2 . . 3 . . 4 . . 1 . . 2 . . 3 . . 4 . .
t . t t . t t . t t . . o . o . . i . . o . o . o . o . . i . . o . o . (etc.)
I've seen several sources that confirm this. Fine - I'm comfortable playing that part. Mamady taught it, it's right. (This is, apparently, a similar version to the one taught by Famoudou Konate, except that Famoudou changes the last open stroke to a closed stroke.)
In the workshop, Mamady said, "I've heard the sangban played like this:
1 . . 2 . . 3 . . 4 . . 1 . . 2 . . 3 . . 4 . . 1 . . 2 . . 3 . . 4 . .
t . t t . t t . t t . . o . o . o . o . . i . . o . o . o . o . . i . .
...and this is incorrect."
Well...
Tonight I started playing Mendiani in the dance class taught by my Ivorian dancer friend, Diadie. The class was almost a complete disaster. I have to credit my drum crew, Donna, Rick, Tom, and Wolfie, for hanging in there and adjusting what we had practiced to what Diadie was asking us to play. Something was not clear at all during class. Based on the movements, Diadie asked for the break at a spot in the rhythm that made no sense. He said that the closed stroke is what he's listening for to cue the dance step. The dancers change sides in the first movement on the closed stroke of the sangban. With the move from step one to step two, the break seemed to have to be placed in a totally weird place, like starting on the "uh" of two. I was completely confused and Diadie was very frustrated.
After class, he told me, "I've never heard this Mendiani you play before: "bin - bin - - bap - - bin - bin -". The Mendiani I know is: "Bin-bin-bin-bin--bap--"." I said, "It's the same! We're just starting at a different place." "No, it's not the same," he insisted. "I usually listen to the sangban in Mendiani to know when the dance step starts, but when you play it, I have to listen to the djembe. The sangban part you play isn't the one I know." It was clear from the dance, once we got the groove going, that he was stepping on the "one" of the djembe part. I demonstrated our (Mamady's) sangban with the djembe. "Is that right?" "No, I don't know this." "Okay, how about this way," and I played it this way with the break:
1 . . 2 . . 3 . . 4 . . 1 . . 2 . . 3 . . 4 . .
t . t t . t t . t t . . o . o . o . o . . i . .
"Yes! That's it!" said Diadie.
As you can see, the version that Diadie understands as Mendiani is a version that Mamady claimed was incorrect. Diadie is Soninke. He grew up part of the time in Kayes, Mali, and part of the time in Yamoussoukro, Ivory Coast (in a Mande-speaking neighborhood they call "Dioulabougou," meaning "place of the Jula"). It may be that what Mamady meant was, "this is the version played in Upper Guinea," or maybe, "played in Guinea." The version Diadie knows he says is the one everyone in Dioulabougou plays. It may be an Ivorian version or a Malian version, I don't know. I listened to the four or five recorded versions of Mendiani that I have on CD and there is no continuity between them. I hear Mamady's version on _Nankama_ and I understand it as Mendiani. But then I hear other versions and think, "what the heck is this? It has none of the recognizable Mendiani parts!"
Mamady was adamant that any other version of the sangban was incorrect. He even said that, when he hears it played wrong, "it hurts my heart." You know I'm working as hard as I can to play the authentic traditional rhythms shown to me by African master drummers. I'm not trying to hurt anybody, I'm just trying to play the song the way I've been taught. Now, when I have to play it in dance class for a professional African dancer, it turns out I'm screwing it up. Diadie's version is not Mamady's version, and until tonight, all I knew was Mamady's version.
BTW, I just checked Mark Sunkett's book, _Mandiani Drum and Dance_, and on p. 53, he has a transcription of the sangban (he calls it sangbe') as played by M'Bemba Bangoura:
1 . . 2 . . 3 . . 4 . . 1 . . 2 . . 3 . . 4 . .
t . t t . t t . t t . . o . o . o . i . . i . .
(It's kind of a cross between Diadie's version, with the beginning of the phrase on the "one " and Famoudou's version, with two closed strokes instead of just one closed stroke.) Here is Sunkett's bio of Bangoura:
"M'Bemba Bangoura is of the Susu people of Guinea. He has played the Djimbe with the National Ballet of Guinea for fifteen years." (p. 175)
So, I now have before me two versions presented by Malinke drummers, one from a Soninke dancer, and one from a Susu drummer. What's right? What's not? Alls I know, see, is I better be playing it Diadie's way next time his class meets. Necessity is the mother of correctness. If the master dancer or drummer in the room says it goes this way and not that way, I better do as he says. Then I can write you all on the internet and question the contradictions we students of Mande music have to live with.
SO...here's the big question of the evening: How does *your* version of Mendiani go?
I appreciate any help you can offer.
Peace,
Adam.
----------------------------------------------------------------------
Subject: Re: Mendiani frustration - HELP!
From: Rainer Polak <raipol@gmx.de>
Date: Thu, 25 Mar 1999 09:21:53 +0100
X-Message-Number: 2
Hi Adam,
>1 . . 2 . . 3 . . 4 . . 1 . . 2 . . 3 . . 4 . . 1 . . 2 . . 3 . . 4 . .
>t . t t . t t . t t . . o . o . . i . . o . o . o . o . . i . . o . o .
(etc.)
this is exactly what I hear being played in Bamako (both festival and
ballet, see for one example CD Dunbia 1997 "Donkili" track 14), in Siby
(Mt. Mandingues) region and in Bouak=E9 by Adama Dram=E9 on his early 1979
classic recording.
Rainer Polak
----------------------------------------------------------------------
Subject: Mendiani
From: Michael Williams <WILLIAMSM@winthrop.edu>
Date: Thu, 25 Mar 1999 08:07:10 -0500 (EST)
X-Message-Number: 6
Adam,
Djimo Kouyate teaches Manjani (Mendiani, Mandiani, etc.) in a way similar to the
way you described from Diadi:
1 . . 2 . . 3 . . 4 . .
o . o . o . o . o o . .
which I've also heard played:
1 . . 2 . . 3 . . 4 . .
o . o . o . o . . i . .
(This was in a dance class with Djimo at SJI)
I've also heard it played the way you described from Mamady Keita:
1 . . 2 . . 3 . . 4 . .
o . o . . i . . o . o .
I'm sure it isn't "traditional," but they sound pretty good together:
1 . . 2 . . 3 . . 4 . .
o . o . o . o . . i . .
o . o . . i . . o . o .
Michael Williams
Subject: Mendiani
From: "Tom Daddesio" <tcd@nauticom.net>
Date: Sun, 28 Mar 1999 21:27:47 -0500
X-Message-Number: 4
Given the interest in Mendiani this week, people may want to consult the
compilation of Mendiani recordings and instructional materials compiled by
Michael Wall.
http://www.nauticom.net/users/tcd/djembemande/mendiani.html
The main page of the Mande Rhythm Cross Reference can be found at:
http://www.nauticom.net/users/tcd/djembemande/cross.html
Regards
Tom Daddesio
MENDIANI HAND PARTS
(MAMADY)
Timeline 1 . . 2 . . 3 . . 4 . .
Sangba o . o . . x . . o . o .
S. Bell x . x . x x . x x . x .
Timeline 1 . . 2 . . 3 . . 4 . .
Kenkeni o . . . . o o . . . . o
K. bell x . x x . x x . x x . x
^ (begins here in break measure)
Timeline 1 . . 2 . . 3 . . 4 . .
Dununba* . o o . . . . . . . o o
D. Bell . x x . x x . x x . x x
^ (begins here in break measure)
Note: This is the "simple" dununba part. Mamady also taught a "complex" version:
Timeline 4 . . 1 . . 2 . . 3 . . 4 . . 1 . . 2 . . 3 . . 4 . .
| repeats |
Dununba* . o o . o . o . o . o o . o . o . o o . . . . . . o o
D. Bell . x x . x . x . x . x x . x . x . x x . x . x x . x x
^ (note: the part begins on the last beat of the break measure; the pattern is a two measure phrase)
(Sorry I changed the notation format, but it was easier to delineate the part by starting from beat 4 of the break measure.)
Mendiani Djembe parts
Timeline 1 . . 2 . . 3 . . 4 . .
break Tt. T t . T t . T t . .
dj #1 S . T s . . S . T s . .
dj #2 S . . s T t S . . s T t
Madou's Djembe Parts:
Timeline 1 . . 2 . . 3 . . 4 . .
INTRO T t S t T s T t S s . B >>
. b . B b . . B . b . B >>
b . . S s S t T t S . .
dj #1 S . t S . b S . t S . b
^
dj #2 S . . s T t S . . s T t
^
dj #3 S . s . T t S . s . T t
^
Dununba B . B . . C . . B . B .
Sangba B . . B . . B . . B . .
Kenkeni B B . . . . B B . . . .
Bell x . x . x x . x x . x .
The "other" Sangba part:
Mamady says this is incorrect;
Timeline 1 . . 2 . . 3 . . 4 . .
Sangba o . o . o . o . . x . .
MENDIANI SOLO
Source: Adboul Doumbia
Note: Not 100% SURE
Timeline 1 . . 2 . . 3 . . 4 . .
S . T S . . S . T S B . >>
S . T S B B S B T S B . 3x total
S . . B S . . B S S T T >>
S . . B S T T S T T S . 3x total
T T S S B S S B S S B S 3x, skip last S before break
Break @ . T T . T T . T T . . >>
$
MENI (?)
Ulf (skikv1@tekniskaverken.linkoping.se) from the Falul Folk Festival
4/4 |: . . . * . . . | . . . * . . . :|
_ _ _ _ _
Djembe3 B . . O B . . . B . O . B . . .
_ _ _ _
Djembe2 B . O . B . S . B . O . B . S .
_ _ _ _ _ _ _
Djembe1 S . O S . O S . O . S . O O O .
(lead) _ _ _ _ _
Break O O O O . O . O O . O . S . . .
This is what I know about Meni (which I learned once from Arafan Toure, a
teacher in Holland.
duns combination:
kenkeni|....|....|..o.|....|
sangban|....|..o.|....|..o.|
dundun |o..o|o...|o...|o...|
bell |xx.x|x.x.|x.x.|x.x.|
extra kenkeni:
kenk 2 |..oo|.oo.|..oo|.oo.|
bell |x.xx|.xx.|x.xx|.xx.|
djembe1|B.T.|B...|BTTT|B...|B.T.|B...|BTTT|B...|
Djembe2|BSSS|B.T.|B...|BT.T|B...|B.T.|B...|BTTT|
^
Djembe1 starts, and after one or two cicles the second djembe comes in at
the tone at point "^"
MISCELLENAEOUS
>> Time 1 & 2 & 3 & 1 & 2 & 3 &
>> Foot f . . . . . f . . . . .
>> Bell . x x . x x . x x . x x
>> Kenkeni . . o . o o . . o . o o
>
>Adam, Michael, this is a killer! A different bell, the triple
>ride, makes it much easier:
>
>Time 1 e a 2 e a 3 e a 4 e a
>Bell x . x x . x x . x x . x
>Kenkeni . . o . o o . . o . o o
This is like the djembe-accompaniment-with-kenkeni groove for one player. I
like to demonstrate this groove by playing the djembe with one hand and
kenkeni with a stick in the other:
Time 1 e a 2 e a 3 e a 4 e a
Djembe s . t s . . s . t s . .
Kenkeni . . o . o o . . o . o o
Peas,
Adam.
MOLEKANIMANI DJOU JEE
Molekanimani Djou Jee is a Sousou-song with rhythm from Guinea about all good and bad things are happening (children are born and people die) all the time and that therefore envy is a bad custom.
ee na lee, (father) ee mpfa lee (mother) molekanimani djou (envy) jee
dia (something good) jee bana lee lolo (every day)
Last changed at 30 november 2000
Intro
T T T T T . T T . T . .
f r l r l . r l . r . .
Kenkeni
. O . . O . . O . . O . . O . . O . . O . . O .
x x . x x . x x . x x . x x . x x . x x . x x .
Sangban
O . O . . C . C . C . . O . O . . C . C . C . .
x . x . x x . x . x . x x . x . x x . x . x . x
O . O . . C . C . O . . O . O . . C . C . C . .
x . x . x x . x . x . x x . x . x x . x . x . x
Dun Dun
O . . O . . O . . O . . O . . O . . O . . O . .
x x . x x . x x . x x . x x . x x . x x . x x .
Djembé 1
S . T S . . S . T S . . S . T S . . S . T S . .
r . r l . . r . r l . . r . r l . . r . r l . .
Djembe 2
S . . S T T S . . S T T S . . S T T S . . S T T
r . . l r l r . . l r l r . . l r l r . . l r l
Sangban echauffement
O . O . . O . O . O . . O . O . . O . O . O . .
x . x . x x . x . x . x x . x . x x . x . x . x
Dun Dun echauffement
O . O O . O O . O O . O O . O O . O O . O O . O
x . x x . x x . x x . x x . x x . x x . x x . x
MORIBAYASSA
Mamady said that this dance is especially for women who bear a child after a long period of infertility. Among married Mandeng women, he said that being childless is the greatest sadness and shame. When a woman finds herself at the end of all hope to conceive, she prays to God for a child, and promises that, if God would grant her a child, she will dance Moribayassa.
If the woman succeeds in bearing a child, after the birth, and a period of recuperation, she performs the dance. She dresses as a crazy person. She wears men's pants (normally this is not done). Her clothes are torn up. She ties her shoes to her head and wears other items on her feet, like a basket on one foot and (something else) on the other). She covers herself with stinking garbage. Then she makes a tour of the village, between 3 and 7 times, performing the dance. She is followed by the women of the village, who sing the song to go with the dance, and by a group of drummers.
Also (according to one source): A dance to fufill a promise to God when a long time trouble is solved.
Time 1 . . . 2 . . . 3 . . . 4 . . .
Break Tf. T t . T . t T . S s S
|x . x . x . x . x . x . x . x . |
Sangban |O . . . C . . . C . O . O . O . |
lead in ^
|x . x . x . x . x . x . x . x . |
Kenkeni |O . . . O . . . O . . . O . . . |
|x . x x . x x . x . x x . x x . |
Dunnun |O . . . . . O . O . . . . . O . |
lead in ^
Djembe 1 |B . T t B . S . B . T t B . S . |
Djembe 2 |S . . s S . T t S . . s S . T t |
MOSSUKORUBA
A rhythm taught to us here in Hawaii by Osumane Somoumah.
The notation below represents what we learned. I'm including the notation in case someone might recognize the rhythm, perhaps by another name.
What I am interested in is:
Separate Dunun, Sangba and Kenkeni parts with bells
Any information on the purpose / background of the rhythm
Any clue as to the country / region / people of origin (Ousmane is Guinean)
michael wall
1 . . . 2 . . . 3 . . . 4 . . .
djembe 1 B . . s S . B . B . O s O o S . => repeats 3 times, then plays 2nd
phrase once and starts over
O o S o O s O o S . O s O o S .
djembe 2 B b O o . . S s :|
djembe 3 S . O o . . S . s . O o B b S .
We learned a more "ballet" style dunun arrangement - one person on a
dunun-kenkeni setup, the other a dunun-sangba.
bell x . x x . x x . x . x . x . . x
dun/kenk D . k k . . k .(k). D . D . . D (k) is played every other
cycle, beginning the 2nd.
bell x . x . x . x . x . x . x x . .
dun/sang D . . . s . D . D . s . s s . .
dun/sang x . x . x . x . x . x . x . x .
variations D . D . s . D . D . s . s s . .
D . . . k . D . D . s . s s . . (if one person playing three)
N'GORONG (Johannes Schya) & Albert Prak)
The Senufo People on the border of Mali and Ivory coast. Young girls dance it after their
initiation
(Paul Janse)
>
> The rhythm is similar to the track 'Toubala Kono' on Mamady Keita's CD
> Mogobalu. I just listened to a recording of the workshop, where Famoudou
> picked up a djembe and started playing solo and singing. It's only now that
> I hear his words: 'Toubala Kono', the title of the track on the Mogobalu
> CD. (Albert Prak)
>
> 1 . . . 2 . . . 3 . . . 4 . . . 1 . . . 2 . . . 3 . . . 4 . . .
>
> Call $ . S s . s . s S . S s S . . .
>
> Kenkeni x x . x . x x . x x . x . x x .
> o o . i . . i . o o . i . . i . Albert
>
> x x . x x . x . x x . x x . x .
> o o . . i . . . o o . . i . . . Johannes
>
> Sangba x . x x . x x . x . x x . x x . x . x x . x x . x . x . x . x .
> . . o o . . i . . . o o . . i . . . o o . . i . . . o . . . o .
>
>
> x . x x . x x . x . x . x . x . x . x x . x x . x . x . x . x
> Johannes
> Dunun x . x x . x . x x . x . x . x . x . x x . x . x x . x . x . x .
Albert
> o . . . . . . . i . . . . . . . i . . . . . . . o . . . o . . .
> ^
>
> Dj S . . . . b S s S . . . . b S s S . . . . . . . S s $ . S s $ .
> ^
> Dj S . . s S . O o :|
>
>
> 1 . . . 2 . . . 3 . . . 4 . . . 1 . . . 2 . . . 3 . . . 4 . . .
N'ZEDI
(Congolese Pygmy rhythm)
9/8 . . * . . * . . .
_ _ _ _
break O O O . O O O . . >>
_ _ _ _
O O O . O O O . .
_ _ _
djembe 1 Sf . S S O O S S .
_ _ _ _ _ _
djembe 2 S S S . O O O S S O
^ start this one here
NAMA
On the cassette by IBRO KONATE called : Ibro Konate et son ensemble
"Senkola" I find a track called "Nama." I seem to hear the following :
Call
----|..*..*..*..
----f.oo.oo.oo.. f : slap-flam
Parts :
Dununba
----|..*..*..*..|..*..*..*..|..*..*..*..|..*..*..*..
----x.x.x.x.xx.xx.x.x.x.xx.xx.x.x.x.xx.xx.x.x.x.xx.x
----d.d.....dd.dd.d.....dd.dd.d.....dd.dd.d.....dd.d
Sangban
----|..*..*..*..|..*..*..*..|..*..*..*..|..*..*..*..
----x.x.x.x.x.x.x.x.x.x.x.x.x.x.x.x.x.x.x.x.x.x.x.x.
----....ss....ss....ss....ss....ss....ss....ss....ss
Kenkeni
----|..*..*..*..|..*..*..*..|..*..*..*..|..*..*..*..
----x.x.x.x.xx.xx.x.x.x.xx.xx.x.x.x.xx.xx.x.x.x.xx.x
----k.k...k.kk..k.k...k.kk..k.k...k.kk..k.k...k.kk..
Djembe 1
----|..*..*..*..|..*..*..*..|..*..*..*..|..*..*..*..
----s.os..s.os..s.os..s.os..s.os..s.os..s.os..s.os..
Djembe 2
----|..*..*..*..|..*..*..*..|..*..*..*..|..*..*..*..
----s..soos..soos..soos..soos..soos..soos..soos..soo
Djembe 3 (bass)
----|..*..*..*..|..*..*..*..|..*..*..*..|..*..*..*..
----oo....oo....oo....oo....oo....oo....oo....oo....
Can someone check this out ?
NANTALOMBA
CULTURAL CONTEXT
A song of provocation and insults of the 'baratingi', the oldest of the
young people in the village, towards the 'baradogono' or younger ones.
The youngest are compared to a spider with its legs pulled off called
Nantalomba to get them to fight.
The 'baratingi' consider themselves as being the true owners of the
'bara' (space for dancing) and the challenges between the different age
groups occur when the dances take place. The circles that correspond to
each age group are laid out concentrically aroung the tree planted in
the middle of the 'bara'. The leader carries a decorated hatchet called
'djende' and a 'manin fosson', a riding crop braided from hippopotamus
skin.
When one of the young boys wishes to join the group of older boys, he
moves out of his own circle and dances backwards. He meets the leader of
the other group, who asks him "The way?", to which he answers "It is
marked on the back!" A reciprocal flagellation then follows, that leads
either to the boy's acceptance or rejection by the older group when the
men who are present, appreciating the boy's courage, put a stop to the
test.
legend:
T, t tone on strong hand, weak hand
S,s slap on strong hand, weak hand
B,b base on strong hand, weak hand
O open dunnun note
C closed dunnun note
x bell stroke
. place holder for spot with no note.
| repeat marks
> continuation on next line/from previous line
^ under a note indicates lead in (i.e. the point in the rhythm to
start off the break)
1 . . 2 . . 3 . . 4 . . 1 . . 2 . . 3 . . 4 . . >>
dj. solo S s T s S s . . . . . . . . . . . . . . . . . . >>
dj.1 . . . . . . . . . . . . S . . s T t S . . s T t >>
dj.2 . . . . . . . . . . . . T t . . . . T t . . . . >>
sangban . . . . . o . . o . . . o . o . . o . . o . . . >>
bell . . . . . x x . x x . x x . x x . x x . x x . x >>
1 . . 2 . . 3 . . 4 . . 1 . . 2 . . 3 . . 4 . .
dj.1 S . . s T t S . . s T t S . . s T t S . . s T t
dj.2 T t . . . . T t . . . . T t . . . . T t . . . .
sangban c . . . . o . . o . . . o . o . . o . . o . . .
bell x . x x . x x . x x . x x . x x . x x . x x . x
dunumba . . . . o o . o o . . . . o o . o o . o o . . .
bell . x x . x x . x x . x x . x x . x x . x x . . .
kenkeni . . o . o o . . o . o o . . o . o o . . o . o o
bell . x x . x x . x x . x x . x x . x x . x x . x x
* djembe 2 designated 'Djembe basse'
SONG
Nantalomba, eee
I badaban ikouloula banankou too do woo.
Ido wolo kognouma eee
O you, Nantalomba,
Since you have stuffed yourself with manioc paste
Dance now as you must!
NEW
1 . . 2 . . 3 . . 4 . . 1 . . 2 . . 3 . . 4 . .
Part 1 S b T t B t S b T t B t S b T t B t S b T t B t
Part 2 B . B . B . B . B t B t B . B . B . B . B t B t >>
B . B . B . B . B t B t B t B . B . B . B t B t
Part 3 B . T b T t B . T b T t B . T b T t S . S . S . >>
B . T b T t B . T b T t B . T b T t S . . . S t
NIGERIAN RHYTHM
Legend:
T,t tone on strong hand, weak hand
S,s slap on strong hand, weak hand
B,b base on strong hand, weak hand
Time 1 . . . 2 . . . 3 . . . 4 . . . 5 . . . 6 . . .
Accomp 1 B . t T . B . t T . B . T t T t T t . . . . B .
Accomp 2 B t T b T t B t T b T t B t T b T t B t T b T t
Accomp 2 Var B t T b T t B t B t T b T t B t T b T b T t B t >>
T b T t B t B t T b T t B t T b T b T t B t T b etc...
Note: The variation is essentially (or, you can look at it this way for purposes of breaking it down) two consecutive phrases of 3-3-5 that keep repeating:
B t T - b T t - B t B t T
b T t - B t T - b T b T t
NIMBA
Nimba, part 1 (first the soloist plays once the bass-pattern on Djembe as a break):
4/4 |: . * . * . * . | . * . * . * . :|
(BREAK) B s S . B s S . b B . . b B . b (B)
DJEMBE 1 B . s O o . S . b . S o O . s .
BASS K K . S K K . D D . . D D . D S
(the soloist stops the others with a fast staccato of slaps)
Nimba, Part 2 a, b, c
All breaks between part a and e are only for the dancers.
The drummers keep playing continuously. a little faster
3/4 |: . * . * . | . * . * . :|
BREAK Sf S s . Sf S s . Sf S s .
DJEMBE S s S s O o S s S s O s
BASS S . S . K . S . S . K .
Nimba, Part 2 d
3/4 |: . * . * . | . * . * . :|
BREAK Sf S s . Sf S s . Sf S s .
DJEMBE S s S s O o S s S s O s
BASS S S S . K . K . K . K .
Nimba, Part 2 e
3/4 |: . * . * . | . * . * . :|
BREAK Sf S s . Sf S s . Sf S s . >>
Of O o . Of O o . Of O o . >>
S . S . S . . . . . . .
DJEMBE S s S s O o S s S s O s
BASS S . S . K . S . S . K .
FINISHING BREAK Sf S s . Sf S s . Sf S s . >>
B b B b B
NOKOBE
(Ewe - Ghana), Catrin Pieri (pieri@Hydromod.DE)
4/4 |: . * . * . * . | . * . * . * . :|
_ _ _ _ _ _ _
Ashiko O . O O B . O . B s s . s s .
Ashiko . . o o . . o o . o o . . o o
w/Stick
Bell L . H H . H H . L . H . H . H .
(Gankogui)
Shekere D . . D U . D . D . . D U . D .
(Axatse D/U down/up)
NOUMOU
Noumou is a rhythm of the blacksmith.
Last changed at 05-10-1999
Kenkeni
O . O . O . O . O . O . O . O .
x . x . x . x . x . x . x . x .
Sangban
. . O O . . C . O . O O . . C .
x . x x . x x . x . x x . x x .
Dun Dun
. . O O . O O . O . O . O . O .
x . x x . x x . x . x . x . x .
Djembe 1
S . . S S . T T S . . S S . T T
r . . l r . r l r . . l r . r l
Solo accompagnement
T . S T . S T . S T . S T . S T
r . r l . l r . r l . l r . r l
Dun Dun echauffement
O O . O . O . O O . O . O . O O
x x . x . x . x x . x . x . x x
Sangban echauffement
O . O O . O . . O . O O . O . .
x . x x . x . x x . x x . x . x
ending the echauffement
O . . O . . O . . O . . O . . .
x . . x . . x . . x . . x . . .
Break 1
T S . S . S S . B S . S . S T . T
l r . r . r l . l r . r . r l . l
S . S . S S . T S . S . T T . T
r . r . r l . l r . r . r l . l
S . S . S T . T S . S . S T . T
r . r . r l . l r . r . r l . l
Break 2
T T S T T S T T S T T S T T S .
r l r l r l r l r l r l r l r .
O . O . O . O . O . O . O . . .
x . x . x . x . x . x . x . . .
O O O O . C . O O O O . . . . .
x x x x . x . x x x x . . . . .
T T S T T S T T S T T S T T S B
r l r l r l r l r l r l r l r l
S S . . . . . B S S S . . . . .
r l . . . . . l r l r . . . . .
S . T T . S . T T . . B S S S S
f . r l . f . r l . . l r l r l
S . T T . . . . . . . . . . . .
r . r l . . . . . . . . . . . .
NWON FUN WA
Yoruba song: It is a traditional wedding song sung to the family of the bride by the family of the groom, it says: "They gave us a bride to be our wife" It is in 4/4 and the song goes:
Nwon fun wa
Nwon fun wa
Nwon fun wa ni yawo
Nwon fun wa ni yawo
Nwon fun wa ni yawo
Ka fi sa ya wa
and then you can substitute "yawo" with the brides name for other verses
Part 1: B . T t . . S . | B . T t . t T t
Part 2: S s . . S s . . | S s . . S s . .
I could sing this to you over the phone! (202) 332-5337
Jaqui
ODUN DE
Hi. The lyrics to Odun De are:
Odun de odun de
Odun de a tun yo
Odun de odun de
Odun de mo tun yo
Dunmare jowo wa gbope mi o
Ire ire e e
Odun de odun de odun de
Ire ire e e
Odun de odun de odun de
E dunmare pese fun wa fun wa
E dunmare pese fun mi fun mi
Lai ye lai ye lai ye
O bangiji ye gbope wa
E dunmare mo wa jubba
E dunmare mo wa jubba
Odun de odun de
Adam
OGGUN
(Santeria), Luis Nunez (lmn02@www.gnofn.org)
(simplified version)
4/4 |: . * . * . * . | . * . * . * . :|
Bell X . . X . . . X . . X . X . . .
Hi drum S . . O S . . . S . O . S . . .
Mid drum S . . . S . . . S . . . Of . . .
Lo drum S . . . O . S . O . B . O . . .
OUTSIDE THE WALL
1 . . . 2 . . . 3 . . . 1 . . . 2 . . . 3 . . .
Dj 1 . T T S . . T T . T T S . . T T . T T S . . T T
Dj 3 B . T T B S . S B T S . B . T T B S . S B T S .
1 . . 2 . . 3 . . 4 . . 1 . . 2 . . 3 . . 4 . .
Dj 2 . T T . S S . B B . B B . T T . S S . B B . B B
Dj 4 B T . T . S B T . T . S B T . T . S B T . T . S
1 . . 2 . . 3 . . 4 . . 1 . . 2 . . 3 . . 4 . .
Bell x . . x . . x . . x . . x . . x . . x . . x . .
Sang o . . . o . o . o . . . . . . . o . o . o . . .
1 . . . 2 . . . 3 . . . 1 . . . 2 . . . 3 . . .
Bell x . . . x . . . x . . . x . . . x . . . x . . .
Ken o . . o . . . . . o . . o . . o . . . . . o . .
1 . . 2 . . 3 . . 4 . . 1 . . 2 . . 3 . . 4 . .
Bell x . . x x . x . x x . . x . . x x . x . x x . .
Jun o . . . . o . o . . . o . o . . . o . o . . . o
1 . . 2 . . 3 . . 4 . . 1 . . 2 . . 3 . . 4 . .
DBell h . . l . l h . . l . l h . l . h . l . h . l .
DBell . h l . h l . h l . h l . h l . h l . h l . h l
1 . . . 2 . . . 3 . . . [repeat]
Shekere H . . . S . . . S . . . [repeat]
1..2..3..4..1..2..3..4..
Shekere H..S..S..H..S..S..H..S..
OWATASA
Original
Time 1 . . . 2 . . . 3 . . .
Djembe 1 T t . S . b T . t . B .
Djembe 2 B t T b T t B t T b T t
Djembe 3 solo
OYA SONG
Original by Ubaka Hill
1 . 2 . 3 . 4 . 5 . 6 .
Jembe 1 B t T b T t B t T b T t (emphasize basses)
Jembe 1 B t T b T t B s T b T t
(Var)
Jembe 2 B . T t T . S . T t T . >>
B . T t T . S . . t T .
Jembe 3 $ . T t T . T t . t T . >>
T t . t T . T t . t T .
Jembe 4 S t S . S t S . S t S .
Dununba B . . . . . B B . . . . >>
B . . . . . B . . B . .
Bell x . x . x . x x . x . x
PAUL JANSE INVENTION
1...2...3...4...5...
s..ss.oo..s.ss.ooo..
1...2...3...4...5... or 1.2.3.4.5.6.7.8.9.0.
oo.s.oo.s.oo.s.oo.s. oo.s.oo.s.oo.s.oo.s.
1...2...3...4...5... or 1.2.3.4.5.6.7.8.9.0.
s.oo.bboo.s.oo.bboo. s.oo.bboo.s.oo.bboo.
It is supposed to use a continued handsetting
MADOU PHRASES
Joura Ending
1 . . . 2 . . . 3 . . . 4 . . .
B t . B t B t . B t . T t T t . B b
Very Funky Break (as taught in St. Louis)
1 . . . 2 . . . 3 . . . 4 . . .
S . s S . TtTtTtT . S s S . . . >>
Tt. . . . . Tt. . . . . TtTtTtT >>
Tt. . . . . Tt. . . . . TtTtTtT >>
S . S . S . S . TtT.t . . . . . >>
T.tT. . . . . . $ . . . $ . . . @
Very Funky Break (as played in Iowa)
1 . . . 2 . . . 3 . . . 4 . . .
S . s S . TtTtTtT . S s S . . . >>
Sb. . . . . Sb. . . . . TtTtTtT >>
SB. . . . . Sb. . . . . TtTtTtT >> St for second?
S . S . S . S . bSsB. . . . . . >>
bSsB. . . . . BbSsBb$ . B . . .
Phrase
1 . . . 2 . . . 3 . . . 4 . . .
T . t . S . s . T . t . . S . s >>
T . T . S . s . . B b B b . . .
Phrase (quick)
1 . . . 2 . . . 3 . . . 4 . . .
S . . . B . . . S . TtT S . tS.
TtS . tS. TtTtT . tSSSSS. S.sS
Groove
1 . . 2 . . 3 . .
DJ1 B . S b S s B S .
DJ2 t T t S s . S s S
DJ2 Var. S t T s T t S t T
POLSKA
Here's another one that I've made myself for some Swedish polska dancers. (In case you didn't know, polska is a very popular Swedish folk dance.)
123456789123456789
b+o+oos+ob+o+oos+o
bs+s+sb+s+bsss+bs+
s+os++s+os++s+os++
RABODAY
(Rabodaille, etc)
1234567812345678
Djembe 1 b--bb-s-b--bb-s-
Djembe 2 tt--b---t-t-b---
Djembe 3 t-tt-tt-t-tt-tt-
Bass D---S---D---S---
Bell H--H--H-H--H--H-
Signal F-tt-t-tt-t-t---
This rhythm is taken from the African Drum Rhythms Practice CD 2. It is a perfect rhythm to start with for beginners. It has been used a lot in beginners´ classes by my drum teacher friend Ulf Weigel, who learned the rhythm from Sten Kallman, who brought it from Haiti, along with a lot of other music that has spread all over Sweden.
RHUMBA Y'ESA
Source: Ubaka Hill
Originally played on conga. Adapted for jembe.
1 . . . 2 . . . 3 . . . 4 . . .
Jembe 1 B . . T . . B . . T t T . . B .
Jembe 2 B . . + T . t . B . . + T . t . (where + = touch)
Jembe 3 S s + + S s + + S s + + S s + + (where + = touch)
2/3 clave x . . x . . . x . . x . x . . .
Dun B . M . B . M . B . M . B . M .
ROCK RHYTHM
Source: Ubaka Hill
Not clear on some of this:
1 . . . 2 . . . 3 . . . 4 . . .
intro? T . T T . T T . T T . T . T . T [repeat 3x] >> not clear
T . T T . T T . B . B . B . . .
or is it: T . T T . T T . T . T . T . . . [repeat 3x] >>
T . T T . T T . B . B . B . . .
Jembe 1 B . . B . . S S B . S . S . S S
^
Jembe 2 B . T T . T T . B . B . T . T . ??
or? B . T T . T T . B . B . T T . .
Jembe 3 B . B . S S . . B . B . S S . .
Jembe 4 B . S S . S S . B . B . S S . .
RUCHENITSA
If you want to become familiar with odd-time, get into bulgarian/macedonian/albanian music. Balkan is _the_ motherland and fatherland of odd time, which is otherwise called aksak - term by Bela Bartok, derived from a turkish word which means "limping".
The aksak idea of rhythm is very different from african rhythm. African rhythm is about _dividing_ a constant period of time into an "easy" (2,3,4) number of beats, then subdividing them into sub-beats etc. Aksak rhythm is about _grouping_ beats into groups of small number of beats (2,3,4), and assembling complex rhythms from such groups, so that each rhythm has a constant sequence of groups. The total of beats in the whole sequence may be very odd: 25/16 is not a rare phenomenon!
For example: ruchenitsa - the most popular dance in Bulgaria - is assembled from three groups. First two are 2-s and the remaining is 3. So, ruchenitsa counts 2+2+3, which produces 7, and this is what you're looking for.
There are three basic families of rhythms in 7 on the Balkan.
Ruchenitsa:
7/16, counted 2+2+3, or just 4+3
Try this djembeized ruchenitsa beat:
"feeling" |* . . . * . .|* . . . * . .|
count |1 2 3 4 1 2 3|1 2 3 4 1 2 3|
* - start here
dj 1 |S . S t S . s|S . T t S . t|
dj 2 |B s S . t T .|. T s . T t .|>>
|B t s . t T .|s T s . T t .|(handing may be adjusted)
san |. . . . x . x|x . . . x . .|
|. . . . . . .|O . O . O . .|
dun |x . . . . . .|. . x . . . .|
|O . O . . . .|. . . . . O .|
RUMBA
12345678123456*8
Djembe b--tb---b-s-b---
Djembe b-----ttb-b---tt *
Djembe b---t-t-b---t-t-
Bass D--D--S---D-D-S-
Bell H-HHH-H-H-H-H-H-
Signal f-tt-t-tt-ttt---
These parts for Rumba are all taken from African Drum Rhythms Practice CD 8 (linked above). It is an excellent rhythms for beginners to start with, as each part is very easy to play even at a high tempo.Notice that the second djembe part begins with a lead-in. Lennart Hallstrom, Sweden
SENEFOLI
Transcribed from Mamady workshop...
A farming rhythm
Time 1 . . . 2 . . . 3 . . . 4 . . .
Break Tf. T t . T . t T . S s S
|x . x x . x x . x . x x . x x . |
Kenkeni |C . O O . . . . C . O O . . . . |
|x . x x . x x . x x . x x . x . |
Sangban |O . . . . . C . . C . . O . . . |
^
Sangban |x . x . x . x . x . x . x . x . |
variation 1 |O . . . C . C . C . . . O . O . |
^
Sangban |x x . x . x x . x x . x x . x . |
variation 2 |. O . O . . C . . C . . O . O . |
^
Note: the lead in marks (^) for the Sangban parts indicate where in the
rhythm to switch from one variation to the next, however on the opening
break the basic part starts on 1.
|x . x x . x x . x . x x . x x . |
Dunnun |O . . . . . O . O . . . . . O . |
lead in ^
Accomp 1 |S . O o S . s . S . O o S . s . |
Accomp 2 |S . . s S . O o S . . s S . O o |
Doug's comment on the original post was:
Note: While the dunun parts are technically notated correctly, I don't
believe that it is possible to even come close to playing either the
basic sangban part or the second variation without hearing them played
by someone who knows it well. They swing like crazy.
djabara/calabash/shekere exercises
With the discussions recently about the axatse/djabara/ malakash/ calabash/ shekere I thought I'd share some exercises that I learned from Tom Klowers "the Joy Of Drumming". Lines 1 - 7 have a 3 beat pulse. Line 8 is a 4 beat pulse.
d = downstroke
u = upstroke
D = strike the bottom with the heel of the hand on the downstroke
1 + a 2 + a 3 + a 4 + a
1) 6/8 d * * u * * d * * u * *
2) 6/8 d u d u d u d u d u d u
3) 6/8 d * d u d * d * d u d *
4) 6/8 D * d u d * D * d u d *
5) 6/8 D u D u d u d u d u d
6) 6/8 D u D u d u D D u d u D
7) 6/8 D u D u D D u d u d u d-u
1e+a2e+a3e+a4e+a
8) 4/4 d*dud*dud*dud*du
SHIKO
(Nigerian), Richard Darsie (darsie@ece.ucdavis.edu)
4/4 |: . * . * . * . | . * . * . * . :|
_ _ _ _ _ _ _
Part 1 O . O . B . B . O . O . B B . .
_ _ _ _ _ _
Part 2 B . . . B . O . B . . . B . O .
_ _ _ _ _ _ _
Part 3 B . s s B . s s B . s s O O . .
_ _ _ _ _ _
Part 4 O . O O . O O . s . s s . s s .
AGOGO-h X X X X X X X X
AGOGO-l X X X X X X X X
BELL 2 X . X X . X X . X . X X . X X .
CLAVE X . . X . . X . . . X . X . . .
SIMPLE GROOVE
1...2...3...4... count
BtBtStTbTbBtStTt strokes
rlrlrlrlrlrlrlrl hands
Basic (15 strokes and one gap, making 4 4s):
go do go do Gn do go do -- do go do Gn do go do
or with some slaps for emphasis things like
Pa do Pa do Gn do go Ta -- Ta go do Gn do go do
and then various abbreviations to bring out the main shape more strongly,
so to speak:
For example (there are others)
Pa do Pa do Gn do go Ta -- Ta go do Gn -- do -- --
or
Pa do Pa do Gn do go Ta -- Ta go do Gn -- -- --
and finally:
Pa -- Pa -- Gn -- go Ta -- Ta go do Gn -- -- --
Dancers (in my limited but intense experience) really get energised when
you go back and forth between that last one, emphasizing the Slap! Slap!
Boom! at the start, and the earlier, "busier" variants. And now and then
you can just
Pa -- Pa -- Gn -- -- -- Pa -- Pa -- Gn -- -- -- for a while and then pick
up the whole
Pa -- Pa -- Gn -- go Ta -- Ta go do Gn -- -- -- again, on to
Pa -- Pa -- Gn -- go Ta -- Ta go do Gn do go do, and so on. It's best if
you have someone else playing a simple dah-dee-dah-dah dah-dee-dah-dah
rhythm in the background.
(Hope this isn't too boring to the old hands on the list .. )
SINPA
Source: Madou, 7/01
Wedding ceremony for younger brides lasts seven days (older brides, four days). This is played near the end of the ceremony. Danced by women.
Legend:
T,t tone on strong hand, weak hand
S,s slap on strong hand, weak hand
B,b base on strong hand, weak hand
@ Flone
$ Flam
> continuation on next line/from previous line
^ starts here
Time 1 . . . 2 . . . 3 . . . 4 . . .
Part 1 s . S s . . T . t . T t . . S .
^
Duns S . . D D . S . S . . D D . S .
^
End Break 1 . x . 2 . x . 3 . x . 4 . x .
jembe bT. T t T . T t T . T t T . T . >>
bT. T t T . T t T . T . B . . . >>
bT. T t T . T t T . T t T . T . >>
bT. T t T . T t T . T . B . . . >>
B b . b B . B . B . B . B . . . >>
B . . . . . B . . . . . B . B b
duns follow along
Introduction to rhythm: there is a long phrase used at the beginning. Madou taught just part of this phrase:
Time 1 . . . . . 2 . . . . . 3 . . . . . 4 . . .
T . S s . s T . S s . s T . s . . T t . . . >>
S s S s S s S s S s >>
SINTE
Source: Post from Hawaii
Here's a favorite we play here in Hawaii. Sources include Ousmane Soumah, Karamba, M'Bemba Bangoura's CD Wali and scattered others.
Notation:
B, b = bass, right/left hand T, t = tone, right/left hand
S, s = slap, right/left hand $ - Slap Flam
o = open hit on djun-djun @ - Tone Flam
i = (in) closed hit on djun-djun - hold stick against drum
x = bell
SINTE
1 . . . 2 . . . 3 . . . 4 . . . 1 . . . 2 . . . 3 . . . 4 . . .
Call @ . T t . T t . $ . S s . S s .(1)
Kenkeni x . x . x . x . x . x . x . x . :|
o . . . i . . . o o . . i . . .
Sangba x . x . x . x . x . x . x . x . :|
i . . . o . o . i . . . o . o .
Djun x x . x . x x . x . x x . x x . :|
o o . o . . . . . . . o . . . o
Ballet d d . d s . s . k k . d s s . d :|
1 . . . 2 . . . 3 . . . 4 . . . 1 . . . 2 . . . 3 . . . 4 . . .
Dj 1 T t . S b . S . b . . S b . S . :|
Dj 2 B . . . b . . . T t . T t . . . B . . . b . . . B . . . T t . .
Dj 3 T t . s . b S . B . S s . b S . :|
Shekere # . # # # . # # # . # # # . # # :| OR
. . # . . . # . . . # . . . # .
There's a very cool break on M'Bemba's CD. Check it out. This rhythm is
pure funk!! The ballet version of the djuns is great fun for one person to
play.
Break (Wali)
1 . . . 2 . . . 3 . . . 4 . . . 1 . . . 2 . . . 3 . . . 4 . . .
o o . o . o . . o o . o . o . . o o o . o o o . o o o . o o o .(o
Sinte is from Boke, Guinea and is a Nalu rhythm. The region of Boke is composed of primarily Baga, Landuma and Nalu people. Originally, Sinte was played on krin but then the Ballet arranged it for djembe.
SINTE - MADOU DEMBELE'S INTRO BREAK
INTRO
1 . . . 2 . . . 3 . . . 4 . . . 5 . . .
Djembe S . . t S . S . S . . t S . S . S . . . >>
T t . . T t . . T t . . T t . . >>into parts
Duns . . . . . . . . . . . . . . . . . . . D >>
S S . D S S . D S S . D S S . . >>into parts
1 . . . 2 . . . 3 . . . 4 . . .
Djembe 1 T t . s B . s . B . . S B . S .
Duns??? S S . S K . K . M M . S K . K K ??
SINTE (OSEI)
Balafon Intro Solo
then....
12345
hi-low
1 . . . 2 . . . 3 . . . 4 . . .
1 . 1 1 . 2 3 . 4 . 4 . 3 3 2 . >>
3 . 3 3 . 4 4 . 5 . 5 . 5 . . .
All Drums
1 . . . 2 . . . 3 . . . 4 . . .
. . . . . . . . . . . . . . . . >>
. . . . . . . . S . S . S . . .
Repeat
Balafon noodle,
then:
Break
1 . . . 2 . . . 3 . . . 4 . . .
Call @ . T t . T . T t . T . t . . .
Response T . t . T . . . T . t . T . . . >>
(all drums) T t . . T t . . T t . . T . . .
1 . . . 2 . . .
Djembe 1 b . T t . . S .
Djembe 1 Alt b . T t . s S .
Djembe 2 B . S s . . T t
1 . . . 2 . . .
Bell X . X . X . X .
1 . . . 2 . . .
Sangba . . . B . . B . >>
M . . B . . B .
1 . . . 2 . . .
Dununba B B . . . . . . >>
. . . . . . . .
1 . . . 2 . . .
Kenkeni M . . B . . B .
SIWÉ
A welcoming-rhythm and song of the Konyanka-people of Guinea. It's also used in honour of a personality. This first version was transcribed by Adam Rugo in March 2000.
Kenkeni
C . . O O . C . . O O . C . . O O . C . . O O .
x x . x x . x x . x x . x x . x x . x x . x x .
Sangban
O . O . . . . . . . . . O . O . . . . . . . . .
x . x . x . x x . x . x x . x . x . x x . x . x
Dun Dun
O . . . O . O . . . O . O . . . O . O . . . O .
x x . x x . x x . x x . x x . x x . x x . x x .
Krin
x . x . x . x x . x . x x . x . x . x x . x . x
Djabara
d . . d u . d u . d . . d . . d u . d u . d . .
Djembé 1
S . T T . . S . T T . . S . T T . . S . T T . .
r . r l . . r . r l . . r . r l . . r . r l . .
Djembé 2
B T T B S S B T T B S S B T T B S S B T T B S S
r l r l r l r l r l r l r l r l r l r l r l r l
SOBONIKO
12345678123456*8
Djembe s--ss-tts--ss-tt
Djembe ttss--ssttss--ss *
Bass S--S---SD-D-D
SOFA
NAME OF RHYTHM: Sofa (Sofanee)
Hi All. Does anyone have an interesting group "break" for Sofa/Sofanee?
None of the recordings I have feature anything except a very simple clave
break.
Here's the arrangement we play on Oahu:
1 2 3 4; 4
Call: @ . O o . O . o O . o . O . . .
Kenkeni x . x . x . x . x . x . x . x .
o . . . o . . . o . . . : . . . :|
_______________________________________________________________
Sangba x . x . x . x . x . x . x . x .
o o . . i . . . o . o . i . . . :|
_______________________________________________________________
Doun x . x . x . x . x . x . x . x .
. . . . . . o . o . o . o . . . :|
_______________________________________________________________
Dj 1 S . . s S . T t :|
Dj 2 b . T t . . S . :|
Dj 3 T . . t T . . t :| (Bass)
COUNTRY: Guinea Highlands (Liner notes, Silo & Le Tambour Djembe)
REGIONAL/ETHNIC GROUPS: Malinke ethnic group of the Kouroussa, Kankan, Faranah
regions
PURPOSE/BACKGROUND:
Originally Sofa was the rhythm for the mounted warrior. If war threatened,
the warriors were called together by beating enormous kettle drums, TAVELA,
also used to transmit messages and news. When Sofa was played, the horses
themselves danced, with their horsemen mounted. Famoudou claims to have
seen this himself. He is one of a small number of drummers who have
mastered this rhythm. Sofa is also played for the funeral of an important
man in the village. Famoudou played this rhythm for the burial of his
father, who was a fetishist and celebrated hunter. The unique quality of
Sofa is that the lead drummer, practically accompanying himself, fills in
all the empty spots in the rhythm with light taps. This is easy to detect
at the beginning of the recording. (Liner notes, Rhythmen Der Malinke)
In true Griot Tradition, Amadou Camara links the two songs of praise
KELEMANSA BON and WARABAH together, arranging them thus for Mamady Keita.
By the use of simile and metaphor he evokes both the wild-cat who rules
over nature and the warlord, as noble as he can be and whose mother could
only be an exceptional woman. He names Mamady NANKAMA, which can be
literally translated as "he who came for that". He accompanies himself on
the BOLON to a rhythm that is particular to songs of praise that are
addressed to nobels who have shown their worth. (Liner notes: Mogobalu)
(The version of Sofa on Mogobalu is actually played by Famoudou Konate.)
The origins of this rhythm hark back to the time of King Samory; Sofa, at
that time, was used only for military parades glorifying kings and their
victories. (Liner notes, Le Tambour Djembe)
RELATED RHYTHMS:
SONG LYRICS:
Call: Nabaranna dosay nabaranna
Response: Ranna banna koniayaron donay, ah wosankayey (Abdullye Sylla)
The house of a warlord is never empty!
Good evening to you, Nankama.
Not just any woman can give birth to the son of a warlord.
I, I have come to play the Bolon.
I have come full of hope;
Distance is bad for friendship.
It is not good to humiliate he who is popular.
Had not the wildcat arrived?
It is really he, the wildcat who makes the echoes resound.
We are talking about a famous nobleman.
The wildcat who makes the echoes resound.
Good evening to you, Nankama.
We have come full of hope,
Good evening to you, giant!
(Liner notes: Mogobalu)
SOGONEKU
abdoul doumbia
O = tone
oo = flam
S = slap
B = bass
*all single tones are muffed in the rhythm.....
SOGONEKU
animal-head mask dance, initiated person who dances it
1 - - 2 - - 3 - - 4 - - 5 - - 6
flam muff muff flam
oo O S S oo B B S B Djembe 1
flam muff muff flam muff muff
oo O S S oo O S S Djembe 2
1 - - 2 - - 3 - - 4 - - 5 - - 6
O O O O O O Dun Dun 1
O O O O Sangban
SÖKÖ
Sökö is a rhythm of the Komanko-people in the Faranah-region. Nowadays it's played often in the whole North of Guinea. The rhythm accompanies the dance of the bilakoro (they who are not circumcised yet). In some regions it's played during the months before cicumcision, elsewhere it's played the day before initiation after the heads of the bilakoro have been shaved en presents have been given.
Sökö / WAP-pages / Paul Nas / Last changed at 23-01-1999
Sangban
C . . C . . O O . O O . C . . C . . C . . O O .
x x . x x . x x . x x . x x . x x . x x . x x .
Kenkeni; Faranah-style
. . . O O . . . . O O . . . . O O . . . . O O .
x x . x x . x x . x x . x x . x x . x x . x x .
Dun Dun; Faranah-style
O . . . . O O . O O . O O . . . . . . . O O . O
x . x x . x x . x x . x x . x x . x x . x x . x
Kenkeni; Hamana-style
O . . O . . O . . O . . O . . O . . O . . O . .
x x . x x . x x . x x . x x . x x . x x . x x .
Dundun; Hamana-style
O . . . O O . O . O . O O . . . . . . . O O . O
x . x . x x . x . x . x x . x x . x x . x x . x
Sangban; alternative
C . C . C . O O . O O . C . C . C . C . . O O .
x . x . x . x x . x x . x . x . x . x x . x x .
Djembé 1
S . S S T T S . S S T T S . S S T T S . S S T T
r . r l r l r . r l r l r . r l r l r . r l r l
Djembé 2
S . T S t t S . T S t t S . T S t t S . T S t t
r . r l . . r . r l . . r . r l . . r . r l . .
Djembé 3
S T T S . S S T T S . S S T T S . S S T T S . S
r l r l . l r l r l . l r l r l . l r l r l . l
Solo accompagnement 1
B T T . S . b S . b S . B T T . S . b S . b S .
r l r . r . . l . . r . r l r . r . . l . . r .
SOLI
Taught by Mamady Keita 20 Sept 1997 College Park MD
Intermediate/Advanced class
Transcribed by Rodger Osgood
legend:
T, t tone on strong hand, weak hand
S,s slap on strong hand, weak hand
B,b base on strong hand, weak hand
O open dunnun note
C closed dunnun note
x bell stroke
. place holder for spot with no note.
| repeat marks
> continuation on next line/from previous line
^ under a note indicates lead in (i.e. the point in the rhythm to
start off the break)
Time 1 . . 2 . . 3 . . 4 . .
Break Tf. T t . T t . T t
|x . x x . x x . x x . x |
Sangban |O . . . C . C . . O . . |
for Soli General
|x . x x . x x . x x . x |
Sangban |O . O . . . O . O C . . |
for Wassalon Soli
|. x x . x x . x x . x x |
Kenkeni |. . . . O O . . . . O O |
|x . x x . x x . x x . x |
Dununba |O . O . . . . . O O . O |
lead-in ^
Note: the Dununba lead in plays right over the last two notes of the
break.
Accomp 1 |S . T s . . S . T s . . |
Accomp 2 |S . . s T t S . . s T t |
Here is how I hear Mamady playing the traditional solos. Note that each
of these phrases marked Solo 1 - Solo 5 was played 4 times in class, but
Mamady said that in reality they could be played any number of times,
mixed in any order and with your own improvisations. I am VERY unsure
of the hand patterns here, PLEASE, if anyone has a solid idea of the
correct pattern for any of these phrases, let me know. The transition
from Solo 1 to Solo 2 started right after beat 4 (at the point marked
with the lead-in '^') , but the transition from Solo 2 to Solo 3 starts
on beat 1 i.e. play Solo 2 all the way to the end and then start solo 3.
On Solo 5 the rolls can start with either hand, Mamady said that your
teacher does not tell you which hand to start the roll on, only the
place to play it. He also said that although he is right handed, he
starts his rolls on the left hand.
Time 1 . . 2 . . 3 . . 4 . . 1 . . 2 . . 3 . . 4 . .
Solo 1 |T t S . . s . . S b . s |
Solo 2 |T . t . S s . . . b S s |
lead-in ^
Solo 3 |T . t T . S s . t T . S s . B . . S s . B . . s |
Solo 4 |T s S t S s T s S t S s S . B . . S s . B . . s |
Solo 5 |TrrrS TrrrS TrrrS TrrrS s . B . . S s . B . . s |
ending T s S t S s T s S t S s T s S t S s T s S Sf. . >
>Tf. T t . T t . T t . . Sf
SOLI DE MANIAN
East Guinea. Soli version of the Manian people. Used for circumcision rites. Mamady says (9/98) that circumcisionrites are not religious in nature. When Islam came to the region, some people got the notion that females had to be circumcised in order to conform to Islam. This is false, but people now confuse culture with religion. The rhythm is different from Soli. It is the same ceremony, but the Manian people play a different rhythm.
Taught by Mamady Keita 21 Sept 1997 College Park MD
Beginner/Intermediate class
Transcribed by Rodger Osgood
legend:
T, t tone on strong hand, weak hand
S,s slap on strong hand, weak hand
B,b base on strong hand, weak hand
O open dunnun note
C closed dunnun note
x bell stroke
. place holder for spot with no note.
| repeat marks
> continuation on next line/from previous line
^ under a note indicates lead in (i.e. the point in the rhythm to
start off the break)
Time 1 . . 2 . . 3 . . 4 . . 1 . . 2 . . 3 . . 4 . . |
Break TtT t T t . T t . T
|x x . x x . x x . x x . |
Sangban |C . . O . . C . . O . . |
|x . x . x x . x . x . x |
Kenkeni |C . . . O O . O . O . . |
|x . x . x x . x . x . x x . x . x x . x . x . x |
Dununba |. . . . . . . . . . . O O . . . . . . . . . . . |
lead in ^
I asked if there were Dununba variations, and at first Mamdy said no,
then said there was only one variation and played the following
occasionally while demoing the three dunnun
parts:
Dununba O .O. . .O. O . . O . O O . . . . . . . . . . .
variation
Accomp 1 |B t T b S . B t T b S . |
Accomp 2 |S . T t . . S . T t . . |
SOROFOLI
Last changed at 04-09-1998
Intro
T . T T . T . T T . T . T . . .
f . r l . l . l r . r . r . . .
Kenkeni
O . . . O . C . O . . . O . C .
x . x . x . x . x . x . x . x .
Sangban (every fourth time the "o.....oo" are played)
O . O O . . o . o o . . O . O .
x . x x . x x . x x . x x . x .
O . O O . . . . . . . . . . . .
x . x x . x x . x . x . x . x .
Dun Dun
. O . O . . . . . . O O . O O .
. x . x . x x . x . x x . x x .
O . O O . . . . . . . . . . O O
x . x x . x x . x . x . x . x x
Dun Dun echauffement
. O . O . . . . . . O O . O O .
. x . x . x x . x . x x . x x .
O O . O . . O O . O O . O O . O
x x . x x . x x . x x . x x . x
O . O . . . O O . O O . O O . O
x . x . x . x x . x x . x x . x
O . O . o . O O . O O . O O . O
x . x . x . x x . x x . x x . x
Djembe 1
S . . S S . T T S . . S S . T T
r . . l r . r l r . . l r . r l
SORSORNET
(?) Paulo Mattioli (John Feddersen, fedstart@nando.net)
12/8 |: . . * . . * . . * . . :|
Lead intro/brk S S S . S S S . S S S . >>
S S S . O . O . O . O .
(ensemble joins in unison on last 4 notes...)
Djembe H S S S . m . m . O . . . >>
S S S . m . m . O . . . >>
S S S . m . m . O . . . >>
S S S . S S S . S S S .
_ _ _ _ _ _
Djembe M O s s s s s O s s s s s
_ _ _ _
Djembe L b . b . O O b . b . O O
Junjun O O O . . . . . . . . . >>
O O O . . . . . O O O .
Kenkeni . . O . . O . . O . . O
(Kbell) x . x x . x x . x x . x
*******
123456123456
Djembe ssssttsssstt
Djembe s-ts--s-ts--
Djembe bbb-tt--bbss>>
bbb-tt--s-t-
Bass DDD-S---D-S-
Bell HHH-H-H-H-H-
Signal ssssssttttt-
SORSORNET
From Madou Dembele, Des Moines, 2000
1 . 2 . 3 . 4 . 5 . 6 .
Djembe 1 S s S s T t S s S s T t
Djembe 2 T t . . . . T t B . B .
Duns
Sanbga S . . . . . S . . . . .
Kenkeni . . M . M . . . . . . .
Dun . . . . . . . . B B B .
Break comes in on 5 during rhythm:
LEAD T t T t>>
T t T t T t . .
ALL B b B .
B b B . B b B . B b B .
T . t . T . T . B b B .
Duns mimic the djembes:
B B B .
B B B . B B B . B B B .
S . S . S . S . B B B .
SUNU
SUNU - Madou Dembele Version
1 . . . 2 . . .
DJ1 T t S s B . s .
DJ2 S . . S s . T t
DJ3 b . T t . . S .
^
Intro: Standard Break
Break
1 . . . 2 . . . 3 . . . 4 . . .
& . & . & . & . & . & . S . . . Where & = Bass/Slap at same time.
End
1 . . . 2 . . . 3 . . . 4 . . .
& . & . & . & . & . & . S . . . >> Where & = Bass/Slap at same time.
@ . T t . T . T t . T . t . . T >>
? t . T t . . Ss. T . T . T t . .
? or: 1 . . 2 . . 3 . . 1 . . 2 . . 3 . .
T t . T t . .Ss . . T . t . T t . . .
John Feddersen (fedstart@nando.net) from Modibo Keita
4/4 |: . . . * . . . | . . . * . . . :|
_ _ _ _ _ _ (lead-in) S >>
Djembe-1 S . O O S . . S S . O O S . . S
_ _ _ _ _ (lead-in) O >>
Djembe-2 O . S S . B S O O . S S . B S O
Bell x . x x . x x . x . x x . x x .
Kenkeni O . . M . . O . O . . M . . O .
(lead-in) O >>
Junjun O . . . . . . . . . . . . . . O >>
(cont'd) O . . . . . . . . . . . O . . O >>
O . . O O . O . O . O . O . . O
Djembe/Junjun call-response lead-in:
Djembe S S S S . S . S S . S . S . . O
Junjun . . . . . . . . . . . . . . . O >>
Djembe O . . O O . O . O . O . O . . (main rhythm)
Junjun O . . O O . O . O . O . O . . (main rhythm)
VARIATIONS:
Two variations of the djembe 2 pattern, taught by Mamady Keita in Giessen, Germany, November 1997:
|O . S S . . S O O . S S B . S O| Djembe 2
|O . S S . B S O O . S S B . S O| Djembe 2, variation 1
|O . S S . B S O O . S S B B S O| Djembe 2, variation 2
NAME OF RHYTHM: Sunu (Sounou, Sunun)
COUNTRY: Northern Mali, bordering Mauretania (Donkili)
Kayes region of Mali (Tambour Djembe, Karamba Diabate, Abdoul
Doumbia)
Border region between Guinea and Mali (Mamady Keita)
OTHER NAMES:
REGIONAL/ETHNIC GROUPS:
Kagooro, descendants of the Bamana (Donkili)
Soninke (Tambour Djembe, Karamba Diabate)
Kakolo and Maraka (Abdoul Doumbia)
Bambara people of Mali (Mark Sunkett)
PURPOSE/BACKGROUND:
This very popular rhythm is believed to date back to the pre-colonial era.
At that time, in the village of Sagabari, there was a pretty young girl
named Sunu Mamady (her father had the same name). Everyone loved her, and
her qualities as a dancer were greatly appreciated. No festivity could
take place without her participation. This rhythm was created in her honor
by a djembefola troupe in her village. The dance is played to celebrate
good harvests. It is a moment for young girls to demonstrate their grace
and beauty, sometimes even their provocativeness, and for young boys,
especially in the Kaarta circle, to demonstrate their strength and vigor
and show their acrobatic prowess. (Le Tambour Djembe)
This is a folk rhythm of welcome that is played on traditional feast days
such as Ramadan, Tabaseki (the Sheep festival), marriages, baptisms, etc.
(Mamady Keita)
A popular celebration rhythm. (Karamba Diabate, Mandiani Drum & Dance))
A dance of rejoicing performed by the men and women of Karta after harvest.
(Mamadou Kante)
RELATED RHYTHMS:
SONG LYRICS:
Meyaee, Meyaee, Meyaee sunubeniima
Meyaee, Meyaee, Meyaee sunubeniima
Meyaee, Meyaee,kaluyafo londo
Kaluyafo Kaluye n'dyarabi fee Konakry
Meyaee, Meyaee, Meyaee sunu beni maa
"The Sunu dance suits you well, Meyaee (a girl's name). Say hello to my
friends in Conakry for me." (Mamady Keita)
SUNU
(Osei's Version)
Break
1 . . . 2 . . . 3 . . . 4 . . .
Lead @ . T t . T . t T . t . T . . . >>
$ . . . . . . . . . . . . . . .
Response . . . T t . T . t . T . t . . T >>
(all) t . T t . . >> duns come in...
repeat all, then djembes come in
1 . . . 2 . . . 3 . . . 4 . . .
Djembe 1 T . S s . . S t T . S s . . S t
^
Djembe 2 1 . . . 2 . . . 3 . . . 4 . . .
S s . . T . T . S s . . B . . .
1 . . . 2 . . . 3 . . . 4 . . .
Sangba B . . M . . B . B . . M . . B .
^
1 . . . 2 . . . 3 . . . 4 . . .
Dun . . . B B . B . B . B . B . . B >>
B . B B . . . . . . . . . . . .
^
Break again, tempo speeds up.
TAKÉ
12345612345*
Djembe 1 b-ttssb-ttss
Djembe 2 s-ts-bs-ts-b *
Bass D-DSD--D-S-D>>
D-DSS----S-D *
Bell H-HHH-HH-H-H
Signal rtttt-tt-t--
Djembe bsttssbsttss
This rhythm was taught to me by my griot drummer friend Mamadou Kienou from Ouagadougou in Burkina Faso. The last djembe part is a variation of the first one - you just add an extra slap right after the bass note. You can start both of them with a lead-in from the fourth note from the end as an option. (Btw, Mamadou tours Europe with parts of his great performance group Foteban each year.)
Lennart Hallstrom, Sweden
TAKO SABA
Hi, all,
I wanted to share something I learned at some workshops given here in St.
Louis by Tam Tam Mandingue. The event was organized by list member Annie
Burks and Amankwah Center for Pan-African Arts. The festival, BTW, was a
wonderful series of dancing and drumming events lasting three days. There
were guest artists from East and West Africa as well Tam Tam Mandingue USA.
Keep your eye out for Amankwah's AfricaFete St. Louis next year! It's
definitely worth a trip here!
Okay, here's what I learned. We were learning "Tako Saba," a version of
Dounoumba. It has the classic Dounoumba parts:
1 + u 2 + u 3 + u 4 + u
DJ 1: S . T s . . S . T s . .
Kenkeni: . . o . o o . . o . o o
K. Bell: . x x . x x . x x . x x
Now I always have difficulty holding down the kenkeni part, especially with
its bell part. I usually tap my foot on the "slaps" of the djembe part.
That's once every three pulses (once every three eighth notes). That defines
the beat scheme as what we might call in Western musical traditions as a 12/8
(4 groups of triplets) time signature. Mahiri (the instructor at the
workshop) steps on the same beats I do, and that's the way Mamady Keita
teaches it as well.
The sangban part to Tako Saba is five measures long in 12/8 -- very much
longer and more complex than, say, the sangban part to Soli Rapide (which is
only one measure long). Put another way, Tako Saba cycles once every 60
pulses, while Soli cycles once every 12. Long story short: it's a hard part
to play right off the bat!
Mahiri played it and stepped on the triplet pulses. Then he asked Moustapha
Bangoura, a dancer from Guinea, and his dununba player Ali to lay down the
part. When the Guineans played the part, they stepped once every *6* pulses,
not once every *3* pulses. That means (I believe) that they are sensing the
beat scheme as:
1 & 2 & 3 & 1 & 2 & 3 &
DJ 1: S . T s . . S . T s . .
Kenkeni: . . o . o o . . o . o o
K. Bell: . x x . x x . x x . x x
That's totally different! Try playing every rhythm you know in 12/8 (Soli
Rapide, Mendiani, Dounoumbas, Sorsornet, etc.) stepping only *once* per
"S.Ts.." cycle. Sangban and other stick drum parts feel very different, as
if you've entered into a completely new universe of feel. When I step once
every 6 pulses, I find parts like the sangban to Tako Saba and even Mendiani
come to me much more naturally. And that kenkeni part flows much better,
too. (BTW, there is a transcription of Tako Saba in the liner notes to
Mamady's CD, _Hamanah_.)
As Da Heart would say, it's about playing, not about theory. It turns out,
by stepping on the triplets, I was theorizing myself out of the rhythm.
(Obviously, there is a "dance step" that helps locate you in the rhythm, but
when I have no dancers present to help locate the drumming, I keep time with
my foot). That step is really only a theory anyway, not truly part of the
rhythm. But stepping on some pulses can make playing a part easier or harder.
My observation of the Guineans opened up for me a new way to liberate my
playing from my internal theorizing. What I mean is, I learned a way to help
myself groove better!
As an side, I wonder about the difference between Mamady stepping on the
triplets and Moustapha stepping on the double triplets. Is it personal taste?
Is Mamady presenting the rhythms in a way that he finds we non-Africans grasp
more readily? That, of course, is another theoretical question! ;-)
I hope you find this new step pattern as helpful as I did.
Take care, everyone.
Adam.
**********
Date: Sat, 2 May 98 14:23:23 -0500
From: <jebanks@ix.netcom.com>
To: "Djembe List" <Djembe-L@u.washington.edu>
Subject: Re: A New Way of Grooving
Message-ID: <199805021924.OAA03142@dfw-ix6.ix.netcom.com>
Mime-Version: 1.0
Content-Type: text/plain; charset="US-ASCII"
I have noticed this as well, in the long journey of hearing, playing and
perceiving the Dununba rhythms correctly. What it all comes back to, in
my opinion, is 2 against 3, a fundamental of African music. At the
beginning of the year, my teacher, Yaya Kabo, spent a good month and a
half on a couple of different Dununbas, and when marking the pulse, most
of the time he marked the 3 pulse and not the 2 (4) pulse. In "6/8" or
"12/8" rhythms, parts that seem off-beat against a 2 (4) pulse may well
be on-beat against a 3 pulse. (I'm thinking of the sangba part for Bandon
Djei, for example.) The caveat is, you have to be absolutely rock solid
in hearing, playing and perceiving 2 against 3 for this to be of any
help. If you're relating to 2 and another player is relating to 3, what
you perceive has to be locked up tight and in the right way with the
other guy, or you've just replaced one problem with another.
--Jim Banks, Chicago
**************
Date: Sat, 2 May 1998 18:06:20 EDT
From: Adamrugo <Adamrugo@aol.com>
To: djembe-l@u.washington.edu
Subject: Re: A New Way of Grooving
Message-ID: <6ab79a6.354b98dd@aol.com>
Mime-Version: 1.0
Content-type: text/plain; charset=US-ASCII
Content-transfer-encoding: 7bit
Hi, Jim et list,
Thanks for your comments. I'm glad to hear a reflection of my perception.
I'm also glad that you clarified this as a 3:2 relationship.
<<The caveat is, you have to be absolutely rock solid
in hearing, playing and perceiving 2 against 3 for this to be of any
help. If you're relating to 2 and another player is relating to 3, what
you perceive has to be locked up tight and in the right way with the
other guy, or you've just replaced one problem with another.>>
I think part of what I'm sensing is the _implication_ of 3 against 2.
Straight 3 against 2 is easy to hear (still challenging to play), but most of
the time in these rhythms we're hearing only *part* of the polyrhythm
expressed explicitly. The relationship is implied more often, as with the
interplay of sangban and dununba parts in Dounoumba.
For a great discussion of these techniques, everybody ought to check out
C.K.Ladzekpo's Foundation Course in African Drumming:
http://www.cnmat.berkeley.edu/~ladzekpo/
A very challenging exercise in this kind of "implied polyrhythm" is playing a
duple eighth note ride against the 6/8 bell:
. . . . . . . . . . . . . . . . . . . . . . . .
1 . . 2 . . 1 . . 2 . . 1 . . 2 . . 1 . . 2 . .
x . . . x . . . x . x . . . x . . . x . . . x .
Without a doubt, Jim, the 3 against 2 is a form we all need to keep
practicing until it becomes second nature. It's to West African drumming what
the paradiddle is to Western drumset players.
TAKONANY
Takonany , a malinke-rhythm is one of the (about 20) dunumba-rhythms. The dunumba-rhythms are traditionally only danced by men: "The dance of the strong men". Takonany means "to take for times", which refers to a dance step.
Last changed at 04-10-1999
Break
S S T S S S . . . . . .
r l r l r l . . . . . .
Kenkeni
. . O . O O . . O . O O . . O . O O . . O . O O
. x x . x x . x x . x x . x x . x x . x x . x x
Sangban
C . . C . O O . O O . . C . . C . O O . O O . .
x . x x . x x . x x . x x . x x . x x . x x . x
Dun Dun
. . . . O O . O O . O O . . . . O O . O O . O O
. x x . x x . x x . x x . x x . x x . x x . x x
Djembé 1
S . T S . . S . T S . . S . T S . . S . T S . .
r . r l . . r . r l . . r . r l . . r . r l . .
Djembé 2
. . S . T S . . S . T S . . S . T S . . S . T S
. . r . r l . . r . r l . . r . r l . . r . r l
Sangban echauffement
. . O O . . . . O O . . . . O O . . . . O O . .
x . x x . x x . x x . x x . x x . x x . x x . x
Sangban ending the echauffement
O . O . O . O . O O . . C . . C . O O . O O . .
x . x x . x x . x x . x x . x x . x x . x x . x
Dun Dun echauffement
. O O . O O . O O . O O . O O . O O . O O . O O
. x x . x x . x x . x x . x x . x x . x x . x x
Solo 1 : a
T T T S . S . S . . S . T T S S . T T S . . S .
2 r l r . l . r . . l . 2 r l r . r l r . . l .
. T . T . T . T . . S . . . . . . . . . . . . .
. c . c . c . c . . r . . . . . . . . . . . . .
b:
T T S S . . T T S S . . T T S S . . T T S S . T
2 r l r . . 2 r l r . . 2 r l r . . 2 r l r . l
. S T T . . . . . . . . . . . . . . . . . . . .
. l r l . . . . . . . . . . . . . . . . . . . .
c:
S S S S T T . S T T T T S . . S S S T T . . . .
f r l r l r . l f r l r l . . f r l r l . . . .
. . . . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . . . .
Solo 2 a:
T T S S . S S . S S . . T T S S . S S . S S . .
f r l r . l r . r l . . f r l r . l r . r l . .
T T S S . T T S T T S . . . . . . . . . . . . .
f r l r . r l r l r l . . . . . . . . . . . . .
b:
T T S S . T T . S . T T . S . T . S S . T T T T
f r l r . l r . r . r l . l . l . l r . f r l r
S S . . . . . . . . . . . . . . . . . . . . . .
l r . . . . . . . . . . . . . . . . . . . . . .
c:
T T S S . . T T S S . . T T S S . . T T S S . T
f r l r . . f r l r . . f r l r . . f r l r . l
. S T . S . B S . . . . . . . . . . . . . . . .
. l r . r . r l . . . . . . . . . . . . . . . .
echauffement
T T S S S S T T S S S S T T S S S S T T S S S S
r l r l r l r l r l r l r l r l r l r l r l r l
T T S S S S T T S S S S T T S S S S S S S S S S
r l r l r l r l r l r l r l r l r l r l r l r l
ending the echauffement
S S T S S T S S T S S T S S T S S T S S T . . B
r l r l r l r l r l r l r l r l r l r l r . . l
S S S S . S S . T T S , , , , , , , , , , . . .
2 r l r . r l . r l r , , , , , , , , , , . . .
TANSOLE
Posted on Internet.
B, b = bass, right/left hand T, t = tone, right/left hand
S, s = slap, right/left hand $ - Slap Flam
o = open hit on djun-djun @ - tone flam
i = (in) closed hit on djun-djun - hold stick against drum
x = bell
Tansole Harvest Dance Mali Kassa Family
______________________________________________________________________________
1 . . . 2 . . . 3 . . . 4 . . .
Call @ T t t t T t T (1)
| |
enter: djun sang
Or:___________________________________________________________________________
1 . . . 2 . . . 3 . . . 4 . . . 1 . . . 2 . . . 3 . . . 4 . . .
Intro T t T t S T t T t S T t T t S b S b S :|
| |
djun enters sang enters
______________________________________________________________________________
Note: kenkeni is not a Mali
bell x x x x x x x x drum, this part is one of the
Ken o i o o i o :| parts that could be played on
"a higher" dundun
______________________________________________________________________________
1 . . . 2 . . . 3 . . . 4 . . . 1 . . . 2 . . . 3 . . . 4 . . .
bell x x x x x x x x x x x x x x x x x x x x
"Sang" i i o o o o i i i i o o :|
|
enters here
______________________________________________________________________________
1 . . . 2 . . . 3 . . . 4 . . .
bell x x x x x x x x x x
Djun o i i o o o o o o :|
|
enters here
______________________________________________________________________________
x x x x x x x x
Big Djun o o o o :|
______________________________________________________________________________
1 . . . 2 . . . 3 . . . 4 . . . 1 . . . 2 . . . 3 . . . 4 . . .
Doundoun x x x x x x o o x x x o x o o o
Solo
Phrases: x x x x x x o o o o o o o o o o o
______________________________________________________________________________
1 . . . 2 . . . 3 . . . 4 . . .
dj 1 * T t T t S b S b S :|
dj 2 S s S T t :|
dj 3 B T t B S :|
dj 4 T t T b S :|
1.....2.....3.....4.....
Dj 5 * B S s bS sB S sT tS s
dj 6 B s S o O s S b
Song: "Tane" (numbers refer to which pulse the syllables fall on)
2 3 4 1
Tani, Ikatani Yeh Bajala Ma "My love, my love take me however you want
Bajala Ikatani Yeh Saire Yn'go Take me to the forest"
(group responds with same)
THE SINGING IN THE SILENCE
Original by Ubaka Hill.
1 . . 2 . . 3 . . 4 . .
Jembe 1 bT. T t S . T s . T s . >>
bT. T t S . TtT s S s .
Jembe 2 B . S s S . T . S s S .
Jembe 3 B . x T x . B . x T x . where x = stick
Dununba B . . M . . B B . M . .
. . x . x . . . x . x .
Song: (Not lined up)
1. MA MA AY MA MA SAY >>
MA MA AY MA MA HAY
2. E I E I A--O---O >>
E I E I A--O----
3. BAM-BAM-BAH-DIA-A--O---O >>
^
BAM-BAM-BAH-DIA-A--O----
4. HO---------HA-----------
5. O------O---AH-----------
TIMINI
(Senegal), Michael Wall (drum@aloha.net) from Malick Sow
4/4 |: . . . * . . . | . . . * . . . :|
_ _ _ _ _ _ _ _
Djembe-1 S S S . S S S O O S S S . S S S O O
_ _ _ _ _ _
(var.) S S . S S S O O S S . S S S O O
_ _ _ _ _ _
Djembe2 . S B O O S S . . S B O O S S . or:
. S B O O S M . . S B O O S M M
Junjun B B . B B . . . B B . B B . . . (slower
Bell X X . X X X X X X X X tempos)
or (2-part for faster tempos)
Junjun1 B B . B B . . . . . . . . . . .
Bell1 . . X . . . X X X . X . X . X X
Junjun2 . . . . . . . . B B . B B . . .
Bell2 X . X . X . X X . . X . . . X X
ANOTHER VERSION:
1234567812345678
Djembe tt-ts-tttt-ts-b-
Djembe b-ssb-ttb-ssb-tt
Djembe b--sb-t-b--sb-t-
Djembe tt--tt--tt--tt--
The two first parts are taken from the Djembe Boom Boom site that is linked above. The third part, which is quite similar to the second part, is the way I learned it years ago. The last part was taught to me at the same time. Lennart Hallstrom, Sweden
TIRIBA
A rhythm of the Landumon(sp?) people of western coastal Guinea. There are three stages of history to Tiriba. First it was a mask dance and there was only one Tiriba in existance. He would go around and visit different villages after the harvest time with drummers to play and dance. When Tiriba died, the rhythm and dance lived on, and became a dance for the girls after their initiation. They would come together their mothers to honor them: "Thank you mother, now I know what I didn't know before, I am a woman now." Now Tiriba is a general dance of celebration played at all kinds of occasions, weddings, Ramadan, etc.
The instumentation of Tiriba is somewhat different than the Malinke. There are no dunduns (sangban, kenkeni, or dununba.) Instead there is a single bass drum called a "drama" (sp?) It is a large one headed, open bottom drum with goat skin, that is played by hand, not with a stick. This drum is also used instead of dunduns by the peoples of western Guinea for rhythms Kakilambe, Sorseney, Yankadi/Macru. The jembe is also different, with antelope skin and a single large fan or kachink-kachink (Mamady did not give a name for the fan, just demonstrated with his hands)
LYRICS:
Kalum kaiyo
Foriyae khili tikhi
Gbasikolo konde bum
Wo mamebe
M'boree yo
Kalum khili tikhi
Gbasikolo konde bum
+ ... improvisation
You the inhabitants of Kalum
The elders appeal to everyone
Below the kapocktree of Gbasikolo
Have you heard my friends?
(Liner notes: Wassolon)
Source Recording:Wassolon, Mamady Keita Track 11, Tiriba
Contributors to notation: Paul Czerner
Notation:
B, b = bass, right/left hand T, t = tone, right/left hand
S, s = slap, right/left hand $ - Slap Flam
o = open hit on djun-djun
i = (in) closed hit on djun-djun - hold stick against drum
Time 1 . . 2 . . 3 . . 4 . . 1 . . 2 . . 3 . . 4 . . |
Break TtT t T t . T t . T
|x x . x x . x x . x x . |
Sangban |C . . O . . C . . O . . |
|x x . x x . x x . x x . |
Kenkeni |O O . C . . O O . C . . |
|x x . x x . x x . x x . |
Dununba |O . . . O . O . . . . . |
Variation|. x x . x x . x x . x x |
Dununba |O O . O . O . O . . . . |
Accomp 1 |B s T . s . B s . B s . |
Accomp 2 |B . . t S . B . . t S . |
Accomp 3 |B . S b T t B s . b T t |
TBD: Mamady showed a variation for Accomp 3 for playing at fast speeds,
I will add this part whan I get the chance.
NAME OF RHYTHM: Tiriba (Triba)
COUNTRY: Guinea
OTHER NAMES:
REGIONAL/ETHNIC GROUPS: Baga (Sylla)
Baga ethinc group, Coastal region, lower Guinea
(Mamady Keita)
Susu ethnic group, Boke region of lower Guinea
(Blanc)
Malinke, NW region of Guinea (Mattioli)
PURPOSE/BACKGROUND:
A rhythm of the Landouma people of western coastal Guinea. There are three
stages of history to Tiriba. Tiriba was the name of a man. At first the
rhythm was a mask dance. Tiriba would go around and visit different villages
after the harvest time with drummers to play and dance. When Tiriba died, the
rhythm and dance lived on and were named after him. Over time, the context
of the dance has changed. Tiriba (the rhythm and dance) became a dance for
girls after their initiation. Their mothers would organize a party and the
young women would dance to show gratitude to their mothers and confirm that
they were now women. They would come together with their mothers to honor
them: "Thank you mother, now I know what I didn't know before, I am a woman
now." Today, Tiriba is a general dance of celebration played at all kinds
of occasions, weddings, Ramadan, etc. (Adam Rugo from Mamady Keita)
Traditionally, there were no dunduns (sangban, kenkeni, or dununba) played
on Tiriba. Instead there was a single bass drum called a "Drama". It is a
large, one headed, open bottom drum with goat skin, that is played by hand,
not with a stick. This drum is also used instead of dunduns by the peoples
of western Guinea for rhythms like Kakilambe, Sorsenet, and Yankadi/Macru.
(Doug Kane from Mamady Keita)
Traditionally, the Tiriba is not played on the djembe but on smaller drums
made of stretched deerskin with wooden corners. It is played for
circumcisions and also during the medicine men's important festivals and
ceremonies. (Blanc)
...a dance for young girls with their mothers after their initiation.
(snip) Mamady did say that this rhythm has now become one that is played
at all kinds of celebrations. (Bob Boyd)
Tiriba is a Landuman people's rhythm (from W. Guinea). Traditionally danced
by girls with their mothers after girls' initiation; indicates to the
mothers that they know the "secrets" of womanhood. Popularly danced now in
welcoming Ramadan, marriages, harvest ceremonies. (Pam Nishikawa from
Mamady Keita)
Rhythm of welcome of the Bagas, population of the costal region of Lower
Guinea. (Mamady Keita)
A welcome rhythm (Mattioli)
A harvest dance of the Baga people (Abdoulaye Sylla)
RELATED RHYTHMS:
SONG LYRICS:
Call: Kolipey watiley, banfa watiley
Response: Eeh banfa watiley (The father is dancing with his young son,
Kolipey) (Abdoulaye Sylla)
Kalum kaiyo
Foriyae khili tikhi
Gbasikolo konde bum
Wo mamebe
M'boree yo
Kalum khili tikhi
Gbasikolo konde bum
+ ... improvisation
You the inhabitants of Kalum
The elders appeal to everyone
Below the kapocktree of Gbasikolo
Have you heard my friends? (Liner notes: Wassolon)
RECORDED EXAMPLES INCLUDE: TR)aditional, (BA)llet, (MO)dern
or (PO)p arrangement
PERFORMANCE CDS:
Wassolon Mamady Keita Track 11 (TR)
Karamba Dinke Mohamed Diaby Track 3 (TR)
PERFORMANCE CASSETTE:
Djembe Rhythmen Teil Abdoulaye M'Bengue B-1
Traditional Rhythms of Guinea
Abdoulaye Sylla B-4
Les Ballet Bagata Youssouf Koumbassa A-1
PERFORMANCE VIDEO:
PERFORMANCE VINYL:
INSTRUCTIONAL VIDEO:
Hands on Drumming Vol 4 Paulo Mattioli
INSTRUCTIONAL AUDIO:
Le Tambour Djembe Serge Blanc
West Afrikanische DjembeRhythmen Stephan Rigert
WRITTEN NOTATION SOURCES:
DRUM! Magazine Paulo Mattioli Dec 1995
Le Tambour Djembe Serge Blanc
Larry Morris Catalog http://www.stc.net/%7ehearth/rhythmcatalog_txt.html
Stephan Rigert West Afrikanische DjembeRhythmen
TORO
Toro (accent on last syllable)
This song is played during the initiation period for young boys. After they are circumcised, they go into the forest for a 3 month initiation period. During this time they are taught respect and knowledge of life, including plant lore, how to recognize bird songs, and making signs out of rocks and stones to tell others of danger up ahead on forest paths.
legend:
T, t tone on strong hand, weak hand
S,s slap on strong hand, weak hand
B,b base on strong hand, weak hand
O open dunnun note
C closed dunnun note
x bell stroke
. place holder for spot with no note.
| repeat marks
> continuation on next line/from previous line
^ under a note indicates lead in (i.e. the point in the rhythm to
start off the break)
Timeline 1 . . . 2 . . . 3 . . . 4 . . .
break Tt T t T t T S s S
1 . . . 2 . . . 3 . . . 4 . . . 1 . . . 2 . . . 3 . . . 4 . . .
Djembe #1 S b S S S b S S T t b S S S b S S
Djembe #2 S . . s S . T t S . . s S . T t S . . s S . T t S . . s S . T t
(First measure occurs only at top of the piece; second measure gets repeated.)
Timeline 1 . . . 2 . . . 3 . . . 4 . . . 1 . . . 2 . . . 3 . . . 4 . . .
Sangba O O . . C . C . C . . . O . O . O O . . C . C . C . . . C . C .
S. Bell x x . x x . x . x . x . x . x . x x . x x . x . x . x . x . x .
Dununba O O . . . . . . . . O O . O O . O O . . . . . . . . . . . . . .
D. Bell x x . x x . x . x . x x . x x . x x . x x . x . x . x . x . x .
The sangban part is mentally challenging. It is important to remember when to play the opens and when to play the closed, otherwise you get off from the dununba.
*******
OLDER
Initiation dance (I believe I understood the translator as saying) played
after circumcision ceremony. (Steve Kemble)
Region: Northern Guinea (Steve Kemble)
Ethnic group: Malinque (Steve Kemble)
Contributors to notation: Paul Czerner, Steve Kemble, John Feddersen
Notation:
B, b = bass, right/left hand T, t = tone, right/left hand
S, s = slap, right/left hand $ - Slap Flam
o = open hit on djun-djun
i = (in) closed hit on djun-djun - hold stick against drum
TORO (Preliminary Version)
-------------------
Call T t . T . t . . T . S s S . . . John
_______________________________________________________________________________
1 - - - 2 - - - 3 - - - 4 - - -
Djembe #1 T t . b S . S . S . . b S . S . Paul, Steve,
(S . . b S . S . S . . b S . S .) 1st time John
only
_______________________________________________________________________________
Djembe #2 S . . s S . T t S . . s S . T t Paul, Steve, John
_______________________________________________________________________________
Bell x . x x . . x . x . x x . . x . John
____________________________________________________________________________
___
Sanban bell x x . x x . x . x . x . x . x .
djun o o . . i . i . i . . . o . o . -> next line Paul
o o . . i . i . i . . . . . . . -> first line
Sanban bell x x . x x . x . x . x . x . x .
djun o o . . i . i . i . . . o . o . -> next line Steve (*)
o o . . i . i . i . . . i . i . -> first line
Sangba o o . . t . . . t . . . o . o . -> John
o o . . t . . . t . . . o . o .
_______________________________________________________________________________
1 - - - 2 - - - 3 - - - 4 - - -
Kenkeni bell x . x x . x x . x . x x . x x . Paul, Steve (*)
djun . . o o . . i . . . o o . . i .
Kenkeni . . o o . . c . . . o o . . o . John
_______________________________________________________________________________
Dudunba bell x x . x x . x . x . x x . x x . -> next line Paul, Steve
djun o o . . . . . . . . o o . o o . -> next line John
x x . x x . x . x . x . x . x . -> previous line
o o . . . . . . . . . . . . . . -> previous line
_______________________________________________________________________________
1 - - - 2 - - - 3 - - - 4 - - -
Dudunba bell x x . x x . x . x . x . x . x . -> next line Steve
"ballet" hi . . . . o . o . o . . . . . . . -> next line
lo o o . . . . . . . . o o . o o . -> next line
bell x x . x x . x . x . x . x . x . -> previous line
hi . . . . o . o . o . . . o . o . -> previous line
lo o o . . . . . . . . . . . . . . -> previous line
_______________________________________________________________________________
Entry:
1 - - - 2 - - - 3 - - - 4 - - - John
call T t . T . t . . T . S s S . . . ->
Djem 1 . . . . . . . . . . . . . . . b ->
S . . b S . s . S . . b S . s . (into main pattern)
Djem 2 . . . . . . . . . . . . . . . b ->
S . . b S . s . S . . b S . s . (into main pattern)
Bell . . . . . . . . . . . . . . . . ->
o . o o . . o . o . o o . . o . (into main pattern)
Ken . . . . . . . . . . . . . . c . ->
. . o o . . c . . . o o . . o . (into main pattern)
Sang . . . . . . . . . . . . . . . . ->
o o . . t . . . t . . . o . o . (into main pattern)
Doun . . . . . . . . . . . . . . . . ->
o o . . . . . . . . o o . o o . (into main pattern)
TOUBA
Thanks to those of you who referred me to Mohammed Diaby's "Karamba Dinke"
for an example of Touba.... Below is what I hear on Diaby's CD. (The middle djembe part is VERY hard to hear - the OoOs is clear, but what happens on the other side is questionable. @ muffed tones.)
The handing indicators are obviously just my guess.
One thing I found interesting - The liner notes indicate that the rhythm
is "traditionally played on tall Gumbe drums", which have thin cowskin
heads. The djembe pattern on the CD sounds the same as is played in many
of the Gwoka arrangements form Guadeloupe.
michael wall
1 . . . 2 . . . 3 . . . 4 . . .
x . x . x . x . x . x . x . . x bell
s . s . . . . . s . s . . . . . sangba
(D). . . D . . . D . . . . . .(D) dun
. . S s . . O o . . S s . . . . =>
. . S s . o O o O o S s . . . . hi djembe
. . . . @ . @ . . . . . OoOs. . med djembe
B . S . O s . b B . S . O s . b bass djembe
TRANCE
Timeline:
1 . . . 2 . . . 3 . . . 4 . . .
1 B . T t B . T t B . T t B . T t
2 T t . B t T b . T t . B t T b .
1 . . 2 . . 3 . . 4 . .
3 B t T b T t B t T b T t
TRUKATIN
11/16 4+3+4
derived from bulgarian Kopanitsa/Gankino
1 e & a 1 e & 1 e & a
dj1 tT t S b B . t S . t . >>
sS t S t B . t S . t .
dj2 b T s . B t . S b . T >>
. s B . t S . b T . S (handing important!)
1 e & a 1 e & 1 e &..1..& a 1 e & 1 e & a
dj2 var b T s . B t . S b TtTtTsB . t S . b T . S
tupan or ken/dun by one drummer:
1 e & a 1 e & 1 e & a
Kd . K(K)d .(K)K . K . beats in braces are optional
Note for dj 2 variation: &.. and 1.. are triplets, so that their 'a'
and 'e' fall between the dots.
TWO PART GROOVE
B t T b S t B s . s T t
B t T b S t B t S . S s
UFFUNU (EWE?)
John Feddersen (fedstart@nando.net) from Tacuma King
4/4 |: . * . * . * . | . * . * . * . :|
_ _ _ _ _ _ _
Tumba O O O O s s . s s . s s . s s . or:
O O O O B . . . B . . . B . . .
_ _ _ _ _ _
Conga1 . s s . O O O O s s . s s . s s
_ _ _ _ _ _
Conga2 s . s s . s s . O O O O s s . s
_ _ _ _ _ _
Quinto s s . s s . s s . s s . O O O O
Bell x . x . x . x. . x . x . x . x .
Junjun O . . O . . O . O . . O . . O .
UNKNOWN TITLE
Here is one example , I believe the teacher comes from Ivory Coast ?
Dununba /Sangban >
=|...*...*...*...|...*...*...*...|...*...*...*...|...*...*...*...
=x.xx.xx.x.xx.xx.x.xx.xx.x.x.x.x.x.xx.xx.x.xx.xx.x.xx.xx.x.x.x.x.
=d.ss..f...ss..f...ss..f.d...d...d.ss..f...ss..f...ss..f.d...d...
Dj1 >
=|...*...*...*...|...*...*...*...|...*...*...*...|...*...*...*...
=b.....bbo.o.o.bbb.....bbo.o.o.bbb.....bbo.o.o.bbb.....bbo.o.o.bb
Dj2 >
=|...*...*...*...|...*...*...*...|...*...*...*...|...*...*...*...
=b...s.s.b.......s.s.b...o..o..oob...s.s.b.......s.s.b...o..o..oo
The slaps of Djembe 2 are closed slaps
I am not 100 % sure whether the "one" of Djembe 2 is correct
Someone recognize these rhythm's ?
URUGUAY TRANCE
(Uruguay), Nowick Gray (nowick@awinc.com) from Pepe Danza
4/4 |: . * . * . * . | . * . * . * . :|
_ _ _ _ _ _ _ _
Drum 1 . S S S . S S S . S S S . S S S
_ _ _ _ _
Drum 2 O S . O S . O S . O S S O . S . OR:
. S . O S S O S . S . O S . . .
Junjun M . . O . . . . . . . O O . . .
stick/bell X . . X . . X . . . X . X . . .
WARM-UP PATTERNS
Rudiments and Exercises for Djembe and other hand drums
by Lindsay Rowlands
Warm up gradually; begin each pattern slowly; balance the hands to make
the strokes evenly spaced and sounding the same; maintain an even tempo
for periods before increasing speed in discrete steps (spend longer on
slower speeds); concentrate on technique and sound; at least some of the
time, push yourself to your fastest speed for short periods - after you
have warmed up (20 mins); and, aim to be relaxed.
Play each pattern as written and immediately after, leading with the
left hand. Don't try to play all these patterns in one sitting, but
choose from the set to suit your needs.
------------------------------------------------------------------------
Key:
T t = Right and left tone; Fingers together, extending onto the drum no
further than the palm joint
B b = r and l bass; As tone, but in the centre of the drum
S s = r and l slap; Fingers relaxed, loose and in the same place as the
tone
Tt = Flam; The two indicated strokes played very close together, as one
t = together; The two indicated strokes are played simultaneously as one
B
. = rest (no sound)
>> = continue to next line [then to back to beginning]
-------------------------------------------------------------------------
The Patterns
1 T t T t T t T t T t T t T t T t
2 B t T t T t T t B t T t T t T t
3 B t T t T t B t T t T t B t T t T t
4 B t T t B t T t B t T t B t T t
5 B b T t T t B b T t T t B b T t T t
6 B b B b T t B b B b T t B b B b T t
7 B b T t S s B b T t S s B b T t S s
8 B t S s B t S s B t S s B t S s
9 B b T t B b S s B b T t B b S s
10 T t T T t T t t T t T T t T t t
11 T T t t T T t t T T t t T T t t
12 T t S s T t S s T t S s T t S s
13 t . . t . . t . . t . .
B . B . B . B . B . B .
13b t . . t . . B . . B . .
B . B . B . t . t . t .
Triples
14 B t T b T t B t T b T t B t T b T t
15 B t T b S s B t T b S s B t T b S s
16 B b T b B t B b T b B t B b T b B t
17 B s T b S t B s T b S t B s T b S t
18 B b T | t B b | T t B | b T t
19 T t S | s T t | S s T | t S s
Flams
20 Tt T t Tt T t Tt T t Tt T t
21 Tt tT Tt tT Tt tT Tt tT Tt tT
22 Tt Tt Bb Bb Tt Tt Bb Bb
23 Tt Bb Tt Bb Tt Bb Tt Bb
24 Tt Bb Tt Ss Tt Bb Tt Ss
25 Tt B t Tt B t Tt B t
26 Bt T t Bt T t Bt T t
27 Tb T b Tb T b Tb T b
28 Ss T t Ss T t Ss T t
29 St T t St T t St T t
30 Ts T t Ts T t Ts T t
Rolls
3 4 5 6 7
31 TtT . TtTt . TtTtT . TtTtTt . TtTtTtT
-----------------------------------------------------------------------
Odd Exercises
10/8
32 S . . t S . t . T . s . . T s . T . t .
7/4
33 B . t . T b . T . t B . t .
34 S . . t S . S . s . T t . t
4 over 3 over 4...
35 T . T t T . T t T . T t T . T t >>
T t T t T t T t T t T t
4 against 5 against 4...
36 t . . . . t . . . . t . . . . t . . . .
T . . . T . . . T . . . T . . . T . . .
3 against 5 against 3...
37 t . . . . t . . . . t . . . .
T . . T . . T . . T . . T . .
-----------------------------------------------------------------------
Use a monospaced font to view and print this file - some patterns may
not line up with others if a proportional font is used. Double spacing
lines may also help to isolate patterns.
DJEMBE-L FAQ vol. 4c (last revision 7/28/97)
Welcome to Volume 4c of the
DJEMBE-L FAQ
Warm-Up Patterns, Foundation Patterns and Exercises for Djembe (and Other
Hand Drums)* by Lindsay Rowlands [14/7/97]
-------------------------------------------------------------
This list aims to provide a realistic set of practice drills for beginning
and intermediate players.
I N D E X
HOW TO PRACTICE
Advice
KEY
WARM-UPS/FOUNDATIONS
Patterns in 3, 4, 5, 6...
Triples
Triplets
Flams in 4
Flams in 3
Rolls
EXERCISES Grooves/Accompaniments
In 4
In '3' (12/8)
Adventures in Unusual Meters
10/8
7/4
15/16
Adventures in Polymeter
4 against 6 against 4...
4 against 5 against 4...
4 over 3 over 4...
Lead Phrases
-------------------------------------------------------------
HOW TO PRACTICE:
* Allow yourself about 30-45mins per session and set aside that amount of
time where you can practice undisturbed by non-drumming guff
* Use a metronome if you wish
* Decide before hand which patterns you will concentrate on this session *
Warm up gradually; begin each pattern slowly; balance the hands to make the
strokes evenly spaced and sounding the same; maintain an even tempo for
periods before increasing speed in discrete steps (spend longer on slower
speeds); concentrate on technique and sound
* At least for some of the session, push yourself to your fastest speed for
short periods - after warming up (20 mins)
* Relax!!!
* Play each pattern as written, then follow immdediately leading/beginning
with the left hand. * Proceed to the other patterns with the aim of
assimilating the rhythms and techniques using the principal of playing
slowly to learn, then shifting up a gear to test yourself and to further
reinforce the patterns
* Focus, listen to yourself, focus
* After doing foundation work, play with somebody else or a tape, or a drum
machine - have fun
Advice
- Limit each session to a different subset of patterns to sustain interest.
- Spend some time, but not too much, on 'getting' harder patterns
- Avoid damage to your hands or other parts of your body
- Practice with a drum buddy or with a group - you will come to realise that
under pressure you can go the extra distance
- Make practice disciplined playing
- Make playing an extension of your discipline
- Real improvement only comes with discipline - make a personal schedule of
patterns that will improve your playing and include any that you come across
in your practise.
- There are no shortcuts, but you can speed your progress by regular
practice.
- Don't overdo it! Everyone has a limit to what they can learn, though this
will improve as you progress and some learning/processing goes on even when
you don't practice.
- Set yourself some realistic goals while realising the skill of drumming
can consume you for a lifetime - and there will always be someone who can
play faster, louder and more skillfully
- Aim to realise your musical potential (which is inherent in all of us) -
rather than to be the best
- Learning seems to happen when you try to do new things, rather than hash
over things you can already do.
-------------------------------------------------------------
KEY:
T t = Right and left tone; Fingers together, extending onto the drum no
further than the palm joint
B b = r and l bass; As tone, but in the centre of the drum
S s = r and l slap; Fingers relaxed, loose and in the same place as the tone
Tt = Flam; The two indicated strokes played very close together, as one t =
together; The two indicated strokes are played simultaneously
B (note that neither stroke will not sound clearly)
. = rest (no sound)
= continue to next line
-------------------------------------------------------------
WARM-UPS/FOUNDATIONS:
Patterns in 3, 4, 5, 6...
1 T t T t T t T t T t T t T t T t
2 B t T t T t T t B t T t T t T t
3 B t T t T t B t T t T t
4 B t T t B t T t B t T t B t T t
5 B b T t T t T t B b T t T t T t
6 B b T t T t B b T t T t
7 B b B b T t B b B b T t
8 B b T t B b T t B b T t B b T t
9 T t T t T t S s T t T t T t S s
10 T t T t S s T t T t S s
11 T t S s T t S s T t S s T t S s
12 S s S s S s T t S s S s S s T t
13 S s S s S s S s S s S s S s S s
14 B b T t S s B b T t S s
15 B t S s B t S s B t S s B t S s
16 B b T t B b S s B b T t B b S s
17 T T t t T T t t T T t t T T t t
18 t T T t T T t T T t T T
19 t T T T t T T T t T T T t T T T
20 t t T T T t t T T T t t T T T
21 T t T T t T t t T t T T t T t t
Triples
1 . . 2 . . 3 . . 4 . .
1 t . T t . T t . T t . T
2 b . T t . B b . T t . B
3 b . T t . B b . S s . B
4 b . T t . S s . B
Triplets
5 B t T b T t B t T b T t
6 B b T b B t B b T b B t
7 B t T b S s B t T b S s
8 B s T b S t B s T b S t
9 B b T b B s B b T b B s
10 T t B t T b T t B t T b
11 B b T t B b T t B b T t
12 T t S s T t S s T t S s
Flams in 4
1 . . . 2 . . . 3 . . . 4 . . .
1 Tt T t T Tt T t T Tt T t T Tt T t T
2 Tt t T t Tt t T t Tt t T t Tt t T t
3 Tt T Tt T Tt T Tt T Tt T Tt T Tt T Tt T
4 Tt t Tt t Tt t Tt t Tt t Tt t Tt t Tt t
5 tT T t T tT T t T tT T t T tT T t T
6 tT t T t tT t T t tT t T t tT t T t
7 tT T tT T tT T tT T tT T tT T tT T tT T
8 tT t tT t tT t tT t tT t tT t tT t tT t
9 Tt Tt tT tT Tt Tt tT tT Tt Tt tT tT Tt Tt tT tT
10 Tt tT Tt tT Tt tT Tt tT Tt tT Tt tT Tt tT Tt tT
11 Tt Tt Bb Bb Tt Tt Bb Bb Tt Tt Bb Bb Tt Tt Bb Bb
12 Tt Bb Tt Bb Tt Bb Tt Bb Tt Bb Tt Bb Tt Bb Tt Bb
13 Tt Bb Tt Ss Tt Bb Tt Ss Tt Bb Tt Ss Tt Bb Tt Ss
Flams in 3
1 . . 2 . . 3 . . 4 . .
1 Tt T t Tt T t Tt T t Tt T t
2 Tt t T Tt t T Tt t T Tt t T
3 Tt B t Tt B t Tt B t Tt B t
4 Bt T t Bt T t Bt T t Bt T t
5 Tb T b Tb T b Tb T b Tb T b
6 Ss T t Ss T t Ss T t Ss T t
7 St T t St T t St T t St T t
8 Ts T t Ts T t Ts T t Ts T t
9 S s Tt S s Tt S s Tt S s Tt
10 S b Tt S b Tt S b Tt S b Tt
Rolls
1 TtT (3)
2 TtTt (4)
3 TtTtT (5)
4 TtTtTt (6)
5 TtTtTtT (7)
6 StT
7 TtS
8 StS etc. for each (S/s: begin; end; begin and end)
-------------------------------------------------------------
EXERCISES
Grooves/Accompaniments
In 4 (played with slight swing)
1 . . . 2 . . . 3 . . . 4 . . .
1 T . T t T . T t T . T t T . T t
2 T . T t . T t . T . T t . T t .
3 T . S s . . T t T . S s . . T t
4 B b T b T t B t B b T b T . T t
5 B . . t T . B . . t T . B t T .
6 T t T s T t T s T t T s T t T s
In '3' (12/8)
1 . . 2 . . 3 . . 4 . .
1 T.TtT.T.TtT.T.TtT.T.TtT.
2 S . b S . . S . b S . .
3 t . T b . T t . B t . T
4 B b T b B t B t T b T t
5 B . B . T t . t . t T t
Adventures in Unusual Meters
10/8
1 S . . t S . t . T . s . . T s . T . t .
7/4
1 B . t . T b . T . t B . t .
2 S . . t S . S . s . T t . t
15/16
1 S t S t S S b S b S t t S t t
Adventures in Polymeter
4 against 6 against 4...
1 t . . t . . t . . t . .
B . B . B . B . B . B .
4 against 5 against 4...
2 t . . . . t . . . . t . . . . t . . . .
T . . . T . . . T . . . T . . . T . . .
4 over 3 over 4...
3 T . T t T . T t T . T t T . T t
T t T t T t T t T t T t
Lead Phrases
1 s T t S t S s T t S
2 T t S t T t S t S
3 t T t T t S t T t S
4 T t T t S s T t S
5 T t T t S t S s T
6 Tt S s T t S s
7 S s S s S s S s Ss
8 t T T . T . T . T . T . Ss
9 B b S t T t Ss T t T t T Ss
-------------------------------------------------------------
[Return to FAQ Table of Contents]
WASSALONGA
(N'Gri)
From Mail, the Buguni people. Song to greet the king. Old people dance in a formal prescribed way to it.
From Madou Dembele
1 . . 2 . . 3 . . 4 . .
DJ1 S . s . T t S . s . T t
1 . . . 2 . . . 3 . . . 4 . . .
DJ2 B . . s B . . . T . t . Tt. . .
1 . . 2 . . 3 . . 4 . .
Djuns D . K . D D . K . K . D
1 . . 2 . . 3 . . 4 . .
Variation D . K . D D K D . K . K
ONE INTRO BREAK (VIA MADOU) ?
1 . . 2 . . 3 . . 4 . .
S t T s T t S t T s T t
S t T S . S . S . PARTS ON 4
END BREAK
1 . . 2 . . 3 . . 4 . .
s T t S s S s T t S s S
s T t S s S s T t $ . .
TtT.t Tt. . Tt. . T . . $
M. Wall:
Here's a wild one I have been having big fun with - Boogooninkun (Wasulunke)
1 . . 2 . . 3 . . 4 . .
S . i . S S . i . i . S right hand on sangba
. K . D(D). . K . D D . left hand on kenkeni and dunun
At this stage the (D) note is still being worked on - I have a hell
of a time playing it and the sangba note simultaneously - they keep
turning into a flam at higher tempos!
WEST AFRICAN 6/8
Legend:
T, t tone on strong hand, weak hand
S,s slap on strong hand, weak hand
B,b base on strong hand, weak hand
@ Flone
$ Flam
> continuation on next line/from previous line
Time 1 . . 2 . . 3 . . 4 . . 1 . . 2 . . 3 . . 4 . .
INTRO
Lead @ . T t . . . . . . . . @ . T t T . . . . . . .>>
Others . . . . . . . . B b . . . . . . . . . . B b . .>>
Lead @ . T t . . . . T t . . B . b . B . b . . S . .
Others . . . . . . . . . . . . B . b . B . b . . S . .
All come in on part 1. After 8 times, part 2 comes in. Then solo comes in.
Accomp 1 B . S b T t|
Accomp 2 S . T t B .|
Accomp 3 solo
BREAK 1
Time 1 . . 2 . . 3 . . 4 . . 1 . . 2 . . 3 . . 4 . .
Break Cue
@ . T t . T t S s S . . @ . T t . T t S s S . .
Time 1 . . 2 . . 3 . . 4 . . 1 . . 2 . . 3 . . 4 . . 5 . . 6 . .
Break All $ . . . . . S . T s . . S . T s . . B . b . B . b . . S . . >>into parts
BREAK 2
Time 1 . . 2 . . 3 . . 4 . . 1 . . 2 . . 3 . . 4 . .
Break Cue
@ . T t . T t S s S . . @ . T t . T t S s S . .
Time 1 . . 2 . . 3 . . 4 . . 1 . . 2 . . 3 . . 4 . . 5 . . 6 . .
Break All $ . . . . . S s S t T t S s S t T t $ . . $ . . $ . . $ . . >>into parts
BREAK 3
Time 1 . . 2 . . 3 . . 4 . . 1 . . 2 . . 3 . . 4 . .
Break Cue
@ . T t . T t S s S . . @ . T t . T t S s S . .
Time 1 . . 2 . . 3 . . 4 . . 1 . . 2 . . 3 . . 4 . . 5 . . 6 . .
Break All $ . . . . . T t S s . . T t S s . . T t S t T s . . T s . . >>into parts
BREAK 4 (END)
Time 1 . . 2 . . 3 . . 4 . . 1 . . 2 . . 3 . . 4 . .
Break Cue
@ . T t . T t S s S . . @ . T t . T t S s S . .
Time 1 . . 2 . . 3 . . 4
Break All $ . . . . . S s S s
WOLOSODON
(Djondon, Djon don, Djonjone, Wolossodon, Wollosodong, etc)
1234567812345678
Djembe bb-bs-s-bb-b-tt-
Djembe ttss--ssttss--ss *
Djembe s--ss-b-s--ss-b-
>123456123456
Djembe t-sb-st-sb-s
Djembe s-ts--s-ts--
The way I´ve learned this dance from my favourite male African dance performer Abdoulaye Camara, it comes in three parts, starting with a 4 count rhythm that is followed by a slow 6 count rhythm and finishes with a very fast 4 count rhythm. The first two parts are taken from the Djembe Boom Boom site that is linked above. The third part is the simplified part I´m used to. The first 6 count part is taken from the Yapp pages (see link above) and the second one is again the simplified variation I am used to.
Lennart Hallstrom, Sweden
OLD: NOT ACCURATE>>>
I also recently learned Wolosodon from my Senegalese teacher Pape Seck. I have also been searching the Internet to find written notations (also for otherrhytms) but I haven't been able to find it/them.So I gave it a try myself.
Rhythm 1 1 . . . 2 . . . 3 . . . 4 . . .
B b s S s S s B b S s S s
R L L R L R L R L R L R L
Rhythm 2 1 . . . 2 . . . 3 . . . 4 . . .
S s T t S s B b S s T t S s T t S s
R L R L R L R L R L R L R L R L R L
- - - - - - - -
XJESA
Source: Ubaka Hill
1 . . . 2 . . . 3 . . . 4 . . .
Jembe 1 B . . T B . T . B . T T B . T . >>
B . T T B . T . T T . T . T T .
Dun/Surdo B . T . B . . . B B . B . B B . >>
B . M . B . . . B . M . B . . .
Bell L . H . L . H . H H . H . H H .
Shaker 1 . . + 2 . . + 3 . . + 4 . . + And-1, etc...
YANVALOU
123456123456
Djembe 1 b-t-t-bt-t-b
Djembe 2 bttbttbttbtt
Bass D-----S--S--
Bell H-H-H-HH-H-H
This Haitian rhythm is a great way to introduce polyrhythm to beginners. Each part is very easy to play on its own and they sound great together, even at a really low tempo. Lennart Hallstrom, Sweden
YEMBELA (?)
Mark Szymanski (rain song)
4/4 |: . * . * . * . | . * . * . * . :|
_ _ _ _ _ _ _ _
LOW B . S . O . S . B . S . O O S .
_ _ _ _ _ _
MID B . O O . . s . B . O O . . s .
_ _ _ _ _ _ _ _
HIGH O . S S O . S S O . S S O . S S
Junjun B . B B . . . . B . B B . . . .
Bell . . X X . . X X . . X X . . X X
YOGUI
Yogui (Yongui) is a Sousou woman´s dancerhythm from Lower Guinea. I have two slightly different sources on the cultural background of this rhythm (can anyone clear this?). According to one source Yogui is a mask-dance for older woman. the mask is round and with raffia to the ground. Another source claims it´s a dance for young women on a pre-wedding evening. It´s a dance where the women "put everything they´ve got" into the (dance)ba@le. That´s why sometimes you can here it´s called "Ginè Faré" (Woman´s dance), like another Sousou-women´s dance Maane is also called a "Ginè Faré".
WAP-pages / Paul Nas / Last changed at 10-03-2002
Call 1
1 . . 2 . . 3 . . 4 . . 5 . . 6 . . 7 . . 8 . .
T T T . S S S . . T T T T . T . T . T . T . . .
r l r . r l r . . l r l r . r . r . r . r . . .
Call 2 (starts in pickup)
1 . . 2 . . 3 . . 4 . . 5 . . 6 . . 7 . . 8 . .
S S . S . S . S S . S S S S . T T T T T T . . . .
l r . r . r . r l . r l r l . 2 r l r l r . . . .
Kenkeni
1 . . 2 . . 3 . . 4 . . 5 . . 6 . . 7 . . 8 . .
C . O . O . O . . O . . C . O . O . O . . O . .
x . x . x . x . x x . x x . x . x . x . x x . x
Sangban
1 . . 2 . . 3 . . 4 . . 5 . . 6 . . 7 . . 8 . .
C . . O . . C . . O . . C . . O . . C . . O . .
x . x x . x x . x x . x x . x x . x x . x x . x
Dun Dun
1 . . 2 . . 3 . . 4 . . 5 . . 6 . . 7 . . 8 . .
O . . . . . . . . . . . . . O . . O . . O . . O
x . x x . x x . x x . x x . x x . x x . x x . x
Dun Dun, variation
1 . . 2 . . 3 . . 4 . . 5 . . 6 . . 7 . . 8 . .
O . . . . O . O . O . O . . O . O . O . . . . O
x . x x . x . x . x . x . x x . x . x . x x . x
Djembé 1
1 . . 2 . . 3 . . 4 . . 5 . . 6 . . 7 . . 8 . .
S . s S . T T . S S . B S . B S . T T . S S . .
r . r l . l r . r l . l r . r l . l r . r l . .
Djembé 2
1 . . 2 . . 3 . . 4 . . 5 . . 6 . . 7 . . 8 . .
S . . . . T T . . . . B S . . . . T T . . . . B
r . . . . l r . . . . l r . . . . l r . . . . l
Djembé 3
1 . . 2 . . 3 . . 4 . . 5 . . 6 . . 7 . . 8 . .
S . . T . . S . . T . . . . . . . . . . . . . .
r . . f . . r . . f . . . . . . . . . . . . . .
Djembè 4 (reverse of djembè 1)
1 . . 2 . . 3 . . 4 . . 5 . . 6 . . 7 . . 8 . .
S . B S . T T . S S . . S . . S . T T . S S . B
r . r l . l r . r l . . r . . l . l r . r l . l
Djembè 5
1 . . 2 . . 3 . . 4 . . 5 . . 6 . . 7 . . 8 . .
S . . T . T S . T T . B S . S T . T S . T T . .
r . . l . l r . r l . l r . r l . l r . r l . .
Combination dundun / sangban 1
1 . . 2 . . 3 . . 4 . . 5 . . 6 . . 7 . . 8 . .
S . . . . . . O . O . . . . . . . . . . . . . . .
D O . O . . . . . . . . . . . O . . O . . O . . .
x . x x . x x . x x . x x . x x . x x . x x . x
Combination dundun / sangban 2
1 . . 2 . . 3 . . 4 . . 5 . . 6 . . 7 . . 8 . .
S . . . O . . . . . O . . . . . O . . . . . O . .
D O . . . . . . . . . . . . . . . . . . . . . . O
x . x x . x x . x x . x x . x x . x x . x x . x
Djembé solo frases, frase 1
1 . . 2 . . 3 . . 4 . . 5 . . 6 . . 7 . . 8 . .
T T T . S S S . . . T . T T . T . T . T t . t .
r l r . r l r . . . f . r l . l . l . l r . r .
frase 1, variation
1 . . 2 . . 3 . . 4 . . 5 . . 6 . . 7 . . 8 . .
T T T . S S S . . . T T T T . T . T . T . . . .
r l r . r l r . . . 2 l r l . l . l . l . . . .
frase 2
1 . . 2 . . 3 . . 4 . . 5 . . 6 . . 7 . . 8 . .
B . T . B . . B . T . B . . B . T . B . . T T S
r . r . r . . l . l . l . . r . r . r . . l r l
S . . . T T . S S . . . . . . . . . . . . . . .
r . . . r l . l r . . . . . . . . . . . . . . .. . . . .
frase 3
1 . . 2 . . 3 . . 4 . . 5 . . 6 . . 7 . . 8 . .
B T . T T . S S . S S . S S . S S . S S . S S . B
l r . r l . l r . r l . l r . r l . l r . r l . l
frase 4
1 . . 2 . . 3 . . 4 . . 5 . . 6 . . 7 . . 8 . .
B T . B . . B S . B S . B S . B S . B S . B . T B
l r . r . . l r . r l . l r . r l . l r . r . r l
frase 5
1 . . 2 . . 3 . . 4 . . 5 . . 6 . . 7 . . 8 . .
B T . T . T T . . T . T . B . T T . S T T S . . B
l r . r . r l . . r . r . r . r l . l r l r . . l
S . S . S S . . S . S . B . T T . S T T S . . .
r . r . r l . . r . r . r . r l . l r l r . . .
frase 6 (closing the solo)
1 . . 2 . . 3 . . 4 . . 5 . . 6 . . 7 . . 8 . .
B S . B . . B S . B S . B S . B S . B S . B . . .
l r . r . . l r . r l . l r . r l . l r . r . . .
Djembè solo frases, solo 2, frase 1
1 . . 2 . . 3 . . 4 . . 5 . . 6 . . 7 . . 8 . .
B T . T T . S S . S S . S S . S S . S S . S S . B
l r . r l . l r . r l . l r . r l . l r . r l . l
frase 2
1 . . 2 . . 3 . . 4 . . 5 . . 6 . . 7 . . 8 . .
T T T . S S S . . T T T T . T . T . T . T . . B
r l r . r l r . . 2 r l r . r . r . r . r . . l
frase 3
1 . . 2 . . 3 . . 4 . . 5 . . 6 . . 7 . . 8 . .
S . B . . B S . B . . B S . B S . B S . S . T T
r . r . . l r . r . . l r . r l . l r . r . r l
frase 4
1 . . 2 . . 3 . . 4 . . 5 . . 6 . . 7 . . 8 . .
S S . . . S S S . . T T T . . T T T T . T . T .
r l . . . l r l . . r l r . . 2 r l r . r . r .
T . T . . . . . . . . . djembè1
r . r . . . . . . . . . . . . . . . . . . . . .
ZAMBIA RHYTHM
It was a circumcision rhythm played in Zambia. It is played by striking two
sticks against each other.
'x' denotes the right-hand stick striking the left hand stick from above.
'o' denotes the left-hand stick striking the right from above.
'k' denotes a stick hit against a wood block
1=low mingonge (x+o)
2=high mingonge (x+o)
3=tutanga (k)
Mukanda: 6/8ish with a bit o' 4/4
:1 - - 2 - - 3 - - 4 - - | 1 - - 2 - - 3 - - 4 - -:
:x - - o - - x - - o - - | x - - o - - x - - o - -: (#1)
:x - o - x - o - x - o - | x - o - x - o - x - o -: (#2)
:- - k - - k - - k - - k | - - k - - k - - k - -k : (#3)
You could probably also add a bell part, and a shaker on the 1 & 3, altho
that is not in the notation I found:
:d d - d d - d d - d d - | d d - d d - d d - d d -: (bell)
:s - - - - - s - - - - - | s - - - - - s - - - - - : (shaker)
ZAWULI PHRASE - MADOU DEMEBLE
Comes from the Guro people of the Ivory Coast.
This is just a part of the Zawuli phrase:
1 . . . 2 . . . 3 . . . 4 . . .
t . S s S . t . S s S . t . S s >>
S . . . S . . . S . . . S . . . >>
t . S s S . t . S s S . t . S s >>
S . . . S . . . S . . . S . . . >>
t . S s S . t . S s S . t . S s >>
t . S s S . S s S . . . t . S s >>
S . S s S . . . t . S s S . . . >>
t . S s S . . . t . S s S . . . >>
S
ZEBOLAH
(Congolese), Richard Darsie (darsie@ece.ucdavis.edu)
from Sean Feder
12/8 |: . . * . . * . . * . . :|
_ _ _ _
Bottom O . . B . . B . . B . O
_ _ _ _ _ _
Second B O O B S S B O O B S S
_ _ _ _ _ _
Mid O S S O S S O S S O S S
_ _ _ _ _
Heart O . S . O O O S . S O O
_ _ _ _
High Sf O O O S . O S . O S .
ZEBOLAH
(Congo)
12/8 =A6: . . * . . * . . * . . :=A6
_ _ _ _
break Of O O O O . O O . S . .
_ _ _ _
djembe 1 B . B . O O . S . S O O
_ _ _ _
djembe 2 S . O S . . S S O S . .
solo 1 O . Sf . O . Sf . . O . O >>
O . O O . . S S . B . . 2x
solo 2 B S S B S S . . . O . O >>
O . O O . . S S . B . . >>
B S S B S S . . . O . O >>
O . O O . . S S . B O O O O >>
solo 3 S S S . O O O O S S S . . Sf >>
. . . . . . . . . . O O O O >>
S S S . O O O O S S S . . Sf >>
. . . . . . . . . . . >>
solo 4 . . . . S S B O B . . . 4x
solo 5 . . . . S S O S S S . . >>
. . . . . . . . . . . . 2x or 4x
solo 6 O . O O S . O . O O S . >>
O S . O S . O S . S . S
The notation is the same as in Larry Morris' Rhythm Catalogue.
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