African rhtym

8/9/2019 African rhtym

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[collected rhythm transcriptions by Paul Nas (WAP Pages) and others]

GDgdPTnotation


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Contents 3

Contents

Instruments and Strokes ____________________________________________________________ 6

Notation details____________________________________________________________________ 7

Abioueka_________________________________________________________________________ 8 Abondan ________________________________________________________________________ 10

Adjos ___________________________________________________________________________ 12

Bada ___________________________________________________________________________ 14

Baga ___________________________________________________________________________ 20

Baga Giné _______________________________________________________________________ 21

Balakulanya / Söli lente____________________________________________________________ 23

Balan Sondé _____________________________________________________________________ 26

Bambafoli _______________________________________________________________________ 28 Bandogialli / Bando Djeï ___________________________________________________________ 29

Bara____________________________________________________________________________ 31

Bintin __________________________________________________________________________ 32

Bolokonondo_____________________________________________________________________ 34

Bolomba ________________________________________________________________________ 37

Bolon___________________________________________________________________________ 38

Boula___________________________________________________________________________ 39

Conoule I _______________________________________________________________________ 40

Dalah___________________________________________________________________________ 41

Dalfo ___________________________________________________________________________ 42

Damba__________________________________________________________________________ 43

Demosoni Kelen __________________________________________________________________ 46

Dennadon _______________________________________________________________________ 47

Diaeba __________________________________________________________________________ 48

Diansa __________________________________________________________________________ 49

Dibon II_________________________________________________________________________ 52

Djaa____________________________________________________________________________ 53

Djaa Kouroussa __________________________________________________________________ 55

Djaa Siguiri______________________________________________________________________ 56

Djabara _________________________________________________________________________ 57

Djagbè __________________________________________________________________________ 59

Djambadon ______________________________________________________________________ 62

Djelidon / Djelifoli / Sanja / Lamba___________________________________________________ 64 Djolé ___________________________________________________________________________ 72


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Donaba _________________________________________________________________________ 73

Dunumbè _______________________________________________________________________ 74

Fanga __________________________________________________________________________ 77

Fankani_________________________________________________________________________ 78

Foro-Bingé ______________________________________________________________________ 82

Fulafare (Yoleli)__________________________________________________________________ 84

G'Beredu________________________________________________________________________ 86

Garankedon _____________________________________________________________________ 90

Garankefoli______________________________________________________________________ 92

Gidamba / Somba Koro ____________________________________________________________ 93

Griot ___________________________________________________________________________ 97

Kadan _________________________________________________________________________ 101

Kakilambé ______________________________________________________________________ 106

Kanin__________________________________________________________________________ 110

Kassa __________________________________________________________________________ 111

Kassa Djibo_____________________________________________________________________ 114

Kassa Soro _____________________________________________________________________ 116

Kawa __________________________________________________________________________ 117

Kebendo _______________________________________________________________________ 118

Kemoba ________________________________________________________________________ 119

Kennefoli_______________________________________________________________________ 121

Konden I _______________________________________________________________________ 122 Konden II ______________________________________________________________________ 124

Konjumalon ____________________________________________________________________ 125

Konkoba Dundun ________________________________________________________________ 127

Konkoba I ______________________________________________________________________ 129

Konkoba II _____________________________________________________________________ 132

Konkoba III ____________________________________________________________________ 134

Könönari_______________________________________________________________________ 135

Könöwoulen I ___________________________________________________________________ 137

Könöwoulen II __________________________________________________________________ 139

Koreduga / Kotedjuga / Komodenu __________________________________________________ 140

Korobadon _____________________________________________________________________ 142

Kuku __________________________________________________________________________ 145

Kurabadon _____________________________________________________________________ 148

Lafè / Kurubi ___________________________________________________________________ 149

Lafè ___________________________________________________________________________ 151


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Liberté I________________________________________________________________________ 156

Liberté II_______________________________________________________________________ 157

Lolo ___________________________________________________________________________ 158

Maane _________________________________________________________________________ 160

Macru _________________________________________________________________________ 162

Madan _________________________________________________________________________ 164

Madan rapide ___________________________________________________________________ 165

Mamaya _______________________________________________________________________ 166

Marakadon _____________________________________________________________________ 169

Matadi _________________________________________________________________________ 171

Mendiani_______________________________________________________________________ 172

Meni __________________________________________________________________________ 175

Mola __________________________________________________________________________ 176

Molekanimani Djou Jee___________________________________________________________ 177

Moribayassa ____________________________________________________________________ 178

Namani ________________________________________________________________________ 179

Nantalomba ____________________________________________________________________ 180

N'Goron / Toubala Kono __________________________________________________________ 181

N'Gri / Kirin / Krin /Wassolonka / Wasulunke /Bubuninca ______________________________ 182

Toubala Kono ___________________________________________________________________ 185

Noumou _______________________________________________________________________ 186

Senefoly________________________________________________________________________ 188 Shiko __________________________________________________________________________ 189

Silamalon ______________________________________________________________________ 190

Sinte __________________________________________________________________________ 192

Sirankuruni ____________________________________________________________________ 194

Siwé ___________________________________________________________________________ 195

Sobonincun_____________________________________________________________________ 196

Sofa / Limbadji toko ______________________________________________________________ 200

Sökö___________________________________________________________________________ 203

Söli des Manían _________________________________________________________________ 205

Söli rapide______________________________________________________________________ 206

Sorofoli ________________________________________________________________________ 209

Sorsornet_______________________________________________________________________ 211

Takonany ______________________________________________________________________ 214

Takosaba_______________________________________________________________________ 216

Tiriba__________________________________________________________________________ 218

Toro___________________________________________________________________________ 220


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Warba _________________________________________________________________________ 222

Wassolonka /Bubuninca __________________________________________________________ 224

Wolosodon / Djondon_____________________________________________________________ 226

Wonde _________________________________________________________________________ 229

Yankandi A (ternary) _____________________________________________________________ 232

Yankadi B (binary) _______________________________________________________________ 235

Yogui __________________________________________________________________________ 236


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Instruments, strokes and notation 1

Instruments and StrokesY = solo djembé y = accompagnement djembéK = kenkeni N = sangban

U = dounounba E = dundun combination (dounounba / sangban)e = 3 duns (1 player) v = krinV = atoke / apitua W = agogo / gankogui (high-low)C = clapping Q = djabara / shekere / axatse / calabash

Strokes

Y G$ = bass - Gun D$ = bass - Dun G m$m D$ = muffled bassY g$ = tone - go d$ = tone - do g m$m d$ = muffled toneY p$ = slap - Pa t$ = slap - Ta p m$m t$ = muffled slap

Y n G$ = bass flam - DGun k g$ = tone flam - dgo T p$ = slap flam - TPaY u D$ = bass flam - GDun q d$ = tone flam - gdo P t$ = slap flam - PTaK o$ = kenkeni stroke o m$ = kenkeni pressed strokeN o$ = sangban stroke o m$ = sangban pressed stroke

U b$ = doundounba stroke b m$ = doundounba pressed strokeE b$ = doundounba stroke o$ = sangban strokee b $ = doundounba stroke o$ = sangban stroke \$ = kenkeni strokeV c$ = bass drum bell x$ = bell stroke

W c$ = agogo high stroke x$ = agogo low strokeQ x$ = downstroke c$ = upstroke \ x$ = downstroke with hand hit


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Notation detailsi444$444$444$444$i = 1 bar (16 sixteenths) inA

{ = tripolets inAand repetitionig4d4p4d$g4t4g4d$p4.4 t̂8p8t$p4t4p4.$i = thirty-seconds inA ip4.4.4t$p4.4g4+d&p4.4.4t$p4.4g4+d&i = swing inA

i33#33#33#33#i = 1 bar (12 eighths) ina ip̀6t6p3t#p3t3#g̀6d6g3d#g3.3.#i = sixteenths ina ig3+t4p#+d4g3+t$p3+d4g#+t4p3+d$i = swing ina

= optional strokes or


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Abioueka 1

AbiouekaAboiueka (Abiweika) is a Sousou-dance for small children. The basic beat of Abiouekaseems te be essentially the same as the toto gi (deep drum) part of the Ewe pieceAgbekor.

CallY ik g3d3g#d3g3.#g3d3.#d3.3.#iN i33#33#33#o3o3#i

E

K Kj (variation) N U

yj yJ yr

yR


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Abioueka 2

Djembé 1 variations

yj j

yj J


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Abondan 1

AbondanAbondan (Abonda) is a rhythm from the Baoule-people from the Ivory Coast. It isprobably a very old rhythm that was played when the King went out to ride (on thehorse). The story goes that boys and girls danced in honour of the King. After thatdance the King held a speech. NowadaysAbondan is danced in a circle.

Call 1Y ip3t3.#t3.3t#.3t3p#.3p3.#i.3P t3.#P t3.3P t#.3.3.#.3p3.#i

Call 2

Y ip3t3.#t3.3t#.3t3p#.3p3.#i.3.3T p#.3T p3.#T p3.3.#.3p3.#i

Kj KJ N

U

yj yJ


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Abondan 2

Transcription by Robert Kronberger (YAPP )IntroY ip3t3.#t3.3t#.3t3p#.3p3.#i.3.3T p#.3T p3.#T p3.3.#.3p3.#i

Call

Y ig3d3.#d3.3d#.3d3g#.3g3.#i

K N

yj yJ


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Adjos 1

AdjosAdjos is a rhythm of the Baolé-people from the South of Ivory Coast. It used to be aslow and majestic dance to be played for the king. Nowadays it's played much faster.The intro is traditional. This song was sung especially in honour of Samore Touré (a vimportant King). In the song the audiance repeats the line that has been sung by the

solo-singer. After a while the change to the second line is made and after some moretime you can go back to the first, and repeat the sequence.

Ee ee ee al ma mi yooAa ee kou gbe ko ja ma lu ee

Everybody is there, for him!

Call

Y ik g4.4g4d$.4d4g4.$g4.4p4t$g4.4.4.$i

K N

U yj ip4.4.4t$g4d4p4.$g4d4.4t$g4d4p4.$

Echauffement

N io c44o c4$o c44c4$o c44o c4$o c44c4$iU i4b c44b c$4b c44b c$b c44b c4$b c44b c4b c$i

Break

Y ig4.4.4t$.4.4g4.$p4.4.4.$g4.4p4.$i

i.4.4.4.$.4.4g4.$p4.4g4.$p4.4g4.$iip4.4.4p$t4.4p4.$.4.4.4.$g4.4g4.$i


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Adjos 2

Djembé solo 1; use the phrases

Yj iG4.4.4.$G4.4.4.$G4.4.4.$G4.4p4.$iYJ ip4t4.4.$G4.4p4.$g4d4.4.$G4.4p4.$i

Yr iG4.4.4.$G4.4p4.$G4.4.4.$G4.4p4.$iYR ig4d4.4p$t4.4g4.$g4.4.4.$G4.4p4.$iFor example in the sequence: 1(1x), 2(2x), 3(2x), 2(2x), 3(1x), 4(1x), break,echauffement.


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Bada 14

BadaBada is played as a transition between two Dununbas.

K N ic o33c#3c o3#c33c o#3c3#ic o33c#3c o3#c33c o#3c3#i

{ic o33c#c o33c#c o33c#c o33c#ic o33c#c33c#c o33c#c o33c#iic o33c#c o33c#c o33c#c33c#ic o33c#c o33c#c o33c#c o33c#iic o33c#c33c#c33c o#c o33c#ic33c o#c o33c#c33c o#c o33c#i

ic33c o#c o33c#c33c o#3c3c o#i3c o3#c o33c o#3c3c o#3c o3#iU | {i3c b3c b#3c b3c b#3c b3c b#3c b3c b#i3c b3#c b33c b#3c b3c b#3c b3c b#i

y Y ip3t3g#t3p3t#.3.3.#.3g3t#i

@ig3d3p#t3g3d#g3d3p#t3g3d#i {ig3d3p#t3g3d#g3d3p#t3g3d#iig3d3p#d3g3t#p3t3p#t3g̀6d6g#i @it3p3t#p3 ̀d6g6d#p3t3p#t3 ̀g6d6g#ii ̀t6p̀6t̀6p6t#p3 ̀d6g6d#p3t3p#t3 ̀g6d6g#iit3p3d#p3t3g#t3p3d#p3t3g#it3p3d#p3t3g#t3p3d#p3t3.#iiG3t3.#t3.3t#.3d3g#.3k p3.#i


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Bada15

The following are names of different rhythms commonly agreed to be part of the famiof rhythms known as Dununba:

Bada Balan-sondeBando Djei BandogialliBolo Konondo Demosoni Kelen

Dunun Gbe (Doundoumbe) DonabaGberedu GbunkundoKadan Konowule(n) (I and II)Koudindoundoun Kuraba DonNantalomba TaamaTakosaba Takonani

The origin is Hamanah (a canton in the Kouroussa Prefecture, Upper Guinea).

The word "dunumba" or "doundumba" describes a type of dance that is popular in UppGuinea in the Kankan, Siguiri and Kourousa regions, but its roots are to be found inHamanah, a canton of the prefecture of Kourousa. It is also called "the Dance of theStrong Men". The names of its various rhythms, of which there are a good twenty, aretaken from their places of origin, from the names of the people they portray or towhom they are dedicated, from the characteristics of their structure or from the waythe performers appear during the dance.

The "Dance of the Strong Men" as danced by the Malinke of Hamanah occupies aposition that makes it more of a social ritual than an amusement, although this aspect ialso not ignored. It takes place in the Bara, the space for dancing that every villagepossesses and which has a large tree, either a Kapok or Mangrove, planted in the centeThe circles of men or boys are formed around the tree, each circle representing a sociaor age group (kare). The Baranti, the masters of the Bara form the group that assumesresponsibility for the smooth running of the festivities. They are the first to dance, andno-one else can use the Bara without their agreement. Although the Dunumba isreserved for men as its name indicates, women could take part by dancing at one side by coming to the centre to enliven the atmosphere.

The heirarchies between the Kara ar between individuals are given their expression inthe dance, with personal conflicts being also regulated in a formalized manner withblows of the Manin Fosson, a riding crop woven from hippopotamus skin, to the sounthe drums. The Baratingi, the eldest youths of the village, demonstrate their courageby provoking their younger colleagues, the Baradogono, to the sound of the dunumba.


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Bada16

The circles that correspond to each of these two groups are laid concentrically aroundthe tree planted in the middle of the Bara. The leader carries a decorated hatchetcalled Djende and a Manin Fosson. When one of the younger boys wishes to join a groof older boys, he moves out of his own circle and dances backwards. He meets theleader of the other groups who asks him"The way!", to which he answers "It is markedon 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, appreciatingthe boy's courage, put a stop to the test.

Certain healers also attributed therapeutic virtues to the dance through its creation ofstates of trance and hypnosis.

Important collective decisions were taken before or after the great Dunumba, sincealmost 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 aredrums whose cylindrical barrel is covered by a skin at each end. A metal bell is fixedabove the barrel, which is placed horizontally. The drummer strikes one of the skinswith a large stick that is held in one hand while with the other he strikes the bell with ametal strip or bolt. There are always three of these drums in the regions discussedhere, 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 dunuto 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 anyinterested in Dunumba.)Comes from Hamanah (region of Kouroussa). Here the dunun are always played in thrkenkeni, sangba, dununba. It is the last which leads while the djembe accompanies. Thimportance of equilibrium between dunun is fundamental here. There are more thanfifty rhythms of this family of which the variations play on the length of the phrasesand the cycles of measures. The one in this recording has a cycle of two measures. Atits origin, a war dance in which boys of different age groups confront each other armewith whips: it is called "dance of the strong men". Today it is practiced more pacificalin all festival occasions, and even women take part. (Wossolon)Dununba, the "Dance of the Strong Men" is a very old dance, performed, as its namesuggests, only by men. There are approximately 20 Dununba rhythms, each with itscorresponding dance. Originally this repetoire was known only to the Malinke-Hamanbut today it has become very popular and is regularly performed by other people, suchas 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, thrhythmic cycle is 12 pulses and the kenkeni always plays only one rhythm: ( . . o . o oThe rhythmic figures played by the soloist are all similar, but they must be coordinatednonetheless to the different phrase lengths of the dances, some of which may reacheight cycles, and to the steps of the dancers.


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Bada17

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 therhythm. After a short pause, they start again. This is a signal for all the unmarried girlsin the village to assemble at the village square (Bara) in order to accompany thedrummers with their singing and handclapping. As the drummers are playing the thirdtime 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 whohave 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 strongwho determine and control the development of the event. They are masters of thedance square, they have instruments and retain the privilege of the first dance. Thetitle of Barrati may conferred only within certain families. If other men than thepresent Barranti-s wish to become new Barranti-s, they must organize themselves intagroup at a Dununba festival and advance on the present Barrati-s. A veritable battlefollows, using whips of hippopatomous hide. If the provocatuers win, they arepronounced the new Barrati-s.

When the music starts up again (after warming the drum heads), the Barrati-s begin thdance, arranging themselves in two lines. Brandishing a decorated hatchet (Gende) inthe right hand, and a hippo-hide whip (Manimfosson) in the left, the dancers advanceslowly, in step, towards the drummers. Once they arrive, each Barrati in turn dancessolo, showing his best form in order to impress the girls assembled behind thedrummers. Afetr this, other men may ask permission to dance as well.

Throughout the entire festival, one strange looking man dressed in a monkey skin danaround 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, whis very acrobatic, gives the men a chance to express their bravery and courage in frontof their betrothed as well as the village elders; they strike their bodies with a ridingcrop made from animal muscle. (Drame)

"We have a dance we call dounouba. It is for people who are threatening each other orare in an intense rivalry. After elders, family members, and friends have tried tocounsel the disputants to no avail, the dounouba ceremony is held in the village squareThe two men who are at odds each take a stick. The stick is round, about three quarterof an inch in diameter, and reaches from the ground to about the hip in length. The meface each other. The musicians play the drums with very exciting rhythms designed tobring out the stored-up aggressiveness in the feuding parties. The men engage in ritualcombat, striking at each other and defending themselves with their sticks. In front ofeveryone 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.


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Bada18

"Some national dance troupes in West Africa have presented thisdance in pantomimefashion to foreign audiences and called it the dance of the strong man. Originallythough, it was not a spectacle, but a practical means of bringing real conflicts to aclimax and to an end." (Diallo and Hall, The Healing Drum, Destiny Books, RochesteVermont 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 thdance transitions. we would call these parts off-beat, which is why Westerners havesuch a hard time playing these rhythms, even though the beat is strongly marked by thdancers' steps. to complement the kenkeni rhythmic figure, and without going intonotation 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 echauffemAside from set parts, there are many individual variations where the dunumba player

himself demonstrate his strength.

INFORMATION RELATED TO SPECIFIC DUNUMBAS:

Bada: my understanding is this is not a rhythm as such, rather a phase (echauffement)or signal the players use to enlarge the circle when it has become too crowded and thecan't properly play [source Delmundo Keita].

Balan-sonde: is an exception among the Dununba rhythms, for it may be played as parof the circumcision festival, during which the women may also dance. While the mendance the customary Dununba steps, the women dance the steps for Soli. Balan is thename of a village in the region of Kouroussa; sonde means "robbers". The residents ofthis village are jokingly called robbers. (Rhythmen Der Malinke)

Bando Djei: Amidst all the praises addressed to N'na Dodo, the goddess known asNakouda or Koudaba is now honored. Worshipped by the people of Hamanah, motherKouda is particularly invoked during the feast of Boleh pond in Baro, a village situatebetween Kouroussa and Kankan. This is the occasion to thank her with offerings forwishes 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 thedancers a white collar with a white tuft, symbolizing the white tail of the monkey. Witquick up and down movements of the shoulders, they impart a quick rocking motion tthe 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. Thrhythm is called this in reference to the structure and to the movements of the dance.(Hamanah)


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Bada19

Demosoni Kelen: This is translated by "a young girl". The players apostrophise the girwith allusive mockery of a decidely sexual character. The girls pay them back in theirown kind, casting doubt frequently on the quality of the percussionist's sticks.

Dunun Gbe: is the oldest know Dunumba; Famoudou says "that it is the mother of all Dunumba's variations". (Hamanah)

Donaba: or Great Dancer, was the nickname for Maria Magbwe, a woman of Famodouvillage, who was famed for her inventive qualities. A song that is dedicated to her say"Marianna, come out with a new dance for us!"

Gberedu: Name of a canton of Hamanah.

Gbunkundo: expresses a fight, a blow to the head, with the dancers miming a fight. Thstrike each other as they dance the tests between the different age groups and oftenregulate personal problems in the same way; fatal accidents, however, often occuredbefore independence.

Kadan: this is a ballet arrangement, not a traditional dunumba [source Famoudou Kon

Konowule(n) I is dedicated to a man who was very rich and strong. The djembefola haensured that this name will go down in history, as will that of a griot who sang for himthat "it is thanks to your mother that you are what you are".

Konowule(n) II 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 peop

come to make requests or vows of all sorts, dealing with family, money, business, thehunt....Sacrifices are carried out. "As soon as you are in it, says Famoudou, your bodybegins to feel something..." The procession to the bush is carried out to this rhythm.

Nantalomba: A song of provocation and insults of the Baratingi, the oldest of the younpeople in the village, toward the Baradogono, or younger ones. The youngest arecompared 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 fordancing) and the challenges between the different age groups occur when the dancetakes place. (Mogobalu)

Taama: means to walk like the people of from Hamanah and is the name of a rhythm tdepicts this.

Takosaba: goes with the dancers steps as they perform the same movement four timesat the start of the dance (Hamanah) The title of this rhythm refers to threesignificant 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 structureof the dance. (Hamanah)


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Baga1

BagaBaga is a rhythm from the Baga ethnic group of Guinea.

K N U

yj yJ

Y ip4.4.4d$g4.4p4.$.4t4.4.$p4.4.4D$ip4.4.4d$g4.4p4.$.4.4.4.$.4.4.4D$i 1aY ip4.4.4d$g4.4p4.$.4.4p4.$p4.4.4D$ip4.4.4d$g4.4p4.$.4.4.4.$.4.4.4D$i 1bY iT p4.4.4d$g4.4T p4.$.4d4g4.$T p4.4.4.$iT p4.4.4d$g4.4T p4.$.4.4.4.$.4.4.4.$i 2Y ig4.4p4t$p4.4g4.$p4t4p4.$g4.4p4t$ip4.4.4D$g4.4p4t$p4.4p4t$p4.4.4D$i 3


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Baga Giné 1

Baga GinéBaga Giné = Baga woman

A boron ma, ma boron ma, eeeeeee

A boron ma, ma boron ma, eeeeeee

A boron ma, ma boron ma, e laila Baga GinéFaré boron ma woto kui, eeeeeee

Will you dance, or will you not danceWill you dance, or will you not dance

Will you dance, or will you not danceBaga woman dances even in tha car

Y ik g4.4g4d$.4d4.4d$g4.4g4.$g4.4.4.$i

K N U

yj yJ


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Baga Giné2

Solo

Yj |

Y¥


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Balakulanya 1

Balakulanya / Söli lente Balakulanya is traditionally played at wedding parties, where is often speculated on thfirtility of this marriage. Also the rhythm is played, like the Söli, at circumcision -ceremonies. Sometime continues all the three days before the ceremony. Some clamethat the Sangban and Dun Dun roles as written below are actually switched (sound goo

also !). Two songs :

1:Aïti iwuliba Dembati iti wuliba söli bara se, Aïti iwuli ba, aïti iwuli ba söli bara se

Get up, mothers of the children! ; the Söli is about to come.

2 : Balakulanya denkolide, aya yeye so dina,

iba kemata yenkoleddinkolede kemata ye so dina

solo : Kingfisher-bird, when will I have a child of my own?

all : There is no way you can buy it

CallY ik g4.4g4d$.4d4.4d$g4.4g4.$g4.4.4.$i

K N U

yj yJ

Solo accompagnement 1

Y


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Balakulanya 2

Echauffement

N io c44o c4o c$4o c44c$o c44o c4$o c4o c44c$iU ib c44b c4b c$4b c44b c$b c44b c4$b c44b c4$i

Sangban variations :

N¡ N£


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Balakulanya 3

Dundun variations :

U¡ U¢

U£ Uª

Solo phrases transcription by Robert Kronberger (YAPP)

Yj i.4.4p4t$.4.4p4t$.4.4g4t$g4d4p4t$iYJ ip4.4p4t$G4.4p4t$G4.4g4t$g4d4p4t$iYr iG4t4.4t$g4d4p4.$.4.4.4.$.4.4.4.$iYR ig4t4.4d$p4t4.4d$p4.4g4t$.4d4p4.$iYz ig4d4p4d$g4t4.4t$.4.4.4.$.4.4.4.$i


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Balan Sondé 1

Balan SondéBalan Sondé is a Dununba-rhythm from the Malinke-people in Guinea: "Balan" is a vinear Kouroussa, "sondé" means thief. The inhabitants of the village are called thiefs inthe song that goes with this rhythm (teasing). Balan Sondé is an exception within theDunumba-rhythm-family. It's played on circumcision-festivities where both men and

women dance. While the men are dancing dunumba-steps, the woman are dancing thesöli-steps.)

CallY ip3t3g#t3p3t#.3.3.#.3.3.#iK i33#33#33o#3o3o#iN i33#33#33o m#33#iU i33#33#33#3b3b#i

K N

Dundun echauffement

U i3b c3b c#3b c3b c#3b c3b c#3b c3b c#i3b c3b c#3b c3b c#3b c3b c#3b c3b c#ii3b c3#b c33b c#3b c3b c#3b c3c#i3c3c#3c3c#3c3c#3b c3b c#i

On the Museum of Berlin CD from Famoudou Konate you can find some variations inSangban-pattern.Two strokes (*) seem to be returning all the time. And there are two basic sangban-patterns.

N¡ N¢


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Balan Sondé 2

Echauffement

N


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Bambafoli 1

BambafoliAlso Dutchmen can create rhythms according to the West African rhythm conventionsBambafoli was made by Paul Janse and the meaning is "Rhythm of the Crocodile".

CallY ik g4.4g4d$.4d4.4d$g4.4p4t$p4.4.4.$i

K N U

yj yJ


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Bandogialli / Bando Djeï 1

Bandogialli / Bando DjeïBandogialli is a Dununba-rhythm from the Malinke in the Hamana-region in Guinea. It also known as Bando Djeï.Bandogialli is the name of some kind of ape-family (BandoDjeï) with a white tail. The dancers have a ring around their neck with white hair, cresor "sheeps-beards" attached to it, that remember to the white tail of the ape. As the

shoulders of the dancer move up and down the white sheep-beard seesaws along. DrewRavey names "Gbandon" as the same rhythm.

From the Mögöbalu-CD from Mamady Keïta:Amidst all the praises adressed to N´na Dödö, the goddess known as Nakouda orKoudaba is now honoured in the song below Worshipped by the people of Hamana,mother Kouda is particulary invoked during the feast of Bölèh pond in Baro, a villagesituated between Kouroussa and Kankan. This is the occasion to thank her with offerinfor whishes granted or to implore her for succes in the future.

N,na Dödö nin né, Bomba la Dödöö, N,na Dödö nin né, N'na gbadon DödööIna moyi ni lolo lé laa, Baatèmah loloh, Djitèmah loloh

Ibaa kouma, koulé kouma kodjon,Ibi imakoun, koulé djanda ni founoukéya Döö,

Kouma yé sondja lé dij, Makoun ködö tè lon, Kerèn-könöni kassi daaN'na konda ééé, N'na konda ya naa, Hamana dia daa !

Noulou nani donkan néma ééé !, Sila yèlèni bandan né la ééé !

You, motherDödö, Dödöö of the great house, you motherDödö , cookDödöö Your mother gave birth to a star, a star in the midst of waters

a star in the depth of the wavesif you speak, they say that you talk to much

if you are silent, you who are young, they say that you are pretensiouswords become suffering for you

but the depths of silence cannot be measuredKèrèn-Könöni* has sung

O, mother Kouda, let mother Kouda come

the living is good in Hamanait was for the dancing that we camethe path leads to the kapok-tree**

(* a smal bird, known for it´s chattering)(** the kapok-tree is often planted in the centre of thebara , space for dancing)


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Bandogialli / Bando Djeï 2

CallY ip3t3g#t3p3t#.3.3.#.3.3.#iK i33#33#33o#3o3o#iN i33#33#33o#3o3#i

U i33#33#3b3b#3b3b#iK N U

Dundun variation

U¡

Echauffement

N io c33c#o c33o c#3c3o c#3o c3#ic33o c#o c33c#3c3l o c#3o c3#iU i3b c3b c#3b c3b c#3b c3b c#3b c3b c#i3b c3b c#3b c3b c#3l b c3b c#3b c3b c#i


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Bara1

BaraA recreational rhythm from Segou, Southern Mali, named after the gourd drum. It isconsidered a foundation rhythm in the Bamana repertoire, important for all drummersto learn well.

CallY i. 4.4.4.$.4D4g4d$g4d4p4t$p4t4.4.$i

K N

U y

Djembe solo phrases

Y in p4t4G4.$n p4t4G4.$n p4t4G4.$n p4t4G4.$in p4t4G4.$.4D4g4d$g4d4p4t$p4t4.4.$iY in p4t4G4.$n p4t4G4.$n p4t4G4.$n p4t4G4.$in p4t4G4.$.4D4g4d$T p4.4p4.$.4q d4.4d$i

iT p4.4p4.$.4D4g4d$T p4.4p4.$.4q d4.4d$iT p4.4p4.$.4D4g4d$T p4.4p4.$.4q d4.4d$iY i[ p6t6p6t6 p6t ]&[ p6t6p6t6 p6t ]&p6t _6p&d4g$.4q d4.4d$iT p4.4p4.$.4D4g4d$g4d4p4t$p4t4.4.$i


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Bintin 1

Bintin Bintin is a 12/8 rhythm from Ghana's Acon tribe. In each cycle of this rhythm you canfeel a cycle of 6 beats and a cycle of 4 beats playing at the same time.

Transcription by Krešo Oreški(the notes marked with asterisk (*) are played with stick or using shekere)

Intro

yj |

yj yJ yr yR yz

V


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Bintin 2

Variation(Note:Doun doun is calledbintin in Ghana)

Break

Y ig3d3g#.3p3t#p3.3g#d3g3.#i

yj high yJ middle yr low

E

V


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Bolokonondo 1

BolokonondoBolokonondo is one of the Dununba-rhythms. This one, the Bolokonondo means "ninehands", (according to Famoudou's Berlin-CD) or "nine fingers"(according to MamadyHamamana-CD) which meaning must become clear if you 'll ever see the dance. Therhythm takes a cycle of 84 pulses devided over 7 groups of 12 pulses. To give a call is

only alowed in the 7th group.The first two Dundun-, Kenkeni- and Sangban-patterns are "translated" from thetranscriptions in the booklet from the "Museum of Berlin CD" of Famoudou Konaté.The according bell-patterns are added in a logical way. Here are three cycles with aslightly different Dundun-pattern.

CallY ip3t3g#t3p3t#.3.3.#.3.3.#iK i33#33#33o#3o3o#iN i33#33#33#3o3#i

K

Sangban / Dundun variation 1N


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Bolokonondo 2

Sangban / Dundun variation 2

N

Sangban / Dundun variation 3

N


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Bolokonondo 3

Solo transcription by Robert Kronberger (YAPP)

Yj ip3t3g#t3p3t#.3.3.#.3t̀6p6t#ip3t3g#.3.3.#.3.3.#.3t̀6p6t#iip3t3g#.3.3.#.3.3.#.3t̀6p6t#ip3t3g#.3t̀6p6t#p3t3g#.3t̀6p6t#i

ip3t3g#.3t̀6p6t#p3t3g#.3.3.#i.3d3g#t3g3d#p3d3g#t3p3.#iip̀6t6p3t#p3.3g#d3p3d#g3t3.#i.3.3.#.3.3.#.3.3.#.3.3.#i

YJ ip3t3g#t3p3t#.3.3.#.3.3t#ig̀6d6g3t#.3.3.#D33t#g̀6d6g3t#ii.3.3.#D3.3t#g̀6d6g3t#.3.3.#iD3.3t#g̀6d6g3t#.3.3.#D3.3t#i

ig̀6d6g3t#.3.3.#D3.3t#g̀6d6g3t#i3g̀6d6g#t3g̀6d6g#t3g̀6d6g#t3p3#iiG3t3p#.3.3 ̀d6g&d3g3d#.3T p3.#i.3.3.#.3.3.#.3.3.#.3.3.#i


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Bolomba 1

BolombaTheBolonba (Bolomba) is not a traditional rhythm coming from one of the 'tribes' andused for some special occasion/rite. It is based on a rhythm played on the instrumentM'bolon or Bolon . TheM'bolon is an instrument made of a calabash, with a stick mountedon it and holding 3 strings (sometimes 4). You may think of it as the bass in the range

the traditional string instruments. It is usually used as a bass accompany in melodicpieces. The "National Ensemble Instrumental" of Guinea uses it in many pieces. Arafa Touré, has transferred this to the rhythm on drums. He has been teaching diferentvariations in time.


yj i444$444$444$444D$iVariation 1

K N U Variatian 2

K N U

yj yJ yr


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Bolon 1

BolonBolon (4/4) is a Malinke-rhythm. In the tradition it is played without a Sangban. Anechauffement is normally not applied. A look-a-like break makes the space whereneeded.


K N

U yj yJ yr

Solo 1

Y ik g4.4p4t$k g4.4p4t$.4.4.4.$k g4.4p4t$iik g4.4p4t$k g4.4p4t$.4.4.4.$.4.4.4.$iiĝ̂8d8g4d4g$t4p4.4.$ĝ̂8d8g4t4p$t4.4.4.$iiĝ̂8d8g4d4g$t4p4.4.$.4.4.4.$.4.4.4.$i

ig4d4p4d$g4t4g4d$p4.4.4.$.4.4.4.$iig4.4p4t$.4t4.4t$p4.4p4.$p4.4.4.$iip̂̂8t8p4t4g$d4p4.4.$.4.4.4.$.4.4.4.$iiT p4.4g4d$.4T p4.4g$d4.4T p4.$g4d4.4.$iiT p4.4g4d$.4T p4.4g$d4.4.4.$.4.4.4.$iip̂̂8t8p4t4q d$g4d4T p4t$p4.4g4t$g4d4p4.$iig4d4p4t$.4.4p4.$G4.4g4t$g4d4p4.$i


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Boula1

BoulaA rhythm from the Antilles Islands.

Call

Y ik g4.4g4d$.4d4.4d$g4.4g4d$g4.4.4.$iyj yJ

Y ig4t4.4d$p4.4g4t$.4 ̂p8t8p4t$p4.4.4.$iBreakY @solo... and then ...

y @All


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Conoule I1

Conoule IThere are no references toConoule I .

K N U Sangban variationsNj NJ

Nr Dununba variationsUj UJ

Djembe solo

Y ip3t3g#t3p3t#.3.3.#.3.3.#i ̀g6d6g3t#p3.3.# ̀g6d6g3t#p3.3.#ii ̀g6d6g3t#p3.3.#g̀6d6g3t#.3g̀6d6g#it3p3.#p3.3g#d3p3d#g3t3.#i

Y ip3t3g#t3p3t#.3.3.#.3.3.#i ̀g6d6g3t#p3t3.# ̀g6d6g3t#p3t3.#ii ̀g6d6g3t#p3t3.#g̀6d6g3t#p3t3.#ig3t3g#t3g3t#g3t3g#d3p3.#i

Y ip3t3g#t3p3t#.3.3.#.3.3d#i ̀p6t6p3t#p3.3g# ̀t6p6t3p#t3p3.#i

ig3d3.#.3.3.#.3.3.#.3.3d#i ̀p6t6p3t#p3.3g# ̀t6p6t3p#t3.3.#iig3d3.# ̀p6t6p3t#g3d3.# ̀p6t6p3t#ig3d3.#t3.3d̀6g&d3g3d#.3T p3.#iY ip3t3g#t3p3t#.3.3.#.3.3.#iG3t3k p#.3G3t#k p3.3G#t3k p3.#i

iG3t3k p#.3G3t#k p3.3G#t3k p3.#iG3t3.#t3.3d#g3t3g#d3p3.#i


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Dalah 1

DalahThe word "Dalah" is referring to both a pond and a rhythm. The rhythm is played inhonoring the women-fishers. Only the men use boats for fishing so the women have toenter the water with their nets and have to face all kinds of dangers.

CallY ik g4.4g4d$.4d4.4d$g4.4p4t$p4.4.4.$iK i444$444$o444$o444$iN i444$444$44o4o$444$iU i444$444$444$44o4$i

K N U

yj yJ


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Dalfo 1

DalfoDalfo is a rhythm made by Steffanus Kor, a Dutchman living in France. He thinks it's awaste to invent specific djembé patterns to it. To play with more players one could splthe Sangban and Dundun pattern to two patterns, each to play by different players.

K N U

Variations

Nj NJ N£ N¤

Uj UJ U£ U¤ U¥

Echauffement

N ic33o c#3c3#o c33c#3o c3#ic33o c#3c3#o c33c#3o c3#iU ib c33c#3b c3#c3b c3#b c33b c#ib c33c#3b c3b c#3b c3#b c33b c#i

N ic33o c#3c3#o c33c#3o c3#ic33o c#3c3#o m c33c#3o m c3#iU ib c33c#3b c3#c33b c#3c3#ib c33c#3b c3b c#3b c3#b c33c#i


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Damba 1

DambaDamba, a Malinke pre-marriage rhythm, played on the occasion of the bride's ritual batbefore the marriage ceremony. This rhythm has the signature "Dununba Family"-kenkpart. "Dununba" rhythms are primarily danced by men as a display of strength andbeauty. Damba is traditionally played for a young woman preparing for marriage. The

break is the garden-variety 12/8 one, not normal signature "Dununba" break (sstsss).

Eh damba n'nya ko la damba leila, eh damba n'nya ko la damba leilaeh 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.

Notes on the lyrics:

The sense of line four is that water you have washed in, "ji da ko," contains the dirtwhich has left your body. Now that it has the dirt it is "not sweet" - "man di" - "sweet"meaning, by implication, "clean" or "interesting." The imagery is of life before marriaThe singers tell the young bride-to-be that what she has literally and figuratively leftbehind in the wash water is no longer interesting. In essence, the song tells the youngwoman that it's time to leave behind the things of childhood and embrace her newidentity as a wife. The lyric is a good example of Mande rhetorical techniques ofmetaphor and indirection.

The partial translation provided in the CD liner notes renders the first line as "I washmy face." The lyrics themselves are somewhat ambiguous as to who is singing, the brito-be or the other villagers. If they are "n'nya," then they mean "my face." If, instead,they are "I'nya," they mean "your face." In either case, the sound indicating possession"n" for "my" or "I" for "your," is somewhat hidden by the singers' pronunciation in thecontext of the song. Both translations work.

Notes on the performance:Washing is very important in Mande (and in many other West African peoples') ritual,both daily rituals and special rites of passage. On a daily basis, Mande people wash thhands immediately before eating, a cleansing which is especially important hygenicallbecause they eat with their hands. A large calabash full of water is kept by the eatingspot so everyone can wash their hands before reaching into the communal plate. Butwashing the body has symbolic power as more than removing sweat and soil. Washingalso bears the meaning of personal transformation and inner purification. That is,through washing, one becomes more like what one is supposed to be. A young man was part of the circumcision ritual to symbolically leave behind his childhood and assumthe mantle of adulthood. A young bride washes away her girl self as she prepares toenter her husband's home as wife and, soon, mother as well. Mande Muslims wash topurify themselves for their daily prayers, to make themselves and their prayersacceptable to Allah. Understanding the symbolic importance of the washing referred toin the song can help us perform the piece with a more authentic feel.


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Damba 2

Famoudou's performance of Damba begins with a solo voice singing in solemn andreverential tones. The solemnity seems appropriate to the occasion. A young womanpreparing to enter her husband's house may well feel joy and excitement, but also somfear of the unknown hardships to come and sadness at the loss of childhood freedomsand the comforts of her parents' home. When the drums enter, the mood changes toone of vigorous movement forward. The drums urge the young woman on to embrace

new life and to allay her fears. The music itself might be seen as an act oftransformation as well. The sound of the drums and song sonically "wash" the youngwoman, separating her past from her future. The liner notes for the CD also indicatethat this piece is played on the return from the river bank, hence one might also hearthis rhythm as a song of welcoming. (Thanks to Adam Rugo for this additional infomaand the explanation on differance in the sangban)

Call

Y ik g3.3g#d3.3d#g3.3g#d3.3.#iK N U

yj

The sangban part is very similar to the sangban for Dunungbe - the bell is the same -but in this piece the sangban has one additional note. The dununba drum also playsthree, rather than two, two-note phrases. You can distinguish between Damba andDunungbe by the pitch relationships in the ensemble rhythm:

Dunungbe Ensemble Sound

K N U

note here: the "kenkeni window" - the rest in the sangban/dununba conversatileaves room for one complete articulation of the kenkeni phrase.


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Damba 3

Damba Ensemble Sound

K N

U

note here: the "kenkeni window" only gives space for a single note from the kenkeniphrase.

Variations

N¡ N¢ N£ N¤

N¥


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Demosoni Kelen 1

Demosoni KelenDemosoni Kelen is a Dununba-rhythm: "Demosoni Kelen is translated by "a young giThe players apostrophise the girls with allusive mockery of decidedely sexual characteThe girls pay them back in their own kind, casting doubt frequently on the quality of tpercussionists' "sticks." " (text in booklet with Mamady Keita's Hamana-CD)

CallY ip3t3g#t3p3t#.3.3.#.3.3.#iK i33#33#33o#3o3o#iN i33#33#33o#3o3#iU i33#33#3b3b#3b3#i

K N U

VariationN U


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Dennadon 1

DennadonDennadon (4/4) is a Malinke-rhythm, from the Mandiana region. The dance is performeby girls who are lifted in the air sometimes.

Annyè fölikè, yaya, Annyè fölikè djembé folalu, Annyè fölikè yaya o ya-o-lala

Let's Play, Djembé-players let's play !, Let's play yeah !

CallY ik g4.4g4d$.4d4.4d$g4.4p4t$p4.4.4.$ip4t4.4.$.4.4p4t$.4.4.4.$p4t4.4.$i

K N U

yj

yJ

Echauffement

N io c44o c4o c$4o c4o c4$o c44o c4o c$4c4o c4$i


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Diaeba1

DiaebaThere are no references toDiaeba .

Call / Break

Y iT p4.4g4d$.4d4.4d$g4.4g4.$g4.4.4.$iK N U

y

Djembe solo phrases

Y ig4d4p4t$.4.4p4t$.4.4p4t *$.4.4p4t$i * end the phrase hereY i^ p8t8p4t4p$.4t4.4t$p4.4p4t$G4D4p4d$iY ig4.4p4t$.4D4p4d$g4.4p4t$G4D *4p4d$i * end the phrase hereY i^ p8t8p4t4 ̂g8d(g4d4p4.$.4.4.4.$.4.4.4.$iY ip4.4.4t$p4.4g4d$.4t4.4t$p4.4g4.$iY iG4t4.4D$p4.4p4.$G4t4.4t$.4t4p4.$i


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Diansa 1

DiansaDiansa (Dansa, Yansa, Diansi) is origianally coming from Southern Mali (Bamako), boften played all over West-Africa.

CallY ik g4.4g4d$.4d4.4d$g4.4p4t$p4.4.4.$iN i444$444$444$44o4$i

There is no traditional kenkeni-part ; but these two will do fine:

K or N U

yj yJ

Echauffement

U ib c44b c4b c$4b c44b c$b c44b c4$b c44b c4$i

Solo Accompagnement

Yj YJ or YJ (*) D instead of G


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Diansa 2

Solo 1 ; use the next elements:

Y¡ ip4t4.4.$.4.4.4D$p4t4p4.$.4.4.4D$iY¢ ip4t4.4.$.4.4.4D$p4t4p4.$.4.4g4d$i

Y£ ip4t4.4.$.4.4g4d$p4t4p4.$.4.4g4d$iY¤ ip4t4.4d$g4p4g4d$p4d4g4t$g4d4p4D$i

Transcription by Krešo Oreški:

Y ig4d4p4d$g4t4g4d$p4.4 t̂8p8t$p4t4p4.$i

K N U

E

yj yJ yr yR Echauffement

Y iG4.4.4t$p4.4.4t$g4.4.4d$p4.4.4t$iG4.4.4t$p4.4.4t$g3d =3p#d3= g3t#i


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Diansa 3

Solo

Y @ @

@ip6t _6p&t4.$p6t _6p&t4.$p6t _6p&t4.$p6t _6p&t4.$i @ig4d4p4d$g4t4g4d$p4.4 t̂8p8t$p4t4p4.$i

Solo phrases transcription by Robert Kronberger (YAPP)

Yj iG4.4p4t$.4D4p4t$G4.4p4t$g4d4p4t$iYJ iG4.4p4t$.4.4p4t$G4.4p4t$g4d4p4t$iYr iG4.4p4t$.4D4p4t$G4d4g4t$g4d4p4t$i

YR iG4.4p4t$.4.4p4t$G4.4g4.$g4d4p4t$iiG4t4p4t$g4d4p4t$G4t4p4t$g4d4p4t$iip4t4.4.$.4.4.4D$p4t4p4.$.4.4.4D$iip4t4.4.$.4.4g4d$p4t4p4.$.4.4g4d$i

ip4t4.4d$g4t4g4d$p4d4g4t$g4d4p4D$iip4t4.4.$.4.4.4D$p4t4p4.$.4.4g4d$i


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Dibon II 1

Dibon IIThis is one of the many rhythms played for the farmers. Dibon is a couple of birds; maand female. During daytime they are together but at night they each find their own treeto sleep in. In the morning, as they want to join, one sings and the other responds whilflying to the first. The melody of their song was heard by hunters and put to a rhythm

when they came back in the village. After that it became a use to accompany thefarmers, returning from the fields. The second Kenkeni-pattern is a fine addition to therhythm. The song is not specific for this rhythm, but sung on Famoudou's CD MalinkeRhythms and Songs.

Ja eh kanje ulalale ja eh, ana fefo la luko kanje ulalale, mo kelen tate dunjadi

come on let's play the fefo (kalebas) together, the world is not for one person, theworld is for every one.

A ye Anye folila bi e, Mamoudou la folila lulu, Annye folila mo kelen tate dunya ni

the world is not made for one person (here Mamoudou) but it was made for everyon

Call

Y ik g4.4g4d$.4d4.4d$g4.4g4.$g4.4.4.$i

Kj KJ N U

yj


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Djaa1

DjaaDjaa is a Malinke rhythm from the Guinea regions of Kankan and Kouroussa.Initially a hand clapping dance, it has evolved into a full rhythm. There are two mainversions of it (Djaa I and Djaa II or Dja Kouroussa). It is the dance of seduction by young girls. It is also played before weeding ceremonies for the bride and her friends.

Transcription by Robert Kronberger (YAPP)Call / Break

Y i` p6t6p3t#p3t3.#t3p3.#p3.3.#i or i ̀t6p6t3p#t3p3.#p3t3.#t3.3.#i

K N U

yj yJ

Echauffement

Y ig3t3p#d3p3t#g3t3p#d3p3t#ig3t3p#d3p3t#g3t3p#d3p3t#i

Sangban variations

Nj NJ Nr NR Dundun variations played with sangban variations 2 or 4

Uj UJ


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Djaa2

Djembe solo

Y < ̀p6t6p3t#.3.3.#.3.3.#.3.3.#ì p6t6p3t#.3g3d#p3d3g#t3.3.#>{i ̀p6t6p3t#p3.3.#p3t3.#t3.3.#i.3.3.#.3g3d#p3d3g#t3.3.#i {i ̀g6d6g3t#p3t3.#p̀6t6p3t#p3.3.#i.3.3.#.3g3d#p3d3g#t3.3.#i {i ̀g6d6g3t# ̀g6d6g3t# ̀g6d6g3t#g3d3.#i.3.3.#.3g3d#p3d3g#t3.3.#i {ip3t3.#t3p3.#p3t3.#t3.3.#i.3.3.#.3g̀6d6g#t3 ̀g6d6g#t3.3.#i

{i ̀g6d6g3t#p3t3.#p̀6t6p3t#p3.3.#i.3.3.#.3g3d#p3d3g#t3.3.#i {ig3d3p#t3.3.#p3t3.#.3p̀6t6p#i.3.3.#.3g3d#p3d3g#t3.3.#i

Variation djembe solo

Y i` g6d6g3d#g3d3.#d3g3.#g3.3g#id3.3.#.3g3d#p3.3d#g3t3.#i


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Djaa Kouroussa 1

Djaa KouroussaDjaa is a Malinke-rhythm that - like many rhythms - originates from the handclapping woman. It´s a dance of seduction where young men and woman dance in two half-cirkin front of each other. It is often the climax of a party where men and woman dance.Djaa Kouroussa is the Djaa from the Kouroussa region.

CallY ik g3d3g#d3g3.#g3d3.#d3.3.#i

K

N U

Dun Dun variations

Uj UJ

yj y¢ y£


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Djaa Siguiri 1

Djaa SiguiriDjaa is a Malinke-rhythm that - like many rhythms - originates from the handclapping woman. It´s a dance of seduction where young men and woman dance in two half-circin front of each other. It is often the climax of a party where men and woman dance.Djaa Siguiri is the Djaa from the Siguiri region.

CallY i` g6d6g3d#g3d3.#d3g3.#g3.3.#iU i33#33#33#33b#i

C

K N U

yj yJ

There are several songs to this rhythm. This one can be heard on Mamady Keïta's

"Balandugu Kan" : (normal: solist;bold: choir)

Mamady n'fa itè gbolola kariya ! Mamady mon père frappe la peau plus vite !

Ee walende ee. Ehé, il est parti .


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Djabara 1

DjabaraThe name of the rhythmDjabara (6/8) comes from the music-instrument (Q ). It'sfrom the Wassolon-region and is a rhythm of greeting.

(bold: solist, normal: choir)

Burama den nde fisa / Burama, you really need a child

Denko waliyadi /? (response)

Burama den nde gnokonte / Burama, the child is indispensible

Denko waliyadi... /? (response)

Intro

N ip6̀t6p3t#.3g3.#g3.3p#t3.3t#ip3.3.#.3.3t#p3.3p#t3.3.#i

K N

U

yj yJ

Closing Break

Y ip3t3p#.3g3.#g3.3p#t3.3t#ip3.3.#.3.3t#p3.3p#t3.3t#ip#U i33#33#33b#b33b#ib33#33b#b33b#b33b#ib#


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Djabara 2

Solo 1

Yj iG3.3.#D3.3.#G3.3.#D3.3.#iG3.3.#D3.3.#G3.3G#t̀6p6t3p#i


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Djagbè 1

DjagbèDjagbé is the name of aMalinke -rhythm from Guinea that was originally played at theending of the Ramadan. A rejoicing happening where men and women dance togetherthis circle-dance. Variations onDjagbé excist in theKouroussa -region (Guinee) asDjagba and in Mali asMadan .


K N U

yj yJ yr

yR yz

Djembé solo accompagnement

Y¡ Y¢ pull the first two tones a little bit together

Dun Dun variation

U


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Djagbè 2

Starting the echauffement:

Y i. 4.4.4.$.4.4.4.$.4d4g4t$p4t4p4t$iip4d4g4t$p4t4p4t$p4d4g4t$p4t4p4t$iig4t4p4t$g4t4p4t$g4t4p4t$p4.4.4.$i

Look-a-like break for ending the echauffement (the rhythm continues)Y iT p4t4.4t$.4t4.4t$p4.4p4.$p4.4.4.$iSangban echauffement

N io m c44o ' c4o c$4o c44c$o m c44o ' c4o c$4o c44c$iDun Dun echauffement

U ic44b c4b c$4c44c$c44b c4$b c4b c44b c$iib c44b c4b c$4b c44b c$b c44b c4$b c4b c44b c$iib c44b c4b c$4b c44b c$b c44b c4$c4c44c$i

Solo 1; use these elements

Y¡ ip̂8t8p4t4p$t4.4.4.$g4d4.4.$p4.4.4.$iY¢ iĝ8d8g4.4p̂8t(p4t4p4t$p4t4.4.$.4.4.4.$iY£ i.4.4.4d$g4t4p4t$.4t4g4d$p4.4p4.$iY¤ ip̂8t8p4t4p$d4g4.4.$p̂8t8p4t4p$d4g4.4.$iY¥ i.4.4.4d$g4.4g4d$.4d4g4t$p̂8t8p4t4p$it$ (also look-a-like break)


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Djagbè 3

Solo 2 ; use these elements

Y ip4.4.4.$G4.4.4.$.4t4g4d$p4t4.4t$iY ip4t4g4d$p4t4p4.$.4t4g4d$p4t4.4t$i

i.4t4.4t$.4t4.4t$.4t4.4t$.4t4.4t$ii.4t4.4t$.4t4.4ĝ8d(g4d4p4t$p4.4.4.$iY ip4t4.4.$p4t4.4.$p4t4g4.$g4d4.4.$ii.4P t4.4P t$.4P t4.4ĝ8d(g4d4p4t$g4.4.4.$iiG4.4.4d$.4t4g4d$p4.4p4.$p4.4.4.$i

Y ip4t4.4.$p4t4.4.$p4t4g4.$g4d4.4.$i

iG4.4.4d$.4t4g4d$p4.4p4.$p4.4.4.$iip4t4k g4.$p4t4k g4.$p4t4k g4.$p4t4k g4.$iiT p4.4.4.$T p4.4.4.$T p4.4.4.$T p4.4.4.$i

Y d$i.4d4.4.$p4.4.4d$.4d4.4.$p4.4.4.$iiT p4.4.4.$T p4.4.4.$T p4.4.4.$T p4.4.4.$i

d$ig4.4p4t$.4d4g4.$p4t4.4t$.4.4.4.$ii.4.4.4.$G4.4.4.$G4.4ĝ8d8g$t4p4.4t$ii.4.4g4d$p4t4.4t$.4.4g4d$p4t4.4t$iip4.4p4t$.4t4p4.$g4d4p4t$p4.4.4.$ii ̂p8t8p4t4p$t4.4.4.$g4d4.4.$p4.4.4.$ii ̂g8d8g4.4 ̂p8t(p4t4p4t$p4t4.4.$.4.4.4.$i

i.4.4.4d$g4t4p4t$.4t4g4d$p4.4p4$ii ̂p8t8p4t4p$d4g4.4.$ ̂p8t8p4t4p$d4g4.4.$iY i. 4.4ĝ8d8g$t4p4.4t$.4.4ĝ8d8g$t4p4.4t$iY ip4.4p4t$.4t4p4.$ĝ8d8g4t4p$t4.4.4.$i


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Djambadon 1

DjambadonDjambadon (Jambadon) is a rhythm from theCassamance area in the southern part ofSenegal. It usually played on theSerouba drums. It is very popular with weddings or"name-giving-day" This is a transformation to djembé by Abdulla " Oké" Sene..

CallY ik g4.4g4d$.4d4.4d$g4.4p4t$p4.4.4.$iU i444$444$444$b44b4$i

E

yj

Djembé solo 1 phrases

Y¡ ig4d4g4d$p4.4g4d$g4d4p4.$G4.4G4.$iY¢ ig4d4g4d$p4.4g4d$g4d4p4.$g4d4g4d$i

ip4.4g4d$.4d4g4.$p4.4.4.$p4.4.4.$iip4.4g4d$.4d4g4.$p4.4p4.$p4.4p4.$iip4.4g4d$.4d4g4.$p4.4p4.$ ̂p8t8p4t4.$i


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Djambadon 2

Djembé solo 2 phrases

Y¡ p4d$ig4.4p4.$p4.4p4.$p4.4p4.$p4.4p4d$iig4.4p4.$p4.4.4D$G4.4.4D$G4.4p4d$i

Y¢ p4d$ig4.4p4.$p4.4p4.$p4.4p4.$p4.4p4d$iig4.4p̂̂8t8p$t4.4.4D$G4.4.4D$G4.4p4d$i

Y£ ig4.4p̂̂8t8p$t4.4p̂̂8t8p$t4.4p̂̂8t8p$t4.4p4d$iig4.4p̂̂8t8p$t4.4.4D$G4.4.4D$G4.4p4d$i


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Djelidon / Djelifoli / Sanja / Lamba 1

Djelidon / Djelifoli / Sanja / LambaDjelidon (dance of the djeli), Djelifoli (rhythm of the djeli), Sanja and Lamba are allnames for the Mali dance / rhythm that used to be danced exclusively by the Djeli, theGriot. The dance was accompanied only by a balafon or kora. Nowadays also djembé dunduns are played. In Mali only two dunduns are used: the Kenkeni and the Dundun.

Below, the sangban pattern the Malinke added is also presented. The rhythm startsslowly (like many Mali dances). In this part the feel is slighly different to the fasterpart, and there is a slight delay for the 2nd pulse in the pattern (see djembé 1). In thesolo´s there is a strong accent on the 7th pulse (in the 2nd beat). The differentteachers that thought me this rhythm presented small differences in the patterns, butthe melody compares.

Ponda O´Bryan´s interpretation

CallY ig4d4p4t$g4t4g4d$p4.4.4.$.4.4.4.$iK i444$444$444$o44o4$iN i444$444$444$44o4$iU i444$444$444$b44b4$i

K N U

Mamoudou "Delmundo" Keita´s interpretationCall

Y iT p4.4g4.$g4.4g4.$g4.4g4.$g4.4.4.$iN i444$444$444$44o4$iU i444$444$444$44b4b$i

K

N U


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Dun Dun variation

U

Larry Morris´s interpretation

N U

Serge Blanc´s interpretation (starting point adjusted!)

K E

yj yJ (watch the Djembé 1 slight delay in 2nd and 10th pulse)

Extra Djembé patterns

yr yR yz


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Djembé solo phrases

Yj i.4.4.4.$.4.4.4.$.4.4.4.$T p4.4T p4.$ii.4.4g4d$.4.4T p4.$.4.4.4.$.4.4.4.$i

YJ i.4.4.4.$.4.4.4.$.4.4.4.$g4d4p4t$iip4t4p4t$.4.4T p4.$.4.4.4.$.4.4.4.$iYr i.4.4.4.$.4.4.4.$.4.4.4.$g4d4.4d$iig4.4g4d$.4.4T p4.$.4.4.4.$p4t4.4t$iip4.4p4t$.4.4T p4.$.4.4.4.$.4.4.4.$i

YR i.4.4.4.$.4.4.4.$.4.4.4.$k g4.4p4t$i

ik g4.4p4t$k g4.4T p4.$.4.4.4.$.4.4.4.$iYz i.4.4.4.$.4.4.4.$.4.4.4.$ ̂t8p8t4p4t$iip4t4.4t$.4.4T p4.$.4.4.4.$.4.4.4.$i

NAME OF RHYTHM: Lamban, Lamba, Lambambaa, Lanbango, Lambango, LambanJeli Foli, Jalidon, Dialidon, Diely-Don, Griot

COUNTRY: All Mande countries (Guinea, Mali, Burkina Faso, Ivory Coast, The Gamand Senegal)

REGIONAL/ETHNIC GROUPS: Mande

PURPOSE/BACKGROUND:

Here's my understanding of Lamban (sometimes spelled Lamba or Lambango in TheGambia), 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 theWolof or Fula equivalent):

It has origins on the balafon as a piece created by and for jelis (Maninka hereditaryprofessional musicians), specifically the Kouyate lineage. If you want to praise aKouyate, all you need to do is play Lamban. How and when the dundun came along wLamban is impossible to speculate upon - maybe it even started out on dundun, but theare no oral traditions about this. At any rate, it makes the most sense that the jembé isa later accretion to Lamban. The crux of the problem is: when jembé players played

along with balafon and dundun players, why did they choose a 4/4 genericaccompaniment pattern (albeit played at times with a triplet feel)? I can't see any basisfor an answer to this question yet.


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Dansa was played to encourage workers during agricultural labor and Lamban was plaby jelis to celebrate when the fruits of that labor (the harvest) was shared with them.There does seem to be a close connection between Lamban and Dansa, but the historicexplanation is unclear. On Djimo Kouyate's cassette he has the dundun go into Dansaduring Dialidon (Jelidon), and that is typical. The bilingual article "Pre-theatre et ritueNational Folk Troupe of Mali" in African Arts, Spring 1968 vol. 1, no. 3, pages 31-37written by Jean Decock, shows a drawing and photo of Dansa dancers indicating it isdanced by girls from Khaso (Xaso) to celebrate the harvest. (Eric Charry)

During Sunjata's time (13th century), there was an occasion when all the balaphonplayers gathered together. They said, "We should have our own tune, which we candance to ourselves". So it was on that day they invented "Lambango" for the jalibas todance to. It became a general tune for all jalis, which they used to play and dance to, tentertain 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 "Lambato its present style, changing the tune a bit. Lamin Dambaketeh was about to marry avery famous jali woman, Bantang Kuyate, who was an excellent singer and historian. day, Lamin left his village to visit Bantang. Unfortunately, before he arrived, she diedand was buried. Upon his arrival, he was told the sad story. He asked the people to shohim Bantang's grave. He went there with his kontingo and played a special version forhis dead fiancee.

"All is possible, Bantang Kuyate (but) Beauty will not prevent death, Bantang KuyateThis modified version of the melody has since become the standard "Lambango" and toriginal 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 centeredaround non-jali figures, Lambambaa is meant for the members of the jaliyaa in thevillage in which it is performed, as the men play the kora and balo, and the women dan

and sing. Today this song is extremely popular in the Mandinka area, and especially inGambia where it has been adapted to include lines that call for the populace to pulltogether for the good of the country. (Morikeba Kouyate)

Lamban is one of only several kora pieces that was created by jalis for their ownentertainment. 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 torelate any event they may wish. Lamban is also played in Suata tuning (a kora tuning)(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 variationsrhythm and melody. Another important element of kora playing is birimintingo, ordownward spiraling melodic runs, which can be fast and highly ornamental in nature.)(Amadu Jobarteh)


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This is supposed to be one of the oldest tunes in the Manding repertoire. "The musiciadidn't compose this for any patron, they did it for themselves. They would just sit dowwith their wives and feel happy, and their wives would dance and sing.". Lambango isoriginally a balaphon tune, in Hardino tuning. (another kora tuning; this recording is akora performance) (Jaliology)

A griot song and dance celebrating the Griots themselves, praising God for giving themthe 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 thepeople of West Africa (Vieux Diop)

This tune is dedicated to griots whenever they host a ceremony (M'Bady Kouyate)

This rhythm is played by the griots, a class of travelling musicians, poets and storytellers whose duties include the recitation of family and tribal histories. (KhassonkaDunun)

Lamba is the dance of the Jalis, Keepers of the Oral Tradition. Lamba is a spiritualdance and rhythm that is used in healing to promote a sound mind and body. (NurudafAbena)

Lamba is a song/dance/ceremony enacted at passages of life and for spiritual cleansing(Sule Greg Wilson)

This music is played by the Griots for Griots, also known as Djelis. They say Allah digood thing in creating the status of Djelli. (Yaya Diallo)

Dialidon is traditionally the special rhythm for only griot families. Today it is popularand danced by many people in the cities and villages. However, the song thataccompanies the music is specifically to honor griot members. (Djimo Kouyate)

One of few songs designed to entertain griot clan members, griot families only play thsong when amongst themselves. Lambang is accompanied by the Jalidon, the griot danWhen the moon is bright the men come out and play the kora and the balaphone whilethe women dance and sing the Lambang song. Music is created by God and God creatus to play good music and dance. (Mandeng Tunya)

In Mali, Lamba is played entirely on dunun; in Guinea and Senegal it is played by djeand 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 idanced and played for the Jeli or griots; the traditional oral historians, praise singers,ambassadors and advisors of West Africa. (Impala)


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A Bambara/Manding rhythm (with it's accordant songs, dances, clothes, talismans, andso forth) played at rituals of major passages in life - marriage or circumcision forexample. A royal court dance of gesture and protocol where the dancer gives praise tothe almightly chiefs, kings, queeens and so on. The introduction is a series of praisesand salutations. (Christine Reagen Rosales)

A widely known song about the joys of being a jeli. The lyrics refer to a familarexpression 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 awthe trousers fall down). (Ana Be Kelen)

That's another very old song. I don't know who composed it. There are lots of new idein this version, to see how it goes with the band. The song comes from Mali. If amusician, a jali, likes to marry a jali woman, then the day of the marriage all the jaliscome 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 justas he created invisible spirits and mortal humans. A jeli cannot fear telling the truth tomen who, one day, will return to the earth since the jeli's words are immortal. Hear yeI know a land where men scrape the hard earth without complaining and women reapimmense fields of sadness. In this land, babies die of hunger and mothers cry softly.(Cisse)

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 milonFuga, fugaba mogo lambali milon

Dia dia dia dia dia e dia dia lombali a diminiSangban kodo e ate togola fugala

Old field is not barren desert, He who doesn't know you, ignore what you're worth. Olfield, old field. He who doesn't know you, ignore what you're worth. Oh! How ignorancan hurt! (Kendigo)

Oh Libo MansanyaNye Kilebo La IlaSimbo MansanyaE ye Djallia (Lasensua)


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Lamba transcription by Krešo Oreški (12/8)

Call

Y iT p3.3.#g3.3d#.3g3.#.3.3d#ig3.3.#d3.3.#g3.3.#.3.3.#i

U

Q

yj yJ


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Djelifoli (12/8) transcription by Robert Kronberger (YAPP)

K N U

Solo phrases

Yj ip3t3p#t3p3t#.3.3G#D3G3D#iG3D3G#.3.3t#.3.3p#.3.3d#iYJ iG3.3.#d3g3t#g3d3p#t3.3D#iG3.3.#.3.3t#.3.3p#.3.3D#iYr iG3.3.#d3g3t#g3d3p#.3.3D#iG3.3.#.3.3t#p3.3p#t3.3D#iYR iG3.3.#.3.3t#p3d3p#t3g3D#iG3.3.#.3.3t#p3.3p#t3.3D#iYz iG3.3.#.3.3t#p3d3p#t3g3t#ip3d3p#t3g3t#p3d3p#t3g3D#iYZ iG3.3.#D3p3t#G3d3g#D3p3t#iG3d3g#D3p3t#.3.3p#.3.3D#i


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Djolé 1

DjoléDjolé (Jolé, Yolé), is a mask-dance from the Temine-people from Sierra Leone. In thetradition it is played on square drums in different sizes; the sicco´s (or sico´s). Themask is presenting a female although it is carried by a male during the dance. The sonbelow from the Wassolon-CD is made by Mamady Keita himself and is a putting toge

some different Malinke and Susu sounds .

Laila i ko korobé, korobé, korobé, mami watoné, aya, sico leleleko ayasico la i ko, sico la i ko, wa wango sico la i ko, wa wango sico la i ko

Call

Y ik g4.4g4d$.4d4g4d$.4d4g4.$p4.4.4.$i

Kj KJ N U


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Donaba 1

DonabaDonaba, the Malinke word for "Great (female) Dancer" is a very ancient Dunumba-rhythm . The song is from more recent date (about 1950), it is in honour of a greatdancer living those days in the village were Famoudou Konate was born. Her name waMariama Gbe and she invented sometimes new dances and had"Donaba" as a nickname.

E donaba o, e donaba o, e deni dana baradon kourala bo e He, Donaba, come out with a new dance for us!

CallY ip3t3g#p3t3p#.3.3.#.3.3.#iN i33#33#33#o33#i

U i33#33#33b#b33b#iK N U

yj yJ


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Dunumbè 1

Dunumbè Dumumbè origines from Hamana, Siguiri and Kankan. The Dunumbè is called the"Moof all dunumba-rhythms" (about 20): the dance of the strong men.

CallY ip3t3g#t3p3t#.3.3.#.3.3.#i.3.3.#.3.3.#.3.3.#.3.3.#iK i33#33#33o#3o3o#i33o#3o3o#33o#3o3o#iN i33#33#33#33#io m33#33#33o#33#iU i33#33#33#33#i33#33#3b 3b#3b3b#i

Kenkeni : The kenkeni-drum-pattern is typical for the Dunumba-family, and always thsame. Here are four possible bell patterns. Beginners use 1 and 2. In a full orchestrathe third bell-pattern is appropriate. Bell no. 4 is traditionally also played (but very harto play for longer time).

K Vj VJ Vr VR

N


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Dunumbè 2

yj yJ yr (notice the shifted notes compared to Djembé 1)

Echauffement: the Sangban starts always the echauffement

N io m c33c#c33c#3c3o c#3c3#io m c33c#c33c#3c3o c#3c3#iU i3c3c#3c3c#3b c3b c#3b c3b c#i3c3c#3c3c#3b c3b c#3b c3b c#i

N ic33o c#o c33c#c33o c#o c33c#ic33o c#o c33c#c33o c#o c33c#iU i3c3c#3c3c#3b c3b c#3b c3b c#i3b c3b c#3b c3b c#3b c3b c#3b c3b c#i

N ic33o c#o c33c#c33o c#o c33c#ic33o c#o c33c#c33o c#o c33c#iU i3c3c#3c3c#3b c3b c#3b c3b c#i3c3c#3c3c#3b c3b c#3b c3b c#i

Ending the echauffement: the sangban announces it with a single hit.

N ic33o c#o c33c#c33o c#3c3o ' c#i3o c3#o c33o c#3c3o c#3c3#iU i3b c3b c#3b c3b c#3b c3b c#3b c3b c#i3b c3b c#3b c3b c#3b c3b c#3b c3b c#i

N io m c33c#c33c#3c3o c#3c3#io m c33c#c33c#3c3o c#3c3#iU i3c3c#3c3c#3b c3b c#3b c3b c#i3c3c#3c3c#3b c3b c#3b c3b c#i


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Dunumbè 3

Djembé solo accompagnement

Y

Djembé : an example of returning to normal rhythm after a solo

Y ip6̀t6p3t#p3.3g̀6d&g3d3g#.3T p3.#i.3.3.#.3.3.#.3.3.#.3.3.#iDjembé solo 1 ; use these elements

Y¡ ig̀6d6g3t#p3.3.#g̀6d6g3t#p3.3.#ig3.3.#.3.3.#.3.3.#.3.3.#iY¢ ig̀6d6g3t#p3.3.#g̀6d6g3t#p3.3.#ig̀6d6g3t#p3.3.#g̀6d6g3t#p3.3.#i

Y£ t#ig̀6d6g3t#g̀6d6g3t#g̀6d6g3t#p3.3.#ig3.3.#.3.3.#.3.3.#.3.3.#iY¤ t#ig̀6d6g3t#g̀6d6g3t#g̀6d6g3t#g̀6d6g3t#ig̀6d6g3t#g̀6d6g3t#g̀6d6g3t#.3.3.#ig#Y¥ p̀6t&ig3d3p#t3.3 ̀t6p&g3d3p#t3.3.#ig3.3.#.3.3.#.3.3.#.3.3.#iY¦ p̀6t&ig3d3p#t3.3 ̀t6p&g3d3p#t3.3 ̀t6p&ig3d3p#t3.3 ̀t6p&g3d3p#t3.3.#iY§ ip3t3g#t3p3t#.3.3.#.3.3.#ip3t3g#t3p3t#.3.3.#.3.3.#iY ̈ ip3t3g#t3p3d#p3t3g#t3p3d#ip3t3g#t3p3d#p3t3g#t3p3.#iY© ip̀6t6p3t#p3.3g6d&g3d3g#.3T p3.#i.3.3.#.3.3.#.3.3.#.3.3.#i

Djembé solo 2 ; use these elements:

Y¡ t#ig̀6d6g3d#p̀6t6p3t#g3.3.#.3.3.#i.3.3.#.3.3.#.3.3.#.3.3.#iY¢ i.3T p3.#.3T p3.#.3T p3.#.3T p3.#i.3T p3.#.3T p3.#.3T p3.#.3T p3.#i

Y£ i.3T p3.#.3T p3.#.3T p3.#.3T p3.#i.3q d3g#q d3.3.#.3.3.#.3.3.#iY¤ i.3T p3.#g̀6d6g3d#p3.3.#.3.3.#i.3T p3.#g̀6d6g3d#p3.3.#.3.3.#iY¥ i.3P t3T p#.3g̀6d6g#d3.3.#.3.3.#i.3.3.#.3.3.#.3.3.#.3.3.#iY¦ i.3t3p#t3.3t#p3t3.#t3p3t#i.3.3.#.3.3.#.3.3.#.3.3.#iY§ ip3t3g̀6d&g3t3p#.3.3p#t3g̀6d6g#it3p3.#.3p3t#g̀6d6g3t#p3.3.#i


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Fanga 1

FangaFanga is a welcome rhythm, from Liberia that has been thought by Babatunde OlatunjiWest African Percussion teacher who, with his lessons and personality, inspired manyDjembé players in the United States.When a drummer plays the low part of this rhythm, he mimes the action of a cook

pulling hot pieces of food from a steaming pot. Dinner will be served!The transcriptions are from various email exchanges throught the Djembé-L mailingliThe song he used to sing to accompany the rhythm is in the Yoruba language.

Fanga Alafayia, ashé ashé (4x) Ashé, Ashé, ashé, ashé.Asé, Asé, Asé, Asé

Ikabo A Lafiya Ashé Ashé (4x)Ashé, Ashé, ashé, ashé.Asé, Asé, Asé, Asé

Eluga A LafiyaAshé, Ashé, ashé, ashé.Asé, Asé, Asé, Asé

Call / BreakY {

ip4t4.4t$p4.4g4d$G4D4.4.$p4t4.4.$i

N Vj VJ

yj yJ yr yR yz yZ y?


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Fankani 1

FankaniFankani is a rhythm of welcome; it is played at many occasions.

Intro

Y ik g4.4g4d$.4d4.4d$g4.4g4.$g4.4.4D$iip4.4p4t$.4D4p4t$p4t4.4D$p4.4p4t$iig4.4g4t$.4.4.4.$.4.4.4.$.4.4.4D$iip4.4p4t$.4D4p4.$p4t4.4D$p4.4p4t$iig4.4g4t$.4.4g4d$g4.4p4t$p4.4.4.$i

K Vj VJ E

yj yJ Djembé's : Notice delayed tones for a special "swing".

Djembé Solo 1 : play first line

Y¡ iq d4g4d4g$t4.4G4.$q d4g4d4g$t4.4G4.$iand then one of the following

Y¢ ip4.4.4t$p4.4G4.$p4.4g4d$p4.4G4.$i

Y£ i.4t4p4.$g4d4p4.$.4t4p4.$g4d4p4.$iY¤ i.4d4g4t$.4d4g4t$.4d4g4t$p4.4p4.$i


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Fankani 2

Djembé Solo 2

Y¡ ik g4.4g4d$.4d4.4d$g4.4g4.$g4D4g4d$iY¢ repeat this line as often as you like

Y£ ip4D4g4d$p4D4g4d$p4D4g4d$p4.4.4.$i ending

Djembé Solo 3; use the following phrases;

Y¡ i ̂g8d8g4t4ĝ8d(g4t4 ̂g8d8g$t4.4g4d$p4.4G4.$iY¢ i ̂g8d8g4t4.$ ̂g8d8g4t4$^ g8d8g4t4.$ ̂g8d8g4t4.$iY£ iĝ8d8g4t4p$.4.4.4.$ ̂g8d8g4t4p$.4.4.4.$iY¤ i ̂g8d8g4t4p$d4.4.4.$ ̂g8d8g4t4p$d4.4.4.$iY¥ i ̂g8d8g4t4p$.4 ̂g8d8g4t$p4.4 ĝ8d8g$t4p44^ g8d(iY¦ ig4t4p4.$ ̂g8d8g4t4p$.4 ̂g8d8g4t$p4d4.4.$iY§ ip4.4.4t$p4.4G4.$p4.4g4d$p4.4.4t$iY ̈i ̂g8d8g4t4p$.4t4 ̂g8d8g$t4p4.4t$ ̂g8d8g4t4p$iY© id4p4t4g$d4p4.4T p$.4.4.4.$.4.4.4.$i


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Fè 1

Fè This rhythm can be found on Mamady Keita's CD "Balandugu Kan" and Sewa Kan's lperformance CD from Bruxelles 2004 (Le Couleur café). (Fè = calabash)

E eya eee E eya eee E eya eee

Tin tin dunata tu lu ne laaa


Intro

Y ik g4.4g4d$.4k g4.4g$d4.4k g4.$g4d4.4.$ik g4.4g4d$.4.4.4.$.4.4.4.$.4.4.4.$iK i444$444$444$444$i444$444$o44o4$.44.4$iN i444$444$444$444$i444$444$o44o4$.44.4$iU i444$444$444$444$i444$444$b44b4$.44.4$iY ik g4.4g4d$.4k g4.4g$d4.4k g4.$g4d4.4.$ik g4.4g4d$.4.4.4.$.4.4.4.$.4.4.4.$i

K i444$444$444$444$i444$444$o44o4$o44o4$iN i444$444$444$444$i444$444$o44o4$o44o4$iU i444$444$444$444$i444$444$b44b4$b44b4$i

K

N U


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Fè 2

Djembé solo

Y ig8̂d8g4d4p$t4.4.4.$g4t4.4t$.4t4g4.$i ig4d4p4.$p4.4p4t$g4.4.4.$g4.4p4.$i ig4d4.4d$g4.4G4t$.4t4G4.$p4D4p4.$i iG4d4g4.$ĝ8d8g4t4.$g4.4g4.$g4.4g4.$i ig4d4p4t$g4d4p4t$g4d4p4t$g4d4p4t$i ig4d4p4t$g4d4p4t$g4d4p4t$g4d4p4.$i ik g4.4g4d$.4d4.4d$g4.4p4t$p4.4.4.$i


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Foro-Bingé 1

Foro-BingéForo-Bingé is a rhythm that is traditionally played by the blacksmiths of NorthernIvory Coast (especially the villages Korhoga, Mandially and Sinematjalli). There are tparts a 6/8-part and a 4/4-part. It's played quite slowly. The dance steps in the firstpart are on the Kenkeni-drum. This rhythm used to be played once a year during the

annual blacksmith-festival. All the blacksmiths showed their best products of that yearAt first there were no bass-drums involved, but instead a lot of iron bell's. And that'ssomething you could expect with all these blacksmiths!

Part I Call

Y i` p6t6p3t#.3g3.#t3.3.#.3.3.#i

Break 1 : Djembé and Duns

Y iT p3P t3.#.3T p3P t#.3.3T p#.3T p3.#iT p3P t3.#.3T p3P t#.3.3.#.3.3.#iU ib3b3#3b3b#33b#3b3#ib3b3#3b3b#33#33#i

K N U

yj Notice the flams with a bass (B) and a tone (T), (that are played short behind eachother). The bass is played a little before the beat, so actually the tone is on the beat.

Transition from part I to part II

Y ÅU Å


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Foro-Bingé 2

The solist-player starts the intro of part II after the seventh count in the transition-pattern. Then the others know :"We're not going to repeat but change to the secondpart of the rhythm."

The solist-player starts the intro of part II after the seventh count inthe transition-pattern. Then the others know that no repeat is coming, butchange is made to the second part of the rhythm. The transition is the same as thebreak, but the break is not finished but instead the eighth count is used to introducethe change to part two.

Part II

Intro

Y ig4d4p4d$g4t4g4d$p4.4.4.$ ̂p8t8p4t4p$i

iP t4.4.4.$.4.4.4.$T p4.4.4.$.4.4.4.$iiT p4.4.4P t$.4.4T p4.$T p4.4.4.$.4.4.4.$i

K

N U


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Fulafare Yoleli 2

With variation

N U This basic combination can be supported with other patterns, for other drums or

shekere; for example:

Supporting pattern 1

K Supporting pattern 2

K Supporting pattern 3K Another supporting combination (Rafel Kroinberger)

K U

yj yJ yr y¤ y¥ Variations djembe acc. (Rafael Kronberger)

y¦ y§ y¨ y©

yª y«


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G'Beredu 1

G'Beredu G'Beredu is a Dounounba-rhythm from the Malinke in the Hamana-region in Guinea.This Dounoumba is named after a specifiec part of the Hamana Region. There is knowsome confusion about the exicance of G' Beredu I and II. I have found that what somehave learned initially as Konowoulen II is in fact G'Beredu. Also from G'Beredu II, I

have found only notations of "plain" G'Beredu.

Call

Y ip3t3g#t3p3t#.3.3.#.3.3.#iK i33#33#33o#3o3o#iN i33#33#33o m#33#iU i33#33#33#3b3b#i

Intro (from Åge Delbanco)

Y ip3t3g#t3p3t#.3.3.#.3.3.#i.3.3.#.3.3.#.3.3.#.3.3.#iK i33#33#33#33#i33#33#33#33#iN i33#33#33c o#c33c#ic33c o#c o33c#c33c o#c33c#iU i33#33#3c b3c#3c3c#i3c b3c#3c3c#3c b3c#3c b3c#i

Y ip3t3g#t3p3t#.3.3.#.3.3.#i.3.3.#.3.3.#.3.3.#.3.3.#iK i33#33#33#33#i33#33#33#33#iN ic33c#c33c#c33c o#c33c o#ic33c o#c33o c#c33c o#o c33c#iU i3c3c#3c3c#3c b3c#3c b3c#i3c b3c#3b c3c#3c b3c#3c b3b c#i


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G'Beredu 2

Y i. 3.3.#.3.3.#.3.3.#.3.3.#i.3.3.#.3.3.#.3.3.#.3.3.#iK i33#33#33#33#i33#33#33c o#3c o3c o#i Kenkeni start

N ic o33c o#c o33c#3c3c o#3c o3#ic33c#3c3c o m#3c3c o m#3c3#iU i3c b3c b#3c b3c b#3c b3c b#3c b3c b#i3c b3c b#3c b3c b#3c b3c b#3c b3c b#i

Y i. 3.3.#.3.3.#.3.3.#.3.3.#i.3.3.#.3.3.#.3.3.#.3.3.#iK i3c3c o#3c o3c o#3c3c o#3c o3c o#i3c3c o#3c o3c o#33c o#3c o3c o#iN ic o33c o#c o33c#3c3c o#3c o3#ic33c#3c3c o m#3c3c o m#3c3#iU i3c b3#c b33c b#3c b3c b#c b3c b3#ic b3c b3c b#3c3c#3c3c#3c b3c b#i

Y i. 3.3.#.3.3.#.3.3.#.3.3.#ip3t3g#t3p3t#.3.3.#.3.3.#i

K i3c3c o#3c o3c o#3c3c o#3c o3c o#i3c3c o#3c o3c o#33c o#3c o3c o#iN ic o33c o#c o33c#3c3c o#3c o3#ic33c#3c3c o#3c3c o#3c3#iU i3c b3c b#3c3c#3c b3c b#3c b3c b#i3c b3c b#3c3c#3c3c#3c b3c b#i

K N U


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G'Beredu 3

Sangban variations

Nj NJ

Nr 33c o#

Doun doun variations

Uj UJ Ur 3c b3c b#UR Uz

EchauffementStarting the echauffement:

Y i. 3.3.#.3.3.#.3.3.#.3.3.#ig3.3g#d3.3d#g3.3g#d3.3.#iN ic o33c o#c o33c#3c3c o#3c o3#ic33c#3c3c o m#3c3c o m#3c3c o#iU i3c b3c b#3c3c#3c b3c b#3c b3c b#i3c b3c b#3c b3c b#3c b3c b#3c b3c b#i

Y ig3d3p#t3p3t#p3t3p#t3p3t#ig3d3p#t3p3t#p3t3p#t3p3t#iN ic o33c#c33c o#c o33c o#c o33c#ic o33c#c o33c#c o33c o#c o33c#iU i3c b3c b#3c b3c b#3c b3c b#3c b3c b#i3c b3c b#3c b3c b#3c b3c b#3c b3c b#i


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G'Beredu 4

Repeat:

Y N U

ending the echauffement

Y ig3d3p#t3.3d#g3d3g#t3p3.#i.3.3.#.3.3.#.3.3.#.3.3.#i

N ic o33c o#3c o3#c o33c o#c o33c#ic33c#c33c o m#3c3c o m#3c3#iU i3c b3c b#3c b3#c b33c b#3c b3c b#i3c b3c b#3c3c#3c3c#3c b3c b#i


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Garankedon 2

Traditional solo transcription from the workshop led by Seckou Keita

Yj D#@YJ |Yr {

ip3t3p#.3.3d#g3t3p#.3.3D#ip3t3p#k g3d3p#kg3d3p#t3p3t#iYR ig3d3p#t3p3t#p3t3p#t3p3t#ig3d3p#t3p3t#p3t3p#t3p3t#iig3d3p#t3p3t#p3t3p#t3.3.#ik g3.3g#d3.3d#g3.3g#d3.3.#iT p#

Solo phrases 2

Yj iG3.3.#.3.3.#.3.3p#t3.3.#iG3.3.#d3g3t#g3d3p#t3.3.#iYJ iG3.3.#.3.3.#.3.3p#t3.3.#iG3.3.#d3g3t#g3d3p#D3g3t#iYr iG3.3p#.3.3t#.3.3p#D3p3t#iG3.3p#d3g3t#g3d3p#D3g3t#iYr iG3.3.#d3g3t#g3d3p#D3g3t#iG3.3p#.3.3t#.3.3p#33#iYR iG3.3p#.3.3t#.3.3p#k g3.3.#ik g3.3g#d3.3d#g3.3g#d3.3D#iYz iG3.3p#t3.3d#g3.3p#t3.3D#iG3.3p#t3.3d#g3.3p#t3.3D#i

iG3.3p#t3.3d#g3.3p#t3.3D#ig !3.3g !#d !3.3d !#g !3.3p !#t !3.3D#i

Solo phrases by Ponda O'Bryan

Yj iG3.3.#.3.3D#.3.3p#t3.3D#iG3.3p#d3g3t#g3d3p#t3.3D#iYJ iG3.3p#.3g3t#.3.3p#D3g3t#iG3.3p#d3g3t#g3d3p#D3g3t#i

Yr ip3t3p#.3.3.#g3d3p#.3.3D#ip3t3p#d3g3t#g3d3p#.3.3D#iYR ip3t3p#.3g3d#p3t3p#.3.3D#i.3.3.#.3.3.#.3.3.#.3.3.#iiT p3.3g#d3.3T p#.3g3d#.3T p3.#i.3.3.#.3.3D#p3t3p#.3.3.#i

Yz ig3d3p#t3p3t#p3t3p#t3p3t#ig3d3p#t3p3t#p3t3p#t3.3.#i


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Garankefoli 1

GarankefoliFrom Seydou Dao workshop in Ljubljana, September 2006.

Y |

Y ik g3.3g#d3.3d#g3.3g#d̀6g6d3.#i

{ip m3.3.#.3.3.#.3.3g#t3p3d#iip3t3g#t3p3d#p3.3.#d̀6g6d3D#i |

Y ik g3.3g#d3.3d#g3.3g#d3.3.#iT p#Note: Strokes in parenthesis ( ) are omitted the very last time.


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Dunun practice patterns93

Gidamba / Somba KoroGidamba (Gidanba, Dyidanba, Kidamba) is a Malinke dance for women. It comes from theHamana area in Guinea and is played on many occasions. It is an individually danceddance. The solo dancer jumps into a circle of people and dances a short solo. Gidambaone of the few Malinke rhythms in which the Sangban drum never varies. There are

many songs for the Gidamba rhythm. In Famoudou Konate's book "Rhythms and Songfrom Guinea" there is an example ofDyidanba , with theSomba Koro song.

Ayo, nje wara Suarela, eee He you, Suarela, you are going away!

E-yo, nagadimba yo nou gere makou sayeYou have never seen anything so beaytifull in the world!

Nakuma in bara na, möö na li i na di, i na bara kè

- Dyulu ta la di möö na i na diNakuma in bara na, möö na li i na di, i na bara kè- Somba körö di, möö na li i na di

Nakuma in bara na, möö na li i na di, i na bara kè- Dyalon ba körö di, möö na li i na di

Nakuma in bara na, möö na li i na di, i na bara kè- Möö na li i na di, Nankuma i na bara na

Nankuma, your mother is hereThe mother of a human will always b a mother!

Also if she has too many debts (has become a thief or has become a prostitute)The mother of a human is still a mother!

CallY iq d3g3d#g3d3.#g3d3.#g3.3.#iU i33#33#33#33b#i

K N (Famoudou Kanate) N (Mamady Keita) In Baro (Guinea) one plays a slightly diff

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African rhtym