SOURCE: RAYMOND'S [ORIGINAL] TRANSCRIPTIONS
AND DJEMBE-L.
MORIBAYASA
1 - - - 2 - - - 3 - - - 4 - - -
Djembe #1 B . T t B . S . B . T t B
. S .
Djembe #2 S . . s S . T t S . . s S
. T t
Sangban
bell
x . x . x . x . x . x . x . x .
drum
o . . . i . . . i . o . o . o .
lead-in
^
Kenkeni
bell
x . x . x . x . x . x . x . x .
drum
o . . . o . . . o . . . o . . .
Dununba
bell
x . x x . x x . x . x x . x x .
drum
o . . . . . o . o . . . . . o .
lead-in
^
KUKU
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 . . . . . . . . . . . .
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
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
^
SENEFOLI
1 - - - 2 - - - 3 - - - 4 - - -
Djembe #1 S . T t S . s . S . T t S
. s .
Djembe #2 S . . s S . T t S . . s S
. T t
Sangban (base)
bell
x . x x . x x . x x . x x . x .
drum
o . . . . . i . . i . . o . . .
transition
^
Sangban (var. #1)
bell
x . x . x . x . x . x . x . x .
drum
o . . . i . i . i . . . o . o .
transition
^
Sangban (var. #2)
bell
x x . x . x x . x x . x x . x .
drum
. o . o . . i . . i . . o . o .
transition
^
Kenkeni
bell
x . x x . x x . x . x x . x x .
drum
i . o o . . . . i . o o . . . .
Dununba
bell
x . x x . x x . x . x x . x x .
drum
o . . . . . o . o . . . . . o .
lead-in
^
DANSA
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 . . . . .
DJAGBE
1 - - - 2 - - - 3 - - - 4 - - -
Djembe #1 S . . s S . T t S . B s S
. T t
Djembe #2 B . T t . . S . . . T t .
. S .
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
^
TIRIBA
1 - - 2 - - 3 - - 4 - -
Djembe #1 B s T . s . B s . B s .
Djembe #2 B . . t S . B . . t S .
Djembe #3 B . S b T t B s . b 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 x .
drum
o o . i . . o o . i . .
Dununba
bell
x x . x x . x x . x x .
drum
o . . . o . o . . . . .
DJOLE
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 . . . . .
***
Raymond Burket wrote:
> MORIBAYASA
>
1 - - - 2 - - - 3 - - - 4 - - -
> Kenkeni
> bell
x . x . x . x . x . x . x . x .
> drum
o . . . o . . . o . . . o . . .
can also be played:
bell
x . x x . x x . x . x x . x x .
drum
o . . . o . . . o . . . o . . .
> GIDAMBA
>
1 - - 2 - - 3 - - 4 - -
Raymond wrote:
> Kenkeni
> bell
x . x . x . x x . x x .
> drum
o . o . o . . o . o . .
should be:
bell
x . x . x . x x . x . x
drum
o . o . o . . o . o . .
> SENEFOLI
>
1 - - - 2 - - - 3 - - - 4 - - -
Raymond wrote:
> Kenkeni
> bell
x . x x . x x . x . x x . x x .
> drum
i . o o . . . . i . o o . . . .
should be:
bell
x . x x . x x . x . x x . x x .
drum
o . o o . . . . o . o o . . . .
> DJOLE
>
1 - - - 2 - - - 3 - - - 4 - - -
Raymond wrote:
> Kenkeni (average from Doug Kane)
> bell
x . x x x . x x x . x x x . x x
> drum
. . o o . . o o . . o o . . o o
I didn't actually say that this was "average". What I said was this
was
how the "hard" bell part goes.
*****
For Senefoli Doug wrote:
should be:
bell
x . x x . x x . x . x x . x x .
drum
o . o o . . . . o . o o . . . .
I've reviewed my tape on this one. After careful review I still
believe that the 1st and 4th notes are closed or muffled. Rodger,
can
you triple check? Doug, do you have this on tape for review? Anyone
else? Thanks.
I checked my tape on Senefoli, and Raymond is correct, Mamady
definitely
plays the kenkeni part with closed notes in the workshop in D.C.
which
is how I originally notated it:
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 . |
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.
So Doug, are you sure of your contention that the kenkeni part
should be
played with all open strokes? Also,
can you be more specific about how you hear the swing in the sangban
parts, which notes are played early or late on their notated time?
This
question also pertains to the Sangban parts on Tiriba and Soli de
Manion.
I've been thinking about a swing notation to indicate parts that do
not
line up exactly on a quantized time scale, using marks either before
or
after the note to indicate the direction that it is moved. For
instance
(this is just an example showing the swing marks, not an actual
proposal
as to the correct version):
Sangban |O . . . . .-C . . C . . O/. . . |
\O a note which is played early, increasing swing at higher
tempos
O/ a note which is played late, increasing swing at higher
tempos
/O a note which is played early, increasing swing at lower
tempos
O\ a note which is played late, increasing swing at lower
tempos
-O a note which is played early, swing unchanged at different
tempos
O- a note which is played late, swing unchanged at different
tempos
I would probably extend the swing indicator over as many spaces
on the timeline that the note actually could be played in, but would
notate the basic note as close to the spot in time where it is
usually
played, especially while learning the rhythm. Possibly, a subset
of
the
above would be enough to cover all the cases actually encountered.
Does anyone else have any ideas on how to notate rhythms that are
not
"straight"?
Thanks to Raymond and Doug for their recent contributions.
Note
the additional names added to the distribution list, these are all
people that took Mamady's workshops in D.C., I will try to forward
messages to anybody on the list that gets missed, but it would be
easier
if people added the names to their messages.
I will send out my notation for Djaa, which I fianlly got the
tape for, and then will be posting an update with the summary of all
the
rhythms that we have been discussing. If people would prefer that
I
break that summary up into smaller chunks, let me know.
In rhythm,
Rodger
> -----Original Message-----
> From: Raymond Burket [SMTP:[email protected]]
> Sent: Tuesday, October 28, 1997 10:51 PM
> To: 'Raymond Burket'; '[email protected]';
'[email protected]';
> '[email protected]'; '[email protected]'; '[email protected]';
> '[email protected]';
'[email protected]';
'[email protected]';
> '[email protected]'; '[email protected]'
> Subject: RE: Raymond's Transcriptions - kenkeni corrections
>
>
> [Rodger Osgood] <snip>
> For Senefoli Doug wrote:
>
> should be:
>
> bell
x . x x . x x . x . x x . x x .
> drum
o . o o . . . . o . o o . . . .
> I've reviewed my tape on this one. After careful review I still
> believe that the 1st and 4th notes are closed or muffled. Rodger,
can
> you triple check? Doug, do you have this on tape for review?
Anyone
> else? Thanks.
>
>
> [Rodger Osgood] <snip>
*******
Rodger and Raymond are absolutely correct on the kenkeni to
Senefoli. I
had a brain fart. Sorry for the confusion. The embarrassing
thing
is I
actually played the kenkeni on Senefoli in SD (with the muff).
Thanks
for setting it straight.
As for the "swing" of the sangban parts and variations, I don't
think
that I could say any further what I mean. It could be that its just
that they are funky, as is. I just know that I can feel when its
played
correctly and I can feel when it is not. Same thing for the sangban
part to Djagbe (thanks Diallo, whereever you are). As you all know,
I'm
not big on notation because, for me, notation tends to make me
ANALyze
it (sorry, I couldn't help myself) and get away from "feeling" the
part. Again, that is just my personal experience. As I mentioned
before, I've had mixed feelings about participating in this
discussion
for that very reason. I will continue to participate to the extent
that
I am able, without getting into things like trying to notate the
swing
of parts.
As for Moribayassa, either bell part is correct.
As for the kenkeni to Djoli, I've never played the "hard bell" in
Mamady's workshop, so I don't have anything else to say. I'll stick
with the "easy bell" for right now. (I will note that Mamady
specifically mentioned that bells are not traditionally played on
djole,
which is traditionally played on Siko drums, not djembe and dunun).
********
My comments on Rodger's notations. Sorry it took so long!
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 . |
Accomp 2 |S . . s S . O o S . . s S . O o |
I agree completely with his Senefoli. Adam, I concur with Rodger on
the handing. I also agree with you though that in "most" cases,
parts are handed as though there were ghost notes. The two
exceptions I know of are the above and also the 1st Accomp. for
Tiriba.
--------------------------------------------------------------------------------------
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 |
I agree completely with his Gidamba. Note that a perhaps clearer way
to notate the dununba might be in four measures like so:
Dununba
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
^
Also note that the break to end the rhythm begins on the first note
of the last measure. This seems to be the rule in general for
multi-measure dunun parts.
-------------------------------------------------------------------------------------------------------------
Tiriba
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 . | (Hand pattern ?)
Accomp 2 |B . . t S . B . . t S . | (Hand pattern ?)
Accomp 3 |B . S b T t T s . b T t | (Hand pattern ?)
TBD: Mamady showed a variation for Accomp 3 for playing at fast
speeds,
I will add this part whan I get the chance.
So I agree with Adam's changes to the Jembe parts. The first part is
correct if one switches hands on all the notes. The second part is
correct if one changes the 2nd "T" (2nd capital "T" or 7th note) to
a "B".
------------------------------------------------------------------------------------------------
Moribayassa
A dance to fufill a promise to God when a long time trouble is
solved.
Dress up in crazy mixed up clothes and go (dance?) 3 or seven times
around
the village.
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 . |
hands?
Djembe 2 |S . . s S . T t S . . s S . T t |
I agree completely with Rodger's notation. Thanks!
RHYTHM CATALOG from Larry Morris ([email protected])
LAST UPDATED: January 12, 1997
My disclaimer: the world of 'traditional rhythm' is constantly
evolving.
Some transcriptions here will be 'neotraditional' at best,
westernized
versions of African rhythms, or 'old' styles not often heard now,
and
frankly, some will simply be wrong. Corrections and new additions
are
welcomed and appreciated; please attribute where possible. Recognize
that
names are mutable, and often represent styles or even origin tribes
rather
than specific compositions. These transcriptions omit chant and
dance, which
are often integral. Use this as a map for connecting beginning
rhythms
together, not as a substitute for study with a competent teacher.
Enjoy!
Permission is granted to reproduce and distribute this catalog in
its
entirety. All information is considered to be in the public domain.
This catalog is periodically republished on DJEMBE-L and relevant
news
groups.
Also check out the WWW home page by [email protected]:
http://www.cse.ogi.edu/Drum/
And the listserver [email protected].
Send message to
[email protected]
with "SUBSCRIBE djembe-l " in the body.
LEGEND:
| first beat in the bar
* other whole beats
. half beats
: repeat
>> at end of bar = continue phrase next line
B,b bass
O,o tone
M,m muffle tone
S,s slap
Sf, Of slap/tone flam
h heel
f finger
. touch or spacer (rest)
_ appears above notes that should be played with your strong hand.
*** RHYTHMS IN 4 and 8 ***
KPANLOGO, Larry Morris ([email protected])
'94 from informal
sources
4/4 |: . * .
* . * . |
. * . * .
*
. :|
_
_ _
_ _
_ _
_
TUMBA O O O O
B . s s O
. s s B .
s
s
_
_ _
_ _
_ _
CONGA B . s s
O . s s B
O O . O O
.
O
_
_ _
_ _
_ _
CONGA2 B . s s O
. s s B .
s s O . .
O
_
_ _
_ _
_
_
QUINTO s s B . s
. O O B .
s O . . O
.
CLAVE X . . X
. . X . .
. X . X .
.
.
KPANLOGO, Richard Hodges ([email protected])
'94 from C.K
Ladzekpo, UCB
4/4 |: . * .
* . * . |
. * . * .
*
. :|
SHEKERE D . D U D
. D U D .
D U D . D
U
(Down/Up)
AGOGO1 H . . H .
. H . . .
H . H . .
.
AGOGO2 L L L L L
. H . . .
H . . . H
.
(High/Low)
_
_ _
_
_ _
CONGA O O . s
B . s s O
. . B B O
O
.
_
_ _
_ _
_ _
_
QUINTO B . s s B
. s s B .
O O B . s
s
KPANLOGO, Michael Zajac ([email protected])
from Marc
Anderson,
Winnepeg '95
4/4 |: . * .
* . * . |
. * . * .
*
. :|
SHEKERE D . D U D
. D U D .
D U D . D
U
(Down/Up)
Clave . . X .
. . X . .
. X . . .
X
.
AGOGO-l L . . L .
. L . . .
L . L . .
.
AGOGO-h H H . . H
H . . H H
. . H H .
.
(High/Low)
_
_
_
_
LOW B .
O .
B .
O .
_ _
_
_
MID . . . .
. . S S O
. O O . .
S
S
_
_
HIGH . . O .
O . . . O
. O . . .
O
. >>
. .
O . . . O
. O . O .
. . O
SHIKO (Nigerian), Richard Darsie ([email protected])
4/4 |: . * .
* . * . |
. * . * .
*
. :|
_
_ _
_ _
_ _
TUMBA O . O .
B . B . O
. O . B B
.
.
_
_ _
_
_ _
CONGA B . . .
B . O . B
. . . B .
O
.
_
_ _
_ _
_ _
CONGA2 B . s s B
. s s B .
s s O O .
.
_
_
_ _
_
_
QUINTO 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 .
.
.
IBO 4/4 (?) Larry Morris ([email protected]) from informal sources
4/4 |: . * .
* . * . |
. * . * .
*
. :|
_
_ _
_ _
_ _
TUMBA B . O .
B . O . B
. O . O O
.
.
_
_ _
_ _
_ _
CONGA O O . O
B . O O B
. O O B .
O
.
_
_
_ _
_
_
QUINTO O . O O .
O O . s .
s s . s s
.
CLAVE X . . X
. . X . .
. X . X .
.
.
MOZAMBIQUE variants, Larry Morris ([email protected])
and
John Moore([email protected])
4/4 |: . * .
* . * . |
. * . * .
*
. :|
_
_ _
_ _ _
_
CONGA . s
s s . s
s O O
s
TUMBA O
O . O
O (O)
_
_ _
_ _
_ _
CONGA B h f
O O B s f
s f O O
h
f
TUMBA
O
O
_
_ _ _ _
_ _ _ _
_
CONGA O . s
O O B s f
s s O O
f
f
TUMBA
O
O
COWBEL M . M . C
. . M . M
. C . . C
.
(Mouth/Center)
or:
COWBEL M . M . M
M . M . M
M . M M .
M
COWBEL M . C . M
. C M . C
C C M . C
C
COWBEL M . M . C
C C C M M
. C C C C
C
CLAVE X . . X
. . . X .
. X . X .
.
.
TUMBAO + variants, Larry Morris ([email protected])
and
John Moore([email protected])
4/4 |: . * .
* . * . |
. * . * .
*
. :|
_
_ _
_ _ _ _
_
CONGA h f s (f) h
f O O h f
s b
O
O
TUMBA
O O
_
_ _
_ _
_
CONGA O . s O
. s O S .
S S b O O
.
s
('tres golpe')
CLAVE . . X .
X . . . X
. . X . .
X
.
COWBEL M . M . C
C . M . M
. C . C C
.
FANGA (Liberian), Richard Darsie ([email protected])
and Larry
Morris
([email protected])
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
AKIWOWO (Yoruba), Matt Freedman ([email protected])
and Art
Liestman
([email protected]) - 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
GUAGUANCO, Larry Morris ([email protected])
4/4 |: . * .
* . * . |
. * . * .
*
. :|
_
_ _
_ _
_
CONGA O . b O
. b b m
h f S . f
s
TUMBA
O
O
var.: _
_ _
_ _
_
CONGA O . s O
. s S .
S S m m S
s
TUMBA
O
O
4-drum variant:
_ _
_ _
TUMBA B . . B
B . O . B
. . B B .
O
.
_
_ _
_ _
_ _
_
CONGA b b O O
b b b b b
b O O b b
b
b
_
_
_ _
_
CONGA2 b . b . b
O . . b b
b b b O .
.
QUINTO O . f O .
f S . h f
S . f S .
f
CLAVE X . . X
. . . X .
. X . X .
.
.
RUMBA GUAGUANCO' (Matanzas style), Patrick Armstrong
([email protected])
4/4 |: .
* . * . *
. | . * .
* .
* . :|
Clave X
X
X X
X
Palitos R . L
R . L . R
L . R . R
L
. L or
R L . L R
L . L R .
L . R L
. L
_ _
_
_
Tumba h .
t B h . O
. h . t b
h .
O .
variations: _ _
_
_ _
_
h O O . O
. O . h .
t b h O
. O
_ _
_
_
. O h t O
. O . h .
t O h .
t O
_ _
_
_
. O h t O
. O . h .
t b h .
O .
_ _
_ _
_ _
_
_
Conga h h
t t h h t
t O h t t
h h
t t
or:
Conga, h h
t B h h t
t O h t t
h h
t t >>
(Tres Dos) h h t B
O O t t O
h t t h h
t t
|: . * . * .
* . | . *
. * .
* . :|
Quinto h O
O . h . t
S h . t O
h .
t .
"ride" h S S
. h O . O
h . t S h
.
t .
"cross" h O O
. h . t S
h . t O h
.
t . >>
h S S . O
h t S S .
O h t S
S . >>
O h t S S
. O h t S
S . O h
t S >>
S . S h t
O . O h .
t S h .
t . >>
h O h t O
h t S h .
t O h .
t . >>
h S S . h
O . O h .
t S h .
t .
Munequitos Intro:
M
M M M . M
. M M . M
. M M
. M >>
.
M M . M .
M . S . .
O O .
. >>
Tumba> O
O O
h t b h
O etc..
Tres Dos>
O h t t h
h
t t etc..
KAKI LAMBE (Senegal), Richard Darsie ([email protected])
4/4 |: . * .
* . * . |
. * . * .
*
. :|
CONGA/DJEMBE
_
_ _
_
_
LOW O O . O
O . B . O
. O . B .
B
.
_
_ _
_ _
_
MID B . . O
O . S . B
. O . O .
S
.
_
_ _
_ _
_
HIGH B . O O
O . S S B
. O O O .
S
S
BELL . . . x
. . x . .
. . . x .
x
.
JUNJUN B
B
B B
BREAK: S S S S S
. S . . .
O O O . S
. >>
S .
. . . . O
O O . O .
O . .
.
ACONCON, Nigel Jacobs ([email protected]) 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
.
LAMBA, Nigel Jacobs ([email protected])
from Boaz Martin, and Larry
Morris
([email protected])
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
.
GAHU (Ewe), Larry Morris ([email protected])
4/4 |: .
* . * . *
. | . * .
* .
* . :|
Bell L .
. H . . H
. . . H .
. .
H .
(Gankogui)
Axatse D . .
D U . D .
U . D . U
.
D .
(Down/Up shaker)
Kaganu . . O
O . . O O
. . O O .
.
O O
(high)
Sogo O B
. O B . O
. B . O .
B .
O . or:
(low) B . .
. B . O .
B . . . B
.
O .
_
_ _
_ _
_
Kidi O O
. S S . O
O O O S .
S .
O O
(mid)
Gboba or Atseimevu (bass) lead variations.
MOMBASA (Ghana), Dan Trevino ([email protected])
- from Michael Pluznik
(this requires a special drum setup: 4 congas played by 2 players.
Low and Second drums are tumbas, mid and high congas/quintos. Set as
follows:
X upbeat drummer
O (high drum)
(low drum)
O O (second drum)
O (middle drum)
X downbeat drummer
4/4 |: .
* . * . *
. | . * .
* .
* . :|
DOWNBEAT: _ _
_ _
_ _
Middle O O
. O O .
O O . O
O
.
Second
B
B
Low
B
B
4/4 |: .
* . * . *
. | . * .
* .
* . :|
UPBEAT: _
_ _
_ _
_
Low O
O
High
O O
O O
S S . S
O O
Second
O
JONDO (??), Larry Morris ([email protected])
(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.
CONGO (Haitian) Sean Engelson ([email protected])
4/4 |:
. * . * .
* . | . *
. * .
* . :|
_ _
_
_ _
_
Segonde: B f S
. O~ . O . B
f S . O~ .
O .
_ _
_
_ _
_
Or (easier): B . S .
O . O . B
. S . O .
O .
_ _
_ _
_ _
_
_
Boula: O O
O O O O O
O O O O O
O O
O O
Bell: x x
. x x . x
. x . x .
x .
x .
Maman stick: O O . X
. . X . X
. . X . .
X .
Maman hand: . . . .
B f . . B
. . . B f
. O
Maman lick:
Maman stick: O O . X
. . X . O
. O O . O
O .
Maman hand: . . . .
B f . O .
. . . B .
O . O
The X's mean sticks on the side of the drum, and the ~ after a tone
means that
the tone is extended by "flanging" with a finger.
COMPARSA (Cuba), Larry Morris ([email protected])
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
COMPARSA DE MATANZA (Cuba), Allen Frost ([email protected])
from
AfroCuba de Matanza
4/4 |:
. * . * .
* . | . *
. * .
* . :|
4/4 |: . .
. * . . . | . . .
* . . . :|
Bell clave X . .
X . . . X
. . X . X
.
. .
Agogo high X X X
X . . . X
X . X . .
.
. X
Agogo low . . .
. x . . .
. . . . x
.
. .
Tumba B .
. . B . O
. B . . .
B .
O .
_
_
_
_
Conga O .
. . O . O
. B . . .
B .
. O
Rey Quinto . S S
. O . O .
O . O . S
S
. S
Floor Tom M . .
M . . O .
M . . M .
.
O .
Quinto (Improvise?)
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
KUKU (Guinea), Mark Szymanski
4/4 |:
. * . * .
* . | . *
. * .
* . :|
_
_
_
_
LOW S
. S . O O
. . S . S
. O O
. .
_
_ _
_
_
_
MID S
S . O O O
S . S S .
O O O
S .
_
_
_
_
HIGH O
O . . O O
. . O O .
. O O
. .
Bell .
. X X . .
X X . . X
X . .
X X
Junjun B .
B . B . .
. M . . M
. .
. .
Songba M .
M . M . .
. B . . B
. .
. .
Kenkeni B .
. B B . .
B B . . B
B B
. B
RHUMBA YESA (Cuba), Mark Szymanski
4/4 |:
. * . * .
* . | . *
. * .
* . :|
_
_ _
_
_
_
LOW S
. . B O .
O (B) S . . B
O .
O (B)
_
_ _
_
_
MID B
. . . O .
B B . O O
O . .
B .
_
_
_
_
HIGH S
S . . S S
. . S S .
. S S
. .
Bass B
. . B . .
B . . . .
. . .
B .
Bell .
. X X . .
X X . . X
X . .
X X
RHUMBA YESA (Cuba), Jason Hann ([email protected])
4/4 |:
. * . * .
* . | . *
. * .
* . :|
Hi bell C .
C . O O .
. C . C .
O O
. .
Lo bell . .
C C . . C
C . O . O
. .
C C
_
_
_
_
Quinto(stick) O O . . O
O . . O O
. . O O
. .
_
_
Conga(stick) . . . .
. . O O .
. . . . .
O .
_
_
_
_
Tumba(hand) O . . s
. . s . .
M M M . .
O O
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
IJEXA (Brazil,Bahia), John Moore ([email protected])
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 .
BELEDI (Middle Eastern), Larry Morris ([email protected])
Traditionally played on doumbek; 'B' is center tone (dum),
'O' or 'm' is a finger hit (te ka), accented or unaccented.
's' is a finger hit with raised pitch (tok). Many variants exist.
4/4 |: .
* . * . *
. | . * .
* .
* . :|
_
_ _
_ _
_ _
Doumbek B . B
. o o o o
B . o o o
.
. .
_
_ _
_ _
- _
_
variants: B . B .
o m s . B
. o m s .
o o
(many B o O
. . . o o
B . o o O
.
o o
others) B . o O
. o O . B
. B . S .
. .
_
_
_
_
bass: B . B
. . o . .
B . . . o
.
. .
. . . . L
L . . . .
. . L .
L .
raqs sa'idi (S. Egypt), Caitrin Pieri ([email protected])
4/4 |: . .
. * . . .
* . . . *
. .
. :|
doumbek B O m m B O m
variation B m m
B m m B
m m B m
m
reqq O O m m m O O
variation O m m
O m m O
m m O m
m
raqs bambi (S. Egypt), Caitrin Pieri ([email protected])
2/4 |: .
. . * . .
. | . . .
* .
. . :|
doumbek B O
O B O
B O O B
O
variation1 B m m
m O
B m m O
m m
variation2 B m m
m O
B
O
m m
variation3 B m m
m O
B m m O
m
riqq O
m m m O
O m m m
O
variation O m
m O m m
O m m O
m m
raqs skandarai (S. Egypt), Caitrin Pieri ([email protected])
4/4 |: . .
. * . . .
* . . . *
. .
. :|
doubek B m
m B m m
B m m B
m
m >>
B
m m B m
m O m m
m m
^
reqq O
m m O m
m O m m
O m
m >>
O
m m O m
m O
^ main accent
PILON (Cuba), ? ([email protected]),
from '94 Banff Afrocubanismo
conf.
4/4 |: . .
. * . . .
* . . . *
. .
. :|
Clave X . .
X . . X .
. . X . X
. .
.
Bell x . X
X x . X X
x . . . .
. .
.
_
_ _
_ _
Conga1 b t S t
h t
O . . O O
O
.
Conga2
O O
O
Bombo . . .
. . . . .
. . . O .
. O
O or:
(bass) . . . .
. . . O O
. . O . .
O
O
_ _
_
_ _
Conga b t S
t h
O . . O
O
.
var.
O (O) O
O O
_
_ _ _ _
_
Conga b t S
t h t
O O . . b
t
O
var.
O O
O
_
_ _
_ _
_
Conga b t S
t b t
O . S S O
O
.
var.
O O
O
KASSA (Guinea), Michael Williams ([email protected])
from
Mamady Keita
(note: played with a slightly "swung" feel)
4/4 |: . .
. * . . .
* . . . *
. .
. :|
_
_ _
_
_ _
Lead dj. S S . S
S . O O S
S . S S .
O
O
_
_ _
_
_
Djembe1 B . S S
O O S S B
. S S O O
S
S
_
_ _
_ _
_
Djembe2 S . . S
S . O O S
. B S S .
O
O
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
. >>
NOKOBE (Ewe - Ghana), Catrin Pieri ([email protected])
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)
RA RA (Haiti) - Barry Duke
Note: R= rim shot on seconde
4/4 |: . * .
* . * . |
. * . * .
*
. :|
Bell X . X X
. . X . X
. X X . .
X
.
_
_ _
_ _
_ _
_
Boula o o o o
o o S o o
o o o o o
S
o
(hi) _
_ _
_
_
Seconde O O . R b
t R . B .
R . B . R
.
(mid) _
_
_
_
Maman B . . .
B . . . B
. . . B .
O
. >>
(lo) B . . .
B . O . O
. B . O .
O
.
Basse#1 B . . . O
. . . . .
. . O . .
.
Basse#2 . . . . .
. . . O .
O . . . .
.
UFFUNU (Ewe?), John Feddersen ([email protected]) 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
.
BOUSHAY (Congolese), John Feddersen ([email protected])
'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
KUKU (Guinea), Phillipe Reunis ([email protected]
4/4 |: . *
. * . * .
| . * . *
. *
. :|
Bell X . X
X . X X .
X . X . X
. X
.
Junjun M . . O
. . . . M
. . . O .
O
. >>
O .
. O . . .
. M . . .
. . .
.
Songba O . . M
. . O . O
. . . . .
O
.
Kenkeni O O . .
O O . . O
O . . O O
.
.
_
_
_ _
_
_
Djembe1 B . O O
. . S . B
. O O . .
S
.
_
_ _
_
_ _
Djembe2 O O . S
O O S . O
O . S O O
S
. OR:
(var.) O O . .
O O . . O
O . . O O
.
.
_
_ _
_ _
_
Djembe3 O . O O
. . Sf . S .
S S . . S
. >>
B .
O O . . S
. B . O O
. . Of
.
_
_ _
_ _
_ _
_
Djembe4 bO . O O
B S S . bO .
O O B S S
.
*note: Djembe3 & Djembe4 var. from Mamady Keita, others traditional.
simplified variation on Djembe2 used for very fast tempos.
Village Dance (African Westcoast), Catrin Pieri ([email protected])
4/4 |: . * .
* . * . |
. * . * .
*
. :|
_
_ _
_ _
_ _
_
CONGA . . O
. . O .
O O . O O
S
S
TUMBA O
O
_
_ _
_ _
_ _
_
CONGA2 O . O O .
. . B O .
O O S . S
S
^ start this one here
BELL X . . X
. . X . .
. X . X .
.
.
SAMBA (Brazil), John Feddersen ([email protected])
4/4 |: . *
. * . * .
| . * . *
. *
. :|
_
_ _
_ _
_ _
_
Surdo M . O
. mM . O . mM
. O . mM . O
. m
(bass)
Conga O O O O S S . O O O O O S S . O O O O O S
S . O O O O O S
S . O
Tamborin m m Z- m
m O O Z- m m
Z- m m O
O Z-
(bongo/stick) m=press head to raise tone, O=open tone, Z-= let stick
buzz
*
* *
* *
* *
*
Agogo H . L L . H . H . . . L L . H . H . L L L
H . H . . . L L
. H .
>
> > > >
> > >
> > > >
> >
Guiro D u d U D u d U d U d U D u d u D u d U D
u d U d U d U D
u d u
(scraper) > > >
> > >
> >
>
>
Snare 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
(bossanova)
TIMINI (Senegal), Michael Wall ([email protected]) 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
SUNU (?), John Feddersen ([email protected]) 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)
Oggun (Santeria), Luis Nunez ([email protected])
(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 .
.
.
MORIBAYASSA (Malinque tribe) consensus by Michael Wall
([email protected])
and other Djembe-L members from Mamady Keita
4/4 |: .
. . * . .
. | . . .
* .
. . :|
_
_ _
_ _
_
(break) Of . O O
. O . O O
. S S S .
. .
_
_ _
_ _
_ _
_
DjembeLo B . O O
B . S . B
. O O B .
S .
_
_ _
_
_
_
DjembeHi S . . S
S . O O S
. . S S .
O O
Kenkeni O . .
. O . . .
O . . . O
.
. .
(bell) x . x
. x . x .
x . x . x
.
x .
(lead-in) O . O
.
O . >>
Songba O . .
. M . . .
M . O . O
.
O .
(bell) x . x
. x . x .
x . x . x
.
x .
(lead-in)
O . >>
Junjun O . .
. . . O .
O . . . .
.
O .
(bell) x . x
x . x x .
x . x x .
x
x .
BAIAO (Brazil), Heike Worth ([email protected])
from
Sergio Mendez
NOTES: Zabumba - flat bass drum played w/ thin stick on one side
(S), felted
stick on other side (O). Pandeiro notes - (D) thumb, (t) fingertip,
(h) ball
of hand, (S) slap.
4/4 |: .
* . * . *
. | . * .
* .
* . :|
Agogo . . H
. L . H .
. H . H L
.
H .
_
_ _
_
Snare X x x
X x x X roll X
x x X x x
X x
Triangle . . o o
. . o o .
. o o . .
o o
Pandeiro D t h D
t h S h D
t h D t h
S h
Zabumba(L) M . S O
O . S . M
. S O O .
S .
Zabumba(H) M . S O
S O S S M
. S O S O
S S >>
M
. S O S O
S S O S S
O S O
S S
Afro Bloc (Bahia), Heike Worth ([email protected]),
played by
many Samba percussion groups
4/4 |: .
* . * . *
. | . * .
* .
* . :|
Surdo hi O O O O
O O O O M
. . . . .
. .
Surdo mid . . . .
O O O O M
. . . . .
. .
Surdo deep O . . .
M . . . O
. . . M .
. .
(lead-in) O .
O . >>
UpbeatSurdo M . . . O
. . . M .
. . O .
O .
(mid)
(lead-in)
O . >>
ContraSurdo M . . . .
O . O M .
. . . .
O . >>
(hi) M . O
. M O . O
M . . . .
.
O .
(lead-in)
X . >>
Tamborim . . . .
. X . X .
. . . . .
X . >>
.
. X . . X
. X . . .
. . .
X .
_
_ _
_ _
_ _
_
Snare X x x
X x x X x
x x X x x
X
x x
or (x x X
X X)
Repinique . . R L
. . R L .
. R L . .
R L or:
(similar R . . L
. . R . .
L . L R .
R . or:
to snare) . . R L
. . . . .
L . L . .
. .
Agogo H . .
H . . H .
. . L . L
.
. .
URUGUAY TRANCE (Uruguay), Nowick Gray ([email protected])
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 .
. .
CALYPSO (Trinidad), Barbara Bird ([email protected])
4/4 |: .
* . * . *
. | . * .
* .
* . :|
_
_ _
_ _
_
Tumba B M .
B h f O .
B M . B h
f
O .
_
_
_
CongaLo O . .
O O . . .
. O . O O
O
. .
_
_
_
_
CongaHi O O .
. O O . .
O O . . O
O
. .
Bell . .
x x . . x
x . . x x
. .
x x
Hi bell x x .
x x x x .
x x . x x
x
x .
(brake drum?)
DALAH (Guinea), consensus by Michael Wall ([email protected])
and other
Djembe-L members from Mamady Keita
4/4 |: . .
. * . . .
| . . . *
. .
. :|
_
_ _
_
_ _
Djembe#1 S . . S
S . O O S
. . S S .
O
O
_
_
_ _
_
_
Djembe#2 B . O O
. . S S B
. O O . .
S
S
Kenkeni O . . .
O . . . O
. . . O .
.
.
(bell) x . x .
x . x . x
. x . x .
x
.
Songba O . O O
. . . . M
. . . O .
O
. >>
O .
O O . . .
. M . . .
M . .
.
(bell) x . x x
. x x . x
. x . x .
x
.
Junjun O . . .
. . O . O
. . . . .
O
.
(bell) x . x x
. x x . x
. x x . x
x
.
DANSA (Mali), Kalani ([email protected])
and JD Northrup
([email protected])
from Abdoul Doumbia
4/4 |: . .
. * . . .
| . . . *
. .
. :|
_
_ _
_
_ _
Djembe1 S . . S
S . O O S
. . S S .
O
O
_
_ _
_ _
_ _
Djembe2 B O . O
B . S . B
. O O B .
S
.
_
_ _
_ _
_ _
_
Djembe3 S . O O
S . B . S
. O O S .
B
.
Junjun O . . M
. . O . O
. . M . .
O
.
(fast)
slower tempos:
Junjun . . . .
. . . . .
. . O . .
.
.
Songba O . . O
. . O . .
. . . . .
O
.
Kenkeni O . . .
. O O . O
. . . . O
O
.
Bell x . x
. x . x .
x . x . x
. x
.
MENI (?), Ulf ([email protected])
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
. .
.
MULTIPART CONGA RHYTHMS
Drum setup for right-handers: CONGA
TUMBA
QUINTO
*you*
SONGO, Michael Wall ([email protected])
4/4 |: .
* . * . *
. | . * .
* .
* . :|
_ _
_ _
_
Quinto S O h
f S S . S
O S S . S
S
. .
Conga
O
Tumba
O
O O
Clave x . .
x . . . x
. . x . x
.
. .
BOMBA, Michael Wall ([email protected])
4/4 |: .
. . * . .
. | . . .
* .
. . :|
_
_
Quinto . O O
O . . . .
. O O O .
.
. .
Conga
O O
O
O
_
_ _ _
_ _
_
_
Tumba B
S O O
B S
O
O
Clave x . .
x . . x .
x . . x .
.
x .
COMPARSA, Joel Rives ([email protected])
4/4 |: .
* . * . *
. | . * .
* .
* . :|
_
_ _
_ _
_
_
Quinto . h f
S O O . .
. S S S .
O
. .
Conga
O O
(O) O
Tumba O
O
O
O
variation1:
_
_ _
_ _
_
_
Quinto . h f
O O . . .
S S S . O
. .
Conga
O O
(O) O
Tumba O
O
O
O
O
*** RHYTHMS IN SIX/TWELVE ***
YANVALOU (Haitian), Sean Engelson ([email protected])
12/8 |: . . * . . * . . * . . :|
Bell X . X
. X . X X
. X . X
_ _
_
Segonde B . O .
O . B . .
O . (B)
(tumba) _
_ _
_
Boula . x x
. x x . x
x . x x
(Kagan)
Maman (lead, variations in 4):
(R stick) x . . x .
. x . . x
. .
(L drum) B . M .
. . B O .
. . .
Case'(repeating break) on Maman:
(R stick) O . . . x
. . . . x
. .
(L drum) . . B .
. . O O .
. B B
Lead-in back to std phrase:
(R stick) O . . . x
. . . . .
. .
(L drum) . . B .
. . O O .
O . O
ETUMBA NAMBUAKA (Congo), Richard Darsie ([email protected])
Source: Sandor Djabaouez via Sean Feder
Note: Of = tone flam, Sf = 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
ZEBOLAH (Congolese), Richard Darsie ([email protected])
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 .
Bell X . X . X X . X . X . X
ABAKUA (Cuba), Patrick Armstrong ([email protected])
12/8 |: . . * . . * . . * . . :|
Ekon #1 x x
x x x x
x x x
(brass/iron bell)
Ekon #2 x x
x x
x
Erikunde L R
L R R L R
L R
(basket rattles
or palitos) _
_ _
_
High O h
t O h t O
h t O h t
(Binkome) _ _
_ _
_ _
Mid M
O M
O M
O
(Kotchierima)
_ _
_ _
Low b M
b O b M
b O
(Obiapa)
+ lead (conga) variations
Generic African 6/8 variations, Larry Morris ([email protected])
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
BINTIN, (Ghana), Richard Darsie ([email protected])
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
BAHAVENTO (BRAZIL), Michael Wall ([email protected])
from Menstre
Beasola
6/4 |: . . * . . * . . * . . :|
Bell X . X
. X X . X
. X . X
Shaker
X
X
Clave X . .
X . . X .
. X . .
Surdo O . .
. O O . .
. . . O or:
M .
O . O . O
O . . . .
Alt Surdo 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
LENGJEN (Senegal), Larry Morris ([email protected])
6/8 |: . .
* . . * .
. * . . :|
Djembe/Conga
_
_ _
_
Low . O O
. O O . O
O . O O
_
_ _
_ _
_
Mid B . B
S O O B .
B S O O
or: S . S
B O O S .
S B O O
_
_
_ _
High O . S
S . O O .
S S . O
Lead
Break: S . S .
S . S . .
S . . >>
S .
. . . O O
O O O . .
(all stop...
restart.)
+ lead variations.
JUNJUN: B . B . .
. B . B .
. .
Bell:
X X
X X or:
Other Junjun (3 drums)
Low X
X
Mid
X
X
High
X
X
MAHI (Haitian), Larry Morris ([email protected])
Note: the bas is a large hoop (frame) drum with a very deep,
soft bass.
12/8 |: . .
* . . * .
. * . . :|
Bell X . X . X . X X . X . X
Chacha X . . X
. . X . .
X . .
(shaker)
_ _
_ _
Bas o . o
. B . o o
. B . o
_ _
_ _
_
Segonde . O O .
s s . O .
s . s or:
(conga) s . O .
s s . O .
s . s
_
_ _
_ _
_
Boula o o o
o o o o o
o o o o or:
(Kagan) o . o .
o o . o .
o . o
Maman (tumba, lead + variations):
(R stick) . x x . x
. . x . x
. x
(L drum) O . . .
. . O . .
. . .
Maman/Segonde Case (repeating break):
Segonde . . . .
. O O O O O O
O O
Maman O O .
. S . . .
. . . .
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
Junjun B . . M . . B . . M . .
IBO 6/8 (Haiti), Larry Morris, from informal sources
12/8 |: . . * . . * . . * . . :|
Bell X . X . X X . X . X . X
Low . . . . B B . . . . . .
Mid S . .
S . . . .
. S . .
_
_ _
_ _
_
High S S O
S S . S S
O S S .
Low (alt) B . . B . . B . . B . .
CAMBERTO (Haitian derived), Richard Darsie ([email protected])
12/8 |: . . * . . * . . * . . :|
Bell X . X
. X . X X
. X . X
_
_ _
_
Bottom O . . B
. . B . .
B . .
_
_ _
_ _
_
Tumba B . S
B O O B .
S B O O
_
_ _
_
Conga B . O
. S . B O
. S . B
_
_ _
_ _
_
Quinto O S S O
S S O S S
O S S
BAYE (Congolese), Susan Rapalee ([email protected])
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
Adowa (Ghana), Catrin Pieri ([email protected])
( 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
BEMBE (Cuba) - Patrick Armstrong ([email protected])
and
Luis Nunez ([email protected])
12/8 |: . . * . . * . . * . . :|
Guataca x . x .
X x . x .
x . x
(hi bell)
Low bell x x . x
. x x . x
. x .
_
_ _
_
_
Conga(hi) o o o o o
o o . o .
o . or:
_
_ _
_ _
_
O s
s O s s O
s s O s s or:
_
_ _
_ _
_
s O
O s O O s
O O s O O
_ _
_ _
Tumba(lo) B . S B O
. B . S B
O . or:
_ _
_ _
S .
B s B . S
. B s B .
Tumba(2) . . B B
. . . . B
B . B >>
B B
. B . . .
. B B . .
YANKADI (Guinee) - Kees de Grauw ([email protected])
from
Mamady Keita
and Philippe Reunis ([email protected])
12/8 |: . . * . . * . . * . . :|
Dundun O . . .
. . . . .
. . O
Songba M . . O
. O . . .
. . .
Kenkeni . . . .
. . O . O
. . .
_
_ _
B >>
Djembe B . . .
. O O . O
O . B >>
_
_ _ sp; (intro) B . B B
. B O . O
O . O >>
_
_
B .
B . . S .
. . . . B >>
_
_ _
B .
. S . . S
. . . . B >>
_
_ _
B .
. . . B B
. O O . B >>
_
_ _
_
Djembe B . . S
. B B . O
O . B
(groove) _
_
_
Djembe O . O O
. O . . O
O . B
(varia.) _
_ _
O .
O O . O O
. O . . B
_
_ _
_
O O
O O O O O
O O O . B
_
_ _
Support s . . O
. O . . .
. . . >>
Djembe Of . . Of
. . S . S
. . .
CHANGO (Cuba), Luis Nunez ([email protected])
from Dr. Fernando
Ortiz
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 "^".
ELEGGUA (Santeria), Luis Nunez ([email protected])
(simplified version)
12/8 |: . .
* . . * .
. * . . :|
Hi Drum S m O S m O S m O S m O
Mid Drum m S m O S m m S m O m S m
Lo Drum B . S S S O B . S S S .
Bell X . X . X X . X . X . X
BATAKATO (Nigeria), John Feddersen ([email protected])
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)
SOLI (W.Africa, various) Paulo Mattioli ([email protected])
Note: one of many variations.
12/8
|: . . * . .
* . . * .
. :|
_ _
_ _
Djembe 1 S .
O s . . S
. O s . .
_
_ _
_
Djembe 2 S .
. S O O S
. . S O O
(Bougarabou)
Junjun .
. O O . .
. . O . .
O
(Jbell) x .
x x . x x
. x x . x
Songba O
. . . M .
M . . O .
.
(Sbell) x .
x . x . x
. x x . x
Kenkeni . .
. . O O .
. . . O O
(Kbell) x .
. x . . x
. . x . .
OR: simpler variation (Junjun/Songba
only)
Junjun O
. . . . .
. . O . .
.
Songba .
. . . O .
. . . . O
.
ZEPAULE (Haiti), Richard Darsie ([email protected])
12/8
|: . . * . .
* . . * .
. :|
_ _
_ _
Low(Maman) b . .
O . . b .
. O . .
stick on drum o o
x o
x
head/side _
_ _
_ _
_
Mid(Seconde) B . S
b O O B .
S b O O
Hi(Boula) . o o . o o . o o . o o
Bell X . X . X . X X . X . X
MANDJIANE (?), Amy Smith ([email protected])
12/8 |: . . * . . * . . * . . :|
DjembeL S . . S S . . B S S O O
DjembeM S S . . . . S S . B . B
DjembeH S .
O S . . S
. O S . . or:
S . . O O
O S . . O
O O
Junjun O
. . O . .
O . . . .
O
Bell
X . X . X
X . X . X
. X
SORSORNET (?) Paulo Mattioli (John Feddersen, [email protected])
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
FUME FUME (?) Jason Hann ([email protected]) 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 .
GBEREDU 2 - (DOUNDOUNBA) Michael Wall ([email protected])
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
DJABARA (?) Albert Prak ([email protected]) 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)
2/3 INVENTION, Frater Calamari ([email protected])
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.
TIRIBA (Guinea) - consensus by Michael Wall ([email protected])
and
other
Djembe-L members from Mamady Keita
12/8
|: . . * . .
* . . * .
. :|
Break: O O O
O O O . O
O . O . .
_ _
_ _
Djembe#1 B S
O . S . B
S . B S .
_
_ _
_
Djembe#2 B .
. O S . B
. . O S .
_ _
_ _
_
Djembe#3 B .
S B O O B
S . B O O
Kenkeni O O
. M . . O
O . M . .
(bell) x
x . x x .
x x . x x
.
Songba M
. . O . .
M . . O .
.
(bell) x
x . x x .
x x . x x
.
Junjun O
. . . O .
O . . . .
.
(bell) x
x . x x .
x x . x x
.
MULTIPART CONGA RHYTHMS
Drum setup for right-handers: CONGA
TUMBA
QUINTO
*you*
YANKADI, Joel Rives ([email protected])
12/8
|:. . * . . * . . * . . * . . * . . * . . * . .:|
_ _ _ _
_ _ _
_
Quinto . S S . .
. O . O h f . . S S . . . O . O h f .
Conga . . .
O . O . . . . . . . . . O . . . . . . . .
Tumba O . .
. . . . . . . . O O . . . . . . . . . . O
Variation:
Quinto . S S . M
. O S O h f . . S S . M . O . O h f .
Conga M . .
O . O . . . . . . M . . O . . O . . . . .
Tumba O . .
. . . . . . . . O O . . . . . . . . . . O
_ _ _
_ _ _
_ _
Djembe-1 B . . S . S B . O O
. . B . . S . . B . O O . .
_ _
_ _ _
Djembe-2 M . . O . O . . . .
. . Of. . Of. . S . S . . .
ABAKUA, Michael Wall ([email protected])
12/8
|:. . * . . * . . * . . * . . * . . * . . * . .:|
_ _ _ _ _
_ _ _ _ _ _ _ _ _
Quinto . . S . .
. . S S B . . . . S . . S . S . . O S
Conga . . .
. O O . . . . . . . . . . . . . . . O . .
Tumba h f .
B . . B . . . O O h f . h f . B . O . . .
Bell
x . x . x x . x . x . x x . x . x x . x . x . x
*** RHYTHMS WITH OTHER METERS ***
Darsie's 10/8 (Invention), Richard Darsie ([email protected])
"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
GIRIAMA SPIRIT DANCE (Haiti), Richard Darsie
([email protected])
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 . .
KOREDUGA (?), Yves Goulnik ([email protected])
from Serge Blanc
9/8 |:
. . * . .
* . . :|
_ _
_ _
Djembe 1 Sf . S
B O O B S
. OR:
_ _
_ _
B S . S B O
O B S .
_ _
_
Djembe 2 O O
. S S . S
S .
Junjun 1 B . B . O . O . .
Junjun 2 B .
B B B . B
. B >>
B . . . O
. O . B
Bell x
. x x x .
x . x
_ _ _
_
Break O O O
O S S . S
S .
</FONT>
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