================
- Suley Maniye -
================

This Senegalese folk song was taught to us years ago by our
dance teacher Marta Checchi. I sang it to some people while
I was in Senegal, and they smiled with recognition :-)
It apparently describes a great warrior/chief/leader called
Suley Maniye, who was so well respected and loved that they
wrote this song about him. I'm not sure about the spelling
here, as I'm just using the phonetic transcription we were
given, but I have seen the words Suley Maniye written up the
side of a mosque on the A1 south of South Newington in London,
so they must mean something.


           [Barline]
           |
           | Sulay mani tayla, tayla
           | Sulay mani tayla.       (Sulay mani)
           |
           | Sulay mani tayla, tayla
           | Sulay mani tayla.        Sulay mani
           |
           | Duniye, duniye, duniye   Sulay mani
           | Duniye, duniye, duniye.
           |
          A|wanta koro awa duniye,
           |
           | A--- daliya da, dtoo meni sofa koro kenema.
           | A--- daliya da, dtoo meni sofa koro kenema.
           |
 Ngamudoro | didibe (didibe)
 Ngamudoro | didibe (didibe)
 Ngamudoro | didibe alla, monema farade bade.
           |
        Eh | yara yo--- (yara yo)
        Eh | yara yo--- (yara yo)
        Eh | yara yo alla, monema farade bade.


(Words in brackets are sung by the women, as responses.)
Note that the "A" of "Awanta" comes just before the downbeat,
as does the "Eh" in the last lines and the whole word
"Ngamudoro". I don't have time to notate the tune - you'll
have to come along to our sessions for that :-)

We usually do the song twice, the first time all singing the
same melody in unison, and then once through again, with
harmonies. Depending on the venue, it's nice to sing this
while processing into the performance space.

This song is best accompanied with hand percussion, such as
shakers and bells marking simple pulse, and ideally a 3:2
clave (and even adding a 2:3 clave/bell) so long as you can
play it without it impeding your singing:

100bpm 4/4 |: 1-&-2-&-3-&-4-&- :|
Shakers    |: X...x...X...x... :|
Bells      |: x.......x....... :|
Clave 1    |: x..x..x...x.x... :|   (3:2 pattern)
Clave 2    |: ..x.x...x..x..x. :|   (2:3 pattern)


Key:
X = loud bell/block/clave/shekere  x = quiet bell/block/clave/shekere
K = Kenkeni (high pitch Dun Dun)   k = trapped/closed* Kenkeni
G = Sangban (mid pitch Dun Dun)    g = trapped/closed* Sangban
D = Dununba (low pitch Dun Dun)    d = trapped/closed* Dununba
B = drum bass tone                 b = drum bass tone flam ("bdum")
O = drum open tone ("top")         o = drum open tone flam ("plum")
S = drum slap tone                 s = drum slap tone flam
E = drum edge tone ("ping")        e = drum edge tone flam ("pling")
W = drum slap + wave :-)           r = right (/strong) hand
Z = trapped/closed* slap tone      l = left (/other) hand
F = flam (strong then other hand)  f = flam (other then strong hand)
t = touch/tip/ghost/timing note    h = heel (conga timing note)
. = rest (or ghost/timing note)    | = bar line
- = sustain the previous note      : = repeat
> = accent                         + = continue onto next line

*tone to be damped with hand/beater


(c) Traditional Senegalese folk song, taught by Marta Checchi
http://www.thesmith.org.uk/music/projects/sb/associates.html
(notated by Malcolm Smith on 2008-01-04)