Mamady composed this rhythm in memory of his grandmother Koudani.
>120bpm 4/4 || 1 & 2 & | 3 & 4 & ||
r rl l l r rl l l
Djembe 1 || S.OO.S.B | S.OO.S.B ||
r..lr.rl r..lr.rl
Djembe 2 || S..SS.OO | S..SS.OO ||
Bell 1 || xx.x.x.x | xx.xx.x. ||
+Kenkeni || KK.k.k.. | KK..k... ||
Bell 2 || x.xx.x.x | x.x.x.x. ||
+Sangban || ...g.g.G | ..G...G. ||
Bell 3 || x.xx.xx. | x.xx.xx. ||
+Dununba || D.....D. | D.....D. ||
* start Dununba here before the downbeat
Seckou Keita's Dununba variation to throw things upside down for a few bars:
Bell 3 || x.xx.xx. | x.xx.xx. ||
+Dununba || ..D...D. | ..D...D. ||
Djembe 2 is a widely-used traditional accompaniment that Mamady described
as 'rhythm populaire', and dates from the 13th Century.
We use phrases mentioning "grandma" to remember the parts:
Djembe 1 = "love my grandma, I love my grandma, I..."
Bell 2 = "Come to Royston to see my grandma"
Bell 3 = "Have some apricots"
During the Break section, the Dun duns and Djembes continue as normal while
the soloist(s) play over the top, ending with a final Echauffement.
Break section:
|| 1 & 2 & | 3 & 4 & ||
Djembe call || o.OO.O.O | O.SSS... ||
Djembe solo || B...B... | B...B..B || +
Section A: || OO..S... | S...S..B || +
|| OO..S... | S...S..B || +
rlrlrlrl r lrlrlrl __6___
|| OOSOOSOO | S..BS3S3 || + where S3S3 = SSSSSS
|| S...B... | B...B..B || +
|| OO..S... | S...S..B || +
|| OO..S... | S...S..B || +
|| OOSOOSOO | S..BS3S3 || +
|| S...B... | B...B..B || +
|| OO..S... | S...S..B || +
|| OO..S... | S...S..B || +
|| OOSOOSOO | S..BS3S3 || +
|| S...B... | B...B..B || +
|| OO..S... | S...S..B || +
|| OO..S... | S...S..B || +
|| OOSOOSOO | S..BS3S3 || +
|| S...B... | B...B... || +
r rl lr rl lr f
Section B: || O.SO.SO. | SO.SO.s. || +
|| B...B... | B...B... || +
|| O.SO.SO. | SO.SO.s. || +
|| B...B... | B...B... || +
|| O.SO.SO. | SO.SO.s. || +
|| B...B... | B...B... || +
|| O.SO.SO. | SO.SO.s. || +
|| B...B... | B...B..S || +
lrlrl lr rl lr r _3_
Section C: || O3SS.SS. | SS.SS..S || + where O3 = OOO
|| O3SS.SS. | SS.SS..S || +
|| O3SS.SS. | SS.SS.s. || +
|| B...B... | B...B..S || +
|| O3SS.SS. | SS.SS..S || +
|| O3SS.SS. | SS.SS..S || +
|| O3SS.SS. | SS.SS.s. || +
|| B...B... | B...B..S || +
|| O3SS.SS. | SS.SS..S || +
|| O3SS.SS. | SS.SS..S || +
|| O3SS.SS. | SS.SS.s. || +
|| B...B... | B...B..S || +
|| O3SS.SS. | SS.SS..S || +
|| O3SS.SS. | SS.SS..S || +
|| O3SS.SS. | SS.SS.s. || +
|| B...B... | B...B... || +
rlrlrlrl rlrlrlrl
Echauffement|| OOSSSSSS | SSSSSSSS || +
|| OOSSSSSS | SSSSSSSS || +
|| OOSSSSSS | SSSSs... || +
Djembe call || o.OO.O.O | O.SSS... || +
Ending || B------- | ........ ||
Bells || X------- | ........ ||
Kenkeni || K------- | ........ ||
Sangban || G------- | ........ ||
Dununba || D------- | ........ ||
(c) New
African drum rhythm composed (in neo-traditional
Guinean style) in 2007 by
Mamady Keita
as part of his "Evolution Of The Djembe", taught at his
intermediate djembe workshop in High Wycombe, England on
Saturday
2008-05-24.
(notated by
Malcolm Smith during the class)