rhythms for hand drumming

8/11/2019 Rhythms for Hand Drumming

1/133

!"#$"%& ()* +,-./*0%%1-23"1*. 4.1$1)- 5 6,#7 899:

;=?1-2 $"*)02" $1%= ,-. &@,A=B)0* =,*& ,*= 1- =CA=??=-$ A)-.1$1)-D;

E)"- F,2=

;3"1-G1-2 H1?? ?=,. #)0 ,&$*,#D; , 2*=,$ $0*$?= $")02"$

!"#$"%& ()* +,-./*0%%1-23"1*. 4.1$1)- 5 6,#7 899:

;=?1-2 $"*)02" $1%= ,-. &@,A=B)0* =,*& ,*= 1- =CA=??=-$ A)-.1$1)-D;

E)"- F,2=

;3"1-G1-2 H1?? ?=,. #)0 ,&$*,#D; , 2*=,$ $0*$?= $")02"$


2/133

3=A"-1A,? I$0(( JK)0$ L*1-$1-2

Printed on donated paper that would otherwise have been summarily circular-filed.Thanks Tammy and Van!

Please make copies on equally salvaged or recycled or alternative fiber paper.

Created in Microsoft (:-P) Word. Tablature is in MS (:-P) Excel. Converted to an Adobe pdf (butthis prevents printing on small sheets).

To print (only if you have to):Cut stacks of 11 inch paper in half so you have two stacks of 5 .5 x 8.5 paper.

Shuffle the stacks to mix up the various widths.Print "odd only", flip stack and stick back in printer, print "even only/reversed".

Formatting statistics:Most text is in Times New Roman, titles are in Comic Sans and Coronet.

The table of contents is in Lucida Sans.Gro, Pra, ful, (O), and other such three character symbols are in 10 point font;

all other symbols are in 12 point font.Width of 2/4 columns is 2.57, second column in from left is 1.86.

All your base are belong to us.Width of 3/6 columns is 3.71. Rightmost column is 2.71.

Frames are 6.9 inches high and 4.7 inches wide, no border.Frames are horizontally positioned 0.4 inches from spine to give room for plastic binder ring,

therefore horizontal position is 0.4 for maximum acreage in the printable space.The drummer's shoes are dirty, to confuse.

Printings:First Edition - May, 2001 5 copies

Second Edition - May, 2002 15 copiesThird Edition - June, 2003 40 copies

3"= M0$0*=A revised fourth edition will likely include editorial and factual corrections, new rhythms that enter

my world or have been requested by friends, a second table of contents breaking the rhythm down byregion, or something, some geographical information about the Malinke region, maybe some songs,better clave compilation pages, a couple of pages of favorite Dunun part compilations, and hopefully

i'll finish transcribing some of those pop rhythms that were started.

3=A"-1A,? I$0(( JK)0$ L*1-$1-2

Printed on donated paper that would otherwise have been summarily circular-filed.Thanks Tammy and Van!

Please make copies on equally salvaged or recycled or alternative fiber paper.

Created in Microsoft (:-P) Word. Tablature is in MS (:-P) Excel. Converted to an Adobe pdf (butthis prevents printing on small sheets).

To print (only if you have to):Cut stacks of 11 inch paper in half so you have two stacks of 5 .5 x 8.5 paper.

Shuffle the stacks to mix up the various widths.Print "odd only", flip stack and stick back in printer, print "even only/reversed".

Formatting statistics:Most text is in Times New Roman, titles are in Comic Sans and Coronet.

The table of contents is in Lucida Sans.Gro, Pra, ful, (O), and other such three character symbols are in 10 point font;

all other symbols are in 12 point font.Width of 2/4 columns is 2.57, second column in from left is 1.86.

All your base are belong to us.Width of 3/6 columns is 3.71. Rightmost column is 2.71.

Frames are 6.9 inches high and 4.7 inches wide, no border.Frames are horizontally positioned 0.4 inches from spine to give room for plastic binder ring,

therefore horizontal position is 0.4 for maximum acreage in the printable space.The drummer's shoes are dirty, to confuse.

Printings:First Edition - May, 2001 5 copies

Second Edition - May, 2002 15 copiesThird Edition - June, 2003 40 copies

3"= M0$0*=A revised fourth edition will likely include editorial and factual corrections, new rhythms that enter

my world or have been requested by friends, a second table of contents breaking the rhythm down byregion, or something, some geographical information about the Malinke region, maybe some songs,better clave compilation pages, a couple of pages of favorite Dunun part compilations, and hopefully

i'll finish transcribing some of those pop rhythms that were started.


3/133

1

!"#$"%&"#$%#$% &'(')******************************************************* +, "#$%#$% -$.$ /012 3 &'(') ************************************ +3 "#$%#$% -$.$ /012 +&'(') ************************************* ++ "41 5 "6 &'(') ******************************************************* +7 "1068.09 &'(')***************************************************** +'

"21$#429 :(;4


4/133

2

T0FF0 "110%L868%2 $%2)************************************ >A T0FF0 &HN%N%O '(') *********************************************** >B T$%@$C T$28D T$28 U06


5/133

3

-$@$ &HN%N% $%2*)O '(7)************************************** D' -$@$ -$.$ &'(7)***************************************************** D> -$.4 &F.$Z [ '( ') **************************************************** DA -$.4 &I0F2 [ '(7) ***************************************************** DB -$.4 -$.$ &'(7) ****************************************************** DC -/4H81 \8< &'(') ************************************************** DD -N%N &'(') ********************************************************** 3,, -N%N -$.$ &'(') ************************************************** 3,3 P0060 &HN%N% $%.9O A(C) *********************************** 3,+ P464%4 &'(')******************************************************** 3,7 P414 P$1$ &HN%N%O '(') ********************************************** 3,A ]%[%068H X$N%H &'(') *************************************** 3,B ^$4#8F***************************************************************** 3,C E0%@0H4 &'(') ***************************************************** 3,D E8%K$N &'(') ****************************************************** 33, '_A X;92;6


6/133

4

N-$*).0A$1)-

Here is an assemblage of miscellaneous information and drummingpatterns brought together from many sources including drumclasses or workshops, popular and not so popular music, internetweb sites, gatherings, books, and drum circles.

I put this material together for myself, so i could carry the rhythmswith me -- in the absence of a photographic memory. There willcome a day when i no longer need the book; each day i becomeless dependent on it. And so shall you.

Wherever possible, the source of the rhythm is credited. If you arethe creator of a rhythm, or the person who did the work to bring atraditional rhythm to print, and i neglected to note that, ormistakenly credited someone else, i apologize. If it is anyconsolation, this book is not for sale, or to be sold beyond the costof printing, if that.

It is a gift to the community to be shared with the community. It'sa good way to hand the rhythms to others, share the music, andresources. If you have more than one copy, please pass your oldcopy on to someone else so they can use it. If you have a hard orsoft copy of this book, and you wish to make a copy and give it tosomeone else, please do not materially profit from it. If you decideto print or copy it, please avoid using regular paper. There aremany companies selling 100% tree-free paper, made without usingchlorine. Please support this alterative type of paper, and avoid

cutting down the remaining 3% of our old growth forests.

This is not meant to be a comprehensive resource, just a smatteringof what the wind blows by. It reflects stuff i am learning orplaying around with, and so is not meant to be globally accurate.My primary teacher likes tradition however, so a lot of it istraditional.

If there is something you would like changed for a future edition ofthe book, please do not hesitate to mention it to me.

4

N-$*).0A$1)-

Here is an assemblage of miscellaneous information and drummingpatterns brought together from many sources including drumclasses or workshops, popular and not so popular music, internetweb sites, gatherings, books, and drum circles.

I put this material together for myself, so i could carry the rhythmswith me -- in the absence of a photographic memory. There willcome a day when i no longer need the book; each day i becomeless dependent on it. And so shall you.

Wherever possible, the source of the rhythm is credited. If you arethe creator of a rhythm, or the person who did the work to bring atraditional rhythm to print, and i neglected to note that, ormistakenly credited someone else, i apologize. If it is anyconsolation, this book is not for sale, or to be sold beyond the costof printing, if that.

It is a gift to the community to be shared with the community. It'sa good way to hand the rhythms to others, share the music, andresources. If you have more than one copy, please pass your oldcopy on to someone else so they can use it. If you have a hard orsoft copy of this book, and you wish to make a copy and give it tosomeone else, please do not materially profit from it. If you decideto print or copy it, please avoid using regular paper. There aremany companies selling 100% tree-free paper, made without usingchlorine. Please support this alterative type of paper, and avoid

cutting down the remaining 3% of our old growth forests.

This is not meant to be a comprehensive resource, just a smatteringof what the wind blows by. It reflects stuff i am learning orplaying around with, and so is not meant to be globally accurate.My primary teacher likes tradition however, so a lot of it istraditional.

If there is something you would like changed for a future edition ofthe book, please do not hesitate to mention it to me.


7/133

5

This book uses tablature for the rhythms. There is the possibilityof using either classical notation or tablature to convey the timingand hand-strikes for patterns. But most beginners, particularlythose without musical training, find tablature easier to read thanclassical notation (i know i do!), so, that's what's used here, even ifit might be inferior or unable to convey certain subtleties in somecases. But the subtleties are why we need to seek out competentteachers, and the subtleties are what we put into the music from

ourselves, not a book.

I know this all appears daunting at first. Many people haveglanced at it and said, "Oh, I can't read that stuff!". But you can.Give it half an effort and you will see.

There are many different types of drums, and the "note" or hand-strike symbols for them will vary. Some of these rhythms forinstance, are traditionally played on the Middle-Eastern doumbekand various styles and sizes of South-American drums. Some are

from modern drum sets or electronic Goddess-knows-what noisemakers. Some are not for the drum at all; they are rhythms topiano, guitar or a-cappella chants.

Most however, are for the African Djembe and Dunun.All patterns use the "Gun, go, pa" notation system, since this is themost popular right now in North America. There are a few rhythmexercises for clapping, stepping, and singing.

5

This book uses tablature for the rhythms. There is the possibilityof using either classical notation or tablature to convey the timingand hand-strikes for patterns. But most beginners, particularlythose without musical training, find tablature easier to read thanclassical notation (i know i do!), so, that's what's used here, even ifit might be inferior or unable to convey certain subtleties in somecases. But the subtleties are why we need to seek out competentteachers, and the subtleties are what we put into the music from

ourselves, not a book.

I know this all appears daunting at first. Many people haveglanced at it and said, "Oh, I can't read that stuff!". But you can.Give it half an effort and you will see.

There are many different types of drums, and the "note" or hand-strike symbols for them will vary. Some of these rhythms forinstance, are traditionally played on the Middle-Eastern doumbekand various styles and sizes of South-American drums. Some are

from modern drum sets or electronic Goddess-knows-what noisemakers. Some are not for the drum at all; they are rhythms topiano, guitar or a-cappella chants.

Most however, are for the African Djembe and Dunun.All patterns use the "Gun, go, pa" notation system, since this is themost popular right now in North America. There are a few rhythmexercises for clapping, stepping, and singing.


8/133

6

3*,.1$1)-

When i bought Mamady Keita's book, A Life for the Djembe, in ithe stated that everyone teaching a rhythm should know where therhythm came from and what it was used for. He also implores usto help him keep the traditional rhythms alive.

So, for each traditional rhythm for which i have the information,i've included the ethnic group and the geographical region fromwhich it is from. Mamady's book is a prime source of thisinformation and so is the most cited. Some rhythms include partswhich may or may not be traditional. The ones sourced from ALife for the Djembe are most certainly traditional. Most from AlanTauber are likely traditional, though he likes to be creative andteach rhythms in a way that facilitates learning.

Because most of the traditional rhythms are from the Malinkeinhabited region of western Africa, included below is a bit of

information about them. It is interesting to note that mostinformation comes from Christian sites who have a mission to"reach" the Malinke. Maybe Christians need to be reached withdrumming? Anyway, keeping that in mind, the following mayonly be partially true:

THE MALINKE are descendents of the great Mali Empire datingback to 1240, and are part of the linguistic group of Mandespeakers from Senegal, Guinea, Mali and Gambia, the Niger-Congo language family. Several Mandinka clans in the second

millennium created the Manding Empire. It grew in power in thethirteenth century under the rule of Sundiata, the "lion king," whounified the kingdom and began to conquer surrounding peopleswho laid the foundation for Malinke greatness and expansion intothe rest of West Africa. There are currently over three millionMalinke people concentrated mainly in the countries of Mali,Guinea, Senegal and Ivory Coast. Due to European influences,French is still the official language of the Malinke territory.

The Malinke are an agricultural people; the majority are

subsistence farmers. They hoe their fields by hand and few useany type of fertilizer or irrigation. Rice and millet are important

6

3*,.1$1)-

When i bought Mamady Keita's book, A Life for the Djembe, in ithe stated that everyone teaching a rhythm should know where therhythm came from and what it was used for. He also implores usto help him keep the traditional rhythms alive.

So, for each traditional rhythm for which i have the information,i've included the ethnic group and the geographical region fromwhich it is from. Mamady's book is a prime source of thisinformation and so is the most cited. Some rhythms include partswhich may or may not be traditional. The ones sourced from ALife for the Djembe are most certainly traditional. Most from AlanTauber are likely traditional, though he likes to be creative andteach rhythms in a way that facilitates learning.

Because most of the traditional rhythms are from the Malinkeinhabited region of western Africa, included below is a bit of

information about them. It is interesting to note that mostinformation comes from Christian sites who have a mission to"reach" the Malinke. Maybe Christians need to be reached withdrumming? Anyway, keeping that in mind, the following mayonly be partially true:

THE MALINKE are descendents of the great Mali Empire datingback to 1240, and are part of the linguistic group of Mandespeakers from Senegal, Guinea, Mali and Gambia, the Niger-Congo language family. Several Mandinka clans in the second

millennium created the Manding Empire. It grew in power in thethirteenth century under the rule of Sundiata, the "lion king," whounified the kingdom and began to conquer surrounding peopleswho laid the foundation for Malinke greatness and expansion intothe rest of West Africa. There are currently over three millionMalinke people concentrated mainly in the countries of Mali,Guinea, Senegal and Ivory Coast. Due to European influences,French is still the official language of the Malinke territory.

The Malinke are an agricultural people; the majority are

subsistence farmers. They hoe their fields by hand and few useany type of fertilizer or irrigation. Rice and millet are important


9/133

7

staple crops, along with peanuts and sorghum. Some of the menhave small part-time businesses to supplement their incomes.They may keep goats, sheep, bees, and poultry. In addition, theykeep cattle for prestige, as bride-price payments or as sacrifices.Men usually do the heavy farm work, while the women do bothdomestic and farm chores. Women have the jobs of cooking,cleaning, tending to the young children, and gathering forestproducts. Men are usually responsible for hunting, fishing, and

holding leadership positions, such as chief, village elders or imams(religious leaders).

In Southern Mali they are known for a great tradition of maskeddance. The Malinke have many elaborate ceremonies associatedwith the different societies and initiation rites of their culture.

7

staple crops, along with peanuts and sorghum. Some of the menhave small part-time businesses to supplement their incomes.They may keep goats, sheep, bees, and poultry. In addition, theykeep cattle for prestige, as bride-price payments or as sacrifices.Men usually do the heavy farm work, while the women do bothdomestic and farm chores. Women have the jobs of cooking,cleaning, tending to the young children, and gathering forestproducts. Men are usually responsible for hunting, fishing, and

holding leadership positions, such as chief, village elders or imams(religious leaders).

In Southern Mali they are known for a great tradition of maskeddance. The Malinke have many elaborate ceremonies associatedwith the different societies and initiation rites of their culture.


10/133


11/133

9

A palisade of wood or a wall of mud bricks surrounds everycompound in a Malinke village. Their houses are groupedaccording to family ties, with each extended family occupying acompound. A number of these compounds compose a village.Each village has a chief who acts as judge over the village. Hehandles disputes and helps the council of elders.

Most Malinke live in round huts with walls made of sun-dried

brick and roofs made of thatched grass. Some live in rectangularbuilding made of mud brick and roofs of tin. Many young,unmarried men occupy separate bachelor quarters in the samecompound as their fathers.

Traditionally, parents arranged their daughters' marriages while thegirls were still infants. Today, marriages are still arranged, but notas early. The groom is required to work for the bride's family bothbefore and after the wedding. He must also pay the girl's family a"bride price." Traditionally a man's wife moves into her father-in-

law's compound upon marriage. Unlimited polygamy is permittedamong the Malinke, but the men rarely have more than three orfour wives due to the restrictions of Islamic law.

Islam is the Malinke's professed religion, brought to them in the1860's by foreign merchants. The religion blended with theMalinke's native religious practices that involved worshiping thespirits, and today this blending of religions is still evident. It is notuncommon for a Malinke to first pray in the village mosque andthen sacrifice a chicken to the "village spirit". Many people

consult marabous (holy men) for healing, protective charms orinsight into the future. They can also be consulted to put a curseon an enemy. Educated Malinkes may conceal their belief inmagic, but there are very few which do not possess a charm oramulet of some sort.

9

A palisade of wood or a wall of mud bricks surrounds everycompound in a Malinke village. Their houses are groupedaccording to family ties, with each extended family occupying acompound. A number of these compounds compose a village.Each village has a chief who acts as judge over the village. Hehandles disputes and helps the council of elders.

Most Malinke live in round huts with walls made of sun-dried

brick and roofs made of thatched grass. Some live in rectangularbuilding made of mud brick and roofs of tin. Many young,unmarried men occupy separate bachelor quarters in the samecompound as their fathers.

Traditionally, parents arranged their daughters' marriages while thegirls were still infants. Today, marriages are still arranged, but notas early. The groom is required to work for the bride's family bothbefore and after the wedding. He must also pay the girl's family a"bride price." Traditionally a man's wife moves into her father-in-

law's compound upon marriage. Unlimited polygamy is permittedamong the Malinke, but the men rarely have more than three orfour wives due to the restrictions of Islamic law.

Islam is the Malinke's professed religion, brought to them in the1860's by foreign merchants. The religion blended with theMalinke's native religious practices that involved worshiping thespirits, and today this blending of religions is still evident. It is notuncommon for a Malinke to first pray in the village mosque andthen sacrifice a chicken to the "village spirit". Many people

consult marabous (holy men) for healing, protective charms orinsight into the future. They can also be consulted to put a curseon an enemy. Educated Malinkes may conceal their belief inmagic, but there are very few which do not possess a charm oramulet of some sort.


12/133

10

3,K?,$0*=

31%= I$*0A$0*= O)$,$1)-When a rhythm is being notated, the first line indicates the overalltime structure. Here is an example:

1 e + a 2 e + a 3 e + a 4 e + a In this case, there will be four beats to each line (measure) of therhythm. Each beat is what is between the bold vertical lines andnumbered 1e+a,2e+a,3e+a, or 4e+a. Each take the same amount oftime, that is, they are evenly spaced just like the tick-tock of aclock.

Since a lot can happen within beats, they are divided further intosub-beats or pulses (that's the e+a part. in classical notation theywould be indicated as fractional notes.) Here, there are four sub-beats to each beat. Just like a beat, each little sub-beat takes thesame amount of time as any other sub-beat.

People find it is useful to sing each sub-beat while clapping orstomping a foot. They sing, "One, ee, and, ah, Two, ee, and, ah,Three, ee, and, ah, Four, ee, and, ah", and clap or stomp once foreach word. The rhythm then just continues around circularly,repeating itself over and over.

A particularly important thing to start learning right away, is thatdifferent overall time structures all feel different. To emphasize

the feeling of a rhythm, and to help people start and end the cycle,or know when to launch into other parts of a rhythm, the One will often be accented, if only subtly.

That particular example was given first, because it is most familiarto people of Western cultures. The structure of it is said to be"in 4". While singing it, you get a sense of how it feels. It feelslike most every popular song on the radio.

10

3,K?,$0*=

31%= I$*0A$0*= O)$,$1)-When a rhythm is being notated, the first line indicates the overalltime structure. Here is an example:

1 e + a 2 e + a 3 e + a 4 e + a In this case, there will be four beats to each line (measure) of therhythm. Each beat is what is between the bold vertical lines andnumbered 1e+a,2e+a,3e+a, or 4e+a. Each take the same amount oftime, that is, they are evenly spaced just like the tick-tock of aclock.

Since a lot can happen within beats, they are divided further intosub-beats or pulses (that's the e+a part. in classical notation theywould be indicated as fractional notes.) Here, there are four sub-beats to each beat. Just like a beat, each little sub-beat takes thesame amount of time as any other sub-beat.

People find it is useful to sing each sub-beat while clapping orstomping a foot. They sing, "One, ee, and, ah, Two, ee, and, ah,Three, ee, and, ah, Four, ee, and, ah", and clap or stomp once foreach word. The rhythm then just continues around circularly,repeating itself over and over.

A particularly important thing to start learning right away, is thatdifferent overall time structures all feel different. To emphasize

the feeling of a rhythm, and to help people start and end the cycle,or know when to launch into other parts of a rhythm, the One will often be accented, if only subtly.

That particular example was given first, because it is most familiarto people of Western cultures. The structure of it is said to be"in 4". While singing it, you get a sense of how it feels. It feelslike most every popular song on the radio.


13/133

11

Here is an examples of another overall time structure:

1 + 2 + 3 + 4 + 5 + 6 + This structure is said to be "in 6". It would be sung, One, and,Two, and, Three, and...... When a rhythm in 6 is played, even if itis very similar to a rhythm in 4, it will feel different. Overall timestructures can also be in 2,3,5,7,8 or more.

Sometimes rhythms in 4 are played on top of, or at the same timeas rhythms in 6. Both rhythms will start at the same time and endat the same time, but the feelings overlap. They create a newfeeling, much like mixing two colors creates a third color.Similarly rhythms can be played together to form 2 with 3, 4 with5, 6 with 8, 9 with 16, etc.

Knowing what a rhythm feels like makes it easier to remember andwill be a good tool for playing in harmony with others.

Most simple rhythms can be notated in one line, but sometimes arhythm, or part of a solo, can take longer to repeat itself, andcovers two or more lines. The brackets, "[" and "]" on either sideof the pattern indicate where a part begins and ends before itrepeats.

While the different parts of a rhythm can be played over and over,freestyle, with no definite schedule for changes or ending, there areother times such as during solos when parts are played for a

specific number of times. In these cases, the number of times willbe indicated in the left margin.

Another trick to the solo notation, is that sometimes when there isa lot of rests at the end of one part of a solo, you don t wait untilthe end of that part to begin the next part. In that case, theadvanced beginning of the next part will be noted in a small font orin italics or with an arrow.

More on the most common notation styles can be found here:

http://www.drums.org/djembefaq/v5d.htm

11

Here is an examples of another overall time structure:

1 + 2 + 3 + 4 + 5 + 6 + This structure is said to be "in 6". It would be sung, One, and,Two, and, Three, and...... When a rhythm in 6 is played, even if itis very similar to a rhythm in 4, it will feel different. Overall timestructures can also be in 2,3,5,7,8 or more.

Sometimes rhythms in 4 are played on top of, or at the same timeas rhythms in 6. Both rhythms will start at the same time and endat the same time, but the feelings overlap. They create a newfeeling, much like mixing two colors creates a third color.Similarly rhythms can be played together to form 2 with 3, 4 with5, 6 with 8, 9 with 16, etc.

Knowing what a rhythm feels like makes it easier to remember andwill be a good tool for playing in harmony with others.

Most simple rhythms can be notated in one line, but sometimes arhythm, or part of a solo, can take longer to repeat itself, andcovers two or more lines. The brackets, "[" and "]" on either sideof the pattern indicate where a part begins and ends before itrepeats.

While the different parts of a rhythm can be played over and over,freestyle, with no definite schedule for changes or ending, there areother times such as during solos when parts are played for a

specific number of times. In these cases, the number of times willbe indicated in the left margin.

Another trick to the solo notation, is that sometimes when there isa lot of rests at the end of one part of a solo, you don t wait untilthe end of that part to begin the next part. In that case, theadvanced beginning of the next part will be noted in a small font orin italics or with an arrow.

More on the most common notation styles can be found here:

http://www.drums.org/djembefaq/v5d.htm


14/133

12

" O)$=P )* +,-.5I$*1G= O)$,$1)- Typically, Djembe hand-strikes will be notated using the Gun, go,pa or Gun, bi, pa system. There are also symbols for theDunDun and clave/bell parts.

There are mainly four ways to hit the drum head. They are: bass,tone, slap, and tap. I say mainly, because, of course there areinfinite variations. They can be modified as one wishes to create

different sounds; for instance, they can be hard or light; they canbe open or muffled. And by changing your hand slightly the"voicing" can be altered. Playing drum is not just about rhythms, itis about making the drum sing. But we have to start somewhere,so.......

The main types of hand-strikes are as follows:

Bass - Hitting the center of the drum head with the whole hand.Tone - Hitting with only half the hand nearer the edge to make a

muted pop. This is also called an open toneSlap - Hitting in the same place as an open tone, but with just theends of your fingers. It will make a note like the tone buthigher.

Tap - Tapping or touching the drum lightly. This is can be usedto add dimension to a rhythm in place of leaving a rest, or itcan help the drummer keep time between beats.

The symbols for hand-strikes are described as follows:

Gn - Bass note with the dominant hand.Dn - Bass with non-dominant handgo - Tone note with the dominant hand. Sometimes called bi.do - Tone with non-dominant hand. Sometimes called di.pa - Slap with dominant hand. If muffled with left, then mp ta - Slap with non-dominant handrt - dominant tap lt - non-dominant tap

12

" O)$=P )* +,-.5I$*1G= O)$,$1)- Typically, Djembe hand-strikes will be notated using the Gun, go,pa or Gun, bi, pa system. There are also symbols for theDunDun and clave/bell parts.

There are mainly four ways to hit the drum head. They are: bass,tone, slap, and tap. I say mainly, because, of course there areinfinite variations. They can be modified as one wishes to create

different sounds; for instance, they can be hard or light; they canbe open or muffled. And by changing your hand slightly the"voicing" can be altered. Playing drum is not just about rhythms, itis about making the drum sing. But we have to start somewhere,so.......

The main types of hand-strikes are as follows:

Bass - Hitting the center of the drum head with the whole hand.Tone - Hitting with only half the hand nearer the edge to make a

muted pop. This is also called an open toneSlap - Hitting in the same place as an open tone, but with just theends of your fingers. It will make a note like the tone buthigher.

Tap - Tapping or touching the drum lightly. This is can be usedto add dimension to a rhythm in place of leaving a rest, or itcan help the drummer keep time between beats.

The symbols for hand-strikes are described as follows:

Gn - Bass note with the dominant hand.Dn - Bass with non-dominant handgo - Tone note with the dominant hand. Sometimes called bi.do - Tone with non-dominant hand. Sometimes called di.pa - Slap with dominant hand. If muffled with left, then mp ta - Slap with non-dominant handrt - dominant tap lt - non-dominant tap


15/133

13

h - Muted bass made by dropping heal of hand near middle ofdrum head and holding it down. If drumming right-handed,this is most often done with the left hand.

ful - dropping the fingers of the left-hand down on the head sonow the entire hand rests on the drum head, as if you justplayed a bass note. Often the combined h-ful (called a shu-ffle) movement is a setup for muting the next note (often apa) made by the right hand.

mD - Muted bass note made by playing a regular Dn, but notlifting your hand off the head afterward. Often an mD is asetup for muting the next note(often an mp) made by theright hand. If done with right hand this would be mG.

Gr - Pronounced "gro", a quick go & do two-handed tone ,hitting the drum at almost the same time, called a flam

Pr - Pronounced "pra", a quick pa & ta two-handed slap hittingthe drum at almost the same time, called a flam

O - bass note on the dununm - muted bass note on dunun (strk lightly, hold stick to head);

also notated (o) x - clave/bell/glockes - shakere or ass n. Since the shakere makes different sounds

when shook up or down, this symbol can be modified by au or d, that is, su or sd .

stk - stick strike on a wooden block or the side of a drum. Beaware this can damage a drum, so make sure it's yours.

It might seem that simply alternating hand-strikes, left, right, leftright, etc. would be the simplest way to play a rhythm. Yet, the

notation specifies which hand must play certain beats, sosometimes your hands will not be alternating.

There are a lot of reasons for this. One is that your muscles mustdo different things for each sound, and since there is more timebetween some notes than others to change position or get ready,simply alternating hands may not give the best fluidity. And whenyou need to switch between rhythm parts, you want to always beready to lead with the appropriate hand. So, rhythm notation isoften written with the perspective that certain quick moves are best

accomplished with the dominant hand. But, some drummers willlearn to play rhythms both left-handed and right-handed so they13

h - Muted bass made by dropping heal of hand near middle ofdrum head and holding it down. If drumming right-handed,this is most often done with the left hand.

ful - dropping the fingers of the left-hand down on the head sonow the entire hand rests on the drum head, as if you justplayed a bass note. Often the combined h-ful (called a shu-ffle) movement is a setup for muting the next note (often apa) made by the right hand.

mD - Muted bass note made by playing a regular Dn, but notlifting your hand off the head afterward. Often an mD is asetup for muting the next note(often an mp) made by theright hand. If done with right hand this would be mG.

Gr - Pronounced "gro", a quick go & do two-handed tone ,hitting the drum at almost the same time, called a flam

Pr - Pronounced "pra", a quick pa & ta two-handed slap hittingthe drum at almost the same time, called a flam

O - bass note on the dununm - muted bass note on dunun (strk lightly, hold stick to head);

also notated (o) x - clave/bell/glockes - shakere or ass n. Since the shakere makes different sounds

when shook up or down, this symbol can be modified by au or d, that is, su or sd .

stk - stick strike on a wooden block or the side of a drum. Beaware this can damage a drum, so make sure it's yours.

It might seem that simply alternating hand-strikes, left, right, leftright, etc. would be the simplest way to play a rhythm. Yet, the

notation specifies which hand must play certain beats, sosometimes your hands will not be alternating.

There are a lot of reasons for this. One is that your muscles mustdo different things for each sound, and since there is more timebetween some notes than others to change position or get ready,simply alternating hands may not give the best fluidity. And whenyou need to switch between rhythm parts, you want to always beready to lead with the appropriate hand. So, rhythm notation isoften written with the perspective that certain quick moves are best

accomplished with the dominant hand. But, some drummers willlearn to play rhythms both left-handed and right-handed so they


16/133


17/133


18/133

16

I022=&$=. R=21--=*S& !"#$"%&

Based on popularity at drum circles and the certain specific lessonsthese rhythms teach, it is suggested beginners start by learning thefollowing:

Aconcon .........................................................20Babatundi Olatunji Warmups ........................123

Bembe ............................................................29Fanga..............................................................43Funk ...............................................................44Kakilambe......................................................48Lamba ............................................................65Lenjen ............................................................67

These are by no means the only rhythms easy enough forbeginners, and people of any skill level are encouraged to work onany and all rhythms they have notation for. These suggestions

only apply to the djembe parts, not the dunun parts. For instance,many find the dunun part to Bembe to be quite challenging.

16

I022=&$=. R=21--=*S& !"#$"%&

Based on popularity at drum circles and the certain specific lessonsthese rhythms teach, it is suggested beginners start by learning thefollowing:

Aconcon .........................................................20Babatundi Olatunji Warmups ........................123

Bembe ............................................................29Fanga..............................................................43Funk ...............................................................44Kakilambe......................................................48Lamba ............................................................65Lenjen ............................................................67

These are by no means the only rhythms easy enough forbeginners, and people of any skill level are encouraged to work onany and all rhythms they have notation for. These suggestions

only apply to the djembe parts, not the dunun parts. For instance,many find the dunun part to Bembe to be quite challenging.


19/133

17

I)%= @=)@?=DDDDDDD

These are some people who have been very instrumental in myeducation, who are sources for information in this book, or haveotherwise been a part of this adventure ('cause there are otherimportant people, like you!):

J?,- 3,0K=* and his teachers at The Drum Connection:

http:/www.drumconnection.com ; 6)*H=- 3H) M=,$"=*& of theEarth Drum Council: www.earthdrum.com ; 6TD N%,-1 #http://www.circleskinandbone.com/ ; !=1-",*. ,-. F)*-=?1,M?,$1&A"?=* (TA-KE-TI-NA Workshops): http://www.taketina.com ;E0?1= F)*=# ; I$=>=- U)0.=- $E)&& L*1A= ,-. I$=>= 3*)%K0?,G of theVillage Green Drum Collective: http://www.vgdrum.org . also, seetheir not-for-money organization, Drummers Against GlobalWarming: http://community.middlebury.edu/~trombula/dagw.htm ;J-.*=H +1?? V http://www.justaddfire.com who runs the site wherethese rhythms enjoy a web presence; the bus; Suzan and Jean whocontributed some transcriptions of things they found; Jane andJohn with whom i practice once a week; and, my students, whoencourage me to learn.

And thanks to all the rest you who play drums with me!!!!

Oh, one more thing: if your drum is broken, in eastern MA you cancall The Drum Connection's 3)-# W*)&& in Westboro at508.366.3683 -- he did a good job replacing the head on my drum.If you attend any gathering where there may be drumming, askaround for Rob or Conrad. Or, learn to fix it yourself by doing aworkshop with Stan Secrest ( www.buildadrum.com ) -- that wasfun.

17

I)%= @=)@?=DDDDDDD

These are some people who have been very instrumental in myeducation, who are sources for information in this book, or haveotherwise been a part of this adventure ('cause there are otherimportant people, like you!):

J?,- 3,0K=* and his teachers at The Drum Connection:

http:/www.drumconnection.com ; 6)*H=- 3H) M=,$"=*& of theEarth Drum Council: www.earthdrum.com ; 6TD N%,-1 #http://www.circleskinandbone.com/ ; !=1-",*. ,-. F)*-=?1,M?,$1&A"?=* (TA-KE-TI-NA Workshops): http://www.taketina.com ;E0?1= F)*=# ; I$=>=- U)0.=- $E)&& L*1A= ,-. I$=>= 3*)%K0?,G of theVillage Green Drum Collective: http://www.vgdrum.org . also, seetheir not-for-money organization, Drummers Against GlobalWarming: http://community.middlebury.edu/~trombula/dagw.htm ;J-.*=H +1?? V http://www.justaddfire.com who runs the site wherethese rhythms enjoy a web presence; the bus; Suzan and Jean whocontributed some transcriptions of things they found; Jane andJohn with whom i practice once a week; and, my students, whoencourage me to learn.

And thanks to all the rest you who play drums with me!!!!

Oh, one more thing: if your drum is broken, in eastern MA you cancall The Drum Connection's 3)-# W*)&& in Westboro at508.366.3683 -- he did a good job replacing the head on my drum.If you attend any gathering where there may be drumming, askaround for Rob or Conrad. Or, learn to fix it yourself by doing aworkshop with Stan Secrest ( www.buildadrum.com ) -- that wasfun.


20/133

18

U1-G&

Here's a bunch to amuse yourself with:

Rhythms: http://www.justaddfire.com (this book on the web)http://www.djembe.net/notation.shtml or http://www.djembe.net/share/index.htm http://members.tripod.lycos.nl/Wappages/ ( www.wappages.info )http://members.tripod.com/rhythm_planet/ http://www.geocities.com/Broadway/2413/music_rhythm.html http://tcd.freehosting.net/djembemande/patterns.htm http://www.newview.org/salem/rhythm.html http://www.cse.ogi.edu/Drum/groove/ http://www.african-drumbeat.co.uk/almost3.htm http://www.soundweaver.org/translib.html http://www.dambe.org/rhythms.html (rhythm meanings, see also:http://home.acceleration.net/clark/PaperVu/context.htm )...and Dave Jolly has a great drum book for sale for $15:http://www.picturedance.com/dave_personal_pages/rhythmbook.html http://www.congajoy.com (a nicely written simple drum book)

Misc:http://www.drumresource.net/ http://tcd.freehosting.net/djembemande/ http://www.dancinghands.com/lesson.cfm http://users.erols.com/jaqui/ http://users.pandora.be/jv/htm-index.htm (for a rhythm program)http://henrykellner.com/PercussionStudio/ (cool rhythm program)http://www.drums.org/ http://www.drumconnection.com http://www.animana.org/tab3/31_INTRO.shtml http://www.ancient-future.com/links/rhythms.html (links)http://www.rhythmweb.com (funny, you've got a lot of books here...)http://www.alternativeculture.com/music/drumming.htm (lessons)http://www.viviansrainbow.com/africanpercussion/notationmethods.htm http://www.larkinam.com/MenComNet/Business/Retail/Larknet/ArtAfroAm erPercussion - this is about the instruments http://www.drumrhythms.com (lessons)http://www.pragmasoft.be/mamady/index_e.html?rhythmweb (Mamady's)http://www.djembe-play.de/Djembe-play/djembe-play.html

Drum componentshttp://pages.prodigy.net/djembe/Djembe.htm http://www.africanrhythmtraders.com http://www.mid-east.com/

18

U1-G&

Here's a bunch to amuse yourself with:

Rhythms: http://www.justaddfire.com (this book on the web)http://www.djembe.net/notation.shtml or http://www.djembe.net/share/index.htm http://members.tripod.lycos.nl/Wappages/ ( www.wappages.info )http://members.tripod.com/rhythm_planet/ http://www.geocities.com/Broadway/2413/music_rhythm.html http://tcd.freehosting.net/djembemande/patterns.htm http://www.newview.org/salem/rhythm.html http://www.cse.ogi.edu/Drum/groove/ http://www.african-drumbeat.co.uk/almost3.htm http://www.soundweaver.org/translib.html http://www.dambe.org/rhythms.html (rhythm meanings, see also:http://home.acceleration.net/clark/PaperVu/context.htm )...and Dave Jolly has a great drum book for sale for $15:http://www.picturedance.com/dave_personal_pages/rhythmbook.html http://www.congajoy.com (a nicely written simple drum book)

Misc:http://www.drumresource.net/ http://tcd.freehosting.net/djembemande/ http://www.dancinghands.com/lesson.cfm http://users.erols.com/jaqui/ http://users.pandora.be/jv/htm-index.htm (for a rhythm program)http://henrykellner.com/PercussionStudio/ (cool rhythm program)http://www.drums.org/ http://www.drumconnection.com http://www.animana.org/tab3/31_INTRO.shtml http://www.ancient-future.com/links/rhythms.html (links)http://www.rhythmweb.com (funny, you've got a lot of books here...)http://www.alternativeculture.com/music/drumming.htm (lessons)http://www.viviansrainbow.com/africanpercussion/notationmethods.htm http://www.larkinam.com/MenComNet/Business/Retail/Larknet/ArtAfroAm erPercussion - this is about the instruments http://www.drumrhythms.com (lessons)http://www.pragmasoft.be/mamady/index_e.html?rhythmweb (Mamady's)http://www.djembe-play.de/Djembe-play/djembe-play.html

Drum componentshttp://pages.prodigy.net/djembe/Djembe.htm http://www.africanrhythmtraders.com http://www.mid-east.com/


21/133


22/133

20

"#$%#$% &'(')

1 e + a 2 e + a 3 e + a 4 e + a

Signal Gr go do go do go do go

Djm #1 pa ta pa ta go do pa ta pa ta go do

Djm #2 Gn ta Gn ta Gn ta Gn ta

Djm #3 go do pa ta Gn go do pa ta Gn

x x x x x x x x x xO O O O (o) O O O O (o)

x x x x x x

O O O O O O

x x x x x x xO O O O O O

x x x x x x xO O O O O O O

DD #3

DD #1

DD #2

Aconcon is an energetic harvest rhythm mostly danced by women in Senegal.

Composer: traditionalSource: Alan Tauber The Drum Connection

20

"#$%#$% &'(')

1 e + a 2 e + a 3 e + a 4 e + a


Djm #1 pa ta pa ta go do pa ta pa ta go do

Djm #2 Gn ta Gn ta Gn ta Gn ta

Djm #3 go do pa ta Gn go do pa ta Gn

x x x x x x x x x xO O O O (o) O O O O (o)

x x x x x x

O O O O O O

x x x x x x xO O O O O O

x x x x x x xO O O O O O O

DD #3

DD #1

DD #2

Aconcon is an energetic harvest rhythm mostly danced by women in Senegal.



23/133

21

"#$%#$% -$.$ /012 3 &'(')

1 e + a 2 e + a 3 e + a 4 e + a


pa ta pa ta pa ta pa ta pa ta pa ta

pa ta pa ta go do go do pa ta pa ta go do go do

pa ta pa ta pa ta Pr



pa ta pa ta pa ta pa ta pa ta

ta ta ta

ta pa ta pa ta Pr

#5 pa ta pa ta pa ta Gr

#6 do pa ta pa do pa ta pa

#7 pa ta pa ta pa ta pa ta

#8 Pr pa ta Pr pa ta Pr pa ta Pr pa ta

#9 go do pa ta go do pa ta

godogo

godogo godogo

godogo godogo godogo

godogo

#2

#1

#4

#3

ggodogo's in lines 4 and 5 are triplets

Composer: of parts - Alan Tauber, or arrangement - as suitable for classSource: Alan Tauber The Drum Connection

21

"#$%#$% -$.$ /012 3 &'(')

1 e + a 2 e + a 3 e + a 4 e + a



pa ta pa ta go do go do pa ta pa ta go do go do





ta ta ta

ta pa ta pa ta Pr

#5 pa ta pa ta pa ta Gr

#6 do pa ta pa do pa ta pa


#8 Pr pa ta Pr pa ta Pr pa ta Pr pa ta

#9 go do pa ta go do pa ta

godogo

godogo godogo

godogo godogo godogo

godogo

#2

#1

#4

#3

ggodogo's in lines 4 and 5 are triplets

Composer: of parts - Alan Tauber, or arrangement - as suitable for classSource: Alan Tauber The Drum Connection


24/133

22

"#$%#$% -$.$ /012 +&'(')

1 e + a 2 e + a 3 e + a 4 e + atriplet

#8 pa pa pa

pa ta pa ta pa ta pa ta pa ta pa ta pa ta pa ta

pa ta pa ta pa ta pa ta pa ta pa ta pa

O O O O O O

#9

DD4

solo

triplet

ta ta ta

g

Composer: of parts - Alan Tauber, of arrangement - as suitable for classSource: Alan Tauber The Drum Connection

22

"#$%#$% -$.$ /012 +&'(')

1 e + a 2 e + a 3 e + a 4 e + atriplet

#8 pa pa pa

pa ta pa ta pa ta pa ta pa ta pa ta pa ta pa ta

pa ta pa ta pa ta pa ta pa ta pa ta pa

O O O O O O

#9

DD4

solo

triplet

ta ta ta

g

Composer: of parts - Alan Tauber, of arrangement - as suitable for classSource: Alan Tauber The Drum Connection


25/133

23

"41 5 "6 &'(')

1 e + a 2 e + a 3 e + a 4 e + a

Air I am Fire I am

and Spi-rit I amWa - ter Ea-rth

Transcribed by meSource: gatherings

23

"41 5 "6 &'(')

1 e + a 2 e + a 3 e + a 4 e + a

Air I am Fire I am

and Spi-rit I amWa - ter Ea-rth

Transcribed by meSource: gatherings


26/133


27/133

25

"21$#429 :(;4


28/133


29/133

27

?010 &'(')

1 e + a 2 e + a 3 e + a 4 e + a

Signal Gro go do go do go do go

Djm #1 Gn ta go do pa ta Gn ta go do pa ta

o o o oO O O

O O O O O O O O O O O

m O O O

DD

DD #1


27

?010 &'(')

1 e + a 2 e + a 3 e + a 4 e + a



o o o oO O O

O O O O O O O O O O O

m O O O

DD

DD #1



30/133


31/133

29

?86


32/133

30

?86


33/133

31

G0.9/F$ &'(')

1 e + a 2 e + a 3 e + a 4 e + a


Djm 1 Gn Dn Gn do Gn Dn Gn do

Djm 2 Gn Dn Dn Gn do Gn Dn Gn do

Djm 3 Gn do Gn do Gn do Gn do

x x (x) x x x x (x) xO O O O O

DD#1


31

G0.9/F$ &'(')

1 e + a 2 e + a 3 e + a 4 e + a


Djm 1 Gn Dn Gn do Gn Dn Gn do

Djm 2 Gn Dn Dn Gn do Gn Dn Gn do

Djm 3 Gn do Gn do Gn do Gn do

x x (x) x x x x (x) xO O O O O

DD#1



34/133

32

G06


35/133

33

G;4.H18% $I 2;8 J4K4%8 &'(')

1 e + a 2 e + a 3 e + a 4 e + a

Djm Gn Dn go Dn Gn pa Gn pa Gn Dn go Dn Gn pa Gn pa

We are the of the di-

We are the chil dre of lo oveWe are the of the di-

As we on the Ear th nowplainwork

chi - l - dr - n vine


Blessings to our Mother the EarthBlessings to our Father the SkyBlessings to our ChildrenAs we work on the Earth plane now

I am a daughter of the DivineI am a daughter of Love

I am a daughter of the DivineAs I work on the Earth plane now

Blessings to my Mother the EarthBlessings to my Father the SkyBlessings to my ChildrenAs I work on the Earth plane now

A GDC favorite!Composer: Mz. Imani - Words and LyricsSource: Mz. Imani drum class

33

G;4.H18% $I 2;8 J4K4%8 &'(')

1 e + a 2 e + a 3 e + a 4 e + a

Djm Gn Dn go Dn Gn pa Gn pa Gn Dn go Dn Gn pa Gn pa

We are the of the di-

We are the chil dre of lo oveWe are the of the di-

As we on the Ear th nowplainwork



Blessings to our Mother the EarthBlessings to our Father the SkyBlessings to our ChildrenAs we work on the Earth plane now

I am a daughter of the DivineI am a daughter of Love

I am a daughter of the DivineAs I work on the Earth plane now

Blessings to my Mother the EarthBlessings to my Father the SkyBlessings to my ChildrenAs I work on the Earth plane now

A GDC favorite!Composer: Mz. Imani - Words and LyricsSource: Mz. Imani drum class


36/133

34

G$%L$ &'(')

1 e + a 2 e + a 3 e + a 4 e + a

Signal go do go do go do go go

Djm #1 go lt go lt go lt go lt go lt go lt

Djm #2 rt ta pa lt rt do go do rt ta pa lt rt do go do

O O O O ODD

Composer: Alan TauberSource: Alan Tauber The Drum Connection

34

G$%L$ &'(')

1 e + a 2 e + a 3 e + a 4 e + a

Signal go do go do go do go go

Djm #1 go lt go lt go lt go lt go lt go lt

Djm #2 rt ta pa lt rt do go do rt ta pa lt rt do go do

O O O O ODD



37/133


38/133

36

JM0%F0 -$.$ &'(')

1 e + a 2 e + a 3 e + a 4 e + a

Gn ta pa ta go do pa ta Gn ta pa ta go do pa taGn ta pa ta go do pa ta Gn ta pa ta go do pa ta

#2 pa ta Dn pa ta pa Dn 4x

#3 pa ta go do pa ta pa go do 2x

pa ta do go ta go do pa do go ta go do pa Dn

pa ta Dn pa ta pa Dn

pa ta pa pa pa pa Dn


pa ta pa pa pa pa 1x

go do pa ta pa ta pa ta pa ta pa ta pa ta pa ta 4xgo do pa ta pa ta pa ta go do pa ta pa ta pa ta 2xgo do pa ta go do pa ta 1x

Pr Gn ta Gn ta Pr Gn ta Gn ta

Pr Gn ta Pr Gn ta Pr Gn ta Gn ta

Gn go do go do go do pa ta pa ta

go do go do go do go do go do

tapata tapata3x

tapata tapata tapata tapata

#5tapata tapata

#8 2x

#7

2x

1x

2x

#1

#4

#6

#9 ta ta ta ta pa 4xpatapa patapa patapa patapa Hints: patapa's are triplets, ta's are spaced evenly, isolated ta's are on 1+,2e, 3,3a, take a class, i'm notsure about this one, myself.

#10 go do pa ta pa ta pa ta pa ta pa ta pa ta pa ta 6x

Composer: #1-6 Mamady Keita, #7-10 are added by Alan TauberSource: Alan Tauber Drum Connection, and Calamari

36

JM0%F0 -$.$ &'(')

1 e + a 2 e + a 3 e + a 4 e + a

Gn ta pa ta go do pa ta Gn ta pa ta go do pa taGn ta pa ta go do pa ta Gn ta pa ta go do pa ta

#2 pa ta Dn pa ta pa Dn 4x

#3 pa ta go do pa ta pa go do 2x

pa ta do go ta go do pa do go ta go do pa Dn


pa ta pa pa pa pa Dn


pa ta pa pa pa pa 1x

go do pa ta pa ta pa ta pa ta pa ta pa ta pa ta 4xgo do pa ta pa ta pa ta go do pa ta pa ta pa ta 2xgo do pa ta go do pa ta 1x

Pr Gn ta Gn ta Pr Gn ta Gn ta

Pr Gn ta Pr Gn ta Pr Gn ta Gn ta

Gn go do go do go do pa ta pa ta

go do go do go do go do go do

tapata tapata3x

tapata tapata tapata tapata

#5tapata tapata

#8 2x

#7

2x

1x

2x

#1

#4

#6

#9 ta ta ta ta pa 4xpatapa patapa patapa patapa Hints: patapa's are triplets, ta's are spaced evenly, isolated ta's are on 1+,2e, 3,3a, take a class, i'm notsure about this one, myself.

#10 go do pa ta pa ta pa ta pa ta pa ta pa ta pa ta 6x

Composer: #1-6 Mamady Keita, #7-10 are added by Alan TauberSource: Alan Tauber Drum Connection, and Calamari


39/133

37

JM0%F0 &HN%N%O '(')

1 e + a 2 e + a 3 e + a 4 e + a

x x x x x x x x x xO O O O O O

x x x x x x x x xO O O (O) O

x x x x x x x x x(O) (O) Ox x x x x x x x x

(O) O O O O

x x x x x x x x(O) O

x x x x x x x x x(O) O O O O O

x x x x x x x xO O Ox x x x x x x x xO O O O O

kk

DD #2

#1DD

DD #3

sb

Composer: traditional, Kassounke, Mali, Kayes RegionSource: kk,sb,DD#1 from Mamady Keita - A Life for the DjembeDD#2 from Alan Tauber The Drum ConnectionDD#3 from www.soundweaver.org

37

JM0%F0 &HN%N%O '(')

1 e + a 2 e + a 3 e + a 4 e + a


x x x x x x x x xO O O (O) O

x x x x x x x x x(O) (O) Ox x x x x x x x x

(O) O O O O

x x x x x x x x(O) O

x x x x x x x x x(O) O O O O O

x x x x x x x xO O Ox x x x x x x x xO O O O O

kk

DD #2

#1DD

DD #3

sb

Composer: traditional, Kassounke, Mali, Kayes RegionSource: kk,sb,DD#1 from Mamady Keita - A Life for the DjembeDD#2 from Alan Tauber The Drum ConnectionDD#3 from www.soundweaver.org


40/133

38

JM86


41/133


42/133


43/133

41

J$N%J$N%


44/133

42

P;8 :#.8#24#F &'(')

1 e + a 2 e + a 3 e + a 4 e + a

Djm #1 go ta ta go ta ta go ta go

go ta ta go ta go ta ta

Composer: The EclecticsSource: transcribed from an Eclectics album.

42

P;8 :#.8#24#F &'(')

1 e + a 2 e + a 3 e + a 4 e + a

Djm #1 go ta ta go ta ta go ta go

go ta ta go ta go ta ta

Composer: The EclecticsSource: transcribed from an Eclectics album.


45/133

43

Q0%L0 &'(')

1 e + a 2 e + a 3 e + a 4 e + a


Djm #1 Gn go go do Gn Gn go do

Djm #2 Gn Dn Gn Dn go do Gn Dn Gn go doDjm #3 pa ta go do go do go do

Djm #4 Dn go do Gn Gn Dn go do Gn

Djm #5 Gn Dn Gn go do Gn Gn Gn go do

Djm #6 Gn Gn Dn go do Gn Gn Gn Dn go do

x x *x x x *xO O O

x x *x x x x x *x xO O O

w t x e ng optona

x x x x x x x xO (o) O O (o)

DD O O O O O O O o o O

DD #1

DD

DD #2

Fanga Alafia Ash Ash (2x)

Ash Ash Ash AshFanga Alafia Ash Ash

Repeat, but instead of Fanga use Ikabo and Eleba (or Elegua)

Composer: traditionalSource: Alan Tauber The Drum Connection, andhttp://www.djembe.net/share/Fanga.htm , andhttp://www.newview.org/salem/rhythm.html

43

Q0%L0 &'(')

1 e + a 2 e + a 3 e + a 4 e + a


Djm #1 Gn go go do Gn Gn go do

Djm #2 Gn Dn Gn Dn go do Gn Dn Gn go doDjm #3 pa ta go do go do go do

Djm #4 Dn go do Gn Gn Dn go do Gn

Djm #5 Gn Dn Gn go do Gn Gn Gn go do

Djm #6 Gn Gn Dn go do Gn Gn Gn Dn go do

x x *x x x *xO O O

x x *x x x x x *x xO O O

w t x e ng optona

x x x x x x x xO (o) O O (o)

DD O O O O O O O o o O

DD #1

DD

DD #2

Fanga Alafia Ash Ash (2x)

Ash Ash Ash AshFanga Alafia Ash Ash

Repeat, but instead of Fanga use Ikabo and Eleba (or Elegua)

Composer: traditionalSource: Alan Tauber The Drum Connection, andhttp://www.djembe.net/share/Fanga.htm , andhttp://www.newview.org/salem/rhythm.html


46/133


47/133

45

R010%L8H$% &'(7)

1 + a 2 + a 3 + a 4 + a

Signal Gr go do go do go do

Gn ta ta ta ta

Gn ta go do ta go do ta ta

Djm#2 pa go ta pa go ta

Djm#3 pa ta go do pa ta go do

x x x x x x x xO O O O

x x x x x x x xO (O) O (O) O

x x x x x x x xO O O O O O

x x x x x x x xO O O

kk

Djm #1

sb

DD

The dance of the shoemakers, who, in earlier times formed their own caste.

Composer: traditional, Bambara, MaliSource: Mamady Keita - A Life for the Djembe

45

R010%L8H$% &'(7)

1 + a 2 + a 3 + a 4 + a


Gn ta ta ta ta

Gn ta go do ta go do ta ta

Djm#2 pa go ta pa go ta

Djm#3 pa ta go do pa ta go do


x x x x x x x xO (O) O (O) O

x x x x x x x xO O O O O O

x x x x x x x xO O O

kk

Djm #1

sb

DD

The dance of the shoemakers, who, in earlier times formed their own caste.

Composer: traditional, Bambara, MaliSource: Mamady Keita - A Life for the Djembe


48/133

46

RN0 RN0%#$ &'(')

1 e + a 2 e + a 3 e + a 4 e + a

Signal Pr Pr ta pa ta Pr

h ful Gn h ful goh ful Gn h ful goh ful Gn h ful m mm Gn go

go ful go lt rt ltgo ful go lt rt ltgo ful go lt Gnrt rt lt rt Gn ful

pa ta ta pa ta ta

pa ta pa ta ta

Stx 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


c l a v e

Djm #1

Djm #3

Djm #2

B e

l l

DD

Composer: TraditionalSource: Alan Tauber The Drum Connection

46

RN0 RN0%#$ &'(')

1 e + a 2 e + a 3 e + a 4 e + a

Signal Pr Pr ta pa ta Pr

h ful Gn h ful goh ful Gn h ful goh ful Gn h ful m mm Gn go

go ful go lt rt ltgo ful go lt rt ltgo ful go lt Gnrt rt lt rt Gn ful

pa ta ta pa ta ta

pa ta pa ta ta

Stx 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


c l a v e

Djm #1

Djm #3

Djm #2

B e

l l

DD

Composer: TraditionalSource: Alan Tauber The Drum Connection


49/133

47

S4%L$ &'(')

1 e + a 2 e + a 3 e + a 4 e + a

Djm #1 Gn Gn Gn Gn go do go do go

Djm #2 Gn Gn Gn pa Gn Gn Gn pa

Djm all Gn Gn Gn Gn Gn Gn Gn Gn Gn pato endclave x x x x x x x x x x x x

Composer: UnknownSource: Julie Corey

47

S4%L$ &'(')

1 e + a 2 e + a 3 e + a 4 e + a

Djm #1 Gn Gn Gn Gn go do go do go

Djm #2 Gn Gn Gn pa Gn Gn Gn pa

Djm all Gn Gn Gn Gn Gn Gn Gn Gn Gn pato endclave x x x x x x x x x x x x

Composer: UnknownSource: Julie Corey


50/133

48

[email protected]


51/133

49

[email protected]


52/133


53/133

51

[email protected]


54/133

52

[email protected]


55/133

53

T0F;.460; &D(+)

1 + 2 + 3 + 4 + 5 + 6 + 7 + 8 + 9 +

Gn go do go go do Gn go do Gn Gn Gn



Gn go Gn go do go

Gn t Gn t t t

Gn t Gn t t t

Gn t t t Gn t t t

Gn t t t Gn t tr pa

Middle Eastern

Composer:Source: Framingham Drum Circle

53

T0F;.460; &D(+)

1 + 2 + 3 + 4 + 5 + 6 + 7 + 8 + 9 +




Gn go Gn go do go

Gn t Gn t t t

Gn t Gn t t t

Gn t t t Gn t t t

Gn t t t Gn t tr pa

Middle Eastern

Composer:Source: Framingham Drum Circle


56/133

T0FF0 "110%L868%2 &'(') T0FF0 "110%L868%2 &'(')


57/133

55

T0FF0 "110%L868%2 &'(')

1 e + a 2 e + a 3 e + a 4 e + a

Gn

Dn Gn

Dn Gn

Dn Gn Dn Gn Dn Gn Gn DnGn Gn

Pr Pr Pr pa ta pa pa ta

go do go do go go do go do go ta pa

go do go do go go do go do go Dn Gn 4x

Pr Pr Pr Pr

pa Dn pa Dn pa Dn pa Dn 2x

Gr pa

go do go do go go do go do go

Gr pa

go do go do go Pr go do go do go 2x

pa Dn pa Dn

pa Dn pa Dn 2x

#6 repeat line #4

#7 Pr Pr 2x

#5

(continues on next page)

godogodogodogodogodogodogo


#1

#2

#3

#4

55

T0FF0 "110%L868%2 &'(')

1 e + a 2 e + a 3 e + a 4 e + a

Gn

Dn Gn

Dn Gn

Dn Gn Dn Gn Dn Gn Gn DnGn Gn

Pr Pr Pr pa ta pa pa ta

go do go do go go do go do go ta pa

go do go do go go do go do go Dn Gn 4x

Pr Pr Pr Pr

pa Dn pa Dn pa Dn pa Dn 2x

Gr pa

go do go do go go do go do go

Gr pa

go do go do go Pr go do go do go 2x

pa Dn pa Dn

pa Dn pa Dn 2x

#6 repeat line #4

#7 Pr Pr 2x

#5

(continues on next page)



#1

#2

#3

#4

T0FF0 "110%L868%2 $%2) T0FF0 "110%L868%2 $%2)


58/133

56

T0FF0 "110%L868%2 $%2)

1 e + a 2 e + a 3 e + a 4 e + a

Pr Gn Pr Dn

Pr Gn Pr Dn 2x


#10 go do go do go do go do

Brk pa ta pa ta pa ta pa tathen go into rhythm

other part to arrangement

pa ta go do pa ta pa pa ta

go do pa ta pa pa ta go do pa ta pa 2x

xo

xo pa ta go do pa ta pa pa ta


#3 a l l x

oxo go do go pa ta pa 2x

#3 a l l x

oxo

xo

xo 2x

Brk pa ta pa ta pa ta pa ta

#8

#2

#1 l o n e

d j m

a l l


56

T0FF0 "110%L868%2 $%2)

1 e + a 2 e + a 3 e + a 4 e + a

Pr Gn Pr Dn

Pr Gn Pr Dn 2x


#10 go do go do go do go do

Brk pa ta pa ta pa ta pa tathen go into rhythm

other part to arrangement

pa ta go do pa ta pa pa ta


xo

xo pa ta go do pa ta pa pa ta


#3 a l l x

oxo go do go pa ta pa 2x

#3 a l l x

oxo

xo

xo 2x

Brk pa ta pa ta pa ta pa ta

#8

#2

#1 l o n e

d j m

a l l



59/133

T$%@$


60/133

58

T$%@$


61/133

59

T$28


62/133

60

T$28


63/133

61

TN@N & ( )

1 e + a 2 e + a 3 e + a 4 e + a

Signal Gr go do go do go pa ta pa

Djm #1 Dn go do pa Dn go do pa

Djm #2 go do ta go do pa go do ta go do pa

Djm #3 Bg go do Gn ta pa Bg go do Gn ta pa

go go do Pr pa pa ta pa

Gn go do pa Gn go do Gr

Djm #5 Dn Dn go do go do go

Djm #4

A popular rhythm played at all sorts of festivals, including full moon celebrations.It is a woman's dance performed in a circle.

Composer: Djm #1,#2 are traditional, Manian, Forest Guinea and Ivory Coast,Djm #3, #4 are composed by Mamady Keita.Source: Djm#1-4 from Mamady Keita - A Life for the DjembeDjembe #5 from http://www.drumrhythms.com

61

TN@N & ( )

1 e + a 2 e + a 3 e + a 4 e + a

Signal Gr go do go do go pa ta pa

Djm #1 Dn go do pa Dn go do pa

Djm #2 go do ta go do pa go do ta go do pa

Djm #3 Bg go do Gn ta pa Bg go do Gn ta pa

go go do Pr pa pa ta pa

Gn go do pa Gn go do Gr

Djm #5 Dn Dn go do go do go

Djm #4


Composer: Djm #1,#2 are traditional, Manian, Forest Guinea and Ivory Coast,Djm #3, #4 are composed by Mamady Keita.Source: Djm#1-4 from Mamady Keita - A Life for the DjembeDjembe #5 from http://www.drumrhythms.com


64/133

62

TN@N -$.$ &'(')

1 e + a 2 e + a 3 e + a 4 e + a

go ta pa ta go ta pa ta go ta pa

ta go do go do go

go ta pa ta go ta pa ta go ta pata do go do go do go


62

TN@N -$.$ &'(')

1 e + a 2 e + a 3 e + a 4 e + a

go ta pa ta go ta pa ta go ta pa

ta go do go do go

go ta pa ta go ta pa ta go ta pata do go do go do go


TN@N &HN%N%O '(') TN@N &HN%N%O '(')


65/133

63

TN@N &HN%N%O ( )

1 e + a 2 e + a 3 e + a 4 e + a

x x x x x x x xO O O O O O O O

x x x x x x x x x xO (O) O O (O) O

x x x x x x x x xO O O

x x x x x x x x xO O

x x x x x xO m O O m O

x x x x x xO O O O m O


DD #3

DD #2

DD #1

kk

sb


Composer: traditional, Manian, Forest Guinea and Ivory CoastSource: Djm#1-4, DD#1, from Mamady Keita - A Life for the Djembedunun #3 from http://www.drumrhythms.com

63

TN@N &HN%N%O ( )

1 e + a 2 e + a 3 e + a 4 e + a

x x x x x x x xO O O O O O O O

x x x x x x x x x xO (O) O O (O) O


x x x x x x x x xO O

x x x x x xO m O O m O

x x x x x xO O O O m O


DD #3

DD #2

DD #1

kk

sb


Composer: traditional, Manian, Forest Guinea and Ivory CoastSource: Djm#1-4, DD#1, from Mamady Keita - A Life for the Djembedunun #3 from http://www.drumrhythms.com


66/133

U06


67/133

65

( )

1 + a 2 + a 3 + a 4 + a

Gr go do go do

go do go

Djm #1 Gn pa ta go do pa ta

Djm #2 pa Dn pa go do

x x x xO O O

x x x xO O O O

O O

x x x x xO O O

xO

O O O O

Signal

DD #1

DD #3

DD #2

t w i c e

o n c e

Composer: traditionalSource: Alan Tauber Drum Connection

Dunun #3 is one Jeanette uses.

65

( )

1 + a 2 + a 3 + a 4 + a

Gr go do go do

go do go

Djm #1 Gn pa ta go do pa ta

Djm #2 pa Dn pa go do

x x x xO O O

x x x xO O O O

O O

x x x x xO O O

xO

O O O O

Signal

DD #1

DD #3

DD #2

t w i c e

o n c e


Dunun #3 is one Jeanette uses.


68/133

U8%M8% &A(+) U8%M8% &A(+)


69/133

67

1 + 2 + 3 + 4 + 5 + 6 +


Djm #1 Gn Gn go do do go do

Djm #2 Gn Gn go do Gn Gn go do

x x x x x xO O

x x x x x xO O O O

DD #1

DD #2

This is a good rhythm to learn transitions using signals and practice counting.

Play the signal first, transitioning into the rhythm, play part #1 8 times, then play thesignal, then play part #2 8 times, play the signal, then go into solo.


67

1 + 2 + 3 + 4 + 5 + 6 +


Djm #1 Gn Gn go do do go do

Djm #2 Gn Gn go do Gn Gn go do

x x x x x xO O

x x x x x xO O O O

DD #1

DD #2

This is a good rhythm to learn transitions using signals and practice counting.

Play the signal first, transitioning into the rhythm, play part #1 8 times, then play thesignal, then play part #2 8 times, play the signal, then go into solo.


U8%M8% -$.$ &A(+) U8%M8% -$.$ &A(+)


70/133

68

1 + 2 + 3 + 4 + 5 + 6 +

#1 4x Pr pa ta (Gn) pa ta pa

#2 4x pa ta pa ta pa ta pa ta

#3 4x pa ta pa ta pa ta

#4 4x Pr pa ta Pr pa ta



Gn ta pa Gn ta pa Gn ta

Gn ta pa pa Gn ta pa ta

Gn ta pa ta pa Gn ta pa ta pa

#7 4x pa ta pa pa ta pa pa ta pa

x x x x x xO O

#5 2x

DD4

solo

#6 1x


68

1 + 2 + 3 + 4 + 5 + 6 +

#1 4x Pr pa ta (Gn) pa ta pa

#2 4x pa ta pa ta pa ta pa ta

#3 4x pa ta pa ta pa ta

#4 4x Pr pa ta Pr pa ta



Gn ta pa Gn ta pa Gn ta

Gn ta pa pa Gn ta pa ta

Gn ta pa ta pa Gn ta pa ta pa

#7 4x pa ta pa pa ta pa pa ta pa

x x x x x xO O

#5 2x

DD4

solo

#6 1x



71/133


72/133

W0H0% &'(') W0H0% &'(')


73/133

71

1 e + a 2 e + a 3 e + a 4 e + a


Djm #1 Gn go do Dn pa Gn go do Dn pa

Djm #2 pa Dn pa ta go do pa Dn pa ta go do

Djm #3 Gn do do Gn Gn Dn Gn

x x x x x x x x x xO O O (O) O O O (O)

x x x x x x x x x xO O O O

x x x x x x x x x x(O) O O O O O O O


x x x x x x x x xO O O O O O O (O)

x x x xO O O O O ODD v a r

# 2

kk

sb

DD

DD v a r #

1

Composer: traditional (except var#2 is Alan Tauber's creation)Source: Alan Tauber The Drum Connection

71

1 e + a 2 e + a 3 e + a 4 e + a


Djm #1 Gn go do Dn pa Gn go do Dn pa

Djm #2 pa Dn pa ta go do pa Dn pa ta go do

Djm #3 Gn do do Gn Gn Dn Gn

x x x x x x x x x xO O O (O) O O O (O)

x x x x x x x x x xO O O O



x x x x x x x x xO O O O O O O (O)

x x x xO O O O O ODD v a r

# 2

kk

sb

DD

DD v a r #

1

Composer: traditional (except var#2 is Alan Tauber's creation)Source: Alan Tauber The Drum Connection

W0H0% -$.$ &'(') W0H0% -$.$ &'(')


74/133

72

1 e + a 2 e + a 3 e + a 4 e + a


Djm #1 Gn ta pa do go ta pa do go ta pa ta Dn pa ta

go do do go Dn pa Dn go do do

go do do go Dn pa Dn pa Dn

Djm #3 go h pa pa go Dn Gn Dn

pa ta pa ta

go do go do go

go do do go Dn pa Pra do do dogo do do go Dn pa Pra pa Dn

Pra Gn Dn Gn Pra Pra

Pra Gn Dn Gn Pra Pra Pra

Gn ta pa do go ta pa do go ta pa ta Dn pa ta

Gn ta pa do go ta pa do go ta pa ta pa ta pa taDjm #7

Djm #2

Djm #4

Djm #5

Djm #6

From the Maninke ethnic group in Kankaba region of Mali. Played at the end of a

harvest celebration and as a welcome dance at festivals


72

1 e + a 2 e + a 3 e + a 4 e + a


Djm #1 Gn ta pa do go ta pa do go ta pa ta Dn pa ta

go do do go Dn pa Dn go do do

go do do go Dn pa Dn pa Dn

Djm #3 go h pa pa go Dn Gn Dn

pa ta pa ta

go do go do go

go do do go Dn pa Pra do do dogo do do go Dn pa Pra pa Dn

Pra Gn Dn Gn Pra Pra

Pra Gn Dn Gn Pra Pra Pra

Gn ta pa do go ta pa do go ta pa ta Dn pa ta

Gn ta pa do go ta pa do go ta pa ta pa ta pa taDjm #7

Djm #2

Djm #4

Djm #5

Djm #6

From the Maninke ethnic group in Kankaba region of Mali. Played at the end of a

harvest celebration and as a welcome dance at festivals


W010@0H$% &'(7) W010@0H$% &'(7)


75/133

73

1 + a 2 + a 3 + a 4 + a

Sig #1 do go do go do go

Sig #2 Pr go do go do go do go

Djm #1 go ta pa ta go ta Gn ta

Djm #2 ta go ta Gn ta go ta Gn

Djm #3 Gn do go Dn Gn do go Dn



x x x x x x x xO (O) O O (O)

x x x x x x xO (O) (O) O O O

x x x x x x x x(O) O O (O) O O

kk #2

DD

godogo

kk #1

sb

The actual name of this rhythm is Marakafoli. The dance is called Marakadon.

Composer: traditional, Maraka, Mali, Kayes RegionSource: Sig #1, Djm#1,#2 and kk#1,sb,DD from Mamady Keita - A Life for theDjembe, Sig #2, Djm #3,#4, and kk#2 fromhttp://members.tripod.lycos.nl/Wappages/marakadn.html

73

1 + a 2 + a 3 + a 4 + a

Sig #1 do go do go do go

Sig #2 Pr go do go do go do go

Djm #1 go ta pa ta go ta Gn ta

Djm #2 ta go ta Gn ta go ta Gn

Djm #3 Gn do go Dn Gn do go Dn



x x x x x x x xO (O) O O (O)

x x x x x x xO (O) (O) O O O

x x x x x x x x(O) O O (O) O O

kk #2

DD

godogo

kk #1

sb

The actual name of this rhythm is Marakafoli. The dance is called Marakadon.

Composer: traditional, Maraka, Mali, Kayes RegionSource: Sig #1, Djm#1,#2 and kk#1,sb,DD from Mamady Keita - A Life for theDjembe, Sig #2, Djm #3,#4, and kk#2 fromhttp://members.tripod.lycos.nl/Wappages/marakadn.html

W010@0H$% -$.$ &'(7) W010@0H$% -$.$ &'(7)


76/133

74

1 + a 2 + a 3 + a 4 + a

go do go do

go do go do pa

go do go do

go do go do

Gr pa Gr pa

go do go do pa

go do pa go do pa

go do go do

#1

#2

2x

Composer:Source: http://members.tripod.lycos.nl/Wappages/marakadn.html

74

1 + a 2 + a 3 + a 4 + a

go do go do

go do go do pa

go do go do

go do go do

Gr pa Gr pa

go do go do pa

go do pa go do pa

go do go do

#1

#2

2x

Composer:Source: http://members.tripod.lycos.nl/Wappages/marakadn.html

W8.4%@0H$% &'(7) W8.4%@0H$% &'(7)


77/133

75

1 trip let 2 trip let 3 trip let 4 trip let

Signal Gro go do go do go do

Djm#1 pa pa ta ta pa pa Dn go do

Djm#2 pa do pa do pa do pa do

Djm#3 pa pa Dn do pa pa Dn go do

x xO O O O

DD


75

1 trip let 2 trip let 3 trip let 4 trip let


Djm#1 pa pa ta ta pa pa Dn go do

Djm#2 pa do pa do pa do pa do

Djm#3 pa pa Dn do pa pa Dn go do

x xO O O O

DD


W8%H40%4 &RN4%80%O '(7) W8%H40%4 &RN4%80%O '(7)


78/133

76

1 + a 2 + a 3 + a 4 + a


Djm #1 pa go ta pa go ta

Djm #2 pa ta go do pa ta go do

Djm #3 pa Dn pa Dn pa go do

Djm #4 pa do pa (Dn) pa do pa (Dn)

Djm #5 do pa go do pa go

Djm #6 go do go do go do pa do

A rhythm and dance for the virgins; the girls from age six to thirteen. A womanwho was once a Mendiani organizes the dancers and initiates them into the secretsof the Mendiani. The dance is very acrobatic and choreographed, and the girlsperform this for several hours.

Composer: traditional, Malinke, Northeast GuineaSource: Djm #1, #2 from Mamady Keita - A Life for the Djembe, other parts fromAlan Tauber Drum Connection andhttp://stud1.tuwien.ac.at/~e8725865/htmls/rhythm_list.html andhttp://members.tripod.lycos.nl/Wappages/mendiani.html

76

1 + a 2 + a 3 + a 4 + a


Djm #1 pa go ta pa go ta

Djm #2 pa ta go do pa ta go do

Djm #3 pa Dn pa Dn pa go do

Djm #4 pa do pa (Dn) pa do pa (Dn)

Djm #5 do pa go do pa go

Djm #6 go do go do go do pa do

A rhythm and dance for the virgins; the girls from age six to thirteen. A womanwho was once a Mendiani organizes the dancers and initiates them into the secretsof the Mendiani. The dance is very acrobatic and choreographed, and the girlsperform this for several hours.

Composer: traditional, Malinke, Northeast GuineaSource: Djm #1, #2 from Mamady Keita - A Life for the Djembe, other parts fromAlan Tauber Drum Connection andhttp://stud1.tuwien.ac.at/~e8725865/htmls/rhythm_list.html andhttp://members.tripod.lycos.nl/Wappages/mendiani.html


79/133


80/133

W8%H48%4 &-8%8L0.8F8O HN%N%O '(7) W8%H48%4 &-8%8L0.8F8O HN%N%O '(7)


81/133

79

1 + a 2 + a 3 + a 4 + a

x x x x x xO O o o O O


x x x x x x xO O o o o O O

x x x x x x xO O O O

o o o oO O O O O O O O

o o o oO O O O O O

x x x x x x xO O O

x x x x x x xO O O O O

O O O O O O O

DD #3

rhythms for hand drumming

Documents