bata drumming basic scores

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Basic Scores


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Introduction

The three batá drums and their role in an ensemble)

on#olo )

the smallest batá drum! the o#on#olo produces the highest pitched tones and is

typically used to play a standard set of rhythms in support of the Iyá and Itotele.

The on#olo is considered the metronome and time-#eeper of the batá ensemble!

hence there is little improvisation floreos carried out on this batá drum! especially

during the &ru Seco. $o"ever the level of improvisation depends on the batá

rhythm and the context in "hich it is played. Some rhythms actually re+uire the

o#on#olo player to be able to improvise more freely to really s"ing the music.

Itotele )

the middle batá drums! the Itotele produces the medium pitched tones and is also

used to play a standard set of rhythms in support of the Iyá. As "ith the on#olo!

these rhythms are fairly universel "ith little variation from one form of batá to

another. The itotele! is expected to ans"er , and , converse "ith , the Iyá.

This usually allo"s the player a little more improvisational freedom then "ith the

o#on#olo. But again! this depends on the rhythm and the context in "hich it is

being played. Itotele rhythms are fairly stoc# and improvisation-free during the &ru

Seco.

Iyá )

the largest of the batá drums! the Iyá produces the lo"est pitched tones. The iyá

also has stoc# phrases found universally and played by all Iya players. These

should be leamed and mastered first. &nce you have a good "or#ing #no"ledge of

the iya! you may notice iya players incorporating many variations in their parts!

even in the most basic of rhythms. ost of these variations "ill occur on the cha-cha side of the Iyá and "ill re+uire a "ell-trained ear to distinguish. The iyá , calls

out , the changes and conversations for the entire batá ensemble! and usually has

the most improvisational freedom of all the batá drums. ost but not all of this

improvisational s#ill lies in the placement of stro#es on the larger of the t"o

drumheads! the cha-chá/


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There are many types of double-headed drums found all over the "orld! but thebatá drum and its music are uni+ue to the %oruba people of (est Africa! and theirdescendants in Cuba. Bata drums are used in sacred "orship of %oruba deitiescalled &risha. And although the Cuban form of &risha "orship has evolvedseparately over the years! it still retains the very old and traditional concepts andrhythms associated "ith this music.

In fact! due to Cuba0s isolation! there are instances "here the Cuban interpretationof some &risha music is closer to its original African form from hundreds of yearsago than the current-day African counter-part. In Cuba today! there are t"o generalstyles of bata drumming - $avana style! and atan1as style.

The bata can be played in either a standing or sitting position! depending on theoccasion. In either case! the drum is placed side"ays across your body!perpendicular to it. If you are sitting! the batá drum is placed in your lap. If you arestanding! it is held in place "ith a nec# strap. The drum is played by stri#ing the t"oheads as you "ould "ith any standard hand drum.

In essence! the batá is t"o different si1ed drums or chambers 2oined together "ith ashared or common center space. Therefore! it has t"o heads - one on each end ofthe body. The smaller of the t"o heads is called the cha-cha not to be confused"ith the son style of music #no"n as Cha-cha-cha! and the larger is called the en3!

"hich means , mouth , in the %oruba language. The 4n3 is the side you areconsidered to , spea# , from. If you are right handed! play the en3 "ith your righthand. If you are left handed! play it "ith your left hand.

Basic Techni+ue


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GENERAL INFOToque Arara. Carlos Aldama.

SHEET MUSIC(for key notation click here )

Arara

http://www.mycongaplace.com/instrument/batadrums/notation/index.htmhttp://www.mycongaplace.com/instrument/batadrums/notation/index.htm


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Chachalokpafun


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GENERAL INFOThe most common "toque" bata, a rumbita for a couple of different orishas to dance and party.




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Dada



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GENERAL INFOThis is a toque for Elegua. Eshu is the second name of Elegua.

LISTENING LISTGrupo Oba-lu. "!anteria, song for the Orishas" - !oul a## $ecords%ancho &uinto. "En el solar la cue'a del (umo"ohn !antos and the coro fol)lorico *indembo. "(acia del amor" - +enophile


Eshu



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GENERAL INFOThis rhythm is only for Elegua, the orisha of the crossroads and the destiny. The toque include 'ariationsplayed by the ya but no con'ersations.


Lallubanche



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GENERAL INFO

This "toque" is one of the fi'e most common toques in their basic form.ts relati'ely simple and it is used as dance rhythms for a couple of different orishas see glossary. n thisfonction it is called rumbita.


Ñongo

http://www.mycongaplace.com/instrument/batadrums/glossary.phphttp://www.mycongaplace.com/instrument/batadrums/notation/index.htmhttp://www.mycongaplace.com/instrument/batadrums/glossary.phphttp://www.mycongaplace.com/instrument/batadrums/notation/index.htm


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GENERAL INFOThis "toque" is one of the fi'e most common toques in their basic form.ts relati'ely simple and it is used as dance rhythms for a couple of different orishas. n this fonction it iscalled rumbita.


Rumba Iyesa



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GENERAL INFOThis is a bat/ toque called "$umba Obatala" for 0 bata


Rumba Obatala



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GENERAL INFOThis is a bat/ toque called "$umba Ochosi" from %ancho &uinto.1!ource2 orge Ginorio3


Rumba Ochosi



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GENERAL INFO

This "toque" is one of the fi'e most common toques in their basic form.t is relati'ely simple and it is used as a dance rhythm for a couple of different orishas see glossary.In this function it is called "Rumbita".


Yakota

http://www.mycongaplace.com/instrument/batadrums/glossary.phphttp://www.mycongaplace.com/instrument/batadrums/notation/index.htmhttp://www.mycongaplace.com/instrument/batadrums/glossary.phphttp://www.mycongaplace.com/instrument/batadrums/notation/index.htm


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4u 4ucumi term!p !panish term

Achere 4u.A small rattle 5hich is sometimes used to play the standard bell patternin bat6 ensembles.

Agbé 4u.A calabash gourd idiophone strung on the outside 5ith beads. !ometimescalled she)ere.

Agogo 4u.7etal bell used to play the standard bell pattern in bemb8 ensembles.

Afia 4u.A sacred force belie'ed to reside in the bat6 drums, considered an orichaby some !anteros.

Batalero 4u.9!p.A bat6 drummer.

Bembé 4u.A religions party held to honor an oricha.

Cabilo !p.7utual aid societies established by sla'es in Cuba.

Cami!o" !p.

$oads. :iferent a'atars of an oricha. Each " standard pattern " or toquesignifies a diff8rent camino.

Chacha 4u.The smaller head of the bat6 drum.

Cha#oro 4u.

lossary


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;ells 5rapped around the shell of the iy6 il


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O)o!)olo 4u.The smallest drum of the bat6 set. Also called omel8.

Olori 4u.

The strap used by the batalero to secure the drum during performance.

Ol% Bata 4u.A batalero initiated into Ana.

Omelé 4u.Another name for o)on)olo.

Omo 4u.Child.

Ori 4u.The physical head and inner person. The essence of personality.

Oricha 4u.!acred head. The nature di'inities of traditional @oruba religion and!anteria.

Or( 4u.A liturgical sequence of songs or bat6 rhythms. !ometimes mista)enlycalled oro.

Or( el Igbo( 4u." Oru in front of the throne " played on the bat6 drums 5ithout song.Also called oru seco.

Or(! 4u.The hea'en 5orld of @oruba religion.

Sa!teria !p.The 4ucumi religion of Cuba.

Sa!tero* Sa!tera !p.7ale and female initiates or priests of !anteria.

Sa!to !p.!aint. The oricha.

Tambor !p.


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:rummer.

Tamabor !p.:rum. A liturgical fiesta for the orichas using the bat6 drums.

To+(e !p.A bata rhythm. Another name for a liturgical fiesta using bat6.

,e"a yesa 4u.!ingle headed drum type found in Cuba. ?ame of generic rhythms playedin " drum and giro " ensembles. n bat6 ensembles this rhythm is calledrumba yesa.


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bata drumming basic scores

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