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Contents Raedwald Rhythms ............................................................................................................................... 3

Bintin................................................................................................................................................. 4

Bolonba ............................................................................................................................................. 5

Djagbe ............................................................................................................................................... 6

Djolé ................................................................................................................................................ 10

Fanga .............................................................................................................................................. 11

Gahu ............................................................................................................................................... 12

Kakilambe 4 .................................................................................................................................... 13

Kakilambe 3 .................................................................................................................................... 14

Kanin ............................................................................................................................................... 16

Kassa ............................................................................................................................................... 17

Kongo Payet .................................................................................................................................... 21

Kpanlogo ......................................................................................................................................... 22

Kuku ................................................................................................................................................ 24

M’Balax ........................................................................................................................................... 25

Macru.............................................................................................................................................. 26

Meni ................................................................................................................................................ 27

Moribayassa .................................................................................................................................... 28

Nuru ................................................................................................................................................ 29

Raedwald ........................................................................................................................................ 31

Raedwald ........................................................................................................................................ 32

Shiko ............................................................................................................................................... 33

Sofa ................................................................................................................................................. 34

Soko ................................................................................................................................................ 35

Sounou ............................................................................................................................................ 36

Timitingoo ....................................................................................................................................... 41

Tiriba ............................................................................................................................................... 42

Woliwoloo ....................................................................................................................................... 43

Yankadi 4......................................................................................................................................... 44

Yankadi 3......................................................................................................................................... 45

My rhythms......................................................................................................................................... 47

Bugayaa .......................................................................................................................................... 48

Hetsi ................................................................................................................................................ 49

Luuloo ............................................................................................................................................. 50


R A E D W A L D R H Y T H M S

Nanzula ........................................................................................................................................... 51

Nha Terra ........................................................................................................................................ 52

Other Rhythms .................................................................................................................................... 53

Oterai .............................................................................................................................................. 54

RhythmName .................................................................................................................................. 55

Performances ...................................................................................................................................... 56

Rendlesham Street Fair 2012 .......................................................................................................... 57

Rendlesham June 8th 2013 .............................................................................................................. 58

Timitingoo.......................................................................................................................... 58

Island in the Sun ................................................................................................................. 58

Kanin ................................................................................................................................. 58

Yankadi / Macru ................................................................................................................. 58

Senegal Sabar .................................................................................................................... 58

Shiko .................................................................................................................................. 58


R A E D W A L D R H Y T H M S

Raedwald Rhythms


B I N T I N

Bintin

djembe 1 3btt3btt3btt3btt

djembe 2 3ttt3tt,3sss3s,,

3ttt3t,,3b,b3,b,

djembe 3 3s,b3st,3s,eb3st,

kenkeni 3x,,,3x,cc3x,,,3x,tt

Sangban

OR

3x,,x,3xt,x,3x,,x,3xt,x,

3x,,x,3xt,x,3xt,xt3,xt,

doundounba 3xtxt,3x,x,,3xtxt,3x,x,,


B O L O N B A

Bolonba

call 4qt,tt4,t,t4t,t,4t,,,

djembe 1 4ttb,4b,b,4tt,s4ss,b

djembe 2 4s,,s4s,tt4s,,s4s,tt

djembe 3 4s,tt4s,b,4s,,s4s,b,

Variation 1

combined 4x,,x,,4x,,xS,4xd,xdxd4,x,xS,

4x,,xd,4xd,xS,4xd,xdxd4,x,xS,

Variation 2

combined 4xd,xSS4x,,xkk4x,,xdd4x,dxd,

log drum/bell 4cc,,4,o,,4o,,o4,,o,

bell 4oo,o4o,,,4oo,o4o,,,

4oo,o4oo,o4oo,o4o,,,

djembe 3 4s,tt4s,b,4s,,s4s,b,


D J A G B E

Djagbe

Djagbé is the name of a Malinke-rhythm from Guinea that was originally played at the

ending of the Ramadan. A rejoicing happening where men and women dance together in

this circle-dance. Variations on Djagbé excist in the Kouroussa-region (Guinee)

as Djagba and in Mali as Madan.

Call

tT . T T . T . T T . S S S . . .

Djembé 1

B . T T . b S . B . T T . b S .

Djembé 2

S . . S S . T T S . b S S . T T

Djembé 3

T T . B S S B . S S . B S S B .

Djembé 4

S . S S . S T T S . S . S S T T

Djembé 5

B . T T . S . . . . T T . S . .

Kenkeni

O . . . . . O . O . . . . . O . x . x x . x x . x . x x . x x .

Sangban

C . o O . O . o O . O . . C . .

x . x x . x x . x . x x . x x .

Dun Dun

. . O O . . . . . . O . . . . .

x . x x . x . x x . x . x x . x

Dun Dun variation

. . O O . . . . . . O . . O . .

x . x x . x . x x . x . x x . x

O . . O . . . . . . O . . . . .

x . x x . x . x x . x . x x . x

Dun Dun starting the echauffement

. . O O . . . . . . O . O O . O

x . x x . x . x x . x . x x . x

Dun Dun echauffement

O . O O . O . O O . O . O O . O

x . x x . x . x x . x . x x . x


D J A G B E

Dun Dun ending the echauffement

O . O O . O . O O . O . . . . .

x . x .x . x . x x . x . x x . x

Djembé solo accompaniment 1

. T T T . S S S . T T T . S S .

. l r l . l r l . l r l . l r .


T T S S . . S S B . S S . . S S

r l l r . . r l r . r l . . r l

for a really "Djagbe-sound" it's nice to pull the first two tones a little bit together in the

solo accompaniment 2.


D J A G B E

Solo 1 ; use these elements

A S . . . B . . . . S T T S S . S

r . . . r . . . . l r l r l . l

B S S T T S S S . . S T T S S . S

r l r l r l r . . l r l r l . l

C . S . S . S . S . S . S . S . S

. l . l . l . l . l . l . l . l

. S . S . S . T T T S S S . . .

. l . l . l . 2 r l r l r . . .

D S S . . S S . . S S T . T T . .

r l . . r l . . r l r . r l . .

E . S . S . S . T T T S S S . . .

. f . f . f . 2 r l r l r . . .

F B . . T . S T T S . S . S . . .

r . . l . l r l r . r . r . . .

G S S . . S S . . S S T . T T . .

r l . . r l . . r l r . r l . .

B . . T . S T T S . S . S . . . r . . l . l r l r . r . r . . .

H S S T . S S T . S S T . S S T .

r l f . r l f . r l f . r l f .

S . . . S . . . S . . . S . . .

f . . . f . . . f . . . f . . .

I T . T . . S . . T . T . . S . . .

l . l . . r . . l . l . . r . . .

S . . . S . . . S . . . S . . .

f . . . f . . . f . . . f . . .

J T T . S S . T T . S S . S . . . . l r . r l . l r . r l . l . . . .

K . . . . B . . . B . T T S S . S

. . . . r . . . r . 2 r l r . l

L . . T T S S . S . . T T S S . S

. . 2 r l r . l . . 2 r l r . l


D J A G B E

M S . S S . S S . T T S S S . . .

r . r l . l r . 2 r l r l . . .

Starting the echauffement:

. . . . . . . . . T T S S S S S

. . . . . . . . . l r l r l r l

S T T S S S S S S T T S S S S S

r l r l r l r l r l r l r l r l

T S S S T S S S T S S S S . . .

r l r l r l r l r l r l r . . .

Look-a-like break for ending the echauffement (the rhythm continues)

S S . S . S . S S . S . S . . .

f r . r . r . l r . r . r . . .

Solo 2; use these elements

A S S S S S . . . T T . . S . . .

2 r l r l . . . r l . . r . . .

B T T . S S S S S S S . . . . . .

2 r . 2 r l r l r l . . . . . .

C . . . T T S S S . S T T S . S .

. . . l r l r l . l r l r . r .

D S S S S T T . . S S S S T T . .

2 r l r l r . . 2 r l r l r . .

(also look-a-like break)

E . . . T T . T T . T T S S S S S S

. . . l r . r l . l r l 2 r l r l


D J O L É

Djolé (Jolé, Yolé), is a mask-dance from the Temine-people from Sierra Leone. In the tradition it

is played on square drums in different sizes; the sicco´s (or sico´s). The mask is presenting a

female although it is carried by a male during the dance. The song below from the Wassolon-CD

is made by Mamady Keita himself and is a putting together some different Malinke and Susu

sounds .

Laila i ko korobé, korobé, korobé, mami watoné, aya, sico leleleko aya

sico la i ko, sico la i ko, wa wango sico la i ko

Djolé

call 4qt,tt4,ttt4,tt,4s,,,

djembe 1 4tttt4tt,t4t,s,4b,s,

djembe 2 4b,tt4b,ss4b,tt4b,ss

djembe 3 4t,,s4b,,t4t,s,4s,,t

djembe 4 4bt,t4b,s,4b,t,4b,s,

djembe 5 4t,ss4b,ss4ttss4b,ss

djembe 6 4ttt,4ssb,4ss,t4tttt

djembe 7 4s,ss4,stt4s,s,4sstt

djembe 8 4b,,t4t,,,4b,,,4tttt

kenkeni 4t,x,x,4t,x,x,4t,x,x,4t,x,x,

sangban 4x_t,x,,4xt,x,,4x_t,x,,4xt,x,,

doundounba 4xt,x,x,4,x,x,,4xt,xtx,4,x,x,,

combined 4xk,x,xk4,x,xS,4x,,xS,4xS,x,,

combined 4d,kk4S,kk4d,d,4S,KK


F A N G A

Fanga is rhythm, from Liberia that has been thought by Babatunde Olatunji, a West African Percussion teacher who, with his lessons and personality, inspired many Djembe players in the

United States. The transcriptions are from various email exchanges throught the Djembe-L

mailinglist. The song he used to sing to accompanie the rhythm is in the Yoruba language.

Fanga Alafayia, ashé ashé (4x) Ashé, Ashé, ashé, ashé.

Asé, Asé, Asé, Asé

Ikabo A Lafiya Ashé Ashé (4x) Ashé, Ashé, ashé, ashé. Asé, Asé, Asé, Asé

Eluga A Lafiya Ashé, Ashé, ashé, ashé.

Asé, Asé, Asé, Asé

Fanga

call/break :4ss,s4s,tt4ss,,4,,,,;

4:ss,s4s,tt4bb,,4ss,,;

djembe 1 4b,bb4,btt4b,,b4b,tt

djembe 2 4t,,s47ss,4t,t,4ss,,

djembe 3 4,,ss4,,ss4,,ss4ttss

djembe 4 4b,,t4,tt,4b,b,4tt,,

djembe 5 4b,tt4b,,b4,btt4b,b,

djembe 6 4b,tt4,,b,4bttb4,,b,

djembe 7 4ss,,4ss,,4ss,,4ss,,

sangban 1 4xcx,,,4x_cx,,,4x_cx,_c,_4xcx,,,

sangban 2 4xc,x,,4x_c,x,,_4xc,_xc,_4xc,x,,

3 times

OR


G A H U

Gahu

call 4qt,tt4,t,t4t,ss4s,,,

djembe 1 4t,ss4t,s,

djembe 2 4tttt4,s,,4tttt4t,s,

djembe 3 4f,,,4f,,,4tt,t4t,,,

djembe 4 4,,ss4,,ss4,,ss4,,ss

Bell/krin 4t,,o4,,o,4,,o,4,,o,

shaker 4t,,t4o,t,4o,t,4o,t,

duns 4xSxS,xk4xk,xS,4xSxS,xk4xk,xS,

doundounba 4xbx,,x,4xxx4xb,xb,4xbx,,x,4xb,xb,


K A K I L A M B E 4

Kakilambe 4

Djembe 1

T T . T T . B . T . T . B . B .

Djembe 2

B . T T S . T T B . T T S . T T

Djembe 3

B . . T T . S . B . T . T . S .

Kenkeni

. . . . . . . . . . . . . . . .

. . . . . . . . . . . . . . . .

Sangban

O . . . . . . . O . . . . . . .

X . X X . X X . X . X . X . X .

Doundounba

. . . . . . O . . . . . O . O .

X . X X . X X . X . X . X . X .


K A K I L A M B E 3

Kakilambe 3

Kakilambé is a mask-dance of the Baga-people that live in the coastal area (Boke-region) of Guinee. Origianally it was

played on the Baga-drums that are simalar to the djembe.

"Kakilambé is a very important mask of the Baga people, that appears only once a year. The spirit of the Kakilambé is

revered as the protector against evil entities. He appears to make important declarations about the present and the

future. A priest of the Kakilambé is like a translator, since the mask doesn't talk directely to the people. It's a big day

when the mask appears. Everybody comes to listen. Slowly the mask emerges from thge forest, together with the

priests. The people have gathered and are waiting. When all of the people bow, the mask grows to a height of five

meters! It holds a string for each individual family of the village, and the other end is held by a member of each family.

When the rhythm gets fast, the priest and some of the older men dance around the mask. The priest receives the

information. Then he gives the musicians a sign, they play a break, and then the rhythm is played slower and softer.

Afterwards he passes on the information given to him by the mask."

(Uschi Billmeier: Mamady Keïta, A life for the djembe).

"These days Kakilambé, the terrifying god of the Baga, is nothing more than a memory causing a few shivers in the minds

of the elders. But for centuries he ruled the life of Bagatai; he was the lord of the waters, of rain, of wind and of fire.

Every seven years he came out of the sacred forest, his arrival announced by thunder and the calls of the fetish

priests, to appear to the terrified people and, speaking through the local soothsayer, addressed the assembled villagers.

First, he showed his anger against those who had behaved contrary to morality and virtue, by making himself small. The

people, lying prostrate on the ground to show their repentance, asked for his forgivenss and swore to obey him.

Kelyo! Kelyo! Kakilambé! Kelyo!" (Get up, Kakilambé, rise!)

Then Kakilambé, reassured that he was still lord of the children of the Bagatai, just as he had been of their fathers and

their fathers' fathers, and swelling with joy, grew big again, and predicted seven years of happiness and prosperity.

Then, accompanied by songs and dances of joy and gratitude, he disappeared for another seven years.

So, "for seven years the land will be prosperous and the women fertile" Kakilambé has said so. But, whether the land

would in fact be prosperous and the women fertile, depended on the primary power of the men, and of the SENGBE

(sacred drums). The man dances, showing his strength, his virility, his confidence and his determination to work with

respect for the customs of their people. And, as a start to the favours Kakilambé has promised his people, the goddess

of fertility suddenly appears: Nimba with the enormous breasts. The men shout with joy, the women and the girls soon

to be married bring offerings and sing:

"O Nimba ! The belly without child, is like a cinder in the desert wind,

like a leaf in a bush-fire.

O Nimba ! goddess of fertility, o Nimba ! you who make the sap rise in the dust

Here are my breasts, let them be the same as yours

Here is my belly, that the sap of the Baga may continue to rise"

And, in a vibrant frenzy, the men and the women of the Baga are united in complete communion, certain that they are

protected by the gods."

"The Baga are only a very small etnic group and there are no more than about 32.000 Baga living in Guinea. Frederick

Lamp, in his book, "The Art of the Baga"(1996), says that Kakilambé is called "a-Mantsho-`no-Pön" by the Baga and is

"the supreme male spirit of the Sitemu subgroup" (of the Baga). Dr.Lamp says that the wordKakilambé is actual a word

in the Susu-language meaning "Reaching as high as the copal tree".

There are dozens of songs to the Kakilambé-rhythm; this one is the welcoming song: Welcome to the Kakilambé-mask!

Mai'm bo, mai'm bo mama, mai'm bo Kakilambé kekumbe


K A K I L A M B E 3

Call 1

T T T T T T T . T . .

Call 2

S S S S S . T T T T T . sS . . . . . . . . . . .

Kenkeni (DUNS-COMBINATION 1)

O O . C . . O O . C . . O O . C . . O O . C . .

x x . x x . x x . x x . x x . x x . x x . x x .

Sangban

C . . O O . C . . O O . C . . O O . C . . O O .


Dun Dun

O . O . O . . . . . . O O . . . . . . . . . . O

x . x . x . x x . x . X x . x . x . x x . x . x

Kenkeni (DUNS-COMBINATION 2)

. . . O O . . . . O O . . . . O O . . . . O O .


Sangban

O . O . O . O O . . . . O . O . O . O O . . . .

x . x . x . x x . x x . x . x . x . x x . x x .

Dun Dun

O . . . . . . . . . . . O . O . O . . . . . . .

x . x . x . x x . x . X x . x . x . x x . x . x

DUNS-COMBINATION 3

S . D . . . S S . D . D S . D . . . S S . . . D

x . x . x . x x . x . X x . x . x . x x . x . x

DUNS-COMBINATION 4

D . . . S . . S . S . D D . D . D . . S . S S .

x . x . x . x x . x . X x . x . x . x x . x x .

Djembé 1

B . . T S . B . . T S . B . . T S . B . . T S .

Djembé 2

B . . T S . B T T T S . B . . T S . B T T T S .

Djembé 3

B . T T S . B T . T S . B . T T S . B T . T S .

Djembé 4

B . S . S . B T . T S . B . S . S . B T . T S .

Djembé 5

B . . B S S B . . B S S B . . B S S B . . B S S

Djembé solo accompagnement (fingertips)

S S S S T T S S S S T T S S S S T T S S S S T T

Break 1

sS . . . sS . . tT . T T . sS . . . S . S S . S . B


K A N I N

Kanin is a Malinke-rhythm, that was made or adjusted by Mamady Keïta during the period that he was the

artistic leader of the National Ballet de Guinea. This song is in the Sousou language.

Bayira yo Konko baa yirayo Bayira yo Konko baa yirayo

Bayira yo Konko baa yirayo I fakhi nakhama ikhuna

Imamkha gbi lenra Bayira yo Konko baa

But not that, Konko (name of a boy), but not that;

Pick up that thing that you brought me and get out of here with it!

Kanin

call 4qt,tt4,tt,4t,ss4s,,,

djembe 1 4ss,b4t,t,

djembe 2 4t,tt4,,f,4t,tt4,,f,

4f,tt4,,s,4f,tt4,,f,

kenkeni 4xccx,,4xccx,,4xccx,,4xccx,,

sangban 4x,,xcxc4,x,x_c,4x,,xcxc4,x,x_c,

doundounba 4xbx,,xb4xb,xb,4xbx,,x,4x,,x,,

4x,,x,x,4,x,x,,4x,,x,x,4,x,xb,

solo 1 4s,,s4s,s,4s,,,4,,s,

solo 2 4m,tt4,,m,4m,tt4,,,,

solo 3 4qt,tt4,,f,4f,ss4,,s,

4b,tt4,,s,4b,tt4,,qT,


K A S S A

Kassa

call 4qt,tt4,t,t4t,ss4s,,

,

djembe 1 4ttss4,,ss4ttss4b,sb

djembe 2 4s,bs4s,tt4s,bs4s,tt

djembe 3 4t,ss4,bss4b,ss4bbss

djembe 4 4b,bs4,s,b4b,b,4tt,b

djembe 5 4s,bs4,bs,4b,tt4t,,,

djembe 6 4tts,4,s,s4tts,4,sts

combined 4xk,x,xS4,x,xk,4xk,xd,4xd,xd,

kenkeni 4xcxc,x_c4,x,x_c,4xcxc,x_c4,x,x_c,

sangban :4x_c,x,xc4,x,x_c,4x_c,x,xc4,x,x_c,

doundounba 4xc,xcxc4,x,x,,4x,,xcxc4,xcxc,

doundounba 4xc,xcxc4,x,x,,4x,,xc,4xc,xc,

OR


K A S S A

Kassa (Cassa) is a harvest-dance of the Malinke-people in East Guinea. The word means granary. During

harvest-time the farmers go to the fields, that are sometimes far away from the village. A camp is made for as

long as neaded. Some woman come to prepare the meals (and to sing). During the day the drummers

play Kassa to support the workers in the field. When the harvest is completed there is a big party in the

village, called Kassalodon. Another custom (according Famoudou Konaté) that is connected with this work is

that a girl (the prettiest in the village) hangs her shawl on a stick at the end of the field. The worker who

reached this shawl the first (while working) spends the night with the girl. This meeting is not supposed to

have a sexual character, for if the girl would get pregnant, the man would be beaten in public.

Illawuli woo konko daba, kondon tilu barama

Illawuli woo konko daba, Kolankoma sènekèlalu barama

Wake up farmer, the meal has arrived, wake up farmer, the meal is here

E yahé, e koutountama hé, e yahé, e mandinkono e (2x)

I ni war lé no kor solor, I ni war lé nama se néné mépélo

The men of Hamana, the birds of Mandin

My brother, I call you to work on the field

It is my proffession; it's the best work!

Sangban echauffement

C . . O . . O . . O . . O . . .

x . x x . x x . x x . x x . x .

Dundun echauffement

. O . O . O . O O . O . O . O O

. x . x . x . x x . x . x . x x

Djembe solo 1; phrases A,B,C and D.

A sS . T T . sS . T T . sS . T T . . B S . . S . . S . . . T T B . . .

S . . S . . S . T T T T B . . .

C B T T B T T B T T B T T B . B . B . . . S . . . S S S . B . . .

D sS . T T . sS . T T . sS . T T . .

sS . T T . sS . T T . . . . . . .


K A S S A

Djembe solo 2; phrases A, B, C, D, E and F.

A B . . . S . B . B . S S S . . .

B S T T . . T T B S T T . . T T B C S . . T T T . B S . . . . . T T

D S . T T S . . B B . . B B . T T

E S . T T S . . . T T S S S . S . r . r l r . . . 2 2 2 2 2 . f .

sS . sS . T T S S S . sS . sS . sS .

f . f . 2 2 2 2 2 . f . f . f .

F S S T S T T S B S . S . S S . . r l r l r l r l r . r . r l . .

Ending the solo :

S S T S T T S B S . S . sS . . .

Djembe solo 3; phrases A, B, C, D and E.

A S S S S T T S S S . . . . . . B

B S S . B S . S . . S . B S . T T

C T S . S . S . S T T S . S . . .

. . . . . . . . . . . . . . . T D T S . S . S . S T T S . S . S T

T . T T . T T . T T . T T . . T

E T T . B T T . B S S . B S S . B


K A S S A

Djembe solo 4; phrases A, to G.

A T T S S . . S S T T S S B . S S

B tT . T T . S T T S . S . S . . S TT T S S . S S . . . . . . . . .

C S . S S . S T T S . S S . S T T

D TT T T S TT T T S TT T T S T S . . E . S S S . S S S . S S S . S S S

. S S S . S S S T . T . T T . .

F . TT T S . TT T S . TT T S . S . S

G B S T T S S . S T T S S . S T T S S . S . S . . . . . . . . . .


K O N G O P A Y E T

Haiti

Kongo Payet


djembe 1 4b,tt4s,tt4b,tt4s,tt

djembe 2 4b,,,4bx,,x,4b,x,,4b,,x,

djembe 3 4b,t,4ss,s4,ss,4tt,s

4b,t,4ss,s4tts,4s,,s

doundounba 4c,t,4_t,,,4t,t,4_t,,,

4tttt4tt,,4t,t,4_t,,,


K P A N L O G O

Kpanlogo

call/break 4b,ss4s,,,4b,ss4s,,,

4b,ss4s,ss4s,b,4b,,,

djembe 1 4t,t,4b,,,4tttt4b,,,

djembe 2 4b,,,4,,tt4b,,,4,,tt

4b,bb4b,tt4b,,,4,,tt

djembe 3 4tttt4b,,,4t,tt4b,,,

djembe 4 4b,tt4s,tt4b,tt4s,,,

kenkeni :4xccx,;

sangban :4,,,,;

doundounba :4,,,,;


Break 1

Djembe 1

T . T . B . . . T T T T B . . .

Djembe 2

B . . . . . T T B . . . . . T T

B . B B B . T T B . . . . . T T

Djembe 3

T T T T B . . . T . T T B . . .

Djembe 4

B . T T S . T T B . T T S . . .

Kenkeni

O O . . O O . . . . O O . . . .

x . x . x . x . x . x x . x x .

High Sangban

. . . . O . . . . . . . O . . .

x . x . x . x . x . x . x . x .

Low Sangban

O . O . . . . . O O . . . . . .

x . x . x . x . x x . x . x x .

Doundounba

O . O . . . O . . . O . O . . .

x . x . x . x . x . x . x . x .

B . S S S . . . B . S S S . . .

B . S S S . S S S . B . B . . .


K U K U

Kuku


M ’ B A L A X

Type/Paste rhythm notes here

M’Balax


djembe 1 :3btt3bss3btt3bss;

djembe 2 :3,,,;

djembe 3 :3,,,;

kenkeni :3,,,;

sangban :3,,,;

doundounba :3,,,;


M A C R U

Macru


M E N I

Menie is a Malinke rhythm from Guinea that used to be played on the occasion of the birth of a child, or more specific: on the day that a name is given to the child

(about one week after it´s been born). There is a song with this rhythm that tells about four masks. Probably this is why Meni is also known as a a Mask-dance.

(solo) Kamafie cerimbembe kamafie kamafie, (choir) Kamafie-e-a cerimbembe kamafie kamafie, a ya yalamba cerimbembe-a

sama dundun kamafie (3x) (solo) a ye ke te, yenkeni sa-a samonie kindu

(choir) samonie kindu samonie kindu e ya yenkeni yenkeni sa-a-e (solo) a ye ke te, yenkeni, yenkeni sa-a baoulen kinyama

(choir) baoulen kinyama-a-e baoulen kinyama baoulen kinyama e baoulen kinyama e, yankady-e torrys (3x)

(solo) ana dory yamba (choir) da da dory yamba-a-e

Meni

call 4qt,,,4qt,tt4,t,t4t,t,

4qt,,,4qt,,,4,,ss4ss,,

djembe 1 4b,t,4b,,,4bttt4b,,,

djembe 2 4,,,,4,,t,4b,,,4bt,t

4bsss4b,t,4b,,,4bt,t

4b,,,4b,t,4b,,,4bt,t

4bsss4b,t,4b,,,4bt,t

kenkeni 4x,,xbxb4,xbxb,

doundounba 4xbx,,xb4xb,xb,4xb,xk,4xb,xS,


M O R I B A Y A S S A

Moribayassa


N U R U

Raedwald rhythm

Nuru


djembe 1 3b,s3s,b3b,s3stt

djembe 2 3s,t3s,,3s,b3ts,

djembe 3 3sss3s,,3,,s3ss,

3sss3s,,3,,s3,s,

djembe 4 3b,s3,s,3b,s3ss,

kenkeni 3,,,3,,,3,,,3,,,

sangban 3,,,3,,,3,,,3,,,

doundounba 3xb,x,3x,,x,3x,,xb3xb,x,

log drum 3c,o3,oo3c,o3oo,

bell 3c,o3oo,3c,o3,oo

shaker 3ss,3s,s3ss,3s,s


N U R U


R A E D W A L D

Raedwald

djembe 1 4b,bb4bbtt4b,t,4s,tt

4b,bb4bbtt4b,,,4,,,,

djembe 2 4s,ss4,ss,4ss,s4tttt

djembe 3 4ttss4ttss4ttss4,,,,

4ttss4ttss4b,,,4,,,,

djembe 4 4tttt4,s,,4tttt4,s,,

4tttt4,s,,4,s,s4,s,,

djembe 5 3btt3btt3btt

3btt3btt3btt

3btt3btt3b,,

kenkeni :4,,,,;

sangban :4,,,,;

doundounba :4,,,,;


R A E D W A L D

Raedwald

Djembe 1

B . B B B B T T B . T . S . T T

B . B B B B T T B . . . . . . .

Djembe 2

S . S S . S S . S S . S T T T T

Djembe 3

T T S S T T S S T T S S . . . .

T T S S T T S S B . . . . . . . Djembe 4

T T T T . S . . T T T T . S . .

T T T T . S . . . S . S . S . .

Kenkeni

O O . . . O . . O O . . . O . .

X X . X . X X . X X . X . X X .

Sangban

C . . . . O O . C . . . . O O .

X . X X . X X . X . X X . X X .

Doundounba

O . . O O . . . O . . O O . . .

X . X . X . X . X . X . X . X .


S H I K O

Shiko is a 4/4 rhythm from Nigeria

Shiko

call (x4) :4t,t,4b,b,4t,t,4bb,,;

djembe 1 4t,t,4b,b,4t,t,4bb,,

djembe 2 4b,,,4b,t,4b,,,4b,t,

djembe 3 4b,ss4b,ss4b,ss4tt,,

djembe 4 4t,tt4,tt,4s,ss4,ss,

bell 4c,,c4,,c,4,,c,4c,,,

bell 4c,cc4,cc,4c,cc4,cc,

bells 4ccoo4ccoo4ccoo4ccoo


S O F A

Sofa Call

tT . T T . T . T T . T . T . . .

Kenkeni - Interpretation by Mamady Keïta

. . O O . . C . . . O O . . C .

x . x x . x x . x . x x . x x .

Sangban

O O . . C . . . O . O . C . . .

x x . x x . x . x . x . x . x .

Dundun

. . . . . . O . O . O . O . O .

x . x x . x x . x . x . x . x .

Djembé 1

T T S S . . S . T T . S B . S .

Djembé 2

B . . S . . T . B . T S T T S .

Djembé 3

B . . S . . S T T . T S T T S .

Djembé 4

S . S S T T . B S . . S


S O K O

Soko

Kenkeni

. . . O O . . . . O O . . . . O O . . . . O O .

X X . X X . X X . X X . X X . X X . X X . X X .

Sangban

C C O O O O C C C O O

X X . X X . X X . X X . X X . X X . X X . X X .

Dundun

O O O O O O O O O O X . X X . X X . X X . X X . X X . X X . X X . X

Djembé 1

S . T S . . S . T S . . S . T S . . S . T S . .

Djembé 2

S . S S T T S . S S T T S . S S T T S . S S T T

Djembé 3

S T T S . S S T T S . S S T T S . S S T T S . S

Solo Accompaniment 1

B T T . S . B S . B S . B T T . S . B S . B S .


S S S . T T S S S B T T S S S . T T S S S B T T


S . S . S . . S . . S . S . S . S . . S . . S .


B S S . S S . S . T T . B S S . S S . S . T T .


. T T . S S . T T . S S . T T . S S . T T . S S


S O U N O U

Sounou Sounou (Sunu, Sunun) is a rhythm from the Kassouke-people from the Kayes-region in Mali.

"It is played as competition-dance-rhythm for young men" (Mamady Keïta).

"It 's a popular rhythm dating from the pre colonial era. In that period once lived a pretty girl called Sounou Mamady in the

village Sagabari. She was know for her dancing qualities and participated on any dancefestival that was organized. The

rhythm is made by the Djembéfola from her village honoring this girl Sounou Mamady. The dance is presented after a good

harvest. The girls can practise their grace, beauty and sometimes seduction. For the young men (especially Kaarta) a

opportunity to show their strenght and vitality while making all sorts of acrobatic jumps" (Serge Blanc).

Now Sounou is a rhythm often played all over West Africa. No wonder there are many interpretations and variations. Some

people speak of the "Guinea-Sounou"and the "Mali-Sounou". The difference could involve the placing of a bass-drum-hit

on the 7th (Guinea) or 8th (Mali) pulse.

Although patterns for the duns can be found for different bassdrums, the melody of these bassdrums together characterize

the Sounou melody . In Mali usually only two drums are in used, so the Kenkeni is often added (by the Malinke, who in

some areas play with three drums) and in different patterns possible to play.

Call (not standard)

T . T T . T . T T . T . T . . .

f . r l . l . l r . r . r . . .

Source 1: Ushi Billmeyer: "Mamady Keïta, A life for the Djembé"

Kenkeni

O . . . O . . . O . . . O . . .

x . x . x . x . x . x . x . x .

Sangban

O . . . . . O . O . . . . . O .

x . x x. . x x . x . x x . x x .

Dundun

O . O O . . C . . . C . C . . O

x . x x. . x x . x . x . x . x x

Djembé 1

T . S S . . S T T . S S B . S T

r . r l . . r l r . r l r . r l

Djembé 2

S . . S S . T T S . . S S . O O

r . . l r . r l r . . l r . r l

Source 2: Jaco Benders / Martin Bernhard during Fankani workshops in '95

(for a group of starting dundun players)

Kenkeni 1 (high)

O . . . O . . . O . . . O . . .

x . x . x . x . x . x . x . x .

Kenkeni 2 (low)

O . . . . . O . O . . . . . O .

x . x x. . x x . x . x x . x x .

Sangban


S O U N O U

. . . . . . O . . . O . O . . .

x . x x . x. x . x . x . x x . x

Dun Dun

O . O O . . . . . . . . . . . O

x . x x . x x . x . x . x x . x

Source 3: Serge Blanc in the "Le Tambour Djembé"

Kenkeni

. . . . O . O . . . . . O . O .

Sangban / Dundun combination

S

. . . . . . . O . . O . O . . .

D

O . o O . . . . . . . . . . . O

x . x x . x . x. . x. x . x x . x

Djembé 1

T . S S . B S T T . S S b B S T

r . r l . l r l r . r l r l r l

Djembé 2

. . T T . . S S . . T T . . S S

. . r l . . r l . . r l . . r l

Source 4: Mamadou Konte on CD "Drums of Mali"

Sangban

O . o O . O . O O . O . O . . O

x . x x . x . x x . x . x x . x

O . . O . . C . . . C . C . . O

x . x x . x x . x . x . x x . x

Source 5: Personal Analysis of CD "Bamakofoli" from Rainer Polak

S

O . . . . . . O . . C . C . . O

D

. O . O . O . . . . . . . . . .

x x . x . x . x . x x . x x . x

Source 6: Age Delbance in "Traditional West Africa Rhythms" (from Fred

Simpson)

Kenkeni

O . . . O . . . O . . . O . . .

x . x .. x . x . x . x . x . x .

Sangban

O . . C . . . O O . . C . . . O

x . x x . x . x x . x x . x . x

Dun Dun (bels a little adjusted)

C . . O O . O . O . O . O . . O

x x . x x . x . x . x . x x . x

O . O O . . . . C . . . . . . .


S O U N O U

x . x x . x . x x . x . x . x .

Djembé 1

T . S S B . S T B . S S B . S T

r . r l r . r l r . r l r . r l

Djembé 2

S . . S S . T T S . . S S . O O

r . . l r . r l r . . l r . r l

Source 7: Michael Wall in internet discussion through Dlembe-l mailinglist

High Dun

C . . O . O . O . . . . O . O .

x . x x . x . x x . x . x . x .

Low Dun

O . O O . O . O . . C . C . . O

x . x x . x . x x . x . x x . x

Source 8: Michael Wall's analysis of the CD "Donkili, Festival Music Mali (no bells!) Sangban

O . . . O . . . O . . O . . . O

Dundun

O . O O . O . O O . C . C . . O

Source 9: Stephan Rigert: "Djembe Rhythmen aus Mali" Kenkeni

O . . . O . . . O . . O . . . O

Sangban

O . O O . . . C . . C . C . . O

x . x x . x . x x . x . x x . x

Doundoun

. . . O . O . O . . . . . . . .

Sangban variation 1

O . O O . O . O . . C . C . . O

x . x x . x . x x . x . x x . x

Sangban variation 2


S O U N O U

O . . O . . . C . . C . C . . O

x . x x . x . x x . x . x x . x

Sangban variation 3

O . O O . . . C . . O . O O . O

x . x x . x . x x . x . x x . x

Some more found Djembé patterns: Djembé 1

T . S S . B S T T . S S B . S T

r . r l . l r l r . r l r . r l

Djembé 2

T . S S . B S T T . S S . B S T

r . r l . l r l r . r l . r l r

Break 1

. . . . . . . . . . B S T T S B

. . . . . . . . . . r l r l r l

3x

B . B B . T T T S . . S S T . B

r

r l . 2 r l r . . l r l . l

B . B B . T T T S . . . B S S S

r

r l . 2 r l r . . . l 2 r l

S S S . T T S T T S . . S T T S

r l r . r l r l r l . . r l r f

. S . S . S . S S . . S T T S .

. f . f . f . f f . . r l r f .

T T S T T S T T S . T S T T S .

r l r l r l r l r . r l r l r .

Djembé solo 1; use frases A - D

A

. . . . . . . . . . . B S S S S

. . . . . . . . . . . l 2 r l r

S S . T T S T T S . T S T T S B

l r . l r l r l r . r l r l r l

B . S S . . . . S . T . S . . B

r . r l . . . . d . r . d . . l

B . S S . . T T S . T S T T S B

r . r l . . r l r . r l r l r l


S O U N O U

B

B . S S . . S S T T S . S . . B

r . r l . . r l 2 r l . r . . l

C

T S S S S S S S S S S S S S S T

r l r l r l r l r l r l r l r l

D

T T S T T S T T S . T S T T S . S

r l r l r l r l r . r l r l r . f

Break (with Duns)

T . T T . T . T T . T . T . . .

f . r l . l . l r . r . r . . .

D

. . . . . . . . . . . . . . . O


T I M I T I N G O O

Timitingoo

djembe 1 4t,st4tts,4t,st4tts,

djembe 2 4b,b,4tts,4b,tt4s,tt

djembe 3 4b,b,4tts,4b,tt4s,tt

djembe 3 4bbtt4bbtt4b,ss4,,,,

djembe 4 4ssss4ss,s4b,f,4b,f,

log drum 4ttt,4oo,,4t,oo4,,,,

doundounba 4xtx,,_xt4x,,x,,x4tx,,x_tx4,,x,,

sangban 4xt,x,xt4,xtx,,4xt,x,xt4,xtx,,

kenkeni 4xtxt,,4xtxt,,4x,x,,xt4,xt,,

Break (all) 4qt,,qt4,,,,4,,,,4s,,,

q4t,,qt4,,,,4,,,,4s,,,

4qt,,qt4,,,,4qt,,qt4,,,,

4qt,tt4,t,t4t,tt4t,,,


T I R I B A

Tiriba


W O L I W O L O O

Woliwoloo

djembe 1 4s,s,4,s,s4s,s,4tttt

djembe 2 4b,st4s,bt4b,st4s,bt

duns 4dd,S4,dd,4dd,S4S,,,

bell 4c,c,4oo,,4,,c,4c,oo

log drum 4cc,o4o,o,4cc,o4o,,,


Y A N K A D I 4

Yankadi 4


Y A N K A D I 3

Yankadi 3 A Sousou dance of seduction. It is danced during village-festivals, marriages, etc. Yankadi is a slow dance whit boys and girls starting the dance in rows, facing each other. (According to Michael Wall: "In the dance 4 couples at a time dance with each other (and briefly with other partners) and the essential elements are eye contact, flirtatious movements and touching your hand to your partner's heart.") After a break or a whistle the dance can transform into the Macru-dance, which is fast a where the couples dance individually. The dance alternates between the slow Yankadi and the fast Macru. There is a ternary and a binary-version of Yankadi. The word means : "Here things are fine!"

Aaaaay woyahllah, woyallah, wonawally-oh

muxu wuhai guma, groupo de mai wufawn ma ma, wonawally-oh

or (same song in another language?) ee waia-la,waia la, wonowalio

moe oe che chumba, Kankan nje fonié wofa mama, wonowalio This is a song of welcome and celebration

Tela fa n´ma dugui donkhè ra tela

E tela yanfa dununyama mayo tela awa yire Tela dugui donke donfe mufan tela

E tela yanfa dununyama mayo tela awa yire

Tailor, give me back the rest of my cloth, It´s not right for you to use the rest of other peoples´s cloth!

Call 1

T . T S . T T . S T . T S . . S . b S S S S . .

Call 2

tT . . T . T . . T . . T T . . S . S S . . . . .

Djembé 1

B . . S . S B . T T . . B . . S . . B . T T . .

Djembé 2

B . . . . B B . T T . B B . . . . B B . T T . B

Djembé 3

S . S T . T S . S . . B S . S T . T S . S . . B

Kenkeni

. . . . . . O . O . . . . . . O . . O . . . . .

x . x x . x x . x x . x x . x x . x x . x x . x

Sangban

O . . O . O . . . . . . . . . . . . . . . o . .


Dundun

O . . . . O O . . . . O O . . . . O O . . . . O



Y A N K A D I 3

Combination Duns 1

K . . . . . . O . O . . . . . . . . . O . O . . .

S . . . O . O . . . . . . . . . O . . . . . . . .

D O . . . . . . . . . . O O . . . . . . . . . . O x . x x . x x . x x . x x . x x . x x . x x . x

Combination Duns 2

K . . . O . O . . . . . . . . . O . . O . . . . . S . . . . . . . . O O . . . . . . . . . . O O . .

D O . . . . . . . . . . O O . . . . . . . . . . O



S . B T . T . . . . . . tT . . tT . . S . S . . B

Djembé solo 1: phrase 1 (you can alternate these phrases with solo acc. 2)

S . T . S . T . S . T . S . T . S . T . S . . T

phrase 2

T . S . T . S . T . S . T S S S S S S S S S . T

phrase 3

T T T . S S S . T . T T S S S S S S S S S S . T

phrase 4

T T T . S S S . T T T . S S S . T T T . S S . T


T . T . . S B . T T . . B . . S . . B . T T . .

Djembé solo 2: phrase 1

S . S T . S T . T T . T T . . S . . T T T S . S

phrase 2

S . . T . . S . . . . S S . S T . T T . S . . .

phrase 3

S . . T . . S . . . . S S . S . T T T . S . . B

phrase 4

S . S T . S S . S . . B S . S T T T T T T S . .


M Y R H Y T H M S

My rhythms


B U G A Y A A

Bugayaa

djembe 1 :4bbbb4tttt4bs,,4s,,,;

djembe 2 :4,s,s4s,tt4bs,s4s,t,;

djembe 3 :4__s,,,4_s,,,4ttt,4sss,;

dun duns :4ddd,4S,S,4d,d,4kkk,;

bells :4,o,o4,cc,4,oo,4c,c,;

shaker :4,s,s4s,s,4,s,s4s,s,;


H E T S I

Hetsi

djembe 1 4ttt,4ttt,4t,,,4f,,,

4t,tt4t,tt4t,,,4f,,,

djembe 2 4bt,t4b,t,4f,,,4,,,,

djembe 3 4b,,,4f,,,4b,tt4t,,,

4b,tt4t,b,4t,b,4ttt,

djembe 4 4,s,s4s,s,4,s,s4s,xs,

4,s,s4s,s,4bs,s4b,,,

bells 4c,,c4,,o,4,c,,4c,o,

sangban 1 4x_t,,x,4xt,xt,4x_t,,x,4xt,xt,

sangban 2 4xc,,xc4x,,x_c,4x,c,x,4xc,x_C,

doundounba 4xtxt,x,4x,,,,4xtxt,x,4x,,,,

4xtxt,x,4x,,,,4xt,xt,4xt,x,,


L U U L O O

Luuloo

djembe 1 :5bs,bs5,b,s,;

djembe 2 :5tttts5s,ss,;

djembe 3 :5ss,ss5,tttt;

djembe 4 :5s,bs,5,s,,t;

doundounba :5xt,,x,xt5,xtx,,,;

hand clap :5,s,ss5,s,s,;

bells :5c,c,c5,,o,o;


N A N Z U L A

Nanzula

djembe 1 :4ttss4,,ss4ttss4,,ss

4ttss4,,ss4bs,s4b,,,;

djembe 2 :4tttt4b,b,4tttt4b,b,

4tttt4b,b,4bs,s4b,,,;

djembe 3 :4,,ss4,ss,4,,ss4,ss,

4,,ss4,ss,4bs,s4b,,,;

dun duns :4dk,k4S,S,4dk,k4S,S,

4dk,k4S,S,4dk,k4_D,kk;

bell :4*s,ss4sss,4*s,ss4s,ss;


N H A T E R R A

Nha Terra

djembe 1 :3b,,3t,t3b,,3,,,

3b,,3t,t3b,t3,t,;

djembe 2 :3b,,3s,s3b,s3,s,

3b,s3,s,3b,,3s,s;

djembe 3 :3,tt3tt,;

bells :3,o,3oo,3,o,3oo,

3,o,3oo,3c,o3,o,;

dun duns :3d,,3k,S3,,d3k,S

3d,,3k,S3,,d3k,S;


O T H E R R H Y T H M S

Other Rhythms


O T E R A I

Oterai


R H Y T H M N A M E

Type/Paste rhythm notes here

RhythmName


djembe 1 :4,,,,;

djembe 2 :4,,,,;

djembe 3 :4,,,,;

djembe 4 :4,,,,;

kenkeni :4,,,,;

sangban :4,,,,;

doundounba :4,,,,;


Performances


R E N D L E S H A M S T R E E T F A I R 2 0 1 2

Rendlesham Street Fair 2012

Sofa (me to start) S S K S S K

X X . X X . X . X . X . X . X .

Jabber Jabber Djembe - Kpanlogo Jabber-Jabber Djembe

D . . . D . . . S . S . K K K . Kpanlogo

D . K K S . K K D . D . S . K K

Djole K K S S S

X . X X . X X . X . X . X . X .

M’Balax K . . S . . K . . . S S

Raedwald


R E N D L E S H A M J U N E 8 T H 2 0 1 3

Rendlesham June 8th 2013

Timitingoo

Island in the Sun

Kanin

doundounba 4xbx,,xb4xb,xb,4xbx,,x,4x,,xb,

Yankadi / Macru

doundounba 4xbx,xx,xb4xbx,x,xb4xbx,x,xb4xbx,x,xb

doundounba 4xbxb,xb4xb,x,,4xb,xb,4xb,x,,

Senegal Sabar

doundounba 3xb,x,3,x,,3xb,x,3,x,,

3xb,x,3,x,,3xb,xb3bxb,

kenkeni 3x,,xt3tx,,3x,,xt3tx,,

Shiko

djembe 1 4t,t,4b,b,4t,t,4bb,,

djembe 2 4b,,,4b,t,4b,,,4b,t,

djembe 3 4b,ss4b,ss4b,ss4tt,,

djembe 4 4t,tt4,tt,4s,ss4,ss,

bell 4c,,c4,,c,4,,c,4c,,,

bell 4c,cc4,cc,4c,cc4,cc,

bells 4ccoo4ccoo4ccoo4ccoo

contents · s slap t tone b bass page 6 of 58 d j a g b e djagbe djagbé is the name of a...

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