Rhythms for Hand Drumming

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

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.

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 (but this prevents printing on small sheets).

Created in Microsoft (:-P) Word. Tablature is in MS (:-P) Excel. Converted to an Adobe pdf (but this 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".

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.

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 copies Third Edition - June, 2003 40 copies

Printings: First Edition - May, 2001 5 copies Second Edition - May, 2002 15 copies Third Edition - June, 2003 40 copies

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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 by region, 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.

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 by region, 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.

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

                                                                                             

                                                                                             

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                                                                                                    2

                                                                                                    2

                                                                                                 

                                                                                                 

3

3





Here is an assemblage of miscellaneous information and drumming patterns brought together from many sources including drum classes or workshops, popular and not so popular music, internet web sites, gatherings, books, and drum circles.

Here is an assemblage of miscellaneous information and drumming patterns brought together from many sources including drum classes or workshops, popular and not so popular music, internet web sites, gatherings, books, and drum circles.

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

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

Wherever possible, the source of the rhythm is credited. If you are the creator of a rhythm, or the person who did the work to bring a traditional rhythm to print, and i neglected to note that, or mistakenly credited someone else, i apologize. If it is any consolation, this book is not for sale, or to be sold beyond the cost of printing, if that.

Wherever possible, the source of the rhythm is credited. If you are the creator of a rhythm, or the person who did the work to bring a traditional rhythm to print, and i neglected to note that, or mistakenly credited someone else, i apologize. If it is any consolation, this book is not for sale, or to be sold beyond the cost of printing, if that.

It is a gift to the community to be shared with the community. It's a good way to hand the rhythms to others, share the music, and resources. If you have more than one copy, please pass your old copy on to someone else so they can use it. If you have a hard or soft copy of this book, and you wish to make a copy and give it to someone else, please do not materially profit from it. If you decide to print or copy it, please avoid using regular paper. There are many companies selling 100% tree-free paper, made without using chlorine. 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 smattering of what the wind blows by. It reflects stuff i am learning or playing around with, and so is not meant to be globally accurate. My primary teacher likes tradition however, so a lot of it is traditional.

It is a gift to the community to be shared with the community. It's a good way to hand the rhythms to others, share the music, and resources. If you have more than one copy, please pass your old copy on to someone else so they can use it. If you have a hard or soft copy of this book, and you wish to make a copy and give it to someone else, please do not materially profit from it. If you decide to print or copy it, please avoid using regular paper. There are many companies selling 100% tree-free paper, made without using chlorine. 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 smattering of what the wind blows by. It reflects stuff i am learning or playing around with, and so is not meant to be globally accurate. My primary teacher likes tradition however, so a lot of it is traditional.

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

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

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4

This book uses tablature for the rhythms. There is the possibility of using either classical notation or tablature to convey the timing and hand-strikes for patterns. But most beginners, particularly those without musical training, find tablature easier to read than classical notation (i know i do!), so, that's what's used here, even if it might be inferior or unable to convey certain subtleties in some cases. But the subtleties are why we need to seek out competent teachers, and the subtleties are what we put into the music from ourselves, not a book.

This book uses tablature for the rhythms. There is the possibility of using either classical notation or tablature to convey the timing and hand-strikes for patterns. But most beginners, particularly those without musical training, find tablature easier to read than classical notation (i know i do!), so, that's what's used here, even if it might be inferior or unable to convey certain subtleties in some cases. But the subtleties are why we need to seek out competent teachers, 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 have glanced at it and said, "Oh, I can't read that stuff!". But you can. Give it half an effort and you will see.

I know this all appears daunting at first. Many people have glanced 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 handstrike symbols for them will vary. Some of these rhythms for instance, are traditionally played on the Middle-Eastern doumbek and various styles and sizes of South-American drums. Some are from modern drum sets or electronic Goddess-knows-what noise makers. Some are not for the drum at all; they are rhythms to piano, guitar or a-cappella chants.

There are many different types of drums, and the "note" or handstrike symbols for them will vary. Some of these rhythms for instance, are traditionally played on the Middle-Eastern doumbek and various styles and sizes of South-American drums. Some are from modern drum sets or electronic Goddess-knows-what noise makers. Some are not for the drum at all; they are rhythms to piano, 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 the most popular right now in North America. There are a few rhythm exercises for clapping, stepping, and singing.

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

5

5





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

When i bought Mamady Keita's book, A Life for the Djembe, in it he stated that everyone teaching a rhythm should know where the rhythm came from and what it was used for. He also implores us to 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 from which it is from. Mamady's book is a prime source of this information and so is the most cited. Some rhythms include parts which may or may not be traditional. The ones sourced from A Life for the Djembe are most certainly traditional. Most from Alan Tauber are likely traditional, though he likes to be creative and teach rhythms in a way that facilitates learning.

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

Because most of the traditional rhythms are from the Malinke inhabited region of western Africa, included below is a bit of information about them. It is interesting to note that most information comes from Christian sites who have a mission to "reach" the Malinke. Maybe Christians need to be reached with drumming? Anyway, keeping that in mind, the following may only be partially true:

Because most of the traditional rhythms are from the Malinke inhabited region of western Africa, included below is a bit of information about them. It is interesting to note that most information comes from Christian sites who have a mission to "reach" the Malinke. Maybe Christians need to be reached with drumming? Anyway, keeping that in mind, the following may only be partially true:

THE MALINKE are descendents of the great Mali Empire dating back to 1240, and are part of the linguistic group of Mande speakers from Senegal, Guinea, Mali and Gambia, the NigerCongo language family. Several Mandinka clans in the second millennium created the Manding Empire. It grew in power in the thirteenth century under the rule of Sundiata, the "lion king," who unified the kingdom and began to conquer surrounding peoples who laid the foundation for Malinke greatness and expansion into the rest of West Africa. There are currently over three million Malinke 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 descendents of the great Mali Empire dating back to 1240, and are part of the linguistic group of Mande speakers from Senegal, Guinea, Mali and Gambia, the NigerCongo language family. Several Mandinka clans in the second millennium created the Manding Empire. It grew in power in the thirteenth century under the rule of Sundiata, the "lion king," who unified the kingdom and began to conquer surrounding peoples who laid the foundation for Malinke greatness and expansion into the rest of West Africa. There are currently over three million Malinke 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 use any type of fertilizer or irrigation. Rice and millet are important 6

The Malinke are an agricultural people; the majority are subsistence farmers. They hoe their fields by hand and few use any type of fertilizer or irrigation. Rice and millet are important 6

staple crops, along with peanuts and sorghum. Some of the men have small part-time businesses to supplement their incomes. They may keep goats, sheep, bees, and poultry. In addition, they keep cattle for prestige, as bride-price payments or as sacrifices. Men usually do the heavy farm work, while the women do both domestic and farm chores. Women have the jobs of cooking, cleaning, tending to the young children, and gathering forest products. Men are usually responsible for hunting, fishing, and holding leadership positions, such as chief, village elders or imams (religious leaders).

staple crops, along with peanuts and sorghum. Some of the men have small part-time businesses to supplement their incomes. They may keep goats, sheep, bees, and poultry. In addition, they keep cattle for prestige, as bride-price payments or as sacrifices. Men usually do the heavy farm work, while the women do both domestic and farm chores. Women have the jobs of cooking, cleaning, tending to the young children, and gathering forest products. 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 masked dance. The Malinke have many elaborate ceremonies associated with the different societies and initiation rites of their culture.

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

7

7

Both boys and girls are circumcised and initiated into puberty. Men are initiated and advanced in their hierarchical society. Women also have their own secret society.

Both boys and girls are circumcised and initiated into puberty. Men are initiated and advanced in their hierarchical society. Women also have their own secret society.

There are three divisions within Malinke society: those who are freeborn, the artisans, and the slaves. The freeborn class originally consisted of Malinke nobility. Today, it consists of farmers, merchants, Muslim clerics, and others. The artisan class includes blacksmiths, leather workers, and griots (praise singers). Artisans are revered for their expertise and craft secrets, which involve spiritual rituals; therefore, they are looked upon with fear and awe. Griots are important member of society because they are responsible for passing down the oral traditions and cultural heritage of the Malinke.

There are three divisions within Malinke society: those who are freeborn, the artisans, and the slaves. The freeborn class originally consisted of Malinke nobility. Today, it consists of farmers, merchants, Muslim clerics, and others. The artisan class includes blacksmiths, leather workers, and griots (praise singers). Artisans are revered for their expertise and craft secrets, which involve spiritual rituals; therefore, they are looked upon with fear and awe. Griots are important member of society because they are responsible for passing down the oral traditions and cultural heritage of the Malinke.

The Malinke are a patrilineal society, with the oldest male as the leader of the lineage. A "minor lineage" consists of a man and his immediate family, the smallest social unit. A "major lineage" is made up of the houses of brothers and their families. The next larger unit is the village settlement, which contains the houses of men of the same clan name.

The Malinke are a patrilineal society, with the oldest male as the leader of the lineage. A "minor lineage" consists of a man and his immediate family, the smallest social unit. A "major lineage" is made up of the houses of brothers and their families. The next larger unit is the village settlement, which contains the houses of men of the same clan name.

8

8

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

A palisade of wood or a wall of mud bricks surrounds every compound in a Malinke village. Their houses are grouped according to family ties, with each extended family occupying a compound. A number of these compounds compose a village. Each village has a chief who acts as judge over the village. He handles 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 rectangular building made of mud brick and roofs of tin. Many young, unmarried men occupy separate bachelor quarters in the same compound as their fathers.

Most Malinke live in round huts with walls made of sun-dried brick and roofs made of thatched grass. Some live in rectangular building made of mud brick and roofs of tin. Many young, unmarried men occupy separate bachelor quarters in the same compound as their fathers.

Traditionally, parents arranged their daughters' marriages while the girls were still infants. Today, marriages are still arranged, but not as early. The groom is required to work for the bride's family both before and after the wedding. He must also pay the girl's family a "bride price." Traditionally a man's wife moves into her father-inlaw's compound upon marriage. Unlimited polygamy is permitted among the Malinke, but the men rarely have more than three or four wives due to the restrictions of Islamic law.

Traditionally, parents arranged their daughters' marriages while the girls were still infants. Today, marriages are still arranged, but not as early. The groom is required to work for the bride's family both before and after the wedding. He must also pay the girl's family a "bride price." Traditionally a man's wife moves into her father-inlaw's compound upon marriage. Unlimited polygamy is permitted among the Malinke, but the men rarely have more than three or four wives due to the restrictions of Islamic law.

Islam is the Malinke's professed religion, brought to them in the 1860's by foreign merchants. The religion blended with the Malinke's native religious practices that involved worshiping the spirits, and today this blending of religions is still evident. It is not uncommon for a Malinke to first pray in the village mosque and then sacrifice a chicken to the "village spirit". Many people consult marabous (holy men) for healing, protective charms or insight into the future. They can also be consulted to put a curse on an enemy. Educated Malinkes may conceal their belief in magic, but there are very few which do not possess a charm or amulet of some sort.

Islam is the Malinke's professed religion, brought to them in the 1860's by foreign merchants. The religion blended with the Malinke's native religious practices that involved worshiping the spirits, and today this blending of religions is still evident. It is not uncommon for a Malinke to first pray in the village mosque and then sacrifice a chicken to the "village spirit". Many people consult marabous (holy men) for healing, protective charms or insight into the future. They can also be consulted to put a curse on an enemy. Educated Malinkes may conceal their belief in magic, but there are very few which do not possess a charm or amulet of some sort.

9

9









When a rhythm is being notated, the first line indicates the overall time structure. Here is an example:

When a rhythm is being notated, the first line indicates the overall time structure. Here is an example:

1

e

+

a

2

e

+

a

3

e

+

a

4

e

+

a

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 the rhythm. Each beat is what is between the bold vertical lines and numbered 1e+a,2e+a,3e+a, or 4e+a. Each take the same amount of time, that is, they are evenly spaced just like the tick-tock of a clock.

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

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

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

People find it is useful to sing each sub-beat while clapping or stomping 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 for each word. The rhythm then just continues around circularly, repeating itself over and over.

People find it is useful to sing each sub-beat while clapping or stomping 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 for each word. The rhythm then just continues around circularly, repeating itself over and over.

A particularly important thing to start learning right away, is that different 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.

A particularly important thing to start learning right away, is that different 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 familiar to 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 feels like most every popular song on the radio.

That particular example was given first, because it is most familiar to 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 feels like most every popular song on the radio.

10

10

Here is an examples of another overall time structure: 1

+

2

+

3

+

4

+

5

+

Here is an examples of another overall time structure: 6

+

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 it is very similar to a rhythm in 4, it will feel different. Overall time structures can also be in 2,3,5,7,8 or more.

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 it is very similar to a rhythm in 4, it will feel different. Overall time structures can also be in 2,3,5,7,8 or more.

Sometimes rhythms in 4 are played on top of, or at the same time as rhythms in 6. Both rhythms will start at the same time and end at the same time, but the feelings overlap. They create a new feeling, much like mixing two colors creates a third color. Similarly rhythms can be played together to form 2 with 3, 4 with 5, 6 with 8, 9 with 16, etc.

Sometimes rhythms in 4 are played on top of, or at the same time as rhythms in 6. Both rhythms will start at the same time and end at the same time, but the feelings overlap. They create a new feeling, much like mixing two colors creates a third color. Similarly rhythms can be played together to form 2 with 3, 4 with 5, 6 with 8, 9 with 16, etc.

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

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

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

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

While the different parts of a rhythm can be played over and over, freestyle, with no definite schedule for changes or ending, there are other times such as during solos when parts are played for a specific number of times. In these cases, the number of times will be indicated in the left margin.

While the different parts of a rhythm can be played over and over, freestyle, with no definite schedule for changes or ending, there are other times such as during solos when parts are played for a specific number of times. In these cases, the number of times will be indicated in the left margin.

Another trick to the solo notation, is that sometimes when there is a lot of rests at the end of one part of a solo, you don’t wait until the end of that part to begin the next part. In that case, the advanced beginning of the next part will be noted in a small font or in italics or with an arrow.

Another trick to the solo notation, is that sometimes when there is a lot of rests at the end of one part of a solo, you don’t wait until the end of that part to begin the next part. In that case, the advanced beginning of the next part will be noted in a small font or in italics or with an arrow.

More on the most common notation styles can be found here: http://www.drums.org/djembefaq/v5d.htm

More on the most common notation styles can be found here: http://www.drums.org/djembefaq/v5d.htm

11

11





Typically, Djembe hand-strikes will be notated using the “Gun, go, pa” or “Gun, bi, pa” system. There are also symbols for the DunDun and clave/bell parts.

Typically, Djembe hand-strikes will be notated using the “Gun, go, pa” or “Gun, bi, pa” system. There are also symbols for the DunDun 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 are infinite variations. They can be modified as one wishes to create different sounds; for instance, they can be hard or light; they can be open or muffled. And by changing your hand slightly the "voicing" can be altered. Playing drum is not just about rhythms, it is about making the drum sing. But we have to start somewhere, so.......

There are mainly four ways to hit the drum head. They are: bass, tone, slap, and tap. I say mainly, because, of course there are infinite variations. They can be modified as one wishes to create different sounds; for instance, they can be hard or light; they can be open or muffled. And by changing your hand slightly the "voicing" can be altered. Playing drum is not just about rhythms, it is about making the drum sing. But we have to start somewhere, so.......

The main types of hand-strikes are as follows:

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” tone Slap - Hitting in the same place as an open tone, but with just the ends of your fingers. It will make a note like the tone but higher. Tap - Tapping or touching the drum lightly. This is can be used to add dimension to a rhythm in place of leaving a rest, or it can help the drummer keep time between beats.

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” tone Slap - Hitting in the same place as an open tone, but with just the ends of your fingers. It will make a note like the tone but higher. Tap - Tapping or touching the drum lightly. This is can be used to add dimension to a rhythm in place of leaving a rest, or it can help the drummer keep time between beats.

The symbols for hand-strikes are described as follows:

The symbols for hand-strikes are described as follows:

Gn Dn go do pa ta rt lt -

Gn Dn go do pa ta rt lt -

Bass note with the dominant hand. Bass with non-dominant hand Tone note with the dominant hand. Sometimes called “bi”. Tone with non-dominant hand. Sometimes called “di”. Slap with dominant hand. If muffled with left, then mp Slap with non-dominant hand dominant tap non-dominant tap

12

Bass note with the dominant hand. Bass with non-dominant hand Tone note with the dominant hand. Sometimes called “bi”. Tone with non-dominant hand. Sometimes called “di”. Slap with dominant hand. If muffled with left, then mp Slap with non-dominant hand dominant tap non-dominant tap

12

h-

Muted bass made by dropping heal of hand near middle of drum 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 so now the entire hand rests on the drum head, as if you just played a bass note. Often the combined h-ful (called a shuffle) movement is a setup for muting the next note (often a pa) made by the right hand. mD - Muted bass note made by playing a regular Dn, but not lifting your hand off the head afterward. Often an mD is a setup for muting the next note(often an mp) made by the right 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 hitting the drum at almost the same time, called a flam Obass note on the dunun mmuted bass note on dunun (strk lightly, hold stick to head); also notated (o) xclave/bell/glocke sshakere or assôn. Since the shakere makes different sounds when shook up or down, this symbol can be modified by a “u” or “d”, that is, su or sd. stk - stick strike on a wooden block or the side of a drum. Be aware this can damage a drum, so make sure it's yours.

h-

Muted bass made by dropping heal of hand near middle of drum 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 so now the entire hand rests on the drum head, as if you just played a bass note. Often the combined h-ful (called a shuffle) movement is a setup for muting the next note (often a pa) made by the right hand. mD - Muted bass note made by playing a regular Dn, but not lifting your hand off the head afterward. Often an mD is a setup for muting the next note(often an mp) made by the right 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 hitting the drum at almost the same time, called a flam Obass note on the dunun mmuted bass note on dunun (strk lightly, hold stick to head); also notated (o) xclave/bell/glocke sshakere or assôn. Since the shakere makes different sounds when shook up or down, this symbol can be modified by a “u” or “d”, that is, su or sd. stk - stick strike on a wooden block or the side of a drum. Be aware this can damage a drum, so make sure it's yours.

It might seem that simply alternating hand-strikes, left, right, left right, etc. would be the simplest way to play a rhythm. Yet, the notation specifies which hand must play certain beats, so sometimes your hands will not be alternating.

It might seem that simply alternating hand-strikes, left, right, left right, etc. would be the simplest way to play a rhythm. Yet, the notation specifies which hand must play certain beats, so sometimes your hands will not be alternating.

There are a lot of reasons for this. One is that your muscles must do different things for each sound, and since there is more time between some notes than others to change position or get ready, simply alternating hands may not give the best fluidity. And when you need to switch between rhythm parts, you want to always be ready to lead with the appropriate hand. So, rhythm notation is often written with the perspective that certain quick moves are best accomplished with the dominant hand. But, some drummers will learn to play rhythms both left-handed and right-handed so they 13

There are a lot of reasons for this. One is that your muscles must do different things for each sound, and since there is more time between some notes than others to change position or get ready, simply alternating hands may not give the best fluidity. And when you need to switch between rhythm parts, you want to always be ready to lead with the appropriate hand. So, rhythm notation is often written with the perspective that certain quick moves are best accomplished with the dominant hand. But, some drummers will learn to play rhythms both left-handed and right-handed so they 13

train themselves to be balanced. Some rhythms are more interesting when played with taps in place of rests. In that case it can be easier to alternate hands. Or not.

train themselves to be balanced. Some rhythms are more interesting when played with taps in place of rests. In that case it can be easier to alternate hands. Or not.

It's very important to follow what your teacher recommends because if everyone in the class is using the same method it will be easier to watch their hands and do what they do.

It's very important to follow what your teacher recommends because if everyone in the class is using the same method it will be easier to watch their hands and do what they do.

Ultimately, it may be that traditional handing has been worked out generations ago and has the proper feel imbedded inside it.

Ultimately, it may be that traditional handing has been worked out generations ago and has the proper feel imbedded inside it.

There is more on the matter here: http://tcd.freehosting.net/djembemande/handing.html

There is more on the matter here: http://tcd.freehosting.net/djembemande/handing.html

I can’t possibly describe the subtleties behind all the hand-strikes, rationalizations for the use of left and right hands, or finer points of traditional rhythms. Nor can anyone in a book. This is why if you really want to learn to play well, there is no substitute for a good teacher.

I can’t possibly describe the subtleties behind all the hand-strikes, rationalizations for the use of left and right hands, or finer points of traditional rhythms. Nor can anyone in a book. This is why if you really want to learn to play well, there is no substitute for a good teacher.





The instrument to be played is listed to the left of each line of notation. Some of these are not in the notation. They are just listed for "someday....."

The instrument to be played is listed to the left of each line of notation. Some of these are not in the notation. They are just listed for "someday....."

kk sb DD Djm Og As Bu -

kk sb DD Djm Og As Bu -

Kankini: high African bass drum, usually with bell Sangban: middle African bass drum, usually with bell Dundunba: low African bass drum, usually with bell Djembe (or Ashiko) Ogan: bell Assôn: shaker Bula: high South American drum played with two thin sticks in whipping motion Sc - Seconde: middle South American conga drum Mm - Maman: low South American conga drum

14

Kankini: high African bass drum, usually with bell Sangban: middle African bass drum, usually with bell Dundunba: low African bass drum, usually with bell Djembe (or Ashiko) Ogan: bell Assôn: shaker Bula: high South American drum played with two thin sticks in whipping motion Sc - Seconde: middle South American conga drum Mm - Maman: low South American conga drum

14





You may have noticed that one of the "instruments", listed to the left of the first line in most every rhythm, is "Signal". The signal, often called the "break", or "call", is not an instrument. It is a rhythm that can be played on any instrument (though, the notation is for djembe) to indicate when something about the rhythm is changing, such as:

You may have noticed that one of the "instruments", listed to the left of the first line in most every rhythm, is "Signal". The signal, often called the "break", or "call", is not an instrument. It is a rhythm that can be played on any instrument (though, the notation is for djembe) to indicate when something about the rhythm is changing, such as:

• • • • • • • •

Start Stop Change drum part(s) Change dance step Begin solo End solo Speed up (new speed should match speed at which break is played) or even, "Be ready, a change is coming soon...."

• • • • • • • •

Start Stop Change drum part(s) Change dance step Begin solo End solo Speed up (new speed should match speed at which break is played) or even, "Be ready, a change is coming soon...."

Currently, most people in my neck of the woods -- including my primary drum teacher -- call this part of a rhythm "the break"; it's just convention. However, i have noticed that when a break is played, most people will stop playing. This makes sense, because in America, break means, "Stop what you are doing and take a rest." In Mamady Keita's book A Life for the Djembe, he refers to the break as the signal, and to me this makes much more sense, since it is a way of signaling that something is going to happen.

Currently, most people in my neck of the woods -- including my primary drum teacher -- call this part of a rhythm "the break"; it's just convention. However, i have noticed that when a break is played, most people will stop playing. This makes sense, because in America, break means, "Stop what you are doing and take a rest." In Mamady Keita's book A Life for the Djembe, he refers to the break as the signal, and to me this makes much more sense, since it is a way of signaling that something is going to happen.

15

15





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

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

Aconcon .........................................................20 Babatundi Olatunji Warmups ........................123 Bembe ............................................................29 Fanga..............................................................43 Funk ...............................................................44 Kakilambe ......................................................48 Lamba ............................................................65 Lenjen ............................................................67

Aconcon .........................................................20 Babatundi Olatunji Warmups ........................123 Bembe ............................................................29 Fanga..............................................................43 Funk ...............................................................44 Kakilambe ......................................................48 Lamba ............................................................65 Lenjen ............................................................67

These are by no means the only rhythms easy enough for beginners, and people of any skill level are encouraged to work on any 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.

These are by no means the only rhythms easy enough for beginners, and people of any skill level are encouraged to work on any 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

16





These are some people who have been very instrumental in my education, who are sources for information in this book, or have otherwise been a part of this adventure ('cause there are other important people, like you!):

These are some people who have been very instrumental in my education, who are sources for information in this book, or have otherwise been a part of this adventure ('cause there are other important people, like you!):

 and his teachers at The Drum Connection: http:/www.drumconnection.com;  of the Earth Drum Council: www.earthdrum.com;  http://www.circleskinandbone.com/;   (TA-KE-TI-NA Workshops): http://www.taketina.com; ; of the

 and his teachers at The Drum Connection: http:/www.drumconnection.com;  of the Earth Drum Council: www.earthdrum.com;  http://www.circleskinandbone.com/;   (TA-KE-TI-NA Workshops): http://www.taketina.com; ; of the

Village Green Drum Collective: http://www.vgdrum.org. also, see their not-for-money organization, Drummers Against Global Warming: http://community.middlebury.edu/~trombula/dagw.htm;  http://www.justaddfire.com who runs the site where these rhythms enjoy a web presence; the bus; Suzan and Jean who contributed some transcriptions of things they found; Jane and John with whom i practice once a week; and, my students, who encourage me to learn.

Village Green Drum Collective: http://www.vgdrum.org. also, see their not-for-money organization, Drummers Against Global Warming: http://community.middlebury.edu/~trombula/dagw.htm;  http://www.justaddfire.com who runs the site where these rhythms enjoy a web presence; the bus; Suzan and Jean who contributed some transcriptions of things they found; Jane and John with whom i practice once a week; and, my students, who encourage me to learn.

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

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 can call The Drum Connection's  in Westboro at 508.366.3683 -- he did a good job replacing the head on my drum. If you attend any gathering where there may be drumming, ask around for Rob or Conrad. Or, learn to fix it yourself by doing a workshop with Stan Secrest (www.buildadrum.com) -- that was fun.

Oh, one more thing: if your drum is broken, in eastern MA you can call The Drum Connection's  in Westboro at 508.366.3683 -- he did a good job replacing the head on my drum. If you attend any gathering where there may be drumming, ask around for Rob or Conrad. Or, learn to fix it yourself by doing a workshop with Stan Secrest (www.buildadrum.com) -- that was fun.

17

17





Here's a bunch to amuse yourself with:

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/

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://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://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://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://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)

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)

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.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.drumrhythms.com (lessons)

http://www.pragmasoft.be/mamady/index_e.html?rhythmweb (Mamady's) http://www.djembe-play.de/Djembe-play/djembe-play.html

http://www.pragmasoft.be/mamady/index_e.html?rhythmweb (Mamady's) http://www.djembe-play.de/Djembe-play/djembe-play.html

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

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

18

18





Tuning a drum is intellectually very simple once you get the hang of it. Then the most difficult part is physical. The figures below tell you most of what you need to get started. First, unravel the extra rope from where it is stored as shown in Figure 1. Next, weave the rope over two vertical tension ropes as shown in Figure 2. The easiest way to remember how the weave goes, is: over two, under one, under two. Now, readjust the weave so that section u is below bend A (as identified in Fig 2 but shown in Fig 3), and the bend just before u is below bend A (not shown) and push all of the rope down as low as it can go with your hands.

Tuning a drum is intellectually very simple once you get the hang of it. Then the most difficult part is physical. The figures below tell you most of what you need to get started. First, unravel the extra rope from where it is stored as shown in Figure 1. Next, weave the rope over two vertical tension ropes as shown in Figure 2. The easiest way to remember how the weave goes, is: over two, under one, under two. Now, readjust the weave so that section u is below bend A (as identified in Fig 2 but shown in Fig 3), and the bend just before u is below bend A (not shown) and push all of the rope down as low as it can go with your hands.

Once you are ready to pull the weave tight, stand up, stand the drum up, and hold the extra rope in one hand, leaving a sagging section about 4 inches off the ground. Step on the loop with one foot and pull up with your hand. Pulling vertical to the ground keeps the diamonds low. This will pull the two vertical ropes together and should end up looking like Figure 4.

Once you are ready to pull the weave tight, stand up, stand the drum up, and hold the extra rope in one hand, leaving a sagging section about 4 inches off the ground. Step on the loop with one foot and pull up with your hand. Pulling vertical to the ground keeps the diamonds low. This will pull the two vertical ropes together and should end up looking like Figure 4.

Things to remember: 1) Try and keep each weave level with the others so that it looks nice. 2) If you have gone around the drum more than five times, you might want to take out all the pulls and tighten the verticals. 3) You can tell it is properly tuned if there is no ringing and it's easy to differentiate between slap and tone. It is best not to verify tuning through a base note. 4) Heads tighten and loosen with humidity and temperature. If you tighten your head on a very humid day, remember to loosen it after you are done playing or you risk it tearing when the day dries out.

Things to remember: 1) Try and keep each weave level with the others so that it looks nice. 2) If you have gone around the drum more than five times, you might want to take out all the pulls and tighten the verticals. 3) You can tell it is properly tuned if there is no ringing and it's easy to differentiate between slap and tone. It is best not to verify tuning through a base note. 4) Heads tighten and loosen with humidity and temperature. If you tighten your head on a very humid day, remember to loosen it after you are done playing or you risk it tearing when the day dries out.

19

19

 1

e

Signal

Gr

Djm #1

pa ta

Djm #2

Gn

Djm #3

+

a

2

go do

+

go

pa ta

a

3

e

do go

+

a

do

go do pa ta

4

e

+

a

go

Gr

go do

Djm #1

pa ta

Gn

ta

Djm #2

Gn

ta

Gn

go do

pa ta

Gn

go do

pa ta

Gn

Djm #3

DD #1

x x O O

x x O O

x (o)

x x O O

x x O O

x (o)

DD #2

x O

x O

x O

x O

x O

x O

x O

x x O O

x x O O

x

x O

x x O O

x x O O

x O x O

x O

e

Signal

pa ta ta

1

Gn

DD #3

ta

e

 +

a

2

go do

+

go

pa ta

a

3

Gn

go do

pa ta

Gn

DD #1

x x O O

x x O O

DD #2

x O

x O

x O

x O

+

a

do

go do pa ta ta

x O

e

do go

Gn

DD #3

ta

e

4

e

+

a

go pa ta

ta

go do

Gn

ta

go do

pa ta

Gn

x (o)

x x O O

x x O O

x (o)

x O

x O

x O

x O

x O

x x O O

x x O O

x

x O

x x O O

x x O O

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

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

Composer: traditional Source: Alan Tauber – The Drum Connection

Composer: traditional Source: Alan Tauber – The Drum Connection

20

20

 1 Signal

#1

e

Gr

+

a

2

go do

e

+

go

pa ta pa ta pa

a

3

e

do go ta

+

a

do

4

 e

+

a

1

go

Signal

pa ta pa ta pa

ta

#1

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

#2

#3

#4

pa

ta

pa

ta

pa

ta

Pr

pa

ta

pa

ta

pa

ta

Pr

pa ta pa

ta pa ta

pa ta pa

pa ta

pa ta pa

ta pa ta

pa ta

godogo

ta

godogo

godogo

ta

#5

pa ta

#6

do pa

ta pa

#7

pa ta

pa ta

#8

Pr

#9

go do

pa ta Pr

godogo

ta

a

2

go do

pa ta pa ta pa

#3

ta

e

do go ta

+

a

do

4

e

+

pa ta pa ta pa

ta

#4

pa

ta

Pr

pa

ta

pa

ta

pa

ta

Pr

pa ta

pa ta pa

ta pa ta

pa ta pa

pa ta

pa ta pa

ta pa ta

pa ta

godogo

ta

godogo

Gr

#5

pa ta

do pa

ta pa

godogo

#6

do pa

ta pa

#7

pa ta

pa ta

#8

Pr

#9

go do

godogo

pa ta pa ta g

ta

pa ta Pr

godogo

ta

godogo

godogo

ta

pa ta

pa ta

Pr

pa ta

pa ta

Gr

do pa

ta pa

godogo

pa ta pa ta Pr

pa ta

ta

go do

pa ta Pr

pa ta pa ta

pa ta

godogo's in lines 4 and 5 are triplets

godogo's in lines 4 and 5 are triplets

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

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

21

a

go

ta

pa ta

pa ta

3

pa

pa ta

go do

a

ta

Pr

pa ta Pr

+

pa

pa ta

pa ta Pr

e

go

pa ta

pa ta

pa ta

ta godogo

godogo

Gr

+

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

#2

pa ta

e

21

g

 1

e

+

a

2

e

+

a

3

pa

ta

+

a

4

e

+

a

1

triplet

triplet

#8

e



pa

ta

pa

ta

pa

#8

4

4

DD so

O

O

O

O

O

Composer: of parts - Alan Tauber, of arrangement - as suitable for class Source: Alan Tauber – The Drum Connection

22

2

e

+

a

3

ta

e

+

a

4

e

+

a

triplet

pa

ta

pa

ta

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

DD so

O

a

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

#9

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

lo

+

triplet

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

#9

e

g

lo

O

O

O

O

O

O

Composer: of parts - Alan Tauber, of arrangement - as suitable for class Source: Alan Tauber – The Drum Connection

22

g

 1

e

Air

+

a

I

am

Wa - ter

2

e

+

a

Ea-rth and

Transcribed by me Source: gatherings

3

e

 +

a

4

e

+

a

1

e

+

a

Fire

I

am

Air

I

am

Spi-rit

I

am

Wa - ter

2

e

+

a

Ea-rth and

Transcribed by me Source: gatherings

23

23

3

e

+

a

Fire

I

am

Spi-rit

I

am

4

e

+

a

 1

e

Djm #1 Gn

+

a

2

go do pa

x

shkr

e

+

a

3

e

+

go do Gn

x

 a

4

e

go do pa

x

+

a

go do

x

e

Djm #1 Gn

+

a

2

e

go do pa

x

shkr

Aramelay Aramelay Oh, oh, oh Aramelay Oh ya ya

+

a

3

e

+

go do Gn

x

a

4

e

go do pa

x

+

a

go do

x

Aramelay Aramelay Oh, oh, oh Aramelay Oh ya ya

1

e

Gn Gn

Djm #2

1

+

a

2

go do go do

e

+

a

go do go do

3

e

+

Gn Gn

a

4

e

+

a

go do go do go do

1

e

Gn Gn

Djm #2

+

a

2

go do go do

e

+

a

go do go do

3

e

+

Gn Gn

a

4

e

+

a

go do go do go do

Aramelay Aramelay Aramelay Oh ya ya

Aramelay Aramelay Aramelay Oh ya ya

Here is the traditional Malinke djembe part that Susan plays all the time, placed in a random spot in the book. Not part of Aramelay Sounds good on one drum.

Here is the traditional Malinke djembe part that Susan plays all the time, placed in a random spot in the book. Not part of Aramelay Sounds good on one drum.

1

Gn

e

+

a

pa ta

2

e

+

a

3

Dn pa ta Gn

e

+

4

e

+

a

go ta go do pa ta

Composer: traditional Source: Julie Corey drum class (thanks Suzan and Jean)

24

a

1

Gn

e

+

a

pa ta

2

e

+

a

3

Dn pa ta Gn

e

+

4

e

+

a

go ta go do pa ta

Composer: traditional Source: Julie Corey drum class (thanks Suzan and Jean)

24

a

 1

e

+

a

2

e

+

a

3

e

+

a

4

e

 +

a

Signal Gro

go do go

pa

go do go do go

pa

go

go ta pa

Dn

go do go do go

Dn

go

go ta pa

Dn

go do go do go do Gn Dn

go

ta

go

ta

go

ta

Dn

Gn

go

ta

go

ta

Dn

Djm #1

DD?

1

+

a

2

pa

ta

pa

ta

1

e

+

a

2

e

+

a

3

go ta pa

Dn

go do go do go

Dn

go

go ta pa

Dn

go do go do go do Gn Dn

go

ta

go

ta

ta

Dn

Gn

pa

ta

pa

go

ta

go

ta

Gn Dn Gn

Gn Dn Gn

Dn

Dn

+

+

+

Dn

DD?

a

1

+

a

2

pa

pa

ta

pa

ta

go

do

Dn

Gn

Dn

pa

ta

pa

Gn Dn Gn

Gn Dn Gn

Dn

+

+

+

a

3

pa

a

4

Dn

Dn

Transcribed by me, based on Atrocity Exhibition by Joy Division Source: self, still working on this one

25

a

go

Djm #1

go

Dn

+

pa

Dn

pa

e

go do go do go

Gn

4

4

pa

Dn

a

a

go do go

do

3

+

Signal Gro

go

a

e

Transcribed by me, based on Atrocity Exhibition by Joy Division Source: self, still working on this one

25

a

pa

 1 Djm #1

DD #1

DD #2

e

+

a

go

pa do

O

O

2

e

+

a

do go do go

e

+

pa

a

4

pa

O O

O O

3

 +

a

Dn

O

O O

e

O

1 Djm #1

DD #1

DD #2

e

+

a

go

pa do

O

O

26

e

+

a

3

do go do go

e

+

pa

a

4

pa

O O

O O

Composer: traditional Source: Alan Tauber – The Drum Connection

2

Composer: traditional Source: Alan Tauber – The Drum Connection

26

+

a

Dn

O

O O

e

O

 1

e

DD #1

DD

Gn

ta

o

o

O m

a

2

go do

Signal Gro Djm #1

+

O

e

+

go

a

3

e

+

a

4

e

+

a

1

do go

do

go

Signal Gro

go do pa ta Gn

ta

go do pa ta

Djm #1

o

O



O

O

O

O

O

O

o

DD #1

O O

O

O

O

O

O

O

DD

27

+

ta

o

o

O

a

2

go do

Gn

m

Composer: traditional Source: Alan Tauber – The Drum Connection

e

O

e

+

go

a

3

e

a

4

e

+

a

do go

do

go

go do pa ta Gn

ta

go do pa ta

o

O

+

O

O

O

O

O

O

o

O O

O

Composer: traditional Source: Alan Tauber – The Drum Connection

27

O

O

O

O

O

 1 Signal

Gr

+

a

go do go do pa

Djm

DD

e

2

e

+

go

a

3

do go

pa ta pa

e

 +

a

4

O

go do pa

O

Composer: traditional Source: Alan Tauber – Drum Connection

28

+

a

pa ta pa

o o o O

e

1 Signal

ta pa ta

Gr

+

a

go do go do pa

Djm

DD

e

2

e

+

go

a

3

do go

pa ta pa

e

+

a

4

O

go do pa

O

Composer: traditional Source: Alan Tauber – Drum Connection

28

+

a

pa ta pa

o o o O

e

ta pa ta

 1 Signal

Djm #1

Djm #2

+

2

+

Gro

go do

Gn

go

3

+

4

+

 5

+

go do

go do

do

Gn

go do

Gn Gn

go do go go go

Gn Gn

* ta go do

Gn

go do go

Gn

pa ta

Gn

Dn Gn

Dn Gn

Dn

Gn

do Gn

do Gn

do Gn

Djm #3

go pa ta

go pa ta

Djm #4a

Gn

go do pa

Djm #4b

pa

Gn

Djm #4c

go do pa

Gn

Djm #5

Gn

Dn

go do

Djm #6

Gn

Dn

pa

DD #1

x O

x O

x

x O

x O

x

go pa ta Gn

go do pa

6

+

1 Signal

Djm #1

Gn do

go pa ta

Djm #2

+

2

+

Gro

go do

Gn

go

3

5

+

do

Gn

go do

Gn Gn

go do go go go

Gn Gn

* ta go do

Gn

go do go

Gn

pa ta

Gn

Dn Gn

Dn Gn

Dn

Gn

do Gn

do Gn

do Gn

go pa ta

go pa ta

go do pa

Djm #4a

Gn

go do pa

Gn

go do

Djm #4b

pa

Gn

Gn

Djm #4c

go do pa

Gn

go pa ta Gn

Djm #5

Gn

Dn

go do

Gn Dn

Dn

Dn

Djm #6

Gn

Dn

pa

x

x

x O

DD #1

x O

x O

x

x O

x O

x O

x O

x O

x

+

Gn do

go pa ta

Gn

go do

go do pa

Dn

6

go do pa

go do pa

do

x O

+

go do

go

x

4

go do

Djm #3

go do pa

+

Gn

go

do

Dn

Gn Dn

Dn

Dn

x

x

x O

x O

x O

x O

x x O

* when learning, it may help to slap your leg here Part #4 is a round. For those having trouble learning the DD part, note that djembe parts 5 and 6 when played one-after-the-other match the DD part.

* when learning, it may help to slap your leg here Part #4 is a round. For those having trouble learning the DD part, note that djembe parts 5 and 6 when played one-after-the-other match the DD part.

Composer: traditional Source: Alan Tauber – Drum Connection

Composer: traditional Source: Alan Tauber – Drum Connection

29

29

 1

+

2

+

3

+

4

+

 5

+

6

+

1

+

2

+

3

+

4

+

5

+

6

+

Djm #1

Gn

ta

ta

ta

ta

ta

ta

Djm #1

Gn

ta

ta

ta

ta

ta

ta

Djm #2

Gn Gn Gn

ta

ta

ta

ta

ta

Djm #2

Gn Gn Gn

ta

ta

ta

ta

ta

Djm #3

Gn

Djm #3

Gn

bell

x

ta Gn x

ta Gn x

x

Composer: traditional Source: Alan Tauber – Drum Connection

30

ta Gn x

x

x

bell

x

ta Gn x

ta Gn x

x

Composer: traditional Source: Alan Tauber – Drum Connection

30

ta Gn x

x

x





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

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

go do

go

do go

Signal

Gro

Djm#1

Gn

Dn Gn

do

Gn

Dn Gn

Djm#2

Gn Dn

Dn Gn

do

Gn

Djm#3

Gn

do Gn

do

Gn

DD#1

x O

x O

(x) x

x O

Composer: traditional Source: Alan Tauber – The Drum Connection

31

do

x O

go

do go

Gro

do

Djm#1

Gn

Dn Gn

do

Gn

Dn Gn

do

Dn Gn

do

Djm#2

Gn Dn

Dn Gn

do

Gn

Dn Gn

do

do Gn

do

Djm#3

Gn

do Gn

do

Gn

do Gn

do

DD#1

x O

x O

(x) x

x O

x (x) x O

go do

go

Signal

Composer: traditional Source: Alan Tauber – The Drum Connection

31

do

x O

go

x (x) x O

 1

+

2

+

3

+

4

Djm #1

Gn

pa Dn go do Gn

Djm #2

Dn

go

Djm #3

go

DD #1

x (O)

ta

ta

pa do pa x

x

+

go

x

O

O

5

+

6

+

pa Dn go do

Gn do ta

 1

+

2

+

3

+

4

Djm #1

Gn

pa Dn go do Gn go

pa

Gn

Djm #2

Dn

ta

pa do pa

ta

Djm #3

go

x

x O

x

DD #1

x (O)

ta

ta

pa do pa x

x

+

go

x

O

O

+

6

+

pa Dn go do

Gn do ta

5

pa

Gn

ta

pa do pa

ta

x

x O

x

hint: part #1 feels very fast against part #2. Part #3 looks easy, but adds quite a lot to the rhythm.

hint: part #1 feels very fast against part #2. Part #3 looks easy, but adds quite a lot to the rhythm.

Composer: traditional Source: Dave Jolly's rhythm book

Composer: traditional Source: Dave Jolly's rhythm book

http://www.picturedance.com/dave_personal_pages/rhythmbook.html

32

http://www.picturedance.com/dave_personal_pages/rhythmbook.html

32

 1 Djm

e

+

a

2

e

+

a

3

e

+

a

 4

e

+

a

Gn Dn go Dn Gn pa Gn pa Gn Dn go Dn Gn pa Gn pa We

are the

chi - l - dr - n

We

are the chil

We

are the

As we work

dren of

chi - l - dr - n

of

the di-

lo of

on the Ear th plain

vine ove

the dinow

vine

1 Djm

e

+

a

2

e

+

a

e

+

a

4

e

+

a

Gn Dn go Dn Gn pa Gn pa Gn Dn go Dn Gn pa Gn pa We

are the

chi - l - dr - n

We

are the chil

We

are the

As we work

dren of

chi - l - dr - n

of

Blessings to our Mother the Earth Blessings to our Father the Sky Blessings to our Children As we work on the Earth plane now

I am a daughter of the Divine I am a daughter of Love I am a daughter of the Divine As I work on the Earth plane now

I am a daughter of the Divine I am a daughter of Love I am a daughter of the Divine As I work on the Earth plane now

Blessings to my Mother the Earth Blessings to my Father the Sky Blessings to my Children As I work on the Earth plane now

Blessings to my Mother the Earth Blessings to my Father the Sky Blessings to my Children As I work on the Earth plane now

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

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

33

the di-

lo of

on the Ear th plain

Blessings to our Mother the Earth Blessings to our Father the Sky Blessings to our Children As we work on the Earth plane now

33

3

vine ove

the dinow

vine

 1

e

+

a

Signal

go do go do

Djm #1

go

Djm #2

DD

lt go

2

e

+

a

3

e

 +

a

go do

go

lt go lt go

lt go

4

e

+

a

O O

Composer: Alan Tauber Source: Alan Tauber – The Drum Connection

34

O O

e

+

a

go

Signal

go do go do

lt go lt

Djm #1

go

rt ta pa lt rt do go do rt ta pa lt rt do go do

O

1

Djm #2

DD

lt go

2

e

+

a

3

e

+

a

go do

go

lt go lt go

lt go

4

e

+

a

go lt go lt

rt ta pa lt rt do go do rt ta pa lt rt do go do

O

O O

Composer: Alan Tauber Source: Alan Tauber – The Drum Connection

34

O O

 1

e

+

a

2

go do

e

+

3

Signal

Gr

Djm #1

pa ta

ta pa

go do pa

Djm #2

pa

ta pa

go do pa

Djm #3

go

Dn

go do

go

Djm #4

go

Gn Dn

Gn Dn

pa

pa Djm #5

Djm #6

go

a

Dn

do go

e

 +

a

e

+

1

e

+

a

2

+

3

Gn

Djm #1

pa ta

ta pa

go do pa

Djm #2

pa

ta pa

go do pa

Djm #3

go

Dn

go do

go

Djm #4

go

Gn Dn

Gn Dn

pa

ta pa Dn ta

go do go do

Gn Dn Dn

pa

Dn

do go

Dn

Gn do go

Gn

Dn

do go do Gn do go

Gn do go

Dn pa ta go do pa ta

Dn pa ta

Djm #5

Djm #6

go

a

Gr

pa Dn go do

go do

e

Signal

Gn

go do pa ta

a

pa ta pa

go do Gn do go Gn

4

Dn

do go

e

+

a

e

+

Gn

pa Dn go do ta pa Dn

ta

go do go do

Gn Dn Dn

Gn

Dn

do go

Dn

Gn do go

Gn

Dn

do go do Gn do go

Gn do go

go do pa ta

a

pa ta pa

go do Gn do go Gn

4

Dn pa ta go do pa ta

Dn pa ta

Gn do Gn do Gn Dn pa go Djm #7 do Djansa is a competition dance between young men. Today it is a popular rhythm played at all traditional festivals.

Gn do Gn do Gn Dn pa go Djm #7 do Djansa is a competition dance between young men. Today it is a popular rhythm played at all traditional festivals.

There are so many parts to this one not because they necessarily are to be played all at once but so they can be played individually with breaks in between. Sort of like a semi solo. Generally, one line parts are played four times, and two line parts are played only twice, or half as many times as the one line parts.

There are so many parts to this one not because they necessarily are to be played all at once but so they can be played individually with breaks in between. Sort of like a semi solo. Generally, one line parts are played four times, and two line parts are played only twice, or half as many times as the one line parts.

Composer: traditional, Kassounke, Mali, Kayes Region, arrangement and some lines added by Alan Tauber. . Source: Djm #1,#2 from Mamady Keita, #3-7 Alan Tauber – Drum Connection Djm #7 simply mirrors the dunun part #1.

Composer: traditional, Kassounke, Mali, Kayes Region, arrangement and some lines added by Alan Tauber. . Source: Djm #1,#2 from Mamady Keita, #3-7 Alan Tauber – Drum Connection Djm #7 simply mirrors the dunun part #1.

35

35

 1 #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 ta Gn ta pa ta go do pa ta Gn ta pa ta go do pa ta

1 2x

#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 ta Gn ta pa ta go do pa ta Gn ta pa ta go do pa ta

2x

#2

pa ta

Dn pa ta pa

Dn 4x

#2

pa ta

Dn pa ta pa

Dn 4x

#3

pa ta

go do pa ta pa

go do 2x

#3

pa ta

go do pa ta pa

go do 2x

#4

#5

#6

#7

#8

#9

pa ta

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

pa ta

Dn pa ta pa

pa ta

Dn

tapata pa tapata pa tapata pa tapata pa Dn

pa ta

Dn pa ta pa

Dn

pa ta

tapata pa tapata pa tapata pa tapata pa

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

Gn ta

Pr

Gn ta Pr

Gn

go do

patapa

Pr

Gn ta

Gn ta

Gn ta Pr

Gn ta

Gn ta

go do

go do pa ta

pa ta

go do

go do

go do

go do

ta

ta

ta

ta

patapa

Gn ta

patapa

patapa

go do

pa

1x

#4

3x

#5

1x 4x 2x 1x 2x

#7

2x

#8

4x

Hints: patapa's are triplets, ta's are spaced evenly, isolated ta's are on 1+,2e, 3,3a, take a class, i'm not sure about this one, myself. #10

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

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

36

#6

6x

#9

pa ta

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

pa ta

Dn pa ta pa

pa ta

Dn

tapata pa tapata pa tapata pa tapata pa Dn

pa ta

Dn pa ta pa

Dn

pa ta

tapata pa tapata pa tapata pa tapata pa

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

Gn ta

Pr

Gn ta Pr

Gn

go do

patapa

Pr

Gn ta

Gn ta

Gn ta Pr

Gn ta

Gn ta

go do

go do pa ta

pa ta

go do

go do

go do

go do

ta

ta

ta

ta

patapa

Gn ta

patapa

patapa

go do

pa

1x

3x

1x 4x 2x 1x 2x

2x

4x

Hints: patapa's are triplets, ta's are spaced evenly, isolated ta's are on 1+,2e, 3,3a, take a class, i'm not sure about this one, myself. #10

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

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

36

6x

 1

e

+

a

2

e

+

a

3

e

+

a

x

kk

x O

x

x

x x O O

x O

x

sb

x O

x

x O

x

x O

x

x (O)

x (O)

x x O x x O O

x (O) DD #1 x (O)

DD #2

x

x

x

x

x

x x O O

x

x

x

x

x

x (O)

x O

x

x

x

x

x

x

x x O O

x O DD #3 x O

x (O) x

x O

 4

1

e

+

a

2

e

+

a

3

e

+

a

x

x O

x

x

x x O O

x O

x

x O

sb

x O

x

x O

x

x O

x

x (O)

x (O)

x x O x x O O

x x

x x x O x x x x O O O O x O x x O O

a

kk

x x

+

x x O O x

x

x

x

x

Composer: traditional, Kassounke, Mali, Kayes Region Source: kk,sb,DD#1 from Mamady Keita - A Life for the Djembe DD#2 from Alan Tauber – The Drum Connection DD#3 from www.soundweaver.org

37

e

x (O) DD #1 x (O)

DD #2

x

x

x

x

x

x x O O

x

x

x

x

x

x (O)

x O

x

x

x

x

x

x

x x O O

x O DD #3 x O

x (O) x

x O

4

+

x x O O x

x O x

x

x x

x x x O x x x x O O O O x O x x O O

x

x

x

x

Composer: traditional, Kassounke, Mali, Kayes Region Source: kk,sb,DD#1 from Mamady Keita - A Life for the Djembe DD#2 from Alan Tauber – The Drum Connection DD#3 from www.soundweaver.org

37

e

a

 1 Signal Gro

e

+

a

2

go do

+

go

a

3

do go

Djm #1

pa

Djm #2

Dn

go do

pa

Djm #3

Gn

ta

DD #1

x O

x O

DD #2

ta pa

e

e

+

 a

do

go do pa

4

e

+

a

go

Signal Gro

+

a

2

go do

+

go

go do

pa

Djm #2

Dn

go do

pa

ta

go do go

go do

Djm #3

Gn

ta

x O

x O

DD #1

x O

x O

x

O

O O O

Composer: Traditional Source: Alan Tauber – The Drum Connection

38

O O

DD #2

a

3

do go

pa

x O

ta pa

e

Djm #1

X O

e

go do

Dn

ta pa

1

e

+

do

go do pa Dn

a

4

e

+

a

go ta pa

go do

go do

pa

ta

go do go

go do

x O

x O

O

O O O

x O

x

X O

Composer: Traditional Source: Alan Tauber – The Drum Connection

38

O O

 1

#1 2x

e

+

a

2

e

+

a

3

e

+

 a

4

e

+

go do go do go

ta

go do go do go

pa

ta

pa

ta

go do go

go

do

go

ta

pa

ta

Pr

Pr

Pr

pa

ta

pa

Gro

Gro

#3 4x

Pr

Gr

Gr

Pr

Gr

Gr

End 1x

Pr

#2 2x

Composer: traditional Source: Alan Tauber – The Drum Connection

39

a

1

#1 2x

e

+

a

2

e

+

a

3

e

+

a

4

e

+

go do go do go

ta

go do go do go

pa

ta

pa

ta

go do go

go

do

go

ta

pa

ta

Pr

Pr

Pr

pa

ta

pa

Gro

Gro

#3 4x

Pr

Gr

Gr

Pr

Gr

Gr

End 1x

Pr

#2 2x

Composer: traditional Source: Alan Tauber – The Drum Connection

39

a

 1

+

2

+

Signal

Gro

go do

Djm #1

pa

go

Djm #2

pa

pa

3

+

4

+

 5

+

pa

go

ta

ta

go do pa

pa

ta

2

+

3

+

4

+

5

+

go

go do

Djm #2

pa

pa

Djm #3

Gn do go Dn go do Gn do go Dn go do

Djm #3

Gn do go Dn go do Gn do go Dn go do

Djm #4

Gn

Djm #4

Gn

Djm #5 Djm #6

Gn

pa

ta

go do pa

ta

go do

Djm #5

go do pa

ta

pa

ta

pa

Djm #6

x O

x O

x O

x O

x

x O

ta

go do pa

x O

x O

x O

x O

x

x

x

x O

x

x

x

x O

Composer: traditional Source: Alan Tauber – The Drum Connection

40

ta

x

ta

DD #1

x O

DD #2

go

go

ta

pa

go

ta

ta

go do pa

pa

ta

+

pa

ta

go do

6

Djm #1

DD #2

ta

+

go do

go

do

1 Gro

DD #1

go

+ Signal

go

go do

6

go do

ta

Gn

pa

ta

go do pa

ta

go do

go do pa

ta

pa

ta

pa

x O

x O

x O

x O

x

x O

ta

go do pa

x O

x O

x O

x O

x

x

x

x O

x

Composer: traditional Source: Alan Tauber – The Drum Connection

40

ta

x O

x

x

go

do

x

ta

x O

  1

+

2

+

Signal

Gr

go do

#1

Pr

pa

pa

ta

3

+

ta

+

5

+

go do

go

Pr

pa

ta

ta

pa

4

 

pa

ta

pa

pa

ta

pa

ta

go do pa

ta

go do pa

#3

pa

#4

pa

ta

pa

ta

pa

ta

pa

ta

pa

ta

pa

ta

pa

ta

pa

ta

pa

ta

pa

ta

pa

ta

Composer: traditional Source: Alan Tauber – The Drum Connection

41

+

do

#2

ta

6

pa

1

ta

ta

pa

ta

2

+

Signal

Gr

go do

#1

Pr

pa

pa pa

+

ta

3

+

ta

+

5

+

go do

go

Pr

pa

ta

ta

pa

4

pa

ta

pa

pa

ta

pa

ta

go do pa

ta

go do pa

#3

pa

#4

pa

ta

pa

ta

pa

ta

pa

ta

pa

ta

pa

ta

pa

ta

pa

ta

pa

ta

pa

ta

pa

ta

Composer: traditional Source: Alan Tauber – The Drum Connection

41

+

do

#2

ta

6

pa

pa

ta

ta

pa

ta

 1 Djm #1

e

+

a

2

e

+

a

go

ta

ta

go ta

go

ta

ta

go

3

42

+

ta ta

Composer: The Eclectics Source: transcribed from an Eclectics album.

e

go

 a

4

e

+

go ta

go

ta

ta

a

1 Djm #1

e

+

a

2

e

+

a

go

ta

ta

go ta

go

ta

ta

go

3

42

+

ta ta

Composer: The Eclectics Source: transcribed from an Eclectics album.

e

go

a

4

e

+

go ta

go

ta

ta

a

 1

e

+

a

2

Signal

Gr

go do

Djm #1

Gn

go

Djm #2

Gn

Dn Gn

Djm #3

pa ta

Djm #4

Dn

go do Gn

Djm #5

Gn

Dn Gn

Djm #6

Gn

Gn

DD #1

x O

x

x O

x

or DD #2

e

+

go

a

3

e

 +

a

4

e

+

a

1

DD

2

go

Signal

Gr

go do

Gn

Gn

go do

Djm #1

Gn

go

Djm #2

Gn

Dn Gn

Djm #3

pa ta

Djm #4

Dn

go do Gn

go do

Djm #5

Gn

Dn Gn

Gn Dn go do

Djm #6

Gn

Gn

DD #1

x O

x

x O

x

go do

Dn go do Gn

Dn Gn

go do Gn

go do

go do

Dn go do Gn

go do Gn

Gn

Dn go do Gn

Gn Gn

*x x

x *x

*x x

O

O

x O

x O

or

x *x

x

DD #2

e

+

go

a

3

e

+

a

4

e

do go

do

go

Gn

Gn

go do

go do

Dn go do Gn go do

Dn Gn

go do Gn

+

a

go do

go do

Dn go do Gn

go do Gn

Gn

Dn go do Gn

Gn Gn

*x x

go do Gn Dn go do x *x

*x x

O

O

x O

x O

O

x x O (o)

x *x

x

with *x being optional

x

O O

a

do

go do

x

+

do go

with *x being optional

DD

e

x

x

(o) O O

O O

O O

x x O (o) O

o o

x

x O

DD DD

x

x

O O

x

x

(o) O O

O

O O

O

o o

x

x O

Fanga Alafia Ashé Ashé (2x) Ashé Ashé Ashé Ashé Fanga Alafia Ashé Ashé

Fanga Alafia Ashé Ashé (2x) Ashé Ashé Ashé Ashé Fanga Alafia Ashé Ashé

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

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

Composer: traditional Source: Alan Tauber – The Drum Connection, and http://www.djembe.net/share/Fanga.htm, and http://www.newview.org/salem/rhythm.html

Composer: traditional Source: Alan Tauber – The Drum Connection, and http://www.djembe.net/share/Fanga.htm, and http://www.newview.org/salem/rhythm.html

43

43

  e

Signal

Gr

Djm #1

Gn t

Djm #2

+

a

2

go do t

e

+

go

t pa t

a

3

do go t Dn t

e

+

a

do

4

+

a

Gr

t Gn t pa t go do

Djm #1

Gn t

lm pa

Dn go do do lm pa

Dn

lm pa

Dn go do go Dn

3x

Dn Gn

t

t go do

Djm #4

Gn

Gn

pa

Dn

Gn

pa

go do

Djm #5

Gn

Gn

pa

Dn Gn

Gn

pa

Djm #6

Gn Dn Gn Dn pa

Dn

Gn

O

O

begnrs

x x O

DD #2

x x O

x

x x

x

x O

x O

x O

x

t go do

x O

2

go do t

e

+

go

t pa t

a

3

do go t Dn t

e

+

a

do

4

+

a

go

t Gn t pa t go do

Dn

lm pa

Dn go do do lm pa

Dn

lm pa

Dn go do go Dn

3x

Dn Gn

Djm #4

Gn

Gn

pa

Dn

Gn

pa

go do

go do

Djm #5

Gn

Gn

pa

Dn Gn

Gn

pa

go do

pa

go do

Djm #6

Gn Dn Gn Dn pa

Dn

Gn

pa

go do

x

(x) (x)

x

(x) (x)

O

O

x O x

x

x O x O

x x O

DD #2

x x O

x

x x

x

x O

x O

x O

x

t go do

do t do t do t do t do go

O

DD #1

DD #3

t go do t

1x

t go do

DD

t go do t

e

t

x O

a

t go do t

x O

x x x O O

+

t

Djm #3

do t do t do t do t do go

O

DD #1

DD #3

t go do t

Djm #2

1x

t go do t

DD

e

Signal

t

Djm #3

1

go

Dn

t go do t

e

begnrs

1

 

x O

x x x O O

x

x O x

O

x O

x O

x x O

Originally played on the streets of New York City in the early seventies. Djembe part #1 does not need to be played with touches, but it adds a lot of flair.

Originally played on the streets of New York City in the early seventies. Djembe part #1 does not need to be played with touches, but it adds a lot of flair.

Composer: Source: Alan Tauber – The Drum Connection

Composer: Source: Alan Tauber – The Drum Connection

44

44

 1

a

2

Gr

go

do

Gn

ta

Gn

ta

go do

Djm #2

pa

go

Djm #3

pa

Signal

Djm #1

kk

sb

DD

+

+

a

3

+

 a

4

+

a

go do

go do

ta

ta

ta

go do

ta

ta

ta

pa

go

ta

go do pa

ta

a

2

Gr

go

do

Gn

ta

Gn

ta

go do

Djm #2

pa

go

Djm #3

pa

Signal

ta ta

1

go do

x

x O

x O

x

x

x O

x O

x

x

x (O)

x

x O

x

x (O)

x

O

x O

x O

x O

x O

x

x

x O

x O

x O

x O

x O

x

x

x

x

x

x O

Djm #1

kk

sb

DD

+

+

a

3

+

a

4

+

a

go do

go do

ta

ta

ta

go do

ta

ta

ta

pa

go

ta

go do pa

ta

ta ta

go do

x

x O

x O

x

x

x O

x O

x

x

x (O)

x

x O

x

x (O)

x

O

x O

x O

x O

x O

x

x

x O

x O

x O

x O

x O

x

x

x

x

x

x O

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

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

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

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

45

45



Djm #1

Djm #2

Pr

e

+

Pr

a

3

e

+

a

4

ta pa

ta

Pr

e

+

h

ful

go

h h m

ful ful

Gn Gn Gn

h h

ful ful

go m go

m

go

ful

go

lt

rt

lt

go go rt

ful ful rt

go go lt

lt lt

lt

rt

rt Gn Gn

ta

pa

ta

ta

pa

ta

ta

x

x

pa

ta

pa

x

ta x

x

x

x

x

x

x

x

x x

X

X

X

x

x

X

x

x

X

x

x

x

x x O O

x

Composer: Traditional Source: Alan Tauber – The Drum Connection

46

x O

Djm #1

Djm #2

x

Djm #3

x

x

x O

1

ful

-

x x O O

a Signal

Gn

x

Bell

2

ful

Stx

DD

a

h

clave

Djm #3

+

x

+

a

2

e

+

Pr

a

3

e

+

a

4

ta pa

ta

Pr

e

+

h

ful

Gn

h

ful

go

h h m

ful ful

Gn Gn Gn

h h

ful ful

go m go

m

go

ful

go

lt

rt

lt

go go rt

ful ful rt

go go lt

lt lt

lt

rt

rt Gn Gn

ta

pa

ta

ta

pa

ta

ta

x

x

pa

ta

pa

Stx

x x

DD

e

Pr

clave

Signal

e

Bell

1



ta x

x

x

x

x

x

ful

x

x

x x

-

x

x

X

X

X

x

x

X

x

x

X

x

x

x

x x O O

x x O O

x O

x

Composer: Traditional Source: Alan Tauber – The Drum Connection

46

x O

a

x

x

 1

e

+

a

2

e

+

a

3

 e

+

a

4

e

+

a

1

e

+

a

2

e

+

a

3

e

+

a

4

e

+

Djm #1 Gn

Gn

Gn

Gn go do go do

go

Djm #1 Gn

Gn

Gn

Gn go do go do

go

Djm #2 Gn

Gn Gn

pa

Gn

Gn

Gn

pa

Djm #2 Gn

Gn Gn

pa

Gn

Gn

Gn

pa

Gn Gn

Gn

Gn Gn

Gn Gn

Gn

Gn Gn

Djm all Gn to end clave x

Gn Gn x

x

Gn x

x

x

Composer: Unknown Source: Julie Corey

x

x

x

x

pa x

x

Djm all Gn to end clave x

Gn Gn x

x

Gn x

x

x

Composer: Unknown Source: Julie Corey

47

47

x

x

x

x

a

pa x

x

 1

e

Signal Gro

+

a

2

go do

e

+

a

go

3

e

 +

a

4

do go

do

go

e

+

a

1

e

Signal Gro

+

a

2

go do

e

+

a

go

3

e

+

a

4

do go

do

go

e

+

Djm #1

go do

do go

Gn

go

go

Gn

Dn

Djm #1

go do

do go

Gn

go

go

Gn

Dn

Djm #2

Dn

go do

pa

Dn

go

do

pa

Djm #2

Dn

go do

pa

Dn

go

do

pa

Djm #3

Dn

do go do

ta pa

Djm #3

Dn

do go do

Djm #2

Gn

Djm #2

Gn

DD

ta pa Dn

do go do

Gn

Gn

ta

pa

Gn

ta pa

ta

ta

pa

x O

x O

x O

x

x

x *x

x

x

x

pa

*x

ta

*x

DD

ta pa Dn

do go do

Gn

Gn

ta

pa

Gn

ta pa

ta

ta

pa

x O

x O

x O

x

x

x *x

x

x

x

O

O

*x are optional

*x are optional

pa

*x

a

ta pa

ta

*x

Kakilambe in 4x4 time was taught to Americans decades ago when African drumming was first introduced to the West. At the time, it was not expected that Americans would be able to easily learn Kakilambe in the traditional time signature, 4x3.

Kakilambe in 4x4 time was taught to Americans decades ago when African drumming was first introduced to the West. At the time, it was not expected that Americans would be able to easily learn Kakilambe in the traditional time signature, 4x3.

Composer: Ibrahim Source: Alan Tauber – The Drum Connection; and Larry Morris Rhythm Catalogue

Composer: Ibrahim Source: Alan Tauber – The Drum Connection; and Larry Morris Rhythm Catalogue

48

48



DD

+

a

2

e

+

a

3

#1

go do go do go

do

#2

pa

go do go

#3

go do go do go

#4

pa

ta

#5

pa

ta

e

+

a

4

go do go do go

e

+

a

1

e

+

a

2

e

+

a

3

do

#1

go do go do go

do

go

do

#2

pa

go do go

do

go do go do go

do

#3

go do go do go

pa

ta

pa

ta

pa

ta

#4

pa

ta

pa

ta

pa

ta

pa

ta

#5

pa

ta

#6

go do go do go

do

go do go do go

do

#7

pa

go do go do go do go

#8

go do go do go

do

x O

x

x O

x O

+

a

4

go do go do go

+

do do

do

go do go do go

do

pa

ta

pa

ta

pa

ta

pa

ta

pa

ta

pa

ta

#6

go do go do go

do

go do go do go

do

do

#7

pa

go do go do go do go

do

go do go do go

do

#8

go do go do go

do

go do go do go

do

x O

x O

x O

x O

x

x O

x O

x O

x

x O

x O

x O

x

x O

49

x

x O

x

x

DD

DD

Composer: Source: Alan Tauber – The Drum Connection

49

do

e

go

Composer: Source: Alan Tauber – The Drum Connection

do

e

bgnrs

DD

e

bgnrs

1



x

x O

x

x

a

 1

+

a

2

+

a

3

+

 a

4

+

a

1

3

Signal

godogo do

go do

go do

go

Djm #1

Gn

go

ta

Gn

go

Djm #2

Gn

go

ta

Djm #3

Dn

go do pa

Djm #4

pa

ta

Gn

Gn

Djm #5

Gn

+

a

2

+

a

3

+

a

4

+

a

3

go

Signal

godogo do

go do

go do

go

ta

Djm #1

Gn

go

ta

Gn

go

Gn do go do pa

Djm #2

Gn

go

ta

Gn do go do pa

Dn go

Djm #3

Dn

go do pa

Djm #4

pa

ta

Gn

Gn

do pa Gn

pa

ta

do pa Dn

ta ta

go do pa

ta ta

Djm #5

Gn

go

Dn go do pa

Gn

pa

ta

do pa Dn

ta ta

ta

go do pa

ta ta

Kakilambe is an important mask of the Baga. The spirit of Kakilambe appears only once a year and is a protector against evil spirits. He appears to make important revelations about the present and future. It is played loud and fast until the messages are communicated to the priest, then slow and soft while the priest tells what has been received, and also tells the people what sacrifices each should make.

Kakilambe is an important mask of the Baga. The spirit of Kakilambe appears only once a year and is a protector against evil spirits. He appears to make important revelations about the present and future. It is played loud and fast until the messages are communicated to the priest, then slow and soft while the priest tells what has been received, and also tells the people what sacrifices each should make.

Composer: traditional, Baga, West (lower) Guinea, Boke Region Source: Signal and djm #1, #2 from Mamady Keita - A Life for the Djembe, #3, 4, and 5 are from Alan Tauber – Drum Connection

Composer: traditional, Baga, West (lower) Guinea, Boke Region Source: Signal and djm #1, #2 from Mamady Keita - A Life for the Djembe, #3, 4, and 5 are from Alan Tauber – Drum Connection

50

50

 1

+

2

+

3

ta

pa

go do

pa

ta

#1

Pra

pa

#2

pa

ta

#3

+

4

+

5

 +

6

pa

ta

#1

ta

#2

pa

pa

ta

pa

ta

pa

ta

pa

ta

pa

ta

pa

ta

pa

ta

pa

ta

pa

ta

pa

ta

Composer: traditional, Baga, West (lower) Guinea, Boke Region Source: Alan Tauber – Drum Connection

51

pa

+

ta

1

#3

+

2

+

3

+

4

+

Pra

pa

ta

pa

go do

pa

ta

pa

ta

5

+

6

pa

ta

pa

ta

pa

ta

pa

ta

pa

ta

pa

ta

pa

ta

pa

ta

pa

ta

pa

ta

pa

ta

pa

ta

Composer: traditional, Baga, West (lower) Guinea, Boke Region Source: Alan Tauber – Drum Connection

51

+

pa

ta

 +

kk

x O

sb

x (O)

DD

a

2

+

x O

x (O)

x

x O

3

+

x

x O

x O

x O

x O

x O

x O

x

x

O

O

O

a

4

+

x O

x (O)

x

x (O)

x

x O

x O

x

x

x

x O

x

x

x O

x

x

x

DD

variation

x

a

a

1

+

kk

x O

sb

x (O)

DD

x

2

+

x O

x (O)

x

x O

3

+

x

x O

x O

x O

x O

x O

x O

x

x

O

O

O

a

x

O

4

+

x O

x (O)

x

x (O)

x

x O

x O

x

x

x

x O

x

x

x O

x

x

x

x DD

x

a

x variation

1



x

x

a

a

x x

O

Composer: traditional, Baga, West (lower) Guinea, Boke Region Source: kk, sb, DD from Mamady Keita - A Life for the Djembe, DD variation from Alan Tauber - Drum Connection

Composer: traditional, Baga, West (lower) Guinea, Boke Region Source: kk, sb, DD from Mamady Keita - A Life for the Djembe, DD variation from Alan Tauber - Drum Connection

52

52

 1

+

2

+

3

+

4

+

5

+

6

+

 7

+

8

+

9

+

1

+

2

+

3

+

4

+

5

+

6

+

7

+

8

+

9

Gn

go do go

go do Gn

go do Gn

Gn

Gn

Gn

go do go

go do Gn

go do Gn

Gn

Gn

Gn

go do go

go do Gn

go do Gn

Gn

Gn

Gn

go do go

go do Gn

go do Gn

Gn

Gn

Gn

go do go

go do Gn

go do Gn

Gn

Gn

Gn

go do go

go do Gn

go do Gn

Gn

Gn

Gn

go

Gn

go

do

go

Gn

go

Gn

go

do

go

Gn

t

Gn

t

t

t

Gn

t

Gn

t

t

t

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

t

t

t

t

Gn

t

tr

pa

Gn

t

t

Gn

t

tr

Gn

t

t

Middle Eastern

Middle Eastern

Composer: Source: Framingham Drum Circle

Composer: Source: Framingham Drum Circle

53

53

pa

+

 1

e

+

a

2

go do

e

+

do

a

3

e

do go

 +

a

4

Signal

Gr

Djm #1

go do pa ta pa

ta pa go do pa ta Gn

Djm #2

pa

ta pa

go do pa

Djm #3

pa

ta pa

Dn

Djm #4

pa

Djm #5

pa

e

+

a

pa ta pa

1

e

+

a

2

go do

e

+

do

a

3

e

do go

+

a

4

e

+

a

Signal

Gr

pa ta pa

pa ta

Djm #1

go do pa ta pa

ta pa go do pa ta Gn

pa ta

Gn ta pa

go do

Djm #2

pa

ta pa

go do pa

Gn ta pa

go do

pa

go do pa

Dn

Djm #3

pa

ta pa

Dn

pa

go do pa

Dn

ta pa

go do pa

Gn Dn pa

go do

Djm #4

pa

ta pa

go do pa

Gn Dn pa

go do

ta pa

go do pa

ta pa

go do

Djm #5

pa

ta pa

go do pa

ta pa

go do

Kassa (granary) is a rhythm for the farmers, played during work in the fields and during the harvest. Girls will sing for the farmers and drummer will drum for them all day long.

Kassa (granary) is a rhythm for the farmers, played during work in the fields and during the harvest. Girls will sing for the farmers and drummer will drum for them all day long.

Composer: traditional, Malinke, Northeast Guinea Source: Alan Tauber – The Drum Connection

Composer: traditional, Malinke, Northeast Guinea Source: Alan Tauber – The Drum Connection

54

54

  1

e

+

a

2

e

+

a

3

e

+

a

  4

e

+

a

1

e

+

a

2

e

+

a

3

e

+

a

4

Gn #1

Dn

Gn

Dn

Gn

Dn

Gn

Dn

Gn Dn Gn

Gn Pr #2

#3

#6 #7

pa ta pa

Pr

go do go do go

Dn

Gn

Pr

Pr

pa

Dn

pa

godogodogodogodogodogodogo

pa

#2 4x

#3

Dn

go do go do go pa

go do go do go

Pr

go do go do go

pa

Dn

pa

Dn

pa

Dn

pa

Dn

#4

2x

repeat line #4

#6

Pr

Pr (continues on next page)

55

2x

#7

Dn

Gn Dn Gn

Gn Dn Gn

Pr

Pr

pa ta pa

pa ta

ta

pa

go do go do go

go do go do go

Dn

Gn

4x

Pr

Pr Dn

2x

Pr

Pr Dn

pa

Dn

pa

godogodogodogodogodogodogo

Gr

Dn

pa

pa

go do go do go

go do go do go

godogodogodogodogodogodogo

pa

go do go do go

Pr

go do go do go

pa

Dn

pa

Dn

pa

Dn

pa

Dn

2x

#5

Gn

go do go do go

Gr

godogodogodogodogodogodogo

a

go do go do go

pa

2x

pa

go do go do go Gr

Dn

Gn

pa ta

go do go do go

Dn

Dn Gn

pa

Pr

Gn

Gn

ta

Pr

#1

Dn Dn

go do go do go

Gr

#5

Pr

+

Gn

Gn Dn

go do go do go

pa

#4

Pr

e

2x

2x

repeat line #4

Pr

Pr (continues on next page)

55

2x

  1 #8

e

+

a

2

e

+

a

3

e

+

a

  4

Pr

Gn

Pr

Dn

Pr

Gn

Pr

Dn

e

+

a

1 #8 2x

e

+

a

2

e

+

a

3

e

+

a

4

Pr

Gn

Pr

Dn

Pr

Gn

Pr

Dn

e

+

2x

#9

pa

ta

pa

ta

pa

ta

pa

ta

#9

pa

ta

pa

ta

pa

ta

pa

ta

#10

go

do

go

do

go

do

go

do

#10

go

do

go

do

go

do

go

do

pa ta

pa

ta

pa ta

pa

ta

ta

pa ta Brk then go into rhythm

go do pa ta pa

pa ta go do pa ta pa

x o

pa ta go do pa ta pa

Brk

all

#3

x o

x o

all

go do pa ta pa #3

x o

x o

pa ta

pa

pa ta 2x

pa ta

#2

pa ta go do pa ta pa

2x

go do go

pa ta pa

2x

#3

x o

2x

#3

x o

ta

#1

pa ta

Composer: Alan Tauber Source: Alan Tauber – The Drum Connection

56

pa

ta

lone djm

pa ta go do pa ta pa

x o

ta

other part to arrangement

all

#2

all

#1

lone djm

other part to arrangement

pa

pa ta go do pa ta pa go do pa ta pa x o

pa ta go do pa ta pa

go do pa ta pa

Brk

x o

x o

x o

x o

pa ta

pa

pa ta

pa ta go do pa ta pa

x o

all

pa

all

pa ta Brk then go into rhythm

a

pa ta

pa ta go do pa ta pa

2x

go do go

pa ta pa

2x

x o

2x

x o

ta

2x

pa ta

Composer: Alan Tauber Source: Alan Tauber – The Drum Connection

56

pa

ta

 1

kk

sb

e

+

e

+

x (O)

x

x (O)

x x O O

x O

x

x (O)

x O

x

x x O O

x

x

x

x x O O

x x O O

DD #1

x O

x O

x O

x O O

x O O

DD #2

x x O O O O

DD #3

x O

x

x

x

DD #4

x O

x

x

x

DD #5

x O

x x O O x (O)

x

a

2

a

3

e

+

a

 4

e

+

x (O)

x

x O

kk

x O

x

x (O)

sb

DD #1

x O

DD #2

x x O O O O

DD #3

x O

x

x

x

x

x

x

x O

DD #4

x O

x

x

x

x

x

x O

x O

DD #5

x O

x O

x O

x O

x O

Composer: traditional, Malinke, Northeast Guinea Source: kk, sb, DD#1 from Mamady Keita - A Life for the Djembe, DD#2-5 from Alan Tauber – The Drum Connection

57

x O

a

1

e

+

e

+

x (O)

x

x (O)

x x O O

x O

x

x (O)

x O

x

x x O O

x

x

x

x x O O

x x O O

x O

x O

x O O

x O O

x

x

x

x O

x

x

x O

x O

x O

x O

x O

x x O O x (O)

x

a

2

a

x O

3

e

+

a

4

e

+

x (O)

x

x O

x O

x

x (O)

Composer: traditional, Malinke, Northeast Guinea Source: kk, sb, DD#1 from Mamady Keita - A Life for the Djembe, DD#2-5 from Alan Tauber – The Drum Connection

57

x O

a

 1

Signal

Djm #1

Djm #2

kk

sb

DD

+

Gro do

a

2

go

do

go

do

pa

go

do

pa

do

+

a

3

go

do

 +

go

pa Dn

pa

pa

pa go

a

Dn do

pa pa

go

do

pa

go

x O

x

x

x O

x O

x

x

x O

x O

x

x

x O

x O

x O

x

x

x (O)

x

x O

x O

x

x

x (O)

x

x

x

x

x

x

x

x

x O

x O

x O

1

Signal

Djm #1

Djm #2

kk

sb

DD

+

Gro do

a

2

go

do

go

do

pa

go

do

pa

do

+

a

3

go

do

+

go

pa Dn

pa

pa

pa go

a

Dn do

pa pa

go

do

pa

go

x O

x

x

x O

x O

x

x

x O

x O

x

x

x O

x O

x O

x

x

x (O)

x

x O

x O

x

x

x (O)

x

x

x

x

x

x

x

x

x O

x O

x O

Konkoba was played to accompany farmers during their work in the field or too honor a powerful and rich farmer (sic).

Konkoba was played to accompany farmers during their work in the field or too honor a powerful and rich farmer (sic).

Composer: traditional, Malinke, Northeast Guinea Source: Mamady Keita - A Life for the Djembe, There is also a complete arrangement for a second version at http://members.tripod.lycos.nl/wappages/kondun.html.

Composer: traditional, Malinke, Northeast Guinea Source: Mamady Keita - A Life for the Djembe, There is also a complete arrangement for a second version at http://members.tripod.lycos.nl/wappages/kondun.html.

58

58

 1

e

+

a

2

e

+

a

3

Signal

go do pa do go ta go do pa

Djm #1

pa lt rt ta pa lt

Djm #2

DD #1

DD #2

e

 +

a

4

e

+

a

1

e

+

a

2

e

+

a

3

e

+

a

4

e

+

a

go do go do

Signal

go do pa do go ta go do pa

pa Dn rt ta pa lt Gn Dn

Djm #1

pa lt rt ta pa lt

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

Djm #2

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

x O

O O

O

O O

O O

O

o

o

O

o o

o o

O

x o o

o o

O

o o

o o

O O o o

o o

o

O

DD #1

o DD #2

or in 12

go do go do

pa Dn rt ta pa lt Gn Dn

x O

O O

O

O O

O O

O

o

o

O

o o

o o

O

x o o

o o

O

o o

o o

O O o o

o o

o

O

o

or in 12 1

+

a

2

Djm #1

go

ta

Djm #2

go do

ta

+

a

3

+

go pa

a

4

ta

pa

go do

Composer: Traditional Source: Alan Tauber – The Drum Connection and http://home.rhein-zeitung.de/~wtower/djembe/rhythmen/ and Mousa Traori - Mali Foli (CD of traditional African rhythms)

59

+

a

1

+

a

2

Djm #1

go

ta

Djm #2

go do

ta

+

a

3

+

go pa

a

4

ta

pa

go do

Composer: Traditional Source: Alan Tauber – The Drum Connection and http://home.rhein-zeitung.de/~wtower/djembe/rhythmen/ and Mousa Traori - Mali Foli (CD of traditional African rhythms)

59

+

a

 1

e

+

a

2

e

+

a

3

go do pa do go ta go do pa pa

patapatapata pa

go do pa do go ta go do pa

e

+

 a

4

e

+

a

1

e

+

a

2

e

+

a

3

patapatapata

go do pa do go ta go do pa

Pr

pa

go do go do

go do pa do go ta go do pa

patapatapata pa

e

+

a

4

e

+

a

patapatapata Pr go do go do

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

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

pa ta pa ta pa ta pa ta pa ta pa ta godogodogodo

pa ta pa ta pa ta pa ta pa ta pa ta godogodogodo

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

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

Pr

Pr

Composer: Traditional Source: Alan Tauber – The Drum Connection

60

Composer: Traditional Source: Alan Tauber – The Drum Connection

60

 1

e

+

a

2

e

+

Signal

Gr

go do

Djm #1

Dn

go do

Djm #2

go do

Djm #3

Bg

go do Gn ta pa

go

go do

Gn

go do

Djm #4

go

a

3

e

do go

 +

a

4

e

+

a

e

+

a

2

e

+

3

e

a

4

e

+

go do

pa

Djm #1

Dn

go do

ta go do pa

Djm #2

go do

Bg

go do Gn ta pa

Djm #3

Bg

go do Gn ta pa

Bg

go do Gn ta pa

Pr

pa

pa ta

pa

go

go do

Pr

pa

pa ta

pa

pa

Gn

go do

Gr

Gn

go do

pa

Gn

go do

Gr

ta go do pa

go do

go do

Djm #4

do go

+

Gr

Dn

go

a

Signal

pa

pa ta pa

1

pa

Dn

ta go do pa

go do

a

pa ta pa go do

pa

ta go do pa

Dn go do go do go Djm #5 Dn A popular rhythm played at all sorts of festivals, including full moon celebrations. It is a woman's dance performed in a circle.

Dn go do go do go Djm #5 Dn 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 Djembe Djembe #5 from http://www.drumrhythms.com

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 Djembe Djembe #5 from http://www.drumrhythms.com

61

61

 1

e

+

a

2

e

+

a

3

e

+

 a

4

go

ta pa ta

go

ta pa ta

go

ta

go

do

go

do

go

go

ta pa ta

go

ta pa ta

go

ta

do go

do

go

go

Composer: Alan Tauber Source: Alan Tauber – The Drum Connection

62

do

e

+

a

ta pa ta pa

1

e

+

a

2

e

+

a

3

e

+

a

4

go

ta pa ta

go

ta pa ta

go

ta

go

do

go

do

go

go

ta pa ta

go

ta pa ta

go

ta

do go

do

go

go

Composer: Alan Tauber Source: Alan Tauber – The Drum Connection

62

do

e

+

a

ta pa ta pa

 1

e

+

a

2

e

+

a

e

+

a

e

+

x x O O

sb

x O

x

x (O)

x

x O

x O

x

x

x

x O

x

x

x

x

x O

x O

x O

x

x O

x

x

x

x

x

x

DD #2

DD #3

x x O O

4

kk

DD #1

x x O O

3



x x O O x (O)

x

x O

x O

x m

x O

x O

x m

x O

x O

x O

x O

x O

x m

x O

x

x O

x O

x

x O

a

x

x

x

x

1

e

+

a

2

e

+

a

e

+

a

e

+

x x O O

sb

x O

x

x (O)

x

x O

x O

x

x

x

x O

x

x

x

x

x O

x O

x O

x

x O

x

x

x

x

x

x

DD #2

DD #3

x x O O

4

kk

DD #1

x x O O

3

x x O O x (O)

x

x O

x O

x m

x O

x O

x m

x O

x O

x O

x O

x O

x m

x O

x

x O

x O

x

x O

a

x

x

x

x

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

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

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

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

63

63

 1

+

2

+

3

4

Signal

Gr

Djm #1

go do go do pa

Djm #2

go do

DD #1

x O

x x x O (O) O

x O

x

x

x O

x O

x

x

x

x

O

DD #2

4

DD so lo

x O

go do

+

+

go do

5

 +

go

+

do

1 Signal

Gr

+

2

+

3

go do

+

4

Dn

Djm #1

go do go do pa

pa

Dn

Djm #2

go do

x

x O

DD #1

x O

x x x O (O) O

x

x

x O

x O

x

x

x O

x O

x O

x O

x O

x

x

x

x

x

O

O

O

O

O

x O

x O

Dn go do x

Composer: traditional Source: Alan Tauber – Drum Connection

64

x O

DD #2

4

DD so lo

x O

+

go do

ta

pa

go do go

6

5

+

go

+

do ta

Dn

pa

Dn

x

x O

x

x

x O

x O

x O

x O

x

O

O

O

O

x O

x O

pa

go do go

6

Dn go do x

Composer: traditional Source: Alan Tauber – Drum Connection

64

x O

2

Gr

go

go

do

Djm #1

Gn

pa

Djm #2

pa

Signal

DD #1

DD #2

+

a

3

do

a

4

go

+

a

1

do

Signal

go ta

do pa

Djm #1

Gn

Dn pa

go

do

Djm #2

pa

x

x O

x O

x O

O

O

x O

x

DD #1

x O

x

x O

DD #2

O

+

a

3

O

Composer: traditional Source: Alan Tauber – Drum Connection Dunun #3 is one Jeanette uses.

65

O

DD #3

+

a

go

do pa

ta

Dn pa

go

do

x

go ta

x O

x O

x O

x O

O

O

x O

x

O

4

do

x O

x

x O

O

a

go

x O

x O

+

do

x O

x O DD #3

2

go ta

x O

a

go

do pa

x O

+

Gr

go

x O

x O

+

O

O

Composer: traditional Source: Alan Tauber – Drum Connection Dunun #3 is one Jeanette uses.

65

twice

a

twice

+

once

1



O

x O

once



 1

#1 2x

+

a

Pr

2

+

a

3

+

 a

4

+

Pr

a

Pr

Pr go

do

go

do

1

#1 2x

Pr

+

a

Pr

#3 2x

pa ta pa

pa

ta

pa

pa

ta

#5 4x

ta*

pa

ta

pa

pa ta

ta

ta

Pr

#4 4x

a

3

+

a

4

+

a

Pr

Pr go

do

go

do

Pr

Pr

pa ta

+

Pr

Pr #2 4x

2

pa

*the first time only, hit Gun here

Composer: traditional Source: Alan Tauber – Drum Connection

66

ta

pa

pa

ta

pa

ta

pa

ta

ta

pa

ta

pa

Pr

ta ta

pa

#2 4x

#3 2x

pa ta pa

ta

pa

pa ta

pa

ta

ta

pa

Pr

#4 4x

pa

ta

#5 4x

ta*

pa

pa ta

ta

pa

*the first time only, hit Gun here

Composer: traditional Source: Alan Tauber – Drum Connection

66

ta

pa

pa

ta

pa

ta

pa

ta

ta

pa

ta

pa

Pr

ta ta

pa

 1

+

2

+

3

+

4

Signal

Gr

go do

Djm #1

Gn

Gn

go do

Djm #2

Gn

Gn

go do Gn

DD #1

x O

x O

x

DD #2

x O

x O

x

+

go do

 5

+

go do Gn

x

x O

6

go do do

x

+

go do x

x O

x

1

+

2

+

3

+

4

Signal

Gr

go do

Djm #1

Gn

Gn

go do

Djm #2

Gn

Gn

go do Gn

DD #1

x O

x O

x

DD #2

x O

x O

x

+

go do

5

+

go do Gn

x

x O

6

go do do

x

+

go do x

x O

x

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

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 the signal, then play part #2 8 times, play the signal, then go into solo.

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

Composer: traditional Source: Alan Tauber – Drum Connection

Composer: traditional Source: Alan Tauber – Drum Connection

67

67

 1 #1 4x

Pr

#2 4x

pa

#3 4x #4 4x

+

ta

2

+

pa

ta

3

pa

ta

pa

ta

pa

Pr

pa

ta

+

pa

4

+

 5

+

6

(Gn)

pa

ta

pa

ta

pa

ta

ta

pa

Pr

pa

ta

ta

pa

ta

pa

ta

pa

ta

pa

ta

pa

ta

pa

ta

pa

ta

pa

ta

pa

ta

pa

ta

Gn

ta

pa

Gn

ta

pa

Gn

ta

Gn

ta

pa

pa

Gn

ta

pa

ta

Gn

ta

pa

pa

Gn

ta

pa

ta

pa

#7 4x

pa

ta

pa

pa

ta

pa

ta

pa

4 so lo

x O

x O

x

x

#5 2x

#6 1x

DD

ta

Composer: traditional Source: Alan Tauber – Drum Connection

68

pa x

+

pa

ta

1 #1 4x

Pr

#2 4x

pa

#3 4x #4 4x

ta

2

+

pa

ta

3

pa

ta

pa

ta

pa

Pr

pa

ta

+

pa

4

+

5

+

6

(Gn)

pa

ta

pa

ta

pa

ta

ta

pa

Pr

pa

ta

ta

pa

ta

pa

ta

pa

ta

pa

ta

pa

ta

pa

ta

pa

ta

pa

ta

pa

ta

Gn

ta

pa

Gn

ta

pa

Gn

ta

Gn

ta

pa

pa

Gn

ta

pa

ta

Gn

ta

pa

pa

Gn

ta

pa

ta

pa

#7 4x

pa

ta

pa

pa

ta

pa

ta

pa

4 so lo

x O

x O

x

x

DD

ta

Composer: traditional Source: Alan Tauber – Drum Connection

68

pa x

+

ta

pa

#5 2x

#6 1x

x

+

pa

x

ta

 

 

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

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

Signal

Gr

go do

Djm #1

Gn

ta

Djm #2

go

pa

Djm #3

Gn do

do Gn

Djm #4

pa

ta

go

do go

go do

ta pa ta go do

Signal

Gr

go do

Djm #1

Gn

ta

Djm #2

go

pa

Gn

ta

do go

ta

pa

ta

Gn

do

Gn

ta

Djm #3

Gn do

do Gn

go do

pa

ta

ta go do

Djm #4

pa

ta

do

go

do go

go do

ta pa ta

Gn

ta

go do

do go

ta

pa

ta

Gn

do

Gn

go do

pa

ta

ta go do

do ta

Yankadi and Makru together are a dance and rhythm for seduction. Boys and girls dance in a row opposite each other to Yankadi, then Makru begins and they pair off. Makru is played about twice as fast as Yankadi.

Yankadi and Makru together are a dance and rhythm for seduction. Boys and girls dance in a row opposite each other to Yankadi, then Makru begins and they pair off. Makru is played about twice as fast as Yankadi.

Rhythm has a swing-feel to it (not present in notation).

Rhythm has a swing-feel to it (not present in notation).

Composer: traditional, Susu, Southwest Guinea Source: Djm #1,#2,#3 from Mamady Keita - A Life for the Djembe #4 from Alan Tauber – The Drum Connection

Composer: traditional, Susu, Southwest Guinea Source: Djm #1,#2,#3 from Mamady Keita - A Life for the Djembe #4 from Alan Tauber – The Drum Connection

69

69

kk

sb

 

 

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

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

x

x O O

O O x (O)

x

x

x O O

x

x O

x (O)

x

x

x O

x

x O

x O

x O

x

DD #1

x O

x x O O

DD #2

x O

x O

x O

x O

DD #3

x O

x x O O

x O

DD #4

x x O O

x x O O

DD #5

x O

x

x O

x x O O

x

x

sb #2

x

O O

kk

sb

x

x O O

O O x (O)

x

x

x O O

O O

x

x O

x (O)

x

x

x O

x

x O

x O

x O

x

DD #1

x O

x x O O

x O

DD #2

x O

x O

x O

x O

x O

x O

x O

DD #3

x O

x x O O

x O

x O

x O

x O

x O

x O

DD #4

x x O O

x x O O

x O

x O

x O

x O

x O

x O

DD #5

x O

x

x O

x O

x O

x O

x

x

x

x O

x x O O

x O

x

x

x

x O

x

x

x

x

x

x O

x

x

x

x (O)

x O

(O)

x O O

Composer: traditional, Susu, Southwest Guinea Source: kk,sb,DD#1 from Mamady Keita - A Life for the Djembe DD#2-5, sb#2 from Alan Tauber – The Drum Connection

70

sb #2

x

x (O)

x O

(O)

x O O

Composer: traditional, Susu, Southwest Guinea Source: kk,sb,DD#1 from Mamady Keita - A Life for the Djembe DD#2-5, sb#2 from Alan Tauber – The Drum Connection

70

 +

a

2

e

+

go do

go

Djm #1

Gn

go do

Dn pa

Djm #2

pa

Dn pa ta

Djm #3

Gn

do

do

kk

x O

x x O O

x

sb

x O

x

x

x

DD

x (O)

x

x (O)

x

DD

var#1

Gr

DD

var#2

Signal

x O x O O

a

3

do go Gn

go do pa

e

+

a

do

4

e

+

a

go

go do

Dn pa

1

e

+

a

2

e

Gr

go do

go

Djm #1

Gn

go do

Dn pa

Dn pa ta

go do

Djm #2

pa

Dn pa ta

Gn

Gn Dn

Gn

Djm #3

Gn

do

do

x (O)

x O

x x O O

x

x (O)

kk

x O

x x O O

x

x O

x O

x

x

x

x O

sb

x O

x

x

x

x O

x x O

x O

x x O O

x O

x O

DD

x (O)

x

x O

x x O

x O

x x O O

x O

x O

x (O)

x

x O

x O

x x O O

x x O O

x

x O O

x

x (O)

x O O

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

71

+

Signal

DD

var#1

e

DD

var#2

1



x O x O O

a

3

do go Gn

go do pa

e

+

a

do

4

e

+

a

go

go do

Dn pa

Dn pa ta

go do

Gn

Gn Dn

Gn

x (O)

x O

x x O O

x

x (O)

x O

x O

x

x

x

x O

x O

x x O

x O

x x O O

x O

x O

x O

x x O

x O

x x O O

x O

x O

x O

x O

x x O O

x x O O

x

x O O

x

x (O)

x O O

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

71

 1

e

+

a

2

+

3

e

a

Djm #1

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

Djm #4

Djm #5

Djm #6

Djm #7

do go

+

Gr

Djm #3

go

a

Signal

Djm #2

go do

e



do

4

e

+

a

go Dn pa ta

go do

do go

Dn pa

Dn go do

do

go do

do go

Dn pa

Dn pa

Dn

go

h pa

pa

pa ta

go

Dn

pa

ta

go

Gn

do

Dn

go do

do go

Dn pa

Pra

do do

do

go do

do go

Dn pa

Pra

pa

Dn

Gn Dn Gn

Pra

Pra

Gn Dn Gn

Pra

go

Pra Pra

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

Pra Dn pa ta

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

+

a

2

+

3

e

Djm #6

Djm #7

do go

+

a

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

Djm #5

go

a

Djm #1

Djm #2

go do

e

Gr

Djm #4

do

e

Signal

Djm #3

go

Pra

1

do

4

e

+

a

go Dn pa ta

go do

do go

Dn pa

Dn go do

do

go do

do go

Dn pa

Dn pa

Dn

go

h pa

pa

pa ta

go

Dn

pa

ta

go

Gn

do

Dn

go

do

go do

do go

Dn pa

Pra

do do

do

go do

do go

Dn pa

Pra

pa

Dn

Pra

Gn Dn Gn

Pra

Pra

Gn Dn Gn

Pra

go

Pra Pra

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

Pra Dn pa ta

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

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

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

Composer: traditional Source: Alan Tauber – The Drum Connection

Composer: traditional Source: Alan Tauber – The Drum Connection

72

72

 1

+

a

2

+

a

3

+

 a

4

+

a

1

+

a

2

+

a

3

+

a

4

+

Sig #1

godogo do go do

go do

go

Sig #1

godogo do go do

go do

go

Sig #2

Pr go do go do

go do

go

Sig #2

Pr go do go do

go do

go

Djm #1

go

go

Gn ta

Djm #1

go

go

Gn ta

Djm #2

ta

Gn

Djm #2

ta

Gn do go Dn

Gn do go Dn

Djm #3

go do pa

ta Gn ta

go do pa

Djm #4

ta

go

Djm #3 Djm #4

pa

Gn ta

ta ta

ta

Gn ta

go

ta

x

x O

x

x O

x

x O

x

x O

sb

x O

x

x (O)

x

x O

x O

x (O)

x

DD

x O

x (O)

x

x O

x O

x O

x (O)

x

x O

kk #1

kk #2

x (O)

x (O) x

x O

ta

x O

pa go

Gn ta

ta ta

ta

Gn ta

go

ta

Gn

Gn do go Dn

Gn do go Dn

go do pa

ta Gn ta

go do pa

x

x O

x

x O

x

x O

x

x O

sb

x O

x

x (O)

x

x O

x O

x (O)

x

DD

x O

x (O)

x

x O

x O

x O

x (O)

x

x O

kk #1

x O

ta

kk #2

x (O)

x (O) x

a

x O

ta

x O x O

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

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

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

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

73

73

 1

+

a

2

+

go do #1 2x

go

do

Gr go #2

go

do

do

do pa

go

do

a

4

+

a

1

go

pa

#1 2x

go

pa

do

pa do pa

do

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

74

go

a

2

+

do

#2

go

do

Gr

a

do

go

do pa

go

do

a

4

pa

do

pa do

+

go do go

go

3

go do

go do go

Gr go

+

go do

do

pa

go

+

go do go

do

3

go do

go do go

a



go go

Gr

pa

do

pa

go

do pa

do

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

74

+

a

 1

trip

let

2

trip

let

3

trip

 let

Signal

Gro

go do

go do

go

Djm #1

pa

pa

ta

Djm #2

pa

do pa

Djm #3

pa

pa Dn

DD

ta

trip

let

trip

let

2

trip

let

3

trip

let

4

trip

let

Gro

go do

go do

go

pa Dn go do

Djm #1

pa

pa

ta

pa Dn go do

do pa

do pa

do

Djm #2

pa

do pa

do pa

do pa

do pa

pa Dn go do

Djm #3

pa

pa Dn

do pa

pa Dn go do

pa

do

1 Signal

x O

4

x O

O

Composer: traditional Source: Alan Tauber – The Drum Connection

75

O

DD

ta

pa

x O

do

do

x O

O

Composer: traditional Source: Alan Tauber – The Drum Connection

75

O

 1

+

a

2

+

a

3

Signal

Gro

go

do

go do

Djm #1

pa

go

ta

pa

Djm #2

pa

ta

go do pa

Djm #3

pa

Dn pa

Djm #4

pa

do pa

(Dn)

Djm #5

do

pa

go do

Djm #6

go do go

+

a

 4

do go

a

1

+

a

2

+

a

3

go do

Signal

Gro

go

do

go do

go

Djm #1

pa

go

ta

pa

go do

Djm #2

pa

ta

go do pa

go do

Djm #3

pa

Dn pa

(Dn)

Djm #4

pa

do pa

(Dn)

go

Djm #5

do

pa

go do

Djm #6

go do go

ta ta

Dn pa pa

+

do pa pa do pa

do

+

a

4

do go

a

go do go

ta ta

Dn pa pa

+

go do go do

do pa

(Dn)

pa do pa

go do

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

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

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

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

76

76

 1

+

a

2

+

a

3

+

a

4

kk

x O

x

x

x O

x O

x

x

sb

x O

x O

x

x (O)

x

x O

x

DD

x O

x O

x

x

Composer: traditional, Malike, Northeast Guinea Source: Mamady Keita - A Life for the Djembe

77

x

x

 +

a

x O x O x O

x O

1

+

a

2

+

a

3

+

a

4

kk

x O

x

x

x O

x O

x

x

sb

x O

x O

x

x (O)

x

x O

x

DD

x O

x O

x

x

Composer: traditional, Malike, Northeast Guinea Source: Mamady Keita - A Life for the Djembe

77

x

x

+

a

x O x O x O

x O

 1

+

2

+

3

+

4

+

5

+

Signal

Gro

go do

go do

go do

Djm #1

pa

do pa

Dn pa

do pa

Djm #2

pa

ta

Djm #3

pa

do go do

go do pa

ta

pa

 6

+

1

#1

#2

+

2

+

ta

pa

ta

pa

go

do

pa

ta

3

+

4

ta

pa

ta

pa

4

+

5

+

go do

Dn

Djm #1

pa

do pa

Dn pa

do pa

go do

Djm #2

pa

ta

Djm #3

pa

do go do

go do pa

ta

pa

6

+

Dn go do

do go



ta

pa

ta

pa

ta

pa

ta

pa

pa

ta

go

go

do

78

+

go do

+

Composer: traditional Source: Alan Tauber – Drum Connection

3

go do

5

6

do pa

+

Gro

do go

+

2

Signal

 1

+

ta

+

1

#1

#2

+

2

+

ta

pa

ta

pa

go

do

pa

ta

3

+

4

ta

pa

ta

pa

5

+

ta

pa

ta

pa

ta

pa

ta

pa

pa

ta

go

go

do

Composer: traditional Source: Alan Tauber – Drum Connection

78

+

6

do pa

ta

+

 1

DD #1

+

x O

DD #2

DD #4

a

3

x o

x o

x O

x

x

x O

x o

x

O

x O

x

x

O

O O

x

x

+

o o

O

o O

x

x

x

x O

O

O

O

x O

x

O

+

a

x

x

x O

x O

x

x o

x O

O

x

x O

O

O

o O

O

O

DD #1

O

O

O

x

x

x O

x O

x O

x O

O

O

O

http://stud1.tuwien.ac.at/~e8725865/htmls/rhythm_list.html http://members.tripod.lycos.nl/Wappages/mendiani.html

+

x O

DD #2

DD #3

DD #4

a

3

x o

x o

x

x

x O

x o

x

O

x O

x

x

O

O

x

x

+

o o

O

o O

x

x

x

x O

O

O

O

x O

+

a

x

x

x O

x O

x

x o

x O

O

x

x O

O

O

o O

O

O

o O

O

O

x

x

x O

O

DD #5

4

x O

x

o O

a

x O

o

O

o

DD #6

+

x O

O

O

2

x O

x

o O

a

x O

x

Composer: traditional Source: Alan Tauber – Drum Connection and

79

1

o

O

DD #5

4

x O

x

o O

a

x O

o

O

o

DD #6

+

x O

x

o O

2

x O

x DD #3

a



x

x O

x O

x O

O

O

O

O

O

Composer: traditional Source: Alan Tauber – Drum Connection and and

http://stud1.tuwien.ac.at/~e8725865/htmls/rhythm_list.html http://members.tripod.lycos.nl/Wappages/mendiani.html

79

and

 1

+

2

+

3

+

4

Sig #1

Gr

Djm #1

ta

Djm #2

go

ta

go

Djm #3

go

ta

go do pa

go

DD

x O

x

x

x

+

5

pa do go do pa Dn mp mp ta

pa

ta

 +

6

+

x (O) (O)

Composer: traditional Source: can't remember

2

+

3

+

Sig #1

Gr

Pr

pa

Djm #1

ta

Djm #2

go

ta

go

Djm #3

go

ta

go do pa

go

DD

x O

x

x

x

go do pa x o

o

+

5

pa do go do pa Dn mp mp ta

pa

ta

+

6

+

Dn

Dn

Pr

pa

go do pa go do pa

x (O) (O)

Composer: traditional Source: can't remember

80

4

Dn

x o

+

Dn

go do pa go do pa ta

1

80

ta

go do pa x

o

x o

o

 1 Djm #2

Gn

e

+

a

2

e

+

a

do go do pa

3

e

+

 a

4

Dn go do pa

Composer: Tool Source: self transcribed from the album Lateralus

81

e

+

a

1 Djm #2

Gn

e

+

a

2

e

+

a

do go do pa

3

e

+

a

4

Dn go do pa

Composer: Tool Source: self transcribed from the album Lateralus

81

e

+

a



Signal Gro

Djm #1

DD

begnrs

Djm #2

DD #1

e

+

#1 a

e

+

go

a

3

e

do go

mp

mp

mp

Gn Dn Gn Dn Gn Dn

Gn

go do

O

O x

x

x x O

O x

O

x O x O

x

x O

Gn

x O

+

a

do

x

4

O

x O

O

x x

x O

O

x O

O

x x

Composer: traditional Source: Alan Tauber – The Drum Connection

82

+

a

Djm #1

Dn Gn go do

pa

O x

x O

x O

x O

x O

x O x O

Djm #2

O x O

x

1 Signal Gro

Dn Gn

O

x O

e

go

O O x O

O x

mp

pa

O

O

DD #2

2

go do

x DD

a

x

DD

begnrs

1



DD #1

e

+

#1 a

e

+

go

a

3

e

do go

mp

mp

mp

Gn Dn Gn Dn Gn Dn

Gn

go do

O

O x

x

x x O

O x

O

x O x O

x

x O

Gn

x O

+

a

do

x

4

O

x O

O

x x

x O

O

x O

O

x x

Composer: traditional Source: Alan Tauber – The Drum Connection

82

+

a

Dn Gn Dn Gn go do

pa

O

O

x

x O

x

x O

x O

x O

x O

x O

O

x O

e

go

O O x O

O x

mp

pa

O

O

DD #2

2

go do

x DD

a

x O

x

 1

e

+

Djm #1 Gn

a

2

Djm #3 Gn

x

O

+

a

do Gn

Djm #2 Gn

DD

e

x

x O

3

e

+

Dn

pa

go do Gn

Gn

go

do

Gn

x

x o

x

Composer: traditional Source: S.H.A.R.E.

x O

a

 4

e

+

a

Dn

1

e

+

Djm #1 Gn

go do

Djm #2 Gn

go

do

Djm #3 Gn

x O

x o

DD

x

O

a

2

e

+

a

do Gn

x

x O

e

+

Dn

pa

go do Gn

Gn

go

do

Gn

x

x o

x

Composer: traditional Source: S.H.A.R.E.

83

3

83

x O

a

4

e

+

a

Dn go do go

do

x O

x o

 e

+

a

Djm #1

h

Djm #2

go

Djm #3

h ful pa t

2

e

+

a

3

e

ful Gn h ful go go h t

t Gn

t

+

a

4

e

+

a

ful Gn h ful go do

t Gn

do go

h ful go go h ful pa t

h ful go go

Djmv#1 Gn t

t Dn t

Djmv#2 (Gn) t

t Dn Gn t go t (Gn) t

t Dn Gn t

t

t do go t go t

DD

beg

Djmv#3

go t O

t Gn t Gn

do

t Gnt t

t

(o) (o)

do go

t Gn t O O

t

(o) (o)

t

O

1

x O

1x

x O

Bell #1

x

Bell #2

x

x

x

x

x

clv

x

x

tmbao

h

t pa t

x x

x

O

O

x

x

x x

h

t go go h

Composer: Traditional Source: Alan Tauber – The Drum Connection

84

x

Djm #2

go

Djm #3

h ful pa t

2

e

+

a

3

e

ful Gn h ful go go h t

t Gn

t

+

a

4

e

+

a

ful Gn h ful go do

t Gn

do go

h ful go go h ful pa t

h ful go go

t Dn t

Djmv#2 (Gn) t

t Dn Gn t go t (Gn) t

t Dn Gn t

t

t do go t go t

Djmv#3 DD

go t O

t Gn t Gn

do

Djmv#1 Gn t

DD 3x

x O

1x

x O

x

Bell #1

x

x

Bell #2

(O)

x O

x

x O

x

a

t Gnt t

t

(o) (o)

do go

t Gn t O O

t

(o) (o)

t

O

alternate hitting left head then right head

O O

+

h

alternate hitting left head then right head

DD 3x

e

Djm #1

beg

1



x (O)

x

x

x

x

x x

x

x

t pa t

h

t go go

x

x O

O

x O x

x

x

clv

x

x

tmbao

h

t pa t

x x

x

O

O

x

x

x x

h

t go go h

Composer: Traditional Source: Alan Tauber – The Drum Connection

84

x (O)

x O

x

x

x (O)

x

x

x

x

x x

x

x

t pa t

h

x x

t go go

 1 Signal

Dn

e

+

a

pa

2

Dn

e

+

a

3

e

 +

a

pa

4

e

+

a

Dn

1 Signal

pa

Dn

e

+

a

pa

2

Dn

e

+

a

3

e

+

a

pa

4

e

+

a

Dn

pa

Djm #1

pa

ta Gn

go do pa

ta Gn

go do

Djm #1

pa

ta Gn

go do pa

ta Gn

go do

Djm #2

pa

ta Gn

do go do pa

ta Gn

do go do

Djm #2

pa

ta Gn

do go do pa

ta Gn

do go do

DD

O

O

O

O

O

DD

O

O

O

O

O

Composer: traditional Source: Alan Tauber – The Drum Connection

85

O O

Composer: traditional Source: Alan Tauber – The Drum Connection

85



Signal Gro

+

a

2

go do

e

go

+

a

3

e

do go

+

a

do

4

e

+

pa

pa

go

ta

ta

do

do go

pa

pa

go

ta

ta

do go

go do

pa

pa

go

ta

ta

do go

go

do go

Gn

do go

Gn

do go

Gn

do go do go

x O

x x O O

x O

x O

x x O O

DD #1

X O

x O

X O

X O

x O

DD

DD #2

X O

O

O

O

O

O

O

Composer: traditional Source: Alan Tauber – The Drum Connection

86

x O x x O O

O

Djm #1

+

a

2

go do

e

go

+

a

3

e

do go

+

a

do

4

e

+

pa

pa

go

ta

ta

do

do go

pa

pa

go

ta

ta

do go

go do

pa

pa

go

ta

ta

do go

go

Gn

do go

Gn

do go

Gn

do go do go

x O

x x O O

x O

x O

x x O O

DD #1

X O

x O

X O

X O

x O

DD

a

go

do go

DD #2

O

e

Gn

Djm #2

O O

1 Signal Gro

Gn

Djm #2

a

go

begnrs

Djm #1

e

begnrs

1



X O

O

O

O

O

O

O

Composer: traditional Source: Alan Tauber – The Drum Connection

86

x O x x O O

O O

O

O

 +

a

2

e

e

+

a

4

e

+

a

go

1

Djm #1

t do go do go do t ta pa do

go do go

pa ta go do t do t ta t ta

go do go do go

pa ta go do t do t ta t ta

Djm #2

go t pa t

t do t do t ta pa t

t do t do

Djm

go t pa t

t do t do t ta t

t do t do

Djm

Shkr

sd

su sd su

DD #1

x O

x

DD #2

O

sd su sd

x O O

x

O

O

Composer: traditional Source: Alan Tauber – The Drum Connection

87

su sd su x

O

t

x x O O

O

sd su x

O

e

+

a

2

e

+

a

3

e

+

a

4

e

+

a

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

v#1

Djm

3

v#2

Djm

a

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

Djm #2

+

go

t do go do go do t ta pa do

go do go

pa ta go do t do t ta t ta

go do go do go

pa ta go do t do t ta t ta

v#1

Djm #1

e

go t pa t

t do t do t ta pa t

t do t do

v#2

1



go t pa t

t do t do t ta t

t do t do

Shkr

sd

su sd su

DD #1

x O

x

DD #2

O

sd su sd

x O O

x

O

O

Composer: traditional Source: Alan Tauber – The Drum Connection

87

su sd su x

O

t

x x O O

O

sd su x

O

 1 #1 #2

e

+

a

2

e

+

go do go do go go

a

3

e

+

 a

4

go do go do go

e

+

a

ta pa do

go do go

pa ta go do

do

ta

ta

go do go do go

pa ta go do

do

ta

ta

1 #1 #2

e

+

a

2

e

+

go do go do go go

a

3

e

+

a

4

go do go do go

e

+

a

ta pa do

go do go

pa ta go do

do

ta

ta

go do go do go

pa ta go do

do

ta

ta

#3

go

pa

do

do

ta pa

do

do

#3

go

pa

do

do

ta pa

do

do

#4

go

pa

do

do

ta pa

go do

do

#4

go

pa

do

do

ta pa

go do

do

#5

go

pa

do

do

ta pa

go do go do

#5

go

pa

do

do

ta pa

go do go do

#6

go

#6

go

do

go go

do

go go

*braces indicate triplets

do

go go

do

go

do

go go

do

go go

*braces indicate triplets

Composer: traditional Source: Alan Tauber – The Drum Connection

88

Composer: traditional Source: Alan Tauber – The Drum Connection

88

do

go go

do

go



go

Djm #2

+

a

e

+

a

3

Dn

go

Gn

Dn

go

Dn

Djm #3

Gn

pa ta Gn

Djm #4

go

go do x

hi lo

do

2

Gn

agogo

Djm #1

e

Bell

x

Clave

x

pa ta Gn do go

x

X X

x

pa x

X X x

x x

e

x

+

a

do

x

a

1

go

Djm #2

pa ta go do pa ta

Gn

do

ta pa

x

x X X

x x

Composer: traditional Source: Larry Morris Rhythm Catalogue

+

Djm #1

x

x

e

Gn Dn

X X x

4

x

x x

x

x

e

+

a

e

+

a

go

Gn

Dn

go

Dn

Djm #3

Gn

pa ta Gn

Djm #4

go

go do x

hi

Bell

x

Clave

x

do go

x

X X

x

pa x

X X x

x x

e

pa ta Gn

x

+

a

do

x x

+

a

do

pa ta go do pa ta

ta pa

x

x X X

x x

89

e

Gn

x

x

4

Gn Dn

X X

Composer: traditional Source: Larry Morris Rhythm Catalogue

89

3

Dn

lo

do

2

Gn

agogo

1



x

x x

x

x

 1 Sigk#1

Sig#2

e

+

a

2

e

+

a

3

e

+

a

go do

go

Gr

go do

go do

Pr

pa ta

pa ta

pa ta

pa ta

Dn

pa Dn

go do

Djm #2

pa

e

+

a

go

pa ta

1 Sigk#1

pa ta

Sig#2

+

a

2

e

+

a

3

e

a

go do

go

Gr

go do

go do

Pr

pa ta

pa ta

pa ta

pa ta

Dn

pa Dn

e

+

a

go

pa ta

pa ta

pa do go do pa do go do pa do go do pa do go do

Djm #2

pa do go do pa do go do pa do go do pa do go do

Djm #3

pa

Djm #3

pa

Djm #4

Gn Dn

Djm #4

Gn Dn

Djm #5

Gn

go do

Djm #5

Gn

Djm #6

pa

Dn Gn

lh

Djm #6

pa

Dn Gn

O O

(o) o

O O

(o) o

go go do

lh pa do

do go

go

go do go do

o

Gn Dn go do Dn Gn

(o) o

Composer: traditional Source: Alan Tauber – The Drum Connection

90

o O

DD #1

pa

do

4

Gr

pa Dn

do go

+

go do

do go

pa

e

Djm #1

DD #1

pa Dn

do

4

Gr

Djm #1

do go



do go go go do

lh pa do

do go

go

go do go do

o

Gn Dn go do Dn Gn

(o) o

Composer: traditional Source: Alan Tauber – The Drum Connection

90

pa

go do lh

o O

  1

e

Signal Gro

+

a

2

go do

e

+

go

a

3

do go

Djm #1

go do pa ta

pa

Djm #2

pa

go do pa

Djm #3

Dn

go do

Djm #4

Gn

ta Gn

x

x x O O

kk

sb

DD #1

DD #2

ta pa

x x O O

x

e

pa

  +

a

4

e

+

a

pa ta pa

go do

1

e

Signal Gro

+

a

go do

go

a

3

go do pa ta

pa

ta pa

go do

Djm #2

pa

go do pa

ta pa

Djm #3

Dn

go do

do go do Gn

ta Gn

do go do

Djm #4

Gn

ta Gn

x

x x O O

x (O)

x

x x O O

x

x O

x O

x

x (O)

kk

x (O)

x O

sb

x

x

x

x O

x O

x O

x O

x O

DD #1

x O

x

x x x O O O

x O

x

x O O

x O

DD #2

x x O O

x

e

do go

Djm #1

pa

x

+

pa

go do

x (O)

e

ta Gn

Dn

x

2

pa

+

a

4

e

+

a

pa ta pa

go do

ta Gn

pa

ta pa

go do

Dn

go do

pa

do go do Gn

ta Gn

do go do

x

x (O) x

x (O)

x

x x O O

x

x (O)

x

x O

x O

x (O)

x O

x

x

x

x O

x O

x O

x O

x O

x O

x

x x x O O O

x O

x

x O O

x O

In the language of the Malinke, Sofa means "warrior". It was played to support the brave strong men on horseback going into combat, and praise them when they returned. Originally played on a stringed instrument called a bolon.

In the language of the Malinke, Sofa means "warrior". It was played to support the brave strong men on horseback going into combat, and praise them when they returned. Originally played on a stringed instrument called a bolon.

Composer: traditional, Malinke, Northeast Guinea Source: Djm #1,#2 from Mamady Keita - A Life for the Djembe Djm #3,#4 and DD#2 from Alan Tauber - The Drum Connection

Composer: traditional, Malinke, Northeast Guinea Source: Djm #1,#2 from Mamady Keita - A Life for the Djembe Djm #3,#4 and DD#2 from Alan Tauber - The Drum Connection

91

91

 1

+

Signal godogodo

a

2

+

a

3

 +

go do go

go do

a

4

+

a

1

+

go

Signal godogodo Djm #1

a

2

+

a

3

+

a

4

go do go

go do

pa

go

ta

pa

go

ta

+

a

go

Djm #1

pa

go

ta

pa

go

ta

Djm #2

pa

pa

ta

go do pa

pa

ta

go do

Djm #2

pa

pa

ta

go do pa

pa

ta

go do

Djm #3

go do go

ta

pa Dn go do go

ta

pa Dn

Djm #3

go do go

ta

pa Dn go do go

ta

pa Dn

Djm #4

pa

ta

go do go

ta

ta

go do

Djm #4

pa

ta

go do go

ta

ta

go do

Djm #5

Gn

go

Gn Dn

go

Djm #5

Gn

go

Gn Dn

go

Djm #6

pa

go do

pa

go do

Djm #6

pa

go do

pa

go do

go

do

Gn Dn

Gn Dn

go

do

Gn Dn

Gn Dn

go

do

pa

Gn Dn

go

do

pa

Gn Dn

Djm #7

Djm #8

Dn

go do

Dn

Djm #7

Gn Dn

Gn

Gn Dn

Gn

Djm #8

Dn

go do

Dn

Gn Dn

Gn

Gn Dn

Gn

Upon the announcement of initiation and circumcision, boys go from village to village to notify relatives about the event. When they arrive in the village, Soko is played and frequently the children are invited to spend the night. When the boys come home from their trip, Soli is played. (Mamady Keita)

Upon the announcement of initiation and circumcision, boys go from village to village to notify relatives about the event. When they arrive in the village, Soko is played and frequently the children are invited to spend the night. When the boys come home from their trip, Soli is played. (Mamady Keita)

Composer: traditional Source: Signal and Djm #1, #2 from Mamady Keita - A Life for the Djembe, Djm #3-8 from Alan Tauber – The Drum Connection

Composer: traditional Source: Signal and Djm #1, #2 from Mamady Keita - A Life for the Djembe, Djm #3-8 from Alan Tauber – The Drum Connection

92

92

 1

+

kk #1

x (O)

sb

DD #1

a

2

+

x

x O

x (O)

x

x (O)

x

a

3

+

x O

x (O)

x (O)

x

x (O)

x

 a

4

+

x

x O

x O

x O

x O

x O

x O

x (O)

x

x O

x O

a

x O

x

x

x O

x O

x O

x O

x O

x O

x

x

x

x

x O

x O

x O

1

+

kk #1

x (O)

sb

DD #1

a

2

+

x

x O

x (O)

x

x (O)

x

a

3

+

x O

x (O)

x (O)

x

x (O)

x

a

4

+

x

x O

x O

x O

x O

x O

x O

x (O)

x

x O

x O

a

x O

x

x

x O

x O

x O

x O

x O

x O

x

x

x

x

x O

x O

x O

kk#1 and DD#1 were taught at Alan Tauber's Intermediate Dunun workshop.

kk#1 and DD#1 were taught at Alan Tauber's Intermediate Dunun workshop.

Composer: traditional Source: Mamady Keita - A Life for the Djembe

Composer: traditional Source: Mamady Keita - A Life for the Djembe

93

93

 1

+

a

2

+

x O

kk #2

x (O)

x

x O

DD #2

x O

x

x (O)

DD #3

x O

x (O)

x (O)

x

x (O)

x (O)

x

x O x O

DD #4

DD #5

a

3

+

x (O) x



a

4

+

x

x O

x O

a

x O

x O

x (O)

x

x

x O

x O

x O

x

x O

x O

x O

x O

x (O)

x

x (O)

x

x O

x O

x

x (O)

x O

x O

x O

x O

x O

x

x (O)

x

x (O)

x O

x O

x O

x (O)

Composer: Traditional Source: Alan Tauber – The Drum Connection

94

1

+

a

2

+

x O

kk #2

x (O)

x

x O

DD #2

x O

x

x (O)

DD #3

x O

x (O)

x (O)

x

x (O)

x (O)

x

x O x O

DD #4

DD #5

a

3

+

x (O) x

a

4

+

x

x O

x O

a

x O

x O

x (O)

x

x

x O

x O

x O

x

x O

x O

x O

x O

x (O)

x

x (O)

x

x O

x O

x

x (O)

x O

x O

x O

x O

x O

x

x (O)

x

x (O)

x O

x O

x O

x (O)

Composer: Traditional Source: Alan Tauber – The Drum Connection

94

 1

+

Djm x2

a

2

+

Pr

pa

ta

pa

Djm

x2

Pr

Gn

pata pata x1 pata pata

ta ta

a

3



+

a

pa godo gota pa

pa

ta

+

a

godo gota

pa

ta

4

Dn ta

Djm x2

Dn Djm

ta

Gn

ta

pa

ta

Djm x4

Gn

Djm x4

Gn Gn

Gn

Djm x4

Gn

ta

pa

Dn Gn

ta

pa

Dn

Gn

ta

pa

ta

pa

ta

pa

Dn pa

ta

pa

ta

pa

ta

Djm x4 godo godo Djm x4

go

do

godo godo

pa

Pr

Dn

ta

Djm x4

Djm x2

x2

pa

ta

ta

pa

pata pata

ta

Composer: Traditional Source: Alan Tauber – The Drum Connection

95

pa

ta

ta

pa

2

+

Pr

pa

ta

Gn

Djm x2

ta

Djm x4

ta ta

a

3

+

a

pa godo gota pa

pa

ta

+

a

godo gota

pa

ta

4

pa

ta

Pr Gn

Dn ta

ta

pa

Dn

Gn

ta

pa

ta

ta

pa

Dn Gn

ta

pa

Dn

ta

pa

ta

pa

ta

pa

Dn pa

ta

pa

ta

pa

ta

go

do

pa

godo godo

pa

ta

pa

ta

pata pata

ta

Composer: Traditional Source: Alan Tauber – The Drum Connection

95

pa

ta

pa pa

Dn

pata pata pata pata

pata pata x1 pata pata

Djm x4 godo godo

pata pata

pa

a

pa

pata pata pata pata

pa

pa pa

+

pa

ta

Pr Gn

1

ta

pata pata

pa

ta

pa

ta

 1

e

+

a

Signal Gro

go do

Djm #1

Gn

go do

Djm #2

pa

e

x O

x

sb

x O

x

x

x

x

x

x

x

+

go

ta pa

kk

DD

2

x

x

a

3

do go

e

+

 a

4

e

+

ta pa ta

1

Djm #1

Gn

go do pa

Gn ta pa

go do

Djm #2

pa

x

x

x O

x

x O

x (O)

x O

x

x

x

x

x O

x

x

x

x

x

x O

x O

x

a

go do

pa

x

+

go do

Gn ta

x O

e

Signal Gro

pa go do

x O

x O

a

e

x O

x

sb

x O

x

x

x

x

x

x

x

+

go

ta pa

kk

DD

2

x

x

a

3

do go

e

+

a

4

e

+

ta pa ta

pa go do

Gn ta

pa

go do pa

Gn ta pa

go do

x O

x O

x

x

x O

x (O)

x O

x

x

x

x

x O

x

x

x

x

x

x O

x O

x

x O

a

x

x

x O

Accompanies rituals of initiation and circumcision. Began once elders decided it was time for the children's initiation, but not everyday until a week before the ritual; the night before the ritual it is played all night. Without an impending ritual, this rhythm is never played. Soli-slow or Soli-fast depends on which song is sung.

Accompanies rituals of initiation and circumcision. Began once elders decided it was time for the children's initiation, but not everyday until a week before the ritual; the night before the ritual it is played all night. Without an impending ritual, this rhythm is never played. Soli-slow or Soli-fast depends on which song is sung.

Composer: traditional , Malinke ethnic group, Guinea. Source: Mamady Keita - A Life for the Djembe

Composer: traditional , Malinke ethnic group, Guinea. Source: Mamady Keita - A Life for the Djembe

96

96

 1

+

a

2

Signal

Gro

go do

Djm #1

pa

go

Djm #2

pa

Djm #3

pa

a

3

+

go do

ta

pa

a

x

4

+

a

1

go do

go

ta

Djm #1

pa

go

pa go do

Djm #2

pa pa

ta

go do

Djm #3

pa

go

ta (Gn)

pa

go

ta

Djm #4 (Gn)

x

x O

x O

x

x O

x O

x (O)

x O

x

DD

x O

x O

x

x

2

Gro

go do pa

sb

a

Signal

ta

x

+

go do

pa go do pa

Djm #4 (Gn)

kk

+



x (O)

x

x O

x

x

x O

x O

x O

a

3

+

go do

ta

a

4

+

a

go do

pa

go

pa go do pa

x

kk

+

ta pa go do

ta

go do pa

ta

go do

pa

go

ta (Gn)

pa

go

ta

x

x O

x O

x

x O

x O

x (O)

sb

x O

x

DD

x O

x O

x

x

x

x (O)

x

x O

x

x

x O

x O

x O

Accompanies rituals of initiation and circumcision. Began once elders decided it was time for the children's initiation, but not everyday until a week before the ritual; the night before the ritual it is played all night. Without an impending ritual, this rhythm is never played. Soli-slow or Soli-fast depends on which song is sung.

Accompanies rituals of initiation and circumcision. Began once elders decided it was time for the children's initiation, but not everyday until a week before the ritual; the night before the ritual it is played all night. Without an impending ritual, this rhythm is never played. Soli-slow or Soli-fast depends on which song is sung.

Composer: traditional Malinke ethnic group, Guinea. Source: Djm #1,#2 from Mamady Keita - A Life for the Djembe, Djm #3,#4 from Alan Tauber – The Drum Connection

Composer: traditional Malinke ethnic group, Guinea. Source: Djm #1,#2 from Mamady Keita - A Life for the Djembe, Djm #3,#4 from Alan Tauber – The Drum Connection

97

97

 1 Signal

trip

#3 1x

#4 2x

2

trip

let

3

trip

let

4

go do

go do

go do

pa

ta

pa

ta

pa

ta

ta

pa

ta

pa

ta

pa

ta

go

do

pa

ta

go

pa

ta

go

do

pa

ta

Gro

#1 4x

#2 4x

let

 trip

let Signal

pa

do

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

ta

pa

ta

98

trip

#3 1x

#4 2x

let

2

trip

let

3

trip

let

4

go do

go do

go do

pa

ta

pa

ta

pa

ta

ta

pa

ta

pa

ta

pa

ta

go

do

pa

ta

go

pa

ta

go

do

pa

ta

Gro

#1 4x

#2 4x

pa

Composer: traditional Source: Alan Tauber – The Drum Connection

1

trip

let

pa

do

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

ta

pa

ta

Composer: traditional Source: Alan Tauber – The Drum Connection

98

 1

e

+

a

2

e

+

a

3

e

Djmk#1 pa ta

pa ta pa ta

Djm #1 go do go do

go

+

go ta

a

4

e

+

go ta

Djm #2 go do go

go do go do go

go do

Djm #3 go

go

go ta

go ta



go

Djm #4

DD #1

DD #2

a

1

e

+

a

2

e

+

a

3

e

Djmk#1 pa ta

pa ta pa ta

Djm #1 go do go do

go

+

go ta

a

4

e

+

go ta

Djm #2 go do go

go do go do go

go do

Djm #3 go

go

go ta

go ta

x

x

go

Djm #4

x

x

x

x

x

O

O

x

x O

O

x O

DD #1

DD #2

O

x

x

O

x

x O

O

still working on this one

still working on this one

Transcribed by me Source: Based on Joan Osborn song

Transcribed by me Source: Based on Joan Osborn song

99

x

O

O

99

x O

a

 1

e

+

a

2

e

+

go

a

3

e

Signal Gro

go do

do go

Djm #1

go

pa ta

Djm #2

go do

pa ta

Gn ta go do

Djm #3

pa

pa ta

Djm #4

pa

Djm #5

pa do go

 +

a

4

e

+

a

ta pa ta

e

+

a

Signal Gro

go do pa ta

2

e

+

go

a

3

e

do go

a

4

e

+

a

ta pa ta

Djm #1

go

pa ta

Gn ta

Djm #2

go do

pa ta

Gn ta go do

pa ta

Gn ta

go do pa

pa ta

go do

Djm #3

pa

pa ta

go do pa

pa ta

go do

pa ta

go do pa

pa ta

go do

Djm #4

pa

pa ta

go do pa

pa ta

go do

Gn

do

go

Gn

Dn

Djm #5

Gn

do

go

Gn

Dn

Djm #6

do

ta pa

Dn pa do go

ta pa

Dn pa go

Djm #6

do

ta pa

Dn pa do go

ta pa

DD #1

x O

x

x x O O O O

x

x

x O

DD #1

x O

x

x x O O O O

x

x

x O

DD #2

x O

x (o)

x O

x O

x O

DD #2

x O

x (o)

x O

x O

x O

x o

x o

Gn

Composer: traditional Source: Djm #1 and DD #1 Alan Tauber – The Drum Connection Remainder from http://www.djembe.net/share/index.htm

100

pa do go

+

pa do

do

pa ta

1

do

x o

x o

pa ta

Gn

pa do

Dn pa go

Composer: traditional Source: Djm #1 and DD #1 Alan Tauber – The Drum Connection Remainder from http://www.djembe.net/share/index.htm

100

 1 #1a 1x #1b

2x #2a #2b

#3 2x

#4 4x

#5 2x

#6 4x

e

+

a

2

e

+

a

3

e

+

 a

4

e

Pr

pa ta

Pr

Pr

Pr

pa ta

Pr

pa ta

pa ta pa ta

+

a

go do

1 #1a 1x #1b

pa ta pa ta

pa ta pa ta go do go do

ta pa ta

2x #2a

Pr

Pr

pa ta

Pr

Pr

pa ta

Pr

Pr

pa ta Pr

pa ta Pr

pa ta

Pr

pa

ta

Pr

patapa ta

patapa ta pa

ta

pa ta

Pr

patapa ta

tapata patapa tapata

Pr

Gr go do go do

pa ta pa ta pa ta pa ta Pr

Composer: traditional Source: Alan Tauber – The Drum Connection

101

pa ta

#2b

#3 2x

#4 4x

#5 2x

#6 4x

e

+

a

2

e

+

a

3

e

+

a

4

e

Pr

pa ta

Pr

Pr

Pr

pa ta

Pr

pa ta

pa ta pa ta

+

a

go do

pa ta pa ta

pa ta pa ta go do go do

ta pa ta

Pr

Pr

pa ta

Pr

Pr

pa ta

Pr

Pr

pa ta Pr

pa ta Pr

pa ta

Pr

pa

ta

Pr

patapa ta

patapa ta pa

ta

pa ta

Pr

patapa ta

tapata patapa tapata

Pr

Gr go do go do

pa ta pa ta pa ta pa ta Pr

Composer: traditional Source: Alan Tauber – The Drum Connection

101

pa ta



kk

1

+

x

x

x O

x O

x O

x

x (O)

x (O)

x O

x O

3

+

x O

x

x O

x

x

a

a

4

+

x O

x O

x O

x O

x

x O

x

x (O)

x (O)

x (O)

x (O)

x

x

x (O)

x (O)

x O

x O

x O

x

x O

x

x O

x

x O

x O

x

x

x

x

x

x

x O

x O

x O

x O

x

x

x O

x O

x O

x O

x

x

x

x

x

x " and the

DD

2x

2x

x

sb

then

then

x O

x O

2x

2x

x (O)

Hamanah

kk

x

x (O)

this rhythm means, " to walk like the people of movements depict this.

a

1

+

x

x

x

2x

2x DD

+

then

then

x

2

2x

2x sb

a

 2

+

x O

x O

x O

x

x (O)

x (O)

x O

a

x O

3

+

x O

x

x O

x

x

a

a

4

+

x O

x O

x O

x O

x

x O

x

x (O)

x (O)

x (O)

x (O)

x

x

x (O)

x (O)

x O

x (O)

x O

x

x O

x

x O

x

x O

x

x O

x O

x

x

x

x

x

x

x O

x O

x O

x O

x

x

x O

x O

x O

x O

x

x

x

x

x

x

Hamanah

x O x

x (O)

this rhythm means, " to walk like the people of movements depict this.

a

x O

" and the

Composer: traditional, Mandiana, Kankan, Upper Guinea Source: Attempted "by ear" transcription of a Famoudou Konate introduced rhythm The kk and DD are right, but the sb is off somewhere

Composer: traditional, Mandiana, Kankan, Upper Guinea Source: Attempted "by ear" transcription of a Famoudou Konate introduced rhythm The kk and DD are right, but the sb is off somewhere

102

102

 1 Signal

e

+

go do

a

2

pa do

e

+

a

go

do

pa Djm #1

DD

ta o

3

e

 +

a

go

4

e

+

do

a

1 Signal

pa ta pa ta pa

ta

pa

o

o

ta go do

pa

Composer: traditional Source: Alan Tauber – The Drum Connection

103

O

+

go do

a

2

pa do

e

+

a

go

Djm #1

DD

ta o

3

do

pa

o O

e

e

+

a

go

4

e

+

do

pa ta pa ta pa

ta

pa

o

o

ta go do

pa o

O

Composer: traditional Source: Alan Tauber – The Drum Connection

103

O

a

 1

+

a

2

+

a

3

+

 a

4

+

a

1

3

+

a

2

+

a

3

+

a

4

+

a

3

Signal

godogo do go do

go do

pa

Signal

godogo do go do

go do

pa

Djm #1

Gn ta

Gn ta

Gn ta

Djm #1

Gn ta

Gn ta

Gn ta

Djm #2

Gn

Gn

do pa

Djm #2

Gn

Gn

do pa

Djm #3

Gn

Dn go do

Djm #3

Gn

go

ta do pa

pa Dn go do Gn ta

kk

x O

x O

x (O)

x

x O

x O

x (O)

x

sb

x (O)

x

x O

x

x (O)

x

x O

x

DD #1

x O

x

x

x O

x O

x

x

x

DD #2

x O

x

x o

x O

x O

x

x o

x

go

ta do pa

pa Dn go do Gn ta

Dn go do

kk

x O

x O

x (O)

x

x O

x O

x (O)

x

sb

x (O)

x

x O

x

x (O)

x

x O

x

DD #1

x O

x

x

x O

x O

x

x

x

DD #2

x O

x

x o

x O

x O

x

x o

x

The meaning of Tiriba has changed many times, with three phases identifiable. First it was played for the great dancer Tiriba and his performance group; then, it grew to a rhythm played for initiation of the girls; finally, it has become a popular favorite at all festivals where people dance.

The meaning of Tiriba has changed many times, with three phases identifiable. First it was played for the great dancer Tiriba and his performance group; then, it grew to a rhythm played for initiation of the girls; finally, it has become a popular favorite at all festivals where people dance.

Composer: traditional, Landuma, West Guinea, Boke and Boffa Regions Source: Mamady Keita - A Life for the Djembe and Alan Tauber – The Drum Connection (DD#2 from Alan Tauber)

Composer: traditional, Landuma, West Guinea, Boke and Boffa Regions Source: Mamady Keita - A Life for the Djembe and Alan Tauber – The Drum Connection (DD#2 from Alan Tauber)

104

104

 1

e

Signal Gro

+

a

2

go do

e

+

go

a

3

e

 +

a

4

do go

pa ta pa

e

+

a

1

e

Signal Gro

+

a

2

go do

e

+

go

a

3

e

+

a

4

do go

pa ta pa

e

+

a

Entrnc

pa

Dn pa

pa

pa

Dn pa

pa

Entrnc

pa

Dn pa

pa

pa

Dn pa

pa

Djm #1

go do

Dn pa

pa

pa

Dn pa

pa

Djm #1

go do

Dn pa

pa

pa

Dn pa

pa

Djm #2

pa

ta pa

go do pa

ta pa

go do

Djm #2

pa

ta pa

go do pa

ta pa

go do

Djm #3

Gn

Djm #3

Gn

Djm #4

Gn Dn Gn Dn

go do pa

pa

Gn

go do

pa

ta

pa

Gn Dn

Gn Dn

Gn

go do

pa

Djm #4

Gn Dn Gn Dn

go do pa

pa

Gn

go do

pa

ta

pa

Gn Dn

Gn Dn

Gn

go do

pa

go do go Gn Dn Djm #5 Gn Dn Played after the boys' circumcision. Originally played on a wassamba, rather than djembe.

go do go Gn Dn Djm #5 Gn Dn Played after the boys' circumcision. Originally played on a wassamba, rather than djembe.

Composer: traditional – Melinke in Siguiri, Guinea Source: Signal, Entrance, Djm #1,#2 from Mamady Keita - A Life for the Djembe, Djm #3-5 from Alan Tauber – The Drum Connection

Composer: traditional – Melinke in Siguiri, Guinea Source: Signal, Entrance, Djm #1,#2 from Mamady Keita - A Life for the Djembe, Djm #3-5 from Alan Tauber – The Drum Connection

105

105

 1

kk

sb

DD

e

x

+

a

2

x x O O

e

+

a

3

x

x (O)

x

e

+

 a

4

x x O O

e

+

x

x (O)

x x O O

x

x (O)

x (O)

x (O)

x

x O

x O

x x O O

x

x (O)

x (O)

x (O)

x

x (O)

x (O)

x x O O

x

x

x

x

x x O O

x x O O

x

x

x

x

x

x x O O x

x

Composer: traditional – Melinke in Siguiri, Guinea (boys rite of passage) Source: Mamady Keita - A Life for the Djembe

106

a

1

kk

sb

DD

e

x

+

a

2

x x O O

e

+

a

3

x

x (O)

x

e

+

a

4

x x O O

e

+

x

x (O)

x x O O

x

x (O)

x (O)

x (O)

x

x O

x O

x x O O

x

x (O)

x (O)

x (O)

x

x (O)

x (O)

x x O O

x

x

x

x

x x O O

x x O O

x

x

x

x

x

x x O O x

x

Composer: traditional – Melinke in Siguiri, Guinea (boys rite of passage) Source: Mamady Keita - A Life for the Djembe

106

a

 1

e

+

Djm #1

pa

Djm #2

go m pa

Djm #3 Gn t

a

2

e

+

a

3

e

go do Gn t go m pa

+

a

4

e

+

a

go do Gn t go m

go do Gn t go m pa

go m pa



go do Gn t

go do Gn t go m pa

go do

1

e

+

Djm #1

pa

Djm #2

go m pa

Djm #3 Gn t

a

2

e

+

a

3

e

go do Gn t go m pa

go m pa

a

4

Time is precious Speak to the Stones Time is precious Listen to the Air Time is precious Transform with Fire Let the water wash thru your body Let the water wash thru your brain

Time is precious Speak to the Stones Time is precious Listen to the Air Time is precious Transform with Fire Let the water wash thru your body Let the water wash thru your brain

Time is precious Speak to the Stones Time is precious Listen to the Air Time is precious Transform with Fire Time is precious Dance for the Earth

Time is precious Speak to the Stones Time is precious Listen to the Air Time is precious Transform with Fire Time is precious Dance for the Earth

Source: Imani

Source: Imani

107

+

a

go do Gn t

go do Gn t go m pa

It is possible these words go with this rhythm:

e

go do Gn t go m

go do Gn t go m pa

It is possible these words go with this rhythm:

107

+

go do



Djm

DD



1

+

2

+

3

+

4

+

5

+

6

1

+

2

+

3

+

4

+

5

+

6

+

7

+

8

+

9

+

10

+

11

+

+

7

+

8

+

9

+

10

+

11

+

go

do

go

do

Gn

go

do

Gn

go

do

go

do

Gn

go

do

Gn

pa

ta

do

Gn

pa

ta

do

Gn

(O)

go

Dn

(O)

go

(O)

Djm

DD

(O)

go

Dn

(O)

(O)

Still working on this one

Still working on this one

Composer: Glen Valez (transcribed by me) Source: Rhythms of the Chakras

Composer: Glen Valez (transcribed by me) Source: Rhythms of the Chakras

108

go

108

 1

e

Signal Gro

+

a

2

go do

e

+

go

a

3

e

do go

+

x O

x

x x O O

x

x

x

x x x O O

x

x x x O O

rt

Dn

x

x

x

kk

x x O O

(O)

x

x

x x x O O

x

Dn

Gn Dn

(O)

x

sb

x O

or if played on the djembe

#2

e

x

x x O O

Dn Gn

4

(O)

x

Gn

a

x

x O

x

(O)

x x O

DD

x

x x x O O

do go

+

x x O O

x O

#1

e

x

x

x x x O O

3

Gro

(O)

go

a

Gro

x

x

+

go do

x x O O

go do

e

Gn

x

x x x O O

2

Djm #2

Gro

x

a

pa ta

Gro

x x O

+

ta

go do

DD

e

Gn

Gn

x

1

pa ta Gn go do

Djm #2

x

a

Gn

ta

(O)

+

Djm #1

Gn

sb

e

Gn go do

pa ta Gn go do

x

4

Signal Gro

Gn

(O)

a

pa ta pa

Djm #1

kk



x

x

+

a

pa ta pa Gn go do pa ta x O

x

x x O O

(O)

x

x O

or if played on the djembe

do go

rt Gn Dn

Dn

Gn do go Gn Dn

Gn

#1

Gn

#2

Dn

Dn Gn Gn Dn

do go

Gn Dn

Gn do go Gn Dn

Gn

Yankadi and Makru together are a dance and rhythm for seduction. Boys and girls dance in a row opposite each other to Yankadi, then Makru begins and they pair off. Makru is played about twice as fast as Yankadi.

Yankadi and Makru together are a dance and rhythm for seduction. Boys and girls dance in a row opposite each other to Yankadi, then Makru begins and they pair off. Makru is played about twice as fast as Yankadi.

Composer: traditional, Susu, Southwest Guinea Source: Alan Tauber – The Drum Connection, verified by Mamady Keita - A Life for the Djembe.

Composer: traditional, Susu, Southwest Guinea Source: Alan Tauber – The Drum Connection, verified by Mamady Keita - A Life for the Djembe.

109

109

 1

e

Son

+

a

2

x

x

x

x

Clave

x

Salidor

Dn

Dn

Tres Golpe

go

Tres Golpe

go lt

e

+

a

3

e

x x

x go

x

 +

a

4

e

x

a

x

x x

+

x

x

Dn

Gn Dn

Dn Gn

Dn Gn

Dn Gn

rt lh rh lt

rt lh rh lt

rt lh rh lt

1

e

Son

x go Dn rt lh

+

a

2

x

x

x

x

Clave

x

Salidor

Dn

Dn

Tres Golpe

go

Tres Golpe

go lt

e

+

a

3

e

x x

x go

x

+

a

4

e

x

a

x

x x

+

x

x

Dn

Gn Dn

Dn Gn

Dn Gn

Dn Gn

rt lh rh lt

rt lh rh lt

rt lh rh lt

x go Dn rt lh

This is one of those rhythms that forms a basis for many other rhythms.

This is one of those rhythms that forms a basis for many other rhythms.

The son (clave), is a typical 2-3 pattern. If it is played with a dunun, emphasis is on the bold x (3a).

The son (clave), is a typical 2-3 pattern. If it is played with a dunun, emphasis is on the bold x (3a).

In the Salidor, all Duns are played quietly. Only the bold go and bold Gun are emphasized.

In the Salidor, all Duns are played quietly. Only the bold go and bold Gun are emphasized.

Two versions of Tres Golpe are offered. The first is a more beginner method. In either, only the go is emphasised. The touches and heel hits are played like shu-fuls -- first the heel of your hand hits then you touch the head with your finger tips.

Two versions of Tres Golpe are offered. The first is a more beginner method. In either, only the go is emphasised. The touches and heel hits are played like shu-fuls -- first the heel of your hand hits then you touch the head with your finger tips.

Composer: Traditional Source: Jesse Seymour February Fire 2003

Composer: Traditional Source: Jesse Seymour February Fire 2003

110

110

 1

+

a

2

+

a

3

Djm

Gn

Shaker

x

x

x

Stick

x

x

x

go

x

Bula DD #1

x O

DD #2

O

do

x

x

x

x

+

Gn

x

+

a

do

x

x

O

Composer: Morwen Two Feathers Source: Morwen Two Feathers – Earth Drum Council

111

4

go

x x

a

x

x x

 1

+

a

2

+

a

3

Djm

Gn

Shaker

x

x

x

Stick

x

x

x

x

Bula

x O

DD #1

x O

DD #2

O

go

x

do

x

x

x

x

+

Gn

x

+

a

do

x

x

O

Composer: Morwen Two Feathers Source: Morwen Two Feathers – Earth Drum Council

111

4

go

x x

a

x

x x

x x O

 1 Djm #1

+

a

2

e

+

a

3

e

+

a

4

e

+

a

go

go ta go

go ta go

go ta go ta go ta

Gn

Gn do Gn

Gn do Gn

Gn do Gn do Gn do

1 Djm #2

e



Gn

+

a

2

+

a

3

Gn Dn Gn Dn

go do do do

pa

ta

go

pa

pa

+

a

4

+

Djm #1

a

go

2

e

+

a

3

e

+

a

4

Gn

Gn do Gn

Gn do Gn

Gn do Gn do Gn do

Gn

+

a

2

+

a

3

Gn Dn Gn Dn

+

a

4

ta

go

pa

pa

go do go do

pa

ta

pa

go do go do

112

ta

pa

pa

ta

go

go do go do

pa

ta

pa

go do go do

go

+

a

ta

pa

pa

ta

go

go do go do

Transcribed by me based on unknown Cranes song on unknown album Source: self

a

go ta go ta go ta

go

go

+

go ta go

ta ta

e

go ta go

go do go do pa

pa

a

pa

pa

ta

+

go

1 Djm #2

e

go do do do

ta

pa

1

Transcribed by me based on unknown Cranes song on unknown album Source: self

112

 1 Asson

s

Ogan

x

Bula

R

Seconde Maman

+

a

2

+

s x L

R

x L

go

3

+

a

s

R

mD mp mp Gn do Gn

a



R

4

+

a Asson

s

x

Ogan

x

R

Bula

R

go

Seconde

do stk stk

Maman

s

x

x

L

R

x L

R

L

go mD mp mp Gn do

go stk stk Gn

go

1

+

a

2

+

s x L

R

x L

go

3

+

a

s

R

mD mp mp Gn do Gn

a

R

4

+

a

s

x

x

L

R

x L

R

x L

go mD mp mp Gn do

go stk stk Gn

go

R go

do stk stk

Assôn: shaker Ogan: bell Bula: high drum, two sticks played L=left and R=right Seconde: middle "conga" drum. The most important notes are the repeating pair of open tones. Maman: Low "conga" drum. One hand plays bass; the other hand plays on the side of the drum using a stick.

Assôn: shaker Ogan: bell Bula: high drum, two sticks played L=left and R=right Seconde: middle "conga" drum. The most important notes are the repeating pair of open tones. Maman: Low "conga" drum. One hand plays bass; the other hand plays on the side of the drum using a stick.

Composer: Traditional Haitian Vodun Source: Bonnie Devlin Transcribed: Jim Salem http://www.newview.org/salem/

Composer: Traditional Haitian Vodun Source: Bonnie Devlin Transcribed: Jim Salem http://www.newview.org/salem/

113

113

 +

x

x

x

x

x

x

kaki

x

x

x

x

x

x

x

x

x

x

or

x

x

x

x

x

x

x

Lenj

x

x

Mendi

x

x

or

x

x

x

x

x

x

x

x

Soko

x

or

or

x

x

Nyo

std

x

4

x

5

x

x

x

x

or

+

2

+

3

+

x

x

x

x

x

x

kaki

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

x

x

x

x

x

x

x

x

x

x

x

x

x

x

x

x

x

x

x

or

x

x

Lenj

x

x

x

Mendi

x

x

or

x

x

x

x

x

x

x

x

x x x

or

4

x

x

x

114

1

x

x

x

+

x

x x

6

x

x x

+

x

x

x

x

+

std

3

Dundunba

+

Nyo

2

Soko

+

Dundunba

1



x

5

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

x

x

x

x

x

x

114

x

+

x

x

x x

6

x

x x

+

x

x

x

x

+

x

x

x

x x x



Aconcon

x

x

x

x

x

x

x

x

x

x

x

x (x) x x

x

x

or

x

x

x

x

x

x

x

Djemb

x

Djansa

x

Funk

x

Kassa

x1

x

x x

x2

x

x x x

x x

x x

x x

x

x x x

x x x

115

x x

x

x x

x

x

x

x x

x

x

x

x x x

x x x

x x x

x

a

x

x

+

x

e

+

x x x

x

x

x

x

x

x

x

x

x (x) x x

x

or

x

x

x

x

x

x

x

Djemb

x

x

x2 x1

x

x

x x x

x x

x x

x x

x

x x x

x x x

115

x x

x

x

x x

x

x x

x

x

x

x

x x

x

Kaki

x

x

x

x x

or

x

x

x

x

x

x

x

x

x

x

x

a

x

x

(x) x

+

x

x

x

e

x

x

x

x

4

x

x

or

a

x

x

x

3

x

x

x

a

x

x x

e

x

or

Braz

2

x

x x

+

x

x x

e

x

Calyp

x

x

x

x

x

x

x

or Kaki

x

x

x

x

x

x

x

x

x

x

x

x

1

or

x

x

x

a

x

x

x

+

x

x

(x) x

e

x

x

x

or

4

x

x

x

x

a

Son

+

Rhumba

e

x

x

x

3

x

x

x

a

x

x

x

+

x

or

x

e

Aconcon

x

Braz

2

x

x

Calyp

a

Djansa

Son

x or

Rhumba

+

Funk

e

Kassa

1



x

x

x

x

x

x

x

x

x

x x x

x x x

x x x

x

 a

x

x

or

x

or

x

e

+

x

x

x

x

x

x

x

x

x

x

x

x Samba

x

Sunu

x

x

Toro

x

+

a

x

x

x

x

x

x

a

x

x

3

e

+

x

x

x

x

x

x

x

x

x

x

x

x

x

x

x

x

x

x

x

x

x

x

x

e

4

x

x

x

x

x

x

x

x x

x

x

x

x

x

x

x

or

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

or

x

or

x

x x

x x

x

x

116

x x

a

+

a

x

x

or

x

or

x

Samba

x

Sunu

x

x x x

e

e

+

x

x

x

x

x

x

x

x

x

x

x

x

x

+

a

x

x

x

x

x x

x

x

a

3

e

+

x

x

x

x

x

x

x

x

x

x

x

x

x

x

x

x

x

x

x

x

x

e

4

x

x

x

x

x

x

x

x x

x

x

x

x

x

x

x

or

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

or

x

or

x

x x

x x

x

x

116

x x

a

x x

or

x x

2

x

x

x x

1

x

x x

or

x Macru

2

Madan

+

Toro

e

Macru

Madan

1



x x

x

x x

x

x





The Grudge (4x5) 1

The Grudge (4x5)

e + a o 2

x

x

x

x

e + a o 3 x

x

x

e + a o 4

e + a o

1

x

x

x

x

x

x

x

e + a o 2 x

x

x

e + a o 3 x

x

Would like to include Jane's Addition's Three Days.

Would like to include Jane's Addition's Three Days.

Composer: Tool Source: Lateralus

Composer: Tool Source: Lateralus

Still working on this one

Still working on this one

117

117

x

e + a o 4

e + a o

x

x

x

x

x

x

x

x (O)

x

x O

x

x O

x

O x

x O

x

x O

x O

x O

x

x O

x O

x O

x O

x O

x

x O

x

x x O x O

x

x

x O

O x O

x O

x

x O

x O

x

x

x (O)

x

x (O)

x

x O

x O

x O

x O

1x

x (O)

x

x (O)

x

x (O)

x

x O

x O

x O

x

x

x O

x O

x

x

x

x

x O

x

x O

x

x O

x

x O

x (O)

x (O)

x (O)

x (O)

Taama

Soko

3x

x

118

x O

x O

x O x

1

x

O

O

a

x

Tiriba

Doundounba

x

x O

+

+

a

x O

x

x

x O

x O

x

x (O)

x

x O

x

x O

Bembe

x O

4

Cambert

x O

a

3/2

x

Bembe

x O

+

Doundounba

x

x O

3

x O x

+

a

2

x

x O x

O x x

x O

x O

x O

x

+

a

x O

x O

x O

x O

x O

x

x O

x

x x x O

x

x O

O

x

x O

x

x O

x O

x

x

3x

x (O)

x

x (O)

x

x O

x O

x O

x O

1x

x (O)

x

x (O)

x

x (O)

x

x O

x O

x O

x

x

x O

x O

x

x

x

x

x O

x

x O

x

x O

x

x O

x (O)

x (O)

x (O)

x (O)

x

118

a

x O

O x O

+

x

x O x

4

x

O

O x O

3

Tiriba

a

Taama

+

Soko

2

Cambert

a

3/2

+

6/4

1



6/4



x O x

#1

x O

x

#2

x x O

Funk Fanga Madan

x

x O

x

x (O)

x

x

x (O)

x

x x O O

x x O x x O O

x

x O

x

x

x

x O

x

x

O

x (o)

x (O)

x x O

x O

x x O

x O

x O

e

+

a

x

+

x

x

x O x

x

x O

x x O (o)

x O

x x O O

x O

x x O O

x x O O

x

x x O O

x O

x

x

x

x

x

x O

x

x

x

1

x

O

x

x

x O x (O) x O O

119

a

x O x

x O

x

e

x O

x x x O O

x

4

+

a

sb

x

3

x O

x

x O

x (O) x (O)

x x

#1

x O

x

#2

x x O

Djansa

x

a

DD

x (O) x (O)

+

Funk

x O

e

Fanga

x

2

Madan

x O

Makru

e



Makru

a

sb

1

Djansa

+

DD

 e

2

e

+

a

3

x

x O

x

x (O)

x

x

x (O)

x

x x O O

x x O x x O O

x

x O

x

x

x

x O

x

x

O

x (o)

x (O)

x x O

x O

x x O

x O

x O

e

+

a

x

+

x

x x

x O x

x

x O

O

x x O (o)

x O

x x O O

x O

x x O O

x x O O

x

x x O O

x O

x

x

x

x

x

x O

x

x

x

x

x

x O x (O) x O O

119

a

x O x

x O

x

e

x O

x x x O O

x

4



x O x O

a

2

e

+

x

a

x O

x

+

a

x

x O

e

O

x O

3

4

a

x

x

x

O

x x x O O O

x O

x

x O O

x x O O O O

x

x

120

+

(O)

O

x

e

1 Braz Rhumba

x O

+

(O) x O x O

3x

x O

1x

x O

Sofa

1x

e

x O

Sunu

x O

Sofa

Braz Rhumba

3x

Sunu

1



x O

e

+

a

2

e

+

x

a

x O

x

+

a

x

x O

e

O

x O

3

4

a

x

x

x

O

x x x O O O

x O

x

x O O

x x O O O O

x

x

120

+

(O)

O

x

e

(O) x O x O



1x

2

+

a

x

x O

x O

x

x O

x O

x

x O

x O

x O

x O

x O

x O

x O

O

O

#1

x O

x O

x

#2

x O

x O

x

Lenjen

3

x

a

4

+

a

1

x O x O

x

x

x O

x O

x O

x O

x

2x

x O

x

x O

121

+

Bembe

a

Lamba

Lamba

2x

+

1x

x

x O

x

+

a

2

+

a

x O

x

x

x O

x

3

x O

x O

x O

x O

x O

x O

x O

O

O

#1

x O

x O

x

#2

x O

x O

x

Lenjen

Bembe

1



x

a

4

+

a

x

x

x O

x O

x O

x O

x x O

x

x O

121

+

x

x O

x



x O

x O x

x #2 O

x

or

e

+

a

3

e

+

a

4

x O

x x O O

x x O O

x O

x x O O

x x O O

*x x

e

+

a

x

x *x

*x x

O

O

x O

x O

#1

x *x

x

with *x being optional

or #2

x x O O

x O

x O

x O

x O

x *x

x

O x

x

(x) (x)

O x x O O

*x

x O

x

x

x

x

x

x

a

x O x O

x O

x O

x

x O

x

2

e

+

a

3

e

+

a

4

x O

x x O O

x x O O

x O

x x O O

x x O O

*x x

e

+

a

x

x *x

*x x

O

O

x O

x O

x *x

*x

x

x

x x O O

x O

x O

x O

x O

x *x

x

x

O x

x

(x) (x)

O x x O O

*x

x O

x

x

x

x

x

x

*x

O x x O O

x O

122

x O

x x O O

x O

Samba

O Samba

+

O

Kakilambe

Funk

x

GuaGua

x

x O

e

with *x being optional

O

Kakilambe

1

Aconcon

x O

2

Fanga

a

Funk

+

x O

#1 Fanga

e

GuaGua

Aconcon

1



x O

x x O O

x O

122

x O

x x O O

x O

 1

#1 4x

#2 4x

#3 2x

#4 2x

e

+

a

2

Gn

Dn

Gn

Dn

go

Gn

Dn

Gn

e

+

a

3

e

+

Gn

Dn

do

Gn

Dn

go

do

Gn

Dn

Dn

go

do

Gn

Dn

Gn

Dn

go

do

pa

ta

Gn

Dn

go

do

pa

ta

Gn Gn

Dn Dn

go go

do do

Gn pa

Dn ta

Gn

Dn

go do Gn

Dn

pa

Gn

Dn

go do Gn

Dn

pa

Gn Gn

Dn Dn

go do Gn go do Gn

Dn Dn

Gn pa

Composer: Babatundi Olatunji (may he drum in peace) Source: Imani

123

a

4

e

+

 a

1

#1 4x

go

go

do

do

do go Dn

#2 4x

#3 2x

#4 2x

e

+

a

2

Gn

Dn

Gn

Dn

go

Gn

Dn

Gn

e

+

a

3

e

+

Gn

Dn

do

Gn

Dn

go

do

Gn

Dn

Dn

go

do

Gn

Dn

Gn

Dn

go

do

pa

ta

Gn

Dn

go

do

pa

ta

Gn Gn

Dn Dn

go go

do do

Gn pa

Dn ta

Gn

Dn

go do Gn

Dn

pa

Gn

Dn

go do Gn

Dn

pa

Gn Gn

Dn Dn

go do Gn go do Gn

Dn Dn

Gn pa

Composer: Babatundi Olatunji (may he drum in peace) Source: Imani

123

a

4

e

+

go

do

go

do

do go Dn

a





Spirit of the Wind 1

e

+

Spirit of the Wind a

2

e

+

a

3

spi rit of the wind

car ry me

spi rit of the wind spi rit of the wind

car ry me car ry me

e

+

h h

a

4

e

+

a

o m e o m e to my

1

e

+

a

2

e

+

a

3

e

+

Mo ther I

feel

you

un der my

Mo ther I

feel

your

hea---rt

a

4

e

+

a

feet be----at

Composer: unknown Source: Twilight Covening, Luna sings it loudest!

e

+

a

The blo od of

1

e

+

a

2

e

+

a

3

e

e

+

a

h h

o m e o m e to my

+

a

Mo ther I

feel

you

un der my

Mo ther I

feel

your

hea---rt

4

e

4

e

+

+

a

a

feet be----at

Composer: unknown Source: Twilight Covening, Luna sings it loudest!

Blood of the Ancients 1

3

car ry me car ry me

Mother I Feel You a

a

spi rit of the wind spi rit of the wind

Mother I Feel You +

+

car ry me

s e l f Composer: unknown Source: June Schreiber

e

e

spi rit of the wind

s e l f Composer: unknown Source: June Schreiber

1

2

Blood of the Ancients 2

e

+

a

theAn cients

Forms change

3

e Runs

butherivr

this bracket indicates a triplet

Composer: unknown Source: Twilight Covening

+

of

a

4

e

+

thruour veins life re

mains

a

1

e

+

a

The blo od of

2

e

+

a

theAn cients

Forms change

e

this bracket indicates a triplet

124

+

Runs butherivr

Composer: unknown Source: Twilight Covening

124

3

of

a

4

e

+

thruour veins life re

mains

a





ga ma la ta ke ga ma la ta ke c c c c c s s s s s s

ga ma la ta ke ga ma la ta ke c c c c c s s s s s s

ga ma la ga ma la ga ma la ga ma la c c c c c c c s s s s s s

ga ma la ga ma la ga ma la ga ma la c c c c c c c s s s s s s

ga ma la ga ma la ta ke ta ke ga ma la ga ma la ta ke c c c c c c s s s s s s s s s s s

ga ma la ga ma la ta ke ta ke ga ma la ga ma la ta ke c c c c c c s s s s s s s s s s s

ga ma la ta ke ga ma la ta ke c c c c c c sr sl sr sl sr sl

ga ma la ta ke ga ma la ta ke c c c c c c sr sl sr sl sr sl

Composer: Reinhardt Flatishler Source: Reinhardt Flatishler Class

Composer: Reinhardt Flatishler Source: Reinhardt Flatishler Class

125

125

 1

+

2

+

3

+

4

+

 5

+

6

+

1

Softly

Softly

Gently

Gently

Spirit

Spirit

Air #1

Air #1

Air #2

Air #2

Composer: Transcribed from a John Cage non-instrumental Source: self

126

+

2

+

3

+

4

+

5

Composer: Transcribed from a John Cage non-instrumental Source: self

126

+

6

+

 2

e

+

a

3

e

+

a

4

e

+

a

1

Quiet

Quiet

Shh

Shh

Listen

Listen

#1

Night

a

#1

#2

Night

+

Night

e

Night

1



#2

Composer: Transcribed from John Cage non-instrumental Source: self

127

e

+

a

2

e

+

a

3

e

+

a

Composer: Transcribed from John Cage non-instrumental Source: self

127

4

e

+

a

 1

+

2

+

3

+

4

+

 5

+

6

+

1

+

2

+

3

+

4

+

5

Still

Still

Deep

Deep

Hush

Hush

Gas #1

Gas #1

Gas #2

Gas #2

Composer: Transcribed from a John Cage non-instrumental Source: self

Composer: Transcribed from a John Cage non-instrumental Source: self

128

128

+

6

+

 2

e

+

a

3

e

+

a

4

e

+

a

1

Calm

Calm

Hmm

Hmm

Slow

Slow

#1

Glass

a

#1

#2

Glass

+

Glass

e

Glass

1



#2

Composer: Transcribed from John Cage non-instrumental Source: self

129

e

+

a

2

e

+

a

3

e

+

a

Composer: Transcribed from John Cage non-instrumental Source: self

129

4

e

+

a





130

130









131

131