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Visit The Practice of Practice: How Musicians Learn by jharnum on Thu Jul 07, 2011 8:06 pm
Tried to get this to clone my actual blog, but no luck. If you'd like, check out my blog/podcast about music practice wherein I discuss and talk to master musicians about music practice:

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Bobobo breaks - by Prospa (Ghanian master drummer) by aghis on Fri Jun 29, 2012 4:24 am
B: Bass T:Tone S:Slap @ space

Call: B@TT @TT@ TT@T T@T@
variation BTSS @SS@ SS@S S@S@

1. T@BB @B@@ @B@B BB@B |T@BB @B@@ @@@@ @@@B Recurs 4x Back to Call Forward to 2
2. B@T@ @@B@ T@@@ B@T@ | B@@@ @@@@ @@@@ @@@@ |
BBB@ TTT@ B@@@ TTT@ | BBB@ TTT@ B@@@ @@@@ Recurs x 2 Back to call Forward to 3
3. BT@T T@T@ BT@T T@T@| BT@T T@T@ @@@@ @@@@
BT@T T@T@ @@@@ @@@@ Once Back to Call Forward to 4
4. T@TT @@@B @T@B BB@T | B@T@ @@BB B@T@ @@@@
@@@@ @@BB B@T@ @@@@ | @@@@ @@BB B@T@ @@@@ Recurs x2 Back to Call forward to 5
5. B@TT @TT@ S@@@ S@@@| S@@@ SBB@ S@BB B@S@ Recurs x4 Back to call forward to 6
6. BBB@ T@B@ T@T@ B@T@ | B@@B @@TT @TT@ T@@@ |
S@@S @@TT @TT@ T@@@ | B@@B @@TT @TT@ T@@@ Recurs x4

You can find the female male kpanlogo parts in the net, bell is the standard heartbeat.
I am glad i found a community that loves drumming...

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Mini-Guinea San Diego, April 2010, day 4 by michi on Fri Apr 30, 2010 5:57 am
Today's Group 1 class finished off Zaouli 6. We spent quite a bit of time at the end of the class having fun, playing Zaouli and using breaks 5 and 6.

Group 2 is struggling a bit with Zaouli 7 and isn't through learning the break yet. About a third of it still remains to learn.

The pyramid class continued to work on Mamady's insane break (and actually finished it--sound clip below). During the pyramid class, Mamady passed on a lot of interesting info. First up, I got the origin of this break wrong: Mamady didn't do this in his Ivory Coast days in the Eighties, but earlier, in Guinea in 1977, which is when he composed the entire pyramid.

Mamady related quite a bit of the history of the ballets. Basically, the early ballets were modelled on the European ballets, where the orchestra was hidden in an orchestra pit, so it wouldn't distract the audience from the dance. With the African ballets, they did the same, only the musicians were hidden in the side stage. (If you watch early Ballet...

[ Continued ]

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Seeking a teacher around the bay area by Arrows on Mon Mar 01, 2010 4:44 am
making a short visit to santa cruz at the end of march, seeking a good Djembe/Dounou class or teacher to connect with while I am there any suggestions????

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Djaa by Dugafola on Fri Aug 13, 2010 5:37 pm
Bolokada taught Djaa last night with a little arrangement.

interesting tidbit...Bolo told us that he loves Djaa because it's the rhythm/occasion that made him famous in his region. he is a folkloric specialist for all types occasions: weddings, safinamalos, dembadon, baptisms, circumcision, dennabos, kassa, mendiani, kawa etc...but the Djalaban is where it all started.

he explained there are two basic occasions for djaa: the first being the fete/party for young people and the second being the Djalaban - the last "dance" or "fete" for a young woman about to be wed. Djalaban is the first fete in the wedding sequence. the second is the safinamalo(i also got to play a safina...another blog for another time), third is dembadon, and the fourth is the actual marriage. the woman to be married doesn't even get to dance at her own party. she's not even really present until they process her out and her friends and family (all female) dance and sing around her. at the...

[ Continued ]

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