) and kensedeni on the downbeat, solos more with the dya feeling.1..2..3..4..
sstsss......
1..2..3..4..
s.ts..s.ts..
1..2..3..4..
..s.ts..s.ts
1..2..3..4..
.bb.bb.bb.bb
..o.oo..o.oo
1..2..3..4..5..6..7..8..
b.bb.bb.bb.bb.bb.bb.bb.b
c.....c.....c.....c..o..
1..2..3..4..5..6..7..8..
b.bb.bbb.b.bb.b.bb.b.b..
c.....oo....o.o..o.o.o..
1..2..3..4..5..6..7..8..
b.bb.bb.bb.bb.bb.bb.bb.b
o...................oo.o
^
1..2..3..4..5..6..7..8..
b.b.bb.b.b.bb.b.bb.b.b.b
o...oo.o...oo.o.oo.o.o.o
Afoba wrote:hmm d;-)
that's a special one!
Everyone all over the world plays it like the version on MK's Hamanah disc...
but I think it's "original" form is with a downbeat kensedeni (o.oo..o.oo.. on the beat). I saw it that way several times in Hamana and there is an old video (by Paul Engel) showing Famoudou soloing on this rhythm: Kensedeni is like normal dundunba, but he solos as for rhythms of the dya-group (Paul thought it was Famoudou's mistake, I think Famoudou was right, they just mixed the versions "original version" and "ballet version as extension of the rhythm "donaba"/sankaranba" in this situation...
Complex story...
So maybe you try both: normal dundunba-kensedeni and dundunba like phrasing in the solos (for me this is against the melody, but everyone plays it that way since Mamady...) and kensedeni on the downbeat, solos more with the dya feeling.
Have fun, Daniel
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