Dunungbé

[Onilu.BR]

Hi friends! Wich variaton do you usually play on sagnban?
I am working on this variation:
C . . . . . . O O . . . C . . . . . . . O . . .
x . x x . x . x x . x . x . x x . x . x x . x .

or

C . . . . . . . O O . . C . . . . . . . . O O . .
x . x x . x x . x x . x x . x x . x x . x x . x

My friend uses that
. . 0 . . . C . . . . . . . 0 0 . . C . . . . .
. . x x . x x . x x . x x . x x . x x . x x . x


Anyone know wich variation mamady uses?

[michi]

Mamady teaches:

Code: Select all

1..2..3..4..5..6..7..8..
b.bb.bb.bb.bb.bb.bb.bb.b
c.......oo..c.......o...
                     ^


Cheers,

Michi.

[bkidd]

I thought the entrance was on the open hit of the sangban after the signal, but that's a small detail.

Cheers,
-Brian

[michi]

I placed the caret where the entrance is. Relative to the notation, the basadibasada call starts on the 5.

Cheers,

Michi.

[bkidd]

Sorry, I should have been more explicit. From the signal:

Code: Select all

5..6..7..8..1..2..3..4..5..6..7..8..
sstsss..............................
........bb.bb.bb.bb.bb.bb.bb.bb.bb.b
........o...c.......oo..c.......o...


The caret looked like it started on the pulse at "8" and I thought the open sangban hit started just before "8". It's probably just a silly formatting issue, which is why I said it's a small detail. Otherwise I totally agree with the repeating pattern.

Cheers,
-Brian

[michi]

Sorry, I should have been more explicit. From the signal:

Code: Select all

5..6..7..8..1..2..3..4..5..6..7..8..
sstsss..............................
........bb.bb.bb.bb.bb.bb.bb.bb.bb.b
........o...c.......oo..c.......o...


The caret looked like it started on the pulse at "8" and I thought the open sangban hit started just before "8". It's probably just a silly formatting issue, which is why I said it's a small detail. Otherwise I totally agree with the repeating pattern.

At least with my browser, the caret appears where it should, on the "7-and-a", the same place where you start the pattern in your notation. Looks like we are in complete agreement

Cheers,

Michi.

[Onilu.BR]

Thank you Michi. I love dunungbé, and at moment i am working on it with my friends

[Afoba]

Hi Onilu,

I've just put two traditional sangban lines on the site that you should try. The one that Mamady shows (what Michi posted) can be used as a variation, but I have never seen it as a "normal" version (that's two say longer than maybe one or two minutes, and even this is a Gberedu or Baro phenomenon).
Try these here:



I play the first one, most people show the second one.
You could try the following dundunba line, which is a bit easier to play, because the bell follows the sangban line more or completely.


I assure you that the first version you wrote is not correct.

C . . . . . . O O . . . C . . . . . . . O . . .
x . x x . x . x x . x . x . x x . x . x x . x .

I think it's a writing problem. The way you put it, the sangban and dundunba strokes would be the same. If the sangban played this, the dundunba would be turned to the downbeat to avoid this. The person you got it from most probably mixed up the "Famoudou version" (the second line I put here) and the "Mamady version".

Have fun,
D

[bkidd]

Thanks for these traditional lines. I like the bell pattern.

[Afoba]

you're welcome d:-)

[davidognomo]

hey, Daniel and guys

what can you tell me about the sangban line on Famoudou's record "Percussions et Chants Malinké - Vol. 2" (track 14). A lot of variations, no? It starts with just the kenkeni, sangban and djembe accompaniment, the sangban does a lot of variations. Then the dunumba gets in, and I think the sangban repeats what it had done without the dunumba.

There are some échauffement variations also, or am I wrong?

I love this track. It's structure turns it almost in something like a didactic version. The djembe solos, that enter later, are almost very "academic", traditional. And it's a powerful version, IMO.

cheers, David

[Afoba]

It's structure turns it almost in something like a didactic version.

right! I haven't got it here, but I think it's one of the 1998 recordings (the one with turqueze or green letters).
from the traditional point of view: well, it has nothing to do with fête music and most of the sangban variations aren't played in fêtes as far as I remember (as far as I remember the disc, I mean, not the fêtes).
They do the basic pattern>blocage, double stroke variation>blocage, modern Conakry version (stroke on the 6th pulse of every second mesure)>blocage, oooo x xo x + xx x xo x /oooo...>blocage and one or two more version of this probably modern variation. That's what I remember. I don't remeber any echauffement variations.
maybe you could upload it or you send it to me per email (danielfpk @ web.de), than I could say something about echauffements.
You already understood that for me it's didactic - yes, tradirional music-no.

My personal point of view concerning dundungbè:
There ARE NO traditional variations for this rythm! At least no variations as played for Dya or Soli. There are just different ways, (often local) variants of functional pieces, announcements, blocages, echauffements, echauffements for walking, special echauffements and echauffement-intermission-part mixes, everything a bit different in every villages, but not "variations".

Famoudou creates new music on his discs, we all know that more or less, so it's not his aim (or only in some cases) to reproduce traditional music. Of cours: except the first disc and early recordings! That was simply great: energy, feeling, dynamic - a wonderful djembe player!

we have to be aware of the fact that Famoudou, one of the absolutely greatest djembé players I've ever heard, doesn't record discs for people like me and some of you. He wants to sell some more than 200 d;-) And this is why I never bought one.

Have a nice evening
D

[davidognomo]

I'd say you remember it well.

I can't upload it here, takes too long. But I sent it to you, I hope you can open it.

Thanks for your answer.

David

[Dugafola]

Famoudou creates new music on his discs, we all know that more or less, so it's not his aim (or only in some cases) to reproduce traditional music. Of cours: except the first disc and early recordings! That was simply great: energy, feeling, dynamic - a wonderful djembe player!

Have a nice evening
D

on the kon on Rhythm der Malinke, the bada pattern is used as a chauffe. have you seen this in the village at all? as a side note, daouda is my favorite on dununba!!

[Afoba]

on the kon on Rhythm der Malinke, the bada pattern is used as a chauffe. have you seen this in the village at all?

Hi Josh, I can't remember having seen this in a village and I think it's a Conakry evolution (of that time). There are quite a few rhythms where you could play this as a chauffe, but not in dundunbas, I'ld say. By the way, this is an artificial non-fête recording. Who knows, if the same sangban player would do this during a dundunba fête? I don't find the sangban/dundunba combinations that great on this track anyway. That doesn't mean they aren't brilliant musicians. I think it's just the fête situation that is missing (they weren't that used to this kind of recordings at this time).

My favourite dundunba players are Sidimane Keita (Sangbarala, it's the elder brother of Namory Keita), Mamady "Roi" Kourouma (Babila) and Mamady "Kassa" Camara (Fissadou). d;-)

But there are much more who are really good! Reminds me of little Konson Konaté (Baro) who died 2 1/2 years ago at the age of 22 or 23!

see you tomorrow,
Daniel