Repetition and Variation in Mande Music

[PACO]

I have some knowledge of certain drumming traditions, but I am new to Mande drumming. I was hoping that those of you who have studied with teachers from this tradition might provide some insight into how traditional djembe ensambles balance repitition and variation in the supporting drum parts. For example, in the Gahu rhythm from the Ewe people, the bell and Kaganu drum play their parts without any varition while other supporting drums are expected to put in variations durring performances. I was wondering if there were parts in traditional djembe arrangements which were also played without variation. Specifically, I was thinking that perhaps when a dundun player is playing a bell simultaneously with his drum that he\she might be expected to play the bell part without variation even when she\he puts variations into the drum part. Also, do the supporting djembes in a traditional mande ensamble put variations into their parts or do they keep a steady rhythm like the Kaganu drums mentioned above? I looked on the website for this topic to be touched on, but I haven't yet found a place where it has been discussed. I hope others might benefit along with myself from a discussion about how traditional Mande supporting drums balance variation and repitition. Thanks.

[PACO]

I appologize if my post above covered old territory. I just found a previous post by Carl which answered some of my questions. In a post entitled Mendiani Sangba from the Mendiani "Rhythm of the Month" discusion from 2009, Carl said something to the effect of the kenkeni has no freedom, the sangba has more freedom, and the dununba has a great deal of freedom (see his post for details). His post was very helpful and I recommend it to anyone who might be interested in this issue. I am still wondering if the bell patterns repeat without variation when a sangba or dununba player play a bell together with their drum? Also, do the supporting djembe patterns stay fixed like the kenkeni? Any help would be appreciated.

[michi]

II am still wondering if the bell patterns repeat without variation when a sangba or dununba player play a bell together with their drum?

If the sangban or dununba play a variation, the bell pattern can change with the variation to make things easier.

Also, do the supporting djembe patterns stay fixed like the kenkeni?

To the best of my knowledge, the djembe patterns stay fixed.

Cheers,

Michi.

[Carl]

PACO,

Thanks for your kind words. My post that you mention came primarily from my studies with Mahiri Keita (if you're new to this style, he is definitely someone to look up. Not much on him online, but his band has some videos on YouTube and he has produced an instructional DVD through TTM)

As to the bell, my understanding is that the bell plays a supporting roll to the drum. (though there is some disagreement on this) Basically, if the bell part helps you to put the beat in the right place, then it is right. However a lot of teachers give specific bell parts when they are here in the US to help educate the players.

There is another post somewhere in here where we discuss various bell patterns for various tunes. Wassolonka /Ngri comes to mind, also the kenkeni for dununba style has a few "beginner" bell patterns that I have heard.

As to variations on the djembe, I have been taught a variation to one of the djembe parts to Tiriba that Mamady Keita said "the drummers play when they are excited" It is generally not a repeated part, just a little "hick-up" which is thrown in at random-ish. This is the only time I have been taught a specific "variation" for the djembe. It seems like the freedom of the djembe is at least contextual as traditionally, when you learn djembe, you start with only one accompaniment part, and then you get to add things as you go along. After you have proven yourself, you get to start playing solos etc. I would love to hear more about this tradition if anyone has background on it (like how long you would play before getting you first solo etc.

If it wasn't for the fact that it is 1:42 am where I am right not, and my wife is asleep, I would record a quick example of the Tiriba variation.

This is an interesting question for comparative ethnomusicology. I am passingly familiar with the Ewe traditions that you mention. Also Bata has some similar performance practices as far as I can tell (I know even less about Bata than I do Ewe traditions)

Ok... look at a couple more threads then I need to sleep!

C