check this out http://www.youtube.com/watch?v=wnCiNlunT3g
not so much of an instructional but rather a performance.
The guy has bad technique, but the two accompaniment parts are correct. The technique he demonstrates is Mamady's solo original for Soli Rapide. The last two techniques are not quite correct—he's playing a tone where he should be playing a slap. It seems that's because he has a weak left slap; he means to play a slap, but it comes out as a tone.argh wrote:Disclaimer - I am a Djembenoob, so I can't tell if the rhythms are legit, but the parts are demonstrated clearly enough.
Instead of thinking closing and spreading, think of relaxing and tensioning. When the fingers are relaxed, they curve a little, so the impact area is the fleshy part of the palm at the base of the fingers and the fingertips, making a slap. If you add some tension to the fingers, they straighten a bit, so the middle finger joint is a little closer to the skin; the impact area is the middle part of the fingers (as well as the fleshy part of the palm and the finger tips), making a tone.argh wrote:In fact, it's something I had noticed, but I guess I saw it as a natural thing in a beginner. When I play a slap or tone sequence, I can actually produce each sound without forcing my fingers open or closed. But, when I mix them up together, the squeezing and spreading of my fingers seems to happen automatically. It's almost like that's the easiest thing to control consciously, even though I do recognise that it compromises both the sound and my comfort.
michi wrote:Instead of thinking closing and spreading, think of relaxing and tensioning.
This is great advice, Michi. It clicked for me from your post on Feb 12. I had a terrible compulsive movement to make my tones, until I realized it wasn't necessary. So I went back and watched some closeups of Mamady Keita making tones and saw that there was no noticeable opening-closing of fingers. Even though I believe I've heard him say that the difference between the slap and tone technique is open vs. closed, in practice he clearly meant more of a relaxed vs. tension thing. Perhaps he teaches the tones differently for beginners.michi wrote:You can play a perfect tone with spread fingers. What makes the tone isn't the spread fingers, but the contact area of the fingers.
Most masters play open tones, with the fingers slightly spread, in very much the same position as for a slap. It's simple really: the less movement there is, the faster and more efficient the entire thing gets. Much of good djembe technique is simply about eliminating extraneous movement.batz wrote:So I went back and watched some closeups of Mamady Keita making tones and saw that there was no noticeable opening-closing of fingers.
Here is an excerpt from the Djembefola DVD, where Mamady explains that the closed fingers for the tone really are trainer wheels.Even though I believe I've heard him say that the difference between the slap and tone technique is open vs. closed, in practice he clearly meant more of a relaxed vs. tension thing. Perhaps he teaches the tones differently for beginners.