what makes you specify a rhythm a dundunba? Is it sufficient to have the typical kenkeni and the tatatutatata
? There should be more, I suppose.
That's a good question, for it is so hard to answer (for me, at least).
The "tatatutatata", or as Famoudou called it: basa tin badaba
(come to the dance place, big head(s) of the gecko), is not a traditional call, as far as I know. Calls are not traditional, anyway. And I don't think it was often used as a cut either. so this is - in it's generic places at least, not a good criterion to tell dununbas from other rhythms like Konden. And even the typical Kensedeni pattern can be played on other rhythms.
It must be the Kensedeni pattern plus something else, like the situation a rhythm is played for. For the invented dununbas it's the Kensedeni pattern plus basa tin badaba plus the fact that the inventors call it a dununba. I heard the speculation that Takonani was invented by Famoudou, or better: he simply took a dundun variation of Dunungbé to declare it a new rhythm. Famoudou and Mamady have been under enourmous pressure to come up with new material for those assiduous students attending almost every workshop of theirs. (Often, Famoudou takes a traditional song and creates a new rhythm for it, like Lolo. The rhythm sounds much like Fefo).
The same is true for infos on "traditional" drumming. I don't knoow if all that talk about specific dununbas and their connection to a specific generation is all true. I've learned to rather trust those who traveled for years to the villages of Hamana and picked up their stuff there.
Didn't you aks a while ago about notation for Soma Sangyi? The song is so beautiful...
sangban, starting on the bold |x.o|.x.||x.o
|.x.|; variation: (xo)|.o.|o.o|.xo|.x.|
|.oo|; variation (oo)|.o.|o.o|.oo|.oo|
x ist just the bell...