ChristianAMR wrote:Then , this video features 2 rhythms , which again are unlike any of the above-mentioned transcriptions . So it seems that even though the Malian Bara is an important rhythm , it is not too prominent in recordings and videos . And there seem to be different versions , which do not sound very similar .
watch the video from min. 6:00 to 8:46 and you will hear the resemblance clearly. note that with the transfer to the melting pot Bamako and to the djembe and konkoni, the regional rhythms can change significantly.
for Bamako, Rainer Polaks "Art of Djembe" books are the best reference out there. Stephan Rigerts book has it's merits, but with the transfer of konkoni bass patterns to a Guinean set of three dunduns (dundun, sangban, kensedeni) there is one more change in those rhythms caused by our demands to play Malian rhythms in a familiar context of workshop settings apart from Afrika.
For another recording see also Abdoulaye Diakite and Mamadou Sidibé: Jebe Bara.
Thanks for the clarification !
I listened to this portion of the video and understand what you mean . I didn´t notice the similarity at first , because I hear the beat or the 1 differently than on Drissa Koné´s version ( maybe also because the rhythm in the video is considerably slower ) :
In comparison to Koné´s version I hear the video version 2 subpulses ( or 1 half-beat ) earlier .
( The bara on the video , which roughly corresponds to the Sangban in Rigerts`/Koné´s book , plays a more straight pattern . Sometimes it makes a variation that is more syncopated , and this variation is quite simliar to the Sangan of Koné . That was the point where I could verify the similarity ... ) .
http://www.amazon.de/Bara/dp/B004PD2ZBU ... sic&sr=1-7
I then decided to re-listen to this Mp3 ( indeed I bought the track ) and tried to listen to it from both starting points :
One time as it is written in the book , and one time with 2 subpulses earlier ( as I hear it on the video ) .
For the djembe accompaniment that would be ||ssoo|ss.b|| in the first case and ||ooss|.bss|| in the second case .
That´s somehow similar to what happens for Sandia/Lamba , where you can hear the "1" on 2 different points , shifted for 2 subpulses .
For the Mp3 I can hear it both ways just fine , nothing disturbs me ; but when I listen to the video the first way sounds quite strange and unnatural , whereas the second way just comes naturally .
I also decided to look at the dance steps , and they seem to be more in line with the first version , as it is written in the book ...
So maybe I should just get used to hear the downbeat there , even though its has a strange feel ....
Concerning the transposition of these regional patterns to Konkoni and then subsequently to three Dunduns , I see what you mean by the " double transformation " its has taken : First from Segou to Bamako , and then from Bamako to "international" style .
One day I will try to listen to your Cd-recommendation also .