- Wed Mar 02, 2016 6:36 pm
#36623
Hello guys
As promised in july, I propose one hypothesis about how some djembé patterns may have been generated.
Let's consider this well-known pattern (kuku e.g.) b . t t . . s ..
There are some other patterns very similar to it :
b . t t b . s . (Moribayassa)
b . t t b . s s (Djolé)
b . t t . . s s (Dalah)
b . t t . b s . (Djagbé)
My idea is that all these patterns can be seen as derived from one "ancestor" b b t t b b s s, following the rules below :
[*] basses almost never go in pairs, and may even disappear
[*] tones almost always go in pairs
[*] slaps can go in pair or not
The "ancestor" has a ternary counterpart : b t t b s s (Siwé e.g.),
from which one can derive b t t b s . (Soli des Manians)
Another "family" can be observed with :
t t s s . . s .|t t . s b . s . (Sofa)
t t s s . . s s|t t s s b . s s (Kassa)
t t s s . s s .|t t s s b . s . (Fakoli)
t . s s . b s t|t . s s . b s t (Sunun)
Here the "ancestor" would be t t s s b b s s.
One could object that in the version of Fakoli shown above, the third slap is not at the right place. The same is true for the second tone in Sunun (the one just before the middle "|" ). We can solve the problem assuming that sometimes one stroke can be changed in another, for a better effect.
In Sunun, we re-obtain a pair of tones by changing a slap into a tone :
t . s s . b s s|t etc. becomes t . s s . b s T|t etc.
In (this version of) Fakoli, one gets more energy by changing a bass into a slap :
t t s s . b s . becomes t t s s . S s .
There is still much to say on this subject, but my post is already long enough for now...( not so long in fact, but writing in english is a real job for me...)
Vincent
As promised in july, I propose one hypothesis about how some djembé patterns may have been generated.
Let's consider this well-known pattern (kuku e.g.) b . t t . . s ..
There are some other patterns very similar to it :
b . t t b . s . (Moribayassa)
b . t t b . s s (Djolé)
b . t t . . s s (Dalah)
b . t t . b s . (Djagbé)
My idea is that all these patterns can be seen as derived from one "ancestor" b b t t b b s s, following the rules below :
[*] basses almost never go in pairs, and may even disappear
[*] tones almost always go in pairs
[*] slaps can go in pair or not
The "ancestor" has a ternary counterpart : b t t b s s (Siwé e.g.),
from which one can derive b t t b s . (Soli des Manians)
Another "family" can be observed with :
t t s s . . s .|t t . s b . s . (Sofa)
t t s s . . s s|t t s s b . s s (Kassa)
t t s s . s s .|t t s s b . s . (Fakoli)
t . s s . b s t|t . s s . b s t (Sunun)
Here the "ancestor" would be t t s s b b s s.
One could object that in the version of Fakoli shown above, the third slap is not at the right place. The same is true for the second tone in Sunun (the one just before the middle "|" ). We can solve the problem assuming that sometimes one stroke can be changed in another, for a better effect.
In Sunun, we re-obtain a pair of tones by changing a slap into a tone :
t . s s . b s s|t etc. becomes t . s s . b s T|t etc.
In (this version of) Fakoli, one gets more energy by changing a bass into a slap :
t t s s . b s . becomes t t s s . S s .
There is still much to say on this subject, but my post is already long enough for now...( not so long in fact, but writing in english is a real job for me...)
Vincent
I may be wrong and you may be right, and by an effort, we may get nearer to the truth. (Popper)