A few questions... Anyone know any good resources for some Krin phrases or rhythms and technique (if there is technique to it).
Also, I got in two nice looking krins, one sounds great. The other.. not so much. It has a very bright lively sounding high, but the low key doesn't resonate at all. The low key sounds higher pitched than the other krin and I'm wondering if carving out a little bit under the key will help it resonate better. I know it'll lower the pitch some (which is fine)... but my main concern is the volume and quality of the sound.
There's definitely technique to it. It helps if you have good stick technique to begin with. Here is your chance to use those double-stroke rolls and paradiddles you've been practicing for so long.
The trickiest thing with the Krin, even for someone with decent stick technique, is being able to keep the sticks at a tangent to the instrument, going from one key to another. You really have to use your shoulders to get everything to fall into place correctly. Do you know what I mean by that?
Rhythm House Drums wrote:The low key sounds higher pitched than the other krin and I'm wondering if carving out a little bit under the key will help it resonate better. I know it'll lower the pitch some (which is fine)
Taking wood off of the key will raise the pitch, not lower it.
Rhythm House Drums wrote:Taking wood off of the key will raise the pitch, not lower it.
Are you sure about that? I thought I read that thinner thickness creates larger vibration/lower tone. I thought that with Bala keys you lower the tone by hollowing out under the bottom more. But I've never tried it...
Bops (or anyone) do you know how/where I could get some Hare' wood... doesn't have to be in instrument form, I'm just looking for small scraps of the wood for a project. I asked DrumSkull, but they said they don't have anything. Do you have any ideas. I'd hate to buy a Krin and chop it up.
Like bops said, less actual wood on the krin key does mean that it will be higher-pitched.... There's less material there to resonate.
Gourd resonators are used on balas - the keys resonate, but the sound is amplified. (Which is a bit different than what's done with krins, since you're talking about hollowing out a log there.) I don't know anything about how bala keys are tuned, but I'm sure that the "trimming" is done very judiciously...
re bops, cheers for the petit Mamady vid,. thats really cool. Must have been nice training with him and friends..
Heres Kemoko Sano playing the krin and explaining some moves. Can any body translate parts of this??..
Following info from Wikipedia..
Kemoko Sano was..''Born in a village near Macenta, in the Forest Region of Guinea c. 1937 (he was unsure of the year of his birth but knew his birthdate to be earlier than 1942, the date recorded when he entered school), Kemoko Sano became a leading figure in the performing arts in Guinea in the decades following Guinean Independence in 1958, when the traditional performing arts received full government support and were used both to galvanize the identity of the new nation and to present it to the outside world. After his troupe in Macenta won first prize in the national arts festival in 1964, Kemoko Sano was brought into the Les Ballets Africains, the first and best-known of the Guinean national dance troupes. A fall during a performance in Paris the same year left him paralyzed, an accident from which he made a full recovery after his return home to Macenta. Twenty-five years later, Kemoko Sano was the dundun player atop a float of 115 Guinean percussionists in Jean-Paul Goude’s parade extravaganza in Paris for the French bicentennial in 1989.
Kemoko Sano headed the second national dance troupe, Ballet Djoliba from 1973 – 1986. As Choreographer of Les Ballets Africains from 1987 to 2000, he created new works in collaboration with his colleagues, and went with Les Ballets Africains on on several international tours to Europe, Ghana, Mexico, Colombia, Australia, and to North America in 1991 (la Clôche de Hamana), 1993 (Silo), and 1996 (Heritage).
After state support and management of performing arts troupes ended, Sano founded his own troupe, Ballet Merveilles in 1986'
Kemoko Sano taught music and dance as Fulbright Artist-in-Residence at San Francisco State University in the spring semester of 1994 and at Long Island University/C.W. Post and SUNY at Stony Brook in 2000 – 2001.
The Dance Collection of the New York Public Library has ten hours of video footage from a trip Sano made with Hamidou Bangoura of Les Ballets Africains to the interior of Guinea in 1991. Over the past year, Sano collaborated with Hamidou Bangoura on the creation and rehearsing of a new evening-length work for Les Ballets Africains, Mémoire du Mandingue.
Mohamed Kemoko Sano, African music and dance ensemble director and choreographer, died May 25, 2006 in Conakry, Republic of Guinea, from complications of diabetes, according to his companion Louise Bedichek.
Kemoko Sano is survived by numerous children, the youngest of whom, Makhissa Sano (b. 2000), lives in Oakland, California.