Drum Rhythm Transcriptions

Introduction

Here you will find transcriptions of rhythms I have learned over the years. While I have tried to give credit where appropriate, please assume that any mistakes are my own. Publishing rhythm transcriptions is a tricky business:

Rhythms are played differently in different areas.
Even within neighboring African villages, rhythms of the same name may be played differently. Unless you are from the culture, no transcription can be deemed authoritative. Likewise a rhythm's (or drum's) name and spelling will vary.
Notation cannot capture the feel of rhythm.
To fully learn a rhythm, you must know its feel. Some rhythms have a staccato sound, some are rolling, others have a swing feel. Notation cannot adequately capture this.
Traditional rhythms are part of a culture.
A transcription ignores a rhythm's reason for being. It ignores the people who have created and passed down the rhythm.

Respect those who have created the music in the world. To learn traditional rhythms, take classes with the masters.
Listen before you play. Communicate. Open your heart.

Contents

West African
Donba
Fanga
Kakilambe
Lamba
Mandjani
Tor(d)o
Hatian/Cuban
Banda
Yenvalou (two versions: Classique and Rasombler)
Zepaule
Other
Ollin Arageed
Bibliography

Tor(d)o

Learned from:
Mamady Keita (9/95)
Description:
A boy's initiation rite from the Malinke people of NE Ghana.
Transcribed By:
Jim Salem
Drums:
Kankini High bass drum. Played with sticks.
Sangba Middle bass drum with bell. Played with sticks.
Dundunba Low bass drum with bell. Played with sticks. Important: This part is twice as long as the other parts (it repeats only every two measures).
Djembe Hand drum.
Notation:
Mf Muffled sound made by pressing stick against drum head.
Gn Open bass tone. Pronounced "Gune".
X Bell
Go or Do Open tone.
Pa or Ta Slap.
Ck Two-handed slap. Also known as a flam. Pronounced "Crack."
  1 . & . 2 . & . 3 . & . 4 . & .
Kankini . . Gn Gn . . Mf . . . Gn Gn . . Mf .
Sangba X X . X X . X . X . (X) . X . X .
  Gn Gn . . Mf . Mf . Mf . . . Gn . Gn .
Dundunba X X . X X . X . X . X X . X X .
  Gn Gn . . . . . . . . Gn Gn . Gn Gn .
Dundunba cont'd X X . X X . X . X . X . X . X .
  Gn Gn . . . . . . . . . . . . . .
Djembe #1 Go Do . Gn Pa . Pa . Pa . . Gn Pa . Pa .
(first time) Pa . . Gn Pa . Pa . Pa . . Gn Pa . Pa .
Djembe #2 Pa . . Ta Pa . Go Do Pa . . Ta Pa . Go Do
Break Ck . Go Do . Do . Do Go . Pa Ta Pa . . .

Fanga

Learned from:
Various teachers
Description:
This is a song of welcome from West Africa. There are many variations of this popular rhythm. Sometimes spelled "Funga".
Transcribed By:
Jim Salem
Song:
One version of the song goes as follows. Each verse lasts for two measures.
Fanga Alafia Ashé Ashé
Fanga Alafia Ashé Ashé
Ashé Ashé Ashé Ashé
Ashé Ashé Ashé Ashé
Drums:
JunJun Bass drum with bell. Played with sticks.
Djembe Hand drum.
Notation:
Gn Open bass tone. Pronounced "Gune".
Mf Muffled sound made by pressing stick against drum head.
X Bell.
Go or Do Open tone.
Pa or Ta Slap.
Ck Two-handed slap. Also known as a flam. Pronounced "Crack."
Comments:
1) I have not learned a traditional Junjun part to Fanga and am unsure whether there is one. In practice, the Junjun part listed fits well with piece.
2) The Djembe variations are less commonly known but, if played well, add considerable richness. If the cannot be played precisely it is better not to add them as otherwise they tend to muddy the rhythm.
3) The break is played on Djembe to start or stop the rhythm.
4) There are many variations on this rhythm. This particular one is popular in Boston and in the northeast.
  1 . & . 2 . & . 3 . & . 4 . & .
Djembe (main) Gn . . Go . Go Do . Gn . Gn . Go Do . .
Djembe (high) Go Do . . Go Do . . Go Do . . Go Do . .
Djembe (var #1) Gn . . Gn Gn . Go Do Gn . Gn . Gn . Go Do
Djembe (var #2) Gn . Go Do Gn . . Gn . Gn Go Do Gn . . .
Junjun . . X X . . X X . . X X . . X X
Gn . . . Mf . . . Gn . Gn . Mf . . .
Break Ck . Pa Ta . Ta . Ta Pa . Pa . Pa . . .

Kakilambe

Learned from:
Various teachers
Description:
While widely known and played throughout the USA, this version differs from most African versions. Often played very fast.
Transcribed By:
Jim Salem
Drums:
JunJun Bass drum with bell. Played with sticks.
Djembe Hand drum.
Notation:
Gn Open bass tone. Pronounced "Gune".
X Bell.
Go or Do Open tone.
Pa or Ta Slap.
Comments:
1) There are two JunJun parts.  First, the slow part is played.  As the rhythm speeds up, the fast version is played. Note that the slow version is two measures long --- play the measures in succession.
2) The slap in the main djembe part is key.  Be sure to enunciate it.
3) The two djembe variations are interlocking and should be played together.   Unless they can be played very accurately, they are best omitted as the rhythm speeds up.
 
  1 . & . 2 . & . 3 . & . 4 . & .
Djembe (main) Gn . . Do Go . Pa . Gn . Go . Go . Pa .
Djembe (var #1) Go Do Go . . . . . Go . Go . . . . .
Djembe (var #2) . . . . Go Do Go . . . . . Go . Go .
Junjun (slow)
  first measure		 X . . X . . X . . . X . X . X .
Gn . . Gn . . Gn . . . . . . . . .
Junjun (slow)
  second measure		 X . X X . X . . . . X . X . X .
Gn . . . . . . . . . . . . . . .
Junjun (fast) . . X X . . X X . . X X . . X X
Gn . . . Mf . . . Gn . Gn . Mf . . .

Lamba

Learned from:
Various teachers
Description:
This is a celebratory wedding song from West Africa.
Transcribed By:
Jim Salem
Drums:
JunJun Bass drum with bell. Played with sticks.
Djembe Hand drum.
Notation:
Gn Open bass tone. Pronounced "Gune".
X Bell.
Go or Do Open tone.
Pa or Ta Slap.
 
Comments:
1) This should be played with a triplet feel -- the upbeats (i.e., dots) are played slightly closer to the downbeats (i.e., numbered beats).  For the main djembe part this sounds like ta-Gn pa ta-go do-pa ta-Gn... 
 
  1 . 2 . 3 . 4 .
Djembe (main) Gn . Pa Ta Go Do Pa Ta
Djembe (solo) Pa . . Gn Pa . Go Do
JunJun Gn . Gn . Gn . . Gn
Bell . . X X . . X X

Mandjani

Learned from:
Various teachers
Description:
There are many variations of this popular rhythm from West Africa. This seems closest to the version played in Mali.
Transcribed By:
Jim Salem
Drums:
JunJun Bass drum with bell. Played with sticks.
Djembe Hand drum.
Notation:
Gn Open bass tone. Pronounced "Gune".
Mf Muffled sound made by pressing stick against drum head.
X Bell.
Go or Do Open tone.
Pa or Ta Slap.
 
Comments:
1) The interlocking JunJun parts are key to this piece. It's better to have more JunJuns than Djembes.
2) The solo Djembe part is really just a starting point.  It is played with a "swing" feel that is difficult to describe.
  1 . . 2 . . 3 . . 4 . .
Djembe (main)
    which hand		 Pa . Go Pa . Gn Pa . Go Pa . Gn
R   L R   L R   L R   L
Djembe (solo) Go Do Pa Ta Gn Pa Ta Gn Pa Ta Gn Pa
JunJun #1 Gn . Gn . . . Gn . Gn . . .
JunJun #2 . . Mf . Gn Gn . . Mf . Gn Gn
JunJun #3 Gn . Gn . . Mf . . Gn . Gn .
Bell X . X X . X X . X . X .

Donba

Learned from:
Various teachers, particularly Dean Buchanan
Description:
A popular dance from West Africa. Often called "Mandjani" in the Boston area.
Transcribed By:
Jim Salem
Drums:
Dundunda Low bass drum with bell.
Sangba High bass drum with bell.
Djembe Hand drum.
Notation:
Gn Open bass tone. Pronounced "Gune".
Mf Muffled sound made by pressing stick against drum head.
X Bell.
Go or Do Open tone.
Pa or Ta Slap.
 
Comments:
1) The interlocking JunJun parts are key to this piece. It's better to have more JunJuns than Djembes.
2) The solo Djembe part is really just a starting point.  It is played with a "swing" feel that is difficult to describe.
  1 . . 2 . . 3 . . 4 . .
Dundunba X . X . X . X . X X . X
Gn . . . Gn . Gn . . Gn . .
Sangba X . X X . X X . X . X .
Gn . Gn . . Mf . . Gn . Gn .
Sangba (var.) Gn . Gn Gn . . . . Gn . . .
Djembe #1 Pa . Go Pa . Gn Pa . Go Pa . Gn
Djembe #1 (var.) Pa . Go Pa . . Pa . Go Pa . .
Djembe #2 Pa . Ta . Go Do Pa . Ta . Go Do
Break Pa Ta Pa Ta Pa Ta Pa Ta Pa Ta Pa Ta
Ck . Go Do . Go Do . Go Do . .

Yenvalou

Learned from:
Bonnie Devlin
Description:
Haitian Vodun ceremonial rhythm in praise of Legba. There are several versions of Yenvalou which may be played during the course of a ceremony. I've transcribed Classique and Rasombler. They differ only in the Seconde parts.
Transcribed By:
Jim Salem
Instruments:
Bula High drum. Played with two thin sticks using a whipping motion.
Seconde Middle "conga" drum.
Maman Low "conga" drum. One hand plays bass; the other hand plays on the side of the drum using a stick.
Ogan Bell
Assôn Type of shaker
Notation:
X Beat on Ogan or Assôn.
R Right stick stroke on the bula.
L Left stick stroke on the bula.
S Slap on seconde.
T Open tone on seconde.
Ms Muffled slap on seconde. "Dry" sound. Right hand plays the sound while left hand rests on the drum.
Mt Muffled tone on seconde.
B Bass tone on maman.
St Using stick on side of maman.
Yenvalou Classique
  1 . . 2 . . 3 . . 4 . .
Assôn X . . . . . X . . X . .
Ogan X . X . X . X X . X . X
Bula . R L . R L . R L . R L
Maman B . . . . . B . . . . .
St . . St . . St . . St . .
Seconde T T T . S . Mt T . . S .
Yenvalou Rasombler
  1 . . 2 . . 3 . . 4 . .
Assôn X . . . . . X . . X . .
Ogan X . X . X . X X . X . X
Bula . R L . R L . R L . R L
Maman B . . . . . B . . . . .
St . . St . . St . . St . .
Seconde Ms . . Ms . . Ms . T . T .

Zepaule

Learned from:
Bonnie Devlin
Description:
Haitian Vodun ceremonial rhythm. Often follows Yenvalou.
Transcribed By:
Jim Salem
Instruments:
Bula High drum. Played with two thin sticks using a whipping motion.
Seconde Middle "conga" drum. The most important notes are the repeating pair of open tones.
Maman Low "conga" drum. One hand plays bass; the other hand plays on the side of the drum using a stick.
Ogan Bell
Assôn Type of shaker
Notation:
X Beat on Ogan or Assôn.
R Right stick stroke on the bula.
L Left stick stroke on the bula.
T Open tone on seconde.
Ms Muffled slap on seconde. "Dry" sound. Right hand plays the sound while left hand rests on the drum.
B Bass tone on maman or seconde using left hand.
St Using stick on side of maman using right hand.
S Slap in the middle of the maman using left hand.
  1 . . 2 . . 3 . . 4 . .
Assôn X . . X . . X . . X . .
Ogan X . X . X . X X .