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    Balakulanya / Söli Lent

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    api-19803089
    The document describes Balakulanya, a traditional Mandinka rhythm from Gambia that is played at weddings and circumcision ceremonies. It can go on for three days during ceremonies. The document then provides musical notation and lyrics for two songs in the Balakulanya style, including the call and response pattern between the singer and chorus. It concludes by detailing the rhythmic variations and accompaniments played on different drums in the ensemble.

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    Balakulanya / Söli Lent

    Uploaded by

    api-19803089
    213 views4 pages
    The document describes Balakulanya, a traditional Mandinka rhythm from Gambia that is played at weddings and circumcision ceremonies. It can go on for three days during ceremonies. The document then provides musical notation and lyrics for two songs in the Balakulanya style, including the call and response pattern between the singer and chorus. It concludes by detailing the rhythmic variations and accompaniments played on different drums in the ensemble.

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    Balakulanya

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    The document describes Balakulanya, a traditional Mandinka rhythm from Gambia that is played at weddings and circumcision ceremonies. It can go on for three days during ceremonies. The document then provides musical notation and lyrics for two songs in the Balakulanya style, including the call and response pattern between the singer and chorus. It concludes by detailing the rhythmic variations and accompaniments played on different drums in the ensemble.

    Copyright:

    Attribution Non-Commercial (BY-NC)
    Download as DOC, PDF, TXT or read online from Scribd
    Flag for inappropriate content
    Download as doc, pdf, or txt
    213 views4 pages

    Balakulanya / Söli Lent

    Uploaded by

    api-19803089
    The document describes Balakulanya, a traditional Mandinka rhythm from Gambia that is played at weddings and circumcision ceremonies. It can go on for three days during ceremonies. The document then provides musical notation and lyrics for two songs in the Balakulanya style, including the call and response pattern between the singer and chorus. It concludes by detailing the rhythmic variations and accompaniments played on different drums in the ensemble.

    Copyright:

    Attribution Non-Commercial (BY-NC)
    Download as DOC, PDF, TXT or read online from Scribd
    Flag for inappropriate content
    Download as doc, pdf, or txt
    of 4

    Balakulanya / Söli lent

    Balakulanya (Balakulandyan) is traditionally played at weddingparty's, where is


    often speculated on the firtility of this marriage. Also the rhythm is
    played -like the Söli - at circumcision-ceremonies. Sometime continues all the
    three days before the ceremony. Mamady Keita switches the roles of Sangban
    and Dun Dun and names this Söli lent (slow Söli). Two songs :

    1: Aïti iwuliba Dembati iti wuliba söli bara se, Aïti iwuli ba, aïti iwuli ba söli
    bara se

    Get up, mothers of the children! ; the Söli is about to come.

    2 : Balakulanya denkolide, aya yeye so dina,

    iba kemata yenkoleddinkolede kemata ye so dina

    solo : Kingfisher-bird, (others say Herron) when will I have a child of my own?

    all : There is no way you can buy it

    Call
    T . T T . T . T T . T . T . . .
    f . r l . l . l r . r . r . . .

    Kenkeni

    O . . . O . . . O . . . O . . .
    x . x . x . x . x . x . x . x .

    Sangban

    . . . . . . . . . . O . O . . .
    x . x x . x . x x . x . x x . x

    Dun Dun

    O . . . . . O . O . . . . . O .
    x . x x . x x . x . x x . x x .

    Djembé 1

    S . . S S . T T S . . S S . T T
    r . . l r . r l r . . l r . r l

    Djembé 2

    B . T T . . S T T . B S . . S .
    r . r l . . r l r . r l . . r .

    Solo accompagnement 1

    . . S S . . S S . . T s T T S S
    . . r l . . r l . . r . r l r l

    Sangban variations :

    . . . O . o . . . . O . O . . .
    x . x x . x . x x . x . x x . x

    . . . O . o . . . . O . O O . .
    x . x x . x . x x . x . x x . x

    . . . O . O . O . . o . O O . .
    x . x x . x . x x . x . x x . x

    . . . O . O . O . . O . O . . .
    x . x x . x . x x . x . x x . x

    O . . O . . O . . O . . O . . .
    x . x x . x x . x x . x x . x .

    O . . O . . O . . . O . O . . .
    x . x x . x x . x . x . x x . x

    . . . . . . . . . . O . O O . .
    x . x x . x . x x . x . x x . x
    . . O O . . . O O . O . O . . .
    x . x x . x . x x . x . x x . x

    C . . O . O . . . . O . O . . .
    x . x x . x . x x . x . x x . x

    O . O O . O . O . . O . O . . .
    x . x x . x . x x . x . x x . x

    Echauffement

    O . O O . O . O O . O . O O . O
    x . x x . x . x x . x . x x . x

    Dundun variations :

    O . . . . . . O O . O . O . O .
    x . x x . x . x x . x . x . x .

    . O . o . o . O O . O . O . O .
    x x . x . x . x x . x . x . x .

    O o . o . . . O O . O . O . O o
    x x . x . x . x x . x . x . x .

    O . . . . . . O O . O O . O O .
    x . x x . x . x x . x x . x x .

    O O . O O O . O O O . O . O . O
    x x . x x x . x x x . x . x . x

    O O . O . O . O O . O . O . O .
    x x . x . x . x x . x . x . x .

    O . . . . . . O . . . . . . O .
    x . x x . x . x x . x . x . x .

    o O . O . . . O O . O . O . O o
    x x . x . x . x x . x . x . x .
    . O . O . O . O o . O . O . O .
    x x . x . x . x x . x . x . x .

    . . . . . . . O O . O . O . . .
    x . x x . x . x x . x . x . x .

    Dun Dun echauffement

    O . O O . O . O O . O . O . O .
    x . x x . x . x x . x . x . x .

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