Contents

Raedwald Rhythms ............................................................................................................................... 3

Bintin................................................................................................................................................. 4
Bolonba ............................................................................................................................................. 5
Djagbe ............................................................................................................................................... 6
Djolé................................................................................................................................................ 10
Fanga .............................................................................................................................................. 11
Gahu ............................................................................................................................................... 12
Kakilambe 4 .................................................................................................................................... 13
Kakilambe 3 .................................................................................................................................... 14
Kanin ............................................................................................................................................... 16
Kassa ............................................................................................................................................... 17
Kongo Payet .................................................................................................................................... 21
Kpanlogo ......................................................................................................................................... 22
Kuku ................................................................................................................................................ 24
M’Balax ........................................................................................................................................... 25
Macru.............................................................................................................................................. 26
Meni................................................................................................................................................ 27
Moribayassa.................................................................................................................................... 28
Nuru ................................................................................................................................................ 29
Raedwald ........................................................................................................................................ 31
Raedwald ........................................................................................................................................ 32
Shiko ............................................................................................................................................... 33
Sofa ................................................................................................................................................. 34
Soko ................................................................................................................................................ 35
Sounou ............................................................................................................................................ 36
Timitingoo ....................................................................................................................................... 41
Tiriba ............................................................................................................................................... 42
Woliwoloo....................................................................................................................................... 43
Yankadi 4......................................................................................................................................... 44
Yankadi 3......................................................................................................................................... 45
My rhythms......................................................................................................................................... 47
Bugayaa .......................................................................................................................................... 48
Hetsi ................................................................................................................................................ 49
Luuloo ............................................................................................................................................. 50

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 RAEDW ALD RHYTHM S

Nanzula ........................................................................................................................................... 51
Nha Terra ........................................................................................................................................ 52
Other Rhythms .................................................................................................................................... 53
Oterai .............................................................................................................................................. 54
RhythmName .................................................................................................................................. 55
Performances ...................................................................................................................................... 56
Rendlesham Street Fair 2012 .......................................................................................................... 57
Rendlesham June 8th 2013 .............................................................................................................. 58
Timitingoo.......................................................................................................................... 58
Island in the Sun ................................................................................................................. 58
Kanin ................................................................................................................................. 58
Yankadi / Macru ................................................................................................................. 58
Senegal Sabar .................................................................................................................... 58
Shiko .................................................................................................................................. 58

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 RAEDW ALD RHYTHM S

Raedwald Rhythms

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 BINTIN

Bintin

djembe 1 3btt3btt3btt3btt

djembe 2 3ttt3tt,3sss3s,,
3ttt3t,,3b,b3,b,

djembe 3 3s,b3st,3s,eb3st,

kenkeni 3x,,,3x,cc3x,,,3x,tt

Sangban 3x,,x,3xt,x,3x,,x,3xt,x,
OR

3x,,x,3xt,x,3xt,xt3,xt,

doundounba 3xtxt,3x,x,,3xtxt,3x,x,,

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 BOLONBA

Bolonba

call 4qt,tt4,t,t4t,t,4t,,,

djembe 1 4ttb,4b,b,4tt,s4ss,b

djembe 2 4s,,s4s,tt4s,,s4s,tt

djembe 3 4s,tt4s,b,4s,,s4s,b,

Variation 1

combined 4x,,x,,4x,,xS,4xd,xdxd4,x,xS,
4x,,xd,4xd,xS,4xd,xdxd4,x,xS,

Variation 2

combined 4xd,xSS4x,,xkk4x,,xdd4x,dxd,

log drum/bell 4cc,,4,o,,4o,,o4,,o,

bell 4oo,o4o,,,4oo,o4o,,,
4oo,o4oo,o4oo,o4o,,,

djembe 3 4s,tt4s,b,4s,,s4s,b,

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 DJAGBE

Djagbe

Djagbé is the name of a Malinke-rhythm from Guinea that was originally played at the
ending of the Ramadan. A rejoicing happening where men and women dance together in
this circle-dance. Variations on Djagbé excist in the Kouroussa-region (Guinee)
as Djagba and in Mali as Madan.

Call

tT . T T . T . T T . S S S . . .
Djembé 1

B . T T . b S . B . T T . b S .
Djembé 2

S . . S S . T T S . b S S . T T
Djembé 3

T T . B S S B . S S . B S S B .
Djembé 4

S . S S . S T T S . S . S S T T
Djembé 5

B . T T . S . . . . T T . S . .
Kenkeni

O . . . . . O . O . . . . . O .
x . x x . x x . x . x x . x x .
Sangban

C . o O . O . o O . O . . C . .
x . x x . x x . x . x x . x x .
Dun Dun
. . O O . . . . . . O . . . . .
x . x x . x . x x . x . x x . x
Dun Dun variation

. . 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

Dun Dun starting the echauffement

. . O O . . . . . . O . O O . O
x . x x . x . x x . x . x x . x
Dun Dun echauffement

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

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 DJAGBE

Dun Dun ending the echauffement

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

Djembé solo accompaniment 1

. T T T . S S S . T T T . S S .
. l r l . l r l . l r l . l r .
Djembé solo accompaniment 2

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

for a really "Djagbe-sound" it's nice to pull the first two tones a little bit together in the
solo accompaniment 2.

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 DJAGBE

Solo 1 ; use these elements

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

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

C . S . S . S . S . S . S . S . S
. l . l . l . l . l . l . l . l

. S . S . S . T T T S S S . . .
. l . l . l . 2 r l r l r . . .

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

E . S . S . S . T T T S S S . . .
. f . f . f . 2 r l r l r . . .

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

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

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

H S S T . S S T . S S T . S S T .
r l f . r l f . r l f . r l f .

S . . . S . . . S . . . S . . .
f . . . f . . . f . . . f . . .

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

S . . . S . . . S . . . S . . .
f . . . f . . . f . . . f . . .

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

K . . . . B . . . B . T T S S . S
. . . . r . . . r . 2 r l r . l

L . . T T S S . S . . T T S S . S
. . 2 r l r . l . . 2 r l r . l

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 DJAGBE

M S . S S . S S . T T S S S . . .
r . r l . l r . 2 r l r l . . .
Starting the echauffement:
. . . . . . . . . T T S S S S S
. . . . . . . . . l r l r l r l
S T T S S S S S S T T S S S S S
r l r l r l r l r l r l r l r l
T S S S T S S S T S S S S . . .
r l r l r l r l r l r l r . . .
Look-a-like break for ending the echauffement (the rhythm continues)
S S . S . S . S S . S . S . . .
f r . r . r . l r . r . r . . .
Solo 2; use these elements
A S S S S S . . . T T . . S . . .
2 r l r l . . . r l . . r . . .
B T T . S S S S S S S . . . . . .
2 r . 2 r l r l r l . . . . . .
C . . . T T S S S . S T T S . S .
. . . l r l r l . l r l r . r .
D S S S S T T . . S S S S T T . .
2 r l r l r . . 2 r l r l r . .
(also look-a-like break)
E . . . T T . T T . T T S S S S S S
. . . l r . r l . l r l 2 r l r l

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 DJOLÉ

Djolé
Djolé (Jolé, Yolé), is a mask-dance from the Temine-people from Sierra Leone. In the tradition it
is played on square drums in different sizes; the sicco´s (or sico´s). The mask is presenting a
female although it is carried by a male during the dance. The song below from the Wassolon-CD
is made by Mamady Keita himself and is a putting together some different Malinke and Susu
sounds .

Laila i ko korobé, korobé, korobé, mami watoné, aya, sico leleleko aya

sico la i ko, sico la i ko, wa wango sico la i ko

call 4qt,tt4,ttt4,tt,4s,,,
djembe 1 4tttt4tt,t4t,s,4b,s,
djembe 2 4b,tt4b,ss4b,tt4b,ss
djembe 3 4t,,s4b,,t4t,s,4s,,t

djembe 4 4bt,t4b,s,4b,t,4b,s,

djembe 5 4t,ss4b,ss4ttss4b,ss

djembe 6 4ttt,4ssb,4ss,t4tttt

djembe 7 4s,ss4,stt4s,s,4sstt
djembe 8 4b,,t4t,,,4b,,,4tttt
kenkeni 4t,x,x,4t,x,x,4t,x,x,4t,x,x,
sangban 4x_t,x,,4xt,x,,4x_t,x,,4xt,x,,
doundounba 4xt,x,x,4,x,x,,4xt,xtx,4,x,x,,
combined 4xk,x,xk4,x,xS,4x,,xS,4xS,x,,
combined 4d,kk4S,kk4d,d,4S,KK

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 FANGA

Fanga

Fanga is rhythm, from Liberia that has been thought by Babatunde Olatunji, a West African
Percussion teacher who, with his lessons and personality, inspired many Djembe players in the
United States. The transcriptions are from various email exchanges throught the Djembe-L
mailinglist. The song he used to sing to accompanie the rhythm is in the Yoruba language.

Fanga Alafayia, ashé ashé (4x) Ashé, Ashé, ashé, ashé.

Asé, Asé, Asé, Asé
Ikabo A Lafiya Ashé Ashé (4x) Ashé, Ashé, ashé, ashé.
Asé, Asé, Asé, Asé
Eluga A Lafiya Ashé, Ashé, ashé, ashé.
Asé, Asé, Asé, Asé

call/break :4ss,s4s,tt4ss,,4,,,,; 3 times

4:ss,s4s,tt4bb,,4ss,,;

djembe 1 4b,bb4,btt4b,,b4b,tt

djembe 2 4t,,s47ss,4t,t,4ss,,

djembe 3 4,,ss4,,ss4,,ss4ttss

djembe 4 4b,,t4,tt,4b,b,4tt,,

djembe 5 4b,tt4b,,b4,btt4b,b,

djembe 6 4b,tt4,,b,4bttb4,,b,

djembe 7 4ss,,4ss,,4ss,,4ss,,

sangban 1 4xcx,,,4x_cx,,,4x_cx,_c,_4xcx,,,
OR
sangban 2 4xc,x,,4x_c,x,,_4xc,_xc,_4xc,x,,
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 GAHU

Gahu

call 4qt,tt4,t,t4t,ss4s,,,

djembe 1 4t,ss4t,s,

djembe 2 4tttt4,s,,4tttt4t,s,

djembe 3 4f,,,4f,,,4tt,t4t,,,

djembe 4 4,,ss4,,ss4,,ss4,,ss

Bell/krin 4t,,o4,,o,4,,o,4,,o,

shaker 4t,,t4o,t,4o,t,4o,t,

duns 4xSxS,xk4xk,xS,4xSxS,xk4xk,xS,

doundounba 4xbx,,x,4xb,xb,4xbx,,x,4xb,xb,

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 KAKILAM BE 4

Kakilambe 4

Djembe 1

T T . T T . B . T . T . B . B .

Djembe 2

B . T T S . T T B . T T S . T T

Djembe 3

B . . T T . S . B . T . T . S .

Kenkeni

. . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . .

Sangban

O . . . . . . . O . . . . . . .
X . X X . X X . X . X . X . X .

Doundounba

. . . . . . O . . . . . O . O .
X . X X . X X . X . X . X . X .

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 KAKILAM BE 3

Kakilambe 3

Kakilambé is a mask-dance of the Baga-people that live in the coastal area (Boke-region) of Guinee. Origianally it was
played on the Baga-drums that are simalar to the djembe.

"Kakilambé is a very important mask of the Baga people, that appears only once a year. The spirit of the Kakilambé is
revered as the protector against evil entities. He appears to make important declarations about the present and the
future. A priest of the Kakilambé is like a translator, since the mask doesn't talk directely to the people. It's a big day
when the mask appears. Everybody comes to listen. Slowly the mask emerges from thge forest, together with the
priests. The people have gathered and are waiting. When all of the people bow, the mask grows to a height of five
meters! It holds a string for each individual family of the village, and the other end is held by a member of each family.
When the rhythm gets fast, the priest and some of the older men dance around the mask. The priest receives the
information. Then he gives the musicians a sign, they play a break, and then the rhythm is played slower and softer.
Afterwards he passes on the information given to him by the mask."
(Uschi Billmeier: Mamady Keïta, A life for the djembe).

"These days Kakilambé, the terrifying god of the Baga, is nothing more than a memory causing a few shivers in the minds
of the elders. But for centuries he ruled the life of Bagatai; he was the lord of the waters, of rain, of wind and of fire.
Every seven years he came out of the sacred forest, his arrival announced by thunder and the calls of the fetish
priests, to appear to the terrified people and, speaking through the local soothsayer, addressed the assembled villagers.
First, he showed his anger against those who had behaved contrary to morality and virtue, by making himself small. The
people, lying prostrate on the ground to show their repentance, asked for his forgivenss and swore to obey him.

Kelyo! Kelyo! Kakilambé! Kelyo!" (Get up, Kakilambé, rise!)

Then Kakilambé, reassured that he was still lord of the children of the Bagatai, just as he had been of their fathers and
their fathers' fathers, and swelling with joy, grew big again, and predicted seven years of happiness and prosperity.
Then, accompanied by songs and dances of joy and gratitude, he disappeared for another seven years.
So, "for seven years the land will be prosperous and the women fertile" Kakilambé has said so. But, whether the land
would in fact be prosperous and the women fertile, depended on the primary power of the men, and of the SENGBE
(sacred drums). The man dances, showing his strength, his virility, his confidence and his determination to work with
respect for the customs of their people. And, as a start to the favours Kakilambé has promised his people, the goddess
of fertility suddenly appears: Nimba with the enormous breasts. The men shout with joy, the women and the girls soon
to be married bring offerings and sing:

"O Nimba ! The belly without child, is like a cinder in the desert wind,
like a leaf in a bush-fire.
O Nimba ! goddess of fertility, o Nimba ! you who make the sap rise in the dust
Here are my breasts, let them be the same as yours
Here is my belly, that the sap of the Baga may continue to rise"

And, in a vibrant frenzy, the men and the women of the Baga are united in complete communion, certain that they are
protected by the gods."

"The Baga are only a very small etnic group and there are no more than about 32.000 Baga living in Guinea. Frederick
Lamp, in his book, "The Art of the Baga"(1996), says that Kakilambé is called "a-Mantsho-`no-Pön" by the Baga and is
"the supreme male spirit of the Sitemu subgroup" (of the Baga). Dr.Lamp says that the word Kakilambé is actual a word
in the Susu-language meaning "Reaching as high as the copal tree".
There are dozens of songs to the Kakilambé-rhythm; this one is the welcoming song: Welcome to the Kakilambé-mask!

Mai'm bo, mai'm bo mama, mai'm bo Kakilambé kekumbe

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 KAKILAM BE 3

Call 1
T T T T T T T . T . .
Call 2
S S S S S . T T T T T . sS . . . . . . . . . . .
Kenkeni (DUNS-COMBINATION 1)
O O . C . . O O . C . . O O . C . . O O . C . .
x x . x x . x x . x x . x x . x x . x x . x x .
Sangban
C . . O O . C . . O O . C . . O O . C . . O O .
x x . x x . x x . x x . x x . x x . x x . x x .
Dun Dun
O . O . O . . . . . . O O . . . . . . . . . . O
x . x . x . x x . x . X x . x . x . x x . x . x
Kenkeni (DUNS-COMBINATION 2)
. . . O O . . . . O O . . . . O O . . . . O O .
x x . x x . x x . x x . x x . x x . x x . x x .
Sangban
O . O . O . O O . . . . O . O . O . O O . . . .
x . x . x . x 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 . x x . x . x
DUNS-COMBINATION 3
S . D . . . S S . D . D S . D . . . S S . . . D
x . x . x . x x . x . X x . x . x . x x . x . x
DUNS-COMBINATION 4
D . . . S . . S . S . D D . D . D . . S . S S .
x . x . x . x x . x . X x . x . x . x x . x x .
Djembé 1
B . . T S . B . . T S . B . . T S . B . . T S .
Djembé 2
B . . T S . B T T T S . B . . T S . B T T T S .
Djembé 3
B . T T S . B T . T S . B . T T S . B T . T S .
Djembé 4
B . S . S . B T . T S . B . S . S . B T . T S .
Djembé 5
B . . B S S B . . B S S B . . B S S B . . B S S
Djembé solo accompagnement (fingertips)
S S S S T T S S S S T T S S S S T T S S S S T T
Break 1
sS . . . sS . . tT . T T . sS . . . S . S S . S . B

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 KANIN

Kanin

Kanin is a Malinke-rhythm, that was made or adjusted by Mamady Keïta during the period that he was the
artistic leader of the National Ballet de Guinea. This song is in the Sousou language.

Bayira yo Konko baa yirayo Bayira yo Konko baa yirayo

Bayira yo Konko baa yirayo I fakhi nakhama ikhuna
Imamkha gbi lenra Bayira yo Konko baa

But not that, Konko (name of a boy), but not that;

Pick up that thing that you brought me and get out of here with it!

call 4qt,tt4,tt,4t,ss4s,,,

djembe 1 4ss,b4t,t,
djembe 2 4t,tt4,,f,4t,tt4,,f,
4f,tt4,,s,4f,tt4,,f,

kenkeni 4xccx,,4xccx,,4xccx,,4xccx,,
sangban 4x,,xcxc4,x,x_c,4x,,xcxc4,x,x_c,
doundounba 4xbx,,xb4xb,xb,4xbx,,x,4x,,x,,
4x,,x,x,4,x,x,,4x,,x,x,4,x,xb,

solo 1 4s,,s4s,s,4s,,,4,,s,
solo 2 4m,tt4,,m,4m,tt4,,,,
solo 3 4qt,tt4,,f,4f,ss4,,s,
4b,tt4,,s,4b,tt4,,qT,

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 KASSA

Kassa

call 4 ,tt4,t,t4t,ss4s,,
qt
,

djembe 1 4ttss4,,ss4ttss4b,sb

djembe 2 4s,bs4s,tt4s,bs4s,tt

djembe 3 4t,ss4,bss4b,ss4bbss

djembe 4 4b,bs4,s,b4b,b,4tt,b

djembe 5 4s,bs4,bs,4b,tt4t,,,

djembe 6 4tts,4,s,s4tts,4,sts

combined 4xk,x,xS4,x,xk,4xk,xd,4xd,xd,

kenkeni 4xcxc,x_c4,x,x_c,4xcxc,x_c4,x,x_c,

sangban :4x_c,x,xc4,x,x_c,4x_c,x,xc4,x,x_c,

doundounba 4xc,xcxc4,x,x,,4x,,xcxc4,xcxc,
OR

doundounba 4xc,xcxc4,x,x,,4x,,xc,4xc,xc,

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 KASSA

Kassa (Cassa) is a harvest-dance of the Malinke-people in East Guinea. The word means granary. During
harvest-time the farmers go to the fields, that are sometimes far away from the village. A camp is made for as
long as neaded. Some woman come to prepare the meals (and to sing). During the day the drummers
play Kassa to support the workers in the field. When the harvest is completed there is a big party in the
village, called Kassalodon. Another custom (according Famoudou Konaté) that is connected with this work is
that a girl (the prettiest in the village) hangs her shawl on a stick at the end of the field. The worker who
reached this shawl the first (while working) spends the night with the girl. This meeting is not supposed to
have a sexual character, for if the girl would get pregnant, the man would be beaten in public.

Illawuli woo konko daba, kondon tilu barama

Illawuli woo konko daba, Kolankoma sènekèlalu barama
Wake up farmer, the meal has arrived, wake up farmer, the meal is here

E yahé, e koutountama hé, e yahé, e mandinkono e (2x)

I ni war lé no kor solor, I ni war lé nama se néné mépélo
The men of Hamana, the birds of Mandin
My brother, I call you to work on the field
It is my proffession; it's the best work!

Sangban echauffement

C . . O . . O . . O . . O . . .
x . x x . x x . x x . x x . x .
Dundun echauffement

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

Djembe solo 1; phrases A,B,C and D.

A sS . T T . sS . T T . sS . T T . .
B S . . S . . S . . . T T B . . .
S . . S . . S . T T T T B . . .
C B T T B T T B T T B T T B . B .
B . . . S . . . S S S . B . . .
D sS . T T . sS . T T . sS . T T . .
sS . T T . sS . T T . . . . . . .

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 KASSA

Djembe solo 2; phrases A, B, C, D, E and F.

A B . . . S . B . B . S S S . . .
B S T T . . T T B S T T . . T T B
C S . . T T T . B S . . . . . T T
D S . T T S . . B B . . B B . T T
E S . T T S . . . T T S S S . S .
r . r l r . . . 2 2 2 2 2 . f .
sS . sS . T T S S S . sS . sS . sS .
f . f . 2 2 2 2 2 . f . f . f .
F S S T S T T S B S . S . S S . .
r l r l r l r l r . r . r l . .
Ending the solo :

S S T S T T S B S . S . sS . . .
Djembe solo 3; phrases A, B, C, D and E.

A S S S S T T S S S . . . . . . B
B S S . B S . S . . S . B S . T T
C T S . S . S . S T T S . S . . .
. . . . . . . . . . . . . . . T
D T S . S . S . S T T S . S . S T
T . T T . T T . T T . T T . . T
E T T . B T T . B S S . B S S . B

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 KASSA

Djembe solo 4; phrases A, to G.

A T T S S . . S S T T S S B . S S
B tT . T T . S T T S . S . S . . S
TT T S S . S S . . . . . . . . .
C S . S S . S T T S . S S . S T T
D TT T T S TT T T S TT T T S T S . .
E . S S S . S S S . S S S . S S S
. S S S . S S S T . T . T T . .
F . TT T S . TT T S . TT T S . S . S
G B S T T S S . S T T S S . S T T
S S . S . S . . . . . . . . . .

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 KONGO PAYET

Kongo Payet

Haiti

call 4qt,tt4,t,t4t,ss4s,,,

djembe 1 4b,tt4s,tt4b,tt4s,tt

djembe 2 4b,,,4bx,,x,4b,x,,4b,,x,

djembe 3 4b,t,4ss,s4,ss,4tt,s
4b,t,4ss,s4tts,4s,,s

doundounba 4c,t,4_t,,,4t,t,4_t,,,
4tttt4tt,,4t,t,4_t,,,

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 KPANLOGO

Kpanlogo

call/break 4b,ss4s,,,4b,ss4s,,,
4b,ss4s,ss4s,b,4b,,,

djembe 1 4t,t,4b,,,4tttt4b,,,

djembe 2 4b,,,4,,tt4b,,,4,,tt
4b,bb4b,tt4b,,,4,,tt

djembe 3 4tttt4b,,,4t,tt4b,,,

djembe 4 4b,tt4s,tt4b,tt4s,,,

kenkeni :4xccx,;

sangban :4,,,,;

doundounba :4,,,,;

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Break 1

B . S S S . . . B . S S S . . .
B . S S S . S S S . B . B . . .

Djembe 1
T . T . B . . . T T T T B . . .

Djembe 2

B . . . . . T T B . . . . . T T
B . B B B . T T B . . . . . T T

Djembe 3

T T T T B . . . T . T T B . . .

Djembe 4

B . T T S . T T B . T T S . . .

Kenkeni

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

High Sangban

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

Low Sangban

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

Doundounba

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

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 KUKU

Kuku

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 M’BALAX

M’Balax

Type/Paste rhythm notes here

call 4qt,tt4,t,t4t,ss4s,,,

djembe 1 :3btt3bss3btt3bss;

djembe 2 :3,,,;

djembe 3 :3,,,;

kenkeni :3,,,;

sangban :3,,,;

doundounba :3,,,;

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 M ACRU

Macru

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 MENI

Meni

Menie is a Malinke rhythm from Guinea that used to be played on the occasion
of the birth of a child, or more specific: on the day that a name is given to the child
(about one week after it´s been born). There is a song with this rhythm that tells about four masks.
Probably this is why Meni is also known as a a Mask-dance.

(solo) Kamafie cerimbembe kamafie kamafie,

(choir) Kamafie-e-a cerimbembe kamafie kamafie, a ya yalamba cerimbembe-a
sama dundun kamafie (3x)
(solo) a ye ke te, yenkeni sa-a samonie kindu
(choir) samonie kindu samonie kindu e ya yenkeni yenkeni sa-a-e
(solo) a ye ke te, yenkeni, yenkeni sa-a baoulen kinyama
(choir) baoulen kinyama-a-e baoulen kinyama baoulen kinyama e
baoulen kinyama e, yankady-e torrys (3x)
(solo) ana dory yamba
(choir) da da dory yamba-a-e

call 4qt,,,4qt,tt4,t,t4t,t,
4qt,,,4qt,,,4,,ss4ss,,

djembe 1 4b,t,4b,,,4bttt4b,,,

djembe 2 4,,,,4,,t,4b,,,4bt,t
4bsss4b,t,4b,,,4bt,t

4b,,,4b,t,4b,,,4bt,t
4bsss4b,t,4b,,,4bt,t

kenkeni 4x,,xbxb4,xbxb,
doundounba 4xbx,,xb4xb,xb,4xb,xk,4xb,xS,

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 MORIBAYASSA

Moribayassa

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 NURU

Nuru

Raedwald rhythm

call 4qt,tt4,t,t4t,ss4s,,,

djembe 1 3b,s3s,b3b,s3stt

djembe 2 3s,t3s,,3s,b3ts,

djembe 3 3sss3s,,3,,s3ss,
3sss3s,,3,,s3,s,

djembe 4 3b,s3,s,3b,s3ss,

kenkeni 3,,,3,,,3,,,3,,,

sangban 3,,,3,,,3,,,3,,,

doundounba 3xb,x,3x,,x,3x,,xb3xb,x,

log drum 3c,o3,oo3c,o3oo,

bell 3c,o3oo,3c,o3,oo

shaker 3ss,3s,s3ss,3s,s
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 NURU

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 RAEDW ALD

Raedwald

djembe 1 4b,bb4bbtt4b,t,4s,tt
4b,bb4bbtt4b,,,4,,,,

djembe 2 4s,ss4,ss,4ss,s4tttt

djembe 3 4ttss4ttss4ttss4,,,,
4ttss4ttss4b,,,4,,,,

djembe 4 4tttt4,s,,4tttt4,s,,
4tttt4,s,,4,s,s4,s,,

djembe 5 3btt3btt3btt
3btt3btt3btt
3btt3btt3b,,

kenkeni :4,,,,;

sangban :4,,,,;

doundounba :4,,,,;

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 RAEDW ALD

Raedwald

Djembe 1
B . B B B B T T B . T . S . T T
B . B B B B T T B . . . . . . .

Djembe 2
S . S S . S S . S S . S T T T T

Djembe 3
T T S S T T S S T T S S . . . .
T T S S T T S S B . . . . . . .

Djembe 4
T T T T . S . . T T T T . S . .
T T T T . S . . . S . S . S . .

Kenkeni
O O . . . O . . O O . . . O . .
X X . X . X X . X X . X . X X .

Sangban
C . . . . O O . C . . . . O O .
X . X X . X X . X . X X . X X .

Doundounba
O . . O O . . . O . . O O . . .
X . X . X . X . X . X . X . X .

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 SHIKO

Shiko

Shiko is a 4/4 rhythm from Nigeria

call (x4) :4t,t,4b,b,4t,t,4bb,,;

djembe 1 4t,t,4b,b,4t,t,4bb,,

djembe 2 4b,,,4b,t,4b,,,4b,t,

djembe 3 4b,ss4b,ss4b,ss4tt,,

djembe 4 4t,tt4,tt,4s,ss4,ss,

bell 4c,,c4,,c,4,,c,4c,,,

bell 4c,cc4,cc,4c,cc4,cc,

bells 4ccoo4ccoo4ccoo4ccoo

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 SOFA

Sofa

Call
tT . T T . T . T T . T . T . . .

Kenkeni - Interpretation by Mamady Keïta

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

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

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

Djembé 1

T T S S . . S . T T . S B . S .
Djembé 2

B . . S . . T . B . T S T T S .
Djembé 3

B . . S . . S T T . T S T T S .
Djembé 4

S . S S T T . B S . . S

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 SOKO

Soko

Kenkeni

. . . O O . . . . O O . . . . O O . . . . O O .
X X . X X . X X . X X . X X . X X . X X . X X .

Sangban

C C O O O O C C C O O
X X . X X . X X . X X . X X . X X . X X . X X .

Dundun

O O O O O O O O O O
X . X X . X X . X X . X X . X X . X X . X X . X

Djembé 1

S . T S . . S . T S . . S . T S . . S . T S . .

Djembé 2

S . S S T T S . S S T T S . S S T T S . S S T T

Djembé 3

S T T S . S S T T S . S S T T S . S S T T S . S

Solo Accompaniment 1

B T T . S . B S . B S . B T T . S . B S . B S .

Solo Accompaniment 2

S S S . T T S S S B T T S S S . T T S S S B T T

Solo Accompaniment 3

S . S . S . . S . . S . S . S . S . . S . . S .

Solo Accompaniment 4

B S S . S S . S . T T . B S S . S S . S . T T .

Solo Accompaniment 5
. T T . S S . T T . S S . T T . S S . T T . S S

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 SOUNOU

Sounou
Sounou (Sunu, Sunun) is a rhythm from the Kassouke-people from the Kayes-region in Mali.
"It is played as competition-dance-rhythm for young men" (Mamady Keïta).
"It 's a popular rhythm dating from the pre colonial era. In that period once lived a pretty girl called Sounou Mamady in the
village Sagabari. She was know for her dancing qualities and participated on any dancefestival that was organized. The
rhythm is made by the Djembéfola from her village honoring this girl Sounou Mamady. The dance is presented after a good
harvest. The girls can practise their grace, beauty and sometimes seduction. For the young men (especially Kaarta) a
opportunity to show their strenght and vitality while making all sorts of acrobatic jumps" (Serge Blanc).
Now Sounou is a rhythm often played all over West Africa. No wonder there are many interpretations and variations. Some
people speak of the "Guinea-Sounou"and the "Mali-Sounou". The difference could involve the placing of a bass-drum-hit
on the 7th (Guinea) or 8th (Mali) pulse.
Although patterns for the duns can be found for different bassdrums, the melody of these bassdrums together characterize
the Sounou melody . In Mali usually only two drums are in used, so the Kenkeni is often added (by the Malinke, who in
some areas play with three drums) and in different patterns possible to play.

Call (not standard)

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

Source 1: Ushi Billmeyer: "Mamady Keïta, A life for the Djembé"

Kenkeni

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

Sangban

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

Dundun

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

Djembé 1

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

Djembé 2

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

Source 2: Jaco Benders / Martin Bernhard during Fankani workshops in '95

(for a group of starting dundun players)
Kenkeni 1 (high)

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

Kenkeni 2 (low)

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

Sangban

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 SOUNOU

. . . . . . O . . . 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

Source 3: Serge Blanc in the "Le Tambour Djembé"

Kenkeni

. . . . O . O . . . . . O . O .

Sangban / Dundun combination

S . . . . . . . O . . O . O . . .
D O . o O . . . . . . . . . . . O
x . x x . x . x. . x. x . x x . x

Djembé 1

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

Djembé 2

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

Source 4: Mamadou Konte on CD "Drums of Mali"

Sangban

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

Source 5: Personal Analysis of CD "Bamakofoli" from Rainer Polak

S O . . . . . . O . . C . C . . O
D . O . O . O . . . . . . . . . .
x x . x . x . x . x x . x x . x

Source 6: Age Delbance in "Traditional West Africa Rhythms" (from Fred

Simpson)
Kenkeni

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

Sangban

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

Dun Dun (bels a little adjusted)

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

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 SOUNOU

x . x x . x . x x . x . x . x .

Djembé 1

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

Djembé 2

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

Source 7: Michael Wall in internet discussion through Dlembe-l mailinglist

High Dun

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

Low Dun

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

Source 8: Michael Wall's analysis of the CD "Donkili, Festival Music Mali (no bells!)
Sangban

O . . . O . . . O . . O . . . O

Dundun

O . O O . O . O O . C . C . . O

Source 9: Stephan Rigert: "Djembe Rhythmen aus Mali"

Kenkeni

O . . . O . . . O . . O . . . O

Sangban

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

Doundoun

. . . O . O . O . . . . . . . .

Sangban variation 1

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

Sangban variation 2

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 SOUNOU

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

Sangban variation 3

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

Some more found Djembé patterns:

Djembé 1

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

Djembé 2

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

Break 1

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

3x

B . B B . T T T S . . S S T . B
r r l . 2 r l r . . l r l . l
B . B B . T T T S . . . B S S S
r r l . 2 r l r . . . l 2 r l
S S S . T T S T T S . . S T T S
r l r . r l r l r l . . r l r f
. S . S . S . S S . . S T T S .
. f . f . f . f f . . r l r f .
T T S T T S T T S . T S T T S .
r l r l r l r l r . r l r l r .

Djembé solo 1; use frases A - D

A . . . . . . . . . . . B S S S S
. . . . . . . . . . . l 2 r l r
S S . T T S T T S . T S T T S B
l r . l r l r l r . r l r l r l
B . S S . . . . S . T . S . . B
r . r l . . . . d . r . d . . l
B . S S . . T T S . T S T T S B
r . r l . . r l r . r l r l r l

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 SOUNOU

B B . S S . . S S T T S . S . . B
r . r l . . r l 2 r l . r . . l
C T S S S S S S S S S S S S S S T
r l r l r l r l r l r l r l r l
D T T S T T S T T S . T S T T S . S
r l r l r l r l r . r l r l r . f

Break (with Duns)

T . T T . T . T T . T . T . . .
f . r l . l . l r . r . r . . .
D . . . . . . . . . . . . . . . O

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 TIMITINGOO

Timitingoo

djembe 1 4t,st4tts,4t,st4tts,

djembe 2 4b,b,4tts,4b,tt4s,tt

djembe 3 4b,b,4tts,4b,tt4s,tt

djembe 3 4bbtt4bbtt4b,ss4,,,,
djembe 4 4ssss4ss,s4b,f,4b,f,

log drum 4ttt,4oo,,4t,oo4,,,,

doundounba 4xtx,,_xt4x,,x,,x4tx,,x_tx4,,x,,

sangban 4xt,x,xt4,xtx,,4xt,x,xt4,xtx,,

kenkeni 4xtxt,,4xtxt,,4x,x,,xt4,xt,,

Break (all) 4qt,,qt4,,,,4,,,,4s,,,

q4t,,qt4,,,,4,,,,4s,,,
4qt,,qt4,,,,4qt,,qt4,,,,
4qt,tt4,t,t4t,tt4t,,,

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 TIRIBA

Tiriba

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 WOLIWOLOO

Woliwoloo

djembe 1 4s,s,4,s,s4s,s,4tttt

djembe 2 4b,st4s,bt4b,st4s,bt

duns 4dd,S4,dd,4dd,S4S,,,

bell 4c,c,4oo,,4,,c,4c,oo

log drum 4cc,o4o,o,4cc,o4o,,,

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 YANKADI 4

Yankadi 4

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 YANKADI 3

Yankadi 3
A Sousou dance of seduction. It is danced during village-festivals, marriages, etc. Yankadi is a slow dance whit boys and
girls starting the dance in rows, facing each other. (According to Michael Wall: "In the dance 4 couples at a time dance with
each other (and briefly with other partners) and the essential elements are eye contact, flirtatious movements and
touching your hand to your partner's heart.") After a break or a whistle the dance can transform into the Macru-dance,
which is fast a where the couples dance individually. The dance alternates between the slow Yankadi and the
fast Macru. There is a ternary and a binary-version of Yankadi. The word means : "Here things are fine!"

Aaaaay woyahllah, woyallah, wonawally-oh

muxu wuhai guma, groupo de mai wufawn ma ma, wonawally-oh

or (same song in another language?)

ee waia-la,waia la, wonowalio
moe oe che chumba, Kankan nje fonié wofa mama, wonowalio
This is a song of welcome and celebration

Tela fa n´ma dugui donkhè ra tela

E tela yanfa dununyama mayo tela awa yire
Tela dugui donke donfe mufan tela
E tela yanfa dununyama mayo tela awa yire

Tailor, give me back the rest of my cloth,

It´s not right for you to use the rest of other peoples´s cloth!

Call 1

T . T S . T T . S T . T S . . S . b S S S S . .
Call 2

tT . . T . T . . T . . T T . . S . S S . . . . .

Djembé 1

B . . S . S B . T T . . B . . S . . B . T T . .
Djembé 2

B . . . . B B . T T . B B . . . . B B . T T . B
Djembé 3

S . S T . T S . S . . B S . S T . T S . S . . B

Kenkeni

. . . . . . O . O . . . . . . O . . O . . . . .
x . x x . x x . x x . x x . x x . x x . x x . x
Sangban

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

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

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 YANKADI 3

Combination Duns 1

K . . . . . . O . O . . . . . . . . . O . O . . .
S . . . O . O . . . . . . . . . O . . . . . . . .
D O . . . . . . . . . . O O . . . . . . . . . . O
x . x x . x x . x x . x x . x x . x x . x x . x
Combination Duns 2

K . . . O . O . . . . . . . . . O . . O . . . . .
S . . . . . . . . O O . . . . . . . . . . O O . .
D O . . . . . . . . . . O O . . . . . . . . . . O
x . x x . x x . x x . x x . x x . x x . x x . x

Djembé solo accompaniment 1

S . B T . T . . . . . . tT . . tT . . S . S . . B
Djembé solo 1: phrase 1 (you can alternate these phrases with solo acc. 2)

S . T . S . T . S . T . S . T . S . T . S . . T
phrase 2

T . S . T . S . T . S . T S S S S S S S S S . T
phrase 3

T T T . S S S . T . T T S S S S S S S S S S . T
phrase 4

T T T . S S S . T T T . S S S . T T T . S S . T

Djembé solo accompaniment 2

T . T . . S B . T T . . B . . S . . B . T T . .
Djembé solo 2: phrase 1

S . S T . S T . T T . T T . . S . . T T T S . S
phrase 2

S . . T . . S . . . . S S . S T . T T . S . . .
phrase 3

S . . T . . S . . . . S S . S . T T T . S . . B
phrase 4

S . S T . S S . S . . B S . S T T T T T T S . .

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 MY RHYTHMS

My rhythms

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 BUGAYAA

Bugayaa

djembe 1 :4bbbb4tttt4bs,,4s,,,;

djembe 2 :4,s,s4s,tt4bs,s4s,t,;

djembe 3 :4_s,,,4_s,,,4ttt,4sss,;

dun duns :4ddd,4S,S,4d,d,4kkk,;

bells :4,o,o4,cc,4,oo,4c,c,;

shaker :4,s,s4s,s,4,s,s4s,s,;

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 HETSI

Hetsi

djembe 1 4ttt,4ttt,4t,,,4f,,,
4t,tt4t,tt4t,,,4f,,,

djembe 2 4bt,t4b,t,4f,,,4,,,,

djembe 3 4b,,,4f,,,4b,tt4t,,,
4b,tt4t,b,4t,b,4ttt,

djembe 4 4,s,s4s,s,4,s,s4s,xs,
4,s,s4s,s,4bs,s4b,,,

bells 4c,,c4,,o,4,c,,4c,o,

sangban 1 4x_t,,x,4xt,xt,4x_t,,x,4xt,xt,

sangban 2 4xc,,xc4x,,x_c,4x,c,x,4xc,x_C,

doundounba 4xtxt,x,4x,,,,4xtxt,x,4x,,,,
4xtxt,x,4x,,,,4xt,xt,4xt,x,,

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 LUULOO

Luuloo

djembe 1 :5bs,bs5,b,s,;

djembe 2 :5tttts5s,ss,;

djembe 3 :5ss,ss5,tttt;

djembe 4 :5s,bs,5,s,,t;

doundounba :5xt,,x,xt5,xtx,,,;

hand clap :5,s,ss5,s,s,;

bells :5c,c,c5,,o,o;

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 NANZULA

Nanzula

djembe 1 :4ttss4,,ss4ttss4,,ss
4ttss4,,ss4bs,s4b,,,;

djembe 2 :4tttt4b,b,4tttt4b,b,
4tttt4b,b,4bs,s4b,,,;

djembe 3 :4,,ss4,ss,4,,ss4,ss,
4,,ss4,ss,4bs,s4b,,,;

dun duns :4dk,k4S,S,4dk,k4S,S,

4dk,k4S,S,4dk,k4_D,kk;

bell :4*s,ss4sss,4*s,ss4s,ss;

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 NHA TERRA

Nha Terra

djembe 1 :3b,,3t,t3b,,3,,,
3b,,3t,t3b,t3,t,;
djembe 2 :3b,,3s,s3b,s3,s,
3b,s3,s,3b,,3s,s;

djembe 3 :3,tt3tt,;

bells :3,o,3oo,3,o,3oo,
3,o,3oo,3c,o3,o,;

dun duns :3d,,3k,S3,,d3k,S

3d,,3k,S3,,d3k,S;

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 OTHER RHYTHMS

Other Rhythms

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 OTERAI

Oterai

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 RHYTHM NAM E

RhythmName

Type/Paste rhythm notes here

call 4qt,tt4,t,t4t,ss4s,,,

djembe 1 :4,,,,;

djembe 2 :4,,,,;

djembe 3 :4,,,,;

djembe 4 :4,,,,;

kenkeni :4,,,,;

sangban :4,,,,;

doundounba :4,,,,;

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 Performances

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 RENDLESHAM STREET FAI R 2012

Rendlesham Street Fair 2012

Sofa (me to start)

S S K S S K
X X . X X . X . X . X . X . X .

Jabber Jabber Djembe - Kpanlogo

Jabber-Jabber Djembe
D . . . D . . . S . S . K K K .

Kpanlogo
D . K K S . K K D . D . S . K K

Djole
K K S S S
X . X X . X X . X . X . X . X .

M’Balax
K . . S . . K . . . S S

Raedwald

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 RENDLESHAM JUNE 8TH 2013

Rendlesham June 8th 2013

Timitingoo

Island in the Sun

Kanin

doundounba 4xbx,,xb4xb,xb,4xbx,,x,4x,,xb,
Yankadi / Macru

doundounba 4xbx,x,xb4xbx,x,xb4xbx,x,xb4xbx,x,xb

doundounba 4xbxb,xb4xb,x,,4xb,xb,4xb,x,,
Senegal Sabar

doundounba 3xb,x,3,x,,3xb,x,3,x,,
3xb,x,3,x,,3xb,xb3bxb,
kenkeni 3x,,xt3tx,,3x,,xt3tx,,
Shiko

djembe 1 4t,t,4b,b,4t,t,4bb,,
djembe 2 4b,,,4b,t,4b,,,4b,t,
djembe 3 4b,ss4b,ss4b,ss4tt,,
djembe 4 4t,tt4,tt,4s,ss4,ss,
bell 4c,,c4,,c,4,,c,4c,,,
bell 4c,cc4,cc,4c,cc4,cc,
bells 4ccoo4ccoo4ccoo4ccoo

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