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Dunumbè

Dunumbè

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Published by: api-19803089 on Nov 29, 2009
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03/18/2014

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Dunumb\u00e8

Dumumb\u00e8 origines from Hamana, Siguiri and Kankan. The Dunumb\u00e8 is called the "Mother of all dunumba-rhythms" (about 20): the dance of the strong men. 31- 10-1999

Call
S S T S S S. . . . . . . . . . . . . . . . . .
r l r l r l. . . . . . . . . . . . . . . . . .
K
. . . . . . . .O . OO . . O . OO . . O . OO
S
. . . . . . . . . . . .C . . . . . . .O . . .
D
. . . . . . . . . . . . . . . . . . .OO . OO

Kenkeni : The kenkeni-drum-pattern is typical for the Dunumba-family, and always the same. Here are four possible bell patterns. Beginners use 1 and 2. In a full orchestra the third bell-pattern is appropriate. Bell no 4 is traditionally also played (but very hard to play for longer time).

. . O . OO . . O . OO . . O . OO . . O . OO
1
x. .x. .x. .x. .x. .x. .x. .x. .
2
x . x . x . x . x . x . x . x . x . x . x . x .
3
. xx . xx . xx . xx . xx . xx . xx . xx
4
x x x x x x x x x x x x x x x x x x x x x x x x
Sangban / Dun Dun
C. . . . . . . O. . . C. . . . . . . O. . .
x . x x . x . x x . x . x . x x . x . x x . x.
. . . . . . .OO. OO . . . .OO . OO . OO
. x x . x x . x x . x x . x x . x x . x x . x x
C. . . . . . . O. . o .O.O.O. .O. . .
x . x x . x . x x . x x . x . x . x . x x . x.
. . . . . . .OO . OO . O . O . O . OO . OO
. x x . x x . x x . x x . x x . x x . x x . x x
C. . . . . . . O. . . C. . . . . . . O. . .
x . x x . x . x x . x . x . x x . x . x x . x.
. . . . . . .OO. OO . . . . . . .OO . OO
. xx . xx . xx . xx . xx . xx . xx . xx
Echauffement ; the Sangban starts always the echauffement
C. . . . . . . O. . . C. . . . . . . O. . .
x . x x . x . x x . x . x . x x . x . x x . x.
. . . . . . .OO. OO . . . . . . .OO . OO
. xx . xx . xx . xx . xx . xx . xx . xx
. . OO. . . . OO. . . . OO. . . . OO . .
x . xx . xx . xx . xx . xx . xx . xx . x
. . . . . . .OO . OO . OO . OO . OO . OO
. xx . xx . xx . xx . xx . xx . xx . xx
. . OO. . . . OO. . . . OO. . . . OO . .
x . xx . xx . xx . xx . xx . xx . xx . x
. . . . . . .OO. OO . . . . . . .OO . OO
. xx . xx . xx . xx . xx . xx . xx . xx
Ending the echauffement : the sangban announces it with a single hit.

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

C. . . . . . . O. . . C. . . . . . . O. . .
x . x x . x . x x . x . x . x x . x . x x . x.
. . . . . . .OO. OO . . . . . . .OO . OO
. xx . xx . xx . xx . xx . xx . xx . xx
Djemb\u00e9 1
S . TS . . S . TS . . S . TS . . S . TS . .
r . r l . . r . r l . . r . r l . . r . r l . .
Djemb\u00e9 2
S . . STTS . . STTS . . STTS . . STT
r . . l r l r . . l r l r . . l r l r . . l r l
Djemb\u00e9 3
. . S . TS . . S . TS . . S . TS . . S . TS
. . r . r l . . r . r l . . r . r l . . r . r l
Djemb\u00e9 solo accompagnement
S S S ST T S S S ST T S S S ST T S S S ST T
r l r l r l r l r l r l r l r l r l r l r l r l
Djemb\u00e9 : an example of returning to normal rhythm after a solo
SSSS. TTTT. S . . . . . . . . . . . . .
2 r l r . 2 r l r . f. . . . . . . . . . . . .
Djemb\u00e9 solo 1 ; use these elements
TTSS . . TTSS . . T. . . . . . . . . . .
2 r l r . . 2 r l r . . r. . . . . . . . . . .
TTSS . . TTSS . . TTSS . . TTSS . .
2 r l r . . 2 r l r . . 2 r l r . . 2 r l r . .
STTSTTSTTSS . . T. . . . . . . . . . .
l 2 r l 2 r l 2 r l r . . r . . . . . . . . . . .

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