Basic Scores

Batá music is complex and ideally should be learned under the guidance and
tutelage of a master drummer. The rise of the Internet and the increased interest in
Afro-Cuban and African music have given many people much easier access to
information on these topics. Many of these sources, provide valuable study
resources, and can help you establish a good working knowledge of batá. However
batá is really still an oral tradition.

There are certain aspects of the music that can only be taught through study with
an expert. If you would like to grasp bata music in its entirety, including all the
traditional and cultural aspects that accompany it, you are strongly urged to seek
the talents of such an expert to make the learning experience truly fulfilling. In the
interim, we will endeavor to provide you with at least a basic introduction to this
beautiful form of musical expression.

Traditional batá music is played in a religions function called a bembá, in honor

and in worship of Yoruba deities called Orisha. Although there are many différent
ways to perform a bembe, the most formal always involve the use of sacred bata
drums played by drummers who have been initiated for such roles. When played
with bata drums, a bembe is usually broken down into three parts:

* Oru Seco : the first part of a bembé and a series of bata salutes called toques
played for each of the Orisha. The term seco actually means "dry" in Spanish and,
in this case, refers to the absence of singing.

* Oru Cantando : the second part of a bembe consisting of a series of songs sung
for each of the Orisha. The songs are accompanied by batá drums, and may
employ many of the same toques used during the Oru Seco portion. (Or entirely
new toques may be played.)

* Wemillere : the last part of a bembe, the wemillere expands on the music played
in the prior sections and includes dancing and singing, in hopes that the Orisha will
come down and "visit" the participants.

When learning batá music, the first step is to master the salutes played in the Oru
Seco.
Introduction
The three batá drums and their role in an ensemble:

Okonkolo : 
the smallest batá drum, the okonkolo produces the highest pitched tones and is
typically used to play a standard set of rhythms in support of the Iyá and Itotele.
The Okonkolo is considered the metronome and time-keeper of the batá ensemble,
hence there is little improvisation (floreos) carried out on this batá drum, especially
during the Oru Seco. However the level of improvisation depends on the batá
rhythm and the context in which it is played. Some rhythms actually require the
okonkolo player to be able to improvise more freely to really swing the music.

Itotele : 
the middle batá drums, the Itotele produces the medium pitched tones and is also
used to play a standard set of rhythms in support of the Iyá. As with the Okonkolo,
these rhythms are fairly universel with little variation from one form of batá to
another. The itotele, is expected to answer " and " converse with " the Iyá. 
This usually allows the player a little more improvisational freedom then with the
okonkolo. But again, this depends on the rhythm and the context in which it is
being played. Itotele rhythms are fairly stock and improvisation-free during the Oru
Seco.

Iyá : 
the largest of the batá drums, the Iyá produces the lowest pitched tones. The iyá
also has stock phrases found universally and played by all Iya players. These
should be leamed and mastered first. Once you have a good working knowledge of
the iya, you may notice iya players incorporating many variations in their parts,
even in the most basic of rhythms. Most of these variations will occur on the cha-
cha side of the Iyá and will require a well-trained ear to distinguish. The iyá " calls
out " the changes and conversations for the entire batá ensemble, and usually has
the most improvisational freedom of all the batá drums. Most but not all of this
improvisational skill lies in the placement of strokes on the larger of the two
drumheads, the cha-chá…
 Basic Technique
 

There are many types of double-headed drums found all over the world, but the
batá drum and its music are unique to the Yoruba people of West Africa, and their
descendants in Cuba. Bata drums are used in sacred worship of Yoruba deities
called Orisha. And although the Cuban form of Orisha worship has evolved
separately over the years, it still retains the very old and traditional concepts and
rhythms associated with this music.

In fact, due to Cuba's isolation, there are instances where the Cuban interpretation
of some Orisha music is closer to its original African form from hundreds of years
ago than the current-day African counter-part. In Cuba today, there are two general
styles of bata drumming - Havana style, and Matanzas style.

The bata can be played in either a standing or sitting position, depending on the
occasion. In either case, the drum is placed sideways across your body,
perpendicular to it. If you are sitting, the batá drum is placed in your lap. If you are
standing, it is held in place with a neck strap. The drum is played by striking the two
heads as you would with any standard hand drum.

In essence, the batá is two different sized drums or chambers joined together with a
shared or common center space. Therefore, it has two heads - one on each end of
the body. The smaller of the two heads is called the cha-cha (not to be confused
with the son style of music known as Cha-cha-cha), and the larger is called the enú,
which means " mouth " in the Yoruba language. The Enú is the side you are
considered to " speak " from. If you are right handed, play the enú with your right
hand. If you are left handed, play it with your left hand.
 Arara
 

GENERAL INFO
Toque Arara. Carlos Aldama.

SHEET MUSIC
(for key notation  click here)

 
 Chachalokpafun
 

GENERAL INFO
The most common "toque" bata, a rumbita for a couple of different orishas to dance and party.

SHEET MUSIC
(for key notation  click here)
 Dada
 

SHEET MUSIC
(for key notation  click here)
 
 Eshu
 

GENERAL INFO
This is a toque for Elegua. Eshu is the second name of Elegua.

LISTENING LIST
Grupo Oba-Ilu. "Santeria, song for the Orishas" - Soul Jazz Records
Pancho Quinto. "En el solar la cueva del Humo"
John Santos and the coro folklorico Kindembo. "Hacia del amor" - Xenophile

SHEET MUSIC
(for key notation  click here)
 Lallubanche
 

GENERAL INFO
This rhythm is only for Elegua, the orisha of the crossroads and the destiny. The toque include variations
played by the Iya but no conversations. 

SHEET MUSIC
(for key notation  click here)

 
 
 Ñongo
 

GENERAL INFO
This "toque" is one of the five most common toques in their basic form.
It's relatively simple and it is used as dance rhythms for a couple of different orishas (see glossary). In this
fonction it is called rumbita.

SHEET MUSIC
(for key notation  click here)
 Rumba Iyesa
 

GENERAL INFO
This "toque" is one of the five most common toques in their basic form.
It's relatively simple and it is used as dance rhythms for a couple of different orishas. In this fonction it is
called rumbita.

SHEET MUSIC
(for key notation  click here)
 Rumba Obatala
 

GENERAL INFO
This is a batá toque called "Rumba Obatala" for 3 bata

SHEET MUSIC
(for key notation  click here)
 Rumba Ochosi
 

GENERAL INFO
This is a batá toque called "Rumba Ochosi" from Pancho Quinto.
[Source: Jorge Ginorio]

SHEET MUSIC
(for key notation  click here)

 
 Yakota
 

GENERAL INFO
This "toque" is one of the five most common toques in their basic form.
It is relatively simple and it is used as a dance rhythm for a couple of different orishas (see glossary). 
In this function it is called "Rumbita".

SHEET MUSIC
(for key notation  click here)
 Glossary
(Lu) Lucumi term
(Sp) Spanish term

Achere (Lu.) 
A small rattle which is sometimes used to play the standard bell pattern
in batà ensembles.

Agbé (Lu.) 
A calabash gourd idiophone strung on the outside with beads. Sometimes
called shekere.

Agogo (Lu.) 
Metal bell used to play the standard bell pattern in bembé ensembles.

Afia (Lu.) 
A sacred force believed to reside in the batà drums, considered an oricha
by some Santeros.

Batalero (Lu./Sp.) 
A batà drummer.

Bembé (Lu.) 
A religions party held to honor an oricha.

Cabildo (Sp.) 
Mutual aid societies established by slaves in Cuba.

Caminos (Sp.) 
Roads. Diferent avatars of an oricha. Each " standard pattern " or toque
signifies a différent camino.

Chacha (Lu.) 
The smaller head of the batà drum.

Chaworo (Lu.) 
Bells wrapped around the shell of the iyà ilù.

Cierre (Sp.) 
Closing. The ritual that closes a bembé.

Conversacion (Sp.) 
A conversation that takes place between the iyà and itotele.
Conversations used to render lexical meaning but most of this knowledge
has been lost.

Enù (Lu.) 
The larger head of the batà drum.

Fardela (Sp.) 
Also called the idà, it is a ring of clay molded to the iyà ilu'. It is used to
dampen the drum's overtones.

Güiro (Sp.) 
Musical gourd. An idiophone, it is also known as agbé or shekere. It is
covered with strung beads and played by shaking and striking the
bottom.

Ida (Lu.) 
See Fardela.

Itotele (Lu.) 
The middle drum of the batà set.

Iya (Lu.) 
Mother.

Iya Ilu (Lu.) 
Mother drum. The lead drum in the batà ensemble.

Llame (Sp.) The call used in batà drumming to begin a rhythm or initiate

a conversation.

Lucumi 
Name used to identify Yoruba slaves and their language in Cuba.
Practitioners today sometimes call their religion Lucumi.

Ocha (Lu.) 
A saint/oricha. The religion of Santeria (Regla de Ocha).

Okonkolo (Lu.) 
The smallest drum of the batà set. Also called omelé.
Olori (Lu.) 
The strap used by the batalero to secure the drum during performance.

Olù Bata (Lu.) 
A batalero initiated into Ana.

Omelé (Lu.) 
Another name for okonkolo.

Omo (Lu.) 
Child.

Ori (Lu.) 
The physical head and inner person. The essence of personality.

Oricha (Lu.) 
Sacred head. The nature divinities of traditional Yoruba religion and
Santeria.

Oru (Lu.) 
A liturgical sequence of songs or batà rhythms. (Sometimes mistakenly
called oro.)

Oru del Igbodu (Lu.) 

" Oru in front of the throne " played on the batà drums without song.
Also called oru seco.

Orun (Lu.) 
The heaven world of Yoruba religion.

Santeria (Sp.) 
The Lucumi religion of Cuba.

Santero, Santera (Sp.)
Male and female initiates or priests of Santeria.

Santo (Sp.) 
Saint. The oricha.

Tambor (Sp.) 
Drummer.

Tamabor (Sp.) 
Drum. A liturgical fiesta for the orichas using the batà drums.

Toque (Sp.) 
A bata rhythm. Another name for a liturgical fiesta using batà.

Yesa (Iyesa) (Lu.) 
Single headed drum type found in Cuba. Name of generic rhythms played
in " drum and güiro " ensembles. In batà ensembles this rhythm is called
rumba yesa.