ABSTRACT

AFRICAN FOLK DRUM-ENSEMBLE WORKS

ADAPTED FOR SOLO DRUM SET

By

Joseph Mailloux

May 2011

The intent of this project report was to identify the considerations for adapting

folk drum-ensemble works for drum set, specifically the piece Agahu from the Ewe of

Ghana, as well as three additional works. The traditional ensemble's musical sections,

instruments, instrumental-techniques, and parts are examined in detail and then adapted

to drum set, showing how the author determined his own arrangement and subsequent

performance of Agahu.
AFRICAN FOLK DRUM-ENSEMBLE WORKS

ADAPTED FOR SOLO DRUM SET

A PROJECT REPORT

Presented to the Bob Cole Conservatory of Music

California State University, Long Beach

In Partial Fulfillment

of the Requirements for the Degree

Master of Music

Committee Members:

Alicia M. Doyle, Ph.D.

Michael Carney, D.M.A.
Richard Birkemeier, D.M.A.
Dave Gerhart, D.M.A.

College Designee:

Carolyn Bremer, Ph.D.

By Joesph Mailloux

B.A., 2004, Humboldt State University

May 2011
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 TABLE OF CONTENTS

Page

TABLE OF CONTENTS iii

LIST OF FIGURES v

CHAPTER

1. ABOUT AGAHU 1

Introduction 1
Overview of Agahu 2
Instrumentation History 3
Stroke-Types 5
Performance Sections Overview 6
2. APPLYING AGAHU TO DRUM SET 11

Overview 11
The Drum Set 12
The Atsimevu Stroke-Types on Drum Set 15
The Kidi on Drum Set 16
The Tsia Stroke 16
The Sogo on Drum Set 18
Unison Support Parts 21
Remaining Performance Sections Applied 23

3. THREE ADDITIONAL EXAMPLES 28

Bembe 28
Kuku 32
Vasse 36

4. CONCLUSION 40

APPENDICES 42

1. DRUM EPISODES AND CALLS 44

2. HATSIATSIA BELLS 54

iii
 Page

BIBLIOGRAPHY 55

iv
 LIST OF FIGURES

FIGURE Page

1. Drum stroke-types: a, open (rh); b, open (lh); c, mute (rh); d, mute (lh); e,
bass (lh); f, bass (rh) g, slap (rh); h, shell (rh); i, shell (lh); j , shell and
bass 6

2. Climactic-dance episode: A, entry call; B, exit call 7

3. Agahu performance format 9

4. Agahu's performance outline: vutsotsoe 10

5. Normal drum set schematic: a, cymbals; b, small tom; c, medium tom; d, hi-
hat; e, snare drum; f, large or floor tom; g, bass drum 13

6. Drum set schematic for Atsia: a, small tom; b, medium tom; c, hi-hat; d,
snare drum; e, large tom; f, cow bell; g, bass drum 13

7. Drum set schematic for Agahu: a, repinique; b, small tom; c, medium tom; d,
hi-hat; e, snare drum; f, large tom; g, cow bell; h, bass drum 14

8. Drum set key: a, high-hat; b, medium-torn; c, snare drum (center); d, snare

drum (rim-shot); e, large tom; f, drum-rim; g, small tom; h5 snare drum
#2 (or repinique); i, bass drum; j , cowbell 16

9. Kidi parts for Atsia (A) and Agahu (B) 16

10. The kidi part on drum set: A, variation 1; B, variation 2 18

11. Agahu kidi parts and their open-notes: A, part 1; B, part 2 19

12. Sogo parts for Atsia (A) and Agahu (B) 19

13. Single-measure sogo parts: a, open and mute-strokes; b, open-strokes; c,

quarter-note pulse 20
14. Sogo Two-measure phrases: a, kidi part; b, open/mute-strokes (no 16th note);
c, open-strokes; d, open-strokes (no 16th note); e, lA note pulse variation;
f, lA note pulse variation 2 22

v
 Pag

15. Climactic-dance episodes: A, partner dance; B, dance off the stage 22

16. Atoke bells applied to drum set 23

17. Examples of the hatsiatsia applied to drum set 24

18. The sogo relaxed-dance episode: a, on sogo, or atsimevu; b, on drumset,

with all the mute-strokes represented; c, on drum set, with some mute-
strokes represented 26

19. Rhythmic cells used on drum set to represent the sogo part 27

20. Bembe ensemble drum key: a, open-tone (rh); b, fingers (rh); c, fingers (lh);
d, palm, (rh); e, palm, (lh); f, slap (rh); g, slap (lh); h, bass (rh); i, bass,
(lh) 29

21. Drum set schematic for Bembe, Kuku, and Vasse: a, repinique; b, small
tom; c, medium tom; d, cowbell; e, snare drum; f, large tom; g, bass
drum 29

22. Drum set key: a, cowbell; b, medium-tom; c, snare drum (center); d, snare
drum (rim-shot); e, large tom; f, drum-rim; g, small tom; h, snare drum
#2 (or repinique); i, bass drum; j , cowbell 29

23. Bembe ensemble 30

24. Bembe on drum set, the accompaniment options (without displaying the
lead part): a, slow tempo option 1; b, slow tempo option 2; c, fast tempo
option 31

25. Bembe lead-drum on drum set 31

26. Djembe and doun-douns: a, djembe; b, doun-doun; c, sangban; d, kenkeni... 32

27. Kuku ensemble drum key: a, open-tone (rh); b, open-tone (lh); c, slap (rh);

d, slap (lh); e, bass-tone; f, bell; g, open-tone; h, mute-stroke 33

28. Kuku ensemble 33

29. Kuku on drum set with the lead part in the right hand: A, kenkeni part in

left hand; B, sangban part in left hand 35

30. Kuku on drum set, doun-doun representation 1 35

31. Kuku on drum set, doun-doun representation

VI
2 36
FIGURE Page

32. Candomble support parts 36

33. Vasse lead-drum key: a, open-tone (rh); b, open-tone, (lh); c, mute-tone

(lh); d, slap (rh); e, slap and mute 37

34. Vasse lead-drum examples 37

35. Vasse left hand drum-accompaniment options on drum set: a, l/8 th notes
and 12 bell outline; b, 12 bell; c, 1/8* notes 38
36. Two bell and lead-drum options for Vasse on drum set: A, lead-drum (rh),
bell (If); B, lead-drum (lh), bell (rh) 39

37. Drum stroke-types: a, open (rh); b, open (lh); c, mute (rh); d, mute (lh);
e, bass (lh); f, bass (rh) g, slap (rh); h, shell (rh); i, shell (lh); j , shell
and bass 44

38. Drum set key: a, high-hat; b, medium-tom; c, snare drum (center); d, snare
drum (rim-shot); e, large tom; f, drum-rim; g, small tom; h, snare drum
#2 (or repinique); i, bass drum; j , cowbell 44

39. Call 1: call to enter 45

40. Call 2: dance with your partner 46

41. Call 3: pay-pa 46

42. Relaxed-dance episode 1 47

43. Relaxed-dance episode 2 48

44. Climactic-dance episode 1: classic 49

45. Climactic-dance episode 2: hands to the ground, to the air 49

46. Climactic-dance episode 3: hands on hips 50

47. Climactic-dance episode 4: dance with your partner 50

48. Climactic-dance episode 5: too hot to handle 51

49. Climactic-dance episode 6: dance off the stage 51

50. Hatsiatsia bells 53

vn
 CHAPTER 1

ABOUT AGAHU

Introduction

The unique recreational dance and music of Agahu was born in the villages of

Nigeria, Benin, Togo, and Ghana. Over the course of the twentieth century, this modern

circle dance has evolved into many regional variations. These regional developments

have enhanced the vitality of Agahu, and firmly secured its place as a popular African

method of dance. This paper will explore a new potential western vehicle of Agahu's

expression: the drum set. By analyzing Agahu's core parts and explaining how these key

elements can be best performed on a single drum set, a performance of this piece on drum

set demonstrates a methodology that can be further utilized to transfer other percussion

ensembles to drum set. One solo-instrumentalist accompanying Agahu dancers, rather

than an entire ensemble, could add to the evolution of Agahu and increase its popularity

beyond its place of origin.

Some principles used to adapt Agahu and other folk drum-ensemble repertoire for

drum set described in this paper derive from California State University Long Beach

faculty member Kevin O'Sullivan. He has demonstrated great success in arranging

multiple West African folk drum-ensemble works for drum set with his unique method.1

1
Kevin O'Sullivan, Atsia For Drum set: A method of Recreation (N. Hollywood,
CA.: by the author, 1993).

1
Following in this manner, this paper outlines the considerations for adapting Agahu to

drum set along with sample adaptations of three additional works. The adaptation of

Agahu for drum set has already proven successful in public performances by the author,

demonstrating that careful preparation and a knowledge of folk drum-ensemble repertory

allows such works to be performed on drum set.

To illustrate Agahu's application to drum set, the following elements will be

outlined throughout this project: 1) how Agahu came to be, via its instruments,

performance practices, and structure; and 2) the traditional Agahu ensemble and

repertoire, along with a methodology for applying it to drum set.

Overview of Agahu

Agahu's rich tradition originates in Ketornu, modern day Benin. Originally called

Gunbe, Agahu was conceived by the Egun speaking people. On the day of its first

performance in 1936 a plane flew overhead, the first ever witnessed by the event's

participants. Someone exclaimed "Aga-hun\" which literally means "air-vessel" in the

Egun language, and it has been used ever since.2

Over time, Agahu spread amongst its provincial neighbors and eventually was

adopted by communities in Anyako, South East Ghana. What follows in this migration is

Agahu's evolution of form and style.

Gahu is a living tradition. Even in its birthplace of Ketornu, it continues

to reinvent itself. In Badagry in southwestern Nigeria, there was recasting
of old ideas of Gahu in a contemporary version with a spirit and style of
its own. As migrant fishermen from Afiadenyigba adapted Gahu from the
version they witnessed in Badagry, they reinvented it to fit an Anlo-Ewe

Kobla Ladzekpo and Alan Eder, Agahu: Music Across Many Nations, ed. by
Jacqueline Cogdell DjeDje and William G. Carter, vol. 2, African Musicology: Current
Trends (Atlanta: Crossroads Press, 1992), 183-4.

2
 taste. The Gahu that we, [the Ladzekpo family] do is based on the version
adapted by the Lashibi community of Anyako.3

Furthermore:

The essential, unchanging elements of Agahu are a tribute to time honored

tradition. At the same time, this piece is a collage of sights and sounds
new to its creators. This theme of newness, and the way so many people
adapted (or "covered") it are more typical of pop culture... As a
contemporary paradigm to demonstrate how a music can evolve, change,
and proliferate, Agahu is an excellent case for interpreting a wide range of
cultural phenomena.... 4

Agahu on drum set is a new way to interpret an ever-evolving piece of music.

But is it too different from its original mode of expression? I asked Kevin O'Sullivan

what the Ewe people he met in Ghana thought of his rendition of Agahu on drum set. He

answered unequivocally, "They danced to it."

Instrumentation History

Agahu was originally played on a snare drum, square frame drums, bells, rattles,

and a large barrel-shaped drum called agboba, or boba.5 As it spread, Agahu's

instruments were adapted to more localized and accessible instruments. By 1952, when

Agahu was introduced to the Anyako community, its instrumentation was very similar to

the form incorporated by the Lashibi Community: it consisted of a gourd rattle (axaste),

bells (atoke and gankogui), support drums (kaganuf kidi, and sogo), and the lead-drums

3
C.K. Ladzekpo, Agahu Dance-Drumming, paper presented as part of the "World
Percussion Workshop" at the California State University Summer Arts Program, Fresno,
CA., August 2006, 1.
4
Ladzekpo and Eder, 188.
5
Ibid., 184-5.

3
(two agbobas).6 Eventually the Ewe changed the ensemble to incorporate a second kidi

part and additional bells and rattles (gangogui and axaste). Compared to the traditional

Ewe ensemble, the only instrumentation difference in Agahu was the use of the agboba—

though it is interchangeable with the traditional Ewe lead-drum, the atsimevu.7

Each of the Ewe instruments provides an essential element in the ensemble. The

bells play a continuous ostinato, or timeline, which serves as a metric foundation to the

piece. The kidi and sogo play inter-weaving melodic lines that define Agahu's texture.

And the atsimevu dictates the progression of the music and dance—a task traditionally

bestowed upon the master drummer, who functions as the arranger, conductor, and soloist

of the ensemble.

One of the challenges of applying these instruments to the drum set concerns the

different sounds the strokes produce and the way in which they are produced. Therefore,

before describing the methodology for applying the Ewe ensemble to drum set, the Ewe

drums stroke-types will be examined. Of the Ewe instruments discussed above, the

atsimevu and sogo share the same broad-range of stroke-types: both can play with two

sticks, stick and hand, or both hands. Since these instruments can express the greatest

diversity of sounds from the Ewe ensemble, they are used as a departure point to explain

the stroke-types.

6
Ladzekpo, Agahu Dance-Drumming, 2.
7
When Agahu's lead-drum is mentioned throughout this project, it could refer
either to the agboba or atsimevu.

4
 Stroke-Types

A comprehensive examination of the Ewe stroke-types reveals a high level of

sophistication. For example, in this mnemonic language, syllables such as "toe," "gi,"

and "g<z" represent not only slap, open, and bass-tone strokes on a drum, but also which

hand is being used. Furthermore, a rhythmic passage can be sung using this traditional

method to denote exactly what to play on the drum, or even to communicate words and

sentences.

There are at least four basic stroke-types that can be achieved on the surface of

the sogo or atsimevu (fig. 1): the open-tone, slap, bass, and mute-strokes; in addition,

there is a fifth sound that can be produced when striking the shell of the drum. The

bounce-strokes, or open-strokes, create what are commonly known as open-tones. They

are the most resonant sound of an Ewe drum. The mute-stroke can be performed by

either the hand or stick. It is achieved by pressing into the drumhead to achieve a thud-

like timbre. It also functions to simply dampen the sound of the drum, or "close-the-

mouth" of the drum, specifically its open-tones. The bass-stroke can be played on the

agboba, atsimevu, and sogo either with the hand alone or a stick in hand. It is the deepest

timbre of the Ewe stroke-types. Alternatively, the "toe" stoke can be seen as the highest

pitched note. Produced by the hand or stick, it is equivalent to a slap on a conga. The

kpa stroke is an accented hit on the shell of the drum that is predominantly part of the

lead-drum vocabulary (i.e., on the atsimevu, agboba, and sogo), though, the support

drums, kidi and kaganu, can play on the shell for certain sections. In the opening section

5
of Agahu for example, the support drums can play on the drum's shell. The kpa stroke

is also played in unison with the bass-stroke to create a stroke-type called dza.

FIGURE 1. Drum stroke-types: a, open (rh); b, open (lh); c, mute (rh); d, mute (lh); e,
bass (lh); f, bass (rh) g, slap (rh); h, shell (rh); i, shell (lh); j , shell and bass.

Before revealing how these stroke-types are represented on drum set and their

traditional instruments, there must be an overview of Agahu's sections as they relate to

the dance.

Performance Sections Overview

The main dance-drumming section of Agahu, the vutsotsoe, is preceded by an

interlude section called the hatsiatsia. Performed at a slow tempo, the hatsiatsia

incorporates an improvised bell ensemble and singing. My performance experience in a

western setting has always begun with the hatsiatsia and concluded after the vutsotsoe is

performed.9 Therefore the hatsiatsia and vutsotsoe applied to solo drum set will be

described in this project.

According to an example denoted by C.K. Ladzekpo, other substitutions for this

sound could include "kpla", "ka", or f7w" (kpla ka-tu-ka-tu-ka-tu-kd). This is also an
example of the nature of these mnemonic syllables, as kpla denotes the hands striking
together, "tu" denotes a note on the beat, and "ka" off the beat.
9
Traditionally the hatsiatsia can be returned to from the vutsotsoe to allow the
dancers and drummers time to rest.

6
 The vutsotsoe constitutes the bulk of the arrangement. The lead-drummer directs

the ensemble throughout the performance by playing signals for the dancers and support

drummers. The signals indicate a specific dance movement and sometimes a change in

the part of the support-drums. Unless the dancers receive a cue, they maintain their basic

movement. Similarly, the support drums maintain their basic parts unless directed

otherwise. The two types of signals connected with the dance movements are termed

here as climactic-dance episodes10 and calls11. The climactic-dance episode consists of

uniform dance movements that are connected with the lead-drum material. They almost

always begin with a brief, ecstatic, warning call to initiate the dance movement, and end

with another device (see fig 2). The calls are also connected with a dance-movement,

however, these movements are not necessarily "climactic" and they do not begin or end

with warning and ending devices (see Appendix I for episode examples).

X X X X X X X X , X»X X X X

FFF gp^l
w^w
Lead Drum
Si m m b-|»7b 7

Drum Set
m m Jl^JUlCflN^

FIGURE 2. Climactic-dance episode: A, entry call; B, exit call.

io,C.K. Ladzekpo, Agahu Dance-Drumming, musical score presented as part of

the "World Percussion Workshop" at the California State University Summer Arts
Program, Fresno, CA., August 2006.
11
O'Sullivan, Atsia For Drum set, 98.

7
 The lead-drumming for the dance episodes is improvisatory to some extent. The

lead-drummer improvises within the constraint of having to play the episodic material, as

well as cue the dancers to begin and end a dance episode. The traditional material is

typically linked with the dance episode movement, and additionally, is in semblance or

counterpoint with the support parts. This contrasts any solo material played by the sogo

or lead-drum.

When the lead-drummer is not providing signals to the ensemble, he or she plays

what C.K. Ladzekpo refers to as "relaxed-dancing episodes." Though the material is

frequently ingeniously interwoven with the support parts, unlike the climactic-dance

episode, it has no particular alignment with the dance movement. The dancers maintain

their basic relaxed-dance movement throughout these sections. The lead-drummer

functions to maintain the excitement levels by playing a variety of repertory passages, of

which, the motifs can be utilized for improvisatory development.13 Both O'Sullivan and

C.K. Ladzekpo have demonstrated such repertory relaxed-dance episode passages used in

this project's final arrangement of Agahu on drum set (see Appendix I).

An Agahu performance essentially cycles between the climactic and relaxed-

dance episodes. The calls find themselves in that equation by substituting for the

relaxed-dance section, i.e. they are always played before and after a climactic-dance

episode (fig. 3).

19
Ladzekpo, Agahu Dance-Drumming, musical score.
In his work Drum Gahu, Locke refers to these motifs as rhythmic-cells. He
then goes on to describe the many ways in which they can be developed and altered to aid
one's expression (David Locke, Drum Gahu: An Introduction to African Rhythm
(Tempe, AZ: White Cliffs Media, 1998), 126).

8
 ||: Call or Relaxed-Dance Episodes | Climactic-Dance Episode :

FIGURE 3. Agahu performance format.

Regardless of the means of expression, the arrangement and form of Agahu's

sections are determined by the performers breadth of knowledge of the tradition, one's

performance practices or tastes, or one's adherence to their teacher's direction. It is

probable that certain sections over time have found fixed positions within a performance

outline as a result of their individual properties (e.g., practical, stylistic, or historical).

The form used for my own development is rooted in methods utilized by my teachers (see

fig. 4).

Having reviewed Agahu's instruments, their stroke-types, and the performance

sections, their application to drum set will be examined. Kevin O'Sullivan's drum set

arrangement of Atsia, another West African musical composition, will be used as a

reference during this process in Chapter 2, as it will bring to light the similarities and

differences between Agahu and Atsia on drum set.

9
 Relaxed-Dmce Episodes and Calls CHmaette-Daiiee Episodes

Call In

Related Oanee Episode Classic

Relaxed Dane© Episode Hands to the ground/ihe air

Relaxed Dance Episode/Sogo Hands on Hips

Call: Set np-Daace with your partner Danee w/ your Partner **>

Classie

Relaxed-Dance Episode To Hot to Handle

Call: Pay-pa Dance off stage

Call to End

FIGURE 4. Agahu5s performance outline: vutsotsoe.

10
 CHAPTER 2

APPLYING AGAHU TO DRUM SET

Overview

In Kevin O'Sullivan's arrangement method, each limb performing on the drum set

represents a different Ewe instrument. This presents two inherent constraints to this

project's methodology: 1) since the Ewe ensemble typically has over a half dozen parts,

and the drum set player has only four limbs, not every one of the original parts can be

represented on drum set; and 2) since one limb on the drum set represents an instrument

that is normally played by two, not every note of a given part can be played.

The challenge and craft of this arrangement process, then, has three major

components. First, Agahu's essential parts must be identified. For example, the bell and

lead-drum parts, if possible, should not be compromised, as the bell is the

drivingfoundational rhythm of this particular piece and of the highest register, and the

lead-drum is what cues the dancers. Rather, the support parts should be the first to be

altered or omitted. Second, and in tandem with identifying Agahu's hierarchy of

essential parts, is the drum set instrumentation and how it should be modified to aid the

representation of the traditional piece. Lastly, any part that is too physically demanding

when performed on drum set (e.g. the lead-drum or support parts) should be altered in

such a way that its essence is not compromised. The success of the final arrangement is

dictated by how well, and how much of, these key elements can be captured on drum set.

11
 Given this criteria there is not one rendition of Agahu that can be created on drum

set, but many. The performance incompatibilities of the traditional parts on drum set, and

the necessity to capture their essence present many options for applying Agahu to drum

set. In the following pages, each traditional instrument and part will be examined for its

most logical and practical adaptation to drum set. But first there must be an overview of

the drum set used to represent this projects arrangement.

The Drum Set

A traditional five-piece drum set includes the snare, three toms, bass drum, a high

hat, and cymbals (see fig. 5). O'Sullivan's drum set instrumentation for Atsia uses the

same drums, but the high hat is closed and placed over the floor tom, and the left foot

operates the cowbell (see fig. 6). The arrangement used in this project of Agahu has an

identical drum set-up with one exception: there is either a high pitch snare drum or a

Brazilian repinique by the small tom (see fig. 7). The repinique is a Brazilian instrument

similar to a snare drum in circumference, but they never have snares, their shells are

typically made of metal, and they are considerably deeper in structure then a snare drum.

Their design and material, notably their synthetic heads, create a very high pitch drum,

ideal for this situation.

Other than the inclusion of an extra drum, the application of Ewe instruments to

drum set for Agahu in my performance are identical to O'Sullivan's works in many

respects. The bell part is played in the left foot via a cowbell, the kidi is represented on

the small tom, and the sogo part is played on the bass drum. With only two hands and

two feet, however, the kaganu unfortunately cannot be represented. The axaste, second

kidi part, and additional bells also cannot be represented in this arrangement due to this

12
FIGURE 5, Normal drum set schematic: a, cymbals; b5 small tom; c5 medium tom; d, hi-
hat; e5 snare drum; f, large or floor tom; g9 bass drum.

FIGURE 6. Drum set schematic for Atsia: a, small tom; b5 medium torn; c, ht-hafi, d9
snare drum; e, /orge tow; £ cow bell; g, Jkus dfa##2

13
FIGURE 7. Dram set schematicforAgain: a, repinique; b, smalltorn;c, medium tom;
d? hi-hat; e, snare drum; f, largetom;g9 cow bell; % bass drum.

unfortunate human limitation. The key element of the kaganu, axaste, and additional

bells in Agahu, however, is texture enrichment—achieved by their seemingly simple (but

essential) parts. The timeline reinforcement qualities of these instrument9 s parts are9

therefore, secondary in importance to the instalments described above: the bel (primary

timeline instomient), the other support drum parts (kidi and sogo), and lead parts.

Playing the bell timeline with the left foot via a mounted cowbell allows the right

hand to play the lead part on thetomsand snare drum. This element of the arrangement

defines O'Sullivan's method and why it is possible: the lead-drum parts are very active

and require the agility of the "stong" hand. Typically, in music that incorporates the

drum set, such as jazz, or rock, for example, the strong hand provides the timeline and the

left foot operates the high hat cymbals—whose function is similar to the aforementioned

kaganu: it enriches the texture and aids the tempo through an uncomplicated part.

14
Alternatively, freeing the strong hand from its traditional ostinato role, now played in the

left foot, allows the advantage of playing the lead part with the strong hand.

The approach of applying the timeline rhythm in the left foot could be seen as

unconventional or awkward for many drummers, both as a coordination and physical

challenge. Granted, the agility of one's left foot can seldom compete with that of their

strong hand. However, given the correct constraints, the ability to apply the timeline in

the left foot is undoubtedly obtainable with the right practice methods (see Appendix III).

The Atsimevu Stroke-Types on Drum Set

The atsimevu (the lead-drum) incorporates a variety of strokes that must be

represented to implement a proper recreation of Agahu on drum set (see fig. 8).

O'Sullivan represents the five timbres created by the Atsimevu on four different drum set

surfaces. The snare drum represents two drum strokes: the middle of the head is a mute-

tone and the rim-shot is a slap.14 For the open-tone, O'Sullivan chose the medium tom,

and for the bass-tone, the low toms. A strike on the side of the atsimevu (the kra stroke)

is assigned to a closed hi-hat on the right. In addition, there is the aforementioned stroke-

type, dza—a simultaneous bass hit and shell strike. Since only one hand is free to

represent this traditionally duel-handed stroke on drum set, the large tom is the best

option.

Using the term snare drum does not mean snares are being used. The snares
are turned off in both Atsia and Agahu. This is also the case for the snare drum used to
express the kidi.

15
FIGURE 8. Drum set key: a, high-hat; b, medium-tom; c, snare drum (center); d, snare
drum (rim-shot); e, large tom; f, drum-rim; g, small tom; h, snare drum #2 (or repinique);
i, bass drum; j , cowbell.

The Kidi on Drum Set

In O'Sullivan's drum set arrangement for Atsia, he represents the kidi support

drum with the small tom. However, the kidi support part in Agahu includes a tsia stroke

in addition to the standard open and mute-tones like that found in Atsia's kidi part. This

requires an additional drum to provide a higher pitched timbre. Therefore for this

arrangement of Agahu a small tom and Brazilian repenique were used.

A. B.

m
FIGURE 9. Kidi parts for Atsia (A) and Agahu (B).

The Tsia Stroke

Since O'Sullivan denotes the atsimevu tsia stroke as a rim-shot on drum set, the

kidi tsia stroke is appropriately played with a snare drum or other similar high pitch

16
drum. There is the option of utilizing the snare drum already in use for the atsimevu part,

but the up-and-down motion of the arm going between the tom and snare is awkward

given the distance between the drumhead surfaces. In addition, the relationship of the

two different parts cannot be captured using one timbre. Alternatively, a side-to-side

motion eliminates the distance between the two drum surfaces.

The tsia stroke can be captured via two alternatives: 1) a snare drum can be set

up at an angle on a stand and the rim-shots can be expressed; or 2) the snare drum can be

tightened, and instead of a rim-shot, the drum surface can be struck. Given the nature of

a rim-shot, option 1) could overshadow the balance of the ensemble with its volume. A

rim-shot can also be a difficult stroke to play consistently. Option 2) allows for a greater

control of dynamics and articulation, and is therefore the superior choice.

The instrument used to express the kidi's tsia stroke in this project was the

aforementioned Brazilian repinique. Using it to represent the kidi, as expressed above—

not with rim-shots but by striking the drum surface—is an effective method to recreate

the tsia stroke.

The Kidi Part

The kidi's notation for the basic parts on drum set can be seen below in figure 10.

The first example is a four beat phrase and is closely aligned with the bell pattern. The

later part is a two beat phrase repeated as an ostinato.15 When comparing each figure

with the timeline it can be seen that the latter part has a greater contrapuntal relationship

15
The two beat phrase kidi part was the first I came to know. It is the first
variation taught by C.K Lakzekpo, likely because it is the most elementary. But to
observe someone like Ladzekpo perform on kidi would demonstrate the vast possibilities
for the kidi part.

17
with it. In the second half of the kidi parts, variation A lines up with the bell, thus

reinforcing the timeline rhythm. Whereas variation B is contrapuntal with the bell part.

B.

*£ J J 1 J I
J JLJI
l « •

^ Q J3= ^B

FIGURE 10. The kidi part on drum set: A, variation 1; B, variation 2.

Second Kidi Part

There is a second kidi part in the Lashibi community's version of Agahu (see fig

11). O'Sullivan has said to me in passing that he accommodates it in his Agahu drum set

arrangements by using an additional tom. He plays the open-notes of both kidi parts in

his right hand, and plays the lead-drum parts with his left hand. I was already committed

to this project's arrangement method upon discovering this information, so I decided to

stay the course. I justified the second kidi parts absence with the fact that my first

instruction of Agahu, taught by C.K. Ladzekpo, did not include the second kidi part.

The Sogo on Drum Set

Both O'Sullivan's drum set arrangement of Atsia and this project's arrangement

of Agahu make use of the bass drum to represent the Sogo part's open and mute-tones

(see fig. 12). Atsia's less then moderate tempo allows for both tones to be represented

and performed by the right foot with ease, whereas Agahu's part applied in the same
18
 {p± X X ZWL 0 0 0
^a
B.

FIGURE 11. Agahu kidi parts and their open-notes: A, part 1; B, part 2.

manner, given its moderate-to-fast tempo, is more challenging to perform. For example,

an advanced drummer could play the sixteenth-note figure at the end of the sogo parts

phrase, but that does not take into consideration the matter of coordinating all the limbs.

Therefore it is best to simplify the part on drum set to eliminate any opportunities for

rigidity during performance. Sacrificing the verbatim sogo part for a simplified one,

therefore, aids the fluidity of all the other coordinating limbs, allowing for more

comfortable playing and faster tempos.

A. B.
J = c. 84 c. 108-120

Sogo i J r /"Jr up
Drum Set
m m m M -M a * ] rnn 1
1

FIGURE 12. Sogo parts for Atsia (A) and Agahu (B).

19
One Measure Sogo Patterns

Applying the sogo support drum part in the bass drum presents the option of

recreating a one or two measure phrase. The traditional part seen above is two measures,

but its essence can also be represented using the first half of the measure, making a one

measure phrase or ostinato. To further simplify the traditional part on bass drum the

mute-strokes can be omitted, leaving just the open-stokes (see fig. 13). Despite the open-

stroke option being a sparse rendition of the original part, it is a successful solution to the

performance constraints of the other more complicated parts. Given human limitation, it

is perhaps the easiest variation to play at fast tempos.

a. b. c.

Sogo A # F m m 0 m—1 m 0mm 0 m \\ m T t f T f l l

(>) (>)
Drum Set
4 J i i i J J II * J * J II J J J J II

FIGURE 13. Single-measure sogo parts: a, open and mute-strokes; b, open-strokes; c,

quarter-note pulse.

Ideally all the open and mute-strokes of the original part would be represented,

but this is more difficult because it requires a greater degree of coordination and is more

physically demanding. However, a hybrid part that incorporates both stroke-types could

also be used. Seen above in Figure 13 is a quarter-note pulse with slight accents on the

open-tones, beats two and four. The extra notes on beats one and three provide

momentum to the tempo and a superior contrapuntal relationship with the other parts (i.e.
20
bell, kidi, and atsimevu). This is a viable option because it is not a difficult addition to

perform on drum set. Furthermore, it is the first step towards playing a two-measure

cycle.

Two Measure Sogo Pattern

A two-measure sogo part can be carried out in any number of ways: 1) the

verbatim adaptation above with mute and open-strokes (fig. 13); 2) mute and open-

strokes, minus the sixteenth note; or 3) just the open-notes (fig. 14). However, a two-

measure cycle should only be attempted after the performer has a command of the single-

measure phrases. In fact, since the single-measure option is already difficult enough to

play with the bell, kidi, and the lead-drum parts, it is the best choice for an Agahu

performance on drum set.

Unison Support Parts

There are two instances in the performance of this piece under examination where the

support parts, kidi and sogo, change during a climactic-dance episode. When they do

change, they play a unison part made up of mute and open-tones. In this circumstance for

Atisia, O'Sullivan represents this on drum set by dividing the mute-tones on bass drum

and the open-tones on the small tom. An alternative to this method is to omit the mute-

tones altogether and use the bass drum to also represent the open-tones (fig. 15).16 Both

options work to recreate Agahu, though the former—and more difficult of the two—more

accurately represents the original part. It also creates the most dynamic texture.

The notes marked with parentheses in figure 10 denote the performance option
of merely punctuating the open-notes of the drum-accompaniments' response part.

21
 m zm wm m
b.

m ^g^
m (>) (>) (>) (
i
(>) (>) (>) (>)

FIGURE 14. Sogo Two-measure phrases: a, kidi part; b, open/mute-strokes (no 16th
note); c, open-strokes; d, open-strokes (no I6l note); e, % note pulse variation; f, 2A note
pulse variation 2.

A. B.
n S _
• • • p S _
Kidi& i| 4 f 0 f f I -rtt
Sogo
g i r i i 4=a
t - »' t p ii (i>P p - ] » p |—| | | | f< p jl
Drum Set
Option 1 1 4 4 ii rifiim ~tf\ ^ d d m | _ | — | — 1 «t W W d m ^
» t p || (i p ^ p p p | |i ' 1*
p I- 11
Drum Set
r*-= 1pt >
Option 2
f-4 » » HH-k f)» • t b 1 '—bkr—• »n

FIGURE 15. Climactic-dance episodes: A, partner dance; B, da«ce off the stage.

Above, Agahu's traditional instruments were adapted to drum set, demonstrating

the accompaniment's basic support parts and why they were adapted as they were. Next,

the remaining elements needed to demonstrate a successful drum set arrangement will be

presented.

22
 Remaining Performance Sections Applied

In addition to the dance-drum section proper, the vutsotsoe, there are two sections

of Agahu whose unique application to drum set must be examined: the hatsiatsia and the

sogo relaxed-dance episode. The intricacies of these sections will illuminate the

remaining conceptual challenges of Agahu applied to drum set.

The Hatsiatsia

The hatsiatsia, when performed on three or four simultaneous bell parts (one in

each limb) can be recreated by a solo musician. Cowbells would be the best substitute

for the atoke and gangogui, as they can be mounted on two foot-operated bell systems

and a mounting system for the four hand operated bells.

Given the hatsiatsia bell parts provided by C.K. Ladzekpo (see Appendix 2), the

foundational atoke bell parts apply very well in the feet. The left foot is already playing

the first atoke part (i.e. the Agahu timeline) throughout the vutsotsoe, and the second
17

atoke does not place a stringent demand on the right foot (see fig. 16) . Furthermore, the

foot operated bell systems can only represent a single-pitched instrument like that of the

atoke, opposed to that of a double-bell like the gangogui.

Left Foot X- *£-

Right Foot 1 1 1 K : 7~

FIGURE 16. Atoke bells applied to drum set.

17
The second bell is a higher pitch than the timeline rhythm.

23
 Having applied the atoke parts to the foot-operated cowbells, any combination of

gankogui bell parts can then be employed in the hands (see fig. 17). Since the hatsiatsia

is an improvisatory tradition, one suggestion is to first explore each gankogui parts'

relationship with the underlying texture of the atoke parts in the feet. When that is

successful, a fourth bell can be added to enrich the texture of the atoke parts, thus

creating a more colorful backdrop for any bell improvisation. The strong hand should be

used for the improvisational development, and the weak hand should play an

accompaniment role with the fourth gankogui part.

B.

Strong Hand
l l | | [ : ^ ? ^ ^ : | | M rJt fjU tflt rifl
Weak Hand H 4||« f J? ft mm* J)m 00'\\\9 J J J J - • - 0 |M . J J m 0 m 0 41
4-lr I L Li " I" P i p i * * * F i F i \ \

n :
^ !:j?] f r r r :iii: f'jt] r r f r i f:Jti r r r r ^
Left/Right Foot

FIGURE 17. Examples of the hatsiatsia applied to drum set.

Sogo as the lead-drum

The sogo holds a unique function in Agahu: it plays accompaniment parts and it

can play dance episodes, like the agboba and atsimevu. During a traditional

performance, the sogo player abandons his support part to play either a relaxed-dance

episode or a specific climactic-dance episode. This is presumably done to allow someone

other then the lead-drummer to take over as the lead role during performance, or perhaps
24
to feature a new timbre as the featured voice. Another consideration is the history of the

ensemble itself: a more distant Ewe ensemble, plausibly, consisted of bell, rattle, two
1 o

support drums (kaganu and kidi), and the sogo. This demonstrates that the sogo's

original function could have been that of a lead-drum, only to be modified as an

accompaniment-drum with the advent of the Atsimevu and Agboba.

The sogo's lead-drum material on drum set should be treated like the other lead-

drum parts applied to drum set: with the right hand. The question then arises, what about

the sogo support part in the bass drum, should it continue or be omitted? Its absence

might leave the arrangement sounding thin without the low timbre, but that is how it

would be done in the traditional ensemble. A second option is to use the bass drum to

punctuate the sogo's lead-drum material.

The mute-strokes of the traditional sogo relaxed-dance episode19, seen below in

figure 18, have at least two different functions: the drum's resonance could be cut-off by

"closing-the-mouth" of the drum, or the mute-stroke can be used as a necessary

component in the part (an embellishment). Those mute-strokes that "close-the-mouth of

the drum" (the mute-strokes in parentheses seen below) can be applied to drum set in

three ways: 1) not at all; 2) on the snare drum like the other mute-strokes represented on

drum set; or 3) or by closing-the-mouth of the drum set's open-tone, the medium tom,

thereby cutting off its resonance. Closing-the-mouth of the medium tom is not essential

Christopher Provenzano, "Instruments, Themes, Dialogues: Investigating the

Structure of Eve Music" (M.A. diss., U.C. Los Angeles, 1997), 85.
19
C.K. Ladzekpo, Agahu Dance-Drumming, musical score presented as part of
the "World Percussion Workshop" at the California State University Summer Arts
Program, Fresno, CA., August 2006.

25
to creating an Agahu drum set arrangement, though it is a performance option. It would

consist of replacing any notes on the snare drum (that represent the traditional drums

mute-strokes) with mute-strokes on the medium tom that mute the resonance.

a. 1 ^ i» |* m * * m » p f\(f)—1» • *» • •• fi»|(|»)—f—f—fiTi
\ m m m m m m m m m \ mmmmmmmmm\ m m mi
b.
t L y L—y i y-i-p—i y i y i y i \—f—|—L—yj
c.
|-e-j—t^ri—Li i u| | - i - - | _ui i— u i j-i |? p f .-^-U-j

f~Y*—r—r—r r_/ i(r' r—r r_r(r) r—r (r} ir r (r} r r ( r r* J*J

• r F F r rrir ? r r rr ^ r r i r r r r r r r i* 1

— * — * — * — r — r r i 7f—*—r—r r 7f—*—r t-f—r—*—r—r r*—»H

-*—p—p—i—y i p u y p i—11 i , i i—br-f-i
»,F m0 m 0m0m0' m\ ^0 m0 m 0 Ffm* 0\ %? fm f

0 00 000)00'
^ 3E -I m 00 _ * * » » • -1 m 00 m00000-\ 000p0»m 000p0*zza
r n r [ j i ?r r i j [-^[^1 ^LrLr rrrrL^fi rrrrLjLttru'ii
P^pl 1 LLTLJIC
PM *P*
I

FIGURE 18. The sogo relaxed-dance episode: a, on sogo, or atsimevu; b, on drumset,

with all the mute-strokes represented; c, on drum set, with some mute-strokes
represented.

In addition to mute-strokes, the above passage also draws attention to the 16th

notes in parentheses played on the drum set. The 16th notes can be difficult to execute by

one hand on drum set, especially at fast tempos, therefore the third note of the group has

26
been put in parentheses to denote it as a performance option—a note whose omission

could best serve the piece. The possibilities to express that particular rhythmic group are

shown below (fig. 19).

a. c. d.

-H-f + rr-

FIGURE 19. Rhythmic cells used on drum set to represent the sogo part.

This chapter has illustrated how Agahu can be performed on drum set, including

the methods and the considerations used to do so. The next will test the application of

these methods to three additional ensembles.

27
 CHAPTER 3

THREE ADDITIONAL EXAMPLES

Although this project has detailed how to adapt Agahu to drum set, the methods

employed to do so lend themselves to other arrangements of Ewe music or different

percussion ensembles altogether. To further illustrate the application of these methods,

three additional pieces will be arranged for drum set, each from a different tradition with

its own unique African ties. They are Bembe from Cuba, Kuku from the Malanke people

of Guinea, and Vasse from the Candomble tradition in Brazil. A snapshot of each

ensemble will be examined, including a minute example of each ensembles

accompaniment and lead-drum parts. This glimpse will provide an ideal foundation from

which to narrow the full, optimal drum set arrangement.

The drum set instrumentation used will take some variation of the example seen

below in figure 21.

Bembe

Bembe is a folkloric Afro-Cuban style and genre. Its ensemble consists of three

conga drums (tumbadora, segundo, and quinto), bell, and rattle. Many different

representations of this piece exist across the island nation, including one that incorporates

the use of sticks. This particular arrangement, however, will be as follows with hands:

28
FIGURE 20. Bembe ensemble drum key: a, open-tome (rh); % fingers (rh); c, fingers
(Ih); dypalm, (rh); e,palm, (Ih); f, slap (rh); g9 slap (Ih); h, bass (rh); i, boss, (Ih).

FIGURE 21. Drum set schematic for Bembef Kukii, and ¥asse: ^ repinique; h3 small
tom; c9 medium tom; d, cowbell; e, ##fnre dhim; f9 l^irge tow; g, bass drum,

FIGURE 22. Drum set key: a, cowbell; h3 medium-torn; c, snare drum (center); d, ,f#f€ire
ti^rum (rim-shot); e, I^rge tout; f, drum-rim; g9 £7?ta// tow; h, Jfwre €#•»#« #2 for repinique);
i,feasy€#•wff; j ? cowbell

29
FIGURE 23. Bembe ensemble

Drum Set Application

The tempo is a deciding consideration when arranging Bembe for dram set: the

piece could be performed either slow or fast Therefore, arrangement options are needed

for both performance scenarios (fig. 24). The bell is placed in the left foot for the slower

tempo, and in therighthand for the faster. The draw back of the latter option is that the

left hand would then assume the role of the lead-drum and could no longer be used to

represent the dram accompaniment.

30
 Ek*lit fi.sflJ

Left ffanJ
E;i;iit f W t «—-.« ^-ferr j^,~. ,-,-.. '"Jljhi" --""""gjt^ - ''''jjfY
Lett 1'Wi - > ."«£ y~ -^-y ,*. ^ * p. * ?. w. ** f> I f~ f *

FIGURE 24. Bembt oa drum set, the accompaniment options (without displaying the
lead pert): a, slaw tempo option 1; b, slow tempo option 2; c9fast tempo option.

The stow example of Bembe on drum set represents all of the toaditional

instruments: therighthand is left free for the lead part, the left foot plays the bell, the left

hand represents the open and siap~sto>kes of the segundo, and the bass drum represents

the open-tones of the quinto part in the right foot. The segundo part can be represented

on the smalltomandrepinique,or the small tom alone. The high-pitched quinto is not

ideally represented with the tow timbre of the bass drum9 howe¥er? the parts down-beat

pulsation of its open-tones is,

The Bembe lead-drum example apples to drum set like that of Agahu in chapter

two: tie mediumtomrepresents the open-tone, thetowtomrepresents the bass, and the

snare drum represents the mute-stokes and Maps, Below (fig. 25) are two examples, the

second with omitted heel-toe strokes.

A. B.

Drum Set :

FIGURE 25. Bembe lead-drum on drum set

31
 Kuku

Kuku applied to drum set is unique in that its ensemble is more dynamic then that

of Agahu or Bembe. The ensemble consists of two batteries of support drums, doum-

douns (low to high, doun-doun, sangban, and kenkeni) and djembes, and is led by one of

the high-pitched djembes. Presented below are two djembe accompaniment parts, three

doun-doun parts, and the lead-drum call (fig. 28). The stroke-types of the traditional

instruments are seemingly simple, with the djembe producing open5 slap, and bass-

strokes, and the doun-doun incorporating a bell for the left hand, and open and mute-

tonts with a stick hi the right

a* b. c ti

FIGURE 26. Djembe and dona-downs: a, djembe; b9 doun-doun; e5 sangban; d, kenkeni.

Unlike Agahu or Bembe, there is not one bell part in this ensemble that makes up

a timeline rhythm, but rather three different parts that coalesce to create a distinct two-

measure texture, The doum-dowa parts also meldtogethertocreate a texture, or melody,

as do the djembe accompaniment parts. This begs the question: which parts will be

represented in a drum set anangement and why?

32
FIGURE 27. Kuku ensemble drum key: a, open-tone (rh); b5 open-tone (Ih); c5 slap (rh);
d, slap (Ih); e, bass-tone; f, bell; g, open-tone; h, mute-stroM.

Lead Djembe call

rn nrju*

Support Pjerabe A^ 4 3E

Support Djembe 2 x=3 ^^^^^&

S

Doun Dona ^^jy^JLi

#f
X X.
$—I [J A
J* X^X^M^-^.

Sangban #"~^#^ A^^^^^^^A-^ -&-

fCenkeiii a n-. n. n ^

F1GUH2S, Knka ensemble.

Drum Set Application

Thus far in this project, the araagemeiit criteria has been to capture the lead-drum

and bell timeline first and the support drums second. Now, since there is mo longer a

demand to represent a distinct bell timeline, an emphasis can be put on captering the lead

and support drum parts first (i.e. the lead djembe and doun-doun) and the bell part

33
second. The bell part in the left foot can then become the last consideration, catering to

the need of the arrangement by being modified or omitted altogether.

With this in mind, the open-tones of the doun-doun parts can generally apply to

the toms or the bass drum; for example, the kenkeni or sangban might be represented on

the small tom, while the deeper doun-doun is represented on the bass drum. Whereas the

lead-djembe's application to drum set is likened to the lead-drum found in Agahu and

Bembe.

The drum set adaptations presented below reference the traditional parts as their

guideline, however, the criteria for the arrangement is determined by whether or not there

are additional musicians. Although they were not taken into consideration for the drum

set arrangement of Agahu, Kuku applied to drum set provides an example of how such a

scenario can help determine an arrangement—especially to make the performance easier

when adhering to the traditional ensembles instrumentation and material. A few such

scenarios would be as follows: 1, a solo performance, one where the drum set represents

the lead djembe and all the dundun; 2, a performance that includes a musician playing

kenkeni; and 3, one that includes a musician playing lead djembe.

The two arrangements below (fig. 29) are designed to allow the lead-drum be

represented in the right hand—though the djembe support drum could also be represented

in its place. One arrangement represents all the support drums, while the other omits the

kenkeni. Both include a modified bell on the main pulsation.

Another consideration would be to represent the djembe support parts or some

combination of them and the doun-douns, though the subsequent analysis will only look
at the doun-douns on the toms and bass drum.

34
 A. B.

Kitrhtlfofsi ^g^H^Z^^
1?1 fft JP! fT} f?f pff JITf £"f * k
-
I eft Hand -«jjj* Hjp—jjjj*'-

RartH VIH%

FIGURE 29. Kuku on drum set with &e lead part in the right hand: A, kemkemipart in
left hand; B, sangbanpart in left hand.

The remaining two arrangements take into consideration an additional musician

who plays the lead djembe. In these scenarios the drum set part needs only to represent

the doun-douns—or, perhaps, a combination of doun-doun and support djembe parts, A

hybrid bell p e t can be played in the left foot, as seen below5 or it can be omitted. The

second example (fig. 31) presents an option that omits the kenkeni and places the doun-

doun pirt in the left hand and dundna bell in the right

Right Hand FIPF k S ^ E

Left Hand mzMzi^::^m^M£Zii^MZM^^zM Mi^e=^=M wzx ^hm

Right Foot E
Left Foot
f u r u T LJ r u
FIGURE 30. Kuku on drum set, doun-doun representation 1.

35
Right Hand
3E
_J X X 3 X >} X X n _x *L
Left Hand

Right Foot
T fr m m
n
Left Foot 9E = c
LJ f Ur LJ r g
FIGURE 31. Kuku on drum set, doun-doun representation 2.

Vasse

Overview/Instrumentation

Vasse is a style of music from the Candomble religious tradition in Brazil. Its

ensemble consists of three drums {atabaques) and bell. The lowest pitched drum, the

rum (hoom), leads with a stick and hand, while the smaller and higher pitched rumpi and

rumpi-le accompany with thin sticks (fig. 32).21 Vasse's support parts essentially

reinforce the timeline by playing the 12-bell rhythm seen below, and function as a

backdrop for the lead-drum's solo-phrases.

Le R 11 12 X J x J x x J x J x J x j l l
L
\ § * * x x x xx I
Rumpi R 1 12 J 1 J | n J 1 J 1 J 1 *H II
L g X X x) X X X X ||

Bell —MA—m 9tj m fc m m & m %i m % m (J

FIGURE 32. Candomble support parts.

21
While the drum accompaniment for the Ketu traditions of Candomble play with
sticks, the Angola traditions accompany with their hands. The lead-drum, similarly, plays
with either stick and hand (Ketu) or with hands (Angola).

36
 The lead-drum stroke-types for Vasse are very similar to those used in Agahu:

they both share the use of open-tones, mute, and kra/slap-strokes, and even achieve the

slap-stroke by muting the drumhead with the opposite hand. However, there is one stroke

type requiring a simultaneous mute and slap-stroke. In Agahu, there was also a stroke

requiring two hands; the same principle used to apply it to drum set will be used here:

modify the part by omitting those notes with the least-defining characteristics. In this

case, the slap-stroke that outlines the bell pattern will be kept and the mute-strokes will

be omitted (fig. 34).

a. c. d.
3C •* |

FIGURE 33. Vasse lead-drum key: a, open-tone (rh); b, open-tone, (Ih); c, mute-tone
(Ih); d, slap (rh); e, slap and mute.

B.
Rum (lead drum) ** m mF m 0P ^ m m£-m-+ W=*F pf «*p
•»TJUJ"W1I
Modified Rum Part *r^ffpfrrrrfl

FIGURE 34. Vasse lead-drum examples.

37
The Drum Accompaniment on Drum set

The accompaniment part in the left hand should be played on a second snare drum

or a repinique like in Agahu. This is the best drum set sound to imitate that of a thin stick

on an atabaque. The part itself, however, cannot be duplicated by one hand; it is truly

meant for two hands, though, there are some options seen below that could suffice (fig

35).

FIGURE 35. Vasse left hand drum-accompaniment options on drum set: a, l/8th notes
and 12 bell outline; b, 12 bell; c, 1/8* notes.

Two arrangement options

There are two viable sets of arrangement options for Vasse on drum set. The first

has the bell timeline in the left foot, and the lead part in the right hand; the second option

has the bell timeline in the right hand, and the lead part in the left Both have their own

advantages, most notably, incorporating the bell in the right hand allows for quicker

tempos.

38
FIGURE 36. Two bell and lead-dram options for Vasse on drum set: A, lead-drum (rh),
bell (If); B, lead-drum (Ih), bell (rh).

For these two options the right foot can either punctuate elements of the lead part

in the bass drum, be omitted, or play a non-traditional part designed to aid the

arrangements cohesion. The latter option is likely the best solution for completing the

arrangement. For example, a simple quarter note pulsation, though a non-traditional part,

adds depth and stability to the performance.

39
 CHAPTER 4

CONCLUSION

The analysis and arrangement of Agahu, Bembe, Kuku, and Vasse for drum set

demonstrates that an ensembles repertoire, consisting of bell, lead-drum, and support-

drum parts, can be replicated on drum set. When the instrumentation of the traditional

ensemble, the nature of those instruments and their parts, and the ensembles entire

arrangement are considered, the best option for a drum set arrangement can be

determined. Because each ensemble and piece is unique, each drum set arrangement will

also be unique, and thus require different considerations. The comparison of Atsia and

Agahu in chapter two, for example, illustrates that even though two pieces may share the

same instrumentation, they can attribute to two completely different drum set

arrangements. The instrumentation, tempo, consecutive notes in a phrase of the support

or lead-drum, how one would rank the defining elements of a piece, or the

accompaniment of additional musicians are a few of the elements that determine a drum

set adaptation. Each arranger is also different and will have his/her own preferences. For

example, there might be two different interpretations as to what the traditional parts are.

This consideration is paramount because the original parts provide the foundation for

determining the drum set arrangement options.

The method utilized by O'Sullivan and the author to adapt African folk drum-

ensemble repertoire for drum set stands apart from many other such recreations. For

40
example, at Concordia University, a class of drum set students learnt about the Ewe piece

Agbekor, and were then asked to create their own "variations" for drum set.22 Every

arrangement was different, and not one was akin to this projects recreation of Agahu.

This further illustrates that there is not one arrangement possibility, but many. And all

arrangements being equally difficult, they would be best served if their guiding arranging

principle was to serve the music's original function, in this case to accompany the dance.

For that is the prerequisite for determining a drum set arrangement. And that it is how its

success is determined.

22
Peter Magadini, "Theme and Variations on an African Rhythm," Percussive
Notes 34 no. 4 (August 1996): 24-6.

41
APPENDICES

42
 APPENDIX A

DRUM EPISODES AND CALLS

 DRUM EPISODES AND CALLS

FIGURE 37. Drum stroke-types: m, ^pew (rh); b, open (Ih); c, mute (rh); d, mute (Ih); e9
bass (Ih); f9 bass (rh) g, slap (rh); % shell (rh); i, shell (Ih); j, jAe// am/ Aas&

FIGURE 38. Drum set key: a, high-hat; b9 medium-torn; c9 snare drum (center); d, 57fore
dhon (mm-shoi); e9 furge tow; f, drum-rim; g5 smalltow;h5 snmre drum #2 (or repinique);
if bass dnm\i* cowbell

44
 U^Dnim g £ 3 r ^ F g F

«js4«-4^^|» -»%*•-•—" ^~jbu.-*^>

Drum Set
%*«

r*£
r

lb* %i fr*

1X5
U-.JL^Jf^J'* ~~*£~4 J5U~~-JC
t-^.™r^j r

PS ;:
I L ™ „ „
Z-'JittsC-Lr^Z-.

23
FIGUMSf. Calll: call to enter;

23
Ladzekpo, Agahu Dance-Drumming^ musical score.
45
 Drmm Set

$~£&f Drum

3!Efcr^r^^
-^Hjfes>"*-
^K>^E!A»i»««pR«|lK^

Diiifli Set '{? ^^^^^*^^^S

fegfc zsuuz ^
r4
• ?• r

FIGURE 40. Call 2: dance with your partner.

Lead Drum <u 7p c_f r ii: LH_T^ P * IM

^ZZTzW
m mzzKzzm

'' t * p F?=F P3 H ^
Drum Set
nran ^ ^
fi
^r-_
T O

FIGURE 41. Call 3: pay-/**.

46
 Lead Drum =8^ > r/ih
X *—X—x—X.
i X-*—X—*—X-

Drum Set
J- X J J J X1 >C=g
^ ^
s
tp rp
- - X X X X X
L.D. —__«—.*_*— m ~f^—r^—T" 4, P JP-P P-j* 5 P^ (•- 4,P p P 1 — 1 1 !•
4 7LjT— feT L T ? L j U — 1 1 1 1 1.
X X X X X

•yQJLJ 1 1 1 1 .
D.S.
* x * 1:

FIGURE 42. Relaxed-dance episode 1 24

24
Ibid.

47
 Lead Dium —f*
rrrr irrrr rrrr irrrr r rritf/r r rr
"W^1
Drum Set
npin 2 mm
^ ^ ^
s Q- r r p
fcp ,»f f f< Y' ft fcp pf f Y f' ft t ^p p pf p
LD fc f ? * •• - i*rrr
5
r
-*f-ff—T * *- * ~r rr—-—rrff • i» i>|>- ' rrrr

DS ^=a J L i yui LJLJ^

x x X x

m
0' (*#(*# 1 i* i* (*0* i* p Pm* I P i* Pm* i* P* 1*1 •, P #
LD
g= wrrrrnrrrr rrrr iu [f r LJ\IU

DS
cr cr [j ear: 1
S ^ ^ ^

FIGURE 43. Relaxed-dance episode 2.25

Kevin O' Sullivan, performance elements of Agahu presented as part of private

instruction through the California State University Long Beach Percussion Department,
Long Beach, Ca., January-May 2006.

48
 mrjYI [\}j ll^rlffTO1
X X X X X ., X X X X X X X *
m-m-0jL 000 0+0 000 0+\ 00
Lead Drum

00 00\ ~~0~k

Drum Set
pji p i p p j i pijnpjijB j^-nm
rrj rryoTTyoTrf
X X X X X X X X X X X- X X
LD. ,r rr r r^n f7
i H=^ f- fn ••
5
7U u ^ 4 1^- 1 m ^= tt=^ LJ P '
mm
0 00 F
| *
*=^
* <F <F
1 1 1*. h *, h i
|
IP'
if- it i tr i ir m
7Ld 1
D.S.

* J 1 * 1 y *

FIGURE 44. Climactic-dance episode 1: classic.

X X X X X X X X . X ' X X X
m il m-Mm m—m-
Lead Drum ^ ^
7—V
» m *••*
"W^1 ^y^^
Drum Set

3E
nrnnrn ^ ^ ^ ^
[ff r p

FIGURE 45. Climactic-dance episode 2: hands to the ground, to the air.

49
 Lead Drum | (+
> rcri ccrccrL-rrccri ccrccrccrr i= cr'CCr- icrccg

Drum Set
EJU3 ^ ^
JTJP3J3J33 =»F
E
T7p (Iff rp
ins
x x x x X X X X X• X X X
LD
rrrcMrr irrrrj-=a Wf TiFT

# * • 000ZZ

DS
gggg ^

^ ^ ^ ^ ^

FIGURE 46. Climactic-dance episode 3: hands on hips.

Lead Drum j—f*

CrLCfLgfmfLCfUfUflC-T^f cJ'yff
«u% en F? u
CJ
PEZ

Drum Set
J- X J»J x i' x #JJ x >JJg
^
s (_f- r f (s f_f- r r p
fl

LD
r j n r rj_fj i ^ B cJttr r I r i ^
DS
S£=l
X X.

*
0
X
0
X.

m 0
X
m.
X.

g^
m d 0 0 m—w

T f p~ rp r_j- r r p:

FIGURE 47. Climactic-dance episode 4: dance with your partner 26

26
Ladzekpo, Agahu Dance-Drumming, musical score.

50
 Lead Drum <t - I 7 3

np3J]j]3!
Drum Set
Jimiig ^y-Tyix—^ii
^ ^
(JTTnJTTl
#., ^#
CTTTp
X X X X X X X X X X . X •X x x
LD.
Cf [ f E ^ f f l ^ 7—? $

r n J3> fefeg * *_r n ^ ^^

D.S.

^ ^ ^ ^ ^

FIGURE 48. Climactic-dance episode 5: too hot to handle.27

Lead Drum
<^ rcrrcrrcrrcri rcr[jtf_L? n=rr ^ [ [ J T ^ ^ D L L ? :iirr [ p § g
Drum Set

LD.

D.S.

frVr Vr_r"r P £J" r P u ' < pf>-

FIGURE 49. Climactic-dance episode 6: i&iftce off the stage.

27
Locke, Drum Gahu, 113.

51
 APPENDIX B
HATSIATSIA BELLS
 HATSIATSIA BELLS

Atoke 1
• * £ - j " r—r—r L_J- r—r—r tu" r—r—r
Atoke 2 * f j — J — J — J — j—j—^^U- j—J—J—.U-
7 J* ^ ^ j -^-j^-
U / 7 [ f / « n f zji} |» fj»
Gankogui 1 llf 7 ^ ^

Gankogui 2 r n
" t ^ L / UJU L l f H J LT L £ f U LLTILJ
Gankogui 3
*$-h -Jh—-0 ^
trj J^ -J^J-
J:
L
Gankogui 4

Z L
Gankogui 5
J53n
tit^y/jjpj ^
U^^Lf L^ a^u a/
FIGURE 50. Hatsiatsia bells 28

28
Ladzekpo, Agahu Dance-Drumming, musical score.

53
BIBLIOGRAPHY

54
 BIBLIOGRAPHY

Agbeli, Godwin, and David Locke. "Drum Language in Adzogbo." The Black
Perspective in Music 9, no. 1 (Spring 1981): 25-50.

Carroll, Raynor. "Kuku." Musical score presented as part of private instructionthrough

the California State University Long Beach Percussion Department, Pasadena,
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Chester, Gary. The New Breed. Cedar Grove, NJ: Modem Drummer Publications, 1985.

Cudjoe, S.D. "The Technique of Ewe Drumming and the Social Importance of Music in
Africa." Phylon, (1940-56), Vol. 14, no.3 (3 rd Qtr. 1953): 280-91.

Hartigan, Royal James. West African Rhythms for Drum Set. Edited by. Dan Thress.
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Kwamin, Robert. "Towards a Comprehensive Catalogue of Eve Drum Mnemonics."

Journal of African Cultural Studies 11, no. 1 (June 1998) 27-38.

Ladzekpo, Alfred HUsuHorsu. Compact Disc 2001.

Ladzekpo, C.K. Agahu Dance-Drumming. Paper presented as part of the "World

Percussion Workshop" at the California State University Summer Arts Program,
Fresno, CA., August 2006.

Ladzekpo, C.K. Agahu Dance-Drumming. Musical score presented as part of the

"World Percussion Workshop" at the California State University Summer Arts
Program, Fresno, CA., August 2006.

Ladzekpo, Kobla, and Alan Eder. Agahu: Music Across Many Nations. Edited by
Jacqueline Cogdell DjeDje and William G. Carter, vol. 2, African Musicology:
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Ladzekpo, Alfred Kwashie, and Kobla Ladzekpo. "Anlo Ewe Music in Anyako, Volta
Region, Ghana." In Music of Many Cultures: An Introduction, Edited by.
Elizabeth May 216-31. Berkeley: University of California Press, 1980.

Locke, David. Drum Gahu: An Introduction to African Rhythm. Tempe, AZ: White
Cliffs Media, 1998.

Magadini, Peter. "Theme and Variations on an African Rhythm." Percussive Notes 34,
no. 4 (August 1996): 24-6.
55
O'Sullivan, Kevin. Atsia For Drum set: A method of Recreation. N. Hollywood, C A.:
by the author, 1993.

O'Sullivan, Kevin. Performance elements of Agahu presented as part of private

instruction through the California State University Long Beach Percussion
Department, Long Beach, CA, January-May, 2006.

Provenzano, S. Christopher. "Instruments, Themes, Dialogues: Investigating the

Structure of Eve Music." M. A. thesis, University of California, Los Angeles,
1997.

Samba, Mokhtar. African Rhythms and Independence for Drum Set. Columbus, Ohio:
Music in Motion Films, 2001.

Stevens, Leigh Howard. Method of Movement. Asbury Park: NY. Keyboard Percussion
Publications, 1979.

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56