Kadan

Kadan, a Malinke-rhythm from the Kankan, Kouroussa and Siguiri areas in

Guinee, is one of the (about 20) dunumba-rhythms. The dunumba-rhythms are
traditionally only danced by men: "The dance of the strong men". The Kadan is
a dance for the bilakoros (non-circumcized children). "Kadan" (liana bracelet in
Malinke) is both the name of these anklets (6 to 8 in number) and of the
dance. The bilakoros are the specialists in this dance, which pople come and
watch like a show. The anklets clink agianst each other, while the (solo)phrases
of djembe, dundun and sangban correspond to the steps.

I yo dala oo-ee, san da la oo, I yo ya na dja bilakoro jee don da

Bafa bilakoro !, kanti da dinda

..here come the bilakoros, dancing the Kadan....

Wap-pages / Paul Nas / Last changed at 2-1-2001

Call
S S S S . . . . . . . .
f r l r . . . . . . . .
D . . . . . O O . O O . .

Kenkeni

. . O . O 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

Sangban

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

Dun Dun
 . . . . . 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 . .
r . r l . . r . r l . . r . r l . . r . r l . .

Djembé 2

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

Djembé 3

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

Djembé solo accompagnement 1

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

Sangban variation 1

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

Sangban variation 2

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

Dun Dun variation 1

. . . . . O . . O . . . . . . . . O O . O O . .
x . x x . x x . x x . x x . x x . x x . x x . x
Dun Dun variation 2

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

Dun Dun variation 3

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

Dun Dun echauffement 1; starting the echauffement

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

Dun Dun echauffement

. O O . O O . O O . 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

Dun Dun ending the echauffement

. O O . O O . 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 echauffement 2

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

Dun Dun ending the echauffement

O . 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

Break 1
 T T T T . T T . T T . . S S S S . . S S S S . .
f r l r . r l . r l . . r l r l . . r l r l . .
S . . . . . . . . . . . . O O O O . . O O O O . o
D . . . . . . . . . . . . O O O O . . O O O O . .
T . . T . . T . . T . . S S S S . . S S S S . .
S . . o . . o . . o . . o O O O O . . O O O O . o
D O . . O . . O . . O . . O O O O . . O O O O . .

1A

T . . T . . T . . . . .
S . . o . . . . . . . . .
D O . . O . O O . O O . .

1B

T . . T . . T . . T . . S S S S . T . T . S S S
S . . o . . o . . o . . . O O O O . . . . . O O O
D O . . O . . O . . O . . . . . . . O . O . . . .
S . T . T . S S S S . T . S . T . S . T . S S S
S O . . . . . O O O O . . . O . . . O . . . O O O
D . . O . O . . . . . . O . . . O . . . O . . . .
S . T . T . S . . . . . . . . . . . S . T S . .
S O . . . . . O . . . . . . . . . . . O . . C . .
D . . O . O . . . . . . . . . . . . O O . O O . .
K . . . . . . . . O . O O . . O . O O . . O . O O

Break 2

T . T T . T T . T T . . S . . . . . . . . . T T
S . . . . . . . . . . . . O . . . . . . . . . . .
D . . . . . . . . . . . . O . . . . . . . . . . .
K . . . . . . . . . . . . . . O . O O . . O . O O
S . . . . . T T T T . . S . . . . . . . . . T T
S O . . . . . O . . . . . O . . . . . . . . . . .
D O . . . . . O . . . . . O . . . . . . . . . . .
K . . O . O O . . O . O O . . O . O O . . O . O O
S . . . . . T T T T . . S S S . S S S . S S S .
S O . . . . . O . . . . . O O O . O O O . O O O .
D O . . . . . O . . . . . O O O . O O O . O O O .
K . . O . O O . . O . O O . . O . O O . . O . O O
S S S . S S S . S S S . S S S S . . . . . . . .
S O O O . O O O . O O O . . . . . . . . . . . . .
D O O O . O O O . O O O . . . . . . O O . O O . .
K . . O . O O . . O . O O . . . . . . . . O . O O

Break 3 (combination Sangban (S) & Dundun (D) can be played)

T S . . . . . . . . . . T S . . . . . T T T T . .
l r . . . . . . . . . . l r . . . . . 2 r l r . .
. O . . . . . . . . . . . O . . . . . . . . . . .
O . . . . . . . . . . . O . . . . . . O . O O . .
x x . x x . x x . x x . x x . x x . x x . x x . x
S . . . . . . . . . T S . T S . T S . T S S S .
S O . . . . . . . . . . O . . O . . O . . O . . .
D . . . . . . . . . . O . . O . . O . . O . . O .
x . x x . x x . x . x x . x x . x x . x x . x .
T . T T . . S . . . T S . T S . T S . T S S S .
S O . O O . . C . . . . O . . O . . O . . O . . .
D . . . . . . . . . . O . . O . . O . . O . . O .
x . x x . x x . x . x x . x x . x x . x x . x .
T . T T . . S . . . T S . T S . T S . T S S S .
S O . O O . . C . . . . O . . O . . O . . O . . .
D . . . . . . . . . . O . . O . . O . . O . . O .
x . x x . x x . x . x x . x x . x x . x x . x .
T . T T . . S . . . T . S . . . T . S . . S . S
S O . O O . . C . . . O . . . . . O . . . . O . O
D . . . . . . . . O . . . . . O . . . . . O . . .
x . x x . x x . x . x . x . x . x . x . x x . x
. . T . T . S . . . T S . T S . T S . . T . T .
S . . O . O . O . . . . O . . O . . O . . O . . .
D . O . . . . . . . . O . . O . . O . . O . . O .
. x x . x . x . x . x x . x x . x x . x x . x .
S . . . T . S . . . T . S . . S . S . . . . . .
S . . . . O . . . . . O . . . . O . O . . O . O .
D . . O . . . . . O . . . . . O . . . . O . . . .
x . x . x . x . x . x . x . x x . x . x x . x .
S . . . T S . T S . T S . . T . T . S . . . T .
S O . . . . O . . O . . O . . O . . . . . . . O .
D . . . . O . . O . . O . . O . . O . . . O . . .
x . x . x x . x x . x x . x x . x . x . x . x .
S . . . T . S . . S . S . . T . T . S . . . . .
S . . . . O . . . . O . O . . O . O . O . . . . .
D . . O . . . . . O . . . . O . . . . . . . . . .
x . x . x . x . x x . x . x x . x . x . . . . .

index | legenda (nl) | legend (en) | inleiding (nl) | introduction (en)

Thanks for taking notice of this interpretation of this rhythm but please consult some real
authoroty's (like Famoudou Konaté and Mamady Keïta) or genuine TEACHERS for further
study. Check also the other SITES WITH RHYTHM-NOTATIONS on West African
Percussion on the Internet. And share your knowledge and ideas to these WAP-pages and to
others.
Kakilambé
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."
(text and pictures from a leaflet of the Worldtour of the Ballet de Guinée,
('65-'67).
"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

Wap-pages / Paul Nas / Last changed at 22-12-2002

Call 1
T T T T T T T . T . .
2 r l r l . l r . r . .

Call 2

S S S S S . T T T T T . S . . . . . . . . . . .
2 r l r l . 2 r l r l . f . . . . . . . . . . .
DUNS-COMBINATION 1
Kenkeni

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

DUNS-COMBINATION 2

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

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

DUNS-COMBINATION 4

S . . . . O . . O . O . . . . . . . . . O . O o .
D O . . . . . . . . . . O O . O . O . . . . . . .
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 .
r . . l r . r . . l r . r . . l r . r . . l r .

Djembé 2

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

Djembé 3

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

Djembé 4

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

Djembé 5

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

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
r l r l r l r l r l r l r l r l r l r l r l r l
Break 1

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

index | legenda (nl) | legend (en) | inleiding (nl) | introduction (en)

Thanks for taking notice of this interpretation of this rhythm but please consult some real
authority's (like Famoudou Konaté and Mamady Keïta) or genuine TEACHERS for further
study. Check also the other SITES WITH RHYTHM-NOTATIONS on West African
Percussion on the Internet. And share your knowledge and ideas to these WAP-pages and to
others.
Kanin
Kanin is a Malinke-rhythm, that was created by Mamady Keïta during the
period that he was the artistic leader of the National Ballet de Guinea. It was
then played in one composition after Denedon (like on his CD "Nankama") The
word Kanin means "friendship". 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!

WAP-pages / Paul Nas / Last changed at 11-04-2004

Call
T . T T . T T . T . S S S . . .
f . r l . l r . r . r l r . . .
D . . . . . . . . . . . . . . O .

Kenkeni (o are optional extra beats)

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

Sangban

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

Dun Dun

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

Djembé 1

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

Djembé 2

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

Djembé solo frase 1

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

frase 2

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

frase 3 (djembe 1)

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

frase 4
 S S . B T . T . S S . B T . T .
r l . l r . r . r l . l r . r .

index | legenda (nl) | legend (en) | inleiding (nl) | introduction (en)

Thanks for taking notice of this interpretation of this rhythm but please consult some real
authority's (like Famoudou Konaté and Mamady Keïta) or genuine TEACHERS for further
study. Check also the other SITES WITH RHYTHM-NOTATIONS on West African
Percussion on the Internet. And share your knowledge and ideas to these WAP-pages and to
others.
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!

WAP-pages / Paul Nas / Last changed at 27-7-2000

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

Kenkeni

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

Sangban

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

Dun Dun

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

Dundun variation

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

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

Combination of three duns for one player

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

Djembe 1

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

Djembe 2

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

Djembe 3

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

Djembe 4

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

Djembe 5

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

Djembe 6

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

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

A S . T T . S . T T . S . T T . .
f . r l . f . r l . f . r l . .
K . S . K . S . K . S . K . . .
. . . . . . . . . . . . . . . .
B S . . S . . S . . . T T B . . .
r . . l . . r . . . r l r . . .
S . . S . . S . T T T T B . . .
 r . . l . . r . r l r l r . . .
C B T T B T T B T T B T T B . B .
r l r l r l r l r l r l r . r .
B . . . S . . . S S S . B . . .
r . . . r . . . r l r . r . . .
D S . T T . S . T T . S . T T . .
f . r l . f . r l . f . r l . .
S . T T . S . T T . . . . . . .
f . r l . f . r l . . . . . . .

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

A B . . . S . B . B . S S S . . .
r . . . r . r . r . r l r . . .
B S T T . . T T B S T T . . T T B
r l r . . l r l r l r . . l r l
C S . . T T T . B S . . . . . T T
r . . l r l . l r . . . . . r l
D S . T T S . . B B . . B B . T T
r . r l r . . l r . . l r . r l

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

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

Djembe solo 3; frases A, B, C, D and E.

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

Djembe solo 4; frases A, to G.

A T T S S . . S S T T S S B . S S
r l r l . . r l r l r l r . r l
B T . T T . S T T S . S . S . . S
f . r l . l r l r . r . r . . l
T T S S . S S . . . . . . . . .
2 r l r . r l . . . . . . . . .
C S . S S . S T T S . S S . S T T
r . r l . l r l r . r l . l r l
D T T T S T T T S T T T S T S . .
2 r l r 2 r l r 2 r l r l r . .
E . S S S . S S S . S S S . S S S
 . l r l . l r l . l r l . l r l
. S S S . S S S T . T . T T . .
. l r l . l r l r . r . r l . .
F . T T S . T T S . T T S . S . S
. 2 r l . 2 r l . 2 r l . r . l
G B S T T S S . S T T S S . S T T
r l 2 r l r . l 2 r l r . l 2 r
S S . S . S . . . . . . . . . .
l r . l . l . . . . . . . . . .

index | legenda (nl) | legend (en) | inleiding (nl) | introduction (en)

Thanks for taking notice of this interpretation of this rhythm but please consult some real
authoroty's (like Famoudou Konaté and Mamady Keïta) or genuine TEACHERS for further
study. Check also the other SITES WITH RHYTHM-NOTATIONS on West African
Percussion on the Internet. And share your knowledge and ideas to these WAP-pages and to
others.
Kassa Djibo
WAP-pages / Paul Nas / Last changed at 4-10-2000

Call
T . T T . S T T S . S . S . . S
f . r l . l r l r . r . r . . l
T T S S . S S . . . T . S . . T
2 r l r . r l . . . r . r . . l
. S . T . S . T T . S . T . . .
. l . l . l . l r . r . r . . .

Kenkeni

1 O . . . O . . . O . . . O . . .
2 . . . . . . O . . . . . . . O .
x . x . x . x . x . x . x . x .

Sangban

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

Dun Dun

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

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

Dundun variation

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

Djembe 1

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

Djembe 2

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

Solo Djembe 1

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

Solo Djembe 2

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

Solo Djembe 3

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

Solo accompagnement

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

index | legenda (nl) | legend (en) | inleiding (nl) | introduction (en)

Thanks for taking notice of this interpretation of this rhythm but please consult some real
authoroty's (like Famoudou Konaté and Mamady Keïta) or genuine TEACHERS for further
study. Check also the other SITES WITH RHYTHM-NOTATIONS on West African
Percussion on the Internet. And share your knowledge and ideas to these WAP-pages and to
others.
Kassa Soro
WAP-pages / Paul Nas / Last changed at 2-5-1999

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

Kenkeni

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

Sangban

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

Combi Dun Dun / Sangban

S O . . O . . O . . . . . O . O .
D . . O . . O . . O . O O
x . x x . x x . x . x x . x x .
Djembé 1

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

Djembé 2

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

Another intro

S O . . O . . . . . . . . . . . .
3x x . x x . x x . x . x x . x x .
S O . . O . . . . . . . . . . . O
1x x . x x . x x . x . x x . x . x
S O . O O . . . O O . O O . . . O
1x x . x x . x . x x . x x . x . x
S O . O . O . . . O . . . . . . .
Dj . . . . . . . . . . . S . S . S
x . x . x . x . x . . . . . , .
S . . . . . . . . . . . . . . . .
Dj S . . . . . . S . S . S S . . B
S S . . . . . S . S . S S . . .
r l . . . . . l . l . l r . . .

You can repeat this intro several times before starting the rhythm

index | legenda (nl) | legend (en) | inleiding (nl) | introduction (en)

Thanks for taking notice of this interpretation of this rhythm but please consult some real
authoroty's (like Famoudou Konaté and Mamady Keïta) or genuine TEACHERS for further
study. Check also the other SITES WITH RHYTHM-NOTATIONS on West African
Percussion on the Internet. And share your knowledge and ideas to these WAP-pages and to
others.
Kebendo
The Kebendo-rhythm and -song is one of the women from the Kissidougou
regio adressing the men and warning them not to take more than one wife. The
woman ask themselves what they all shall do to prevent their men to merry
more than one wife. It was during the time of dictator Sékou Touré that it
was decided that women had to approve if their husband wanted to merry a
second wife. The song became popular then . For a long time only the first
djembe-pattern was used to accompany the song. Famoudou Konaté added all
the rest (Rhythmen und Lieder aus Guinea, by Thomas Ott and Famoudou
Konate). Here is a part of the song-lyrics; I hope I can ad some of the music in
the soundfile during the coming period. (The red-part is sung by men here, and
black by women) The word "fila" (two) is later on repalced by "saba"(three),
nani (four), lolu (five) and wörö (six)

E ! Kebendo, oh Laila, Muso fila ta lu, wo ma nyin, wo ma nyin

The men (the gang) ! Now what ! To merry two women, that's not good, that's
not good

When finally the men sing about "kelen" (one) wife, the women reply with" wo
ka nyin" (that's good!)

WAP-pages / Paul Nas / Last changed at 23-02-2009

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

Kenkeni

O . . . O . . . O . . . O . . .
x . x . x . x . x . x . x . x .
Sangban / Dundun

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

Djembé 1

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

Djembé 2

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

Solo 1 (repeat first line 4 times)

S . S S . S S . S . . . . . . .
f . r l . l r . r . . . . . . .

Play line plus a 4-rest 4 times

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

Repeat the 2 following lines

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

index | legenda (nl) | legend (en) | inleiding (nl) | introduction (en)

Thanks for taking notice of this interpretation of this rhythm but please consult some real
authority's (like Famoudou Konaté and Mamady Keïta) or genuine TEACHERS for further
study. Check also the other SITES WITH RHYTHM-NOTATIONS on West African
Percussion on the Internet. And share your knowledge and ideas to these WAP-pages and to
others.
Kemoba
Kemoba is grandfather in the Malinke-language. The rhythm and it's song
illustrate differences between youth and their grandparents. The grandfather
appeals to responsibillities in life. Young people react by saying: "That's really
something for the old people to say (and it is not from this time to say that).
At the other hand they have to admit also that the wisdom of the old is
valuable too.

WAP-pages / Paul Nas / Last changed at 8-11-2000

Call
S . T T . T T . T T . .
f . r l . l r . r l . .
D . . . . . . . . . . . O

Kenkeni 1

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

Kenkeni 2 (l= low, h= high) Delmundo says it's really the " Tandeni" that has to
be played here ; a small drum that is played with finger-tips.

h O O . . . . O O . . . . O O . . . . O O . . . .
l . . . 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 . . C . C . C . . O . O . . C . C . C . .
x . x . x x . x . x . x x . x . x x . x . x . x
O . O . . O . O . O . . O . O . . C . C . C . .
 x . x . x x . x . x . x x . x . x x . x . x . x

Dun Dun

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

Djembé 1

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

Sangban; echauffement, a choice

A O . O . . O . O . O . . O . O . . . O O . . . .
x . x . x x . x . x . x x . x . x . x x . x . x
B 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; echauffement

O . O O . O O . O 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

Dun Dun; ending the echauffement

O . 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

index | legenda (nl) | legend (en) | inleiding (nl) | introduction (en)

Thanks for taking notice of this interpretation of this rhythm but please consult some real
authoroty's (like Famoudou Konaté and Mamady Keïta) or genuine TEACHERS for further
study. Check also the other SITES WITH RHYTHM-NOTATIONS on West African
Percussion on the Internet. And share your knowledge and ideas to these WAP-pages and to
others.
Kennefoli
The Kennefoli is played during circumcision festivity's. It is a tribute to the
ones that carry out the circumcisions. It's much slower then the Söli, which is
often preceded by the Kennefoli.

Nakura bara na kabo dyinda la eeh, Dembati luko ko-i-ni-ke

Greetings to the mothers of the children that return from the bara

WAP-pages / Paul Nas / Last changed at 17-4-1998

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

Kenkeni

1 O . o o . O O . o o . O O . o o . O O . o o . O
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 . . . . .
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 .

Djembé 1
 S . T S . . S . T S . . S . T S . . S . T S . .
r . r l . . r . r l . . r . r l . . r . r l . .

Changing to the Söli

T . T T . T T . T T . . O . H . . . O . H . . .
f . r l . r l . r l . . x . x . x . x . x . x .

O . H . . . . . O O . O O . T T T T S . O O . O
x . x . x . x . x x . x x . f r l r l . x x . x

Söli starts right after:

O . T . T . T . O O . O . . . . . . . . . . . .
x . r . r . r . x x . x . . . . . . . . . . . .

index | legenda (nl) | legend (en) | inleiding (nl) | introduction (en)

Thanks for taking notice of this interpretation of this rhythm but please consult some real
authoroty's (like Famoudou Konaté and Mamady Keïta) or genuine TEACHERS for further
study. Check also the other SITES WITH RHYTHM-NOTATIONS on West African
Percussion on the Internet. And share your knowledge and ideas to these WAP-pages and to
others.
Koreduga / Kotedjuga / Komodenu
This rhythm originates from the border area from Mali and Guinea. Of course
there are some differtent interpretations of the basic idea of Koreduga /
Koredjuga / Kotedjuga. Serge Blanc names the Bamana ethnic group in the
Segou area the origin of this rhythm, Mamady Keita says the Malinke are the
traditional performers of this rhythm.
It´s a rhythm where the dance is performed by jesters and clowns; people
who adorn festivitys with their beautifull costums and perfomances with
humor, acrobatics and mimic art.
Komodenu is the name of a song, from the Wassolon region, that has got it´s
place in this rhythm. Komo means fetisj and Komodenu refers to the children
(or students) of this fetisj. When Komo get´s out, the woman and children
(who are not alowed to see him) stay at the homes.

E Komodenu, sisa bora Tamaninko

Taa wulida komo so la, sisi bora Tamaninko

Hey, you children of the Komo, see the smoke rising from Tamaninko
the fire started in the house of Komo, see the smoke rising from Tamaninko

WAP-pages / Paul Nas / Last changed at 04-08-2003

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

Sangban

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

Dun Dun: severall ways of playing:

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

or

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

or (Serge Blanc)

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

Combination Sangban (S) and Dun Dun (D)

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

Kenkeni (added for a three bassdrums group)

O O . c . . O O . c . . O O . c . .
x x . x x . x x . x x . x x . x x .

Djembé 1 (ß is a flam with bass and tone, B/T)

ß . S B T T B S . ß . S B T T B S .
f . r l r l r l . f . r l r l r l .

Djembé 2

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

Djembé 3

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

Djembé solo accompagnement 1a

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

Djembé solo accompagnement 1b

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

Djembé solo frase 1

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

Djembé solo frase 2

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

Djembé solo frase 3

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

Djembé solo frase 4 (echauffement)

S S S T T S T T S S S S S S S S T T
r l r l r l r l r l r l r l r l r l
 index | legenda (nl) | legend (en) | inleiding (nl) | introduction (en)

Thanks for taking notice of this interpretation of this rhythm but please consult some real
authority's (like Famoudou Konaté and Mamady Keïta) or genuine TEACHERS for further
study. Check also the other SITES WITH RHYTHM-NOTATIONS on West African
Percussion on the Internet. And share your knowledge and ideas to these WAP-pages and to
others.
Konden I

There are different explanations about the cultural background of the

Malinke rhythm Konden (Konen, Konde, Kunde, Konding). Some people claim
it'sa mask-dance, others say it's a dunumba (this i not necessarily conflicting).
The typical dundunmba-kenkeni-pattern is not there, but the kenkeni-part of
Konden II could be interpretated as a "half-speed" kenkeni of a dunumba. It
could be that Konden II is the dununba-piece and Konden I is the mask-piece.
Because some of the great drummers have a different idea about the
meaning / background you will find some of their interpretations here:

I. Konden is a (Malinke) mask which walks fast and dances. Konden is a mask-
dance staged for young men between the age of fifteen en twenty years.
Konden runs after the guys, and when he catches them hits them with a rod.
In earlier times the dance was only accompanied by singing and clapping. The
mask-dancer holds twigs with leaves in his hands. The mask looks truly
frightening and the little children get scared, their fear intensified further
because of threats made by the adults."If you are not nice the Konden will
come and get you!". Each region has changed the rhythm somewhat, especially
the dunun.
(from "Mamady Keita; a life for the djembe")

II. Konden is the mask that protects the older bilankoro in the days leading up
to their circumcision. Very handsome, he is also a fine dancer, which accounts
for his popularity amongst the young. The best Konden are to be found in the
current prefecture Siguiri (upper Guinea) and the village of Banfeleh in
particular. There is a reputation of inventing the finest dancemovements, but
also of being quick to strike out with his riping crop to punish naughty
children. He is somewhat like the "bogeyman".
(part from text from Mogobalu-CD from Mamady Keita)

III. Konden (Konding) is a Doundounba rhythm

(sais Koungban Konde Master Drummer and Leader of Percussionist De Guinee
according to Baba Aidoo)
IV. Konden is most definitely *not* a Dununba rhythm, It is a mask dance,
and was performed as part of traditional end-of-Ramadan festivities.
(according Jim Banks who asked Famoudou Konate).

V. Mamoudou "Delmundo" Keita, who teaches in the Hamana-style from Upper

Guinea, has made one CD "House of Roots". Track 3, "Yaya" (Doundoun gbe,
Konden, Bandogialli, Bolokonondo) is dedicated to his father Fa Daman Keita:
".....He was also reknown as a great dancer of the traditional dance of the
strong men / warriors. Here it´s brought together in four different
doundounba-rhythms...." Delmundo also sais: "Konden is the only Dununba that
is played fast".

VI. Serge Blanc's book, 'Le Tambour Djembe' lists Konde as a member of the
Dununba group from Kouroussa.

VII. Youssouf Koumbassa on his video 'Wongai' also states in the introduction
to the Doundoumba that it is called Konde.

VIII. In the book Traditional West African Rhythms from Åge Delbanco, the
rhythm
Konde is annotated. Sources are different members of the Konate-family. It
sais : "Dununba from Guinea (Malinke).

Banfeleh, Banfeleh, Konden de wa banfeleh,

Konden Fadima djy karo bada böö, Konden de wa Banfeleh

"Banfeleh, banfeleh, the Konden will go to Banfeleh

the time has come for the circumcision of Fadima Konden
the Konden will go to Banfeleh.

This Konden-I is from the Wassolon-region in Guinea

WAP-pages / Paul Nas / Last changed at 06-10-2001

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

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

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

Dun Dun

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 . .
r . r l . . r . r l . . r . r l . . r . r l . .

Djembé 2

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

index | legenda (nl) | legend (en) | inleiding (nl) | introduction (en)

Thanks for taking notice of this interpretation of this rhythm but please consult some real
authoroty's (like Famoudou Konaté and Mamady Keïta) or genuine TEACHERS for further
study. Check also the other SITES WITH RHYTHM-NOTATIONS on West African
Percussion on the Internet. And share your knowledge and ideas to these WAP-pages and to
others.
Konden II
There are different explanations about the cultural background of the
Malinke rhythm Konden (Konen, Konde, Kunde, Konding). Some people claim
it'sa mask-dance, others say it's a dunumba (this i not necessarily conflicting).
The typical dundunmba-kenkeni-pattern is not there, but the kenkeni-part of
Konden II could be interpretated as a "half-speed" kenkeni of a dunumba. It
could be that Konden II is the dununba-piece and Konden I is the mask-piece.
Because some of the great drummers have a different idea about the
meaning / background you will find some of their interpretations here:

I. Konden is a (Malinke) mask which walks fast and dances. Konden is a mask-
dance staged for young men between the age of fifteen en twenty years.
Konden runs after the guys, and when he catches them hits them with a rod.
In earlier times the dance was only accompanied by singing and clapping. The
mask-dancer holds twigs with leaves in his hands. The mask looks truly
frightening and the little children get scared, their fear intensified further
because of threats made by the adults."If you are not nice the Konden will
come and get you!". Each region has changed the rhythm somewhat, especially
the dunun.
(from "Mamady Keita; a life for the djembe")

II. Konden is the mask that protects the older bilankoro in the days leading up
to their circumcision. Very handsome, he is also a fine dancer, which accounts
for his popularity amongst the young. The best Konden are to be found in the
current prefecture Siguiri (upper Guinea) and the village of Banfeleh in
particular. There is a reputation of inventing the finest dancemovements, but
also of being quick to strike out with his riping crop to punish naughty
children. He is somewhat like the "bogeyman".
(part from text from Mogobalu-CD from Mamady Keita)

III. Konden (Konding) is a Doundounba rhythm

(sais Koungban Konde Master Drummer and Leader of Percussionist De Guinee
according to Baba Aidoo)

IV. Konden is most definitely *not* a Dununba rhythm, It is a mask dance, and
was performed as part of traditional end-of-Ramadan festivities.
(according Jim Banks who asked Famoudou Konate).

V. Mamoudou "Delmundo" Keita, who teaches in the Hamana-style from Upper

Guinea, has made one CD "House of Roots". Track 3, "Yaya" (Doundoun gbe,
Konden, Bandogialli, Bolokonondo) is dedicated to his father Fa Daman Keita:
".....He was also reknown as a great dancer of the traditional dance of the
strong men / warriors. Here it´s brought together in four different
doundounba-rhythms...." Delmundo also sais: "Konden is the only Dununba that
is played fast".

VI. Serge Blanc's book, 'Le Tambour Djembe' lists Konde as a member of the
Dununba group from Kouroussa.

VII. Youssouf Koumbassa on his video 'Wongai' also states in the introduction
to the Doundoumba that it is called Konde.

VIII. In the book Traditional West African Rhythms from Åge Delbanco, the
rhythm
Konde is annotated. Sources are different members of the Konate-family. It
sais : "Dununba from Guinea (Malinke).

Banfeleh, Banfeleh, Konden de wa banfeleh,

Konden Fadima djy karo bada böö, Konden de wa Banfeleh

"Banfeleh, banfeleh, the Konden will go to Banfeleh

the time has come for the circumcision of Fadima Konden
the Konden will go to Banfeleh.

This Konden II notation is from the Kouroussa-region in Guinea.

WAP-pages / Paul Nas / Last changed at 06-10-2001

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

Kenkeni

. . O . . . . O O . . . . . O . . . . O O . . .
x . x x . x . x x . x . x . x x . x . x x . x .
or x . x . x x . x x . x . x . x . x x . x x . x .

Sangban

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

Dun Dun

. O O . 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 . .
r . r l . . r . r l . . r . r l . . r . r l . .

Djembé 2

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

index | legenda (nl) | legend (en) | inleiding (nl) | introduction (en)

Thanks for taking notice of this interpretation of this rhythm but please consult some real
authoroty's (like Famoudou Konaté and Mamady Keïta) or genuine TEACHERS for further
study. Check also the other SITES WITH RHYTHM-NOTATIONS on West African
Percussion on the Internet. And share your knowledge and ideas to these WAP-pages and to
others.
Konkoba I
The Konkoba (Concoba) is a rhythm connected to the farming. Farmers are
working / dancing on this Konkoba-rhythm. The Konkoba Dundun is also played
when the farmers go back to the villages. Another way that the rhythm was
used was to honour mighty or rich farmers. There are differences between
the regions (Kouroussa, Mandiani, Faranah) in the explanation of Konkoba. Also
have musicians made their own musical interpretation of Konkoba. Konkoba II
is a dance-variation and Konkoba III is a very fast one, in 4 beats, played in
ballets.
"Konkoba rhythms being played while working in the fields. Konkoba is also
played in honor of a powerfull and rich farmer and for this reason the rhythm
is also known as the "rhythm of the good workers". The word Konkoba means
forest, jungle." (Mamady Keita: A life for the Djembe")
"A rhythm to to support the farmers in the fields with the " Daba" (the hoe). A
young man is acknoledged as a "Konkoba" for his strenght and speedworking
with his Daba. He has many fetishes and is therefore feared. The word
"Konkoba" refers both to the person and the rhythm." (text in booklet with
CD Guinea: malinke rhythms and songs (volume I) from Famoudou Konate.
"The fields have been prepared for planting, Konkoba has completed his work
and returns to the village. He's wearing a head-dress of antilope horns, and a
hide adorned with bells, mirrors and cowry shells around his hips that jingles
with every step. His adornments have potected him and given him the strenght
to complete his difficult task. Konkoba is also the name of the rhythm that
animates the one who is returning home, and the rest of the village, to dance."
(Text in booklet with CD Hamana Foli Kan of Famoudou Konate).

WAP-pages / Paul Nas / Last changed at 06-05-2005

Konkoba is a rhythm with 6 beats in 18 pulses . This call is useually one with 4
beats.
Call
. . . . . . T . T T . T T . T T . .
. . . . . . f . r l . r l . r l . .
In most areas the bass drum sextion consists only of two drum and according
patterns (sangban and dundun). Kenkeni patterns are added in different ways.
So this gives some possibilitys:
Kenkeni 1

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

Kenkeni 2

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

Kenkeni 3

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

Sangban 1

O . O . . . c . . O . O . . . c . .
x . x . x . x . x x . x . x . x . x
x . x x . x x . x x . x x . x x . x

Sangban 2

O . O . . c c . O . O . . c . c .
x . x . x x . x . x . x . x x . x .

Sangban 3a

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

Sangban 3b

O . O . . . c . . O . O . . c c .
 x . x x . x x . x x . x . x x . x .

Sangban 4 (Famoudou Konate: CD Hamana Foli Kan)

Here the sangban pattern is in a subtle way inspired by what is normally the
Doundoun pattern.

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

Doun Doun

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

Djembé 1

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

Djembé 2

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

Djembé 3

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

Djembé 4

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

Djembé 5

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

You can make the konkoba rhythm on two djembe's (6 and 7):
Djembé 6

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

Djembé 7

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

Djembé solo accompagnement 1

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

Djembé solo accompagnement 2

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

Djembé solo accompagnement 3

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

Djembé solo frase 1

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

Djembé solo frase 2

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

Djembé echauffement

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

index | legenda (nl) | legend (en) | inleiding (nl) | introduction (en)

Thanks for taking notice of this interpretation of this rhythm but please consult some real
authority's (like Famoudou Konaté and Mamady Keïta) or genuine TEACHERS for further
study. Check also the other SITES WITH RHYTHM-NOTATIONS on West African
Percussion on the Internet. And share your knowledge and ideas to these WAP-pages and to
others.