Djabara

The name of the rhythm Djabara (Yabara) comes from the music-instrument. It's from the Wassolon-region and is a rhythm of greeting of (high positioned) guests of the village. During the "french" period it was urged to play this rhythm for french gouvernement officials.

Burama den nde fisa, Denko waliyadi, Burama den nde gnokonte, Denko waliyadi...

Burama, you really need a child, Burama, the child is indispensible

Sources:
Lessons from Martin Bernhard and Mamady Keïta.
Written material from Ushi Bilmeier & Mamady Keïta, Serge Blanc, Paul Janse, Rafaël Kronberger en Larry Morris.

WAP-pages / Paul Nas / Last updated on 03-12-2006



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

Kenkeni
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 .

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

Doundoun
O . . c . . O . . c . . O . o o . o O . . c . .
x . x x . x x . x x . x x . x x . x x . x x . x

Closing Break
S S S . T . T . S S . S S . . . . S S . S S . S S
2 r l . r . r . r l . r l . . . . r l . r l . r l
doun . . . . . . . . O O . O O . . . . O O . O O . O O

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

Djembé 2
T S . b S . T S . b S . T S . b S . T S . b S .
r l . l r . r l . l r . r l . l r . r l . l r .

Solo 1; phrase 1
B . . B . . B . . B . . B . . B . . B . B S S S
r . . r . . r . . r . . r . . r . . r . l 2 r l

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

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

phrase 3
S . . B . . B . B S S S S . . B . . B . B S S S
r . . r . . r . l 2 r l r . . r . . r . l 2 r l

phrase 4
S . B S S S S . B S S S S . B S S S S . . S . B
r . l 2 r l r . l 2 r l r . l 2 r l r . . r . l

phrase 5
S T T S T T S . B S S S S . . B . . B . . B . B
2 r l 2 r l r . l 2 r l r . . r . . r . . r . l

phrase 6
S T T S T T S . . B . B S T T S T T S . . B . B
2 r l 2 r l r . . r . l 2 r l 2 r l r . . r . r

phrase 7
S T S T S . S T S T S . S T S T S . S T S T S .
2 r l 2 r . 2 r l 2 r . 2 r l 2 r . 2 r l 2 r .

phrase 8
S T T S . T S T S S S . S S . . . S S . S S . S S
2 r l r . 2 r l r l r . r l . . . l r . r l . 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.