Djelidon / Djelifoli / Sanja / Lamba

Djelidon, Djelifoli, Lamba or Sanja (the last one means Happy New Year in the Bambara language) are all desingnations for dance wit Malian origin, that was traditionally performed by the djeli, the griot (don is dance). .It was accompanied by the balafon or kora. Nowadays more drums are used and also played by the djembe ensemble. There are several interpretations where differences show in the feal of the placing of the beat. It seems that the are shifted a half count with respect to each other. For better use here I call one variant "Sanja" from Mali and the other "Lamba" from Guinea (but in fact it's all Sanja / Lamba / Djelidon / Djelifoly!)
In Mali normally is played with only two douns. In Guinea sometimes a third (doun) pattern is added for kenkeni or another instrument.
Malian rhythms often start slowly (with a song) and speed up to accompany the dance. In the slow part there is time for microtiming; "to pull some of the pulses together" (You can find more about microtiming in an article and book by Rainer Polak; see the Djembémande website.). The solophrases are short and with an accent op de 7th puls, within the second measure (in the Lamba-variant that is).
There are many interpretations of the rhythm and it's songs. Two essential differences show below. As Stephan Rigert puts it well: "Sandia is a good example to widen the borders of our metrical musical understanding." Beside the version he descrobes in his book, "many would notate in a way that "his" 4+ (halfway between 4 and 1) would be the 1 (as a starting point for call, main accent and dance)." Try and feel both beats.
O O . O . O . . O O . O . O . . O O sangban
. . . O . . . . . . . . . . . . . . doun doun.
. . . . . T T S T T S T T S . . . . call 1
. . . S . T . T . T . T . T T S S . call 2
S . B S S T T S S . B S S T T S S . djembe 1
. . . T T S . . S S . T T S . . S S djembe 2
. 4 . . . 1 . . . 2 . . . 3 . . . 4 beat "lamba"
. . . 1 . . . 2 . . . 3 . . . 4 . . beat "Sanja"

Sources: .
Lessons from Drissa Koné, Ponda O'Bryan, Mamady Delmundo Keïta, and Kaloga Traore.
Written material from Famoudou Konate, Ponda O'Bryan, Paul Janse, Serge Blanc. Stephan Rigert, Rafael Kronberger and Larry Morris.

WAP-pages / Paul Nas / Last updated on 12-08-2012



Sanja / Djelidon
Lessons Drissa Koné, (and the book of Serge Blanc).
Call
S . T . T . T . T . T T S S . .
f . r . r . r . r . r . r l . .

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

Doundoun
O . . . . . . . O . . . . . . .
x . x . x x x x . x . x x . x

Doundoun variation 1
O . . . . . O O . O O . . . . .
x . x . x . x x . x x . x x . x

Doundoun variation 2
O . . . . . O O . O O . O O . O
x . x . x . x x . x x . x x . x

Extra pattern (Kenkeni)
O O . . O O . . O O . . O O . .
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 x

Djembé accompagnement (watch the slight delay in 2nd and 10th puls
T T S . b S S . T T S . . b S S
r l r . r l r . r l r . . l r l

Djembé solophrase 1
S S . B S S . . S S T T S S . .
r l . l r l . . r l r l r l . .

Djembé solophrase 2 (watch the microtiming)
T S S T T S S T T S S T T S S T
r l r l r l r l r l r l r l r l

Lamba
Source: Lessons from Ponda OŽBryan
Call
T T S T T S T T S . . . . . . .
r l r l r l r l r . . . . . . .
K . . . . . . . . . . . . O . O .
S . . . . . . . . . . . . . . O .
D . . . . . . . . . . . . O . O .

Kenkeni
O . . . O . O . O . . . O . O .
x . x . x . x . x . x . x . x .

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

DounDoun
. . . O . . O . . . . . O . O .
x . x x . x x . x . x . x . x .

Djembé solofrase 1
. . . . . . . . . . . . S . S .
. . . . . . . . . . . . f . f .

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

Djembé solofrase 2
. . . . . . . . . . . . T T S S
. . . . . . . . . . . . r l r l

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

Djembé solofrase 3
. . . . . . . . . . . . T T . T
. . . . . . . . . . . . r l . l

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

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

Djembé solofrase 4
. . . . . . . . . . . . T . S S
. . . . . . . . . . . . f . r l

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

Djembé solofrase 5
. . . . . . . . . . . . S S S S
. . . . . . . . . . . . 2 r l r

S S . S . . S . . . . . . . . .
l 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.