G' Beredu

G'Beredu is a Dounounba-rhythm; a dance for the strong men, from the Malinke in the Hamana-region in Guinea.
This Dounoumba is named after a specifiec part of the Hamana Region. There is known some confusion about the existance of G' Beredu I and II. I have found that what some have learned initially as Konowoulen II (or G'Beredu II) is in just G'Beredu.

Sources:
Lessons: Martin Bernhard and Mamadou 'Delmundo' Keïta.
Written material: Åge Delbanco and Michael Wall, both learned it from Mambiba Baegne. Paul Janse and Marc Willems (as Konowoulen II) both learned from Ponda O Bryan, Rob den Brasem; West Afrikaanse en Cubaanse ritmes.

WAP-pages / Paul Nas / Last updated on 31-07-2007



Call
. . . . . . . . . . . . S S T S S S . . . . . .
. . . . . . . . . . . . r l r l r l . . . . . .
K . . . . . . . . . . . . . . . . . . . . O . O O
S . . . . . . . . . . . . . . . . . . . . C . . .
D . . . . . . . . . . . . . . . . . . . . . . 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 . O O . . . . O . O . . . . . . C . . C . . .
x . x x . x . x x . x . x . x x . x . x x . x .

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

Sangban variation 2
O . O . O . O . O O . . . . . . . O . . O . . .
x . x . x . x . x x . x x . x . x x . x x . x .

Sangban variation 3
O O . . . . O O . O O . . . . . . . O . . O . . .
x x . x x . x x . x x . x x . x . x x . x x . x .

Doundoun variation 1
. 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

Doundoun variation 2
. 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

Doundoun variation 3
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 x

Doundoun variation 4
. . O . O . O . . O O . O . . . . . . . . . O O
. x x . x . x x . x x . x . x . x x . x x . x x

Doundoun variation 5
. O . O . O . O O . O O . . . . . . . . . . O O
. x . x . x . x x . x x . x x . x x . x x . x x

Intro (from Åge Delbanco)
S S T S S S . . . . . . . . . . . . . . . . . .
S . . . . . . . . O . . . . . O O . . . . O . . .
. . . . . . . . x x . x x . x x . x x . x x . x
D . . . . . . . O . . . . . O . . . . . O . . O .
. . . . . . . x x . x x . x x . x x . x x . x x

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

. . . . . . . . . . . . k e n k e n i s t a r t
S O . O O . . . . O . O . . . . . . C . . C . . .
x . x x . x . x x . x . x . x . x x . x x . x .
D . 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

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

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

Echauffement
Starting the echauffement:
. . . . . . . . . . . . T . T T . T T . T T . .
S O . O O . . . . O . O . . . . . . C . . C . . O
x . x x . x . x x . x . x . x . x x . x x . x x
D . 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

T T S S S S S S S S S S T T S S S S S S S S S S
S 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
D . 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

Repeat:
T T S S S S S S S S S S T T S S S S S S S S S S
S . . 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
D . 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

ending the echauffement
T T S S . T T T T S S . . . . . . . . . . . . .
S O . O . O . O . O O . . . . . . . C . . C . . .
x . x . x . x . x x . x x . x x . x . x x . x .
D . 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 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.