Také / Tague / Marakadon

Také is a rhythm coming from the Soninké-people in Mali. The Soninké, living in the Kayes-region, are neighbours of the Malinke and Bambara. The Bambara-people call the Soninké often "Maraka" (and the French say 'Sarahule' or 'Dafing'). When on festivities by the Malinke or Bambara also the Soninké / Maraka-people were invited, in hounour of the guests the Marakadon (with the rhythm Marakafoli), the dance of the Maraka, was performed.
In Mali normaly only twobassdrums are used. (Doundoun + Sangban or Sangban + Kenkeni). But the Malinke-people added an accompanying extra patterns for the third drum or sjekere's.
The first song is about a woman that is going to merry soon.

Aye,n Demeyo Dembalou, aye demeyo n'kele dessé
Aye'n Demeyo Tubabou aye demeyo 'n kele dessé
( help me all mothers, (help me all the white people) because I can't do it on my own)

The lyrics of the song below are dedicated to a king and a princes. It is a reminder to the responsabilitys that they have for their subjects. As their subjects affirm their dependance on their rulers they also express the wish that their rulers will treat them well, for in their traditional society their leaders exercised almost every right over them.

Iéé djoundjouba lé, sora kassi da kaban!
Eéé Mögölou, Danga sirala, sora kassi dah,
Mögöbè ni igna souma mansa.
Anta Famah, anta djonty mödén, anta
Anta Famah, anta nissitigui mödén, anta
Anta Famah, anta djélitigui mödén, anta
Anta Famah, anta baatigui mödén, anta

Ah, it is an important matter, the eldest son has ceased to weep
Oh, people, the eldest son wept on the road to Danka
Every man has a chief who cures his eyes
(=who is the source of his happiness)
Our Famah,
(King) the grandson of the slave master, is very much ours;
Our Famah, grandson of the owner of the cattle, is very much ours;
Our Famah, grandson of the master of griots*, is very much ours
("griots"=wandering poets and musicians who were often attributed with supernatural powers)
Our Famah, grandson of the owner of goats, is very much ours

WAP-pages / Paul Nas / Last updated on 1-1-2015



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

Djembé accompagnement
S . T S . B S . T S . B S T S . B S . T S . B
r . r l . l r . r l . l r . r l . l r . r l . l

Two basic patterns:
Pattern 1 (lowest)
O . . C . . O O . C . . O . . C . . O O . C . .
x x . x x . x x . x x . x x . x x . x x . x x .

Pattern 2 (highest)
O . C . C . o O . O . O O . C . C . o O . O . O
x . x . x . x x . x . x x . x . x . x x . x . x

Combination (high / low)
h . . O . O . . O . O . O . . O . O . . O . O . O
l O . . . . . . . . . . . O . . . . . . . . . . .
x . x . x . x x . x . x x . x . x . x x . x . x

Extra pattern A (kenkeni / sjekere)
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 .

Extra pattern B (kenkeni / sjekere)
O . . . O . O . . . O . O . . . O . O . . . O .
x . x . x . x . x . x . x . x . x . x . x . x .

Serge Blanc names the following combination of drums:
Kenkeni
. . O . O . . O . O . O . . O . O . . O . O . O
x . x . x . x x . x . x x . x . x . x x . x . x

Combination (where the second bel is my own idea for the bell-pattern)
S . . . 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 x . x
x x . x x . x x . x x . x x . x x . x x . x x .

Djembé solo phrases:
phrase 1
B S T T S . B S . B S .
3 x r l r l r . r l . l r .

B S T T S S T S . B S .
1 x r l r l r l r l . l r .

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

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

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

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

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

phrase 4
S S S . . S S S S . . S
f r l . . l f r l . . l

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

phrase 5 (ß = flam T/S)
S S ß . S S ß . S S ß .
r l f . r l f . r l f .

S S T . S S ß . S S ß
r l 2 . r l f . r l f

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

Lowest bassdrum pattern for djembe phrase 6
O . . . C . . . O O O .
x . x . x . x . x x x .

Echauffement for lowest bassdrum
O . . . O . O . . . O .
x . x . x . x . x . x .

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

Djembé solo accompagnement
B s T T S s B s T T S s
r l r l r l r l r l r l

Some ideas for echauffement highest bassdrum
normal:
O . C . C . o O . O . O
x . x . x . x x . x . x

echauffement 1
O . O O . . . O . O . O
x . x . x . x x . x . x

echauffement 2
O . . O O . o O . O . O
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.