DjembePerformances in a duo ensemble - one jenbe, one dunun - were typical of the music for celebration style of Bamako in the 1960's and 70's and into the 80's. Nowadays larger ensembles are normal. The Bamako style has been influenced by the playing styles of Conakry, Abidjan and also the international jenbe scene in Western countries.
The jenbe player in a duo ensemble carries a great responsibility: he must continually bring groove and individual expression together. Drumming fireworks and heated ornamental expression is only half of what's required. The repertoire of drumming rhythms, each with a character and design all of its own, are in such a way articulated, that the concentration on the essence of the rhythm is identified, i.e. the fundamental patterns, feelings and phrasing which each rhythm characterises. An art of playing which realises this, is described as "deliberate" or "considered"; literally "composed" (Bamana: "basigilen"). This insistence on the fundamental issues is the speciality that distinguishes the Bamako style.
In the international scene of West African drumming it has been standard for some decades not to assign notes and rests, but rather to notate the beats in a graphical form. This raster is supposed to denote the so called elementary pulsation, a background and fundamental pulsation of fast and equally-spaced (isochronous) time intervals, which, as the smallest metrical units, define the timing, perception and the ensembles’ synchronisation of the polyrhythms. In concordance with this idea, all the rhythms in this book are notated with reference to a metrical system of 12 or 16 pulses.
While the basic sounds of the jenbe are mostly clearly discernable, there are sometimes differentiations and transitions. For example, the hand is often relatively loose, and sometimes also rounded in the Bamako style of jenbe playing. This makes it sometimes difficult to distinguish between open and closed slaps, or between simply quieter strikes and tips. (...)
It is hopefully self evident that no notation book can replace working with a good teacher. Moreover, it is not possible to get around playing and practicing the material, neither by working solely with such a book, nor by only receiving tuition from a good teacher. When someone wants to master an instrument, or merely play with a basic technical solidity, whether it is the violin or jenbe, piano, trombone or dunun, it requires intensive practice over many years on that instrument. The potential contribution of a book of notations like the Jenbe Realbook is restricted; it can merely help to access the ideals.
A reflected approach to notations in the case of jenbe music is especially important. After all, it was until only a few decades ago a matter of the music being passed on purely by listening and repeating. While European notation and music theory has developed together with the occidental music over circa a thousand years, music ethnologists began only in the 1960's to write down and analyse the west African percussion music; i.e. notation of jenbe music began only about 30 years ago. It is not surprising that the notation system of jenbe music is not yet so correct, as it may one day become. I would now like to address two serious problems.
Ambiguities regarding the beat
Most jenbe rhythms reveal a clear beat reference point. Although this can be strongly offset by counterbalances produced by certain accent structures, it will never be completely overridden. Some rhythms however appear to allow two different interpretations. In this group belongs Sanja (also called Jeli-foli or Jeli-don), a rhythm of the Jeli (griots) from Western Mali. The interpretation which I now prefer identifies the beat with those pulses, on which most steps of the dancers, hand claps of the singers and onlookers as well as the starting point of the jenbe solo players patterns fall. Most Europeans however hear the rhythm the other way around, earlier I too heard this rhythm the other way. This alternative perception shifts the beat two pulses backwards; so this beat is positioned for me nowadays in off-beat; its "1" on my "1 and". Both perceptions suggest something out of the ordinary: my current interpretation means that some very common accompaniment patterns appear to be placed in unusual places regarding the beat. The alternative means that the jenbe signal would start on the "4 and" and not on the "1"
So which of these two views is correct? If anything that is the wrong question. In my opinion the better arguments - dance steps, hand clapping patterns, breaks - speak in favour of the first perception. But the second perception also offers advantages. For example, some jenbe solo players play complex improvisations with triplets, which according to my notation start and end in off-beat. According to the second interpretation, these improvised and expressive rhythmical excursions go together with the beat and are therefore easier to play.
It appears to me that for the jenbe and dunun players in Mali the pattern |TTS..SS.| in the rhythms Sanja and Bara are actually the same as |S..SS.TT| in Dansa or Tansole. For these musicians one pattern does not change into another because of a different beat reference. The relationship to the other parts of the ensemble is first and foremost the determining factor, particularly the main pattern of the dunun. The perception by Europeans is in contrast heavily driven by a linear measure. In our perception a changed beat reference can cause a quasi turnaround of the pattern, which can in turn take on a completely different figure.
If we want to get closer to jenbe music and its corresponding musical concepts, we have to try and disassociate ourselves from our excessive dependence on a linear metric system. Alternative beat references for a rhythm should not in this sense be understood as competitive, and ultimately pretentious demands on the rights of interpretation. They can also coexist. Thus it is a good exercise to learn rhythms such as Sanja and Bara twofold, i.e. to hear and play the same patterns in two different beat relationships, and then to change the beat while playing, to learn quasi to switch. Admittedly this is not an end in itself, but rather serves, by practice, to loosen oneself from the beat. The goal is to play figures in relation to other figures. Furthermore, the abovementioned and widely popular jenbe accompaniment pattern doesn't really meet very well either the notation |TTS..SS.| or |S..SS.TT|. It is better described as |SS.TTS..| : the player starts as a rule with the two slaps. When verbalised the figure is also begun with the two slaps ("gapang kidipang" or similar). The longer two pulse rest delimits the pattern, afterwards the next unit begins. The two tones are neither the start nor the prelude, they are in the middle of the pattern. A one dimensional beat driven orientation is if anything impedimental to the path towards a pattern orientated conception. The deciding factor is the practice of the perception of the pattern, and this is most successful when one plays the solo jenbe solely with the dunun (in duo or through headphones). It is advisable when practicing to dispense where possible with a metronome or beat orientated accompaniment parts, except for new patterns which are not yet stable.
Feeling
The elemantary pulsation of most jenbe rhythms from Mali does not consist of a string of pulses which have a consistently even spacing. Rather the sub-division of the beats is structured by 3 or 4 faster irregular pulses: the single pulses have different lengths. The long and short pulses generate regular patterns, and repeat themselves after every beat. This patterns remains stable during the course of most tracks. We can describe them as "metrical feelings". Each of these feelings creates a certain swing. The Bamako jenbe music knows at least four such feelings. There is for example the ternary feeling of the type "short-medium-long-short-medium-long-...", to which many important rhythms from the region Manden belong, for example Suku and Manjanin. Numun-don is also among this type. Then there is a second ternary feeling with the model "long-short-short-long-short-short-...". This feeling forms the basis of some known rhythms from the Wasulun region, eg. Kirin but also others such as Sumalen and Bòbò-fòli. A number of rhythms with the feeling "long-short-short-..." contain the option of an additional pulse, which subdivides the first long pulse in two shorter ones. This additional pulse appears not only selectively, for example as an ornament (flam/roll), but also in basic patterns like echauffements and signals. When the motional pattern of the jenbe player is considered, it becomes obvious that we're looking at a pulsation of four. Essentially, the rhythms with the feeling of "long-short-short-..." have more similarities with quarternary rhythms than they do with the ternary rhythms of the "short-medium-long-..." feeling.
The binary "long-short-long-short-..." feeling is known through various styles of Jazz and other Afro-American dance styles. It appears in the Bamako jenbe music in the rhythms Sanja, Fura und Dansa. It is possible, just as in the Shuffle feeling, to perceive these rhythms as ternary, especially in a slower tempo, or at least to intersperse some solo patterns as ternary, like in Bara.
Lastly there is the quarternary feeling "short–medium–long–medium–short–medium–long–medium–…", marked by, amongst others, the rhythms Jina, Sunun and Sogolo.
These feelings appear to have been overlooked in the mediation and appropriation of jenbe music in Europe and America, although Johannes Beer in his accompanying text to Famoudou Konates CD "Rhythmen der Malinke" - a milestone of the global jenbe movement - clearly referred to them and presented the first analysis and interpretations thereof. There exists now a backlog. In our modern society the task of music theory, notation and pedagogy is to assist the understanding, playing and passing on of the integral structures of music forms. Metric feelings are among these underlying structures of jenbe music and other dance music forms. Theory, notation and instruction should adapt to the music forms, not vice versa. According to this, music theory, notation and instruction must be so composed, as to promote an understanding and conveyance of these feelings. This has not been accomplished until now.
This excerpt of "The Jenbe Realbook Vol. 2) is published with kind permission of bibiafrica records & the author:
Dr. Rainer Polak studied social anthropology, African linguistics (including the Bambara language, the lingua franca of Mali), and history of Africa from 1989 until 1996 at Bayreuth University. Since 1991 he has learnt, practiced and researched the jenbe music of southern Mali. Polak worked as a professional jenbe player at celebrations in Bamako for one year in 1997/98, performing at over a hundred weddings, spirit possession dances and other celebrations. He played mostly for Jaraba Jakite, but also Yamadu Dunbia, Jeli Madi Kuyate and Drissa Kone. The ethnological dissertation he wrote based on that experience won the academic prize of the German African Studies Association in 2003/04. In 2006/07 he led a musicological research project on the timing of jenbe rhythms at the Bayreuth University. Polak ranks as one of the outstanding jenbe solo players in Germany. As a teacher he concentrates on the further musical education of jenbe teachers.
The jenbe player in a duo ensemble carries a great responsibility: he must continually bring groove and individual expression together. Drumming fireworks and heated ornamental expression is only half of what's required. The repertoire of drumming rhythms, each with a character and design all of its own, are in such a way articulated, that the concentration on the essence of the rhythm is identified, i.e. the fundamental patterns, feelings and phrasing which each rhythm characterises. An art of playing which realises this, is described as "deliberate" or "considered"; literally "composed" (Bamana: "basigilen"). This insistence on the fundamental issues is the speciality that distinguishes the Bamako style.
In the international scene of West African drumming it has been standard for some decades not to assign notes and rests, but rather to notate the beats in a graphical form. This raster is supposed to denote the so called elementary pulsation, a background and fundamental pulsation of fast and equally-spaced (isochronous) time intervals, which, as the smallest metrical units, define the timing, perception and the ensembles’ synchronisation of the polyrhythms. In concordance with this idea, all the rhythms in this book are notated with reference to a metrical system of 12 or 16 pulses.
While the basic sounds of the jenbe are mostly clearly discernable, there are sometimes differentiations and transitions. For example, the hand is often relatively loose, and sometimes also rounded in the Bamako style of jenbe playing. This makes it sometimes difficult to distinguish between open and closed slaps, or between simply quieter strikes and tips. (...)
It is hopefully self evident that no notation book can replace working with a good teacher. Moreover, it is not possible to get around playing and practicing the material, neither by working solely with such a book, nor by only receiving tuition from a good teacher. When someone wants to master an instrument, or merely play with a basic technical solidity, whether it is the violin or jenbe, piano, trombone or dunun, it requires intensive practice over many years on that instrument. The potential contribution of a book of notations like the Jenbe Realbook is restricted; it can merely help to access the ideals.
A reflected approach to notations in the case of jenbe music is especially important. After all, it was until only a few decades ago a matter of the music being passed on purely by listening and repeating. While European notation and music theory has developed together with the occidental music over circa a thousand years, music ethnologists began only in the 1960's to write down and analyse the west African percussion music; i.e. notation of jenbe music began only about 30 years ago. It is not surprising that the notation system of jenbe music is not yet so correct, as it may one day become. I would now like to address two serious problems.
Ambiguities regarding the beat
Most jenbe rhythms reveal a clear beat reference point. Although this can be strongly offset by counterbalances produced by certain accent structures, it will never be completely overridden. Some rhythms however appear to allow two different interpretations. In this group belongs Sanja (also called Jeli-foli or Jeli-don), a rhythm of the Jeli (griots) from Western Mali. The interpretation which I now prefer identifies the beat with those pulses, on which most steps of the dancers, hand claps of the singers and onlookers as well as the starting point of the jenbe solo players patterns fall. Most Europeans however hear the rhythm the other way around, earlier I too heard this rhythm the other way. This alternative perception shifts the beat two pulses backwards; so this beat is positioned for me nowadays in off-beat; its "1" on my "1 and". Both perceptions suggest something out of the ordinary: my current interpretation means that some very common accompaniment patterns appear to be placed in unusual places regarding the beat. The alternative means that the jenbe signal would start on the "4 and" and not on the "1"
So which of these two views is correct? If anything that is the wrong question. In my opinion the better arguments - dance steps, hand clapping patterns, breaks - speak in favour of the first perception. But the second perception also offers advantages. For example, some jenbe solo players play complex improvisations with triplets, which according to my notation start and end in off-beat. According to the second interpretation, these improvised and expressive rhythmical excursions go together with the beat and are therefore easier to play.
It appears to me that for the jenbe and dunun players in Mali the pattern |TTS..SS.| in the rhythms Sanja and Bara are actually the same as |S..SS.TT| in Dansa or Tansole. For these musicians one pattern does not change into another because of a different beat reference. The relationship to the other parts of the ensemble is first and foremost the determining factor, particularly the main pattern of the dunun. The perception by Europeans is in contrast heavily driven by a linear measure. In our perception a changed beat reference can cause a quasi turnaround of the pattern, which can in turn take on a completely different figure.
If we want to get closer to jenbe music and its corresponding musical concepts, we have to try and disassociate ourselves from our excessive dependence on a linear metric system. Alternative beat references for a rhythm should not in this sense be understood as competitive, and ultimately pretentious demands on the rights of interpretation. They can also coexist. Thus it is a good exercise to learn rhythms such as Sanja and Bara twofold, i.e. to hear and play the same patterns in two different beat relationships, and then to change the beat while playing, to learn quasi to switch. Admittedly this is not an end in itself, but rather serves, by practice, to loosen oneself from the beat. The goal is to play figures in relation to other figures. Furthermore, the abovementioned and widely popular jenbe accompaniment pattern doesn't really meet very well either the notation |TTS..SS.| or |S..SS.TT|. It is better described as |SS.TTS..| : the player starts as a rule with the two slaps. When verbalised the figure is also begun with the two slaps ("gapang kidipang" or similar). The longer two pulse rest delimits the pattern, afterwards the next unit begins. The two tones are neither the start nor the prelude, they are in the middle of the pattern. A one dimensional beat driven orientation is if anything impedimental to the path towards a pattern orientated conception. The deciding factor is the practice of the perception of the pattern, and this is most successful when one plays the solo jenbe solely with the dunun (in duo or through headphones). It is advisable when practicing to dispense where possible with a metronome or beat orientated accompaniment parts, except for new patterns which are not yet stable.
Feeling
The elemantary pulsation of most jenbe rhythms from Mali does not consist of a string of pulses which have a consistently even spacing. Rather the sub-division of the beats is structured by 3 or 4 faster irregular pulses: the single pulses have different lengths. The long and short pulses generate regular patterns, and repeat themselves after every beat. This patterns remains stable during the course of most tracks. We can describe them as "metrical feelings". Each of these feelings creates a certain swing. The Bamako jenbe music knows at least four such feelings. There is for example the ternary feeling of the type "short-medium-long-short-medium-long-...", to which many important rhythms from the region Manden belong, for example Suku and Manjanin. Numun-don is also among this type. Then there is a second ternary feeling with the model "long-short-short-long-short-short-...". This feeling forms the basis of some known rhythms from the Wasulun region, eg. Kirin but also others such as Sumalen and Bòbò-fòli. A number of rhythms with the feeling "long-short-short-..." contain the option of an additional pulse, which subdivides the first long pulse in two shorter ones. This additional pulse appears not only selectively, for example as an ornament (flam/roll), but also in basic patterns like echauffements and signals. When the motional pattern of the jenbe player is considered, it becomes obvious that we're looking at a pulsation of four. Essentially, the rhythms with the feeling of "long-short-short-..." have more similarities with quarternary rhythms than they do with the ternary rhythms of the "short-medium-long-..." feeling.
The binary "long-short-long-short-..." feeling is known through various styles of Jazz and other Afro-American dance styles. It appears in the Bamako jenbe music in the rhythms Sanja, Fura und Dansa. It is possible, just as in the Shuffle feeling, to perceive these rhythms as ternary, especially in a slower tempo, or at least to intersperse some solo patterns as ternary, like in Bara.
Lastly there is the quarternary feeling "short–medium–long–medium–short–medium–long–medium–…", marked by, amongst others, the rhythms Jina, Sunun and Sogolo.
These feelings appear to have been overlooked in the mediation and appropriation of jenbe music in Europe and America, although Johannes Beer in his accompanying text to Famoudou Konates CD "Rhythmen der Malinke" - a milestone of the global jenbe movement - clearly referred to them and presented the first analysis and interpretations thereof. There exists now a backlog. In our modern society the task of music theory, notation and pedagogy is to assist the understanding, playing and passing on of the integral structures of music forms. Metric feelings are among these underlying structures of jenbe music and other dance music forms. Theory, notation and instruction should adapt to the music forms, not vice versa. According to this, music theory, notation and instruction must be so composed, as to promote an understanding and conveyance of these feelings. This has not been accomplished until now.
This excerpt of "The Jenbe Realbook Vol. 2) is published with kind permission of bibiafrica records & the author:
Dr. Rainer Polak studied social anthropology, African linguistics (including the Bambara language, the lingua franca of Mali), and history of Africa from 1989 until 1996 at Bayreuth University. Since 1991 he has learnt, practiced and researched the jenbe music of southern Mali. Polak worked as a professional jenbe player at celebrations in Bamako for one year in 1997/98, performing at over a hundred weddings, spirit possession dances and other celebrations. He played mostly for Jaraba Jakite, but also Yamadu Dunbia, Jeli Madi Kuyate and Drissa Kone. The ethnological dissertation he wrote based on that experience won the academic prize of the German African Studies Association in 2003/04. In 2006/07 he led a musicological research project on the timing of jenbe rhythms at the Bayreuth University. Polak ranks as one of the outstanding jenbe solo players in Germany. As a teacher he concentrates on the further musical education of jenbe teachers.
