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drissa kone, jaraba jakite  -  The jenbe realbook vol. 2 (english version)

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  • Format : Livre

  • Etat général : original neuf
  • Etat de l'article : Neuf

  • Label : bibiafrica
  • Pressage : Deutschland
  • Année : 2008
  • Commentaire : The Jenbe Realbook Vol. 2 This music book contains the complete transcriptions ... Voir plus bas

  • Quantité disponible : 9
Commentaire du vendeur :
The Jenbe Realbook Vol. 2
This music book contains the complete transcriptions of the CD: ?The Art of Jenbe Drumming: The Mali Tradition Vol. 2 (bibiafrica records 2008)
The tracks
CD Track number. Title Playing Time Page number
1 Sanja 02:37 1
2 Sunun 03:10 5
3 Suku (+ Farabaka) 04:17 10 (+ 15)
4 Numun-dòn 02:47 20
5 Fura 02:34 25
6 Bòbò-fòli 01:03 28
7 Dansa 03:44 30
8 Bara 03:37 36
9 Sogolo 02:57 41
10 Kirin 03:15 45
11 Jina-fòli 04:29 51
12 Tansole 03:30 57
13 Nyagwan 03:23 63
14 Manjanin 04:22 67
15 Garanke-dòn 04:09 77
16 Sumalen 01:58 85
17 Niare bòn ka lajè 01:51 88
18 Degu-degu 01:59 92
The musicians
Jenbe: Jeli Madi Kuyate (Tracks 1 – 3)?
Drissa Kone (Tracks 4 – 15)
Jaraba Jakite (Tracks 15 – 18)
?Dunun: Madu Jakite (all tracks)
The recordings
Performances 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. The studio recordings presented in this CD originated in the years 1995 to 2006. 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 recordings are an attempt to represent the aesthetic ideals of the classical Bamako duo-style. 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.
The transcriptions
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.
The following sound symbols are used in the transcriptions:
S open jenbe slap
S closed (or muffled) jenbe slap
T open jenbe tone
T closed (or muffled) jenbe tone
B jenbe bass
. jenbe tip (or ghost note)
X closed (or muffled) dunun stroke
O open dunun stroke

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.
Working with these notations
Working with the transcriptions in this book helps familiarisation with the Bamako jenbe music only when it is accompanied by continual reference to the sound recordings. It is only through listening to the recordings that one can gain a conception of the sound that should be produced by playing the notations. It is advisable to listen to the accompanying CD "The Art of Jenbe Drumming - The Mali Tradition Vol. 2" as often as possible.
When practicing with the book, you should listen to the CD at the same time. One good practice method, designed to internalise the sounds, feelings and phrasing, is to listen to the CD and synchronously play the dunun or a jenbe accompaniment pattern. In this way it is possible to imitate the manner of education of jenbe players in Mali, who receive no direct tuition, but rather play accompaniment patterns at celebrations for their master for many years. This type of learning is not the fastest, but certainly the most profound.
Practical tip: for listening to the CD I use closed studio/monitor headphones, with additional professional ear protection under the headphones. The headphones dampen the sound of my own instrument, and give a balanced soundscape. The additional ear protection reduces the higher overall exposure, without overly distorting the complete sound.
The more you have played accompaniment while listening to the CD through headphones, the more it will be worthwhile simultaneously and attentively listening to the solo player and reading the notations. Eventually it will be possible to play the tracks, or parts thereof directly from the notations, either live (in a duo) or synchronously with the CD, or with the dunun pattern as a loop (through the headphones). Admittedly, this will bring more satisfactory results, the more the player has immersed him/her self in the music by following the hearing and accompaniment playing method described above.
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.
Problems with the notation
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.



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  • Pays d'expédition : Deutschland
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