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Lesson Two: More variations
Lesson
Two
More variations on four-four:
Another common, basic variation is to emphasize a bit of "three"
feel in the first bar, like so:
D - - g - g d g D - D - d g d g
Click
for sound:
RealAudio - Track1-4
The two rest beats after the "D"
give the effect of a triplet, the basic unit of 6/8 time. Using
that effect in a four-four beat gives it an extra dynamic, the second
basic key to world-beat music.
Really, the possibilities are endless. Let's take the feel back
to a "two" feel, with a Hi-Lo effect:
D - D - T - T - D - d g - g d g
Click
for sound: RealAudio - Track1-5
Now there's more emphasis on the left-hand beats, "d" becoming "T", a clean sharp stroke accentuated by rests. With the extra rests in the first bar, there is time enough to switch hands for balance:
D - G - T - P - D - d g - g d g
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Samba, Part
One:
Now, for fun, let's slide the line
left by half a bar (and play both slaps with the lead hand) so that
it looks like this:
Click
for sound:
RealAudio - Track1-6
We're still in "two" feel, but now it's high-low (from T to D). This is the basis of Samba--along with the "world-beat" hitch as discussed above. There are many, many ways to carry this samba feel; the example here is just one possibility. Focus on the high-low intro, and the "g - g" gap in the middle, and it's hard to go wrong. Reduced to the basics, it could be played simply as:
T - T - D - - g - g - g D - - -
Click
for sound:
RealAudio - Track1-7
Play around with that one for awhile and a dozen samba beats will arrive smiling, hips rolling.
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Samba, Part
Two:
Here are some parts to accompany
the above samba rhythm:
First, a basic eight-beat pattern to keep it steady:
P - P d G - G D
Click
for sound:
RealAudio - Track2-9
Next, some percussion elements:
_______ _______ _______ _______
| | | | | | | | | | | | | | | |
shaker x x x x x x x x x x x x
guiro (scraper) d u d u d u d u d u d u d u d u
clave (sticks) x x x x x x x
bell (hi-lo): L H H L L H H H L
underline=stressed
d=down stroke, u=up stroke
Put it all together and have some fun!
These are only a few of the infinite variations of samba. One of the more basic variations is to reverse the high-low swing of the drum parts, to a low-high feel:
_______ _______ _______ _______
| | | | | | | | | | | | | | | |
D g d G G g d(g d g)
Click
for sound:
RealAudio - Track1-8
or... D D T d G G g d g d g
Click
for sound:
RealAudio - Track1-9
By comparing these two you can see the common elements that gives the samba its distinctive flavor: the low-high swing, and the hitch in the middle [G - G]. (For a look at another samba dynamic at work in a 6/8 rhythm, see the exercise about Tiriba).
The first of these two patterns is essentially the same as a common Nigerian rhythm taught by Olatunji (see below).
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Triple Overtime
This is an original composition
that combines the "hitch" feel of a Samba (djembe 1),
the complexity of a round (djembes 1 & 2), and the steadying
influence of an eight-beat repeated phrase (djembe 3).
Note that in the main samba-like part (djembe 1), the low-high movement
is doubled in the second two bars.
_______ _______ _______ _______
| | | | | | | | | | | | | | | |
djembe 1 D G d T P G G T P D G T P
djembe 2 G T P D G T P D G d T P G
djembe 3 d g T d g D G d g T d g D G
shaker x x X x x x X x x x X x x x X x
junjun X * * * X
(* = X + k; bass beat plus bell)
djembe 1:
djembe 2:
djembe 3:
shaker:
junjun:
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Olatunji (Nigerian) rhythm for Aiye Mi Re, Akiwowo, and Kiya Kiya:
_______ _______ _______ _______
| | | | | | | | | | | | | | | |
D g d G G g d
Click
for sound:
RealAudio - Track1-15
Note the similarity to the low-high samba.
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Uruguayan
Trance Rhythm
This is a beat used in the
latest Trance
Dance with great success. It's
adapted from Candombe, a traditional trance rhythm of Uruguay taught by Joseph (Pepe)
Danza. The effect was very powerful, with an almost instant trance
effect. The bass beats come in unusual places (the second beat of
the bar), and the three primary drum parts blend in a hypnotic way.
Parts 2 and 3 are tricky to learn because the "d G" opening
reverses our expectation of how a rhythm begins. The key is to focus
on and accentuate that opening "d" as the one-beat. But
note that it's the unplayed beat in Part 1.
_______ _______ _______ _______
| | | | | | | | | | | | | | | |
Drum 1: - g d g - g d g - g d g - g d g
Drum 2: d G d g d G d g d G d g D - - -
Drum 3: d G - - G - d g D - D - D - - -
Jun-Jun: X - - X X - - X X - - X X - - X
sticks: x - - - x - - - x - - - x - - -
Tips:
Part 1: To keep good time, play
the silent one as a "ghost" note on the side of the drum
with the left or lead hand.
Part 3: The second G departs from strict alternation of hands
by beat; but it helps give an overall balance with the final three
D's, and gives a certain desired tone quality. The middle D might
be varied as a G if desired; but again the repeated bass with the
same hand gives a certain repetitive effect hard to achieve by using
both hands.
Sticks: The stick part wasn't taught as part of the traditional
rhythm. But we've found with the trance dance step we use (from
West Africa) that it's helpful to use the regular stick beat as
a constant timekeeper. It also induces its own trance effect; as
the Australian aborigines do so well with sticks.
Here is Pepe Danza's version of Candombe, with a note about its origins:
"Candombe is a transformation of rhythms that came probably from Nigeria and/or Congo. I would say it is mostly an urban phenomenon, being a dance rhythm used in celebrations and carnival in Uruguay. It is definetly a trance rhythm and we play for hours with many variations. The drums that play it are called TAMBORILES. As in so many afro traditions, it is the interplay of three drums that create the feel. These are called CHICO, PIANO and REPIQUE. There's more parts to candombe. It's incredibly rich and complex!. The original Tamboriles are played with stick and hand, and these are my own adaptations for djembe.
"The basic drum parts are as follows:"
_______ _______ _______ _______
| | | | | | | | | | | | | | | |
Chico - p t p - p t p - p t p - p t p
Repique g p - g p - g p - g p t g - p -
variation - p - g p t g p - p - g p - - -
Piano (jun jun) M - - X - - - - - - - X X - - - M=muted
The sticks or clave should be playing 3-2 clave or
x - - x - - x - - - x - x - - -
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to Rhythms of the Week, Lesson Four
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to Rhythms of the Week, Lesson Five
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to Rhythms of the Week, Lesson Six
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to Rhythms of the Week, Lesson Seven
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to Rhythms of the Week, Lesson Eight
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