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BEAUTIFUL!!!

CK was my performing arts teacher ❤

Beleza Pura

At Calarts the Ladzekpos call this Horsetail Atsia or Togo Atsia. I believe they do that to distinguish between this style and Atsia or "Circle Atsia" which comes from Anyako.

Any of his students here? I learned a lot from his class at Berkeley.

I bought my first Gankoqui bell in Ghana many years ago sweet sound. It is a cow bell used to track live stock. But an essential instrument in african rythms particularly kpanlogo

👍🏼

My life has just changed ❤

Thank you for sharing!

And this is why your average musical education class is actually teaching racism… Simply because they only teach one aspect of music theory (or should I say a cultural philosophy as it pertains to song, dance and instruments). This only a smidgit of what’s in Our Ancestral region of West Africa. We must "decolonize" song, dance and music theory.

Excellent!

As a former student of C.K., I can't thank you enough for posting this...C.K.Ladzekpo changed my life! I will be forever grateful to him.

Me leg wouldn't move when it needed to 🤣

Hats off to the bell player, being pulled’ non stop

love this music!!

love your work!!

3:00 Bla-ka-tu-ba vs. counting through all the subdivisions or crossrhythms 4:30 Clavé's connection: transposed from 12/8 to simple duple that is that basic 6:4 crossrhythms omitting the faster notes 7:00 Gangokui demo

8:04 Do you use any 5:4 polyrhythms in Ewe?

7:15 Three against four. There are four phrasings.

6:00 Bla-ta-tu-cah. 6 against 4 polyrhythm vocable

This series is just phenomenal, thank you so much for posting. This is taught in such a fun approachable way - I am gonna come back to these over and over.

Love

Master piece

I love the philosophy behind polyrhythms! Music is life!! Makes me laugh when the audience joins in and starts rushing….

7:35

wow i was 4 years old in 73.. lovely bell

Hello Sir. Really impressed by your educational videos. I am a music student and would like to contact you. Is there any way t reach out to you?

I love it, thank you "Englebert Humperdinck" for posting!

🤲🏿🖤✊🏿

you opened my mind. Thank you so much. It was on my feet, but i was blind...

enlightening... pure love

I think every student of drums should own a West African Gankoqui (double bell) and at least learn some basic Agbekor patterns. As you can see and hear everything we do on drums come from those rhythms. Master Ladzekpo is an important teacher. I love what and how he is teaching here! (Peter Magadini author of Polyrhythms The Musicians Guide)

6:28 He explains an eight across the pattern with his feet and upper body, too bad the camera didn’t back up sooner because he’s showing what he's explaining (you can hear his feet though); that there’s that kind of a bounce rhythm as a 'bottom' underneath the bell and that most Westerners were/are not quite getting to much less the 4 beats across the bell pattern (I had heard that bell-pattern called “Ácha” at some point. Does anybody else have a name for it? It’s so universal!). The feet are always the key.

4:49 great explanation of the basic structure of the all important bell pattern and the basic 2 feelings of 3 against two, one a downbeat feel and the other an upbeat feel. (I’ve sometimes taught that bell pattern mnemonically so to speak as: “down, down, down-up, up, up, up-down, down, down-up, up, up-“. In 12/8 against 4 beats of course! So I appreciate his use of the 'on-beat feeling' vs 'off-beat feeling' descriptions.)

When was this recorded?

10:43 way to break it down! 3 groups of four 8th notes each (=12/8 of course but as “big” 3 against 4 and filling out the 'big three' (or “1/2-note triplets”) with a riff based on the 3 groups of 4 8th notes. And that riff includes 16th notes as well which can be thought of as 24/16. So when he said 24 he meant it! Of course a big part of it is knowing how to start that group of three from anywhere in the bell-pattern phrase. (Knowing how to play in 24/16 is essential also in Batá drumming, even if you don’t really know how to count it. But you must know how to feel it and even displace the accents.)

6:45 he take it all the way

I think CK's 6 on 4 demo is the first drum lesson ANY drummer should take. It and his subsequent bell pattern lessons launched into drumkit playing. Forever grateful.

Whoa! Guest appearance by Eugene and Dr. Carney!

imagine the herd of sheep jumpin around to make that rhythm ;-))

i am here because of Ricky Reed. CK was his teacher.

This is an experienced ATSIMEVU drummer. just love him so much. God bless you for sharing

Your channel is filled will treasure

rhythm awareness class brought me here

I love the philosophy

Opiafo !

Awesome I love this program

Ahh, so this is REAL techno!

Insightful.kinda encompassing metric modulation as well.

Proud of you. Ghana salutes you and Pascal. Such a natural duet communication. Never knew Pascal could play like that. We only knew him at the SPA-Legon for brass.