Jeunesse Planète you r right. However i never seen playing that slow in real life in Africa. People would fall asleep. This tempo must be for students in a workshop.
I was wondering: isn't the second, faster part called Yagua or something? I learned this from Modou Khoule in Dakar. Hope someone knows the answer. Much obliged...
In Senegal, they mix everything and usually the teaching there is not to be trusted. The fast part of Madan is known as Wurukutu or Rukutu and it is ternary. In this recording, it is actually a Kuku witch is played. Often the 2 rythmes are actually played together, especially in Guinée, but there Madan is called Djagbé.
stéphane sublet I don’t think your comment is accurate. The dunun part of kuku is ballet created and not traditional. Urukutu may be a possible source. Never seen that ternary version but this one often apears following madan. Kuku is from the forest region in guinea, if I’m not mistaken. I doubt that these guys would call what they are playing here “kuku”
Ah so good to see some comments!! Took a while haha, so hope you can respond soon again! One of my other teachers in Senegal told me how the ‘mixing’ of traditions is actually quite a conscious process and practiced in all the ballet-style contexts (and in nearly all West-African countries). In traditional contexts however the Senegalese sabar, serouba, djembe, dounoun, bala, bugarabu and other players stick to their regular classics and arrangements. Sabar may be an urban and thoroughly modernised musical exception though; it has so many distinct styles and so many contexts which co-exist (in which a lot of money is also made) that I think it is becoming quite unique…djembe in Guinea and Mali is much more traditional though there’s also an ethnic and regional component present… Modou Khoule called Yagua an Ivorian ‘newer’ rhythm btw, he did not include it in the usual riddims played in Dakar…I suspect the situation in Abidjan is similar towards traditional or modern contexts of dance and percussion…
Drissa Kone is my idol! One day I'll go to Bamako and hope he will teach me.
This is much more difficult than it seems.
Thank you so much for sharing this, DjembeDirk. I'll be transcribing Drissa's solos forever, I think.
Ani soroma
Merci pour cette vidéo très intéressante 😘😘😘
plain, simple, clean and clear phrasing : Young players should sometimes not forget that speed is not everything.
Jeunesse Planète you r right. However i never seen playing that slow in real life in Africa. People would fall asleep. This tempo must be for students in a workshop.
perfect display. Smooth!
I was wondering: isn't the second, faster part called Yagua or something? I learned this from Modou Khoule in Dakar. Hope someone knows the answer. Much obliged...
The second part is called Worokotu or Urukutu not sure which is the correct spelling but I hope that helps. It's often played with Madan.
the second part its call "rukutu
In Senegal, they mix everything and usually the teaching there is not to be trusted. The fast part of Madan is known as Wurukutu or Rukutu and it is ternary. In this recording, it is actually a Kuku witch is played. Often the 2 rythmes are actually played together, especially in Guinée, but there Madan is called Djagbé.
stéphane sublet I don’t think your comment is accurate. The dunun part of kuku is ballet created and not traditional. Urukutu may be a possible source. Never seen that ternary version but this one often apears following madan. Kuku is from the forest region in guinea, if I’m not mistaken. I doubt that these guys would call what they are playing here “kuku”
Ah so good to see some comments!! Took a while haha, so hope you can respond soon again!
One of my other teachers in Senegal told me how the ‘mixing’ of traditions is actually quite a conscious process and practiced in all the ballet-style contexts (and in nearly all West-African countries).
In traditional contexts however the Senegalese sabar, serouba, djembe, dounoun, bala, bugarabu and other players stick to their regular classics and arrangements.
Sabar may be an urban and thoroughly modernised musical exception though; it has so many distinct styles and so many contexts which co-exist (in which a lot of money is also made) that I think it is becoming quite unique…djembe in Guinea and Mali is much more traditional though there’s also an ethnic and regional component present…
Modou Khoule called Yagua an Ivorian ‘newer’ rhythm btw, he did not include it in the usual riddims played in Dakar…I suspect the situation in Abidjan is similar towards traditional or modern contexts of dance and percussion…
Yeah!
Muito bom.
Also check these recordings for the repertoire that Drissa and co play and teach, that Urukutu is included!
ruclips.net/video/I3_IqLLV70k/видео.html