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LAMBAN INTERNET DISCUSSION> 1 . . . 2 . . . 3 . . . 4 . . . > >Kenkeni: O O O O O O O O > >Sangpan: O O O O O O O O > >Doundoun: O X O X > >Djembe: S . . S S . O O S . . S S . O O This is how I hear the dounoun parts to Lamba in the same amount of space: Time (12/8): 1 . . 2 . . 3 . . 4 . . 1 . . 2 . . 3 . . 4 . . | Kenkeni: . . . O . O . . . O . O . . . O . O . . . O . O | (Auy's Kenkeni) O O O O O O O O Sangban O . . . . O O . . O . . O . . . . O O . . O . . | >(Auy's Sangpan) O O O O O O O O Doundoun: O . . . . M . . . O . . . . . . . . M . . . . O | (Auy's Doundoun) O X O X The only part that is fundamentally different is the Kenkeni, which Auy has starting on his downbeats and I hear on his upbeats. In addition, I would start the Doundoun part on the second measure, like this: Doundoun: . . . . . . M . . . . O O . . . . M . . . O . . | because thats the way the part is phrased, and variations on the doundoun part always seem to "land" on that last open stroke on 4. (this point doesn't change how the doundoun part fits with the other parts) Beyond that, the real difference is that he has "straightened out" the rhythm into 4/4, and I hear the "swing" of Lamba in 12/8. When I learned this rhythm from Mohammed "Joh" Camara, I listened carefully to the way he plays the bell, because he uses it a lot to fill in the beats, and it helps show where he feels the time. Here are the dounoun parts again, with the bell that Joh plays with each: 1 . . 2 . . 3 . . 4 . . 1 . . 2 . . 3 . . 4 . . |
bell: x . . x . x x . . x . x x . . x . x x . . x . x | Kenkeni: . . . O . O . . . O . O . . . O . O . . . O . O | bell: x . . x . x x . . x . . x . . x . x x . . x . . | Sangban O . . . . O O . . O . . O . . . . O O . . O . . | bell: x . . x . x x . . x . x x . . x . x x . . x . . | Doundoun: . . . . . . M . . . . O O . . . . M . . . O . . | As far as the jembe parts go, I have not yet taken the time to try and re-notate the solo that Auy posted, however in the ensuing discussion, almost all the notation has been in "straight" time The accompaniment pattern and break you show are correct to my understanding, and the solo looks typical. I would add that Lamban has one additional jembe accompaniment pattern as taught by Abdoul: > > 1 . . . 2 . . . 3 . . . 4 . . . > O o S s B . S s O o S s B . S s > >which can also get turned around: > > 1 . . . 2 . . . 3 . . . 4 . . . > B . S s O o S s B . S s O o S s > I would line this up as follows: M. Williams 1 . . . 2 . . . 3 . . . 4 . . . jembe O o S s B . S s O o S s B . S s (turned around) B . S s O o S s B . S s O o S s my 12/8 version 1 . . 2 . . 3 . . 4 . . 1 . . 2 . . 3 . . 4 . . | jembe O . o S . s B . . S . s O . o S . s B . . S . s (turned around) B . . S . s O . o S . s B . . S . s O . o S . s I hear this jembe accompaniment as basically doubling or substituting the kenkeni part, with the jembe's slaps matching the kenkeni strokes, and the other notes providing coloration. >I've always used: 1-2-3-4 1-2-3-4 > TtSsBtSsTtSsBtss > >although Mohamed showed a variation that goes: > > 1-2-3-4 1-2-3-4 > TtSsBsSsTtSsBbSs >The rhythm is, of course, played witha "swing" feel at slower tempos.
>but I also heard ghost strokes played occasionally between the slaps: > > #1 . . . 2 . . . 3 . . . 4 . . . > * * S s * * S s * * S s * * S s > >This is very important to note. The above emphasis on the slaps is >really the key to playing a good lamban. Lamban, which may be >danced/played slowly, has plenty of room for the open tones to be >produced- BUT..., when Lamba takes off, many drummers have difficulty >keeping the "swing" feel and drag the rhythm back because they try to >play all the tones in there and people tend to really stiffen up. >Here is when you may drop the open tones and concentrate on the PA TA >s, if you will, and play ghost strokes or touches or even "air touches" to keep time and most importantly, the feel. (As notated above) Both of the above quotes mention the "swing" feel of Lamban, but their notation does not show it. I think that changing the time signature to a triplet based form preserves the feel of Lamban much better. Rodger
Call : |...*...*...*... #.o.o.o.o.o..o.. # :slap-flam Reaction :
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