[bubudi]

in my opinion these types of analyses are most useful for those playing accompaniment as we are immersed in the wrong musical culture to pick up the swing subconsciously. that's why so many djembe players in the west play without proper feel. it's very uninspiring and just a bit harder to solo nicely when the accompaniments are lacking feeling.

[djembefeeling]

Right for both. I initially thought it was not a good source, but things are not so bad

Soloing might be o.k., but the bell patterns and the duns of MK are too often not played in Hamana.

I saw in another of your threads that ||o . o|o . . || onbeat kensereni can be found for djaa, gidamba and sökö. It tends to confirm the BS hypothesis, don't you think ?

What thread was that? It sounds like the Kensedeni from Kouroussa, but Daniel told me that they have a wayward way of playing it in Kouroussa that he never saw anywhere else.

To really improve the niveau of the discussion for your hypothesis, you need to get in contact with Daniel/ afoba. He'll be a match. I'll need a couple of years to catch up...

cheers, jürgen

[ternarizator]

What thread was that?

http://staging.djembefola.com/board/mus ... 95-15.html It was essentially about different versions of gidamba. And one of these versions had the same sangban as in MK's Djaa Siguiri (can be found as variation for N'gri too).

About Sökö, in fact I heard the kensereni playing ||o . o|o . .|| it in this video : [video]http://www.youtube.com/watch?v=clck1rEBjGs[/video]

Vincent.

[djembefeeling]

o.k., seems I confused the kensedeni patterns that are played awkward in Kousoussa. The |o.oo..| one seems to be o.k. for the family.

[korman]

In Dunungbé, with pairs of on average 41.1 % for the sangban and 35.8 % for the offbeat kensereni, the underlying feeling is a rather hard SML of almost 23/36/41. Thus the soloist should play an attenuated SML...

OK, so I tried to make a practice track for Dundungbe in Percussion studio. In that program you can pick either a binary grid: each 8th note dot divided into 4 (smallest subdivision is a 32-note), or if you press a Shift key ternary grid is available which divides 8th note by 6 (smallest subdivision is a 16th note triplet). So, the desired SML swing could be made quite hard by shifting second and third eight note by a 32-note (25/33/42 relationship), or a little bit softer by shifting by a 16th note triplet (28/33/39 relationship). However, neither version sounded quite right, so I'm thinking it must be the case that different instruments (and perhaps even different beats) are swung differently.

Has anyone been able to produce a realistic sounding PercussionStudio file of dundunba rhythms? Can you share the example file or at least give me a clue?

[the kid]

I never used it but was messin around a bit with my drum machine, a jomox x base, and found if you double the tempo as in play at approx 240 bpm and then program the beats, it sounds more realistic. It might not work but worth a try to capture the timing better. Doubling the speed gives you more spaces to place the notes to create the desired micro timing.

[korman]

OK, so I tried to make a practice track for Dundungbe in Percussion studio. In that program you can pick either a binary grid: each 8th note dot divided into 4 (smallest subdivision is a 32-note), or if you press a Shift key ternary grid is available which divides 8th note by 6 (smallest subdivision is a 16th note triplet). So, the desired SML swing could be made quite hard by shifting second and third eight note by a 32-note (25/33/42 relationship), or a little bit softer by shifting by a 16th note triplet (28/33/39 relationship). However, neither version sounded quite right, so I'm thinking it must be the case that different instruments (and perhaps even different beats) are swung differently.

Has anyone been able to produce a realistic sounding PercussionStudio file of dundunba rhythms? Can you share the example file or at least give me a clue?

Similar to what ternarizator did some years ago, I analyzed two instructional recordings Niels Fleurke's "Ritmes uit Baro" and Marten Schepers "Rhythmes de Guinee - Dundunbas". There you have tracks of just the kensedeni against the click or on-the-beat accompaniment. Sure, a village recording would be better, but it's much easier to do the analysis when the sound is so clear.

Average for Fleurke is 26%/36%/38% and Schepers 26%/39%/36%, so, yes, the swing is a rather pronounced S-L-L one

I also recently bought the Zoom R8 recording device to record myself playing and to create backing tracks to practice solo. It has a built in sequencer with the smallest resolution 48 ticks per beat. So, with a little tinkering I was able to make kensedeni loop according to these specs, and - voila - it sounds good to me (I prefer the first version with last subdivision longer than the second one).