Coursework Outline | malidjembe

The Mali Djembe Method

The following details will hopefully provide a more in depth understanding of the Mali Djembe curriculum. The program is intended to be combined with individual practice, private instruction, performance, and culminating with a trip to west Africa to learn and play with master djembe drummers. Although the coursework only covers about 10 months of classroom learning it is meant to be taken over an 18-24 month period depending on the skill level of the student. Repetition over time is just as important as the initial learning that takes place. It is imperative that the student takes time to play with others and, from a teaching perspective, commit to the entire program in a quest for a more complete understanding of the djembe, Malian culture, pedagogical approaches, and the djembes place as a versatile instrument in the world of music.

The Mali Djembe method is a 4 part series, covering 40 weeks of instruction over 18 months.

1 - Foundations of Djembe, 2 - Introduction to Malian Djembe, 3 - The Malian Repertoire, 4 - Advanced Djembe

1 - Foundations of Djembe

Malian Rhythms and Musicology

(20 Hours)

This course is intended to introduce Mali Djembe students to the basics of rhythm and musicology in Mali. No prior musical experience is needed but it is important to note that this course is taught at a university level of communication, acquisition, and pace.

Mali, the Djembe, Culture, History

Mali is a country in west Africa, and is the namesake of the former Mali (or Mande) Empire. Their musical traditions include dozens of drums and percussion instruments, a 21-string kora, a 6-string pentatonic kamale n'goni, numerous slat balas (often called balafon), and most recently the addition of the guitar. There are more than two dozen ethnic groups in Mali, each with their own unique instruments, singing, and dancing styles.

Notation: 1-line staff, Box, 16th subdivision

We teach three specific types of notation. All Mali Djembe students should be able to read and write rhythms.

Malian Rhythm Patterns and the Pulse

It is important to understand how the root rhythm patterns of the Malian repertoire are aligned with the pulse of the meter.

Dansa (clave/cascara patterns)

We play numerous Dansa root patterns. These rhythmic patterns are similar to trecio and cinqio concepts from Cuban music. The following 6 groups of root patterns are named after the traditional rhythms that define their source.

Suku (3 over 2 in 12-8)

An important concept in west African rhythm is the idea of polyrhythms crossing over each other. 3 over 2 forms the beginning of this concept and Suku is the root (often called Soli in Guinea)

Wassalonka (shortbell)

One of the most important rhythm patterns in west African music is often called "African short bell".

Maraka (longbell)

A variation on short bell, this pattern is often manipulated to imply multiple meters.

Sunu (Rhumba clave in 4-4 and 12-8)

The Sunu patterns define the rhumba feel so popular in New York and the Caribbean.

Korejuga (9-8)

Often displaying similar rhythmic concepts as Suku from 12-8, these rhythmic patterns are unique as there are only a handful of 9-8 rhythms from west Africa

Identifying time meters: 4-4, 12-8, 3-4, 6-8, 9-8

One of the most important skills to develop when learning west African music is listening and identifying the meter in the music.

2 - Introduction to Malian Djembe

(20 Hours)

The Djembe, Culture, History

The djembe is part of a 1000 year old musical tradition and a history recorded through music by the Jeli (Griots and Griottes). We will explore the roots of the djembe music in this beginning djembe course.

Technique: Bass, tone

We will be working with two of the three basic sounds on the djembe, the bass and the tone. This simplified approach is about teaching students how to properly move their hands on the djembe.

10 Basic Djembe Handpatterns

We begin with ten basic two-sound handpatterns that focus on teaching the student the handing forms of djembe patterns.

Playing the Konkoni

The konkoni is the main accompanying drum of the djembe ensemble and often carries the signature pattern that identifies each rhythm.

5 Konkoni patterns

Five basic konkoni patterns provide the root of our beginning repertoire.

Konkoni and djembe together

In the truest form of traditional djembe we play as a duo of djembe and konkoni.

3 - The Malian Repertoire

(20 Hours)

10 Djembe Accompaniments

At the beginning of this intermediate level djembe course we lay out ten accompaniment patterns common throughout the Malian djembe repertoire.

Djembe ensemble structure

The djembe exists in many ensemble structures throughout west Africa. It is important to recognize the significant forms from lower Mali/upper Guinea, Wassalou, central Guinea, coastal Guinea, coastal Senegal, eastern Senegal, lower Burkina Faso, upper Ivory Coast, lower Ivory Coast, village style, urban style, ballet style.

Djembe lead and konkoni

The djembe duo - Lead djembe and konkoni accompanimen

The purest form of Malian traditional djembe teaches the unique timing of Malian music and develops the djembe players understanding of the musical conversation in the djembe ensemble.

Adding Djembe Accompaniment

The djembe trio - Lead djembe, djembe accompaniment, konkoni accompaniment.

Adding the djembe accompaniment brings the student to hear the timing and conversation of the modern djembe form.

Teaching Structure:

Call, Signature phrase, Goloba

Suku, Dansa, Maraka Foly, Fula Foly

The Malian Djembe Trio

Mastering the djembe and konkoni, leading the ensemble for the rhythms Suku, Dansa, Maraka, Fula Foly

4 - Advanced Djembe

(50 Hours)

The repertoire - Three part Djembe Ensemble

Having mastered the basics of the djembe form the advanced student will now begin to expand their repertoire and phrasing knowledge.

Call, Signature phrases, family phrases, Goloba

Working from a consistent form is similar to the development of the djembe ensemble that took place in the 1950's when the National ballets were formed in west Africa.

Suku, Numu, Wolosso, Geranke, Ferabanka

This family of 12-8 rhythms related to Suku is an excellent jumping off point for the advanced student.

Dansa 1, Dansa 2, Madan 1, Madan 2, Komo

This family of rhythms defines what became the trecio, cinqio, and son clave patterns in Caribbean music.

Maraka, Sunu 12-8

These rhythms are built around short/long bell with many changes that imply manipulation in the 6-8 and 3-4 meters, as well as demonstrating the relationship between the short/long bell patterns and 6-8 rhymba clave.

Fula Foly, Wassalonka

This family is built around the Wassalou feel with handing patterns unique to this region.

Korejuga

This 9-8 rhythm is unique in its feel, and also is one of the few rhythms for the group of people known as the jesters of Malian society.

Kayes Sunu, Kaarta Sunu, Bamako Sunu

This series of rhythms from Western Mali defines what has come to be known as the rhumba clave patterns in Afro-Cuban music.

Polyrhythms

Hand independence is an important skill for any percussionist. Discovering a basic set of poly rhythms that define the Malian rhythmic structure becomes also important.

Dunun and Bell patterns

Learning the basics of polyrhythm with the dununba and nanga helps develop rhythmic independence and recognition of the multiple conversations within the advanced djembe ensemble.

The Four-part Djembe Ensemble

With a solid repertoire of djembe rhythms in the standard djembe trio, it is now time to add the dununba and nanga and complete the four-part ensemble. The dununba is an accompanying lead instrument, with changes complimenting the phrasing of the lead djembe player.