The Key Characteristics of West and Central African Music 5
In the "African Drums" video section 02:22 - 02:54 shows how the dùndún Hourglass-shaped drum with a hollowed out wooden resonator and two round heads, covered with animal skins. Leather strings running from one drum head to the other help produce different pitches. drum, often referred to as the "talking drum," is most certainly a melodic instrument. Indeed, one can hear a distinct melodic line that rises and falls and a musical phrase with an antecedentThe subject of a fugue or canon; the first phrase of a musical period. and consequentThe answer in a fugue, or point of imitation. A musical phrase which follows another, similar phrase. A musical phrase consists of two statements: The antecedent, ending in a cadence, poses a question. A cadence is essentially a resting point. The two most common types of cadences are the half cadenceA chord progression where the dominant chord (the chord based on the fifth step of the scale, V) is the final chord of the cadence and is preceded by the tonic chord (chord based on the first step of the scale, I) in second inversion (when the fifth of the chord is in the lowest voice, 6/4). and the authentic cadenceA chord progression where the dominant chord (chord based on the fifth step of the scale, V) is followed by the tonic chord (chord based on the first step of the scale, I). The half cadence ends on the dominantThe fifth tone of a scale. (V), and the authentic cadence rests in the tonicThe note upon which a scale or key is based; the first note of a scale or key; the keynote. (I, or i).
African Drums [ 02:22-02:54 ]
One could easily equate this function to that of call-and-response. Musically, the antecedent asks a question that anticipates a response. The half cadence produces a natural tension toward a key's tonic or key center by ending on the key's dominant (antecedent). The second half of the phrase answers by releasing that tension (consequent).
In this video, Ayantoyese Onifade also affirms the importance of the drum in African society. He goes on to add: "A society without drum is engrossed in bitterness." The drum, as a symbol of joy, is not permitted in a gathering of sadness. Initially, the purpose of the dùndún drum was to communicate between villages up to 5 miles apart. As many African languages are tonal, the drum can represent the tones of conventional phrases' syllables. An English emigrant to Africa, John F. Carrington, in his 1949 book The Talking Drums of Africa, explains:
Using low tones referred to as male and higher female tones, the drummer communicates through the phrases and pauses, which can travel upwards of 4-5 miles. This process may take eight times longer than communicating a normal sentence but was effective for telling neighboring villages of possible attacks or ceremonies
(pp1)
In the video "Ayan Bisi Adeleke" listen to how master drummer from Nigeria, articulates the speech and range of the dùndún by using his arm to modify the pitch and one hand for rhythmic, timbral, and gliding effects. As mentioned earlier, it is also essential to observe variations of pitch and timbre depending on the place where the drummer strikes the drum head.
Within the West African culture, the batáA double-headed drum shaped like an hourglass with one end larger than the other is a small drum primarily used in religious ceremonies.
Ayan Bisi Adeleke - Master talking drummer - drum talks [ 00:00-00:00 ]
The sango, considered to be the voice of thunder, produces a mid-range sound.
The guduguduA traditional drum used by the Yoruba ethnic group of Nigeria. The gudugudu, being a member of the dundun family of drums, is said to mimic speech., known as the mother of all drums in Yoruba land, is reserved for the lowest sound.
Grupo Exploracion - Chenche Gudugudu
You can hear the following pattern played on beat four to create a final landing on the downbeat of one:
Gudugudu Pattern
Gudugudu Pattern
Pictured below is a set of three batá drums: Although they vary in size, their purpose is a call to attention, hence the sound of the highest or most clarion sound. Notice that the batá has two drumheads of different sizes. Unlike the dùndún, there are no strings to tighten the membranes. Therefore, it is not a talking drum. Instead, the drummer strikes it at both ends, producing two pitch variations.
We have merely glanced into the music of Africa's Western and Central regions, including the many drums and various other instruments. Of these, the djembeA goblet-shaped drum traditionally carved from a single piece of African hardwood and topped with an animal skin as a drumhead. drum is probably the most familiar in American society. However, for this course's purpose, our goal is to identify specific characteristics of music, cultural traits, and religious or ritualistic practices that are key to understanding African American music and culture.
A.M. Jones
Rhythm is to the African what harmony is to the Europeans, and it is in the complex interweaving of contrasting rhythmic patterns that he finds his greatest aesthetic.
Ayantoyese Onifade
A society without drum is engrossed in bitterness.