The Language of the West African Drum and the Ease of Synchr...

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(drum music) (audience applause) Thank you quite. I wish to thank Lawrence Duncan, Michael Marsolek and Tracey Todd (cheering) What a great night! That rhythm you simply heard us play is called Maraka, from the Maraka individuals of Mali, West Africa. It'' s a wedding event rhythm, an event'rhythm. which suggests everybody congregate, which truly communicates. making use of the djembe drum in West African society. The djembe ensemble. accompanies events of individuals, events, routine occasions,. and most significantly, the djembe accompanies dance, for dancing and drumming. are totally linked. Now, when we were playing together. a minute earlier, it'' s most likely you heard that each people. was playing a distinct pattern on our drums, which those patterns were layered together. to form a composite whole. The patterns themselves, were made from the numerous. sounds the drums produce. Those noises arrange within. routine departments of time. Now, when drummers play together, they need to share the. very same accurate awareness of the neighborhoods of time.This is the

glue that. holds the rhythm together. This takes extreme concentration. and one-pointed focus, particularly with complex. rhythms like that a person. And a method to consider this, is to envision yourself. drifting down a river with your buddies,. sharing the exact same present, however each of you are. browsing your own craft. In Missoula we'' ve experienced this. When drummers sustain,( mild laughter). a rhythm for a length of time, they tend to leave their. common sense of time awareness, where minutes appear to go by. in direct succession and participate in what I. like to call cyclic time, where minutes are experienced through the repeated turning of. balanced patterns and expressions. This is an extremely natural awareness, just like waves crashing on the coast,. or following your own breath. Sharing it with. others can be extensive. It'' s among the delights of drumming.'that I ' ve had the enjoyment of experiencing with varied groups of. West African drumming, the West African drummer. The mind of the trained. drummer is completely inhabited on the noises of the drum,. similar to the majority of languages. When you hear them play, you ' re hearing the. Now in West African societies, particularly those that speak. tonal languages, like Bambara, the noises of the drum. can communicate specific semantic significance. My instructor and good friend, Abdul Doumbia,. Fortunately, in a lively. ( drum music) I am not going to equate. (laughter) But the objective of the artist is to speak the rhythm. Speaking in the mouth, the drummer replicates. Now all the drummers I ' ve studied with. can speak the rhythm, however they each speak. in their own special method. I believe that shows. There ' s no codified and concurred upon system of drum talk, in Mali for example, however trainees of a specific instructor might simulate and imitate. I wish to provide you an example. of drum talk.The excellent emissary. of West African drumming to North America, Babatunde Olatunji, who likewise affected. the bebop jazz artists of the 1950s, Babatunde would speak in this manner, for the bass tone of. the drum( drum music), he would state( drumming sound impact). For the edge tone (drum music ), he would state( drumming sound impact). For the slap tone (drum music), he would state (drumming sound result). He would state,( drum sound results)( drum noises )All. And that is that group music making, promotes a sense of connection. And it ' s been approximated that human beings. We ' ve been playing. To put this concept into. a more contemporary context, in language from a current clinical research study on drumming, the brain and habits, integrated drumming,. drumming in synchrony, boosts activity in the. It'' s a great expression, pro-social dedication, . And for me, it'' s these minutes. of connection in between individuals, the light of discovery and pleasure. in the eyes of those experiencing it, that have actually influenced my musical. life for over 20 years. And for me, instead of lower the size. of music education programs in school districts around our nation, which my group, Drum Brothers,. has actually experienced firsthand, or get rid of music programs completely, we ought to rather produce more chances. for group music making, for any ages. More chances which stimulate. I believe we'' re hardwired for it. I desire to welcome you all to. join me in an easy rhythm, and what I'' d like to do is. simply divide our audience into simply 3 fundamental areas, thirds. You'' re a little higher than a 3rd, so if a few of you wish to. bleed over to the edges, you'' re welcome to. And I desire you to join me. in a basic spoken and sung rhythm, and simply placed on your newbie'' s mind hat, your spirited, speculative. hat, and sing this with me.I desire you

all to attempt this. (drumming sound impacts) (audience drumming sound results) Ah, now this 3rd of the audience,. All right, (drumming sound impacts). (audience drumming sound impacts) Can you snap your fingers? (drumming sound impacts) How loud can you sing? Include some consistency, oh oh. Include some consistency. Whatever you desire. (drumming sound results) When I raise my hands,. let'' s sustain the note and end. Keep singing. when I raise my hands. (drumming sound impacts). (applause). (applause) If you can state it, you can play it. If you can state it, you can play it. Thank you. There ' s no codified and concurred upon system of drum talk, in Mali for example, however trainees of a specific instructor might imitate and replicate. For the edge tone (drum music ), he would state( drumming sound impact). For the slap tone (drum music), he would state (drumming sound impact). (drum sound impacts) (drum music )All right., both modes of expression. He would state,( drum sound impacts)( drum noises )All.

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