Djembe and dundun rhythms for West African drumming and dance
Djembe Drummers FAQ (Frequently Asked Questions)
Djembe and Dunun Rhythms for West African Drumming and Dance
- What are the bass drums called?
- How do I tune or tighten the head on my djembe?
- Which of your rhythm books is best for a beginner?
- How can I study drumming in Africa?
- How do I start a local drumming group where I live?
- What do you recommend for drumming CDs for listening or practice?
- How can I read written drum notation if I don't know music notation?
- How can I get the right timing for pauses between drum beats?
- What's the difference between playing djembe vs. other hand drums?
"When you get confused, listen to the dununs play."
In general they are called dununs, or dunduns (pronounced doon-doons). This music and type of drums comes from Guinea, or the Malinke area of Mali; in Senegal the bass drum would tend to be called a "junjun." There are three sizes: from large to small, the dununba, sangban, and kenkeni. They can be played separately or strapped together in combination of two or three, either on a stand, played horizontally, or upright (vertically) on the floor. Usually a bell is played as well, tied to the drums in the horizontal position.
See the information on this page.
Both Roots Jam books (1 and 2) have plenty of material for a beginner. It's just a matter of working at your own pace. The first book has a more eclectic mix of rhythms including original improvisations; the second is more complete with arrangements of traditional African and Afro-Latin ensemble rhythms. Also, only Roots Jam 2 comes with a full-length practice CD; though the Roots Jam 1 ebook (Word or PDF format) comes with a set of short demo tracks in mp3.
The teacher I recommend most is Famoudou Konate. You can find some personal information, links, and a photo slideshows here.
Don't by shy. Just start getting together with a couple of friends and go from there. Or if necessary, put up a notice or posters in your community. You can meet in someone's living room or basement, or rent studio space cheaply in the afternoon. To read about my early experiences with a drum group in a small rural community, click here.
I have a list of favorites with thumbnail reviews listed here. There is also an extensive resource list covering books, CDs, videos, and websites in my Roots Jam books.
Don't worry, standard music notation isn't very good for drumming anyway, because it's designed for notes that are sustained. Drum notes are struck once and then you need to see clearly how much space is left unplayed. For this purpose a drum notation system is much easier to follow. For examples of a simple text-style notation system such as appears in Roots Jam (1), see the free drum lessons online at my Alternative Culture website. For examples of the same system enhanced in a box-type grid, such as appears in Roots Jam 2, see the sample chapter here.
Whenever you see a rest or unplayed beat [-] in a line of notation, give it almost as much weight as if it were a played beat: feel it in your body, make a silent grunt, or even play it lightly on the very rim of the drum. "Playing" or at least feeling every single beat (even the rests) in this way should help give you a smoother sense of flow or continuity.
I like the djembe for a number of reasons. Perhaps foremost is that it can be played as part of the body (I strap it from my waist), so that the movement, the life of the music can be felt. Especially if there are dancers--and the history of the djembe is all about a vital connection with dance. I also love the sounds of this drum: the range of notes even if just the basic three (bass, rim, slap). The bass can give a deep resonance similar to the electric bass: the all-important body frequency. Then there's the double-handed motion: giving equal access to both hands and both sides of the brain as well as body. This balance feeds the creativity of both left and right brains and also helps in the synthesis and integration of the two: resulting in a psychic as well as physical balance, and also in a state we call trance.
To go a little further on the subject of choosing the djembe in the context of other instruments... The djembe in my experience has a curious resistance to stock western music: rock and roll, folk, Celtic, even blues. It seems to demand its own genre, the African dance beat. Naturally, compromises can be made, and I've devoted many a Friday night's jam to just that effort. Sometimes it works; sometimes it gives those tired four-fours something else to do; and sometimes it just has to go elsewhere to say what it has to say.
It shows its best potential as a stimulus and accompaniment to dance, where even one djembe can provide enough sound and motion for a room full of dancers. I've done this on more than one occasion, though always appreciating it more when others come to play with other drums and percussion. At the other end of the scale, thirty djembes in a single room playing at once is running the serious risk of overkill. Again, not necessarily: there is power to be savored in a thirty-djembe groove, at two or ten in the morning!
Roots Jam 3:
Arrangements for West African Drum & Dance
This all-new collection of rhythms helps you take the next step in playing West African drums for dancers, in a group, or just for fun. Learn basic accompaniment parts, selected bass drum (dunun) and bell patterns and variations, and traditional djembe solos. Roots Jam 3 adds to the previous Roots Jam books in offering complete and cohesive ensemble arrangements for 16 popular dance rhythms. Included are lessons and exercises to help you understand basic downbeat, upbeat and offbeat timing; choose from available bell and clave patterns; and learn both traditional and improvised lead djembe solos. Practice listening to and playing parts with the optional audio CD. Also featured is notation for 27 original compositions by Nowick Gray, with audio tracks on a second CD.
Roots Jam:
Collected Rhythms for Hand Drum and Percussion
This unique resource contains hundreds of rhythms from the African, Latin and rock traditions, along with inspired improvisations. Easy notation, useful for all levels, from beginners to performers. Includes lesson guide, arrangements, popular styles, practice exercises, and a list of other resources. Fully indexed, 80 pages.
Roots Jam 2:
West African and Afro-Latin Drum Rhythms
An updated (2002) and expanded collection of over 125 traditional West African, Afro-Latin, and Middle Eastern rhythms, arranged for ready reference for individual learning or ensemble play. Covers djembe and dunun/bell parts and variations, in box (grid) notation for clear display of timing. Includes unique exercises, generic patterns and in-depth study of polyrhythm. Optional full-length audio CD with 28 demo and practice tracks.
Nowick Gray has been a teacher and writer for over three decades, and a drummer since 1990. He currently teaches and performs with a number of drum and percussion groups in Victoria, B.C.
Click here for more info or to order.
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