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A djembe drum. African music relies heavily on fast-paced, upbeat rhythmic drum playing found all over the continent, though some styles, such as the Township music of South Africa do not make much use of the drum and nomadic groups such as the Maasai do not traditionally use drums. Elsewhere the drum is the sign of life: its beat is the ...
A djembe or jembe (/ ˈ dʒ ɛ m b eɪ / JEM-bay; from Malinke jembe, [1] N'Ko: ߖߋ߲߰ߓߋ [2]) is a rope-tuned skin-covered goblet drum played with bare hands, originally from West Africa.
These beats harken to the stylings of a variety of traditional African drum beats across West Africa as well as the precursory genre Afrobeat. [32] The beat in Afrobeats music is not just a base for the melody, but acts as a major character of the song, taking a lead role that is sometimes equal to or of greater importance than the lyrics and ...
The gudugudu is a time keeping drum for the dundun family of drums that are said to mimic speech. It is designed to produce a sharp and loud beat that all the other drummers can hear and keep in time with. The gudugudu player, in turn, takes his cues from the master drummer who plays a large talking drum, or dun-dun.
Download QR code; Print/export ... The African Beat is a jazz album by Art Blakey and the Afro-Drum Ensemble recorded for Blue Note on January 24, ...
Goonji/Gonjey/Goge – Traditional one stringed-fiddle played by a majority of other sahelian groups in West Africa. Gungon – Bass snare drum of the Lunsi ensemble. Of northern origin, it is played throughout Ghana by various groups, known by southern groups as brekete. Related to the Dunun drums of other West African peoples.
Some African drums can even imitate consonants by hitting the drum with a stick or hand at different angles and with different parts of the stick or hand. The Ewe also play a pair of two drums called atumpan (pronounced ah-toom-pahn), which are used all over Ghana as talking drums. The atumpan player stands up and plays the drum with two sticks ...
The ethnomusicologist David Locke states: "Cross-rhythm pervades Ewe drumming."[2] In fact, the overall rhythmic structure is generated through cross-rhythm. [3]Cross-rhythm was first identified as the basis of sub-Saharan rhythm in the early writings of A.M. Jones, and was later explained in great detail in lectures by the Ewe master drummer and scholar C.K. Ladzekpo, and in the writings of ...