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A great deal of Yoruba drum music is based in cross rhythm. The following example shows the five-stroke form of the standard pattern (known as clave in Afro-Latin music) on the kagano dundun drum (top line). The dunduns on the second and third lines sound an embellishment of the three-over-four (3:4) cross-rhythm—expressed as three pairs of ...
The Batá drum is a double-headed hourglass drum [1] with one end larger than the other. The percussion instrument is still used for its original purpose as it is one of the most important drums in the Yoruba land and used for traditional and religious activities among the Yoruba of western Nigeria.
The Gbedu drum is traditionally used on state occasions or during ceremonies of Ogboni, the ancient Yoruba secret society. [1] The Gbedu, also called Ogido, is one of the four major drums in traditional Yoruba drum sets; the other major drums are the Dundun/Gangan or talking drum, the Batá drum and the Sakara drum.
The men use goat skin to make the heads of these drums, or for the largest drum may use cow or antelope skin. [2] The fingers of one hand change the tone of the drum, while the drummer hits the face of the drum with a stick. When several sakara drums are played together, the iya ilu is the main voice, and dictates the pace and rhythmic style.
Sakara music is a form of popular Nigerian music based in the traditions of Yoruba music.It mostly in the form of praise songs, that uses only traditional Yoruba instruments such as the solemn-sounding goje violin, and the small round sakara drum, which is similar to a tambourine and is beaten with a stick. [1]
It is used in playing Mbalax music of Senegal and in Fuji and Jùjú music of Nigeria (where it is known as a dùndún, not to be confused with the dundun bass drum of the Mandé peoples). [17] The talking drum is also used in ceremonial functions and events like weddings, burial ceremonies, private functions and most importantly it is commonly ...
Aláàrìnjó (otherwise known as Apidàn) is a traditional dance-theatre troupe among the Yoruba. According to music historian Roger Blench, Aláàrìnjó dates back to the sixteenth century and probably developed from the Egúngún masquerade. However, it soon became professional and split into competing groups.
Some call the ashiko a "male" counterpart to the djembe, though this is contradicted by references to the relatively matriarchal Yoruba culture. Also it being regarded as "between a djembe and a conga" is seen as wrong, and disrespectful to the ashiko itself and its own tradition, including a distinct playing technique, different from the djembe or conga.