Djagbè (Madan)

Djagbé is the name of a Malinke-rhythm from Guinea that was originally played at the ending of the Ramadan. A rejoicing happening where men and women dance together in this circle-dance. Variations on Djagbé excist in the Kouroussa-region (Guinee) as Djagba and in Mali as Madan.

N'yerebi

This song refers to an old custom of the Malinke; Fathers appoint a special friend to a child. They spend during their youth much time together. If a girl marries, afther the marriage, she still stays some time with her parents and her "friend" nearby. When the moment comes that she is joining her husband, the djeli sings this song in the name of the boy. Famoudou Konaté added solo 3.
A wa tö le! N'yerebi wa tö le! N'yerebi ! , Ka na wa ! Ka n'kelen tö!
She will not go, my love will not go! , My love don't go, don't leave me alone!

WAP-pages / Paul Nas / Last changed at 24-06-2012



Call
T . T T . T . T T . S S S . . .
f . r l . l . l r . r l r . . .

Kenkeni (Famoudou Konate)
O . . . O . . . O . . . O . . .
x . x . x . x . x . x . x . x .

Kenkeni (Mamady Keita)
O . . . . . O . O . . . . . O .
x . x x . x x . x . x x . x x .

Sangban
C . o O . O . o O . O . . C . .
x . x x . x . x x . x . x x x

Doun Doun
. . O O . . . . . . O . . . . .
x . x x . x x . x . x . x x .

Doun Doun variation 1
. . O O . . . . O . . . o . o .
x . x x . x x . x . x . x . x x

Doun Doun variation 2
. . O O . . . . . . O . . O . .
x . x x . x x . x . x . x x . x

O . . O . . . . . . O . . . . .
x . x x . x x . x . x . x . x .

Sangban echauffement
C . o O . O . . C . o O . O . .
x . x x . x . x x . x x . x . x

Doun Doun starting the echauffement
. . O O . . . . . . O . O O . O
x . x x . x . x x . x . x x . x

Doun Doun echauffement
O . O O . O . O O . O . O O . O
x . x x . x . x x . x . x x . x

Doun Doun ending the echauffement
O . O O . O . O O . O . . . . .
x . x .x . x . x x . x . x x . x

Djembé 1
B . T T . b S . B . T T . b S .
r . r l . l r . r . r l . l r .

Djembé 2
B . T T . S . . B . T T . S . .
r . r l . l . . r . r l . l . .

Djembé 3
T T . B S S B . S S . B S S B .
r l . l r l r . r l . l r l r .

Djembé 4
S . S S . S T T S . S . S S T T
r . r l . l r l r . r . r l r l

Djembé 5
S . B S S . T T S . B S S . T T
r . r l r . r l r . r l r . r l

Djembé 6
B . T T . B T . B . T T . B S .
r . r l . l r . r . r l . l r .

Djembé solo accompagnement 1
. . T T . . S . . . T T . . S .
. . r l . . r . . . r l . . r .

Djembé solo accompagnement 2
. T T T . S S S . T T T . S S .
. l r l . l r l . l r l . l r .

Djembé solo accompagnement 3
T T S S . . S S B . S S . . S S
r l l r . . r l r . r l . . r l

(for a really "Djagbe-sound" it's nice to pull the second tone a little bit to the first slap in the solo accompagnement 3)
Solo 1;
phrase 1 (afther that 4 counts rest)
S S S S S . . . T T . . S . . .
2 r l r l . . . r l . . r . . .

phrase 2 (afther that 4 counts rest)
T T . S S S S S S S . . . . . .
2 r . 2 r l r l r l . . . . . .

phrase 3 (afther that 4 counts rest)
. . . T T S S S . S T T S . S .
. . . l r l r l . l r l r . r .

phrase 4 (afther that 4 counts rest)
S S S S T T . . S S S S T T . .
2 r l r l r . . 2 r l r l r . .

Solo 2 ;
phrase 1 (2)
S . . . B . . . . S T T S S . S
r . . . r . . . . l r l r l . l

phrase 2 (2x)
S S T T S S S . . S T T S S . S
r l r l r l r . . l r l r l . l

phrase 3
. S . S . S . S . S . S . S . S
. l . l . l . l . l . l . l . l

. S . S . S . T T T S S S . . .
. l . l . l . 2 r l r l r . . .

phrase 4 (3x)
S S . . S S . . S S T . T T . .
r l . . r l . . r l r . r l . .

phrase 5
. S . S . S . T T T S S S . . .
. f . f . f . 2 r l r l r . . .

phrase 6 (2x)
B . . T . S T T S . S . S . . .
r . . l . l r l r . r . r . . .

phrase 7
S S . . S S . . S S T . T T . .
r l . . r l . . r l r . r l . .

B . . T . S T T S . S . S . . .
r . . l . l r l r . r . r . . .

phrase 8
S S T . S S T . S S T . S S T .
r l f . r l f . r l f . r l f .

S . . . S . . . S . . . S . . .
f . . . f . . . f . . . f . . .

phrase 9
. T . . S . . T . T . . S . . .
. l . . r . . l . l . . r . . .

S . . . S . . . S . . . S . . .
f . . . f . . . f . . . f . . .

phrase 10 (2x)
T . S S . T T . S S . S . . . .
r . r l . l r . r l . l . . . .

phrase 11 (2x)
. . . . B . . . B . T T S S . S
. . . . r . . . r . 2 r l r . l

phrase 12 (2x)
. . T T S S . S . . T T S S . S
. . 2 r l r . l . . 2 r l r . l

phrase 13
S . S S . S S . T T S S S . . .
r . r l . l r . 2 r l r l . . .

Starting the echauffement:
. . . . . . . . . T T S S S S S
. . . . . . . . . l r l r l r l

repeat
S T T S S S S S S T T S S S S S
r l r l r l r l r l r l r l r l

T S S S T S S S T S S S S . . .
r l r l r l r l r l r l r . . .

end (also look-a-like break)
. . . T T . T T . T T S S S S S
. . . l r . r l . l r l 2 r l r

Solo 3
phrase 1 (3x)
T T . . S S . . S S . . S S . .
r l . . r l . . r l . . r l . .

phrase 2 (1x)
S . . S . . S . . S . . T T . .
r . . l . . r . . l . . r l . .

Solo 4 (Ponda O'Bryan)
phrase 1
B . S T . T S . B . S B . B S .
r . r l . l r . r . r l . l r .

T S S T . T S . B . S B . B S .
r l r l . l r . r . r l . l r .

phrase 2
B . S S T T S . T T S . . B S .
r . r l r l r . r l r . . l r .

B T S S T T S . T T S . . B S .
r l r l r l r . r l r . . l r .

phrase 3
B T T . B S . . . S . . B T T . T
l r l . l r . . . r . . l r l . l

T T . B S . . . S . . B S . . B
r l . l r . . . r . . l r . . l

phrase 4 (2x)
S . . B T T . . S . . T T T . .
c . . l r l . . c . . l r l . .

phrase 5
. . . . . . . . . . . B S . S .
. . . . . . . . . . . l r . f .

. . T S . T S . T S . B S . S .
. . r f . l f . r f . l f . f .

phrase 6
B T T . B S . S . S . . B S . S .
l r l . l r . r . r . . l r . r .

T T . B S . S . T T T S S S S S
r l . l r . r . 2 r l 2 r l r l

T T . B S S . B T T . B S S . B
r l . l r l . l r l . l r l . l

T T S T T S T T S T T S . S . B
r l r l r l r l r l r l . l . l

Break 1
(2x)
B . . . B . . . . . . . . . . .
r . . . r . . . . . . . . . . .

B B . T T . . . B B . T T . . . .
l r . r l . . . l r . r l . . . .

B B . T . T . . . B . . T . T . T
l r . r . r . . . r . . l . l . l

S . . . . . . T . T . T S . . B
r . . . . . . l . l . l r . . l

S S . . . . . T . T . T S . . .
r l . . . . . l . l . l r . . .


index | legenda (nl) | legend (en) | inleiding (nl) | introduction (en)

Thanks for taking notice of this interpretation of this rhythm but please consult some real authority's (like Famoudou Konaté and Mamady Keïta) or genuine TEACHERS for further study. Check also the other SITES WITH RHYTHM-NOTATIONS on West African Percussion on the Internet. And share your knowledge and ideas to these WAP-pages and to others.