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.

WAP-pages / Paul Nas / Last changed at 09-12-2001

Kenkeni

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

.

Sangban echauffement

C

.

o

O

.

O

.

.

C

.

o

O

.

O

.

.

x

.

x

x

.

x

.

x

x

.

x

x

.

x

.

x

Dun Dun

.

.

O

O

.

.

.

.

.

.

O

.

.

.

.

.

x

.

x

x

.

x

.

x

x

.

x

.

x

x

.

x

Dun Dun variation

.

.

O

O

.

.

.

.

.

.

O

.

.

O

.

.

x

.

x

x

.

x

.

x

x

.

x

.

x

x

.

x

Dun Dun starting the echauffement

.

.

O

O

.

.

.

.

.

.

O

.

O

O

.

O

x

.

x

x

.

x

.

x

x

.

x

.

x

x

.

x

Dun Dun echauffement

O

.

O

O

.

O

.

O

O

.

O

.

O

O

.

O

x

.

x

x

.

x

.

x

x

.

x

.

x

x

.

x

Dun Dun 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

S

.

.

S

S

.

T

T

S

.

b

S

S

.

T

T

r

.

.

l

r

.

r

l

r

.

r

l

r

.

r

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

B

.

T

T

.

S

.

.

.

.

T

T

.

S

.

.

r

.

r

l

.

l

.

.

.

.

r

l

.

l

.

.

Djembé solo accompagnement 1

.

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 2

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 first two tones a little bit together in the solo accompagnement 2.

Solo 1 ; use these elements

A

S

.

.

.

B

.

.

.

.

S

T

T

S

S

.

S

r

.

.

.

r

.

.

.

.

l

r

l

r

l

.

l

B

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

C

.

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	.	.	.

D

S

S

.

.

S

S

.

.

S

S

T

.

T

T

.

.

r

l

.

.

r

l

.

.

r

l

r

.

r

l

.

.

E		.	S	.	S	.	S	.	T	T	T	S	S	S	.	.	.
		.	f	.	f	.	f	.	2	r	l	r	l	r	.	.	.

F

B

.

.

T

.

S

T

T

S

.

S

.

S

.

.

.

r

.

.

l

.

l

r

l

r

.

r

.

r

.

.

.

G

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

.

.

.

H

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

.

.

.

I

T

.

T

.

.

S

.

.

T

.

T

.

.

S

.

.

.

l

.

l

.

.

r

.

.

l

.

l

.

.

r

.

.

.

S

.

.

.

S

.

.

.

S

.

.

.

S

.

.

.

f

.

.

.

f

.

.

.

f

.

.

.

f

.

.

.

J

T

T

.

S

S

.

T

T

.

S

S

.

S

.

.

.

.

l

r

.

r

l

.

l

r

.

r

l

.

l

.

.

.

.

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

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

M

S

.

S

S

.

S

S

.

T

T

S

S

S

.

.

.

r

.

r

l

.

l

r

.

2

r

l

r

l

.

.

.

Starting the echauffement:

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

.

.

.

Look-a-like break for ending the echauffement (the rhythm continues)

S

S

.

S

.

S

.

S

S

.

S

.

S

.

.

.

f

r

.

r

.

r

.

l

r

.

r

.

r

.

.

.

Solo 2; use these elements

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

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

C

.

.

.

T

T

S

S

S

.

S

T

T

S

.

S

.

.

.

.

l

r

l

r

l

.

l

r

l

r

.

r

.

D

S

S

S

S

T

T

.

.

S

S

S

S

T

T

.

.

2

r

l

r

l

r

.

.

2

r

l

r

l

r

.

.

(also look-a-like break)

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

Thanks for taking notice of this interpretation of this rhythm but please consult some real authoroty'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.