Top 5 ESSENTIAL Membership Rhythms
Enjoy these most popular ESSENTIAL Membership rhythms, phrases and patterns.
A Malinke djembe rhythm (Mali, Guinea) that is played while men harvest in the field to give them energy.
The Solos (44) in this section have been carefully crafted to provide the drummer with a sense of variation and artistry that a lead drummer employs while playing to dancers in an ensemble context.
| ESSENTIAL Membership Rhythms | |||
|---|---|---|---|
| Dansa #1(Mali, Guinea) | Garengadon(Mali, Guinea) | Guiro #1(Cuba) | Kassa #1(Mali, Guinea) |
| UNLIMITED Membership Rhythms (40 Additional) | |||
|---|---|---|---|
| Balakulandjan(Mali, Guinea) | Dansa #2(Mali, Guinea) | Dansa #3(Mali, Guinea) | Fankani(Mali, Guinea) |
| Guiro #2(Cuba) | Guiro #3(Cuba) | Guidamba #1(Mali, Guinea) | Guidamba #2(Mali, Guinea) |
| Kahkilambe(Mali, Guinea) | Kassa #2(Mali, Guinea) | Kassa #3(Mali, Guinea) | Kassa #4(Mali, Guinea) |
| Kuku(Mali, Guinea) | Mandjiani #1(Mali, Guinea) | Mandjiani #2(Mali, Guinea) | Mandjiani #3(Mali, Guinea) |
| Mandjiani #4(Mali, Guinea) | Palo(Cuba) | Petro(Haiti) | Senegalese Bak (A-H)(Senegal) |
| Senegalese Bak A(Mali, Guinea) | Senegalese Bak B(Senegal) | Senegalese Bak C(Senegal) | Senegalese Bak D(Senegal) |
| Senegalese Bak E(Senegal) | Senegalese Bak F(Senegal) | Senegalese Bak G(Senegal) | Senegalese Bak H(Senegal) |
| Soli(Mali, Guinea) | Soko(Mali, Guinea) | Stick Bembe(Cuba) | Suku(Mali, Guinea) |
| Sunu(Mali, Guinea) | Tiriba(Mali, Guinea) | Toro(Mali, Guinea) | Tumbao #1(Cuba) |
| Tumbao #2(Cuba) | Tumbao #3(Cuba) | Yanvalou Batanelle(Haiti) | Yesa(Cuba) |
Enjoy these most popular ESSENTIAL Membership rhythms, phrases and patterns.
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Explore this FREE Kassa 1 rhythm (from the Solos category) as if you were a member! On this member page you have special “sneak preview” guest access to:
Simply strike the side of the high bell.
The heel of the hand nestles up against the edge of the drum and remains there while the fingers flick across the middle of the drum, the pads of the fingers making contact and bouncing up immediately after contact.
Note: The Open Slap is the default slap for goat skin drums but can also be played on cow skin drums (especially for fast rolls).
Simply strike the side of the low bell.
For a simple pulse, bounce the shaker off your knee or strike the bottom of the shaker with the hell of your hand. For faster playing, see video.
The most common way to strike a bell is at its opening, at a slight angle.
The weak hand plays a Muffled Tone at the same time the strong hand strikes the side (or edge) of the drum with a stick.
The weak hand plays a Tone at the same time the strong hand strikes the side (or edge) of the drum witb a stick.
The weak hand plays a Bass at the same time the strong hand strikes the side (or edge) of the drum.
The word “flam” describes the technique when two strokes are played in the place of one… though not quite simultaneously! Rather, the second hit comes in just after the first. A sort of “shadow stroke.” The dominant hand plays first.
The word “flam” describes the technique when two strokes are played in the place of one… though not quite simultaneously! Rather, the second hit comes in just after the first. A sort of “shadow stroke”. (The dominant hand plays first).
This unusual technique appears in only one place on the site: A section of the Traditional Senegalese Bak solo.
The word “flam” describes the technique when two strokes are played in the place of one… though not quite simultaneously! Rather, the second hit comes in just after the first. A sort of “shadow stroke”. (The dominant hand plays first).
The word “flam” describes the technique when two strokes are played in the place of one… though not quite simultaneously! Rather, the second hit comes in just after the first. A sort of “shadow stroke”. (The dominant hand plays first).
This sound is made by placing your weak hand on the drum (just a bit off-center) and then striking the middle of the drum with the end of your stick, letting it bounce up.
With a relaxed grip in your dominant hand, strike the side (or edge) of your drum with a drum stick. A light-gauged stick, like a timbale stick, is suggested for goatskin drums.
With a relaxed grip, stick in hand, strike the drum in the center with the end of the stick, letting it bounce up.
Built into some rhythms from Haiti, and a secondary or soloing technique in other styles, the rim (or “rim shot”) is made by flicking on or two fingers on or across the edge of the drum for a sharp sound.
Simply bring your fingertips down on the drum, roughly half way between the edge and the center of the drum, lightly pressing down. (also known as a “ghost tone” or “ghost note”).
The Heel stroke and Toe stroke are typically played together, one after the other, as two separate strokes, usually with the weak hand.
Note: Congeros often replace the Heel-Toe technique with Bass-Toe, or Palm-Toe, for a slightly fuller sound.
Simply drop the heel of your hand down onto the drum for a warm, bass-like sound. The Toe stroke commonly follows the Heel stroke.
Similar to a Tone, but instead of bouncing off the skin, the fingers press into the skin, for a “splat” sound.
$ | Muffled Slap
The weak hand slides over into the middle of the drum, pressing down slightly as the dominant hand plays a Closed Slap.
The heel of the hand nestles up against the edge of the drum while all four finger simultaneously grab at the center of the drum, pulling back slightly after contact. (Keep your fingers on the skin!)
The Closed Slap is the default slap of cow skin drums but can also be played on goat skin drums (especially at slower tempos).
Bring your 4 fingers together and strike the edge of the drum at a slight angle, bouncing immediately up after contact.
Simply bring your hand down on the center of the drum. Make contact with your whole hand. For slower speeds, press into the skin, for faster speeds, bounce off.
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