Music

The Artistry of Afro-Cuban Batá Drumming

 

Musical Examples from The Artistry of Afro-Cuban Batá Drumming, by Kenneth Schweitzer. University Press of Mississippi, 2013.

 

A selection of recorded musical examples, which correspond with some of the musical figures included in the body of the text, are available here. Below is a chart that compares the Figure and page numbering system used in the book with an appropriate Example Number.

 

Example       Figure    Page             Description

 

Example 1          3.11          page 87             Description of what transpired during a moment of my drumming lesson with Àngel Bolaños on January 3, 2003

Example 2          4.3            page 99            Typical okónkolo patterns matched with non-lexical vocables

Example 3          4.4            page 102          Iyá call and entrance (iyá and okónkolo only) for toque Ochosi

Example 4          4.5            page 103          Iyá call and entrance for toque Ogún

Example 5          4.6            page  103         Son clave

Example 6          4.7            page 103          Iyá call for toque Eleguá (un-metered)

Example 7          4.10          page 104          Incorrect way to hear/interpret the iyá call for Eleguá, with the first chachá as a downbeat

Example 8          4.10          page 104         Incorrect way to hear/interpret the Iyá call for Eleguá, with the first enú as a downbeat.

Example 9          4.12          page 105         Iyá call and entrance for Eleguá toque when played correctly.

Example 10       4.13           page 107        Complete transcription of the toque for Ochosi

Example 11       4.14a         page 108        A four-measure excerpt from the toque for Babalú Ayé used to demonstrate the dual nature of the itótele, as timekeeper and as melody. The audio example depicts the combined sound of the three drums.

Example 12      4.14c          page 108          A four-measure excerpt from the toque for Babalú Ayé used to demonstrate the dual nature of the itótele, as timekeeper and as melody. The audio example depicts the melody that results from combining the iyá enú with the itótele enú.

Example 13        4.16/4.18  page 111        Excerpt of the toque for Osain. Audio example 13a depicts the combined sound of the three drums. Audio example 13b isolates the sound of the three chachás

Example 14       4.20           page 113         Toque that accompanies the song “Kowo-kowo” on all six heads

Example 15       4.21           page 113         Toque that accompanies the song “Kowo-kowo” on itótele enú and iyá enú

Example 16       4.23           page 114         Iyá chachá variations in toque for Eleguá

Example 17       A1.5           page 203        Field Recording of ñongo demonstration in Havana 2010