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