Bata Drumming Basic Scores.docx

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Batá music is complex and ideally should be learned under the guidance and tutelage of a master drummer. The rise of the Internet and the increased interest in Afro-Cuban and African music have given many people much easier access to information on these topics. Many of these sources, provide valuable study resources, and can help you establish a good working knowledge of batá. However batá is really still an oral tradition. There are certain aspects of the music that can only be taught through study with an expert. If you would like to grasp bata music in its entirety, including all the traditional and cultural aspects that accompany it, you are strongly urged to seek the talents of such an expert to make the learning experience truly fulfilling. In the interim, we will endeavor to provide you with at least a basic introduction to this beautiful form of musical expression. Traditional batá music is played in a religions function called a bembá, in honor and in worship of Yoruba deities called Orisha. Although there are many différent ways to perform a bembe, the most formal always involve the use of sacred bata drums played by drummers who have been initiated for such roles. When played with bata drums, a bembe is usually broken down into three parts: * Oru Seco : the first part of a bembé and a series of bata salutes called toques played for each of the Orisha. The term seco actually means "dry" in Spanish and, in this case, refers to the absence of singing. * Oru Cantando : the second part of a bembe consisting of a series of songs sung for each of the Orisha. The songs are accompanied by batá drums, and may employ many of the same toques used during the Oru Seco portion. (Or entirely new toques may be played.) * Wemillere : the last part of a bembe, the wemillere expands on the music played in the prior sections and includes dancing and singing, in hopes that the Orisha will come down and "visit" the participants. When learning batá music, the first step is to master the salutes played in the Oru Seco.

Introduction The three batá drums and their role in an ensemble: Okonkolo : the smallest batá drum, the okonkolo produces the highest pitched tones and is typically used to play a standard set of rhythms in support of the Iyá and Itotele. The Okonkolo is considered the metronome and time-keeper of the batá ensemble, hence there is little improvisation (floreos) carried out on this batá drum, especially during the Oru Seco. However the level of improvisation depends on the batá rhythm and the context in which it is played. Some rhythms actually require the okonkolo player to be able to improvise more freely to really swing the music. Itotele : the middle batá drums, the Itotele produces the medium pitched tones and is also used to play a standard set of rhythms in support of the Iyá. As with the Okonkolo, these rhythms are fairly universel with little variation from one form of batá to another. The itotele, is expected to answer " and " converse with " the Iyá. This usually allows the player a little more improvisational freedom then with the okonkolo. But again, this depends on the rhythm and the context in which it is being played. Itotele rhythms are fairly stock and improvisation-free during the Oru Seco. Iyá : the largest of the batá drums, the Iyá produces the lowest pitched tones. The iyá also has stock phrases found universally and played by all Iya players. These should be leamed and mastered first. Once you have a good working knowledge of the iya, you may notice iya players incorporating many variations in their parts, even in the most basic of rhythms. Most of these variations will occur on the chacha side of the Iyá and will require a well-trained ear to distinguish. The iyá " calls out " the changes and conversations for the entire batá ensemble, and usually has the most improvisational freedom of all the batá drums. Most but not all of this improvisational skill lies in the placement of strokes on the larger of the two drumheads, the cha-chá…

Basic Technique There are many types of double-headed drums found all over the world, but the batá drum and its music are unique to the Yoruba people of West Africa, and their descendants in Cuba. Bata drums are used in sacred worship of Yoruba deities called Orisha. And although the Cuban form of Orisha worship has evolved separately over the years, it still retains the very old and traditional concepts and rhythms associated with this music. In fact, due to Cuba's isolation, there are instances where the Cuban interpretation of some Orisha music is closer to its original African form from hundreds of years ago than the current-day African counter-part. In Cuba today, there are two general styles of bata drumming - Havana style, and Matanzas style. The bata can be played in either a standing or sitting position, depending on the occasion. In either case, the drum is placed sideways across your body, perpendicular to it. If you are sitting, the batá drum is placed in your lap. If you are standing, it is held in place with a neck strap. The drum is played by striking the two heads as you would with any standard hand drum. In essence, the batá is two different sized drums or chambers joined together with a shared or common center space. Therefore, it has two heads - one on each end of the body. The smaller of the two heads is called the cha-cha (not to be confused with the son style of music known as Cha-cha-cha), and the larger is called the enú, which means " mouth " in the Yoruba language. The Enú is the side you are considered to " speak " from. If you are right handed, play the enú with your right hand. If you are left handed, play it with your left hand.

Arara GENERAL INFO Toque Arara. Carlos Aldama.

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Chachalokpafun GENERAL INFO The most common "toque" bata, a rumbita for a couple of different orishas to dance and party.

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Dada SHEET MUSIC (for key notation click here)

Eshu GENERAL INFO This is a toque for Elegua. Eshu is the second name of Elegua. LISTENING LIST Grupo Oba-Ilu. "Santeria, song for the Orishas" - Soul Jazz Records Pancho Quinto. "En el solar la cueva del Humo" John Santos and the coro folklorico Kindembo. "Hacia del amor" - Xenophile

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Lallubanche GENERAL INFO This rhythm is only for Elegua, the orisha of the crossroads and the destiny. The toque include variations played by the Iya but no conversations.

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Ñongo GENERAL INFO This "toque" is one of the five most common toques in their basic form. It's relatively simple and it is used as dance rhythms for a couple of different orishas (see glossary). In this fonction it is called rumbita.

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Rumba Iyesa GENERAL INFO This "toque" is one of the five most common toques in their basic form. It's relatively simple and it is used as dance rhythms for a couple of different orishas. In this fonction it is called rumbita.

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Rumba Obatala GENERAL INFO This is a batá toque called "Rumba Obatala" for 3 bata

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Rumba Ochosi GENERAL INFO This is a batá toque called "Rumba Ochosi" from Pancho Quinto. [Source: Jorge Ginorio]

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Yakota GENERAL INFO This "toque" is one of the five most common toques in their basic form. It is relatively simple and it is used as a dance rhythm for a couple of different orishas (see glossary). In this function it is called "Rumbita".

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Glossary (Lu) Lucumi term (Sp) Spanish term

Achere (Lu.) A small rattle which is sometimes used to play the standard bell pattern in batà ensembles. Agbé (Lu.) A calabash gourd idiophone strung on the outside with beads. Sometimes called shekere. Agogo (Lu.) Metal bell used to play the standard bell pattern in bembé ensembles. Afia (Lu.) A sacred force believed to reside in the batà drums, considered an oricha by some Santeros. Batalero (Lu./Sp.) A batà drummer. Bembé (Lu.) A religions party held to honor an oricha. Cabildo (Sp.) Mutual aid societies established by slaves in Cuba. Caminos (Sp.) Roads. Diferent avatars of an oricha. Each " standard pattern " or toque signifies a différent camino. Chacha (Lu.) The smaller head of the batà drum. Chaworo (Lu.) Bells wrapped around the shell of the iyà ilù. Cierre (Sp.)

Closing. The ritual that closes a bembé. Conversacion (Sp.) A conversation that takes place between the iyà and itotele. Conversations used to render lexical meaning but most of this knowledge has been lost. Enù (Lu.) The larger head of the batà drum. Fardela (Sp.) Also called the idà, it is a ring of clay molded to the iyà ilu'. It is used to dampen the drum's overtones. Güiro (Sp.) Musical gourd. An idiophone, it is also known as agbé or shekere. It is covered with strung beads and played by shaking and striking the bottom. Ida (Lu.) See Fardela. Itotele (Lu.) The middle drum of the batà set. Iya (Lu.) Mother. Iya Ilu (Lu.) Mother drum. The lead drum in the batà ensemble. Llame (Sp.) The call used in batà drumming to begin a rhythm or initiate a conversation. Lucumi Name used to identify Yoruba slaves and their language in Cuba. Practitioners today sometimes call their religion Lucumi. Ocha (Lu.) A saint/oricha. The religion of Santeria (Regla de Ocha). Okonkolo (Lu.) The smallest drum of the batà set. Also called omelé. Olori (Lu.)

The strap used by the batalero to secure the drum during performance. Olù Bata (Lu.) A batalero initiated into Ana. Omelé (Lu.) Another name for okonkolo. Omo (Lu.) Child. Ori (Lu.) The physical head and inner person. The essence of personality. Oricha (Lu.) Sacred head. The nature divinities of traditional Yoruba religion and Santeria. Oru (Lu.) A liturgical sequence of songs or batà rhythms. (Sometimes mistakenly called oro.) Oru del Igbodu (Lu.) " Oru in front of the throne " played on the batà drums without song. Also called oru seco. Orun (Lu.) The heaven world of Yoruba religion. Santeria (Sp.) The Lucumi religion of Cuba. Santero, Santera (Sp.) Male and female initiates or priests of Santeria. Santo (Sp.) Saint. The oricha. Tambor (Sp.) Drummer. Tamabor (Sp.) Drum. A liturgical fiesta for the orichas using the batà drums.

Toque (Sp.) A bata rhythm. Another name for a liturgical fiesta using batà. Yesa (Iyesa) (Lu.) Single headed drum type found in Cuba. Name of generic rhythms played in " drum and güiro " ensembles. In batà ensembles this rhythm is called rumba yesa.