Bata Drumming Basic Scores.docx

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Bat 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 bat. However bat 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 bat music is played in a religions function called a bemb, in honor and in worship of Yoruba deities called Orisha. Although there are many diffrent 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 bemb 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 bat 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 bat music, the first step is to master the salutes played in the Oru Seco.

IntroductionThe three bat drums and their role in an ensemble:Okonkolo:the smallest bat drum, the okonkolo produces the highest pitched tones and is typically used to play a standard set of rhythms in support of the Iy and Itotele. The Okonkolo is considered the metronome and time-keeper of the bat ensemble, hence there is little improvisation (floreos) carried out on this bat drum, especially during the Oru Seco. However the level of improvisation depends on the bat 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 bat drums, the Itotele produces the medium pitched tones and is also used to play a standard set of rhythms in support of the Iy. As with the Okonkolo, these rhythms are fairly universel with little variation from one form of bat to another.The itotele, is expected to answer " and " converse with " the Iy.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.Iy:the largest of the bat drums, the Iy produces the lowest pitched tones. The iy 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 cha-cha side of the Iy and will require a well-trained ear to distinguish. The iy " calls out " the changes and conversations for the entire bat ensemble, and usually has the most improvisational freedom of all the bat drums. Most but not all of this improvisational skill lies in the placement of strokes on the larger of the two drumheads, the cha-ch

Basic Technique

There are many types of double-headed drums found all over the world, but the bat 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 bat 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 bat 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 en, which means " mouth " in the Yoruba language. The En is the side you are considered to " speak " from. If you are right handed, play the en with your right hand. If you are left handed, play it with your left hand.

Arara

GENERAL INFOToque Arara. Carlos Aldama.

SHEET MUSIC(for key notationclick here)

Chachalokpafun

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


Dada


Eshu

GENERAL INFOThis is a toque for Elegua. Eshu is the second name of Elegua.

LISTENING LISTGrupo Oba-Ilu. "Santeria, song for the Orishas" - Soul Jazz RecordsPancho Quinto. "En el solar la cueva del Humo"John Santos and the coro folklorico Kindembo. "Hacia del amor" - Xenophile


Lallubanche

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


ongo

GENERAL INFOThis "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 (seeglossary). In this fonction it is calledrumbita.


Rumba Iyesa

GENERAL INFOThis "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 calledrumbita.


Rumba Obatala

GENERAL INFOThis is a bat toque called "Rumba Obatala" for 3 bata


Rumba Ochosi

GENERAL INFOThis is a bat toque called "Rumba Ochosi" from Pancho Quinto.[Source: Jorge Ginorio]


Yakota

GENERAL INFOThis "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 (seeglossary).In this function it is called "Rumbita".


Glossary

(Lu) Lucumi term(Sp) Spanish term

Achere(Lu.)A small rattle which is sometimes used to play the standard bell pattern in bat ensembles.Agb(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 bemb ensembles.Afia(Lu.)A sacred force believed to reside in the bat drums, considered an oricha by some Santeros.Batalero(Lu./Sp.)A bat drummer.Bemb(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 diffrent camino.Chacha(Lu.)The smaller head of the bat drum.Chaworo(Lu.)Bells wrapped around the shell of the iy il.Cierre(Sp.)Closing. The ritual that closes a bemb.Conversacion(Sp.)A conversation that takes place between the iy and itotele. Conversations used to render lexical meaning but most of this knowledge has been lost.En(Lu.)The larger head of the bat drum.Fardela(Sp.)Also called the id, it is a ring of clay molded to the iy ilu'. It is used to dampen the drum's overtones.Giro(Sp.)Musical gourd. An idiophone, it is also known as agb 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 bat set.Iya(Lu.)Mother.Iya Ilu(Lu.)Mother drum. The lead drum in the bat ensemble.Llame(Sp.) The call used in bat drumming to begin a rhythm or initiate a conversation.LucumiName 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 bat set. Also called omel.Olori(Lu.)The strap used by the batalero to secure the drum during performance.Ol Bata(Lu.)A batalero initiated into Ana.

Omel(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 bat rhythms. (Sometimes mistakenly called oro.)

Oru del Igbodu(Lu.)" Oru in front of the throne " played on the bat 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 bat drums.

Toque(Sp.)A bata rhythm. Another name for a liturgical fiesta using bat.

Yesa(Iyesa) (Lu.)Single headed drum type found in Cuba. Name of generic rhythms played in " drum and giro " ensembles. In bat ensembles this rhythm is called rumba yesa.

Bata Drumming Basic Scores.docx

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