Striking techniqes

Forum fully dedicated to the instrument

Striking techniqes

Postby PPurityofSinNN » Mon Mar 01, 2010 9:04 pm

Ok... So there seems to be a bit of confusion or disagreement on my last post about ways to to hit the itotele enu. I suggest the people on this board to post on this thread the different techniques used on the 3 drums or give their idea, advice, or advice theyve gotten from more experienced players.
PPurityofSinNN
 
Posts: 11
Joined: Tue Feb 02, 2010 4:39 am

Re: Striking techniqes

Postby Thomas Altmann » Mon Mar 01, 2010 9:26 pm

Matanzas style or Havana? Or both?

TA
Thomas Altmann
 
Posts: 897
Joined: Sun Jul 02, 2006 12:25 pm
Location: Hamburg

Re: Striking techniqes

Postby PPurityofSinNN » Tue Mar 02, 2010 1:00 am

Any style either Matanzas or Havana. I know Matanzas its a bit more varied with some open tones on the chacha etc so i guess its worth talkin about both styles
PPurityofSinNN
 
Posts: 11
Joined: Tue Feb 02, 2010 4:39 am

Re: Striking techniqes

Postby Thomas Altmann » Tue Mar 02, 2010 8:12 pm

O.K. - I start.

HAVANA SCHOOL:

Okónkolo:

basically 2 sounds:

1. Open tone enú (boca, mouth)
2. Slap chachá (culata, butt) - should be open slap on all batá drums

I might add that some drummers get a loud, popping sound out of the okónkolo enú by slapping their fingers on the outer part of the skin.

Itótele:

3 sounds:

1. Open tone enú
2. Muffled tone enú (press stroke)
3. Slap chachá (Important for all drums, especially itótele and iyá, is: The enú has to be dampened or covered by the other hand when slaps are executed on the chá! I do the same thing also on okónkolo. This is of course unnecessary when playing both heads in unison.)

Iyá:

4 sounds:

1. Open tone enú (played with the whole hand flat on the skin)
2. Muffled tone enú (either press stroke or closed-slap-type of technique)
3. Slap chachá
4. occasionally: rim strokes ("campana") on the chachá (such as in Oyá bí'kú and Aggayú).

It may be mentioned that the chaworó may be sounded by shaking the drum either with the hands or by moving the legs rhythmically.

- Ghost notes ("time touches", "tips" or "taps") are executed in different patterns and to varying extent on each of the drums.

- "Double stops", i.e. simultaneous strokes on both heads tend to be "flammed", mostly by delaying either the enú (more often) or the chachá stroke. This is called mordente.

- Sometimes chachá slaps are supported by a preceding finger tap on the enú, which can also sound like a flam.

I wonder whether some drummers also employ open strokes on the enú with dampened chachá head, which gives a higher, slightly choked, or flageolet-like sound?

My 5 cents -

Thomas
Thomas Altmann
 
Posts: 897
Joined: Sun Jul 02, 2006 12:25 pm
Location: Hamburg

Re: Striking techniqes

Postby PPurityofSinNN » Wed Mar 03, 2010 5:16 am

ok i got a couple of questions..

Thomas Altmann wrote:2. Slap chachá (culata, butt) - should be open slap on all batá drums


So on the chacha closed slaps are never used?

I might add that some drummers get a loud, popping sound out of the okónkolo enú by slapping their fingers on the outer part of the skin.


In matanzas style this can be done to the chacha of all 3 drums as well right? Like you mention here that is done on the iya enu

3. Slap chachá (Important for all drums, especially itótele and iyá, is: The enú has to be dampened or covered by the other hand when slaps are executed on the chá! I do the same thing also on okónkolo. This is of course unnecessary when playing both heads in unison.)


Why is this necessary?


- "Double stops", i.e. simultaneous strokes on both heads tend to be "flammed", mostly by delaying either the enú (more often) or the chachá stroke. This is called mordente.


So when both heads are played its never done exactly at unison or does it vary?



Sorry if my questions seem ignorant or annoying. I've recently started playing bata and i dont want to start out with the wrong technique.. for some reason there isnt a lot of written stuff out there about technique. I appreciate the answers.
PPurityofSinNN
 
Posts: 11
Joined: Tue Feb 02, 2010 4:39 am

Re: Striking techniqes

Postby Thomas Altmann » Wed Mar 03, 2010 5:34 pm

So on the chacha closed slaps are never used?


Well, I've seen some people play closed slaps on the chá. But it doesn't seem to be acknowledged batá technique. Most bataleros that I have seen, among them all of my teachers, play open slaps. But on a tambor, the last thing that people would check out is a drummers technique - as long as the proper sound is produced at the right moment. Ritual knowledge and repertoire are important, and ENERGY. I wouldn't blame someone for playing closed slaps, grabbing-hand slaps or whatever. But what is taught, technically, are open slaps, and that's what sounds and feels right to me. I find that closed slaps are even more cruel to the hands than "regular" open slaps on the chachá - which at times can make your hands bleed, anyway.

In matanzas style this can be done to the chacha of all 3 drums as well right? Like you mention here that is done on the iya enu


First of all, I think what you do on the chá and on the enú, respectively, is not to be confused or even compared. Secondly, I am definitely not that familiar with Matanzas style batá drumming; please refer to the DVD for that matter, or wait for someone else from this forum to speak up. But in Havana, the slap that is executed on the chachá covers a broader part of the head surface than the slap-like stroke that some people execute on the okónkolo enú to get that popping open tone from it. I find it hard to describe how it is done, especially because I got that effect out of the drum but once in my life, and I never play like that. What I did sometimes when I felt the okónkolo was not loud enough, was to play rim strokes on the enú. It isn't orthodox technique either; but it reaches the ear.
Thirdly, the special slap-like technique that can be used to achieve a muffled tone, is limited to the iyá, and it is not really a slap; it doesn't "slap" anyway. I just tried to describe the motion (technique-wise) that can be used. Not everybody does it, though.

Why is this necessary?


Very simple: If you played a slap without dampening the enú on the opposite side of the drum, you would hear the enú resonating at the same time; as a result, the distinction between the two sounds wouldn't be that clear, making for dirty articulation. The slap sound from the chás that is required in ensemble playing has to be bright and percussive, without being cluttered up by an unwanted and misleading open tone share. You can check it out yourself - provided you don't have some of those thick hides on your batá that tend to be more forgiving than old-school thinner skins.

So when both heads are played its never done exactly at unison or does it vary?


This is no rule, just common practice. Nonetheless, there are drummers who are flamming all the time, others who do it occasionally, and finally some who don't do it as much. Maybe there are also drummers who never do it; I don't know.

I forgot to mention that the word "mordente" is taken from the classical music terminology, but does not refer to exactly the same thing. In classical music, a mordent describes an ornamentation comprising of three notes, while here only two notes are played. I know this as a "French flam". As a matter of fact, I have never heard it being called "mordente" before I got the Lenguaje DVD.

I hope that helps you a bit.

Thomas

P.S.: By the way, I avoided calling you Purity, or Sinner; how do you wish to be addressed, if at all (now that Thomas Newton is actually Richard)?
Thomas Altmann
 
Posts: 897
Joined: Sun Jul 02, 2006 12:25 pm
Location: Hamburg

Re: Striking techniqes

Postby PPurityofSinNN » Thu Mar 04, 2010 8:26 pm

Hmm.. yea that hit on the okonkolo chacha im talking about is definately not a slap its more like a loud open tone done with on or two fingers on the rim. But yea im guessing thats strictly Matanzas style.

I did try dampening the enu while slapping the chacha and u were right without covering the enu the whole drum rings..actually what i was doing so far instead of covering the enu while slapping on the chacha was closed-slapping. Thats why i also asked about the closed slaps. That way it wasnt ringing. So i guess i should change that. I dont want to start out with bad technique. Also i did notice drummers doing it after a while of close observation (videos that is).


Once again thanks a lot for taking the time to answering my questions. Name is Roger thats just an old screen name and i just stuck to it cuz i hate having a different screen name for every different thing i do on the web. But yea thanks. Now i will go back to practicing nongo with a bit better technique lol

Roger.
PPurityofSinNN
 
Posts: 11
Joined: Tue Feb 02, 2010 4:39 am

Re: Striking techniqes

Postby Thomas Altmann » Fri Mar 05, 2010 1:06 am

Dear Roger,

you're welcome.

Maybe someone else can add or comment something.

Greetings,

Thomas
Thomas Altmann
 
Posts: 897
Joined: Sun Jul 02, 2006 12:25 pm
Location: Hamburg

Re: Striking techniqes

Postby bengon » Fri Jul 02, 2010 8:54 pm

Hi Guys. I'm a bit late to the party, but here's some Matanzas info.

You basically have the open tones on all three drums, as well as open slaps on the culatas, which was how they referred to the slap side. You should to close off the open side when you do slaps, if possible. During Chacha, once it gets really bumping, sometimes guys would move both hands to the culata side and play just that for a few bars.

Iya and Oconcolo have lots of campana, which is the open tone played on the culata. Most guys would play this with a few fingers on the Iya, and one finger on the Oconcolo. I think campana is a case of getting to know a drum and how to get the tone out of it. Also, you have to be sure to leave the open side open, as this is a fairly delicate tone to begin with. It just won't be heard if you close off the open head. The itotole doesn't really play campana, but I've seen some guys do it when they're showing off. It's very rare to hear, and i'm pretty sure it's only done as an invento.

Iya and Itotole have the muff tone, which we just called cerrado. Of course there's also the touches, especially on Iya, but also on the other two, to a certain degree.
bengon
 
Posts: 132
Joined: Sat Jun 14, 2008 4:06 am

Re: Striking techniqes

Postby Thomas Altmann » Sat Jul 03, 2010 7:25 am

I think campana is a case of getting to know a drum and how to get the tone out of it. Also, you have to be sure to leave the open side open, as this is a fairly delicate tone to begin with. It just won't be heard if you close off the open head.


Hi bengon,

thank you for your post. Are you saying that the enú (boca) is not dampened before playing campana on the chachá (culata)?

Thomas
Thomas Altmann
 
Posts: 897
Joined: Sun Jul 02, 2006 12:25 pm
Location: Hamburg

Re: Striking techniqes

Postby bengon » Sat Jul 03, 2010 6:06 pm

Thomas Altmann wrote:
I think campana is a case of getting to know a drum and how to get the tone out of it. Also, you have to be sure to leave the open side open, as this is a fairly delicate tone to begin with. It just won't be heard if you close off the open head.


Hi bengon,

thank you for your post. Are you saying that the enú (boca) is not dampened before playing campana on the chachá (culata)?

Thomas


Right. Campana, compared to open tones, slaps and muffs, is naturally a much quieter tone. If you dampen/close off the enu, you're losing a lot of sympathetic vibrations, and with that, lots of tone and volume. It's the same reason we close the enu when we slap, but in reverse. When you're playing a slap, the reaction between the heads sounds ringy and it gets in the way of the staccato attack we want. When you're playing campana that's exactly what you want. Suena las campanas!
bengon
 
Posts: 132
Joined: Sat Jun 14, 2008 4:06 am

Re: Striking techniqes

Postby Thomas Altmann » Mon Jul 05, 2010 9:22 am

Hi bengon,

I tried the "boca-abierta" campana technique on the okónkolo, and it makes a lot of difference. I still have to check on the iyá. As I am primarily a Havana style player, the only two toques where I ever applied the campana technique have been Aggayú seco and Oyábikú. I used to accent some of the culata notes by slapping them, so I had to change my left hand from campana to slap, and consequently I now must change between closing and opening the boca, which may turn out to be uncomfortable.

I have always found that the resonance between the iyá's culata and its fardela-loaden large boca head was not as audible as with the other two drums. For another instance, when the culata is played with both hands - as done both in Africa and in Matanzas, Cuba - the boca has to be left open, naturally, and there is little disturbance to be heard from the boca.

I will examine the open enú technique on the iyá, but perhaps the efficiency wouldn't justify the effort.

Thank you again,

Thomas
Thomas Altmann
 
Posts: 897
Joined: Sun Jul 02, 2006 12:25 pm
Location: Hamburg

Re: Striking techniqes

Postby bengon » Tue Jul 13, 2010 6:04 pm

I was unaware of any campana played in Havana. Years ago, when I began studying bata, I started with Havana style. My friend here who has a set of fundamento is a Matancero, so I switched a few years ago. I never had the chance to study Iya in the Havana style very much. Someday I'd like to be strong in both, but for now I'm just finally getting a good hold on Matanzas style.

As far as not closing the enu, of course you only do it when you can. Like anything else, over time it just becomes a something you don't think about. Also, each drum is going to respond different, particularly non-mass produced ones. It really depends on the drum. Every drum is built differently, some are longer, some are bigger, ect. Some drums have more fardela, some have very little, some have none. It's a matter of getting to know ones drum. Right now, I'm having lots of trouble getting a nice campana out of my drums here.

Of course we try to close off the enu when we slap, but once you're in top gear, during cha cha or yemaya or la meta or whatever, it's not such a big issue anymore. The oconcolo and segundo are playing so many notes as such fast speed, it's hard to register a little overtones. Moreover, you've got tons of other things to think about once you're in that spot!
bengon
 
Posts: 132
Joined: Sat Jun 14, 2008 4:06 am

Re: Striking techniqes

Postby Thomas Altmann » Tue Jul 13, 2010 7:58 pm

Hi bengon,

I was unaware of any campana played in Havana.


It's optional to play these two toques in that style. I heard and learned them this way at first, and I still like it, so I keep it. I'd have to sit down and practice the other style extensively. Maybe I'll do it ... one day.

I completely agree with everything you said -

Thomas
Thomas Altmann
 
Posts: 897
Joined: Sun Jul 02, 2006 12:25 pm
Location: Hamburg


Return to Bata Drums

Who is online

Users browsing this forum: No registered users and 6 guests