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Thomas Altmann wrote:
So, how did Sandy play these parts? Did he tell you anything on this subject? Can the parts be played either way? Did he use "skin-on-skin" execution only for the class? Or is there a way to play your Mula and Caja patterns with a stick (or two?)?

Thomas,
Good instincts, man.
The caja parts for both the meta and agwe can be played with sticks or hands, I did ask him that. I am not sure about the mula, my guess is probably. Our class is almost always demonstrated skin on skin, we do get statements that certain parts can also be played with sticks. Recently I've been asking him to demonstrate with sticks as well, like a version of Palo we did recently. Mainly not everyone brings sticks to class so it is usually demonstrated skin on skin.
One thing I've learnt from Sandy's approach to rhythms is he is much more pragmatic than dogmatic. He rarely says a rhythm can only be played a certain way, like this bembe for example. He is a very fluid and creative musician, however he comes from a very authentic and traditional background.

Thank you for the info, BNB.

It's also interesting to know that there are traditionally rooted folkloric and ritual musicians who deal with their music in this way. That gives me some ease to work and play with it (within certain limits, as far as style and functionality are concerned).

This was a great online lesson. I had never heard of any gender distinction within Bembe. I wonder what they do when singing for Orisha that are considered androgynous or have male and female aspects, like Obatala ...

Thanks again,

Thomas

James and Geordie:

It's me again. I was checking out Geordie's transition sheets, and there is an obvious difference from James' rhythm scores in the mula hand patterns. James notated the hand patterns of both Meta and Agwe RRLRRL. Geordie's mula goes LRLRRL in Meta and RLRLRL in Agwe.

Does Sandy admit a certain freedom in the technical execution of the rhythms? Or was there a copying mistake somewhere?

Thomas

Well this is one of those things that come up every now and then Thomas.
Sandy is pretty strict about how rhythms are meant to be sticked.
Every now and then James and I come up with these differences.

There are some rhythms where Sandy is very strict about the sticking (speaking in terms of left and right) and others where he seems to grant some freedom to this, and even on occasion switching it up himself in the middle of class. These bembes would fall in the first category - strict. Geordie is a friend of mine and I think I can safely say that each of us truly thinks we've got it down the way Sandy taught it, but we do remember things differently sometimes.

James

Post removed.

Geordie & James -

thanks for bearing with my insisting ways. I did practice those patterns in either way. Eventually, in a performing situation I will probably play them in my own way, with whatever pattern would fall in my hands; my options would stem from a pool of "official" versions anyway. The choice would also depend on whether I play with a stick or with hands. When I used a stick in my right hand, I would prefer to play the bass note in my left, for example.

Likewise, I have learned half a dozen basic patterns for Güiro style caja with a wide variety of hand patterns - simply because I didn't know how exactly they did it on the recordings. Then John Santos taught me some concepts, including the "quinto type" open style. What I got out of my multi-directional practice is a certain level of (ambi-)dexterity; so whatever I play, I'm never afraid where to come out. Also, learning new 6/8 rhythms is easier for me now.

Moreover, I think I'm rarely going to be criticized for playing Bembe with a "wrong" hand pattern. Guys would rather turn around to me, if I played strange notes in the wrong places.

Many thanks for your patience to both of you,

Thomas