Bamboche

[windhorse]

Right, I think I understand your thought process on the Iyesà Shekere quiro. I'll keep an eye out in my transcriptions and sources. If I find something I'll respond here. I never really dug real deep into the shekere Iyesà as, to me, it just sounded like a lot of swishing without noticeable differentiation.

Here's what I have from my friend and teacher Dave. I don't consider this a quotable source as his purpose in writing the Iyesà this way was to create an invento, like I did, for playing bells and drums along with it. But, he was deriving it from an Iyesà quiro.



Looks like what Dave wrote on the bottom two gourds lines up with this one, and then there's just a downbeat high shaker as the third.
https://youtu.be/77B3kW24GnM?si=Hb7BZekFvmU_ivMu

[Thomas Altmann]

Thank you David.

The video is pretty instructive, or interesting at least. There may be stylistic variations, but it certainly does the job for the cantos. The part of the chékere player in the middle of the trio seems to be obsolete or unsatisfactory, but the artistic aspect often plays a secondary role in ritual drumming. In my opinion, a güiro ensemble is complete with just two gourds anyway, as long as you have a solo conga drum. It is also remarkable that the guataca plays the ubiquitous cinquillo pattern instead of any of the original bell parts. Sounds more like Makuta, actually.

Greetings,
Thomas