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