Krakatoa - Styles - African - She's Been Waiting
Links:
Go To: Styles-African-She'sBeenWaiting-Shows:
Go To: Styles-African-She'sBeenWaiting-BandRehearsals:
Go To: Styles-African-She's Been Waiting-PrivateLessons 
ONLINE Video (see also Ear to the Ground):
See also FREE Lessons for general Instruction not specific to a particular Style.
Background
One of our members, Donna B., had gone to a moving experience by Ubaka Hill (see http://www.eomega.org/omega/faculty/viewProfile/25a2642da7a8d699a4fc338613b154e7 and http://www.drumcentral.net/Hill.htm). She brought a CD by the group and we liked it so much, we created a Groove based on it and Donna decided to Improvise on its lyrics. See also Ear to the Ground.
Song's Accompaniment Style-Guidelines - See also Accompaniment Role-Guidelines:
Listen to an audio clip of a Show that has good "Mother" Drum Groove for practicing:
Click here to practice to an audio clip of "She's Been Waiting" by Ubaka Hill.
Here are the main lyrics by Paula Walowitz, Donna was inspired by:
She's been waiting, waiting. She's been waiting so long.
She's been waiting for her children to remember to return
Blessed be and blessed are the lovers of the Lady
maiden, mother, crone
the ones who dance together
the ones who dance alone
She's been waiting, waiting...
Blessed be and blessed are the ones who work in silence
the ones who shout and scream
the movers and the changers
the dreamers and the dream
She's been waiting, waiting...
Blessed be and blessed are the ones who work in silence
the ones who shout and scream
the movers and the changers
the dreamers and the dream
The dreamers and the dream, the dreamers and the dream.
Song's Drum & Percussion Style-Guidelines - See also Instrument Role-Guidelines:
The focus is on the Vocalist when they are singing, so come down in volume. There's a lot of ebb & flow to the music, rising in volume and falling. Listen (give "ear") carefully to the "Mother" Drum Groove. Really bring out the Bass tones - these are "grounding." Give it a really earthy, groovy feeling to this chant-like song.
Role 1 "Father" Drum Style-Guidelines:
Bringing out the 2-Pulse Feel, a strong Pulse on 3, and adding Pick-up notes to signal the end of the Phrase:
|1e+a2e+a3e+a4e+a | Count 1/16-note Subdivisions
|1 3 +a |
|B F bb | B = loud Bass, b = softer bass, F = loud open Flam
|r lR r l | right-handed: r = right, l = left
Role 2 Steady Time-Keepers Style-Guidelines:
Shakers:
|1 + 2 + 3 + 4 + | Count 1/8-note Subdivisions
|1 2 + 3 4 + |
|r r l r r l | right-handed: r = right, l = left
Tambourine:
|1 + 2 + 3 + 4 + | Count 1/8-note Subdivisions
| 2 + 4 |
Rasp or Guiro:
|1 + 2 + 3 + 4 + | Count 1/8-note Subdivisions
|1 3 + |
|L L s | L = Long scrape, s = short scrape
|d d u | d = down-stroke, u = up-stroke
Metal - Low-pitched Cowbell:
|1 + 2 + 3 + 4 + | Count 1/8-note Subdivisions
|1 + 3 4 |
|c c m m | c = center, m = mouth
Wood:
Role 3 "Mother" Drums Style-Guidelines:
|1e+a2e+a3e+a4e+a| Count 1/16-note Subdivisions
|1 +a2 3 + 4 |
|B ooh B o f | B = loud Bass, o = open, h = show hands, f = muted flam
|r r l r l lR | right-handed: r = right, l = left
Role 4 "Child" Drum Style-Guidelines:
|1e+a2e+a3e+a4e+a | Count 1/16-note Subdivisions
|1 + 2e 3 4e |
|r L r l h r l | right-handed: r = right, l = left (L = rim), h = hands up
Role 5 Advanced Time-Keepers Style-Guidelines - Woodblock or Claves:
|1 + 2 + 3 + 4 + | Count 1/8-note Subdivisions
|1 + 4 | 1-Bar Clave (see Styles-Cuba -Tresillo Cubano)
|1e+a2e+a3e+a4e+a | Count 1/16-note Subdivisions
|1 a + 4 | Double-time 1-Bar Clave inserted into a 1-Bar Clave
Role 6 "Master" and Solo Drum Style-Guidelines:
We’ll use The Quinto “Conga” Drum or Bongas to Call Responses from Soloists and can also be used to improvise w/ the vocals and dancers. The Calls and Responses could be 1 Bar (or more likely 2 Bars long), and usually respect the Clave rhythm (if there is one) – starting or stopping phrases on the notes played by the Clave. They can also “play off” the other Time-Keeping patterns or Dialogue with any of the other Drum parts (especially the "Mother" Drum) or Accompaniment players.