Sub-Saharan African music exhibits a strong rhythm, exhibiting common characteristics in the numerous regions of this vast territory. Scholars refer to the like-minded musical phenomenon as profound homogeneity that forms one main system. These West-African rhythmic techniques that traveled across the Atlantic proved fundamental in the formation of modern-day, African-American music genres like blues, jazz, and hip-hop. Thus, African drumming rhythms remain critically important in popular music.
Although many sub-Saharan languages do not have words for “rhythm” or even “music,” drumming represents both the interconnectedness of people and the everyday fabric of life. Rhythms have specific meanings; for instance, cross-beats might symbolize challenging moments, while playing such music while fully on the ground represents one’s willingness to take on such emotional stress head-on.
Sub-Saharan African drummers approach rhythm with syncopation and cross-beats, which are sustained and systematic polyrhythms where at least two distinct rhythmic phases, patterns, or figures are played at once. At the core of African drumming tradition, musicians use contrasting rhythms in the same framework of accents or meter. Such asymmetrical patterns are geographically and historically interrelated within the region.
Although African music generally relies on fast-paced, upbeat drumming across the continent, some tribes like the nomadic Maasai and the Township music in South Africa noticeably lack the instrument. Elsewhere, however, the drum signifies life and the heartbeat of a community.
Classified as membranophones, African drums are characterized by a skin, or “drumhead,” extended over the open end of a frame or shell. One well-known drum, the djembe, is a rope-tuned instrument covered with skin and played with the bare hands. For the Bambara people in Mali, the instrument signifies peace and togetherness. With a shell carved of hardwood, the djembe typically boasts an untreated, goatskin rawhide.
The djembe produces a wide variety of sounds, making it a versatile instrument. Because the drum is relatively loud, the djembe can be easily distinguished, even in a large ensemble of percussion instruments. The Malinké people believe that a skilled drummer can make the instrument talk, meaning that the player tells an emotional story through the djembe alone. These drummers implement three basic sounds: tone, slap, and bass, which have medium, high, and low pitch, respectively. Such sounds occur as the player varies the striking technique and position. Masters of the djembe might achieve other sounds, although these are typically reserved for solo performances.
Another West-African drum, the talking drum, has an hourglass-shaped body covered by two skins. Connected by leather straps, these skins allow the player to vary the pitch by pressing the instrument between his or her arm and body. As the name suggests, these drums are designed to mimic speech; a skilled player can produce entire melodies and phrases.
Other aspects of African drumming, such as timekeeping, utilize instruments such as shakers comprised of woven baskets or the double bell made of iron that creates two different sounds. Even though each region of the continent has developed a different double bell style, its role as timekeeper remains relatively uniform.
