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AtsimevuTones And Performance Techniques The Atsimevu is the most visible drum among the instrumental resources of the Anlo Ewe. This is due to its traditional role as a lead drum in the organization of all basic instrumental ensemble in which it is featured. An Atsimevu has a carved semi-cylindrical (gradually tapering like an elongated conga drum) body of about four and one half feet tall with an expansion in the middle section of about fifteen inches in diameter and a drum head of about nine inches in diameter. The drum head or membrane is usually made out of a skin of a deer or antelope. The cylindrical body has a bottom opening of about eight inches in diameter to let the vibrations out. The larger (newer) Atsimevus run approx. an inch larger in diameter and four or five inches taller. The name Atsimevu was derived from the description of the manner in which the drum is tilted in a convenient playing position using a wood playing stand called a vudetsi.
Tones (sounds) and Performance Techniques The initial vibration of the Atsimevu is released by striking the membrane with a full bare hand technique, a stick technique, or a technique using some fingers and/or combinations of the preceding methods. Striking different positions of the membrane and manipulating the membrane by damping it to resonate partially in various ways will produce a series of sounds that form the basic vocabulary of Atsimevu. While many things affect the sounds produced by an Atsimevu – e.g., the quality of the carved cylindrical body, the thickness, the membrane diameter and tension – the aspect of playing that has perhaps the most profound effect upon the quality of sound is the application of skillful techniques that control the release of various frequencies. These techniques are the main focus of the performer in order to realize the best possible drum sounds, and we shall discuss them in the context of the drum sounds they produce. Perhaps the most important attribute of good African drumming technique is a stable, yet relaxed posture of the entire body. As the hands move during playing, they are supported in position from the elbows, not from the shoulders. The elbows serve only as support mechanisms for the hands and thus are held in a very relaxed, but firm posture. The actual hand playing movements are made from the wrists, not from the elbows. Of course, every part of the player's body will move in performance; the key concept here is that the posture must be natural and comfortable, stable but not rigid, and not awkward, because in this type of music drumming often goes on and on for long dance numbers, and it is important that the player not become exhausted from awkward posture or technique.In playing position, the drummer stands nearly parallel beside the Atsimevu, which is tilted on the vudetsi, whereby the height of the drum head is just below chest level to provide good leverage and ease of playing. There are two striking positions or zones most commonly used on the Atsimevu drum head: the Center and the Periphery (see illustration below). Stick and full-hand techniques are used at the center, while various techniques employing fingers (but usually not the stick) are used at the periphery.
Fundamental Tone: "Ga" The fundamental vibration of the air column from within the drum is produced by bouncing the bare hand off the center of the membrane. This produces the lowest or bass tone of the drum. This tone is commonly referred to in vocalise as "Ga". It is important not to dampen or muffle the membrane and therefore to allow it to "speak" fully. The technique to accomplish Ga with a deep bass tone is readily learned without further instruction... it simply takes some practice. One aspect of technique on the Atsimevu that will help the player master the technique: do not overplay as doing so would not improve the tone produced by a more modest and simple, smooth technique. A drum has a voice, and the player's objective is to allow the drum to speak, not vice versa.
Tone: "Gi" A stroke with all fingers of the non-stick hand that rebounds after striking the drum head periphery produces a middle-range tone corresponding to the fundamental vibration mode of the membrane. It is specified in vocalise as "Gi". Finding the best angle to address the drum head periphery zone is very important for the clarity of the pitches produced by techniques using all fingers. This angle can be found by aligning the knuckles above the outer edge of the drum head, using the thumb as a guide-stop, and allowing the rest of the flexing fingers to extend toward the center of the drum head.
Tone "Ki" An alternate technique of the non-stick hand fingers releases a partial vibration of the membrane by pressing the fingers firmly on the drum head to prevent them from bouncing after the stroke is delivered. This technique produces a pitch commonly referred to in the vocal syllable as "Ki". In comparison with the tone "Gi", the tone "Ki" is higher or brighter, and in rhythms it can be used to accentuate or emphasize certain notes in a rhythm by giving them a unique character. Again, even though an objective with this tone is to press the membrane in order to produce a unique tone, a skillful drummer does not "force" the tone but instead allows the drum to "speak" the tone via the technique used on the membrane.
More information on Atsimevu Tones and Performance Techniques All information on Atsimevu generously provided by Prof. C.K. Ladzekpo, author of Foundation Course for African Dance Drumming |
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