African Drumming

Introduction to Drumming History and Technique

Learn Palago, a traditional West African Drumming Piece
(approximately 2 weeks)

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Objectives:
SWBAT explain the context and purpose of African Drumming.
SWBAT maintain a steady beat on the drum.
SWBAT play and speak simple rhythmic patterns on the drum.
SWBAT to perform drumming patterns and call-and-response songs of
Palago.
SWBAT to follow the cues of the lead drummer as the conductor of the
ensemble.
SWBAT to create and perform a dance to their recording of Palago.
National Standards:
1.1.8.B.1 Analyze the application of the elements of music in diverse
Western and non-Western musical works from different historical eras
using active listening and by reading and interpreting written scores.
1.2.8.A.3 Analyze the social, historical, and political impact of artists
on culture and the impact of culture on the arts.
1.3.8.B.1 Perform instrumental and vocal compositions using complex
standard and non-standard Western, non-Western, and avant-garde
notation.
1.3.8.B.4 Improvise music in a selected genre or style, using the
elements of music that are consistent with basic playing and/or singing
techniques in that genre or style.
1.4.8.A.1 Generate observational and emotional responses to diverse
culturally and historically specific works of dance, music, theatre, and
visual art.
Materials:
-Sufficient drums for class (preferably a mixture of small, medium, and large)
-1 cowbell, 2 two-tone bells, and shakers
-Recording of Palago
-Recording device and Mixcraft (or another sound editor)
-History PPT, Warm-Up PPT, and Palago PPT
-Rhythmic Pattern Posters (General and Palago)

Lesson 1: Introduction to Drumming

Materials:
-Sufficient drums for class (preferably a mixture of small, medium, and large)
-History Power-point
-Rhythmic Pattern Posters
Process:
1. As students enter, have them put their belongings and books to the
side and grab a chair and set them up in a horseshoe formation
a. Were going to start our unit on African Drumming today. Does
anyone know anything at all about African Drumming? Why do
you think we would want to set up like this?
2. Before we even grab instruments, raise your right hand for our
classroom oath: If I play before you say, then I will receive a zero
today
a. Listen carefully to directions: you will go in a single file line to
grab a drum and after getting your instrument walk around the
other way back to your seat
i. Avoid instrument collisions
3. Brief History Discussion and Powerpoint
4. Hold up right hand in the cupped playing position can everyone
mirror me
a. Play a measure of quarter notes (center of drum) students
repeat it back
5. The Name Game
a. Go around in horseshoe in a call and response fashion each
student gets to act as master drummer
i. Say their name and create a rhythm that matches their
name (over 4 beats)
ii. Class plays their rhythm back to them
6. Display posters with 5 basic rhythmic patterns demonstrate each one
and as a class come up with words to represent each rhythm

a.

ex) Yum

b.

ex) Pizza

c.

d.

e.

ex) I like it

ex) Yum-e yum

ex) Pepperoni

Summary
1. Question and Answer Review
a. Play me the pizza rhythm.
b. Play me rhythm number 5 (have students read the notation
rather than hear the word syllable pattern).
c. What is African Drumming used for?
i. Communication, rituals, and entertainment
d. Is African Drumming just percussion?
i. No! Singing and dancing too!
e. Who leads the African Drumming ensemble?
i. Master Drummer!
f. African Drumming is.
i. Polyrhythmic!
2. Instrument Clean-Up
a. Same single file line NEATLY put the drums away and come
back around to put your chairs away
Assessment:
Students will receive constant feedback through formative assessment and
receive a participation grade based on their engagement and contributions
to the class.

Lesson 2: Introduction to the ensemble

Materials:
-small, medium, and large drums
-shakers
-Warm-Up PPT
-rhythm posters
Process:
1. Assign different size drums to each student and have students retrieve
instruments.
Warm-Up
2. Jump On In
a. Emphasis on African Drumming as a community activity
We sit in a circle because every point in the circle is important to the
ensemble each person has their own part to play and has to connect and
listen to everything that is going on. To help us get into the right mindset,
were going to play a game.
b. Explain game
i. Jump On In cue 3 notes in the center of the drum
1. This is a low and open tone
ii. Slide to the Groove cue slide fingers across the drum and
finish with two light taps
iii. Dont forget to breathe cue take two deep breathes into
the lower belly
iv. Make the connection cue look around the circle and make
eye contact and smile with someone else while saying
1,2, I see you1,2, I see you.
Our Jump On In cue reminds us that what we bring to each drumming
experience is enough and important, so give all of the energy and
enthusiasm that you have. Sliding to the groove emphasizes that we need to
leave space to hear and listen to others play their own rhythms during our
times of silence. The collective rhythms create the groove we need to pay
attention to. When we breathe, we remind ourselves that the wellness
component of ourselves and the entire group is important. Breathing also
helps us maintain the steady beat. Lastly, we must make the connection.
This is our African Drumming community and we need to connect on a
personal level and acknowledge that special bond.
So with that said, lets play! Well start out in order, but make sure youre
listening because it wont stay that way for long. Most drum circles have

some form of a leader or master drummer, so whoever is making the calls

serves as our leader.
3. After a few rounds, have students lead.
4.

5.

6.
7.

Ensemble Work
Learn parts call and response
a. Small drum: Pepperoni pizza
b. Medium drum:
c. Large Drum: Rest - Lower drum(syncopation) [1 2 + 3 + 4]
d. Shaker: Down-Up-Down Up-Down-Up
Divide class evenly into parts
a. Put the parts together
b. Remember to keep the steady beat in your body while playing
your parts or they wont line up (address issues of this as they
arise)
Rotate parts
Split into groups of 4 1 SD, 1 MD, 1 LD, 1 S
a. Improvise new 4 beat patterns
i. Start with Small drums
ii. Add Medium
iii. Add Large
iv. Add Shaker
v. Rotate and repeat
1. Talk about complimentary parts: How does my part
fit well with my groupmates?
a. Incorporate silences to fit parts together
b. Work with group and agree on an ensemble piece [5 minutes]
i. Perform for class
ii. Discuss whether or not the parts work well together
Summary

8. Put drums away

9. Talk with your neighbor about something you found challenging today.
Assessment:
Students will be assessed through their participation and ability to perform
the given rhythms and create/improvise new rhythms from the existing
rhythmic patterns.

Lesson 3: Introduction to Palago

Materials:
-Small, medium, and large drums
-Warm-Up PPT
-Palago PPT
Process:
Warm-Up
1. Pick a volunteer
Our volunteer is one part of a machine. I want you to choose an action that
you want your part of the machine to do and create a sound that
accompanies your motion. You have to repeat the action over and over
again, and you cant stop. You cant leave your spot either. Now that our first
part of the machine is in place, I need everyone else to come up one by one
and add on to our machine. You should add a part that you think is vital for
the machine to continue and it should complement that parts that are
already in place. So everyone will be adding a new movement and sound.
Go!
2. Discussion
a. What did you think of the activity?
b. What was worse sitting awkwardly waiting for someone to go or
just going up and putting yourself out there?
c. What did you do to make sure your part complemented the
others?
d. How does this relate to what were working on in African
Drumming?
Ensemble Work
3. Introduction to Palago
Today were going to start working on an African Drumming piece from West
Africa, specifically Ghana. Its called Palago can you say that after me? I
learned this piece at Montclair State in the West African Drumming ensemble
under our drum leader who has been studying and drumming for over 30

years, and has spent years playing and studying in Ghana. He brought all of
his experiences back to share with us and now Im bringing it to you.
Music is deeply woven into the fabric of African life, as weve discussed in
previous classes. Palago is one of my favorite pieces because it has a fun,
upbeat groove that is a lot of fun to sing and dance to. Im going to play you
a clip of the MSU ensemble playing our version of Palago its only a short
excerpt. African Drumming pieces can last anywhere from 10 to 30 minutes
or more in reality. Look at the questions Ive outlined on the board and take
a listen.
4. Listening activity
a. Talk with your neighbor about the piece and your answers to the
questions
5. Introduce Lead Bell
The lead bell is the most important part in our ensemble because its our
timekeeper. Listen to what it sounds like.
a. Demonstrate lead bell
Was the part what you expected it to be? Did anyone think it was odd that
our timekeeper doesnt actually play the steady beat directly?
b. Students tap the steady beat while demonstrating the lead bell
6. Chant Lead Bell: Gre deh gi deh gi deh gre
Traditional African Drumming is learned aurally by listening and observing
your guide or teacher, so thats how were going to learn this piece to give
you an authentic experience. When it comes to learning the different
patterns and playing techniques used, they have specific syllables that tell
the students how and where to play the rhythms. For the bell it tells us the
rhythms, but the syllables themselves will become more important as we get
into the other parts. Theyre not necessarily nonsense syllables, so its
important to pay attention to them.
7. Clap Lead Bell
8. Add Chant with Clap
a. Are we playing all of the syllables that we chanted before?
Whos confused? Its alright! This is complicated stuff. Heres the difficult
concept about the lead bell it actually is playing two different rhythms
because traditional teachers view those two rhythms as interconnected
meaning you cant have one without the other. One is played on the
instrument themselves which syllables do we play on the bell?
b. Highlight syllables played on bell in different color to emphasize
c. Syllables left = Gre gi gi gre
i. What is this rhythm?
ii. Where do we play it? Watch me.

You play the steady beat in your body it has to be internalized. In African
Drumming it is a basic fact that in order to play any rhythm you must have a
perfect grasp of the beat.
9. Clap steady beat and move torso to beat
a. If students seem hesitant do feel weird? Its okay, but without
this inner pulse its going to be 100% harder to learn the other
parts. Remember our warm-up activity the other day? Jump on
in!
b. Switch between clapping the steady beat and clapping the bell
pattern
10.
Pat the syllables on legs
a. Gre both legs
b. Deh right
c. Gi left
d. Both right left right left right both
e. Reinforce steady beat and bell pattern
Now the tricky (but fun!) part about Palago is that is has a few coordinated
stops and starts. Its the best feeling in the world when a whole group of
people can be so connected to make this work but its hard work. Each
person needs to be fully engaged no autopilot.
11.
Introduce Pause Call
a. Sing call tell students that the lead drummer uses their voice to
make calls in the song.
b. Teach Response: Tokoro, oh down, Tokoro
i. All of the ensemble will say and play this part together on
whichever instrument they have.
c. Sing complete call and response a few times to solidify
This call is going to be really important as we learn more parts because not
every part comes in at the beginning of their pattern. Challenge accepted.
Luckily the lead bell does, so lets try it.
12.
Students clap lead bell while chanting (can chant: Gre deh deh
deh gre) and listen for pause call
a. Repeat as needed
b. Do we feel confident in our lead part?
13.
Learn Arm-Clap
a. Introduce as a part which everyone will be doing at some point in
our piece
b. Demonstrate and have students join when ready
c. What rhythm do we move to? The steady beat!
d. Students continue arm-clap while teacher adds bell part
e. How do the patterns fit together? Where do the claps happen?
Gre

f. Students figure out how clap comes back in after call work it
out with your neighbor. Think about what we said lines up in the
two parts
i. Pattern comes back in on one clap
ii. Put together will pause call
Summary
14.
Put lead bell and claps together every other person
a. Arm-Clap do motions
b. Lead Bell pat on legs
c. Once solid, switch
15.
Talk with your neighbor about what was challenging. Share with
class.
Assessment:
Performance assessment on whether or not students are able to play
patterns and participation grade.

Lesson 4: Bell Foundation

Materials:
-clave sticks
-small and medium drums
-Warm Up PPT
-Palago PPT
Process:
Warm-Up
1. The Thing
a. Pick volunteer
We are going to create another machine today, but this machine is special
because it can move this time. Safety is the number one rule in movement
so if we cant remember to be respectful of our peers and the space around
us, then we will not be able to do activities like this.
b. Was it harder with movement? What parts did you like best and
how did they work together?
Ensemble Work
2. Get instruments (small and medium drums)

3. Review lead bell

4. Introduce Bell #2 on two-tone bell and then on drum
a. Start on Body Percussion
i. Low part
ii. High clap
b. Play on drum - relate low and high tones on drum to low and high
on bell
c. Low High High chant while playing
5. Demonstrate how Bell #2 functions during call
a. Students play bell two and response in call teacher comes back
in after call and students listen for where they start in the pattern
(**hint: it doesnt start at the beginning)
b. Pattern comes back in on: high low high high low high high etc
c. Students play with call a few times to reinforce
6. Combine lead bell with bell #2
a. Divide class in half switch
7. Introduce Bell #3
a. Demonstrate on two-tone bell and then drum (high high low)
b. Is it on the steady beat the whole time? What would we classify
this rhythm as? Syncopated.
c. Body Percussion
d. Transfer to drum
e. Figure out how it functions during pause call teacher
demonstrates
f. Students play with pause call to reinforce
8. Split class into three parts Lead Bell, Bell #2, and Bell #3
a. Assess student confidence and comfort with the already learned
parts. Reinforce as necessary.
9. Introduce Shaker
a. Body Percussion and invisible shaker
b. Begin with simplified version of shaker part
c. Starts at beginning of pattern after call try it together.
10.
Split class into four parts Lead Bell, Bell #2, Bell #3, and
Shaker
a. Create groups with one of each part
b. Rotate within group
c. Introduce one cowbell as lead bell, 2 two-tone bells for Bell #2
and Bell #3 and a shaker to one circle
i. Rotate circles so every student has a chance to play the
actual instruments
Summary
11.
Talk to your neighbor about which part is the most challenging
for you right now. Share with class.
12.
Put instruments away.
13.
Exit slip: Which statement best describes you?

a. Im a Novice. Im just starting to learn this, and I dont really

understand it.
b. Im an Apprentice. Im starting to get it, but I still need someone
to coach me through it.
c. Im a Practitioner. I can mostly do it by myself, but I sometimes
mess up or get stuck.
d. Im an Expert. I understand it well, and I could teach it to
someone else.
Assessment:
Students will be assessed through their performance throughout the class
and in their participation. The exit slip and discussion will narrow down which
concepts need more reinforcement.

Lesson 5: Add Drum Parts

Materials:
-Small, medium, and large drums
-Shakers, 1 cowbell, 2 two-tone bells
-Palago PPT
Process:
Warm-Up
1. Whatcha doing?
a. Students take a minute or two to think of a few actions they can
act out from their seat. Teacher will start by beginning to act
something out. The next student in the circle will ask hey,
whatcha doing? Ill respond with a different action from the one
Im doing. That student has to start doing what I said. The chain
will continue around the circle. You cant stop doing your action!
b. Discussion: What was difficult about this? How does it relate to
our drumming exercises and pieces?

Multi-tasking is a big part of performing in any musical ensemble. Youre

always focused on your own part but you also need to listen for every other
part, watch the leader, and maintain the steady beat. It can be tough!
Ensemble Work
2. Get instruments
3. Review bell patterns
4. Learn Boba Pattern (on medium drum)
a. Low high low low high demonstrate (gad deh gag a deh)
b. Does this pattern remind you of anything? We Will Rock You
c. Starts at beginning after call practice
5. Learn Apentemma pattern (on small drum)
a. Demonstrate (Deh gi deh gee gee)
This is where our discussion on syllables will become important. On the drum
there are different ways we can play. First we have high or low, but then we
also have open tones (like what weve been using) and a muted tone. Ga is a
low, open tone.
b. Play a few measures of ga tones on the steady beat
Deh and gi are used to represent high open tones. We have multiple
syllables to show that because when rhythms are quicker it can get difficult
to repeat the same syllables over and over again.
c. Play a few measures of deh gi repeated on eighth notes
The different tone is gee and this is a muted tone. Anyone know or want to
take a guess how were going to make this tone? After the initial hit you
leave your hand on the drum to mute the sound. These syllables in a pattern
serve to do a few things it mutes the existing sound and helps the player
keep the beat during the rests. Why might we want to mute the sound? To
make way for other rhythms and patterns remember slide to the groove?
We need to listen for other parts so they can shine through and fit together
accurately.
Lets practice our Apentemma part listen for the call. The apentemma has
a special task when we come back in try to figure it out.
d. Play part with call stops. Figure out how it functions.
i. Functions as a pickup the only part to play before beat 1.
Lets try it again.
ii. Repeat for reinforcement
6. Learn Sogo part (on large drum)
a. Demonstrate (Gi deh gee oo deh gee ga deh)
b. Break it down:
i. Beat 1: Gi deh gee
1. Relate to Pepperoni pattern (take out ro)
ii. Beat 2: Oo
1. Musical rest on the instrument, but played in body as
place holder
iii. Beat 3: Deh gi
1. Straight eighth notes 3 +

iv. Beat 4: ga deh

1. Only low tone in pattern
2. Pick up to next measure 2 sixteenth notes
3. Pepperoni ga deh = roni
v. Put it together slowly
vi. Give students a few minutes to work through it on their
own or with a partner.
vii. Play together slowly gradually increase the speed.
viii. Starts at beginning after call try it.
7. Split class into 3 parts Small drums, medium drums, and large drums
a. Play parts and rotate
b. Create circles for each instrument
c. Create a circle with lead bell, bell #2, bell #3, and shaker
i. Rotate around
Summary
8. Match the chant to the instrument
9. Talk to your neighbor about which part is your favorite and something
you learned today.
10.
Put instruments away.
Assessment:
Students will be assessed on their performance of the different parts in class.

Lesson 6: Solidify Patterns

Materials:
-all instruments
-Palago PPT
Process:
Warm-Up
1. Round or two of Watcha Doing?
2. Get Instruments
3. Echo Drumming
a. Begin with teacher
b. Rotate around circle where each student acts as lead drummer
playing any rhythm theyd like
c. End with teacher
i. Begin reviewing patterns of Palago
4. Have parts join as they hear their part

5. Add one player on lead bell, bell #2, bell #3

6. Add a few shakers
7. Organize instruments
a. 2 lead bell, 2 two-tone bells, 2 shakers, 2 apentemma, 2 boba, 2
sogo
b. Rotate through parts and review as necessary
Summary
8. Exit Slip:
a. What is your favorite instrument to play?
b. Which part is most challenging for you?
9. Put instruments away
Assessment:
Performance assessment on patterns. Exit slip will provide insight into
student interest and needs.

Lesson 7: Songs, Form, and Recording

Materials:
-all instruments
-Palago PPT
-recording device
Process:
1. Get instruments assign in similar form as Lesson 6
2. Teacher sing first call Everybody
In African Drumming we talked about the 3 elements: drumming, singing,
and dancing. Today we have to learn the songs that go with Palago. We
learned the main section, and the songs are going to be our introduction
section.
3. Learn introduction songs call and response (on solfege for
reinforcement)
a. Everybody
b. Palo-alo

c. ABCD
i. Rehearse entering after song
So we now know how to start our song and we know what happens in the
middle. What are we missing? There is also a song that signifies the end of
our song. Salam alaykum is means Peace be unto you in Islam, and is used
to end as a sending forth in piece gesture.
4. Learn Salam Alaykum call and response
a. Coordinate final hits on the drum with end of song
5. Review Form
a. Introduction
i. Everybody, Palo-alo, ABCD
b. Main section
i. 2 Pause Calls
c. Transition Eh ah eh
This is one that you just have to listen for. Its to signify the change for the
dancers so this will come in handy when we start dancing!
d. Repeat patterns until End Call
6. Record
a. Rotate around circle to give students a chance to play all
instruments and to get a large number of takes
7. Put instruments away
8. On a scale of 1-10, how do you think our performances went today?
Assessment:
Students will be assessed on their performance during class and will selfassess on their performance.

Lesson 8: Dance
Materials:
-Palago PPT
-Recording of Student Palago Performance
Process:
Warm-Up
1. Listen to Recording
a. Move to beat
b. Count how many measures of 4 happen between each pause as
you listen
2. Learn dance
a. Break it down into 2 measure sections
3. Students create sections of dance (in small groups)
a. Replace Right-Hand Turn
b. Replace 3-point turns
c. Demonstrate for class and vote on favorite moves

4. Learn eh ah eh transition
a. Move into two lines
5. Learn final line dance section
a. Have fun with it!
Summary
6. Perform entire dance
If time:
7. Half class plays lives instruments, while other half dances
8. Switch
Assessment:
Students will be assessed on their ability to perform the dance to the steady
beat and create their own sections through active class participation.
Extensions:
Have class teach song and/or dance to another class
Have volunteer students take over vocal calls

Final Assessment
A performance assessment along with formative assessment throughout the
unit will determine the final grade for students. The final performance will be
assessed by the following criteria:
Instrument patterns

Singing

Dancing

Student is able to play

all instrumental
patterns with correct
rhythm and timing.
Student is able to sing
the responses of Palago
with correct pitch,
words, and rhythm.
Student is able to
perform the dance
while keeping the

__/30

__/30

__/30

Participation

steady beat.
Student completes the
above tasks with
energy and a positive
attitude.

__/10

Total: ____/100