Learn to play the djembe: part 3

Written By Kyra Aulani

In this lesson, we learn a traditional Guinean rhythm called Fè — a rhythm rooted in Northeast Guinea, played to welcome people into the village. During this celebration, young women would perform a theatrical dance called Fè, using calabash gourds with decorative fringe, tossed into the air as part of the choreography.

The rhythm itself — also called Fè — accompanied this dance. It comes from the Malinké people of Guinea.

🥁 Structure of the Rhythm Fè

Fè consists of:

  • A signal (to begin or end the rhythm)

  • Two djembe accompaniments

  • A traditional break

  • And the melodic support of the dunun, played here by Kyra Aulani

Together, these form a polyrhythmic structure — a hallmark of traditional West African music, where multiple parts interlock into a cohesive groove.

🛎️ The Signal

The signal is a four-beat phrase, ending in a flam — a staggered slap using both hands to create a sharp, accented sound.
This signal is used to start, transition, or end the rhythm.

✋ First Djembe Accompaniment: “Ku-ku-ra-cha”

This part is built on the following pattern:

  • Tone – Tone – Slap – Slap

Using the phrase “Ku-ku-ra-cha” as a mnemonic helps you internalize the sequence. The first slap lands on the downbeat ("one"), and the final slap is syncopated — landing off the beat.

✅ Start with your dominant hand
✅ Alternate hands naturally
✅ Practice in sets of 1, 2, and 4 repetitions

✋ Second Djembe Accompaniment: “Ku-ku-ra-cha-cha”

This pattern adds another slap:

  • Tone – Tone – Slap – Slap – Slap

Mnemonic: “Ku-ku-ra-cha-cha”
The phrasing begins on a pickup (like the first accompaniment), and your hand pattern will result in a double on your dominant hand when looping the phrase continuously.

Kasey teaches it step-by-step, guiding you through repetition and subtle timing shifts so you build muscle memory and flow.

🥁 Demonstration with Dunun

Kasey is joined by Kyra Aulani, playing the dunun, to demonstrate how these accompaniments interlock with the melodic rhythm.

Together, they show:

  • First accompaniment with dunun

  • Second accompaniment with dunun

  • Polyrhythmic layering as it would be played in a drum circle or ensemble setting

⛓️ The Break

A traditional break — passed through the same lineage — is used to:

  • Mark transitions

  • Cue changes

  • And re-enter the groove

Students respond to “Crack-a-doo” phrases by playing specific bass notes — either two or four, depending on where you are in the structure.
After the last set of bass notes, a flip-tap cues the “one” to return to the groove.

Kasey teaches how to:

  • Enter into the rhythm using the break

  • Transition between accompaniments

  • Exit with a final closing break

🎶 Soloing & Improvisation

To wrap up, Kasey invites you to play along while he demonstrates improvisational soloing over Fè.

This models:

  • How to lead or support in a drum circle

  • How phrasing, pauses, and flourishes create dynamics

  • And how rhythm becomes a conversation

🙏 Closing Acknowledgments

Kasey concludes the series with gratitude for:

  • Kyra Aulani (dunun player + creative partner)

  • Forged Film Co. and Spencer for filming

  • Swede and Shanti Temple at Deer Park Farms for providing space

  • And the teachers who shaped his path:

And lastly, his djembe — Leif.

“I am here because of Leif.”
– Kasey Jones

Kyra Aulani
Next

Learn to play the djembe: part 2