Gahu Transcription

Gahu Dance-Drumming
(Anlo-Ewe people of Ghana, West Africa)
By CK Ladzekpo
Gahu [gah-hü] is a popular secular dance-drumming among the Anlo-Ewe people of
southeastern Ghana. It originated among the Gun-Gbe (gön-bã) people of Ketornu in
Benin. The Gun-Gbe people later introduced it in Badagry, southwestern Nigeria, where
migrant fishermen from Afiadenyigba adapted it and brought it back to the Anlo-Ewe
area where I grew up. Whether in Benin, Nigeria or Ghana, Gahu is a popular communal
entertainment performed whenever the community finds the excuse to celebrate life such
as weddings, funerals and other formal celebrations.
Gahu is a living tradition. Even in its birthplace of Ketornu, it continues to reinvent itself.
In Badagry in southwestern Nigeria, there was recasting of the old ideas of Gahu in a
contemporary version with a spirit and style of its own. As migrant fishermen from
Afiadenyigba adapted Gahu from the version they witnessed in Badagry, they reinvented
it to fit an Anlo-Ewe taste. The Gahu that we do is based on the version adapted by the
Lashibi community of Anyako. The following is my eyewitness account of how this
version of Gahu evolved.
Gahu arrived at my hometown, Anyako very early in the morning. The year was 1952. I
was twelve years old. The early morning quite in the village was interrupted by the hard
throbbing sound of Gahu. Visitors from Afiadenyigba were performing the customary
Nudi√u (ñou-divwoo), or morning teaser, to wet the appetite of their hosts.
The whole town was aglow. Many missed performing their usual morning chores and
rushed to woeto (way-tow) or woe (way) community to witness history in the making.
We had heard of this phenomenal dance drumming brought to the town of Afiadenyigba
by migrant fishermen who returned from Nigeria. We had heard about its fascinating
new rhythms, dance forms, costumes and songs in a strange language for some time.
Giving family and the community ashimenue, a gift upon a return from a trip, is an
important Anlo-Ewe custom. The ashimenuewo* (plural∗) are highly appreciated if they
are indigenous of the area of the visit. Gahu was a fitting ashimenue for the community
of Afiadenyigba from the exotic land of Badagry.
Afiadenyigba is east north east of Anyako. Both towns are among a cluster of
settlements that forms the Keta lagoon basin of the Anlo-Ewe traditional state.
The Woe community of Anyako invited the Gahu club from Afiadenyigba as part of
funeral ritual observances.
The Nudi√u performance ended at around ten o’clock in the morning and was simply
magical. From the reactions of my hometown folks, they really dig what they
experienced. We the kids showed our appreciation by accompanying the visitors with
admiration when they took a break for refreshments before the main performance in the
afternoon.
*
In the Ewe language, adding the suffix “wo” to a noun makes it plural
1
Instrumentation:
The instrumentation of Gahu by the visiting Afiadenyigba community was very
interesting. In √utsOtsoe (vu-tso-tswe), the main dance drumming session, they featured
two Boba drums; one playing lead using two sticks and sometimes with two bare hands
and the other was playing support adlibbing on the texture of the drum melody with two
bare hands technique. There was sogo, kidi and kagaNu as support drums. Sogo
occasionally would take over lead and direct the choreography with short climactic
passages drawn from Kinka, another popular secular dance drumming. One Gankogui
(gãn-ko-gwi) and a couple of axatsewo (a-ha-tse-wo) provided the critical metronomic
layer.
In hatsiatsia (ha-cha-cha), or song interlude, two atokewo (a-tow-kay), boat shaped bells,
provided the metronomic layer in a gamamla (bell ensemble) that featured many
gaNkoguiwo (plural) in improvised bell patterns that interlocked in a polyrhythmic energy
that flavored the melody of the songs in a very effective and dynamic manner.
Theatrical Form:
Gahu was described as a social dance drumming. The dancers/singers formed a circle
around the drummers and moved in a counter clockwise direction. With the exception of
the boba players, the musicians sat on armless chairs and benches.
There was a basic movement as the home base and a repertoire of atsiawo (a-chã-wo), or
climactic movements, each with an appropriate √ugbe [vwoo-gbe] (drum episode). The
lead drums (boba and occasionally sogo) used the √ugbewo to conduct the choreography.
Each episode has a beginning, middle and an end making it easy for it to be introduced
and conveniently return to the common home movement.
VetrO√u [îyeh-trö-vu]
(Afternoon Performance)
The splendor of the VetrO√u or afternoon performance started around one o’clock.
The costumes were spectacular and quite revolutionary to Anlo-Ewe tradition. It featured
agbada, popular Gun-Gbe traditional attire in many bright colors as the primary base.
Agbada attire is also common among the Yoruba of Nigeria. The western culture was
also elaborately featured in the form of shoes and eyeglasses. The fusion of cultures in
the costuming was breathtaking.
For about an hour, the visitors performed the traditional protocol by visiting some of the
other communities in Anyako. There is a laid down route for this important courtesy call.
The group would stop at designated spaces in each community to perform short selection
of songs. In addition to drawing more audience for their performance, these courtesy call
exhibitions are traditional symbols of respect for the host communities.
The group arrived at the performance plaza around two o’clock and performed until dusk.
It was a memorable afternoon as the whole town was treated to a phenomenal rendition
of Gahu touching off what I can only describe as a Gahu craze.
2
The Woe community of Anyako immediately adapted Gahu into their repertoire based on
the Afiadenyigba version they had witnessed.
In the Lashibi community, two young men in middle school, Kpeglo Kofi Ladzekpo and
Alfred Kwasi Ladzekpo also started a game of playing Gahu in the evenings after dinner.
Their efforts and innovation attracted the attention of some elders of the community who
joined them and provided the leadership needed to start a full-blown adaptation of Gahu.
According to Anlo-Ewe traditional practices, evening song rehearsals known as hakpa
started in earnest. During mock performances in the evenings, choreography and the
unique drumming was integrated with songs and evaluated. When an acceptable blend
was achieved, a delegation was requested from the Afiadenyigba Gahu club to seek help
and approval. Afiadenyigba Gahu club sent a six-member delegation that participated in
several mock performances and approved the innovations made by the Lashibi Gahu
club.
The innovations included the introduction of a new sogo basic pattern. A second kidi was
added playing a counter rhythm to the first kidi pattern in a call and response mode. (See
music transcription).
The instrumental ensemble of the Lashibi Gahu club included one boba (lead), one sogo,
two kidiwo (plural), and one kagaNu as support drums. Several gaNkoguiwo (plural), and
axatsewo (plural) completed the instrumental ensemble.
Gbedziyiyi [ba-dji-yi-yi] (Formal Coming-Out Festivities)
In Anlo-Ewe custom, a new dance-drumming becomes part of the community repertoire
after going through gbedziyiyi, a formal coming-out festival. It is the debut performance
of a new dance-drumming in public.
The gbedziyiyi festivities for the new Gahu started before dawn. Members of the Gahu
club retreated quietly from the village to the sacred Kleve forest located at west north
west of Anyako. This was during a drought season when the Keta lagoon was dried up
and it was possible to make the journey on foot instead of shuttle by canoe.
The first order of business at the Kleve forest was the pouring of libation invoking the
gods and ancestors to bless and witness the historic event about to unfold. This was
followed by the election of the official leadership of the club and the confirmation of the
governing rules and regulations of the new club. Procedures and formations of the
procession to the village were rehearsed.
The dancers/singers led the procession in a four-line platoon-like formation. The drums
(boba, sogo and kidi) were carried on the heads of some courageous women with the
drummers walking in a convenient playing position. The KagaNu player supported his
drum under his armpit while gaNkogui and axatse players carried their own instruments
and lined up in front of the drum ensemble. The elders form the rear of the procession.
At the first appearance of daylight, the procession started towards the village. The mile
long journey into the village was filled with tireless and intense dancing, singing and
drumming. In great community spirit each member of the club made lively contributions,
as was expected of them.
3
Welcomed heroically into the village, Gahu had fulfilled its traditional requirements and
became an honored member of the repertoire of the Lashibi community. These
requirements included public performances for seven consecutive days. The triumph of
adding to the creative treasures of the traditional community is a feeling I will never
forget.
Because members of the Anyako Lashibi Community are the pioneers of teaching and
performing traditional Anlo-Ewe music and dance nationally and internationally in
modern classrooms and concert stages, this version of Gahu is the model of instruction
and performance throughout the world. Prominent among these pioneering personalities
are Husunu Adonu Afadi Ladzekpo (deceased), Kobla Ladzekpo (CAL Arts/UCLA,
USA)), Kofi Kpeglo Ladzekpo (retired, Ghana), Alfred Ladzekpo (CAL Arts, USA), CK
Ladzekpo (UC Berkeley, USA) and Kwaku Ladzekpo (retired, USA).
4
Gahu
A West African Social Dance-Drumming
Gahu Support Instruments
Basic Parts
Gankogui
÷ 44 œ .
TIN
Axatse
÷ 44 œ .
PA
Kaganu
œ‰ œ
J
‰
œœ œ
œ.
œœ œ
PA TI
PA
PA TI
GO
GO
Kidi 1
Kidi 2
GO
PA
44 ‰ œ œ ‰ œ œ ‰
&
KAGA
4
&4 Œ
œ
œ
J ‰ J
KAGA
‰ œ œ œ.
KI DI GI
GO
PA
œ‰ œ
J
‰
œ.
œœ œ
PA
PA TI
œ.
TIN
œ œ‰ œ œ ‰
KAGA
KAGA
KI DI
GI
‰ Jœ
..
œ.
œœ œ
PA
PA TI
..
GO
GO
PA
œ œ‰ œ œ ‰
KAGA
œ ‰ œ œ œ.
TO
GO
KAGA
GO
KI DI GI
PA
œ œ‰ œ œ.
.
KAGA
œ ‰ œ œ œ.
TO
œ
J
Transcribed By
CK Ladzekpo
KAGA
œ ‰ œ œ ..
TO
KI DI
4
& 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
KUDIKU DI KIDIKUTUKUTU,KI DI KIDIKUTU, KUDIKU DI KI DIKUTUKUTU,KI DI KI DIKUTU,
Sogo
4
&4 œ
KU
œ œ
DE
KU
œ
KU
œ œ
DE
KU
œ
KU
œ œ
DE
KU
œ
DE
œ œœ œ
DE GEDE
KU
__________________________________________________________________
Background
Gahu is a popular secular dance-drumming among the Anlo-Ewe people of southeastern Ghana. It
originated among the Gun-Gbe people of Ketornu in Benin. It was later introduced in
southwestern Nigeria where Anlo-Ewe migrant fishermen adapted it from their Nigerian hosts.
Whether in Benin, Nigeria or Ghana, Gahu is a popular communal entertainment performed
whenever the community finds the excuse to celebrate life.
___________________________________________
http://www.cnmat.berkeley.edu/~ladzekpo/music148.html
(Copyright CK Ladzekpo 2003)
..
Gahu
A West African Social Dance-Drumming
Transcribed By
CK Ladzekpo
œ‰ œ ‰ œ ‰ œ
Sogo Improvization
÷ 44 œ .
Gankogui
TIN
÷ 44 Œ
Sogo
TIN
÷ œ.
œ‰
GO
œ
÷‰
÷ œ.
TIN
÷≈ œ
7
DE
œ
‰
GO
œ
TO
GO
DE
œ ‰
TIN
GO
GO
œ œ
GE DE
œ
DE
œ
‰
DE GEKU
‰
œ
TO
œ
DE
‰
GO
GO
œ
œ œ œ œ œ.
KU
TIN
DEGEDEGE DE
GO
œœ Œ
DEGE KU
œ
TIN
‰
GO
GO
DEGEDE
œ
‰
GO
DEGEDE
œ
‰
GO
œ
œ
TO
TO
DEGE
œ
GO
œ
DE
œœ
DEGE
œ‰ œ ‰ œ ‰ œ
œ.
GO
œ
DE
œ‰
œ.
GO
GO
œ œœœ œœœ œœ
DEGE KU
œ
‰
GO
œ œ‰
œ
œ
DEGEDE
GO
TO
7
Sogo
GO
TO
KU
Gan.
‰
KU
5
Sogo
œ
œ
TIN
GO
DEGEDE
œ
÷Œ
5
Gan.
DE
GO
3
Sogo
GO
œ œœœ œœœ œœ Œ
œ‰
÷ œ.
3
Gan.
GO
œ‰ œ ‰ œ ‰ œ
œ.
GO
GO
GO
GO
œ œ ‰ œ œ ‰ œ.
KU
DE
œ
œ.
GO
TIN
GE
KU
DE
GE
KU
DE
DE
KU
œ‰ œ ‰ œ ‰ œ
GO
GO
GO
œ ≈ œ œ œ œ œ œ œ œ.
KU
œ
GEDE
(Copyright CK Ladzekpo 2003)
KU
DE
DEGEDE
GO
œ
KU
Gan.
Sogo
Gan.
Sogo
2
Gahu Dance-Drumming
÷ œ.
9
TIN
÷≈ œ
9
DE
÷ œ.
11
TIN
÷œ
11
KU
œ ‰
GO
œ œ
œ
œ
œ œ œ œ œ.
œ‰
œ
DE
KU
GO
‰
œ
‰
GO
œ
KU
œ
DE
œ.
TIN
œ ‰
GO
œ
œ.
GO
TIN
œ
œ
KU
KU
œ ‰
GO
DE
(Copyright CK Ladzekpo 2003)
‰
GO
œ
GO
œ
KU DE GE DE GE DE
œ
‰
GO
œ
œ
œ œ œ œ œ œ.
KU DE GE DE GE DE
œ
‰
GO
œ œ œ œ œ œ.
DE GE DE GE DE
GO
œ
œ
‰
GO
KU
œ
œ
GO
GE DE
GO
‰
œ
KU
œ
‰
GO
œ
DE
œ œ œ
DE GE DE
KU
œ
GO
œ
KU
Gahu
A West African Social Dance-Drumming
Transcribed By
CK Ladzekpo
÷ 44 œ .
œ ‰ œ ‰ œ ‰ œ
J
J
J
4
&4 Œ
œ œ
Gahuvua Do Gbe
Gankogui
Song
÷ œ.
& œ
gbe
œ
na
÷ œ.
5
& œ
gbe
œ
÷ œ.
& œ
gbe
‰
œ
œ
mi
lo
ho
œ
J
‰
œ ‰
œ
na
Group
œ
œ œ.
Ga
hu
he
œ
J
‰
œ
œ
œ
mi
lo
ho
œ
J
œ
J
œ
œ
Ga
hu
‰
Ga
œ ‰
œ
lo
œ
J
œ.
œ
œ œ.
hu
he
œ
J
‰
‰
œ
œ
J
œ
œ
œ
œ
Be
Ga
hu
vua
do
œ
J
‰
œ
J
‰
œ
J
œœ
œ
œ
œ
Ga
hu
vua
do
œ
J
‰
œ
J
‰
œ
œ
œ
œ
J
œ
œ
Be
Ga
hu
vua
do
œ
J
‰
œ
J
‰
œ
J
œœ
œ
œ
œ
hu
vua
do
œ
œ œ.
Group
œœ
œ ‰
œ.
‰
œ
lo
œ.
Lead
˙
œ œ.
hu
‰
œœ
œ
J
œ ‰
œ
J
œ
J
lo
7
7
œ
J
œ
œ ‰
5
Œ
Ga
œ ‰
3
3
Œ
Lead
œ.
œ ‰
(copyright ladzekpo 2003)
œ
Ga
œ
J
2
Gahu Dance-Drumming
÷ œ.
œ ‰
9
9
& œ
gbe
œ
œ
J
œ
J
‰
œLeadœ
˙
lo
÷ œ.
œ ‰
11
& œ œ.
œ
J
œ
J
‰
˙
11
gbe
÷ œ.
œ ‰
& œ œ.
œ
J
‰
œ
J
˙
13
gbe
÷ œ.
œ ‰
œ
J
‰
œ
œ
œ
œ
na
mi
lo
15
& œ
15
gbe
ho
œ
J
œ ‰
œ œ.
E
do
‰
œ
J
œ
Lead
œ ‰
œ œ.
œGroupœ
œ
J
gbe
œ.
œ
J
œ ‰
œ
œ
œ œ.
Ga
hu
lo
‰
œ
J
œ.
œœ
œ
œ œ.
hu
he
œ
œ ‰
(copyright ladzekpo 2003)
œ
‰
œ
J
œ
œ
Ga
hu
vua
do
‰
œ
J
‰
œ
J
œ
œ
œGroupœ
œ
‰
œ
J
‰
œ
œ.
do
Ga
œ
J
gbe
œ
E
13
œ.
œ
J
‰
Ga
hu
vua
do
œ
J
‰
œ
J
‰
œ
œ
œ
œ
J
œ
œ
Be
Ga
hu
vua
do
œ
J
‰
œ
J
‰
œ
J
œœ
œ
œ
œ
vua
do
Ga
hu
3
Gahu Dance-Drumming
÷ œ.
œ
17
17
& œ
gbe
œ
‰
œ
J
‰
œ
J
‰
Œ
˙
lo
_____________________________________________________________
Lead: Gahu lo
Be Gahuvua do gbe na mi lo ho
Lead: Gahu lo
Gahu brings you goodwill
Group: Gahu he
Gahuvua do gbe lo
Group: Gahu he
Gahu brings you goodwill
Lead: Edo gbe
Lead: It brings goodwill
Group: Gahuvua do gbe
Group: Gahu brings goodwill
(copyright ladzekpo 2003)
œ
J
Gahu
A West African Social Dance-Drumming
Lead (Episode Initiating Full Ensemble)
(Two Hands Drumming Technique)
÷ 44 œ . œ ‰ œ ‰ œ ‰ œ
Gankogui
TIN GO
÷ 44 Œ
Boba
œ ‰
÷ œ.
3
Gan.
TIN
GO
GO
Œ
GO
GO
œ ‰ œ ‰ œ
GO
GO
÷ œ œ œ ≈œ œ œ œ œ œ œ
3
Boba
De Ge
œ ‰
÷ œ.
5
Gan.
De
TIN
GO
Ge De
Tsa Tsa, Ga
De Ge
œ ‰ œ ‰ œ
GO
GO
GO
÷ ≈ œ œ ≈œ œ œ œ œ œ œ
5
Boba
Tsa
÷ œ.
7
Gan.
TIN
Ga
œ ‰
GO
De Ge
Tsa Tsa, Ga
De Ge
œ ‰ œ ‰ œ
GO
GO
GO
÷ œ œ œ ≈œ œ œ œ œ œ œ
7
Boba
De Ge
De
Ge De
œ ‰
œ.
TIN
GO
œ ‰ œ ‰ œ
GO
GO
GO
œ œ œ œ œ
œ œ œ œ œ œ ≈œ œ
Œ
Ga De Ge
GO
Transcribed By
CK Ladzekpo
Tsa Tsa, Ga
De Ge
De Ge
De
œ ‰
œ.
TIN
GO
Ge De
Tsa Tsa, Ga
De Ge
œ ‰ œ ‰ œ
GO
GO
GO
≈ œ œ ≈œ œ œ œ œ œ œ
Tsa
Ga
œ ‰
œ.
TIN
GO
De Ge
Tsa Tsa, Ga
De Ge
œ ‰ œ ‰ œ
GO
GO
GO
œ œ œ ≈œ œ œ œ œ œ œ
De Ge
De
œ ‰
œ.
TIN
GO
Ge De
Tsa Tsa, Ga
De Ge
œ ‰ œ ‰ œ
GO
GO
GO
≈ œ œ ≈œ œ œ œ œ œ œ
Tsa
Ga
(Copyright CK Ladzekpo 2003)
De Ge
Tsa Tsa, Ga
De Ge
Gan.
Boba
Gan.
Boba
Gan.
Boba
2
Gahu Dance-Drumming
TIN
GO
Tsa
TIN
GO
œ
De Ge
Ga De
œ ‰
÷ œ.
13
TIN
GO
œ
Ge,
Tsa,
œ
œ œ
De Ge
‰
Ga Da
œ
GO
œ
Ge,
Ga Da
œ œ
Ga De
GO
De Ge
œ
GO
≈ œ œ
GO
De Ge
œ ‰ œ ‰
TIN
œ
‰
GO
œ ≈ œ œ
Tsa,
Ga De
œ ‰ œ
GO
GO
GO
œ œ œ œ œ ≈ œ œ œ ≈ œ
Ga De
‰
GO
Tsa
œ.
œ ≈ œ
œ
œ
‰
œ ≈ œ œ
De Ge
GO
Tsa,
GO
œ œ
œ
‰
GO
GO
≈ œ œ
TIN
Ga De
œ
‰
GO
Tsa,
GO
œ
œ ‰
œ.
œ ≈ œ œ
Tsa
œ ≈ œ
œ
÷ œ œ
11
œ
GO
De Ge
œ ‰
÷ œ.
Da
GO
Ga
11
÷ œ
œ ‰
œ ≈ œ œ œ
÷ ≈ œ
9
13
œ ‰
œ ‰
÷ œ.
9
œ
Ge,
Ga Da
Ge,
œ ‰
œ.
TIN
GO
‰ œ
Ga
(Copyright CK Ladzekpo 2003)
Ga Da
Ge,
œ ‰ œ
GO
≈ œ.
Ga
‰ œ
GO
œ.
Ga
Ga
GO
œ ‰ œ
Ga
Ge
Gahu
A West African Social Dance-Drumming
Transcribed By
CK Ladzekpo
Lead Relax Dancing Episode 1
(Two Sticks Drumming Technique)
÷ 44 œ . œ ‰ Jœ ‰ Jœ ‰ Jœ
Gankogui
TIN
KPLA
÷ œ.
3
TIN
÷ ++ ..
3
Boba
KPLA
÷ œ.
5
Gan.
TIN
÷ ++ ..
5
Boba
KPLA
GO
TIN
œ ‰ œ ‰ œ ‰ œ
J
J
J
GO
GO
GO
TIN
+ + + + + œ.
KA TU
KA
TU
KA
DE
GO
GO
KA TU
KA
TU
KA
GO
DE
œ
œ
J ‰ J
GO
÷ ≈ œ œ œj ‰ œ œ ‰ œ .
GE DE
DE GE
GE
DE
GO
DE
GE
TU KA TU KA
GO
GO
GE DE
TU
KA
œ ‰ œ ‰
J
GO
GO
TU
DE
GO
GE DE
KA
œ ‰ œ
J
J
GO
≈ œ œ œj ‰ œ œ ‰ œ .
DE GE
GO
œ
DE
GE
œ ‰ œ ‰ œ ‰ œ
J
J
J
TIN
œ
GO
≈ œ œ œ + + + + +
œ.
GO
GO
œ ‰ œ ‰ œ ‰ œ
J
J
J
TIN
œ
GO
DE GE DE
œ.
GO
+ + + + + œ.
GO
DE
GE
œ ‰ œ ‰ œ ‰ œ
J
J
J
GO
GE
TIN
œ
GO
≈ œ œ œ + + + + +
œ.
GO
7
Boba
GO
KA TU KA TU KA DE
œ ‰ œ ‰
J
÷ œ.
7
Gan.
GO
÷ 44 ++ .. + + + + + œ . œ
Boba
Gan.
GO
œ ‰ œ ‰ œ ‰ œ
J
J
J
œ.
GO
GO
GO
GO
≈ œ œ œ + + + + +
DE
GE DE
(Copyright CK Ladzekpo 2003)
KA
TU
KA
TU
KA
Gahu
A West African Social Dance-Drumming
Transcribed By
CK Ladzekpo
Lead Relax Dancing Episode 2
(Two Sticks Drumming Technique)
÷ 44 œ .
Gankogui
TIN
÷ œ.
3
TIN
÷œ
3
Boba
÷≈ œ
÷ œ.
7
TIN
÷≈ œ
7
Boba
DE
GO
œœœœ‰
œ
‰
‰
œ‰
œ
œ
œ
‰
GO
œ
GA
‰
GO
œœ
œœ
GEDE
GO
œ.
GO
œ ≈œ
œœœœ
DEGEDEGE
œ
‰
GO
Œ
TIN
DE
œ
DE
œ.
GO
Œ
TIN
DE
‰
GO
‰
œ
‰
GO
œœ‰
DEGE
œ
œ.
GO
œ.
DE
œ
œ
GA
œ‰
GO
TIN
DE
œ
‰
GO
GO
œœœœœœœœ‰
DEGEDEGEDEGEDEGE
œ
œ
‰
GO
‰
GO
œ
GO
œœ
‰
Œ
Œ
œ‰
œ ‰
œ ‰
GEDE
GO
GO
GEDE
œ‰
GO
œ
GEDE
(Copyright CK Ladzekpo 2003)
GO
œœ‰
DEGE
‰
GO
œ ≈œ œœ ‰
GE
œ
‰
GO
≈œ œœ ‰
GEDE
GO
TIN
œ œœœœœœ œ œ ‰
GO
œ‰
DE
Gan.
GO
÷ œ.
5
Boba
œ
œ‰
GO
GO
œ‰
œ.
GA DEGEDEGEDEGE DEGE
DEGEDEGE
TIN
GO
Œ
GA
5
Gan.
GO
÷ 44 Œ
Boba
Gan.
œ‰ œ ‰ œ ‰ œ
GO
œ.
œ
DE
œ ‰
GO
Œ
œ
GE
œ
GO
Œ
Gahu
A West African Social Dance-Drumming
Transcribed By
CK Ladzekpo
Lead Relax Dancing Episode 3
(Two Sticks Drumming Technique)
÷ 44 œ . œ ‰ Jœ ‰ œJ ‰ Jœ
Gankogui
TIN
÷ 44 Œ
Boba
GO
GO
GO
œ œ œ.
Œ
DE TO TO
œ ‰ œ ‰ œ ‰
J
J
÷ œ.
3
Gan.
GO
TIN
GO
GO
œ
J
GO
GO
÷ ≈ œ œ œj ‰ ‰ œj œ œ ‰
3
Boba
GE
GA
TIN
GO
GO
÷ ≈ œ œ œj ‰ Œ
GO
DE
Gan.
GE DE
œ ‰ œ ‰
J
÷ œ.
7
TIN
GO
Œ
5
Boba
DE GE
œ ‰ œ ‰ œ ‰ œ
J
J
J
÷ œ.
5
Gan.
DE GE
GO
GO
GO
GO
÷ ≈ œ œ œj ‰ œ œ ‰ œ . œ
7
Boba
DE
GE DE
DE GE
TIN
DE
GE
GO
GO
GO
j
≈ œ œ œ ‰ œ œ œ.
œ
DE
GE
DE GE
œ ‰
œ.
TIN
DE
TO
GO
œ
TO
DE
œ
œ
J ‰ J ‰
GO
GO
œ
J
GO
GO
‰ œj œ œ ‰ ‰ œj œ œ ‰
GA
DE GE
GA
œ ‰ œ ‰
J
œ.
TIN
GO
DE GE
œ
œ
J ‰ J
GO
GO
≈ œ œ œj ‰ œ œ ‰ œ .
DE
œ
œ
J ‰ J
œ ‰ œ ‰ œ ‰ œ
J
J
J
œ.
GE DE
DE GE
GO
œ
DE
GE
œ ‰ œ ‰ œ ‰ œ
J
J
J
œ.
TIN
GO
≈ œ
DE
GO
j
œ œ ‰
GE DE
(Copyright CK Ladzekpo 2003)
GO
Œ
GO
Œ
Gahu
A West African Social Dance-Drumming
Atsimevu Climatic Dancing Episode 1
(Two Sticks Drumming Technique)
÷ 44 œ . œ ‰ œ ‰ œ ‰ œ
Gankogui
TIN
÷ 44 Œ
Boba
œ ‰
÷ œ.
3
Gan.
TIN
GO
÷ ≈ œ
3
Bob
DE
TIN
Bob
÷ ≈ œ
DE
÷ œ.
7
Gan.
TIN
Bob
Œ
‰ œ œ
œ
‰
GO
œ
GO
œ
œ
GO
DZA
œ ‰
DZA
œ
DZA
≈ œ.
GO
DZA
œ
DZA
TIN
DE GE DE
œ ‰
GO
œ.
TIN
œ.
TIN
œ.
DE
‰
DE GE DE
œ
‰
GO
GO
GO
œ œ
DE GE
(Copyright CK ladzekpo 2003)
œ
‰
GO
œ
‰
GO
‰
GO
DE
œ
GO
œ
DZA
œ
‰
GO
Œ
œ
DZA
DZA
œ
‰
DE
œ.
œ
DZA
œ ‰
œ
œ
DE GE DE
GO
GO
œ
GO
œ œ œ.
DZA
œ
‰ œ
Episode
œ
DZA
œ ‰
œ
GO
œ œ œ
œ
DZA
œ
‰
œ.
œ
GO
œ œ œ
œ
DZA
‰
GO
GO
œ
DZA
DE
GO
DZA
œ
‰
œ
œ ‰
œ
DZA
‰
GO
GO
œ
DZA
œ
œ
‰
GO
œ
œ
TIN
Transitional Passage
Episode Concluding Passage
÷ œ.
7
œ
DE GE
GO
GO
DE GE
œ œ
œ ‰
GO
Œ
DE GE
GO
5
GO
œ œ
œ ‰
÷ œ.
5
Gan.
GO
œ.
Transcribed By
CK Ladzekpo
œ
GO
Œ
Gahu
A West African Social Dance Drumming
Lead Climatic Dancing Episode 2
(A Stick & Bare Hand Drumming Technique)
Gankogui
÷ 44 œ . œ ‰ œ
TIN GO
Kidi
GO
÷ 44 œ
KU
Boba
÷ œ. œ ‰
TIN GO
Kid.
÷ œ. œ ‰
KI TO,
œ œ
÷
KI DI
KI
GO
œ
DE GE
‰
TO,
œ
GO
œ œ œ. œ ‰
GI DE
GO
TO,
KI DI KI
GO
œ ‰ œ œ
TO,
KI DI
DE, DE GE DE, DE GE DE, DE GE DE DE
∑
GO
KI DI KI
GO
‰ œ
‰œ œ œ œ œ œ œ œ œ œ œ œ œ
KU
‰ œ
GO
‰ œ
œ ‰ œ œ œ.
∑
÷ œ. œ œ œ œ
GA, DE
Boba
TIN
œ ‰ œ
Transitional Passage
œ
DE KU
Episode
Sog.
GO
KI DI KI TO,
÷ 44
3
Gan.
GO
œ.
÷ 44 œ . œ ‰ œ œ œ . œ ‰ œ œ œ .
KI TO
Sogo
‰œ ‰œ
Transcribed By
CK Ladzekpo
TIN
GO
œ
‰ œ ‰ œ
GO
œ œ œ. œ Œ
KI DI
œ. œ œ œ œ
GA, DE
œ. œ ‰
GI DE
KI
TO,
DE
∑
KI
GI DE
∑
Copyright CK Ladzekpo 2003
GO
œ œ œ œ
œ. œ œ œ œ
GA,
GO
DI
KI
œ
œ
DZI
DZI
DI
œ
2
÷ œ.
5
Gan.
TIN
Kid.
Sog.
GO
÷ œ œ
KU
‰ œ ‰ œ ‰ œ
GO
TU
KU
TU
÷
œ
÷ œ.
÷ œ
DZA
Boba
÷
KI
œ
œ
DZI
DZI
DI
TIN
œ
KU
œ.
DZA
œ
‰
GO
œ
GO
œ
TU
TU
‰ œ ‰ œ
œ
KU
TU
œ œ œ œ
DE
GI DE
GO
GO
œ œ œ œ
KI
DI
KI
œ
œ
DZI
DZI
DI
∑
‰ œ ‰ œ ‰ œ
GO
÷ œ œ
KU
Sog.
DI
œ.
∑
TIN
Kid.
KI
Œ
÷ œ
7
Gan.
GO
œ œ œ œ œ œ
DZA
Boba
GO
œ
Gahu
GO
GO
GO
œ œ œ œ œ œ
KU TU,
KI
DI
KI
œ
œ
DZI
DZI
Œ
DI
œ
œ.
TIN
œ
KU
œ.
DZA
œ
‰
GO
œ
GO
œ
TU
œ
KU
TU,
œ œ œ œ
DE
‰ œ ‰ œ
GI DE
∑
∑
Copyright CK Ladzekpo 2003
GO
GO
œ œ œ œ
KI
DI
KI
œ
œ
DZI
DZI
DI
œ
÷ œ.
‰ œ
9
Gan.
TIN
Kid.
GO
÷ œ œ
KU TU
Sog.
÷ œ
DZA
GO
œ œ
œ œ
œ
DE KU
DZA
œ. œ ‰ œ
GO
TIN GO
‰ œ
GO
DI KI
KU
KI DI
œ œ
DE KU
œ œ. œ
DZA DZA
KI
TO,
GO
œ ‰ œ œ
KI DI KI
TO,
Sogo's Climatic Emplovisation
KI DI
œ œ œ œ œ œ œ œ œ
œ
KU
DE DE GE, DE DE GE, DE DE GE,
œ. œ œ
DE
‰ œ
GO
œ œ œ œ œ œ. œ ‰ œ œ œ.
KI
÷ œ. œ œ œ
DZA DZA
GO
KU TU
Concluding Statement
Boba
œ ‰ œ
‰
Gahu
DE GE
Copyright CK Ladzekpo 2003
Ó
3
Gahu
A West African Social Dance-Drumming
Lead Climatic Dancing Episode 3
(Two Sticks Drumming Technique)
÷ 44 œ . œ ‰ œJ ‰ œJ ‰ œJ
Gankogui
TIN GO
÷ 44 Œ
Boba
TIN
Boba
÷ œ.
5
TIN
Gan.
TIN
œ ‰
œ
J
‰
œ
‰
GO
Boba
DE
œ ‰
GO
DZA
œ ‰
DZA
GO
œ ‰ œ ‰ œ ‰ œ
J
J
J
œ.
TIN
GO
œ œ ‰
œ
J
‰
j
œ œ
DE
GE
œ
J
‰
j ≈ j
œ
œ.
œ
‰
GO
DZA
GO
DE DE GE DE DE GE DE DE GE
GO
GO
GE
œ
J
GO
GO
DZA
œ
J
GO
TIN
DE
GO
œ.
TIN
œ.
DE
GO
Œ
GE
GO
œ
DZA
œ
J
GO
œ ‰ œ ‰ œ ‰ œ
J
J
J
œ
GO
DZA
œ.
GO
œ œ Œ
DE GE
GO
œ
GO
‰ Jœ
œ œ œ œ œ œ œ œ œ œ
Œ
Episode Concluding Passage
÷ œ.
7
GO
GE
DE GE
÷ œ.
‰ œ œ
DE
÷ œ œ ‰
7
Œ
GO
5
Boba
TIN
‰ œJ
Transitional Passage
œ œ Œ
DE GE
Gan.
GO
DE GE
GO
Episode
÷ œ œ ‰
3
Œ
GO
œ ‰ œ
J
œ.
œ ‰ œ ‰ œ ‰ œ
J
J
J
÷ œ.
3
Gan.
GO
Transcribed By
CK Ladzekpo
GO
œ
DZA
GO
œ
DZA
DZA
œ ‰ œ ‰ œ ‰ œ
J
J
J
GO
œ œ
DE GE
(Copyright CK Ladzekpo 2003)
GO
GO
Œ
GO
Œ
Gahu
A West African Social Dance Drumming
Lead Climatic Dancing Episode 4
(A Stick & Bare Hand Drumming Technique)
Gankogui
÷ 44 œ .
TIN
Kidi 1
÷ 44 œ .
KI
Sogo
œ‰ œ ‰ œ ‰ œ
GO
÷ œ.
3
Gan.
TIN
Kid.
÷ œ.
KI
Sog.
÷ œ.
DE,
Ats.
÷
GO
GO
TIN
GO
œ ‰ œ œ œ. œ ‰ œ œ œ.
TO
÷ 44 œ
KIDIKI
TO,
‰ œœ œ
DE TU KU
÷ 44
œ‰
KIDI KI
DEGE DE,
œ
‰
GO
TO,
Transitional Passage
œ œ œ
KU
Atsimevu
GO
œ‰
œ.
œœœ
DEGEDE,
œ
GO
GO
œœ œ
TO,KU
TU
œœ œ
Episode 4 (a)
TO
‰
TE
œ ‰
œ
GO
œœœ œ
œ
DEGEKU
GI
‰
GO
œ
GO
œ‰
œœ
KI DI KI
TO,
KI DI
œœœ
œœœ
œœ
DEGEDE,
DEGEDE
GEDE
∑
GO
œ.
œ
œ œ œ.
∑
œ‰
Transcribed By
CK Ladzekpo
TU
œœ
TO
KU
œ
TE
œ‰
œ.
TIN
GO
œœœ
DEGEKU
œ
KI
œ
‰
GO
œœœ
DEGEKU
œ
TE
∑
œœ
GI DE
‰
GO
œ
TU
œœ
GADE
∑
Copyright CK Ladzekpo 2003
œ
œ
KU
œ
GO
œ
DE
œœœ
GI DE KI
œ
GE
œ
KI
œ
2
÷ œ.
5
Gan.
TIN
Kid.
‰
GO
÷œ œ œ
Sog.
TU
÷œ
œ
KU,
œ
÷ œ.
÷œ œ œ
÷œ
KI,
Ats.
÷
DEGEKU
œ
GO
œ
TU
œ
KU
Œ
œ
œ.
TIN
‰
GO
œœœ
œ
œœœ
DEGEKU
‰
GO
œ
‰
GO
œ
TU
Œ
œ
KU,
DEGEKU
œ
œ
KI
KI
œ
œœœ
DEGEKU
KI
œ
‰
GO
œ
TU
œ
KU
Œ
œ
GO
œ
œ
DE
GE
œ
œ
KI
KI
∑
‰
GO
œ
‰
GO
∑
DEGEKU
Sog.
œœœ
œ
÷
TIN
Kid.
‰
KI
7
Gan.
œ
GO
Œ
KI
Ats.
‰
GO
œ
DEGEKU
œ
Gahu
œ
GO
œ
TU
Œ
œ
KU
œ
œ.
TIN
œœœ
‰
GO
DEGEKU
‰
GO
œœœ
DEGEKU
œ
œ
KI
KI
∑
œ
‰
GO
œ
TU
Œ
œ
KU
œ
GO
œ
DE
œ
GE
(Episode 4 (b)
¿.
(KA)
∑
Copyright CK Ladzekpo 2003
œ
œ
GA
œ
÷ œ.
9
Gan.
TIN
Kid.
GO
÷œ œ œ
DEGEKU
Sog.
÷œ
DE
Ats.
œ‰
÷ œ.
÷œ
÷œ
÷
‰
œ
œ
‰
GO
œ
KU,
GE
œ
Œ
GO
œœœ
DEGEKU
¿.
TO,
(KA)
œ
œ.
TIN
œ
‰ œ ‰ œ
GO
GO
KU
KU TU
GO
œ
œ
œ
‰
œ
KU
TU,
GE
œ
œ
œ
¿.
TO
(KA)
DE
œ
‰
GO
TU
TO
GO
KU TU, GE DE GE KU KU
DE DE GE DE TO (KA)
œ œ œ œ
GA DE DE GE
∑
GO
œ
GO
œ ¿.
œ œ œ œ œ
GA
‰ œ
œ
GO
œœ œ
DEGEKU
œ œ
GADE
œ
KU
œ‰ œ ‰ œ ‰ œ
œ.
TIN
GO
GO
GO
GO
œ œ œ œ œ œœœ œ
KU
TU
KU
TU,
GE
œœ œ œ œ œ ¿
DEGE DE
∑
TO
DE
TO (KA)
∑
Copyright CK Ladzekpo 2003
3
œ œ œ œ œ œ œ
œ œ
∑
DE
Ats.
TU
œ
÷
KU
Sog.
œ
DEGEDE
TIN
Kid.
œ
GO
œœœ
11
Gan.
‰
Gahu
DEGEKU
KU
œ œ
TO
TE
4
Gahu
œ
÷ œ.
13
Gan.
TIN
Kid.
÷œ
KU
Sog.
÷œ œ
GATO
Ats.
GO
œ
TU
KU
œœ
GE
TU,
œ
÷ œ
œ
GE
œœœ
DEGEKU
¿
œ
GA, (KA)
TIN
œ
œ
œ
TO
TE
œ
œ.
GO
KU
œ
‰
GO
œ
KU
œœ
KU
œœ
GATO
TE
œ
TU,
GO
œ
TU
GO
‰ œ œ.
GO
KU TU, GE DE GE KU KU KU
GA (KA) KI
œ‰
GO TIN
œ œ œ œ œ œ œ œ
∑
œ
‰
GO
œ
TU
œ
‰
GO
œ
DEGEKU
¿
œ
GO
œœœ
GE
œ
GA, (KA)
KI
œ
œ
TE
œ
KU
œ
GA
∑
÷ ¿ œ œ œ œ ¿ œ
÷
œ
‰
GO
œ ‰ œ ‰ œ
÷ œ.
(KA) KI TE
Ats.
‰
∑
KU
Sog.
œ
÷
TIN
Kid.
œ
GO
œ
15
Gan.
‰
œ
TE
œ
KU
GO
œ
TU
œ
œ
‰
GO
œ
œ
GO
œ
KU
TU,
GE
œ
œ
œ
KU
KU
KU
DZA
œœ
DZA
Copyright CK Ladzekpo 2003
œ
DZA
œ œ.
DZA
œ
GO
œœœ
DEGEKU
Concluding Statement
œ.
‰
œ
KU
œ
DZA
œœ
KI DI
œ
KU
5
Gahu
÷ œ.
17
Gan.
Kid.
TIN
GO
÷ œ.
œ
KI
Sog.
œ
DE
‰
‰
œ
KI
œ
DE
œ
DE
œ
œ
DE
œ
‰
GO
œ
DI
KI
œ
GE,
œ
DE
Œ
GE
Copyright CK Ladzekpo 2003
‰
TO
œ
DE
œ
GO
œ
œ.
Sogo's Climatic Passage
÷œ
÷ œ.
œ
GO
TO
KU
Ats.
‰
œ
GE,
œ
DE
Œ
œ
œ
KI
DI
œ
œ
DE
GE,
Gahu
A West African Social Dance-Drumming
Lead Climatic Dancing Episode 5
(Two Sticks Drumming Technique)
÷ 44 œ . œ ‰ Jœ ‰ Jœ ‰ œJ
Gankogui
TIN GO
÷ 44 Ó
Boba
÷ œ.
3
Gan.
TIN
Gan.
TIN
GO
÷ œ œ.
÷ œ.
Gan.
TIN
‰
œ
œ
Œ
‰
œ
J
‰
Boba
j ≈ j
œ
œ.
œ
‰
GO
Œ
GO
DZA
œ
J
GO
œ ‰
GO
œ
J
GO
œ ‰
DZA
DZA
œ œ.
GO
GO
TIN
œ
J
GO
DZA
œ.
TIN
œ.
DE
GO
œ œ ‰ œ œ
DE GE
œ.
GO
Œ
DZA DZA
DE GE
œ ‰ œ ‰ œ ‰ œ
J
J
J
GO
GO
œ
DZA
GO
DZA
GO
œ
DZA DZA
Episode Concluding Passage
÷ œ.
7
TIN
DE GE
œ
J
DE GE
7
GO
DZA DZA
GO
GO
œ ‰ œ ‰ œ ‰ œ
J
J
J
œ.
œ œ ‰ œ œ
œ
J
GO
DE GE GE DE, DE GE DE, DE GE DE, DE GE
Episode
œ ‰
GO
‰ œJ
‰œ œ œ œ œ œ œ œ œ œ œ œ œ œ
GO
Œ
5
Boba
TIN
DE GE
DE GE
÷ œ.
GO
‰ œJ
Transitional Passage
Œ
GO
÷ œ œ.
5
GO
œ ‰ œ ‰ œ ‰ œ
J
J
J
3
Boba
GO
œ ‰ œ
J
œ.
Transcribed By
CK Ladzekpo
GO
œ
DZA
GO
œ
DZA
DZA
œ ‰ œ ‰ œ ‰ œ
J
J
J
GO
œ œ
DE GE
(Copyright CK Ladzekpo 2003)
GO
GO
Œ
GO
Œ
Gahu
A West African Social Dance-Drumming
Lead Climatic Dancing Episode 6
(A 1Stick & Bare Hand Drumming Technique)
÷ 44 œ . œ ‰ œ
Gankogui
TIN GO
KI
TO
÷ 44 œ
Sogo
KU
÷ œ.
3
TIN
÷ œ.
KI
Sog.
œ œ
œ
DE KU
œ ‰ œ
GO
TIN
GO
KU
KI DI
‰ œ
GO
KI
TO,
‰ œ
GO
GO
TO,
œ œ œ
GA DE KI
GO
œ ‰ œ œ
KI DI KI
TO,
KI DI
‰œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Transitional Passage
DE GE
DE, DE GE DE, DE GE DE, DE GE DE, DE GE
∑
‰ œ
GO
KI DI KU KI DI KU KI DI
Episode
‰ œ
GO
œ ‰ œ œ œ.
4
œ ‰
œ.
TIN
GO
œ œ
DE KI
KU KI DI KU
œ œ
DE
KI
∑
œ
‰ œ ‰ œ
GO
œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ
÷ œ œ œ œ.
÷
GO
œ ‰ œ
œ.
∑
DE, DE GE DE,
Boba
GO
KI DI KI TO,
÷ 44
Boba
Kid.
GO
2
÷ 44 œ . œ ‰ œ œ œ . œ ‰ œ œ œ .
Kidi
Gan.
‰ œ ‰œ
Transcribed By
CK Ladzekpo
œ
TU
GO
œ œ œ œ
KU
KI
DI
KI
œ œ œ œ œ œ œ
GI DE GA DE
∑
Copyright CK Ladzekpo 2003
GO
KI
KI
KI,
œ
2
÷ œ.
5
Gan.
TIN
Kid.
Sog.
GO
÷ œ œ
KU
‰ œ ‰ œ
GO
GO
TU
KU
TU,
÷ Ó
KU
œ
÷
œ
÷ œ.
TIN
Kid.
÷ Ó
÷
TIN
KI DI
œ
œ
KI
œ
DZA
KI
œ ‰ œ ‰ œ
‰
GO
GO
œ œ œ œ
KU
œ
TU KU
œ œ
.
DZA KI
TU
GO
‰ œ
GO
GO
8
TU
œ
DZA
KU
KI DI KU
œ œ
KI
DI
KI
œ œ œ
DZA KI
KI
KI,
KI
DZA
KI
‰ œ ‰ œ ‰ œ
GO
GO
GO
GO
œ œ œ œ œ œ œ œ œ
KI DI
œ œ
œ
œ.
TIN
œ œ œ œ œ œ œ œ
KU
GO
œ œ œ œ œ
KI DI KU
œ
GO
∑
DZA
Boba
KI DI KU
‰ œ ‰ œ
GO
÷ œ œ
KU
Sog.
GO
œ
œ.
∑
7
Gan.
6
œ œ œ œ œ œ œ œ
DZA
Boba
‰ œ
Gahu
KU
KI DI KU
œ œ
DZA KI
∑
TU
œ œ
.
DZA
KU
DI
œ œ Œ
DZA KI,
∑
Copyright CK Ladzekpo 2003
KI
KI
œ
÷ œ.
9
Gan.
TIN
Kid.
÷ œ
KU
Sog.
GO
œ
TU
KU
œ ‰
DE
÷ œ.
TO
.
÷ œ
11
Gan.
GO
Kid.
÷ œ.
TO
Sog.
÷ œ.
TO
Boba
÷ œ.
TO
œ ‰
DE
œ ‰
DE
œ ‰
DE
œ
‰
œ
DE
TIN
‰
TO
œ ‰
œ ‰
œ
TU
Ending Statement
Boba
‰
GO
œ
÷ œ.
TO
œ
‰
‰
TO
œ
œ
GO
TIN
œ
œ
œ
œ
‰ œ œ œ œ
TO
DE
TO
DE
œ
œ
œ
œ
‰ œ œ œ œ
‰ œ œ œ œ
TO
DE
TO
DE
œ
œ
œ
œ
DE
TIN
GO
DE
TO
œ ‰ œ œ œ
TO
TO
DE
TO
œ ‰ œ œ œ
TO
TO
GO TIN GO TIN
TO
œ ‰ œ œ œ
TO
œ œ œ œ
‰
TIN
TO
GO
œ
10
GO
œ ‰ œ œ œ
GO
œ
Gahu
DE
TO
TO
DE
TO
TO
TO
œ
DE
DE
DE
TO
TO
DE
DE
TO
DE
œ
œ
œ.
œ œ
TIN
TIN TIN
GO
TIN
GO
GO
œ.
œ œ
œ
œ
œ
œ
12
œ
DE
DE DE
TO
DE
TO
TO
œ.
œ œ
œ
œ
œ
œ
DE
DE DE
TO
DE
TO
TO
œ.
œ œ
œ
œ
œ
œ
TO
TO
DE
Copyright CK Ladzekpo 2003
DE DE
TO
DE
3
4
÷
13
Gan.
Gahu
œ.
GO
Kid.
÷ œ.
TO
Sog.
÷ œ.
TO
Boba
÷ œ.
TO
œ ‰
TIN
œ ‰
DE
œ ‰
DE
œ ‰
DE
œ
‰
GO
œ
‰
TO
œ
‰
TO
œ
TO
‰
œ
œ
œ
TIN
TIN
TIN
œ
œ
Œ
Œ
Œ
œ
Œ
Œ
Œ
14
GI
DE
GA
œ
œ
œ
Œ
Ó
Œ
Ó
GI
DE
GA
œ
œ
œ
GI
DE
Copyright CK Ladzekpo 2003
GA