Gankogui
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to Sogo, Kidi, Kagan, Boba, Kroboto and Totodzi. Gankogui is the foundation of the entire ensemble. Its voice provides the metronomic background around which most Anlo-Ewe music is structured. A performer is often described as blind if he or she lacks a good sense of the guiding patterns of gankogui.
Gankogui, just like drums, is conceived as a surrogate for the human voice and imitates the manner in which the mouth produces speech. It is played with a stick technique while held in one hand and resting on the thigh of the performer who sits on a short stool with a firm relaxed body. The stick is swung as the hands go into motion supported from the elbows. The actual swing of the hand is done from the wrist. The stick is struck on the full rounded portion of the bell to achieve the best resonance. When the top high pitch is in use the forged-iron structure rests on the thigh and when the larger low pitch is in use it is raised slightly above the thigh. Stopping the resonance of the lower pitch after is is articulated by damping it on the thigh is equivalent to closing the mouth and provides the means of indicating the basic motives, phrases and periods out of which gankogui music is made.
Gankogui
Tonality And Performance Techniques
Two types of stick techniques are use in the art of playing gankogui, a bounced stick technique and a pressed stick technique. A bounced stick technique allows the stick to rebound after striking gankogui, and a pressed stick technique releases a partial vibration by pressing the stick firmly on gankogui to prevent it from bouncing after the stroke is delivered.
Gankogui Pitch "Tin"
A bounced stick shot across the top of the parent forged-iron produces a low pitch voice described in vocal syllable as "Tin."
Technique of Gankogui Pitch "Tin"
Gankogui Pitch "Go"
A bounced stick shot across the top of the child forged-iron produces a high pitch voice described in vocal syllable as "Go."
Technique of Gankogui Pitch "Go"
Gankogui Pitch "Ka"
A pressed stick shot across the top of the child forged-iron produces a dry and much higher pitch voice described in vocal syllable as "ka."
Figure 25
A Sketch of Gankogui Pitch "ka"
Atoke is another instrument of the forged-iron family that produces a bell like tone when struck. It's traditional form is similar to a miniature boat. A thin forged iron rod is used to play it. Atoke is held in a partially open palm of the performer's weak hand, resting diagonally across from the fore finger to the heel. The iron rod beater is carried in the strong hand and rebounds as it strikes the rim of atoke producing a high ringing pitch. A pair of atoke, tuned about a fourth apart, always play together and function in a similar manner as gankogui.
A pair of Atoke
Atoke Technique
Axatse falls in the instrument category of vibrating gourd. It is made out of a gourd, hollowed out by removing the seeds, and covered with a net of beads or seeds. The sound of axatse is produced by striking it lightly on the thigh and the palm. When struck to rebound off the thigh a dry rattling sound is produced and described in the vocal syllable as "Pa." Struck in a clap-like manner by the palm it produces a rattling sound combined with a tonal component from the vibration of the air inside the gourd. This is described as "Ti" in vocal syllable.
Axatse
Axatse Pitch Pa
Axatse Pitch Ti
Rhythmic Principles
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