The atenteben[1] (atntbn)[what language is this?] is a bamboo flute from Ghana.[2][3] It is played vertically, like the European recorder, and, like the recorder, can be played diatonically as well as chromatically. Although originally used as a traditional instrument (most often in funeral processions), beginning in the 20th century it has also been used in contemporary and classical music. Several players have attained high levels of virtuosity and are able to play Western as well as African music on the instrument.
The instrument is used in many schools and universities across Ghana, both as a solo and ensemble instrument. An instruction manual for the atenteben has been written by Kwasi Aduonum (born 1939), a Ghanaian educator, scholar, and composer from the Kwahu Plateau region.
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The atenteben flute is one of the most versatile musical instruments found in Ghana. The modern atenteben flute, built in B flat and C, was developed by the musicologist, composer and flautist Ephraim Amu (1899-1995), whose pioneering work established a notated musical tradition for the instrument and included the instrument into the curriculum of major educational institutions in Ghana, notably, the Achimota Secondary School and University of Ghana.
The B flat atenteben is a transposing instrument, i.e. its music is written in a tone higher than the actual sounds, but a written music for the C atenteben (also referred to as atenteben-ba) directly agrees with the sounds on piano.
Atenteben comprises two Akan names, i.e., "atente" and "ben". Atente is a plural word derived from otente, the name of an Akan traditional hand drum with two heads covering both ends - thus, "one otente drum" but "two atente drums", and "ben" means flute or an instrument of the aerophones family. The atente drums were the principal instruments that accompanied this flute, hence the name atenteben (or the flute accompanied by the atente drums).
The early 20th-century atenteben flute (now obsolete) is five-holed and horizontally-blown with four top holes and one bottom hole. Traditionally, its music was pentatonic or hexatonic and associated with funerals more than with recreational activities. The instrument was popular through the first half of the 20th century but declined in the late 1950s in favour of the modern atenteben.
Repertoire for the modern atenteben was usually written in C Diatonic or C Mixolydian. This limitation was due to the absence of a playing technique that could produce the accidental sounds of the flute. Amu wrote extensively for the atenteben choir comprising as large as 16 to 32 players, sometimes in combination with a choir and non-melodic percussion instruments. J. H. K. Nketia, K. Aduonum, Akin Euba are among those who have written for atenteben and other African and/or Western instruments.
In 1979, the neo-traditional art music composer and founder of the Pan African Orchestra of Ghana, Nana Danso Abiam (b. 1953) introduced chromaticism and atonality in atenteben music with a new fingering mechanism that he had developed at the Institute of African Studies, University of Ghana, Legon. This playing mechanism employed for the first time, cross-fingerings and halving-fingerings among other over-blowing techniques that produced the entire range of chromatic and harmonic sounds of the flute.
The atenteben is a bamboo flute from Ghana. It has six holes on the top, one on the bottom and a little piece of wood at one end for the musician to blow to produce sound. Although the atenteben was originally used as a traditional musical instrument, it has since been used in modern day and classical music.
This course introduces the atenteben (bamboo flute) to students. Students will learn to cover the holes properly to bring out the required sound of the instrument. No musical experience or ability to read musical notation is required; students will learn pieces by ear using solfege. Students will learn various styles such as highlife and funeral tunes from Ghana. By the end of the semester students will be able to perform creditably on the atenteben flute.Requirements: No requirement is needed.
Whilst researching the music of Erwan Bouvier I came across of a video of him playing in a group with a guest musician playing an unusual bamboo whistle. The musician was Dela Botri, and the whistle was the atenteben. Atenteben is a bamboo fipple flute from Ghana; it was previously used in funeral ritual music, but back in the 50s was adapted to the diatonic scale and popularised with a wider repertoire. Musicologist and composer Dr. Ephraim Amu was important in this process, and it seems as if atenteben may have even adopted a place in school music that the recorder did in the UK.
The Shikra is my take on the Ghanaian atenteben, a fully chromatic flute in the key of Bb. Like a recorder, it has a thumb-hole and also needs only two half-holed notes for the full twelve semitones. Unlike a recorder or a penny whistle, its bottom note is the maj 7th (A) and the windway is on the bottom instead of the top. A fingering chart is
The Shikra is my take on the Ghanaian atenteben, a fully chromatic flute in the key of Bb. Like a recorder, it has a thumb-hole and also needs only two half-holed notes for the full twelve semitones. Unlike a recorder or a penny whistle, its bottom note is the maj 7th (A) and the windway is on the bottom instead of the top. A fingering chart is supplied with the instrument. Atentebens are usually made from bamboo, but my version is from PVC, so it is quite strong. The fipple design is similar to that of my penny whistles and the Shikra also adopts their small bell.
The atenteben is a bamboo flute from Ghana. It is played vertically, like the recorder, and can be played diatonically as well as chromatically. Although originally used as a traditional instrument (most often in funeral processions), since the 20th century it has also been used in contemporary and classical music. Several players have attained high levels of virtuosity and are able to play Western as well as African music on the instrument.
The instrument is used in many schools and universities across Ghana, both as a solo and ensemble instrument. An instruction manual for the atenteben has been written by Dr Kwasi Aduonum, a Ghanaian educator, scholar, and composer from the Kwahu Plateau region.
One can catch percussionist Vida Feehi Ofoli of the all-women Lipstick band doubling on atenteben with her group at the +233 Jazz Bar & Grill or see saxophonist Dela Jackson switching to atenteben from time to time with his Breeze band at the Fridays Club and other places.
The late Dr Ephraim Amu probably never guessed what contexts the atenteben would find itself decades after he transformed it from a transverse instrument into a vertical one. He worked hard to generally develop the instrument and its playing techniques.
In his research dissertation, Abiam formally laid out his findings in atenteben acoustics and introduced a new fingering technique that for the first time, transformed the atenteben from a heptatonic instrument to a chromatic type.
Players
Abiam paid special attention to the atenteben section of his PAO. Eventually, it turned out wonderful players such as Boateng Kodua Acheampong, Nii Mensah Yemoh, Yaw Ayisi, Kwesi Ansong, Zorkie Nelson, Yaw Asumadu, Kweku Kwakye and Dela Botri.
Boateng is even able to play two atentebens at the same time and harmonise different melodies from them in the same key. It is his conviction that African instruments can always play alongside the Western ones in popular music.
There are two types of atenteben namely; atenteben in Key C and atenteben in Key B flat. This instrument is a transposing instrument. This means that when the atenteben in Key B flat is being played, that same tune would be played in Key C on the piano.Tunes from this instrument is mainly heard at funerals. It can be a source of refreshment when played with other interesting tunes.
The atenteben has some features. These include the mouthpiece or embouchure. It also has a wooden piece that has been inserted into the embouchure with a small opening left. That is the part where the air is blown into the instrument for sound production. There is also an opening at the top behind the instrument and another at the bottom. It has seven holes. The seventh hole is used for playing a unique note.This instrument has a range of one and half octaves. The seven holes are uniquely arranged in relation to the sound production. Six of the holes are in front while the remaining one can be found at the back of the instrument.
The main method of preserving the instrument is by soaking it in water for some hours. This enhances the tone quality of the sound that is being produced. The more it is being soaked, the better the quality of sound. Soaking also prevents the instrument from cracks since it is not dry. The atenteben must also be prevented from hitting hard objects and vice versa. This is because a crack on any part of the instrument affects the quality of the tone that is being produced. A shift of the wooden piece in the embouchure will also distort the sound.
Atenteben dans le dialecte Akan, signifie "atente" ou "ben". Atente est un mot pluriel driv d' otente , le nom d'un tambourĀ main traditionnel Akan, avec deux ttes couvrant les deux extrmits - ainsi, "un tambour otente" mais "deux tambours atente", et "ben" signifie flte ou instrument des arophones famille. Les tambours atente taient les principaux instruments qui accompagnaient cette flte, d'o est issu le nom d'atenteben (ou la flte accompagne des tambours atente). L'instrument est originaire de Tweneduruase dans le plateau de Kwahu, dans le centre-sud du Ghana. Les Kwahus font partie des tribus Akan du Ghana, partageant une frontire avec les Akyem au sud etĀ l'est et avec les Asante au nord etĀ l'ouest.
La flte atenteben est l'un des instruments de musique les plus polyvalents du Ghana, elle construite en si bmol et do. Il s'agit d'un instrument souffl en bout avec six trous suprieurs et un trou infrieur. Son embouchureĀ l'embouchure de la pipe se compose d'un morceau de bois (fipple) fait pour s'insrer troitement dans la pipe avec une fente troiteĀ travers laquelle le son est produit par un souffle. La flte atenteben du dbut du XXe sicle comportait cinq trous et elle est souffle horizontalement dans quatre trous suprieurs et un trou infrieur. Traditionnellement, sa musique tait pentatonique ou hexatonique et associe aux funrailles plus qu'aux activits rcratives. L'instrument tait populaire dans la premire moiti du XXe sicle, mais a dclinĀ la fin des annes 1950 au profit de l'atenteben moderne. 006ab0faaa
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